VIC FIRTH ARTISTS:   line upon line

Cullen Faulk, Adam Bedell, and Matthew Teodori

Formed in 2009, line upon line percussion is committed to seeking new ways for percussion instruments to advance contemporary music. To date, the ensemble has commissioned and premiered a dozen new works for percussion. In 2011, the Austin-based trio released a disc of commissioned, homegrown music and premiered their award-winning project, seeing times are not hidden, a site-specific work for custom chimes. April 2013 brought the North American premiere of Hugues Dufourt’s massive, evening-length masterpiece, Erewhon. The group self-presented a three-concert series in Austin for the first time during the 2013-14 season.

In 2013 and 2014, the trio was named "Best Ensemble" by the Austin Critics' Table and is currently part of the TCA Texas Touring Roster. The Austinist called line upon line “the premier new music percussion ensemble in Texas and the South” and the Austin American-Statesman considers the group “a riveting, always-surprising and delightful trio.”

line upon line maintains educational and outreach roles with the Austin Chamber Music Center and has performed and taught at numerous academic institutions around the United States and in England, Switzerland and Germany. November 2012 marked their first appearance at the Percussive Arts Society International Convention. The group has previously performed at the Fusebox Festival, SXSW, Fast Forward Austin, the Victoria Bach Festival and the International Festival-Institute at Round Top.

line upon line percussion uses Mapex drums, Remo drumheads, Sabian cymbals, Vic Firth sticks and Grover Pro Percussion accessories.


Orchestral Series Keyboard
Medium hard urethane. Dark and bold for xylophone and bells.
Head = 1 1/4" | L = 14 3/8"
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About the piece:

Percussion music embodies at once the most raw and primitive aspects of music as well as the most contemporary. An entirely new sound-world is revealed when pitch as it is usually conceived is removed from the musical equation. The heart of music – the shape of sound as it moves through time – is bared in percussion music as in few others. As music passes through time, it is refracted much as a beam of light is refracted as it passes through the glass of a prism. The same passage, heard at different times and in different times, may slowly unfold, reveal new aspects, make manifest parts once hidden and secret, and that which has already past and been fixed can itself be transformed by the shining of new light. In Prism of the Plural, the limited material offered by instruments is refracted through repetition, transformation, and increasingly fast tempi so as to reveal hidden aspects and open to a single listener various perspectives of a single piece, and within a single piece. Prism of the Plural is scored for three percussionists. Each has five drums and either five wood blocks and/or five metal bars. An assortment of crotales, cymbals, tam-tams, pipes and other metals complete the battery. Prism of the Plural was commissioned by Matthew Teodori and the Austin-based line upon line percussion group and was premiered by line upon line on 24 February 2009 at the University of Texas at Austin.

About the composer:

Known for his serious, demanding, and expressively penetrating music, composer Joshua William Mills has attracted the attention and respect of the musicians with whom he has worked. With a tendency towards the poetic, mystical, and intimate, he relishes closely working with small groups of dedicated performers or solo musicians. In addition to numerous other individuals, his works have been performed by the Interlochen Composers' Institute Chamber Players, the Houghton Symphonic Winds, the Peabody Opera Department, line upon line percussion group, the University of South Florida Percussion Ensemble, the Peabody Symphony Orchestra, and read by the Buffalo Philharmonic. He is currently a doctoral student at the Florida State University in Tallahassee, Florida, where he works with Ladislav Kubík.

Born in 1984 and raised amidst the peaceful farmlands of southern New Jersey, Joshua early demonstrated an aptitude for music, studying first piano and later clarinet. By the time he graduated from high school in 2003, he had played with the All New Jersey Wind Ensemble, the Garden State Pops Youth Orchestra, the All South Jersey Symphonic Band and Wind Ensemble, and the Rowan Youth Orchestra, in addition to private study in clarinet and piano and his key roles in his high school concert, marching, and jazz bands. Despite these things, his inclination towards composing his own music went largely unexplored until 2002 with the completion of his Sonata for clarinet and piano. Joshua performed the second movement of this work—a dynamic and rousing fugue—in May 2003 in Glassboro, New Jersey, on a concert with the Rowan Youth Orchestra, thus marking his official debut as a composer.

For Joshua's full bio, check out his website here


Our original. Designed for all-around rock‚ jazz and combo playing. With 16 dowels (.125").
L=16 3/8" | Handle thickness = .750"
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Orchestral Series Keyboard
Medium hard urethane. Dark and bold for xylophone and bells.
Head = 1 1/4" | L = 14 3/8"
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Tom Gauger -- Staccato
Medium head for a full but articulate sound
Head = 2 3/14" | L = 16 3/16"
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About the piece:

I. Be Prepared to Defend Yourself II. There are Thieves About III. A Man with a Gun Lives Here

Most prevalent during the Great Depression, hobos were nomads who roamed the United States taking work wherever they could. In their extensive travels, hobos learned to leave notes for each other, giving information about places to camp, where to find a meal, or dangers that lay ahead. This unique Hobo Code was known to the brotherhood of freight train riders and used by all to keep the community of traveling workers safe, fed and in work.

Life as a hobo was difficult and dangerous. These vagabonds developed their own secret pictographic language to help other hobos to food, water and work or to direct them away from dangerous situations. The Hobo Code is a fascinating system of symbols understood among the hobo community. Because hobos weren’t typically welcomed (and were often illiterate), messages left for others in the community had to be easy for hobos to read but look like little more than random markings to everyone else to maintain an element of secrecy. Scrawled in places where hobos were likely to convene, the purpose of the code was not only to help other hobos find what they needed, but to keep the entire lifestyle possible for everyone.

Each movement of this piece is based on one of these symbols and, just like those resourceful hobos, makes use of very limited materials. All activity is centered on a single bass drum. Other items utilized include steel plates, rubber balls, and a paper bag containing 3 lbs of loose buckshot.

About the composer:

Steven Snowden creates music for a diverse array of settings including theater, dance, film, multimedia installations, and the concert stage. He has focused much of his recent work on interdisciplinary collaboration and remains active as a performer in both acoustic and electronic mediums. Raised in rural Southwest Missouri, Snowden began composition studies in 2002, received his Masters degree in composition at the University of Colorado and DMA at the University of Texas at Austin. He is a co-founder/director of the Fast Forward Austin new music organization and his works have been performed by many outstanding ensembles at numerous festivals and concert series across five continents.

He has recently received awards and fellowships from the Aspen Music Festival, the Left Coast Chamber Ensemble, the Austin Critics’ Table, Copland House, ISCM World Music Days, Future Places Portugal, MACRO, IC 2013, The Mizzou New Music International Composers Festival and the ASCAP Morton Gould Awards among others. He was also the recipient of a 2012-2013 Fulbright Grant to Portugal in music composition/technology where he researched the augmentation of interactive motion tracking systems for use in large-scale interdisciplinary collaborations. He’s currently a visiting professor and composer in residence at the Hong Kong University of Science and Technology.


Matthew Teodori, Cullen Faulk, and Adam Bedell
with guest performers Timothy Briones, Andrew Fuhrman, and Eric Peterson

About the piece:

With Erewhon, Hugues Dufourt (b. Lyon, 1943) embarked upon a potent new form of expression, veering in an untried stylistic and conceptual direction, dramatically changing the treatment of musical parameters - i.e. temporality, space, form, energy and density.

Erewhon’s (1972-76) four movements encompass sound-noise concepts and examine acoustic volumes along with their scope for permutation. With a fresh approach to composition that is resolutely avant-garde, the composer besets formalism with jolts and fractures and creates explosive patches of contrast along with areas of intuitive or formal turbulence.

Instinctive, genetic or refractory reactions, zones of emergence, resurgence and persistence containing twisted, stretched and compressed outlines and layers produce a conflicting temporality. Dufourt's craftsmanship combines traditionally Western assets (a player’s routine gestures and traditional playing styles) with a determined drive for musical emancipation.

Orchestral Series Keyboard
Hard Lexan® with an added brass weight creates a full‚ pure and clear tone on bells and xylophone.
Head = 1 1/8" | L = 14 1/4"
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Orchestral Series Keyboard
Round brass head creates a bright sound.
Head = 5/8" | L = 14 1/8"
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Robert Van Sice Signature Keyboard
Medium soft. A general mallet that covers the lower four octaves of the marimba.
L = 17"
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For the latest information,



Adam Bedell

Adam Bedell is the current Instructor of Percussion at Texas Lutheran University

. He has performed with the Austin, Midland, Mid-Texas, Round Rock, Saginaw, Traverse City and Westshore Symphonies

. Bedell can be heard with the Grammy-nominated choir, Conspirare, on the Harmonia Mundi release, "A Company of Voices."

He holds a Master’s degree from The University of Texas at Austin and a Bachelor's degree from Central Michigan University having studied with Thomas Burritt, Tony Edwards, Jason Lewis and Andrew Spencer.

Matthew Teodori

Dr. Matthew Teodori currently teaches percussion at Southwestern University and Huston-Tillotson University. He has performed with the Austin Symphony, Buffalo Philharmonic, Conspirare, Mid-Texas Symphony, Southern Tier Symphony, Texas Choral Consort and the Victoria Bach Festival Orchestra.

Dr. Teodori received his Doctoral and Master's degrees from The University of Texas at Austin and his Bachelor's degree from Houghton College having studied with Thomas Burritt, Tony Edwards, Chip Ross and Jim Tiller.


Cullen Faulk

Cullen's playing career began in earnest while attending Victoria Memorial High School, where he was a member of the VMHS Percussion Ensemble under the direction of Phillip Mikula. While in this group, he performed at the 2003 Bands of America National Honor Band and Percussion Ensemble Convention (Indianapolis, IN) and the 2004 Percussive Arts Society International Convention (PASIC) in Nashville, TN. He then continued his studies at the University of Texas at Austin with professors Thomas Burritt and Tony Edwards, making a second appearance at PASIC in 2006 (Austin, TX) with the UT Percussion Ensemble.

Also an active freelance performer and teacher, Cullen has performed with various groups and artists including Tom Burritt, Michelle Schumann, the Cage Percussion Players (dir. Thad Anderson), as well as many rock and pop acts in Austin. As a teacher, he has taught both privately and in a classroom setting throughout Austin and South Texas at the middle and high school levels since 2005.

When not working with line upon line or teaching, Cullen is a member of the light-hearted but dedicated pop-rock group The Gorgeous Hands, writing and recording original music. The group released their debut full-length album in 2013.