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Teaching a Percussion Course as a Non-PercussionistBand Division Demonstration ClinicThursday, January 29, 2015Room CC-403/404
Ensemble: Belvidere North High School Percussion EnsembleClinician: Neal Shipton, Director of Bands, Belvidere North High School [email protected] • (815) 547-3818
Session Description:Percussionists deserve as much of a quality musical education and experience as the rest of the band. Unfortu-nately, all too often do we ignore, become frustrated with or take for granted our percussionists at the back of the room. Many directors have little or no background in percussion and are uncertain or uncomfortable working with these students. This clinic aims to provide some insight into how a percussion course can be instructed for those of us with minimal percussion experience. Topics include working with colleagues within the building to create the class, structuring the course, music selection and part assignments, curricular suggestions and resources for instruction.
Performance Pieces: Low Rider by Allen, et al, arr. Downs and Mattingly, Hal Leonard Corp. - Medium Easy
Cadences & Drumline “Cheers”: Smokestack by Cassidy Byars, www.freedrumlinemusic.com - Level 3 (of 5) Boogie Beat by Ayatey Shabazz, The Devmusic Company - Medium Easy Salsa Verde by Ryan R. Laney, www.rlaneypercussion.com
Blues by Five by Red Garland, arr. Downs and Mattingly, Hal Leonard Corp. - Medium Chopsticks by Charles Owens, arr. Ralph Hicks, Tapspace Publications, LLC. - Medium Funky Buckets by Ed Argenziano, Row-Loff Productions - Medium Stick Schtick by Chris Brooks, Row-Loff Productions - Medium Smash Getaway by Chris Crockarell, Row-Loff Productions - Medium Advanced Walk Like an Egyptian by Liam Sternberg, arr. Chris Crockarell, Row-Loff Productions - Medium
Director Biography:Neal Shipton earned his Bachelor of Music Education from the University of Illinois in 2007 and his Master of Music Education from the University of Illinois in 2014. Since 2007 he has served as substitute assistant band director at Downers Grove South High School and Dundee Crown High School and assistant beginning band director in Evergreen Park. He organized and conducted jazz band at Hadley Junior High School and taught low brass private lessons in Glen Ellyn. Mr. Shipton is currently in his sixth year as Director of Bands at Belvidere NorthHigh School where he conducts the Symphonic Band, Concert Band, Jazz Band, Beginning Band, and Concert and Symphonic Percussion Ensembles. He also directs the Belvidere North Marching Thunder and Thunder Pep Bands, musical pit band and teaches music theory. He currently serves as the Illinois State Chair for the Tri-M Music Honor Society. When he is not teaching, Mr. Shipton loves reading, the outdoors, playing banjo and spend-ing time with his wife, Kelsey, and their cat, Luna.
Ensemble Information:The Belvidere North Percussion Ensemble is actually three ensembles in one: the Concert Percussion Ensemble (made up of Concert Band percussionists), the Symphonic Percussion Ensemble (made of Symphonic Band per-cussionists) and the combined Percussion Ensemble (all percussionists). The ensemble rehearses each day during school and regularly performs at school, athletic and community events. Each year the ensemble performs at the VanderCook College of Music Day of Percussion Festival and the IHSA Solo & Ensemble Contest and takes trips to see professional percussion ensembles.
Teaching a Percussion Course as a Non-Percussionist Neal Shipton, Director of Bands
Belvidere North High School featuring:
Belvidere North Percussion Ensemble
INTRODUCTION
o Percussionists:
deserve to be as musically engaged as the other musicians in the ensemble
want to be challenged
want to perform music that is fun to play and listen to
o You do not need to be a percussion specialist to teach a percussion course
o You do not need to have a percussion specialist on staff
o Disclaimers:
I am NOT an expert in teaching percussion
This clinic is intended to:
show you what we do that has worked well at Belvidere North High School
give you some ideas and things to take back to your program
give non-percussionists and young teachers the confidence to teach a percussion course
MARCHING PERCUSSION
o Benefit: full rehearsal everyday
o Band Camp
If possible, hire a percussionist Avoid somebody without collegiate or drum corps experience
o Cadences
2-3 cadences
Roll-off between cadences
o Drumline ‘cheers’
Purchase originals
Create your own
High school and college bands
Take from songs you’re already playing and vamp
o Ear protection is a must!
o Use drum pads for group rehearsal so all students can work on snare drum together
o Resources:
www.freedrumlinemusic.com
www.rlaneypercussion.com
www.vicfirth.com – Marching Percussion 101
STRUCTURING THE COURSE
o Communication is key
o Determine the grade/nature of the ensemble
All percussionists in the program
Number of ensembles/skill levels
Avoid having beginning percussionists in the course
Freshman only or auditioned ‘elite’ group
Are there enough?
o Planning the course schedule
A/B/C lunch period(s) rehearsal
Allows you to rehearse the full ensemble every day
Also allows multiple ensembles to rehearse at different times during same period
Non-lunch period rehearsal
Not recommended if more than one band/percussion ensemble; logistical problems
Outside of school rehearsal?
Performance:
Cadences: Smokestack by Cassidy Byars
(www.freedrumlinemusic.com) &
Boogie Beat by Ayatey Shabazz (The
Devmusic Company)
Drumline ‘cheer’: Salsa Verde by Ryan
Laney (www.rlaneypercussion.com)
Performance:
Low Rider by Allen, et al,
arr. Downes and
Mattingly. Leopard
Percussion Series (Hal
Leonard Corp.)
Neal Shipton Teaching a Percussion Course as a Non-Percussionist Page 2
o Rehearsal space
If one percussion/band ensemble in your program:
All students are in the same ensemble, can rehearse at the same time in the same space
Limited rehearsal spaces are not a problem
If more than one percussion/band ensemble in your program:
A/B/C lunch rehearsal option
Normal hour rehearsal option
o Sufficient rehearsal space?
o Enough instruments/equipment?
LITERATURE & REHEARSAL
o Band Music
Use recordings – SmartMusic is great for this
Sing/count the band parts
This helps you learn the score better
Metronome
Rehearsal with the band
Percussion ‘field trips’ at least twice prior to the concert
o Communicate with teachers and administration
Hold outside-of-school rehearsals
Part Assignments
Don’t let students to pick their own parts
o Experienced players may be able to do this
Part assignments
o Students should get to play a little bit of everything
o Part Assignments Sheet
o Save your lists for future use
o Doubling/creating parts
Engage all students during rehearsal - no students sit out
Use wind parts for mallets if parts are lacking
Double-up Mallets
Double- or triple-up on snare drum
Use drum pads
‘Audition’ before the concert to determine who will play
Don’t overdo it!
o Marches & pieces with sparse percussion
Students can play all parts and trade off each day
‘Audition’ before the concert to determine who will play which part
Percussion Assignments for Band and Wind Ensemble, Vols. 1-2 by Russ Girsberger
o Percussion Ensemble Music
The literature is the curriculum
What is your focus?
o Mallets/battery/mixture?
o What styles/time periods?
Include piece information in your daily agenda
Be wary of difficulty ratings
Listen to and play with recordings
Publisher’s recordings
Create ‘click tracks’
Boomwhackers
o Great for teaching rhythm and vertical alignment
o Boomsicles & Boom Crackers by Row-Loff Percussion
Novelty pieces
o Audiences and students LOVE these
o Good if you’re lacking enough ‘regular’ instruments
Performance:
Blues by Five by Red Garland, arr.
Downes and Mattingly. Leopard
Percussion Series (Hal Leonard Corp.)
Performance:
Chopsticks by Charles Owens,
arr. Ralph Hicks (Tapspace
Productions)
Neal Shipton Teaching a Percussion Course as a Non-Percussionist Page 3
o Plan ahead and budget your rehearsal time between band and percussion ensemble music
o Play with the students!
Set an example
Be able to play their parts
Demonstrate proper technique
Increase your own skill
Learn things about their parts that you might not have known
Difficult stickings, technique, etc.
AUDITIONS & ASSESSMENTS
o Auditions
When auditions take place depends on the size and structure of your band program
Ensemble placement?
‘Chair’ placement
o Student strengths and weaknesses
Concert auditions should at least include portions for snare and mallets
Snare and mallet etudes
Timpani & Auxiliary?
Fundamental Method for Timpani by Mitchell Peters
If you’re going to expect students to audition on these instruments, you will need to take
the time to teach them
Timpani info sheet
Pull etudes from upcoming band pieces
o Regular Assessments
Assessment packet
Work on and reinforce important concepts
Hold students accountable
Interesting and stimulating for students
Healthy competition
Great way to start class
Drum Pads
Use on drums or stands
o Not ideal, but reality
Cannon Gladstone Practice pads
Students can use their own
PERFORMANCE OPPORTUNITIES
o Give your students plenty of opportunities to perform
Build confidence and pride
o Take your students to see other high school, collegiate and professional ensembles
o Drumline
Lead the football team out to the field
Feature Post-game concert on the track – feature the drumline
“Walk of Champions”
Drumline leads students who have made it to the state level for sports or other activities
around the school while playing the cadence
o Percussion Ensemble
Lunchtime or before-school performances
Halftime at basketball games – low-stress performance opportunity
Some percussion festivals around Chicago
VanderCook Day of Percussion
o Non-competitive performance/clinic opportunity
Elk Grove Percussion Festival
Solo & Ensemble Festival
Performance:
Funky Buckets by Ed
Argenziano from Noveltysicles.
(Row-Loff Productions)
Stick Schtick by Chris Brooks
(Row-Loff Productions)
Performance:
Smash Getaway by Chris
Crockarell (Row-Loff
Productions)
Neal Shipton Teaching a Percussion Course as a Non-Percussionist Page 4
EQUIPMENT
o Invest in marching drum stands for daily rehearsal
o Marching cymbals mounts and small splash cymbals are great for parades and pep band
o Take the time to teach students about instrument care & maintenance
Proper mallet usage
Knowing what mallets to use on which instrument and in which range
o Insist that everything be put away and stored properly after rehearsal
o Have your local music store assemble a percussion ‘kit’ and require/urge your percussionists to purchase
Stick bag, yarn/rubber mallets, drum sticks, drum key
o If your program’s percussion equipment inventory is lacking:
Gradually increase your percussion inventory each year
Be aware: many percussion ensemble pieces call for multiple marimbas and vibraphones
Communicate with administration
Avoid cheap or ‘off-brand’ instruments.
Higher quality instruments have a longer lifespan.
Sometimes, cheap hardware can get the job done.
Students can bring in old bell kits
Novelty Pieces & Boomwhackers can be good substitutes
Hold an instrument drive
o Drum Pads
Cannon Gladstone Pads – cheap and students can use on drums or music stands
Students can use their own
RESOURCES:
o Music
Leopard Percussion Series – Hal Leonard Corp.
Good for younger or less experienced groups
Row-Loff Productions
Lots of great music and educational resources
‘Sicles packets
Tapspace Publications
C. Alan Publications
o Books
Fundamental Method for Mallets, Books 1-2 by Mitchell Peters
The Mallet Player’s Toolbox by John R. Hearnes
Masterworks for Mallets by Beth Gottlieb
A Fresh Approach to Mallet Percussion by Mark Wessels
Percussion Assignments for Band and Wind Ensemble, Vol. 1-2 by Russ Girsberger
A Fresh Approach to the Snare Drum by Mark Wessels Alfred Drum Method, Books 1-2 by Sandy Feldstein
The Drummer’s Daily Drill by Dennis DeLucia
Life’s Little Rudiment Book by David Steinquest
The Drummer’s Rudimental Reference Book by John Wooton
Fundamental Method for Timpani by Mitchell Peters
Teaching Percussion, 3rd
Edition by Gary D. Cook
Watkins-Farnum Performance Scale by John Watkins and Stephen Farnum
o Websites
www.freedrumlinemusic.com
www.rlaneypercussion.com
www.vicfirth.com
www.rowloff.com
www.tapspace.com
o Vic Firth Drum Rudiments App
Performance:
Walk Like an Egyptian by
Liam Sternberg, arr. Chris
Crockarell (Row-Loff
Productions)