Artists, Musicians, Writers, and Performers working together to build a Stronger Community through the Arts

Donate to the Wyoming Area Creative Arts Community on Give to the Max Day

The Wyoming Area Creative Arts Community (WACAC) was formed by an alliance of artists, musicians, performersphotographers, and writers, with a goal of enriching the quality of life in the Wyoming area by facilitating inspirational venues where regional, national, and international cultural activities can illuminate, educate, and entertain. 

Every month, WACAC introduces visitors to the arts, bringing new exhibits by local and regional artists and performances by Minnesota and Wisconsin musicians to the Hallberg Center for the Arts, in Wyoming, MN, 

This arts community is committed to celebrating the diversity of the Wyoming, MN area and surrounding communities by offering an array of affordable cultural opportunities and experiences designed to appeal and be accessible to all.

Working to fulfill it's mission, in 2015, the Wyoming Area Creative Arts Community (a 501(c)(3) non-profit, raised enough money to purchase the Spirit & Praise Pentecostal Church building and established the Hallberg Center for the Arts.  A place for artists young and old to learn and participate in the visual arts, music, literary and performing arts, and the culinary arts.  

Sunflower Solar panels

For full definition check out the link at https://www.behance.net/jeremyrain3f59
 

"Back in Time" Cymbal Series - Part 1: Hoop Mounted Cymbals

A series on cymbals and how they were incorporated in modern drum sets with host, Kelli Rae Tubbs. This series of history-rich videos discusses the transition of cymbals to their current-day use on the modern drum set, starting with the orchestral and ceremonial use of cymbals and the inventions and innovations that helped in the transition in the early 1800s, starting with counterhoop mounted brackets and, nearly a century later, hand-held wire cymbal beaters.

In the early 1800s, Italian composers, Gaspare Spontini and Giacchino Rossini, encouraged the use of cymbal mounting brackets in their compositions. French composer, Hector Berlioz, on the other hand, felt this practice was counter-productive and that it did not honor the quality of the music, saying it was only suitable for the accompaniment of "low brow" entertainment like sword swallowers and jugglers in his 1844 treatise on orchestration.

The use of bass-drum mounted cymbals ended in the orchestra setting, but lived in marching bands throughout America and Europe and perhaps in other places, too.

A modification to the mounting bracket which allowed the cymbal to change from its inverted position atop the bass drum to a position parallel the playing surface of the bass drum made performing on this combination easier. That improvement was aided by an innovation sold in the 1913 J. W. Pepper catalog called the "Eureka Cymbal Beater" with the main selling point that it would not "tire the arm." No wonder...stamped brass cymbals were heavy!

During an evolution in popular American music at a time before the invention of the bass drum pedal, snare drum stand, or the clanger, a style of performing called "double drumming" emerged. In double drumming, the snare drum rests on a chair and the bass drum is performed with regular drum sticks striking the bass drum head and a counterhoop-mounted cymbal, often simultaneously. In this way, one performer could effectively take on the role of bass drummer, crash cymbal player, and snare drummer, reducing the need for space, reducing the payroll, and making travel easier.

Part 2 uncovers another piece of the puzzle of how cymbals made their way from the orchestra to the rock band. The next video demonstrates the use of an overhang bass drum pedal with a device called a "clanger" and describes their role in the transition.


Kelli Rae Tubbs is a singing drummer and percussionist, as well as a bandleader specializing in 1920s jazz based Minnesota -- the Twin Cities to be more specific.

As a clinician/educator, she has delivered clinics covering the topics of keyboard percussion, improvisation, and the drumming techniques used in early American jazz.

She is a member of the Sabian Education Network and the D'Addario Education Collective and, in July 2016, was appointed to the Scholarly Research Committee of the Percussive Arts Society. She was a preliminary judge in the 2017 "Hit Like a Girl" drumming contest.

Kelli is a regular contributor to "Tom Tom Magazine" and is working to preserve our American musical heritage through the restoration of antique drums dating back to 1887 and also by grant projects which allow her to study classic American drumming styles with drummer, educator, and author, Daniel Glass, her co-author in the upcoming book entitled "The Postcard Project: A Snapshot of Drumming Life, 1900-1930" being released in 2017.

For more information about Kelli, her other projects, and upcoming clinics and appearances, visit www.KelliRaeTubbs.com.

 

by DENISE MARTIN of the Chisago County Press

4/11/2013

Kelli Rae Tubbs could plink out a tune on a piano when the top of her head wasn’t even level with the keyboard. By 8th grade she had moved to playing drums (her brother’s abandoned set) and was attending jazz camp for several years in a row at Shell Lake, Wisconsin. 

Forest Lake High School sent her out into the world and Kelli Rae then studied music performance in college; pretty clear in her mind that she did not want to be a music teacher, no, she wanted to entertain. Which she’s been doing ever since...five years with the country band Colt .45 and more recently with the larger swing and jazz band Swing and a Miss. “It was time to bring swing back,” she said. Tubbs was well-prepared for putting together this swing band of accomplished musicians. She has been amassing a swing/jazz era music collection for a long time. 

She visits estate sales where she might be lucky enough to unearth the wisdom of a departed musician scribbled on a page of sheet music. Or, maybe a new way of looking at arrangements and interpreting the tune. She visits music lending libraries. She buys music at antique stores. “I can imagine all the people who have danced to a special song...the places the musicians have played the song... I can feel that somebody cared,” she says of her inspiration from printed musical ephemera. For you non-musicians an apt comparison might be cracking open a vintage cookbook, seeing the handwriting in the recipe margins and those recollections of when you savored a signature dish or helped in the kitchen. Tubbs has a business card that states simply-- drummer/band leader. Her “other” card would say energy management analyst, which is her day job working for Trane. The job blends well with her band commitments, it’s very flexible hours. Mostly she does comparative analysis of clients’ before-and-after energy expenses. Tubbs kind of chuckles whenever people ask what kind of a degree did you have to get for that? 

Music performance in a weird way helped refine her considerable math skills, she explains. There’s a lot of similarities between music and mathematics. Tubbs is honored to be able to play music all over the United States, from Mardi Gras parades to private gigs, sharing billing with major and not so major players. The musician community is full of great people. “It’s an adventure all the time,” she adds. 

Swing and a Miss has evolved together extremely well and Tubbs is excited to see lots of people at an upcoming local event, at Chisago City Community Center, April 28. Swing concerts could become a monthly event, depending how this goes. To hear the band check the website www.Swing-and-a-Miss.com Tubbs chose the community center because it has a big wood dance floor. There’ll be at least two dance instructors on hand during the April 28 show, to teach you fox trot and East Coast swing steps. It could be a good way to get some basic moves down for that summer wedding you’ve been dreading. One final word There is something classic and poignant about swing and jazz as America’s musical backdrop during some of the nation’s troubling time periods. 

Tubbs has a favorite memory of watching the 1943 Stage Door Canteen, a movie with a massive cast of popular performers doing a show, within the movie. There’s a scene featuring the song in the movie “Why Don’t You Do Right?” She says, Benny Goodman, big band legend, is cradling his clarinet in his arm and moving his body to the vocal part. “The scene is just so cool,” Tubbs says. The young vocalist was Peggy Lee. Seriously, who wouldn’t want to be a part of bringing that era back?