Mike Rosen
Michael Rosen is Emeritus Professor of Percussion at Oberlin Conservatory of Music, where he taught from 1972–2021 and founded the Oberlin Percussion Group. Before going to Oberlin he was Principal Percussionist with the Milwaukee Symphony from 1966–72. A native Philadelphian, Rosen was a student of Charles Owen, Cloyd Duff, Fred Hinger, Tom Siwe, and Jack McKenzie.
He has performed with the Cleveland Orchestra, the Concertgebouw Orchestra, Grand Teton Music Festival, and the Metropolitan Opera Orchestra.
He has been on the PAS Board of Directors several times and is associate editor of Percussive Notes magazine, where he has a continuing column titled “Terms Used in Percussion.” In addition to being in demand as a clinician for cymbals and marimba, he has recorded for Bayerische Rundfunk, Opus One, Albany, Lumina and CRI labels. In 2019 he was inducted into the PAS Hall of Fame. Rosen has concertized and taught extensively throughout the world including France, Italy, Holland, Spain, Brazil, Sweden, Belgium, Denmark, Germany, Finland, Beijing, and Hong Kong.
He has performed with the Cleveland Orchestra, the Concertgebouw Orchestra, Grand Teton Music Festival, and the Metropolitan Opera Orchestra.
He has been on the PAS Board of Directors several times and is associate editor of Percussive Notes magazine, where he has a continuing column titled “Terms Used in Percussion.” In addition to being in demand as a clinician for cymbals and marimba, he has recorded for Bayerische Rundfunk, Opus One, Albany, Lumina and CRI labels. In 2019 he was inducted into the PAS Hall of Fame. Rosen has concertized and taught extensively throughout the world including France, Italy, Holland, Spain, Brazil, Sweden, Belgium, Denmark, Germany, Finland, Beijing, and Hong Kong.
Cymbal Lab
Session Description:
At this session I will illustrate the various types of cymbals (Germanic,
Viennese and French) and where each type would best be used. The three
basic characteristics of a cymbal sound will be demonstrated. Once we
have gotten the sounds in our ear we will move on to technique; how to hold
the cymbals, how to stand, and how to create a full sound using exercises I
have developed to improve the ability of players to get a full sound and
recognize what a good sound is. I will demonstrate how to get a full sound
by using energy, the best contact point and how to project the sound into
the hall after the crash.
Then we will discuss how to get different colors from a pair of cymbals by listening for the tessitura, the attack characteristics and how to encourage each basic sound.
There are several basic difficulties playing cymbals. One is soft playing which we will work on with the Rachmaninoff Second Piano Concerto. Another is muffling. For this we will work on the Romeo & Juliette Overture by Tchaikovsky. Then we’ll deal with fast and articulate playing by working on the Fourth Symphony, also by Tchaikovsky.
Students will be working hands-on in person to improve their cymbal playing.
Then we will discuss how to get different colors from a pair of cymbals by listening for the tessitura, the attack characteristics and how to encourage each basic sound.
There are several basic difficulties playing cymbals. One is soft playing which we will work on with the Rachmaninoff Second Piano Concerto. Another is muffling. For this we will work on the Romeo & Juliette Overture by Tchaikovsky. Then we’ll deal with fast and articulate playing by working on the Fourth Symphony, also by Tchaikovsky.
Students will be working hands-on in person to improve their cymbal playing.
- Symphonic
Date:
Friday, November 14, 2025
Time:
9:00 AM
Location:
Room 201
Session Type:
Lab
Session Format:
Live
