UG Percussion Handbook 2015-16-withcover · Drumset,!Latin^American/Ethnic!Percussion! (Session!Musician!and!renowned!Clinician)!! Benedict!Hoffnung!! Baroque!Timpani/Historical!Performance!

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UG Percussion Handbook 2015–2016

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TABLE OF CONTENTS

INTRODUCTION FROM THE HEAD OF TIMPANI AND PERCUSSION .............................................................. 2

QUICK START GUIDE ..................................................................................................................................... 3

TEACHING STAFF .......................................................................................................................................... 4

LEAVE OF ABSENCE PROCEDURE .................................................................................................................. 5

SPECIAL CIRCUMSTANCES PROCEDURE ....................................................................................................... 6

ASIMUT ......................................................................................................................................................... 7

STUDENT RECORDINGS ................................................................................................................................ 7

CONCERTS DEPARTMENT ............................................................................................................................. 8

OTHER DEPARTMENTAL INFORMATION .................................................................................................... 12

YEAR ONE ................................................................................................................................................... 14

END OF YEAR EXAMINATION AND RECITAL REQUIREMENTS (YEAR ONE) ................................................ 19

YEAR TWO .................................................................................................................................................. 22

END OF YEAR EXAMINATION AND RECITAL REQUIREMENTS (YEAR TWO) ............................................... 27

YEAR THREE ................................................................................................................................................ 31

END OF YEAR EXAMINATION AND RECITAL REQUIREMENTS (YEAR THREE) .............................................. 36

YEAR FOUR ................................................................................................................................................. 40

FINAL EXAMINATION AND RECITAL REQUIREMENTS (YEAR FOUR) .......................................................... 45

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INTRODUCTION FROM THE HEAD OF TIMPANI AND PERCUSSION Welcome to the Timpani and Percussion Department Handbook for BMus students, which will give students, professors and examiners alike a comprehensive guide to practical examinations, coursework and examination requirements. In the multi-faceted world of Timpani and Percussion, it is important to have a balanced curriculum enabling the student to experience and digest as much related material as possible in order to gain a focused plan of action. We are fortunate to have many of the world’s finest players and teachers to deliver this curriculum, whilst inviting to the Academy visiting artists and professors to keep the course as pertinent and relevant as possible. During the first year of our course, strong technical and musical habits will be encouraged so that good practice regimes and listening skills will enable the student to develop over subsequent years. Related specialist study areas (Solo Percussion/Marimba, Baroque Timpani, Drumset, Latin American and Ethnic percussion) will also be introduced in year one together with activities such as percussion ensemble, orchestral repertoire classes, chamber music classes and masterclasses, so that a thorough foundation will be laid. It is expected for students to consolidate the in-depth tuition they will receive with a rigorous self-regulated practice regime. This is a pre-requisite of successful studentship at the Royal Academy of Music. In years 2, 3, and 4, higher levels of technical and musical ability will have been achieved, encouraging students to experiment more with interpretative and stylistic considerations, culminating in an expressive maturity and professionalism. Employability is key to the ethos of the department and we would hope students will be comfortable with the prospect of a professional audition and a 30 minute solo recital by the time they reach graduation. Should students show exceptional ability in related study areas, due consideration will be given to whether they should specialise or continue with all in joint study. Our aim is to expose students to a variety of related study areas whilst not compromising standards. We hope to enable them to have a full, rewarding and varied career by providing them with the necessary skills needed for their continual development. NEIL PERCY Head of Timpani and Percussion

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QUICK START GUIDE DEPARTMENT CONTACTS Neil Percy, Head of Timpani and Percussion Mobile: 07973 327629 | Room 218 | Email: [email protected] (The above contact information is for students ONLY and must NOT be passed to anyone without consulting the Head of Department first) Tara Savile, Woodwind, Brass, Percussion and Timpani Administrator Tel: 020 7873 7320 | Fax: 020 7873 7374 | Room 108 | Email: [email protected] KEY DATES Autumn term Monday 14th September – Friday 27th November 2015

(Enrolment commences on 7th September 2015) Spring term Monday 4th January – Friday 18th March 2016 Summer term Monday 18th April – Friday 8th July 2016 Summer Examination Period 23rd May – 10th June 2016 You are expected to attend all timetabled activities and academic classes. Absences may affect your progression to the next stage of your programme of study. CHECK LIST • Store the contact details of your principal study professors in your phone. • Store the contact details of your department administrator in your phone. • Check your orchestral commitments and store the Concert and Orchestra Manager’s contact details in your phone (Rosie Larkins 020 7873 7426, [email protected]) • Check dates of visiting professors classes and masterclasses for the purposes of participation and attendance. • Check your Academy e-mail address every day, including during the vacation periods. • Check closing dates for internal and external competitions and prizes.

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TEACHING STAFF Andrew Barclay Tony Bedewi

Percussion/Orchestral Repertoire (Co-‐Principal Percussion, London Philharmonic Orchestra) Timpani (Co-‐Principal Timpani, London Symphony Orchestra)

Simon Carrington

Timpani/Percussion/Orchestral Repertoire (Principal Timpani, London Philharmonic Orchestra)

Paul Clarvis

Drumset, Latin-‐American/Ethnic Percussion (International Soloist and Recording Artist)

Colin Currie

Solo/Duo/Concerti/Chamber Music (International Soloist and Recording Artist)

Peter Erskine

International Drumset Consultant (International Soloist and Recording Artist)

David Hassell

Drumset, Latin-‐American/Ethnic Percussion (Session Musician and renowned Clinician)

Benedict Hoffnung

Baroque Timpani/Historical Performance (Principal Timpani, London Mozart Players/Academy of Ancient Music)

Joe Locke William Lockhart

International Vibraphone Consultant (International Soloist and Recording Artist) Timpani/Percussion/Orchestral Repertoire (Principal Timpani, English National Opera)

Neil Percy

Head of Department/Percussion/Orchestral Repertoire/Director of Percussion Ensemble (Principal Percussion, London Symphony Orchestra)

Eric Sammut

Marimba, Chamber Music (Principal Percussionist, Orchestra de Paris)

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LEAVE OF ABSENCE PROCEDURE You will need to apply for Leave of Absence if you are going to take any time away from the Academy during the term, regardless of whether or not you will miss any Academy activities (academic classes, rehearsals) which are part of your schedule of study. Leave of Absence will only be allowed in exceptional circumstances and can be applied for by filling out a Leave of Absence form (available on AIR and from the General Office). Some guidance on completing a Leave of absence form:

• You must apply for Leave of Absence and obtain all relevant signatures as far in advance as possible. • It is your responsibility to check the dates of your assessments and to collect these signatures. • Your Tutor will notify you via email once the process is complete. • You may not go on leave until you have received this notification from your Tutor. • If it is subsequently found that you have missed a timetabled assessment for which the date had been

published in advance, but that you have not declared on this form, then you will be automatically referred (failed) in the relevant component.

• You must inform your Principal Study teacher before signing this form and collecting the signatures. • In the case of emergencies or last minute external opportunities, go straight to your Tutor who will advise

you accordingly. In addition to filling out a Leave of Absence form, you should inform other relevant lecturer(s) or professor(s) that you have been granted Leave of Absence from a particular class, lesson, rehearsal, or performance. Any regular timetable clashes must be brought to the attention of your Tutor immediately. If you are ill and will miss a class or activity, you should contact the relevant module leader, professor, coach or director. Visit your doctor in order to obtain a medical certificate. When you return to the Academy you should report to your Tutor as soon as possible. Academic classes are suspended for one week each term, but your presence will still be required for performance-‐based activities. Any Leave of Absence requests for this time must be applied for in the usual way. Please note that the summer term does not end until 10 July 2016. You will therefore be expected to be available to attend any end of year tutorial interviews or to collect any correspondence that is left in your pigeon hole up until this date. The Academy will not be responsible for any information which a student fails to receive in the event that they left the Academy early without making appropriate arrangements.

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SPECIAL CIRCUMSTANCES PROCEDURE

The Special Circumstances Committee considers applications from students in accordance with the Special Circumstances Regulations, for the following reasons: • extenuating circumstances which may have affected student performance in assessments • extensions to deadlines for the submission of work for assessment • the deferral of assessments • appeals against penalty marks where the reasons were beyond your control. You must submit a completed application form no later than 10 working days from the imposition of a penalty mark; 10 working days before the published deadline for submission of academic work, or 10 working days before the published date of an assessment†. Please note that retrospective extensions and waiving of lateness penalties will not be permitted except in very serious cases and where you have provided evidence to explain why you were unable to submit within the required timeframe. 1. Applications must be signed by you and your Tutor and be accompanied by supporting evidence before it is

submitted to the Academic Secretary. If the form is missing either signature, it will be returned to your pigeon hole.

2. If your form requires medical evidence to be provided, you will be given a deadline to provide this. If you do not meet this deadline without good reason then your application will be dismissed.

3. If you are citing a medical issue, you must provide relevant evidence from a medical practitioner which confirms the relevant timescales and a formal diagnosis. A letter which merely states that you visited the practice will not be accepted.

4. SCC will normally consider cases on a weekly basis during the term (on a Wednesday afternoon) and, when deemed appropriate, information from the student’s Tutor, the Concerts Department or any other Academy department shall be sought prior to the meeting.

5. SCC will either accept or reject the application and agree any particulars in relation to extensions or penalties as appropriate. When applications are rejected, a full explanation will be given.

6. Students will normally be informed of the outcome within two working days of the meeting by the Chair of the Committee via Academy email* and their Tutor and other relevant members of staff (i.e. Module Leaders) copied in.

7. The case outcomes are circulated, normally within 2 working days of the meeting, to representatives from the Registry so that a note of the outcome can be placed on the student file.

8. Students have the right of appeal against decisions of the Special Circumstances Committee; via the Academic Appeals Procedure (see the Regulations).

• All correspondence documenting the outcome of applications will be copied to the relevant Registry staff,

relevant Tutor and any Module Leaders/other administrative staff concerned. • If you are making an application for a deferral of an assessment due to unforeseen circumstances such as

illness on the day of the assessment, you must provide an application with supporting medical evidence within five working days of the assessment taking place.

Please see the guidelines on AIR for further information on making applications.

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ASIMUT You must check your ASIMUT account daily for details of your academic and departmental classes and activities. It is a disciplinary offence to book two or more spaces concurrently in ASIMUT. Any student shown by the ASIMUT usage statistics to be misusing the system in this way will be liable to a disciplinary penalty, ranging from a temporary ban from the room booking system to temporary suspension of the studentship, depending on the severity of the case. Penalties will be determined by the Programme Management Team and communicated to students by their Programme Tutor.

STUDENT RECORDINGS You can access recordings or large scale public performances from the Library for educational purposes. The Academy cannot provide you with your own copies of these performances for copyright and resource reasons. Exceptions may be made in the case of performances with rarity value such as concertos but requests must be submitted to the Concerts Department at least one calendar month in advance of the performance. This will allow the Concerts Department time to consider any copyright clearance issues/licences/costs involved and for the Recording Studio staff to allocate time in their schedule and recording equipment. If the Academy is not planning to record a performance that you are performing in (e.g. Tuesday lunchtime concerts), requests may be made by students to record it but in audio format. In order to request this you will need to ensure that all relevant consent forms and copyright clearance is completed at least one calendar month in advance of the performance. You are able to record yourselves on Academy premises (in practice rooms and concert venues) either using their own or loaned equipment (in this case you would retain the copyright on the recordings and accept all responsibility for any necessary copyright clearance required).

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CONCERTS DEPARTMENT Students are expected to be seated and tuned at least five minutes before the time published on the schedule. All sessions are strictly compulsory and 100% attendance is expected. Lateness will not be tolerated. Attendance will be recorded and will be reflected in each student’s end-‐of-‐year principal study/Professional Portfolio mark through the penalty mark system. A penalty mark will be issued each time a student is late or absent without permission from a session. (see Regulation G5, Attendance at Scheduled Rehearsals and Performances)

Concerts Department Director of Artistic Planning – Ms Nicola Mutton, Room G6 Tel: 020 7873 7375 [email protected] Responsible for the artistic planning of all Academy performance activity, including collaborations with festivals, outside concert series and professional orchestras and venues, as well as the overall management of the Concerts Department. Concert proposals should be submitted to the Director of Artistic Planning for consideration by Artistic Planning Group. Senior Concert & Orchestra Manager -‐ Ms Liz Williams, Room G7 Tel: 020 7873 7326 [email protected] Concert & Orchestra Manager -‐ Ms Rosie Larkins Room G7 Tel: 020 7873 7426 [email protected] Responsible for the running of all orchestral and ensemble projects, allocation of students to projects, production of all schedules and orchestral management of rehearsals and concerts. They are the point of contact for all schedule enquiries and leave of absence requests. Orchestral Librarian – Mr Stuart Garden, Room G7 Tel: 020 7873 7414 [email protected] Responsible for the Orchestral Library and provision of music for all Academy ensemble and orchestral projects. Also responsible for termly orchestral auditions. Concerts & Programmes Administrator – Ms Kathleen Rule, Room G7 Tel: 020 7873 7327 [email protected] Responsible for the provision of concert programmes, Performing Right Society declarations and working with the Director of Artistic Planning. Concerts & Prizes Administrator – Ms Francesca Johnson, Room G8 Tel: 020 7873 7308 [email protected] Responsible for the programming and administration of all lunchtime and early evening student concerts and Academy prizes and competitions. External Bookings Manager – Ms Lizzie Sambrook, Room G8 Tel: 020 7873 7304 [email protected] Responsible for the External Booking service, which exists to offer performance opportunities outside of the Academy to students. These opportunities include recitals, choral society concerts, concertos and background music for corporate and private events. PERFORMANCE

The Concerts Department The Academy’s busy performance schedule is run by the Concerts Department. Training at the Academy prepares students for an increasingly demanding and diverse professional life and encompasses chamber, symphonic, and operatic repertoire, historical performance, contemporary and media music of all kinds, as well as musical theatre and jazz. Care is taken in planning the flow of repertoire for undergraduate and postgraduate students with the aim that all concerts, rehearsals, training sessions and sectionals are well-‐balanced over a student’s period of study at the Academy. Training is delivered through:

• Repertoire sessions for wind, brass and percussion students (all students).

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• Sectional training with section principals from the UK’s major orchestras. • Public performances through both ‘quick-‐learn’ projects (designed to reflect the demands of the

orchestral profession), and intensive projects. Projects this academic year will be conducted by distinguished visiting conductors and directors including Edward Gardner, Robin Ticciati, Marin Alsop, Murray Perahia, Nicholas Collon, Oliver Knussen. Trevor Pinnock, Sir Mark Elder, Jane Glover, Semyon Bychkov, and Yan Pascal Tortelier.

First-‐year string undergraduates take part in weekly String Orchestra rehearsals, as well as forming chamber ensembles for chamber music training. First-‐year wind, brass and percussion students participate in weekly Orchestral Repertoire classes (with second-‐year and third-‐year undergraduate students) in which staff and visiting specialists introduce staples of orchestral repertoire and work on orchestral techniques. Orchestral auditions (autumn and spring terms) are a means of deciding seating for all orchestras. OF MUSIC PERFORMANCE PROTOCOL This protocol is designed to set out clearly what is expected of students involved in giving concerts and taking part in other orchestral and chamber music projects at the Royal Academy of Music. Students are expected to read this document and refer to it as appropriate. The protocol has been designed to ensure that all students gain the maximum benefit from their involvement in ensemble activity and are fully trained to meet the demands of the profession.

General Practice for Orchestral and Chamber Music Projects

1. Following orchestral auditions at the beginning of the Autumn term, Orchestral and Ensemble schedules will be issued at the beginning of the second week of term for all students. Further orchestral auditions will take place in the first week of the spring term and project schedules will be issued in the second week of this term. All summer term schedules will be published by the final week of the spring term. The schedules will be posted on the orchestral noticeboards opposite the Band Room and on AIR. Students are expected to keep a regular check on the noticeboards for any last-‐minute logistical alterations. Details of rehearsals will be accurate at the time of going to print, but may be subject to alteration. Any schedule alterations will be notified by email or text message. Communication will only be done via Academy emails, so students must check this regularly. If a student has a mobile phone, voicemail is essential in order to be contactable in an emergency.

2. Students are expected to be seated and tuned at least five minutes before the time published on the schedule. All sessions are strictly compulsory and 100% attendance is expected. Lateness will not be tolerated. Attendance will be recorded and will be reflected in each student’s end-‐of-‐year principal study/Professional Portfolio mark through the penalty mark system. A penalty mark will be issued each time a student is late or absent without permission from a session. (see Regulation G5, Attendance at Scheduled Rehearsals and Performances)

Students must telephone the Concert and Orchestra Managers, Liz Williams on 020 7873 7326 (strings, wind & brass) or Rosie Larkins on 020 7873 7426 (percussion, harp, keyboard, guitar, accordion) as soon as possible before a session is due to begin to inform them of absence due to illness or if they are going to be late for a rehearsal. A note from the doctor will be required by the Concert and Orchestra Manager if you miss a rehearsal due to illness. If you are late due to problems on London Transport, you will still be issued with a penalty mark. However, in extenuating circumstances, this may be appealed through the Special Circumstances Committee. For an appeal to be considered, students will be required to produce official documentation to substantiate the appeal.

3. One-‐to-‐one lessons, coaching sessions or classes must not be arranged during scheduled rehearsals. If another Academy commitment has been arranged before the publication of the orchestral or chamber music schedules, students must see the relevant Concert and Orchestra Manager within five working days of the date the schedule was produced to resolve the problem.

4. Leave of Absence must be granted by the relevant Concert and Orchestra Manager and the relevant Programme Tutor before agreeing to any outside work, even if at the time of engagement your diary appears clear. If release has not been granted, a student may be prevented from participating in the outside work. Whilst every effort will be made to accommodate outside engagements, this may not always be possible. You must not ask the conductor about missing any part of a rehearsal.

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5. All music is kept in G7 and is generally available one month before the commencement of any given project. If parts are taken out for practice, the signing-‐out sheet must be completed. Folders are not to leave the office. Students are responsible for keeping their own music safe. Folders will be placed on stands in the rehearsal venue for the beginning of each session. Music left after sessions must be put in the folder, which should be closed for collection. The folders must remain on the stand after the rehearsal. If the music is not in the folder, it is the responsibility of the student playing it. Music is expensive and missing parts will be charged to the student responsible for them. Soft pencil only should be used to mark parts.

6. Students are expected not only to learn their allotted part before a project begins, but also to be familiar with the whole work. Recordings of all programmed works are usually available in the Academy library. Recordings are made of all Academy concerts and an archive copy is held in the library. Due to copyright laws, you are not permitted to make copies of these recordings.

7. Dress: Female students -‐ please note that you are all required to have a long black dress or smart long black trousers and black top for Academy concerts. Shoulders and backs should be covered. Not sleeveless, not strapless, and with due consideration of professional appearance and sense of occasion. Dresses should be floor length and trousers should not be casual in style. Both dresses and trousers must be worn with smart shoes and tights or stockings. Hair ornaments and jewellery should be in keeping with dress code.

Male students – you will all be required to wear a dinner jacket (with a white shirt and black bow tie) or all black (a black jacket, shirt and trousers), depending on the type of concert. Smart black shoes and black socks are also required.

The Academy does not require men to have acquired a tail suit, but it is likely that professional orchestral engagements will need you to have this available, with white dress shirt and white bow tie.

8. For most Academy concerts, performers are allowed one free ticket, subject to availability. These can be collected in advance from the Box Office. Complimentary tickets may not be guaranteed for external concerts.

Concert Requests If you have a concert project in mind that you would like to put on at the Academy with fellow students (lunchtime, early evening or main evening concert), you can submit an application to the Artistic Planning Group. Students may also apply to play in the Tuesday and Thursday Lunchtime Concert Series, which are our high-‐profile Diary of Events series, with a strong emphasis on chamber music. Proposals should show imaginative and balanced programming, which will be an important part of the consideration process. Concert application forms are available on AIR or from the Concerts & Prizes Administrator or Director of Artistic Planning. If any of the required information is not supplied then proposals will be returned for resubmission before the next proposal deadline. Termly deadlines for submissions are: Wednesday 24th September (for Spring/Summer Term concerts) Wednesday 28th January (for Summer Term concerts) Wednesday 6th May (for Autumn Term 2015 concerts) Late submissions will not be considered.

The Artistic Planning Group will consider all concert requests and students will be notified of the result in writing. Please be aware that Academy-‐scheduled events will be given priority and their proximity to your preferred time period will have a bearing on whether or not they are accepted.

Please note that a rehearsal in the concert venue cannot be guaranteed on the day of your concert.

Other Informal Performance Opportunities Weekly Lunchtime and Early Evening Concerts take place to provide a platform for students to run repertoire and to gain performing experience. They will not be assessed and, although open to the public, they will only be advertised within the Academy. Students will need to apply to play in these concerts by filling out a yellow

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concert voucher and submitting it to the Concerts and Prizes Administrator. Concert slots will be allocated according to availability and applications can be submitted at any time. Each performer in a group will be notified of the date of their performance via their Academy email address or in discussion with the Concerts and Prizes Administrator and you will be required to confirm the group’s availability in writing. It is the responsibility of the ensemble to request large musical instruments (harpsichord/chamber organ etc.) to ensure they are provided in the relevant venue and tuned to the correct specification. This must be done through the General Office as soon as the concert date is confirmed. Failure to provide these details in good time may result in the instrument being unavailable.

Vocal Faculty students are expected to supply their own copies of text and translations or a précis. Fifteen copies should be submitted to the Events Office (next to the Duke’s Hall) 24 hours before the concert.

Concert vouchers can be found in the General Office and on AIR and need to be completed and submitted to the Concerts and Prizes Administrator in Room G8. They must be fully completed, with the necessary signatures, otherwise they will not be considered.

Concert dates will be advertised on AIR and any free spaces will be highlighted. On the day of the concert all participants should report to the stage manager ten minutes before the start of the concert. Failing to adhere to these conditions may result in disciplinary action.

External Bookings Service The Academy offers a booking service through which students are offered performance opportunities. These include lunchtime and evening recitals at festivals and established concert venues, vocal and concerto solo work for various UK music societies, and entertainment for private and corporate events. These bookings provide valuable performance experience, as well as the chance to earn some money. Ensembles and soloists must be approved by a Head of Department or professor before commencing work through the External Bookings Manager. This service is intended to help students gain experience and make contacts for the future. Students are expected to fulfill engagements in a professional manner and coaching will be provided where appropriate. For further information about external engagements, contact Lizzie Sambrook, External Bookings Manager in the Concerts Department at the Academy. Academy Engagements, Including External Engagements – Right to work in the UK Before taking on any work engagement through the Academy, all students must present their passport or other evidence of the right to work in the UK. If you have not already done so at enrolment, you must present your documents to the relevant administrator, or the External Bookings Manager in the case of external engagements. Once documents have been checked and copied you will be permitted to work. International students studying at the Academy on Tier 4 visas can now perform unpaid and paid musical engagements provided it is organised through the official Academy channels. The placement must be considered to be part of the student’s professional development, and therefore logged as part of their professional portfolio, and all students must complete a Tier 4 Checklist for all performance-‐related work, signed off by their Head of Department. Three copies of this documentation must be taken – one for the Registry, one for the External Bookings Office and one for student portfolios. Tier 4 students are not permitted to undertake any work on a self-‐employed basis, and therefore any payment due must come through the Academy’s payroll, and is subject to deductions in respect to National Insurance and VAT. Students must also ensure that they do not exceed their 20 hours work allowance per week.

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The above regulation applies to all students who are coming to study at the Academy from countries outside the EEA (European Economic Area). In addition, Bulgarian and Romanian students will need to obtain an Accession Worker Card from the UK Border Agency (Application Form BR3) before they can take any paid work. This document must be presented to the Human Resources Department who will check the card and take a copy. If you do not have a passport or would like further information regarding what alternative documents you can bring, please contact the Human Resources Department on [email protected]. For more information about the employment conditions for Tier 4 students, please refer to the following link: http://www.ukba.homeoffice.gov.uk/studyingintheuk/adult-‐students/conditions/ PRIZES There are four prizes on offer to students annually, which will be awarded after due deliberation by all of the adjudicators on completing the examinations/recitals. NB: A student may only win each prize once. Zildjian Prizes The Zildjian prizes are awarded to the two students with the highest mark in their Timpani and Percussion examination/recital. The highest mark collects the First Prize of $2,000. Second Prize is an invitation to Zildjian International in Sunningdale where the recipient will be given a guided tour, lunch and invited to select a set of cymbals of their choice. The Academy is honoured to be associated with the Zildjian Cymbal Company and is grateful for its generous support. James Blades Award for Timpani This prize is awarded to the student who in the opinion of the adjudicators has performed ‘exceptionally’ on Timpani, regardless of his or her overall mark. The winner of this prize will receive a cheque for £200 (approx) The Academy is very grateful for the generous support from the James Blades Trust James Blades Award for Percussion This prize is awarded to the student who in the opinion of the adjudicators has performed ‘exceptionally’ on Percussion, regardless of his or her overall mark. The winner of this prize will receive a cheque for £200 (approx) The Academy is very grateful for the generous support from the James Blades Trust OTHER DEPARTMENTAL INFORMATION

Principal and Second Study lessons

It is your responsibility to make contact with your allocated professor(s) in order to arrange lesson times and locations. This must be done within the first two weeks of the autumn term. Contact details of all staff are available from Tara Savile (Administrator to the Timpani and Percussion Department) in room 108. Any problems in establishing contact with a professor should be reported to Tara immediately.

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Attendance and class participation A class profile component is built into the assessment of students in the Timpani and Percussion. This allows professors to award students for preparation, class participation and levels of progress not measurable through other means of assessment. Dates and details of lessons, classes and additional masterclasses are displayed on the percussion noticeboard situated outside the percussion studio which should be consulted on a daily basis. Any requests for references from the Head of Percussion should be submitted with at least 10 days’ notice. The Percussion Administrator often receives requests for teachers. Please inform her if you wish to be put forward for such work. Please also ensure you notify the Percussion Administrator, Concerts and Orchestra Manager and the Registry of any changes to your contact details (particularly your mobile telephone number) throughout the year as these methods of communication will also be utilised, particularly to convey urgent information. UNDERGRADUATE INFORMATION NB: All courses are compulsory unless otherwise stated Individual Lessons: As Timpani and Percussion are taught in tandem as a first study, their allotted time for tuition must be shared equally. Students will receive 30 minutes per week on timpani, (or 60 minutes per fortnight), and 30 minutes per week on percussion (or 60 minutes per fortnight). Equipment and scores: The Royal Academy of Music provides excellent facilities for Timpani and Percussion students including access to ‘quality’ instruments for practice and performance. It is expected that students will treat these instruments with care and consideration and return them after use to the appropriate location. Students must furnish themselves with a near-professional range of sticks, mallets and music that will meet the demands of this course.

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YEAR ONE Year 1 – 70 Credits Principal Study – 45 credits

Professional Development Activity – 25 credits

Timp & Perc

Exam

Latin/Ethnic/

Drumset

Solo Perc Marimba

Percussion Ensemble

Orchestral Repertoire

Orchestral Profile

100%

50%

50%

FA

FA

FA

* FA means formatively assessed (pass/fail only) PRINCIPAL STUDY – Timpani and Percussion* *All components of Principal Study carry a mandatory pass requirement In individual lessons a strong technical and musical foundation will be established during the first year, including any remedial work on technique. A strong emphasis will be placed on work on the ‘hands’, encouraging good practice and listening habits, to create a technical and musical framework for connecting all instruments in the timpani and percussion family. Timpani (6 hours per term) Lessons will be centered on the introduction and development of basic technique and musical awareness through the repertoire listed below. In addition students should work through the studies of Delecluse, Alan Cumberland, Nick Would, Knauer and Friese. A thorough knowledge of the entire repertoire list below will be expected, after detailed work on the following pieces during the year: Beethoven Symphonies Nos 1-6, Missa Solemnis, Fidelio (Excerpts) Violin Concerto, Piano Concerti (Excerpts) Leonora 3 Egmont and Coriolanus Overtures Berlioz Roman Carnival Overture Brahms Symphony No.2 and 3 Mendelssohn Symphonies Nos 3 and 4; Violin Concerto Midsummer Night’s Dream and Hebrides Overtures Mozart Symphonies Nos 39 and 41 Magic Flute and Marriage of Figaro Overture Schubert Symphonies Nos 8 and 9 Baroque Timpani (90 minutes per term + one three hour class) Bach Third Suite for Orchestra Handel Israel in Egypt Mozart Symphony no 36 Haydn Symphony no 103 Beethoven Symphony no 1 Beethoven Mass in C Schubert Symphony no 8 Percussion (7 hours per term) Snare Drum;

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Rudimentary skills, rolls, dynamics, control, sound and strong ‘time’ within a musical framework will be addressed using relevant material by Morrello, Stone, Blackley, Moeller, Sholle, Wilcoxon, Gladstone, Goldenberg and Bailey etc. The relationship between essential technique and repertoire will be established together with foundational skills that connect directly to many other percussion instruments. There will be detailed work on the following repertoire list. Britten A Young Person’s Guide, Sinfonia da Requiem Bartók Concerto for Orchestra and Piano Concerto No.2 Berg Violin Concerto Elgar Enigma Variations and Cockaigne Overture Copland Billy the Kid and Rodeo Prokofiev Peter and the Wolf Rachmaninov Symphonic Dances and Symphonies Nos 1 and 2 Rossini Thieving Magpie Overture Shostakovich Symphonies Nos 1 and 6 Tuned Percussion; Scales*, arpeggios*, related technical exercises, mallet selection and sound projection using relevant material by Hamilton Green, Goldenberg, Friedman, Samuels, Stevens, Becker, and Bailey etc. The related techniques and movement of each tuned percussion instrument will be studied, establishing a thorough basis of knowledge and understanding in conjunction with detailed work on the following repertoire: Britten A Young Person’s Guide, 4 Sea Interludes, Prince of the Pagodas and Soirées Musicales Bernstein Candide Overture and Chichester Psalms Copland Appalachian Spring and Hoe Down Elgar In the South (glock) Khachaturian Gayne Ballet Kabalevsky Colas Breugnon Overture Mahler Symphony No 6 (xylo) Messiaen Oiseaux Exotiques (xylo) Rachmaninov Symphonic Dances (xylo and glock) Ravel Mother Goose and Daphnis complete (xylo and glock) Saint-Saëns Carnival of the Animals Shostakovich Symphonies Nos 5 and 8 Strauss Don Juan Tchaikovsky Sleeping Beauty and The Nutcracker *Scales and Arpeggios Syllabus All major, harmonic and melodic minor scales All chromatic scales All whole tone scales All major and minor arpeggios Dominant and diminished seventh arpeggios in all keys Assorted Percussion As much tuition as possible will be given on related percussion instruments (tambourine, cymbals, bass drum, triangle, glockenspiel etc), encouraging the student to use the same foundational skills to set up a technical network to connect the many different percussion instruments, and to experiment with the techniques needed to play them in a variety of different musical situations. The above repertoire lists will also be used to give students an in-depth profile of specific pieces, with support and in tandem with both ‘related study’ and ‘professional development activity’ professors, creating a network of support through combined information. PROFESSIONAL DEVELOPMENT ACTIVITY Students will be introduced to the following areas of related study:

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1. Solo Percussion/ Marimba (one visit per professor per term) Equipment and Scores As with all other areas of timpani and percussion study, students are expected to equip themselves with an appropriate selection of mallets, books and music including: J. S. Bach Cello Suites Rhythmical Articulation Pasquale Bona Burritt October Night David Horne Phantom Moon For Flute and 2 Percussion Toshi Ichiyanagi Paganini Personal Marimba and Piano Andre Jolivet Concerto for Percussion Musser Etude in B Major Musser Etude in C Major Musser Etude in G Major O’Meara Tune for Mary ’0 O’Meara Restless Matthias Schmitt Corrido Matthias Schmitt Ghanaia Matthias Schmitt Nocturne 2 Marimbas Method of Movement Leigh Howard Stevens Stout Etudes (select 2 from the 3 volumes) Tastimitsu Tanaka Two Movements

2. Drum Set and Latin American/Ethnic Percussion (Two days per professor per term) This area of related study will use the comprehensive syllabus (listed below) with a degree of flexibility to enable the professors to deal with the varied abilities and requirements of each student with respect to the different types of music studied (Latin American, World Music, Jazz etc). The primary objective will be to develop the student’s awareness of the music and develop the ability to think and react to different musical situations. Playing the ‘simple’ well is still one of the most difficult things to achieve and will be a priority for students taking this course. Students in Year One must display an understanding of the music and genre they are performing, together with musicality and control. Lectures 1. General playing concepts for Drumset Voicing Cymbal time The four feel (Pulse 8 Inner Pulse) Repertoire (Song 8 Rhythm) 2. Brushes Movement (Circle 8 Side to Side) 3. Reading and Articulation /Phrasing Interpretation What you see! Orchestral vs. popular 4. Hands & Movement Moeller – Blackley ‘WHY’ 5. Latin 1 – Cuban Drum kit (Folkloric to dance band)

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6. Latin 2- Cuban Tumbadoras (congas) 7. Latin 3 – Cuban Hand percussion 8. Latin 4- Brazilian Hand percussion 9. Latin 5 – Brazilian Drum Kit 10. World Percussion Frame Drums, Reks etc 11. Improvisation Blackley concept (1000 v 1) 12. Soloing General concept 13. History 14. The Shuffle Old to New 15. Repertoire Orchestral/show 16. Groove Playing What’s new? 17. Hand Percussion (pop style) Shakers, cabasa etc 18. Tambourine All styles 19. The “two” feel From jazz to show to rock ENSEMBLES Knowledge of Rhythms Play with Spirit Know the Instrumentation and Lines Samba (Batucada – Reggae etc) Maracato Bion/Forro Cha cha cha/mambo Rumba (Guagaunco – Yambu – Columbia) Mozambique La Conga Bomba Calypso Afro Cuban 6/8 North African

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Suggested listening: Jazz/Swing The Best of Louis Armstrong: The Hot Five and Seven Recordings Miles Davis: Kind of Blue, Miles Smiles, Black Hawk Sessions, My Funny Valentine, Oscar Peterson: Night Train Ahmad Jamal: Alhambra and Blackhawk performances Pop/Funk/Blues Records on Motown , Stax , Chess labels Herbie Hancock: Headhunters, Sunlight Ethnic Any rough guides, including: Cuban, Samba, Belly dance, Afro-Cuban, Latin Joe Pass/Paulinho da Costa Tu do Ben Toots Thielemans The Brazil Project x 2 Sergio Mendes Brasileiro Salsa Timba Big Band Count Basie: Atomic Mr. Basie Duke Ellington: At Newport, Duke Ellington with Frank Sinatra Thad Jones/Mel Lewis Consummation Frank Sinatra: Songs for Swinging Lovers, Swingin’ Brass,Sinatra and Ellington Sun Ra 3. Orchestral Repertoire Classes will work in tandem with the extensive repertoire lists for Timpani and Percussion. They will deal with playing in the orchestra, within the ‘section’, studio /sight-reading techniques, and in an audition environment (screened or otherwise), to encourage students to engender a positive and professional manner in each situation. All Timpani and Percussion professors will be involved at some stage with these classes, particularly leading up to auditions for EUYO, PMF, Gustav Mahler Orchestra, Verbier, etc, or when relevant positions become vacant within the profession. The playing techniques for all timpani and orchestral percussion instruments will be discussed in detail during these classes, providing an essential link and support to individual lessons. 4. Percussion Ensemble will give an annual concert in the Duke’s Hall, usually in the summer term, the programme for which will be decided by the Head of Department in close consultation with professors and students. All pieces will require some level of individual practice, particularly solo, duo and trio pieces, but rehearsals will generally be scheduled for the spring and summer terms, culminating in an intensive rehearsal period near to the concert date. 5. Vibraphone The course of study will include the analysis and performance of Joe Locke original compositions from such recordings as Van Gogh by Numbers, 4 Walls of Freedom, Dear Life, Force of 4 and the trilogy of duet recordings with pianist Frank Kimbrough (Saturn's Child, The Willow and Verrazano Moon). Investigating these pieces will also give the student the opportunity to focus on: a) development of a harmonic progression; b) the nature of melodic and harmonic improvisation including modes and scale/chord relationships; c) sound production (getting a good sound on the vibraphone); d) 4 mallet technique; e) insight into composition; f) The similarities and differences between classical music and jazz.

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The course will also include students writing their own music for solo vibraphone and/or percussion ensemble, to be analysed and performed by members of the class. General listening and ear training will be included in the course of study. Theoretical perspectives appertaining to the relevant music will also be investigated (e.g. modes of the major scale, modes of the melodic minor scale, symmetrical diminished scales etc.) Students will be expected to learn 1-2 of Joe Locke’s solo pieces on a yearly basis and must always have something prepared for his visits. This is compulsory. 6. Masterclasses will usually consist of three to four per academic year, will feature many of the finest players in the world. They will range from principal and section players in the great orchestras of the world, to soloists and experts in every facet of timpani and percussion playing, to keep the course as relevant and topical as possible. END OF YEAR EXAMINATION AND RECITAL REQUIREMENTS (YEAR ONE) There will be three separate examinations/recitals in the summer term covering three areas of study. 1. Timpani and Percussion 2. Solo Percussion/Marimba 3. Drumset/LA/Ethnic Percussion These examinations/recitals will generally follow a set procedure as explained in the specific headings below. (Please see the Examinations Procedures on the Registry page on Air for information on penalties for over/under-running and not adhering to memory requirements)

1. Timpani and Percussion Examinations in Timpani and Percussion will at all times be conducted in an audition like manner in order to give students as much experience as possible of performing in an audition environment. Random examples of the set repertoire will be asked. Students may be required to perform these examples in a number of different ways, illustrating the necessary flexibility needed for auditions and reacting and adapting to specific requests from a conductor. Students will be expected to give information regarding orchestral repertoire for timpani and percussion, such as how many players would be required for a particular work (i.e. Benvenutto Cellini: 3 Timpanists / 3 Percussionists: Bass Drum, Cymbals, and Triangle). By conducting the examination in this way, students will also reflect their progress and knowledge in both areas of ‘related study’ and ‘professional development activity’, which work in tandem with Timpani and Percussion to create a framework of knowledge and experience. You will also be examined in scales and arpeggios. Length of Examination: 40 mins 2. Solo Percussion/Marimba The end of year examination for solo percussion/ marimba will where possible take the form of a ‘public recital’, usually in the DJ or similar venue. Students will be expected to prepare up to a 15 minute recital including pieces from the list of designated solo percussion/marimba pieces relevant to their year and his or her ability. All students will perform their pieces in this concert, familiarising you with performing in a

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solo capacity. Ideally this will include a solo marimba piece and a solo percussion piece. This will become more and more relevant to the advancing student leading to their final recital. (There will also be continual assessment of each student’s work in lessons and classes during the academic year and a professorial report will be produced at the end of the year). NB: Solo pieces only! (No duos.) You can of course include an accompanist. Length of Solo Percussion/Marimba Recital The average length of the recital will be determined by the number of students in the department in any given academic year, and by the length of the individual pieces. In years where student numbers may be significantly greater than normal, due consideration will be given to the recital taking place over more than one session. All students are expected to attend the whole recital. Additional Solo/Duo/Concertino and Chamber Music For Solo Performance and Solo Percussion/Marimba Exams Keiko Abe Selected solo pieces for marimba Javier Alvarez Temazcal J. S. Bach Cello Suites for Marimba Bartók Sonata for Two Pianos and Percussion Britten Nocturne Benjamin Britten Young Person’s Guide to the Orchestra arr. David Corkhill Burrit 5 preludes Carter Sonatas for Timpani Miake Chain Ongaku no Tomo Chick Corea Children’s Songs G Determeyer The Train (for solo snare drum) Markus Halt Marimbasonic (Simrock) David Hollinden Cold Pressed Toshi Ichiyanagi The Source Maki Ishii Thirteen Drums op 66 Klatzow Inyanga (Percussion Music Europe) Clive Malabar Selected solo pieces for marimba Dave Maric Trilogy Anna Meredith Flex Darius Milhaud Marimba Concerto Panufnik Concertino for Timpani and Percussion John Psathas Matre’s Dance John Psathas Drum Dances Ravel/Safri Alborada del Gracioso Steve Reich Nagoya Marimbas, Marimba Phase Rimey-Meille Une autre personne + Ecorce et l'Ame en soi Stephen Rush Inner Rebellion Stephen Rush Rebellion Sammut Cameleon Sammut Hombre et d' Aout Billaudot Sammut Kaleïduoscope (duo) kp 3 Sammut Stroboscope (kp 3) Sammut Zapping Trio (kp 3) Piazolla / Sammut Libertango (kp 3) Sejourné 5 pieces (Leduc) Werner Thärichen Concerto for Timpani Jacques Veldhuis Goldrush Nigel Westlake Fabian Theory Zivkovich Gretel Verlag Puccini/ arrgt Sammut Musetta's Waltz Sammut Marcello

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Sammut 3 Spirals Modern Japanese Marimba Pieces Book 1 New Repertoire/Atonal/Avant Garde: Jean Batine Caracteres for Piano and Timpani Nicolas Bolens Winds Island for Multi-percussion and Tape/Electronics Edmund Campion Losing Touch for Vibraphone and Tape/Electronics Peter Eotvos Halbfinal: Mve 6 'Triangle' for Solo Timpani and 27 musicians Morton Feldman King of Denmark for Multi-percussion Bruno Giner Etudes De Peaux for Multi-percussion Philippe Hurel Loops 1 + 11 for Vibraphone Pierre Jodlowski Mecano Pierre Jodlowski Time and Money Martin Matalon Short Stories for Vibraphone Martin Matalon Trame V111 for Solo Percussion and ensemble Luis Naon 3 Pieces for Timbales Emmanuel d'Orlando Sol Mire for Piano and Timpani Caolos Roque Alsina Reflet 1 + 11 for Vibraphone Stuart Smith Links 1 + 11 for Vibraphone Alessandro Solbiati Bois for solo Marimba Karlheinz Stockhausen Vibra Elufa Jesus Torres Proteus for Multi-percussion James Wood Jodo La Monte Young X for Henry Flint Also see music by George Aperghis, Anthony Pateras, Franco Donatoni and other works by Martin Matalon. Selected solo vibraphone pieces by: Joe Locke Gary Burton David Friedman Mike Manieri Bill Mollenhof John Mark Piper David Samuels With the evolving role of the International Vibraphone Professor we should see an increase in the amount of solo vibraphone repertoire available to students for examinations and recitals. 3. Drumset/ LA/Ethnic Percussion The examination for Drumset and LA/Ethnic Percussion will involve students being asked to perform on a variety of different instruments, inviting them to explore more creative aspects of percussion playing, within the context of the music used in the examination. Students must play one piece of their own choice on drum-set from either the Dave Hassell ‘Graded Course for Drum Kit’ books or the Steve Houghton ‘Ultimate Drumset Reading Anthology’. All other pieces for this examination will be presented on the day by the drumset and LA/Ethnic percussion professors. Using CDs, it will recreate what the student may encounter in a studio or live situation, with the inclusion of a ‘Big Band’ chart or small ensemble arrangement for drumset. There will also be examples of other styles of music from the different cultures studied during classes and lessons, such as Bossa Nova, Rhumba, Afro Cuban, and Samba etc. The student will be expected to perform on percussion instruments relevant to the music being played, with a good concept of ‘time, feel, sound and musicality’, whilst displaying good listening skills.

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This examination will take into consideration the varied abilities of the students in this area of related study, and will be marked on their individual ability, achievement and potential. Length of Examination: 20-30 mins YEAR TWO

Year 2 – 70 Credits

Principal Study – 45 credits


Timp & Perc Exam

Latin/Ethnic/ Drumset

Solo Perc Marimba

Percussion Ensemble


Orchestral Profile

100% 45% 55% FA* FA FA

* FA means formatively assessed (pass/fail only) PRINCIPAL STUDY – Timpani and Percussion* *All components of Principal Study carry a mandatory pass requirement Timpani (6 hours per term) Students will be expected to consolidate their first year’s work with further development of all the aspects of Timpani playing outlined in lessons during year one, through the more demanding set repertoire. Year two will see further development of tone production and projection. . In addition students should work through the studies of Delecluse, Alan Cumberland, Nick Would, Knauer and Friese. There will be detailed work on the following repertoire: Beethoven Symphonies 7-9 Brahms Symphonies Nos 1,4 and German Requiem Britten The Young Person’s Guide to the Orchestra Dvořák Symphonies 7-9 Dukas The Sorcerer’s Apprentice Elgar Enigma Variations Prokofiev Symphonies Nos 1 Schumann Symphonies Nos 1 and 3 Sibelius Symphonies 1 & 2, Finlandia, Violin Concerto Tchaikovsky Symphonies Nos 4,5, 6, Cappricio Italien Baroque Timpani (90 minutes per term + one three hour class) Bach Christmas Oratorio Purcell Ode to St Cecilia’s day Handel Coronation Anthems Mozart Symphony no 39 Mozart Serenata Notturna Beethoven Symphony no 2 Mendelssohn Symphony no 3 Percussion (7 hours per term)

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Any outstanding technical problems must be confronted and overcome, and the foundation of the first year work must be consolidated. The relationship of technique and musicality to playing the set repertoire will again be high on the agenda, leading to the introduction of interpretative skills and musical thinking by the student. The following repertoire for snare drum and tuned percussion will be studied in detail, and in conjunction with ‘Assorted Percussion’ study and ‘Professional Development Activity’ professors. Snare Drum Bartók Piano Concerto No 1 Bernstein Candide Overture Borodin Polovtsian Dances Britten War Requiem Debussy Iberia Falla Three Cornered Hat Gershwin Piano Concerto in F, Rhapsody in Blue Holst The Planets Mahler Symphony No 3 Orff Carmina Burana Prokofiev Romeo & Juliet (complete) Ravel Pictures from an Exhibition Rimsky-Korsakov Scheherezade (last movement) Shostakovich Symphony no 5 and Festival Overture Stravinsky Petrushka (1911 + 47) Tuned Percussion Scales*, arpeggios*, related technical exercises, mallet selection and sound projection using relevant material by Hamilton Green, Goldenberg, Friedman, Samuels, Stevens, Becker, and Bailey etc. The related techniques and movement of each tuned percussion instrument will be studied, establishing a thorough basis of knowledge and understanding in conjunction with detailed work on the following repertoire: Bartók Music for Strings Percussion and Celeste,

Wooden Prince (Suite) Bernstein Age of Anxiety (Symphony No. 2) Debussy La Mer Gershwin Piano Concerto in F Glazunov The Seasons Holst The Planets (xylo and glock) Prokofiev Romeo & Juliet (complete) xylo + glock Rachmaninov Symphony No. 2 (glock) Shostakovich Symphonies Nos 6 & 7 and Polka from the Golden Age Ballet Stravinsky Firebird (complete), Les Noces and Petrushka 1911+ 47 Vaughan Williams Job Walton Belshazzar’s Feast, Portsmouth Point and Scapino Scales and Arpeggios Syllabus All major, harmonic and melodic minor scales All chromatic scales All whole tone scales All major and minor arpeggios Dominant and diminished seventh arpeggios in all keys Assorted Percussion As much tuition as possible will be given on related percussion instruments (tambourine, cymbals, bass drum, triangle, glockenspiel etc), encouraging the student to use the same foundational skills to set up a technical network to connect the many different percussion instruments, and to experiment with the techniques needed to play them in a variety of different musical situations. The above repertoire lists will

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also be used to give students an in-depth profile of specific pieces, with support and in tandem with both ‘related study’ and ‘professional development activity’ professors, creating a network of support through combined information. PROFESSIONAL DEVELOPMENT ACTIVITY Students will be introduced to the following areas of related study: 1. Solo Percussion/ Marimba (one visit per professor per term) In addition to the music and books listed in the first year course outline, second year students should have an Urtext edition of the Bach Violin Sonatas and Partitas and Anna Magdalena’s Notebook. Equipment and Scores As with all other areas of timpani and percussion study, students are expected to equip themselves with an appropriate selection of mallets, books and music including:

Burritt Caritas and Four Movements Diemer Toccata Joe Duddell Freaky Dancer for vibraphone and four guitars Markus Halt Marimbics Helble Well-tempered Marimbist David Horne Pulse, for marimba Anders Koppell Tarantella Marimba and Violin Anders Koppell Toccata Marimba and Vibraphone John Macleod Percussion Concerto James Macmillan Veni, veni Emmanuel Maslanka My Lady White Paul Rudens Alarm for multi percussion Sammut Rotations (2 or more) Matthias Schmitt 3 Skizzer’ for 2 marimba Matthias Schmitt ‘6 Miniatures’ marimba Matthias Schmitt Wasserspiele’ Marimba Smadbeck Rhythm Song Stout Two Mexican Dances and Etudes Ulrich Suite Iannis Xenakis Rebounds Iannis Xenakis Psappa 2. Drum Set and Latin American/Ethnic Percussion (Two days per professor per term) This area of related study will use the comprehensive syllabus (listed below) with a degree of flexibility to enable the professors to deal with the varied abilities and requirements of each student with respect to the different types of music studied (Latin American, World Music, Jazz etc). The primary objective will be to develop the student’s awareness of the music and develop the ability to think and react to different musical situations. Playing the ‘simple’ well is still one of the most difficult things to achieve and will be a priority for students taking this course. Students in Year One must display an understanding of the music and genre they are performing, together with musicality and control. Lectures 1. General playing concepts for Drumset Voicing Cymbal time The four feel (Pulse 8 Inner Pulse) Repertoire (Song 8 Rhythm)

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2. Brushes Movement (Circle 8 Side to Side) 3. Reading and Articulation /Phrasing Interpretation What you see! Orchestral vs. popular 4. Hands & Movement Moeller – Blackley ‘WHY’ 5. Latin 1 – Cuban Drum kit (Folkloric to dance band) 6. Latin 2- Cuban Tumbadoras (congas) 7. Latin 3 – Cuban Hand percussion 8. Latin 4- Brazilian Hand percussion 9. Latin 5 – Brazilian Drum Kit 10. World Percussion Frame Drums, Reks etc 11. Improvisation Blackley concept (1000 v 1) 12. Soloing General concept 13. History 14. The Shuffle Old to New 15. Repertoire Orchestral/show 16. Groove Playing What’s new? 17. Hand Percussion (pop style) Shakers, cabasa etc 18. Tambourine All styles 19. The “two” feel From jazz to show to rock ENSEMBLES Knowledge of Rhythms

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Play with Spirit Know the Instrumentation and Lines Samba (Batucada – Reggae etc) Maracato Bion/Forro Cha cha cha/mambo Rumba (Guagaunco – Yambu – Columbia) Mozambique La Conga Bomba Calypso Afro Cuban 6/8 North African Suggested listening: Jazz/Swing The Best of Louis Armstrong: The Hot Five and Seven Recordings Miles Davis: Kind of Blue, Miles Smiles, Black Hawk Sessions, My Funny Valentine, Oscar Peterson: Night Train Ahmad Jamal: Alhambra and Blackhawk performances Pop/Funk/Blues Records on Motown , Stax , Chess labels Herbie Hancock: Headhunters, Sunlight Ethnic Any rough guides, including: Cuban, Samba, Belly dance, Afro-Cuban, Latin Joe Pass/Paulinho da Costa Tu do Ben Toots Thielemans The Brazil Project x 2 Sergio Mendes Brasileiro Salsa Timba Big Band Count Basie: Atomic Mr. Basie Duke Ellington: At Newport, Duke Ellington with Frank Sinatra Thad Jones/Mel Lewis Consummation Frank Sinatra: Songs for Swinging Lovers, Swingin’ Brass,Sinatra and Ellington Sun Ra 3. Orchestral Repertoire Classes will work in tandem with the extensive repertoire lists for Timpani and Percussion. They will deal with playing in the orchestra, within the ‘section’, studio /sight-reading techniques, and in an audition environment (screened or otherwise), to encourage students to engender a positive and professional manner in each situation. All Timpani and Percussion professors will be involved at some stage with these classes, particularly leading up to auditions for EUYO, PMF, Gustav Mahler Orchestra, Verbier, etc, or when relevant positions become vacant within the profession. The playing techniques for all timpani and orchestral percussion instruments will be discussed in detail during these classes, providing an essential link and support to individual lessons. 4. Percussion Ensemble will give an annual concert in the Duke’s Hall, usually in the summer term, the programme for which will be decided by the Head of Department in close consultation with professors and students. All pieces will require some level of individual practice, particularly solo, duo and trio

27

pieces, but rehearsals will generally be scheduled for the spring and summer terms, culminating in an intensive rehearsal period near to the concert date. 5. Vibraphone The course of study will include the analysis and performance of Joe Locke original compositions from such recordings as Van Gogh by Numbers, 4 Walls of Freedom, Dear Life, Force of 4 and the trilogy of duet recordings with pianist Frank Kimbrough (Saturn's Child, The Willow and Verrazano Moon). Investigating these pieces will also give the student the opportunity to focus on: a) development of a harmonic progression; b) the nature of melodic and harmonic improvisation including modes and scale/chord relationships; c) sound production (getting a good sound on the vibraphone); d) 4 mallet technique; e) insight into composition; f) The similarities and differences between classical music and jazz. The course will also include students writing their own music for solo vibraphone and/or percussion ensemble, to be analysed and performed by members of the class. General listening and ear training will be included in the course of study. Theoretical perspectives appertaining to the relevant music will also be investigated (e.g. modes of the major scale, modes of the melodic minor scale, symmetrical diminished scales etc.) Students will be expected to learn 1-2 of Joe Locke’s solo pieces on a yearly basis and must always have something prepared for his visits. This is compulsory. 6. Masterclasses, which usually consist of three to four per academic year, will feature many of the finest players in the world. They will range from principal and section players in the great orchestras of the world, to soloists and experts in every facet of timpani and percussion playing, to keep the course as relevant and topical as possible. (See page 3 of this handbook and the RAM Prospectus for recent visitors). END OF YEAR EXAMINATION AND RECITAL REQUIREMENTS (YEAR TWO) There will be three separate examinations/recitals in the summer term covering three areas of study. 1. Timpani and Percussion 2. Solo Percussion/Marimba 3. Drumset/LA/Ethnic Percussion These examinations/recitals will generally follow a set procedure as explained in the specific headings below. (Please see the Examinations Procedures on the Registry page on Air for information on penalties for over/under-running and not adhering to memory requirements)

1. Timpani and Percussion Examinations in Timpani and Percussion will at all times be conducted in an audition like manner in order to give students as much experience as possible of performing in an audition environment. Random examples of the set repertoire will be asked. Students may be required to perform these examples in a number of different ways, illustrating the necessary flexibility needed for auditions and reacting and adapting to specific requests from a conductor. Students will be expected to give information regarding orchestral repertoire for timpani and percussion, such as how many players would be required for a particular work (i.e. Benvenutto Cellini: 3 Timpanists / 3 Percussionists: Bass Drum, Cymbals, and Triangle).

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By conducting the examination in this way, students will also reflect their progress and knowledge in both areas of ‘related study’ and ‘professional development activity’, which work in tandem with Timpani and Percussion to create a framework of knowledge and experience. You will also be examined in scales and arpeggios. Length of Examination: 40 mins 2. Solo Percussion/Marimba The end of year examination for solo percussion/ marimba will where possible take the form of a ‘public recital’, usually in the DJ or similar venue. Students will be expected to prepare up to a 15 minute recital including pieces from the list of designated solo percussion/marimba pieces relevant to their year and his or her ability. All students from each year will perform their pieces in this concert, familiarising you with performing in a solo capacity. Ideally this will include a solo marimba piece and a solo percussion piece. This will become more and more relevant to the advancing student leading to their final recital. (There will also be continual assessment of each student’s work in lessons and classes during the academic year and a professorial report will be produced at the end of the year). NB: Solo pieces only! (No duos.) You can of course include an accompanist. Length of Solo Percussion/Marimba Recital The average length of the recital will be determined by the number of students in the department in any given academic year, and by the length of the individual pieces. In years where student numbers may be significantly greater than normal, due consideration will be given to the recital taking place over more than one session. All students are expected to attend the whole recital

Additional Solo/Duo/Concertino and Chamber Music For Solo Performance and Solo Percussion/Marimba Exams (Also see relevant material from Marimba repertoire lists for years 3 and 4) Keiko Abe Selected solo pieces for marimba Javier Alvarez Temazcal J. S. Bach Cello Suites for Marimba Bartók Sonata for Two Pianos and Percussion Britten Nocturne Benjamin Britten Young Person’s Guide to the Orchestra arr. David Corkhill Burrit 5 preludes Carter Sonatas for Timpani Miake Chain Ongaku no Tomo Chick Corea Children’s Songs G Determeyer The Train (for solo snare drum) Markus Halt Marimbasonic (Simrock) David Hollinden Cold Pressed Toshi Ichiyanagi The Source Maki Ishii Thirteen Drums op 66 Klatzow Inyanga (Percussion Music Europe) Clive Malabar Selected solo pieces for marimba Dave Maric Trilogy Anna Meredith Flex Darius Milhaud Marimba Concerto Panufnik Concertino for Timpani and Percussion John Psathas Matre’s Dance John Psathas Drum Dances

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Ravel/Safri Alborada del Gracioso Steve Reich Nagoya Marimbas, Marimba Phase Rimey-Meille Une autre personne + Ecorce et l'Ame en soi Stephen Rush Inner Rebellion Stephen Rush Rebellion Sammut Cameleon Sammut Hombre et d' Aout Billaudot Sammut Kaleïduoscope (duo) kp 3 Sammut Stroboscope (kp 3) Sammut Zapping Trio (kp 3) Piazolla / Sammut Libertango (kp 3) Sejourné 5 pieces (Leduc) Werner Thärichen Concerto for Timpani Jacques Veldhuis Goldrush Nigel Westlake Fabian Theory Zivkovich Gretel Verlag Puccini/ arrgt Sammut Musetta's Waltz Sammut Marcello Sammut 3 Spirals Modern Japanese Marimba Pieces Book 1 New Repertoire/Atonal/Avant Garde: Jean Batine Caracteres for Piano and Timpani Nicolas Bolens Winds Island for Multi-percussion and Tape/Electronics Edmund Campion Losing Touch for Vibraphone and Tape/Electronics Peter Eotvos Halbfinal: Mve 6 'Triangle' for Solo Timpani and 27 musicians Morton Feldman King of Denmark for Multi-percussion Bruno Giner Etudes De Peaux for Multi-percussion Philippe Hurel Loops 1 + 11 for Vibraphone Pierre Jodlowski Mecano Pierre Jodlowski Time and Money Martin Matalon Short Stories for Vibraphone Martin Matalon Trame V111 for Solo Percussion and ensemble Luis Naon 3 Pieces for Timbales Emmanuel d'Orlando Sol Mire for Piano and Timpani Caolos Roque Alsina Reflet 1 + 11 for Vibraphone Stuart Smith Links 1 + 11 for Vibraphone Alessandro Solbiati Bois for solo Marimba Karlheinz Stockhausen Vibra Elufa Jesus Torres Proteus for Multi-percussion James Wood Jodo La Monte Young X for Henry Flint Also see music by George Aperghis, Anthony Pateras, Franco Donatoni and other works by Martin Matalon. Selected solo vibraphone pieces by: Joe Locke Gary Burton David Friedman Mike Manieri Bill Mollenhof John Mark Piper David Samuels

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With the evolving role of the International Vibraphone Professor we should see an increase in the amount of solo vibraphone repertoire available to students for examinations and recitals. 3. Drumset/ LA/Ethnic Percussion The examination for Drumset and LA/Ethnic Percussion will involve students being asked to perform on a variety of different instruments, inviting them to explore more creative aspects of percussion playing, within the context of the music used in the examination. Students must play one piece of their own choice on drum-set from either the Dave Hassell ‘Graded Course for Drum Kit’ books or the Steve Houghton ‘Ultimate Drumset Reading Anthology’. All other pieces for this examination will be presented on the day by the drumset and LA/Ethnic percussion professors. Using CDs, it will recreate what the student may encounter in a studio or live situation, with the inclusion of a ‘Big Band’ chart or small ensemble arrangement for drumset. There will also be examples of other styles of music from the different cultures studied during classes and lessons, such as Bossa Nova, Rhumba, Afro Cuban, and Samba etc. The student will be expected to perform on percussion instruments relevant to the music being played, with a good concept of ‘time, feel, sound and musicality’, whilst displaying good listening skills. This examination will take into consideration the varied abilities of the students in this area of related study, and will be marked on their individual ability, achievement and potential. Length of Examination: 20-30 mins

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YEAR THREE

Year 3 – 70 credits Please see bracketed percentages if Latin/Ethnic/Drumset or Marimba are dropped.

Principal Study – 45 credits


Timp & Perc Exam

Latin/Ethnic/ Drumset Solo Perc Marimba Percussion

Ensemble Orchestral Repertoire

Orchestral Profile

100% 45% (100%)

55% (100%) FA FA FA

* FA means formatively assessed (pass/fail only) PRINCIPAL STUDY – Timpani and Percussion* *All components of Principal Study carry a mandatory pass requirement Timpani (6 hours per term) Lessons will aim to consolidate and develop the work from years one and two, and subject to the achievement of all of the required coursework, will seek to refine and perfect each area of timpani study*, using very demanding orchestral repertoire, (listed below) and relevant studies. In addition students should work through the studies of Delecluse, Alan Cumberland, Nick Would, Knauer and Friese. Bartók Concerto for Orchestra, The Miraculous Mandarin, Piano Concerto No 2 Berlioz Symphonie Fantastique Bernstein Chichester Psalms, West Side Story and Candide Overture Britten Four Sea Interludes and Spring Symphony Bruckner Symphonies 6,7,8,9 Elgar Symphony No 1, Cockaigne Overture Hindemith Symphonic Metamorphoses Orff Carmina Burana Mahler Symphonies 1-5 Rachmaninov Symphony No 2, Symphonic Dances Rimsky-Korsakov Scheherezade, Capriccio Espagnol Shostakovich Symphonies Nos 1,5,6,7 Sibelius Symphonies Nos 5 & 7 Strauss Ein Heldenleben, Tod und Verklarung, Don Juan Wagner Overtures: The Flying Dutchman, Tannhauser, Rienzi Walton Belshazzar’s Feast Baroque Timpani (90 minutes per term + one three hour class) Purcell The Fairy Queen Bach 4th Suite for Orchestra Handel Messiah Mozart Requiem Haydn Symphony no 104 Beethoven Symphony no 4 Schubert Symphony no 3

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Percussion (7 hours per term) A higher degree of technical and musical ability will have been achieved in all areas of percussion playing, allowing students to experiment more with interpretive and stylistic considerations. A thorough knowledge of the entire set repertoire, with additional score, CD and where possible ‘live’ study will be encouraged. Again the network of professors will be on hand to help guide students where necessary with relevant information. The following repertoire for snare drum and tuned percussion will be studied in detail, and in conjunction with Assorted Percussion studies and Professional Development Activity Professors. Snare Drum Bartók The Miraculous Mandarin Gershwin An American in Paris Bernstein ‘Age of Anxiety’ (Symphony No. 2) Mahler Symphony No. 6 Glazunov The Seasons Nielsen Clarinet Concerto Prokoviev Symphony No. 5 Ravel Rhapsodie Espagnole, La Valse Shostakovich Symphonies Nos 8 and 11 Walton Belshazzar’s Feast Tuned Percussion Scales*, arpeggios*, related technical exercises, mallet selection and sound projection using relevant material by Hamilton Green, Goldenberg, Friedman, Samuels, Stevens, Becker, and Bailey etc. The related techniques and movement of each tuned percussion instrument will be studied, establishing a thorough basis of knowledge and understanding in conjunction with detailed work on the following repertoire: Bartók Bluebeard’s Castle Berg Lulu (vibraphone), Three Pieces for Orchestra Bernstein Quiet Place Suite Gershwin An American in Paris Hindemith Kammer Music Kodály Hary Janos Messiaen Turangalîla Symphony (vibraphone) Prokoviev Alexander Nevsky Piano Concerto No. 1 Respighi Pines of Rome, Festivals of Rome, Fountains of Rome Shostakovich Symphonies 14 and 15, Violin Concerto No. 1 Tippett Concerto for Orchestra Vaughan Williams Symphonies 7 & 8 Scales and Arpeggios Syllabus All major, harmonic and melodic minor scales All chromatic scales All whole tone scales All major and minor arpeggios Dominant and diminished seventh arpeggios in all keys Assorted Percussion As much tuition as possible will be given on related percussion instruments (tambourine, cymbals, bass drum, triangle, glockenspiel etc), encouraging the student to use the same foundational skills to set up a technical network to connect the many different percussion instruments, and to experiment with the techniques needed to play them in a variety of different musical situations. The above repertoire lists will also be used to give students an in-depth profile of specific pieces, with support and in tandem with both ‘related study’ and ‘professional development activity’ professors, creating a network of support through combined information. PROFESSIONAL DEVELOPMENT ACTIVITY

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Students will be introduced to the following areas of related study: 1. Solo Percussion/Marimba (one visit per professor per term) Equipment and Scores As with all other areas of timpani and percussion study, students are expected to equip themselves with an appropriate selection of mallets, books and music including: Louis Andriessen Wood Pecker for Marimba and Woodblocks Michael Daugherty UFO Percussion concerto Joe Duddell Parallel Lines mallets and piano Joe Duddell Ruby percussion concerto Fissinger Suite Glassock Altered Echoes Harris Potpourri Helble Preludes 10-12 Helble Variations on a Theme Helble Well-Tempered Marimbist (select 3) Hans Werner Henze 5 Scenes for the Snow country Hollinden Of Wind and Water David Horne Rush’ Multi Percussion Eckhard Kopetzki Topf-Tanz multi percussion Anders Koppell 9 Peanuts’ Marimba David Lang The Anvil Chorus for Multi-Percussion Steve Mackay Micro Concerto’, chamber work Robert Maggio Songs of the Wood Miki Time for Marimba Miyoshi Torse III Christopher Rouse Der Gettete Alberich Percussion Concerto Sammut Rotations Smadbeck Virginia Tate Stevens Great Wall Stout Rumble Strips 2. Drum Set and LA/ Ethnic Percussion (Two days per professor per term) This area of related study will use the comprehensive syllabus (listed below) with a degree of flexibility to enable the professors to deal with the varied abilities and requirements of each student with respect to the different types of music studied (Latin American, World Music, Jazz etc). The primary objective will be to develop the student’s awareness of the music and develop the ability to think and react to different musical situations. Playing the ‘simple’ well is still one of the most difficult things to achieve and will be a priority for students taking this course. Students in Year One must display an understanding of the music and genre they are performing, together with musicality and control. Lectures 1. General playing concepts for Drumset Voicing Cymbal time The four feel (Pulse 8 Inner Pulse) Repertoire (Song 8 Rhythm) 2. Brushes Movement (Circle 8 Side to Side)

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3. Reading and Articulation /Phrasing Interpretation What you see! Orchestral vs. popular 4. Hands & Movement Moeller – Blackley ‘WHY’ 5. Latin 1 – Cuban Drum kit (Folkloric to dance band) 6. Latin 2- Cuban Tumbadoras (congas) 7. Latin 3 – Cuban Hand percussion 8. Latin 4- Brazilian Hand percussion 9. Latin 5 – Brazilian Drum Kit 10. World Percussion Frame Drums, Reks etc 11. Improvisation Blackley concept (1000 v 1) 12. Soloing General concept 13. History 14. The Shuffle Old to New 15. Repertoire Orchestral/show 16. Groove Playing What’s new? 17. Hand Percussion (pop style) Shakers, cabasa etc 18. Tambourine All styles 19. The “two” feel From jazz to show to rock ENSEMBLES Knowledge of Rhythms Play with Spirit Know the Instrumentation and Lines Samba (Batucada – Reggae etc)

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Maracato Bion/Forro Cha cha cha/mambo Rumba (Guagaunco – Yambu – Columbia) Mozambique La Conga Bomba Calypso Afro Cuban 6/8 North African Suggested listening: Jazz/Swing The Best of Louis Armstrong: The Hot Five and Seven Recordings Miles Davis: Kind of Blue, Miles Smiles, Black Hawk Sessions, My Funny Valentine, Oscar Peterson: Night Train Ahmad Jamal: Alhambra and Blackhawk performances Pop/Funk/Blues Records on Motown , Stax , Chess labels Herbie Hancock: Headhunters, Sunlight Ethnic Any rough guides, including: Cuban, Samba, Belly dance, Afro-Cuban, Latin Joe Pass/Paulinho da Costa Tu do Ben Toots Thielemans The Brazil Project x 2 Sergio Mendes Brasileiro Salsa Timba Big Band Count Basie: Atomic Mr. Basie Duke Ellington: At Newport, Duke Ellington with Frank Sinatra Thad Jones/Mel Lewis Consummation Frank Sinatra: Songs for Swinging Lovers, Swingin’ Brass,Sinatra and Ellington Sun Ra 3. Orchestral Repertoire Classes will work in tandem with the extensive repertoire lists for Timpani and Percussion. They will deal with playing in the orchestra, within the ‘section’, studio /sight-reading techniques, and in an audition environment (screened or otherwise), to encourage students to engender a positive and professional manner in each situation. All Timpani and Percussion professors will be involved at some stage with these classes, particularly leading up to auditions for EUYO, PMF, Gustav Mahler Orchestra, Verbier, etc, or when relevant positions become vacant within the profession. The playing techniques for all timpani and orchestral percussion instruments will be discussed in detail during these classes, providing an essential link and support to individual lessons. 4. Percussion Ensemble will give an annual concert in the Duke’s Hall, usually in the summer term, the programme for which will be decided by the Head of Department in close consultation with professors and students. All pieces will require some level of individual practice, particularly solo, duo and trio pieces, but rehearsals will generally be scheduled for the spring and summer terms, culminating in an intensive rehearsal period near to the concert date. 5. Vibraphone

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The course of study will include the analysis and performance of Joe Locke original compositions from such recordings as Van Gogh by Numbers, 4 Walls of Freedom, Dear Life, Force of 4 and the trilogy of duet recordings with pianist Frank Kimbrough (Saturn's Child, The Willow and Verrazano Moon). Investigating these pieces will also give the student the opportunity to focus on: a) development of a harmonic progression; b) the nature of melodic and harmonic improvisation including modes and scale/chord relationships; c) sound production (getting a good sound on the vibraphone); d) 4 mallet technique; e) insight into composition; f) The similarities and differences between classical music and jazz. The course will also include students writing their own music for solo vibraphone and/or percussion ensemble, to be analysed and performed by members of the class. General listening and ear training will be included in the course of study. Theoretical perspectives appertaining to the relevant music will also be investigated (e.g. modes of the major scale, modes of the melodic minor scale, symmetrical diminished scales etc.) Students will be expected to learn 1-2 of Joe Locke’s solo pieces on a yearly basis and must always have something prepared for his visits. This is compulsory. 6. Masterclasses, which usually consist of three to four per academic year, will feature many of the finest players in the world. They will range from principal and section players in the great orchestras of the world, to soloists and experts in every facet of timpani and percussion playing, to keep the course as relevant and topical as possible. (See page 3 of this handbook and the RAM Prospectus for recent visitors). END OF YEAR EXAMINATION AND RECITAL REQUIREMENTS (YEAR THREE) There will be three separate examinations/recitals in the summer term covering three areas of study. 1.Timpani and Percussion 2.Solo Percussion/Marimba 3.Drumset/LA/Ethnic Percussion These examinations/recitals will generally follow a set procedure as explained in the specific headings below. (Please see the Examinations Procedures on the Registry page on Air for information on penalties for over/under-running and not adhering to memory requirements)

1.Timpani and Percussion Examinations in Timpani and Percussion will at all times be conducted in an audition like manner in order to give students as much experience as possible of performing in an audition environment. Random examples of the set repertoire will be asked. Students may be required to perform these examples in a number of different ways, illustrating the necessary flexibility needed for auditions and reacting and adapting to specific requests from a conductor. Students will be expected to give information regarding orchestral repertoire for timpani and percussion, such as how many players would be required for a particular work (i.e. Benvenutto Cellini: 3 Timpanists / 3 Percussionists: Bass Drum, Cymbals, and Triangle). By conducting the examination in this way, students will also reflect their progress and knowledge in both areas of ‘related study’ and ‘professional development activity’, which work in tandem with Timpani and Percussion to create a framework of knowledge and experience.

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You will also be examined in scales and arpeggios. Length of Examination: 50 mins 2. Solo Percussion/Marimba The end of year examination for solo percussion/ marimba will where possible take the form of a ‘public recital’, usually in the DJ or similar venue. Students will be expected to prepare up to a 15 minute recital including pieces from the list of designated solo percussion/marimba pieces relevant to their year and his or her ability. All students from each year will perform their pieces in this concert, familiarising you with performing in a solo capacity. Ideally this will include a solo marimba piece and a solo percussion piece. This will become more and more relevant to the advancing student leading to their final recital. (There will also be continual assessment of each student’s work in lessons and classes during the academic year and a professorial report will be produced at the end of the year). NB: Solo pieces only! (No duos.) You can of course include an accompanist. Length of Solo Percussion/Marimba Recital The average length of the recital will be determined by the number of students in the department in any given academic year, and by the length of the individual pieces. In years where student numbers may be significantly greater than normal, due consideration will be given to the recital taking place over more than one session. All students are expected to attend the whole recital. Additional Solo/Duo/Concertino and Chamber Music For Solo Performance and Solo Percussion/Marimba Exams Keiko Abe Selected solo pieces for marimba Javier Alvarez Temazcal J. S. Bach Cello Suites for Marimba Bartók Sonata for Two Pianos and Percussion Britten Nocturne Benjamin Britten Young Person’s Guide to the Orchestra arr. David Corkhill Burrit 5 preludes Carter Sonatas for Timpani Miake Chain Ongaku no Tomo Chick Corea Children’s Songs G Determeyer The Train (for solo snare drum) Markus Halt Marimbasonic (Simrock) David Hollinden Cold Pressed Toshi Ichiyanagi The Source Maki Ishii Thirteen Drums op 66 Klatzow Inyanga (Percussion Music Europe) Clive Malabar Selected solo pieces for marimba Dave Maric Trilogy Anna Meredith Flex Darius Milhaud Marimba Concerto Panufnik Concertino for Timpani and Percussion John Psathas Matre’s Dance John Psathas Drum Dances Ravel/Safri Alborada del Gracioso Steve Reich Nagoya Marimbas, Marimba Phase Rimey-Meille Une autre personne + Ecorce et l'Ame en soi Stephen Rush Inner Rebellion Stephen Rush Rebellion Sammut Cameleon Sammut Hombre et d' Aout Billaudot

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Sammut Kaleïduoscope (duo) kp 3 Sammut Stroboscope (kp 3) Sammut Zapping Trio (kp 3) Piazolla / Sammut Libertango (kp 3) Sejourné 5 pieces (Leduc) Werner Thärichen Concerto for Timpani Jacques Veldhuis Goldrush Nigel Westlake Fabian Theory Zivkovich Gretel Verlag Puccini/ arrgt Sammut Musetta's Waltz Sammut Marcello Sammut 3 Spirals Modern Japanese Marimba Pieces Book 1 New Repertoire/Atonal/Avant Garde: Jean Batine Caracteres for Piano and Timpani Nicolas Bolens Winds Island for Multi-percussion and Tape/Electronics Edmund Campion Losing Touch for Vibraphone and Tape/Electronics Peter Eotvos Halbfinal: Mve 6 'Triangle' for Solo Timpani and 27 musicians Morton Feldman King of Denmark for Multi-percussion Bruno Giner Etudes De Peaux for Multi-percussion Philippe Hurel Loops 1 + 11 for Vibraphone Pierre Jodlowski Mecano Pierre Jodlowski Time and Money Martin Matalon Short Stories for Vibraphone Martin Matalon Trame V111 for Solo Percussion and ensemble Luis Naon 3 Pieces for Timbales Emmanuel d'Orlando Sol Mire for Piano and Timpani Caolos Roque Alsina Reflet 1 + 11 for Vibraphone Stuart Smith Links 1 + 11 for Vibraphone Alessandro Solbiati Bois for solo Marimba Karlheinz Stockhausen Vibra Elufa Jesus Torres Proteus for Multi-percussion James Wood Jodo La Monte Young X for Henry Flint Also see music by George Aperghis, Anthony Pateras, Franco Donatoni and other works by Martin Matalon. Selected solo vibraphone pieces by: Joe Locke Gary Burton David Friedman Mike Manieri Bill Mollenhof John Mark Piper David Samuels With the evolving role of the International Vibraphone Professor we should see an increase in the amount of solo vibraphone repertoire available to students for examinations and recitals. 3. Drumset/ LA/Ethnic Percussion The examination for Drumset and LA/Ethnic Percussion will involve students being asked to perform on a variety of different instruments, inviting them to explore more creative aspects of percussion playing,

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within the context of the music used in the examination. Students must play one piece of their own choice on drum-set from either the Dave Hassell ‘Graded Course for Drum Kit’ books or the Steve Houghton ‘Ultimate Drumset Reading Anthology’. All other pieces for this examination will be presented on the day by the drumset and LA/Ethnic percussion professors. Using CDs, it will recreate what the student may encounter in a studio or live situation, with the inclusion of a ‘Big Band’ chart or small ensemble arrangement for drumset. There will also be examples of other styles of music from the different cultures studied during classes and lessons, such as Bossa Nova, Rhumba, Afro Cuban, and Samba etc. The student will be expected to perform on percussion instruments relevant to the music being played, with a good concept of ‘time, feel, sound and musicality’, whilst displaying good listening skills. This examination will take into consideration the varied abilities of the students in this area of related study, and will be marked on their individual ability, achievement and potential. Length of Examination: 20-30 mins.

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YEAR FOUR

Year 4 – 85 credits Please see bracketed percentages if Latin/Ethnic/Drumset or Marimba are dropped.

Principal Study –60 credits


Timp & Perc Exam

Latin/Ethnic/ Drumset

Solo Perc Marimba

Percussion Ensemble


Orchestral Profile

100% 45% (100%)

55% (100%) FA FA FA

* FA means formatively assessed (pass/fail only) PRINCIPAL STUDY – Timpani and Percussion* *All components of Principal Study carry a mandatory pass requirement Timpani (6 hours per term) Year four will contain some of the most complex and demanding music of the orchestral repertoire, (listed below), and will seek to broaden the students’ general musical awareness. All current professional audition material will be under constant review during year four and will be incorporated as and when necessary. Bartók Music for Strings, Percussion and Celeste, Violin Concerto No 2 Britten War Requiem, Nocturne Janáček Glagolitic Mass, Sinfonietta, Taras Bulba, Cunning Little Vixen and

Overture: From the House of the Dead Mahler Symphonies Nos 6-9 Nielsen Symphony No 4 Respighi The Fountains of Rome, Roman Festivals Shostakovich Symphonies 8,10, 11, 15 Strauss Rosenkavalier Suite, Salome and Electra Stravinsky The Rite of Spring, Oedipus Rex, Symphony in Three Movements, Jeu de Cartes, The Firebird (1910+1919) Petrouchka (1947) Tippett Concerto for Orchestra Wagner Excerpts from The Ring Cycle Walton Symphony No. 1 Baroque Timpani (90 minutes per term + one three hour class) Bach Easter Oratorio Haydn Creation Mozart Symphony no 41 Beethoven Symphony no 3 Mendelssohn Symphony no 4 Schumann Symphony no 4 Schubert Symphony no 9 Percussion (7 hours per term) A high degree of technical and musical expertise will be required, together with an expressive maturity and professionalism. Performances should be now informed, fluent, musical and outlining a blossoming musical character. The following repertoire for snare drum and tuned percussion will be studied in detail,

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in conjunction with Assorted Percussion studies and Professional Development Activity Professors. All current professional audition material will be under constant review during year four. Snare Drum Britten A Midsummer Night’s Dream (high drum) Kodály Hary Janos Nielsen Symphony No. 5 Prokofiev Lt. Kije Ravel Bolero, Alborada del gracioso Shostakovich Symphonies 7, 10, and 15 Rimsky-Korsakov Capriccio Espagnol and Scheherezade (complete) Suppé Pique Dame Webern 6 Orchestral pieces Tuned Percussion Bernstein Symphonic Dances from ‘West Side Story’ (vibe + xylo) Prelude Fugue and Riffs (vibe + xylo) Dukas Sorcerer’s Apprentice Gershwin Porgy and Bess (complete opera) Messiaen Chronochromie (xylo) Prokofiev Symphony No. 7 (xylo and glock) Shostakovich Symphony No. 4 and Cello Concerto No. 2 Tippett Symphony No. 4 (marimba) Assorted Percussion As much tuition as possible will be given on related percussion instruments (tambourine, cymbals, bass drum, triangle, glockenspiel etc), encouraging the student to use the same foundational skills to set up a technical network to connect the many different percussion instruments, and to experiment with the techniques needed to play them in a variety of different musical situations. The above repertoire lists will also be used to give students an in-depth profile of specific pieces, with support and in tandem with both ‘related study’ and ‘professional development activity’ professors, creating a network of support through combined information. PROFESSIONAL DEVELOPMENT ACTIVITY Students will be introduced to the following areas of related study: Percussion ensemble, orchestral repertoire, performance and masterclasses should now display a high level of expertise and professionalism from all fourth year students, together with leadership and organisational skills to engender a good spirit within the department and as an example to younger students. 1. Solo Percussion/Marimba (one visit per professor per term) Please note that in year 4, students will receive their marimba solo percussion mark from the relevant professors report only. They will take into consideration the students progress in all lessons and classes for solo percussion/marimba during the fourth year. Equipment and Scores As with all other areas of timpani and percussion study, students are expected to equip themselves with an appropriate selection of mallets, books and music including: Bennett After Syrinx II Burrit Azure Druckman Reflections of the Nature of Water Joe Duddell Snowblind mallets and strings Ewazen Northern Lights

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Karsten Furndal Mobius Splitting # 1 Klatzow Dances of Earth and Fire Eckhard Kopetzki Kaskada Anders Koppell Concerto No 1 for Marimba Anders Koppell Concerto No 2 for Marimba Steve Mackey See Yah Thursday Maslanka Variations Niimi For Marimba I Andy Pape Marrrimba Penn Preludes Ptaszynska Graffito Sammut Cameleon Schwantner Velocities Stevens Rhythmic Caprice Stout Sedimental Structures Sueyoshi Mirage Thomas Merlin Rolf Wallin Twine’ for marimba and xylophone 2. Drum Set/ LA/ Ethnic Percussion (Two days per professor per term) This area of related study will use the comprehensive syllabus (listed below) with a degree of flexibility to enable the professors to deal with the varied abilities and requirements of each student with respect to the different types of music studied (Latin American, World Music, Jazz etc). The primary objective will be to develop the student’s awareness of the music and develop the ability to think and react to different musical situations. Playing the ‘simple’ well is still one of the most difficult things to achieve and will be a priority for students taking this course. Students in Year One must display an understanding of the music and genre they are performing, together with musicality and control. Lectures 1. General playing concepts for Drumset Voicing Cymbal time The four feel (Pulse 8 Inner Pulse) Repertoire (Song 8 Rhythm) 2. Brushes Movement (Circle 8 Side to Side) 3. Reading and Articulation /Phrasing Interpretation What you see! Orchestral vs. popular 4. Hands & Movement Moeller – Blackley ‘WHY’ 5. Latin 1 – Cuban Drum kit (Folkloric to dance band) 6. Latin 2- Cuban Tumbadoras (congas) 7. Latin 3 – Cuban Hand percussion

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8. Latin 4- Brazilian Hand percussion 9. Latin 5 – Brazilian Drum Kit 10. World Percussion Frame Drums, Reks etc 11. Improvisation Blackley concept (1000 v 1) 12. Soloing General concept 13. History 14. The Shuffle Old to New 15. Repertoire Orchestral/show 16. Groove Playing What’s new? 17. Hand Percussion (pop style) Shakers, cabasa etc 18. Tambourine All styles 19. The “two” feel From jazz to show to rock ENSEMBLES Knowledge of Rhythms Play with Spirit Know the Instrumentation and Lines Samba (Batucada – Reggae etc) Maracato Bion/Forro Cha cha cha/mambo Rumba (Guagaunco – Yambu – Columbia) Mozambique La Conga Bomba Calypso Afro Cuban 6/8 North African Suggested listening: Jazz/Swing The Best of Louis Armstrong: The Hot Five and Seven Recordings Miles Davis: Kind of Blue, Miles Smiles, Black Hawk Sessions, My Funny Valentine, Oscar Peterson: Night Train

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Ahmad Jamal: Alhambra and Blackhawk performances Pop/Funk/Blues Records on Motown , Stax , Chess labels Herbie Hancock: Headhunters, Sunlight Ethnic Any rough guides, including: Cuban, Samba, Belly dance, Afro-Cuban, Latin Joe Pass/Paulinho da Costa Tu do Ben Toots Thielemans The Brazil Project x 2 Sergio Mendes Brasileiro Salsa Timba Big Band Count Basie: Atomic Mr. Basie Duke Ellington: At Newport, Duke Ellington with Frank Sinatra Thad Jones/Mel Lewis Consummation Frank Sinatra: Songs for Swinging Lovers, Swingin’ Brass,Sinatra and Ellington Sun Ra 3. Orchestral Repertoire Classes will work in tandem with the extensive repertoire lists for Timpani and Percussion. They will deal with playing in the orchestra, within the ‘section’, studio /sight-reading techniques, and in an audition environment (screened or otherwise), to encourage students to engender a positive and professional manner in each situation. All Timpani and Percussion professors will be involved at some stage with these classes, particularly leading up to auditions for EUYO, PMF, Gustav Mahler Orchestra, Verbier, etc, or when relevant positions become vacant within the profession. The playing techniques for all timpani and orchestral percussion instruments will be discussed in detail during these classes, providing an essential link and support to individual lessons. 4. Percussion Ensemble will give an annual concert in the Duke’s Hall, usually in the summer term, the programme for which will be decided by the Head of Department in close consultation with professors and students. All pieces will require some level of individual practice, particularly solo, duo and trio pieces, but rehearsals will generally be scheduled for the spring and summer terms, culminating in an intensive rehearsal period near to the concert date. 5. Vibraphone The course of study will include the analysis and performance of Joe Locke original compositions from such recordings as Van Gogh by Numbers, 4 Walls of Freedom, Dear Life, Force of 4 and the trilogy of duet recordings with pianist Frank Kimbrough (Saturn's Child, The Willow and Verrazano Moon). Investigating these pieces will also give the student the opportunity to focus on: a) development of a harmonic progression; b) the nature of melodic and harmonic improvisation including modes and scale/chord relationships; c) sound production (getting a good sound on the vibraphone); d) 4 mallet technique; e) insight into composition; f) The similarities and differences between classical music and jazz. The course will also include students writing their own music for solo vibraphone and/or percussion ensemble, to be analysed and performed by members of the class. General listening and ear training will be included in the course of study. Theoretical perspectives appertaining to the relevant music will also be investigated (e.g. modes of the major scale, modes of the melodic minor scale, symmetrical diminished scales etc.) Students will be expected to learn 1-2 of Joe Locke’s solo pieces on a yearly basis and must always have something prepared for his visits. This is compulsory.

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6. Masterclasses, which usually consist of three to four per academic year, will feature many of the finest players in the world. They will range from principal and section players in the great orchestras of the world, to soloists and experts in every facet of timpani and percussion playing, to keep the course as relevant and topical as possible. (See page 3 of this handbook and the RAM Prospectus for recent visitors). FINAL EXAMINATION AND RECITAL REQUIREMENTS (YEAR FOUR) There will be three separate examinations/recitals in the summer term covering three areas of study. 1. Timpani and Percussion – Orchestral Repertoire (50% of final recital) 2. Solo Percussion/Marimba – Solo performance (50% of final recital) 3. Drumset/LA/Ethnic Percussion These examinations/recitals will generally follow a set procedure as explained in the specific headings below. (Please see the Examinations Procedures on the Registry page on Air for information on penalties for over/under-running and not adhering to memory requirements)

1. Timpani and Percussion - Orchestral Repertoire The student will also be examined in ‘Orchestral Repertoire’, which will have been looked at in detail during the four-year course, and the final exam list would as much as possible reflect relevant audition material currently being used by professional orchestras. The final list will be drawn up from the extensive undergraduate lists and the exact requirements will be issued to the students approximately 6 to 8 weeks before the examination again to reflect normal professional audition procedures. Examinations in Timpani and Percussion will at all times be conducted in an audition-like manner in order to give students as much experience as possible of performing in an audition environment. Students may be required to perform these examples in a number of different ways, illustrating the necessary flexibility needed for auditions and more especially reacting and adapting to specific requests from a conductor. This exam will be closed to the public. There may be a substantial interval between the Solo Performance and Orchestral Repertoire aspects of examination. All fourth Year BMus will play their solo pieces in turn, to enable a ‘natural’ break before continuing with their orchestral repertoire. Students may continue with their repertoire testing immediately after their solo performance if they so wish. In cases where student numbers are particularly high, or if the student prefers it, the solo performance and orchestral repertoire examinations may take place on different days. Fourth year students will not be examined in scales and arpeggios. Length of examination: 40 mins 2. Solo Percussion/Marimba – Solo performance The Solo Performance is designed to give the performer an opportunity to perform concerti, solo, duo and chamber music of their choice. The programme will be decided by the student in consultation with his/her professors, and may include pieces from the concerti/solo/duo and chamber music lists, and solo marimba music lists or indeed be new pieces or adaptations of existing pieces specifically arranged for timpani and percussion. The student may choose to perform a Concerto or Concertino; a solo percussion piece, (or equivalent multi-percussion solo); a solo tuned percussion piece (or duo) and a solo timpani piece or chamber work. The emphasis is on being as creative as possible in forming a ‘cohesive’ solo programme for the Final Recital. This exam will be open to the public.

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Your choice of repertoire can have an impact on the mark awarded for the solo performance. Although it is important you do not set yourself challenges beyond your reach, you should also recognise that rising to challenges can be an important element in meeting the criteria for marks in the higher categories. The programme choice is your responsibility, but it should be discussed with your Principal Study teacher and you may also wish to discuss it with your Head of Study.

Length of Recital: 20-30 minutes Additional Solo/Duo/Concertino and Chamber Music For Solo Performance and Solo Percussion/Marimba Exams Keiko Abe Selected solo pieces for marimba Javier Alvarez Temazcal J. S. Bach Cello Suites for Marimba Bartók Sonata for Two Pianos and Percussion Britten Nocturne Benjamin Britten Young Person’s Guide to the Orchestra arr. David Corkhill Burrit 5 preludes Carter Sonatas for Timpani Miake Chain Ongaku no Tomo Chick Corea Children’s Songs G Determeyer The Train (for solo snare drum) Friedman/Samuels Carousel, Sunset Glow, Nyack Markus Halt Marimbasonic (Simrock) David Hollinden Cold Pressed Toshi Ichiyanagi The Source Maki Ishii Thirteen Drums op 66 Klatzow Inyanga (Percussion Music Europe) Clive Malabar Selected solo pieces for marimba Dave Maric Trilogy Anna Meredith Flex Darius Milhaud Marimba Concerto Panufnik Concertino for Timpani and Percussion John Psathas Matre’s Dance John Psathas Drum Dances Ravel/Safri Alborada del Gracioso Steve Reich Nagoya Marimbas, Marimba Phase Rimey-Meille Une autre personne + Ecorce et l'Ame en soi Stephen Rush Inner Rebellion Stephen Rush Rebellion Sammut Cameleon Sammut Hombre et d' Aout Billaudot Sammut Kaleïduoscope (duo) kp 3 Sammut Stroboscope (kp 3) Sammut Zapping Trio (kp 3) Piazolla / Sammut Libertango (kp 3) Sejourné 5 pieces (Leduc) Werner Thärichen Concerto for Timpani Jacques Veldhuis Goldrush Nigel Westlake Fabian Theory Zivkovich Gretel Verlag Puccini/ arrgt Sammut Musetta's Waltz Sammut Marcello Sammut 3 Spirals Modern Japanese Marimba Pieces Book 1 New Repertoire/Atonal/Avant Garde:

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Jean Batine Caracteres for Piano and Timpani Nicolas Bolens Winds Island for Multi-percussion and Tape/Electronics Edmund Campion Losing Touch for Vibraphone and Tape/Electronics Peter Eotvos Halbfinal: Mve 6 'Triangle' for Solo Timpani and 27 musicians Morton Feldman King of Denmark for Multi-percussion Bruno Giner Etudes De Peaux for Multi-percussion Philippe Hurel Loops 1 + 11 for Vibraphone Pierre Jodlowski Mecano Pierre Jodlowski Time and Money Martin Matalon Short Stories for Vibraphone Martin Matalon Trame V111 for Solo Percussion and ensemble Luis Naon 3 Pieces for Timbales Emmanuel d'Orlando Sol Mire for Piano and Timpani Caolos Roque Alsina Reflet 1 + 11 for Vibraphone Stuart Smith Links 1 + 11 for Vibraphone Alessandro Solbiati Bois for solo Marimba Karlheinz Stockhausen Vibra Elufa Jesus Torres Proteus for Multi-percussion James Wood Jodo La Monte Young X for Henry Flint Also see music by George Aperghis, Anthony Pateras, Franco Donatoni and other works by Martin Matalon. Selected solo vibraphone pieces by: Joe Locke Gary Burton David Friedman Mike Manieri Bill Mollenhof John Mark Piper David Samuels With the evolving role of the International Vibraphone Professor we should see an increase in the amount of solo vibraphone repertoire available to students for examinations and recitals. 3. Drumset/ LA/Ethnic Percussion The examination for Drumset and LA/Ethnic Percussion will involve students being asked to perform on a variety of different instruments, inviting them to explore more creative aspects of percussion playing, within the context of the music used in the examination. Students must play one piece of their own choice on drum-set from either the Dave Hassell ‘Graded Course for Drum Kit’ books or the Steve Houghton ‘Ultimate Drumset Reading Anthology’. All other pieces for this examination will be presented on the day by the drumset and LA/Ethnic percussion professors. Using CDs, it will recreate what the student may encounter in a studio or live situation, with the inclusion of a ‘Big Band’ chart or small ensemble arrangement for drumset. There will also be examples of other styles of music from the different cultures studied during classes and lessons, such as Bossa Nova, Rhumba, Afro Cuban, and Samba etc. The student will be expected to perform on percussion instruments relevant to the music being played, with a good concept of ‘time, feel, sound and musicality’, whilst displaying good listening skills. This examination will take into consideration the varied abilities of the students in this area of related study, and will be marked on their individual ability, achievement and potential. Length of Examination: 20-30 mins.

Documents

UG Percussion Handbook 2015-16-withcover · Drumset,!Latin^American/Ethnic!Percussion! (Session!Musician!and!renowned!Clinician)!! Benedict!Hoffnung!! Baroque!Timpani/Historical!Performance!