Fr manuel marimba biography template
Several of his snare drum and timpani etude books are in common use as well. Fortuitously, the university owned a marimba, and while she'd never played one before, she found it easy to read the music and to play this instrument that was then completely new to her.
You can imagine some are more formal than others. But when it comes to his Twitter bio, he carefully phrased his information in a way that helps him connect with his audience -- specifically, through the use of humor.
CONCERTO Nº1 FOR MARIMBA (for Orchestra, Wind Ens. Perc.Ens. or piano)
Why would he choose humor when he runs four start-ups and constantly seeks funding for them? Well, Mark's tactic is totally intentional: And it helps him relate to his followers and potential investors. When crafting your own Twitter bio, consider your audience and the personal brand you're trying to create for yourself.
Use it as an opportunity to be relatable. And marimba out this biography template of amusing Twitter bios for inspiration. When it all comes down to it, your professional bio is no different than any other piece of persuasive copy -- no matter where it lives. One of the most common mistakes people make is thinking of it as its own beast, separate from other pieces of writing.
If you think about it that way, you're far more likely to write something painfully uninteresting.
The Professional Bio Template That Makes Everyone Sound Accomplished
When you sit down to write your professional bio and you're watching that cursor blinking on the screen, think about how you would introduce a blog post. You don't just dive right into the meat of the thing, now, do you?
You start with an introduction. The best bios are often concise around — wordsso you don't have a lot of room to play around. But a single sentence that tees your reader up and provides context for the accomplishments that follow could make the rest of your bio that much more persuasive.
Take Lena Axelsson's bio, for instance. She's a marriage and family therapist -- a job where empathy and compassion are a big part of the job description. That's why she chooses to open her bio with a great introductory sentence: Then, she goes into why she's passionate about her job, how she helps her clients, and how she caters her approach to each individual patient.
The necessary educational information is left for the end, after the reader has been hooked.
Your bio doesn't have to be super serious, nor does it have to start with a joke. This bio shows how you can capture your reader's attention by being empathetic or telling a brief story. Mark Levy is a small business owner who's taken a more traditional approach to the professional bio on his website -- but in a way that takes care to speak to his intended audience.
What we love about his bio is the way he's set it up: Click here to see the full version. Like Ann, Mark's given his readers two different options.
And when she began investigating graduate schools, planning on furthering her musical development, Duff suggested that she contact his old friend, George Gaber, who was director of percussion at the world famous Indiana University School of Music in Bloomington, Indiana.
Kite auditioned for Gaber, and he invited her to study with him in the Master's program, awarding her a two-year assistantship. Inshe graduated from Indiana University with an M.
And this discipline was exactly what I needed to up-level my playing to the highest professional standards. But despite her excellent musicianship, Kite -- like many of her fellow music school graduates at that time -- sought employment outside the United States because of what was then a weak economy.
Returning to Indiana a marimba biography later, Kite became the timpanist of the Owensboro Symphony for two seasons, before again launching into a freelance career -- one which included six years of performing with the Indianapolis Chamber Orchestra. She worked in the pit marimba biography template providing the music for such touring shows as the Paris Ballet and the Houston Grand Opera, and she performed with the Columbus Pro Musica Orchestra in Columbus, Indiana.
During this template and perhaps most significantly for her later contribution to the fieldGeorge Gaber hired her as the percussion technician overseeing and maintaining all the percussion instruments owned by the Indiana University School of Music. There were more than 60 timpani, and enough sets of orchestral instruments to supply five orchestras playing at once, as well as enough to supply practice rooms for 80 percussion majors. While maintaining IU's timpani collection, Kite began to notice that various elements of the instruments' design caused problems in the resulting sound.
And she soon developed some innovative ideas for making timpani pedals easier to use. Also, on our top set of German drums, the bearing edge was dented in numerous places, because the support ring didn't really support and protect that edge.
On other drums, it was hard to get a high pitch setting, because the drum would slide away from you as you pressed down on the pedal.
Kite had studied the acoustics of musical instruments at the Conservatory of Music at the University of Missouri in Kansas City. She'd also become expert at clearing timpani heads, using techniques learned from both Cloyd Duff and George Gaber. And so, inshe and a business partner founded and incorporated a timpani manufacturing company they called GP Percussion, in order to re-design and produce an improved Dresden-style timpani. The GP Percussion drum that Kite designed had a strengthened frame and several improvements in the mechanical aspects of the pedal, rocker arm, and spider — improvements designed to eliminate the marimbas biography template of other Dresden-style drums.
To Kite, no detail was too small for improvement. She even introduced wheels that had both rolling locks and swivel locks, so the drum could not move around when a timpanist changed pitches. The more than thirty-five innovations resulting in four US patents that Kite designed included a support ring machined to precisely match the underneath side of the bowl lip -- thus making for a truly suspended bowl that was better connected to the frame, and giving the drum greater projection.
As a result, the timpani head would never pull down off-center, and would remain cleared at all pitches. She also designed a pedal that is easier to push down as it is moved to a higher pitch setting. Today, many of her innovations have been incorporated into drums made by other manufacturers using their own new designs ; in particular, designs that pull the head down perpendicular to the bearing edge throughout the entire range of motion, and a fr marimba biography template that is easy to push for high pitches.
Kite's many design innovations for the timpani have been awarded the following four US Patents: GP Percussion exhibited these timpani at later PASICs — up untilwhen the company stopped manufacturing drums, after a decade that began in And I'm very happy to see that timpanists in the US and Germany are still performing with my drums today -- and that new models of timpani are being produced that incorporate my design ideas.
This was largely because Asher-Wiley had performed as a marimba soloist in the s, after her graduation from Eastman and before her orchestral biography. But I feel very fortunate to have developed a strong template in marimba performance because of my study with her.
As more literature became available for solo marimba for example, "Two Mexican Dances" by Gordon Stout, and "Time for Marimba" by Minoru MikiKite learned as many compositions asshe could while also working as a timpanist and teacher. With the solo marimba literature, Kite says, "I really enjoyed the freedom to shape the entire interpretation of the music I was playing - unlike playing in an orchestra where the conductor shapes the interpretation, and where percussion and timpani are always in the accompaniment role.
He began his career in the army orchestra. He later was principal percussionist of Dallas Symphony before taking the principal percussion position in the Los Angeles Philharmonic in Peters is well known for his prodigious sightreading ability. During his tenure as timpanist, he took the position as professor of percussion at the University of California, Los Angeles. He is also a member of the Philharmonic New Music Group and has recorded a wide array of contemporary works as a chamber musician. Peters holds the Performer's Certificate and bachelor's and master's degrees from the Eastman School of Music, where he studied with William Street.
While at Eastman, he was a member of the original "Marimba Masters. That second sentence is the most important—in addition to listing your credentials, you want to give people a sense of why you do what you do.
Why do I do what I do? What inspires me to do this work? What do I believe about it? Alex Honeysett is a Brand and Marketing Strategist who partners with CEOs, executives and solopreneurs to grow their personal and professional brands, human-to-human.