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As an educator Alex has played a key role in the development and implementation of contemporary and world music styles in Australia. This has been wide ranging as he has been influential as a performer working in a variety of genres — rock, pop jazz, latin, folk, television, theatre, jingles, soundtracks, orchestral — as an instrumental teacher and also as an all round academic in his various roles at the Victorian College of the Arts. The Victorian College of the Arts which is affiliated with The University of Melbourne was established in 1974 with John Hopkins, the highly respected conductor and educationalist as its first Dean. The courses at the college are directed towards educating and training students to become top professional musicians in a performance oriented environment, and to promote the highest level of performance by students and staff in a range of concerts and recitals reflecting the school’s ethos and commitment to a broad range of musical styles and repertoire. The Bachelor of Music Performance course at the college is offered in three streams; Repertoire, Improvisation and Composition. The present Dean of the School of Music is the highly respected pianist, composer and educator Dr Tony Gould.
The Improvisation Stream at the School of Music was established by Brian Brown in 1981. It provides an opportunity for students to develop the art of improvisation in music, through a course which balances the development of high skill levels with the creative processes vital to improvised musics, whilst maintaining an awareness of the demands of an ever-changing profession. Alex graduated from the Victorian College of the Arts in 1983 receiving distinctions in performance and composition, he was a student there as part of the first intake of the Improvisation Department in 1981 — known then as the "Jazz Department". In 1984 after his graduation he was offered a position as a lecturer, in 1999 was Acting Head of the Department and in 2000 was appointed Head of the Improvisation Department. In this position he is instrumental in developing the many components of an ever evolving curriculum.
Alex has also played an integral role in the development of Latin percussion and Latin American styles in Australia. He has been a private teacher for more than twenty years, a member of the percussion faculty at Drumtek a private school which provides the best in drums and percussion tuition in Australia, has conducted masterclasses and workshops on a variety of topics throughout the country including presentations for Electric Factory and Meinl, the Victorian Rock Foundation, Piccolo Spoletto Festival, Future Music, Shepparton Arts Festival, Music Junction Blackburn, Drumtek, Royal Australian Air Force, The Boite, Bialik College, Chisholm College, Alandale College Tasmania, Collingwood and Greensborough College of Tafe and at the Adelaide Rock Shop. Alex is the percussion writer for Drumscene; the Australian drumming magazine, a correspondent for Drum! (USA) and has also written articles for Australian Musician, World Percussion & Rhythm (USA), Transition (Holland) and Jamm magazine. He is the author of Sight Reading: The Rhythm Book; a graded workbook for instrumentalists and vocalists designed to develop sight reading and rhythmical skills, distributed in Australia by Musictek and internationally by Mel Bay Publications Inc.
TOPICS - Areas of interest, expertise and vast teaching experience include: LATIN
AMERICAN PERCUSSION
ENSEMBLE LATIN
AMERICAN RHYTHMS
ON THE DRUM KIT ARRANGING AND COMPOSING FOR THE LATIN AMERICAN ENSEMBLE ARRANGING
AND COMPOSING FOR THE LATIN PERCUSSION ENSEMBLE LATIN AMERICAN PERCUSSION Objectives: Lessons focus on developing skills on percussion instruments found in Cuba, Puerto Rico, The Dominican Republic, Brazil, Peru, Argentina and Chile. Content: The student has the opportunity for an in-depth
practical
study of the technique and rhythmic repertoire as applied to congas, bongos,
timbales, maracas, chekere, güiro, güicharo, güira,
cowbell,
quijada, claves, quinto cajon, cuá, catá, bata, tambora,
pandereta, repinique, surdo, shaker, tamborim, pandeiro, agogo bells,
wooden
agogo, frigideira, cuica, afoxe, reco reco, cabasa, triangle, berimbau,
caxixi, samba whistles, cajon, cajita and bombo. The lessons also
incorporate areas such as transcription techniques, a study of
the
role of the various instruments in a percussion ensemble, the role of
the
various instruments in an ensemble rhythm section, historical
background,
and improvisation techniques and styles. LATIN AMERICAN PERCUSSION ENSEMBLE Objectives: The workshops focus on developing skills on percussion, ensemble rehearsal and performance, based on rhythmic repertoire from Cuba, Puerto Rico and Brazil. Content: Participants study Latin American rhythms,
learning hand
and stick drumming techniques on instruments such as congas, bongos,
timbales,
bata, chekere, bells, maracas, guiro, cata, cua, surdo, repenique,
cuica,
snare, tamborim, pandeiro, agogo, triangle, reco reco, cuica, berimbau
and ganza. The rhythms covered include among others; Samba,
Samba
De Roda, Guaguanco, Columbia, Conga Comparsa, Conga Santiago, Abakua,
Bembe,
Maracatu, Iyesa, Mambo, Cha Cha, Bolero, Bomba, Plena, Merengue and
Toque
Guiro. The workshops also give the opportunity for the
participants
to study the historical background, and develop advanced sectional and
solo improvisation skills. LATIN AMERICAN RHYTHMS ON THE DRUM KIT Objectives: The lessons focus on adapting traditional rhythms from Cuba, Puerto Rico, The Dominican Republic, Brazil, Peru, Argentina and Chile onto the drum kit. Content: The student has the opportunity for an in-depth
practical
study of the instruments and rhythms in their traditional settings,
including
the sounds and role of the various instruments in the percussion
ensemble,
the role of the various percussion instruments in an ensemble rhythm
section,
historical background, and improvisation styles. With the
background
covered, the student is then encouraged to develop diverse forms of
playing
the traditional rhythms on the drum kit. LATIN-JAZZ ENSEMBLE Objectives: The workshops focus on developing skills in ensemble rehearsal, performance and composition, on a style which incorporates African, Cuban, Puerto Rican, Brazilian and jazz influences. Content: Participants study essential repertoire, which
includes
among others "Afro Blue" by Mongo Santamaria, "Morning" by Clare
Fisher,
"Batucada (Paulo & Marcos Valle), "Linda Chicana" by Mark Levine,
and
"Philadelphia Mambo" by Tito Puente, as well as develop original
compositions
based on the styles covered. The workshops also give the
opportunity
for an in-depth practical study of the role of the various instruments
in the ensemble, the role of the rhythm section, comping and arranging
techniques, historical background, and improvisation styles. SALSA ENSEMBLE Objectives: The workshops focus on developing skills in ensemble rehearsal, performance and composition based on repertoire from Cuba, Puerto Rico, The Dominican Republic, and the USA. Content: Participants study essential repertoire which
includes
among others "Come Candela" by Mongo Santamaria, "Bomba De Corazon" by
Eddie Palmieri, "Juan Pachanga" by Ruben Blades & Louis Ramirez,
"Guarare"
by Juan Formell and "Oye Como Va" by Tito Puente, as well as develop
original
compositions based on the styles covered. The workshops also give
the opportunity for an in-depth practical study of the role of the
various
instruments in the ensemble, the role of the rhythm section, comping
and
arranging techniques, historical background, and improvisation styles. BRAZILIAN ENSEMBLE Objectives: The workshops focus on developing skills in ensemble rehearsal, performance and composition based on repertoire from Brazil. Content: Participants study essential repertoire which
includes
among others "Aquarela Do Brasil" by Ary Barroso, "Mas Que Nada" by
Jorge
Bem, "Stone Flower" by Antonio Carlos Jobim, "Promessa De Pescador" by
Dory Caymmi and "Corcovado" by Antonio Carlos Jobim, as well as develop
original compositions based on the styles covered. The workshops
also give the opportunity for an in-depth practical study of the role
of
the various instruments in the ensemble, the role of the rhythm
section,
comping and arranging techniques, historical background, and
improvisation
styles. ANDEAN ENSEMBLE Objectives: The workshops focus on developing skills in ensemble rehearsal, performance and composition based on repertoire from the Andean region of South America, incorporating Chilean, Bolivian, Argentinian, Peruvian and Afro-Peruvian styles. Content: Participants study essential repertoire which
includes
among others "La Partida" by Victor Jara, "La Peregrinacion" by Ariel
Ramirez,
"Todo Cambia" by Julio Numhauser, "La Flor Azul" by Mario Anedo Gallo
&
Arnen Villar, and "Cardo O Ceniza" by Chabuca Granda, as well as
develop
original compositions based on the styles covered. The workshops
also give the opportunity for an in-depth practical study of the role
of
the various instruments in the ensemble, the role of the rhythm
section,
comping and arranging techniques, and historical background. LATIN JAZZ ORCHESTRA Objectives: The workshops focus on developing skills in large ensemble rehearsal and performance, based on repertoire written for a thirty piece orchestra, in a style which incorporates African, Cuban, Puerto Rican, Brazilian and jazz influences. Content: Participants study repertoire written for large
ensemble,
including Tito Puente's own arrangements for his New York based
orchestra.
Some of these arrangements include "Para Los Rumberos", "Oye Como Va",
"Ran Kan Kan", "Ah Ha", "Picadillo", "Mambo Diablo", "El Rey Del
Timbal"
and "Fiesta A La King". The workshops also give the opportunity
for
the participants to develop advanced sectional and solo improvisational
skills. MALLET PERCUSSION Objectives: The lessons focus on developing skills on melodic percussion instruments. Content: The student has the opportunity for an in-depth
practical
study of playing mallet instruments such as vibraphone, marimba and
glockenspiel.
The lessons provide the student with a program to develop and improve
technique,
harmonic knowledge and sight reading skills, incorporating scales,
arpeggios and solo studies, as well as transcription techniques and
materials. MALLET PERCUSSION ENSEMBLE Objectives: The workshops focus on developing skills on melodic percussion, ensemble rehearsal and performance. Content: Participants have the opportunity for an
in-depth practical
study of playing mallet instruments such as vibraphone, marimba and
glockenspiel
in an ensemble context. The workshops provide materials to
develop
and improve technique, harmonic knowledge and sight reading skills,
incorporating scales,
arpeggios and solo studies. The ensemble's repertoire is
specifically arranged
for vibraphone, marimba and glockenspiel. Participants share all
the parts covered, developing fundamental skills in diverse areas of
these
instruments. Some of the repertoire covered include "Tune Up" by
Miles Davis, "Naima" by John Coltrane, "Soshana" by Mark Levine, "Canto
De Las Flores" by Tom Coster and "Children's Song" by Chick
Corea.
Participants are also encouraged to compose and arrange for the
ensemble. SIGHT READING RHYTHM Objectives: The lessons focus on developing skills in rhythmic ability and sight reading rhythm. Content: The student has the opportunity for an in-depth
practical
study of rhythm which is developed by counting, clapping and tapping,
incorporating
material from my book Sight Reading; The Rhythm
Book. The student is also encourage to develop some hand
and stick drumming technique. SIGHT READING RHYTHM CLASS Objectives: The workshops focus on developing skills in rhythmic ability and sight reading rhythm as part of an ensemble, as well as a solo voice. Content: Participants have the opportunity for an
in-depth practical
study on the basics of rhythmic language. Rhythm is developed
through
counting, clapping and tapping exercises, incorporating material from
my
book Sight Reading; The Rhythm Book. Selected
traditional
African and Latin American polyrhythms are also studied, and some hand
and stick drumming techniques developed. The workshops also
involve
dictation and transcription. ARRANGING AND COMPOSING FOR THE LATIN AMERICAN ENSEMBLE Objectives: The workshops focus on developing arranging and compositional skills in various Latin American musical styles. Content: Participants study essential repertoire, which
include
compositions from Cuba, Puerto Rico, The Dominican Republic,
Brazil,
Peru, Argentina and Chile. The workshops give the opportunity for
an in-depth practical study of the role of the various instruments in
the
ensemble, the role of the rhythm section, comping, arranging, and
compositional
techniques, historical background, and improvisation styles.
Participants
are then encourage to arrange and compose pieces based on the styles
covered. ARRANGING AND COMPOSING FOR THE LATIN PERCUSSION ENSEMBLE Objectives: The workshops focus on developing arranging and compositional skills in various Latin American percussion styles. Content: Participants study essential rhythmic
repertoire, which
include traditional rhythms from Cuba, Puerto Rico, The Dominican
Republic,
Brazil, Peru, Argentina and Chile. The workshops give the
opportunity
for an in-depth practical study of the role of the various instruments
in the percussion ensemble, the role of the percussion instruments in
an
ensemble rhythm section, hand and stick drumming techniques, historical
background, and improvisation styles. Participants are then
encourage
to arrange and compose percussion pieces based on the styles covered. ARRANGING AND COMPOSING FOR PERCUSSION Objectives: The workshops focus on developing arranging and compositional skills using a variety of percussion instruments from around the world. Content: Participants study sound and technique on a
variety of
percussion instruments, both rhythmic and melodic, as well as some
traditional
rhythms from various parts of the world. The workshops give the
opportunity
for an in-depth practical study of the role of the various instruments
in diverse musical areas, for experimenting in mixing sounds and
rhythms,
improvisation styles and historical background. Participants are
then encourage to arrange and compose pieces based on the material
covered. STUDIO PERCUSSION Objectives: The workshops focus on the art of the recording percussionist. Content: Participants study basic techniques on a
variety of percussion
instruments, as well as some traditional rhythms. The workshops
give
the opportunity for an in-depth practical study of the studio
recording,
layering and arranging techniques, listening, styles, understanding the
song map, the role of the various instruments, sight reading in the
studio,
the playback, and an analysis of recordings with percussionists 
Copyright © 1996-2003 Alex Pertout |
