Ed Saindon is available for clinics, concerts and residencies on vibes, marimba, piano and drums. He is also available for clinics (open to all instrumentalists) on jazz improvisation, theory, harmony and ensemble performance. Clinics and residencies are co-sponsored by Yamaha and Vic Firth. To inquire about rates and availability on specific dates, please contact Ed on the contact page.

Vibe Clinic for Marimbists

Clinic for marimbists which focuses on vibraphone pedaling, dampening, four mallet grip as well as four mallet techniques as applied to compositions from the piano, guitar and violin repertoire. The clinic addresses topics of how to develop a sound, nuance and touch on the vibraphone. Exercises covering various aspects of the development of four mallet technique are given. No experience with jazz improvisation is necessary.

Grip Basics
  • The "Fulcrum" Grip
  • Wrist and finger action
  • Rotation
  • Upstrokes, Downstrokes
  • On the beat vs. Syncopated Pedaling
Dampening Techniques
  • Two Hand Dampening Techniques
  • One Hand Dampening Techniques
Sticking Concepts
  • Alternate vs. Combination Stickings
  • Sticking Concepts
  • Scale Stickings
4 Mallet Techniques and Exercises
  • Octaves in right hand
  • Octaves played by both hands
  • Diminished exercise
  • Double Stops
  • Arpeggios using 4 mallets
  • Diatonic 7ths played by 4 mallets
  • Single hand lines
  • Friedman Etude
  • Develop Sight Reading
  • Bach Sonatas and Partitas
  • Etude in C
  • Bach Chorale
  • Brazilian Compositions
Vibe Clinic for Vibists

This clinic focuses on the application of four mallet techniques as applied in Jazz, Rock and Latin styles. Compositions from Mainstream Jazz, Blues, Contemporary Jazz and Brazilian repertoire are used to illustrate the many four mallet concepts and techniques that can be applied in a solo and group context. Solo playing is covered in depth as well as comping concepts.

Technical Basics
  • Grip
  • Pedaling
  • Dampening
  • Sticking Concepts
  • 4 Mallet Techniques and Exercises
Various Musical Styles
  • Blues
  • Rhythm Changes
  • Standards
  • Brazilian
  • Contemporary
  • Rock
Solo Playing
  • Dual Function Left Hand
  • Left Hand Comping Techniques
  • Stride and “Freddie Green” Style
  • Breaking up the 8th notes
  • Contrapuntal Techniques
  • Bass Lines
  • Left Hand “Jabs”
  • Lines Outlining Voicings
  • Dampening Techniques
  • Closed, Open Voicings
  • Clusters
  • Voicing in the Texture
  • Constant Structure
  • Chromatic Approach
  • Pentatonic Voicings
  • Stacking
  • Upper Structue Triads
  • Inner Moving Voices
  • Intervallic Voicings
  • Stylistic Voicings (Blues, Funk, Rock, etc.)
  • Latin Techniques with Guide Tones
Jazz Theory and Improvisation

This clinic is open to all instrumentalists and covers topics related to improvisation and jazz theory/harmony. The clinic covers basic improvisational concepts such as chromatic and diatonic approach, tension resolution concepts and chord tone soloing. More advanced concepts such as vertical/horizontal improvisation, upper structure triads and intervallic playing are covered depending upon the level of the clinic participants.

  • Tensions
  • Chord Scales
  • Harmonic Principles
  • Harmonic Analysis
  • Chord Scale Analysis

General Concepts
  • Rhythmic and Melodic Embellishment
  • Phrasing (Contrasting Phrases, Varied Phrase Lengths, Space)
  • Articulation
  • Dynamics
  • Nuance
  • Stylistic Compatibility
  • Group Interaction
Rhythmic Concepts
  • Time Feel
  • Rhythmic Variety
  • Syncopation within 8ths
  • Triplets and 16th note Rhythms
  • Over The Bar Line Phrasing
  • Superimposition
  • Groupings
Improvisational Concepts
  • Linear vs. Vertical, Chord Scales vs. Chordal Approach
  • Tonal Centers
  • Chord Tone Soloing, Guide Tone Lines
  • Angularity (Octave Displacement)
  • Chromatic and Diatonic Approach
  • BeBop Scales
  • Lick Playing
  • Tension Resolution Concepts
  • Intervallic Playing
  • Pentatonics (Major and Altered Pentatonics)
  • Symmetrical Diminished Scale Patterns
  • Augmented Scale
  • Upper Structure Triads, 7ths
  • Triad Pairs
  • Coltrane’s 3 Tonic System
  • Chordal Superimposition
  • Motivic Playing
  • 4 Note Groupings (1235 patterns, common patterns)
  • Chromaticism
  • Chord Substitution
  • Reharmonization Concepts (Chord Alteration, Sus4 b9, Turnarounds)
  • Lines Outlining Voicings
  • Compound Lines, Ostinato Lines
Past Ed Saindon Clinic Appearances
Viennese Music Conservatory, Vienna, AustriaSouza de Lima School in Sao Paulo, Brazil
University of Pesaro, ItalyThe Jazz School, Zurich, Switzerland
Saint Angelo in Vado, ItalyTokyo Music Conservatory, Tokyo, Japan
Humber College, London, OntarioUniversity of New Hampshire
University of Texas, Arlington, TexasNorth Texas State University, Denton, Texas
University of Akron, OhioUniversity of South Florida, Tampa, Florida
Maine Day of Percussion, University of Southern MaineOhio State University, Columbus, Ohio
University of North DakotaUniversity of Arkansas
New Jersey Day of Percussion, Glassboro, New JerseyUniversity of Illinois, Urbana, Illinois
Mozingo Music, St. Louis, MissouriPAS International Convention, Knoxville, Tennessee
University of the Pacific, Conservatory of Music, CaliforniaIndiana State University, Terre Haute, Indiana
International Flute Convention, Manchester, EnglandSan Jose State University, California
The Jazz School, Berkeley, CaliforniaUniversity of Arizona
Fresno Day of Percussion, Fresno, CaliforniaThe Carmel Music Center, Carmel, California
Massachusettes Day of Percussion, Boston, MAPAS International Day of Percussion, Washington, DC
Virginia Day of Percussion, Arlington, VirginiaPAS International Convention, Dallas, Texas
PASIC 2006, Austin, TexasDay of Percussion, Phoenix, Arizona
Roosevelt University, Chicago, IllinoisPAS Day of Percussion, Ogden, Utah
Northern Illinois University, DeKalb, IllinoisMunich Music Conservatory, Munich Germany
PAS Day of Percussion, Missoula Montana
Clinic Responses
Letter from Mark Carson ( Virginia/Washington Chapter VP of the Percussive Arts Society ) to John Wittman, Yamaha Corporation.

“I am writing to thank you for the assistance you, Ms Kim Plant and Yamaha provided enabling the VA/DC PAS Chapter to present Yamaha clinician Ed Saindon at our Day of Percussion.

Ed completely surpassed all my expectations. I am new to organizing this type of event and he was professional, patient, helpful and extremely flexible though the entire process. On the day of the event he overcame numerous travel challenges and jumped out of a cab and straight on stage. He correctly assessed the needs and level of knowledge of our membership, imparted essential information and played beautifully. I knew his playing from his CDs but I was simply blown away by his live performance. No vibist can coax so many textures from a vibe or improvise so tunefully. I am in awe of his abilities as a performer and educator.

Yamaha is indeed fortunate to have Ed on their team and I cannot speak highly enough about his contribution to our Day of Percussion.”

Letter from Matthew Darling (President of California Chapter of Percussive Arts Society and Professor of Percussion at California State University in Fresno)

Dear Ed,

On behalf of the California State University, Fresno Department of Music and the California Chapter of the Percussive Arts Society, I would like to sincerely thank you for providing your wonderful talents to the 12th Annual Central California Day of Percussion.

The day was a huge success! We had great attendance for the afternoon clinics and the evening concert. You are a consummate professional and your clinic contained relevant and valuable information. The ensembles that performed in the morning were very pleased with your comments and look forward to doing the event next year. Your performance on the evening concert was remarkable! Your musical ideas were fresh and original and from my view your mastery of the vibraphone is unparalleled – you are a rare talent and I would be honored to have you return to Fresno State soon. You and Steve (Houghton) complimented each other very well, and the success of the concert was evident in the enthusiastic audience response including the standing ovations!

Thanks again for making our 12th Annual Central California Day of Percussion such a wonderful event. It was a great pleasure working with you. Take care and I look forward to working with you again!

From Josef Gumpinger, head of the Percussion Department at the Viennese Music Conservatory.

"The masterclass in our school with Mr. Saindon was a great experience for all of the students and teachers. We were inspired by his excellent technique and engagement during the clinic. The clinic was a great success in every respect and we would like to invite Mr. Saindon to be back soon."

Letter from Don Keipp, host of PAS Day of Percussion for the Utah State Chapter, to Neil Larrivee at Vic Firth:

Hi Neil,

Thank you so much for supporting our Utah Day of Percussion last Saturday. Everything went off without a hitch and the guest artists were a joy to work with. Over 100 mailings went out to the soloists alone. Seven junior high and eleven high school ensembles performed.

Ed Saindon was a pleasure to work with. His talents fit in perfectly with the music we picked, and he performed admirably. His sessions were well attended and informational. The jazz band enjoyed playing with him at the end of the event. Thanks to you and Vic Firth for giving us the support to have him at this year’s event.

Letter From Tim Peterman, Indiana State University to Selmer Industries

“..I wanted to write to you concerning Ed Saindon, whom we had here at Indiana State University for two days (April 17 & 18) as a guest clinician and artist. The only thing I can say is….FANTASTIC!!!!! Ed came in Tuesday and gave some private lessons as well as on Wednesday. All the students really enjoyed him. He is an excellent teacher and everyone learned so much from him. He was also very inspiring (as evident by the students in the following days and weeks fighting for practice time on the vibes)

The best thing about Ed’s clinics is that he is clear and precise in his explanations as well as following up on his ideas with examples. Everyone there came away understanding his concepts and ideas. Musser has done a very good job in picking Ed as a clinician. He is one of the best clinicians I have seen on any instrument”.

Letter from Gary Cook, Professor of Percussion, Arizona State University

“Ed was very gracious with his time and expertise. He helped out with some adjudication in the morning and his clinic/concert in the afternoon was terrific. He put together an excellent handout with some aspects of dampening and voicing and discussed them extremely well through their applications in a musical context with some tunes. He covered their applications in a musical context and then played up a storm! We were able to hire a good drummer and bassist to back him up and the concert was an excellent close to a full Day of Percussion. Since he flew in and out of Phoenix I did not get the chance to spend the time with him I would have liked, but maybe we can bring him back next year for a residency here at the University. We have a very active jazz residency program that I think would work out very well with him".

From Ian Turnbull (Ontario, Canada Chapter President of the Percussive Arts Society)

“….I felt Ed Saindon’s clinic was the outstanding event of the weekend and this was endorsed by all to whom I spoke”.

From Jeff Mozingo, President of Mozingo Music in Missouri

“…We have had another outstanding clinic and concert. This time by vibist Ed Saindon. Our thanks go to Ed Saindon and the Selmer Company for making and evening of fantastic music possible”.

Letter form Thomas Siwe, University of Illinois to Ludwig/Musser

“Many thanks to you and the Ludwig Company for providing the support that enabled Ed Saindon to visit our campus this past spring. Of all the performing artists and educators that have presented clinics here at Illinois, I have to rank Ed Saindon as one of the best. We hope he can return to Urbana in the near future”.

From Rich Holly, President of PAS

“PASIC was incredible! Of course, I’m biased since I’m the President of the Percussive Arts Society, but still it was incredible. Highlights for me included Ed Saindon, Airto, the banquet, Daniella Ganeva, the duo Due East, Keiko Abe, and seeing so many good friends and colleagues from all over the world.”

Rich Holly, Dean of the College of Visual and Performing Arts at Northern Illinois University

Today we were fortunate to have the amazing Ed Saindon as a guest artist on the NIU campus. Ed presented a jazz improvisation workshop in the afternoon, and performed this evening at one of our local music venues, The House Cafe. Performing with Ed this evening was my colleague Rodrigo Villanueva on drums, our fantastic alum Doug Stone on tenor and soprano saxes, and another fabulous alum on bass, John Tate.

Ed's been one of my favorite vibraphonists since I first heard him play, sometime in the early 1980's I think it was. I met Ed for the first time in 1990, and the past couple of years we've been in touch more. He is a warm, genuine human being who happens to be an absolutely incredible musician. Immediately following one of his solos tonight, before any clapping could start, one of the audience members yelled "WOW!" I'm pretty sure that sums up how everyone in the audience was feeling about Ed's playing. It was so great to see Ed and to hear him play again. I hope you get the chance to see and hear him, too.