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Ragtime - Paul Hansen

Paul Hansen’s setup for Ragtime at the 5th Avenue Theatre in Seattle, Washington.

Paul's write-up below photos.

Paul Hansen’s setup for Ragtime at the 5th Avenue Theatre in Seattle, Washington.Paul Hansen’s setup for Ragtime at the 5th Avenue Theatre in Seattle, Washington.Paul Hansen’s setup for Ragtime at the 5th Avenue Theatre in Seattle, Washington.Paul Hansen’s setup for Ragtime at the 5th Avenue Theatre in Seattle, Washington.Paul Hansen’s setup for Ragtime at the 5th Avenue Theatre in Seattle, Washington.Paul Hansen’s setup for Ragtime at the 5th Avenue Theatre in Seattle, Washington.Paul Hansen’s setup for Ragtime at the 5th Avenue Theatre in Seattle, Washington.Paul Hansen’s setup for Ragtime at the 5th Avenue Theatre in Seattle, Washington.Paul Hansen’s setup for Ragtime at the 5th Avenue Theatre in Seattle, Washington.Paul Hansen’s setup for Ragtime at the 5th Avenue Theatre in Seattle, Washington.Paul Hansen’s setup for Ragtime at the 5th Avenue Theatre in Seattle, Washington.Paul Hansen’s setup for Ragtime at the 5th Avenue Theatre in Seattle, Washington.Paul Hansen’s setup for Ragtime at the 5th Avenue Theatre in Seattle, Washington.Paul Hansen’s setup for Ragtime at the 5th Avenue Theatre in Seattle, Washington.Paul Hansen’s setup for Ragtime at the 5th Avenue Theatre in Seattle, Washington.Paul Hansen’s setup for Ragtime at the 5th Avenue Theatre in Seattle, Washington.Paul Hansen’s setup for Ragtime at the 5th Avenue Theatre in Seattle, Washington.Paul Hansen’s setup for Ragtime at the 5th Avenue Theatre in Seattle, Washington.

"Here's another new orchestration by Seattle favorite Bruce Monroe. As an adaptation of the original Bill Brohn orchestration for Peter Rothstein's 'chamber' production of Ragtime (cast of 15, orchestra of 15) we were able to keep most of the original percussion book intact.

Seen here are many of my usual stock effects - Remo Spoxe for the Ellis Island bell plates; alarm bell, chanchiki, and tubaphon pipes for Henry Ford's factory; vintage temple blocks and cowbells.

The angled mounting option on the new Grover Pro Miller Machine is a marvelous option for tight setups."

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Paul Hansen has been active as one of the top percussionists in Seattle's music and theater circles for 40 years, with over 150 musicals to his credit, including the World Premiere engagements of Hairspray, Shrek, Young Frankenstein, Catch Me If You Can, and A Christmas Story.

As a concert musician he performs regularly with the Seattle Symphony Orchestra, the Pacific Northwest Ballet, and Auburn Symphony, and is a proud member of the Harry Partch Ensemble, based in Seattle.

Paul also serves as Managing Editor for Sheet Music Now, and is co-founder of the Pacific Rims Percussion Quartet.

Paul is also an Innovative Percussion Artist.

Ragtime - Regional - Paul Hansen
October 2017

Paul Hansen’s setup for Ragtime at the 5th Avenue Theatre in Seattle, Washington.

"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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