Ed Saindon is available for clinics, concerts and residencies on vibes, marimba, piano and drums. He is also available for clinics (open to all instrumentalists) on jazz improvisation, theory, harmony and ensemble performance. Clinics and residencies are co-sponsored by Yamaha and Vic Firth. To inquire about rates and availability on specific dates, please email Ed at edsaindon@comcast.net or call Ed at: 978-688-2663
Here are a few examples of general clinics.
Clinic for marimbists which focuses on vibraphone pedaling, dampening, four mallet grip
as well as four mallet techniques as applied to compositions from the piano, guitar and violin
repertoire. The clinic addresses topics of how to develop a sound, nuance and touch on the
vibraphone. Exercises covering various aspects of the development of four mallet technique
are given. No experience with jazz improvisation is necessary.
Grip Basics
The "Fulcrum" Grip
Wrist and finger action
Rotation
Upstrokes, Downstrokes
Pedaling
On the beat vs. Syncopated Pedaling
Dampening Techniques
Two Hand Dampening Techniques
One Hand Dampening Techniques
Sticking Concepts
Alternate vs. Combination Stickings
Sticking Concepts
Scale Stickings
4 Mallet Techniques and Exercises
Octaves in right hand
Octaves played by both hands
Diminished exercise
Double Stops
Arpeggios using 4 mallets
Diatonic 7ths played by 4 mallets
Single hand lines
Repertoire
Friedman Etude
Develop Sight Reading
Bach Sonatas and Partitas
Etude in C
Bach Chorale
Brazilian Compositions
This clinic focuses on the application of four mallet techniques as applied in Jazz,
Rock and Latin styles. Compositions from Mainstream Jazz, Blues, Contemporary Jazz and
Brazilian repertoire are used to illustrate the many four mallet concepts and techniques
that can be applied in a solo and group context. Solo playing is covered in depth as well
as comping concepts.
Technical Basics
Grip
Pedaling
Dampening
Sticking Concepts
4 Mallet Techniques and Exercises
Various Musical Styles
Blues
Rhythm Changes
Standards
Brazilian
Contemporary
Rock
Solo Playing
Dual Function Left Hand
Left Hand Comping Techniques
Stride and “Freddie Green” Style
Breaking up the 8th notes
Contrapuntal Techniques
Bass Lines
Left Hand “Jabs”
Lines Outlining Voicings
Dampening Techniques
Comping
Closed, Open Voicings
Clusters
Voicing in the Texture
Constant Structure
Chromatic Approach
Pentatonic Voicings
Stacking
Upper Structue Triads
Inner Moving Voices
Intervallic Voicings
Stylistic Voicings (Blues, Funk, Rock, etc.)
Latin Techniques with Guide Tones
This clinic is open to all instrumentalists and covers topics related to improvisation
and jazz theory/harmony. The clinic covers basic improvisational concepts such as chromatic
and diatonic approach, tension resolution concepts and chord tone soloing. More advanced
concepts such as vertical/horizontal improvisation, upper structure triads and intervallic
playing are covered depending upon the level of the clinic participants.
JAZZ THEORY and HARMONY
Tensions
Chord Scales
Harmonic Principles
Harmonic Analysis
Chord Scale Analysis
IMPROVISATION
General Concepts
Rhythmic and Melodic Embellishment
Phrasing (Contrasting Phrases, Varied Phrase Lengths, Space)
Articulation
Dynamics
Nuance
Stylistic Compatibility
Group Interaction
Rhythmic Concepts
Time Feel
Rhythmic Variety
Syncopation within 8ths
Triplets and 16th note Rhythms
Over The Bar Line Phrasing
Superimposition
Groupings
Improvisational Concepts
Linear vs. Vertical, Chord Scales vs. Chordal Approach
Tonal Centers
Chord Tone Soloing, Guide Tone Lines
Angularity (Octave Displacement)
Chromatic and Diatonic Approach
BeBop Scales
Lick Playing
Tension Resolution Concepts
Intervallic Playing
Pentatonics (Major and Altered Pentatonics)
Symmetrical Diminished Scale Patterns
Augmented Scale
Upper Structure Triads, 7ths
Triad Pairs
Coltrane’s 3 Tonic System
Chordal Superimposition
Motivic Playing
4 Note Groupings (1235 patterns, common patterns)
Chromaticism
Chord Substitution
Reharmonization Concepts (Chord Alteration, Sus4 b9, Turnarounds)
Lines Outlining Voicings
Compound Lines, Ostinato Lines
The Jazz School, Zurich, Switzerland,
University of Arkansas
Day of Percussion, Phoenix, Arizona
PASIC 2006, Austin, Texas
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Letter from Mark Carson ( Virginia/Washington Chapter VP of the Percussive Arts Society ) to John Wittman, Yamaha Corporation. “I am writing to thank you for the assistance you, Ms Kim Plant and Yamaha provided enabling the VA/DC PAS Chapter to present Yamaha clinician Ed Saindon at our Day of Percussion. Ed completely surpassed all my expectations. I am new to organizing this type of event and he was professional, patient, helpful and extremely flexible though the entire process. On the day of the event he overcame numerous travel challenges and jumped out of a cab and straight on stage. He correctly assessed the needs and level of knowledge of our membership, imparted essential information and played beautifully. I knew his playing from his CDs but I was simply blown away by his live performance. No vibist can coax so many textures from a vibe or improvise so tunefully. I am in awe of his abilities as a performer and educator. Yamaha is indeed fortunate to have Ed on their team and I cannot speak highly enough about his contribution to our Day of Percussion.”
From Josef Gumpinger, head of the Percussion Department at the Viennese Music Conservatory. "The masterclass in our school with Mr. Saindon was a great experience for all of the students and teachers. We were inspired by his excellent technique and engagement during the clinic. The clinic was a great success in every respect and we would like to invite Mr. Saindon to be back soon."
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Letter from Matthew Darling (President of California Chapter of Percussive Arts Society and Professor of Percussion at California State University in Fresno) Dear Ed, On behalf of the California State University, Fresno Department of Music and the California Chapter of the Percussive Arts Society, I would like to sincerely thank you for providing your wonderful talents to the 12th Annual Central California Day of Percussion. The day was a huge success! We had great attendance for the afternoon clinics and the evening concert. You are a consummate professional and your clinic contained relevant and valuable information. The ensembles that performed in the morning were very pleased with your comments and look forward to doing the event next year. Your performance on the evening concert was remarkable! Your musical ideas were fresh and original and from my view your mastery of the vibraphone is unparalleled – you are a rare talent and I would be honored to have you return to Fresno State soon. You and Steve (Houghton) complimented each other very well, and the success of the concert was evident in the enthusiastic audience response including the standing ovations! Thanks again for making our 12th Annual Central California Day of Percussion such a wonderful event. It was a great pleasure working with you. Take care and I look forward to working with you again! |
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Letter From Tim Peterman, Indiana State University to Selmer Industries “..I wanted to write to you concerning Ed Saindon, whom we had here at Indiana State University for two days (April 17 & 18) as a guest clinician and artist. The only thing I can say is….FANTASTIC!!!!! Ed came in Tuesday and gave some private lessons as well as on Wednesday. All the students really enjoyed him. He is an excellent teacher and everyone learned so much from him. He was also very inspiring (as evident by the students in the following days and weeks fighting for practice time on the vibes) The best thing about Ed’s clinics is that he is clear and precise in his explanations as well as following up on his ideas with examples. Everyone there came away understanding his concepts and ideas. Musser has done a very good job in picking Ed as a clinician. He is one of the best clinicians I have seen on any instrument”.
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Letter from Gary Cook, Professor of Percussion, Arizona State University “Ed was very gracious with his time and expertise. He helped out with some adjudication in the morning and his clinic/concert in the afternoon was terrific. He put together an excellent handout with some aspects of dampening and voicing and discussed them extremely well through their applications in a musical context with some tunes. He covered their applications in a musical context and then played up a storm! We were able to hire a good drummer and bassist to back him up and the concert was an excellent close to a full Day of Percussion. Since he flew in and out of Phoenix I did not get the chance to spend the time with him I would have liked, but maybe we can bring him back next year for a residency here at the University. We have a very active jazz residency program that I think would work out very well with him".
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From Ian Turnbull (Ontario, Canada Chapter President of the Percussive Arts Society) “….I felt Ed Saindon’s clinic was the outstanding event of the weekend and this was endorsed by all to whom I spoke”.
From Jeff Mozingo, President of Mozingo Music in Missouri “…We have had another outstanding clinic and concert. This time by vibist Ed Saindon. Our thanks go to Ed Saindon and the Selmer Company for making and evening of fantastic music possible”.
Letter form Thomas Siwe, University of Illinois to Ludwig/Musser “Many thanks to you and the Ludwig Company for providing the support that enabled Ed Saindon to visit our campus this past spring. Of all the performing artists and educators that have presented clinics here at Illinois, I have to rank Ed Saindon as one of the best. We hope he can return to Urbana in the near future”.
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From Rich Holly, President of PAS “PASIC was incredible! Of course, I’m biased since I’m the President of the Percussive Arts Society, but still it was incredible. Highlights for me included Ed Saindon, Airto, the banquet, Daniella Ganeva, the duo Due East, Keiko Abe, and seeing so many good friends and colleagues from all over the world.” |