Steel Pan

"Time and Space" is an exercise that rhythmically slices intervalic space into whole and half-step movements ascending and descending between the lower note to the higher note. By first defining the predominant interval in half-notes and then rhythmically slicing it up into various divisions of quarter notes, triplets, and simple odd tuplets (5:2 and 7:2) we can strengthen our inner feel of time using the space between the two outer notes as a reference.

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Merry Christmas and Good Vibes from McMurdo Station, Antarctica:

Yesterday (Christmas Eve in Antarctica), I had the great honor of participating in one of the coolest events I’ve ever done. I performed my arrangement of The First Noel, which I call “Noel Antarctica” for various U.S. Field Research Camps around Antarctica including the South Pole, Shackleton Outpost and Wais (West Antarctic Ice Shelf).

If you're old enough, you probably remember back in the 80's when there was a popular advertising campaign for Windy's that coined the phrase "Where's the beef?" I've found that the current state of affairs in music has a relationship to that commercial - Where's the motif? Where's the melody?" "Where's the beef?

I've known many good people who discount the relevance of art because it has not been explained to them in a way that they understand. Art is a quest for greatness in all forms. It sets the bar for humanity. It's the best and highest level of accomplishment that humans can achieve or fathom. An artful effort supplies the world with a path toward achievement. An Artful accomplishment offers the world hope of that achievement. Art is not mere entertainment. It is purposeful beyond all other physical things.

This is Michel Petrucciani playing the most beautiful version of "In A Sentimental Mood" I've ever heard. I decided to share it here because Tony recently requested ideas for solo playing and I forgot to mention this one.

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The springless string tension holder for the bar string is a must! It's so easy, improves the sound of the instrument by allowing the player to easily choose the tension on the string and as the string stretches over time, you don't have to re-adjust the knot in the string (you know what I'm talking about).

You can also maintain an endless ball of string on one end of each set of bars so that as the string wears, you can just pull it through the bars and cut the old string off. I keep a ball of string in a small felt bag hanging on the low end of the instrument.

“J'OURVET”
TOM BERICH and THOMAS MACKAY