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Mary Poppins - Jason Degenhardt

Jason Degenhardt's combined book setup for Mary Poppins at the Topeka Civic Theatre in Topeka, Kansas.

Jason Degenhardt's combined book setup for Mary Poppins at the Topeka Civic Theatre in Topeka, Kansas.Jason Degenhardt's combined book setup for Mary Poppins at the Topeka Civic Theatre in Topeka, Kansas.Jason Degenhardt's combined book setup for Mary Poppins at the Topeka Civic Theatre in Topeka, Kansas.Jason Degenhardt's combined book setup for Mary Poppins at the Topeka Civic Theatre in Topeka, Kansas.Jason Degenhardt's combined book setup for Mary Poppins at the Topeka Civic Theatre in Topeka, Kansas.

“My Mary Poppins set up is a combination of the Percussion 2 drum set book, and as much of the mallets and toys I can sneak in from the Percussion 1 book. I took some cues from the original Broadway setup by placing the triangles and blocks centered above the snare and moving the cymbals and toms off to the right of the kit.

You'll notice my $1.00 pan to the left of the hi-hat. This is notated as 'Toy Drum' in the score, and this is my take on the metallic sound sought after by the composer. Thanks to Daniel Haskins (original percussionist with the Broadway production) for some insight here!

Here's a video of me playing my $1.00 ‘Toy Drum’."

Jason is a freelance drummer/percussionist in the Topeka, Kansas area where he also assists Derek Sharp in the building of TreeHouse Drums. He also has his own teaching practice called Studio 17 Percussion and is an Adjunct Music Professor at Washburn University in Topeka, Kansas.

Mary Poppins - Regional - Jason Degenhardt
February 2016

Jason Degenhardt's combined book setup for Mary Poppins at the Topeka Civic Theatre in Topeka, Kansas.

"Conducting a National Tour is incredibly challenging, but so rewarding. Stepping on to the podium with a new orchestra every few weeks really keeps you on your toes. Every player responds differently so you are constantly adjusting to get the desired result. I would compare it to playing a multi-percussion piece where the instruments are constantly moving."
"After a grueling four years at SUNY I still had one theory class left to finish. I was really depressed. A classmate of mine recommended me for a tour of a Broadway show. This completely changed the course of my life."
"When I first got the call to start working on Ain’t Too Proud - The Life And Times Of The Temptations, I was curious about which era the show was going to focus on. Their career began in the early 1960’s and they’re still releasing albums today."

Ron Grassi's drum set setup for Mean Girls at Archbishop Performing Arts, in Warminster, Pennsylvania.

"The main challenge that I found with this show was the very quick instrument and stick changes. Having a good pair of swizzle sticks is necessary to go from tambourine to timpani and sometimes rolls on the concert bass drum."
"The real impetus of this book is the timpani. It is definitely the driving force for the percussion inBack to the Future and it requires a big articulate sound and once again Yamaha with the Evans Orchestral White Opaque Heads just deliver."

Gene Krupa's drum solo from "Gene's Blues" from the album Gene Krupa and Buddy Rich released November 1955.

Steve Jordan's drum solo from the title track of the album Casa Loco.
Robbie Ameen's drum solo from the track "Spring Fling".

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