and other strategies to create a culture of excellence in ... · pdf fileof excellence in your...

SCHLAGZEUGFEST! and Other Strategies to Create a Cultureof Excellence in Your Percussion Section

IntroductionThis session will explore strategies for creating an environment in which your percussion students will grow and thrive. In the context of percussion ensemble, percussion class, or even small group lessons, you can help students develop an ownership of musical excellence and artistry. Be prepared for tips on motivating, educating, and challenging your percussion students. Topics to be covered will include programming, selecting repertoire, scheduling and structuring rehearsals, set-ups, instrumentation modification/substitutions, rehearsal tips and how to create events that showcases the great things happening in your program. The Waubonsie Valley High School Percussion Ensemble will serve as the demonstration group performing a variety of percussion ensemble literature.

� � �

ContentsProgram and Personnel……………………………………………………………………….….…4-8

Session Outline ……………..…………………………………………………………….…..……9-12

ResourcesGreat Percussion Artists and Ensembles……….……………..……………………….…….……..13Considerations for Selecting Percussion Ensemble Literature……………………………….14-16Common Genres and Representative Literature……………..………………………………..17-20A Handful of Percussion Ensemble Music by Difficulty…………………………….……..…….21Some Great Books for Your Library…………………………………………………………….22-24Percussion Publishers…………………………………………………………………………….….25Percussion Manufacturers…………………………………………………………………..……….26Suggested Sticks and Mallets………………………………………………………………..………27Set Up for Success!……………………………………………………………………………………28

Thank You Page………………………………………………………………………………………29

Closing Message……………………………………………………………………..………….……30

IMEC 2017 - CHRISTOPHER DANDELES �3

ProgramLittle Sea Gongs

Gareth Farr

Ice DanceAnders Åstrand

Study no. 2 in Woodfrom Four Studies for Young Percussion Ensemble

Mario Gaetano

Apple BlossomPeter Garland

Mercury RisingNathan Daughtrey

Stompin’ GroundsBela Fleck and Victor Wooten, arr. Hearnes

PersonnellCole BenVau, Stephen Ehlert, Jim Keppler, Patrick Krawczyk

Brian Martin, Devin Pyla, Christian Smith, Nolan Thilk, Philip Wig


Program Notes

Little Sea GongsLittle Sea Gongs is a miniature companion-piece to From the Depths Sound the Great Sea Gongs, a major work composed for the New Zealand Symphony Orchestra which incorporates the visual spectacle of three percussionists playing a line of ten roto toms. The drumming style is very much inspired by Rarotongan log drumming and is fast, furious and very loud.

Little Sea Gongs started as a short drumming piece to end the composer`s stage show Drumdrag. Like the larger work, it was intended to be a Rarotongan-style composition, but played on western drums. It was never notated, and was intended to be flexible in its instrumentation—the drummers would simply play on whatever instruments they happened to have handy. The number of performers also varied from three to seven players.

The present quartet arrangement of Little Sea Gongs was made at the request of Murray Hickman of the percussion ensemble Strike, and has since become one of the group`s most frequently performed pieces.

-notes by the composer

Ice DanceIce Dance is a beautiful keyboard ensemble composed by Swedish percussion virtuoso Anders Åstrand in 2002 for the dance company Barents Dansensemble. Its premier performance was at the Winter Festival "Vintervägen" of the same year and featured instruments crafted from ice during the third movement. The songlike structure of the piece allows for opportunities in free improvisation, which is a typical feature in the Åstrand’s music. The parts vary in difficulty, but a couple of the parts require proficient four-mallet technique.

Study no. 2 “Wood” from Four Studies for Young Percussion EnsembleFour Studies for Young Percussion Ensemble was written by Mario Gaetano as a vehicle for young percussionists to explore different timbres available in the percussion family. Each of the four movements features a different set of instruments, with membranes, woods, metals and a mixture in the final movement. Gaetano suggests that each movement could be performed independently, so we have chosen the second movement “Study no. 2 in Wood.” An accessory-type piece like this can serve as a great platform for teaching advanced ensemble and musicianship skills, as well as provide students an opportunity to explore different sound possibilities available with a simple setup.


Apple BlossomFor 3 or more marimbas played by 4 or more musicians. One continuous rolling. With notes added, taken away, brought back. The density increasing, decreasing (i.e. a crescendo of volume; but volume as density, not loudness). Quietly. Time length: 8-12 minutes. A gradual procession. Durations of chords free. No repetition, going back.

The following poem is also found in the score:

Behind youCasting its last dark flames between your legsThe ground of paradise lostIce of darkness mirror of loveAnd lower down towards your arms that open wide To the proof of springOf AFTERWARDSAnd the non-existence of evilAll the apple blossom of the sea

-notes by the composerMercury RisingFeaturing a balanced ensemble of keyboard and battery percussion, Mercury Rising is, in essence, a double fugue that gives all players the opportunity to shine. After a brief anticipatory introduction, the tempo picks up and the keyboard percussion introduces the primary fugue theme (or subject), with entries by the marimba, the xylophone, and then the vibraphone. The battery joins the excitement before taking over the fugue subject, featuring the snare drum and concert toms. By the time the timpani takes over the subject, all members of the ensemble have entered leading to a climactic explosion at m. 72. After a brief developmental 3/4 section, in which fragments of the fugue subject are strewn about the ensemble, intensity continues to build to the end of the piece, as the theme appears in its loudest and fastest presentation yet.

-notes by the composer

Stompin’ GroundsStompin’ Grounds is a catchy and inspired composition by world renowned banjo picker and jazz musician Béla Fleck and bassist Victor Wooten from the album Live Art by Béla Fleck and the Flecktones. Maybe Thom Jurek put it best when he described their music as an “unclassifiable meld of jazz, progressive bluegrass, rock, classical, funk, and world music traditions.” Their style has been dubbed by some as “blu-bop.” Featuring driving sixteenth note pedals and fast moving melodies, this upbeat fusion drive from beginning to end. The syncopated rhythms and fluid banjo picking transfer well to percussion ensemble, making this a great transcription for bringing a jazzy pop flavor to any performance.


Waubonsie Valley Percussion EnsembleThe percussion program at Waubonsie Valley High School is committed to developing superb musicianship and aesthetic awareness through studying and performing music for percussion. The comprehensive curriculum also helps students become confident performers, knowledgeable musicians, and productive individuals who are dedicated to the pursuit of excellence in all dimensions of professional life with a life-long passion for music.

The Waubonsie Valley Percussion Ensemble was founded as a co-curricular ensemble in 2003 to provide the students opportunities to play significant repertoire composed for the percussion ensemble medium. Now one of the premier ensembles at Waubonsie Valley, the WVPE has performed some of the cornerstones of the percussion repertoire and exposed the students to a wide variety of genres, styles, and composers. The collaborative nature of the ensemble provides students with an identity and a feeling of accomplishment and self-worth as the work together to achieve musical excellence.

Students audition to be in the ensemble, and meet twice each week after school to rehearse. Performing several times each year, including two full-length percussion concerts, the WVPE also hosts the annual Schlagzeugfest (“Festival of Hitting Things”) to inspire the percussionists in the middle schools. In addition to concerts at home and in the area, the WVPE was invited to perform on the 2007 Sandy Feldstein National Percussion Festival and in 2015 shared a concert with the internationally-recognized Indiana University Percussion Ensemble. The WVPE was also recently awarded second place in the Black Swamp Percussion Ensemble Showcase.

Waubonsie Valley Music DepartmentThe Waubonsie Valley Music Department has a long tradition of musical excellence. The music department has been recognized as a GRAMMY Gold Signature School and acknowledged by the National Association of Music Merchants as one of the Best Communities for Music Education.

The Music Department offers four curricular bands, six curricular orchestras, seven curricular choirs, and two music theory courses. Curricular ensembles at Waubonsie Valley High School include Concert Band, Symphonic Band, Wind Symphony, Wind Ensemble, Concert Orchestra, Concert Strings, Symphonic Orchestra, Symphonic Strings, Chamber Orchestra, Chamber Strings, Cecillian Singers, Bass Chorus, Concert Choir, Treble Singers, Varsity Singers, and Varsity Chamber Singers. In addition to the large ensemble courses, the music department offers weekly, small-group technique classes for every instrument. Co-curricular ensembles include the Marching Warriors, Warrior Pep Band, Jazz Ensemble, Jazz Band, BigBand Jazz Combo, Percussion Ensemble, World Beat, Warrior Strings, Mosaic, Tri-M.


Chris DandelesWaubonsie Valley Percussion Ensemble, DirectorChris Dandeles has served on the faculty of Waubonsie Valley High School since 2003. Prior to teaching at Waubonsie Valley, he was Director of Bands at Timothy Christian School in Elmhurst, IL. Mr. Dandeles earned his Bachelor's Degree in Music Education from the Wheaton College Conservatory of Music, and his Master's Degree in Music Education from Northern Illinois University. Mr. Dandeles directs the WVHS Symphonic Band, Concert Band Percussion, and teaches small group wind and percussion technique classes. Co-curricular responsibilities include the Warrior Pep Band, assisting with the Marching Warriors, and directing the Waubonsie Valley Percussion Ensemble.

A percussionist, Mr. Dandeles has promoted the advancement of percussion education throughout his career. In addition to serving as a clinician and consultant, he has written solos and ensembles for developing percussionists. He recently completed The Compleat Percussionist, a 600+ page method book of graduated exercises, etudes and solos for the major areas of percussion. Mr. Dandeles continues to perform in his school and community, most recently with the marimba quartet Rosewooden Carols, the DuPage Symphony Orchestra, and Fox Valley Orchestra. Mr. Dandeles lives in Aurora with his wife Amy, and their children Annika and Henry.

Shelley May HutchisonWaubonsie Valley Percussion Ensemble, Associate DirectorShelley May Hutchison is a National Board Certified music educator in Naperville District 204, teaching general music and chorus at the elementary level. She is the Associate Director of the Waubonsie Valley Percussion Ensemble, also in District 204. At Our Saviours Lutheran Church, she is the director of the youth ensemble, Praise Percussion, while frequently playing percussion in worship services, cantatas and concerts. In the community, Shelley plays in the marimba quartet Rosewooden Carols. She plays percussion with the DuPage Symphony Orchestra and the Agape Handbell Choir. Shelley also teaches private lessons out of her home.


Session Outline

Houston, We Have a Problem

Common Issues• Student’s don’t learn their music.• Student’s don’t understand their roles.• Students are disengaged in rehearsal.• Too many students and not enough parts.

Nature of the Instruments and Repertoire• Beginning and intermediate music is often harder for percussionists• Percussionists are so focused on technique and rhythm (just to satisfy their parts)• The parts look easy on paper, so there is no urgency to practice.• Identifying and fulfilling the different roles of a percussion part.• The soloist nature of percussion and the maturity vacuum of the back row.

Unfamiliarity with the Context (non-percussionists teaching percussion)• It is difficult to provide percussionists with what they need in the learning context.• Lack of supplemental materials and resources.• Lack of technical expertise.

Demands (and lack thereof) on the students• Percussionists deserve a rich musical education, just like all of the other students.• Entire rehearsals can go by and the percussionist has only played a single note.• The natural development of the one-trick pony.

The Needs of the Student, and the Program

Respect• Each student is valuable and important.• The music and the sounds are important.

Relationships• We are all in this together, so we have to help each other and work for each other.• Percussionist schlepp together and have to get along.• Celebrate each other’s successes.• Create an “Organization of People Who Hit Things Well.”


Rigor• Everyone needs to be challenged.• Every challenge is an opportunity to grow.• Harder workers usually see greater rewards.• The content is so great…don’t allow students to be marginalized because teaching is hard.

Relevance - Music is Worthwhile!• Music effects the lives of the musicians.• Music effects the lives of the audience.• Students chose to be musicians, help them make it real!• Percussion is the new violin (maybe)?

(Possible) Solutions to Age Old Problems

Schlagzeugfest!• Celebrate the percussive arts!

• Have a concert - ensembles, solos, demos, you name it.• Offer clinics or masterclasses.

• Make it an event.• Build it and they will come.• Involve other students and teachers.• Advertise• Offer something for other grade levels to enhance the feeling of community.• If there is a concert component, how about a combined piece?

• Incorporate guest artists.• Performers, college professors, composers…they are all around us.• Funding is not scary.

• Many college professors need exposure.• Manufacturers often help support their endorsing artists.• PTAs and other groups in your school/district may offer grants.• Look outside your district for grants.

Other Performance Ideas• Feature a percussion group on a band concert.• Play at the half time of an a basketball game or other athletic event.• Play for a school assembly, or create a lunchtime performance opportunity.• Create and support percussion ensembles for the solo/ensemble season.• Take a percussion group to an out-of-district festival.


Have a Vision• Know what you want the students to know and be able to do.• Start with your values.• What are the objectives?• Is competition necessary?• What will bring the most rich and rewarding experience to all of the students?

Have a Plan• Who is this for (which students)?• How can you make a model work for you and the students?

• Curricular instruction in the form of a percussion class?• How will students be grouped?• Focus on etudes and individual skills?• Percussion ensemble context (to mirror the full band experience)?

• Co-curricular instruction for the students that are looking to do more?• Will the group be auditioned or open to all?• When will the group meet?• Mornings, afternoon, or evening?• How often, and for how long?

Organize• Know how much time you need to accomplish your goals.• Know how much time you will actually have when the full schedule is considered.• Be realistic, but make sure students are challenged and grow.• Keep the students be a part of the process. They need to help create and meet goals.

Communicate!• Insufficient communication is at the heart of most problems.• Determine a system that you think will work and stay consistent.• Train students (and parents) to know the expectations.• Be sure to communicate specific rehearsal plans, needs and objectives.

Is it for you or the students?• Students have to “buy in” to the goals and the process.• Students might (probably will) fail at some point.

• Keep track of where students are and catch issues quickly.• Acknowledge the break down together.• Help him or her get back on track.• Be patient, but don’t relinquish your expectations.


Proper Care and Feeding for Developing Musicians• Listen!• Know what other groups are doing (including the colleges and universities).• Repertoire

• Learn about the history and development of the repertoire.• Know the major genres and styles.• Balance

• Everything and anything can have a place.• Too much of one style/genre is a red flag.• Too much novelty music is like trading Shakespeare for comic books.• Aim for diversity and variety, think well-rounded.

• Build a library.• Borrow pieces.• Write pieces (or have them written).

Strategies and Suitcases

Some Effective Ensemble Strategies• Listening• Singing!• Moving• Body Percussion• Air Drumming• Touching• Alternative Implements/Instruments

Setups and Stickings (oh my)• Many students get tripped up on parts because of poor sticking choices.• Stickings can be complicated, especially on keyboards.• If students are struggling, take a look and help them find a sensible way of sticking before

they practice the “wrong” way too much.• Keep in mind that setups (multiple percussion) can significantly impact stickings.

Packing Suitcases• Steven Schick theory…• Experiment with different sounds so you have choices later (different acoustic settings).• Explore the full range of dynamics and contrasts.• Experiment with weight, stroke, and velocity.


Resources

A Selected Reference List of Great Percussion Artists and Ensembles

Some Great Percussion Names to Know in Illinois Greg Beyer: NIUDavid Collier: ISURon Coulter: SIU-CPatricia Dash: CSORicardo Flores: UIUCEdward Harrison: LyricDavid Herbert: CSO

Vadim Karpinos: CSOKathleen Kastner: WheatonMichael Kozakis: DePaulRick Kurasz: WIUWilliam Moersch: UIUCDoug PerkinsJames Ross: CSO

Jamie Ryan: EIUDan Smithiger: SIU-EBen Wahlund: NIUShe-e Wu: NUCynthia Yeh: CSO

A Very Short List of Percussion Artists, Past and Present Keiko AbeAnders ÅstrandBogdan BacanuJohn BergamoKevin BoboMichael BurrittGary BurtonCasey CangelosiPius CheungColin Currie

Peter ErskineMark FordSteve GaddGuy Gauthreaux IIEvelyn GlennieLionel HamptonSteve HoughtonGlenn KotcheWilliam LudwigKatarzyna Myćka

Sanford MoellerClair Omar MusserEmil RichardsSteven SchickRobert Van SiceLeigh Howard StevensGordon StoutNancy ZeltsmanNebojša Jovan Živković

A Handful of Professional Percussion Ensembles Amadinda Percussion GroupEthos Percussion GroupGlobal Percussion NetworkHands On’sembleKroumataMaraca2

Meehan/Perkins DuoNexus PercussionSafri DuoSo PercussionTalujonThird Coast Percussion


Considerations for Selecting Percussion Ensemble Literature

What do you want the students to learn from the experience?This is of course the biggest question, and one of the primary responsibilities of a music educator. Please keep in mind that student percussionists are often lacking fundamental knowledge in regards to how music is constructed, so consider music that can be a vehicle for teaching phrase, form, theme, development, etc.

What kind of styles and genres do the students need to study?Always think about exposing students to diversity. Don’t let the ensemble become a “one-trick pony” by playing the same types of music. Explore a wide variety of styles and genres to develop well-rounded musicians.

What skills do the students need to further develop?Do students need to develop a stronger sense of internal pulse?

Try a groove piece or a march. Do students need to develop keyboard skills?

Maybe try a keyboard groove piece, a minimalist piece, or transcription.Do students need to develop decision making skills?

Try an ethereal soundscape or an improvisation-based piece.Do students need to develop musicality and musical understanding?

Try a chorale or a transcription.

What are the strengths and weaknesses of each player?Most mixed ensembles (combinations of keyboards and battery) will have some more difficult parts and some easier parts. Do the requirements of the parts work for all students. Avoid marginalizing players by choosing music that is too hard for the less-experienced players, or lacks the musical content to challenge the more advanced players.

Does the difficulty of the piece preclude students from really mastering their parts?Advanced students are often concerned that music is not technically challenging enough. It is great that when students have ambition and want to be challenged, but these students often miss the mark in what is really challenging and special about music. Playing in an ensemble is challenging, and truly learning a piece of music is more than notes and rhythms. Student musicians need to be reminded from the beginning to make beautiful sounds and play expressively. Hopefully you can find a piece that will inspire all players to play their best but also want to dig in an understand the musical content. With that it in mind, every piece of music is challenging.


Does the piece allow for doubling?Most percussion ensemble music is chamber music, intended for small numbers of players with one player on a part. Music for a large number of players often requires a large arsenal of instruments, and the score can quickly become dense and complicated. If you are looking for an easy to medium difficulty piece, it might be worthwhile to find a piece that could allow for doubling parts. Doubled parts gives students safety in numbers, helps drive home the need for consistency and matching sound, and gives strength of sound to a young ensemble.

Does each of the parts contribute to the piece?Sometime percussion ensemble pieces have a couple of hard parts and a couple of easy parts. This is particularly common in groove-based ensembles where there might be a triangle part or suspended cymbal part that adds to the piece, but is not musically compelling to the student performing the part. Make sure the music students will be rehearsing for weeks is worth everyone’s time. Make sure that everyone has the opportunity to grow and learn from the music you select.

How long will it take to set up for each rehearsal?Some of my favorite pieces involve big setups for each player. Sometimes these instruments are regularly stored in pieces, or in other rooms, and it can take a long time to setup for each rehearsal. Keep this in mind when selecting a piece with a large setup. The time setting up and tearing down for regular rehearsals will eat up rehearsal time…and when large setups are involved, rehearsal time on the instruments is critical to the students. Pair a piece like this with more straightforward pieces, less difficult pieces, and/or pieces easy to setup.

How long is the piece (duration and number of measures)? Short pieces are hard to develop musically, but long pieces are hard to learn and sustain. How much time do you have available on the concert program? Is the piece longer than the time it takes to setup? Is the piece too long when combined with the other works on the concert? If you are programming a full percussion concert, keep in mind that a couple of longer pieces might be easier to put together than a bunch of short pieces with separate setups and styles.

Is the required instrumentation doable with your inventory?Do you have the instruments required by the score? Do you have adequate substitute instruments that will come close to the authentic sounds? A composer intends for specific sounds, but there is a lot that can be learned from a piece even with substitutions. Make wise decisions that will benefit the students but still honor the music and the composer’s intentions.


Is there enough time to properly prepare the selection?Think honestly about whether or not there is enough rehearsal time to properly prepare the piece. Keep in mind school events, assemblies, field trips, and the chance of student illness. Pushing and stretching students is important, but so is the opportunity to foster excellence. Always choose literature about a grade level easier than they might play in band unless the group is meeting on a daily basis.

Will the selection contribute to the overall performance program while providing what the students need?Selecting music that serves student needs and learning objectives is incredibly important, but so is providing the audience with a compelling program and performance. Is the program well-rounded? How does each purpose fit into the big picture? Is the music inspiring and spark imagination?

Does the selection expose students to other cultures? Percussion music is pervasive in cultures all around the world. The folkloric roots of percussion make it a great vehicle for studying music from other countries and cultures, and help develop a sense of music as a universal language. There are some great ensembles based on African music, gamelan, Brazilian samba, etc.

Is there an opportunity for a student conductor?Is there a talented senior thinking about music beyond high school? Is he or she mature, responsible, and musically-minded? Maybe it is a good time to start developing some leaders within the ensemble. Break the ensemble into a couple of groups and assign a student leader to be responsible for most of the rehearsals in one of the groups while you rehearse the other group. Be sure to check in frequently to make sure things are on track and provide guidance for the leader and the rest of the ensemble.

Is there an opportunity for a guest artist?Working with guest artists is great for students (and their directors). Guest artists can provide new perspectives, new approaches, urgency to prepare a piece for a new set of ears, as well as create an opportunity for real-world collaboration at a high level. Is there a piece of music that will be good for the ensemble as well as highlight the guest artist?


Common Genres in Percussion Music

Historic/Standard: the roots of the percussion ensemble date back to a handful of composers that in the early twentieth century started exploring the wealth of sounds available in the percussion family. Many of the early percussion ensemble works were composed by well-known, outstanding composers, and their works still have much to say to the students and audiences of today. Consider programming a standard work of historic significance to give your students a sense of community with what came before. Some great historic percussion ensemble pieces include:

Any ragtime by G.H. Green, Joe Green, and Harry BreuerIV, Johanna Beyer Ceremonial, Paul CrestonOctober Mountain, Alan HovhanessToccata, Carlos ChavezOstinato Pianissimo and Pulse, Henry CowellDouble Music, John Cage and Lou HarrisonRitmicas no. 5 and no. 6, Amadeo RoldanThird Construction, John Cage

Minimalism: music that is based on repetition that develops through slow, minor changes was an important new style in the twentieth century. The heavy use of rhythm made percussion the perfect medium for this style, which in turn helped bring percussion to the forefront of modern music. Some great minimalist pieces include:

“Raindrops” from Rainbows, Alice GomezClapping Music, Steve ReichApple Blossom, Peter GarlandMusic for Pieces of Wood, Steve ReichFratres, Arvo PartApple Blossom, Peter GarlandMallet Quartet, Steve Reich

Transcriptions: when a piece of music is re-written for a different instrument or set of instruments. Transcriptions are great way to teach students well-known classical composers, or introduce styles that they may not learn in concert band. Some great classical transcriptions for percussion ensemble include:

Sabre Dance, A. Khachaturian, arr. Moore Adagio from Symphony no. 3, C. Saint-Saens, arr. Gipson“Farandole” from L'Arlésienne, G. Bizet, arr. JeanneBolero, E. Rosales, arr. Musser


Some great pop/jazz transcriptions for percussion ensemble include:Stompin’ Grounds, Bela FleckInuyasha Dakagu-Renka, Wada, arr. FujitaMinuano, Pat Metheny, arr. Curnow

Percussion Orchestra: a mixed percussion ensemble composed in a style similar to orchestra or band with the keyboards usually serving melodic and harmonic functions with support from drums and percussion. Percussion orchestra music may include original compositions and transcriptions. Percussion orchestra is a great way to teach students important musical roles they may not have a chance to study in full band, such as melodic shape or harmonic function. Some great examples of percussion orchestra pieces include:

Palace of the Nine Perfections, Eric EwazenLimerick Daydreams, Nathan DaughtreyStained Glass, David GillinghamDoors, Dave HallPortico, Thomas GaugerCeiling Full of Stars, Blake Tyson

Groove Pieces: an ensemble comprised of any instruments in which the primary musical function is layered rhythms and textures. Groove pieces come in a lot of “flavors,” and they are very important to the training of percussionists. Try to use variety when programming groove pieces. Some great groove pieces include:

Catching Shadows, Ivan TrevinoGigue, Anders ÅstrandSleepless, Dan MooreRace the Desert, Dan MooreSossa-Bala, Emmanuel SejourneTechnology, Jim Casella

Novelty: a piece that functions outside the box. Novelty pieces are usually funny or focus on “found sounds” - every day items used as musical instruments. Novelty pieces are often groove pieces, and may also be “drummy” in nature. Some great novelty pieces include:

Stick Schtick, Chris BrooksMartian Tribes, Emmanuel SejournceMusique de Table, Thierry de MesHead Talk, Mark FordStool Pigeons, Julie DavilaBrooms Hilda, Chris Crockarell


Keyboard Ensemble: ensembles comprised entirely (and exclusively) of keyboard instruments. Most keyboard ensembles are small chamber groups, such as a marimba quartet, but large keyboard “orchestras: go back to the early twentieth century. Most large keyboard ensembles are transcriptions of orchestral works. Some great keyboard ensembles include:

Crown of Thorns, David MaslankaSculpture in Wood, Rudiger PawassarStubernic, Mark FordOmphalo Centric Lecture, Nigel WestlakeMarimba Quartet, Daniel LevitanUnleash the Fury, Nathan DaughtreyMetric Lips, Bela Fleck, arr. SteinquestAkadinda Trio, Emmanuel SejourneVespertine Formations, Christopher DeaneThree Seconds to D, Anders ÅstrandIce Dance, Anders ÅstrandAny ragtimes by G.H. Green, Joe Green, and Harry Breuer

A great way to teach phrasing and tone production is through the study of chorales. Some great chorales for keyboards can be original works or transcriptions of choral music, string music, organ music, etc. Some great chorales include:

Daybreak, Jack Stamp Not Far From Here, Black Tyson ( a great keyboard ensemble based on a solo)Light in Darkness and A Little Prayer, Evelyn Glennie (solos that can be ensembles)Adagio for Strings, Samuel Barber (originally for strings)O Magnum Mysterium, Morten Lauridsen (originally for choir)Sleep and Lux Aurumque, Eric Whitacre (originally for choir)

Pan-Global/“World” Ensembles: there is such a wealth of percussion from cultures around the world. Percussion ensemble is a great way to expose students to other cultures and great musical traditions outside the traditional Western music styles. Some great examples include:

Tumbao Talk, Julie DavilaBrazilian Beat, Joel ScalesOrisha Offering, N. Scott RobinsonSankofa, N. Scott RobinsonThree Shona Songs, B. Michael WilliamsTaiko, Scott HardingHoo-Daiko, Robert DammDrama Trio, Guo Wenjing


Soundscapes: ethereal compositions that create an atmosphere of sounds. Sometimes these pieces are more aleatoric, but more often than not they are written with a lot of strict detail and just give the impression of aleatoric. Some great soundscape pieces include:

Entresons.Recreo, Alexandre LunsquiInvisibles Pass By, Yo GotoA Whispering, William Duckworth

Drum/Battery Ensembles: the roots of percussion music in the Americas certainly lie in the heritage of rudimental/military drumming. Although the arsenal of percussion instruments has grown dramatically, there are many great ensembles that celebrate great drumming and the variety of percussion sounds now available. Some great battery ensembles include:

Raptures of Undream, Bruce HamiltonAway Without Leave, Bob BeckerLittle Sea Gongs, Gareth FarrChamade Suite, Igor LesnikBlue Burn, Joe TompkinsCoyote Builds North America, John Luther AdamsOguon Badagris, Christopher RouseBonham, Christopher RouseFour Four for Four, Anthony CironeLift Off!, Russell PeckTaiko, Scott HardingEqual Fire, Paul BissellSizzle!, Nathan DaughtreyDoomsday Machine, Michael BurrittSharpened Stick, Brett William Dietz

Accessory Pieces: pieces that highlight on the smaller percussion instruments, such as tambourine, triangle, cymbals, etc. Some great accessory pieces include:

Phylogeny, Daniel KneupperOverture for Percussion “Toys,” Grant CambridgeFanfare for Tambourines, John AlfieriAngels, Stuart Saunders SmithEscape: Sextet for Unclipped Triangles, Drew WordenShake, Josh GottryScratch, Eugene NovotneyCrash Course, James Campbell Cymbalectomy, Chris Crockarell


A Handful of Great Percussion Ensemble Pieces by Difficulty

EasyBegin Transmission, John HerndonBeyond Basic Percussion, Rath & HicksFive Petite Movements, Chris RoodeHot Marimba & Marimba Mojo, Walt HamptonI Am Still the King, Kevin LepperKatie’s Bossa, Chris CrockarellPlaying Together (1 and 2), Walter MertensTom’s Tool Shed, Chris RoodeThunder on the Bay, Scott Harding

Medium EasyBackroads of Medellin, Chris BrooksBalalaikan Holiday, Morris BrandBerceuse, Jay DawsonDance of the Wind Up Toy, Chris CrockarellFanfare for Tambourines, John AlfieriFour Studies for Young Percussion Ens., GaetanoGroovesicles, from RowLoffLost Souls, Nathan DaughtreyMelancholia, Katrina CavaliereMosaics, Jared SpearsOn the Spectrum, Nathan DaughtreyOrientale, Thomas O’ConnorRhythmsicles, from RowLoffRitmo Sauve, Lalo DavilaRoll Off Rhumba, Vic FirthStorm Warning and Dance, Steve RileyTechnology, Jim Casella

MediumA la Samba, Mitchell PetersAncient Voices, Distant Storms, Michael VarnerBayport Sketch, Jared SpearsLittle Sea Gongs, Gareth FarrThe Meeting, Anders ÅstrandMercury Rising, Nathan DaughtreyMixtures II, David LongPops for Percussion from Hal LeonardPrelude in E minor, F. Chopin, arr. Steinquest

Medium (continued)Race the Desert, Dan MooreRaspberry Tango, Dustin SchulzeShock Factor, Nathan DaughtreySizzle, Nathan DaughtreyTaiko, Scott HardingThree Shona Songs, B. Michael Williams

Medium DifficultAboriginal Dreams, Roland BarrettA la Samba, Mitchell PetersAngels of the Apocalypse, David GillinghamAway Without Leave, Bob BeckerBlue Burn, Joe TompkinsCatching Shadows, Ivan TrevinoEqual Fire, Paul BisselFour Four for Four, Anthony CironeGainsborough, Thomas GaugerInuyasha Dakagu-Renka, Wada, arr. FujitaMetric Lips, Bela Fleck, arr. SteinquestNormandy Beach - 1944, David GillinghamPortico, Thomas GaugerSleepless, Dan MooreStompin’ Grounds, Fleck/Wooten, arr. HearnesThree Brothers, Michael Colgrass

DifficultBonham, Christopher RouseChamade Suite, Igor LesnikColored Windows, Tempered Rooms, B. SekhonCoyote Builds North America, John Luther AdamsDoomsday Machine, Michael BurrittEntresons.Recreo, Alexandre LunsquiFandango 13, Michael BurrittLimerick Daydreams, Nathan DaughtreyOguon Badagris, Christopher RousePalace of the Nine Perfections, Eric EwazenSharpened Stick, Brett William DietzRaptures of Undream, Bruce HamiltonSharpened Stick, Brett William DietzStained Glass, David Gillingham


Some Great Percussion Books for Your Library

Combined Percussion MethodsAudition Etudes, Garwood WhaleyThe Book of Percussion Audition Music, McClaren/DaughtreyThe Compleat Percussionist, Chris DandelesPercussion: A Course Study, Thomas SiwePercussion Manual, F. Michael CombsThe Floppy Paw-Book, Ben WahlundSimple Steps to Successful Beginning Percussion, Kennan WylieTeaching Percussion, Gary Cook

Snare DrumAdvanced Etudes for the Snare Drum, Keith AleoAdvanced Snare Drum Studies, Mitchell PetersA Fresh Approach to the Snare Drum, Mark Wessels Alfred’s Drum Method (1 and 2), Feldstein/BlackThe All-American Drummer, Charlie WilcoxonContemporary Method for the Snare Drum, Thomas McMillanDeveloping Dexterity, Mitchell PetersDrum Method (books 1 and 2), Haskell HarrThe Drummer’s Rudimental Reference Book, J. Wooton40 Intermediate Snare Drum Solos, Ben HansIntermediate Snare Drum Studies, Mitchell PetersMethode de Caisse-Claire, Jacques DelecluseModern Contest Solos for Snare Drum, John PrattModern School for Snare Drum, Morris GoldenbergOrchestral Repertoire for the Snare Drum, compiled by Raynor CarrollThe Performing Percussionist, James CoffinPortraits in Rhythm, Anthony CironeThe Roll for Snare Drum, Emil SholleThe Rudimental Cookbook, Edward FreytagSavage Rudimental Workshop, Matt SavageA Snare Drummer’s Toolbox, Crockarell/BrooksStandard Snare Drum Method, Benjamin PodemskiStick Control for the Snare Drummer, G.L. StoneTen Etudes for Snare Drum, Nebojsa ZivkovicTwelve Studies for Snare Drum, Jacques DelecluseWrist Twisters, Buster Bailey


Keyboard PercussionAdditive Method for Two-Mallet Playing, Gene KoshinskiBach for Bars Book 1 and 2, arr. Roger FaulmannContemporary Mallet Method, Jerry TachoirA Fresh Approach to Mallet Percussion, Mark WesselsFundamental Method for Mallets (1 and 2), Mitchell PetersFundamental Solos for Mallets, Mitchell PetersFunny Mallets for Xylophone, Nebojsa ZivkovicFunny Mallets for Vibraphone, Nebojsa ZivkovicIdeo-Kinetics, A Marimba Technique, Gordon StoutInstruction Course for Xylophone, G.H. GreenJazz Mallets in Session, Arthur LipnerThe Mallet Player’s Toolbox, J. HearnesThe Marimba: Teach It!, Kathleen KastnerMasterpieces for Marimba, arr. Thomas McMillanMasterworks for Mallets, arr. Beth GottliebModern School for Mallet-Keyboard Instruments, Sewrey/Hans/SchellerModern School for Xylophone, Marimba and Vibraphone, Morris GoldenbergThe Percussion Keyboards Vol. 1, Emmanuel SejourneRubank Intermediate Method for Marimba, Art JolliffSouthern Special Marimba Solo, William SchinstineSymphonic Repertoire for Keyboard Percussion, Jack van GeemVibraphone Technique: Dampening and Pedaling, David Friedman

Keyboard Percussion (four mallet methods)4 Mallet Democracy for Marimba, Jack van GeemFor Four, Josh GottryFour-Mallet Marimba Playing, Nancy ZeltsmanFour Mallet Fundamentals, Neil Grover & Garwood WhaleyFunny Mallets for Marimba Book I, Nebojsa ZivkovicFunny Mallets for Marimba Book II, Nebojsa ZivkovicImage: 20 Children’s Songs for Marimba, Bart QuartierJazz Vibes, Gary BurtonImpressions in Wood, Julie DavilaMarimba: Technique Through Music, Mark FordMethod of Movement for Marimba, Leigh Howard StevensSequential Studies for Four-Mallet Marimba, Julia GainesSimply Four, Gifford Howarth


TimpaniConcepts for Timpani, John BeckEtuden for Timpani (1, 2 and 3), Richard HochrainerExercises, Etudes and Solos for the Timpani, Raynor CarrollModern Method for Timpani, Saul GoodmanThe Solo Timpanist, Vic FirthFundamental Method for Timpani, Mitchell Peters

DrumsetAdvanced Technique for the Modern Drummer, Jim ChapinAlfred;s Beginning Drumset Method, Feldstein/BlackThe Art of Bop Drumming, John RileyDrumset Essentials, Peter ErskineEssential Styles, Houghton/WarringtonEssential Technique for the Drumset, Ed SophA Fresh Approach to Drumset, Mark WesselsJazz Drummer’s Reading Workbook, Tom MorgonGroove Essentials, Tommy IgoeStudio and Big Drumming, Steve HoughtonSyncopation, Ted Reed

Multiple Percussion10 Beginning Studies for Multiple Percussion, Ney Rosauro The Contemporary Percussionist, Udow/WattsThe Multiple-Percussion Book, Petrella/AllemeierMultiple Percussion Solos at the Intermediate Level, Feldstein/BurnsMultiple Percussion Solos at the Advanced Level, Feldstein/BurnsMultitudes, Andrew BlissMultitudes, Thomas BrownMusic for Multi-Percussion: A World View, Campbell/HillPortraits for Multiple Percussion, Anthony CironeReflex, Brett William DietzStudies in Solo Percussion, Morris Goldenberg

AccessoriesThe Art of Percussion Playing, Anthony J. Cirone, Neil Grover and Garwood WhaleyTechniques of Playing Bass Drum, Cymbals and Accessories, Al PaysonCymbals: A Crash Course, Mitchell Peters & Dave BlackOrchestral Repertoire for Tambourine, Triangles and Castanets, Raynor CarrollOrchestral Excerpts, Abel/Payson/Press


A Selected List of Percussion Publishers

Publishers that Specialize in Percussion Music Advantage NetworkBachovich Music Publications*ProPercussão BrasilC. Alan Publications*Cirone PublicationsColla Voce Music, Inc.CPP/BelwinCreative Music and Ovation, Inc.Drop 6 Media (now part of RowLoff)Dutch Music PartnersEdition Musica EuropeaEdition Svitzer*

Go Fish MusicHoneyRock Publications*Innovative Percussion*Keyboard Percussion Publications (KPP)*Ludwig Music Publishing Norsk Music Forlag A/SOU Percussion PressPer-Mus PublicationsRowLoff Publications*Smith PublicationsStudio 4 (now part of KPP)Tapspace Publications*

Publishers that Offer Notable Percussion Music Alfred MusicAlphonse LeducBelwin Publishing CompanyBoosey and HawkesCarl FischerC.L. Barnhouse CompanyEdition PetersEditions SalabertElkan-Vogel, Inc.Frog Peak MusicG. Schirmer, Inc.Helicon Music Corp.

Kendor MusicMedia Press Inc.Meredith Music PublicationsOngaku No Tomo Sha, Corp.Rimshot MusicSchott MusicSouthern Music CompanyTheodore Front Musical LiteratureTheodore Presser Co.Universal Edition, Ltd.Wingert-Jones

Major Percussion RetailersChops PercussionLonestar PercussionPercussion SourceSteve Weiss Music*

* These are publishers/retailers with many fantastic compositions for percussion. Check out the online catalogs!


A Selected List of Major Percussion Manufacturers

Drumsets Drum WorkshopGretschLudwig

MapexPearlSonor

TamaYamaha

Concert Drums Black SwampDynastyLudwig

MajesticPearlTama

Yamaha

Marching Drums DynastyLudwig

MapexPearl

Yamaha

Keyboard Percussion AdamsDeMorrowDynasty Bergerault

MalletechMajesticMarimba One

MusserYamaha

Cymbals BosphorusDream CymbalsIstanbul

MeinlPaisteSabian

UFIPZildjian

Auxiliary/Accessories Black Swamp PercussionGrover Pro Percussion

PearlRon Vaughn

World Percussion Gon BopsLatin Percussion (LP)

MeinlPearl

Remo

Sticks and Mallets Balter MalletsClevelander (Timpani)Cooperman (Snare)

Encore MalletsInnovative PercussionMalletech

ProMarkVic Firth


Suggested Sticks and Mallets

Percussionists are required to play a wide variety of instruments in a number of settings and genres. While instruments will be provided for use, percussion students are required to own a basic “arsenal” of sticks and mallets. Listed below are the basic required materials and some suggested models. It is common for percussionists to add new sticks and/or mallets each year throughout their high school career as their skills continue to improve.

Each student is expected to own a basic setup, including:

• one pair of concert-style drum sticks: Innovative Percussion IP-JCalternatives: Cooperman #5, Innovative Percussion CL-1, or Vic Firth SD1

• one pair of drumset drumsticks: Innovative Percussion Ed Soph 1 alternatives: Vic Firth: SD4 Combo or 7A

• one pair of general timpani mallets: Innovative Percussion CT3 alternatives: Vic Firth VFT1

• one pitch pipe or tuning fork: Kratt Chromatic Pitch Pipe (F-F is the best) alternatives: tuning fork

• two pair of matching marimba mallets (matching set of 4): Malletech CN14alternatives: Malletech MB13, Innovative Percussion AA25H, Vic Firth M113, or Vic Firth M114

• one stick/mallet bag: any model large enough to accommodate a full complement of sticks and mallets. A bigger bag will hold more as you acquire more: Liberty I Tour Caddy (Steve Weiss), Innovative Percussion MB3, Mike Balter Carry All Case

• access to a tuner and metronome

All personal materials must be labeled, color coded or inscribed with your name or initials.

Other ConsiderationsAdvanced percussionists will need to play a much wider variety of instruments and styles, requiring more variety in mallets. Consider adding to your arsenal, particularly vibraphone mallets, xylophone mallets, and different sounding timpani and marimba mallets.


Set Up for Success!

A percussion ensemble concert can include a variety of pieces that each call for different instruments and different setups. Every time instruments move across the stage the moment of the concert can stall and lead to distraction. I have been to some concerts in which I spent as much time watching people move stuff across the stage as I did listening to music. To keep your audience engaged, plan ahead:

• Consider setups that can work for multiple pieces.• Consider creative/fun introductions to pieces to transitions on stage.• Consider a soloist playing in a different part of the venue to allow for changes on

the stage.• If transitions must occur, students need to know where every instrument should be

at all times.• Create a list of pieces and what has to happen in between the pieces.• Practice the transitions between pieces, or there will be that inevitable moment

where one percussionist is walking around the stage trying to find a triangle beater.

A sample setup plan with a basic tech script that could be given to students:


Special ThanksDistrict 204 General/Choral Music FacultyBrookdale: Danielle Donaldson, Kaitlyn YiBrooks: Cara KnutsonBuilta: Mary SchmitzClow: Ryan HenryCowlishaw: Cristina WagonerFry: Ryan Henry, Mary SchmitzGeorgetown: Andrea BurckGombert: Shelley May HutchisonGraham: Kathy MunoKendall: Rachel Luhn, Kari RothmeyerLongwood: Kaitlin YiMay Watts: Danielle Donaldson, Shelley HutchisonMcCarty: Jeanette Brooks Owen: Sue BoozellPatterson: Kari RothmeyerPeterson: Jamie Erlenbaugh, Rachel LuhnSpring Brook: Adam DuymSteck: Kim Kessler, Kathy MunoWelch: Maureen McCoyWhite Eagle: Sue Boozell, Jamie ErlenbaughYoung: Cary Knutson, Anthony PapeCrone Middle School: Sarah Long, Michael SillarFischer Middle School: Allison Rider, Veronica Roman-MeyerGranger Middle School: Jeff HaegerGregory Middle School: Claire Fenton, David PfenningerHill Middle School: Ron KorbitzScullen Middle School: Michael Ferguson, Graham HeiseStill Middle School: Mary WhitneyMetea Valley High School: Melinda Arnold, Paulette Boddy, Nathan BramstedtNeuqua Valley High School: Jay Kellner, J. Ryan Rimington, Reid SpearsWaubonsie Valley High School: Beth Best, Nicole DiGrazia, Seth Durbin

District 204 Instrumental Music FacultyCrone Middle School: Katie Brown, Regina Kazda, Brad Pfeil, EJ Roberts, John TimmonsFischer Middle School: Caitlynne Burgess, Bethany Lugay, Kim Kessler, Beth Myers, Allison RiderGranger Middle School: Jason Dyhouse, Anneke Miers, David Pakkebier, Dawn PakkebierGregory Middle School: Kelly Dimidik, Lori Lauff, Stephanie Lein, Melissa SchwolowHill Middle School: Sarah Friederich, Megan LoPresto, Heidi Rogers, Loretta ValentinScullen Middle School: Graham Heise, Kim Kessler, Laura Patterson, Jessica Sanders, Matthew WhiteStill Middle School: Claire Fenton, Michael Naughton, Chris Niesluchowski, Doug Ruhs, Megan ZalokarMetea Valley High School Band: Don Devany, Claire Fenton, Josh Kaminsky, Glen Schneider, Metea Valley High School Orchestra: Mark Liu, Michael Naughton, Robin SackschewskyNeuqua Valley High School Band: Emily Binder, Corinne Collier, Jonathan Lauff, Andrew SeidelNeuqua Valley High School Orchestra: Kevan Kosobayashi, Brad Pfeil, Greg SchwaeglerWaubonsie Valley High School Band: Kevin Carroll, Chris Dandeles, Mark DukerWaubonsie Valley High School Orchestra: John William Burck, Daryl Silberman

Primary Percussion Private Lesson TeachersFrank Check, Dane Crozier, Matt Plaskota, Ben Wahlund, Alex Wier


Indian Prairie School District 204 AdministrationDr. Karen Sullivan, SuperintendentLaura Johnston, Asst. Superintendent ElementaryBrad Hillman, Asst. Superintendent Middle SchoolsDr. Louis Lee, Asst. Superintendent High SchoolsGrant Sahr, District 204 Music Coordinator

Waubonsie Valley High School AdministrationJason Stipp, PrincipalCharles Bibbs, Assistant PrincipalJason Schimdtgall, Assistant PrincipalRebecca Schreiber, Assistant PrincipalChris Neibch, Athletic Director

Waubonsie Valley Band BoostersAmy Brozak, PresidentCheryl Wilczynski, Vice PresidentDonna Elkins, TreasurerLori Stoakes, Secretary

Last Year’s Percussion Ensemble MembersAndrew Colin, Matthew DeMaso, Joe Dieter, Adam Dix, Emerald Gruett,Matthew Hubbard, April Kochman and Callie Vitro

A Closing MessageThank you for attending this session! I hope that you have found this session helpful! Please send me a message if there is something that inspired you, interested you, or made you think a little about to improve the learning environment for the percussionists in your school. If you have questions or need help implementing any of these ideas, please feel to contact me for assistance. I am passionate about improving percussion education everywhere, and I would be more than happy to help in what ways I can.

Now it is time for you to go and create your own “Schlagzeugfest” (or other opportunities) to motivate and inspire the percussionists that you know and love! Good luck and best wishes!

Contact InformationPlease feel free to contact me with questions, comments or funny percussion stories. I would love to hear from you, and will try to get back to as quickly as I can.

[email protected].

Please check out the following websites for more information, materials and resources:

www.wvhsmusic.org/percussion

www.chrisdandeles.com

Also, please check out my compositions available at J.W. Pepper. More are being added all the time, so come back often!

www.jwpepper.com

mailto:[email protected]

http://www.wvhsmusic.org/percussion

http://www.chrisdandeles.com

http://www.jwpepper.com

and other strategies to create a culture of excellence in ... · pdf fileof excellence in your...

Documents