Here’s a quick promotional video for the new Ultra ’90s Fresh lineup, featuring me on percussion:
Anyone who needs a musician who covers all sorts of genres should get in touch with Kit Marsden now!
I specialise in percussion (drumkit, orchestral percussion and a variety of ethnic percussion) and keyboards (piano, electric piano, Hammond organ, synths, etc.); I am available to hire for studio sessions and live work across the UK, or abroad. I also write and/or arrange music to commission and produce the tracks in my studio here in Norwich. In 2014 I released my first solo album, Bones From My Back, featuring sixteen original songs.
I also teach music, both privately, and in local schools and youth music projects – including working as a percussion tutor for Sistema In Norwich, and working with musical theatre students at Music Arts Project.
If you're interested in learning more about me, or in more information about my teaching, or performances, please navigate around the site using the links above.
Thank you for taking the time to look around my website - please don't hesitate to get in touch!
Here’s a quick promotional video for the new Ultra ’90s Fresh lineup, featuring me on percussion:
I’ll be playing at a variety of music festivals with Lucan Mills and his band this summer. The full details of all Lucan’s shows will be available on his website, but I will hope to see you at the festival appearances I am doing this year:
As always, you can keep track of everything that’s going on over at the Calendar page.
I was one of two keys players involved in making this record, which was done at 4D studios in Milton Keynes, and it’s been a very interesting and creative journey, working with Lucan and the rest of the band, to get the tracks to this stage.
The EP will also be available to buy – either digitally or as a physical copy – later this summer, so keep an eye out for more details.
I will also be playing various music festivals with Lucan and his band over summer this year, so I shall post a list of those dates as soon as they’re available, too.
I have thought about doing this for a while, now. I want to write a little bit about music exams, my approach to them as a music tutor, and why I feel they are a valuable part of music education.
There often seems to be something of a divide in the music world about grade exams. Plenty of people I know have criticised the system, saying that exams are unnecessary; I suppose this is true, insofar as it is possible to be an extremely good player without ever having taken an exam – then again, you could say it’s not strictly ‘necessary’ to insure your musical instruments either, but it’s still pretty useful!
Another major criticism I sometimes come across when talking about exam work is that the system is flawed because music – like all art – is inherently subjective, and so can’t truly be ‘judged’ by anyone else. Again, there is some truth in this; the various exam boards (I currently use Trinity, ABRSM and Rockschool) do an excellent job and ensuring their examiners adhere to very strict guidelines about judging performances, and ensuring a high level of consistency of marking across the board – but yes, despite this, there will always been an element of subjectivity.
It is not true, however, to say that this results in the exam system rewarding technical ability but not recognising musicianship or performance skills, and thus producing carbon-copy ‘robotic’ musicians who lack feeling in their playing. Of course, even if this were the case, grade exams would still be worth doing; technical proficiency is an essential part of being a competent musician, and encouraging those skills is a good thing – you can have all the feeling in the world, and if you don’t have the technical facility actually to realise it on your instrument, you’re stuffed! But there are, in fact, several reasons why I believe that taking grade exams does actually encourage better musicianship.
One good argument for taking exams is that they push you to work harder, progress faster, and be better. This is absolutely true, and something I have observed many times in my own teaching work – with the pressure of a performance on the horizon, an exam deadline to work for, students tend to practise harder, work better, and improve quicker. But the exams push you and challenge you in other ways, too…
Without the structure of grade exams, there is a tendency to stay in your nice, cosy ‘comfort zone’ – playing music that you know, music that you like, music that you’re familiar with. There’s nothing wrong with playing the music that you like, of course, but when you’re working from an exam syllabus you don’t necessarily get that choice – you end up being exposed to more different styles of music, to composers you might not have heard of before, to different ways of playing and different approaches to your instrument… How anyone can say that this doesn’t contribute to developing musicianship, sensitivity, and an all-round better understanding of music as a whole is baffling!
As well as learning and playing the set pieces – often in styles of music you might not otherwise have considered playing, and in doing so broadening your musical horizons considerably – the grade exams system helps you to develop as a musician in other ways. Learning scales may seem like a strictly technical exercise, designed to help fluency and technical ability on your instrument – but scales are so much more than that! A good knowledge of scales and arpeggios begets an understanding of key structures and harmonies – things which are the very building blocks of how music is put together – and enables a musician to play with more feeling. Musicianship, after all, is about understanding, rather than simply playing ‘by rote’.
The supporting tests, too, are designed to help develop all-round musical skill and understanding. Sight-reading, an essential skill for any serious musician, encourages quick-thinking appraisal of a piece of music; aural tests develop the musical ear; improvisation exercises stretch creativity and also knowledge and understanding of different styles and genres.
Not only that, but preparing for an exam isn’t just about learning your pieces to a high level. When I am entering students for their grade exams, I am always keen to stress that this is ‘a performance’ – playing in your exam is not about simply about how well you play, but how well you, as a musician, come across to the examiner.
A performance situation is very different from practising on your own at home – or just playing to your teacher in your lesson, or to your family, or your friends at school. It makes you think differently, and it makes you play differently. As well as simply being able to play, you have the responsibility to communicate this music, and what you’re trying to say with it, effectively to your audience. How many other opportunities are there for someone who’s only been learning their instrument for a year (or even less!) to experience this kind of performance scenario, and the challenges which go with it?
Finally, as I’ve mentioned, the examiners are highly trained professionals who rarely make mistakes – but in the end, yes, their comments are still subjective. Is that really such a bad thing, though?
If you believe, as I do, that the overall aim of music education is to prepare your students to survive in the real world of music (just as any education is designed to equip those being educated with the skills they will need out in ‘the real world’ – whatever and wherever that is!), it is important to get used to subjective comments about your playing. If exams have relatively little worth because of the inherently subjective nature of ‘judging’ an artistic performance, then so too do critics’ reviews of performances and new recorded releases in newspapers and on music blogs and websites. But such things are a reality for all musicians today, and there is no harm in students experiencing this also.
It is my belief – and something which I feel has been conclusively demonstrated in my eight years as a professional musician and music educator – that music exams are not just a great way to motivate students to work harder, practise more, progress quicker and feel a great sense of accomplishment which spurs them on to take on the next challenge, but also a fantastic tool to help develop all the aspects of being a musician; exposure to different styles, composers and techniques, experience of performing in front of a critical audience, overcoming nerves, gaining an understanding of the ‘building blocks’ of music, and honing essential musical skills.
I always enjoy playing drums on Ultra ’90s dance tribute gigs, and it’s great to see how successful and popular the show has become. I’m honoured to be involved in the expansion of the ‘Ultra 90s brand, and the opportunity to get this amazing, feel-good show out to even more people across the UK, with the creation of Ultra ’90s Fresh – a three-piece lineup of the show, featuring lead vocals, keys/synths and rap, and live percussion.
But the guys need your help to get ‘Fresh’ up-and-running, and to bring the ’90s dance nostalgia to where you are. There’s a KickStarter campaign running, but it only has a few hours left. If you are able to check out the campaign, see what it’s all about, and donate and share, please do!
As most people will know, I have been a proud ambassador for Carrera Drums since the start of 2011, and have been honoured to play their drums and be involved with the company for the past four years. Everywhere I go – on live shows and in recording studios – I get compliments on my Carrera gear from artists, from other musicians, and from engineers and producers.
Sadly, however, Carrera Drums is winding up in spring of this year, and will cease trading as of the end of March. This is the official announcement from the Carrera Drums website:
It is with the deepest sadness that we have to announce that Carrera Drums will stop trading as of the 31st March 2015.
Dave Carrera has fought serious health issues over the last 3 years which have now deteriorated to such a level that he has decided to focus on attempting to recover or stabilise his condition which, even with good extraction, a dusty workshop hinders.
We have all had fun making some fine instruments for some of the finest drummers active today and want to thank everyone for there support, kindness and love over the last 5+ years.
Any works currently in progress will be completed and shipped before end of March 2015 and customers have been notified.
We are also selling all tools,stock and items via our eBay page, search for Carrera Drums, but welcome direct emails to firstname.lastname@example.org with sensible offers for our drum shell making molds and tooling which if agreed to, must be collected by end of March 2015
Again, thank you to everyone who has helped us over the years and we wish you all every success in your futures.
The Carrera Drums Team
For my part, I am gutted to see Carrera Drums end in this way; their extraordinary attention to detail, high-quality craftsmanship and innovative way of thinking will be sorely missed in the UK drum building scene, and by the musicians who use and work with their products. Of course, the health of Dave Carrera – whom I am lucky to consider a friend – is the most important thing, and I fully respect his decision – which can’t have been at all easy – and the reasons for it. I will continue to use my Carrera Drums live and in the studio, and will be very proud to keep flying the flag for this amazing, ground-breaking company.
I am very proud to be able to present the first studio recording of the new Jamie Roe Band project. This is the first track off our EP, and it is called ‘Just A Man’.
I am playing organ and piano on this track, and singing backing vocals.
Stay tuned for more Jamie Roe Band music in the coming weeks and months, and check out the Calendar page to see when you can catch us live!