An international media artist and composer, S. Peña Young has premiered her works at Tampa's Hispanic Heritage Festival, the Australasian Computer Music Conference (Australia), the Cinema for Peace (Turkey), Electrolune (France), Voices on the Edge (China, Europe, USA), Art Basil Miami, the International Computer Music Conference, the SEAMUS National Conference, the IAWM International Congress, the Pulsefield International Exhibition of Sound Art, Primera en La Habana X (Cuba), and numerous festivals throughout the United States. The Florida Orchestra, USF Symphonic Band, KSU Percussion Ensemble, and FIU New Music Ensemble are among the talented ensembles that have premiered Peña Young's works. Her film music credits include "The War" (finalist in Miramax's Greenlight Competition) and "Voices of the Churen," screened at the NY Independent Film Festival. She holds an M.M. in Music Technology from Florida International University and a B.M. in Music Composition from the University of South Florida.
When composing for percussion, it is important to know the difference between a variety of mallets. Although in most cases the percussionist will choose the proper mallets for the passage, sometimes as a composer, you want a particular sound. It is always good to research a mallet before indicating it in your score. Consult a percussion catalogue for a more in-depth look at the hundreds of mallets available. 1. YARN MALLETS They come in every dynamic range from supersoft baseball-sized to forte. They are the multi-purpose mallet, used for toms, suspended cymbal rolls, marimba, xylophone, woodblock, and pretty much anytime a percussionist doesn't have time to pick up another mallet. 2. CORD MALLETS These are harder than the yarn mallets. More effective on xylophone and vibes, these mallets can also be used for a variety of percussion instruments. 3. BRASS MALLETS These are for use on the glockenspiel/bells and the occasional brake drum. They produce a more "tinny" kind of ...
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