MUE 2470: Percussion TechniquesDepartment of Music | College of Arts & Humanities

University of Central Florida

COURSE SYLLABUS

Course Description: The purpose of this course is to provide music educators with basic information concerning teaching methods and performance techniques for musical instruments common to the percussion family. Students will follow a course of study that will enable them to teach beginning students at the elementary or secondary school levels and to continue to provide them with an accepted, organized approach to learning and developing percussion techniques and skills.

This course of study is designed to acquaint students with the history of each major instrument found in the percussion family, their acoustical properties and methods of sound production, and the idiosyncrasies of percussion music notation. It will provide future band and orchestra directors with a rudimentary technique on many of the instruments labeled percussion, concentrating on those that are most common to today's elementary and high school band and orchestra literature.

Course Objectives and Expectations:Through this course the student will:

• Demonstrate on each of the percussion instruments (either by written or performance tests) an accurate knowledge in the following areas of pedagogy:

• Instrument assembly and care • Grips and hand positions• Varieties of sticks and mallets• Acoustical characteristics of each percussion instrument as they affect tone

production, tone quality, etc…

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Instructor: Dr. Thad Anderson Term: Spring 2011

Office: Performing Arts Center, M225 Class Meeting Days: Monday & Wednesday

Phone: (407) 823-2221 Class Meeting Hours: 9:30 to 10:20 a.m.

Email: thad@mail.ucf.edu Class Location: PAC M140

Website: webcourses.ucf.edu (mue2470) Office Hours: By Appointment

• Identify practical and acoustical ranges of the instruments.• Participate in a class instructional process designed to identify, diagnose, and prescribe

solutions to performance problems encountered by fellow students.• Be able to choose graded materials and literature that will account for a systematic growth

in the musical and technical development of the school percussion student.• Become familiar with the various brands of percussion instruments to adequately advise

students and parents in the selection of instruments that will fit their budget.• Understand and possess methods to successfully meet the challenges of percussion

education in the public school music curriculum.

Course Requirements:Students will be required to attend class regularly due to the course's practical, laboratory approach. A minimal amount of outside reading will be required. Students must purchase their own snare drum sticks and practice pad. Considerable time must be devoted to individual practice. Students will be informed of the need for any additional class material. The location and use of practice facilities will be discussed during the first class meeting. Equipment and mallets will be assigned to each student who then assumes responsibility for any loss or damage. Replacement or repair costs will be assessed as losses and damages occur.

Required Text and Materials:• Teaching Percussion, 3rd Edition by Gary Cook• Percussion: A Course of Study for the Future Band and Orchestra Director by Tom Siwe• One pair of “General” drumsticks (Pro-Mark or Vic Firth SD1 are recommended)• One practice pad (Reel Feel or Remo brands are recommended)

Evaluation Procedures:In general, subjective assessments will be made by the instructor regarding preparation, performance competency, class participation, and attendance. More specifically, evaluation criteria will be based upon, but not limited to, the following criteria:

GradeCategories

Description of the Requirements Weight towards final grade

Quizzes, Playing and Written Exams, and Notebook

Your scores on quizzes, playing and written Exams, and your Notebook 30%

Assignments Completion and on-time submission of written assignments 25%

Discussions Participation in both on-line and in-class discussions 15%

Final Exam

The final Exam is scheduled for Friday, April 30, 7:00-9:50 and will be 1/2 written and 1/2 playing. The Final Lesson Plan, Final Exam Performance, and Teaching

30%

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Grading Scale:The following grading scale will be used throughout the semester:

#$%&'()*+,%-.*/01#$%&'()*+,%-.*/01#$%&'()*+,%-.*/01

234!55 6

25427 64

89482 :;

8348< :

85487 :4

99492 =;

9349< =

95497 =4

<94<2 >;

<34<< >

<54<7 >4

5*4*?2 @

Attendance, Participation, and DeadlinesRegular attendance is expected. Students are allowed two unexcused absence during the course of the semester. Acceptable reasons for missing a class include family emergencies and unexpected illness. Any absences thereafter (more than two) will affect the final semester grade. If this is the case, the semester grade will be lowered one increment (A- to B+, for example) for each class that is missed beyond the second. Please notify the teacher 24 hours prior to a missed class or if you know you will be tardy.

No late work will be accepted without prior approval. Any assignments not submitted by the due date will not receive full credit.

Final ExamThis courses final exam is slotted for Friday, April 29 from 7:00 a.m. to 9:50 a.m.

CommunicationIn accordance with university regulations, your Knights email address will be the primary source of communication regarding pertinent details and information for this course. Please plan to check this account on a daily basis. Additional, less urgent communication will take place on the WebCourses site.

Academic IntegrityUCF is committed to a policy of honesty in academic affairs. Conduct that comprises a breach of this policy may result in academic action and disciplinary action. Academic action affects student assignments, examinations or grades. Disciplinary action affects student enrollment status. Please review the behavior standards at: http://www.goldenrule.sdes.ucf.edu/11_behavior.html

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Plagiarism StatementWork submitted must be your own. The university and the department have a strict policy on cheating and plagiarism. Go to the Golden Rule at http://www.goldenrule.sdes.ucf.edu to review these guidelines.

Accommodations For the Differently-abledThe University of Central Florida is committed to providing reasonable accommodations for all persons with disabilities.! This syllabus is available in alternate formats upon request.! Students with disabilities who need accommodations in this course must contact the professor at the beginning of the semester to discuss needed accommodations.! No accommodations will be provided until the student has met with the professor to request accommodations.! Students who need accommodations must be registered with Student Disability Services, Student Resource Center Room 132, phone (407) 823-2371, TTY/TDD only phone (407) 823-2116, before requesting accommodations from the professor.

The UCF CreedIntegrity, scholarship, community, creativity, and excellence are the core values that guide our conduct, performance, and decisions.

• Integrity: I will practice and defend academic and personal honesty.• Scholarship: I will cherish and honor learning as a fundamental purpose of my

membership in the UCF community.• Community: I will promote an open and supportive campus environment by respecting

the rights and contributions of every individual.• Creativity: I will use my talents to enrich the human experience.• Excellence: I will strive toward the highest standards of performance in any endeavor I

undertake.

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MUE 2470: Percussion Techniques Department of Music | College of Arts & Humanities

University of Central Florida

COURSE SCHEDULE & LECTURE OUTLINE January 10 Introduction to Class and Percussion

I. Discuss Syllabus II. Using the DVD’s III. Discuss teaching philosophy Assignment: Read Introduction and Chapter 1

January 12 Percussion Introduction

I. Organizing the Percussion Section II. Introduction to Sach’s Categories

A) Notational differences B) Musical Performance and the Percussionist C) Typical education percussion setting D) Instruments and attitude (how the director can help)

Snare Drum Introduction I. Review Membranophone and Idiophone II. Physical aspects of the snare drum and stand III. Heads, sticks IV. Grips, Stance, Playing Action, Basic Motions V. Notation and Sticking Patterns Assignment: Read Chapter 2 up to page 51

January 17 Martin Luther King Jr. Day - No Class Meeting January 19 Fundamental technique - “hands separate” approach

I. Review Parts of the Snare Drum II. Grip III. Playing Areas on Head IV. Levers/Muscle groups V. Hands Separate/Hands Together VI. 4 Stroke Types-Play separate Assignment: Practice exercises on the 4 stroke types

January 24 Fundamental technique - “hands separate” approach

I. Review grip, playing areas, hands separate concept II. Play hands separate exercises-Metronome games III. Independence: The Missing Link IV. Sticking

A) Alternating B) lead system (right or left) pg. 70-73 C) exercises pg. 432-435

V. Hands Together Exercises-The Rudiments (pg.361-362)

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A) Wooton pg. 15 B) Accented 16ths C) Double Stroke Roll D) Paradiddles, Flams, and Drags

Assignment: Practice Hands Separate ex., Independence, and Hands Together Exercises, finish reading Chapter 2.

January 26 Introduction to Bass Drum/Snare cont. Sticking choices and reasons Bass Drum pg. 210-219 (lecture) I. Physical Aspects

A) shell and head material 1) shell: wood vs. plastic/fiberglass

2) head: calf vs. plastic (plastic recommended) 3) lugs, t-rods like any membranophone

B) stands 1) suspended

2) any restaurant type stand II. Stick/Mallet options

A) Gauger models (by Vic Firth)-medium rollers, chamois covered B) Vic Firth/Pro-Mark/Yamaha models

III. Basic Technique-demonstration pg. 218 A) beating spot: physics of a circular head B) stroke: a little lift with arm A) rolling: use two mallets B) dampening D) with hand/fingers like timpani (car mitt) E) leg, if standing

IV. Maintenance-cover, storage, replacements (heads, beaters), cleaning Continue Snare Development (Laboratory)

I. Warm-up w/hands separate exercises-metronome games II. Play hands together exercises, including paradiddles III. Multiple Bounce Rolls, Cadence 2 - Siwe IV. Introduce written music (pg. 41-43 & 454-456)

A) Parts with stickings written in (rudimental) B) Parts without stickings-musical/educational choices C) Odd meter and odd groupings-what to do

1) lead with left 2) a double or diddle

Assignment: Practice all exercises, write in stickings on handouts using both right hand lead and most even/musical choice.

January 31 Cymbals (lecture) Crash Cymbals

I. Physical aspects A) size, weight=color of sound 1) French-light weight, thin(high overtones) sound 2) Viennese-med, weight, (full spectrum of overtones) 3) German-heavy weight (low overtones)

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B) Straps - How to tie (pg. 226) C) Pad or no pad?

II. Basic technique A) demonstrate drop technique (work with gravity) B) basic principle-plates should flam and ring, be careful not to line up the

edges(avoids airpockets) C) warm-up plates before crashing (optional) D) dampening(choke) with chest/stomach when repeated notes E) soft playing-minimize entire motion, go vertical

III. Maintenance-bag, cleaning (polish), when to replace Suspended Cymbals I. Physical aspects A) size, weight=color of sound B) stand-gooseneck vs. straight stand II. Sticks/Mallets

A) depending on dynamic marking-cord or medium yarn best B) sticks only when called for

III. Basic technique A) play on opposite sides near outer edge B) warm-up plate before striking (optional) C) dampen with body if necessary

IV. Maintenance-bag, cleaning (polish), when to replace Snare Technique Continued-Roll Types, Skeletons, & Notation (lab) I. Open/Double vs. Closed/Buzz/Multiple Bounce II. Rudimental vs. Orchestral - Sustain III. Names for durations are same regardless of stroke type IV. Skeleton Concept: “Hanging” Strokes (Dbl. Or Buzz) on a Rhythmic Frame.

A) Doubles are exactly the metered roll name (5, 7, etc.) B) Buzzes/Closed same name because of skeleton

V. Notation-Cadences, published parts-Siwe Exercises VI. Siwe 5, 7, 9 stroke roll – Metered Roll Exercise VII. Downfall of Paris (ancient rudimental) pg. 374 ver. B Assignment: Read Cook pg. 225-231. Practice roll exercises and Cadences in the Siwe Book. Continue practicing hands sep./together exercises, pg.15, and single paradiddle.

February 2 Timpani - An Introduction with Professor Kirk Gay

I. Physical aspects of drums A) diameter and ranges B) bowl differences (parabolic and hyperbolic) C) pedal mechanisms (spring tensions, ratchet, friction clutch)

II. Heads, sticks (different functions) III. maintenance (cleaning, adjusting pedal, change a head-pg. 172) IV. Grip (all three, French recommended), stroke (lots of lift), playing areas (physics

of circular drum head) V. Basic exercises

A) legato strokes B) staccato strokes

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C) articulation considerations-pg. 188-190 VI. Timpani Method Book suggestions (pg. 209-211) Fundamental technique – Snare I. Warm-up w/hands separate exercises-metronome games II. Play pg. 15, paradiddle, Sticking Patterns in 6/8, Cadences1-7 III. Review skeleton-buzz/open sounds

A) Roll base (duple or triple pg. 46-48) B) Roll exercises, tied and untied (pg. 49-54, 455-458)

Assignment: Read Chapter 5. Practice different timpani stroke types.. Practice roll exercises 5, 7, 9 and Cadences 1-6. Continue practicing hands sep./together exercises, pg.15, and single paradiddle.

February 7 Timpani - Basic Performance

I. Review grip, stroke, and articulations II. Sticking

A) when moving up, lead right, when moving down lead left B) cross-sticking, how to play, how to mark C) shifting doubles(sweeps), diddles

III. Rolls A) forte-piano crescendos B) tighter the drum head (higher drum pitch) faster roll speed metered according to tempo (pg. 196-200)

IV. Dampening/Muffling techniques A) Siwe Section B) pg. 201-202

V. Timpani solos-list on pg. 211-213 A) virtuoso solos-Firth, Lepak B) orchestral literature solos/etudes-Hochrainer, Peters

VI. Typical drums used in educational settings A) prices, companies B) recommended purchases

VII. Ear training A) interval tunes as helpful reminders of sound quality B) Siwe-Timpani Scale Etudes No. 1 and 2 C) range game-pick 2 notes, which drums those notes sound best

play “Mary Had a Little Lamb” on one drum at a time-get to know ranges

Fundamental technique – Snare I. Warm-up w/hands separate exercises-metronome games II. Play 5, 7, 9 Stroke Roll Exercises, Cadences1-5, Etude No.1-3 Assignment: Read Chapter 9. Practice roll exercises and Cadences. Continue practicing hands sep./together exercises, pg.15, and single paradiddle.

February 9 Timpani - Basic Performance

I. Review grip, stroke, and articulations II. Sticking III. Timpani Roll Development Exercises No. 1-4 IV. Forte-piano exercises No. 6-9

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V. Timpani Scales Etudes No. 1-3 Fundamental technique – Snare I. Warm-up w/hands separate exercises-metronome games II. Play 5, 7, 9, 13 Stroke Roll Exercises, Cadences 7-9, Etude No.1-3 Assignment: Read Chapter 9. Practice roll exercises and Cadences. Continue practicing hands sep./together exercises, pg.15, and single paradiddle.

February 14 Playing Exam - Individual performance evaluation of snare drum and timpani

skills. I. Items to Evaluate:

A) Hand grips for Snare and Timpani B) Basic arm and wrist motions C) Approach to tuning timpani D) Performance skills (Cadences and Interval studies)

Fundamental technique – Concert Snare I. Concert and Rudimental Solos list – pg. 76-78 II. Concert and Rudimental Methods list

A) Concert pg. 76-78 B) Rudimental pg. 424

Assignment: Read Chapter 9. Practice roll exercises and Cadences. Continue practicing hands sep./together exercises, pg.15, and single paradiddle.

February 16 Introduction to Triangle

I. Physical Aspects A) Sizes and relevant pitches B) Clips-double fishing line (back-up)

II. Beaters-different sizes III. Basic technique-example on pg. 238-239

A) beating spot: different options, base of triangle most comfortable B) stroke: thumb up (similar to french grip), lots of fingers C) rolling: turn hand palm upward roll in top corner or closed side D) dampening-can use whole hand, can also play triangle w/o clip and use

hand as sound effect IV. Maintenance-bag, cleaning, when to replace V. Siwe - Triangle Exercises No. 1-7 Fundamental technique – Snare, Bass, Cymbals, Timpani I. Warm-up w/hands separate exercises-metronome games II. Play 5, 7, 9, 13 Stroke Roll Exercises, Cadences 7-9, Etude No.1-3

Assignment: Continue to read Chapter 6. February 21 Introduction to Tambourine pg. 234-241

I. Physical Aspects-uniquely fits into both membranophone & idiophone A) shell: wood or plastic B) can have tambourine with or without head (plastic or skin) C) jingles: bronze, copper, silver (mixed)

II. Basic Technique-demonstration pg. 238 A) soft and slow-one hand holds, other hand’s fingers on edge

B) loud and slow-one hand holds, other hand’s fist or fingers on head

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C) soft and fast-rest on knee, both hands use fingers on edge D) loud and fast-hand/knee with foot on chair E) rolls-shake roll (loud), thumb roll (soft)

III. Maintenance-bag, store in a dry place, when to replace (jingles or heads) Fundamental technique – Snare, Bass, Cymbals, Timpani I. Warm-up w/hands separate exercises-metronome games II. Play 9, 13, 17 Stroke Roll Exercises, Cadences 8-10, Etude No.1-5

Assignment: Finish Reading Chapter 6. February 23 Introduction to the Castanets (pg. 240-242)

I. Basic Technique A) use covered surface or leg to hit against B) machine or paddle

II. Play Siwe Castanet Exercises 1-5, Etude I-II, Trio Fundamental technique – Snare, Bass, Cymbals, Timpani I. Warm-up w/hands separate exercises-metronome games II. Introduce Flams, Cadence No. 2-3, Etude 1 and 2 with flams III. Play 9, 13, 17 Stroke Roll Exercises, Cadences 8-10, Etude No.1-5 Assignment: Read Chapter 7

February 28 Introduction to the Small Wooden Instruments Temple Blocks/Woodblock (pg. 242)

I. Physical Aspects A) Regular woodblock-different sizes and materials (wood vs. granite/jam

blocks) B) Temple blocks-standard set of 5 (requires stand)

II. Mallets A) medium rubber mallet of soft yarn/cord mallet B) sticks only when specifically called for

III. Basic Technique pg. 242-245 A) beating spot: center of block over opening B) stroke: like snare

IV. Maintenance-bag/sock for storage, when to replace (cracked) Claves (pg. 265) I. Basic technique

A) cup left hand, hold one stick perpendicular to body so air can move underneath

B) stroke with right hand at 90 degree angle Slapstick, Ratchet, Slit (Log) Drum (pg. 245-248) I. Basic technique II. Play Siwe-Etude for Small Wooden Instruments Fundamental technique – Snare, Bass, Cymbals, Timpani I. Warm-up w/hands separate exercises-metronome games II. Introduce Drags, Cadence No. 7, Etude 1 and 2 with drags III. Play 9, 13, 17 Stroke Roll Exercises, Cadences 8-10, Etude No.1-5 Assignment: Read Chapter 7

March 2 Mid-Term Exam On Line

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Introduction to the Metal Instruments Gong/Tam-Tam (pg. 237-240)

I. Physical aspects A) gong-has specific pitch similar to bell B) tam-tam-has a spread of pitches similar to triangle or cymbal C) different types-Wu Han, Paiste, nipple, opera/descending D) stand always necessary

II. Mallets A) heavy, large, wrapped for larger tams B) heavy, small, wrapped for smaller tams C) small gongs-vibraphone mallet equivalent D) bass drum mallets do not work

III. Basic technique A) beating spot: tam-tam – just below center, gong-dead center B) warm-up metal before playing with soft hit(s) (get vibrations started) C) stroke: lots of arm D) rolling: use two mallets

II. Maintenance-cover, cleaning, when to replace Crotales/Antique Cymbals (pg. 103, 244-finger vs. antique cymbals)

I. Physical Aspects pg. 103 A) soft metal sensitive to heat and cold B) range 1-2 octave(s) (upper 8va more practical) stands

II. Mallets A) smaller diameter ball B) hard plastic(sometimes brass, but soft dynamics only)

III. Technique A) Strike edge with mallet B) For use of only one or two pitches, mount with a cord through the

middle IV. Maintenance-keep covered, clean with polish Cowbells (pg. 244) I. Basic Technique

A) hold with mouth facing out, index finger underneath availaboratoryle to dampen

B) strike over mouth with large stick Anvil (pg. 246)

Fundamental technique – Snare, Bass, Cymbals, Timpani I. Warm-up w/hands separate exercises-metronome games II. Introduce Ruffs, Exercise for Four Stroke Ruffs, Cadence No. 6 III. Introduce Rim Shots Cadence No. 7 IV. Play 9, 13, 17 Stroke Roll Exercises, Cadences 8-10, Etude No.1-5

March 7-11 Spring Break March 14 Mid-Term Exam On Line

Introduction of the Marimba and Xylophone (pg. 94-97) I. Physical aspects of the Marimba and Xylophone

A) Keys-material, resonators-function

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B) Ranges II. Maintenance (restringing, resonator dents, cleaning keys) III. Covers and storage IV. Typical instruments in education settings

A) prices, companies B) Recommended purchases

V. Mallet selection for all instruments A) core and covering B) shaft

VI. Striking Area (nodes and string) VII. Grip-Multiple mallets in one hand VIII. Play through Mallet Exercise I and II Assignment: Read Chapter 4 up to pg. 127 (not covering multiple mallets)

March 16 Introduction to the Vibraphone, Orchestral Bells, and Chimes

I. Physical aspects of the Vibraphone A) Keys-material, resonators-function, motor, belts, etc. B) Ranges

II. Mallets, Grip, Range, and Playing Area Basic 2 mallet Technique

I. Review physical aspects of all instruments II. Review mallet possibilities III. Grip, piston stroke (lots of lift), playing area (nodes) IV. Chromatic scales-one hand, alternating

A) unmeasured-get familiar with keyboard B) measured-learn by rote

IX. Diatonic scales-one hand, alternating A) Major B) minor

X. Skips (arpeggios)-good lift allows you to prepare for next jump A) major B) minor

XI. Double stops A) Siwe Mallet Exercises I & II and Mallet Test Pieces B) pg. 112

Assignment: continue to read Chapter 4 up to pg. 127 Review Mid-Term Exam/Keyboard Percussion-Basic performance

I. Warm-up with scales and rote exercises II. Reading exercises (pg.112)

A) Sight-reading by looking at sheet music only-use peripheral vision B) Do not memorize music and then look down C) Practice peripheral vision exercises (pg. 113 #15)

III. Rolls A) Metered and unmetered B) Pg. 116

IV. Keyboard Method Book Suggestions (pg. 146-149) V. Rehearse Blue Funk, Latin Island, Minor Swing, Siwe's Shuffle, Straight Rock VI. Practice Mallet Chops

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VII. Two-mallet solos-list on 150-156 A) Transcriptions-in Cook Book, Bach for any instrument B) Original solos-Musser, Hatch (see state solo & ensemble list)

Assignment: Review Chapter 4. March 21 Introduction to the Drum set

I. Physical Aspects and function of all components A) bass drum and pedal B) snare drum C) toms-mounted and floor D) throne E) cymbals-hi-hat, ride cymbal, crash cymbals, effect cymbals F) cases and storage

II. Typical drumsets in educational settings A) prices and companies B) recommended purchases

III. Positioning A) body positioning B) drumset position and function in the rhythm section C) rhythm section position and function in jazz band IV. Chart Reading A) Can’t sing can’t play B) section figures vs. ensemble figures C) fills, time notation V. Brushes A) slow ballad, sustain longer sounds-figure 8 models B) soft, up-tempo swing-LH circles, RH time

C) different types-wire, plastic Assignment: Read Chapter 8, practice Drum Set Exercises.

March 23 Drum set and Mallet Keyboard

I. Rehearse Mallet Exercises I and II, Chops rotate assignments. II. Rehearse the mallet and drum set ensembles: Blue Funk, Latin Island, Minor

Swing, Siwe's Shuffle, Straight Rock March 28 Playing Exam - Individual performance evaluation of keyboard and drum set skills.

I. Items to Evaluate: A) Hand grips for two and three mallets B) Basic arm and wrist motions, plus movement and stances C) Performance skills (Mallet Test Pieces) D) Performance skills on drum set (Drum set exercises)

II. Rest of the class reviews for exam. March 30 Latin drums and Latin accessory instruments Latin Drums Bongos

I. Basic technique A) martillo pattern (fingers)

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B) high drum on left, low on right C) without stand-hand only, with stand-hands, sticks/mallets

II. Maintenance-storage, replacement heads, tuning Congas I. Basic technique

A) tones-bass, open, heel/toe, slap B) placement of different drums on floor, on stand (quinto, conga, tumba) C) simple pattern-tumbao

II. Maintenance-storage, replacement heads, tuning Timbales

I. Basic technique A) playing on rim (paila), playing on head (vaqueteo) B) high drum on right, low on left (like timpani) C) always with stand, using thin timbale sticks D) common to add cowbell or woodblock in center

II. Maintenance-storage, replacement heads, tuning Latin Accessory Instruments

Claves I. Basic technique

A) cup left hand, hold one stick perpendicular to body so air can move underneath

B) stroke with right hand at 90 degree angle II. 3-2, 2-3 pattern-heartbeat of Afro-Cuban music III. Excerpt-Incantation and Dance (Chance) Cowbells I. Basic Technique

A) hold with mouth facing out, index finger underneath availaboratoryle to dampen

B) strike over mouth with large stick II. Excerpt-Liturgical Dances (Holsinger)

Guiro I. Basic Technique

A) use finger holes, hold guiro perpendicular to body B) scrape in down and up strokes according to duration of note

II. Excerpt-Incantation and Dance (Chance) Maracas I. Basic Technique ` A) wrist stroke, hold either handle or base of gourd B) soft playing can be tapped with fingers on gourd II. Excerpt-Symphonic Dance No. 3 “Fiesta” (Clifton Williams) Cabasa

I. Basic Technique A) hold beads in one hand, move handle back and forth with

other hand B) short notes=quick motion, long notes=suspended in air

II. Excerpt - Wind River Overture (Bruce Pearson)

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April 4 Marching Percussion – An Introduction I. Physical aspects of all instruments

A) Snare B) Tenors (trios, quads, quints) C) Bass Drums D) Cymbals E) Pit (refer to percussion ensemble)

II. Typical instruments (sizes and brands) used in educational settings III. Maintenance – cases and storage IV. Philosophy of marching percussion as a component of a student’s total music education

A) Winter drumlines and drum corps have to be balanced properly time wise and in perspective

B) Careful to have all students play every instrument in concert season because of marching band specialization

V. Review UCF exercise packet and analyze using hands separate ideas Assignment: Read Chapter 9. Review hands sep./together exercises with sequencer.

April 6 Marching Percussion – Basic Technique

I. Review instruments II. Grip, playing area, level system on all instruments-Transfer Value on all instruments III. Snares-traditional vs. matched, beating spots IV. Basses-matched, thumbs up, rotate wrist, beating spots-usually dead center V. Tenors-matched (hand motion like keyboard) beating spots like timpani VI. Cymbals-hands inside straps for visual effect, crash similar to concert crash VII. Review UCF exercises and SOS exercises, (others pg 406-420)

A) Four stroke types, hands sep. and together B) Watch video of drumline warm-up sequence

VIII. Writing A) Re-writing of bass and tenor parts pg. 375 B) Cadences (see scoring rules pg. 393-406, 406-420)

IX. Position on the field and drill writing A) Forms B) Use of section leader/bass drums/drum major C) More videos D) Play Exercises E) Written and playing exam at the next class

Assignment: Re-write bass drum and tenor part for a grade, (no manuscript, digital notation only), write an eight to sixteen bar (no cut-time) cadence (must be done with digital notation software program)

April 8 UCF PERCUSSION CONCERT**** (8:00 PM, VAB) April 9 FLORIDA DAY OF PERCUSSION**** (9:00-10:00)

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April 11 Second Written Exam On Line Percussion Rehearsal in Band/Orchestra I. Perform as percussion section of large ensemble using intermediate

(Grade 3 or 4) band literature (See selections in PAS Source book) A) American Civil War Fantasy-Jerry Bilik (6 players) B) Variations on a Korean Folk Song-John Barnes Chance (6 players)

C) Symphonic Dance No. 3 “Fiesta” by Clifton Williams (6-8 players) D) Tulsa by Don Gillis (8-10 players) E) Divertimento for Band by Vincent Persichetti (5 players)

II. Discussion position in ensemble (pg. 17) III. Part distribution (when percussion parts are not individually scored,

instrument list/players list watch for fast instrument changes and set-up considerations

IV. Introduce/Show unusual accessory instruments: mark tree, bell tree, ratchet, vibraslap, slapstick, sleigh bells, anvil substitutions, sandpaper blocks,

brake drums, marching man, whistles, lion’s roar, log drum, and thunder sheet Assignment: part distribution assignment (pick any above percussion parts and distribute among “phantom” players) for grade

April 13 Percussion Ensemble Day 1 I. Turn in drumset assignment II. Percussion ensemble discussion/philosophy III. Review and explain final procedure and handout IV. Play assigned percussion ensemble etudes

Assignment:, practice for final April 18 Percussion Ensemble Day 2-Continue to play ensemble etudes in preparation for

the final Assignment: practice for final

April 20 Percussion Ensemble Day 3-Continue to play ensemble etudes in

preparation for the final Assignment: Turn in notebook, practice for final

April 25 Percussion Ensemble Day 4-Continue to play ensemble etudes in

preparation for the final Assignment: return notebook, practice for final

* The final Exam is scheduled for Friday, April 29, 7:00-9:50 and will be 1/2 written, 1/2 playing. Your scores on playing and written Exams, Written Assignments, Notebook, Final Lesson Plan, Final Exam Performance, Classroom Participation, and Attendance determine final Grades. *Please note: this document is subject to change at the discretion of the instructor