Teaching a Percussion Course as a Non-PercussionistBand Division Demonstration ClinicThursday, January 29, 2015Room CC-403/404

Ensemble: Belvidere North High School Percussion EnsembleClinician: Neal Shipton, Director of Bands, Belvidere North High School nshipton@district100.com • (815) 547-3818

Session Description:Percussionists deserve as much of a quality musical education and experience as the rest of the band. Unfortu-nately, all too often do we ignore, become frustrated with or take for granted our percussionists at the back of the room. Many directors have little or no background in percussion and are uncertain or uncomfortable working with these students. This clinic aims to provide some insight into how a percussion course can be instructed for those of us with minimal percussion experience. Topics include working with colleagues within the building to create the class, structuring the course, music selection and part assignments, curricular suggestions and resources for instruction.

Performance Pieces: Low Rider by Allen, et al, arr. Downs and Mattingly, Hal Leonard Corp. - Medium Easy

Cadences & Drumline “Cheers”: Smokestack by Cassidy Byars, www.freedrumlinemusic.com - Level 3 (of 5) Boogie Beat by Ayatey Shabazz, The Devmusic Company - Medium Easy Salsa Verde by Ryan R. Laney, www.rlaneypercussion.com

Blues by Five by Red Garland, arr. Downs and Mattingly, Hal Leonard Corp. - Medium Chopsticks by Charles Owens, arr. Ralph Hicks, Tapspace Publications, LLC. - Medium Funky Buckets by Ed Argenziano, Row-Loff Productions - Medium Stick Schtick by Chris Brooks, Row-Loff Productions - Medium Smash Getaway by Chris Crockarell, Row-Loff Productions - Medium Advanced Walk Like an Egyptian by Liam Sternberg, arr. Chris Crockarell, Row-Loff Productions - Medium

Director Biography:Neal Shipton earned his Bachelor of Music Education from the University of Illinois in 2007 and his Master of Music Education from the University of Illinois in 2014. Since 2007 he has served as substitute assistant band director at Downers Grove South High School and Dundee Crown High School and assistant beginning band director in Evergreen Park. He organized and conducted jazz band at Hadley Junior High School and taught low brass private lessons in Glen Ellyn. Mr. Shipton is currently in his sixth year as Director of Bands at Belvidere NorthHigh School where he conducts the Symphonic Band, Concert Band, Jazz Band, Beginning Band, and Concert and Symphonic Percussion Ensembles. He also directs the Belvidere North Marching Thunder and Thunder Pep Bands, musical pit band and teaches music theory. He currently serves as the Illinois State Chair for the Tri-M Music Honor Society. When he is not teaching, Mr. Shipton loves reading, the outdoors, playing banjo and spend-ing time with his wife, Kelsey, and their cat, Luna.

Ensemble Information:The Belvidere North Percussion Ensemble is actually three ensembles in one: the Concert Percussion Ensemble (made up of Concert Band percussionists), the Symphonic Percussion Ensemble (made of Symphonic Band per-cussionists) and the combined Percussion Ensemble (all percussionists). The ensemble rehearses each day during school and regularly performs at school, athletic and community events. Each year the ensemble performs at the VanderCook College of Music Day of Percussion Festival and the IHSA Solo & Ensemble Contest and takes trips to see professional percussion ensembles.

Teaching a Percussion Course as a Non-Percussionist Neal Shipton, Director of Bands

Belvidere North High School featuring:

Belvidere North Percussion Ensemble

INTRODUCTION

o Percussionists:

deserve to be as musically engaged as the other musicians in the ensemble

want to be challenged

want to perform music that is fun to play and listen to

o You do not need to be a percussion specialist to teach a percussion course

o You do not need to have a percussion specialist on staff

o Disclaimers:

I am NOT an expert in teaching percussion

This clinic is intended to:

show you what we do that has worked well at Belvidere North High School

give you some ideas and things to take back to your program

give non-percussionists and young teachers the confidence to teach a percussion course

MARCHING PERCUSSION

o Benefit: full rehearsal everyday

o Band Camp

If possible, hire a percussionist Avoid somebody without collegiate or drum corps experience

o Cadences

2-3 cadences

Roll-off between cadences

o Drumline ‘cheers’

Purchase originals

Create your own

High school and college bands

Take from songs you’re already playing and vamp

o Ear protection is a must!

o Use drum pads for group rehearsal so all students can work on snare drum together

o Resources:

www.freedrumlinemusic.com

www.rlaneypercussion.com

www.vicfirth.com – Marching Percussion 101

STRUCTURING THE COURSE

o Communication is key

o Determine the grade/nature of the ensemble

All percussionists in the program

Number of ensembles/skill levels

Avoid having beginning percussionists in the course

Freshman only or auditioned ‘elite’ group

Are there enough?

o Planning the course schedule

A/B/C lunch period(s) rehearsal

Allows you to rehearse the full ensemble every day

Also allows multiple ensembles to rehearse at different times during same period

Non-lunch period rehearsal

Not recommended if more than one band/percussion ensemble; logistical problems

Outside of school rehearsal?

Performance:

Cadences: Smokestack by Cassidy Byars

(www.freedrumlinemusic.com) &

Boogie Beat by Ayatey Shabazz (The

Devmusic Company)

Drumline ‘cheer’: Salsa Verde by Ryan

Laney (www.rlaneypercussion.com)

Performance:

Low Rider by Allen, et al,

arr. Downes and

Mattingly. Leopard

Percussion Series (Hal

Leonard Corp.)

Neal Shipton Teaching a Percussion Course as a Non-Percussionist Page 2

o Rehearsal space

If one percussion/band ensemble in your program:

All students are in the same ensemble, can rehearse at the same time in the same space

Limited rehearsal spaces are not a problem

If more than one percussion/band ensemble in your program:

A/B/C lunch rehearsal option

Normal hour rehearsal option

o Sufficient rehearsal space?

o Enough instruments/equipment?

LITERATURE & REHEARSAL

o Band Music

Use recordings – SmartMusic is great for this

Sing/count the band parts

This helps you learn the score better

Metronome

Rehearsal with the band

Percussion ‘field trips’ at least twice prior to the concert

o Communicate with teachers and administration

Hold outside-of-school rehearsals

Part Assignments

Don’t let students to pick their own parts

o Experienced players may be able to do this

Part assignments

o Students should get to play a little bit of everything

o Part Assignments Sheet

o Save your lists for future use

o Doubling/creating parts

Engage all students during rehearsal - no students sit out

Use wind parts for mallets if parts are lacking

Double-up Mallets

Double- or triple-up on snare drum

Use drum pads

‘Audition’ before the concert to determine who will play

Don’t overdo it!

o Marches & pieces with sparse percussion

Students can play all parts and trade off each day

‘Audition’ before the concert to determine who will play which part

Percussion Assignments for Band and Wind Ensemble, Vols. 1-2 by Russ Girsberger

o Percussion Ensemble Music

The literature is the curriculum

What is your focus?

o Mallets/battery/mixture?

o What styles/time periods?

Include piece information in your daily agenda

Be wary of difficulty ratings

Listen to and play with recordings

Publisher’s recordings

Create ‘click tracks’

Boomwhackers

o Great for teaching rhythm and vertical alignment

o Boomsicles & Boom Crackers by Row-Loff Percussion

Novelty pieces

o Audiences and students LOVE these

o Good if you’re lacking enough ‘regular’ instruments

Performance:

Blues by Five by Red Garland, arr.

Downes and Mattingly. Leopard

Percussion Series (Hal Leonard Corp.)

Performance:

Chopsticks by Charles Owens,

arr. Ralph Hicks (Tapspace

Productions)

Neal Shipton Teaching a Percussion Course as a Non-Percussionist Page 3

o Plan ahead and budget your rehearsal time between band and percussion ensemble music

o Play with the students!

Set an example

Be able to play their parts

Demonstrate proper technique

Increase your own skill

Learn things about their parts that you might not have known

Difficult stickings, technique, etc.

AUDITIONS & ASSESSMENTS

o Auditions

When auditions take place depends on the size and structure of your band program

Ensemble placement?

‘Chair’ placement

o Student strengths and weaknesses

Concert auditions should at least include portions for snare and mallets

Snare and mallet etudes

Timpani & Auxiliary?

Fundamental Method for Timpani by Mitchell Peters

If you’re going to expect students to audition on these instruments, you will need to take

the time to teach them

Timpani info sheet

Pull etudes from upcoming band pieces

o Regular Assessments

Assessment packet

Work on and reinforce important concepts

Hold students accountable

Interesting and stimulating for students

Healthy competition

Great way to start class

Drum Pads

Use on drums or stands

o Not ideal, but reality

Cannon Gladstone Practice pads

Students can use their own

PERFORMANCE OPPORTUNITIES

o Give your students plenty of opportunities to perform

Build confidence and pride

o Take your students to see other high school, collegiate and professional ensembles

o Drumline

Lead the football team out to the field

Feature Post-game concert on the track – feature the drumline

“Walk of Champions”

Drumline leads students who have made it to the state level for sports or other activities

around the school while playing the cadence

o Percussion Ensemble

Lunchtime or before-school performances

Halftime at basketball games – low-stress performance opportunity

Some percussion festivals around Chicago

VanderCook Day of Percussion

o Non-competitive performance/clinic opportunity

Elk Grove Percussion Festival

Solo & Ensemble Festival

Performance:

Funky Buckets by Ed

Argenziano from Noveltysicles.

(Row-Loff Productions)

Stick Schtick by Chris Brooks

(Row-Loff Productions)

Performance:

Smash Getaway by Chris

Crockarell (Row-Loff

Productions)

Neal Shipton Teaching a Percussion Course as a Non-Percussionist Page 4

EQUIPMENT

o Invest in marching drum stands for daily rehearsal

o Marching cymbals mounts and small splash cymbals are great for parades and pep band

o Take the time to teach students about instrument care & maintenance

Proper mallet usage

Knowing what mallets to use on which instrument and in which range

o Insist that everything be put away and stored properly after rehearsal

o Have your local music store assemble a percussion ‘kit’ and require/urge your percussionists to purchase

Stick bag, yarn/rubber mallets, drum sticks, drum key

o If your program’s percussion equipment inventory is lacking:

Gradually increase your percussion inventory each year

Be aware: many percussion ensemble pieces call for multiple marimbas and vibraphones

Communicate with administration

Avoid cheap or ‘off-brand’ instruments.

Higher quality instruments have a longer lifespan.

Sometimes, cheap hardware can get the job done.

Students can bring in old bell kits

Novelty Pieces & Boomwhackers can be good substitutes

Hold an instrument drive

o Drum Pads

Cannon Gladstone Pads – cheap and students can use on drums or music stands

Students can use their own

RESOURCES:

o Music

Leopard Percussion Series – Hal Leonard Corp.

Good for younger or less experienced groups

Row-Loff Productions

Lots of great music and educational resources

‘Sicles packets

Tapspace Publications

C. Alan Publications

o Books

Fundamental Method for Mallets, Books 1-2 by Mitchell Peters

The Mallet Player’s Toolbox by John R. Hearnes

Masterworks for Mallets by Beth Gottlieb

A Fresh Approach to Mallet Percussion by Mark Wessels

Percussion Assignments for Band and Wind Ensemble, Vol. 1-2 by Russ Girsberger

A Fresh Approach to the Snare Drum by Mark Wessels Alfred Drum Method, Books 1-2 by Sandy Feldstein

The Drummer’s Daily Drill by Dennis DeLucia

Life’s Little Rudiment Book by David Steinquest

The Drummer’s Rudimental Reference Book by John Wooton

Fundamental Method for Timpani by Mitchell Peters

Teaching Percussion, 3rd

Edition by Gary D. Cook

Watkins-Farnum Performance Scale by John Watkins and Stephen Farnum

o Websites

www.freedrumlinemusic.com

www.rlaneypercussion.com

www.vicfirth.com

www.rowloff.com

www.tapspace.com

o Vic Firth Drum Rudiments App

Performance:

Walk Like an Egyptian by

Liam Sternberg, arr. Chris

Crockarell (Row-Loff

Productions)