Transcript
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University of Central Florida

College of Arts and Humanities

School of Performing Arts

Department of Music

Percussion Studio Handbook & Curriculum

Jeffrey M. Moore

Kirk Gay

Thad Anderson

Revised Summer 2011

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Acknowledgements

I would like to acknowledge Dr. Steven R. Hemphill of the Northern Arizona University’s School of Performing Arts for sharing his Applied Percussion Handbook with me. The Listening Cards and Composition semester requirements were inspired by his program, which includes the sample Milhaud entry taken exactly from his example. I also used his Ensemble Etiquette, Percussion Ensemble, Materials, Books, and Paraphernalia, Scheduling Practice, and Percussion Assistant pages with practically no editing. The Recital Checklist/Deadlines was inspired by his, but modified to fit the University of Central Florida’s requirements and procedures. The literature, listening, and reading lists all started from his format and entries, I updated/added works, discs, and books that I am familiar with and comfortable recommending. I would also like to acknowledge Stanley Leonard, retired timpanist of the Pittsburgh Symphony, for the contributions in the timpani literature section. I took some of the solos and accompanied pieces for timpani from a handbook he produced in conjunction with his clinics and lessons. Johnny Lee Lane contributed in the General Objectives and influenced the Methods of Grading sections. Dr. Robert Schietroma of the University of North Texas influenced the layout and structure of the level system and the content/material contained in each of the instrument’s semester of study.

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Percussion Curriculum To meet degree requirements, students are expected to show considerable proficiency in the percussion categories listed below. All students entering the percussion curriculum should have had considerable prior training in at least three of the six categories.

The percussion studies program at UCF offers majors comprehensive instruction in all areas of percussion. Individualized instruction allows for personal specialization, while providing a well-rounded foundation in all percussion instruments. Intended for undergraduate or graduate percussion students majoring in music, applied study is directed toward developing competencies and understanding that will contribute to the goals of becoming a competent percussionist, teacher and musician. Students with a minor in music/percussion are also offered opportunities for individual instruction when studio time is available.

Percussion Categories I. Snare Drum (Rudimental, Orchestral) II. Timpani (and Tuned Drums) III. Mallets (Marimba, Xylophone, Vibes, Bells, and Chimes) IV. Drumset V. Multiple Percussion VI. Hand Drumming and World Music

Requirements For Entrance to the Percussion Program 1. No specific repertoire requirements have been established. 2. The student should demonstrate facility in at least three of the six categories. 3. Admission is contingent upon audition before the percussion director. Lessons are divided into twelve (12) assignments, and the material of each level has been divided accordingly. This procedure is to aid the student in pacing him or herself throughout the semester. In addition to the weekly assignments, the student is responsible for continuing to work on the Semester Studio Requirements. Listening Cards (10), Composition (1), and Book Report (1) are due at the end of the semester. It is the responsibility of the student to prepare material prior to his or her scheduled lesson time. The assignments are arranged to allow ample time for preparation. The student must give early notice if he or she plans on not attending a lesson. This can be done by making a phone call, placing a note on the door, or in the teacher’s box (in the music office). Lessons missed by the student will not be made up (unless excused by the instructor). Lessons missed by the instructor will be made up at a time convenient for both.

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The general goals for your applied lessons are as follows: 1. Each student will perform a solo on the music forum at least once a semester. 2. Each student should be able to sight read material according to his or her level of study. 3. Each student is required to know the history and nomenclature of his or her instrument, and should be able to engage in a scholarly discussion utilizing this knowledge.

Methods of Grading General studio evaluation criteria will be based upon, but not limited to, the following: a) evidence of careful and complete lesson preparation, b) technical (skill-related) progress and ability, c) attitude, d) regular attendance, e) punctuality, f) overall progress made during the semester in relation to the student's specific degree program, g) cooperative acquisition of required materials. I. General Requirements: A. Students are expected to report to all lessons. B. Students are expected to meet all requirements that are listed

on their level of study. II. Specific Requirements: A. To receive a grade of “A” for the course: 1. A student must give a superior performance on the music forum,

barrier exams, and jury. 2. A student must not have more than one unexcused absence. 3. Assigned materials, including listening cards, composition, and book

report, should be completed on time and performed or completed accurately, showing superior quality. B. To receive a grade of “B” for the course: 1. A student must give an excellent performance on the music forum,

barrier exams, and jury. 2. A student must not have more than 2 unexcused absences. 3. Assigned materials, including listening cards, composition, and book

report, should be completed on time and must be performed or completed accurately, showing excellent quality.

C. To receive a grade of “C” for the course: 1. A student must give a good performance on the music forum, barrier

exams, and jury. 2. A student must not have more than three unexcused absences.

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3. All assignments, including listening cards, composition, and book report, must show a fair to good quality.

D. A student who fails to complete the above requirements will receive a grade of “D” or “F” according to the degree of non- compliance. E. An “Incomplete “ will not be given unless it is considered to be in the best interest of the student.

General Objective of Applied Lessons: To acquaint each student with representative solo and study materials that will aid in an orderly development toward mastery of each instrument, and a thorough knowledge of its literature.

Specific Objectives of Applied Lessons:

1. Increase percussion performance skills including: a. requisite physical techniques concerning sound production, posture,

hand grips, stroke types, flexibility, endurance, strength, digital/wrist/arm control, etc.;

b. visual, aural and tactile rhythmic and pitch discrimination skills, including sight reading;

c. awareness, understanding and synthesis of the elements requisite to sensible interpretive decisions in musical performance;

d. solo keyboard, rudimental and concert snare drum, timpani, auxiliary, drumset, multiple percussion, Latin/hand drumming and ethnic percussion.

2. Gain familiarity with the musical and pedagogical literature associated with percussion - stimulate interest in professional literature related to percussion instruments and percussion performance.

3. Acquire familiarity with, and understanding of, the basics of percussion pedagogy.

4. Gain a practical understanding of the learning process aimed at increased efficiency and economy in skill acquisition in order to:

a. acquire a constructive, problem-solving orientation b. enhance the quality of time spent in the practice and study of

percussion. 5. Develop through listening the awareness, appreciation and critical

discernment of varying types of music. 6. Cultivate interest in and development of improvisatory and compositional

skills as they relate to percussion performance. 7. Develop an awareness of those disciplines and potential situations that

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can directly benefit from the experience of applied study: self-motivation, problem solving, goal setting, self-reliance and confidence, leadership, sensitivity, etc.

8. Develop and apply appropriate strategies for dealing with performance stress and anxiety.

9. Acquire the self-initiative and ability for continued self-study in percussion beyond the formal educational environment.

Private lessons are central to the music major’s curriculum and are designed with the student's need for individualized, concentrated instruction. The progress and lesson documentation of each student will be recorded in an individualized notebook. The notebook will include a lesson assignment/grade sheet that is utilized for each lesson; a semester achievement form, recording the student's studio status, test results, reading requirements, ensemble participation (and positions held), among other information. Percussion Ensemble

As an integral component of percussion studies at the University of Central Florida, the UCF Percussion Ensemble performs extensively on campus and throughout Florida. With the ensemble serving as a laboratory for musical experimentation, with focus upon specific performance habits, listening skills, and general instrumental technique, the development of chamber music performance skills is at the core of the ensemble's existence. The ensemble repertoire comprises a wide variety of musical and ethnic styles, including standard works, contemporary works, marimba band, steel band, African and Brazilian drumming, commercial/jazz, and transcriptions. The student should develop an understanding of and an ability to apply appropriate and/or correct performance techniques upon all pertinent percussion instruments, many of which are not utilized in any other ensemble. Knowledge of percussion ensemble literature is also an aspect of the course structure. Opportunities for student composition and arranging, in the medium of percussion ensemble, are available to the student and highly encouraged. Course prerequisites include percussion performance experience at the high school or college level and concurrent percussion study (see instructor for exceptional circumstances). All percussion majors are expected to participate in percussion ensemble, in addition to other general ensemble requirements. Membership of the ensemble is made up of percussion performance and education majors, Bachelor of Arts majors, music minors, and majors of diverse academic disciplines. Participating membership and exact instrumentation will vary according to the specifications of each work studied and/or performed. Enrollment is subject to audition and/or permission by the instructor.

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Procedures: 1. Lectures and demonstrations will be given by the instructor and students. Recordings of percussion solos by distinguished performers will be played. Video tapes will be used whenever available. Clinicians will also visit the campus for performances and workshops. 2. Read my office door and the percussion bulletin board regularly. 3. Students should split their lesson time between two instruments. For example, a half hour snare drum lesson and a half hour marimba lesson. Students may indicate their instrument preferences at the time of registration. However, final instrument assignments will be up to the instructor. 4. Attendance is urged at concerts given by all the major performing groups on campus. 5. Attendance at all percussion events (Junior, Senior, Guest Recitals, etc.) is mandatory. Your lesson grade will be lowered half a letter grade for each unexcused absence. You owe it to your colleagues to attend their performances, and you will appreciate it when they come to yours. In addition, percussionists frequently need assistance with their recital set-ups and you may be able to help. Besides, this is an excellent opportunity to become familiar with percussion solo and ensemble literature. Equipment: 1. Your own personal equipment is your responsibility - take care of it. Equipment belonging to the Department of Music is also your responsibility, and you are expected to take care of it as if it were your own. 2. Equipment that belongs neither to you nor to the University is to remain untouched. Under no circumstances are you to borrow, move, or practice on privately owned equipment unless you have permission to do so. 3. If you need to move any equipment from one assigned area to another for a rehearsal, performance, or practice period, it must be returned to its proper storage area upon completion of use. If removed from the building, it must be properly signed out.

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SUGGESTED EQUIPMENT Sticks and Mallets

Snare Drum

Pro-Mark Tom Freer - Orchestral General Pro-Mark SDJM-Jeff Moore Pro-Mark S.D. 2 - Bolero OR Cooperman #1 Graham Johns Pro-Mark S.D. 5 – Multi-Perc. Sticks Tom Gauger (Double-end) * Some type of all-around sticks for rim shots, etc. - any make. * Some type of drumset stick (jazz weight)- any make. * A pair of brushes - Pro-Mark, Regal, Vic Firth, etc.

Timpani Mallets Pro-Mark PST 1 Pro-Mark Bamboo PSTB 10 Pro-Mark PST 2 Pro-Mark Bamboo PSTB 20 Pro-Mark PST 3 Pro-Mark Bamboo PSTB 30 Pro-Mark PST 4 OR Pro-Mark Bamboo PSTB 40 Pro-Mark PST 5 Pro-Mark Bamboo PSTB 50 Duff Series

Marimba Mallets Rubber Mallets Yarn Mallets Pro-Mark PK 21 - Yellow Malletech - Concerto 14 (khaki) Pro-Mark PK 22 – Green OR Malletech - Leigh Stevens 15 Pro-Mark PK 23 - Grey Malletech - Leigh Stevens 27 Musser M3 - Blue Malletech - Leigh Stevens 20 Ensemble Yarn Mallets Soloist Yarn Mallets Pro-Mark Jeff Moore JM11 Pro-Mark Performer PSM 8 Pro-Mark Jeff Moore JM12 Pro-Mark Performer PSM 10 Pro-Mark Jeff Moore JM13 OR Pro-Mark Performer PSM 20 Soloist Yarn Mallets Pro-Mark Performer PSM 25 Pro-Mark Kai Stensgaard KS1 Pro-Mark Performer PSM 30 Pro-Mark Kai Stensgaard KS2 Pro-Mark Performer PSM 40 Pro-Mark Kai Stensgaard KS3 Pro-Mark Blake Tyson BT1 Pro-Mark Kai Stensgaard KS4 Pro-Mark Blake Tyson BT2 Pro-Mark Kai Stensgaard KS5 Pro-Mark Blake Tyson BT3 Pro-Mark Kai Stensgaard KS6 Pro-Mark Blake Tyson BT4 and 5

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You should have the following: 1. At least one set of four yarn mallets from above. 2. One general-purpose bass drum mallet (Freer-Pro-Mark, Gauger-Firth). 3. A stick bag or briefcase (preferably both). 4. Drum key, tuning fork, pitch pipe, etc. 5. Practice pad (Pro-Mark, Remo, etc.) 6. A metronome (i.e. Boss DB 90, or similar) 7. A “pocket” music dictionary (The A to Z of Foreign Musical Terms by

Christine Ammer, published by E.C. Schirmer, or similar) 8. Cook, Gary Teaching Percussion [Third Edition](New York: Schirmer, 2006)

Xylophone – Bells

Pro-Mark Tom Freer FK4 (Rubber) Malletech - Bob Becker - Blue Pro-Mark Tom Freer FK5 Malletech - Orchestra - Brown Pro-Mark Tom Freer FK6 (Browns-General) OR Malletech - Orchestra - White Pro-Mark Tom Freer FK9 (2 pair-General) Pro-Mark PK 62 - Brass Pro-Mark Tom Freer FK10A Pro-Mark PSX 10R Pro-Mark Tom Freer FK11 Pro-Mark PSX 20R Pro-Mark Tom Freer FK11A Pro-Mark PSX 30 R Pro-Mark Tom Freer FK12 Pro-Mark Tom Freer FK2AM

Vibes

Pro-Mark Jeff Moore 15R (Soft) Pro-Mark Jeff Moore 16R (Medium) Pro-Mark Jeff Moore 17R (Hard) Pro-Mark Bill Molenhof - PBM (Grey) Pro-Mark Joe Locke – PJL (Black) Pro-Mark Lionel Hampton – PLH (Blue)

Accessories

1. At least one general-purpose triangle - Abel, Black Swamp, Yamaha, Grover (Strikers may be cut from welding rod or Grover, Stoessel, Black Swamp). 2. At least one tambourine w/ head - Black Swamp, Grover. 3. At least one general-purpose woodblock – Black Swamp, Grover, L.P. 4. Small concert percussion instruments a. Cowbell-LP b. Claves-LP c. Maracas-LP d. Castanets-Black Swamp

e. Finger cymbals-Paiste, Zildjian, Sabian

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Materials, Books and Paraphernalia Due to the nature of percussion studies, the exploration of many different instruments within the same general family, the student will require numerous study materials, method books, sticks and mallets, solo repertoire, and various paraphernalia. This burden must be clearly understood by the student when collegiate studies are embarked upon. Expectations of the teacher include the student’s acquisition of all necessary and recommended materials. The student should regard these requirements as steps toward developing a personal/professional library and acquiring necessary “tools” for professional development and eventual employment. The student should expect to spend an approximate minimum of $250.00 per semester for materials and equipment.

Scheduling Practice One of the most challenging aspects of percussion study is the administration of personal time for practicing a large family of instruments. Although the core of percussion studies centers upon keyboard, timpani, snare drum, and drumset, evaluated through the school’s barrier process at the end of each semester, it is vital to today’s percussionist to explore a wide variety of instruments. Scheduling balanced or proportional time for all of the instruments can be overwhelming if a formulated approach is not taken. As there are numerous possibilities for the assignment of instrumental study, each student should decide upon a schedule to be followed for several weeks at a time, making necessary changes in that schedule at the end of the range of time previously determined. The topics of instrumental study that are focused upon by each student will depend, to some degree, upon the specific instrumental areas and literature currently studied in the studio. Nevertheless, students should attempt to study in areas outside of those current studio parameters. In addition to the instrument levels assigned in the semester’s applied study, students should always address (and schedule time for) preparation requirements for each ensemble for which the student is a member. This may include percussion ensemble, steel band, wind ensemble, orchestra, jazz ensemble, marching band, chamber groups, and recital obligations. Whenever possible, students should seek feedback during practice sessions by way of mirror usage, and through video and audio tape recordings. An investment in portable audio recording equipment can be very important at any level of study. Working with a metronome and a drum machine addresses the very heart of the percussionist’s endeavor. All musicians should be exposed to the development of self-expression through improvisation and composition, which is also enhanced by use of recording equipment.

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Snare Drum/Multi-Percussion Proficiency

Deficient Level I Level II Savage Rudimental Workshop Matt Savage

Savage Rudimental Workshop Matt Savage

Advanced Snare Drum Studies Mitchell Peters

Drumstick Control Jeff Moore

The All-American Drummer Charley Wilcoxon

Symphonic Repertoire for Snare Drum Anthony J. Cirone

Portraits In Rhythm Anthony Cirone

Portraits In Rhythm Anthony Cirone

Contemporary Studies For the Snare Drum Fred Albright

PAS Drum Rudiments (All @ Deficient tempos).

PAS Drum Rudiments (All @ Level I tempos).

Hybrid Rudiments (Handout from instructor)

Jury Piece Jury Piece (Multi-Percussion) Drumstick Control

Jeff Moore Performance of own Multiple Percussion Solo Composition

Supplemental Snare Drum Studies 1. Modern School for Snare Drum - Morris Goldenberg 2. 14 Modern Contest Solos - John S. Pratt 3. Stick Control - George Stone 4. Accents and Rebounds - George Stone 5. Snare Drum in the Concert Hall - Al Payson 6. Odd Meter Rudimental Etudes - Mitchell Peters

Timpani and Orchestral Percussion Proficiency

Deficient Level II Orchestral Level Exercises, Etudes, and Solos for

the Timpani Raynor Carroll Pedal to the Kettle

Kirk Gay Symphonic Repertoire for Snare Drum

Anthony J. Cirone Pedal to the Kettle Kirk Gay The Working Timpanist's

Survival Guide John Tafoya

Orchestral Repertoire for the Bass Drum and Cymbals Raynor Carroll

Level I Jury Piece Symphonic Repertoire for Keyboard Percussion Jack Van Geem

Pedal to the Kettle Kirk Gay Orchestral Repertoire for the Tambourine, Triangle, and Castanets Raynor Carroll

The Working Timpanist's Survival Guide John Tafoya

Cymbalisms Frank Epstein (Recommended Purchase)

Timpani Tone and Interpretation Steven Schweizer

Jury is a Mock Audition

Jury Piece Supplemental Timpani Studies 1. Fundamental Method for Timpani - Mitchell Peters 2. Modern Method for Timpani – Saul Goodman 3. The Solo Timpanist - Vic Firth 4. The Well-Tempered Timpanist - Charles Dowd 5. The Complete Timpani Method - Al Lepak/Alexander Friese

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Mallet Proficiency

Deficient Level I Level II

Instructional Course for Xylophone G.H. Green

Instructional Course for Xylophone G.H. Green

Instructional Course for Xylophone G.H. Green

Reading Mallet Percussion Music Rebecca Kite

Reading Mallet Percussion Music Rebecca Kite

Modern School for Xylo, Marimba and Vibraphone Morris Goldenberg

Velocity Warm-Ups for Vibraphone Charles Dowd

Velocity Warm-Ups for Vibraphone Charles Dowd

Permutations Parallel/Contrary UCF Mallet Studies

Second Book of Practical Studies for Cornet and Trumpet Robert W. Getchell

Vibe Etudes & Songs Ney Rosauro

Vibe Etudes & Songs Ney Rosauro Jury Piece Permutations/Floor Exercises

UCF Mallet Studies

Jury Piece

Level III Level IV Instructional Course for Xylophone

G.H. Green Modern School for Xylo, Marimba and Vibraphone

(Etudes and Excerpts) Morris Goldenberg Chord Progression Permutations

UCF Mallet Studies Chorales

UCF Mallet Studies Guitar Studies UCF Mallet Studies Symphonic Repertoire for Keyboard Percussion

Jack Van Geem Jury Piece Jury Piece

Jazz Comping and Improvisation

Level I Level II

The Art and Language of Jazz Vibes Jon Metzger

The Art and Language of Jazz Vibes Jon Metzger

Vibraphone Technique Dampening and Pedaling David Friedman

Voicing and Comping for Jazz Vibraphone Thomas L. Davis

Jazz Mallets: In Session Arthur Lipner Jazz Mallets: In Session Arthur Lipner Velocity Warm-Ups for Vibraphone Charles Dowd The Vibes Real Book Arthur Lipner

Jury Piece Jury Piece

Supplemental Mallet Studies 1. Method for Movement - Leigh Howard Stevens 2. Percussion Keyboard Technique - Thomas McMillan 3. Fundamental Studies for Mallets - Garwood Whaley 4. Permutations for the Advanced Marimbist – Kevin Bobo 5. Well-Tempered Mallet Studies - Anderson 6. Contemporary Solos - Karen Erving 7. Contemporary Etudes - Karen Erving

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Drum Set and World Music Proficiency

Deficient Level I Level II

It’s About Time Fred Dinkins The Jazz Drummer’s Reading Workbook Tom Morgan

The Essence of Afro-Cuban Percussion and Drum Set Ed Uribe

Mel Bay’s Studio/Jazz Drum Cookbook John Pickering

Mel Bay’s Studio/Jazz Drum Cookbook John Pickering

Drummers Collective Afro-Caribbean and Brazilian Rhythms for the Drumset The Collective

Groove Essentials Tommy Igoe Groove Essentials Tommy Igoe The New Breed Gary Chester Supplemental Handouts Jury Piece Drumset Control Marvin Dahlgren Jury Piece

Level III Level IV Masters of Time Steve Davis Standard Time Steve Davis Drumset Control Marvin Dahlgren The Essence of Afro-Cuban Percussion and Drum Set Ed Uribe Brush Techniques – Handout from Instructor The Essence of Brazilian Percussion and Drum Set Ed Uribe Patterns Book III (Time Functioning) Gary Chaffee Linear Time Playing Gary Chaffee-Recommended

Drummers Collective Afro-Caribbean and Brazilian Rhythms for the Drumset The Collective

Jury Piece Groove Essentials Tommy Igoe Style Performance - Be-Bop/Swing, Latin, Funk/Rock

Supplemental Drum Set Studies 1. Future Sounds - Dave Garabaldi 2. Contemporary + 1 - Dave Weckl 3. Up Close - Steve Gadd 4. Practical Applications - Chuck Silverman 5. Drummer’s Collective Books 6. Rudimental Ritual - Alan Dawson 7. Advanced Funk Studies - Rick Latham

Electives 1. Orchestral Excerpts 2. Hand Drumming / Small Concert Percussion 3. Arranging for Percussion Ensemble and Marching 4. Scottish / Swiss Basel Rudimental Drumming 5. Multiple Percussion The Percussion Curriculum and syllabi, as academic documents, are intended to outline a general comprehensiveness and pacing for collegiate percussion study. Although the documents appear rigid in their structure, flexibility is an important component to successful applied instruction, requiring an individual approach in its application. As these documents offer ambitious models, the instructor may substitute appropriate solo, etude, and instructional materials for all levels. Equivalent requirements, however, will be in effect for materials thus substituted, and will be clearly established at the outset of the student’s use of such materials.

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Applied Lessons - Weekly Assignment Schedules • The Jury Piece and other solo work will be introduced in a timely fashion according to

the student’s individual progress. We will modify the schedule to accommodate the individual’s personal growth and development.

• There is no Jury Piece required for the Deficient Level.

Snare Drum Proficiency – Deficient Level Week Cirone Rudiments-Moore Book (pg. in bold) Savage Video Listening

1 - Single Stroke Roll (1-3) pg. 4-18, 57 19-27 Beck 2 - Diddle Rudiments (16-19)

pg. 31-37 70-81 Rudiments!

3 - Multiple Bounce Roll (4) pg. 44-51 60-63 4 - Double Stroke Open Roll (6, 7, 9-10)

pg. 26-29 28-44

(Skip 35-37) Concert Vol. 1

Nexus-Story of

5 - Double Stroke Open Roll (11-15) pg. 29-30

45-59 Reefed Beats

Percussion

6 1 Flam and Drag Rudiments (20, 31-33) pg. 66, 54-56, 58

100-103, 128-135

The Next Level

In the Orch

7 2 Drag and Roll Rudiments (34, 8, 38-40) pg. 59-62, 29

140-142, 35-37, 143-152

Concert Vol. 2

The Noble Snare

8 4 Drag Rudiments (35-37) pg. 59-60 89-97 9 - Flam Rudiments (21, 23, 28)

pg. 67, 72-73 104-106, 110-112, 116-118

Tom Freer

10 5 Roll and Flam Rudiments (5, 22) pg. 67 64-67, 107-109 Bernstein- 11 - Flam Rudiments (24, 25, 27)

pg. 68, 73 82-84, 119-121,

113-115 How

Musical

12 8 Flam Rudiments (29, 30, 26) pg. 69-71

122-125, 136-139, 85-88

Are You?

Snare Drum Proficiency – Level I

Week Wilcoxon Cirone Rudiments-Moore Book Savage Video Listening 1 127 18 See Deficient Level Wk. 1 19-27 Beck 2 128 19 See Deficient Level Wk. 2 70-81 Concert Rudiments! 3 129 20,21 See Deficient Level Wk. 3 60-63 Vol. 1 4 132-33 24,25 See Deficient Level Wk. 4 28-44

(Skip 35-37) Reefed Beats

Nexus-Story of

5 134-35 27,28 See Deficient Level Wk. 5 45-59 The Next Percussion 6 136-37 29,30 See Deficient Level Wk. 6 100-103, 128-135 Level in the Orch 7 138-39 31 See Deficient Level Wk. 7 140-142, 35-37,

143-152 Concert Vol. 2

The Noble

8 141-42 34 See Deficient Level Wk. 8 89-97 Snare 9 143-44 36,37 See Deficient Level Wk. 9 104-106, 110-112,

116-118 Tom Freer

10 145-46 38,39 See Deficient Level Wk. 10 64-67, 107-109 Bernstein- 11 149 40 See Deficient Level Wk. 11 82-84, 119-121,

113-115 How

Musical

12 150 50 See Deficient Level Wk. 12 122-125, 136-139, 85-88

Are You?

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Snare Drum / Multiple Percussion Proficiency – Level II Week Albright Peters Rudiments/Chaffee Cirone-Rep. Video Listening

1 1,2 1,2 Chaffee Sticking Moore Masterworks for 2 6,9 3,4 Handout DVD 1 Perc.-Gauthreaux 3 16,21 5,6 “ Sousa 4 24,28 7,8 “ Moore 5 29,32 9,10 “ DVD 2 Udow- 6 37,40 11,12 Contemporary Flam Contemporary 7 43,47 13,14 Variations Pg. 19 Bernstein- Percussionist 8 50,58 15,16 “ Happy B-Day 9 61,62 17,18 Complex Asymmetric Pg. 32 Stravinsky Stravinsky

10 46,14 19,20 Rudiments A Soldier’s Tale 11 17,31 21,22 “ Pg. 37 Schick- 12 39 23,25 “ Born to Be Wild

Timpani Proficiency - Deficient Level

Week Carroll Excerpt/K. Gay Video Listening 1 Pg. 1-26 - Bernstein-Musical Atoms: 2 Pg. 27-32 K. Gay Etude #1 A Study of Intervals 3 Pg. 33-41 K. Gay Etude #2 Concert Vol. 1-Duff Segments 4 Pg. 42-44 Magic Flute Overture Concert Vol. 2-Duff Segments 5 Pg. 45-52 K. Gay Etude #6 Canticle-Leonard 6 Pg. 53-68 K. Gay Etude #3 Bernstein- 7 - Academic Festival Overture What Does Music Mean? 8 Pg. 69-75 K. Gay Etude #7 Bernstein- 9 - Romeo & Juliet Overture The Sound of an Orchestra Carter

10 Pg. 76-91 K. Gay Etude #11 8 Pieces 11 Pg. 98-109 K. Gay Etude #16 12 - K. Gay Etude #14

Timpani Proficiency – Level I

Week K. Gay Tafoya Video Listening 1 Etude #9 Mozart Sym. #39 Pg. 6 Bernstein-Musical Atoms 2 Etude #12 Hochrainer #60 A Study of Intervals Fischer-Symphony 3 Etude #6 Beethoven Sym. #1 Pg. 8 Concert-Duff Segments in C Earl Yowell, 4 Etude #10 Beethoven Sym. #7 Pg. 26 Beethoven Symphony #5 Canticle-Leonard 5 - Beethoven Sym. #9 Pg. 38 Cleveland-Yancich 6 Etude #21, 22 - 7 Etude #20 Firth Etude #1 Bernstein- Carter Eight 8 - Brahms Sym. #1 Pg. 48 What Does Music Mean? Pieces for 9 Etude #29 - Timpani

10 - Tchaikovsky Sym. #4 Pg. 58 The Art of Conducting - Druckman 11 Etude #31 - Great Conductors of the 12 Etude #18 Strauss Burleske Pg. 73 Past

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Timpani Proficiency – Level II Week K. Gay Tafoya Video Listening

1 Etude #13 - Carter Eight 2

Wagner – Gotterdammerung Pg. 102

Mahler Sym. #5 Pg. 87 Bernstein- What is

Orchestration? Pieces for Timpani

3 Etude #27 Shostakovich Sym. #1 Pg. 86 Druckman 4 Elgar - Enigma Variations Pg. 62 5 Etude #28, 25 - Timpani Concerto No. 1 6

Etude #19 Hindemith-Symphonic Metamorphoses

Pg. 67 Bernstein-What is American Music?

7 Schuman-New England Triptych Pg.89 8 Etude #24 Bartok - Concerto for Orchestra Pg. 76 What is Classical Music? 9 Etude #30 -

10

Bartok - Music for Strings, Percussion & Celeste Pg. 81

What Makes Music Symphonic?

Kraft-Concerto

11 Barber - Medea's Meditation & Dance 12 Stravinsky - Rite of Spring Pg. 93

Orchestral Percussion Proficiency – Level I Week Cirone Van Geem Bass/Cymbal Accessories Video Listening

1 Pg. 20 - Pg. 34 Ta-Pg. 39 Beck Nexus-Story of 2 - Pg. 32 (Gold 122) - Tr-Pg. 61 Book-Logic Percussion/Orch 3 Pg. 12 - Pg. 68 - Of It All 4 - Pg. 5 - Ta-Pg. 85 Concert Vol. 1 Boulez- 5 Pg. 14 - Pg. 14 - Bernstein-What Notations I-IV 6 - Pg. 38 - Tr-Pg. 24 Is Sonata Form? Debussy La Mer 7 Pg. 5 Pg. 8 Pg. 78 - Concert Vol. 2 de Falla El Three 8 - Pg. 71 - Ta-Pg. 7 Cornered Hat 9 Pg. 25 - Pg. 27 - Tom Freer Clinic Chicago

10 - Pg. 14 - Tr-Pg. 92 Bernstein-What Barenboim, cond 11 Pg. 55 Pg. 48 Pg. 41 - Is a Concerto? 12 - Pg. 14 Pg. 80 Ta-Pg. 115

Mallet Proficiency – Deficient Level Week Green Kite Dowd (Mode/Chord) Video Listening

1 1 pg 5-24 Ionian/Ionian (Major/Major) Bernstein-What is 2 1 25-31 Aeolyian (Nat. Min)/Major 6 a Mode? Nexus Plays 3 2 32-38 Harmonic Minor/Minor The Music of 4 2 39-45 Mixolydian/Dominant 7ths Bernstein-What is GH Green 5 3 46-52 Dorian/Minor 7ths a Melody? 6 3 53-59 Lydian/Dominant 13 (#11) Nola 7 4 60-66 Phrygian/Minor 11 8 4 67-77 Locrian/ Diminished Xylotopia 9 5 78-84 Whole Tone/Augmented

10 5 85-91 Major Pentatonics/Major 7 Green Brothers 11 6 92-98 Minor Pent./Half-Dim 7ths 12 6 99-102 Blues Scales/ Fully Dim 7ths

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Mallet Proficiency – Level I Week Green Kite/Rosauro/Getchell UCF Mallet Studies Video Listening

1 7 103-107 Basics Bernstein-What is Nexus Plays 2 8 108-113 One a Mode? The Music of 3 9 113-117 Basics Giff Howarth- GH Green 4 10 Vibe Songs p. 2-3 Two Simply Four Masters of 5 11 Vibe Songs p. 4-5 1-4 Bernstein-What is The Xylophone 6 12 Vibe Songs p. 6-7 Three a Melody? Nola 7 13 67-69 5-10 Xylotopia 8 14 70-72 Four Bernstein-What Green Brothers 9 15 75,77,79 11-13 Does Music Mean? Rosauro-

10 16 82,84,86 Five In Concert 11 17 93,96 Review Humor in Music Stevens- 12 18 107, 115 Six Marimba When It should be noted that if the student cannot adequately demonstrate his/her basic scales, modes, and chord configurations; then the “Deficient Level” Dowd assignments will be included in the Level I semester’s assignments.

Mallet Proficiency – Level II Week Green Goldenberg/Rosauro Parallel/Contrary Motions Video Listening

1 19 32-34 P 5th’s Perm 1-13 Mike Burritt Glennie- 2 20 35-38 Tritones Perm 1-13 Live at PAS Rhythm Song 3 21 39-42 m 6th’s Perm 1-13 4 22 44-48 P 4th’s Perm 1-13 Bernstein-Folk Gianiscolli- 5 23 49-51 (52 #7) M 6th’s Perm 1-13 Music in the Concertino 6 24 Vibe Songs p. 8-9 M 3rd’s Perm 1-13 Concert Hall 7 25 Vibe Songs p. 12-13 m 7th’s Perm 1-13 Stout-Solo 8 26 Vibe Songs p. 16-17 m 3rd’s Perm 1-13 Bernstein- Marimba Music 9 27 53 M 7th’s Perm 1-13 What is Harnsberger-

10 28 54,55 M 2nd’s Perm 1-13 Impressionism Vertigo 11 29 56,57,59 Octaves Perm 1-13 Burritt- 12 30 60-61 Parallel/Contrary Motions Waking Dreams

Mallet Proficiency – Level III Week Green Guitar Studies Progressions Video Listening

1 31 1 C,F,Bb w/rolls Keiko Abe- 2 32 2 Eb, Ab , Db w/rolls Fantastic Marimba 3 33 3 F#,B,E w/rolls 4 34 4 A,D,G w/rolls Mycka-Marimba 5 35 5 Review Permutations Spiritual 6 36 6 Review Permutations 7 37 7 Perm 14,15 Geoffroy- 8 38 8 Perm 16,17 Bach Cello Suites 9 39 9 Perm 18,19

10 40 10 Perm 20,21 Kolberg- 11 41 11 Perm 22,23 Animato 12 42 11 Review Permutations

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Mallet Proficiency – Level IV Week Chorales Goldenberg Orchestral-Van Geem Video Listening

1 1 1 Polka-A Golden Age Pg. 62 Cotto- 2 2 2 App. Spring, Pg. 44 Philadelphia A Little Prayer 3 3 3 - Sound 4 4 4,5 - Bobo-Marimba 5 5 8 La Mer, Pg. 22 Boston Pops Jambalaya 6 6 10,11 - 7 7 14 Waldweben, Gold.-Pg. 103 Bernstein- Zivkovic- 8 8 15 - Birthday Marimba and 9 9 20 - Celebration Percussion

10 10 25 Russian Easter, PDF 11 11 31,33 - Stout-Astral 12 12 35 - Projections

Jazz Vibes – Level I Week Metzger Friedman Dowd/Lipner Lipner Tunes Video Listening

1 1-4 - Review Dowd Slick, pg 6-13 Jazz Ball B-18 2 5, 22, 23, 24 - pg.16-18 Fog Scene, pg. 19-23 JV Vol 1 3 6,25 - pg. 24-25 Smooth...pg. 26-33 UCF Pop JV Vol 2 4 7,26 1, 2 pg. 34-35 Freddie’s…pg. 36-40 Ens.-Samuels 5 8, 27 3, 4 pg. 41-43 Afro Blue pg. 44-51 and Lipner B-19 6 8 5, 6 pg. 57-58 Afro Blue… JV Vol 3 7 9,28 7, 8 pg. 76-81 12 In 6 pg. 52-56 Jazz DVD 8 9 9, 10 pg. 106-107 JV Vol 4 9 10, 29 11, 12 - Now’s… pg. 59-67 Bernstein-Jazz

10 11 13-14 pg. 116-119 Now’s… In the Concert JV Vol 5 11 12 24 - Rhythm… pg. 71-75 Hall 12 12 pg. 145-147 Rhythm…

Jazz Vibes – Level II Week Metzger Lipner Davis Voicing Tunes Listening

1 13 27-35 Read Handout Review Tunes Alone at Last- Gary Burton 2 13 36-38 Maj II-V from last semester 3 29 39-46 Chapter 2 pg. 8-14 Milt Jackson-Wizard of the Vibes 4 29 47-50 Maj II-V w/alt 5 14 51-58 “ - 6 14 59-60 Chapter 3 pg. 15-17 Ballad pg. 30 JV Vol 6 7 30 61 Min II-V Med. Swing pg. 32 8 30 62-65 Chapter 4 pg. 18-28 Fast Swing pg. 34 JV Vol 7 9 15 66-67 Min II-V w/alt Jazz Waltz pg. 36

10 15 68-70 Chapter 5 pg.29 Bossa Nova pg.38 JV Vol 8 11 16 - III-VI-II-V-I Samba pg. 40 12 31 - “ The Jury Piece for Level II Vibes is an arrangement of a standard with a harmonized head, solo section, and recapitulation. The arrangement must be approved prior to the Jury and submitted in digital notation.

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Drum Set / World Music – Deficient Level Week Dinkins Pickering Igoe-Essentials Video Listening

1 p. 20-24+sup TLO 6 & 11 - - Soph-Drumset: UCF 2 p. 20-24+handouts TLO 1 6-10 p. 20, 22 A Musical Drum Set 3 p. 20-24+handouts TLO 21 11-13 p. 24, 26 Approach Listening 4 p. 20-24+handouts TLO 26 14-16 p. 28, 21 Steve Smith Anthology 5 p. 20-24+supp TLO 11 alt - p. 36, 38 US Beat Disc 2 6 p. 20-24+handouts TLO 5 - p. 30, 32 Igoe Groove UCF 7 p. 20-24+handouts TLO 16 - p. 82-84 Essentials DVD Drum Set 8 p. 20-24+supp TLO 23* - p. 91 (Bossa Nova) Igoe Deficient 9 p. 20-24+supp TLO 25* 18-20 p. 92 (Slow Samba) Igoe Latin Beats

10 Shuffle Handout var. 1 & 2 21-23 p. 94 (Fast Samba) Igoe 11 Shuffle/Reggae var. 6 & 7 24-26 p. 44 (Mambo) Miller Davis- 12 p. 20-24+handouts TLO 18 27-28 - Crash Course Kind of Blue

Drum Set / World Music – Level I Week Morgan Pickering Igoe-Groove Essentials Video Listening

1 Basics/Reed - Rock p. 19-25 Igoe Groove Moore- 2 Sticking System 43-45 Rock p. 26-29, 82-84 Essentials DVD Essential Styles 3 Sticking/Sing - 16th Note p. 30-31 Watch the demo Davis- 4 pp. 5-8 46 - 48 16th Note p. 32-35 for each week’s Kind of Blue 5 pp. 9-12 - Half-Time p. 36-39 assignment Davis-Milestones 6 pp. 13-15 49-51 Funk p. 41-42 Soph-Drumset: Mel Lewis and 7 pp. 17-20 - Funk p. 43-47 A Musical His Big Band 8 pp. 21-22 52 - 53 R&B/Hip-Hop p.49-52 Approach 9 pp. 23-26 - R&B/Hip-Hop p.53-57 Steve Smith. Sonny Payne-

10 pp. 27-28 54 -55 Jazz Waltz p.76-79 US Beat Disc 2 Count Basie 11 pp. 29-30 - Jazz p. 59-71 Krupa: UCF Anthology 12 pp. 31-32 - Jazz p. 72-75 Jazz Legend

Drum Set / World Music – Level II Week Uribe –Afro-Cuban D.C WkBk Chester Dahlgren Video Listening

1 pp. 30-53 - 3/5 IB, IIB 11 Garcia- Moore- 2 pp. 54-73 pp. 8-11 3/5 IIIB, VB 12 Vol. 1 Latin Styles 3 pp. 74-89 - 7/9 IB, IIB 13 4 pp. 74-89 - 7/9 IIIB, VB 14 Garcia- Weckl- 5 pp. 115-120 - 11/23 IB, IIB 15 Vol. 2 Master Plan 6 pp. 111-114, 137-144 - 11/23 IIIB, VB 16 7 pp. 145-179 - 13/14 IB, IIB 17 Gadd: Up Grusin- 8 pp. 94,124, 210-211

(Bolero, Cha) pp. 14, 18 13/14 IIIB, VB 18 Close Gershwin

Connection 9 pp. 94,121-123,180-183

(Mambo, Son) pp. 15-17 16/24 IB, IIB 19 Bernstein-The Latin

Buena Vista

10 pp. 96,103,123,130,183, 192 (Gua, Moz.) pp.20,29 16/24 IIIB, VB 20

American Spirit

Social Club

11 pp. 101,125,191 (Conga) pp. 26 27/29 IB, IIB - Classic Los Van Van 12 pp. 108, 134,194 (Songo) pp. 27-28 27/29 IIIB, VB - Drum Solos

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• It is strongly recommended that the student transcribe his/her own Jury Piece for drum set level II and III. Transcribing improves listening skills and heightens sensitivity to playing styles and traits.

Drum Set / World Music – Level III

Week Davis Brushes/Dahlgren Chaffe Video Listening 1 - Jo Jones Handout Linear Handout Thigpen-Art of Brushes Tower of Power 2 pp. 4-5 Jo Jones Handout Linear Handout Cameron-Brushworks 3 pp. 9-10 Hazilla-Brushes Linear Handout Chaffe: Linear Flanagan- 4 pp. 12-13 The Art of Playing Linear Handout Overseas 5 pp. 25-26 Brushes DVD 40-44 Garabaldi:Tower of 6 p. 21 20,21 45 Inspiration Coltrane-My 7 pp. 15-16 22,23 46 Favorite Things 8 p. 28 24,25 47 Harrison-Transitions Love Supreme 9 pp. 33-34 26,27 (#121) 48

10 p. 45 29,30 49 Russ Miller-Behind the Pepper+11 11 p. 36 31,32 50 Glass 12 p. 38 33,34 51 Buddy Rich:Jazz Legend

Drum Set / World Music – Level IV Week Uribe –Essence Davis D.C. Workbook Igoe/Style Video Listening

1 pp. 94,100,106-108,132-133 p. 3 pp. 12-13 Igoe p.81-86 Mozamb. Standard 2 pp. 291-297, 190,195- 196 p. 6 p.30 Igoe p.87-88 Time 3 Reggae / Ska p. 9 pp. 52-53 Igoe p.89-90 Hidalgo Discs 4 pp. 109, 135,199 p. 11 pp. 21-22 Igoe p.93 5 pp. 110, 136 p. 13 p. 51 Igoe p.95-98 Rosauro- 6 pp. 9 (Brazilian, Tango)

Soca, Calypso p. 18 p. 52 Igoe p.109-111

Brazilian Percussion

Latin IV Listening

7 pp. 88-104 (Brazilian) p. 22 pp. 44-46 Swing/Bop CD 8 pp. 107-110 p. 26 - Swing/Bop 9 pp. 112 p. 29 p. 47 Funkifying

10 pp. 125-135 p. 33 p. 48 Funk/Rock The Clave 11 pp. 136-138 p. 36 - - 12 pp. 139-141 - Latin The Style Performance serves as the Jury Piece.

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Tempos for Rudiments Rudiment Deficient Level I 1. Single St. (32nds) 80 90 2. Single St. Four 114 162 3. Single St. Seven 128 144 4. Multiple Bounce Roll (Buzz) 120 120 5. Triple Stroke Roll (French Roll) 100 120 6. Double Stroke Roll Open Roll (32nds) 110 125 7. Five Stroke Roll 100 120 8. Six Stroke Roll 100 120 9. Seven Stroke Roll (Duple Pulse) 100 120 (Triple Pulse) 75 95 10. Nine Stroke Roll (32nds) 100 120 11. Ten Stroke Roll 100 120 12. Eleven Stroke Roll 100 120 13. Thirteen Stroke Roll 100 120 14. Fifteen Stroke Roll 100 120 15. Seventeen Stroke Roll 100 120 16. Single Paradiddle 150 180 17. Double Paradiddle 6/8 88 104 18. Triple Paradiddle 136 160 19. Paradiddle-diddle 6/8 94 120 20. Flam 250 300 21. Flam Accent 112 160 22. Flam Tap 104 124 23. Flamacue 110 130 24. Flam Paradiddle 88 108 25. Singled Flammed Mill 88 108 26. Flam Paradiddle-diddle 6/8 60 78 27. Pataflafla 4/4 70 106 28. Swiss Army Triplet 78 100 29. Inverted Flam Taps 74 100 30. Flam Drag 6/8 98 122 31. Drag 144 208 32. Single Drag Tap 140 170 33. Double Drag Tap 6/8 70 86 34. Lesson 25 4/4 100 124 35. Single Dragadiddle 106 120 36. Drag Paradiddle #1 6/8 68 82 37. Drag Paradiddle #2 4/4 90 120 38. Single Ratamacue 90 114 39. Double Ratamacue 6/8 58 72 40. Triple Ratamacue 4/4 90 112

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Tempos for the Snare Drum Proficiency

Tempos for Wilcoxon - Tempos for Savage - All American Drummer Savage Rudimental Workshop

Solo or = As Marked in Book, Perform with CD 127. 114 128. 90 129. 114 132. 114 133. 90

134. 92 135. 180 136. 104 137. 66 138. 100 139. 69 141. 69 142. 100 143. 69 144. 100 145. 69 146. 100 149. 69 150. 69 Tempos for Portraits in Rhythm - Cirone Etude Tempo Etude Tempo Etude Tempo 1 132 21 184 34 84 2 144 24 88 36 56 4 58 25 60 37 126 5 104 27 130 38 69 8 192 28 126 39 80 18 160 29 72 40 60 19 72 30 88 50 as marked 20 66 31 as marked

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Tempos for Contemporary Studies for Snare Drum - Albright Etude Tempo Etude Tempo Etude Tempo 1 112 24 104 /63 43 72 2 112 28 72 46 96 6 104 29 92 47 208 9 108 31 92 50 98 14 116 32 126 58 100 16 104 35 208 61 92 17 84 39 104 62 80 21 104 40 74 Tempos for Advanced Snare Drum Studies - Peters Etude or or or = Etude or or or = 1 116 14 112 2 92 15 106 3 80 16 96 4 70 17 90 5 160 18 122 6 63 19 68 7 130 20 176 8 76 21 64 9 76 22 100 10 60 23 95 11 114 24 78 12 190 25 66 13 110

Tempos for the Timpani Proficiency Tempos for Deficient Level Carroll - As marked in book Tempos for Level I I Orchestral Repertoire Tafoya – As Marked Tempos for K. Gay - As marked in book Tempos for the Orchestral Percussion Proficiency Tempos for Level I - As marked in books

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Mallet Proficiency - Tempos Tempos for Green - Instructional Course for Xylophone Exercises = 60/72 play as eighth notes twice then as sixteenth notes twice. 6/8 = 120 or = 90 Double stops =90 Ragtime =120 - 132 Tempos for Kite - Reading Mallet Percussion Music Melodies = 80-100 eighth note melodies = 60-72 sixteenth note melodies Etudes in Back as marked

Tempos for Getchell - Practical Studies for Cornet and Trumpet

Book I I 67. 120 71. 110 79. 112 93. 96 68. 110 72. 110 82. 100 96. =69 69. 110 75. 120 84. 112 107. 140 70. 110 77. 115 86. 112 115. 120 Permutations 1-13 played at 108-144 with 2 to 4 repetitions per chord. When playing Parallel/Contrary =40-60. Permutations 14-23 played with progression in all keys. 60-80, 108-144 Tempos for Goldenberg - Modern School for Xylo, Mar, and Vibe Melodies pp. 32-61 Etudes in Back All melodies and studies, except 1. 60 14. 64 chordal and when noted are =72, =60 2. 72 15. 60 3. 60 20. 80 p. 32 Yankee Doodle (90) 4. 54 25. =106 p. 33 Irish Washerwoman (60) 5. 64 31. 60 p. 39 (90) 8. 60 33. 52 pp. 54,55 (64) 10. 72 35. 60 pp. 56 Melody (60) 11. 60 pp. 57 =(90) p. 59 1&2 (54) Syncopated Study (76) pp. 60,61 =90 Guitar Studies - As Marked Chorales - As Marked As Marked Jazz Vibes Metzger, Davis, Lipner, and Friedman as marked

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Tempos for Drum Set Proficiency New Breed - Chester = 70 - 90 Drum Set Control - Dahlgren 16ths = 120 8ths = 180 Triplets = 150 Swing 8ths = 170 Masters of Time - Davis As Marked It’s About Time – Dinkins As Marked / = 100 - 152 The Jazz Drummer’s Reading Workbook - Morgan As Marked Groove Essentials - Igoe As Marked Studio Jazz Cookbook - Pickering =70 - 92 to =132 - 180 Patterns Vol.3 Time Functioning - Chaffe = 80 - 132 Standard Time for Jazz Drums - Davis As Marked The Essence of Afro-Cuban Percussion and Drum Set – Uribe As Marked The Essence of Brazil ian Percussion and Drum Set – Uribe As Marked Drummers Collective Afro-Cuban and Brazil ian Rhythms for Drum Set: Certificate Program Workbook – The Drummer’s Collective As Marked

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U.C.F. Percussion Curriculum Book List Snare Drum TITLE AUTHOR PUBLISHER 1. Portraits in Rhythm Anthony J. Cirone Belwin/Mills 2. International Drum Rudiments P.A.S. Alfred 3. The All-American Drummer Charley Wilcoxon Ludwig 4. Advanced Snare Drum Studies Mitchell Peters Peters 5. Contemporary Studies for Snare Drum Fred Albright Henry Adler 6. Drumstick Control Jeff Moore Alfred 7. Savage Rudimental Workshop Matt Savage Warner Bros Timpani 1. Exercises, Etudes, and Solos for the Timpani Raynor Carroll Batterie Music/Carl Fischer 2. Pedal to the Kettle Kirk Gay Tapspace 3. The Working Timpanist's Survival Guide John Tafoya Carl Fischer 4.Timpani Tone & Interpretation of … Steven Schweizer Oxford Orchestral Percussion 1. Symphonic Repertoire for Snare Drum Anthony J. Cirone Meredith 2. Symphonic Repertoire for Keyboard Percussion Jack Van Geem Meredith 3. Orchestral Repertoire for the Bass Drum & Cym Raynor Carroll Batterie Music/Carl Fischer 4. Orchestral Repertoire for Tambourine, Triangle,& Cast “ “ 5. Cymbalism Frank Epstein Hal Leonard Mallets 1. Modern School for Xylophone, Mar. Vibe Morris Goldenberg Chappel 2. Instructional Course for Xylophone George Hamilton Green Meredith 3. Practical Studies for the Cornet Book I I Robert Getchell Belwin 4. U.C.F. Mallet Studies --- U.C.F. 5. Velocity Warm-Ups for Vibraphone Charles Dowd Belwin 6. Vibraphone Technique Dampening and Pedaling David Friedman Berklee 7. The Art and Language of Jazz Vibes Jon Metzger ECM 8. Reading Mallet Percussion Music Rebecca Kite GP Percussion 9. The Jazz Vibes Real Book Arthur Lipner MalletWorks 10. Voicing and Comping for Jazz Vibraphone Thomas L. Davis Hal Leonard 11. Jazz Mallets: In Session Arthur Lipner Rowl-Off 12. Vibes Songs and Etudes Ney Rosauro Pro Percussao Drum Set and World Music 1. The New Breed Volume I Gary Chester Modern Drummer 2. Studio/Jazz Drumming Cookbook John Pickering Mel/Bay 3. Masters of Time Steve Davis Aebersold 4. Standard Time Jazz Drums Steve Davis Aebersold 5. Groove Essentials Tommy Igoe Hudson Music 6. The Jazz Drummer’s Reading Workbook Tom Morgan C. Alan Pub. 7. Patterns Vol. III Time Functioning Gary Chaffe Alfred 8. Linear Time Playing Gary Chaffe Alfred 9. Afro-Caribbean & Brazilian Rhythms for the Drumset The Collective Carl Fischer 10. It’s About Time Fred Dinkins Warner Bros. 11. Drum Set Control Marvin Dahlgren Creative Music 12. The Essence of Afro-Cuban Percussion & Drum Set Ed Uribe Warner Bros 13. The Essence of Brazilian Percussion & Drum Set Ed Uribe Warner Bros

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PRACTICE

By Dr. Steve Hemphill

Northern Arizona University

Be sure to warm-up properly and with care. Begin with repetitions of simple figures that loosen up the muscles by using material that is easily performed both physically and mentally. Be sure to RELAX! The basic objective of the warm-up process is to encourage and maintain complete relaxation of the hand, arms, shoulders, torso, etc. Slow, deliberate practice can help to fully exercise all muscles, in addition to the conditioning of tendons and ligaments. In each session, concentrate upon the following:• Sound production technique • Accuracy • Evenness/uniformity between hands

• Musical Interpretation • Tempo and pulse control • Relaxation, Breathing

And, keep in mind the basics of musicianship: • Tone • Dynamic Control • Articulation and Accents

• Phrasing • Timbrel Variety • Emotional Involvement

HOW TO PRACTICE

Before discussion of the details required for effective and efficient, result oriented practice, it is important to schedule practice sessions on a routine basis, the same time each day, if possible. Assigning importance to the practice schedule (high on the priority scale), just as one would for a job or a class in school, will help with the discipline and consistency necessary for serious, growth-minded musicians. Also, make it convenient to commence with practice sessions, retaining requisite materials (methods books and literature, stick/mallet bags, metronome, pencils, note pad or notebook, manuscript paper, etc.) in one location, always ready for each session. Perhaps one would benefit from maintaining notes or keeping a journal for each practice session, providing efficient time management from one session to another. Be aware of immediate goals and define them for all practice sessions. What is the greatest weakness right now? What technical problems are most deserving of attention? Have I identified a sequential learning approach to my music and have I prioritized my needs? With specific goals in mind, one can begin to practice more effectively. Also, keep in mind long-term goals (the big picture) and how the designated short-term goals will help to reach important over-riding musical achievements. 1) How to Warm-Up

When practicing, always try to be very relaxed physically. Warm up completely, and use a proven technical routine that has been identified for its physical-support value and thoroughness. Attention should be focused frequently on arms, hands, fingers, legs, feet, back, neck, and face. Tension can inhibit a smooth and flowing performance and create a high degree of exhaustion. Good posture, relaxation, and physical flow can be enhanced

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by awareness of the breathing. Then, begin the day's practice with a piece of music that is very familiar and which can be played comfortably. At this point, one can begin more difficult work, trying to stay relaxed at all times, in all parts of the body. 2) Slow, Careful Practice Slow practice is probably one of the most important aids to learning/advancing on any instrument. Many students practice an exercise or a piece of music much faster than they can play it accurately and cleanly. Every time one makes mistakes due to practicing too fast, the mistakes are being learned! Always practice at a tempo that results in correct performance, progressively increasing the speed. The discipline required for slow, careful practice is a major musical commitment. 3) Frequent, Short Breaks

With the high frequency rate of repetitive motion ailments in the training of musicians, it is important that one often takes brief intermissions for relaxation during all practice sessions. Mild flexing motions, while stepping away from the instrument and without holding any object in the hands, can relax the shoulders, arms, wrists, hands and fingers. It is also critical to be refreshed and alert, mentally, if the practice session is to provide significant results. Personal development in the area of concentration will bring efficiency to each session. With a goal-driven orientation, time management also is important to the practice routine. 4) Using the Metronome

The proper use of the metronome goes hand-in-hand with slow practice. The metronome should be set at a tempo at which one can playa phrase (or larger section) easily and without mistakes. Play it several times at this tempo. Move the metronome up one or two notches. Play it several times at this faster tempo. Continue the process until the correct or desired tempo has been reached as indicated on the music. If mistakes begin to appear, move the metronome to a slower speed. Also, the development of internal timekeeping, with a clock-steady pulse, is a discipline that is crucial to musical performance. The use of a metronome, drum machine, or computer with music sequencing software will aid greatly in this endeavor. 5) Repetition

Divide the music into short phrases, usually anywhere from one measure to a line or two in length. Practice each phrase many times consecutively. Focusing on short sections at a time will promote quick learning. Also, be sure to play the beginning of the following phrase each time, thereby avoiding difficulty connecting musical phrases when the work is played in its entirety. Technical exercises (scales, arpeggios, sequences, rudiments, etc.) should be repeated many times, and at all tempi (especially extremely slow and fast tempi). Check for flow and relation at MM = 60, 90, and 120. Repeat a pattern or musical gesture for 2 or 3 minutes instead of just 10 or 20 times.

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6) Kinetic Awareness

Through controlled repetition, the musician can focus upon the feel of the activity and the accompanying motion involved, without visual aid (direct vision or use of a mirror). Tactile sensory is extremely important to the development of accuracy and relaxation. Try repeating phrases, not with the idea of playing a passage a certain number of times, but with the idea of repeating a passage for three or four minutes at a time, without pause. Body memory, or kinetic memory (orientation), should be a very positive and desired result. 7) Staying Alert

Not only does a musician strive for muscle memory ("auto pilot" mode), but he/she should strive for awareness on many different levels including the physical awareness of activity, aural awareness, and awareness of sensation or feeling. The use of a timer (i.e. a kitchen aid timing device) can help musicians focus on musical coordination and physiology, instead of the distraction of keeping one eye on the clock (thinking about when the practice session must end and imminent appointments of the day). 8) Over-Compensation

Practice difficult passages above the designated tempo. Being able to accurately perform difficult (technically demanding) music well above designated tempi will allow the performer to relax and play more expressively during performances where the original (slower) tempi are observed. (To be used in conjunction with #2.) In addition, a musical passage can be adjusted or re-composed to serve as a technical exercise, where the technical challenge is purposely increased: adding ornamentation; increasing intervallic relationships; doubling material between hands, etc. 9) Always Play Musically

Practicing is a life-long process, so demand musical qualities in all practice room endeavors. Strive for a singing style, with artistic qualities - those that speak through a musical communication. Enjoyment and appreciation of the instrument's sound is a prerequisite to practice time concentration. 10) Practice Does Not Make Perfect. PERFECT PRACTICE MAKES PERFECT.

The Practice Doctor - An Analogy for Practicing

Practice is similar to that which takes place in a doctor's office, with the musician assuming the role of the doctor: the patient becomes the musical work being studied (except that the musical work can not tell the doctor "where it hurts" - the musician's ears must decide this). • The "doctor" (musician) identifies an area that might have a technical or musical problem • The "doctor" examines the area and gives a diagnoses • The "doctor" treats the issue, prescribing a dose of musical exercise as a cure:

» extracting a few notes, specifically, and repeating the fragment or phrase many times

» playing the fragment or phrase very slowly, focusing on a specific difficulty » playing the fragment or phrase with a metronome, working slow to fast,

incrementally

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» playing the fragment or phrase very slowly, emphasizing a specific detail » playing the fragment or phrase, but with different notes requiring a more

demanding technique (over-compensation) » playing the fragment or phrase above the required tempo » playing the fragment or phrase at extreme dynamics (ppp or fff) » playing the fragment or phrase with various approaches to musical direction,

emphasis, shape, and articulation » developing an original, spontaneous musical exercise which puts emphasis on a

technique in question • The "doctor" re-examines the "patient" to determine if the treatment has "healed" the

problem' (the musician plays the selected passage in the original musical context several times)

• The "doctor" then either: a) re-diagnoses the problem and prescribes a new or continuing treatment, or, b) the doctor declares that the "patient" is cured, and then seeks new issues (musical or technical) in the "patient"

MEMORIZING

Some people memorize music very easily, while others find it more difficult. Memorizing, like everything else, becomes easier with practice and experience. Repetition is key to memorization, with attention to all musical details (including stickings) at the outset. Avoid memorizing only the notes first, and then going back to memorize the musical aspects of a work (phrasing, dynamics, accents, etc.) - see and hear the entire work with all musical components intact. If memorizing a work is troublesome, try steps 1-4 below as a prescribed process, and then try one or more of the other tasks (5-12):

1. Learn the music until it is fairly comfortable. It does not have to be completely up to tempo at this time.

2. Then, practice one phrase at a time. Set the metronome to about one-half the suggested tempo. Repeat the phrase twenty to thirty times. By then it should be memorized. Repeat this procedure for two or three days to ensure that the phrases have been correctly memorized.

3. Combine phrases into longer units, repeating many times. 4. Take the music up to proper tempo. 5. Practice/study the music away from the instrument (mental practice). 6. Sing or vocalize the music, and sing back specific passages without looking at the

music. 7. Try writing out the music from memory. 8. Check the music occasionally; making certain that it has not been altered (learned

incorrectly) in any way. 9. Record and/or videotape run throughs or performances of the piece and evaluate 10. If the piece is not overly demanding in a technical sense, attempt to play the work

"cold" at the beginning of several practice sessions. 11. Develop your own concentration exercises. 12. Practice memorizing short etudes from method books in a short period of time,

attempting to "beat the clock" by accomplishing the task in as brief a time period as possible.

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Planning, Implementation, and Self-Evaluation

Part I – Career Development

Name______________________________________ Semester:___________

1. The following abilities and/or experiences are checked that apply to me: I have studies piano (Number of years: ______) I have studied jazz improvisation I can play by ear I can sight read melodic notation reasonably well I can sight read rhythmic notation reasonably well I have had formal musical composition studies I have composed musical work(s) I have experience with a computer software music notation system I have transcribed music from a recording I have studied other instruments: ______________________________ I have played a percussion instrument in a band (i.e. drumset in a rock

band)

2. The following experiences are checked if they apply to me: I have visited a recording studio I have recorded myself in a recording studio I have made a CD (individually or with an ensemble/band) I have experience with MIDI I have experience with sound editing software program I have experience with designing/editing a website I have worked in the entertainment industry I have worked in a music retail store I have worked in a record store I have worked in a recording studio I have significant experience with video equipment I have significant experience with photography

3. The following attitudes toward practice are checked if they apply to me:

I have a reasonable amount of patience I do not have difficulty scheduling and engaging in my practice

session I look forward to my accomplishments attained from my practice I am able to set specific short-term and long-term goals I find that it is relatively easy for me to complete two hours or more of

personal practice each day

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4. My long-term goals include: Teaching music

Teaching music in a public school system Teaching music in private school Teaching private and/or group music lessons Teaching marching percussion in schools Teaching music at the community college level Teaching music at the university level

Performing professionally In commercial music venues (rock, etc…) In jazz music venues (club circuit, hotel, festival, etc...) Free-lance (shows, churches, industry, convention, etc…) Touring with professional acts (club circuit, hotel, convention,

etc…) In recording venues In broadcast venues In television and film recording venues In contemporary arts venues In theme park venues In percussion ensemble venues In orchestral venues In chamber music venues

Historic Contemporary

In opera venues In ballet venues In music theater/music review venues In a military music unit For Ethnic commercial group (Salsa, Brazilian, Steel Band,

etc…) In self-made entrepreneurial performing unit For dance schools or programs In foreign countries (Orchestral) In foreign countries (various venues) Other:

_________________________________________________ Arts or artist management Arts administration Music library work Music review/critique Music editing/publishing Music retail

Percussion instrument repair Starting my own percussion business

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Musical instrument industry Music education consultant Manufacturing

Design Marketing Artist relations

Sound engineering Conducting Composing Arranging Musicology/ethnomusicology Music research & writing Production of music education materials Production of computer music-related software and programs Integrating health and music Integrating business and music Other: ___________________________________________________

5. I have special interest in the following percussion instrument and/or literature: Marching percussion

Marching Snare Drum / Tenor / Bass / Cymbals Front Ensemble

Marimba Classical Commercial/jazz

Vibraphone Classical Commercial/jazz

Orchestral Percussion – Snare or Keyboards Timpani Multiple Percussion Percussion in mixed-instrument chamber works Auxiliary percussion (Bass Drum, Cymbals, Tambourine, etc…) Latin percussion (Congas, Timbales, etc…) Latin accessories (Maracas/Shakers, Shakere, Cabasa, Guiro, etc…) Hand drums (Tar, Bodhran, Riq, etc.) African Drums (Djembe, Dun-Dun, Dumbek, etc…) Drum set

Jazz Big Band Fusion Rock/Funk Latin/Cuban Country Show drumming Electronic

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Udu drums Steel Drums Electronic percussion and keyboard percussion Self-made instruments (instrument design) Other Ethnic/Cultural percussion

Middle-East India Turkey West Africa Cuba Caribbean Central America South America Brazil Japan China Indonesia/Malaysia Hawaii Australia Other: __________________________

*This evaluation is based on a similar document developed by Dr. Steven Hemphill

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Planning, Implementation, and Self-Evaluation

Part II – Goal Development

Name______________________________________ Semester:___________

1. My current abilities in the following areas of percussion performance are ranked from strongest (1) to weakest (12):

___ Concert Snare Drum ___ Rudimental (marching) Snare Drum ___ Two-Mallet Keyboard Percussion ___ Four-Mallet Keyboard Percussion ___ Jazz Vibraphone ___ Timpani ___ Multiple Percussion ___ Drumset ___ Steel Drums ___ Latin & Hand Percussion ___ African Drumming ___ Orchestral Excerpts ___ Other: ________________

2. My semester goals include:

Overall

Improving performance in my weakest area(s) of percussion Learning historical aspects of the percussion family Preparing for a jury Preparing for a degree recital Performing at a studio master class Becoming a more musical performer Learning to manage performance anxiety Learning to become my own teacher in musical performance Learning how to practice efficiently and intelligently Other:______________________________________________________

________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ ___________________________________________________________

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Musicianship

Improving my sense of time and inner pulse Investigating “touch” on percussion instruments Investigating “tone production” on percussion instruments Reading and performing more easily in all keys Learning and memorizing modal scales Learning and memorizing jazz-related chord/scale relationships Learning advanced rhythmic reading skills Learning polyrhythmic reading skills Learning and performing various musical style studies Improving sight-reading skills and techniques Improving music analytical skills Improving timpani tuning technique and interval study Improving memorizing skills Other:______________________________________________________

____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Technique

Establishing consistent relaxation in my performance Improving technical strength and endurance Improving accuracy in melodic and rhythmic performance Learning and memorizing standard and asymmetrical snare drum

rudiments Improving control and double-stroke and multiple-bounce rolls Learning and memorizing major scales Learning and memorizing minor scales (all three forms) Learning and memorizing all arpeggios Investigating the physical grip and function of finger, hand, wrist, and arm

anatomy Developing comprehensive warm-up routines and on percussion

instruments Snare drums Keyboard Timpani

Generally improving manual technique (i.e. hand speed, tone, and control) on snare drum

Generally improving manual technique (i.e. hand speed, tone, and control) on keyboard percussion instruments

Improving two-mallet technique Improving four-mallet Musser/Stevens grip Improving four-mallet Burton grip

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Generally improving manual technique (i.e. hand speed, tone, and control) on timpani

Generally improving manual technique (i.e. hand speed, tone, and control) on accessory percussion instruments

Improving multiple percussion reading and performance skills Learning performance skills on auxiliary percussion instruments (bass

drum, cymbals, tambourine, triangle, castanets, and tam-tam) Learning performance skills on Latin percussion drums (congas, timbales,

bongos, etc…) Learning style-related performance patterns on drum set

Jazz Up-tempo Broken-style New Orleans (Second Line) Swing, Bebop, Fusion Shuffle 3/4 Ballad

Rock/Funk Odd-meter

Reggae/Calypso Latin

Samba Bossa Nova Songo Mambo/Mozambique Afro-Cuban Other: _______________________

Improving coordination and control on the drum set Improving left hand isolation and reading for jazz drumset Improving right foot coordination and speed Improving left foot coordination and speed

Learning “set-up” techniques at the drumset Experience playing with recordings (various styles) Learning brush techniques at the drum set Learning soloing techniques at the drum set

Trading fours Playing choruses Open solos

Other:__________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

___________________________________________________________

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Literature Learning and performing orchestral snare drum excerpts Learning and performing orchestral timpani excerpts Learning and performing orchestral xylophone excerpts Learning and performing orchestral bell excerpts Learning and performing orchestral vibraphone excerpts Learning and performing orchestral cymbal excerpts Learning and performing orchestral tambourine excerpts Learning and performing orchestral triangle and castanet excerpts Learning and performing orchestral bass drum excerpts Learning and performing marching/rudimental snare drum solos Learning and performing solo two-mallet marimba or xylophone literature Learning and performing solo four-mallet marimba literature Learning and performing solo vibraphone literature

“Classical” Jazz

Learning and performing solo timpani literature Learning and performing solo concert snare drum literature Learning and performing multiple percussion literature Learning and performing standard marimba/xylophone concerto literature Learning and performing standard percussion (multiple) concerto

literature Learning and performing standard timpani concerto literature

6. My short term goals include: _________________________________________ ____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

7. In the previous semester, I feel that I have accomplished the following goals: ____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ ____________________________________________________________________

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8. I have read the following books, relating to music or percussion, over the past

semester:_________________________________________________________ ____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ ____________________________________________________________________

9. I have attended the following significant recitals, concerts, or performance in the

past semester: _________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

*This evaluation is based on a similar document developed and produced by Dr. Steven Hemphill

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PERCUSSION STUDIO SEMESTER REQUIREMENTS

Listening Cards

Each semester the student shall create annotated index file cards or computer printout of ten (10) works from a minimum of five different recordings. The cards/printout are due at the time of the barrier exam and must be turned in to the jury before the student performs. The cards/printout must be comprised from a minimum of five different recordings, of which only one work may be jazz or commercial, one work must be for solo instrumentation other than percussion, and one work (complete) must be an instructional percussion or percussion performance-oriented ethnic (world music) videotape. The remainder of the assignment must represent percussion performances from contrasting instrumentation, styles, and genre (e.g. solo, chamber, orchestral, etc.). Not more than five (5) works may be from the orchestral excerpt genre. Listening examples include: solo marimba and/or vibes, solo multiple percussion, drumset artists, percussion/timpani excerpt repertoire, percussion ensemble, steel drum group/artists, etc.

Card/printout must include: composer, title, record title and label, performer(s), general content, a brief discussion of personal impressions/thoughts regarding the work and/or performance, and anything that will aid in later recall of the recording. Do include identification numbers of recordings and dates when possible. The student must maintain a copy (hard copy or disc) of all cards/printouts from each semester’s compilation. Please read the example in the “Book Report” section for information on writing about music. 1 – work of solo instrumentation other than percussion 1 – instructional percussion or percussion performance-oriented ethnic videotape 1 – (optional) jazz or commercial work Remainder (7-8 works): significant percussion performances from differing genres Example

Milhaud, Darius (composer)

“The Creation of the World” (work)

La Creation du Monde/RCA Gold Seal AGL1-2445 (record title, label, ID number)

Charles Munch/The Boston Symphony (performers) This early recording is resigned to audio obscurity in the percussion parts (some specific sounds being quite faint), but is worth studying as an introduction to the work as well as for style, interpretation, and tempi. The composition is an early example (1923), if not the first, of serious chamber music by a well-known composer of concert music influenced by American Jazz, with much attention being assigned to percussion instruments (2 players). Featured: an early example of “drumset” with a few auxiliary instruments (tambourine and wood block) and the inclusion of piccolo timpani.

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Compositions

Acquiring basic knowledge of composition, experiencing the compositional

process, and actively utilizing analytical skills related to composition may help to develop a deeper level of musicianship. The overview of musical experience acquired by those engaged in composition may also refine important analytical skills directly related to independent study and preparation of all solo and ensemble literature.

At the conclusion of each semester, at the time of the performance jury, the student shall turn in a copy of their semester’s composition. The student must present a brief oral description and analytical explanation of the work to the jury. In addition, the student may wish to play a recording, either electronic or acoustic, of the composition (time permitting) for the jury. Although the recorded performance is not required, it is encouraged. If the composition is an ensemble, it is not necessary to produce the individual parts for the jury. Please utilize the Planning and Implementation checklist provided to aid inn creating your compositions. All student compositions will be

produced using a computerized music notation software of the student’s choice.

Hand written notation (manuscript) is not acceptable.

Composition I, compose a brief etude (minimum of 16 measures, no cut-time; two or four mallets) for marimba or vibraphone which treats a specific technical problem of interest to the student. The composer should strive to make the etude as musical as possible. [Freshman; Fall Semester] Composition II, compose a brief etude (minimum of 24 measures) for snare drum. Treat a specific technical problem of interest to the student and strive to make the etude as musical as possible. [Freshman; Spring Semester] Composition III, compose a brief cadence or feature for drumline, without pit (minimum of 24 measures, stickings for snares and tenors must be included). The composer should strive to make it challenging, yet functional for the level s/he chooses. The UCF Marching Knight Drumline may read the work if scheduling allows. [Sophomore; Fall] Composition IV, compose a multiple percussion solo: minimum of 64 measures (2-3 minutes in length). This work will be performed as part of the jury for Level II Snare

Drum. [Sophomore; Spring] Composition V, instrument(s) and style optional: minimum of 48 measures. [Junior, Fall] Composition VI, instrument(s) and style optional: minimum of 48 measures. [Junior, Spring] Composition VII, percussion ensemble: minimum of 80 measures (41/2-8 minutes in length) – to be read by a percussion ensemble (with consideration for performance by the UCF Percussion Ensemble). [Senior; Fall] Composition VIII, instrument(s)/style optional: minimum of 80 meas. [Senior, Spring]

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Composition Projects

Planning & Implementation

Name______________________________________ Date:___________

1. Percussion composition overview/concept/artistic philosophy: An educational work/etude/study An art work An abstract work A programmatic work

Source and description: ____________________________________________________________________________________________________

Scope: a large work (multi-movement) Scope: a small work A work planned for a recital (forum, seminar, workshop,

demonstration) Other ______________________________

2. Scope (genre):

Large ensemble Quintet/Quartet/Trio Duo Solo

Single Instrument Multiple Instrument Set-Up Multiple Stations of Instruments

Multi-Media Solo with Tape/CD

o Acoustic o Electronic

Solo with Video/Film Solo with Computer/MIDI interaction

A "Theater" Work

3. Form (Design; Tonal Structure): Large

Multi-Movement o Dance Suite o Sonata (essentially ternary, concerned with

presentation, the working out, and the return or summing up of its thematic material; exposition, development, recapitulation) [Sonata Allegro form]

o Concerto

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o Various Vocal Forms Smaller:

Rondo (theme stated at the beginning returns after each departure)

Fugue (a monothematic form embodying the principle of imitation; subject, episodes, stretto)

Multi-Episodes Compound Forms:

Compound Ternary Compound Binary

Ternary (three-part forms): Binary (two-part forms): Popular Forms:

AABA Song Form ABA ABCA Blues

Through-Composed Other Terminology:

Motive/Germ Cell (smallest identifiable musical unit; a rhythm, or pitch pattern, or harmonic progression)

Phrase (structural unit of music just larger than a motive; an incomplete musical idea)

Cadence (phrase endings; musical equivalent of the vocal inflections in spoken language associated with the end of phrases and sentences; complete and incomplete)

Elision (a phrase juncture or dovetailing, where the cadential note of the first phrase is also the initial note of the succeeding phrase)

Phrase Extension (consisting of an uneven number of measures)

Period (a unit of structure larger than the phrase, and one which has a strong sense of closure)

Sentence (synonymous with period, incomplete musical ideas of two or more phrases combined to express a complete musical thought)

Sequence (process of combining repetition and change - the immediate repetition of a motive or phrase beginning on a different note or pitch level)

Modulation (technique of moving from one tonic to another; changing of mode)

Syncopation (displaced rhythm, causing [agogic] accents on weak beats and continuing to sound through succeeding strong beats)

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Agogic Accents (accents or weights that occur on longer note values, often falling on first beats of measures) vs. Metric Accents vs. Dynamic Accents

Polytonality (the presence of two or more tonalities - keys - at the same time)

Selected historic formal bases: [Gregorian] chant, ballade, virelai, rondo, canon/round, motet, madrigal, chorale prelude, theme & variation, concerto, sonata, suite, toccata, passacagia, chaconne, ostinato bass, ritornello, fugue, variations, sonata allegro, minuet & trio, scherzo, symphony, tone poem

See: Form in Tonal Music by Douglass M. Green; Holt, Rinehart & Winston

See: Music-Patterns and Style by Richard P. DeLone; Addison-Wesley

See: Listener's Guide to Musical Understanding by Leon DaIlin; Wm. C. Brown

4. Shape (surface contour of a work): Pitch Contour Qualities of Tension & Relaxation (dependent upon action &

interaction of:) Rise and Fall of Melodic Lines (particularly in outer voices) Rhythmic Activity Dynamics Texture Instrumentation Relative Amount & Degree of Consonance and Dissonance Harmonic Rhythm (rate of chord change)

5. Structures/Notation/Scoring Traditional Atonal Aleatoric/Chance/Indeterminate Cued Time-lines Graphic Notation Minimalism Improvisation Number of Staves Non-metered/no bar lines Metric Variety Tempo Variety (indicate with metronomic markings) Range Variety Accentuation Key Center/Tonic; Modes; Pentatonic; Chromaticism Harmonic & Chordal Variety Modulation (a change of key that is subtly or gradually introduced) Decorative Tones

Basic Pitches

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Passing Tone (joins by step two basic melodic tones) Neighbor Tone (brief departure and return to a single basic

pitch) Non-chord Tune Appoggiatura/Leaning Tone (reached by a leap; resolved by a

step) Suspension (the anticipated arrival of a basic pitch is delayed,

or displaced from a strong beat to a subsequent weak beat) Escape Tone (reached by a step; resolved by a leap) Anticipation (an unaccented note, usually of brief duration,

reached by step or leap, that precedes a more important accented articulation of the same pitch)

Pedal Point (usually in bass voice; sustained or resounded pitches,

most often tonic or dominant, which continue to sound in one part while various types of harmonic and rhythmic activity take place in the other voices)

Textures: Monophony (music consisting of a single, unaccompanied

melodic line) Heterophony (simultaneous occurrence of a simple melody and

an embellished version of the same melody) Homophony (melodic interest is concentrated in a single part,

usually the highest, and the remaining parts serve primarily to provide an accompaniment)

Polyphony (music conceived as a combination of two or more melodies)

Contrapuntal (employing counterpoint; the art of combining melodies; polyphonic)

Unity vs. Variety (repetition, variation, contrast) Components

Melody Rhythm Harmony

Other__________________________________________________

6. Instrumentation Marimba Marimba with percussion Vibraphone Vibraphone with percussion Timpani Timpani with percussion Multiple keyboards Multiple percussion Percussion ensemble

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Percussion including world percussion instruments Percussion with other non-percussion instrument (duo or larger) Mixed-instrument chamber ensemble Drum set Drum set within combo setting Electronic drum set/percussion Self-made or found instruments (perhaps including instrument

design) Body percussion Vocalization Families of Sound

Metals Skins Woods Other__________________________________

List of all instruments used:__________________________________________________________________________________________________________

Other__________________________________________________ 7. Compositional Devices General

Motivic development Original Augmentation Diminution Fragmentation (shortening) Interpolation (adding within) Octave Displacement Rhythmic Displacement Interval Inversion (melodic inversion) Retrograde (backwards) Ornamental Variation (embellishment) Sequence (repetition at a given intervalic relationship) Mutation (change of mode; change of scale basis while

retaining initial tonic) Pointalism

Percussion-Dedicated Only Composing at the instrument(s) – music idiomatic to the instrument

(music lays well, technically); technique-based “Lick”-based composition (individual strengths identified and

exposed) Notebook compilation of motives, phrases, and ideas

(instrumentation-based) “Inventing” a “new” instrument – a combination of percussion

instruments as one

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Inclusion of foot-activated sound Special Effects in Percussion

Stick harmonics Rubber-ball rubbing (moan effect) Harmonics (drums/keyboards) Muffled/muted tone Pitch bending (drums/keyboards) Applied “sizzle” effects Playing on unusual part of instrument Applying unusual implement (handle of mallets, reversed ends,

extreme size of implement, specialty mallet [maraca, slap], brushes, triangle beater, cluster beater [T-shaped mallet], etc.)

Bowing of instrument Placing of instrument in water (bending pitch) Finger slides on heads (“moose”) Grips for multiple-implement use Other:__________________________________________________

8. Instructions Instruction page at front of score (technical explanations) Notation explanations Notation Keys Instrument Listing Mallet (implement) listing Set-up diagrams (including direction of audience and/or conductor) Tuning instructions Performance lighting and other effects Staging logistics and placement Consideration for special page turns List of possible substitutions for unusual instruments Timing: length of work Program notes (analysis, initial concept, motivating idea, etc.) Composer bio Date of score completion

9. Time-line Check-off ____/____/____ Deadline for completion of work ____/____/____ Performance date ____/____/____ Instrumentation and Form declared ____/____/____ Sketches of 3-4 motive and ideas ____/____/____ Draft of 1st section of the form (or a section) ____/____/____ Draft of 2nd section of the form ____/____/____ Draft of 3rd section of the form ____/____/____ Draft of complete work ____/____/____ Reworked, revised, edited draft ____/____/____ 2nd revision ____/____/____ Completed version of work in digital notation

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Book Reports

At the start of each semester, students are required to choose one book from the

music/percussion genre. At the conclusion of the semester, during the last two master classes, students are expected to give an oral book report to the studio. The report should include a description of the book’s subject including a general outline of the book, information learned, critical impression, and overall recommendation. A brief written summary including title, author, and publishing information will accompany the oral presentation. Students are required to provide copies of the written summary for all students in the studio at the time of the presentation. The book’s topics may include a biography, a research/historical text, self-help/mental health for artists, performance/creativity enhancement, music business, pedagogy, music criticism, music appreciation, etc. The instructor must approve all books for this assignment no later than the third lesson of the semester. A list of some of the books appropriate for this assignment is included in the repertoire section of this curriculum.

The following example is an actual UCF student’s book report. Not only is it an excellent example of what is expected, it also contains information that is helpful in writing listening cards. Please read this report and follow the advice to create more thoughtful and professional listening cards.

Example of a Brief Written Summary

Kehau Kuhi Fall 2004

Book Report Wingell, Richard J. Writing About Music: An Introductory Guide. 2nd edition. New Jersey: Prentice Hall, 1997.

This book provides information to the inquiring musician on the process of writing research papers and other projects in the field of music. In classes like Music Theory or Music History and Literature, students are required to write such papers without writing about music before. Where does one get materials for his or her research? What else could one write about music? Could one use musical examples in his or her paper? These are some of the questions that can be answered in this book. One of the first chapters discusses 'Inappropriate Ways to Write About Music'. Wingell discusses that not all music is programmatic and to always research about the style or the composer's intent before coming to that conclusion. Also, there should not be overly imaginative descriptions of the music one is writing about (Le. "The light of hope dawns anew as we approach the triumphant final cadence").

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A chapter on Musical Analysis discusses questions to ask when starting the project or paper. Answering these questions can help get the project started or help move along one's research. This also helps with listening cards for our percussion lessons.

- What type of form is it? - What style is the piece in? - Who was the composer influenced by? What characteristics influenced the writing of

the composer?

- What is the relation to the surrounding culture? (What was the concert life like? Where was the music performed? What was the intended audience?)

- What was the intent of the composer?

Research projects for music can be a long process, but it helps to know where to start. Another chapter lists different resources to look through for bibliographies, dictionaries - all for music! Here is a list:

- Crocker, Richard L. A History of Musical Style. New York: McGraw-Hill, 1966/

- Randel, Don. Ed. The New Harvard Dictionary of Music. Cambridge, Mass.: Belknap, 1986.

- Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. London: Macmillan, 1980.

These are just a few of the resources one will be able to find (they are all at UCF).

One other thing that might help: all the biographies are located under MIA 10 in the UCF Library (by the Library of Congress numbering system) which have the books alphabetically placed by composer. Wingell also suggests looking at scores and recordings (which should be cited in bibliographies).

The rest of the book gives information on formatting and the style of the paper.

There is also a section on the writing style of music (i.e. writing out 'sharp' and 'flat'; how to write minor and major).

Wingell did not design this book to be read from front to back, but to be used as a

reference. This book is a great reference and will help in writing any project having to do with music.

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ENSEMBLE ETIQUETTE

• Set-Up Time - Arrive a minimum of 30 minutes before the scheduled start time.

A) Set-up carefully B) Help others C) Then warm-up a little (after everyone is set)

- Do not allow casual conversation to interfere with efficient set-up obligations.

- If course obligations across campus prohibit early arrival, communicate with the principal/section leader and make arrangements for providing extra assistance in putting equipment away.

• Do Not Leave Rehearsals

- If you don’t play in a work: remain in the area; if appropriate, perhaps begin to remove unnecessary equipment very quietly, or practice in the percussion area until needed (if those arrangements are appropriate)

- Always keep in touch with the principal; do not assume anything regarding posted schedules – the conductor can change the rehearsal order and the needs for percussion.

- Always return at the end of the rehearsal to complete the process of equipment

storage. Do not leave before EVERYTHING is stored properly. Let the principal know when you are leaving the premises.

• Check the Band/Orchestra Board

- Each member of the percussion section is individually responsible for rehearsal information. (e.g. rehearsal order of works, equipment needs, etc.)

- Personally check the rehearsal board on the way into the percussion area; do

not always ask the principal what the order is unless arrangements/decisions have declared one member to check the board before each rehearsal.

- Know what is going on–become aware of the total needs of the section.

• Always Bring the Following to All Rehearsals

- ALL necessary sticks/mallets, trap cloths, pencil, instruments, etc. - If you must borrow, arrange for it well ahead of time-not on the spot - Try to avoid borrowing instruments and mallets. Always be courteous. - ARRIVE with the music prepared carefully and completely. Because

percussion parts normally contain a great deal of rests, it is imperative that a percussionist becomes familiar with ALL of the parts, not just percussion. This is normally achieved through score study and listening to recordings (if available) before the rehearsal. Rehearsal time is for deciding on sound choices, balance/blending, and practicing consistency. Do not waste rehearsal time learning your part and how it fits in the ensemble.

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PERCUSSION ENSEMBLE

• Attend all rehearsals and concerts. Do not accept commitments that conflict with

scheduled rehearsals and concerts. Percussion ensemble is chamber music requiring the careful balancing of all parts and an understanding of the moment-by-moment role and function of each individual part. This can only be accomplished by the prepared presence of all ensemble members.

• If an absence is necessary, make sure that:

1) You telephone the percussion office at (407) 823-6181 and leave a message. 2) The folder of music arrives at the rehearsal. 3) A competent substitute replaces the absent player, if possible, and… 4) The substitute player has all necessary mallets, auxiliary instruments, and

knowledgeable of the necessary set-up (being aware of his/her responsibilities).

• Arrive at a minimum of 30 minutes ahead of rehearsal times for set-up and warm-up.

The conductor’s downbeat will take place at the designated rehearsal time. Preparations for rehearsal must be complete at this time. Proper warm-up on all instruments to be played is very important and is considered a responsibility of each member.

• All ensemble members should always be totally prepared; all instruments present, in

working order, and properly tuned. All mallets and paraphernalia are the responsibility of the performer, as are pencils, music markings, auxiliary equipment, tuning equipment, etc.

• Practice individual parts outside of rehearsal. All ensembles require concentrated

individual preparation. The quality of any ensemble is only as good as the weakest individual performance.

• Contribute towards the scheduling and effectiveness of sectional rehearsals whenever

necessary. • Regarding contributions towards productive and efficient rehearsals, talking during

rehearsals should pertain only to immediate ensemble requirements. • Designed multiple set-ups are the responsibility of each performer. Diagram when

necessary; try to be consistent in set-up. (It is a good idea to recheck for possibilities of improved set-ups as the music becomes more familiar and comfortable.) Individual set-ups are first priority, but offer help to individuals with larger or more complex set-ups.

• Maintain lists of all needed equipment and mallets for each work to be performed: do

not leave it to memory. Do not find yourself in performance with instruments or mallets missing.

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PERCUSSION ASSISTANT

One percussion major is employed by the Music Department, as a student wage employee, to assist the director of percussion studies in the maintenance, inventory, and administration of the percussion area. The duties of the Percussion Assistant are as follows: 1) To constantly evaluate the condition of all percussion instruments; to maintain, clean,

and tune all instruments; to complete repairs (minor and immediate) as necessary; and to communicate to the percussion instructor information about the condition and location of all percussion instruments and supportive equipment. All instruments should function at 100% capacity.

2) To maintain an on-going survey/inventory of all instruments and equipment, immediately advising the percussion instructor of any misplaced or stolen items. The assistant will also complete an annual inventory (during the month of April) of all area instruments and equipment.

3) To maintain percussion rooms, Organ Room, Percussion Studio, Rehearsal Hall, and

Colburn Hall Practice Room, in such condition that students may execute rehearsals and practice sessions, without discomfort or inconvenience. These rooms have designated locations for each large instrument and for various types of equipment and small instruments. The assistant will endeavor to maintain the storage plan and serve as an advocate for the plan with other members of the percussion studies area. Also, the assistant will readjust room designs to accommodate special projects. The marching band trailer will also require some supervision regarding storage plan, instrument maintenance, and tuning.

4) To serve as liaison with faculty, administration, and staff regarding requirements and

logistical concerns (planning and execution) for the area of percussion before, during, and after in-house festivals, clinics, workshops, and visitations.

5) To oversee (when appropriate) truck loading, securing, and unloading of all

percussion instruments and equipment for run-outs and tours of the UCF instrumental ensembles.

6) To administer the collection, cataloging, and filing of all scores and parts for each

work read or performed by the UCF percussion ensembles. 7) Post notices relevant to the perc. studies program(e.g. masterclass sched, clinics). 8) To serve as an advocate for the correct/appropriate methods of handling/moving

instruments and equipment within the percussion area and the university community. 9) To interact with the percussion instructor regarding the planning and execution of

special projects that benefit the percussion studies program and/or students of that program.

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MASTER CLASS

All percussion majors and minors (performance and education) are required to attend and participate in the weekly percussion master class as an integral aspect of applied percussion study. Classes will meet every Friday at 11:00 am. Topical areas of presentation include: auxiliary percussion studies, drumset studies, percussion pedagogy, repertoire and listening studies, video reviews, class performances, jury previews, clinician development, instrument and mallet repair/construction, special projects, forum discussions, among other topics.

DEGREE RECITALS

The solo recital is required of all BM and BME majors in percussion. BA students are required to complete a senior project that can take many forms including a performance, though performance is not required. BM majors must perform both a junior recital (minimum 30 minutes of music), and a senior recital (minimum 50 minutes of music). Music education majors are required to perform a BME senior recital (minimum 30 minutes of music), to be scheduled in a semester prior to their senior internship. Depending on program length, the recital can be shared with another instrumentalist. All recitals must be scheduled for the Rehearsal Hall unless special permission is granted for use of an alternate site. Students are responsible for all details relating to personal solo recitals (including scheduling recital audio recordings). Use of the UCF Percussion Recital: Checklist and

Deadlines sheet will be important in organizing and accomplishing a successful recital. Program notes are required for each composition performed. Include descriptive, analytical, special interest/historical, composer information, and, of course, the date of composition whenever possible. Each student is responsible for engaging their own accompanist(s). Accompanists should be secured as early as possible. Professional accompanists (Pianists) usually range from between $20.00-$50.00 per hour. Students must sign-up for a Recital Hearing within the first two weeks of the semester of their recital. Hearings are scheduled on Mondays between 2-4 weeks before the scheduled recital date. All participants in the recital, including accompanists, must be available and present at the time of the hearing. Please consult the UCF Department of Music Handbook for academic requirements.

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UCF PERCUSSION RECITAL: Checklist and Deadlines

Student___________________________ Recital Type___________________

Recital Date_______________________ Recital Hearing Date________________

Accompanist/Assisting Performer(s)__________________________________________

Repertoire/Instrument(s):

_______________________________________________________________________

_______________________________________________________________________

_______________________________________________________________________

_______________________________________________________________________

_______________________________________________________________________

_______________________________________________________________________

_______________________________________________________________________

Date

____ 1. Finalize repertoire with Professor Moore. (3-6 months before recital)

____ 2. Find open dates/times on the calendar with Mr. Meckley. Choose a few,

then agree on a mutually acceptable time with Professor Moore. (3-6

months before recital, no later than the first two weeks of the recital

semester)

____ 3. Choose additional faculty to serve on your Recital Hearing Committee and

coordinate a Recital Hearing date and time with Professor Moore and the

rest of the committee. Reserve the Hall for the Hearing time with Mr.

Meckley. (2nd to 4th week of the recital semester)

____ 4. Schedule a dress rehearsal (usually after 9:30 pm) with Mr. Meckley for

the Rehearsal Hall the week before the Hearing. The purpose of the

rehearsal is to practice the set-up and get used to the sound on the stage. (2

months before recital)

____ 5. Secure accompanist and assisting performer(s), as required, (2-3 months

before recital)

____ 6. Begin work on program notes. (12 weeks before recital)

____ 7. Begin rehearsals with accompanist and other musicians. (12 weeks or

earlier)

____ 8. First draft of program notes due to Professor Moore. (8 weeks)

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____ 9. Arrange for recording and/or videotaping if not already completed. Audio

arrangements are usually made when you scheduled with Mr. Meckley,

however, videotaping (if desired) requires an outside contractor. (6 weeks)

____ 10. Second draft of program notes due to Professor Moore. (5 weeks)

____ 11. Fill out and turn in to Professor Moore the Recital Hearing Approval Form

(available in the Music Office). This document must be signed by

Professor Moore, Mr. Meckley, and Dr. Pherigo. (2 weeks before the

Hearing)

____ 12. Final draft of program notes due to the Professor Moore. (4 weeks)

____ 13. Perform/present the Recital Hearing. All performers must be available

and all compositions/program notes (3 copies) ready for review. (2-4

weeks before recital date)

____ 14. Confirm/schedule dress rehearsal in hall. (After Recital Hearing)

____ 15. Turn in program order and notes (neat and typed) to Mr. Meckley. (4

weeks or after Recital Hearing)

____ 16. Send out personal invitations to special guests, if desired. (4 weeks or

after Recital Hearing)

____ 17. Perform for colleagues and friends in informal settings. Perhaps, find

another small/informal venues to perform recital. (2-3 weeks)

____ 18. Prepare and post advertising fliers. (1-2 weeks, but after Hearing)

____ 19. Proofread and approve draft of program from Mr. Meckley (1-2 weeks)

____ 20. Arrange for location/service for post recitals reception, if desired. (3-4

weeks, unless early bookings are required)

____ 21. Pull several programs for personal portfolio, assisting artists, and other

records. (Day of recital)

____ 22. Pick up video equipment, if necessary. (Day of recital)

____ 23. Turn in your key . (Day of recital)

____ 24. Return video equipment, if necessary. (Day after recital)

____ 25. Send out letter of thanks, gifts, and/or payment to accompanist/assisting

artists. (post recital)

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PERFORMANCE REPERTOIRE (Selected)

The following lists of repertoire represent significant examples of solo and chamber

works worthy of study at the collegiate level (there are many other works available):

Mallet Repertoire

LEVEL I

Composer Title (mallets) Publisher

Abe Frogs (4) Studio 4

Boo Jubilee for Marimba (4) Ludwig Music

Bach Various Transcriptions (2/4) Various

Bridge Of Dances… (4) Warner Bros.

Diemer Toccata (2/4) Music/Perc

Dinicu-Heifetz Hora Staccato (2) Fischer

Frazeur Rondo for Marimba (2) Music/Perc

Frock Concerto for Marimba and Piano Southern

Gipson Prayer(4) Southern

Gomez Etude in d Minor (3) Southern

Gomez Rain Dance (4) Southern

Green Xylophone Solos (book) (2) Sam Fox

Gwinn A True Lover’s Farewell (4) Southern

Hatch Challenge I (book) Earl Hatch Publ.

Houghton 21st Century Recital Series-Keyboard (2) Warner Bros.

Houliff Suite: Three Songs for the South (4) Ludwig Music

Houliff Two Pieces (4) Southern

Houliff Mallet Music (book) (4) Music/Perc

Irvin Octave Etude No. 2 (4) Studio 4

Kreisler/Green Tambourin Chinois (2) Charles Foley

Mayuzumi Concertino (2/4) Peters

McMillan Masterpieces for the Marimba (2) CPP Belwin

Musser Etude, C Major Op. 6 #10 (4) Studio 4

Musser Etude, Op. 6 #8 (4) Studio 4

Musser Etude, B Major Op. 6 #9 (4) Studio 4

Musser Etude, Ab Major Op. 6 #2 (2 or 4) Studio 4

Musser Prelude, Op. 11 #3 (2) Studio 4

Musser Prelude, Op. 11 #7 (4) Studio 4

Musser Etude, Op. 11 #4 (2) Studio 4

Musser Scherzo Caprice Studio 4

Musser Polanaise Brilliante Studio 4

Peters Yellow After the Rain (4) M. Peters

Peters Sea Refractions (4) M. Peters

Peters Zen Wanderer (4) M. Peters

Peters Waves (4) M. Peters

Peters Teardrops (4) M. Peters

Peters Allegro-Sonata (2) M. Peters

Peters Chant (2) M. Peters

Peters Theme and Variations (4) M. Peters

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LEVEL I (continued)

Pimentel/Moore The Solo Marimbist Vol. I, II (4) Permus

Pitfield Sonata (3) Peters Ed.

Rosauro Three Preludes (4) Southern

Rimsky-Korsakov/Heifetz The Bumble Bee (2) Fischer or Ludwig Music

Schumann/Musser Romance #1, Op. 94 (2) Sam Fox

Smith Suite Moderne for Marimba (4) Permus

Stout Etudes Books I-II, Selected (2/4) Studio 4

Tanner Sonata for Marimba and Piano Cole

Telemann Violin Concerto in G (2/3) Ernst Eulenburg Ltd.

Wittiber Rhythm Dance Bewimusic

LEVEL II

Bach Six Suites for Cello (4) International

Beals The Red Shoes (4) CPP Belwin

Breuer Xylophone Rags (Col.) (2) Alfred

Creston Concertino (2/4) Schirmer

De Vos Malan Mobile Stuctures III Musications

Deane Etude for a Quiet Hall (4) Innovative Percussion

Elster Four Pieces for Solo Marimba (4) Marimba Prod.

Ervin Contemporary Etudes (book) (3/4) Award

Fissinger Suite for Marimba (4) PercArts

Gipson Monograph IV (4) Studio 4

Gomez Gitano (4) Southern

Green Xylophone Rags of GH Green (Col.) (2) Meredith

Houliff Three Pieces for Marimba (4) Music/Perc

Houliff Samba (4) Studio 4

Hovhaness Fantasy on Japanese Woodprints (2) Peters

Moore Almost Calypso Panyard

O’Mera Tune for Mary O (4) Marimba Prod.

O’Mera Restless for Marimba (4) Marimba Prod.

Nevin/Becker Mighty Lak’ A Rose Marimba Prod.

Rosauro Suite Popular (4) Mus/Perc

Rosuaro Choro Bachiano (4) Pro Percussao

Schmitt Ghanaia (4) Matthias Schmitt Pub.

Smadbeck Etudes No. 1-3 (4) Studio 4

Smadbeck Rhythm Song (4) Marimba Prod.

Sor Estudio No. 6, 15, 17, 22 (guitar trans.) (4)Marimba Prod.

Steinquest Meditation and Dance (4) Studio 4

Stout Etudes 1-9 (2/4) Studio 4

Stout Reverie (4) or Elegy (4) Studio 4

Stout Andante & Allegro (4) Studio 4

Sukegawa Five Pieces…Paul Klee (4) Ongaku Tomo

Tchaikowsky/Stevens Album for the Young (4) Studio 4

Urlich Suite No. 1 (2/4) Music/Perc

Urlich Prelude and Noel (2 or 4) Music/Perc

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LEVEL III

Abe Michi (4) Music/Perc

Abe Variations on Japanese Children’s Songs (4) Shott

Abe Ancient Vase (4) Shott

Abe Little Windows (4) Shott

Abe Memories of the Seashore (4) Shott

Bach Preludium in g minor (3) Marimba Prod.

Burritt Four Movements for Marimba (4) Ludwig Music

Burritt October Night (4) Ludwig Music

Burritt Willow (2/4) Marimba Prod.

Burritt Preludes 1-5 (4) Marimba Prod.

Carno For a Marimba with a Mind of Its Own (4) M. Peters

DePonte Concertino (4) Studio 4

Edwards Marimba Dances (2/4) Universal Editions

Ford Polaris (4) Innovative Perc.

Gottry Irrelevant (4) C. Alan Pub.

Gronemeier Nature Alley (4) M. Baker Pub.

Heble Grand Fantasy (4) Studio 4

Khachaturian/Stevens The Adventures of Ivan (4) Marimba Prod.

Kreutz Dialog (4) Contemporary

Levitan Marimba Suite #2 (4) M. Baker Pub.

Margolis 3 Technical Sketches for Marimba (2/4/5) Manhattan Bch

Maslanka My Lady White (4) Marimba Prod.

Miki Marimba Spiritual (4) Ongaku Tomo

Milhaud Concert for Marimba/Vibes (4) Enoch

Miyoshi Conservation Suite (4) Ongaku Tomo

Monkman Rite of Passage (4) Tap Space

MusicAsia Marimba Music (4) Merion Music

Penn Four Preludes (4) Seesaw

Raphling Concerto for Mar., Vibes, Xylo., and Orch. Mus/Perc.

Reed Concertino for Marimba and Band (4) Barnhouse

Rosauro Variations on a Rio Grande Theme (4) Pro Percussao

Rosauro Concerto for Marimba #1 or #2 (4) Pro Percussao

Rosauro Valencia (4) Pro Percussao

Rosauro Variations on a “A Little Prayer” (4) Pro Percussao

Samuels Footpath (4) Orient Point

Sejourne Nancy (4) Froggy Pub.

Schumann/Stevens Album for the Young (4) Marimba Prod.

Sifler Marimba Suite (4) Brightstar

Skoog Water and Fire (4) Marimba Prod.

Smadbeck Virginia Tate (4) Smadbeck

Spencer Cat Clock (4) Studio 4

Stout Two Mexican Dances (4) Studio 4

Sueyoshi Mirage pour Marimba (4) Ongaku Tomo

Tanaka Two Movements for Marimba (4) Ongaku Tomo

Wilder/Stout Suite for Solo Guitar (4) Studio 4

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LEVEL IV

Abe Dream of the Cherry Blossoms (4) Zimmerman

Abe Wind in the Bamboo Grove (4) Shott

Abe Tambourin Paraphrase (4) Xebec Music Pub.

Abe Wind Sketch (4) Xebec Music Pub.

Abe Prism Rhapsody (2/4) Xebec Music Pub.

Adams Three Movements (4) Music/Perc.

Asia Marimba Music Marion Music

Bach Prelude and Fugue in Bb Major (4) Marimba Prod.

Bach Sonata in B Minor (4) Marimba Prod.

Bach Sonata in A Minor (4) Marimba Prod.

Bach Prelude and Fugue in g minor (4) Marimba Prod.

Bach Invention No. 4 in d Minor (4) Marimba Prod.

Bach Invention No. 8 in F Major (4) Marimba Prod.

Bach Invention No. 1 in C Major (4) Marimba Prod.

Bach Invention No. 14 in Bb Major (4) Marimba Prod.

Bach Chorale 371 Christ lag in Todesbanden (4)Marimba Prod.

Basta Concerto for Marimba (4) Music/Perc.

Bennett After Syrinx II (4) Novello and Co.

Burritt Caritas (4) Marimba Prod.

Burritt Waking Dreams (4) Marimba Prod.

Burritt Timeless (4) Marimba Prod.

Burritt Azure (4) Marimba Prod.

Burritt Shadow Chasers (4) C. Alan Pub.

Druckman Reflections on the Nature of Water (4) Boosey and Hawkes

Ewazen Northern Lights (4) M. Baker Pub.

Gronemeier Unchosen Path (4) M. Baker Pub.

Gronemeier Sweet Roselle (4) M. Baker Pub.

Gronemeier Population: One Too Many (4) M. Baker Pub.

Harnsberger Vertigo (4) Innovative Perc.

Harnsberger Words Unspoken (4) Innovative Perc.

Heble Toccata Fantasy (4) Marimba Prod.

Heble Preludes 1-3 (4) Marimba Prod.

Heble Preludes 4-6 (4) Marimba Prod.

Heble Preludes 7-9 (4) Marimba Prod.

Heble Movement for Marimba and Harpsichord (4) Studio 4

Heider Laudate Lignum (4) Edition Moeck

Ikebe Monevolance I (4) Ongaku Tomo

Ishii Marimbastuck (4) Japan Fed.

Klatzow Dances of Earth and Fire (4) Manuscript

Klatzow Concerto for Marimba(4) Percussion Music Europe

Koppel Concerto for Marimba (4) Norsk Musikforlag

Kurka Concerto for Marimba(2/4) Weintraub

Hollinden Of Wind and Water (4) McClaren Pub.

Klatzow Concerto for Marimba and Orch. (4) Musications

Mackey See Ya Thursday (4) Boosey and Hawkes

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LEVEL IV (continued)

Maslanka Variations on a Lost Love (4) Marimba Prod.

Miyoshi Torse III (4) Ongaku Tomo

Miki Time for Marimba (4) Ongaku Tomo

Miki Concerto for Marimba and Orch. (4) Norsk Musikforlag

Niimi For Marimba I (4) Japan Fed.

Schwantner Velocities (4) Helicon Music Corp

Serry Night Rhapsody (4) Marimba Prod.

Stevens Rhythmic Caprice (4) Marimba Prod.

Stout Ode for Marimba (4) Paul Price

Thomas Merlin (4) Margun Music

Tsubonoh Meniscus for Marimba (4) Ongaku Tomo

Wesley-Smith For Marimba & Tape (4) Australian Music Centre

Westlake Fabian Theory (4) Rimshot Music

Zivkovic Ultimatum 1 for Solo Marimba (4) Edition Musica Europea

Zivkovic Concerto per Marimba e Orchestra No.2 Op. 25 “ “

Jazz Vibraphone Repertoire

Burton Solo (4) Creative Music

Davis Recital for Vibraharp (Col.) (4) Barnhouse

Friedman Mirror from Another (Col.) (4) CPP Belwin

Gibson Wallflower/Snowbird/Carillon (4) Studio 4

Lipner Places to Visit (Col.) (2/4) Malletworks

Lipner The Jazz Vibes Real Book (book) (2/4) Malletworks

Molenhof Music for the Day/Vibe Songs (Col.) (4) CPP Belwin

Molenhof New Vibe Madness (Col.) (4) CPP Belwin

Rosauro Bem-Vindo (5) Pro Percussao

Rosauro Concerto for Vibraphone (4) Pro Percussao

Tachoir Solo Vibraphone Collection (4) Riohcat

Tachoir Design for Vibraphone and Piano (4) Riohcat

Timpani Repertoire

UNACCOMPANIED SOLOS

Beck Sonata for Timpani Boston Music

Beck Three Episodes for Timpani Kendor

Beck Triptych Motive for Timpani Kendor

Beck Three Movements for Five Timpani Meredith

Bergamo Four Pieces for Timpani Music/Perc

Cahn Raga #1 Wimbledon Music

Campbell Tangents (w/ Hi-Hat) Innovative Percussion

Carter Eight Pieces for Timpani Associated Music

Di Pietro Melodia Nera Op. 60 A.M. Percussion

Erickson Spanish Suite (5) Manuscript

Firth Solo Impression Carl Fischer

Firth The Solo Timpanist Carl Fischer

Floyd Theme and Variations Studio 4

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UNACCOMPANIED SOLOS (continued)

Frazeur Mood Piece Music/Perc.

Frock Seven Solo Dances Southern

Goodman Ballad for the Dance CPP Belwin

Grimo Cortege Southern

Heble Three Etudes (5) Studio 4

Hinger Solos for the Virtuoso Timpanist Jerona

Hochrainer Etuden fur Timpani, Book III Verlag-Doblinger Wein

Houghton 21st Century Recital Series-Timpani Warner Bros

Houliff Four Verses for Timpani Paul Price

Huston Suite for Solo Timpani Schirmer

Igelsrud Soundings Kendor

Jones Sonata (3) Hinrichsen

Kraft Variations for King George New Music West

Kraft M’s P New Music West

LaFave Three Pieces for Five Timpani M. Baker Pub.

Lepak Thirty-two Solos for Timpani

Leonard Epigram Ludwig

Leonard Canticle Ludwig

Leonard Forms Ludwig

Leonard March and Scherzo Leonard Perc. Mus.

Leonard Solo Dialogue Columbia/Volkwein

Mancini Suite for Timpani Kendor

Mardinly Sonata for Solo Timpani Paul Price

Muzynski Three Designs for Timpani (3) Schirmer

Power Timepieces Honeyrock

Ramey Sonata for Three Unaccompanied Timpani Mus/Perc.

Peters Scherzo (3) Peters

Peters Rondino Peters

Shiner Declaration, Song, and Dance Ludwig Music

Tcherepnin Sonatina (3) Boosey and Hawkes

Williams Variations for Solo Kettledrums Music/Perc.

D. Williams Four Grotesques for Timpani Studio 4

Youhass Four Pieces for Unaccompanied Kettle Drums Cole

SOLO TIMPANI WITH OTHER INSTRUMENT(S), ORCH., WIND ENS., OR BAND

Baker 3 Pieces for Solo Timp., 5 Roto-Toms&Orch MMB

3 Pieces for Solo… & Wind Ensemble MMB

Colgrass Concertino for Timpani (w/brass & perc.) Music/Perc.

Donatoni Concertino for Timpani, Strings, & Brass Schott and Co.

Druschetzky Concerto for Timpani and Orch. Harrison Powley

Fischer Concerto for Timpani and Orch. Harrison Powley

Farberman Concerto for Timpani and Orch. Franco Columbo

Frid Zeven Pauken en een Koperorkest C. F. Peters

Gerber Celebration Suite for Timpani & Orch. Deborah Prod.,

Gerster Capricietto for Timp and String Orch. Schott

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SOLO TIMP W/OTHER INST(S), ORCH., WIND ENS., OR BAND (continued)

Jacobs Concerto for Timpani and Band Boosey and Hawkes

Koper Mytho-Logica,3 Sketches for Timp&Orch.Koper-Hannover

Kraft Concerto for Timpani and Orch. C. Fischer

Leonard Fanfare and Allegro (w/tpt.) N. Simrock/Theodore Presser

Noak Concert Piece for 6 Kettledrums and Strings ACA

Oliverio Timpani Concerto #1 (Olympian) Collected Editions

Oliverio Dantreume Leu Pliska (w/st. bass) Collected Editions

Panufnik Concertino for Timpani, Perc.,& Strings Boosey & Hawkes

Parchman Concerto for Timpani and Orch. Seesaw

Parris Concerto for 5 Kettledrums C.F. Peters

Pieranzovini Concerto for Timpani and Strings Ricordi

Premru Celebrations-Overture for Solo Timp & Orch Oberlin Coll.

Raphling Timpani Concerto (5) Music/Perc.

Rice Concerto for Timpani and Orch. Seesaw

Sarmientos Concerto for 5 Timpani and Orch. Southern

Sosnick Concerto for Timpani and Band Bourne

Stock Earth Beat for Solo Timpani and Wind Sym. Duquesne Uni.

Streigler Concerto for Timpani and Orch. Goodman

Susskind Passacaglia for Solo Timpani and Orch. MMB Music

Tanner Concerto for Timpani and Brass Univ. of MA

Tausch March and Polinaise for 6 Timpani C.F. Peters

Tchherepnin Sonatini for Timp and Orch. Boosey &

Hawkes

Tharichen Konzert for Pauken and Orchestra Op. 34 Bote and Bock

Waxman Sinfonietta for Timpani and Strings Boosey &

Hawkes

Weinberger Concerto (w/4 tpts. & 4 trmbs) AMP,New York

White Concerto for Timpani (w/winds and perc) Shawnee

Wusthof Metrum for Five Timpani and Strings Peters Ed.

Multiple Percussion Solo Repertoire

Beck Episode for Solo Percussion

Brindle Orion M.42

Cahn Nara

Partita

Cirone Portraits in Multiple Percussion (Book)

De Lancey The Love of L’Historie

Duckworth Time Fields

Gambit (w/tape)

Etler XL Plus One

Feldman King of Denmark

Fink Conversation forTape and Percussion (w/tape)

Fink Alternation:Szenen und Variation fur Percussion Solo

Goldenberg Studies in Solo Percussion (Book)

Gottschalk Stations

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Multiple Percussion Solo Repertoire (continued)

Hiller/O’Conner Computer Music for Percussion and Tape (w/tape)

Hollinden Cold Pressed

Slender Beams of Solid Rhythm

Houghton 21st Century Recital Series-Multiple Percussion (w/cd)

Ishii Thirteen Drums

Kraft Corrente II

English Suite

French Suite

Morris Dance

Soliliquy (w/tape)

Norgard I Ching

Poeme

Waves

Payson Die Zwitschermaschine

Ptsazynska Space Model

Rolnick Ever-Livin’ Rhythm

Rosauro Cenas Amerindas

Serry Therapy

Stern Adventures for One

Tagawa Inspirations Diabolique

Udow Acoustic Study #1

Fracture

White Six Etudes

Wuorinen Janissary Music

Wyatt Time Mark (w/tape)

Xenakis Psappha

Rebonds

Zivkovic Generally Spoken, Its Nothing But Rhythm Multiple Percussion with Band/Orchestra

Buggert Dialogue for Solo Percussion and Band

Cirone Double Concerto for Two Percussion and Orchestra

Colgrass Rhapsodic Fantasy for 15 Drums and Orch.

Erb Concerto for Solo Percussion and Orchestra

Foss Concerto pour Percussion et Orchestre

Hummel Concerto for Percussion and Orchestra

Jolivet Concerto for Percussion and Orchestra

Kraft Triangles, for Percussion Soloist and Chamber Orchestra

Lambro Two Pictures for Solo Percussionist and Orchestra

Mayuzumi Concerto for Percussion and Orchestra

McColloh Sounds for Percussion Solo and Woodwinds

Milhaud Concerto for Percussion and Small Orchestra

Pitfield Concerto for Percussion and Full Orchestra

Parchman Concerto for One Percussionist and Orchestra

Rosauro Rhapsodia

Schibler Scenes Fantatiques Op. 63 for Percussion and Orchestra

Schreiner The Worried Drummer

Spalding Concerto No. 2 for Solo Percussion and Wind Ensemble

Steinhort Dance for Solo Percussion and Orchestra

Suderberg Concerto for Percussion and Orchestra

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Listening Repertoire

The following lists represent suggested repertoire suitable for the listening requirements

(with annotated index cards or printouts) as described in the applied syllabus. Some of

the works are available at the UCF Library or from the percussion office.

PERCUSSION

Artist Title

Keiko Abe Concerto for Marimba (Ptaszynska)

Concertante (Ishii)

Works for Marimba & Percussion

Lullaby of Itsuki

Marimba Encore

Marimba Fantasy

Marimba Spiritual

Solo Marimba Selections

Solo Marimba Selections II

Solo Marimba Selections III

Keiko Abe & Dave Samuels Live in Concert: Merging Classical and Jazz Forms

Amadinda Percussion Group 4’33” (Varese, Chavez, Cage, Cage/Harrison)

Amandina (Marta, Sary, Cage, Reich, G.H. Green)

Steve Reich

Les Noces/1917 & 1923 Versions

American Wind Symphony New Brass Symphony (Mayuzumi-Concerto for Per/Winds)

Michael Askill Australian Percussion Vol. I

Aubier/Verite Music Francious pour Trpt & Perc

Severin Balzer Marimba en Concert

Bartok Sonata for Two Piano Pianos & Percussion

Bob Becker There is a Time

Bellson/Kroumata Music of Farberman & Shchedrin

Luciano Berio Berio (Circles)

Blackearth Blackearth Percussion Group (Cage, Harrison, Albright,)

Britan/Moore Duo Cricket City

Michael Burritt Perpetual

Shadow Chasers

Cabaza Percussion Quartet Cabaza

William Cahn The Solo Percussionist

Chojnacka/Gualda Harpsichord and Percussion

Continuim Percussion QuartetWorks By…(Cage, Bazelon, Rouse, Harrison, Kurtz)

Orlando Cotto Caribenos

George Crumb George Crumb (Madrigals, Summer Evening)

Ancient Voices of Children

Equilibrium Border Crossing (Rouse, Udow, Hollinden, Daugherty)

Double Image Open Hand

Duotones

Donald Erb Concerto for Percussion & Orch.

Harold Farberman All-Star Percussion Ensemble

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PERCUSSION (continued)

Sigfried Fink Art of Percussion

Pictures for Percussion

Mark Ford Polaris

Mark Ford Motion Beyond

Daniella Ganeva Dream of the Cherry Blossoms (Miki, Yuyama,Tanaka)

Greg Giannascoli Concertino (Creston, Kurka, Mayazumi)

David Gillingham Stained Glass

Evelyn Glennie Light of Darkness (Rosauro, Abe, Edwards, Tanaka)

Rebounds (Milhaud, Bennet, Rosauro, Miyoshi)

Rhythm Song (Musser, Smadbeck, Stout, Abe, Saint-Saens)

Drumming

Reflected in Brass

Wind in the Bamboo Grove

Gilbert Goulart The World of Marimba (Abe, Rosauro, Deane, Thomas)

Group de Percussao Group de Percussao da USFM (Rosuaro, Villa-Lobos)

Jonathan Hass 18th Century Concertos for Timpani

Lou Harrison Music for Guitar and Percussion

Robert Hohner Different Strokes (Rouse, Narell, Cage, Milhaud, Breuer)

Lift Off (Peck, Miki, Cahn, Norvo, Barber, Metheny)

The Gamut (Heble, Green, Samuels, Reich)

Horsholm Mar.& Perc. Ens Like in Everyday Life

Andy Harnsberger Vertigo

Beverly Johnston Alternate Currents (Southam, Jaeger, Hatch, Freedman)

Impact (Piche, Louie, Kulesha, Arcuri)

Marimbach (Bach)

Marimba Yajalon/Kaptain Huapango

Chiapas!

Rebecca Kite Across Time (Abe, Giuliani, Dowland, Bach, Miki)

Prism (Peters, Rosuaro, Gipson, Bach, Sor,Musser, Gomez)

Kroumata Kroumata Percussion Ensemble (Cage, Cowell, Lundquist)

Kroumata/Abe Works for Marimba and Perc. (Miyoshi, Takemitsu, Miki)

Kroumata/Mortensen Iannis Xenakis

Kroumata/Weisler Music of Jolivet, Harrison, Cage, & Sandstrom Stonewave

Rainer Kuisma Virtuoso Percussion Music (Milhaud, Fissinger)

Stanley Leonard Canticle (Music of Leonard)

Marimolin Marimolin

Marimolin/Shick Music for String and Mallets Percussion

Linda Maxey The Artistry of the Marimba

McCormick Duo Flute and Percussion: Premiers Plus One (Dahl)

Milwaukee 20th Century Ens. Music With Percussion (Salzedo, Harrison-Vln/Perc Con.)

William Moersch Piccolodeon

The Modern Marimba (Druckman, Thomas, Wesley-Smith)

Bill Molenhof All Pass By

Gert Mortensen Gert Mortensen (Norgard, Xenakis)

New Jersey Perc. Ensemble Percussion Music (Varese, Colgrass, Wuorinen, Cowell)

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PERCUSSION (continued)

New Music Consort Pulse (Cage, Harrison, Cowell, Foss, Sollberger)

Nexus Best of Nexus (Nexus, Green, Cahn, Cage, Birney)

Dance of the Octopus (Becker, Norvo, Cahn, Barnes)

Music of Nexus (Nexus, Silvers, Cahn, Nevin)

Nexus Now (Wyre, Cahn, Becker, Takemitsu, Engleman)

Nexus Plays the Novelty Music of George Hamilton Green

Ragtime Concert

Origins

The Story of Percussion in the Orchestra

Voices (Wyre, Cahn)

Paul Horn/Nexus Attitude of the Sun

Percussion Art Quartet Impulse

Stick Attack (Rosauro, Fink, Miki, Cage)

Percussion Group Cincinnati Music of… (Udow, Peck, Kramer, Brun, May, Mosko)

Percussion Group the Hague Irony (Cage, Reich, Donatoni, Kondo, Ford, Huber)

Skin Hits (Ford, Ishii, Xenakis, Rose)

Wooden Branch (Cage, Tsubonoh, Ford, Smith)

Michael Pugliese Percussion (Xenakis, Feldman, Vigeland, Cage, Norgard)

Quantor Helios Works for Percussion (all Cage and Harrison)

Classic Mallets

Steve Reich Drumming

City Life

Early Works (Piano Phase, Clapping Music)

Christian Roderurrg Works for Marimba Solo (Abe, Stout, Sukegawa)

Ney Rosauro Rhapsodia

Ney Rosauro in Concert

Brazilian Music for Percussion Ensemble

Peter Sadlo Classic Percussion (Bach, Brindle, Abe, Tanaka, Fink)

Joseph Schwantner The Music of Joseph Schwantner(Velocities, Concerto)

St. Louis Symphony (Déjà vu/Light Spirit – Colgrass)

Steve Shick Born To Be Wild

Brian Slawson Bach Beat, Bach on Wood, Distant Drums

Stuart Smith Memory Bands

Ragnar Soderlind Sofia Phil. 20th Century Music (Milhaud Perc. Concert)

Julie Spencer Ask (Cat Clock III)

Kai Stensgaard Marimba Classic

Leigh Howard Stevens Bach on Marimba

Marimba When (Debussy, Tchaik, Schumann, Khach.)

Stockhausen Zyklus No. 9

Gordon Stout Music for Solo Marimba

Strasbourg Percussion Les Percussion de Strasbourg (Varese, Xenakis, Taira)

Dallapiccola

Edison Dennissov

Stravinski/Ohana

Concertante

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PERCUSSION (continued)

Tri Perkussion Perfect Percussion Vol. 2 (Beck, Fink, Chavez, Teeling)

Perfect Percussion Vol. 1 (Fink, Strang, Bash, Russel)

Perfect Percussion Vol. 3 (Creston, Bach, Green)

Michael Udow Four Chamber Percussion Works

Univ. of North Carolina Sketches (Parker, Marek, Long, Grassano)

Univ. of Oklahaoma Laser Woodcuts (Breuer, Green, Gauger, Heble)

Univ. of Utah Classic Works for Perc.Ens.(Gauger,Maslanka,Gillingham)

Robert Van Sice Robert Van Sice (Klatzow, Sueyoshi, vos Malan)

Marimba Concertos (Klatzow, Hovhaness, Nuyts)

Japanese Music for the Marimba(Takemitsu,Sueyoshi)

Edgar Varese Ionisation (Ameriques,Offrandes,Octandre,Integrales)

Glen Velez Rhythmcolor Exotica, Rhythm of the Chakras

Albrecht Volz Pictures for Percussion (Tanner, Tscherepnin, Green)

Warsaw Percussion Group Polish Contemporary Percussion

Nancy Zeltsman Woodcuts (Levitan, Thomas, Zeltsman)

Zivkovic Marimba & Percussion Solo (Tanaka, Miki, Zivkovic)

CHAMBER MUSIC

Bartok Sonata for Two Pianos and Percussion

Berio Circles

Boulez Le Marteau Sana Maitre

Crumb Madrigals Books I-IV, Ancient Voices of Children

Music for a Summer Evening (Makrokosmos III)

Songs, Drones, and Refrains of Death

Foss Time Cycle

Husa Music for Prague, Apotheosis of This Earth

Milhaud La Creation du Monde (The Creation of the World)

Stockhausen No. 12 Kontakte

Stravinsky L’Histoire du Soldat (The Story of the Soldier)

Varese Integrales

Walton Façade

ORCHESTRAL

Bartok Music for Strings, Percussion, and Celeste

Concerto for Orchestra

Beethoven Violin Concerto

Piano Concerto #1

Symphonies 1-9

Berlioz Roman Carnival Overture

Symphonie Fantastique

Bernstein Age of Anxiety

Candide

Symphonic Dances from West Side Story

Bizet Carmen Suite No. 1 & 2 (En’tracte)

Bloch Schelomo 2

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ORCHESTRAL (continued)

Borodin Polovitsian Dances

Brahms Symphonies 1-4

Academic Festival Overture

Britten Young Person’s Guide to the Orchestra

Peter Grimes

Chabrier Espana

Copland Appalachian Spring

Rodeo

Debussy La Mer

Nocturnes

Afternoon of a Faun

Delibes Lakme

Dukas Sorcerer’s Apprentice

Dvorak Carnaval Overture

New World Symphony

Elgar Enigma Variations

Enesco Rumanian Rhapsody No. 1

Gershwin Porgy and Bess

American in Paris

Concerto in F

Glazounov Violin Concerto

Handel The Messiah

Hindemith Symphonic Metamorphosis

Holst The Planets

Kabalevsky Colas Brengnon

The Comedians Suite

Khachaturian Piano Concerto No. 1

Suite from the Gayne Ballet

Kodaly Hary Janos Suite

Liszt Piano Concerto No. 1 in Eb

Mahler Symphonies I, III, IV, and V

Mendelsohn Italian & Scotch Symphonies

Mozart The Magic Flute

Symphonies 38-41

Mussorgsky Pictures at an Exhibition

Night on Bald Mountain

Nielsen Clarinet Concerto

Nielsen Symphony #5

Orff Carmina Burana

Poulenc Concerto for Organ, Strings and Timpani

Prokofiev 1st Symphony

5th Symphony

Lieutenant. Kije

Peter and the Wolf

Rachmaninoff 2nd Piano Concerto

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ORCHESTRAL (continued)

Ravel Bolero

La Valse

Alborada Del Gracioso

Daphnis et Chloe Suite No, 2

Mother Goose Suite

Respighi Pines of Rome

Rossini La Gazza Gadra

Rimsky-Korsakov Scherezade

Capriccio Espagnol

Saint-Saens Carnival of the Animals

Dance Macabre

Schubert Unfinished Symphony

Schuller Seven Studies on Themes of Paul Klee

Schuman Third Symphony

New England Triptych

Shostakovitch Festive Overture

Symphony No. 1 & 5

Golden Age Polka

Sibelius Symphony No. 2

Sousa Stars and Stripes

Strauss Don Juan

Till Eulenspiegel

Death and Transfiguration

Also Sprach Zarathustra

Stravinsky Petroushka

Rite of Spring

Firebird

Les Noces

Tschaikovsky Capriccio Italien

Symphony IV & V

Romeo and Juliet

Wagner Tannhauser – Venusberg

Siegfried’s Rhine Journey

Forest Murmurs

Siegfried’sFuneral Music

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Recommended Readings in Percussion, Pedagogy, and Music

The following lists represent a sample of the readings and resource materials available to

the student to aid in gaining a broader understanding of music and percussion in

particular. These books and the articles contained in the journals listed, are excellent

examples of the scholarly works that the student should become familiar with. Selected

books listed below are suitable for the Percussion Studio Semester Book Review

Requirement.

BOOKS

Adato, Joseph and Judy, George. The Percussionist’s Dictionary (Miami, Florida:

Belwin-Mills, 1984).

Altenburg, Johann Ernst. The Trumpeter’s and Kettledrummer’s Art (Halle, Germany,

1795). Translation with introduction by Edward H. Tarr (Nashville: The Brass

Press, 1974).

Banek, Reinhold and Scoville, Jon. Sound Designs. A Handbook of Musical Instrument

Building (Berkley: Ten Speed Press, 1981).

Beck, John H., editor. Encyclopedia of Percussion (New York, NY: Garland Publishing,

1995).

Bernstein, Leonard. The Joy of Music (New York: Simon and Schuster, 1959).

Benvenga, Nancy. Timpani and the Timpanist’s Art: Musical and Technical

Development in the 19th and 20th Centuries (Goteborg, Sweden: Goteborg

University, 1979).

Berlioz, Hector. A Treatise on Modern Instrumentation and Orchestration (Paris:

Lemoine, 1843-44). Translation by Mary Clarke, ed. and rev. by Joseph Bennett

(London: Novello and Company, Ltd.).

Blades, James. Orchestral Percussion Technique, 2nd edn. (London: Oxford University

Press, 1973).

Blades, James. Percussion Instruments and Their History (London: Faber and Faber,

Ltd., 1975).

Blades, James and Montagu, Jeremy. Early Percussion Instruments from the Middle

Ages to the Barouque (London : Oxford University Press, 1976).

Bonfoey, Mark P. Percussion Repair and Maintenance: A Performer’s Technical

Manual (Miami, Florida: Belwin-Mills, 1986).

Breithaupt, Robert. The Complete Percussionist. (Oskaloosa IA: C.L. Barnhouse, 1992).

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Brindle, Reginald Smith. Contemporary Percussion (London: Oxford University Press,

1970).

Brown, Ed. Band Director’s Percussion Repair Manual (Van Nuys, CA: Alfred

Publishing, 1995).

Brown, Theodore Dennis. A History and Analysis of Jazz Drumming to 1942, vols. I and

II (Ph.D. Dissertation, University of Michigan, 1976 T.D.B.) [Available

through University Microfilms, Ann Arbor, MI].

Bruce, George and Emmett Daniel. The Drummer’s and Fifer’s Guide (1862 and 1865

eds.) [1865 edn. Available from George Carroll, 4113 Fourth Street, North

Arlington VA. 22203].

Cahn, William L. The Xylophone in Acoustical Recordings (1877-1929). (Rochester,

NY: William L. Cahn, 1979).

Cameron, Julia. The Artist’s Way: A Spiritual Path to Higher Creativity (New York:

Jeremy P. Tarcher/Putnam a member of Penguin Putnam Inc., 1995).

Carrington, J.F. Talking Drums of Africa (New York: Negro Universities Press, 1969).

[Originally pub. London: Carey Kingsgate Press, 1948].

Chenoweth, Vida. The Marimbas of Guatemala (Kentucky: University of Kentucky

Press, 1974).

Chernoff, John Miller. African Rhythm and African Sensibility (Chicago: University of

Chicago Press, 1979).

Cirone, Anthony J. and Sinai, Joe. The Logic of It All (Menlo Park, CA: Cirone

Publications, 1977).

Coleman, Satis N. The Drum Book (New York: John Day Company, 1942).

Coleman, Satis N. The Marimba Book (New York: John Day Company, 1930).

Combs, F. Michael. Solo and Ensemble Literature for Percussion (Terra Haute, IN:

Percussive Arts Society, 1972).

Cook, Gary D. Teaching Percussion [3rd Ed.] (New York: Schirmer Books, 2005).

Copland, Aaron. What to Listen for in Music (New York: Penguin Putnam Inc., 1939,

1957).

Creston, Paul. Principles of Rhythm (Melville, NY: Belwin Mills, 1961).

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Denov, Sam. The Art of Playing Cymbals (New York: Henry Adler, Inc., 1963).

Farkas, Philip. The Art of Musicianship (Bloomington, Indiana: Musical Publications,

1976).

Farmer, Henry George. Handel’s Kettledrums and Other Papers On Military Music

(London: Edwards and Brune, Ltd., 1960).

Fink, Sigfried. Tablature 72 (Hamburg: N Simrock, 1972). [A listing of tables of symbol

Notations for percussion instruments].

Foster, Robert E., Wanamaker, Jay A., Duffer, Bob and Cowles, Kraid. Championship

Auxiliary Units (Sherman Oaks, CA: Alfred Publishing Co., Inc., 1979).

Foster, Robert E. Multiple-Option Marching Band Techniques (Sherman Oaks, CA:

Alfred Publishing Co., Inc., 1962).

Gallwey, W. Timothy. The Inner Game of Tennis (New York: Random House, 1974).

Gelb, Michael. Body Learning: An Introduction to the Alexander Technique (London:

Aurum Press, 1981).

Geiringer, Carl. Musical Instruments (London: George Allen & Unwin Ltd, 1965).

Gerard, Charley and Sheller, Marty. Salsa: The Rhythm of Latin Music (Tempe, AZ:

White Cliffs Media Company, 1989).

Green, Barry and Gallwey, W. Timothy. The Inner Game of Music (Garden City, NY:

Anchor Press/Doubleday, 1986).

Hart, Mickey. Drumming At The Edge of Magic (New York: Harper Collins Pub., 1990).

Hart, Mickey. Planet Drum: A Celebration of Percussion and Rhythm (New York:

Harper Collins Publishers, 1991).

Hannum, Thom. Championship Concepts for Marching Percussion (Milwaukee, WI:

Hal Leonard, 1986).

Havas, Kato. Stage Fright: Its Causes and Cures (London: Bosworth & Co., Ltd.,

1973).

Hinger, Fred. Timpani Technique for the Virtuoso Timpanist (Levonia, NJ: Hinger,

1975).

Holland, James. Percussion (New York: Schirmer Books, 1978).

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Hong, Sherman. “Percussion in the Orchestra: 1750-1850,” Percussionist, vol. VIII,

No. 4 (1971) (Terra Haute, IN: Percussive Arts Society).

Hooper, Dale F. et al. Corps Style Marching (Oskaloosa, IA: C.L. Barnhouse Co., 1977).

Howard, Joseph H. The Drums in the Americas (New York: Oak Publications, 1967).

Han, Kuo-Huang. “The Modern Chinese Orchestra,” Asian Music, vol. XI, no. 1 (1979).

Karkoschaka, Erhard. Notation in New Music, translated by Ruth Koenig (New York:

Praeger Publishers, 1972).

Kaufman, Frederick and Guckin, John P. The Roots of Jazz (Sherman Oaks, CA:

Alfred Publications Co., Inc., 1979).

Kettlekamp, Larry. Drums, Rattles, and Bells (New York: W. Morrow, 1960).

Keune, Eckehardt. Percussion Instrument-Part 2:Timpani (Leipzig, East Germany

VEB Deutscher Verlag fur Musik, 1977).

Kirby, Percival R. The Kettledrums (London: Oxford University Press, 1930).

Kohut, Daniel L. Musical Performance: Learning Theory and Pedagogy (Englewood

Cliffs, NJ: Prentice-Hall Inc., 1985).

Kotonski, Wlodzimierz. Schlaginstrumtente in modernen Orchester (Mainz, West

Germany: B. Schott’s Sohne, 1968).

Lang, Morris; Spivak, Larry. Dictionary of Percussion Terms (New York: Lang

Percussion Company, 1977).

Lebrecht, Norman. Who Killed Classical Music (Secaucus, NJ: Carol Publishing Group,

1996).

Ludwig, William F. The Development of Drum Rudiments (Chicago: Ludwig Drum Co.)

[n.d.]

MacCallum, Frank. The Book of the Marimba (New York: Carlton Press, Inc., 1969).

Maisel, Eric Ph.D. A Life in the Arts: Practical Guidance and Inspiration for Creative

and Performing Artists (New York: Jeremy P. Tarcher/Putnam1992, 1994).

Mason, Bernard S. Drums Tom Toms & Rattles (New York: Dover Publications, Inc.,

1974).

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May, Elizabeth. Music of Many Cultures: An Introduction (Dubuque, Iowa: Kendall

Hunt Publishing Company).

Molenhof, Bill. Positive Music Focus (Germany: Otto Wrede Regina-Verlag e.K.

Schumannstr. 1999).

Montagu, Jeremy. Making Early Percussion Instruments (London: Oxford University

Press, 1976).

Moore, James L. Acoustics of Bar Instruments (Columbus, OH: Permus, 1970).

Nketia, J.H. Kwabena. The Music of Africa (New York: W.W. Norton & Co., Inc.,

1974).

Norton, Sam and Spacey, Ken, eds. Drums and Drumming Today (Edgware, England:

Boosey and Hawkes, 1964).

Papastefan, John J. Timpani Scoring Techniques in the Twentieth Century (Mobile, AL:

University of South Alabama, 1978).

Partch, Harry. Genesis of A Music, 2nd edn., enlarged (New York: Da Capo Press, 1974).

Peinkofer, Karl and Tannigel, Fritz. Handbook of Percussion Instruments, translated by

Kurt and Elise Stone (London: Schott, 1969).

Percussive Arts Society. Percussive Education: A Source Book of Concepts and

Information (Urbana, Il: Percussive Arts Society, 1990).

Peters, Gordon B. The Drummer: Man, revised edn. (Wilmette, IL: Kemper-Peters Pub.,

1975).

Pinksterboer, Hugo. The Cymbal Book (Milwaukee, WI: Hal Leonard Publishing

Corporation, 1992).

Read, Gardner. Music Notation, 2nd edn. (Boston: Allyn and Bacon, Inc., 1969).

Read, Gardner. Modern Rhythmic Notation (Bloomington, IN: Indiana Univ. Press,

1978).

Reed, H. Owen and Leach, Joel T. Scoring for Percussion (Englewoods Cliffs, NJ:

Prentice-Hall, 1969).

Richards, Emil. World of Percussion (Sherman Oaks, CA: Gwyn Publishing Co., 1972).

Risatti, Howard. A Guide to Notational Signs for Contemporary Music, (Urbana, IL:

University of Illinois Press, 1975).

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Sachs, Curt. The History of Musical Instruments (New York: Norton, 1940).

Schmidt, Paul W. History of the Ludwig Drum Company (Fullerton, CA: Centerstream

Publishing, 1991).

Schuller, Gunther. Early Jazz, Its Roots and Musical Development (New York: Oxford

University Press, 1968).

Seeger, Peter. Steel Drums: How to Play them and Make Them (New York: Oak, 1964).

Siwe, Thomas, ed. Percussion Ensemble Literature (Champaign, IL: Media Press, 1998).

Siwe, Thomas, editor. Percussion Solo Literature (Champaign, IL: Media Press, 1995).

Sousa, John Philip. The Trumpet and Drum [A book of Instruction for the Trumpet &

Drum] 1886 2nd Reprint (Cleveland, OH: Ludwig Music Publishing Co., 1985).

Spalding, Dan C. “The Evolution of Drum Corps Drumming,” Percussionist, vol. XVII,

no. 3 (1980). (Knoxville, TN: Percussive Arts Society).

Spinney, Bradley. Encyclopedia of Percussion Instruments and Drumming (Hollywood,

CA: Hollywood Percussion Club and Clinic, 1955).

Stern, Marshall W. The Story of Jazz (London: Oxford University Press, 1970).

Stone, Kurt. Music Notation in the Twentieth Century: A Practical Guidebook (New

York: W.W. Norton, 1980).

Surplus, Robert W. The Beat of the Drum (Minneapolis, MN: Lerner Pub., 1963).

Tanner, Paul O. W. and Gerow, Maurice. The Study of Jazz, 2nd edn. (Dubuque, IA: Wm.

C. Brown, Co., 1973).

Taylor, Henry W. The Art and Science of the Timpani (London: John Baker Pub., 1964).

Thurmond, James M. Note Grouping: A Method for Achieving Expression and Style in

Musical Performance (Camp Hill, PA: JMT Publications, 1982).

Titcomb, Caldwell. The Kettledrums in Western Europe (Cambridge, MA: Harvard

University Press, 1952).

Udow, Michael. Rhythmic Source Book for Actors, Dancers and Musicians (Kansas

City, MO: Michael Udow, 1978).

Udow, Michael and Watts, Chris. The Contemporary Percussionist: A Multiple

Percussion Method, Book I (Kansas City, MO: Michael Udow, 1979).

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77

Vela, David. Information on the Marimba, Ed. and translated by Vida Chenoweth

(1957-58) (Auckland, New Zealand: Institute, 1958) {Originally printed-

Guatemala, 1953}.

Vincent, David W. A Percussionist’s Guide to Orchestral Excerpts (Columbia, South

Carolina: Broad Riner Press, Inc., 1980).

Walden, David E. How to Listen to Modern Music Without Earplugs (Toronto: Sound

and Vision, 1999).

Wells, James R., et al. The Marching Band in Contemporary Music Education, (New

York: Interland Publishing, Inc., 1976).

Wilson, Frank R. Mind, Muscle, and Music, Physiological Clues to Better Teaching

(Elkhart, IN: The Selmer Company, 1981).

Wilson, Frank R. Tone Deaf and All Thumbs? An Invitation to Music-Making for Late

Bloomers and Non-Prodigies (New York: Viking-Penguin Inc., 1986).

Wilson, Sule Greg. The Drummer’s Path (Rochester, Vermont: Destiny Books, 1992).

JOURNALS

The Instrumentalist. Evanston, IL: Instrumentalist Co., (Published Monthly).

Modern Drummer. Cedar Grove, NJ: Modern Drummer Publications, (Published

Monthly).

Percussive Notes. Lawton, OK: Percussive Arts Society, (Published Bimonthly).

*Percussion Anthology: A Compendium of Percussion Articles from The Instrumentalist.

Northfield, IL: Instrumentalist Co., 1988.

*A special collection of percussion articles (1946-87) designed for use by instrumental

music educators: Anthology Series Volume 4.

Resources for Required Materials

Books, Methods, and Chamber/Solo Literature, along with sticks and mallets, general

equipment, and other musical needs, can be ordered from the local Sam Ash or Drums 2

Go music stores. Faster service may be experienced by mail or phone/credit card orders

from:

Steve Weiss Music Lone Star Percussion The Percussion Source

2324 Wyandotte Road 10611 Control Place PO Box 5521

Willow Grove, PA 19090 Dallas, TX 75238 1212 5th Street

Phone: (215) 659-0100 (214) 340-0835 Coralville, IA (866) 849-4387

Fax: (215) 659-1170 www.percussionsource.com


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