Percussion Repertoire
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Ludwig-Musser 2010 Concert Percussion Catalog AV8084 2010
Welcome to the world of Ludwig/Musser Concert Percussion. The instruments in this catalog represent the finest quality and sound in percussion instruments today from a company that has been making instruments and accessories in the USA for decades. Ludwig is “The Most famous Name in Drums” since 1909 and Musser is “First in Class” for mallet percussion since 1948. Ludwig & Musser aren’t just brand names, they are men’s names. William F. Ludwig Sr. & William F. Ludwig II were gifted percussionists and astute businessmen who were innovators in the world of percussion. Clair Omar Musser was also a visionary mallet percussionist, composer, designer, engineer and leader who founded the Musser Company to be the American leader in mallet instruments. Both companies originated in the Chicago area. They joined forces in the 1960’s and originated the concept of “Total Percussion.” With our experience as a manufacturer, we have a dedicated staff of craftsmen and marketing professionals that are sensitive to the needs of the percussionist. Several on our staff are active percussionists today and have that same passion for excellence in design, quality and performance as did our founders. We are proud to be an American company competing in a global economy. Musser Marimbas, Xylophones, Chimes, Bells, & Vibraphones are available in a wide range of sizes and models to completely satisfy the needs of beginners, schools, universities and professionals. With a choice of hammered copper, smooth copper or fiberglass bowls, Ludwig Timpani always deliver the full rich sound that generations of timpanists have come to expect from Ludwig. -
The PAS Educators' Companion
The PAS Educators’ Companion A Helpful Resource of the PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE Volume VIII Fall 2020 PERCUSSIVE ARTS SOCIETY 1 EDUCATORS’ COMPANION THE PAS EDUCATORS’ COMPANION PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE ARTICLE AUTHORS DAVE GERHART YAMAHA CORPORATION OF AMERICA ERIK FORST MESSIAH UNIVERSITY JOSHUA KNIGHT MISSOURI WESTERN STATE UNIVERSITY MATHEW BLACK CARMEL HIGH SCHOOL MATT MOORE V.R. EATON HIGH SCHOOL MICHAEL HUESTIS PROSPER HIGH SCHOOL SCOTT BROWN DICKERSON MIDDLE SCHOOL AND WALTON HIGH SCHOOL STEVE GRAVES LEXINGTON JUNIOR HIGH SCHOOL JESSICA WILLIAMS ALABAMA STATE UNIVERSITY EMILY TANNERT PATTERSON CAMBRIDGE UNIVERSITY PRESS How to reach the Percussive Arts Society: VOICE 317.974.4488 FAX 317.974.4499 E-MAIL [email protected] WEB www.pas.org HOURS Monday–Friday, 9 A.M.–5 P.M. EST PERCUSSIVE ARTS SOCIETY 1 TABLE OF CONTENTS BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM 3 by Dr. Dave Gerhart CONSISTENCY MATTERS: Developing a Shared Vernacular for Beginning 6 Percussion and Wind Students in a Heterogeneous Classroom by Dr. Erik M. Forst PERFECT PART ASSIGNMENTS - ACHIEVING THE IMPOSSIBLE 10 by Dr. Joshua J. Knight TOOLS TO KEEP STUDENTS INTRIGUED AND MOTIVATED WHILE PRACTICING 15 FUNDAMENTAL CONCEPTS by Matthew Black BEGINNER MALLET READING: DEVELOPING A CURRICULUM THAT COVERS 17 THE BASES by Matt Moore ACCESSORIES 26 by Michael Huestis ISOLATING SKILL SETS, TECHNIQUES, AND CONCEPTS WITH 30 BEGINNING PERCUSSION by Scott Brown INCORPORATING PERCUSSION FUNDAMENTALS IN FULL BAND REHEARSAL 33 by Steve Graves YOUR YOUNG PERCUSSIONISTS CRAVE ATTENTION: Advice and Tips on 39 Instructing Young Percussionists by Jessica Williams TEN TIPS FOR FABULOUS SNARE DRUM FUNDAMENTALS 46 by Emily Tannert Patterson ADDITIONAL RESOURCES 49 2 PERCUSSIVE ARTS SOCIETY EDUCATORS’ COMPANION BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM by Dr. -
Harmonic Analysis of Mallet Percussion by Max Candocia Goals
Harmonic Analysis of Mallet Percussion By Max Candocia Goals • Basic understanding of sound waves and mallet percussion • Understand harmonic analysis • Understand difference in sounds of different mallets and striking location Marimba Vibraphone Recording: Vermont Counterpoint, Nathaniel Bartlett Recording: La Fille Aux Cheveux de Lin, Ozone Percussion Ensemble Photo courtesy of vichitex.com Photo courtesy of woodbrass.com Xylophone Recording: Fantasy on Japanese Wood Prints Photo courtesy of onlinerock.com Sound Waves • Vibrating medium (ie. Air, water, ground) • Longitudinal • Harmonics – Sinusoidal Components Sine: Sawtooth: Images courtesy of Wikipedia Qualities of Harmonics • Frequency – Cycles per second (Hertz); determines pitch Photo courtesy of Wikipedia • Amplitude – Power of wave; determines loudness Photo courtesy of physics.cornell.edu • Phase – Location of harmonic relative to other harmonics Photo courtesy of 3phasepower.org Harmonic Analysis Harmonics of Kelon xylophone struck in center with hard rubber mallet Vibraphone HarmonicsDry: Wet: Instrument Mallet Location # Harmonics H1 dB H2 dB H3 dB H4 dB H5 dB Vibraphone Black Dry 5 6 19 0.8 13 3 Vibraphone Black Wet 2 16 1.1 Vibraphone Red Dry 3 22 3.5 1.5 Vibraphone Red Wet 1 1 Vibraphone White Dry 4 16 0.5 9 0.6 Vibraphone White Wet 2 25 1.5 Xylophone Harmonics Instrument Mallet Location # Harmonics H1 Freq H2 Freq H3 Freq H4 Freq H5 Freq Xylophone Hard Rubber Center 4 886.9 1750 2670 5100 Xylophone Hard Rubber Edge 4 886.9 1760 2670 5150 Xylophone Hard Rubber Node 3 886.85 -
Multi-Percussion in the Undergraduate Percussion Curriculum Benjamin A
University of Miami Scholarly Repository Open Access Dissertations Electronic Theses and Dissertations 2014-12 Multi-percussion in the Undergraduate Percussion Curriculum Benjamin A. Charles University of Miami, [email protected] Follow this and additional works at: http://scholarlyrepository.miami.edu/oa_dissertations Recommended Citation Charles, Benjamin A., "Multi-percussion in the Undergraduate Percussion Curriculum" (2014). Open Access Dissertations. Paper 1324. This Open access is brought to you for free and open access by the Electronic Theses and Dissertations at Scholarly Repository. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of Scholarly Repository. For more information, please contact [email protected]. ! ! UNIVERSITY OF MIAMI ! ! MULTI-PERCUSSION IN THE UNDERGRADUATE PERCUSSION CURRICULUM ! By Benjamin Andrew Charles ! A DOCTORAL ESSAY ! ! Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Doctor of Musical Arts ! ! ! ! ! ! ! ! ! Coral Gables,! Florida ! December 2014 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ©2014 Benjamin Andrew Charles ! All Rights Reserved UNIVERSITY! OF MIAMI ! ! A doctoral essay proposal submitted in partial fulfillment of the requirements for the degree of Doctor of Musical! Arts ! ! MULTI-PERCUSSION IN THE UNDERGRADUATE PERCUSSION CURRICULUM! ! Benjamin Andrew Charles ! ! !Approved: ! _________________________ __________________________ -
Acknowledgments
ACKNOWLEDGMENTS I would like to acknowledge and express my sincerest thanks to the many people without whom the completion ofthis document would have been impossible: My wife, Amy, whose patience, support, and encouragement was unending, and whose proofreading, word processing, and taping skills were invaluable. My children, Charlie, Will, and Mary Emma, for willingly giving up many, many hours of "quality time" with their dad, which rightfully belonged to them. Professor Richard Blatti of The Ohio State University for his priceless knowledge of the wind-band repertoire, and for the guidance, suggestions, and time (of which he has very little) he was willing to give me and this project. Dr. James L. Moore, for his kindness, support, and willingness to proofread parts of this document, and for donating valuable materials from his own research which concerned this topic. Dr. A Peter Costanza, for his willingness to proofread parts of this document during a time in which he could have devoted all available time and energy into overseeing the 1995 OMEA State Convention. Craig Young, for the many times he helped me find what I needed in the OSU Band Music Library. Professor H. Robert Reynolds of the University of Michigan, for making that university's band music library available to me, and to Ms. Maggie St. Clair and Mr. Bill Kellerman for their wonderful hospitality and professionalism in assisting me while on campus. The many percussionists and conductors who responded to my surveys, submitting valuable suggestions ofpieces which represented the core ofmy research. My father-in-law, Dr. L. R. -
Extended Performance Techniques and Compositional Style in the Solo
EXTENDED PERFORMANCE TECHNIQUES AND COMPOSITIONAL STYLE IN THE SOLO CONCERT VIBRAPHONE MUSIC OF CHRISTOPHER DEANE Joshua D. Smith, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2008 APPROVED: Mark Ford, Major Professor Eugene Migliaro Corporon, Minor Professor Christopher Deane, Committee Member Terri Sundberg, Chair of the Division of Instrumental Studies Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Smith, Joshua D., Extended performance techniques and compositional style in the solo concert vibraphone music of Christopher Deane. Doctor of Musical Arts (Performance), August 2008, 66 pp., 1 table, 8 figures, 20 musical examples, references, 29 titles. Vibraphone performance continues to be an expanding field of music. Earliest accounts of the presence of the vibraphone and vibraphone players can be found in American Vaudeville from the early 1900s; then found shortly thereafter in jazz bands as early as the 1930s, and on the classical concert stage beginning in 1949. Three Pieces for Vibraphone, Opus 27, composed by James Beale in 1959, is the first solo concert piece written exclusively for the instrument. Since 1959, there have been over 690 pieces written for solo concert vibraphone, which stands as evidence of the popularity of both the instrument and the genre of solo concert literature. Christopher Deane has contributed to solo vibraphone repertoire with works that are regarded as staples in the genre. Deane’s compositions for vibraphone consistently expand the technical and musical potential of the instrument. -
5Th-12Th Grade Concert Percussion Curriculum: a Detailed Guide to Techniques and Resources for Non-Percussionist Music Educators
Eastern Illinois University The Keep Undergraduate Honors Theses Honors College 2018 5th-12th Grade Concert Percussion Curriculum: A Detailed Guide to Techniques and Resources for Non-Percussionist Music Educators Rodney Rote Jr. Follow this and additional works at: https://thekeep.eiu.edu/honors_theses Part of the Curriculum and Instruction Commons, Music Education Commons, and the Music Pedagogy Commons 51h 12th Grade Concert Percussion Curriculum A detailed guide to techniques and resources for non·percussionist music educators. (TITLE) DY Rodney Rote, Jr. ····-----·--·- ·---- --- UNDERGRADUATE THESIS Submitted in partial fulfillment of the requirement for obtaining UNDERGRADUATE DEPARTMENTAL HONORS Departmentof Music along withthe Honors College at EASTERN ILLINOIS UNIVERSITY Charleston, Illinois 2018 YEAR I hereby recommend this thesis to be accepted as fulfilling the thesis requirement for obtaining Undergraduate Departmental Honors I� o.,r��t THESI ADVI 0 _Cti:-�I \� � 1_? _ Daie\··· 5 th - 12 th Grade Concert Percussion Curriculum A detailed guide to techniques and resources for non percussionist music educators. By Rodney Rote, Jr. Index Introduction Forward Page 2 Application Page3 Skill Level Break Down Page4 Chapter1 Page5 Snare Drum Chapter 2 Page12 Keyboard Percussion Chapter 3 Page18 Accessory Percussion Tambourine Page18 Triangle Page 20 Bass Drum Page 21 Cymbals Page 22 Hand Drums Page23 Chapter 4 Page26 Timpani Chapter 5 Page29 Percussion Ensemble Closing Remarks Page 32 1 Introduction Forward Primary and secondary school band directors enrolled in a semester long percussion methods course while pursuing their teaching degree. For most, only a semester of learning about the broad world of percussion is not enough to be as proficient at teaching percussion, unless percussion is their primary instrument. -
Indoor Percussion Invitational
Zionsville Community High School Indoor Percussion Invitational March 10, 2018 $@DI@:88IG<EK<I KN<EKPP<8I 4@FEJM@CC<I<J@;<EKJ FG<E<;K?<;FFIJ8K =@M<K?@IKP?FD<@E FD9@E@E>$@DJ NFF;NFIB@E><OG<I@<E:<8E;I@:8JCFM<F= G8@EK@E>=LIE@KLI< K?<P:FCC89FI8K<KF 9I@E>LE@HL<=LIE@KLI<N@K?9<8LK@=LC =@E@J?<JKFK?<JKFI<CF:8K<;8K(FIK? '8@E-KI<<K FE4@FEJM@CC<J?@JKFI@:9I@:B JKI<<K 1?8K<CJ<N@CCPFL=@E;@EJ@;< "FD<;<:FI #E;@8E8:I8=K<;:8E;C<J N8CC ?8E>@E>J J8CM8><;G@<:<J E8LK@:8C@K<DJ 8E;DL:?DFI< 1<K<8:?'@JJ'LJK8I;-<<;¶J'@CB*8@EK NFIBJ?FGJN?<I<PFLN@CCC<8IEK?< GIFG<ID<K?F;JF=D@O@E> 8GGCP@E> 8E; =@E@J?@E>D@CBG8@EK 8JG<:@8CKP =LIE@KLI<G8@EK 1<=FID8KFLI:C8JJ<JKF @E:CL;<8CCK?<98J@:D@CBG8@EK @E=FID8K@FE8CFE>N@K?FLI:LJKFDK@GJ KI@:BJ8E;K<:?E@HL<JLJ<;KF=@E@J?K?< G@<:<J@EFLIJKFI< = 1<?FG<KFJ<<PFLJFFE@EFE<F=FLI'@JJ 'LJK8I;-<<;¶J'@CB*8@EK:C8JJ<J =@M<K?@IKP?FD<@J8E<:C<:K@:D@OF= =LIE@J?@E>J8E;;<:FI IFDK?<:LIM<; C@E<JF=8 I<E:?JKPC<:?<JKKF8ILJK@: 8><;GFKK@E>9<E:? N<?8M<8C@KKC<JFD<Ǧ K?@E>=FI<M<IPFE< (<<;8K89C< 9L==<KFI 9FFBJ?<C=?8E:<J8I< @=N<;FEK?8M< FE<@EK?<JKFI<8CI<8;P N<:8EKI8:B JFD<K?@E>;FNELJ@E>K?<@E=FID8K@FE GIFM@;<;9PPFL@EFLIN@J?C@JK9FFB -KFG@EKF;8P ͖͔Ǥǡȁ͕͗͛Ǧ͙͚͛Ǧ͕͛͛͜ȁǦ͕͔Ǧ͙ǡ͕͖Ǧ͘ȁƤǤ Welcome to the ZCHS Percussion Invitational />Liv ÌiÌà 7iVivÀÌ i*č*ÀiÃ`ḭ°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°4 / i`>>*iÀVÕÃÃčÃÃV>Ì* ë Þ°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°È *č >À`v ÀiVÌÀà °°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°° 8 7iVivÀÌ i<ÃÛi ÌiÃÌ À`>ÌÀ°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°10 <ÃÛi >` ÃÌiÀ >À`°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°10 -
The Percussion Family
The Percussion Family The percussion family is the largest family in the orchestra. Percussion instruments include any instrument that makes a sound when it is hit, shaken, or scraped. It's not easy to be a percussionist because it takes a lot of practice to hit an instrument with the right amount of strength, in the right place and at the right time. Some percussion instruments are tuned and can sound different notes, like the xylophone, timpani or piano, and some are untuned with no definite pitch, like the bass drum, cymbals or castanets. Percussion instruments keep the rhythm, make special sounds and add excitement and color. Unlike most of the other players in the orchestra, a percussionist will usually play many different instruments in one piece of music. The most common percussion instruments in the orchestra include the timpani, xylophone, cymbals, triangle, snare drum, bass drum, tambourine, maracas, gongs, chimes, celesta, and piano. The piano is a percussion instrument. You play it by hitting its 88 black and white keys with your fingers, which suggests it belongs in the percussion family. The piano has the largest range of any instrument in the orchestra. It is a tuned instrument, and you can play many notes at once using both your hands. Within the orchestra the piano usually supports the harmony, but it has another role as a solo instrument (an instrument that plays by itself), playing both melody and harmony. Timpani look like big polished bowls or upside-down teakettles, which is why they're also called kettledrums. They are big copper pots with drumheads made of calfskin or plastic stretched over their tops. -
TC 1-19.30 Percussion Techniques
TC 1-19.30 Percussion Techniques JULY 2018 DISTRIBUTION RESTRICTION: Approved for public release: distribution is unlimited. Headquarters, Department of the Army This publication is available at the Army Publishing Directorate site (https://armypubs.army.mil), and the Central Army Registry site (https://atiam.train.army.mil/catalog/dashboard) *TC 1-19.30 (TC 12-43) Training Circular Headquarters No. 1-19.30 Department of the Army Washington, DC, 25 July 2018 Percussion Techniques Contents Page PREFACE................................................................................................................... vii INTRODUCTION ......................................................................................................... xi Chapter 1 BASIC PRINCIPLES OF PERCUSSION PLAYING ................................................. 1-1 History ........................................................................................................................ 1-1 Definitions .................................................................................................................. 1-1 Total Percussionist .................................................................................................... 1-1 General Rules for Percussion Performance .............................................................. 1-2 Chapter 2 SNARE DRUM .......................................................................................................... 2-1 Snare Drum: Physical Composition and Construction ............................................. -
Stick and Mallet Section for the Marching Percussion Ensemble by Clif Walker, Associate Director of Bands & Director of Percussion Studies – Blue Springs High School
Stick and Mallet Section for the Marching Percussion Ensemble By Clif Walker, Associate Director of Bands & Director of Percussion Studies – Blue Springs High School There are many great stick and mallet companies in the world. At Blue Springs High School we use Innovative Percussion due to the superior variety and availability of both quality product and service. The recommendations below can easily be translated into similar products offered by different companies. I. Marching Bass Drum Mallets: A. Size/Weight: Bass drum mallets generally graduate with the size of the drum – the smaller the drum the smaller the mallet (less air to move, less needed to move that air). If you march smaller bass drums (16”, 18”, 20”, 24” for example) you may not need 4 different sizes of bass mallets due to relatively close sizes of this configuration. I have had success with the following recipe: Drum sizes 14” - 18” Innovative Percussion FBX-1 Mallets Drum sizes 20”, 22” Innovative Percussion FBX-2 Mallets Drum sizes 24”, 26” Innovative Percussion FBX-3 Mallets Drum sizes 28”, 30” Innovative Percussion FBX-4 Mallets Drum size “32 Innovative Percussion FBX-5 Mallets If your bass drum section is consistently staged visually backfield or you have a very large band/winds, you may want to consider larger mallets (and larger drums, and larger kids to carry them!). Keep in mind, mallets size/weight effects volume, not articulation. B. Articulation: Bass drum mallets general come in 3 degrees of articulation: 1. Wood (very hard/very articulate) –back of the felt mallet/using the handle side 2. -
University of North Texas Percussion Manual
940-369-7974 University of North Texas E-mail – [email protected] Percussion Manual Websites - www.music.unt.edu/percussion Fall 2017 - Summer 2018 This manual of procedure is intended to be a guide for UNT percussionists majoring in: ●Percussion Applied Performance: Concert Artist or Symphony Orchestra Player ●Jazz Studies or Music Education (Concentration): Jazz Artist or Public School Teacher ●Other concentration areas include: Theory, Composition and Musicology. Bachelor of Arts in Music and secondary lessons (minor or elective) also follow these guidelines Please read and retain the information contained in the following pages. UNT Percussion Faculty: Office Telephone E-Mail Mark Ford, Coordinator Percussion Area MU130 940-369-7974 [email protected] Percussion Ensembles ● Studio Percussion Gideon Alorwoyie - African Ensembles MU113 940-565-4113 [email protected] José Aponte - Afro-Cuban/Brazilian Ensembles BH 201 281-433-5411 [email protected] Christopher Deane - Orchestral ● Studio MU140 940-565-3714 [email protected] Percussion ● Percussion Ensembles Paul Rennick - Drumline ● Percussion MU141 940-565-2583 [email protected] Ensemble ● Studio Percussion Quincy Davis - Drum Set MU133 940-369-7536 [email protected] Adjuncts: Michael Drake - Drum Set MU139 214-649-0704 [email protected] Stockton Helbing - Drum Set MU139 972-241-4781 [email protected] Stephen Barnes - Drum Set MU139 [email protected] Ed Smith - Vibraphone ● Gamelan Ensemble MU114/MA113C 214-529-9319 [email protected] Poovalur Sriji - South Indian Cross Cultural Ensemble BH 206 940-594-1335 [email protected]* *note that Professor Sriji strongly prefers to be contacted by text NOT email.