Since the introduction of Music a la Turka in the middle of the 18th century, the quantity of instruments/objects used in the percussion section (and the manner in which they are set into vibration) is staggering. While the standard audition repertoire for extended techniques is quite limited, the sonic vocabulary is increasingly present in the orchestra. Bowed instruments, friction mallets, and hybrid instrument constructions are common in world premieres in every major orchestra and smaller, regional orchestras.

As an artist known for embracing and refining these techniques, I have worked carefully to bring them to the place of reliability and consistency. My goal is not only to find new sounds employing new techniques. I also aim to elevate these sounds to the consistent performance expectation of other high-stakes, ultra-sensitive techniques such as finger/thumb rolls, exposed soft rolls, and delicate triangle/cymbal work.

I first explore and experiment to find the manner in which the core sound concept can be consistent enough for an orchestral context. In addition to repetition in the practice room, the right materials are essential: implements, objects, and suspension/support. I expand the potential of the sound so that it can be expressive across the broadest possible contexts: audibility, shape, spectrum, and resonance. Finally, I share these methods with young percussionists to understand the learning curve across all experience levels.

As a percussionist of the International Contemporary Ensemble (15 yrs), I have worked with hundreds of composers in the creation of their percussion parts. These composers now work with major orchestras around the world. (Example, NY Phil: Suzanne Farrin, Marcos Balter, Anna Thorvaldsdottir, Ash Fure).

In this clinic, we will move these sounds from a place of consistent *inconsistency* to a reliable capability of setting any object into the desired vibrational expression. Every time. Without failure.