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The Little Mermaid - Brian Kirk

Brian Kirk's percussion setup for The Little Mermaid at the 5th Avenue Theatre in Seattle, Washington.

Brian's write-up below photos.

Brian Kirk's percussion setup for The Little Mermaid at the 5th Avenue Theatre in Seattle, Washington.Brian Kirk's percussion setup for The Little Mermaid at the 5th Avenue Theatre in Seattle, Washington.Brian Kirk's percussion setup for The Little Mermaid at the 5th Avenue Theatre in Seattle, Washington.Brian Kirk's percussion setup for The Little Mermaid at the 5th Avenue Theatre in Seattle, Washington.Brian Kirk's percussion setup for The Little Mermaid at the 5th Avenue Theatre in Seattle, Washington.Brian Kirk's percussion setup for The Little Mermaid at the 5th Avenue Theatre in Seattle, Washington.Brian Kirk's percussion setup for The Little Mermaid at the 5th Avenue Theatre in Seattle, Washington.Brian Kirk's percussion setup for The Little Mermaid at the 5th Avenue Theatre in Seattle, Washington.Brian Kirk's percussion setup for The Little Mermaid at the 5th Avenue Theatre in Seattle, Washington.Brian Kirk's percussion setup for The Little Mermaid at the 5th Avenue Theatre in Seattle, Washington.Brian Kirk's percussion setup for The Little Mermaid at the 5th Avenue Theatre in Seattle, Washington.Brian Kirk's percussion setup for The Little Mermaid at the 5th Avenue Theatre in Seattle, Washington.Brian Kirk's percussion setup for The Little Mermaid at the 5th Avenue Theatre in Seattle, Washington.Brian Kirk's percussion setup for The Little Mermaid at the 5th Avenue Theatre in Seattle, Washington.Brian Kirk's percussion setup for The Little Mermaid at the 5th Avenue Theatre in Seattle, Washington.Brian Kirk's percussion setup for The Little Mermaid at the 5th Avenue Theatre in Seattle, Washington.Brian Kirk's percussion setup for The Little Mermaid at the 5th Avenue Theatre in Seattle, Washington.Brian Kirk's percussion setup for The Little Mermaid at the 5th Avenue Theatre in Seattle, Washington.Brian Kirk's percussion setup for The Little Mermaid at the 5th Avenue Theatre in Seattle, Washington.Brian Kirk's percussion setup for The Little Mermaid at the 5th Avenue Theatre in Seattle, Washington.Brian Kirk's percussion setup for The Little Mermaid at the 5th Avenue Theatre in Seattle, Washington.Brian Kirk's percussion setup for The Little Mermaid at the 5th Avenue Theatre in Seattle, Washington.Brian Kirk's percussion setup for The Little Mermaid at the 5th Avenue Theatre in Seattle, Washington.Brian Kirk's percussion setup for The Little Mermaid at the 5th Avenue Theatre in Seattle, Washington.

"The Little Mermaid opened at the 5th Ave Theatre on September 15th, after six preview performances. The percussion book lists sixteen instruments, membranophones, idiophones, triangles, bells, rattles, shakers, chimes, anvil, and piatti. A smorgasbord of percussion.

The anvil was provided to me by local Seattle percussionist Paul Hansen. It's a small brass instrument given to Paul by his Japanese friend. With its sharp high pitch sound, this little anvil cuts through for the 'Les Poisson' song, chopping the fish.

My bongos, tambourines, finger cymbal, woodblocks, and cowbell, belonged to the late Tony Gable, percussionist with Kenny G., they were donated to me by Tony's wife Gina. Such an honor bestowed upon me.

The wonderful bass drum belongs to Alec Wilmart (drummer for this production), who I consulted about instruments, setup, and general timpani tuning techniques.

The timpani tunings are the real challenge of The Little Mermaid. Changing pitches must be done by feel, that was my biggest challenge. Memorizing the mallet parts was also very necessary. Funny thing happened with the Piatti, I went for the big solo cymbal crashes on a couple of tunes and got an 'air pocket' sound. Brutal! The Conductor was cracking up. I wasn't. Went to woodshed the piatti, with the 'Wilmart' crash cymbal method, and fixed that problem pronto.

In the song 'Part Of Your World', and at the height of Diana Huey's (Ariel) vocal, I play a D flat timpani roll (Forte-piano) with a crescendo into a Forte quarter note. Diana holds the note to a crowd pleasing applause, and I get goose bumps every time.

One of the instruments of choice for my setup is The Miller Machine, which gives me the ability to play a triangle or finger cymbal with accurate precision. The Miller Machine facilitates rapid triangle sounds, including trills on the lever using mallets, and single notes with pinpoint accuracy. Love the Finger Cymbal Machine. Striking the lever provides the pure tone of the finger cymbal to sing in 'Poor Unfortunate Souls'.

Lastly, I love slamming the Tam Tam mallet into the Paiste gong! Very therapeutic."

The Little Mermaid - Regional - Brian Kirk
September 8, 2023 thru October 8, 2023

Brian Kirk's percussion setup for The Little Mermaid 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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