Music for All Summer Symposium presented by Yamaha www.musicforall.org

Student National Percussion Symposium MaterialsMaterials appear in alphabetical order by clinician last name

Technique and ApproachBy Tom Aungst

Glossary of Percussion StrokesBelow are the basic strokes we use to unify our sound and detail the music. The touchand feel of each stroke may vary according to the musical intent. Besides these basicstrokes, other types of strokes will be taught to achieve the integrity and style of themusic.

1. Legato Stroke or Rebound Stroke: A stroke that starts at any height, plays,and then returns to its original height. It has a constant flow or motion, never stopping orstarting. It is the natural REBOUND of the stick.

2. Staccato Stroke or Down Stroke: A stroke that starts high, plays, and isstopped close to the drum. Basically, you are controlling the stick from rebounding up.This stroke is usually used on accents.

3. Tap: This is usually a 3 - inch or sometimes a 6 - inch legato stroke. Taps areusually the notes that are in-between the accents.

4. Up Stroke: A stroke that starts low, plays, and quickly lifts upward to a particularheight. An example would be grace notes from alternating flams.

DynamicsThese dynamic levels and heights are used to unify the sound and look of the ensemble.Like the percussion strokes described above, the dynamic levels are used to achieve thecomposer’s musical intent and is a major part of how the percussion ensemble maintainsthe integrity of the music.

pp pianissimo = less than an 1”1/2 off the drum head p piano = 1”1/2 off the drum head mp mezzo-piano = 3” off the drum head mf mezzo-forte = 6” off the drum head f forte = 9” off the drum head ff fortissimo = 12” off the drum head(Note: Anything above fortissimo will be defined as the musicdictates.)

Also, the intensity of the stroke for each dynamic level or height may change dependingon what is needed to achieve the musical intent of a particular pattern or musical phrase.For example, a group of forte accents may need to sound less intense because:

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1. the tempo is too fast;2. an individual or the ensemble is out of balance;3. a certain touch is needed to achieve a better FEEL;4. it is affecting the quality of sound.

All these concepts will be considered as the music is being taught.

Playing Areas or ZonesIn addition to using dynamic levels and different strokes to achieve the musical intent,different playing areas or zones on the drum head can also be used to:

1. balance and blend the total ensemble;2. create different timbres and colors;3. achieve the appropriate touch and or feel.

THE 3 BASIC ZONES are center, ½ way between center and rim, and theedge.

Mechanics of PlayingWhen talking about the technical skills needed to perform at a high level, the mechanicsof playing must be taught and more importantly, must constantly be developed. Bydeveloping these skills, you will upgrade the performer’s ability and, at the same time,enhance the overall sound of the ensemble. Through repetition and proper coaching thesetechniques used to play a particular stroke, control a sticking pattern, or just be able toplay more “stuff” at certain tempos, are very important for the performers to learn inorder to achieve demanding material at the highest level. These are the basic componentson both hands that should be developed.

1. Fulcrum: This is the point where the stick should be held with the most pressure. a. RIGHT HAND = between the bottom part of the thumb and the side of index finger on the 2nd knuckle groove. b. LEFT HAND(for traditional grip only) = inside the crease between the thumb and index finger, making sure it is down at the bottom part of the thumb. It is very important to keep the fulcrum intact at all times to ensure control.

2. Fingers: The back fingers on your right hand should be relaxed naturally aroundthe stick. For the left hand, if playing traditional grip, the stick should be placed on thefirst knuckle of the ring finger. Like the right hand, the other fingers should be relaxedand curved in a natural fashion. Also, it is very important to develop your fingersthrough various exercises. Developing the use of your fingers will upgrade your qualityof sound and the control needed to play advanced material.

3. Wrist and Forearm: The wrist and forearm should work hand in hand toachieve a natural relaxed approach to playing. When both are rotating together it should

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feel like you are DRIBBLING A BASKETBALL. By turning your wrist and using someforearm motion, you will be able to expand the range of your technical and musical skills.

Exercises

Purpose - To become great at playing any musical instrument you have to be willingto advance your technical skills. Learning how to play advanced percussion music with-out learning the techniques needed to play that music will not help you perform at thehighest level. THE BASICS, as most people call them, are very important to the successof the individual player as well as the total ensemble. We need to strengthen ourselvesindividually and, at the same time, work together in harmony.

The exercises in this book are used to help the players advance technically and musicallyand learn how to work together to achieve a great ensemble sound. Some of theseexercises are camp or audition exercises, used to teach a basic concept or evaluate theplayers skills. Once the show is learned and the drill is taught, more exercises will bewritten and taught by rote, focusing on a particular rudiment, pattern or musical phrasewritten in the drum book. By the end of the season we may have 15 different exerciseswhich will be repeated over and over each day. These exercises are called SHOWEXERCISES. Usually short in length, they are used to clean the musical book. For now,let’s focus on the exercises in this book.

By developing the techniques above and working these exercises the players will:

1. be better prepared physically to perform the demanding responsibilities of the music and drill;

2. learn how to work together to achieve a unified ensemble sound3. increase the quality of their playing;4. expand their rudimental vocabulary and upgrade their musicianship;

5. learn advanced rehearsal techniques; 6. strengthen their muscles (chops); 7. increase their endurance to play for longer periods of time.

Ways to Practice the Exercises – Here are a few tips for practicingindividually or as an ensemble.

1. Use a metronome! 2. When starting to learn an exercise, remember to start with a slower tempo. Be very

methodical and detailed. Follow all dynamics and check to make sure you areusing the correct technique.

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3. Vary the way you play an exercise, use different tempos and dynamics. Also, if itis a “One Hander” exercise, play the entire exercise with just the right or left hand.This will help strengthen your playing chops and endurance.

4. The bass drummers should always learn the snare parts for all exercises, even if there is a split part for the basses to play. We want all of the players to developtheir hands equally.

5. When tenor players are learning these exercises, make sure they work on playingtheir part on one drum first. By playing on one drum they can focus on techniqueand not worry about what drum they need to play next.

6. Many of these exercises are long and are meant to be so. We want the players todevelop their chops and endurance and feel as if they a playing a longer piece ofmusic. The best way to develop a playing concept is to break down an idea intosmaller segments. Example: When working the “Swinging Double Triple”exercise start by working on the first four bars, trying to master the stroke andmechanics. Then add the next four bars, again working on the technique of the lefthand. Continue adding on segments to the exercise until you have reached letter A.You may just want to work the beginning to A and use that as an exercise.Remember, you will not get better by just playing these exercises, you need towork on the technique and approach that is used to play them.

7. Also, when you get comfortable playing a particular exercise make sure you addyour feet. This is as important as learning the proper technique.

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MarchingCymbals

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Composer Tom Aungst

Unison Single Beats #1

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MarchingTenor Drums

MarchingBass Drum

MarchingBass Drum

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Composer Tom AungstSplit Single Beats #2

4

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Unison

Composer

Tom Aungst

TIMING THING #3

Technique Tips

follow all dynamics as written.

When playing this exercise start by playing the entire exercise at one volume level to master approach, then

Follow LEGATO STROKE technique throughout

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Snare Drum

MarchingTenor Drums

MarchingBass Drum

MarchingCymbals

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Composer Tom Aungst

3 3 3 3 3 3 3 3 3 3 3 3

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Snare Drums

Tenor Drums

Bass Drums

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feel each bar as a 4/4

ComposerTom Aungst

Swinging Double Beat #6

slide choke

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12

Composer Tom Aungst

Staggered Paradiddles #7

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Tenor

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Paradiddle Jam #8

Composer Tom Aungst

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15

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36

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16

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3 3 33 3

3 3 33

3

Composer Tom Aungst

Triple Flam Thing #9

3

3

3

3

3

3 3

33

3

3 3

33

3

3 3

chokes orch.

3

3

3 3 3

33

3

3 33

3

33

3

3 3

3

3

3

3

3

3

3 3

3

3 3 3

3

3 3

3

3

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3 3 3 3 3 3 3 3

3 3

3 3 3 3 3

3

33

3

3

33

3

3

33

33

3

33

3

33

3

3

chokes

VARIATIONS FOR BARS 14 AND 16

FLAM PARADIDDLES

3 3 3

3

3 3 3 3

3 3

3 3 3

3

3 3

3

3

3

3

33

33

3

33

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c/c

S. D.

B. D.

Cym.

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22

S. D.

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29

FLAM PARADIDDLE DIDDLE

PATAFLAFLA

CHOO - CHOO

Drag CHOO-CHOO

3 3 3 3 3

3

3 3 3

3

3 3 3

3

3 3

# 9

SINGLE DRAG FLAM MILL

BOOK REPORTS

EXTENDED BOOK REPORT

3 3

3 3 3

3

3 3 3 3 3 3

2

Snare/Tenor

Bass

MarchingCymbals

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B. D.

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B. D.

Cym.

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S. D.

B. D.

Cym.

R R L L R R L L R R L L R L R L R L R R L L R R L L R R L L R L R L R L R L R L R L Rf4

L R L R L

B20

R R L L R R L L R R L L R L R L R L R R L L R R L L R R L L R L R L R L R L R L R L Rf4

L R L R L

f

Composer Tom Aungst

Roll Exercise #10

ORCH

Z

ORCH

S. D.

B. D.

Cym.

R L R R L R R L R L R L R L R L L R L L R L L R L R L R L R L L R R L L R R L L R L R L R L

C26

R L R R L R R L R L R L R L R L L R L L R L L R L R L R L R L L R R L L R R L L R L R L R L

S. D.

B. D.

Cym.

R L L R R L L R R L L R L R L R R LL L R R L L R R L R L R L L R R L L R R L L R L R L R L

32

R L L R R L L R R L L R L R L R L R L R R L R R R R R L R L R L

S. D.

B. D.

Cym.

R L R R L L R L R R L L R L L R R L R L L R R L L R R L L R R L L R R L L R R L Lf

37

R L R R L L R L R R L L R L L R R L R L L R R L L R R L L R R R Rff

VERT.

C/C

ORCH

2

Snare Drum

r l r l r l r r l l r r l l r l r r l r l l

S. D.

r r l r l l r l r l r r l l l r l l r r r l r l r l r l

7

S. D.

r r l r r l r r l r r l r l l r r l l r r r l r r l l r l l

13

S. D.

r l r r l r l l r l l r r r l r r l l l r r l r l l r l

19

S. D.

r l r r l r l l r r l r l l r l r r r l l r r r l l

25

S. D.

r l r r l r l l r l r r l r l l r l r r l r l l r l r r l r l l

31

S. D.

r l r l r l r l r l r l r l r l r lrl

rl

lr

rl

rl

lr

38

S. D.

r l l r l l r l l l r r r l r l r l r l r l r l r l r l r l

46

S. D.

r l r r l r l l r l r l r l r l r l r l r l r l r l

53

1. Flam Accent

2. Flam Tap

3. Flam Paradiddle

3 3

Rudiment Sheet #11

4. Single Flammed Mill

5. Flam Paradiddle Diddle

6. Pataflafla

7. Swiss Army Triplet

8. Inverted Flam Tap

9. Swiss-A-Diddle

6 65 5

10. Choo-Choo

11. Shirley Murphy

12. Shock-A-Diddle

6 6

13. Flamacue-Diddle

14. Diddle-Flafla

15. Egg Beaters

5 5

16. Drag Paradiddles

17. Tap Drag-A-Diddles

18. Drag Tap-A-Diddles

19. 5-A-Diddles

20. Cheeses

21. Flam Fives

22. Flam Drags

23. One Handed Flam Drags 3 3 3 3 3 3 3 3

24. Drag Pu-da-tas

25. Swiss Cheese Inverts

26. Cheese Chain

27. Chutra-Cheese

3 3 3 35 5

28. Book Reports

29. Double Flam Drag

30. Cheese Pataflafla

5 5

S. D.

r l r l r l r l r l l r r l l r r l r r l r

60

S. D.

r l r l r l r l r l r l r l r l r l

66

S. D.

r l r l l r l r l l r l r r l r l r r l r l r l r l r l

72

S. D.

r l r l r l r l r l r l r l r l r l r r l r l r l l r l

78

S. D.

r l r r r l r l l l r l r r r l r l l l

84

S. D.

r l r r l r l l r r l r l l r l

87

31. Flam Five Flafla

32. Cheese Inverts

33. Cheese Cha

3 3

#11

34. Hand to Hand Cheese Cha

35. Chut Cheese

36. Cheese Tap Cha

3 33 3

3 3

37. Grandmas

38. Inverted Grandmas

39. Dig-ga-dup-dat

40. Dap-dig-ga-up

41. Chap-dig-ga-up

42. Extended Book Report

43. Nut-Cha-Da

44. Drag Nut-Cha-Da

5 5

5 5

45. Drag Choo-Choo

46. Single Drag Flammed Mill

2

Snare Drum

MarchingTenor Drums

MarchingBass Drum

MarchingCymbals

R Rf

L L Lff

R R L R L Rmf

L R L R L R L R L R L R L R L R R Lf

R R L R L R L R L Rmf

L R L R L R L R L R L

q = 116 A

Lmf

R L R L R R L L R L R L R L R L R L R L R R L

Rmf

L R R R R R R L R R Rmf

L R R R R R

mf

S. D.

T. D.

B. D.

Cym.

Rf

L R R L R L L R R R R R R L R L R L R L R L R L R L R L L L R L R L R L R R L R L R L R Lf

R Lff

R L R L R L

B5

Lf

R L R L R L R L R L R R L R L R L R L R L R L L L R L R L R L R L R L R L L L R L R Lf

R Lff

R L R L R L

Rf

L R L R L L R R L Rf

L R Lmf

R R R R Rf

L R Lmf

R R R R R L R L R L R L

ff

S. D.

T. D.

B. D.

Cym.

Rf

R L Rff

Rmp

L L R L L R L R L R R R R R R R R R L R L Rf

L R L R Lff

R L R R L R L Rff

L L

C9

R L R L R L R L R L R R

mp

L R L R L R L R L R L R L R L R

f

L R L R L

ff

R L R R L R L Rff

L L

Rff

Lmp

R R L L R R L R R L R R L L R R L R Rf

L R L R Lff

R Rff

Lmp

R L R L L R L L Rff

L L

ff

one player RIM PINGS

3 3

"VEGAS STOMP"#12 Composer Tom Aungst

3

slide choke

3

3

orch. crash hi-hats orch. crash

STICK CLICK 16TH TO 1/2

TO C PINGS

CROSS

33

crash choke

orch. crash

S. D.

T. D.

B. D.

Cym.

R L R L R L R Rmp

R R Rff

L R L R L R L R L R R L R L R L Rmp

R R R R

fL R L R L R L R L

ffR L R L R R

ffL R L

mpR L R L R L R L R L R L

D E14

R L R L R L R R L L R R L R L R L R L R R L R L R L R Rf

L R L R L Rff

L R L R L R Lff

Rmp

L R R R R R R R R

R L R R L R R L R R L L R L RR R L Rf

mp

S. D.

T. D.

B. D.

Cym.

R L R L R L R L R L R L R L R L Rmf

L R L R L R L R L R L R L R L Rf

L R L R L R L R L R L R L R L Rff

R L R R L R R L R L

1.19

L R L R R R R R R R R Rmf

L R L R L R L R L R R L R L Rf

L R L R L R L R L R R L R L Rff

R L R R L R R L R L

R L R Rmf

L L R R L R Lf

L R R L R L Rff

L R RR L R R R L L

mf ff

S. D.

T. D.

B. D.

Cym.

Rmp

L R L R L Lf

R R Rff

L R L R L R L R L R R L R L Rfff

L R R L R L R

2.23

Rff

L R L R L R L R L R R L R L R fff L R R L R L R

Rmp

R R L L R Lf

R

ffL R L R R L R L R

ffL R L R R L R L

ff

3 3 3 3 3 3

6

#12

33

33

33

6

3

3

3

3 3 3

vert. crash crash choke

3 3

3

3

33

slide choke orch. crash crash choke

orch. crash

2

Snare

Tenors

Cymbals

Rff

L R L R f

q = 126 A

Rff

L R L R L R L Rf

L R L R L R L R R L R R L R L R L R R L L R R L

Rff

L R R L R L R L R Rff

L R L R L R L R L R L

mf

Perc.

Perc.

Perc.

Perc.

Rf

L R L R L R L R L

4

Rf

L R L R L R L R R L R R L R L R L R L R L R L R L R L R L R L R L R L Rff

r l r l

Rf

L R L R L R L R L R L r

mf

Perc.

Perc.

Perc.

Perc.

Rf

L R L R L R R L R L R L R L R L R L R L R L R L R L R L R L R L R L

R.

R

on

L

L.

R R L R L R L R

B8

Rf

L R L R L R R L L R L R L R L R L R L R L R L R L R L R L R R L L R R L

mf f R L R L R R R L R R R L

Composer Tom AungstBoom Boom #13

5 basses

rim clicks

hi-hat chokes

3 3

33 3

3

rim clicks

R. on front rim

3 3 3

rim shot front rim

33

3

ORCH. cr.ch

Perc.

Perc.

Perc.

Perc.

p

1/2

R L

to

R

c

L Rf

L L R L R L R L R R L R L R

(front

Rmp

L

Rim

R

)

L R L R L R L R L Rf

C12

R L R L R L R Rf

L R L R L R L R L R R L R L R L R L R L R L R

pRf

R L R R L R L R L Rf

Lmp

R R L R

f

Perc.

Perc.

Perc.

Perc.

Rmp

L R L R L R L R Rf

L R L L R L R L R L R L R R L R L L Rff

L R L R L R R L R L R L R L R L R

15

R L R L R L R L R R Rff

L R L R L R

R R L R Rf

L R L R Rff

Perc.

Perc.

Perc.

Perc.

Lff

Rmp

R R R L R L R L R L Rf

L R L R L R R L R L R R L R L R L R L R L R

D19

Rff

Lmp

R L L L L R L Rf

L R L R L R L R L R L L R R L R L R L R L

ff` mpRf

L R L R L R L R L R L

f

#13

ORCH. cr.ch

3 3

3 3 3

3

3

33

3

ORCH.

R. on L.

rim clicks

cr.ch ORCH.

2

Perc.

Perc.

Perc.

Perc.

R R R R R Lff

R L R R R L R L R

22

R R L L R R L R L R L R L R L Rff

L L R L R L R L R L R

R L R L R L R L R R

Perc.

Perc.

Perc.

Perc.

R R R R Rmp

R R R R L R L R L R L R

24

R R L L R R L R L R L R L R R L

R L R L R

#13

FRONT RIM

3 3

33

cr.ch

3

Snare Drum

MarchingTenor Drums

MarchingBass Drum

MarchingCymbals

Rff L R L R R L R R L R L Rf

R L R L R L L R L

q = 132 A

ff R L R L R Rf

L R L R L R L R L R L

Rff

L R L R L Rf

R L R L L R L

ff f

S. D.

T. D.

B. D.

Cym.

Rf

R L R L R L L R L R L R L R R L R L R R L R L R L R L R L R Rmp

L R R L L L R L

1. 2. B5

R L R L R R L R L R R L R L R L R L R L R R L R L R R L R R L R L R L R L

Rf

R L R L L R L R L R L R L R L R L R L L R mp

mp

S. D.

T. D.

B. D.

Cym.

R L R R L L L R L R L R R L L L R L Rf

L R L R R L R L R L L R R L R R L R L R L R L

9

R L R R L R L R L R R L R R L R L R L R L R R L L R L R R L L R L Rmp

L R R L L L R L

f mp

f mp

Composer Tom Aungst

Stick It#14

ORCH

RIM`

C/C` HI HAT CHOKES

RIM`

HI HAT CHOKES ORCH

HI HAT CHOKES

S. D.

T. D.

B. D.

Cym.

Rf

L R Rf

L R Rf

R L R R L R L R L R L R R L R R L R Rmp

L R L R L R

C13

R L R R L L L R L R L R R L L L R L Rf

L R L R L R L R Rmp

L R L R

Rf

L R L L R R mp

L R L R L R L

f mp

S. D.

T. D.

B. D.

Cym.

R L R L R Rf

L R L R L R R L R L R R L R L R R Lmp

Rff

L R L R L R L R L R L R

D17

R L R L R L R Rf

L R L R R L R L R R L R L R R Lmp

Rff

L R R L L L R L R L

R L R L R L R L Rf

L L R L R L R L R L R Lmp

RRff

LL R R L L L R

f ff

S. D.

T. D.

B. D.

Cym.

Rf

L R L R L R L R L R L R Rmf

L R L R L R L R L R L R L R L Rmp

L R L R L R L R Rp

R Rmp

L R L R R L L L R L R

E

RFf

L R R L L L R L R L RFmf

L R R L L L R L R L Rmp

L R L Rp

RRf

LL R R L L L R Rmf

L R L R L R L Rmp

L R L Rp

L R Rmp

R L R R R R

f mf mp

1/2 O I O I

#14

ORCH C/C

Z

O I O I TO 1/2

ORCH

TO 1/2 1/2

2

S. D.

T. D.

B. D.

Cym.

R L R L R L L L R L R Rmf

R L R R L L L R L R Rf

L R L R L R L R L R Lff

R

Rmp

L R L R L R L R L R L R Rmf

L R L R L R L R L R L R RFf

L R R L L Lff

R

R R L R R R R R R L R R R R RRf

LL R R L L Lff

R

mp mp f ff

S. D.

T. D.

B. D.

Cym.

Rmp

L R L R L Rff

L R L R L Rff

L R L R L R L R L R L Rmp

B B Bff

B B B L R L R

Rmp

L R L R L Rff

L R L R L Rff

L R L R L R L R L R L Rmp

Bff

B B B L R L R

Rmp

L R R L R Rff

L R R L R R L R R L R R L R R L R Rmp

Lff

R L R B

ff

#14

TAPS C/C

3

3

3 3

3 3

3 3 3 3

3

3

3

3

3 33

3

33

3

3

33

33

3 33

3

ORCH

C/C ORCH

3

Sna

re D

rum

A

Sna

re D

rum

B

Mar

chin

gT

enor

Dru

ms

A

Mar

chin

gT

enor

Dru

ms

B

Mar

chin

gB

ass

Dru

m A

Mar

chin

gB

ass

Dru

m B

Sur

do

Per

cuss

ion

R fR

R mp

LL

R fL

R mf

RR

RL f

RR

R mf

RR

RR

L fR

RR mf

RR

RL f

RR

R mf

RL

R mf

RR

RL f

RR

R mf

q =

150

AB

R mf

RL f

RR mf

RR

L fR

RR mf

RL f

RR mf

R mf

RL f

RR mf

R ffL

RR mpL

RL

RL

R ffL

R mpL

RR

LL

R mfL

RR

L fR

LL

R mf

LR

LR

LR

LR

RL

LR

L ff

mp R mp

RR

RR

RR

R

R mf

LR

L mp

LL

R mf

R mf

LR

LR

LR mf

LR

L mp

one

pers

on

RIG

HT

HA

ND

RIM

OR

SH

ELL

/LE

FT

HA

ND

1/2

WA

Yal

l in

PIN

GS

Ete

rna

l Fire

#15

Com

pose

r T

om

Aun

gst

RIG

HT

HA

ND

RIM

OR

SH

ELL

/LE

FT

HA

ND

1/2

WA

Yal

l in

so

lo

3

3

6

TA

MB

DJE

MB

E

S. D

.

S. D

.

T. D

.

T. D

.

B. D

.

B. D

.

Sur

do

Per

c.

RR

RR

L fR

RR mf

RR

RL f

RR

R mf

RL

R mf

RR

RL f

RR

R mf

C7

RR

L fR

RR mf

RL f

RR mf

R mf

RL f

RR mf

R ffL

RL

RL

RL

R fL

RL

mp

R ffL

RL

RL

RL

R fL

RL

RL

LR

LR f

LR

LR

LR

LR

LR

LR

RL

RL

RL

RL

RL

RL

RL

RL

R mpL

RR

LR

R ffL

LR

LR

LR

RR

RR

RR

R fL

RL

RL

Rmp

R ffL

LR

LR

LR

LL

R mf

R mf

LR

LR ff

LR

LR

LR mf

LR

L mp

PIN

GS

3

66

66

6

3

3

2

S. D

.

S. D

.

T. D

.

T. D

.

B. D

.

B. D

.

Sur

do

Per

c.

RR

RR

L fR

RR mf

RR

RL f

RR

R mf

RL

13

RR

L fR

RR mf

RL f

RR mf

RL

RR

LR

LL

RL

RL

RL

RR

LR

LR

LR

LR

LR

R fL mpR

LR

LR

LR

RL

LR mfR

LL

RR

LL

RR

LL

RR

LL

RL

RL

RL

RL

RL

RL

R fL

RL

RR

LL

R ffL

RL

R

RL

RL

RL

RL

RL

RL

RR

LR

LR

LR

`L

R mpL

RL

RL

RL

RR

LL

RR

LL

RL

RL

RL

RL

RL

RL

R fL

RL

RR

LL

R ffL

RL

R

LL

R mf

Rmf

LR

L

P

ING

S

33

33

33

33

3

S. D

.

S. D

.

T. D

.

T. D

.

B. D

.

B. D

.

Sur

do

Per

c.

R mf

RR

RL f

RR

R mf

RR

RR

L fR ff

LL

RL

RR

LL

RL

RR

LL

RL

R mp

LR

LR

LR

LR

LR

LR ff

LL

RR

LR

LR

RL

RL

RL

RL

RL

RL

RL

RL

DE

19

R mf

RL f

RR mf

RR

L fR ff

LL

RR

RR

RR

RL

R mp

RRR

RRR

RRR

RR

ffL

LR

RL

RL

RR

LR

LR

LR

LR

LR

RR

R ff`L

R mpR

LL

R ffL

R mfL

RL

RL

R fL

R mpL

RL

RL

RL

RL

RL

R ffL

LR

LR

RL

LR

LR

RL

LR

LRmp

LR

LR

LR

LR

LR

LRff

LL

RR

LR

LR

RL

RL

RL

RL

RL

RL

RL

RL

LR

LR

LR

LR

ffL

LR

LR

LR

LRR

LR

LL

RR

LR

LR

RL

RL

RL

RL

RL

RR

R

Rff

LR

RL

RR mpL

RL

RL

RL

Rff

LL

RL

LR

LL

R mp

LR

LR

LR

LR ff

LL

RR

LL

RL

RL

R

Rff

LR

RL

RR mpL

RL

RL

RL

Rff

LL

RL

LR

LL

R mp

LR

LR

LR

LR ff

LL

RR

LL

RL

RL

R

Rff

LR

L mp

LL

R ffR ff

LR

L mp

LL

R ffR

RL

LR

LR

LR

C

CR

ES

C. A

CC

EN

TS

ON

LY

33

33

33

C

33

3

33

CR

ES

C. A

CC

EN

TS

ON

LY

33

33

3

3

33

3

33

3

3

3

3

3

3

4

S. D

.

S. D

.

T. D

.

T. D

.

B. D

.

B. D

.

Sur

do

Per

c.

RL

RL

RL

RL

RR

RR

LR

LR fff

LR

Bmp

LR

LR

LR

LR

LR

LL

RL

RR

L

q. =

162

F25

RL

RL

RR

RR

LR

LR fff

LR

Bmp

RL

RL

RL

RL

RR

RR

LR

LR fff

LR

BRmp

LR

LR

RR

RL

RL

RR

RR

LR

LR fff

LR

B

RL

RL

R fff

LR

LR

Bmp

R ffL

RL

RR

LR

LR fff

LR

LR

Bmp

LL fff

RL

RL

R

mp

mp

3

3

1/2/

ON

E P

ER

SO

N

ALL

IN

Ete

rna

l Fire

#15

3

3

1/2

3

3

3

3

3

3

3

TA

MB

DJE

MB

E

5

S. D

.

S. D

.

T. D

.

T. D

.

B. D

.

B. D

.

Sur

do

Per

c.

RL

LR

LR

LR

LL

RL

RL

RL

LR

RL

LR

RL

LR

LR

LR

LR mf

LL

RRLL

RRR

LR

LR

LR

LR ff

RR

L ffR

LR

RL

LR

LR

LR

LR

LRR

LLR mp

LR

L

G33

RL

RL

RL

R ffL

RL

RL

RL

RL

RL

RR

RR

LR

L

RL

RL

RR

RR

LR

LR

RR

RL

RL

RR

RR ff

RR

L ffR

LR

RL

LR

LR

LR

RL

RL

RL

RL

R ffL

RL

RL

RL

RL

RL

RR

RR

LR

L

RL

RR

LR

RL

RL

RL

R ffL

RL

RL

RL

RR

LR

R ff`

RR

RR

LR

L

R mp

LR

LR

LR

LR ff

LR

LR

LR

LR ff

LR

LR

LR

L

ffmp

TO

C

PIN

GS

Ete

rna

l Fire

#15

T

O

S

TA

RT

WIT

H O

NE

TH

EN

AD

D IN

MO

RE

EA

CH

BA

R

6

S. D

.

S. D

.

T. D

.

T. D

.

B. D

.

B. D

.

Sur

do

Per

c.

RR ffR

RL ff

RL

RL

RR

LL

RL

RL mpRR

LR

LR

RL

LR

LR

LR ff

RR

LL mpRR

LLRR ff

LLRR

RLLL

LRR

LLR ff

RR

L ffR

LR

LR

RL

LR

LR

R mp

RR

H38

R ffL

RL

RL

RL

RL

RL

RR

RR

RR

R ffR

RR

RR

RR

RR

RR

R

RR ffR

RL ff

RL

RL

RL

RL

RR mp

RB

BB

ffR ff

RR

L ffR mpL

R ffL

RL

RL

R ffR

RL ff

RL

R mp

LR

L

R ffL

RL

RL

RL

RL

RL

Rmp

ffR ff

LR

LR

LR

RR

RL

RL

RL

R mp

LR

L

R ffL

RL

RL

RL

RR

LR

R mp

RR

ff

R ff`

RR

RR mp

RR

ff

R ffL

RL

RL

RL

R ffL

RL

R mp

LR

LR ff

LR

LR

LR

LR

LR

LR

LR

LR

LR

LR

LR

LR

LR

LR mp

LR

L

ffmp

ffmp

mp

PIN

G

7

S. D

.

S. D

.

T. D

.

T. D

.

B. D

.

B. D

.

Sur

do

Per

c.

R ffR

RR mp

LR mf

LR

LR

LR mp

LR

LR

LR mf

LR

LR

LR ff

RR

L ffR

LR ff

RR

L ffR

LR ff

RR

L ffR

RR

L ffR

LR

LR f

LR

LR

LR

LR

RL

LR

RL

LR

LR

LR

LR

RL

RR

L

IJ

44

R ffR

RR

RR

R mp

LR

LR

LR

RR

R ffL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RR

LR

LL

R

R ff R ff R ffL mp

RL

RL

RL

Rmp

LR

LR

LR

LR ff

LR

LR mp

LR

LR

LR ff

ffmp

mp

ffmp

ff

1/

2

TO

C

C

C

RE

SC

. ALL

LEF

T O

VE

R R

. ST

ICK

44

44

Ete

rna

l Fire

#15

1/2

2

22

2

8

S. D

.

S. D

.

T. D

.

T. D

.

B. D

.

B. D

.

Sur

do

Per

c.

RR

LR

RL

RR

LR

RL

R ffL

RR

LL

RR

LR f

LR

LR

LR

LR

LR

LR

L ffR

LR fff

LR

BR

L

KL

50

RRLL

RR

LR

LL

RL

RL

RL

RL ff

RL

R fff

LR

BR

L

R ffL

RR

LL

RR

LR f

LR

LR

LR ff

LR

LR

LR ff

LR

LR fff

LR

B

RR ffL

RL

R fff

LR

B

R ffL

RL

RR

RR

LR

LR

LL

L

L ffR

LR

RR ff

LmfR

LR

LR

LR

LR

LR

LR

L

ffff

mf

44

44

22

22

4

4

4

4

P

UT

DR

UM

ON

ITS

SID

E L

IKE

A S

OR

DO

DR

UM

9

S. D

.

S. D

.

T. D

.

T. D

.

B. D

.

B. D

.

Sur

do

Per

c.

R ffR

M57

R ffR

RL

ffR mp

LR ff

`LR

LR

RL

RL

LR

RL

RL

LR

LR

LR

LR

LR

LR

LR

LR

LR

LR

R ffL

RL ff

R mp

LR ff

`LR

LR

LR

LR

LR

LR

LR

LR

LR

LR

LR

LR

LR

LR

LR

LR

LR

R ffL

RL

RR

RL

R mp

RR

LR

LR ff

LR

L ffR mp

LR ff

`LR

LR

LR

LR

LR

LR

LR

LR

LR

LR

LR

LR

LR

LR

LR

LR

LR

R ffL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL mp

RL

RL

RL

R fL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

mp

fmp

10

S. D

.

S. D

.

T. D

.

T. D

.

B. D

.

B. D

.

Sur

do

Per

c.

R ffR

RL ff

R mp

LR ff

`L

RL

RR

LR

LL

RR

LR

LL

RL

RL

RL

RL

RL

RL

RL

RL

RL

R

N63

R ffL

RL

RL

RL

RL

RL

RL

RL

RL

RL

R ffR

RL ff

R mp

LR ff

`L

RL

RR

LR

LL

RR

LR

LL

RL

RL

RL

RL

RL

RL

RL

RL

RL

R

R ffL

RL ff

R mp

LR ff

`L

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

R

R ffL

RL ff

R mp

LR ff

`L

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

R

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

RL

ff

11

S. D

.

S. D

.

T. D

.

T. D

.

B. D

.

B. D

.

Sur

do

Per

c.

RL mp

RL

RL

RR mf

LR

LR

LR

R fL

RL

RL

RR ff

LR

LB fff

O67

RL mp

RL

RL

RR mf

LR

LR

LR

R fL

RL

RL

RR ff

LR

LB fff

RL mp

RL

RL

RR mf

LR

LR

LR

R fL

RL

RL

RB ff

B fff

RL mp

RL

RL

RR mf

LR

LR

LR

R fL

RL

RL

RB ff

B fff

RL mp

RL

RL

RR mf

LR

LR

LR

R fL

RL

RL

RR ff

LR

LB fff

B

RL mp

RL

RL

RR mf

LR

LR

LR

R fL

RL

RL

RR ff

LR

LB fff

B

RL mp

RL

RL

RR mf

LR

LR

LR

R fL

RL

RL

RR ff

LR

LB fff

B

B

mp

mf

fff

fff

Ete

rna

l Fire

#15

12

Marching Bass Drum A

mpR L L R L

q = 150 A B

Rf

L R L R L R L R L R L R R L R L R L R L R L R L R L R L

8

Rmp

L R R L R Rff

L L R L R L R

10

Rff

L R R L R Rmp

L R L R L R L Rff

L L R L L R L L

C D12

Rmp

L R L R L R L Rff

L L R R L L R L R L R

E22

R L R L Rfff

L R L R B

25

q. = 162F30

6

Eternal Fire #15

Composer Tom Aungst

3

6 6 6

6

3

3

3

mp R L R R L R R L R L R L

32

Rff

L R L R L R L R R L R Rff

L R L R L R L R R L R

G36

Rmp

R Rff

H39

I J K44

Rff

L R L R R R R L R L R L L L Rff

L R L R R R

L55

L Rmp

R R L R L Rff

L R Lff

Rmp

L Rff`

L R L

M58

R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R

60

Rff

L R Lff

Rmp

L Rff`

L R L R L R L R L R L R L R L R L R L R L R L R L R L

N63

Eternal Fire #15

PUT DRUM ON ITS SIDE LIKE A SORDO DRUM

Marching Bass Drum A2

R L R L R L R R Lmp

R L R L R Rmf

L R L R L R

O66

Rf

L R L R L R Rff

L R L Bfff

B

69

Eternal Fire #15

Marching Bass Drum A 3

Marching Bass Drum B

Rmp

R R R R R R R R R R R R R

q = 150 A B

Rf

L R L R L Rmp

Rff

L L R L R L R

8

Rff

L R R L R Rmp

L R L R L R L Rff

L L R L L R L L

C D12

Rmp

L R L R L R L Rff

L L R R L L R L R L R

E22

Rff

L R L R R L R L Rfff

L R L R B

25

q. = 162F30

Eternal Fire #15

Composer Tom Aungst

3

3

3

3

mp

32

Rff`

R R R R L R L Rff`

R R R Rmp

R R

G36

ff

H I40

J K L46

Rff

L R L R L R L R L R L R L R L R L R L R L R L

M59

R L R L R L R L R L R L R L R L R L R L R L R L

N62

R L R L R L R L R L R L R L R L

65

R Lmp

R L R L R Rmf

L R L R L R Rf

L R L R L R

O67

Eternal Fire #15

Marching Bass Drum B2

Rff

L R L Bfff

B

70

Eternal Fire #15

Marching Bass Drum B 3

Snare Drum A

Rf

R Rmp

L L Rf

L Rmf

R R R Lf

R R Rmf

R R R R Lf

R R Rmf

R R R Lf

R R Rmf

q = 150A

R L Rmf

R R R Lf

R R Rmf

R R R R Lf

R R Rmf

R R R Lf

R R Rmf

B5

R L Rmf

R R R Lf

R R Rmf

R R R R Lf

R R Rmf

R R R Lf

R R Rmf

C11

R L Rmf

R R R Lf

R R Rmf

R R R R Lf

Rff

L L R L R R L L R L R R L L R L

D18

Rmp

L R L R L R L R L R L Rff

L L R R L R L R R L R L R L R L R L R L R L R L

E22

R L R L R L R L R R R R L R L Rfff

L R B

25

one person

RIGHT HAND RIM OR SHELL/LEFT HAND 1/2 WAYall in

Eternal Fire #15

Composer Tom Aungst

PINGS

PINGS

PINGS

C

CRESC. ACCENTS ONLY 3 3

3 3

3 3

3

3

mpL R L R L R L R L R L L R L R R L

q. = 162F30

R L L R L R L R L L R L R L R L L R R L L R R L L R L R L R L

33

Rmf

L L RR LL RR R L R L R L R L Rff

R R Lff

R L R R L L R L R L

G35

R L R L RR LL Rmp

L R L RRff

R R Lff

R L R L R R L L R L

37

R Lmp

RR L R L R R L L R L R L Rff

R R LLmp

RR LL RRff

LL RR R LLL L RR LL

H39

Rff

R R Lff

R L R L R R L L R L R Rmp

R R

41

Rff

R R Rmp

L Rmf

L R L R L Rmp

L R L R L Rmf

L R L R L

I44

Rff

R R Lff

R L Rff

R R Lff

R L Rff

R R Lff

R R R Lff

R L R L Rf

L R L R L R L R R L L R R L L

J46

1/2/ONE PERSON ALL IN

Eternal Fire #15

TO C

PINGS

PING

1/2 TO C C

CRESC. ALL

4 4

4 4

Snare Drum A2

R L R L R L R R L R R L R R L R R L R R L R R L

49

Rff

L R R L L R R L Rf

L R L R L R L R L R L R Lff

R L

K51

Rfff

L R B R L

L53

Rff

R Rff

R R Lff

Rmp

L Rff`

L R L

M N59

R R L R L L R R L R L L R L R L R L R L R L R L R L R L R L R

64

R Lmp

R L R L R Rmf

L R L R L R Rf

L R L R L R

O67

Rff

L R L Bfff

70

LEFT OVER R. STICK

Eternal Fire #15

4 4

44

Snare Drum A 3

Snare Drum B

Rmf

R Lf

R Rmf

R R Lf

R R Rmf

R Lf

R Rmf

q = 150 A

Rmf

R Lf

R Rmf

R R Lf

R R Rmf

R Lf

R Rmf

B6

Rmf

R Lf

R Rmf

R R Lf

R R Rmf

R Lf

R Rmf

C12

Rmf

R Lf

R Rmf

R R Lf

Rff

L L R R R R R R R L Rmp

R RR R RR R RR R Rff

L L

D19

R R L R L R R L R L R L R L R L R R R R L R L R R R

E23

R L R L Rfff

L R B

26

q. = 162F30

RIGHT HAND RIM OR SHELL/LEFT HAND 1/2 WAYall in

Eternal Fire #15

Composer Tom Aungst

C

3

33 3

3 3

3

mp R L R L R L

32

Rff

L R L R L R L R L R L R R R R L R L Rff

L R L R L R L R L R L

G36

R R R R R R Rff

R R R R R R R R R R R

H39

R Rff

R R R R R Rmp

L R L R L R R R

I42

Rff

L R L R L R L R L R L R L R L R L R L R L R R L R L L

J46

R RR LL R R L R L L R L R L R L R Lff

R L

K49

Rfff

L R B R L

L53

Rff

L R L R L R L R L R L R L R

M N59

1/2

TO

Eternal Fire #15

1/2

2 2 2 2

2 2 2 2

Snare Drum B2

L R L R L R Lmp

R L R L R Rmf

L R L R L R

O66

Rf

L R L R L R Rff

L R L Bfff

69

Eternal Fire #15

Snare Drum B 3

Marching Tenor Drums A

Rff

L R Rmp

L R L R L Rff

L Rmp

L R R L L Rmf

L R R Lf

R L L

q = 150 A

Rmf

L R L R L R L R R L L R Lff

B5

Rff

L R L R L R L Rf

L R L R L R R L R L L R L R L R L R

C12

R L R L R L R L R L R Rf

Lmp

R L R L R L R R L L Rmf

R L L R R L L

14

R R L L R R L L R L R L R L R L R L R L Rf

L R L R R L L Rff

L R L R

16

Rff`

L Rmp

R L L Rff

L Rmf

L R L R L Rf

L Rmp

L R L R L R L R L R L Rff

L L

D19

V.S.R L R R L L R L R R L L R L R

mpL R L R L R L R L R L R

ffL L

21

solo

Eternal Fire #15

Composer Tom Aungst

3

3

6

3 3

33

CRESC. ACCENTS ONLY

R R L R L R R L R L R L R L R L R L R L R L R L R L R L R L R R R R L R L Rfff

L R

E23

B Rmp

L R L R R R

q. = 162F27

R L R L R R R R L R L R R R R L R L R R R

33

Rff

R R Lff

R L R R L L R L R L R R L R L R L R L RRff

R R Lff

R L R L R L R L

G36

R Rmp

R B B Bff

Rff

R R Lff

Rmp

L Rff

L R L R L

H39

Rff

R R Lff

R L Rmp

L R L Rff

I43

Rff

L R R L L R R L Rf

L R L R L Rff

L R L R L Rff

L R L

J K46

Rfff

L R B

L53

3

3

33

3 3

3

3

Eternal Fire #15

44

4

4

Marching Tenor Drums A2

Rff

R R Lff

Rmp

L Rff`

L R L R R L R L L R R L R L L R L R L R L R L R L R L

M59

R L R L R L R Rff

R R Lff

Rmp

L Rff`

L R L R R L R L L R R L R L L

N62

R L R L R L R L R L R L R L R L R L R

65

R Lmp

R L R L R Rmf

L R L R L R Rf

L R L R L R

O67

Bff

Bfff

70

Eternal Fire #15

Marching Tenor Drums A 3

Marching Tenor Drums B

mp

q = 150 A B

Rff

L R L R L R L Rf

L R L R L R L R L R L R L R L R R L R L R L R` L

C12

Rmp

L R L R L R L R R L L R R L L R L R L R L R L R L R L Rf

L R L R R L L

15

Rff

L R L R L R L R L R L Rff

L L R L R L R L RR L R L L

D18

R R L R L R R L R L R L R L R L R R R R L R L R R R

E23

R L R L Rfff

L R B

26

q. = 162F30

Eternal Fire #15

Composer Tom Aungst

3 3

33

3

333

3 3

3

Rff

L R L R L R L R L R L R R R R L R L Rff

L R L R L R L R L R L

G36

Rmp ff

Rff

L R L R L R R R

H39

R L R L R L Rmp

L R L Rff

I43

RRff

L R L Rfff

L R B

J K46

Rff

L R Lff

Rmp

L Rff`

L R L

L M55

R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R

60

Rff

L R Lff

Rmp

L Rff`

L R L R L R L R L R L R L R L R L R L R L R L R L R L

N63

R L R L R L R R Lmp

R L R L R Rmf

L R L R L R

O66

Eternal Fire #15

Marching Tenor Drums B2

Rf

L R L R L R Bff

Bfff

69

Eternal Fire #15

Marching Tenor Drums B 3

Percussion

q = 150 A B C

mp

q. = 162D E F19

mp

32

ff mp

G35

ffmp

38

ff mp

H40

mp ff mpmp

I43

ff mp ff

J46

K51

TAMB

DJEMBE

Eternal Fire #15

Composer Tom Aungst

TAMB

DJEMBE

ff ff mf

L53

mp

56

f

M59

mp ff

N62

65

mp mf f

O67

ff fff

70

Eternal Fire #15

Percussion2

Surdo

Rmf

L R Lmp

L L Rmf

Rmf

L R L R L

q = 150 A

Rmf

L R Lmp

L L Rmf

Rmf

L R L Rff

L R L R L

B6

Rmf

L R Lmp

L L Rmf

Rmf

L R L

C12

Rff

L R Lmp

L L Rff

Rff

L R Lmp

L L Rff

D19

R R L L R L R L R L Lfff

R L

E23

R L R

q. = 162F27

Eternal Fire #15

Composer Tom Aungst

3

3

3

3

Rmp

L R L R L R L

33

Rff

L R L R L R L Rff

L R L R L R L Rff

L R L R L R L

G36

Rff

L R L Rmp

L R L Rff

L R L R L R L R L R L R L R L

H39

R L R L R L R L R L R L Rmp

L R L

42

Rff

Lmp

R L R L R L Rmp

L R L R L R L

I44

Rff

L R L Rmp

L R L R L Rff

J46

Lff

R L R R

K51

Rff

Lmf

R L R L R L R L R L R L R L R L R L R L R L

L55

R Lmp

R L R L R L Rf

L R L R L R L

M58

START WITH ONE THEN ADD IN MORE EACH BAR

Eternal Fire #15

Surdo2

R L R L R L R L R L R L R L R L R L R L R L R L

60

R L R L R L R L R L R L R L R L R L R L R L R L

N63

R L R L R L R L R Lmp

R L R L R Rmf

L R L R L R

O66

Rf

L R L R L R Rff

L R L B

fffB

B

69

Eternal Fire #15

Surdo 3

DEVELOPING YOUR INDOOR PROGRAMBy Tom Aungst

1. Setting up the culture a. Establish a work ethic b. Attitude c. Set up goals for now and the future

2. Ideas to upgrade your program a. Develop middle school program b. Private lessons c. Expanding Staff d. Parent involvement e. Using younger students f. Auditions g. Rudiment sheet

3. Starting the indoor season a. Technique program starts in the spring b. Use marching band to develop for indoor c. Indoor drives the program 4. Technique program and packet a. Developing and mastering skills b. Exercise packet (8's, hands together, accent tap, double beat, flams, paraddiddles, rolls) c. Developing mechanics of playing

5. Cleaning the book a. Starts from the beginning b. Set up the book as exercises c. Know your players, write to their abilities d. Don't be afraid to change

6. Setting up the program a. The first meeting(direction, reflect, ideas, and effects) b. Know groups strengths

7. Designing the show a. Concept drives the bus b. finding music to fit the concept c. What comes first d. Write with all elements in mind(visual, effects, etc.) e. Write as a tech and a designer

8. Orchestration a. Role of the Front ensemble b. Role of the Battery c. Clarity of intent d. How will it sound at the end e. Know what your players can handle(patterns, rudiments, etc.) f. Be creative with, who plays, dynamics, tempos, etc. g. Making the ensemble work through the idea of “less is more”

MUSIC FOR ALL SUMMER SYMPOSIUM – 2013 David Collier Materials Timpani Clinic Title Page

FUNdamental Performance Techniques for Timpani

Timpani Technique

Timpani Fundamentals

Fundamentals of Bass Drum

Fundamentals of Cymbals

Fundamentals of Accessory Percussion

Fundamentals of Triangle

Fundamentals of Tambourine

Accessory Techniques

Accessory Ensemble #1

Keyboard Percussion Technique – Scales

Arpeggios and Broken Chords

Keyboard Percussion Techniques – Double Vertical Strokes

Keyboard Percussion Techniques – 4-mallet permutations

Multiple Percussion Technique

 

FUNdamental

PERFORMANCE TECHNIQUES for

TIMPANI

Dr. David L. Collier Professor of Music

Director of Percussion Studies Illinois State University

Music for All Summer Symposium Ball State University

2013

 

FUNdamental  Performance  Techniques  for  Timpani    Instrument  Basics  

Sizes  and  ranges  

     Set-­‐ups     •    American     •    German  Sit  or  stand?  

 Fundamental  Techniques  

Grips     •    German  

This  grip  is  similar  to  matched  grip.    It  uses  a  hinge  motion  and  is  downward  oriented.  

  •    French  This  grip  uses  a  rotational  motion  and  is  upward  oriented.    This  

enables  more  follow-­‐thru  and  a  more  resonant  sound.    

Legato  Stroke  Production     •    tossing  motion  with  smooth  follow  through;  a  combination  of  wrist  and  

fingers     •    uses  “mirroring”  to  develop  consistent  stroke     •    use  towels  to  mute  timpani  in  order  to  clearly  hear  evenness  of  sound    Beating  spot     •    1”-­‐3”  from  the  edge  of  the  bowl  

 

 Sticking  procedures     •    If  even  number  of  notes,  start  with  inside  hand.         •    If  odd  number  of  notes,  start  with  outside  hand.       •  see  worksheet    Rolls     •    always  single  stroke  rolls     •    roll  slowly;  only  as  fast  as  necessary  to  sustain  the  tone     •    roll  slower  on  large  timpano  and/or  a  low  pitch;  roll  faster  on  smaller  

timpano  and/or  a  higher  pitch     •    When  changing  drums,  lead  with  right  hand  when  ascending  and  lead  

with  left  hand  when  descending    Muffling     •    place  finger  tips  on  the  head  in  the  beating  spot     •    do  not  wipe  the  heads    Staccato  Stroke     •    produced  with  a  snap  motion  from  fingers.       •    minimal  up-­‐stroke  or  follow-­‐through.    The  goal  is  a  sound  with  a  

pointed  attack.    Cross-­‐sticking     •    use  when  executing  rapid  passages  between  multiple  drums     •    see  worksheet  for  examples    Tuning     •    know  ranges     •    sing  basic  intervals  (M2,  m2,  P4,  P5,  M3,  m3,  scales)     •    Tuning  steps       sound  the  pitch       sing  the  pitch       lower  pedal       strike  the  timpano  once  and  immediately  gliss  up  to  the  pitch  

 Performance  Preparations  

Analyze  the  part     How  many  pitches  are  there?     Where  do  the  pitches  sound  the  best?    Which  timpani?  

*    I  recommend  placing  pitches  in  the  middle  to  upper  register  of  the  timpano.  

  How  many  timpani  and  which  sizes  do  I  need?     What  do  the  terms  mean?        

 

Determine  mallet  selection     •    Types  of  Mallets         generals,  staccato,  ultra-­‐staccato,  cartwheel,  wood     •    Base  your  mallet  selection  on  Quality  of  Sound  and  Articulation     •    A  softer  mallet  produces  more  tone  and  less  articulation     •    A  harder  mallet  produces  more  articulation  and  less  tone.    Determine  tuning  scheme     Example                  Bb      Eb               F                                    F    Mark  the  part     •    Put  in  the  tunings     •    Put  in  cues,  number  of  bars  of  rests,  mallet  changes,  etc      

Study  the  composition  Find  a  score  

•    Library,  your  director,  online  Find  a  recording  

•    Library,  iTunes,  emusic,  CDs,  online  streaming  LISTEN,  LISTEN,  LISTEN  

 Prepare/practice  the  part  

Practice  the  selection  with  a  metronome.         •    Begin  slowly  and  work  up  to  performance  tempo.  Play  the  part  on  a  marimba  or  piano.         •    This  will  get  the  melodic  structure  in  your  ear.  Record  your  part  and  play  along  with  it.  Practice  with  a  recording  of  the  complete  work.  

 Play  the  performance     Be  prepared  for  the  material  to  be  rehearsed     Have  all  music,  mallets,  mutes,  pencil,  stand  towel,  tuning  fork,  etc    Resources  Methods     Saul  Goodman—Modern  Method  for  Timpani     Mitchell  Peters—Fundamental  Method  for  Timpani     Friese-­‐Lepak—The  Complete  Timpani  Method     John  Beck—Concepts  for  Timpani     Raynor  Carroll—Exercises,  Etudes  and  Solos  for  Timpani     Charles  Dowd—The  Well-­‐Tempered  Timpanist     Fred  Hinger—Technique  for  the  Virtuoso  Timpanist     Gary  Cook—Teaching  Percussion  

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Timpani TechniqueDavid Collier

©2008, David L. Collier

Legato Strokes

Sticking Principals

Roll Development

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2 Timpani Techique

Muffling Studies

Roll Studies

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Timpani Fundamentals

© David L. Collier, 1998

FUNDAMENTALS of BASS DRUM David L. Collier Director of Percussion Studies Illinois State University

For most of our early years in percussion, our goals have been to master snare drum, marimba, or drum set. The other instruments that we had to play in band often got no attention in our practice routine. At times this was because we could not practice them at home. In other cases it might have been because we thought it was unnecessary to work on instruments like Bass Drum, Cymbals, Tambourine and Triangle. As we grow as performers and become increasingly sensitive musicians, the artistry needed on these instruments becomes more apparent. Let's begin our study of Accessory Instruments with Concert Bass Drum. "But I don't like Bass Drum." "Mr./Ms Doe only put me on bass drum because he/she doesn't like me." "All I've got to do is hit it, right?" How many of you have had these thoughts? All of us have at one point or another, but Bass Drum is a fantastic instrument once you get involved with it. It is probably the most important instrument in the band because of the power it possesses to direct the entire ensemble. Everyone listens to the bass drum... and follows it. This means you have incredible power over the music--and you have an incredible responsibility. Bass Drum players must have impeccable time, must always watch the conductor, and must always listen to the ensemble. In addition, the percussionist on bass drum needs a large pallet of sound colors to use in various situations. How is this done? Through changes we make in technique, stroke, and where we strike the head. NAMES English Bass Drum German die Grosse Trommel French la grosse caisse Italian la grancassa, gran cassa BACKGROUND A new, large drum that was either carried or place on the floor with the heads in a vertical position was introduced to the musical courts of Europe with the appearance of Turkish Janissary music in the second half of the 18th century. The instrument was unique in that with the skin heads in a vertical position, the performer could play on both sides. At this time the drum was often played with a leather-covered wood beater on one side and a switch on the other. This instrument moved quickly into the orchestra in works such as Mozart's Abduction form the Seraglio and the Military Symphony of Haydn. In many works of the 19th century, bass drum and cymbals were often played together. Only in later works with the addition of more complicated rhythms and rolls were two distinct parts created as we have today. TECHNIQUES

• Basic grip is the same as French Grip on timpani • thumb is facing toward the ceiling; back of the hand is perpendicular to the floor

• grip firmly between the thumb and first fingers with the remaining fingers wrapped around the handle of the mallet

• grip should be firm but not tense.

• Basic stroke should be from the wrist and not from the arm • draw a backwards C or a bass clef sign in the air and contact the head at the bottom • this motion should have a moderate degree of snap to increase the velocity of the mallet • after striking the head, be sure to follow-thru away from the head (See Diagram 1)

WHERE TO STRIKE

• divide the head into three circles for our various types of playing. (See Diagram 2) • center circle (area 1) surrounds the node of the bass drum and is the point of least

vibration on the head and therefore produces the driest, most articulate sound. • use this area when you want a very short sound with excellent articulation. • the center is also where one should play the powerful "cannon shot" blows that are

sometimes called for. • second circle (area 2) is the area for most of our general-purpose sounds. • This portion of the head, which is about 4-6 inches off center, has a moderate amount of

resonance with just enough articulation for the majority of our strokes. • third circle is used primarily for rolls (area 3). This area which is very close to the rim

produces a light airy tone with very little articulation. • By using all three of these areas, the sensitive percussionist can produce an incredible

number of sounds on the Bass Drum.

Diagram 2 MALLET CHOICE

• For general playing, you will need a mallet with a moderately large head and with a fair amount of head weight.

• For extremely articulate passages, a pair of hard felt beaters (i.e. small marching bass drum mallets) will be useful.

• For rolls we will need a matched pair of mallets that have heads slightly smaller than our general-purpose mallet.

• A well-stocked percussionist will have a pair of general mallets, a pair of rolling mallets and a pair of hard mallets.

MUFFLING TECHNIQUES

• never put anything on the head or inside a concert bass drum • the most effective techniques for muffling involve the hands and knees • best method for muffling the bass drum is to use the non-playing hand on the playing

head. • gently place the fingers on your left hand near the rim of the bass drum while striking the

head with the right hand. • if a dryer sound is needed, move the left hand toward the center of the drum. • Increased control of the sound may be obtained by also using the knee • elevate the right knee on a small stool and gently press it into the playing head. This can

be used alone or with the hand muffling. This technique is very easy to use on any type of bass drum by performers of any size. It

also enables the player to easily see the music and the conductor. Practice, experimentation and keen listening will guide you in developing this technique.

MUSICALITY Another factor a performer must consider is the length of the notes. Often what we see printed is not exactly what the composer may have "intended". At times the note values we see are too short in relation to other wind parts, as if only the attack of the drum was written. I recommend a careful analysis of the score to compare the bass drum part with other wind parts. If everyone else has a half note and the bass drum has an eighth, perhaps we should allow the

drum to resonate for an entire half note before muffling. This aids in the phrasing and overall musicianship. Next time you get a bass drum part, listen to the rest of the ensemble and determine what the role of the bass drum is at every moment. Is it providing the ostinato pulse? Is it a low, rumbling effect? Is it a very rhythmic, syncopated solo? Is it the tremendous climax at the end? By deciding what your musical role is, you can decide what mallet to use, where to play, how to strike the drum and how to muffle. The combination of these aspects advances the art of bass drum performance into the realm of music and out of the pit of noise. Good luck!! PODIUM NOTES Directors: Most of what I have said above will happen if you reinforce it. You can create a musical percussion section by instructing them in the art of breathing, phrasing, and sound color. Point out how the bass drum punctuates the low brass syncopation. Have them listen to the French horn chord which they are supporting with that soft roll. Show them how they are the rhythmic backbone of the entire march. Often the printed music itself will not tell them what to play or how to play it. It only shows them where in time to play. Also, many poor playing habits can be passed down from other, older players. Start at the very beginning to instill solid pulse, accurate rhythm, and musical sensitivity in your percussionists. In addition to the correct technique, proper heads and tuning will radically affect the quality of the bass drum sound in your ensemble. The best sound possible for a Bass Drum is found with quality calfskin heads. Colleges and professionals should invest in this type of head. In most high school situations, I recommend the Remo FibreSkyn II™ or Renaissance™ heads for all concert Bass Drums. These heads are a synthetic imitation of calfskin. They have a warm, rich sound with very little "ring" yet are very durable and not effected by climate. When tuning a Concert Bass Drum, tune the playing side a minor 3rd higher than the resonating side. This will produce a greater number of overtones and avoid a sense of pitch in the drum. Tune the playing head tight enough that it produces a rich, low tone--one that is felt more than heard--which does not have a clear pitch. Do not place any muffling in the drum or on the heads. Carefully check that the same pitch is found at each tuning rod. If you have questions, just contact me.

© 2004, David L. Collier

FUNDAMENTALS of CYMBALS David L. Collier Director of Percussion Studies Illinois State University

In every band or orchestra, cymbals play a crucial role. They provide impact and color to all types of music. Good quality performance on both Suspended Cymbals and Crash Cymbals takes practice, inquisitiveness and sensitivity to master. Let’s start with the fundamentals that are crucial to our goal. NAMES English Suspended Cymbals German das Becken (hängend) French la cymbale (suspendue) Italian il piatto (sospeso) English Crash Cymbals (pair) German die Becken (paarweise) French les cymbales (à 2) Italian i piatti (a due); i cinelli BACKGROUND

Cymbals originated in Asia as small instruments almost like metal bowls with handles that were struck together. These were brought to Spain, southern Italy and the Mediterranean region by the Saracens in the Middle Ages. During the 17th century, large cymbals of cast or hammered alloys were used in Turkish Janissary music along with the bass drum. Cymbals were quickly adapted into opera and orchestral music as seen in such examples as Haydn’s Military Symphony, Mozart’s Abduction from the Seraglio and the 4th movement of Beethoven’s Ninth Symphony. SUSPENDED CYMBALS How to Mount

• mount the suspended cymbal on a high-quality stand that has a metal washer, felt washer and protective rubber/plastic sleeve

• use a cymbal strap and hang the cymbal from a gooseneck stand • be sure to position the cymbal flat and slightly above waist height

Choice of Instrument • if possible, have a minimum of 3 choices for your ensemble such as a 14”, 16” and 18” • there is no 1 ideal suspended cymbal • use personal drumset cymbals to increase selection possibilities • listen, experiment, strive for the perfect “color” and quality of sound

Choice of Implement

• best basic mallet is a medium cord mallet or a specialized suspended cymbal mallet • for other color choices explore these: stick, brush, metal scraper, coin, etc.

Proper Technique

• use a standard wrist stroke with a glancing blow to the cymbal • strike the cymbal near the edge for most notes; use shoulder and bell when specified

• for rolls, place mallets at 3 and 9 o’clock and use a slow, single stroke roll

• to dampen or stop the sound, use a) grab with free hand after striking in notated rest b) “feather out” the sound by slowly grasping cymbal with fingers c) for “secco” or very short sounds, rapidly grab cymbal immediately after striking

CRASH CYMBALS Choice of Instrument

• ideally one should have a minimum of 2 or 3 pair of varying sizes and weights • recommendations: 18” Viennese, 18” Germanics, 20” Germanics

Positioning and Setup

• establish a cymbal station that is not shared with other instruments • use cymbal cradle, padded table, etc to rest cymbals. • have all choices within easy reach • create “direct line of sight” with instrument, music and conductor • have trap stand/table for mallets/sticks close at hand

Proper Technique

• grasp cymbal straps without placing hands in loops • stand in relaxed posture in ready position with cymbals about 3/4 to 1” apart • hold cymbals in front of body at about 45˚ angle

• drop and thrust top cymbal into lower cymbal. • be sure that cymbals make contact off-center and not simultaneously • use gravity • vary type of contact for different colors • follow-thru and dampen when indicated

PRACTICE ETUDES With these cymbal techniques you can use any of the rhythmic exercises in your beginning snare method or rhythm studies book and start playing. Be sure to practice with various types of dynamics, tempo, types of contact, mallet choices and color choices. Remember: accuracy, consistency and quality of sound are always important!. Also, vary your muffling choices by deciding to stop the sound on all rests or not to stop the sound. With both suspended and crash cymbals, experiment with creating different colors. EXPERIMENT! Here are some simple exercises to begin with. Good luck and have a great time with the variety of sounds possible with cymbals!

© 2004, David L. Collier

FUNDAMENTALS of ACCESSORY PERCUSSION Triangle and Tambourine David L. Collier Two of the most common percussion accessory instruments used in band, orchestra, and percussion ensemble are the triangle and tambourine. Though the each instrument is not difficult to play, it takes practice, inquisitiveness and sensitivity to master. Let’s start with the fundamentals which are crucial to our goal. Holding the Triangle

• suspend the triangle from an insulated clip which has a loop of light-weight material • rest the tip of the clip on top of your middle finger and the back of the clip on your

thumb

Producing a Quality Sound • gently drop a triangle beater or steel rod into the triangle • strike the triangle on the side opposite the opening or on the bottom side • lift the beater away from the triangle in a smooth motion • striking the instrument in different locations and at different angles will produce a variety

of sounds Rolls on Triangle

• move the beater rapidly and steadily back and forth in the top or side corner • mount the triangle to a stand with a clip and use 2 identical beaters to play single-stroke

rolls Holding the Tambourine

• hold at the portion of the frame where there are no jingles • hold at a 45˚ angle with the head up to reduce the extra jingle noise

Producing a Quality Sound • for pp to mp sounds, play with the fingers on the rim of the tambourine • for mf to ff sounds, play with the bunched fingers or fist in the center of the head

For Playing Fast Passages

• For pp and mf dynamics, turn the tambourine upside down, rest it on your raised thigh and play with the fingers of both hands on the rim.

• For passages louder than mf, use the fist-knee technique. With the tambourine held in my left hand and the head facing downward, move the instrument between the fist of the right hand and the raised knee.

Rolls on Tambourine

• The shake roll, used in loud passages, is produced by rotating the tambourine with an elevated wrist.

• For very soft rolls a thumb roll, produced by gently pushing the thumb around the rim of the tambourine with just enough pressure that it “skips” along the head, is best.

As you can see, these fundamentals will involve some practice time but with diligence they can be mastered and will greatly improve your ensemble playing. Check out the exercises and etudes as a beginning for you triangle and tambourine studies. Remember: accuracy, consistency and quality of sound are always important! Good luck and have a great time with the variety of sounds possible with accessory percussion!

© 2004, David L. Collier

FUNDAMENTALS of TRIANGLE David L. Collier Director of Percussion Studies Illinois State University

One of the most common percussion accessory instruments used in band, orchestra, and percussion ensemble is the triangle. Dating back hundreds of years, today’s triangles are triangular-shaped rods of tempered steel capable of producing a large variety of sounds. Though the triangle is not difficult to play, it takes practice, inquisitiveness and sensitivity to master. Let’s start with the fundamentals which are crucial to our goal of Triangle Mastery.

First, we need to find a way to suspend the triangle so that it vibrates freely. This is done with an insulated clip which has a loop of lightweight material from which the triangle is hung. These clips may be purchased through your local music store or they may be constructed at home. If you make your own always use a strong, thin, lightweight material such as fishing line, thin nylon string, or fine speaker wire. Heavy materials like shoestrings will deaden the sound of the instrument.

The triangle is placed through the loop and the clip is held in the hand. Form a “C” shape with your hand and place the clip so that the tip of the clip rests on top of your middle finger and the back of the clip rests on your thumb. This allows you to hold the triangle up and you can control the length of the sound by touching the triangle with your 3rd and 4th fingers. Using a clip and holding the triangle at eye -level makes it easier to see your music, to see your director, and for the sound to get to the audience.

To get a quality sound from the triangle, it should be struck with a triangle beater or steel rod. The triangle is struck on the side opposite the opening or on the bottom side. A quality sound is easily produced by gently dropping the beater into the triangle and then lifting it away. By striking the instrument in different locations and at different angles, a variety of sounds can be produced. If the triangle is struck at an angle, a shimmering sound results; if struck with a perpendicular stroke, a bell-like tone occurs. Once you are able to produce these different sounds, you have to practice so that you can accurately play the particular sound you want at least 10 times in a row.

Different size beaters will also change the sound of the triangle. It is best to have a least 3 pairs of different size beaters. Again these can be bought or made you.

At times you may not be able to hold the triangle up and it will need to be clipped to a music stand. In this situation, be sure the music stand is high enough that you can see the conductor at all times. The techniques for playing are the same, however, it is now possible to use 2 identical triangle beaters to play more complicated rhythmic patterns. When playing with 2 triangle beaters, it is best to play on the bottom bar of the instrument or on opposite sides. If you find that the triangle “spins” when doing this, a second clip may be used so that the triangle will not move. This choice is a last option because it does reduce the sound of the instrument.

To play rolls on the triangle, the beater is moved rapidly and steadily back and forth in

the top or side corner. If the triangle is mounted to a stand with a clip, then you may use 2 identical beaters to play even single-stroke rolls on the instrument.

See, triangle technique is not that hard, but it does require some time and attention to details to be a master of these techniques. Check out the exercises and etudes as a beginning for you triangle studies. Remember: accuracy, consistency and quality of sound are always important!

The accompanying exercises and etudes were designed to be used on both triangle and tambourine. With each one, strive to achieve the same sound with each strike regardless of dynamics or tempo. Though speed is important, correct technique, quality of sound, accuracy and consistency must come first! Good luck and have a great time with the variety of sounds possible with accessory percussion!

© 2004, David L. Collier

FUNDAMENTALS of TAMBOURINE David L. Collier Director of Percussion Studies Illinois State University

Another of the common accessory instruments is tambourine. This round frame drum

with metal discs for jingles also has a long history but today it is found in two versions-- one with a head and one without a head. In most of the music we play in concert band and orchestra, a headed tambourine is used so let’s focus our attention on techniques for these instruments.

The tambourine is held in either hand at the portion of the frame where there are no jingles. Do not place a finger or thumb through the hole in the frame. This is used for mounting the tambourine on a cymbal stand. Though the tambourine may be held with the head up or down, I prefer to hold it at a 45˚ angle in my left hand with the head up. The 45˚ angle is important in producing a clear, articulate sound without the extra jingle noise that happens when the tambourine is held either horizontally or vertically.

As with triangle, a variety of quality sounds are possible from the tambourine by adjusting our technique. In all of the following techniques, my hand is the “mallet or stick” that I use to strike the tambourine. However, these techniques are limited to how fast I can play with one hand. The best way to develop and practice the fundamentals of tambourine is to approach the technique dynamically. For pp to mp I use just a few fingers and play lightly on the rim or halfway from the rim of the tambourine. For mf I use my bunched fingers in the center of the head. For f I use the knuckles of my hand and for ff I use my fist. By varying where I strike the instrument and what part of my hand I use, I can control both the dynamic and the quality of the sound.

If the part requires me to play fast rhythms that I cannot play with one hand (such as sixteenth notes), then I need two different techniques. For dynamics between pp and mf , I turn the tambourine upside down, rest it on my raised thigh and play with the fingers of both hands on the rim. I use my forearms to balance the tambourine on my thigh. For rapid passages that are louder than mf, I use the fist-knee technique. With the tambourine held in my left hand, the head facing downward, I move the instrument between the fist of my right hand and my raised knee. This technique, when mastered, will allow you to play passages which are both fast and loud. By using these techniques I am able to produce a very pure, high-quality tambourine sound. This is very important!! Even in fast passages, I won’t use snare drum sticks or mallets on the tambourine unless the composer specifically indicates in the part that I should.

The last components of tambourine fundamentals are rolls. Depending on the music, the percussionist must choose to use either a shake roll or a thumb roll. The shake roll is used in loud passages and is produced by rotating the tambourine with an elevated wrist. Stay relaxed and move with a steady motion. In most music, the roll will start with a tap and end with a tap.

For very soft, light and/or short rolls, a thumb roll is best. This technique is accomplished by gently pushing the thumb around the rim of the tambourine with just enough pressure that it “skips” along the head similar to a stone skipping on water. This technique takes

time and patience to master but it is great a great one to have in your “pallet of sounds.”

As you can see, tambourine fundamentals are a bit more involved than triangle but with some practice time and diligence they can be mastered and will greatly improve your ensemble playing. And they are a lot of fun. Again check out the exercises and etudes.

The accompanying exercises and etudes are designed to be used on both triangle and tambourine. With each one, strive to achieve the same sound with each strike regardless of dynamics or tempo. Though speed is important, correct technique, quality of sound, accuracy and consistency must come first! Good luck and have a great time with the variety of sounds possible with accessory percussion!

© 2004, David L. Collier

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© 2005, David L. Collier

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© 2008, David L. Collier

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Keyboard Percussion TechniqueScale Forms David Collier

©2006, David L. Collier

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©2008, David L. Collier

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Keyboard Percussion Technique4-mallet permutations David Collier

© 2006, David L. Collier

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Keyboard Percussion TechniqueDouble Vertical Strokes

David Collier

© 2008, David L. Collier

Be sure to use a Piston Stroke. Practice slowly and accurately focusing on tone quality.

Use Piston Stroke. Pratice at different dynamics and tempos.

Continue this exercise using natural notes up and down from C to C. Also, pracitce moving up and down chromatically.

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Use these exercises with any group of instruments such as 3 toms,; 2 toms and 1 SD; 3 temple blocks; 3 cowbells. Be creative. For the Hand Independence, the repeated notes can be played on the rim of a drum, a hi hat, a cymbal, a cowbell, or a wood block. Again, use those instruments you have.

Be sure to use a variety of dynamics and tempos.

The 30-minute warm-up John Kilkenny George Mason University The Sewanee Summer Music Festival The following is a 30-minute warm-up that I use with all my students. It will get you through the following topics:

1. General warm-up, single strokes, down strokes and up strokes 2. Soft playing 3. Rolls

This is NOT meant to be a comprehensive exercise routine. In fact, that is not the point at all. The idea is to give you a guideline and offer the busy HS or college student a way to get through the standard warm-up routine, get your hands moving, or help you get back in shape after an extended break from snare drum playing. You should follow up this routine with regular practice of etudes, solo pieces and excerpts. However, if you need a place to start, or re-start, look no further! General Warm-up (10 minutes)

1. Start with single strokes, 8 bars of quarter notes in each hand. Metronome starts at 100, topping out at 180. FULL STROKES ONLY. All Right hand, all Left hand, then alternating. (5 minutes)

2. Then – crescendo/diminuendo in each hand, and alternating- starting at the same, slower tempo, and moving to 180 (5 minutes)

Soft playing (10 minutes) 1. Soft playing is all about developing endurance, avoiding tension, and being

relaxed. You have to “live” in the soft world for a while, in order for it to be comfortable. So….

2. Select your favorite beginning snare drum etudes, from Podemski, Whaley, Goldenberg, etc. Play them softly, very softly, for several minutes. Pick a comfortable tempo and STAY AT THAT TEMPO.

a. Focus on your breathing, grip, playing position and posture. b. Listen to the SOUND coming from our drum or pad – is it even, are your

hands matched? Rolls (10 minutes) You could easily spend 2-3 hours a day working on your roll, balancing hands, matching buzz length, dynamic control – so many aspects of your snare drum playing revolve around the ability to sustain.

1. Double strokes – 8 in each hand, focused on the SECOND note of the double – think about lifting out of the rebound (3 minutes)

2. Buzzes – 8 in each hand, thinking about balance from hand to hand, at various dynamics (3 minutes)

3. Hands together, at the same time, and alternating, at various dynamics (4 minutes) a. Again – focus on balance, evenness, sound, and relaxation.

Make sure you set aside time each day for snare drum, and change up the types of etudes

and solos you play – rudimental, extended techniques, concert etc…

Tambourine  techniques  John  Kilkenny  George  Mason  University  The  Sewanee  Summer  Music  Festival    List  of  techniques               dynamics  Single  notes  and  rhythms                       First  finger,  unbraced  with  thumb         ppp-­‐p     Middle  finger,  unbraced           ppp-­‐p  

Middle  finger,  braced  with  thumbs         p-­‐mp  First  two  fingers,  braced  with  thumb       mp/meno  F  Three  fingers,  braced  with  thumb         mf-­‐f  Four  fingers,  braced  with  thumb         mf-­‐ff  Flat  fisted  fingers             f-­‐ff  

 Fast  Rhythms                        For  loud,  fast  rhythms,  I  try  to  play  as  much  as  I  can  “up”  and  not  play  off  my  knee  or  turn  the  tambourine  over.    If  the  tempo  is  really  moving,  I  will  play  “knee/fist”.  Make  sure  you  match  your  playing  spots,  from  the  shell  to  the  knee  For  softer  rhythms,  you  have  some  options  

1. Off  the  knee  a.    Place  the  head  of  the  tambourine  on  you  knee,  so  that  the  head  is  

directly  on  you  knee.      b. Place  your  hands  on  the  top  of  the  head,  and  place  with  your  index  

fingers.    Make  sure  you  are  plying  directly  on  top  of  the  jingles    2. On  a  table  

a. Fold  a  bath  towel  or  thick  cloth  lengthwise  into  a  strip  approximately  2  inches  wider  then  the  tambourines  diameter  and  roll  up  from  one  end  into  a  dense,  tight  wrap.    You  need  to  use  a  large  enough  towel  to  leave  at  least  12  inches  left  after  you  complete  the  roll,  which  should  be  at  least  3-­‐4  inches  high.  Place  the  tambourine  with  one  edge  resting  on  the  roll  and  the  other  edge  on  the  flat  cloth  on  the  table;  leave  the  tambourine  at  an  angle  to  dry  up  the  rhythms.      You  can  then  rest  the  tambourine  on  the  towel  and  play  all  of  your  soft,  fast  rhythms  on  this.    

b. Rather  then  a  table,  use  this  same  set  up,  but  on  a  snare  drum,  which  will  allow  you  to  adjust  the  height.        

Practice  rhythm  patterns  and  dynamics                1. Much  like  cymbal  playing,  you  can  use  early  snare  drum  method  books  to  

practice  tambourine.    2. Pick  a  couple  of  etudes,  learn  them  at  “F”,  and  then  again,  “PP”  so  you  can  

practice  both  shake  and  friction  rolls.      3. Dynamics  control  

a. Work  on  transitioning  from  knee/fist  to  all  “up”    b. Practice  rhythm  patterns  knee/fist  and  “up”    

Rolls                          1. Thumb/friction  rolls  

a.  Use  rosin  or  bees  was  to  help  “catch”  your  finger  on    b. Move  both  your  thumb/finger  AND  the  tambourine  

2. Shake  rolls  a. Must  be  able  to  execute  with  both  hands,  start  and  end  roll  with  and  

without  struck  note,  holding  the  tambourine  up  in  front  or  down  the  side.    

b. Practice  shake  rolls  slowly,  with  different  rhythms,  starting  slowing.      c. Move  between  16th  notes,  8th  notes,  triplets  etc.  All  the  while  staying  

relaxed  and  even.        Excerpts  for  Tambourine                    Dvorak  –  Carnival  Overture    

                         

Dvorak  –  Carnival  Overture  –  second  excerpt  

 

Percussion Ensemble Repertoire, Programming for Student Development John Kilkenny George Mason University The Sewanee Summer Music Festival

What is “percussion ensemble” A percussion ensemble is a music ensemble made up entirely of percussion instruments. Typically, percussion ensemble is defined as the “chamber music expression for percussion”. While there is no fixed instrumentation for this ensemble, you may see the term “percussion orchestra” which typically refers to a larger group of percussionists performing conducted works.

When selecting rep for middle and high school ensembles, you must first answer a few critical questions:

1. Should you have a percussion ensemble at your school? a. YES – YOU SHOULD.

2. Why? a. Because it is the best way to teach your percussion students how to play b. If you have a strong ensemble program, your band section will play with

greater maturity sensitivity and ease c. You will offer your students a more diverse musical experience d. You will engage your parents and community e. You can explore a wider variety of musical offerings

3. But my kids/parents don’t want to, don’t think it will be fun, don’t like the

music, they don’t understand?.?.? a. Kids only know what we tell them – that is one reason is it fun to teach

middle and high school. If we present them with a high quality musical experience, that they can do together, for a shared goal, then they will want to be a part of it.

b. I have found that parents, in general, just want their kids to be doing something other then getting into trouble, and to be involved with their kids. You can create opportunity for parents to be involved

c. It is OUR job as musicians and educators to lead students, the parents and the community. Educate them, and offer them high quality musical experiences. Don’t follow, lead.

Ok – I want to do percussion ensemble, now what? Answer these questions:

1. What is the target audience? 2. Why am I starting an ensemble? What are the musical goals? Community

goals? Student goals? 3. Who will teach my ensemble?

a. If you are near a larger city, you will likely be able to find a professional percussionist looking for a teaching opportunity.

b. If not, there is likely a college near you that would have a grad student, or an advanced undergrad who can help you

4. Facilities and space? a. How much room do you have? b. Where will your ensemble rehearse c. What type of equipment do you have, and what will you need to get in

order to outfit a basic ensemble?

5. Where do I find the music? a. Start with Google. Google “percussion ensemble music”, or “middle

school percussion ensemble”. b. Find out what is happening in your community or in your state, there is

likely ONE person with an ensemble. Call them. c. Check out the local PAS (Percussive arts society) chapter. d. Youtube. e. The following composers are active in the percussion medium, particularly

music for early and mid level ensembles – this is NOT a representative list, just a small sampling to help start your search

i. James Campbell, Ralph Hicks, Nathan Daughtrey, John Beck, Chris Brooks, Jared Spears, Lynn Glassock, Tom Gauger, Christopher Deane, Anthony Cirone, Mark Ford, Blake Tyson.

f. Check out the following percussion websites, search for percussion ensemble music

i. Steve Weiss Music ii. C. Alan Music

iii. Row-loff productions iv. Bachovitch music v. Drop 6 productions

vi. Tap space vii. Meredith music

viii. Honeyrock ix. House Panther Press

g. Visit all the booths at the Midwest clinic and your local state conferences h. Check out the Leopard percussion series with Hal-Leonard. The

Louisville Leopards are an amazing group of young percussionists. http://www.louisvilleleopardpercussionists.com

i. Check out the Percussion Scholarship program. This is a program of the Chicago symphony and is directed by CSO percussionist Patricia Dash. http://cso.org/institute/youngmusicians/PercussionScholarship.aspx

6. What kind of music should I select? a. This is a totally subjective, based largely on the level of your students, the

reality of your time, space and equipment, and the experience of your instructor. The following questions will help you develop priorities for your ensemble

i. What do my kids need to know/play to become better players? ii. What will help them become better ensemble players? What will

help them have a better sense of shape, phrase, sound, tone etc… iii. What will they enjoy playing? iv. What will the parents what to hear? v. What will win at competition (I NEVER asked this question)…

7. Should I play Christmas music? Or a piece with buckets? Or Balloons? Or pieces where they bang on music stands? Or this great Justin Beeber tune transcribed for percussion ensemble?

a. I offer my answer this way – I love Ben and Jerry’s New York Super fudge Chunk ice cream. Once in a while, I have some. If I have too much, I get sick, after all, it is just milk, eggs, sugar, cream. But it sure is nice once in a while. Likewise, if I have nothing but really complex, hard to create, stressful-to-make dinners every day, I get tired too.

8. Where should we play? a. Holiday concerts, spring concerts, “stand alone performances”

i. I use to do a “benefit concert” every January, before festival/assessment time. Show off all of our percussion activities, feature student soloists, faculty soloists, and the ensemble. Invite other HS groups, Middle School groups. Make it a big deal, to give the kids and the parents a goal to work towards.

b. Middle school recruitment tours c. Partner with the local college ensemble for a shared program

i. I cannot think of any college ensemble that would turn down the chance to have a group of HS students at their school.

Sample programming: This semester, I taught a literature and pedagogy class at George Mason University. Below are a few sample programs, which I asked my students to create. I think you will find them useful for your own schools. This is not meant as an endorsement of any of these works, but a place to get you started. Beginning literature (for younger groups, or newly formed HS ensembles) Piece Composer Notes Tri Cycles Michael J Roy for 3 snare drums Rechargeable Batterie Eric Rath mostly for accessories Traumatic Chromatic Ralph Hicks keyboard and percussion Multitasker Ralph Hicks A taste of the Classical arr. John Hearnes basic transcription of classic music March of the Emperor Chris Brooks 10-12 players, basic instruments There are many great arrangements and settings from Hal Leonard, C. Alan and Meredith Music Intermediate literature – this is the hardest category to fill, given the wide range of ability categorized as “intermediate”. Your group has been established for a year or two, some kids take private lessons Piece composer Notes Various Xylophone Rags G.H. Green Setting of novelty music from the 1920’s The Gilded Cage Susan Powell percussion quartet October Mountain Alan Hovhaness percussion sextet Power Struggle Nathan Daughtrey mixed of pitched and unpitched instruments Techno-Pop Nathan Daughtrey inspired by techno dance music Spiritus! Jared Spears small set up of percussion, teaches basics Outbound Chris Crockarell 9 players, mixed instruments Batik James Campbell larger set-up, some mixed meter Jazz Variants John Beck a classic, used drumset and keyboards Advanced Literature – this music can be approached by more experienced HS players. If you are considering this literature, you likely have a strong marching percussion program, a percussion specialist, perhaps a percussion class or an established after school ensemble program Piece Composer notes Christopher Rouse Ogoun Badagris quartet, based on Haitian drumming Christopher Rouse Ku Ka Ilimoku quartet, Hawaiian drumming Dragoon Lynn Glassock Marimba +6 Christopher Deane 6 players, one marimba Ceiling full of Stars Blake Tyson Sharpened Stick Brett Dietz percussion quintet The Doomsday Machine Michael Burritt percussion quartet Chameleon Music Dan Welcher “percussion orchestra” I hope these questions, opinions and ideas help to get you started – if I can be of further assistance, please just let me know!!! John Kilkenny George Mason University The Sewanee Summer Music Festival

Jkilken1@gmail.com

Cymbal  Techniques    John  Kilkenny  George  Mason  University  The  Sewanee  Summer  Music  Festival    

Cymbal  playing  is  great  fun  when  done  correctly,  but  can  be  a  major  source  of  stress  for  students  who  are  not  familiar  with  some  basic  principals.    The  following  are  tips,  suggestions  and  exercises  that  should  help  improve  your  playing,  and  give  you  a  basic  approach  to  the  instrument.    Some  are  my  own,  some  I  have  “borrowed”  from  colleagues,  and  some  come  directly  from  my  teachers  and  mentors.    All  are  designed  to  help  you  get  a  great  cymbal  sound.    Happy  crashing    Keywords/phrases                    I  like  to  have  a  few,  short  phrases  or  keywords  that  I  keep  in  mind  when  I  crash.    I  can  change  the  keywords  depending  on  the  style  of  music  I  am  playing,  or  the  Ensemble  I’m  working  with.    Below  are  a  few  ideas  to  get  you  started.    

Point  of  contact,  dark,  follow  through    Sound,  warm,  open,  rotation,  impact,  bright,  clean,  on  point  

 The  sound  is  the  thing….                  A  terrific  crash  can  be  the  highlight  of  a  concert  -­‐  and  a  poorly  executed  crash  and  ruins  a  musical  moment.    Crash  cymbal  playing  can  be  boiled  down  to  three  fundamental  items:    

1. Sound  is  effected  by  distance,  size  and  shape  of  the  rotation  2. Sound  is  effected  by  velocity  (speed)  you  move  into,  and  out  of  the  crash  3. Sound  if  effected  by  what  you  do  at  the  moment  of  impact  

 So  –  you  should  be  thinking,  always,  about  sound,  and  fit  your  mechanics  to  make  the  sound  that  you  want.    YOU  control  the  cymbals,  not  the  other  way  around.      

 So,  how  do  you  achieve  a  constant,  quality  sound????  

 HAND  POSITION                    

1. Grip  the  straps  so  that  only  a  small  amount  of  your  hand  actually  touches  the  cup/bell  of  the  cymbal.    Use  high  quality  leather  straps  

2. Cymbals  should  be  held  perpendicular,  not  parallel  to  the  ground,  they  are  not  hi  hats.      

3. Do  not  place  your  hands  through  the  straps,  but  hold  them  like  snare  drum  sticks  

4. Your  dominant  hand  should  be  on  the  bottom,  working  AGAINST  gravity.    Your  weak  hand  is  on  top,  working  WITH  GRAVITY.    

 

Rotation                        1. Think  about  the  sound  you  are  trying  to  create  

a. What  is  the  character  of  the  music?    Are  you  playing  a  march,  or  a  transcription?    Do  you  need  the  sound  to  sustain,  or  have  a  clean  attack  with  little  resonance?  

2. Locate  your  “point  of  impact”  a. The  closer  to  the  bell,  the  bigger  the  “flam”  the  closer  to  the  edges,  the  

more  likely  you  are  to  have  an  air  pocket  3. Move  your  bottom  cymbal  up  to  meet  the  top  cymbal,  while  at  the  same  time  

dropping  the  top  cymbal  down  to  meet  the  bottom.  a. You  should  create  a  circular  rotation  

4. FOLLOW  THROUGH  –  this  is  a  big  mistake  many  young  players  make,  once  you  crash  the  cymbals  together,  you  need  to  keep  moving!!  Follow  through  on  the  crash  so  that  you  complete  the  rotation,  and  return  to  your  set  position.    

5. Muffle  logically  –  if  the  band/orchestra  is  holding  a  note,  you  should  as  well,  if  they  are  cutting  off,  then  follow  them.    LISTEN,  and  match  your  sound  to  the  sound  of  the  band/orchestra  

 Tips  for  practice                    

1. Practice  one  cymbal  at  a  time  a. Leaving  the  top  hand  still,  holding  the  cymbal,  rotate  the  bottom  

cymbal  up  –  focusing  on  the  POINT  OF  CONTACT.    Work  to  make  this  constant.    Repeat  the  process,  this  time  leaving  the  bottom  cymbal  still  and  rotating  the  top  cymbal  down.    Watch  the  impact  point,  and  the  follow  through2  

2. Practice  in  front  of  a  mirror  –  WATCH  YOUR  STANCE    a. This  a  good  idea  for  any  percussion  instrument,  but  particularly  for  

cymbal  playing.    Use  the  mirror  to  locate  and  watch  your  point  of  contact,  observe  your  follow  through,  rotation  etc…  

b. Make  sure  you  are  standing  with  your  feet  shoulder  length  apart,  with  one  foot  slightly  in  front  of  another  

3. Use  early  snare  drum  etudes  for  cymbal  practice  a. Any  beginning  snare  drum  book  (Harr,  Podemski,  Ted  Reed,  

Goldenberg  etc…)  can  be  used  as  an  etude  book  for  cymbals.    Play  through  early  etudes,  with  a  metronome  

4. Don’t  forget  soft  crashes!!  a. More  often  then  not,  if  you  play  an  audition,  you  will  be  asked  to  play  

soft  crashes,  make  sure  you  work  on  that  too.            

Cymbal  excerpts                    Rach,  Piano  Concerto  #2    

     

 

Using  recording  technology  efficiently  John  Kilkenny,  George  Mason  University,  the  Sewanee  Summer  Music  Festival    The  use  of  recording  technology  as  a  tool  for  self  -­‐evaluation  has  been  around  for  a  many  years.  Now,  however,  virtually  every  student  carries  a  recording  studio  around  on  their  smartphone  or  tablet,  with  programs  capable  of  vast  recording  capabilities.  The  ease  of  use,  coupled  with  the  high  degree  of  comfort  that  most  students  have  with  this  type  of  technology,  make  recording  technology  an  even  more  powerful  teaching  tool.      The  following  article  offers  some  ideas  and  strategies  that  can  be  used  by  teachers  in  their  private  lessons  as  well  as  by  students  in  their  individual  practice  sessions.    Use  these  ideas  as  a  starting  point;  there  are  many  variations  of  these  basic  concepts.    It  is  my  hope  that  you  will  use  these  suggestions  to  further  your  own  performing  and  teaching  activities  and  enhances  the  quality  of  your  studio  teaching    Audition  preparation  and  mock  auditions.    In  this  situation,  you  are  using  the  recording  device  to  replicate  an  audition  or  jury  committee.    While  it  is  vital  to  play  mock  juries/auditions  for  real  people,  I  have  found  over  the  years  that  I  am  able  to  get  as  focused  to  play  for  a  recorder  as  I  can  for  any  live  committee  Try  this:  

a. Set  the  room  up  as  close  to  a  real  audition  space  as  possible.  Try  using  the  band  or  orchestra  room  at  your  local  college,  or  any  large,  fairly  resonant  space.    Clear  the  room  as  much  as  possible,  leaving  just  a  chair,  music  stand,  and  your  recorder  about  20  feet  away.      

b. Turn  on  the  recorder  and  walk  out  of  the  room.    You  can  even  walk  down  to  the  end  of  the  hall,  or  outside  the  building  all  together.  Do  whatever  it  takes  to  replicate  the  feeling  you  have  right  before  a  big  performance**  

c. When  you  reach  the  door,  pause  and  make  yourself  mentally  ready  to  audition**  

d. Walk  into  the  room,  and  play  your  mock  audition  to  the  recorder.    Once  you  are  done,  walk  out.    Then,  take  a  copy  of  your  excerpts  and  listen  back  to  your  round,  review  not  only  the  playing,  but  also  the  time  between  each  excerpt,  your  breathing  and  the  general  pace  of  your  mock  run  through.    Be  honest  with  yourself  and  listen  carefully  to  what  you  hear.    Repeat  this  process  as  many  times  as  you  can  during  your  preparation.  

2. Working  on  individual  etudes  or  excerpts  to  improve  time.      Most  teachers  recommend  that  students  record  themselves.  I  think  we  need  to  take  it  a  step  further  and  really  break  down  the  process,  give  them  something  to  listen  to  and  a  way  of  approaching  the  recording  process  so  that  it  is  both  beneficial  to  their  playing  and  does  not  contribute  to  their  frustration.        

Try  this:    

1. Turn  on  the  recorder.  2. Turn  on  the  metronome  and  allow  the  metronome  to  run  for  at  least  four  

counts.      3. Turn  the  metronome  off.  4. Count  to  yourself,  in  time  to  the  metronome  you  just  turned  off,  at  least  four  

counts  5. Play  the  excerpt    6. One  you  finish,  turn  the  metronome  back  on,  in  order  to  establish  time  once  

again  7. Listen  back  and  see  what  you  did?    Evaluate  honestly  

 You  can  also  record  an  entire  run  with  the  metronome  on,  and  then  a  second  run,  after  about  ten  minutes,  with  the  metronome  off.  Use  Garage  band  (or  other  music  related  software)  to  make  click  tracks  of  rhythmically  challenging  etudes.    Record  yourself  with  the  click  track,  and  without.  Build  a  click  track  that  stops  counting  time  during  rests,  but  starts  at  each  instrumental  entrance.  This  will  force  the  student  to  count  during  a  rests,  and  give  them  a  frame  a  reference  for  entrances  and  ends  of  phrases.        Teachers  can  do  the  same  thing  during  lessons.  Record  the  metronome,  record  your  student  playing,  and  turn  the  metronome  off  while  they  are  playing,  turning  it  back  on  just  as  they  finish.    Then  listen  back  together.    Repeat  passages  while  recording,  one  time  with  the  metronome  on,  and  then,  right  after,  with  the  metronome  off.    You  will  quickly  learn  your  tendencies,  and  be  able  to  efficiently  repair  rhythmic  problems.          

3. Using  video  recording  devices  to  correct  physical  problems  or  bad  habits    Not  only  should  you  use  audio  recording,  but  also  more  and  more  I  am  turning  to  

my  IPhone  and  IPad  in  lessons  to  video  record  students  while  they  play  –  I  do  the  same  for  my  own  practice  sessions.  Pay  particular  attention  to  nervous  ticks,  reactions  to  errors,  or  over  exaggerated  gestures  that  can  be  distracting  to  colleagues  in  an  ensemble  or  audience  members.  While  it  is  important  to  “look  like  the  music”  and  not  perform  robotically,  one  must  be  careful  not  to  over-­‐do  physical  gestures  or  large  body  movements.    These  can  end  up  being  a  distraction,  and  cost  you  dearly  in  an  audition  or  jury.  Of  course,  if  you  look  like  your  miserable,  this  can  reflect  poorly  as  well,  try  to  strike  a  balance.    

You  may  also  find  technical  problems  reveal  themselves  in  video  recordings.    As  a  percussionist,  I  am  constantly  looking  at  stick  heights,  travel  rate  from  instrument  to  instrument  and  strike  zones.    Wind  players  can,  literally,  zoom  in  on  finger  placement,  breathing,  embouchure,  etc.…and  work  to  fix  these  problems  before  coming  to  a  lesson.    If  you  have  tension  or  pain  in  certain  parts  of  your  body  

when  performing,  focus  the  camera  there  and  see  if  there  is  something  you  can  adjust.    Are  you  hunching  your  shoulders,  bending  forward,  twisting  your  neck?          

 If  you  are  preparing  for  a  recital,  video  record  a  run  through  of  your  program,  

from  the  moment  you  walk  on  stage,  through  transitions  from  piece  to  piece,  to  your  bows.    Each  part  of  the  process  is  important  –  I  can  personally  attest  to  having  been  “called  out”  for  poor  stage  presence  as  a  young  player.    You  would  much  prefer  to  have  these  bad  habits  fixed  when  you  are  a  student,  and  not  while  trying  to  work  in  the  professional  arena.        

One  final  suggestion,  I  have  starting  assigning  students  to  bring  recordings  of  etudes  or  excerpts  to  their  lessons  so  that  we  can  watch,  listen  and  evaluate  together.    The  idea  is  that  they  will  get  into  the  habit  of  recording  their  repertoire  and  critically  listening  to  their  own  work,  before  bringing  it  to  me  for  further  review.    They  will  also  begin  to  build  a  “library”  of  recorded  excerpts  and  solo  pieces,  which  could  come  in  handy  at  some  point  in  the  future.    For  younger  students,  it  gives  them  a  mid  week  goal  which  helps  to  keep  them  on  task  and  hold  them  accountable  for  their  lesson  material.    

These  are  just  a  few  suggestions  for  studio  teachers  and  students  to  use.    There  are  many  ways  that  modern  recording  technology  can  be  used  in  lessons  and  practice.    I  would  encourage  you  to  be  creative  and  take  advantage  of  all  the  tools  available  to  you.        **  For  those  of  you  interested  in  learning  more  about  audition  skills,  performance  anxiety  and  techniques  for  combating  both,  I  would  highly  recommend  the  writing  and  teaching  of  Don  Green,  author  of  several  books,  including  Fight  your  Fear  and  Win,  and  Audition  Success.            

 

We  all  ask  the  same  question  each  week  –  “did  you  practice  this  with  a  metronome.”  Invariably,  the  student  answers,  in  a  meek,  soft  voice  “yes?”    But  we  know  better…it  was  no  more  then  one  time  through  at  tempo,  with  the  metronome  on  the  music  stand  or  sitting  on  a  chair  nearby.    How  can  we  blame  them  –  we  give  them  an  annoying  little  box  that  flashes  a  red  light  and  beeps  out  an  annoying  pulse  at  their  face,  it  is  no  wonder  they  don’t  use  it,  or  when  they  do,  it  is  completely  detached  from  their  playing.        

The  purpose  of  this  article  is  to  provide  some  practical,  real  world  strategies  to  more  fully  integrate  metronome  use  into  a  student  practice  session.  How  can  we  get  our  students  to  more  fully  embrace  the  regular  use  of  a  metronome  in  practice?        

Everything  you  practice  should  be  practiced  with  a  metronome.    Your  performance  of  low  lyrical  passages,  as  well  as  fast  rhythmic  music  will  benefit  from  regular  metronome  use.    Often,  I  find  students  willing  to  use  the  metronome  when  they  are  trying  to  get  something  “faster”  or  “cleaner”  but  not  when  they  are  playing  scales  or  something  that  is  not,  in  their  view  “hard  to  play”  Therefor….  

 1. Your  metronome  cannot  be  a  passive  participant  in  your  practice  session.    

Simply  tossing  the  metronome  on  the  music  stand,  clicking  “on”  and  leaving  it  at  120  (or  100,  or  60)  will  not  do  you  any  good.    In  fact,  it  can  actually  be  detrimental  to  overall  student  progress.  

a.  Try  this,  put  the  metronome  in  your  pocket,  attach  ear  buds,  and  put  the  click  track  in  your  ears.    By  placing  the  time  directly  into  your  mind,  you  can  more  fully  internalize  the  pulse.    Keep  the  volume  down  so  you  can  still  listen  for  tone  quality  and  intonation.    

 2. Make  sure  you  are  using  the  metronome  to  subdivide  the  beat.    Too  often,  

students  will  play  quarter  note  to  quarter  note,  rather  then  break  down  the  beat  so  they  can  understand  how  the  notes  relate,  to  each  other  rhythmically.  Take  the  time  to  subdivide.    Start  slowly,  with  the  metronome  on  the  smallest  beat,  typically  16th  notes.    Which  leads  me  to  my  next  point…  

 3. Use  your  metronome  to  practice  slowly!    Your  metronome  will  allow  you  to  

chart  your  progress  and  understand  more  fully  where  you  start  and  where  you  need  to  go.    Often,  students  (and  some  professionals)  are  in  a  hurry  or  impatient  when  they  use  a  metronome.    I  have  seen  students  (and  professionals)  say  things  like  “I  hate  using  this  thing,  let’s  just  try  it  once,  and  then  we  can  turn  it  off”  This  is  not  useful.    Your  metronome  should  be  a  partner  in  your  practice  sessions,  not  just  an  occasional  visitor.    You  should  use  it  to  practice  slowly,  with  subdivision,  each  time  you  practice.    Not  only  does  slow  practice  with  a  metronome  help  to  improve  your  time,  it  allows  you  to  learn  music  more  completely,  in  a  relaxed,  comfortable  fashion,  with  little  to  no  tension  in  the  arms,  neck  or  back.      

Once  you  have  settled  on  these  basics,  there  are  some  additional,  more  advanced  techniques  that  will  aid  in  rhythmic  training.      

1. Set  grove  patterns,  and  take  away  the  downbeat.    For  this,  you  will  need  a  Dr.  beat  or  other,  similarly  advanced  device,  which  will  allow  you  to  change  settings.    Try  this:  

a. Set  the  “accent”  to  every  downbeat,  and  turn  off  all  other  beats.    You  should  now  have  a  loud  pulse  on  each  downbeat,  with  nothing  else.    Add  the  eighth  note  and  sixteenth  note  beat,  while  keeping  the  “accent”  the  same.    You  should  now  have  sixteenth  rest,  and  three  sixteenth  notes,  with  a  strong  downbeat  on  “one”.    Now  –  try  to  play  scales,  in  eighth  notes,  while  you  have  the  “groove”  pattern  going.    Remember,  you  should  have  the  metronome  plugged  in  to  ear  buds,  and  those  ear  buds  in  your  ear,  with  the  grove  pattern  running,  at  a  comfortable  tempo.  Have  fun  with  this!    I  know  it  will  be  difficult  at  the  beginning,  but  you’ll  find  yourself  working  harder  to  internalize  the  pulse,  and  feel  the  time,  then  you  ever  have  before.    Make  up  your  own  patterns  and  grooves  as  you  become  more  comfortable.    

b. If  you  are  playing  a  passage  of  rapid  16th  notes  at  say,  MM=120,  try  putting  the  metronome  on  MM=60.    This  will  force  you  to  fill  in  the  beat  and  make  you  less  prone  to  pulsing  each  downbeat.  You  will  find  that  this  will  also  help  you  play  more  lyrically,  and  think  about  longer  phrases.    

 c. Put  your  instrument  down,  but  keep  your  metronome  on!    Clap,  tap  or  

in  some  way  vocalize  the  passage  you  are  practicing.    Do  not  solfeggio,  simply  “dutt”,“ta”  or  clap  the  rhythm.  Getting  away  from  your  instrument,  vocalizing  the  rhythm  and  focusing  strictly  on  time  will  help  you  gain  a  better  sense  of  your  rhythmic  tendencies.    Just  like  instruments  have  tendencies  when  it  comes  to  intonation,  players  have  rhythmic  tendencies.    Some  people  rush  at  the  ends  of  phrases,  others  drag  in  the  middle  of  a  long  line.    By  getting  away  from  the  mechanics  of  your  instruments,  you  can  more  clearly  discover  your  tendencies,  and  fix  the  problem.    I  use  this  technique  in  my  own  playing,  and  with  my  students  and  ensembles,  in  has  never  failed  me.  

 I  hope  these  suggestions  will  help  you,  and  your  students,  improve  their  time  and  general  rhythmic  pulse.    I  would  suggest  using  these  ideas  as  jumping  off  points  for  further  rhythmic  study.    You  may  have  the  best  sound,  or  the  greatest  intonation  ever;  you’re  nothing  without  solid  time.