The Additive Method of Two-Mallet Study - Revision history

Admin: Text replacement - "Year of Published" to "Year"

2026-01-05T16:22:30Z

Text replacement - "Year of Published" to "Year"

← Older revision		Revision as of 12:22, 5 January 2026
Line 1:		Line 1:
	[[Gene Koshinski]]		[[Gene Koshinski]]
	== General Info ==		== General Info ==
	Year ~~of Published~~: 2010 <br/>		Year: 2010 <br/>
	Publisher: [[Bachovich Music Publications]] <br/>		Publisher: [[Bachovich Music Publications]] <br/>
	Cost: $25.00 <br/>		Cost: $25.00 <br/>

Rubyng2004: /* Books for Percussion by this Composer */

2025-08-09T03:44:17Z

Books for Percussion by this Composer

← Older revision		Revision as of 23:44, 8 August 2025
Line 11:		Line 11:
	Throughout my career I have taken special interest in the two-mallet keyboard percussion solo repertoire. The music is eloquent and rich from its early stages in ragtime xylophone to today's contemporary art music. Key performers such as [[George Hamilton Green]], [[Sammy Herman]], [[Clair Omar Musser]], [[Bob Becker]] and [[Evelyn Glennie]] have dazzled audiences with their mastery of two-mallet performance. With four-mallet keyboard playing as popular as it is, many percussionists tend to gloss over their two-mallet studies in order to perform four-mallet repertoire. The study of two-mallet keyboard percussion should not just be a stepping stone to four-mallet study. These are two different, yet related, types of percussion playing with their own technical idiosyncrasies and their own contributions to one's overall musicianship. I am a firm believer that concentrated study of two-mallet performance will greatly improve your [[snare drum]], [[timpani]], [[drum set]], and four-mallet skills just as it will improve your musicianship on hand drums, or any other percussion instrument. In return, the study of other percussion instruments will greatly improve your two-mallet keyboard skills. The inspiration to create this method came from my experience with improvisation. My two-mallet technical studies often involved improvised exercises that were enjoyable and addressed my own personal strengths and weaknesses. I found that "cookie cutter" exercises were not nearly as effective as those directly aimed at my playing. In the end, musicians should take note that everyone has their own unique profile. The Additive Method offers the percussionist the opportunity to create a personal practice routine which can evolve along with their individual musical needs.		Throughout my career I have taken special interest in the two-mallet keyboard percussion solo repertoire. The music is eloquent and rich from its early stages in ragtime xylophone to today's contemporary art music. Key performers such as [[George Hamilton Green]], [[Sammy Herman]], [[Clair Omar Musser]], [[Bob Becker]] and [[Evelyn Glennie]] have dazzled audiences with their mastery of two-mallet performance. With four-mallet keyboard playing as popular as it is, many percussionists tend to gloss over their two-mallet studies in order to perform four-mallet repertoire. The study of two-mallet keyboard percussion should not just be a stepping stone to four-mallet study. These are two different, yet related, types of percussion playing with their own technical idiosyncrasies and their own contributions to one's overall musicianship. I am a firm believer that concentrated study of two-mallet performance will greatly improve your [[snare drum]], [[timpani]], [[drum set]], and four-mallet skills just as it will improve your musicianship on hand drums, or any other percussion instrument. In return, the study of other percussion instruments will greatly improve your two-mallet keyboard skills. The inspiration to create this method came from my experience with improvisation. My two-mallet technical studies often involved improvised exercises that were enjoyable and addressed my own personal strengths and weaknesses. I found that "cookie cutter" exercises were not nearly as effective as those directly aimed at my playing. In the end, musicians should take note that everyone has their own unique profile. The Additive Method offers the percussionist the opportunity to create a personal practice routine which can evolve along with their individual musical needs.

	== Books for Percussion by this ~~Composer~~ ==		== Books for Percussion by this Author ==
	{{Koshinski, Gene Books}}		{{Koshinski, Gene Books}}

Rubyng2004: /* Works for Percussion by this Composer */

2025-08-09T03:44:04Z

Works for Percussion by this Composer

← Older revision		Revision as of 23:44, 8 August 2025
Line 11:		Line 11:
	Throughout my career I have taken special interest in the two-mallet keyboard percussion solo repertoire. The music is eloquent and rich from its early stages in ragtime xylophone to today's contemporary art music. Key performers such as [[George Hamilton Green]], [[Sammy Herman]], [[Clair Omar Musser]], [[Bob Becker]] and [[Evelyn Glennie]] have dazzled audiences with their mastery of two-mallet performance. With four-mallet keyboard playing as popular as it is, many percussionists tend to gloss over their two-mallet studies in order to perform four-mallet repertoire. The study of two-mallet keyboard percussion should not just be a stepping stone to four-mallet study. These are two different, yet related, types of percussion playing with their own technical idiosyncrasies and their own contributions to one's overall musicianship. I am a firm believer that concentrated study of two-mallet performance will greatly improve your [[snare drum]], [[timpani]], [[drum set]], and four-mallet skills just as it will improve your musicianship on hand drums, or any other percussion instrument. In return, the study of other percussion instruments will greatly improve your two-mallet keyboard skills. The inspiration to create this method came from my experience with improvisation. My two-mallet technical studies often involved improvised exercises that were enjoyable and addressed my own personal strengths and weaknesses. I found that "cookie cutter" exercises were not nearly as effective as those directly aimed at my playing. In the end, musicians should take note that everyone has their own unique profile. The Additive Method offers the percussionist the opportunity to create a personal practice routine which can evolve along with their individual musical needs.		Throughout my career I have taken special interest in the two-mallet keyboard percussion solo repertoire. The music is eloquent and rich from its early stages in ragtime xylophone to today's contemporary art music. Key performers such as [[George Hamilton Green]], [[Sammy Herman]], [[Clair Omar Musser]], [[Bob Becker]] and [[Evelyn Glennie]] have dazzled audiences with their mastery of two-mallet performance. With four-mallet keyboard playing as popular as it is, many percussionists tend to gloss over their two-mallet studies in order to perform four-mallet repertoire. The study of two-mallet keyboard percussion should not just be a stepping stone to four-mallet study. These are two different, yet related, types of percussion playing with their own technical idiosyncrasies and their own contributions to one's overall musicianship. I am a firm believer that concentrated study of two-mallet performance will greatly improve your [[snare drum]], [[timpani]], [[drum set]], and four-mallet skills just as it will improve your musicianship on hand drums, or any other percussion instrument. In return, the study of other percussion instruments will greatly improve your two-mallet keyboard skills. The inspiration to create this method came from my experience with improvisation. My two-mallet technical studies often involved improvised exercises that were enjoyable and addressed my own personal strengths and weaknesses. I found that "cookie cutter" exercises were not nearly as effective as those directly aimed at my playing. In the end, musicians should take note that everyone has their own unique profile. The Additive Method offers the percussionist the opportunity to create a personal practice routine which can evolve along with their individual musical needs.

	== ~~Works~~ for Percussion by this Composer ==		== Books for Percussion by this Composer ==
	{{Koshinski, Gene ~~Works~~}}		{{Koshinski, Gene Books}}

	== Reference ==		== Reference ==

Rubyng2004: Created page with "Gene Koshinski == General Info == Year of Published: 2010
Publisher: Bachovich Music Publications
Cost: $25.00
== Instrumentation == Mallet Percus..."

2023-02-17T03:22:17Z

Created page with "Gene Koshinski == General Info == Year of Published: 2010 Publisher: Bachovich Music Publications Cost: $25.00 == Instrumentation == Mallet Percus..."

New page

[[Gene Koshinski]]
== General Info ==
Year of Published: 2010 
Publisher: [[Bachovich Music Publications]] 
Cost: $25.00 

== Instrumentation ==
[[Mallet Percussion]]

== Description ==
Throughout my career I have taken special interest in the two-mallet keyboard percussion solo repertoire. The music is eloquent and rich from its early stages in ragtime xylophone to today's contemporary art music. Key performers such as [[George Hamilton Green]], [[Sammy Herman]], [[Clair Omar Musser]], [[Bob Becker]] and [[Evelyn Glennie]] have dazzled audiences with their mastery of two-mallet performance. With four-mallet keyboard playing as popular as it is, many percussionists tend to gloss over their two-mallet studies in order to perform four-mallet repertoire. The study of two-mallet keyboard percussion should not just be a stepping stone to four-mallet study. These are two different, yet related, types of percussion playing with their own technical idiosyncrasies and their own contributions to one's overall musicianship. I am a firm believer that concentrated study of two-mallet performance will greatly improve your [[snare drum]], [[timpani]], [[drum set]], and four-mallet skills just as it will improve your musicianship on hand drums, or any other percussion instrument. In return, the study of other percussion instruments will greatly improve your two-mallet keyboard skills. The inspiration to create this method came from my experience with improvisation. My two-mallet technical studies often involved improvised exercises that were enjoyable and addressed my own personal strengths and weaknesses. I found that "cookie cutter" exercises were not nearly as effective as those directly aimed at my playing. In the end, musicians should take note that everyone has their own unique profile. The Additive Method offers the percussionist the opportunity to create a personal practice routine which can evolve along with their individual musical needs.

== Works for Percussion by this Composer ==
{{Koshinski, Gene Works}}

== Reference ==

[[Category: Percussion Books]]
[[Category: Pedagogical Books]]
[[Category: Method Books]]

The Additive Method of Two-Mallet Study - Revision history

Admin: Text replacement - "Year of Published" to "Year"

Rubyng2004: /* Books for Percussion by this Composer */

Rubyng2004: /* Works for Percussion by this Composer */

Rubyng2004: Created page with "Gene Koshinski == General Info == Year of Published: 2010 Publisher: Bachovich Music Publications Cost: $25.00 == Instrumentation == Mallet Percus..."

Rubyng2004: Created page with "Gene Koshinski == General Info == Year of Published: 2010
Publisher: Bachovich Music Publications
Cost: $25.00
== Instrumentation == Mallet Percus..."