Comping Exercises and Beyond

“In order to develop the necessary technique to become mutually dependent within a group, one must develop a wide-variety of methods dealing with comping. Too often, drumset players take a one-dimensional approach to practicing comping and tend to play only the figures that they have taken directly from a text. In doing so, they are not getting the most out of their practice experience nor the book being studied.”

Gould, M., 2001, “Comping Exercises and Beyond,” Percussive Notes, Vol. 39, No. 2, April 2001, pg. 18-20.


 A Guide Toward Discovering Alternative Sounds and Techniques on Drumset

“Exploring unique sounds on drumset is not a new idea nor uncommon to either soloing or time playing. Since the evolution of the drumset from its military origins to what it has become today, drumset players have always been searching for new and innovative ways to create interesting sounds or techniques.”

Gould, M., 2000, “Alternate Sounds and Techniques on Drumset” Percussive Notes, Vol. 38, No. 2, April 2000, pg. 16-24.


Taiko Classification and Manufacturing

“The roots of taiko come from a long and diverse history of religion and war. With the many myths, outside influences, and vast history of taiko and its associated genres, it is very difficult to pinpoint its evolution and musical influences. This article focuses on classifying taiko and an explanation of the construction process.”

Gould, M., 1998, “Taiko Manufacturing and Classification” Percussive Notes, Vol. 36, No. 3, June 1998, pg.12-20.


Gozo Daiko

“In Japan, drums have been used for centuries in temples to help with Buddhists chants. They believed the sound of the drum was the voice of Buddha. They were used to motivate warriors into battle and in individual town festivals and weddings. Drums would even delineate town borders. Shintoists believe that drums have a Kami (spirit). In Shinto, when one uses a drum, one has the ability to talk to the spirits of animals, water and fire.”

Gould, M., 1996, “Gozo Daiko” Percussive Notes, Vol. 34, No. 2, April, 1996, pg. 41-46.


An Interview With David Hollinden

“As percussionists, we are always looking for new works that represent the cutting edge of our field. Composer David Hollinden fulfills these qualifications by bringing percussion composition into the twenty-first century.”

Gould, M., 1995, “An Interview with Composer David Hollinden” Percussive Notes, Vol. 33, No. 3, June, 1995, pg. 45-49.

All Songs Considered

“Last fall, Michael Gould gave his students an assignment unlike any they’d had before: compose, arrange, improvise, and record a ten- to thirty-second interlude for National Public Radio.”