Teaching Percussion [3 ed.] 1337560715, 9781337560719

Table of contents :
Cover
Brief Contents
Detailed Contents
Video Tracks
Preface
Introduction
About the Author
Chapter 1: General Considerations and Prerequisites
Percussion Performance and Education
Organizing the Beginning Percussion Program
Organizing the Percussion Section
Percussion Method Books
Notes
Chapter 2: Basic Percussion Technique through the Study of the Snare Drum
Historical Origins
The Snare Drum
Tom Tom, Field Drum, Tenor Drum, and Roto-Toms
The Attitude toward Percussion Performance and Education
Matched and Traditional Grip
Instrument Height and Stance
A Concept of the Grip and Stroke
Basic Drumming Technique
Sticking Policies
Phrasing
The Strokes
Individual Snare Drum Methods and Supplemental Studies
Notes
Chapter 3: Multiple Percussion
History and Definitions
Notational Systems
Additional Considerations
Multiple-Percussion Studies and Solos
Chapter 4: Keyboard Percussion
Origins and Classifications
Instrument Characteristics
Keyboard Percussion Technique
Expression and Phrasing on Keyboard Percussion Instruments
Multiple Mallets
Multiple-Mallet Keyboard Percussion Technique
Vibraphone Technique
Individual Keyboard Methods and Supplemental Studies
Notes
Chapter 5: Timpani
Historical Origins
Performance Considerations
Developing the Timpanist
Instruments and Mallets
Timpani Technique
Individual Timpani Methods and Supplemental Studies
Notes
Chapter 6: Bass Drum, Cymbals, and Accessories
The Bass Drum
Cymbals
Triangle
Tambourine
Gongs and Tam Tams
Castanets
Wood Blocks
Temple Blocks
Less Common Instrumental Accessories
Methods and Studies for Bass Drum, Cymbals, and Accessories
Notes
Chapter 7: Percussion Instruments of the World
African Influences and Styles
Afro-Cuban Influences and Styles
Brazilian Influences and Styles
Hand Drums of the World
Steel Drums
Percussion of the World: Methods and Study Materials
Chapter 8: Drum Set
Origins and Evolution
Instruments
Electronic Percussion and Technology in Education
Concepts for Drum Set Study and Performance
Performance Techniques
Drum Set Methods, DVDs, Videos, and Supplemental Studies
Notes
Chapter 9: Marching Percussion
History and Evolution
Developing the Contemporary Marching Percussion Section
Instruments and Equipment
Training the Marching Percussionist
Rudimental Drumming
Scoring and Arranging for Marching Percussion
Field Placement and Projection
The Challenge
Marching Percussion Arrangements for the Methods Class
Marching Percussion Methods and Materials
Notes
Chapter 10: Musical Interpretation of Percussion Parts
Interpretive Commentary on the Percussion Writing In Gustav Holst's First Suite in E for Military Band
Notes
Chapter 11: Supplemental Playing Exercises
Basic Stroke Combinations
Buzz Comparisons
Tied Rolls
Nontied Rolls
Double Stroke and Rebound Control
Finger Control Exercises
Sticking Policy Exercises
Keyboard Exercises
Supplemental Percussion Ensemble African Creation by Dr. Jeannine Remy
Appendix A: Orchestral Excerpts for Percussion and Discography of Percussion Music
Appendix B: Select Percussion Solo and Ensemble Music
Glossary of Foreign Terms
Bibliography
Index

Citation preview

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203

Teaching Percussion with Videos

E n h a n c ed

T h i r d

E d i t i o n

Gary D. Cook

Professor Emeritus—University of Arizona Artist in Residence—University of Nevada, Las Vegas

Australia ● Brazil ● Mexico ● Singapore ● United Kingdom ● United States

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

This is an electronic version of the print textbook. Due to electronic rights restrictions, some third party content may be suppressed. Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. The publisher reserves the right to remove content from this title at any time if subsequent rights restrictions require it. For valuable information on pricing, previous editions, changes to current editions, and alternate formats, please visit www.cengage.com/highered to search by ISBN#, author, title, or keyword for materials in your areas of interest. Important Notice: Media content referenced within the product description or the product text may not be available in the eBook version.

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

Teaching Percussion with Videos, Enhanced Third Edition

© 2019, 2006, 1998 Cengage Learning, Inc.

Gary D. Cook

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Cengage 20 Channel Center Street Boston, MA 02210 USA Cengage is a leading provider of customized learning solutions with employees residing in nearly 40 different countries and sales in more than 125 countries around the world. Find your local representative at www.cengage.com. Cengage products are represented in Canada by Nelson Education, Ltd. To learn more about Cengage platforms and services, visit www.cengage.com. To register or access your online learning solution or purchase materials for your course, visit www.cengagebrain.com.

Printed in the United States of America Print Number: 01   Print Year: 2017

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

b r ie f

c o ntent s

CONTENTS v VIDEO TRACKS  xii PREFACE xiii INTRODUCTION xix About the Author xxxi



General Considerations and Prerequisites  1



Basic Percussion Technique Through the Study of the Snare Drum  24



Multiple Percussion  79

CH APTER 4



Keyboard Percussion  93

CH APTER 5



Timpani  157



Bass Drum, Cymbals, and Accessories  215



Percussion Instruments of the World  253



Drum Set  294



Marching Percussion  329

CH APTER 1

CH APTER 2

CH APTER 3

CH APTER 6 CH APTER 7

CH APTER 8 CH APTER 9

CH APTER 10 CH APTER 11

Musical Interpretation of Percussion Parts  425



Supplemental Playing Exercises  454

APPENDIX A

Orchestral Excerpts for Percussion and Discography of Percussion Music  471

APPENDIX B

Select Percussion Solo and Ensemble Music  481 Glossary of Foreign Terms  507 Bibliography 510 Index 514

iii Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

det a i l ed

c o ntent s

VIDEO TRACKS  xii PREFACE xiii INTRODUCTION xix About the Author xxxi

CH APTER 1



General Considerations and Prerequisites  1 Percussion Performance and Education  2 General Considerations  2 Classification of Instruments  2 Tone Production on Percussion Instruments  5 Notation Systems for Percussion  7 Interpretation of Notation  8 Organizing the Beginning Percussion Program  10 Selecting the Percussion Student  11 Training the Beginning Percussionist  12 Organizing the Percussion Section  13 Recommended Percussion Instrumentation  14 Recommended Sticks and Mallets  16 Instrument and Percussionist Assignments  16 Location of the Percussion Section in the Ensemble  17 Percussion Instrument Substitution  17 General Maintenance and Head Replacement  18 Motivating the Percussionist  19 Percussion Method Books  20 Individual Instrument Methods  20 Combined Percussion Methods  20 Percussion Ensemble Collections  20 General Guides to Percussion  21 Percussive Arts Society  23 Notes 23

CH APTER 2



Basic Percussion Technique Through the Study of the Snare Drum  24 Historical Origins  24 The Snare Drum  25 Construction  25 Care and Maintenance  27 Tuning  28 Stands  29 Sticks  29 Playing Areas  30 Tom Tom, Field Drum, Tenor Drum, and Roto-Toms  31

v Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

vi

D e t aile d Co n t e n ts

The Attitude Toward Percussion Performance and Education  33 Matched and Traditional Grip  35 Instrument Height and Stance  36 A Concept of the Grip and Stroke  37 The Pivot Point or Fulcrum  38 The Grip  38 The Basic Percussion Stroke  39 Basic Drumming Technique  44 Rebounds, Doubles, and Rolls  45 Roll Interpretation  51 The Stroke-and-a-Bounce and Finger Stroke Control  57 Accent Studies  61 Grace Note Figures (Flams and Drags/Ruffs)  62 Special Effects—Rim and Stick Shots and Others  66 Sticking Policies  66 Phrasing 70 The Strokes  71 Individual Snare Drum Methods and Supplemental Studies  73 Major Applied Methods  73 Supplemental Studies  74 Snare Drum Technique  75 Selected Solos  76 Notes 78 CHA PTER 3



Multiple Percussion  79 History and Definitions  79 Notational Systems  80 Additional Considerations  86 Multiple-Percussion Studies and Solos  89 Methods and Solo Collections  89 Selected Solos  89

CHA PTER 4



Keyboard Percussion  93 Origins and Classifications  93 Instrument Characteristics  94 Xylophone  94 Marimba  95 Vibraphone (Vibraharp or Vibe)  97 Glockenspiel or Concert Bells  99 Marching Bell Lyre  101 Chimes  101 Crotales  103 Celesta  104 Unique Instruments  105 Mallets  106 Keyboard Percussion Technique  107 The Grip  107 Playing Areas on the Bars  109 The Approach  110 The Stroke  110 The Full Stroke Technique  111 The Touch-Lift Stroke  114 The Sustained Tone or Roll  116

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

D et a i l ed C o nt ent s



Special Effects  118 Keyboard Percussion Reading  119 Expression and Phrasing On Keyboard Percussion Instruments  125 Multiple Mallets  127 The Traditional Cross-Grip  128 The Musser (Stevens) Grip  130 The Burton Grip  132 Multiple-Mallet Keyboard Percussion Technique  133 Vibraphone Technique  143 Individual Keyboard Methods and Supplemental Studies  146 Major Applied Methods  146 Supplemental Studies  147 Vibraphone Methods  148 Supplemental Studies  149 Other Music Adaptable to Keyboard Percussion Study  149 Selected Solos  150 Notes 156 CH APTER 5

Timpani 157 Historical Origins  157 Performance Considerations  158 Developing the Timpanist  160 Ear Training  160 Practicing 162 Instruments and Mallets  163 Construction and Manufacturers  163 Heads 164 Mallets 165 Sizes and Ranges  167 Head and Mechanical Adjustments  168 Head Replacement/Selecting the Playing Spot  172 Fine Tuning/Clearing Heads  173 Timpani Technique  175 Position of the Timpani and Playing Areas  176 Tuning a Pitch  177 Basic Tuning Exercise  178 Performance Tuning  179 Tuning Gauges  181 Intonation Tempering  184 The Grips  185 The Basic Timpani Stroke  186 Articulation Considerations and Musical Expression  188 Rolls, Finger Strokes, and Forearm  196 Forte-Piano Rolls  200 Muffling 201 Muting 203 Cross Sticking  204 Individual Timpani Methods and Supplemental Studies  209 Major Applied Methods  209 Supplemental Studies  210 Orchestral Excerpts  210 Reference Books and Videos  211 Selected Solos  211 Notes 214

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

vii

viii

D e t aile d Co n t e n ts

CHA PTER 6



Bass Drum, Cymbals, and Accessories  215 The Bass Drum  215 Construction and Selection  215 Heads 215 Tuning 216 Stands 216 Humidifiers 217 Mallets 218 Playing Techniques  221 The Art of Playing Bass Drum and Attached Cymbal  224 Cymbals 225 Origins 225 Construction and Selection  225 Straps and Pads  226 Care 226 Crash Cymbals  227 Suspended Cymbals  230 Triangle 231 Origins 231 Selection 232 Clips 232 Beaters 233 Playing Techniques  233 Tambourine 234 Origins 234 Selection 235 Care 235 Playing Techniques  235 Gongs and Tam Tams  238 Origins 238 Construction and Selection  239 Mallets and Racks  239 Playing Techniques  240 Castanets 240 Origins 240 Construction and Selection  240 Playing Techniques  240 Wood Blocks  242 Origins 242 Construction and Selection  242 Playing Techniques  242 Temple Blocks  243 Origins 243 Playing Techniques  243 Less Common Instrumental Accessories  244 Finger Cymbals  244 Cowbells 244 Sleigh Bells  244 Slapstick 245 Ratchet 246 Metal Plates, Anvils, and Pipes  246 Brake Drums  246 Percussion Aerophones, Toys, and Exotic Instruments  246 Sandpaper Blocks  247

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

D et a i l ed C o nt ent s



Horns 248 Marching Machine and Horses’ Hooves  248 Lujon 248 Slit Drums and Log Drums  248 Wind Chimes  249 Methods and Studies for Bass Drum, Cymbals, and Accessories  251 Notes 252 CH APTER 7



Percussion Instruments of the World  253 African Influences and Styles  254 African Roots  254 Kinka 254 Kpanlogo 259 Afro-Cuban Influences and Styles  264 Claves 265 Bongos 266 Congas 268 Timbales 271 Cowbells 273 Guiro 274 Maracas 274 Jawbone (Quijada) and Vibra-Slap  275 Brazilian Influences and Styles  275 Surdo 275 Repiníque 276 Other Brazilian Instruments  276 Hand Drums of the World  279 Middle Eastern Influences and Styles  279 Global Frame Drumming and Groove Tunes  280 Tabla 283 Steel Drums  285 Percussion of the World: Methods and Study Materials  289 Supplemental Studies  291

CH APTER 8



Drum Set  294 Origins and Evolution  294 Dixieland Drumming  295 The Swing Era and Big Band Drumming  296 Bop, Cool Jazz, and Hard Bop  296 Contemporary Eclectic and Rock Styles  297 Instruments 298 Tuning and Heads  300 Cymbals 300 Electronic Percussion and Technology in Education  301 Current Electronic Percussion Instruments  301 Using Technology as a Tool  302 Other Technologies for the Classroom  303 Concepts for Drum Set Study and Performance  305 Body Awareness and Instrument Setup  305 Musical Awareness  306 Performance Techniques  307 Developing the Feet  308 Ride Cymbal Time  310

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

ix

x

D e t aile d Co n t e n ts

Coordinated Independence, Four-Way Coordination, Interdependence 313 Movement Around the Drums  315 Chart Reading and Interpretation  315 Brushes 317 Basic Styles and Considerations  317 Drum Set Methods, DVDs, Videos, and Supplemental Studies  321 Video Tapes and DVDs  321 Comprehensive Methods for Drum Set Study  322 Supplemental Studies for Comprehensive Study  323 Methods for Styles Awareness, Chart Reading, and Interpretation  324 Supplemental Studies for Styles Awareness, Chart Reading, and Interpretation  325 Afro-Cuban and Brazilian Styles  325 Brush Methods  326 Methods for Movement Around the Drums  326 Supplemental Studies for Movement Around the Drums  326 Multiple-Percussion Drum Set Solos  327 Notes 328 CHA PTER 9



Marching Percussion  329 History and Evolution  329 Developing the Contemporary Marching Percussion Section  332 Instruments and Equipment  332 Bass Drums  332 Snare Drum  336 Tenors or Multi-Tom Toms  340 Cymbals 342 The Front Ensemble or Pit  342 Training the Marching Percussionist  344 The System  344 Marching 344 Timing Training  345 Rehearsal Techniques and Philosophy  346 The Stroke Awareness Approach  347 The Stroke Awareness System  349 The Basic Grips, Strokes, and Dynamic Levels  350 Developing a Warm-Up Routine  351 Developing Uniform Drumming Skills  362 Visuals 375 Rudimental Drumming  377 Scoring and Arranging for Marching Percussion  393 Field Placement and Projection  403 The Challenge  405 Marching Percussion Arrangements for the Methods Class  406 Marching Percussion Methods and Materials  420 Major Complete Methods for Individual and Ensemble Study  421 Supplemental Studies for the Individual and Full Ensemble  422 Warm-Ups and Cadences for the Full Ensemble  423 Percussion Features  423 Contemporary Rudimental Solos, Books, and Videos  424 Selected Traditional Rudimental Solos and Books and Videos  424 Notes 424

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

D et a i l ed C o nt ent s



CH APTER 10

Musical Interpretation of Percussion Parts  425 Interpretive Commentary on the Percussion Writing b in Gustav Holst’s First Suite in E for Military Band  426 Notes 453

CH APTER 11



Supplemental Playing Exercises  454 Basic Stroke Combinations  454 Buzz Comparisons  455 Tied Rolls  457 Nontied Rolls  457 Double Stroke and Rebound Control  459 Finger Control Exercises  459 Sticking Policy Exercises  460 Keyboard Exercises  463 Supplemental Percussion Ensemble African Creation by Dr. Jeannine Remy  470

APPENDIX A

Orchestral Excerpts for Percussion and Discography of Percussion Music  471

APPENDIX B

Select Percussion Solo and Ensemble Music  481 Glossary of Foreign Terms  507 Bibliography 510 Index 514

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

xi

VIDE O T RA CKS

CHAPTER 1  GENERAL CONSIDERATIONS AND PREREQUSITES

1. 2. 3.

Classification of Instruments (9:12:14) Tone Production (3:31:37) Electrophones and Their Applications (15:42)

CH APTE R 2   BASIC PERCUSSION TECHNIQUE THROUGH



3. 4. 5. 6. 7. 8.

Suspended Cymbals (02:50:01) Cymbal Etude (01:49:18) Triangle (03:57:00) Tambourine (05:00:04) Tambourine Triangle Duet (01:02:11) Castanets (02:39:17)

THE STUDY OF THE SNARE DRUM

CH APTE R 7   PERCUSSION INSTRUMENTS OF THE WORLD

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19.

1. Kinka (05:05:26) 2. Djembe (01:39:04) 3. Kpanlogo (05:14:16) 4. Afro-Cuban Instruments (11:27:42) 5. Afro-Cuban Groove (01:09:19) 6. Brazilian Instruments (04:00:09) 7. Samba Batucada (01:56:08) 8. Middle Eastern Instruments (06:28:21) 9. Bodhram (01:19:09) 10. Global Drumming (01:33:21) 11. Groove Tune #1 (03:26:26) 12. Groove Tune #2 (04:17:04) 13. Tabla (04:30:00) 14. Steel Band (04:57:03)

Introduction (03:12:08) Pivot Point (00:30:16) Lady Bug (01:15:02) Grip (00:48:21) Stroke (00:55:22) Alternating Strokes (00:55:15) Integrating Arms (03:53:27) Double and Triple Strokes (02:13:07) Cloning Triplets (00:37:11) Spray of Notes (01:04:29) Accents (01:26:27) Buzz/Multi-Bounce (01:16:29) Base to Rolls (00:40:04) Stroke-and-a-Bounce (01:48:15) Flams (02:52:05) Sticking Policy (01:17:23) Phrasing (01:44:07) Etude #1 (01:00:24) Etude #2 (00:51:23)

CH APTE R 3   MULTIPLE PERCUSSION (no videos) CH APTE R 4   KEYBOARD PERCUSSION



1. 2. 3. 4. 5. 6.

Instrument Characteristics (16:19:13) Basic Keyboard Technique (08:12:10) Rolls (03:15:24) Reading (02:17:06) Four Mallet Grips (07:31:22) Four Mallet Strokes (10:48:06)

CH APTE R 5   TIMPANI

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.

Head Covers and Mallets (02:01:25) Clearing Heads (03:18:24) Tuning a Pitch (00:59:01) Instrument Set Up (00:42:18) Ear Training (04:11:01) Performance Tuning (02:17:26) Basic Grip and Playing Spot (01:57:06) Basic Stroke (03:01:11) Articulation (05:39:25) Finger Strokes and Rolls (03:25:16) Forearm Technique (04:39:04) Forte-Piano Rolls (01:21:04) Muffling (00:42:25) Muting (01:36:02) Cross Sticking (04:23:09) Final Etudes (04:21:08)

CH APTE R 8   DRUM SET

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.

Electronic Drums (05:09:29) Bass Drum (03:16:15) High Hat (02:34:04) Ride Cymbal (04:11:20) Independence and Comping (01:44:06) Moving Around the Drums (02:42:05) Example 8-D, Chart Reading (01:16:17) Playing with Brushes (02:55:10) Example 8-E, Basic Styles (04:36:21) Time for a Change (00:45:05) Crimson Glow (00:47:16)

CH APTE R 9   MARCHING PERCUSSION

1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

Heritage of Drums (01:32:04) H.S. Front Ensemble, Bizet, Farandole (02:36:24) Coronado del Sol High School, Tempe, Arizona Marching Demo (01:42:09) Snare Drum (13:06:14) Tenors (13:19:03) Visuals (02:54:04) Bass Drum (05:50:28) Cymbals (11:37:09) Arranging (04:08:04) Drum Feature (01:36:17)

(7:34:20) TOTAL TIME CH APTE R 10   MUSICAL INTERPRETATION OF PERCUSSION

PARTS (no videos) CH APTE R 11   SUPPLEMENTAL PLAYING EXERCISES

(no videos)

CH APTE R 6   BASS DRUM, CYMBALS, AND ACCESSORIES

1. 2.

Bass Drum (03:42:02) Hand Cymbals (09:14:04)

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

p r e f a ce

3rd Edition of Teaching Percussion has been expanded to include current resources for study and extensive new content, particularly under the “History and Evolution of Percussion and Pedagogy,” presented in Cengage’s innovative MindTap digital platform and in eBook format. This new content will provide comprehensive information in a single resource for music educators, as did previous editions. This edition is intended to be invaluable to university and college instructors teaching percussion pedagogy, literature, or history courses, as well as to graduate students preparing for written and oral exams. New MindTap features for this edition include:

T

his Enhanced

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video track numbers that are closely referenced throughout each chapter for a clearer understanding of the playing examples and concepts. chapter Previews that present Video Activities and Learning Objectives outlining core learning concepts. new YouTube videos, websites, and other online resources that are linked to the MindTap sections. Bonus Study features throughout each chapter that designate references to websites, articles, and other downloadable sources for use by college instructors and graduate students for further in-depth study beyond the text. Timelines in most chapters that present historical material that is referenced and cross-referenced throughout the book and expanded in other chapters. new “History and Evolution of Percussion and Pedagogy” sections in most chapters that detail the events in the Timelines and trace the origin, history, and evolution of instruments, composers and their compositions, inventions, and events all contributing to the evolution of percussion—including the genesis of the percussion ensemble, the establishment of educational programs, the formation of professional percussion ensembles, and significant pedagogical developments and schools. Chapter Quizzes at the end of each chapter that will help the reader and instructors evaluate these new learnings.

Since the publication of the first edition in 1988, Teaching Percussion has been used throughout the world. My goal with the revisions and updates to the second edition, published in 1997, was to make it a better book; in fact, it is still commonly referred to by instructors and students as “The Cook Book.” The third edition, published in 2006, was a result of thoughtful input from reviewers, colleagues, and students—as well as my own desire for further refinements in the book—plus the publisher’s support and eagerness to issue accompanying DVDs with that edition. This Enhanced 3rd Edition contains all the original features of the 2006 third edition, but it is now available as an eBook, with all the videos online in Cengage’s amazing, interactive MindTap digital platform. Those original features include: additional playing exercises to provide more hands-on classroom experience for students; expanded emphasis on percussion of the world, marching percussion, drum set, and new applications of technology, including Internet and updated resources; and further refinements in experiential teaching and learning integrated with new scientific developments in understanding motor control learning. This Enhanced 3rd Edition continues to be a book on pedagogy––on how learning (to better facilitate it) takes place, especially through

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experiential awareness. This understanding is based on the premise that learning occurs not so much by trying hard to accomplish something, but by becoming more aware of the activity (for example, the stroke, motion, or movement) and paying attention to all aspects of the activity (the sound, look, and feel of it) to allow learning to take place in a natural and expedient manner. In this sense, Teaching Percussion continues to be about developing habits—habits that become one’s whole approach to playing (for example, the habit of acquiring a concept of sound on every instrument and then developing that concept, the habit of playing with a relaxed technique, the habit of discovering and expressing musical ideas, and the habit of efficient practicing that results in satisfying performances). Practice efficacy is examined from the premise of defining the “essential ingredients” that are needed to develop skills, understanding, and musicality in percussion performance, and not from spending time practicing things that have little payoff or results. Expedient practice habits are essential, because there is now so much competition for percussionists’ time. New techniques are demonstrated in the online videos and presented throughout the text, and are learned more efficiently by utilizing the power of “cloning” and “triple-channel experiential learning.” Most importantly, the essential ingredients presented throughout Teaching Percussion become “The Cook Book” recipes for maximizing and enjoying the whole learning experience and for developing percussionists into sensitive musicians … who just happen to be percussionists. The online videos continue the focus on the essential playing ingredients in each chapter and go beyond the textbook with demonstrations and concepts. This gives students greater goal clarity when playing the many exercises and developing hands-on understanding of the concepts and playing systems. The online videos, as before, expand the marching percussion, world percussion, and drum set chapters, and a new video by Drew Lang demonstrates some of today’s on-the-job applications of electronic percussion. All this is integrated through instant links in MindTap to YouTube, websites, and other resources to illustrate even further each chapter’s concepts. By focusing on the essential ingredients in each area of study, progress through the material, particularly in the college methods class, should prove more efficient and timely. The book and videos should be more valuable on-the-job references to music educators than ever before. The first edition of Teaching Percussion was written at a time when scientists, humanists, and psychologists were just beginning to team up with music educators to try to understand further the dimensions of learning and performing music. The learning of musical skills (indeed, of many human activities) has continually been recognized as a process that involves a person not merely in an individual mind-body system inside his or her skin, but within the context of the total environment. The total external environment of any person is the universe. The total internal environment of the person is both conscious and unconscious—anatomy, physiology, chemistry, and genetics, as well as the internalized socialization process that includes one’s language, behaviors, concepts, beliefs, disbeliefs, experiences, and education. This approach to the learning and performance of music then involves acknowledgement, realization, and consideration of as many mind-body internal and external environmental interrelationships as one’s knowledge, experience, and sensitivity allow. In Mind, Muscle, and Music, Dr. Frank R. Wilson (a semi-retired neurologist by profession—and author of books on music and the brain and the hand—but an amateur pianist by avocation) presents the major premise of his work when he states, “a close examination of the ‘tried and true’ principles of music teaching shows them to be compatible with what we are now discovering to be the operating characteristics of the human brain and neuromuscular system. Whether or not they actually understand the underlying physiologic or psychologic principles, good teachers have found didactic techniques which optimize the natural learning systems built into the human brain.” He continues by stating that he “can’t help believing that a wider appreciation [and understanding] of the operating characteristics of the nervous system will help make teaching systematically better.”1 Wilson goes on to explain how the cerebellum processes repetitive activity in the muscular system until it is automatic, and how this process is adversely affected by

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practicing too fast for accuracy––certainly not a novel idea to any good teacher’s didactic techniques, but a new explanation of our tried and true principles. He expounds on the benefits of mental preparation and visualization, and likens a musician’s mental practice to that of a serious athlete. He states that visualization techniques have helped athletes “improve their limits and to discover small technical errors that adversely affect performance.” Wilson concludes by saying “these techniques work not simply because they help performers cope with stress and [performance] anxiety, but because they facilitate programming the cerebellum.”2 Recent scientific discoveries in brain plasticity research and refined emperical methods to help teachers and performers better understand the processes of learning and performing music are presented throughout this Enhanced 3rd Edition of Teaching Percussion. Refinements made by Jon Gorrie (author of Playing in the Zone, 2009) to Tim Gallwey’s Inner Game concepts are discussed in the Introduction, and Gorrie expands Gallwey’s thinking to a new level. Research synthesis presented by Po Bronson and Ashley Merryman in Top Dog, The Science of Wining and Losing (2013) informs us of new and cumulative research findings based on brain scan studies of electrical and chemical reactions in the brain and hormonal reactions through saliva samples that support, as well as contradict, many postulated beliefs from the past. These new findings are examined and connections made in the new MindTap sections. For example, Gorrie’s perspective that appropriate levels of performance arousal help us perform our best is supported by the Individual Zone of Optimal Functioning (IZOF) research expounded by Russian psychologist Yuri Hanin in 2003. Hanin’s research basically defined a level of anxiousness that is beneficial to an individual’s performance. A critical understanding from this research is that having performance arousal is ok; what is critical is how we perceive and interpret stress as a threat situation or a challenge situation that triggers performance arousal to an appropriate (or inappropriate) level that, in turn, affects optimal functioning. Several parallel research findings debating the “10,000-hours rule” of practice to become an expert––that was started in 1993 with the research of Anders Ericsson, et al., with subsequent conclusions by Malcolm Gladwell (and others) in his book Outliers–– have shed new light on the validity of the claim. A meta-analysis, in 2014, of 88 scientific articles representing some 11,000 research participants contested Gladwell conclusions. Ericsson, in his 2016 discourse PEAK: Secrets from the New Science of Expertise, refutes the 10,000-hours rule, proclaiming that it does not warrant expert performance but, more so, reveals that deliberate practice, as he terms it, is indeed a key to expertise, regardless of how long training takes. Ericsson’s deliberate practice criteria involve dedicated and focused purposeful practice, with well-defined goals, and a plan for achieving them defined by a highly competent teacher. (See: http://www.businessinsider.com/anders-ericsson -how-to-become-an-expert-at-anything-2016-6). However, the critical result of deliberative practice is a new interpretation of a mid-19th century scientific discovery that shows deliberate practice builds a neural insulator called myelin around nerve fibers, and myelin is the key to expertise. This realization is expounded by Daniel Coyle in his book The Talent Code, and elements of Coyle’s deep practice (as he terms it), which “fires our neural circuits in such a way that our meylin responds by wrapping layers of insulation around the neural circuits to improve performance,” are integrated into the pedagogy of Teaching Percussion and presented through the new MindTap links. As an example, view the TEDx Talk “How to Practice Effectively” given by Annie Bosler and Don Greene (author of Performance Success: Performing Your Best Under Pressure; see Recommended Reading at the end of the Introduction) on the quality and effeciveness of practice that results in the myelination of neural pathways. View this YouTube video of a 2017 TED-Ed Talk, “How to practice effectively… for just about anything” given by Annie Bosler and Don Greene on the quality and effectiveness of practice that results in the myelination of neural pathways: https://www.youtube.com/watch?v=f2O6mQkFiiw

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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In the final chapter to his book Tone Deaf and All Thumbs?: An Invitation to MusicMaking for Late Bloomers and Non-Prodigies, Dr. Wilson reflects on the intrinsic value of music study as something rewarding in itself and akin to “a fundamental tenet of Zen thought, which holds that one studies flower arranging or archery, or motorcycle maintenance, for only one reason: to achieve detachment through self-mastery.” He further states, Perhaps this formulation is as good a bridge to the deeper levels of musical meaning, and the value of music as a discipline, as can be found. It allows us to see that the spiritual, cerebral and physical aspects of music are not only unopposed but in fact mutually dependent. And, to be very practical, it gives us a solid foundation on which to anchor our interest in music-making, and from which to build a long-range, workable plan for both success and satisfaction.3

In the conclusion to his book The Inner Game of Golf, one of several he has written addressing the mental aspects of playing a sport, author Tim Gallwey states that sports could become “the laboratory in which research and experimentation about human motivation, performance, and self-interference take place.” He remarks, it will no longer be sufficient for a teacher of the game to be a good player and know the mechanics of the swing. Forward looking teachers will attempt to develop an understanding of the learning process. If they do, they will be more valued than in their old role as swing mechanics for they will be teaching such valuable inner skills as concentration, self-trust, will, and awareness…the best of them will be held in the same esteem as the Zen masters of Japan who taught judo, akido, archery, and even flower arranging—not just as skills useful in themselves, but as vehicles for learning self-control. Such teachers will be recognized as making valuable contributions to the quality of a student’s entire life.4

It is my hope that the ideas presented in Teaching Percussion concerning both percussion techniques and learning theories will prove provocative to the reader and foster further exploration of their substance. Indeed, the art of music is, like Gallwey’s sports, a perfect “laboratory in which research and experimentation about human motivation, performance, and self-interference take place.” To evolve beyond and transcend our “old role as swing mechanics” is one of the greatest, if perhaps not the greatest, challenge and purpose in our profession and life. As stated in the Preface to the first edition three decades ago, Teaching Percussion, “when used as a primary text in college percussion methods/techniques classes and as an on-the-job guide book or manual by music educators, will contribute greatly to the continued elevation of standards and expectations for percussion performance and education in the school music program.”5 Indeed, those standards and expectations have risen as a result of many contributions: the increasing demands of performance literature and new arenas––like PAS, DCI, WGI, and BOA––and the greater refinement and understanding of our pedagogy by teachers and students, which have resulted in a general heightening of skill levels and musicianship in players of all ages and in all situations. These manifested higher skill levels, although labeled many things in today’s society— —“artistic excellence,” “realized potential,” and so on­––can simply be called progress for the most part. Indeed, this progress is a result of meeting the challenge of these elevated standards and expectations with better-informed and refined high-quality teaching. And this progress is a natural evolution for informed, aware musicians, much like the way Dave Weckl titled his 2003 DVD “Natural Evolution,” in which he extols the benefits of a more relaxed, free rebound approach to drumming over the more mechanical, technical previous approach he had used for years.6 As more teachers and students recognize and experience this quality of instruction and education, they will be better able to evolve beyond being “swing mechanics,” and greater progress of even a higher level and quality will be made. It is my sincere intention that this Enhanced 3rd Edition of Teaching Percussion is a further refinement and continuing contribution toward that progress. Gary Cook Tucson, Arizona

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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■ NOTES

4.

W. Timothy Gallwey, The Inner Game of Golf (New York: Random House, 1981), p. 205.

1.

Frank R. Wilson, Mind, Muscle, and Music: Physiological Clues to Better Teaching (Elkhart, IN: The Selmer Company, 1981), p. 14.

5.

Gary Cook, Teaching Percussion (New York: Schirmer, 1988), p. xv.

2.

Ibid., p. 15.

6.

3.

Frank R. Wilson, Tone Deaf and All Thumbs? (New York: Viking-Penguin, 1986), pp. 193–194.

Dave Weckl, “Natural Evolution” DVD (New York: Carl Fischer, 2003).

■ ACKNOWLEDGMENTS The three editions of Teaching Percussion have spanned three decades, from the first edition in 1988, the second in 1997, the third in 2006, and now this Enhanced 3rd Edition in 2018. An attempt at acknowledging and thanking everyone who contributed to their creation would be ineffectual. However, none of these editions could have been possible without the support, understanding, and love of my family: My wife, Kirsten; our daughters, Tamara and Tekla, and their families; and my parents. Their years of patience with me writing Teaching Percussion is truly amazing! The many friends, colleagues, mentors, and editors who made the first two editions possible are beyond listing, but without their contributions the third editions would never have evolved. Some of those wonderful people are my teachers and mentors Salvatore Rabbio, Tele Lesbines, Cloyd Duff, and James D. Salmon, who helped me beyond the mechanics of the swing; Paul Buyer, Dave Walton, and Susan Martin and other contributing authors along the way; Sandy Goldthorpe, Jim Shea, Steve Crofts, and others who helped create those editions; the many publishers and manufacturers who supported those editions with permissions and images; and my editors who believed in all these editions. The seed for the original 2006 third edition was planted when Clark Baxter, Publisher at Thomson/Schirmer Books, asked me if I would like to write it. My response was, “Only if we can do it with a DVD,” and he enthusiastically agreed. I am eternally grateful to the team of editors and tech support people at Thomson/Schirmer who helped to nurture the manuscript and produce the original 2006 third edition: Julie Yardley, Jennifer Gordon, Robin Hood, Joohee Lee, Diane Wenckebach, and Trudy Brown, as well as Matt Dorsey, for his help and patience with the videos. Creating the seven-and-a-half hours of accompanying videos was an amazing process that took just less than a year, and videographer Carlos Terrazas is equally amazing. To Carlos and the video support folks, my deepest appreciation (please read the video credits for all those names). The videos wouldn’t be what they are without the incredible contributions of Aaron Holbrook’s camera work and of Scott Werner and the Corona del Sol High School marching band front ensemble for the marching percussion in Chapter 9. I can never thank Aaron or Scott and his wonderful students enough for making the third edition a better book. Creating the original 2006 third edition and its accompanying videos with the comprehensiveness and quality that I envisioned was beyond my expertise. So, in order to meet my expectations and standards, I engaged colleagues as contributing authors who truly went beyond my dreams. The contributions of Robin Horn to the drum set chapter and to the performances on the entire Chapter 8 video are matchless; the expertise of Mike Vercelli and Todd Hammes in the greatly expanded world percussion chapter (Chapter 7) is inspiring and, hopefully, provocative to readers; the wisdom of Dave Rodenkirch emerges in several chapters, but his text and music, along with Joe Gallegos’ writing and Jeff Moore’s arrangements, make the marching percussion chapter (Chapter 9) unique and very special; and Scott Deal’s expertise in electronic musical instruments and cutting-edge thinking bring greater relevance and clarity to the application of technology to percussion education and performance than ever before. Jay Rees, then Associate Professor of Music and my University of Arizona (UA) colleague, can never be thanked enough for his cooperation with the Pride of Arizona marching band, his arranging genius with the Talking Heads show, and his inspiration creating Rub the Buddha. Jay is now Professor of Music and Director of Athletic Bands at the University of Miami. Mike Sammon’s arrangement of Buddha and brilliance with the steel band

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brought perfect synchronicity to everything we needed for the steel band segments. Special thanks goes to Jeannine Remy for giving pan a special place in my life and for her African Creation percussion ensemble as the perfect experiential learning tool for the third edition. And a special thanks to all the members of the 2004 Pride of Arizona marching band, UA Steel, the Corona del Sol High School front ensemble from Tempe, Arizona, and the world percussion and Groove Tunes groups, who donated their time and talents to making the videos unequivocally one-of-a-kind. My deepest appreciation is expressed to the manufacturers and publishers, whose contributions of photos and permissions made the illustrations clearer and more interesting—especially Matthew S. King for his all-encompassing cover photo of Guatemalan marimba mallets and Vallabh Kargathra for the photo of Pandit Sharda Sahai; Steve Hearn at Pearl Corporation and Nick Petrella at SABIAN Cymbals (and for Nick’s insistence that we “go with DVDs!”); my dear friend Al Payson for his support and permissions; and Boosey & Hawkes. Jim Casella’s offer to provide mp3 files of Jeff Moore’s arrangements compliments of Tap Space Publications with Virtual Drumline: 2 sound samples on the Teaching Percussion website for Chapter 9 created added value to the third edition, for which I am most appreciative—as I think will be the readers. And then there are the “students”––or people, most of whom just happen to be enrolled at the UA––who contributed in so many ways to make the third edition revolutionary. To those who rose beyond the challenge of teaching percussion on the DVD—especially Debbie Lewis and Lauren Spencer for their beautiful marching cymbals playing and commentary; and Vicente Lopez, Saul Aguilar, Bob Peterson, Bryce Dunbar, Stephanie Thompson, and Chris Newman for their battery demonstrations and commentary—thank you for being absolutely amazing and taking Chapter 9 beyond my dreams! It is to people like you and all my past students and future readers that the 2006 third edition of Teaching Percussion was dedicated. Thank you for being the next generation of progress. In November of 2015, as I was attempting to contact my publisher, Clark Baxter, I discovered Clark had retired from Cengage Learning. Sharon Poore was the new Product Manager, Art & Music at Cengage; we began correspondence about creating an Enhanced 3rd Edition of Teaching Percussion in Cengage’s MindTap digital platform. A production team was assembled, with Julia Giannotti as Project Manager joining Sharon Poore in Boston, and Chrystie Hopkins as Content Development Project Manager with Lumina Datamatics. Three other professionals joined that team in April 2017: Lianne Ames, Senior Content Project Manager, Higher Education Production Cengage Learning; Charu Verma, Senior Project Manager with MPS Ltd. digital publishing; along with copyeditor Joan Templeton. A special thank you is extended to my colleague Drew Lang for sharing his expertise on using electronic percussion and technology in education in chapter 1 with his video and his contributions to chapter 8. As a working percussionist who regularly uses technology on the gig playing shows and musicals, and well as opera, Drew’s perspectives have made the Enhanced 3rd Edition a better book. A final thank you goes out to two of my colleagues: Dr. Steve Hemphill, Director of Percussion at Northern Arizona University and Kyle Bissantz, Assistant Director of Bands and Director of Percussion at Bishop Gorman High School in Las Vegas. I asked Steve for “real life” questions he uses in his methods classes at NAU and he complied, many of which served as incentive for this Enhanced 3rd Edition chapter quiz questions. Kyle provided drumline and front ensemble videos that concluded the chapter 9 MindTap perfectly. My deepest appreciation goes out to Steve, Drew, Kyle, and the entire production team at Cengage for their support and creative thinking, which has made this Enhanced 3rd Edition of Teaching Percussion a reality and the comprehensive resource it is today.

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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e a c h i n g P e r c u s s i o n is a comprehensive textbook, with accompanying videos and a digital teaching and learning solution called MindTap. Both the textbook and MindTap are designed primarily for use in training the future music educator who is in the college percussion methods and technique class. All aspects of percussion education, performance, and pedagogy are presented in great detail. The music educator will find this text to be an invaluable on-the-job reference source when used as an accompanying instructional guide with any of the several instrumental method courses for band or orchestra, or when used with any fine percussion method for private or class study. The emphasis on learning and playing philosophies, as well as its enhanced contents, make it suitable for use in college pedagogy, history or literature courses, and in private instruction. The contents of Teaching Percussion represent a synthesis of many successful approaches to percussion performance and education that have been tested, edited, refined, and improved over the years. New techniques and developments in pedagogy have been integrated into the book and videos, which offer the teacher and student a wealth of eclectic insights into all music learning and performance. It is my hope that these insights will stimulate the curiosity of the teacher and student toward further examining the processes involved in the acquisition of musical skills and the intrinsic value of these processes themselves. The playing philosophies, schools, or systems presented in Teaching Percussion are derived from the teachings and playing concepts of the greatest artists and pedagogues in the percussion profession, from an informed historical perspective. The approach to all “drumming” presented herein is rooted in a free rebound playing system, as expounded by George Lawrence Stone, Billy Gladstone, and Sanford “Gus” Moeller and furthered by Fred Hinger, Buster Bailey, Jim Chapin, Joe Morello, Dave Weckl, Freddie Gruber, Dom Famularo, William James, and many others, including numerous drum set artists. The approach to keyboard percussion is founded in the playing principles first expressed by the great George Hamilton Green and later by Bob Becker, Buster Bailey, Gene Koshinski, and others and expanded by Gary Burton, Keiko Abe, Leigh Howard Stevens, Gordon Stout, William Moersch, Michael Burritt, Nancy Zeltsman, Mark Ford, Pius Cheung, and many others to include four-mallet performance. Some of the approaches to cymbal playing were originally formulated and practiced by Sam Denov, Charles Owen, Fred Hinger, Al Payson, and other symphonic players. The approach to timpani performance is a synthesis of systems expounded by Fred Hinger, Richard Hochrainer, and Saul Goodman and greatly influenced and inspired by my mentors Salvatore Rabbio, Tele Lesbines, and Cloyd Duff. Similarly, techniques of other performance areas are based on the concepts exhibited by the profession’s most respected artists and teachers. I have had the good fortune of being able to distill these concepts, add many of my own, and refine them all with an extraordinary group of students over four decades of teaching and in three editions of Teaching Percussion. The application of these concepts and approaches has produced practical and musical results over many years, and will greatly aid the percussion student and teacher in achieving musical percussion performance and education. Over the years, Teaching Percussion has been a significant contribution to percussion pedagogy––a continually evolving, refining body of literature and concepts within the constantly expanding art of percussion. The unique aspect of each edition of Teaching Percussion, as stated in the original Introduction, remains its presentation of a consistent basic

T

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percussion technique or playing philosophy throughout the text. This is integrated with current scientific knowledge on motor skills learning and a refined contemporary approach to teaching that is based on understanding natural human learning potentials and experiential awareness learning. The following comments about this experiential learning approach are offered with the intent of clarifying the concepts and encouraging their application. Experiential learning is a natural process through which people acquire new skills and knowledge. Think for a moment of how a child learns the complexities of walking, eating with a spoon, riding a bike, roller skating, and even talking. When a child learns to walk, no volume of instructions is given by the parent about “how” to put one foot ahead of the other, alter balance, and distribute weight in order to avoid falling. The child learns virtually without language instructions, through an awareness of his or her own experience. The learning comes not from the doing of the task itself or from trying hard to walk, but from the body experiencing and the central nervous system registering what happens when the attempt to walk is made. The body naturally learns when an awareness of the experience is registered in the psychophysical system of the child. In this sense, walking is learned by “trial and learning” not by “trial and error.” The child learns naturally, and the body never forgets how to walk. Unfortunately, as the child grows older and experiences traditional education, a large amount of natural learning potential and psychophysical integrity is interfered with, or worse, as John Holt states in How Children Fail: It is destroyed, and more than by any other one thing, by the process we misname education— a process that goes on in most homes and schools. We adults destroy most of the intellectual and creative capacity of children by the things we do to them or make them do. We destroy this capacity above all by making them afraid, afraid of not doing what other people want, of not pleasing, of making mistakes, of failing, of being wrong.1

The past decades have seen an increasing awareness and understanding of natural human learning capabilities. This understanding has been applied to the learning and improvement of many human activities, including sports, human relations in business, health, and teaching, and performance skills in music. Learning and playing music can be summed up as a two-part process: 1. the acquisition or learning of motor skills and music, and 2. the act of then calling on those acquired skills in performance with minimal mental or physical interference to achieve a high quality and satisfying musical performance of the music. The actual learning of any physical activity, and the approach for teaching percussion encouraged throughout this book and on the videos, is based on the principle that change and learning take place in the most expedient, natural, and permanent way when we increase our awareness of “what is” and “what is happening” while engaged in an activity, and not by just “trying hard” to gain certain end results by “doing” the activity. While the importance of having clear learning objectives or goals is a given, strong results-oriented, or end-gaining, judgmental expectations that accompany “trying hard” usually interfere with one’s psychophysical balance, which in turn reduces one’s capacity for learning and performing. Combining triple-channel and cloning methods of teaching with experiential learning concepts can greatly increase one’s awareness of the activity one is engaged in and thus enhance learning. Or, as Tim Gallwey so eloquently states, “Learning and change occur when there is an increased awareness of what is.” The following will further acquaint the teacher (and learner) with the methodology of using triple-channel and cloning methods to facilitate learning through experiential awareness. W. Timothy Gallwey, the celebrated sports guru, expresses a very useful formula for examining this learning and performance process in his Inner Game books on sports, which have been easily adapted to music since their first appearance in the mid-1970s. (Gallwey teamed up with bassist Barry Green in the 1980s to apply Inner Game methodologies to music in their co-authored book The Inner Game of Music [1986], and Green subsequently produced a video and several workbooks; see Recommended Reading at the end of the Introduction.) Gallwey’s formula of P 5 p 2 i translates simply: one’s “Performance” (P) is equal to one’s “potential” (p) minus “interference” (i). A working example of this equation could be illustrated by the scenario in which a performer has prepared a piece of

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.



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music in the practice room to 100 percent of its potential, yet when performing in front of an audience, mental interference of 20 percent reduces the full potential to a performance of only 80 percent of the performer’s potential. (P 5 p 2 i: 80% 5 100% 2 20%) Many factors influence each component of this equation and there are numerous combinations possible. For now, the focus is on building the small “p” potential component to an optimum level through understanding what Michael Colgrass first called “triple-channel learning,” and through the use of “cloning” as presented throughout Teaching Percussion. Simply stated, a person learns a musical skill through visual, auditory, and kinesthetic channels. In other words, we learn by seeing, hearing, and feeling. While our olfactory sense (smell) and gustatory sense (taste) play important roles in learning to make a soufflé, a tasty salad, or another recipe, they are less involved in learning musical skills. (Yet, the benefits derived from burning incense and other sensory enhancers should not be overlooked.) Triple-channel learning simply refers to acknowledging and consciously programming any skill that is to be learned equally through each of these three channels. While it might seem that this, of course, takes place in good teaching and through good practice habits, the fact remains that most people favor a preferred learning strategy that rarely equally utilizes a balance of all three senses. Drumming, in particular, is greatly referred to as a kinesthetic experience and, indeed, many drummers and percussionists tend to acquire their skills and learn their parts primarily through their kinesthetic channel (often coupled with their auditory channel). An instrumentalist talks of “having the notes in my hands” (or of “not having the notes under my hands ... yet”). Indeed, a great drummer is one who plays with a good “feel,” or “lays down” a nice “groove” and has a nice “touch” on the instruments—all of which are kinesthetic or feeling-related descriptive terms in themselves. The acquisition of a musical skill or the learning of a piece of music through a balance of these three senses, in contrast to learning primarily through one or two senses, can improve one’s small “p” potential and enhance one’s performance. All one has to do is consciously pay attention to as much of the visual, auditory, and kinesthetic feedback as possible while learning the skill or the piece. Take, for example, a beginning drummer learning to play a free rebounding stroke off a drum. The intent is to play the stick so as to allow for a free, uninhibited, natural rebound off the drum. The drummer is usually instructed, in some manner, to play and allow the stick to freely rebound off the head. The player usually observes this process from his or her vantage point and sometimes in a mirror or on video. (Effective teaching involves having the student imitate the teacher’s demonstration of a free rebounding stroke and likening it to bouncing a ball. The analogy of bouncing a ball to making a basic percussion stroke establishes sensitivity and timing, and coordinates sensations in the body directly related to the free rebound of the stick off a drum head. Plus, more importantly, it is easy and fun to do.) While visual feedback (that is, watching this stroking process) may suffice in developing the basic rebounding stroke, other forms of feedback (for example, auditory and kinesthetic) can further enhance the learning. By calling the drummer’s attention to the drum tone when a free rebounding stroke is played with a relaxed grip (the key to a free rebound), as compared to an inhibited rebounding stroke played with a tighter grip that stops the rebound, the student will begin to process different and new information about the stroke. (A resonant drum provides much greater auditory feedback than a pad for this learning.) Further learning can be gained by listening for the pitch of the stick vibrating freely in the hand when the stroke is played, as opposed to little or no pitch heard from the restricted vibrations of a stick played with too tight a grip. (Furthermore, playing on a pad or even on the floor enables one to hear the stick pitch feedback even more than on a ringing drum.) Listening to stick pitch leads nicely into overlapping learning strategies by calling the student’s attention to the feel of the stick vibrating in the hand. Stick vibrations can be detected on either a pad or a drum, and experimentation with aluminum or fiberglass sticks for this kind of learning feedback can result in interesting combinations. Asking the student to close his or her eyes and feel the stick vibrations shuts off the sometimes

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distracting, and often unconscious, visual watching of the stroke and enhances the kinesthetic (and auditory) feedback. Exploring the stick vibrations on each finger and in every part of the hand furthers learning. Feeling the wrist motion (as it is likened to bouncing a ball) and paying attention to the feeling of the stroke and to the way the sound of the drum and the pitch of the stick change with slight alterations in grip greatly enhance the subtleties that accompany a free rebounding stroke and ultimately advance learning and stick control. Triple-channel learning can be further enhanced through cloning—simply playing both hands at the same time in the same motion or stroke, and even “ghosting” or “airdrumming” one stroke as the other stick plays. (See videos in Chapter 2 that demonstrate cloning and ghosting.) The power in cloning comes from the non-dominant hand learning a myriad of details about the skill from the dominant hand (beyond what could be consciously analyzed and explained by the teacher) when the hands are played together or ghosting strokes are played—more than is possible through playing or practicing the hands separately. Practice time is better utilized and learning is more expeditious. Also, attributes of the weaker hand sometimes benefit the stronger hand! Cloning can be used at every level, from learning beginning stokes on any instrument to developing advanced techniques, as demonstrated on the videos in each chapter of Teaching Percussion. Scientific research into this phenomenon––called cross education, contra-lateral transfer, or bilateral movement control––suggests that this process involves brain symmetry and both generalizabilty of motor learning and proposed anatomical connections through the corpus callosum. While continuing research corroborates and further explains this phenomenon, suffice it for now to recognize cloning as a powerful learning tool for percussionists! Here is an example of how one might combine cloning with triple-channel learning. Let’s say you’re working with a beginner named Chris (or even with a whole class of students, because it works fine with a group, too) on playing a relaxed, free rebounding, basic stroke. Begin with playing both sticks together (cloning) on single repeated strokes for a while, simply like bouncing balls, not drumming. Then, by directing her attention to how the stick feels in her hand, get Chris deeply involved in feeling the vibrations of the stick as she makes a relaxed rebounding stoke off the drum with only her dominant hand. Then ask Chris to find out how her “other stick” (in her non-dominant hand) vibrates in comparison to the stick she is playing when she plays both sticks together. Your language is simply, “Check out how much your other stick vibrates when you play both sticks together, Chris.” This communication contains a pre-supposition that the other stick will vibrate and pulls Chris into a deeper awareness mode of learning by feeling (and to some degree hearing and seeing, too) the vibrations of the “other stick.” If Chris is told this when she is busy exploring the look, sound, and feel of the stroke and stick in her dominant hand, she will simply proceed to “check out” the vibrations of the other stick—in essence, she will bypass the self-conscious, judgmental part of her interfering, thinking mind without having the self-doubting thoughts about attempting to play only with her “weak hand.” Continued encouragement of this natural learning process by posing such questions as, “I wonder if the sticks actually are different and your left stick vibrates more in your right hand?” or more simply, “How does the left stick feel in the right hand?” leads Chris into further awareness as she exchanges sticks between hands and enjoys the discovery learning. Cloning is presented throughout Teaching Percussion and on the videos as a powerful practice and learning approach. When a student learns a basic stroke, advanced techniques, or any kind of technical skill through all three senses—watching it, listening to it, and feeling it––the learning is more complete and permanent than through one or two senses and is always more enjoyable. Triple-channel learning is a powerful tool for learning music, too. Learning a musical score by memory for eventual recall often is done primarily through our kinesthetic and auditory senses. As mentioned earlier, we “get the notes under our hands” and, indeed, this is an accurate description of perhaps the most common learning strategy. We practice and, through repetitions of the passages, program our “muscle memory” with the piece. (Although we know now, through recent scientific discoveries, that practicing doesn’t actually program muscle memory. In reality, efficient and mindful practicing builds a neural insulator called myelin, as discussed in the Preface.)

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While an auditory impression of the piece is also being imprinted (hence, the absolute necessity of careful, accurate practice to program the ear and muscles) and, to some degree perhaps, a visual representation of the printed notes or an image of the instrument being played is being acquired, our main recall channel is often primarily our kinesthetic (or muscle) memory. The truth in Gallwey’s formula of P 5 p 2 i is revealed to a player with this type of learning strategy when performing a piece by memory in public. The player is not realizing that the kinesthetic channel “gets dirty” (as Michael Colgrass calls it in his Excellence in Performance Workshops) and is interfered with by the emotional anxiety of the pressure of the performance, referred to as “inappropriate performance arousal” by Jon Gorrie. Such a performance is often marred with memory lapses and playing below one’s potential, as cited earlier with the example of an 80 percent performance as a result of a player with 100 percent potential having 20 percent anxiety interference. Jon Gorrie, in his excellent book Performing in the Zone from 2009, takes Gallwey’s P 5 p 2 i theorem a step further by proposing his Alternative Performance Equation, which acknowledges Gallwey’s formula and builds on it to include what Gorrie defines as one’s cognitive and physical attributes combined with external interference and performance arousal. Gorrie proposes that performance arousal exists in negative (anxiety) and positive (excitement) forms, and he equates the appropriate amount of performance arousal required with the appropriate amount of performance arousal experienced as resulting in a satisfying and high quality musical performance. Gorrie explains the psychopathology of performance arousal and performance anxiety from the “fight or flight” response perspective and, throughout his book, presents practical techniques, strategies, and exercises to retrain one’s mind. He states: As a performer (rather than a hunter-gatherer), if you can train your mind to consciously and sub-consciously understand that performance situations are non-threatening and indeed pleasurable, you can eliminate performance anxiety, obtain an ideal level of positive performance arousal for your performing situations, and ultimately achieve an optimal level of performance, regardless of your performance sphere. And the best news is that in practise, bringing your performance arousal level under control is not as complicated as it may seem! (38)

See Gorrie’s Performing in the Zone for his excellent insights into achieving quality performances (www.thezonebook.com). Triple-channel learning of the musical score can help to alleviate sub-standard performances and relieve performance stress. By borrowing spelling strategies, as expounded in the NLP (Neuro-Linguistic Programming) literature, the visual programming of the score can be greatly enhanced through placing it to the left side in front of oneself (generally for right-handed people) and studying the printed notes on the page. This eye movement, up and to the left, aids in programming the visual recall of the notes. Further visual imprinting of a piece can be accomplished by visually playing through a score while standing at a percussion keyboard instrument and looking at, but not striking, the bars as the music is mentally recalled and heard in one’s inner ear. Auditory recall will also be triggered and enhanced as the mind develops greater flexibility with the score. This mental practice at the instrument, as well as on a visualized instrument in one’s imagination, can prove to be more difficult than actually playing through the piece by striking the bars; however, the benefits of mental practice are well worth the self-discipline. Mental practicing, while a common routine for many fine artists, can bring a little magic to players whose learning strategies have never included visualizing. Additional study and the application of NLP techniques, Inner Game methodologies, and visualization practices for performance excellence are highly recommended. Abundant material can be found in books and on websites by Gallwey, Green, and Gorrie (as previously cited), in Micahel Colgrass’ My Lessons with Kumi, in Carrol McLaughlin’s Dr. Carrol’s Power Performance, and in other resources in the Recommended Reading at the end of this Introduction. We can conclude from the above that four important components are of paramount importance in experiential learning: 1. having a clear awareness goal or learning objective in mind (either as articulated by the teacher or in the mind of the student), 2. being

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aware of all feedback (visual, auditory, and kinesthetic) and aspects of the experience, 3. avoiding or reducing all forms of mental and physical interference, and 4. trusting in the wisdom of the body, especially through cloning, to learn the intended skill or piece of music. As for goal clarification, always keep in mind the game of darts. When playing, one makes a lot more “misses” than “bull’s-eyes.” Yet one doesn’t get better at making misses (even though it may seem that one is “practicing” misses), because one’s goal is simply to make a bull’s-eye! The role of the teacher should be to remove all obstacles that interfere with natural learning and making those bull’s-eyes, and then to guide the student to an awareness of the present experience. This awareness includes sensitivity to all visual, auditory, and kinesthetic body sensations and an honest acceptance of what is happening so that learning is free to take place. See William Westney’s The Perfect Wrong Note: Learning to Trust Your Musical Self in Recommended Reading at the end of the Introduction for his provocative thoughts on “honest mistakes” and trusting oneself. John Holt’s statements lambasting the educational system point to fear of failure as the primary obstacle interfering with natural learning. This fear of failure is easily instilled in the student’s mind by results-oriented expectations. These expectations may be conscious, unconscious, or both, but their existence is manifested in the reduction of learning (and performing) potential. Teachers can instill a fear of failure with the type of instructions they give to the student. A simple statement like “Relax your grip and try again to play that roll smoother” is full of result expectations. The teacher should avoid telling the student exactly how to “do” something with lots of what Tim Gallwey calls “Do Instructions.” The “do” expectations invariably instill some degree of fear of failure and result in a reduction of learning (or performance). Instead, instructions should be given that lead the student into an awareness of the activity by paying attention to the visual, auditory, and kinesthetic feedback. These “Awareness Instructions” (as Gallwey calls them) foster optimum learning, because they are not results-oriented and are relevant and easy to comprehend. A rephrasing of the above “Do Instruction” to an “Awareness Instruction” might be “What happens if you loosen up the grip between your thumb and index finger and play a roll?” The teacher must remember that the body does not understand or learn from language instructions, but does understand and learn from experience and awareness. In The Pianist’s Talent, Harold Taylor states, “Experience, training, environment, in fact all aspects of existence contribute to the manifestation or the inhibition of one’s potentialities.2 Even with conscious application of creative teaching techniques and performance awareness, we still experience various types of mental and physical interference that inhibit our potentialities. Coping with this interference entails acknowledging and accepting it as it occurs, and consciously diverting one’s creative productive energies and thoughts away from it. Various concentration exercises, which serve as diversion techniques, have proven useful in learning and performance. A favorite strategy is simply to acknowledge “what is” in the moment by thinking “Yep” when things are going well and “Oops” when a mistake occurs. A favorite phrase of Michael Colgrass’ is “Nothing’s happened, something is about to.” A former university colleague, Dr. Carrol McLaughlin (author of Dr. Carrol’s Power Performance), simply says “Next” to welcome the next moment. Common traits of these techniques include: 1. keeping one’s thoughts and actions in the present moment by avoiding reflective, judgmental thoughts of the past or future (reflecting on past mistakes or successes reduces, and can eliminate, any chance for awareness of the present experience; thinking too much about the future, such as an approaching difficult passage, creates results-expectations away from the present moment and can generate self-doubt about one’s playing), and 2. occupying or distracting the interfering thinking mind (called “Self I” in Tim Gallwey’s Inner Game philosophy, and V for volition—“the conscious ego’s will to perform action”—by Bonpensiere two decades earlier) to the extent of tricking it into concentrating on some aspect of the activity that is easy, yet still relevant to the activity (called the “Doctrine of the Easy” in Gallwey’s Inner Game philosophy). This distraction results in an increase of awareness to the feedback of “what is,” which then allows for the optimum functioning

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of one’s natural ability (called “Self II” by Gallwey, and V2 for volition 2—“the vegetative soul, which sees to it that the body does all the hundreds of things that have to be done, if the action is to be carried out”—by Bonpensiere). Suggested applications of these techniques are presented throughout this text and on the companion videos. The specific instructions and video demonstrations are designed to guide the student into an increased awareness of the learning and performance experiences and to reduce interference from results-oriented expectations. Further knowledge can be gained through study of the writings and ideas of Tim Gallwey, Luigi Bonpensiere, Eloise Ristad, Jon Gorrie, William Westney, Margaret Elson, Thomas Sterner, Larry Snyder, Barry Green, Michael Colgrass, Carrol McLaughlin, Joseph O’Connor, Don Greene, Anders Ericsson, Daniel Coyle, and others listed under Recommended Reading at the end of this Introduction. Lastly, the more knowledge and understanding the teacher (called “director” or “directress” in Montessori philosophy––the teacher directs the student to the next appropriate experience) and student have about the scientific psychophysical and mind-body processes involved in the acquisition of musical skills, the better. When teaching percussion, we need to direct our conscious efforts to the development of the entire psychophysical system, not merely to the structure and function of the physical playing apparatus. An understanding of the interaction of the brain (central nervous system), body, and instrument will aid the teacher in guiding the student into awareness learning experiences. Adoption of the scientific principles of the structure and function of the central nervous system (as expounded in Tone Deaf and All Thumbs? by Frank R. Wilson and in The Art of Piano Playing by George Kochevitsky) will enable the percussion teacher to understand, in simplest form, that the performance of a motor skill involves a chain of stimuli and responses that occur sequentially in what is called a ballistic movement. The sequence is: visual stimulus (the note sign) auditory stimulus (the inwardly heard note) anticipation of motor act motor act resulting in actual sound auditory perception and evaluation of the actual sound.3 The understanding of these scientific facts has several ramifications for teaching percussion that are built into the consistent playing approach presented throughout this text. For example, it is recommended that fundamental strokes be developed on an open ringing snare drum (as opposed to a practice pad) and on low marimba bars, in order to allow for the occurrence and enhancement of the auditory stimulus—the inwardly heard note—and the auditory perception and evaluation of the actual sound in this sequence of stimuli and response. Comments throughout the text and on the videos are based on an awareness of this entire stimulus-and-response sequence with regard to all aspects of practicing and performance. Another form of neurophysical feedback exists in the form of proprioceptive sensations (self-perceiving, inner body tissue stimuli, as in the muscles and tendons, that are conveyed to our central nervous system through movements of parts of our bodies). When one is aware of these and other types of neurophysical feedback one can then better understand, for example, that the initial development of a good touch and, later, of natural velocity on keyboard percussion instruments is greatly contingent upon employing an exaggerated full-stroke mallet height and slow proprioceptive awareness in the beginning stages of practice and, later, consciously lowering mallet height for appropriate stroke height efficiency. Furthermore, a sensitive awareness and synthesis of kinesthetic experiences (sensations perceived from movement, position, and tension in parts of the body) and other exteroceptive sensations (visual, auditory, tactile/touch, stereognostic/shape, baric/ weight, or chromatic/color) facilitate the learning and development of playing skills. Body poise and postural use play a paramount role in achieving optimum learning and performance potential. Many piano pedagogues have cited the importance of proper poise and movement at the instrument: Frederic Chopin, Franz Liszt, Josef Lhevinne, Artur Schnabel, and Abby Whiteside, among others. Harold Taylor, in his book The Pianist’s Talent, goes so far as to define talent as “the capacity for co-ordination” and declare that “posture is therefore the key to talent.”4 He concludes that “the total posture is the determining factor in the pattern of behavior, and without any alteration

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in the posture there can be no improvement in the capacity for co-ordination.”5 Taylor supports his revelation with the teachings of the French pianist Raymond Thiberge, the work of F. M. Alexander, and the superb examples of the union of poise and coordination seen in photos of such performers as Sergei Rachmaninoff, Ferruccio Busoni, and Anton Rubinstein. Michael Gelb, in Body Learning, An Introduction to the Alexander Technique, recognizes the connection between poise and prodigious performance with the inclusion of a photograph of Arthur Rubinstein at the piano as a superb example of poise in both performance and everyday life.6 Max Roach, Elvin Jones, George Marsh, and other legendary drum set artists likewise portray such poise in performance. The study and practice of principles such as the Alexander Technique, the Feldenkrais Method, t’ai chi chuan or other martial arts, yoga, autogenic relaxation, and other mindful meditation increases sensitivity and kinesthetic awareness and improves body poise and postural use. This improved body awareness and use contribute to a balanced integration of the whole body and mind, which can result in optimum performance (with greater natural ease and relaxation) and heightened creativity, awareness, and satisfaction. See Recommended Reading at the end of the Introduction. Suggestions and comments regarding instrument setup and stance are offered throughout this text and on the videos to aid in promoting good body-instrument relationships. Phil Farkas, in his celebrated The Art of Horn Playing, states, “Practice on a brass instrument is done by the ‘trial and error’ method…that of learning, or intuitively finding, the right way to play a passage by process of elimination.”7 As in the example of a child learning to walk, it is clear that what really takes place is learning through experiential awareness, or “trial and learning” more than “trial and error.” We learn from the “error” but we learn, or can learn, as much or more from paying attention to all aspects of the “trial”—all that happens during the activity of playing. Furthermore, it is not so much the positive-result intention of a given exercise that induces learning (that is, which method book is used in teaching) but the awareness of all mind-body experiences while doing the exercise. Indeed, our intuition, trust in the wisdom of our bodies, and conscious awareness of the experience are our most natural, efficient, and powerful teachers. Numerous photographs and specific descriptions in the text and demonstrations on the videos show how the particular grip, stroke, or exercise should be executed and how to do it correctly. The teacher should realize that these are included purely for clarification of an area of correctness and are intended to be adapted, with much flexibility, to suit each individual student’s idiosyncrasies in hand size, muscle flexibility, capacity for coordination, and so on. Assimilation of new percussion concepts and techniques will prove gratifying to both teacher and student when presented with awareness instructions that are rich in visual, sound, and sensory imagery, contain metaphorical explanations and comparisons, and use abundant demonstrations (for auditory, kinesthetic, and visual stimulation and concept clarification) together with imitation by the student. Many other aspects of the psychophysical relationships involved in all levels of teaching and performance can be acquired through selected reading. Optimum learning and performing potential will be realized if the indivisibility of mind and body is recognized and learning through experiential awareness is encouraged.

■ RECOMMENDED READING Alcantara, Pedro de. Indirect Procedures, A Musician’s Guide to the Alexander Technique (New York: Oxford, 1997). Andreas, Connirae and Steve Andreas. Change Your Mind and Keep the Change (Moab, UT: Real People Press, 1987).

Bandler, Richard. Using Your Brain — For A Change: NeuroLinguistic Programming. Ed.Connirae Andreas and Steve Andreas (Moab, UT: Real People Press, 1985). http://www .realpeoplepress.com/home.html.

Andreas, Connirae and Steve Andreas. Heart of the Mind (Moab, UT: Real People Press, 1989).

Bandler, Richard and John Grinder. The Structure of Magic, 2 vols (Palo Alto, CA: Science and Behavior Books, Inc., 1975–76).

Andreas, Connirae with Tamara Andreas. CORE Transformation, Reaching the Wellspring Within (Moab, UT: Real People Press, 1994).

Beeching, Angela Myles. Beyond Talent: Creating a Successful Career in Music (Oxford: Oxford University Press, 2005).

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Bonpensiere, Luigi. New Pathways to Piano Technique: A Study of the Relations Between Mind and Body with Special Reference to Piano Playing (New York: The Philosophical Library, 1953). Booth, Eric. The Music Teaching Artist’s Bible :Becoming a Virtuoso Educator (Oxford: Oxford University Press, 2009). Brennan, Richard. The Alexander Technique, Natural Poise for Health (New York: Barnes & Noble, Inc., 1991). Bretto, Charlotte C., Judith Delozier, John Grinder, and Silvia J. Topel, Ed. Leaves Before the Wind (Bonny Doom, CA: Grinder, Delozier & Associates, 1991). Bronson, Po and Ashley Merryman. Top Dog, The Science of Winning and Losing (New York: Twelve, Hachette Book Group, 2013). Bruser, Madeline. The Art of Practicing, A Guide to Making Music From the Heart (New York: Bell Tower, 1997). Buyer, Paul. Marching Bands and Drumlines, Secrets of Success from the Best of the Best (Galesville, MD: Meredith Music, 2009). _______. Working Toward Excellence, 8 Values for Achieving Uncommon Success in Work and Life (New York: Morgan James Publishing, 2012). Caldwell, Robert. The Performer Prepares (Dallas: Pst...Inc., 1990). Chase, Mildred. Improvisation, Music From The Inside Out (Berkeley, CA: Creative Arts Book Co., 1988). _______. Just Being at the Piano (Berkeley, CA: Creative Arts Book Co., 1985). Colgrass, Michael. My Lessons with Kumi, How I Learned to Perform with Confidence in Life and Work (Moab, UT: Real People Press, 1979). www.michaelcolgrass.com. Cook, Gary D. Teaching Percussion (New York: Schirmer Books, 1988). Cook, Gary D. Teaching Percussion, 2nd ed. (New York: Schirmer Books, 1997). Cook, Gary D. Teaching Percussion, 3rd ed. (Belmont, CA: Thomson/Schirmer, 2006). Coyle, Daniel. The Talent Code (London: Arrow Books, Penguin Random House, 2010). Crabtree, Philip D. and Donald H. Foster. Sourcebook for Research in Music (Bloomington: Indiana University Press, 1999). Csikszentmihalyi, Mihaly. Flow, The Psychology of Optimal Experience (New York: Harper & Row, 1990). DeLozier, Judith and John Grinder. Turtles All the Way Down: Prerequisites to Personal Genius (Bonny Doom, CA: Grinder, DeLozier & Associates, 1987). Dilts, Robert. Applications of Neuro-Linguistic Programming: A Practical Guide to Communication, Learning, and Change (Cupertino, CA: Meta Publications, 1983). Dunsby, Jonathan. Performing Music, Shared Concerns (New York: Oxford, 1995). Elson, Margaret. Passionate Practice: The Musician’s Guide to Learning, Memorizing, and Performing (Oakland, CA: Regent Press, 2002). Ericsson, Anders and Robert Pool. PEAK, Secrets from the New Science of Expertise (New York: Houghton Miffin Harcourt Publishing Co., 2016). Famularo, Dom. The Cycle of Self Empowerment (New York: Wizdom Enterprises, 2000). Farkas, Philip. The Art of Musicianship (Atlanta: Wind Music Publications, 1976).

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Frieberg, Samuel. The Complete Pianist–Body, Mind, Synthesis (Metuchen, NJ: Scarecrow Press., Inc. 1993). Gallwey, W. Timothy. The Inner Game of Golf (New York: Random House, 1981, 2008 Revised edition). _______. The Inner Game of Tennis (New York: Random House, 1974). _______. Inner Tennis, Playing the Game (New York: Random House, 1976). _______. The Inner Game of Work (New York: Random House, 2000). Gallwey, W. Timothy and Bob Kreigel. Inner Skiing (New York: Random House, 1977). http://www.theinnergame.com /index.html. Gardner, Howard. The Disciplined Mind, What All Students Should Understand (New York: Simon & Shuster, 1999). ______. Frames of Mind (New York: BasicBooks, 1983). ______. Multiple Intelligences: The Theory in Practice (New York: BasicBooks, 1993). http://www.thirteen.org/edonline /concept2class/month1. Gawain, Shakti. Creative Visualization and Creative Visualization Workbook (New York: Bantan Books, Inc., 1978 and 1990). Gelb, Michael. Body Learning: An Introduction to the Alexander Technique (London: Aurum Press, 1981). Gordon, Edwin E. Learning Sequences in Music. 1993 ed. (Chicago: GIA Publications, 1993). Gorrie, Jon. Performing in the Zone, Unleash Your True Performance Potential (Create Space Independent Publishing Platform, www.thezonebook.com, 2009). Green, Barry. The Inner Game of Music Video with Eugene Corporon, et al. (Madison: The University of Wisconsin, 1988, Clinics on Cassette, 1990). _______. The Inner Game of Music Workbook for Band with Eugene Corporon (Chicago: GIA Publications, 1991). ______. The Inner Game of Music Workbook for Full Orchestra with Margery Deutch (Chicago: GIA Publications, 1992). ______. The Inner Game of Music Workbook for Piano with Phyllis Lehrer (Chicago: GIA Publications, 1994). ______. The Inner Game of Music Workbook for Solo Instruments, 2 vols. (Chicago: GIA Publications, 1993). ______. The Inner Game of Music Workbook for Strings with Gerald Doan (Chicago: GIA Publications, 1992). ______. The Inner Game of Music Workbook for Voice with Donna Loewy (Chicago: GIA Publications, 1994). ______. The Mastery of Music, Ten Pathways to True Artistry (New York: Broadway Books, 2003). Green, Barry and W. Timothy Gallwey. The Inner Game of Music (Garden City, NY: Anchor Press/Doubleday, 1986). Green, Barry and James Hart. The Inner Game of Music Solo Workbooks. Vols. I–IV. (Chicago: GIA Publications, 1996). Greene, Don. Performance Success–Performing Your Best Under Pressure (New York: Routledge, 2002). (https:// peakperformancetrainingschool.com) Grindea, Carola. Tensions in the Performance of Music: A Symposium, 6th revised edition (London: Kahn & Averill, 1998) Grinder, John and Richard Bandler. Frogs into Princes: Neuro-Linguistic Programming™ (Moab, UT: Real People Press, 1979).

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Havas, Kato. Stagefright, Its Causes and Cures with Special Reference to Violin Playing (London: Bosworth & Co., Ltd., 1973). Herrigel, Eugen. Zen in the Art of Archery (New York: Random House/Vintage Books, 1971). _______. The Method of Zen (New York: Random House/Vintage Books, 1974). Highstein, Ellen. Making Music in Looking Glass Land, A Guide to Survival and Business Skills for the Classical Musician, 4th edition (New York: Concert Artists Guild, 2003). Hoeft, Jen. FUNdamental Fitness, Playground Exercises for Grownups (Nashville: Read Publishing, 2004). Holly, Rich. Majoring in Music: All the Stuff You Need to Know (Galesville, MD: Meredith Music, 2009). Holt, John. How Children Fail (New York: Dell Publishing Co., 1964). _______. How Children Learn (Harmondsworth, Eng.: Penguin Books, 1972). _______. Never Too Late (New York: Delacorte Press, 1978). Houston, Jean. The Possible Human: A Course in Extending Your Physical, Mental, and Creative Abilities (Los Angeles: J. P. Tarcher, Inc., 1982). _______. The Search for The Beloved, Journeys in Sacred Psychology (Los Angeles: J. P. Tarcher, Inc., 1987). Ingalls, Joan S. The Reframing of Performance Anxiety, A Constructivist View (Port Jefferson Station, NY: Mind Plus Muscle, 1994). Jacobson, Sid. Meta-Cation: Prescriptions for Some Ailing Educational Processes, Vol. I (Cupertino, CA: Meta Publications, 1983). _______. Meta-Cation: New Improved Formulas for Thinking about Thinking, Vol. II (Cupertino, CA: Meta Publications, 1986). ________. Meta-Cation: Powerful Applications for Strong Relief, Vol. III (Cupertino, CA: Meta Publications, 1986). Janssen, Jeff. Winning the Mental Game (video and workbook) (Tucson: Jeff Janssen, n.d.). Johnston, Philip. The Practice Revolution (Pearce ACT, Australia: PracticeSpot Press 2007). Klickstein, Gerald. The Musician’s Way: A Guide to Practice, Performance, and Wellness (New York: Oxford University Press, 2009). Kochevitsky, George. The Art of Piano Playing: A Scientific Approach (Princeton, NJ: Summy-Birchard Music, 1967). Lamb, John. Anatomy of Drumming (San Bernardino, CA: John Lamb, 2016). Lardon, Michael. Finding Your Zone, Ten Core Lessons for Achieving Peak Performance in Sports and Life (New York: Penguin Group, 2008). Lazarus, Arnold. In The Mind’s Eye (New York: The Guildford Press, 1984). Loehr, James. The New Toughness Training for Sports (New York: Penguin Books, 1995). Maltz, Maxwell, MD. Psycho-Cybernetics (Englewood Cliffs, NJ: Prentice-Hall, Inc., 1960). Mann, Stanley. Triggers, A New Approach to Self-Motivation (Englewood Cliffs, NJ: Prentice-Hall, Inc., 1987). McCluggage, Denise. The Centered Skier, rev. ed. (New York: Bantam Books, 1983).

McLaughlin, Carrol. Dr. Carrol’s Power Performance (Tucson: IntegrityInk.US.LLC, 2008). https://www.harp.com /product/power-performance-book/ Murphy, Shane. The Achievement Zone (New York: Berkley Book, 1997). Nagel, C. Van, Edward J. Reese, MaryAnn Reeve, and Robert Siudzinski. Megateaching and Learning: Neuro-Linguistic Programming Applied to Education, Vol. I. (Portland, OR: Metamorphous Press, 1985; originally published by Indian Rock Beach, FL: Southern Institute Press, Inc., 1985). Niemi, Patti. Sticking it Out: From Juilliard to the Orchestra Pit, A Percussionist’s Memoir (Toronto: ECW Press, 2016). O’Connor, Joseph. Not Pulling Strings, An Exploration of Music and Instrumental Teaching Using Neuro-Linguistic Programming (Portland, OR: Metamorphous Press, 1987). POP: buy on Internet. O’Connor, Joseph and Ian McDermott. Principles of NLP (San Francisco: Thorsons/HarperCollins Publishers, 1996). O’Connor, Joseph and John Seymour, Introducing NLP (San Francisco: Conari Press, 2011). Ostrander, Sheila and Lynn Schroeder. Superlearning (New York: Dell Publishing Co., 1981). Ostrander, Sheila and Lynn Schroeder. Supermemory (New York: Dell Pub. Co., 1990). Palladino, Lucy Jo. Find Your Focus Zone (New York: Free Press/ Simon & Schuster, 2007). Parent, Joseph. Zen Golf (New York: Doubleday/Random House, 2002). Paull, Barbara and Christine Harrison. The Athletic Musician, a guide to playing without pain (Lanham, MD: The Scarecrow Press, Inc., 1997). Petrella, Nick and Diane. The Musician’s Toolbox, Thoughts on Teaching and Learning Music (www.themusicianstoolbox.com, 2005). Reubont, Dale. Anxiety and Musical Performance (On Playing the Piano from Memory) (DaCapo Press, 1985). Ristad, Eloise. A Soprano on Her Head (Moab, UT: Real People Press, 1982). Salmon, Paul G. and Robert G. Meyer. Notes From the Green Room (New York: Lexington Books, 1992). Sand, Barbara Lourie. Teaching Genius Dorothy DeLay and the Making of a Musician (Portland: Amadeus Press, 2000). Sandor, Gyorgy. On Piano Playing: Motion, Sound and Expression (New York: Schirmer Books, 1982). Schafer, R. Murray. The Tuning of the World (New York: Alfred A. Knopf, 1976). Schneiderman, Barbara. Confident Music Performance, The Art of Preparing (MMB Music, Inc., 1991). Shoemaker, Fred. Extraordinary Golf: The Art of the Possible (New York: Berkley Publishing Group, 1996). Snyder, Larry. “The Adaptation of Timothy Gallwey’s “The Inner Game of Tennis” to Percussion Keyboard Performance and Teaching.” (DMA Dissertation, University of Illinois, 1982). Sterner, Thomas M. The Practicing Mind, Bringing Discipline and Focus Into Your Life (Wilmington: Mountain Sage Publishing, 2006). Storr, Anthony. Music and the Mind (The Free Press/Macmillan, 1992).

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Syed, Matthew. Bounce (New York: HarperCollins Publishers, 2010). Taylor, Harold. The Pianist’s Talent (New York: Taplinger Publishing Co., 1979). Triplett, Robert. Stagefright, Letting it Work for You (Nelson Hall, 1983). Usher, Nancy. Your Own Way With Music, A Career and Resource Guide (New York: St. Martin’s Press, 1990). Waitzkin, Josh. The Art of Learning, An Inner Journey to Optimal Performance (New York: Free Press/Simon & Schuster, 2007).

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Whitaker, Charlotte and Donald Tanner. But I Played it Perfectly in the Practice Room (Lanham, MD: University Press of America, 1987). Wilson, Frank R. The Hand, How Its Use Shapes The Brain, Language, and Human Culture (New York: Vintage Books/Random House, 1999). ______. Tone Deaf and All Thumbs?: An Invitation to Music-Making for Late Bloomers and Non-Prodigies (New York: VikingPenguin, Inc., 1986).

Werner, Kenny. Effortless Mastery—Liberating the Master Musician Within (New Albany:Jamey Abersold Jazz, Inc., 1996).

Wilson, Frank R. and Franz L. Roehmann, Ed. The Biology of Music Making: Proceedings of the 1984 Denver Conference (St. Louis: MMB Music, 1988).

Westney, William. The Perfect Wrong Note, Learning to Trust Your Musical Self (Pompton Plains, NJ: Amadeus Press, 2003).

Workman, Darin “Dutch”. Drummer’s Injury Book (New York: Taylor & Francis Books, 2005).

URL RESOURCES Any of these links will take you to a many, many more resources: Alexander Technique, The Complete Guide—http://www .alexandertechnique.com.

Paul Buyer’s website, books and articles— http://www .paulbuyer.com.

The American Society for the Alexander Technique—http://www .amsatonline.org.

Michael Colgrass’ website, books, selected writings, blogs— www.michaelcolgrass.com.

Auditionhacker, Rob Knopper’s website–– http://www .robknopper.com/auditionhacker

The Feldenkrais Store—http://www.achievingexcellence.com.

The Bulletproof Musician courses, resources, coaching—http:// www.bulletproofmusician.com.

Jon Gorrie’s Performing in the Zone website—www.thezonebook.com. Don Greene’s Peak Performance Training School––https:// peakperformancetrainingschool.com

Many excellent online and electronic resources and suggested further reading: The Inner Game/Tim Gallwey—http://theinnergame.com.

NLP Comprehensive—http://www.nlpco.com.

Metamorphous Press, books on NLP—https://openlibrary.org/ publishers/Metamorphous_Press.

Real People Press, excellent NLP books, training videos, CDs—http://www.realpeoplepress.com.

Multiple Intelligences—http://www.thirteen.org/edonline /concept2class/mi/.

The Practice Spot Press—www.practicespot.com.

Multiple Intelligences official website—http:// multipleintelligencesoasis.org. The Musician’s Toolbox website—www.themusicianstoolbox.com.

The Practicing Mind, Thomas M. Sterner’s website— www.thepracticingmind.com. Frank Wilson’s article, Mind, Muscle, and Music—http://www .bandworld.org/pdfs/SPRINGMindMuscleandMusic.pdf/.

Select YouTube Channels: videos, playlists, channels, discussions @percussion—100 Podcasts as of July 6, 2017, conversations with guest artists on percussion history, performance, and pedagogy—https://www.youtube.com/channel /UCXQGSZbZ8sF7LAiVtGmUZBg—Casey Cangelosi host with Ben Charles, Laurel Black, Megan Arns and guests— Cangelosi’s website: https://www.youtube.com/user /CaseyCangelosi Black Swamp Percussion educational videos—https://www .youtube.com/user/blackswampperc Percussion Axiom TV—discussions of contemporary percussion performance and pedagogy—Thomas Burritt and guests,

performances and discussions—https://www.youtube .com/user/tburritt1971—Burritt’s website: http://www .thomasburritt.com Vic Firth educational videos—https://www.youtube.com/user /vicfirthdrumsticks William James Percussion—St. Louis Symphony—https://www .youtube.com/user/WJPercussion Rob Knopper – Met Orchestra, percussionhacker and auditionhacker—https://www.youtube.com/channel/UCLKK cZJyZjUxBihfiHQunRw

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Thirty Typical Percussion Related FaceBook Pages and many more –– search any manufacturer, artist, group, topic, etc. All Marimba Players

Orchestral Percussion Talk

The Art of Drumming

PAS Health and Wellness

California Percussion Rental

A Percussionists Handbook

Cloyd Duff Appreciation Society

Percussive Arts Society (Any PAS state chapter)

Cloyd Duff Timpani Masterclass

Percussion Discussion

Cool Stuff for Drummers

The Percussion Room

Custom Drum Builders

Steve Marimba Chavez

Drum Teachers’ Lounge

Timpani and Percussion Swap Shop

Fred D. Hinger Appreciation Society

Timpani Iconography

I Teach Percussion

Timpani Shop Talk

Ludwig Drum Collectors

University Percussion Networking

Marimba and Xylophone History

University Percussion Teachers

Marimba Nandayapa

Vibe Summit

Marimba.org

Vibraphone Club

Musical Theater Percussion and Drum Talk

Vibraphone Literature Headquarters

■ NOTES 1.

John Holt, How Children Fail (New York: Dell Publishing Co., 1964), p. 167.

2.

Harold Taylor, The Pianist’s Talent (New York: Taplinger Publishing Co., 1979), p. 16.

3.

George Kouchevitsky, The Art of Piano Playing: A Scientific Approach (Princeton, NJ: Summy-Birchard Music, 1967), pp. 30–31.

4.

Taylor, op. cit., p. 25.

5.

Ibid., p. 22.

6.

Michael Gelb, Body Learning: An Introduction to the Alexander Technique (London: Aurum Press, 1981), p. 24.

7.

Phil Farkas, The Art of Horn Playing (Princeton, NJ: SummyBirchard Music, 1956), p. 30.

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

Ab o u t

the

A u th o r

Gary Cook is Professor Emeritus of Music in the School of Music at the University of Arizona in Tucson, where he founded the percussion studies program in 1975 and was Director of Percussion until retiring in 2008. He has been Artist in Residence at the University of Nevada Las Vegas since 2008 where he teaches graduate seminars in percussion. He began his college teaching career at Louisiana Tech University in 1972. Well known as the author of Teaching Percussion—its three editions used worldwide—Cook was Timpanist and Principal Percussionist with the Tucson Symphony Orchestra for over two decades, and he has held similar posts over the years with the Arizona Opera and other orchestras. From 1994 to 1999, he served as Director of the University of Arizona School of Music and Dance. In the summers, Cook has been Principal Percussionist with the Crested Butte Music Festival in Colorado and has performed with other summer music festivals in Colorado and Nevada. He enjoys commissioning new music for percussion and chamber music and voice combinations, and he has premiered and recorded many commissions. His 2009 CD on Albany Records, Towers of Power, with Jonathan Haas features the wind ensemble version of the Philip Glass Concerto Fantasy for Two Timpanists and Orchestra. From 2007 to 2008, Cook was President of the international professional percussion organization, Percussive Arts Society (PAS), and he received the PAS Lifetime Achievement in Education Award in 2011. He has performed at PAS International Conventions (PASIC) and at festivals in Europe. A native of Michigan, Professor Cook holds degrees from the University of Michigan, and he has traveled widely in the U.S., Europe, Scandinavia, Trinidad, Bali, and Chile studying, teaching, and performing. He was recognized for outstanding teaching in the University of Arizona College of Fine Arts as the first recipient of the coveted Putnam Excellence in Teaching Award in 1990, the James Anthony Sustained Excellence in Teaching Award in 2005, and the School of Music’s Maestro Award for student achievements in 2005. Professor Cook is a contributing author to such publications as Percussive Notes and the Encyclopedia of Percussion. He is a proud endorser of Sabian cymbals and is recipient of the Sabian Lifetime Achievement Award. He is most proud of his former students, who hold distinguished professorships in colleges and universities around the U.S. and in Trinidad, perform professionally around the world, and are successful teachers, administrators, and performers in all areas of music and the arts.

■ About the Contributors Robin Horn (http://www.robinhorn.com) exemplifies the complete musician, with skills as a live and studio drummer, composer, arranger, producer, recording artist, electronic percussion programmer and demonstrator, clinician, and educator. His advanced understanding of electronics has enabled Horn to expand the traditional boundaries surrounding most percussionists. Utilizing all facets of music—including rhythm, melody and harmony—he brings music to life from behind his drum set. Horn has performed around the world extensively with his father, the late renowned jazz flutist Paul Horn. As a widely versatile drummer, he has performed or recorded with Airto, Brian Bromberg, Michael Bruce (Alice Cooper), David Friesen, Frank Gambale, Andy Griffith, James Ingram, The Jets, Patrick Moraz, Aaron Neville, Linda

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Ronstadt, John Stowell, Ben Vereen, and many, many others. As a recording artist, he has two CD releases: “Fast Lane” and “Collection.” Horn has been an Artist in Residence at the University of Arizona since 1994, teaching advanced drum set and electronic percussion applications part time. He also has been a top clinician for Yamaha from 1988 to the present. Dr. Scott Deal (http://www.scottdeal.net) resides in Indianapolis, Indiana, where he is a Professor of Music Technology and Percussion and the Director of the Donald Tavel Arts and Technology Research Center at Indiana University–Purdue University Indianapolis. He also serves as artist-faculty at the Summer Institute for Contemporary Performance Practice at the New England Conservatory. He was a Professor of Music at the University of Alaska Fairbanks from 1995 to 2007, where he founded the percussion and technology programs and was a Research Affiliate at the Arctic Region Supercomputing Center. Dr. Deal was formerly the Principal Percussionist of the Fairbanks Symphony and the Timpanist of the Arctic Chamber Orchestra. A specialist in melding music with new technology, he has been a featured soloist at the Sub Tropics New Music Festival; May in Miami; the SEAMUS International Electronic Music Conference; the Northwest Percussion Festival; London’s Almeida Theatre; the Arena Stage in Washington, DC; the ALTERNATIVA Festival in Moscow, Russia; and various Percussive Arts Society (PAS) Days of Percussion and International Conventions. Continually inspired by new and emerging artistic technologies, Dr. Deal is the founder of the Telematic Collective—an Internet performance group comprising artists and computer specialists. He is a founding member and percussionist for the computeracoustic trio Big Robot. Dr. Deal was also the president of the PAS Alaska Chapter, and is a frequent contributor of articles and service to PAS and MENC (National Association for Music Education). Dr. Michael B. Vercelli (http://www.michaelvercelli.com) is the director of the World Music Performance Center at West Virginia University, where he also directs summer study-abroad courses to Ghana and Brazil that focus on music, dance, and cultural immersion. While well-versed in the classical percussion repertoire, Dr. Vercelli’s specialty lies in non-Western instruments. He holds a Doctor of Musical Arts degree in Percussion Performance with a minor in Ethnomusicology from the University of Arizona. Dr. Vercelli’s research focuses on the transmission and performance practice of the percussive traditions of Africa and African Diaspora. He has conducted long-term fieldwork on the xylophone traditions of Ghana and has studied in Brazil, Uganda, Cuba, and Bali. He has received many awards for both his performance and his study of indigenous music, and he has released recordings with master Ghanaian xylophonists Tijan Dorwana and Bernard Woma. Dr. Vercelli has presented his research at the Society for Ethnomusicology and the Percussive Arts Society International Convention. Todd Hammes (www.ToddHammes.com) is an eclectic percussionist and composer who creates meaningful connections between himself, his students, his colleagues, and audiences everywhere. Currently residing in Madison, Wisconsin, he teaches, composes, and performs with an ever-widening network of friends and musicians. He regularly performs with Ben Sidran, the Wisconsin Chamber Orchestra, and the Madison Symphony. He also teaches percussion and world music at the University of Wisconsin– Madison and Edgewood College. Hammes began performing with the Tucson Symphony Orchestra in 1989 and, in 2007, started work on a Doctor of Musical Arts degree at the University of Wisconsin– Madison, as a Paul Collins Wisconsin Distinguished Graduate Fellow under the guidance of Dr. Anthony DiSanza. While pursuing the degree, he was co-director of the World Percussion Ensemble and created a tabla class, and he became a mainstay of the percussion faculty upon graduation in 2010.

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Hammes has extensively studied classical, chamber, and western contemporary music—earning a BM from the University of Arizona in 1992—as well as the music of the world. He is a disciple of the late Pandit Sharda Sahai of Benares, India—widely considered one of the world’s greatest tabla players—and he studied with master hand drummer Glen Velez, as well as with notable Latin, African, and Middle Eastern musicians. As a composer, Hammes has received many commissions for original music. These include works for dance, theater, and the concert hall. As a teacher, Hammes leads teacher training programs, clinics, and master classes in hand drumming, focusing on community and the universal similarities between people. Hammes’ recordings include his solo CD “Thoughts, Music for Percussion (Mostly)” by Todd Hammes and his Tool and Drum Ensemble. He can be heard on Sonoran Consort recordings and on more than 25 recordings of other artists. He is a World Music Artist for REMO percussion, and he uses Promark sticks and mallets. David Rodenkirch was the principal marching percussion arranger and writer for the Pride of Arizona Drumline at the University of Arizona from 1996 to 2015, and he served as the University of Arizona Director of Marching Percussion from 1996 to 2007. He is currently a special education teacher in the Lake Oswego school district in Oregon, where he lives with his family. Rodenkirch’s involvement in teaching percussion and his experience as a performing musician span over 30 years, including marching percussion instructor at Oregon State University from 2010 to 2014, as well as his involvement on the percussion staff of the Sunset Regiment Drum & Bugle Corps, serving on the staff of the University of Arizona beginning in 1990, and serving as Marching Percussion Director and Head Arranger for the Copper Bowl and Insight.com Bowl All-Star Bands. Rodenkirch has served as a clinician and percussion judge for a variety of festivals and events throughout Arizona and Oregon since 1986, and he has instructed and arranged for many high school drumlines throughout Southern Arizona. As a freelance musician, Rodenkirch plays percussion, drum set, and Zendrum. He studied at the University of Oslo, from 1992 to 1993, and at the University of Arizona, where he earned a Bachelor’s degree in Psychology (with a minor in Music) and a Master of Arts degree in Educational Psychology. From 2000 to 2008, he worked in administration at Pima Community College as the Advanced Program Coordinator. Beginning in 2004, he served as Program Manager with the Public Safety and Emergency Services Institute in Tucson, Arizona. Joe Gallegos is currently a Senior Website Designer and Developer at the University of Arizona, having served as a recording engineer at Pure Wave Audio and Allusion Studios in Tucson. He earned his Bachelor of Music in Music Theory and Composition from the University of Arizona in 1998, where he studied under renowned faculty members Daniel Asia and Tom Patterson. As an undergraduate, he spent considerable time in several university ensembles, including the Pride of Arizona Drumline and the university’s Steel Band. Gallegos has a combined 12 years of experience in performing and teaching contemporary marching and rudimental percussion at both the secondary and post-secondary levels. From 1999 to 2003, he served as Associate Director of Marching Percussion for the Pride of Arizona, and he was their Director of Marching Percussion from 2004 to 2005, before going into full-time recording studio work as an assistant audio engineer at Allusion Studios. Jeffrey M. Moore, currently Dean of the College of Arts and Humanities at the University of Central Florida, joined that faculty in 1994 as Director of Percussion Studies and is a Professor of Music in Percussion. He served as the first Director of the School of Performing Arts from 2013 to 2016 and as Music Department Chair from 2009 to 2013. Professor Moore’s instructional duties include teaching applied percussion majors, the Percussion Ensemble, and the Marimba Band. Additionally, he supervises the

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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instruction and music arranging for the Marching Knights drumline and assists in the instruction of Black Steel, the school’s steel drum band. Active in all facets of percussion, Professor Moore has performed with several major symphony orchestras and is a frequent performer of chamber music. He also performs on drum set and is an international clinician, lecturer, and soloist. He has served as the Percussion Director of the internationally acclaimed Madison Scouts Drum and Bugle Corps, and as Program Consultant and Percussion Arranger with several European, Japanese, and Indonesian drum corps and bands. He was the battery arranger for the 1999 Drum Corps Associates World Champion Syracuse Brigadiers. Professor Moore is a contributing author to the 3rd edition of Teaching Percussion, and he has published two method book and CD packages, entitled Fundamental Drumstick Control and Drumstick Control, with Alfred publications. He has served as an associate editor of Percussive Notes, the Percussive Arts Society’s scholarly journal, and is an active contributor to the Society. Dr. Jeannine Remy is a lecturer of music at the Centre for Creative and Festival Arts at the University of the West Indies (UWI) in St. Augustine, Trinidad, where she teaches steel pan, percussion, and ethnomusicology. Originally from Sturgeon Bay, Wisconsin, she holds a DMA from the University of Arizona, as well as Master’s and Bachelor’s degrees from Northern Illinois University. Prior to UWI, Dr. Remy was a tenured professor of music at Idaho State University from 1992 to 2003 and taught at the University of Wisconsin Oshkosh from 1990 to 1992. She was also the musical director and arranger for the Hatters Steel Orchestra in San Fernando in 2002 and for the Invaders Steel Orchestra in 1998 and 2000. Dr. Remy is internationally recognized for her contributions to the art of steel drum performing and arranging. She is an adjudicator for Pan Trinbago, the world governing body for steel pan. She was a recipient of a Fulbright Award in 2000, which allowed her to lecture at UWI and research the history of steel drums. Her research will culminate in the publication of a book on the history of the Invaders Steel Orchestra of Woodbrook, Trinidad. Drew Lang is Adjunct Lecturer, Marimba in the Southern Methodist University Meadows School of Music in Dallas and is the newest contributing author to the Enhanced 3rd Edition of Teaching Percussion. He performs regularly with the Dallas Opera Orchestra and the Fort Worth Symphony Orchestra, is the principal mallet player with the Dallas Wind Symphony, and is the percussionist for Casa Mañana Musicals. He played the world premiere of Fly and a newly staged version of Les Miz at the Dallas Theater Center, and he has been the regular percussionist for Broadway shows at the Winspear Opera Hall. Lang plays drum set in local symphonies, churches, and other venues, as well as with the Dallas-based rock band Scarlet Vermillion. As a performing marimba artist, Lang has commissioned and premiered works for marimba in solo, chamber, and concerto settings. An active recitalist and clinician, he appears throughout the U.S. He has premiered two concertos by G. Bradley Bodine, and he recorded David Maslanka’s Concerto for Marimba and Band with the University of Arizona Wind Ensemble and Dan McCarthy’s Concerto for Marimba, Percussion, and Synthesizers with the Meadows Percussion Ensemble. Lang was part of a consortium of eleven university percussion ensembles commissioning and performing G. Bradley Bodine’s Namaste: Concerto for Marimba and Percussion Ensemble. He has also recorded Astor Piazzolla’s Histoire du Tango with flutist Helen Blackburn on the Breckenridge Music Festival label, and he performed Eric Ewazen’s Concerto for Marimba and String Orchestra with the Festival in August 2010. He was also a guest artist at the 2016 University of North Texas Keyboard Percussion Symposium. In addition, Lang spent eight summers as principal percussionist for the Breckenridge Music Festival in Breckenridge, Colorado, and one summer as principal percussionist of the Music in the Mountains Festival in Durango, Colorado. As well as serving on the percussion faculties at Southern Methodist University and Eastfield College, Lang is director of the “Marimba Madness” summer junior high and high school percussion camp.

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Teaching Percussion with Videos

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1

c h a p t e r

General Considerations and Prerequisites

the twentieth century and now into the new millennium, composers of serious orchestral, band, and chamber music have been attracted to the inherent compositional potentialities of percussion instruments more than at any time previously in the history of music. By exploring these potentialities and writing more imaginatively and abundantly for percussion, these composers have imposed increasing demands on music organizations to provide a larger inventory of percussion instruments and more well-trained percussionists to perform on these in­struments. The average school percussionist is now likely to be called upon to perform technically and musically demanding parts that are far beyond the capabilities developed through the average school music program. To address these demands of percussion writing, today’s percussion students and teachers must adopt a system of study that develops a musical understanding of percussion instruments, their techniques, and their literature. The objectives of such a system can only be fully realized when consideration is given to all aspects of the percussionist’s education and the environment in which the study and performance occur. Too often, the standard music aptitude tests will result in a person’s being assigned to “play the drums” because he or she indicated a weakness in perceiving relative pitch or seemed to be lacking in “intelligence” or “seriousness” with regard to musical ability and study. As will be clear from the following chapters, the musical demands on the percussionists are equal to, if not greater than, the complexity of those encountered in the study of any musical instrument. Therefore, the person who undertakes the study of percussion should at least possess average musical skills and perhaps display exceptional intelligence and seriousness. The percussion student’s (and teacher’s) initial exposure to percussion study should include discussions about the historical considerations of percussion music and styles and the development of a complete theoretical understanding of music. This understanding of the rhythmic, melodic, harmonic, and structural elements in music is most naturally developed while pursuing the technical and aural study of both the drums and percussion keyboard instruments. In addition, piano study is highly recommended, although starting the percussionist first on some band or orchestra instrument other than percussion is not. If a marimba, xylophone, or vibraphone is definitely not available, then a “percussion kit” may be used that includes a drum or pad and bells. As soon as possible, the school and/or the serious student should acquire one of the larger keyboard instruments for continued study. To advance the musical and technical development of the percussionist further, solo literature should be studied and a percussion ensemble established. It is through

T

hroughout

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Chapter 1

percussion ensemble performance that the student will learn musical ensemble listening and sensitive playing habits, become familiar with a variety of percussion instruments, and be challenged technically and musically beyond the average demands of band or orchestral literature. Working with the percussion ensemble will also enable the teacher, and especially the nonpercussionist music educator, to best understand the percussion instruments and his or her percussionists. Successful percussion education and acquisition of musical concepts of performance are facilitated when the training of the percussion student n

Is based on practical and logical development of playing techniques and aural skills n Examines percussion’s heritage, literature development, and organization con­ siderations n Cultivates an aesthetic appreciation and general understanding of music n Offers the student meaningful and provocative musical experiences

n Percussion Performance and Education General Considerations Percussion writing has evolved to its present prestigious and complex level in music. Composers incorporated percussion sounds into their scores gradually, after careful experimentation and consideration over a long period. These evolutionary developments in percussion writing have resulted in increased use of percussion in music at all educational levels, from college down through elementary school band, orchestra, and small ensemble literature—with greater technical and musical demands placed on the performing school percussionist. The percussion teacher and performer need to concern themselves initially with adopting a percussion teaching and playing system that addresses these technical and musical demands and develops a knowledgeable musician. The need for a consistent playing system on all percussion instruments is primary in this era of the total percussionist. In preparation for the study of the techniques of playing, a familiarity with the instruments and their notation is essential.

Classification of Instruments A survey of the modern symphony orchestra will reveal a division of the instruments into three major families: the strings, the winds (perhaps further divided into woodwinds and brass), and the percussion. Similarly, the instruments in a concert or marching band can be categorized as the winds (again, perhaps woodwinds and brass) and the percussion. Yet while comprising one-third of the instrumental families in an orchestra and one-half of the instrumental families in a band, the instruments of the percussion section are entrusted to a very few performers. Each percussionist must possess an immediate familiarity with the many different instruments that he or she is called upon to play. This great variety of percussion instruments is commonly divided into two separate groups: those of definite pitch and those of indefinite pitch (or, as Cecil Forsyth’s Orchestration states, “musical” and “unmusical”).1 However, a more detailed examination and logical classification of this large family of instruments will yield Curt Sachs’s classification of idiophones, membranophones, chordophones, and aerophones2; this classification, then, as Reginald Brindle suggests, may be subdivided further according to possible musical characteristics, resulting in: (1) tuned instruments, (2) instruments of indefinite pitch, and (3) instruments usually considered to be of indefinite pitch but that can be tuned.3 Idiophones  The idiophones produce sounds through the vibration of their entire body. Although they are usually struck to make a sound—as is a cymbal, triangle, wood

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General Considerations and Prerequisites



block, clave, slapstick, or keyboard percussion instrument—they may be shaken, scraped, rubbed, or bowed, as is a maraca or guiro. (See Chapter 1 video: Track 1 demonstrations.) The keyboard percussion instruments, chromatic cowbells, steel drums, and authentic gongs comprise the tuned idiophone list, with most other idiophones classified as indefinite pitch even though a set of temple blocks or wood blocks or a number of graduated cymbals or triangles may be grouped in an intervallic relationship to sustain melodic ideas. The unique tonal quality or timbre of most indefinite pitch idiophones (as well as indefinite pitch membranophones) allows for a blending of their sound with pitched orchestral and band instruments without unpleasant dissonances. Membranophones  The membranophones produce sounds through the vibration

of a membrane, usually an animal skin or plastic head, stretched over a shell or bowl. There are various constructions of these drums: shells with open ends, as is the case with timbales, bongos, and some tom toms shells with ends closed by a membrane that sympathetically vibrates with the struck membrane and air chamber within the shell, as with snare drums and most bass drums and tom toms; and the closed shell or bowl of the timpani or tabla. (See Chapter 1 video: Track 1 demonstrations.) Timpani and the tabla are tuned to specific pitches and, along with the shell-less roto-toms, are clearly discernible as tuned membranophones. Most other drums are considered indefinite pitch, although many of the open-end or single-headed bongos and tom toms are capable of being tuned to definite pitches. Developments in marching percussion include multitoms and tonal bass drums that are deliberately tuned to definite pitches (see Chapter 9). However, their pitch is often unclear, and therefore they are not generally classified as tuned membranophones but indefinite pitch membranophones that can be tuned.

Chordophones  Chordophones produce sounds through the vibration of strings

stretched over or through a resonating box that helps to amplify the sound. Most chordophones are tuned and are played by striking, stroking, rubbing, or plucking, as with the cimbalom or zither, or are played by a hammer striking or plucking a string through a keyboard action, as with the piano or harpsichord. Because of this, the piano is sometimes called a percussion instrument. The lion’s roar is a common percussion chordophone. (See Chapter 1 video: Track 1 demonstration.)

Aerophones  Aerophones produce sounds through the vibration of an enclosed air column, usually set into motion by air blown across a reed or special aperture. Percussion aerophones include various kinds of train, bird, boat, and slide whistles as well as sirens, horns, wind machines, and bull roarers, the latter causing air itself to vibrate when swung overhead. Although some percussion aerophones produce a definite pitch, they are generally not classified as tuned. (See Chapter 1 video: Track 1 demonstrations.) Electrophones

Contributions by Scott Deal Another category of percussion instruments is the electronic percussions or electrophones. In addition to electronic instruments, these include the use of microphones with acoustic instruments for sound amplification, reinforcement, or to obtain unique effects when fed through complex filters, processors, mixers, and amplifiers. The growth and development of the electronic and percussion media over the last century and a half are strikingly intertwined. Their nearly simultaneous development is rooted to enormous technological innovations in the late nineteenth century that served as a catalyst for new and revolutionary musical thought. As technology progressed through the twentieth century, composers and musicians sought new forms of expression, and perhaps the most important medium that came out of this quest was noise, or un-pitched sound. Early pioneers in the use of noise as an expressive medium produced great works in both electronic and percussion genres.

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Chapter 1

Edgar Varese’s Ionization (1931) for 13 percussionists is regarded as one of the great musical masterpieces of the twentieth century. In it and his other works of the 1930s (he used the Thereminvox in Equitorial in 1943), Varese took acoustic sounds and sonorities as far as he could with the compositional materials available. With the advent of musique concrete on tape in the 1940s and electronic laboratories in the 1950s, Varese and other composers now had new composition materials. In 1954 he produced Déserts, one of his most important works, for wind instruments, percussion, piano, and electronically produced sounds on tape. Varese created his Poème Electronic for 425 loudspeakers at the Brussels Exposition in 1957, after a nearly two-decade hiatus from composing as he waited for these new musical resources. Poème Electronic is one of the landmark electronic compositions of the twentieth century. In addition to Varese’s works, John Cage’s Amores (1943), for percussion ensemble with prepared piano, is regarded as a classic, and his Imaginary Landscape series (1942–1951) is a monumental work for percussion and electronic sounds. Cage further experimented with electronics in 1960 with his Cartridge Music and used it in his lecture, “Where Are We Going and What Are We Doing?” in the same year. In addition, Karlheinz Stockhausen’s Electronic Studies (1954) became the first published score of electronic music. His Kontakte (1960) for piano, percussion, and electronic sounds on tape and his Microphonie I (1966) for amplified tam tam are examples of his style of incorporating acoustic percussion with electronics. In light of the way these two media were used in tandem, it is not surprising that electronic percussion instruments were eventually created and became an essential part of the percussionist’s tool kit. The use of electronics and percussion was generally confined to experimental music until the 1960s, when continued technological and cultural advancements paved the way for widespread musical use. The ability to build affordable high-quality electronic devices meant that many more people could create meaningful music. Consequently, electronic sound as a medium sprang forth from the culture of experimental music and spread to virtually every other genre. The first commercially accessible synthesizer was the Mini Moog synthesizer, which became very popular after Wendy Carlos recorded Switched on Bach in 1968. This album of Johann Sebastian Bach’s compositions was performed entirely on the larger and more expensive Moog synthesizer and became a huge international success. With the widespread popularity of the Mini Moog, other synthesizers became ­available commercially, so that by the 1970s many devices were in use across the spectrum of musical styles, including Classical, jazz, funk, rock, pop, and country. The first widely marketed drum synthesizer was the Moog 1130 Drum Controller. This device, introduced in 1973, gave audiences their first exposure to synthesized drums in the ­concerts of progressive rock bands such as Emerson, Lake & Palmer. Other devices, most fea­turing minimal built-in synthesizers, followed in the pre-MIDI era of the later 1970s and can be heard in much of the dance/disco music of that time, notably the Pearl ­synthetic drums, the Synares, the Syndrum, and the percussion interfaces from ­ElectroHarmonix.4 In the 1980s, as computer microprocessors became more integral to synthesizers, a computer protocol called musical instrument digital interface (MIDI) was developed to enable instruments to be connected and to work in tandem. With the advent of MIDI, many new devices came into the music market, including programmable drum ma­chines capable of playing dance beats independently and percussion controllers, which when struck would measure contact and impact velocity and send MIDI information to modules containing drum and percussion sounds. Samplers also became very popular in the 1980s. A sampler differs from a synthesizer in that it plays recorded sounds as opposed to electronically produced sounds. The Linn LM-1, built by Roger Linn in 1980, was the first drum machine to use sampled drum sounds. A host of drum machines followed, including the Linn Drum, the E-Mu Systems Drumulator, and the Roland TR-808. In 1982, the Simmons Company of the United Kingdom introduced the first digital drum set. In 1985, Roland followed Simmons Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.



General Considerations and Prerequisites

with an electronic drum kit of its own, the DDR-30. Soon, drum machines and electronic drum sets were made by Dynacord, E-Mu Systems, Kawai, Korg, Oberheim, Pearl, Sequential Circuits, and Yamaha. As manufacturers perfected the MIDI specification over the next several years, other percussion controllers came into the marketplace. In 1985 Simmons introduced the Silicon Mallet, the first commercially available mal­let configured controller. In 1986, Roland introduced the Pad-8 (later known as the Octa-Pad), a dedicated percussion controller with eight playing surfaces and a variety of MIDI controlling functions. In the early 1990s Bill Katoski, founder of the ­Massachusetts-based KAT Corporation (now called Alternate Mode), invented the MalletKAT, a mallet controller with up to a fouroctave range and in 1995 introduced the DrumKAT, a per­cussion controller very similar to the Octa-Pad and TrapKAT. In 1999 Roland introduced its V‑drums electronic drum technology to the world of hand percussion with their HPD‑15 HandSonic Hand Percussion Pad, capable of triggering 300 drum sounds by hand from 15 pads. See Scott Deal’s comments and demonstrations of the MalletKAT and DrumKAT and their use in education on the Chapter 1 video: Track 1. Also see Chapter 1 video: Track 3 by Drew Lang of new electrophones and their applications, and video and audio demonstrations of electrophones at www.alternatemode.com and www.roland.com/uk/categories/drums_percussion/. By the 1990s MIDI controllers had become very powerful and quite sophisticated in their number of functions and the degree to which they could perform according to the wishes of musicians. Aesthetically, however, many musicians and concertgoers found that MIDI percussion controllers did not measure up to the sophistication of acoustic percussion instruments in their sound and in the way they are performed, and since the late 1990s there has been a trend toward refining uses for MIDI percussion controllers. Although MIDI controllers have retreated somewhat from the concert stage in favor of acoustic instruments, they thrive in recording studios, and the MIDI protocol has become an indispensable component to the modern musician. MIDI is used as the basis for notation software programs such as Finale and Sibelius, and it is also the foundation for DAW, or digital audio workstation software. DAW software is multi-use and can record and play back musical sound sources such as samplers, synthesizers, and sound processors. These sound devices are available as standalone boxes or as software. DAW software is also capable of digital recording and sound processing, so a musician can have MIDI signals playing sound modules while simulta­ neously playing a recording of a singer or instrumentalist. Today, music technology has become so sophisticated that it becomes hard to imagine what it c­ annot do. Most of what is heard in commercial and industrial music today is produced on s­ oftware. Percussion controllers are found in almost every aspect of music performance and production, and music technology in general has become an integral part of the total music experience. Enhancing the band or orchestra classroom with percussion controllers ensures young students are receiving a realistic exposure to the music world at large. (See video demonstrations of electronic drum set in Chapter 8.)

Tone Production on Percussion Instruments The acoustical properties of percussion instruments vary greatly according to instrument size and construction. Membranophones produce sound when the membrane or head is put into vibration, usually in combination with air within the drum. They have three basic sound-producing head areas: (1) center—producing the lowest, fundamental tone, with a dry, non-ringing quality; (2) off center—producing a very low tone with much greater resonance than center; and (3) edge—producing a very ringy, light, superficial tone. Excluding timpani, this edge area is unsuitable for loud playing. These playing areas are discussed in greater detail in Chapter 2 (snare drum), Chapter 5 (timpani), and Chapter 6 (bass drum) and are demonstrated on their respective chapter’s videos. Idiophones produce sound when their bodies are caused to vibrate. Excepting keyboard instruments, most idiophones have a fundamental playing spot (sometimes re­ferred to as “sweet spot”) and other playing areas that may be struck for effect or color sounds but are not generally recognized as the best characteristic sound-producing Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Chapter 1

areas of the instrument. However, the deliberate manipulation of timbre and tone color by varying playing spots on keyboard percussion instrument bars is essential to performance with musical expression. Stick selection aside, the musical context of a passage will suggest the use of a particular playing spot to a sensitive performer. Great care must be taken to maintain the selected playing spot to achieve tonal consistency throughout the performance. (See Chapter 1 video: Track 2 demonstrations.) Basic tone production on all struck percussion instruments requires an understanding of grip and stroke. In general, if a resonant, full-sounding, or legato tone is desired, a relaxed grip and fluid stroke is employed with a stick or beater. (Although legato actually refers to the connection of notes, the term is used here in its traditional sense to convey a fully sustained, resonant tone quality. It also connotes the proper type of stroke that is fundamental to optimum technical and musical development.) On membranophones especially, the stroke is usually made in such a way that the beater is allowed to rebound off the playing surface free of any resistance in the grip or stroke. This initial legato approach to tone production (presented consistently throughout this text) will develop a flexible technique that will later enable the performer to alter the grip and stroke to varying degrees, as intended, and therefore affect the sound produced. A slight alteration in the grip or stroke can result in a sharper and dryer attack sound or, conversely, a lighter sound. The sharper attack requires a firmer grip and shorter, stiffer stroke, which together result in the beater’s remaining on the playing surface slightly longer (a fraction of a second) and therefore creating a dryer or more staccato sound. A lighter tone requires a more relaxed grip and quicker lifting of the beater from the playing surface than is obtained by allowing a free, uninhibited rebound. The ring length, timbre (harmonic structure), and dynamic shading of a tone produced on idiophones, especially keyboard instruments, is most greatly affected by the velocity of the stroke. The basic relevant equation for bar ring on keyboard instruments is  1⁄2M × V2 (one-half the mass of the mallet times the velocity of the mallet squared). Relaxed, wrist-generated strokes allow for the best control of velocity in keyboard performance. Any subtle alteration in grip or stroke type should only aid in creating an “attitude” toward tone production and phrasing that ultimately enhances musical expression. Although easily described, these articulations are only produced with welldeveloped technique and musical sensitivity. Other factors in tone production are the size, weight, and construction of the beater and stroke angle. In general, a soft beater will absorb high overtones and produce a more fundamental tone. As hardness is increased, more partials are heard and, in some cases, less fundamental. Great care must be taken in selecting appropriate mallets for the instrument and passage to be played. While in general one may assume a smallerheaded beater produces a smaller, more compact (or staccato) tone, the weight more than the size of a beater in many playing situations determines whether a characteristic sound is produced. Too often timpani mallets are used for rolls on a large bass drum or tam tam instead of appropriate heavier bass drum or tam tam mallets. Similarly, a yarn marimba mallet or heavy snare drum stick used on a high-tuned small bongo will “overplay” or muffle the characteristic tone that should be achieved by using lightweight dowels or fingers. This muffling of tone that results from using too heavy or too large a mallet is caused by the mallet’s staying on the striking surface too long because of weight or by too many vibrations from the instrument being absorbed into the contact area of the mallet head due to its large size. The relation of stroke angle to playing surface also greatly affects mallet contact area. Other artistic concepts regarding tone production must be considered when performing. The reader is referred to sections in each chapter for further discussion of ideas concerning the playing areas on the instrument, placement of strokes relative to each stick’s striking point in the playing area, sticking choice, direction of stroke (whether straight up and down or in a slightly clockwise or counter-clockwise curve), the projection of tone to the listener, and basic concept of tone desired according to the musical context of the particular note in the phrase line and the performer’s ­mental/aural/kinesthetic image of the music. Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

General Considerations and Prerequisites



Notation Systems for Percussion With an understanding of the classification of the many percussion instruments, the percussionist must next learn about the various systems for percussion notation and become aware of their advantages and disadvantages. The objective of any musical notation should be to show the performer as clearly as possible what he or she is expected to play. For percussion writing this would imply using the least number of written instructions or symbols and the fewest lines as possible. Notation for tuned percussion instruments presents few problems, since a standard five-line staff is used with appropriate clef signs and key signatures. However, the lack of standardization and discrepancies in notational practices for untuned percussion result in serious notational problems for the percussionist as well as the composer and conductor. Of the basic systems of notation generally used—(1) staff, (2) line score, (3) symbol notation, (4) combined line score and symbol notation, and (5) adapted keyboard notation—the conventional five-line staff is most common. Standard orchestral and band percussion parts written on a conventional staff afford the performer a clear understanding of what needs to be played as long as only a few instruments are written on the same staff. Example 1-A is a typical march part for snare drum, bass drum, and cymbals (three players). The cymbals and bass drum play together (notated tog.) unless stated separately. EXAMP L E 1-A n Typical march notation

The conventional staff has also sufficed for notating simple standard drum set music (Example 1-B). See Chapter 8 for further examples. EXAMP L E 1-B n Drum set notation

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Chapter 1

In both Examples 1-A and 1-B, the use of bass clef is quite standard, although no definite pitch is implied and therefore its use is unnecessary. In the past, various or­chestration books and composers have used treble clef and even alto and tenor clefs to suggest a confusing pitch relationship among several percussion instruments. More recently the use of a “neutral” or “percussion clef” has become more widely adopted for notating untuned percussion (see Examples 3-A and 3-B). Further examination of line score, symbol notation, combined line score and symbol notation (sometimes referred to as expanded symbol notation), and adapted keyboard notation is taken up in Chapter 3. Refer to musical Examples 3-A to 3-I for more study of these notational concepts.

Interpretation of Notation Beyond understanding and being able to perform notes in a correct mathematical relationship to time—in other words, being able to play rhythms and dynamics accurately, sometimes referred to as “playing the ink”—there are other considerations that have to do with music interpretation. Once a basic proficiency in note reading has been ac­quired, the percussionist will need to consider the interpretation of the duration of notated percussion sounds. When a composer writes a note of any value, this note essentially tells the performer when to start the sound. Depending on the percussion instrument played, that sound may decay very rapidly or naturally vibrate and ring for several seconds. A sensitive musical problem arises when the percussionist attempts to interpret what the composer intended, or better, what the music demands in terms of muffling or allowing notes to ring. Specific comments about each instrument’s physical and technical capabilities will be discussed in detail in individual chapters and in Chapter 10. Briefly, if the performer listens closely to the ensemble to determine the kind of sound that will match or enhance its sound, he or she can quickly decide whether to muffle or to allow a tone to ring. If a question remains concerning interpretation, one might investigate the score or other instrumental part or discuss note durations with the conductor. A problem similar to single-note performance is roll interpretation. Probably the most common question is whether or not to tie a roll into a successive roll or single release note (if no tie is written), or to roll a single release note. The performer should first listen, then check a score or part, or discuss the question with the conductor. The notation for rolls varies depending on the instrument, style, period of music, and the notational practices of the composer. Rolls may be indicated by writing a tremolo sign, or three or more slashes over a note, or merely by instructing the performer to “roll all notes.” Generally, the beam or flag of the eighth note is counted as one of the three slashes designating the roll (see Example 1-C). EXAMP L E 1-C n Roll notation

Confusion results when a roll is intended for a sixteen-note value, and only one slash is added to the sixteenth. To avoid this ambiguity, some composers have adopted the practice of using two or three slashes regardless of note value. However, the percussionist must be prepared to interpret and perform any version (Example 1-D). Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

General Considerations and Prerequisites



EXAMP L E 1-D n Roll clarification



While most Classical composers indicate rolls with the sign, many times they will use abbreviated notation for strict eighth-note or sixteenth-note subdivision to give a “metered roll” effect (Example 1-E). Very often this will occur in orchestral passages where the timpani are reinforcing eighth or sixteenth notes in the strings. Correct interpretation of such abbreviated rhythms is critical to the musical outcome of the performance. EXAMP L E 1-E n Metered rolls

A solution to unclear roll notation is the addition of a tie from the note value to be rolled to a successive roll or single release note. Use of a tie from the roll to the release note in Examples 1-C and 1-D would clarify the exact value of all the rolls, as shown in Example 1-F. EXAMP L E 1-F n Tie clarification

Occasionally, when interpreting tied rolls the performer may choose to sustain the roll through the value of the single nonrolled release note. A common example would be a written quarter-note roll tied to a single quarter note when musically what is sounding is a half note in the ensemble. Again, careful listening and references to another instrumental part or score will detect such situations. The techniques of performing both tied and nontied rolls are discussed in later chapters. The phrasing of roll attacks and releases and single-note lengths should be marked by the percussionist in all parts. The use of standard articulation markings is suggested, Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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,

Q.

as follows: a staccato mark ( ), secco (sec.), or caesura (//) to indicate muffling; a breath

-Q

mark or luftpause ( ) used between nontied rolls or before a release note to indicate a slight separation; a tenuto ( ) to suggest a note be allowed to ring or weight be given

-Q.

Q.  Q. ) to suggest a slight muffle or separation. Of

to the attack or release, yet without accenting. Other possible markings might include

(

a half staccato ( ) or slurred staccato (

course, the tie would indicate a connected sound for rolls or to let ring if used with a note that was followed by a rest. Other common foreign terms could be employed, such as laissez vibrer (l.v.), meaning to let vibrate or ring. The use of these phrasing and articulation marks, especially in ensemble performance, can make the difference between a musically correct performance and just a bunch of notes. Example 1-G illustrates use of these markings. See Chapter 10 for these phrasing concepts expressed in a musical context. These same articulation marks can have further artistic meaning to the percussionist who has a clear musical understanding of expressive phrasing and tone production on percussion instruments. EXAMP L E 1-G n Interpretive markings

l.v.

n Organizing the Beginning Percussion Program It is not uncommon for average percussionists who approach playing and understanding percussion instruments only through experiences in band or orchestra class to find themselves bored with the repetitious, unchallenging parts; consequently they never really gain much understanding of correct techniques and musical expression on per­ cussion instruments. They are often weak in reading and incapable of advanced tech­ Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.



General Considerations and Prerequisites

niques, and this often causes disturbances within the entire ensemble because of their frustrations. To avoid this detrimental situation, a regular meeting time for training the percussionists must be established in addition to the regularly scheduled heterogeneous instrumental class meetings common to all music education programs. In many school systems this established time is called sectional, small ensemble, or class lesson time. Some systems divide the entire instrumental ensemble into homogeneous instrumental groups for regular meetings. In other systems scheduling any activities other than the regular band or orchestra rehearsal is a major problem. Separate percussion meetings must have priority over any other small instrumental session for several reasons: unique aspects of percussion techniques, problems with performance on all the various instruments, and organizational and maintenance considerations regarding the many instruments. Additional outside private instruction with a qualified teacher should be arranged if at all possible. Although full ensemble experience is important to all musicians, thorough beginning level percussion training cannot be adequately accomplished through the heterogeneous class approach. Indeed, many educators support the homogeneous approach to successful beginning level instruction of all instruments. To initiate a beginning percussion class program, the director may choose to have the school system furnish materials in the form of practice pads and beginning keyboards, or, depending on the policies regarding early instrument purchase, the student may be asked to furnish a “percussion kit” consisting of a student line drum or pad and a set of bells. As soon as possible, fullsize percussion keyboard instruments should be used. The availability of instruments and established practices of the school system will, of course, affect the setting up of the percussion class. If drums are available (many times, hand-me-downs from the high school program), then only keyboards need to be furnished. Increasingly percussion instruments used in the marching band pit or front ensemble are used in the beginning percussion class and as regular concert instruments. Marching bass drums and tom toms may be converted to concert instruments for indoor use. In the situation where marching keyboard instruments are used in the beginning percussion class, only drums or pads need to be furnished. The arrangement of instruments and students in the classroom will vary depending on the activities and instruction. A half-circle arrangement made with the instruments facing the instructor works well for general class explanations of techniques and instruments or when the entire class is playing related exercises together. If pads are used, they can be placed on music stands turned flat and adjusted to proper playing height, or they can be placed on a table or stool of the proper height. Tunable practice pads are very versatile when attached to suspended cymbal stands. Other keyboard instruments and drums may be arranged similarly for full class sessions. Mixed instrumentation sessions, like percussion ensembles, will obviously need to be set up according to the needs of the music and number of players. Utilizing the marching band front ensemble as the percussion class setting can be very effective and can serve as a natural transition to the percussion ensemble or indoor drum line activities.

Selecting the Percussion Student Almost everybody would like to “play the drums” if only given the chance. Merely observe a lone drum or other percussion instrument standing in a hallway between classes. Hardly a student will pass without “tunking” on it, or more. However, the selection of the percussion student cannot be taken too lightly. The musical, technical, and organizational demands on today’s percussionist require that this person have a high level of intelligence, a sincere curiosity about music in general and especially about playing percussion, and a dedication and clear understanding of what it takes to become a percussionist/musician. The degree of serious commitment and understanding will be measured by the student’s performance and musical growth. In general, however, a student who indicates a sincere desire to participate in musical activities as a Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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percussionist and who has a reasonable amount of intelligence and organization would be a good candidate for percussion study. Other previous musical experience (like piano background, elementary music classes—Orff especially) and general sensitivity toward music should also be considered when selecting the percussion student. To attempt to evaluate any natural musical ability, the teacher might ask the prospective percussionist to clap or sing back simple (or complex) rhythmic dictations, keep time to recorded music (march and clap on and off beats), perhaps indicate intervallic relationships between notes (assuming he or she can match pitch and discern general differences in pitch), and even hold sticks and play some instruments. Allowing the student to explore several percussion instruments on their own (for example, picking out melodies by ear) will indicate to the teacher some of the student’s natural musical attributes. Such testing does not necessarily expose exceptional talent, but it may provide some relative criteria for selecting the percussion student. Usually time and experience in the music program will determine the extent of the student’s success, provided the program is musically and pedagogically sound.

Training the Beginning Percussionist As has been previously established, it is essential that early percussion training include instruction on both the drums and the keyboard percussion instruments. A convenient approach to this initial instruction is through the use of a beginning percussion kit, as pictured in Figure 1.1. However, full-size keyboard instruments must be used as soon as possible. It is assumed each instrument will be approached with instruction as set forth in the chapters of this text. In general, grip, stroke, and beginning technical exercises should be thoroughly explained and demonstrated by the instructor, and each student’s comprehension should be checked. A counting system based on syllabic intoning for each beat, rest, and subdivision should be stressed. Fundamental reading and counting systems are presented in every good method; assuming the instructor tailors these to his

Pearl Corporation

FIGURE 1 .1   Beginning percussion kit: snare drum, bells, stands, practice pad, sticks, and case

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General Considerations and Prerequisites

or her preferences, the student should develop an adequate understanding of ele­ mentary rhythms. A simultaneous progression through both the drum and keyboard methods should occur. The instructor should consider dividing students into different ability levels as soon as these are apparent and as resources allow so as not to retard or discourage any student’s learning progress. There is a great availability of recorded percussion music in all styles of performance as well as Internet and YouTube videos and DVDs concentrating on many topics of instruction. Listening and viewing sessions should be a regular part of the student’s lesson experience. The importance of cultivating both a familiarity with the literature and heritage and good percussion sound concepts cannot be overemphasized. Attending live performances of all styles of music further develops the student’s concepts of playing. The many books, videos, and DVDs available on such topics as mallet repair, instrument maintenance, percussion history, and composition should be required reading and viewing for the student. The instructor is reminded of the importance of encouraging the student to use his or her own imagination and ear in creating warm-up type exercises and picking out familiar melodies. The aural development of the student can be greatly enhanced by suggestions and routines for practice, such as playing familiar melodies in all keys, drill in aural melodic dictation—first playing back then writing out what was played—and eventual hearing of intervallic melodic structure and chordal progressions. Ear training is essential for timpani tuning and fundamental to the development of sight-reading skills on all percussion instruments. Good keyboard proficiency especially depends upon reading notes intervallically and in interrelated groups. This applies to both lines and vertical blocks of notes (chords). The ear and eye (through peripheral vision) need to work together with all appendages to develop playing proficiency. As the student advances, the study of all accessory instruments, multiple percussion, drum set, and timpani should be introduced. The ideal vehicle for gaining experience on these other instruments is, again, the percussion ensemble. In general, the objectives of fine percussion instruction should be to develop in the students the necessary skills for competent musical performance and to help them acquire a personal aesthetic enjoyment and understanding of music for life. These objectives will only become a reality through a total percussion experience. Method books for teaching total percussion in the beginning class are listed at the end of this chapter and in the remaining chapters of this text (see also Appendices A and B). Many heterogeneous instrumental methods have supplementary books adequate for homogeneous instruction. Belwin’s First Division Band Method and Band Today series, Essential Elements 2000 and Band Expressions, are typical heterogeneous methods that contain supplementary resources for percussion class methods. This text, Teaching Percussion, should be used as a companion instructional guide book with any of these methods or those recommended at the end of this chapter. In addition to these methods, the use of oboe, trombone, and other instrumental parts in the full heterogeneous ensemble will give the percussionist excellent reading material for bells, xylophone, vibes, marimba, steel drum, electronic keyboards, or piano. Experience on the many accessory instruments can easily be gained by simply playing the intended snare drum part on tambourine, wood block, or triangle instead of, or in addition to, the snare drum. With a bit of imagination the instructor can enhance the percussion parts as printed in many of the heterogeneous ensemble methods.

n ORGANIZING THE PERCUSSION SECTION The organizational and maintenance concerns of the percussion section for both the music program director and percussion student may seem more complex, troublesome, time-consuming, and expensive than any other aspect of percussion performance and education. However, even the finest players cannot produce musically pleasing and appropriate sounds on instruments and with mallets that are in need of repair or have not been set up in time or properly tuned. Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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FIGURE 1 . 2   Percussion storage cabinet

One of the most helpful pieces of equipment for organizing the percussion section is the percussion storage cabinet (Figure 1.2). These cabinets can be purchased through school musical supply companies, such as Wenger, or they can be constructed by the school’s shop department. One will find very detailed pictures and descriptions of such cabinets in school musical supply catalogs and on the Internet. The use of a percussion cabinet for storage helps in keeping instruments organized, safe, and in one common location. Additional storage can be found in closets, practice rooms, or by building a second or third storage cabinet. Established school policies differ concerning the furnishing of sticks and mallets. Because schools invest several thousands of dollars in the large percussion instruments and hundreds of dollars in their maintenance, this author feels it is not too much to require the percussionist to furnish his or her own sticks and mallets. Invariably students take much greater care of “their” sticks than the “school’s” and have a clear knowledge of sounds and articulations available to them with their own sticks. Comparatively speaking, the percussionist may invest at most only a few hundred dollars in sticks, mallets, and a stick bag or briefcase to carry them in, whereas woodwind, brass, or string players usually have several hundred dollars invested in their instruments. (Percussionists in advanced levels of performance, however, end up spending several thousands of dollars on their own drum set, timpani, keyboard, electronic, and world percussion instruments.)

Recommended Percussion Instrumentation Specific stick, mallet, and instrument recommendations are given in each respective chapter. The following is offered for general consideration.

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General Considerations and Prerequisites

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Elementary School Concert Percussion Instrument Requirements Bass Drum—14” × 28” to 16” × 30” to 32”; stand; school supplied beaters—one general, two rolling; plastic heads. (This can be a marching band instrument with heads retuned and un­ muffled for concert playing.) Hand Cymbals—One pair 16” medium crash; leather straps; no pads; padded table or storage cabinet top. Suspended Cymbals—One 18” medium-thin; stand: one pair soft yarn-wound mallets—school or student supplied. Snare Drums—Each student provides own from “percussion kit”; or one 5” × 14” metal or wood; one 61⁄2” × 14” wood; conventional wire snares; plastic heads; stands; school supplied. Bells—Each student provides own from “percussion kit” and school supplies full-size 11⁄4” bar instrument, with stand. Also a marching glockenspiel can be used. Mallets supplied

by student: one pair very hard plastic, acrylic, or rubber; one pair hard rubber (one pair brass—optional, for steel bars only). Accessory Instruments—Triangle: One 8” to 10”, two clips, two pairs beaters (thick and medium); tambourine: one 8” to 10” wood shell, skin head, single row jingles; one cowbell; one wood block; one pair claves; one pair maracas; one guiro with scratcher; one set sleigh bells; one slapstick; one pair handle castanets; one machine castanet set; padded trap table and storage cabinet. Tenor Drum, Tom Toms—Substitute snare drum with snares off; one 12” × 15” (approx.) tenor drum and stand. Timpani—One pair 29” to 26” timpani or equivalent, may be fiberglass bowl; plastic heads, pedal-tuned and student-supplied mallets (see below).

Middle School Concert Percussion Instrument Requirements Bass Drum—16” to 18” × 32” to 36” tilting stand (suspended optional); school-supplied beaters—one general, two rolling; plastic heads.

keyboard training of percussionists. (Full 4-octave plus rosewood or padauk instrument optional.) Chimes—Optional, but often required.

Hand Cymbals—One or two pairs 16” to 18” medium crash; leather straps; no pads; padded trap table; storage cabinet top or cymbal rack.

Vibes—High school marching instrument or optional full-size instrument.

Suspended Cymbals—One 18” medium-thin, one 16” thin; stands. Mallets supplied by student: one pair soft yarn; one pair ­medium-hard yarn.

Accessory Instruments—Same as for elementary school plus: 6” triangle with pairs of beaters and two clips; 10” double row jingle, wood-shell, skin-head tambourine; temple blocks (optional); ratchet, and so on.

Snare Drums—One 5” × 14” metal or wood, one 61⁄2” × 14” metal or wood, conventional wire snares; plastic heads; stands. Bells—21⁄2-octave steel or aluminum 11⁄4” width bar, with stand. Mallets supplied by student: two pairs very hard plastic, acrylic or rubber; two pairs hard rubber; one pair brass for steel bars only. Xylophone—High school synthetic bar marching instrument or piccolo (in case like glockenspiel, no resonators), 21⁄2 to 3 octave C–(G)–C xylophone. (Full 31⁄2-octave instrument optional.) Mallets supplied by student: two pairs very hard plastic, acrylic, and/or rubber; two pairs hard rubber and/ or poly-ball. Marimba—High school synthetic bar marching instrument or student line 3–31⁄2-octave instrument used especially for

Gong (Tam Tam)—24” to 28” instrument with heavy beater and stand, or use large cymbal. Tenor Drum, Tom Toms—Substitute snare drum with snares off, one 12” × 15” tenor drum and stands, marching toms, or roto-toms with appropriate concert stands. Timbales, Bongos, etc.—Latin American instruments as required; may be marching instruments. Timpani—Minimum of one pair 29” to 26” or equivalent, 32” and 23” third and fourth drums optional—all in copper (preferred) or fiberglass bowls and pedal tuned. ­Student-supplied mallets (see below). Drum Set—Standard set optional, but recommended for training total percussionist.

High School and College Concert Percussion Instrument Requirements Bass Drum—18” × 36”—suspended, tilting stand; school-supplied beaters—one general, two rolling, two solid felt or chamois covered, one very articulate. Hand Cymbals—One or two pairs 16”–19” medium-heavy crash; one pair 20”+ medium-heavy; leather straps; no pads; padded table; storage cabinet top and cymbal rack. Suspended Cymbals—One 16” thin, one 18” medium-thin, smaller and larger different weight cymbals as required; stands, including “goose neck,” student-supplied yarn- or cordwound mallets: one pair soft, one pair medium-hard, one pair hard. Snare Drums—One 5” × 14” metal or wood; one or two 61⁄2” × 14” metal or wood; one piccolo drum—4” × 14” or 3” × 13” (pre-

ferred); field snare drum as needed—12” × 15” marching snare usually tuned lower than marching pitch; gut or cable snares. Bells—One set 21⁄2-octave, 11⁄4” width steel bar bells with stand; student-supplied mallets in two pairs each (four mallets): brass; very hard plastic and/or rubber; hard rubber and/or poly-ball, one pair wood, optional. Xylophone—One full-size 31⁄2-octave synthetic or rosewood bar instrument; student-supplied mallets in two pairs each (four mallets): very hard plastic, poly-ball, and/or hard rubber, medium-hard rubber (hard yarn, wood as needed). Marimba—One full size 41⁄4 to 5-octave rosewood bar instrument (synthetic bar optional)—for both full ensemble and solo performances and, of course, training the percussionist. Very

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Chapter 1 useful on low single- or double-reed parts or to reinforce bass lines. Student-supplied mallets: two pairs each (four mallets) yarn wound: soft, medium, and hard.

Chimes—One full set with 11⁄2” diameter tubes, 11⁄2-octave C to F or G, one pair rawhide hammers, school supplied usually. Vibes—One 3-octave set with variable speed motor. Does not necessarily have to be full bar width. Recommended wide bars and amplification for jazz/rock ensemble use, also ­MalletKAT MIDI keyboard controller. Student-supplied cord (preferred) or yarn wound mallets as for marimba. Crotales—Individual or chromatic octave sets as needed. Accessory Instruments—Same as for middle school, however, several additional cowbells, wood blocks, tambourines, triangles, cast finger cymbals, afuché, and whistles will be needed. Also endless exotic instruments such as wind chimes, bell trees, brake drums, gongs, and hand drums will be required.

Gong (Tam Tam)—Minimum 30” with beater and stand; also a small and a medium tam tam (or more!) as required. Tenor Drum, Tom Toms—12” × 15” or equivalent tenor drums with stands; graduated set of from four to eight tom toms with stands. Timbales, Bongos, Congas—As needed with skin heads on all (timbales, plastic heads). Timpani—Minimum set of four: 32”, 29”, 26”, 23”, or equivalent, suspended copper bowls, pedal tuned with linkage outside of bowl; plastic heads. Drum Set—Full set of at least 5” × 14” snare drum, 14” × 22” (or equivalent) bass drum, 9” × 13” and 10” × 14” mounted tom toms, 16” × 16” floor tom, pedal, throne, stands. May be augmented with double bass drums, triggers, electronic drums, and drum machine.

Recommended Sticks and Mallets Students should supply themselves with a minimum of the following sticks and mallets and mallet bag or carrying briefcase. Elementary School Student One pair general-weight snare drum sticks to fit hand. Usually 3A, 5A, or equivalent, for concert snare drum. Drum tuning key.

Timpani mallets of general (soft) and staccato (hard) articulation. Wood shaft and good quality felt recommended. Recover as needed (see Chapter 5). A-440 tuning fork.

Keyboard mallets as listed with instruments above.

Stick bag or briefcase for carrying sticks and so forth.

Middle School Student One pair general-weight snare drum sticks to fit hand, usually 5A, 5B, 2B, Firth: SD-1 Generals, or equivalent for concert use. Drum set sticks and brushes. Drum tuning key.

Timpani mallets of general (soft) and staccato (hard) articulation. Wood shaft and good quality felt recommended. Recover as needed (see Chapter 5). A-440 tuning fork.

One pair light-weight sticks (nylon tip) for wood block and sus. cym.

Briefcase or stick bag for carrying all sticks and so forth.

Keyboard mallets as listed with instruments above.

High School and College Students One pair general weight for concert snare drum: 2B, Firth: SD-1 General, or equivalent Cooperman: Petrella, Zuber, or similar model. Tapered or round tip. Brushes. One pair general weight for concert snare drum, plus Firth-Bolero, Gadd, or equivalent. Round small tip for more articulate playing. One pair (minimum) drum set weight for different styles as preferred. Light sticks for cymbals, bongos and timbales (dowel) as required. Drum tuning key.

Keyboard mallets as listed with instruments above, and many, many more. Timpani mallets in a minimum assortment of general (soft), staccato (hard), ultra-staccato (very hard, but felt), and wood ball articulations. Wood or aluminum shaft with top-quality felt. Recover and make own as capable (see Chapter 5). A-440 tuning fork, felt fluffer, timpani tuning key. Briefcase or stick bag for carrying all sticks and so forth.

In addition, the more serious high school and college percussionist is expected to acquire personal tambourines, triangles, wood blocks and other accessory instruments and should acquire other instruments in the percussion family.

Instrument and Percussionist Assignments An effective way of organizing these instruments and their players is through an instrument assignment sheet and a percussionist assignment sheet. List on paper each

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General Considerations and Prerequisites



17

compo­sition and its required instruments. Those instruments can then be quickly set up for rehearsal or performance by referring to the sheet rather than relying on memory or looking through each separate part. The percussionist assignment sheet should list the name of each percussionist together with the instruments and sticks needed for each composition they play. Symbol notation can be put to valuable use in both cases to abbreviate required instruments and sticks (see Chapter 3). Generally, a section leader will make these assignments in cooperation with the other section percussionists or the director. If the director is conscientious and organized enough to list an order for each rehearsal, the use of these two sheets can greatly alleviate confusion in the p ­ ercussion section!

Location of the Percussion Section in the Ensemble The location of the percussion section in the entire instrumental ensemble may be determined by many considerations: demands of a particular composition and number of players/instruments available, size of the playing area, room acoustics, and the director’s personal preferences. In general, however, the best balance will be obtained by locating the timpani as close to the center of the back of the ensemble as possible. The remainder of the percussion section usually is distributed along the back left side of the ensemble, looking from the podium into the ensemble. A customary placement for the section is with the keyboard instruments extending from the far left side of the en­semble back toward the smaller drums, cymbals, and finally bass drum, which is closest to center and the timpani. Care must be taken on certain compositions not to position the bass drum too close to the timpani, or the pitch of the timpani will be lost in the bass drum passages. In such a case, the timpani can be moved to the right side of the ensemble away from the rest of the percussion section, or the bass drum can be moved behind or further from the timpani until a good balance is obtained. Most of the time it is important to keep the cymbals next to the bass drum as their parts are often together both musically and on the same printed page. The director should not hesitate, however, to experiment with readjustments in instrument placement to achieve the best musical balance from the percussion. A final thought on percussion placement would be not to situate the French horns directly in front of the percussion (especially the timpani); for, as Gunther Schuller states in Horn Technique, this plays havoc with the horn player’s embouchure and teeth!

Percussion Instrument Substitution Many times compositions call for percussion instruments that are not available. In this case, efforts should be made to borrow, buy, or rent such instruments. If this is not fea­ sible, instrument substitution is possible. The following list is offered for such situations: Antique Cymbals (Crotales)—Orchestra bells or one bell bar suspended freely like a triangle from a cord or piece of gut. Vibes in upper register with medium-hard mallets. Anvil—Metal pipe, plate, piece of railroad train track, or brake drum on a padded table. Bell Tree—Gliss up and down bells or chimes with knitting needles. Bongos—Two high-pitched roto-toms, tom toms, or snare drums with snares off. Castanets—Wood block with snare drum sticks, shell, or rim of a drum.

Cowbell—Dome of cymbal with butt or shank of stick, brake drum. Field Drum—A deep-tuned snare drum 61⁄2” × 14” with looser snares. Gong or Tam Tam—If pitched (that is, gong), strike a vibe or chime note; if not pitched (tam tam), use a large cymbal(s). Marimba—Xylophones with soft mallets one octave lower. Orchestra Bells (Glock)—Bell lyra or vibes in high register with hard mallets. Pop Gun, Gun Shot—Stick-on-stick deep rim shot. Ratchet—Single strokes on shell of drum or wood block.

Chimes—Orchestra bells in octaves.

Roto-Toms—Tom toms, as long as pitch is constant.

Conga Drum—Tom tom or tenor drum (unless authentic hand playing is required).

Sandpaper Block—Brushes on snare drum or dragged across bass drum or tom tom head.

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Chapter 1

Slapstick or Whip—Two snare drum sticks held in one hand at their tips and slapped against the other hand. Rim shot.

Tom Tom—Snare drum snares off, tenor drum, roto-toms, timbales.

Sleigh Bells—Tambourine only shaking jingles.

Triangle—Bell of cymbal with metal rod, high glockenspiel bar, tuning fork.

Tambourine—Snare drum or tom tom with sleigh bells lightly. Temple Blocks—Wood block with medium rubber mallets. Xylophone or marimba bars muffled.

Vibraphone—Glockenspiel in lower register, soft rubber mallets. Whistles—Human voice.

Tenor Drum—Field drum snares off, or tom tom.

Wood Block—Drum shell, rim, or rim shot, high temple block.

Timbales—Two snare drums snares off or two tom toms, roto-toms.

Xylophone—Marimba one octave higher with hard rubber mallets.

General Maintenance and Head Replacement Maintenance of all the many instruments is obviously an important responsibility of both the director and the percussionist. Many comments are given in succeeding chapters regarding head replacement, tuning, and general repair. The following remarks about instrument care and tuning are offered for consideration as a basis for developing good organizational practices. These are general guidelines for mounting and tuning a new head on any drum except timpani. (See Chapter 5 for timpani head replacement and fine-tuning instructions.) 1. Remove the old or broken head. 2. Clean and inspect the inside and outside of the drum. Tighten all nuts and bolts as needed. Clean lugs and tension rods. Clean any old lubricant off the top edge of the shell. Sand any burrs off the top edge of the shell with fine-grade sandpaper or emery cloth. Lubricate the tension rods with light lubricating grease or ­Latin-Percussion’s Lug-Lube. 3. Check the roundness of the flesh hoop with the shell, then check the roundness of the flesh hoop with the counter hoop. Adjust where necessary by lightly bending the counter hoop into round to obtain the best fit. 4. Place the drum head on the shell and lubricated tension rods into the counter hoop and lugs and proceed to tighten until finger tight. Tune in opposite pairs around the drum, first dividing the head in half, then in quarters, eighths, and tenths or twelfths depending on the number of tension rods. 5. Tighten with a drum key until adequate tension is achieved. With adequate tension, the stick rebounds well off the head, and the tone is high-pitched, clear, and ringing. Be careful to maintain an even collar around the edge of the head between the counter hoop and the top of the shell. Proceed then to check the fine-tuning. 6. Fine-tuning involves striking the head softly about 1 to 2 inches in front of each tension point and matching the pitch in opposite pairs around the drum. Divide the head equally as in step 4. (See Chapter 5 on timpani, “Fine-Tuning/Clearing Heads.”) 7. Tune concert snare drums with the bottom head sounding higher than the top head, although it will feel looser because it is thinner than the batter head. An A is a good starting tension for a 14” batter head. Adjust snares by tapping softly and turning the snare tension knob until a crisp tone is obtained (see video demonstration, Chapter 2, Track 1). Remove unwanted ring with the tone control or by placing a small mute on the edge of the batter head. (See additional tuning comments about snare drum and bass drum in Chapters 2 and 6, respectively and on the videos.) 8. Tom tom tone can be changed by tuning the bottom head differently from the top head or by removing the bottom head. A full, resonant tone is best achieved from any two-headed tom-tom or tenor drum by tuning the top and bottom heads to the same pitch. Preference for sound is personal and involves experimentation after good tonal concepts have been acquired.

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General Considerations and Prerequisites



Timpani should be covered after use with 3⁄8- to 1⁄2-inch hardboard or plywood discs with felt backing to obtain longest head life (see Chapter 5 video: Track 1). Never move the timpani by grabbing the head, tension rod T-handles, or counter hoop area. Move the instrument from the bowl or braces. Keyboard instruments should be covered between use. As instruments lose their true intonation, they should be sent to a manufacturer for retuning and possible bar replacement. Most manufacturers of keyboard percussion instruments offer bar re­tuning and re­placement and some repair services. These include Musser/Ludwig, Kori, Ross, Malletech, Marimba One, Adams, and Yamaha. Keyboard bar retuning, refinishing, replating, re­ pair, and replacement specialists include Century Mallet Instrument Service (Gilberto Cerna/Andres Bautista), 1770 W. Berteau Avenue, Chicago, IL 60613, (312) 248‑7733, www.centurymallet. com; Fall Creek Marimbas (Bill Youhass), 64 School St., Victor, NY, 14564, (858) 924-4790, ­www.marimbas.com; and Salazar Fine Tuning (John Salazar), 1051 Samoa Blvd., Arcata, CA, 95521, (707) 825-9579, www.salazarfinetuning.com. Timpani bowl and mechanical repair services may be obtained for any make of timpani through the American Drum Company of Denver, Colorado: www.americandrum-w-light.com. (See Chapter 5 for other timpani repair shops.) Many drum specialty shops will perform minor repairs on most percussion instruments. Also see Percussion Repair and Maintenance by Mark Bonfoey, Percussion Crafts: A Handbook Service Manual by David Kulb, Percussion Instruments, Purchasing, Maintenance, Troubleshooting, and More by Stephen Primatic, and Band Director’s Percussion Repair Manual by Ed Brown listed under “General Guides to Percussion” at the end of this chapter. If correct sticks and mallets are always used and if instruments are always treated with respect equal to that of any other fine musical instrument, they will perform well and remain in good condition for many years.

Motivating the Percussionist The director’s basic attitude toward the percussion section and his or her concern for its development and performance are the greatest factors affecting the motivational attitude of the school percussionist. There are many ways in which the director can convey sincere concern and a positive attitude to percussionists. Conducting regularly scheduled percussion meetings for class sessions, sectionals, and ensemble rehearsals in­dicates a genuine concern on the part of the director toward the percussionists. A respectful attitude displayed toward the percussionists in even such simple ways as referring to them as “percussionists” instead of “drummers,” or worse, “drums” will invariably result in greater cooperation from the percussionists regarding their organization and performance in the section. The posting of music rehearsal order for organizational purposes, as mentioned previously, greatly facilitates rehearsal efficacy and influences conscientious performance. By encouraging or even sponsoring outside involvement in percussion and other music-related activities (not to mention non-music related)—such as private lessons, attendance at concerts and clinics, state Percussive Arts Society-sponsored “Days of Percussion” and the annual PAS International Con­ vention (PASIC), and public performances with the percussion ensemble, soloists, or marching percussion section—the director will generate a healthy competitive attitude and enthusiasm. A special percussion library in the school with current Percussive Arts Society publications, Modern Drummer magazines, and other music periodicals will enable the percussion student to be informed of current developments and new ideas in all areas of interest. This library should include method books, CD recordings, videos, DVDs, solos and ensembles in all areas of percussion, and general guide books to percussion as listed throughout this text. Special mini-assignments can be made for reading and research in this percussion library, for individual enlightenment or even presentations during percussion class meetings. Periodic playing and comprehension evaluations,

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Chapter 1

although sometimes greeted with complaints from the students, relate the director’s genuine concern for the students’ development as well as keeping the director informed of each student’s progress. In conclusion, conscientious, dedicated, and competent mu­sical percussion instruction on the part of the director expressed with respect and a concerned attitude toward the percussion section will manifest itself in meaningful musical experiences for the percussionists and will transcend percussion mediocrity, especially if coupled with the performance of challenging, provocative musical literature.

n Percussion Method Books Individual Instrument Methods Selected method books and instructional materials (audio and video tapes and DVDs) that specifically address individual areas of playing, as opposed to being combined percussion methods, are recommended throughout this text at the end of each respective chapter under “Individual Methods and Supplemental Studies.” Their use privately or in smaller groups is highly recommended.

Combined Percussion Methods The following combined percussion methods attempt to address the development of playing skills and musicianship through integrated and coordinated materials suitable for percussion classes and ensembles. The Orchestral Snare Drummer, . . . Mallet Player, . . . Timpanist by Anthony Cirone (Belwin/Warner Bros.). These three separate books function as beginning methods for each instrument and can be used together for beginning to intermediate class ensemble playing. Forty-six ensembles with four parts each (minimum). A conductor’s part is available. Simple Steps to Snare Drum, . . . Keyboard Percussion, . . . Timpani by Anthony Cirone (Belwin/Warner Bros.). Individual or classroom beginning level instruction books. Companion books to Simple Steps to Percussion Ensemble (see below). The Performing Percussionist, Bks. I–II by Jim Coffin (C. L. Barnhouse Co.). Includes a thorough, modern approach to drumming with multiple-percussion etudes and accessory instruments introduced throughout. Keyboard (bell) study commences at the end of Book I and continues in Book II, which also introduces some basic drum set. A Fresh Approach to the Snare Drum for Classroom or Individual Study by Mark Wessels. This book comes with accompani-

ments on CDs and an instructional CD-ROM. View samples online: www.mwpublications.com. Introduces bass drum, cymbals, and triangle. A Fresh Approach to Mallet Percussion for Classroom or Individual Study by Mark Wessels. This book comes with instructional CD-ROM and introduces timpani through a “mini-book” of video lessons. Available at: www.mwpublications.com. Audition Etudes for Snare Drum, Timpani, Keyboard Percussion, and Multiple Percussion by Garwood Whaley (Meredith Music Publications). A sourcebook of original graduated reading studies for band/orchestra placement, grading, sight reading, regional/state auditions, teacher training classes, and supplementary lesson material. More Audition Etudes for Snare Drum, Timpani, Keyboard Percussion, and Multiple Percussion, Vol. II by Garwood Whaley (Meredith Music Publications). Volume II contains a CD providing interpretation of each etude. Excellent supplementary lesson material.

Percussion Ensemble Collections Styles and Smiles by Michael Aukofer and Arthur Lipner (MalletWorks Music). Eight beginning percussion sextets, with enclosed CD performances, written in a variety of world percussion grooves using standard school percussion instruments. Two ensembles are for battery only with bells and xylophone replacing two battery parts to “aid in any transitioning” for students coming from a drum line to percussion ensemble. Groovesicles by Chris Brooks, Jim Campbell, Chris Cockrell, Lalo Davila, et al. (Row-Loff Productions). A collection of eight sextets written for the young percussionist with setup guide, conductor’s score, six student books, performance notes, and instructional CD-ROM.

Rhythmsicles by Chris Brooks, Jim Campbell, Chris Cockrell, Lalo Davila, et al. (Row-Loff Productions). A collection of eight sextets written for the young percussionist with setup guide, conductor’s score, six student books, performance notes, and instructional CD-ROM. Drum Fun by Thomas Brown (Kendor). Elementary–junior high percussion ensembles in five books—standard instruments. Percussion Studies by Thomas Brown/Willar Musser (Kendor). Junior high–high school percussion ensembles in five books—standard instruments.

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General Considerations and Prerequisites

The Orchestral Snare Drummer, . . . Mallet Player, . . . Timpanist by Anthony Cirone (Belwin/Warner Bros.). See comments above under “Combined Percussion Methods.” Imaginative addition of accessory and other instruments possible with the four-part scoring for keyboard, two drums, and timpani. Simple Steps to Percussion Ensemble by Anthony Cirone (Belwin/Warner Bros.). A collection of nine elementary level quintets with parts and conductor score. Various instrumentations. Companion ensembles to Cirone’s Simple Steps instruction books. Percussion Ensemble Collections, Vols. I–III by Harold Farberman (Belwin/Warner Bros.). Three levels: elementary, elementary plus, and intermediate with four ensembles each for sextet. Each with two keyboard parts plus other instruments. Breeze—Easy Percussion Ensembles (revised edition) by Saul Feldstein (Warner Bros.). Fifteen elementary–junior high level ensembles in score form for melody instrument and four percussionists. 12 Easy Studies for Percussion Quartet by Siegfried Fink (N. Simrock). Percussion Section Techniques by Stephen Grimo and Robert C. Snider (Meredith Music Publications). Collection of eight percussion ensembles for junior–senior high school levels. Variety of styles and idioms. Performance tape, instruc­ tions, and program notes included. Excellent collection and tape.

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tunes—easy high school level. Uses drum set. Six books with conductor’s score comprise the collection. Percustra, Books I & II by Les Percussions de Strasbourg (Alphonse Leduc). An avant-garde, creative approach to music through the use of percussion instruments, hands, feet and the voice. The methods offer graphic notation, chance sections, and composing opportunities. Groups or individuals can realize the studies. Printed in French. Curving Walkway Publications Beginning Percussion Classics by Tony Oliver (Curving Walkway Publications). Five beginning ensembles—“Interjection” (quintet), “If It Doesn’t Fit . . .” (quintet), “Short but Suite” (quintet), “Hesitation Waltz” (keyboard trio), and “Deceivious” (snare drum trio)—with excellent helpful hints and directions, including photographs and diagrams in the parts and scores. View samples online at: www.curvingwalkway.com. Beyond Basic Percussion by Eric Rath and Ralph Hicks (Tapspace Publications). Ten beginning percussion ensembles with DVD of full-length, multicamera video examples of each ensemble being performed, plus tips from the authors, technique demonstrations, individual parts in PDF format, and audio files. Conga Town by Jim Solomon (Warner Bros. Publications). Col­ lection of 12 ensembles for upper elementary and middle schools. Comes with teaching tips, photos, and illustrations.

Percussion Rocks by Robert Lautz/ed. Anthony Cirone (Belwin/ Warner Bros.). Collection of four ensembles using pop

Many other individual percussion ensembles are available through all the major publisher’s websites and percussion music dealers such as www.steveweissmusic.com, www .percussionmusic.com, www.pmeurope.com, www.mostlymarimba.com, www.mallet works.com, www.tapspace.com, www.rowloff.com (includes Drop6 Publications), www .meredithmusic.com, and many others. See website listings in Chapter 9 “Marching Percussion Methods and Materials” for other sources. Belwin’s First Division Band Method offers with Part One two ensemble books for percussion: Ensembles for Everyone and First Program Ensembles; and with Part Two: Tune Up and Play Ensembles and Time Out for Ensembles; in Parts Three and Four they list individual recommended percussion ensembles published by Belwin/Warner Bros. Other instrumental methods that have parts intended for use, or could be used as percussion ensembles, include Essential Elements 2000 (Book 1 contains DVD, CD-ROM, and audio CD-percussion by Will Rapp, and Book 2 contains play along CD); Band Expressions with percussion by James Campbell is very comprehensive and includes band, orchestra, and jazz ensemble books with many percussion ensembles presented throughout. Other choices are Belwin’s Band Today and Contemporary Band Course, The Beacon Band Method, the Hal Leonard Band Method, Alfred’s New Band Method and Sessions in Sound by Heritage Press. Further sources include reviews of new works in the Percussive Arts Society (PAS) publication Percussive Notes, postings on the PAS website (www.pas.org), and other music magazines: Modern Drummer; Drum!; Rhythm, Drums & Percussion; Instrumentalist; NACWAPI Journal; and Music Educators Journal. For a listing of selected percussion and keyboard ensemble music, and many website resources see Tables B.1–B.3 in Appendix B.

General Guides to Percussion In addition, see listings under “Orchestral Excerpts” in Appendix A, “Resources” at the end of Chapter 5, and individual chapter listings. The Percussionist’s Dictionary, eds. Joseph Adato and George Judy (Warner Bros.).

Not-So-Modern Drummer, ed. John Aldridge (John Aldridge). Vintage and custom drum and percussion bimonthly magazine.

Guide to Vintage Drums by John Aldridge (Hal Leonard).

Sound Designs: A Handbook of Musical Instrument Building by Reinhold Banek and Jon Scoville (Ten Speed Press).

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Chapter 1

Encyclopedia of Percussion, 2nd ed., edited by John H. Beck (Routledge Publications).

A Practical Guide to Percussion Terminology by Russ Girsberger (Meredith Music Publications).

Percussion Instruments and Their History, revised ed., 1984, by James Blades (Faber and Faber).

Drumming at the Edge of Magic: A Journey into the Spirit of Percussion by Mickey Hart (HarperCollins).

Early Percussion Instruments from the Middle Ages to the Baroque by James Blades and Jeremy Montagu (Oxford University Press).

Planet Drum by Mickey Hart (HarperCollins).

Hal Blaine and The Wrecking Crew, The Story of the World’s Most Recorded Musician by Hal Blaine with David Goggin (MixBooks/Act III Publishing).

The Cambridge Companion to Percussion ed. by Russell Hartenberger (Cambridge University Press). Musical Instrument Design by Bart Hopkin (See Sharp Press). Drums in the Americas by Joseph H. Howard (Oak Publishing).

The Ludwig Drummer, Complete from April 1926 to 1948 complied by Calvin Bolton, et al. (Cedarcreek Publishing).

Percussion Anthology, 31 years of percussion articles published in The Instrumentalist magazine. (The Instrumentalist Co.).

Percussion Repair and Maintenance by Mark Bonfoey (Warner Bros.).

The Wood that Sings: The Marimba in Chiapas, Mexico by Laurence Kaptain (HoneyRock).

The Timpani: A History in Pictures and Documents by Edmund Bowles (Pendragon Press). The Timpani Supplement, More Pictures and Documents by Edmund Bowles (Pendragon Press). Contemporary Percussion by Reginald Smith Brindle (Oxford University Press). Band Director’s Percussion Repair Manual by Ed Brown (Alfred Music Publishing). Marching Bands and Drumlines, Secrets of Success from the Best of the Best by Paul Buyer (Meredith Music/Hal Leonard). Creative Music Making, Four Simple Steps to Cultivating the Inner Musician by William L. Cahn (Routledge, Taylor & Francis Books). Performing Live with MIDI by William Cahn (HoneyRock). The Great American Drums and the Companies That Made Them, 1920–1969 by Harry Cangany, ed. Rick Van Horn (Modern Drummer Publications, Inc.). Marimbas of Guatemala by Vida Chenoweth (University Press of Kentucky). Concert Percussion: A Performer’s Guide, Vols. I and II [videos] by Anthony Cirone, Sam Denov, and Cloyd Duff (Warner Bros.). Orchestral Techniques of the Standard Percussion Instruments by Anthony Cirone (Belwin/Warner Bros.). The Logic of it All by Anthony Cirone and Joe Sinai (Belwin/Warner Bros.).

The Kettledrums by Percival Robson Kirby (Oxford University Press). Keiko Abe, A Virtuosic Life: Her Musical Career and the Development of the Concert Marimba by Rebecca Kite (GP Percussion). World Of Gene Krupa: That Legendary Drummin’ Man by Bruce H. Klauber, introduction by Mel Tormé (Pathfinder Publishing). Drummin’ Men: The Heartbeat of Jazz, The Bebop Years by Burt Korall (New York; Oxford University Press). Drummin’ Men: The Heartbeat of Jazz, The Swing Years by Burt Korall (New York: Schirmer Books). Percussion Crafts: A Handbook Service Manual by David Kulb (Paul Price/Music for Percussion/Colla Voce Music). Dictionary of Percussion Terms by Morris Lang and Larry Spivack (Carl Fischer). Percussion Manual for Music Educators by Joel Leach (Warner Bros.). The Modern Percussion Revolution, Journeys of the Progressive Artist ed. by Kevin Lewis and Gustivo Aguilar (Routledge). Rhythm & Beauty, the Art of Percussion (with CD) by Rocky Maffit (Watson-Guptill Publications). The Drums, Tom Toms and Rattles by Bernard S. Mason (Dover). Percussion Discography: An International Compilation of Solo and Chamber Percussion Music comp. by Fernando A. Meza (Greenwood Press).

The Marimba Book by Satis N. Coleman (Rand McNally).

Modern Drummer Magazine (Modern Drummer Publications). Monthly magazine on musicians, the profession, and instruments.

An Introduction to Vintage Drums video by Rob Cook, et al. (Rebeats Vintage Drum Products).

Making Early Percussion Instruments by Jeremy Montagu (Oxford University Press).

The Complete History Of The Leedy Drum Company by Rob Cook (Centerstream Publishing).

Timpani & Percussion by Jeremy Montagu (Yale University Press).

Leedy Drum Topics, Complete from 1923 to 1941 (vols. 1–29), compiled by Rob Cook (Cedarcreek Publishing). The Rogers Book by Rob Cook (Rebeats Publications). The Slingerland Book by Rob Cook (Rebeats Publications). The Art of Playing Cymbals by Sam Denov (Warner Bros.). Gretsch Drums, The Legacy of “That Great Gretsch Sound” by Chet Falzerano, ed. Liam Mulholland (Centerstream Publishing). Handel’s Kettledrums by Henry George Farmer (Hinrichsen Edition).

Marching to the Drums, A History of Military Drums and Drummers by John Norris (The History Press). Genesis of a Music, second edition, enlarged by Harry Partch (New York: Da Capo Press). Manual de Percusión (in Spanish) by Carlos Vera Pinto (Ediciones Universidad Católica de Chile). Percussion Instruments, Purchasing, Maintenance, Troubleshooting, and More by Stephen Primatic (Meredith Music Publications). Science of Percussion Instruments by Thomas D. Rossing (World Scientific Publishing).

Percussion Symposium by Vic Firth (Carl Fischer).

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

General Considerations and Prerequisites



The Physics of Musical Instruments 2nd edition by Thomas D. Rossing and Neville H. Fletcher (Springer Science). Percussion Education: A Source Book of Concepts and Informa­tion  by PAS Education Committee (Percussive Arts Society). The PAS Educator’s Companion Volumes I-V (2015-2017) by PAS Education Committee (Percussive Arts Society). The PAS Percussion Compendium Volume 1, 2016 ed. by Rebecca McDaniel and Dan McGuire (Percussive Arts Society). Techniques of Playing Bass Drum, Cymbals and Accessories (Tambourine, Castanets, Triangle, Tam Tam) by Al Payson (Payson Percussion Products). Percussion in the School Music Program by Al Payson and Jack McKenzie (Payson Percussion Products). Handbook of Percussion Instruments by Karl Peinkofer-Fritz Tannigel, translated by Kurt and Else Stone (Schott/ Belwin/Warner Bros.). The Drummer: Man, A Treatise on Percussion by Gordon B. Peters (PAS CD-ROM Publication). Cymbals: A Crash Course by Mitchell Peters and Dave Black (Alfred Publishing Co.). The Ultimate Guide to Cymbals with DVD by Nick Petrella (Carl Fischer). The Cymbal Book by Hugo Pinksterboer, edited by Rick Mattingly (Hal Leonard). Mallet Repair by Arthur Press (Warner Bros.).

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World of Percussion by Emil Richards (Alfred Publishing Co.). Making Music Around Home and Yard by Emil and Celeste Richards (Belwin/Warner Bros.). Making Music in Mommy’s Kitchen by Emil and Celeste Richards (Belwin/Warner Bros.). The Percussionist’s Art by Steven Schick (University of Rochester Press). History of the Ludwig Drum Company by Paul William Schmidt (Centerstream Publishing). How to Write for Percussion, A Comprehensive Guide, 2nd edition (with video) by Sam Solomon (Oxford University Press). The Steel Band Game Plan: Strategies for Starting, Building, and Maintaining Your Pan Program by Chris Tanner (Rowan & Littlefield Education/MENC). The Art and Science of the Timpani by Henry W. Taylor (John Baker, London; Dufour Editions, Inc., USA). The Kettledrums in Western Europe by Caldwell Titcomb (Harvard University Press). Traps the Drum Wonder, The Life of Buddy Rich by Mel Tormé (Oxford University Press). Information on the Marimba by David Vela, trans. Vida Chenoweth (HoneyRock). Drums Through the Ages by Charles L. White (Sterling Press). Touched by Sound, A Drummer’s Journey by John Wyre (Buka Music).

Scoring for Percussion by H. Owen Reed and Joel Leach (Warner Bros.).

Percussive Arts Society The Percussive Arts Society (PAS) is an international, not-for-profit organization for drummers and percussionists who enjoy sharing ideas and keeping up with the latest in the world of percussion. All members of PAS are entitled to the following benefits: Percussive Notes, the PAS bimonthly magazine; Rhythm! Scene, the PAS bimonthly digital newsletter (between issues of the Notes); discounted rates on pre-registration for the annual PAS International Convention (PASIC); plus credit card, insurance, and other discount opportunities. The PAS website (www.pas.org) offers members conferencing communication on numerous topics from education to selling instruments, links to manufacturers and other resources, and an online “Compositions Research” library; this library provides links to “Programs,” “Literature Reviews,” “Recording and Videos Reviews,” and the “Siwe Guide to Solo and Ensemble Literature,” allowing comprehensive searches for information from many different perspectives among these databases (membership required); and an “Online Research Journal.” Go to www.pas.org for more information on this international organization for drummers and p ­ ercussionists.

n Notes 1.

Cecil Forsyth, Orchestration, 2nd ed. (London: Macmillan Press, Ltd., 1955), p. 22.

2.

Curt Sachs, The History of Musical Instruments (New York: Norton, 1940), p. 45

3.

Reginald Smith Brindle, Contemporary Percussion (London: Oxford University Press, 1970), p. 3.

4.

Joseph Paradiso, American Innovations in Electronic Musical Instruments. 4–467. http://www.newmusicbox.org /third-person/index_oct99.html.

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c h a p t e r

Basic Percussion Technique Through the Study of the Snare Drum n Historical Origins The use of an instrument that today we would call a drum is evident in most civilizations throughout history. During the Middle Ages and the Renaissance, the most common form of drum in Europe was the tabor, which was the immediate predecessor of today’s side drum or snare drum.1 Referred to as side drums because they hung at the player’s side from a shoulder strap or waist belt, these early snare drums existed in many different sizes and shapes. In general, they were double-headed rope-tuned drums and by the sixteenth century had cords, or snares, stretched across the bottom head. As portrayed by Rembrandt in his famous painting The Night Watch (1642), these side drums hung at a 45 degree angle at the player’s side, and because of this position the traditional grip was adopted for playing.2 As many other pictorial accounts document, traditional grip (lefthand stick hold) had its origin in European side drum playing as a means for accommodating the angle of the suspended drum. By the early eighteenth century the snare drum was finally heard, ad libitum (as the performer chooses), in the orchestra through such works as Handel’s oratorio Judas Maccabaeus and Royal Fireworks Music (1749).3 Though the drum was perhaps used first in Marais’s opera Alcione (1706), it was Rossini who really brought the snare drum to solo rank in his overture to La Gazza Ladra (1817). Because of this, or for merely perhaps reintroducing the snare drum into the orchestra, he was nicknamed “Tamburossini.”4 In the military the snare drum became a companion of the fife. Fife and drum guilds of high-ranking officials existed as early as 1332 in Basle, Switzerland. The instrument combination spread from Europe during the seventeenth and eighteenth centuries to colonial America, where in 1775 it became the Minute Men’s call to arms. The colonial drummer’s and fifer’s duties were to give orders in battle, announce the daily camp activities, and entertain by accompanying impromptu dances at night. The fife was replaced by the bugle during the Civil War, but the drummer’s instrument, training, and playing style remained quite similar to that of his European ancestor. Many tu­tors throughout the eighteenth century offered instructions and recommendations for military side drumming but always combined with and in relation to the bugle or fife melody. One of the earliest American books on instruction for fife and drum, written in 1812 by Charles Steward Ashworth, contained 28 drum rudiments. The complete title of Ashworth’s book is A New, Useful and Complete System of Drum Beating, Including the Reveille, Troop, Officers Calls, Signals, Salutes and the Whole of the Camp Duty as Practiced at

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Headquarters, Washington City; Intended Particularly for the Use of the United States Army and Navy.5 This work aided the drummer, along with the continuing system of rote learning, in memorizing the many rudiments, camp duties, calls, solos, and fife accompaniments.6 Another important early drum and fife manual was the Drummer’s and Fifer’s Guide of 1862 and 1865 by George B. Bruce (drummer) and Daniel Emmett (fifer), author of Dixie.7 It is interesting to note that 74 of the 96 pages in the 1865 edition contained field signals, duty music, and marching tunes, with the fife and drum parts always written together, a practice that disappeared early in the twentieth century, much to the musical detriment of the young studying drummer. Many marching and military style drum instruction books appeared during the 1800s in America, including the popular Strube Drum and Fife Instructor of 1869 and Sousa’s Trumpet and Drum of 1886. In the early 1900s drum instructors around the country were writing books on drum and other percussion instruction. Authors such as Harry A. Bower, Edward B. Straight, Carl E. Gardner, Sanford A. “Gus” Moeller, J. Burns Moore, George B. Stone and his son George Lawrence Stone, and many others contributed greatly to the early pedagogical growth of percussion in America. (See the Encyclopedia of Percussion, 2nd edition, edited by John H. Beck, Part VI: Published Writings on Methods for Percussion by James Strain for a complete listing of early books.) At the close of World War I (1918) the American Legions and Veterans of Foreign Wars (VFW) began sponsoring the first drum and bugle corps contests and furthering the development of drumming in this country. As more systems appeared for teaching and playing rudimental and orchestral styles of drumming, the need developed for standardization of a set of American drum rudiments to provide uniformity in drumming technique and execution. In 1933 the National Association of Rudimental Drummers (NARD) was formed. This organization, comprised of prominent drum teachers from around the country, established 26 American drum rudiments that helped to develop the techniques of rudimental-style drumming in most of this country’s school drummers (see Chapter 9 for more on rudimental drumming). Today the study of the drum rudiments is generally integrated into the marching percussion arena and many other areas of percussion (for example, drum set) as the focus on percussion education has turned more toward total percussion study and performance.

n The Snare Drum Construction The parts of the snare drum (cassa or tamburo piccolo [It.], kleine trommel [Ger.], caisse claire [Fr.]) are identified in Figure 2.1. Snare drum shells are made of metal, wood, or fiberglass materials. Generally, a metal drum produces a brighter sound than wood. A wood drum with a natural finish or with a durable plastic covering is practical for general school use. Additional drums should be considered that are made of metal and with various snare configurations. The approximate sizes of concert snare drums, given in depth times shell diameter, range from the piccolo—3” × 13” or 4” × 14”—to the standard drums—5” × 14” or 61⁄2” × 14”. (Smaller snare drums are used in some drum set outfits; see Chapter 8.) Heads  While all drum heads originally were made from animal skins, usually calf or goat, since the late 1950s heads have also been made of plastic or polyester film. Plastic heads are unaffected by changes in weather and are recommended for today’s general school use. Skin heads are still used by many professionals, but due to the cost of good skin heads and the extra care involved in their use, they are not practical for school snare drum use. Many new developments in head construction and materials by leading drum head manufacturers—such as Remo’s Renaissance®, FiberSkyn®, Suede®, Nuskyn®, and Evans’s Strata®—are resulting in mellower, more skinlike sound and feel than is possible with ordinary plastic heads.

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F IGURE 2 . 1  

The parts of a snare drum

Every head consists of two parts: the head and the attached ring called the flesh hoop. The name “flesh hoop” is derived from tucking animal skin around it when skin (flesh) heads are used. There are three basic methods for attaching a head to the flesh hoop. Many drum head manufacturers use an interlocking, crimp-type method for mounting the plastic, or skin, into the metal flesh hoops on at least some of the heads. Most Remo heads are manufactured by perforating the edge of the plastic and then epoxy gluing it into the metal flesh hoop. Other manufacturers fasten the head into an epoxy flesh hoop, which results in practically a one-piece construction of head and hoop. The collar of any head is the area around the circumference that extends over the top bearing edge of the shell before meeting the flesh hoop. This area is usually 1⁄2” to 3⁄4” wide and is preformed on most plastic heads.

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Plastic drum heads are made in a vast assortment of thicknesses and materials— from standard polyester film to bulletproof Kevlar. The batter head is the head that is played. Thicknesses range from 5 mils (1 mil = 1/1000 inch) to 15 mils two-ply heads. For general concert snare drum use, a medium weight (8–10 mils) plastic coated head is recommended. Many of the specialty heads (for example, FiberSkyn and Renaissance) are also good. A coated head is necessary for brush playing. The snare head is the bottom head on a snare drum and should be as thin as possible (2–3 mils) as it responds only to the air waves set into motion inside the drum by a stroke on the batter head. Drum heads are made in many varieties and with more and more special fea­ tures. Many new drum head manufacturers are appearing on the world market with innovative designs and construction that warrant serious consideration by students and directors. Catalogs and websites of Remo and Evans, the two largest drum head manufacturers, and others offer details on head construction and recommended uses. (See www.remo.com and www.evansdrumheads.com.) Counterhoop  The counterhoop is the outside chrome or wooden (bass drums) ring that holds the head on the drum. It is held in place with tension rods. These bolt-type rods screw into the lugs or tension rod casings that are fastened to the shell. Snares  The snares are the strands of wire, gut, nylon, nylon-coated cable, synthetic gut, or combination of these materials that are stretched across the bottom snare head. Wire snares are adequate for general purpose concert use. Gut or cable snares, while absolutely necessary on the marching snare drum, also expand the tonal dimension of the concert section. Gut or cable is much crisper and articulate than wire and will musically enhance any march when paired with the standard wire snare. Gut/wire combination snares are also available. The purchase of different size drums and different snares is strongly encouraged when adding a third or fourth concert snare drum to the percussion section. Snare Adjustment  The tension of the snares is adjusted by the snare tension ad­justment knob (see Figure 2.1). Many elaborate mechanisms have been developed by manufacturers for snare adjustment. Most important is that the snares lie evenly across the snare head and tension evenly when adjusted. While greater sensitivity is possible with snares extending completely across the head, a conventional tie-on snare will suffice. Budget, care, and tuning time will determine the elaborateness of snare assemblies ­preferred. Snare Release  The snare release lever allows the performer to release the snares from the snare head. This is necessary to avoid sympathetic vibration on the snares from other sounding instruments and to change to a tom tom sound when “snares off” or “muffled” is called for in the music. This mechanism must work smoothly and quietly for efficient snare drum performance. The entire snare assembly of snare adjustment knob and snare release lever is called the snare strainer.

Care and Maintenance All percussion instruments should be stored in a locked percussion cabinet or other area when not in use to protect them from damage or theft. Snares should be left on to avoid shrinking or warping (in the case of gut) and to avoid possibly getting bent when moving or setting up. If their sympathetic vibration is distracting, a folded piece of paper can be inserted between the head and the snares to stop them from rattling while in storage. Plastic heads should be cleaned periodically with spray cleaner, or if extremely dirty a mild cleanser can be used. Care should be taken not to allow dirt down into the collar

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area along the counterhoop. Metal and wood shells can be cleaned with a damp cloth. Polishing creams are not recommended for metal shells as it is extremely difficult to remove all the polish around the lugs and snare strainer. If a lug, tension rod, or other part of the drum becomes inoperable through wear or damage, it should be repaired or replaced. Heads should be replaced even though they may not be broken! A head used regularly has an average life of about a year at the most. Constant use, especially loud playing, will cause a head to stretch out and the center to become insensitive or “dead” to stick response. Heads in this condition or with excessive dents, small cuts, or holes should be replaced. General head-replacing procedures as outlined at the end of Chapter 1 should be followed. Be certain to clean and lubricate the tension rods and lugs well with a light lubrication grease or Latin-Percussion’s Lug-Lube. A drop of oil on the snare strainer mechanism might be advisable also. Lubrication on the top edge of the shell is not necessary; however, a light film of baby talcum powder will allow for easier tuning. Greasy or wet substances should not be used as they reduce the free vibrations of the head and will soak into wooden shells. Occasionally a metallic ring will be heard inside a drum. This is often the small spring inside the lug that rings when the drum is played. Remove the head(s), unscrew the lugs from inside the drum, and pack a small cotton ball around the spring. A few drops of oil on the cotton ball will avoid absorption of moisture and rusting of the spring over the years. Conventional tie-on snares must be attached with thin snare cord available at any music store, or strong very thin braided fishing line may be used. A piece of shoe string or leather will cause the end of the snares to be raised too far off the snare head and result in a buzzing of the snares at any tension, and in general a poor sound. A good snare drum sound can be achieved only with good snares that are adjusted properly. Many times the soldering job on wire tie-on snares is uneven where the wires are fastened to the two metal end-plates. The snare wires should lie evenly between these endplates, and the amount of solder should be minimal and as smooth as possible. When buying new snares, this must be scrupulously checked until a perfect set of snares is found; otherwise the snares will not lie evenly on the snare head. Often a little clever work with a file, smoothing out a poor soldering job, can greatly improve a snare sound. Also, snares can be purchased with plastic end-plates that many times have a more even fastening of the wires to the end-plates than the metal type.

Tuning To obtain a characteristically good concert snare drum sound, the batter head should be tuned to a tension that produces a good stick rebound. This may vary according to head thickness but in general will be something less than a “table top” response but not loose and sluggish. Many symphonic percussionists tune about the pitch A on a 14” concert snare with medium-weight batter heads. Experimentation with different head tensions will eventually result in the tension required. Model a fine snare drum sound on an orchestral or concert band recording, live performance, or the accompanying Chapter 2 video: Track 1. Assuming a medium-weight batter head and thin-weight snare head are used, the snare head should then be tuned to a higher sounding pitch than the batter head. How much higher will be determined by personal preference in sound concept and music being played. Although sounding higher than the batter head, the snare head is thinner than the batter head and should therefore feel looser. Care must be taken to fine tune or clear each head by adjusting the head tension and pitch at each tension rod to as close the same pitch as possible. This is accomplished throughout the mounting of the head by softly tapping the head at each point directly in front of the tension rod, listening, and tightening or loosening to match the head pitch accordingly (always tuning in opposite pairs). Periodic checking of fine tuning on any drum is necessary to keep the head vibrating evenly and to obtain the best sound available. By cultivating a good

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concept of snare drum tone through listening to live and recorded professionals and with a little experimentation, the director and students will quickly learn how to achieve and maintain professional quality snare drum sounds. The snare tension should be adjusted somewhat according to the passage played. A loud passage might require a slight tightening of the snares as compared to a looser sound desired for a soft delicate passage. The use of different drums for different passages could also be considered. For all-purpose playing, however, the snare tension should be adjusted while softly tapping the head with the stick until a crisp snare re­sponse is achieved. Too much tensioning of the snares will result in a choked, almost tom tom sound, as the snares cannot respond properly. Great care must be exercised in obtaining the proper snare tension. See and hear a demonstration of this snare tension tuning on the video: Track 1 for Chapter 2. Many older drums have an internal tone control, which is used to eliminate un­wanted overtone ring. If used, this felt pad should be adjusted until it just barely touches the batter head and eliminates the ring. Too often this device is over-tightened, causing a raised spot on the head and thus destroying all fine tuning. Correct adjustment of the tone control can best be achieved with the snares off by softly tapping the batter head off center with a stick and gradually tightening the tone control knob until the unwanted ring is barely eliminated. Many new developments in head design have reduced the need for tone control use. These newer overtone reduction heads should be considered for achieving desired sounds without the use of internal tone controls and external muffling. (Dot heads and two-ply heads are not recommended for concert snare drum use.)

Stands Snare drum stands should be of sturdy construction and adjustable to a standing height for concert snare drum playing. Stands intended for drum set use will not adjust high enough for a student much over 51⁄2 feet tall. When ordering, be certain to specify a long shaft for concert use. (See discussion of this on the Chapter 2 video: Track 1.) Two basic types of stands exist: the claw type and the conventional single-arm ad­justment type. Set up the conventional type with the adjustable arm to the player’s left. This will allow the drum to rest on the two stationary arms and the adjustable length to be secured against the drum. Either type of stand should be set up so that the drum can be slanted for traditional grip playing. (See demonstration of this on the video.) Placement of the drum on the stand is recommended with the snare release level at about 4 or 5 o’clock as the player faces the instrument. This is to allow for quick access to the snare release with the right hand and the most versatile playing area selection (see the discussion of “Playing Areas” below and under “The Strokes” at the end of this chapter). Consistent positioning of the snare release is highly advantageous to a percussion section’s successful performance when it comes to everyone knowing where the snare release lever is on the snare drums.

Sticks Snare drum sticks are generally made of wood but are also available in metal and fiberglass-type materials. Stick recommendations are made in Chapter 1. Selection of sticks should include the following actions: 1. Roll the sticks on a flat surface to find a pair that is straight. 2. Drop the sticks on a hard floor or tap them on a hard surface to match their pitch. Choose the pair with the highest matched pitch. 3. Inspect the sticks to be certain the weights and diameters are closely matched and general finishes are smooth and free of flaws.

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Figure 2.2 identifies the parts of the snare drum stick. Wooden sticks are recommended for all-purpose use. The weight and size of a stick determine the quality of sound produced. A very light, small-diameter stick will produce a thin sound. This is sometimes desired, but often small drum sticks are used constantly by players who are not aware of the quality of full-bodied sound that is obtained only with a heavier stick. Select a general-purpose stick that is rigid enough, especially toward the tapered shoulder and neck (see Figure 2.2) to produce a full-bodied sound. Sticks with excessive shoulder taper “give” or “flex” when played and result in a considerable loss of tone. (See discussion and demonstration of this on the Chapter 2 video: Track 1.) Do not use a stick that will “overplay” an instrument. Too large or too heavy a stick will muffle or cancel out most of the vibrations from an instrument and cause a dull tone. An example would be a heavy drum stick, timpani, or marimba mallet used on a small bongo or tom tom, where a suitable stick would be a thin wooden dowel. (See demonstration on “Tone Production” in Chapter 1 video: Track 2.) A stick with a small bead (Cooperman #1 Graham C. Johns and Vic Firth Bolero models) will sound best for playing fast articulate rhythmic passages, and a stick with a larger general-purpose bead will sound best for loud or soft roll passages with moderate rhythmic activity (Reamer [Drummer’s Service] Abel and Bookspan models; Cooperman Zuber, Petrella and others’ models; Vic Firth SD1 Generals). Figure 2.3 shows various sticks as recommended in Chapter 1. Note the changing bead size yet consistent gripping area in the Firth line of sticks. For excellent quality concert snare sticks, see websites for Drummer’s Service, Cooperman, Vic Firth, Innovative, Pro Mark, Mike Balter, and others.

Playing Areas Drum playing areas must also be taken into consideration for a true musical performance. In general, any well-tuned, nonmuffled drum will give a dry, slightly muffled tone in the center and more resonance toward the edge. The lowest fundamental tone is produced in the center of a drum with a thinning of the tone occurring nearer the edge. The head is slightly tighter near the edge and therefore is a slightly easier area on which to play soft delicate passages, but this practice should be pursued discreetly. A well-tuned snare drum will give a quick dry snare response when played directly over the snares and a slightly slower snare response when played away from or opposite the snares. These tonal characteristics should be considered when choosing where on the head to perform a given passage (for instance, a roll will sound smoother when played opposite the snares, and fast rhythms are more articulate when played directly over the snares). Generally, playing just off center will give a full tone with a slight amount of resonance. When playing soft articulate passages, one must choose between the dry articulate center-area sound and the more resonant, over-the-snares articulate edge sound. Care must be taken not to play loudly too near the edge of a head. This produces a poor, F IGURE 2 . 2    Snare drum stick

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B asic Pe rcu ssio n T e ch ni q ue Thr o ug h t he S t ud y o f t he S na r e D r um

F IGURE 2 . 3   Sticks and brushes, left to right: two Chris Lamb orchestral models, Vick

Firth-Thunder Rock, Vick Firth-SD1 Generals, Vic Firth-SD2 Bolero, Vick Firth SD5-Echo, Ludwig standard 2B, Tom Gauger #16, Hinger aluminum, RAMROD sticks by RAM Percussion, Vick Firth-SD6 Sizzle, nylon tip home-made yarn double-ended stick, Ludwig wire brushes, Blastik by Calato, Vick Firth Corpsmaster Ralph Hardiman signature model, Silverfox-3S, Silverfox-M/S, Vic Firth MS1N nylon tip model, Regal Tip Quantum

thin tone that is never acceptable to the tone-conscious ear. Also, overuse of ­edge-to-center playing for soft to loud passages will give too much of the effect of different instruments and too much color change. Dynamic contrast must be created by fine control and technique.

n Tom Tom, Field Drum, Tenor Drum, and Roto-Toms In addition to the snare drum, the percussionist will often be called upon to play other concert drums. Tom toms are available in many different sizes (see Figure 2.4). The choice of instrument should be based on its use in the context of the music. A quick substitute for a tom tom is a snare drum with “snares off.” This is also what is usually intended when a composer writes for snare drum “muffled.” Generally, if field drum (tamburo militare [It.], militär trommel [Ger.], tambour mili­ taire [Fr.]) is called for, a large marching-style snare drum (approx. 12” × 15”) is used with snares (Figure 2.5). In a concert hall this type of drum should have gut or cable snares and should not be tuned as high as our modern marching snares (see Chapter 9). It should be played with larger sticks than ordinarily used on a standard concert snare drum. A tenor drum (tamburo or cassa rullante [It.], ruhrtrommel or wirbel trommel [Ger.], caisse roulante or tambourin roulant [Fr.]) would be considered a field drum without snares (Figure 2.5). A large, deep-sounding drum (approximately 12” × 15”–16”) often is preferred. Although the tenor drum is usually played with large snare drum sticks, occasionally a pair of yarn or felt mallets is better. Again, careful consideration of the mu­sical context—along with a careful translation of the foreign term for these instruments—is required of the percussionist when choosing the tenor drum or the field drum. Another non-snare drum category is roto-toms. These unique drums evolved from the early demands for tuned chromatic drums in the percussion writing of Michael

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F IGURE 2 . 4  

Tom toms

F IGURE 2 . 5   Field drum (left) and tenor drum (right)

­ olgrass to a pedal-operated version that were manufactured by Remo in the 1980s. C The uniqueness of roto-toms is that the pitch of each head can be changed by rotating the drum (Figure 2.6). Used both as tuned and indefinite pitch instruments, these shellless drums have their own unique quality of sound. Roto-toms were available in seven Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.



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F IGURE 2.6   Roto-toms and their tuned ranges

different sizes between 18” and 6” in diameter. Although only manufactured commercially in 6”, 8”, 10”, 12”, and 14” sizes, their full range is included above because of many existing sets still in percussion inventories and required in compositions.

n The At titude Toward Percussion Performance and Education One problem that percussionists and teachers of the instruments have always had to face is that the drums (and indeed many other percussion instruments) are perhaps the easiest instruments on which a person can produce a sound without any formal instruction. This absence of training and attitude of “here, take the sticks and play,” while valid as part of the learning process, has misled many potentially fine musicians, who, with minimal guidance, might have otherwise become fine players. Therefore, an attitude is needed toward playing and teaching percussion instruments that is as musical and sophisticated as one would have when approaching any wind or string instrument or training the voice. And unless this attitude is serious and well intended, the percussionist will have a difficult time developing and understanding his or her techniques and potentialities and will perhaps never come to know musical percussion performance. In examining basic sound-production quality on musical instruments, assuming we have decent instruments and parts (that is, sticks, mouthpieces, and bows), the percussionist must first think of the hands, as the wind player would the embouchure or the string player the bow. A poor bow grip or weak embouchure makes it difficult to produce a good sound. Similarly, a weak or misunderstood grip employed on the sticks Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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or mallets will result in greater difficulties than if a correct basic grip is used. (See Chapter 7 for hand drumming considerations.) To carry this a step further, the stroke is analogous to the breath support on a wind instrument or bow pressure and motion on a string instrument. The concept of tone production through the stroke, called touch, needs to be correctly understood from the very outset to enable the percussion student to play with accuracy, control, tonal variety, re­finement, velocity, and musical expression as he or she progresses. A clear understanding of all psychophysical relationships involved in learning and performance must always be kept in mind as the teacher guides the student. The following pages and the accompanying video will address all important aspects of a basic percussion grip, stroke, and technical development. Each aspect is presented through direct instructions purposely designed to define an “area of correctness” for each consider­ation. These areas of correctness are often labeled Cook Book Essential Ingre­ dients for ­monitoring during practice and performance. If these essential principles are observed, success is almost guaranteed. All of these concepts can be most efficiently learned through simple student observation of the teacher’s demonstration followed by the student’s imitation (the “monkey see, monkey do” approach). When presenting any aspect of grip, stroke, or technique the teacher should avoid attaching strong ­result-oriented expectations to any part of the activity. The goal of each activity needs to be clearly defined, but it must be an awareness-oriented goal, not a result-oriented goal. Ask the student to imitate what you do. Language should lead the student into an awareness of every aspect of “what is” and “what is happening.” Use phrases like “notice . . . ,” “be aware of . . . ,” “tell me what happens when . . . ,” “what if you . . . ,” and “focus your attention . . .” to foster awareness learning. Be certain that any discoveries the student makes are directly relevant to what is happening, not just what he or she thinks is happening. Also, be certain you understand what the student knows about what he or she is learning so that you can continue to guide him or her accurately into more experiential awareness. Once the student knows how something should be (for example, the way a roll should sound and look) from having observed your demonstration, a “temporary okay condition” should be established in which result expectations are sincerely let go of, and the focus is only on be­coming aware of some part of the activity that ultimately affects the “result” (for instance, saying, “It’s okay with me if it sounds rough, is that okay with you? See if you can find out what your middle finger is doing when you do that.”) Through this process, learning and change will take place, and the result will improve. Perception is blocked by thinking how it “should be.” The student needs only to let go, be nonjudgmental and willing to accept “what is” and become aware, and learning will occur. Regular practice times need to be established and a format or schedule for use of that time followed. Beginning with a warm-up period of a few minutes is a good habit. This gets the blood flowing into the muscles and the psychophysical systems tuned up. Slow, mentally focused, conscious practice must be given to each new area of technique with close attention paid to all visual, auditory, and kinesthetic aspects of execution and musical expression. The student is encouraged to establish a set of goals for evaluating his or her learning. Long-range goals can have no real limits. They may be vocational or purely idealistic achievements for oneself in the far-off future. Mid-range goals should be more realistic and attainable. Short-range goals can be upcoming performances or completion of a certain solo or method. This short-term goal can then be further divided in half to establish such levels as weekly goals in practice, daily goals, lesson goals, today’s goals. The degree of goal attainment should be examined beyond the obvious fulfillment of its expectation. More important is learning how one learned the material required to fulfill the goal. As a fair assessment of the degree of goal attainment, one should simply determine whether one expanded in learning (in which case, improvement was made) or whether one did not. Expanded learning is a product of careful isolation and observation of the exact objectives one has and an awareness of what accomplishes them.

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Further thoughts on practice and learning are presented in Chapters 4, 5, and 9. The reader is encouraged to view these all collectively in formulating concepts of practice and education.

n Matched and Traditional Grip Two common grips are used in snare drum playing: matched and traditional, Figure 2.7 and 2.8 below. As noted earlier in this chapter, traditional grip came into use because it was the most convenient and logical left-hand grip for accommodating the sharp angle of the drum suspended at the drummer’s side. Pictorial accounts of playing clearly illustrate the drum hanging at the musician’s side; hence, it is sometimes called the “side drum.” When the drum was played with the left hand, the stick was held somehow between the thumb and index finger to accommodate the angle of the drum. Sometimes only the index finger was placed on top of the stick, but usually two fingers were used as in Rembrandt’s Night Watch of 1642.8 Other predecessors of the traditional grip can be seen in examples of grips used to accommodate drum angles in ancient cultures such as the Romans and the Egyptians. The use of traditional grip in the military, of course, carried over into concert hall playing, for that was how all snare drummers learned to hold their sticks. Stands were eventually built that were adjustable so as to accommodate the player’s traditional grip. One of the earliest concert snare drum stands was a child’s high chair with the drum inserted at the proper angle for playing. The first drum set snare drum stands in New Orleans were common chairs (which led to double-drumming with the bass drum); otherwise, the drums were suspended by a shoulder strap. Of course, while snare drummers were using traditional grip, timpanists and keyboard players were using a matched grip, so as percussionists began to play more than just the snare drum, they had to learn to play with both grips. In the past four decades matched grip has become increasingly popular for snare drum playing as well as for all the other percussion instruments. This is due perhaps partially to the visual influences of matched-grip rock drummers and other percussionists seen on television and in movies, books, and magazines and matched grip being advocated more commonly in percussion pedagogy. Most important is the simple fact that as the demands on the school percussionist focused more toward proficiency on all percussion instruments, matched grip was found to be the most consistent approach to total percussion education and performance. Many arguments have been made for using matched grip. Since nine arm muscles are used to make a matched-grip stroke (four extensor muscles move the stick down F IGURE 2 . 7   Matched grip

F IGURE 2. 8   Traditional grip

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and five flexor muscles move it up) and only four are used for a traditional-grip stroke (two pronator muscles move the stick down and two supinator muscles move it up), then to have balanced strokes (sounds) between hands, logic suggests that matched grip be used. Further arguments for matched grip would include its greater ease in learning because it is a more natural grip. The strongest point, as previously stated, is that it is a consistent grip and can be easily transferred to all percussion instruments. Marching snare drum performance with matched grip is easily accomplished by using a carrier to position the drum flat (see Chapter 9). Ironically, marching snares are commonly played flat with traditional grip but more recently are being played at an angle with traditional grip. Some professionals would advocate playing snare drum in the concert hall at an angle with traditional grip for projection of tone. While traditional grip is preferred by some (often in combination with matched) on drum set, marching snare, and in the concert hall, matched grip is recommended for training the percussionist and has served as a consistent approach to percussion education and performance for many successful percussionists. (Additional comments on traditional grip are included in Chapters 8 and 9.)

n Instrument Height and Stance A word should be said about instrument height and proximity to the player. The role of body poise and postural use is paramount in realizing optimum learning and performance potentials. A good general concept concerning instrument height would be to have the forearms almost parallel to the floor when playing any percussion instrument. A slight reaching downward would not be harmful, but avoid an extreme reaching downward. Players taller than about 5’8” often have the latter difficulty with snare drum stands that do not adjust to standing playing position because they are intended to be used with the player seated at a drum set. (See the discussion of this on the Chapter 2 video: Track 1.) All instruments should be at approximately waist or hip-bone level even if some form of instrument riser is needed. Players taller than 5’8” may especially want to elevate their keyboard percussion instruments by placing four small 2” × 4” or 4” × 4” wooden blocks under the wheels or, better, investing in an adjustable height instrument. If blocks are used, each block should have a rubber or plastic furniture stop attached to its top to keep the wheel from rolling off the block (four thick telephone books have been used to raise instruments, too). Blocking the instrument to a correct playing level will result in more comfortable and more natural playing than having to stoop or bend at the knees excessively. For the tall player, sitting on a stool for timpani performance balances the body better, positions the arms more parallel to the drum head, and avoids stooping. The antithesis of being too tall for an instrument is often the lot of a young per­ cussionist playing full-size instruments. When addressing keyboards or even timpani, a sturdy box or a couple of crates for a short player to stand on helps him or her reach the instrument. The distance between the instrument and the player is easily determined by placing the sticks or mallets on the instrument’s playing area and checking where the player’s elbows fall in relation to the side of his or her body. This “rule of elbow” is that the el­bows should be slightly forward from or even with the sides of the body when performing on any stationary percussion instrument. This allows for maximum relaxation from the shoulders down to the fingers and ease in arm/hand movement over the instrument. (See the demonstration of this rule of elbow on the Chapter 2 video: Track 1.) If one stands too close to the instrument, a relaxed technical development is hindered, and tone is also slightly constricted by a subtle involuntary squeezing in the hands caused by the elbows being forced behind the sides of the body. A poised position at any stationary percussion instrument will result in a straight back with one’s head balanced on one’s neck and elbows relaxed at one’s sides. Although a slight bending toward the instrument with combined movement from ankle, knee, and hip joints may, in performance especially, make the difference between a musically inspired and

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engaging performance for the audience, the percussionist must be aware of his or her poise at the instruments and not slump and stoop over them. The percussionist has a psychological barrier or resistance to overcome because of the lack of physical contact with the instrument. The player must become “one” with the instrument and mallets if he or she is to achieve musical expression, and correct instrument/player arrangement is crucial if this is to occur.

n A Concept of the Grip and Stroke The basic matched grip will be discussed using snare drum sticks because of the easy availability of sticks and practice pads. However, there is very little difference in the matched grip whether used with snare sticks, keyboard percussion mallets, or timpani mallets. If these other instruments and mallets are available, they may also be used for the initial practice. The idiosyncrasies of their grips are discussed in their respective chapters. Please view the following grip and stroke discussions and demonstrations on the accompanying video. The most important point to remember when teaching, learning, or playing percussion with any grip is to allow yourself to be relaxed. At no time before or during a stroke should one experience tension in any part of the body, especially in the hands, wrists, arms, and shoulders; a little fatigue, perhaps, but not tension. To experientially learn about relaxation and tension in these extremities, we can do the lady bug exercise. Please follow along on the Chapter 2 video: Track 3. Simply hold your arms out in front of you, palms facing the floor. Wiggle your hands loosely as if bouncing tennis balls or waving goodbye from the wrists. Notice the looseness in the hands, wrists, and arms. Now press the thumb slightly against your index and middle fingers as if lightly holding a stick (or gently holding a lady bug), and notice what it feels like as you continue waving—but don’t hurt your lady bug! Increase the thumb pressure (and squish your poor lady bug), even close your fingers tightly into the palm, and notice the restricted movement in the wrists and arms. Now let go of the thumb and fingers and wave the hands loosely again. This experience illustrates that the more loosely one can hold the sticks, with a whole-handed supportive type of grip, the more relaxed and easy playing will be. If tension is detected at any time while playing—and you are squishing your lady bug—stop, take a deep breath, “shake it loose,” and resume practice. In general, a good concept of the basic percussion stroke played with any grip on any drum would consist of the performer gently tossing, dropping, or pushing the stick toward the head, from a raised position above the drum with a hearty but resilient stroke, made with a balanced combination of fingers, wrist, and arm, and immediately allowing the stick to rebound freely back to its starting position. This cyclic stick movement is called a full stroke and can occur at any height depending on speed and volume. The free rebound should not be inhibited by the performer in any way. There should be no downward resistance to the energy of the stick rebounding or any artificial pulling of the stick up off the head. (In keyboard performance, the concept is the same but lacking much natural rebound off the bars; therefore a certain amount of artificial rebound lifting must be created. See video stroke demonstration on keyboard compared to snare drum in Chapter 4.) An acute sensitivity to this natural rebound will result in the hand actually following the stick back to its starting position. This sensitivity is developed only with a loose but supportive grip that cushions the stick, flexible wrists, and coordinated arm connection. A good way to conceive of this sensitivity in the stroke is simply to imagine bouncing a tennis ball off the drum head, with a gentle throw or push of the ball toward the head being initiated primarily from the wrists. You might even try lightly bouncing real balls off a hard floor or table and then off the drum head. This idea of allowing the ball to freely rebound off the drum when actively playing, coupled with an “in-tune” synchronization of the fingers, hand, wrist, and arm to the stick’s natural rebound off the drum, forms a desirable concept for tone production and touch on all percussion instruments with any grip.

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The Pivot Point or Fulcrum The first thing to determine before starting to play is the pivot point on the stick—that is, where the stick should be held to obtain the greatest number of free bounces when the stick is dropped on the drum head or pad. This is also sometimes called the fulcrum or fulcrum point. However, the term fulcrum is reserved for use in this text and on the video to identify the appearance of the hand position or grip and involvement of the fingers and/or arms in playing. Note that the pivot point described here on a snare drum stick does not apply to the keyboard percussion mallet or timpani mallet; they should be held near the end of the shaft (see Chapters 4 and 5). Although a detailed demonstration is presented on the Chapter 2 video: Track 2 to determine the best pivot point on the snare drum stick, the following explanation is included for ready reference in the text. To find the pivot point on the snare drum stick, simply hold the stick freely between the tip of thumb and index finger about one-third of the way down from the butt end, with the tip resting on the pad or drum head. Lift the tip of the stick about 10 inches off the head with your opposite hand, and allow it to drop and bounce freely on the pad or drum. Observe the number of free bounces. Repeat several times, changing the point at which you hold the stick between the thumb and index finger until you find the point on the stick where the greatest number of free bounces occur. This is the pivot point. You may mark this point on the stick by roughing up the finish and using a felt pen or piece of tape. If the stick is held at this point each time one plays, then the best feel and response will be obtained. This pivot may be shifted slightly for more subtle effects in the roll and stick response in advanced playing situations, but at the outset it should be clearly established.

The Grip Once the pivot point is found on the snare drum stick, a proper matched grip or traditional grip can be established. Although a detailed demonstration of the grip is presented on the Chapter 2 video: Track 4, the following explanation is included for ready reference in the text and pertains to matched grip and right-hand traditional grip—see Chapter 9 for explanations of the left-hand traditional grip. Drop your strong or dominant hand to your side. Relax your arm and hand and shake it loose. Take the tip of the stick in your other hand. Raise your strong hand palm up to about waist level. Place the stick in the hand, across the palm just below the base of the fingers where they meet the hand, with the butt end of the stick extending off the palm near the wrist, as shown on the Chapter 2 video: Track 4. Grip the stick loosely (like gently holding a lady bug) between the thumb and first joint of the index and middle fingers and allow the remaining fingers to fold gently around the back of the stick. The space between the top of the thumb and side of the forefinger should be open and relaxed; this open area is called an open fulcrum and is an excellent and easy visual cue to maintaining a relaxed fulcrum. (See the Chapter 2 video: Track 4 demonstration for this critical aspect of a relaxed, proper grip.) It is important that one conceives of this grip at the pivot point on the stick as between the pad of the thumb and the space between the index finger and middle fingers on the opposite side of the stick and supported by the ring and little fingers. These last two fingers are helpful in controlling the stick but must never inhibit its motion, especially in the free bounce as used in the roll. This explanation is different from the first two editions of Teaching Percussion and from most approaches to the grip, in which the grip on the stick was advocated be­tween the thumb and index finger with the middle, ring, and little finger supporting the grip. Thanks to the enlightenment of the late Buster Bailey in his definitive book Wrist Twisters, A Musical Approach to Snare Drumming, our pedagogical understanding of this grip has been refined. And, to quote Bailey, “The amount of inward squeeze at the fulcrum should create the minimum amount of tension possible in your hand, simply giving you the feeling that your fingers are ‘glued’ lightly to the sides of the stick.” Bailey explains further, Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.



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I believe that the right hand fulcrum point is most effective when positioned between the pad of the thumb on one side of the stick, and the space between the index and the middle finger on the opposite side off the stick. Placing the fulcrum point between those fingers is going to allow the stick to have a freer rebound off the drumhead, and it’s that rebound along with sensitivity in the wrists, that we want to make use of and allow to do most of the work for us.9

The setting of the grip has been performed with the palm up so the player has complete view of what is attempting to be accomplished. There are other approaches to es­tablishing a grip on the stick in which the stick is picked up off a surface, or the player pretends to shake hands and the stick is placed into his or her hand from below. Any such approaches that do not allow the player to see the pivot point and finger placement around the stick are fine for supplemental instruction but should not be the ­primary method. To complete the grip and bring the stick to playing position, simply turn the hand over so the back of the hand is up, and one is ready to begin the stroke (see Figure 2.7). At this point it is necessary to establish some areas of correctness or Cook Book Essen­ tial Ingredients about the grip. The player should become aware of these by focusing attention on each point and determining what role it has while playing. 1. Be sure the stick is being held loosely at the determined pivot point between the thumb and the space between the index and middle fingers as shown on the video. 2. Be sure the thumb is kept on the side of the stick directly across from the index and middle fingers and not allowed to slip under the stick as if holding a hammer. 3. Be sure the tips of the index and middle fingers curl slightly around the stick. This is crucial for dynamic control and sensitivity as one advances. 4. Be sure the ring and little fingers only support the stick and do not grip it tightly into the palm. There should be about 1 inch of play between the fingers and the palm in which the back of the stick can move freely. 5. Be sure the back of the stick lies under or slightly to the outside of the wrist as shown in Figure 2.7. To some extent, one’s natural hand size will determine this placement. 6. Most importantly, be sure you maintain an open fulcrum space between the top of the thumb and side of the index finger. While some texts go so far as to distinguish between an “open” fulcrum and “power” fulcrum grip—the latter with this space closed (as some drum line instructors advocate)—for the sake of a basic percussion technique, only an open fulcrum will allow for maximum relaxation.

The Basic Percussion Stroke After acquiring a clear understanding of a proper grip and concept of the stroke, the student is ready to begin playing. A resonant snare drum (snares on and off) or a tom tom is recommended, in addition to a practice pad, to supply rich auditory feedback when initially developing the basic percussion stroke and tone. Although a detailed demonstration of the basic percussion stroke is presented on the Chapter 2 video: Track 5 (with a cloning or mirroring, hands together approach), the following explanation is included for ready reference in the text. As described earlier, the correct basic matched grip stroking action or motion, made primarily by the hand and wrist in playing position, is like waving goodbye or bouncing a ball. (See Chapter 9 for traditional grip explanations.) It is important that the motion be primarily up-and-down from the wrist, as opposed to a rotation of the wrist and forearm or side-to-side movement of the hand from the wrist. Initially make this correct stroking motion slowly in the air without striking the drum. The integration of the arm into the stroke requires coordination and understanding dealt with later concerning accents and rolls. Once incorporated, this balanced coordinated stroke in­volving arm, wrist, and fingers will allow for the most complete and natural technical development. Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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As a first playing exercise, practice playing both hands together slowly and evenly for the benefits of cloning or mirroring. Don’t even think of making “drum strokes”— just bounce balls! Learn by rote the cloning pattern exercises as demonstrated on the Chapter 2 video: Track 5, and practice them allowing for a free full-stroke rebound after every stroke. Practice random basic strokes with the hands together and separately until the stroke becomes comfortable, relaxed, even, and consistent. Along the way, focus your attention on (seeing, hearing, and feeling) all points concerning the correct grip and stroke. A detailed description follows. With the hands close to the drum (2 to 3 inches above the head), lift the tips of the sticks by bending the wrists to a high full stroke position about 12 to 13 inches above the head; do not move the forearms. Make a motion to the drum and produce a sound that will be loud, because of the height of the sticks, but not heavy. Conceive the tone as rich, mellow, and round, and listen for the consistent quality of each stroke. Think of the sticks rebounding off the drum or following the tone away from the drum more than actually striking the drum. Feel the vibration of the stick as it rebounds freely. The tip of the stick should make contact with the head just off center. The wrist motion should be quick from the high full stroke—like throwing or bouncing a ball—and returning again. Maintain an open fulcrum and keep the hand and fingers relaxed, supporting the stick correctly. The importance of starting with a full stroke at this exaggerated height is to develop the wrist muscles at their fullest potential for strength and control in playing, to experience all sensations (seeing, hearing, and feeling) at their fullest, and to acquire a touch that will develop into a flexible technique that the player can use to express his or her musical ideas (see Figure 2.9 and the Chapter 2 video: Track 5 demonstrations). Time should be spent playing and observing basic sticking combinations between hands at even note values. Typical exercises are shown in Examples 2-A and 2-B. Many such playing examples are included in beginning percussion texts. An excellent way to compare the hands is to feel the similarities and differences in stick vibrations between the hands (in addition to listening and watching). Example 2-C is a wrist exercise that should be practiced with each hand separately using a full stroke for each articulation. Play only as fast as the sixteenth notes can be controlled. Work toward acquiring in­creased sensitivity to the natural rebound of the stick off the head with each playing. A Cook Book recipe (and favorite way out here in the Southwest) for teaching 2-C by rote is by saying and playing: “bean” for quarter notes, “ta-co” for eighth notes, “tor-til-la” for triplets, and “en-chi-la-da” for sixteenth notes. Try it! It’s fun and amazingly accurate. See Chapter 11, “Basic Stroke Combinations,” for supplemental exercises.

FIGURE 2 .9   The basic

percussion stroke

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After establishing a good basic percussion stroke and consistent grip, one is ready to begin music reading and further the techniques of playing. Just as with singers and musicians with string and wind instruments, it is vital that percussionists establish a good concept of the basic stroke and sound. EXAMPLE 2 -A n Written only indicating stickings. Play hands together

on each line for cloning or mirroring benefits, followed immediately with the hands separately as indicated. Watch (feel and listen) for consistent full-stroke rebounds.

EXAMPLE 2 -B n Written with notes and stickings. Play the (a) and (b) stick-

ings together on each line for cloning or mirroring benefits, followed immediately by the separate (a) and (b) hands as indicated. Watch (feel and listen) for consistent full-stroke rebounds. When playing exercises 6 through 9 especially, try separating the hands on two different sounds and play the “melody” rather than the sticking. For auditory learners this will be much easier than the physical sticking patterns.

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EXAMPLE 2-B n (Continued)

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EXAMPLE 2 -B n (Continued)

12. Repeat each measure several times at maximum speed. After the last measure in­crease to a continuous single stroke roll. For variations: 1. Play all eighth notes with one hand and “drop in” the other hand. 2. Substitute sixteenth-note triplets or thirty-second notes for the printed sixteenth notes.

13. Single Stroke Roll. Practice slow to fast to slow—1 to 3 minutes duration. See demonstration of the single stroke roll with conversion to finger technique on the Chapter 2 video: Tracks 6 and 10.

EXAMPLE 2 -C  n A wrist exercise daily warm-up. Sing: “bean, ta-co, tor-til-la,

en-chi-la-da.”

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n Basic Drumming Technique Many books have been written on the musical and technical development of the percussionist. Recommended texts appear at the end of this chapter. However, in presenting an instructional guide for use in teaching and learning to play percussion instruments, the following general comments are pertinent regarding approaches to drumming technique. Once basic stroke combinations between hands can be coordinated and controlled, the player should proceed to advance his or her technical, reading, and musical skills. Technical development should include the continued cultivation of touch, control of tone, velocity or speed, dynamics, and rhythmic precision. To develop speed and control, one should practice various sticking combinations on various rhythmic patterns. These are found in the technical exercises in many of the better percussion methods or in texts dealing strictly with the topic of stick control. Developing Dexterity by Mitch Peters, Master Studies by Joe Morello, It’s Your Move by Dom Famularo, and Wrist Twist­ ers by Buster Bailey (already mentioned), listed at the end of this chapter, are excellent books for developing technique and refining touch and control. Rudiments of the snare drum also serve as exercises to develop technical facility. Drum rudiments are basically rhythmic patterns with concocted stickings that serve as the drummer’s scales and arpeggios. See Chapter 9, “Marching Percussion” for extensive discussions of rudimental drumming. When practicing these technique builders, one should allow the sticks to rebound to a high full stroke position by starting slowly (and relatively loudly) at first with each exercise, gradually increasing speed up to one’s maximum with relaxed con­ trol, and gradually slowing back down again. During this process, the height of the full stroke should diminish as the strokes occur faster, and the volume of the stroke should also diminish as the strokes are played closer to the drum. The slowing back down should reverse the height and volume level back to a high full stroke. At all times the grip must stay relaxed and correct. The “feel” of the height and energy of the rebound that is present when playing the high full stroke slowly should be maintained as the playing speeds up. It is this discipline of allowing the sticks to rebound each time as full strokes that develops the touch and control necessary for advanced musical playing. There may be a tendency for the sticks to “seesaw” or to move one stick down to the drum while the other is coming up, sometimes referred to as “switch stroking.” This tendency should be avoided, and each full stroke should be completely executed, with the stroke rebounding to its maximum height before the next stroke is started. Only when the rhythms or exercises are played very rapidly should the sticks be allowed to switch stroke or seesaw. When learning to read music, one should strive for this full stroke movement so that it eventually becomes habit. Consistent, controlled practice using this approach will rapidly develop wrist muscles and coordination and advance stick-control technique. To develop control of dynamics one should practice these same exercises at various dynamic levels—soft, medium, loud, crescendo, diminuendo—and using various tempos—slow, medium, fast, slow to fast to slow, and so on. Review of the basic sticking com­binations in Examples 2-A and 2-B with these added dynamic variations is strongly encouraged. Also see accent studies, Example 2-O, and supplemental playing exercises for snare drum in Chapter 11. Development will be rapid at first but will become more gradual as advanced levels are reached. However, efficient regular practice will result in progress if one is attentive, patient, and persevering. In the words of the famous violin teacher Ivan Galamian, “Technique is the immediate and precise response of the hands to directives sent out by the mind.” The percussionist must understand this concept when practicing as he or she is developing not only muscles but mainly the psychomotor coordination of mind and hands. The mind requires the most development, as all one does begins in the mind. The more developed and flexible the mind is, the more it will be able to “direct the hands,” and the more progress the percussionist will achieve.

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The percussionist’s musical development must, of course, parallel the technical. Musical development is perhaps greatly individual, but it can be nourished by exposing the percussionist to good literature (as suggested throughout this text), good concepts of sound, and meaningful, provocative musical experiences, throughout his or her training. However, even the most musical minds cannot express their ideas without adequate technique.

Rebounds, Doubles, and Rolls After developing consistent control of basic stroke combinations, the next stage of technical development is learning to play and control the rebound. This, of course, leads to sustaining drum tones by means of the buzz or multiple-bounce roll and the open double-stroke or rudimental roll. There are many approaches to beginning roll development. For many years the open or rudimental-style roll, which consists of two sounds being produced in each stick, was the only “correct” approach to learning the roll. James Blades refers to the open roll as the “double-beat” and “legitimate roll.”10 This style of roll is a direct carryover from the techniques employed on the large, rope-tension, skin head, gut snare drums of European and colonial American military heritage. The slow response of these early drums demanded a very open technique for creating the sustained drum tone or roll; thus the usual technique employed was the double-stroke roll. (See video demonstration in Chapter 9.) While mastery of the open double-stroke roll is fundamental to percussion technique and essential to developing fluency in all styles of snare drumming, more recent pedagogical approaches advocate that initial roll development be through the study of the multiple-bounce or buzz roll with three or more sounds occurring in each hand. Generally, with this initial approach to the roll, the student is able to produce a good-sounding roll and understand roll interpretation enough to meet the demands of the music long before he or she could if initially developing the double-stroke roll. Development of the double-stroke roll is essential and should accompany multiple-bounce roll studies as suggested in this chapter and on the video under the section “The Stroke-and-a-Bounce.” Assuming a good pivot point is employed (and that is crucial), one needs to attempt to produce a stroke after which the stick is allowed to rebound or bounce freely several times on the drum head or pad. There are three points in the grip that must have the most sensitive control and understanding: 1. The sideways pressure of the thumb on the stick opposite the pivot point (space between the index and middle fingers) must only create a pivot or fulcrum for the stick to play through. This thumb pressure coupled with any gripping of the stick from the tip of the index and middle fingers can determine the control of the rebounds. If the pressure is too firm, it will inhibit the rebound of the stick; if too loose, the stick will flop around in the pivot area and lose its rebound energy. One should think of a slight squeeze from the tip of the index and middle fingers at the moment the stick contacts the head, followed by an immediate release of that squeeze once the stick starts to rebound. This “squeeze-release” process, when executed correctly, will put the stick into active rebound motion (due to the squeeze) and allow the maximum number of rebounds to occur (due to the release). Experimenting with the subtleties of this squeeze-release will enable one to obtain free, unrestricted, long multiple-bounce strokes. 2. The ring and little fingers should not touch the stick when first producing rebounds or the multiple-bounce stroke. They should be just below the stick, yet not spread out to the side. Eventually these fingers will become sensitive to the rebound speed and actually facilitate the production of the rebounds. 3. Often overlooked in producing good multiple bounces and rebounds is the downward weight of the hand on the stick. Experimentation with different slight downward pressures here will reveal much.

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4. Lastly, these multiple-bounce strokes should be made not from the wrists alone but from a combined flowing arm and wrist stroke motion. Use this motion as you practice below. The multiple-bounce stroke should be practiced in each hand separately before combining the hands. Take care not to attempt this buzz stroke at too loud a dynamic level. Then, combining the hands, start slowly playing long, sustained multiple bounces in each hand. Overlap the ending of one stroke with the beginning of the other. Keep an even sustained sound; gradually alternate more rapidly until a smooth, connected series of buzzes is sounding. Study the demonstrations on the Chapter 2 video: Track 12 of these roll techniques and exercises. A good practice of a multiple bounce-to-roll exercise should take about 1 minute as you gradually increase the alternation from hand to hand. This “choo-choo” effect should re­semble a train starting off and eventually sound like BBs falling evenly on the drum or pad. Once an even sustained sound or roll is achieved, there is no need to further in­crease the rate of stick alternation. This will only cause the individual multiple bounces in each hand to become tighter and in turn choke off the resonance of the drum. The concept on the roll should be as slow an alternation of the hands, or base, as possible, with as long a sustained multiple-bounce stroke occurring in each hand as possible. Eventually, for certain styles of rolls of greater intensity, one may play a faster base with tighter buzzes in each hand; but for practical beginning purposes, a slow base with long multiple bounces will work best. After a good roll can be sustained by gradually working into it with the above method, one should practice playing long continuous base-to-roll exercises. (Note that some texts refer to base as “skeletal rhythm” or “background”; they all indicate the rate of hand/stick alternation.) Example 2-D contains long continuous base-to-roll exercises. Study the demonstrations on the Chapter 2 video: Track 13 of base-to-roll exercises. The purpose of base-to-roll practice is to establish an even alternation of the single strokes both in dynamics and rhythm, which then carries over to production of an even roll when the multiple bounces are added. Continuing with similar exercises in various texts will acquaint the percussionist with many roll-base combinations and enable him or her to perform them well. Also see Example 2-F, tied roll studies, later in this chapter. EXAMPLE 2-D  n Continuous base-to-roll exercises

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Additional buzz and roll comparison exercises for listening to and practicing the multiple-bounce stroke from hand to hand are given in Example 2-E. For further study examples see Chapter 11 and books previously mentioned by Mitchell Peters, Joe Morello, Al Payson, Buster Bailey, and others listed at the end of this chapter. Example 2 - E  n Buzz and roll comparison exercises

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EXAMPLE 2-E  n (Continued)

20.

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EXAMPLE 2 -E  n (Continued)

After the long base-to-roll exercises can be played evenly, one should work on starting and stopping rolls of different lengths—that is, attacks and releases. A base ap­proach starting with singles and then adding multiple bounces is again recommended. A good practice routine is to start each pattern on the weak hand several times, then start on the strong hand, and then alternate hands. When first attempting to play rolls of varying lengths, start with rolls of several base notes and a terminating note. Once these are controlled, progress to shorter rolls. When starting with short rolls, one has barely enough time to get the roll going before it must end. This is more difficult than working down to the short rolls from the longer. The tied rolls in Example 2-F serve as models. The terminating or last note of each pattern must be played as a single stroke and with a slight release but not an accent. The performer should think of stopping the roll on this note without producing an accent (unless one is written). See Chapter 11, “Tied Rolls,” for supplemental exercises.

EXAMPLE 2 -F  n Tied rolls

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EXAMPLE 2-F  n (Continued)

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Roll Interpretation Many young players experience difficulty when attempting to play rolls in a musical context. This difficulty usually occurs in ending the roll at the right point in time. Example 2-G is a base analysis of a quarter-note tied roll in several different tempos. This is to serve as a model for playing rolls of the same, shorter, and longer duration. The first basic principle to remember is tempo determines the base.

EXAMPLE 2 -G  n Roll interpretation

Advanced players also use less common groupings and polyrhythmic bases:

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After practicing exercises with this discipline of a base approach, the percussionist will be able to analyze and interpret a roll in music and perform it well. Another area that presents problems in rolling is the interpretation and performance of nontied rolls. As discussed in Chapter 1 under “Interpretation of Notation,” the actual musical notation of rolls being tied or nontied unfortunately does not always correspond to the music as sounded. Therefore, the percussionist must determine whether to carry the sustained sound of the roll over to the last release note (tie the roll) or to separate the roll from the release note (not to tie the roll) and sometimes in timpani performance especially to even roll the tied release note (see discussion of this in Chapter 1). As previously stated, roll interpretation, regarding whether or not to tie, should be decided by: 1. Listening to the ensemble. 2. Actually checking a score or other instrument’s part to see note duration and style. If there is still some question, consult with the conductor about interpretation. The technical execution of nontied rolls can also be approached from the base concept. As in Example 2-H, nontied rolls may end on the last base note or any note before the last base note, depending on the style and character of the music and the proficiency of the performer.

EXAMPLE 2-H  n Nontied rolls

The last note of the base that is not played as a multiple-bounce stroke (that is played as a single stroke) must be the same dynamic and weight as the preceding ­multiple-bounce strokes. The performer should think of stopping the sound on this last note, not stopping the roll as in tied rolls. Another means of obtaining a nontied roll when stopping on any note before the last base note is to play a multiple-bounce stroke on this last note instead of a single stroke. Care must be taken not to get a weak, decaying release with this technique. See Chapter 11, “Nontied Rolls,” for supplemental exercises. Any roll that is shorter than three base notes (that is, two multiple-bounce strokes and a release stroke) may be played either as a press roll, by dropping both sticks almost together onto the drum in quick multiple-bounce strokes (for nontied rolls mainly) or by playing one multiple-bounce stroke in one stick followed by a single-stroke release note in the other stick. These two techniques would only be used for very short rolls. Example 2-I illustrates many of the previous roll interpretations. This base approach to roll interpretation is sometimes called “metered rolls” and “measured roll speeds.” Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.



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EXAMPLE 2 -I n Roll interpretation—tempo determines base

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EXAMPLE 2-I n (Continued)

The final consideration in roll interpretation is dynamics. Perhaps the clearest way to de­scribe roll playing at various dynamic levels would be through an explanation of playing a long roll, soft to loud and back to soft, commonly referred to as a long tone (Example 2‑J). E X AMPLE 2 -J  n Dynamics of the long tone

1. The roll begins with the tips of the sticks about 1⁄8 inch above the drum head. Play as long as possible a sustained multiple-bounce stroke in each hand, which results in a very slow stick alternation or base. The roll may be started near the edge of the drum (about 1 inch from the counterhoop) for good stick response. 2. As the roll crescendos, the tips of the sticks are lifted higher off the head, and the multiple-bounce strokes open up more until the loudest level is reached, at which point the roll can be an open double-stroke, rudimental roll, or an open multiplebounce, sometimes triple-stroke roll. If the roll is started near the edge of the drum, it should move toward the center as it crescendos until the roll reaches its loudest level in the center of the drum.

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3. Because the long sustained multiple-bounce strokes in each hand become more and more open as the roll crescendos, until each hand is playing a double stroke/stroke-and-a-bounce or open multiple-bounce or triple stroke, the alter­ nation of the sticks or the base has to increase in speed also. Therefore, a fine roll played soft to loud starts with a slow base with long sustained multiple-bounce strokes, and the base increases in speed proportionately as the multiple-bounce strokes become more and more open, thus shorter in duration, until there is only one double stroke/stroke-and-a-bounce or open multiple bounce or triple stroke connecting each hand at the loudest level with a very fast alternation of the sticks or base. 4. Reverse this procedure as the roll is played diminuendo. 5. When the pianissimo level of the diminuendo is reached, the multiple-bounce strokes should be sustained as long as possible. The base should be very slow with the sticks about 1⁄16 inch above the drum head. The sticks should be lifted off the drum at the end of the roll for the release as if someone unexpectedly pulled the drum out from under the sticks. Good control of all rolls will be developed by practicing the long roll with dynamic change. The entire roll should last a minimum of 60 seconds: 30 seconds of crescendo and 30 seconds of diminuendo. In the final analysis of how one is to play any roll, there are three factors to consider: tempo, dynamics, and the style of the music. A given roll at a constant tempo will not always have the same base. The dynamic marking is the final determining factor in selecting a base for a roll along with the intended and appropriate style of the music. What if, however, a roll starts soft and crescendos or vice versa? In the beginning stages of roll development, one must start with a base that is fast enough to produce a good-sounding roll at the loudest level, even though the base is too fast for the best-sounding soft part of the roll. Good musical judgment is always the most important factor in determining how to play any roll. The more advanced the player becomes, the less he or she is conscious of the base and, in reality, tends to “float” the base for the best musical sound rather than adhere to a rigid base. However, the above disciplines of base-roll performing and practice are necessary for solid technical development. Example 2-K is Example 2-I with dynamics added. It represents a typical snare drum part. The rolls are reduced to a notated interpretation to serve as a model for studying roll interpretation at different tempos and with added dynamics.

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EXAMPLE 2-K  n Roll interpretation—tempo and dynamics determine base

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EXAMPLE 2 -K  n (Continued)

The Stroke-and-a-Bounce and Finger Stroke Control This double-stroke or stroke-and-a-bounce technique, as mentioned previously, is perhaps most accurately described as a stroke-and-a-controlled-bounce. The controlled element occurs in the middle, ring, and the little fingers as they actually help play the bounce of the stroke-and-a-bounce back onto the head with equal dynamic balance to the stroke. This assistance by these fingers is necessary as a free bounce following a stroke will not be equal in volume to the stroke made at a loud level. These back fingers aid in snapping the stick back onto the head, along with added assistance from the wrist, to match the volume of the bounce to the stroke.

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To develop this sensitivity and timing in the fingers, one needs to practice basic rebound double- and triple-stroke patterns, comprised of two or three quick strokes in each hand, with the aid of the fingers playing the second and third strokes. (See Chapter 9, Example 9-F, and carefully study the Chapter 2 video: Tracks 7, 8, and 9 demonstrations of Example 9-F for these techniques and the exercises below.) Using the cloning or mirroring technique to develop both hands equally is very effective and helpful for mastering finger control. An exercise for initially discovering and developing this finger control follows. (Although the explanation is full of “Do Instructions,” be sure to use demonstration with imitation and lots of awareness instructions to lead the student into an awareness with the exercise.) Make one stroke on the drum and allow the stick to rebound fully away from the palm of the hand, while keeping the fingers in constant contact with the stick (Figures 2.10 and 2.11). This initial stroke is best accomplished by starting with the whole arm raised about 12 inches above the drum, with forearm and stick parallel to the floor and stick extending straight out from the hand. The stroke to the drum is then made by dropping arm, hand, and stick as one relaxed unit to the drum and allowing the back of the stick to rebound fully away from the palm, thus extending the fingers but not allowing bending of the wrist (Figure 2.11). At the fully extended position (Figure 2.11), snap the stick back to the drum with the fingers only and allow the forearm to rise back to the starting position. At the end of this snap-back finger stroke, the stick should again extend straight out from the hand with forearm, wrist, and stick parallel to the drum head ready to repeat from about 12 inches above the head. (See Chapter 2 video: Track 14 demonstration.) From this starting position (12 inches above the drum), repeat the process (Figure 2.10). As facility is gained and speed of execution is increased, the wrist should gradually initiate the stroke more and more with less need for exaggerated forearm motion. To aid in further understanding the finger stroke portion of this stroke-and-a-bounce, the percussionist should practice “air drumming” by making finger strokes in the air. (See the Chapter 2 video: Track 14 for discussion of finger strokes and demonstrations of air drumming here and in Chapter 5.) Slow, careful repeated strokes played by air drumming will develop a great amount of sensitivity for timing in the fingers and begin to develop finger control. The strokes F IGURE 2. 11   The fully extended position, snap F IGURE 2 . 1 0   The stroke with full rebound

back, and preparation to repeat

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can be increased in speed but only to a moderate rate. Reversing the stick in the hand results in more gravitational pull as the butt of the stick is heavier. By changing the angle of the stick in relation to the gravitational pull (that is, more perpendicular to gravity), different controls can be discovered. Always strive to sensitize the fingers to the movement of the stick throughout the stroke so that they are in constant contact with the stick. In addition to this air drumming, isolated finger strokes should be practiced on the drum. Simple single-handed patterns such as establishing steady eighth notes and increasing to eighth-note triplets in quarter time will continue to develop finger control and sensitivity (see “Developing Finger Strokes” on the video for Chapter 5). The exercises in Example 2-L will help to develop control of loud rolls using the stroke-and-a-bounce or double-stroke technique. See demonstrations on the Chapter 2 video: Tracks 8 and 14 of similar exercises. Several additional practice exercises for developing finger strokes and the double ­stroke/stroke-and-a-bounce can be found in Chapter 9, Example 9-F; in Chapter 11 “Supplemental Playing Exercises”; and in snare drum technique books listed at the end of this chapter and Chapter 9 (see Developing Dexterity by Mitchell Peters, Master Studies by Joe Morello, Stick Control and Accents and Rebounds by George Lawrence Stone, Wrist and Finger Stroke Control for the Advanced Drummer by Charles Wilcoxon, and the Accent on Accents by Marv Dahlgren and Elliot Fine). EXAMPLE 2 -L  n Rebound exercises

6.

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EXAMPLE 2-L  n (Continued)

When these rebound exercises are practiced at a slow tempo, the double right and double left strokes are executed as two quick single (wrist) strokes. As the tempo in­ creases, the double right and double left strokes convert to the stroke-and-acontrolled-bounce. This transition from two quick single strokes in one hand to the double ­stroke/stroke-and-a-bounce must be smooth and gradual. The ability to control this transition is an indication of fine progress in the development of the technique. When practicing these exercises loudly, allow the arms to move in a relaxed natural stroking motion with the elbows moving away from the sides of the body during the playing of the double stroke and in toward the sides in preparation for the next double stroke while the opposite hand is playing. See the Chapter 2 video: Track 7 demonstrations under “Integrating Arms” in Chapter 2 of double and triple strokes and the Moeller technique. Also see “Ride Cymbal Time” in Chapter 8 for explanation of this elbow/arm movement when playing a traditional swing ride cymbal pattern. This relaxed arm motion can greatly assist in the production of the loud playing level and allows for a more open, even execution of the double strokes in each stick. For further study of this integrated arm movement in playing, see the video Speed, Power, Control, Endurance by Jim Chapin in which he discusses and demonstrates attributes of the Moeller system. Additional information is available in books and videos by Ed Soph, Steve Smith, and others listed in Chapter 8, “Drum Set,” and books at the end of this chapter by Dom Famularo, Mark Wessels, Jeff Queen, and others. Further control will be gained by working loudly all previous roll exercises in Examples 2-E through 2-I, substituting the stroke-and-a-bounce in place of the ­multiple-bounce stroke. Be sure to almost double the tempo when playing these roll exercises loudly with the stroke-and-a-bounce and keep a relaxed arm flow. This technique of using the fingers to assist in playing can then lead to finger strokes at all dynamic levels and tempos. Another exercise is to practice fortissimo, slow to fast to slow, double strokes alternating from hand to hand (Example 2-M). Here again the double strokes will start as two quick singles and gradually become a stroke-and-a-bounce. Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.



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EXAMPLE 2 -M n Alternating double strokes—slow to fast to slow

This process should last at least 1 minute. An interesting variation of this exercise is to try to accent the second stroke in each hand. This practice procedure is sometimes called “running down a roll” in rudimental snare drum parlance (Example 2-N). The accent on the second note was originally suggested by George Bruce in the original Bruce and Emmett book of 1862, and still survives today! EXAMPLE 2 -N  n Running down a roll

Accent Studies Accent studies may be included in the technical development of the percussionist soon after the development of consistent basic strokes. Performance of rhythmic passages containing accents requires acute stick positioning control surpassed only by the demands of grace note figure performance. Accent studies (Example 2-O) should be played slowly at first with both hands utilizing the cloning or mirroring technique and one-handed with clear, sharp accent strokes played from a higher level above the drum head than the non­accented notes. A whipping action in the wrist, called “throw accents,” should initiate the accent strokes. See the Chapter 2 video: Tracks 7 and 11 demonstrations of accent patterns, throw accents, and the Moeller technique. Fulcrum accents, achieved by squeezing the fulcrum, are not advocated. The player will find the greatest control over rebound energy will be required on nonaccented notes immediately following an accent. These nonaccented notes should be executed with even control from only a few inches above the head, depending on overall dynamic level. Keep the accents contrasting with the nonaccented notes regardless of overall dynamic level. Never “slam” the accent strokes unmusically and noisily into the drum. Practice each exercise several times one-handed and alternating, slow to fast to slow at first, then at slow, medium, and fast steady tempos and with varying dynamics. Elbow/arm movement should be integrated into these exercises by allowing (or causing) the elbow to move in slightly toward the side of the body in preparation for each accent and move out during the playing of the accent. For further information on throw accents and arm connection in playing accents, see the accompanying Chapter 2 video: Track 7 demonstrations and the video Speed, Power, Control, Endurance by Jim Chapin. EXAMPLE 2 -O  n Accent studies: Practice with cloning both hands together,

then starting with your strong hand for one cycle and then with your weak hand, then alternate sticking

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EXAMPLE 2-O  n (Continued)

Grace Note Figures (Flams and Drags/Ruffs)



 

The last aspect of basic percussion technique is the grace note figures. These are termed as flams [ ] and drags [ ] (originally called ruffs). These differ from the single strokes and multiple-bounce strokes in that they require both sticks to function simultaneously and to be well coordinated or the resultant sound is noticeably incorrect. Flams and drags are executed by conceiving of them as (1) one stroke or motion made simultaneously by both sticks, with (2) the grace note(s) stick low to the instrument (1⁄2” to 1”) and the main note stick high (8”–10”). Performance based on these two ideas will be successful, assuming the sticks travel at the same speed when played together. Note that the sound should be lighter in the grace note(s) than in the main note. Practice slowly, concentrating mainly on the grace note’s closeness to the head, and gradually increase the tempo. Mastery of the essential exercises in Example 2-P will en­able one to perform most passages involving flams. Technique and method books will provide additional flam passage practice. EXAMPLE 2-P  n Flam studies: Prepare and check each flam’s stick height

during the rest

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EXAMPLE 2 -P  n (Continued)

Performance of these and similar flam passages require that all articulations are even. Most beginning players tend to stress or accent the flam and play more lightly on the single strokes. Think of the flam as a single stroke with an added grace note that, when played as the flam, becomes longer than a single stroke—not heavier unless ac­cented. The grace note actually softens the staccato attack of the single stroke. An incorrectly played flam will create a “pop” caused by both sticks striking the head at exactly the same time. The fault usually is either that the sticks were not correctly positioned before making the stroke together (that is, grace note stick low, main note stick high), or if the sticks were correctly positioned, the high stick may be moving toward the head at a faster rate of speed than the low stick and therefore strikes the head simultaneously with the low stick and produces the pop or “false flam.” (In some orchestral literature



the “French flam” is notated: [

 ]. Some purists claim to play a false flam. Usually the

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figure is played with a slight separation of the strokes, but with equal weight given to each stroke rather than a lighter grace note as with a normal flam.) Exercises for practicing flams and especially for correcting the habit of popping one’s flams are as follows. See demonstrations of these and the essential flam patterns on the Chapter 2 video: Track 15. 1. Start playing both sticks together about 1⁄2 inch off the head, making deliberate pops. Gradually lift one stick higher and higher until a good flam is achieved. Practice this slowly at first and gradually work to faster speeds (Example 2-Q). Start pp and a crescendo will occur in the main note. EXAMPLE 2-Q  n Flam exercise—simultaneous stick movement

2. Play four or more grace notes close to the head and then drop in the main note to produce a good flam. Practice this reducing the grace notes until regular consecutive flams are performed successfully (Example 2-R). EXAMPLE 2-R  n Flam exercise—main note drop in

Flams are difficult for the average percussionist to perform flawlessly and require much practice to perfect. After flams are somewhat comfortable and controlled, one should begin attempting drags or ruffs. The previous flam exercises should all be practiced using drags instead of the flams. Drags may be played closed, where an actual closed multiple bounce is played instead of exactly two grace notes; or open, where exactly two grace notes are played preceding the main note. Open drags are achieved by playing a light stroke-and-a-bounce before the main note. Care must be taken in performing either closed or open drags or ruffs not to stress or accent the grace notes and not to play them too far in anticipation of the main note so as to produce a “r-r-r-r-ruff.” These last two tendencies are common in beginning players. To solve the former, stressing the grace notes, keep the grace note stick low—1⁄2 inch above the head—and do not prepare the grace notes with any upward motion. To solve the latter, over anticipating the main note, merely have proper stick high/low positioning and play them to­gether. The decision whether to play open or closed drags will depend on the style of the music and sometimes the conductor’s preference. When playing music involving flams and/or drags, natural or alternating hand-tohand sticking will dictate which stick will play the grace note(s) and which the main note. When using this natural sticking, a deliberate seesaw up-and-down stroking mo­tion should occur so as to preposition the sticks for the grace note(s). As a rule when using this natural sticking, one should think of the grace note(s) as being played by the last stick to play immedi­ ately before the grace note(s) because this stick is already close to the head. Close examination of the passage in Example 2-S will illustrate the observance of this natural sticking rule. EXAMPLE 2-S  n Grace note figures—natural sticking

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EXAMPLE 2 -S  n (Continued)

In addition to this, one may want to alter the sticking so that a “right-hand lead” system (see “Sticking Policies”) be employed or perhaps so that all flams be played with the same sticking for precision (for example, all left-handed flams throughout the ­passage—see Example 2-T). EXAMPLE 2 -T  n Grace note figures—consistent left-hand flam or drag

sticking

In the end, whatever sticking one decides to use should give the best possible performance. A good practice routine would be to work a given passage as many different ways as one can devise. This will develop control and versatility in the long run. Other ruff figures may be notated with several grace notes, for example,

Of these, the four-stroke ruff [

] is most common and should be practiced

diligently. The grace notes are played lightly and very rapidly, with the main note receiving a slight stress. A slight crescendo under the entire figure gives a good phrasing. The following are common stickings:

The so-called five-stroke ruffs or longer are played as stroke-and-a-bounce grace note combinations with a terminating single main note or with all strokes alternated hand to hand.

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Special Effects—Rim and Stick Shots and Others Often composers will ask for special sounds from the percussionist. A commonly requested technique is the rim shot. One way a rim shot can be played is by striking the rim and head simultaneously with one stick. By varying the length of stick striking the head, the sound can be altered from a very high pitch by playing the rim shot close to the edge, or it can be very low and sound like a gunshot if the stroke is played closer to the middle of the head. Another means of producing a rim shot is by striking one stick against the other while it is either held only on the head, called a “stick shot,” or on both the head and rim simultaneously. The latter is often referred to as a “stick-on-stick” rim shot. Again, the sound of this varies according to the position of the held stick on the head and can be further varied by altering the point of stick-on-stick contact. A third means of producing a rim shot is to place the bead of a stick on the head and strike the shaft on the rim. The sound can be altered by changing the amount of stick crossing the drum and by varying the contact point of the shaft on the rim. This technique is very common in drum set playing and is sometimes referred to as a “knock” or “Latin rim shot.” (See video demonstrations in Chapter 8.) Creative experimentation will expose many colorful sounds that can be achieved with rim shots. Another common technique required of the snare drummer is playing on the rim or shell. This is easily accomplished by reaching up to the rim opposite the player or by striking the side of the drum on its shell. Care should be taken not to damage the shell by playing too hard. A variety of rim sounds can be obtained by striking the rim with the bead, neck, and/or shoulder of the stick. Playing with brushes is an art in itself and should be studied with a fine jazz drum set player. In general, although simple notation may be used, such as straight quarter notes in common-time, the brushes should be played with a dragging motion of one or both brushes across the head while tapping out the notated rhythm or an embellishment of the rhythm such as a swing pattern in jazz. Refer to Chapter 8 and Robin Horn’s demonstrations of playing brushes on the video. Other special effects that may be called for or that the performer may choose to use include playing the snare drum with very light sticks or knitting needles, with coins or thimbles on the fingers, or with just fingers alone. Sometimes even playing softly and lightly on the snare head may be just the right sound for a soft delicate passage. Musical percussionists will always use their instruments and their techniques with creative imagination to achieve the best possible performance.

n Sticking Policies The combinations of right- and left-hand strokes, called stickings, used by the percussionist are somewhat analogous to the down and up bowing used by string instrument players. The practice of playing the stronger pulses in a rhythm with one’s dominant hand by intentionally selecting a sticking that allows for such practice is perhaps closely related to the bow combinations a string player would choose. However, the string player can alter the comparative weight of the bow by changing bow pressure on the string, the speed at which the bow is drawn over the string, and where on the strings the bow is drawn in relation to the finger board. Therefore, in a more artistic sense the use of the up or down bow does not solely determine the subtle nuance that states the stronger pulses in phrasing or little inflections. Similarly, selected stickings used in percussion performance do not solely determine the phrasing of a rhythmic passage, although they have a major influence on phrasing. The deliberate weight given to each stroke by the performer will create the phrasing, assuming the performer has control of all nuances and possesses a vivid musical imagination. Nevertheless, in a pedagogical system a “sticking policy” is highly recommended for the training of the young percussionist. Some texts introduce a sticking system from the very first reading exercises. These exercises derive their sticking from the smallest rhythmic figure common to the measures (for example, assuming four quarter notes were played): Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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then the sticking for variations of this four-note group with added rests would be:

Progressing on to eighth notes,

would be the basis for other variations of rhythms such as:

Sixteenth-note quarter divisions of the beat would result in the following groups of stickings from

and so on. As a basic rule for stickings in binary rhythms, one could derive all stickings from the smallest denomination of four notes. The only exception would be “after beats” where natural alternation would be adequate; for example,

The same basic concepts can be applied to ternary rhythms; for example,

is the basis for:

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The practice of learning and performing with these sticking policies (sometimes called “right-hand lead” or the “Straight system” after Edward B. Straight’s method) is not recommended until one reaches the 4 level of performance with quarter divisions of the beat (for example, sixteenth notes in 4 time). Too often the beginning student finds it more difficult to observe the stickings when reading 4 single beats or duple beat divisions (for instance, quarter notes and eighth notes in 4 time) than if he or she alternated freely from hand to hand. The student allowed to alternate stickings freely usually comprehends the rhythm and counting more quickly than trying to observe various added stickings. This free alternation in the beginning stages also helps to develop an awareness of matching the articulations of each stick and helps to develop ambidexterity. The 6 use of a sticking policy in 8 or other compound meters is also recommended. The performance practice of using these sticking policies will result in certain builtin features benefiting the performer: 1. Greater rhythmic stability is achieved. Playing the passage in Example 2-U quickly, employing a sticking policy (sticking A), results in a strong stabilizing pulse in the right hand occurring on the beat or on the “and” of the beat. Conversely, alternating stickings freely results in neither hand creating a stable pattern (sticking B). Study these examples with the Chapter 2 video: Track 16 demonstrations. E X AMPLE 2 -U  n Sticking policy versus free alternating sticking

2. Greater evenness of sound is achieved from like rhythms being played the same. A quick comparison on the A and B stickings in Example 2-U shows clearly how each repeated rhythm is played identically when a sticking policy is used, as in the A sticking, and how random and uneven the repeated rhythms sound using the free alternating B sticking. 3. Increased uniformity and precision in ensemble is achieved. If two or more percussionists are playing the same part or rhythm and are adhering to the same sticking, they will be more apt to play together and with the same phrasing inflections than if they each use random stickings. This is equivalent to a string section using identical bowings in a tutti passage. Uniformity in sticking must be employed in the marching percussion section to achieve precise execution of like percussion parts. (See discussions of right-hand lead sticking policies applied to marching percussion in Examples 9-O and 9-P in Chapter 9.) 4. Sight reading is usually stronger when the student is trained and uses a sticking policy. The same sticking that occurs for each rhythm as a result of using a sticking policy in performance reinforces the actual counting and comprehension of the rhythm. Without the use of the sticking policy, either hand may begin a given rhythm, thereby doubling the chance of error. Other advantages for using a sticking policy are the general benefits from the mind commanding the hands and perhaps less tendency to play seesaw or switch strokes.

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One should understand the basis from which all the various stickings are derived and practice study exercises employing the chosen stickings to acquire the technique and have it become a habit and part of the performer’s playing system. See supplemental exercises in Chapter 11 to develop playing with a sticking policy. At a more advanced level of performance, one may reverse the entire concept of the sticking policy and place the weak hand on rhythmic divisions where the dominant hand had previously played. This practice often will create a subtle change in the phrasing, particularly where evenness and precise control are desired and the pressure of performance and nerves may distort that precision. By placing the dominant hand on weaker rhythmic divisions, the result can be a more balanced performance, for example, Bar­ tók’s Sonata for Two Pianos and Percussion, last eight measures (see Example 2-V). EXAMPLE 2 -V  n Béla Bartók, Sonata for Two Pianos and Percussion (conclu-

sion of third movement)

Sonata for Two Pianos and Percussion, Sz. 110 by Béla Bartók © Copyright 1942 by Hawkes & Son (London) Ltd. Reprinted by permission of Boosey & Hawkes, Inc.

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For right-hand dominant percussionists a right-hand lead system—(a) in Ex­ample 2‑V—will give a good performance, but a slight tendency to lose the second ­sixteenth note is sometimes evident. A left-hand lead system (b) would put the stronger right hand on this second sixteenth note and therefore perhaps balance the passage that little bit extra that makes for a better performance. One may even consider using the (c) sticking for a final excellent performance.

n Phrasing Be sure to see the discussion and demonstrations of phrasing on the Chapter 2 video: Track 17. Musical performance on nonmelodic percussion instruments presents an expressive challenge not encountered on other musical instruments. To be musical on these instruments requires a keen understanding and sensitivity to expression because of the absence of a melodic line and harmony. Stickings have been previously discussed in terms of pedagogical approaches and control in performance. However, many other factors need to be considered when choosing stickings for musical phrasing. One might choose to play a passage that is not too technically demanding with only one hand if one desires the most even phrasing possible. Many symphony orchestra percussionists play the excerpt from Bartók’s Concerto for Orchestra given in Example 2‑W with their strongest hand only. EXAMPLE 2-W  n Béla Bartók, Concerto for Orchestra (beginning of second

movement)

Sonata for Two Pianos and Percussion, Sz. 110 by Béla Bartók © Copyright 1942 by Hawkes & Son (London) Ltd. Reprinted by permission of Boosey & Hawkes, Inc.

Another preferred sticking is to play all accented notes with one hand (usually the weaker) and the other notes with the stronger hand. This sticking gives very even quality to the accents and allows the other notes to flow. Either sticking is perfectly acceptable if played well and musically phrased. The subtle differences in note weight and rhythmic phrasing between the two stickings are what the performer and sometimes conductor have to evaluate when deciding which to use in performance. Other stickings are of course possible if they produce consistent accuracy for the individual performer. In addition to sticking choice, subtle nuances in the actual rhythmic placement of notes in the measure and between beats help to create a more convincing musical perfor­ mance. Slight dynamic nuances also create interest and help to inspire a p ­ erformance. Depending on the sticking used in the Bartók Concerto excerpt, the accents might be sharply pronounced from out of the mezzo forte line, or they might be led into with a slight dynamic swelling of the sixteenth notes before each accent. This swelling may be accompanied by a rhythmic placement of the sixteenth notes in such a way that they lead into the accent and complement the dynamic swell. To illustrate this graphically, Example 2-X is offered with bar lines omitted. Note the space between notes and relate this to the rhythmic movement. The height of the notes relates to the dynamic swell. This is very subtle and must not disturb the exact mathematical placement of the beat. Indeed, impeccable rhythmic stability is the basis from which these artistic nuances emerge. See Chapter 2 MindTap further discussion of phrasing the Bartók.

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EXAMPLE 2 -X  n Subtleties and nuance of dynamic and rhythmic phrasing

Natural metric accents sometimes require some added stress.

Agogic accents, or accents of duration, especially when creating syncopation, also re­quire slight stressing, for example:

A passage performed with an ensemble must, of course, complement the melodic phrasing and style of the ensemble performance. Careful application of all these concepts governed by an attentive ear will result in blended ensemble performance. (See Chapter 10 for further discussion of listening and blending.) All these concepts of phrasing, applied to the excerpt from Bartók’s Sonata for Two Pianos and Percussion, would involve a subtle stressing of the first note of the figure:

and perhaps dynamic and rhythmic phrasing as illustrated:

Fine musicians perform naturally with such expression. However, awareness of these concepts allows even the most innately musical person to perform on a higher artistic level and enables the discussion and teaching of these concepts with all students. The reader is referred to Fred Hinger’s Timpani Technique for the Virtuoso Timpanist, Time and Motion for snare drum, and Chapter 2 MindTap for further discussion of Hinger’s phrasing system.

n The Strokes A final phrasing consideration, and perhaps most important to musical percussion performance, is how one plays each stroke. Legato or staccato strokes were mentioned in Chapter 1 and are thoroughly discussed under timpani and keyboard percussion technique because of the greater aural discernibility of the strokes on those instruments. However, the basic concepts of staccato and legato strokes and grips should be practiced

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regularly when performing on all membranophones and in moderation on all other percussion instruments. In general (assuming the player understands and plays with the principles of free rebound), when notes are played with a firm grip and quick, snappy strokes, close to the head, the tone or attack will tend to be staccato in nature because of resistance against the natural rebound of the stick, thus causing the stick to slightly muffle its own tone. Conversely, when notes are played with a relaxed grip and flowing, resilient strokes off the head, the tone will be resonant or legato (see Chapter 5 and video demonstrations for an in-depth discussion of stroke types). In addition, where on the instrument one performs is very important to the musi­ cality of the performance (review previous comments under “Playing Areas” in this chapter). A more legato sound is achieved by playing with the stick tips slightly separated, such as when rolling, rather than close together. Conversely, articulate passages should be played with each stroke occurring on the same spot on the head for maximum clarity. Although these concepts are rather subtle and even subjective, their application in performance does create audible changes in sound and phrasing. However, it is not so much their literal use but the attitude toward performance that is created through their conscious application that inspires greater musical expression in performance. In summary, we see that along with one’s concept of sound, it is the choice of instrument and stick and tuning, where on the instrument one plays, how one approaches playing with regard to grip and stroke type, one’s concept of phrasing dynamic and rhythmic shading, and the stickings utilized that produce musical expression on percussion instruments. Once the hands and body discover and understand the fundamental techniques of playing and then master their subtleties, there is no limit, other than one’s creative artistic imagination, to musical ex­pression in performance. One needs only to conceive of a phrasing and sound, and the technique will be found to produce it, providing the factors involved in performance with artistic expression have been consciously and individually developed throughout one’s study of the in­strument. See the “Percussion Keyboard” and “Timpani” chapters for further discussion. The final etudes in Example 2-Y are offered for study and application of basic drumming techniques and concepts of musical expression. Study of these Chapter 2 video: Tracks 18 and 19 demonstrations will greatly aid in a musical interpretation of these and other such examples. EXAMPLE 2-Y  n Final etudes

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EXAMPLE 2 -Y  n (Continued)

n Individual Snare Drum Methods and Supplemental Studies Also see Chapter 1—”Percussion Method Books,” Chapter 8—”Drum Set, Methods and Materials,” and Chapter 9—”Marching Percussion Ensemble, Methods and Materials.”

Major Applied Methods The following are highly recommended primary texts for individual study of concert snare drumming. See Chapter 9 for further recommended rudimental drumming methods and solos.

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Elementary The Performing Percussionist, Book I by James Coffin (C. L. Barnhouse Co.) [total percussion]

Developing Dexterity for Snare Drum by Mitchell Peters (Mitchell Peters) [snare drum technique only]

Vic Firth Snare Drum Method, Book I, Elementary by Vic Firth (Carl Fischer) [snare drum only]

The Total Percussionist: A Beginning by Brian Tychinski [total percussion] (HoneyRock)

The Snare Drum Plays the Zoo by Brian J. Harris [with CD and DVDs] (Desert Songs Productions: www.brianjharris.com)

A Fresh Approach to the Snare Drum for Classroom or Individual Study by Mark Wessels (Mark Wessels Publications: www.mwpublications.com)

Beginning Snare Drum Method Book and Compact Disk, Revised Edi­ tion [with 2 CDs] by Al Payson (Payson Percussion Products) [snare drum only] Beginning Snare Drum Studies by Mitchell Peters (Mitchell Peters) [snare drum only]

Fundamental Studies for Snare Drum by Garwood Whaley (Joel Rothman Publications) [snare drum only] Primary Handbook for Snare Drum by Garwood Whaley [with CD] (Meredith Music Publications/Hal Leonard) [snare drum and multiple-drum studies]

Intermediate Portraits in Rhythm by Anthony J. Cirone (Belwin/Warner Bros.) [intermediate through advanced material]

Intermediate Snare Drum Method, Vol. II [with CD] by Al Payson (Payson Percussion Products)

Portraits in Rhythm—Study Guide by Anthony J. Cirone (Belwin/Warner Bros.)

Developing Dexterity for Snare Drum by Mitchell Peters (Mitchell Peters) [snare drum technique only]

The Performing Percussionist, Book II by James Coffin (C. L. Barnhouse Co.) [total percussion including drum set]

Intermediate Snare Drum Studies by Mitchell Peters (Mitchell Peters) [snare drum only]

Vic Firth Snare Drum Method, Book II, Intermediate by Vic Firth (Carl Fischer)

Standard Snare Drum Method by Benjamin Podemski (Belwin/Warner Bros.) [intermediate through advanced material]

Modern School for the Snare Drum with a Guide Book for the Artist Percussionist by Morris Goldenberg (Hal Leonard) [intermediate through advanced material] The Snare Drum Plays the Zoo by Brian J. Harris [with CD and DVDs] (Desert Songs Productions: www.brianjharris.com) Intermediate Snare Drum Method, Vol. 1 [with CD] by Al Payson & Michael Folker (Payson Percussion Products)

Musical Studies for the Intermediate Snare Drummer by Garwood Whaley (Joel Rothman Publications) Rhythmic Patterns of Contemporary Music by Garwood Whaley and Joseph M. Mooney (Joel Rothman Publications) [intermediate through advanced material]

Advanced (Also see Appendix A—”Orchestral Excerpts.”) Contemporary Studies for the Snare Drum by Fred Albright (Belwin/Warner Bros.) Wrist Twisters, A Musical Approach to Snare Drumming by Elden C. “Buster” Bailey (Marimba Productions, Inc.) The Solo Snare Drummer—Advanced Etudes and Duets by Vic Firth (Carl Fischer) Modern School for Snare Drum with a Guide Book for the Artist Per­ cussionist by Morris Goldenberg (Hal Leonard)

Time and Motion by Fred Hinger (Jerona Music) Master Studies by Joe Morello (Modern Drummer/Hal Leonard) The Snare Drum in the Concert Hall by Al Payson (Meredith Music Publications) Advanced Snare Drum Studies by Mitchell Peters (Mitchell Peters) Trommeslåtter, A Drummer’s Treasure Chest by Carl Haakon Waadeland (TIMA Forlag)

Supplemental Studies Elementary Highly recommended:

Also recommended:

The Beginning Snare Drummer: A Musical Approach by Morris Lang (Lang Percussion/Music for Percussion, Inc./Hal Leonard) [snare drum only]

Logical Approach to Rhythmic Notation by Phil Perkins (Logical Publications)

Contemporary Drum Method, Book I by Michael LaRosa (Somers Music Publications) [snare drum, multiple-percussion studies and duets] Logical Approach to Snare Drum, Vol. I by Phil Perkins (Logical Publications) [snare drum only]

Teaching Rhythm for All Instruments/Class or Individual Instruction by Joel Rothman (Joel Rothman Publications) [rhythms only] Basics in Rhythm [with CD] by Garwood Whaley (Meredith Music ­Publications/Hal Leonard) More Basics in Rhythm by Garwood Whaley (Meredith Music ­Publications/Hal Leonard)

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Intermediate      Highly recommended: Flams, Ruffs and Rolls for Snare Drum by John Beck (Meredith Music Publications/Hal Leonard) Odd Meter Studies for Snare Drum by Kevin Bobo [32 intermediate to advanced studies–metronome clicks CD] (Keyboard Percussion Publications) The Snare Drum Roll and Rudiments Interpretation by Gary Olmstead (Permus Publications) Logical Approach to Snare Drum, Vol. II by Phil Perkins (Logical Publications) Audition Etudes for Snare Drum, Timpani, Keyboard Percussion, and Multiple Percussion, Vol. I by Garwood Whaley (Meredith Music Publications/Hal Leonard) Concert Solos for Intermediate Snare Drummer (with CD) by Garwood Whaley (Meredith Music Publications/Hal Leonard.) Intermediate Duets for the Snare Drum by Garwood Whaley (Joel Rothman Publications)

Advanced (Also see Appendix A—”Orchestral Excerpts.”) Highly recommended: Odd Meter Studies for Snare Drum by Kevin Bobo [32 intermediate to advanced studies–metronome clicks CD] (Keyboard Percussion Publications)

More Audition Etudes for Snare Drum, Timpani, Keyboard Percus­ sion, and Multiple Percussion [with CD] by Garwood Whaley (Meredith Music Publications/Hal Leonard) Solos and Duets for Snare Drum by Garwood Whaley (Meredith Music Publications/Hal Leonard)

Also recommended: Modern Reading Text in 4/4 by Louis Bellson and Gil Breines (Belwin/Warner Bros.) Odd Time Reading Text by Louis Bellson and Gil Breines (Belwin/Warner Bros.) [intermediate to advanced material] Method for Snare Drum by Jacques Delecluse (Alphonse Leduc) [snare drum only, intermediate through advanced material] 22 Progressive Studies, Etudes, and Duets for Snare Drum by David Eyler (Music for Percussion/Hal Leonard) Siegfried Fink: Studies for Snare Drum, Vols. 1–6 by Siegfried Fink (N. Simrock) [elementary through advanced material] Logical Approach to Rudimental Snare Drum by Phil Perkins (Logical Publications)

Recital Duets for Snare Drum with CD “duet accompaniment” by Garwood Whaley (Meredith Music Publications/Hal Leonard) Recital Solos for Snare Drum by Garwood Whaley (Meredith Music Publications/Hal Leonard)

Concert Percussion: A Performer’s Guide, Vols. I and II [videos] by Anthony Cirone, Sam Denov and Cloyd Duff (Warner Bros.)

Also recommended:

Rhythmic Analysis for the Snare Drum, with Introduction to Poly­ rhythms by Fred Albright (Belwin/Warner Bros.)

Contemporary Collection for Snare Drum by Murray Houllif (Warner Bros.)

Douze Etudes for Snare Drum by Jacques Delecluse (Alphonse Leduc)

Contemporary Album for the Snare Drum by Stanley Leonard (Ludwig Music Publishing Co.)

The Rhythms of Contemporary Music—A Rhythmic Teaching Aid for All Instruments (complete edition), by Joseph Leavitt (Belwin/Warner Bros.) Concert Etudes for Snare Drum by Al Payson and James Lane (Payson Percussion Products)

Sight Reading and Audition Etudes by Ron Fink (Fink Publications)

Fifty Contemporary Snare Drum Etudes by Alexander Lepak (Windsor Music Publishers) 26 Contemporary Snare Drum Duets by Alexander Lepak (Windsor Music Publishers)

Snare Drum Technique Flams, Ruffs & Rolls for Snare Drum by John Beck (Meredith Music Publications/Hal Leonard)

Fundamental Drumstick Control: A Beginning Approach to Snare Drum Technique by Jeffrey Moore (Alfred Music)

Practical Method of Developing Finger Control by Roy Burnes and Lewis Malin (Belwin/Warner Bros.)

Master Studies, Vols. I and II by Joe Morello (Hal Leonard)

Speed, Power, Control, Endurance by Jim Chapin—video/booklet (Belwin/Warner Bros.) Master Technique Builders for Snare Drum edited by Anthony J. Cirone ­(Belwin/Warner Bros.) Encyclopedia for Snare Drum by Forrest Clark (Professional Drum Shop, Inc., TRY Publishing Co.) It’s Your Move—Motions and Emotions by Dom Famularo (Warner Bros.) Accent on Accents, Books I and II by Elliot Fine and Marvin ­(Belwin/Warner Bros.) Chop Busters by Ron Fink (Fink Publications) The Modern Concert Snare Drum Roll by William James (Meredith Music)

The Snare Drum in the Concert Hall by Al Payson (Meredith Music Publications/Hal Leonard) Developing Dexterity for Snare Drum by Mitchell Peters (Mitchell Peters) Odd Meter Calisthenics for the Snare Drummer by Mitchell Peters (Mitchell Peters) The Next Step: Rudimental Snare Drum Techniques by Jeff Queen (Mark Wessels Publications: www.mwpublications.com) Accents and Rebounds for the Snare Drummer by George Lawrence Stone (Ludwig Music Publishing Co.) Stick Control for the Snare Drummer by George Lawrence Stone (Ludwig Music Publishing Co.) Wrist and Finger Stroke Control for the Advanced Drummer by Charles Wilcoxon (Ludwig Music Publishing Co.)

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Selected Solos The snare drum solos listed in Table 2.1 comprise only a small selection from a vast amount of good literature available. Works cited are significant works in today’s percussion literature both pedagogically and musically. Also see rudimental methods, materials, and solos in Chapter 9, “Marching Percussion.” Since Teaching Percussion first appeared in 1988, the second edition in 1997, and the third edition in 2006, the In­ternet has made accessing percussion music easier than ever. Websites for various mail order percussion suppliers (for example, www.steveweissmusic .com, www.percussion-music.com, www.pmeurope.com, www.lonestarpercussion.com) are excellent sources for most published works. An excellent resource for old and new snare drum solos is the Percussive Arts Society (PAS) online Compositions Research library at www.pas.org (membership required). This library integrates the resources found in “Programs,” “Literature Reviews,” and the “Siwe Guide to Solo and Ensemble Percussion Literature.” Thousands of reviews of “New Percussion Literature and Recordings” from the PAS publication Percussive Notes are available under “Literature Reviews,” and “Recordings, and Video Reviews” in the archive. PAS members can search “Literature Reviews” by title, author/composer, or keywords. The entries under “Literature Re­views” comprise the largest reviewed library of percussion literature available at one site in the world. These entries are integrated with “Programs” and the “Siwe Guide to Solo and Ensemble Percussion Literature” databases. For more information, go to www.pas.org. Websites for many publishers can be found in Appendix B. These works are graded as follows: (E) elementary, within the first year of study; (I) intermediate, within a second to third year of study; (A) advanced, within the fourth year or more of study—usually suggesting late high school or college-level work. T a b l e 2 . 1   Snare Drum Solos

Composer/Arranger Title/Level Abel Abel Akiho Aleo Aruga, Beck, et al. Atkatz Baker Baker Baker Beck Beck Beck Becker Becker Bensen Blake Bobo Bobo Brotherton Cage Cambell Cangelosi Ceroli Colgrass Combs Cuccia

Publisher/Source

Hi Ho Simpson (I) Carl Fischer 524 Main Street (A) Ludwig Music Stop Speaking (A) [with digital playback] Aki Rhythm Press Advanced Etudes for Snare Drum (A) HoneyRock 6 Pieces for Snare Drum [coll.] Zimmerman Tributes for Snare Drum, 30 solos (I-A) Row-Loff From the Manor to the Heights (I) Tapspace Lonely City Suite (A) Tapspace Magnolia (I) Tapspace Advanced Solos for Snare Drum [coll.] (A) Kendor Colonial Capers (A) Kendor Colonial Drummer (I) Kendor Lahara (A) Bob Becker Mudra [w/ens.] (A) Keyboard Perc. Pub. Three Dances (A) Hal Leonard Advanced Snare Drum Contest Solos (A) Studio 4/Alfred Tamtrum (A) PercMaster Pub. Two Dances for Snare Drum (I-A) Keyboard Percussion Snare Drum Solo (A) MFP Composed Improvisation for Snare Drum (A) Smith Publications Symphonic Dances (I-A) Innovative Music Meditation No. 1 (A) Cangelosi Rudimental Contest Solos [coll.] (E–I) Try Pub. Co. Six Unaccompanied Solos for Snare Drum [coll.] (I–A) G. Schirmer Concert Snare Drum Solos [coll.] (I) (El Tamburo, Trommel) Kendor The Beat of a Different Drummer (A) Meredith Music Pub.

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B asic Pe rcu ssio n T e ch ni q ue Thr o ug h t he S t ud y o f t he S na r e D r um



T a b l e 2 . 1   Continued

Composer/Arranger Title/Level Davila, Hannum,   Prosperie, White Delecluse Delecluse Delecluse Delecluse Delecluse Diebolt Dior Dupin Eyler Fennell, ed. Fink Gauger Gauthreaux Gauthreaux Gauthreaux Gerassimez Goldenberg Goldenberg Goldenberg Goldenberg Goldenberg Goldenberg Hamilton Hartweg Heslink Hollinden Houllif Jacobs Kaiser Kettle Kettle Koptezki Kraft Kraft La Rosa Lent/arr. Cahn Lepre Lyloff McCormick, R. Macarez Markovich Markovich Masson Masson Masson N.A.R.D. Nexus Novotney Novotney Ostling

Publisher/Source

Aptitude, A Conversation in Snare Soloing Drop6/Row-Loff [with CD accompaniment in 3 tempos and DVD] (I-A) A la manière de . . . No. 1 (I) [with piano] Alphonse Leduc Initium vols 1-4 (I–A) Alphonse Leduc Keiskleiriana vol. 1 [13 etudes] vol. 2 [12 etudes] (I–A) Alphonse Leduc Test-Claire (I) Alphonse Leduc 12 Studies for Snare Drum [coll.] (I–A) Alphonse Leduc Multi-Sonics (A) MFP Broad Strokes (I-A) [30 solos] Tapspace Courtes Pieces: Album 1 (E) [with piano] Alphonse Leduc 7/8 Stomp (I) Permus Drummer’s Heritage [coll.] Carl Fischer Snare Drum Suite (A) C. F. Peters Snare Drum Solo No. 1 (A) MFP American Suite (A) Meredith Music Pub. Open-Closed-Open, American Contest Solos for Pioneer Publication Snare Drum [CD recording of standard solos] (I–A) Technica 9 (A) Studio 4/Alfred Asventuras (A) Edition Svitzer 5/8 Etude 7/8 (A) Hal Leonard 5/8 Romp (A) Hal Leonard Graduation Etude (A) Hal Leonard 7/8 Romp (A) Hal Leonard Simple Simon March (I) Hal Leonard 12 Progressive Solos for Snare Drum [coll.] (E–A) Hal Leonard Chopel Perilous [2 snare drums and tape] (A) Nonsequitur Music Solo for Snare Drum (A) MFP Theme and Variations (A) MFP Six Ideas for Snare, Bass and Cymbals (I) C. Alan Publications Contemporary Collection for Snare Drum [coll.] Warner Bros. Alter Ego (A) Tapspace French Overture for Snare Drum Solo (A) Zimmermann Rudimental Rascals (Duet) (A) Studio 4/Alfred Four Solos for Snare Drum (A) Studio 4/Alfred Concert Suite for Snare Drum (A) HoneyRock Passacaglia (I) Award Music 2–4–1 (I) WIM Suite for Solo Snare Drum (A) MFP The Ragtime Drummer [snare drum with concert band] (I) HoneyRock Snare Drum Solo No. 1 (I) MFP Aarhus Etude No. 9 Wilhelm Hansen Pub. Aggressively (A) Kendor Stickin’ Stock [coll. 15 etudes] (I–A) Gérhard Billaudot Stamina (A) Creative Music Tornado (A) Creative Music Kim (A) BIM Konzertstück for Snare Drum & Orch. [w/piano red.] (A) BIM Prim (A) BIM N.A.R.D. Solo Collection [coll.] Ludwig Drum Co. Portfolio for Drum Solos [coll.] (I–A) HoneyRock The Black Swamp (I) Black Swamp A Minute of News (I) Smith Publications First Competition (E) Warner Bros.

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T a b l e 2 . 1   Continued

Composer/Arranger Title/Level

Publisher/Source

Snare Drum Solo No. 1 (I) MFP Three Etudes for Snare Drum [with CD] (I–A) Rhapsody Percussion Snare Drum Solo (A) MFP Snare Drum Solo No. 1 (A) MFP Ancient Rudimental Solos [coll.] Belwin/Warner Bros. Fourteen Modern Contest Solos Warner Bros. The New Pratt Book Permus Rudimental Solos for Accomplished Drummers [I-A] Meredith Music Pub. Exhibition Snare Drum Solo No. 1 (A) MFP Six Advanced Snare Drum Exercises [coll.] MFP Solo Piece for Snare Drum Norwegian Music Centre Adventures in Solo Drumming [coll.] Southern Music Father and Son (A) Southern Music Fennell’s Flourishes (I) Southern Music Futuristic Drum Solos [coll.] Southern Music 17 Plus One Percussion Pieces [coll.] Southern Music Recital Suite for Solo Snare Drum (A) Kendor Peeping Tom (A) Smith Publications The Noble Snare, Vols. I–IV [coll.] (I–A) (33 commissioned Smith Publications solos by Babbit, Brün, Cage, Otte, others) Snare Drum Duets [w/play-along CD] (E–A) MD/Hal Leonard Complete Music for Fife and Drum [coll.—CD available] Mel Bay Publications Walkin’ Down Cooldige (A) Bachovich Pub. Snare Drum Solo (A) MFP Punctuality (I) Permus Chop Buster (A) Potsdam Concert Solos for the Intermediate Snare Drummer (I) Meredith Music Essay for Snare Drum (A) Meredith Music Etude in 32nd’s for Solo Snare Drum (A) Meredith Music Recital Duets for Snare Drum [w/play-along CD] (A) Meredith Music Recital Solos for Snare Drum [coll.] (A) Meredith Music Solos and Duets for Snare Drum (I–A) Meredith Music Phylogenesis [with audio CD-ROM] (A) Tapspace The All American Drummer [coll.] Wilcoxon Modern Rudimental Swing Solos [coll.] Wilcoxon Du Tabour a la Caisse Claire [5 etudes SD & BD] (I–A) Alphonse Leduc Ten Etudes for Snare Drum [coll.] (A) Studio 4/Alfred Pezzo da Concerto No. 1 (A) Edition Musica Europea

Payson Payson Pepe Petersak Pratt Pratt Pratt Pratt Price Price Samkopf Schinstine Schinstine Schinstine Schinstine Schinstine Schinstine Senn Smith, ed. Spagnardi Sweet Tompkins Tuthill Varner Wanamaker Whaley Whaley Whaley Whaley Whaley Whaley Wharton Wilcoxon Wilcoxon Zielinski/Luc Zivkovic Zivkovic

n Notes

 6.

William F. Ludwig, The Development of Drum Rudiments (Chicago: Ludwig Drum Co.) [n.d.].

1. James Blades and Jeremy Montagu, Early Percussion Instru­ ments from the Middle Ages to the Baroque (London: Oxford University Press, 1970), pp. 4–5.

 7.

George Bruce and Daniel Emmett, The Drummer’s and Fifer’s Guide (1862 and 1865 editions).

 8.

Blades, op. cit., plate no. 101 Flemish tabor, 1581. Portrait by de Gillis Congnet of Piersons la Hues, city drummer of Antwerp. By courtesy of Music Royal des Beaux-Arts, Antwerp; and plate no. 103, The Night Watch (1642), Rembrandt, Rijks Museum, Amsterdam.

 9.

Buster Bailey, Wrist Twisters, A Musical Approach to the Snare Drum (Elberton, NJ: Marimba Productions, Inc., 1999), pp. 10–11.

2. James Blades, Percussion Instruments and Their History (London: Faber and Faber, 1970), plate no. 103. The Night Watch (1642), Rembrandt, Rijks Museum, Amsterdam. 3. Ibid., p. 253. 4. Ibid., p. 297. 5. Simon Vance Anderson, “American Music During the War for Independence, 1775–1783” (Ph.D. dissertation, University of Michigan, 1965), p. 1.

10. Blades, op cit., p. 372.

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3

c ha p ter

Multiple Percussion

n HiSTORY AND DEFINITIONS Multiple-percussion performance is the playing of several percussion instruments at one time by a single performer. Although the timpanist was the first true multiple percussionist, the playing of timpani, bongos, timbales, congas, marching multi-tom tenors, or drum set is generally considered performance on one instrument. Multiple-percussion performance applies to the playing of any group of percussion in­struments generally not considered as one instrument. However, in recent years many eminent performers and teachers of the drum set have come to refer to their instrument as a multiple-percussion instrument, and indeed their playing philosophy and style, such as expounded by the late Max Roach and Freddie Waits, are best characterized as being those of a multiplepercussion instrumentalist. (See Chapter 8, ­”Multiple-Percussion/Drum Set Solos,” for multiple-percussion concepts as applied to the drum set.) Although the first significant composition in multiple percussion is recognized to be Stravinsky’s Histoire du Soldat of 1918, multiple-percussion performance was born out of the necessity for one performer to play two or more percussion parts that were originally intended for separate players. The long-lost practice of double-drumming, used by the early drum set players to play snare drum and bass drum together with snare drum sticks, was an early form of multiple-percussion performance. Much of the literature today requires percussionists to cover more than just one part and thus become multiple percussionists. One of the best examples of this is in the marching band and indoor drum-line front ensembles, as well as in many multiple setups required in wind en­semble and percussion ensemble pieces. The vast amount of literature written for solo and ensemble multiple-percussion performance has given the school percussionist an exciting and challenging new medium of expression. Many excellent works in this area for the school percussionist— by William Kraft, Al Payson, Mitchell Peters, Morris Goldenberg, Michael Udow, Dave Hollinden, Nick Petrella, John Allemeier, and others—are a natural extension of basic drumming techniques and often require fundamental knowledge and playing ability on other percussion instruments. By studying these multiple-percussion scores, the percussionist develops the ability to read more than one line of notes, thus relating to timpani and keyboard reading skills, and becomes familiar with many new instruments and their colors and combinations. Percussionists invariably find multiple-percussion study and performance highly motivating and musically gratifying.

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Ch apte r 3

The study, preparation, and performance disciplines of multiple-percussion performance are unique among the percussions. In addition to developing the ability to read multi-pitch lines, the performer must be concerned with the idiosyncrasies of each new score and its instrumentation. Many times a setup is not suggested by the composer, and the performer needs considerable study time to appropriately arrange the instruments according to their roles in the printed score and to facilitate playing. European percussionists call multiple-percussion pieces “setup pieces.” Occasionally, particularly in more advanced works, the percussionist may choose to rescore the arrangement of in­ struments in the setup to make reading easier. The short notation example, Ex­ample 3‑D, represents a carefully constructed setup with relation to the notated score and relative ease in playing.

n NOTATIONAL SYSTEMS The first challenge the multiple percussionist faces is deciphering the notated score. In most cases the percussionist must literally memorize a new notational system for each piece. Attempts at standardizing notational practices have achieved greater consistency over the years, but a working familiarity with the various notational systems in use is still advantageous to the multiple percussionist. Examples 3-A to 3-E explore the common notational systems used in multiple-percussion writing. These examples are offered here to give the percussion student the knowledge and option to re-notate certain passages, to make performance more expedient, and/or to improve composition. For years the standard five-line staff has sufficed for a great amount of percussion writing. However, other systems often improve on clarity and playability. The fiveline staff proved unsatisfactory because of its limited possibilities for clear notation of several different instruments played at once (the maximum of eleven if all spaces and lines are used) and its unreal pitch implications. Therefore, the line score notation system was adopted. This allows for each instrument to be notated on, above, and/or below a separate line for increased reading clarity and economic use of space. In music by Stockhausen and other contemporary composers, greatest clarity is achieved when notes are written only on lines or in spaces, but never both. Although more lines may be required with this practice, the reading clarity is well worth the space.

EXAMPLE 3-A n Conventional staff notation with instrument abbreviations

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M ul t i p l e P er c us s i o n



Example 3-A shows a multiple-percussion part for one performer using 16 instruments, written in conventional staff notation, which necessitates the use of nonstandardized abbreviations over each note to distinguish each instrument. These abbreviations are common English terms, but one can imagine the difficulty a foreign percussionist might have in performing this piece. Each instrument is played with lightweight snare drum sticks. (See Example 3-D for suggested setup.) Example 3-B shows the same example written in expanded staff notation using two staves to give each instrument a space or line and thus eliminate the confusing use of labels over each note. However, reading 11 spaces and 5 lines of instruments is difficult. EXAMPLE 3-B n Expanded staff notation

Finally, Example 3-C illustrates the use of simple line score notation to realize the same example. Note the increased clarity of this notation. A slight disadvantage to simple line score notation is the need for rests on each instrument line or lines to account for all metrical beats. EXAMPLE 3-C n Line score notation

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Ch apte r 3

EXAMPLE 3-C n (Continued)

By employing symbol notation or pictograms with a carefully structured line score, even greater clarity can be achieved, as illustrated by Example 3-D. Symbol notation refers to the use of symbols or pictograms to represent instruments or playing techniques rather than representing them with any word description. This alleviates the confusion of translating foreign scores and offers more concise methods for part marking as discussed in Chapter 10. Table 3.1 represents many of the symbols pioneered in the notational practices of such composers as Stockhausen, Brindle, Boulez, and Berio over 50 years ago. Combined line score and symbol notation concepts yield the clearest representation of the above multiple-percussion piece seen yet, as illustrated in Example 3-D. Observe the ease in indicating the exact placement of instruments in the setup by employing symbol notation. A carefully planned setup will alleviate many performance problems, such as instruments in the setup not corresponding to the notated direction of lines or high to low placement of notes on the score. Individual idiosyncrasies and preferences will, of course, vary from score to score and player to player. TA BLE 3 .1   Symbol Notation

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T A B L E 3 . 1   (Continued)

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EXAMPLE 3-D n Combined line score and symbol notation

Another notational system that has become increasingly popular with composers is the timbre staff notation. Known as adapted keyboard notation when it was first used, this system simply adapts the various instruments in this multiple-percussion example to a standard keyboard configuration and notates for them in a keyboard fashion using a timbre staff clef sign and accidentals. With the addition of accidentals on a timbre staff, it becomes possible to write clearly for some 19 different instruments or timbres within one clef alone and some 39 different timbres within a grand staff (treble and bass clef together). The use of ledger lines and accidentals offers at least a dozen more possibilities. This system of adapted key­board notation using a timbre staff (Example 3-E) is dependent on practical instrument placement and notation in the keyboard configuration. When writing for many instruments, it is often necessary to use “compromise” mallets or a mixture of actuators over the setup. It is, however, an extremely efficient notational system and is well accepted by composers and performers. American composer David Holliden has used timbre staff notation in several of his fine percussion compositions over the years with great success and likewise has Norwegian composer Anders Koppel. See The Contemporary Percussionist by Michael Udow and Chris Watts, listed at the end of this chapter; Dr. Udow’s article, “Visual Correspondence between Notational Systems and

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Instrument Configurations,” Percussionist, vol. 18, no. 2 (Winter 1981); and “Notational Nomenclature for Multiple Percussion,” by Dr. Rachel Julian-Jones, Percussive Notes vol. 46, no. 2 (April 2008) published by the Percussive Arts Society (www.pas.org) for further discussion and examples of adapted keyboard notation with the timbre staff. EXAMPLE 3-E n Adapted keyboard notation using the timbre staff (accidentals

apply only to the notes to which they are immediately affixed)

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In summary, symbol notation pictograms provide the clearest designation of instruments when used with any notational system. A conventional staff, with notation in the spaces and on the lines, may accommodate 11 or more instruments (especially if ­diamond- and x-shaped note heads are used, but only to clarify involved passages). Adapted keyboard notation with a timbre staff allows easily for the use of 19 or more timbres with greatest reading clarity between setup and notation. Reading clarity can be greatly improved beyond the conventional staff and space used more economically if a combined line score and symbol notation is employed or adapted keyboard notation with a timbre staff is used, if appropriate. When many instruments must be played in rapid succession, it is best to consider using simple line score notation or adapted keyboard notation with a timbre staff. A clear notational system employs as few lines as clarity permits and utilizes pictograms to indicate instruments. The practice of highlighting select instrument lines with different colors in some scores will greatly clarify reading. Percussionists will encounter different notational systems as they perform new and more difficult works. An awareness and application of the above concepts may aid in simplifying difficult and awkwardly notated parts.

n ADDITIONAL CONSIDERATIONS Other critical variables that must be given serious consideration for realizing the best overall musical performance are the selection of the right instruments, their tuning (which includes appropriate heads and muting), stick choice, and the performer’s movement and touch around the multiple setup. While suggestions may be given by the composer, it is up to the performer to use every means at his or her disposal to realize the best possible musical interpretation and performance. This may result in custom making or buying of unusual sticks, such as double-ended and two-sided head sticks of different articulations and construction for quick stick changes. Many times an additional suspended cymbal or triangle added to the set at a strategic point will prevent long reaches across the instruments or uncontrolled attacks caused by excessive reaching. Stickings must be given careful attention both in terms of merely negotiating one’s way around the setup and, more importantly, in terms of phrasing. A good practice habit is to create simple etudes and warm-up exercises for each new setup to familiarize oneself with the placement of the instruments and their feel before practicing the actual piece. The excellent book and CD, The Multiple-Percussion Book, Concepts for a Musical ­Performance by Nick Petrella with etudes by John Allemeier covers all these areas of ­consideration in detail. The study of the concepts in this book is a must for the serious multiple percussionist. The exercises and etudes in Examples 3-F through 3-I present some considerations in multiple-percussion performance and study.

EXAMPLE 3-F n Two pitch studies with different stickings

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EXAMPLE 3-F n (Continued)

EXAMPLE 3-G n Three pitch studies

EXAMPLE 3-H n Independence studies

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EXAMPLE 3-H n (Continued)

EXAMPLE 3-I n First etude: Colors

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n MULTIPLE-PERCUSSION STUDIES AND SOLOS Methods and Solo Collections The following list of studies represents recommended methods and solos. Also see selected solos below and Appendix B. Adler’s Percussion Solo Series, Books I, II, and III by Roy Burns and Saul (Sandy) Feldstein (Belwin/Warner Bros.) The Performing Percussionist: Solo Album by Jim Coffin (C. F. Barnhouse) Multi-Pitch Drum Studies by Ron Delp (Berklee Press/ Hal Leonard) Multiple Percussion Music (collection) by Sandy Feldstein (Alfred Publishing Co.) The Solo Snare Drummer—Advanced Etudes and Duets by Vic Firth (Carl Fischer) Studies in Solo Percussion by Morris Goldenberg (Hal Leonard)

The Multiple-Percussion Book, Concepts for a Musical Performance by Nick Petrella with etudes by John Allemeier (Carl Fischer)— the definitive book with CD on multiple percussion Ten Beginning Studies for Multiple Percussion by Ney Rosauro (MalletWorks) 17 Progressive Etudes for Two Drums by Steve Silverman (Music for Percussion) Histoire du Soldat by Igor Stravinsky (Music Minus One)—playalong tape and part The Contemporary Percussionist, 20 Multiple Percussion Recital Solos by Michael Udow and Chris Watts (Meredith Music Publications/Hal Leonard)

Solos for the Percussion Player by John O’Reilly [solo collection] (G. Schirmer)

Selected Solos The multiple-percussion solo music listed in Table 3.2 is only a small selection from a vast amount of good literature available. Works cited are quality works in today’s percussion literature, both pedagogically and musically. Also see Appendix B, “Se­lect Percussion Solo and Ensemble Music” Table B.1, “Duos,” and Tables B.7 to B.9 for ­multiple-percussion solo listings with chamber music, band, and orchestra. Since Teaching Percussion first appeared in 1988, the second edition in 1997, and the third edition in 2006, the Internet has made accessing percussion music easier than ever. Websites for various mail order percussion suppliers (for example, www .steveweissmusic.com, www.percussion-music.com, www.pmeurope.com, www .lonestarpercussion.com) are excellent sources for most published multiple-percussion works. The Percussive Arts Society (PAS) has an extensive research database online at www.pas.org (membership required). Available to all PAS members under “Composition Research,” the entire “Guide to Solo and Ensemble Percussion Literature,” edited by Thomas Siwe, is interfaced with PAS programs and reviews. Currently, over 1,700 multiple-percussion solos are listed in this database, which references the compositions, publishers, composer biography, and other information. Reviews of works in this database and new works in the Percussive Arts Society bimonthly publication Percussive Notes—as well as chat room forums, Internet websites for publishers around the world, and other music magazines (Modern Drummer, In­strumentalist, NACWPI Journal, and Music Educators Journal) are excellent resources for ­multiple-percussion compositions. See Appendix B, “Select Percussion Solo and Ensemble Music,” for discussion of additional Internet resources. Also see Table 8.1 in Chapter 8, “Drum Set.” For further reading, see: “Multiple Percussion” by Steven Schick in Encyclopedia of Percussion 2nd ed., edited by John H. Beck, Routledge Publishing Co., © 2006, and Steven Schick’s book The Percussionist’s Art, University of Rochester Press, © 2006. The works listed in Table 3.2 are graded as follows: (E) Elementary, within the first year of study; (I) Intermediate, within a second to third year of study; (A) Advanced, within the fourth year or more of study—usually appropriate for late high school or ­college-level work.

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T A B L E 3 . 2   Multiple-Percussion Solos

Composer/Arranger Title/Level

Publisher/Source

Beck Episode for Solo Percussion (I) Bergamo Tanka (A) Berio Circles [Hp, Sop, 2 percussion] (A) Bernard Theme & Variations for Three Tom Toms (I) Brindle Orion M.42 (A) Broström 6 & 8 (I) Brün Plot for Percussion (A) Brün Stalks and Trees and Drops and Clouds (A) Brün Touch and Go (A) Burge Sources III [clarinet, percussion] (A) Burns-Feldstein Adler’s Elementary, Intermediate, and Advanced Percussion   Solos [coll. in 3 books] (E–I) Cahn Nara (I) Cahn Partita: For Solo Unaccompanied Percussion (I) Cahn Perplexus [w/tape] (A) Cangelosi Wicca (A) Cirone Portraits for Multiple Percussion (I–A) Colgrass Te Tumpa Te Papa (A) Cucinotta The Sky is Waiting [drum set] (A) D’Angelo Toccata for Solo Percussionist (A) Dahl Duettino Concertante [flute, percussion] (A) Davis, T. Multi-Percussion Suite No. 1 (I) DeLancey The Love of L’Histoire (I) Delecluse A la manière de . . . #2, 3, 5 [with piano] (I) Delecluse Drumstec II [with piano] (A) Desportes La Foire aux Croutes [12 Little Pieces for Percussion and Piano] (I) Desportes Theme et Variations [with piano] (A) Dupin Courtes Pieces: Albums 2, 6, 7 [with piano] (I) Erb Concerto for Solo Percussion and Orchestra (A) Erb Diversions for Two [trumpet, percussion] (A) Etler XL Plus One for Multiple Percussion Solo (A) Feldman The King of Denmark (A) Fink, S. Alternation: Scenes and Variations for Percussion Solo (A) Fink, S. Conversation for Tape & Percussion Solo (A) Fink, S. Percussio Antique (A) Finley Blade (I) Frazeur Mood Piece (I) Ferneyhough Bone Alphabet (A) Fulkerson Patterns and Processes (A) Gaetano Multiple Episode No. 1 (I) Gibson 182 Norwood (A) Globokar Toucher (A) Globokar ?Corporel, for percussionist and body (A) Goldenberg Studies in Solo Percussion [coll.] Gordon XY (A) Hamilton EDGE (Corrugated Box) with tape/CD (A) Hamilton Portals with electroacoustic music tape/CD (A) Hellermann Ek-Stasis II [with piano, tape] (A) Henze Prison Song with tape (A) Hibbard Parson’s Piece for Solo Percussion (A) Hollinden A Different Drummer (A) Hollinden Alchemy [duo] (A) Hollinden Cold Pressed (A)

Studio 4/Alfred Publishing Co. PAL Productions Universal Mitchell Peters Smith Publishing Edition Svitzer Smith Publishing Smith Publishing Smith Publishing A. Broude Belwin/Warner Bros. HoneyRock HoneyRock HoneyRock Cangelosi Pub. Belwin/Warner Bros Carl Fischer Lang Percussion/MFP MFP Broude Inc. C. L. Barnhouse Mitchell Peters Alphonse Leduc Alphonse Leduc AMP Alphonse Leduc Alphonse Leduc Theodore Presser Merion Music Southern Music C. F. Peters N. Simrock C. F. Peters N. Simrock Tapspace MFP C. F. Peters Edition Modern Alfred Publishing Co. Paul Price/MFP C. F. Peters C.F. Peters Hal Leonard Red Poppy/G. Schirmer Inc. Non Sequitur Music Non Sequitur Music ACA Schott Music Smith Publishing Hollinden Hollinden C. Alan Publishing

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T A B L E 3 . 2   (Continued )

Composer/Arranger Title/Level

Publisher/Source

Hollinden Dusting the Connecting Length (A) C. Alan Publishing Hollinden Lead/Platinum [piano/perc] (A) Hollinden Hollinden Six Ideas for Snare Bass & Cymbals (I) C. Alan Publishing Hollinden Slender Beams of Solid Rhythm (A) C. Alan Publishing Hollinden Surface Tension (Duet) (A) C. Alan Publishing Hollinden what clarity? [solo percussionist with orchestra /piano red. / or Hollinden percussion ensemble] (A) Houghton & Nishigomi Belwin’s 21st Century Percussion Recital Series (3 books/levels Warner Bros.   with cassette) (I–A) Hytinkoski Pieces for Percussion [coll.] A. Broude Ishii In Search of Grey, op. 37 (A) Mueck Verlag Ishii Thirteen Drums, Op. 66 (A) Mueck Verlag Jager Concerto for Percussion and Band (I) Meredith Music Publishers/   Hal Leonard Jarre, M. Suite Ancienne [with piano] (I) Alphonse Leduc Kitazume Side by Side (A) Zen-On Knaack Reflections [duo or tape one part] (I) Lang Percussion/MFP Knipple Recital Duo (A) Warner Bros. Koppel Concerto for Percussion and Orchestra (A) Wilhelm Hansen Koshinski Echo Song (A) Tapspace Kraft Colorations [graphics with slides, any instrument] (A) Joseph Boonin Kraft Corrante No. 2 (1967) (I) Chappell Kraft Da-Dit (E) Warner Bros. Kraft Encounters VIII (A) New Music West Kraft English Suite (7 mvts.) (I–A) Warner Bros. Kraft French Suite (4 mvts.) (I) WIM Kraft/Stravinsky Histoire du Soldat [ed. part] (A) New Music West Kraft L’Arlesienne Sweet (I) Warner Bros. Kraft Morris Dance (I) WIM Kraft Passacaglia (E) Warner Bros. Kraft Triangles [solo with chamber orchestra] (A) Joseph Boonin Kraft Two Drums in Shape of an Etude (E) Warner Bros. Lachenmann Interieur I (A) Edition Modern Lambro Two Pictures for Solo Percussionist and Orchestra [with 2 pianos Wimbledon Music   accom.] (A) Lang, D. Anvil Chorus (A) Novello Leonard, S. Two Meditations (I) Stanley Leonard Lewis North Star Boogaloo [with computer/tape] (A) Lewis Lindquist Be Still My Soul (I) Keyboard Percussion Lombardo Variations on a Lyric Theme (A) Lombardo/ACA McCormick, R. Homage to Harry Partch (I) Kendor McLeod The Song of Dionysius [w/ piano] (A) Griffin Music Milhaud Concerto for Percussion and Small Orchestra [with piano accom.] (I) Universal Mondrad Ekraal Reflections (I) Edition Svitzer Moore Tam-bas for Unaccompanied Solo Tambourine (I) Permus Nørgård I Ching (A) Wilhelm Hansen Nørgård Waves (A) Wilhelm Hansen O’Reilly Solos for the Percussion Player [coll.] G. Schirmer Payson Contemporary Courante (I) Ludwig Music Publishing Co. Payson Die Zwitschermaschine (A) Ludwig Music Publishing Co. Payson Slavic Dance (A) Ludwig Music Publishing Co. Peters, M. Etude No. 1 for 4 Tom Toms (I) Mitchell Peters Peters, M. Etude No. 2 for Snare Drum and 2 Tom Toms (I) Mitchell Peters

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T A B L E 3 . 2   (Continued )

Composer/Arranger Title/Level Peters, M. Peters, M. Peters, M. Pillin Pittfield Ptaszynska Ptaszynska/Sikora Richards, Eric Rosaruo Rosaruo Rosen Rudzinski Rzewski Santos Schinstine Schmidt Schreiner/Goodman Schreiner/Osterling Serry Serry Smith, Stuart Smith, Stuart Spears Stern Stockhausen Stockhausen Stout Tagawa Tomasi Tyson Udow Udow Udow Volans Volans Volans Wood Wuourinen Xenakis Xenakis Zivkovic Zivkovic Zivkovic Zonn

Publisher/Source

Introduction and Waltz (I) Mitchell Peters Perpetual Motion (I) Mitchell Peters Rondo for 4 Tom Toms (I) Mitchell Peters Duo for Percussion and Piano (A) WIM Concerto for Percussion and Full Orchestra (A) Oxford Space Model (with tape) (A) Lang Percussion/MFP Stress (with tape) (I) Lang Percussion/MFP The Discourse of Insects (A) ACA Cenas Amerindias: Brasiliana (I) and Eldorado (I) Pró Percussão/MalletWorks Ten Beginning Studies for Multiple Percussion (E) Pró Percussão/MalletWorks Elegy for Solo Percussion (A) MFP Variations and Fugue for Percussion Solo (A) PWM To The Earth (A) Rzewski Zauberkraft (A) Go Fish Music, Steve Weiss The Timpercussionist (I) Southern Music Ludus Americanus w/narration (I) WIM The Worried Drummer [piano accom.] (I) Belwin/Warner Bros. The Worried Drummer [piano accom.] (I) Ludwig Music Publishing Co. Duet for Percussion and Keyboards (I) Studio 4/Alfred Publishing Co. Therapy (A) Alfred Publishing Co. Songs I–IX (A) Smith Publishing “. . . And Points North” (A) Smith Publishing Prologue and Jubilo (E) Southern Music Adventures for One (I) MFP Kontakte [with piano & tape] (A) Universal Nr. 9, Zyklus (A) Universal Diptych No. 1 (A) Alfred Publishing Co. Inspirations Diabolique (I) WIM Concert Asiatique [with piano or orchestra] (A) Alphonse Leduc Inside the Shining Stone (I) Tyson Acoustic Study No. 1 (I) ACA Concerto for a Percussionist and String Quartet (A) ACA Fracture [for one-armed percussionist] (I) ACA Akrodha (A) Chester Music Asanga (A) Chester Music She Who Sleeps with a Small Blanket (A) Chester Music Rogosanti (A) Wood Janissary Music (A) ACA Psappha (A) Editions Salabert Rebonds (A) Editions Salabert The Castle of the Mad King (A) Musica Europea Ctrax: Strah [w/ tape] (A) Musica Europea Generally Spoken, It’s Nothing but Rhythm (A) Musica Europea Andrea’s Dancing Music (A) Smith Publishing

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4

c h a p t e r

Keyboard Percussion

n Origins and Classifications The keyboard percussion group, sometimes referred to as mallet instruments or bar percussion, consists of the xylophone, marimba, chimes, vibraphone, glocken­spiel or concert bells, crotales or antique cymbals, marching bell lyre, celesta, and electronic keyboard mu­sical instrument digital interface (MIDI) controllers. Although the origins of these acoustic keyboard instruments predate recorded history, it is likely that primitive beings found that various lengths of wood and bones laid flat on the ground and struck with another stick or bone produced different sounds. Evidence indicates that African tribes played an important role in the early world evolution and migration of keyboard percussion instruments. By placing slats of wood across their legs when seated, or laying the slats across a trench in the ground that was edged with strawlike materials or logs, the African musicians created perhaps the first xylophone. In Asia (as early as 900 a.d.), Africa, and Central America (mid-sixteenth century), pictorial and literary accounts show that open gourds were added under bars of wood and metal for greater resonance, and later the bars were attached to a structure resembling a table or frame and gourd resonators were replaced with constructed resonators becoming the forebears of our modern instruments. Throughout the Far East and Africa, the xylophone, marimba, and metallophones continued to develop, and in 1511 in Europe the “Strohfiedel” (straw-fiddle) or xylophone appeared, described as wooden slabs loosely strung together or resting on ropes of straw (hence the name “straw-fiddle”) and played with sticks.1 The xylophone was used in the Ming and Ching Dynasties of China and was brought to Japan in 1629.2 Its tradition and music evolved for hundreds of years, when in 1950 the Japan Xylophone Association was founded along with the introduction of the marimba to Japan.3 Mozart first wrote for the keyboard-operated glockenspiel in his opera The Magic Flute in 1791. From 1830, performance on keyboard percussion instruments was known to many European composers including Mendelssohn, Chopin, and Liszt. Saint-Säens is credited with the first appearance of the xylophone in orchestral repertoire in his Danse Macabre of 1874.4 Evolution in design and playing techniques in Europe, Asia, and Central America together with invention, from the celesta in 1886 to the vibraphone in 1916, has given us the common keyboard percussion instruments described in this chapter. (See The Encyclopedia of Percussion, 2nd ed., edited by John H. Beck and James Blades’s Percussion Instruments and Their History for additional history of keyboard percussion.)

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n INSTRUMENT Characteristics Today’s acoustic keyboard percussion instruments, except for chimes and crotales, consist of a row of suspended bars constructed from one of the following materials: Honduran rosewood, African padauk or other hardwood, carbon steel, aluminum alloy, or synthetics. The bars are arranged in the same order as piano keys but with uniform color. Except for most bells and some xylophones, metal tubes called resonators extend beneath each bar. These resonators are acoustically tuned to give maximum resonance and clarity in pitch and timbre to each bar. Instruments intended for concert hall use usually have the bars and resonators supported by a frame with legs and wheels. Instruments designed for outdoor use should have the bars and resonators built into a rugged frame (see Figure 9.3 in Chapter 9). Each bar is tuned by cutting or grinding either the end (to raise the pitch) or the center underside (to lower the pitch and tune in specific harmonics). As instruments lose their true intonation, they should be sent to the manufacturer or a reliable technician for retuning and possible bar replacement. (See Chapter 1, “General Maintenance and Care,” for names, addresses, and websites.)

Xylophone Ranges  Xylophones are commonly manufactured in ranges from 2.5 (21 ⁄ 2) to 4.0

octaves (Figure 4.1). An instrument with at least a 3.0 or preferable 3.5 (31 ⁄ 2) octave range is recommended for high school or college use. The smaller 2.5 to 3.0 octave concert or old-style marching xylophone would be adequate for elementary or junior high concert use. Composers generally write for the xylophone one octave lower than sounding pitch, therefore causing it to be a transposing instrument sounding one octave higher than written. (See Example 4-A and demonstration on the Chapter 4 video: Track 1.) This avoids the problem of the player having to read many ledger lines.

FIGU RE 4 . 1     

Pearl /Adams

Adams 4.0-octave XCHV40 xylophone; note the adjustable instrument height

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EXAMPLE 4-A n Xylophone ranges: ranges sounding one octave higher

Construction  Xylophone bars are usually made of either rosewood or a synthetic material. Because the xylophone is played with very hard rubber or plastic mallets and fine, hard-quality rosewood is becoming more and more difficult to obtain, the synthetic bar xylophone is quite practical for school use. These synthetic bars withstand the hard mallets, seldom need retuning, possess a little greater resonance than rosewood, and are less expensive. Xylophone bars are slightly rectangular, with the width a little greater than the depth. (In the past, and on some wide-bar instruments today, fine xylophones were manufactured with bar width much greater than depth.) Due to the fact the xylophone sounds an octave higher than written, the instrument’s resonators are shorter than those of the marimba or vibraphone, and it can be played without resonators, a form in which some models are sold. However, a full-size concert instrument will have resonators as pictured in Figure 4.1. The harmonic tuning of the xylophone bar is very strong in the second overtone or third harmonic (octave plus a fifth), so that the timbre of the bar is distinct from either the marimba or vibraphone (hear this on the Chapter 4 video: Track 1 demonstration). Mallets  The characteristic sound of the xylophone is crisp and brittle. It is a very

rhythmical instrument as well as melodic and should be played with very hard rubber, nylon, poly-ball, or wooden mallets. Extended playing with hard plastic or acrylic mallets will damage rosewood bars. Medium to hard rubber mallets or very hard cord- or yarn-wound mallets may be used for softer effects. When purchasing mallets, buying two matched pairs of each hardness is recommended. Only poly-ball mallets should be used for extended practice on rosewood bar instruments.

Performance  Xylophone technique is relatively the same as all percussion keyboard

technique (discussed later in this chapter and demonstrated on the Chapter 4 video: Track 2). Be­cause the bars sound one octave higher than written, rolls must be played quite rapidly, and much of the time the accidentals are played in the center of the bar to achieve the best tone, particularly in the upper range on smaller bars. Usually, unless the composer specifies, notes of long duration are not rolled but only struck once in xylophone passages in band and orchestral literature. Solo literature is similar, but individual interpretation is often freer in deciding whether or not to sustain by rolling.

Marimba Ranges  Marimbas are manufactured in a great variety of ranges (Figure 4.2). The

most common for practical use are 4.3 (41 ⁄ 4) octave “low A” instruments to 4.5 (41 ⁄ 2) octave “low F” or 4.6 octave “low E” instruments. Beautiful 5.0 and 5.5 octave (and more) rosewood instruments are the concert instruments of the world. Yamaha manufacturers a 5.5 octave C to G marimba (YM 5104A: http://usa.yamaha.com/products /musical-instruments/percussions/marimbas/ym5104a/?mode=model), Marimba One makes a 5.5 octave C to F marimba (Soloist™: www.marimbaone.com/marimbas/our -marimbas), and other manufacturers make similar extended range marimbas. Custom marimbas have been manufactured in 6.0 and even 7.0 octave ranges with both

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the upper and lower octaves extended. (Michiko Takahashi made her New York recital debut at Merkin Hall in 1991 on a 7.0 octave instrument and recorded it on her CD, Contrabass Marimba Explosion, [CBS/Sony 32D 5027].) Clearly, the economy and artistic demands of composers and concert marimba artists will determine the design and size of future instruments.

Malletech

FIGU RE 4 . 2   Malletech 4.6‑octave “low E”—LHS marimba

Preferably at least a 4.3 to 4.6 octave marimba should be available for high school and 4.5 or 4.6 to 5.0 octave instruments for college use. Many compositions for band use the 4.5 octave range instrument and increasingly a 5.0 octave instrument. Solo and percussion ensemble literature increasingly require 4.5 to 5.0 octave instruments. The marimba is available in reduced ranges for early study or perhaps elementary and junior high use as the primary practice instrument. A few bass marimba models exist with 3 octave ranges and less. Marimbas sound as notated (see Examples 4-B and 4-C). EXAMPLE 4-B n Marimba ranges—sounding as written

EXAMPLE 4-C n Bass marimbas ranges—sounding as written

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Construction  Marimba bars are made of rosewood, padauk or other hardwood, or a synthetic material. Although the synthetic bar has great durability, it is excessively resonant, and the natural mellowness of rosewood is still preferred by many. Padauk wood instruments are considerably less expensive. The marimba bar is rectangular with a greater amount of wood removed from the underside than the xylophone bar. Marimbas have a timbre that is strong in the third overtone (double octave) with lower bars sounding a weaker tenth harmonic (three octaves plus a third). Marimbas sound at concert pitch. All marimbas have resonators of considerable length to correspond to the low-sounding pitches. Note the actual length of the resonators in the upper register in Figure 4.2. The front, accidental resonators are curved on some manufacturers’ models purely for looks. Also note that the low resonators are turned on some models like an organ pipe to resonate the low pitches. Amplified bass marimbas with contact microphone pickups on each bar were made by Deagan (rosewood bars) and Musser (synthetic bars). These are played through a standard electric bass guitar amplifier. Acoustic bass marimbas are also available and preferred. Mallets  The marimba is played with a great variety of mallets, and there are hun-

dreds of models available from many fine manufacturers. Although soft to hard rubber mallets can be used on the instrument, yarn- or cord-wound mallets generally are preferred. Very hard plastic, rubber, or acrylic mallets should not be used, as they will dent a wooden bar and do not produce a characteristic marimba tone. A basic set of four (two pairs each) mallets in a yarn-wound soft, medium, and hard articulation will get a player started. As the performer advances, many new colors and sounds will be found through the use of “two-toned” mallets that allow for clear articulation in all registers of the marimba. This type of mallet is made so that when played softly the quality is that of a soft mallet and when played loudly the quality is that of a hard mallet. Mallets wound with latex rubber and a variety of wooden mallets may also be used on marimba for greater variety.

Performance  In recent years the marimba has enjoyed greater prominence as a solo

instrument than ever before. Having evolved from the Guatemalan marimba bands of the late nineteenth century, through the Musser Marimba Orchestras of the 1930s and 1940s, to the latest technical achievements and expansion of the instrument range, literature, and pedagogy, marimba performance is now accepted worldwide as a highly artistic instrument for musical expression. Commonly used in school band and orchestra literature, the marimba is increasingly being recognized for its great potential both melodically and harmonically as a reinforcing, doubling, or even substitute instrument to lower woodwinds, brass, strings, and as a solo voice. One must be careful not to change the composer’s intentions when adding the marimba to other parts. All technical considerations presented elsewhere in this chapter apply to marimba performance. (See “Playing Areas on the Bars” and “Expression and Phrasing on Keyboard Percussion Instruments” for performance concepts.) Generally, the roll should be employed when the natural duration of the struck bar is not sufficient to sustain the printed note value in the musical line. The speed of the roll will vary as the register changes (see “The Sustained Tone or Roll”).

Vibraphone (Vibraharp or Vibe) Ranges  The standard range of a vibraphone is 3 octaves with 3.5 octave and

4 oc­tave instruments becoming increasing more common (Figure 4.3). Student-line instruments have been manufactured in 2.5 octave ranges, and old marching vibraphones with ­battery-driven motors were made with a 2.5 octave range (some of you may remember the marching vibraphone featured in Figure 9.13 in the 1988 first edition of Teaching Percussion!). The vibraphone sounds as written (Example 4-D).

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Pearl/Adams

FIGU RE 4 . 3   Adams 3 octave AV-1 vibraphone with Voyager frame; note the adjustable instrument height

EXAMPLE 4-D n Vibraphone ranges—sounding as written

Construction  The vibraphone was invented in its earliest form in 1916. (See History and

Evolution of Percussion and Pedagogy in MindTap for early instrument designs and models.) The bars are made from an aluminum alloy, which produces a spectrum of sound from dark and mellow to bright and shimmery. The vibraphone has a strong third overtone (double octave) like the marimba. The unique characteristic of the vibe is a paddle located in the top of each resonator, operated by an electric motor. These paddles turn and produce an amplitual vibrato by changing the intensity (not pitch) of each sustaining bar tone (see and hear this demonstration on the Chapter 4 video: Track 1 under “Instrument Characteristics”). Motors are available with one to three speeds for different rates of vibrato or with a smooth variable speed setting for vibrato speeds slow to fast. Composers ask for the vibrato effect by specifying “motor on” or “motor off” or “vibrato” or “no vibrato.” Often a setting is given such as “motor on medium,” but if not specified, good musical judgment should be used. When playing the vibe with the motor off the paddles should be open so as to allow full bar resonance. The paddles are often hand operated for special effects. A foot-operated pedal controls a felt damper strip that muffles all the bars when released. Depressing the pedal allows the bars to ring freely when they are struck. Pedal technique similar to that used on the piano is an important element of vibraphone playing. Individual bars may also be muffled by dampening with a mallet or finger while other bars are allowed to ring (see Chapter 4 video: Track 1 and “Vibraphone Technique”).

Mallets  As on the marimba, the vibraphone is played with a great assortment of

­mallets. Cord-wound mallets produce the clearest tones. Four (two pairs each) soft,

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medium, and hard cord-wound mallets provide the player with a basic set of mallets. Yarn-wound mallets can also be used. Rubber mallets produce an undesirable “tacky” contact sound on the metal bars. Wood and hard plastic or brass mallets are sometimes called for by composers. These mallets must only be played very lightly and softly or they will dent the aluminum alloy bars. Performance  The vibraphone is one of the most versatile keyboard percussion

instruments. Its playing demands involve not only mallet technique but also a high degree of pedal and mallet dampening skill. Rolls generally are not employed because of the long sustaining duration of a struck bar, but sometimes a rolled effect is desired by the composer or performer. Because both natural and accidental bars are suspended flat with no overlapping of the naturals by the ends of the accidentals such as with the xylophone or marimba (although early Guatemalan marimbas and some European xylophones and marimbas are made without the accidental bars overlapping the natural bars), both accidental and natural bars may be struck on the ends over the damper bar as well as in the middle. Consideration must be given to playing areas according to timbre (see “Playing Areas on the Bars” and Chapter 4 video: Track 1). However, playing on the ends of both the natural and accidental bars over the damper bar does facilitate some passages, especially those involving chromatic four-mallet chords. Special effects include bowing the end of a bar with a bass or cello bow, “bending a tone” by placing a hard mallet on the bar where the suspension rope passes through the bar (node), then striking the bar with another softer mallet and drawing the hard mallet toward the end or middle of the bar to produce a lowering of pitch, and “mouth vibrato,” which is created by opening and closing one’s mouth close to a vibrating bar between F and C above the staff. Many serious performers add electronic pickups to the vibraphone and run the sound through electronic synthesizers to produce different sounds and effects. MIDI keyboard controllers like the MalletKAT are natural extensions of vibraphone playing due to the similar pedaling techniques.

Glockenspiel or Concert Bells Ranges  A standard concert bell set has a range of 2.5 (21 ⁄ 2) octaves (Figure 4.4).

Many professional models extend both the upper and lower range, some to 31 ⁄ 3 octaves or more. Royal Percussion of Germany manufactures a 2 7⁄ 8 octave F to E and a 23⁄4 octave G to E glockenspiel with damper pedal; Bergerault of France makes a 2 7⁄ 8 octave F to E instrument with damper pedal; Kolberg Percussion of Germany makes a 3 octave F to F in­strument with damper pedal; Yamaha USA makes a 31 ⁄ 3 octave C to E instrument with damper pedal; and Adams (Pearl) makes a 31 ⁄ 2 octave C to F pedal dampened glockenspiel modeled after the old round top Deagan Parsifal bells. ­Student-line instruments suitable for elementary use are available in reduced ranges (Ex­ample 4-E). Marching glockenspiels were made in 21 ⁄ 2 octave range. Composers usually write for the concert bells two octaves lower than sounding, thus it is a transposing instrument of two octaves (see Example 4-E). Many bell parts exceed the range of today’s instruments because the composer was either writing for a keyboardoperated extended range instrument such as Mozart first wrote in his opera The Magic Flute in 1791, or the composer was unaware of the range of the instrument. These parts have to be transposed logically to fit the notes available on today’s instruments. It should be noted that the keyboard-operated glock, like the celesta, sounded only one octave higher than notated. Therefore, parts like the Mozart (and many others by late eighteenth and nineteenth century composers) should be played to sound only one octave higher than written.

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Yamaha Corp of America

FIG U RE 4 .4    Deagan DG 1590A symphonic orchestra bells by Yamaha

EXAMPLE 4-E n Glockenspiel ranges—sounding two octaves higher

Construction  The glockenspiel consists of a series of high-carbon steel chrome-plated bars arranged in a wooden case for easy carrying and setup. Most do not have resonators. Professional-level instruments are made in a frame with a pedal like a vibraphone and have resonators, especially song bells. Some less expensive “training” sets of bells have aluminum bars. These do not produce a characteristic sound and should not be used in a concert situation. Mallets  Generally, very hard mallets of rubber, brass, plastic, phenolic, acrylic, PVC,

or wood are used on the glockenspiel. Considerable color differences exist among the different materials, and great care should be used in selecting which mallet to use on a

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particular passage. A basic set of mallets would consist of four (two pairs each) brass, very hard rubber, and medium to hard rubber. The rubber mallets are also excellent for xylophone. Brass mallets should not be used on other keyboards as they will dent the bars! Wood mallets produce a delicate effect and should be considered for special use. Performance  Glockenspiel technique demands the utmost control of mallet re­bound

away from the bar to achieve maximum tone and minimum mallet contact sound. Generally, all bars are struck in the center for best tone production. Rolls are sometimes called for by the composer; however, usually each bar is struck only once, regardless of note value. Hand muffling is required many times to avoid having certain notes ring into silent portions of the music or to clarify a passage.

Marching Bell Lyre Range  The standard range of a bell lyre is two octaves (Figure 4.5 and Example 4-F). It sounds two octaves higher than written. Construction  The bell lyre, not to be confused with the marching glockenspiel, has aluminum bars mounted on a tubular frame shaped like a lyre (see Figure 4.5). This instrument originated in European brass bands and was first made with steel bars and played with one mallet while the other hand supported the instrument in a sling. Be­ cause of the instrument’s excessive weight, later versions used aluminum bars mounted vertically in keyboard fashion. Innovations in marching percussion replaced the bell lyre with the marching glockenspiel, which has since been incorporated appropriately into the pit or front ensemble. Because the bars are made of aluminum, the bell lyre does not make a good substitute for steel bar concert bells. Performance and Mallets  The bell lyre is intended to be played with one hand

using a hard plastic mallet as the other hand supports the instrument in a waist strap or neck sling. Stands are available to hold the instrument for indoor performance of bell lyre music.

Chimes Range  The sounding pitch of chimes sometimes offers some confusion. It is gener-

ally agreed that chimes sound as notated. Some listeners contend that chimes sound one octave higher than written. The confusion results from incorrect octave notation by composers who write chime parts too low or in bass clef—hence the octave (or two) transposition in sound—and the unusual overtones present in the tone. Generally, the sounding pitch is as notated in Example 4-G. The average range of a set of chimes is 11 ⁄ 2 octaves (Figure 4.6) with the added F # and G and extended lower register available on some models. Individual tubes extending the chime range downward are available from some manufacturers (Equilibrium, Kolberg Percussion) and instrument rental shops (Los Angeles Percussion rentals: www.lapercussionrentals.com, and several others around the country). Also, see chimes sources under “Unique Instruments” below. Construction  A set of chimes or tubular bells consists of brass tubes of graduated length from 11 ⁄ 4” to 11 ⁄ 2” in diameter suspended from a special rack for stability in ­playing and ease in dampening. The tubes are either chrome plated or gold lacquered, with striking caps on the top end. Depending on the model, a foot-operated pedal either allows the tubes to ring when depressed as on a vibraphone and piano or dampens the tubes. Some models have a hand lever for dampening. Since the instrument is typically used to represent the carillon or church bells, chime tubes of 11 ⁄ 2” diameter are recommended.

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FIGU RE 4 . 5   Marching bell lyre

FIGU RE 4. 6  Deagan DC 9190A symphonic

chimes by Yamaha

EXAMPLE 4-F n Bell lyre range—sounding two

Yamaha Corp of America

octaves higher

EXAMPLE 4-G n Chime ranges—sounding as written

Mallets or Hammers  A full-sounding tone is produced from a chime tube by strik-

ing it with a wound rawhide hammer. Wooden and acrylic hammers do not sustain as full-bodied a tone as rawhide hammers. Some manufacturers market hammers with removable striking tips of plastic, nylon, and fiber for a variety of colors. Rawhide mallets can be purchased fairly inexpensively at hardware stores and one end covered with

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FIGU RE 4. 7  

Playing chimes

moleskin or a leather strip (such as an old cymbal strap) to produce softer attacks. Oc­casionally, a composer may ask for the chime to be played with yarn mallets or other devices. As long as no damage occurs to the instrument, other mallets, sticks, knitting needles, and brushes may be used as specified. Performance  Modern chimes can be played easily with one hammer in each hand if

the tubes are securely suspended in their rack. Many passages required only one hammer, but two should be used when convenient. The tube is struck on the striking cap at the top of each chime (Figure 4.7). Damage and an unclear tone will occur if the tube is struck on its face below the striking cap. The stroke should be a relaxed, weighted full stroke from the arm and wrist, with a fluid rebound to avoid a pounded “clangy” tone caused by “hammering” into the tube. Chimes should be positioned so that a right-handed performer stands facing the instrument with the music and conductor to his or her left. This will enable the performer to see most of the tubes while watching the music and conductor. Avoid looking through the chimes at the conductor (the ­“jailhouse” position).

Crotales Crotales or antique cymbals are some of the oldest of percussion instruments (Figure 4.8). Made from a mixture of tin, copper, and silver, these small thick cymbals from 2” to 6” in diameter produce an unblemished, definite pitch when they are hand-held and their edges are struck together in pairs, or when they are played with a small hard mallet or beater. They are used in orchestral works, chamber music, and percussion solo and ensemble literature for their unique sound. Available in two-octave chromatic sets from C to C, these delicate instruments sound two octaves higher than written (Example 4-H). A usual substitute is the glockenspiel. Also, see pedal-dampened crotale sets under “Unique Instruments” below.

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FIGU RE 4 . 8  

Crotales

EXAMPLE 4-H n Crotale range—crotale notation sounding two octaves higher

Celesta The celesta is a keyboard-operated instrument resembling a small upright piano (Fig­ ure 4.9). It was invented in 1886 by August Mustel. When the keys are depressed, small felt hammers strike bell-like steel plates that resonate freely. Although the instrument is closely related to the piano, celesta parts are often played by the percussionist— on the celesta or, if not available, on the glockenspiel with medium to hard mallets. The celesta has a f­our‑octave C to C range sounding one octave higher than notated (Example 4-I). Fine Schied­mayer celestas are available today through Kolberg Percussion (www.kolberg-percussion.com) in Germany or directly from the manufacturers. Keyboard synthesizers with MIDI sound modules offer close substitutes but unlike a real celesta.

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FIGU RE 4. 9   Celesta

EXAMPLE 4-I n Celesta range—sounding one octave higher

Unique Instruments The ever-changing world of percussion has prompted manufacturers to create new and exciting keyboard percussion instruments. Vibraphone, marimba, and xylophone am­plification systems are available that plug into any amplifier. These enable the instrument to be heard without excessively heavy playing or uneven microphone amplification and are MIDI controllers. Other MIDI ­keyboard controllers (MalletKAT: www.alternatemode.com) offer endless sound possibilities (see “Electrophones” in Chapter 1 under “Classification of Instruments”). A complete electronic vibraphone has, instead of resonators, a transducer on each bar to feed the tone through an amplifier. This offers a kaleidoscope of new tone colors and dynamic ranges. In addition to common ranged keyboard percussion instruments, K ­ olberg Percussion of Germany manufactures chromatically tuned lithophones (rocks), boobams, angklungs, bell plates, gongs, auto horns, wood blocks, poly blocks, temple blocks, hand bells, and cowbells (cencerros or almglocken), a 3 octave F to F glockenspiel with damper pedal operation like a vibraphone, several pedal dampened sets of crotales, chimes with up to 25 tubes, individual extended bass range chime tubes, and many other unique and specialty instruments (wwww.kolberg-percussion.com). Ber­gerault of France manufactures uncommon 11 ⁄ 2 to 5 octave bass marimbas, 5 1 ⁄ 3 octave marimbas, 2 7/8 octave orchestra bells with damper pedal, and chimes with as many as 25 tubes (www.bergerault.com). Kori of Japan (Kori Percussion USA) makes a 3 octave bass marimba and Marimba One makes a 3 octave bass marimba (www.marimbaone.com).

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Malletech, Yamaha, and Musser make marimbas with tunable resonators for each bar that permit tuning the instrument to each concert hall and weather condition for maximum tonal response. Time and technology will bring even more innovations in design and inventions for the keyboard percussionist.

Mallets Keyboard percussion mallets are available in many designs. The basic construction is a shaft of rattan, wooden (usually birch) dowel, or a plastic/fiberglass material, with an attached ball of rubber, plastic, acrylic, wood, or other synthetic. Any of these balls may be covered with yarn, cord, or rubber latex. Mallets should be rewrapped when the covers wear out. This process is clearly described in Mallet Repair by Arthur Press ­(Belwin/Warner Bros.) and other percussion repair books listed at the end of Chapter 1. Assistance can usually be obtained from a knowledgeable professional or university percussion department. Instrument manufacturers supply a wide variety of mallets, as do many smaller firms, some of which are listed below. For addresses and web­sites, Google these fine manufacturers below. Mike Balter (several artists’ models including outdoor models)— rattan, birch, and fiberglass shafts; yarn, latex, and cord wound; rubber, plastic, brass, aluminum, and wood balls; double-ended models Deschler—rattan or birch shafts; yarn wound and unwrapped ­rubber Encore (Nancy Zeltsman models and others including outdoor models)—rattan and birch shafts; yarn, cord, and latex wound balls; rubber, PVC, nylon, phenolic, and poly-ball balls Equilibrium—special (“cheater”) brass bell mallets for specialty playing Vic Firth (several artists’ models including outdoor models)—­ rattan and birch shafts; yarn and cord wound, rubber, wood, brass, and phenolic balls Grover—rattan and birch shafts; yarn and cord wound; nylon, rubber and poly-ball balls Innovative Percussion (several artists’ models including Jim Casella outdoor models)—birch and rattan shafts; yarn, cord and latex wound; unwrapped aluminum and rubber Kolberg Percussion—rattan, dowel, and lathed shafts; many unique mallets for bells and xylophone, double-ended and multiheaded balls; cord and yarn wound; sole German manufacturer and source Lone Star—distributor of their line (by Balter) including outdoor models with rattan and birch shafts, poly-balls, acrylic, brass, aluminum, plastic, wood, and rubber heads and all other brands

Malletech (Leigh Howard Stevens and many other artists’ models)—rattan and birch shafts; yarn and cord wound; variety of synthetic, natural rubber and poly-ball balls Musser—rattan, birch, and fiberglass shafts; yarn and cord wound; rubber, plastic, brass, and wood balls Percussion Construction—rattan and birch shafts; yarn, cord and hemp wound; brass, aluminum, PVC, nylon, phenolic, polyball, and rubber balls ProMark (several artists’ models including outdoor models)—­ rattan and birch shafts; yarn and cord wound; variety of ­synthetic, rubber, and poly-ball heads Vaughncraft—birch shafts with bronze, aluminum and plastic heads; special wood block mallets VMAX Mallets—rattan and birch shafts; yarn and cord wound; variety of synthetic rubber and poly-ball balls Steve Weiss Music—distributor of his line with rattan and birch shafts, poly-balls, acrylic, and rubber balls, and all other brands Yamaha–Keiko Abe Signature Series (9 models: yarn wound on thick rattan)—two-tone mallets (two models) with 17 1 ⁄4” shafts, student models with Fiberglass Reinforced Plastic (FRP) Shafts; others with rattan, birch, and fiberglass shafts; unwound cores of brass, wood, plastic, lexan, phenolic, polyball, rubber; other cord and yarn-wound models Zildjian—birch shafts; yarn and cord wound; variety of synthetic, rubber, and poly-ball heads

Rattan mallet shafts must be straightened periodically as they become warped from normal playing and storage. A clothes iron and an absorbent piece of cloth are used (an old terry cloth hand towel works well). To straighten rattan shafts: 1. 2. 3. 4.

Wet the cloth until almost dripping. Place half of the cloth on a table or stool (be sure not to use good furniture). Place the shaft on the cloth and fold the other half over the shaft. Hold the iron on the cloth to deep steam the rattan shaft, working the shaft “against” its warped direction lightly.

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5. After about a minute, take the shaft freely in your hands and bend it into shape (straight), being careful not to bend it too far the wrong way. 6. Allow the mallet to dry an hour or so before using, preferably hanging freely through the bars of a keyboard instrument. A similar approach works with steam from a tea kettle or by carefully heating the shaft with a propane torch. Careful storage of rattan shaft mallets and all mallets will aid in prolonging their straightness.

n KEYBOARD PERCUSSION TECHNIQUE The grip and stroke employed on the keyboard percussion instruments are very similar to the grip and basic percussion stroke technique presented in Chapter 2. However, a few minor adjustments in the grip and the approach to the stroke are necessary to develop one’s playing proficiency on these instruments. The following discussions about grip, stroke, and technical development on keyboard percussion instruments are presented as direct instructions intended to help define an “area of correctness” for each concept. These are often labeled the Cook Book Essential Ingredients for monitoring during practice and performance. If these essential principles are observed, success is almost guaranteed. All of these concepts can be most efficiently learned through simple student observation of the teacher’s demonstration followed by the student’s imitation (the “monkey see monkey do” approach). The teacher is encouraged to present each concept, regardless of how simple or complex, through an experiential awareness learning approach and urged to review experiential learning concepts as presented in the Introduction, in Chapter 2 under “The Attitude Toward Percussion Performance and Education,” and comments in Chapter 5 under “Practicing” and “The Basic Timpani Stroke.” Always keep in mind Timothy Gallwey’s maxim, “Learning and change occur when there is an increased awareness of ‘what is.’” Teacher demonstration and student imitation will promote this learning process. Language instructions that guide the student into an awareness of his or her experience produce the most efficient learning. Avoid making such remarks (unless followed by an awareness instruction) as, “Try hard to . . . ,” “Can you make it better by . . . ,” “Relax and play . . . ,” or “Don’t be nervous . . .” Instead promote experiential awareness through comments like, “What would happen if you . . . ,” “What is it like to . . . ,” “What does it feel (sound and look) like . . . ,” “Imagine . . .” Awareness instructions promote more efficient learning by reducing result expectations in the student or learner that inhibit learning. They also establish clear objectives and strengthen the student’s trust in letting go and encourage his or her wanting to become aware of “what is.”

The Grip A basic keyboard mallet grip is easily established with the palm facing up (see dem­ onstration on the Chapter 4 video: Track 2). The average keyboard percussion mallet of 14–16” in length should be held near the end of the shaft with no more than 1 inch extending beyond the base of the hand. A tendency to choke up on the mallet toward the ball reduces the flexibility and length needed for general playing. The mallet shaft, being smaller than the snare drum stick or timpani mallet, does not cover as much area on the index finger. Therefore, the mallet shaft rests on the first joint of the index finger with the thumb g ­ ently holding the shaft opposite the space between the index and middle finger. The remaining fingers lightly close around the shaft to form a whole-handed, supportive grip on the mallet (see Chapter 4 video: Track 2). Do not allow the shaft to slip up to a resting point between the middle joint of the index finger and thumb (see right hand in Figures 4.10 and 4.11). This will result in the player’s developing a very heavy, insensitive, “clubbish” playing technique. The index, middle, ring, and little fingers remain supple around the shaft and hold or cushion it

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FIGU RE 4 . 1 0   An incorrect grip, palm up

FIGU RE 4. 11   An incorrect grip, in playing position

loosely against the bottom side of the palm when playing. These fingers do not cause the stick to move on and off the bar during the stroke; rather, these fingers, with the palm, cushion the shaft while the wrist does the stroking. Only for very rapid double strokes do the fingers ever actually initiate the stroke. If one develops a technique in which the fingers snap each stroke to the bar, tonal variety and technical velocity will be very limited. For most players, depending somewhat on finger length, the tip of the index finger can curl just slightly around the shaft. Any tendency to point the index finger will cause the pivot point to shift toward a point between the middle finger and thumb (see left hand in Figures 4.10 and 4.11). This weakens the grip and will result in control and sensitivity problems. To complete the grip, the hands are turned over with the back of the hands facing up and with the left mallet placed ahead of the right when occupying the same bar (see Figure 4.12). This practice of positioning the left mallet ahead of the right is recommended for all players, whether right-handed or left-handed, because: (1) stickings edited into mallet texts and arrangements are derived from this placement, thus their observance is comfortable; and (2) the mallets should be placed so that they do not interfere with each other (see Chapter 4 video: Track 3). This basic placement may be altered in passages where the performer must play notes to his or her extreme left, where the right mallet may move ahead of the left, and to facilitate movement between the accidental and natural bars. FIG U RE 4 .1 2    A correct keyboard mallet grip in playing position

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The angle formed by the mallets when positioned on a bar should be approximately 90 degrees (see Figure 4.12). Do not allow the shaft to slip up on to the base of the fingers (see right hand in Figure 4.10), because this will cause an angle greater than 90 de­grees to occur in the playing position (see Figure 4.11) and an incorrect wrist/arm ro­tation stroke. This error is easily avoided by checking that the end of the shaft lies under or slightly to the outside of the wrist and does not extend from under the hand at the base of the fingers (right hand, Figures 4.10 and 4.11). Elbows should be relaxed at one’s side, not pressed in or held out, and stance should be the correct “rule of elbow” distance from the instrument (see Chapter 4 video: Track 2). The distance for the hands above the bars can easily be checked by dropping the little fingers to the bar (see Chapter 4 video: Track 2). The little fingers should just about touch the bars. Adjustment of instrument height may be necessary to accommodate this distance, thus avoiding unnatural stooping or extreme knee bending (see “Instrument Height and Stance,” Chapter 2). In performance the body should be positioned in the middle range of the passage being performed (for example, for a one-octave C major scale, stand about at G; for a two-octave scale, stand in the middle of the two-octave span). Body weight should be evenly distributed on both feet and a shuffle used to move to different playing registers. Do not move by crossing the feet over.

Playing Areas on the Bars Keyboard percussion instrument bars are generally struck anywhere except at the “node” unless specified by the composer or deliberately struck by the performer. The node is where the rope passes through the bar or where the bar rests on the instrument frame. This point lacks the fundamental bar tone, is strong in harmonics but is also very muffled. Any other area on a bar will produce an acceptable tone but with color or timbre differences due to the harmonics sounding. These differences must be considered when performing if consistency of tone color and timbral consistency is to be achieved or, conversely, if deliberate manipulation of tone and timbre is desired from bar to bar throughout the instrument. (See and hear this demonstrated on the Chapter 4 video: Track 1.) One cannot merely say “play in the center of the naturals and edge of the accidentals” and expect to hear tonal consistency or musical expression. Choice of striking areas should be based on artistic musical consideration rather than mere convenience. The basic Cook Book Essential Ingredients or concepts of a bar sound are: 1. Maximum fundamental and least harmonic presence is produced in the center directly over the resonator and is closest matched playing on the extreme end edge of the bar. In the lowest octave of a 5-octave marimba, some players prefer the maximum fundamental tone produced playing “just off center.” 2. More harmonic presence and less fundamental is produced when moving from the extreme end edge or center of the bar toward the node. 3. The bar end sounds closest to the tone produced an equal distance from the node toward the center of the bar. From this it is evident that if the natural bars are struck in the center, then the accidentals must be struck in the center to achieve tonal consistency. Obviously this results in a great deal of lateral movement between bars. Therefore, to facilitate movement over the keyboard, and achieve tonal consistency, a good general approach many players practice and prefer is to strike the natural bars just off center toward the accidental bars and strike the accidental bars on the extreme edge of the ends over the natural bars or nearest to the performer. This will minimize lateral movement between bars and produce a full sound with a tonal and timbral consistency of balanced fundamental and harmonic structure. If time allows and the performer desires the core fundamental tones produced by centerbar playing, then the center of the bar may be played for selected passages or developed as a general approach and playing preference. Consistent center-bar playing is preferred on bells and vibes, and often on xylophones, especially in the top registers. Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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An awareness of these different tonal areas on a bar should result in placement of the two mallets during single-bar rolls or repeated fast articulate passages (1) on natural or accidental bars—either in exact center or just off center over either edge of the resonator tube; or (2) on only accidental bars—either each mallet an equal distance from either side of the node (nearest the player) or both mallets played on the extreme end of the bar nearest the performer. Usual placement on accidental bars is either side of the node. Consistent fast passage-work and even rolls will never be achieved if one mallet is played center and one anywhere else. Meticulous care should be exercised to strike each bar in the desired place for maximum tonal consistency and evenness. Ultimately, and especially in four-mallet playing, the conscious manipulation of tone color is essential to musical expression. This manipulation requires deliberate placement of strokes in varying and mixed playing spots on the bars. The teacher is reminded here that the extent to which these playing areas affect tone can best be discovered and retained if the student is led into his or her own exploration and discovery of all the principles discussed above. Have the student tell you how different areas of the bar sound and what combinations give tonal consistency. By having students discover and articulate these tonal playing areas principles, they end up listening closely to their playing, increasing their awareness of “what is,” and developing listening habits that will be valuable assets in their playing.

The Approach Prior to beginning the first formal or disciplined exercises, it is advisable to allow students to acquaint themselves with the entire instrument. A good routine would be to pick out familiar melodies, scales, or chords by ear and imitate or play back simple melodic ideas throughout the entire instrument. (See “Ear Training” under “Developing the Timpanist” in Chapter 5, “Timpani” for playing by ear approaches.) Then ex­plore chromatically the entire range of the instrument, striking each note slowly and listening to each individual tone and the register colors. This can be accomplished using only one mallet if preferred. Some improvisation in any style is a great way to further explore the instruments. Following this with the cloning exercise on the Chapter 4 video: Track 2 and “full stroke” exercises played in all registers of the instrument (not only around middle C as notated) will develop a familiarity with the instrument as a whole. This familiarity can be further nurtured by memorizing and playing warm-up exercises such as offered in this text, sequential patterns, scales, more by-ear melodies, other rote exercises, and improvising simple progression over the entire instrument. Indeed, this philosophy of coming to know the instrument before learning to play it is well worth encouraging on any instrument. Formal disciplined instruction and practice can then follow for the development of technical, reading, and musical proficiencies.

The Stroke Development of the stroke or “touch” on the keyboard percussion instruments is very similar to the basic percussion stroke technique presented in Chapter 2 on a drum or pad but with minor alterations at the outset due to only a very slight amount of natural rebound of the mallet off the bar. Keyboard percussion technique is based on a wrist stroke. No finger or arm motion is used in the initial development of the stroke. The arms may be used later for accents and loud volume playing but only after the wrists are fully developed. (Of course, the arms position the hands and mallets laterally over the instrument.) It is recommended that the lowest bars on the instrument be used for initial stroke development. The tones produced on these bars will supply the richest auditory stim­ ulus and feedback and thus promote optimal learning. Correct stance and instrument height should result in the positioning of the performer’s forearms, wrists, and hands in a comfortable position over and almost parallel to the bars. Height adjustment of the instrument might be necessary to achieve this.

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Stroke development involves toning the wrist muscles and developing kinesthetic and psychomotor coordination, primarily for the rebound aspect of the stroke. For as one leading pedagogue puts it, tapping the proper slat (bar) presents little difficulty if an efficient method of movement between slats is understood and developed. The full stroke technique presented herein develops this efficient method of movement. “Touchlift” exercises are given later in this chapter for developing more rebound sensitivity with this method.

The Full Stroke Technique The full stroke technique involves lifting the mallet heads to a high full stroke position of approximately 6 to 8 inches above the bars by bending only the wrists, striking the desired bar, and returning to the high full stroke position all in one smooth cyclic motion (see Chapter 4 video: Track 2 demonstrations on marimba in comparison to playing on a drum). The grip should remain supportive but soft, and the wrist and forearm should be relaxed. The wrist motion that makes the stroke is like waving good-bye or bouncing a ball. The motion of the mallet head should resemble a ball bouncing as the stroke is made from the high full stroke position. The wrist will move up, in relation to the forearm, as the mallet moves toward the bar, and then the wrist will move down, returning to where it was, on the rebound or recovery stroke. One should observe this visual image or the wrist movement and think more of returning to the high full stroke position than striking the bar. The sound produced should be full and moderately loud due to the stroke height but not harsh or pounded. This stroke is also called a “piston stroke” or “down-up stroke” (review “The Basic Percussion Stroke” under “A Concept of the Grip and Stroke” in Chapter 2 if necessary). Any exercises similar to those in Example 4-J may be used to develop the full stroke. See the Chapter 4 video: Track 2 demonstrations on xylophone and marimba playing both hands together utilizing cloning or mirroring techniques to maximize practice time and natural learning. Memorize and play the exercises in Example 4-J in all keys with a full stroke technique. Repeat several times, paying attention to the quality of the full stroke—watch and feel the strokes. Practice slowly at first, listen and strive for consistent even tone. Gradually increase speed by lowering the mallet height but maintain the rebound feel of the full stroke. Study the Chapter 4 video: Track 2 for demonstrations on practicing to develop velocity on exercises like those in Example 4-J. Practice at different dynamics and tempos. Never sacrifice accuracy for speed.

EXAMPLE 4-J n Full stroke exercises

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EXAMPLE 4-J n (Continued)

Full stroke “Move Outs” warm-ups: Play in all keys; expand out two octaves and combine exercises; practice all exercises chromatically. Start with four strokes on each new pitch and work down (4, 3, 2, 1) to one as written (see Chapter 4 video: Track 2).

EXAMPLE 4-J n (Continued)

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EXAMPLE 4-J n (Continued)

Exercises for the continuation of this technical development can be located in most keyboard percussion methods and books dealing with technical development (see listing at the end of this chapter). Practice routines for one’s technical development should follow the guidelines in Chapter 2 relating to drumming technique. In general the full stroke discipline and feeling should be maintained at all tempos and dynamics. Slow to fast to slow practice should be augmented with steady metronomic practice at slow, medium, and fast tempos with soft through loud dynamics. A deliberate effort must be made to reduce the height of the full stroke while maintaining the spring-like rebound as tempo increases. Playing from the lowest height possible favors accuracy in execution of notes and musical ideas while preserving as comfortable and relaxed a stroking action as possible. However, velocity and accuracy will only be achieved through many hours of slow careful practice, not by merely trying to go fast!

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The Touch-Lift Stroke These touch-lift exercises have proven effective for developing greater sensitivity to touch and rebound away from the bar. The student should understand that these exercises employ an artificial stroke that is only used as a means to an end for developing rebound sensitivity and control in the wrists and mind. They are excellent for developing a fine touch on glockenspiel. Correct stance and instrument height should result in the positioning of the performer’s arms, wrists, and hands in a comfortable position over and almost parallel to the bars. From this position, the mallet heads should establish a low position approximately 11 ⁄ 2 to 2 inches above the bars. From here the bar is “touched” with a quick but relaxed rebound “lift” away from the bar, made by the wrist only. There should be no preparation to the “touch” stroke. The volume should be soft due to the closeness of the mallet heads to the bar. This touch or up-stroke should end with the wrist bent back and the mallet pointing diagonally upward and away from the bar (see Chapter 4 video: Track 2 demonstration on xylophone). Care should be taken that: 1. The forearm does not move with the mallet but remains relaxed and almost ­parallel to the bars. 2. The middle, ring, and little fingers do not move away from the palm during this rebound stroke but maintain their proper cushioned support of the grip (review the grip if necessary). 3. The shaft does not slip up into the middle joint of the index finger but stays resting in the first joint of the index finger. 4. When in low position, the palm of the hands face the floor, the back of the hands are up. After making a touch-lift stroke, the mallet is then repositioned over the bar on the rest to repeat the stroke. This touch-lift stroke should first be practiced cloning both hands together, then with each hand separately. Example 4-K contains a practice exercise for the touch-lift stroke. Any notes may be used. Practice slowly, paying attention to all aspects of the stroke. Allow the hands to be soft, the arms to be relaxed, and the strokes to flow.

EXAMPLE 4-K n Touch-lift stroke exercise

After each hand can comfortably perform touch-lift strokes, combine the hands on one bar in slow alternation. Be certain both mallet heads are in low position before either hand makes the touch stroke. After one hand makes the lift, it should quickly but smoothly return to the low position. The stroking motion must not become jerky and tense. It should flow with a quick lift away from the bar, followed by relaxed repositioning over the next bar before the opposite hand plays. After a basic alternation is comfortable and well controlled, short exercises involving very few notes should be practiced with this technique. Example 4-L shows typical studies. Be certain to prepare each mallet head in low position on each eighth rest. Any good keyboard percussion text will offer additional short scalar and sequential studies.

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EXAMPLE 4-L n Short scalar touch-lift stroke studies

Good control of these touch-lift exercises would be considered accurate performance at a quarter note mm. = 144–168. Beginning reading exercises may also be introduced using this technique. After control is achieved, the full stroke technique should be practiced. At this point it is necessary to review some Cook Book Essential Ingredients about the grip and stroke. The player should become aware of these by focusing attention on each ingredient while playing. 1. Be sure the mallet is being held loosely between the thumb and the first joints on index and middle fingers as shown on the Chapter 4 video: Track 2 with the thumb on the side of the mallet shaft directly across from the space between the index and middle fingers. 2. Be sure the mallet shaft doesn’t slide up into the second joint of the index and middle finger when playing. 3. Be sure the ring and little fingers only support the mallet and do not grip it tightly into the palm. They should curve loosely around the shaft creating a cushion and support for the mallet in the hand.

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4. Be sure the back of the mallet shaft lies under or slightly to the outside of the wrist. 5. Most importantly, be sure you maintain an open fulcrum space between the top of the thumb and side of the index finger. 6. The stroke should be cyclic, made with a relaxed grip like bouncing a ball from a “full stroke” position above the bars and returning to that position (like a “piston stoke”) whenever possible. 7. Develop the habit of always playing with a sensitive touch and beautiful tone and enjoy making music out of everything you play!

The Sustained Tone or Roll A single-stroke roll is employed on keyboard percussion instruments to sustain a bar tone longer than its natural ring produced by one stroke. The metal bar vibraphone, bells, and tubular chimes have relatively long sustaining tones and do not generally require rolls. Development of the single-stroke roll is best accomplished through practice of single strokes, starting slowly and gradually speeding up as much as possible while maintaining relaxed control, then slowing again. As the strokes speed up, the mallets should deliberately be lowered closer to the bar, and this process should be reversed when slowing. Additional exercises involving measured rolls of various lengths can be found in texts by Kraus, Payson, and others. Development of the long roll may also be aided by generating short rolls first then gradually lengthening them, as presented in Example 4-M. Each measure should be repeated several times before progressing to the next. (See Chapter 4 video: Track 3 demonstration.) Tempo should be at the maximum speed at which the sixteenths can be played with relaxed control. Each measure can be practiced on any separate tone or scalar movement employed for more variety. EXAMPLE 4-M n Exercise for developing the long roll. Repeat each measure

several times at maximum speed. After the last measure, increase to a continuous single-stroke roll. For variation substitute sixteenth-note triplets and thirty-second notes in place of the written sixteenth notes.

In general, the speed of the roll in keyboard performance must vary depending on the register in which one is playing. Low-register marimba notes need to be rolled more slowly than upper-register notes or xylophone notes. Other expressive factors such as emotional intensity or release and using roll speed like a vibrato should be considered when determining roll speeds. One should always strive to produce a beautiful full tone and never merely display technique. When performing rolled passages, one should use a free-floating base, not a strict metered pattern. When connecting ascending legato rolls, lead with the right mallet;

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when connecting descending legato rolls, lead with the left mallet. Lead sticking in Example 4-N is given for practice. (See Chapter 4 video: Track 3 demonstration.) EXAMPLE 4-N n Legato rolled passages—Lemare, Andantino

When moving to an accidental bar from a natural bar, approximately an interval of a fourth or less away, try to lead with the left mallet regardless of direction. Conversely, when moving to a natural bar from an accidental bar, approximately an interval of a fourth or less away, lead with the right mallet. (This lead is of course assuming the left mallet is placed ahead of the right as recommended earlier.) The exercises in Ex­ample 4‑O illustrate these concepts. Play the first stroke on the very tip of the accidental bar with the left mallet and follow with a right stroke as the left mallet moves to the opposite side of the node. This movement will give the smoothest possible connection of legato rolled passages for two-mallet performance. (See Chapter 4 video: Track 3 demonstration.) EXAMPLE 4-O n Legato rolled passages with accidentals—Frimi, Adieu

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The repeated pitches in Example 4-P require a legato rearticulation of the roll. To accomplish this, break the sustained roll slightly so as to create the rearticulation. A gentle lift in the wrists will aid in producing a smoothly legato rearticulation. Be careful not to accent the repeated pitch. (See Chapter 4 video: Track 3 demonstration.)

EXAMPLE 4-P n Rolls with repeated pitches—Offenbach, Barcarolle

Smooth mastery of legato roll passages like Example 4-Q will best be achieved by application of these above concepts. EXAMPLE 4-Q n Adapted from von Flotow, Oh! How So Fair, from the opera Martha

Al Payson, Elementary Marimba and Xylophone Method, © 1973 by Payson Percussion Products, Park Ridge, IL. Used by permission.

Special Effects Composers are always exploring effects for the keyboard percussion instruments. One common effect called for is the glissando. Glissandi are produced by drawing the mallet(s) across the bars in the notated time. Glissandi may be ascending, descending, or with the mallets moving in contrary motion over natural or accidental bars. However, the spaces between accidental groups are often wide enough to allow the mallet to fall between the bars, resulting in embarrassing loss of control or even damage to a mallet. Glissandi over accidentals should be performed with great care. Bowing the end of a bar with a bass or cello bow is another common effect. A little practice will yield a good control of this arco technique. Dead-strokes are produced by pressing the mallet into the bar immediately on contact. This produces a true staccato and interesting color change.

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Other special effects the keyboard percussionist may be asked to produce are rattan scrapes made by holding the mallet perpendicular to the bar and drawing the rattan end across the face of the bar; playing fingertips; playing on resonators (with much discretion); and producing the “mandolin roll.” This is produced by playing one mallet on top and one mallet below the end of a natural bar near the player and rolling with both mallets in one hand by moving the wrist vertically up and down.

Keyboard Percussion Reading The keyboard percussionist must develop music reading proficiency along with technique and musicianship. A good text, such as any recommended at the end of this chapter, will gradually introduce the entire keyboard to the performer and establish a good reading foundation. Get in the habit of reading new material at every practice session. A good routine is to set a metronome at a comfortable but challenging reading tempo, at which most of the notes can be played correctly and musical markings observed. Play through the entire piece with the metronome no more than three times. Then isolate and work out any difficult sections. A large amount of music for flute, oboe, violin, guitar, piano, voice, or almost any instrument serves as excellent reading material. Duet performance with an instrumentalist is also excellent practice. Therefore, the Cook Book Essential Ingredients for reading at a keyboard percussion instrument is a combination of: 1. Keeping the eyes on and moving across the music 2. Using some peripheral vision to orient to only the accidental bars 3. Using aural cognizance of the notes’ intervallic relationships (that is, hearing the notes as they are played) and being aware of their groupings and patterns 4. Feeling the bars under the mallets and the distance between bars through muscle memory 5. Having the confidence and trusting in all this working together for successful reading. (See the Chapter 4 video: Track 4 demonstration about bar recognition in relation to only the accidental bars.) The skill of feeling the bars under the mallets through muscle memory, known as ideo-kinetics, is developed by keeping the eyes on the music, peripherally seeing the accidental notes on the instrument directly in front of the player, and kinesthetically memorizing the distance to notes outside the field of vision. Certain key notes and large intervals may require a quick extra “snapshot” glance at the accidental bars. (See the book Ideo-Kinetics by ­Gordon Stout.) Greatest care should be taken when counting rests for it is here that all musicians’ accuracy suffers the most. If one thinks of music as sounds and silence arranged within time, then “rests” no longer exist as “rests” but as silent notes or preparations for the next sound. Performing with this concept will reduce errors caused by concentration lapses while “resting.” Sticking choice, although highly personal, should be based on a few general concepts we will designate as the Cook Book Essential Ingredients to sticking: 1. Use hand-to-hand alternation whenever possible unless double or triple strokes are intended for specific phrasings. Consistent rhythmic flow is usually best achieved through alternation. 2. If a double sticking is required, select a point in the line to double stroke that is between notes of a close interval, like a second or third, rather than large intervals. 3. Choose points in the line to double stroke that are between rhythmically slow note values rather than fast notes (for example, eighth notes rather than sixteenth notes). See the reading exercises in Examples 4-R through 4-Z for study.

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4. As the performer advances, he or she will find careful sticking choice greatly determines phrasing. Bell and especially vibraphone performance may involve more use of double and triple strokes. (See vibraphone sticking discussion.) Progressive reading exercises are given in Examples 4-R through 4-Z. Practice should include application of full strokes and free, unmetered rolls with appropriate mallet leads and correct stickings. Additional reading studies can be found in Chapter 11. EXAMPLE 4-R n Country Garden (old English dance)

Al Payson, Elementary Marimba and Xylophone Method, © 1973 by Payson Percussion Products, Park Ridge, IL. Used by permission.

See a demonstration of reading Example 4-S on the Chapter 4 video: Track 4.

EXAMPLE 4-S n Billings, Chester, and dynamics study

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EXAMPLE 4-S n (Continued)

Al Payson, Elementary Marimba and Xylophone Method, © 1973 by Payson Percussion Products, Park Ridge, IL. Used by permission.

EXAMPLE 4-T n Adaptation of Dvorák, Slavonic Dance #7

Al Payson, Elementary Marimba and Xylophone Method, © 1973 by Payson Percussion Products, Park Ridge, IL. Used by permission.

EXAMPLE 4-U n Recital piece, adapted from Lehár, Vilia, from The Merry Widow

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EXAMPLE 4-U n (Continued)

Al Payson, Elementary Marimba and Xylophone Method, © 1973 by Payson Percussion Products, Park Ridge, IL. Used by permission.

EXAMPLE 4-V n Lanner, Evening Stars

EXAMPLE 4-W n Country Garden (old English dance)

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EXAMPLE 4-W n (Continued)

Example 4-X n Schumann, Melody

EXAMPLE 4-Y n Rubenstein, Melody in F

Al Payson, Elementary Marimba and Xylophone Method, © 1973 by Payson Percussion Products, Park Ridge, IL. Used by permission.

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EXAMPLE 4-Z n Humperdinck, Evening Prayer, from Hansel and Gretel

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EXAMPLE 4-Z n (Continued)

Al Payson, Elementary Marimba and Xylophone Method, © 1973 by Payson Percussion Products, Park Ridge, IL. Used by permission.

n EXPRESSION AND PHRASING ON KEYBOARD PERCUSSION INSTRUMENTS The technical proficiency that develops from the full stroke technique does more than en­able the performer to move comfortably around the instruments usually striking ­correct notes with a fair amount of velocity. It allows the performer the optimum level of musical expression, as he or she approaches total freedom in playing with techni­ cal control and develops understanding and sensitivity to artistic expression on the instruments. The concepts of phrasing and expression concerning drumming technique outlined previously obviously apply to all musical performance (see comments in Chapter 1 under “Tone Production on Percussion Instruments” and in Chapter 2 under “Sticking Policies,” “Phrasing,” and “The Strokes”). Understanding these and other concepts of playing is necessary to approach musical expression in keyboard performance. In addition to the selection of a good instrument and mallets, some concepts affecting expression include velocity of stroke, angle of stroke, style of stroke, and selected playing spot on the bar. All of these affect attack and ring length, timbre (harmonic structure), dynamic shading, and, to an extent, the rhythmic placement of the tones produced. Additionally, the player’s mental and aural picture of the music and kinesthetic feel for it—which includes his or her concept of each tone played, the phrase direction intended, and sense of formal structure of the music—together with one’s attitude toward expression in playing affect the total musical outcome. The approach to keyboard technique thus far through the full stroke has developed a basic legato touch on the instruments. Although legato actually refers to the connection of notes, the term is used herein in its traditional sense to convey a fully sustained, resonant tone quality. It also connotes the proper type of relaxed grip and wrist stroke that is fundamental to optimum technical and musical development. The nature of the keyboard percussion instruments allows for the projection of a “legato feeling” or “staccato style” depending on the requirements of the passage and performer’s intent. The vibraphone, of course (and pedal dampened glockenspiels), can produce a true staccato and legato through pedaling and mallet dampening. One of the first considerations in projecting the style desired is the player’s concept of the direction of the phrase. Phrase direction is achieved when the notes are conceived and performed as a musical line rather than separately or as a meaningless, unrelated group. The line is created when the performer decides the role that each note plays in the line and then performs them accordingly. To reach this decision the performer must understand that almost always each note must be moving toward another note or moving away from a previous one. This movement includes subtle dynamic and rhythmic directions in the line. Without such a concept of phrase direction in his mind first, the performer will never be able to communicate any phrase direction in playing. The result is a monotonous, unmusical array of notes that bores the listener.

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Along with the determination of phrase direction, the performer must decide whether the passage requires a legato feeling or staccato style. These phrasings can then be projected by deliberately manipulating the stroke or touch by employing varying degrees of hard and soft attacks. The attack and ring length, timbre (harmonic structure), and dynamic shading of a tone is most greatly affected by the velocity of a stroke. While the factors of hardness of actuator and area of actuation are important, the basic principle is that the ring length of a given object is determined by how much energy is applied to it (that is, how fast and hard a bar is struck). The relative equation for bar ring is 1 ⁄ 2 M 3 V2 (one half the mass of the mallet times the velocity of the mallet squared). In other words, the speed of the stroke affects the tone produced: Slower strokes produce lighter attacks; faster strokes produce heavier attacks (and longer ring) as the faster strokes gain momentum. Smooth, relaxed wrist-generated strokes played with a relaxed grip allow for the best control of mallet velocity and thus bar ring, dynamic shading, timbre, and rhythm in keyboard performance. The projection of a legato feeling between two (or more) struck notes, on marimba especially, is accomplished by matching the attack volume of the second note to the ring of the previous note (in other words, by using a strong attack on the first note and a softer attack on the second to blend into or match the ring of the first). The greater the amount of time between the two notes, the softer the second note will have to be. Obviously, maximum control of touch is essential for controlling attacks and ring length, dynamic shading, and other aspects of legato phrasing. Also, the greatest degree of natural velocity can be developed through this touch. If the mallet is held firmly in the hands with all the fingers touching the shaft and short or low, sharp, snappy wrist strokes are employed, the resulting tone has a “staccato nature” or a “staccato attack.” The mallet actually muffles part of the tone by staying on the bar a fraction of a second longer than if a more legato grip and stroke were employed. The mallet stays on the bar this short time because of the firmer grip and shorter stroke. The staccato attack also is distinguished by a weakening of fundamental presence and strengthening of the harmonics in the timbre of the tone. The timbre will of course vary further depending on where the bar is struck. This staccato approach to performance of a particular passage also greatly affects the subtle rhythmic placement of the notes in the line by more clearly defining (articulating) each attack and creating a more restrained rhythmic connection of the notes. Leigh Howard Stevens, writing in support of playing with relaxed wrist strokes in his celebrated Method of Movement for Marimba, states that, “It appears that adding arm weight and tension to the stick favor even dynamics or series of crescendos. These dynamic structures produce detached, articulate attacks on successive pitches. Relaxed wrist strokes favor even dynamics or series of decrescendos which result in less articulate connections between the pitches.”5 An awareness of and appreciation for the subtleties of expression inherent in a staccato approach to playing, when employed discreetly with a relaxed grip, loose wrist-generated, legato approach, offers the performer fine nuances for musical expression. It should be noted that the mallet is an important consideration in creating the staccato/legato styles. If these tonal subtleties are to be distinguished within a passage, a “medium blend” type of mallet is necessary. Too hard a mallet will only produce staccato and too soft a mallet, while fine for legato, will create a muffled slap attack when staccato is attempted. Much experimentation with mallets should occur when applying these expressive techniques. Mallet articulation/hardness to instrument register must also be considered. Obviously there exist articulations and projected phrasings that are not truly legato or staccato. These half-legato, half-staccato levels of articulation are the essence of true artistry in musical performance. The reader is referred to further comments on articulation in Chapter 5, “Timpani.” These various staccato and legato articulatory distinctions in tone are subtle and most clearly distinguished in the context of a phrase or line rather than on one isolated note

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played with different techniques and articulations. The projection of these feelings or styles to the listener’s ears also occurs within the context of the phrase. To shorten significantly the actual length of the natural bar resonance, one has to employ finger, mallet, or pedal dampening, just as lengthening it significantly requires production of a quasi-sustained sound by rolling or trilling. Ultimately, musical phrasing on the keyboard percussion instruments can be achieved by combining an artistic attitude toward phrase direction and a variety of staccato and legato articulatory tone projections with varying degrees of hard and soft attacks, the latter being controlled by precise manipulation of stroke velocity. The student is encouraged to listen to and study performances by percussion keyboard artists Keiko Abe, Leigh Howard Stevens, Nancy Zeltsman, Janice Potter, Nanae Mimura, Michiko Takahashi, Momoko Kamiya, Katarzyna Mycka, Michael Burritt, Mark Ford, Beverly Johnston, Gordon Stout, William Moersch, Robert Van Sice, Julie Spencer, Dean Gronemeier, Vida Chenoweth, George Hamilton Green, Bob Becker, Gary Burton, Mike Mainieri, David Friedman, David Samuels, Ed Saindon, and many, many others for further understanding of artistic keyboard performance. See Appendix A, “Discography of Percussion Music.” One might experiment with degrees of staccato style on band and orchestral xylophone excerpts that require staccato “punching out” in performance, always being careful that any subtle intensification of grip and stroke does not create muscular tension and impede the flow and/or velocity of the music. Musical expression in keyboard performance involves, in addition to all the above, the deliberate control and manipulation of the playing spot on each bar (timbre) and consideration of mallet angle when striking the playing spot (review earlier comments in this chapter under “Playing Areas on the Bars”). Multiple-mallet performance in­creases the combination of all of these considerations to an infinite degree. Application of all these concepts can result in musical expression in performance only if the performer develops a vivid creative imagination, musically expressive technique, and at­tentive ear. The performer also must develop the ability to use the aural feedback to guide the playing of all subsequent tones. Cultivation of this imagination, technique, and aural cognizance through excellent training and exposure to fine musical models will be manifested through conscious and unconscious levels of musical expression in performance, rather than a mere exhibition of notes. Further statements concerning these concepts of musical expression and phrasing can be found in Chapters 2 and 5 of this text and in the following excellent sources (see listing at the end of this chapter): Four-Mallet Marimba Playing by Nancy Zeltsman Marimba: Technique Through Music by Mark Ford Method of Movement for Marimba by Leigh Howard Stevens Colors Intermediate Etudes for Marimba by Pius Cheung TWO A Collection of Concert Pieces for Two-Mallet Marimba Solo by Gene Koshinski Mental and Manual Calisthenics for the Modern Mallet Player by Buster Bailey The Art of Musicianship by Phil Farkas Time and Motion by Fred D. Hinger Timpani Technique for the Virtuoso Timpanist by Fred D. Hinger

n MULTIPLE MALLETS Four-mallet grips and exercises should be introduced soon after the performer develops consistent control of the basic grip and full stroke technique with two mallets. Musi­cal studies should be introduced that address the problems of contemporary ­multiple-mallet performance on even the most elementary level. These problems are usually reading of double treble clef signs, bass clef and the grand staff (bass and treble clef together), technical manipulation of every conceivable two- through four- (or six- or

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eight‑) mallet struck note and rolled combination, and musical interpretation and performance practices. (See “Individual Keyboard Methods and Supplemental ­Studies” for books that address these problems on the beginning level listed at the end of this chapter.) Three standard grips are used for three- or four-mallet playing. A few variations do exist, but for practical purposes only these three standard grips warrant discussion here. All three grips are presented so that the performer can choose the grip(s) best suited to the style of music being performed and to his or her technique. Note that although one grip might appear easiest at the outset, the others may offer greater versatility once control is developed. Experiment with all of them for a few weeks before deciding to specialize in only one. Developing facility with all three grips is definitely worth the time and effort. Be sure to study the demonstrations of each of these grips on the Chapter 5 video: Tracks 5 and 6.

The Traditional Cross-Grip The traditional cross-grip is established by adding a second mallet to the hand (palm facing up) between the index and middle finger and grasping the end of the added second mallet shaft with the little and ring fingers to form a secure grip or anchor point on the crossed shafts (see Figures 4.13 and 4.14). Note that the pivot point between the thumb and index finger is maintained whenever possible. The mallets are spread by inserting the thumb next to the index finger inside the shaft of the first mallet and spreading the thumb and index finger apart (see Figures 4.15  and 4.16, and Chapter 5 video: Track 5). To close the mallets, the little, ring, and middle fingers squeeze the shafts together as the thumb moves back to the outside of the first mallet shaft and aids in the closing. To obtain the close interval of a second, point the index finger from between the shafts if necessary (see Figure 4.17 and Chapter 5 video demonstrations). Note that the first mallet head, or the inside mallet head as viewed by the performer, is slightly ahead of the other mallet head. This placement is recommended for general playing with any of the grips as it facilitates playing close intervals between the natural

FIGU RE 4 . 1 3  Creating the traditional cross-grip,

adding the mallet

FIGU RE 4. 14   The traditional cross-grip

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FIGU RE 4 . 1 5   The traditional cross-grip spread,

palm up

129

FIGU RE 4. 16  The traditional cross-grip spread,

playing position

FIGU RE 4. 17   The traditional

cross-grip, close interval

and accidental bars. When opening and closing the mallets, keep their shafts crossed and anchored at the ring and little finger. Single-note lines are generally played with the two inside mallets, one in each hand as if holding only two mallets. Broken lines can be distributed among all four mallets and played with the most convenient mallet. A turning of the wrist from side to side in a rotary stroke motion will work best. This rotary wrist turn is actually the pronator and supinator muscles in the forearm moving the radius and ulnar bones in the forearm to create the rotary stroke—pronation turns the palm downward, supination turns the palm upward. Sustained four-mallet chords are generally played with an alternation between hands, which produces a single-stroke roll with double notes in each hand. This is commonly called a “double-vertical” stroke roll. The traditional cross-grip is probably the quickest to learn initially and a good grip for playing block chords. However, in comparison with the other two grips, the added mallet can be harder to control, and quick interval changes from open to close and back in one hand can be relatively slow. It is a good grip for the beginner who must learn a m ­ ultiple-mallet grip quickly and works particularly well on vibes, xylophone, and bells. Many concert marimba artists use this grip, including Keiko Abe, Nancy Zeltsman and Bob Becker. The excellent book Four-Mallet Marimba Playing by Nancy Zeltsman is highly recommended for further study of the traditional cross-grip and its musical ­applications.

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The Musser (Stevens) Grip The Musser grip, made popular by Clair Omar Musser and further refined and ad­vanced by Leigh Howard Stevens, differs greatly from the traditional cross-grip in that the shafts do not cross and the mallets are independently controlled. See the Chapter 5 video: Track 5 for use of “pencil pillows” on the mallet shafts. The grip is established by pulling the first mallet out to a point where it is held only by the thumb and index finger (pivot point) and strongly supported by the middle finger. This middle finger functions as an important anchor point on the shaft when the mallets are manipulated (Figure 4.18). The second mallet is inserted in the hand (palm facing up) between the middle and ring fingers and along the side of the palm of the hand. The little and ring fingers then grasp the shaft and close curling securely into the palm (Figure 4.19). Note that the shafts are parallel all the way to the mallet heads. The mallets are positioned in playing position with the thumbnails pointing to the ceiling and the mallet heads parallel to the bars (see Figures 4.20 and 4.21 and Chapter 5 video: Track 5 demonstrations). The mallets are spread by pointing the index finger to the side and rolling the mallet shaft in the pivot point away from the second mallet. Much care must be taken to maintain a secure anchor point on the end of the shaft with the middle finger. The middle finger must keep the end of the shaft firmly planted in the upper palm of the hand (see Figures 4.21 and 4.22). The mallets are closed by bringing the index finger back to a closed position. Be certain to roll the mallet shaft back to the correct position. Single-note lines are generally played with the two inside mallets, one in each hand as if holding only two. The direction of the stroke is slightly altered to avoid unnecessary movement in the outside mallets; it is a deliberate turning of the wrist in a rotary stroke motion toward the bar, like unscrewing a light bulb in the right hand or screwing in a light bulb in the left hand. When performed properly this stroking action with the inside mallet will barely cause the outside mallet to move. This is called a ­“single-independent” stroke. Broken lines or contrapuntal passages are performed with the same rotary wrist motion. Sustained four-mallet chords can be played with a ripple or sequential roll or with double-vertical strokes in each hand. A ripple or sequential roll will result in each chord

FIGU RE 4 . 1 8   The Musser (Stevens) grip, first

mallet

FIGU RE 4. 19     

The Musser (Stevens) grip, palm up

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FIGU RE 4 . 2 0   The Musser (Stevens) grip,

playing position

131

FIGU RE 4. 21  The Musser (Stevens) grip, spread

(front view)

FIGU RE 4 . 2 2   The Musser (Stevens) grip, spread

(side view)

tone being struck at a different time in a cascading four-stroke sequence. Assuming the mallets are numbered:

the sequence in which the mallets strike the bars is 1, 2, 4, 3, or 4, 3, 1, 2 (outside-to-inside in each hand alternately called “double lateral” strokes). Two mallet numbering systems co-exist in the pedagogy: 4, 3, 2, 1 and 1, 2, 3, 4 from the player’s left to right. Teaching Percussion utilizes 4, 3, 2, 1 as the author’s preference, but either is equally valid. A relaxed quality to this c­ ascading effect is achieved by allowing the inside mallets, numbers 2 and 3, to pivot slightly in the pivot point as the rotary stroke is made by the wrist. The middle fin­ger must slightly release its anchor on the end of the shaft to allow for this pivot to occur. When the roll is executed well, the inside mallet will stroke after the outside ­mallet. Note that the outside mallets, numbered 4 and 1, do not pivot in the hand. The ring and little fingers hold these mallets securely in the palm. The mallets fall in the same sequence when performing a traditional Musser “flop” roll but without the added wrist rotation. A flop roll has several limitations and is not recommended for general use. Other possible mallet permutations with the ripple or sequential roll are 4, 3, 2, 1 and 1, 2, 3, 4, as well as 4, 2, 3, 1 and 1, 3, 2, 4.

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This rotary wrist stroke that plays the mallets to and from the bars should be conceived as a subtle nudge from the wrist downward toward the bar with the inside mallet and thumb, while at the same time a lifting upward occurs in the outside mallet and side of the hand. The mallets should rebound away from the bar immediately in preparation to nudge again (see Chapter 4 video: Track 6 demonstration). Think of unscrewing (right hand) or screwing in (left hand) hot light bulbs! With practice, roll speeds can be varied greatly for musical expression through intensifying and relaxing the sustained tones and through using a variety of roll types: sequential, double-vertical, independent, and others. For toning the wrist muscles and developing rotary stroke techniques see the Chapter 4 video: Track 6 demonstrations and exercises under “Multiple-Mallet Keyboard Percussion Technique.” To perform block chords, the mallets are positioned in the hand so that none of the mallets independently strike the bars. The Musser (Stevens) grip allows for the fastest and perhaps most accurate spreading and closing of the mallets when compared with the other two grips. It also allows for the widest interval reach (the thumb may be placed inside the number 2 or 3 mallet for extremely large interval spreads, but this is generally not necessary). Independent control of each mallet is very effective with the Musser (Stevens) grip, especially during a sustained roll in which only one or two of the four voices are moving. The Musser (Stevens) grip is perhaps better suited for clas­ sical keyboard playing than for jazz vibraphone playing. For the latter, the Burton grip is recommended. The excellent book Method of Movement for Marimba by Leigh Howard Stevens is highly recommended for further study of the Musser (Stevens) grip and its advanced adaptations, in conjunction with Marimba: Technique Through Music by Mark Ford, Four-Mallet Marimba Playing by Nancy Zeltsman, Four-Mallet Method by James Moyer, and other methods and studies listed at the end of this chapter.

The Burton Grip The Burton grip, conceived by the great jazz vibraphonist Gary Burton, is similar to the traditional cross-grip but allows for a stronger control of the outside mallets, numbers 4 and 1. One approach to the Burton grip is placing a mallet between the index and middle fingers and gripping the shaft into the palm by forming a square with the middle finger and the shaft (Figure 4.23). This middle finger anchor, often along with a ring finger anchor, controls the outside mallets 4 and 1. The other mallet is then inserted through the square formed by the middle finger and the mallet shaft (Figure 4.24). A good thumb and index finger pivot point is set on the added mallet shaft and the ring and little fingers close lightly over the end of this shaft (Figure 4.25). The mallets are spread by inserting the thumb next to the index finger inside the shaft and spreading the thumb and index finger apart, being certain to maintain a middle and/ or ring finger anchor on the outside mallet shaft. The ring and little fingers must not inhibit the spreading of the mallets, but instead assist by pulling the end of the shaft upward away from the palm (see Figure 4.25 and Chapter 4 video: Track 6 demonstrations). The mallets are closed by bringing the ring and little fingers toward the palm around the end of the mallet shaft and moving the thumb back to the outside of the shaft and pushing it toward the index finger. Close intervals are obtained by pointing the index finger from between the shafts and allowing the middle finger anchor to release toward the thumb (Figure 4.26). The ring finger will assist in the anchoring of the shaft on close intervals. Single-note lines can be played with mallet combinations of 3 and 2 as with the other grips and especially with combinations of 3 and 1, or occasionally 4 and 2, because of the strength of the outside mallets 4 and 1 (4 and 1 mallet combinations played near each other cause tangling of mallets 3 and 2, so the combination is not generally used). Broken lines are easily executed among all four mallets. Sustained four-mallet chords are generally played as alternating double-vertical rolls between hands. Sequential rolls may also be used. The exceptional strength in all four mallets makes the Burton grip well suited for four-mallet performance in multiple-percussion literature.

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FIGU RE 4. 24  The Burton grip, inserting second FIGU RE 4 . 2 3    The Burton grip, first mallet

FIGU RE 4 . 2 5    The Burton grip, full spread

mallet

FIGU RE 4. 26   The Burton grip, close interval

n MULTIPLE-MALLET KEYBOARD PERCUSSION TECHNIQUE Multiple-mallet keyboard performance includes the playing of struck and rolled chords and contrapuntal or independent mallet lines. Basic three- or four-mallet playing (and five-, six- and even eight-mallet playing, which are becoming increasingly common)

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requires that the percussionist develop the ability to play block chords with evenly balanced double vertical strokes (see Example 4-II) and to control a rotary wrist stroke in addition to the “bouncing ball” stroking action as developed and used in two-mallet keyboard playing and drumming. The ability to play relaxed, evenly balanced doublevertical strokes is prerequisite to developing rotary strokes. See the Chapter 4 video: Track 6 for demonstrations and practice routines for developing all these stroke types. This rotary wrist stroke is analogous to opening a jar, using a screwdriver, or turning a light bulb in its socket. To develop control of this rotary stroke, each hand needs to be practiced separately and together for cloning benefits with the exercises in Ex­amples 4-AA and 4-BB. An interval of about a fifth is comfortable and natural at the outset for most players. Other intervals also should be used to develop total command of the technique. It should be noted that mallets 4 and 1, in the Burton grip, are also very well controlled with the “bouncing ball” stroking action when the mallets are spread in the hand at a 90 degree angle. However, the rotary stroke must be developed for total proficiency in all multiple-mallet performance. There are two distinct types of rotary strokes: the independent stroke, also called ­single-independent stroke, and the dependent stroke, also called single-alternating stroke. The dependent stroke eventually leads to the double-lateral stroke when played fast. These exercises should be practiced using independent and dependent rotary strokes. The independent stroke consists of each mallet being played separately from a height above the bar of about 3 to 4 inches with a quick “down-up” full-stroke rotary motion in the wrist and forearm. The mallet played should return to the 3- to 4-inch starting height before the full stroke is started in the other mallet. The mallet not playing at any time should re­main almost motionless (that is, the strokes are independent of one another). The wrist motion used to play a rotary stroke in mallets 4 or 2 is analogous to unscrewing a light bulb or jar top, while the motion for mallets 3 and 1 is like screwing in a light bulb or tightening a jar top. The dependent stroke is a continuous rocking back-and-forth rotary motion in the wrist and forearm that will play one mallet to the bar (while the other mallet is being raised off the bar it just struck) and immediately rebound or connect to the next stroke in the other mallet (while rebounding off the bar it just struck), a continuous movement of the radius and ulnar bones in the forearm as discussed above. In other words, the strokes are de­pendent on one another. With a few attempts the different look, feel, and controls involved in these strokes will become apparent to the performer. Single-alternating (dependent) strokes become double-lateral strokes when played fast in combinations of 43 or 34, 12 or 21, and in interwoven permutations (see the Chapter 4 video: Track 6 demonstrations and exercises H through N in Example 4-BB). Each measure in Example 4-AA should be repeated many times and each bar struck with the same volume and full, clear tone. The exercise should be gauged so that the sixteenth notes are well controlled but played at maximum speed. A metronome will aid in governing steady development and progress. Another good exercise is to practice both hands together with different mallet combinations on similar exercises. There are 24 ­four-mallet combinations or permutations that one can create for practice material! A regular single-stroke roll played slow to fast to slow with one hand and with cloning both hands together is also valuable for developing four-mallet technique. EXAMPLE 4-AA n Developing rotary strokes

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Rudimental paradiddle combinations and polyrhythm figures played between ­mallets in one hand also aid in developing mallet control. The exercises in Example 4-BB are given to stimulate further practice ideas. Exercises A through G present paradiddle combinations for development of independent and dependent rotary strokes. Note that repeated mallet strokes require clearly articulated single-independent strokes. Ex­ercises H through N present seven essential combinations for developing double-lateral strokes at fast execution. Exercises O through R aid in developing one-handed independent rolls; note the large paradiddle structures. Exercises S through U offer polyrhythmic combinations that result in interesting double-vertical and independent/dependent stroke combinations. See the Chapter 4 video: Track 6 demonstrations and Mark Ford’s book Marimba: ­Technique Through Music, Four-Mallet Marimba Playing by Nancy Zeltsman, 4 Mallet Democracy for Marimba by Jack Van Geem, and other methods at the end of this chapter for excellent exercises exploring all mallet permutations with musical applications. EXAMPLE 4-BB n Paradiddle combinations, double-lateral strokes, independent

roll exercises, and polyrhythm figures

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EXAMPLE 4-BB n (Continued)

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EXAMPLE 4-BB n (Continued)

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EXAMPLE 4-BB n (Continued)

The polyrhythm patterns presented only involve some basic 2:3, 3:5, 4:5, and their inversions. These polyrhythm patterns demand precise coordination between mallets. Further analysis and practice of other polyrhythms is highly recommended. Polyrhythms are easily reduced to a performable notation. Example 4-CC is offered as a model for this procedure. To realize 3:4: 1. Take the least common multiple of the figure (that is, 12) and group beats as each number states (that is, groups of 3 and 4). 2. Transfer to a performable pattern using recognized meters and subdivisions. Note each polyrhythm begins as a unison and repeats after it is completed. EXAMPLE 4-CC n Polyrhythms reduced to performable notation

These exercises should be practiced in each hand separately and combined with cloning. With a little imagination, the player will develop interesting combinations and movement over the keyboard (for example, play the single paradiddles chromatically up and down the instrument). When combining hands, each pattern could be the same in each hand (that is, 4344 with 2122 or reversed to 4344 with 1211). Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Practice of each exercise should be slow at first, producing a clean stroke with rebound in each mallet. Both the independent and dependent rotary strokes and their mixture should be used. Gradual increase in speed coupled with long duration in practice of each pattern will aid in developing control and coordination of the wrist and forearm muscles and the rotary stroke techniques. When these exercises are used as daily warm-ups, one will find increased control over contrapuntal playing of all mallets and eventual development of one-handed rolls between mallets 4 and 3 or mallets 2 and 1. The basic mallet combinations also can be practiced on a hard surface such as a table or car dashboard when an instrument is not available. With perseverance and diligent practice, one will develop the necessary wrist, forearm, and mallet controls to approach playing four-mallet sequential rolls (Ex­ample 4‑DD) and eventually develop a four-mallet independent roll. The independent roll is executed by playing independent one-handed rolls evenly between the mallets in each hand and merging the hands together. To develop the sequential roll, start slowly with repeated playing of simple chords or consecutive intervals using continuous dependent rotary or double-lateral strokes between mallet combinations of 43, 12, 43, 12, and so on, and gradually increase to a sustained roll of 4312 4312 4312. EXAMPLE 4-DD n Developing the sequential roll

The dependent rotary/double-lateral stroke should be easily generated if sufficient time has been given to practice of the above or similar exercises. Three-mallet ­chorale-style roll studies and simple chord inversions also serve as excellent fundamental ­practice material using both double-vertical and sequential, double-lateral rolls (see Ex­amples 4-EE and 4-FF). By holding four mallets and playing these three-mallet studies, the performer can concentrate mainly on the hand playing the two mallets to check for ac­curate wrist, forearm, and mallet stroking motion. Practice slowly with a fermata over each chord. To gain command of all roll speeds, vary the speed of the roll from slow to fast, clearly articulating triplets. The strokes will progress from single-alternating to double-lateral strokes in the hand playing two mallets. Note, however, that a singleindependent rotary stroke should be used in the hand playing the one mallet. Play the entire chorale with mallets 3 2 1 and with mallets 4 3 2. Combinations of 4 2 1 and 4 3 1 are also possible as well as double-vertical rolls types. EXAMPLE 4-EE n Three-mallet roll studies—Klug’s Geistliche Lieder, 1535

Struck and rolled block chords played in progressions and inversions also can serve as beginning studies. Example 4-FF represents some technical and musical considerations. These chord exercises can be practiced in many forms. Progressions and inversions can be rolled using double-vertical rolls, sequential rolls, and independent rolls, struck as block chords and arpeggiated contrapuntally in 24 different mallet combinations. Play these in all keys. Example 4-GG demonstrates a typical block chord chorale style. Roll all chords. Also see Marimba: Technique Through Music by Mark Ford and FourMallet Marimba Playing by Nancy Zeltsman for excellent exercises and musical examples exploring rolls and mallet permutations. Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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EXAMPLE 4-FF n Struck and rolled block chords; play in all keys

EXAMPLE 4-GG n Block chord chorale style—Brahms, Lullaby

To accomplish independent voice movements, the activity and volume of the moving voice mallet must be increased or energized and the energy in the other mallet in the hand slightly decreased or de-energized. By experimenting with the rotary stroking action and subtle squeezes and energized nudges in the moving voice mallet (with relaxed grip and action in the other mallets), the performer will discover the necessary mallet controls. An exercise based on moving each chord member to a new inversion, as in Example 4-HH, will serve as good practice for discovering these controls. Activity in mallets 4 and 1 can be increased by using both a rotary stroke motion and a more perpendicular to the bar, “bouncing ball” stroking motion. EXAMPLE 4-HH n Independent voice-moving exercise

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Intervallic control and a feel for the bars can be developed through spreading exercises similar to those in Example 4-II. Practice each hand separately as indicated and then combine hands. EXAMPLE 4-II n Double-vertical spreading exercises

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These and similar studies can be played in all keys as struck and rolled block chords and arpeggiated patterns. Other musical and technical etudes can be created out of much piano and guitar music. An example of how to adapt the Prelude No. 1 in C Major from Bach’s Well Tempered Clavier is given in Example 4-JJ. Note that the sticking indicated particularly develops mallet number 4. Other stickings can be employed. Octave transportations must occur when necessary depending on the range of the instrument used. This Bach Prelude is quite effective on vibraphone also. See Four-Mallet Marimba Playing by Nancy Zeltsman for excellent further studies. EXAMPLE 4-JJ n Bach, Prelude No 1 in C Major

Methods listed at the end of this chapter offer exercises for the development of ­four-mallet technique and reading proficiency beyond the scope of this text.

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In the late 1980s, Julie Spencer developed an innovative percussion technique, one that is especially applicable to keyboard performance, that she called “the horizontal technique.” Ms. Spencer has developed exercises, published compositions, made recordings utilizing the horizontal technique in combination with the usual vertical techniques. Essential to the technique is the player’s development of an understanding of total relaxation and mind/body connection when playing. This alone justifies the serious attention of percussionists to Ms. Spencer’s studies and compositions. The horizontal technique has been shown to be a valuable supplemental technique for expanded development of the four-mallet rotary stroke technique and for application to twomallet solo and excerpt repertoire. The technique has influenced keyboard percussion performance, composition, and application to other percussion studies. Five-, six-, and as many as eight-mallet performance has been artistically demonstrated and extended by such artists as Keiko Abe, Bill Molenhof, Zeferino Nandayapa, Dean Gronemeier, Tim Jones, Ludwig Albert, and others over recent years. One can only imagine keyboard percussion further evolving throughout the twenty-first century in light of such continuing innovations and refinements in technique, composition, and artistic recognition.

n VIBRAPHONE TECHNIQUE The uniform level of both natural and accidental bars on the vibraphone allows for much more double and triple stroking in the same mallet than the usual alternating marimba or xylophone technique. One consideration when making sticking choices is whether to strike the vibraphone bars toward the center or on the extreme ends. Double and triple stickings are given in Example 4-KK for consideration of phrasing and velocity on the vibraphone. This sticking reduces hand motion and produces an even phrase. The use of four mallets would make playing even easier and offer many sticking combination possibilities. See discussions of the approach to vibraphone playing on the Chapter 4 video: Track 1 at the beginning of this chapter under “Instrument Characteristics.” EXAMPLE 4-KK n Phrasing stickings on vibraphone

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Vibraphone pedaling and dampening requires special development of mallet dampening and pedal control. David Friedman’s Vibraphone Technique—Pedaling and Damp­ening, Jerry Tachoir’s Contemporary Mallet Method, David Samuels’s Contemporary Vibra­phone Technique, Ed Saindon’s Berklee Practice Method for Vibraphone, and Paul Buyer and Josh Gottry’s The Art of Vibraphone Playing address these technical problems in a musical manner. The following exercises (Examples 4-LL through 4-SS) are offered for consideration and understanding of these basic techniques. When the pedal is up, all notes played will sound staccato. Pedaling results in a legato ringing of the notes together. Pedaling is relative to the speed the passage is played. See Examples 4-LL and 4-MM. EXAMPLE 4-LL n Slow speed-pedal each note

EXAMPLE 4-MM n Fast speed-pedal as indicated

Mallet dampening creates a smooth legato line or can be used to change chord quality, as in Examples 4-NN through 4-SS. When mallet dampening, the placement of the dampening mallet on the bar should not be heard to interfere with the struck notes (see Figure 4.27). Think of playing “French flams” (i.e., both mallets touching the bars simultaneously), with a very light stroke in the dampening mallet. Starting at the node with the dampening mallet and sliding toward the center of the bar to dampen will result in smooth, quiet mallet dampening. Mallet dampening creates a smooth legato line unobtainable through pedal technique. FIG U RE 4 .2 7  

Mallet dampening

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EXAMPLE 4-NN n Dampen with left as right plays

EXAMPLE 4-OO n Dampen with right as left plays

EXAMPLE 4-PP n Dampen with the hand that played as the other strikes the

next note

EXAMPLE 4-QQ n Combine hands and play as indicated

EXAMPLE 4-RR n Chord quality can be changed by mallet dampening the

appropriate note indicated

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Example 4-SS combines pedaling and dampening concepts and includes “tone bending” (see “Performance” under “Vibraphone” at the beginning of this chapter). EXAMPLE 4-SS n Pedaling, dampening, and tone bending

n INDIVIDUAL KEYBOARD METHODS AND SUPPLEMENTAL STUDIES These materials are graded as follows: Elementary, within the first year of study; In­termediate, within a second to third year of study; Advanced, within the fourth year or more of study—usually appropriate to late high school or college-level work.

Major Applied Methods The following are highly recommended primary texts for the individual study of ­keyboard percussion. Elementary Mallet Percussion for Young Beginners by Randy Eyles (Meredith Music Publications)

120 Progressive Four-Mallet Studies for Marimba by Luigi Morleo (HoneyRock)

Sequential Studies for Four-Mallet Marimba Level 1 by Julia Gaines, edited by Brian Tate, free accompanying video lessons at: http://vicfirth.com/sequential-studies-for-4-mallet-marimba/ (Gaines Publications: http://www.marimbalevels.com)

Elementary Marimba and Xylophone Method by Al Payson (Payson Percussion Products)

New Elementary Studies for Xylophone and Marimba by George Hamilton Green (Meredith Music Publications) 4 Mallet Primer by Neil Grover (Meredith Music Publications) Reading Mallet Percussion Music by Rebecca Kite (GP Percussion/Penn Oak Press) Mallet Melodies by Kevin Lepper (Advantage Network) Percussion Keyboard Technique by Thomas McMillan (Belwin/Warner Bros.)

Intermediate Colors Intermediate Etudes for Marimba, by Pius Cheung (Pius Cheung) Marimba: Technique Through Music, A Collection of Etudes to Develop Technique for the Four-Mallet Marimbist by Mark Ford [intermediate to advanced studies] (Innovative Percussion) Sequential Studies for Four-Mallet Marimba Level 1 by Julia Gaines, edited by Brian Tate, free accompanying video lessons at: http://vicfirth.com/sequential-studies-for-4-mallet-marimba/ (Gaines Publications: http://www.marimbalevels.com) Modern School for Xylophone, Marimba, and Vibraphone by Morris Goldenberg (Hal Leonard) George Hamilton Green’s Instruction Course for Xylophone by George Hamilton Green (Meredith Music Publications)

Fundamental Method for Mallets by Mitchell Peters (Alfred Publishing Co.) Childsplay, Etudes for Learning and Teaching 4-mallet Technique by Cherissa Legendre Vitter (Keyboard Percussion Publications) A Fresh Approach to Mallet Percussion by Mark Wessels [includes play-along CD accompaniments and CD-ROM with supplemental reading exercises (pdf files), speed note reading video game, and beginning timpani] (Mark Wessels ­Publications) Fundamental Mallet Studies by Garwood Whaley (Joel Rothman Publications) Primary Handbook for Mallets [with play-along CD] by Garwood Whaley (Meredith Music Publications) TWO A Collection of Concert Pieces for Two-Mallet Marimba Solo by Gene Koshinski (Bachovich Music Publications) Masterpieces for Marimba by Thomas McMillan (Belwin/Warner Bros.) 60 Progressive Four-Mallet Studies for Marimba by Luigi Morleo (HoneyRock) Four-Mallet Method for Marimba by James Moyer (Studio 4/Alfred Publishing Co.) Fundamental Method for Mallets by Mitchell Peters (Alfred Publishing Co.) Image, 20 Children’s Songs for Marimba by Bart Quartier (Meredith Music Publications)

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Method of Movement for Marimba by Leigh Howard Stevens (Keyboard Percussion Publications) [intermediate through advanced topics discussed but contains primarily playing exercises to develop technique] Ideo-Kinetics by Gordon Stout (Keyboard Percussion Publications) 4 Mallet Democracy for Marimba by Jack Van Geem (Belwin/Warner Bros.)

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4 Mallet Exercises by Garwood Whaley (Meredith Music ­Publications) Musical Studies for the Intermediate Mallet Player by Garwood ­Whaley (Meredith Music Publications) Four-Mallet Marimba Playing by Nancy Zeltsman [intermediate to advanced studies] (Hal Leonard)

Advanced Mental and Manual Calisthenics for the Modern Mallet Player by Elden (Buster) Bailey (Belwin/Warner Bros.)

Music for Marimba: Arrangements of the Renaissance and Early Baroque Periods (4 mallets) arr. by Donald Knaack (Moo Group)

Permutations for the Advanced Marimbist by Kevin Bobo (Keybord Percussion Publications)

TWO A Collection of Concert Pieces for Two-Mallet Marimba Solo by Gene Koshinski (Bachovich Music Publications)

A Latin American Album for Marimba [with CD] by Orlando Coto (HoneyRock)

60 Advanced Four-Mallet Studies for Marimba by Luigi Morleo (HoneyRock)

Marimba: Technique Through Music, A Collection of Etudes to Develop Technique for the Four-Mallet Marimbist by Mark Ford [intermediate to advanced studies] (Innovative Percussion)

Method of Movement for Marimba by Leigh Howard Stevens (Keyboard Percussion Publications) [intermediate through advanced topics discussed but contains primarily playing exercises to develop technique]

Modern School for Xylophone, Marimba, and Vibraphone by Morris Goldenberg (Hal Leonard)

Five Etudes for Marimba, Book I by Gordon Stout (Paul Price/MFP)

George Hamilton Green’s Instruction Course for Xylophone by George Hamilton Green (Meredith Music Publications)

Stout Etudes for Marimba, Book II by Gordon Stout (Studio ­4/Alfred Publishing Co.)

Modern Improvising and Application of Ideas to Melody by George Hamilton Green (Meredith Music Publications)

Stout Etudes for Marimba, Book III by Gordon Stout (Studio ­4/Alfred Publishing Co.)

Anthology of Lute and Guitar Music for Marimba by Rebecca Kite (GP Percussion)

Four-Mallet Marimba Playing by Nancy Zeltsman [intermediate to advanced studies] (Hal Leonard)

Supplemental Studies Elementary Highly recommended: Phil Kraus—Modern Mallet Method, Vol. I by Phil Kraus (Belwin/Warner Bros.) Sight-Reading Duets for Beginning Mallet Players by Karen Pershing (Alfred Publishing Co.) Fundamental Solos for Mallets by Mitchell Peters (Alfred Publishing Co.) Mallet Repair by Arthur Press (Belwin/Warner Bros.) Beginning Duet Studies, Book I by Bob Tilles (GIA Publications) Elementary Marimba Pieces, Vol. 1 [with CD] by Ruud Wiener (RAWI Percussion Publications) Elementary Marimba Pieces, Vol. 2 [with CD] by Ruud Wiener (RAWI Percussion Publications) Funny Mallets for Marimba, Book I by Nebojsa Zivkovic (Gertel ­Verlag)

Funny Mallets for Xylophone, Book I by Nebojsa Zivkovic (Gertel Verlag)

Also recommended: Simple Steps to Keyboard Percussion by Anthony Cirone (Warner Bros.) The Orchestral Mallet Player by Anthony Cirone (Belwin/Warner Bros.) Mallet Student by Saul Feldstein [part of First Division Band Method series bks. I, II, & III] (Warner Bros.) Simply Four, Four Mallet Technique as Easy as 1-2-3 . . . 4 by Gifford Howarth (Tapespace Publications). Linda Lorren Pimentel’s Bar Percussion Notebook, Vol. I by Linda L. Pimentel (PerMus Publications) Beginning Exercises and Studies for Two Mallets by Ney Rosauro (Pró Percussão/MalletWorks Music) Xylophone and Marimba Method, Vol. I by Florence Schaefer ­(Belwin/Warner Bros.)

Intermediate Highly recommended: Style Studies for Mallet-Keyboard Percussion Instruments by John Bergamo (Music for Percussion)

Master Technique Builders for Vibraphone and Marimba ed. Anthony Cirone (Belwin/Warner Bros.)

Harry Breuer’s Mallet Solo Collection by Harry Breuer (Alfred Publishing Co.)

Xylophone Rags of George Hamilton Green by George Hamilton Green, ed. by Randy Eyles (Meredith Music Publications)

Harry Breuer’s Mallet Solo Collection with 2-Marimba Accompaniment by Harry Breuer/arr. Karen Pershing (Alfred Publishing Co.)

The Well-Tempered Marimbist, Books I and II by Raymond Helble (Keyboard Percussion Publications)

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Phil Krauss—Modern Mallet Method, Vol. II by Phil Kraus (Belwin/Warner Bros.)

Mallet Technique—38 Studies for the Marimba, Xylophone and Vibraphone by Vic Firth [technique studies] (Carl Fischer)

Fifteen Bach Inventions for Mallet Instruments by Morris Lang ­(Belwin/Warner Bros.)

Overture Studies for Marimba (optional duets) arr. by Thomas McMillan (Pro-Art Publications)

14 Contemporary Etudes for Mallet Instruments by Morris Lang ­(Belwin/Warner Bros.)

Multiple Mallet Studies for Marimba by Ramon Meyer (HaMaR Percussion Publications, Inc.)

Modes in Contemporary Music by Willard Musser and Elliot Del Borgo (Alfred Publishing Co.)

Graded Reading Exercises for Four Mallets by Max Neuhaus (Music for Percussion)

The Rhythm of Contemporary Music by Willard Musser and Elliot Del Borgo (Alfred Publishing Co.)

Progressive Studies in Double Stops for Mallet Instruments by Al Payson (Music for Percussion)

The Tonality of Contemporary Music by Willard Musser and Elliot Del Borgo (Alfred Publishing Co.)

Contemporary Etudes for 3 and 4 Mallets by Karen Ervin/Pershing [intermediate through advanced material](Alfred Publish­ ing Co.)

Linda Lorren Pimentel’s Bar Percussion Notebook, Vol. II by Linda L. Pimentel (PerMus Publications) 13 Pieces for Marimba by Gerhard Stengert & Felix Holzenkamp (Gertel Verlag) Rags and Hot Choruses [G.H. Green, Joplin, and Van Geem xylophone rags with marimba accompaniment and CD] by Jack Van Geem (Belwin/Warner Bros.) Recital Pieces for Mallets by Garwood Whaley [intermediate and advanced material] (Joel Rothman Publications) Funny Mallets for Marimba, Book II by Nebojsa Zivkovic (Gertel Verlag) Funny Mallets for Xylophone, Book II by Nebojsa Zivkovic (Gertel Verlag)

Contemporary Mallet Duets [with CD of separate duet parts] by Karen Pershing (Alfred Publishing Co.) Contemporary Solos for 3 and 4 Mallets by Karen Ervin/Pershing [intermediate through advanced material] (Alfred Publishing Co.) Mallet Duets for the Teacher and Student by Karen Pershing (Alfred Publishing Co.) Mallet Exercises for the Drummer and Percussionist by Emil Richards (Emil Richards) Four-Mallet Technical Studies for Xylophone, Marimba and Vibes by Garwood Whaley (Joel Rothman Publications)

Also recommended:

Keyboard Mastery for the Mallet Percussion, Books I-II by Fred Wickstrom [technique studies] (UMMP/MFP)

Well-Tempered Mallet Studies by Dale Anderson [intermediate through advanced material] (TRY Publishing Co.)

Tone-Row Exercises for Mallet Percussion by Howard Zwickler (Music for Percussion)

Advanced Highly recommended: Four Mallet Studies by Gary Burton (Ludwig Music Publishing Co.) Odd Meter Duets by Everett Gates (Hal Leonard) Odd Meter Etudes by Everett Gates (Hal Leonard) Phil Kraus—Modern Mallet Method, Vol. III by Phil Kraus (Belwin/Warner Bros.) Mallet Control for the Xylophone by George Lawrence Stone ­(Ludwig Music Publishing Co.) New Method of Velocity for Xylophone, Marimba and Vibraphone Based on the Double and Bouncing Beat by William Strelsin (Carl ­Fischer) Etüden für Vibraphon by Walter Veigl (Verlag Döblinger) Etüden für Xylöphon by Walter Veigl (Verlag Döblinger)

Six Solos for Vibraphone, Vols. 1–2 by Rudd Wiener (Pustjens Percussion Publications)

Also recommended: Portraits in Melody by Anthony J. Cirone [50 studies for marimba and xylophone after Portraits in Rhythm for snare drum] ­(Belwin/Warner Bros.) Twenty Studies after R. Kreutzer arranged for xylophone by Jacques Delecluse (Alponse Leduc) Twenty Studies for Xylophone by Jacques Delecluse (Alphonse Leduc) 200 Daily Exercises for the Xylophone, Books I–III by Jacques Delecluse (Alphonse Leduc) In the Studio by Al Payson and Bobby Christan (Payson ­Percussion) Studio Techniques by Emil Richards (Emil Richards) Metodo per Xilofono e Marimba by Leonida Torrebruno (G. Ricordi)

Vibraphone Methods The Art of Vibraphone Playing: An Essential Method for Study and Performance by Paul Buyer and Josh Gottry (Meredith Music/Hal Leonard) Voicing and Comping for Jazz Vibraphone [with CD demo and playalong tracks] by Thomas L. Davis (Hal Leonard) Vibraphone Technique, Four Mallet Chord Voicing by Ron Delp (Berklee Press/G. Schirmer) Berklee Practice Method for Vibraphone, Get You Band Together by Ed Saindon (Berklee Press/Hal Leonard)

Vibraphone Technique, Dampening and Pedaling by David Friedman (Berklee Press/G. Schirmer) Guide to Solo Vibraphone by Terry Gunderson (Mallets ­Aforethought) Compendium for Vibraphone by David Kovins [with CD] ­(HoneyRock) Jazz Mallets in Session by Arthur Lipner [with CD] (Row-Loff Products)

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

K ey b o a r d P er c us s i o n



The Vibes Real Book, Vol. I by Arthur Lipner (MalletWorks Music)

Mallet Keyboard Musicianship—Steps to Excellence, Vols. I and II [videos] by David Samuels (Warner Bros.)

The Art and Language of Jazz Vibes by Jon Metzger (EPM ­Publications)

Contemporary Mallet Method by Jerry Tachoir (Riohcat Music)

Modern Chord Progressions for the Mallet Percussionist by James ­Progris, ed. Fred Wickstrom (UMMP-MFP)

149

Jerry Tachoir’s Vibraphone Video by Jerry Tachoir (Riohcat Music) Practical Improvisations by Bob Tilles (Belwin/Warner Bros.)

Contemporary Vibraphone Technique, Vols. I–II [with audio tape] by David Samuels (Warner Bros.)

Supplemental Studies Highly recommended: The Solo Vibist—Vol. I by Thomas Brown (PerMus Publications)

Vibraphone Virtuosity, Vol. I by David Kovis (Warner Bros.)

Four Mallet Studies by Gary Burton (Ludwig Music Publish­ ing Co.)

Mallet Practice Routine, Book I, Basic Scales, Chords, Blues, Improvising Exercises by Bob Tilles (GIA Publications)

Introduction to Jazz Vibes by Gary Burton (Ludwig Music Publishing Co.)

Chord Studies for Mallet Instruments by Joseph Viola and Ron Delp (Berklee Press/G. Schirmer)

Velocity Warm-Ups for Jazz Vibraphone by Charles Dowd (Warner Bros.)

Funny Mallets for Vibraphone, Books I and II by Nebojsa Zivkovic (Gertel Verlag)

Good Vibe-rations by Shelly Elias (Music Minus One)

Also recommended:

For Vibists Only by Shelly Elias (Music Minus One) Double Image [contains Movie Music, Untitled #1, Over Hills, Night Rains, CD available] by David Samuels and David Friedman (MalletWorks Music) Double Image Dialogues—Set of 3 [out-of-print music and L.P. record set contained Carousel, Nyack, and Sunset Glow] by David Friedman and David Samuels (Keyboard Percussion Publications)

Complete Method for Vibraphone, Vols. I and II by Jacques Delecluse (Alphonse Leduc) The New Lionel Hampton Vibraphone Method by Lionel Hampton and Jean-Claude Foristier [six-mallet technique] (Musik Hug Verlage—Hug & Co., Zurich, Switzerland)

Other Music Adaptable to Keyboard Percussion Study A great amount of music written for other instruments and voice is easily adapted to the percussion keyboard instruments. Some of the more commonly used materials are listed below. Amsden’s Celebrated Practice Duets by Arthur Amsden (C. L. ­Barnhouse)

Six Duets for Two Violins, Op. 102 by Joseph Haydn (C. F. Peters)

Two and Three Part Inventions, Preludes and Fugues, Violin and Cello Studies by J. S. Bach

Practical Method for the Violin [complete volume], by Christian Hohmann [250 pages of excellent duets ranging from easy to difficult] (G. Schirmer)

Ten Duets for Treble Instruments by Sol Berkowitz (Boston Music Co.)

Forty-two Studies for Violin by Rudolph Kreutzer (Carl Fischer, others)

Complete Method for Rhythmical Articulation (for voice) by Pasquale Bona (Carl Fischer)

Twelve Little Duets for Two Violins, Op. 38 by F. Mazas (Carl Fischer)

Contemporary Rhythm and Meter Studies (for treble or bass clef instruments) by Elliot del Borgo (Meredith Music Publications) Contemporary Rhythm and Meter Duets (for treble or bass clef instruments) by Elliot del Borgo (Meredith Music Publications) The Rosewood Book, 30 Duets for Guitar and Flute (or any C instrument) by Peter Greenwood and Jean Rosenblum (Carl Fischer) Six Sonatas for Violin and Piano by G. F. Handel [many other works for violin by Handel, Moskowski (Five Spanish Dances), Mozart, Teleman, and others [can be transcribed easily for keyboard percussion instruments]

Pabst Scale Studies for Violin, Op. 14 by Harry Pabst (Volkwein Bros.) Six Duos, Op. 23 for Violins by I. Pleyel (Carl Fischer) Album for the Young, Op. 68 (piano) by Robert Schumann Album for the Young, Op. 39 (piano) by Peter Tchaikovsky Selected Duets compiled and edited by H. Voxman [published for: flute (2 vols.), clarinet (2 vols.), saxophone (2 vols.), cornet or trumpet (2 vols.), trombone or baritone (2 vols.), violin (2 vols.)] (Rubank, Inc.) Wohlfahrt Sixty Etudes for Violin, Op. 45, Books I-II by Franz Wohlfahrt (Carl Fischer)

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Selected Solos The keyboard percussion solo music listed in Table 4.1 is only a small selection from a vast amount of good literature available. Compositions cited are quality works in today’s percussion literature both pedagogically and musically. Many composers are published exclusively by one publisher. For additional works by a certain composer that may not be listed, contact his or her publisher. Websites for many composers and publishers can be found in Appendix B. Mark Ford’s “New Marimba Music Survey” (http://www .markfordmusic.com/new-marimba-music-survey/), Vic Firth’s “Marimba Solo Library” (http://vicfirth.com/marimba-literature-library/), and Nancy Zeltsman’s “Recommended Solo Marimba Repertoire” (http://www.nancyzeltsman.com/recommended/) are three excellent sources for major marimba repertoire. Also see source listings in the beginning of Appendix B and “Keyboard Tables B.2 through B.6” in Appendix B. Since Teaching Percussion first appeared in 1988, the second edition in 1997, and the third edition in 2006, the Internet has made accessing percussion music easier than ever. Websites for various mail order percussion suppliers (for example, www .steveweissmusic.com, www.percussion-music.com, www.pmeurope.com, www .lonestarpercussion.com) are excellent sources for most published works. An excellent resource for old and new keyboard percussion solos is the Percussive Arts Society (PAS) online “Compositions Research” library at www.pas.org (membership required). This library integrates the resources found in “Programs,” “Literature Reviews,” and the “Siwe Guide to Solo and Ensemble Percussion Literature.” Thousands of reviews of “New Percussion Literature and Recordings” from the PAS publication Percussive Notes are available under “Literature Reviews,” “Recordings, and Video Reviews” in the “Reviews” archive. PAS members can search “Literature Reviews” by “title,” “author/performer,” or “keywords.” The entries under “Literature Reviews” comprise the largest reviewed library of percussion literature available at one site in the world. For more information, go to www.pas.org. A Google or other Internet search for composer, composition title, artist’s name, publisher, or any related subject will also yield many sources and valuable links. The website www.vibesworkshop.com is an excellent Internet resource for vibraphonerelated information. The works listed in Table 4.1 are graded as follows: (E) Elementary, within the first year of study; (I) Intermediate, within a second to third year of study; (A) Advanced, within the four year or more of study—usually appropriate late high school or college-level work. TAB LE 4 . 1   Keyboard Percussion Solo Music

Composer/Arranger Title/Level

Publisher/Source

Abe Dream of the Cherry Blossoms (A) Zimmerman Abe Frogs (I) Studio 4/Alfred Publishing Co. Abe Marimba d’Amore (A) Schott Abe Michi (I) MFP Abe Works for Marimba [coll.] (A) Schott Abe Works for Solo Marimba [coll.] (A) Schott Albeniz/trans. from guitar Asturias Leyenda (A) [also trans. Stensgaard] Morning Sky Publishing   by Kite Albeniz/trans. from piano Asturias Leyenda (A) Keyboard Percussion Publications   by L. H. Stevens    Asia Marimba Music (A) Merion Music Bach/Houliff Twenty Bach Chorales (I) MFP Bach/Moore Bach for Marimba [coll.] (I–A) Kendor Bach/L. H. Stevens Chorale: Christ lag in Todesbanden (I) Keyboard Percussion Publications Bach/L. H. Stevens Prelude and Fugue in B-flat Major (A) Keyboard Percussion Publications Bach/L. H. Stevens Preludium in G Minor (I) Keyboard Percussion Publications

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Composer/Arranger Title/Level

Publisher/Source

Bach/L. H. Stevens Sonata in A Minor (original in G minor) (A) Keyboard Percussion Publications Bach/L. H. Stevens Sonata in B Minor (original in A minor) (A) Keyboard Percussion Publications Bach/L. H. Stevens Two-Part Inventions, Nos. 1, 4, 8, 14 (I–A) Keyboard Percussion Publications Basta Concerto for Marimba and Orchestra (piano red.) (A) MFP Bazalon Suite for Marimba (A) Novello Beck, et al Seven Pieces for Marimba (Reminiscences of IPCL) (A) Zimmerman Bennett After Syrinx II (A) Novello Berg Over the Moon (A) Keyboard Percussion Publications Bilic Ivana Bilic Marimba Series: Barocchiana, Mexico Encore [duet], MalletWorks Music   Souvenir from Mexico, Tafate (I–A) Bobo Echos (E) PercMaster Pub. Bobo Gordon’s Bicycle (A) Keyboard Percussion Bobo The Marriage of the Lamb (A) PercMaster Pub. Bobo The Odyssey According to Penelope (I-A) PercMaster Pub. Bobo Night Sketches (A) Keyboard Percussion Bobo Rhythmic Jambalaya (A) Keyboard Percussion Boo Pieces of R for Marimba (A) PerMus Breuer Five New Ragtime Solos for Mallets (with piano accom.) (A) Lang Perc./MFP Breuer Harry Breuer’s Mallet Solo Collection (I–A) Alfred Publishing Co. Breuer/arr. Pershing Harry Breuer’s Mallet Solo Collection with 2-Marimba Alfred Publishing Co.   Accompaniment (I-A) Burritt Azure (A) Keyboard Percussion Publications Burritt Caritas (A) Keyboard Percussion Publications Burritt The Offering (I) Keyboard Percussion Publications Burritt Preludes 1–5 (A) Keyboard Percussion Publications Cahn The Recital Piece (E) HoneyRock Cangelosi White Knuckle Stroll (A) caseycangelosi.com Carey Suite for Xylophone and Orchestra (piano red.) (I) Galaxy Music Corp. Chappell Styles for Marimba (A) Keyboard Percussion Publications Cheung Etude in E Minor (A) Cheung Cirone, editor Music of the Masters [4 volumes—duets and piano accom.] (E–I) Warner Bros. Creston Concerino for Marimba and Orchestra (piano red.) (A) G. Schirmer Creston Meditation for Marimba and Organ (mvt. II of the Concertino) (A) G. Schirmer Daughtrey Halcyon Deconstruction (A) C. Alan Pub. Davila, J. Impressions on Wood (I) Row-Loff Deane Etude for a Quiet Hall (A) Keyboard Percussion Publications Debussy/trans. Stevens Children’s Corner (A) Keyboard Percussion Publications DeLancey Rosewood Blues for Marimba (I) Mitchell Peters DeLancey 90 Minute Wonders [coll.] (I) Mitchell Peters DePonte Concertino for Marimba [piano accom. & woodwind Studio 4/Alfred Publishing Co.   ensemble accom.] (A) Diemer Toccata for Marimba (A) MFP Difilippantonio Scenes for Summertime (A) Dana D Music Druckman Reflections on the Nature of Water (A) Boosey & Hawkes Dupin Courtes Pièces: Album No. 4 [with piano] (I) Alphonse Leduc Edwards Marimba Dances (A) Universal Ervin Contemporary Etudes for 3 and 4 Mallets [coll.] (I–A) Warner Bros. Ervin Contemporary Solos for 3 and 4 Mallets [coll.] (I–A) Warner Bros. Ervin Variations on a Gaillarde (A) Studio 4/Alfred Publishing Co. Ewazen Northern Lights (A) Keyboard Percussion Publications Eyles Raggedy Ragtime Rags [coll.] (E–A) Meredith Music Publications Fink, S., et al Seven Pieces for Marimba (Etudes des Lux) (A) Zimmerman

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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TAB LE 4 . 1   Continued

Composer/Arranger Title/Level Fissinger Frock Gipson Gipson Glassock Glassock Glennie Gomez Gomez Gottlieb Green Green/Arndt Green/ed. Becker† Green/ed. Eyles Gronemeier Gronemeier Gronemeier Gronemeier Gwin Hall Hamilton Harrison Hatch Hatch Hatch Helble Helble Helble Helble Hollinden Hopper Houllif Houllif Houllif Hovhaness Ikebe, S. Irvin Irvin Jolliff Kabalevsky, arr.   Goldenberg Kelly Khachaturian, arr.   Goldenberg Khachaturian/trans.   L. H. Stevens Kite Klatzow

Publisher/Source

Suite for Marimba (A) Percussion Arts Concertino for Marimba and Piano (I) Southern Music Monograph IV, revised ed. (I) Studio 4/Alfred Publishing Co. Prayer (E) Southern Music Altered Echoes (A) Keyboard Percussion Publications Lydeka (I) Keyboard Percussion Publications Three Chorales [coll.] (E–I) Faber & Faber Etude in D Minor (I) Southern Gitano (I) Southern Masterworks for Mallets (I–A) Row-Loff Basket of Roses (I) Wm. Cahn Nola (I) Wm. Cahn* Valse Brillante [with piano] (I) Meredith Music Publications Xylophone Rags of George Hamilton Green (I) Meredith Music Publications Coming Home [six mallets] (A) Woodbar Music Press Five Shot Pieces [six mallets] (A) Woodbar Music Press Nature Alley (A) Woodbar Music Press Population: One Too Many (A) Woodbar Music Press A True Lover’s Farewell (I) Southern Apocalyptic Etude (I) C. Alan Pub. Recurrences (A) Non Sequitur Music Echoes No. 1 (I) [with digital delay] Keyboard Percussion Challenge [coll.] (E–I) Studio 4/Keyboard Percussion Furioso and Valse in D Minor (I) [in Challenge (coll.)] Studio 4/Keyboard Percussion My Marimba and I (E–I) Drop6/Row-Loff Grand Fantasy in C Major for Marimba (A) Studio 4/Alfred Publishing Co. Preludes Nos. 1–3 (Bk. I), 4–6 (Bk. II) (A) Studio 4/Alfred Publishing Co. Preludes Nos. 7–9 (I) Keyboard Percussion Publications Preludes Nos. 10–12 (I) Keyboard Percussion Publications Of Wind and Water (A) C. Alan Publications Ghost Garden (E) C. Alan Publications Estudios para Marimba, Nos. 1-6 (I–A) PerMus Mallet Music (I–A) MFP Samba (A) Studio 4/Alfred Publishing Co. Fantasy on Japanese Wood Prints (A) C. F. Peters Monovalence I (A) [Mod. Japanese Marimba Pieces, Vol. I] Ongaku Collection (A) Studio 4/Alfred Publishing Co. Octave Etude (A) PerMus 78 Solos for Marimba, Bks. I–III Warner Bros. Galloping Comedians (I) Belwin/Warner Bros. Toccata for Marimba and Percussion Ensemble (A) Sabre Dance (I)

Pioneer Ed. or ACA Belwin/Warner Bros.

The Adventures of Ivan (I)

Keyboard Percussion Publications

Anthology of Lute & Guitar Music for Marimba (I–A) Dances of Earth and Fire (A)

GP Publications Percussion Music Europe

*Also see numerous other xylophone arrangements by William Cahn in Appendix B, Tables B.3–B.6; available through William L. Cahn Publishing, Keyboard Percussion Publications, and HoneyRock. †Also see numerous arrangements of G. H. Green’s music by Bob Becker and others in Appendix B, Tables B.3–B.6; available through Keyboard Percussion Publications and Xylomusic.

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Composer/Arranger Title/Level

Publisher/Source

Klatzow Inyanga (A) Percussion Music Europe Knaack, arr. Music for Marimba: Arrangements of the Renaissance and Early Moo Group   Baroque Periods (I–A) Kolberg Kalimbob (A) Keyboard Percussion Publications Kopetzki Dances of the Witches (I) Contakt Musikverlag Kopetzki Three Movements for Solo a Dance (A) HoneyRock Koppel Concertos for Marimba and Orchestra Nos. 1 and 2 (A) Wilhelm Hansen Koppel, et al. Seven Pieces for Marimba (P.S. to a Concerto) Zimmerman Kreisler/Green Tambourin Chinois (I) Foley/Drums Unltd. Kulesha Angels [with tape] (A) Canadian Music Centre Kulesha Toccata [with tape] (A) Canadian Music Centre Kurka Concerto for Marimba and Orchestra (piano red.) (A) Weintraub Music Co. Kuzell Six Little Pieces for the Marimba (I) Mitchell Peters Lang String of Pearls (A) Red Poppy/G. Schirmer Lindquist Scorned as Timber, Beloved of the Sky (A) Keyboard Percussion Mackey See Ya Thursday (A) Boosey & Hawkes Maslanka My Lady White (I) Keyboard Percussion Publications Maslanka Variations on Lost Love (A) Keyboard Percussion Publications Mayuzumi Concertino for Xylophone and Orchestra (piano red.) (I) C. F. Peters McCarthy Concerto for Marimba, Percussion and Synthesizer (A) C. Alan Publications McCarthy Rimbasly (A) Keyboard Percussion Publications Miki, M. Time for Marimba (A) [Mod. Japanese Marimba Pieces, Vol. I] Ongaku Milhaud Concerto for Marimba and Vibraphone (A) AMP Miyoshi, A. Conversation (A) [Mod. Japanese Marimba Pieces, Vol. I] Ongaku Miyoshi, A. Torse III (A) [Mod. Japanese Marimba Pieces, Vol. I] Ongaku Molenhof Contemporary Marimba Solos [coll.] (I–A) Kendor Molenhof Marimba Madness [coll.] (A) Warner Bros. Musser Etude, Op. 6, No. 2 (“The Ab Etude”), [opt. piano] (A) Studio 4/Alfred Publishing Co. Musser Etude, Op. 6, No. 8, “Nature Boy” (I) Studio 4/Alfred Publishing Co. Musser Etude, Op. 6, No. 9, B Major (A) Studio 4/Alfred Publishing Co. Musser Etude, Op. 6, No. 10, “The C Major Etude” (I) Studio 4/Alfred Publishing Co. Musser Etude, Op. 11, No. 4, C Major (I) Studio 4/Alfred Publishing Co. Musser/Chopin Masterworks for Marimba [coll.] (A) Forster Musser Prelude, Op. 11, No. 3, G Major Studio 4/Alfred Publishing Co. Musser Prelude, Op. 11, No. 7 (A) Studio 4/Alfred Publishing Co. Musser Scherzo Caprice [piano accom. & woodwind ensemble accom.] Studio 4/Alfred Publishing Co. Nevin, E./Becker Mightly Lak’ A Rose (I) Keyboard Percussion Publications Noda, T. Quintetto per Marimba, 3 Flauti e Contrabasso (A) Ongaku O’Brien Rhyme and Reason (A) [email protected] O’Mera Restless (I) Keyboard Percussion Publications O’Mera Tune for Mary O. (I) Keyboard Percussion Publications Ongaku No Tomo Edition Modern Japanese Marimba Pieces, Vols. I & II [coll.] (A) Ongaku Peruzzollo-Viera The Dethronment of the Earth From its Geometrical Pre-eminence (A) Peruzzollo (website) Peters Chant for Marimba (E) Mitchell Peters Peters Sea Refractions (I) Mitchell Peters Peters Sonata-Allegro for Marimba and Piano (I) Mitchell Peters Peters Teardrops for Marimba (I) Mitchell Peters Peters Theme and Variations for Marimba and Piano (I) Mitchell Peters Peters Undercurrent (I) Mitchell Peters Peters Waves for Marimba (I) Mitchell Peters Peters Yellow After the Rain (I) Mitchell Peters

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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TAB LE 4 . 1   Continued

Composer/Arranger Title/Level Peters Pimental/Moore Pimental/Moore Pimental/Moore Pitfield Ravel/arr. Safri Duo Rosauro Reynolds Rosauro Rosauro Rosauro Rubank/Quick Sammut Sammut Samuels Samuels Scarlatti, D./ed. Ervin Schmitt Schumann/trans.   Stevens, L. H. Schwantner Séjourné, et al Séjourné Séjourné Séjourné Serry Sifler Sifler Sifler Skoog Skoog Smadbeck Smadbeck Smadbeck Smith Smith, S., editor Solomon Spencer Spencer Steinquest Stevens Stevens Stopa Stopa Stout Stout, G. Stout, G. Stout, G. Stout, G. Stout, G. Stout, G. Stout, R.

Zen Wanderer (I) The Marimba Goes Baroque [coll.] (I–A) The Solo Marimbist, Vol. I (I) The Solo Marimbist, Vol. II (I–A) Sonata for Xylophone (I) Alborado del Gracioso (A) Concertos for Marimba Nos. 1 and 2 (A) Autumn Island (A) Three Preludes (A) Seven Brazilian Children’s Songs” (E–I) Variations over Evelyn Glennie’s “A Little Prayer” (A) Soloist Folio [coll.] (E–I) Four Rotations for Marimba (A) Libertango (A) Footpath (A) The Red Shoes [with CD] (A) Three Scarlatti Sonatas (A) Ghanaia (I) Album for the Young, Op. 68 (E–A)

Publisher/Source Mitchell Peters PerMus PerMus PerMus C. F. Peters Studio 4/Alfred Publishing Co. Pró Percussão/MalletWorks Music Peters Edition Southern MalletWorks Music MalletWorks Music Rubank Keyboard Percussion Publications Keyboard Percussion Publications Steve Weiss Belwin/Warner Bros. Studio 4/Alfred Publishing Co. Norsk Musikforlag Keyboard Percussion Publications

Velocities (A) Helicon Music Corp. Seven Pieces for Marimba (Katamiya) (A) Zimmerman Five Pieces for Marimba, Vol. 4 (I–A) Alphonse Leduc Losa [mba/vibe duet] (I) HoneyRock Nancy (I) Percussion Music Europe Night Rhapsody (A) Keyboard Percussion Publications Sonatina for Marimba (A) Fredonia Press Suite for Marimba (A) WIM Three Tall Tales [opt. narration] (I) Fredonia Press A Little Jazz [solo or mba/vibe duet] (I) Contemporary Music Project (CMP) Water and Fire for Marimba (A) Keyboard Percussion Publications Etudes Nos. 1-3 (I–A) Studio 4/Alfred Publishing Co. Rhythm Song (I) Keyboard Percussion Publications Virginia Tate (A) Keyboard Percussion Publications Suite Moderne for Marimba (I) PerMus Marimba Concert-Solos for Marimba (I–A) Smith Publications Music of the Spheres (A) MFP After the Storm (I) Spencer Blume Pink Elisa Spring (A) Spencer Blume Meditation and Dance (I) Studio 4/Alfred Publishing Co. Great Wall (A) Keyboard Percussion Publications Rhythmic Caprice, 2nd ed. (A) Keyboard Percussion Publications Sequoia (A) Tapspace South Kolora (I) Tapspace Astral Dance (A) Studio 4/Alfred Publishing Co. Etudes for Marimba, Bk. I (A) Paul Price/MFP Etudes for Marimba, Bks. II and III (A) Studio 4/Alfred Publishing Co. Nocturnes Nos. 1–10 (I–A) Keyboard Percussion Publications Reverie (A) Studio 4/Alfred Publishing Co. Rumble Strips (A) Keyboard Percussion Publications Two Mexican Dances (A) Studio 4/Alfred Publishing Co. Suite Marimba (A) Keyboard Percussion Publications

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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TAB LE 4 . 1   Continued

Composer/Arranger Title/Level

Publisher/Source

Sueyoshi, Y. Mirage for Marimba [Mod. Japanese Marimba Pieces, Vol. I] (A) Ongaku Sukegawa, T. Five Pieces after Paul Klee [Mod. Japanese Marimba Pieces, Ongaku   Vol. II] (A) Tanaka, T. Two Movements for Marimba (A) Ongaku Tanner Diversions for Flute and Marimba (I) MFP Tanner Sonata for Marimba and Piano [Band arr.] (I) M. M. Cole Thomas Merlin (A) ACA Tschaikowsky/trans. Selections from the Album for the Young, Op. 39 [expanded Keyboard Percussion Publications   Stevens, L.H.   editions 1 & 2] (E–A) Tyson A Cricket Sang and Set the Sun (I) Tyson Pub. Van Geem Rags and Hot Choruses [xylo rags w/ mba accom. & CD] (I–A) Warner Bros. Viñao Kahn Variations (A) www.vinao.com Viñao Madera Viento y Metal (Wood wind & metal) (A) [mba. & electronics] www.vinao.com Walker First Suite from Twelve Light Dances for Marimba (I) Southern Weber, C. M./Musser Polanaise Brillante (A) Studio 4/Alfred Publishing Co. Wesley-Smith For Marimba and Tape (A) Australian Music Centre Whaley Recital Pieces for Mallets [coll.] (I) J. R. Pub. Wittiber Rhythm Dance (I) Herbert Brandt/Percussion   Versand Wiener Seven Marimba Solos for Aninya (I–A) RAWI Percussion Publications Yuyama, A. Divertimento for Marimba and Alto Saxophone (A) Ongaku Zivkovic Drei Phantastische Lieder (A) Studio 4/Alfred Publishing Co Zivkovic Funny Mallets Series—7 books (E–I) Gretel Verlag Dinklage Zivkovic Ilijas (A) Gretel Verlag Dinklage Zivkovic Sta Vidis [w/male voice](A) Gretel Verlag Zyskowski Classic Suite for Marimba (I) C. Alan Publications Vibe Solos Beale 3 Pieces, op. 27 (I) ACA Bergamo Three Pieces for the Winter Solstice Tamala Bilic Intima (I) MalletWorks Music Bilic Toccata for Vibraphone and Piano (A) MalletWorks Music Burton Solo, 6 Unaccompanied Solos for Vibe (A) Ludwig Music Publishing Co. Chan Floes for Solo Vibraphone (A) HoneyRock Chapman Daybreak for Solo Vibraphone (I) MFP Daugherty Concerto for Vibraphone and Percussion Ensemble (A) C. Alan Davis Recital for Vibraharp (I–A) C. L. Barnhouse Deane The Apocryphal Still Life (A) Innovative Percussion Deane Mourning Dove Sonnet (A) Innovative Percussion Deane Dis Qui Etude (A) Innovative Percussion Donatoni Omar: Due Pezzi per Vibrafono (A) Casa Ricordi Feldman All Alone by the Vibraphone [coll.] (A) Gwyn Feldman Just a Simple Samba [solo or with jazz trio] (I) Studio 4/Alfred Publishing Co. Fink, S. Concertino für Vibraphon (with piano) Otto Wrede Finkel Solos for the Vibraphone Player (I–A) G. Schirmer Friedman Mirror from Another [coll. 6 solos] (I–A) Warner Bros. Friedman/Samuels Double Image [contains Movie Music, Untitled #1, Over Hills, MalletWorks Music   Night Rains, CD available] (I–A) Friedman/Samuels Double Image Dialogues [out-of-print music and LP record set Keyboard Percussion Publications   contained Carousel, Nyack, and Sunset Glow] (I–A) Gerassimez Eravie (I) Edition Svitzer Glassock Reflections (A) Studio 4/Alfred Publishing Co.

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Composer/Arranger Title/Level

Publisher/Source

Glentworth Blues for Gilbert (I) Zimmerman Glentworth Broken Silence (A) Keyboard Percussion Publications Glentworth Ilmo (I–A) Keyboard Percussion Publications Gonzales Mutables (with piano) (I) Kendor Habenstock-Ramati Liasons (A) Universal Helble Sonata Brevis for Solo Vibraphone (A) Studio 4/Alfred Publishing Co. Jarrett/Burton Moonchild/In Your Quiet Place [trans. by Terry Smith—w/piano Etoile   accom.] (A) Kastuck Drifts (I) Paul Price/MFP Lepak Suite for Solo Vibraphone (A) Windsor Music Leuenberger Anna (I) Edition Svitzer Lipner Places to Visit [coll. 7 solos] (I–A) MalletWorks Music Mays Mindwalk (A) Edition Peters Molenhof Marimba and Vibes Duets [5 separate duets] (I–A) Kendor Molenhof Music of the Day [coll.] (I–A) Kendor Molenhof New Works for New Times [coll.] (I–A) Kendor Molenhof Vibes and Piano Duos (I) Kendor Molenhof Vibe Songs [coll. w/ CD] (I–A) Warner Bros. Peruzzollo-Viera Solitude (A) Peruzzollo (website) Piazzolla, arr. Morleo Five Minatures Arranged for Vibraphone (I–A) HoneyRock Ptsazynska Four Preludes for Vibraphone and Piano (A) PWM Rosauro Concerto for Vibraphone and Orchestra (A) Pró Percussão/MalletWorks Music Samuels Rendezvous (A) Belwin/Warner Bros. Saya The Murphy Sonata (A) Media Press Séjourné Concerto for Vibraphone (A) [versions for strings & Alfonse Publications percussion ensemble] Shoemaker Bopt’ Mystic [3 choruses] (A) Studio 4/Alfred Publishing Co. Smith, S. Links Series Nos. 1–10 (A) Smith Publishers Spencer Ask (I) Spencer Blume Spivack Soliloquy (I) WIM Stirtz Sonatina for Vibraharp (I) Meredith Music Publications Stright Six Poems (A) Ludwig Music Swallow/Burton Green Mountains [trans. by Terry Smith—w/piano accom.] (A) Etoile Tachoir, M. Solo Vibraphone Collection (I–A) Riohcat Music Traditional/Jackson John Brown’s Body [trans. by Terry Smith—w/piano accom.] (A) Etoile Vasconcells & Aquino, arr. Brazilian Music for the Beginner [w/ CD] (E) MalletWorks Music Wiener Six Solos for Vibraphone, Vols. 1 & 2 (I–A) Pustjens Percussion Publications Wittiber Smile (I) Percussion Versand/Herbert   Brandt Zivkovich Suomineito (A) Gretel Verlag

n Notes 1. 2.

James Blades, Percussion Instruments and Their History (London: Faber and Faber, Ltd., 1970), pp. 71–72. Keiko Abe, “The History and Future of the Marimba in Japan” Percussive Notes, Vol. 22, No. 2, January 1984 (Lawton, OK: Percussive Arts Society), p. 41.

3.

Ibid., pp. 41–43.

4.

Blades, op cit., pp. 307–309.

5.

Leigh Howard Stevens, Method of Movement for Marimba (New York: Marimba Productions, 1979), p. 22.

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

5

c h a p t e r

Timpani

n Historical Origins While the origins of the timpani (timpani [It.], pauken [Ger.], timbales [Fr.], kettledrums [English]) predate recorded history, many written accounts cite early use of similar single instruments among the ancient East Indians, Persians, Arabs, and Egyptians. These had the common feature of a resonator or bowl hemispherical in shape, covered with a single skin head, and with pitch tuning capability. Pairs of ­timpani were brought from the East to Europe during the Crusades of the eleventh through thirteenth centuries and were referred to by a variety of names including tabls, nacars, naqqareh, nagarit, nacaires, naccheroni, and nakers. In England and Europe, pairs of nakers played at the waist were used for religious and entertainment purposes. Those played on horseback were used with the trumpet in the cavalry, a combination that spread throughout Europe during the fifteenth century. Although Lully is credited with introducing timpani into the orchestra in his opera Thésée (1675), evidence shows that trumpets and timpani were used in musical ensembles of the English masques from 1604 onward.1 By the end of the seventeenth century the cavalry timpani had become firmly established in the orchestral ensemble. The thick skin heads of these hand-tuned drums were played with sticks of wood and ivory. And although it took Berlioz in the middle 1800s to specify coverings for the heads of sticks, various leather and cloth coverings were undoubtedly requested “on the spot” by the composers/conductors of the seventeenth and eighteenth centuries.2 Early timpani parts were derived mostly from the techniques of the trumpet, and often a fourth trumpet part was played on timpani tuned in the customary interval of a perfect fourth. This tonic-dominant relationship through timpani tunings of both fourths and fifths was used with few exceptions throughout the works of Bach, Handel, Haydn, and Mozart. These early instruments required tensioning with a removable key or rod to adjust each tuning screw on keyed-type square- or ring-topped tuning screws, much like the keyed tension rods used on today’s pedal timpani. Improvements in hand-screw drum designs (Figure 5.1) occurred throughout the eighteenth century, and prototypes of mechanically tuned timpani existed as early as the beginning of the nineteenth century. Handles commonly were fitted to each tuning screw on hand drums by this time (see Figure 5.1) to make tuning changes more rapid than had previously been possible with keyed-type tuning screws. Soon experiments with mechanical tuning devices resulted in the appearance of machine drums with single-rod tuning devices (Figure 5.2), and

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F IGU RE 5 . 1   Hand-screw timpani or “hand drums”

F IG U RE 5. 2   Machine timpani

others employing prototypes of the modern cable and chain drum mechanisms still in use today. These developments soon led to experiments with pedal tuning mechanisms. By the last quarter of the nineteenth century, machine drums and pedal timpani were well established in the orchestra, as exemplified in the works of Richard Strauss (notably his tone poems and operas) and many of his contemporaries. (See Edmund Bowels’s The Timpani: A History in Pictures and Documents; Bowels’s article “The Kettledrum” and other related articles in The Encyclopedia of Percussion, 2nd ed., edited by John H. Beck; James Blades’s Percussion Instruments and Their History; Jeremy Montague’s Timpani & Percussion; Mitchell Peters’s Fundamental Method for Timpani; and John H. Beck’s Concepts for Timpani for additional history and excellent photos. Websites of manufacturers and timpanists are also helpful.) Although parts were written for more than two timpani during Beethoven’s adult life (Volger’s overture Samori [1803], and Weber’s Peter Schmoll [1807] are among the first compositions for three drums), availability of more than a pair of hand-screw timpani was uncertain in the majority of orchestras throughout Europe at this time. Beethoven, a masterful composer for the timpani, limited himself to writing for only two timpani and never specified a tuning change unless ample time was available. Beethoven expanded the tunings of the timpani to include a diminished fifth, sixths, and octaves. Brahms, Berlioz, Wagner, Richard Strauss, Mahler, Stravinsky, Bartók, and many other composers continued to expand the compass of the timpani to its high level of artistic recognition in the twentieth century.

n PERFORMANCE CONSIDERATIONS When performing music of the pre-Classical, Classical, and even Romantic periods, modern timpanists and conductors must consider the instruments for which the music originally was written. The average diameters of an early orchestral pair of timpani, known as artillery timpani, were about 27” and 24”. Handel scored for these together with cavalry timpani, which were about 21” and 18” in diameter (for which Mozart

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wrote), along with the large tower drums, which were equivalent to the largest modern timpani. The heads were of a crude skin much thicker than the skin heads heard on all recordings made before the late 1950s (when plastic heads were first manufactured) and totally different from the plastic head in use today. Consequently, a G and C tuning for which Bach or Mozart wrote, played on these early timpani with a hard wooden or perhaps leather- or cloth-covered bulbous-headed stick, would sound much more compact and harshly articulate, and with less pitch definition, than the tone produced today on a 29” and 26” pair of drums with plastic heads and felt-covered mallets; hence the need to also consider using harder mallets on early works. A further consideration is the availability of the same G and C tuning on the 32” and 29” drums, respectively. The use of these larger drums makes clearer articulation possible due to the tighter head tensioning, but with a different overall tone quality due to the larger bowls and the quicker decay of the tighter heads. Certainly these are attributes worth considering by serious players and conductors. In addition, modern interpreters must realize that early composers were restricted to two drums and hampered by the limitations of the early tuning mechanisms. With the consent or at the request of the conductor, the timpanist should consider editing timpani parts written before the late nineteenth century. This editing may be in the form of changing pitches that create tonal dissonance or adding pitches that fit logically and probably would have been written if the composer had had available more efficient tuning capabilities and/or more drums. Changing of existing pitches might occur, for example, in a composition written in the key of D in which the perfect fourth tuning (of A and D) is used in a secondary dominant section (which is in the key of E), thus creating much tonal clash. A quick change with modern pedal timpani to the perfect fourth tuning of B and E for the E key center effectively corrects this dissonant error. An even more common occurrence is the need to change the written D to an E, thus creating an A–E relationship between the drums for a passage in the dominant key area of A. A similar situation might occur in a piece written in the key of A employing a perfect fifth (A and E) tuning, in which the A is played against the V of V, (B) chord. A quick tuning change of the A up to a B would resolve the clash of the A played against the B and greatly enhance the sound of the B chord. Other situations when changing pitches might be considered exist in works where the timpani plays the third, fifth, or seventh of a chord because that pitch was already tuned on the drum. With modern pedal drums the stronger root pitch of the chord can often be quickly tuned and played in place of these other chord tones. A typical example would be in a piece that begins with a perfect fifth A and E tuning in which the composer wanted timpani during a passage involving root movement of F and C chords, so he wrote for the A (the third) to be played on the F chord and the E (the third) to be played on the C chord. While these pitches do fit the chord, an extra drum and/or quick pedal tuning to F and C pitches would complement the root movement F and C chords much better than the A and E pitches. This type of editing must be done with thoughtful and careful discretion. Care must be taken to study the original intent of the composer and to ensure that such changes do not alter the chord voicing to an obvious degree. Adding pitches might be considered when there is a literal repeat of material that contained a timpani part when first stated but in which a change of key in the repeat of the same material led to deletion of the timpani. In such a situation, one might choose to add, in the exposition of a composition written in F, for example, a G and C timpani part to the statement of the second subject, which is stated in the dominant key of C. This added part, though in the dominant key of C, is justified as being a literal statement of the composer’s written timpani part for the second subject when that appears in the recapitulation in the tonic key F with the tuning of C and F, the only two pitches the composer uses throughout the work. The practice of editing the works of the great masters deserves serious consideration, and attitudes vary greatly among professionals.

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Performance practices pertaining to instrument and head selection, technical style, tone, and touch appropriate for a given period, style of music, and composer are discussed further in the section “Timpani Technique.”

n DEVELOPING THE TIMPANIST If the percussion section is considered a family of instruments, then the timpani are indeed the head of the family. Artistic performance on the timpani is the result of a meta­morphosis that occurs when the percussionist is able to combine the theoretical understanding of music and acute pitch perceptiveness that is (or at least should be) cultivated when studying percussion keyboard instruments, with the technical control, sensitivity, finesse, velocity, strength, and endurance that all percussionists pursue in percussion study and performance and emerge as a highly sensitive musician. A fine timpanist must possess strong intuitive dynamic and rhythmic sense. He or she should be acutely sensitive to balance and tempo and be confident and assertive in establishing a dynamic or tempo and adjusting or changing it. The timpanist should be a secure individual who is able to lead or accompany the ensemble with impeccable rhythmic ­stability. Because of the greater technical and theoretical musical demands of timpani performance, their study is recommended after a sound background is established in keyboard and snare drum, drum set, or other percussion instruments. However, in a realistic school educational situation, this program of study is not always possible. Regardless of the situation, the first aspect of timpani study should be the development of basic pitch recognition, scale and interval understanding, and the ability to recognize, sing, and tune relative pitch interval relationships on the timpani.

Ear Training Ear training is a critical part of every musician’s training. Empirical knowledge and research by Edwin Gordon and others have proven “audiation”—consciously hearing pitches in one’s inner ear before and while playing them—is a skill integral to good reading and improvising music and an essential part of aural development in musicians. Percussionists usually do not have the experience of having a string instrument vibrating under their chin or against their bodies, or a mouthpiece vibrating in their mouths or against their lips, or the feeling of their vocal cords vibrating when they produce musical sounds like string players, woodwind and brass players, and vocalists experience throughout their formative years of music training. Most pianists develop an acute aural sensitivity because of the hours they spend seeing and hearing pitches in front of their eyes and under their hands. Comparatively, percussionists spend less time than other student musicians developing their ears, yet performance on keyboard percussion instruments requires the same aural acuity as pianists, other instrumentalists, and vocalists; aural skills even beyond these are necessary to tune and play timpani. Because many systems for ear training and developing an understanding of basic music theory exist, the teacher may use whichever system he or she prefers. Understanding of intervals and scale structures can be developed using half-step and wholestep formulas (for example, a minor third = three half-steps) such as those found at the beginning of recommended timpani methods listed at the end of this chapter or any basic music theory workbook. Ear training for interval recognition and reproduction is encouraged through singing scales and intervals (one only needs to hear and sing consecutive half-steps up or down from a given pitch to find any other pitch), and the use of familiar melodies for common intervals (see below). This should be followed by playing tunes “by ear,” which can then lead to eventual development of byear improvisation skills. Many theory texts and websites offer interactive programs for ear training that are very beneficial. A good free website is h ­ ttp://www.good‑ear .com/servlet/EarTrainer.

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Ear training for the timpanist should start with first learning to hear and listen to a pitch sounded on the piano, vibe, tuning fork, or other reliable pitch source (that is, not a pitch pipe). This statement is not rhetorical. Attentive listening to a pitch will allow for its sound to take on a feel and even shape and color in one’s inner ear beyond merely hearing the pitch. Relating to pitch and eventually intervals, chords, and chord progression though other sense(s) should be considered. (Michael Colgrass in his Performance Excellence Workshops advocates relating to pitch intervals by feeling the distance of intervals on the floor. People with absolute or perfect pitch often describe their ability to perceive pitch by associating it with colors.) This same listening process is carried over to singing intervals and eventually tuning the timpani. Once the pitch is listened to and clearly perceived in one’s inner ear, then the pitch should be carefully and accurately sung, preferably as low as possible in the range of timpani notes. Ultimately the tonic sol–fa (often called the “movable do” system) or solfeggio is recommended for the best development of the timpanist’s ear. If the teacher prefers, the syllable la or Arabic numerals may be substituted for scale degrees in place of solfeggio. Singing solfeggio from a given tonic pitch (do) by scale steps up a fifth to the dominant sol and scalar back to do, then down to the dominant sol and back to do is recommended. Scalar singing—do, re, me, fa, sol, fa, me, re, do, ti, la, sol, la, ti, do—followed by chordal singing—do, me, sol, me, do, sol, do—best acclimates the timpanist’s ear for tuning experiences on the instruments. Further ear training should include playing by-ear tunes at the piano or preferably on keyboard percussion instruments. The Cook Book Essential Ingredients for playing a familiar tune by ear are: 1. Identify a well-known and familiar tune. Holiday carols, “Happy Birthday,” and nursery rhymes are good tunes with which to start. 2. Sing the tune through to determine if it starts on the tonic note, third, fifth or other scale degree. Many tunes do not start on tonic but on a member of the tonic chord. 3. Determine the key signature in which to play the tune and relate to those accidentals. Start playing the tune and try to hear the next pitch before striking it, rather than through a hit-or-miss process of elimination. The intent is first to hear whether the melody goes up or down and then whether it is scalar or moves by skip or leaps. Once the new pitch is heard before playing it, then the hand or mallet will actually start finding the correct note(s) almost magically by itself. When this happens it is a really gratifying experience, and you are truly playing by ear. After playing a tune through a couple of times in a key, transpose the tune to a couple of additional sharp and flat keys for further ear training and practice. Add left-hand accompaniment by outlining chords with four mallets or at the piano keyboard and have fun playing by ear! 4. Singing the melodies through using the solfeggio system will help internalize conscious and unconscious recognition of pitch and intervallic relationships and pitch functions within a given key or tonality. The development of the ear cannot be emphasized enough. Because much beginning timpani literature involves tonic-dominant or chordal relationships, the timpanist can initially tune by using familiar melodies. For example, use the first phrase of Here Comes the Bride for a perfect fourth up (sol, do, do, do) and the first interval of the second phrase for a perfect fifth up (sol, re, ti, do). Or, use the first phrase of Taps for a perfect fourth up (sol, sol, do) and the second phrase between the first and third melody notes for a major sixth up (sol, do, me). Likewise, use the first interval of My Bonnie Lies Over the Ocean for a major sixth up, as well as the “NBC” television call. (Although the intervals are the same, please note that the “NBC” television call is sol, me, do not do, la, fa.) Born Free or George of the Jungle can be used for a perfect fourth down; Twinkle, Twinkle Little Star or Star Wars for a perfect fifth up; or the Marines Hymn (ascending major triad—major third/minor third) and the Star-Spangled Banner for a

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perfect fifth down (descending major triad—minor third/major third). Melodies for other intervals can be found with a little experimentation. After the ear and interval sense are satisfactorily developed, tuning exercises with the timpani should be introduced like those in Examples 5-B and 5-C. See Chapter 5 video: Tracks 5 and 6 for ear training and demonstrations of Examples 5-B and 5-C performance tuning. See further comments on ear training and tuning later in this chapter. The timpani are not merely resonant bass drums or large tom toms (although some composers have treated them as such). They are definite-pitched instruments and must be played well in tune or they should not be played at all.

Practicing The fact that timpani are rather large and awkward to move around prevents the average student from taking his or her instrument home to practice. While ear training can be studied and developed at the piano, synthesizer, or keyboard percussion instrument, most other playing skills require the actual instrument. The student must organize practice time so that it occurs before or after school or during open study periods. It would be advantageous for the serious student to secure a used set of timpani or perhaps to invest in less expensive fiberglass bowl drums for home practice. Roto-toms might be used for basic technique practice, but they are not suitable for intonation practice and development of touch and musical sensitivity. Basic technique can be developed to some degree on a practice pad, but there is no substitute for timpani. The practice format, like the lesson, should be organized so that all aspects of playing can be addressed. The student might begin by warming up the ear (and voice) by singing some scales, chords, and intervals. Starting on tonic do and singing solfeggio (or substituting the syllable la or Arabic numerals) up to the dominant sol and down to the dominant sol (an octave apart) as described above is recommended, along with other in­terval and chordal studies. A good habit is to fine tune or clear the poorest-sounding timpano (singular form of timpani) at the beginning of each playing session (see “Fine Tuning/Clearing Heads” later in this chapter). Head clearing helps to keep the ear in shape and the drums sounding their best. A few minutes of interval tuning exercises similar to Examples 5-B or 5-C will continue to sharpen intonation skills. A good set of technical warm-ups should do exactly as their name suggests: “warm up” the player by getting blood flowing into the muscles and getting the neural pathways and joints working. The look, sound, feel, and even smell of playing gets warmed up along with the sticks, and the drum heads settle into their best sounding condition. Articulation, finger stroke, and roll exercises as presented in this chapter serve as good warm-ups along with cross-sticking and muffling exercises around the drums for full body involvement. Technical etudes should be reviewed and new lesson etudes and musical material practiced, with time allotted for sight reading and drill on any music fundamentals that are being studied. The development of ensemble playing skills can be addressed particularly well through the practice of the orchestral and band repertoire found in most method books. The inexperienced timpanist must not take too lightly the appearance of these simplelooking parts. Close study of every note and phrase with a score, recording, and especially with an experienced timpanist, will reveal the real meaning and challenge in these passages and excite the creative imagination of the serious musician. There are many advantages to practicing and learning solo and concerto literature. In addition to developing one’s solo repertoire, solo playing increases one’s awareness of tone, touch, and phrasing in a way different from playing ensemble repertoire. Solo playing also develops a high level of technique that is necessary for performance of ensemble repertoire. The use of recorders, mirrors, and a video camera will prove invaluable in developing a high degree of playing awareness. An extremely important feature of lessons and

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practice is to play in the performance hall and have a trusted friend or teacher evaluate your playing from the podium and audience’s perspective. All instruments sound different (usually better) from a distance and the timpanist must become aware of how his or her playing is perceived in the audience in relation to how it sounds next to the drums. For example, this difference in sound and distance must be considered when determining ideal roll speeds or selecting the best sticks for a particular passage. When performance hall practice is not feasible and small practice rooms must be used, the timpani student must seriously consider using ear plugs to cut down on damaging decibels. Ear plugs also work well in performance if one has to play loudly for an extended time. They are especially welcomed on poorly written, nonidiomatic timpani parts. A regular practice schedule and organized use of practice time, together with a consistent, systematic approach to learning through experiential awareness and cloning, will enable the aspiring percussionist to acquire technical skills and a musical understanding of the timpani.

n INSTRUMENTS AND MALLETS Modern timpani and mallets are manufactured with moderate differences in design and in several price ranges. Reference to Chapter 1, under “Recommended Percussion In­strumentation,” is suggested when considering sizes of timpani for school percussion programs. The advantage of performing on fine timpani and the necessity of using professional-line mallets cannot be overemphasized. The better the design and quality of both, the more artistically the timpanist will be able to perform.

Construction and Manufacturers The bowl of a timpano, usually made of a copper alloy, acts as a resonator for the vibrating head and enclosed air. Better timpani are constructed with the bowl suspended in a retainer ring to permit the best tone production. Support braces are attached to this re­tainer ring rather than to the bowl itself. Pedal-tuned timpani have the tuning linkage located either inside or outside the bowl. Less expensive instruments are available with fiberglass bowls and/or with a pedestal-type bowl support with internal tuning l­ inkage. In general, for the best tone production, one should choose an instrument with copper bowls, preferably suspended rather than supported directly by brackets or sitting on a pedestal. Tuning linkage should be outside the bowl. Extended collar heads (see “Heads” below) aid in obtaining superior tone quality but are not available with all designs. Top-of-the-line models by commercial manufacturers have most of these features and should be used in high schools and colleges. Finer Dresden-style professional instruments (see Figure 5.7) are available through several sources and, budget allowing, should be used whenever possible. Manufacturers of fine instruments include: Adams/Pearl: http://pearldrum.com/products/adams/timpani/ philharmonic-light-dresden/

Ludwig Ringer Timpani and other models: ­www.ludwig-drums .com/en-us/ludwig-musser/products/timpani

American Drum Manufacturing Co. Walter Light Tympani by ­Marshall Light: ­http://www.americandrum-w-light.com

Majestic Timpani: http://majesticpercussion.com/concert _timpani_index.html

Berlin Classic by Hardtke: http://www.berlinclassic.com

Precision Classic Timpani by Mark Guthrie: ­http:// www.pctimpani.com

Goodman “New Yorker Timpani” by Lang Percussion: ­http://www.langpercussion.com Harms Historical Percussion: http://www.harmsperc.com Hinger Touch-Tone Timpani: not made anymore but see: www .johntafoya.com/jthingers.html Kolberg Percussion: www.kolberg-percussion.com

Premier Percussion: http://www.premier-percussion.com Professional Percussion Products: Ajax, Ohio Timpani, and others. http://www.professionalpercussionproducts.com Yamaha Timpani: http://usa.yamaha.com/products/musical -instruments/ percussions/ timpani/

Lefima/Aehnelt: http://www.lefima.net/Lefima

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John Tafoya, former timpanist with the National Symphony, now head of percussion at Indiana University (http://www.johntafoya.com), Jean-Etienne Ottenhof of Nantes, France (http://jetottenhof.chez-alice.fr), Dutch percussionist Marc Zoutendijk (http://marcz1.home.xs4all.nl/percussioninformation), English Timpanist Adrian Bending (adrianbending.com), Richard K. Jones (www.wtt.pauken.org for his WEBook The Well-Tempered Timpanist), Andrew Simco (www.kettledrummer .com), and Dutch timpanist Nick Woud (www.nickwoud.com) all have ex­cellent websites and favorite links to many other timpani-related sites. Also see www.kettledrums.com and www.malletshop.com/products.cfm?cat=6 for used timpani and other resources.

Heads Fine quality plastic heads should be used unless the student learns how to use calf or goatskin heads in study with an experienced timpanist. A standard commercial timpani head measures about 1 inch larger than the actual bowl diameter. When mounted on the drum, a standard head has about a 1⁄2-inch collar around its perimeter. (The collar is the part of the head between the top edge of the bowl and the metal flesh hoop.) Dresdenstyle instruments and most top-line timpani have an extended collar head size. The diameter of these extended collar heads is about 4 inches larger than their bowls, and results in an extended collar between the bowl and head’s flesh hoop of about 2 inches when the head is on the drum. This extended collar head, stretched further than a standard head, provides greater clarity in articulation and focus of the tonal center, which is preferred by most timpanists. Flesh hoops reinforced with steel or aluminum insert rings are available from Remo Inc. and Evans Drumheads. Steel insert rings greatly improve fine tuning and tonal consistency and are well worth the extra cost; they strengthen the flesh hoop and position the counterhoop away from the top edge of the flesh hoop. Remo marks a “direction indicator” line or “backbone” (like on a calfskin head) on some of their plastic timpani heads. This line actually indicates the “machine direction” or the molecular stretching of the natural grain of the Mylar during its processing. Mounting the head so that the intended playing spot is one of the four areas near this line and the edge of the head, improves the odds of selecting the best playing spot. (See further comments under “Head Replacement/Selecting the Playing Spot” and “Fine Tuning/ Clearing Heads.”) Timpani heads should be replaced when the tone sounds dead or distorted. If attempts at fine tuning or clearing the head are unsuccessful, the head is probably stretched out and has “gone false”; although the head may visually appear in good condition, it should be replaced. A new head that will not clear should be exchanged for another. Heads may last one to several years, depending on usage. Obviously, broken heads must be replaced. However, timpani heads should be replaced for other reasons: excessive scratches in the heads and uneven stretching from excessive (or abusive) playing will adversely affect the tone; small cuts, holes, and burns (in plastic heads) will diminish tonal quality and interfere with fine tuning. Carefully measure bowl diameter and consult the manufacturer’s drum head replacement chart or work with a competent dealer before ordering replacement heads to be sure of proper fit. Even though skin timpani heads require much greater preparation in tucking and mounting and greater playing skill than plastic heads, animal skin heads are preferred by many professional timpanists and a few institutions. The finest professional timpanists have learned to control the pitch fluctuations of skin caused by changes in atmospheric conditions (humidity and temperature) and enjoy the greater presence of

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the fundamental pitch and the enhanced capabilities for articulation and expression that skin heads offer. The warm, mellow tone of a fine skin head cannot be duplicated on plastic, but obtaining fine skin heads has become increasingly more expensive. The vast improvements in manufacture of plastic heads, and new fine-tuning capabilities with mechanical durometers (for example, DrumDial™), make the use of plastic heads essential in a school music program. As manufacturers continue to minimize the problematic characteristics of plastic heads—weak fundamental, excessive ring, and limited articulation capabilities—their near imperviousness to atmospheric conditions will ensure their continued popularity and practicality. However, as aptly stated by Henry W. Taylor, English author and timpanist, “Timpani have been described as ‘singing kettles.’ I fear the sound of the synthetic (plastic) head is more akin to a ‘bark.’ Its cold, glassy remoteness conveys so little to the sensitive fingers of a true artist that the known and accepted hazards of animal skin are still to be preferred by him.”3 Excellent quality calfskin timpani heads are made by the Vellum and Parchment Works, Ltd. in Celbridge, Ireland (email: [email protected]) and fine quality calfskin, goatskin, and other heads are manufactured by the Stern Tanning Company in Sheboygan Falls, Wisconsin. (See “Digital Resources Quick Links” in the Chapter 5 MindTap for hyperlinks to these manufacturers, sources, and recommended videos below.) Other sources for skin timpani heads are William Cowley Parchment Works of Bucks, England and the Altenburger Pergament and Trommelfell of Altenburg, Germany. For more information on animal skin heads, see the article “Calfskin Heads: Their History and Manufacture” by the author in The Encyclopedia of Percussion, 2nd edition, edited by John H. Beck, (Routledge Publishing Co.); the DVD video, Tucking Calfskin Timpani Heads with Cloyd Duff created by Mark Yancich, timpanist with the Atlanta Symphony, available through Professional Percussion Products. Also see the FaceBook post by David Herbert, timpanist with the Chicago Symphony, titled Timpani Maintenance short version, preparation and installation of natural skin heads.

Mallets Always use well-designed timpani mallets that feature high-quality felt heads. A good timpanist must invest in an assortment of fine mallets and keep them in top shape, true to their intended articulation. Professional-line, custom-made mallets by professional timpanists are available through fine music stores and percussion specialty shops. These mallets are made with bamboo, wood, graphite, or aluminum handles and either have replaceable or recoverable heads. The book Mallet Repair by Arthur Press and the two-volume DVD video, Sewing Felt Timpani Sticks by Mark Yancich, describe timpani mallet recovering (Yancich’s DVDs are available through Professional Percussion Products). The Art of Timpani Mallet Making (2013) by Amy Stubbs is an excellent book with 180 pages and over 1000 photos and illustrations. Stubbs also offers a recovering service for most models. Dutch timpanist Frans Asselman has a webpage on “Making Timpani Sticks” on Marc Zoutendijk’s webpage. (See “Digital Resources Quick Links” in the Chapter 5 MindTap for hyperlinks to these sources.) Commercial- and professional-line timpani mallets are available in various lengths, weights, articulations, colors, and constructions. Most professional lines of mallets were initially designed to accommodate a particular timpanist’s playing style and the acoustical properties of the hall in which he or she regularly performed. The student timpanist must select a mallet line (or lines) to suit their playing venues, determined by the type of instrument, heads, and overall style of playing (as described later in this chapter).

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Experimentation with mallets of different materials, lengths, and weights will help in selecting the most suitable design. Serious study with an experienced timpanist (as with all areas of percussion performance) is the best approach for understanding and achieving artistic performance on the timpani. Sources for professional-line sticks are listed below. Most are available directly or through fine music stores. A. Putnam Mallets, Michael Crusoe Signature Series: bamboo handles, seamed and seamless felt, available through dealers. Recovering kits available. Mike Balter Mallets: semi-custom made maple and bamboo handles, seamless felt. Recovering service available. http:// www.mikebalter.com/timpani_series.htm Black Swamp Percussion: 7 models carbon fiber handles. Available through dealers. Douglas Cardwell Percussion: twenty models of turned tropical hardwoods, seamless and wood heads, recovering service. http://www.dcpercussion.com Clevelander Drum Co.: five models with bamboo handles, seamed and seamless Duff-style felt heads, available through dealers. Cloyd Duff-style: mallets by Glenn F. Smith, turned hickory handles, removable balls, bamboo handles, and chamois ­specialty. Available through dealers. Tom Freer Mallets: bamboo, hornwood, tonkin, fiberglass, and hickory turned handles, German felt seamed and seamless heads, double-sided heads, maraca mallets, and Cloyd Duff timpani mallets. www.freerpercussion.com Grover Pro Percussion: John Tafoya Signature Series bamboo handles and ChromaTone™ Mallets by Grover, bamboo handles, seamless felt heads. http://groverpro.com/ products/mallets/timpani-mallets Hinger Touch-Tone by Malletech: wood, bamboo, and aluminum handles, Malletech Essential Series, and Markus Rhoten Signature Series bamboo shafts. www.mostlymarimba.com/ mallets/search-by-instrument/timpani.html Innovative Percussion, Concert Series: cherry wood partially hollowed out handles; General Timpani Series, GTX Series: maple handles; and Bamboo Series. www.innovativepercussion.com JGpercussion: David Herbert Signature Series Mallets, graphite handles, seamed and seamless felt, available from Steve

Weiss Music or Pro Drum (see website). www.jgpercussion .com/mallets.php/. Also, JGpercussion American Series, Classic and Custom Timpani Mallets; Joseph Pereira Signature Series; Michael Oberaigner Signature Series; Nick Stoup Signature Series; and other custom mallets. Manfred Kaufman Timpani Sticks: 13 models, wood handles, felt covered cork cores, hard felt and layered flannel heads. Distributed by Professional Percussion Products. Kolberg Percussion: bamboo and wood handles, flannel and ­seamless felt heads in many designs. ­http:// www.kolberg‑percussion.com David Morbey Mallets (English) 73 models: bamboo handles, seamless felt, available direct. Recovering service available. http://www.timpanisticks.com Ohio Timpani Sticks: 9 models bamboo and turned shafts, seamed and seamless Duff-style heads. Distributed by Professional Percussion Products. Al Payson: distributed by Encore mallets and others, wood handles, seamless felt. http://www.encoremallets.com Professional Percussion Products: Distributor for Ohio Timpani sticks, Manfred Kaufman, A. Putman products, Mark Yanchich DVDs, skin head tucking materials, and mallet making/recovering materials. http://www.professionalperc ussionproducts.com Pro-Mark, Jonathan Haas Autograph Series: wood handles and Performer Series: bamboo and maple handles, recovering kits available. ­http://www.promark.com RegalTip by Calato Saul Goodman Mallets: wood handles, removable seamed felt head. Replacement felt heads available. http:// www.regaltip.com/products/mallets/saul-goodman -timpani-mallets Vic Firth Mallets: American Custom and Tim Genis Signature mallets; wood handles, seamless felt. Replacement felts available. ­http://www.vicfirth.com/products

Timpani mallets should always be kept in plastic bags when not in use to prolong the life of the felt. The felt should be fluffed with a needle or similar pointed object, or ideally a piano tuner’s voicing tool, to keep the felt from getting excessively packed down (see Chapter 5 video: Track 1). Avoid touching the felt on the mallet with the hands, as oils absorb into the felt and attract dust that in time will soil the felt and produce a poor sound. Most major percussion manufacturers offer lines of timpani mallets. Figure 5.3 displays a variety of timpani mallets and accessories. The three mallets at the top left and center are common commercial mallets. Note the particularly large striking area of the first mallet head. This will produce a more inferior “slappy” sound than the professional-line mallets shown in the figure. Homemade mallets can be constructed with the aid an experienced timpanist or help from a university percussion department. The

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F IGU RE 5 . 3   Timpani mallets and accessories. Top row, left and center: common

commercial mallets; right, European rattan handles mallets. Second row, left to right: Al Payson, aluminum handles (2) and wood (4); Hinger Touch-Tone, aluminum (4); Vic Firth, wood (6); bamboo, homemade (6); Goodman, wood (6). Third row, accessories, left to right: tuning key, felt fluffer (piano technician’s voicing tool), A-440 tuning fork. Bottom row, four handles with rubber, wood, and masking tape cores.

book Mallet Repair by Arthur Press, the DVDs Sewing Felt Timpani Sticks by Mark Yancich, the book The Art of Timpani Mallet Making by Amy Stubbs, and websites mentioned above are good aids. Mallets can be made with cork or rubber cores, macrame balls, or by wrapping 1⁄2-inch masking tape on bamboo or 5⁄8- to 3⁄4-inch wooden dowel handles. (See handles with cores at bottom of Figure 5.3.) Dowels can be purchased from any lumber supplier. German and American timpani mallet felt can be purchased from Professional Percussion Products (www.professionalpercussionproducts.com), Steve Weiss Music ­(www.steveweissmusic.com), directly from Johanna Daimer Filze aller Art in Munich, Germany (www.daimer-filze.de), or Schaff Piano Supply Company (http:// www.schaffpiano.com) in Chicago. Bamboo mallet shafts and German felt can be purchased from Kolberg Percussion in Germany (­http://www.kolberg.com/products /en_GB/137/category.html) and bamboo and cherry wood shafts and supplies from Professional Percussion Products. (See websites above for addresses.)

Sizes and Ranges One of the first things a timpanist must know before attempting to tune or play the timpani is the playing range or possible pitches that can be tuned on each drum. These are a function of the size or diameter of each drum, determined by measuring the distance between the top edges of the bowl. Example 5-A shows the basic playing ranges for the conventional timpani. EXAMPLE 5-A  n  Basic playing ranges for conventional timpani

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Timpani manufactured by Rogers Drums Inc. were made in smaller sizes. For practical purposes their playing ranges are the same as any conventional set of four. Their sizes are: 29”, 26”, 23”, 20” but ranges are D–A, F–C, B b–F, and D–A. The playing range of a conventional timpano is best understood as the interval of a perfect fifth. This range originated with calfskin heads. With plastic heads, almost any timpano is capable of a much greater interval range. The top range of each drum may be extended as much as a major second (especially on the larger timpani) if a tighter tonal quality is preferred or if required by the pitches in the music (for example, tuning up to D on 29” or 28” drums or to B on 30” or 32” drums). However, because of the less desirable tone quality (especially on the average school timpani) of pitches in the extreme high range (quicker decay and thinner tone than mid-range pitches) and especially in the extreme low range (loose, flappy tone and unclear pitch definition), it is still most practical to tune and play mainly those pitches within the interval of the perfect fifth.

Head and Mechanical Adjustments Some mechanical adjustment and head preparation may be required for each timpano before playing can begin. Several types of generic tuning mechanisms exist on today’s pedal timpani and are described and shown below. Instruments with D ­ resden-style pedals allow for ankle pedal operation, and Berlin-style pedals allow for leg pedal ­operation. 1. Balanced-action spring tension pedal (Figure 5.4). This accelerator-type pedal allows for ankle operation and has connecting rods between the tension rod lugs and a post underneath the kettle. The head tension and pedal action are equalized or balanced by a spring. The spring is adjusted by a tension knob on the base underneath the kettle or a clutch mechanism under the pedal, depending on manufacturer. (Used on Adams Professional Series, Ajax, Ludwig, Yamaha, Majestic, and old Rogers instruments.) 2. Ratchet-type pedal (Figures 5.5 and 5.7 [left]). This model has connecting rods between the tension rod lugs and the pedal, or the tension rods connect directly to F IG U RE 5. 5   Ratchet-type pedal (Old F IGU RE 5 . 4   Balanced-action spring tension or accelerator-

Ludwig Dresden model with calfskin head)

Ludwig Industries

type pedal (Ludwig professional model with suspended bowl and extended collar)

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the spider under the bowl on Dresden- and Berlin-style instruments. The pedal is held at pitch by a foot-operated ratchet mechanism. A fine tuning handle is located across the drum or near the performer for minute pitch adjustments. (Ratchet pedals are used on most Dresden-style drums: American Drum Mfg Co. Walter Light, Clevelander, Goodman-Lang, Hinger, old Ludwig Dresden models [Figure 5.5], Ohio Timpani, Berlin-style Ringer by Ludwig, available as options on Lefima/ Aehnelt instruments, and others.) 3. Friction clutch pedal (Figure 5.6). This model has connecting rods between the tension rod lugs and a post (Premier) underneath the bowl or the tension rods connect directly to the spider under the bowl on Dresden-style instruments. The pedal travels on a rod. A clutch mechanism controlled by the pedal grabs or releases the rod and allows for tuning. Berlin-type or model pedals allow for leg pedal operation. (Used on Adams Philharmonic Light Berlin Series, Symphonic Series and Universal models, Lefima Voyager model and Lefima/Aehnelt Berlin Pedal model, Premier, old Leedy and Slingerland, Yamaha Portable Concert and Grand Concert model with Berlin-type pedals, and others.) 4. Ratchet-less pedal. A pedal-locking mechanism that works with hydraulics and allows for ankle pedal operation on Dresden- and Berlin Dresden-type pedals. Called linear-lock pedal system—American Drum Manufacturing Co., and “SAM” for servo-assisted mechanism—Lefima/Aehnelt. Used on Adams Philharmonic Light Cloyd Duff Series (Figure 5.7 [right]), Lefima/Aehnelt Dresden Pedal model, Yamaha Grand Concert model with Dresden or Berlin Dresden-type pedals, and available on American Drum Manufacturing Co. Mark XIV, Mark XI and Metropolitan Models. American Drum Manufacturing Co. can adapt their linear-lock pedal system to instruments manufactured by Ringer, Hinger, and Clevelander. Fine Berlin- and Dresden-style professional instruments are manufactured throughout the world and provide the timpanist with the highest quality and design in instruments. Pictured in Figure 5.7 are two of these professional-line instruments: the Ringer F IG U RE 5. 6   Friction clutch

pedal (Premier suspended bowl with calfskin head)

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F IGU RE 5 . 7   Professional Dresden-style timpani (Ringer by Ludwig [left] and Adams Philharmonic Light Cloyd

Duff Series [right])

by Ludwig with Berlin-style leg operated pedal and the Adams Philharmonic Light Cloyd Duff Series with Dresden-style ankle-operated pedal. (Note the features of the suspended bowl and extended collar head.) Other tuning mechanisms not as common as the above pedal types are: 1. Single screw or handle type: (Figure 5.2, machine timpani) tension lugs are all connected to one master post. When turned by hand all the tension rod lugs are turned simultaneously (popular individual marching timpani from the 1970s through the 1980s). 2. Chain or cable drums and belt tuned: tension rods are all connected by a bicycle chain, cable, or belt. When one pair of tension rods or single post is adjusted, all rods are adjusted equally (American Drum Manufacturing Co. Continental Chain Tympani, old Goodman and Hinger chain and cable drums, Lefima Belt-Tuned Baroque Timpani, Precision Classic Timpani by Mark Guthrie, and Brian Stotz/ Anheier cables by Repaircussions, and others). 3. Stirrup type: the foot is in a stirrup and operates the pedal for tuning (Old Ludwig‑W.F.L.). 4. Rotating bowl type: tension is changed at all tension rods simultaneously when the entire kettle or bowl is rotated. 5. Hand drums: each tension rod is adjusted individually by hand (Figure 5.1). This is the original tuning mechanism used before the invention of machine-type and pedal timpani. To prepare a conventional timpano for playing, proceed as described below. Certain minor adjustments may vary depending on the tuning mechanism, but the basic steps are the same. Assuming there are no mechanical linkage problems requiring professional factory adjustment, and that good plastic heads are mounted correctly (see

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comments in this chapter under “Head Replacement and Mechanical Adjustment” and “Fine Tuning/Clearing Heads”) the timpanist should: 1. Place the pedal in position where the head will sound the lowest pitch in the playing range. (Check drum size and range to determine this lowest pitch.) The pedal may have to be held in this position while the head is adjusted to the bottom lowest pitch in the playing range by tightening or loosening the tension rods. 2. After this bottom pitch is obtained, check to see if the pedal will tune each pitch in the perfect fifth of the playing range. If the pedal tunes and holds each pitch well, then proceed to check the fine tuning of the head and then play. 3. If the pedal will not hold all the pitches in the playing range and you are positive the lowest pitch of the normal playing range is sounding when the pedal is in lowest pitch position, then the pedal mechanism needs adjustment. For balanced-action spring tension pedals: 1. If the pedal will not hold the low pitches, loosen the spring tension knob underneath the bowl by turning counter-clockwise. Yamaha and Adams models also have a pedal tension clutch adjustment under the heel and on the side of the pedal that may help with holding pitches. 2. If the pedal will not hold the high pitches, tighten the spring tension knob underneath the bowl by turning clockwise. One of these adjustments should equalize or balance the head and spring tension and allow for smooth pedal operation. If this is not achieved, double-check the lowest pitch again, adjust if incorrect for the timpano size, and try again. If this attempt is unsuccessful the head is probably stretched too far (therefore, replace it!), or there is a mechanical linkage problem that needs correcting. With the ratchet-type pedal, there should be no problem tuning each pitch. The fine tuning rod should be in its middle position so that pedal operation is smooth and minute adjustment is possible above or below each tuned pitch. The friction-clutch type may require minor adjustment of the wheel at the base (Premier) or nut underneath the bowl (old Leedy) to achieve smooth pedal operation. The tension of the head should return the pedal smoothly to lowest pitch position. The wheel on the Premier model should be adjusted to its middle position so that pedal operation is smooth and minute tuning is possible with the wheel for each pitch in the ­playing  range. For ratchet-less and other pedals, or other mechanical problems, refer to instruction booklets for the specific manufacturers or a competent instrument repair specialist. After setting the playing range on each timpano, the timpanist should adjust the head tension, if possible, so that when the pedal is in lowest position the head will sound a pitch about a half-step lower in pitch than the lowest note in the playing range (for instance, A on a 26” drum). A minor head adjustment, generally loosening, may be necessary to obtain this half-step lower-sounding pitch. The purpose of setting the lowest sounding pitch about a half step lower than the lowest pitch in the playing range is to improve the sound and have greater tuning leeway in the pedal action for the low pitches in the playing range. This lowest sounding pitch is rarely played; in general, low pitches of any timpano’s playing range should be avoided due to their loose tension and lack of tonal clarity and pitch definition. However, if a low or bottom pitch in a timpano’s normal playing range must be tuned and played, it will have a slightly better quality and can be adjusted more easily and accurately if the lowest sounding pitch on the drum is approximately a half step lower than the bottom pitch of the playing range. A good push on the center of the head with the palm of the hand will also “release” the head tension to its lowest sounding pitch. Occasionally linkage problems may prohibit this adjustment because it makes the pitches in the upper playing range unobtainable. If

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this occurs merely adjust the head tension and pedal operation to the lowest sounding note in the playing range. Playing range should be checked each time timpani are used. New plastic heads will stretch slightly during a breaking-in period and require some minor adjustments. Otherwise little change will occur with plastic heads unless someone tampers with the tension rods. To avoid having the fine tuning disturbed, or ruined by tampering with the tension rod T-handles, adjustment of the tension rods should require a timpani key. Better instruments are supplied with keyed tension rods; however, older drums will require replacement of the T-handle rods. The investment in keyed tension rods, or a little cutting and grinding work to convert T-handles to keyed tension rods, eliminates the problem of tampering. Also, the elimination of the T-handle tension rods permits free movement of the sticks between drums when performing. A stick can be easily dented or broken and performance spoiled by the awkward presence of T-handles. Replace them!

Head Replacement/Selecting the Playing Spot If a head breaks, or it needs replacing due to age or desire to try a new type of head, ensure a new head is available, and then follow this recommended procedure. (See “Digital Resources Quick Links” in the Chapter 5 MindTap for hyperlinks to the videos below.) 1. Very carefully measure the diameter of the bowl and consult head manufacturers’ head/bowl measuring guidelines and charts for proper head replacement sizes. 2. Clean and inspect the inside and outside of the drum. Gently tap any dents in copper bowls back to normal shape with a rubber hammer. Tighten loose nuts and bolts. Clean lugs and tension rods. Clean old lubricant off the top edge of the bowl. Buff the top edge of the bowl with a fine-grade emery cloth and clean with rubbing alcohol. Lubricate tension rods or lugs with light grease or Latin-Percussion’s Lug-Lube. 3. Check the roundness of the flesh hoop first with the bowl, then with the counterhoop. Adjust to obtain a uniform round fit. Apply adhesive foam rubber or moleskin inside the counterhoop as a spacer and to eliminate the potential of the metal flesh hoop rattling against the counterhoop. 4. Apply adhesive Teflon tape or dry Teflon spray to the top bearing edge of the bowl, available through American Drum Manufacturing Co., Yamaha, or Percussion Source. Clarinet cork grease or mutton tallow may also be used. Avoid using paraffin wax; it can build up and cause buzzes in the low register. If cork grease or tallow is used, run only a little film of either along the top edge of the bowl, and then lightly rub off any visible residue. 5. Place the timpani pedal in position where the lowest pitch would sound (you may have to hold the pedal in position firmly) and mount the head and the counterhoop onto the drum. If Remo plastic heads are being used with the backbone “direction indicator” line, mount the head so that the playing area/spot (that is, where the timpanist plays on the head) is one of the four spots next to the line (see comments on playing spot under step 7. Place lubricated tension rods into the counterhoop and lugs, and finger tighten. Then tighten opposite pairs of tension rods in the order shown in Figure 5.8, keeping the top of the tension rods square to the edge of the counterhoop. Tighten using whole revolutions (or more) on each tension rod, and tune the head up evenly. Maintain the pedal in the lowest sounding pitch position. Reduce tuning to half-turns as the head approaches sounding the lowest note in the playing range (with the pedal in the lowest note position).

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6. To achieve an even collar, maintain the identical clearance between the flesh hoop and the side of the bowl. Check this visually and by feeling the clearance under the counterhoop on opposite sides of the bowl as you tighten the head. 7. Pedal tune the head to a mid-range pitch and strike the drum in the normal playing spot. If it rings evenly and with decent tone, then select the best playing spot. If it sounds unclear, conduct rough fine tuning with a durometer DrumDial™ (www.drumdial.com). (See Chapter 5 video: Track 2 for head clearing and the fine-tuning demonstration: “DrumDial™ Tuning, Part 8” video by Steve Fischer, inventor of the DrumDial™.) After this rough fine tuning, the head should ring evenly enough to select the best playing spot. Play the head around the perimeter of the drum. If Remo heads are being used with the “direction indicator” line marked, (to simulate a calf-skin head backbone), it is a guess as to which of the four playing spots next to the line or backbone will sound best. Playing opposite the “direction indicator” or backbone, like on the belly of a skin head, is not recommended. Strike and listen for quality of tone, center of pitch, resonance, and clarity of articulate figures, not so much the even ring of the pitch. Pitch evenness has more to do with fine tuning and head clearing than with best playing spot selection. If a better playing spot is decided upon, mark it, loosen the head, and remount it with the best playing spot at the normal playing area. Full examination of any head is required to select the best playing spot. Once mounted and relatively clear, the head will need to be further cleared and more carefully fine tuned. Ideally leave the pedal tight (tuned to the highest notes in the range) and put the drum in a warm room so the head conforms to the bowl. If possible, avoid further fine tuning for a few days, until the head settles.

Fine Tuning/Clearing Heads After selecting the best playing spot with a rough fine tuning of the head (as discussed in step 7 above), the basic playing range should be checked again for smooth pedal operation. Further fine tuning or clearing a timpani head with durometer instruments like the DrumDial™ or Tama’s Tension Watch, or smart phone app (the iStroboSoft app by Peterson is highly recommended, or Cleartune by Bitcount Ltd.), will detect head area pitch differences and saves one’s ear for extra fine tuning, as described below. The DVD video “Changing and Tuning Plastic Timpani Heads” by Mark Yancich (Atlanta Symphony), available on the Professional Percussion Products web site, is an excellent resource on the art of replacing and clearing heads. See “Digital Resources Quick Links” in the Chapter 5 MindTap for recommended YouTube videos on changing and clearing timpani heads by Tim Genis (Boston Symphony), Kristen Shiner McGuire (Nazareth College Rochester), and Nick Woud (Royal Concertgebouw). Be careful of YouTube videos; many present incorrect information! Now the timpanist is ready to proceed with the art of fine tuning, clearing, or balancing the head to the same pitch at each tension rod to obtain the best possible tone on each drum. A head is clear when a soft and loud stroke in the playing area produces an even pitch and resonant tone at all dynamic levels. Fine tuning takes practice, patience, and a perceptive ear. The timpanist must learn to listen to the pitch of the head and not resonance or quality. Strike... listen... and make adjustments slowly, in a quiet room without distractions. After about 10 minutes of tuning, rest the ear, then resume. Follow this 6-step procedure for clearing a head, adapted from Cloyd Duff’s system: 1. Set the drum on a podium or on chairs, positioned such that repeatedly placing your ear level with the drum head is comfortable (to avoid back ache!). 2. Visually adjust the tops of all tension rods to a uniform square position with the edge of the counterhoop. This will help to keep tuning adjustments uniform. All

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initial fine tuning adjustments should be made by quarter-turns on the tension rods; later adjustments may be eighth-turns or less. Keep adjustments that improve the tone; undo adjustments that worsen the tone. 3. Assuming the head is in its proper range, tune it to a mid-range pitch (e.g., A on a 29” timpano) by tensioning with the pedal. Strike the head in the normal playing area (between 1 and 3 in Figure 5.8) to determine the overall head quality of tone. Strike softly to hear the fundamental pitch of only the head area; then strike moderate loudly to compare the pitch of the head area to the fundamental pitch of the whole head and timpano. (The fundamental that is heard is actually the first octave overtone of the harmonic series. The fifth, the next harmonic, is the next strongest harmonic heard as part of the timpani tone, and it will improve in quality as the fundamental improves.) Dampen between each group of strokes, and listen carefully to the fundamental pitch, not the harmonics. Listen for pitch evenness or ringing sharp or flat. Listen for “beats” caused by uneven head tensioning. If the pitch rings true and matches a stroke played at a soft and loud volume in the normal playing area, the head is clear. If unevenness, “beats,” sharpness, or flatness is heard in the loud whole head tone compared to the soft head area pitch and tone, played in the normal playing area, then the head needs clearing. 4. To clear the head, get a sense of the overall balance of the whole head by striking softly with a medium-hard mallet around the perimeter, listening to the pitch relationships at each tension point. Stand at the edge of the drum with your ear level with the head. Strike the head at a point 2 to 3 inches in front of each tension rod. Determine whether each area pitch is flat, sharp, or equal to the whole head pitch at the playing area. Flatness is usually detected first and most easily. A small mute of MoonGel (by RTOM) or a finger placed in the center of the head will help clarify the tone. Further pitch clarity can be achieved by using a small piece of MoonGel in front of each tension rod. For instance, if playing in front of lug 1 on an eight-lug drum, place the MoonGel on the head about 2 or 3 inches in from the edge in front of lug 7, which is 90 from lug 1 [see Figure 5.8]. Then play at number 1. This slightly mutes the fifth harmonic from the head and helps clarify the fundamental. A smart phone with tuning app (e.g., Peterson iStroboSoft) held near the mallet stroke will display accurate pitch for that playing area. Using our original example, now play the head at the opposite tension rod point (number 2), leaving the MoonGel at number 7. Repeat the procedure around the drum (adjusting the MoonGel to the 90 location from the playing spot), to determine whether the opposite area pitch is flat or sharp relative to the first area’s pitch. Match the opposite area pitches to each other by adjusting whichever of the two tension rods is most out of tune. Make all initial adjustments by quarter-turns, and eventually make smaller adjustments. Tuning up to pitch yields truer adjustments than tuning down, because the head does not release itself evenly over the bowl when tuned down. To tune a tension point down, loosen the tension rod one-half turn and tighten up one-quarter turn so the head is stretched up to pitch. For example, if tension rod area 1 sounds flat to the whole head but tension rod area 2 is flat to area 1, then a clockwise adjustment at 2 to tighten it should address the problem (see Figure 5.8). An adjustment at 1 without considering 2 could sharpen the whole head tone. Continue adjustments between 1 and 2 until their tension rod area pitches match each other and, more closely, the whole head pitch. Further adjustments at other points may be needed to match the whole head pitch. Play and listen for change at the normal playing area after every adjustment. As long as the whole head tone improves and tension rod area pitches are matching, fine tuning is progressing accurately. 5. After correcting a problem, take a break, rest the ear. Then check the drum for more subtle problems and continue correcting according to this procedure. Assuming the normal playing area is between 1 and 3, then the area between 1–4 and

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F IG U RE 5. 8   Ordering of

tension rod adjustment

3–2 should be tuned as the primary playing channel. Often quick, drastic changes in pitch originate from these points. The area between 1–4 (off to the right side of the head), and the area between 3–2 (off to the left side of the head) are secondary channels. Sometimes sharpness or flatness in the long ring of the whole head tone emanates from these secondary channels. The ideal is to match all area head pitches to the whole head pitch at the playing area. As noted above, when a soft and loud stroke in the playing area produces an even pitch and resonant tone at all dynamic levels, the head is clear. Each timpano should be checked regularly for fine tuning adjustments to maintain the best quality tone on all drums. 6. After fine tuning is completed, the lowest sounding pitch in the playing range (or a half-step lower pitch) should be checked and drum retuned to this pitch if necessary. Carefully adjust all tension rods evenly up or down to the desired pitch, and fine tuning will be maintained. The pedal should be checked for smooth operation as some of the fine tuning adjustments may have disturbed the spring tension or other adjustments. Timpani heads should be covered with hard covers whenever they are not being played and always when moved or transported. Hard covers can be made out of 1⁄2-inch hardboard or plywood discs and covered with felt on the head side. (See Chapter 5 video: Track 1 for head covers.) Cloth drop covers are also highly recommended. Move the instrument from the bowl or preferably by the braces. Never move the timpano by grabbing the edge of the head, tension rod T-handles, or counterhoop area.

n TIMPANI TECHNIQUE The Cook Book Essential Ingredients 1. Memorize the range of all your timpani. 2. Practice clearing heads to keep your timpani sounding their best. 3. Invest in and keep your mallets in top condition, fluff them as needed, and store them in plastic bags. 4. Make it a habit of setting up the timpani with the music stand between the two middle drums, and sit or stand so that the natural turning of the upper body positions the mallets over the best playing areas. 5. Develop your ear to be able to match and sing any pitch or interval. 6. Practice identifying, hearing, singing, and tuning any intervals quickly and accurately on the timpani. 7. Develop the habit of keeping track of rests while changing tunings by hearing, singing, striking, and tuning in time. 8. Practice the art of using tuning gauges.

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 9. A relaxed grip with an open fulcrum produces a full tone—like holding a fledgling bird in the hand and a lady bug at the pivot point. 10. Sensitivity in finger timing integrated with a free rebound stroke further cultivates touch and a finer tone. Always remember the bouncing ball. 11. The quality of tone produced depends on the length of time the mallet is on the ­vibrating head. Cultivate a good basic legato stroke and practice articulations utilizing the Big Five (see below under “Articulation Considerations and Musical ­Expression”). 12. Single-stroke rolls played in consistent playing spots around the timpani require different roll speeds: Basically, larger drums and lower pitches (that is, looser tensioned heads) require slower rolls. Listen and feel for the “radiance” of the head tone. 13. Use forearm technique with a relaxed “hot dog” grip for loud rolls. 14. Observe the “louder looser” rule on all rolls and articulate passages. 15. Listen and play forte-piano rolls musically with a short sustained forte roll, then a soft sustained piano. 16. Practice muffling until it becomes a habit. When in doubt if muffling is needed, play the passage with and without muffling and decide if it is worth all the extra movement and effort! 17. Judicious muting can greatly enhance the clarity of a passage; use it creatively. 18. Master cross-sticking technique and use it to maintain rhythmic precision and c­ larity on fast passages between and around the drums; never use cross sticking for “show.” 19. Always play the timpani musically, in tune, with a beautiful tone and sensitive touch, and never out of rhythm. Timpani technique, like most percussion technique, must be approached with a clear understanding of instrument setup, tuning, grips, and various strokes. Timpani grips and strokes, although more varied than those of other percussion instruments, are similar to the snare drum grip and basic percussion stroke presented throughout this text. The instrument setup and tuning skills will be discussed first.

Position of the Timpani and Playing Areas Before the timpani are played, they must be correctly positioned in relation to each other and the timpanist. Two drums (29” and 26”) should be positioned with the pedals almost parallel to each other and facing the timpanist. The timpanist should face the intersection between these two drums, and place the music stand here, regardless of the total number of drums used. For additional third, fourth, fifth, and sixth drums, the natural turning of the upper body should position the mallets over the playing area of each timpani and thus determine their placement (see Chapter 5 video: Track 4). A common mistake is to position the additional outside drums too close to the body, which causes the timpanist to pull the mallets and arms in toward the body in order to play the outside drums. This unnatural accommodation causes body tension and often leads to playing too far toward the center of outside drums. The drum arrangement should resemble a wide arc, not a close half circle around the timpanist. The timpanist also should take into consideration the remarks under “Instrument Height and Stance” in Chapter 2 when positioning the drums. The timpanist may choose to stand or sit on a stool when playing. A stable body placement must be established behind the drums, especially in the beginning stage of study. The timpanist may wish to experiment with playing seated on a stool for greatest relaxation in weight distribution and body support and freedom of movement around the drums. A stool is absolutely necessary for performance of literature involving much pedal work. If a stool is used, it should allow the performer’s feet to rest lightly on the

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pedals. Too high a stool will not allow for smooth foot maneuvering. Too low a stool will place the hands at too low a playing level relative to the heads, which results in unintentional striking of the rim or bearing edge of the bowl with the mallet handles. Whether to sit or stand when performing literature requiring little pedal work is the choice of the timpanist. Sitting is recommended for players around 5’8” or taller to avoid unnecessary stooping over the drums. Whether the player is sitting or standing, all body movement toward the drums should come from bending at the hip joints to move the whole upper torso over the drums. This will alleviate coordination problems that arise from poor body use. Movement to the outside 32” and 23” drums should be done with a free rotation of the entire upper torso whenever possible, as opposed to reaching with the arms only. The basic playing area on a timpano head is at least 4 to 5 inches in from the edge of the bowl directly in front of the player (see Figure 5.9 and Chapter 5 video: Track 7). This will be in line with the pedal on most conventional timpani. The mallets should form about an equilateral triangle with the edge of the bowl. This playing area, sometimes called the “beating” or preferably “playing” spot, may vary slightly with regard to the distance from the edge of the bowl, depending on the design of the bowl and intentions of the performer. To determine the best playing spot, simply play slow single strokes starting at the edge of the head near the bowl and move gradually toward center listening for the strongest fundamental pitch and fullest tone. When these are heard, stop— that’s the best playing spot! The timpanist must be aware of and take care to develop playing spot consistency on basic stroke exercises like those in Examples 5-D and 5-F. The playing spot may be altered during playing if this is specified by a knowledgeable composer or for a subtle change in color or articulation (such as discreetly playing a bit more toward center for clearer articulation). Change in articulation and dynamics, however, should be controlled through a sensitively developed technique and knowledge of the timpani’s expressive potential, not simply by changing playing spots as some composers (or sadly, some conductors) might request (see “Articulation Considerations and Musical Expression” later in this chapter).

Tuning a Pitch To tune a pitch on a timpano, one of the following methods should be used. Be careful not to use humming in combination with striking the head as this defeats the purpose of humming! See Chapter 5 video: Track 3 demonstrations of these tuning methods. 1. Strike-Glissando: Strike the drum in the low register with the mallet or the finger, and listen to the glissando as you pedal up to the pitch desired. Then check by striking again and adjust to pitch if necessary. 2. Humming: Hum the desired pitch (or perfect fifth above) into the drum about at the playing spot and move the pedal up to the point where the head will vibrate or “hum back” the pitch desired. Check by striking and listening. Adjust to pitch as needed. If, while tuning with either of the above methods, the arrival pitch is a little sharp, you can sometimes correct the sharpness by pressing firmly into the center of the head with the palm of your hand. This will cause the head to release a slight bit of tension from the edge of the bowl and sometimes lower the pitch to correct intonation without having to use the pedal. Whenever possible, but especially when tuning pitches in the extreme low register, depress the head with the palm of the hand as explained above before tuning to assure the best possible tone and true intonation. Minute adjustment with a fine tuning handle on Dresdenstyle drums easily ensures good intonation. Although some timpani methods and instructors advocate flicking the timpani head with the finger to produce a tuning tone, finger flicking will not give true intonation. The finger flick will generally be higher in pitch than the tone produced with a mallet. This is primarily due to the difference in mass and tone-producing stroke between

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the finger flick and mallet and especially if the flick is done aggressively and the head “pressurized.” (See Chapter 5 video: Track 3 discussion.) Indeed, there are obvious differences in pitch between mallets of different construction and articulation. A firm, direct tap made with the index, middle, or ring finger perpendicular into the head, as if testing a hot iron, will produce a clear tone that is easiest to tune and most true. If time allows, a final check of pitch should be made with the mallet that is used for playing the music. In a performance situation, all tuning is done softly with the ear close to the head. Care must be taken to not tap so loudly that the tuning is heard as part of the composition! The timpanist must be aware that pitch can vary depending on the dynamic levels played. Extremely loud passages can sound slightly sharp if the head is stretched or “pressurized” by overplaying. If fine tuning is not even and the heads are not clear, moderately loud pitches may sound flat compared to soft pitches. Likewise, a passage or roll that diminuendos can go sharp if heads are not clear. Constant listening, coupled with pitch adjustment by pedal or fine tuning handles if available (and clear heads), will result in the best intonation.

Basic Tuning Exercise The tuning exercises in Example 5-B are to serve as models for those exercises found in timpani methods (for example, page 19 in the Goodman book) or that can be written by the teacher or timpanist. EXAMPLE 5-B  n  Basic tuning exercise for 29” and 26” timpani

5-B (#1)

5-B (#2)

When first attempting tuning exercises on the timpani, play a natural full tone with a mallet, rather than use soft finger tapping, so that the ear can become accustomed to the sound of the timpani tone and intervals can be heard more easily. Eventually tuning will need to be softly with the stick or finger. Assuming the timpanist can identify, hear, and accurately sing the intervals to be tuned, he or she should tune the 29” drum to the designated A pitch using either the strike-glissando or humming tuning method. An A‑440 tuning fork should be used as a home-pitch and all other pitches derived from the A or a pitch on the timpani. A vibraphone, piano, bells, electronic tuner, smart phone app, or other similar pitch source may be used to check interval tunings when practicing or working on ear training, but they should not be used for performance tuning. They are more a hindrance than an aid to quick, accurate tuning. After the first pitch A is tuned, then the interval of a perfect fourth up to the next pitch D should be (1) identified, (2) heard and listened to in the inner ear, (3) sung, and (4) tuned on the 26” timpano. Using solfeggio, the A would be sol, and the timpanist would hear and sing sol–do, or sing scalar: sol, la, ti, do. After successfully tuning the perfect fourth interval of A to D on the timpani, the timpanist should then proceed to the second measure and tune the new B from the existing A or the E from the existing D. Use of the tuning fork is not unnecessary; all new

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pitches are derived from existing pitches on the timpani. Assume the D is tuned up a major second to E. Using solfeggio in the key of D, sol–do for the A to D, the E would be heard and sung as re. Then the B should be heard and tuned as a perfect fourth down from the E, not taken from the A, as this would require two tunings by the timpanist: to hear and tune the A to B and then hear and tune, to check, the B to E interval. The habit of hearing and tuning one drum from the other, in this case the B down a perfect fourth from the E requires tuning and listening only once, so tuning is accomplished more accurately and quickly. By making the E a new tonic do in the timpanist’s ear, the B is easily heard as sol, or scalar singing can be used to find the B by singing from the E down: do, ti, la, sol to the B. Or, the timpanist could continue thinking and hearing in the original key of D and think of the E as re and sing scalar down to the B: re-E, do-D, ti-C # , la-B. (For more applications using solfeggio, see tuning discussions and Chapter 5 video: Tracks 5 and 6 demonstrations for Example 5-B(#2) and 5-C below under “Performance Tuning.”) This procedure is carried through for four or five measures and then checked for accuracy by comparing the pitches on the timpani with the tuning fork or a piano. (Be certain the tuning fork A and the piano A are in agreement if the piano is used to check the tuning after four or five measures.) Careful practice with tuning exercises of this type will develop quick, accurate, direct tuning habits, further develop the ear, and familiarize the timpanist with pedal mechanisms and distance between intervals. A kinesthetic sense or muscle memory in the ankle and leg is definitely part of tuning skills. The feel, position, and resistance of the pedal are similar to playing positions on a trombone, cello, or fretless string bass. Cultivating this “position” tuning sense is essential for the timpanist. Pedaling exercises in method books by Fred Hinger, John Beck, and others listed at the end of this chapter should be studied. The sensitive ear will also perceive tonal characteristics of pitches according to their register on each drum. These should eventually influence the timpanist’s choice of drums for certain pitches to achieve maximum clarity in performance. (See further comments in Chapter 10 regarding drum choice according to tone quality desired.)

Performance Tuning One of the most challenging problems in performance for the timpanist is making tuning changes during rests and keeping track of the rests. The importance of being able to identify, hear, sing, and tune intervals quickly and accurately has been previously discussed. Once the timpanist is proficient at identifying, hearing, and tuning all the intervals in Example 5-B(#1), he or she should insert four measures of rests between each measure as illustrated in Example 5-B(#2) and make the tuning changes in time, feeling and counting a half-note pulse (see demonstrations on Chapter 5 video: Track 5). In other words, play the half notes A and D in time as written (using solfeggio think/hear sol–do in the key of D). Tuning from the 26” drum D since it is the last note played and sounding, hear and sing the new pitch E in time up a whole-step from D (using solfeggio, E is re in the key of D) during the first measure rest. Softly strike the 26” drum in time on beat one of the second measure rest and gliss up to the E. Hear and sing the B a perfect fourth down from the new E (using solfeggio, the B is sol in the new key of E) in time on beat three of the second measure rest. Softly strike and gliss the 29” drum in time up to the B on beat one of the third measure rest. Use the fourth measure rest to check the perfect fourth B to E (sol–do) by striking softly in time on half or quarter notes. Play the B and E half notes as written and continue to the next measure F # and C # tuning. Tuning the 26” E drum first since it is the last note played or sounding, hear and sing the new pitch C # in time down a minor third from E (using solfeggio, C # is la in the key of E, or the first two notes of the Star-Spangled Banner or a descending major triad) during the first measure rest. Since we always want to tune by pedaling up to a pitch, move the pedal of the 26” E drum to its lowest position during this first measure rest so

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you can tune the C # by pedaling up to it. Strike the 26” drum in time on beat one of the second measure rest and gliss up to the C # . Hear and sing the F # a perfect fifth down from the new C # on beat three of the second measure rest. (Using solfeggio, the F # could easily be heard as do from the C # if the C # is thought of and heard as sol in the new implied key of F # . An easy way to hear the perfect fifth down is to simply sing/hear the first three notes of The Star-Spangled Banner—sol, me, do.) Also, move the pedal of the 29” drum here to its lowest position so you can tune up to the F # . Strike and gliss the 29” drum in time up to the F # on beat one of the third measure rest. Use the fourth measure rest to check the perfect fifth F # to C # (do–sol in the new key of F # ) by striking softly in time on half or quarter notes. Play the F # and C # half notes as written and continue with the next measure tuning b B and E b. Following the same tuning in time procedure as in the previous two tunings using enharmonic pitches and thinking of the E b is a whole-step up from C # (using solfeggio, E b [D # ] is la in the key of F # ) and B b is a perfect fourth down from the E b (using solfeggio, B b is sol in the new key of E b if the E b is thought of and heard as do). The next measure tuning, G to D can be determined by thinking/hearing the D as ti in the key of E b, then thinking/hearing the D as sol in the new key of G and hearing the G down a perfect fifth from D as the new do in G. For the last measure tuning, A b and E b do not exist diatonically in G so the E b has to simply be heard as a half-step above the D, then the E b is heard a new dominant pitch sol, and the A b is heard and tuned and the new tonic do below the E b. After mastering these tunings in a half-note pulse, change the four measures of rest to two measures of rests and make the tunings in time feeling a quarter-note or even eighth-note pulse. The goal is to develop the habit of hearing, singing, striking, pedaling, and checking pitch in time. (See the Chapter 5 video: Tracks 5 and 6 for demonstrations of Examples 5-B and 5-C.) Practice of exercises similar to this and Example 5-C will aid in developing this tuning proficiency. The timpanist should develop the habit to 1. Determine the new pitch from the last pitch sounding, preferably using solfeggio. 2. Perform all interval singing, striking of the drum, and pedaling in time on the beats or subdivisions during the rests. EXAMPLE 5-C  n  Performance tuning

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EXAMPLE 5-C  n  (Continued)

The following discussion is intended to help clarify this tuning procedure. (See the demonstration of Example 5-C on the Chapter 5 video: Track 6.) The passage in measures 1 to 8 establishes the key of D, and the timpanist should be hearing the A–D using solfeggio as sol–do ending on the A as sol in measure 8. During the second through fourth beats of measure 8, the timpanist should be hearing/singing the new pitch E as a perfect fifth up from the last pitch sounding A (using solfeggio, the E would be re in the existing key of D). Scalar or chordal singing should result in an E being heard in the timpanist’s inner ear by the first beat of measure 9. Tune the E in measure 9 using the strike-glissando tuning technique by striking the 26” drum in time on beat one, glissando up to E on beat two, stop at E on beats three and four. Check by softly striking the E on beat one of bar 10. Listen for the harmonic vibration of the E in the A drum. If the E is in tune, the A head will ring the E (the next overtone above the A); this is a great way to check your E (and any perfect fifth) for being in tune! At this point the timpanist may want to be hearing the A–E as do–sol in the new key of A. Adjust if necessary on beats three and four of measure 10, then play the downbeat of bar 11. The passage in measures 11 to 14 establishes the key of A. Similarly in measure 14 the new B should be heard/sung as a perfect fourth down from the last pitch sounding E (using solfeggio, B would be re in the established key of A, or the B could be heard as sol to the existing E by thinking/hearing the E as the new tonic do) and tuned in time during measures 15 to 16. The next passage (measures 17 to 20) establishes the key of E. The C # is derived from the last note sounding E in measure 20 by hearing/singing a minor third down (using solfeggio, the C # is la in the existing key of E) and then tuned in time during measures 21 to 22. The next passage (measures 23 to 26) does not establish a clear tonality, but because the etude ends in D the timpanist might want to hear this B–C # as la–-ti in relation to the final cadence in D. For the next tuning change in measures 27 to 28, the last note sounding B is heard/ sung down a major second to the A in measure 26 (using solfeggio, if the B was heard as la, as suggested above, the B to A could be heard as la to sol in the ending key of D) and tuned in time during measures 27 to 28. The passage in measures 29 to 30 could be heard using solfeggio with the A–C # as sol–ti in relation to the final cadence in D. The final tuning of C # to D is easily heard as ti to do and performed in time during measures 31 to 32, and the exercise ends with the A–D sol–do cadence in D as it began. Tuning changes similar to those in Example 5-C can be edited into most two-, three‑, or four-drum exercises, and further ear training and tuning exercises can be found in published texts listed at the end of this chapter. Ultimately through practice of exercises like these the timpanist develops the ability to tune accurately using an acquired familiarity with the pedal positions and feel for pitches on the instruments. Developing these quick, accurate tuning habits requires diligent practice, but is essential for all levels of solo and ensemble performance. If quality tuning gauges are available, it would behoove the timpanist to master the art of using tuning gauges.

Tuning Gauges The standard tuning gauge is a mechanical device that measures the distance the pedal moves, not the frequency of vibration of the head or pitch (see Figures 5.6 and 5.7). For this reason tuning gauges are not completely reliable as accurate tuning devices. They are available from most timpani manufacturers and through some specialty shops. They can be helpful in approximating the pedal placement especially when very rapid tunings must be made, as occurs in advanced literature or in show playing and pit work.

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Gauges are also helpful when playing timpani parts that are written for three or four drums on only two drums, as in pop concerts and show work. Some gauges have been designed to measure pitch electronically but they have met with limited success. While well-calibrated gauges can be a tuning aid, school timpanists too often end up relying on this visual form of tuning and neglect to develop aural tuning skills. Timpanists who develop keen hearing and tuning skills will find gauges a helpful tuning aid as long as they remember to trust their ear and not their eyes. The art of using tuning gauges is dependent upon proper adjustment of the drum ranges, the indicator pointer, and tuning tabs. To address these adjustments, begin by setting the bottom note in the practical playing range on each drum according to the lowest-note pedal positions. After this is accomplished, proceed to calibrate the tuning gauge note tabs, or “tune your open strings.” Some schools of playing (for example, some English timpanists) will set the highest notes in the playing range on a drum according to the highest-note pedal position and proceed to calibrate the gauges from that drum range regardless of lowest sounding notes. Setting the lowest note in the playing range, or even a half-step lower, according to the lowest-note pedal position is recommended. Once this proper playing range is set, calibrating the note tabs will automatically re-set the proper lowest note in the playing range, and re-checking it will be only occasionally necessary. After the note tab calibrations are made, it is advised that the tabs be secured in place. The tuning gauge linkage between the pedal and the indicator pointer on the tuning gauge should be adjusted so that the indicator pointer makes the fullest possible sweeping movement over the face of the gauge when the pedal is moved from lowest to highest position. This will result in a good spacing between the note tabs on the tuning gauge when the tabs are calibrated according to pitch. One of the most important points to consider when calibrating the note tabs is that regardless of head type—mylar or plastic-type film or animal goat- or calfskin head—the higher the pitch in the range of the drum, the greater the distance the head must be stretched and the greater the spacing between note tabs. Therefore, after accurate calibration, the visual appearance or spacing of the note tabs will be close together in the lower range on the gauge and farther apart in the upper range. For example, keeping in mind half-step and whole-step interval relationships, the accurate calibration of note tabs on a 29” timpano will result in the spacing of the tabs in such a manner that the F and G tabs will probably be touching, with a slight space between the G and A (approximately 1⁄8 inch), and a little more space between the A and B (approximately 1⁄4 to 3⁄8 inch). The space between the B and C, although it is the only half-step interval on the gauge, will usually be at least as wide as the space be­tween the A and B and often wider, depending on the manufacturer of the timpano, the quality of the head, and gauge. Most note tabs supplied with gauges indicate only natural notes although some manufacturers supply blank tabs or even sharp ( # ) and flat ( b) tabs. Natural notes alone suffice quite nicely in providing enough visual reference on the gauge; however, the use of additional sharp and flat tabs is preferred by some. Note tabs will be spaced even wider if animal-skin heads are used. Once the note tab calibrations are made and the tabs are secured in place, there should be little or no adjustment required to the tabs. New heads may require some “settling-in” time with slight adjustments required in the tabs for a few weeks. Playing with calfskin heads in changing humidity will require some adjustment, more by the player than in the tabs, but that is another art in itself. However, note tabs can be extremely valuable to players of calfskin heads by indicating whether the whole head is rising or falling due to atmospheric conditions. The tabs will remain relatively accurate even for calf heads, if the timpanist keeps the whole drum in range. With each timpano adjusted to its proper playing range and with an awareness of the spacing differences likely after calibration, the timpanist is ready to calibrate the note tabs. The important thing to remember is to tune the desired pitch on the drum first and then adjust the note tab to the position of the indicator pointer. Although it may seem successful to simply tune the lowest note on a drum (for instance, low F on a 29”

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timpano), adjust the tab and indicator pointer to read F, and then proceed up the range with G, A, B, and C accordingly, this procedure is not the most efficient for calibrating tuning gauge note tabs. Variables such as the age of a head, head stretch, elasticity and “memory,” or how quickly a head stretched to an upper range note returns to its original state of stretch in the middle or lower range, all affect calibration of the note tabs and their reliability. Experience has proven that initially tuning the middle note in the playing range on each drum (the “open strings”), and then adjusting the position of the note tabs to the indicator pointer to read these notes in the lower-middle part of the face of the tuning gauge results in the best calibration of the entire gauge range for two main reasons: (1) these middle-range notes sound the best and have a nice medium tension with good elasticity and memory; (2) the most commonly played notes on a timpano are generally in this middle range. This middle-range tuning and note tab adjustment for a set of four timpani would be an A on a 29” drum, a D on a 26” drum, a G (or sometimes an F) on a 32” drum, and an F on a 23” drum. After the above notes are tuned around the set of four drums and the note tabs are secured, perfect fourth and perfect fifth intervals tuned between drums in the middle, lower-middle, and lowest range followed by upper-middle range and lastly top range tunings will result in the best calibration of the tuning gauges. The tuning of intervals between drums, as opposed to a scalar line on one drum, calibrates actual intervallic playing relationships into the gauges. An example of the continued tuning and note tab adjusting might include tuning from the D on the 26” drum, down a perfect fifth to a G on the 29” drum, and tuning a G on the 32” drum. The 23” drum could then be tuned up a perfect fourth to a G from the same D on the 26” drum. Tuning the A back on the 29” drum from the D on the 26” drum could then be followed by tuning up a perfect fifth, from the A on the 29” drum, to an E on the 26” drum. The 23” drum could also be tuned to this same E, a perfect fifth above the A on the 29” drum and in unison with the 26” drum. This then could be followed by tuning down a perfect fourth to a B on the 29” from the E on the 26”. The G on the 32” could then be used to tune and calibrate a C on the 26” drum, and this C used to tune down a perfect fifth to an F on both the 32” and 29” drums. Finally the top C could be tuned on the 29” drum a perfect fifth above the F on the 32” drum. A return to and check of the initial middle-range pitches (“open strings”) during this procedure will ensure the best accuracy in note tab calibration. Further ­tuning and tab adjustment should include similar perfect fourth and perfect fifth in­tervals between drums until all pitches in each drum’s range have been tuned, saving the highest notes in each drum’s range until last because of the variable of “memory” in the heads. After all note tabs have been carefully calibrated, the timpanist must keep in mind the following Cook Book Essential Ingredients pitch tendencies when playing: 1. Tuning a note in the extreme high range of a timpano and playing it for an extended period, (especially loud playing) may require that the pitch be adjusted upward from the tab, to avoid sounding flat, either by using the fine tuning handle available on some models or by use of the pedal. Keep in mind, if the fine tuning handle is used, the remaining tabs may also be out of adjustment (sharp) for later reference and may require readjustment back in tune. 2. Similarly, depending on the memory of the head, after playing a note in the top range of a drum, merely moving the indicator pointer to a lower note tab on that same drum does not ensure good intonation. Usually, the pitch will sound flat to the note tab as the head stretched some in the top range. This will need to be adjusted by the fine tuning handle or by the pedal. In rapid tuning passages when gauges are used, a simple editing of the part with arrows written next to notes that need to be “lipped up” or adjusted in this manner suffices quite nicely. 3. The finer the quality of the timpani the easier it is for the timpanist to play with accurate intonation. Timpani that have the aforementioned fine tuning handle or

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wheel (Premier) are easiest to play in tune. Extended collar heads are much more stable than conventional collar heads. The latter may allow the pitch to slip some below the note tab and the accurate pitch center, especially on lower range notes, and require a quick adjustment in pitch by the attentive timpanist. In some such situations, more accurate intonation can be facilitated by tuning the note and depressing the head slightly with the hand to “settle in” the pitch before playing. Experience and a keen ear are the best aids in such situations.

Intonation Tempering One additional word about intonation on timpani: Although much time is spent learning to tune pitches and intervals accurately on the timpani—with and without the aid of tuning gauges—these skills are only the bare fundamentals of playing with good intonation. It is assumed a good timpanist can make tuning changes on the drums as demanded in the music. The Cook Book Essential Ingredients for good intonation and real test of good intonation depends upon 1. Knowing how the newly tuned interval(s) should sound when playing resumes (that is, hearing the interval(s) in the inner ear—using solfeggio helps immensely) 2. Recognizing any degree of inaccuracy in the interval(s) and adjusting immediately 3. Most importantly, listening to the timpani pitch(es) in relation to the ensemble and tempering the pitch(es) to match the ensemble intonation and harmony as perfectly as possible This tempering is multidimensional in that it includes adjusting individual pitches to their correct chord-tone relationship as chords progress and between key tonalities and blending all the drums to the entire ensemble’s pitch level according to the instrumentalist’s pitch tendencies. Without this tempering, the timpani will sound out of tune. Many discrete decisions need to be made as to whom to tune: soloist, section, or entire ensemble, depending on the nature of the passage and how the timpani pitch “fits” with what was just played, is being played, and/or is about to be played in the ensemble. It is important to remember that instrumentalists generally play sharp when they play loudly, and conversely they play flat when playing softly. This, coupled with the possibility of a timpani note sounding sharper when played softly and flatter when played loudly (especially if the heads are not clear and ringing true), are intonation concerns of the timpanist. Care must be exercised not to overplay in loud passages and “pressurize” or stretch the head to a sharper pitch than intended; this is common in loud passages and on loud rolls, especially with developing timpanists. A complete awareness of the role of each timpani tone, constant attentive listening, and minute tempering tuning adjustments together with experience playing in ensembles will refine the timpanist’s intonation skills. All the above considerations make performance on the timpani a special challenge when it comes to intonation. For as Fred Hinger states in his celebrated Timpani Technique for the Virtuoso Timpanist, “It is well nigh impossible to play what each individual thinks is ‘in tune’ because each person has his or her opinion of what ‘in tune’ is.” His solution to this problem, and the best advice offered here, is to adjust to the ensemble. Hinger later comments on the use of tuning gauges by stating, “Only an amateur would ridicule the use of indicators when the player finds it necessary. A rule to follow is ‘Use any means possible to get the correct pitch.’” The understanding of the proper adjustment and calibration of tuning gauges and the use of them in an appropriate manner can be a great asset to the timpanist’s quest for fine intonation. Disciplined study of intonation exercises in the Hinger book mentioned above, the Friese-Lepak timpani method, Musical Studies for Pedal Timpani by Nick Woud, and other books or sections of methods that address timpani tuning is imperative

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for the developing timpanist. Method books by Mitchell Peters, John H. Beck, Richard Hochrainer, Arnie Lang, Mervin Britton, Bob Tilles, Garwood Whaley, Jacques Delecluse, Siegfried Fink, Ron Fink, and others are listed at the end of this chapter. Disciplined practice, both with and without the use of tuning gauges, and with a conscious awareness of the interaction of the triple-channel learning in the feet, ears, and eyes will aid in developing the skills necessary to “use any means possible to get the correct pitch” and enhance the timpanist’s intonation.

The Grips Two basic grips are used for playing timpani: the matched grip, or in its pure form called German grip (Figure 5.9), and the “thumbs up” or French grip (Figure 5.10). Occasionally a version of the matched grip is referred to as the American grip. This merely describes the matched grip turned with the thumbs facing slightly more upward than usual—actually a mixture of the matched (or German) and French grip. The so-called American grip will not be discussed separately in this text. The labeling of timpani grips as German or French refers to characteristics of German or French tone concepts generally associated with any musical instrument (that is, German tone being dark in quality and French light). The idea that the German timpani grip produces a darker tone due to more resistance of the hand positioned on top of the mallet and that the French grip produces a lighter tone due to the mallet pivoting more freely over the thumb is partially true, but the grip is only one of many variables in­volved in tone production. Many variations of these grips are used for artistic expression on the timpani, but having a good fundamental grip is essential to developing a good tone, touch, and technique on the timpani. For a description of matched grip, see the passages in Chapter 2 concerning matched grip snare drum playing and video demonstrations for snare drum and matched grip timpani. The French grip is essentially the matched grip turned until the thumb is positioned on top of the mallet with the thumb nail pointing toward the ceiling. When teaching the grip, simply have the student observe their hands hanging at rest alongside their body. The relaxed curvature of the hand and fingers at rest forms a natural hand position for the French grip. All that remains is to bend at the elbow to bring the hand up to waist level (as if reaching out to shake hands). Insert the stick and you have the French

F IG U RE 5. 10   The French or “thumbs up” F IGU RE 5 . 9   The matched or German timpani grip

timpani grip

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grip, perhaps the most natural of all stick grips. The following description is given for complete understanding and to establish an “area of correctness” in the grip. With all timpani grips the mallets should be held very near the end of the handles. Welldesigned mallets, measuring between 13 and 16 inches in length, are unbalanced when held too far up toward the middle of the handles. To establish a basic French grip, a pivot point should be formed on the mallet between the pad (fleshy part) of the thumb and the first joint area of the index and middle fingers. The ring and little fingers close lightly around the back of the handle to complete the grip (see Chapter 5 video: Track 7 and Figure 5.10). The Cook Book Essential Ingredients to be aware of when setting up a fundamental French grip are 1. The tip of the index, middle, and ring fingers should curl slightly around the mallet handle and support the stick in the hand. How much curl around the handle will depend on the diameter of the mallet handle and finger length. 2. The side of the thumb must be positioned relatively close to the base of the index finger but not closed tightly against this area. (This is called an open fulcrum and is essential to all percussion grips!) This open fulcrum positioning will vary according to hand size, finger length, and mallet handle diameter. Failure to keep the thumb close to the base of the index finger at the outset of establishing a basic French grip can result in a weak, collapsed grip. 3. The pad of the thumb should align opposite the index finger and the space between the index and middle finger on opposite sides of the handle, and the remaining fingers form a whole-handed, supportive, cushioned grip around the mallet handle. 4. The back of the hand should be straight with the arm and thumb nail pointing up toward the ceiling. No unnecessary contorting the hand and fingers into this grip should occur. The fundamental grip should be stable for control but it must be relaxed for free stick movement and to produce the fullest tone possible. Think of supporting a fledgling bird in the hand (as Jim Chapin so beautifully advocates) and holding a lady bug gently in the pivot point between the thumb and fingers. This will result in a proper relaxed fundamental grip with an open fulcrum that, once well established, may change slightly as the player’s imagination triggers the appropriate musical sound.

The Basic Timpani Stroke A complete discussion of tone production on any instrument is best when it involves live illustration with auditory perception and visual observation. While the video comes closer to this than ever before, the following explanations present an approach or theory of movement for playing the timpani. The fundamental premise of tone production on timpani (or any percussion instrument) is the quality of tone produced is dependent on the length of time the mallet is on the vibrating head. Ultimately, it is the timpanist’s conception of the tone intended, his or her inner-ear imagination and feeling for the tone that is to be produced (Hinger calls it the “mental-aural picture”—this author has expanded it to a “mental-aural-kinesthetic picture”) that determines the length of time the mallet is on the head. The timpanist, like any musician, must first acquire a concept of sound through listening to live and recorded fine timpani playing, and then develop that concept of sound. An excellent timpani teacher can provide much inspiration and guidance. The cultivation of this all starts with a good fundamental grip and developing a good basic legato timpani stroke. The concept of a basic timpani tone should be one that produces the richest fundamental pitch with the least amount of overtones. Animal-skin heads naturally produce a tone with a much stronger fundamental than plastic heads. Plastic heads also have more overtones than skin heads. Therefore, to compensate for the weaker fundamental and plurality of overtones when playing plastic heads, a basic

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legato timpani stroke that stays on the head as long as possible and then is allowed to freely rebound, will produce the strongest fundamental. (It is acknowledged that legato refers to the connection of tones, but it is used here in its classic pedagogical percussion sense to mean a full and resonant tone.) This basic legato stroke is achieved by playing a stroke deliberately on to the head (like tossing or throwing a ball) and then immediately allowing the mallet to freely rebound off the head rather than lifting the stroke off the head. While the latter approach produces a lighter tone quality, and indeed is used in timpani playing, it is not advocated as a basic legato timpani stroke. Although comments focus on the playing apparatus of fingers, hands, arms, shoulders, and back, a constant awareness must be maintained of whole mind-body involvement in playing. Many kinds of visual, kinesthetic, proprioceptive, and auditory feedback are more perceptible when playing timpani than when playing other percussion instruments due to the greater resonance of the tone (auditory stimuli) and exaggerated body movements. A basic legato timpani stroke could be described as one that involves a balanced combination of back, shoulder, arm, elbow, wrist, hand, and fingers to play the stick. Although, when eventually mastered, all these are integrated into one smooth, fluid motion, the initial approach to the stroke requires a sensitive development of touch and timing in the fingers. The fingers are used in sustaining a smooth, resonant roll and in general playing. Therefore, one initial objective is to develop sensitivity and timing in the fingers to the movement of the mallet in the hand. An easy way to do this is by “air drumming.” The objective is to allow the fingers to discover an action that is in constant contact with the mallet handles without inhibiting the movement of the mallet through the air and without engaging the wrist. Repeated air drumming practice will help sensitize the fingers to the motion of the handle in the hand. Watch for little or no wrist motion and maintain a good pivot point on the handle with an open fulcrum. See the Chapter 5 video: Track 7 for this complete demonstration. After discovering a sensitivity and timing in the fingers and hand to the motion of the stick through air drumming, the timpanist can continue developing the basic legato stroke. As stated above, sensitivity to the natural rebound of the mallet off the drum head is essential to achieve the most fundamental pitch in the tone, as well as to further develop performance techniques. When working on stroke development, the teacher should guide the student into experiencing an awareness of what is happening as trial and learning takes place. Bouncing racquetballs, tennis balls, or even a soccer ball or basketball on the floor or sturdy table will convey an idea of hand, wrist, and arm motions involved in making an uninhibited, free rebounding timpani stroke. Repeated imitative bouncing ball motions made in the air over the drum with and without a mallet in hand instill rich imagery and spark kinesthetic and proprioceptive sensations related to the actual stroke. (Many teachers will have the student actually bounce fresh tennis balls off the timpani head to impart these sensations.) Teacher demonstration followed by student imitation with absorbed awareness in all physical, visual, and aural aspects of the stroke will promote learning. The teacher’s awareness instructions should focus the student’s attention on every aspect of the grip and stroke, such as the amount of contact the thumb and each finger has on the stick at each phase of the stroke, the degree of movement in the fingers and opening between the hand and pivoting stick, the vibration of the stick in the hand, and, of course, the resulting sound actually produced and its relationship to the intended quality of tone. If the timpanist conceives of the basic legato stroke as an integrated finger stroke with added stroking motion toward the head played from the hand, wrist and arm (connecting through to the shoulder and back), followed by an uninhibited, free natural rebound of the mallet away from the head, a good tone should be produced (see Figure 5.11). The use of large mirrors and video equipment to observe the drums and student is very effective also. An inventory of the entire body can provide rich feedback and many times detect tensions in the back, neck, buttocks, or legs that are inhibiting optimal coordination in the stroke. See the Chapter 5 video: Track 8 for complete demonstration and further discussion of the basic legato stroke.

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Ch apte r 5 FIG U RE 5 .1 1   The basic timpani stroke

Practicing individual legato strokes, as described and demonstrated on the Chapter 5 video: Track 8, slowly with hands together for “cloning” of grip and strokes and with each hand separately to better hear the resulting sound, should develop a good basic touch. The continuous free rebound should return the mallet, hand, and arm to a high full stroke starting position after each stroke. Gradually hand-to-hand alternation and mixed combinations of stickings can be practiced on one drum and then on two drums like exercises 1 to 4 in Example 5-D. Careful listening for balanced sounds between hands and drums with consistent playing spots is essential. In general the larger timpani require a slightly stronger stroke (and roll) to balance the line with the smaller drums.

Articulation Considerations and Musical Expression The initial development of a legato stroke in timpani playing (as in playing all percussion instruments) gives the player the foundation from which to produce any desired change in tonal color or articulation through subtle, conscious alterations in technique. Conversely, if the initial approach to playing is through a staccato-type, playing into the head, articulate-style of strokes the possibilities for musical expression through articulation and color variance are limited by the lack of sensitivity to a legato touch. Many approaches to articulation on the timpani (often called staccato technique) have been expounded over the years. (Staccato, really means “separated” but is often used in this context to mean “short.” The term has misled student timpanists to think of playing as “black and white” or legato and staccato. This is unfortunate because there is a lot of “gray” and other colors in between if this approach is thought of as “articulation” on the instrument.) Some approaches only point out altering grip pressure or stroke velocity while others stress mainly change of stick height. Although each approach accomplishes the end goal of articulation variance, a working knowledge of all aspects of articulation and phrasing gives the greatest potential for musical expression. As has been established thus far, a deliberate stroke on to the head, that leaves the mallet on the head as long a possible, and then immediately allows for a free, uninhibited, natural rebounding stroke produces a full legato sound with a strong fundamental. This is most obviously perceived using a general articulation mallet. To alter the quality of tone, which Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.



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includes attack, color, length, projection, and resonance, the natural rebound must be altered either through an artificial lifting of the stick off the head faster than occurs with the natural rebound, thus creating a light tonal quality, or through the creation of some type of subtle resistance against the natural rebound, which actually causes the mallet to remain on the head a fraction of a second longer, thereby muffling slightly its own tone and creating clearer articulation. This resistance and increased articulation clarity can be created by five Cook Book Essential Ingredients this author calls the Big Five attributes of articulation and phrasing for musical expression on timpani. Each of these very subtly alters the length of time the mallet is on the head and should be practiced separately and then “mixed” together using step 5 “mental-aural-kinesthetic picture” as demonstrated on the Chapter 5 video: Track 9. They are 1. Manipulating the height of the stroke (which naturally results in certain grip alterations in order to change the stroke height and maintain even dynamic balance) 2. Manipulating the grip (which involves varying finger contact and grip pressure on the stick and results in some natural change in stroke velocity and stroke height) 3. Altering where on the head the strokes are made in relation to each other and the vibration of the playing area 4. Manipulating the lift of the stroke by altering arm, wrist, and finger involvement in making the stroke (which alters the velocity of the stroke) 5. Vivifying the mental-aural-kinesthetic picture of tone in the player’s imagination and playing with trust in one’s ability to express these attributes together in music To proceed beyond the mastery of a basic legato stroke, one must be aware of these attributes and considerations and practice them separately and in combination. The timpanist should experiment with altering and consciously manipulating stroke height, grip, stroke placement, and stroke action in exercises 5 through 30 in Example 5-D and with similar exercises in method books. The practice approach should be one where each at­tribute 1 through 4 is “programmed” with a focus on its “triple-channel” feedback and then the next attribute practiced, finally blending them all together by playing with a vivid number 5 mental-aural-kinesthetic picture of the intended sound. This process is demonstrated on Examples 5-D #25 and 5-E on the Chapter 5 video: Track 9 and described below. The first consideration involves the awareness that greater clarity in articulation can be achieved by deliberately lowering stroke height on notes of shorter duration or that require clearer articulation. This manipulation of stroke height in turn causes certain grip alterations and changes in stroke velocity to occur naturally without the player needing to be concerned with them. Dynamic levels must remain constant throughout the manipulation of the stroke heights, and all strokes must be played as cyclic fullstrokes from their respective heights. The second consideration is altering the articulation through grip manipulation and include 1. Playing with increased finger and hand contact on the handle between the thumb and index and middle fingers (that is, at the pivot point) to affect articulation. 2. Playing with a firmer gripping of the handle with the thumb and index, middle, ring, and little fingers—how firm a grip depending on the desired tone. Each finger is capable of subtly affecting the tone. 3. Using a snappier wrist action that increases stroke velocity and transforms the stroke to allow less rebound through this more deliberate stroking on and off the head by the performer. As a rule, the louder one plays the looser the grip needs to be to maintain a good tone because the louder strokes of the mallets create the articulation clarity. Inversely, soft articulate passages will articulate more clearly if some grip pressure is employed. The de­veloping timpanist should experiment and always keep in mind this “louder looser” rule. Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Ch apte r 5

The notion of playing with degrees of rigidness in the wrist and perhaps even with the addition of arm motion for extremely articulate passages can also be explored. Matched or German grip hand position may be used to create a clear articulate effect caused by the whole hand imposing resistance on the stroke. The third attribute of where strokes are played on the head considers that the closer together the mallets play, the dryer or shorter the articulation, since each successive stroke is being made in an area on the head that is already actively vibrating. As a concept, then, notes that need to be articulated more clearly, or shorter than others, could be played closer together. Furthermore, if one stroke is followed by a second in exactly the same spot on the head, the second stroke will have a shorter, almost muffled quality, due to the agitation of the head from the first stroke. The principle, of course, applies to other successive strokes in the same playing spot on the head. Hence, the roll, comprised of legato tones, when played with the strokes spread 6 to 8 inches apart has a fuller tone than when the strokes are closer together, or worse, are played in exactly the same playing spot. An application of this concept to a figure, for example, of an eighth note, followed by two sixteenth notes repeated in quarter time, would result in the sixteenth notes being played close to one another and the eighth note being played slightly away from them for added length. This slight movement placing the strokes in a “fresh” playing spot is sometimes called traveling. Application of the other articulation attributes of height, grip, and/or lift to this figure could further enhance its performance. Fourth, to produce a more resonant, singing tone quality, the timpanist can experiment with adding a deliberate lift to the stroke. This lift is generated mainly in the wrists with some arm accompaniment and must be sensitively synchronized with the natural free rebound of the stick off the head. Any artificial pulling of the stick off the head before the moment of free rebound will result in a superficial, light tone quality. A late attempt at pulling the stick off the head after the moment of free rebound will produce an articulate tone (due to the rebound resistance and mallet staying on the head). Practicing exercises 5 through 30 in Example 5-D with sensitively timed wrist lifts will add resonance and singing quality to the timpanist’s tonal vocabulary. This concept of lift is appropriate for playing in a classical style and is especially useful for loud playing on plastic heads in the lower registers. The fifth area of consideration regarding articulation and musical expression on the timpani is simply playing with a vivid mental-aural-kinesthetic picture of the passage in the player’s mind and imagination. This “picture” integrates the previous four attributes and results in a musical performance. Repeat each exercise 5 through 30 in Example 5-D many times, and apply the articulation considerations above. Start slowly and at a medium loud dynamic level. Eventually vary tempo and dynamics for total awareness of all aspects of articulation. Use repeated alternating stickings. Insert a measure of legato quarter notes between repeats of the more difficult exercises. Use different drums and many different tunings for pitches throughout the range of the timpani. Listen and play for an even dynamic balance between all notes and the creation of musical lines. Pay attention to and absorb all feedback and aspects of your playing experience. Close study and experimentation with these concepts in Examples 5-D through 5-F will reveal a great deal about articulation and expression on the timpani. The enlightened performer is then encouraged to apply these concepts to all percussion performance and to be aware of the way they promote a heightening of artistic attitude and expression in performance. EXAMPLE 5-D  n  Articulation considerations

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EXAMPLE 5-D  n  (Continued)

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EXAMPLE 5-D  n  (Continued)

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EXAMPLE 5-D  n  (Continued)

For further study and practice material regarding the development of articulation concepts, see Timpani Technique for the Virtuoso Timpanist by Fred D. Hinger. He has de­vised a unique visual relationship between note stem height and articulation to illustrate degree of articulation relative to stroke height. Musical performance on percussion instruments is limited only by the performer’s creative imagination, assuming he or she is aware of artistic concepts of performance and possesses a well-developed ear and technique. The reader is encouraged to review the sections on expression and phrasing in Chapters 2 and 4. All those considerations are of paramount importance to understanding musical expression on the timpani.

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The premise that the tone produced depends mainly on the timpanist’s inner-ear musical imagination and “feel-mage” (feel imagery) of the tone, was introduced earlier in the section “The Basic Timpani Stroke.” As the timpanist develops technical skills, he or she should always be aware of this and trust in it. For once the hands and body have discovered the fundamental technical controls of timpani playing, there is no limit, other than one’s creative imagination, to the expressive capabilities of playing the instrument. One need only to conceive of a sound or phrasing and the technique can be found to produce the imagined sound, be it a finger or forearm stroke, a lift, or a clever trick of the trade. Cultivation of the artistic imagination is an ongoing process that grows out of the stimulation of all artistic and intellectual senses. The teacher’s responsibility is to guide their students toward this stimulation and growth by exposing them to provocative musical and artistic experiences of all kinds. These experiences include the finest recorded and live performances for acquiring model concepts and excellent guidance in the intellectual, physical, technical, and artistic study of the timpani, music, and all the arts. The true artist, who has mastered all degrees of articulation and tonal colors, performs with a preconceived mental-aural-kinesthetic picture created within his or her creative imagination and applies musically all these technical concepts. A curiosity about and dedication to these principles will direct the young timpanist toward this artistic level of performance and make the difference between a technician and a musician. The timpanist is encouraged to pursue these concepts through practice and performance and to further their understanding of them through study of fine books by Fred Hinger, Richard Hochrainer, John H. Beck, Mitchell Peters, Percival Kirby, Henry W. Taylor, Edmond Bowles, and if possible, with a fine timpanist. Example 5-E is given for application of the above concepts of musical, artistic timpani performance. This should be performed with at least seven different grips and strokes and in at least three different playing areas. Note that the labels in this example of full legato, ½ legato, and so on are purely for the sake of illustration and in no way suggest a rigid classification of stroke types. All artistic concepts of musical expression are only relative to the given musical situation. Study the Chapter 5 video: Track 9 demonstrations for complete understanding of these concepts.

EXAMPLE 5-E  n  Timpani articulation and phrasing

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EXAMPLE 5-E  n  (Continued)

The two-drum exercises in Example 5-F represent typical fundamental studies. They are offered for application of all playing concepts studied thus far and for playing enjoyment. Listen and play for evenness between strokes and drums and for articulation clarity. Enjoy the experience. EXAMPLE 5-F  n  Basic two-drum exercises A through D

C.

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EXAMPLE 5-F  n  (Continued)

D.

Further development of finger controls, mallet sensitivity to the head and rebound, and constant awareness in playing will continue to expand the timpanist’s technique. Many other aspects of timpani technique require analysis and discussion and are taken up separately below. Although detailed explanations and exercises are presented below and demonstrated on the video, the teacher is reminded to use creative teaching techniques when presenting these concepts and to allow learning to occur through experiential awareness.

Rolls, Finger Strokes, and Forearm Further development of the finger control necessary for execution of rolls and strokes can be accomplished using the finger stroke exercises in Example 5-G. See the Chapter 5 video: Track 10 for explanation and demonstration. These finger stroke exercises played on the drum continue sensitizing the fingers as first started by the air drumming finger stroke exercises. Allow very little wrist motion, and maintain a relaxed yet stable pivot point. Finger strokes can be practiced separately or from hand to hand with the patterns shown in Figure 5-G. The hand should remain quite stable, and only the fingers should perform the stroking.

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EXAMPLE 5-G  n  Finger stroke exercises

Constant pulse with increasing rhythmic subdivision:

Constant rhythm—increasing sustained duration:

The single-stroke roll is used almost exclusively on the timpani. It can be developed using exercises for the snare drum single stroke and the keyboard percussion roll, as well as with the exercises in Example 5-H (see Chapter 5 video: Track 10). When practicing the “drop in” exercises 1 through 3 in Example 5-H: 1. Start each finger stroke from “extended” position (see video). 2. Diminish height according to speed of rhythm but maintain dynamic level. 3. Practice at a tempo that allows for even performance of the sixteenth and thirtysecond notes. 4. Practice using different dynamics, therefore different mallet heights, but do not play too loudly for these are finger stroke exercises. Almost all timpani rolls should be played single stroke with the mallet heads approximately 6 to 8 inches apart on the head, depending on the size of the drum, to allow for maximum vibration of the head. Double stroke or buzz rolls choke the drum tone but may be used for special effects. Speed of rolls will need to accommodate the drum size and head tension: Basically, larger drums and lower pitches with looser heads require slower rolls.

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EXAMPLE 5-H  n  Roll development exercises—“Drop Ins”

When performing timpani rolls in a musical context, the timpanist must decide many times whether or not to tie rolls. This must be determined by the context of the roll within the music. If the roll is not to be tied the timpanist should stop the sound at the end of the roll. If the roll is to be tied, the timpanist should stop the roll on the tied terminating release note. Review “Interpretation of Notation” in Chapter 1 and these concepts in the section on roll interpretation in Chapter 2. When first playing roll exercises on the timpani, the use of a thirty-second note metered roll will help establish roll evenness and the correct speed for maximum tone production. Roll attacks and releases should be made freely with either hand. The model in Example 5-I will offer many considerations for rolling.

EXAMPLE 5-I  n  Metered roll considerations

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EXAMPLE 5-I  n  (Continued)

The exercise as written suggests the key of C, and the G–C tuning represents a ­ ominant-tonic relationship. Played on a pair of 29” and 26” drums at a tempo where d the thirty-second note metered rolls produce the fullest resonant tone of the G and C, the quarter note would equal a metronome marking of approximately 66. Transposing the same or a similar exercise to a higher key would increase the speed of the roll slightly to compensate for the tighter tension of the head and resulting lack of resonance to each stroke. Louder rolls generally require faster roll speeds to connect the more quickly decaying tone produced by each stroke. After experimenting with similar exercises in different keys and taking note of the different metronome markings, the timpanist will become accustomed to the roll speeds for different pitches, dynamics, head tensions, and bowl sizes. Using mallets of different articulations with varying dynamics will also aid in developing an artistic concept of timpani tone whether rolled or struck. Ob­viously, during actual performance, use of a strict metered roll is not very practical or recommended. Here the roll speed is gauged according to the feel and by listening for the best tone. In general, long rolls will allow for the ideal roll speed, but short rolls will require a faster than ideal roll speed to create the effect of a roll. The more experienced and musical timpanist will discover that faster roll speeds can create excitement and tension in music, and slower roll speeds can help to convey relaxation, calmness, and serenity. When playing very loud rolls, the timpanist must strive to relax the hands to avoid creating a forced tone. When playing loudly, the mallet handles should be positioned parallel to each other and more wrist and forearm rotating motion used to play the mallets to and from the head. If a French grip is used, the thumbs should angle slightly across the mallet handle when they are brought parallel to each other for loud playing (Figure 5.12). See the Chapter 5 video: Track 11 for demonstrations of rolls at loud dynamic levels with forearm technique. Note how forearm rotation is added to the ff-level rolls with more parallel mallet positioning. There is no vertical “pumping” of the forearms from the elbows. Figure 5.12 and the video demonstrations show slight angling of the thumbs across the mallet handles for loud rolling. The degree of thumb angle across the handle will vary according to hand and finger size. This allows for a more cushioned, supportive grip in the entire hand on the mallet and for forearm rotation to be added to the loud level stroking action. The forearm rotation can be likened to screwing in a hot light bulb in the right hand and unscrewing a hot light bulb in the left. This analogy emphasizes the torque toward the drum. The analogy of shooting cap pistols, holding grapefruits, and playing African gyil or xylophone, as shown on the Chapter 5 video: Track 11, further approximates this forearm movement.

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Ch apt e r 5 FIG U RE 5 .1 2   Hand positioning

for loud level rolls and forearm rotation strokes

As with any legato stroke, sensitivity and timing must be developed to allow for a free uninhibited rebound and perhaps lift after contact with the head. Slow, careful practice of individual forearm strokes in each hand at ff level will start to acquaint the timpanist with the technique. (See “Forearm Technique” on the Chapter 5 video: Track 11.) Eventually all finger stroke and roll development exercises should be played with forearm technique. Fine points are: (1) thumbs angle across the stick, (2) the “light bulb” rotation of the forearm, and (3) a relaxed grip on the stick supported by the whole hand (as if holding a fledgling bird or the stick were a scalding hot dog and being carried across a room in one’s bare hand!). The practice of sustaining long rolls from very soft to very loud will require a tran­sition from mainly finger strokes, through added hand and wrist motion, to eventual ­forearm rotation, with possible added lift at any level. See the Chapter 5 video: Track 11 for complete dem­onstrations of the forearm technique and transition rolls. By paying attention to all aspects of these techniques and noticing how this transition occurs naturally, the timpanist will eventually develop dynamic control of all roll playing levels. Much skill is required to obtain a good full sound from a loud roll. Remember the louder-looser rule, and never play with forced loud rolls. The timpanist is encouraged to seek further roll concepts and study the texts by Peters, Hinger, Beck, Friese/Lepak, and Goodman listed at the end of this chapter.

Forte-Piano Rolls The forte-piano roll should be conceived as a short loud or forte roll followed by a soft or piano roll, all relative to musical context. Many methods suggest one loud stroke be played followed by a pause, to allow the tone to decay to the soft level, and then the sounding of the soft roll. The resulting effect, however, is analogous to the string player playing a forte-piano by rasping an inch or so of the bow across the string and then sustaining piano. To achieve a musical forte-piano any string player would use a full bow and then sustain the piano level. Similarly, the wind player when playing a forte-piano creates a full breath of loud tone, more of a “whoosh” than a “tut,” then sustains a controlled piano. Likewise, if the timpanist plays a quick series of forte strokes to create the forte part of the roll, then allows the tone to decay and sneaks in with the piano roll, he or she will be creating a more musical forte-piano effect. This is sometimes called an extended fortepiano roll. If a quick crescendo must be made following a forte-piano attack (there may be

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time for only a couple forte strokes), do not stop rolling after the forte strokes but instead almost “ghost” a stroke or two and drop to a piano level and then crescendo. Practice these long forte-piano attacks on Example 5-J and see the Chapter 5 video: Track 12 for demonstrations. Play the quarter note forte-piano rolls in measure 7 with only a forte roll attack—the drum will naturally sustain the remainder of the piano level. EXAMPLE 5-J  n  Forte-piano rolls

Muffling Muffling or dampening of a timpani tone is achieved by placing the little, ring, and middle fingers on the head to stop it from vibrating (Figure 5.13 and Chapter 5 video: Track 13) and usually is used at the discretion of the player. Muffling is generally employed during rests if musically warranted and technically possible. Muffling may need to be used to keep sympathetic vibrations of one drum pitch from sounding in another (for instance, drums tuned to perfect fifths) and sometimes when a passage changes quickly from loud to soft dynamics. Muffling should be used whenever convenient to stop the vibrations of one drum from leaking into the tone of another being played. This is called ­adjacent drum muffling. It is particularly useful when tunings are close, such as C and D in Example 5-K (#2). The “x” in Example 5-K represents the moment that muffling should occur to achieve the clearest tonal line. F IG U RE 5. 13  Muffling,

regular

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EXAMPLE 5-K  n  Adjacent drum muffling for clarity of line

#1

#2

Muffling technique can be effectively developed by practicing Example 5-L or similar exercises with these four different techniques. During each rest: 1. 2. 3. 4.

Muffle only the last tone with the hand that played it. Muffle only the last tone with the opposite hand. Muffle both drums with one hand on each drum. Muffle, combining the above techniques and adjacent drum muffling to create a musical performance.

The perceptive ear will notice that when drums are tuned in perfect fifths, the lower drum will sympathetically ring the upper drum’s pitch when the upper drum is played. This is because the harmonic of the fifth sounds in the lower drum. Muffling must be employed on both drums in this situation, even though the lower was not struck. EXAMPLE 5-L  n  Muffling exercises

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F IG U RE 5. 14   Muffling,

alternate method

Occasionally more than the little, ring, and middle fingers will be needed to muffle the timpani tone. Although only three fingers should be employed most of the time, Figure 5.14 illustrates an alternate method of muffling. Of course, a third method could employ both hands on the same drum. (This author has never needed to muffle all four drums by using arms and hands as sometimes used by amateur players.) With any technique, the placing of the fingers on the head must be performed with a minimum of contact sound. A pushing motion with a slight rolling of the fingers onto the head is quieter than a slapping motion (see Chapter 4 video: Track 13). Other muffling techniques may be employed according to the musical demands of the passage. Muffling with the felt head of the mallet, as though vibe mallet dampening, is very effective in soft passages requiring no distracting movement from the timpanist. Audible muffling, if used lightly, sometimes can help to propel the music forward and more clearly state the rhythm, for example, in a passage involving quick repeated alternation between quarter notes and quarter rests or eighth notes and eighth rests. Further information on muffling can be found in timpani methods by Mitchell Peters, John H. Beck, Saul Goodman, and in solo literature by Elliott Carter, Jan Williams, John Bergamo, and others and should be studied by the serious timpanist.

Muting Muting is accomplished by placing a circle of felt or cloth pad on the head and then playing. See the Chapter 5 video: Track 14 for demonstrations of the degree of muting according to the location of the mute on the head. Composers may indicate muting by using the Italian term coperto, and indicate mute removal by the opposite scoperto. Care should be taken not to confuse the term muta with muting, as muta means to “change pitch” (for example, muta A–D means to tune to A and D!). The inside felt pads from fluffy sheepskin cymbal pads make good timpani mutes. A limp soft yarn may be attached for hanging on the drum. Custom-made mutes are available through percussion specialty shops. Suede leather folded into pads and discs also make fine mutes. The timpanist should explore muting where not specified by a composer; it can be valuable for obtaining rhythmic clarity when used judiciously. Wood sticks are not a good solution for obtaining rhythmic clarity and should be used judiciously or only when a competent composer requests them.

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Cross Sticking Cross sticking is the term used to describe the technique of crossing one hand and mallet over the other by using alternate sticking during fast rhythmic passages between drums. It is not necessary for moderately slow rhythms between drums but is essential to maintaining rhythmic drive and clarity of articulation in fast rhythmic passages. It should never be used to impress or for show. Cross sticking is criticized by some who find its use results in an uneven flow of the line; this unevenness is a result of turning the hands over or changing the grip, which of course results in an uneven flow of the line. The cross sticking system presented on the Chapter 5 video: Track 15 maintains a consistent grip and develops a high proficiency level of cross sticking. Thanks to my teacher and mentor Salvatore Rabbio for creating this approach. When fully developed, cross sticking is an invaluable technique for maintaining rhythmic drive and phrasal direction between drums. The alternative, double sticking, cannot sustain the intensity achieved by cross sticking at fast tempos. Sometimes in special situations, like extremely difficult soft passages between drums, the playing spot is moved to an area shown by “x” in Figure 5.15, and sticks are held in a keyboard fashion, left in front of the right. The sticks are not crossed when played between drums. FIG U RE 5 .1 5   Playing area for special situations

Some timpanists employ a “shift” technique for fast alternate sticking between drums. When using a shift, the normal playing area is used as with cross sticking. There is no crossing of the sticks but a very fast movement of the two sticks together to the new drum while continuing the fast alternating sticking. A shift can be substituted for the cross sticking in the exercises in Example 5-N. The shift should be considered for use in combination with cross sticking in performance. These techniques are important to the mastery of timpani. Although more difficult to develop and execute than the shift, cross sticking can become an effective part of most timpanists’ technique if it is approached via the method demonstrated on the Chapter 5 video: Track 15 and shifting in Track 16 “Final Etudes” and notated in Example 5-M. EXAMPLE 5-M  n  Basic cross sticking exercise; x = cross sticking

The most important part of this concept is to position the crossing mallet and hand over the timpano before making the first stroke after the cross has occurred. See the Chapter 5 video: Track 15 for full demonstration. Slow, careful practice of the technique is required. Gradually increase the speed of the exercise to a smooth rapid flowing of notes, and then slow down again and stop. All strokes should be played as close together as possible and in consistent regular playing spots on each drum to achieve clearest possible articulation. The basic cross sticking exercise should of course be mastered by both hands. Other examples of cross sticking exercises are given in Example 5-N, and reference to similar exercises in timpani methods by Goodman, Friese/Lepak, Peters, Beck, and Hinger is encouraged.

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EXAMPLE 5-N  n  Cross sticking exercises; x = cross sticking

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EXAMPLE 5-N  n  (Continued)

The four etudes in Example 5-O are offered for study and application of timpani performance techniques and concepts and for exercise of the creative imagination. See the Chapter 5 video: Track 16 for complete performances of the Allegretto and Andante Cantabile. EXAMPLE 5-O  n  Final etudes

Allegretto

Andante Cantabile Andante Cantabile

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EXAMPLE 5-O  n  (Continued)

Mixin’ Eights Example 5-O

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EXAMPLE 5-O  n  (Continued)

Example 5-O

Sounds Familiar Sounds Familiar

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EXAMPLE 5-O  n  (Continued)

n INDIVIDUAL TIMPANI METHODS AND SUPPLEMENTAL STUDIES The works listed below are graded as follows: Complete, elementary through advanced study; Elementary, within the first year of study; Intermediate, within a second to third year of study; Advanced, within the fourth year or more of study—usually appropriate to late high school or college-level work.

Major Applied Methods The following are high recommended primary texts for individual study of timpani. Complete Methods Concepts for Timpani by John H. Beck (Carl Fischer) The Friese-Lepak Timpani Method by Alfred Friese and Alexander Lepak (Belwin/Warner Bros.) Modern Method for Timpani by Saul Goodman with Roland Kohloff and Gary Werdesheim (Belwin/Warner Bros.)

Etuden für Timpani, Books I, II & III by Richard Hochrainer (Verlang Doblinger) Fundamental Method for Timpani by Mitchell Peters (Alfred Publishing Co.)

Elementary Simple Steps to Timpani by Anthony Cirone (Belwin/Warner Bros.)

Fundamental Solos for Timpani by Mitchell Peters (Alfred Publishing Co.)

Timpani—A Comprehensive Musical Method by Vic Firth/Sandy Feldstein (Carl Fischer)

Fundamental Studies for Timpani by Garwood Whaley (Joel Rothman Publications)

Basic Tympani Technique by Thomas McMillan (Belwin/Warner Bros.)

Primary Handbook for Timpani [with CD] by Garwood Whaley (Meredith Music Publications)

Intermediate Intermediate Timpani Studies by Mitchell Peters (Alfred Publishing Co.) Musical Studies for the Intermediate Timpanist by Garwood Whaley (Joel Rothman Publications)

Solos and Duets for Timpani by Garwood Whaley (Meredith Music Publications)

Advanced Technique for the Virtuoso Tympanist by Fred D. Hinger (Jerona Music Corp.)

Thirty-Two Solos for Timpani by Alexander Lepak (Windsor Music Publications)

Fifty Master Etudes for Timpani by Alexander Lepak (Windsor Music Publications)

Symphonic Studies for Timpani by Nick Woud (De Haske ­Publications/Hal Leonard)

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Supplemental Studies Highly recommended:

Timpani Tuning Exercises by Bob Tilles (GIA Publications)

Twenty-One Etudes for Timpani by Fred Begun (Meredith Music Publications)

Musical Studies for Pedal Timpani by Nick Woud (Pustjens Publications)

Timpani Tuning by Mervin Britton (Belwin/Warner Bros.)

Also recommended:

Bending Bach’s Basslines by Adrian Bending (www.adrianbending .com)

Portraits for Timpani by Anthony Cirone (Belwin/Warner Bros.)

Exercises, Etudes and Solos for Timpani by Raynor Carroll (Batterie Music/Carl Fischer) Thirty Etudes, Books I–III by Jacques Delecluse [elementary through advanced] (Alphonse Leduc) Twenty Etudes by Jacques Delecluse [intermediate through ­advanced] (Alphonse Leduc) Musical Etudes for the Advanced Timpanist (formerly Timpani Tuning Etudes) by Ron Fink (Studio 4/Alfred Publishing Co.) Siegfried Fink, Studies for Timpani, Vol. I—Elementary Exercises; Vol. II—Progressive Studies; Vol. III—Pedal Technique by Siegfried Fink (N. Simrock) The Solo Timpanist by Vic Firth (Carl Fischer) Tympani Tuning by Morris Lang [with cassette] (Lang Percussion/ MFP) Pedal Technique for Timpani by Stanley Leonard (Stanley Leonard) Etudes for the Master Timpanist by George Mardinly (Charles River Music)

Fifty Daily Exercises for Timpani by Jacques Delecluse [intermediate through advanced] (Alphonse Leduc) The Well-Tempered Timpanist by Charles Dowd (Belwin/Warner Bros.) The Tuneful Timpanist, An Anthology of Melodies compiled and arranged by Robert Horner (Meredith Music Publications) Percussion Instruments: Part 2—Timpani by Eckehardt Keune (VEB Deutscher Verlag für Musik, Leipzig, East Germany) Seventeen Technical Studies for Kettledrums by Stanley Leonard (Stanley Leonard) Test, Technical Test Exercises for Four Kettledrums by Felix Passerone (Alphonse Leduc) Exercises for Kettledrums by Wlodzimierz Skowera (PWM Edition) Etuden für Pauken by Heinrich Wecking (Verlag Hans Gerig, Köln, West Germany) Graded Music for Timpani, Bks. I-IV by Ian Wright (EAMD) 30 Etudes for 4 Kettledrums by Jan Zegalski (PWM Edition)

The Musical Timpanist by Jeffrey Peyton (Warner Bros.)

Orchestral Excerpts The following are sources for orchestral timpani excerpt study. Also see Appendix A, “Orchestral Excerpts for Percussion.” 20th Century Orchestra Studies for Timpani by Alan Abel (G. Schirmer) Orchester-Studien für Schlaginstruments, Books I–V by Gerhard ­Behsing (VEB Friedrich Hofmeister, Leipzig) Symphonic Repertoire for Timpani: Nine Beethoven Symphonies, Brahms and Tchaikowski Symphonies by Gerald Carlyss (Meredith Music Publications) Symphonic Guide for Timpani and Percussion by Raynor Carroll (Batterie Music/Carl Fischer) The Friese-Lepak Timpani Method by Alfred Friese and Alexander Lepak (Belwin/Warner Bros.)

Sibelius; Vol. 5—Richard Strauss, Vol. 6—Stravinsky, by Fred D. Hinger (Jerona Music Corp.) Symphonic Repertoire for Timpani: Mahler Symphonies No. 1-6, Robert Schumann Four Symphonies by David Herbert (Meredith Music Publications) Pauken und KleinTrommel-Schule mit Orchester—Studien by Franz Kruger (Arthur Parrhysius, Berlin, West Germany) Traits Difficiles by Felix Passerone (Alphone Leduc) Orchestral Excerpts for Timpani, ed. Scott Stevens (International) The Working Timpanist’s Survival Guide [with CD-ROM of parts] by John Tafoya (Carl Fischer)

Classical Overtures for Timpani, Classical Symphonies for Timpani, Romantic Symphonies for Timpani and Standard Concertos for Timpani by Morris Goldenberg (Hal Leonard)

Beyond the Audition Screen [with CD-Rom of parts and scores] by John Tafoya (Carl Fischer)

Modern Method for Timpani by Saul Goodman (Belwin/Warner Bros.)

Difficult Passages and Solos, Vol. II, for Timpani compiled by L. Torrebruno (G. Ricordi)

The Timpani Players Orchestral Repertoire, Vol. I—Beethoven Symphonies; Vol. 2—Brahms Symphonies; Vol. 3—Tchaikovsky; Vol. 4—

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Reference Books and Videos Encyclopedia of Percussion, 2nd ed., edited by John H. Beck (Routledge Publishing) Timpani and the Timpanist’s Art: Musical and Technical Development in the 19th and 20th Centuries by Nancy Benvenga (Göteborg University) Percussion Instruments and Their History, revised ed. 1984, by James Blades (London: Faber & Faber; New York: Praeger) Manual for the Timpanist, by Carlo Antonio Boracchi (Milano: 1842), English translation my Michael Quinn (2016), www .bandaturca.com The Timpani: A History in Pictures and Documents by Edmund Bowles (Pendragon Press) The Timpani Supplement, More Pictures and Documents by Edmund Bowles (Pendragon Press) Tucking Calfskin Timpani Heads [DVD video] by Cloyd Duff and Mark Yancich (TAP Publications) The Well-Tempered Timpani, In Search of the Missing Fundamental by Richard K. Jones (www.wtt.pauken.org)

The Kettle-Drums by Percival R. Kirby (Oxford University Press) The Timpani and Percussion Instruments in 19th-Century Italy, by Renato Meucci (2010), English translation Michael Quinn (2011), www.bandaturca.com Timpani & Percussion by Jeremy Montagu (Yale University Press) Timpani Scoring Techniques in the 20th Century by John Papastefan (University of South Alabama) The Drummer: Man, a Treatise on Percussion, CD-ROM by Gordon B. Peters (Percussive Arts Society) The Science of Percussion by Thomas D. Rossing (World Scientific Publishing Co.) The Arts and Science of the Timpani by Henry W. Taylor (John Baker, London; Dufour Editions) Changing and Tuning Plastic Timpani Heads [DVD video] by Mark Yancich (TAP Publications) Sewing Felt Timpani Sticks [two DVD videos] by Mark Yancich (TAP Publications)

Selected Solos The solo timpani music listed in Table 5.1 is a small selection from a vast amount of good literature available. Compositions cited are quality works in today’s percussion literature both pedagogically and musically. Many composers are published exclusively by one publisher. For additional works by a certain composer that may not be listed, contact the publisher. Websites for many composers and publishers can be found in Ap­pendix B. Also see timpani listings in Tables B.10 through B.12 in Appendix B. Since Teaching Percussion first appeared in 1988, the second edition in 1996, and the third edition in 2006, the Internet has made accessing percussion music easier than ever. Websites for var­ious mail order percussion suppliers (for example, www.steveweissmusic .com, ­www.percussionmusic.com, www.pmeurope.com, www.percussionspecialist.com) are excellent sources for most published works. An excellent resource for old and new timpani solos is the Percussive Arts Society (PAS) online “Compositions Research” library at www.pas.org (membership required). This library integrates the resources found in “Programs,” “Literature Reviews,” and the “Siwe Guide to Solo and Ensemble Percussion Literature.” Thousands of reviews of “New Percussion Literature and Re­cordings” from the PAS publication Percussive Notes are available under “Literature Reviews,” “Recordings, and Video Reviews” in the “Reviews” archive. PAS members can search “Literature Reviews” by “title,” “author/ performer,” or “keywords.” The entries under “Literature Reviews” comprise the largest reviewed library of percussion literature available at one site in the world. For more information, go to www.pas.org. A Google or other Internet search for a composer, a composition title, an artist’s name, publisher, or any related subject will also yield many sources and valuable links. These works are graded as follows: (E) Elementary, within the first year of study; (I) Intermediate, within a second to third year of study; (A) Advanced, within the fourth year or more of study—usually suggesting late high school or college-level work.

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TAB LE 5 . 1   Timpani Solo Music

Composer/Arranger Title/Level Beall Beck Beck Beck Beck Beck Beck Beck Beck Bergamo Bergamo Berry Brown Brun Cahn Cahn Carroll Carroll Carter, E. Carter, E. Chavez Cirone Cucinotta Deane Deane Delecluse Delecluse Dupin El-Dabh Erickson Fink, S. Fink, S. Fink, S. Firth Firth Firth Firth Firth Floyd Frock Gauthreaux Goodman Goodman Goodman Graeffe Griffiths Hamilton Hanus, J. Helble Hinger Houghton & Nishigomi Houllif

Seven to Queens (I) Concerto for Timpani and Percussion Ensemble (A) Grand Teton (E) Modulations (I) Snake River (E) Sonata for Timpani (A) Three Episodes for Timpani [with piano] (I) Three Movements for Five Timpani (A) Triptych Motif (A) Four Pieces for Timpani (A) Tulumbasz (A) Metherân (I) Timpani: The Solo Collection (I–A) Moody Moments for Solo Timpani (A) Raga No. 1 (A) Six Concert Pieces for Solo Timpani (I–A) Chorale (E) Prelude (I) Eight Pieces for Timpani (A) Recitative and Improvisation [from Eight Pieces] (A) Partita (A) Sonata No. 1 [w/piano] (I) Triangulation [w/tape] (A) Prelude I (A) Prelude No. III (with percussion) (A) A la Manière de, No. 4 [w/piano] (I) Thirty Etudes (I–A) Courtes Pièces: Album No. 3 [w/piano] (I) In Search of Three Goddesses (A) In the Valley of the Kings (A) Alternation: Szenen und Variation [timp. + perc.] (A) Pauken Suite (I) Solobach für Pauken [coll.] (I) Solo Impression for Four Timpani [w/piano] (A) Solo Impression for Three Timpani [w/piano] (A) Solo Impression for Two Timpani [w/piano] (I) The Solo Timpanist [coll.] (I–A) Timpani Solo Series [coll.—3 books w/CD + piano] (E–I) Theme and Variations for Four Timpani (A) Seven Solo Dances [coll.] (I–A) Capriccio for Solo Timpani (A) Ballad for the Dance (I) Introduction and Allegro for Three Solo Timpani (I) Panorama (I) Scherzo for Four Timpani and Piano (I) Plagal Alternations [w/percussion] (A) Rituals (A) Concertino for Timpani and Tape [2 timpanists] (A) Three Etudes for Five Timpani (A) Solos for the Virtuoso Timpanist [coll.] (I–A) Percussion Recital Series: Timpani w/CD (I–A) Four Verses for Timpani (A)

Publisher/Source Bachovich Pub. Kendor Kendor Warner Bros. Kendor Boston Music Co. Kendor Meredith Music Publications Kendor MFP Talamara Tapespace Belwin/Warner Bros. Smith Publications Wimbledon Music Meredith Music Publications Batterie/Carl Fischer Batterie/Carl Fischer AMP AMP G. Schirmer Meredith Music Publications MFP Deane Earthshine Publishing Alphonse Leduc Alphonse Leduc Alphonse Leduc El-Dabh Music Innovative Percussion N. Simrock C. F. Peters N. Simrock Carl Fischer Carl Fischer Carl Fischer Carl Fischer Belwin/Warner Bros. Studio 4/Alfred Publishing Co. Southern Music Co. Meredith Music Publications Belwin/Warner Bros. Belwin/Warner Bros. Belwin/Warner Bros. MFP Theodore Presser Non Sequitur Music G. Schirmer/AMP Studio 4/Alfred Publishing Co. Jerona Music Corp. Belwin/Warner Bros. MFP

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TAB LE 5 . 1   Continued

Composer/Arranger Title/Level

Publisher/Source

Houllif Suite for Timpani (A) Warner Bros. Houllif Three Settings for Four Timpani (A) Studio 4/Alfred Publishing Co. Huston Suite for Solo Timpanist (I) G. Schirmer Jarre Suite Ancienne [w/piano] (I) Alphonse Leduc Jenny Music for Kettledrums (with 4 perc.) (A) Ludwig Music Publishing Co. Jones Sonata for Three Unaccompanied Kettledrums (I) C. F. Peters Kashanski March Opus I (I) MFP Kastuck The Timpanist, Book I [40 etudes] (I–A) HKS/Ludwig Music Publishing Co. Kraft Images (A) New Music West Kraft M’s P [encore piece] (I) New Music West Kraft Variations for King George (A) New Music West La Fave Hermes: Concerto for Timpani & Strings (A) Keyboard Percussion Publications La Fave Three Pieces for Five Timpani (A) Keyboard Percussion Publications Leonard Canticle for Solo Timpani (I) Ludwig Music Publishing Co. Leonard Duets Nos. 1 and 2 (I) Stanley Leonard Leonard Forms [4 solos] (A) Stanley Leonard Lepak All-Sate Timpani Solo No. 1 (I) Somers Music Lepak All-Sate Timpani Solo No. 2 (I) Somers Music Lepak Duo for Timpani (A) Windsor Lepak Fifty Master Studies for Timpani [coll.] (A) Windsor Lepak Thirty-Two Solos for Timpani [coll.] (A) Windsor Loeb Sonata for 4 Timpani (I) Lang Perc./MFP Macarez Tip-Top [12 etudes] (I–A) Alphonse Leduc Macarez 7 Pieces pour Timbales coll. (I–A) Billaudot Mancini Suite for Timpani (I) Kendor Mancini Suite for Timpani No. 2 (A) Kendor McCormick, R. Two Pieces for Unaccompanied Timpani (I) Studio 4/Alfred Publishing Co. Mardinly Sonata for Solo Timpani (A) MFP Muczysnki Three Designs for Three Timpani (E) G. Schirmer Newman Short Story for Solo Timpani (A) Smith Publishing Noak Classical Timpani March [w/piano] (E) MFP Noak Fantasy–Scherzo [w/piano] (A) MFP Noak Suite for Timpani [w/piano] (E) MFP Oliverio Timpani Concerto #1 (A) TAP Publications Orfaly Improvvisato Contrasto (A) C. Alan Passerone Petites Pièces: Nos. 1–4 [w/piano] (I–A) Alphone Leduc Parris Concerto for Five Kettledrums and Orchestra [piano red.] (A) C. F. Peters Parris The Phoenix: Concerto for Kettledrums and Orchestra (A) C. F. Peters Peters, G. D. Air and Dance (I) Southern Music Peters, G. D. Newburg Interludes for Four Timpani (I) Belwin/Warner Bros. Peters, Mitchell Primal Mood (I) Mitchell Peters Peters, Mitchell Rondino (I) Mitchell Peters Peters, Mitchell Scherzo (E) Mitchell Peters Peters, Mitchell The Storm (I) Mitchell Peters Peters, Mitchell Tribal Serenade (E) Mitchell Peters Peterson Suite for Timpani (A) MFP Peyton The Final Precipice for 5 Timpani and Computer Generated Tape Jeffrey Peyton   [w/CD] (A) Peyton The Musical Timpanist (I-A) Warner Bros. Philidor March for Two Pairs of Kettledrums (1683) (I) Joseph Marx Philidor March for Two Pairs of Kettledrums (arr. with Janissary percussion) (I) Zimmerman Piché Steal the Thunder [w/computer tape) (A) Canadian Music Centre

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TAB LE 5 . 1   Continued

Composer/Arranger Title/Level

Publisher/Source

Power Time Pieces, Four Etudes for Timpani (A) HoneyRock Price Timpani Solos Nos. 1–12 (E–A) MFP Rabbio Contest and Recital Solos for Timpani (I-A) Alfred Music Ramey Sonata for Three Unaccompanied Timpani (I) MFP Raphling Timpani Concerto with Orchestra [piano red.] (A) MFP Ridout Sonatina for Timpani (I) Boosey & Hawkes Roeder Episodes for Timpani (A) Zimmerman Rosauro Concerto for Timpani and Percussion Ensemble (A) MalletWorks Sagnier Six Pieces for Five Timpani [w/piano] (A) Theodore Presser Saldo Cadenza (A) Zimmerman Sarracco Timpani Fantasy [w/piano] (I) A. Broude Schinstine A Scary Scherzo (E) Southern Music Schinstine Sonata No. 1 for Timpani & Piano [or perc. ensemble] (I) Southern Music Schinstine Sonata No. 4 for Four Timpani and Percussion Ensemble (A) S & S School of Music Schinstine The Developing Timpanist [coll. of solos and duos for timp. Southern Music   and perc.] (I) Schinstine Tymp Tunes [19 solos] (I) Southern Music Serry Conversations for Timpani [duo] (A) Studio 4/Alfred Publishing Co. Spears Two Episodes (E) C. L. Barnhouse Stirtz Unchosen Path (w/elec. piano) (I) Meredith Music Publications Tausch, arr. Kirby March and Polonaise [w/piano, band, orch.] (A) C. F. Peters Tcherepnin Sonatina for Two or Three Drums and Piano [or band] (E) Boosey & Hawkes Tharichen Konzert für Pauken & Orchestra, Op. 34 [piano red.] (A) AMP Turrebruno Musica per Timpani Solo (A) Ricordi Ukena No. 11 Funk (I) Southern Music Walker The Tragedy of a Young Soldier (A) Tapspace Whaley Scherzo for Timpani (E) Meredith Music Publications Whaley Solos and Duets (I–A) Meredith Music Publications Whaley Statement for Timpani (I) Kendor Whettan Suite for Timpani (A) Meredith Music Publications/   Theodore Presser White Concertino for Timpani and Winds (piano red.) (A) Shawnee Press Willmarth Bushido: Way of the Warrior (A) Innovative Percussion Willmarth Capture of the U-505 (A) Innovative Percussion Wuebold Fantasy for Timpani and Piano (A) MFP Williams Variations for Solo Kettledrums (A) MFP Woud Paul’s Piece for 5 Timpani (A) Pustjens Youhass Four Pieces for Unaccompanied Kettledrums (A) M. M. Cole Zeltsman Quatre/Quatre (A) Edition Svitzer Zivkovic Cadenza (I) Studio 4/Alfred Publishing Co.

n NOTES 1.

Percival R. Kirby, The Kettle-Drums (London: Oxford University Press, 1930), p. 10.

2.

James Blades, Percussion Instruments and Their History (London: Faber & Faber, 1970), p. 250.

3.

Henry W. Taylor, The Art and Science of the Timpani (London: John Baker Publishers, 1964), p. 38.

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6

c h a p t e r

Bass Drum, Cymbals, and Accessories

average school percussionist typically demonstrates the least understanding of competent musical performance practices when it comes to playing the bass drum, cymbals, and accessory percussion instruments. This usually is be­cause of neglected study of these instruments and their many performance techniques. With a minimal amount of instruction, basic playing techniques can be easily and quickly understood. When these techniques are practiced and musical performing concepts applied, high levels of competent musical performance can be achieved.

T

he

n THE BASS DRUM Construction and Selection The bass drum ( gran cassa [It.], grosse trommel [Ger.], grosse caisse [Fr.]) is the most common percussion instrument in any school music program. Having evolved from its earliest forms as a deep-shell, long cylindrical orchestral drum and a shallow-shell, large diameter Janissary military drum, today’s common symphonic orchestra or concert band bass drum is typically 34 to 38 inches in head diameter and 16 to 18 inches in shell depth (see “Recommended Percussion Instrumentation,” Chapter 1). A natural wooden-shell drum (or one with a durable plastic covering) is most practical for general school use.

Heads If possible, a calfskin head should be used on the playing side of a concert bass drum. Many times calf heads will be “inherited” when a new educator takes over a ­long-established school music program. These heads should be retained if they are in good condition with an adequate collar (1⁄ 2 to 3⁄ 4 inch), free of cuts or holes, and not brittle or excessively worn. If a new calfskin head is needed, finer percussion specialty shops, university percussion departments, or experienced professionals can be of assistance in obtaining, tucking, and mounting the calf head. Excellent quality calfskin heads are manufactured by the Stern Tanning Company in Sheboygan Falls, Wisconsin (http://www.sterntanning.com/percussion.htm). (For other sources of natural animalskin heads see Chapter 5.) The non-playing side head can be either calf or plastic. If calfskin heads are used, they must be adjusted daily according to atmospheric conditions. Skin heads shrink in low humidity, dry conditions and require loosening and/or use of a humidifier to maintain proper performance tension. In wet or more humid weather,

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skin heads will absorb moisture from the air and slacken or drop in pitch; the heads must then be tightened to correct playing tension. In extremely humid climates, storage de-humidifiers made by Dampp-Chaser can be installed, in a manner similar to Figure 6.4, to achieve more consistent head conditions (Dampp-Chaser Electonics Corp., Hendersonville, NC 28793; 800-438-1524; www.dampp-chaser.com). Any extreme head tension adjustments during playing periods should be readjusted to a neutral tension for storage. Advice from an experienced local percussionist should be sought regarding regional climatic conditions and their effects on skin heads. If plastic heads are used, they should not be spray-coated or the standard “dot” type. Thick-weight heads in opaque or smooth white may suffice for concert bass drums, but Remo’s FiberSkyn3 or Renaissance heads or Evans’s Strata heads (available with Power Center dots) are recommended as the best plastic heads for concert bass drums. Thicker heads (1400 mils single-ply Evans or Remo 2-ply Emperor) are recommended for the playing side and medium-weight heads (1000 mils single-ply Evans or Remo Ambassador) for the non-playing “vibrating” side head. These medium-weight heads may be used for both sides if preferred.

Tuning The main concept to remember when tuning the bass drum is that it is a bass instrument and should produce a nice low boom when struck. While some disagreement exists over relative head tensions, a good characteristic bass drum sound can usually be obtained by tuning the playing side as low as possible with a good resonant tone and long ring. Too low will result in the loss of a full sustaining tone and a “flap” when played loudly. The non-playing side usually then is tuned higher than the playing side to obtain a good characteristic concert bass drum tone. Some players prefer to match the head pitches or tune the non-playing side lower than the playing side. Experimentation with relative intervallic distances between heads and individual head tension depending on drum size, type of head, room acoustics, and mallets will determine an appropriate bass drum sound. Sometimes, depending on the acoustics of a different playing environment or the nature of a passage being performed, the tuning may be altered, such as tightening the head(s) slightly for fast rhythmic passages or when playing in very dead halls. Generally a bass drum should be cleared or fine tuned (with as close to the same pitch as possible at each tension rod point around the circumference) to produce a clear, unblemished resonance or ring from each head. Rarely does one find a bass drum fined tuned so well that a pure, clearly discernible pitch is produced that interferes with bass pitches played in the ensemble. There should be no form of internal muffling used on a concert bass drum. Such practices as stuffing the drum with newspapers or pillows, or lining the heads with sheets, result in only one tone being available to the player—”thud.” Any need for muffling can and should be employed externally by the performer. With proper tuning, quality sticks, a moderate amount of instruction and practice concerning tone production, muffling, dynamic and articulation control and part editing, a percussionist can easily contribute musical bass drum performances to any ensemble. A good concept of bass drum tone must be acquired from careful listening to professional orchestras, both live and recorded, as well as to finer university and professional percussion performances.

Stands A bass drum stand should be sturdy enough to support or suspend the drum well and be free of rattles and noises when the drum is played. A conventional rack or cradle, well padded at contact points, will suffice, although a tiltable suspended stand is most versatile and recommended. (See discussion on video.) If a bass drum is laid flat on a

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B a s s D r um , C y m b a l s , a nd A c c es s o r i es 217



stand (or chairs) for playing, both heads must be free to ring for a proper full tone. Commercial suspended and tiltable bass drum stands (Figure 6.1) are available through most major percussion manufacturers (Ludwig, Pearl, Yamaha), from Philadelphia Orchestra retired percussionist Alan Abel (Figure 6.5 and in the Chapter 6 video: Track 1), from percussion specialty suppliers (Advantage Network/Percoco, Grover Pro Percussion, pylepercussion.com, 2coolpercussion.com), or one can be homemade. A homemade suspended stand can be fashioned out of a 3⁄ 4-inch pipe hoop (assembled at a local machine shop) and the drum suspended by hooks and elastic shock or bungee cord, available at hardware or surplus stores. Figures 6.2 and 6.3, left, show a homemade suspended stand made with these materials. Because all bass drums project their sound according to the direction of their heads, careful consideration should be given to the desired sound projection when using any type of tiltable stand, as well as a conventional cradle.

Humidifiers In regions where humidity is extremely low for long periods, a humidifier must be used with calfskin heads. A humidifier is also very helpful for maintaining a rich resonant tone from a calf head whenever humidity is low, such as in the winter in snowy regions. Figure 6.3 shows homemade humidifiers. The long-term reservoir type (Figures 6.3, right, and 6.4, D) is for long periods of storage in extremely dry regions. A sheet of plastic secured with elastic over the skin heads during storage also helps retard moisture loss from the heads. Figure 6.4, A–D, shows the parts and materials necessary for making these humidifiers.

F I GURE 6 . 1   Commercial suspended bass drum

F IGU RE 6. 2   Homemade suspended bass drum

stand

Ludwig Industries

stand

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Ch apte r 6

F I GURE 6 . 3   Left: installing a short-term bass drum humidifier; right: short- and

long-term reservoir-type bass drum humidifiers

The long-term reservoir type (Figure 6.4, D) is attached to the bottom of the drum with an assembly similar to that shown in Figure 6.4, C. The moistened cotton wick emits a slight vapor to keep the skin heads from drying out. Similarly, the sponges on the regular humidifier are dampened as needed to maintain correct head tension and mellowness.

Mallets A basic set of concert bass drum mallets would consist of at least one general articulation sostenuto mallet and a matched pair for rolling and fast articulate playing. Additional mallets should be purchased (or made) as required. These would include harder single mallets for clearer articulation or more “bite” and harder matched pairs for clearer articulation of fast passages. These additional harder pairs might be hard felt, chamois-covered heads, or even wood-ended. (See Chapter 6 video: Track 1.) The conventional double-end bass drum mallet that exists in many school percussion inventories, made with one small and one large head and covered with a carpet material, is not heavy enough to produce a good characteristic bass drum tone and should not be used. This mallet was designed for early brass band style of performance that required one percussionist to play the bass drum with this mallet in one hand and an attached pair of cymbals on top of the drum with the other hand. Rolls were played on the bass drum with the double-ended mallet using a rapid end-to-end stroking motion and the cymbals were struck together and singly with the mallet for cymbal

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B a s s D r um , C y m b a l s , a nd A c c es s o r i es 219



F I GURE 6 . 4   Bass drum humidifier. A: side view; B: end view; C: top view on drum;

D: long-term reservoir type

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Ch apte r 6

220

F I GURE 6 . 4  

(Continued)

solos. These double-ended mallets were used singly and in pairs with the small ends for articulate sounds and large ends for general sounds. Finer professional-line bass drum mallets are designed and made from fine materials in this double-end style and worth consideration. Well-designed concert bass drum mallets made with fine felt or pile fabric syntheticfelt heads, as opposed to the carpeting used on some conventional mallets, are available through finer music stores or direct from the manufacturers. As the felt or pile coverings wear out, new coverings should be applied. Some manufacturers offer replacement head covers or a recovering service. Mallets can also be homemade by using bamboo, aluminum, metal plumbing, or wooden dowels for shafts and wooden macramé balls or cork floats for mallet heads. Felt-recovering techniques can be adapted from Mallet Repair by Arthur Press and the two-volume DVD video, Sewing Felt Timpani Sticks by Mark Yancich, available through: http://www .professionalpercussionproducts.com/markyancich.html, with the help of a university or local orchestra percussionist. (For felt sources, see Chapter 5.) The Art of Timpani Mallet Making (2013) by Amy Stubbs is an excellent book with 180 pages and over 1,000 photos and illustrations and a chapter on bass drum mallets: http://stubbspercussion .com/products/book-the-art-of-timpani-mallet-making. Dutch percussionist Marc Zoutendijk also has an interesting free website with informative pictures by Dutch

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timpanist Frans Asselman on making sticks: http://marcz1.home.xs4all.nl/ percussioninformation/Timpani/Timpani/makingsticks.html. These techniques for recovering timpani mallets can easily be adapted to recovering and making bass drum mallets. Most major percussion instrument and stick companies (ProMark, Calato, Ludwig, Yamaha, Pearl, Adams, etc.) make concert bass drum sticks. Manufacturers of fine professional and school-line bass drum mallets are given below. Mike Balter—wood shaft, seven semi-custom-made models includ­ing rolling and double-ended, synthetic covered heads for extended durability. http://www.mikebalter .com/concert_bass_drum_series.htm Vic Firth—wooden shafts; five Soundpower concert models with felt-covered heads (see and hear used on the Chapter 6 video: Track 1). http://vicfirth.com/bass-drum-and-gong -mallets/ Tom Freer—eleven models, felt and synthetic-felt heads on hickory and aluminum shafts, including chamois, double-ended, and “Mahler III” two-sided pair (see Chapter 6 video). http:// www.freerpercussion.com/bass-drum-mallets/ Tom Gauger (now by Vic Firth)—eleven models, wooden shaft with felt-covered heads including chamois-covered, wooden heads, and double-ended models (see Chapter 6 video). http://vicfirth.com/bass-drum-and-gong-mallets/

Grover Pro Percussion—six aluminum handle models including double-ended, three in maple shafts, felt-covered heads. http://groverpro.com/?s=bass+drum+mallets Innovative Percussion—six models, two synthetic felt heads on wood cores and one synthetic rubber-type head, red oak shafts. http://www.innovativepercussion.com/products /concert_bass_drum Chris Lamb Orchestral Series (by Innovative Percussion)—eleven models in a variety of designs. See: http://www.innovative percussion.com/products/ christopher_lamb_bass_drum _beaters Al Payson—three models, maple shaft, synthetic Muton fur heads, sostenuto, general and rolling pair. Distributed by Encore (http://encoremallets.com/product-category/payson-bass -drum-timpani/) and Ludwig Industries.

Figure 6.5 shows various types of bass drum mallets. Mallets should always be kept in plastic bags when not in use. Fluffing the outer layer of felt with a piano technician’s voicing tool or felt fluffer, like recommended with timpani mallets (see Chapter 5 video: Track 1), will eliminate unwanted contact sound “tick” and keep bass drum mallets sounding their best.

Playing Techniques As stated in Chapter 1 under “Tone Production on Percussion Instruments” and demonstrated on the Chapter 1 video: Track 2, every drum head has distinctly different tone-producing areas. A bass drum head can be divided into three basic playing areas: 1. Dead center, which produces the lowest fundamental tone with the driest natural (that is, nonmuffled) tone quality—the least amount of resonance. 2. Just off center, which produces a very low tone but with more resonance or ring. 3. Near the edge, which produces very little fundamental with excessive ring. This superficial, thin tone is unfocused and is generally avoided. Most playing is done in the area just off center, producing a full-sounding tone with a nice resonance. A direct stroke, as played on timpani, should be used, not a glancing stroke. In general, a resilient direct stroke should be played using combined wrist motion and arm weight allowing free rebound of the beater off the head. This basic stroke should be employed without driving the strokes into the head (although a “canon-shot” stroke, dead center, will occasionally correctly interpret the wishes of the composer). All concepts of phrasing and legato/staccato tone production as presented in Chapter 5, “Timpani,” should, of course, be applied to bass drum playing. Dead center is used for notes of short duration or to achieve more articulation and staccato or secco (sec.) or dry effects. Rolls should be played with two large bass drum mallets, not timpani mallets, in an area between the center and the edge. (See Chapter 6 video: Track 1.) Again, one should avoid the superficial, unfocused, thin edge sound.

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222

F I GURE 6 . 5   Bass drum mallets. Top row (left to right): wooden “Rudi” bass drum mallets with chamois strip covering, car wash mitten for hand dampening, double-ended mallet for singlehanded rolls (note equal size heads). Bottom row (left to right): Gauger #1, Gauger #8, pair of Gauger #7 chamois, homemade bam­ boo shaft with cork/felt head, Gauger #3, homemade aluminum shaft wood/felt head, Gauger #2, rolling pair of home-made alu­ minum shafts with wooden/felt heads, Gauger #5 light rolling pair. (Note Alan Abel suspended bass drum stand in Figure 6.5.)

The tone projected from the bass drum according to the head direction should be considered and even often tested by listening to the sound as heard from the audience’s perspective in relation to the entire ensemble balance. Tilted or flat bass drums project their sound into the floor, which then reflects the sound outward toward the conductor and audience. A carefully positioned bass drum can greatly enhance a well-written (and played) passage, or conversely, neglect for positioning and overplaying a drum can obliterate the ensemble. External muffling techniques should include varying amounts of finger and hand dampening on the playing head, usually after the stroke is made as for timpani. A furry car wash mitten used in the muffling hand will eliminate muffling noise in exposed passages. (See Figure 6.5 and demonstration on Chapter 6 video: Track 1.) Slight amounts of dampening may be employed while striking the head if this technique produces the desired tone. By resting the foot on a low stool or the bass drum stand, moderate amounts of knee muffling can also be employed (see Chapter 6 video: Track 1 demonstration). Muffling of the opposite or nonplaying side head may be required in combination with knee muffling or alone. Opposite head

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B a s s D r um , C y m b a l s , a nd A c c es s o r i es 223

muffling should rarely occur simultaneously with the stroke as this results in a poor tone sounding from only the playing side head. (Similarly, laying a small bass drum on a stand or chairs must not muffle the nonplaying side head.) Opposite head muffling after the stroke is played is appropriate as needed. On rare occasions an external commercial muffling device may be required on either or both heads to achieve a desired sound and articulation. A towel or fluffy car wash mitten laid lightly near the edge of a tilted drum may also suffice. An assisting percussionist can often help dampen the nonplaying head. A good concept of the notes in their musical context should give a preconceived mental-aural-kinesthetic picture of the appropriate bass drum sounds and articulation. A fine musical performance should then result from employing good mallet selection in the best playing area with external muffling techniques as needed, on a well-tuned drum, with well-placed strokes (see Chapter 6 video: Track 1 demonstrations). See Chapter 1, “Interpretation of Notation,” and Chapter 10 for further considerations concerning musical bass drum performance. The importance of a fine bass drummer should not be underestimated. The bass drummer must be as well trained and as sensitive to all musical concepts and considerations in playing as any other member in a fine musical ensemble. Example 6-A is given for practice and application of all concepts discussed relative to musical bass drum performance. Excellent additional practice materials, comments about bass drum performance, and excerpts for the instrument can be found in the sources listed at the end of this chapter. The books Art of Bass Drum and Cymbal Playing by Anthony Cirone and Garwood Whaley, Techniques of Playing Bass Drum, Cymbals and Accessories by Al Payson, The Logic of It All by Anthony Cirone and Joe Sinai, and the CD and book Classical Percussion by Arthur Press are highly recommended. EXAMPLE 6-A n Exercise for bass drum performance

In general, the Cook Book Essential Ingredients for good bass drum playing are: 1. Have a well-tuned instrument positioned for optimum tone projection. 2. In most cases, set up the hand cymbals next to the bass drum; they usually share parts. 3. Use an appropriate mallet in the best playing area with the right touch and external muffling techniques. 4. Go beyond the ink; edit musical articulations and muffling. 5. Listen and play to enhance the music with a great tone, impeccable time, rhythmic precision, and sensitivity to ensemble balance.

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The Art of Playing Bass Drum and Attached Cymbal Playing bass drum and attached cymbal (one player playing bass drum and crash cymbals alone) is often requested in orchestral and opera repertoire and occasionally in band and percussion ensemble literature. Even though detested by Berlioz as early as the middle 1800s, this custom has survived well into today’s techniques. H. Owen Read in his band piece La Fiesta Mexicana, Stravinsky in Petroushka, Mahler in his symphonies, Tom Gauger in his percussion ensembles, and many opera scores have specified bass drum with attached cymbal. Either this is a performance practice—such as in Italian opera—or it is requested for its particular sound and ensemble color. Occasionally this approach is used because there were too few players in the section to cover all the parts separately. The practice of playing bass drum and attached cymbals flourished in the British band-writing traditions (see Chapter 10 for discussion of Gustav Holst’s writing for this in his First Suite) and in the early Sousa bands because those ensembles employed only three or four percussionists: the timpanist, the snare drummer, the bass drum and attached cymbal player, and an occasional extra, usually a bell player and xylophone soloist. The increasing interest in reviving these early performance practices, especially in band literature, has led to more frequent requests from conductors for this tech­ nique. Between these requests and the existing literature requiring bass drum with attached cymbals, what was at one time thought to be a dying art has been revived. The following comments concerning this practice are offered as guidelines for the in­experienced percussionist. The cymbal attachment for the bass drum may need to be purchased. Cymbals should be about 16 inches in size for ease of control. The handheld cymbal is held by the usual leather strap, and the other cymbal is secured onto the attachment with felt and metal washers, rubber post insulator, and a nut. The attachment cymbal should have a little freedom of movement. Clamping the cymbal too tightly on the attachment can cause cracks in the cymbal dome and restrict the tone. The attachment should be ­fastened to the top of the drum in a position that will allow the player to lean for­ ward slightly and dampen the cymbal with his or her midriff. The handheld cymbal is dampened by pulling it into the shoulder or muffling with the other hand. Generally right-handed players hold the cymbal in their left hand and play the drum with their right hand. Cymbal playing techniques are presented later in this chapter. In general, the strokes are made directly into the attached cymbal with a slight glancing motion. Climactic fortissimo crashes and “cymbal solo” notes are traditionally played on the handheld cymbal with the bass drum mallet. The drum should be placed in a rack or cradle much lower than normal for ease in playing, especially over prolonged periods, such as in marches. Depending on drum size, it will be quite near the floor with the top of the drum about waist high. A professional-line double-ended mallet should be used for any one-handed rolls (see bass drum “Mallets” in this chapter). If no rolls are required, any good quality bass drum mallet as recommended earlier will suffice. Do not use a conventional doubleended mallet with carpet covered, lightweight heads. The bass drum should be played with a direct stroke, not with a glancing blow, consistently with the playing concepts presented in this chapter. A bit of showmanship is commonly displayed with the mallet when playing in this style. Figure-eight stroke patterns with the mallet are easily choreographed but never used at the expense of maintaining a good bass drum tone and steady time. The bass drum ring is controlled by muffling with the knee of the right leg (for righthanded players—the right foot will need to be propped up on a stool or the bass drum stand) and with the fingers of the hand holding the mallet, much like timpani muffling. A dead stroke, obtained by leaving the mallet on the head after playing, is an unsuitable means of muffling.

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With some practice (and practice of this technique is necessary), the percussionist will acquire a sense of timing for accurately playing bass drum and cymbal notes together and controlling dynamics, balance, and muffling.

n CYMBALS Origins The history of cymbals (piatti or cinelli [It.], becken or tellern [Ger.], cymbales [Fr.]) is one of the oldest and most fascinating of all musical instruments. The exotic sounds of finger cymbals (see coverage later in this chapter) are said to have been discovered during the Bronze Age when bronze thimble-shaped containers used for storing vinegar—a highly prized preservative—were struck together.1 Handles were later attached, and specific instruments were made. Small cymbals have been found enclosed with mummies in Egyptian tombs, and many accounts of cymbal use occur in both the Old and New ­Testaments. Cymbals were used in the religious ceremonies and music of the Roman (27 b.c. to 395 a.d.) and Byzantine empires (395 to 1453 a.d.) and through the Middle Ages and Renaissance. Turkish army bands or Janissary bands (formed in the fourteenth century a.d.) used cymbals, other percussion instruments, and woodwinds to excite their armies as they marched into battle. This Janissary effect—using cymbals, bass drum, and later tri­angle added by the Europeans—found its way into the orchestra for one of the first times in the music of Mozart (Abduction from the Seraglio, 1782), Haydn (Symphony No. 100—Military, 1794), and Beethoven (Symphony No. 9, 1824). The cymbals of the Janissary bands for the majority were very thick and 6 to 10 inches in diameter. They had a very large raised dome or center with the edge only an inch or two wide.2 Modern cymbals are made in a large variety of sizes and sound designs by many companies. See The Cymbal Book by Hugo Pinksterboer for a fascinating and exhaustive story of cymbals.

Construction and Selection Cymbals are made from an alloy (mixture) of copper, silver, and tin. The quality of cymbal depends upon the blending of the alloy, casting, tempering, rolling, hammering, lathing and aging of the cymbal as well as general design. The weight of a cymbal determines the thickness; weights range from thick or heavy down to thin. Most cymbals will have a raised dome or bell. Bell size will profoundly affect the volume and resonance of the cymbal. Each manufacturer has many different designs and sounds in cymbals. Symphonic or concert cymbal pairs are available in the general categories of French, or fastresponding light-toned cymbals; Viennese, or general-purpose cymbals; and Wagnerian or Germanic, dark, low-sounding cymbals. A pair of Viennese medium to heavy, 18–19” crash cymbals will serve as a basic pair for any band or orchestra. Additional pairs should be added when possible for greater color and tonal possibilities. Suspended cymbals should be fast-responding, therefore, of medium to thin weights (see Chapter 1, “Recommended Percussion Instruments,” for recommended cymbals and sizes for school use, and Chapters 8, “Drum Set,” and 9, “Marching Percussion,” regarding cymbal use in those playing situations and styles). Fine cymbals are like snowflakes: No two are identical at least in the sound quality. An exchange agreement should be established with a vendor, in which the buyer may exchange the cymbals for different sets of the same size and weight over a period of several weeks or even months (providing no damage occurs to the cymbals), until the buyer feels he or she has a good set. Finer music stores usually honor such agreements. The reason for such a policy is that cymbals can best be selected when heard in context of the entire musical ensemble and with different compositions. Acoustical surroundings and listening from a distance will also affect one’s final choice of cymbals.

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A good suspended cymbal or pair of crash cymbals should possess the following qualities: 1. Relatively easy and even response. 2. A complete sound spectrum from a low (nonpitched) fundamental through the high overtones, including a good even middle range. 3. Even duration and slow decay of the vibrations. When selecting crash cymbals, a good practice is to “mate” the cymbals by carefully playing each cymbal softly to produce the so-called fundamental tone of each separate cymbal. See Chapter 6 video: Track 2 demonstration. A good pair usually will sound fundamentals about a major or minor third apart. Matched or widely differing fundamentals generally do not produce a good sound when the pair is crashed.

Straps and Pads Soft and pliable rawhide straps should always be used for cymbal playing. Wooden or metal handles that bolt onto the cymbal should never be used as the excessive strain on the area around the hole will cause cracks in the bell. Pads of any type will absorb some sound from the cymbals. If pads are used for comfort only, they should be small plastic or leather-covered (see Chapter 9 marching cymbals video). Never use the large sheepskin pads as they absorb nearly all the high and middle frequencies from the cymbal’s sound spectrum. No pads should be used for symphonic orchestras, bands, or percussion ensembles. A special cymbal knot should be tied to secure the leather straps to the cymbal, as shown in Figure 6.6. Metal grommets available from the manufacturer may be placed in the cymbal hole to retard strap wear. Occasionally a cymbal hole may be a bit too large and the knot will slip through. A small leather washer can be placed between the knot and cymbal to correct this problem or a penny or dime tied inside the cymbal knot. Great care must be taken not to drop a cymbal (check straps for wear and secure knots often) as a small dent can cause a crack to start near the edge and in time destroy the cymbal.

Care If cracks appear near the edge or in the face of a cymbal, a small hole should be drilled at the end of the crack; this will retard (and sometimes stop) the cracking. The crack line should be ground out to prevent new cracks from forming and to eliminate any rattles. Edge cracks can be ground away if not extending more than 1 inch into the cymbal. All FIGU RE 6 .6   Cymbal knot

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drilling, grinding, or filing must be performed slowly and with care that the cymbal does not heat up and thus alter its tempering. Never try to weld a cymbal; many attempts over the years have proven unsuccessful. Cymbal cleaners and polishes specially formulated without harsh abrasives are available from the manufacturers and should be used as necessary. Almost any type of copper or metal cleaner will work on cymbals, but excessive cleaning with abrasives will wear down the lathed-in “tone-grooves” and change the cymbal sound. Never use a buffing tool as it can heat a cymbal, change the tempering, and wear down tone-grooves. If clean, shiny cymbals must be used, such as in a marching percussion section, many cymbals are available with a special “Brilliant” finish.

Crash Cymbals Grip  When using leather cymbal straps in a concert playing situation, the hand may be

inserted inside the strap but usually is not. Simply grasp the strap between the thumb and index finger with the side of the index finger pressing firmly against the cymbal bell for control. The remaining fingers securely grasp the extended strap and rest against the bell. (See Chapter 6 video: Track 2.) The thumb can be used for leverage against the bell to control cymbal angle. If time allows, inserting the hand inside the strap will allow for a more relaxed grip and cymbal support, than holding the strap as described above, especially if playing cymbals over a long period of time, like on a march.

Techniques  Many techniques are used in cymbal playing, and each will produce a slightly different sound or color. The percussionist should be familiar with and able to execute as many techniques as possible so that the right sound can be played according to the demands and context of the music. Before playing, one should find and mark the best alignment of the edges of any pair of cymbals. This will allow for the most even possible edge contact all around when played. To determine this, first, holding onto the strap with one hand, hold each cymbal parallel to the floor and give it an easy spin to determine if there is a heavy spot in the plate. If there is one, make this the bottom edge (toward the floor) of each cymbal when playing. Next, place the two plates together and turn them until their edges match evenly all around. (See Chapter 6 video: Track 2 demonstration of this.) Mark a spot with a pencil on the upper outside edge of the dominant hand cymbal and mark a spot on the upper inside edge of the other cymbal where the cymbals are most evenly matched. Generally, the higher sounding, and therefore thicker, cymbal is held in the nondominant hand, and the lower sounding lighter cymbal is held in the dominant hand. Always align these spots when playing to achieve matched edges. (See Chapter 6 video: Track 2 demonstration.) The full sound of the single plate played gently onto the floor or table will provide an excellent sound model for the beginning cymbal player to strive for when playing two cymbals together. (See and hear Chapter 6 video: Track 2 demonstration.) A general concept of a two-plate stroke (a 2, a due, due piatti [It.], gewöhnlich, mit tellern [Ger.], á l’ordinaire, avec plateaux [Fr.]) should include the idea of both plates coming together to produce this full sound without getting an “air pocket” or “vacuum pop.” In preparation the player’s feet should be securely planted on the floor at a moderate spread with body weight evenly distributed over both feet. The following factors affect the tone produced by a two-plate stroke:

1. Whether one or both cymbals are moving to the point of contact. A basic concept with any technique is to have both plates moving together in opposite directions. 2. The angle of contact (deliberate matching or unmatching of the edges). 3. The angle of the plates relative to the playing plane (that is, perpendicular or parallel to the floor or in between). As a basic concept, the more parallel to the floor the plates are when played together, the darker the sound will be. This is called the “Color Angle” on the video. (See Chapter 6 video: Track 2.)

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4. The intensity or amount of force with which the two cymbals are played or “hit” together, using muscle versus “placed” together, using gravity and the natural weight of the cymbals. Practice the latter and avoid “muscling” your cymbal strokes. 5. The speed of the stroke and how the plates are “placed” together. 6. The follow-through speed and direction and position in which they are allowed to ring. The best way to practice this and make it look graceful and elegant is in front of a mirror or video camera. 7. The amount of tension present in the body when playing. The more relaxed the arms and upper torso especially, the fuller the sound. 8. Most importantly, the quality of sound—the mental-aural-kinesthetic picture—the player holds in his or her mind, inner ear, and body while playing! A fundamental technique that yields a full cymbal sound—like that produced off the floor or table—is presented on the Chapter 6 video: Track 2 and below in text. The player should experiment with the factors of tone production listed above. If right-handed, hold the left cymbal parallel to the floor, inside of the plate facing the ceiling. Place the right cymbal on the left to get a feel for the edges. Lift the right cymbal and allow it to drop onto the left cymbal by relaxing the entire arm, shoulder, and back, and gently lift the right cymbal off the left after contact producing (hopefully) a sound similar to playing it off the floor or table. The addition of a slight lift in the left cymbal to meet the right and separation in opposite directions (left moving upward, right moving downward and away from the left) will complete this fundamental technique. (See Chapter 6 video: Track 2 demonstration.) The player is encouraged to explore this technique from the parallel initial playing plane with the floor around to one that is perpendicular to the floor before trying the other techniques presented. Note the color of sound change from dark to bright as the playing plane shifts from parallel to perpendicular to the floor. This technique should be mastered and used with any of the techniques given below that suit the individual player. Study the Chapter 6 video: Track 2 for further cymbal playing concepts. The book and DVD, The Ultimate Guide to Cymbals by Nick Petrella; Cymbalism by Frank Epstein; St. Louis Symphony cymbalist Thomas Stubbs’ Cymbal Excellence (www.cymbalexcellence.com); retired Chicago Symphony Orchestra cymbalist Sam Denov’s book The Art of Playing Cymbals; and Denov’s videos Concert Percussion: A Performer’s Guide, Vols. I and II are highly recommended for the serious cymbal player. One aspect of Denov’s technique is the “dynamic angle” principle in which soft strokes are made with the cymbals striking together at a close to perpendicular angle with the floor (also producing a bright quality), and as louder crashes are desired the contact angle is turned more and more toward a parallel plane to the floor (also producing a darker quality). With this technique both cymbals are always moving toward each other, the left cymbal from above and the right from below (for right-handed players) according to Denov’s approach, and the contact occurs near the bottom edges of the plates first with a follow-through generated primarily by turning the left wrist and palm downward and the right wrist and palm upward. Although at first the average player may have difficulty achieving consistent quality attacks and rhythmic accuracy with this technique, the potential sounds available are well worth the time and effort spent practicing. All the above techniques and those demonstrated on the video require diligent practice for even an initial discovery of one’s own capabilities and the colors and sounds available. Cymbal playing is a highly individualized skill, in that different players em­ploying the same technique still produce different sounds. Experimentation with all factors that affect a two-plate cymbal stroke can build a large vocabulary of cymbal sounds from which the appropriate sound can be selected in performance. The student is en­couraged to try reversing any of the techniques presented, as far as right or left hand on top or bottom while playing, and to explore other variations and new techniques.

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In general, the Cook Book Essential Ingredients for good cymbal playing are: 1. In most cases, set up the cymbals next to the bass drum; they usually share parts. 2. Center yourself in a secure stance with your weight evenly distributed between both feet and legs and knees flexible, not locked. 3. Use as relaxed a grip as possible and feel your body relax. 4. Place the cymbals together with both plates moving in opposite directions. 5. Practice a graceful follow-though in front of a mirror to sound and look good. 6. Go beyond the ink with appropriate edits for musical articulation and muffling. 7. Remember to hold the mental-aural-kinesthetic image in your mind as you play. 8. Listen to play and enhance the music with a beautiful tone, impeccable time, rhythmic precision, and sensitivity to ensemble balance. Several special effects are often called for in two-plate cymbal performance. Many times pianissimo crashes are played by “jabbing” one edge of a cymbal into the face of the other. This results in a soft but “clanky” sound unacceptable to a good musician in the concert hall, although used for color and effect in marching cymbal playing (see Chapter 9 video: Track 8). To perform soft crashes, the plates should be evenly aligned around their circumference, drawn less than 1 inch apart, and gently placed or brushed to­gether; this should be followed by a quick smooth opening or more “sliding” apart, depending on the sound desired. Contact between the entire bodies of both cymbals will produce a pleasant, full-sounding soft crash. This technique requires concentration and control to avoid having the edges prematurely clank together, especially if repeated soft crashes are required. (See Chapter 6 video: Track 2 demonstrations.) Another common soft cymbal effect is the two-plate “swish” or zischend (Ger.). This is played by placing the top edge of one plate silently against the inside face or edge of the other plate and scraping across the face or edge, thus producing a delicate swish sound. Soft strokes can often be interpreted with this sensitive technique to enhance a passage, because composers rarely call for it. (See Chapter 6 video: Track 2 demonstration.) Occasionally a two-plate roll (trillo [It.], triller, [Ger.]), frottée or frolée [Fr.]) will be called for in which the plates are placed together, slightly off center from each other to avoid getting an air lock, and rotated rapidly in opposite circles. This produces a unique clanky roll that should be used only when the performer is certain that this was the composer’s intention. (See Chapter 6 video: Track 2 demonstration.) Notation, Part Editing, and Marking  The realization of cymbal notation, like bass

drum and other concert percussion notation, requires careful listening in context with the entire ensemble to interpret the composer’s musical intentions. Whether to allow for a crash to ring or to muffle it as the written notes and rests may indicate must be decided in rehearsal (or preferably before through score study and listening to recordings), and the cymbal part marked accordingly with tenuto, staccato, caesura, secco, luftpause, and similar markings (review comments in Chapter 1 under “Interpretation of Notation” and see Chapter 10 for additional interpretive considerations). When performing music that requires both two-plate and suspended cymbal playing, one can use symbol notation pictograms to indicate changes between crash cymbals (

or

) and suspended cymbal (

or

), or the Italian a 2 (a due) to indicate

crash cymbals. Russian composers such as Prokofiev have used a system in which a plus sign (+) over a note indicates suspended cymbals and a small zero (o) over a note indicates a pair of crash cymbals. However, interpretation of these symbols varies among professionals. In general the cymbalist should always strive for the most musical interpretation and perform to enhance the music.

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Suspended Cymbals Stands  Stands for suspended cymbals (piatto suspeso [It.], becken hangend [Ger.], cymbale suspendue [Fr.]) may be of the commercial straight pole-type, like used on drum sets, or a homemade or commercial goose-neck type (see Chapter 6 video: Track 3). The goose-neck stand will allow the cymbal to vibrate more freely than the pole type but the cymbal is sometimes difficult to control on the goose-neck type. The top support assembly of the pole-type stand should have a metal and felt washer, rubber post insulator, and wing nut or s­ imilar securing device. Absence of these will result in the cymbal rattling against the bare metal top and eventual wear and damage to the cymbal hole. Felt replace­ment washers and rubber post insulators are easily purchased at any music or hardware store. A foot long piece of rubber 1⁄ 4-inch tubing can be cut into several years’ supply of rubber insulators! Mallets  In years past, composers specified timpani mallets for suspended cymbal

rolls because timpani mallets were the only available soft sticks, in comparison to snare drum sticks or xylophone or bell mallets, in the percussion section. Today percussionists rarely use timpani mallets for suspended rolls but instead use yarn- or cord-wound marimba or vibe mallets. The flexible shaft of the wound mallet allows for a freer cymbal sound than can be produced with a rigid timpani mallet. Additionally, the wound mallet, which is designed to be played on the hard surface of a marimba or vibe bar, produces a much better sound than the soft felt covering of a timpani mallet. Timpani mallets are designed to be played on an elastic membrane. Their use on suspended cymbals, due to their soft felt covering, not only absorbs many of the highs in the cymbal sound but also will damage the mallet’s inner core and quickly wear through the felt covering. (See Chapter 6 video: Track 3 demonstration.) Many other types of sticks, mallets, and beaters may be used on suspended cymbals and should be part of every percussionists’ basic kit. Triangle beaters and knitting needles, played on either end, produce delicate metallic strokes and scrapes unobtainable through any other means. Special wire brushes or a cymbal “rake” can be made or purchased for playing brushes on cymbal passages. The thin wires of ordinary brushes generally will not project the cymbal sound through the sonority of a concert band or orchestra. A cymbal brush or rake made from ticker wires will cut through without having to over play the cymbal (see Chapter 6 video: Track 3 demonstration and recommended books on cymbals).

Sizes  General purpose suspended cymbals for concert hall use should be medium to thin in weight, and between 16 and 18 inches in diameter. Often times a drum set “ride” cymbal will be used as the concert suspended cymbal. Generally ride cymbals are medium to thick in weight to sustain a clear ride rhythm and often do not respond quickly or sensitively enough for concert work. A good concert suspended cymbal can be used as a single crash cymbal with the drum set. Other smaller and larger suspended cymbals should be added as needed and budget allows (see Chapter 1, “Recommended Percussion Instrumentation”). Playing Techniques  A suspended cymbal will generally produce its lowest most resonant tones when played on the edge and higher, more bell-like tones when played toward the dome. When playing a suspended cymbal roll with two wound mallets, the strokes should be made near the edge and at a 3 o’clock and 9 o’clock placement on the cymbal from the player’s viewpoint (as if looking at a clock). A crash effect can be ob­tained by “slicing” the cymbal with a glancing blow across its edge with a snare drum stick or one or two yarn mallets. Direct pounding of the notes into the cymbal not only projects a poor sound in comparison to the glancing stroke, but can also cause permanent damage to the cymbal and stick. (See Chapter 6 video: Track 3.) A good muffling principle is to muffle with the hand at a 90 degree angle from where the stroke was made. As greater amounts of muffling are required, both hands and other parts of the body can be employed. Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Interesting colors and more volume can be achieved by playing two or more cymbals (with multiple mallet grips) in various combinations. As with all percussion performance, the character of the composition and musical context of the passage are clues to technique, beater, cymbal selection, and interpretation. Example 6-B and its performance on the Chapter 6 video: Track 4 offer various considerations for application and practice of two-plate and suspended cymbal playing. The Ultimate Guide to Cymbal Playing book and DVD by Nick Petrella; Cymbalism by Frank Epstein with two CDs; the CD and book Classical Percussion by Arthur Press; the books Art of Bass Drum and Cymbal Playing by Anthony Cirone and Garwood Whaley; Techniques of Playing Bass Drum, Cymbals and Accessories by Al Payson; Cymbals: A Crash Course by Mitchell Peters and Dave Black; The Logic of It All by Anthony Cirone and Joe Sinai; The Art of Playing Cymbals by Sam Denov and his videos; and other books are highly ­recommended for further cymbal study and practice (see complete listing at the end of this chapter). EXAMPLE 6-B n Cymbal etude

n TRIANGLE Origins The modern-day triangle (triangolo [It.], triangel [Ger.], triangle [Fr.], named for its shape, was until recently thought to have evolved from the ancient sistrum, an instrument consisting of a U-shaped or circular metal, wooden, or clay frame through which pass several metal rods. The sistrum was shaken or struck to produce a continuous jingling sound.3 Recent iconographic research, however, reveals the triangle and sistrum clearly co-existed and are “allied cousins.”4 Ancient triangles existed as both closed- and openended equilateral and trapezoidal instruments with and without metal rings strung on the lower bar. The triangle was one of the first metal percussion instruments to enter the modern orchestra, which it did at the Hamburg Opera in 1710.5 Mozart (Abduction from Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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the Seraglio, 1782) and Haydn (“Military” Symphony No. 100, 1794) wrote for the triangle with rings on the lower bar, imitating the Turkish Janissary music. Modern triangles are open-ended and equilateral in shape and are available in many different sizes and sounds.

Selection Most commercially manufactured triangles will produce an adequate tone when suspended freely and played correctly. Several sizes and different brands of instruments are advised so that the percussionist can best match a triangle sound to the music (see examples in Figure 6.7). When purchasing triangles one should listen for a long, pure, evenly decaying ring. The tone should not be definite in pitch, which might confuse it with a bell or piccolo tone. Fine instruments will produce an assortment of different tones depending on what area is played. In addition to most major percussion instrument manufacturers, excellent triangles in different sizes are made by Alan Abel, retired percussionist of the Philadelphia Orchestra, Grover Pro Percussion, Black Swamp, Buddy and Thein, Studio 49, Danmar, SABIAN, and others. (See Chapter 1, under “Recommended Percussion Instrumentation,” for instrument sizes.)

Clips Triangle clips are easily constructed by threading thin gut or fishing line through two holes drilled in metal spring clips, available in any hardware store, or through wooden music clips (see Figures 6.7, 6.8, and 6.9). Many percussionists prefer to add a second safety back-up line outside the threaded suspension line to avoid having the triangle drop to the floor if the suspension line were to break. Sound absorbing material such as a shoelace, a piece of leather, or worse, one’s finger should never be used to suspend a concert triangle. Commercial clips can be purchased at music stores or directly from the triangle manufacturers listed above. A minimum of two clips should be available for each triangle.

F I GURE 6 . 7   Triangles. Top row (left to right): 10”, 8”, 6”(2), and 4”(2) triangles sus­pended from homemade rack; second row (left to right on table): three pairs of Stoessel beaters, 6” Abel triangle with wooden clip; third row (left to right on table): assorted metal rod beaters, loop-end beater, knitting needles, metal clip, pair of Stoessel beaters, pair of Danmar beat­ers, Abel 4” and 6” triangles with wooden clips

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Beaters Old commercial loop-end beaters may be adequate for school use, but a set of professional beaters is well worth the investment. Most triangle manufacturers (see above) make fine beaters and accessories. Some manufactured triangle beaters are designed with adjustable weights and some to reduce the contact sound “tick.” The preferred triangle beater used on the Chapter 6 video: Track 5 is the O’Donnell mutli-timbrel triangle beater by Harlan Percussion (http://harlanpercussion.com/shop/multi-timbrel-triangle-beater/). Pairs of beaters can be homemade by cutting metal rods of different diameters, available at hardware stores, into 9-inch lengths. These pairs (graduated 3⁄ 32 inch to 3⁄ 8 inch diameters) can be used for playing different dynamic levels, although a beater too light to produce the fundamental tone of the triangle should not be used when playing softly. Wooden drumsticks should not be used as triangle beaters unless specified by a competent composer (like Bartók) or necessitated by the complexity of the passage, such as in multiple-percussion performance. (Brass tubing slipped over a wooden stick or mallet handle will improve the tone.)

Playing Techniques The triangle should be handheld and played at about eye level whenever possible. A useful practice is to look through the triangle at the music and conductor when playing. The clip is placed in the hand as shown in Figure 6.8 and demonstrated on the Chapter 6 video: Track 5. The fingers of the holding hand are easily used for muffling. If the triangle must be played F I GURE 6 . 8    Playing triangle

F IGU RE 6. 9    Playing with two beaters

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while clipped to the music stand, the clip should be padded to eliminate the passing of triangle vibrations into the stand. Clips made by Amy Stubbs, formerly California Percussion (as demonstrated on the Chapter 6 video: Track 5), now A. Stubbs Percussion (http://stubbspercussion.com/products/trhg/), Black Swamp Percussion (https:// www.blackswamp.com/triangles-and-accessories), and others are good for hanging a triangle on a music stand. A separate triangle stand that does not pick up vibrations is the best method for suspending a triangle if it cannot be handheld. A stand can be homemade (Figure 6.9), or invest in a dual triangle mount manufactured by Grover Pro Percussion (http://groverpro.com/products/triangles/accessories). A good triangle will produce many colorful sounds depending on where, how, and with what it is played. One should be familiar with the variety of techniques and sounds available with each triangle and select the one best suited to the music. See Chapter 6 video: Track 5 demonstrations of triangle techniques and tone production. A stroke made parallel to the triangle and on the base, or at about a 45 degree angle to the base, near the closed corner is probably most often used. This usually produces a good tone with a plurality of overtones. Rolls are played in either closed corner, not around the inside of the instrument in “dinner-time” fashion. Simple grace-note figures can be played with one beater inside the closed corner with a base-to-side alternation. Fast passages and grace note figures requiring two beaters can be played on the top sides of the instrument if suspended with one clip or if suspended with two clips, as shown in Figure 6.9. The triangle is a delicate-sounding instrument as generally scored and demands the utmost sensitivity from the performer. The stroke should never produce a clanky sound. The stroke should be prepared as close to the striking point as will produce the necessary dynamic. One should strive to pick the sound off the instrument instead of hitting it. Softer, more delicate sounds are produced at the tip of the beater, and louder, ­full-bodied sounds are produced by playing further back on the beater and playing “through” the instrument. As with all percussion notation, the written page does not always accurately represent the musical sounds required. Often triangle parts will be written with intervening rests; if the triangle is muffled on the rests, the resulting sound can be very metallic and clanky because the pure tone of the triangle is over-muffled. Generally a triangle can be allowed to ring through such rests. Only in dry (secco) or tutti rest passages will the triangle need to be muffled. Score study and careful listening for ensemble context will inform a good percussionist of the best musical interpretation. A trick of the trade that can enhance an isolated solo note is to warm up the cold metal triangle sound by adding a vibrato. This is produced by gently moving the hand holding the clip in a rotary motion, or by placing a few fingers inside the triangle and waving up and down, or by fanning one edge of the triangle with the entire hand with an in-and-out motion perpendicular to the plane of the triangle. See Chapter 6 video: Track 5 demonstration. Used discreetly, triangle vibrato can add artistic touch to an otherwise ordinary sounding note. (A similar vibrato can be added to a solo glockenspiel note by waving the hand over the bar as if bouncing a ball; this too should be used with discretion.)

n TAMBOURINE Origins The instrument known as the tambourine (tamburo basco or tamburino [It.], schellen­trommel or tamburin [Ger.], tambour de basque [Fr.]) existed in closely related forms in many ancient cultures throughout the world. Numerous Old Testament references to timbrels (translated from toph) indicate common use of hand drums, with jingling ­contrivances. Tambourine like instruments and frame drums have been depicted in the hands of all classes of people throughout history—angels to noblemen to peasants. The musical use of tambourines grew with the popularity of Janissary effects. Gluck is credited with the earliest orchestral use of tambourine in his Echo and Narcissus (1779). Many composers continued to employ the tambourine, including Mozart (German Dances, K. 571, 1787), and it soon was added to the list of standard orchestral percussion instruments. Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Selection Since Medieval and Renaissance times, the tambourine has changed little. A good instrument consists of a sturdy wooden shell, pairs of metal jingles mounted in the slits of the shell, and a securely mounted skin head (see Chapter 6 video: Track 6). Some commercial instruments have plastic and metal shells. The metal instruments are too heavy for general use; plastic instruments are not durable enough, and neither type produces a characteristic tambourine sound! These instruments should not be used for concert performance. However, a headless metal or plastic shell instrument may be well suited for com­mercial or pop music tambourine effects (see Chapter 6 video: Track 6). A good wooden-shell tambourine 10 inches in diameter with a securely mounted skin head and double row of jingles should suffice for most concert hall purposes (see “Recommended Percussion Instrumentation” in Chapter 1). Commercial tambourines are available from most manufacturers and these specialty sources: Harlan Percussion, Grover Pro Percussion, Black Swamp Percussion, Steve Weiss Music, Vaughn Craft, and others. Additional instruments, smaller and larger in diameter, with different numbers and types of jingles should be added whenever possible to expand performance choices. (See tambourine video demonstrations.) Serrated or corrugated jingles (sometimes referred to as “Spanish jingles”) are well suited for softer, more delicate playing. A suspended cymbal stand works well for mounting a tambourine. Grover Pro Percussion makes a great tambourine mounting clamp (http://groverpro .com/product/tambourine-mounting-clamp). (See Chapter 6 video: Track 6.) Tunable tambourines, while no new invention (H. G. Farmer pictures a tunable instrument from around 1790 in his book Military Music), are too heavy for general concert hall use because of the tensioning apparatus but are often used for pandeiro (see Chapter 7). Plastic-headed tambourines do not produce as good a characteristic tambourine sound as a skin-headed tambourine, but they make a durable choice of instrument, particularly when suspended and played with sticks or used outside. (Black Swamp and Grover Pro Percussion make tambourines with synthetic plastic heads and Remo makes plastic head tambourines.)

Care A good quality instrument will require an investment of $100 or more and should be stored in a bag and in a safe place. Bags are available through all tambourine makers and Steve Weiss Music. One drop of the instrument can bend and break the jingles and split the shell or head. A percussion specialty shop might be able to repair a fine instrument, but careful, respectful handling of the instrument should make repairs a rare event. Heads can be replaced easily, and the techniques are quickly learned with the assistance of an experienced professional percussionist, college percussion department, or knowledgeable instrument repair person. Makers of the professional-line instrument generally offer head and instrument repairs at a nominal cost. Grover Pro Percussion, Harlan Percussion, and Black Swamp sell head replacement kits with complete materials and instructions. The book Percussion Crafts by David Kulb offers helpful repair advice (see listing at the end of this chapter). Because the tension of skin heads is affected by humidity, in humid climates tambourine heads should be sealed with a few light coats of varnish on both sides to minimize head tension change. In high humidity use a heating pad to keep the head taut. If beeswax is used to insure thumb rolls (see “Performance Techniques” below and Chapter 6 video: Track 6), built-up wax will eventually need to be scraped off the edge of the instrument and fresh wax applied.

Playing Techniques The tambourine is one of the most challenging accessory percussion instruments to play well. The percussionist should first consider the speed and dynamic of the rhythms to be performed and then choose the techniques best suited to the performance. A tambourine should be held with the thumb on the head side and the remaining four fingers underneath, slightly muffling the head. If a player’s hand is small or the Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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player has difficulty muffling the head with the fingers, the shell can be filed down and made narrower. Fingers can alter head tension and muffling by pressing against the head for Brazilian pandeiro style playing or to obtain other desired tensions and sounds. Most strokes made on the tambourine should be dry in quality. This usually requires a dead stroke, in which the fingers or fist stay on the head a moment after contact. Occasionally a ringing head sound is preferred. Good musical judgment should always be exercised when choosing the appropriate sound and technique. Careful consideration must be given to the gravitational pull on the jingles when performing on tambourine. Clean articulation is best achieved when the jingles are positioned at an angle close to parallel to the floor but rarely when perpendicular to the floor. Similarly, a shake roll played with the tambourine parallel to the floor will not respond as well as if the tambourine were held perpendicularly and the jingles allowed to sound more freely. Soft rolls and crescendo rolls should be started with the tambourine held low to the floor or even behind the performer to achieve the softest level possible with even, consistent jingle response. Conversely, a diminuendo roll should start at about eye level and end down out of sight when possible. Most other tambourine parts should be performed at about eye level, where all accessory percussion instruments are played whenever possible. Consistent techniques for playing tambourine passages (for right-handed players) in any combination of slow to fast and loud to soft are demonstrated on the video. These techniques avoid having to turn the instrument over during measures of rest to change techniques. The development of thumb rolls is required in the left hand if shake rolls are played in the right hand. The techniques illustrated in the Chapter 6 video: Track 6 represent techniques that allow for either hand to be played off the held instrument. Obviously the tambourine can be switched from hand to hand and techniques mixed if necessary. The tambourine player should be able to perform all rolls and strokes proficiently in either hand and choose the technique best suited for the passage according to the best sound produced (not merely because of technical deficiencies in one hand or the other). Shake rolls should be played with a controlled rotary wrist stroke, like turning a light bulb or door knob, and a relaxed waving good-bye wrist motion. Control of the shake roll can be developed by practicing metered rhythms of quarter notes, to eighth notes, to triplets, to sixteenth notes, and so on, increasing to a continuous roll (see video). The beginning of a shake roll may be cleanly articulated with a single stroke on the head with the free hand or simply an active shake. If notated with an accent, a shake roll should be articulated with an accented stroke from the free hand simultaneously with the shake. A shake roll that ends with a tie to a terminating single note usually requires stopping the roll simultaneously with a single stroke from the free hand. Nontied shake rolls are cleanly ended by simply stopping the sound (or shake), by turning the tambourine nearly parallel to the floor so the jingles are abruptly and cleanly stopped by the gravitational pull on them into the shell. Thumb rolls are produced by rubbing the thumb, middle, or other finger around the edge or circumference of the tambourine head with the exact amount of pressure into the head so that the friction of the thumb or finger on the head produces a vibration and sounding of the jingles. See Chapter 6 video: Track 6 demonstrations. Experimentation with thumb or finger pressure into the head will result in discovery of the correct pressure and sensitivity for thumb or finger rolls. The thumb should be relaxed and “blurring” from the friction as it plays around the head. A slightly closed, relaxed position of the fingers and free thumb works best. (See Chapter 6 video: Track 6 demonstration.) To ensure consistent thumb rolls, a light film of beeswax can be applied around the circumference of the head in the thumb roll playing area. Beeswax can be purchased at any hardware store or found in department stores among sewing supplies. Grover Pro Percussion and Black Swamp sell special tambourine beeswax, Grover sells a reusable RollRing™ for thumb rolls (http://groverpro.com/ product/roll-ring), and Harlan Percussion sells ThumbRite powdered Damar resin

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(http://harlanpercussion.com/shop/thumbrite/). Excessive build-up of wax will need to be scraped off and a fresh coat applied. Other tricks to aid in production of good thumb rolls include the use of rosin in the place of beeswax, wearing a sec­ retary’s rubber thimble on the thumb, or gluing a strip of fine sandpaper around the circumference of the tambourine head. This practice muffles the head and can wear the flesh off the tip of the thumb if used excessively! The customary practice of moistening the thumb slightly with a lick of the tongue before playing thumb rolls on an unprepared tambourine will usually give good thumb rolls, but the use of beeswax or other devices can be comforting in more demanding passages. The duet in Example 6-C and on the Chapter 6 video: Track 7 is offered for study and practice of the various tambourine and triangle techniques discussed. Note the use of symbol pictogram notation to clearly indicate instrument position and playing techniques in Example 6-C. Instruments needed: Player One—one tambourine and chair. Player Two—one triangle suspended with two clips, one triangle for handheld playing in the air, one medium pair of matched triangle beaters. Additional concepts and exercises for tambourine and triangle performance can be found in The Art of Tambourine and Triangle Playing by Neil Grover and Garwood Whaley; Techniques of Playing Bass Drum, Cymbals and Accessories by Al Payson; Classical Percussion by Arthur Press; and The Logic of It All by Anthony Cirone and Joe Sinai (see listing at the end of this chapter).

EXAMPLE 6-C n Tambourine and triangle duet

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EXAMPLE 6-C n (Continued)

n GONGS AND TAM TAMS Origins In Western music the terms gong and tam tam (identical in Italian, German, and French) are often used interchangeably to refer to an indefinite-pitched, metal disc-shaped instrument that may range in size from a foot or less to several feet in diameter. Technically, however, a gong is a tuned instrument, and a tam tam is nontuned or indefinitely pitched. Many types of gongs have a raised dome or nipple that aids in defining the pitch of the instrument. Gongs are generally considered to have entered the percussion section from their use in Southeast Asian orchestras and the Indonesian gamelan, the latter displaying the most highly developed use of gongs.6 Tam tams, or indefinite-pitched gongs, appeared in orchestral scores toward the close of the eighteenth century (Gossec’s Funeral Music for Mirabeau, 1791).7 Today gong parts will be written in a clef, usually treble, and directions are given as to the key or pitch of each required gong (for example, gongs in C, D, Eb, and F). Many times scores will erroneously specify gongs when what is in­tended is a tam tam. Unless notated at a specific pitch, gong parts should be played on tam tam. Most school music programs do not own gongs (tuned) due to their limited use in standard band and orchestral music but will often need one to several tam tams of Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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F IGU RE 6 .10  

Gongs and tam tams

various sizes (see Chapter 1, “Recommended Percussion Instrumentation”). If tuned gongs are required in a composition, they can be rented from percussion specialty shops or produced electronically or sampled and triggered with a MIDI controller like a MalletKAT, DrumKAT or synthesizer. At last resort chimes or perhaps vibes can be substituted for the gongs. An occasional typographical error in the printing of tam tam parts has resulted in designating “tom tom” instead of “tam tam,” such as in a common band transcription of Mussorgsky’s Great Gate of Kiev. Knowledge of the original and general musical sense will usually expose such ludicrous errors.

Construction and Selection Fine gongs and tam tams are made by either stamping and hammering bronze sheets into shape or by casting bronze alloys. The Paiste Company of Switzerland (distributed by Paiste America, Inc.) has been making gongs and tam tams since 1906 and offers a wide variety of sounds. Other European and East Asian instruments have been made for de­cades and are available through percussion specialty shops. A selection is shown in Figure 6.10.

Mallets and Racks Sturdy stands or racks can be made from wood or iron pipes to accommodate one or several instruments. Mallets supplied by the instrument makers usually suffice, but additional mallets can be made by using wooden dowels, bamboo, or aluminum conduit for shafts, and hockey pucks, metal pulleys, or large wooden discs for the beater end. Wrapped with yarn, felt, and/or rubber, these homemade mallets offer new articulations and sounds. Gongs, like cymbals, lend themselves to many special effects, including bowing with a string bass bow or rubbing with the end of a cardboard tube to Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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produce fascinating harmonics; dipping into water for glissiandi (water gong); and playing with a variety of sticks and beaters.

Playing Techniques Due to the usual large size of a standard tam tam (24 to 32 inches or more!), the instrument will usually need to be “warmed-up” quietly prior to making the first stroke. This is accomplished by quietly tapping around the instrument with the mallet or hand to start the instrument vibrating so that the quickest, fullest response is heard when struck. The actual stroke on the tam tam will have to be made sometime slightly before the final sounding of the note from the instrument, depending on the size of the instrument, its quickness in response, type of mallet used, and dynamic of the passage. The extent of anticipation of this stroke will be determined by when the conductor and audience hear the actual sound of the note played. A multitude of partials will sound when a tam tam is struck. Lighter sounds are drawn from the areas near the rim, and greatest volume and deepest tones are generated nearer the center. Good musical judgment will guide the sensitive percussionist in choosing the right playing spot and perfectly timing the stroke. The instrument should not be allowed to “mushroom” or crescendo during the playing of several repeated strokes that are intended to be at a consistent dynamic level. Moderate amounts of muffling with the hands and/or legs between repeated notes to impede the building crescendo will result in a consistent musical performance. Never strike a tam tam hard in the exact center as this can break the instrument!

n CASTANETS Origins Castanets (castagnetta, nacchere [It.], kastagnetten [Ger.], castagnettes [Fr.]) are descended from the ancient clappers found in many different cultures throughout world history. Castanets as we know them perhaps derived their name from the Latin word castanea, meaning chestnut, due to the resemblance of the hollowed-out wooden, hemispherical clappers to chestnut shells. Among the first composers to employ castanets were Wagner (revision of Tannhäuser, 1861) and Bizet (Carmen, 1875).

Construction and Selection Castanets are made from hardwoods or plastic. Hardwood castanets offer the most authentic sound and are preferred over plastic. The impracticalities of attaching castanets to one’s fingers and attempting to perform authentically have prompted percussionists to use handle or machine castanets (see Chapter 6 video: Track 8). Handle castanets are available with single and double clappers mounted on wooden paddles. Another type consists of a pair of clappers attached to the ends of putty knives (see video). The paddle castanets are good for passages involving moderate rhythmic activity and rolls, while the putty knife-type achieve excellent rhythmic precision and clarity. Castanet machines are available in different designs. Most commercial percussion manufacturers make handle and castanet machines, and finer ones are available from Frank Epstein, Black Swamp, and percussion specialty shops.

Playing Techniques When playing castanets of any type, the percussionist should strive for maximum rhythmic clarity. His or her interpretation should be based on three rudiments of castanet playing (see video). These rudiments, taken from authentic handheld castanet playing as used by Spanish dancers, are:

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1. The golpé—played on a machine castanet by one quick stroke with the fingers of one hand on one clapper, or played on handle castanets as one quick, clean stroke. 2. The double golpé—played on either type of castanet as two simultaneous strokes, like a French flam in pure style. 3. Carretilla (car-re-til-la)—played on machine castanets with three or four quick grace notes in each finger from the little to index of one hand; played preceding a golpé. A short roll effect is sounded when played correctly in a scratching motion with the fingers (or as if waiting impatiently and tapping one’s four fingers on a table). Other techniques for paddle castanet playing include hand-to-hand playing with short, sharp wrist strokes to produce clean articulations at low to moderately fast ­tempos and loud to moderately soft dynamics. Extremely soft passages can be played by holding the paddle in one hand and tapping it lightly behind the clapper to activate the clapper. A putty knife instrument will allow for performance at any dynamic level. Playing is best accomplished on one’s knee. Knee playing the paddle type is also effective for loud and fast passage-work. Rolls can be played by a fast alternation of the hands on either the castanet machine or putty knife-type instrument. Rolls are best played on paddle-type castanets with a rapid side to side motion. (See Chapter 6 video: Track 8.) As in tambourine EXAMPLE 6-D n Castanet etude

Shake

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playing, gravitational pull should be considered when playing with paddle-type castanets. Rolls should often be played with the clappers perpendicular to gravity with the paddles moving parallel to the ground and ended so that gravity pulls the clappers cleanly into the paddle. Rolls can also be played by holding two paddles end to end in one hand and playing articulate rhythms in the other hand either on a castanet machine or with a putty knife. Very loud, articulate playing can be performed by striking a castanet machine with yarn or timpani mallets or even with handle castanets. Extreme care must be taken to see that no damage is caused to either the castanet machine or the handle castanets with the latter technique. The playing exercise in Example 6-D is offered for practice and application of some of the above techniques. See Chapter 6 video: Track 8 demonstration. Further study and practice material for castanets can be found in Techniques of Playing Bass Drum, Cymbals and Accessories by Al Payson; Classical Percussion by Arthur Press; and Art of Percussion Accessory Playing by Anthony Cirone and Garwood Whaley (see complete listing at the end of this chapter).

n WOOD BLOCKS Origins A wood block (casse di legno [It.], holzkasten or holztrommel [Ger.], blocs de bois [Fr.]) consists of a hardwood rectangular-shaped block that has a deep horizontal slit made under the surface to produce a resonant playing area. These wood drums originated in ancient China and became popular among composers during the 1920s, particularly when used to imitate the sound of the early jazz drum set, where they were first employed.

Construction and Selection Wood blocks are available in many fine hardwoods, including rosewood, teak, walnut, oak, and maple. Adequate instruments can be obtained from commercial percussion instrument manufacturers and superior instruments through percussion specialty shops and manufacturers. Plastic and tunable wood blocks, while practical in conception, generally will not deliver good characteristic wood block sounds. Clear-sounding wooden instruments should be selected in graduated sizes and sounds for performance of multiple wood block parts (see Chapter 1, “Recommended Percussion Instrumentation”).

Playing Techniques Single wood block passages that can be articulated with one stick or mallet should be played by holding the block in one hand and playing it with the other at about eye level, as with all accessory percussion instruments Care should be taken to strike at the “sweet spot” in the center over the resonating slit to produce the best consistent sound. See video: Track 1 demonstration in Chapter 1. Special effects, such as “tick-tock” sounds can be generated by alternating strokes over the solid end and sweet spot. If a passage is too demanding for one-handed playing, the block should be played with two mallets and both hands on a towel or padded tray. Many finer wood blocks are made to be played sitting on a padded surface. A variety of hard to medium-hard rubber or wooden mallets should be considered for playing wood block parts. The tip or butt end of a snare drum stick may also be used. The best-sounding block and matched stick or mallet should be selected for a particular passage. Never play so hard with a hard mallet or butt end of a snare drum stick as to damage the block.

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n TEMPLE BLOCKS Origins Authentic Chinese temple blocks (blocks Chinese [It.], tempelblöcke [Ger.], temple blocks [Fr.]) are carved from one piece of camphor or soft wood by hollowing out the center of round bulb-shaped bells with special knives. The appearance of a real temple block is similar to the mouth of a fish, and in China, their place of origin, temple blocks are called “wooden fish” and have scalelike carved and painted decorations. These instruments found their way into Western music as a means for imitating the Far East and through use with the early jazz drum sets of the 1920s. Modern composers have used the dark, resonant, wooden sounds of temple blocks to suggest everything from exotic colors of the Orient to galloping horse hooves, popping champagne corks, and percolating coffee! William Walton was one of the first to use temple blocks along with the wood block and wire brushes in orchestral writing in Façade (1923). Authentic Chinese temple blocks are imported by percussion specialty shops. Adequate sets of temple blocks are constructed from wood and some molded from granite and other synthetic material such as found in “jam blocks.” Figure 6.11 shows, left to right, authentic Chinese temple blocks and constructed blocks.

Playing Techniques A set of temple blocks usually consists of five graduated blocks that are arranged on a stand low to high going from left to right. A soft to medium rubber or yarn-wound mallet is used to play all the blocks. Playing with too soft a mallet will muffle the dark resonant tone of particularly the smaller blocks. Snare drum sticks or very hard mallets can F IGU RE 6. 11   Temple blocks

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be used but only at a soft level of playing. Repeated loud playing with hard beaters will splinter the wood and ruin the blocks. As with most idiophones, the sweet spot should always be aimed for when playing temple blocks. Composers have specified many effects for temple blocks, including four-mallet tremolos, playing with brushes and knitting needles, and one-mallet rolls—produced by horizontally agitating a mallet between two blocks or holding two mallets in one hand above and below a block and rolling a “mandolin roll.”

n LESS COMMON INSTRUMENTAL ACCESSORIES Finger Cymbals Small metal cymbals are known to have existed since antiquity. Excavations from ancient Greek and Egyptian tombs have produced bronze crotales or finger cymbals quite similar to the instrument used today. In general, finger cymbals are small in diameter, 11⁄ 2 to 2 inches, and indefinite pitched, unlike crotales or antique cymbals, which are tuned (see Chapter 4, Figure 4.8, showing a chromatic octave set of mounted crotales). Finger cymbals are available in thick (highest sound) and thin weights, and the best are made by casting (not stamping) the metal alloys. Zils used in Middle Eastern dance are also considered as professional finger cymbals and may also be used by the percussionist (see zils in Chapter 7 and on the video). Zildjian manufactures cast finger cymbals, and they can be purchased through music stores. Fine zils are available through Mid-East Manufacturing Co. and other suppliers (see website listings in Chapter 7). Finger cymbals are commonly played in pairs. When scored as isolated notes, their sound can delicately color a passage. Finger cymbals may be played as shown in Fig­ ure 6.12, with a similar free-ringing edge-to-edge striking technique, or by suspending single cymbals and striking with a light metal rod. Rapid and intricate rhythms are best played by using finger cymbals mounted in pairs on spring steel handles known as metal castanets. A commercial version of this ancient instrument is made by cymbal manufacturers.

Cowbells Cowbells (campanelle di vacca, campanaccio [It.], herdenglocken, viehschellen [Ger.], grelots de vaches, cloches de vache [Fr.]), like most animal bells, were originally used to monitor the whereabouts of animals but have found their way into many different musical styles and cultures. Known in contemporary scores as almglocken or Alpine herd bells, modern cowbells, although originally sounded by clappers, are available in clapperless, chromatically tuned four-octave sets. While a chromatic set is not part of most percussion collections, any combination of indefinite pitched bells are commonly found in smaller sets. If definite pitches are specified, these instruments can be purchased or rented from percussion specialty shops. The bells can be arranged in a variety of mounts and played with an assortment of sticks and mallets (see Figure 6.13, showing a mount that is made with commercial brackets and an old music stand). Cencerros, or Latin-American cowbells, are clapperless and usually handheld and played singly. See Chapter 7 for further discussion of cencerro playing.

Sleigh Bells Although generally considered an indefinite pitched sound effect instrument, sleigh bells (sonagli [It.], schellen [Ger.], grélots [Fr.]) have been used as tuned instruments (Mo­zart, in Schlittenfahrt from his German Dances, employs five groups of bells in C, E, F, G, and A). However, the unique sound of the vibrating small bell with its ­self-dampening

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F I GURE 6 . 1 2    Playing finger cymbals

F IGU RE 6. 13   Cowbells, mounted

F I GURE 6 . 1 4   Sleigh bells

inner pea rattle is traditionally used to depict horse-drawn sleigh rides or create interesting jingling effects. Sleigh bells are commercially available mounted on a handle as shown in Figure 6.14. Strings of authentic bells can be purchased in antique shops, or cheaper bells can be bought around Christmas in most gift shops. Sleigh bells are usually shaken in the rhythm indicated. The end of the handle of handle mounted bells can be pounded gently in time with the fist with the instrument held perpendicular to the floor. The bells will often need to be dropped into a wellpadded coffee can or small bucket for clean, silent cut-offs after active sleigh bell passages.

Slapstick A direct descendant of man’s earliest concussion sticks, the clappers, today’s slapsticks (frustra, flagello [It.], peitsche, holzklapper [Ger.], fouet [Fr.]) are commonly used to produce the sound of a cracking whip or for their own unique brisk slap. Slapsticks are available in small spring-hinged versions that can be operated by one hand, or any two pieces of hardwood can be cut and played together as if clapping one’s hands (see Figure 6.15 and Chapter 1 video idiophone demonstration). Handles and hinges can be further applied for better control and safety in performing. A good quick substitute for a slapstick is two snare drum sticks held tightly together at the beads and slapped against the hand or knee, or a sharp, loud handclap.

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Ch apte r 6

F I GURE 6 . 1 5   Slapsticks or whips

F IGU RE 6. 16   Ratchets. Left to right: cranked

ratchet, swung ratchet

Ratchet The swung ratchet and cranked ratchet (raganella [It.], ratsche [Ger.], crécelle [Fr.]) have been used in connection with religious ceremonies in many world cultures, for children’s toys, for alarm signals, and for scaring birds over centuries (see Figure 6.16). The swung ratchet consists of a cogwheel around which revolves a rectangular frame with wooden tongues that sound against the cog. The cranked ratchet is most commonly used by modern percussionists. Played either handheld or clamped to a stand or bass drum rim, the cranked ratchet is capable of articulating moderately active rhythmic passages and sustaining roll-like sounds of any duration. Dynamics are changed by varying the speed of the crank and/ or by changing the pressure on the tongues with the hand holding the ratchet.

Metal Plates, Anvils, and Pipes Percussionists may be called upon to play any number and variety of metal objects not generally considered musical instruments yet contributing richly to well-written scores. The blacksmith’s anvil had its origins in Medieval music and has been used in numerous later compositions, notably the operas of Wagner (18 anvils appear in the Nibelungs’ subterranean “Transformation Scene” from Das Rheingold). Small metal bars can be purchased commercially for use as anvils, or a backstage curtain weight or piece of railroad train track will substitute well. Brake drums are generally too low pitched for good anvil substitute. Metal pipes cut in graduated lengths played with brass mallets or small hammers are also commonly used. Other metal sounds often requested include automotive hub caps, metal plates, and fan belt pulleys.

Brake Drums Another common metal instrument of the percussion family is the automobile brake drum. Made popular in the 1930s through the percussion ensemble writings of Lou Harrison and John Cage, this instrument has established itself as a regular in contemporary percussion literature. Brake drums are easily acquired from automotive part supply stores or at auto salvage/wrecking yards. Scored for as “suspended” and “muted,” these original gongs may be played with heavy wooden sticks, small hammers, or brass mallets. The 1930s brake drums that Cage and Harrison wrote for were spun steel and sounded like shimmering gongs compared to today’s cast iron brake drums. To hear a 1930s spun steel brake drum, scroll down to Junk Isn’t What It Used To Be: http://thadanderson.tumblr.com.

Percussion Aerophones, Toys, and Exotic Instruments A large assortment of whistles, toys, imitative, and exotic instruments are found in many percussion collections. Pictured in Figure 6.17 are a few of the more varied and common. See the video: Track 1 demonstration of aerophones in Chapter 1. Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Sandpaper Blocks Sandpaper blocks (ceppi di carta vetro [It.], sandpapier blocke [Ger.], blocs a papier diverre [Fr.]) are a common imitative instrument that has been used to depict everything from a steaming locomotive to “old soft shoe” dancing and abstract sounds. The instrument can be homemade by fastening coarse sandpaper over two blocks. Two views are shown in Figure 6.18. Performance of the notated rhythms should be accomplished by a brisk swishing of the faces of the blocks back and forth without separating the blocks. The “clunking” back together of separated blocks is not what most composers intended when writing for the sandpaper blocks. A quick substitute for sandpaper blocks is a switch of a wire brush across a rough-surfaced drum head.

F IGU RE 6.17   Percussion aerophones and toys. Bottom row (left to right): a bird whistle, water-filled to give a warbling bird sound; slide whistle, metal; police whistle; cricket toy; jew’s harp; flexatone; slide whistle, plastic; boat whistle. Top row (left to right): African thumb piano—mbira or kalimba; goose call; hookah toy or the lasso d’amore, according to Peter Schickele of P.D.Q. Bach fame.

F IGU RE 6. 18   Sandpaper blocks

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Horns Many types of horns have been used by composers to simulate automobile traffic or for novelty effects (Figure 6.19). The klaxon and taxi bulb horns can be found in most import gift stores (imported from India and Pakistan) or in music or percussion shops. Batteryoperated automobile horns can be elaborately arranged to operate off a precision switch system for performance of such multiple horn parts as Gershwin’s An American in Paris.

Marching Machine and Horses’ Hooves These two imitative percussion instruments date from the early days of radio and the silent movies. They have to be homemade as pictured in Figure 6.20, or purchased from percussion specialty shops. The marching machine, although rarely used, is a must for simulating a marching army. Horses’ hooves can be made of coconut shells (pictured in Figure 6.20) or purchased in a commercial version. A galloping effect can also be produced on temple blocks.

Lujon The lujon (pronounced “loo-jon”) is a bass extension of the vibraphone but with less discernible bar pitch. Used mainly in contemporary chamber music (such as Berio’s Circles, Burge’s Sources III) and in recording studio work, the instrument, played with soft ­mallets, must be homemade by suspending metal tongues over a large resonator box (Figure 6.21).

Slit Drums and Log Drums Wooden slit drums, made by hollowing out logs, were some of civilization’s earliest drums. Used for signaling, to accompany dance, and in religious ceremonies, these ancient instruments have been reborn in recent years in numerous versions technically classified as log drums. These log drums most closely resemble the old pre-Aztec wooden teponaztli drums found in Mexico and the Guatemalan tun or tunkul, which were clearly influenced by tepozatli. The modern versions exist as reconstructed logs with H-shaped tongues similar to the teponaztli. Many have elaborately crafted and

F I GURE 6 . 1 9   Horns. First row (left to right): small, medium, and large bulb horns. Second row (left to right): battery-operated automobile horns, two mounted; four mounted

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B a s s D r um , C y m b a l s , a nd A c c es s o r i es 249



F I GURE 6 . 2 0   Marching machine (top) and horses’

F IGU RE 6. 21   Lujon

hooves (bottom)

F I GURE 6 . 2 2   Hawaiian slit drums (two) and

constructed log drum

designed tongues. Figure 6.22 shows two authentic Hawaiian slit drums (bottom) and a modern constructed log drum (top). These log drums can be found in many gift shops, handmade by fine artisans, bought from percussion instrument manufacturers, or homemade. Soft rubber mallets (super-balls) of varying sizes are commonly used for playing.

Wind Chimes Wind chimes have become favorite instruments of the modern composers. These instruments can be purchased from gift shops or music stores or homemade from wood, glass, metal, stone, and ceramic materials. A variety is pictured in Figure 6.23. Generally used for coloristic effects, these delicate instruments are used in many styles of serious and commercial music.

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FIGU RE 6 .2 3   Wind chimes. Left to right: glass chimes, Oriental; metal chimes made from bullet casings; bells from India; an artillery cannon shell gong; wooden chimes; pipe chimes.

In addition to many unusual and ethnic idiophones and membranophones, numerous other types of imitative and effect percussion instruments have been used over the years. Some such unusual instruments are the thunder sheet (Figure 6.25), wind and rain machines, sirens, the Marc tree, the bell tree, the lion’s roar (Figure 6.24), and office machines. The reader is referred to Rhythm & Beauty, the Art of Percussion (with CD) by Rocky Maffit; Handbook of Percussion Instruments by Peinkofer and Tannigel; Encyclopedia of Percussion, second edition, edited by John H. Beck; The Percussionist’s Dictionary compiled and edited by Joseph Adato and George Judy; A Practical Guide to Percussion Terminology by Russ Girsberger, edited by Anthony Cirone; Percussion Instruments and Their History by James Blades; The World of Percussion by Emil Richards; and the various percussion instrument manufacturer’s catalogs and websites for further descriptions and pictures of the many percussion instruments not discussed herein (see “General Guides to

F I GURE 6 . 2 4   Left to right, Marc tree, bell tree, lion’s roar

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B a s s D r um , C y m b a l s , a nd A c c es s o r i es 251 F IGU RE 6. 25   Thunder sheet

Percussion” in Chapter 1, websites listings in Chapter 7, “Orchestral Excerpts for Percussion” in Appendix A, and the following for complete book listings).

n METHODS AND STUDIES FOR BASS DRUM, CYMBALS, AND ACCESSORIES The Percussionist’s Dictionary, compiled and edited by Joseph Adato and George Judy (Warner Bros.)

Orchestral Techniques of the Standard Percussion Instruments by ­Anthony J. Cirone (Belwin/Warner Bros.)

Encyclopedia of Percussion, 2nd ed., edited by John H. Beck (Routledge Publishing Co.)

The Art of Bass Drum and Cymbal Playing by Anthony J. Cirone and Garwood Whaley (Meredith Music)

Ensemble Techniques and Musicianship for Percussionists, Vol. I [book/video and CDs] by John R. Beck (HoneyRock)

The Art of Percussion Accessory Playing by Anthony J. Cirone and Garwood Whaley (Meredith Music)

Orchestral Percussion Technique by James Blades (Oxford University Press)

The Logic of It All by Anthony Cirone and Joe Sinai (Belwin/Warner Bros.)

Percussion Instruments and Their History, revised ed. 1984, by James Blades (Faber & Faber [London]/ Praeger [New York])

Concert Percussion: A Performer’s Guide, Vols. I & II by Anthony Cirone, Sam Denov, and Cloyd Duff (Warner Bros.)

Contemporary Percussion by Reginald Smith Brindle (Oxford University Press)

The Art of Playing Cymbals by Sam Denov (Belwin/Warner Bros.)

Band Director’s Percussion Repair Manual by Ed Brown (Alfred Publishing Co.)

Cymbalism, A Complete Guide for the Orchestral Cymbal Player (with 2 CDs) by Frank Epstein (Hal Leonard)

In the Studio (Percussion Recording Techniques) by Bobby Christian and Al Payson (Payson Percussion Products)

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252

A Practical Guide to Percussion Terminology by Russ Girsberger, Ed. Anthony Cirone (Meredith Music)

The Ultimate Guide to Cymbals with DVD by Nick Petrella (Carl Fischer)

The Modern School of the Snare Drum with a Guide Book for the Artist Percussionist by Morris Goldenberg (Hal Leonard)

The Cymbal Book by Hugo Pinksterboer, ed. Rick Mattingly (Hal Leonard)

The Art of Tambourine and Triangle Playing by Neil Grover and Garwood Whaley (Meredith Music)

The Drummer: Man, revised edition by Gordon B. Peters (CDROM Percussive Arts Society)

William James Percussion by William James (www .williamjamespercussion.com)

Cymbals: A Crash Course by Mitchell Peters and Dave Black (Alfred Publishing Co.)

Percussion Crafts by David Kulb (MFP)

Classical Percussion [CD and book set] by Arthur Press (Music Minus One)

Rhythm & Beauty, the Art of Percussion (with CD) by Rocky Maffit (Watson-Guptill Publications)

Mallet Repair by Arthur Press (Belwin/Warner Bros.)

Timpani & Percussion by Jeremy Montagu (Yale University Press)

Techniques and Exercises for Playing Triangle, Tambourine, and Castanets by Paul Price (MFP)

Genesis of a Music, 2nd enlarged ed. by Harry Partch (Da Capo)

A Thesaurus of Orchestral Devices by Gardner Read (Pitman ­Publishers)

Techniques of Playing Bass Drum Cymbals and Accessories by Al Payson (Payson Percussion Products) Handbook of Percussion Instruments by Karl Peinkofer and Fritz Tannigel, translated by Kurt and Else Stone (Schott)

World of Percussion by Emil Richards (Alfred Publishing Co.) Cymbal Excellence by Thomas Stubbs (www.cymbalexcellence.com)

n NOTES 1.

Avedis Zildjian, Crotales “Antique Cymbals”(Accord, MA: Zildjian Co.) [n.d.].

2.

James Blades, Percussion Instruments and Their History (London: Faber and Faber, Ltd., 1970), p. 192.

3.

Ibid., p. 191.

4.

Mark Berry, “From Angels to Orchestra: An iconographic history of the triangle through the 19th Century,” Percussive Notes, Vol. 53, No. 1 (March 2015), p. 44.

5.

James Blades and Jeremy Montagu, Early Percussion Instruments from the Middle Ages to the Baroque (London: Oxford University Press, 1976), p. 14.

6.

Han Kuo-Huang, “The Modern Chinese Orchestra,” Asian Music, Vol. XI, No. 1 (1979), pp. 1–12.

7.

Blades, op. cit., p. 383.

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7

c h a p t e r

Percussion Instruments of the World Contributing Authors

Michael Vercelli and Todd Hammes

o r l d music is the topic of many scholarly books. Ethnomusicologists use the term to refer to the traditional ethnic music of the world. In a more eclectic fashion, world music involves the serious as well as casual study of a mixing of music styles and instruments from around the world with jazz, popular music, and even serious art music. Regardless of the version, world music has given rise to a rapidly expanding market for recordings, videos, instructional books, and DVDs. While the focus of most of Teaching Percussion is on Western orchestral percussion, marching percussion, and drum set, this chapter will touch on the worldwide influences of musical styles and instruments on percussion education and the performance opportunities for music educators and their students. With the contributions of my colleagues Mike Vercelli and Todd Hammes and many assisting performers, we have structured the chapter so that some of the fundamental influences from Africa, the Caribbean, South America, the Middle East, and other European styles can be experienced through interactive exercises in the text and on the videos. This hands-on material will follow the migration and diaspora of these styles and instruments to the Western hemisphere. (Our apologies to gamelan, taiko, batá drumming, and many, many other styles of world music for their exclusion, but we had to stop somewhere, and reference materials are given for many of these at the end of the chapter.) The video will present playing techniques and styles on authentic instruments and then suggest possible substitutes for performance on more common percussion instruments found in school band room inventories or easily obtainable, such as conga drums, bongos, djembes, hand drums, and the like. Eclectic group playing exercises will offer ideas for integrating these concepts further. It is our hope that this exposure to these authentic demonstrations and performances will both inform and entice percussionists to seek out further instruction and experience the joy of music from other cultures on this planet. In recent years, instructional videos, DVDs, books, and recordings by such artists as Airto Moreira, John Bergamo, Glen Velez, Lane Redmond, Ganesh Anandan, Pandit Sharda Sahai, Vishnu Sahai, Chatur Lal, Ustad Alla Rakha Kahn, Zakir Hussain, Shane Shanahan, Yousif Sheronick, Uncle Mafufo, Todd Hammes, Randy Crafton, N. Scott Robinson, Colin Walcott, Ed Mann, Marc Anderson, Ray Spiegel, Richard Flatischler, Alex Acuña, Will Schmidt, David Locke, Babatunde Olatunji, Poncho Sanchez, Richie Gajate-Garcia, Changuito, Luis Conte, Giovanni Hidalgo, Tito Puente, Ricardo Monzón, Roberto Quintero, Ed Uribe, Kalani, Birger Sulbrück, Robin Anders, Jerry Steinholtz, Brad Dutz, and many others have brought authentic world percussion techniques

W

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and music into the “private lesson” setting. These materials are invaluable and highly recommended for further study (see listings at end of this chapter). Most of these materials have extensive discographies and resources, including websites with wonderful links, for further study by the serious percussionist and music educator.

n AFRICAN INFLUENCES AND STYLES Contributions by Mike Vercelli African Roots African music plays a crucial role when discussing the nature of percussion found throughout the Western hemisphere. In particular, the percussion styles of Brazil, Cuba, Latin America, and much of the popular music of the United States draw heavily on African influences. The traditional music of Latin America such as rumba, santeria, condomble, and afoxe, as well as the popular music styles of salsa, conga, samba, soca, reggae, and even American blues and jazz, all share characteristics of African music. Through close examination of some basic principles in African music, we can trace these influences through the diaspora to the Americas. As such a vast and diverse continent, the study of African music in its entirety would be far beyond the scope of this text. By focusing our attention on one particular region, Ghana, we can identify the common principles of African music and relate them to our percussion study. Ghana represents an important influence in the music of the African Diaspora, as it was an important stronghold during colonial times. Through the country’s diverse population, Ghana offers a smaller representation of the West African aesthetic.

Kinka Focusing on the music of the Ewe people, three main areas of musical influence can be categorized as the timeline; the call and response dialogue; and the role of the master and support drums in relationship to their accompanying dance styles. The Ewe are found in the southeast corner of Ghana along the Volta River, extending into present-day Togo. They use a unique family of percussion instruments comprised of bells, rattles, and drums. The common family of instruments is known as an agbadja (or agbadza) set, referring specifically to the agbadja dance they accompany. The in­strument proper names are as follows: the single bell or atoke; the double bell, gankogui; the gourd rattle, axatse; drums from small to large, kagan, kidi, and sogo; and lead drums boba and atsimivu (see Chapter 7 video: Track 1). By studying the Ewe recreational dance Kinka, we will examine each instrument’s role, as well as the common principles found in this music. Later discussions will include possible substitutions for the Ewe in­struments for reproduction by the high school or collegiate percussion ensembles or community groups. Timeline  The fundamental characteristic of African music revolves around the timeline. The timeline is used as the steady conductor of the group and is responsible for keeping the ensemble together. (As we will see, the timeline is the key to other musical styles that evolved from these African roots; indeed clave, in Afro-Cuban and Latin American music, means “key.”) In the Ewe ensemble, the timeline is comprised of the gankogui, axatse, and kagan. These instruments play an important and highly repetitive role within the musical structure. The timeline is responsible for keeping the tempo of the music and supporting drums together. The rhythmic pattern is generally short and thought of as a repeating cycle, continuing throughout the piece (Example 7-A), while the underlying timeline is shown in Example 7-B.

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P er c us s i o n I ns t r um ent s o f t he W o r l d



EXAMPLE 7-A n The gankogui (bell)

255

EXAMPLE 7-B n The underlying axatse, kagan,

timeline in Kinka

Kinka

and gankogui timeline in Kinka (see Chapter 7 video: Track 1)

Kinka

Traditional Ewe

Gankogui

hand

Axatse leg

Kagan

Atsimivu

Kidi/Sogo

3

Gan.

Call and Response Dialogue  While the timeline repeats continuously, the master and supporting drums engage in a call and response dialogue. Many variations of call Axat and response exist between the master and supporting drums, but for clarity we will in­vestigate two sections specifically connected to the dance element. The kidi and sogo support drum players must keep their attention focused on the master drummer Kan. Gan. in an­ticipation of the call of the atsimivi to change rhythmic patterns (Example 7-C). The kidi and sogo are both played with two short sticks to achieve either an open or a pressed

Axat. EXAMPLE 7-C n The kidi and sogo support role, awaiting the atsimivu call Kan.

in Kinka

Ats.

Press

K/S Open

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(closed) sound (see Chapter 7 video: Track 1). The open sounds create the dialogue between the support drums and the master drum, while the press strokes help to keep the underlying pulse. The atsimivu commands a far greater vocabulary of sounds. Each sound on the atsimivu has a corresponding onomatopoetic syllable to help the player “speak” the language of the instrument. Example 7-D illustrates the notation of these syllables. (See Chapter 7 video: Track 1 for technique.)

EXAMPLE 7-D n The onomatopoetic language of the atsimivu in Kinka

Ats. Ga

De

Ge

To

K/S

Gan.

In the arrangement of Kinka (Example 7-G), the atsimivu calls the next pattern and engages the dialogue between the lead and supporting drums and instructs the dancers to dance (Example 7-E). Once the proper response is established in the kidi and sogo, the master drummer may improvise but will always return to the variation first called (Example 7-F).

Axat. EXAMPLE 7-E n The atsimivu dialogue with the kidi and sogo and call to dance Kan.

in Kinka

Ats.

K/S

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P er c us s i o n I ns t r um ent s o f t he W o r l d



257

EXAMPLE 7-F n Atsimivu improvises but always returns to the variation first

called in Kinka

Ats.

K/S

When the atsimivu player is ready to change variations, the long rolling figure of Ex­ample 7-C is repeated (see Chapter 7 video: Track 1). Dance Elements  Although only the drumming is shown in these examples and played on the video, the basic dance structure of Kinka is integral to the drumming and is in two sections: the preparation and the movement (see Examples 7-C and 7-E). First the master drummer must instruct the dancers to get ready to move. They would dance a holding pattern until they are instructed to move by the master drummer. The master drummer coordinates the dancers’ holding pattern and that of the supporting drums. As the atsimivu changes into the dialogue with the supporting drums, the dancers would begin their movement. Once the dancers begin their movement, they are free to end the dance at will. With the addition of a short introduction and ending, these two patterns can be used as the foundation for an ensemble arrangement of Kinka (Example 7-G, see Chapter 7 video: Track 1). Instrument substitutions may include: cowbell for gankogui; maracas for axatse; bongos with timbale sticks for kagan; med toms for sogo and kidi; and low tom for atsimivu as demonstrated on the video.

EXAMPLE 7-G n Kinka arrangement

Kinka Arrangement Intro

Gan.

Axat. Kan.

Ats.

K/S

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K/S

EXAMPLE 7-G n (Continued)

Gan.

Axat. Kan. Atsimivu Improvisation

Ats.

K/S

Gan.

Axat. Kan.

Ats.

K/S

Ending

Gan.

Axat. Kan. Final Call Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203

Ats. Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).

Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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K/S

259

EXAMPLE 7-G n (Continued) Ending

Gan.

Axat. Kan. Final Call

Ats.

K/S

Kpanlogo Kpanlogo is a popular recreational dance style also found in Ghana among the Ga people. Musically, Kpanlogo follows the same principles as Kinka but employs a different style of drum. Traditionally the kpanlogo drum is used (see Chapter 7 video: Track 3), but many times a djembe will be substituted. Even though the two drums differ in construction, their playing technique is nearly identical. The key to sound production on either the kpanlogo or the djembe is hand placement. While a multitude of sounds can be produced, there are three primary tones: bass tone, open tone, and the slap. For all three sounds the hands must stay loose yet the fingers must not spread apart (see Chapter 7 video: Track 2). For the bass tone, the palm of the hand strikes in the center of the head, producing a low tone. The open tone is produced by striking the drum with the upper portion of the fingers near the edge of the drum. The slap sound is created similarly to the open tone, but the hand moves slightly in toward the center of the drum resulting in a sharp staccato sound. It is important to remember the slap is a sound produced on the drum and not a volume (Example 7-H). Striking the drum harder to create the slap will only injure your hand (see Chapter 7 video: Track 2). EXAMPLE 7-H n Key to sounds on the kpanlogo or djembe (see video

demonstrations)

Lead Drum Bass

Tone

Slap

Kpanlogo Arrangement  Similarly to Kinka, the timeline for Kpanlogo consists of the gankogui, axatse, and optional kagan. There parts are seen in Example 7-I (also see Chapter 7 video: Track 3).

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EXAMPLE 7-I n The underlying axatse, kagan, and gankogui timeline in

Kpanlogo Timeline

Gan. Axat. Kag.

Gan. Axat. Kag.

There are typically three drums used in the Kpanlogo ensemble. Sizes might vary slightly, with the highest voice used as the lead. Here again, if kpanlogo drums are not available, djembes or conga drums may be substituted. The two lower drums play the supporting role in Kpanlogo and stay on their respective patterns throughout the piece. Support drums one and two are seen in Example 7-J; be sure to note that the entrance of support drum two is on the last beat of the bell cycle.

EXAMPLE 7-J n Two lower supporting drums in Kpanlogo L.D.

Sup. 1

Sup. 2

The lead drum will begin by doubling the support drums; once the supporting drum rhythms have been established, the lead drum will communicate with the dancers. Each variation performed by the lead drummer will be associated with a particular dance movement in Kpanlogo and separated by a break. See Example 7-K for the break and Example 7-L for four possible lead variations.

EXAMPLE 7-K n Lead drum break in Kpanlogo

L.D.

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2.

1. L.D.

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EXAMPLE 7-L n Four possible lead variations in Kpanlogo 2.

1.

L.D. 3.

L.D.

4.

L.D.

3.

L.D.

Finally, we have included a brief arrangement of Kpanlogo in Example 7-M using the four lead variations (see Chapter 7 video: Track 3). Kpanlogo Arrangement Intro EXAMPLE 7-M n  Kpanlogo arrangement

Gan.

Kpanlogo Arrangement

Intro

Gan. Axat. Axat. Kag. Kag. L.D. L.D. Sup. 1 Sup. 1 Sup. 2 Sup. 2

Gan. Gan. Axat. Axat. Kag. Kag. L.D. L.D. Sup. 1 Sup. 1 Sup. 2 Sup. 2 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Ch apte r 7

EXAMPLE 7-M n (Continued)

Gan. Axat . Kag.

L.D.

Sup. 1

Sup. 2

Gan. Axat . Kag.

L.D.

Sup. 1

Sup. 2

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EXAMPLE 7-M n (Continued)

Gan. Axat . Kag.

L.D.

Sup. 1

Sup. 2

Gan. Axat . Kag.

L.D.

Sup. 1

Sup. 2

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Ch apte r 7

EXAMPLE 7-M n (Continued)

Gan. Axat. Kag.

L.D.

Sup. 1

Sup. 2

Gan. Axat. Kag.

L.D.

Sup. 1

Sup. 2

For further study and playing material for authentic African dance music, see Traditional Dance Rhythms of Ghana, Vol. I by Francis Kofi and Paul Neeley (HoneyRock) and other resources listed at the end of this chapter.

n AFRO-CUBAN INFLUENCES AND STYLES The percussion instruments and rhythms employed in the traditional Latin American dance orchestras and first heard as Latin/jazz fusion in the American swing bands of the 1930s have their roots in Africa, with influences from European and Spanish cultures, and subsequently were popularized in music from Latin America and South America—particularly Brazil and especially from Cuba and the Caribbean. Collectively,

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these are more commonly referred to today as Afro-Cuban instruments, music styles, and influences. Afro-Cuban dance music became a permanent part of the mainstream of American popular music during the rumba craze of the 1930s and spread throughout the world. The samba and mambo were introduced to the United States in the 1940s, and in 1947 Dizzy Gillespie gave birth to Afro-Cuban jazz when he featured percussionist Chano Pozo as his conga player in a Town Hall concert. Major congueros or tumbadoras, bongoceros, timbaleros, and other percussionists too numerous to list emerged from these Latin dance orchestras and jazz bands and remain legends today. Puerto Rican (plena and bomba) and Dominican Republic (merengue) elements appeared in the late 1950s, and the Brazilian bossa nova, a cousin to the samba, emerged in the early 1960s. Since the late 1960s, up-tempo, hot Latin dance music has been referred to as salsa. In 1967 Brazilian percussionist Airto Moreira and his wife Flora Purim moved to the United States. Their contributions with Miles Davis and Chick Corea in the late 1960s (Bitches’ Brew, 1968) and early 1970s (Corea’s Return to Forever), along with artists such as the late Dom Um Romao with Sergio Mendez & Brasil 66 from 1966 to 1970 and Weather Report from 1971 to 1974 ignited the wildfire spread of Brazilian percussion in jazz, salsa, Latin/ rock music, and fusion, and many artists followed. For more history on Latin American, Afro-Cuban, and Brazilian percussion, music, and musicians, see reference books at the end of this chapter. Fundamental to all these styles of Afro-Cuban music, whether authentic or popularized, has been the dominant role of percussion. In recent years this popularity, and the influence of numerous other world percussion instruments and musical styles, has created many exciting new opportunities and challenges for the performing percussionist. Basic technical knowledge and rhythmic understanding of the many authentic, popular, and commercial performing practices and styles on world percussion instruments are now essential. Standard Afro-Cuban percussion instruments, styles, and their techniques are discussed below and playing examples presented on the video.

Claves The Spanish word clave (CLA-veh) means “keystone” or “key,” and the clave rhythm— like the bell timeline, as we have seen above in African music—is the key or foundation to all authentic Afro-Cuban rhythms and styles. Claves also refers to the instrument— consisting of two pieces of hardwood (usually rosewood, ebony, or genadillo) approximately 1 inch in diameter and 8 inches long—that are struck together to produce a clear hollow “click.” Played both forward, or with a 3:2 phrasing, and reversed, with a 2:3 grouping, called son montuno (sohn mon-TOON-oh), depending on the style of the music, the clave rhythm must be intrinsically felt by everyone when playing. The 6 three common types of clave are the son (sohn), the rumba (ROOM-bah), and 8 clave (see Example 7-N and Chapter 7 video: Track 4).

EXAMPLE 7-N n Clave rhythms, forward and reverse

Forward 3:2—son clave rhythm

Reversed 2:3—son clave rhythm

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Ch apte r 7 EXAMPLE 7-N n (Continued)

Forward 3:2—rumba clave rhythm

Reversed 2:3—rumba clave rhythm

68 clave rhythm

Claves have found a permanent niche in contemporary percussion literature as composers have recognized their unique penetrating quality. Claves, like all AfroCuban percussion instruments, are authentically referred to as the “male” or macho, for the higher-pitched clave, and “female” or hembra, for the lower-pitched clave. The lower- pitched clave is traditionally held and played with the higher clave. The lower clave is held lightly in a cupped hand, which serves as a resonating chamber (usually the left hand for right-handed players), at a nodal point like on a marimba or xylophone bar and struck with the other clave, as demonstrated on the Chapter 7 video: Track 4. As with most idiophones, a sweet spot should be selected for the best tone. Occasionally in concert playing situations very rapid passages are specified for claves in which case one clave can be suspended or rested on some foam and two other claves play the suspended clave. Rolls are possible by rotating and striking end-to-end claves held parallel to one another.

Bongos The bongó (bahn-GO), or set of bongos as often called, consists of an attached pair of small wooden-shelled, conical-shaped, single-headed drums. The heads of the “male” or macho and “female” or hembra drums measure approximately 7 and 8 inches in diameter, respectively. The bongo is generally considered to have originated in Cuba with some influences attributed to African descendants of the slave trade (1550–1750) in the Caribbean. Originally made from a hollowed-out tree trunk—the macho drum was the inside layer and the hembra the outer layer of the trunk—the first use of the bongo in Cuban music was through the son and the changui musical groups in the late 1800s (see reference books at the end of this section for more detailed history). Originally played with only hands and fingers, today bongos are often played with one hand and one stick or pairs of sticks depending on the music style/volume or setting. The heads of a pair of bongos should be tunable and made of calf-, mule-, or goat­ skin. Plastic tunable heads made by Remo and Evans heads are also available and very good. Skin heads require tuning up to proper range for playing and loosening of the head tension when not in use to prolong head life. Inexpensive, inferior instruments with nontunable, tacked-on skin heads offer limited playing possibilities and are not recommended. Bongos with plastic heads and conventional tension rods and lugs are fine for use in multiple percussion setups but are not recommended for playing with hand techniques. Various examples of bongos are shown in Figure 7.1 and on the video.

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F IGU RE 7. 1   Bongo drums. Top row, left to right: 7” and 6” tunable skin-head bongos (Mexico); 8” and 7” tunable skinhead bongos (Latin Percussion). Front: clay bongos with laced-on skin heads

Bongo heads should be tuned very high, sounding approximately an interval of a perfect fourth between the drums. Tuning preference depends on personal taste. The best way to acquire this is to study the video examples and listen to some great bongo players. When played with hand techniques, bongos are usually held between the knees or supported at an angle on a stand. The larger hembra drum is usually played to the player’s right side (for right-handed players). If played with sticks, the drums may be positioned at any relationship to the performer, including a straight-line arrangement perpendicular to the player to eliminate any cross sticking. Hand techniques involve striking the heads with the fingers and thumbs at both the edge, to produce a ringing tone, and toward center, to produce a more muffled tone. The basic bongo beat pattern is called a martillo (Sp., Mahr-tée-yo). Martillo means “hammer” in Spanish. The martillo pattern consists of eight distinct strokes with the ac­cented martillo strokes “hammered” with greater emphasis as notated in Ex­ample 7‑O and played on the Chapter 7 video: Track 4. EXAMPLE 7-O n Martillo—basic bongo beat

Stroke 1: Tip of right index finger strikes at edge of small drum while the left thumb presses firmly in the center of the head. Stroke 2: Index and/or middle and ring fingers of left hand strike small drum ­between edge and center. Stroke 3: Right index finger strikes small drum between edge and center. Stroke 4: The side of the left thumb strikes the small drum toward the center with a “flicking” motion and remains on head. Stroke 5: Right stroke as stroke 1. Stroke 6: Left stroke as stroke 2. Stroke 7: Right index finger strikes large hembra drum near edge. Stroke 8: Left stroke as stroke 4.

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Each stroke should produce a slight color change in sound to the rhythm. Variations on the type of stroke made may involve varying amounts of pressure exerted on the head, use of slaps, and other slightly more muffled or open sounds depending on the performer’s preferences. For further study of bongo playing, the reader is referred to Play Bongos and Hand Percussion Now by Richie Gajate-Garcia (Warner Bros.), the DVD Basic Afro-Cuban Rhythms by Ricardo Monzón (Berklee Press/Hal Leonard), and other methods and materials listed at the end of this chapter.

Congas Conga (COHN-ga) drums as we know them today are long, single-headed drums directly descended from African drums and from Cuban cajóns and tumbadoras. They were originally made from hollowed-out tree trunks with skin heads laced on, pegged, tacked, or a combination of mountings and later made from barrels (see reference books at the end of this section for more detailed history). Played either singly or in combi­ nations of two or more drums, the head sizes range in diameter from approximately 10 to 11 inches for the quinto, 11 to 12 inches for the conga, and 12 to 13 inches for the ­tumbadora, sometimes called tumba or tumbao (Figure 7.2). Larger instruments are called supertumbas. Congas are constructed today with both wood and fiberglass shells and with thick calf or mule hide heads with synthetic heads available. Drums equipped with a head tuning mechanism are preferable to nontunable, tacked-on heads. Conga drums are ­primarily played with hand techniques and can best produce authentic sounds with skin heads. Conga drums are usually played seated in a chair with one drum between the play­ er’s legs. When using a second drum, it is usually positioned to the player’s right (for right-handed players). A common two-drum tuning for salsa-style playing is middle C (for the conga or quinto) and a perfect fourth (G) or even tritone below for the larger drum. When adding a third drum, intervals between drums may range from a second to a fifth depending on player’s preference. (Pancho Sanchez tunes as he was shown by Patato–Carlos Valdéz, high to low: C-G-E; Richie Gajate-Garcia suggests high to low: C‑B b-G or C-G-F.) Listen to some good congueros for concepts! Skin heads should be loosened when not in use to prolong head life. FIGU RE 7 .2   Conga drums. Front, left to right: wooden conga and quinto (Gon Bops). Back, left to right: wooden slat conga (Mexico); fiberglass conga and tumba (Latin Percussion)

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When playing in African dance, signal, or speech mode drumming, the conga player will use his or her hands, fingers, knuckles, and fists to produce a variety of differentiated sounds. Afro-Cuban styles of conga playing are primarily concerned with supplying the correct rhythm and feel for the style of dance or music and improvising on top of that rhythmic foundation. Four basic sounds are produced when playing congas with hand techniques. When practicing these, always play with a relaxed hand, arm, and stroke. Tip the drum slightly, if resting on the floor or ground, by lifting the bottom of the drum with the heels of your feet to allow the tones to project out the bottom of the drum. Tilting one drum slightly away from the player and to the right toward the second or third drum is a good habit. See the Chapter 7 video: Track 4 for demonstrations and ensemble grooves. All tones should be developed with both hands. 1. Open tone—played by striking near the edge with a relaxed open hand and fingers and focusing the contact on the head in the upper part of the palm, opposite where the fingers meet the knuckles on the back of the hand, and allowing the fingers to spring back to a straight position with the back of the hand. Experiment to find the fullest, richest open tone possible and trust your body to memorize it when you hear it! 2. Closed, muffled, muted, or flesh tone—sometimes referred to as hand-finger tones— played with either a cupped hand, the heel of the hand (H) or tips (T) of the ­fingers (F). 3. The slap—played like an open tone but with primarily the finger tips whipping the head slightly—always staying relaxed and not “bashing” the stroke in to the head—to create the slap sound. The hand should be cupped slightly to allow air to escape. A muted slap is played near the edge with the opposite hand resting on the drum head to stop the vibrations. An open slap is a high-pitched accent sound played a little more toward center than the muted slap on an open, nonmuffled head. 4. The bass tone—played like an open tone but just off center on the head with the hand cupped slightly to produce a good base sound with the palm of the hand. The exercises in Example 7-P will aid in developing the basic conga beat commonly called the tumbaó (toom-BOUGH), with some variations: the marcha or masacor. Many other types of strokes are used and grooves exist. The reader is referred to instructional aids listed at the end of this chapter for further understanding of conga techniques and rhythms. First, practice slowly each hand individually and then alternating. Play: (1) open tones, (2) closed tones, (3) slaps, and (4) bass tones. Then, slowly try the combined exercises in Example 7-P. EXAMPLE 7-P n Basic conga technique (stickings are for right-handed players)

Left hand tones can be played as closed or bass tones; remember to lift the left hand when playing the open tone in the right hand.

H = heel of hand. T = tip or toe of fingers (F)—played by rocking the hand back and forth.

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EXAMPLE 7-P n (Continued)

* This closed tone is played with a cupped hand and little emphasis, more of a “rebound” or “ghost note” off the slap and to keep the rhythm flowing. (Pancho Sanchez calls this a “muffled bounce” and “muffled tap” stroke.) Basic Conga Tumbaó (toom-BOUGH) The tumbaó can also be played L/H, L/T, R/Slap, L/T, L/H, L/T, R/Open, R/Open

Basic Two-Drum Tumbaó For variety the left hand can play its strokes “up” toward center and “back” toward the edge. This “back” edge stroke is a quasi-slap that sets up the right slap.

Two-Measure Tumbaó—Usually Played over 2:3 Clave

For Faster Tempos

Afro-Cuban

6

Afro-Cuban 8

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EXAMPLE 7-P n (Continued)

Rock Beats

Slaps are played open, i.e., head is not muffled with the left hand.

For further study of conga playing, the reader is referred to Play Congas Now by Richie Gajate-Garcia (Warner Bros.), Poncho Sanchez’ Conga Cookbook by Pancho Sanchez with Chuck Silverman (Cherry Lane Music/Hal Leonard), the DVD Basic Afro-Cuban Rhythms by Ricardo Monzón (Berklee Press/Hal Leonard), and other excellent methods and materials listed at the end of this chapter.

Timbales A modern set of timbales (tim-BAH-less) consists of two metal-shell drums, usually 14 and 15 inches in head diameter or smaller and often with added cowbells—the larger mambo bell and smaller chacha bell—and wood blocks. For authentic sounds the heads should be made of goatskin, but plastic is usually used. The drums are played with straight wooden dowels approximately 7⁄ 16 to 1 ⁄ 2 inch thick and 15 to 17 inches long, with the hands, and with brushes. The history of the timbales is complex, encompassing an evolution from the European timpani (the French term for timpani is timbales) and descending from an instrument made from the paila, a copper bowl used to hold sugar cane juice. (For detailed history, see the resources at the end of this section, especially Tito Puente’s Drumming with the Mambo King and Changuito: A Master’s Approach to Timbales.) The timbale player is the master drummer in authentic Afro-Cuban style playing and must develop an extensive vocabulary of sounds/techniques and rhythms. Timbales are often employed in concert music both in their authentic style (many times with elaborate instructions to produce authentic techniques) and in more of a tom tom role. Timbales heads are tuned to a low- to mid-range tension and usually sound about a perfect fourth of fifth apart. Smooth white plastic heads are recommended or a coated head. A good starting point is to tune middle C on the larger hembra drum and an F or G above on the smaller macho drum. Again, listen to fine players to develop these ­concepts. When playing in an Afro-Cuban style, the timbalero will play on the heads ­(vaqueteo) and on the shells (paila or cáscara) and employ the mounted cowbells and wood block, often expanding the setup with cymbals, bass drum, and other percussion. The large hembra drum is placed to the player’s left and macho to the right with the larger mambo bell usually facing to the player’s right and the smaller chacha bell to the left. The sticks are always held with matched grip. The timbales’ role is to help establish the basic groove and to improvise solo over the music. When playing, the timbalero will try to imitate the sound of the congas and/or bongos by playing regular and dead strokes on the heads and high-pitched rim shots at the extreme edge of the head. A rim shot is often played in the left hand on both the large and small drums by placing the stick and hand in the center of the drum and striking the rim and head together with the stick (see Chapter 7 video: Track 4). As in all Afro-Cuban style music, the clave is the foundation to which all rhythmic and melodic parts are related. Examples of son and rumba clave are demonstrated on the video. Over that the timbale player plays the cáscara patterns. Cáscara literally means “shell” or “peel” in Spanish and refers to the sound of playing on the shell of the timbales (as does paila) and the cáscara rhythmic patterns. The cáscara is a two-measure phrase that, like clave, has a 3:2 and 2:3 side.

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Fundamental cáscara patterns are shown in Example 7-Q numbers 1 through 8 and demonstrated on the Chapter 7 video: Track 4. Note the relationship to the 3:2 and 2:3 claves. The left hand plays closed (+) and open (o) tones on the hembra drum imitating the conga tumbaó.

Example Example 7Q 7Q Example 7Q Example 7Q(right) drum = on the shell of the macho

EXAMPLE 7-Q n Fundamental cáscara timbale patterns

legend legend legend legend

= muffled tone (+) played with the hand in center of head = open tone (o) played with the hand a little off center = “Latin rim shot” played with the end of the stick held in the center of the head while striking the rim

1. 1. 1. Cáscara (paila) with 3:2 son clave 1. high 1. timbale high timbale high timbale hightimbale timbale low low timbale low timbale low timbale

legend

Example 7Q

2. 2. high 2. timbale high timbale

2. 2. Cáscara (paila) with 2:3 son clave high timbale high timbale low timbale low timbale low timbale low timbale

3. 3. Cáscara (paila) with 3:2 rumba clave

3. 3. 1. high 3. timbale high timbale

high timbale timbale high hightimbale timbale low low timbale low timbale timbale low low timbale

4. Cáscara (paila) with 2:3 rumba clave

4. 4. 2. 4. timbale high high 4. timbale

Example 7Q

high timbale high timbale low timbale low timbale low timbale low Basic timbale 5. cáscara (paila) with 3:2 son clave

5.

3.

clave

high hightimbale timbale

low timbale timbale

6. 4.

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clave high timbale

high timbale

5. 2. 2. 5.

low timbale high timbale high timbale clave clave

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EXAMPLE low low timbale timbale 7-Q n (Continued) high timbale high timbalecáscara (paila) with 2:3 son clave 6. Basic

6.

low timbale clave low timbale

3. 3.

high timbale high hightimbale timbale

6. 6.

timbale low low timbale timbale clave clave high timbale The cáscara or paila is usually played during the introduction and verse sections. The high timbale

mambo bell is usually played during the montuno and mambo sections of a tune. The 4. 4. 7. low timbale same pattern is used for both son and rumba clave. low timbale high timbale high timbale clave

low low timbale timbale 7-Q n (Continued) EXAMPLE mambo bell

7. Mambo bell with 3:2 clave 7. 7. low timbale clave clave

mambo bell mambo bell 8. low timbale clave low timbale mambo bell

8. Mambo bell with 2:3 clave

8.

low 8. timbale clave clave mambo bell mambo bell low timbale low timbale

For further serious study of timbale playing the reader is referred to the excellent Tito Puente’s Drumming with the Mambo King (75 minute CD with Puente playing exercises from the book, six solos, and twelve classic recordings) by Tito Puente and Jim Payne (Hudson Music/Hal Leonard), Play Timbales Now by Richie Gajate-Garcia (Warner Bros.), Changuito: A Master’s Approach to Timbales by Jose Luis Quintana with Chuck Silverman (Manhattan/Warner Bros.), the DVD Basic Afro-Cuban Rhythms by Ricardo Monzón (Berklee Press/Hal Leonard), and other methods and materials listed at the end of this chapter.

Cowbells The Afro-Cuban cowbells known collectively as cencerros (sen-SEH-roh) are played mounted—as with the large mambo and small chacha bells with timbales—and handheld by cupping the top of the bell into the heel of the hand and supporting the sides of the bell with the little finger and thumb. The remaining three fingers are used to muffle the tone slightly or allow it to ring. The butt end of a snare drum stick, old clave, or heavy cowbell stick will produce the best characteristic cencerro sound. The campana or bongo bell is used in the Afro-Cuban ensemble Chapter 7 video: Track 5 demonstration. Varying tonal qualities can be obtained by striking the center and mouth of the bell for higher and lower sounds and alternating with finger dampening with the holding hand.

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Ch apte r 7

Guiro The guiro (GWEE-yo) or scraper is made out of a hollow gourd or constructed similarly out of wood (güiro) or metal (güira). The thumb and middle finger may be inserted into holes cut in the bottom (of most gourd guiros) or just hold the sides of the guiro and a scraping tool or stick is drawn across grooves cut into the body of the gourd. See demonstrations of Afro-Cuban-style guiro playing on the Chapter 7 video: Tracks 4 and 5 with the Afro-Cuban ensemble. Many other types of scrapers exist and are used regularly in other styles of music. These include washboards, the traditional notched bamboo réco-réco of Brazil, the perforated tin and spring guiros and torpedos made popular in Brazilian music and steel band soca (soul and calypso). Also see the Chapter 7 video: Track 14 section on steel drums for “engine room” playing demonstrations. In more concert-style playing situations, scraping sticks of many varieties will offer many possible sounds to the guiro or scraper player. Some common items include a comb, the shaft of a mallet (fiberglass especially), a frayed piece of rattan, chopsticks, a fourto five-pronged hair pick, and the tapered stick usually supplied with the guiro when purchased. By varying the length, speed, and pressure of the downstroke and upstroke played and by varying the contact point on the scraping stick from tip to middle, many differentiations in sounds and subtle nuances can be produced. The actual duration of written notes can be clearly stated by varying stroke lengths as illustrated in Example 7-R. EXAMPLE 7-R n Interpreting a concert-style guiro part

Maracas Maracas (mah-RAH-kas) are the most common rattle-type instrument used by percussionists. The maraca consists of an oval or round hollow gourd that is filled with seeds, beads, or shot and is attached to a handle. Internal rattle-type instruments can be found in many forms in almost every culture dating back to antiquity. Modern maracas are closely derived from American Indian rattles and are made from gourds, coconuts, dried animal skin, and plastic. Maracas can be purchased at almost any music store. Good maracas can be found often in import and gift shops. Maracas are held one or more in each hand and played with sharp flicks of the wrist. This throws the inner particles against the walls of the rattle and produces a quick “double-chick” sound. Authentic Afro-Cuban style and loud passage playing usually consists of repeated rhythms and elaborate arm movements worked out utilizing this double-chick as one or two parts of the rhythm. Softer passages can be played “concertstyle” by holding the maracas horizontally and making a short stroke so that the inner particles move silently up but are heard only when they fall back to rest on the bottom wall of the rattle. (See Chapter 7 video: Track 4 demonstrations.) Rolls can be played by holding the maracas perpendicular to the floor and swirling the inner particles around inside the gourd (for soft rolls), by shaking the maracas in fast hand-to-hand strokes, or by holding two in one hand, end to end, and shaking. The maracas play an important part in keeping a steady timeline in Afro-Cuban music and are also a favorite instrument in contemporary percussion solo and ensemble literature.

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F IGU RE 7. 3   Playing ­vibra‑slap

Jawbone (Quijada) and Vibra-Slap The beaten rattle called a jawbone or quijada (whee-HA-dah) was originally the jawbone and teeth of a mule. (See Chapter 7 video: Track 4.) It was first used in African folk music and is played by striking the open-end bone, which causes the loose teeth to buzz and rattle. Small bells are sometimes attached for added sound color. Due to the fragility and scarcity of the jawbone, a man-made substitute has been developed called a vibra-slap (Figure 7.3). The vibra-slap consists of a wooden box with loose metal pegs inside that vibrate when the ball end is struck on one’s hand or knee. The duration and freedom of the rattle can be varied depending on the gravitational pull on the pegs and position of the instrument when played.

n BRAZILIAN INFLUENCES AND STYLES Contributions by Mike Vercelli Brazil is known for its extensive use of percussion instruments, especially those prominently featured in the parades and festivities of Carnival. During Carnival, large groups known as Escolas de Samba parade through the streets with upwards of 300 members in the percussion section or bateria. In this section we will focus on the more common instruments of the samba bateria. All instruments are demonstrated on the Chapter 7 video: Track 6 and combined into a samba batucada at the end, Chapter 7 video: Track 7.

Surdo The pulse of the samba is established through the use of surdos. The surdo (SOOY-du) is a large double-headed cylindrical drum made from metal or wood. The heads can be calfskin but more often plastic with a thin cloth or leather covering stretched over the batter head to enrich the sound. Surdos are usually played with one mallet, resembling a marching bass drum mallet, and an open hand. While allowing the player to mute the drum, the hand also can add rhythmic subtlety. (See Chapter 7 video: Tracks 6 and 7 and Example 7–S.) Surdos of three different sizes are used to create melodic bass lines within the ensemble and define the type of samba played. EXAMPLE 7-S n Batucada: surdo parts

Percussion

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Repiníque The repiníque (hep-in-EE-kay) is generally the conductor of the samba ensemble, and through the use of call and response will direct the group through breaks and musical changes. The repiníque is a double-headed drum with a metal shell, tuned very high to cut through the rest of the ensemble. It can be played with two thin sticks, similar to timbale sticks, or one stick and the hand (see Chapter 7 video: Tracks 6 and 7 and Example 7-T). EXAMPLE 7-T n Repiníque stick-hand pattern Hand

Perc. Stick

Other Brazilian Instruments The following sections highlight some other Brazilian percussion instruments in more detail. See demonstrations of many of these instruments on the Chapter 7 video: Tracks 6 and 7. Caixa  The caixa (cah-SHA) is the Brazilian snare drum in the Escola de Samba. Its con-

struction and performance practice is similar to the Western snare drum although when used in a marching ensemble such as in samba, buzz rolls are used exclusively (see Chapter 7 video: Track 7).

Tamborim  The tamborim (tom-bo-RIM) is a small frame drum used in the bateria. Usually only about 6 inches in diameter, it is tuned very high to cut though the rest of the ensemble. The tamborim can be played with a thin wooden stick or by a small ­bundle of wooden or plastic rods to create somewhat of a flam effect. Similar to the surdo and repiníque, the tamborim also utilizes various open and closed strokes (see Chapter 7 video: Tracks 6 and 7 and Example 7-U). While the stick strikes the top of the head, the hand holding the instrument can mute the inside of the head with either the index or middle finger and thumb. The rhythms of the tamborim are often very syncopated, and master players can incorporate advanced techniques of flipping the instrument to create highly embellished rhythmic possibilities. EXAMPLE 7-U n Tamborim pattern

Perc.

Pandeiro  The pandeiro (PUN-day-ro) is the Brazilian tambourine and can be heard in

a wide variety of traditional and popular Brazilian music. The instrument’s construction is similar to the Western tambourine with the most noticeable difference in the weight of the jingles. The jingles found on the pandeiro are typically heavier and commonly mounted convex as opposed to concave to one another to produce a dryer sound than those of an orchestral tambourine. The dry sound of the jingles on the pandeiro allows the subtleties of the master pandeiro player to be heard. The technique used on the instrument is complex, using open and closed tones in the supporting hand as well as a wide variety of finger, hand, and thumb possibilities in the playing hand. See Chapter 7 video: Track 6 demonstrations. A great website for pandeiro information, instruments, and links is w ­ ww .pandeiro.com in Brazil.

Cuíca  The cuíca (KWEE-kah) is a friction drum also found throughout Brazil. The instrument can vary in size and is generally constructed of metal. The head is usually

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calf, although cuícas with plastic heads can also be found. Inside the instrument, a small wooden dowel is attached to the underside center of the head. The player, using a rosined or moistened cloth, rubs the stick inside the drum to produce a wide variety of groans and animal-like sounds. By pressing on the top of the head with either the fingers or thumb of the supporting hand, the player can vary the pitch of the cuíca, up to almost an octave on some instruments. Unique sounds of the cuíca can be used in a rhythmic ostinato or as an exciting solo voice in the ensemble. Agogo, Frigideira, and Réco-Réco  The Brazilian agogo (ah-go-GO) bells are

directly descended from the African gankogui. Agogo bells can be held either horizontally or vertically and played with a small metal or wooden stick. Rhythms are played with the stick and by closing the bells together. The frigideira (free-jhee-day-rah) is essentially a frying pan that is struck with a metal rod and produces a sharp clang. The réco-réco (hacko-hacko) is essentially the Brazilian guiro. These instruments contribute elaborate rhythms and help establish a timeline for all the other instruments.

Chocalho and Ganzá  The chocallo or chocalho (show-CAH-leo, sometimes called

ka-me-so or simply tubo) and ganzá (gung-ZAH) supply a pulsating rhythm to authentic and commercial Brazilian music. Consisting of metal, plastic, cardboard, or wooden tubes filled with beads, shot, pebbles, seeds, rice, or similar material, these shaking tubes are capable of a variety of effects. They are held with one or two hands and usually played in a sharp back-and-forth sideways V path in front of the player. Some chocalhos have a handle and look like a large maraca. Ganzás are available in sets of one to three attached tubes (see Chapter 7 video: Track 7).

Cabaça or Afuché-Cabasa and Shekeree  The cabaça (cabasa or cabaza) is a

rattle of African origin, much like the axatse, that has become very popular in contemporary Brazilian and commercial jazz music. They were originally constructed from dried oval- or pear-shaped gourds with beads strung on the outer surface. Modern manufacturers (Latin-Percussion, Inc.) have built a more durable cabasa that they call an afuché-cabasa made by attaching small metal-ball chains over a serrated metal sheet. Afuché-cabasas are available in three graduated sizes. A cabaça or afuché is held in the right hand (for right-handed players), and the beads are sounded by laying them against the left hand and rotating the handle and cylinder with the right hand. Loose beads can be struck with the free hand, and the afuché can be spun sharply causing the beads to spin while held freely in the air and shaken back-and-forth like a maraca. Playing patterns consist primarily of repeated rhythms with accents added by using stronger wrist turns. The shekeree (shay-kay-RAY) evolved from the axatse as used in African dance mode drumming. The shekeree is like a large cabaça or axatse and is played by striking and shaking the loose beads against the gourd. A low “gung” is produced by striking the closed end of the large gourd with the palm of the hand.

Apíto  The apíto (Ah-pee-toe) can be a regular police whistle or more commonly a twoor three-tone Brazilian samba whistle that is usually used by the leader of the Escolas de Samba for giving directions for breaks, entrances, change of tempo, and announcing pieces. It can also be used as a rhythm instrument. Berimbáu and Caxixí  The berimbáu (bay-rim-BOW) is of African origins and is

thought to have originated in the area around present-day Angola. The instrument is closely associated with the Afro-Brazilian martial art Capoeira. The music of the berimbáu would disguise the training and sparring of the slaves as a dance, to go unnoticed by their captors. Today, the berimbáu is found in many Brazilian musical styles and popularized as a solo instrument by Nana Vasconselos. The instrument is made from a single stick, approximately 31 ⁄ 2 to 4 feet in length, with a metal wire stretched over each end to resemble a bow. A hollow gourd is attached to the stick and the wire to server as a Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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resonator. The berimbáu is played by holding the instrument in one hand and striking the metal wire with a thin stick in the other. The striking hand holds a small caxixí (kah-shee-SHEE) hooked through the fingers. This becomes part of the rhythmic sound pattern produced. (Larger caxixís are often handheld and played more like maracas.) The supporting hand can manipulate the pitch of the instrument by placing a large coin or rock against the string with the supporting hand. (See the berimbáu demonstrated on the Chapter 7 video: Track 6.) Example 7-V is a short samba batucada arrangement using many of the instruments described above. Substitutions can include tonal marching bass drums or floor toms for surdos and high tom or timbale for repiníque. (See Chapter 7 video: Track 7.) EXAMPLE 7-V n Samba batucada

Samba Batucada Samba Batucada Samba Batucada

Traditional Traditional Traditional

Ago-go Bells Ago-go Bells Shaker Ago-go Bells Shaker Tamborim Shaker Tamborim Tamborim Repinique Repinique Caixa Repinique Caixa Caixa Surdos Surdos

3

3 3

3 3

3

3

3

Surdos 3 A.B. A.B. Sh. A.B. Sh. Tamb. Sh. Tamb. Tamb. Rep. Rep.

3 3

3 3

33 3

33 3

3

3

Ca. Rep. Ca. Ca. Sur . Sur .

3 3

3 3

3

3

Sur . Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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EXAMPLE 7-V n (Continued) 6

A.B.

Sh.

Tamb.

Rep. Ca.

Sur .

9

A.B.

n HAND DRUMS OF THE WORLD Sh. Contributions by Todd Hammes

Middle Eastern Influences and Styles Tamb. To say that Middle Eastern music is only from the Middle East would be simplistic. Geographically, the area surrounding the Mediterranean Sea, Arabia, and Persia would be more appropriate, and it should include the northern coast of Africa, southern Spain, Rep. Greece, Turkey, Iraq, and Iran. Each country or tribe has its own instrument names, techniques, and stylized music. TheCa. instruments are subtly different from one place to another, so keep in mind that names, spellings, and pronunciation are all relative. The approach taken in this book is to introduce the reader to the instruments and their techniques in a very general way. This region has hand drums, frame drums, tambourines, and cymbals. Sur . Middle Eastern drumming patterns are verbalized using onomatopoetic words. Examples are Doum, Ta, Ka, Tak, Tek, and Pa. As in most folk music, the Middle Eastern drummer uses a combination of low sounds and high sounds to create a danceable rhythmic pattern or groove. We will show how the groove called baladi or beladi fits on to each type of instrument. This is one of the most popular drum patterns on the planet. Think of it as a rock beat. Beladi 1 & 2 & 3 & 4 & Doum Doum - Tak Doum - Tak or 1 & 2 & 3 & 4 & Doum Doum - Pa Doum - Pa -

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Doumbek or Doumbec  The goblet drum from this region is known by many names,

and we will refer to it as doumbek (see ­www.rhythmweb.com/doumbek/names/htm). Other drums in this family include darabuka (Turkish), zarb (Persian), and the Arabic tabla. There is some confusion caused by the word tabla. In Arabic the word tabl is the generic term for “drum.” Be aware that tabla can refer to the pair of drums from India or a doumbek. The main sounds on a doumbek are Doum, Tak, Ka, and slap. Doumbeks are held on the lap with the open end of the drum facing to the back. The drum will rest on the leg on the player’s nondominant hand side, and the head will run perpendicular to the floor. The nondominant arm will lay across the body of the drum with the finger tips resting on the rim. Doum is produced by striking with all four fingers of the dominant or strong hand about half of the way toward the center of the head. Tak is produced by the strong hand striking with just the fingertips at the very edge of the skin. Ka is made by striking with the tips of the fingers of the nondominant hand at the very edge of the skin. The slap sound is much like a slap on a conga drum. The strong hand, slightly cupped, strikes hard with the fingertips at the center of the skin. See Chapter 7 video: Track 8 demonstrations.

Frame Drums  The frame drums include the tar (North Africa), bendir (Moroccan),

and toph (ancient Mesopotamia). The main sounds on frame drums are Doum, Tak, Ka, and Pa. The drum is held in the nondominant hand and struck mainly with the dominant or strong hand. The strong hand produces the Doum sound by striking with the ring finger about one-half of the way toward the middle of the head. Doum can also be achieved by striking with the thumb in a rotating motion or by hitting with the whole hand. Tak is produced by the strong hand striking with just the tip of the ring finger at the very edge of the skin. Ka is the same as Tak but with the holding hand’s ring finger. This is normally a slightly weaker sound than Tak. The sound Pa is made with all the fingertips of the dominant hand grabbing in the center of the head to produce a closed sound. It should have a sharp, almost slapped quality. See Chapter 7 video: Track 8 demonstrations. Tambourines  The tambourines include the riq (Egypt) and the mazar (North Africa).

The main sounds on riq are Doum, Tak, Pa, and Tik (on the jingles/cymbals). The drum is held in the nondominant hand so that the middle, ring, and pinky fingers can strike on a jingle. Normally the thumb of the holding hand will be pressed up against a jingle for stability. (See grip on Chapter 7 video: Track 8.) The strong hand produces the Doum sound with the first finger, the Tak with the ring finger, and Pa with all the fingertips. Tik is played by either hand on a jingle. Various shaking techniques are also available. See Chapter 7 video: Track 8 demonstrations.

Cymbals  Zils are the most common metallic instrument from this region. We all know

zils as finger cymbals worn by a belly dancer. They are sometimes played by a musician to drive the rhythm. Played by clapping the two cymbals together, zils have two main sounds: closed and open. See Chapter 7 video: Track 8 demonstrations.

Global Frame Drumming and Groove Tunes The late part of the twentieth century saw the development of a global style of frame drumming that was pioneered by the great American percussionists Glen Velez and John Bergamo. This is a virtuosic style combining techniques from all over the globe with every conceivable musical concept. The Celtic bodhran is a commonly used instrument for this approach. See Chapter 7 video: Tracks 9 and 10 demonstrations. All the world’s drumming is being brought together in many wonderful ways, with the forming of new global pop/folk fusion bands to therapeutic drumming circles.

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Everything is blendable. Using instruments from around the world is a great way to make ties to curriculum through geography, history, culture, current events, math, and music. See videos, DVDs, and recordings of Glen Velez, John Bergamo, and others listed at the end of this chapter. Also see recordings of Shane Shanahan, Yousif Sheronick, Michael Askill, Todd Hammes, Randy Crafton, Layne Redmond, Hands On’Semble, N. Scott Robinson, Colin Walcott, Ed Mann, Marc Anderson, Ray Spiegel, Richard ­Flatischler, and others. Fine sources for world percussion instruments include Asian Sound of Köln, ­Germany/Steve Weiss Music of Philadelphia; Lark in the Morning of Mendocino, California; Earthshaking Music of Atlanta, Georgia; Rhythm Fusion, Rhythmweb and many other import and specialty shops. See websites at the end of this chapter. For a hands-on experience combining many of these instruments, try these Groove Tunes below by Todd Hammes and enjoy the global drumming ensemble demonstrations on the Chapter 7 video: Tracks 11 and 12. Groove Tunes  These types of percussion pieces have proven to be very accessible with all ages and populations of students. They are infinitely expandable and fun for all. The written score is little more than a timeline to help a teacher understand the form. Any musical device can be explored in this format, including dynamics, tempo changes, call and response, improvised soloing, duets, and accompaniment. All parts can be doubled or changed to fit whatever instrument or personnel you may have. With little exception, each measure can happen as many times as you like. As we all know, four bar phrases are always pleasing to the ear and body. Most people over the age of 10 years can make up their own rhythms without much prompting. So, trust the students to take ownership of their own parts. Band, choir, and orchestra teachers will find that this method can be used without instruments to reinforce rhythm within their ensembles. Instead of percussion instruments, try stamping the feet, clapping, snapping, and vocal sounds. Groove Tune #1

1. Intro: Rossini This introduction is based rhythmically on “The Lone Ranger Theme” William Tell Overture. (See Example 9-O in Chapter 9 for a marching percussion arrangement of this.) Sing the main theme once with the melody, and the students will instantly fill in the drum parts. (See Example 7-W and Chapter 7 video: Track 11.) 2. Build Up Layer in one part at a time. Let entering player have enough repetitions to feel comfortable. 3. The Groove Let the groove go for some time. For variety, designate a leader to conduct dynamics or solos or anything else that may fit. 4. Count Off and the “Bang” The “bang” is a nice clean stop on the downbeat. Have the leader count four beats with a hand signal to define where to stop. Hint: Counting off measures instead of beats gives the leader more time to get the group’s attention. 5. Space Sounds This is the result of exploring nontraditional ways of playing the instruments. Everything is an option, such as scratching, rubbing, knocking on the side, friction sounds, tapping with fingernails. You may put a marble inside a frame drum and swish it around. This is always fun and empowering for the students.

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EXAMPLE 7-W n Groove Tune #1

Groove Tune #1 First Groove Tune

Todd Hammes, 2005

Intro: "Rossini" Riq

Med. Frame Drum

Lg. Frame Drum

Zils

Build up Vamp

Vamp

Vamp

Vamp

Count off

The Groove Vamp

"1 2 3 4"

The "Bang" Bang!

Riq

Bang! Med.

Bang! Lg.

Bang! Zils

Space Sounds

Build up

The Groove

Count off

The "Bang"

"1 2 3 4"

Bang!

Riq

Vamp Bang! Med.

Bang! Lg.

Bang! Zils

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Groove Tune #2  This uses several other devices (Example 7-X). It is based on the Middle Eastern groove beladi, see Chapter 7 video: Track 12. Any groove can be substituted. Make your own.

1.

2.

3.

4. 5.

Isolate Sections Group players with similar instruments into sections and have each section play separate parts. As the groove is happening, do a mini-count off to stop some sections so that others remain a section soli. Call and Response Exact repetition and refrains are the most common type of call and response. The Rossini introduction, measures 1–3, in the first groove piece is a simple example of a refrain type of call and response. Accompanied Solos Have part of the group rest while another portion continues quietly. One player can then improvise over the top of the groove. Or, try an accompanied call and response. Tear Down Tear down is the opposite of build up (Example 7-W). Players drop out one at a time, leaving one person, or section, playing alone. Have Fun!

Second Groove Tune

Second Groove Tune Call and Response Second Groove BuildTune Up into Groove Tune #2

Todd Hammes, 2005

EXAMPLE 7-X n Groove Tune #2

Call and Response Player #1

Player #2

Todd Hammes, 2005

Groove (tutti)

"Beladi" or Groove

Todd Hammes, 2005

Call and Response Player #1 Call and Response Player #1 Isolate Sections

Call and Response Player #2 Call and Response Player #2 Accompanied Solos

Build Up into "Beladi" or Groove Build Up into "Beladi" or Groove Groove (tutti)

Accompanied Solos

Isolate Sections

Accompanied Solos

Groove (tutti)

Accompanied Solos

Isolate Sections

Accompanied Solos

Groove (tutti)

Accompanied Solos

Groove (tutti)

Tear Down

Count off and Bang!

TablaGroove (tutti)

Tear Down

Count off and Bang!

Groove (tutti) Groove (tutti)

The sophisticated pair of drums from northern India known collectively as tabla have Groove (tutti) Tear Down Count off and Bang! become increasingly familiar to Western percussionists (Figure 7.4). Learning the highly sophisticated spoken sounds (bols) and their corresponding strokes and hundreds of talas or time meters requires many years of dedicated study and practice. Increasing numbers of Western percussionists are studying the tabla, and its use in contemporary percussion scores and by jazz and avant-garde or ethnic percussion artists has increased correspondingly. Todd Hammes demonstrates the tabla on the Chapter 7 video: Track 13. We hope you enjoy his “Tabla 101 for the Music Educator” segment of the video. “Tabla 101 for the Music Educator”  The tabla is the most important percussion

instrument of northern India. It is used in all styles of Indian music from the most complicated classical music to the most danceable popular music. The mrdangam is the counterpart in southern India. The tabla is a complex instrument consisting of a pair

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Photo by Vallabh Kargathra

FIGURE 7.4   Tabla with the master of the Benares style, the late Pandit Sharda Sahai

of pitched drums that are played with the fingers and hands. The word tabla is most likely derived from the generic Arabic word for drum, tabl. This inseparable pair of drums is sometimes made plural in English as in tablas or, referred to as a set of drums, ­simply  “tabla.” There is some confusion caused by the word tabla. It can refer to these drums from India or an Arabic drum specifically named doumbek. This confusion most often occurs in pieces that are drawing on Middle Eastern styles or early European folk music. There are many theories and legends about the origins of the tabla. One account says that it was accidentally created during a swordfight between master drummers. The instrument they played was a barrel-shaped drum with heads similar to the tabla named pakhawaj. It is said that these master drummers became very angry during a music contest. In the ensuing fight, one of the drums was cut in half with a sword. This made one master drummer decide to play his severed drum as a new instrument. By changing the instrument he played to tabla, he eliminated the chance for any future conflict with his pakhawaj playing rival. The first great tabla master was Sidhar Khan in the eighteenth century. He was a court musician in the court of Mohammed Shah (1719–1748) of Delhi. During his tenure at the palace, he developed the first true tabla style of playing. Over the next 60 years, Sidhar Khan’s students spread out over all of northern India.

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The fact that India is made up of a wide variety of ethnic groups and has many languages causes much confusion for the Western student of Indian music. The names of the individual drums and the playing techniques can be completely different from one player to another. Generally, the tabla is a pair of drums, high and low, that are played seated on the floor. Both drums are pitched. The high drum is tuned to a specific pitch. The low drum is tuned low, then manipulated by sliding or pushing on the head with the back of the hand while striking with the fingers. The heads are made of two or three layers of goatskin with a thick paste applied to the center portion of the heads. This paste adds weight to the vibrating skins, which lowers the pitch and helps focus the vibrations into a clear tone. Each drum has a different body or shell. The higher and smaller drum is carved-out hardwood. The larger and lower drum is made of a brass or copper bowl, which is produced specifically to be an instrument. The heads are attached and tuned by a single strap of water buffalo hide, which is woven through the head. Cylindri­cal blocks of soft wood are placed between the strap and the body to help control the tension. The drums each sit on a doughnut ring-shaped pillow that are perfect drum holders. The tabla is regarded by many as the most complex form of drumming on the planet. It is taught verbally. The instrument can produce approximately 32 sounds, or bols. These bols are combined into a tabla-specific onomatopoetic language that are spoken by the teacher to the student. Bols are taught verbally. Here is an example of a typical phrase that Todd uses on the video: Te Ta Ka Ta, Gi Da Gi Na, Dha There are three main ways to produce a sound on the tabla. Like all hand drums, there are open strokes and closed strokes, but the tabla employs a variety of harmonic strokes. These harmonic strokes are produced on the high drum by touching the skin lightly with the ring finger and striking with the index finger of the same hand. Because of its complexity in technique, composition, and culture, the study of tabla is best done with a teacher. It is a widely held belief that a Western student has little chance of producing the correct sounds without a teacher. There are many informative books and videos for tabla study that are good supplements. Study the Chapter 7 video: Track 13 demonstrations by Todd Hammes of tabla. Enjoy sharing the beauty of this unique and wonderful instrument and a taste of this music.

n Steel Drums Steel drums or “pans” originated in the Caribbean twin island nation of Trinidad and Tobago, located 7 miles north/northeast of Venezuela, South America. The steel drum is without doubt the most significant acoustic musical instrument invented in the twentieth century. The invention of the drums resulted from the intense desire of the lowerclass inhabitants to make rhythmic music for pre-Lenten Carnival activities. During the late 1880s, civil authorities in Trinidad placed a ban on all African native drumming, so the people turned to stamping thick bamboo poles on the ground to make music. Given the name of “tamboo bamboo” (an alteration of French words meaning bamboo drum), bands were soon formed that consisted of all bamboo instruments playing quasi-melodic rhythmic patterns with highly syncopated passagework. By the 1900s several small metal instruments such as cracker tins, dust bin lids, car brake drums, and even bottles and spoons were incorporated into the bamboo bands. By 1938, all-metal beating bands existed. Some of the Trinidadians soon discovered that certain areas of a dented metal vessel could elicit distinct “pitches,” and the early steel drum was born.

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The first true melodic steel drums were created in the early 1940s. These drums were small metal vessels like biscuit tins or caustic soda pans. The bottom face was hammered in a convex shape, and about eight roughly tuned notes were constructed. The drum was held in one hand and played with a small stick in the other hand. Due to competition between rival gangs of steel drum players, steel drums began to evolve and grow. The desire to play longer, more complex melodies with harmonic accompaniment forced rival factions of steel drum playing gangs to innovate new styles of drums. The metal vessels used to create the drums were hammered concave and lower, and more notes were added. Harmony instruments were developed, and by the 1950s complete ensembles featuring semi-chromatic melody, harmony, and bass pans were being built out of discarded 55-gallon barrels. Today, the complete set of steel drums that make up a steel band are hand-crafted chromatic, finely tuned instruments made from 55-gallon barrels and cover the instrumental range of soprano, alto, contralto, tenor, and bass. To construct a pan, the bottom face of a barrel is hammered or “sunk” into a concave bowl shape—the depth being determined by the harmonic function of the pan. Higher range pans carry more notes per pan and must be sunk lower to accommodate more pitches. The actual notes are then outlined by small grooves in the bowl face. These grooves are made with a hammer and steel punch. Then the notes are hammered back to a slight convex shape. The larger the area of a note the lower the pitch. The drums are then burned over a fire or other heat source. After the metal has cooled, the notes are carefully tuned with a small hammer using a skilled ear and strobe tuner. In the formative years of pan playing, the drums were suspended by means of a strap around the player’s neck (known as “pan around the neck” or “single-pan” bands), but since the late 1960s drums have been suspended in metal racks allowing for easy set up and transport and the full vibration of the total body of the instrument. Bass and tenor bass pans are sometimes placed in a U shape on the ground on small pads or holders surrounding the player. Traditional bands preserve the single-pan performance tradition today. Most modern instruments (post 1970s) are tuned with an octave and fifth harmonic included in each note on the pan. This addition of the harmonic is what gives a steel drum a unique ringing tone. Steel drums are played with rubber-tipped metal, dowel, or bamboo cane sticks varying in size and shape dependent upon the type of drum. Bass mallets are made from small foam rubber play balls. The rubber wrapping on other mallets may be made from sheet rubber, surgical tubing, rubber latex gloves, or in some cases balloons or rubber bands. Generally, the higher the range of the instrument, the smaller the mallet used. See Chapter 7 video: Track 14 demonstrations of steel drums by members of the University of Arizona Steel Band. The instruments that make up a standard steel band are shown in Table 7.1, and a complete steel drum band is shown in Figure 7.5 and on the video.

TA BLE 7 .1   Steel Drum Band Instruments

Instrument Name

No. of pans per instrument

Single Tenor or Lead Double Tenor Double Seconds Double and Triple Guitars Quadrophonic Triple and Four Cello Tenor Bass Bass

Function

1 Soprano 2 Sop./Alto 2 Alto 2–3 Alto/Tenor 4 Alto/Tenor 3–4 Tenor 4–6 Tenor/Bass 6–9 Bass

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F I GURE 7 . 5   The complete steel drum band. Top row (left to right): three single tenor lead

pans, pair of double tenors. Second row (left to right): two pairs of double tenors, two pairs of seconds. Third row (left to right): two sets of triple cellos, set of quadrophonics. Bottom row (right to left): two sets of bass pans (six pans each); “engine room” with drum set, “iron,” congas, and “toys.”

Each instrument in each voice of the ensemble has a unique layout of notes. The construction of the different voices and the ranges of the instruments were not standardized among different builders and tuners. This has improved greatly in the last two decades. In most cases a lead pan is arranged in the circle of fifths and may carry up to 30 notes; double pans are arranged based on augmented triads and have about 15 notes per pan; cellos are based on diminished seventh chords with seven notes per pan; and bass pans have the least number of notes per pan, usually just three or four arranged in a perfect fourth or perfect fifth setup. The complete steel band should also feature a percussion section or “engine room” consisting of the “iron” (literally a car brake drum or an electrical junction box) used as the primary timekeeper and played with wooden sticks or sometimes steel rods, a drum set (also a primary timekeeper), congas, bottle and spoon, and other assorted percussion in­struments like bongos, djembes, jam-blocks, cowbells, shakers, and scraped instruments. See all these instruments demonstrated in the UA Steel Band engine room on the Chapter 7 video: Track 14. As with any idiophone, the technique for playing pans should be approached with an attitude toward developing a full, ringing tone produced by loose, free rebound strokes. Mallets should be held loosely between the index and middle fingers and the thumb with the end of the shaft not extending much beyond the middle finger. Bass

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mallets are the exception; they should be held in the manner of a proper matched snare drum grip. Hand position will vary depending upon the angle of the note to be struck, but generally a position similar to the timpani French grip is best. The stroke should be made from the fingers (for soft dynamics), from the wrists (for fuller dynamics), or as a combination of both. Rarely should a stroke be made from the arm. Steel drums are one of the few percussion instruments where double, triple, and even quadruple strokes for consecutive tones are not only recommended but are necessary in order to play a musical line with evenness and flow. The wrists must be loose and flexible to create smooth, even tone production throughout the full range of the instrument. Care should be taken to avoid overplaying the pans beyond a certain dynamic level, for the result will be a harsh, distorted, “barking” tone and a quickly out of tune instrument. A singing, beautiful tone should be the goal on pans just as with any fine percussion instrument. Calypso and soca (soul calypso) music are the two primary styles for steel band, although reggae, jazz, fusion, pop tunes, rock, Afro-Cuban styles, and classical transcriptions are all viable music styles. See the Chapter 7 video: Track 14 demonstration of the various pans and performance of part of Rub the Buddha composed by Jay Rees and arranged for the University of Arizona Steel Band by Mike Sammons featuring Robin Horn on drum set. There are numerous approaches to teaching different styles of music, and each style of music and the type of presentation offers certain options and limitations regarding the development of specific performance skills in an ensemble setting. The opportunity to develop specific skills often depends on several factors. The manner of instruction is paramount. The intention of teaching and presenting the steel band must be thought out ahead of time. In the classroom setting there are many opportunities to develop specific music skills through different teaching ap­proaches and musical styles. Teaching music by rote (either in a traditional manner or by such accepted methods as Kodaly, Orff Schulwerk), rote-assisted methods, written fake book sheets, chord charts, and fully voiced arrangements and compositions are all viable ways to present music to the ensemble. A mix of these types of presentations will assure a wide range of learning opportunities for musicians. Since the inception of the first college steel bands in the United States in the early 1970s, steel bands have grown in popularity and numbers in school music programs from elementary to college level. The many educational benefits of the steel band are increasingly being recognized (not to mention their strong student and audience appeal) as their popularity grows in school music programs. Rhythmic awareness becomes stronger through the experience of rehearsing and performing several styles of steel band music. Pulse perception and the inner timing sense of players are developed in direct relation to the rhythm-oriented and grooveemphasized music. Aural skills such as chord recognition, melodic and harmonic recall, melodic and harmonic dictation, sight singing, chord voicing, voice leading, and largescale formal structuring concepts are developed and strongly exercised during rehearsal and performance of various types of steel band music. Steel drums as solo instruments and in groups are being widely used in jazz, chamber, and commercial music and in contemporary percussion scores. The level of virtuosity is constantly being elevated as composers realize the timbral and technical potentials of the pans and the ranks of experienced pan players grow. Recording artists such as Andy Narell, Liam Teague, Robert Greenidge, Ray Holman, and Len “Boogsie” Sharp are but a few of the artists that have made fine contributions of recorded music featuring steel drums. Trinidad Panorama festival videos and CDs, fine college and high school steel bands, and professional group recordings help to perpetuate the steel band as an art form around the world. Quality pans and pan music are available from a growing list of sources including individual builders and suppliers and pan music publishers. See websites and contact

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information below for builders, such as Cliff Alexis, Chris Wabich, Ellie Mannette, Alan Coyle, Darren Dyke, and others. Fine instruments, music, and services are available through Panyard, Inc., Mannette Steel Drums Ltd., Coyle Drums, Steel Island, Tropical Hammers, Rhythmical Steel, and others. Music educators are strongly encouraged to consider the many educational and multicultural benefits of the steel band. Instruments and musical styles from around the globe are becoming more and more commonplace to composers, musicians, and scholars. Percussionists today may be called upon to play almost any kind of apparatus that emits sound and in increasingly diverse musical styles. These demands and the performer’s own curiosity continually extend the frontiers of percussion performance. Many excellent recordings and the books and instructional aids listed below are valuable resources.

n PERCUSSION OF THE WORLD: METHODS AND STUDY MATERIALS The following are highly recommended method books (many with CDs), videos, DVDs, and scholarly books for study of percussion instruments of the world. Also see methods and video listings in Chapter 8, “Drum Set.” Because the area of hand drumming and world percussion is expanding so rapidly, websites of publishers and distributors for instruments, method books, recordings, videos, DVDs, and study materials are fine resources for current and new materials. Several highly recommended websites are listed below. A Google or other Internet search for “world percussion,” “steel drums,” an artist’s name or company, or any subject will also yield many sources and valuable links. The “Compositions Research” library at www.pas.org is also a valuable resource for selected reviews (membership required). This library integrates the resources found in “Programs,” “Literature Reviews,” “Recordings and Videos Reviews,” and the “Siwe Guide to Solo and Ensemble Percussion Literature.” Thousands of reviews of “New Percussion Literature and Recordings” from the PAS publication Percussive Notes are available under “Literature Reviews,” and “Recordings and Video Reviews” in the archive. PAS members can search “Literature Reviews” by “title,” “author/composer,” or “keywords.” The entries under “Literature Reviews” comprise the largest reviewed library of percussion methods, literature, and materials available at one site in the world. For more information, go to www.pas.org. Visit MindTap to watch videos and for additional information on the History and Evolution of Percussion and Pedagogy, Chapter Quizzes, and additional resources. Steel Drums/Pan Websites and Contact Info: Instruments, Music, Instruction, Services Chris Wabich: [email protected] (steel drums and tuning, music, CDs) Cliff Alexis: Northern Illinois, Dept. of Music, DeKalb, IL 60115

Mannette Steel Drums Ltd.: http://www.mannetteinstruments .com (Ellie Mannette’s website, steel drums, music, services)

Coyle Drums: www.coyledrums.com (steel drum products)

Pan Ramajay: http://www.ramajay.com/arrangements.asp (Tom Miller’s website, music, CDs)

Darren Dyke: http://www.pancyclemusic.com/contact/(steel drums and services)

Panyard: www.panyard.com (steel drums, music, services)

Drop6 Music: https://www.rowloff.com/drop6/SteelDrum.html (steel drum music)

Paul Ross: www.panpress.com (music) Phil Hawkins: www.pnotemusic.com (music, CDs, books)

eCaroh Caribbean Emphorium: www.ecaroh.com (pan CDs from around the world)

Rhythmicalsteel: www.rhythmicalsteel.com (steel drums, music, instruction, Orff pans)

Hilbridge Pan-Perfect Steel Drum Music: http://hillbridge.com/ index.php (music and Music Education manuals)

Steel Island (pans): www.steelisland.com

Liam Teague: http://liamteague.com

When Steel Talks/ Pan on the Net Radio: www.panonthenet.com (great resource for pan)

Music: http://www.maumaumusic.com/products.asp?cat=57

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Percussion Around the World: Artists, Instruments, Music, Instruction African Treasures: www.africantreasures.com (instruments, extensive videos/books) Afro Design Studio: https://www.afrodesign.com (instruments) Alfred Publishing Co.: www.alfred.com ARC Music: www.arcmusic.co.uk (recordings, excellent links) Kalango Brazilian Instruments: https://www.kalango.com/en/ Celestial Harmonies: http://harmonies.com/discographies/ askill.htm (Michael Askill CDs)

Latin Percussion, Inc.: www.lpmusic.com Mary Ellen Donald: www.maryellendonald.com (instruction and instruments) Mid-East Manufacturing: www.mid-east.com (instruments and instruction) Musical Mud: www.musicalmud.com (ceramic doumbecs, chimes, and shakers) Odiako Sonora: http://www.tucsontaiko.org (taiko drumming group in Tucson, AZ)

Cooperman Drums: www.cooperman.com (hand drums, instructional materials)

Pandeiro.com: www.pandeiro.com (Scott Feiner’s website: handmade instruments, great videos, documentary film, information, links, more)

Dagara Bewaa Culture Group: http://www.dagaramusic.org/, Bernard Woma

Percussion Music: www.percussionmusic.com

Raquy Danziger: www.raquy.com (Danziger’s website— doumbek instruction, CDs, video)

Percussive Arts Society: www.pas.org Remo: www.remo.com (instruments)

Earthshaking Music: www.earthshakingmusic.com (instruments and instruction)

Rhythmweb: www.rhythmweb.com (African instruments, excellent articles, and links)

Evergreen Club Gamelan: www.evergreenclubgamelan.ca ­(Canadian-based gamelan)

N. Scott Robinson: www.nscottrobinson.com (N. Scott Robinson’s website, great info, CDs, videos, clinics, workshops, more)

Hal Leonard: www.halleonard.com (distributor for Berklee Press, Centerstream, Cherry Lane Music, de haske, Hudson Music, Meredith Music, Rebeats, and others)

Roundstone Musical Instruments: www.bodhran.com (Irish ­instruments and bodhrans)

Hands On’Semble: http://handsonsemble.com (CDs, concerts, music) HoneyRock Publications: www.honeyrock.net Interworld Music & Video: www.interworldmusic.com (Glen Velez and others) Junk Music: http://junkmusic.online (Don Knaack’s website, music, video and audio clips)

Poncho Sanchez: www.ponchosanchez.com (Sanchez’s website) Chuck Silverman: wwww.chucksilverman.com (Silverman’s ­website) Uncle Mafufo: www.unclemafufo.com (instruments, instruction, excellent links) Glen Velez: http://glenvelez.com (excellent videos, music, and instruments)

Kalani: www.kalanimusic.com (instruments and instruction)

Steve Weiss Music: www.steveweissmusic.com (instruments and instruction)

Lane Redmond: (deceased): http://www.layneredmond .com/Home.html (hand drum instruments and instruction)

B. Michael Williams: http://bmichaelwilliams.com (composer and author)

Lark in the Morning: www.larkinam.com (instruments and ­instruction)

World Music Central: www.worldmusiccentral.org



Percussion Around the World: Books and Videos/DVDs

Highly recommended: African Drumming by Babatunde Olatunji [DVD] (Warner Bros.) Airto: The Spirit of Percussion by Airto Moreira, ed. Rick Mattingly (Hal Leonard) The Art and Joy of Hand Drumming [video] by John Bergamo ­(Interworld Music) Basic Afro-Cuban Rhythms [DVD] by Ricardo Monzón (Berklee Press/Hal Leonard) Beginning Steel Drum by Arthur Molineaux [book/CD] ­(Belwin/Warner Bros.)

Bodhram and Bones [video] by Mel Mercier with Seamus Egan ­(Interworld Music) Brazilian Percussion with Airto Moreira [video] by Airto Moreira (Warner Bros.) Changuito: A Master’s Approach to Timbales by Jose Luis Quintana “Changuito” with Chuck Silverman [book/CD] (Warner Bros.) Dagara Bewaa Culture Group, Xylophone Music (gyil) and Dance of Northern Ghana [video] featuring Bernard Woma (Dagara Bewaa Group)

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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The Essence of Brazilian Percussion and Drum Set [with CD] by Ed Uribe (Warner Bros.)

Quick Guide to Djembe Drumming [DVD with Japanese and Spanish subtitles] by Steve Leicach (Carl Fischer)

Fantastic World of Frame Drums [video] by Glen Velez (Interworld Music)

Quick Guide to Playing Doumbek [DVD with Japanese and Spanish subtitles] by Todd Roach (Carl Fischer)

Finding Your Way with Hand Drums [video] by John Bergamo ­(Interworld Music)

Rhythms and Colors by Airto Moreira (Warner Bros.)

Glen Velez Handance Method Steps 1 and 2 [videos] by Glen Velez (Interworld Music) Hand Drumming with John Bergamo video by John Bergamo (Tal Mala Publishing)

Salsa Guidebook for Piano and Ensemble by Rebeca Mauleón (Sher Music Co.) South American, Caribbean, African and American Jazz [video] by Alex Acuña (Warner Bros.)

Hands On’Semble Songbook, 2nd edition by John Bergamo, et al. (Tal Mala Publishing)

The Steel Band Game Plan, Strategies for Starting, Building, and Maintaining Your Pan Program by Chris Tanner (Rowan & Littlefield Education/MENC)

Have Fun Playing Hand Drums [video] by Brad Dutz, et al. ­(Interworld Music)

The Studio Percussionist, Vol. 1 by Luis Conte (Latin Percussion Inc.)

Introduction to African Rhythms (8 excellent play-along CDs) by Michael Markus

Tito Puente’s Drumming with the Mambo King [book/CD] by Tito Puente and Jim Payne (Hudson Music/Hal Leonard)

Japanese Taiko [CD and booklet in English, German and French] by Joji Hirota and the Taiko Drummers (ARC Music) Latin-American Percussion—Rhythms and Rhythm Instruments from Cuba to Brazil [book/video/tapes] by Birger Sulsbrück ­(Wilhelm Hansen)

Traditional Dance Rhythms of Ghana, Vol.I [book/CDs] by Francis Hofi and Paul Neely (HoneyRock) Traveling Through Time [DVD] by Giovanni Hidalgo and Horacio “El Negro” Hernandez (Warner Bros.)

Learning Mbira, A Beginning [book and 2 CDs—extensive ­resources and discography] by B. Michael Williams ­(HoneyRock)

Uncle Mafufo’s Basic Rhythms for Arabic Drums: Dunbek, Tabla, Darbuka [DVD and video] by Uncle (Armando) Mafufo (Uncle Mafufo/Fojoco Productions)

Listen and Play by Airto Moreira (Warner Bros.)

Uncle Mafufo’s Riqs and Defs: A Practical Approach to Middle Eastern Frame Drums [DVD and video on Egyptian tambourine and large frame drum] by Uncle (Armando) Mafufo (Uncle ­Mafufo/Fojoco Productions)

Modern Congas [video] by Roberto Quintero (Hal Leonard) Play Bongs & Hand Percussion Now—The Basics and Beyond by Richie Gajate-Garcia [book and 2 CDs, Spanish text ­included] (Warner Bros.) Play Congas Now—The Basics and Beyond by Richie GajateGarcia [book and 2 CDs, Spanish text included] (Warner Bros.) Play Timbales Now—The Basics and Beyond by Richie GajateGarcia [book and 2 CDs, Spanish text included] (Warner Bros.) Poncho Sanchez’ Conga Cookbook [book/CD] by Pancho Sanchez with Chuck Silverman (Cherry Lane Music/ Hal Leonard)

Uncle Mafufo’s Zills and Drums [CD] by Uncle (Armando) Mafufo (Uncle Mafufo/Fojoco Productions) Voices of the Doumbek [video] by Robin Anders (Interworld Music) World Beat Rhythms Beyond the Drum Circle—Africa [book/CD] by Maria Martinez and Ed Roscettti (Hal Leonard) World Beat Rhythms Beyond the Drum Circle—Brazil [book/CD] by Maria Martinez and Ed Roscettti (Hal Leonard) World Beat Rhythms Beyond the Drum Circle—Cuba [book/CD] by Maria Martinez and Ed Roscettti (Hal Leonard)

Supplemental Studies Also recommended ABCs of Brazilian Percussion [book/DVD] by Ney Rosauro ­(Propercussa/Carl Fischer) African Beats by Kalani, et al. [video] (Warner Bros.) African Percussion: West African Djembe Drumming [video] with Paulo Mattioli (African Percussion) Afro-Cuban Drumming [book/CD] by Glen Caruba ­(Centerstream/Hal Leonard) All About Jembe [book/CD] by Kalani (Alfred Publishing Co.)

All About Congas [book/CD] by Kalani (Alfred Publishing Co.) Conga Masters: Changuito & Giovanni Duets [video] by Giovanni Hidalgo and Changuito (Warner Bros.) Conga Virtuoso [video & booklet] by Giovanni Hidalgo (Warner Bros.) Djembe Method for Technical and Creative Development by Ivano Torre (Ricordi/Hal Leonard) Drum Circle: A Guide to World Percussion [book/CD] by Chalo ­Eduardo and Frank Kumor (Alfred Publishing Co.)

All About Bongos [book/CD] by Kalani (Alfred Publishing Co.)

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Drum Circle Spirit: Facilitating Human Potential Through Rhythm [book/CD] by Arthur Hull (White Cliffs Media) Doumbec Delight [2 companion cassettes available] by Mary Ellen Donald (Mary Ellen Books) Drumming the Latin American Way by Isabelo Ernesto Marrero ­(Edward B. Marks Music Corp.) The Essence of Congas [video] by Jerry Steinholtz (Interworld Music) Frame Drumming Free Hand Style—The Basics [book/CD] Peter Fagiloa (Hal Leonard) Glen Caruba—The Contemporary Percussionist [video] by Glen Caruba (Centerstream/Hal Leonard) Guide to Endrummingment [video] by Arthur Hill (Interworld Music) Hand Drumming Ensembles by Cheryl Grosso (Alfred Publishing Co.) Hand Drumming Essentials [book/CD] by Cheryl Grosso (Alfred Publishing Co.) How to Play Latin American Rhythm Instruments by Humberto Morales and Henry Adler (Warner Bros.) Latin Percussion Instruments and Rhythms by Laurindo Almeida (Gwyn Publishing Co.)

Latin Percussion Ventures, Inc. [CD/book sets] by Latin Percussion, Inc. [Including: Authority, Drum Solos Revisited, Ready for Freddy, Buyu, My Own Image] (Latin Percussion, Inc./Warner Bros.) Mastering Finger Cymbals [companion tape available] by Mary Ellen Donald (Mary Ellen Books) Modern Percussion Grooves [book/CD] by Glen Caruba ­(Centerstream/Hal Leonard) Percussion of the World [video] featuring Robin Adnan Anders (Mid-East Mfg., Inc.) Play and Teach Percussion [book/CD] by Steve Houghton and Linda Petersen (GIA Publications) Practice Music, Vols. I–II for Middle Eastern Percussion and Beginner Cymbal Tape for Belly Dancers [cassettes] by Mary Ellen Donald and George Mundy (Mary Ellen Books) Ritual Drumming [video] renamed A Sense of Time by Layne Redmond, et al. (Interworld Music) Together in Rhythm, A Facilitator’s Guide to Drum Circle Music [DVD] by Kalani (Alfred Publishing Co.) Understanding Latin Rhythms, Vols. I & II, “Down to Basics” [book/ record set] by Latin Percussion, Inc. (Latin Percussion, Inc.) World Music Drumming [book/video kit for grades 3–8] by Will Schmidt (Hal Leonard)

Scholarly Books The African Roots of Jazz (with LP) by Fredrick Kaufman and John P. Guckin (Alfred Publishing Co.).

From The Horse’s Mouth, Stories of the History and Development of the Calypso by Hollis “Chalkdust” Liverpool (Juba Publications).

A Guide to the Gamelan by Neil Sorrell (Faber and Faber)

Gamelan Gong Kebyar, The Art of Twentieth-Century Balinese Music [with 2 CDs] by Michael Tenzer (University of Chicago Press)

Balinese Music by Michael Tenzer (Periplus Editions) Brazilian Music: Northeastern Traditions and the Heartbeat of a Modern Nation by Larry Crook (ABC-CLIO, World Music Series) Carnival Music of Trinidad by Shannon Dudley (Oxford University Press) Celtic Music: Tradition and Transformation in Ireland, Scotland, and Beyond by Jerry A. Cadden (ABC-CLIO, World Music Series) The Classical Music of North India, Vol. I, the First Year’s Study by George E. Ruckert (Munshiram Manoharlal Publishers Pvt. Ltd.) Drum Damba by David Locke with Abubakari Lunna (White Cliffs Media) Drum Gahu, A Systematic Method for an African Percussion Piece [book/audio tape] by David Locke (White Cliffs Media) Drum Gahu, The Rhythms of West African Drumming by David Locke (White Cliffs Media) Forty Years in the Steelbands 1939-1979 by George “Sonny” Goddard (Karia Press) Forty Years of Steel: An Annotated Discography of Steel Band and Pan Recordings, 1951–1991 compiles by Jeffrey Thomas (Greenwood Press)

Gamelan: The Traditional Sounds of Indonesia by Henry Spiller (ABC-CLIO, World Music Series) Healing Power of the Drum by Robert Lawrence Friedman (White Cliffs Media) Information on the Marimba by David Vela, trans. Vida Chenoweth (HoneyRock) Identity, Ethnicity and Culture in the Caribbean edited by Ralph R. Premdas (The University of the West Indies) Kpegishi A War Drum of the Ewe by David Locke (White Cliffs Media) La Marimba Guatemalteca (in Spanish) by Lester Homero Godinez Orantes (Fondo de Cultura Económica) The Major Traditions of North Indian Tabla Drumming, Vols. I and II, by Robert Gottlieb (Emil Katzbichler, Munich, West Germany) Mandiani Drum and Dance: Djembe Performance and Black Aesthetics from Africa to the New World [book/ CD/video] by Mark Sunkett (White Cliffs Media) Marimbas of Guatemala by Vida Chenoweth (University Press of Kentucky)

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.



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The Music of Santeria: Traditional Rhythms of the Bata Drums by John Amira and Steven Cornelius (White Cliffs Media)

The Soul of Mbira by Paul F. Berliner (University of California Press)

Music in Bali: Experiencing Music, Expressing Culture by Lisa Gold (Oxford University Press)

Steel Pan Tuning: A Handbook for Steel Pan Making and Tuning by Ulf Kronman (Musikmuseets)

Music in North India: Experiencing Music, Expressing Culture by George E. Ruckert (Oxford University Press)

Tabla and the Benaras Gharana by Frances Shepherd (Wesleyan University Ph.D. dissertation, 1976; #76–23,706)

Music in South India: The Karnatak Concert Tradition and Beyond by the late T. Viswanathan and Matthew Harp Allen Lisa (Oxford University Press)

Time in Indian Music: Rhythm, Meter and Form in Indian Raga Performance by Martin Clayton (Oxford University Press)

Music of West Africa: Experiencing Music, Expressing Culture by Ruth M. Stone (Oxford University Press) Salsa! The Rhythm of Latin Music by Charley Gerard with Marty Sheller (White Cliffs Media)

When the Drummers Were Women Layne Redmond (Three Rivers Press) Xylophone Music from Ghana by Trevor Wiggins and Joseph Kobom (White Cliffs Media)

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

8

c h a p t e r

Drum Set Contributing Authors

Robin Horn, Scott Deal, David Rodenkirch, and Drew Lang Featuring Robin Horn on the Video

n Origins and Evolution Jazz drumming, indeed jazz in general, was born of a combination of musical and sociological conditions in late nineteenth and early twentieth century America. Together with European rhythmic and harmonic practices, the acknowledged genesis of early jazz drumming is African rhythmic, formal, sonic, and expressive elements.1 Theodore Dennis Brown, in his excellent dissertation A History and Analysis of Jazz Drumming to 1942, cites many African characteristics in the origins of jazz drumming.2 See the videos Drumset Technique/History of the U.S Beat by Steve Smith, A Century of Drumming Evolution (http://vicfirth.com/drumset-history/#history) and From Ragtime to Rock, An Introduction to 100 Years of American Popular Music both by Daniel Glass at the end of this chapter and in Chapter 8 MindTap. Also very important to the beginnings of jazz were the early concert and parade bands, and New Orleans funeral procession bands from which evolved “second-line drumming” (the casket was the “first line”). The tradition of “ragging” marches (adding syncopated rhythms) on return from the cemetery, and continuing to play once indoors gave birth to the earliest instrumental ragtime or Dixieland jazz. This music was heard everywhere: at parties, picnics, concerts in the park, weddings, and brothel sporting houses. The drum sets for this early jazz consisted of a large bass drum, 28 to 30 inches in diameter, borrowed directly from the parade and funeral bands; a snare drum often slung around the player, laid on a chair, or held on a drum stand; and an assortment of contraptions or “traps,” which included a cowbell, wood block, temple blocks, and a small Chinese cymbal mounted atop the bass drum and played on the march with a bent coat hanger. Later, Chinese tom toms were added. The bass drum and snare drum were often played in a style known as doubledrumming (see Chapter 2 and Chapter 8 MindTap videos). A major advance came with the introduction of the bass drum pedal, one of the first of which was patented by William. F. Ludwig, Sr., in 1909, although inventions existed before the turn of the century. Bass drum pedals of various designs were in wide use by the 1920s, leading to the eventual disappearance of double-drumming. In 1917 Tony Sbarbaro brought a bass drum into the recording studio for the first time; he can be heard playing double-drum style on Dixie Jass Band One-Step—Victor, 18255.3 Chinese cymbals, brought to America by immigrants in the late nineteenth century, were commonly 12 to 13 inches in diameter and were used in recordings well into the

294 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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1930s. Chinese tom tom drums were 8 to 12 inches in diameter and 4 to 5 inches in depth. Their two thick, skin heads were tacked on and brilliantly painted. They had ceased to be regularly imported by World War I and were gradually replaced by tunable American toms toms. The first “low boys,” or low sock pedal cymbals used for playing afterbeats, were patented by Leedy in 1926. A 1927 issue of Leedy Drum Topics depicts modern, pedaloperated high hat cymbals that coexisted with the low boys and bass drum cymbal attachment until at least the late 1930s.4 (Darius Milhaud wrote for bass drum with cymbal attachment in 1929–1930 in his Concerto for Percussion and Orchestra.) “Papa Jo” Jones’s innovative high hat playing with Count Basie from 1936 to 1948 made him a legend on the instrument. Brushes came into use sometime before the 1920s, probably as an extension of the use of sandpaper blocks to accompany slow dances. A device patented in Milwaukee in 1913 called a “fly-killer,” looks like today’s brushes and is considered the first pair of brushes.5 By the mid-1930s brushes had gained wide acceptance; their use in the hands of a true artist yields subtle musical delights. See Chapter 8 MindTap.

Dixieland Drumming There were basically two styles of early jazz music: New Orleans and Chicago Dixieland styles. The importance lies not so much in the geographic connection with the cities, because these styles coexisted and were found throughout the country, but in the origins and basic characteristics of the musical style and instrumentation of the bands. The New Orleans Dixieland style grew out of the parade and funeral band traditions at the turn of the century. Chicago became an influential center for Dixieland jazz in the 1920s. The early New Orleans Dixieland jazz bands consisted of cornet, trombone, clarinet, tuba, banjo, and drums. In the 1920s the common Chicago style Dixieland ensemble instrumentation was trumpet, clarinet, piano, string bass, trombone, drums, and eventually tenor saxophone. The Chicago style Dixieland drummers played oneinstrument dotted-eighth sixteenth note ostinato choruses on wood block, bass drum rim, and washboard much like the New Orleans Dixieland drummers but did not always confine themselves to keeping a steady four-beat pattern or playing every chorus; they saw themselves less as timekeepers. The Chicago musicians adapted the ragtime piano player’s “stride” style left hand (that is, bass octaves on beats one and three and chords on two and four) with the bass player’s playing in two to create the Chicago style two-beat pattern that gave the drummer greater freedom and less of a timekeeping role. By the end of the 1920s, jazz drummers had played and recorded in both the two-beat and four-beat style,6 as they are commonly known. Perhaps the most famous exponent of this early Dixieland jazz drumming style was Warren “Baby” Dodds. Dodds was born in New Orleans in 1898. Dodds is generally considered the pivotal figure between the early instrumental ragtime style with strong military drumming influences and later jazz styles of drumming. He recorded in 1927 with Jelly Roll Morton using bass drum, snare drum, cymbals, and Chinese tom toms. He continued to play, with Louis Armstrong and various other jazz groups, until his death in 1959 following several strokes. Dodds started great traditions in jazz drumming, including playing short breaks and fills between solos and phrases that greatly influenced later drummers. He was the first great jazz drummer.7 Chicago-style drummers transferred the rhythms that were normally played on wood block to the cymbal and would play their cymbal with one hand while dampening with the other throughout an entire chorus, which led to the common cymbal “ride.” The dominant characteristic of New Orleans style drumming, playing a short

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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cymbal note after the last note of the band, was replaced by playing a cymbal note on the last note of the band by Chicago style Dixieland drummers. From the 1930s on, a gradual evolution began in playing styles, but the typical, standard drum set—a bass drum, snare drum, tunable tom toms, wood block, cowbell, high hat cymbals, and one to two hanging cymbals—changed little.

The Swing Era and Big Band Drumming From the Chicago style jazz drumming came many important drummers. Certainly one of the most popular of the swing era was Gene Krupa (1909–1973). Krupa carried on the military flavor in drumming started by Baby Dodds and, in the tradition of the Chicagoans, continued experimenting and developing his technical skills. His greatest asset was “the ability to combine the best jazz drumming techniques of those musicians he heard and apply them to his own style.”8 His popularity was due both to his showmanship and playing style and to the era in which he lived. Krupa’s playing often lacked restraint, yet his enthusiasm and innovativeness brought new respect and appreciation to jazz drumming. After the repeal of Prohibition in 1933 and with the Depression lifting, the big Band era catapulted Krupa with Benny Goodman into worldwide fame. Krupa’s famous drum solo at Carnegie Hall in 1938 with Goodman and his band was a pivotal point for all drummers; from that night on the drum solo became a featured part of most jazz bands. Although they precluded the collective improvisation that had characterized jazz in the previous decade, the big bands offered the drummer a great deal of freedom in interpreting the big band “chart.” New York became the swing era center for jazz in the late 1920s and early 1930s. Further developments followed in jazz drumming. William “Chick” Webb (1907–1939) was an innovative player blending military and jazz traits in a unique legato style.9 He preserved some attributes of ragtime drumming by playing on cowbells and rims but also used fills between the snare drum and tom toms with syncopated accent lines. He eventually abandoned ragtime concepts to become an integrated ensemble player and dynamic soloist. Four years after discovering vocalist Ella Fitzgerald in 1935, then band leader Chick Webb died of tuberculosis at the age of 32.10 Jonathan “Papa Jo” Jones (1911–1985) adopted the Kansas City style of playing high hat cymbals either completely open or closed and with strong afterbeats and refined the style into an even sizzle effect by not opening the cymbals completely. By stressing each beat in the measure instead of just the weak beats, with Basie’s band from 1936 to 1948, Jones built a legend for himself as master of the high hat. (Jones’s tenure with Basie was only rivaled by Sonny Greer’s 28 years with Duke Ellington from 1923 to 1951.) In the late 1930s Papa Jo Jones anticipated drumming developments of the Bop era through masterful use of brushes, ride cymbal, and playing independent bass drum accents (called “dropping bombs”), unlike the steady four-beat bass drum of other swing drummers. Jones’s basic attitude—conceiving drumming in a more relaxed musical way— and his playing style laid the foundation for Bop drumming.

Bop, Cool Jazz, and Hard Bop The 1940s brought a reaction to the confines of the large big bands and the short, stylized solos and clichés of swing in the form of Be-Bop or simply Bop. To drummers this meant an increasing use of larger, thinner-ride cymbals as started by Dave Tough and Jo Jones in the swing era, the removal of the bass drum from the timekeeper role, and the evolution of “coordinated independence” for “comping” or accompanying. Just as Gene Krupa bridged the gap between the 1920s and jazz drumming in the swing era, Kenneth Spearman Kenny “Klook” Clarke (1914–1985) was the transitional figure between swing and Bop drumming a decade later.11 Clarke’s style is characterized by the use of independent, melodic fills between the snare drum, bass drum, and

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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cymbal and a highly developed coordinated independence that enabled him to maintain a rhythmic flow with the ride cymbal and high hat while playing “chatter” on the snare drum and accents (including “dropping bombs”) independent of any phrase structure played by the ensemble. Unpredictable rhythmic and melodic dialogues between musicians became a fundamental ingredient of Bop, and the jazz drummer was as intricate a member of the ensemble as any other musician. The concepts of Clarke and others before him were taken up by such artists as Max Roach (1925–2007) who achieved lyrical sensitivity in his melodic approach to drumming. His performances with Coleman Hawkins, Charlie Parker, Dizzy Gillespie, Miles Davis, and Clifford Brown remain classics and include some of the earliest experiments in odd-meter jazz and superimposed times. Roach went on to write works using such combinations as choir and jazz ensemble, led and recorded with his M’Boom percussion ensemble, and continued playing, composing, and teaching until he retired from the faculty of the University of Massachusetts at Amherst, where one of his colleagues was Theodore Dennis Brown. He, like all the great drummers mentioned in this section, is a member of the Percussive Arts Society Hall of Fame. Toward the end of the 1940s, a Cool jazz school emerged in reaction to the agitated Bop styles. Sheldon “Shelly” Manne (1920–1984) became a leading member of the Cool or West Coast jazz school after moving to California in 1952. Manne’s melodic playing with various mallets, brushes, sticks, fingers, and even silver dollars established a coloristic, expressive style of Cool or Neo-Bop drumming. Manne went on to work regularly as a studio and jazz musician in Hollywood and can be heard on many recordings and movie soundtracks. The mid-1950s saw still another evolution in jazz and jazz drumming through the Hard Bop, Straight Ahead, or Funk movement. This drumming style is best characterized by exciting use of polyrhythms, odd rhythmic groups, and superimposed meters together with a spacious use of silence. One of the great Hard Bop drummers was Elvin Jones (1927–2004) whose playing style combined a complete four-way independence with rhythmic liberties that could either complement and interact with the soloist or oppose and contradict. In 1960 he joined John Coltrane’s quartet where he spent six years establishing himself as one of the most creative voices and inspirations in all jazz drumming.

Contemporary Eclectic and Rock Styles Contemporary styles of music are more diverse and eclectic than ever before and de­mand the same from the drummers who play them. Regardless of what it is labeled—avant-garde, free jazz, modal jazz, electric-jazz, eclectic, rock, jazz-rock, fusion, or other—the music in the new millennium is a result of over 100 years of continuous evolution. Contemporary styles are influenced by global musics and characterized by great rhythmic complexity, variety, and harmonic and melodic freedom. The large jazz en­sembles of today are direct descendants of the 1930s swing era big bands. Third Stream jazz incorporates elements of jazz and classical music both instrumentally and stylis­tically as an extension of the Cool movement of the late 1940s and early 1950s. Cross­over music combines studio and commercial elements and effects that are immediately agreeable to large sections of the populace, where success is measured mainly in monetary return.12 Free form jazz allows for total freedom of expression in all the elements of music: rhythm, harmony, form, melody, meter, and tempo. Rock grew out of R&B, and together this music took the jazz drummer’s style and developed a related school of playing that progressed quickly from the adolescent rock styles of the 1950s to a variety of mature, complex rock and funk styles. Rock’s history is another story of evolving styles and techniques that the serious rock drummer should study thoroughly and assimilate.

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Numerous other drumming styles have established themselves. These include a variety of ethnic and world music influenced styles particularly of Afro-Cuban, Brazilian, and other Afro-related origins. The Latin and Afro-Cuban experiments by Dizzy Gillespie, Cal Tjader, and others in the early 1940s have left a lasting influence on modern jazz. Dizzy Gillespie gave birth to Afro-Cuban jazz when he featured percussionist Chano Pozo as his conga player in a Town Hall concert in 1947. Newer large trends in popular music and influences of Afro-Cuban and Brazilian music such as salsa, samba, reggae, songo, and many others have contributed to an amalgamation of world music, rock, and jazz styles. Strong influences from music around the planet continue to shape the musical imagination of today’s drummer. Many members of the current generation of drummers have their roots in one style but have continued to cultivate individual niches through contributions to more than one style of music and drumming. Recordings of the many drummers who made and are making significant contributions in jazz, rock, pop, world, and the many related styles afford long enlightening hours of listening and study. Such study is essential to every serious drummer who expects to achieve any degree of individuality and artistic expression. Materials listed throughout and at the end of this chapter—especially the DVDs, videotapes, and books with discographies—are excellent sources for further essential study by the serious drum set musician.

n INSTRUMENTS Today a standard drum set consists of a bass drum, 18–22" in diameter, with foot pedal; a snare drum, 5–61⁄ 2" × 14"; floor tom(s), 14–16" in diameter; one to four mounted tom toms, varying in depth with head sizes ranging from 8" to 13" in diameter; a high hat and pair of cymbals, 13–14" but available larger and smaller; and generally at least one ride cymbal, 18–22" and one crash cymbal, 16–18" (Figure 8.1).

Pearl Corporation

F IGURE 8 . 1   Standard five-piece drum set. Left to right: 16" x 16" floor tom tom, 20" ride cymbal, 12" x 13" and 10" x 12" tom toms, 14" x 22" bass drum, 61⁄ 2" x 14" snare drum, 14" high hats, 18" crash cymbal (drum throne, not shown).

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Pearl Corporation

F IGURE 8 . 2   The expanded drum set

With the developments in performance and manufacturing since the early 1960s, drum sets are now available in unlimited combinations and sizes (Figure 8.2), and can include electronic drums, MIDI triggers, and many other electronic applications (see comments under “Electrophones” in Chapter 1 and “Electronic Percussion and Technology” section below). A standard five-piece drum set will generally be adequate for use in the average school music program (see Figure 8.1). This size instrument will suffice well when used in the school jazz/rock ensemble, in smaller combo work, and for individual training. The sound of the set will depend upon the type of heads used, their tuning, and to a certain extent the make of the drums. Percussionists in school music programs will frequently have well-grounded opinions about particular makes, and these should be considered along with advice from local professionals. The music director may wish to have individuals bring their personal sets to school to aid in deciding on a brand and style for school purchase. Durability and service should be major considerations when selecting a drum set for school use. In general, a set manufactured by any of the large percussion manufacturers, or manufacturers who specialize in making only drum sets, would be good to consider for purchase.

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Tuning and Heads The type of heads and tuning will largely determine the sounds produced on any make of drums. When tuning tom toms and bass drums to a loose and fairly muffled “studio sound,” best results are achieved with thicker heads such as “dot” heads, two‑ply “pin stripe” heads, oil-filled heads, or similar. A contemporary rock sound ­usually requires a loosely tensioned top batter head—but not so loose that the stick ­easily dents the head when played—and either a tighter bottom head for reverbera­ tion back to the top head for a little pitch bend or a loose or equally tuned bottom head. (Tuning considerations for snare drums are given in detail in Chapter 2.) A more versatile jazz/rock tom tom sound is achieved with medium tensioning of mediumweight heads. Experimentation with heads with internal tone-reduction rings or other special heads can also be useful. Ruff-coated heads are only necessary on the snare drum for brush work; however, they may also be used on tom toms. “Dot” heads are not recommended for snare drum. Bottom tom tom heads tuned to the same pitch as the top head will ring sympathetically when the top head is played, producing a full resonant sound. For a “wetter” sound, the bottom tom head can be loosened or removed altogether. Both heads should be relatively tight for a free-ringing sound more suited to acoustic jazz. Drum tunings should be checked by listening from the audience’s perspective (that is, far away from the drums) or through a playback in the studio. The bass drum can be muffled internally with commercial mufflers or by placing cloth material or foam inside the drum until the desired tone is achieved. For ease in adjusting muffling materials or placing a microphone inside the bass drum, some players cut holes in the front head ranging from about the size of a CD to almost the entire head size. The front head can be removed completely (which often results in lug rattles) or left attached and its tension and muffling varied. Experimentation with different bass drum head combinations, tensioning, and muffling tunings is advised to best achieve the sound the drummer desires. The drummer’s bass drum pedal playing technique must also be considered (see comments later the Chapter 8 video: Track 2). A bass drum sound for acoustic jazz is obtained with both heads tuned moderately tight and with little or no muffling. In general, the playing side is tuned a little looser than the front head, like with a concert bass drum. The tuning relationships of the toms and bass to one another is one of personal preference and should be determined in part by the style of music being played. In general, depending on the number of toms, one should strive for clear contrast and definition between the toms so that their sounds do not run into one another. A line played around the drum set should be able to express “melodicness,” and one can best develop one’s individual concept of this melodicness through listening to drum tunings of pros and through experimentation. Over-muffling with cloth strips and excessive duct tape will destroy any chance for melodicness. Finally, the drummer should fine tune or clear each drum (tune the head to the same tension at each tension rod point around the circumferences of the head) to obtain the best resonant sound. A popular effect of “de-tuning” one tension rod to create a dip in the sound, favored by some of today’s drummers, should be used discreetly. Always consider relative drum size and the tessitura of the heads when determining intervallic relationships between drums. A common tuning on a five-piece set is the interval of approximately a fourth between the floor tom and large mounted tom and a second or third between the mounted toms. The bass drum can be tuned to a lowest voice in the tom line, especially for linear drumming style playing or to a lower accentuating bass voice.

Cymbals A ride cymbal is used primarily to sustain the timeline in drum set performance (although “time,” in a performance sense, must be an internal sensitivity). A popular

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size of 18–20" or 22" in a medium to heavy weight (thickness) will hold the clarity of articulation. A basic crash cymbal should be 16–18" and thin enough to produce a fast crash sound. High hat cymbals 13–14" in diameter are popular (although larger and smaller pairs are available) and should produce a clean “chick” sound when closed by foot and sound clear when played open, closed, or in combination with sticks. (See comments about high hat cymbals and pedal adjustments under “Performance Techniques” and on the Chapter 8 video: Track 3.) Other common cymbals include crash-ride, rock, sizzle (with rivets), Chinese, swish (Chinese with rivets), pang, splash, and many other signature and special cymbals. See the various cymbal manufacturers’ catalogs, artists’ setups, and websites for details and prices.

n Electronic Percussion and Technology IN EDUCATION Contributions by Scott Deal, David Rodenkirch, and Drew Lang Music technology has become ubiquitous. In music education, there are numerous technological options, ranging from electronic percussion to computer-based and generated teaching tools. The challenge for music educators is to wisely choose applications and routinely update their understanding of available technologies.

Current Electronic Percussion Instruments Almost all commercially available percussion electrophones are MIDI instruments (see Chapter 1 video: Track 1 demonstrations by Scott Deal about MIDI and Track 3 “Electrophones and Their Applications” by Drew Lang). While there are many variations on the instruments in the following list, these represent a basic guide for the music educator. The electronic drum set utilizes several of these components (and is demonstrated on the Chapter 8 video: Track 1). The reader who wishes to focus on the electronic drum set may wish to read ahead in Chapter 8 to “Concepts for Drum Set Study and Performance.” Sound Modules  These are stand-alone sources for electronic and sampled sounds that can be played by a keyboard or any other kind of MIDI device. Percussion sound modules contain a large library of percussion sounds. In addition to percussionspecific modules by Alesis, Roland, Yamaha, and others, companies like Yamaha have rack-mounted modules (such as the Motif series) that include not only drum/ percussion sounds, but string, winds, brass, keyboards, synths, and sound effects. Additionally, there are an increasing number of software programs that function as sound modules, sequencers, and recording devices. Computer hardware specifications and MIDI interface devices are required for optimum performance as a live sound module, but one advantage of these software programs is the ever-expanding number of sounds libraries and samples available for download. As opposed to modules, the only limiting factor with laptop libraries is hard drive capacity. Both software programs and the newer, upper end drum modules also allow users to upload their own sounds. Electronic Drum Kits  These are MIDI counterparts to acoustic drum sets, where

every part of the acoustic kit is replicated with MIDI equivalents. Almost all MIDI drum sets have a sound module as a “brain” that plays sounds to corresponding pads. Drum triggers that were mounted on real drum heads are integrated into the manufactured head today, but have been mostly replaced by electronic drums.

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See Robin Horn’s extensive demonstrations on electronic drum set on the Chapter 8 video: Track 1. Percussion Controllers  These multi-surfaced instruments were originally about

the size of a small briefcase with eight to ten playing zones, and are now fronting up to 26 playing zones (Alternate Mode’s Trap KAT XL). Percussion controllers come with a wide array of built-in MIDI controller capabilities, and some also have on-board sounds. Models with small pads suitable for playing with fingers are available (such as the Akai MPD Series, Korg Wavedrum, Roland Handsonic HP-20, Alternate Mode’s jamKat, and KAT KTMP1 Multipad), and others have larger pads to be played with a stick. The Zendrum is a hybrid MIDI controller that is worn like a guitar with a neck strap and played with hands and fingers. The layout facilitates its set up and play as a drum set. The 24 velocity-sensitive buttons are programmed such that each finger can trigger any number of sounds and/or percussion instruments in a MIDI sound module. Other popular percussion controllers are the Alternate Mode DrumKAT, now replaced by Alternate Mode’s HybrilKIT, the Roland SPD 20 and SPD-SX Sampling Pad, and the Yamaha DTX Multi-12. Each has surfaces that are large and tough enough to be played with a stick but still sensitive enough for finger play. Both the Roland SPD and Yamaha DTX series allow upload of sampled sounds in addition to the stock, on-board sounds.

Drum Machines  These have on-board sounds like a sound module, finger pads like a percussion controller, and sequencing capabilities so they can play back rhythms like a metronome. One of the early percussion technology instruments, drum machines were heard on many pop songs of the 1980s. Their relatively low cost, combined with their functional versatility, made them a staple on the market. Mallet Controllers  These are much like percussion controllers except they are in the form of a mallet instrument, such as a vibraphone or xylophone. The most popular mallet controllers on the market are the Alternate Mode MalletKAT models. These instruments are available with or without internal banks of sampled sounds. Another popular mallet controller is the Wernick Xylosynth. Mallet controllers that do not have internal sounds can be plugged into any MIDI sound module. Drum Pads  In order to sound, these single-surfaced devices generally must be plugged into a percussion sound module. Drum pads are available with rubber practice pad-style surfaces, drum head surfaces, and even as cymbals. MIDI drum sets are comprised of drum and cymbal pads. (See Chapter 8 video: Track 1 electronic drum set demonstration.) Other Devices  The Roland HPD-15 HandSonic and Alternate Mode jamKAT are

MIDI percussion sound modules configured as hand drums. The drummer may create slaps and bass tones, and the exotic sounds of tabla, doumbecs, and many other world instruments. The Roland RMP1 is a practice pad with a small sound module that allows a student to practice with headphones. Its built-in metronome and training exercises are helpful to develop timing and technique.

Using Technology as a Tool The two goals in using percussion technology are to sharpen young musical minds to help them perform better and to alert students to the panoply of technological resources they will encounter throughout their lives. Skills such as counting, playing a groove, sight reading, pitch recognition, and understanding of theory can be developed and honed with MIDI tools and software.

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However, the choice of tools must be carefully made. Consider the MIDI electronic drum set. There is a wide range of kits available, and they are very effective in certain professional music situations, such as live concerts using amplified sound or in studio work. Some of the advantages of electronic drums are that they nearly always produce good sound, and in a practice situation, can be silent if the drummer is using headphones. As well, the accomplished drummer learns programming and organizational skills for triggering sequences and looping, skills that are integral to playing an electronic kit. However, from the perspective of technique, because the sound they produce has little to do with how they are played, a student cannot develop a proper sense of touch. Thus, even though electronic drum kits are successful percussion technology tools, and meet the educational criterion of teaching about MIDI, they can thwart growth in a music student and consequently, may not be the ideal primary instrument for a school music environment. This is not to say that MIDI instruments do not have a place in the band room. For certain functions they work extremely well, and exposure to them in an educational environment is productive. Following are two suggestions for creative use of MIDI percussion instruments in a secondary school band room. The MalletKAT as an Auxiliary Keyboard Instrument

Suggested setup: Power conditioner or surge protector with battery backup MalletKAT ProWS (with sounds), three-octave unit Bass or keyboard amp or mixer and small PA system consisting of amp and two speakers (at least 12") or mixer and two powered speakers The MIDI mallet controller MalletKAT fills gaps of unavailable instruments, such as bass marimbas, tuned gongs, or steel drums. Substituting the MalletKAT for a xylophone part is neither effective nor aesthetically appropriate. See video demonstrations of the MalletKAT in Chapter 1 under Track 1 “Classification of Instruments – Electrophones” and Track 3 “Electrophones and Their Applications.” The Drum Machine as an Afro-Cuban Rhythm Training Tool

Suggested setup: Power conditioner or surge protector with battery backup MalletKAT ProWS (with sounds), three-octave unit Bass or keyboard amp or mixer and small PA system consisting of amp and two speakers (at least 12") or mixer and two powered speakers The MIDI mallet controller MalletKAT fills gaps of unavailable instruments, such as bass marimbas, tuned gongs, or steel drums. Substituting the MalletKAT for a xylophone part is neither effective nor aesthetically appropriate. See video demonstrations of the MalletKAT in Chapter 1 under Track 1 “Classification of Instruments – Electrophones” and Track 3 “Electrophones and Their Applications.”

Other Technologies for the Classroom Perhaps the most important technological tool for music education is the computer. Rooms similar to a music technology lab are now found in many high schools and colleges, and function as an individual practice or composition space for acoustic instruments. Following is a suggested equipment list and the requirements for a room dedicated to educational music technology.

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The Music Computer Center Desktop or laptop computer Wi-fi MIDI keyboard Monitor speakers Notation software DAW (digital audio workstation) software: sequencing, recording, and editing Microphone Video camera Video editing software Performance training software: harmony and ear training, reading, rhythm. Computer access to the web will encourage students to find solutions for everything from finding obscure Afro-Cuban grooves to tutorials on techniques for exotic percussion instruments. Notation software such as Finale or Sibelius can unleash the creative forces in young students and empower them to compose original music or create arrangement scores of existing pieces. These programs also enhance the quality of a school ensemble. For example, as observed by Dave Rodenkirch in Chapter 9 under Scoring and Arranging for Marching Percussion, “one of the best educational advantages to using music notation software is the ability to create music files (MIDI, WAV, etc.) to be recorded onto a CD or transferred as a file so that they can be played and distributed to the players.” With sound sample libraries like Virtual Drumline 2.5 (Tapspace Publications), the capabilities are amazing. (See further discussion of using music notation software in Chapter 9.) DAW software, such as Mark of the Unicorn’s Digital Performer, Apple’s Logic Audio, or Cakewalk’s Sonar, enable students to master MIDI sequencing as well as hard disk recording. Another popular program is Audacity, a free open source digital audio editor and recording platform available for Windows, OS X, Linux, and other platforms. Digital video cameras coupled with video editing software such as Apple’s iMovie or Adobe Premiere help students to assess their skills and are essential for archival purposes. A new app for smart phones and tablets, available in iOS and Android, called Coach’s Eye Sport Video Analysis enables a teacher or player to video record him/herself and manipulate the video to analyze details of their playing. Features include SloMo (slow motion playback), Side-By-Side comparison, Angle and Line drawing tools, Shape drawing tools, Analysis Recording, and more (see “Coaches Eye” available from Google Play, https://play.google.com/store/apps/details?id=com.techsmith.apps .coachseye.free&hl=en). Interactive musicianship training software has become very intuitive and powerful. Sibelius’s Auralia is interactive ear training software has hundreds of exercises from beginning through advanced levels. Smart phone and tablet apps help musicians with ear training and intonation, sight singing, and serve as portable metronomes. Smartmusic intuitively accompanies a student when they are practicing, following spontaneous tempo adjustments, as a piano accompanist would. Additionally, Smartmusic identifies wrong notes and rhythms in real time. Music technology today is so broad and pervasive that it can be effectively applied to almost any educational situation involving not only percussion but any musical medium. Knowledge of the range of technologies available coupled with selective and careful application will yield the best results. Avoid the temptation to purchase all-encompassing cookie cutter-style packages that cater to teachers who have limited knowledge of technology. Research and a careful needs assessment takes more effort, but in the long run your students will be better off.

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The following resources are recommended for additional information on electronic percussion and applications of technology. Also there are many YouTube videos; search “electronic percussion applications” for apps and videos. MIDI for Musicians by Craig Anderton (Amsco Publications)

The Techno Primer [book/CD] by Tony Verderosa (Hal Leonard)

Drum Programming by Ray F. Badness (Centerstream/Hal Leonard)

Tony Verderosa: Live Electronic Music [DVD of two previous videos] by Tony Verdeosa (AMD/Yamaha/Hal Leonard)

Performing Live with MIDI by William Cahn (HoneyRock) Drummer’s Guide to Loop Based Music by Tony Verderosa (Hal Leonard)

n Concepts for Drum Set Study and Performance The following text material and video examples are not a drum set method. They are intended to outline an approach for drum set study for music educators and their students that is consistent with the other concepts in Teaching Percussion and compatible and adaptable to most approaches expounded by the leading drum set performers and educators. Taking into consideration, as Ed Soph states in his outstanding DVD Musical Time, “if you ask ten different drummers about the set up of their bass drum pedal, you’ll get ten different answers,” the following material and video demonstrations by Robin Horn will present an approach to drum set study and performance that is, “a lot more simple to do than a vast majority and conspiracy of drum books and videos let on,” as stated by Peter Erskine in the introduction to his excellent DVD The Erskine Method for Drumset. The premise taken in this chapter, and presented by Robin Horn on the videos, is that jazz drum set playing is the foundation for all other styles of playing; once the student understands and develops a solid foundation in all aspects of a swung triplet-based jazz drumming, other rock, pop, and world straight eighth-note (or sixteenth-note) based styles of drumming present less difficulties in learning. Two important concepts to remember when practicing are that all learning takes place through our visual, auditory and kinesthetic channels, and for our brains and body to best facilitate this learning process we must practice slowly paying attention to all of these senses for optimal triple channel leaning. As Ed Soph says, we must give our minds a chance to “learn, listen, and think,” and only through slow patient practice is this possible. Drum set playing especially is about musical styles and feel; what makes playing feel great is the “right” placement of notes in time with the right spaces around them. Slow, focused practice, with subdivided counting, as expounded on the video by Robin Horn, is the key to this learning. Numerous methods have been highly acclaimed for their teaching effectiveness that contain an accompanying CD, DVD, or video for clarification and demonstration of the method’s materials. Drum set instruction literally led the industry in the production of instructional videos in the 1980s and 1990s. Videos by nearly every major professional in a wide variety of styles have provided invaluable audio and visual connections for learning and performance effectiveness. The importance of hearing what one attempts to play from the printed page before attempting to physically play cannot be overemphasized. Actual drum set performance is best improvised from the inner-ear imagination driving the coordination of all the limbs. Mastery of the instrument is a state where the hands and feet have developed the fundamental technical controls and coordination of drum set playing, and one’s inner creative imagination directs the mind and body toward its artistic, musical volition.

Body Awareness and Instrument Setup Drum set players should be ergonomically aware of their postural use when considering their drum setup. A good drum throne must support the player without any

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unsteadiness. Body weight should be primarily supported by the throne, with the feet free to maneuver the pedals. The player should find a comfortable sitting position, with the pelvis rolled forward over the sit bones supporting the upper body in a comfortable position, balancing the head naturally on the top of the spine with neck and back aligned. A good way to discover this position is to roll forward and back on one’s sit bones, by rolling from the hip joints, not bending at the waist, exaggerating poor posture until a poised middle position can be found that is most balanced. A large mirror will aid in finding this natural alignment of the lower back up through the neck and head. Once this balanced, relaxed position is established, the drums and cymbals should be set up to the player to accommodate his or her poised body position. The player’s natural reach with his or her arms should position the sticks on the cymbals and drums. Do not adjust your posture to reach these instruments. A balanced postural position will automatically give greater mobility throughout the body, which in turn will promote greater relaxation. Most important, do not try to sit up or fix yourself into this position. By becoming aware of the sit bones and allowing for the balanced alignment in the head, neck, and back to occur, natural relaxation will result. Study of the Alexander Technique, t’ai chi ch’uan, similar martial arts, or other body use methods will greatly enlighten one to the benefits of good body poise and postural use in percussion performance and education, as well as in everyday life. See Inner Drumming, Drumset Exercises for Developing Mind/Body Awareness, by George Marsh (Sher Publications); the DVDs Musical Time by Ed Soph (Carl Fischer) and The Erskine Method for Drumset by Peter Erskine (Alfred Music) for further reinforcement of these concepts for setting up your drums.

Musical Awareness A good drum set drummer must be able to keep time and move freely around the drums. More important than being a great technician is being a good musician and learning to listen while playing, always being cognizant of one’s place in the music and interaction with fellow musicians. As prose is made up of letters, words, sentences, and paragraphs, so music is made up of notes, beats, measures, phrases, and sections. Most traditional tunes are comprised of four- or eight-bar phrases, usually set off by phrase endings (cadences), as sentences are set off by punctuation. The musical drummer must know where he or she is in the phrase at all times and recognize the combination of phrases into sections that constitute the form. Much popular music is structured in an AABA form, the first A section being the basic tune and the second A its immediate repeat. The B section is called the bridge or transition and represents a slight departure from A melodically and/or harmonically; it usually brings the music back to the concluding statement of the A section. Each of these four sections is typically eight measures long. The four sections together comprise one chorus, generally 32 measures long. A performance usually constitutes playing the head, or original statement of the tune, followed by several choruses improvised by the soloists, and back to the head, and usually out. The drummer must be aware of and play within this structure, or whatever form the piece might be in, to make the most musical contributions to the performance. Likewise, one of the most common forms in Afro-Cuban music is the song form of intro, verse, bridge, montuno (vamp section with solos) and mambo section (interlude between montunos), eventually to coda. While there are many variations on this form, most Afro-Cuban dance charts or vocal tunes follow this structure. When the drummer listens and follows the structure of the tune, no matter what its form (a standard blues is in a 12-bar phrase structure or chorus), he or she will find that counting, reading, and tasteful playing are easiest when they are able to sing the melody and enhance their awareness of the music. Drum set study can be approached most musically if conceived as a multiplepercussion instrument that is played by coordinating both hands and both feet.

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This coordination is often called independence, coordinated independence, four-way coordination, or most accurately, interdependence. A thorough study of current and historical drumming styles must accompany the drummer’s technical training. Listening to, analyzing, and playing the style and solo characteristics of the great jazz artists and the lineage of greats in all styles—from big band to rock and Latin to studio drumming—is essential if the drum set percussionist hopes to develop a creative, individual, musical identity. Today with videos and the Internet it is easier than ever before to obtain materials on these historic perspectives. The four-CD box set Engine Room: The History of Jazz Drumming from Storyville to 52nd Street–1923 to 1948 (Proper Records-UK) and DVDs by Steve Smith and Daniel Glass listed at the end of this chapter are all outstanding. The Steve Smith DVD has a six-page downloadable pdf file entitled “History of the U.S. Beat Listening List 1904–1979” and a “Vital Reading List.” Daniel Glass’ From Ragtime to Rock has a CD-R and teaching guidelines. Ed Soph’s book/CD Musical Time contains a concise discography of drum set artists and groups. John Riley’s two books have excellent discographies and analysis of many Bop and post-Bop artists playing tunes. Clayton Cameron’s book/CD Brushworks has transcriptions and audio examples of many brush artists all under one cover. Also see the PAS “Essential Listening for the Drumset” under Basic Styles and Considerations below. These resources are second to none! Other excellent historical DVDs and videos recommended are: Legends of Jazz Drumming Part 1: 1920–1950 (DCI/Warner Bros./Alfred Music), Legends of Jazz Drumming Part 2: 1950–1970 (DCI/Warner Bros./Alfred Music), Classic Jazz Drummers—Swing and Beyond (Hudson Music/Hal Leonard), Classic Drum Solos and Drum Battles (Hudson Music/Hal Leonard), Classic Drum Solos and Drum Battles, Vol. 2 (Hudson Music/Hal Leonard), Gene Krupa—-Swing, Swing, Swing! (Hudson Music/Hal Leonard), The Buddy Rich Collector’s Edition (Hudson Music/Hal Leonard), and History of R&B/Funk Drumming Video (DCI/Warner Bros./Alfred Music). Videos and materials on other historical and contemporary drummers and bands are available through publishers, distributors, and Internet sources. (See www.hudsonmusic .com or www.halleonard.com, and www.alfred.com.) DCI Music Videos was sold to Belwin-Mills/Warner Bros., and Alfred Music now distributes those. Rob Wallis and Paul Siegel, who founded DCI Music Videos, then started Hudson Music, which is distributed by Hal Leonard. For additional reading sources see The Great Jazz Drummers by Ronald Spagnardi, 52nd Street Beat by Joe Hunt, The Great Rock Drummers of the Sixties by Bob Cianci, The Best of Modern Drummer: Rock, and the excellent discographies in books at the end of this chapter. A wealth of information can be acquired on websites (such as drummerworld.com and YouTube) and by reading CD reviews and articles written by artists and critics for Modern Drummer, Percussive Notes, Drum!, Down Beat, Electronic Musician, Keyboard, Rhythm, and other music and trade magazines and journals.

n PERFORMANCE TECHNIQUES All technical skills and musical considerations acquired from snare drum study apply to drum set performance. In addition, most techniques and concepts from study of multiple percussion, keyboard percussion, and timpani, along with marching percussion (for example, multi tenor playing), and the study of world percussion––especially hand instruments and styles—relate directly to drum set performance. The more knowledgeable and accomplished the drum set student is in any and all areas of percussion and music the better. The technical development of the hands must include all that has been presented in this book in the area of snare drumming. A solid control of singles, sticking combi­ nations, accent patterns, doubles, rolls—both multiple and stroke-and-a-bounce— and grace note figures cannot be overlooked. Equally important is the development

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of the feet. Fundamental exercises that develop the bass drum(s) and high hat must be practiced. In addition, unique to set playing is the development of a coordinated indepen­dence or interdependence between hands and feet in all combinations and styles. Technical and musical skills for performing around the instrument also must be developed. Although imitation of other performers is helpful in building concepts, the individual must develop his or her own vocabulary based on basic movements around the instrument in different directions and combinations. With a welldeveloped vocabulary of fills and solo ideas, and confident ability to execute them, the performer can begin to be inventive and improvise freely. Development of these techniques and skills will enable the performer to play time creatively, fill, and solo in any appropriate style. Concurrent with this development of interdependence and movement around the set must be the development of reading skills for drum set chart interpretation. As the drum set percussionist’s technique, musical level of comprehension, and performance ability advance, he or she should strive to be inventive and fresh in every practice and performance session. By creatively building off well-established foundations in each area of performance skills, the set performer eventually will play more and more musically. In addition to consciously striving for an individual playing style, the set percussionist, and especially the performer who has serious intentions to play professionally, must acquire experience in every possible playing style of music. The experience gained from playing multiple styles and situations will cultivate the confidence and creative individual style vital to professional-level drum set performance and just make playing more enjoyable.

Developing the Feet Most set drummers find that the feet are the weakest limbs and require the most de­velopment. The most important thing to keep in mind is the feet operate mechanical ­devices or machines. Bass Drum  Bass drum right (and left) foot control should be approached as if

de­veloping one’s wrist stroke. Exercises similar to those found in Chapter 2 for basic snare drum stroke control should be adapted and practiced with the feet. An example would be to adapt Example 2-C, a wrist exercise, in Chapter 2 on the bass drum with quarter notes inserted between each measure of new note values, and possibly lengthening each new rhythm to at least 1 minute on each new note value. The entire exercise should be played at different dynamic levels by varying the size of the pedal stroke accordingly. Prolonged practice of various rudimental paradiddle patterns between hands and feet are excellent also. Additional exercises between hands and feet can be invented or utilized from sections in books, DVDs, and videos dealing with bass drum control. Several approaches to bass drum pedal technique are expounded in books, clinics, and on videos and DVDs by top professionals, and these should be studied and considered by the serious drummer. The drummer should use a sturdy drum throne that supports his or her full body weight. (See comments above under “Body Awareness and Instrument Setup.”) The upper leg and thigh should be about parallel to the floor or slightly angled downward. A rebounding bass drum stroke made by the toe, with the heel down on the pedal, is recommended as a basic foundational stroke. The bass drum pedal spring should be adjusted just enough to support the weight of a relaxed foot on the footboard without impeding the pedal action or causing unnecessary expenditure of energy in the stroke. A heel-down fundamental stroke approach with a free rebound of the beater off the head at “bouncing ball” speed must be developed for the most flexible tonal and dynamic control. This bouncing ball speed is discussed and demonstrated on the Chapter 8 video: Track 2 by Robin Horn.

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An additional heel-up leg technique, which still plays a rebounding fundamental stroke, can be developed for fast and louder playing. A toe bounce technique played either with a lifted or flat heel will enable the drummer to play fast double and repeated strokes off the bass drum. See all these techniques demonstrated on the Chapter 8 video: Track 2 by Robin Horn. With either or both heel-up and heel-down techniques, a common problem is poor leg alignment with the bass drum pedal and inefficient placement of the foot on the pedal footboard. Care must be taken to be sure the player’s leg is aligned and his or her foot is placed on the footboard for best operation of the pedal. See Robin Horn’s demonstration of these bass drum strokes and concepts on the accompanying Chapter 8 video: Track 2. A very common problem young drum set players experience when playing in jazz bands and combos, especially after playing in loud rock bands, is playing the bass drum too loudly. The band director and drummer must be aware of this potential problem and listen for and play a balanced kit sound in all playing situations. Developing a light touch and control in all dynamic ranges, and even “feathering” the bass drum so that the bass drum is “felt not heard,” are attributes of a good drum set player that will pay off in many ways. (See “feathering” demonstrated on the Chapter 8 video: Track 2.) Other approaches to playing the bass drum stroke that allow the pedal to remain on the head after the stroke may be used. If this technique is used on a heavily muffled bass drum, the sound may suffice; however, if used on a resonant drum with both heads attached, the sound will be poor. Squashing the stroke, as this is often called, must be used discreetly and the musical result always considered over the relative ease of simply playing with this technique. High Hat  Proper adjustment of the high hat mechanism is a common problem because many drummers are coming from playing rock, pop, and other styles that use the high hat closed most of the time. The high hat clutch washers should allow the top cymbal to vibrate and move freely, and the angle adjustment on the bottom cymbal should position it so as to avoid an air vacuum between the cymbals. The distance between the cymbals should be great enough to allow for playing at all dynamic levels. A little experimentation with these will reveal proper adjustments. When playing high hats in a classic swing style with sticks, a common problem young drummers have is not making the high hats sound correctly and really swing. This is usually caused by improper adjustments and hand/foot coordination on the swing pattern between the closed beat 2 and 4 and the “sizzle” opening of the cymbals on the triplet skip-beats and beats 1 and 3. See Example 8-E (#2) and Robin Horn’s demonstrations of these important points on the Chapter 8 video: Track 3. High hat foot pedal control may be approached with either a rocking backand-forth, heel-toe technique for regularly repeated rhythms, and/or a heel-up leg technique used especially for faster tempos and louder pedal strokes. A heel-toe 4 technique played in 4 time places the heel down on the footboard on beats 1 and 3 and plays4the toe, closing the cymbals, on beats 2 and 4. In a heel-up technique played in 4 time, the high hats start closed, the heel bounces the toe slightly on beats 1 through 4, releasing slightly more to produce the cymbal stroke on beats 2 and 4, or on all four beats, or any of the beats in the measure. The increasing tempo is the main consideration when changing from a heel-toe technique to a heel-up technique, as well as avoiding a dependency on the rocking heel-toe technique in developing drummers. A flat-footed heel-down high hat stroke played with only the toe or upper part of the foot—not rocking heel-to-toe—is used for some “back beat,” openclose high hat effects and for playing very softly similar to feathering the bass drum. All these techniques should be mastered by the serious drum set player. See Robin

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Horn’s discussion of these high-hat techniques and demonstrations on the accompanying Chapter 8 video: Track 3. The DVDs Musical Time by Ed Soph (Carl Fischer), The Erkskine Method for Drumset by Peter Erskine (Alfred Music), and Drumset Technique/History of the U.S. Beat by Steve Smith (Hudson Music/Hal Leonard) contain excellent pedal bass drum and high hat playing concepts. Exercises in the books Bass Drum Control by Colin Bailey and Essential Techniques for Drumset by Ed Soph and other books listed at the end of this chapter are also recommended for developing fundamental control of the feet along with the arms and hands.

Ride Cymbal Time Projecting good time on the ride cymbal requires an acute sense and understanding of time and subdivision, proper note placement in time, and good control of the cymbal sound through touch. The relaxation in the grip on the stick, the type of stroke used, where on the cymbal (or bell) the drummer plays, the angle of the stick tip at point of contact with the cymbal, the design and construction of the stick and cymbal, and the intended sense of phrasing of the cymbal beat all affect the ride cymbal time. Experience in playing and development of personal concepts of time from listening to other set drummers and styles of music will determine the effectiveness and appropriateness of one’s ride cymbal “feel” and time. Initially a thumbs up or French grip is recommended on a moderately flat cymbal to develop a good basic sound and feel for cymbal time. 4 A contemporary ride cymbal time based on even sounding quarter notes played in 4 time should first be mastered. Slow practice counting the subdivisions out loud is strongly recommended. Once consistent quarter notes can be sustained with a good feel, like a walking bass line, then the skip-beat swung triplet can be filled in to ornament the even quarter notes. See Example 8-B (#5) and (#6). The strokes should fall on the cymbal in one general area, and a loose grip should allow for a free rebound of the stick off the cymbal. Cymbal time in rock and other Latin styles of music, although more commonly based on even eighth- or ­sixteenth-note time divisions, is as subtle as jazz time once the player gets beyond the mechanics of basic coordination and into the feel of the music. See Robin Horn’s discussion of ride cymbal time and demonstrations on the accompanying Chapter 8 video: Track 4. Different cymbal time phrasings are clearly more appropriate to certain musical styles and personal tastes. Elvin Jones sometimes would bring out the sixteenth note or the triplet skip beat in his cymbal time phrasing, all the while swinging and grooving hard in any style. A classic swing style may phrase to beats 2 and 4 more than the evenly phrased four-beat contemporary jazz style recommended as a foundation above. When playing ride cymbal in a classic swing style, many drummers will utilize a whole arm movement focused in the elbow, similar to the Moeller technique. As the strokes are prepared for beats 2 and 4, the stick is off the cymbal and the elbow in toward the side of the body. On the finger strokes going to beats 1 and 3 the elbow naturally moves out away from the body. This movement aids in establishing a classic swing feel and flow to the time. This movement is gradually reduced in size as speed is increased. The interpretation of ride cymbal time and placement of notes in time in a swung triplet style is determined by tempo or speed. Example 8-A is one common way to look at changing ride cymbal time from slow to fast. Study Robin Horn’s Chapter 8 video: Track 4 demonstration of three basic ride cymbal times and his technical approaches to them based on changing tempos. Furthermore, Robin will give some tips on using alternate ride patterns to lock in the time and discuss playing ride patterns “with an attitude” and using a hand-over matched grip for certain styles, volume, and to project a different feel. Also see the Soph, Smith, and Erskine DVDs referenced above for further concepts on ride cymbal playing, developing coordination, and comping.

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EXA MPLE 8 -A n Interpretation of basic ride cymbal time

Play all examples slowly, subdividing the time, and give your mind a chance to “learn, listen, and think” (Example 8-B). EXA MPLE 8 -B n Basic coordination exercises and ride cymbal time

Play the bass using a drum heel-down technique with a rebounding stroke.

Slowly 1.

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Play the high hat using a heel-toe technique.

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HH Play the bass drum and high hat together using a heel-toe technique on the high hat. Then play various even quarter note sticking on snare drum over the feet: RRRR, LLLL, RLRL, RLRR LRLL, and so on. Then move around the drum set. Then play similar sticking with eighth notes. Then switch quarters to eights, move around the drums. Then use triplets and improvise on snare and toms. Have fun!

3. 3. BD+HH Use a heel-toe technique on the high hat. Be sure the bass drum stroke rebounds—don’t squash it! Then add the hands like in exercise 3 above.

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BD+HH Play consistent quarter notes. Subdivide out loud: 1-trip-let, 2-trip-let, and so on. The high hat and cymbal should be unisons on beats 2 and 4—no flams. Make them groove! 5.

Ride cym

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Add the skip beat keeping the quarter notes even. The high hat should add weight to the ride pattern—no flams. Make it feel good! (See the Chapter 8 video: Track 4 demonstration of ride cymbal time.) 3

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Be sure the bass drum and cymbal line up and groove. Keep subdividing triplets.

7. 7. Be sure both feet and the ride cymbal line up. Play 7, 8, and 9 with the feet as in exercise 4.

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Add the skip-beat and find the pocket. Make it groove. “Feather” the bass drum. 3

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9. Play 5 through 9 with steady quarter notes on the snare drum on beats 1 through 4. Add quarter-note rests and then improvise quarters around the drums. Numbers 10 through 13 are shuffle beats notated in only the hands. These simply vary the ride cymbal patterns and vary the snare drum shuffle. Add the feet in different combinations and move the snare drum shuffle around the drums. 3

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EXA MPLE 8 -B n (Continued)

Numbers 14 through 16 are basic eight-note time patterns to be played on the ride cymbal and then on a closed high hat with the right hand. When playing ride cymbal, try playing the high hat on beats 2 and 4 and as straight quarter notes using the heel-up technique. If you can play 1 through 13, these should be easy. Once you can play these, play only the bass drum and the high hat eighth notes with the stick and open the high hat pedal slightly on the “and” of beats 2 and 4 and then on all the “ands” for an open high hat back-beat effect. Don’t squash the bass drum beats! Then add the snare drum and try improvising the snare and bass drum.

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16. After playing the eight-note ride on 14 through 16, play them with sixteenth notes as notated in numbers 17 and 18.

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17. R L R L R L R L R L R L RL R L 18. 18.

If you’ve been playing Example 8-B at the drum set, you might want to try some comp­ing concepts in Examples 8-C and eventually some of the basic styles in Example 8‑E.

Coordinated Independence, Four-Way Coordination, Interdependence After the above foundational skills are developed, further areas of drum set study should include coordinated independence and styles studies, movement around the drums (fills, solos), and chart reading and interpretation. The development of coordinated independence, four-way coordination, or interdependence, as it is also called, should be addressed once the drum set student has mastered fundamental snare drum skills, can demonstrate good time by playing consistent ride cymbal patterns properly in different tempos with musical phrasing (that is, with a good feel and groove), and has developed some basic coordination between the hands and feet at

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the set. Good interdependence skills enable the drummer to comp or accompany and complement their fellow musicians and make more musical contributions in his or her playing. The model in Example 8-C is presented for developing coordinated independence for comping in a jazz style. Study of Example 8-C will reveal a logical system that can be used with any syncopated figures. The basic rhythm, 8-C (#1) is interpreted differently each time with a ride cymbal pattern played over the top and high hats on 2 and 4 (illustrated) or on all four beats. See the Chapter 8 video: Track 5 for Robin Horn’s demonstration of these variations. The classic books Progressive Steps to Syncopation for the Modern Drummer by Ted Reed and Modern Reading Text in 4/4 by Louis Bellson are commonly used for exploring this formula system. More recent books by John Riley with accompanying play-along CDs, The Art of Bop Drumming and Beyond Bop Drumming, provide a musical context for this and other study. John Ramsay’s book with two CDs, The Drummer’s Vocabulary as Taught by Alan Dawson, gives an in-depth look at the Dawson system on which the above model is based. The DVDs/books/CDs cited above by Ed Soph and Peter Erskine are highly recommended. If the student has difficulty coordinating all limbs at this level, the book Advanced Techniques for the Modern Drummer, Vol. I by Jim Chapin is recommended for more detailed breakdown of the rhythmic relationships. For similar coordination studies in the rock and funk idioms, see instructional materials by Carmine Appice, Rick Latham, Ken Plainfield, Dave Garibaldi, Gary Chaffee, Gary Chester, and many others. A complete annotated listing is given at the end of this chapter. E X AM PLE 8 -C  n Developing coordinated independence for comping (this

model uses only triplet outlines and fill-ins)

The basic rhythm or figure

1. 1. 1. 1. drum plays Snare the rhythm 3 3

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3 figure, bass 3 3 fills in the 3 skip-beat 3 triplet outline 3 3 Snare plays the drum of3the rhythm

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3 3 3 3 3 3 3 3 D r um S et 3. 3 3 3 3 3 3 3 3 4. EXA MPLE 8 -C    (Continued) 4. plays the3figure, snare Bass drum fills in the skip-beat triplet outline of the rhythm 3 3 3 3 3 3 3



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Snare plays the figure, bass drum fills in the whole triplet

6. 3 3 3 3 3 7. plays the3 first note3 of the figure in each Snare measure, then alternates with the bass drum playing the figure, but always playing the first note in a measure on snare 7. 3 3 3 3 3 3 3 7.

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Two additional ways to practice are (1) invert exercise 6 and play the figure on the bass drum and fill-in triplets on snare drum; (2) play long sounds (quarter notes) on bass drum and short sounds (eighth notes) on snare. Accentuate long sounds on ride cymbal with shoulder of stick. Combine and create variations in all styles. For further study see especially the John Ramsay book with two CDs, The Drummer’s Vocabulary as Taught by Alan Dawson.

Movement Around the Drums Fills and solos ideas require some facility in moving around the drums. Simple exercises can be devised using basic triplet and sixteenth-note patterns for movement around the drums. Robin Horn demonstrates some basic fill concepts on the Chapter 8 video: Track 6. Double-stroke and accent patterns such as Examples 2-L and 2-O in Chapter 2 can be applied to the drum set by playing the double strokes and accents on different drums accompanied by various high hat and bass drum combinations. Also miscellaneous sticking patterns and rudiments can be executed in endless combinations around the drums. Books and videos by Gary Chaffee, Joe Morello, and Joe Cusatis address this area and give drummers ideas for their own further exploration and development. Also see any of the recommended DVDs and other materials at the end of this chapter.

Chart Reading and Interpretation Drum chart reading essentially involves an amalgamation of great time, comping ability, and movement skills around the set with musical awareness, sensitivity, and taste. Basic rhythmic reading skills and awareness of articulation, musical styles, form and structure are prerequisites to successful chart interpretation. The drummer must call upon tasteful comping skills to catch section and ensemble figures and play any ap­propriate

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style or feel. Creative fills and solos require relaxed competence in move­ment around the drums and draw on the total musicianship of the drummer. Regular practice toward the integration of all these skills coupled with experience playing with other musicians will bring the drum set percussionist closer to realizing his or her full musical potential. While many drum set players are quick to develop adequate skills for playing in a rock, pop, and/or jazz style (often entirely on their own), most school drum set players lack any understanding of drum chart reading and interpretation. This usually leads to playing in jazz ensembles and often combos almost entirely by ear with little awareness or reliance on the drum chart. Drum charts come in many forms. (See Steve Houghton’s excellent book/CD, The Ultimate Drumset Reading Anthology for the Working Drummer.) A standard chart may show in detail much of the composer’s or arranger’s intentions or may merely sketch the form of the tune. Often a lead sheet, piano part, or horn part is all that is available. These provide little information about style, groove, structure, and form of the piece. In these situations the drummer should ask questions about these musical attributes and write out a basic outline of the tune if possible. A good basic drum chart will usually indicate style (for example, fast swing Latin jazz) and tempo at the beginning of the tune and successive changes in these. Dynamics are usually included, and the form will be delineated by rehearsal letters or numbers as the chart progresses (repeat signs, first and second endings, D.S. signs, and so on). In addition, section figures, ensemble figures, and drum fills are often indicated. Sec­ tion figures are rhythms that are played primarily by one section of the band. When playing section figures, the time and ride cymbal should remain steady as the figures are played in the snare or bass drum or combinations with comping skills like those in Ex­ample 8‑C. Section figures are usually written as smaller notes above the staff (Example 8‑D). Ensemble figures, on the other hand, will need to be “set up” and the ride cymbal or groove interrupted so both hands (and feet) can fill in and catch the ensemble figure with the full band. Ensemble figures are usually written within the staff with regular size notes. The drummer must be aggressive when setting up the band and playing the major rhythms and accents in the ensemble figures, especially in a typical “shout chorus.” (See Robin Horn’s interpretation and performance of this hypothetical chart Example 8-D on the accompanying Chapter 8 video: Track 7.)

EXA MPLE 8-D  n Drum chart reading and interpretation

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EXA MPLE 8 -D  n (Continued)

A thorough study of drum set articulation, setups, fills, chart reading and interpretation concepts should be undertaken especially by school jazz ensemble/big band drum set drummers. Play-along portions of the DVDs/books/CDs by Ed Soph, Peter Erskine, and John Riley are highly recommended. Steve Houghton has made significant educational contributions through his many books, CDs, and videos, including the book/CD, The Ultimate Drumset Reading Anthology for the Working Drummer. His earlier materials—Studio & Big Band Drumming book and CD and the video and booklet The Drummers Guide to Reading Drum Charts—are also great resources. Ed Shaughnessy’s and Clem DeRosa’s book with CD Show Drumming is exactly as the subtitle states: The Essential Guide to Playing Drumset for Live Shows and Musicals, and contains charts, tips, and play-along examples. Steve Houghton and Wendell Yuponce’s Drum Set Performance Pak provides 12 charts with play-along tracks in a variety of styles. Dave Weckl’s Ultimate Play-Along for Drums, Level 1, Vol. I book/CD; Louie Bellson’s video/book/ CD The Musical Drummer; and Gregg Bissonette’s video/book/CD Playing, Reading and Soloing with a Band demonstrate chart reading. (See recommendations at the end of this Chapter.)

Brushes Fine playing with brushes requires well-developed technique and extreme musical sensitivity. Relaxed, fluid motion with the brushes over the drums result in smooth, flowing rhythms. Varying degrees of rhythmic stress and shading are produced by altering the brush surface and speed swishing over the head. Several excellent books with CDs and videos/DVDs demonstrate the subtlety of this percussion art for student drummers. Robin Horn demonstrates basic brush playing on the Chapter 8 video: Track 8. Practice and master these skills. Further consideration of brush techniques, are provided in the books/CDs and videos/DVDs by Clayton Cameron, Ed Thigpen, Ed Soph, Peter Erskine, and Willis Kirk listed at the end of this chapter. See Chapter 8 MindTap. Listening to the greats is essential for cultivating the musical concepts for playing brushes. Some of these are Jo Jones, Philly Joe Jones, Elvin Jones, Shelly Manne, Buddy Rich, Roy Haynes, Joe LaBarbera, Joe Morello, Ed Thigpen, Louie Bellson, Alan Dawson, Paul Motian, Max Roach, Art Blakey, Jake Hana, Jack De Johnette, Jeff Hamilton, Peter Erskine, Clayton Cameron, Ed Soph, and Steve Smith.

Basic Styles and Considerations Again, most important to the interpretation of any groove and style is the drummer’s conceptual development through extensive listening. Example 8-E represents basic styles and grooves in drum set playing. See Robin Horn’s Chapter 8 video: Tracks 9, 10, and 11 for examples and selections from his CDs. Peter Erskine in the Foreword to his book Drum Concepts and Techniques states, “today’s music is made up of a TOTAL SUM of the more popular styles of music that have survived the past decades. ... drummers must be more universal in scope today than ever before, because the musical styles, influences, and beats have all converged.”13 Kim Plainfield, in Advanced Concepts, states, “The ability to really play in a number of different feels stems from the conceptual development and understanding of those

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different feels—not from learning a few grooves ... the goal is to be able to express your individuality within a particular style.” He goes on to say, An accomplished player is also an accomplished listener. Seek out recordings of different styles and try to imitate what the drummers are doing. … Don’t be self-conscious about copying something that has already been done, especially if it was done well. How else can you discover what hasn’t been done before?14 Lastly, Dave Weckl, in the “Introduction” to his Ultimate Play-Along for Drums, states, “I’d like to stress the importance of listening to as much music in the styles we cover in this book as you possibly can. The only way to play any style of music correctly is to become familiar with the sound and feel of it by listening to as many recordings and checking out as much live music as you possibly can.”15 To address this critical need for listening, the Percussive Arts Society Drum Set Committee released Essential Listening for Drumset “A Selected Top 40 Mix of GameChanging Artists & Repertoire in Various Musical Styles” (v1.0, November 2016). This free download features “iconic music performed by iconic musicians” with a free Spotify playlist link to 44 tunes (www.pas.org). E X AM PLE 8 -E  n Basic styles in drum set playing (see Chapter 8 video: Track 9

demonstrations)

1. Basic Jazz Ride—on ride cymbal 3

3

3

3

3

Ride

1. 2. Basic Swing—on high hat: o = open  c = closed

c

3

c

3

c

3

c

3

High-hat

2. 3. Jazz 3/4 Swing—with cross stick on snare drum 3

3.

3

Ride

4. Eighth Note Rock

4. 5. Sixteenth Note Funk

5. Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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EXA MPLE 8 -E  n (Continued)

6. Bossa Nova—with cross stick rim click on snare drum

6. 7. Basic Samba— eighth notes on high hat with sticks

7. 8. Tamborim Samba—with sticks on snare drum

8. 9. Jazz Samba—up tempo and the snare drum comps

9. 10. Songo—ride bell

10. 11. Cha Cha—with muted cowbell or ride bell and cross stick rim click

11. 12. Mambo—with mounted cowbell or ride bell and cross stick rim click (2:3 clave)

12. 13. Funk—from Fast Lane by Robin Horn and Terry Wolman o

13. Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

Verse A

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Advanced grooves are demonstrated on the Chapter 8 video: Tracks 14 and 15 by Robin Horn performing cuts from his CD Collection. Note the focused energy and groove Robin creates and makes the music feel good.

7 4 pattern example of a linear drumming groove. Letter A changes to 4 rock groove. EXA MPLE 8-E  n (Continued)

14. Time for a Change by Robin Horn and Phil Carlin. The intro is in 8 and is a four-bar

14. 14. Time Time For For A A Change Change Groove Groove 14. Time For A Change 14. Time For A Change

Intro Intro

Groove Groove

Intro Intro

A A Play Play 77 bars bars A Play 7 bars A Play 7 bars

Fill Fill Fill Fill

B B B

B

Intro Intro77/8 7/8 groove groove

Intro 8 groove

Intro 7/8 groove Intro 7/8 groove

Letter Letter A A groove groove High-hat Letter High-hat LetterAAgroove groove Letter A groove High-hat High-hat

15. Crimson Glow by Robin Horn and Frank Gambale. The groove is a Brazilian Baiaó, a song style originating from the eastern Bahia region of Brazil. Intro groove

Intro groove

High-hat

Verse A

c c groove c c Intro

c c

c c

c c

c c

c c

c c

High-hat

Verse A groove

c c

15. Crimson Glow 15. Crimson Glow

cc

c c c c

c c cc

c c

c c

c c

c c

c c

c c

c c

c c

c c

c c

Since the first instructional video by Ed Soph and Horacee Arnold in 1985, The Drum Set: A Musical Approach, many excellent videos, several with accompanying booklets, have been produced by major names in jazz and rock drumming. One mail order music supplier, Steve Weiss Music in Pennsylvania, lists over 380 educational videos and over 700 books with CDs on drum set instruction! Selections from the most contemporary

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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approaches available on video, audio, and the printed page are listed below. A YouTube search will yield documentaries. Out-of-print materials may still be available through Steve Weiss Music, eBay, or other Internet sources. Along with careful guidance by a competent teacher, the following annotated materials will aid the drum set percussionist choose study aids to develop technical and musical proficiency. Basic reading skills are prerequisite to most methods cited. YouTube videos are available by virtually any major artist or band you can think of, and some not so major; just be wary and careful of their quality! They offer valuable instructional material, entertaining performances, and can lead to hours of more videos. Just don’t forget to go practice! Several excellent online drum set instruction resources exist, usually with membership requirements and money back guarantees. See: www.drumchannel.com, mikeslessons .com, and drumeo.com (includes drumlessons.com). Discussion forums on many websites: drummerworld.com, pas.org, and most manufacturers’ forums and blogs cover every topic imaginable. Visit Chapter 8 MindTap to watch videos and for additional information on the History and Evolution of Percussion and Pedagogy.

n DRUM SET METHODS, DVDS, VIDEOS, AND SUPPLEMENTAL STUDIES Video Tapes and DVDs Videos and DVDs give the drummer the opportunity to study visually and aurally the playing concepts of many top pros in the business. Documentary video recordings of live concerts and performances also offer excellent viewing. Also see specific topic areas for videos and DVD listings. Almost every top drummer in the business has made a video or DVD, written a book (or several!), and posted on YouTube. An Internet search for an artist’s or band’s web page, YouTube, FaceBook page or other will yield much information.

Carmine Appice, The Carmine Appice Drum Clinic Video (Alfred Music). The rock great Appice demonstrates and teaches double bass figures, unusual time signatures, high hat feels, and soloing. Kenny Aronoff, Basics of Rock Drumming, Laying it Down (Alfred Music). Complete with booklet covering rock independence, groove, and analysis of drum parts. Kenny Aronoff, Power Workout 1 and Power Workout 2 (Alfred Music). Videos/booklets with 24 lessons that develop technique and independence. Corresponding book/tape/ CD available. Louie Bellson, The Musical Drummer (Alfred Music). Bellson covers the drummer’s role in a big band through seven charts, discusses pieces with a quintet including many different styles and brush playing, talks about and performs solos, and shows his innovative double bass drum technique. Corresponding book/tape/CD available.

Dennis Chambers, In the Pocket and Serious Moves (Alfred Music). Discusses funk playing at its best and soloing. Corresponding books/tapes/CDs available. Billy Cobham, Drums by Design (Alfred Music). Discusses Cobham’s ambidextrous style and concepts. Peter Erskine, The Erskine Method for Drumset (Alfred Music). DVD and book present Erskine’s concepts in 2004 at age 50 on technique and his philosophies for approaching musical performance on the drum set. A complete method covering all aspects of drumming. Includes studio performances with his quartet, 11 play-along audio tracks, home movies, interviews, and other special features. Peter Erskine, Everything Is Timekeeping (Alfred Music). Excellent concepts on many topics: independence, ride cymbal, improvisation, and others. With booklet. Also see Timekeeping 2, under “Latin American, Brazilian and African-derived ­Studies.”

Gregg Bissonette, Private Lesson (Alfred Music). Demonstrates many styles, techniques, and brush work. Corresponding book/tape/CD available. See other Bissonette listings under “Chart Reading and Interpretation.”

Steve Gadd, Up Close (Alfred Music). The great studio drummer Steve Gadd demonstrates practice techniques, chart reading, keeping time, bass drum technique, styles, and much more. Corresponding book/tape/CD available.

Terry Bozzio, Solo Drums (Alfred Music). Discusses soloing, chops, and independence. Corresponding book/tape/CD available.

Steve Gadd, In Session (Alfred Music). This features Gadd in a studio session with other name musicians. Various styles are covered and exciting solos recorded.

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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David Garibaldi, Tower of Groove, Part 1 and Part 2 (Alfred Music). These videos discuss excellent funk, hip-hop, Latin, jazz, and Afro-Cuban styles. Booklet for Part 2. Daniel Glass, The Century Project: 100 Years of American Music from Behind the Drums (1865 to 1965) 2 DVDs, (Alfred Music). Also: A Century of Drumming Evolution by Daniel Glass at: http://vicfirth.com/drumset-history/#history. Daniel Glass, Traps: The Incredible Story of Vintage Drums 1865-1965 (Daniel Glass and DrumChannel.com). Companion video to The Century Project. Daniel Glass, Steve Smith, ed., The Roots of Rock Drumming, Interviews with Drummers who Shaped Rock ‘n’ Roll Music, book & DVD, (Hudson Music). Steve Houghton, The Drummer’s Guide to Reading Drum Charts (Warner Bros./Out of Print, www.houghtonmusic.com, Steve Weiss). Excellent concepts and guide for developing reading and interpretation skills. VHS with booklet. Steve Houghton, The Contemporary Rhythm Section (Drums and Complete) (Alfred Music). Discusses concepts, stylistic awareness, comping, etc. Corresponding book/tape/CD available. Rick Latham, Advanced Funk Studies, 25th Anniversary DVD (Carl Fischer) This DVD combines both previous Advanced Funk Studies videos and offers new gear set up, new playing demonstrations in rudimental and linear concepts, photo gallery, and more. Rick Latham, Contemporary Drum Set Techniques (Alfred Music.). Detailed demonstration of the exercises from Latham’s Contemporary Drum Set Techniques. Includes excellent performances by Latham with a band. Booklet included. Joe Morello and Danny Gottlieb, Natural Drumming Lessons 1 & 2 (Mel Bay Publications). This one-hour DVD covers Morello’s technical concepts at all levels in a lesson format and contains two solos by Morello and Gottlieb. Joe Morello, Drum Method 1: Natural Approach to Technique (Hot Licks, Hal Leonard). Morello covers all aspects of developing playing technique, recommended resources, and footage playing with Dave Brubeck, London 1964. Extraordinary material from one of the greatest drummers/educators ever. Joe Morello, Drum Method 2: Around The Kit (Hot Licks, Hal Leonard). This new DVD uses split-screen and slow motion segments, and explores all aspects of playing the drumset, including suggested listening, thinking musically, and soloing, all with Morello’s legendary wit and wisdom. Highly recommended. Stanton Moore, A Modern Approach to New Orleans Drumming (Carl Fischer). This second DVD by Moore blends contem­ porary ideas with traditional Second Line styles and other

world beats to create a new approach to New Orleans drumming. Excellent. Stanton Moore, Take It to the Street—A Study in New Orleans Street Beats and Second-Line Rhythms As Applied to Funk, book and download, DVD, (Carl Fischer). Stanton Moore, A Traditional Approach to New Orleans Drumming (Carl Fischer). This first DVD is an in-depth look at this style of drumming with demonstrations and performances with various bands. Bernard Purdie, Groove Master (Alfred Music). “Pretty Purdie” talks about timekeeping and demonstrates many of his ­famous studio beats. Marvin “Smitty” Smith, The Complete Cymbal Guide for the Drumset (Warner Bros/Amazon). History of Zildjian cymbals, selection, and playing tips. Steve Smith, Drumset Technique/History of the U.S Beat (Hudson Music/Hal Leonard). A two-DVD excellent resource on the evolution of drumming styles rooted in jazz and encompassing Smith’s study with Freddie Gruber on technique. Downloadable pdf files on listening and reading and other topics. Demonstrations with “Vital Information” makes this a musical and sophisticated discourse on Smith’s concepts. Steve Smith, Part One and Part Two (Alfred Music). Includes Smith’s concepts on rock and jazz drumming, double bass drums, and creating a part. Part II presents advanced concepts of fusion drumming. Booklet included. Ed Soph and Horacee Arnold, The Drumset, A Musical Approach (Amazon/Steve Weiss). This excellent video tape focuses on the fundamentals of jazz, rock, and funk drumming and includes hand/foot coordination, solos and fills, playing with the rhythm section, Arnold on brushes, discography, and a historical overview. Booklet included, two-hour tape. Ed Soph, Musical Time (Carl Fischer). An outstanding DVD with accompanying book and CD written in 2004 covering all aspects of technique, time, and the musical role of the drummer. CD has excellent play-along tracks. Dave Weckl, Back to Basics and The Next Step (Alfred Music). Two outstanding videos that cover Weckl’s concepts of basic techniques to beat displacement. Corresponding book/tape/ CD available of transcriptions by John Riley. Dave Weckl A Natural Evolution: How to Develop Technique and A Natural Evolution: How to Practice (Carl Fischer). These separate DVDs cover Weckl’s evolution in technique since his studies with Freddie Gruber (like Erskine and Steve Smith) and his applications to playing. Weckl’s book/CD Exercises for Natural Playing is based on these DVDs and includes Moeller technique and more.

Comprehensive Methods for Drum Set Study The following are highly recommended, in addition to many of the DVDs, videos, and books above, for drum set study. Most of the books cover all areas of drum set performance, some deal with only developing interdependence as annotated. Advanced Concepts by Kim Plainfield (Alfred Music). This com­ prehensive method is divided into three chapters, titled “Technique,” “Contemporary Styles,” and “Rhythmical ­Concepts.” Plainfield presents a solo playing system and practice approach to all topics presented including several

ethnic styles with contemporary application. Corresponding cassette or CD and charts included. Advanced Funk Studies by Rick Latham (Alfred Music). This book presents advanced techniques involved in playing today’s

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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funk and fusion styles. Optional cassettes available and corresponding video. Advanced Techniques for the Modern Drummer, Vol. 1 by Jim Chapin (Alfred Music). An excellent book now with 2 CDs to develop coordinated independence as applied to jazz and Be-Bop. Volume II is also available and offers endless practice and playing possibilities. The Art of Bop Drumming by John Riley (Alfred Music). Excellent book on Bop drumming concepts covering time playing, comping, soloing, brushes, jazz essentials and charts. Contains accompanying CD. Beyond Bop Drumming by John Riley (Alfred Music). Excellent book that covers advanced time playing, comping, solo­ing, transcriptions, and charts. Contains accompany­ing  CD. Contemporary Drum Set Techniques by Rick Latham (Alfred Music). The collection of original exercises for drum set in modern style. Exercises develop musical and technical skills available with optional cassette tapes and companion video. Drum Concepts and Techniques by Peter Erskine (Hal Leonard). This excellent method addresses fundamental concepts and techniques of drumming in all styles of music. An excellent companion book for Erskine’s two videos Everything Is Time­ keeping and Timekeeping II.

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time keeping, fills, and solo applications. The CD contains software and mp3 files for many of the snare and drum set exercises. Essential Techniques for the Drum Set: Book 1 by Ed Soph (Meredith Music). Exercises to develop essential skills for four-way coordination. Based on drumming as motion, it addresses the mechanics of playing and hearing the drum set ­efficiently. The Fusion Drummer by Murray Houllif (Alfred Music). A fine collection of 52 beats with discography in the style of Steve Gadd, Harvey Mason, Billy Cobham, and others that will help the player acquire a conception of and gain facility to play in a jazz/rock idiom. Future Sounds by David Garibaldi (Alfred Music). This book with a demonstration tape/CD presents a two-level sound system (accented and nonaccented or “ghost” notes) for playing contemporary funk/jazz fusion styles. The Jazz Drummer’s Workshop by John Riley (Modern Drummer/Hal Leonard). Subtitled Advanced Concepts for Musical Development this book and CD cover advance playing, artist style and analysis, technique (Moeller), and Riley’s demonstration of examples. New Directions in Rhythm by Joe Morello (Ludwig Music Publishing). A provocative study in odd times in jazz.

Drumset Essentials, Volume 1, 2 and 3 by Peter Erskine (Alfred Music). These three books with play-along CDs, from 2002–2003, cover basic techniques and styles, brushes, reading, Brazilian and Afro-Cuban music, and advanced concepts.

Progressive Steps to Syncopation for the Modern Drummer by Ted Reed (Alfred Music). This is a natural extension of the Chapin book used in developing hand and foot coordinated ­independence.

The Drummer’s Complete Vocabulary as Taught by Alan Dawson by John Ramsay (Alfred Music). An out­standing text on the Dawson system approach to four-way coordination, contains Dawson’s famous Rudimental Ritual and interviews and performances by Dawson on the accompanying two CDs. A historical and pedagogical ­document.

The Drumset Soloist by Steve Houghton (Alfred Music). This excellent book/CD address technique, style, and reading with regards to drum soloing. Play-along CD is in different styles.

Drumstick Control: A Realistic Approach to Snare Drum Technique Applied to Drumset, (book and CD) by Jeffrey Moore (Alfred Music). This comprehensive method develops a range of snare drum techniques, and relates them to the drum set in

Ultimate Realistic Rock Drum Method by Carmine Appice (Alfred Music). Updated version, with two CDs. Excellent for developing coordinated independence in the rock style. Contemporary application. Contains rock fills and dual bass drum studies. Also see Realistic Double Feet, Realistic Reggae Rock and other books by Appice (Alfred Music).

Supplemental Studies for Comprehensive Study Double Drums by Louie Bellson and Jim Petercsak (Alfred Music). One of the few books that develops both feet, either double basses or one bass and high hat, and explores the drums through multiple tom toms. Addresses the five or more piece drum set. The Drummer’s Cookbook by John Pickering (Mel Bay Pub., Inc.). A great aid in developing an individual style of rhythmic improvisation. Very creative approach. Essentials for the Be Bop Drummer by Artt Frank (Schaffner Press, Inc.). Veteran drummer Frank focuses on technique, brushes, and awareness of the music with CD examples of his playing. Four-Way Coordination by Marv Dahlgren and Elliot Fine (Alfred Music). As the title suggests this method will develop coordination between both hands and both feet. It is a long-range book that will lead to complete independence. Independence for the Beginner, Vols. I & II by Charles Flores (TRY Publishing Co., dist. by Pro-Drum, Hollywood). A gradual

introduction to independence in jazz time for the beginning drummer. The Independent Drummer by Gary Chaffee (Alfred Music). This text is subtitled: A Systematic Approach for Developing Mental Awareness and Improvisational Facility Through Complete Independence at the Drum Set. This book contains progressive exercises for three “constants” (ostinatos) with one independent line, as well as multiple independent exercises with one ostinato and three independent lines. Exercises in this book develop four-way independence. Multi-Pitch Rhythm Studies for Drums by Ron Delp (Berklee Press). A multi-use book that can aid in developing basic reading skills through reading multi-pitch drum lines and be applied in many ways as coordinated independence studies with the drum set. Musician’s Guide to Polyrhythms, Vols. 1 and 2 by Pete Magadini (TRY Publishing Co., dist. by Pro-Drum, Hollywood). ­Presents a clear analysis and performable patterns for ­understanding and playing polyrhythms in common time signatures.

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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The New Breed by Gary Chester (Modern Drummer Publications). This book utilizes 39 “systems” with constant patterns to be played by three limbs. The student reads and plays an independent line with a fourth limb while playing in a system.

Realistic Double Feet by Carmine Appice (Alfred Music), and Realistic Reggae Rock by Carmine Appice (Alfred Music). These books deal extensively with double bass playing, indepen­dence, and different grooves. Adaptable to all styles.

Patterns, Vol. I: Rhythm and Meter Patterns by Gary Chaffee (Alfred Music). Contains odd rhythms, polyrhythms, mixed meters, and metric modulation.

Studio/Jazz Drum Cookbook by John Pickering (Mel Bay Pub., Inc.). A great aid in developing dexterity and coordinated independence in the jazz drummer.

Methods for Styles Awareness, Chart Reading, and Interpretation Big Band Primer by Ed Soph (RonJon Publishing). Exactly what the title says it is. Used at the University of North Texas. Many hypothetical charts for reading practice. By Design by Billy Cobham (Alfred Music). Book and tape/ CD with five compositions in fusion, samba, funk, and rock styles. Develops playing with a band in these various styles. Contemporary Drummer + One by Dave Weckl (Alfred Music). This is a complete teaching system including a 78-minute CD, a 40‑page book, and charts. Tape features Chick Corea, Michael Brecker, and others on nine songs with and with­ out drums for play-along use. Advanced material. Creative Coordination for the Performing Drummer by Keith Copeland (Carl Fischer). Noted drummer Copeland has written an excellent study of styles and “the basic problems that confront the drummer.” In seven concise sections with a historical review of drumming legends and extensive discography. Contemporary Country Styles for the Drummer and Bassist by Brian Fullen and Roy Vogt (Alfred Music). Excellent playing suggestions, history, charts, and play-along CD for 12 grooves and variations. Outstanding discographies for every chart and style. A must for anyone serious about this art form. The Drummer’s Guide to Reading Drum Charts by Steve Houghton (Warner Bros., Out of Print, www.houghtonmusic.com, Steve Weiss). Excellent video and chart reading concepts with exercises for developing reading and interpretation skills. With booklet. The Drum Perspective by Peter Erskine (Hal Leonard). This book/CD package contains Erskine’s “writings, wisdom and musings on the art of making music.” The CD contains charts and some transcriptions from recordings over the years. ­Erskine states the idea behind the book “is to combine the spiritual or philosophical approach to music and drum­ ming with the physical or ‘mechanical’ aspects of what we do.” He does a good job of exploring this. Well worth the read.

suggestions; Part III: Actual chart reading for development of individual creativity. Essential Styles, Book I and Essential Styles, Book II by Steve Houghton and Tom Warrington (Alfred Music). These excellent books with play-along cassette or CD provides grooves for bass and drums in a variety of styles. Each groove is complete with performance/listening suggestions and a basic chart or “lead sheet.” Playing, Reading and Soloing with a Band by Gregg Bissonette (Alfred Music). This video discusses reading drum charts, “cheat sheet” charts, and soloing. Corresponding book/CD is available. Putting It Together, Piece by Piece, Latin American Instruments and the Jazz Ensemble by Jake Jerger (Opus Music Publishers). Book with 21 CD tracks. Latin, rock, and jazz tracks with piano and bass. Show Drumming, The Essential Guide to Playing Drumset for Live Shows and Musicals by Ed Shaughnessy and Clem DeRosa (Hal Leonard). Drawing from Shaughnessy’s 29 years with the Tonight Show and DeRosa’s experience as a conductor, these two pros have assembled an outstanding discourse on show drumming. The book covers rock, jazz, Latin, and other “ethnic styles” in show settings with CD accom­ paniment and Shaughnessy’s coaching the drummer through hypothetical shows. This fills a great void with ­practical material. Studio and Big Band Drumming by Steve Houghton (C. L. Barnhouse Company/www.houghtonmusic.com/Steve Weiss). Studio and jazz artist Houghton has compiled an excellent analysis of phrasing, fills, and interpretations used in the studio and big band today. Includes CD with 10 play-along charts. The Ultimate Drumset Reading Anthology for the Working Drummer by Steve Houghton (Alfred Music). Contains charts with play-along CD for big band, small group, Broadway, live shows, cruise ships, studio work, and dance jobs. An ­excellent collection.

Drum Set Performance Pack by Steve Houghton and Wendall Yuponce (Alfred Music). This book with a demonstration/ play-along cassette contains drum charts to 12 tunes in a ­variety of rock, pop, funk, Latin, and jazz styles.

Ultimate Play-Along for Drums, Level I, Vol. I and Vol. II by Dave Weckl (Alfred Music). These excellent books with ­demonstration/play-along CDs contains seven drum charts in a variety of styles. Weckl discusses the interpretation of each chart along with helpful practice tips.

Drum Set Reading by Ron Fink (Alfred Music). A book for developing skills necessary for reading with big bands or combos. Part I: Sonorities available; Part II: Interpretation

The UnReel Drum Book by Marc Atkinson (Alfred Music). Fea­ tures Vinnie Colaiuta with Randy Waldman’s UnReel CD. Transcriptions and Vinnie’s advanced polyrhythmic ­concepts.

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Supplemental Studies for Styles Awareness, Chart Reading, and Interpretation A Manual for the Modern Drummer by Alan Dawson and Don De Michael (Berklee Press). This manual presents a broad look at the technical and musical concepts of set drumming. Part I: the fundamentals of drum set playing; Part II: on-the-job basics, including Latin beats; Part III: perhaps the most valuable, “a historical review of jazz drumming” and playing styles. Different Drummer by Billy Mintz (Amsco Publishing Co.). Contains playing exercises and stylistic analysis of many of the greats in jazz and rock drumming. A complete discography relates all the materials to a musical context. Drummers: Masters of Time by Steve Davis (Jamey Aebersold). This book with demonstration tape contains transcriptions and analysis of drummer’s performances on various Jamey ­Aebersold play-along records. Fifty-Second Street Beat by Joe Hunt (Jamey Abersold). In-depth profiles of modern jazz drummers from 1945 to 1965. The Great Jazz Drummers by Ronald Spagnardi (Modern Drummer Publications). Excellent history and profile of the many important jazz drummers from Baby Dodds to Dave Weckl. Sound sheet included. Instant Guide to Drum Grooves [book/CD] by Martina Martinez (Hal Leonard). Subtitled “The Essential Reference for the Working Drummer,” the book contains one or two measure grooves covering styles from around the world. All grooves are demonstrated on the CD and recommended listing referenced for most grooves. A good quick reference.

New Orleans Drumming: From R&B to Funk by Earl Palmer and Hermann Ernest (Alfred Music). This video features two drummers: Palmer who helped create New Orleans R&B and Ernest who is part of the current New Orleans funk scene. Both drummers provide a wealth of information on the New Orleans R&B funk and rock styles. This video provides a great introduction to these styles. New Orleans Drumming. Ragtime and Beyond: Evolution of a Style by Herlin Riley (Alfred Music). This video is one of a threepart series on New Orleans drumming. Riley, along with interviewer D. Thress, takes the viewer from the military band styles up through ragtime, swing, and modern jazz, including the stylistic elements of each. New Orleans Drumming. Street Beats: Modern Applications by Johnny Vidacovich (Alfred Music). The main focus of this video is the demonstration of how the street beats of New Orleans second-line drummers can be incorporated into contemporary jazz. The Recording Drummer by Clyde Brooks (Award Music Co.). An excellent introduction to studio preparation and playing the drum set. Includes charts and their interpre­ tation in commercial styles with a discography of related recordings. Star Sets by Jon Cohan (Hal Leonard). Illustrated book containing the drum kits of many great drummers from the 1920s to 1990s.

Afro-Cuban and Brazilian Styles Afro-Cuban Grooves for Bass and Drums: Funkifying the Clave by ­Lincoln Goines and Robby Ameen (Alfred Music). Book/CD with six play-along charts. In­cludes extensive history, analysis of styles and rhythms, and playing examples in musical context. Excellent material! Afro-Cuban Rhythms for Drum Set by Frank Malabe and Bob Weiner (Alfred Music). In-depth study of traditional Afro-Cuban rhythms and instruments with adaptations to drum set. Demonstration CD is included. Afro-Caribbean Drum Grooves [book/CD] by Chuck Silverman (Cherry Lane/Hal Leonard). A compilation of articles written for several magazines before 2002 with accompanying sound tracks on the CD. Excellent material. Brazilian Percussion by Airto Moreira (Alfred Music). Comprehensive study of Brazilian percussion techniques and instruments. Brazilian Rhythms for Drum Set by Duduka Da Fonseca and Bob Weiner (Alfred Music). The in-depth study of traditional Brazilian rhythms and instruments with adaptation to drum set. Demonstration CD is included. Drums and Percussion by Alex Acuña (Alfred Music). In this video Acuña demonstrates many South American and African percussion instruments followed by drum set adaptations of the South American and Afro-Cuban beats. Acuña performs four tunes with the band. A nine-page booklet is included.

The Essence of Afro-Cuban Percussion and Drum Set by Ed Uribe (Alfred Music). Very comprehensive text on Afro-Cuban music in two parts: traditional instruments and drum set. Demonstration recording included. The Essence of Brazilian Percussion and Drum Set by Ed Uribe (Alfred Music). Very comprehensive text on Brazilian music in two parts: traditional instruments and drum set. Demonstration recording included. Latin Sounds from the Drum Set by Frank “Chico” Guerrero (TRY Publishing Co., Professional Drum Shop, Hollywood—now permanently out of print). Published in 1974 this was in its day the most comprehensive text on Latin-American rhythms for the drum set player. It is divided into two main sections: Cuban rhythm and Brazilian rhythms. Guerrero uses compositions, scores, and photographs to illustrate clearly the contextual settings and Latin instruments. Worth finding an old copy. Listen and Play by Airto Moreira (Alfred Music). In this video Airto discusses his drumming with Fourth World and covers many Brazilian rhythms. Corresponding book/CD available. Mastering the Art of Afro-Cuban Drumming by Ignacio Berrana (Alfred Music). This video demonstrates traditional rhythms and instruments and then applies the rhythm to the drum set. Includes songo.

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Practical Applications of Afro-Caribbean Rhythms to the Drum Set by Chuck Silverman (Alfred Music). Presentation of Afro-Caribbean rhythms to develop groove and fill/solo ideas. Video with corresponding books/CD available.

South American, Caribbean, African and American Jazz by Alex Acuña (Alfred Music). In this video Acuña demonstrates more styles and instruments from the areas and countries in the title.

Practical Applications: Using Afro-Caribbean Rhythms to Develop Command and Control of the Drum Set by Chuck Silverman (Alfred Music). Series of three books that explore AfroCaribbean rhythms as applied to the drum set. Available with cassette/CDs in three parts, each covering a wide range of rhythms and styles.

Timekeeping II: Afro-Caribbean, Brazilian Funk by Peter Erskine (Alfred Music). In this video Erskine presents contempo­ rary grooves in the jazz, funk, bossa nova, samba, AfroCaribbean, songo, and reggae styles. These grooves are printed in the accompanying booklet. Soloing and orchestrating beats in these styles are discussed. Composition in each of the styles are played by the trio of Erskine, J. Abercrombe, and M. Johnson.

Rhythms and Colors by Airto Moreira (Alfred Music). Airto ­demonstrates his unique concept of combining drum set and hand percussion with Afro-Brazilian and world beat drum set rhythms. Video with corresponding book/CD available. Salsa Rock by Johnny Sciarrino and Walfredo de los Reyes (Alfred Music). A complete guide for blending the drum set with the Latin rhythm section. Contains many Latin rhythms and rhythm section patterns.

West African Rhythms for Drum Set by Royal Hartigan (Alfred Music). Based on Ghanaian rhythmic groups. This book with accompanying CD presents the drum set player with a new vocabulary based on the Sikyi, Adowa, Gahu, and Akom styles.

Brush Methods Also see brush sections in DVDs, videos, and books by Bissonette, Bellson, Erskine, Riley, Soph/Arnold, Weckl, Smith, and others. Brushfire by Willis Kirk (Hal Leonard). Almost an encyclopedia of brush playing, this work presents Kirk’s ideas in a clear and practical manner.

The Living Art of Brushes by Clayton Cameron (Alfred Music). This video is the comprehensive discourse on contemporary brush techniques and styles.

Brushworks by Clayton Cameron (Carl Fischer). An encyclopedic survey of brushstrokes with accompanying CD of all sounds in the book, over 20 transcriptions of brush playing masters, and exercises for brush mastery.

The Sound of Brushes by Ed Thigpen (Alfred Music). Thigpen has taken his ideas on brush playing, which he articulated briefly in his book Talking Drums (1965) and expanded into another excellent book. He presents graphic patterns to be traced by hand to develop the basic movements, adding brushes afterward. A cassette demonstrates all the brush sounds, greatly helping the aural learning/performance process.

The Essence of Brushes by Ed Thigpen (Alfred Music). This video presents the basic brush strokes used for many styles of music. A supplemental sheet provides many of the strokes that are also illustrated in Thigpen’s book, The Sound of Brushes (1981).

Methods for Movement Around the Drums Drum Method 2: Around The Kit by Joe Morello (Hot Licks, Hal Leonard). This new DVD of the original VHS tape uses splitscreen and slow motion segments, and explores all aspects of playing the drum set, including suggested listening, thinking musically, and soloing, all with Morello’s legendary wit and wisdom. Highly recommended. Patterns, Vol. II: Sticking Patterns by Gary Chaffee (Alfred Music). This book includes exercises for single strokes, double strokes, and polyrhythms by using a four-stroke system of full, down, tap, and up strokes (Vol. II Patterns series).

Rhythmic Patterns for the Modern Drummer by Joe Cusatis (Alfred Music). A progressively written introduction to the ideas and moves needed for building a solid playing foundation around the drum set. Rudimental Jazz by Joe Morello (Modern Drummer Publications). A very concise method applying the rudiments to movement around the set. Originally published in 1967, now with CD. Musically creative material. Rudimental Patterns for the Modern Drummer by Joe Cusatis (Alfred Music). A sequel to Rhythmic Patterns. Develops a high proficiency in solo technique in hands and feet.

Supplemental Studies for Movement Around the Drums Bass Drum Control by Colin Bailey (colinbailey.com/Hal Leonard). An excellent approach to development of bass drum technique, with DVD. The basic concepts of the exercises can be adapted for development beyond the scope of the book. Drum Solos, The Art of Phrasing by Colin Bailey, with CD (colinbailey.com/Hal Leonard). Written to give the concept

of soloing in phrases, in an organized way, to drummers who have had little experience in playing jazz music. Encyclopedia of Contemporary Drum Rock Rhythms by Johnny Sciarrino (Alfred Music). Beats and patterns as used by the top professionals.

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

D r um S et



Inner Drumming, Drumset Exercises for Developing Mind/Body Awareness, by George Marsh (Sher Publications). This is a study of the drum set as a whole body instrument based on the drummer becoming aware of energy flow inside the body to play. Efficient body use and minimum effort with total connectedness is the basis of the techniques developed. New version with CD, 2016. Stick Control for the Drum Set, Vol. I (basic triplets), Vol II (basic sixteenths) by Mitchell Peters (Mitchell Peters). Similar to

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the Cusatis books in exploring triplets and sixteenth notes around the drums. Wrist and Finger Control for the Advanced Drummer by Charles Wilcoxon (Charles Wilcoxon/Ludwig Music). A fine aid for developing and achieving a higher degree of stick technique through the coordinated control of forearms, wrist, and fingers. Very helpful in developing finger-stroke technique.

Multiple-Percussion Drum Set Solos Table 8.1 shows written out drum set solos or transcriptions that are to be performed as multiple-percussion compositions. They are recommended for their reading and musical value. They are graded as follows: (E) Elementary, within the first year of study; (I) Intermediate, within a second to third year of study; (A) Advanced, within the fourth year or more of study—usually appropriate to late high school or college-level work. TAB LE 8 . 1   Multiple-Percussion Drum Set Solos

Composer/Arranger Title/Level Burns/Feldstein Burns/Feldstein Chaffee Cucinotta Fink, R. Fink, S. Fink, S. Fink, S. Houghton Houghton/Yuponce Houllif Houllif Houllif Houllif Houllif Houllif Houllif Houllif Houllif Houllif LaRosa Lincoln Snider Snider Stephans

Drum Set Music (E–I) Elementary, Intermediate and Advanced Percussion Solos (E–A) Seventh Heaven (for Steve and Vinnie) (A) The Sky Is Waiting (A) Drum Set Suite (A) Beat the Beat (I) Etudes in Jazz for Solo Percussion (E) Machine Drums (A) Ultimate Drum Soloist [with CD] (I–A) Oceanus [music with prepared tape] (A) Afro-Cuban (E)* Ain’t It Rich (I)* Con-Fusion (I)* El Vino (I)* Just for the Funk of It (I)* Philly (I)* Rock Duo (I) Rudimentary, My Dear Watson (E)* Samba-ly (I)* Waltz Duo (I) Drum Set Etude No. 1 (A) Moods for Interaction [book and cassette tape] (A) Rondo for Drumset (I) . . . To Rock for Admiral Shunk (I) Downside-Up (I)

Publisher/Source Alfred Music Alfred Music Alfred Music Lang/Music for Percussion Fink Publications Schott N. Simrock Schott Alfred Music Studio 4/Alfred Music Kendor Kendor Kendor Kendor Kendor Kendor Kendor Kendor Kendor Kendor Somers Music Pub. Studio 4/Alfred Music C. L. Barnhouse C. L. Barnhouse Studio 4/Alfred Music

*Included in the collection, Contemporary Drumset Solos by Murray Houllif (Kendor).

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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n NOTES  1.

Gunther Schuller, Early Jazz, Its Roots and Musical Development (New York: Oxford University Press, 1968), p. 3.

 2.

Theodore Dennis Brown, A History and Analysis of Jazz Drumming to 1942 [2 vols.] (Ph.D. dissertation, University of Michigan, 1976), pp. 2–9 [available through University Microfilms, Ann Arbor, MI].

 3.

Ibid., p. 178.

 4.

Ibid., p. 406.

 5.

Ibid., p. 119.

 6.

Ibid., p. 203.

 7.

Ronald Spagnardi, ed. by William Miller, The Great Jazz Drummers (Cedar Grove, NJ: Modern Drummers Publications, 1992), p. 7.

 8.

Brown, op. cit., p. 318.

   9. Spagnardi, op. cit., p. 21. 10. Loc. cit. 11. Brown, op. cit., p. 476. 12. Donald D. Megill and Richard S. Demory, Introduction to Jazz History, 4th ed. (Upper Saddle River, NJ: Prentice-Hall, 1996), p. 278. 13. Peter Erskine, Drum Concepts and Techniques (Milwaukee: 21st Century Music Productions, Inc./Hal Leonard Publishing Corp., 1987), p. 5. 14. Kim Plainfield, Advanced Concepts (Miami: Manhattan Music Publications/CPP Media Group/Warner Bros., 1992), p. 23. 15. Dave Weckl, Ultimate Play-Along for Drums, Level 1, Vol. I (Miami: Manhattan Music Publications/CPP Media Group/Warner Bros., 1993), p. 4.

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9

c ha p ter

Marching Percussion

■ HiSTORY AND EVOLUTION Contributions by David Rodenkirch, Joe Gallegos, and Jeffrey Moore. Drums and drumming have been associated with both military functions and civilian activities throughout history. Evolving from the Saracen armies’ music of the eleventh through thirteenth century Crusades, one of the earliest fife and drum guilds existed in Basel, Switzerland, in 1332.1 By the time of the American Revolutionary War (1775–1783), the fife and drum corps was well established in America, modeled after its European and British ancestors. In 1775, the Continental Congress passed a bill that established the U.S. Marine Corps and provided for a Marine Band consisting of one drum major, one fife major, and 32 drums and fifes.2 Less than 10 years after the Civil War (1861–1865), civilian fife and drum corps and drum and bugle corps organized and held competitions to preserve the drumming heritages of the Revolutionary and Civil War periods, much as these early drumming practices are carried on today.3 After the inception of the first university band at Notre Dame, Indiana, in 1840 came the football marching bands at the turn of the century. These bands performed in strict military style. The break from military marching traditions came in 1907 when the Purdue University Band formed a block “P” on the gridiron.4 Marching bands continued to develop a style of outdoor music and pageantry that gradually, since the late 1950s and 1960s, departed more and more from its military origins and integrated a greater variety of music—from symphonic to popular—with more interesting visual aspects of performance. Further influences of the contemporary drum corps resulted in what became identified as corps-style marching bands in the 1970s and 1980s. The corps-style ap­proach was modified and adapted by high school and college marching bands but remained a dominant influence in outdoor entertainment throughout the 1990s. The WGI (Winter Guard International) movement that started in 1977 for color guards added percussion in 1992 and brought these styles indoors, along with Bands of America (BOA), the Percussive Arts Society (PAS), and other organizations’ sponsored events. Drum corps emerged around the world from Europe to Asia with the first UK group competing in DCA (Drum Corp Associates) in 1990 and the first Japanese corps in 2002 from Yokohama. The influences of competitive corps continue to evolve and inspire marching bands and percussion ensembles with increasing sophistication and refinement well into the twenty-first century. Concurrent with this evolution in outdoor music and pageantry, the percussion section underwent interesting transformations in instrumentation, writing, playing styles, 329 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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and pedagogical approaches. After World War I (1914–1918), the American Legion and Veterans of Foreign Wars (VFW) sponsored drum, fife, and bugle corps (FD&B Corps) contests on a national scale. Other corps appeared in Canada and Europe.5 These senior corps were comprised of men who became interested in drumming while in the service and wanted to continue playing as a hobby. Their “stand still” shows were part of year-long corps activities that combined musical and social elements. Junior corps began in the 1930s as a youth activity for sons and daughters of senior corps members and was sponsored by VFW and American Legion posts, as well as churches and other organizations.6 The membership of the early American Legion- and VFW-sponsored drum corps of the 1920s through 1940s consisted of as many as 8 to 10 snare drums, several tenor drums, 4 or 5 cymbals, and bass drums. By the 1950s, however, because of increased marching and more complex drills, the standard instrumentation had become three snare drums, three tenor drums, two bass drums, and one pair of cymbals. These marching and maneuvering drum and bugle corps used squads of three, hence the total of nine players in the section. This four-voice instrumentation prevailed well in the 1960s and still constitutes some traditional school marching percussion sections. The instrumentation for marching percussion sections expanded through the late 1950s and into the 1960s and 1970s, primarily due to innovations in the senior and junior drum and bugle corps drum lines and the inception of DCA (Drum Corps Associates) in 1965 and DCI (Drum Corps International) in 1972. One of the first small (12” 3 24”) rudimental bass drums, called “Rudis,” played with two wooden mallets with great clarity of articulation was introduced in Philadelphia in 1956. The addition of timbales to the Hawthorne Caballeros’ drum line in 1961, and their later use of bongos and congas to make a more effective Latin style, marked one of the first uses of multiple drums in American drum and bugle corps. Leaders in this early “East Coast” drum corps movement in the late 1950s and early 1960s included Bobby Thompson, Eric Perrilloux, Jerry Shelmer, Earl Sturtze, Les Parks, John Pratt, and others. A migration of drum corps activity from the East to the Midwest occurred in the mid-1960s followed by developments on the West Coast and back to the East and Midwest through such innovators as Bob Alcott, Al LeMert, Frank Arsenault, Larry McCormick, Jerry Shellmer, and others. Mitch Markovich in an article in the ­Ludwig Drummer magazine (1965) forecast the popularity of today’s “tonal” or pitched bass drums when he advocated using three conventional bass drums of different sizes tuned to specific intervals. Experiments with horizontally mounted single-headed bass drums in the late 1960s as substitutes for timpani gave birth to “timp-tom trios,” which manufacturers quickly marketed as single-headed marching tom units. By 1967 the majority of corps drum lines were using timp-tom trios and duos. The following year saw the first use of commercial versions of marching timpani with individual carrying devices used on the field. By the early 1970s graduated tonal bass drums were replacing rudimental bass drums. Marching percussion instrumentation stabilized in the 1970s with the ­five-segment section: snares, multiple tenors, tonal basses, cymbals, and timpani. In 1973 two keyboard percussion instruments were admitted into DCI drum corps shows, and a year later any carried percussion instrument was allowed. The full marching percussion ensemble came of age during the 1980s with the development of the sideline “pit” or “front ensemble.” DCI created a grounding zone, later to be called the pit, between the 40-yard lines in 1982 and expanded it to between the 35-yard lines in 1987. The pit included every imaginable type of percussion instrument from drum sets to steel drums. Major manufacturers of percussion instruments recognizing the wide instrument market played a significant role in perpetuating the innovations and expansion of the marching percussion section throughout the 1980s, 1990s, and into the twentyfirst century. Nearly every manufacturer now offers a complete line of marching percussion instruments, and the leading drum corps and marching band drum lines have expanded their battery and front ensemble instrumentation and personnel to 30 and more members.

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Along with these developments in marching percussion instruments came an equally important evolution in playing styles and instructional approaches. These were highly influenced by the invention of the plastic drum head in 1957. (Other developments and manufacturer innovations that later affected playing approaches and styles include the evolution of high-tension drum tuning systems for snare drums—from 8 to 10 and 12 lugs—and for other drums during the 1970s; the manufacture of the 14” marching snare drum in the early 1980s; the adaptation of the Kevlar head in 1987 and free-floating shells in 1989; along with the appearance of the 13” marching snare in the mid-1990s.) The playing style used in the early senior drum corps was much like that of their Revolutionary War ancestors: an open rudimental style that relied on individual volume, with strokes played from high above the drum using large arm motions. By the mid-1950s, the increasing difficulty of the drum parts and a faster marching tempo (an increase from the ancient 110 beats per minute to 120+) resulted in a lowering of stick height with execution becoming more focused on uniformity of stick position with less arm use and an increase in wrist movement. Although lower than that of the ancient drummers, stick height was still around eye level but now was based on disciplined stick positioning and movement. As a result of Frank Arsenault’s move to Chicago in 1954, and especially of his work with the Chicago Cavaliers Corps, drumming style saw still further modification and improvement. Arsenault’s style was based on his teacher Earl Sturtze’s legacy, using a high stick height but with refined elbow movements toward and away from the sides of the body, giving extremely clean and powerful execution. Arsenault built a model for style development in the 1960s through his work with junior corps in the Midwest. His early recording in the 1960s of the 26 Rudiments remains a classic example of playing excellence. Arsenault is remembered as a legend in rudimental style drumming, for his meticulous attention to grip detail, his integrated arm movement, and his outstanding qualities as both teacher and rudimentalist. Larry McCormick took over the Cavaliers from Arsenault in 1961 for 10 years. McCormick went on to become an important pioneer in corps-style pedagogy through his publications, his company McCormick’s Enterprises, and later his videos (and his son’s Scott’s founding of Bands of America). As percussion instrumentation expanded, the playing style became more and more focused in the wrists with little arm movement. Fred Sanford, legendary instructor with the Santa Clara Vanguard (SCV), led the way in the mid-1970s with a low stick height and this wrist-executed style of playing. (SCV won DCI using matched grip in 1978 and marched the 2005 season using matched grip.) Due to this lower style of playing, the volume of the drum section decreased greatly. Therefore, by the late 1970s the leading corps in the country, needing to match the powerful horn lines, were seen fielding 10 or more snare drummers with great volume and clarity. With the advent of “multi-angle carrying hooks” in the early 1970s and the invention of the snare drum carrier in 1974, the late 1970s saw many of the finest corps and marching band snare lines experimenting with grips, changing from traditional grip to matched grip or employing both. Matched grip was recognized increasingly for its great versatility and adaptability within the school band program and as the best grip for the average school player’s overall technical development and total percussion experience. Even though this grip was part of the total percussion concept, serious corps players felt execution problems existed with matched grip, and it definitely had limitations when compared to traditional grip when it came to doing visuals. After this period of experimentation with matched grip, many competitive marching snare lines returned to using traditional grip. The late 1980s saw significant expansion in the pit or front ensemble and continued refinement in correct drumming pedagogy based on a relaxed approach to playing with sensitivity to rebound. Instrumentation remained settled in the fourvoice marching “battery” of snares, tenors, cymbals, and basses with unlimited technical boundaries as a result of innovative and challenging writing. The contemporary marching percussion ensemble movement of the 1980s and 1990s offered percussionists and music directors at every level an increasing variety of

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quality percussion instruments together with fine materials for technical and musical training and experience. Colleges around the country and percussion manufacturers teamed up to offer workshops and summer camps to promote and improve this area of percussion education. The Percussive Arts Society’s publications, website, annual international convention (PASIC), and PAS-chapter sponsored “Days of Percussion” continued to promote the highest quality percussion education. Competitions sponsored by DCI, DCA, WGI, and BOA and the publications of Drum Corps News, Drum Corps World (founded in the early 1970s), and other organizations furthered the cause. Instant access to Internet sites and links propelled an awareness of marching percussion like never before. Many of the instructors for the leading drum corps around the country and professional educators produced high-quality instructional materials (the first edition of Teaching Percussion appeared in 1988) that helped to refine playing concepts and approaches to marching percussion. Publishers’ and drum companies’ distribution of quality music, articles, books, and instructional videos written by such pedagogues as Fred Sanford, Thom Hannum, Bob Morrison, Ralph Hardiman, Will Rapp, Marty Hurley, Dennis DeLucia, Tom Aungst, Jim Campbell, and others as well as clinics around the world by these folks and Jeff Moore, Brian Mason, Tom and Catherine Float, Lalo and Julie Davila, and others helped to continue to raise the bar. The new millennium brought even further refinement and dissemination of pedagogy and arranging concepts and quality music through the sharing of approaches by such major corps pedagogues as Bret Kuhn, Mike McIntosh, Scott Johnson, Murray Gusseck, Jim Casella, Jim Ancona, Erik Johnson, Gary Rudolph, Paul Rennick, Jeff Prosperie, and others via the Internet, excellent books, DVDs, and of course through their live performances and clinics. The informed, energetic director who takes advantage of today’s many resources, adequately outfits, correctly trains, and constantly challenges his or her percussionists with good music and fine percussion arrangements will find that these experiences in the marching percussion section carry over logically into indoor concert ensembles and complement the making of year-round total percussionists.

■ DEVELOPING THE CONTEMPORARY MARCHING PERCUSSION SECTION The use of percussion and its role outdoors in the marching band, drum corps, and more recently in the indoor percussion ensemble has evolved from the dry two- or three-voice “timekeeper” arrangements for the bass drum, cymbals, snare drum, and tenor drum “battery” of many years ago to rich, soloistic, multivoiced scoring for the entire percussion ensemble. The modern marching percussion section, comprised of full battery or drum line and front ensemble, has become a self-contained ensemble possessing musical capabilities unequaled by any other section of the band or corps. Consequently, outfitting, training, and scoring for this ensemble often present challenges and sometimes complications unequaled by any other section. To thoroughly address each of these three areas would be the scope of several books, videos, and DVDs, and numerous such resources are listed at the end of this chapter. However, the essential concepts presented here and on the companion videos will provide the foundation for the development of a competitive marching percussion ensemble when seriously considered and conscientiously applied through competent music education.

■ INSTRUMENTS AND EQUIPMENT Bass Drums Sizes and Selection  The 10” 3 26” or 10” 3 28” Scotch bass drums that enjoyed

popularity for many years were replaced during the late 1960s and 1970s by deep-shell tonal bass drums. The dimensions of today’s marching tonal bass drum should be based

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on a shell width that is at least one-half the head diameter. This deeper shell size, combined with current tuning and muffling practices, forms the key to a contemporary marching bass drum sound. Popular sizes for basses and recommended combinations are listed below and can be seen on the accompanying videos and in other recommended resources. Drum size preference has favored smaller diameter drums in recent years due to increased playing intricacies (for example, roll execution and the trend toward smaller, high-pitched snares and tenors) and indoor venues that require less boomy bass drum sounds. Larger sizes may suffice for many school situations and allow for fuller sound, but they cost and weigh more than today’s preferred smaller drums. Three, four, or more tonal bass drums may be used in any band regardless of size due to the blending of the tonal bass sound with the band and the divided scoring of one single rhythmic/melodic line among the total number of basses. Five drums are preferred by many for greatest versatility in writing. Recommended Bass Drum Sizes (14” 3 16”–28” and 16” 3 30”–32”) One drum: 28”—high school; 24” or 26”—junior high/elementary Two drums: 24” and 28”—high school; 20” and 24”—junior high/elementary (minimum for tonal effect—others can be added later) Three drums: 20”, 24”, and 28” (allows best for addition of drums later) or 22”, 26”, and 30”

Four drums: 20”, 22”, 24”, and 28” (30”) or 18”, 22”, 26”, and 30” (32”) Five drums: 18”, 22”, 26”, 28”, and 30” (32”) or 16”, 20”, 24”, 28”, and 32” Six drums: 18”, 20”, 22”, 24”, 26” (28”), and 30” (32”) or 16”, 18”, 20”, 24”, 26”, and 30” (32”)

Drums that have a solid color finish create greater visual impact than multicolor school finishes. Many groups use a white cortex or a solid sparkle for visual effects and durability. Construction and Care  Wood shell drums with durable hard plastic or cortex coverings are recommended for longest life and best appearance. Natural durable finishes are also attractive and will last with proper care. Metal drums and chrome-covered wood drums (fortunately, mostly in the past but still around) require more careful treatment and cleaning for best appearance, and they are heavier than wood drums. Metal drums also produce a much brighter sound than wood, and are much heavier. Cloth shell covers should be made or purchased and cases bought to protect all drums and prolong their good appearance. Wooden counterhoops should be painted seasonally and shells cleaned before each performance. A mild glass cleaner with a soft rag can be used to clean and polish any shell finish, chrome hardware, and heads. Shells should be inspected for delamination and all internal nuts and bolts tightened whenever heads are replaced. Delaminating spots should be glued and clamped. Heads should be replaced seasonally or whenever budget will allow. Smooth white plastic heads give greater visual impact than clear heads. Multilayer or reinforced “dot” heads are not recommended. (See suggestions for head changing under “Tuning” for snare drums in this chapter.) Tuning  The head tensioning or tuning of the tonal bass drum is higher than most directors initially expect. Only individual head tensioning tuning lugs with separate hightension rods for each head will allow accurate fine tuning and matching of heads. Old double-head tensioning rods will need to be replaced with individual head tensioning lugs and rods, or better, new drums should be purchased. Each tension rod should be kept well lubricated with Latin Percussion’s Lug-Lube, lithium, or other light grease lubricant. Each tension point on the head should be fine tuned to each other so that the head rings the clearest, most resonant tone possible. Both heads should be tuned iden­ tically for two-hand performance. This applies to the large 34” or 36” front ensemble bass drum, or these may be tuned like a concert bass drum, with the playing side quite

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low and the opposite side higher. Usually only one mallet is used for playing these large “impact drums” in the pit on the sideline. Do not expect a student to carry these big drums! Depending on the performance venues (outdoors or indoors) and the style of tuning desired (a full-sounding, resonate line or one with more punch and articulation, especially for indoors), bass drum tuning and muffling will vary. The primary goal of tuning a bass drum line and sound concept is to create a pleasing melodic line that sounds much like several pizzicato notes plucked on a string bass—not like several different instruments. Bass drum muffling should maintain a natural bass tone while reducing the overtone ring. Experimentation tuning outside or inside requires listening from a distance to find the desired sound and is the recommended way to tune. As a general guideline, the 14” 3 28” drum should be tuned to at least the pitch D below middle C. The exact pitch may depend upon the style and desired intervallic relationship with the other bass drums. This low D is stretched upward as much as a fifth by instructors preferring high-pitched bass drum sections; however, use caution when tuning this high. Relative intervallic tunings of major or minor thirds among three or more drums will give good tonal bass lines. Fourths and fifths work well between drums with 4” diameter differences (for example, in 2003 the DCI-winning Cavaliers tuned C–16”, G–20”, D–24”, A–28”, and D–32”). The trend since the 1990s has been for the lowest drum to be on the low side with a wider interval spread and diameter size from the other drums, to provide an extra bottom to the bass drum line. (The UA Drumline on the Chapter 9 videos uses 18”, 20”, 22”, 24”, 28”, and 32” drums with minor thirds between the upper drums and a drop of a fifth with an impact patch on the 32” drum.) Heads and Muffling  Medium-weight, smooth, white plastic heads should be used on tonal bass drums. Some instructors prefer Remo’s FiberSkyn heads and other textured heads. While they do project a warm tone, articulation clarity can be harder to achieve on FiberSkyn heads. Any other type of overtone-reducing head—such as dot, hydraulic, or pinstripe heads—will not produce the best possible tonal bass drumsound. Internal muffling rings provided by manufacturers (such as Pearl’s TS-14 Tone Strips or Yamaha’s MA-200 Sound Impact Strips) or foam rings made from closed-cell weather stripping can give good tonal bass sounds when installed carefully. (See and hear bass drums on Chapter 9 video: Track 7.) External muffling with foam rings and patches are easier and less expensive to install and can be replaced with minimal complications. Strips of adhesive-backed, 1-inch foam weather stripping can be purchased at hardware stores, camper suppliers, or drum manufacturers. Depending on the natural ring for the size of the drum, the head tension, and style preference, the amount of weather stripping required to achieve the desired tone will vary. The same amount of foam weather stripping should be applied to both heads (Table 9.1). For large drums the foam stripping should be close to the shell near the collar, but smaller drums should have the foam stripping further in toward the center of the head to allow for less muffling on higher tuned small drums, thus balancing their tone with larger drums. If one layer of weather stripping foam is not enough muffling for large drums, a second layer may be applied next to the first. Experiment with half to full circles of weather stripping around the perimeter of the head and strive for a warm, round, centered tone—like a pizzicato bass string. Commercially made muffler pads are also available in sizes from 3” to 6” in diameter, or one can easily fashion muffler pads out of ordinary felt purchased at any fabric store and clear contact paper or with folded cloth and tape. Pads should be applied to the inside of the heads near the edge and must be installed on the inside of FiberSkyn heads for secure adhesion. Experimentation with placement and use of two or three of these muffler pads on each head and/or with weather stripping will yield a fine tonal bass drum tone, providing the head is tensioned high enough, fine tuned well, and correct mallets and playing techniques are used.

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T A B L E 9 . 1   Suggested Muffler Pad Sizes and Foam Strip Lengths

Felt Pad Size

Drum Size

Foam Strip Length—Per Head

6” (extra large) 5” (large) 4” (medium) 3” (small)

30”–32” 26”–28” 22”–24” 18”–20”

80”–100” 50”–60” 30”–40” 15”–20”

Mallets  Only felt-headed mallets with wooden or sturdy aluminum shafts are recom-

mended for tonal bass drum use. Wooden-headed mallets produce too much “slap” in the tone and greatly reduce the life of a head. Mallets should be used in sizes graduated according to drum sizes. The heads of mallets designed for indoor percussion performance are made with plastic, rubber, and other materials and have a reduced head radius for greater clarity of articulation. A second pair of mallets covered with a furry pile, known as “puffs” or “fur,” is recommended for softer playing and pizzicato and other color effects. For quick mallet changes in performance, the extra pair can be attached to the drum shell with various clips purchased in hardware stores or carrying bags, or one can use commercial mallet holders or Velcro strips on the shafts and shell. Commercial manufacturers of quality tonal bass mallets include: Vic Firth Corpsmaster, Pro-Mark, Innovative Percussion, Mike Balter Mallets, Encore Mallets, Gamble, Silverfox Percussion, American Drum, Regal Corps (by Calato), Pearl, Yamaha, Ludwig, and a growing list of others.

Carriers  Only sturdy vest or metal T-bar commercial carriers should be used for

bass drums; no straps! The weight and awkwardness present great potential for injury to players. Sufficient periods of rest must be given to players and reasonable expectations for maneuvering must be requested on the field if injury is to be avoided. Finally, because of a bass drum player’s limited visibility over the drum, one must always be aware of the potential damage that could occur to the player and instrument by running into something or someone, walking through a narrow doorway, and so forth.

Playing Techniques  The most important consideration to remember for projec-

tion of good bass drum tones—after good tuning and learning to play with a relaxed rebound approach—is that bass drums, like all drums, are directional according to their heads. Every effort should be made in performance to keep the heads facing the audience when a good tonal bass sound is desired. This will often require marching with the upper torso of the body turned 90 degrees to the direction of march. See marching demonstration on the Chapter 9 video: Track 3. (Turning the head away from the audience for color and musical effect is, of course, an exception.) Maneuvering this way may appear difficult at first, but with a little practice it becomes quite easy. The drum head should be struck either in the center for greatest clarity and volume or just off center for moderately active parts requiring more resonance. Strokes should be made with one hand, usually the right, whenever feasible. Fast rhythmic figures should be played dead center and hand-to-hand for evenness and accuracy. Sticking policy considerations (see Chapter 2) should be given and balanced with the directional concept of playing. A relaxed, natural rebound, legato playing approach with controlled stroke heights—similar to the technique used on snare drums and tenors—is preferred but with slightly more resiliency especially when playing into the larger bass drums for a full tone as demonstrated on the Chapter 9 video: Track 7. See “Training the Marching Percussionist” later in this chapter and demonstrations on the accompanying videos. The low frequencies of a bass drum section (especially in unison) can easily overbalance or obliterate the band. Bass drummers today execute rolls and play with technical

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demands rivaling any segment of the section. However, they must also be taught to play with equal dynamic contrast for good ensemble balance, which often simply means exercising restraint and sensitive musicianship.

Snare Drum Sizes and Selection  The contemporary marching snare drum has evolved from its

rope-tuned ancestor to a sophisticated 12-lug, high-tension, free-floating, state-of-theart instrument. The drums pictured in Figure 9.1 and those played on the Chapter 9 video: Track 1 represent a heritage of drum designs. In the modern marching percussion section the 12” 3 15” marching snare drum was the standard in the 1950s to 1970s, with some larger 12” 3 16” drums used earlier. The 12” 3 14” snare drum became common in the 1980s with a 12 tension lug, high-tuning capability. The free-floating snare drum was introduced in 1989. Although a smaller 11” 3 13” drum was introduced in the 1990s and, later, the 9” 3 13” with greater high-tuning capabilities, the 12” 3 14” is preferred and recommended. Due to the physical size of the players, junior high bands may choose to use a 13” snare drum or a lightweight drum. Any number of snare drums may be used from two to a dozen or more depending on the size of band and total percussion instrumentation. A reasonable ratio would be approximately 1 snare to every 20 to 25 woodwinds and brass. As more snares are added, consideration must be given to playing precision, to drill design, and to overall section balance. A ratio of two snares to every set of tenors or multi-tom toms (quads, quints, and so on) is recommended. A “multi-angle carrying hook” or “angle reduction bar,” as commercial models were called in the 1970s and 1980s, were used with shoulder slings and with leg rests. These angle reduction bars allowed for uniform drum angle adjustment and were essential to flat drum positioning for matched grip performance. Today all drums should be carried with a sturdy carrier. Metal or vest snare drum carriers are preferred over any strap assembly because of the complete stability they give to the drum and comfort and safety in carrying (Figure 9.2).

F I G U R E 9 . 1   Heritage of drums, left to right: A post–Civil War rope-tuned field drum

with skin heads and gut snares; a double-headed tensioning design with conventional wire snares; an individual-head tensioning design with gut or cable snares (excellent for concert hall playing); a modern 12-lug, hightension, free-floating shell instrument: the Pearl FFX (Free Floating Extreme Tension) snare drum with synthetic gut snares and aluminum die-cast counterhoops

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F I GU R E 9 . 2   Marching snare drum with carrier—traditional grip showing right stick at “dy-

namic level 4” and left stick in “ready position”

Construction and Care  Marching snare drums are available with shells made of

multi-ply wood and, less commonly, metal. Wooden drums will produce the darkest, fullest-bodied sound and are recommended over heavy, brighter-sounding metal drums. A wood shell drum with durable natural finish, plastic, or cortex covering is recommended for longest life and best appearance. Cloth shell covers should be made or purchased and used at all times and square cases (for extra room) bought to maintain the appearance and safety of the drum. Shells and hardware should be cleaned with a mild window cleaner and soft cloth before each performance. All internal nuts and bolts should be tightened when heads are replaced. Tension rods and lugs should be kept well lubricated, and two washers used on the top of each tension rod to reduce counterhoop wear when tuning. Snares should be gut, nylon-coated cable, or other synthetic gut material, and each strand must be individually adjustable for optimum tuning accuracy. Genuine natural gut snare assemblies should be removed from the drum and sprayed with two to three coats of shellac, Scotch Guard, or other sealant to reduce their susceptibility to changes in atmospheric moisture. Nylon-coated cable and synthetic gut snares deliver the crispness of gut and are not affected by changes in weather. Cable or synthetic snares must be used in extremely dry climates as gut can shrink beyond adjustment. Over the years various manufacturers have adapted instruments from the Scottish bagpipe “pipe bands” with a separate snare assembly under the top batter head, in addition to the bottom snare, for marching bands and corps. Instruments with these double snares (such as Yamaha’s MTS Multi-Timbre Snare) offer tonal variety in scoring and arranging for the battery. See scoring and arranging examples using these snare drums later in this chapter and on the Chapter 9 video: Track 9. Traditional wire snares are not capable of producing the crisp full sound necessary for outdoor or indoor performance in this style of music. Separate gut or nylon-coated cable snare assemblies can be purchased commercially to replace wire snares if the drum shell is of good quality. With a little ingenuity, monofilament nylon fishing line or plastic-coated wire fishing leader can be adapted to most old snare throw-offs and will suffice until better gut or cable assemblies or new drums altogether can be obtained.

Heads  Experiments with marching snare drum heads since the 1970s have resulted in many new developments in head design and construction. The major trend toward

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overtone reduction in head construction resulted in patch or dot head popularity throughout the 1970s. Experiments in the 1980s produced a batter head for the marching snare drum, which consisted of a medium-weight patch head with an added second layer of plastic around the perimeter of the head to reduce high overtones. These heads (such as the Remo Powerstroke and Premier Marathon) are often made with a seal inside the flesh hoop for anti-pullout performance. Other marching snare drum heads—such as the Remo Falams II-K Series and Premier Tendura, developed in 1987—were extreme high-tension heads made of Kevlar, the same material that is used in making bulletproof vests. Many players, in the habit of playing with a downstroke approach and with tension, experienced injuries as a result of playing on these high-tension heads. Developments in non-Kevlar heads due to the desire for a softer playing surface resulted in high-tension heads made from Technora Aramid Fibers (Remo), other Hybrid blends of high-tensile fibers (Evans), and polyester-laminated materials with crimped hoops. These heads should only be used on high-tension (free-floating) snare drums with shells that are made to withstand this extreme high-tension tuning and played by advanced drum line sections due to the exposed nature of the drums’ pitch. If these high-tension heads are inappropriate or comparable heads cannot be obtained, a regular patch or dot-type head will suffice. Patches are available in clear, white, silver, and black. The black dot will absorb sunlight and can cause the head to dent more readily when used in very hot sunny conditions. Snare or bottom heads should be thin to medium in weight for the most sensitive snare response. Special high-tension marching band or corpsstyle crimped snare heads should be used over regular concert snare heads. The latter may pull out under high tensioning or stretch too much and result in snare adjustment problems. Tuning  Occasionally the extreme top “bearing edge” on a wood shell drum may be uneven with regard to the uniform thickness of the edge. This may require sanding with fine grade sandpaper to improve edge evenness. Rough edges on any wood shell should be sanded smooth with sandpaper to reduce head friction; however, care must be taken not to create an uneven top edge. A thin film of paraffin wax, talc, or baby powder on the top bearing edge of the shell is recommended as a head lubricant. Powder is applied most easily by sprinkling a ring of powder onto a piece of paper and gently blotting the edge of the shell into the powder. A thin, even film of powder will be deposited neatly on the edge of the shell. Greasy lubricants should not be used. To tune two or more matching size snare drums accurately to each other, each drum should be tuned first with only the bottom or snare heads on the drums. Careful even mounting and tensioning of the heads should be observed. (Review “General Maintenance and Head Replacement” in Chapter 1 and “Tuning” in Chapter 2 for correct procedure.) Be certain to always make tuning adjustments at opposite pairs of tension rods and in small even turns. Snare heads (bottom) should be tuned identically and up to approximately the pitch of A above middle C for 15” drums or at least a B for 14” drums. After matching the bottom, snare heads, the top edges of the shells should be lubricated with powder and the top batter heads mounted and tuned up following the same procedure. Due to the very high tensioning desired, a special wrench-type drum key will be needed. The batter heads should be tuned identically to each other and up to at least the pitch of C one octave above middle C for 15” drums and to at least a D, a major ninth above middle C for 14” drums. Kevlar and other high-tension heads will withstand much higher tuning—as high as F # —but caution must be observed so as to not over-tension these heads and damage drums and lugs not designed for high tensioning. The pitch of the heads will drop as the head stretches over time, and retuning will be necessary to keep heads fine tuned and in tune with each other. Head life is relatively short at this high tension so a good supply of replacement heads should be on hand throughout the performing season.

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The snares should be checked for even tensioning against the snare head. The tension of each individually adjustable snare can be checked by strumming the snares lightly while the drum is on a player in a playing position. Loose snares should be tightened with a small screwdriver. Then, the snare assembly should be slightly loosened again by turning the snare tension adjustment knob and any loose individual snares further tightened to a point of head contact. A few repetitions of this process will adjust individual snares evenly. Or, the individual snares can be tuned by turning the drum bottom up and slipping a pencil under the snares (like forming a bridge on a string instrument) and matching the plucked pitch of each snare to one another. The entire snare assembly should be adjusted through the snare throw-off lever and snare adjustment knob to the point where a clear crisp snare response is achieved at a loud level with minimal “choked” quality at soft levels. The tone is compromised least at soft playing levels with high-quality, correctly adjusted snare mechanisms. The practice of adding a piece of tape perpendicular across the snares to dry out the snare sound is sometimes helpful for indoor playing generally but should be avoided outdoors. The use of overtone reducing heads will eliminate any need for muffling. If ex­cessive ring is present, an internal tone control may be used, such as a small strip of cloth for indoor performance or external commercial mufflers (such as Evans Staccato Disk). For more snare drum projection sound, projectors or “scoops” can be used; however, they do change the drum sound by emphasizing the bottom head sound. Sticks  The high tensioning of marching snare drum heads requires use of a stick heavy enough to produce a quality tone. The traditional 3S model sticks will suffice well, or newer modified versions, especially for indoor performance, can be used. The “signature” models of leading corps and marching percussion instructors are all well designed and quality sticks, such as those by Vic Firth Corpsmaster/Ralph Hardimon, Thom Hannum, Colin McNutt, Tom Float, Malletech/EMDD Dennis ­ DeLucia, ProMark/Jeff Moore, Scott Johnson, Jeff Ausdemore, Jim Casella, Innovative/Mike McIntosh, Paul Rennick, Bret Kuhn, and others. See the discussion in Chapter 2, “Sticks,” for a complete review of drum stick characteristics. Playing Techniques  A detailed explanation of the marching percussion system of

drumming follows under “Training the Marching Percussionist.” Whether it is used literally or in a modified system, the important aspect of this drumming style is that all stick movements be as uniform as possible. Many fine drum corps and marching band snare drummers have developed a mature style of drumming with both traditional and matched grip. However, due to the versatility and adaptability of matched grip, the relative ease in learning it, and its advantages in the overall technical development of the total percussionist, matched grip is recommended for marching percussion performance. One distinct advantage of matched grip for both performer and instructor is the ability to perform in any marching percussion section or on any concert hall instrument with one consistent technique. Some competitive snare drum lines will opt to use traditional grip for its relative merits and to prepare players for DCI corps-level competition. Regardless of grip employed and system of drumming used, three other major ob­jectives exist for the entire section and are great concerns for the snare drum section: (1) the development of a consistent interpretation and sense of time, tempo, pulse, and rhythmic subdivision; (2) the development of technical precision in execution of all rhythms and patterns; and (3) the development of balance and blend in ensemble awareness. Each objective entails exercising acute listening/feeling skills and achieving uniformity in stick height (height-of-rise), stroke intensity, and rebound control of every stick movement. These considerations are discussed in relation to the entire section under “Training the Marching Percussionist.” Their mastery requires hours

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of individual practice and sectional rehearsal and can only be accomplished through months and seasons of work.

Tenors or Multi-Tom Toms Sizes and Selection  Over the years the traditional tenor drum was replaced by multiple tom toms, called tenors, or designated by their size (triples, trios, quads, or quints). When first introduced in the late 1960s, and throughout the early 1970s, sets of three triples or timp-toms, as they were often called, added interesting melodic possibilities to the otherwise monotone tenor drum lines. Early experiments with several sets of graduated drums met with little acceptance due to the tonal dissonances created in the large baritone and bass sets of timp-toms and the impracticalities of their size and weight. During the mid-1970s, the increasingly popular use of triples by marching bands and drum corps established the 10” 3 14”, 10” 3 16”, and 10” 3 18” drums as the standard set. Efforts to project the sound of triples with more power and definition resulted in the appearance of various new combinations of head sizes, shell depths, Cut-A-Way shallow-cut shell designs, and sound scoop projectors. Trends in the late 1970s and 1980s toward a higher pitch spectrum in all drums resulted in the introduction of smaller drum sizes and the addition of fourth and fifth drums to create “quads” and “quints.” The 1990s saw tenors with sizes of drums from 8” to 14” become the standard in design and writing with a 6” “gok” drum added to the quints and pairs of 6” double “spock” drums comprising a six-drum set of “quints” or “sextets.” Sextets also consist of combinations of 6”, 8”, 10”, 12”, 13”, and 14” drums. These ever-changing drum sizes and college loaner programs by instrument manufacturers have made it possible for bands and corps to obtain entire sets of drums quite reasonably. Often a school band can purchase a good used set of tenors from a corps or university that may be updating to quads or quints. Even on the most limited bud­ gets, sets of two to four concert toms can be bracketed together and a homemade set of tenors fashioned. A good rule of thumb when adding any multi-tom set is one set to every two snare drums. With the higher pitch spectrum in the marching percussion section, strong consideration should be given to the purchase of quad or quint sets with small drum sizes. Shallow-cut shell units are very practical in that they have good projection with less weight. A sturdy carrier as supplied by all manufacturers should always be used. Carriers with a tilt-up feature are recommended. Some designs even include free-floating shell mounting and carrying systems. Construction and Care  As with tonal basses and snare drums, a wooden shell drum

with durable natural finish or plastic or cortex covering is recommended for longest life and best appearance. Cloth shell covers should be made or purchased and always used, along with cases, to prolong the best appearance and safety of the drums. Shells, hardware, and heads should be cleaned regularly with a mild window cleaner and soft cloth. Shells should be inspected periodically for cracks and delamination. Problem spots should be glued and clamped. Care should be exercised in placing the open bottom shells on the ground, and edge-guard metal or plastic protective strips should be used on the open shell edges. Heads should be replaced at least seasonally or when they are played out and no longer resonate well. A thin layer of talc or baby powder may be applied to the top bearing edge of the shell as head lubricant. See comments under “Snare Drum” for application procedure. All lugs and tension rods should be kept well lubricated with light grease. Carriers should be inspected regularly for loosening or breakage. Simple repairs made early can save permanent damage to the carriers and drums, not to mention players!

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Heads  The most practical multi-tom heads are smooth, clear double-ply heads. Remo PinStrip heads resonate well and, like Evans two-ply construction heads, are durable, although the tone of Remo’s Suede™ is preferred by some. Many instructors are tuning their multi-tom sets higher and playing with a variety of sticks. This requires use of more durable high-tension heads. Heads with new high-tension designs should be sought out annually. Dot or patch-type heads and colored heads are not recommended. Tuning  As with the tonal bass drums, the tuning of multi-toms is relatively higher than most directors initially expect. Even head mounting and fine tuning are essential to obtain the best drum sound and to prevent premature head pull-out from unbalanced mounting. When tuning a set of drums, intervals of thirds between drums work well. Tune the largest drum to a good sound and then work up the set being careful not to stretch the smaller drums too high. A clear tuning for an older set of 18”, 16”, 14” triples would be D, F, A b. Sound projectors will cause the drum pitch that one hears to be lower than the actual head pitch. Always tune to drum pitch and with a final listening check from far away. Smaller size sets of quads and quints can be tuned in combinations of consecutive major or minor thirds or whole-tone tunings, diminished or dominant seventh chords, or the popular pentatonic configuration of A, B, D, E (in treble clef) for a set of 14”, 12”, 10”, and 8” quads respectively, or a higher pitched equivalent tuning. Muffling may be increased slightly, as discussed on snare drum, for indoor performance. Two or more sets must be kept in tune with each other, and mixing trio with quad or quint combinations should be avoided. Sticks  Sturdy metal or wood shaft mallets with nylon or hard rubber heads should be used for most general multi-tom playing. Soft felt “fur” or “puff” mallets can be used for soft or more legato line projection, and brushes, dowels, Blasticks, hands, and other im­plements may be used for special effects. Lighter sticks designed for indoor performance are worth considering. Marching snare drum sticks are commonly used on higher-pitched smaller drum quad and quint sets. (See Chapter 9 video: Track 5.) Shorter versions of snare sticks are marketed as quad or quint sticks and are definitely worth considering. Sticks should not be too heavy for the smallest drums, or they will choke the tone by overplaying or muffling the head and cause premature head damage and pulling-out. Improper mallet design should be suspected if repeated head damage occurs, and a lighter mallet should be tried. Multi-tom stick manufacturers are the same as those listed under “Mallets” for bass drum earlier in this chapter. Playing Techniques  The technical demands on the multi-tom player are in some

ways the most complex in the entire marching percussion ensemble. Most of today’s percussion arrangements require a technical proficiency of multi-tom players equal to that of the snare drummers and the ability to distribute their parts around four or more drums. A systematic approach to a uniform style of drumming—like the relaxed, rebounding wrist execution system presented herein and on the Chapter 9 video: Track 5—must be practiced to achieve uniformity on even moderately involved multi-tom parts. Multitom players should strive for careful mallet placement on the heads, halfway between the center and edge, in a straight line across the quads as demonstrated on the video under the discussion of “playing zones.” This mallet placement will produce the best tone and loudest volume, reduce the need for excessive cross sticking, and produce a balanced sound between drums. Striking dead center will produce a dry, dead tone that doesn’t project well (as demonstrated on the video in “playing zones”) and should be avoided. Note the proper drum placement is with the large drum on the player’s left, the medium drum on the right, and the smaller drums in the middle.

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Care should always be taken not to overplay the drums. Alternating sticking should be used to articulate the clearest possible line with double strokes used for more advanced “sweeps” or “scrapes” and crossovers around the drums. (See Chapter 9 video: Track 5 demonstrations.) In writing for quads and quints, care must be taken to avoid stick crossings and other awkward stick leads between drums. It is important for quad and quint parts to lay well. Quads and quints are a very kinesthetic instrument to learn, therefore, the player will learn parts by feel and sound. The height of multitoms should approximate the level at which other standard percussion instruments are played, and carriers should suspend the drums far enough away from the body for smooth playing. Too often drums are carried too high or too close to the player’s body, restricting free, relaxed movement over the drums. (Dennis DeLucia’s “Rule of Thumb” is a good guide for drum height: The height of the rim of a carried marching instrument is at a hand’s width from the thumb to the pinky when the player places the thumb on the belly button with the player’s palm against the belly. Try it, it works!)

Cymbals Obtaining an exciting color spectrum requires a variety of cymbal techniques. These have evolved over the past three decades using various sizes of crash or hand cymbals on the marching field and in the pit. This technical evolution was triggered by Thom Hannum’s outstanding 1984 Master’s thesis, The Cymbal: Its Standard and Special Use in Contemporary Marching Ensembles, at the University of Massachusetts. Popular cymbal pair sizes are 16”, 18”, 19”, 20”, or 22” in heavy weight (Germanic) or medium weight (Viennese). Most manufacturers make crash cymbals with “marching band” or “drum corps” designations; however, symphonic-quality instruments are preferred for their superior sound (see Chapter 9 video: Track 8). Leather or plastic pads and/or gloves should be used to protect the hands as well as to keep fingerprints off shiny cymbals. Do not use fluffy sheepskin pads as they muffle many of the cymbal vibrations. Standard playing techniques (Chapter 6) should first be mastered; then specific marching cymbal techniques, Garfield grip, sound production techniques, holding positions, visuals, and special effects should be thoroughly studied on the accompanying video. The serious “marching cymbalist” is referred to Thom Hannum’s books and video at the end of this chapter and encouraged to watch and study the cymbal line of any corps or fine marching band. The cymbals’ tremendous audiovisual potential in performance should be thoroughly explored and implemented (See Chapter 9 video: Tracks 8, 9, and 10.) !

The Front Ensemble or Pit Marching band, drum corps, and indoor percussion sections have been elevated to selfcontained percussion ensembles with the introduction of “the pit” or “front ensemble.” The concept of the pit started in 1982 when DCI (Drum Corps International) allowed the timpani (individually carried and played on the field since 1968) to be grounded on the front sideline along with one auxiliary percussionist. Following this, DCI’s 1983 amendments allowed the grounding of all marching keyboard percussion instruments on the front sideline between the 40-yard lines; it further expanded the pit to between the 35-yard lines in 1987. (Of historical interest, prior to this time, in 1974, DCI approved the use of a 2½-octave marching xylophone and bells on the field. In 1978 DCI allowed 2½-octave marching marimba and vibraphones; all instruments were carried by the individual players as they marched. Carried marching bells are still common in hometown parades.) The grounding of keyboards in 1983 permitted keyboard players to perform more technically demanding parts than was possible on the move. The range of the keyboards expanded beyond those of the smaller marching instruments. High

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school and college pits quickly followed. Concert models of timpani and keyboard percussion instruments became standard pit instruments. Soon, manufacturers began making keyboard percussion instruments with frames and wheels to withstand outdoor use. The durable frames such as those on Yamaha’s Tough-Terrain Frame System and Pearl/Adams’s Endurance Frame pictured in Figure 9.3 are recommended. In addition, the pit began to include instruments like concert toms, concert bass drums, suspended cymbals, additional crash cymbals, tam tams, drum sets, and many other special effects. The pit evolved into the front ensemble and an integral part of the drum corps and marching band, complementing the battery or drum line. See Chapter 9 video: Track 2 for footage of the Corona del Sol High School front ensemble performing Bizet’s Farandole. See more front ensemble performances featuring DCI, WGI, and university groups at: http://vicfirth.com/marching-percussion/, http:// www.innovativepercussion.com/media/videos, and on other manufacturers’ websites. Many video segments contain commentary by the percussion arrangers (such as http://vicfirth.com/carolina-crown-dci-2016/ Tom Hannum with the Carolina Crown). A search on YouTube for “front ensemble” will yield abundant videos for further study and entertainment. Today’s high school and college marching band front ensembles range in size from one to a dozen or more players. Smaller bands, with only six to eight total percussionists might consider using only a pit and no battery! Instrumentation has expanded to include electronically reinforced and MIDI-interfaced instruments, electric basses, Latin percussion instruments, steel drums, and a vast array of highly audible percussion instruments such as triangles, tambourines, Marc trees, brake drums, anvils, discarded oxygen (or SCUBA) tanks, and sound plates. An important consideration for pit performance is to choose arrangements so that the instruments can be heard without overplaying and causing damage. Scoring must allow them to be heard through the winds and battery, and correct playing techniques and mallet choice are essential. Pit instruments should be sound reinforced whenever possible. The pit provides a unique opportunity to purchase percussion instruments for both marching and concert purposes, allowing the instruments to be used throughout the year. However, rosewood bar marimbas and xylophones should not be used outside; synthetic bar instruments should be used instead. The wheels on keyboard pit instruments must also be replaced with heavy-duty wheel casters or dollies like Adams’s Endurance Frame shown in Figure 9.3 to withstand transport over rough fields. (See additional comments under “Field Placement and Projection.”) The approach to instruction and performance on all pit instruments, particularly the percussion keyboards, timpani, and concert drums, is identical to the systems

F I G U R E 9 . 3   Left: Adams AV-2F Vibraphone with Endurance Frame; right: Adams XSKF-

Pearl /Adams

35 Xylophone with Endurance Frame

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presented in the respective chapters of Teaching Percussion. This technique is grounded in a relaxed, rebounding approach to playing. However, because a greater volume level is required from the front ensemble, especially outside, players must develop an accurate and safe playing technique that involves a much higher stroke level than would be used in concert performance. Two resources for developing these outdoor front ensemble playing concepts and skills are the book Up Front, A Complete Resource for Today’s Pit Ensemble, with downloadable student editions, by Jim Casella and Jim Ancona, and The Cavaliers DVD, Drumming for a New Millennium with Erik Johnson and the Cavaliers staff. See recommendations at the end of the Chapter. Adapting concert percussion ensemble works to the front ensemble and indoor WGI, BOA, PAS, and other activities is an excellent way to further promote and inspire excellent percussion education.

■ TRAINING THE MARCHING PERCUSSIONIST Contributions by David Rodenkirch The System When first addressing the training of the marching percussion battery section, there are two important concepts to understand: (1) The use of a proven marching percussion playing system of some kind is necessary to achieve a uniform drumming style; and (2) once a system is established and actively implemented, it takes time to develop a fine marching percussion section. This time is measured in weeks and seasons. Once established and producing results, the system will breed an enthusiasm and pride in the percussionists that will continue as long as they are challenged by good music, interesting percussion arrangements, fine cadences and features. Many successful systems for developing a uniform style of marching drumming have evolved over the years. Some systems that relied on heavy arm accents and individual forte playing tended to desensitize the performers, especially when they found themselves in situations where soft, controlled concert style playing was required. During the late 1970s and early 1980s, more consistent systems based on controlling all stick movements from primarily the wrist became popular. Unfortunately, some of these approaches still emphasized individual power, and some advocated playing with a great deal of tension to achieve stick control. These approaches developed terrible playing habits in the players through a forceful downstroke approach riddled with unnecessary tension. This later downstroke approach when employed on Kevlar and other high-tension heads resulted in distorted sounds and injuries to the players. Fortunately, this approach met with controversy and was refined in the 1990s particularly by leading drum corps pedagogues. Built on a rudimental foundation, acknowledging stick rebound, and stressing relaxation in playing, this later system was safe, produced better musical sound, and was more compatible with a concert style of playing than any other system. Fortunately, this relaxed, rebound approach prevailed, and marching percussion evolved to a pedagogical level of sophistication based on good sound production and balanced musicianship. It is this system that is presented in this book and represented on the accompanying videos.

Marching To perform on outdoor percussion instruments in a precision style, the percussionist must also learn how to march correctly. No percussionist should be required to high step and lift the knees like a flutist or trombonist, regardless of the marching style of the band. In fact, marching percussionists often modify and adapt marching styles used by bands and corps. Because of the cumbersome size and weight of the drums, especially bass drums and multi-toms, the percussion section has to be particularly adept at field maneuvering. Forward and backward glide steps and sideways crab steps

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should be used that keep the instruments as stable as possible so that the best possible playing can occur. See the accompanying Chapter 9 video: Track 3 for marching demonstrations of these steps and study field performances for greater understanding of this important aspect of ­performance. Basic marching fundamentals should also be adjusted for the percussion section when possible, such as 4- or 8-count slow turns for changes of direction. With a little practice and careful field positioning, a good outdoor percussion section can “float” over a field and achieve maximum playing precision. When writing drill for the drum line, it is important to try to keep sections together when playing. Instead of thinking of writing individual drill spots, one should think of a formation for the snare line, tenor line, bass line, and cymbal line. Percussion drill must also be written logically enough so the entire drum line is positioned together when they need to play together as an ensemble, especially when they are used as the focal point for tempo for the rest of the band. See further comments at the end of this chapter under “Field Placement and Projection” and comments in recommended books at the end of this chapter.

Timing Training An electronic metronome device or a smart phone app that can be played through a portable amplifier, such as a Long Ranger, is an invaluable teaching aid for developing any system of uniform drumming. The DB-33 or DB-88 “Dr. Beat” rhythm training aid made by Boss Products of Roland consists of a series of five different tones and two lights that can be calibrated to state down beats in each measure, each pulse in the measure, and every three-way (triplets) and/or four-way subdivision (eighth and sixteenth notes) of each pulse. Entire selections and drills can be programmed into electronic drum machines and sequencers (for example, the Roland Boss Dr. Rhythm DR-550), which allow for absolute precision in learning of the show. It is extremely important for each individual percussionist to practice with a metronome and for the entire drum line and front ensemble to rehearse with a device like an amplified Dr. Beat. This practice instills a solid and consistent sense of pulse for everyone. It may be difficult at first, especially with inexperienced players, to consistently utilize a metronome during simple warm-ups and ensemble music rehearsal, but with time players will become more adept at maintaining control of the tempo, even during passages that have tendencies to rush or drag. It is equally important, however, for the percussionist and the drum line to establish an internal sense and trust of timing and pulse without relying on the outside source of tempo from a metronome. It is suggested that a metronome be used for all rehearsals until it is clear that the ensemble as a whole demonstrates a consistency of tempo with little fluctuation. Subsequently, the metronome should be “faded out” (within a repetition of an exercise or excerpt) so that the ensemble can achieve an internal sense of tempo and confidence that the rhythms they are playing are metrically accurate in the way they sound, feel, and look. Additionally, it allows the ensemble to fluctuate tempo slightly (“push” and “pull”) during particular sections, in order to perform musically and not in a strictly metric or mechanical way. If the ensemble rehearses exclusively with the metronome, then the performance situation will seem unnatural and will lack confidence and musicality. Ultimately, tempo consistency and sense of musical ebb and flow must emanate from within the players, but it first must be trained through the use of a metronome. Practicing along with recordings also develops a good sense of timing in a musical context. The simplest and most readily available rhythm training aid is for the instructor to play (or record) sixteenth and/or eighth note underlying subdivisions or “check patterns” to which the students strive to match their notated rhythm. When playing “buries the metronome” (and it is inaudible), the time is perfectly aligned. Any of these devices or practices will improve sense of timing and help each section perform with greater precision.

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Rehearsal Techniques and Philosophy To develop and realize a drum line’s fullest potential, there are certain rehearsal techniques that should be followed. The best thing a director can do to develop the marching percussion ensemble is to hire a qualified percussion instructor to work with the drum line on a regular basis. Once this is in place, the following techniques can be em­ployed during band rehearsal time. If this is not possible, the director should work with the section leader toward these objectives. Finding a qualified percussion instructor/arranger for a marching band drum line and front ensemble or indoor percussion ensemble can be a challenge. Often individuals coming from a purely drum corps background have difficulty finding the balance between serving the band and obtaining a high level of performance with the drum line and pit. Realistically, the battery and the pit or front ensemble each should have instructors. It is advisable to request a full résumé, scoring examples, letters of reference, and to conduct an in-depth interview with any potential hire. The philosophy and goals of the band and the band director should be laid out and certainly any school district policies emphasized. Important qualities to look for are a proven record of success and credible references, if available, and most importantly the overall musicianship of the individual and big picture understanding of working with young people. The director must monitor, and mentor if necessary, any percussion instructor and not just turn him or her loose with young musicians. If the band director and percussion assistant work as a team with the students, everyone benefits from the experience. The marching percussion section is unique compared to the rest of the band or corps. Because of this uniqueness, the drum line is a section that needs considerable time to rehearse on its own. First, the drum line should always warm up separately from the marching band. The warm-up area should be as free from distraction as possible (passing pedestrians and/or vehicles) and should be consistent and pleasant. An un­pleasant environment is detrimental to the learning experience. Likewise, a consistent location and setup provide a solid foundation and security for the musicians. As described later in “Developing a Warm-Up Routine,” a good warm-up should last between 20 and 30 minutes. Always have the members stand at attention, in a formation that makes sense (from visual and listening perspectives) and reflects ­formations/configurations actually encountered in the show (this may change from rehearsal to rehearsal), and have them mark time while rehearsing. Sloppy posture will always lead to sloppy playing. The emphasis should be on looking good and playing well. Shoulders should be relaxed and down and head balanced on top of the neck and spine, not “turtling” out over the drums with tension in the neck (to support the head). The drum line should also learn marching fundamentals and drill on their own if possible. This facilitates faster learning of drill, which gives more time to rehearse music. Once standstill warm-ups and ensemble rehearsing have reached a consistent level of execution, it is advantageous to warm-up and rehearse musical sections while moving whenever possible. This can be done on a lined field or a section of a parking lot and can utilize actual drill from the show, or simply a set, “block” routine that allows the players to rehearse and experience marching and playing at the same time. All marching terminology and techniques used with the band must be communicated to and understood by the drum line. Although there is a significant amount of time the drum line will be on their own, it is imperative that the members understand their role as part of the entire band. This is the most crucial and challenging part of the drum line’s training—giving them the individual attention they need to play and march well, yet incorporating them into the success of the whole band experience. This is the responsibility of the director as well as the percussion instructor. During a rehearsal and throughout an entire season, a philosophy should be adopted that has its balance in both quantity and quality. First, one must be very careful not to overload the drum line with an excessive amount of music and drill to learn within a limited amount of rehearsal time. Too often, a drum line never reaches its full

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potential because the students are so overloaded with music and drill. It is better to start with easier parts and increase demands as time allows, rather than have to cut back. Ensembles that are attempting to play music that is too difficult are trying to “sprint before they can run” and never stand a chance of achieving a quality high-level performance. These ensembles then need to simplify their parts by watering them down. The goal is to create appropriate-level arrangements for the players’ abilities so that eventually, as their playing improves, they reach a higher level, yet along the way they are playing with quality at a level of which they can be proud. It is imperative to have a schedule with specific goals for every rehearsal. One needs to plan how long the drum line will rehearse alone and how long they will rehearse together with the full band. Sectionals must also be considered depending on rehearsal time. Allow time for each segment of the battery and pit, while in sectionals, to work on the same sections of the music, and at the end allow time to come together and rehearse those sections as a full drum line and ensemble. Ensemble rehearsals are usually divided into some combination of music and marching rehearsals. Music ensemble rehearsals take place in a concert arc formation where the winds and percussion play together to hear how the music sounds as a full ensemble. This helps both sections greatly in relating their parts to the entire musical product. Marching ensemble rehearsals primarily focus on practicing the drill while singing the music for reference, although it is common for the drum line to play during marching ensemble rehearsals. Lastly, rehearsals combining the music and marching must take place. Rehearsing major chunks of the show and doing frequent run-throughs, along with the other types of ensemble rehearsals, will prepare the ensemble for the best possible performance. To build cohesiveness in the full ensemble, it is common that the closer the band gets to a performance, the more ensemble time the drum line will have with the band and the less time they will have on their own. Finally, listening to their performances on tape and videos is the best feedback and most effective motivational tool for a drum line’s and ensemble’s continuing development.

The Stroke Awareness Approach The principal objective of any approach for marching drumming is to get several drummers to play precisely and musically together with a good sound and flow or groove. Different approaches and terminologies are used today to develop this uniformity in execution. Some employ elaborate stroke types and measurements and define every stroke the drummer is allowed to make and how to make them. Although effective, these approaches tend to produce mechanical results by creating in the player high ex­pectations for trying to achieve a mechanical goal (such as inches of stroke height). These expectations produce tension and reduce learning and performing potentials and often result in poor sound production and lack of flow and groove. The most successful approaches to developing a uniform drumming style simply deal with becoming aware of all aspects of playing and particularly of the stroke and resulting sound. This awareness is obtained by paying attention by listening, watching, and feeling all stick movements in the stroke or exercise. It is through this triple-channel (see-hear-feel) awareness that the most efficient learning takes place, and natural, relaxed, and musical uniform drumming can develop. As with other chapters, the following discussions and exercises are intended to establish an area of correctness from which learning through experiential awareness can occur. As stated previously, the three main objectives of all members in the marching percussion section must be to (1) develop a consistent interpretation and sense of time, tempo, pulse, and rhythmic subdivision; (2) develop technical precision in execution of all rhythms and patterns; and (3) develop a balance and blend in ensemble awareness. Each objective entails exercising acute listening, feeling, and watching skills and achieving

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uniformity in stick height (height-of-rise), stroke intensity, and rebound control of every stick movement. The systematic approach designed to accomplish these objectives presented herein and on the accompanying videos is based on experiential awareness ­learning. To best understand this approach, one may think of the drummer learning technique as similar to a computer being programmed. As the drummer practices, if he or she tries to control all aspects of the stroke at one time—how fast he or she lifts the stick, the angle it moves, measuring how high it goes (sometimes called the height-of-rise), ensuring that the rebound does not go beyond a dictated height—all within a certain rhythmic structure, he or she will have much confusion and little success. In a sense the drummer’s circuits are overloaded with too much to pay attention to and too many commands, resulting in very few of these expectations being fully realized (not to mention the mental and physical stress and tension built up in the drummer from trying hard to do all these things right). An awareness learning approach is based on isolating and becoming aware of one aspect of the playing at a time, like programming a computer. Once awareness is gained about the part of the activity that is the focus at the moment, learning and change naturally take place, and that change is then, in a sense, programmed into the percussionist. It may require some review through practice repetition, but even then further change and improvement will occur. For example, if a group of drummers was learning to play together tap-accent exercises like those in Example 9-C, the instructor should lead them into an awareness with all visual, aural, and kinesthetic aspects of the interpretation of the exercise and its execution (strokes). A good start would be to have everyone sing the exercise and then play it and pay attention to different feedback. How even does it sound? How clearly pronounced is it? Are the accent notes loud enough or are the nonaccented notes too loud? Often, when players sing the parts, their singing is reflective of how they will play. For example, if some players are shy or timid about singing, or are not clearly articulating differences between accented and nonaccented notes, this will be evident in their playing as well. If they can hear and feel the difference while singing, then they are more likely to produce and feel that difference while playing. What is the sound quality of each stroke? Are the accents forced and harsh or full and just loud? Do the nonaccented strokes sound full or choked because of gripping too tightly? How do they look in comparison? (The use of mirrors is essential and video is even better for gaining optimum visual awareness.) What does each stroke feel like? The answer to each question must be discovered by each drummer. When it is, awareness is increased, and learning and change occur. Each aspect of the stroke must be isolated and observed. As they play, ask the drummers to focus on or pay attention to only the height of the stroke and the resultant sound. As each of the drummers observes the relationship of his or her own stroke height to those of fellow colleagues, collective awareness is gained, and before they know it, stroke heights are uniform and strokes are falling precisely together. The same awareness must be gathered separately about the speed of the stroke, the angle of the stroke (bend of the wrist), the height of the rebound, the feel of the grip and the stroke, especially the sound of the strokes, and every aspect of playing. When awareness of each of these is increased, quality of execution is improved. Each separate aspect of playing is programmed into the player and then forgotten about, or trusted in, as another aspect is worked on. Eventually attention is given to performing the exercises as a whole, with the main focus on the quality of sound and trust in the payoff from all the practice. Of course, an occasional spot check on any of the playing attributes is always appropriate. The same approach is applied to learning and memorizing the music (that is, iso­ lating separate aspects of the music—rhythm, tempo, dynamics, and style—and then playing for increased awareness of each aspect and thus programming that informa­ tion into the player’s memory). This is repeated with all aspects of the music until it is completely learned.

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The mind receives visual and auditory signals from the printed music or recalls it aurally and kinesthetically when memorized and then directs the body into the performance. The more attention given to these aspects of the music when learning and in performance, the richer the player’s awareness, reducing external and mental distraction and optimizing performance potential. And, the greater this potential becomes, the more the player can trust in it and relax and enjoy the experience.

The Stroke Awareness System In this system, stroke awareness and stick control is developed by the players collectively observing and comparing the timing, height, rebound, look, feel, and sound of their strokes and their playing. Through these observations, the players will tend to gravitate toward a common visual and auditory stroke, and all stick movements will match to the extent drumming uniformity is achieved. A mirror, metronome, and video recorder should be used whenever possible. A relaxed, cyclic, rebounding legato stroke is used in this approach as the foundation for playing at any dynamic level or speed (like bouncing a ball, as presented in Chapter 2). When control or stopping of the rebound is required (for example, for playing softer from a lower height or for playing a soft stroke after an accented stroke), a de­liberate resistance to the free rebound of the stick off the head is created by the player— immediately after the stick strikes the head—by positioning the hand so that the stick is simply not allowed to rebound away from the head. (See Chapter 9 video: Tracks 4 and 5 for demonstration of this on snare drum and tenors.) Some approaches will advocate gripping the stick in the hand with the fingers to control the rebound. This distorts the tone of the drum and creates unwanted tension in the performer. When the sticks are in constant motion while playing, stopping of the rebound does not occur until there is a rest or pause in the music, and the sticks return to “set” or “ready” position (explained more later). It must be clearly understood that this rebound controlling process is an adaptation or stylization of the relaxed, full-stroke, natural rebounding, concert style of playing as presented and developed throughout this text. It is also the most natural and safest extension of a correct concert style and produces the best sound with the most efficient and relaxed uniform drumming style possible, as exemplified by leading competitive corps and marching band percussion sections. See demonstrations of this approach for each instrument: snares, basses, and tenors, on the accompanying Chapter 9 videos. This system uses maximum strength and volume through stick acceleration or velocity and minimum stick height. Each stroke is as low as possible to achieve the desired volume and best sound. Most strokes are initiated by the wrist, and rebound control is achieved only by hand position (and for some fin­gers) after the stroke is made. Stopping the rebound and playing a stroke in this style feels more like playing into the drum than when making a full legato, free rebounding stroke. Hence, it is often defined and referred to as a staccato or marcato stroke and is also called a “controlled-rebound stroke” or “stop stroke.” In the system presented herein—although we do start and end in “ready” position—we prefer to not define this as a s­ eparate stroke type but to simply control the rebound to the appropriate height for what follows. It is recommended that the entire section work through all the basic stroke, alternating, timing, and accent exercises to develop everyone’s sense of playing in this style and time and coordination. Cymbal players should work on their sound quality, physical endurance (through physical exercise, such as appropriate stretching, pushups, jogging, and so on), and visuals and other section members on their respective instruments. Timpanists and keyboard players should develop a basic understanding of the drumming style, primarily to control uniform stick movements when they need to visually complement the general effect of the entire section. The actual playing techniques em­ployed by the keyboard players and timpanist should be developed by applying concepts presented in Chapters 4 and 5 of this text to their marching percussion repertoire.

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Methods listed at the end of this chapter provide excellent sectional and ensemble training materials.

The Basic Grips, Strokes, and Dynamic Levels The Grips  Finding the pivot point on the stick and acquiring a good awareness of the

natural rebound action of the stick off the head are prerequisites to any playing success. Review basic grip and stroke in Chapter 2 if necessary and study the Chapter 2 video: Tracks 2 and 4. As discussed earlier, either matched or traditional grip may be used by the snare line. A distinct educational advantage of the matched grip is that it will successfully transfer to all other marching and concert percussion instruments. A metal or vest carrier will enable the snare drummer to march easily with a flat drum and use matched grip. Although conceived to accommodate the angle of a shoulder-slung drum, traditional grip is generally played on a flat marching snare. With minor carrier adjustments, the snare drum can be tilted downward, left to right, to better accommodate the lefthand traditional grip and balance out the player’s arms, elbow, and shoulders. A tilted snare drum is highly recommended for traditional grip playing. If the traditional grip is understood correctly, it may be used by competitive snare lines. The common mistakes made when attempting traditional grip are: 1. Lack of a correct sideways gripping pressure at the pivot point between the thumb and base of the index finger. 2. Wrong positioning of the hand with the palm turned up in playing position instead of with the thumb tip pointing upward but resting on the index finger as shown correctly in Figure 9.2. 3. Lack of index finger control on top of the stick and the correct stick resting on the first knuckle of the ring finger (see Figure 9.2). Thumb control alone used instead of index finger control is not strong enough for hours of outdoor practice and ­performance. Instructors and snare lines choosing to use traditional grip are encouraged to study ­Figure 9.2 and are referred to the accompanying Chapter 9 video: Track 4, as well as videos and methods listed at the end of this chapter that illustrate the traditional grip. The right-hand or matched grip should be a whole-hand grip with all fingers in ­contact with the stick and held securely, but not pinched tightly, into the palm of the hand. The gripping fulcrum on the pivot point of stick is between the pad of the thumb and the space between the index and middle fingers opposite the shaft. The area between the thumb and side of the index finger, sometimes called the “window,” should be slightly open, and when it is, it is called an “open fulcrum.” One should think of a supportive grip that cushions the stick against the fleshy part of the side of the hand with finger support. The palm of the hand should face the ground when sticks are parallel to the ground. With either matched or traditional grip, the tip of the sticks should meet in the center of the drum head, form a 90-degree angle with each other, and form an inverted V in front of the player. Noting the “lug reference” relationship of the sticks to the tension rods at approximately 4 o’clock and 8 o’clock (looking down at the top of the drum head) will facilitate uniformity in stick positioning on the drum for the whole segment. Elbows should hang naturally at one’s side, not fixed out or held in. The height of the instruments should be as close as possible to that of its concert equivalent, or for instruments on carriers approximately 4 inches below the player’s navel. Or one can use DeLucia’s “Rule of Thumb” as mentioned earlier. Snare lines should not be arranged in order of player height but rather by playing ability, with the best player in the center, the stronger players toward the middle, and the weaker players on the ends. This encourages everyone to “listen inwards” for ensemble precision.

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The Strokes and Dynamic Levels  The Cook Book Essential Ingredients to monitor

throughout practice are: 1. Maintain a proper right hand open fulcrum (or both hands open fulcrum if playing matched grip) with a whole-handed, cushioned grip on the stick 2. Play with a relaxed, rebounding legato stroke producing a free, full, open tone from the drum and the stick 3. Control the rebound for whatever follows with the wrist, not by tension in the hand or fingers 4. Always play with the degree of relaxed wrist turn determined by the ­dynamic/energy level

Dynamic control in marching percussion is approached through many systems, some based on rigid inches of stroke height and having from four to six levels. Five energy levels are defined below in this playing approach, and they correspond to dynamic levels through stick positioning. In rehearsals, levels 1 through 4 are used 95 percent of the time with level 5 reserved for the loudest playing and visuals. See Chapter 9 video: Tracks 4 and 5 demonstrations of levels 1 through 4.

p P F f ff

Level 1 or = playing from the horizontal plane formed by the hand and stick about 2 inches above the drum. This is also called our “ready” position. Level 2 or = playing from a position with the tip of the stick just slightly above the ready position. Level 3 or = playing from a 45-degree angle, wrist turn position off the head (the 45-degree angle is the angle formed between the stick with the head). Level 4 or = playing from a maximum wrist turn off the head. Level 5 or = playing from a maximum wrist turn off the head coupled with arm movement sometimes even over the player’s head for visuals—this is the loudest playing ever used. For uniformity the sticks are held in ready position about 2 inches off the head whenever time and the music allow. Each stroke is made primarily with the wrist and the height-of-rise is determined by the desired volume and dynamic/energy level. It is recommended that the relaxed, natural rebound exercises in Chapter 2 be interspersed with this marching drum style practice to develop the flexibility to be able to perform in both styles at will. Remember to utilize cloning or mirroring when developing unison basic stroke patterns and whenever possible for other technical issues. When practicing, attention should be given to maintaining a whole-handed grip and establishing consistent stroke arcs between the hands. The direction of the stroke arcs with matched grip should be perpendicular to the playing surface and initiated from an up-and-down waving good-bye wrist motion—like bouncing a ball. The butt end of the stick should barely be visible from under the hand where the base of the hand meets the edge of the wrist (see Figure 9.2). This placement will help avoid getting a rotating wrist stroke, which occurs automatically when the butt end of a stick protrudes from the side of the hand. The left hand traditional-grip wrist motion is a rotation up and away from the head that points the tip of the stick up in the air and returns to a level 1 position—like turning a door knob or light bulb.

Developing a Warm-Up Routine The purpose of a warm-up routine is to provide the players with a consistent and effective practice routine for developing technical and musical playing skills in a contemporary marching percussion style. The warm-up routine should consist of exercises for warming up the mind and body while advancing the specific techniques of single-hand exercises, alternating singles with drop-ins, accent-tap patterns, flam studies, doubleand triple-stroke development, roll studies, timing exercises, and formula studies that

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utilize all techniques. The following will emphasize the essentials of how to practice similar typical exercises. It is imperative that one learns to warm up correctly. The first warm-up exercises should be the least stressful. They should be simple, continuous, single-hand eighth note patterns played with relaxed, rebounding legato strokes between hands with no accents. When the blood starts to flow, the other hand is “dropped in” to create sixteenth notes. These strokes should be played slowly and relaxed, allowing plenty of free rebound off the drum or pad. This free rebound is “followed” off the head with the wrist, with the fingers loosely in contact with the stick, “feeling” it vibrate. This gets the blood flowing, synapses (nerve cell connections) firing, engages the mind, and gives a good stretch to the muscles, tendons, and ligaments. Example 9-A is a typical singlehand, legato stroke warm-up exercise: “Eight on a Hand.” Note that the exercise loops from one hand to the other without stopping. This allows for quick hands and strokes comparisons and maximizes practice time. See “Warm-Up Zero” Example 9-E (#4) on the Chapter 9 video: Tracks 4, 5, and 7 for demonstrations of these concepts. EXAMPLE 9-A  ■  “Eight on a Hand” single-hand, legato stroke warm-up exercise

This exercise should be practiced beginning at a slow tempo, about quarter note = m.m. 72, using a very relaxed number 4 dynamic/energy level to stretch the arm muscles and loosen the wrists. To develop further control, play the exercise at all dynamic/ energy levels (except 5) and adjust stick height/wrist turn accordingly. Try playing along with a favorite recording for tempo steadiness and fun. This 64-count exercise (minus the last measure) grooves nicely with a lot of pop tunes. Tenors and basses can play in unison and work out split parts around the drums (see Example 9-H). Cymbal players can work on crashes, high hat effects, and other techniques alternating between measures. Alternating singles, accent-tap exercises, and flam studies should follow singlehand warm-ups. (Specific exercises are presented in these areas and under “Developing Uniform Drumming Skills” later in this chapter.) The warm-up routine should conclude with some double-stroke development and roll-conditioning exercises. After practicing something demanding, one should return to a simple warm-up exercise to loosen up again. This not only helps with mental stress, but it enables you to keep a check on how stiff you may be getting when practicing something difficult. Remember to practice in front of a mirror or with a video camera, as problems of which you may be unaware can often be detected. The mirror serves as feedback, as does a video camera or audio recorder, to check details in practicing. The demands on today’s marching percussionist necessitate endurance and stamina, requiring blood flow, muscle stretching, and breathing warm-ups just as an athlete

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would endure. Along with warming up the muscles, one should consciously focus on ensemble listening, tempo awareness, rhythmic interpretation, balance, and quality of sound. When designing a warm-up routine, be aware of the uniqueness of each instrument and work on techniques that apply accordingly; this way all sections will benefit from their warm-up time. When working on warm-ups, select certain individuals to play. This will not only show individual strengths and weaknesses that may not be apparent when the full line is playing but will help keep everyone’s attention. Finally, the warm-up routine should be geared toward music in the show. This direct application is vital to mastering certain playing techniques. A solid warm-up routine should last between 20 and 30 minutes. For best results, all warm-ups should be “looped,” meaning to insert 4 or 8 counts of rests in between each repetition of the warm-up. This allows the drum line to change tempos and dynamics, focus on attacks and releases, and give the players’ muscles, synapses, and minds a brief rest to maintain their focus and concentration for long periods of time. The following exercises are typical for addressing remaining areas of the warm-up routine along with other exercises presented later in the chapter under “Developing Uniform Drumming Skills.” Emphasis is placed throughout on the essentials of how to practice, not on the exercise. The methods at the end of this chapter will provide ample material for further study and development. Alternating Singles and Drop-Ins  After completing single-hand warm-up exercises, combinations of alternating singles and drop-ins should be practiced. The ex­ercises in Example 9-B present several opportunities for alternating stroke awareness development. Depending on the tempo and the rhythm, the sticks will either both be held stationary in the ready position between strokes or they will both be in motion. Close observation in mirrors whenever possible of all players’ strokes will establish a collective uniformity. Focus should be placed on the rhythmic precision of the attacks and stroke levels. All strokes should be even taps with no accentuation of the rhythmic groups. The exercise should be played at various dynamic/energy levels. Here, as before, tenors and basses should play both in unison and split their parts with cymbal players mixing effects and full crashes. EXAMPLE 9-B  ■  Alternating singles

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EXAMPLE 9-B  ■  (Continued)

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Tap Accent Exercises  The following exercises—Example 9-C (#1–#9)—are presented for developing an understanding, awareness, and control of basic tap and accent (that is, two dynamic/energy heights) strokes and for sharpening sense of timing. They should be practiced in front of a mirror whenever possible with players being aware of all aspects of the strokes and especially the sound quality; just as a fine string section is aware of all aspects of their bowing. The tap strokes are made from level 1 or 2 and accent strokes from level 3 or 4, always relaxed and with good contrast and a good sound (never “bashing” the accents from level 5). Listen especially for a full sound on the accent and the first stroke following an accent; this is where excess tension in the grip and stroke will distort the sound. Stick motion should start in the ready position about 2 inches off the head and end there when finished playing. The motion of the strokes will be continuous with attention given to stroke timing and height through all of the player’s senses: seeing, hearing, and feeling. Patterns may be combined and divided among players for sharpening ensemble awareness as suggested in exercises 4 through 7 by distributing patterns around the ensemble and playing them in unison. This is good for cross-accent listening and feeling. Exercise 8 is a typical phrase built on accent-tap groupings of one, two, and three placed on and off the beat. For learning purposes, each measure might be looped and then combined. Exercise 9 is called “3–5–7 Magnum.” When the exercise is played in full ensemble, the basses play as written, the snares play 5–7–3, and the tenors play 7–3–5. This creates some interesting cross accents within the ensemble. EXAMPLE 9-C  ■  Tap accent exercises

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EXAMPLE 9-C  ■  (Continued)

A clever warm-up that incorporates these tap and accent strokes can be generated by playing a sequence of steady strokes, from eight down to two strokes in each hand (represented below by Arabic numbers), and accenting ( ) the first stroke in each group, then accenting the first and fifth stroke in each group, and then accenting the first, third, and fifth notes in each group. These sequences can be broken down into smaller groups and repeated several times for learning purposes but are ultimately played in a continuous sequence as illustrated below. This type of single-hand tap/accent warm-up provides excellent mental and physical exercise. For a cross-accent challenge, have each section start with different accent groupings. Similar exercises can be invented, with a little creative imagination, or obtained from the methods listed at the end of this chapter.

>

Fundamental Timing/Formula System and Concentration Exercises  

Ex­ercise 9-D is for developing timing and rebound control with patterns that allow for the stopping of the stick in ready position between strokes. Each measure should be practiced, as always, with the players focusing on the quality of the sound at all dynamic/energy

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levels and with an awareness of their collectively waiting for the “upswing.” This preparatory stroke will occur smoothly and naturally just before articulating the stated rhythm if a relaxed legato stroke approach is used. Subdivision of each pulse with a metronome or with the instructor’s check pattern is recommended for the best development of sense of timing. EXAMPLE 9-D  ■  Timing attacks—round form

Fundamental timing and concentration exercises, like those in Example 9-E, should be played by all segments of the ensemble both separately and in full tutti ensemble. Practice should be governed by metronomic subdivision, either with a mechanical device or with the instructor playing steady check patterns. The purpose of these exercises is twofold: to develop a consistent interpretation of these rhythms, and to further develop uniformity in execution. Exercises 1 and 2 are also models for “formula system” practicing, which adds other techniques (accents, flams, doubles, and so on) to the designated rests as discussed below. In playing the rhythms, each measure should be repeated with a check pattern of running sixteenth notes or steady eighth-note triplets played between each repeated measure. Marking time to everything played will develop a stronger sense of pulse and timing. EXAMPLE 9-E  ■ Fundamental timing/formula system and concentration

exercises

1. Sixteenth-note timing exercises. The first measure is the check pattern and should be played or inserted between each measure. Start practice at about quarter note = m.m. 60 and increase as accuracy is achieved. Practice at various dynamic/energy levels.

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EXAMPLE 9-E  ■  (Continued)

2. Triplet timing exercises. As with the sixteenth-note timing exercises, the first measure is the check pattern and should be played or inserted between each measure. Start practice at about quarter note = m.m. 80 and increase as accuracy is achieved. Practice at various dynamic/energy levels.

3. Concentration exercises 1–11. Sections should be divided into groups of four, five, or six players. Each player should sing the entire melodic line and fit their part in. See Chapter 9 video: Track 7 for a demonstration of exercise 9 “Ying-Yang”— a five-part concentration exercise played on bass drums—and exercise 11 the six-part “Forbidden Doughnut UA Bass Drum Cadence.” Example 9-E, exercise 4 “Warm-Up: Zero” and exercise 5 “Warm-Up A: Loop” are demonstrated on Chapter 9 video: Tracks 4, 5, and 7.

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EXAMPLE 9-E  ■  (Continued)

9. Bass Patterns for Five Drums

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EXAMPLE 9-E  ■  (Continued)

10. Bass Patterns for Six Drums

11. 

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EXAMPLE 9-E  ■  (Continued)

Copyright 2004, David Rodenkirch, used by permission

4. Warm-Up Zero

© Vicente Lopez, used by permission.

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EXAMPLE 9-E  ■  (Continued)

5. Warm-Up A: Loop

© Saul Aguilar, used by permission.

Alternating Accent Exercises/Formula System  By using a formula system, the

sixteenth-note and triplet-timing exercises, Example 9-E (1 and 2), can be transformed easily into accent studies by mentally inserting and playing accented note(s) for each rest. (Also see Example 9-G, “Three Camps,” for another accent study and formula system application.) Sticking can be single-handed and alternating. Alternating accent studies should be played with close attention to the height-of-rise for both the level 4 accented strokes and the nonaccented level 1 and 2 taps. Steady metronome practice with tempo increases made between repeats of exercises will develop the most stable sense of time. Many other combinations and one- to four-measure phrases can be devised and written out for additional practice. “Warm-Up Zero” and “Warm-Up A: Loop” above, as demonstrated on the video in many combinations by the UA Drumline, crea­tively combine single-hand and alternating accent patterns into full ensemble warm‑ups.

Developing Uniform Drumming Skills Once style and control are well established with single-stroke, alternating, and accent combinations, all other aspects of snare drum technique presented in Chapter 2 should be practiced by most members of the battery. The smaller bass drum parts increasingly demand advanced dexterity with doubles, rolls, and grace note figures. Each area of technical concern is discussed below utilizing the relaxed, rebounding legato stroke approach presented in this text. Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Double Strokes and Rolls/Formula System  A high level of proficiency with double strokes and rebounds is the essence of a contemporary marching percussion style. The approach to developing this control should initially follow the procedures established in Chapter 2 in the “Stroke-and-a-Bounce” section, where the approach involves a relaxed wrist action combined with flexible finger control on the stick. After the basic stroke-and-a-bounce is understood and sensitivity to assisting the rebound is developed in the fingers, a slight firming up on the stick in the hand must occur in the fingers to achieve uniform execution in this marching drumming style. Proper execution in this style will result in the stick being cushioned by the fleshy part of the side of the hand (or the left hand fingers on top) as primarily the wrists, with a subtle assistance from the fingers, articulate clean double strokes. The fingers assist the wrists with the playing of the double stroke by “pulling” the rebound stroke slightly into this fleshy part of the hand (matched or right hand-traditional) or by the index finger slightly “dribbling” the rebound stroke (left hand-traditional grip). All exercises in Chapter 2 dealing with the development of this technique should be practiced. These include all double-stroke rebound exercises, running down a roll, and base to roll exercises played with open double strokes. Several typical exercises for developing double and roll control are presented in Example 9-F. Exercises 1A and 3 offer excellent opportunities for practicing with the cloning or mirroring technique. Play exercise 1 continuously A to C. Exercises 1 through 12 are for developing double-stroke control. (See Chapter 2 demonstrations of Example 9-F on Chapter 2 video: Track 7.) Allow the stick to rebound into the fingers during the eighth-note rest in exercise 1A and then assist by pulling or dribbling the double “diddle” strokes (see preceding ­explanation). EXAMPLE 9-F  ■  Double-stroke development

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EXAMPLE 9-F  ■  (Continued)

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EXAMPLE 9-F  ■  (Continued)

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EXAMPLE 9-F  ■  (Continued)

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“Stick Control” and “Urban Beat” scores are available in Teaching Percussion MindTap in downloadable format and are demonstrated in numerous combinations on the accompanying Chapter 9 video: Tracks 4 and 5 by the UA Drumline. They further expand on double and triple strokes and groove nicely. Flam Patterns/Formula System  Flams and flam patterns should be attempted in this style only after they can be played comfortably and accurately in a natural rebounding, concert style as originally presented in Chapter 2. Flam combinations as presented in Chapter 2 should be practiced slowly at first with the sticks played from the ready position before playing each flam, if time allows. The flam is played by dropping the sticks together with one hand playing a grace note stroke and the other either a tap or accent stroke for the main note. The grace note is played by merely relaxing the hand and allowing the stick to drop from the ready position onto the head and rebound immediately back to the ready position. The low/high separation or prepositioning of the sticks for the grace note/main note execution should occur just before playing the flam. Proper stick prepositioning will prevent false flams or “pops” due to both sticks striking the head simultaneously. Once proper flams are mastered simultaneous double-stop strokes can be utilized for special “pop” effects (see discussion of Example 9-O). Flam practice from Chapter 2 should include all those in Example 2-P. Using the formula system, as before with the doubles in Example 9-F (#8 and #9), the sixteenth-note timing and triplet-timing exercise formulas in Example 9-E (#1 and #2) can be transformed into flam combination exercises simply by playing flams where every rest occurred in the original timing exercise. Further variations on these timing exercise formulas can be created by adding flams followed by double strokes (called “flam drags”) and then “cheeses” (a flammed double) where the rest(s) originally occurred. Other elaborate variations can be concocted with a bit of creative imagination. (Chapter 9 video: Tracks 4 and 5 have numerous demonstrations of “UA Flams” by the UA Drumline and the scores are available in Teaching Percussion MindTap in downloadable format.) Example 9-G, variations 1–5, illustrate how the drumming standard “Three Camps” can be used as a formula pattern for creating variations. Doubles played after each accent, on all the non­accented notes as rolls (variation 5) results in the original version of “Three Camps.” For variations 1–4, play flams, doubles, drags, and flam drags on the accents. Cheeses could also be played on the accents. This type of formula pattern invention is greatly encouraged for its mental and manual benefits.

EXAMPLE 9-G  ■  The Three Camps with Variations

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EXAMPLE 9-G  ■  (Continued)

Full Ensemble Warm-Ups  Example 9-H (1–6) represents combinations of accent figures, double-stroke figures, and flams to produce typical rudimental patterns that can be used for full ensemble warm-ups and conditioning exercises. Remember, these warm-ups should serve the functions of (1) warming up the players’ “chops” and minds, (2) checking stylistic controls, and (3) sharpening sense of timing and uniformity in execution. Note how tenors, basses, keyboard, and cymbals are utilized. See materials by Hannum, Rapp, DeLucia, Hurley, Gusseck, Johnson, and others for excellent additional study.

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EXAMPLE 9-H  ■  Full ensemble warm-ups and conditioning exercises

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EXAMPLE 9-H  ■  (Continued)

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EXAMPLE 9-H  ■  (Continued)

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EXAMPLE 9-H  ■  (Continued)

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EXAMPLE 9-H  ■  (Continued)

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EXAMPLE 9-H  ■  (Continued)

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EXAMPLE 9-H  ■  (Continued)

Visuals Another aspect of the marching percussion ensemble that plays a major role in the general effect created by a performance is the exciting area of visuals. These generally amount to clever little stick maneuvers and moves that catch the eye of the audience and focus attention on some important activity in the section or spot in the music. Visuals that require little skill other than coordinating movements within the segments include: head movements, bows, playing on each other’s drums, various stick carries and exchanges under arms and in the air, and silent exaggerated strokes made in the air and on the rim, chest, or other stick. Full segment effects include such antics as playing with crossed legs, leaning on each other, kneeling or lying down while playing, making pyramids out of the bass drums or cymbal trees and cymbal-go-rounds, and even playing cymbals patty-cake style and doing hand stands and flips with them. A little imagination and a few borrowed ideas from any fine performance by a group well versed in visuals will plant the seed for a rich growth of visuals in any ensemble. It is important to note that visuals should be added only after the parts can be played impeccably. Visuals should never be a detriment to the execution of the music. See visuals on the Chapter 9 video: Tracks 6, 8, 9, and 10. Back sticking is an effective visual that can be added to almost any snare drum part once the basic stick turn is perfected. Back sticking in the right hand or with matched grip involves flipping the butt of the stick through and striking the head. Back stick­ing in the left hand from traditional grip involves simply turning the stick over to a matched-grip Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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stroke played with the butt end of the stick. Back sticking mixed with stick clicks (striking one stick on the other) can produce very impressive visual effects. A few fundamental exercises for developing back sticking and stick clicks are offered in Example 9-I. The book and DVD, The Next Level, Rudimental Snare Drum Techniques, by Jeff Queen contain excellent back sticking discussions, exercises, and tricks. The accompanying Chapter 9 video: Track 6 has demonstrations of back sticking and stick tosses, and many visuals are represented in the UA Band “Talking Heads” show Chapter 9 video: Track 10. EXAMPLE 9-I  ■  Fundamental exercises to develop back sticking

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EXAMPLE 9-I  ■  (Continued)

■ RUDIMENTAL DRUMMING All the techniques presented in this chapter evolved from the early rudimental drumming tradition of using onomatopoetic mnemonics to learn the rhythms of the rudiments and their stickings. This tradition was first chronicled in Basel, Switzerland in 1332. Various beats and patterns passed down through generations of drummers in Europe spread to the New World and Revolutionary War. The American written heritage of drumming emerged in 1812 with Charles Stuart Ashworth’s manual and later the Bruce and Emmett book of 1862 and 1865. As other works followed and drumming styles developed, a need arose to standardize a system of drumming. In 1933 at an American Legion National Convention in Chicago, a group of prominent drummers met to review the early rudiments and methods and established the National Association of Rudimental Drummers (NARD). The objective of NARD was “to standardize a system of drumming by selecting a group of rudiments on which all corps and drummers would be judged.” The 13 organizers (known as the “Thirteen Club” before adopting the name NARD) established the 26 Standard American Drum Rudiments. These founders designated 13 of the 26 as the “Thirteen Essential Rudiments” as a test for membership in NARD and “assumed that the student who studied the first Thirteen Essential Rudiments, realizing their value, would of his own accord continue to study the remaining rudiments.”10 The formation of NARD, drum manufacturers’ distribution of free copies of the 26 rudiments, and the emergence of newly published methods led to rudimental drumming becoming the popular standard in American drumming. Almost every drummer studied the rudiments to develop technical facility and apply their mastery to other forms of percussion performance. Often, this application was unsuccessful and led to other pedagogical approaches that de-emphasized the role of rudimental mastery and developed technical facility through other musical studies as summarized in the preface to Part I of Morris Goldenberg’s Modern School for Snare Drum: The goal of rudimental teaching is stylized facility. It is the sound that counts, not the way one gets it. This conception applies to all percussion instruments, not just the snare drum; the percussionist should experiment in order to determine how to best achieve the desired sound . . . this book is for practical, not rudimental drumming. It is an attempt to clear up difficulties in performance. The techniques given are those usually employed by professionals.11

Marching percussion drumming, presented in this chapter and on the videos, stresses the quality of sound, as advocated by Goldenberg, and a relaxed pedagogical approach to achieving this sound and high levels of musical execution.

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In 1984 the Percussive Arts Society (PAS), after five years of discussions and debates, issued a list of 40 International Drum Rudiments divided into four categories: (1) roll rudiments, (2) diddle rudiments, (3) flam rudiments, and (4) drag rudiments, including all the original 26 rudiments, Swiss Army rudiments and other patterns available at www.pas.org as free downloads and audio files. Several manufacturers also provide free lists. See books at the end of this chapter by Lalo Davila, Matt Savage, and others addressing the 40 PAS Rudiments. In 2008, The Rudiment Project DVD was created by the PAS Marching Percussion Committee with several contributing authors to demonstrate the benefits of the study of rudiments in marching, concert, and drum set applications. The 40 PAS International Drum Rudiments are presented in Example 9-J followed by the 26 Standard American Rudiments in Example 9-K with practical base analysis of rolls, contemporary notation, and applications for study. Popular variations and new hybrid rudiments are given in Example 9-L.

EXAMPLE 9-J  ■  PAS 40 International Drum Rudiments

C. Double-Stroke Open Roll Rudiments A. Single-Stroke Roll Rudiments

6. Double-Stroke Open Roll*

1. Single-Stroke Roll* 7. Five-Stroke Roll* 2. Single-Stroke Four

8. Six-Stroke Roll 3. Single-Stroke Seven 9. Seven-Stroke Roll*

B. Multiple-Bounce Roll Rudiments 4. Multiple-Bounce Roll 5. Triple-Stroke Roll

10. Nine-Stroke Roll*

11. Ten-Stroke Roll*

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EXAMPLE 9-J  ■  (Continued)

12. Eleven-Stroke Roll*

13. Thirteen-Stroke Roll*

14. Fifteen-Stroke Roll*

15. Seventeen-Stroke Roll*

22. Flam Tap *

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EXAMPLE 9-J  ■  (Continued)

EXAMPLE 9-K  ■ The 26 Standard American Drum Rudiments, presented in rec-

ommended learning order—original numbering in parentheses. To be played gradually, slow (open) to fast (closed) to slow (open).

1. (No. 14) The Single-Stroke Roll

2. (No. 21) The Single Paradiddle

3. (No. 11) The Double Paradiddle

4. (No. 1) The Long Roll (Double-Stroke Roll)

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EXAMPLE 9-K  ■  (Continued)

5. (No. 2) The Five-Stroke Roll

6. (No. 3) The Seven-Stroke Roll

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EXAMPLE 9-K  ■  (Continued)

7. (No. 15) The Nine-Stroke Roll

8. (No. 16) The Ten-Stroke Roll

9. (No. 17) The Eleven-Stroke Roll

10. (No. 18) The Thirteen-Stroke Roll

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EXAMPLE 9-K  ■  (Continued)

11. (No. 19) The Fifteen-Stroke Roll

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EXAMPLE 9-K  ■  (Continued)

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EXAMPLE 9-K  ■  (Continued)

Other variations, innovations and hybrid rudiments that have become a regular part of rudimental drumming are presented in Example 9-L. Many are very commonly used in modern marching percussion arrangements and should be familiar. EXAMPLE 9-L  ■  Variations and hybrid rudiment innovations

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EXAMPLE 9-L  ■  (Continued)

Flammed Five-Stroke Rolls (Upbeat)

Flammed Nine-Stroke Roll

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EXAMPLE 9-L  ■  (Continued)

8. Cheeses—a grace note preceding a right-hand or left-hand diddle producing a flam connected to a diddle. (sometimes called stutters)

13. Hertas—using alternating sticking to execute two thirty-second notes followed by two sixteenths, usually as fast tempos.

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Even the most uninitiated reader of these rudimental patterns may by now have concluded that, theoretically, any rhythmic pattern with designated sticking could be given a name and called a rudiment, and indeed this is possible. Similarly, many a fine classically trained percussionist has performed strict rudimental-style music with little error, even without having studied the potpourri of ratamacues and the like. Nevertheless, stylized rudimental study, added to a consistent system of instruction as presented throughout this text, will help to develop this drumming style and foster awareness of certain aspects of drumming heritage. However, mastery of ­rudimental-style drumming is only one step in the development of total percussion concepts and techniques. A final comment concerns the most important aspect of rudimental drumming heritage: the relationship of the drum part to a melody or its musical context. In the entire history of military and social drumming, the drum parts were almost always played with, or in relation to, the fife, pipe, trumpet, or bugle melody (and even the violin, called hardanger, in Norwegian “slått” folk music and “trommelslåtter” traditions). Over the years, however, many of the standard rudimental drum solos have been published and then learned without any reference to their original tunes. Although performance of these solos minus their melodic counterpart should not be discounted, the musical benefit derived from relating to and playing with the original melodies is at least as important as performing a technically proficient solo. A great sense of phrase structure and shaping can be quickly cultivated and interpolated into a solo when it is played with its original melody. This musical experience can then be carried over into other performing situations, which results in a definite growth in musicianship for the drummer. Two excellent books that contain many of the standard rudimental solos and camp duties with their corresponding fife or bugle tunes are The Drummer’s Heritage, compiled by the late Frederick Fennell (Carl Fischer), and Complete Music for Fife & Drum [with CD] by Walter Sweet (Mel Bay Publications, Inc.). The study and performance of these solos and “beats” in this context is highly recommended for the fullest musical experience. The classic drum solo, The Downfall of Paris, Example 9-M, is offered in the original version as it first appeared in the 1865 edition of the Drummer’s and Fifer’s Guide by George Bruce and Daniel Emmett (see Bibliography), in a currently popular solo version and as it appears in The Drummer’s Heritage but with added edited stickings and phrasing. Note the difference between the popular solo version and The Drummer’s Heritage edited version concerning the stickings in measure 1 and the accented ­sixteenth-note figure on the second beat in measure 4. The stickings in measure 1 of the edited version would phrase more logically with the fife melody structure than would the double strokes in the popular solo version. The accents in the original and edited version on the first two sixteenths of the second beat in measure 4 complement the descending fife line more gracefully than the abrupt syncopation of the flamacue in the popular solo version, which over the years lost the first accent. Other dynamics and nuances are added to the snare drum part in the edited version to support the natural rise and fall of the fife tune. The addition of these derived phrasings results in a more interesting and musical challenge for the drummer than merely “playing the ink” of the popular solo version. According to the Drummer’s and Fifer’s Guide, at the completion of the tune The ­Doublings, a short five-measure interlude for drums and fife was to be played. The Downfall and The Doublings were all part of the Camp Duty call of tattoo, or bedtime. An alternate ending is to repeat the first strain one time.

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EXAMPLE 9-M  ■  The Downfall of Paris

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EXAMPLE 9-M  ■  (Continued)

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EXAMPLE 9-M  ■  (Continued)

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EXAMPLE 9-M  ■  (Continued)

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EXAMPLE 9-M  ■  (Continued)

■ SCORING AND ARRANGING FOR MARCHING PERCUSSION Contributions by David Rodenkirch and Joe Gallegos It is increasingly common since the 1990s to find commercially available marching band arrangements published with good percussion parts. Many are arranged by competent marching percussion arrangers. However, it is often still necessary to rewrite or arrange original percussion parts to fit the strengths and weaknesses of the specific band and percussion section. Generally, this arranging is done by the percussion instructor or director and the percussion section or section leader. A full band score, percussion score paper, or computer software writing program, and preferably a tape or CD of the band (or MIDI file) playing the music, are sufficient to get started on a new percussion arrangement. Constructing an outline of the music on paper, called a flow chart or production sheet, before starting to write helps to organize the structure for seeing tempo, Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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dynamic, texture, rhythmic support, melodic reinforcement, mood, voicings, and overall percussion scoring ideas. Scoring ideas might include doubling or enhancing the melody or main voice with a percussion voice, providing a counterrhythm or countermelody to the main melody or musical line, providing a groove or pulse foundation in any style (such as a Latin, rock, funk, or jazz groove), creating dialogues or trade-offs between winds and percussion or between percussion voices, punctuating “hits” or climaxes in the music, creating mood or style changes in the music, bringing new sounds effects to the music, and providing the drum line and/or front ensemble opportunities to solo and show their stuff in a musical context integrated with the full band. With a little experimentation, outdoor percussion arrangers will devise good percussion scoring that will greatly enhance the music. The only limitations are that the arrangement must be technically playable by the section, fairly easily memorized, and attainable in the rehearsal time allotted. An arranger must realize that all the players in each section, not just a few, must be able to play the parts well. Granted, if the players are going to grow and improve as musicians, then it is important to challenge them with quality, demanding music; however, it is ultimately up to the percussion instructor and director to make decisions about arrangements that will produce the best overall musical product while providing a sound educational experience. Educationally, we suggest that marching percussion arrangements be written so that, for the most part, the players can attain a reasonable performance level within the given rehearsal time frame. There may be some more challenging sections of an arrangement that the players must aspire to, but they should also have the opportunity to be successful at each and every performance throughout the season—not just the final performance. Therefore, it is recommended that rather than write very difficult parts that will more than likely need to be watered down later (which is psychologically disappointing to the players), it better serves the student (and listener) to write parts at or a little above the overall level of the ensemble and enhance or beef up the parts only after complete mastery by the ensemble. This approach also provides motivation toward achieving a very high performance level and a real hype when parts are later embellished and enhanced. A computer music notation software program is highly recommended. There are several advantages to utilizing music notation software. First and foremost, computergenerated music from notation software is consistent and easy to read for the conductor and players. Once the score is input by the arranger/copyist, most music notation programs include a feature that automatically creates and prints each individual part (for example, snare, bass, cymbal, xylophone, or any grouping of parts, such as a battery score and/or pit score). This allows the arranger to save time in recreating each part by hand and allows for easier changes or alterations to the music later. Another great educational advantage to music notation software is the ability to create music files (MIDI, WAV, and others) to be recorded onto a CD or tape so that they can be played and distributed to the players. This allows the ensemble to sing or play along with a metrically correct rendition of the arrangement (instead of a metronome), allows the arranger to hear the arrangement (and make any necessary changes) before distributing parts and beginning the rehearsal process, and allows each player a copy of the “ensemble” to play along with at home for individual practice and memorization (ideal for your auditory and kinesthetic learners). It also reinforces correct metric playing of the written rhythms and enhances the auditory learning and memorization of the music. The ­Virtual Drumline: 2.5 marching battery and concert percussion sound sample library is highly recommended for real sampled sounds by the Santa Clara Vanguard Drumline ­(https://www.tapspace.com/software/). The following discussion and its reference to the Chapter 9 video examples will illustrate several arranging concepts and parameters for consideration in writing percussion parts for a band arrangement and a percussion feature. Music examples are sections from Part 1 of the University of Arizona 2004 “Pride of Arizona” Marching Band show, The Music of the Talking Heads, arranged by Jay Rees, Associate Professor of Music Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. 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and Director of the “Pride of Arizona.” The percussion feature in Part 2 is written by Joe Gallegos assisted by Sean Swanson and Bob Peterson, and all the band percussion arrangements in Part 1 are by David Rodenkirch. Video footage is from a live recording session in the UA stadium on an unusually windy and cold afternoon in November 2004 especially for the original 2006 third edition of Teaching Percussion. Special thanks to Director Jay Rees, the percussion staff and arrangers, and the many fine UA band members! Score examples of Part 1 are available in Teaching Percussion MindTap. Rehearsal letters for Part 1 and the drum feature are flashed during the performance on the video. The entire percussion feature is seen in Example 9-N. The standstill performances by the drum line are related to the live half-time show “Pride of Arizona” performances on the Chapter 9 video: Track 9 of these various arranging examples to provide contextual audio and visual references. Annotated materials listed at the end of this chapter contain further information on arranging for marching percussion. Many articles on the websites of manufacturers, the Percussive Arts Society (www.pas.org), and publishers provide excellent arranging information. In general, if a marching percussion arrangement is approached with the following concepts, arrangers will discover combinations of scoring that work best for their particular situation. Keep uppermost in mind that all percussion parts must be memorized! 1. In general, although any voice may “lead,” the following scoring is recommended: a. Snare drums—soprano voice, rhythmic support of upper-register melodic line, simple to complex solo voice, interact with tenor voice, visual component. b. Multi-toms—mid-range or alto voices, supportive of upper- and mid-range melodic line with melodic and tonal coloring, support and interact with snare voice, solo voice, filler, visual component. c. Bass drums—18”–26” tenor voices, 28” and larger bass voices, support other voices, timekeeper partially, emphasize accents (tutti), dynamic bass support for climaxes and “hits,” solo voices, visual component. d. Cymbals—highlight climaxes and accents, often establish a groove, lots of colors and effects, very visual. e. Pit/Front Ensemble: Keyboard instruments—can play simply the piccolo or flute part but should be given exact melody leads, obligato solo lines, or countermelodies from within the band’s arrangement. Xylophone and bells can often support the trumpet’s lead line, while vibes and marimba enhance the harmonic rhythm or trombone line. Timpani—may be used to double or support the tuba and bass line, to reinforce crescendos and climaxes, and to state distinct melodic solo lines during thin textured band scoring. Auxiliary percussion— anything goes, can be used as soloistic sound effects, mood setters, and can reinforce the battery at big impact points and climaxes. 2. Try to score vertically and horizontally to produce greatest clarity in each instrument and achieve proper volume and support. A nice example of effective horizontal trade-off scoring occurs at letter L (2:12) in Part 1 while punctuating big “hits” in the winds. A classic example of vertical scoring supporting volume concludes Part 1 at letter Z (4:09) to the end. 3. Be cognizant of arranging techniques such as rhythmic counterpoint. Sometimes, depending upon the experience level of the group, the size of the ensemble and the style of the musical selections, it is best to avoid rhythmic counterpoint and instead support a leading or main voice with another voice. Likewise, the use of rhythmic counterpoint within a particular musical segment may add an extra level of interesting complexity to the arrangement. For example, in Part 1 at letter X (3:35) (m. 101 and again at 107) the triple subdivision feel in the snares and tenors against the driving duple/quadruple rhythms in the winds and bass drums, ­followed by moments of accent counterpoint as well as vertical supporting accents, all create a laidback tension and drive that enhance the arrival of this climatic section.

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4. Accent counterpoint among voices may also be an effective arranging technique, if utilized properly. Again, the decision depends upon factors such as the style of music selected, the experience level of the group, the size of the ensemble, and the “mood” or “tone” of the musical segment. “Line up” accents in voices vertically to complement and support or “play off” of counterpoint accents to add complexity and “kick” the wind parts. The effective use of accent and rhythmic counterpoint at letter W (3:27) (m.m. 97–98) along with aligned vertical accents (m.m. 99–100) create a complexity and drama that propels the sustained wind line forward toward the climax at letter X. Also at letter W, as opposed to other hits in Part I, more unison hits are created through vertical tutti common accents and coupled with simpler/less complex notes in snares/tenors in order for the hits to speak louder (because the winds are so loud and staged in front of the percussion). Also see discussion and examples in number 6 below of counterpoint versus unison scoring. 5. Arranging for “groove-based” music or a segment of music (such as a rock & roll, jazz, funk, Latin, or pop show) doesn’t have to be static and uninteresting, yet it can meet the criterion of being easy to memorize. For example, the opening ­two-measure groove sets the mood for the whole show with a simple split part between the snares and a tenor counterrhythm. Four-bar phrases are “filled” with the basses until the music erupts at letter D (0:32). Letter N (2:26) to letter T (3:03), and again at letter U (3:12) to W (3:27), are excellent examples of the use of repetitive two, four, and eight-bar grooves while maintaining interest for the players and audience. Here Dave creates a minimalistic, nontraditional groove underlying funk section with the tenors on high hats and the snares on jam blocks. He captures a new snare timbre by using only the top snares with the bottom snares turned off. This is a good ex­ample of how to add new colors and provide auxiliary percussion parts with no or minimal pit. (Latin Percussion’s LP476 Marching Percussion Rack and Harness enables carrying and playing cowbells, blocks, tambourines, cymbals, and so on onto the field. By utilizing LP’s “claw”—as seen on the video—or other homemade brackets, many auxiliary instruments can be added to snare, tenor, or bass drums.) Note the three-measure cymbal ostinato that starts at letter N (2:26) in the cymbals and tenors on high hats to establish a base, which then builds all the way to letter W (3:27) and becomes more intricate while reflecting the wind score. 6. “Transcribing” versus “arranging” drum set parts is well illustrated at letter H (1:28) to I (1:43). Part of the issue is whether to treat the battery as one voice or one to four distinct voices. Here Dave has created a nice funk groove in which the snares play high hats along with spacious tenor and bass parts underneath. This leads into letter I (1:43) with a big drum corps-style hit with an underlying rock/funk groove continuing all the way to K (2:02). This section uses lots of counterpoint versus unison, vertical writing within the percussion, and relates it nicely to the wind score to reflect the dynamic changes and contrasts. Cymbal writing at I (1:43) is supportive of the big hits. Part of the effectiveness of this passage is building up to the big moment at letter I (1:43) without forecasting it. This happens in the drill, and the music complements it. As mentioned in item 5 above, the opening is another simple but nice funk groove for the drum line. Notice at letter D (0:32) to E (0:52) how the groove continues but erupts with driving counterpoint versus unison writing followed by a texture change interlude at E (0:52) to F (0:57). Then the driving groove from D (0:32) is used again exactly at letter F (0:57) to G (01:07). Here at letter G the texture changes to only cymbal taps and zischends supporting the soloist. Lots of colors, textures, and enhancements unfold in this effective opener. The parameters to consider before writing a percussion feature parallel those for writing percussion arrangements for the band. The musical goal is to integrate the percussion feature into the flow of entire show, and the eight categories and questions below help achieve that. These contributions below are by Joe Gallegos. 1. Instrumentation. Is this just for battery, or will it include a front ensemble? Is there a budget for “toys” in the battery? Make notes and keep them handy. You will want to refer to them as you begin writing. Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. 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2. The music. This is your most important parameter to consider. Where in the show would a feature fit best? What style of music is it? What’s the overall goal of this music/show? What’s happening in the score and how is it structured? Is there a setup for the feature, and does it allow for an ending? How can a percussion feature best fit your show stylistically, musically, and complementarily? 3. Timeline. How long can it be? Does the score or show duration dictate any time constraints? 4. Your players. What is their ability and skill level? Do they have strengths and weaknesses? How can you best write parts that also produce a quality, consistent performance? What would be most fun for them? As with any arrangement, challenging but attainable parts that can later be embellished are often more satisfying to players than difficult parts that need to be watered down. Again, you must allow your students to be successful! 5. Your audience. Is your audience considered average or musical? Who will hear/ see this feature more? From their perspective, what would they most appreciate? For example, do they want flashy hybrid rudiments, groovy rhythmic and visual tricks, or perhaps both? 6. Rehearsals. Considering your players, your ensemble, and the rest of your show, how much rehearsal time can you dedicate to a feature? How much time will you need to be able to perform it consistently and successfully? You must find a balance to ensure that no other parts of your show will suffer. The notes you write can play a huge factor in this. 7. Writing schedule. How much time will you have to write? Will you need to col­ laborate with anyone? Allow yourself and your collaborators an opportunity to meet regularly. Anticipate time conflicts and creative differences. Budget your time, make a schedule, and stick to it. Procrastination will not lead to quality notes. 8. Staging. This is often overlooked. What’s happening visually here? Is the battery front and center in the drill, or can the drill be arranged so that they arrive in a “centered” position somehow? Are they exposed enough? You may not want to have a percussion feature that is covered up by a block of woodwinds. Also, how can visual elements be added to enhance your feature—for example, props, small drill sets within the battery, choreographed visuals by the cymbals and/or front ensemble, complementary drill written for the winds? Consider the above parameters and begin building an outline that will include all of the elements and goals you want to accomplish but that are feasible within your set parameters. Include as much detail as possible. Looking at the example by the UA Band, Talking Heads Percussion Feature, the entire structure of the score demanded a very funk and groove-oriented percussion feature. It provides a clear setup and a distinct ending. It also incorporates “decorative” wind parts, meant to enhance the groove and build upon a short melodic statement. Everything in the winds and percussion builds and arrives at an eight-bar, drums-only section aimed at creating a peak of excitement and energy. Examples of some of the parameters for this feature are: 1. Battery only—no front ensemble. 2. Duration is dictated by the score. 3. Moderate amount of rehearsal time available. 4. Players are slightly above average. Feature should be challenging while still avoiding known weaknesses. 5. Mainly “football fan” audience. 6. Drill for winds and auxiliaries during feature is prewritten.

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© 2004 Jay C. Rees, used by permission.

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EXAMPLE 9-N  ■  (Continued)



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EXAMPLE 9-N  ■  (Continued)



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The outline below describes in detail what is happening at each rehearsal letter in the score. Special thanks to Aaron Holbrook for the video footage and the University of Arizona “Pride of Arizona” Marching Band and Director Jay Rees for this great 2004 Band Day performance. TALKING HEADS—Part 2, Percussion Feature I. Arriving at letter M (0:20) ✓ Music prior to letter M is full band playing build-up section (see Chapter 9 video: Track 10). ✓ Set-up for a climactic arrival. ✓ Percussion parts compliment build-up in winds. II. M (0:20) to N (0:29) ✓ Complete texture change. Winds drop out of previous intense musical passage; break down to percussion-only groove. Woodwind statement every other bar. ✓ Establishment of the groove with full battery. III. N (0:29) to O (0:36) ✓ Trombone statement added in bars between woodwind statement—­ creates a “call and answer” effect. ✓ Continuation of the percussion groove with slight embellishments. IV. (0:36) O to P (0:44) ✓ First statement of melodic figure in low brass. ✓ First four-bar solo feature. Mirroring “call and answer” feel, bass drums trade between a bar of groove with full battery, and a bar of solo. V. P (0:44) to Q (0:51) ✓ Added harmony to melodic figure in horns. ✓ Second four-bar solo feature. Snares—same format as basses, trade between a bar of groove with full battery, and a bar of solo. VI. Q (0:51) to R (0:58) ✓ Continuation of melodic statement harmonized. ✓ Woodwind and tuba groove parts added for build-up. ✓ Third four-bar solo feature. Tenors—same format as snares and basses ­previously. VII. R (0:58) to S (1:06) ✓ High brass added for final build-up of melodic statement. All winds are now playing. ✓ Final four-bar solo feature. Full battery—follows previous format. ✓ All winds and percussion build to letter S. VIII. S (1:06) to T (1:21) ✓ All winds drop out. Eight bars of solo drums. ✓ Complete momentum shift—sixteenth-note motion switches to eighth-note triplets, which builds back into sixteenth notes to create an accelerando effect. ✓ Rest of letter S consists of a visual and musical “tricks,” including back sticking, drum-to-drum playing, playing cymbals behind the head, and some fast rudimental figures. ✓ No cymbal parts written for first six bars in order to thin-out texture. Players perform choreographed visuals and then hold cymbals up for snare crashes in bar 30. ✓ Everything builds up to unison figure ending. Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Scoring in this feature is solid vertical for support and volume with horizontal trade-offs. Everything builds toward the solo passage at letter S with lots of tricks and visuals. The distinct unison ending allows everyone (winds, percussion, and audience) a chance to regroup and continue the show. The feature is exactly 1 minute long, as dictated by the score, and provides a showcase for the drum line within the musical context of the overall show. In summary, we might organize from all these foregoing discussions and examples and call them the Cook Book Essential Ingredients for arranging a marching percussion score: 1. “Lay out” the entire arrangement before writing—know the peaks, valleys, big moments, and “big picture” of the arrangement before beginning to arrange. 2. Study the wind arrangement in order to musically reflect accents, hits, and so on; think about writing vertically as well as horizontally. 3. Keep in mind the experience level of your players (especially within a particular section; for instance, bass drum line). Arrange to allow ensemble to be successful while still challenging them in certain areas. Take into account the realistic amount of time you have to learn, rehearse, and perform. Concepts such as musical effectiveness, interesting parts for the players, and parts that are easy to memorize don’t have to be mutually exclusive. 4. The arrangement doesn’t need to be difficult to be musical or interesting to the player or the listener if it’s written well and enhances the music. 5. Be aware of the style of music (such as, Classical, jazz, rock) and size of ensemble (both percussion and full band size) when arranging (and tuning). 6. Carefully consider field placement and drill and the positioning of the winds to the percussion arrangement and feature. 7. If writing a percussion feature, integrate it with the whole band show; don’t create just a technical display that is more like an athletic event than a musical part of the whole show. Study and exploration of these suggestions will reveal many insights into arranging for the marching drum line. For the front ensemble, see the Chapter 9 video: Track 2 example at the beginning of this chapter for an adaptation of Bizet’s Farandole from his L’Arlésienne Suite No. 2 performed by the Corona del Sol High School Band. Additional contemporary study materials on the topic of marching percussion ar­ranging, including orchestration concepts, drum set grooves, and other styles can be found in books and videos listed at the end of this chapter and in PAS magazine ar­ ticles written by percussion arrangers. Excellent articles are easily downloaded from many manufacturers’ websites. See especially www.innovativepercussion.com, ­www.pearldrum.com, www.yamaha.com, and any of the drum corps, WGI, or similar websites listed below under “Methods and Materials.” Highly recommended for more ad­vanced battery writing is Fresh Perspectives for the Modern Drumline by Jim Casella and Murray Gusseck and for the front ensemble, Up Front—A Complete Resource for Today’s Pit ­Ensemble by Jim Casella and Jim Ancona, both published by Tapspace Publications ­(www.tapspace.com).

■ FIELD PLACEMENT AND PROJECTION Depending on the achievement level of the marching band and the arranging and marching style of the band, the responsibilities of the marching percussion section range from providing a solid rhythmic foundation for the band to being a featured solo en­semble, creating visual excitement, and enhancing the music. Percussion sections play best when they are close together and good charting places the segments together as much as possible. Snare drummers hear and play best when they are shoulder to shoulder. Multi-toms may be positioned behind or preferably off

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to one or both sides of the snare line, in straight line or arclike formations. Precision in ­execution must not be jeopardized when any percussion segment is divided. For the best visual and musical uniformity, one should think of charting the entire snare line instead of charting 8 to 10 individual snare spots, and similarly with other sections. Bass drums may be placed behind or to the side of the snare and/or multi-tom lines but always considering the directionality of the drum heads with regard to facing the audience. (All this applies to the warm-up as well.) Cymbals may be placed anywhere within the total percussion section; however, positioning close to one another will ensure best execution. It is a good idea to chart the cymbal line close to or in front of the snare line for easy access to ride cymbal playing, as required. The use of sound scoops or projectors is helpful on snare drums and/or multi-toms for directing head sounds toward the audience. Setup considerations must also be given to the pit. Some drum corps have ex­perimented with splitting the pit in half for a stereo effect. Others have explored the use of several “pit pods,” which are basically individual multiple-percussion stations. ­Probably the most common way to set up the pit is to keep all the instruments together lined up on the sideline and organize them by families (that is, keyboard percussion, drums, Latin percussion, and timpani). See the Chapter 9 video: Track 2 of the Corona del Sol High School font ensemble for a common setup. Auxiliary instruments can be placed anywhere in the setup. When playing in or teaching a pit, the most common ensemble problem to be aware of is front-to-back phasing. Phasing occurs when music coming from the pit does not line up with music coming from the band or corps backfield. The reason for front-toback phasing is sound delay. A common mistake is for pit players to watch the drum major or conductor and to play to what they see. Although this is the correct procedure for musicians on the field, it will always cause the music coming from the pit to be ahead. The music coming from backfield takes longer to reach the audience than music from the pit, because the pit is playing from the front sideline. To remedy this sound delay, the pit musicians must listen back to the pulse of what they hear backfield and then respond by playing along with what they hear. The pit must wait for the sound to get to them, then play by ear. The only exception would be if the band was not playing at a particular time; then the pit would need to watch and follow the conductor. ­Similarly, musicians on the field can never listen to the pit; they must always watch the conductor. This also applies to situations where the battery is backfield and some of the band is near the front sideline. In this circumstance, the drum line must watch the conductor/drum major, and the wind players near the front must listen back for the pulse and not get their pulse solely from the drum major. This also presents the drum major with a challenge: If he or she listens and is guided by the drum line (backfield), then the tendency will be for the drum major to wait for the sound, conduct to that sound, and therefore continually slow down over time. There are times, therefore, that the drum major must simply provide a solid beat (from within) without listening to the pulse coming from the back of the field. In recent years entire percussion sections have been integrated into intricate drill to complement the drill formations of the band. It has become common for drum lines to nearly sprint across the field in wide stride or crab steps. However, it is best if discretion is used whenever charting percussion formations and movement so as not to jeopardize playing precision. In general, percussion parts should be kept relatively simple, or should not be played at all, when moving on the field and when in formations that make hearing and playing difficult. Basically, if the percussion section is charted as central to the band and show field as possible, if movement is kept to a minimum, and if dis­cretion is used concerning instrument size, weight, placement, and division within the section, good playing execution and maximum sound projection can be achieved. The serious band director and percussion staff would be wise to study the many current drum corps and marching bands shows from competitions around the country for staging and field placement of the percussion battery and front ensemble. See marching percussion performances featuring DCI, WGI, and university groups at: http://vicfirth.com/marching-percussion/, http://www.innovativepercussion .com/media/videos, and on other manufacturers’ websites. Many video segments

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feature the front ensemble and contain commentary by the percussion arrangers (such as Tom Hannum with the Carolina Crown: http://vicfirth.com/carolina-crown-dci-2016/).

■ THE CHALLENGE As can be seen from the preceding pages, the task of outfitting, training, and fielding a modern marching band or drum corps percussion section is an enormous challenge to the director, percussion instructor, students, and all others involved. Obtaining a practical combination of outdoor percussion instruments is a costly venture but well worth the investment considering the excitement and enthusiasm generated in the students toward percussion performance and music in general, not to mention the interest and support generated in the parents and general public. As percussion students learn proper tuning and maintenance of these instruments, the director generally will find an increase in pride and respect engendered in the students toward all other percussion instruments in the music program. A contemporary marching percussion-style training program based on first understanding and mastering a correct basic rebound concert style of playing and then stylizing and adapting it to a marching drumming style will develop in the percussion students a clear understanding of correct percussion performance techniques with the greatest adaptability to all playing styles and percussion instruments. When good, properly tuned instruments and a uniform marching drumming style are coupled with imaginative, well-scored percussion arrangements and sensible field positioning, a high caliber competitive marching percussion section can be created that will bring a sense of pride and musical accomplishment to all involved. This pride and accomplishment is also dependent upon a number of intangibles that are necessary to give a marching percussion section a successful experience year after year. Personal characteristics such as a positive attitude, strong self-discipline, commitment to the program, and leadership capabilities in the student leaders are of the utmost importance in members of a marching percussion section. Without these qualities, a drum line cannot function effectively. Like any successful sports team, 100 percent of its membership is required to achieve excellence. Teamwork must prevail over individual needs, and a commitment to the team must be first priority. Many successful high school marching bands hire outside staff to serve as instructors and arrangers for their percussion programs. While a competent team of assistants can make a band director’s job easier in this area, great scrutiny must be exercised when selecting a percussion staff in areas ranging from the individual(s) musical and technical competency in the marching percussion style to their moral and ethical integrity when working with young people. Thorough interviews and reference checks can advert potential problems in any of these areas. Most important is that the band director doesn’t simply turn his or her drum line and percussion program over to an outside instructor, but works with them to provide support and show genuine interest in the education of the percussionists—and learn some new things along the way, too! In a marching percussion section, as in a marching band, there needs to be qualified section leaders serving as role models for the other members. These section leaders should be responsible, motivated, and self-disciplined student leaders and should be the stronger players and marchers in the section. With proper guidance from the percussion instructor and director, section leaders can be a valuable part of a successful marching band experience. With a successful drum line and front ensemble comes a feeling of equality among its members, where no one is more or less important than anyone else; thus the freshman cymbal player is just as important as the senior snare drummer. Along with having a good relationship with the band, as discussed in “Rehearsal Techniques and Philosophy” earlier in the chapter, it is very important for the drum line to work well with the drum majors. This combination of the drum line and drum majors is the thread that

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holds the entire band together—the drum majors visually and the drum line aurally. If the two are locked together and in sync, then the band will have a solid foundation to watch and listen to. It is important for the band director and/or percussion arranger and instructor to provide the drum major with all percussion scores so the drum majors can be familiar with how the percussion arrangement is contributing to the overall sound of the show. Don’t hesitate to have the drum major join the drum line during their ­sectional/ensemble rehearsals and conduct through especially challenging sections of the music. This not only helps the camaraderie between the drum major and the percussion section, but it also helps the drum major fully hear, see, and feel—and therefore better internalize—the drum arrangements. Furthermore, and most importantly for the drum line, it helps cement the importance of watching the drum major (when appropriate) for the pulse and musicality of the arrangements and moves the focus of tempo control from the auditory realm (from rehearsing with a metronome) to the visual realm (which will be utilized during performances). Many performance variables can be minimized by having the drum major conduct for the drum line during sectionals. As the personnel changes in a marching band, with students graduating and others coming in for their first time, it remains a constant challenge to produce a quality product year after year. Although the variables and long hours that go into making a successful drum line and pit can seem enormous at times, it is the friends that one makes, the lessons in teamwork and making commitments to reach a common goal, and the gratification from achieving those accomplishments that makes marching band an experience and lifelong learning unlike any other.

■ MARCHING PERCUSSION ARRANGEMENTS FOR THE METHODS CLASS Contributed by Jeffrey Moore The arrangements that follow (Example 9-O and Example 9-P) were written especially for the third edition of Teaching Percussion by Jeffrey Moore to give students in college percussion methods classes, or a young drum line and pit, quality arrangements for hands-on playing experience and performance. Parts for these arrangements are available in the Teaching Percussion MindTap in downloadable format. Note that the score and parts contain original and enhanced versions for greater technical and musical challenges. Thanks to Jim Casella and Tapspace Publications there are mp3 files of both versions available in the same Teaching Percussion MindTap. These files are created using the exciting software Virtual Drumline: 2 by Tapspace Publications. See www.tapspace .com for more information on how to add realistic playback to any marching or other percussion compositions or arrangements with Virtual Drumline: 2.5. Jeffrey Moore is currently Dean of the College of Arts and Humanities and Professor of Music in Percussion Studies, having founded the percussion program in 1994, at the University of Central Florida in Orlando. He has served as the Percussion Director of the Madison Scouts Drum and Bugle Corps and as Program Consultant/Percussion Arranger with several European, Japanese, and Indonesian drum corps and bands. We hope you enjoy them!

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© Jeff Moore, used by permission.

EXAMPLE 9-O  ■  William Tell Overture—Rossini, arr. Jeff Moore



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EXAMPLE 9-O  ■  (Continued)

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EXAMPLE 9-O  ■  (Continued)



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Jeff’s Commentary on the Original Version

Snares and Tenors 1. Notice the choice of sticking the eighth notes “R, L.” Although this is an excep­ tion to the right hand lead policy, it is appropriate given the tempo and the musical inflection that comes from this sticking. For contrast, play the intro­duction with eighth notes stuck “R, R.” Did you notice a difference in sound and feel? 2. Observe the eighth-note triplet roll skeleton four before A. What is the stick height difference between triplet- and sixteenth-note skeleton buzz rolls at this tempo? Which skeleton makes it easier to obtain a good quality of sound and appropriate dynamic given the tempo marking? The triplet skeleton was chosen for these reasons. Snares 1. Notice the difference between a double stop versus a flam 1 bar before A. 2. Uniform stick heights (both accented and unaccented) at letter C. Lower the heights and explore how playing on the edge and gradually moving toward the center impacts the dynamics. 3. After letter D, observe the melodic use of the snare drum utilizing the single-hand press roll and stick shot. 4. Isolate the last two bars and notice the hocket-style parts (rim-shot to bass drum) in the battery. Play the bars without the top bass drum playing and consider the difference in the snare’s rim shot sound without the bass drum. Tenors 1. Analyze the tenor voicing at letter B. Utilizing double strokes in the first and third measure helps to facilitate smooth hand movement around the drums and avoids crossovers or quick drum changes that are impractical. 2. Notice the use of the double stop in the fourth measure of B and how these double stops change the pitch and assist melodically. Experiment with various combinations of double stops and note the “new” pitches that are created. Bass Drums 1. Notice the “add-in” scoring of the introduction. Instead of allowing the tenors to come in alone, the top bass drum is scored with them to help fill out the tenor sound. The first sound of the bass drum happens in bar 3 with drum #2’s entrance, but when the bottom drums come in measure 4 it sounds more like an impact. ­Utilizing the top bass drum for support of the snares and tenors and utilizing the other drums for low bass sounds is a common arranging technique. 2. Notice the scoring in 4 before A. The top bass drum fills out the sound of the snare and tenor voice while also providing a subdivision for the unison bass drum notes and for the snares and tenors to listen to and line up with. Scoring a rhythm in the top bass drum for all voices to time off of is an excellent way to create en­semble cohesiveness. 3. Analyze the voicing choices from A to C. While the bass drums are almost identical rhythmically to the timpani (often the low brass in wind arrangements), the pitch changes imply the melody. Voicing the bass drums parts like this gives the lower voices (timpani, trombones, etc.) added articulation while also supporting the melodic and/or harmonic movement. This arranging technique helps make the drum parts sound melodic and enhances the musical communication of the battery.

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4. Notice the unison rim click two measures before letter B and again two before C. This arranging technique helps the players perform more accurate rhythmic syncopation and helps voices that are tacet lock into the pulse before their next entrance. 5. Analyze the voicing in measures 28 through 31 (C to D). In order to enhance the crescendo the quarter notes move down the drums from the highest to the lowest. The lower drums have more resonance so this voicing enhances the crescendo. The melody is also descending, which makes this voicing logical. 6. In the last two bars hocket-style part writing (rim-shot to bass drum) is used in the battery. Notice how the bass drum rim clicks aid in the timing of the unisons. Front Ensemble 1. Although xylophone and orchestra bells are transposing instruments (1 octave and 2 octaves respectively), it is more important to consider the projection of the register in which the lines are voiced. Like the clarinet “throat” and “clarion” registers, the keyboard registers have different projection tendencies and qualities. For example, the lower pitches (below middle C) in the percussion keyboards do not have as much projection and presence as the octave and a half including and above middle C. The articulation of the notes in the extreme upper register of the instruments is strong, but the pitches lack resonance and sustain. Therefore, when writing unison passages these characteristics must be considered. Notice in bars 1–4 the xylophone and vibraphone are written in the brighter more articulate register, but at letter A they drop down to a register that sustains better. 2. It is common in basic marching band arrangements to voice the keyboards homogeneously. For example, the woods (marimba and xylophone) are scored in unison, and the metals (vibraphone, chimes, and bells) are scored in unison. It is more contemporary to mix the timbres and to voice the lines that play to their sound characteristics. Consider as an illustration, the front ensemble scoring in the A to C phrase. The chimes are scored with the timpani because they are the bass voice of the metals. The melody suggests a dry sound so the fast articulations can be audible. For this reason, the xylophone and upper register marimba were chosen. The harmonic accompaniment had to cover high and low timbres while also having the ability to change from short to long, sustained sounds. Notice how the low register marimba, vibraphone, and bells were chosen to accomplish the goal. 3. The tutti scoring at impact points such as the first two measures of C stand in sharp contrast to the divided voice scoring in measures 28–32 (4 through 8 measures after C). This helps convey the subito pianissimo and also keeps resonant instruments like chimes, bells, and low register marimba from distorting the clarity of the descending sixteenth-note note passage. 4. Experiment with hand dampening on bells and chimes to create the desired note length in the A and D phrases. Explore playing on different parts of the bars and see how that affects articulation and dynamics. 5. Experiment with different triangles and different weighted strikers to determine which will best balance with the marching ensemble and still maintain the character of the music. 6. Experiment with different types of jingles in the tambourine (copper, bronze, silver, or combinations). Choose an instrument that will best balance with the marching ensemble and still maintain the character of the music. Experiment with thumb rolls and shake rolls at A, B, and D. Which is most appropriate? Does your decision change with the roll in the C phrase?

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© Jeff Moore, used by permission.

EXAMPLE 9-P  ■  Autumn—Vivaldi, arr. Jeff Moore

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EXAMPLE 9-P  ■  (Continued)



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EXAMPLE 9-P  ■  (Continued)

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EXAMPLE 9-P ■(Continued)



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Ch apte r 9 EXAMPLE 9-P  ■  Autumn – The Four Seasons—Vivaldi, arr. Jeff Moore

Jeff’s Commentary on the Original Version

1. Observe the sticking policy for triple meter (6/8) and how that differs from duple meter sticking policy. Notice the need for the left hand doubles in the second measure of B in order to provide time for the back stick movement. It is imperative here to achieve uniform stick heights (accented and unaccented notes) and uniform back sticking and stick click movements. 2. Notice that the sticking in the last two measures follows the triple-meter sticking policy (that is, the second and fourth “left hand” notes in the straight eighth-note rhythm are omitted, creating the successive right hand strokes). Tenors 1. Observe the sticking policy for triple meter (6/8) and how that differs from duple meter sticking policy. The cross-over in measure 28 is similar to timpani cross sticking or movement around a drum set. Be sure to note this connection and transfer value between the instruments. 2. Notice the melodic use of double stops in letter D and how deviating from the (6/8) sticking policy in the third and fourth measures aids in flow and eliminates quick, impractical movements. Bass Drums 1. Observe the melodic use of the bass drums at A. Compare that to the use of pitch counter-point at letter D. 2. Notice how the scoring of the low drums in unison in the fourth measures of A, B, and C enhances the hemiola in the melody. Try this passage using only the #3 or only the #4 drum and notice the sound difference. How would the application of the reinforcement be different in different playing venues? For example, while the reinforcement might help in a stadium performance, such doubling would prove unnecessary in most indoor performance venues. This is but one consideration for scoring bass drums indoors and outdoors. Front Ensemble 1. Compare the orchestration of the lines with William Tell. Are they consistent? 2. What combinations of voices are utilized to create the sound color of the melody at A? Compare it to the orchestration at D. 3. What are the mallet choices for the woodblock? Is a synthetic jam block recommended for this application? Why or why not? Enhancing Battery Parts  Enhanced does not mean simply more notes or rudi-

ments. Although expanding rudimental or technical vocabulary is an educational consideration, so are increasing listening skills, dynamic contrast, expression, musical communication, and many other concepts that are essential to the mission of music education. In marching percussion, the literature selected is the primary vehicle in which these critical concepts and skills are taught and conveyed. The literature is the curriculum. Arranging or re-arranging the marching percussion music provides an excellent opportunity to “embed” concepts and skills that help satisfy the goals of the teacher. Customizing an existing arrangement provides teaching opportunities for the individual that might not exist in the original version. Overall Concepts 1. Consider making the ensemble listening and voice interplay more complex and ex­ pressive, regardless of whether you augment the rudimental or rhythmic content.

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2. When enhancing battery parts, it is important to target specific rudiments and to utilize each of them enough to justify the additional teaching and technical (exercise) time requirements. Whenever practical, utilize the targeted rudiments or patterns in the snare, tenor, and upper bass drum voices. This ensures that when isolating the specific rudiment or pattern, all the voices can efficiently work on the same or similar concepts. 3. Although it is sometimes practical, avoid treating the original version as a skeleton to which embellishments are added. Either arrangement, original or enhanced, must stand on its own and not be a “shell” of another. If embellishments (rolls, flams, a new tenor voicing, a different bass drum split, and so on) are added to an original part, make sure that musically the phrase is something that would have been included in the enhanced arrangement anyway. Stock arrangements contain many repeated patterns, and embellishing them without considering the function of the part can negatively impact clarity and musical communication. 4. Enhance repeated phrases by composing different parts for each repeat (through composed). Keep in mind the lead line and take care not to create lines that “cloud” or compete with the lead voice. 5. When augmenting a voicing with a new rudiment, challenging bass drum split or tenor “around” (around the drums pattern), try to use it in multiple places within the arrangement to capitalize on the effort required for its teaching, learning, and execution. 6. Avoid writing excessive passages in unison and unnecessary layering. (Layering is when different rhythms are scored in several voices and sounded simultaneously.) Although it is recommended to target specific rudiments in all the voices, splitting up the voices when demand is highest improves execution potential and keeps the musical line from becoming “thick” or garbled. The volume or dynamic requirement at impact points might necessitate unison or tutti writing. Scoring the voices in unison or tutti at those points, regardless of the demand consideration, is a logical choice and an exception to this rule. Jeff’s Commentary on the William Tell Overture—Enhanced Battery Parts

Snares 1. Avoiding flams on initial attacks is recommended for better clarity. In targeting specific rudiments, a left-hand flam has been added to the vocabulary. Beside the initial attack, flams on beat one of the first four measures were excluded so that the attack of each voice as they add-on is clear. This is individual taste and a personal judgment call. A convincing argument can be made for including flams on beat one as well. 2. The buzz rolls have been changed to open rolls still with an eighth-note triplet skeleton. The resulting rhythm is a sixteenth-note triplet or sixtuplet. It is important that the snare drummer understand that the roll itself (not only the skeleton) has a specific rhythm. All the notes in the roll must be executed with accuracy and clarity. Work to get the second note of each double stroke to sound even and have the same intensity as the first note. 3. The left-hand flam is utilized again at letter C. Paradiddle-diddles, paradiddles (now sixteenth-note based), and double paradiddles are introduced into the vocabulary. 4. At letter D, right-hand flams are introduced and an eighth-note triplet-based roll is utilized again. However, this time the roll starts with a single stroke accent on the downbeat (m. 39). This is sometimes referred to as a “tap roll.” Although the rhythm is a sixtuplet and the bass drums and keyboards are playing sixteenth notes, the roll rhythm at this tempo sounds like the snare voice is “sustaining” and is not heard as rhythmic counterpoint.

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5. Letter D contains a voice trade in the third and fourth measures. This is an example of splitting the lead line to avoid unnecessary unisons (between snares and tenors) and adding voice interplay that increases ensemble listening demands, thus addressing Overall Concepts #1 and #6 above. Tenors 1. The buzz rolls have been changed to open rolls in the beginning still with an eighth note triplet skeleton. The resulting rhythm is a sixteenth note triplet or sixtuplet. It is important that the tenor drummer understand that the roll itself (not only the skeleton) has a specific rhythm. All the notes in the roll must be executed with accuracy and clarity. Work to get the second note of each double stroke to sound even and have the same intensity as the first note. As the player moves the roll from one drum down and up the drums, strive to maintain the rhythmic integrity of each double stroke, regardless of the additional arm movement required. 2. In the letter B phrase, more double strokes have been added to minimize arm movement over the drums. The doubles in the fourth and sixth bars were added to give the eighth note melody more sustain. A paradiddle-diddle is introduced into the vocabulary as a new rudiment for the snares, tenors, and upper bass drums. Adhering to Overall Concepts #2 and #5, it is utilized with different drum patterns twice in the arrangement. 3. In the repeat of letter C, the tenors are added to the snares in unison. The dynamic drops to pianissimo in the third measure and this requires the students to develop dynamic control and the same rudimental vocabulary (paradiddles and double paradiddles), thus addressing Overall Concepts #2 and #6. Notice that the sticking in the first bar of the second ending has been altered to facilitate a drum crossover pattern. This deviation from the policy of sticking unison rhythmic phrases the same voice to voice is acceptable because it is different in one note only. The different sticking usually has different tendencies and will often require additional attention and ensemble practice. 4. Notice that the section at D is not an exact repeat of A or B. This choice applies Overall Concepts #1, #4, and #6. The comments to snare drums in #4 above apply. Bass Drums 1. A sixtuplet run three bars before A has been added. This choice has two purposes: One, at this tempo it produces the illusion of bass drum sustain and rhythmically aligns to the snare and tenor part (although with different rhythmic tendencies). And two, the choice was made to add sixtuplets to the rhythmic vocabulary of the battery and this ensures all the students in the snare, tenor, and bass drum sections are involved in the learning and applying the rhythm, thus addressing Overall Concepts #2, #3, and #6. 2. The bass drum part at A has been enhanced to play the melody, rather than an outline of the melody. This provides an opportunity for the bass drums to learn how shape and inflect the melodic phrase as the other voices have learned. We utilize the original bass drum part when the tenors come in the second time at letter B so that the bass drum voice supports and does not compete with the tenor line. This arranging choice applies Overall Concepts #1, #3, #4 and #6. 3. In the second measure of letter C, the top bass drum plays a sixtuplet paradiddlediddle applying Concept #2. 4. In the seventh measure of A, the exact same sixtuplet voicing from three before A is utilized. This voicing choice produces bass drum sustain and applies Concept #5. 5. Eighth notes are used starting in the fourth measure of C to aid in the timing of the snare and tenor sixteenth notes. Although the accompaniment line in the key-

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boards are still quarter notes, the bass drums function as accompaniment and time keeper and the choice to score eighth notes, while not exactly true to the original, serves the ensemble while reflecting higher level of rhythmic expectation from the bass drummers. 6. Notice that the section at D is not an exact repeat of either A or B, thus applying Concept #4. Front Ensemble  Although nothing has been changed in the parts, listening responsibilities have become different. With more notes in the bass drums at A and the snares and tenors at C, the demand on “listening back” to the battery and line up the rhythms has increased. Jeff’s Commentary on the Autumn – The Four Seasons—Enhanced Battery Parts

Snares 1. Notice that rim clicks have been added at A. Enhanced does not mean that every part gets harder; in this case the snares are continuing to provide a pulse center that the tenors started in the introduction. The snare clicks were added primarily to assist in defining a clear sense of pulse while the bass drums perform a challenging part. The concept of scoring a voice to provide a pulse pattern is sometimes called “cheaters” or a “cheat pattern” and can be added in any other voice if the lead voice has a syncopated or difficult part that can confuse others in the ensemble. Once the lead voice is solid and all performers can time off the lead voice, consider removing the pulse pattern and allowing the lead voice to stand on its own. 2. Observe that the snare voice in the B phrase has added drags (these are sometimes called tap drags), flam taps, and flam accents. Targeting these specific rudiments will require exercises that teach their coordination and build consistency. 3. In the D phrase a five-stroke roll is added to the vocabulary and the flam accents and drag figures are utilized again. The fact that this phrase is largely a repeat of the B phrase with a different snare part, and because of the voice trades in the third and fourth measures, this passage can be used to illustrate all six enhancing Concepts. Tenors 1. Notice that rim clicks have been added in the introduction. The tenors are providing a pulse center so that the front ensemble has a pulse to listen back to on the field. The bass drums (presumably staged on the field by the tenors) can time their entrance at A from the tenors’ click avoiding a possible timing error as the pulse shifts from the front ensemble to the bass drums at A. Again, this concept of scoring a voice to provide a pulse pattern is sometimes called “cheaters” or a “cheat pattern” as discussed above. If the sense of pulse is solid and there is no timing “hiccup” when the basses enter, consider removing the tenor pulse pattern and allowing the transition to stand on its own. 2. At letter C, flam accents and flam taps have been added to the rudimental vo­ cabulary. Since the snares are expected to perform these rudiments as well ­(Concept #2), the snares and tenors can work on the rudiments together even though they are not scored together. The “around” is a right to left then left to right movement, and it should be extracted as an exercise. Extracting actual excerpts from the music and using them to create an exercise or adding them to an existing exercise is an excellent way to improve warm-up and technical practice benefits and efficiency. 3. The last two bars of the C phrase are an example of the tenor technique called “sweeps.” (Sweeps and scrapes are discussed and demonstrated on the Chapter 9

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video: Tracks 5 and 6.) This particular pattern is sometimes called “helicopters” because of the way the arms look as they cross and uncross to perform this pattern. 4. The D phrase utilizes voice trading following Concept #6 and the “helicopter” pattern is repeated, thus illustrating Concept #5. Bass Drums 1. The first phrase at A has been enhanced with a more challenging bass drum feature. The elements utilized, the sixteenth notes in the upper two drums were selected so that the basses and snares could work on the drag rudiments together. The third and fourth measures of letter A, while melodic in this setting would also be an excellent bass drum voicing in a 6/8 exercise that works on the flam accents and flam taps in the snare and tenor voices. This passage illustrates Concepts #2 and #4. 2. The B, C, and D phrases remain unchanged from the original version because the snares and tenors are the lead voices in those phrases. The bass drum part could be altered, but one would have to be mindful not to “cloud” the lead voice. Front Ensemble  Although nothing has been changed in the parts, listening

re­sponsibilities have become different. With more notes in the bass drums at A and the snares and tenors at the B, C, and D phrase, the demand on “listening back” to the battery and line up the rhythms has increased. “Cheaters” have been scored to help the front en­semble and using them might help alleviate some of the additional challenges.

■ MARCHING PERCUSSION METHODS AND MATERIALS Many of the titles listed in the second edition and original 2006 third edition of Teaching Percussion are out of print but still available through distributors and music stores. They are not included in this enhanced third edition, the listings recommended are because of their availability, quality, and contemporary features. In addition to the annotated entries below, websites of many publishers and manufacturers provide a complete listing of methods, solos, cadences, warm-ups, and marching percussion ensembles. The following websites specialize in marching percussion music, and their materials are highly recommended. Drop 6 Media, Inc.–Row-Loff Publicatons: https://www.rowloff.com/drop6 /Marching.html Hal Leonard Publications: www.halleonard.com Row-Loff Publications: https://www.rowloff.com/MarchingFolder/RowLoffMPF .html?letter=A Tapspace Publications: https://www.tapspace.com/books-education/ Warner Brothers Publications/Alfred Music: www.alfred.com Also see websites for WGI, Drum Corps International and individual drum corps, Percussive Arts Society, Bands of America, and instrument manufacturers’ websites and their links for additional articles, product news, videos, interviews, DVDs, and other information. Drum Corps International: www.dci.org Drum Corps World: www.drumcorpsworld.com American Drumline Association: http://www.americandrumline.org Winter Guard International (WGI): http://wgi.org Percussive Arts Society: www.pas.org Bands of America—Music for All: http://www.musicforall.org Marching Arts: www.marchingarts.com Sound Machine: www.soundmachine.org

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Innovative Percussion: http://www .innovativepercussion.com/media Vic Firth Features Link Page: http://vicfirth.com /marching-percussion Thom Hannum’s Mobile Percussion Seminar: http://percussion.org/about/ Drum Corps Planet: www.drumcorpsplanet.com

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Marching.com Resources: www.marching.com /resources/services.html Sharper Video Productions: www.sharpervideo.com Visit MindTap to watch videos, download playing parts and scores, for additional information on the History and Evolution of Percussion and Pedagogy, and Chapter Quizzes.

Major Complete Methods for Individual and Ensemble Study The following are highly recommended methods for development of both the individual and full ensemble. Most of these publishers’ websites contain more information, audio clips, and score/part sample pages. Bass Logic by Bill Bachman (Row-Loff Publications). The third in a series of Bachman’s books written for the player, instructor, and band director. Covers all aspects of bass drum playing including tuning, technique, sound, timing for two to five basses. Contains exercises, a cadence, and ensembles for three to five basses. Excellent. Quad Logic, Revised Edition by Bill Bachman (Row-Loff Publications). Written for the player, instructor, and band director. Covers all aspects of tenor playing including sound and modern techniques, contains several exercises and etudes, a cadence, and a solo. A must for serious tenor players with Julie Davila’s book. Rudimental Logic, 3.0 by Bill Bachman (Row-Loff Publications). Written for the player, instructor, and band director. Covers all aspects of rudimental drumming: grip, stroke, sound, 40 rudiments and hybrids, and more than 170 exercises. For beginner to advanced players. Excellent. The Blue Devil Book of Drumming (Blue Devils ©1998, out of print). For Blue Devils’ exercises , SystemBlue audition paks, and other materials written by Scott Johnson and the Blue Devil percussion staff, see Row-Loff Publications. The Outdoor Gig (Blue Devils © 2001). Instructor Scott Johnson’s “Top 12” things to improve your drumline includes exercises based on a legato playing approach with a lot of playing by Johnson and the 2000–-2001 Blue Devil battery. Also touches on marching and field listening. Excellent DVD. (https:// store.bluedevils.org/products/the-outdoor-gig.) Marching Bands and Drumlines, Secrets of Success from the Best of the Best by Paul Buyer (Meredith Music © 2009). Buyer is head of percussion at Clemson and his book features interviews with the band directors, drumline instructors, and section leaders from seven of the top college marching bands in the country. This extraordinary study takes you onto the practice field, inside the meeting room, and into the stadium and includes the “Five Factors Influencing Excellence”—valuable to any high school or college band program. Working Toward Excellence, 8 Values for Achieving Uncommon Success in Work and Life by Paul Buyer (Morgan James Publishing © 2012). The title summarizes the book. Packed with inspiration and wisdom from respected professionals in business, sports, education, and the arts who have achieved uncommon success, this book will help you—and those you lead—work toward excellence in any endeavor. Rehearsing the Contemporary Percussion Ensemble, the Cadets Video Instruction Series (Cadets of Bergen County, NJ © 1992). Instructor Tom Aungst covers a legato approach to playing, warm-up exercises, stresses many excellent ensemble issues, tuning and field placement, and listening. Excellent informa-

tion and well presented. See https://www.youtube.com /watch?v=KdpeBwbSMh4 (39:51). Fresh Perspectives for the Modern Drumline by Jim Casella and Murray Gusseck (Tap Space Publications © 1998). Book presents battery exercises, philosophy, and music of the Santa Clara Vanguard 1996–98 drum corps shows. Excellent lessons in scoring and arranging when studied with videos of these same year’s shows. Consistent playing approach based on getting maximum tone out of the drum and stick, flow, rebound, and groove. Excellent! Up Front—A Complete Resource for Today’s Pit Ensemble by Jim Casella and Jim Acona (Tap Space Publications © 2003) and Up Front Student Edition (downloadable). Book covers the instruments and their techniques, with outstanding playing exercises, scoring, and arranging examples. Rehearsing the pit is excellent and contains a basic theory appendix. Absolutely the book on the pit. The Cavaliers—Drumming for a New Millennium (Cavaliers Drum & Bugle Corps © 2003). Battery instructors Bret Kuhn and Mike McIntosh cover all aspects of playing with a legato approach, with much video footage demonstrating examples. Then front line instructors Erik Johnson and Gary Rudolph cover the pit in great detail and with excellent video and commentary. An absolutely essential audio/video model for the full percussion ensemble and aid for the serious band director and percussion instructor. (http://www.mccormicksnet.com/products/home /instructional/instructional-dvds/marching-percussion -dvds/the-cavaliers-drumming-for-a-new-millennium.) Modern Multi-Tenor Techniques and Solos by Julie Davila (Row-Loff Publications Productions). Contains 16 solos and a systematic approach to developing technical and solo skills on multi-tenors. Contributions by Scott Johnson, Tom Aungst, Raul Rennick, and others. A must for serious tenor players (with the Bill Bachman quad book). Contemporary Rudimental Studies & Solos, a Guide to Learning and Performing Rudiments by Lalo Davila (Row-Loff Publications). Outstanding resource includes two CDs with recordings of all rudiments, corresponding solo, and ­accompaniment. Marching Percussion Clinic with Dennis DeLucia and Star of Indiana (Sharper Video Productions, Inc.). Video of DeLucia’s clinic for Bands of America Summer Workshop for directors. Covers instrument care and use, technical development, musical concepts, and exercises from Star’s repertoire. Dennis DeLucia’s Percussion Discussion, Master Edition, by Dennis De­Lucia (Row-Loff Publications, ©1995). Master Edition with CD-Rom and student books for Snare Drum, Multi-Toms (quads), Bass Drum and Cymbals (three, four, and five drums) and Pit Percussion (keyboards, timp, and so on). Called a “general/marching percussion method/textbook,” this

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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contains excellent material for reading, sticking policy, rudiments and technical development, ensemble exercises, and arranging examples—including drum set grooves, cadences, and a complete feature. Championship Concepts for Marching Percussion by Thom Hannum and Robert Morrison (Hal Leonard, © 1986 , http://percussion .org/about). Directors manual and student workbook. Examines all aspects of organizing, outfitting, and training the marching percussion en­semble. The approach is that was used by the Garfield Cadets, a championship drum and bugle corps in the 1980s. Ample technical and rehearsal exercises are given to train both the individual and the full ensemble. The definitive source on marching cymbals. Helpful hints are given on rehearsal techniques and developing musicianship. Student workbook provides play-along material. Material on orchestrating for the ensemble taken from the Garfield Cadets’ arrangements is detailed and advanced. Excellent publications. Fundamental Techniques for Marching Percussion by Thom Hannum (Columbia Pictures Publications/Warner Bros. Publications, © 1988, http://percussion.org/about). Excellent companion video to his book, above. Marching Percussion Ensemble Exercises, Vols. I, II, and III by Marty Hurley (Row-Loff Publications). Exercises to develop technique and musicianship, beginning to advanced levels by volumes. Scored for snare, quads, five bass drums, four cymbals, and keyboards. Audio tapes available; see website. Novice Warm-Up Exercise, Revised Edition by Marty Hurley (RowLoff Publications). Revised collection of 22 excellent exercises for the beginning drum line written by a legend in drum corps: Marty Hurley. Package comes with score, parts, and CD. Presenting Phantom Regiment (Phantom Regiment ©2004). Marketed as “what it takes to be a part of the corps,” there is

good footage of the drum line playing basic warm-ups on this video with Paul Rennick, arranger and caption head. The Next Level: Rudimental Snare Drum Techniques by Jeff Queen (https://www.tapspace.com/books/the-next-level/). One of the finest books available for intermediate to advanced rudimental drummers. Contains excellent back­sticking exercises, hybrid rudiments, and Queen’s solos. Available with two videos with over fours hours of video, play along audio files, interviews and performances. Keeping Up with the Jones’—the Santa Clara Vanguard 2003 Drumline Video (Santa Clara Vanguards © 2003). Contains warm-ups and music by Murray Gusseck and the battery staff from their 2003 show and season. Several selections are available for purchase and download at Tap Space Publication for a reasonable fee and provide excellent study and performance material. Keepin’ Up with the Jonz’04 —the Santa Clara Vanguard 2004 Drumline DVD (Santa Clara Vanguards © 2004). Contains more warm-ups and music by Murray Gusseck and the battery staff from their 2004 season and movements one and three from their 2004 show “Attraction: The Music of Schehera­ zade.” Several selections are available for purchase and download at Tap Space Publication for a reasonable fee and provide excellent study and performance material. Keepin’ Up with the Jonz ’05 “In the Lot,”—the Santa Clara Vanguard 2005 Drumline DVD. Follows SCV across country, showing parking lot warm ups and SCV’s 2005 show. SCV used matched grip on snare drums in 2005. Savage Rudimental Workshop, A Musical Approach to Develop Total Control of the 40 P.A.S. Rudiments with 2 play-along CDs by Matt Savage (Warner Bros./Alfred Music). Excellent instruction in all levels addresses technique, reading, rudiments and solos with ten play-along groove tracks.

Supplemental Studies for the Individual and Full Ensemble Highly recommended: The Phenominon of Cool: Unsquare Dances (Blue Devils © 2004). An outstanding video and documentary of the Blue Devils 2003 show with many video special camera features. Through the Years: The Line—the Blue Devils Percussion (Blue Devils ©2004). The Blue Devils drum features from 1974 to 2003. An entertaining and enlightening perspective video. Championship Technique for Marching Percussion by James Campbell (Row-Loff Publications). Four street beats and 15 warm-ups to develop style and technique for the drum line. Master ­edition and six inexpensive separate student books: (1) snare, (2) multi-toms, (3) bass drum and cymbals, (4) bass drum and cymbals, (5) bass drum and cymbals, and (6) pit percussion.

Drum Line Technique II by Chris Crockarell and Chris Brooks (Row-Loff Publications). Package contains 12 warm ups and four cadences for the intermediate drum line. Warm-ups are recorded at two tempos. The Drummer’s Daily Drill by Dennis DeLucia (Row-Loff Publications). Contains well-written exercises, audition etudes, excerpts, and “work outs” for snare, drum set, timpani, and keyboards. Drop 6 Media, Inc. (now distributed by Row-Loff Publications) was the publishing house created by Bob Schietroma of North Texas University. They published over 100 percussion ensembles with audio clips, plus steel band arrangements, solos, and excellent marching percussion music. Their website lists the following books with sample pages and audio clips:

All Star Warm Ups by Chris Crockarell, Chris Brooks, and David Steinquest (Row-Loff Publications). Package contains 14 warm-ups with full battery and split keyboard parts with CD recorded at two tempos. Audio clips on website.



Beats: a Drum Method by Michael Hernandez



Listen in Basses! An Exercise Collection by Shawn Schietroma and Michael Hernandez

Classical Groves by Chris Crockarell and Chris Brooks (Row-Loff Publications). Package contains seven warm-ups and three cadences with CD. Warm-ups are recorded at two tempos. Audio clips on website.



Listen in Snares! An Exercise Collection by Shawn Schietroma and Michael Hernandez



Listen in Tenors! An Exercise Collection by Shawn Schietroma and Michael Hernandez

Drum Line Technique I by Chris Crockarell and Chris Brooks (Row-Loff Publications). Package contains 12 warm-ups and four cadences for the beginning drum line. Warm-ups are recorded at two tempos.



Each book contains over 35 exercises for individual, sectional, or battery. On the Road . . . A Drum Corps Cadence Collection compiled by Paul Rennick (7 cadences)

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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On the Road Again . . . A Drum Corps Cadence Collection compiled by Paul Rennick (8 cadences).

Just Desserts by Edward Freytag (Row-Loff Publications). The sequel to Freytag’s Rudimental Cookbook, this contains 25 additional rudimental contest solos by Freytag and other authors and an updated hybrid list. The Rudimental Cookbook by Edward Freytag, CD available played by Matt Savage (Row-Loff Publications). A snare drum solo method book. Contains 25 rudimental contest solos. Fred Sanford Marching Percussion Video Series by Fred Sanford (Warner Bros. Publications/DCI © 1985, http://www .sharpervideo.com/page17.html). Originally in two videos, Sharper Video re-issued the original Master Plan

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Productions videos on one DVD: Part I—beginning and intermediate levels; Part II—intermediate to advanced. Excellent tapes and, although somewhat dated, the material covers all aspects of technique with time-tested and proven exercises. Individual and ensemble exercises demonstrated clearly on video; booklet of music included. Excellent for getting a program started. Highly recommended for total audio/visual integration of concepts presented by a legend in marching percussion: Fred Sanford. The Drummer’s Rudimental Reference Book by John Wooton (RowLoff Publications). Contains 176 pages in 41 sections to develop playing skills in the rudimental snare drum style. Also includes tenor drumming. For the individual and band director.

Warm-Ups and Cadences for the Full Ensemble Many of the titles listed in the second edition of Teaching Percussion are out of print but still available through distributors and music stores. The annotated titles in this third edition are recommended because of their availability, quality, and contemporary features. Bag O’ Cadences by Chris Crockarell and Chris Brooks (Row-Loff Publications). Seven easy cadences with CD. Box O’ Cadences by Chris Crockarell and Chris Brooks (Row-Loff Publications). Seven easy cadences with CD. The sequel to Bag O’ Cadences and Bucket O’ Cadences and “contains more creative auxiliary writing.”

Parking Lot Etudes by Murray Gusseck (Tap Space Publications). Contains 60-second warm- ups and cadences Gusseck wrote for Santa Clara Vanguards. Extremely advanced. Circle of Rudiments by Marty Hurley (Row-Loff Publications). Collection of 12 street beats with CD originally written for the Phantom Regiment.

Bucket O’ Cadences by Chris Crockarell and Chris Brooks (Row-Loff Publications). Seven easy cadences with CD. The sequel to Bag O’ Cadences.

The Vacant Lot Sessions by Colin McNutt (Tap Space Publications). Contains two very advanced works and ensemble and a cadence, performed in 1993 by Star of Indiana.

Worlds Greatest Cadences by Chris Crockarell, et al. (Row-Loff Publications). Twelve easy to advanced cadences with auxiliary parts and CD.

Jammin’ in the Street by John Wooton (Row-Loff Publications). ­Collection of eight funky street beats—medium to difficult. Scored for snares, quads, five bass drums, and cymbals. Audio tape available.

DeLucia’s Groove Cadences by Dennis DeLucia (Row-Loff Publi­ cations). Contains cadences based on six different grooves. Audio tape included.

Percussion Features The features available through the publishers’ websites listed below are written for the modern marching percussion section and include conductor’s score and parts for snares, multi-toms, bass drums, cymbals, keyboards, and pit instruments. Drop 6 Media, Inc. (Now distributed by Row-Loff Publcations.) Drop 6 was the publishing house created by Bob Schietroma of North Texas University. The Row-Loff/Drop6 catalog lists dozens of ex­cellent marching percussion features, many classical arrangements, by such authors as Tom Float, Tom Aungst, Wayne Bovenschen, Julie Davila, Paul Rennick, Mike Mc­Intosch, Schawn Schietroma, J. J. Pipitone, and others. Their percussion features are accurately graded 1–5 from easy to extremely advanced. Each feature is annotated with, exact instrumentation. Website features sample score lay­out, parts, and mp3 audio clips, and downloads for every feature. Definitely one of the best sources for quality arrangements and original materials. (http://www.rowloff .com/drop6/MarchingClassical.html.) Kevin Lepper Arrangements—Advantage Network. Several high school-level percussion features by educator Kevin Lepper are available through: https://www.advantagenetworkinc .com/percussion-music.

Row-Loff Publications—Marching Percussion Features. Formed in the early 1990s by Chris Crockarell and Chris Brooks, Row-Loff has created an extensive library of percussion features (some with full band). All their marching percussion features are available with “Tutor CDs.” Each CD contains recordings of: snare, quad, cymbal, bass, mallet, pit, and the full ensemble. See http://www.rowloff.com/ NewFeatured/2016Marching .html for complete catalog listing. Tapspace Publications—This publishing site for much of Santa Clara Vanguards music lists several “marching percussion ensembles” in downloadable format at very reasonable prices. Written by Murray Gusseck, Jim Casella, and Chip Webster, these works are advanced but worthy of study, especially with SCV’s videos and DVDs for each selection. Contemporary concepts are presented in a musical fashion, and role modeling SCV doesn’t get much better. See https://www.tapspace .com/marching-percussion/and https://www.tapspace.com /software/for their Virtual Drumline: 2.5 sample library.

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Contemporary Rudimental Solos, Books, and Videos Rudiments in Rhythm by James Campbell (Meredith Music). Contains the 40 PAS rudiments and a collection of contemporary hybrid rudiments along with 22 snare drum solos. Aptitude—A Conversation in Snare Soloing by Julie Davila, Thom Hannum, Jeff Prosperie, and Jim White (Drop 6 Media, Inc./ Row-Loff Publications). This outstanding compilation of eight graded solos in contemporary and rudimental styles comes with CD accompaniment and DVD demonstrations played by Jeff Prosperie. DVD uses multi-camera angles, and CD has three rehearsal/performance tempos. Excellent musical quality and a unique package. See audio and visual samples at http://www.rowloff.com/ BooksFolder / Drop6/Aptitude.html Just Desserts by Edward Freytag (Row-Loff Publications). The sequel to Freytag’s Rudimental Cookbook, this contains 25 additional rudimental contest solos by Freytag and other authors and an updated hybrid list. The Rudimental Cookbook by Edward Freytag (Row-Loff Publications). A snare drum “solo-method book.” Contains 25

rudimental contest solos, the 40 PAS rudiments, and hybrid rudiments. CD available played by Matt Savage. Festival Snare Solos by Marty Hurley (Row-Loff Publications). A collection of eight intermediate to advanced rudimental snare drum solos. Snare Drum Solos Video (Row-Loff Publications). Eight rudimental solos played by Marty Hurley and John Wooton with commentary by authors. Snare and Tenor Drum Solos Video (Row-Loff Publications). Lee Hansen joins John Wooton and Marty Hurley playing these solos on their second video. Violent Ice Cream by Mike McIntosh, et al. (Tap Space Publications). An outstanding collection of extremely advanced solos by Mike McIntosh, Jeff Queen, and other “world’s greatest snare drummers.” Ziggadabuzz, and Other Things to Play on Snare Drum by 15 Pro-Mark artists (Row-Loff Publications). Contains 15 solos from easy to difficult written by the finest names marching percussion.

Selected Traditional Rudimental Solos and Books and Videos The Drummer’s Heritage compiled by Frederick Fennell (Carl Fischer).

The New Pratt Book by John S. Pratt (Permus Publications).

NARD Drum Solos by NARD members (Ludwig Music Publish­ ing Co.).

Accents and Rebounds by George Lawrence Stone (George B. Stone & Sons).

Fundamental Approach to the Snare Drum by Les Parkes (Hal Leonard). An excellent method for the correct development of traditional grip.

Complete Music for Fife & Drum [with CD] by Walter Sweet (Mel Bay Publications, Inc.).

Odd Meter Rudimental Etudes for the Snare Drum by Mitchell Peters (Mitchell Peters). Snare Drum Rudiments by Pat Petrillo (Warner Bros./Alfred Music). Video demonstration of 40 PAS rudiments. Booklet included. Ancient Rudimental Snare and Bass Drum Solos by John S. Pratt ­(Belwin/Warner Bros./Alfred Music). 14 Modern Contest Solos for Snare Drum by John S. Pratt (Belwin/Warner Bros./Alfred Music).

Championship Corps Style Contest Solos by Jay Wanamaker (Alfred Music). Percussive Arts Society Official International Drum Rudiments compiled by Jay Wanamaker and Rob Carson (Alfred Music). The All-American Drummer 150 Rudimental Solos by Charles Wilcoxon (Ludwig Music Publishing Co.). Modern Rudimental Swing Solos for the Advanced Drummer by Charles Wilcoxon (Ludwig Music Publishing Co.). Rolling in Rhythm for the Advanced Drummer by Charles Wilcoxon (Ludwig Music Publishing Co.).

■ NOTES  1.

Ronald Da Silva, “Pageantry Born on the Battlefield,” A History of Drum & Bugle Corps, Vol. 2 (Madison, WI: Drum Corps World, 2003), p. 7.

 2.

Al G. Right and Stanley Newcomb, Bands of the World (Evanston, IL: The Instrumentalist Co., 1970), p. 65.

 3.

Rick Beckham, “The Birth, Growth and Metamorphosis of Competitive Rudimental Drumming,” A History of Drum & Bugle Corps, Vol. 2 (Madison, WI: Drum Corps World, 2003), p. 56.

 4.  5.

James R. Wells, et al., The Marching Band in Contemporary Music Education (New York: Interland Publishing Inc., 1976), p. 8. Cozy Baker, “From Trenches to Tattoos: Senior Corps 1921–1965,” A History of Drum & Bugle Corps, Vol. 2 (Madison, WI: Drum Corps World, 2003), pp. 14–23.

 6.

Marty Hurley, The Evolution of Competitive Drum Corps (Nashville, TN: Pearl International, Inc., n.d.), p. 1.

 7.

James Blades, Percussion Instruments and Their History (London: Faber and Faber, Ltd., 1970), p. 210.

 8.

“The National Association of Rudimental Drummers” application form (Chicago: N.A.R.D., n.d.).

 9.

Wm. F. Ludwig, Sr., America’s N.A.R.D. Drum Solos (Chicago: Ludwig Drum Co., 1937). p. 1.

10. NARD, op. cit. 11. Morris Goldenberg, Modern School for Snare Drum (New York: Chappell and Co., Inc., 1955), p. 2.

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

10 c h a p t e r

Musical Interpretation of Percussion Parts interpretation of percussion music requires that the performer possess an adequate knowledge and technical command of the instruments being played and have an appropriate concept of how “the ink” on the page should sound. This concept has been described by the percussion pedagogue Fred Hinger as a musically perfect mental-aural picture of the notes that are to be played.1 In the 2006 third edition of Teaching Percussion I added the word kinesthetic to this concept to acknowledge the role kinesthetic memory and feelmage (feel imagery, such as proprioceptive and other sensations) have in multisensory learning and the performance processes, so that the percussionist is fully aware that interpreting “the ink” (and hopefully going beyond it musically) is ultimately a result of the performer’s awareness and integration of all these sensory systems. The mental-aural-kinesthetic picture of a given passage to be played involves all aspects of the music, from the fundamental correct reading of the rhythmic figures in time and their printed dynamics to the preconceived articulation and subtle phrasing distributions of weight, color, intensity, dynamic shading, and note direction within the passage as intended by the performer. The clearer the performer’s mental-aural-kinesthetic picture of the passage, and the more acutely he or she perceives the resulting sounds, then the more refined the playing adjustments can be, resulting in greater musical expression of the part. Acquiring fine musical concepts for interpretation and performance of percussion music is a life-long continuous process. It primarily is dependent upon the percussionist’s overall musical training and experiences and is to some degree contingent upon the percussionist’s natural intuition and ear for fine percussion sounds. Percussionists who have an open mind and ear and study and listen to the highest quality music possible will cultivate the most musical ideas and sensitivity for interpreting percussion parts. To realize these ideas in a fine performance, the percussionist must strive for mastery of a technique that will permit the production of any conceived sound or phrasing. This mastery of technique—combined with the proper selection of sticks or mallets and the choice of the right instrument with a tuning best suited for the particular passage and style—when all integrated in a musical manner and coupled with appropriate interpretive practices and a vivid musical imagination, will give a performance that provides an artistic contribution to the musical whole and affords the percussionist a more meaningful musical experience than if he or she were to merely play the ink. A diversity of playing techniques for the many percussion instruments have been presented throughout this text and on the videos alongside a consistent system for tech­ nical development in all areas of percussion performance. The reader is encouraged to review concepts regarding “Tone Production on Percussion Instruments,” “Notation Systems for Percussion,” and “Interpretation of Notation” in Chapter 1 as well as concepts on phrasing, articulation, and expression in Chapters 2, 4, 5, and 6. Example 10-A through Example 10-H, from Gustav Holst’s First Suite in E b for Military Band,2 represent typical percussion parts. Aspects of their musical interpretation and techniques for performance are discussed with the intention of serving as models for

M

usical

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music educators and their percussion students to study and apply to the interpre­tation and performance of other percussion scores within similar musical contexts. Excluding any requests the conductor may have, all interpretive and technical decisions are made by the performing percussionist and should transcend the mere playing of the ink. See Chapter 10 MindTap companion videos for three performances of the Holst Suite coordinated with the interpretative commentary below. For further study of similar examples of band literature, see Ensemble Techniques and Musicianship for Percussionists by John R. Beck, published by HoneyRock/Steve Weiss (http://johnrbeckpercussion.com/music-and-video/). This interactive instructional package contains a video, CD, and book with Beck commenting on and demonstrating techniques for snare drum, bass drum, cymbals, and accessories and interpreting standard band literature excerpts for these instruments. The package contains a play-along CD of wind parts only that corresponds to the 21 band excerpts. The video’s serious commentaries and reserved performances contain very helpful information on techniques and interpretation as well as Beck conducting the 21 excerpts with the intention that the student play along with the conductor on the video and/or with the CD. The video also contains great photos of bands and drums from the Revolutionary War and Civil War to present and discussions and performances by Beck of drum rudiments and classic rudimental solos on a beautiful rope drum www.youtube.com/watch?v=IfiHA1ZWaGs.

■ INTERPRETIVE COMMENTARY ON THE PERCUSSION WRITING IN GUSTAV HOLST’S FIRST SUITE IN E  b FOR MILITARY BAND The first entrance of the timpani in movement I. Chaconne poses the long-standing question of “to tie” or “not to tie” the B b rolls over the bar line and whether or not to tie the Bb roll into the E b eighth-note release in the eighth measure after letter A (see Ex­ample 10‑A). The timpanist might assume that, because rolls are printed with ties later in this movement, these opening rolls should be played separated as notated. However, a quick glance at a score (Example 10-B) and/or careful contextual listening when playing will reveal that the two B b rolls are supporting tied notes in the low winds and brass and therefore should be tied (see measures 7 and 8 after letter A in Example 10-B). As for the E b release, this note is actually the beginning, the anacrusis, of the fourth variation on the eight-measure Chaconne theme and should be separated from the previous B b roll, cleanly struck, and allowed to ring a full quarter value, thereby matching the phrasing in the low winds and tutti brass (see measure 8 after letter A in Example 10-B). The timpani part should be marked to indicate such phrasings to the performer. A simple addition of a tie between the two Bb rolls followed by a luftpause (breath mark) going into the E b will indicate not to tie into the E b release but to separate slightly. A tenuto mark over the Eb eighth note will correctly reflect the role of this note in the new phrase and indicate to the timpanist its proper quarter-note length. (Throughout Chapter 10, performer’s markings are shown as handwritten insertions in printed music percussion parts.) In general, the legato nature of this passage after letter A does not warrant muffling the drums to observe each rest strictly. The drums can be allowed to ring without ­muffling on the rests, letting the articulation of the mallet state the printed rhythm. The clarity of individually struck notes throughout this passage can be greatly enhanced by simply hand muffling each B b simultaneously with the playing of each E b and vice versa. Review discussion of this performance practice in Chapter 5, under “Muffling,” and note that in Example 10-A the use of an “x” next to the stem of each struck note indicates the simultaneous muffling of the previously struck drum. This should be a routine performance practice where employable, and need not be notated in the part. The last E b eighth note in this passage one measure before letter B again functions as a point of elision into the next variation on the Chaconne theme. This anacrusis should be separated slightly from the preceding B b roll and should be articulated as a long eighth note and judiciously muffled in the style of the tutti brass and percussion chords at ­letter B (see one measure before letter B in Example 10-B). A tenuto and a staccato dot placed over Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.



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EXAMPLE 10-A  ■ Holst, First Suite, Chaconne, timpani part

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EXAMPLE 10-B  ■ Holst, First Suite, Chaconne, score

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EXAMPLE 10-B  ■ (Continued)

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EXAMPLE 10-B  ■ (Continued)

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EXAMPLE 10-B  ■ (Continued)

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EXAMPLE 10-B  ■ (Continued)

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the E b eighth note and a breath mark preceding it will suffice to convey its short value and detached style to the performer (see one measure before letter B in Ex­ample 10-A). The snare drum entrance halfway between letters A and B adds rhythmic support to the ornamental variation figures in the rest of the band (see Example 10-B eight measures before letter B). This part should be played with extreme rhythmic precision and balanced carefully to the rest of the ensemble. Alternating the eighth notes on beat two of these repeated measures, and not employing a strict “right-hand lead” policy (that is, playing two right stokes on these eighth notes), follows the melody better, much like the sticking discussion for The Downfall of Paris in Chapter 9 and the William Tell snare drum part in Example 9-O. A right-hand lead two measures before letter B matches the mel­ ody and provides the greatest rhythmic stability and forward motion for the crescendo. Further experimentation with different stickings might lead one to discover just the right phrasing for the passage (review “Sticking Policies” and “Phrasing” in Chapter 2). The bass drum and crash cymbals join in on the anacrusis to letter B in a long eighthnote style consistent with the tutti brass statement of the eight-measure Chaconne theme at letter B (see Example 10-B at letter B). Although written at the turn of the century (1909) during a period when bass drum and cymbal parts were often played by one player (see Chapter 6, “The Art of Playing Bass Drum and Attached Cymbal”), the parts are usually played today by two players for best control of each instrument. These two players should stand and play next to each other for “oneness” in ensemble precision. Clean, fullsounding cymbal strokes and deep bass drum strokes played with a stout mallet just off center on the head should perfectly match the long eighth-note style in the tutti brass. A pair of general purpose 18” cymbals should suffice. Cymbal muffling may require a somewhat athletic technical control but is essential to achieving the stylistic support of the brass tutti intended by Holst. The bass drummer may wish to employ a knee muffling technique after each stroke on the playing head and hand muffling control on the opposite head to produce the cleanest performance. Each stroke should be played on open, free-ringing heads and muffling employed after each stroke to create the articulation. An indication in the part to the effect of “play exact values” will give clear directions to the bass drummer and cymbal player upon even the first reading (see Example 10-C). Many times an extra tutti bass drum and cymbal stroke is penciled in on the third beat of the fourth measure of letter B to continue the tutti brass and percussion chord effect throughout the passage. (This is apparently a copyist error.) The last strokes in this percussion phrase, on the downbeat of the seventh measure after letter B, should receive extra weight and be allowed to ring thus supporting the agogic stress in the sustained brass chords (see seven measures after letter B in the score in Example 10-B). These last notes in the phrase should be marked with tenuto marks, and “let vibrate”: 1.v. (Fr., laissez vibrer) indications (see Example 10-C). A change of instrument from crash cymbals to suspended cymbal played with soft mallets can be concisely indicated 10 measures before letter C by adapting symbol notation pictograms for these directions (see Example 10-C). Review symbol notation under “Notational Systems” in Chapter 3. The direction at letter D to “roll on cymbal with timpani sticks” is always interpreted as meaning soft sticks (that is, not snare drum sticks). At the time Holst wrote the Suite (1909), the only “soft” mallets in the percussion section were timpani mallets. Today’s enlightened percussionist will always use yarn-wound marimba or vibe mallets for they produce the best sound and will save one’s timpani mallets from unnecessary wear and possible damage (see discussion of this in the Chapter 6 video: Track 3). The hemiola bass drum section at letter D can be thought of as eight repetitions of three-note repeating groups plus one extra note. By bracketing these three-note groups and playing them as eight repetitions, one can reduce the chance for errors in counting. The bass drummer should listen closely to the alternating quarter notes in the tuba to achieve a tight rhythmic ensemble. The mallet should be soft and heavy for full-bodied tone, and the strokes should be played well off center of the head. Note in Example 10-C the horn, sax, and clarinet entrances cued in after letter C and low brass and other cues before and at letter A. This type of cuing is recommended over a mechanical counting of rests during several measures because it reflects the musical form of the piece to the performers. Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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The bass drum roll eight measures before letter F is best played on a tiltable bass drum positioned with the head almost horizontal for ease in playing. The directionality of the bass drum head should always be considered. Two rolling bass drum mallets should be used regardless of drum position with matched grip. Do not use lightweight timpani mallets for bass drum rolls; they do not produce a full characteristic bass drum sound (see discussion and demonstration of this in Chapter 6 video: Track 1). EXAMPLE 10-C  ■ Holst, First Suite, Chaconne, bass drum and cymbals

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The final three bass drum strokes in the movement should be played near the center of the head for a full, low “boom,” with maximum tonal resonance. The “flip BD” after letter F indicates to turn the bass drum back to a more vertical position from its previous horizontal position for rolling. A fairly hard mallet will give the necessary accented articulation to the attack. Attention should be given to the directionality of the bass drum head especially for these notes to produce the best tone and avoid obliterating the band by an overly exuberant bass drummer. A larger pair of cymbals may be used on the last chord if their sound fits the sonority of the chord. The change to these cymbals can be marked with symbol notation pictograms after letter F (see Example 10-C). The second movement, the Intermezzo, presents some of the nicest writing in band literature for tambourine and triangle. Two different triangle parts are given for this movement: One is printed on the timpani part and one is printed and penciled in on the bass drum and cymbal part, which changes to tambourine and triangle for this movement. Although it is possible for the timpanist to play the triangle notes printed on the timpani part, it is difficult to play the triangle and switch to timpani in the three quick beats that are allowed (see Example 10-E, two measures before letters A, C, and F). It is recommended that another percussionist be engaged to play all the triangle parts printed on the timpani part—this could easily be the snare drummer, who is otherwise silent in this movement—or those parts be copied onto the bass drum and cymbal/tambourine and triangle part. In this case, one person plays all the triangle and cymbal parts in the movement (see Example 10-D). Not having to be concerned with the triangle, the timpanist can then carefully tune the G and C to the ensemble and prepare his or her hands and mind for the timpani entrances. Thorough knowledge and mastery of all tambourine techniques is essential for a fine performance of the Intermezzo. Here again, symbol notation pictograms can be used to indicate the various tambourine techniques employed throughout the movement (see marked part, Example 10-D). Assuming the player is right-handed, the tambourine is held in the right hand, head toward the floor, and struck with the fingertips of the left hand inside on the head near the shell or directly on the shell. See pictogram depicting this technique for “Perc. I” at the top of Example 10-D. This will give the delicate mezzo piano quality needed in the beginning of the movement. Gravitational pull on the jingles must be considered at all times to get just the right jingle response and after ring. The tambourine player should be aware that the instrument subtly supports the solo oboe, clarinet, and cornet melody in the opening and merely accompanies the melody on the repeated eighth notes with the second and third clarinets. The tambourine should do no more than color these opening passages. The isolated accented eighth notes after letter A can be played with a “dead stroke,” (that is, with the fingertips left on the head after striking) for clear definition on these tutti ensemble notes. At the crescendo eight measures before letter B, the left hand can be moved around to the top side of the tambourine head to achieve a smooth crescendo and transition into the shake roll (see pictograms on marked part, Example 10-D). The roll four measures before letter B should be started with a clean stroke from the left hand, tied through the four measures, and terminated exactly on the cymbal crash. Care should be taken to end the roll with the head toward the floor for performance of the next passage. A gentle placing of the tambourine into the open left hand will give a clean release to the roll. The remaining passages up to letter F should be played with the opening technique. The performer may wish to play with the fingertips on the shell if this gives greater clarity. This will depend on the tambourine. A standard double-row, wooden-shell, skinhead instrument will suffice, however, and a single-row instrument with very sensitive jingles may prove better if available. Another common interpretation would be to play this entire opening passage holding the tambourine in the left hand with the head facing up and playing all the stokes with the right hand and the shake roll into letter C with the left hand, or vice versa. The techniques discussed above and represented in pictograms on the part in Example 10-D are recommended as they allow for a smooth transition to the knee playing techniques at letter F. See demonstrations of these tambourine techniques in the Chapter 6 video: Track 6. Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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EXAMPLE 10-D  ■ Holst, First Suite, Intermezzo, triangle and tambourine

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After letter F, the sixteenth notes are too demanding for one-handed execution so the instrument should be placed head down on the knee and played with the fingertips of both hands on the shell. A sensitive morendo can be accomplished at the end by reducing the number of fingers playing (see marked part, Example 10-D). See demonstrations of these techniques in the Chapter 6 video: Track 6. This passage requires the utmost sensitivity, just the right touch, and careful listening to ensure ensemble precision with the piccolo, flutes, and E b clarinet. The percussionist playing triangle in this movement either reads off the timpani part and the bass drum and cymbal part, or copies the triangle part off the timpani part onto the bass drum and cymbal part as discussed previously. The marked tambourine part in Example 10-D has the triangle part copied from the timpani part. All notes are best played softly on the inside bottom edge of the triangle. This will facilitate the quick execution of the rolls, which should be played in the closed corner of the triangle between the bottom edge and side, or top closed corner, as quick single strokes. A mediumweight beater will allow a fairly full stroke to be used yet still produce a soft tone. Too light a beater, like the weight of a coat hanger, should not be used as it will not produce the full sound of the triangle. Playing with the extreme tip of the triangle beater will also aid in achieving a delicate soft tone in these passages. See demonstrations of triangle playing in the Chapter 6 video: Track 5. Pictograms can be used to indicate concisely the change from triangle to cymbals just before letter A and back to triangle after the one crash one measure before letter B. This one cymbal crash before letter B is overscored, to say the least, at “triple forte” and should be performed only about forte. The crash marks a point of elision between the end of a tutti crescendo in the ensemble and a repeat of the opening theme. Holst clearly wants the cymbals to ring through here; the eighth-note articulation of the crash tied to a half note in the next measure implies a natural diminuendo through the decay of the ringing cymbals. A good forte dark crash played by slowly (but with precise rhythm) “placing” the cymbals together parallel to the floor and following through by turning the plates toward one’s body so as to prevent projection of the high frequencies will give a nice musical effect (see demonstrations of the “color angle” in the Chapter 6 video: Track 2). The tambourine player may need to play the first triangle note eight measures after letter B should the conductor wish the cymbals to ring for several measures into letter B, which would be a reasonable request. The last triangle note in the penultimate measure of the movement, and perhaps a few other isolated single notes earlier in the movement, can be beautifully enhanced by adding a little vibrato to the tone. This can be accomplished by rotating the hand holding the triangle clip (as if turning a door knob) after the note is played or by inserting a few fingers inside the triangle and discreetly waving. The resulting nice vibrato in the sustaining ring will add an extra dimension of musicality to the performance (see demonstrations of triangle vibrato in the Chapter 6 video: Track 5). The triangle player, like the tambourine player, must take into account the role of the triangle in relation to melody and accompaniment, always listen, and play in time with musical sensitivity, good taste, and ensemble precision. The timpani part in the Intermezzo appears rather simple yet is deceptively difficult. The timpanist must produce a very clear, evenly balanced, and rapidly alternating line between the G and C at very soft dynamic levels (Example 10-E). The vivace tempo eliminates any chance for simultaneous drum muffling while striking the other drum, and muting (placing something on the head to muffle the ring) could spoil the passage. To play these important bass lines well, the timpanist should use a rather hard articulate stick (not wood) and play with firm grip and staccato technique close to the heads. In a very live performance space muting might be considered (see muting demonstrations in the Chapter 5 video: Track 14); also consider experimenting with playing off the normal playing spot slightly more toward center to produce a less resonant quality to each stroke, which might result in just the right articulation. This must be done with discretion so as not to lose the tone and pitch of each note.

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EXAMPLE 10-E  ■ Holst, First Suite, Intermezzo, timpani

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The timpanist who knows well the ranges of each drum will realize that the G and C could be played on the 29” and 26” or on the 32” and 29” drums. If played on the 29” and 26” pair, the pitches would be in the lower part of the range on each drum and would sound very full and resonant due to the relatively loose heads. (Drum ranges are: 29” = F–C, 26” = B b –F). If played on the 32” and 29” pair, the G would be in the upper register of the 32” drum (range is D–A), and the C would be on top of the 29” drum range. The tightness of the heads, due to the tuning in the upper range of each drum, would produce a much clearer, more quickly decaying note and therefore a cleaner articulation of the passage than would the 29” and 26” pair. To achieve good balance between the G and C, the G on the larger drum will need to be struck with more weight than the C. This may even require a stronger stroke on the G to the extent that it sounds uneven to the timpanist yet balances well to the conductor and audience. A little experimentation with this balance in rehearsal will indicate to the timpanist exactly how to weight each stroke. The last two measures of this movement require careful attention to ensemble rhythm and dynamic balance. Although Holst wrote staccato on these last three timpani notes, care must be taken not to muffle too quickly. The timpanist must approach these notes with a sense of urgency or anticipation, and play with good pitch and tone and with rhythmic precision and balance to the ensemble line. With upper range tuning on the 32” and 29” drums and with articulate sticks and proper technique, the timpanist should be able to perform the part to the satisfaction of any conductor and pleasure of any audience, with final satisfaction to the standards of the timpanist. Movement three, the March, requires careful attention to sensitive musical phrasing in all the percussion, particularly in the bass drum and cymbals. Tasteful percussion playing can greatly enhance the overall excitement of marches. Again, the parts should be marked with articulation and phrasing marks to ensure consistent and musical performances. (Review Example 1-G and demonstration of Example 6-A in the Chapter 6 video: Track 1.) It is essential that a properly tuned concert bass drum, with no muffling devices, be used to realize the phrasings dictated by the music. The opening solo bass drum note must be timed perfectly so that it falls precisely in the rhythmic pulse established in the first three measures by the brass (compare Examples 10-F and 10-G). The percussionists must be aware of the ensemble rhythm in the first two measures—“cuing them in” on the part as a quarter-note rest followed by three quarter notes is highly recommended; see Example 10-F so as not to mistake the quarter notes as falling on the downbeats of these opening measures. A common occurrence is to have the first fortissimo bass drum stroke sound late to the established pulse due to the bass drummer’s overly enthusiastic “wind-up” to the big stroke. The player must anticipate the stroke slightly for the mallet to make contact with the head on precisely the downbeat rather than being “en route.” A firm, articulate mallet will produce a good full sound if it strikes slightly off center. Holst notates a long half note; however, some conductors may prefer more of a short “cannon shot” effect on this opening solo note. In either case, the stroke should be conceived like a timpani stroke, in that the stroke should produce the desired tone and attack and then be muffled to control the length, or if preferred, not muffled until the “release” note on the downbeat of measure 5. Rarely should a loud bass drum stroke be made while any muffling is applied to the head. The solo cymbal crash in the fourth measure, like the bass drum stroke, must be timed to fall perfectly into the established rhythmic pulse (compare Examples 10-F and 10-G). Throughout the March, tutti bass drum and cymbal notes may be muffled in some places when followed by two or more quarter rests. This can be notated by marking staccato dots over each note to be muffled. The staccato also can indicate a lighter weight be given to the note in the phrase. Muffling should occur in rhythm on the rest after the full value of the note has sounded. Half muffling the full ring may be appropriate to the phrasing in some places, and this can be notated by a staccato/tenuto editing of the part.

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Metric and agogic stress phrasings also can be indicated with combinations of tenuto/staccato and tenuto marks and “let vibrate” slurs. It is good practice also to mark the part with caesura lines to reinforce where there are tutti rests in the ensemble (see Ex­ample 10-F). The fortissimo cymbal crash at the double bar line 34 measures before letter B announces the key change and serves as an introduction to the legato theme. This should be full of character and fit the sonority of the low sustained chord in the brass (see this cymbal crash at the double bar key change on the last page of Example 10-G). The cymbals can ring much beyond the two notated measures; muffling should be with the sustained brass chord in the fourth measure after the double bar key change. EXAMPLE 10-F  ■ Holst, First Suite, March, bass drum and cymbals

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EXAMPLE 10-F  ■ (Continued)

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EXAMPLE 10-G  ■ Holst, First Suite, March, score

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EXAMPLE 10-G  ■ (Continued)

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EXAMPLE 10-G  ■ (Continued)

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EXAMPLE 10-G  ■ (Continued)

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EXAMPLE 10-G  ■ (Continued)

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A change to small cymbals will allow for easier control and present a nice color change for the piano crashes after letter B. Proper piano-level cymbal-playing techniques employed here will far surpass the often heard “clank” sound obtained by a novice player incorrectly striking an edge of one cymbal into the face of the other cymbal. A ­zischend stroke added to a proper piano crash technique on these four notes might provide just the effect to delight the listener. (See the demonstrations of these proper cymbal playing techniques in the Chapter 6 video: Track 2.) The pianissimo solo bass drum strokes at letter C mark the modulation back to the opening key of E b and should support the sustained ensemble chords. A soft sostenuto stroke with a firm but soft mallet, played well off center without losing depth of tone, should provide the right sound here. A quick change to a harder mallet, perhaps the mallet used in the beginning or a mallet in between, should state well the forte “B.D. Solo” notes leading into the re­capitulation at letter D (see Example 10-F). From D to the end, articulation marks should be carefully edited and observed. Much reinforcement of the agogic and metric stress inherent in the music can be created when these bass drum and cymbal parts are well phrased and well performed (compare the percussion parts in Example 10-F to their roles in the score in Example 10-H). The instructions to play the cymbal “with stick” at the più mosso 11 measures from the end refers to the practice of one percussionist playing bass drum and cymbals to­gether with one cymbal attached to the bass drum and the other handheld. (See discussion of this technique in Chapter 6.) Holst requested that these two notes of the last three be played by striking the cymbal with the bass drum mallet. This technique was common for climax cymbal notes at the time the Suite was written (1909). As stated earlier, today two players are usually used to play the bass drum and cymbal parts. The real purist may choose to play these two cymbal notes with the bass drum mallet; however, hearty two-plate crashes will best end the movement. The last bass drum note is usually played in a dead center cannon shot-style and very secco. The snare drum and timpani have very active parts throughout the last movement (see Example 10-H). Both players should listen carefully as they play to match their rhythmic figures with the phrasing of the melody and support the agogic and metric accents in the ensemble. This is true especially of the snare part as it is not a common “afterbeat” march part. If two or more snare drummers are employed, stickings should be identical for likeness in phrasing and ensemble precision. If both players are trained in using a sticking policy of “right-hand lead,” there should be no difficulty in playing precisely together. The timpanist should diligently project his or her part with clearest articulation and utmost rhythmic precision. In this passage all notes should be allowed to ring free with an occasional muffling of one drum while simultaneously striking another for clarity.

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EXAMPLE 10-H  ■ Holst, First Suite, March, score

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EXAMPLE 10-H  ■ (Continued)

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EXAMPLE 10-H  ■ (Continued)

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EXAMPLE 10-H  ■ (Continued)

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EXAMPLE 10-H  ■ (Continued)

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It is the sincere hope of this author that the comments and attitude set forth in this chapter for the musical interpretation and performance of these parts to the Holst Suite, along with the demonstrations on the accompanying videos in the referenced chapters, will provide models for study and application to other percussion parts and serve as inspiration and impetus for the percussionist and/or conductor who aspires to musical performance of percussion music.

■ NOTES 1.

Fred Hinger, Timpani Technique for the Virtuoso Timpanist (Levonia, NJ: Hinger, 1975), p. 2.

2.

Suite No. 1 in Eb by Gustav Holst © Copyright 1921 by Boosey & Co., Ltd. Reprinted by permission of Boosey & Hawkes, Inc.

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11

c h a p t e r

Supplemental Playing Exercises

studies in this chapter are intended as supplemental material for the student needing additional practice on reading or technique and playing music. They will further familiarize the student with the given concepts and develop psychomotor coordination and flexibility for the specific technique. Some of the exercises progress to a more advanced level of playing proficiency than those presented in earlier chapters and offer greater challenges to the player. The keyboard percussion exercises provide more reading and material for musical interpretation. Practicing should follow the guidelines and process outlined for each technique and concept in the respective chapters.

T

he

■ BASIC STROKE COMBINATIONS Listen, watch, and feel for evenness in the strokes and use cloning whenever possible.

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■ BUZZ COMPARISONS Listen, watch, and feel for evenness in the buzzes and for smoothness in the rolls.

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■ TIED ROLLS Practice each “Pattern” starting with the dominant or strong hand, then with the weak hand, and then alternate hands between patterns.

■ NONTIED ROLLS Practice each “Pattern” with the same procedure used for tied rolls.

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Mitchell Peters’ Elementary Snare Drum Studies is highly recommended for additional snare drum exercises in “Measured Roll Speeds” and for supplemental reading exercises.

■ DOUBLE STROKE AND REBOUND CONTROL

■ FINGER CONTROL EXERCISES

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Practice each “Pattern” with the strong hand, then with the weak hand, then alternate between hands. Play the first note of each pattern from the wrists and keep the rebound going on the successive notes with the fingers. “Free yourself from tension, because any tension will break the flow of energy” (Joe Morello, Master Studies).

■ STICKING POLICY EXERCISES Repeat or loop each example until the concept is ingrained and playing with a sticking policy becomes a habit.

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■ KEYBOARD EXERCISES Additional keyboard percussion examples have been added here to the third edition of Teaching Percussion to supplement the progressive reading exercises in Examples 4-R through 4-Z in Chapter 4. These are traditional melodies that can be used for reading and for by-ear tunes for transposing practice (see “Ear Training” in Chapter 5, “Timpani”). Consider sticking options that facilitate the best phrasings and sing the lines to arrive at interpretations that utilize rolls to sustain melodic lines beyond the natural ring length of the struck bars (greatly dependent upon tempo), and, most importantly, make music as you play. 3 Seek out more music in 4 time and read each measure as a group of notes. Keep your eyes moving across the page. German traditional, My Hat

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French traditional, Frère Jacques

Shaker melody, Simple Gifts

Stephen C. Foster, O Susanna

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Stephen C. Foster, O Susanna (Continued)

American sea chantey, Shenandoah

American Western, Home on the Range

American national anthem, Star-Spangled Banner

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American national anthem, Star-Spangled Banner (Continued)

American patriotic melody, Columbia, the Gem of the Ocean

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American patriotic melody, Columbia, the Gem of the Ocean (Continued)

Jewish folk song, Hahvah Nahgeelah

Beethoven, German dance

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Beethoven, German dance (Continued)

Wagner, Pilgrim’s Chorus

Haydn, Contredanse

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Haydn, Contredanse

Handel, Bourrée

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■ Supplemental Percussion Ensemble African Creation by Dr. Jeannine Remy African Creation is a delightful percussion ensemble written by Dr. Jeannine Remy and is available as a downloadable score with parts in the Teaching Percussion MindTap. Dr. Remy is currently Professor of Ethnomusicology and Director of Steel Drum Study at the University of the West Indies in Trinidad, West Indies. Dr. Remy completed her DMA in Percussion Studies at the University of Arizona in 1991 and was a tenured Associate Professor at Idaho State University before moving to Trinidad. She was awarded a yearlong Fulbright to Trinidad in 2000–2001 and is a leading arranger and adjudicator for steel band and recognized pan researcher and authority. The music for African Creation was originally written for youths as part of an “exploration in percussion” class in Idaho. The musical ideas came from G. Alan O’Connor, Professor Emeritus and founder of the Northern Illinois University steel band program in DeKalb, one of the first in the United States, and are inspired by a traditional steel band tune by Eddie Grant and the tune Africa by the group Toto and their drummer, the late Jeff Pocaro. Dr. Remy uses African Creation at the UWI in her tuned percussion class. The piece is a call and response (much like Kinka—see Chapter 7) and it was envisioned as sort of a battle between stage right and stage left. The instrumentation is common keyboard percussion instruments: glockenspiel, chimes, xylophone, vibes, four hands marimba, drum set, four timpani (omitting optional pitches at letter I makes it playable on two timpani) and Afro-Cuban instruments: shaker, cabasa (afuché), quica, guiro, bongos, timbales, two congas and/or two tom toms, bass drum and gankogui (African bell). There is a section for tamboo bamboo (see Chapter 7 under “Steel Drums”) but if they are not available the drum set player can play that part on tom toms as a solo. The piece could be performed with only drum set and keyboards as the auxiliary percussion are mainly for color. The marimba part is written for a 1.3 octave low A marimba but the parts may be played lower on larger range instruments. We thank Dr. Remy for offering African Creation to be part of Teaching Percussion and hope you enjoy playing the ensemble in percussion methods classes and with young percussionists. You will find mp3 files in the Teaching Percussion MindTap of the entire African Creation made with the Virtual Drumline 2 marching battery and concert percussion sound sample library, compliments of Jim Casella and Tapspace Publications (www.tapspace.com). Visit MindTap to watch videos and for additional information on the Evolution of Percussion and Pedagogy, Chapter Quizzes, and additional resources.

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A ppen d ix

Orchestral Excerpts for Percussion and Discography of Percussion Music n ORCHESTRAL EXCERPTS FOR PERCUSSION The following are the principal sources available for the study of orchestral percussion repertoire. See Chapter 5 for a listing of orchestral timpani excerpt sources; Chapter 6 for other books on playing bass drum, cymbals, and accessories; and Chapter 10 for interpreting percussion parts. Also see related books recommended under the title “General Guides to Percussion” in Chapter 1. Two excellent Internet mail-order resources for or­chestral excerpt study materials are : lonestarpercussion.com under “Sheet Music, Books & Recordings”—“Orchestral Excerpt Books” and www.steveweissmusic.com under “Method Books”—“Orchestral Excerpts & Scores.” Twentieth Century Orchestra Studies for Percussion compiled and annotated by Alan Abel (G. Schirmer) Orchestral Repertoire for Bass Drum and Cymbals by Raynor Carroll (Batterie Music/Carl Fischer) Orchestral Repertoire for the Glockenspiel, Vols. I and II by Raynor Carroll (Batterie Music/Carl Fischer) Orchestral Repertoire for Snare Drum by Raynor Carroll (Batterie Music/Carl Fischer) Orchestral Repertoire for Tambourine, Triangle and Castanets by Raynor Carroll (Batterie Music/Carl Fischer) Orchestral Repertoire for the Xylophone, Vols. I and II by Raynor Carroll (Batterie Music/Carl Fischer) Symphonic Guide for Timpani and Percussion by Raynor Carroll (Batterie Music/Carl Fischer) Cirone’s Pocket Dictionary of Foreign Musical Terms by Anthony Cirone (Meredith Music) The Logic of it All by Anthony Cirone and Joe Sinai (Meredith Music.) Symphonic Repertoire for Cymbals by Anthony Cirone (Meredith Music) Symphonic Repertoire for Snare Drum by Anthony Cirone (Meredith Music)

The Art of Playing Cymbals by Sam Denov (Warner Bros.) Symphonic Repertoire for Percussion Accessories by Tim Genis (Meredith Music) A Practical Guide to Percussion Terminology by Russ Girsberger, ed. by Anthony Cirone (Meredith Music/Hal Leonard) Percussion Assignments for Band Wind Ensemble, Vols. 1 and 2 by Russ Girsberger (Meredith Music/Hal Leonard) The Modern School for Snare Drum with a Guide Book for the Artist Percussionist by Morris Goldenberg (Hal Leonard) The Modern School for Xylophone, Marimba, and Vibraphone by ­Morris Goldenberg (Hal Leonard) Test Pieces for Orchestral Auditions—Timpani/Percussion, with two CDs, compiled in cooperation with the German Union of Orchestras, ed. by Hermann Geschwendtner and Hans Jochen Ulrich (Schott) Orchestral Excerpts for Percussion, Vol. I—Tuned, compiled by Kevin Hathway (Woodsmoor Press) Orchestral Excerpts for Percussion, Vol. II—Snare Drum, compiled by Kevin Hathway (Woodsmoor Press) Time and Motion, The Musical Snare Drum by Fred Hinger (Cornucopia Music) Audition Hacker and Drum Hacker by Rob Knopper (robknopper.com)

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Pauken und Klein Trommel—Schule mit Orchester—Studien by Franz Kruger (Arthur Parrhysius) Dictionary of Percussion Terms by Morris Lang and Larry Spivack (Carl Fischer) The Rhythms of Contemporary Music by Joseph Leavitt (Warner Bros.) The Snare Drum in the Concert Hall, rev. ed., by Al Payson (Meredith Music Publications) Techniques of Playing Bass Drum, Cymbal, and Accessories by Al Payson (Meredith Music Publications) The Ultimate Guide to Cymbals [with DVD] by Nick Petrella (Carl Fischer) Classical Percussion by Arthur Press (Music Minus One) [CDs with discussion of excerpts and playing of parts by Mr. Press. Accompanying book includes all parts and discussion of same. Covers snare drum, tambourine, triangle, castanets, bass drum, cymbals, and additional helpful equipment.]

Methodo per Xilofono e Marimba by Leonida Torrebruno (G. Ricordi) Symphonic Repertoire for Keyboard Percussion by Jack Van Geem (Meredith Music) A Percussionist’s Guide to Orchestral Excerpts by David W. Vincent (Broad River Press, Inc.) [index to over 900 excerpts contained in 41 volumes] Rubank Advanced Method for Drums by Harvey S. Whistler (Rubank Inc.) Orchestral Studies for Xylophone, Marimba, Vibraphone, and Glockenspiel, ed. Waldemar Zyra (PWM Edition) Percussion Orchestrations is British percussionist Edward Cervenka’s online database listing percussion instrument, player requirements, and part assignments, as well as timpani instrument and tuning needs, for nearly 8,000 orchestral works by over 700 composers. Full database access requires annual membership fee. See: www.percorch.com.

Difficult Passages and Solos for Percussion compiled by L. Torrebruno (G. Ricordi)

Two outstanding resources for major percussion and timpani repertoire parts are: The Orchestra Musician’s CD-ROM Library, Vols. I–XII. Vol. I—Auber, Beethoven, Bellini, Berlioz, Cherubini, Donizetti, Mendolssohn, Rossini, Schubert, and von Weber; Vol. II—Bizet, Bruch, Bruckner, Busoni, Debussy, Fauré, Greig, Mahler, Reger, and Saint-Saëns; Vol. III—Brahms, Chabrier, Chausson, Chopin, Frank, Lalo, Liszt, Offenbach, Sarasate, Schuman, and von Suppé; Vol. IV—Glinka, Mussorgsky, and Tchaikovsky; Vol. V—Borodin, Dvorák, Rimsky-Korsakov, Scriabin, and Smetana (CD Sheet Music, LLC/Hal Leonard). View all 12 volumes’ complete contents at ­www.orchmusiclibrary.com. Touchdown Productions Symphonic Percussion Editions compiled and edited by Theresa Dimond, available for timpani only, all percussion, timpani/percussion score, and complete set in Opera Series, Symphonic Series, and Ballet Series. Exclusive distributor: www.steveweissmusic.com. Berlioz–Damnation of Faust; Bizet–Carmen, Suite No. 1 and Suite No. 2; Donizetti–Don Pasquale, L’Eliser d’Amore, Luci di Lammermoor; Dukas–Sorcerer’s Apprentice; Gounod–Romeo and Juliet; Humperdink–Hansel & Gretel; Lehar–The Merry Widow; Puccini–La Bohème, Girl of the Golden West, Madame Butterfly, Tosca; Saint-Saëns–Samson & Delilah-Bacchanale; Strauss–Ariadne auf Naxos; Tchaikovsky–Nutcracker and Suite No.1 Op. 71a, The Queen of Spades; Verdi–Aida, Falstaff, Rigoletto, Il Travatore, La Traviata; Wagner–Lohengrin, and others.

n DISCOGRAPHY OF PERCUSSION MUSIC The recordings listed in this discography contain significant works for solo percussion and/or percussion ensemble with chamber ensemble or orchestra. The recordings are listed alphabetically—either by major artist, ensemble, or composer, or by title with artist(s), primary composer(s), and label indicated, as in many cases several works are included on one single album or CD. University and city music libraries are excellent sources for many out-of-print LP records not included in this list as well as listed records and current CDs and DVDs. Since Teaching Percussion first appeared in 1988, the second edition in 1997, and the edition in 2006, the Internet has made ac­cessing percussion recordings and music easier than ever. Websites for various mail order percussion suppliers and the many

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publishers of percussion music are excellent sources for current recordings. Record label company websites can be searched by percussion instrument, composer, work, or album title, or by catalogue number. Most major percussion artists and en­sembles have websites listing their own recordings and links to many others. An Internet search can find nearly any composer and provide a discography and other related sources with valuable links. A YouTube search for any artist, group, or composer will yield a plethora of videos and audio recordings; however, discretion is advised, as the quality of many performances may be an issue, as well as video quality. Many major artists and percussion groups have their recordings available on iTunes. The International Association of Music Information Centres (http://www.iamic.net) lists contact information for 42 Music Information Centres in 36 countries around the world, and most have recordings and music catalogs on their websites as well as links to countless other resources for recordings and music. The International Society for Contemporary Music (http://www.iscm.org) has a link to “Publishers, Recordings, Stores” that displays numerous sources around the world ­easily accessed through the Internet (for example, Mode Records in New York City, specializing in contemporary music CDs and DVDs). The Percussive Arts Society has excellent online resources for recordings, which include hundreds of reviews of New Percussion Literature and Recordings from the PAS publication Percussive Notes available to PAS members under “Research” “Composition Research.” Here members can search “Literature Reviews,”—“Programs,” or “Recordings and Videos Reviews” by “title,” “author/composer,” or “keywords.” The entries under “Recordings and Videos Reviews” comprise the largest annotated discography available at one site in the world. These entries are also integrated with “Programs” and the “Siwe Guide to Solo and Ensemble Percussion Literature” databases under “Compositions Research.” Keiko Abe: Conversations. Keiko Abe and Michigan Chamber Players play works by Abe, Udow, Wad, and Nishimura (Forte Music FMCA-7043) Keiko Abe: Keiko and Carmina . . . Ra! DVD The University of North Texas Wind Ensemble, with Keiko Abe and Mark Ford, performs Abe’s Prism Rhapsody II, Dzubay’s Ra!, and the wind version of Orff’s Carmina Burana (GIA Publications GIA DVD 601) Keiko Abe: Fantastic Marimba. Keiko Abe, composer and performer (Forte Music—FMCA 7039) Keiko Abe: Live in Concert. Keiko Abe and Dave Samuels, composers and performers (FMCA-7010) Keiko Abe: Lullaby of Itsuki. Keiko Abe, marimba; Walter Van Hauwe, recorder (Denon-CC-3446) Keiko Abe: Marimba Encore. Keiko Abe plays Milhaud to Breuer (Forte Music FMCA-7033) Keiko Abe: Marimba Fantasy. The Art of Keiko Abe—composer and performer (Denon 3300-1118 and Wergo-60177-50) Keiko Abe: Marimba Selections I. Keiko Abe plays Miki, Miyoshi, Sueyoshi, Taïra, and Ikebe (Denon 30C0-1727) Keiko Abe: Marimba Selections II. Keiko Abe plays Yuyama, Miyoshi, Tanaka, and Noda (Denon 30C0-1728) Keiko Abe: Marimba Selections III. Keiko Abe plays Miki, Ishi, Sukegawa, and others (Denon CD-1729) Keiko Abe: Marimba Spiritual. Keiko Abe performs with Kroumata, Strasbourg, and other percussionists (Denon CD-4219)

Keiko Abe: Music for Marimba, Contemporary Music from Japan, Vol. I (first LP). Keiko Abe, marimba (Candide CE 31051) Ludwig Albert: Marimba Dances. Albert plays classic transcriptions of Bach, Beethoven, Kreisler, Strauss, Kabelevsky, Katchaturian, Joplin, and others (Domusic DOM 2910 61) Ludwig Albert: Marimba Paraphrases. Albert plays 6–8 mallets; Abe, Albert, and others (Beurkens 88321-2) The All Star Percussion Ensemble. Harold Farberman, cond., arrangements of Bizet, Beethoven, Berlroz, and Pachelbel (Digital D-MMG 115) Amadinda Percussion Group. Works by Márta, Sáry, Cage, Reich, Green, and Africans (Hungaroton HCD12855) Amadinda Percussion Group—Works for Percussion by László Sáry. (Hungaroton HCD 32179) Amadinda Percussion Group. Works by Varese, Chavez, Cage, and Harrison (Hungaroton HCD 12991) Amadinda Percussion Group: Legacies Hagyományok. (Hungaroton HCD 31813) Amsterdam Percussion Group: Nocturnal Activities. Works by ­Vincent and others (WC 2069-3) Amsterdam Percussion Group: Once Upon a Time . . . .Works by Bus, Cage, Vincent, and others (Etcetera KTC 1229) Amsterdam Percussion Group: Release. Works by Séjourné, Piazzolla, Vincent, and others (APG Music) George Antheil: Ballet Méchanique. Carlos Surinach, cond., New York Percussion Group (Columbia AML 4956)

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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George Antheil: Ballet Méchanique. Original 1924 version played by the University of Massachusetts Lowell Percussion Ensemble (EMF CD 020) George Antheil: Ballet Méchanique. Recreated Carnegie Hall concert of 1927 by the New Palais Royale Percussion Ensemble (Music Masters 01612-67094-2)

Gary Burton: Libertango—The Music off Astor Piazzolla. (Concord Jazz CCD-4887-2) Gary Burton/Chick Corea: Duet. (ECM 1140 829 941-2) Gary Burton/Makoto Ozone: Face to Face. (GRP GRD-9805) Gary Burton/Makoto Ozone: Virtuosi. (Concord Jazz CCD-2105-2)

George Antheil: Ballet Méchanique. Robert Craft, cond., Los Angeles Contemporary Music Ensemble; Paul Price, cond., Manhattan Percussion Ensemble; includes works by Chávez, ­Hovhanness, and LoPresti (Urania US 5134)

Cabaza Percussion Quartet. Works by Ohana, Hummel, Reich, ­Heider, and Broadmann (CPO 999 088-2)

Aqua. Kjell Samkopf and Rob Waring play Samkopf (Pro Musica PPC 9023)

John Cage—The Works for Percussion 1. Percussion Group Cincinnati; CD & DVD (mode 229)

Art of Percussion. Siegfried Fink plays solo, chamber, and orchestra works (Thorofon CTH 2085)

John Cage—The Works for Percussion 2. Third Coast Percussion (CD & DVD, mode 243)

At the Edge. Mickey Hart and friends; companion to the book Drumming at the Edge of Magic (Ryko RACD 0124)

John Cage—The Works for Percussion 3. D’Arcy Philip Gray; CD (mode 272)

Australian Percussion Music. Michael Askill plays Westlake, ­Wesley-Smith, Edwards, and others (Southern CrossSCCD-1021)

Vida Chenoweth: Classic Marimbist. CD (Epic P17808). Chenoweth has also recorded the Creston, Sarmientos, ­Milhaud, and Kurka concertos, available on cassette and CDs (www .steveweissmusic.com)

Roland Auzet: Percussion(s). Auzet plays Xenakis, Tanaka, Taïra, Milhaud, and others; includes booklet Percussion Gesture and Spirit and interviews with Roland Auzet by Pierre Albert Castanet (mode 189/92) Roland Auzet: Percussion Solo et Ensemble Instrumental. Auzet plays Xanakis, Taïra, and Roque-Alsima (Globo 140) Bert’s Baladi. Roman (“Bert”) Baladine and Mary Ellen Donald (Mary Ellen Books, SAC ME 9425) Johanna Beyer and the Birth of American Percussion Music: Restless, Endless, Tactless. Meehan/Perkins Duo and the Baylor Percussion Group (New World Records)

John Cage Works for Percussion. Quatuor Hêlios plays Cage’s master­pieces (Wergo WER 6203-2)

Vida Chenoweth: Latin-American Composers and the Marimba. Chenoweth plays traditional Guatemalan selections, Sarmientos, and Villa-Lobos [recorded live] (Chenoweth ©2003) Chiapas. Marimba Yajalón plays traditional Mexican Chiapan marimba (HWP-002CD) Classic Mallets. Quatuor Lamina plays Bach, Gershwin, and Joplin (M88101) Classic Percussion. Peter Sadlo plays Bach, Brindle, Abe, Tanaka, Fink, and others (Koch 310141)

Ivan Bilic’: Follow Me. Bilic’ plays Croatian music for percussion (Percussion Cantus 988984982)

Classic Works, Vol. 2. University of Utah Percussion Ensemble plays Byrd, Gauger, Maslanka, and Helble (Univ. of Utah)

Severin Balzer: Marimba en Concert. Balzer plays Rosauro, Bach, Fink, and Stout (Gallo-CD-599)

Classic Works, Vol. 3. University of Utah Percussion Ensemble plays Maslanka, and Parker, Bernstein, and others (Univ. of Utah)

Bob Becker: There Is a Time. Becker with Nexus plays Becker (Nexus Records 10328) Bolshoi Theatre Percussion Group. Works by V. Grishin, S. Gubaidulina, Denisov, and Mikheyeva (SUCD 10-00491)

Classical Percussion. Arthur Press plays orchestral excerpts (Music Minus One MMO 4065) Collections II. Music of Scott Wyatt (Veriatza Records)

The Dave Brubeck Quartet at Carnegie Hall. Joe Morello performs the classic Castilian Drums, Take Five, and many others (Sony Recordings SUCS 9365-6)

Michael Colgrass Percussion Music (1951–1957). Patrick Roulet, et al., play Colgrass compositions 1951–1957, and conversations with Colgrass (EQ107)

Michael Burritt: Shadow Chasers. Burritt plays Wiley, Hollinden, McCarthy, and Burritt (Truemedia D96621)

Concert Percussion for Orchestra. Earl Brown Contemporary Sound Series—a life in music, Vol. 1 (original release LP 1961, digitized 2009). Classic works by Roldán, Harrison, Russell, Cowell, and Cage; Price and Cage, conds. (Wergo 6928 2 LC 00846)

Michael Burritt: McCarthy—Electro-Acoustic. Burritt plays ­McCarthy’s marimba works (Truemedia Records D93531) Michael Burritt: Perpetual. Burritt plays Burritt, McCarthy, and Wiley (Peppermint Artist Series PA7001-CD) Michael Burritt: Waking Dreams. Burritt plays his own compositions with the Tempus Fugit Percussion Ensemble (Resonator Records/Marimba Productions, Inc.) Gary Burton: Alone At Last. (Atlantic SD 1598) Gary Burton: Astor Piazzolla Reunion. (Concord Jazz CCD-4793-20) Gary Burton: For Hamp, Red, Bags, and Cal. (Concord Jazz CCD-4941-2)

The Contemporary Composer: Concerto for Solo Percussionist and Orchestra. Donald Erb (Turnabout TV-S 34433) Contemporary Percussionist: 21 Etudes. Michael Udow and Christopher Watts (EQ 44) The Contemporary Trumpet. Encounters III. William Kraft; Mitchell Peters, percussion (Avant AV 1003) Continuum Percussion Quartet. Percussion works by Cage, Harrison, Rouse, Baselon, and others (New World Records NW 382-2)

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.



Or ch e st ral E xce rpt s fo r Pe rcu s s i o n a nd D i s c o g r a p hy o f P er c us s i o n M us i c

Orlando Cotto: Caribeños-Latina American Music for Marimba. With Giovanni Hidalgo, congas (CARIB 98CD) Orlando Cotto: A Little Prayer. Cotto plays works by Abe, Bach, Cotto, Glennie, Giuliani, and Smadbeck (Cotto) Coyote Dreams. Music by Udow, Harrison, Miranda, Bevelander, and Hisada played by Udow and others (EQ 25) DAFOS. Mickey Hart and friends (RR-12 CD) Deja Vu—St. Louis Symphony Orchestra. Michael Colgrass percussion concerto (New World Records NW 318-2) Desert Beat. Chem Zimbalista, percussionist (Koch DICD 920494) Different Strokes. Robert Hohner Percussion Ensemble plays Rouse, Cage, Narell, and Abe (dmp CD 485) Divertimento. Paul Price Ensemble plays Flagello Divertimento for piano and percussion (PRCD-1014) Drums & Orchestra. Siegfried Fink, soloist; works by Benguerel and Soler (Thorofon Capella MTH 193) Drums in Action. Siegfried Fink, percussionist (Thorofon Capella MTH 183) Drums in Concert. Percussion Ensemble, Siegfried Fink (Thorofon Capella MTH 149) Düsseldorfer Percussion Ensemble: works by Chavez, Denhoff, Roderburg, and Vlachopoulos (Koch 3-1234-2) East 11th Street New York. Three works by James Dillon (NMC d004) Electronics & Percussion. LP; Max Neuhaus; works by Brown, Bussotti, Cage, Feldman, and Stockhausen (Columbia, MS 7139) Ensemble K-4. Works by Berio, Thommessen, Wallin, and Slettholm (ALBCD 001) Equal Temperament Percussion Duo. Eric Jones and Stacy Jones play Jarvis, Peyton, Santos, and others (EROICA 3020). Equilibrium: Border Crossing. University of Michigan Percussion Ensemble plays Rouse, Hollinden, Kowalski, Udow, and others (EQ2)

Daniella Ganeva: Rush. Ganeva and others perform Horne, Mackey, Wesley-Smith, Glentworth, Instrall, and Helawell (Global Music Network GMNC 0111) Greg Giannascoli: Concertino: Giannascoli performs Creston, Kurka, Hovhaness, and Mayuzumi concertos with piano (World Music Marimba WMM©1995) Greg Giannascoli: Velocities. Giannascoli plays Basta, Schwantner, Thomas, Musser, and others (WMM2) Philip Glass—The Concerto Project Vol. 1. Jonathan Haas and Evelyn Glennie play Concerto Fantasy for Two Timpanists and Orchestra (Orange Mountain Music OMM 0014) Evelyn Glennie: Her Greatest Hits. Glennie plays many composers and improvises; two CD set (RCA Victor Red Seal 74321-47629-2) Evelyn Glennie: Light in Darkness. Glennie plays Rosauro, Abe, Edwards, McLeod, Miki, Tanaka, and Glennie (BMG 605572-RC) Evelyn Glennie: Rebounds, Concertos for Percussion. Glennie plays Milhaud, Bennett, Rosauro, and Miyoshi (BMG 09026-61277-2) Evelyn Glennie: Schwantner. Glennie plays Velocities and the Concert for Percussion and Orchestra (RCA Red Seal 0902668692-2) Evelyn Glennie: The Street Songs. Glennie and the King’s Singers perform Klatzow, Martland, and others (RCA Red Seal 09026-63175-2) Evelyn Glennie: Wind in the Bamboo Grove. Glennie plays Abe and others (Catalyst 09026-68193-2) Evelyn Glennie: Veni, Veni, Emmanuel. Glennie plays music of James MacMillan (Catalyst 09026-61916-2) The Glory and the Grandeur. Percussion concerto by Russell Peck (Albany TROY 040) Joseph Gramley: American De-Construcion. Gramley plays Lang, Reich, Duckworth, Hollinden, and Smadbeck (Disco2-02002)

Equilibrium: The Shattered Mirror. The University of Michigan Percussion Ensemble plays works by Udow (EQ1)

Grande Exitos. Marimba Nandayapa play classic Mexican marimba (EMI-CDPE-005)

Karen Ervin, A Marimba Recital (Studio 4 Productions R101)

George Hamilton Green and Joe Green: Masters of the Xylophone. Green brothers with duo, trio, and orchestra (www .greensmusic.com)

Karen Ervin, Percussionist (WIM R-5) Karen Ervin. Works by Dahl, Kraft, and Leseman (Crystal Records S641) Europercussion Compositions of Stephane Borel (Cascavelle VEL 990) Evergreen Club—Contemporary Gamelan. Several recordings by Toronto-based gamelan (www.evergreengamelan.ca) First-Chair Encores. Charles Owen plays Concertino for Marimba, Mvt. 1 by Paul Creston (Columbia MS 6977) Mark Ford: Motion Beyond. Ford plays McCarthy, Maslanka, Ford, and Glassock (Arizona University Records AUR CD 3088) Mark Ford: Polaris. Ford plays his own compositions, Deane, Taggart, and Glassock (AUR CD 3073) Free. Airto plays Brazilian percussion (CBS 2K 40927) The Gamut. Robert Hohner Percussion Ensemble plays Colgrass, Helble, Green, Samuels, and others (dmp CD 305)

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George Hamilton Green and Joe Green: Green Brothers Novelty Band. Green brothers with Frank Banta, Jimmy Dorsey, and others; remastered 1923–1929 Edison Diamond disc recordings (www.greensmusic.com) Green’s New Novelty Orchestra. Ian Finkel and friends play G.H. Green’s arrangements (www.greensmusic.com) Dean Gronemeier: Nature Alley. Gronemeier performs his solo works for marimba (Darco Enterprises) Guitar & Percussion. Siegfried Fink (Deutsche Grammophon 2530 034) Jonathan Haas: Johnny H. & the Prisoners of Swing. Jonathan Haas and Ian Finkel play Ellington to Korsakov (Sunset 784 002-2) Jonathan Haas: Philip Glass—The Concerto Project Vol. 1. Jonathan Haas and Evelyn Glennie play Concerto Fantasy for Two Timpanists and Orchestra (Orange Mountain Music OMM 0014)

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Jonathan Haas: Virtuoso Timpanist. Haas plays Fischer and Druchetzy (CRD 3449)

Impulse. Percussion Art Quartet Würzberg plays Fink, Hummel, Tull, Cage, and others (Capella/Thorofon CTH 2063)

David Hall: Saudaçãol. Hall plays Rosauro with the Grand Rapids Symphony and Bach, Stout, and Schwantner (DHR 46382)

In Memoriam. William Hibbard. Hibbard’s Parson’s Piece and Schickstück (Music & Arts CD675)

The Hammerhead Consort. Music for two pianos and two percussion by Berio, Boucourechlieve, and others (Arktos DDD)

In Need Again. Repercussion Unit with John Bergamo, Ed Mann, and others (CMP CD 31)

Todd Hammes: Thoughts. Hammes plays original compositions and improvisations (Joven 43001-2)

Internal Combustion. Glen Velez (CMP CD 23)

Todd Hammes: Three Hours with Pete. Todd Hammes and Joe Rush play improvisations (Joven Records 35002-2) Hands On’Semble. The ensemble’s first CD of inspired improvisations (Tal Mala 1414) Hands On’Semble—Shradhanjali. The ensemble’s second CD of inspired improvisations (Tal Mala 1515) Hands On’Semble—Three. The ensemble’s third CD of inspired improvisations (HOS 022) Lou Harrison: Ariadne, Solstice. Music of Lou Harrison (Music Masters MMD 60241X) Lou Harrison, Concerto for Violin and Percussion Orchestra. William Kraft, cond., Los Angeles Percussion Orchestra (Crystal Records S853) Lou Harrison: Drums Along the Pacific. Selections include Fugue, Simfony #13, Canticle #3, Song of Quetzacóatl, and others (New Albion Records NA 122) Lou Harrison, La Koro Sutro. Featuring the American gamelan and Varied Trio (New Albion Records NA-015) Lou Harrison, Suite for Percussion: Julia Perry, Homunculus C.F. Paul Price conducting the Manhattan Percussion Ensemble (CRI SD 252) Historic Works for Percussion Ensemble. The University of Illinois Percussion Ensemble, Tomas Siwe cond., plays Varese, Cowell, Cherry, Harrison, and Hovhaness (EQ 62) Ray Holman—In Touch. The pan artistry and original compositions of Ray Holman (Ramajay Records) A Homage to Lou Harrison. Támmittam Percussion Ensemble (CDS 221) A Homage to Lou Harrison Vol. 2. Támmittam Percussion Ensemble (CDS 283) A Homage to Lou Harrison Vol. 3. Támmittam Percussion Ensemble (CDS 359) Robin Horn: Collection. Horn plays his original music and others (Different Drummer DDM 4671) Robin Horn: Fast Lane. Horn plays his original music and others (Grude Music Group 4527-2-F) Gifford Howarth: Rosewood Resonances. Gifford Howarth plays Back, Albénez, Villa-Lobos, Smadbeck, and others (Howarth)

Beverly Johnston: Alternate Currents. Johnston plays Southam, Jaeger, Hatch, Freedman, and Kulesha (Centredisc CMC-CD 4592) Beverly Johnston: The Book of Mirrors. Johnston and Salvador Ferreras play Stokes, Kulesha, and Daniel (Novadisc ND 0199-CDE) Beverly Johnston: Impact. Johnston plays Piché, Louie, Kulesha, and Arcuri (Centrediscs CMC-CD 2786) Beverly Johnston: Marimbach. Johnston plays Bach (CBC Enterprises 2-1033) Kaiki. Kodo (Sony Music A23678) Momoko Kamiya: Marimba Virtuoso. Award-winning Momoko Kamiya plays Miyake, Piazzolla, Ichiyanagi, Muramatsu, and Thrower. Kamiya has other CDs on her website (Philips UCCP-1057) Ketiak—Works of Akira Nishimura. Percussion Group 72 plays Nishimura (Camerata 30CM-89) Rebecca Kite: Across Time. Kite plays Abe, Giuliani, Bach, Dowland, and Miki (GP Percussion CD-9301) Rebecca Kite: PRISM. Kite plays Abe, Bach, Musser, Peters, Gomez, Rosauro, and others (GP Percussion CD-9602 Donald Knaack, Percussionist. Works by Cage and Duchamp (Finnadar SR 9017) Kodo vs Yosuke Yamashita In Live. (Denon 33C38-7900) Jasmin Kolberg: Animato. Kolberg plays Debussy, Sammut, Stout, Burritt, and others (CCO 2214) Andre Kostelanetz Conducts the Music of Alan Hovhaness. Yoichi Hiraoka plays Fantasy on Japanese Woodprints (Columbia MS 34537) William Kraft Contextures, Concerto for 4 Percussion Soloists and Orchestra. Zubin Mehta, cond., Los Angeles Philharmonic (London CS 6613) Kroumata & Keiko Abe. Works by Nishimura, Miyoshi, Takemitsu, and Matsushita (BIS CD-462) Kroumata & Manuela Wiesler. Works by Sandstrom, Norgaard, Hvoslef, and Wallin (BIS CD-512) The Kroumata Percussion Ensemble. Kroumata plays works by Taïra, Cage, Cowell, Lundquist, and Farberman (BIS CD-232 and 382)

Hrsholm Percussion & Marimba Ensemble. Works by Bach, Abreu, Richard, and others (Danacord 328)

The Kroumata Percussion Ensemble. Works with flute by Jolivet and Harrison, for percussion by Cage and Sandstrom (Grammofon AB BIS LP 272)

Huapango. Marimba Yajalón play Chiapan Mexican marimba music (HWP-0001)

The Kroumata Percussion Ensemble. Works by Varese, Sandstrom, and Antheil (LCMC-102)

Zakir Hussain and the Rhythmic Experience. The tabla artistry of Hussain (MRCD 1007)

Kroumata: Sotto II Segno Del Sole. Kroumata plays music of Messiaen, Eliasson, and Blondahl (Caprice CAP 21355)

Zakir Hussain: Remember Shakti. Hussain, McLaughlin, Vinayakram and Chausaria (Verve 314 559 945-2)

Lawrence University Percussion Ensemble. Works by Maslanka, Ginastera, Levitan, and Frank (Lawrence University)

Zakir Hussain: Remember Shakti, the Believer. Hussain, McLaughlin, Selvaganesh and Shrinivas (Verve 314 549 044-2)

Mark Leoson Percussion. Leoson plays Andersson, Tanaka, Xenakis, and Milhaud (Caprice CAP 21466)

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.



Or ch e st ral E xce rpt s fo r Pe rcu s s i o n a nd D i s c o g r a p hy o f P er c us s i o n M us i c

Lift Off. Robert Hohner Percussion Ensemble plays Barber, Peck, Miki, Cahn, Norvo, and others (dmp CD-498) Kabraba Lobi—Song of Legaa. Ghanaian gyil music (LYR-CD 7450) Jeannine Maddox—Vögele: In the Sea. Jeannine Maddox-Vögele, marimba plays Abe, Tanaka, Fissinger, and Stout (SBMR Records CD 0001) Jeannine Maddox—Vögele: Memories, Conversations, and More. Jeannine Maddox-Vögele, marimba with Keiko Abe, play Abe, Yuyama, and others (SBNR 002)

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William Moersch: The Modern Marimba. Moersch plays Druckman, Thomas, Bennett, Wesley-Smith, and Bazelon (Newport Classic-NPD85528) Mono-Prism. Kodo (Sony Music A22861) Gert Mortensen. Gert Mortensen plays Nørgård, Xenakis, and Gudmundsen-Holmgreen (BIS-CD 256) Music by Russell Peterson. David P. Eyler plays Concerto for Timpani and Orchestra (FMS0902)

Madrigals, Makrokomos III. Music of George Crumb (315 CD-261)

Music for Marimba. Paul Smadbeck, marimba (Contemporary Music Project)

Maelström Percussion Ensemble—Bank Shots. Maelström plays its own “percussion fusion” (www.maelstrompercussion.com)

Music for Percussion Instruments. Paul Price, cond., works by Harrison, Colgrass, Miller, Strang, and Benson (Orion ORS 7276)

Maelström Percussion Ensemble—Labrynth. Works by Lou Harrison (Hat Art Records)

Music for Winds and Percussion. Netherlands Wind Ensemble and Percussion Group, The Hague play Harrison Birtwhistle (Etcetera KTC1130)

Maelström Percussion Ensemble—Whirled Music. Maelström plays Zappa, Golove, and others (www.maelstrompercussion.com) Mike Mainieri: An American Diary (NYC 6015-2)

The Music of Harry Partch. Recorded in the 1950s and 1960s—Harry Partch Ensemble (CRI CD 7000)

Mike Mainieri: Steps Ahead—N.Y.C. (Capital CDP 7 91354 2)

Katarzyna Mycka—Marimba Concerto. Mycka plays Kopetski, Koppel, and others (Audite 97.478)

Mårådalen Walk. Kjell Samkopf performs and walks (Hemera HCD 2907)

Katarzyna Mycka—Marimba Dance. Mycka plays works for marimba and three percussionists (Audite 97.462)

La Marimba en La Argentina. Ángel Frette plays music of Argentine composers (Cosentino IRCO 219)

Katarzyna Mycka—Marimba Sculpture. Mycka plays Schmitt, Rosauro, Reich, and others (Audite 92.511 SACD)

La Marimba en La Argentina II—Un Camino de Tierra. Ángel Frette plays Argentine composers and Piazzolla (Cosentino IRCO 225)

Katarzyna Mycka—Marimba Spiritual. Mycka plays classic works for marimba (Audite 97.450)

La Marimba en La Argentina III—Tangos and More. Ángel Frette plays Argentine tangos (PMM 001) The Marimba Festival Orchestra. Featuring Bob Becker and Gordon Stout, conducted by Frederick Fennel (Resonator Records/ Marimba Productions, Inc) Marimbas of the World. Featuring Steve “The Fastest Hands this Side of the Rio Grande” Chavez (Ubik Sound 2CN33) Marimolin. Zeltsman, marimba, and Leventhal, violin, play Aldridge, Lee, Mays, Thimming, and Rogers (GM2023CD) Marimolin: Combo Platter. Marimolin plays Aldridge, Samuels, Mangione, Lansky, Mackey, and more (Catalyst 09026 62667-2)

New Kong. Répercussion Canadian percussion ensemble (AMCD-1009) Nexus: The Altitude of the Sun with Paul Horn. Nexus, Horn, and Egberto Gismonti (Black Sun 15002-2) Nexus: The Best of Nexus. Works by Cage, Becker, Green, and Nexus (Denon/Nexus 10251) Nexus: Changes. Works by Cage, Mather, Reich, and Cahn (Nexus NE 05) Nexus: Dance of the Octopus. Nexus with Judy Loman, harp, plays Norvo, Chan, Becker, and Barnes (Numérique 4-1037) Nexus: Drumtalker. Nexus plays Hartenberger, Becker, and Schickele (Nexus 10713)

Marimolin: Music for Strings & Mallet Percussion. Marimolin and Steven Schick play Frank and Godfrey (GM 2041CD)

Nexus: Garden of Sounds. Nexus with Richard Stoltzman, clarinet (BIS-CD-1108)

Marimolin: Phantasmata. Marimolin plays Kraft, Mackey, Schuller, Levitan, and others (GM 2048CD)

Nexus: Lullaby. Nexus with Leigh Howard Stevens (Nexus 10612)

Marimolin: Soaring. Marimolin plays original transcriptions (Marimolin 1987)

Nexus Now. Nexus plays Wyre, Cahn, Becker, Takemitsu, and Engleman (Denon 10262)

Marta Ptaszynska Concerto for Marimba with Keiko Abe (PNCD 075)

Nexus: Origins. Nexus plays their original works (WRC8-6610 10285 CD)

Maslanka Concertos. Drew Lang plays the Concerto for Marimba and Band with the University of Arizona Wind Ensemble (Albany Records TROY 424)

Nexus: Music of Nexus. Improvisations by Nexus (Nexus NE 01)

Nexus Plays the Novelty Music of G. H. Green. Nexus and Bob Becker, solo xylophone (Nexus 10273)

Milwaukee 20th Century Ensemble. Music of Harrison and Salzedo (no label)

Nexus Ragtime Concert. Nexus plays Green, Arndt, and Johnson with Bob Becker, solo xylophone (Nexus 10284)

Nanae Mimura—Marimba Spiritual. Mimura plays Schwantner, Levitan, Bach, Pachelbel, and Miki (Sony SRCR 2565)

Nexus: The Story of Percussion in the Orchestra. Nexus with Bill Moyers narrating, from Lully to Green (Nexus 10306)

Nanae Mimura—Universe. Mimura plays Zivkovic, Fauré, Ravel, Wonder, Jenkins, and others (Sony SICC 71)

Nexus: Toccata. Nexus with Berlin, Toronto, and Rochester orchestras; Eric Robertson, organ (Nexus 10410)

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Nexus: Voices—Music for Percussion and Orchestra. Nexus plays Wyre and Cahn with the Rochester Philharmonic (Nexus 10317)

Percussion Music of Eric Ewazen. Played by She-e Wu, Gordon Stout, and the University of Oklahoma Percussion Ensemble (Resonator Records/Marimba Productions, Inc)

Les Noces, Stravinsky. Amadinda Percussion Ensemble, Slovak Philharmonic Chorus, and Savaria Symphony Orchestra, 1917 and 1923 versions (Hungaroton HCD 12989)

A Percussion Spectacular. William Kraft, cond., Los Angeles Percussion Ensemble; works by Chávez and Ginastera (Columbia, MS 6447)

Les Noces, Stravinsky; Cantigas, Ohana. Les Percussions de Strasbourg  Pierre Verany PV 78032)

Percussion Today. Works by Henze, Hiller, Regner, Heider, and Brouwer (Wergo WER60123-50)

Nola. Eastman Marimba Band; works of G. H. Green, Breuer, and Norvo (Mercury SRI 74108)

Percussions—Claviers de Lyon. Vol. 1: Debussy, Ravel (BNL 112743)

Norwegian Contemporary Percussion Music. Works by Samkopf, Sommerfeldt, Kruse, and others (Simax PSC 1065) On the Edge. John Bergamo (CMP27)

Percussions—Claviers de Lyon. Vol. 2: Rags (BNL 112733) Les Percussions de Strasbourg, Americana. Works by Cage, Varèse, and Chávez (Philips 6526 017)

Onomatopoeia. Music of Nigel Westlake (Tall Poppies TP047)

Les Percussions de Strasbourg. Works by Amy and HabenstockRamati (Philips 6526 019)

Open-Closed-Open American Contest Solos for Snare Drum. Standard works played by Guy Gauthreaux, III (PPO 416)

Les Percussions de Strasbourg. Work by Boucourechliev (Philips 6526 001)

The Other Side of This. Airto Moreira, Flora Purim, and friends (Rykodisc RCD 10207)

Les Percussions de Strasbourg, East Meets West. Works by Scherchen, Louvier, and Aperghis (Philips 6521 030)

Over the Moon. Michael Udow, percussionist and composer, plays his music (EQ 50)

Les Percussions de Strasbourg, Miroglio: Extensions 2 (Philips 6521 031)

Pan for the People. Steel orchestras of Trinidad and Tobago and Switzerland—two CDs (Sanch CD 0202-2A and 2B) PercaCu—Works for Percussion and Marimba. Adi Morag and Tomer Yariv play Pape, Westlake, Torchinsky, and others (JMC-CD-124: www.jmc.co.il) Percussion. Sylvio Gualda, percussion; works by Constant and Stockhausen (Erato STU 70603) Percussion, Vol. 2. Sylvio Gualda, percussion; works by Carter, Xenakis, and Dao (Erato STU 71106) Percussion by William Kraft. William Kraft, cond.; Barry Silverman and members of the Los Angeles Philharmonic (Crystal S104) Percussion from Denmark. Bent Lylloff; works by Varèse, Lylloff, and Norgaard (Cambridge CC 2824) Percussion Group Cincinnati. The group plays Cage, Peck, Beukes, Qu, Coleman, and Chilean classics (ars moderno 01) Percussion Group Den Haag: Irony. Percussion group The Hague plays Cage, Donatoni, Kondo, Ford, Reich, and Huber (Globe Glo 5086) Percussion Group Den Haag: Skin Hits. Percussion group The Hague plays Ford, Ishii, Xenakis, and music of Senegal (Globe Glo 5066) Percussion Group Den Haag: The Wooden Branch. Percussion group The Hague plays Cage, Tsubonoh, Ford, Smith, and Timbilamusic (Globe Glo 5072) Percussion Masterworks Series Vol. I—Multiple Percussion. Randy Rudolph and Guy Gauthreaux play Kraft, Tagawa, Payson, Hollinden, and Delancy (PPO 119) Percussion Music. New Jersey Percussion Ensemble plays Varèse, Colgrass, Cowell, Saperstein, and Wuorinen (Elecktra/ Nonesuch 979150-2) Percussion Music of David Maslanka. Robert Hohner and the Central Michigan University Percussion Ensemble (Albany TROY 190)

Les Percussions de Strasbourg. Works by Kabelac and Ohana (Philips 836.990 DSY) Les Percussions de Strasbourg. Works by Kabelac, Ohana Taïra, Varese, Xenakis, and others—two CD box set (Philips 442 218-2) Les Percussions de Strasbourg. Works by Seroki, Silvestrov, and Puig (Philips, 836.992 DSY) Les Percussions de Strasbourg, Signals. Works by Stibilj, Shinohara, and Schat (Mercury/Limelight LS 96064) Les Percussions de Strasbourg. Music of Xenakis (Philips 6521 020) Les Percussions de Strasbourg. Strasbourg plays Táira, Xenakis, Ohana, Kobelec, and others (Philips 442 218-2) Karlheinz Stockhausen Complete Early Percussion Works. red fish blue fish, Steven Schick; two-CD set or DVD (mode 274) Percussive Rotterdam. Music of James Wood with Robert Van Sice (Mode 51) Perkin’ at Merkin. Michael Pugliese plays Cage, Xenakis, Feldman, Nørgård, and others (Mode 25) Pictures for Percussion. Polyrhythmia plays music of Siegfried Fink (Thorofon CTH 2169) Planet Drum. Mickey Hart and friends, companion to the book (Ryko RACD 0206) A Poet in New York. New Percussion Group of Amsterdam (WCCD 6055 3194-1) Polish Percussion Works. Warsaw Percussion Group plays Serocki, Ptaszynska, Rudzinski, and others (Olympia OCD324) Janis Potter—Variations in Blue. Potter plays Brahms, Gershwin, and Mendelssohn (MAR-002) Janis Potter—Marimba Tracks. Potter plays Bach, Tower, Ewazen, Ravel, and Villa-Lobos (JUMP Recordings MAR-001) Pulse. New Music Consort plays Cage, Cowell, Foss, Sollberger, and Cage/Harrison (New World Records 80405-2) Ramana. Glen Velez plays hand drums and more (Music of the World CDH-307)

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.



Or ch e st ral E xce rpt s fo r Pe rcu s s i o n a nd D i s c o g r a p hy o f P er c us s i o n M us i c

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Rank. The Global Percussion Network plays music of Anders Åstrand and improvise (Opus 3 CD 22011)

Self Portrait. Kjell Samkopf plays original works (Herma HCD 2906)

Steve Reich: Drumming. Steve Reich Musicians play Drumming Parts I–IV (Elecktra/Nonesuch 97 9170-2)

Slendor Beams: Percussion Music of David Hollinden. Performed by Andrew Spencer (Gagliano GR 747-CD)

Steve Reich: Drumming, Music for Mallet Instruments, Voices, and Organ, Six Pianos. Steve Reich Musicians (Deutsche Grammophon 2740 106)

Shadow Box. Works by Denis Lorrain and Chan Ka Nin for percussion (Centerdiscs CMC-CD3288)

Steve Reich: Drumming, Sextet, Six Marimbas. Steve Reich Musicians (DDD 979170-2) Steve Reich: Music for Mallet Instruments. Amadinda Percussion Group plays Reich (Hungaroton HCD 31350) Steve Reich: Nagoya Marimbas. Bob Becker, James Preiss, and others (Nonesuch 79430-2) Steve Reich: Sextet, Six Marimbas. Steve Reich Musicians (Nonesuch D100520) Répercussion. (Croissant CRO-2001) Répercussion, Fantaisies Classiques. Canadian Ensemble’s arrangements of classics (ATMA-29719)

Shadow Music of Tunjuk—Two Generations of Tunjuk Musicians (CFWM 9001-2 www.centerforworldmusic.org) Sketches. University of North Carolina Percussion Ensemble plays Parker, Marek, Long, and Grassano (C. Alan Publications 60) Nicolas Slonimsky, History Making Premieres. Original recording Varèse: Ionisation (Orion ORD 7150) Paul Smadbeck, Music for Marimba. Smadbeck plays Smadbeck, Bach, and Yuyama (Mallet Arts M-101) The Solo Percussionist. Music of William Cahn (Nexus 10339) Solo Work of Dan Asia. Paul Fadoul plays Asia’s Marimba Music (Summit Records DCD 422)

Emil Richards with the Jazz Knights (ERM-CD002)

Sonata for Two Pianos and Percussion. The Bartok classics: Sonata and concerto version, Sylvio Gualda and Jean-Pierre Drouet (CDC7 47446 2)

Max Roach and the Boston Percussion Ensemble. Harold Farberman, cond. (Mercury MG 36144)

Songs by the River—Rogosanti. Music of James Wood for percussion and voices (Continuum CCD 1037)

Ney Rosauro—Brazilian Music for Percussion Ensemble. Rosauro plays his compositions (Pro Percussão CD-01)

Soundscapes. Mayami Hama, marimbist, plays Abe, Miki, and others (EQ 33)

Ney Rosauro in Concert—Works and Concertos. Rosauro plays his compositions (Pro Percussão CD-02)

Sound Space of Percussion: Eclogue. Sumite Yoshihara plays Reich, Noda, Ishii, and Kako (Camerata 32CM-6)

Ney Rosauro—Rapsódia. Rosauro plays his compositions (Solo CD 115-001)

Julie Spencer: Ask. Spencer’s first solo album of original compositions (Interworld CD-20002)

Ruffles and Flourishes. Eastman Wind Ensemble (Mercury SRI 75035)

Julie Spencer: Changes Inside. Spencer and Gernot Blume play original compositions (SBP CD 001-29)

Emil Richards Calamari: Live Jazz at Rocco’s (ERM-CD001)

The Rhythm of the Saints. Paul Simon, Uakti, and friends (Warner Bros. 9 260098-2) Safri Duo: Bach—English and French Suites. Duo plays three Bach suites (Chandos 9339) Safri Duo: Works for Percussion. Duo plays Koppel, Nørgård, Mike, Pape, and Fuzzy (Chandos 9330). Also see www.safriduo .com for Uffe Savery and Morten Friis’ unique blend of pop, techno, and trance to produce their current chart-topping dance music CDs. Pandit Sharda Sahai, Tabla Virtuoso (Xylomusic, WRC1-3045) Ed Saindon: Key Play. Saindon, vibes; Kenny Werner, piano (www .edsaindon.com) Ed Saindon: Swing on the Sunnyside (AL 73068) Dave Samuels: Del Sol. (GRP GRD-9696) Dave Samuels: Natural Selection. (GRP GRD-9656) Dave Samuels: Fountainhead. Samuels, marimba and vibes, and Andy LaVerne, piano (SteepleChase SCCD 31261) Steven Schick: Bang on a Can-Industry. Schick plays Lang, with other selections (Sony SK 66483) Steven Schick: Born to Be Wild. Schick plays Lang, Globokar, Wuorinen, Xenakis, Ferneyhough, and Kay (NPD85566) Steven Schick: Drumming in the Dark. Schick plays Saariacho, Ferheyhough, and Xenakis (Sony 450-100)

Julie Spencer: Lost and Found. Gernot Blume and Spencer play original compositions (SBP CD 002) The Spirit of ’76: Music for Fifes and Drums. Frederick Fennell, cond., Eastman Wind Ensemble (Mercury SRI 75048) Kai Stengaard: Ballet in Dark. Stengaard plays original Danish marimba works (Marim Percussion MAPE100) Kai Stengaard: Marimba Classic. Stengaard plays Bach, Tchaikovsky, and Albenez (Danacord-DACOCD 309) Leigh Howard Stevens: Bach on Marimba. Howard Steven’s awardwinning CD of Bach transcriptions (Music Masters MMD 60 124F) Leigh Howard Stevens: Marimba When . . . (Albums for the Young). Howard Stevens plays Debussy, Tchaikovsky, and others (Delos DE3142) Stick Attack. Percussion Art Quartet plays Cage, Miki, Fink, and Rosauro (Capella/Thorofon CTH 2113) Karlheinz Stockhausen. Christoph Caskell plays Kontakte and Refrains (Candide CE 31022) Karlheinz Stockhausen. Christoph Caskell plays Zyklus (Mainstream MS 5003) Stoicheia. Music of James Wood with Steven Schick and Wood Soloists (Wergo WER 6194-2)

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Gordon Stout: Astral Projections. Stout plays his own compositions and Marcellino (Resonator Records 00042; Marimba Productions, Inc.) Gordon Stout: Music for Solo Marimba. LP; Stout plays Bach, Musser, Stout, and others (Studio 4 Productions S4P-R100) Gordon Stout: Music for Solo Marimba. Stout plays his original works plus Bach and others, on this re-released CD (Stout and Ithaca College 14850) Gordon Stout II LP (Studio 4 Productions, S4P-R102) Summer Prayer. Yasukazu Amemiya plays Amemiya and Feldman (RCA RVC-2154) Synergy-Matsuri. Synergy play their works with Riley Kelly Lee (Celestial Harmonies 13081-2) Synergy Percussion. Synergy plays Askill, Westlake, WestleySmith, Cage, and Kos (Voxaustralis VAST 001-2) Michiko Takahashi: Contrabass Marimba Explosion. Takahashi plays a 7 octave marimba (CBS/Sony 32D 5027) Talking Drums. Siegfried Fink, Percussion Ensemble (Thorofon MTH 124) Tambuco Percussion Ensemble. The group plays Nisimura, Takemitsu, Abe, and others (Quindecium QP-005) Tambuco—Ritmicas. The group plays Roldán, Qjeda, Mike, and Fitkin (Doran DOR-90245) Liam Teague—Emotions of Steel. Teague playing virtuoso steel pan (ERP 9603) Liam Teague—Hands Like Lightning. Teague playing virtuoso steel pan (ERP 9301) Liam Teague—Pan Virtuoso Impressions. Teague playing virtuoso steel pan (ERP 1298) Liam Teague—T ’n T. Teague playing virtuoso steel pan (SACK SAC 0001) Liam Teague & Robert Chappell—For Lack of Better Words. Teague on steel pan and Chappell on percussion and piano (Rhythmic Union 4867) Tempus Fugit Percussion Ensemble. Music of Dietz, Becker, Rouse, and Knox (FYCD-0001-2) Loris Tjeknavorian, Requiem for the Massacred. London Percussion Virtuosi (Unicorn RHs 344)

Virtuoso Kettledrums Concertos. Works by Hertel, Thärichen, and Prin (Koch CD 311 052H1) The Virtuoso Marimba. Rainer Kuisma (Grammofon AB BIS LP-149) Virtuoso Percussion Music. Rainer Kuisma plays Milhaud, Fissinger, Sibelius, and more (BIS-CD-149) Werke für Marimba Solo. Christian Roderburg plays Abe, Stout, Ranta, Sukegawa, and Fujita (Koch 3-1169-2) Bernard Woma—The Flow of Time. Woma and others (www .bernardwoma.com) Bernard Woma— In Concert. Traditional music of the Dagara people (Jumbie-JMB 001) Works for Percussion. Gary France plays Schultz, Applebaum, Frampton, and others (Sunset SMACD08) The World of Harry Partch (Columbia MS 7207) The World of Marimba. Gilman Goulart plays Abe, Rosauro, Deane, Ewazen, and Thomas (TAL 006) Charles Wuorinen, Percussion Symphony. New Jersey Percussion Ensemble (Nonesuch H-71353) Charles Wuorinen, Ringing Changes. New Jersey Percussion Ensemble (Nonesuch H-71263) Xenakis : Percussion Works. red fish blue fish, Steven Schick; three CDs (mode 170/73) Xenakis: Pléiades & Ishii—Concertanta Op. 79. Les Percussion de Strasbourg and Keiko Abe (Denon 81757 3678 2) Xenakis: Pléiades & Psappha. Kroumata Percussion Ensemble and Gert Mortensen (BIS-CD-482) The Xylophone Genius of George Hamilton Green. G. H. Green (Conservatory Recording Inc. 7101 M) Stomu Yamash’ta, Red Buddha. Stomu Yamash’ta (Barclay 920 376) Stomu Yamash’ta. Works by Henze, Takemitsu, and Davies (L’Oiseau-Lyre DSLO 1) Mika Yoshida—Marimba Phase. Yoshida plays Reich, Hartenberger, Cahn, Gomez, and others (MSM60108) Mika Yoshida—Mitsue. Yoshida plays Wyre, Becker, Yuyama and others (LMCD-1573)

Twentieth Century Percussion Music. Tristan Fry; works by Jones, Brindle, Stockhausen, and others (EMI CFP 40207)

Nancy Zeltsman: Pedro & Olga Learn to Dance. Zeltsman and Jack Van Geen play Thomas, Debussy, Oboe Lee, Barber, and others (Van Geem/Zeltsman)

Robert Van Sice: Crystals of the Zodiac. Van Sice plays music of Alexander Kandov (Etcetera KTC 1113)

Nancy Zeltsman: See Ya Thursday. Zeltsman plays Séjourné, Beethoven, Mackey, Schuller, Lansky, and Bernstein (EQ 29)

Robert Van Sice: Japanese Music for Marimba. Van Sice plays Miki, Takemitsu, Sueyoshi, and Niimi (Etcetera KTC1143)

Nancy Zeltsman: Woodcuts. Zeltsman plays Thomas, Piazzolla, Aldridge, Levita, and her own transcriptions (GM 2043CD)

Robert Van Sice: Three Marimba Concertos. Van Sice plays Hovhaness, Klatzow, and Nuyts (Etecetera KTC 1085)

Nebojsa Zivkovic: Castle of the Mad King. Zivkovic plays his own compositions and others (BIS CD 1098)

Varèse, Ionisation. Nicholas Slonimsky conducting in 1933 (Symposium Records 1253)

Nebojsa Zivkovic: Generally Spoken . . . Zivkovic plays his own compositions and others (Bayer BR150006CD)

Varèse. Pierre Boulez, cond., New York Philharmonic; Ionisation and other works (Columbia MS 34552)

Nebojsa Zivkovic: Marimba & Percussion Solo. Zivkovic plays Tanaka, Miki, Shostakovich, and Zivkovic (CAD D 878-8)

Varèse. Robert Craft, cond., Ionisation and others (Columbia MS 6146)

Nebojsa Zivkovic: Uneven Souls. Zivkovic plays his original compositions (Top-drum records tdr-cd 01)

Varèse. Zubin Mehta, cond., Los Angeles Percussion Ensemble; Ionisation (London CS 6752)

Zyklus, Kontakte, Refrain. Classic works by Karlheinz Stockhausen (Accord 202742)

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Select Percussion Solo and Ensemble Music n CONTENTS Table B.1 Percussion Ensembles Collections Duos Duet Collections Trios Quartets Quintets Sextets Septets Octets Nine or More Players Table B.2 Keyboard Duos/Duets Table B.3 Keyboard Ensembles Table B.4 Keyboard in Chamber Ensembles with Other Instruments or Voice Table B.5 Keyboard Solos with Band/Wind Ensemble Table B.6 Keyboard Solos with Orchestra Table B.7 Percussion in Chamber Ensembles with Other Instruments or Voice Table B.8 Percussion Solos with Band/Wind Ensemble Table B.9 Percussion Solos with Orchestra Table B.10 Timpani in Chamber Ensembles with Other Instruments or Voice Table B.11 Timpani Solos with Band/Wind Ensemble Table B.12 Timpani Solos with Orchestra

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and ensemble titles listed in Tables B.1 to B.12 represent only a small selection of music from the vast amount of literature available. Also see “Solo Music” listings at the end of Chapter 2, “Snare Drum,” Chapter 3, “Multiple Percussion,” Chapter 4, “Keyboard Percussion,” Chapter 5, “Timpani,” and Chapter 8, “Multiple-Percussion Drum Set Solos.” Compositions listed are significant and quality works in today’s percussion literature, both pedagogically and musically. THE PERCUSSION SOLO

481 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Since Teaching Percussion first appeared in 1988, the second edition in 1997, and the third edition in 2006, the Internet has made accessing percussion solo and ensemble music quick and easy, and offers more details on compositions than mere listings. The Appendix B repertoire in the first three editions of Teaching Percussion was compiled from the author’s knowledge and experience, and by perusing programs, catalogues, websites, performances and the like and listing them in the appendix. Rather than just adding to the extant listing, this Enhanced 3rd Edition references extensive Internet resources for new solo and ensemble repertoire. Many resources are annotated or reviewed, and contain audio and video samples, as well as score samples. These resources are intended to provide ongoing access to the constantly growing and changing percussion repertoire. YouTube videos have become the default resource for percussion performances and literature. A YouTube search for any artist, group, or composer will yield a plethora of videos and audio recordings. However, discretion is advised, as the quality of many performances may be an issue, as well as video quality. One resource that is addressing the YouTube quality issue is Vic Firth’s “Marimba Solo Library” (http://vicfirth.com/marimba-literature-library/). As stated on the webpage, they have polled their “College Education Team to find the top 100 pieces that make up a ‘standard’ list of what most high school & early college age marimbists will encounter, and we set out to record them with some of the most talented young percussionists in the country.” Currently posting 22 videos, this promises to be a great ongoing resource for quality works and performances. Subscribing to the YouTube channels of reputable percussionists and instructors— such as Julia Ganes (http://www.marimbalevels.com), Tom Burritt (http://www .thomasburritt.com), and Casey Cangelosi (http://caseycangelosi.com)—can assure high quality instruction and performances. Most major percussion ensembles have websites listing their repertoire, recordings, and YouTube videos, as well as links to others (such as Percussion Group Cincinnati—http:// www.pgcinfo.com/PGC.html; Nexus—www.nexuspercussion.com; So Percussion— http://sopercussion.com; Third Cost Percussion—www.thirdcoastpercussion.com; Amadinda—www.amadinda.com; Maraca2—http://www.maraca2.com; Meehan/Perkins Duo—http://www.mpduo.com; and others). All major percussion artists have websites listing their repertoire, recordings, links and YouTube videos (such as Evelyn Glennie—www.evelyn.co.uk; Anders Åstrand—www.andersastrand.com; Nebojsa Zivkovic—www.zivkovic.de; and Nancy Zeltsman—www.nancyzeltsman.com). Many major artists and percussion groups have their recordings available on iTunes. An Internet search can find nearly any composer, with listings of their compositions (such as Michael Colgrass—www.michaelcolgrass.com; Michael Udow—http:// michaeludow.com/music-micheal-udow/; G. Bradley Bodine—www.gbradleybodine .com; Emmanuel Séjourné—www.emmanuelsejourne.com; and Casey Cangelosi— http://www.caseycangelosi.com). Websites for various mail order percussion suppliers (for example, www .steveweissmusic.com, www.lonestarpercussion.com, www.percussion-music.com, and www.pmeurope.com) and the many publishers of percussion music listed below are excellent sources for most published works. (Steve Weiss Music alone lists over 3,300 percussion ensembles.) The International Association of Music Information Centres (http://www.iamic.net) lists contact information for 42 Music Information Centers in 36 countries around the world, and most have music catalogs on their websites (for example, Australian Music Centre: www.amcoz.com.au; Canadian Music Centre: www .musiccentre.ca; and Donemus:www.donemus.nl) and links to countless other resources for music. The International Society for Contemporary Music (www.iscm.org) has a link to “Publishers, Recordings, Stores” that displays numerous sources around the world easily accessed through the Internet. Similarly, the Music Publishers’ Association of the United States (www.mpa.org/agency/publishers.html) lists publishers and copyright imprints with webpages and e-mails worldwide.

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An excellent resource for old and new percussion solos and ensembles is the Percussive Arts Society’s (PAS) online “Composition Research” resource at www.pas .org. Thousands of reviews of New Percussion Literature and Recordings from the PAS publication Percussive Notes are available under “Resources”— “Composition Research.” Here PAS members can search “Literature Reviews,” “Programs,” or “Recordings and Videos Reviews” by “title,” “author/composer,” or “keywords” or search compositions by sixteen “categories” and seven difficulty “levels.” The entries under “Literature Reviews” comprise the largest reviewed library of percussion literature available at one site in the world. The entries under “Programs” lists solo or ensemble programs and can be searched with “title,” “composer/performer,” “keywords,” “program type,” “performance year,” state,” and “country.” All entries are integrated with “Programs” and the “Siwe Guide to Solo and Ensemble Percussion Literature” databases and may be searched separately. PAS also has an interesting listing of their Composition Contest Winners for percussion ensembles, dating from 1974 to 2016 (http://www.pas.org/resources/pas -opportunities/contests-competitions/compositioncontest/ensemblewinners.aspx/). For more information, go to www.pas.org to become a member, and then log in to http:// www.pas.org/resources/ research/ResearchCompos.aspx. The Percussive Arts Society also has free-access links, under “Resources”— “Education,” to five volumes of The PAS Educators’ Companion (2015–2017) containing articles written by members of the PAS Education Committee, and The PAS Percussion Compendium, Vol. 1 (2016) edited by Rebecca McDaniel and Dan McGuire. Volume 5, especially, of The PAS Educators’ Companion has excellent articles on percussion ensemble by Josh Gottry and Jeffrey Barudin (http://www.pas.org/docs/default-source /default-document-library/pas-ed-companion-vol5-s17-final-draft.pdf?sfvrsn=2). The PAS Percussion Compendium, Vol. 1, 2016 is a fabulous resource containing an annotated listing of 32 percussion ensembles with categories: composer, composition, historical perspective, technical considerations, stylistic considerations, instrument (equipment) needs, suggested listening, and publisher. It also includes three articles, one on “How to Prepare a Score for Percussion Ensemble” (http://www.pas.org/docs /default-source/default-document-library/percussioncompendiumvol1.pdf?sfvrsn=2). Other sources and compilations of percussion solo and ensemble compositions are listed below with brief annotations. The best way for percussionists and educators to identify quality works for percussion is to network with friends and colleagues. The “PAS Network” (community.pas.org/home), blogs, and PAS State Chapters (http://www.pas .org/community/get-involved/chapters) with their Days of Percussion have, for years, been resources and places for connecting and sharing information with like-minded percussionists. Many Facebook and other social media groups are a constant resource for asking questions and viewing information about anything musical (and otherwise) around the globe. In addition to perusing scores, recordings, and performances online, as discussed above, attend live concerts whenever possible to support the performers, and hear and see new compositions. The annual PAS International Convention (PASIC) affords incredible opportunities to hear concerts and clinics of music for all levels, as well as to be inspired by the finest artists in the profession and products. The “New Music Reading Session” presents performances of several percussion ensembles, with annotated notes. And, there is no better way to network than by experiencing a PASIC. Third Coast Percussion: Selected Works for Grade School Percussion Ensemble (http://thirdcoastpercussion.tumblr.com/post/1573119404/tcps-recommended-list-of -repertoire-for-middle/). Works are listed alphabetically by composer, with difficulty graded 1 to 5. Each work is annotated with number of players, instrumentation, time duration, grade, and brief description. Some grade 5 works would be challenging for grade school and suitable for middle school, high school, or even early college (for example, Harrison/Cage Double Music and Song of Queztecoatl; Rouse Ogoun and Ku-ku). Very good list of standard works, 9 pages, 12/21/09.

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Middle School/High School Percussion Ensemble Repertoire List, contributing educators: Julie Hill, Dan McGuire, Carlos Johnson, and Jason Walshby; compiled by Joshua Spaulding. Handout at PASIC’12 and download: https://www.utm.edu /departments/percussion/ under “Related Links”—JR/SR High Suggested Percussion Ens. Repertoire. This Excel file lists over 300 percussion ensembles by composer /arranger, title, publisher, number of players, and instruments. Great reference for information on known compositions. World Music Percussion Ensemble Literature by B. Michael Williams, handout at PASIC ’05. Download on Williams’ website: http://bmichaelwilliams.com/portfolio/. An excellent listing of works for percussion ensemble “representing a variety of world music influences. Many are based on authentic indigenous music, while others borrow freely in matters of rhythm, style, modality, or instrumentation.” Listing includes composer, title, and number of players. Categories are, Contemporary Percussion Ensemble with world influences: Indonesian or Asian; African; Afro-Latin, Cuban, Brazilian; Mixed or Other; Traditional Works for Marimba Ensemble and reference materials on African Drumming. Recommended Percussion Ensemble Literature: Montana PAS – MMEA, October 21, 2011: (http://bandmasters.net/PercEnsLit.pdf). This eighteen-page free download lists a nice variety of percussion ensembles by title, composer/arranger, standard 1 to 5 grade level, publisher, and specifications/instrumentation. This is a very good detailed reference. The following are highly recommended examples of downloads and articles from the PAS publication Percussion Notes (PN) and PASIC Focus Day programs (PAS membership required): “Focus Day 2002, Percussion Ensemble Retrospective Celebration” by Eugene Novotney, PAS download article PN Vol. 40, No. 5, October 2002, pp. 58–60 “New Percussion Ensemble Literature” by Mark Ford, PAS download article PN Vol. 39, No. 2, April 2001, pp. 33–39 “Percussion Ensemble Music Recommendations” by Mark Ford, PAS download article PN, Vol. 39, No. 3, June 2001, pp. 40–43 “Choices: Researching Percussion Ensemble Literature” by Lisa Rogers, PAS download article PN Vol. 42, No. 6, December 2004, pp. 64–68 “David Maslanka’s Works for Percussion Ensemble” by Molly Cryderman-Weber, PAS download article PN Vol. 48, No. 2, March 2010, pp. 4–14 “A Survey of Percussion Ensemble Programming” by Gene Fambrough, PAS download article PN Vol. 48, No. 3, May 2012, pp. 17–19 “PASIC Percussion Ensembles: A Historical Overview” by Scott Cameron, PAS download article PN Vol. 44, No. 2, April 2006, pp. 54–64 PASIC 2012 Focus Day program titled: Thank you John Cage for Everything. Program contains Cage’s “Autobiographical Statement” (1990), “Zen and the Art of Noise,” and “29 Quotes from Cage” along with annotated program selections performed on Focus Day 2012. http://www.pas.org/docs/default-source/pasic-archives/PASIC2012FocusDay Program.pdf?sfvrsn=0 PASIC 2011 PAS 50th Anniversary Focus Day program titled: Five Decades of New Music for Percussion: 1961 to 2011. The program lists over thirty compositions with annotations from 50 years of multiple percussion, keyboard, and percussion ensemble literature. http://www.pas.org/docs/default-source/pasic-archives/ FocusDay11Program .pdf? sfvrsn=0

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Another excellent source for percussion ensemble repertoire are respected University Percussion Department websites. Two recommended programs are: University of Kentucky, James Campbell director. An excellent download of percussion ensembles programs since 1985 includes personnel, soloist(s), compositions and dates, and many composers’ dates. Outstanding resource: http://finearts .uky.edu/sites/default/files/Uploads/Documents/UKPercussion_Past_ Performances_5-24-16.pdf/. University of Central Florida, Jeffrey Moore and Thad Andersen directors. Downloads of individual UCF Percussion Ensemble concert programs from 1994 to 2013: http://music.cah.ucf.edu/percussion.php/. Percussion Music Online lists 85 pages of Percussion Ensemble compositions at http://www.percussionmusiconline.com/percussion-ensemble.chtml/. The listing categories are title, composer, publisher, difficulty, and category genre, and many with mp3s and videos. They also have a great Facebook page: Jump Into…. Two examples of the many publishing companies that provide several details about percussion ensemble and solo compositions are: Tapspace: www.tapspace.com/ and HoneyRock Publishing: http://www.honeyrock.net/. Very attractive websites with good descriptions of each work and style, instrumentation, number of players, graded level by easy to advanced and junior high, high school, adv. high school, college—most are high school/college. Video and/or sound samples on many, several with score samples and download versions. HoneyRock has a separate listing for PAS Composition Contest winners including PAS Italy; www.honeyrock.net/winners.htm. As mentioned above, websites of publishers are fine resources for current and new materials. Several recommended websites are listed below. More and more publishers are cataloguing pieces by title, composer, number of players, difficulty, instrumentation, with soloist(s), etc. to aid in searching for works. They are providing audio and/or video samples, score or page samples, and downloadable music, which gives the percussionist more detailed information about the work than ever before. (Note: Warner Bros. Music was acquired by Alfred Music Publishing Co., Keyboard Percussion Publications [http://www.mostlymarimba.com] acquired Studio 4 Publications from Alfred Music Publishing Co., and Row-Loff Productions acquired Drop6 Media, Inc. and Earl Hatch Publications.) University and city music libraries are also excellent sources for detailed listings of percussion music in many categories. Also see website listings in Chapter 7 for steel drum and world percussion music, Chapter 9 for marching percussion ensemble and features, and “Percussion Ensemble Collections” under “Percussion Method Books” at the end of Chapter 1. C. Alan Publications; includes OU Percussion Press: www .c-alanpublications.com Alfred Music Publishing Co.: www.alfred.com American Composers Alliance (ACA): www.composers.com ARC Music: www.arcmusic.co.uk Australian Music Centre: www.amcoz.com.au Anders Åstrand: www.andersastrand.com and GPN Publishing Bacovich Music Publications: www.bacovich.com C. L. Barnhouse: www.barnhouse.com G. Bradley Bodine: www.gbradleybodine.com Carl Fischer Music: www.carlfischer.com Canadian Music Centre: www.musiccentre.ca

Michael Colgrass: www.michaelcolgrass.com/index.php Curving Walkway Publications: www.curvingwalkway.com Donemus: www.donemus.nl Drop6 Media, Inc. now Row-Loff Productions: www.rowloff.com Editions BIM: www.editions-bim.com Equilibrium: michaeludow.com Carl Fischer: www.carlfischer.com Fleisher Free Library of Philadephia: www.library.phila.gov Galaxy Music Corp: see E.C. Schirmer Gertel Verlag: www.gretel-verlag.de Global Percussion Network (GPN) Publishing: www .andersastrand.com

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Appe n dix B Music for Percussion: c/o Colla Voce Music, www.collavoce.com

HaMaP Percussion Publications: www.hamarpercussion.com Hands On’Semble: handsonsemble.com

Music Publishers’ Association: www.mpa.org/agency /publishers.html

Earl Hatch Publications (EHP), now Row-Loff Productions: www .rowloff.com

Nexus: www.nexuspercussion.com

Murray Houllif: www.murrayhoullif.homestead.com HoneyRock Publications: www.honeyrock.net

Nonsequitur Music: www.nonsequiturmusic.com (music of Bruce Hamilton) OU Percussion Press: www.c-alanpublications.com

Ineke Wulf Verlag: www.ineke-wulf-verlag.de

Percussion Music: www.percussion-music.com

International Association of Music Information Centres: www .iamic.net Innovative Percussion: www.innovativepercussion.com William James Percussion: www.williamjamespercussion.com Jerona Music Corp: www.musicassociatesofamerica.com/roster /jerona/jerona.html

Percussion Music Europe: www.pmeurope.com PercussionMusicOnline: www.percussionmusiconline.com Percussive Arts Society: www.pas.org PerMus Percussion Publications: www.permus.com RAWI Percussion Publications: www.percussion-rawi.com

Kendor Music, Inc.: www.kendormusic.com/store/index.php

Row-Loff Productions: www.rowloff.com

Keyboard Percussion Publications: www.mostlymarimba.com

Safri Duo: www.safriduo.com

Rob Knopper Percussion: www.robknopper.com

E.C. Schirmer: www.ecspublishing.com

Alphonse Leduc: www.alphonseleduc.com/en/

G. Schirmer: www.schirmer.com

Ludwig Music: www.ludwigmusic.com

Emmanuel Séjourné: www.emmanuelsejourne.com

Hal Leonard: www.halleonard.com (Distributor for Berklee Press, Centerstream, Cherry Lane Music, de haske, Hudson Music, Rebeats, Meredith Music Publications, which includes OU Percussion Press, Lang Percussion, UMMP, Paul Price Publications, and others)

Smith Publications & SonicArts Editions: www.smithpublications.com

International Society for Contemporary Music: www.iscm.org

Tapspace Publications: www.tapspace.com

Stanley Leonard: www.stanleyleonard.com

Warner Bros. Music: now www.alfred.com

MalletWorks Music: www.malletworks.com

Windsor Music Publications: www.steveweissmusic.com

Marimba Music: www.marimba.org

Steve Weiss Music: www.steveweissmusic.com

Media Press: www.mediapressinc.com

Xylomusic: www.nexuspercussion.com and www .mostlymarimba.com

Meredith Music Publications: distributed by Hal Leonard: www .meredithmusic.com

Somers Music Publications: somersmusic.com Southern Music: southernmusic.com/?sfid=136&s=percussion

Nebojsa Zivkovic: www.zivkovic.de

Works are graded roughly as follows: (E) Elementary, within the first year of study; (I) Intermediate, within a second to third year of study; (A) Advanced, within the fourth year or more of study—usually appropriate to large high school or college-level work. T A B L E B . 1   Percussion Ensembles

(Also see specific percussion literature publishers’ websites, such as Keyboard Percussion Publications, HoneyRock, C. Alan Publications, GPN Publishing, Row-Loff Productions/Drop6 Media, Tapspace, Bachovich Music Publishing, MalletWorks Music, and others.) Collections Composer/Arranger Title/Level Aukofer and Lipner Bergamo, Grueschow, Gloss, et al. Brown Brown/Musser Brooks, Campbell, Cockrell, Davila, et al.

Publisher/Source

Styles and Smiles (E) MalletWorks Music Hands On’Semble Songbook (I–A) Hands On’Semble Drum Fun (E) Kendor Percussion Studies (E–I) Kendor Groovesicles [for 6 perc.] (E–I) Row-Loff Productions

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Composer/Arranger Title/Level Brooks, Campbell, Cockrell, Davila, et al. Cirone Cirone Feldstein Fink, S. Grimo & Snider Lantz Les Percussions des Strasbourg

Publisher/Source

Rhythmsicles [for 6 perc.] (E–I) Row-Loff Productions The Orchestral Snare Drummer; Mallet Player; Timpanist (E–I) Warner Bros. Simple Steps to Percussion Ensemble (E–I) Warner Bros. Breeze-Easy Percussion Ensembles (E) Warner Bros. 12 Easy Studies for Percussion Quartet (E) Simrock Percussion Section Techniques [with tape] (E–A) Meredith Music Percussion Rocks (E) Warner Bros. Percustra, Books I & II (E–I) Leduc Duos

Composer/Arranger Title/Level

Publisher/Source

Austin Designs with Refrain (A) ACA Barlow Ta’maral’ailen (A) Cydar Publishing Bartók Sonata for 2 Pianos and Percussion (A) Boosey & Hawkes Bus Back to Square One (A) Donemus Seventh Heaven (A) Warner Bros. Chaffee Cirone Double Concerto for Two Percussion Warner Bros.   and Orchestra [piano red.] (A) Music for a Summer Evening, C. F. Peters Crumb   Makrokosmos No. 3 [+ 2 pianos] (A) A La Manière De, No. 7 [w/piano] (I) Leduc Delecluse Griffith Plagal Alterations for Timpani and Percussion (A) Theodore Presser Surface Tensions (A) C. Alan Publications Hollinden Knaack Reflections (I) Lang/MFP Encounters VII (A) New Music West Kraft Scherzo a Due (E) WIM Kraft Leonard Duet No. 1 and No. 2 [for two timpanists] (A) Stanley Leonard Duo for Timpani (A) Windsor Music Lepak Lockwood Duets, 1974 (A) Paul Price/MFP Variations for Two Percussionists (A) ACA Lombardo Másson Tromma [perc. duo] (A) Editions BIM McCarthy Rimbadance [multi-perc., mba] (I) C. Alan Publications McCarthy Swords of Power [multi-perc. duet] (I–A) C. Alan Publications Pape CaDance (A) Samfundet March for Two Pairs of Kettledrums (I) Joseph Marx Philidor Powell Carpe Diem [2 multi-perc.] (I) Innovative Percussion Habenstock-Ramati Jeux 2 (A) Universal Edition Ed. Serry Conversations for Timpani (A) Studio 4/Alfred   Publishing Co. Serry Duet for Percussion and Keyboards (I) Studio 4/Alfred   Publishing Co. Shapey Inter-Two (A) Smith Publications Thomas Hexengeheule (Witchhowl) [timp, marimba.] (A) ACA Whaley Dialogue for Snare Drum and Timpani (I) Meredith Music Duet Collections Composer/Arranger Title/Level Adams, Aleo, Estler, LeVan Carey Colgrass Fink, S. McCormick, R. Regner/Schingerlin/Stadler

Publisher/Source

Performance Studies for Two Vol. I (I–A) HoneyRock Eight Etudes for Two Percussionists (E–A) Galaxy Music Corp. Six Allegro Duets (I–A) G. Schirmer Mini-Musik (6) (E–I) Schott 32 Duets for Percussion (I) G. Schirmer Percussion Duos (15) (E–A) Schott

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T A B L E B . 1   Continued

Composer/Arranger Title/Level Whaley Whaley

Intermediate Duets for Snare Drum (I) Recital Duets for Snare Drum [w/play-along CD] (I–A)

Publisher/Source J. R. Publications Meredith Music

Trios Composer/Arranger Title/Level

Publisher/Source

Aukofer Syncopate my Afuché (I) Studio 4/Alfred   Publishing Co. Benson Trio for Percussion (I) MFP Bolinger Precision Percussion (E) Kendor Cage Amores [+ piano] (I) C. F. Peters Cahn Six Pieces for Percussion (A) Cahn Cockarell Barnstormer (I) Row-Loff Productions DeLancey Montemalaga (I) Mitchell Peters Elias Sixty-five Years from Tomorrow (I) Opus Elias Suite for 3 Drumsets (I) Educational Ideas Ervin Three Play (I) Mitchell Peters Goldstaub Six Slick Stix Click Licks (I) Keyboard Percussion   Publications Goodman Scherzo (I) Warner Bros. Harrison In Praise of Johnny Appleseed [+ dancers] Belwin/Warner Bros. Hodkinson Drawings: Set No. 4 (A) MFP Hodkinson Drawings: Set No. 9 (A) Theodore Presser Ishii Marimba-Stük (A) Ongaku Khachaturian/Moore Sabre Dance [3–4 players] (I) PerMus Kihnel/Johnson The Old Woman, for Percussion and Narrator (I) Southern Music Kraft Trio for Percussion (I) New Music West Kowalski Rebus (A) Keyboard Percussion   Publications Levitan Variations on a Ghanaian Theme (I) Studio 4/Alfred   Publishing Co. Meyer Toccata Without Instruments (I) Kendor Meyers Prelude for Percussion (A) HaMaR Regner Six Easy Trios [coll.] (E) Schott Russell, A. Percussion Suite (A) MFP Russell. W. March Suite (I) Fleisher Lib. Schinstine Three’s a Crowd (E) Southern Music Songer Crab-Canon for Three Percussion (E) MFP Strang Percussion Music for 3 (A) Theodore Presser Quartets Composer/Arranger Title/Level

Publisher/Source

Albright Take That (A) Theodore Presser Askill Lemurian Dances [w/audio play-back] (A) Celestial Harmonies Bellson Four Stories [4 drum sets] (I) TRY Pub. Benson Three Pieces for Percussion Quartet (I) G. Schirmer Bilik Camptown Races (I) Ludwig Music Boo Quartet for Four Snare Drums (I) Studio 4/Alfred   Publishing Co. Brindle Auriga (A) C. F. Peters Brown Pattern Percussion (E) Kendor Burritt Doomsday Machine (A) Innovative Percussion Cage Double Music (A) C. F. Peters

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Composer/Arranger Title/Level

Publisher/Source

Cage Third Construction (A) C. F. Peters Cirone Triptych (A) Warner Bros. Colgrass Chamber Piece for Percussion Quartet (I) MFP Colgrass Inventions on a Motive (A) MFP Colgrass Percussion Music (I) MFP DeLancey Scherzo and Cadenza (I) Mitchell Peters Drew Metal Concert (A) Paul Price/MFP Edwards Prelude and Dragonfly Dance (A) Boosey & Hawkes Fink, S. Talking Drums (A) Edition Modern Finney Three Studies in Fours [original quartet version] (A) C. F. Peters Francois Amoresque (A) Smith Publications Glassock Wired (A) Meredith Music Goodman Dance Patterns (E) Belwin/Warner Bros. Goodman Theme and Variations (I) Belwin/Warner Bros. Habenstock-Ramati Jeux 4 (A) Universal Edition Hackmeister Bucker Brigade Quartet for Four Buckets (I) PerMus Harrison Song of Queztecoatl (A) MFP Hodkinson Imagined Quarter (A) BMI Canada Ltd. Hollinden The Whole Toy Laid Down (A) C. Alan Publications Hollinden Quartet No. 2 (A) C. Alan Publications Husa Three Dance Sketches for Percussion Quartet (A) AMP Kraft Quartet for Percussion (A) New Music West Kraft Suite for Percussion (I) New Music West Kraft Theme and Variations (A) WIM Lang the so-called laws of nature (A) Red Poppy/G.   Schirmer LeVan Beat Ballet (I) HoneyRock Luther Three Drum Quartets from Earth and the Great Weather (A) Taiga Press Lylloff Ahrus Etudes No. 1 (A), No. 3 (I), No. 4 (E) and No. 11 (A) Wilhelm Hansen Marta Doll’s House Story (A) Editio Musica   Budapest Másson Sindur (A) Editions BIM Metral Repercussion [opt. dancers] (A) Seesaw Miller Basho Songs for Soprano and Percussion (I) MFP Minnick Telemikro (I) Keyboard Percussion   Publications Muczynski Statements for Percussion (I) G. Schirmer Noon Clean Sweep [brooms] David Noon Noon Hit the Deck [playing cards] David Noon Ohana Etudes Choregraphiques (1963) (A) Schott Ostling Procession of the Gnomes (E) Belwin/Warner Bros. Ostling Suite for Percussion (E) Belwin/Warner Bros. Payson Quartet (I) MFP Peters Piece for Percussion (I) Mitchell Peters Peters Study in 5/8 for Percussion Quartet (A) Mitchell Peters Rauschenberg Discussion (I) TRY Pub. Co. Reich Drumming (A) Boosey & Hawkes Reich Mallet Quartet (A) Boosey & Hawkes Rhodes Applause (for 4 hand clappers) (I) Studio 4/Alfred   Publishing Co. Rosauro Mitos Brasileires (A) Pró Percussão/   MalletWorks Music Ross Five Dream Sequences [+ piano] (A) Boosey & Hawkes

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Composer/Arranger Title/Level

Publisher/Source

Rouse Ku-Ka-Ilimoku (A) Helicon/European   American Music Russell Three Dance Movements [w/piano] (A) C. F. Peters Russo Music for Percussion (A) Sam Fox/MFP Skidmore Echoes (I) Keyboard Percussion   Publications Spivak Quartet for Paper Bags (E) Lang/MFP Thomas Pythagoras and the Four Hammers (A) ACA Thommessen Maldoror: Kvadratspill 2 (I) Norwegian Music   Information Centre Trimble Quadraphonics, Panels VI (A) King Philip Press Tull Sonatina (I) Boosey & Hawkes Udow Bog Music (A) ACA Udow Flashback (A) Equilibrium Udow Four Movements for Percussion Quartet (A) ACA Udow Timbrack Quartet (A) ACA Van Hulse Apophthegmatatria, Op. 155 [+ 2 pianos, soprano] (A) Gary Cook Wood Village Burial With Fire (A) James Wood Whaley Etude for Percussion Quartet (I) Meredith Music Wyre Marubatoo (A) Malarkey Music Wyre Mitsue (w/Eng. horn or lead pan) (A) Malarkey Music Wiener Go Between (A) RAWI Percussion   Publications Quintets Composer/Arranger Title/Level

Publisher/Source

Becker Away Without Leave (A) Keyboard Percussion   Publications Becker Mudra [solo rudimental drum] (A) Keyboard Percussion   Publications Becker Palta [tabla (or congas or drum set) solo] (A) Keyboard Percussion   Publications Bernard Ostinato (I) Mitchell Peters Cage Imaginary Landscape #2 (A) C. F. Peters Childs Take Five (I) Theodore Presser Cirone 5 Items for Soprano and Percussion [5 perc.] (A) Belwin/Warner Bros. Cirone Japanese Impressions (I) Belwin/Warner Bros. Cirone Overture in Percussion (I) Belwin/Warner Bros. Colgrass Chamber Piece for Percussion Quintet (I) MFP Davidovsky Synchronisms No. 5 [with tape] (A) Belwin/Warner Bros. Dietz Sharpened Stick (I) Keyboard Percussion   Publications Dotson Rondo Scherzando (A) Southern Music Douglas/Udow Rock Etude #7 (I) MFP Faini Bravura (I) Accura Flagello Divertimento for Piano and Percussion [4 perc. + piano] (A) MFP Ford Head Talk (I) Innovative Percussion Gauger Gainsborough (A) Southern Music Glassock Between the Lines (A) Meredith Music   Publications Harrison Suite (A) MFP Heim Fanfare for Percussion (E) MFP Hovhaness Bacchanale (E) C. F. Peters

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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T A B L E B . 1   Continued

Composer/Arranger Title/Level

Publisher/Source

Kort Blue Rhythm Quintet (A) Paul Price/MFP Kraft Encounters VI: Concertino for Roto-toms New Music West   and Percussion Quartet (A) Krause Little Suite (E) MFP Lylloff Arhus Etude No. 2 (I), No. 7 (A), No. 8 (A) W. Hansen Miller Two Rituals (I) MFP Moran Bombardments No. 2 (A) C. F. Peters O’Reilly Three Episodes (I) G. Schirmer Peters A La Nanigo (I) Mitchell Peters Peters March of the Eagles (E) Mitchell Peters Rauschenberg What? (E) WIM Reich Music for Pieces of Wood (A) Universal Edition Ross Easy 2/4 Quintet (E) MFP Rouse Ogoun Badagris (A) Helicon/European   American Music Samkopf Ingoma (I) Norwegian Music   Information Centre Schory Baja (E) Ludwig Music Udow Two Transparent Structures (I) ACA Volz Prelude and Allegro (E) Bourne Wuorinen Invention for Percussion Quartet (A) MFP Sextets Composer/Arranger Title/Level

Publisher/Source

Abel Allegro Muchacho (E) Ludwig Music Bergamo Grand Ambulation of the Bb Zombies (I) Talamala Beyer March (A) Fleisher Lib. Bus Torso (I) Donemus Carno Sextet for Percussion (I) MFP Chávez Tambuco (A) Belwin/Warner Bros. Chávez Toccata (I) Belwin/Warner Bros. Cirone Assimilation (E) Belwin/Warner Bros. Coleman Percussion Sextet No. 1 (I) Gwyn Pub. Co. Cowell Pulse (A) MFP Damm Hoo-Daiko (I) HoneyRock DePonte Forest Rain (I) MFP Elias Suite for Tambourine and Opus   Percussion Ensemble [6–10 players] (I) Faini Fugue (I) Accura Fink, S. Marcha del Tambor, Caribbean Impression Simrock   for Percussion Ensemble (I) Fink, S. Zulu Welcome, South African Impression Simrock   for Percussion Ensemble (I) Finney Three Studies in Fours [sextet version] (A) C. F. Peters Firth Six Little Indians (E) Carl Fischer Fleck/arr. Steinquest Hurricane Camille [+ b. guitar] (A) Row-Loff Productions Gibson Of Rain and Dreams [2 flutes] (I) Keyboard Percussion   Publications Gottry Socaing West (7–9) (E–I) Gottry Percussion   Publications Habenstock-Ramati Jeux 6 (A) Universal Edition Hamilton Raptures of Undream (A) Non Sequitur Music Hodkinson Two Structures (A) MFP

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Composer/Arranger Title/Level

Publisher/Source

Hovhaness October Mountain (I) C. F. Peters Hvoslef Sextet for Flute and Percussion (A) Norwegian Music   Information Centre Jenny Pursuit [marimba solo with perc. ensemble] (I) PerMus Jolivet Ceremonial: “Hommage a Varèse” (A) Theodore Presser Kabelac Eight Inventions (A) Boosey & Hawkes Keagle Three Movements for Percussion Ensemble (A) MFP Kraft Des Imagistes [1 or 2 reciters & 6 perc.] (A) New Music West Lundquist SISU (A) Norwegian Music   Information Centre Meyer Toccata Without Instruments (I) Kendor Miller Prelude and Percussion (A) MFP Missal Hoe-Down! [+ piano] (I) MFP Nishimura Works for Percussion, Books 1 & 2 (I–A) Zen-On Music Ohana Etudes Choregraphiques für Schlagzeug (1959) (A) Schott/Belwin Peters A La Samba (I) Mitchell Peters Ponchione The Creation: A Sonic Manifestation (A) Connecticut Hill   Music Publication Raab March for Percussion (E) MFP Read Los Dioses Aztecas (A) M. M. Cole Reich Sextet (A) Boosey & Hawkes Russell Symphony for Six (A) Paul Price/MFP Samkopf Variations on a Parang Chant (I) Norwegian Music   Information Centre Serocki Continuum (A) Moeck Verlag Surinach Ritmo Jondo [+ clarinet, trumpet] (I) AMP Tilles Blue Percussion (I) Ludwig Music Wallin Stonewave (A) Norwegian Music   Information Centre Whaley Interplay (E) Meredith Music Xenakis Persephassa (A) Salabert Xenakis Pléïades (A) Salabert Septets Composer/Arranger Title/Level

Publisher/Source

Benson Streams (A) MCA Bergamo Foreign Objects (I) Talamala Bergamo Interactions for Vibraphone and Percussion (A) MFP Cage First Construction in Metal (A) C. F. Peters Colgrass Fantasy-Variations for 8 Chromatic MFP   Drums and Percussion Sextet (A) Creston Ceremonial [+ piano] (A) G. Schirmer Duckworth A Whistering (I) Smith Publications Firth Encore in Jazz (I) Carl Fischer Firth Roll-Off Rumba (I) Carl Fischer Gibbs, Burton Throb [+ rhythm section] (A) Berklee Press Gibson Preachers, Thieves and Acrobats (I) Keyboard Percussion   Publications Griffin Septet No. 2 (I) HaMaR Kelly Toccata for Marimba and Percussion ACA   Ensemble [+ celesta, piano] (A) Khachaturian/Moore Sabre Dance [3–7+ players] (I) PerMus Kim Concertino for Percussion [+ piano] (I) Mitchell Peters

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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T A B L E B . 1   Continued

Composer/Arranger Title/Level

Publisher/Source

Kivstad Kotrab (I) M. M. Cole Lacina Three Poems to Handicapped Children (A) Studio 4/Alfred   Publishing Co. Lauer Ceremonies of Old Men (A) Opus Macbride Quiet (I) Smith Publications Rosauro Japanese Overture [7–8] (I) Pró Percussão/   MalletWorks Music Schiffman Musica Battuta (I) AMP Whaley Introduction and March (I) Meredith Music Octets Composer/Arranger Title/Level

Publisher/Source

Beck Concerto for Drum Set and Percussion Ensemble (A) Kendor Beck Jazz Variants (A) Boston Music Co. Beck Overture for Percussion Ensemble (I) Kendor Benson Rondino (for hand clappers) (E) Belwin/Warner Bros. Bolinger Cade (I) Kendor Casella Technology [8–10] (I) Tapspace Publications Cirone Symphony No. 1 (A) Belwin/Warner Bros. Davila Cruzin’ Jamaica [8-12 perc.] (I) Row-Loff Productions Davis, T. Mau Mau Suite (I) Ludwig Music D’Rivera/arr. Oddis Afro [8–9 + rhythm section] (A) Drop6 Media Dutton Rondo Barock (I) Mitchell Peters Faini Fugue [6–8 players] (I) Accura Music Faini Prelude (I) Accura Music Fink, S. Conga Brazil: Brazilian Impression for Percussion Ensemble Simrock   [8–14 players] (I) Gibson Aqalani [w/opt chorus] (I) Keyboard Percussion   Publications Gottry 120 Degrees (I) C. Alan Publications Hollinden Release (A) C. Alan Publications Lambro Dance Barbaro (A) MFP Leonard Antiphonies for Two Percussion Quartets (A) Stanley Leonard Maloof The Morning of the World (A) Berklee Press Mancini Suite for Solo Drum Set and Percussion Ensemble (A) Kendor Maslanka Montana Music: Three Dances for Percussion [cb, piano] Carl Fischer Methany/arr. Ancona Methany Dream (A) Tapspace   Publications Moreira, Purim, Neto/arr. Brochochi Africa [+ rhythm section] (I) Drop6 Media Narell/arr. Rennick Calabash [+ rhythm section] (A) Drop6 Media Perry Homunculus C. F. [+ celesta, harp] (I) SMPC Peters Swords of Moda-Ling [+ piano] (A) Steve Weiss Music Reeves Pieces of Eight (I) Tapspace Publications Russell Fugue (A) Fleisher Lib. Rouse Bonham (A) Helicon Music Spears Time for Jazz (I) Southern Music Spivack Fip Fop Fuppe (Every Set Drummer’s Dream) (A) Lang/MFP Nine or More Players (exact number precedes level indication) Composer/Arranger Title/Level

Publisher/Source

Bauerschmidt Mesozoric Fantasy (13–I) MFP Becker, J. Abongo (13–A) Philharmusica   Corporation (Rental)

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Composer/Arranger Title/Level

Publisher/Source

Bergamo Piru Bole (undetermined –I) Talamala Beyer Waltz (A) Fleisher Lib. Brant Symphony for Percussion (16–A) MCA Brown Penumbra [13, celesta, harpsichord] (I) Keyboard Percussion   Publications Cahn Walk in the Garden of Earthly Delights, A (10 + female voice–I) Cahn Childs Bangala (14) (I) C. Alan Publications Cirone Symphony No. 2 (9–A) Belwin/Warner Bros. Colgrass Three Brothers (9–I) MFP Combs Not Just Another Finale [9–12 w/video, guitar, e bass, piano] (A) C. Alan Publications Cowell Ostinato Pianissimo [incl. 2 string pianos] (9–A) Merion/Theodore   Presser Davidson Auto Accident [incl. piano] (10 to 13–-A) Theodore Presser Dvorak/Hearnes Slovanic Dance #7 [13–15] (I) Row-Loff Productions Erskine/arr. McDonald Calypso [9 + rhythm section] (A) Drop6 Media Ewazen Palace of Nine Perfections (10) (A) OU Percussion Press Faini El Cumbanchero [11 perc., piano–A) Warner Bros. Gauger Past Midnight [hand bells] (10–A) Tom Gauger Gauger Portico for Percussion Orchestra (10–A) Tom Gauger Gillingham Concerto for Percussion Ensemble (13–A) C. Alan Publications Gillingham Paschal Dances (12–I) C. Alan Publications Gillingham Stained Glass (11–A) C. Alan Publications Ginastera Cantata Para American Magica Boosey & Hawkes   (13 perc, 2 piano, celesta + soprano-A) Glassock Consortium (10 to11–A) C. Alan Publications Glassock Street Talk (10–A) Keyboard Percussion   Publications Gordon Bali [incl. soprano recorder, piano-celesta] (10–A) Gottry Shifting Waves (10) (I) Drop6 Media Hansen The Tempest (11) (A) Keyboard Percussion   Publications Hennagin The Phantom Dances (12–A) UO Percussion Press Holst/arr. Ancona Mercury from The Planets (10–A) Tapspace   Publications Leonard Symphony for Percussion (9–A) Leonard/Ludwig   Music Lepak Crescendo (11–I) Windsor Music Lipner/arr. Steinquest Sweet Rio (12 to 14) (I–A) Row-Loff Productions Macbridge Amanaplanacanalpanama (11–I) Smith Publications Manieri/arr. Moore Oops [13 w/pan, bass] (I–A) MalletWorks Music Maslanka Hohner (21–A) Keyboard Percussion   Publications Mason Rochambeaux (11–A) Tapspace   Publications Mays Six Invocations to the Svara Mandala (10–A) C. Alan Publications Morales-Matos Sticks to Latin Percussion Ensemble Series (13+—I) MalletWorks Music Obiedo/arr. Rennick Brasilerio [12 w/pan, bass] (A) Drop6 Media Peters, G. Swords of Moda-Ling [incl. piano] (9–A) Steve Weiss Music Piazzolla/arr.Smith Oblivion (12–A) Drop6 Media Roldan Ritmica No. 5 (11–I) Southern Music Roldan Ritmica No. 6 (11–I) Southern Music Samuels Rendezvous (9–I) Warner Bros. Stamp Vociferation (A) C. Alan Publications Stout, G. Desparate Attitudes (A) Keyboard Percussion   Publications

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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T A B L E B . 1   Continued

Composer/Arranger Title/Level

Publisher/Source

Tcherepnin Percussion Movement from Symphony No. 1 (10–I) Theodore Presser Traugh Chronology of Symphonic Percussion [+ piano, bass] (11–A) O.A.M.E. Press Traugh Concerto for Timpani [+piano, bass] (9 + soloist–A) O.A.M.E. Press Udow African Welcome Piece (12–A) MFP Udow Music for Cross Cultures (12–A) Equilibrium Varese Ionisation [incl. piano] (13–A) E. C. Kirby Welcher Chameleon Music (10–A) UO Percussion   Press/MFP Wuorinen Ringing Changes [10 perc. + piano 4 hands] (12–A) C. F. Peters Wuorinen Symphony for Percussion (26–A) C. F. Peters

T A B L E B . 2   Keyboard Duos/Duets

(Also see specific percussion literature publishers’ websites, such as Keyboard Percussion Publications, HoneyRock, Tapspace, C. Alan Publications, Bachovich Music Publishing, GPN Publishing, PerMus Percussion Publications, Row-Loff Productions, MalletWorks Music, RAWI Percussion Publications, and others.) Composer/Arranger Title/Level

Publisher/Source

Åstrand Spring Colors [vibe, marimba duo] (A) GPN Publishing Åstrand Walking [vibe/crotale, marimba duo] (A) GPN Publishing Bach, J. S./Lang 15 Bach Inventions (I–A) Warner Bros. Bach, an. Safri Prelude & Fugue, No. 10 (A) Studio 4/Alfred Publishing Co. Bach, J. S./Moore 6 Bach Two Part Inventions (I) Kendor Bergamo Duets for Vibraphones (I) Tamala Bilic Mexico Encore Duo (A) MalletWorks Music Cooper The New Sound of Pop, Jazz, Swing, Rock [duet coll. Award Music   in 3 books] (E–A) DeLancy Maple Syrup Blues [xylophone & marimba] (I) Mitchell Peters Delecluse, J. A la manière de, No. 6 [xylophone/marimba] (I) Alphonse Leduc Fink, Siegfried Mallet for Classic [coll., duets] (I) N. Simrock Friedman/Samuels Double Image [Movie Music, Untitled #1, Over Hills, Night Rains, MalletWorks Music CD available] (A) Friedman/Samuels Double Image Dialogues [out-of-print music and L.P. record set Marimba Productions   contained Carousel, Nyack, and Sunset Glow] (A) Haydn/McCarthy 15 Mallet Duets (I) HaMaR Houllif, Murray Conversations [vibe-marimba duo] (A) PerMus Kopetzki Siebentanz [marimba-vibes duo] (A) Ineke Wulf Verlag Koppel Toccata for Vibraphone and Marimba [also with orch.] (A) Norsk Musikforlag A/S Levitan Redwood Box (I) Keyboard Percussion Publications Lipner Hybridisation [vibes/marimba version w/ piano] (A) MalletWorks Music Másson Aura [crotales, glockenspiel] (I) Editions BIM McMillan, ed. Overture Studies for Marimba (I) Pro-Art Metzger Elephant Walk [marimba,vibes] (I) C. Alan Publications Mozart/Leach Violin Duo (Trio) (A) Studio 4/Alfred Publishing Co. Molenhof, Bill Marimba Vibe Duets [Busy Signal, One Notch Higher, Quiet Kendor   Celebration, Saturday’s Child Sings a Hopeful Song,   Song for the New Year] (I–A) O’Meara Looking at “R” (I) Keyboard Percussion Publications O’Meara Wooden Music for Two Marimbas (I) MFP Ravel, arr. Safri Alborada del Gracioso (A) Studio 4/Alfred Publishing Co. Sammut Kaleiduoscope (for two marimbas) (A) Keyboard Percussion Publications Serry, John Duet for Percussion and Keyboards (I) Studio 4/Alfred Publishing Co. Skidmore Jade Circles, 5 Song for Marimba and Vibraphone (A) Keyboard Percussion Publications

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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T A B L E B . 2   Continued

Composer/Arranger Title/Level

Publisher/Source

Skidmore Sonata for Two Marimbas (A) Keyboard Percussion Publications Stolk Light as a Feather (vibes/mba) (I) Keyboard Percussion Publications Stolk Bird Songs 1–5 (vibes/marimba) (I) Keyboard Percussion Publications Stolk Crossings (vibes/marimba) (I) Keyboard Percussion Publications Stolk Foreign Breakfast (vibes/marimba) (I) Keyboard Percussion Publications Stout, G. Laruci in the Shy (vibes/marimba) (A) Keyboard Percussion Publications Straesser To the Point (A) Donemus Tanner, Peter Duo Miniatures for Keyboard Percussion (I) MFP Wheatley, David Duo for Two Marimbas (A) Studio 4/Alfred Publishing Co. VanGeem, Joplin, Green Rags and Hot Choruses [xylophone solo w/ Belwin/Warner Bros.   marimba accom. + w/CD] (I) Wiener Blue Snow-Blues Now [marimba, vibe] (A) RAWI Percussion Publications Wiener Blue Tango [marimba, vibe] (A) RAWI Percussion Publications Wiener City night Life [marimba, vibe] (A) RAWI Percussion Publications Wiener Children’s Duets 1–5 (E) RAWI Percussion Publications Wiener Children’s Duets 6–10 (E–I) RAWI Percussion Publications Wiener Home-Made [marimba, vibe] (I) RAWI Percussion Publications Wiener My Spanish Past [marimba, vibe] (I) RAWI Percussion Publications Wiener Seasons Joy, Autumn Joy, Winter Joy, Spring Joy, RAWI Percussion Publications   Summer Joy [marimba, vibe] (I)

Also see duo collections that were originally written for two violins, flutes, or other instruments listed in Chapter 4 under “Individual Keyboard Methods and Supplemental Studies.” Other works, like the Telemann and Hindemith Canonic Sonatas, also serve as excellent study and recital material. TABLE B.3  Keyboard Ensembles (Three or More Players)

(Also see specific percussion literature publishers’ websites, such as Keyboard Percussion Publications, HoneyRock, C. Alan Publications, Tapspace, Bachovich Music Publishing, GPN Publishing, PerMus Percussion Publications, Row-Loff Productions, MalletWorks Music, RAWI Percussion Publications, and others.) Composer/Arranger Title

Level/No. of Players

Publisher/Source

Anderson/McClaren Steppin’ Round E-solo xylophone C. Alan Publications   + 3 (w/band arr.) Arndt/Green, G. H. Nola I–4 Sam Fox/Cahn Åstrand Aurora Borealis (The Nordic Light) I–4 GPN Publishing Bach, Jan Woodwork for Four Percussionists A–4 Galaxy Music Corp. Bach, J. S./Moore Fugue in C Minor from Well-Tempered Clavier A–3 PerMus Bach, J.S./Moore Toccata in D Minor A–4 to5 PerMus Bach, J. S./Olmstead Bourrée from Partita No. 1 for Solo Violin I–4 PerMus Bach, J. S./Peters, G. Prelude XXII in Bb Minor I–7 Steve Weiss Music Bach, J. S./Schinstine Fantasia in C Minor A–4 to 5 Southern Music Bach, J. S.-Gounod/Jeanne Ave Maria I–4 to 6 PerMus Barlow nomen solers I–5 Southern Music Bizet/Jeanne Farandole from L’Arlésienne Suite No. 2 I–5 PerMus Bizet/Peters, G. Farandole (L’Arlésienne) A–7 Steve Weiss Music Blume Why I–4 Spencer Blume Publications Bolcom/Smith, T. Graceful Ghost A–6 Studio 4/Alfred Publishing Co. Burritt Marimba Quartet A–4 Keyboard Percussion Publications Cahn Balalaika (Russian Folk Song Suite) I–5 Keyboard Percussion Publications Cahn La Bamba (Mexican Folk Song) I–4 Keyboard Percussion Publications

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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T A B L E B . 3   Continued

Composer/Arranger Title

Level/No. of Players

Publisher/Source

Cahn La Negra (Mexican Folk Song) I–5 Keyboard Percussion Publications Cahn Un Misterio (Guatemalan Folk Song) I–4 Keyboard Percussion Publications Chapi/Green, G. H./Cahn A Bunch of Roses A–4 Keyboard Percussion Publications Daly/Cahn Chicken Reel Rag I–5 Keyboard Percussion Publications Debussy/arr. Boo Reverie I–4 Studio 4/Alfred Publishing Co. Diemer Toccata for Six I–6 C. Alan Publications Ducksworth, Wm. Gymel I–4 Smith Publications Fitkin Hook A–4 Fitkin Ford Afta-Stuba! A–3 Innovative Percussion Ford One-Eyed Jacks I–6 C. Alan Publications Ford Stubernic A–3 Innovative Percussion Frosini/Cahn The Jolly Caballero A–5 Keyboard Percussion Publications Granados/Fink, R. Spanish Dance I–4 Studio 4/Alfred Publishing Co. Green/Becker Caprice Valsant A–5 Keyboard Percussion Publications Green/Becker Charleston Capers A–5 Keyboard Percussion Publications Green/Becker Chromatic Fox Trot A–5 Keyboard Percussion Publications Green/Becker Cross Corners A–5 Keyboard Percussion Publications Green/Cahn Fluffy Ruffles A–5 Keyboard Percussion Publications Green/Cahn Frivolity A–5 Keyboard Percussion Publications Green/Becker The Humming Bird I–5 Keyboard Percussion Publications Green/Becker An Indian Story A–5 Becker Green/Becker Jovial Jasper A–5 Keyboard Percussion Publications Green/Becker Log Cabin Blues A–5 Keyboard Percussion Publications Green/Becker The Ragtime Robin A–5 Keyboard Percussion Publications Green/Becker Rain I–5 Keyboard Percussion Publications Green/Becker Rainbow Ripples A–5 Keyboard Percussion Publications Green/Becker Spanish Waltz A–5 Keyboard Percussion Publications Green/Becker Stop Time A–5 Keyboard Percussion Publications Green/Becker Triplets A–5 Keyboard Percussion Publications Green/Becker Valse Brillante A–5 Keyboard Percussion Publications Green/Becker The Whistler A–5 Keyboard Percussion Publications Green, Joe/Becker Xylophonia A–5 Keyboard Percussion Publications Handel/Moore Allegro from the Water Music I–4 PerMus Handel/Moore Bourrée I–4 PerMus Hardner Circus Plenus Clamor A–6 Keyboard Percussion Publications   Ingens Iannuae Tensae Hartenberger The Invisible Proverb A–5 Keyboard Percussion Publications Howden Suisha I–4 Keyboard Percussion Publications Humperdinck/Moore Evening Prayer I–4 PerMus Johnson, Charles/Becker Dill Pickles A–5 Keyboard Percussion Publications Joplin/Long Elite Syncopations I–9 C. Alan Publications Joplin/Moore The Entertainer I–4 PerMus Kabalevsky/Jeanne Galloping Comedians I–4 PerMus Korsakov/Peters, G. Flight of the Bumblebee A–5 Steve Weiss Music Koshinski Ragtime Collection I–4 HoneyRock Lara/Jeanne Marimba E–2 PerMus Levitan Marimba Quartet A–4 Keyboard Percussion Publications Loeb, David Concerto da Camera No. 5 I–5 Lang/MFP Lipner/arr. Ford City Soca (also see other works by Lipner) I–8 to 10 MalletWorks Music Macbride For Four A–4ACA MacDowell/Owen, ed. Witches Dance A–5 C. Alan Publications   Armstrong

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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T A B L E B . 3   Continued

Composer/Arranger Title Marquina/Jeanne Maslanka Mendelssohn/Tanner, P. McCarthy, Frank Mozart/Moore Musser/Dvorák, ed.   Armstrong Musser/Moszkowski, ed.   Armstrong Musser/Rosales Norvo/Cahn O’Meara Offenbach/Jeanne Rosauro Rodriguez/Jeanne Satie/Fink, R. Séjourné Séjourné Shostakovich/Peters, G. Spencer Spencer Spencer Spivack Westlake Wiener

Level/No. of Players

Publisher/Source

Espani Cani Crown of Thorns Tarantella Mallet Trios-9 Haydn Flute Clock Pieces Eine Kleine Nachtmusik-Allergro Largo from New World Symphony

I–4 PerMus A–8 OU Percussion Press/MFP A–4 to 5 Studio 4/Alfred Publishing Co. I–5 HaMaR A–4 to 5 PerMus I–5 C. Alan Publications

Spanish Dance

I–4 to 5

Bolero Red Norvo Suite [w/harp] Puzzle Piece Can Can from Orpheus Fred No Frevo La Cumparsita Gymnopédies I and II Akadinda Trio Martian Tribes Polka from Golden Age Before the Beginning Pink Elisa Spring Tribecca Sunflower Cowboys [marimba 6 hands] Omphallo Centric Lecture Nocturne d’Anïs

A–5 Steve Weiss Music A–5 MFP I–3 Keyboard Percussion Publications I–4 PerMus I–4 Pró Percussão/MalletWorks Music E–4 PerMus I–7 Ron Fink I–3 HoneyRock A–4 Séjourné I–6 Steve Weiss Music E–4 Spencer Blume Publishing E–2 Spencer Blume Publishing I–4 Spencer Blume Publishing E–3 Lang/MFP A–4 Australian Music Centre I–4 RAWI Percussion Publications

C. Alan Publications

T A B L E B . 4   Keyboard in Chamber Ensembles with Other Instruments or Voice

(Also see “Marimba Music” at www.marimba.org and specific percussion literature publishers’ websites, such as Keyboard Percussion Publications, HoneyRock, C. Alan Publications, Bachovich Music Publications, GPN Publishing, MalletWorks Music, and others. An Internet search for instrument combinations will yield groups like the Uwharrie Clarinet-Percussion Duo and the Armstong Flute-Percussion Duo and their websites, with repertoire listings.) Composer/Arranger Title/Level Abe Abe Alridge Åstrand Åstrand Åstrand Becker Becker Benson Benson Bodine Brown Burritt Burritt Burritt

Conversations in the Forest [solo marimba, 3 perc.] (A) Marimba Concertino “The Wave” [solo marimba, 4 perc.] (A) Combo Platter [alto sax, violin, marimba] (A) RAUK [vibe solo w/3 perc.] (A) Spinning Plates [vibe solo w/ 14 or 5 keyboard perc.] (A) Walking Mallets [vibe, flugelhorn, piano] (A) Cryin’ Time [soprano, marimba, vibes, piano] (A) Prisoners of the Image Factory [marimba, vibes, piano] (A) Canon for Tuba and Hand Drum (A) Largo Tah [bass trb, marimba] (A) Rhapsodia [flute, marimba] (A) Neptune [flute, marimba] (I) Timeless [solo marimba, 3 perc.] (I) To the Nines [solo marimba, 3 perc.] (A) Shadow Chasers [solo marimba, 4 perc.] (A)

Publisher/Source Schott Schott Robert Aldridge GPN Publishing GPN Publishing GPN Publishing Keyboard Percussion Publications Keyboard Percussion Publications Carl Fischer Theodore Presser HoneyRock Keyboard Percussion Publications C. Alan Publications Keyboard Percussion Publications C. Alan Publications

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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T A B L E B . 4   Continued

Composer/Arranger Title/Level

Publisher/Source

Burritt Waking Dreams [solo marimba, 5 perc.] (A) Keyboard Percussion Publications Burritt Willow [solo marimba, 4 perc.] (A) Keyboard Percussion Publications Cahn Rosewood Dreaming [solo marimba, 5 perc.] (A) Keyboard Percussion Publications Cahn Time Traveler [solo marimba 4 perc.] (A) William L. Cahn Publishing Carlson Gedichte [med. voice, marimba] (A) Keyboard Percussion Publications Childs Lanterns and Candlelight [marimba and soprano] (I) Smith Publications Colgrass Hammer & Bow [violin, marimba] (A) Carl Fischer Crumb Madrigals, Bk. I [soprano, double bass, vibe] (A) C. F. Peters Ewazen Concerto for Marimba & String Quartet (A) Keyboard Percussion Publications Ferreyra Answers [solo marimba (or duo) w/4 perc. accom.] (A) HoneyRock Fink, S. Impression No. 1 for Flute and Vibraphone (I) N. Simrock Fitkin Frame [sop. sax (or flute) and marimba] (A) Fitkin Gillingham Gate to Heaven: Journey of the Soul [solo marimba, 8 perc.] (A) C. Alan Publications Gillingham Spiritual Dances [oboe solo, 4 marimba] (A) C. Alan Publications Glassock Off Axis [4 perc.] (A) C. Alan Publications Gronemeier Creation [solo marimba, narr., 6 perc.] (A) Woodbar Music Press Gronemeier 115th Psalm [solo marimba, baritone voice, 5 perc.] (A) Woodbar Music Press Harnsberger Vertigo [solo marimba, 3 perc.] (A) Innovative Harding Birdsong [alto sax, marimba] (I) C. Alan Publications Helble Duo Concertante [violin, marimba] (A) Keyboard Percussion Publications Houllif Concert Duet for Flute and Vibes (A) Studio 4/Alfred Publishing Co. Ishii, M. Marimbastück mit Zwei Schlagzeugern (A) Ongaku Jergensen To a Dead Soldier [soprano, tenor, marimba] (A) Keyboard Percussion Publications Jones Legal Highs [violin, marimba] (A) C. Alan Publications Kraft Encounters X [violin, marimba] (A) New Music West Klatzow Figures in a Landscape [flute, marimba] (A) Musications (Pty) Ltd. Kopetzki Shasows of Wood (alto sax, marimba) (A) Ineke Wulf Verlag Koyle Kumbengo [alto sax (or clarinet), marimba] (A) HoneyRock Kulesha Quintet-Sonata for Marimba and String Quartet (A) Kulesha Larsen Corker [clarinet, perc.] (A) E. C. Schimer Lipner/arr. Morgan Hybridisation [version w/ perc. ens.] (A) MalletWorks Music Maslanka Arcadia II: Concerto for Marimba and Percussion Ensemble (A) Carl Fischer McCarthy The Call of Boromir [horn & marimba] (I–A) C. Alan Publications McCarthy Concerto for Marimba, Percussion and Synthesizers [6 perc.] (A) C. Alan Publications McCarthy Song of the Middle Earth [8 perc., piano] (A) C. Alan Publications McCarthy Razdraz [alto sax, marimba] (I–A) C. Alan Publications Miki Marimba Spiritual [3 perc.] (A) Ongaku/Theodore Presser Monkman Rite of Passage [solo marimba, 3 perc.] Tapspace Publications Nishimura Kala [marimba solo, 6 perc.] (A) Zen-On Music Co. Noda, T. Quintetto per Marimba, 3 Flauti, e Contrabasso “Mattinata” (A) Ongaku Ptaszynska Jeu-Parti for Harp and Vibes (A) Paul Price/MFP Ramliak Two Sides of a Coin [clarinet, marimba] (A) Keyboard Percussion Publications Rosauro Concerto for Marimba and Percussion Ensemble [6] (A) Pró Percussão/MalletWorks Music Rosauro Concerto No. 2 for Marimba and Percussion Ensemble [6] (A) Pró Percussão/MalletWorks Music Rosauro Concerto for Vibraphone and Percussion Ensemble [6] (A) Pró Percussão/MalletWorks Music Rossi Periphery [solo marimba and perc. ens] (A) C. Alan Publications Sammut Zapping Trio [clarinet, stg bass, marimba] (A) Keyboard Percussion Publications Séjourné Concerto for Vibraphone and 5 Percussions (A) Alphonse Leduc Spivack At the Jolly House [oboe, marimba] (I) Lang/MFP Stout, G. Diptych No. 4 [marimba and perc.] (A) Keyboard Percussion Publications Stout, G. Duo Dance for Bassoon and Marimba (A) Keyboard Percussion Publications

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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T A B L E B . 4   Continued

Composer/Arranger Title/Level

Publisher/Source

Stout, G. Duo Dance for Saxophone and Marimba (A) Keyboard Percussion Publications Stout, G. Duo (Dance Song) [trumpet, marimba] (A) Studio 4/Alfred Publishing Co. Sydeman Duo [xylophone, double bass] (A) C. F. Peters Tanner Diversions for Flute and Marimba (I) MFP Thrower Aurora Borealis (solo marimba and 3 perc.] Norsk Musikforlag A/S Udow Coyote Dreams [solo marimba w/3 perc.] (A) Equilibrium Widdoes Acanthus for Vibraphone and Harp (A) Lyra Music Co., dist. International   Music Service Wilder Suite [flute, marimba] (A) Margum Music Wiley Star-Fall Dances [clariinet, marimba] (A) C. Alan Publications Wyre Mitsue [English horn or tenor pan w/2marimbas, vibe, crotales] (A) Malarkey Music Yuyama, A. Divertimento for Alto Saxophone and Marimba (A) Ongaku Zivkovic Sta Vidis [marimba, solo tenor, male voices] (I) Gertel Verlag Zivkovic Uneven Souls [solo marimba, 3 perc.] (A) Gertel Verlag

T A B L E B . 5   Keyboard Solos with Band/Wind Ensemble

(Also see “Marimba Music” at www.marimba.org and specific percussion literature publishers’ web pages such as Keyboard Percussion Publications, HoneyRock, C. Alan Publications, MalletWorks, and others.) Composer/Arranger Title/Level

Publisher/Source

Basta Concerto for Marimba and Band (A) MFP Bodine Concerto for Marimba and Band (A) HoneyRock Briggs Concerto for Marimba and Wind Ensemble (A) C. Alan Publications Briggs Concerto for Vibraphone and Band (A) HoneyRock Brown Freckles and Flowers [2- and 4-mallet versions] (I) Kendor Cahn Rosewood Dreaming [version for marimba and wind ensemble] (A) Keyboard Percussion Publications Creston Concerto for Marimba and Band, Op. 21 (A) G. Schirmer De Ponte Concertino for Marimba and Wind Ensemble (A) Studio 4/Alfred Publishing Co. Ewazen Concerto for Marimba & Wind Ensemble (A) Keyboard Percussion Publications Fux/Schaefer Serenata [marimba solo or duo] (I) Meredith Music Green/Werle/Eyles Rainbow Ripples (I) Meredith Music Green, arr. Cahn Dotty Dimples [xylophone] (A) HoneyRock Green, arr. Cahn Fluffy Ruffles [xylophone] (A) HoneyRock Green, arr. Cahn Xylophonia [xylophone] (I) HoneyRock Handel/Werle Concerto Op. 4, No. 5 [2–3 marimbas] (I) Meredith Music Kabalevsky/Mitchell Gallop from “The Comedians” (I) Meredith Music Kopetzki Marimba in the Wind (A) Ineke Wulf Verlag Leyden Serenade to a Picket Fence [solo, duet, or trio] (I) Jensen Publications Lipner Hybridisation [version w/ wind ens. & children’s choir] (A) MalletWorks Music Long Concerto for Marimba and Wind Ensemble (A) C. Alan Publications Maslanka Concerto for Marimba and Band (A) Carl Fischer McCarthy Chamber Symphony for Marimba and Winds [12 wind/perc.] (A) C. Alan Publications McCarthy Rimbasly for Marimba and Wind Ensemble (A) C. Alan Publications Musser Scherzo Caprice (I) Studio 4/Alfred Publishing Co. Poser, arr. Radziewski St. Mountain: Concertino for Vibraphone and Orchestra [also for band] (A) Alexander Radziewski Stout, G. Duo Concertante [2 marimbas and wind ens.] (A) Keyboard Percussion Publications Rosauro/arr. McCutchen Concerto for Marimba and Wind Ensemble (A) Pró Percussão/MalletWorks Music Rosauro/ arr. Morte Concerto for Vibraphone and Wind Ensemble (A) Pró Percussão/MalletWorks Music Tanner/Boyd Sonata for Marimba (I) M. M. Cole Pub.

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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T A B L E B . 6 Keyboard Solos with Orchestra

(Also see “Marimba Music” at www.marimba.org and specific percussion literature publishers’ webpages, such as Keyboard Percussion Publications, HoneyRock, C. Alan Publications, and others.) Composer/Arranger Title/Level Basta Bennett Bodine Cahn Carey Creston Diemer Durand-Musser Ewazen Fink, S. Gillingham/arr.   Daughtrey Green, arr. Cahn Green, arr. Cahn Hatch Klatzow Kopetzki Kopetzki Koppel Koppel Koppel Kurka Larsen Lipner Long Long Maddox Másson Mayuzumi McCarthy Miki, M. Milhaud Miyoshi, A. Ptaszynska Rosauro Rosauro Rosauro Sarmientos Svoboda Séjourné Thomas Wright Zivkovic Zivkovic

Publisher/Source

Concerto for Marimba and Orchestra (A) MFP Concerto for Marimba and Chamber Orchestra (A) Novello/G. Schirmer Concerto for Marimba and Orchestra (A) HoneyRock Rosewood Dreaming [version for marimba and orchestra] (A) Keyboard Percussion Publications Suite for Xylophone and Orchestra (I) Galaxy Music Concerto for Marimba and Orchestra, Op. 21 (A) G. Schirmer Concerto in One Movement for Marimba and Orchestra (A) C. Alan Publications Chaconne (I) Alfred Publishing Co. Concerto for Marimba & String Orchestra (A) Keyboard Percussion Publications Concerto for Vibraphone and String Orchestra (A) Otto Wrede Gate to Heaven: Journey of the Soul (A) C. Alan Publications Fluffy Ruffles [xylophone] (A) HoneyRock Xylophonia [xylophone] (I) HoneyRock Concerto for Marimba and Strings (A) EHP Concerto for Marimba and String Orchestra (A) Musications (Pty) Ltd. Konzert Für Marimba und Streicher (A) Ineke Wulf Verlag Three Elements for Marimba and Orchestra (A) Ineke Wulf Verlag Concerto for Marimba and Orchestra (A) Norsk Musikforlag A/S Concerto No. 2 for Marimba and String Orchestra (A) Wilhelm Hansen Toccata for Vibraphone and Marimba and Orchestra (A) Norsk Musikforlag A/S Concerto for Marimba and Orchestra (A) Weintraub Marimba Concerto: After Hampton (A) E. C. Schirmer Hybridisation [original version for vibes/marimba and orchestra] (A) MalletWorks Music Concerto for Marimba and Orchestra (A) C. Alan Publications Concert Piece for Marimba and Orchestra (A) C. Alan Publications In the Sea [solo marimba w/orchestra] (A) C. Alan Publications Marimba Concerto [solo marimba and orchestra] (A) Editions BIM Concertino for Xylophone and Orchestra (I) C. F. Peters Rimbasly for Marimba and Orchestra (A) C. Alan Publications Concerto for Marimba & Orchestra (A) Norsk Musikforlag A/S Concerto for Marimba and Vibraphone and Orchestra (A) AMP Concerto for Marimba & String Orchestra (A) Ongaku Concerto for Marimba and Orchestra (A) PWM Concerto for Marimba and Orchestra (A) Pró Percussão/MalletWorks Music Concerto No. 2 for Marimba and Orchestra (A) Pró Percussão/MalletWorks Music Concerto for Vibraphone and Orchestra (A) Pró Percussão/MalletWorks Music Concerto for Marimba and Orchestra (A) Keyboard Percussion Publications Concerto for Marimba and Orchestra, Op. 148a (A) Thomas Stangland Co. Concerto for Vibraphone and String Orchestra (A) Alphonse Leduc Loving Mad Tom for Marimba and Orchestra (A) ACA Concertpiece for Marimba and Orchestra (A) HoneyRock Marimba Concerto No. 1, Op. 8 (A) Gertel Verlag Marimba Concerto No. 2, Op. 25 (A) Gertel Verlag

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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T A B L E B . 7   Percussion in Chamber Ensembles with Other Instruments or Voice

(Also see Table B.4, “Keyboard in Chamber Ensembles with Other Instruments or Voice.”) Composer/Arranger Title/Level

Publisher/Source

Åstrand Gutenses Signo [SATB chorus and 2 perc.] (A) Barber, S. Stopwatch and an Ordinance Map [tenor and bass   voices & timps] (A) Bartók Sonata for Two Pianos and Percussion (A) Becker Mudra [solo rudimental drum w/4 perc.] (A) Becker Palta, rev. 1988 [tabla solo (or congas or drum set)   w/6 perc., piano, elec. bass guitar] (A) Berio Circles [harp, soprano, 2 perc.] (A) Bodine Desert Songs I, II, and III [SATB chorus and 2 perc.] (A) Burge Sources III [clarinet, perc.] (A) Cage Amores [piano, 3 perc.] (I) Cage Forever and Sunsmell [voice, 2 perc.] (I) Cahn Quiet Music for Tuba, Timpani and Percussion (A) Cahn Sonata for Trombone and 3 Percussionists (A)

Åstrand G. Schirmer Boosey & Hawkes Keyboard Percussion Publications Keyboard Percussion Publications Universal Edition G. Bradley Bodine A. Broude C. F. Peters C. F. Peters Wm. Cahn

Wm. Cahn Campo Commedie, Op. 42 [trombone/perc.] (A) MFP Chávez Xochipilli [winds, perc.] (I) Belwin Chihara Branches [2 bassoon, perc.] (A) C. F. Peters Chihara Redwood [viola, perc.] (A) C. F. Peters Chihara Willow, Willow [flute, tuba, 3 perc.] (A) C. F. Peters Cirone A Sacred Mass for Chorus and Percussion Belwin/Warner Bros.   [SATB chorus, 4 perc.] (A) Colgrass Theme & Variations for 4 Drums and Viola (A) MFP Constant Quatre Etudes de Concert [2 horn, trumpet, trombone, piano, Alphonse Leduc   perc.] (A) Crumb Madrigals, Book II [soprano, flute, perc.] (A) C. F. Peters Crumb Madrigals, Book III [soprano, harp, perc.] (A) C. F. Peters Crumb Madrigals, Book IV [soprano, flute, harp, double bass, perc.] (A) C. F. Peters Crumb Music for a Summer’s Evening, Makrocosmos III [2 piano, 2 perc.] (A) C. F. Peters Crumb Night of the Four Moons [alto voice, alto flute, banjo, cello, perc.] (A) C. F. Peters Dahl Duettino Concertante [flute, perc.] (A) A. Broude Davies Eight Songs for a Mad King [male voice, flute, clarinet, Boosey & Hawkes   piano, harpsichord, violin, perc.] (A) Dietz Rechargeable Light [perc. soloist w/5 perc.] (A) Keyboard Percussion Publications Erb Diversions for Two [trumpet, perc.] (A) Theodore Presser Erb Four for Percussion [piano, harp, celesta, 5 perc.] (A) Theodore Presser Fink, S. Dialoge for Guitar and Percussion (I) C. F. Peters Fink, S. Trio Ostinato [clarinet, 2 perc.] (A) N. Simrock Finney Two Acts for Three Players [clarinet, piano, perc.] (A) C. F. Peters Frock Variations for Multipercussion and Flute (I) Southern Music Hackbarth Duo [tuba, perc.] (A) Smith Publications Harrison Concerto for Violin and Percussion (A) C. F. Peters Harrison First Concerto for Flute and Percussion (I) C. F. Peters Harrison Trio [violin, piano, perc.] (I) C. F. Peters Hodkinson Drawings: Set No. 3 [clarinet, perc.] (I) Theodore Presser Hovhaness The Burning House Overture [flute, 4 perc.] (I) C. F. Peters Hovhaness Dance of the Black Haired Mountain Storm [flute, 3 perc.] (I) C. F. Peters Hovhaness Mysterious Horse Before the Gate [trombone, 5 perc] (I) C. F. Peters Jager Concerto for Percussion and Piano [multi-perc. soloist] (I) Meredith Music Jolivet Suite en Concert pour Flute et 4 Percussion G. Billaudot   (Concerto No. 2 for Flute) (A) Jolivet Heptade [trumpet, perc.] (A) Salabert Kraft Encounters III: Duel for Trumpet and Percussion (A) New Music West

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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T A B L E B . 7   Continued

Composer/Arranger Title/Level

Publisher/Source

Kraft Encounters IV: Duel for Trombone and Percussion [tape] (A) New Music West Kraft Encounters V: In the Morning of the Winter Sea [cello, perc.] (A) New Music West Kraft Encounters X [alto sax, perc.] (A) New Music West Kraft Nonet for Brass and Percussion [brass quintet, 4 perc.] (A) WIM Kroeger Toccata for Clarinet, Trombone and Percussion (A) A. Broude Kulesha A Book of Mirrors for Two Pianos and Percussion (A) Kulesha McCarthy Bundles of Sticks [bassoon & multi-perc.] (I–A) C. Alan Publications Meade Tapas [solo mezzo-soprano, 6 perc.] (A) C. Alan Publications Parker Concerto for Bb Trumpet and Percussion Orchestra C. Alan Publications   [7 perc., piano, harp] (I) Parker Five Pieces for Clarinet and Percussion Orchestra C. Alan Publications   [7 perc., piano, harp] (A) Parris Concerto for Percussion, Violin, Cello, and Piano (A) ACA Perry Homunculus C. F. [celestra, harp, 8 perc.] (I) SMPC Pillin Duo for Percussion and Piano (A) WIM Pinkham Concertante [organ, celestra, 2 perc.] (A) C. F. Peters Ptaszynska Cadenza [flute, perc.] (I) Lang/MFP Reynolds, R. “From Behind the Unreasoning Mask” C. F. Peters   [trombone, tape, perc. w/ assistant] (A) Rosauro Cadencia Para Berimbau [solo berimbau w/4 perc.] (A) Pró Percussão/MalletWorks Music Russell Pas de Deux [clarinet, perc.] (I) MFP Samkopf Invention No. 3 [flute, perc.] (I) Norwegian Music Information   Centre Schultz Dragons in the Sky [horn, perc., tape] (A) Jomar Press Séjourné Book of Gems [SATB chorus and 2 perc.] (A) Séjourné Slettholm Introduction & Toccata [alto sax/timp] (A) Norwegian Music Information   Centre Spivack At the Jolly House [oboe, marimba] (I) Lang/MFP Steiner Duo for Trombone and Percussion (A) Lang/MFP Stockhausen Nr. 11, Refrain [clarinet, keyboard] (A) Universal Edition Stravinsky Histoire du Soldat [perc., chamber orchestra] (A) Universal Edition Surinach Ritmo Jondo [3 perc., 3 clappers, clarinet, trumpet] (I) AMP Walton Façade [narrator, chamber orchestra, perc.] (A) Boosey & Hawkes

T A B L E B . 8   Percussion Solos with Band/Wind Ensemble

Composer/Arranger Title/Level Beck-Jones Bencriscutto Benson Benson Brown Brown Brown Brown Buck, arr. Eyles Buggert/Boyd Buggert/Gates Colgrass Como-DeRosa Eyles, arr. Werle Feldstein Feldstein

Rhapsody for Percussion and Band [solo] (I) Jazz March, A Brazilian Percussion Feature (E) Polyphonies for Percussion [section] (I) Symphony for Drums [6 soloists] (A) Ensembolero [5 soloists] (E) Pattern Percussion [4 soloists] (E) Percussionata [5 soloists] (E) Pistachio [7 soloists] (I) Freckles Rag [section] (I) Dialogue for Solo Percussion and Band (I) Fanfare, Song and March [solo] (I) Dèjá Vu [4 perc.] (A) Rhythm Fiesta [set featured] (I) The Golden Age of the Xylophone [8 tune medley] (A) Portrait of a Drummer [set solo] (I) Timetable [section] (I)

Publisher/Source Kendor Shawnee Press Belwin/Warner Bros. C. F. Peters Kendor Kendor Kendor Kendor Meredith Music Publications M. M. Cole M. M. Cole Carl Fischer Alfred Publishing Co. Meredith Music Publications Belwin/Warner Bros. Alfred Publishing Co.

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504

Appe n dix B

T A B L E B . 8   Continued

Composer/Arranger Title/Level

Publisher/Source

Fux, arr. Schaefer Serenata for Solo Marimba and Band [opt. duet version] (I) Garofalo/Whaley Ahrirang (E) Garofalo/Whaley Hungarian Folkround (E) Gillingham Concerto for 4 Solo Percussion and Wind Ensemble (A) Green, arr. Werle Rainbow Ripples (I) Husa Concerto for Percussion and Wind Ensemble [5 soloists] (A) Jager Concerto for Percussion and Band [solo or duo, w/ piano] (I) Kabalevsky, arr. Mitchell Gallop (from The Comedians), xylophone   (1 or more soloists) w/ band (I) Kashanski Collage [solo with wind ensemble & singers] (A) Kinyon Percussion on Parade [section] (I) Kleinsinger Triple Concerto [3 soloists] (A) Kraft Quintessence: Concerto for Five Percussion   Soloists and Concert Band (A) Lent, arr. Cahn The Ragtime Drummer [S.D.] (I) Mayuzumi Concerto for Solo Percussion and Wind Ensemble (A) Milhaud/Smith Concerto for Percussion [solo] (I) Missal Concertante for 5 Solo Percussion and Band (I) Rorem Sinfonia for Percussion and 15 Winds (A) Rosauro Rhapsody for Solo Percussion & Jazz Ensemble (A) Rosauro Suite Brazil 500 for Solo Percussion and Wind Ensemble (A) Samkopf Harstaad [w/MIDI MalletKat] (A) Schmidt “Triangle of Light” Concerto (A) Schreiner-Goodman The Worried Drummer [solo] (I) Schreiner-Osterling The Worried Drummer [solo] (I) Smith Concertante Diversion [6 perc. w/band] (A) Widdowson Portrait of “This Old Man” [section] (I) Williams Concertino [section] (A) Ziek Concerto for Solo Percussion and Wind Ensemble (A) Zivkovic Tales from the Center of the Earth   [solo marimba & multi-perc.] (A)

Meredith Music Publications Meredith Music Meredith Music C. Alan Publications Meredith Music Publications AMP Meredith Music Publications Meredith Music Publications HaMaR Alfred Publishing Co. C. F. Peters New Music West HoneyRock C. F. Peters Theodore Presser M. M. Cole C. F. Peters Pró Percussão/MalletWorks Music Pró Percussão/MalletWorks Music Norwegian Music Centre WIM Belwin/Warner Bros. Ludwig Music C. Alan Publications Ludwig Music Summy-Birchard C. Alan Publications Gertel Verlag

T A B L E B . 9   Percussion Solos with Orchestra

Composer/Arranger Title/Level Cahn Cirone Colgrass Colgrass Cowell Erb Finney Foss Green Jolivet Kraft Kraft Kraft Kraft Lambro

Publisher/Source

In Ancient Temple Gardens [solo] (A) Wm. Cahn Double Concerto for Two Percussion and Orchestra (A) Belwin/Warner Bros. Dèjá Vu [4 perc.] (A) Carl Fischer Rhapsodic Fantasy for Percussion Solo and Orchestra [15 drums] (A) Belwin/Warner Bros. Concerto for Percussion [section] (A) C. F. Peters Concerto for Solo Percussion and Orchestra (A) Theodore Presser Concerto for Percussion [4 soloists] (A) C. F. Peters Concerto for Percussion and Orchestra (A) Salabert Tale of Sound and Fury [3 solo perc. w/orchestra] (A) C. Alan Publications Concerto for Percussion [solo] (A) Franco Colombo/Warner Bros. Concerto for Four Percussion Soloists and Orchestra (A) New Music West Configurations: Concerto for Four Percussion Soloists and Jazz Orchestra (A) New Music West Three Miniatures for Percussion and Orchestra [4–5 solos] (A) New Music West Triangles: Concerto for Percussion and Ten Instruments [solo] (A) New Music West Two Pictures for Solo Percussionists and Orchestra (A) Wimbledon

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S el ec t P er c us s i o n S o l o a nd Ens em b l e M us i c



505

T A B L E B . 9   Continued

Composer/Arranger Title/Level Másson Másson Másson Milhaud Muyuzumi Ott Pitfield Rosauro Rosauro Steinhort Tircuit Tomasi Traugh Weber, Alain Zivkovic Zivkovic

Publisher/Source

Crossings, Double Concerto [2 perc. soloists, strings/perc.] (A) Editions BIM Konzertstück for Snare Drum and Orchestra (A) Editions BIM Percussion Concerto [solo perc. and orchestra] (A) Editions BIM Concerto for Percussion and Small Orchestra [solo] (I) Joseph Boonin/Universal Edition Concerto for Percussion [6 soloists] (I) C. F. Peters Concerto for Percussion and Orchestra (A) M.M.B. Music Concerto for Percussion (I) Oxford Univ. Press Brazil 500 for Solo Percussion and Orchestra (A) Pró Percussão/MalletWorks Music Rhapsody for Solo Percussion and Orchestra (A) Pró Percussão/MalletWorks Music Dance for Solo Percussion and Orchestra (A) Lang/MFP Odoru Katachi [Dance Patterns] (A) AMP Concert Asiatique (A) Alphonse Leduc Chronology of Symphonic Percussion [7 soloists] (A) O.A.M.E. Press Variantes [2 perc., orchestra] (A) Alphonse Leduc Percussion Concerto No. 1, Op. 28 (A) Gertel Verlag Percussion Concerto No. 2, Op. 33 (A) Gertel Verlag

T A B L E B . 1 0 Timpani in Chamber Ensembles with Other Instruments or Voice

Composer/Arranger Title/Level

Publisher/Source

Stopwatch and an Ordanance Map [tenor and bass voice &timp] (A) G. Schirmer Concerto for Timpani and Percussion Ensemble (A) Kendor Danse pour Salome [sax, timp] (A) Dorn Pub. Concerto for Timpani and Brass (A) MFP Uneven Surfaces [5 solo timp w/4 perc.] (A) Keyboard Percussion Publications Dialogue [4 timp, 4 roto toms, drum set] (A) Carl Fischer Jazz Waltz [4 timp, 4 roto toms, drum set] (A) Carl Fischer Journeys [marimba, timp, harp] (A) Gibson Plagal Alternations for Timpani and Percussion (A) Theodore Presser Three Movements for Trombone and Timpani (A) Potsdam Pub. Concert Piece for Timpani and Percussion Ensemble (A) C. Alan Publications Timpanorama, Solo Sonata for 5 timpani and 2 sus. cym. (A) Karl-Heinz Köper Fanfare and Allegro [w/trumpet] (A) N. Simrock Jubilee [timp solo w/piano, 7 perc.] (A) Kendor Concerto for Timpani and Percussion [5] (A) Zen-On Music Concerto for Timpani and Percussion Ensemble (A) Pró Percussão/MalletWorks Music Scope [w/perc. ensemble) (I) TRY Pub. Co. Hexengeheule (Witchhowel) [marimba, timp] (A) ACA Concerto for Timpani [w/perc. Ens. or orchestra] (A) O.A.M.E. Press

Barber, S. Beck Capdeville Colgrass Dietz Firth Firth Gibson Griffith Houllif Houston Köper Leonard Mancini Nishimura Rosauro Seawell Thomas Traugh

T A B L E B . 1 1   Timpani Solos with Band/Wind Ensemble

Composer/Arranger Title/Level Baker Colgrass Daugherty Glass/arr. Loetz Schinstine Sosnik

Publisher/Source

3 Pieces for Timpani, Roto Toms, and Winds (A) M.M.B. Music Concertino for Timpani and Brass (A) MFP Raise the Roof for Timpani and Symphonic Band (A) Boosey & Hawkes Concerto Fantasy for Two Timpanists and Wind Ensemble (A) Dunvagen Music Publishers Tympanium (I) Southern Music Concerto for Timpani and Band (I) Bourne

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506

Appe n dix B

T A B L E B . 1 1   Continued

Composer/Arranger Title/Level Tanner Tausch Tcherepnin Weinberger White

Publisher/Source

Concerto for Timpani and Brass (A) C. Alan Publications March and Polonaise (I) C. F. Peters Sonatina for Two or Three Timpani (I) Boosey & Hawkes Concerto for the Timpani and Brass (I) AMP Concertino for Timpani, Winds and Percussion (A) Shawnee Press

T A B L E B . 1 2 Timpani Solos with Orchestra

Composer/Arranger Title/Level Baker Daugherty Delecluse Farberman Glass Köper Kraft LaFave Laudenslager McCulloh Nowak Oliverio Parchman Parris Parris Pieranzovini Premru Raphling Rice Rosauro Rothmuller Sarmientos Sonnenfeld Tausch Tautenbahn Tharichen Traugh

Publisher/Source

3 Pieces for Timpani, Roto Toms, and Orchestra (A) M.M.B. Music Raise the Roof for Timpani and Orchestra (A) Boosey & Hawkes Drumstec III, Suite pour Timbales et Orchestra (A) Alphonse Leduc Concerto for Timpani and Orchestra (A) Warner Bros. Concerto Fantasy for Two Timpanists and Orchestra (A) Dunvagen Music Publishers Mytho-Logica for Timpani and Orchestra (A) Karl-Heinz Köper Concerto for Timpani and Orchestra (A) New Music West Hermes, Concerto for Timpani and Strings (A) Keyboard Percussion Publications Concertato for Timpani and Orchestra (A) Laudenslager Symphony Concertante for Timpani and Orchestra (A) Carl Fischer Concerto Piece for Six Kettledrums and Strings (A) ACA Timpani Concerto No. 1—“The Olympian” (A) Collected Editions Concerto for Timpani and Orchestra (A) Belwin Concerto for Five Kettledrums and Orchestra (A) C. F. Peters The Phoenix: Concerto No. 2 for Kettledrums and Orchestra (A) C. F. Peters Concerto for Timpani and Strings (A) Ricordi/Belwin Celebrations (A) Raymond Premru Concerto for 5 Timpani and Orchestra (A) MFP Concerto for Timpani and Orchestra (A) Seesaw Concerto for Timpani and Orchestra (A) Pró Percussão/MalletWorks Music Divertimento for Timpani and Orchestra (A) Boosey & Hawkes Concerto for Five Kettledrums and Orchestra (A) SMPC Concerto for Timpani and Orchestra (A) Sonzogna/Belwin March and Polonaise (I) C. F. Peters Double Concerto for Horn and Timpani (A) Seesaw Konzert für Pauken und Orchestra, Op. 34 (A) AMP Concerto for Timpani and Orchestra (A) O.A.M.E. Press

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G l o s s a r y

o f

Fo r e i g n

T e r m s

The following glossary of foreign percussion terms is included to aid in the correct realization of percussion parts published in foreign languages. For a complete listing of terms, see the Dictionary of Percussion Terms, by Morris Lang and Larry Spivack (Carl ­Fischer); the Encyclopedia of Percussion, edited by John H. Beck (2nd edition, Routledge Publishing); The Percussionist’s Dictionary, compiled and edited by Joseph Adato and George Judy (Warner Bros); World of Percussion, by Emil Richards (Warner Bros); A Practical Guide to Percussion Terminology, by Russ Girsberger (Meredith Music Publications); Cirone’s Pocket Dictionary of Foreign Musical Terms, by Anthony Cirone (Meredith Music Publications); and the Handbook of Percussion Instruments, by Karl Peinkofer and Fritz Tannigel (Schott). Instruments English

Italian

German French

anvil incudine amboss enclume antique cymbals crotali antike zimbeln or krotalon cymbales antiques or   crotales bass drum gran cassa grosse trommel grosse caisse orchestra bells campanelli glockenspiel jeu de timbres or clochettes bongos bongos bongos bongos brush verghe scovolo rute or besen or drahtbürste brosse castanets castagnetta nacchere kastagnetten catagnettes chains catene ketten chaines chimes or tubular bells campane glocken cloches Chinese blocks ceppi Chinosi Chinesische blöcke blocs Chinois cowbells campanelle di vacca heerdenglocken or lots de vaches or cencerros   or campanaccio   viehschellen or kuhglocken   or cloches de vache cymbals piatti or cinelli becken or tellern cymbales cymbals (suspended) piatti sospeso becken hängend cymbale suspendue drum tamburo trommel tambour field drum tamburo militare militärtrommel tambour-militaire gourd or guiro raspe raspel rape jingles bubbolo schelle timbres maracas marche maracas maracas or boîte à (de) clous marimba marimba marimba marimba metal block cassa di metallo metallkasten bloc de metal percussion percussione schlagzeug batterie ratchet raganella ratsche or knarre (clog rattle) crécelle   or handratsche rattle nacchere (pl.) rassel or schnarre cliquet sandpaper blocks ceppi di carta vetro sandpapierblocke blocs à papier de verre sirena sirene sirène siren sistrum sistro sistre sistre slapstick or whip frusta or flagello peitsche or holzlapper fouet sleigh bells sonagli schellen grélots string drum or lion’s roar rugghio di leone löwengebrull tàmbour à corde

507 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

508

Glo ssary o f Fo re ign T er m s

English

Italian

German French

snare drum or side drum tamburo piccolo or cassa chiara kleine trommel caisse claire or tambour petit sticks bachetta schlagel bacchetta or mailloches switch or rod verghe rute or ruthe verges tam tam or gong tam tam tam tam tam tam (gong is tuned) tambourine tamburo Basco or shellentrommel or tambour de Basque   tamburello or   tamburin   tamburino temple blocks blocks cinese tempelblöcke temple blocks tenor drum or tabor tamburo rullante or cassa rullante rührtrommel or wirbeltrommel tambourin caisse or roulante or   tambour de Provençale timbales timpanetti timbales creoles timpani or kettledrums timpani pauken timbales thunder machine or thunder sheet macchina di tuono windmaschine machine à tonnerre triangle triangolo triangel triangle vibraphone vibrafono vibraphon vibraphone wind machine macchina a venti windamaschine machine à vent wood blocks casse di legno or holzkasten holz or holztrommel blocs de bois   legno cassettinae xylophone xylofono or zilafono or silofono holzharmonika or xylophone   strohfiedel   holzund or strohinstrument Method of Playing English

Italian

German French

at the edge (of the head) sul bordo (della membrana) am rand (des felles) au bord (de la membrane) cymbals attached to B.D. 1 piatto uniti ala grand cassa becken an der grossen à la grosse caisse   trommel befestigt 2 cymbals clashed a2 a due due piatti gewöhnlich mit tellern à l’ordinaire avec plateaux 2 cymbals rubbed together trillo (a2) triller (zu2) fròlée or frottée   or 2 cymbals rolled together strike or play colpo con mit dem frappé avec on the bell or on the sul mezzo sulla or cupola in der mitte or auf der kuppel sur la protubérance   cup or in the center   fellmitte on the rim all’estremita in margine or sul am rand or spannreifen à la jante sur le cerclesur or le   bordo   bord or sur le bois (du tambour) strike or beat colpite schlagen frappez or blouser swish or hissing cigolio zischend sifflement Other Playing Instructions English

Italian

German French

dampen or dry secco dämpfen étouffé do not dampen let vibrate (l.v.) lasciare vibrare klingen lassen laissez vibrer muted or muffled (covered) con sordino or coperto abdämpfen or bedeckt or sons voilés sourdine or voilée   dumpf or gedämpft   couvert (e) mute off or unmuffled modo ordinario or senza sordino gewöhnlich or dämpfung ab naturel or sans sourdine   or scoperto with snares con cordes mit schnarren avec timbres without snares sauza cordes ohne schnarren sans timbres or détimbrée Types of Sticks English

Italian

German French

B.D. stick felt stick

bachetta di gran cassa bachetta di feltro

grosse trommelschlägel filzschlägel

mailloche de grosse caisse baguette en feutre

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G l o s s a r y o f F o r ei g n Ter m s



English

Italian

509

German French

hard stick bachetta dure schwerer schlägel baguette dure medium-hard stick bachetta media-dure ziemlich hartem schlägel baguette assez dure medium-soft stick bachetta media-molle ziemlich weicher schlägel baguette assez molle soft stick bachetta molle or morbide/ weicher schlägel baguette douce   morbido stick bachetta or mazza schlägel or klöpper baguette or mailloche timpani stick bachetta di timpani paukenschlägel baguette de timbales wire brush scovolo di fil di ferro or drahtbürste balai metallique (brosse en fil de   verghe or verga   metal) or verges wood stick bachetta di legno holzschlägel baguette de bois Other Stick Materials English

Italian

German French

cane fiber iron leather rubber sponge wool

canna capoc ferro pelle gomma elastica spunga lana

rohrschlägel canne kapic capoc eisenschlägel fer lederschlägel cuir or en peau gummisschlägel caoutchouc schwamm épongè wollschlägel laine

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B i b l i o g r a p h y

Also see books under “Recommended Reading” in the Introduction and under “General Guides to Percussion” in Chapter 1. Aldridge, John. Guide to Vintage Drums (Fullerton, CA: Centerstream Publishing, 1994). Altenburg, Johann Ernst. Trumpeter’s and Kettledrummer’s Art (Halle, Germany, 1795). Translation with introduction by Edward H. Tarr (Nashville: The Brass Press, 1974). Anderson, Simon V. American Music During the War for Independence, 1775–1783 (Ph.D. dissertation, University of Michigan, 1965). Arbeau, Thinot (Jehan Tabourot). Orchéstrographie (1588) (Langres, France: 1589). English translation by Mary Stewart Evans (New York: Dover Publications, 1967; reissued 2011). First published by Kamin Dance Publishers (1948). Bajzek, Dieter. Percussion: An Annotated Bibliography (Metuchen, NJ: Scarecrow Press, 1988). Banek, Reinhold and Jon Scoville. Sound Designs: A Handbook of Musical Instrument Building (Berkeley: Ten Speed Press, 1981). Beck, John H, editor. Encyclopedia of Percussion (New York: Garland Publishing, 1995). Beck, John H, editor. Encyclopedia of Percussion, 2nd ed. (New York: Routledge Publishing Co., 2006). Beck, John R. Ensemble Techniques and Musicianship for Percussionists, Vol. 1 (Everett, PA: HoneyRock, 2001). Becker, Bob, et. al. “Contemporary Percussion, Performer’s Perspective,” Contemporary Music Review, Vol. 7, Part 1 (Berkshire, UK: Harwood Academic Publishers, 1992). Benvenga, Nancy. Timpani and the Timpanist’s Art: Musical and Technical Development in the 19th and 20th Centuries (Göteborg, Sweden: Göteborg University, 1979). Berlioz, Hector. A Treatise on Modern Instrumentation and Orchestration (Paris: Lemoine, 1843–44). Translation by Mary Clarke, ed. and rev. by Joseph Bennett (London: Novello and Company, Ltd.). Berlioz, Hector and Richard Strauss. A Treatise on Modern Instrumentation and Orchestration (1843–44, enlarged and revised 1904). Translated by Theodore Front (New York: Dover Publications, 1991; republication of the original Edwin F. Kalmus, 1948). Berry, Mark. “From Angels to Orchestra, An Iconographic history of the triangle through the 19th Century” (Percussive Notes, Vol. 53, No. 1, 2015). Blades, James. Orchestral Percussion Technique, 2nd ed. (London: Oxford University Press, 1973).

———. Percussion Instruments and Their History (London: Frederick A. Praeger, Inc., 1970; Faber and Faber, Ltd., revised edition 1984). Blades, James and Jeremy Montagu. Early Percussion Instruments from the Middle Ages to the Baroque (London: Oxford University Press, 1976). Boracchi, Carlo Antonio. Manual for the Timpanist (Milano: Giacomo Pirola, 1842). Translation by Michael Quinn, www .bandaturca.com, 2016. Bowles, Edmund A. The Timpani: A History in Pictures and Documents (Hillsdale, NY: Pendragon Press, 2002). Bowles, Edmund A. The Timpani Supplement: More Pictures and Documents (Hillsdale, NY: Pendragon Press, 2009). Brindle, Reginald Smith. Contemporary Percussion (London: Oxford University Press, 1970). Bronson, Po and Ashley Merryman. Top Dog: The Science of Winning and Losing (New York: Twelve, Hachette Book Group, 2013). Brown, Theodore Dennis. A History and Analysis of Jazz Drumming to 1942, Vols. I and II (Ph.D. dissertation, University of Michigan, © 1976 T.D.B.) [available through University Microfilms, Ann Arbor, MI]. Bruce, George and Daniel Emmett. The Drummer’s and Fifer’s Guide (1862 and 1865 eds.) [1865 ed. available from George Carroll, 4113 Fourth Street, North Arlington, VA 22203]. Buyer, Paul. Marching Bands and Drumlines: Secrets of Success from the Best of the Best (Galesville, MD: Meredith Music Publications, 2009). Buyer, Paul. Working Toward Excellence, 8 Values for Achieving Uncommon Success in Work and Life (New York: Morgan James Publishing, 2012). Cahn, William L. The Xylophone in Acoustic Recordings 1877–1929 (Rochester, NY: William L. Cahn, 1979). Carrington, J. F. Talking Drums of Africa (New York: Negro Universities Press, 1969). [Originally pub. London: Carey Kingsgate Press, 1948]. Carse, Adam. The Orchestra From Beethoven to Berlioz (Cambridge: W. Heffer and Sons, Ltd., 1948). Chenoweth, Vida. The Marimbas of Guatemala (Lexington: University of Kentucky Press, 1964). Chou, Wen-Chung. “Ionisation: The Function of Timbre in Its Formal and Temporal Organization,” The New Worlds of

510 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

B i b l i o g r a p hy



Edgard Varèse, A Symposium, Sherman Van Solkema, editor, et al. (New York: Brooklyn College, Institute for Studies in American Music Monographs: Number 11, 1979). Cirone, Anthony J. and Joe Sinai. The Logic of It All (Miami, FL: Warner Bros., 1977). Cohan, Jon. Star Sets (Milwaukee, WI: Hal Leonard, 1995). Coleman, Satis N. The Drum Book (New York: John Day Company, 1942). ———. The Marimba Book (New York: John Day Company, 1930). Cook, Rob. The Complete History of the Leedy Drum Company (Fullerton, CA: Centerstream Publishing, 1993). ———, editor. Franks for the Memories, A History of the Legendary Franks Drum Shop and the Story of Maurie and Jan Lishon (Alma, MI: Rebeats Publications, 1993). ———, compiler. Leedy Drum Topics, Complete from 1923 to 1941 (Anaheim Hills, CA: Cedarcreek Publishing, 1993). Cowell, Henry, editor. American Composers on American Music, A Symposium (New York: Frederick Ungar Publishing Co., 1962, original 1933). Coyle, Daniel. The Talent Code (London: Arrow Books, Penguin Random House, 2010). Denov, Sam. The Art of Playing Cymbals (Miami, FL: Warner Bros., 1963). Diagram Group. Musical Instruments of the World, An Illustrated Encyclopedia (New York: Facts on File, Inc., 1976). Dimuzzio, Lennie with Jim Coffin. Tales from the Cymbal Bag (Green Harbor, MA: Jump Back Baby Productions, 2010). Ericsson, Anders and Robert Pool. PEAK, Secrets from the New Science of Expertise (New York: Houghton Mifflin Harcourt Publishing Co., 2016). Farkus, Philip. The Art of Musicianship (Atlanta: Wind Music Publications, 1976). Farmer, Henry George. Handel’s Kettledrums and Other Papers on Military Music (London: Edwards and Brune, Ltd., 1960). Fink, Siegfried. Tablature 72 (Hamburg: N. Simrock, 1972) [A listing of tables of symbol notations for percussion instruments].

511

Glass, Daniel. The Century Project, 100 Years of American Music from Behind the Drums (1865–1965) (Daniel Glass and the DrumChannel.com, 2012). ———. The Roots of Rock Drumming, Interviews with the Drummers who Shaped Rock ‘n’ Roll Music, additional editing by Steve Smith (Milwaukee: Hudson Music/Hal Leonard Corp., 2013). ———. Traps: The Incredible Story of Vintage Drums 1865-1965 (Daniel Glass and the DrumChannel.com, 2012) Goddard, George. Forty Years in the Steelbands 1939–1979 (London: Karia Press, 1991). Gorrie, Jon. Performing in the Zone (Create Space Independent Publishing Platform, www.thezonebook.com, 2009). Green, Elizabeth A. H. and Nicolai Malko. The Conductor and His Score (Englewood Cliffs, NJ: Prentice-Hall, Inc., 1975). Greene, Vivien, curator. “Italian Futurism, 1909–1944: Reconstructing the Universe” (New York: Guggenheim Museum, 2014). Gridley, Mark C. Jazz Styles, History and Analysis, 5th ed. (Englewood Cliffs, NJ: Prentice-Hall, 1994). Gronemeier, Dean Warren. “Advanced Marimba Techniques: An Analysis with Musical Approaches to Performance Problems in West Side Suite, arr. by John Serry” (DMA lecture recital document, Tucson: University of Arizona, 1991). Grout, Donald J. A History of Western Music (New York: Norton, 1960). Hall, John Richard. “Development of the Percussion Ensemble Through the Contributions of the Latin American Composers Amadeo Roldán, José Ardévol, Carlos Chávez, and Alberto Ginastera” (Unpublished DMA dissertation, Ohio State University, 2008). Han, Kuo-Huang. “The Modern Chinese Orchestra,” Asian Music, vol. XI, no. 1 (1979). Hannum, Thom. The Cymbal: Its Standard and Special Use in Contemporary Marching Ensembles (MM thesis, Amherst: University of Massachusetts, 1984). Hannum, Thom and Robert Morrison. Championship Concepts for Marching Percussion (Milwaukee, WI: Hal Leonard, 1986). Hartenberger, Russell, editor, et al. The Cambridge Companion to Percussion (Cambridge: Cambridge University Press, 2016).

Forsyth, Cecil. Orchestration, 2nd ed. (London: MacMillan and Co., Ltd., 1955).

Hinger, Fred. Time in Motion, the Musical Snare Drum (New Haven, CT: Cornucopia, 1991).

Foster, Robert E. Multiple-Option Marching Band Techniques (Van Nuys, CA: Alfred Publishing Co., 1975).

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Foster, Robert E., et al. Championship Auxiliary Units (Van Nuys, CA: Alfred Publishing Co., 1979).

Holland, James. Percussion (New York: Schirmer Books, 1978).

Galamian, Ivan. Principles of Violin Playing and Teaching (Englewood Cliffs, NJ: Prentice-Hall, Inc., 1962). Gallwey, W. Timothy. The Inner Game of Golf, revised edition (New York: Random House, 2008). Gallwey, W. Timothy and Bob Kriegel. Inner Skiing, revised edition (New York: Random House, 1997). Garland, Peter, editor. A Lou Harrison Reader (Santa Fe: Soundings Press, 1987). Giddins, Gary. Visions of Jazz: The First Century (New York: Oxford University Press, 1998).

Honegger, Arthur. Je suis compositeur (“I Am a Composer”) in the collection Mon métier (“My Profession”) (Paris: Éditions du Conquistador, 1951). Translated by Wilson O. Clough and Allan Arthur Willman (New York: St Martin’s Press, 1966). Hong, Sherman. “Percussion in the Orchestra: 1750–1850,” Percussionist, Vol. VIII, No. 4 (Terre Haute, IN: Percussive Arts Society, 1971). Hooper, Dale F., et al. Corps Style Marching (Oskaloosa, IA: C. L. Barnhouse Co., 1977). Howard, Joseph H. The Drums in the Americas (New York: Oak Publications, 1967).

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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B iblio graph y

Hunt, Joe. 52nd Street Beat (New Albany, NY: Jamey Aebersold, 1992). Jones, Timothy and Jim Mcintosh. Rock ‘n’ Roll, Origins & Innovators (Dubuque, IA: Kendall Hunt Publishing Co., 2008). Kaptain, Laurence. The Wood that Sings (Everett, PA: HoneyRock, 1992). Karkoschka, Erhard. Notation in New Music, translated by Ruth Koenig (New York: Praeger Publishers, 1972). Kaufman, Frederick and John P. Guckin. The African Roots of Jazz (Van Nuys, CA: Alfred Publishing Co., 1979). Keune, Eckehardt. Percussion Instruments—Part 2: Timpani (Leipzig, East Germany: VEB Deutscher Verlag für Musik, 1977). Kite, Rebecca. Keiko Abe—A Virtuosic Life: Her Musical Career and the Evolution of the Concert Marimba (Leesburg, VA: GP Percussion, 2007). Kirby, Percival R. The Kettledrums (London: Oxford University Press, 1930). Kochevitsky, George. The Art of Piano Playing, A Scientific Approach (Princeton, NJ: Summy-Birchard Music, 1967). Korall, Burt. Drummin’ Men: The Heartbeat of Jazz, The Bebop Years (New York: Oxford University Press, 2002). ———, Burt. Drummin’ Men: The Heartbeat of Jazz, The Swing Years (New York: Schirmer Books, 1990). Kostelanetz, Richard. Conversing with Cage (New York: Limelight Editions, 1988). Kotonski, Wlodzimierz. Schlaginstrumente in modernen Orchester (Mainz, West Germany: B. Schott’s Söhne, 1968). Lang, Morris and Larry Spivack. Dictionary of Percussion Terms (Ft. Lauderdale, FL: Lang Percussion/Meredith Music Publications, 1977). Larrick, Geary. Analytical and Biographical Writings in Percussion Music (New York: Peter Lang, 1989). Lewis, Kevin and Guistavo Aguilar, editors, et al. The Modern Percussion Revolution, Journeys of the Progressive Artists (New York: Routledge, Taylor & Francis, 2014). Locke, David. Drum Gahu (Tempe, AZ: White Cliff Media, 1988). Ludwig, William F. The Development of Drum Rudiments (Chicago: Ludwig Drum Co., n.d.). MacCallum, Frank. The Book of the Marimba (New York: Carlton Press, Inc., 1969). Martin, Susan Marie. A Comprehensive Curriculum for Drum Set in the College Percussion Studio (DMA lecture recital document, Tucson: University of Arizona, 1994). Mason, Bernard S. Drums, Tom Toms & Rattles (New York: Dover Publications, Inc., 1974). Mcclaren, Court. The Book of Percussion Pedagogy, The Common Elements Approach for Teachers & Performers (Greensboro, NC: C. Alan Publications, 1994, renewed 2006). Mclaughlin, Carrol. Dr. Carroll’s Power Performance (Tucson, AZ: IntegrityInk.US.LLC, 2008) Megill, Donald D. and Richard S. Demory. Introduction to Jazz History, 4th ed. (Upper Saddle River, NJ: Prentice-Hall, 1996).

Mersenne, Marin. Harmonie Universelle (Paris, 1636), translated by Roger E. Chapman (1935) (The Hague, Netherlands: Martinus Nijhoff, 1957). Meucci, Renato. The Timpani and Percussion Instruments in 19thCentury Italy (In “Studi verdiani,” no. 13. Parma: Instituto nazionale di studi verdiani, 1998. Milan: Meucci, 2010). Translated by Michael Quinn, www.bandaturca.com, 2011. Meza, Fernando A., compiler. Percussion Discography (New York: Greenwood Press, 1990). Montagu, Jeremy. Making Early Percussion Instruments (London: Oxford University Press, 1976). ———. Timpani and Percussion (New Haven: Yale University Press, 2002). Moore, James L. Acoustics of Bar Instruments (Columbus, OH: Permus, 1970). Newman, Ernst, editor. Memoirs of Hector Berlioz from 1803 to 1865 (New York: Alfred Knopf, Inc., 1932). Norris, John. Marching to the Drums, A History of Military Drumming and Drumming (Gloucestershire: The History Press, 2012). Norton, Sam and Ken Spacey, editors. Drums and Drumming Today (Edgware, England: Boosey & Hawkes, 1964). Olsson, Sture. KROUMATA (Gislaved: Svensk Skolmusik AB, 1985). Papastefan, John J. Timpani Scoring Techniques in the Twentieth Century (Mobile: University of South Alabama, 1978). Paraskevaídis, Graciela. “Edgard Varèse and His Relationships With Latin American Musicians and Intellectuals of His Time,” Contemporary Music Review, Vol. 23, No. 2 (June 2004). Partch, Harry. Genesis of a Music, 2nd ed., enlarged (New York: Da Capo Press, 1974/1979 paperback). Peinkofer, Karl and Fritz Tannigel. Handbook of Percussion Instruments, translated by Kurt and Else Stone (London: Schott, 1969). Peters, Gordon B. The Drummer: Man, revised ed. (Wilmette, IL: Kemper-Peters Pub., 1975). Pinksterboer, Hugo and Rick Mattingly, editor. The Cymbal Book (Milwaukee: Hal Leonard, 1992). Praetorius, Michael. The Syntagma Musicum, Vol. 2, “De Organographia,” First and Second Parts, plus Theatrum Instrumentorum (Wolfenbüttel, 1619). Reprint of the 1962 ed. published by Bärenreiter, New Yortk, translation by Harold Blumenfeld (New York: Da Capo Press, Inc., 1980). Primatic, Stephen. Percussion Instruments, Purchasing, Maintenance, Troubleshooting and More (Delray Beach, FL: Meredith Music Publications, 2015). ———. Percussion Methods: An Essential Resource for Educators, Conductors, and Students (Delray Beach, FL: Meredith Music Publications, 2015). Read, Gardner. Modern Rhythmic Notation (Bloomington: Indiana University Press, 1978). ———. Music Notation, 2nd ed. (Boston: Allyn and Bacon, 1969). ———. A Thesaurus of Orchestral Devices (New York: Pitman, 1963).

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

B i b l i o g r a p hy



Reed, H. Owen and Joel T. Leach. Scoring for Percussion (Englewood Cliffs, NJ: Prentice-Hall, 1969). Remy, Jeannine. A Historical Background of Trinidad and Panorama Competitions with an Analysis of Ray Holman’s 1989 Panorama Arrangement of “Life’s Too Short” (DMA lecture recital document, Tucson: University of Arizona, 1991).

513

Stevens, Leigh Howard. Method of Movement for Marimba (Ashbury Park, NJ: Keyboard Percussion Publications, 1979). Revised and expanded 1990. Stone, Kurt. Music Notation in the Twentieth Century: A Practical Guidebook (New York: Norton, 1980).

Richards, Emil. World of Percussion (Miami, FL: Warner Bros., 1972).

Sunkett, Mark. Mandiani Drum and Dance (Tempe, AZ: White Cliff Media, 1995).

Right, Al G. and Stanley Newcomb. Bands of the World (Evanston, IL: The Instrumentalist Co., 1970).

Talbourot, Jean [Thoinot Arbeau]. Orchesography (New York: Karmin Dance Publishers, 1948).

Risatti, Howard. A Guide to Notational Signs for Contemporary Music (Urbana: University of Illinois Press, 1975).

Tanner, Chris. The Steel Band Game Plan (Lanham, MD: Rowman & Littlefield/MENC, 2007).

Rossing, Thomas D. Science of Percussion Instruments (Singapore: World Scientific Publishing, 2001).

Tanner, Paul O. W. and Maurice Gerow. The Study of Jazz, 2nd ed. (Dubuque, IA: Wm. C. Brown, 1973).

Rossing, Thomas D. and Neville H. Fletcher. The Physics of Musical Instruments 2nd ed. (New York: Springer Science, 1998).

Taylor, Henry W. The Art and Science of the Timpani (London: John Baker Publishers, Ltd., 1964).

Russolo, Luigi. L’arte die remori (“The Art of Noises”) (1913). Translated by Barclay Brown (New York: Pendragon Press, 1986).

Thomas, Jeffrey, compiler. Forty Years of Steel (Westport, CT: Greenwood Press, 1992).

Sachs, Curt. The History of Musical Instruments (New York: Norton, 1940).

Tisdall, Caroline and Angelo Bozzolla. Futurism (World of Art) (London: Oxford University Press, 1978).

Sadie, Stanley, editor. The New Grove Dictionary of Musical Instruments, Vol. 1 (London: Macmillan Press, 1984).

Titcomb, Caldwell. The Kettledrums of Western Europe (Cambridge, MA: Harvard University Press, 1952).

Sand, Barbara Lourie. Teaching Genius: Dorothy DeLay and the Making of a Musician (Portland: Amadeus Press, 2000).

Tobischek, Herbert. Die Pauke: Ihre spiel-und bautechnische Ent­ wicklung in der Neuzeit (Tutzing, West Germany: Hans Schneider, 1977).

Schaft, Glenn E. Jazz Drumming 1960–65: Transcriptions and Analyses of Ensemble Techniques (University of Illinois at Urbana-Champagne, 1993). DMA research paper.

Udow, Michael. Rhythmic Source Book for Actors, Dancers and Musicians (Kansas City, MO: Michael Udow, 1978).

Schick, Steven. The Percussionist’s Art, Same Bed, Different Dreams (Rochester: University of Rochester Press, 2006).

Udow, Michael and Chris Watts. The Contemporary Percussionist (Ft. Lauderdale, FL: Meredith Music Publications, 1986).

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Schuller, Gunther. Early Jazz, Its Roots and Musical Development (New York: Oxford University Press, 1968). ———. Horn Technique, 2nd ed. (London: Oxford University Press, 1992). Siwe, Thomas, editor. Percussion Ensemble and Solo Literature (Champaign, IL: Media Press, 1993). ———. Percussion Solo Literature (Champaign, IL: Media Press, 1995). Slisinski, Adam. “Lost and Found: Percussion Chamber Music in wthe Modern Age,” The Cambridge Companion to Percussion, Russell Hartenberger, editor (Cambridge: Cambridge University Press, 2016). Slonimsky, Nicolas. KPFK interview, March 6, 1973, on the 40th anniversary of the world premiere of Ionisation, with David Cloud of KPFK in Berkeley. Other Minds Audio Archive: https://archive.org/details/OnVareseIonization/. Slonimsky, Nicolas. Perfect Pitch: A Life Story (New York: Oxford University Press, 1988). Smith, Steve. Drumset Technique/History of the U.S. Beat (Milwaukee: Hudson Music/Hal Leonard, 2002). Spagnardi, Ronald. The Great Jazz Drummers (Cedar Grove, NJ: Modern Drummer Pub., 1992). Edited by Wm. F. Miller. Spalding, Dan C. “The Evolution of Drum Corps Drumming,” Percussionist, Vol. XVII, No. 3 (Knoxville, TN: Percussive Arts Society, 1980).

Vela, David. Information on the Marimba (1958). Edited and translated by Vida Chenoweth (Auckland, New Zealand: Institute Press, 1978). Originally printed Guatemala, 1953. Waadeland, Carl Haakon. Trommeslåtter (Trondheim, Norway: TIMA Forlag, 1991). Walton, David. “Music for Steel Band: An Examination of the Styles of Music Which Develop Specific Performance Skills” (DMA lecture recital document, Tucson: University of Arizona, 1996). Watkins, Glen. Soundings: Music in the Twentieth Century (New York: Schirmer Books, 1988). Wells, James R., et al. The Marching Band in Contemporary Music Education (New York: Interland Publishing, Inc., 1976). Williams, B. Michael. The Early Percussion Music of John Cage, 1935–1943 (Unpublished Ph.D. thesis, #9117879, Ann Arbor: Michigan State University, 1990). Zeltsman, Nancy. Four-Mallet Marimba Playing, A Musical Approach for All Levels (Milwaukee: Hal Leonard Corp., 2003). Rick Mattingly, editor. Zildjian, Avedis. The Avedis Zildjian Story (Accord, MA: A. Zildjian Co., 1974). ———. Crotales “Antique Cymbals” (Accord, MA: A. Zildjian Co., n.d.).

Stern, Marshall W. The Story of Jazz (London: Oxford University Press, 1956). Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

I N D E X

A Abduction from the Seraglio (Mozart), 225, 232 Accent studies, snare drum, 61–62 Adams 3-octave AV-1 vibraphone, 98 Adams 4.0-octave XCHV40 xylophone, 94 Adapted keyboard notation, 7 Adato, Joseph, 507 Adobe Premiere, 304 Advanced Concepts (Plainfield), 317 Aerophones, 2–3 Afoxe, 254 African Creation percussional ensemble, 470 African influences and styles, 254–264 African roots, 254 Kinka dance, 254–259 arrangement, 257–259 call and response dialogue, 255–257 dance elements, 257 timeline, 254–255 Kpanlogo, 259–264 African thumb piano, 247 Afro-Cuban influences and styles, 264–275, 288 bongos, 266–268 claves, 265–266 congas, 268–271 cowbells, 273 guiro, 274 jawbone (quijada), 275 jazz, 298 maracas, 274 timbales, 271–273 vibra-slap, 275 Afuché-cabasa, 277 Agogo, 277 Alcione (Marais), 24 Allemeier, John, 86 Almglocken, 244 Alpine herd bells, 244 Alternate Mode company, 5, 302 Alternating double strokes, slow to fast, 60–61 Amores (Cage), 4 Ancona, Jim, 332 Antique cymbals, 103 Anvils, 246 Apíto, 277 Armstrong, Louis, 295 Arsenault, Frank, 331 Articulation markings, 10 timpani, 188–196 Art of Bass Drum and Cymbal Playing (Cirone and Whaley), 223 Art of Playing Cymbals, The (Denov), 228

Art of Tambourine and Triangle Playing, The (Grover and Whaley), 237 Art of Timpani Mallet Making, The (Stubbs), 165, 167, 220 Art of Vibraphone Planing, The (Buyer and Gottry), 144 Ashworth, Charles, 24, 377 Asselman, Frans, 165 Atsimivu, 254, 256–257 dialogue with kidi and sogo, 256 Attitude toward percussion performance and education, 33–35 Audacity audio editor, 304 Audiation, 160 Aungst, Tom, 332 Auralia (Sibelius), 304 Automobile horns, 248 Axatse, 254–255 B Bach, Johann Sebastian, 4, 142, 157 Bailey, Buster, 38, 44 Baladi, 279 Band Director’s Percussion Repair Manual (Brown), 19 Band Expressions (Belwin), 13 Band Today series (Belwin), 13 Bartók, Béla, 69–71, 158 Basic percussion technique through study of the snare drum, 24–78 attitude toward percussion performance and education, 33–35 basic drumming technique, 44–66 accent studies, 61–62 grace note figures (flams and drags/ruffs), 62–65 rebounds, doubles, and rolls, 45–50 roll interpretation, 51–57 special effects: rim and stick shots and others, 66 stroke-and-a bounce and finger stroke control, 57–61 historical origins, 24–25 individual snare drum methods and supplemental studies, 73–78 major applied methods, 73–74 selected solos, 76–78 snare drum technique, 75 supplemental studies, 74–75 phrasing, 70–71 snare drum, 25–31 care and maintenance, 27–28 construction, 25 counterhoop, 27 grip, 38–39

heads, 25–27 pivot point or fulcrum on stuck, 38 playing areas, 30–31 snare adjustment, 27 snare release, 27 snares, 27 stands, 29 sticks, 29–30 stroke, 39–43 tuning, 28–29 sticking policies, 66–70 strokes, 71–73 tom tom, field drum, tenor drum, and roto-toms, 31–33 Basic stroke combinations, 454–455 Bass drums, 215–225 construction and selection, 215 heads, 215–216 humidifiers, 217–220 mallets, 218, 220–221 methods and studies, 251–252 playing techniques, 221–225 bass drum and attached cymbal, 224–225 stands, 216–217 tuning, 216 Bass drums, marching percussion, 332–336 carriers, 335 construction and care, 333 heads and muffling, 334–335 mallets, 335 playing techniques, 335–336 sizes and selection, 332–333 tuning, 333–334 Batter head of snare drums, 27 Beaters, 233 Beck, John H., 93, 158, 507 Beethoven, 225 Beladi, 279 Bending, Adrian, 164 Bendir, 280 Bergamo, John, 280 Berimbáu, 277–278 Berklee Practice Method for Vibraphone (Saindon), 144 Berlioz, Hector, 158 Bibliography, 510–513 Big band drumming, 296 Bird whistle, 247 Bissantz, Kyle, xviii Bitches’ Brew, 265 Bizet, Georges, 240 Blade, James, 93, 158 Blues, 254 Boat whistle, 247

514 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

I nd ex



Boba, 254–255 Body awareness and instrument setup, drum set, 305–306 Bomba, 265 Bonfoey, Mark, 19 Bongos, 266–268 Bop, 296–297 Bossa nova, 265 Bowels, Edmund, 158 Brahms, Johannes, 158 Brake drums, 246 Brazilian influences and styles, 265, 275–279 Afuché-cabasa, 277 agogo, 277 apíto, 277 berimbáu, 277–278 cabaça, 277 caixa, 276 caxixi, 277–278 chocalho, 277 cuíca, 276–277 frigideira, 277 ganzá, 277 pandeiro, 276 réco-réco, 277 repiníque, 276 samba batucada, 278–279 shekeree, 277 surdo, 275 tamborim, 276 Brown, Ed, 19 Brown, Theodore Dennis, 294 Bruce, George, 25, 388 Brushes, 295 Bulb horns, 248 Burton, Gary, 132 Burton grip, 132–133 Buyer, Paul, 144 Buzz and roll comparison exercises, 47–49 Buzz comparisons, 455–456 C Cabaça, 277 Cage, John, 4, 246 Caixa, 276 Calypso, 288 Campbell, Jim, 332 Care. See Construction and care Carlos, Wendy, 4 Carmen (Bizet), 240 Carretilla, 241 Carriers bass drums, marching percussion, 335 Cartridge Music (Cage), 4 Casella, Jim, 332 Castanets, 240–242 construction and selection, 240 etude, 241 origins, 240 playing techniques, 240–242 Carretilla, 241 double golpé, 241 golpé, 241 Caxixi, 277–278 Celesta, 104–105 range, 105

Cencerros, 244, 273 Changuito: A Master’s Approach to Timbales (Quintana and Silverman), 271, 273 Chapin, Jim, 60 “Choo-choo” effect, 46 Chicago Dixieland style, 295–296 Chimes, 101–103 construction, 101–102 mallets or hammers, 102–103 performance, 103 range, 101 Chinese cymbals, 294 Chinese tom toms, 295 Chocalho, 277 Chordophones, 2–3 Cirone, Anthony, 223, 237, 507 Cirone’s Pocket Dictionary of Foreign Musical Terms (Cirone), 507 Clarke, Kenny “Klook,” 296–297 Classical Percussion (Press), 223, 237 Classification of instruments aerophones, 2–3 chordophones, 2–3 electrophones, 3 idiophones, 2–3 membranophones, 2–3 “musical,” 2 “unmusical,” 2 Claves, 254, 265–266 Clips, triangle, 232–233 Coach’s Eye Sport Video Analysis, 304 Colgrass, Michael, 32, 161 Collar of snare drums, 26 Combined line score and symbol notation, 7 multiple percussion, 82, 84 Complete Music for Fife & Drum (Sweet), 388 Concepts for Timpani (Beck), 158 Concerto for Orchestra (Bartók), 70 Concerto for Percussion and Orchestra (Milhlaud), 295 Concert Percussion: A Performer’s Guide (Denov), 228 Condomble, 254 Congas, 254, 268–271 basic technique, 269–271 Construction and care, 226–227 bass drums, 215 marching percussion, 333 castanets, 240 chimes, 101–102 cymbals, 225–227 glockenspiel, 100 gongs and tam tams, 239 marching bell lyre, 101 marimba, 97 snare drum, 25, 27–28 snare drums, marching percussion, 337 tambourine, 235 tenors or multi-tom toms, marching percussion, 340 vibraphone (vibraharp or vibe), 98 wood blocks, 242 xylophone, 95

515

Contemporary eclectic and rock styles, 297–298 Contemporary Mallet Method (Tachoir), 144 Contemporary Vibraphone Technique (Samuels), 144 Continuous base-to-roll exercises, 46 Contrabass Marimba Explosion (Takahashi), 96 Conventional staff notation with instrument abbreviations multiple percussion, 80–81 Cook Book Essential Ingredients, 34 Cool jazz, 297 Corea, Chick, 265 Count Basie, 295–296 Counterhoop (snare drum), 27 Cowbells, 244–245, 273 Crash cymbals, 227–229 grip, 227 notation, part editing, and marking, 229 techniques, 227–229 Cricket toy, 247 Cross-grip, traditional, 128–129 Cross sticking timpani, 204–209 Crotales, 103–104 range, 104 Cuba. See Afro-Cuban influences and styles Cuíca, 276–277 Cymbal Book, The, 225 Cymbal Excellence (Stubbs), 228 Cymbalism (Epstein), 228 Cymbal knot, 226 Cymbals, 225–231, 280 care, 226–227 construction and selection, 225–226 crash cymbals, 227–229 grip, 227 notation, part editing, and marking, 229 techniques, 227–229 drum set, 300–301 etude, 231 marching percussion, 342 methods and studies, 251–252 origins, 225 straps and pads, 226 suspended cymbals, 230–231 mallets, 230 sizes, 230 stands, 230 D Danse Macabre (Saint-Säens), 93 Darabuka, 280 Das Rheingold (Wagner), 246 Davila, Julie, 332 Davila, Lalo, 332 Davis, Miles, 265 Dead-strokes (keyboard percussion), 118 Deagan DC 9190A symphonic chimes (Yamaha), 102 Deagan DG 1590A symphonic orchestra bells (Yamaha), 100

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

516

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Deal, Scott, 3, 5, 310 DeLucia, Dennis, 332 Denov, Sam, 228 Déserts (Varese), 4 Developing Dexterity (Peters), 44 Dictionary of Percussion Terms (Lang and Spivack), 507 Diddle rudiments, 379 Digital audio workstation software (DAW), 5 Digital Performer (Unicorn), 304 Discography of percussion music, 472–480 Dixie (Bruce), 25 Dixieland drumming, 295–296 Dixieland jazz, 294 Djembe, 259 Dodds, Warren “Baby,” 295–296 Dominican Republic influences and styles, 265 Double-drumming, 79, 294 Double golpé, 241 Double stroke and rebound control, 459 Double strokes and rolls/formula system marching percussion, 363–367 Doumbek, 280, 284 Down Beat magazine, 307 Downfall of Paris, The, 388–393 Drag rudiments, 379–380 Drum and bugle corps, 330 Drum Concepts and Techniques (Erskine), 317 DrumDial, 173 DrumKAT, 5 Drum machines, 302 as an Afro-Cuban rhythm training tool, 303 Drum! magazine, 307 Drummer’s and Fifer’s Guide (Bruce and Emmett), 25, 388 Drummer’s Heritage, The (Fennell), 388 Drummer’s Vocabulary as Taught by Alan Dawson, The (Ramsay), 315 Drummerworld.com, 307 Drumming technique, basic, 44–66 accent studies, 61–62 grace note figures (flams and drags/ ruffs), 62–65 rebounds, doubles, and rolls, 45–50 roll interpretation, 51–57 special effects: rim and stick shots and others, 66 stroke-and-a bounce and finger stroke control, 57–61 Drumming with the Mambo King (Puente), 271, 273 Drum pads, 302 Drum set, 294–327 concepts for study and performance, 305–307 body awareness and instrument setup, 305–306 musical awareness, 306–307 electronic percussion and technology in education, 301–305 current electronic percussion instruments, 301–302

drum machine as an Afro-Cuban rhythm training tool, 303 drum machines, 302 drum pads, 302 electronic drum kits, 301–302 mallet controllers, 302 MalletKAT as an auxiliary keyboard instrument, 303 music computer center, 304–305 percussion controllers, 302 sound modules, 301 using technology as a tool, 302–303 instruments, 298–301 cymbals, 300–301 tuning and heads, 300 methods, DVDs, videos, and supplemental studies, 321–327 notation, 7 origins and evolution, 294–298 bop, cool jazz, and hard bop, 296–297 contemporary eclectic and rock styles, 297–298 Dixieland drumming, 295–296 swing era and big band drumming, 296 performance techniques, 307–321 basic styles and considerations, 317–321 brushes, 317 chart reading and interpretation, 315–317 coordinated independence, four-way coordination, interdependence, 313–315 developing the feet, 308–310 bass drum, 308–309 high hat, 309–310 movement around the drums, 315 ride cymbal time, 310–313 Duff, Cloyd, 173 Duke Ellington, 296 Dynacord, 5 E Echo and Narcissus (Gluck), 234 ElectroHarmonix, 4 Electronic drum kits, 301–302 Electronic Musician magazine, 307 Electronic percussion and technology in education, 301–305 current electronic percussion instruments, 301–302 drum machine as an Afro-Cuban rhythm training tool, 303 drum machines, 302 drum pads, 302 electronic drum kits, 301–302 mallet controllers, 302 MalletKAT as an auxiliary keyboard instrument, 303 music computer center, 304–305 percussion controllers, 302 sound modules, 301 using technology as a tool, 302–303 Electronics and percussion, 3–5 Electronic Studies (Stockhausen), 4

Electrophones, 3 Elementary Snare Drum Studies (Peters), 459 Emerson, Lake & Palmer, 4 Emmett, Daniel, 25, 388 E-Mu Systems, 5 E-Mu Systems Drumulator, 4 Encyclopedia of Percussion, The (Beck), 93, 158, 507 Ensemble and solo music, 481–506 keyboard duos/duets, 495–496 keyboard ensembles (three or more players), 496–498 keyboard in chamber ensembles with other instruments or voice, 498–500 keyboard solos with band/wind ensemble, 500 keyboard solos with orchestra, 501 percussion ensembles, 486–495 percussion in chamber ensembles with other instruments or voice, 502–503 percussion solos with band/wind ensemble, 503–504 percussion solos with orchestra, 504–505 resources, 482–486 timpani in chamber ensembles with other instruments of voice, 500 timpani solos with band/wind ensemble, 505–506 timpani solos with orchestra, 506 Epstein, Frank, 228 Equitorial (Varese), 4 Erskine, Peter, 305–306, 317 Erskine Method for Drumset, The (Erskine), 305–306 Essential Elements 2000 (Belwin), 13 Essential Listening for Drumset (Percussive Arts Society), 318 Ethnomusicologists, 253 Ewe people, 254 Exotic instruments, 246–247 Expanded staff notation multiple percussion, 81 Expression and phrasing keyboard percussion, 125–127 F Façade (Walton), 243 Feelmage (feel imagery), 425 Feet, developing, 308–310 bass drum, 308–309 high hat, 309–310 Fennell, Frederick, 388 Field placement and projection marching percussion, 403–405 Fife and drum bands, 329–330 Finale software, 5, 304 Final etudes, 72–73 Fine tuning/clearing heads timpani, 173–175 Finger control exercises, 459–460 Finger cymbals, 244–245 First Division Band Method (Belwin), 13

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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First Suite in E-Flat for Military Band (Holst), 425–453 Fitzgerald, Ella, 296 Flam exercises, 64 Flam patterns/formula system marching percussion, 367–368 Flam rudiments, 379 Flam studies, 62–64 Flesh hoop of snare drums, 26 Flexatone, 247 Float, Catherine, 332 Float, Tom, 332 “Fly-killer” (brush), 295 Ford, Mark, 139 Foreign terms, glossary of, 507–509 Forsyth, Cecil, 2 Forte-piano rolls timpani, 200–201 40 International Drum Rudiments, 378–380 Four-Mallet Marimba Playing (Zeltsman), 129, 139 Frame drums, 280 French language terms instruments, 507–508 method of playing, 508 sticks, 508–509 French timpani grip, 185–186 Friedman, David, 144 Frigideira, 277 Front ensemble or pit marching percussion, 342–344 Full ensemble warm-ups marching percussion, 368–375 Full stroke technique, 37 keyboard percussion, 111–113 Fundamental Method for Timpani (Peters), 158 Funeral Music for Mirabeau (Gossec), 238 Funk, 297 Fusion, 288 G Gallegos, Joe, 329, 393 Gallwey, Timothy, 107 Gankogui, 254–255 Ganzá, 277 Gauger, Tom, 224 German Dances (Mozart), 234, 244 German language terms instruments, 507–508 method of playing, 508 sticks, 508–509 German timpani grip, 185 Ghana, music in, 254–264 Gillespie, Dizzy, 265, 298 Girsberger, Russ, 507 Glissando, 118 Global frame drumming, 280–281 Glockenspiel, 99–101 construction, 100 mallets, 100–101 performance, 101 ranges, 99–100 Glossary of foreign terms, 507–509 instruments, 507–508 method of playing, 508 sticks, 508–509

Gluck, Christoph Willibald Ritter von, 234 Goldenberg, Morris, 377 Golpé, 241 Gongs and tam tams, 238–240 construction and selection, 239 mallets and racks, 239–240 origins, 238–239 playing techniques, 240 Goodman, Benny, 296 Goose call, 247 Gordon, Edwin, 160 Gossec, Joseph, 238 Gottry, Josh, 144 Grace note figures, 64–66 flams and drags/ruffs (snare drum), 62–65 Great Gate of Kiev (Mussorgsky), 239 Greer, Sonny, 296 Grips Cook Book Essential Ingredients, 39 crash cymbals, 227 keyboard percussion, 107–109 marching percussion, 350 snare drum, 38–39 timpani, 185–186 Groove tunes, 281–283 Grover, Neil, 237 Guiro, 274 Gusseck, Murray, 332 H Hammers chimes, 102–103 Hammes, Todd, 253, 279 Handbook of Percussion Instruments (Peinkofer and Tannigel), 507 Hand drums, 279–285 cymbals, 280 doumbek, 280 frame drums, 280 global frame drumming, 280–281 groove tunes, 281–283 Middle Eastern influences and styles, 279–280 tabla, 283–285 tambourines, 280 Handel, George Frideric, 24, 157–158 Hand-screw timpani (hand drums), 157–158 Hannum, Thom, 332, 342 Hard bop, 297 Hardiman, Ralph, 332 Harrison, Lou, 246 Haydn, Franz Joseph, 157, 225, 232 Heads bass drums, 215–216 marching percussion, 334–335 snare drums, 25–27 marching percussion, 337–338 tenors or multi-tom toms, marching percussion, 341 timpani, 164–165, 168–173 Hemphill, Steve, xviii High hat, 309–310 Hinger, Fred, 71, 184, 186, 193, 425 Histoire du Soldat (Stravinsky), 79 History and Analysis of Jazz Drumming to 1942, A (Brown), 294

517

Holbrook, Aaron, 401 Holliden, David, 84 Holst, Gustav, 425 Hookah toy, 247 Horizontal technique, 143 Horns, 248 Horn Technique (Schuller), 17 Horses’ hooves, 248–249 Houghton, Steve, 316 HPD-15 HandSonic Hand Percussion Pad, 5 Humidifiers for bass drums, 217–220 Hurley, Marty, 332 I Ideo-Kinetics (Stout), 119 Idiophones, 2–3 playing areas, 5–6 Imaginary Landscape series (Cage), 4 iMovie (Apple), 304 Inner Drumming, Drumset Exercises for Developing Mind/Body Awareness (Marsh), 306 Instrumental accessories, less common, 244–251 African thumb piano, 247 anvils, 246 automobile horns, 248 bird whistle, 247 boat whistle, 247 brake drums, 246 bulb horns, 248 cowbells, 244–245 cricket toy, 247 exotic instruments, 246–247 finger cymbals, 244–245 flexatone, 247 goose call, 247 hookah toy, 247 horns, 248 horses’ hooves, 248–249 Jew’s harp, 247 lasso d’amore, 247 log drums, 248–249 lujon, 248–249 malimba, 247 marching machine, 248–249 mbira, 247 metal plates, 246 methods and studies, 251–252 percussion aerophones, 247–248 pipes, 246 police whistle, 247 ratchet, 246 sandpaper blocks, 247 slapstick, 245–246 sleigh bells, 244–245 slide whistle, 247 slit drums, 248–249 thunder sheet, 251 toys, 247–248 wind chimes, 249–251 Instruments, foreign-language terms for, 507–508 Interactive musicianship training software, 304 Interpretive markings, 10

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Intonation tempering timpani, 184–185 Ionization (Varese), 4 Italian language terms, 507–509 instruments, 507–508 method of playing, 508 sticks, 508–509 It’s Your Move (Famularo), 44 J Japan Xylophone Association, 93 Jawbone (quijada), 275 Jazz, 254, 288 origins of, 294 Jazz drumming, 294 Jew’s harp, 247 Johnson, Erik, 332 Johnson, Scott, 332 Jones, Elvin, 297 Jones, Jonathan “Papa Jo,” 295–296 Jones, Richard K., 164 Judas Maccabaeus (Handel), 24 Judy, George, 507 K Kagan, 254–255 Kahn, Sidhar, 284 Kalimba, 247 KAT Corporation, 5 Katoski, Bill, 5 Kawai, 5 Keyboard duos/duets, 495–496 Keyboard ensembles (three or more players), 496–498 Keyboard exercises, 463–470 Keyboard in chamber ensembles with other instruments or voice, 498–500 Keyboard percussion, 93–156 expression and phrasing, 125–127 instrument characteristics, 94–107 celesta, 104–105 chimes, 101–103 construction, 101–102 mallets or hammers, 102–103 performance, 103 range, 101 crotales, 103–104 glockenspiel, 99–101 construction, 100 mallets, 100–101 performance, 101 ranges, 99–100 mallets, 106–107 marching bell lyre, 101 construction, 101 mallets, 101 performance, 101 range, 101 marimba, 95–97 construction, 97 mallets, 97 performance, 97 ranges, 95–96 unique instruments, 105–106 vibraphone (vibraharp or vibe), 97–99 construction, 98

mallets, 98–99 performance, 99 ranges, 97–98 xylophone, 94–95 construction, 95 mallets, 95 performance, 95 ranges, 94–95 major applied methods, 146–147 multiple mallets, 127–133 Burton grip, 132–133 Musser (Stevens) grip, 130–132 traditional cross-grip, 128–129 multiple mallet technique, 133–143 origin and classifications, 93 reading, 119–125 selected solos, 150–156 supplemental studies, 147–149 technique, 107–125 approach, 110 grip, 107–109 music reading proficiency, 119–125 playing areas on the bars, 109–110 special effects, 118–119 stroke, 110–111 full stroke technique, 111–113 sustained tone or roll, 116–118 touch-lift stroke, 114–116 vibraphone methods, 148–149 vibraphone technique, 143–146 Keyboard Rhythm magazine, 307 Keyboard solos with band/wind ensemble, 500 Keyboard solos with orchestra, 501 Kidi, 254, 256 Kinesthetic, 425 Kinka dance, 254–259 arrangement, 257–259 call and response dialogue, 255–257 dance elements, 257 timeline, 254–255 Kofi, Francis, 264 Kontakte (Stockhausen), 4 Koppel, Anders, 84 Korg, 5 Kpanlogo, 259–264 Krupa, Gene, 296 Kuhn, Bret, 332 Kulb, David, 19 L La Fiesta Mexicana (Read), 224 La Gazza Ladra (Rossini), 24 Lang, Drew, 5, 301 Lang, Morris, 507 Lasso d’amore, 247 Latin/jazz fusion, 264 Legato tone, 6 Line score notation, 7 multiple percussion, 81–82 Linn, Roger, 4 Linn Drum, 4 Linn LM-1 drum machine, 4 Log drums, 248–249 Logic Audio (Apple), 304

Logic of It All, The (Cirone and Sinai), 223, 237 Lujon, 248–249 Lully, Jean-Baptiste, 157 M Machine timpani, 157–158 Magic Flute, The (Mozart), 93, 99 Mahler, Gustav, 158, 224 Maintenance. See Construction and care Malletech 4.6-octave “low E” LHS marimba, 96 MalletKAT, 5, 105 as an auxiliary keyboard instrument, 303 Mallet Repair (Press), 106, 165, 167, 220 Mallets, 106–107 bass drums, 218, 220–221 marching percussion, 335 chimes, 102–103 controllers, 302 dampening, vibraphone technique, 144–146 glockenspiel, 100–101 gongs and tam tams, 239–240 marching bell lyre, 101 marimba, 97 suspended cymbals, 230 timpani, 165–167 vibraphone (vibraharp or vibe), 98–99 xylophone, 95 Mambo, 265 Manne, Sheldon “Shelly,” 297 Maracas, 274 Marching, 344–345 Marching bell lyre, 101–102 construction, 101 mallets, 101 performance, 101 range, 101 Marching machine, 248–249 Marching percussion, 329–424 arrangements for the methods class, 406–420 bass drums, 332–336 the challenge, 405–406 cymbals, 342 developing the contemporary marching percussion section, 332 field placement and projection, 403–405 front ensemble or pit, 342–344 history and evolution, 329–332 instruments and equipment, 332–344 bass drums, 332–336 cymbals, 342 front ensemble or pit, 342–344 snare drums, 336–340 tenors or multi-tom toms, 340–342 methods and materials, 420–424 rudimental drumming, 377–393 scoring and arranging for, 393–403 snare drums, 336–340 tenors or multi-tom toms, 340–342 training the marching percussionist, 344–377 developing uniform drumming skills, 362–375 dynamic levels, 351

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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full ensemble warm-ups, 368–375 grips, 350 marching, 344–345 rehearsal techniques and philosophy, 346–347 stroke awareness approach, 347–350 strokes, 351 system, 344 timing training, 345 visuals, 375–377 warm-up routine, 351–362 March notation, 7 Marimba, 95–97 construction, 97 mallets, 97 performance, 97 ranges, 95–96 Marimba: Technique Through Music (Ford), 139 Marsh, George, 306 Martillo beat, 267–268 Mason, Brian, 332 Master Studies (Morello), 44, 460 Matched grip, 35–36 Mazar, 280 Mbira, 247 McIntosh, Mike, 332 Membranophones, 2–3 sound-producing head areas, 5 Mendez, Sergio, 264 Mental-aural picture of notes to be played, 425 Merengue, 265 Metal plates, 246 Metered rolls, 9 Microphonie I (Stockhausen), 4 Middle Eastern influences and styles Hand drums, 279–280 MIDI (musical instrument digital interface), 4–5, 93, 302–303 Milhaud, Darius, 295 “Military” Symphony No. 100 (Haydn), 232 Mini Moog synthesizer, 4 Modern Drummer magazine, 19, 307 Modern School for Snare Drum (Goldenberg), 377 Montague, Jeremy, 158 Mood 1130 Drum Controller, 4 Moog synthesizer, 4 MoonGel, 174 Moore, Jeff, 329, 332, 406 Moreira, Airto, 265 Morello, Joe, 44, 460 Morrison, Bob, 332 Morton, Jelly Roll, 295 Mozart, Wolfgang Amadeus, 93, 99, 157, 225, 232, 244 Muffling bass drums, marching percussion, 334–335 timpani, 201–203 Multiple mallets, keyboard percussion, 127–133 block chord chorale style, 140 Burton grip, 132–133 developing rotary strokes, 134

developing the sequential roll, 139 double-vertical spreading exercises, 141 independent voice-moving exercise, 140 Musser (Stevens) grip, 130–132 paradiddle combinations, doublelateral strokes, independent roll exercises, and polyrhythm figures, 135–138 polythythms reduced to performable notation, 138 struck and rolled block chords, 140 technique, 133–143 three-mallet roll studies, 139 traditional cross-grip, 128–129 Multiple percussion, 79–92 first etude: colors, 88 history and definitions, 79–80 independence studies, 87–88 methods collections, 89 miscellaneous considerations, 86–88 notational systems, 80–86 combined line score and symbol notation, 82, 84 conventional staff notation with instrument abbreviations, 80–81 expanded staff notation, 81 line score notation, 81–82 symbol notation, 82–86 timbre staff (adapted keyboard) notation, 84–85 solo collections, 89–92 three-pitch studies, 87 two-pitch studies with different stickings, 86–87 Multiple-Percussion Book, Concepts for a Musical Performance (Petrella), 86 Multi-Timbre Snare (Yamaha), 337 Musical awareness drum set, 306–307 Musical instrument digital interface (MIDI), 4–5, 93, 302–303 “Musical” instruments, 2 Musical interpretation of percussion parts, 425–453 interpretive commentary on the percussion writing in Gustav Holst’s First Suite in E-flat for Military Band, 426–453 Musical Studies for Pedal Timpani, 184 Musical Time (Soph), 306 Music apptitude tests, 1 Music computer center, 304–305 Music reading proficiency keyboard percussion, 119–125 Musser, Clair Omar, 130 Musser (Stevens) grip, 130–132 Mussorgsky, Modest, 239 Mustel, August, 104 Muting, timpani, 203 N National Association of Rudimental Drummers (NARD), 25, 377 Neeley, Paul, 264 New, Useful and Complete System of Drum Beating (Ashworth), 24–25

519

New Orleans Dixieland style, 295 New Orleans funeral procession bands, 294 Next Level, The: Rudimental Snare Drum Techniques, (Queen), 376 Night Watch (Rembrandt), 24, 35 Nontied rolls, 52, 457–459 Notation, 7–10 crash cymbals, 229 drum set, 7 multiple percussion, 80–86 combined line score and symbol notation, 82, 84 conventional staff notation with instrument abbreviations, 80–81 expanded staff notation, 81 line score notation, 81–82 symbol notation, 82–86 timbre staff (adapted keyboard) notation, 84–85 O Oberheim, 5 Octa-Pad, 5 Orchestral excerpts for percussion, 471–472 Organizing the beginning percussion program, 10–13 selecting the percussion student, 11–12 training the beginning percussionist, 12–13 Organizing the percussion section, 13–20 general maintenance and head replacement, 18–19 instrument and percussionist assignments, 16–17 location of the percussion section in the ensemble, 17 motivating the percussionist, 19–20 percussion instrument substitution, 17–18 recommended percussion instrumentation, 14–16 Ottenhof, Jean-Etienne, 164 P Pad-8, 5 Pandeiro, 276 Pans (steel drums), 285 Payson, Al, 223, 237 Pearl, 5 Pearl synthetic drums, 4 Pedalling vibraphone technique, 144, 146 Peinkofer, Karl, 507 Percussion aerophones, 247–248 Percussion controllers, 302 Percussion Crafts: A Handbook Service Manual (Kulb), 19 Percussion ensembles, 486–495 Percussion in chamber ensembles with other instruments or voice, 502–503 Percussion Instruments, Purchasing, Maintenance, Troubleshooting, and More (Primatic), 19 Percussion Instruments and Their History (Blade), 93, 158

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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Percussion instruments of the world, 253–292 African influences and styles, 254–264 African roots, 254 Kinka dance, 254–259 arrangement, 257–259 call and response dialogue, 255–257 dance elements, 257 timeline, 254–255 Kpanlogo, 259–264 Afro-Cuban influences and styles, 264–275 bongos, 266–268 claves, 265–266 congas, 268–271 cowbells, 273 guiro, 274 jawbone (quijada), 275 maracas, 274 timbales, 271–273 vibra-slap, 275 Brazilian influences and styles, 275–279 Afuché-cabasa, 277 agogo, 277 apíto, 277 berimbáu, 277–278 cabaça, 277 caixa, 276 caxixi, 277–278 chocalho, 277 cuíca, 276–277 frigideira, 277 ganzá, 277 pandeiro, 276 réco-réco, 277 repiníque, 276 shekeree, 277 surdo, 275 tamborim, 276 hand drums, 279–285 Middle Eastern influences and styles, 279–280 cymbals, 280 doumbek or dombec, 280 frame drums, 280 global frame drumming, 280–281 groove tunes, 281–283 tabla, 283–285 tambourines, 280 methods and study materials, 289–293 steel drums, 285–289 Percussionist’s Dictionary, The (Adato and Judy), 507 Percussion method books, 20–23 combined percussion methods, 20–21 general guides to percussion, 21–23 individual instrument methods, 20 Percussion Repair and Maintenance (Bonfooey), 19 Percussion section, organizing, 13–20 general maintenance and head replacement, 18–19 instrument and percussionist assignments, 16–17 location of the percussion section in the ensemble, 17

motivating the percussionist, 19–20 percussion instrument substitution, 17–18 recommended percussion instrumentation, 14–16 Percussion solo and ensemble music, 481–506 keyboard duos/duets, 495–496 keyboard ensembles (three or more players), 496–498 keyboard in chamber ensembles with other instruments or voice, 498–500 keyboard solos with band/wind ensemble, 500 keyboard solos with orchestra, 501 percussion ensembles, 486–495 percussion in chamber ensembles with other instruments or voice, 502–503 percussion solos with band/wind ensemble, 503–504 percussion solos with orchestra, 504–505 timpani in chamber ensembles with other instruments of voice, 505 timpani solos with band/wind ensemble, 505–506 timpani solos with orchestra, 506 Percussion technique through study of the snare drum. See Basic percussion technique through study of the snare drum Percussion terms in foreign languages instruments, 507–508 method of playing, 508 sticks, 508–509 Percussive Arts Society Hall of Fame, 297 Percussive Arts Society (PAS), 19, 23, 329, 332 annual international convention (PASIC), 332 “Days of Percussion,” 332 International Convention (PASIC), 19 40 International Drum Rudiments, 378–380 online resources, 23, 483 website and online resources, 23 Percussive Notes, 23 Percussive Notes magazine, 307 Performance chimes, 103 vibraphone (vibraharp or vibe), 99 xylophone, 95 Performance and education, 2–10 classification of instruments, 2–5 aerophones, 3 chordophones, 3 electrophones, 3–5 idiophones, 2–3 membranophones, 3 general considerations, 2 interpretation of notation, 8–10 notation systems, 7–8 notation systems for percussion, 7–8 interpretation of notation, 8–10 tone production, 5–6

tone production on percussion instruments, 5–6 Peterella, Nick, 86 Peters, Mitch, 44 Peters, Mitchel, 459 Peters, Mitchell, 158 Peter Schmoll (Weber), 158 Petrella, Nick, 228 Petroushka (Stravinsky), 224 Phrase direction keyboard percussion, 125 Phrasing, 70–71 examples, 70–71 Phrasing stickings vibraphone technique, 143 Pinksterboer, Hugo, 252 Pipes, 246 Pit, marching percussion, 342–344 Pivot point or fulcrum on stuck snare drum, 38 Plainfield, Kim, 317 “Playing the ink,” 8 Playing areas snare drum, 30–31 Playing areas on the bars keyboard percussion, 109–110 Playing methods, foreign-language terms for, 508 Playing technique. See Technique Plena, 265 Poème Electronic (Varese), 4 Police whistle, 247 Position and playing areas timpani, 176–177 Pozo, Chano, 265, 298 Practical Guide to Percussion Terminology, A (Girsberger), 507 Prelude No. 1 in C Major (Bach), 142 Press, Arthur, 106, 165, 167, 220, 223, 237 Prosperie, Jeff, 332 Puente, Tito, 271 Puerto Rican influences and styles, 265 Purim, Flora, 265 Q Queen, Jeff, 376 Quintana, Jose Luis, 271, 273 R Racks gongs and tam tams, 239–240 Ragtime, 294 Ramsay, John, 315 Ranges chimes, 101 glockenspiel, 99–100 marching bell lyre, 101 marimba, 95–96 vibraphone (vibraharp or vibe), 97–98 xylophone, 94–95 Rapp, Will, 332 Ratchet, 246 Rattan scrapes (keyboard percussion), 118 Read, H. Owen, 224 Rebound, 58–61 exercises, 59–61

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

I nd ex



Rebounds, doubles, and rolls snare drum, 45–50 Réco-réco, 277 Rees, Jay, 401 Reggae, 254, 288 Rembrandt Night Watch, 24, 35 Remo PinStrip heads, 341 Remo Suede heads, 341 Remy, Jeannine, Dr., 470 Rennick, Paul, 332 Repiníque, 276 Return to Forever, 265 Rhythm! Scene, 23 Richards, Emil, 507 Riq, 280 Roach, Max, 297 Rock, 288, 297–298 Rodenkirch, David, 301, 329, 344, 393 Roland DDR-30, 5 Roland HPD-15 HandSonic, 302 Roland TR-808, 4 Roll interpretation, 51–57 snare drum, 51–57 Roll notation, 8–9 Roll rudiments, 378–379 Rolls, finger strokes, and forearm timpani, 196–200 Romano, Dom Um, 265 Royal Fireworks Music (Handel), 24 Rudimental drumming diddle rudiments, 379 drag rudiments, 379–380 flam rudiments, 379 marching percussion, 377–393 roll rudiments, 378–379 Rudiment Project, The, 378 Rudolph, Gary, 332 Rumba, 254, 265–266 Running down a roll, 61 S Sach, Curt, 2 Sahai, Pandit Sharda, 284 Saindon, Ed, 144 Saint-Säens, Camille, 93 Salsa, 254, 265 Samba, 254 Samba batucada, 278–279 Samori (Volger), 158 Samplers, 4 Samuels, David, 144 Sandpaper blocks, 247 Sanford, Fred, 331–332 Santeria, 254 Sbarbaro, Tony, 294 Schuller, Gunther, 17 Select percussion solo and ensemble music, 481–506 keyboard duos/duets, 495–496 keyboard ensembles (three or more players), 496–498 keyboard in chamber ensembles with other instruments or voice, 498–500 keyboard solos with band/wind ensemble, 500

keyboard solos with orchestra, 501 percussion ensembles, 486–495 percussion in chamber ensembles with other instruments or voice, 502–503 percussion solos with band/wind ensemble, 503–504 percussion solos with orchestra, 504–505 resources, 482–486 timpani in chamber ensembles with other instruments of voice, 505 timpani solos with band/wind ensemble, 505–506 timpani solos with orchestra, 506 Sequential Circuits, 5 Sewing Felt Timpani Sticks (Yancich), 165, 167, 220 Shah, Mohammed, 284 Shekeree, 277 Sibelius software, 5 Silicon Mallet, 5 Silverman, Chuck, 271, 273 Simco, Andrew, 164 Simmons Company, 4–5 Sinai, Joe, 223, 237 6/8 clave, 265–266 Sizes bass drums, marching percussion, 332–333 snare drums, marching percussion, 336–337 suspended cymbals, 230 tenors or multi-tom toms, marching percussion, 340 timpani, 176–177 Slapstick, 245–246 Sleigh bells, 244–245 Slide whistle, 247 Slit drums, 248–249 Smartmusic app, 304 Snare drum, 25–31 care and maintenance, 27–28 construction, 25 counterhoop, 27 grip, 38–39 heads, 25–27 marching percussion. See Snare drum, marching percussion methods and supplemental studies, 73–78 major applied methods, 73–74 selected solos, 76–78 snare drum technique, 75 supplemental studies, 74–75 pivot point or fulcrum on stuck, 38 playing areas, 30–31 snare adjustment, 27 snare release, 27 snares, 27 stands, 29 sticks, 29–30 stroke, 39–43 technique. See Basic percussion technique through study of the snare drum tuning, 28–29

521

Snare drum, marching percussion, 336–340 construction and care, 337 heads, 337–338 playing techniques, 339–340 sizes and selection, 336–337 sticks, 339 tuning, 338–339 Soca, 254, 288 Sogo, 254–256 Solo and ensemble music, 481–506 keyboard duos/duets, 495–496 keyboard ensembles (three or more players), 496–498 keyboard in chamber ensembles with other instruments or voice, 498–500 keyboard solos with band/wind ensemble, 500 keyboard solos with orchestra, 501 percussion ensembles, 486–495 percussion in chamber ensembles with other instruments or voice, 502–503 percussion solos with band/wind ensemble, 503–504 percussion solos with orchestra, 504–505 resources, 482–486 timpani in chamber ensembles with other instruments of voice, 505 timpani solos with band/wind ensemble, 505–506 timpani solos with orchestra, 506 Son, 265 Sonar (Cakewalk), 304 Sonata for Two Pianos and Percussion (Bartók), 69 Soph, Ed, 305–306 Sostenuto mallet, 218 Sound modules, 301 Sousa, John Philip, 25 Special effects keyboard percussion, 118–119 snare drum, 66 Speed, Power, Control, Endurance (Chapin), 60–61 Spencer, Julie, 143 Spivack, Larry, 507 Srauss, Richard, 158 Staff notation, 7 Stands bass drums, 216–217 snare drum, 29 suspended cymbals, 230 Steel drums, 285–289 Stevens, Leigh Howard, 130 Sticking policies, 66–70 exercises, 460–463 versus free alternating sticking, 2 recommended, 66 Sticks foreign-language terms for, 508–509 snare drum, 29–30 marching percussion, 339 tenors or multi-tom toms, marching percussion, 341 Stockhausen, Karlheinz, 4

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

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In de x

Storage cabinet, 14 Stout, Gordon, 119 Straight, Edward B., 68 Straps and pads for cymbals, 226 Strauss, Richard, 158 Stravinsky, Igor, 79, 158, 224 Strohfiedel (straw-fiddle), 93 Strokes, 34, 71–73 keyboard percussion, 110–111 full stroke technique, 111–113 sustained tone or roll, 116–118 touch-lift stroke, 114–116 marching percussion, strokes awareness approach, 347–350 snare drum, 39–43, 57–61 Strube Drum and Fife Instructor, 25 Stubbs, Amy, 165, 167, 220 Stubbs, Thomas, 228 Supplemental playing exercises, 454–470 African Creation percussional ensemble, 470 basic stroke combinations, 454–455 buzz comparisons, 455–456 double stroke and rebound control, 459 finger control exercises, 459–460 keyboard exercises, 463–470 nontied rolls, 457–459 sticking policy exercises, 460–463 tied rolls, 457 Surdo, 275 Suspended cymbals, 230–231 Sustained tone or roll, keyboard percussion, 116–118 Sweet, Walter, 388 Swing era, 296 Switched on Bach (Carlos), 4 Symbol notation, 7 multiple percussion, 82–86 Symphonic chimes, 102 Symphony No. 100: Military (Haydn), 225 Symphony No. 9 (Beethoven), 225 Synares, 4 Syndrum, 4 T Tabla, 280, 283–285 Tabor, 24 Tachoir, Jerry, 144 Tafoya, John, 164 Talking Heads Percussion Feature (UA Band), 397–401 Tamborim, 276 Tambourine, 234–238, 280 care, 235 origins, 234 playing techniques, 235–238 selection, 235 tambourine and triangle duet, 237–238 Tam’s Tension Watch, 173 Tam tams and gongs, 238–240 construction and selection, 239 mallets and racks, 239–240 origins, 238–239 Tannhäuser (Wagner), 240 Tannigel, Fritz, 507

Tar, 280 Teaching Percussion MindTap, 406 Technique basic. See Basic percussion technique through study of the snare drum bass drums, 221–225 marching percussion, 335–336 castanets, 240–242 Carretilla, 241 double golpé, 241 golpé, 241 congas, 269–271 cymbals crash cymbals, 227–229 suspended cymbals, 230–231 drumming, basic, 44–66 drum set, 307–321 basic styles and considerations, 317–321 brushes, 317 chart reading and interpretation, 315–317 coordinated independence, four-way coordination, interdependence, 313–315 developing the feet, 308–310 bass drum, 308–309 high hat, 309–310 movement around the drums, 315 ride cymbal time, 310–313 gongs, 240 keyboard percussion, 107–125 approach, 110 grip, 107–109 music reading proficiency, 119–125 playing areas on the bars, 109–110 special effects, 118–119 stroke, 110–111 full stroke technique, 111–113 sustained tone or roll, 116–118 touch-lift stroke, 114–116 rehearsal, marching percussion, 346–347 tambourine, 235–238 tam tams, 240 tenors or multi-tom toms, marching percussion, 341–342 timpani, 175–209 articulation considerations and musical expression, 188–196 basic timpani stroke, 186–188 basic tuning exercise, 178–179 cross sticking, 204–209 forte-piano rolls, 200–201 grips, 185–186 intonation tempering, 184–185 muffling, 201–203 muting, 203 performance tuning, 179–181 position of the timpani and playing areas, 176–177 rolls, finger strokes, and forearm, 196–200 tuning a pitch, 177 tuning gauges, 181–184 triangle, 233–234 wood blocks, 242

Techniques of Playing Bass Drum, Cymbals and Accessories (Payson), 223, 237 Technology, using as a tool, 302–303 Temple blocks, 243–244 origins, 243 playing techniques, 243–244 Tenors or multi-tom toms, marching percussion, 340–342 construction and care, 340 heads, 341 playing techniques, 341–342 sizes and selection, 340 sticks, 341 tuning, 341 Thereminvox, 4 Thésée (Lully), 157 Thunder sheet, 251 Tie clarification, 9 Tied rolls, 49–50, 457 Timbales, 271–273 Timbre staff (adapted keyboard) notation multiple percussion, 84–85 Timpani, 157–214 in chamber ensembles with other instruments of voice, 505 construction and manufacturers, 163–164 developing the timpanist, 160–163 ear training, 160–162 practicing, 162–163 hand-screw timpani (hand drums), 157–158 historical origins, 157–158 instruments and mallets, 163–175 balanced-action spring tension pedal, 168, 171 construction and manufacturers, 163–164 fine tuning/clearing heads, 173–175 friction clutch pedal, 169, 171 head and mechanical adjustments, 168–172 head replacement/selecting the playing spot, 172–173 heads, 164–165 mallets, 165–167 ratchet-less pedal, 169, 171 ratchet-type pedal, 168–169, 171 sizes and ranges, 176–177 machine timpani, 157–158 major applied methods, 209–210 orchestral excerpts, 210 performance considerations, 158–160 selected solos, 211–214 solos with band/wind ensemble, 505–506 solos with orchestra, 506 supplemental studies, 210 technique, 175–209 articulation considerations and musical expression, 188–196 basic timpani stroke, 186–188 basic tuning exercise, 178–179 cross sticking, 204–209 forte-piano rolls, 200–201 grips, 185–186 intonation tempering, 184–185 muffling, 201–203

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

I nd ex



muting, 203 performance tuning, 179–181 position of the timpani and playing areas, 176–177 rolls, finger strokes, and forearm, 196–200 tuning a pitch, 177 tuning gauges, 181–184 Timpani: A History in Pictures and Documents, The (Bowels), 158 Timpani & Percussion (Montague), 158 Timpani Technique for the Virtuoso Timpanist (Hinger), 184, 193 Tjader, Cal, 298 Tom tom, field drum, tenor drum, and roto-toms, 31–33 Tone control (snare drums), 29 Tone production, 5–6 Toph, 280 Touch, 34 Touch-lift stroke keyboard percussion, 114–116 Toys, 247–248 Traditional Dance Rhythms of Ghana (Kofi and Neeley), 264 Traditional grip, 35–36 TrapKAT, 5 Tremolo sign, 8 Triangle, 231–234 beaters, 233 clips, 232–233 origins, 231–232 playing techniques, 233–234 selection, 232 Trumpet and Drum (Sousa), 25 Tuning bass drums, 216 marching percussion, 333–334

drum set, 300 snare drums, 28–29 marching percussion, 338–339 tenors or multi-tom toms, marching percussion, 341 timpani, 177–184 26 Standard American Rudiments, 378, 380–387 U Ultimate Drumset Reading Anthology for the Working Drummer, The (Houghton), 316–317 Ultimate Guide to Cymbals, The (Petrella), 228 Ultimate Play-Along for Drums (Weckl), 318 Unique instruments, 105–106 “Unmusical” instruments, 2 V Varese, Edgar, 4 V-drums electronic drum technology, 5 Velez, Glen, 280 Vercelli, Mike, 253–254, 275 Vibraphone (vibraharp or vibe), 97–99 construction, 98 mallets, 98–99 performance, 99 ranges, 97–98 technique mallet dampening, 144–146 pedalling, 144, 146 phrasing stickings, 143 Vibra-slap, 275 Virtual Drumline software, 406 Visuals, marching percussion, 375–377 Volger, 158

523

W Wagner, 158, 240, 246 Walton, William, 243 Warm-up routine, marching percussion, 351–362 Webb, William “Chick,” 296 Weber, Carl Maria von, 158 Weckl, Dave, 318 Whaley, Garwood, 223, 237 Wind chimes, 249–251 Wood blocks, 242 construction and selection, 242 origins, 242 playing techniques, 242 World music. See Percussion instruments of the world World of Percussion (Richards), 507 Woud, Nick, 164, 184 Wrist Twisters, A Musical Approach to Snare Drumming (Bailey), 38, 44 X Xylophone, 94–95 construction, 95 mallets, 95 origins, 93 performance, 95 ranges, 94–95 Y Yamaha, 5 Yancich, Mark, 165, 167, 173 Z Zarb, 280 Zeltsman, Nancy, 129, 139 Zils (finger cymbals), 244, 280 Zoutendijk, Marc, 164

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.

Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203 Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.