Teaching Percussion

Preface xv Introduction xxi About the Author xxix General Considerations and Prerequisites 1(23) Percussion Performance and Education 2(8) General Considerations 2(1) Classification of Instruments 2(3) Tone Production on Percussion Instruments 5(2) Notation Systems for Percussion 7(1) Interpretation of Notation 8(2) Organizing the Beginning Percussion Program 10(3) Selecting the Percussion Student 11(1) Training the Beginning Percussionist 12(1) Organizing the Percussion Section 13(7) Recommended Percussion Instrumentation 14(2) Recommended Sticks and Mallets 16(1) Instrument and Percussionist Assignments 16(1) Location of the Percussion Section in the Ensemble 17(1) Percussion Instrument Substitution 17(1) General Maintenance and Head Replacement 18(1) Motivating the Percussionist 19(1) Percussion Method Books 20(3) Individual Instrument Methods 20(1) Combined Percussion Methods 20(1) Percussion Ensemble Collections 20(1) General Guides to Percussion 21(2) Percussive Arts Society 23(1) Notes 23(1) Basic Percussion Technique Through the Study of the Snare Drum 24(55) Historical Origins 24(1) The Snare Drum 25(6) Construction 25(2) Care and Maintenance 27(1) Tuning 28(1) Stands 29(1) Sticks 29(1) Playing Areas 30(1) Tom Tom, Field Drum, Tenor Drum, and Roto-Toms 31(2) The Attitude Toward Percussion Performance and Education 33(2) Matched and Traditional Grip 35(1) Instrument Height and Stance 36(1) A Concept of the Grip and Stroke 37(7) The Pivot Point or Fulcrum 38(1) The Grip 38(1) The Basic Percussion Stroke 39(5) Basic Drumming Technique 44(22) Rebounds, Doubles, and Rolls 45(6) Roll Interpretation 51(6) The Stroke-and-a-Bounce and Finger Stroke Control 57(4) Accent Studies 61(1) Grace Note Figures (Flams and Drags/Ruffs) 62(4) Special Effects---Rim and Stick Shots and Others 66(1) Sticking Policies 66(4) Phrasing 70(1) The Strokes 71(2) Individual Snare Drum Methods and Supplemental Studies 73(5) Major Applied Methods 73(1) Supplemental Studies 74(1) Snare Drum Technique 75(1) Selected Solos 76(2) Notes 78(1) Multiple Percussion 79(14) History and Definitions 79(1) Notational Systems 80(6) Additional Considerations 86(3) Multiple Percussion Studies and Solos 89(4) Methods and Solo Collections 89(1) Selected Solos 89(4) Keyboard Percussion 93(64) Origins and Classifications 93(1) Instrument Characteristics 94(13) Xylophone 94(1) Marimba 95(2) Vibraphone (Vibraharp or Vibe) 97(2) Glockenspiel or Concert Bells 99(2) Marching Bell Lyre 101(1) Chimes 101(2) Crotales 103(1) Celesta 104(1) Unique Instruments 105(1) Mallets 106(1) Keyboard Percussion Technique 107(18) The Grip 107(2) Playing Areas on the Bars 109(1) The Approach 110(1) The Stroke 110(1) The Full Stroke Technique 111(3) The Touch-Lift Stroke 114(2) The Sustained Tone or Roll 116(2) Special Effects 118(1) Keyboard Percussion Reading 119(6) Expression and Phrasing on Keyboard Percussion Instruments 125(2) Multiple Mallets 127(6) The Traditional Cross-Grip 128(2) The Musser (Stevens) Grip 130(2) The Burton Grip 132(1) Multiple-Mallet Keyboard Percussion Technique 133(10) Vibraphone Technique 143(3) Individual Keyboard Methods and Supplemental Studies 146(10) Major Applied Methods 146(1) Supplemental Studies 147(1) Vibraphone Methods 148(1) Supplemental Studies 149(1) Other Music Adaptable to Keyboard Percussion Study 149(1) Selected Solos 150(6) Notes 156(1) Timpani 157(58) Historical Origins 157(1) Performance Considerations 158(2) Developing the Timpanist 160(3) Ear Training 160(2) Practicing 162(1) Instruments and Mallets 163(12) Construction and Manufacturers 163(1) Heads 164(1) Mallets 165(2) Sizes and Ranges 167(1) Head and Mechanical Adjustments 168(4) Head Replacement/Selecting the Playing Spot 172(1) Fine Tuning/Clearing Heads 173(2) Timpani Technique 175(34) Position of the Timpani and Playing Areas 176(1) Tuning a Pitch 177(1) Basic Tuning Exercise 178(1) Performance Tuning 179(2) Tuning Gauges 181(3) Intonation Tempering 184(1) The Grips 185(1) The Basic Timpani Stroke 186(2) Articulation Considerations and Musical Expression 188(8) Rolls, Finger Strokes, and Forearm 196(4) Forte-Piano Rolls 200(1) Muffling 201(2) Muting 203(1) Cross Sticking 204(5) Individual Timpani Methods and Supplemental Studies 209(5) Major Applied Methods 209(1) Supplemental Studies 210(1) Orchestral Excerpts 210(1) Reference Books and Videos 211(1) Selected Solos 211(3) Notes 214(1) Bass Drum, Cymbals, and Accessories 215(38) The Bass Drum 215(10) Construction and Selection 215(1) Heads 215(1) Tuning 216(1) Stands 216(1) Humidifiers 217(1) Mallets 218(3) Playing Techniques 221(3) The Art of Playing Bass Drum and Attached Cymbal 224(1) Cymbals 225(6) Origins 225(1) Construction and Selection 225(1) Straps and Pads 226(1) Care 226(1) Crash Cymbals 227(3) Suspended Cymbals 230(1) Triangle 231(3) Origins 231(1) Selection 232(1) Clips 232(1) Beaters 233(1) Playing Techniques 233(1) Tambourine 234(3) Origins 234(1) Selection 235(1) Care 235(1) Playing Techniques 235(2) Gongs and Tam Tams 237(3) Origins 237(1) Construction and Selection 237(2) Mallets and Racks 239(1) Playing Techniques 240(1) Castanets 240(2) Origins 240(1) Construction and Selection 240(1) Playing Techniques 240(2) Wood Blocks 242(1) Origins 242(1) Construction and Selection 242(1) Playing Techniques 242(1) Temple Blocks 243(1) Origins 243(1) Playing Techniques 243(1) Less Common Instrumental Accessories 244(7) Finger Cymbals 244(1) Cowbells 244(1) Sleigh Bells 244(1) Slapstick 245(1) Ratchet 246(1) Metal Plates, Anvils, and Pipes 246(1) Brake Drums 246(1) Percussion Aerophones, Toys, and Exotic Instruments 246(1) Sandpaper Blocks 247(1) Horns 248(1) Marching Machine and Horses' Hooves 248(1) Lujon 248(1) Slit Drums and Log Drums 248(1) Wind Chimes 249(2) Methods and Studies for Bass Drum, Cymbals, and Accessories 251(1) Notes 252(1) Percussion Instruments of the World 253(41) African Influences and Styles 254(10) African Roots 254(1) Kinka 254(5) Kpanlogo 259(5) Afro-Cuban Influences and Styles 264(11) Claves 265(1) Bongos 266(2) Congas 268(3) Timbales 271(2) Cowbells 273(1) Guiro 274(1) Maracas 274(1) Jawbone (Quijada) and Vibra-Slap 275(1) Brazilian Influences and Styles 275(4) Surdo 275(1) Repinique 276(1) Other Brazilian Instruments 276(3) Hand Drums of the World 279(6) Middle Eastern Influences and Styles 279(1) Global Frame Drumming and Groove Tunes 280(3) Tabla 283(2) Steel Drums 285(4) Percussion of the World: Methods and Study Materials 289(5) Supplemental Studies 291(3) Drum Set 294(35) Origins and Evolution 294(4) Dixieland Drumming 295(1) The Swing Era and Big Band Drumming 296(1) Bop, Cool Jazz, and Hard Bop 296(1) Contemporary Eclectic and Rock Styles 297(1) Instruments 298(3) Tuning and Heads 299(1) Cymbals 300(1) Electronic Percussion and Technology 301(4) Current Electronic Percussion Instruments 301(1) Using Technology as a Tool 302(2) Other Technologies for the Classroom 304(1) Concepts for Drum Set Study and Performance 305(3) Body Awareness and Instrument Setup 306(1) Musical Awareness 306(2) Performance Techniques 308(13) Developing the Feet 308(2) Ride Cymbal Time 310(3) Coordinated Independence, Four-Way Coordination, Interdependence 313(2) Movement Around the Drums 315(1) Chart Reading and Interpretation 315(2) Brushes 317(1) Basic Styles and Considerations 317(4) Drum Set Methods, DVDs, Videos, and Supplemental Studies 321(7) Video Tapes and DVDs 321(2) Comprehensive Methods for Drum Set Study 323(1) Supplemental Studies for Comprehensive Study 324(1) Methods for Styles Awareness, Chart Reading, and Interpretation 324(1) Supplemental Studies for Styles Awareness, Chart Reading, and Interpretation 325(1) Afro-Cuban and Brazilian Styles 325(1) Brush Methods 326(1) Methods for Movement Around the Drums 326(1) Supplemental Studies for Movement Around the Drums 327(1) Multiple-Percussion Drum Set Solos 327(1) Notes 328(1) Marching Percussion 329(96) History and Evolution 329(3) Developing the Contemporary Marching Percussion Section 332(1) Instruments and Equipment 332(12) Bass Drums 332(4) Snare Drum 336(4) Tensors or Multi-Tom Toms 340(2) Cymbals 342(1) The Front Ensemble or Pit 342(2) Training the Marching Percussionist 344(33) The System 344(1) Marching 344(1) Timing Training 345(1) Rehearsal Techniques and Philosophy 346(1) The Stroke Awareness Approach 347(2) The Stroke Awareness System 349(1) The Basic Grips, Strokes, and Dynamic Levels 350(1) Developing a Warm-Up Routine 351(11) Developing Uniform Drumming Skills 362(13) Visuals 375(2) Rudimental Drumming 377(16) Scoring and Arranging for Marching Percussion 393(10) Field Placement and Projection 403(2) The Challenge 405(1) Marching Percussion Arrangements for the Methods Class 406(14) Marching Percussion Methods and Materials 420(4) Major Complete Methods for Individual and Ensemble Study 421(1) Supplemental Studies for the Individual and Full Ensemble 422(1) Warm-Ups and Cadences for the Full Ensemble 423(1) Percussion Features 423(1) Contemporary Rudimental Solos, Books, and Videos 424(1) Selected Traditional Rudimental Solos and Books and Videos 424(1) Notes 424(1) Musical Interpretation of Percussion Parts 425(29) Interpretive Commentary on the Percussion Writing in Gustav Holst's First Suite in E for Military Band 426(27) Notes 453(1) Supplemental Playing Exercises 454(17) Basic Stroke Combinations 454(1) Buzz Comparisons 455(2) Tied Rolls 457(1) Nontied Rolls 457(2) Double Stroke and Rebound Control 459(1) Finger Control Exercises 459(1) Sticking Policy Exercises 460(3) Keyboard Exercises 463(7) Supplemental Percussion Ensemble African Creation 470(1) Dr. Jeannine Remy Afterword Future Trends in Percussion Education 471(2) Appendix A Orchestral Excerpts for Percussion and Discography of Percussion Music 473(10) Appendix B Select Percussion Solo and Ensemble Music 483(24) Glossary of Foreign Terms 507(3) Bibliography 510(3) Index 513