University of Central Florida College of Arts and Humanities School of Performing Arts Department of Music
Jeffrey M. Moore Kirk Gay Thad Anderson Revised Summer 2011
Acknowledgements I would like to acknowledge Dr. Steven R. Hemphill of the Northern Arizona University’s School of Performing Arts for sharing his Applied A pplied Percussion Handbook with me. The Listening Cards and Composition semester requirements were inspired by his program, which includes the sample Milhaud entry taken exactly from his example. I also used used his pages with practically no editing. was inspired by his, but modified to fit the University of Central Central Florida’s requirements requirements and procedures. The literature, listening, and reading lists all started from his format and entries, I updated/added works, discs, and books that I am familiar with and comfortable recommending. I would also like to acknowledge Stanley Leonard, retired timpanist of the Pittsburgh Symphony, for for the contributions in the timpani timpani literature section. I took some of the solos and accompanied pieces for timpani timp ani from a handbook he produced in conjunction with his clinics and lessons. Johnny Lee Lane contributed in the t he and influenced the sections. Dr. Robert Schietroma of the University of North Texas influenced the layout and structure of the level system and the content/material contained in each of the instrument’s semester of study.
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To meet degree requirements, students are expected to show considerable proficiency in the percussion categories listed below. All students entering the percussion curriculum should have had considerable prior training in at least three of the six categories. The percussion studies program at UCF offers majors comprehensive instruction in all areas of percussion. Individualized Individ ualized instruction allows for personal specialization, while providing a well-rounded foundation in all percussion instruments. Intended for undergraduate or graduate percussion students majoring in music, applied study is directed toward developing competencies and understanding that will contribute to the goals of becoming a competent percussionist, teacher and musician. Students with a minor in music/percussion are also offered opportunities for individual individ ual instruction when studio time is available.
I. II. III. IV. V. VI.
Snare Drum (Rudimental, (Rudimental, Orchestral) Timpani (and Tuned Drums) Mallets (Marimba, Xylophone, Vibes, Bells, and Chimes) Drumset Multiple Percussion Hand Drumming and World Music
1. 2.
No specific repertoire requirements have been established. The student should should demonstrate facility in at at least least three of the six categories. Admission is contingent upon audition before the percussion director.
3.
Lessons are divided into twelve (12) assignments, and the material of each level has been divided accordingly. This procedure is to aid the student in pacing him or herself herself throughout the semester. In addition to the weekly assignments, the student is responsible for continuing to work on the . Listening Cards Cards (10), Composition (1), (1), and Book Report (1) are due at the end of the semester. It is the responsibility of the student to t o prepare material prior to his or her scheduled lesson time. The assignments are are arranged to allow ample ample time for preparation. The student must give early early notice if he or she she plans on not attending a lesson. This can be done by making a phone call, placing a note on the door, or in the teacher’s teacher’s box (in the music office). Lessons missed by the student will not be made made up (unless excused by the instructor). Lessons missed by the instructor will be made up at a time convenient for both.
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The for your applied lessons are as follows: 1. Each student will perform a solo on the music forum at least once a semester. 2. Each student should be able to sight read material according to his or her level of study. 3. Each student is required to know the history and nomenclature of his or her instrument, and should be able to engage in a scholarly discussion utilizing this knowledge.
General studio evaluation criteria will be based upon, but not limited to, the following: a) evidence of careful and complete lesson preparation, b) technical (skill-related) progress and ability, c) attitude, d) regular attendance, e) punctuality, f) overall progress made during the semester in relation to the student's specific degree program, g) cooperative acquisition of required materials. I. General Requirements:
II. Specific Requirements: A. To receive a grade of “A” for the course: 1. A student must give a superior performance on the music forum, barrier exams, and jury. 2. A student must not have more than one unexcused absence. 3. Assigned materials, including listening cards, composition, and book report, should be completed and performed or completed , showing . B. To receive a grade of “B” for the course: 1. A student must give an excellent performance on the music forum, barrier exams, and jury. 2. A student must not have more than 2 unexcused absences. 3. Assigned materials, including listening cards, composition, and book report, should be completed and must be performed or completed , showing . C. To receive a grade of “C” for the course: 1. A student must give a performance on the music forum, barrier exams, and jury. 2. A student must not have more than three unexcused absences. 4
3. All assignments, including listening cards, composition, and book report, must show a . D. A student who fails to complete the above requirements will receive a grade of “D” or “F” according to the degree of noncompliance. E. An “Incomplete “ will not be given unless it is considered to be in the best interest of the student.
To acquaint each student with representative solo and study materials that will aid in an orderly development toward mastery of each instrument, and a thorough knowledge of its literature.
1. Increase percussion performance skills including: a. requisite physical techniques concerning sound production, posture, hand grips, stroke types, flexibility, endurance, strength, digital/wrist/arm control, etc.; b. visual, aural and tactile rhythmic and pitch discrimination skills, including sight reading; c. awareness, understanding and synthesis of the elements requisite to sensible interpretive decisions in musical performance; d. solo keyboard, rudimental and concert snare drum, timpani, auxiliary, drumset, multiple percussion, Latin/hand drumming and ethnic percussion. 2. Gain familiarity with the musical and pedagogical literature associated with percussion - stimulate interest in professional literature related to percussion instruments and percussion performance. 3. Acquire familiarity with, and understanding of, the basics of percussion pedagogy. 4. Gain a practical understanding of the learning process aimed at increased efficiency and economy in skill acquisition in order to: a. acquire a constructive, problem-solving orientation b. enhance the quality of time spent in the practice and study of percussion. 5. Develop through listening the awareness, appreciation and critical discernment of varying types of music. 6. Cultivate interest in and development of improvisatory and compositional skills as they relate to percussion performance. 7. Develop an awareness of those disciplines and potential situations that
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can directly benefit from the experience of applied study: self-motivation, problem solving, goal setting, self-reliance and confidence, leadership, sensitivity, etc. 8. Develop and apply appropriate strategies for dealing with performance stress and anxiety. 9. Acquire the self-initiative and ability for continued self-study in perc ussion beyond the formal educational environment. Private lessons are central to the music major’s curriculum and are designed with the student's need for individualized, concentrated instruc tion. The progress and lesson documentation of each student will be recorded in an individualized notebook. The notebook will include a lesson assignment/grade sheet that is utilized for each lesson; a semester achievement form, recording the student's studio status, test results, reading requirements, ensemble participation (and positions held), among other information.
As an integral component of percussion studies at the University of Central Florida, the UCF Percussion Ensemble performs extensively on campus and throughout Florida. With the ensemble serving as a laboratory for musical experimentation, with focus upon specific performance habits, listening skills, and general instrumental technique, the development of chamber music performance skills is at the core of the ensemble's existence. The ensemble repertoire comprises a wide variety of musical and ethnic styles, including standard works, contemporary works, marimba band, steel band, African and Brazilian drumming, commercial/jazz, and transcriptions. The student should develop an understanding of and an ability to apply appropriate and/or correct performance techniques upon all pertinent percussion instruments, many of which are not utilized in any other ensemble. Knowledge of percussion ensemble literature is also an aspect of the course structure. Opportunities for student composition and arranging, in the medium of percussion ensemble, are available to the student and highly encouraged. Course prerequisites include percussion performance experience at the high school or college level and concurrent percussion study (see instructor for exceptional circumstances). All percussion majors are expected to participate in percussion ensemble, in addition to other general ensemble requirements. Membership of the ensemble is made up of percussion performance and education majors, Bachelor of Arts majors, music minors, and majors of diverse academic disciplines. Participating membership and exact instrumentation will vary according to the specifications of each work studied and/or performed. Enrollment is subject to audition and/or permission by the instructor .
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1. Lectures and demonstrations will be given by the instructor and students. Recordings of percussion solos by distinguished performers will be played. Video tapes will be used whenever available. Clinicians will also visit the campus for performances and workshops. 2. Read my 3. Students should split their lesson time between two instruments. For example, a half hour snare drum lesson and a half hour marimba lesson. Students may indicate their instrument preferences at the time of registration. However, final instrument assignments will be up to the instructor. 4. Attendance is urged at concerts given by all the major performing groups on campus. 5. at percussion events (Junior, Senior, Guest Recitals, etc.) is Your . You owe it to your colleagues to attend their performances, and you will appreciate it when they come to yours. In addition, percussionists frequently need assistance with their recital set-ups and you may be able to help. Besides, this is an excellent opportunity to become familiar with percussion solo and ensemble literature.
1. Your own personal equipment is your responsibility - take care of it. Equipment belonging to the Department of Music is also your responsibility, and you are expected to take care of it as if it were your own. 2. Equipment that belongs neither to you nor to the University is to remain untouched. are you to borrow, move, or practice on privately owned equipment unless you have permission to do so. 3. If you need to move any equipment from one assigned area to another for a rehearsal, performance, or practice period, it must be returned to its proper storage area upon completion of use. If removed from the building, it must be properly signed out.
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SUGGESTED EQUIPMENT Sticks and Mallets
Pro-Mark Tom Freer - Orchestral General Pro-Mark S.D. 2 - Bolero Pro-Mark S.D. 5 – Multi-Perc. Sticks
Pro-Mark SDJM-Jeff Moore Cooperman #1 Graham Johns Tom Gauger (Double-end)
* Some type of all-around sticks for rim shots, etc. - any make. * Some type of drumset stick (jazz weight)- any make. * A pair of brushes - Pro-Mark, Regal, Vic Firth, etc.
Pro-Mark Pro-Mark Pro-Mark Pro-Mark Pro-Mark
PST 1 PST 2 PST 3 PST 4 PST 5
Pro-Mark Bamboo PSTB Pro-Mark Bamboo PSTB Pro-Mark Bamboo PSTB Pro-Mark Bamboo PSTB Pro-Mark Bamboo PSTB Duff Series
10 20 30 40 50
Pro-Mark PK 21 - Yellow Pro-Mark PK 22 – Green Pro-Mark PK 23 - Grey Musser M3 - Blue
Malletech - Concerto 14 (khaki) Malletech - Leigh Stevens 15 Malletech - Leigh Stevens 27 Malletech - Leigh Stevens 20
Pro-Mark Jeff Moore JM11 Pro-Mark Jeff Moore JM12 Pro-Mark Jeff Moore JM13
Pro-Mark Performer PSM 8 Pro-Mark Performer PSM 10 Pro-Mark Performer PSM 20 Pro-Mark Performer PSM 25 Pro-Mark Performer PSM 30 Pro-Mark Performer PSM 40 Pro-Mark Blake Tyson BT1 Pro-Mark Blake Tyson BT2 Pro-Mark Blake Tyson BT3 Pro-Mark Blake Tyson BT4 and 5
Pro-Mark Pro-Mark Pro-Mark Pro-Mark Pro-Mark Pro-Mark
Kai Kai Kai Kai Kai Kai
Stensgaard Stensgaard Stensgaard Stensgaard Stensgaard Stensgaard
KS1 KS2 KS3 KS4 KS5 KS6
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1. 2. 3. 4. 5. 6. 7.
At least one set of four yarn mallets from above. One general-purpose bass drum mallet (Freer-Pro-Mark, Gauger-Firth). A stick bag or briefcase (preferably both). Drum key, tuning fork, pitch pipe, etc. Practice pad (Pro-Mark, Remo, etc.) A metronome (i.e. Boss DB 90, or similar) A “pocket” music dictionary (The A to Z of Foreign Musical Terms by Christine Ammer, published by E.C. Schirmer, or similar) 8. Cook, Gary Teaching Percussion [Third Edition](New York: Schirmer, 2006)
Pro-Mark Tom Freer FK4 (Rubber) Pro-Mark Tom Freer FK5 Pro-Mark Tom Freer FK6 (Browns-General) Pro-Mark Tom Freer FK9 (2 pair-General) Pro-Mark Tom Freer FK10A Pro-Mark Tom Freer FK11 Pro-Mark Tom Freer FK11A Pro-Mark Tom Freer FK12
Malletech - Bob Becker - Blue Malletech - Orchestra - Brown Malletech - Orchestra - White Pro-Mark PK 62 - Brass Pro-Mark PSX 10R Pro-Mark PSX 20R Pro-Mark PSX 30 R Pro-Mark Tom Freer FK2AM
Pro-Mark Jeff Moore 15R (Soft) Pro-Mark Jeff Moore 16R (Medium) Pro-Mark Jeff Moore 17R (Hard) Pro-Mark Bill Molenhof - PBM (Grey) Pro-Mark Joe Locke – PJL (Black) Pro-Mark Lionel Hampton – PLH (Blue)
1. At least one general-purpose triangle - Abel, Black Swamp, Yamaha, Grover (Strikers may be cut from welding rod or Grover, Stoessel, Black Swamp). 2. At least one tambourine w/ head - Black Swamp, Grover. 3. At least one general-purpose woodblock – Black Swamp, Grover, L.P. 4. Small concert percussion instruments a. Cowbell-LP b. Claves-LP c. Maracas-LP d. Castanets-Black Swamp e. Finger cymbals-Paiste, Zildjian, Sabian
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Due to the nature of percussion studies, the exploration of many different instruments within the same general family, the student will require numerous study materials, method books, sticks and mallets, solo repertoire, and various paraphernalia. This burden must be clearly understood by the student when collegiate studies are embarked upon. Expectations of the teacher include the student’s acquisition of all necessary and recommended materials. The student should regard these requirements as steps toward developing a personal/professional library and acquiring necessary “tools” for professional development and eventual employment. The student should expect to spend an approximate minimum of $250.00 per semester for materials and equipment.
One of the most challenging aspects of percussion study is the administration of personal time for practicing a large family of instruments. Although the core of percussion studies centers upon keyboard, timpani, snare drum, and drumset, evaluated through the school’s barrier process at the end of each semester, it is vital to today’s percussionist to explore a wide variety of instruments. Scheduling balanced or proportional time for all of the instruments can be overwhelming if a is not taken. As there are numerous possibilities for the assignment of instrumental study, each student should decide upon a schedule to be followed for several weeks at a time, making necessary changes in that schedule at the end of the range of time previously determined. The topics of instrumental study that are focused upon by each student will depend, to some degree, upon the specific instrumental areas and literature currently studied in the studio. Nevertheless, students should attempt to study in areas outside of those current studio parameters. In addition to the instrument levels assigned in the semester’s applied study, students should always address (and schedule time for) preparation requirements for each ensemble for which the student is a member. This may include percussion ensemble, steel band, wind ensemble, orchestra, jazz ensemble, marching band, chamber groups, and recital obligations. Whenever possible, students should seek feedback during practice sessions by way of mirror usage, and through video and audio tape recordings. An investment in portable audio recording equipment can be v ery important at any level of study. Working with a metronome and a drum machine addresses the very heart of the percussionist’s endeavor. All musicians should be exposed to the development of self-expression through improvisation and composition, which is also enhanced by use of record ing equipment.
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Snare Drum/Multi-Percussion Proficiency Deficient Savage Rudimental Workshop Matt Savage Drumstick Control Jeff Moore Portraits In Rhythm Anthony Cirone PAS Drum Rudiments (All @ Deficient tempos).
Level I Level II Savage Rudimental Workshop Advanced Snare Drum Studies Matt Savage Mitchell Peters The All-American Drummer Symphonic Repertoire for Snare Drum Anthony J. Cirone Charley Wilcoxon Portraits In Rhythm Contemporary Studies For the Snare Drum Fred Albright Anthony Cirone PAS Drum Rudiments Hybrid Rudiments (All @ Level I tempos). (Handout from instructor) Jury Piece Jury Piece (Multi-Percussion) Drumstick Control Performance of own Multiple Jeff Moore Percussion Solo Composition
Supplemental Snare Drum Studies 1. Modern School for Snare Drum - Morris Goldenberg 2. 14 Modern Contest Solos - John S. Pratt 3. Stick Control - George Stone 4. Accents and Rebounds - George Stone 5. Snare Drum in the Concert Hall - Al Payson 6. Odd Meter Rudimental Etudes - Mitchell Peters
Timpani and Orchestral Percussion Proficiency Deficient Exercises, Etudes, and Solos for the Timpani Raynor Carroll Pedal to the Kettle Kirk Gay
Level I
Level II Pedal to the Kettle Kirk Gay The Working Timpanist's Survival Guide John Tafoya Jury Piece
Pedal to the Kettle Kirk Gay The Working Timpanist's Survival Guide John Tafoya Timpani Tone and Interpretation Steven Schweizer Jury Piece
Orchestral Level Symphonic Repertoire for Snare Drum Anthony J. Cirone Orchestral Repertoire for the Bass Drum and Cymbals Raynor Carroll Symphonic Repertoire for Keyboard Percussion Jack Van Geem Orchestral Repertoire for the Tambourine, Triangle, and Castanets Raynor Carroll Cymbalisms Frank Epstein (Recommended Purchase) Jury is a Mock Audition
Supplemental Timpani Studies 1. Fundamental Method for Timpani - Mitchell Peters 2. Modern Method for Timpani – Saul Goodman 3. The Solo Timpanist - Vic Firth 4. The Well-Tempered Timpanist - Charles Dowd 5. The Complete Timpani Method - Al Lepak/Alexander Friese
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Mallet Proficiency Deficient Instructional Course for Xylophone G.H. Green Reading Mallet Percussion Music Rebecca Kite Velocity Warm-Ups for Vibraphone Charles Dowd
Level I Instructional Course for Xylophone G.H. Green Reading Mallet Percussion Music Rebecca Kite Velocity Warm-Ups for Vibraphone Charles Dowd Second Book of Practical Studies for Cornet and Trumpet Robert W. Getchell
Level II Instructional Course for Xylophone G.H. Green Modern School for Xylo, Marimba and Vibraphone Morris Goldenberg Permutations Parallel/Contrary UCF Mallet Studies Vibe Etudes & Songs Ney Rosauro
Vibe Etudes & Songs Ney Rosauro Permutations/Floor Exercises UCF Mallet Studies Jury Piece Level III Instructional Course for Xylophone G.H. Green Chord Progression Permutations UCF Mallet Studies Guitar Studies UCF Mallet Studies
Jury Piece
Jury Piece
Level IV Modern School for Xylo, Marimba and Vibraphone (Etudes and Excerpts) Morris Goldenberg Chorales UCF Mallet Studies Symphonic Repertoire for Keyboard Percussion Jack Van Geem Jury Piece
Jazz Comping and Improvisation Level I The Art and Language of Jazz Vibes Jon Metzger Vibraphone Technique Dampening and Pedaling David Friedman Jazz Mallets: In Session Arthur Lipner Velocity Warm-Ups for Vibraphone Charles Dowd Jury Piece
Level II The Art and Language of Jazz Vibes Jon Metzger Voicing and Comping for Jazz Vibraphone Thomas L. Davis Jazz Mallets: In Session Arthur Lipner The Vibes Real Book Arthur Lipner Jury Piece
Supplemental Mallet Studies 1. Method for Movement - Leigh Howard Stevens 2. Percussion Keyboard Technique - Thomas McMillan 3. Fundamental Studies for Mallets - Garwood Whaley 4. Permutations for the Advanced Marimbist – Kevin Bobo 5. Well-Tempered Mallet Studies - Anderson 6. Contemporary Solos - Karen Erving 7. Contemporary Etudes - Karen Erving
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Drum Set and World Music Proficiency Deficient It’s About Time Fred Dinkins Mel Bay’s Studio/Jazz Drum Cookbook John Pickering Groove Essentials Tommy Igoe Supplemental Handouts
Level I The Jazz Drummer’s Reading Workbook Tom Morgan Mel Bay’s Studio/Jazz Drum Cookbook John Pickering Groove Essentials Tommy Igoe Jury Piece
Level II The Essence of Afro-Cuban Percussion and Drum Set Ed Uribe Drummers Collective Afro-Caribbean and Brazilian Rhythms for the Drumset The Collective The New Breed Gary Chester Drumset Control Marvin Dahlgren Jury Piece
Level III
Level IV
Masters of Time Steve Davis Drumset Control Marvin Dahlgren Brush Techniques – Handout from Instructor Patterns Book III (Time Functioning) Gary Chaffee Linear Time Playing Gary Chaffee-Recommended Jury Piece
Standard Time Steve Davis The Essence of Afro-Cuban Percussion and Drum Set Ed Uribe The Essence of Brazilian Percussion and Drum Set Ed Uribe Drummers Collective Afro-Caribbean and Brazilian Rhythms for the Drumset The Collective Groove Essentials Tommy Igoe
Style Performance - Be-Bop/Swing, Latin, Funk/Rock Supplemental Drum Set Studies 1. Future Sounds - Dave Garabaldi 2. Contemporary + 1 - Dave Weckl 3. Up Close - Steve Gadd 4. Practical Applications - Chuck Silverman 5. Drummer’s Collective Books 6. Rudimental Ritual - Alan Dawson 7. Advanced Funk Studies - Rick Latham
1. 2. 3. 4. 5.
Orchestral Excerpts Hand Drumming / Small Concert Percussion Arranging for Percussion Ensemble and Marching Scottish / Swiss Basel Rudimental Drumming Multiple Percussion
The Percussion Curriculum and syllabi, as academic documents, are intended to outline a general comprehensiveness and pacing for collegiate percussion study. Although the documents appear rigid in their structure, flexibility is an important component to successful applied instruction, requiring an individual approach in its application. As these documents offer ambitious models, the instructor may substitute appropriate solo, etude, and instructional materials for all levels. Equivalent requirements, however, will be in effect for materials thus substituted, and will be clearly established at the outset of the student’s use of such materials.
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Applied Lessons - Weekly Assignment Schedules •
•
The Jury Piece and other solo work will be introduced in a timely fashion according to the student’s individual progress. We will modify the schedule to accommodate the individual’s personal growth and development. There is no Jury Piece required for the Deficient Level.
Snare Drum Proficiency – Deficient Level Week 1
Cirone -
Rudiments-Moore Book (pg. in bold) Single Stroke Roll (1-3) pg. 4-18, 57
Savage 19-27
2
-
70-81
3
-
Diddle Rudiments (16-19) pg. 31-37 Multiple Bounce Roll (4) pg. 44-51
4
-
5
-
28-44 (Skip 35-37) 45-59
6
1
7
2
8
4 -
Double Stroke Open Roll (6, 7, 9-10) pg. 26-29 Double Stroke Open Roll (11-15) pg. 29-30 Flam and Drag Rudiments (20, 31-33) pg. 66, 54-56, 58 Drag and Roll Rudiments (34, 8, 38-40) pg. 59-62, 29 Drag Rudiments (35-37) pg. 59-60 Flam Rudiments (21, 23, 28) pg. 67, 72-73 Roll and Flam Rudiments (5, 22) pg. 67 Flam Rudiments (24, 25, 27) pg. 68, 73 Flam Rudiments (29, 30, 26) pg. 69-71
9
11
5 -
12
8
10
Video Beck
Listening
Rudiments!
60-63
100-103, 128135 140-142, 35-37, 143-152 89-97 104-106, 110112, 116-118 64-67, 107-109 82-84, 119-121, 113-115 122-125, 136139, 85-88
Concert Vol. 1 Reefed Beats The Next Level Concert Vol. 2
Nexus-Story of Percussion In the Orch The Noble Snare
Tom Freer BernsteinHow Musical Are You?
Snare Drum Proficiency – Level I Week 1
Wilcoxon 127
Cirone 18
Savage 19-27
Video Beck
Listening
19 20,21
Rudiments-Moore Book See Deficient Level Wk. 1 See Deficient Level Wk. 2 See Deficient Level Wk. 3
2 3
128 129
70-81 60-63
Concert Vol. 1
Rudiments!
4
132-33
24,25
See Deficient Level Wk. 4
134-35 136-37 138-39
27,28 29,30 31
See Deficient Level Wk. 5 See Deficient Level Wk. 6 See Deficient Level Wk. 7
Reefed Beats The Next Level Concert Vol. 2
NexusStory of Percussion in the Orch The Noble
9
141-42 143-44
34 36,37
See Deficient Level Wk. 8 See Deficient Level Wk. 9
10
145-46
38,39
See Deficient Level Wk. 10
28-44 (Skip 35-37) 45-59 100-103, 128-135 140-142, 35-37, 143-152 89-97 104-106, 110-112, 116-118 64-67, 107-109
5
11
149
40
See Deficient Level Wk. 11
12
150
50
See Deficient Level Wk. 12
6 7 8
82-84, 119-121, 113-115 122-125, 136-139, 85-88
Snare Tom Freer BernsteinHow Musical Are You?
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Snare Drum / Multiple Percussion Proficiency – Level II Week Albright 1 1,2 2 3 4 5 6 7 8 9 10 11 12
6,9 16,21 24,28 29,32 37,40 43,47 50,58 61,62 46,14 17,31 39
Peters 1,2 3,4 5,6 7,8 9,10 11,12 13,14 15,16 17,18 19,20 21,22 23,25
Rudiments/Chaffee Chaffee Sticking
Handout “ “ “ Contemporary Flam Variations “ Complex Asymmetric Rudiments “ “
Cirone-Rep.
Video Moore DVD 1
Listening Masterworks for Perc.-Gauthreaux
Sousa Moore DVD 2 Pg. 19
BernsteinHappy B-Day Stravinsky
Pg. 32 Pg. 37
UdowContemporary Percussionist Stravinsky A Soldier’s Tale SchickBorn to Be Wild
Timpani Proficiency - Deficient Level Week 1
Carroll Pg. 1-26
Excerpt/K. Gay
-
Video Bernstein-Musical Atoms:
2
Pg. 27-32
K. Gay Etude #1
A Study of Intervals
3
Pg. 33-41
K. Gay Etude #2
Concert Vol. 1-Duff Segments
4
Pg. 42-44
Magic Flute Overture
Concert Vol. 2-Duff Segments
5
Pg. 45-52
K. Gay Etude #6
6
Pg. 53-68
K. Gay Etude #3
Bernstein-
7
-
Academic Festival Overture
What Does Music Mean?
8
Pg. 69-75
K. Gay Etude #7
Bernstein-
9
-
Romeo & Juliet Overture
The Sound of an Orchestra
10
Pg. 76-91
K. Gay Etude #11
11
Pg. 98-109
K. Gay Etude #16
12
-
K. Gay Etude #14
Listening
Canticle-Leonard
Carter 8 Pieces
Timpani Proficiency – Level I Week 1
K. Gay
Tafoya
Listening
Mozart Sym. #39 Pg. 6
Video Bernstein-Musical Atoms
Etude #9
2
Etude #12
Hochrainer #60
A Study of Intervals
Fischer-Symphony
3
Etude #6
Beethoven Sym. #1 Pg. 8
Concert-Duff Segments
in C Earl Yowell,
4
Etude #10
Beethoven Sym. #7 Pg. 26
Beethoven Symphony #5
Canticle-Leonard
5
-
Beethoven Sym. #9 Pg. 38
Cleveland-Yancich
6
Etude #21, 22
-
7
Etude #20
Firth Etude #1
Bernstein-
Carter Eight
8
-
Brahms Sym. #1 Pg. 48
What Does Music Mean?
Pieces for
9
Etude #29
-
10
-
Tchaikovsky Sym. #4 Pg. 58
The Art of Conducting -
11
Etude #31
-
Great Conductors of the
12
Etude #18
Strauss Burleske Pg. 73
Past
Timpani Druckman
15
Timpani Proficiency – Level II Week 1
K. Gay
Tafoya
Video
Etude #13
Wagner – Gotterdammerung Pg. 102 Mahler Sym. #5 Pg. 87
Listening Carter Eight
Bernstein- What is Orchestration?
Pieces for Timpani Druckman
2 3
Etude #27
Shostakovich Sym. #1 Pg. 86
4 5
Elgar - Enigma Variations Pg. 62 Etude #28, 25
6
Etude #19
Timpani Concerto No. 1
Hindemith-Symphonic Metamorphoses Pg. 67
7
Bernstein-What is American Music?
Schuman-New England Triptych Pg.89
8
Etude #24
Bartok - Concerto for Orchestra Pg. 76
What is Classical Music?
9
Etude #30
10
Bartok - Music for Strings, Percussion & Celeste Pg. 81
What Makes Music Symphonic?
11
Barber - Medea's Meditation & Dance
12
Stravinsky - Rite of Spring Pg. 93
KraftConcerto
Orchestral Percussion Proficiency – Level I Week 1
Cirone Pg. 20
Van Geem -
Bass/Cymbal Pg. 34
Accessories Ta-Pg. 39
Video Beck
2
-
Pg. 32 (Gold 122)
-
Tr-Pg. 61
Book-Logic
Listening Nexus-Story of Percussion/Orch
3
Pg. 12 Pg. 14 -
Pg. 5 Pg. 38
Pg. 68 Pg. 14 -
Ta-Pg. 85 Tr-Pg. 24
Of It All Concert Vol. 1 Bernstein-What Is Sonata Form?
BoulezNotations I-IV Debussy La Mer
Pg. 5 Pg. 25 -
Pg. 8 Pg. 71 Pg. 14
Pg. 78 Pg. 27 -
Ta-Pg. 7 Tr-Pg. 92
Concert Vol. 2
Pg. 55 -
Pg. 48 Pg. 14
Pg. 41 Pg. 80
Ta-Pg. 115
4 5 6 7 8 9 10 11 12
-
Tom Freer Clinic Bernstein-What
de Falla El Three Cornered Hat Chicago Barenboim, cond
Is a Concerto?
Mallet Proficiency – Deficient Level Week 1
Green
Kite
Dowd (Mode/Chord)
1
pg 5-24
Ionian/Ionian (Major/Major)
2
1 2 2 3 3 4 4 5 5 6 6
25-31 32-38 39-45 46-52 53-59 60-66 67-77 78-84 85-91 92-98 99-102
Aeolyian (Nat. Min)/Major 6 Harmonic Minor/Minor Mixolydian/Dominant 7ths Dorian/Minor 7ths Lydian/Dominant 13 (#11) Phrygian/Minor 11 Locrian/ Diminished Whole Tone/Augmented Major Pentatonics/Major 7 Minor Pent./Half-Dim 7ths Blues Scales/ Fully Dim 7ths
3 4 5 6 7 8 9 10 11 12
Video Bernstein-What is
Listening
a Mode?
Nexus Plays The Music of GH Green
Bernstein-What is a Melody?
Nola Xylotopia Green Brothers
16
Mallet Proficiency – Level I Week 1 2 3 4 5 6 7 8 9 10 11 12
Green
Kite/Rosauro/Getchell
UCF Mallet Studies
7 8 9
103-107 108-113 113-117
Basics One Basics
10 11 12 13
Vibe Songs p. 2-3 Vibe Songs p. 4-5 Vibe Songs p. 6-7 67-69
14 15 16 17 18
70-72 75,77,79 82,84,86 93,96 107, 115
Two 1-4 Three 5-10 Four 11-13 Five Review Six
Video Bernstein-What is a Mode? Giff HowarthSimply Four Bernstein-What is a Melody?
Bernstein-What Does Music Mean? Humor in Music
Listening Nexus Plays The Music of GH Green Masters of The Xylophone Nola Xylotopia Green Brothers RosauroIn Concert StevensMarimba When
It should be noted that if the student cannot adequately demonstrate his/her basic scales, modes, and chord configurations; then the “Deficient Level” Dowd assignments will be included in the Level I semester’s assignments.
Mallet Proficiency – Level II Week 1
Green
Goldenberg/Rosauro
Parallel/Contrary Motions
19
32-34
P 5th’s Perm 1-13
2
20 21 22 23
35-38 39-42 44-48 49-51 (52 #7)
24 25 26 27 28 29 30
Vibe Songs p. 8-9 Vibe Songs p. 12-13 Vibe Songs p. 16-17 53 54,55 56,57,59 60-61
3 4 5 6 7 8 9 10 11 12
Tritones m 6th’s P 4th’s M 6th’s
Perm 1-13 Perm 1-13 Perm 1-13 Perm 1-13
M 3rd’s Perm 1-13 m 7th’s Perm 1-13 m 3rd’s Perm 1-13 M 7th’s Perm 1-13 M 2nd’s Perm 1-13 Octaves Perm 1-13 Parallel/Contrary Motions
Video Mike Burritt
Listening Glennie-
Live at PAS
Rhythm Song
Bernstein-Folk Music in the Concert Hall
GianiscolliConcertino
BernsteinWhat is Impressionism
Stout-Solo Marimba Music HarnsbergerVertigo BurrittWaking Dreams
Mallet Proficiency – Level III Week 1 2 3 4 5 6 7 8 9 10 11 12
Green
Guitar Studies
Progressions
31 32 33 34
1 2 3 4
C,F,Bb w/rolls Eb, Ab , Db w/rolls F#,B,E w/rolls A,D,G w/rolls
35 36 37 38
5 6 7 8
Review Permutations Review Permutations Perm 14,15 Perm 16,17
39 40 41 42
9 10 11 11
Perm 18,19 Perm 20,21 Perm 22,23 Review Permutations
Video
Listening Keiko Abe-
Fantastic Marimba Mycka-Marimba Spiritual GeoffroyBach Cello Suites KolbergAnimato
17
Mallet Proficiency – Level IV Week Chorales 1 1 2 2
Goldenberg
Orchestral-Van Geem
Video
Polka-A Golden Age Pg. 62 App. Spring, Pg. 44 -
Listening Cotto-
Philadelphia Sound
A Little Prayer
3
3
1 2 3
4
4 5 6 7
4,5 8 10,11 14
La Mer, Pg. 22 Waldweben, Gold.-Pg. 103
8 9 10 11 12
15 20 25 31,33 35
Russian Easter, PDF -
5 6 7 8 9 10 11 12
Bobo-Marimba Jambalaya
Boston Pops
Zivkovic-
BernsteinBirthday Celebration
Marimba and Percussion Stout-Astral Projections
Jazz Vibes – Level I Week 1 2 3 4 5 6 7 8 9 10 11 12
Metzger
Friedman
Dowd/Lipner
Lipner Tunes
Video Jazz Ball
1-4 5, 22, 23, 24
-
Review Dowd pg.16-18
Slick, pg 6-13 Fog Scene, pg. 19-23
6,25 7,26 8, 27 8
1, 2 3, 4 5, 6
pg. 24-25 pg. 34-35 pg. 41-43 pg. 57-58
Smooth...pg. 26-33 Freddie’s…pg. 36-40 Afro Blue pg. 44-51 Afro Blue…
UCF Pop Ens.-Samuels and Lipner
9,28 9 10, 29 11
7, 8 9, 10 11, 12 13-14
pg. 76-81 pg. 106-107 pg. 116-119
12 In 6 pg. 52-56
Jazz DVD
Now’s… pg. 59-67 Now’s…
Bernstein-Jazz In the Concert
12 12
24
pg. 145-147
Rhythm… pg. 71-75 Rhythm…
Hall
Listening B-18
JV Vol 1 JV Vol 2 B-19 JV Vol 3 JV Vol 4 JV Vol 5
Jazz Vibes – Level II Week 1 2 3 4 5 6 7 8 9 10 11 12
Metzger
Lipner
Davis Voicing
Tunes
13 13 29 29 14 14 30 30 15 15 16 31
27-35 36-38 39-46 47-50 51-58 59-60 61 62-65 66-67 68-70 -
Read Handout Maj II-V Chapter 2 pg. 8-14 Maj II-V w/alt “ Chapter 3 pg. 15-17 Min II-V Chapter 4 pg. 18-28 Min II-V w/alt Chapter 5 pg.29 III-VI-II-V-I “
Review Tunes from last semester
Listening Alone at Last- Gary Burton
Milt Jackson-Wizard of the Vibes Ballad pg. 30 Med. Swing pg. 32 Fast Swing pg. 34 Jazz Waltz pg. 36 Bossa Nova pg.38 Samba pg. 40
JV Vol 6 JV Vol 7 JV Vol 8
The Jury Piece for Level II Vibes is an arrangement of a standard with a harmonized head, solo section, and recapitulation. The arrangement must be approved prior to the Jury and submitted in digital notation.
18
Drum Set / World Music – Deficient Level Week 1 2 3 4 5 6 7 8 9 10 11 12
Dinkins
Pickering
Igoe-Essentials
p. 20-24+sup TLO 6 & 11 p. 20-24+handouts TLO 1 p. 20-24+handouts TLO 21
6-10 11-13
p. 20, 22 p. 24, 26
p. 20-24+handouts TLO 26 p. 20-24+supp TLO 11 alt p. 20-24+handouts TLO 5 p. 20-24+handouts TLO 16
14-16 -
p. 28, 21 p. 36, 38 p. 30, 32 p. 82-84
p. 20-24+supp TLO 23* p. 20-24+supp TLO 25* Shuffle Handout var. 1 & 2 Shuffle/Reggae var. 6 & 7 p. 20-24+handouts TLO 18
18-20 21-23 24-26 27-28
p. 91 (Bossa Nova) p. 92 (Slow Samba) p. 94 (Fast Samba) p. 44 (Mambo)
Video Soph-Drumset: A Musical Approach Steve Smith US Beat Disc 2 Igoe Groove Essentials DVD Igoe Igoe Igoe Miller Crash Course
-
Listening UCF
Drum Set Listening Anthology UCF Drum Set Deficient Latin Beats DavisKind of Blue
Drum Set / World Music – Level I Week 1 2 3 4 5 6 7 8 9 10 11 12
Morgan
Pickering
Igoe-Groove Essentials
Basics/Reed Sticking System
43-45
Rock p. 19-25 Rock p. 26-29, 82-84
Sticking/Sing pp. 5-8 pp. 9-12 pp. 13-15 pp. pp. pp. pp.
17-20 21-22 23-26 27-28
th
Video Igoe Groove Essentials DVD
Listening Moore-
Essential Styles
46 - 48 49-51
16 Note p. 30-31 th 16 Note p. 32-35 Half-Time p. 36-39 Funk p. 41-42
Watch the demo for each week’s assignment Soph-Drumset:
DavisKind of Blue Davis-Milestones Mel Lewis and
52 - 53 54 -55
Funk p. 43-47 R&B/Hip-Hop p.49-52 R&B/Hip-Hop p.53-57 Jazz Waltz p.76-79
A Musical Approach Steve Smith. US Beat Disc 2
His Big Band
-
Jazz p. 59-71 Jazz p. 72-75
Krupa: Jazz Legend
pp. 29-30 pp. 31-32
Sonny PayneCount Basie UCF Anthology
Drum Set / World Music – Level II Week 1
Uribe –Afro-Cuban
11
pp. 30-53 pp. 54-73 pp. 74-89 pp. 74-89 pp. 115-120 pp. 111-114, 137-144 pp. 145-179 pp. 94,124, 210-211 (Bolero, Cha) pp. 94,121-123,180-183 (Mambo, Son) pp. 96,103,123,130,183, 192 (Gua, Moz.) pp. 101,125,191 (Conga)
12
pp. 108, 134,194 (Songo)
2 3 4 5 6 7 8 9 10
D.C WkBk
Chester
Dahlgren
pp. 8-11 -
3/5 IB, IIB 3/5 IIIB, VB 7/9 IB, IIB 7/9 IIIB, VB 11/23 IB, IIB 11/23 IIIB, VB 13/14 IB, IIB
11 12 13 14 15 16 17
pp. 14, 18
13/14 IIIB, VB
18
pp. 15-17
16/24 IB, IIB
19
pp.20,29 pp. 26
16/24 IIIB, VB 27/29 IB, IIB
20 -
pp. 27-28
27/29 IIIB, VB
-
Video Garcia-
Listening Moore-
Vol. 1
Latin Styles
GarciaVol. 2
WecklMaster Plan
Gadd: Up Close
GrusinGershwin Connection Buena Vista Social Club
BernsteinThe Latin American Spirit Classic Los Van Van Drum Solos
19
•
It is strongly recommended that the student transcribe his/her own Jury Piece for drum set level II and III. Transcribing improves listening skills and heightens sensitivity to playing styles and traits.
Drum Set / World Music – Level III Week 1 2 3 4 5 6 7 8 9 10 11 12
Davis
Brushes/Dahlgren
Chaffe
Video Thigpen-Art of Brushes
pp. 4-5
Jo Jones Handout Jo Jones Handout
Linear Handout Linear Handout
pp. 9-10 pp. 12-13 pp. 25-26 p. 21
Hazilla-Brushes The Art of Playing Brushes DVD 20,21
Linear Handout Linear Handout 40-44 45
pp. 15-16 p. 28 pp. 33-34 p. 45
22,23 24,25 26,27 (#121) 29,30
46 47 48 49
p. 36 p. 38
31,32 33,34
50 51
Glass Buddy Rich:Jazz Legend
Listening Tower of Power
Cameron-Brushworks Chaffe: Linear
FlanaganOverseas
Garabaldi:Tower of Inspiration
Coltrane-My
Harrison-Transitions
Favorite Things Love Supreme
Russ Miller-Behind the
Pepper+11
Drum Set / World Music – Level IV Week 1 2 3 4 5 6 7 8 9 10 11 12
Uribe –Essence
Davis
D.C. Workbook
pp. 94,100,106-108,132-133 pp. 291-297, 190,195- 196 Reggae / Ska pp. 109, 135,199 pp. 110, 136 pp. 9 (Brazilian, Tango) Soca, Calypso pp. 88-104 (Brazilian) pp. 107-110
p. 3 p. 6 p. 9 p. 11 p. 13
pp. 12-13 p.30 pp. 52-53 pp. 21-22 p. 51
Igoe/Style Igoe p.81-86 Igoe p.87-88 Igoe p.89-90 Igoe p.93 Igoe p.95-98
p. 18 p. 22 p. 26
p. 52 pp. 44-46 -
Igoe p.109111 Swing/Bop Swing/Bop
pp. 112 pp. 125-135 pp. 136-138 pp. 139-141
p. 29 p. 33 p. 36 -
p. 47 p. 48 -
Funk/Rock Latin
Video Mozamb.
Listening Standard
Hidalgo
Time Discs
Brazilian Percussion
RosauroLatin IV Listening CD
Funkifying The Clave
The Style Performance serves as the Jury Piece.
20
Rudiment 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40.
Single St. (32nds) Single St. Four Single St. Seven Multiple Bounce Roll (Buzz) Triple Stroke Roll (French Roll) Double Stroke Roll Open Roll (32nds) Five Stroke Roll Six Stroke Roll Seven Stroke Roll (Duple Pulse) (Triple Pulse) Nine Stroke Roll (32nds) Ten Stroke Roll Eleven Stroke Roll Thirteen Stroke Roll Fifteen Stroke Roll Seventeen Stroke Roll Single Paradiddle Double Paradiddle 6/8 Triple Paradiddle Paradiddle-diddle 6/8 Flam Flam Accent Flam Tap Flamacue Flam Paradiddle Singled Flammed Mill Flam Paradiddle-diddle 6/8 Pataflafla 4/4 Swiss Army Triplet Inverted Flam Taps Flam Drag 6/8 Drag Single Drag Tap Double Drag Tap 6/8 Lesson 25 4/4 Single Dragadiddle Drag Paradiddle #1 6/8 Drag Paradiddle #2 4/4 Single Ratamacue Double Ratamacue 6/8 Triple Ratamacue 4/4
Deficient 80 114 128 120 100 110 100 100 100 75 100 100 100 100 100 100 150 88 136 94 250 112 104 110 88 88 60 70 78 74 98 144 140 70 100 106 68 90 90 58 90
Level I 90 162 144 120 120 125 120 120 120 95 120 120 120 120 120 120 180 104 160 120 300 160 124 130 108 108 78 106 100 100 122 208 170 86 124 120 82 120 114 72 112
21
As Marked in Book, Perform with CD
114 90 114 114 90 92 180 104 66 100 69 69 100 69 100 69 100 69 69
132 144 58 104 192 160 72 66
184 88 60 130 126 72 88 as marked
84 56 126 69 80 60 as marked
22
112 112 104 108 116 104 84 104
104 /63 72 92 92 126 208 104 74
116 92 80 70 160 63 130 76 76 60 114 190 110
72 96 208 98 100 92 80
112 106 96 90 122 68 176 64 100 95 78 66
As marked in book As Marked As marked in book
As marked in books
23
= 60/72 play as eighth notes twice then as sixteenth notes twice. 6/8 = 120 or = 90 Double stops =90 Ragtime =120 - 132
= 80-100 = 60-72 as marked
120 110 110 110
When playing
110 110 120 115
eighth note melodies sixteenth note melodies
112 100 112 112
.
96 =69 140 120
1-13 played at 108-144 with 2 to 4 repetitions per chord. =40-60.
14-23 played with 60-80, 108-144
All melodies and studies, except chordal and when noted are =72, =60 p. 32 Yankee Doodle (90) p. 33 Irish Washerwoman (60) p. 39 (90) pp. 54,55 (64) pp. 56 Melody (60) pp. 57 =(90) p. 59 1&2 (54) Syncopated Study (76) pp. 60,61 =90 - As Marked
in all keys.
.
.
60 72 60 54 64 60 72 60
64 60 80 =106 60 52 60
- As Marked
24
= 70 - 90
16ths = 120 8ths = 180 Triplets = 150 Swing 8ths = 170
As Marked
As Marked / = 100 - 152
As Marked
As Marked
=70 - 92
to
=132 - 180
= 80 - 132
As Marked
As Marked
As Marked
As Marked
25
1. 2. 3. 4. 5. 6. 7.
Portraits in Rhythm International Drum Rudiments The All-American Drummer Advanced Snare Drum Studies Contemporary Studies for Snare Drum Drumstick Control Savage Rudimental Workshop
1. Exercises, Etudes, and Solos for the Timpani 2. Pedal to the Kettle 3. The Working Timpanist's Survival Guide 4.Timpani Tone & Interpretation of … 1. 2. 3. 4. 5.
Anthony J. Cirone P.A.S. Charley Wilcoxon Mitchell Peters Fred Albright Jeff Moore Matt Savage
Belwin/Mills Alfred Ludwig Peters Henry Adler Alfred Warner Bros
Raynor Carroll Batterie Music/Carl Fischer Kirk Gay Tapspace John Tafoya Carl Fischer Steven Schweizer Oxford
Symphonic Repertoire for Snare Drum Anthony J. Cirone Meredith Symphonic Repertoire for Keyboard Percussion Jack Van Geem Meredith Orchestral Repertoire for the Bass Drum & Cym Raynor Carroll Batterie Music/Carl Fischer Orchestral Repertoire for Tambourine, Triangle,& Cast “ “ Cymbalism Frank Epstein Hal Leonard
1. Modern School for Xylophone, Mar. Vibe 2. Instructional Course for Xylophone 3. Practical Studies for the Cornet 4. U.C.F. Mallet Studies 5. Velocity Warm-Ups for Vibraphone 6. Vibraphone Technique Dampening and Pedaling 7. The Art and Language of Jazz Vibes 8. Reading Mallet Percussion Music 9. The Jazz Vibes Real Book 10. Voicing and Comping for Jazz Vibraphone 11. Jazz Mallets: In Session 12. Vibes Songs and Etudes
Morris Goldenberg George Hamilton Green Robert Getchell --Charles Dowd David Friedman Jon Metzger Rebecca Kite Arthur Lipner Thomas L. Davis Arthur Lipner Ney Rosauro
1. The New Breed Volume I Gary Chester 2. Studio/Jazz Drumming Cookbook John Pickering 3. Masters of Time Steve Davis 4. Standard Time Jazz Drums Steve Davis 5. Groove Essentials Tommy Igoe 6. The Jazz Drummer’s Reading Workbook Tom Morgan 7. Patterns Vol. III Time Functioning Gary Chaffe 8. Linear Time Playing Gary Chaffe 9. Afro-Caribbean & Brazilian Rhythms for the Drumset The Collective 10. It’s About Time Fred Dinkins 11. Drum Set Control Marvin Dahlgren The Essence of Afro-Cuban Percussion & Drum Set 12. Ed Uribe 13. The Essence of Brazilian Percussion & Drum Set Ed Uribe
Chappel Meredith Belwin U.C.F. Belwin Berklee ECM GP Percussion MalletWorks Hal Leonard Rowl-Off Pro Percussao Modern Drummer Mel/Bay Aebersold Aebersold Hudson Music C. Alan Pub. Alfred Alfred Carl Fischer Warner Bros. Creative Music Warner Bros Warner Bros
26
PRACTICE By Dr. Steve Hemphill Northern Arizona University Be sure to warm-up properly and with care. Begin with repetitions of simple figures that loosen up the muscles by using material that is easily performed both physically and mentally. Be sure to RELAX! The basic objective of the warm-up process is to encourage and maintain complete relaxation of the hand, arms, shoulders, torso, etc. Slow, deliberate practice can help to fully exercise all muscles, in addition to the conditioning of tendons and ligaments. In each session, concentrate upon the following: Sound production technique Accuracy Evenness/uniformity between hands •
•
•
•
•
•
And, keep in mind the basics of musicianship: • Tone • Dynamic Control • Articulation and Accents
• • •
Musical Interpretation Tempo and pulse control Relaxation, Breathing
Phrasing Timbrel Variety Emotional Involvement
HOW TO PRACTICE Before discussion of the details required for effective and efficient, result oriented practice, it is important to schedule practice sessions on a routine basis, the same time each day, if possible. Assigning importance to the practice schedule (high on the priority scale), just as one would for a job or a class in school, will help with the discipline and consistency necessary for serious, growth-minded musicians. Also, make it convenient to commence with practice sessions, retaining requisite materials (methods books and literature, stick/mallet bags, metronome, pencils, note pad or notebook, manuscript paper, etc.) in one location, always ready for each session. Perhaps one would benefit from maintaining notes or keeping a journal for each practice session, providing efficient time management from one session to another. Be aware of immediate goals and define them for all practice sessions. What is the greatest weakness right now? What technical problems are most deserving of attention? Have I identified a sequential learning approach to my music and have I prioritized my needs? With specific goals in mind, one can begin to practice more effectively. Also, keep in mind long-term goals (the big picture) and how the designated short-term goals will help to reach important over-riding musical achievements. 1) How to Warm-Up When practicing, always try to be very relaxed physically. Warm up completely, and use a proven technical routine that has been identified for its physical-support value and thoroughness. Attention should be focused frequently on arms, hands, fingers, legs, feet, back, neck, and face. Tension can inhibit a smooth and flowing performance and create a high degree of exhaustion. Good posture, relaxation, and physical flow can be enhanced
27
by awareness of the breathing. Then, begin the day's practice with a piece of music that is very familiar and which can be played comfortably. At this point, one can begin more difficult work, trying to stay relaxed at all times, in all parts of the body. 2) Slow, Careful Practice Slow practice is probably one of the most important aids to learning/advancing on any instrument. Many students practice an exercise or a piece of music much faster than they can play it accurately and cleanly. Every time one makes mistakes due to practicing too fast, the mistakes are being learned! Always practice at a tempo that results in correct performance, progressively increasing the speed. The discipline required for slow, careful practice is a major musical commitment. 3) Frequent, Short Breaks With the high frequency rate of repetitive motion ailments in the training of musicians, it is important that one often takes brief intermissions for relaxation during all practice sessions. Mild flexing motions, while stepping away from the instrument and without holding any object in the hands, can relax the shoulders, arms, wrists, hands and fingers. It is also critical to be refreshed and alert, mentally, if the practice session is to provide significant results. Personal development in the area of concentration will bring efficiency to each session. With a goal-driven orientation, time management also is important to the practice routine. 4) Using the Metronome The proper use of the metronome goes hand-in-hand with slow practice. The metronome should be set at a tempo at which one can playa phrase (or larger section) easily and without mistakes. Play it several times at this tempo. Move the metronome up one or two notches. Play it several times at this faster tempo. Continue the process until the correct or desired tempo has been reached as indicated on the music. If mistakes begin to appear, move the metronome to a slower speed. Also, the development of internal timekeeping, with a clock-steady pulse, is a discipline that is crucial to musical performance. The use of a metronome, drum machine, or computer with music sequencing software will aid greatly in this endeavor. 5) Repetition Divide the music into short phrases, usually anywhere from one measure to a line or two in length. Practice each phrase many times consecutively. Focusing on short sections at a time will promote quick learning. Also, be sure to play the beginning of the following phrase each time, thereby avoiding difficulty connecting musical phrases when the work is played in its entirety. Technical exercises (scales, arpeggios, sequences, rudiments, etc.) should be repeated many times, and at all tempi (especially extremely slow and fast tempi). Check for flow and relation at MM = 60, 90, and 120. Repeat a pattern or musical gesture for 2 or 3 minutes instead of just 10 or 20 times.
29
6) Kinetic Awareness Through controlled repetition, the musician can focus upon the feel of the activity and the accompanying motion involved, without visual aid (direct vision or use of a mirror). Tactile sensory is extremely important to the development of accuracy and relaxation. Try repeating phrases, not with the idea of playing a passage a certain number of times, but with the idea of repeating a passage for three or four minutes at a time, without pause. Body memory, or kinetic memory (orientation), should be a very positive and desired result. 7) Staying Alert Not only does a musician strive for muscle memory ("auto pilot" mode), but he/she should strive for awareness on many different levels including the physical awareness of activity, aural awareness, and awareness of sensation or feeling. The use of a timer (i.e. a kitchen aid timing device) can help musicians focus on musical coordination and physiology, instead of the distraction of keeping one eye on the clock (thinking about when the practice session must end and imminent appointments of the day). 8) Over-Compensation Practice difficult passages above the designated tempo. Being able to accurately perform difficult (technically demanding) music well above designated tempi will allow the performer to relax and play more expressively during performances where the original (slower) tempi are observed. (To be used in conjunction with #2.) In addition, a musical passage can be adjusted or re-composed to serve as a technical exercise, where the technical challenge is purposely increased: adding ornamentation; increasing intervallic relationships; doubling material between hands, etc. 9) Always Play Musically Practicing is a life-long process, so demand musical qualities in all practice room endeavors. Strive for a singing style, with artistic qualities - those that speak through a musical communication. Enjoyment and appreciation of the instrument's sound is a prerequisite to practice time concentration. 10) Practice Does Not Make Perfect. PERFECT PRACTICE MAKES PERFECT. The Practice Doctor - An Analogy for Practicing Practice is similar to that which takes place in a doctor's office, with the musician assuming the role of the doctor: the patient becomes the musical work being studied (except that the musical work can not tell the doctor "where it hurts" - the musician's ears must decide this). • • •
The "doctor" (musician) identifies an area that might ha ve a technical or musical problem The "doctor" examines the area and gives a diagnoses The "doctor" treats the issue, prescribing a dose of musical exercise as a cure: extracting a few notes, specifically, and repeating the fragment or phrase many » times playing the fragment or phrase very slowly, focusing on a specific difficulty » playing the fragment or phrase with a metronome, working slow to fast, » incrementally
30
playing the fragment or phrase very slowly, emphasizing a specific detail playing the fragment or phrase, but with different notes requiring a more » demanding technique (over-compensation) playing the fragment or phrase above the required tempo » playing the fragment or phrase at extreme dynamics (ppp or fff) » playing the fragment or phrase with various approaches to musical direction, » emphasis, shape, and articulation developing an original, spontaneous musical exercise which puts emphasis on a » technique in question The "doctor" re-examines the "patient" to determine if the treatment has "healed" the problem' (the musician plays the selected passage in the original musical context several times) The "doctor" then either: a) re-diagnoses the problem and prescribes a new or continuing treatment, or, b) the doctor declares that the "patient" is cured, and then seeks new issues (musical or technical) in the "patient" »
•
•
MEMORIZING
Some people memorize music very easily, while others find it more difficult. Memorizing, like everything else, becomes easier with practice and experience. Repetition is key to memorization, with attention to all musical details (including stickings) at the outset. Avoid memorizing only the notes first, and then going back to memorize the musical aspects of a work (phrasing, dynamics, accents, etc.) - see and hear the entire work with all musical components intact. If memorizing a work is troublesome, try steps 1-4 below as a prescribed process, and then try one or more of the other tasks (5-12): 1. Learn the music until it is fairly comfortable. It does not have to be completely up to tempo at this time. 2. Then, practice one phrase at a time. Set the metronome to about one-half the suggested tempo. Repeat the phrase twenty to thirty times. By then it should be memorized. Repeat this procedure for two or three days to ensure that the phrases have been correctly memorized. 3. Combine phrases into longer units, repeating many times. 4. Take the music up to proper tempo. 5. Practice/study the music away from the instrument (mental practice). 6. Sing or vocalize the music, and sing back specific passages without looking at the music. 7. Try writing out the music from memory. 8. Check the music occasionally; making certain that it has not been altered (learned incorrectly) in any way. 9. Record and/or videotape run throughs or performances of the piece and evaluate 10. If the piece is not overly demanding in a technical sense, attempt to play the work "cold" at the beginning of several practice sessions. 11. Develop your own concentration exercises. 12. Practice memorizing short etudes from method books in a short period of time, attempting to "beat the clock" by accomplishing the task in as brief a time period as possible.
31
Planning, Implementation, and Self-Evaluation Part I – Career Development Name______________________________________
Semester:___________
1. The following abilities and/or experiences are checked that apply to me: ! I have studies piano (Number of years: ______) ! I have studied jazz improvisation ! I can play by ear ! I can sight read melodic notation reasonably well ! I can sight read rhythmic notation reasonably well ! I have had formal musical composition studies ! I have composed musical work(s) ! I have experience with a computer software music notation system ! I have transcribed music from a recording ! I have studied other instruments: ______________________________ ! I have played a percussion instrument in a band (i.e. drumset in a rock band) 2. The following experiences are checked if they apply to me: ! I have visited a recording studio ! I have recorded myself in a recording studio ! I have made a CD (individually or with an ensemble/band) ! I have experience with MIDI ! I have experience with sound editing software program ! I have experience with designing/editing a website ! I have worked in the entertainment industry ! I have worked in a music retail store ! I have worked in a record store ! I have worked in a recording studio ! I have significant experience with video equipment ! I have significant experience with photography 3. The following attitudes toward practice are checked if they apply to me: ! I have a reasonable amount of patience ! I do not have difficulty scheduling and engaging in my practice session ! I look forward to my accomplishments attained from my practice ! I am able to set specific short-term and long-term goals ! I find that it is relatively easy for me to complete two hours or more of personal practice each day
32
4. My long-term goals include: ! Teaching music ! Teaching music in a public school system ! Teaching music in private school ! Teaching private and/or group music lessons ! Teaching marching percussion in schools ! Teaching music at the community college level ! Teaching music at the university level !
! ! ! ! ! !
Performing professionally ! In commercial music venues (rock, etc…) ! In jazz music venues (club circuit, hotel, festival, etc...) ! Free-lance (shows, churches, industry, convention, etc…) ! Touring with professional acts (club circuit, hotel, convention, etc…) ! In recording venues ! In broadcast venues ! In television and film recording venues ! In contemporary arts venues ! In theme park venues ! In percussion ensemble venues ! In orchestral venues ! In chamber music venues ! Historic ! Contemporary ! In opera venues ! In ballet venues ! In music theater/music review venues ! In a military music unit ! For Ethnic commercial group (Salsa, Brazilian, Steel Band, etc…) ! In self-made entrepreneurial performing unit ! For dance schools or programs ! In foreign countries (Orchestral) ! In foreign countries (various venues) ! Other: _________________________________________________ Arts or artist management Arts administration Music library work Music review/critique Music editing/publishing Music retail ! Percussion instrument repair ! Starting my own percussion business
33
!
! ! ! ! ! ! ! ! ! ! !
Musical instrument industry ! Music education consultant ! Manufacturing ! Design ! Marketing ! Artist relations Sound engineering Conducting Composing Arranging Musicology/ethnomusicology Music research & writing Production of music education materials Production of computer music-related software and programs Integrating health and music Integrating business and music Other: ___________________________________________________
5. I have special interest in the following percussion instrument and/or literature: ! Marching percussion ! Marching Snare Drum / Tenor / Bass / Cymbals ! Front Ensemble ! Marimba ! Classical ! Commercial/jazz ! Vibraphone ! Classical ! Commercial/jazz ! Orchestral Percussion – Snare or Keyboards ! Timpani ! Multiple Percussion ! Percussion in mixed-instrument chamber works ! Auxiliary percussion (Bass Drum, Cymbals, Tambourine, etc…) ! Latin percussion (Congas, Timbales, etc…) ! Latin accessories (Maracas/Shakers, Shakere, Cabasa, Guiro, etc…) ! Hand drums (Tar, Bodhran, Riq, etc.) ! African Drums (Djembe, Dun-Dun, Dumbek, etc…) ! Drum set ! Jazz ! Big Band ! Fusion ! Rock/Funk ! Latin/Cuban ! Country ! Show drumming ! Electronic
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! ! ! ! !
Udu drums Steel Drums Electronic percussion and keyboard percussion Self-made instruments (instrument design) Other Ethnic/Cultural percussion ! Middle-East ! India ! Turkey ! West Africa ! Cuba ! Caribbean ! Central America ! South America ! Brazil ! Japan ! China ! Indonesia/Malaysia ! Hawaii ! Australia ! Other: __________________________
*This evaluation is based on a similar document developed by Dr. Steven Hemphill
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Planning, Implementation, and Self-Evaluation Part II – Goal Development Name______________________________________
Semester:___________
1. My current abilities in the following areas of percussion performance are ranked from strongest (1) to weakest (12): ___ Concert Snare Drum ___ Rudimental (marching) Snare Drum ___ Two-Mallet Keyboard Percussion ___ Four-Mallet Keyboard Percussion ___ Jazz Vibraphone ___ Timpani ___ Multiple Percussion ___ Drumset ___ Steel Drums ___ Latin & Hand Percussion ___ African Drumming ___ Orchestral Excerpts ___ Other: ________________ 2. My semester goals include: Overall ! ! ! ! ! ! ! ! ! !
Improving performance in my weakest area(s) of percussion Learning historical aspects of the percussion family Preparing for a jury Preparing for a degree recital Performing at a studio master class Becoming a more musical performer Learning to manage performance anxiety Learning to become my own teacher in musical performance Learning how to practice efficiently and intelligently Other:______________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________
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Musicianship ! Improving my sense of time and inner pulse ! Investigating “touch” on percussion instruments ! Investigating “tone production” on percussion instruments ! Reading and performing more easily in all keys ! Learning and memorizing modal scales ! Learning and memorizing jazz-related chord/scale relationships ! Learning advanced rhythmic reading skills ! Learning polyrhythmic reading skills ! Learning and performing various musical style studies ! Improving sight-reading skills and techniques ! Improving music analytical skills ! Improving timpani tuning technique and interval study ! Improving memorizing skills ! Other:______________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________ Technique ! Establishing consistent relaxation in my performance ! Improving technical strength and endurance ! Improving accuracy in melodic and rhythmic performance ! Learning and memorizing standard and asymmetrical snare drum rudiments ! Improving control and double-stroke and multiple-bounce rolls ! Learning and memorizing major scales ! Learning and memorizing minor scales (all three forms) ! Learning and memorizing all arpeggios ! Investigating the physical grip and function of finger, hand, wrist, and arm anatomy ! Developing comprehensive warm-up routines and on percussion instruments ! Snare drums ! Keyboard ! Timpani ! Generally improving manual technique (i.e. hand speed, tone, and control) on snare drum ! Generally improving manual technique (i.e. hand speed, tone, and control) on keyboard percussion instruments ! Improving two-mallet technique ! Improving four-mallet Musser/Stevens grip ! Improving four-mallet Burton grip
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! ! ! ! !
!
!
! ! ! !
!
Generally improving manual technique technique (i.e. hand speed, tone, and control) on timpani Generally improving manual technique technique (i.e. hand speed, tone, and control) on accessory percussion instruments Improving multiple percussion reading and performance skills Learning performance skills on auxiliary percussion instruments (bass drum, cymbals, tambourine, triangle, castanets, and tam-tam) Learning performance skills on Latin percussion drums (congas, timbales, bongos, etc…) Learning style-related performance patterns on drum set ! Jazz ! Up-tempo ! Broken-style ! New Orleans (Second Line) ! Swing, Bebop, Fusion ! Shuffle ! 3/4 ! Ballad ! Rock/Funk ! Odd-meter ! Reggae/Calypso ! Latin ! Samba ! Bossa Nova ! Songo ! Mambo/Mozambique ! Afro-Cuban ! Other: _______________________ Improving coordination and control on the drum set ! Improving left hand isolation and reading for jazz drumset ! Improving right foot coordination and speed ! Improving left foot coordination and speed Learning “set-up” techniques at the drumset Experience playing with recordings (various styles) Learning brush techniques at the drum set Learning soloing techniques at the drum set ! Trading fours ! Playing choruses ! Open solos Other:______________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________
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Literature ! Learning and performing orchestral snare drum excerpts ! Learning and performing orchestral timpani excerpts ! Learning and performing orchestral xylophone excerpts ! Learning and performing orchestral bell excerpts ! Learning and performing orchestral vibraphone excerpts ! Learning and performing orchestral cymbal excerpts ! Learning and performing orchestral tambourine excerpts ! Learning and performing orchestral triangle and castanet excerpts ! Learning and performing orchestral bass drum excerpts ! Learning and performing marching/rudimental snare drum solos ! Learning and performing solo two-mallet marimba or xylophone literature ! Learning and performing solo four-mallet marimba literature ! Learning and performing solo vibraphone literature ! “Classical” ! Jazz ! Learning and performing solo timpani literature ! Learning and performing solo concert snare drum literature ! Learning and performing multiple percussion literature ! Learning and performing standard marimba/xylophone concerto literature ! Learning and performing standard percussion (multiple) concerto literature ! Learning and performing standard timpani concerto literature 6. My short term goals include: _________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ 7. In the previous semester, I feel that I have accomplished the following goals: ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________
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8. I have read the following books, relating to music or percussion, over the past semester:_________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ 9. I have attended the following significant recitals, concerts, or performance in the past semester: ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ _________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________
*This evaluation is based on a s imilar document developed and produced by Dr. Steven Hemphill
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PERCUSSION STUDIO SEMESTER REQUIREMENTS Listening Cards Each semester the student shall create annotated index file cards or computer printout of ten (10) works from a minimum of five different recordings. The cards/printout are due at the time of the barrier exam and must be turned in to the jury before the student performs. The cards/printout must be comprised from a minimum of five different recordings, of which only one work may be jazz or commercial, one work must be for solo instrumentation other than percussion, and one work (complete) must be an instructional percussion or percussion performance-oriented ethnic (world music) videotape. The remainder of the assignment must represent percussion performances from contrasting instrumentation, styles, and genre (e.g. solo, chamber, orchestral, etc.). Not more than five (5) works may be from the orchestral excerpt genre. Listening examples include: solo marimba and/or vibes, solo multiple percussion, drumset artists, percussion/timpani excerpt repertoire, percussion ensemble, steel drum group/artists, etc. Card/printout must include: composer, title, record title and label, performer(s), general content, a brief discussion of personal impressions/thoughts regarding the work and/or performance, and anything that will aid in later recall of the recording. Do include identification numbers of recordings and dates when possible. The student must maintain a copy (hard copy or disc) of all cards/printouts from each semester’s compilation. Please read the example in the “Book Report” section for information on writing about music.
1 – work of solo instrumentation other than percussion 1 – instructional percussion or percussion performance-oriented ethnic videotape 1 – (optional) jazz or commercial work Remainder (7-8 works): significant percussion performances from differing genres
Example Milhaud, Darius “The Creation of the World” La Creation du Monde/RCA Gold Seal AGL1-2445 Charles Munch/The Boston Symphony
(composer) (work) (record title, label, ID number) (performers)
This early recording is resigned to audio obscurity in the percussion parts (some specific sounds being quite faint), but is worth studying as an introduction to the work as well as for style, interpretation, and tempi. The composition is an early example (1923), if not the first, of serious chamber music by a well-known composer of concert music influenced by American Jazz, with much attention being assigned to percussion instruments (2 players). Featured: an early example of “drumset” with a few auxiliary instruments (tambourine and wood block) and the inclusion of piccolo timpani.
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Compositions Acquiring basic knowledge of composition, experiencing the compositional process, and actively utilizing analytical skills related to composition may help to develop a deeper level of musicianship. The overview of musical experience acquired by those engaged in composition may also refine important analytical skills directly related to independent study and preparation of all solo and ensemble literature. At the conclusion of each semester, at the time of the performance jury, the student shall turn in a copy of their semester’s composition. The student must present a brief oral description and analytical explanation of the work to the jury. In addition, the student may wish to play a recording, either electronic or acoustic, of the composition (time permitting) for the jury. Although the recorded performance is not required , it is encouraged. If the composition is an ensemble, it is not necessary to produce the individual parts for the jury. Please utilize the Planning and Implementation checklist provided to aid inn creating your compositions. All student compositions will be produced using a computerized music notation software of the student’s choice. Hand written notation (manuscript) is not acceptable. Composition I, compose a brief etude (minimum of 16 measures, no cut-time; two or four mallets) for marimba or vibraphone which treats a specific technical problem of interest to the student. The composer should strive to make the etude as musical as possible. [Freshman; Fall Semester] Composition II, compose a brief etude (minimum of 24 measures) for snare drum. Treat a specific technical problem of interest to the student and strive to make the etude as musical as possible. [Freshman; Spring Semester] Composition III, compose a brief cadence or feature for drumline, without pit (minimum of 24 measures, stickings for snares and tenors must be included). The composer should strive to make it challenging, yet functional for the level s/he chooses. The UCF Marching Knight Drumline may read the work if scheduling allows. [Sophomore; Fall] Composition IV, compose a multiple percussion solo: minimum of 64 measures (2-3 minutes in length). This work will be performed as part of the jury for Level II Snare Drum. [Sophomore; Spring] Composition V, instrument(s) and style optional: minimum of 48 measures. [Junior, Fall] Composition VI, instrument(s) and style optional: minimum of 48 measures. [Junior, Spring] Composition VII, percussion ensemble: minimum of 80 measures (41/2-8 minutes in length) – to be read by a percussion ensemble (with consideration for performance by the UCF Percussion Ensemble). [Senior; Fall] Composition VIII, instrument(s)/style optional: minimum of 80 meas. [Senior, Spring]
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Composition Projects Planning & Implementation Name______________________________________
Date:___________
1. Percussion composition overview/concept/artistic philosophy: ! An educational work/etude/study ! An art work ! An abstract work ! A programmatic work ! Source and description: __________________________________________________ __________________________________________________ ! ! ! !
Scope: a large work (multi-movement) Scope: a small work A work planned for a recital (forum, seminar, workshop, demonstration) Other ______________________________
2. Scope (genre): ! Large ensemble ! Quintet/Quartet/Trio ! Duo ! Solo ! Single Instrument ! Multiple Instrument Set-Up ! Multiple Stations of Instruments ! Multi-Media ! Solo with Tape/CD Acoustic o Electronic o ! Solo with Video/Film ! Solo with Computer/MIDI interaction ! A "Theater" Work 3. Form (Design; Tonal Structure): ! Large ! Multi-Movement Dance Suite o Sonata (essentially ternary, concerned with o presentation, the working out, and the return or summing up of its thematic material; exposition, development, recapitulation) [Sonata Allegro form] Concerto o
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o
!
!
! ! !
! !
Various Vocal Forms
Smaller: ! Rondo (theme stated at the beginning returns after each departure) ! Fugue (a monothematic form embodying the principle of imitation; subject, episodes, stretto) ! Multi-Episodes Compound Forms: ! Compound Ternary ! Compound Binary Ternary (three-part forms): Binary (two-part forms): Popular Forms: ! AABA Song Form ! ABA ! ABCA ! Blues Through-Composed Other Terminology: ! Motive/Germ Cell (smallest identifiable musical unit; a rhythm, or pitch pattern, or harmonic progression) ! Phrase (structural unit of music just larger than a motive; an incomplete musical idea) ! Cadence (phrase endings; musical equivalent of the vocal inflections in spoken language associated with the end of phrases and sentences; complete and incomplete) ! Elision (a phrase juncture or dovetailing, where the cadential note of the first phrase is also the initial note of the succeeding phrase) ! Phrase Extension (consisting of an uneven number of measures) ! Period (a unit of structure larger than the phrase, and one which has a strong sense of closure) ! Sentence (synonymous with period, incomplete musical ideas of two or more phrases combined to express a complete musical thought) ! Sequence (process of combining repetition and change - the immediate repetition of a motive or phrase beginning on a different note or pitch level) ! Modulation (technique of moving from one tonic to another; changing of mode) ! Syncopation (displaced rhythm, causing [agogic] accents on weak beats and continuing to sound through succeeding strong beats)
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!
Agogic Accents (accents or weights that occur on longer note values, often falling on first beats of measures) vs. Metric Accents vs. Dynamic Accents ! Polytonality (the presence of two or more tonalities - keys - at the same time) ! Selected historic formal bases: [Gregorian] chant, ballade, virelai, rondo, canon/round, motet, madrigal, chorale prelude, theme & variation, concerto, sonata, suite, toccata, passacagia, chaconne, ostinato bass, ritornello, fugue, variations, sonata allegro, minuet & trio, scherzo, symphony, tone poem ! See: Form in Tonal Music by Douglass M. Green; Holt, Rinehart & Winston ! See: Music-Patterns and Style by Richard P. DeLone; AddisonWesley ! See: Listener's Guide to Musical Understanding by Leon DaIlin; Wm. C. Brown 4. Shape (surface contour of a work): ! Pitch Contour ! Qualities of Tension & Relaxation (dependent upon action & interaction of:) ! Rise and Fall of Melodic Lines (particularly in outer voices) ! Rhythmic Activity ! Dynamics ! Texture ! Instrumentation ! Relative Amount & Degree of Consonance and Dissonance ! Harmonic Rhythm (rate of chord change) 5. Structures/Notation/Scoring ! Traditional ! Atonal ! Aleatoric/Chance/Indeterminate ! Cued Time-lines ! Graphic Notation ! Minimalism ! Improvisation ! Number of Staves ! Non-metered/no bar lines ! Metric Variety ! Tempo Variety (indicate with metronomic markings) ! Range Variety ! Accentuation ! Key Center/Tonic; Modes; Pentatonic; Chromaticism ! Harmonic & Chordal Variety ! Modulation (a change of key that is subtly or gradually introduced) ! Decorative Tones ! Basic Pitches
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! ! ! ! ! ! !
!
!
! !
!
Passing Tone (joins by step two basic melodic tones) Neighbor Tone (brief departure and return to a single basic pitch) Non-chord Tune Appoggiatura/Leaning Tone (reached by a leap; resolved by a step) Suspension (the anticipated arrival of a basic pitch is delayed, or displaced from a strong beat to a subsequent weak beat) Escape Tone (reached by a step; resolved by a leap) Anticipation (an unaccented note, usually of brief duration, reached by step or leap, that precedes a more important accented articulation of the same pitch)
Pedal Point (usually in bass voice; sustained or resounded pitches, most often tonic or dominant, which continue to sound in one part while various types of harmonic and rhythmic activity take place in the other voices) Textures: ! Monophony (music consisting of a single, unaccompanied melodic line) ! Heterophony (simultaneous occurrence of a simple melody and an embellished version of the same melody) ! Homophony (melodic interest is concentrated in a single part, usually the highest, and the remaining parts serve primarily to provide an accompaniment) ! Polyphony (music conceived as a combination of two or more melodies) ! Contrapuntal (employing counterpoint; the art of combining melodies; polyphonic) Unity vs. Variety (repetition, variation, contrast) Components ! Melody ! Rhythm ! Harmony Other__________________________________________________
6. Instrumentation ! Marimba ! Marimba with percussion ! Vibraphone ! Vibraphone with percussion ! Timpani ! Timpani with percussion ! Multiple keyboards ! Multiple percussion ! Percussion ensemble
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! ! ! ! ! ! ! ! ! !
Percussion including world percussion instruments Percussion with other non-percussion instrument (duo or larger) Mixed-instrument chamber ensemble Drum set Drum set within combo setting Electronic drum set/percussion Self-made or found instruments (perhaps including instrument design) Body percussion Vocalization Families of Sound ! Metals ! Skins ! Woods ! Other__________________________________
!
List of all instruments used:___________________________________________________ _______________________________________________________ ! Other__________________________________________________ 7. Compositional Devices General ! Motivic development ! Original ! Augmentation ! Diminution ! Fragmentation (shortening) ! Interpolation (adding within) ! Octave Displacement ! Rhythmic Displacement ! Interval Inversion (melodic inversion) ! Retrograde (backwards) ! Ornamental Variation (embellishment) ! Sequence (repetition at a given intervalic relationship) ! Mutation (change of mode; change of scale basis while retaining initial tonic) ! Pointalism Percussion-Dedicated Only ! Composing at the instrument(s) – music idiomatic to the instrument (music lays well, technically); technique-based ! “Lick”-based composition (individual strengths identified and exposed) ! Notebook compilation of motives, phrases, and ideas (instrumentation-based) ! “Inventing” a “new” instrument – a combination of percussion instruments as one
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!
Inclusion of foot-activated sound Special Effects in Percussion ! Stick harmonics ! Rubber-ball rubbing (moan effect) ! Harmonics (drums/keyboards) ! Muffled/muted tone ! Pitch bending (drums/keyboards) ! Applied “sizzle” effects ! Playing on unusual part of instrument ! Applying unusual implement (handle of mallets, reversed ends, extreme size of implement, specialty mallet [maraca, slap], brushes, triangle beater, cluster beater [T-shaped mallet], etc.) ! Bowing of instrument ! Placing of instrument in water (bending pitch) ! Finger slides on heads (“moose”) ! Grips for multiple-implement use ! Other:__________________________________________________ 8. Instructions ! Instruction page at front of score (technical explanations) ! Notation explanations ! Notation Keys ! Instrument Listing ! Mallet (implement) listing ! Set-up diagrams (including direction of audience and/or conductor) ! Tuning instructions ! Performance lighting and other effects ! Staging logistics and placement ! Consideration for special page turns ! List of possible substitutions for unusual instruments ! Timing: length of work ! Program notes (analysis, initial concept, motivating idea, etc.) ! Composer bio ! Date of score completion 9. Time-line Check-off ! ____/____/____ Deadline for completion of work ! ____/____/____ Performance date ! ____/____/____ Instrumentation and Form declared ! ____/____/____ Sketches of 3-4 motive and ideas st ! ____/____/____ Draft of 1 section of the form (or a section) nd ! ____/____/____ Draft of 2 section of the form rd ! ____/____/____ Draft of 3 section of the form ! ____/____/____ Draft of complete work ! ____/____/____ Reworked, revised, edited draft nd ! ____/____/____ 2 revision ! ____/____/____ Completed version of work in digital notation
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Book Reports At the start of each semester, students are required to choose one book from the music/percussion genre. At the conclusion of the semester, during the last two master classes, students are expected to give an oral book report to the studio. The report should include a description of the book’s subject including a general outline of the book, information learned, critical impression, and overall recommendation. A brief written summary including title, author, and publishing information will accompany the oral presentation. Students are required to provide copies of the written summary for all students in the studio at the time of the presentation. The book’s topics may include a biography, a research/historical text, self-help/mental health for artists, performance/creativity enhancement, music business, pedagogy, music criticism, music appreciation, etc. The instructor must approve all books for this assignment no later than the third lesson of the semester. A list of some of the books appropriate for this assignment is included in the repertoire section of this curriculum. The following example is an actual UCF student’s book report. Not only is it an excellent example of what is expected, it also contains information that is helpful in writing listening cards. Please read this report and follow the advice to create more thoughtful and professional listening cards.
Example of a Brief Written Summary
Kehau Kuhi Fall 2004 Book Report Wingell, Richard J. Writing About Music: An Introductory Guide. 2nd edition. New Jersey: Prentice Hall, 1997. This book provides information to the inquiring musician on the process of writing research papers and other projects in the field of music. In classes like Music Theory or Music History and Literature, students are required to write such papers without writing about music before. Where does one get materials for his or her research? What else could one write about music? Could one use musical examples in his or her paper? These are some of the questions that can be answered in this book. One of the first chapters discusses 'Inappropriate Ways to Write About Music'. Wingell discusses that not all music is programmatic and to always research about the style or the composer's intent before coming to that conclusion. Also, there should not be overly imaginative descriptions of the music one is writing about (Le. "The light of hope dawns anew as we approach the triumphant final cadence").
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A chapter on Musical Analysis discusses questions to ask when starting the project or paper. Answering these questions can help get the project started or help move along one's research. This also helps with listening cards for our percussion lessons.
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What type of form is it? What style is the piece in? Who was the composer influenced by? What characteristics influenced the writing of the composer? What is the relation to the surrounding culture? (What was the concert life like? Where was the music performed? What was the intended audience?) What was the intent of the composer?
Research projects for music can be a long process, but it helps to know where to start. Another chapter lists different resources to look through for bibliographies, dictionaries - all for music! Here is a list:
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Crocker, Richard L. A History of Musical Style. New York: McGraw-Hill, 1966/
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Randel, Don. Ed. The New Harvard Dictionary of Music. Cambridge, Mass.: Belknap, 1986.
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Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. London: Macmillan, 1980.
These are just a few of the resources one will be able to find (they are all at UCF). One other thing that might help: all the biographies are located under MIA 10 in the UCF Library (by the Library of Congress numbering system) which have the books alphabetically placed by composer. Wingell also suggests looking at scores and recordings (which should be cited in bibliographies). The rest of the book gives information on formatting and the style of the paper. There is also a section on the writing style of music (i.e. writing out 'sharp' and 'flat'; how to write minor and major). Wingell did not design this book to be read from front to back, but to be used as a reference. This book is a great reference and will help in writing any project having to do with music.
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ENSEMBLE ETIQUETTE •
•
•
Set-Up Time - Arrive a minimum of 30 minutes before the scheduled start time. A) Set-up carefully B) Help others C) Then warm-up a little ( after everyone is set)
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Do not allow casual conversation to interfere with efficient set-up obligations.
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If course obligations across campus prohibit early arrival, communicate with the principal/section leader and make arrangements for providing extra assistance in putting equipment away.
Do Not Leave Rehearsals - If you don’t play in a work: remain in the area; if appropriate, perhaps begin to remove unnecessary equipment very quietly, or practice in the percussion area until needed (if those arrangements are appropriate)
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Always keep in touch with the principal; do not assume anything regarding posted schedules – the conductor can change the rehearsal order and the needs for percussion.
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Always return at the end of the rehearsal to complete the process of equipment storage. Do not leave before EVERYTHING is stored properly. Let the principal know when you are leaving the premises.
Check the Band/Orchestra Board - Each member of the percussion section is individually responsible for rehearsal information. (e.g. rehearsal order of works, equipment needs, etc.)
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•
Personally check the rehearsal board on the way into the percussion area; do not always ask the principal what the order is unless arrangements/decisions have declared one member to check the board before each rehearsal. Know what is going on–become aware of the total needs of the section.
Always Bring the Following to All Rehearsals - ALL necessary sticks/mallets, trap cloths, pencil, instruments, etc. - If you must borrow, arrange for it well ahead of time-not on the spot - Try to avoid borrowing instruments and mallets. Always be courteous. - ARRIVE with the music prepared carefully and completely. Because percussion parts normally contain a great deal of rests, it is imperative that a percussionist becomes familiar with ALL of the parts, not just percussion. This is normally achieved through score study and listening to recordings (if available) before the rehearsal. Rehearsal time is for deciding on sound choices, balance/blending, and practicing consistency. Do not waste rehearsal time learning your part and how it fits in the ensemble.
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PERCUSSION ENSEMBLE •
•
•
•
•
•
•
•
•
Attend all rehearsals and concerts. Do not accept commitments that conflict with scheduled rehearsals and concerts. Percussion ensemble is chamber music requiring the careful balancing of all parts and an understanding of the moment-by-moment role and function of each individual part. This can only be accomplished by the prepared presence of all ensemble members. If an absence is necessary, make sure that: 1) You telephone the percussion office at (407) 823-6181 and leave a message. 2) The folder of music arrives at the rehearsal. 3) A competent substitute replaces the absent player, if possible, and… 4) The substitute player has all necessary mallets, auxiliary instruments, and knowledgeable of the necessary set-up (being aware of his/her responsibilities). Arrive at a minimum of 30 minutes ahead of rehearsal times for set-up and warm-up. The conductor’s downbeat will take place at the designated rehearsal time. Preparations for rehearsal must be complete at this time. Proper warm-up on all instruments to be played is very important and is considered a responsibility of each member. All ensemble members should always be totally prepared; all instruments present, in working order, and properly tuned. All mallets and paraphernalia are the responsibility of the performer, as are pencils, music markings, auxiliary equipment, tuning equipment, etc. Practice individual parts outside of rehearsal. All ensembles require concentrated individual preparation. The quality of any ensemble is only as good as the weakest individual performance. Contribute towards the scheduling and effectiveness of necessary.
sectional rehearsals whenever
Regarding contributions towards productive and efficient rehearsals, talking during rehearsals should pertain only to immediate ensemble requirements. Designed multiple set-ups are the responsibility of each performer. Diagram when necessary; try to be consistent in set-up. (It is a good idea to recheck for possibilities of improved set-ups as the music becomes more familiar and comfortable.) Individual set-ups are first priority, but offer help to individuals with larger or more complex set-ups. Maintain lists of all needed equipment and mallets for each work to be performed: do not leave it to memory. Do not find yourself in performance with instruments or mallets missing.
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PERCUSSION ASSISTANT
One percussion major is employed by the Music Department, as a student wage employee, to assist the director of percussion studies in the maintenance, inventory, and administration of the percussion area. The duties of the Percussion Assistant are as follows: 1) To constantly evaluate the condition of all percussion instruments; to maintain, clean, and tune all instruments; to complete repairs (minor and immediate) as necessary; and to communicate to the percussion instructor information about the condition and location of all percussion instruments and supportive equipment. All instruments should function at 100% capacity. 2) To maintain an on-going survey/inventory of all instruments and equipment, immediately advising the percussion instructor of any misplaced or stolen items. The assistant will also complete an annual inventory (during the month of April) of all area instruments and equipment. 3) To maintain percussion rooms, Organ Room, Percussion Studio, Rehearsal Hall, and Colburn Hall Practice Room, in such condition that students may execute rehearsals and practice sessions, without discomfort or inconvenience. These rooms have designated locations for each large instrument and for various types of equipment and small instruments. The assistant will endeavor to maintain the storage plan and serve as an advocate for the plan with other members of the percussion studies area. Also, the assistant will readjust room designs to accommodate special projects. The marching band trailer will also require some supervision regarding storage plan, instrument maintenance, and tuning. 4) To serve as liaison with faculty, administration, and staff regarding requirements and logistical concerns (planning and execution) for the area of percussion before, during, and after in-house festivals, clinics, workshops, and visitations. 5) To oversee (when appropriate) truck loading, securing, and unloading of all percussion instruments and equipment for run-outs and tours of the UCF instrumental ensembles. 6) To administer the collection, cataloging, and filing of all scores and parts for each work read or performed by the UCF percussion ensembles. 7) Post notices relevant to the perc. studies program(e.g. masterclass sched, clinics). 8) To serve as an advocate for the correct/appropriate methods of handling/moving instruments and equipment within the percussion area and the university community. 9) To interact with the percussion instructor regarding the planning and execution of special projects that benefit the percussion studies program and/or students of that program.
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MASTER CLASS
All percussion majors and minors (performance and education) are required to attend and participate in the weekly percussion master class as an integral aspect of applied percussion study. Classes will meet every Friday at 11:00 am. Topical areas of presentation include: auxiliary percussion studies, drumset studies, percussion pedagogy, repertoire and listening studies, video reviews, class performances, jury p reviews, clinician development, instrument and mallet repair/construction, special projects, forum discussions, among other topics.
DEGREE RECITALS
The solo recital is required of all BM and BME majors in percussion. BA students are required to complete a senior project that can take many forms including a performance, though performance is not required. BM majors must perform both a junior recital (minimum 30 minutes of music), and a senior recital (minimum 50 minutes of music). Music education majors are required to perform a BME senior recital (minimum 30 minutes of music), to be scheduled in a semester prior to their senior internship. Depending on program length, the recital can be shared with another instrumentalist. All recitals must be scheduled for the Rehearsal Hall unless special permission is granted for use of an alternate site. Students are responsible for all details relating to personal solo recitals (including scheduling recital audio recordings). Use of the UCF Percussion Recital: Checklist and Deadlines sheet will be important in organizing and accomplishing a successful recital. Program notes are required for each composition performed. Include descriptive, analytical, special interest/historical, composer information, and, of course, the d ate of composition whenever possible. Each student is responsible for engaging their own accompanist(s). Accompanists should be secured as early as possible. Professional accompanists (Pianists) usually range from between $20.00-$50.00 per hour. Students must sign-up for a Recital Hearing within the first two weeks of the semester of their recital. Hearings are scheduled on Mondays between 2-4 weeks before the scheduled recital date. All participants in the recital, including accompanists, must be available and present at the time of the hearing. Please consult the UCF Department of Music Handbook for academic requirements.
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UCF PERCUSSION RECITAL: Checklist and Deadlines
Student___________________________
Recital Type___________________
Recital Date_______________________
Recital Hearing Date________________
Accompanist/Assisting Performer(s)__________________________________________
Repertoire/Instrument(s): _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ Date ____
1.
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Finalize repertoire with Professor Moore. (3-6 months before recital)
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2.
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Find open dates/times on the calendar with Mr. Meckley. Choose a few, then agree on a mutually acceptable time with Professor Moore. (3-6 months before recital, no later than the first two weeks of the recital semester)
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3.
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Choose additional faculty to serve on your Recital Hearing Committee and coordinate a Recital Hearing date and time with Professor Moore and the rest of the committee. Reserve the Hall for the Hearing time with Mr. Meckley. (2nd to 4th week of the recital semester)
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4.
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Schedule a dress rehearsal (usually after 9:30 pm) with Mr. Meckley for the Rehearsal Hall the week before the Hearing. The purpose of the rehearsal is to practice the set-up and get used to the sound on the stage. (2 months before recital)
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5.
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Secure accompanist and assisting performer(s), as required, (2-3 months before recital)
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6.
!
Begin work on program notes. (12 weeks before recital)
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7.
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8.
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Begin rehearsals with accompanist and other musicians. (12 weeks or earlier) First draft of program notes due to Professor Moore. (8 weeks)
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9.
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Arrange for recording and/or videotaping if not already completed. Audio arrangements are usually made when you scheduled with Mr. Meckley, however, videotaping (if desired) requires an outside contractor. (6 weeks)
____ 10.
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Second draft of program notes due to Professor Moore. (5 weeks)
____ 11.
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Fill out and turn in to Professor Moore the Recital Hearing Approval Form (available in the Music Office). This document must be signed by Professor Moore, Mr. Meckley, and Dr. Pherigo. (2 weeks before the Hearing)
____ 12.
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Final draft of program notes due to the Professor Moore. (4 weeks)
____ 13.
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Perform/present the Recital Hearing. All performers must be available and all compositions/program notes (3 copies) ready for review. (2-4 weeks before recital date)
____ 14.
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Confirm/schedule dress rehearsal in hall. (After Recital Hearing)
____ 15.
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Turn in program order and notes (neat and typed) to Mr. Meckley. (4 weeks or after Recital Hearing)
____ 16.
!
Send out personal invitations to special guests, if desired. (4 weeks or after Recital Hearing)
____ 17.
!
Perform for colleagues and friends in informal settings. Perhaps, find another small/informal venues to perform recital. (2-3 weeks)
____ 18.
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Prepare and post advertising fliers. (1-2 weeks, but after Hearing)
____ 19.
!
Proofread and approve draft of program from Mr. Meckley (1-2 weeks)
____ 20.
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Arrange for location/service for post recitals reception, if desired. (3-4 weeks, unless early bookings are required)
____ 21.
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Pull several programs for personal portfolio, assisting artists, and other records. (Day of recital)
____ 22.
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Pick up video equipment, if necessary. (Day of recital)
____ 23.
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Turn in your key !. (Day of recital)
____ 24.
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Return video equipment, if necessary. (Day after recital)
____ 25.
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Send out letter of thanks, gifts, and/or payment to accompanist/assisting artists. (post recital)
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PERFORMANCE REPERTOIRE (Selected) The following lists of repertoire represent significant examples of solo and chamber works worthy of study at the collegiate level (there are many other works available):
Composer Abe Boo Bach Bridge Diemer Dinicu-Heifetz Frazeur Frock Gipson Gomez Gomez Green Gwinn Hatch Houghton Houliff Houliff Houliff Irvin Kreisler/Green Mayuzumi McMillan Musser Musser Musser Musser Musser Musser Musser Musser Musser Peters Peters Peters Peters Peters Peters Peters Peters
Mallet Repertoire LEVEL I Title (mallets) Frogs (4) Jubilee for Marimba (4) Various Transcriptions (2/4) Of Dances… (4) Toccata (2/4) Hora Staccato (2) Rondo for Marimba (2) Concerto for Marimba and Piano Prayer(4) Etude in d Minor (3) Rain Dance (4) Xylophone Solos (book) (2) A True Lover’s Farewell (4) Challenge I (book) 21st Century Recital Series-Keyboard (2) Suite: Three Songs for the South (4) Two Pieces (4) Mallet Music (book) (4) Octave Etude No. 2 (4) Tambourin Chinois (2) Concertino (2/4) Masterpieces for the Marimba (2) Etude, C Major Op. 6 #10 (4) Etude, Op. 6 #8 (4) Etude, B Major Op. 6 #9 (4) Etude, Ab Major Op. 6 #2 (2 or 4) Prelude, Op. 11 #3 (2) Prelude, Op. 11 #7 (4) Etude, Op. 11 #4 (2) Scherzo Caprice Polanaise Brilliante Yellow After the Rain (4) Sea Refractions (4) Zen Wanderer (4) Waves (4) Teardrops (4) Allegro-Sonata (2) Chant (2) Theme and Variations (4)
Publisher Studio 4 Ludwig Music Various Warner Bros. Music/Perc Fischer Music/Perc Southern Southern Southern Southern Sam Fox Southern Earl Hatch Publ. Warner Bros. Ludwig Music Southern Music/Perc Studio 4 Charles Foley Peters CPP Belwin Studio 4 Studio 4 Studio 4 Studio 4 Studio 4 Studio 4 Studio 4 Studio 4 Studio 4 M. Peters M. Peters M. Peters M. Peters M. Peters M. Peters M. Peters M. Peters
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Pimentel/Moore Pitfield Rosauro Rimsky-Korsakov/Heifetz Schumann/Musser Smith Stout Tanner Telemann Wittiber
LEVEL I (continued) The Solo Marimbist Vol. I, II (4) Permus Sonata (3) Peters Ed. Three Preludes (4) Southern The Bumble Bee (2) Fischer or Ludwig Music Romance #1, Op. 94 (2) Sam Fox Suite Moderne for Marimba (4) Permus Etudes Books I-II, Selected (2/4) Studio 4 Sonata for Marimba and Piano Cole Violin Concerto in G (2/3) Ernst Eulenburg Ltd. Rhythm Dance Bewimusic
Bach Beals Breuer Creston De Vos Malan Deane Elster Ervin Fissinger Gipson Gomez Green Houliff Houliff Hovhaness Moore O’Mera O’Mera Nevin/Becker Rosauro Rosuaro Schmitt Smadbeck Smadbeck Sor Steinquest Stout Stout Stout Sukegawa Tchaikowsky/Stevens Urlich Urlich
LEVEL II Six Suites for Cello (4) International The Red Shoes (4) CPP Belwin Xylophone Rags (Col.) (2) Alfred Concertino (2/4) Schirmer Mobile Stuctures III Musications Etude for a Quiet Hall (4) Innovative Percussion Four Pieces for Solo Marimba (4) Marimba Prod. Contemporary Etudes (book) (3/4) Award Suite for Marimba (4) PercArts Monograph IV (4) Studio 4 Gitano (4) Southern Xylophone Rags of GH Green (Col.) (2) Meredith Three Pieces for Marimba (4) Music/Perc Samba (4) Studio 4 Fantasy on Japanese Woodprints (2) Peters Almost Calypso Panyard Tune for Mary O (4) Marimba Prod. Restless for Marimba (4) Marimba Prod. Mighty Lak’ A Rose Marimba Prod. Suite Popular (4) Mus/Perc Choro Bachiano (4) Pro Percussao Ghanaia (4) Matthias Schmitt Pub. Etudes No. 1-3 (4) Studio 4 Rhythm Song (4) Marimba Prod. Estudio No. 6, 15, 17, 22 (guitar trans.) (4)Marimba Prod. Meditation and Dance (4) Studio 4 Etudes 1-9 (2/4) Studio 4 Reverie (4) or Elegy (4) Studio 4 Andante & Allegro (4) Studio 4 Five Pieces…Paul Klee (4) Ongaku Tomo Album for the Young (4) Studio 4 Suite No. 1 (2/4) Music/Perc Prelude and Noel (2 or 4) Music/Perc
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Abe Abe Abe Abe Abe Bach Burritt Burritt Burritt Burritt Carno DePonte Edwards Ford Gottry Gronemeier Heble Khachaturian/Stevens Kreutz Levitan Margolis Maslanka Miki Milhaud Miyoshi Monkman MusicAsia Penn Raphling Reed Rosauro Rosauro Rosauro Rosauro Samuels Sejourne Schumann/Stevens Sifler Skoog Smadbeck Spencer Stout Sueyoshi Tanaka Wilder/Stout
LEVEL III Michi (4) Music/Perc Variations on Japanese Children’s Songs (4) Shott Ancient Vase (4) Shott Little Windows (4) Shott Memories of the Seashore (4) Shott Preludium in g minor (3) Marimba Prod. Four Movements for Marimba (4) Ludwig Music October Night (4) Ludwig Music Willow (2/4) Marimba Prod. Preludes 1-5 (4) Marimba Prod. For a Marimba with a Mind of Its Own (4) M. Peters Concertino (4) Studio 4 Marimba Dances (2/4) Universal Editions Polaris (4) Innovative Perc. Irrelevant (4) C. Alan Pub. Nature Alley (4) M. Baker Pub. Grand Fantasy (4) Studio 4 The Adventures of Ivan (4) Marimba Prod. Dialog (4) Contemporary Marimba Suite #2 (4) M. Baker Pub. 3 Technical Sketches for Marimba (2/4/5) Manhattan Bch My Lady White (4) Marimba Prod. Marimba Spiritual (4) Ongaku Tomo Concert for Marimba/Vibes (4) Enoch Conservation Suite (4) Ongaku Tomo Rite of Passage (4) Tap Space Marimba Music (4) Merion Music Four Preludes (4) Seesaw Concerto for Mar., Vibes, Xylo., and Orch. Mus/Perc. Concertino for Marimba and Band (4) Barnhouse Variations on a Rio Grande Theme (4) Pro Percussao Concerto for Marimba #1 or #2 (4) Pro Percussao Valencia (4) Pro Percussao Variations on a “A Little Prayer” (4) Pro Percussao Footpath (4) Orient Point Nancy (4) Froggy Pub. Album for the Young (4) Marimba Prod. Marimba Suite (4) Brightstar Water and Fire (4) Marimba Prod. Virginia Tate (4) Smadbeck Cat Clock (4) Studio 4 Two Mexican Dances (4) Studio 4 Mirage pour Marimba (4) Ongaku Tomo Two Movements for Marimba (4) Ongaku Tomo Suite for Solo Guitar (4) Studio 4
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Abe Abe Abe Abe Abe Adams Asia Bach Bach Bach Bach Bach Bach Bach Bach Bach Basta Bennett Burritt Burritt Burritt Burritt Burritt Druckman Ewazen Gronemeier Gronemeier Gronemeier Harnsberger Harnsberger Heble Heble Heble Heble Heble Heider Ikebe Ishii Klatzow Klatzow Koppel Kurka Hollinden Klatzow Mackey
LEVEL IV Dream of the Cherry Blossoms (4) Zimmerman Wind in the Bamboo Grove (4) Shott Tambourin Paraphrase (4) Xebec Music Pub. Wind Sketch (4) Xebec Music Pub. Prism Rhapsody (2/4) Xebec Music Pub. Three Movements (4) Music/Perc. Marimba Music Marion Music Prelude and Fugue in Bb Major (4) Marimba Prod. Sonata in B Minor (4) Marimba Prod. Sonata in A Minor (4) Marimba Prod. Prelude and Fugue in g minor (4) Marimba Prod. Invention No. 4 in d Minor (4) Marimba Prod. Invention No. 8 in F Major (4) Marimba Prod. Invention No. 1 in C Major (4) Marimba Prod. Invention No. 14 in Bb Major (4) Marimba Prod. Chorale 371 Christ lag in Todesbanden (4)Marimba Prod. Concerto for Marimba (4) Music/Perc. After Syrinx II (4) Novello and Co. Caritas (4) Marimba Prod. Waking Dreams (4) Marimba Prod. Timeless (4) Marimba Prod. Azure (4) Marimba Prod. Shadow Chasers (4) C. Alan Pub. Reflections on the Nature of Water (4) Boosey and Hawkes Northern Lights (4) M. Baker Pub. Unchosen Path (4) M. Baker Pub. Sweet Roselle (4) M. Baker Pub. Population: One Too Many (4) M. Baker Pub. Vertigo (4) Innovative Perc. Words Unspoken (4) Innovative Perc. Toccata Fantasy (4) Marimba Prod. Preludes 1-3 (4) Marimba Prod. Preludes 4-6 (4) Marimba Prod. Preludes 7-9 (4) Marimba Prod. Movement for Marimba and Harpsichord (4) Studio 4 Laudate Lignum (4) Edition Moeck Monevolance I (4) Ongaku Tomo Marimbastuck (4) Japan Fed. Dances of Earth and Fire (4) Manuscript Concerto for Marimba(4) Percussion Music Europe Concerto for Marimba (4) Norsk Musikforlag Concerto for Marimba(2/4) Weintraub Of Wind and Water (4) McClaren Pub. Concerto for Marimba and Orch. (4) Musications See Ya Thursday (4) Boosey and Hawkes
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Maslanka Miyoshi Miki Miki Niimi Schwantner Serry Stevens Stout Thomas Tsubonoh Wesley-Smith Westlake Zivkovic Zivkovic
LEVEL IV (continued) Variations on a Lost Love (4) Marimba Prod. Torse III (4) Ongaku Tomo Time for Marimba (4) Ongaku Tomo Concerto for Marimba and Orch. (4) Norsk Musikforlag For Marimba I (4) Japan Fed. Velocities (4) Helicon Music Corp Night Rhapsody (4) Marimba Prod. Rhythmic Caprice (4) Marimba Prod. Ode for Marimba (4) Paul Price Merlin (4) Margun Music Meniscus for Marimba (4) Ongaku Tomo For Marimba & Tape (4) Australian Music Centre Fabian Theory (4) Rimshot Music Ultimatum 1 for Solo Marimba (4) Edition Musica Europea Concerto per Marimba e Orchestra No.2 Op. 25 “ “
Burton Davis Friedman Gibson Lipner Lipner Molenhof Molenhof Rosauro Rosauro Tachoir Tachoir
Jazz Vibraphone Repertoire Solo (4) Creative Music Recital for Vibraharp (Col.) (4) Barnhouse Mirror from Another (Col.) (4) CPP Belwin Wallflower/Snowbird/Carillon (4) Studio 4 Places to Visit (Col.) (2/4) Malletworks The Jazz Vibes Real Book (book) (2/4) Malletworks Music for the Day/Vibe Songs (Col.) (4) CPP Belwin New Vibe Madness (Col.) (4) CPP Belwin Bem-Vindo (5) Pro Percussao Concerto for Vibraphone (4) Pro Percussao Solo Vibraphone Collection (4) Riohcat Design for Vibraphone and Piano (4) Riohcat Timpani Repertoire
UNACCOMPANIED SOLOS Beck Sonata for Timpani Boston Music Beck Three Episodes for Timpani Kendor Beck Triptych Motive for Timpani Kendor Beck Three Movements for Five Timpani Meredith Bergamo Four Pieces for Timpani Music/Perc Cahn Raga #1 Wimbledon Music Campbell Tangents (w/ Hi-Hat) Innovative Percussion Carter Eight Pieces for Timpani Associated Music Di Pietro Melodia Nera Op. 60 A.M. Percussion Erickson Spanish Suite (5) Manuscript Firth Solo Impression Carl Fischer Firth The Solo Timpanist Carl Fischer Floyd Theme and Variations Studio 4
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UNACCOMPANIED SOLOS (continued) Frazeur Mood Piece Music/Perc. Frock Seven Solo Dances Southern Goodman Ballad for the Dance CPP Belwin Grimo Cortege Southern Heble Three Etudes (5) Studio 4 Hinger Solos for the Virtuoso Timpanist Jerona Hochrainer Etuden fur Timpani, Book III Verlag-Doblinger Wein st Houghton 21 Century Recital Series-Timpani Warner Bros Houliff Four Verses for Timpani Paul Price Huston Suite for Solo Timpani Schirmer Igelsrud Soundings Kendor Jones Sonata (3) Hinrichsen Kraft Variations for King George New Music West Kraft M’s P New Music West LaFave Three Pieces for Five Timpani M. Baker Pub. Lepak Thirty-two Solos for Timpani Leonard Epigram Ludwig Leonard Canticle Ludwig Leonard Forms Ludwig Leonard March and Scherzo Leonard Perc. Mus. Leonard Solo Dialogue Columbia/Volkwein Mancini Suite for Timpani Kendor Mardinly Sonata for Solo Timpani Paul Price Muzynski Three Designs for Timpani (3) Schirmer Power Timepieces Honeyrock Ramey Sonata for Three Unaccompanied Timpani Mus/Perc. Peters Scherzo (3) Peters Peters Rondino Peters Shiner Declaration, Song, and Dance Ludwig Music Tcherepnin Sonatina (3) Boosey and Hawkes Williams Variations for Solo Kettledrums Music/Perc. D. Williams Four Grotesques for Timpani Studio 4 Youhass Four Pieces for Unaccompanied Kettle Drums Cole SOLO TIMPANI WITH OTHER INSTRUMENT(S), ORCH., WIND ENS., OR BAND Baker 3 Pieces for Solo Timp., 5 Roto-Toms&Orch MMB 3 Pieces for Solo… & Wind Ensemble MMB Colgrass Concertino for Timpani (w/brass & perc.) Music/Perc. Donatoni Concertino for Timpani, Strings, & Brass Schott and Co. Druschetzky Concerto for Timpani and Orch. Harrison Powley Fischer Concerto for Timpani and Orch. Harrison Powley Farberman Concerto for Timpani and Orch. Franco Columbo Frid Zeven Pauken en een Koperorkest C. F. Peters Gerber Celebration Suite for Timpani & Orch. Deborah Prod., Gerster Capricietto for Timp and String Orch. Schott
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SOLO TIMP W/OTHER INST(S), ORCH., WIND ENS., OR BAND (continued) Jacobs Concerto for Timpani and Band Boosey and Hawkes Koper Mytho-Logica,3 Sketches for Timp&Orch.Koper-Hannover Kraft Concerto for Timpani and Orch. C. Fischer Leonard Fanfare and Allegro (w/tpt.) N. Simrock/Theodore Presser Noak Concert Piece for 6 Kettledrums and Strings ACA Oliverio Timpani Concerto #1 (Olympian) Collected Editions Oliverio Dantreume Leu Pliska (w/st. bass) Collected Editions Panufnik Concertino for Timpani, Perc.,& Strings Boosey & Hawkes Parchman Concerto for Timpani and Orch. Seesaw Parris Concerto for 5 Kettledrums C.F. Peters Pieranzovini Concerto for Timpani and Strings Ricordi Premru Celebrations-Overture for Solo Timp & Orch Oberlin Coll. Raphling Timpani Concerto (5) Music/Perc. Rice Concerto for Timpani and Orch. Seesaw Sarmientos Concerto for 5 Timpani and Orch. Southern Sosnick Concerto for Timpani and Band Bourne Stock Earth Beat for Solo Timpani and Wind Sym. Duquesne Uni. Streigler Concerto for Timpani and Orch. Goodman Susskind Passacaglia for Solo Timpani and Orch. MMB Music Tanner Concerto for Timpani and Brass Univ. of MA Tausch March and Polinaise for 6 Timpani C.F. Peters Tchherepnin Sonatini for Timp and Orch. Boosey & Hawkes Tharichen Konzert for Pauken and Orchestra Op. 34 Bote and Bock Waxman Sinfonietta for Timpani and Strings Boosey & Hawkes Weinberger Concerto (w/4 tpts. & 4 trmbs) AMP,New York White Concerto for Timpani (w/winds and perc) Shawnee Wusthof Metrum for Five Timpani and Strings Peters Ed.
Beck Brindle Cahn Cirone De Lancey Duckworth Etler Feldman Fink Fink Goldenberg Gottschalk
Multiple Percussion Solo Repertoire Episode for Solo Percussion Orion M.42 Nara Partita Portraits in Multiple Percussion (Book) The Love of L’Historie Time Fields Gambit (w/tape) XL Plus One King of Denmark Conversation forTape and Percussion (w/tape) Alternation:Szenen und Variation fur Percussion Solo Studies in Solo Percussion (Book) Stations
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Hiller/O’Conner Hollinden Houghton Ishii Kraft
Norgard
Payson Ptsazynska Rolnick Rosauro Serry Stern Tagawa Udow White Wuorinen Wyatt Xenakis Zivkovic Buggert Cirone Colgrass Erb Foss Hummel Jolivet Kraft Lambro Mayuzumi McColloh Milhaud Pitfield Parchman Rosauro Schibler Schreiner Spalding Steinhort Suderberg
Multiple Percussion Solo Repertoire (continued) Computer Music for Percussion and Tape (w/tape) Cold Pressed Slender Beams of Solid Rhythm 21st Century Recital Series-Multiple Percussion (w/cd) Thirteen Drums Corrente II English Suite French Suite Morris Dance Soliliquy (w/tape) I Ching Poeme Waves Die Zwitschermaschine Space Model Ever-Livin’ Rhythm Cenas Amerindas Therapy Adventures for One Inspirations Diabolique Acoustic Study #1 Fracture Six Etudes Janissary Music Time Mark (w/tape) Psappha Rebonds Generally Spoken, Its Nothing But Rhythm Multiple Percussion with Band/Orchestra Dialogue for Solo Percussion and Band Double Concerto for Two Percussion and Orchestra Rhapsodic Fantasy for 15 Drums and Orch. Concerto for Solo Percussion and Orchestra Concerto pour Percussion et Orchestre Concerto for Percussion and Orchestra Concerto for Percussion and Orchestra Triangles, for Percussion Soloist and Chamber Orchestra Two Pictures for Solo Percussionist and Orchestra Concerto for Percussion and Orchestra Sounds for Percussion Solo and Woodwinds Concerto for Percussion and Small Orchestra Concerto for Percussion and Full Orchestra Concerto for One Percussionist and Orchestra Rhapsodia Scenes Fantatiques Op. 63 for Percussion and Orchestra The Worried Drummer Concerto No. 2 for Solo Percussion and Wind Ensemble Dance for Solo Percussion and Orchestra Concerto for Percussion and Orchestra
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Listening Repertoire The following lists represent suggested repertoire suitable for the listening requirements (with annotated index cards or printouts) as described in the applied syllabus. Some of the works are available at the UCF Library or from the percussion office. PERCUSSION Artist Title Keiko Abe Concerto for Marimba (Ptaszynska) Concertante (Ishii) Works for Marimba & Percussion Lullaby of Itsuki Marimba Encore Marimba Fantasy Marimba Spiritual Solo Marimba Selections Solo Marimba Selections II Solo Marimba Selections III Keiko Abe & Dave Samuels Live in Concert: Merging Classical and Jazz Forms Amadinda Percussion Group 4’33” (Varese, Chavez, Cage, Cage/Harrison) Amandina (Marta, Sary, Cage, Reich, G.H. Green) Steve Reich Les Noces/1917 & 1923 Versions American Wind Symphony New Brass Symphony (Mayuzumi-Concerto for Per/Winds) Australian Percussion Vol. I Michael Askill Music Francious pour Trpt & Perc Aubier/Verite Marimba en Concert Severin Balzer Sonata for Two Piano Pianos & Percussion Bartok There is a Time Bob Becker Music of Farberman & Shchedrin Bellson/Kroumata Berio (Circles) Luciano Berio Blackearth Percussion Group (Cage, Harrison, Albright,) Blackearth Cricket City Britan/Moore Duo Michael Burritt Perpetual Shadow Chasers Cabaza Percussion Quartet Cabaza The Solo Percussionist William Cahn Harpsichord and Percussion Chojnacka/Gualda Continuim Percussion Quartet Works By…(Cage, Bazelon, Rouse, Harrison, Kurtz) Caribenos Orlando Cotto George Crumb (Madrigals, Summer Evening) George Crumb Ancient Voices of Children Border Crossing (Rouse, Udow, Hollinden, Daugherty) Equilibrium Open Hand Double Image Duotones Concerto for Percussion & Orch. Donald Erb All-Star Percussion Ensemble Harold Farberman
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PERCUSSION (continued) Sigfried Fink Art of Percussion Pictures for Percussion Mark Ford Polaris Mark Ford Motion Beyond Daniella Ganeva Dream of the Cherry Blossoms (Miki, Yuyama,Tanaka) Greg Giannascoli Concertino (Creston, Kurka, Mayazumi) David Gillingham Stained Glass Evelyn Glennie Light of Darkness (Rosauro, Abe, Edwards, Tanaka) Rebounds (Milhaud, Bennet, Rosauro, Miyoshi) Rhythm Song (Musser, Smadbeck, Stout, Abe, Saint-Saens) Drumming Reflected in Brass Wind in the Bamboo Grove Gilbert Goulart The World of Marimba (Abe, Rosauro, Deane, Thomas) Group de Percussao Group de Percussao da USFM (Rosuaro, Villa-Lobos) Jonathan Hass 18th Century Concertos for Timpani Lou Harrison Music for Guitar and Percussion Robert Hohner Different Strokes (Rouse, Narell, Cage, Milhaud, Breuer) Lift Off (Peck, Miki, Cahn, Norvo, Barber, Metheny) The Gamut (Heble, Green, Samuels, Reich) Horsholm Mar.& Perc. Ens Like in Everyday Life Andy Harnsberger Vertigo Beverly Johnston Alternate Currents (Southam, Jaeger, Hatch, Freedman) Impact (Piche, Louie, Kulesha, Arcuri) Marimbach (Bach) Marimba Yajalon/Kaptain Huapango Chiapas! Rebecca Kite Across Time (Abe, Giuliani, Dowland, Bach, Miki) Prism (Peters, Rosuaro, Gipson, Bach, Sor,Musser, Gomez) Kroumata Kroumata Percussion Ensemble (Cage, Cowell, Lundquist) Kroumata/Abe Works for Marimba and Perc. (Miyoshi, Takemitsu, Miki) Kroumata/Mortensen Iannis Xenakis Kroumata/Weisler Music of Jolivet, Harrison, Cage, & Sandstrom Stonewave Rainer Kuisma Virtuoso Percussion Music (Milhaud, Fissinger) Stanley Leonard Canticle (Music of Leonard) Marimolin Marimolin Marimolin/Shick Music for String and Mallets Percussion Linda Maxey The Artistry of the Marimba McCormick Duo Flute and Percussion: Premiers Plus One (Dahl) th Milwaukee 20 Century Ens. Music With Percussion (Salzedo, Harrison-Vln/Perc Con.) William Moersch Piccolodeon The Modern Marimba (Druckman, Thomas, Wesley-Smith) Bill Molenhof All Pass By Gert Mortensen Gert Mortensen (Norgard, Xenakis) New Jersey Perc. Ensemble Percussion Music (Varese, Colgrass, Wuorinen, Cowell)
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PERCUSSION (continued) New Music Consort Pulse (Cage, Harrison, Cowell, Foss, Sollberger) Nexus Best of Nexus (Nexus, Green, Cahn, Cage, Birney) Dance of the Octopus (Becker, Norvo, Cahn, Barnes) Music of Nexus (Nexus, Silvers, Cahn, Nevin) Nexus Now (Wyre, Cahn, Becker, Takemitsu, Engleman) Nexus Plays the Novelty Music of George Hamilton Green Ragtime Concert Origins The Story of Percussion in the Orchestra Voices (Wyre, Cahn) Paul Horn/Nexus Attitude of the Sun Percussion Art Quartet Impulse Stick Attack (Rosauro, Fink, Miki, Cage) Percussion Group Cincinnati Music of… (Udow, Peck, Kramer, Brun, May, Mosko) Percussion Group the Hague Irony (Cage, Reich, Donatoni, Kondo, Ford, Huber) Skin Hits (Ford, Ishii, Xenakis, Rose) Wooden Branch (Cage, Tsubonoh, Ford, Smith) Michael Pugliese Percussion (Xenakis, Feldman, Vigeland, Cage, Norgard) Quantor Helios Works for Percussion (all Cage and Harrison) Classic Mallets Steve Reich Drumming City Life Early Works (Piano Phase, Clapping Music) Christian Roderurrg Works for Marimba Solo (Abe, Stout, Sukegawa) Ney Rosauro Rhapsodia Ney Rosauro in Concert Brazilian Music for Percussion Ensemble Peter Sadlo Classic Percussion (Bach, Brindle, Abe, Tanaka, Fink) Joseph Schwantner The Music of Joseph Schwantner (Velocities, Concerto) St. Louis Symphony (Déjà vu/Light Spirit – Colgrass) Steve Shick Born To Be Wild Brian Slawson Bach Beat, Bach on Wood, Distant Drums Stuart Smith Memory Bands Ragnar Soderlind Sofia Phil. 20th Century Music (Milhaud Perc. Concert) Julie Spencer Ask (Cat Clock III) Kai Stensgaard Marimba Classic Leigh Howard Stevens Bach on Marimba Marimba When (Debussy, Tchaik, Schumann, Khach.) Stockhausen Zyklus No. 9 Gordon Stout Music for Solo Marimba Strasbourg Percussion Les Percussion de Strasbourg (Varese, Xenakis, Taira) Dallapiccola Edison Dennissov Stravinski/Ohana Concertante
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Tri Perkussion
Michael Udow Univ. of North Carolina Univ. of Oklahaoma Univ. of Utah Robert Van Sice
Edgar Varese Glen Velez Albrecht Volz Warsaw Percussion Group Nancy Zeltsman Zivkovic
Bartok Berio Boulez Crumb
Foss Husa Milhaud Stockhausen Stravinsky Varese Walton
Bartok Beethoven
Berlioz Bernstein
Bizet Bloch
PERCUSSION (continued) Perfect Percussion Vol. 2 (Beck, Fink, Chavez, Teeling) Perfect Percussion Vol. 1 (Fink, Strang, Bash, Russel) Perfect Percussion Vol. 3 (Creston, Bach, Green) Four Chamber Percussion Works Sketches (Parker, Marek, Long, Grassano) Laser Woodcuts (Breuer, Green, Gauger, Heble) Classic Works for Perc.Ens.(Gauger,Maslanka,Gillingham) Robert Van Sice (Klatzow, Sueyoshi, vos Malan) Marimba Concertos (Klatzow, Hovhaness, Nuyts) Japanese Music for the Marimba(Takemitsu,Sueyoshi) Ionisation (Ameriques,Offrandes,Octandre,Integrales) Rhythmcolor Exotica, Rhythm of the Chakras Pictures for Percussion (Tanner, Tscherepnin, Green) Polish Contemporary Percussion Woodcuts (Levitan, Thomas, Zeltsman) Marimba & Percussion Solo (Tanaka, Miki, Zivkovic) CHAMBER MUSIC Sonata for Two Pianos and Percussion Circles Le Marteau Sana Maitre Madrigals Books I-IV, Ancient Voices of Children Music for a Summer Evening (Makrokosmos III) Songs, Drones, and Refrains of Death Time Cycle Music for Prague, Apotheosis of This Earth La Creation du Monde (The Creation of the World) No. 12 Kontakte L’Histoire du Soldat (The Story of the Soldier) Integrales Façade ORCHESTRAL Music for Strings, Percussion, and Celeste Concerto for Orchestra Violin Concerto Piano Concerto #1 Symphonies 1-9 Roman Carnival Overture Symphonie Fantastique Age of Anxiety Candide Symphonic Dances from West Side Story Carmen Suite No. 1 & 2 (En’tracte) Schelomo 2
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Borodin Brahms Britten Chabrier Copland Debussy
Delibes Dukas Dvorak Elgar Enesco Gershwin
Glazounov Handel Hindemith Holst Kabalevsky Khachaturian Kodaly Liszt Mahler Mendelsohn Mozart Mussorgsky Nielsen Nielsen Orff Poulenc Prokofiev
Rachmaninoff
ORCHESTRAL (continued) Polovitsian Dances Symphonies 1-4 Academic Festival Overture Young Person’s Guide to the Orchestra Peter Grimes Espana Appalachian Spring Rodeo La Mer Nocturnes Afternoon of a Faun Lakme Sorcerer’s Apprentice Carnaval Overture New World Symphony Enigma Variations Rumanian Rhapsody No. 1 Porgy and Bess American in Paris Concerto in F Violin Concerto The Messiah Symphonic Metamorphosis The Planets Colas Brengnon The Comedians Suite Piano Concerto No. 1 Suite from the Gayne Ballet Hary Janos Suite Piano Concerto No. 1 in Eb Symphonies I, III, IV, and V Italian & Scotch Symphonies The Magic Flute Symphonies 38-41 Pictures at an Exhibition Night on Bald Mountain Clarinet Concerto Symphony #5 Carmina Burana Concerto for Organ, Strings and Timpani 1st Symphony 5th Symphony Lieutenant. Kije Peter and the Wolf 2nd Piano Concerto
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Ravel
Respighi Rossini Rimsky-Korsakov Saint-Saens Schubert Schuller Schuman Shostakovitch
Sibelius Sousa Strauss
Stravinsky
Tschaikovsky
Wagner
ORCHESTRAL (continued) Bolero La Valse Alborada Del Gracioso Daphnis et Chloe Suite No, 2 Mother Goose Suite Pines of Rome La Gazza Gadra Scherezade Capriccio Espagnol Carnival of the Animals Dance Macabre Unfinished Symphony Seven Studies on Themes of Paul Klee Third Symphony New England Triptych Festive Overture Symphony No. 1 & 5 Golden Age Polka Symphony No. 2 Stars and Stripes Don Juan Till Eulenspiegel Death and Transfiguration Also Sprach Zarathustra Petroushka Rite of Spring Firebird Les Noces Capriccio Italien Symphony IV & V Romeo and Juliet Tannhauser – Venusberg Siegfried’s Rhine Journey Forest Murmurs Siegfried’sFuneral Music
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Recommended Readings in Percussion, Pedagogy, and Music The following lists represent a sample of the readings and resource materials available to the student to aid in gaining a broader understanding of music and percussion in particular. These books and the articles contained in the journals listed, are excellent examples of the scholarly works that the student should become familiar with. Selected books listed below are suitable for the Percussion Studio Semester Book Review Requirement.
BOOKS Adato, Joseph and Judy, George. The Percussionist’s Dictionary (Miami, Florida: Belwin-Mills, 1984). Altenburg, Johann Ernst. The Trumpeter’s and Kettledrummer’s Art (Halle, Germany, 1795). Translation with introduction by Edward H. Tarr (Nashville: The Brass Press, 1974). Banek, Reinhold and Scoville, Jon. Sound Designs. A Handbook of Musical Instrument Building (Berkley: Ten Speed Press, 1981). Beck, John H., editor. Encyclopedia of Percussion (New York, NY: Garland Publishing, 1995). Bernstein, Leonard. The Joy of Music (New York: Simon and Schuster, 1959). Benvenga, Nancy. Timpani and the Timpanist’s Art: Musical and Technical Development in the 19th and 20th Centuries (Goteborg, Sweden: Goteborg University, 1979). Berlioz, Hector. A Treatise on Modern Instrumentation and Orchestration (Paris: Lemoine, 1843-44). Translation by Mary Clarke, ed. and rev. by Joseph Bennett (London: Novello and Company, Ltd.). Blades, James. Orchestral Percussion Technique, 2nd edn. (London: Oxford University Press, 1973). Blades, James. Percussion Instruments and Their History (London: Faber and Faber, Ltd., 1975). Blades, James and Montagu, Jeremy. Early Percussion Instruments from the Middle Ages to the Barouque (London : Oxford University Press, 1976). Bonfoey, Mark P. Percussion Repair and Maintenance: A Performer’s Technical Manual (Miami, Florida: Belwin-Mills, 1986). Breithaupt, Robert. The Complete Percussionist. (Oskaloosa IA: C.L. Barnhouse, 1992).
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Brindle, Reginald Smith. Contemporary Percussion (London: Oxford University Press, 1970). Brown, Ed. Band Director’s Percussion Repair Manual (Van Nuys, CA: Alfred Publishing, 1995). Brown, Theodore Dennis. A History and Analysis of Jazz Drumming to 1942, vols. I and II (Ph.D. Dissertation, University of Michigan, ! 1976 T.D.B.) [Available through University Microfilms, Ann Arbor, MI]. Bruce, George and Emmett Daniel. The Drummer’s and Fifer’s Guide (1862 and 1865 eds.) [1865 edn. Available from George Carroll, 4113 Fourth Street, North Arlington VA. 22203]. Cahn, William L. The Xylophone in Acoustical Recordings (1877-1929). (Rochester, NY: William L. Cahn, 1979). Cameron, Julia. The Artist’s Way: A Spiritual Path to Higher Creativity (New York: Jeremy P. Tarcher/Putnam a member of Penguin Putnam Inc., 1995). Carrington, J.F. Talking Drums of Africa (New York: Negro Universities Press, 1969). [Originally pub. London: Carey Kingsgate Press, 1948]. Chenoweth, Vida. The Marimbas of Guatemala (Kentucky: University of Kentucky Press, 1974). Chernoff, John Miller. African Rhythm and African Sensibility (Chicago: University of Chicago Press, 1979). Cirone, Anthony J. and Sinai, Joe. The Logic of It All (Menlo Park, CA: Cirone Publications, 1977). Coleman, Satis N. The Drum Book (New York: John Day Company, 1942). Coleman, Satis N. The Marimba Book (New York: John Day Company, 1930). Combs, F. Michael. Solo and Ensemble Literature for Percussion (Terra Haute, IN: Percussive Arts Society, 1972). Cook, Gary D. Teaching Percussion [3rd Ed.] (New York: Schirmer Books, 2005). Copland, Aaron. What to Listen for in Music (New York: Penguin Putnam Inc., 1939, 1957). Creston, Paul. Principles of Rhythm (Melville, NY: Belwin Mills, 1961).
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Denov, Sam. The Art of Playing Cymbals (New York: Henry Adler, Inc., 1963). Farkas, Philip. The Art of Musicianship (Bloomington, Indiana: Musical Publications, 1976). Farmer, Henry George. Handel’s Kettledrums and Other Papers On Military Music (London: Edwards and Brune, Ltd., 1960). Fink, Sigfried. Tablature 72 (Hamburg: N Simrock, 1972). [A listing of tables of symbol Notations for percussion instruments].
Foster, Robert E., Wanamaker, Jay A., Duffer, Bob and Cowles, Kraid. Championship Auxiliary Units (Sherman Oaks, CA: Alfred Publishing Co., Inc., 1979). Foster, Robert E. Multiple-Option Marching Band Techniques (Sherman Oaks, CA: Alfred Publishing Co., Inc., 1962). Gallwey, W. Timothy. The Inner Game of Tennis (New York: Random House, 1974). Gelb, Michael. Body Learning: An Introduction to the Alexander Technique (London: Aurum Press, 1981). Geiringer, Carl. Musical Instruments (London: George Allen & Unwin Ltd, 1965). Gerard, Charley and Sheller, Marty. Salsa: The Rhythm of Latin Music (Tempe, AZ: White Cliffs Media Company, 1989). Green, Barry and Gallwey, W. Timothy. The Inner Game of Music (Garden City, NY: Anchor Press/Doubleday, 1986). Hart, Mickey. Drumming At The Edge of Magic (New York: Harper Collins Pub., 1990). Hart, Mickey. Planet Drum: A Celebration of Percussion and Rhythm (New York: Harper Collins Publishers, 1991). Hannum, Thom. Championship Concepts for Marching Percussion (Milwaukee, WI: Hal Leonard, 1986). Havas, Kato. Stage Fright: Its Causes and Cures (London: Bosworth & Co., Ltd., 1973). Hinger, Fred. Timpani Technique for the Virtuoso Timpanist (Levonia, NJ: Hinger, 1975). Holland, James. Percussion (New York: Schirmer Books, 1978).
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Hong, Sherman. “Percussion in the Orchestra: 1750-1850,” Percussionist, vol. VIII, No. 4 (1971) (Terra Haute, IN: Percussive Arts Society). Hooper, Dale F. et al. Corps Style Marching (Oskaloosa, IA: C.L. Barnhouse Co., 1977). Howard, Joseph H. The Drums in the Americas (New York: Oak Publications, 1967). Han, Kuo-Huang. “The Modern Chinese Orchestra,” Asian Music, vol. XI, no. 1 (1979). Karkoschaka, Erhard. Notation in New Music, translated by Ruth Koenig (New York: Praeger Publishers, 1972). Kaufman, Frederick and Guckin, John P. The Roots of Jazz (Sherman Oaks, CA: Alfred Publications Co., Inc., 1979). Kettlekamp, Larry. Drums, Rattles, and Bells (New York: W. Morrow, 1960). Keune, Eckehardt. Percussion Instrument-Part 2:Timpani (Leipzig, East Germany VEB Deutscher Verlag fur Musik, 1977). Kirby, Percival R. The Kettledrums (London: Oxford University Press, 1930). Kohut, Daniel L. Musical Performance: Learning Theory and Pedagogy (Englewood Cliffs, NJ: Prentice-Hall Inc., 1985). Kotonski, Wlodzimierz. Schlaginstrumtente in modernen Orchester (Mainz, West Germany: B. Schott’s Sohne, 1968). Lang, Morris; Spivak, Larry. Dictionary of Percussion Terms (New York: Lang Percussion Company, 1977). Lebrecht, Norman. Who Killed Classical Music (Secaucus, NJ: Carol Publishing Group, 1996). Ludwig, William F. The Development of Drum Rudiments (Chicago: Ludwig Drum Co.) [n.d.] MacCallum, Frank. The Book of the Marimba (New York: Carlton Press, Inc., 1969). Maisel, Eric Ph.D. A Life in the Arts: Practical Guidance and Inspiration for Creative and Performing Artists (New York: Jeremy P. Tarcher/Putnam1992, 1994). Mason, Bernard S. Drums Tom Toms & Rattles (New York: Dover Publications, Inc., 1974).
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May, Elizabeth. Music of Many Cultures: An Introduction (Dubuque, Iowa: Kendall Hunt Publishing Company). Molenhof, Bill. Positive Music Focus (Germany: Otto Wrede Regina-Verlag e.K. Schumannstr. 1999). Montagu, Jeremy. Making Early Percussion Instruments (London: Oxford University Press, 1976). Moore, James L. Acoustics of Bar Instruments (Columbus, OH: Permus, 1970). Nketia, J.H. Kwabena. The Music of Africa (New York: W.W. Norton & Co., Inc., 1974). Norton, Sam and Spacey, Ken, eds. Drums and Drumming Today (Edgware, England: Boosey and Hawkes, 1964). Papastefan, John J. Timpani Scoring Techniques in the Twentieth Century (Mobile, AL: University of South Alabama, 1978). Partch, Harry. Genesis of A Music, 2nd edn., enlarged (New York: Da Capo Press, 1974). Peinkofer, Karl and Tannigel, Fritz. Handbook of Percussion Instruments, translated by Kurt and Elise Stone (London: Schott, 1969). Percussive Arts Society. Percussive Education: A Source Book of Concepts and Information (Urbana, Il: Percussive Arts Society, 1990). Peters, Gordon B. The Drummer: Man, revised edn. (Wilmette, IL: Kemper-Peters Pub., 1975). Pinksterboer, Hugo. The Cymbal Book (Milwaukee, WI: Hal Leonard Publishing Corporation, 1992). Read, Gardner. Music Notation, 2nd edn. (Boston: Allyn and Bacon, Inc., 1969). Read, Gardner. Modern Rhythmic Notation (Bloomington, IN: Indiana Univ. Press, 1978). Reed, H. Owen and Leach, Joel T. Scoring for Percussion (Englewoods Cliffs, NJ: Prentice-Hall, 1969). Richards, Emil. World of Percussion (Sherman Oaks, CA: Gwyn Publishing Co., 1972). Risatti, Howard. A Guide to Notational Signs for Contemporary Music, (Urbana, IL: University of Illinois Press, 1975).
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Sachs, Curt. The History of Musical Instruments (New York: Norton, 1940). Schmidt, Paul W. History of the Ludwig Drum Company (Fullerton, CA: Centerstream Publishing, 1991). Schuller, Gunther. Early Jazz, Its Roots and Musical Development (New York: Oxford University Press, 1968). Seeger, Peter. Steel Drums: How to Play them and Make Them (New York: Oak, 1964). Siwe, Thomas, ed. Percussion Ensemble Literature (Champaign, IL: Media Press, 1998). Siwe, Thomas, editor. Percussion Solo Literature (Champaign, IL: Media Press, 1995). Sousa, John Philip. The Trumpet and Drum [A book of Instruction for the Trumpet & Drum] 1886 2 nd Reprint (Cleveland, OH: Ludwig Music Publishing Co., 1985). Spalding, Dan C. “The Evolution of Drum Corps Drumming,” Percussionist, vol. XVII, no. 3 (1980). (Knoxville, TN: Percussive Arts Society). Spinney, Bradley. Encyclopedia of Percussion Instruments and Drumming (Hollywood, CA: Hollywood Percussion Club and Clinic, 1955). Stern, Marshall W. The Story of Jazz (London: Oxford University Press, 1970). Stone, Kurt. Music Notation in the Twentieth Century: A Practical Guidebook (New York: W.W. Norton, 1980). Surplus, Robert W. The Beat of the Drum (Minneapolis, MN: Lerner Pub., 1963). Tanner, Paul O. W. and Gerow, Maurice. The Study of Jazz , 2nd edn. (Dubuque, IA: Wm. C. Brown, Co., 1973). Taylor, Henry W. The Art and Science of the Timpani (London: John Baker Pub., 1964). Thurmond, James M. Note Grouping: A Method for Achieving Expression and Style in Musical Performance (Camp Hill, PA: JMT Publications, 1982). Titcomb, Caldwell. The Kettledrums in Western Europe (Cambridge, MA: Harvard University Press, 1952). Udow, Michael. Rhythmic Source Book for Actors, Dancers and Musicians (Kansas City, MO: Michael Udow, 1978). Udow, Michael and Watts, Chris. The Contemporary Percussionist: A Multiple Percussion Method, Book I (Kansas City, MO: Michael Udow, 1979).
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