Marching percussion arrangements for the enhancement of essential performance skills Item Type text; Dissertation-Reproduction (electronic) Authors Buyer, Paul Lorin Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 07/10/2021 00:08:20 Link to Item http://hdl.handle.net/10150/284649 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. 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Contact UMI directly to order. Bell & Howell Information and Leaming 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 MARCHING PERCUSSION ARRANGEMENTS FOR THE ENHANCEMENT OF ESSENTIAL PERFORMANCE SKILLS by Paul Lorin Buyer Copyright @ Paul Lorin Buyer 1999 A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS wrra A MAJOR EST MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 1999 XJMI Number: 9934870 Copyright 1999 by Buyer, Paul Lorin All rights reserved. UMI Microform 9934870 Copyright 1999, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 2 THE UNIVERSITY OF ARIZONA ® GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the document prepared by Paul Lorln Buyer entitled Marching Percussion Arrangements for the Enhancement of Essential Performance Skills and recommend that it be accepted as fulfilling the reqxiirements for the Degree of Doctor of Musical Arts Gaw Cofejel j Date < ijn 7 ^Arman Welnbe^^^ Date"/ / // James O'Briert ^ Date/ Date Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College. I hereby certify that I have read this document prepared xmder my direction and recommend that it be accepted as fulfilling the requirement. Director Gary Cooli^ Date 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under the rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: 4 ACKNOWLEDGEMENTS This project would not have been possible without the guidance, support, and assistance of numerous individuals who offered their experience, resources, and belief in the vision of the author. My sincere appreciation and gratitude is extended to Gary Cook, my major professor and Director of the University of Arizona School of Music and Dance, for his commitment to my education and for always believing in the value of this project Thanks to the rest of my doctoral committee, Norman Weinberg, Director of Percussion Studies; James O'Brien, Professor of Music; Gregg Hanson, Director of Bands; and Jay Rees, Associate Director of Bands, for their continued support and encouragement while pursuing my doctoral studies. I would also like to give a special thanks to Lyneen Elmore who kept me on track and supported my every endeavor throughout my years at the University of Arizona. I am forever indebted to my family, Richard, Kris, Jason, and Kennedy Buyer, Andrea and Ken Cohen, Rose Radlove, and Michael Baiter for aU their unconditional love and support. I would like to thank Rick Sears, Allison Smith, Amy Haverfield, and Rich Rees for their valued friendships and to my friends and colleagues. Rick Goodstein, Mark Hosier, Linda and John Bleuel, Dan Rash, Terri Sinclair, Chip Egan, David Hartman, Andrew Levin, Erwin Mueller, Thom Hannum, and Riley Rose for sharing their expertise and supporting this project. PLB 5 TABLE OF CONTENTS ACKNOWLEDGEMENTS 4 SELECTED ARRANGEMENTS 7 LIST OF ILLUSTRATIONS 8 ABSTRACT 10 CHAPTER I. THE NEED FOR A NEW EVALUATIVE TOOL 11 Essential Performance Skills 12 The Criteria 14 n. SOURCES OF THE FIVE CRITERIA 23 m. INSTRUMENT EVOLUTION, MANUFACTURER CONTEOBUTIONS, AND WRITING AND PLAYING STYLES SINCE 1960 41 Evolution of the Snare Drum 43 Evolution of Snare Drum Writing and Playing Styles 46 Evolution of Marching Bass Drums 55 Evolution of Bass Drum Writing and Playing Styles 58 Evolution of Multi-Tenors 60 Evolution of Multi-Tenor Writing and Playing Styles 62 Evolution of Marching Cymbals 65 Evolution of Cymbal Writing and Playing Styles 66 IV. STAGING AND DRILL DESIGN 69 V. EVOLUTION OF STOCK CHART ARRANGEMENTS 75 VL PUBLISHER REVIEWS 79 Vn. ANALYSIS OF ARRANGEMENTS 86 Over The Rainbow 86 And The Band Played On 91 Brass Roots 97 Men In Black 101 The Wizard of Oz (Medley) 105 Get On Your Feet Ill 6 El Gato 115 APPENDIX 1 Over The Rainbow 122 APPENDIX 2 AnJ The Band Played On 130 APPENDIX 3 rajJ Roots 140 APPENDIX 4 Men In Black 150 APPENDIX 5 The Wizard of Oz (Medley) 157 APPENDIX 6 Get On Your Feet 183 APPENDIX 7 EZ Gato 192 GLOSSARY 200 REFERENCES 205 7 SELECTED AREIANGEMENTS Title Publisher Difficultv Level Year Over The Rainbow Jenson Grade 4 1967 And The Band Played On Arrangers' Medium 1996 Brass Roots Band Music Press Grade 3 1996 Men In Black Hal Leonard Grade 2 1997 The Wizard OfOz (Medley) Warner Brothers Grade 5 1998 Get On Your Feet Row-Loff Medium 1998 El Gate Matrix Easy 1998 8 LIST OF ILLUSTRATIONS Over The Rainbow FIGURE 1.1, Ride cymbal part containing ruffs, measures 24-29 87 FIGURE 1.2, Drumset-oriented timekeeping part, measures 15-22 87 FIGURE 1.3, Sextuplet accent pattern, measures 15-16 88 HGURE 1.4, Double stroke rolls, sextuplets, and syncopated rhythms, mm. 17-23 88 FIGURE 1.5, Well-written bass drum part supporting wind arrangement, mm. 15-39 89 FIGURE 1.6, Poorly conceived musical transition, measure 47 90 And The Band Played On FIGURE 1.7, Advanced double time jazz feel, measures 1-4 91 FIGURE 1.8, Poorly written tenor part, measure 6 92 FIGURE 1.9, Ineffective bass drum writing, measure 13-14 92 FIGURE 2.1, Poorly written cymbal part, measure 21-23 93 FIGURE 2.2, Poorly written bass drum part, measure 32 94 FIGURE 2.3, Poorly conceived percussion scoring, measures 51-52 95 Brass Roots FIGURE 2.4, Monorhythmic percussion parts, measures 17-24 98 FIGURE 2.5, Tenor scrapes, measures 41-44 99 FIGURE 2.6, Tenor sweeps, measures 71-75 99 FIGURE 2.7, Poorly written cymbal part, measures 51-58 99 Men In Black FIGURE 2.8, Poorly conceived cymbal part measures 5-8 101 FIGURE 2.9, Thin bass drum texture, measures 26-30 102 FIGURE 3.1, Snare drum part containing beginning level essential performance skills 103 The Wizard of Oz (Medley) FIGURE 3.2, Poorly written rhythm, measures 17-18 106 FIGURE 3.3, Inappropriate bass drum part, measures 4-5 107 FIGURE 3.4, Virtually unplayable snare drum sticking, measure 25-26 107 FIGURE 3.5, Poorly written snare drum part, measures 27-29 108 FIGURE 3.6, Triple strokes, measures 103-105 109 FIGURE 3.7, Double stops, scrapes, and crossovers, measiu:es 127-130 109 FIGURE 3.8, New sticking for triple strokes, measures 103-105 109 FIGURE 3.9, New sticking for double stops, scrapes, and crossovers, mm. 127-130 110 9 Get On Your Feet FIGURE 4.1, Well written percussion groove, measures 18-23 112 FIGURE 4.2, Well written punctuation concluding a phrase, measure 20 113 FIGURE 4.3, Soloistic percussion feature, measures 31-36 114 El Gato FIGURE 4.4, Bass drum timing notation, measures 2-4 116 FIGURE 4.5, Sticking policy application, measure 26 117 10 ABSTRACT The intent of this study is to examine a wide variety of marching percussion arrangements and to evaluate the extent to which these arrangements foster the development of essential performance skills, specifically timing, reading, technique, and musicianship. My evaluation will be based on five original criteria derived from the pedagogical literature, selected repertoire, and my personal teaching experience. These criteria can be used to evaluate the overall quality and musicality of these arrangements and assure that the development of essential performance skills is addressed in the marching percussion ensemble.