PE - 03/26/09 - Butler North

Youngstown State University Percussion Ensemble
Dr. Glenn Schaft-director & Tetsuya Takeno - assistant director
Butler North
Graduate Assistant:
Tetsuya Takeno, Kanagawa-Ken, Japan

Mario Butera, Pittsburgh, PA
Cory Doran, Columbus, OH

Kevin Rabold, Pittsburgh, PA
Dan Danch, New Wilmington, PA

Joshua Colson, Transfer, PA
Robert Young, Austintown, OH
Eric Zalenski, Bloomingdale, OH

Mike Farinelli, Cranberry Twsp., PA
Matthew Hayes, Coshocton, OH
Dustin May, Westerville, OH
Gino West, Poland OH
Gary White, Warren, OH
About the Director
GLENN SCHAFT is Professor and Director of Percussion Studies at Youngstown State University. He is the advisor/co-founder of the Youngstown Percussion Collective and an artist with Avedis Zildjian Co., Innovative Percussion Inc., Remo Inc., and a member of the Black Swamp Percussion Educators Network. Glenn earned the DMA from the University of Illinois at Urbana-Champaign, the MA from Eastern Illinois University, and the BM from Baldwin Wallace University. He pursued post doctoral studies in contemporary music and orchestral percussion at Cleveland State University, Afro-Cuban music in Havana, Cuba and world percussion at the Berklee School of Music World Percussion Festival. Glenn’s teachers include John Hollenbeck, John Riley, Tom Freer, Jay Burnham, Lewis Nash, Ted Piltzecker, Tom Siwe, Johnny Lee Lane, George Kiteley, Harold Damas, Linda Pimentel, and Ruben Alvarez. A member of the Percussive Arts Society, Glenn serves on the Drumset Committee and has appeared as performer, lecturer, and panelist at PAS international conventions.

Glenn’s career spans idioms such as classical, new music, world music, jazz, blues, rock, reggae, funk, Brazilian, West African, and Afro-Cuban. Glenn has recorded and served as executive producer with the Youngstown Percussion Collective, Dave Morgan, Ron Coulter, John Hollenbeck, Cleveland Chamber Symphony, Scott Wyatt, Amanda Powell, Air Force Band of Mid-America, Youngstown State University Wind Ensemble, and myriad jingles.

His credits include conductors Giora Bernstein, Jeffery Siegel, Anton Coppola, Edwin London, Gunther Schuller, Paul Martin Zonn, Peter Schickele, aka P.D.Q. Bach ensembles such as Colorado Music Festival, Skaneateles (NY) Chamber Music Festival, "Artist In Residence" at Baldwin-Wallace University with BATTU contemporary/world percussion group, Cleveland Chamber Symphony, Cleveland Ballet, Ohio Chamber Orchestra, Cleveland Opera, Robert Page Singers, Akron Symphony, Richmond Symphony, Springfield (IL) Symphony, Youngstown Symphony, Duluth-Superior Symphony, Champaign-Urbana Symphony, Lake Superior Chamber Orchestra, Dance Theater of Harlem, Cleveland Dance Collective, and artists such as Paul Sperry, Julie Newell, Robert Weirich, Robert Van Sice, Peter Erskine, and Ben Toth.

Glenn drumset and world music credits include Ruben Alvarez, American Jazz Orchestra, Chuck Berry, Nick Brignola, Freddie Bryant, Ndugu Chancellor, Sarah Jane Cion, Stewart Copeland, Anthony Cox, 1940's Radio Hour Show-US Tour, Todd Coolman, Harold Danko, Paquito D’Rivera, Larry Elgart, Raul Esparza, John Fedchock, Five By Design, Reynaldo Gonzales, Taku Hirano, Laurence Hobgood, Engelbert Humperdink, Randy Johnston, Sean Jones, Mike Kocour, Alison Krauss, Victor Krauss, Ralph Lalama, Tony Leonardi, Robert Lockwood Jr., Bryan Lynch, Jim McNeely, Hank Marr, Phil Palombi, Ken Peplowski, Chita Rivera, Trichy Sankaran, Michael Spiro, Marvin Stamm, Chip Stephens, The Texas Tenors, Alan Vizzutti, Dan Wall, James Weidman, Michael Weiss, Mike Wofford, Women of the Phantom, Andrea Zonn, and Youngstown State University Faculty Jazz Group.
About the YSU Percussion Ensemble

Notable performances include the 2018 Percussive Arts Society International Convention in Indianapolis, Percussive Arts Society Ohio Chapter Days of Percussion at Capital University, Ohio Northern University, Youngstown State University, and Ohio Music Education Association Conferences in Cleveland, Columbus, and Cincinnati. A central part of our mission involves collaborations with composers in the commissioning, premiering, and critically acclaimed recording of their works. Our 2005 release "Dark Wood" includes six premiere recordings and commissions. Our commission project with New York City-based percussionist/composer John Hollenbeck on his "Ziggurat" for five percussionists and four saxophonists, was premiered at the Whitney Museum of Contemporary Art in New York City, and is available on his 2008 release "Rainbow Jimmies." The Youngstown Percussion Collective's 2012 release "Forms Of Things Unknown" is a concert-length suite by YSU professor of jazz studies, bass, and composition, Dr. Dave Morgan. Our 2012 recording of Ron Coulter's "Cajon Trio" will appear on an upcoming 2019 Coulter CD release. 

Three Pieces for Drum Quartet (1974-75)
James Tenney (1934-2006)

1.     Wake – for Charles Ives

2.     Hocket – for Henry Cowell

3.     Crystal Canon – for Edgard Varëse

Each movement is scored for four drums; tenor drums, bass drums, and snare drums respectively. Tenney utilizes rhythmic themes, unique to each movement, that are either layered in counterpoint or sometimes converge in unison textures. Notes by Glenn Schaft

O’Carolan Suite No. 2 (1989)
Traditional Irish Melodies by Turlough O’Carolan
arr. Paul Henle

            I. Planxty Maguire

            II. O’Carolan’s Farewell

            III. O’Carolan’s Quarrel

            IV. Loftus Jones

Paul Henle studied percussion with James Preiss at the Manhattan School of Music and was a founding member of the Manhattan Marimba Quartet. At the same time he was studying classical percussion, he was pursuing his interest in traditional Irish music, playing bodhran and bones at sessions around New York City. Paul plays with the Scottish dance band Tullochgorum, and with the Irish traditional band Odd Men Out. Turlough O'Carolan was born in 1670 near Nobber, County Meath and died in 1738. He was one of the last Irish harpers who composed and his fame was not due to his skill with the harp but to his gift for composition and verse. The works of Turlough O'Carolan survive only as single-line melodies and interpretations of them are as rich and varied as the artists who interpret them. Notes by Glenn Schaft

Group Improvisation

Mario Butera, Joshua Colson, Cory Doran

Group Improvisation

Dan Danch, Matthew Hayes, Kevin Rabold, Bob Young

Group Improvisation

Mike Farinelli, Dustin May, Gino West, Gary White, Eric Zalenski

Once Removed (2003)
John Fitz Rogers (1963)
Cory Doran & Tetsuya Takeno

Once Removed is based on a simple premise: two marimbists play the same or related music at a fairly fast tempo, but they almost never play together. Individually, each performer must execute fairly simple patterns with great rhythmic precision and to help, each listens to a click track (not heard by the audience) over separate left and right stereo channels. Though both click tracks proceed at the same tempo, one track stays at a fixed distance behind the other, which means that one performer is always slightly “behind” the other. When their patterns are combined, the resulting mosaic is both very fast and quite complex. Musicians are trained to communicate and to play together, yet in some ways this work demands that the performers not listen to each other. Though the technology of multiple click tracks creates new possibilities of texture and ensemble precision, the trade-off in Once Removed is that each player remains somewhat isolated from the instruments he or she plays, and more importantly, musically separated from the other performer, like two people trying to reach one another from opposite sides of a thin glass pane. Notes by John Fitz Rogers

Dragoon (1999)
Lynn Glassock (b. 1946)

In late 16th-century Europe, a dragoon was a mounted soldier who fought as a light cavalryman on attack and as a dismounted infantryman on defense. The term derived from his weapon, a species of carbine or short musket called the dragoon. Glassock’s Dragoon is scored for a percussion octet using four marimbas, various blocks of wood, tambourines, snare drums, bongos, congas, maracas, log drums, tom toms, and shekere. Throughout, Glassock juxtaposes traditional tribal and contemporary musical practices including numerous tribal-like rhythms, various ethnic percussion instruments, complex tempo modulations, and the marimbas to create dense and dissonant polyphonic textures within driving rhythmic grooves. Notes by Glenn Schaft

Threads for Percussion Quartet (2005)
Paul Lansky (b. 1944)

1.     Prelude (Aria I)

2.     Recitative I

3.     Chorus I

4.     Aria II

5.     Recitative II

6.     Chorus II

7.     Aria III

8.     Recitative III

9.     Chorus III

10. Choral Prelude (Aria IV)


Threads, written for So Percussion in 2005, is a half-hour-long “cantata” for percussion quartet in ten short movements. There are three “threads” that are interwoven in the piece: Arias and Preludes that focus on the metallic pitched sounds of vibraphones, glockenspiel, and metallic pipes; Choruses in which drumming predominates; and Recitatives made largely from Cage-like “noise” instruments, bottles, flowerpots, crotales, etc. The aims of the different threads are to highlight the wide range of qualities that percussion instruments are capable of, from lyrical and tender to forceful and aggressive, and weave them into one continuous texture. The movements are performed without interruption. Notes by Paul Lansky

Trio Per Uno (1995/99)
Nebojsa Jovan Zivkovic (b. 1962)

I.               Meccanico

II.             Contemplativo

III.           Molto energico


The outer movements have some similarities in manner and appear as if they would present a perfection of wildness in an archaic ritual cult. The second movement has its own special lyric and contemplative mood and serves as an isle of quietness between two volcanoes, in both atmosphere and instrumentation. This music expresses the principle: three bodies – one soul. Notes by Zivkovic

Special thanks to Avedis Zildijian, Remo, ProMark. Dynasty, and Black Swamp Percussion for their product and artist support.