Marching percussion arrangements for the enhancement of essential performance skills
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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.
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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. Arrangements for beginning, intermediate, and advanced ensembles will be evaluated. This study will not present a method on marching percussion techniques and will not deal in depth with the front sideline pit ensemble. It Avill focus on the percussion battery arrangements and to what extent they facilitate the development of essential performance skills. The critical need for this study is demonstrated by the excessive number of published marching percussion arrangements that do not properly address the development of essential performance skills, nor meet the stated criteria. Students who experience music performance through these arrangements experience learning that is counterproductive and are deprived of powerful, meaningful, and stimulating musical experiences. It is my hope that this document wiU make a valuable contribution to the profession by strongly developing an awareness of quality marching percussion arrangements, as well as promoting through this awareness more quality marching percussion arrangements based on the criteria. Further advocacy of the criteria and essential performance skills will be achieved by presenting clinics, raising awareness in college percussion method courses, publishing articles, web page dialogues, and publishing companies hiring better arrangers. 11
CHAPTER I
IHE NEED FOR A NEW EVALUATIVE TOOL
For years, marching percussionists have been furnished with inadequate music to play throughout their marching band experience in middle school, high school, and college by way of published stock chart arrangements. I have researched and evaluated over forty stock chart arrangements and have concluded that the majority of these arrangements, which are performed by hundreds of marching bands across the country every year, are poorly written and do not provide students with a positive musical experience. As marching band continues to be a primary recruiting tool for developing instrumental musicians at the middle school and high school levels, we owe it to these students to offer them quality music that challenges them and provides them with the opportunity to grow in many different ways. There has been steady and significant progress made in the area of defining student goals in a marching percussion ensemble. Today, the marching percussion activity is thriving with talent, quality instruction, method books, videos, articles, professional organizations, summer camps, drum line homepages, state of the art equipment, company sponsorships, drum line contests, individual competitions, and indoor drum line circuits. So why, then, in an age of progress, does there continue to be an "unwritten rule" that instructors feel they must always rewrite parts that have been published in a stock chart arrangement? One reason is that the majority of stock chart arrangements fail to present what I call in this document, "essential performance skills," which are musical and technical sknis that are essential to a percussionist's training during his or her middle school, high school, and college marching band experience. Essential performance skills should always be presented in an arrangement, giving the player the opportunity to develop them. Developing these skills will allow the player to achieve success in the marching 12 percussion ensemble by being able to perform the repertoire. Furthermore, these performance skiUs should be categorized according to ability level because an arrangement's ability level should be determined by the essential performance skills it contains. Below are the essential performance skills I have developed for beginning, intermediate, and advanced levels.
Beginning Level Rssential Performance Skills:
1. Fundamental reading proficiency- the ability to read and perform basic rhythms and rest values consisting of quarter notes, eighth notes, and sixteenth notes in duple- and quadruple-simple meters.
2. Timing awareness- the ability to play with a metronome, with steady and accurate tempo, piilse, and subdivision.
3. Basic rhythmic patterns and repetition performance- the ability to read and perform 1-4 measure phrases that are repeated and occur frequently in the music.
4. Alternating sticking and accent pattern performance- the ability to read and perform the alternation of right and left hand strokes while playing accents on specific beats and subdivisions at quarter note = 80-120.
5. Unison bass drum part performance- the ability of all players in the bass drum section to read and play the same rhythms with the same sticking at the same time.
6. Sticking policy application - the practice of playing the stronger pulses in a rhythm with one's dominant hand by intentionally selecting a sticking that allows for such practice.
Intermediate Level Essential Performance Skills*
1. Syncopation performance- the ability to read and perform syncopated rhjrthms that create a conflict between the underlying pulse and the actual rhythm sounded.
2. Basic drumming rudiment proficiency- the ability to read and perform single strokes, accents, flams, double strokes/diddles, and rolls at quarter note= 100-130.
3. Section interplay awareness- the ability, while playing, to listen and relate to the interaction of the snare voices, tenor voices, and bass voices in the context of the full marching percussion ensemble. 13
4. Split bass drum part performance- the ability to read and play parts consisting of simple rhythms that are divided among the players in a bass drum section producing one melodic line, as in a hand-bell choir.
Advanced Level Essential Performance Skills
1. Advanced drumming rudiment proficiency- the ability to read and perform flams, drags, taps, flam drags, cheeses, inverted flam-taps, rolls, paradiddle-diddles, heartas, pataflaflas, and triple-strokes at quarter note= 130-160.
2. Advanced sticking combination performance- the ability to read and perform any sticking combination or permutation that deviates from a standard sticking policy or single-stroke and double-stroke rudiments at quarter note= 130-160.
3. Split bass drum and cymbal part performance- the ability to read and perform parts consisting of complex rhythms that are divided among the players producing one melodic line, as ia a hand-bell choir, (quarter note= 130-160)
4. Ensemble polyrhythm performance- the ability to read and perform various inter related rhythms played simultaneously between sections creating a complex composite rhythm resulting in polyrhythms and polymeters.
In conjunction with the essential performance skills, the following original criteria have been developed as the foundation of this docxunenL These criteria can be used to evaluate the overall quality and musicality of an arrangement and assure that the development of essential performance skills is addressed in the marching percussion ensemble. The critical need for this study is demonstrated by the excessive number of published marching percussion arrangements that do not properly address the development of essential performance skills, nor meet my five criteria. Students who experience music performance through these arrangements experience learning that is counterproductive and are deprived of powerful, meaningful, and stimulating musical experiences. "So many publishers in the business today are printers who don't care about quality, but only about what sells. We must not allow them to give the band a bad reputation nor to make our decisions for us, since the music we choose today can affect students forever" (Dvorak 1993,7). It is my hope that this document will make a 14 valuable contribution to the profession by strongly developing an awareness of quality marching percussion arrangements, as weU as promoting through this awareness more quality marching percussion arrangements based on the following criteria.
THDE CRITERIA
Criterion No. 1: Arrangements Need to Fit the Performers' Present Ability Level
Ability level is the level of musical and technical skill that each individual possesses, as well as the totality of the ensemble. It is also considered to be the level of each segment (i.e.), the snare dnun, tenor, bass drum, and cymbal sections. It is the "nature of the beast" in a marching band for the ability level of a marching percussion section to change each year as personnel changes within the ensemble. One must always be aware of each segment's present ability level and balance this awareness with music that will challenge students and give them the opportunity to improve. However, challenging players' technical skills can never override performing at a high level of quality. One must be realistic in asking the question of whether or not, with quality practice, careful instruction, and sufficient rehearsal time, the arrangement(s) can be performed at a high level. Assuming auditions are run effectively and instrument assignments are logical, the abiKty level of the entire ensemble can be challenged on both an individual and ensemble basis throughout the course of a marching season.
Criterion No. 2: Arrangements Need to Fit the Music
Many percussion parts are arranged in such a way that the percussion arrangement marginally supports, reinforces, or compliments the wind arrangement. Challenging an-angements can become overwritten and technique-oriented, while the percussionists never understand how their parts contribute to the overall marching band production. It is the arranger's responsibility to write quality percussion parts that compliment the wind parts, but it is the director's responsibility to oversee the 15 percussion arrangement in relation to how the entire musical package works together. The director must also oversee the placement of the dnun line on the field in relation to the winds for each arrangement (staging). The director must then determine whether the percussion arrangement is playable in relation to the drill written, and if the arrangement yields clarity and balance in all voices. In order to fit the music, a percussion arrangement must also be written at the proper tempo to allow performance skills to sound appropriate and musical. Proper tempos for marching percussion performance are imperative if performance skills are to be developed properly and musical intent is to be achieved in an arrangement This musical intent is achieved when arrangements are performed at proper tempos, percussion parts reflect and enhance the wind score, and the percussion arrangement contributes to the integrity of the overall arrangement
Criterion No. 3: Arrangements Need to he Selected with Consideration for Sufficient Rehearsal Time
When choosing an arrangement, or choosing when to perform an arrangement with regards to the students' development, the school calendar, or the time of the season, one must carefully consider the amount of quality rehearsal time that will give the entire marching band the best opportunity to perform the arrangement(s) and drill at the highest level. This is especially important in the context of an entire show. The director must keep in mind the extensive amount of music that marching percussion sections must leam and memorize within the same period of time as the rest of the band, (i.e.), warm-ups, cadences, and percussion features. The main goal must be that whatever arrangements and drill are selected or written, there must be sufficient rehearsal time to prepare them properly. If there is not sufficient rehearsal time, then the students will not grow from the experience. Lack of rehearsal time will only cause frustration, unfulfiUment, stress, and a lack of confidence when it comes time for the performance. One practice that helps facilitate a drum line's performance progress on different charts is to have a warm-up routine that addresses the same types of 16
performance skills found in the show music itself. Sufficient rehearsal time depends on the following factors:
1. Difficulty level of the music 2. Difficulty level of the drill 3. Length of the pieces of music 4. Number of pieces of music 5. Number of driU charts/sets to leam 6. Utilizing balance between rehearsing music and rehearsing driU 7. Amount of material to leam for the next performance 8. Amount of time until the next performance 9. Time of the marching season (i.e., band camp to the end) 10. Amount of individual preparation outside rehearsal
Criterion No.4: Arrangements Need to be Conceived with Plaver Benefits and Growth in Mind
It is common knowledge that the commitment and effort put into a marching band on any level can be a rewarding experience. The primary goal of this experience is to instill personal, professional, and musical growth within each student With this conclusion, marching band arrangements must contain elements of technical and musical growth which wiU lead to a more rewarding individual experience. Considering the commitment students make to a marching band, directors owe it to them to provide them with quality music that challenges them and provides them with the opportunity to grow in many different ways. It is important to realize however, that a musical arrangement cannot stand alone to provide this growing experience; the arrangement must be accompanied by quality instruction and guidance to achieve at the highest leveL
Criterion No. 5: Arrangements Need to Foster Students' and Directors' Awareness of Oualitv Marching Percussion Arrangements
A major premise of this document is the need to educate students who are performing these stock chart arrangements and to educate directors who are selecting, purchasing, conducting, and writing drill for these stock chart arrangements. There are 17 far too many choices that exist not to have criteria for identifying, selecting, and performing quality marching percussion arrangements. As previously stated, the criteria that must be considered are: the difficulty level of the arrangement versus the present ability level of the ensemble, how well the arrangement fits the music, whether or not the arrangement can be performed at the highest level with suflBcient rehearsal time, and whether or not the arrangement gives students the opportunity for musical and technical growth. An arrangement that meets the first four criteria will automatically meet this final criterion and is considered a quality marching percussion arrangement Assigning criteria to music is not a new phenomenon. Throughout the last decade, educators, conductors, composers, and publishers of concert band and wind band music have established various criteria to evaluate and categorize their repertoire. The following is a representative sample of their criteria and can be direcdy applied to the criteria I have developed for marching percussion stock chart arrangements. According to the forward found in Texas' University Interscholastic League (UIL) publication. Prescribed Music List, The art of choosing music carries responsibilities of the highest magnitude since our student's musical growth is dependent upon the wisdom of each decision. Therefore, the success of all performing ensembles and, more importandy, the music education of the students (of Texas) is determined in large part by how well each director meets the challenge of providing appropriate, stimulating, and rewarding literature. Always be mindful of the fact tibiat the music chosen will clearly reflect the depth, quality and integrity of our music programs and our priorities as music educators.
In the introduction to Best Music for High School Band, a criteria for music selection is given: The general rationale upon which compositions are selected is reflected in the following principle, namely: Compositions must exhibit a high degree of compositional cr^t. This will determine what students will leam from a piece, and more importandy, what level of aesthetic experience they might ultimately gain from it Only by playing the best music will students gain a taowledge of, feeling for, and appreciation of what is meaningful and what is valuable in music. (Dvorak 1993, 10)
In The Twentieth Century American Wind Band/Ensemble, Frank Battisti gives 18 criteria for the selection of music to aid the school band director in choosing repertoire.
Individual parts should be as interesting as possible. Students like to play pieces that allow everyone to be 'part of the action.' ... Choose music that help each student grow technic^y. Technical and musical demands of the music selected should be compatible with the skills of the ensemble... . Students need to play literature that allows them to approach the expressive character and nature of the music. Literature which m^es excessive technical demands of the students denies them the opportunity to reach this expressive plateau of music making. (Battisti 1995,89) In her article, "Selecting Music For Beginning and Developing Bands," Deborah Sheldon raises many significant points about the importance of appropriate music selection. The types, forms, and variety of performance materials a teacher includes in a curriculum are the building blocks used to develop aesthetic response and musical growth in students ... these selections reflect the musical values of the teacher and, at the same time, facilitate the students' musical learning. The music becomes the 'textbook' of the class and determines what music^ goals will be addressed. Selecting the appropriate music, therefore, is a very important aspect of teaching. (Sheldon 1996,6) Sheldon also states that teachers need guidelines for selecting music. Selecting appropriate music for school bands is critical for providing an enjoyable band experience, developing instrumental executive skills, increasing musical cognition, promoting continued music learning, and programming a sequential, effective curriculum. The ability to evaluate and select materials effectively for school bands is a teachable, leamable skill that needs to be addressed in the undergraduate music education curriculum. (Sheldon 1996, 6) Selecting appropriate music for the marching percussion section is also critical for an enjoyable and fulfilling experience. Indeed the music that percussionists perform throughout their marching band experience will become the textbook for developing performance skills and the curriculum through which they wiU leam. At the imiversity where I teach, the percussionists used to be so disinterested with the stock parts they played for halftime shows they decided to spend their practice time playing nine different cadences. Needless to say, their halftime performances were below average and their entire focus and motivation was based on cadences. This caused them to drift fuither and further away from the goals of the band and band director. However, when I 19
started to write and arrange their music as well as select high quality stock arrangements when I decided not to rewrite parts, their focus turned to halftime performances and a more meaningful musical experience. According to William Bauer in, 'The Selection of Concert Band Music by High School Band Directors," "It is evident from research that Uttie systematic and unbiased training is provided in the preservice years to develop teachers' skills in selecting appropriate levels of quality instrumental literature" (Bauer 1996). According to Richard Goldman in a 1946 article entitled, "The Concert Band," "Yoxmg student musicians need a rich repertoire of well-crafted, playable material that wiU allow them to develop the musical understanding and motor skills necessary for instrumental performance" (Goldman 1946). Sheldon concludes that, "In order to select suitable musical materials for the school ensemble, novice teachers need exposure to all levels and many different styles of band music.... Lists of composers, publishers, and level-appropriate musical material can help familiarize prospective teachers with names and tides" (Sheldon 1996, 7). I believe that a manual of some sort should be developed which stricdy focuses on the percussion score of stock chart arrangements. The Marching Band Compendium, compiled by Robert Meaux, is the most comprehensive resource guide which exists for published marching band music. Meaux includes the tide, arranger, publisher, stock number, year, classification, and grade level. In addition to Meaux's inclusions, the percussion manual would include percussion instrumentation (i.e., trios, quads, quints and number of bass drums), writing style; (i.e., drumset-oriented, corps- style, etc.), and ability level, which may differ from the wind arrangement's grade classification. This manual would be written by an expert in the field of marching percussion and would certainly expedite the selection process. I concur with the following statement made by Sheldon and once again emphasize its application to the criteria I have established for marching percussion stock chart arrangements. 20
As the number of school band publications grows yearly and the market becomes saturated with both excellent and poorly crafted music, it becomes increasingly important to have a method for identifying and evaluating quality materials for band programs.... Although there is agreement that performance music should be of good quality, identification of specific musical attributes that signal quality craftsmanship in young band literature seems to be somewhat elusive. (Sheldon 1996, 8-9)
As far as developing performance skills, Sheldon comments, "The repetition of certain musical concepts, particularly those requiring new physical skills, is necessary for young children to gain understanding and automaticity" (Sheldon 1996, 10). Sheldon also encourages teachers to look for expressive elements when selecting music, such as dynamics, embellishments, crescendos, decrescendos, accents, changes in meter, rubatos, ritards, accelerandos, and fermatas. "Literature for beginning and developing ensembles can and should incorporate some of the techniques that lead to expressive opportunities. To choose literature without these contrasts in expression is to choose bland music and miss the chance to extend the instrumental and musical skills of young band students" (Sheldon 1996, 11). These musical elements are essential to the growth of any musician and must be incorporated into marching percussion arrangements. In this statement, Sheldon reflects my fourth criterion. It is common for marching percussion sections to play only two dynamic levels, that being forte and fortissimo; however, if these expressive elements are incorporated into the percussion parts, these skiUs can be acquired through performance, dynamic contrast can be practiced, and concepts such as phrasing and musicality can be developed by the marching percussionist One of the most essential elements of music selection according to Sheldon is a composition's level of difficulty. Students need music that provides opportunities to practice newly acquired skills and, at the same time, challenges them to reach the next level of achievement Determining a work's level of difficulty is a comprehensive consideration of all the elements it contains. After the composition's difficulty level is assessed, the teacher will want to compare all of its musical elements with what he or she knows the students are capable of achieving. Generally, band repertoire should provide opportunities for musical growth through successive approximations. If fundament^ music concepts are reinforced and new concepts are introduced in small, achievable increments, the probability for success among students grows. Conversely, if the student is inimdated with new and difficult material that has 21
not been approached gradually, the likelihood of student failure increases. (Sheldon 1996, 11-12)
This statement underlines my first and fourth criteria. The two criteria are inter related because the difficulty level of an arrangement directly influences how much a student will grow from the experience of practicing, rehearsing, and performing a particular arrangement. If the music is too difficult, a student will gain a fiaistrating experience of attempting to play something that is beyond his ability level. Similarly, if an arrangement is too easy, a student will not be challenged and as a result will experience boredom and complacency. If a student's potential is not challenged, he will not grow or benefit from the experience. Sheldon also addresses the importance of having sufficient rehearsal time, which is my third criterion. Of course, after all of these elements are considered, the substance of the musical material must be weighed against the availability of rehearsal and practice time. Although students may be capable of musical challenges, the amount of available rehearsal time will often necessitate the selection of music that can be ready for performance in a relatively short period of time. Selections that are too advanced for the amount of time the ensemble has to rehearse may be frustrating for the teacher and students. (Sheldon 1996,12) In today's high school and college marching bands, one would think that a four to five month season would be more than enough time for a band program to accomplish its goals every year. In addition to band camp, where on the average an entire week is devoted to marching band, consistent two-hour rehearsals, parades, pep rallys, and football games are the protocol of a band member's life during marching season. With this much time, why do band directors always seem to find themselves in a chaotic fi:en2y searching for enough rehearsal time to accomplish their goals? There are a multitude of reasons, ranging from bands who prepare five to six different halftime shows a year to bands who woodshed every detail and strive to produce an audio-visual product of superior impeccability. Sufficient rehearsal time is the primary consideration for accomplishing these goals and a consideration upon which every decision regarding music and drill must be based on. In relating these concepts to marching percussion sections, the difficulty and length of the music as well as the drill must be weighed 22
against how much rehearsal time is available. The main goal must be that whatever arrangements and drill are selected or written, there must be sufficient rehearsal time to prepare them properly. If there is not sufficient rehearsal time, then the smdents will not grow from the experience. Lack of rehearsal time will only cause frustration, unfuLBUment, stress, and a lack of confidence when it comes time for the performance. Sheldon states that the teacher should be able to determine the purpose of a musical selection and the ways in which it addresses the musical needs of students. As far as developing a curriculum that will provide students with the best possible musical experience, Sheldon suggests, "it is incumbent upon methods instructors to teach their students how to objectively measure the compositional value of band literature and decide how these qualities can be used as a basis for curricular decisions" (Sheldon 1996, 13). This final statement supports my fourth criterion and should be implemented into the percussion methods class at the university level. It is our responsibility as percussion educators to make our future band directors aware of the wide variety of published marching percussion arrangements that exist. A major premise of this dociunent is the need to educate students who are performing these stock chart arrangements and to educate directors who are selecting, purchasing, conducting, and writing drill for these stock chart arrangements. As stated in my fifth criterion, there are far too many choices that exist not to have criteria for identifying, selecting, and performing quality marching percussion arrangements. In conclusion, these criteria and philosophies can be directly apphed to marching band music, and more specifically, marching percussion stock chart arrangements. The legendary composer Paul Hindemith also shared these views as he believed affecting amateur musicians through the performance of "good music" appropriate to their skills should be the credo for school band directors and everyone directing amateur music groups. Hindemith created good music for the amateur; today's conductors must select good music for performance by students and amateurs (Battisti 1995,5). 23
CHAPTER n
SOURCES OF THE FIVE CRITERIA
There are many credible and effective published methods which exist to develop the essential performance skills of timing, reading, technique, and musicianship in the contemporary marching percussion ensemble. These methods consist of technical warm-ups and exercises to develop these performance skills; however, further application of these concepts are not always carried over from method book exercises into the musical arrangements themselves. Arranging for marching percussion has become a very individualized creative process, analogous to wind arranging and composing. Concepts that are discussed in the following articles and method books include scoring and arranging, technique development, staging, and warm-up programs. A significant emphasis is placed on technique development in many of the resources, containing endless variations of exercises and warm-ups for marching percussion. The following literatxure was selected for its quality and popularity, and represents contemporary, up-to-date, and current contributions to the pedagogy. For the first time, a method book has been written focusing on performance techniques for multi-tenors. Modem Multi-Tenor Techniques and Solos by Julie Davila is designed to provide students and teachers with a systematic approach to develop the essential performance skills necessary to become proficient on multi-tenors. According to DavUa, "the main focus of the first half of the book is to provide a wide variety of exercises aimed at developing technique and increasing dexterity and flow around the drums. These exercises cover fundamentals of stroke, development of motion and flow, introduction of scrape, crossover and sweep patterns, and rudimental applications designed to challenge the intermediate to advanced tenor player" (Davila 1997, 3). The second half of the book contains sixteen contemporary solos written progressively for beginning, intermediate and advanced levels. 24
Davila emphasizes that the solos are intended to be used as a vehicle to develop skills and techniques, while providing students with opportunities to accomplish and perform literature on tenors. Davila's concepts direcdy relate to the development of essential performance skills in the marching percussion ensemble. Her progressive approach to learning and step-by-step developmental program trains students to become technically and musically proficient on the instrument. Furthermore, Davila's organization of sixteen multi-tenors solos representing easy, medium, and advance levels correlates with my intent and thesis that marching percussion arrangements can be rated for difficulty. Championship Technique For Marching Percussion, by James Campbell, is a method book designed to provide the essential skills for developing a championship drum line. According to Campbell, "It is both an effective step-by-step method for technique development and a musical resource for providing warmups and cadences that help build performance excellence in a marching percussion section" (Campbell 1997, 3). Campbell discusses establishing a quality of sound, matching pitch and tone quality, and blending a sonority when playing. He stresses the importance of playing the warmups outside of the "comfort zone," which he describes as a basic pulse of 120 mm. This will focus players on "developing skills they don't have rather than spending all of their time playing things that they do well all the time" (Campbell 1997, 3-4). Campbell designates a section prior to each warmup entitled "Core Concepts." These concepts provide a clear outline of the expectations and goals for developing fundamental skills in each warmup. He emphasizes that the warmups should "go beyond the function of simply getting everyone in the section loose" (Campbell 1997, 4). He states that there needs to be goals established based upon the needs for performing certain musical elements and technical skills. "These warmups provide an opportunity for progressive technique development that concentrates on the fundamental skills of a championship marching percussion section. The skills that the warmups develop will help marching percussion ensembles perform with greater clarity, sensitivity, and expression" (Campbell 1997,4). Developing these skills will allow 25 players to perform any technical or musical demand that they may encounter in marching percussion music. This is by far one of the best new method books available today. In Bob Breithaupt's The Complete Percussionist, the author briefly addresses some key issues in scoring and arranging for the marching percussion ensemble. He firmly states that, "Percussion writing for the marching unit is as important in the modem arrangement as any other element within the ensemble" (Breithaupt 1991,78). Breithaupt states that due to the critical nature of the modem marching percussion section, directors often find it necessary to enhance published parts, simplify parts, or to have custom parts written for them. Breithaupt cites three guidelines for scoring and rescoring percussion parts. The first guideline is to make the part fit the music. This supports my second criterion. According to Breithaupt, 'Tarts which are too florid for a particular style or too simplistic to create the proper feeling are not effective.... Parts can easily become too 'thick,' effecting the overall impact of the arrangement" (Breithaupt 1991, 79). According to Breithaupt, the "critical nature" of the marching percussion unit mandates enhancing or simplifying parts. The second guideline is to make the part fit the players. This supports my first criterion. "The principal reason for rescoring is that published parts are often too difficult for the level of performers" (Breithaupt 1991, 79). The third guideline is to consider the field placement of the section and ensemble. "Field placement has a strong impact on instrument selection and part writing. The drill designer should have a clear concept of the percussion parts when charting the show" (Breithaupt 1991,79). In the marching percussion chapter of Gary Cook's second edition of Teaching Percussion, in which I am a contributing author, a complete and thorough discussion on developing a marching percussion warm-up routine is presented. The warm-up routine addresses the development of the following performance skills: single-handed exercises, alternating singles or "drop-ins," tap/accent exercises, duple and triple timing patterns, double stroke development, and roll development. Flams, drags, and hand-to-hand accent patterns are also addressed as weU as various fiiU ensemble warmups and 26 conditioning exercises to culminate the wannup routine. The section on scoring and arranging gives credit to "commercially available marching band arrangements published with good percussion parts" (Cook 1997, 376). The authors go on to say that, "It is also still very common, and sometimes necessary, to rewrite or arrange original percussion parts to fit the strengths and weaknesses of the specific band and percussion section" (Cook 1997, 376). This statement supports my first criterion. My second criterion is also emphasized in that good percussion scoring will result in greatly enhancing the music. By supporting my third criterion. Cook states, "The only limitations are that the arrangement must be technically playable by the section and fairly easily memorized in the rehearsal time allotted" (Cook 1997,379). In regards to my first criterion, it is recommended for the arranger to write parts at an easier level at first for several reasons. It is more motivating for the players to 'beef up' easier parts that are being played well than it is to 'water down' difficult parts that are not An arranger must realize that all the players in each section, not just a few, must be able to play the parts weU. Granted, if the players are going to grow and improve as musicians, then it is important to challenge them with quaKty, demanding music; however, it is ultimately up to the percussion instructor and director to make decisions about arrangements that will produce the best overall product in the end. (Cook 1997, 380) The chapter concludes with many effective scoring examples for the full marching percussion ensemble. There is a strong emphasis on developing the essential performance skills of timing, reading, technique, and musicianship presented throughout the warm-up routine. While Cook gives credit to the many well-written published arrangements, he also reinforces my first four criteria. In Dennis DeLucia's book, Dennis DeLucia's Percussion Discussion, the author addresses his teaching philosophy which is based on not only teaching a drum line, but the individual as well. "On a scale of 1 to 10, if your student (or drumline, or snare line, etc.) is a '5' in terms of talent and experience then create a program of exercises and charts that is aimed at a '6' not a '9'! Write your charts so they are musical, educational and attainable" (DeLucia 1995,6). Philosophy number eight 27 addresses how students should benefit and grow from developing a playing style. "Always consider what is in the best interest of the growth and development of each individual... Create a style of playing that will enhance rather than impede his or her ability to play on other percussion instruments..." (DeLucia 1995, 6). When discussing technique, DeLucia credits Roy Bums and states, "Never display your immaturity by playing 'technical' passages that are out of character with the music" (Delucia 1995,10). In chapter nine, DeLucia lists twenty rules for writing percussion arrangements. These rules can be applied to rewriting existing published arrangements as well as creating custom arrangements. Since so many stock chart arrangements are drumset-oriented in style, they often fail to provide the rudimental techniques that are characteristic of playing in a marching percussion section. Far too many stock percussion parts, especially those found in rock charts, are literally transcribed, and yield repetitive eighth note patterns played on hi-hat with snare drum on two and four. The tenor and bass drum parts tend to be just as repetitive, usually resulting in patterns that do not contribute to the music, but instead seem to only keep the players occupied. Needless to say, the cymbal players do not play very often in these charts because they are holding their instruments for the snare line throughout The only performance skills these drumset parts develop are timing and independence. In their defense, it is difficult sometimes to create rudimental or corps- style arrangements for tunes that are rock-oriented, because of the simple structure of form, chord changes, and constant tempo. This can be especially challenging in writing for a rock ballad, such as Hal Leonard's Friends in Low Places. DeLucia suggests when conceiving a marching percussion arrangement to combine the idiom of the original material with the marching music idiom. The arranger's job "is not to literally transcribe what's on the original, but to make the marching version soimd and feel great on the football field" (DeLucia 1995, 139). DeLucia continues, "Write only those figures that will contribute positively to the total musical score. If the music doesn't need it - don't write it" (DeLucia 1995, 139). He emphasizes the need to tune and stage 28
the ensemble properly if the percussion writing is to be effective. "Ask yourself if the woodwind/brass ensemble sounds better or worse once the percussion is added. Be willing to rewrite and improve the percussion chart after you've heard the ftiU ensemble and seen the drill. Rewrite again ... and again .. . and again" (DeLucia 1995, 140). The book also contains many technical warmups and exercises, including rudiments, reading exercises, drumset grooves, independence exercises, cadences, and a percussion feature. DeLucia's philosophy reinforces my first, second, and fourth criteria. In "A Chat With Dennis DeLucia," by Chris Crockarell, DeLucia states that the role of the drum line is to "drive the car" and to color the picture. He stresses that "too many people just flat over-write" (Crockarell 1998, 31). DeLucia's philosophy on arranging is to "create the most interesting, textural and effective way to support the music so that the composition sounds much better with your contribution of percussion than it does without if (Crockarell 1998, 31). DeLucia emphatically states that the music has to come first and that it sets your parameters as an arranger. "An arranger's primary job is to enhance the musical score that you are given" (Crockarell 1998, 31). These emphatic statements not only support my second criterion, but bring to fruition the purpose, role, and motivation behind a marching percussion section and those who write for it The article, "Writing Quality Marching Percussion Arrangements For Developing Drumline," by Glen Fuggett, begins by stating that great strides have been made in the development of exercise programs designed to improve the technical aspect of marching percussion sections. Instructors have devoted a significant amount of time and energy to this subject and the results have exceeded expectations. Like DeLucia, Fuggett expresses concern for arrangements that are overwritten. He states, "In the process of trying to write difficult battery parts, many compositional elements and techniques can be overlooked" (Fuggett 1993, 26). Fuggett stresses the importance of analyzing the present ability level of your group firom a technical and musical standpoint 29
This supports my first criterion. He goes on to list key factors in writing for the marching percussion ensemble such as overall focus of the program, student goals, difficulty level of the music, style, staging, and amount of rehearsal time, which supports my third criterion. As far as the creative process, Fuggett suggests studying the original score, collaborating with the wind arranger, and keeping in the mind the "big picture" and less on the "nuts and bolts" such as stickings, rolls, drags, and flams. If there is a concern about whether the players wiU be able to play something, Fuggett suggests writing without embellishments at first (lesser degree of difficulty), and "having an optional part with the embeUishments added ready to be passed out should the players develop through the year as expected" (Fuggett 1993, 27). He also recommends writing a skeletal part as an initial draft, leaving the arranger the option of leaving it alone for younger groups starting out or embellishing it for more advanced groups. Fuggett also raises an excellent point about part readability. "Poorly copied parts can cause major problems and waste a great deal of time. Make every effort to insure that the parts are clean and include aU necessary details" (Fuggett 1993, 28). Fuggett states that after an arrangement is completed, there will "undoubtedly be certain techniques or timing difficulties that will be new for your students and will require isolated attention. Add exercises to your technique program that will focus on those areas" (Fuggett 1993, 28). One practice that helps facihtate a drum line's performance progress on different charts is to have a warmup routine that addresses the same types of performance skills found in the show music itself. In the article, "Some Thoughts on Scoring and Arranging for the Marching Percussion Ensemble," Ralph Hardimon and Robert Morrison discuss how to create successful arrangements for the marching percussion ensemble while focusing on how basic musical elements are incorporated into a marching percussion arrangement They state that a marching percussion section no longer fimctions ui the role of timekeeper, but instead, fimctions "as the critical element in the success of the way a piece of music is portrayed on the field. As a result, the demands upon an arrangement have increased 30 as much as the demands on the perfonner" (Hardimon and Morrison ND, 1). The authors state three reasons why marching percussion arrangements have taken on new magnitude: diversity of musical style, quality of instruction, and evolution of instruments. Diversity of musical style has occurred rapidly in repertoire selection throughout the last decade for both the marching band and drum corps activity. Groups are performing styles such as classical, jazz, rock, pop, contemporary, and broadway musicals. Many arrangements are selected directly from concert band, orchestra, and jazz band libraries and are conceived to be very true to the original intent of the composer and original score. A second influence to the evolution of marching percussion arrangements is the significant increase of quality instructors who are teaching and performing in the marching percussion genre. Since marching band continues to be one of music education's strongest recruiting tools in high school, more qualified and trained percussionists are now having a significant impact on students' marching percussion education and the quaUty of music being written and performed. With quality instruction now commonplace throughout the country, the marching percussion activity has flourished into a sophisticated art form, bringing with it higher musical and technical demands then ever before, as well as artistic writing styles and arrangements. The final influence Hardimon and Morrison refer to is the evolution of instruments. "Percussion manufacturers are paying more attention to the needs of the marching percussion ensembles. As more and more musical styles are introduced, more and different equipment is being utilized to achieve these different styles" (Hardimon and Morrison ND, 1). As a result of the manufacturers' contributions, marching percussion sections are now able "to outfit themselves with the instruments needed to accommodate the needs of the music" (Hardimon and Morrison ND, 1). In concluding the first half of the article, the authors state, "It is very important to consider the level of player that will perform the finished arrangement. All too often arrangements are written at a level that the students are not capable of performing. It is important that the music 31 be challenging but not impossible to achieve a high level of music performance" (Hardimon and Morrison ND, 2). This supports my first criterion. In the second half of the article, Hardimon and Morrison provide a checklist of arranging criteria for the development of a complete and thorough score: preparation, idiomatic interpretation, tempo/pulse control, melodic and harmonic support, dynamic contrast, contouring of phrases, accenting, tuning and intonation, articulation, exploring timbre effects, and ensemble blend and balance. A profound statement concludes the article: "It is the responsibility of the arranger to incorporate these considerations into the score and communicate this to the performers. In turn, it is the performers who must communicate this to the audience" (Hardimon and Morrison ND, 3). Scott Koter's article, "Design Tips for Marching Percussion - A Judge's Perspective," looks at the change in writing styles due to a change in the judging system in DCI over the last several years. According to Koter, a DCI judge, these changes have produced some of the most musically sensitive writing and performing that marching percussion has ever seen and heard. The purpose of his article "is to clarify the role of the marching percussion section in the 90s, discuss common problems in percussion writing as they are perceived by most adjudicators, and focus on ways to produce a show that will have any evaluator taking notice of the way the ensemble is contributing to the effectiveness of the music" (Koter 1996, 18). Koter states that the first step to designing a solid marching percussion arrangement is having a strong fundamentals program. Koter believes that all aspects of your writing should be covered in your basics program before the music is taught. He raises three key points to consider when warming up: (1) play exercises that accomplish certain goals and that are pertinent to your technical, stylistic, and musical needs, (2) practice in the same environment in which you perform, and (3) teach to an objective in every rehearsal (Koter 1996, 18). Koter emphasizes making the marching percussion section members aware of how their parts relate to the winds in regard to phrasing and nuance. Koter defines the responsibilities of percussionists in any ensemble as being "to 32 keep a steady tempo, create the correct style/idiom, and raise music to new heights through the use of accents, colors, and embellishments" (Koter 1996,18). He believes that many drumlines have abandoned these concepts in favor of showing off the hottest rudiments and popular licks. Koter states, "Percussion arrangers should write what is appropriate for the music while always considering the experience level of the group as well as the amount of time an organization rehearses" (Koter 1996, 18). This supports my second as well as my third criteria. From an evaluator's perspective, Koter states that adjudicators are always more concerned with the appropriateness of the percussion writing than they are with the difficulty level. He refers to Dermis DeLucia's statement, "Try to imagine the music without the percussion section playing. Does it sound the same, worse or better?" (Koter 1996, 18). Koter suggests following these guidelines when creating a marching percussion arrangement 1. Remember that the role of the section is still to enhance and support the musical score.
2. Consider the number of voices in the group of winds you are accompanying (especially bands). Too many percussion voices layered on top of an already dense wind score create confusion for ^e listeners. 3. Utilize instrumentation that is appropriate for the experience level of the players as well as the style of music.
4. Don't overuse any sound or rhythmic device; its effectiveness will diminish greatly. 5. Consider the role of the primary notes in snare and multi-tom writing. Too often the clarity or "feel" is lost when arrangers add too many flams and rolls - especially for young players. 6. Write for and rehearse the group so that all percussion soimds blend within the sound of the winds. Percussion parts frequently tend to dominate. 7. Understand that staging can drastically change how percussion sections are perceived by an audience. Some of the best writing is often altered or taken out due to a staging situation that hinders pulse, balance, or style. (Koter 1996, 18) In Koter's closing thoughts, he describes that the superior ensembles are both technically and musically proficient- "A great section always understands its role as a 33 supportive element. In addition, they are always able to enhance and raise the total musical score to a higher level" (Koter 1996, 18). Koter states that to be a successful writer, you have to communicate with the wind arranger, know your clients, and understand the goals of the organization, as well as write at a difficulty level that "allows the average player in the ensemble to communicate the music with ease" (Koter 1996, 18). In conclusion, Koter supports my first three criteria and addresses the development of the essential performance skills of timing, reading, technique, and musicianship. In his article entitled, "Developing the Marching Percussion Ensemble," Mark Wessels presents rehearsal techniques and warmup exercises devoted to developing the younger, inexperienced marching percussion ensemble. He states that the purpose of the article is "to isolate specific techniques that individuals must be able to play in order to perform most high school 'corps-style' marching band music" (Wessels ND, 1). Wessels presents five full ensemble warmup exercises addressing five specific techniques to be developed. The fitrst exercise is a single-handed exercise which works on the basic stroke for all instruments. Wessels stresses keeping a relaxed grip, using a fuU wrist motion, and allowing for natural rebound to take place. The second exercise presented develops the accent-tap technique. Wessels comments on the difficulty to execute this exercise properly for many players. This exercise works each hand separately focusing on control of inner beats and can be applied to hand-to-hand sixteenth-note accent patterns. The third exercise presented is a four measure, sixteenth note accent pattern. This type of writing is extremely common in marching percussion arrangements, especially in snare and tenor parts. The exercise develops inner beat control using alternating strokes, keeping them even and consistent Wessels discusses a "squeeze-release" technique at slower tempos where the squeeze keeps the sticks from rebounding and the release allows the inner beats to be played with a relaxed wrist. The fourth exercise is a double-stroke exercise which develops double bounces at a progressive pace in preparation for open rolls found in all corps-style drum parts. Wessels emphasizes that at slower tempos, the double strokes are played with the wrists 34 and as the tempo increases, the fingers take over. The final exercise is the famous "Chicken and a Roll" which addresses the rudimental double stroke roll that is commonplace in all snare and tenor parts, and also in upper bass parts. Wessels discusses use of a roE base and check pattern in first learning this skill, and suggests that tenor players play on one drum before they start moving around the drums. The only performance skill missing from this warmup routine is a flam exercise. Wessels concludes with emphasizing his opening point: with patience and careful attention to detail, you can produce a drumline that has the skills to play 'corps-style' music. By developing these skills, Wessels' concepts relate to my emphasis on developing the essential performance skills of timing, reading, technique, and musicianship. In his article, "Designing an Effective Warm-Up Program for the Marching Percussion Section," Jeff Moore focuses on developing specific performance skills in marching percussion. Moore's approach addresses three distinct areas: (1) The warm-up program should work on technique and fundamentals of the music the ensemble is performing in its field show, (2) each exercise should be constructed so that every section is working on a specific technique or concept, and (3) the exercises should be graduated from the most basic to advanced concepts of technique and ensemble playing. (Moore 1995, 26) Moore's warm-up program is broken up into two categories - "hands separate" (one hand plays at a time) and "hands together" (alternating or hand-to-hand patterns). Moore then designates his dynamic and stick height contrasts as either monotone (same height) or multiple-height (two-height) exercises. The exercises under the "hands separate" category include a single-handed exercise (monotone), an accent-tap exercise (two-height single stroke), and a double-stroke or diddle development exercise in which he supplies two different exercises. The final category in "hands separate" is two-height diddles, where accents are included. Like Wessels, Moore describes how to execute these techniques, citing arm, wrist, and finger motions, and the squeeze-release of the fulcrum for accents and controlling rebound. In the "hands together'' category, the exercises utilize techniques and concepts 35 taken from the "hands separate" approach and puts them "into performance by executing commonly used figures, rudiments, and musical phrases" (Moore 1995, 29). Exercises included a sixteenth-note timing pattem, sixteenth-note accent pattern, a roll exercise, an exercise containing accents, roils, and drags, and rudimental applications such as the flam accent, flam tap, inverted flam tap, flam drag, and single paradiddle. Moore clearly shows that all "hands-together," or hand-to-hand combinations, can and should be learned by breaking them down into "hands separate" exercises. Moore concludes by stating, "When designing a warm-up program, all the aforementioned techniques must be addressed. Proper preparation, critical analysis, concise exercises, and a firm foundation in these areas are the key to better performances and better music from your marching percussion section" (Moore 1995, 31). Moore's concepts mirror Wessels', as they both relate to my emphasis on developing essential performance skills. In the article, "Guidelines for Marching Percussion Arranging," Riley Rose states that many of the problems high school bands and percussion sections endure "can be directly attributed to the selection of music and/or the specific arrangements" (Rose 1994, 27). Rose says, "I personally get very upset when I see young musicians putting in 110% effort into a program when: (1) the music is not within the members' playing abilities; (2) the members have not grasped the concept of the music, the idiom, or the interpretation; and (3) the members are simply playing notes instead of performing music" (Rose 1994, 27). Rose presents six areas in which he feels should be of great concern to aU arrangers. The first area is to evaluate the current playing abilities of the percussion section. This supports my first criterion. "Each section must be evaluated separately, and then as a total ensemble. Only after establishing the ensemble's strengths and weaknesses can you start to plan the appropriate arrangement" (Rose 1994, 27). The second area is to forecast/project the ensemble's rate of improvement. This has to do with how well the section can realistically clean the music and improve their abUity level throughout the season. The third area Rose presents is evaluating the time available for preparation. This supports my third criterion. "All aspects of the 36 unit's demands and availability of practice/rehearsal time must be taken into consideration when planning your arrangements... you must prioritize" (Rose 1994, 27). The fourth area is understanding circumstances which are out of your control, such as inclement weather, illness, test taking, and logistical problems with facilities. The fifth and most substantial area Rose discusses is setting a realistic goal for the program. He emphasizes quality over difficulty and asks certain questions of the arrangers if the music is to be effective. "Is what I've written going to work and, can the ensemble effectively perform the product? Shouldn't the ultimate goal be to give the members a chance at a product they can be proud of?" (Rose 1994, 27). Rose expresses that he would rather see an ensemble play easier music well than "to watch an ensemble attempt music that is too difficult, resulting in a half-hearted and stale performance" (Rose 1994, 27). Rose concludes, 'Tf the arrangement is unrealistically difficult from the start, then the ensemble never stands a chance at having terrific performances." (Rose 1994, 27). This supports my fourth criterion. The final area is being aware of the confidence and self-esteem levels of all performers. Rose states that students will be much more involved and motivated if the parts are within their grasp from the start. "It is much easier to 'beef up' parts in a drumline that is showing improvement. Jiaving to 'water down' an arrangement because the drumline is unable to execute parts correctly often deflates the line's excitement and enthusiasm" (Rose 1994, 28). To address the fine line between a challenging arrangement that gives players the opportunity for growth and improvement and an arrangement that is too difficult. Rose simply states, "Yes, every performer needs to feel 'challenged' in order to truly grow and improve. However, the performer also needs to feel good about the end result" (Rose 1994,28). Jim Casella, Percussion Caption Head for the Santa Clara Vanguard percussion section, offers many important concepts in his article, "Arranging for the Pit and Battery." Casella begins with recommending that the arranger should define each phrase and its focus and question intent. This simply means that every part or instrumental voice should have a purpose and a role, whether it is feature material, supportive 37
accompaniment, or time keeping. "If it's feature material, you will want to know which segment of the percussion ensemble receives the focus, and how to effectively have the other segments accompany that" (Casella 1998,30). Casella comments on balancing the battery segments within themselves, and then to the winds. "Prioritize which voice should be prominent and which should be secondary. Make these definitions not only for the percussion ensemble, but for the entire ensemble (including winds/brass), and the end result should ensure a uniform approach between winds and percussion" (Casella 1998, 30). Casella raises some strong beliefs on how the rudiments should be incorporated into percussion arrangements. He cautions arrangers to not turn music into rudiments, but to write rudiments into the music. Throwing a bunch of exercises into the middle of a piece of music, just because we've learned and practiced them, would be Uke having a canoe race in the gym on the rowing machines. Rudiments are a training ground for technique and fimdamentals - the same technique and fundamentals that are needed to properly execute the music. If the music doesn't suffer from the addition of rudimental stickings, flams, drags, accents, etc., that will make the benefits of good rudiment^ training more effective and fim for the performers. (Casella 1998,31, 32) He presents a very good suggestion to the percussion arranger which is often not considered; that of practicing on the instruments as one composes. "Spend some time practicing . . . your own music once you have written it. This wiU give you a better familiarity with what is possible (or not possible) on the instrument It wiU also tell you how easy or difficult your parts are, as sometimes it's easy to be fooled if you don't actually try things ou^' (Casella 1998,32). It is emphasized throughout the article to be careful not get too attached to an arrangement once it is finished. "Determine if it's really effective or not, and be ready to 'thin' things out if you were originally too ambitious" (Casella 1998, 33). Casella introduces four guidelines to arranging for the battery. The first is to define the skill level of the drumline. "Percussion students who are still developing as players will often try to bite off more than they can chew. Be honest, and evaluate where their abilities wiU be able to take them over the course of the season. Challenge 38 them, but don't be too ambitious by writing parts for them that will be unachievable" (Casella 1998, 33). This supports my first criterion. The second guideline is to define your knowledge of battery techniques. Basically, this guideline states that you do not have to be a scholarly drum corps buff to write quality battery arrangements. In order to write an effective percussion arrangement, you should never focus on trying to squeeze a bunch, of crazy rudiments in there anyway. Rudimental drummers figure that stuff out on their own, and if they are good enough to be able to handle it (as a line), then maybe you should look at 'beefing up' the difficulty- but only if it doesn't get in the way. The arranger's primary responsibility lies in providing a musical ensemble that can drive the overall tempo, and occasionally showcase and feature the performer's abilities. The percussion arrangement should be able to 'stand alone' when finished. (Casella 1998, 32-33) This supports my second criterion. The third guideline states that rudiments are very important to the conception of an arrangement A solid foundation built on the PAS International Drum Rudiments is absolutely necessary for a marching battery section to be successful. In turn, there arranger must share in this knowledge. Diddle patterns, metered rolls, threes, drag patterns and all the flam rudiments should be 'tools' that you are comfortable with as a player, so you can effectively write them into your drum parts. (Casella 1998, 33) The final guideline that Casella suggests is to write for the music, not for the kids, so the kids will benefit This does not mean to ignore the students' needs to incorporate certain techniques and performance skiUs that will allow them to improve and grow as players, but to write what is necessary for the music, and let everything else become a by product If arrangers write what the students want to play all the time, "players then appreciate a physical challenge more than an emotional connection with the music itself. A good set of hands and chops are great, but without a good foundation to apply them to, it's a waste of talent and it's a shame to deprive students of the emotional experience of pure musicianship" (Casella 1998,34). Lloyd Conley presented his view on choosing good music in 1980, which was reprinted in a recent issue of The Instrumentalist. Take care to select music that is neither too easy nor too difficult for the band; either extreme could diminish the effectiveness of your teaching. It is easy to 39
underestimate the abilities of students and keep them playing trite, immature materials long after they have grown enough to accept more of a challenge. Music that is too difiScult can also be discouraging if the students cannot han^e the ranges, rhythms, or mature musical concept that the piece demands. Between the two extremes is a somewhat limited selection of music that is just right for your band. Given all the desirable characteristics of good music and all the limitations of a young organization, the director is often faced with a formidable task when he looks for the right material, especially if there is the additional restriction of a search for a certain style of music. The resulting performance can be bland at one extreme and very ragged at the other. Challenge is necessary but so is the relaxation that comes from playing something lighter and easier. How to achieve a balance is up to the expertise of each director. (Conley 1998, 15) A percussion score should also be written in a manner that considers three further perspectives. First, when the percussion score is played alone, it should portray all aspects of the fiiU band arrangement to the listener and be able to stand on its own as an artistic composition. Melodic, harmonic, stylistic, textural, and rhythmic content should be apparent and audible. Second, when the wind arrangement is heard without the percussion score, it should sound somewhat hollow and empty, lacking musical and emotional content. In many stock charts, you can take or leave the percussion parts, as they do not provide much of a contribution to the overall aesthetic experience. Finally, the percussion score should make a musical arrangement complete. The percussion writing should contribute in such a way that the intent of what the music is saying is accomplished only when all the musical components are presented together, both winds and percussion. Until then, the music is incomplete. In conclusion, there continues to be a great deal of concern among marching percussion instructors regarding arrangements that do not meet my criteria. The method books and articles presented here represent a sample of progressive and logical approaches to learning the essential performance skills of timing, reading, technique, and musicianship in the marching percussion ensemble. In contrast, many of them also represent a cry for help, identifying many of the problems young percussionists are experiencing today as well as providing many solutions; namely, following the five criteria. We must fuse the essential performance skills with the five criteria. When both 40 of these components work in conjunction with each other, students and directors will reap the rewards. When they do not, as is often the case, students as well as our band programs are the ones who pay the price. 41
CHAPTER m
INSTRUMENT EVOLUTION, MANUFACTURER CONTRIBUTIONS, AND WRITING AND PLAYING STYLES SINCE 1960
The contributions of drum and percussion manufacturers in conjunction with legendary percussion instructors have led the evolution of writing styles, playing styles, and instrumentation in marching percussion over the last half-century. These instruments, which include snare drums, multi-tenors, bass drums, and cymbals, make up the battery section of the marching band. As I wiU conclude, the evolution of these instruments and their performance practices since the 1960s have led to the realization of the essential performance skills I have presented in this document These performance skills represent musical techniques and concepts that, I believe, percussionists must be exposed to in a marching percussion arrangement. Arrangements that contain these performance skills at proper ability levels are crucial to a percussionist's musical experience and training. Unfortunately, the majority of stock chart arrangements do not provide students with the opportunity to develop these skills and techniques. It appears that sometimes stock charts are performed so frequently simply because they are available, giving litde consideration to the quality of the arrangement and whether or not the selected music provides the performing musicians with the necessary musical skills to excel, improve, and grow. The evolution of marching percussion instruments has had a direct impact on the growth and popularity of marching bands, and more specifically, the art of marching percussion. This growth and popularity of the marching band activity has led to a mass industry of publishing companies creating an enormous and highly competitive market of music written and arranged for marching band and marching percussion. As these instruments evolved through the genius and innovation of drum and percussion manufacturers, legendary percussion instructors began to challenge playing styles, and as a result, publishing companies and the percussion instructors who were employed by 42 them began to experiment with various writing styles to accommodate these new instruments and the playing styles of the time. Marching percussion is still a relatively new art form. Instrumentation, writing styles, and playing styles continue to be a flexible entity and have yet to be standardized. I have come to realize that the interaction of these three components is what keeps this constantly changing idiom fresh and on the cutting edge of music making. As we approach the 21st century, the activity of indoor marching percussion has now taken "center stage," in contrast to the "center of the field" of marching percussion's past. In the following pages, I will survey the development of marching percussion instruments and show how this led the evolution of writing and playing styles. 43
Evolution of the Snare Drum
The marching snare drum, also known as the side drum, military drum, field drum, parade drum, and street drum, evolved out of the double-headed rope-tuned tabors of the sixteenth century which contained wooden hoops, calfskin heads, and cord snares stretched across the bottom head. These drums were used in conjunction with the fife and later the bugle for military purposes. The most radical change in structure occurred in the early part of the nineteenth century with the advent of rod-tensioning and a shallow shell. In 1957, Remo Belli made a significant contribution to percussion by inventing the plastic drum head. According to Lloyd McCausland, Sid Gerwin, Belli's accountant, introduced his friend Sam Munchnick to Belli. Munchnick, a chemist specializing in adhesives from the aviation industry, came up with the idea of forming the circle of Mylar under heat and pressure into a hat shape and inserting it into a U-shaped aluminum hoop, filling the hoop with a liquid epoxy adhesive.... Holes were punched around the circumference of the vertical leg of the membrane to allow the liquid adhesive to flow through the holes, completely embedding the Mylar in the epoxy in the U-shaped aluminum hoop. This led to a Remo, Inc. patent that bears the names of Munchnick and BelH as the inventors. (Beck 1995, 279) Plastic heads were much more practical to play on outdoors because calfskin heads were so affected by changing weather conditions. The plastic heads allowed for more varied tuning capabilities and higher tensioned drums tuned to higher pitches which provided much more clarity in the music. 'T)espite the fact that drum sizes had remained the same for the last ten years (12 x 15), tuning techniques changed drastically. The heads were tensioned much tighter to get a higher more articulate sound ... the most popular snare drum in the mid 1960s was the Ludwig 12 x 15 8-rod field drum with coated plastic heads" (Hartsough and Logozzo 1995, 28, 30). Another popular drum in the early 1970s was the Slingerland TDR 100. This ten lug drum was followed by the TDR 112 which contained twelve lugs. The Slingerland TDR (Total Dynamic Response) drums competed well with the Ludwig Challengers and were both leaders in the market 44
Remo and Ludwig led the drumhead revolution in the early 1970s and came out with their high tension mylar drum heads, the Black Dot and Silver Dot. In 1978 and 1979, the dimensions of the snare drum finally changed from 15" to 14" due to the desire for tuning to higher pitches as weU as the need for a smaller and lighter weight drum to accommodate more difficult marching demands. A further invention by manufacturers at this time was the die cast hoop, which allowed for greater head tension and more articulate sounds (Hartsough and Logozzo 1995, 31). "At the 1982 World Pipe Band Championships, the Strathclyde Police Pipe Band played on the first version of the free-floating marching snare drum from Australia known as the 'Legato Caledonian' developed by Robert J. Wright" (McCausland telephone interview, 17-18 October 1994). In 1987, Remo, Inc. introduced the Falam head, which had been in research and development for almost two years (McCausland telephone interview, 17-18 October 1994). Around the same time, to promote the Falam head, Remo came out with the Legato free-floating snare drum which featured a snare unit on both the batter head and snare head. This significant contribution led to a whole new approach and concept by manufacturers in redesigning the modem marching snare drum. According to Dennis DeLucia, "Premier developed their own version of the 'free-floating' marching pipe drum with the pipe bands using it during the 1986 and 1987 season. In 1989, while still teaching Star of Indiana, I had the pleasure of field testing the first 'Americanized' version, which was so successful that it was put on the market later that same year" (DeLucia 1995, 52). It should be noted that these "Americanized" free-floating drums used by the Star of Indiana in 1989 were outfitted with mylar Premier Marathon drumheads. Today, the free-floating snare drum has become the standard in design and sound in contemporary marching percussion. "In England, Premier Percussion developed, tested, and used the first Kevlar drumhead in competition in the mid 1980s. The push to develop such an extremely high-tension snare drum head came from competing pipe bands who were pulling out or breaking existing drumheads constantly" (Hartsough and Logozzo 1995,32). 45
Unfortunately, Kevlar heads were too strong for many of the popular drums in America and thus collapsed the entire drum's shell inward. Today, directors and students should be aware that playing on free-floating snare drums with kevlar heads can be as much of a hindrance to players as a help. Drum lines with a small number of snare drummers (2-4) may choose an alternative to free-floating drums and kevlar heads because of the thinness of sound that can result from a small number of players playing. What is gained in clarity is often lost in volume, leaving small snare lines with the option of choosing lower-pitched marching snare drums with mylar heads, resulting in a deeper, louder sound that will project better. Similarly, beginning-level snare lines that are in the early stages of developing their technique, especially rolls, may endure poor results on high-tensioned, free-floating drums. As a result of the more focused sound and higher pitch free-floating drums provide, they will unquestionably bring out both the strengths and weaknesses of a line's playing. Innovations in the 1990s have seen the first 12" x 13" marching snare drums by Yamaha and shortly thereafter by Pearl. These 13" drums were played by the Cavaliers Drum and Bugle Corps in 1994 and are now popular in many high schools and universities. The 13" drums have been well received in the marching percussion field and have become popular for their petite size, light weight, and high pitch. They have also become an integral part of the evolving world of indoor marching percussion. Outside of experimental tuning and muffling techniques for the indoor drum line circuit, 13" drums have had no significant effects on writing and playing styles. Many strides have also been made in regards to carriers, heads, and hardware. Carriers have evolved using materials such as fiberglass and magnesium, creating lighter weights, ergonomically correct shapes such as vest carriers, and a more comfortable fit in general. Marching dnmasticks and mallets have evolved through extensive testing, experimentation, materials, and significant input from some of today's leading marching percussion experts. 46
The Evolution of Snare Drum Writing and Playing Styles
Early records of rudimental drumming can be traced back to the fife and drum guilds of Basel, Switzerland in 1332. Various standard beats and patterns were aurally passed down between generations and learned by rote. According to Blades, "Music of the Middle Ages flourished as much by ear as by eye, and percussion playing was assimilated in the main by rote" (Blades 1972, 212). Early rudimental drumming was used for military purposes such as signaling and pacemaking, "little being said regarding the technical approach" (Blades 1972, 212). The meaning behind Blades' comment describes early drummers that learned how to play by rote through an aural tradition as well as by watching their fathers and grandfathers play. This tradition was passed down from generation to generation. According to Cook, Various standard beats and patterns were passed down through generations of drummers. A system using onomatopoetic mnemonics enabled the drummer to leam the rhythms of these rudiments and sometimes even their stickings. This style of drumming spread throughout Europe and eventually found its way to the New World, but retained its purely aural traditions well through the Revolutionary War. (Cook 1997,360) "From about 1600 to about 1930, The Camp Duty was the principal form of field music, for which it was necessary that drummers learned exercises on the drums slowly, increasing speed until they were drilled into the bone" (Carroll 1993, 1-2). These military exercises would later become "The Rudiments of Drum Beating in General" (CarroU 1993, 1-2). In contemporary music education, rote learning can be a highly valuable skill for musicians to leam. Rote learning helps develop memorization skills as well as aural skills and recognition. The most significant example of rote learning in a marching percussion section is demonstrated in the stands by high school and college marching bands. It is very common for the percussion parts in many "stand" tunes to be embeUished, leading to veteran members teaching new members the parts by rote. Many marching band fight songs are also taught by rote. 47
Rudimental playing styles began evolving during the time of the Revolutionary War (1775-1783). Early playing styles were heavily influenced by early written materials beginning in 1812 with Charles Stewart Ashworth's book entided, A New, Useful, and Complete System of Drum Beating, Including the Reveille, Troop, Officer Calls, Signals, Salutes and the Whole Camp Duty as Practiced At Headquarters, Washington City; Intended Particularly for the Use of the United States Army and Navy. In Samuel Potter's 1815 book. The Art of Drumming, technique is addressed at length. Potter discusses moving the arms and elbows up to ear level, throwing the arm up between each stroke, and practicing the rudiments from slow to fast or open to closed. In 1862, another significant text on rudimental drumming entided. The Drummer's and Fifer's Guide was written by George Bruce (drummer) and Daniel Emmett (fifer). Included in the book is an extensive treatment of dnmi and fife instruction, numerous military calls, camp duties, marches, and new rudiments. Bruce and Emmett took Potter's playing style of "open - close" one step further by advocating "open - close - open" (Spalding 1980, 120). During the Civil War years of 1861-1865, the bugle replaced the fife creating "the single most important element in the beginnings of drum & bugle corps" (McGrath 1980). With this important shift came a need for a new method book. John Philip Sousa's The Trumpet and Drum of 1886 provided a list of rudiments, an adaptation of fife tunes written for bugle, and a playing style to match the volume of the bugles. With the birth of drum and bugle corps and their eventual appearance outside the military, it is important to note that organizations comprised of traditional fifers and drummers still exist in the interest of preserving the traditions of rudimental drum and fife performance. "During the 1900's, American military drum lines were famous for lifting the stick off the head to a very high position" (Hartsough and Logozzo 1994, 20). Other playing styles were classified in regards to tempo, including ancient; quarter note= 110, and modem', quarter note= 120. In an effort to standardize the American drum 48 rudiments, the National Association of Rudimental Drummers was established in 1933. NALRD, as it was known, set out to establish a military drumming style and instrumentation that was accepted based on these rudiments. Throughout the 1930s and 1940s, several rudimental drummers on the east coast made their mark by developing playing styles and teaching systems. George Lawrence Stone of Boston and J. Bums Moore of Connecticut were two rudimental figures of this period that had a major impact Their style represented the common technique of the Revolutionary and Civil War drummers integrating powerful strokes played from great heights above the rim with excessive arm motion (Cook 1997, 316). Moore's trademark was a sideways "karate chop" motion in his right hand as referred to by Jim Chapin in his video. Speed, Power, Control, and Endurance. Another significant figure was Sanford Moeller from New York. Moeller's playing style integrated fluid wave-like motions which encompassed the back, shoulders, elbows, arm, wrist, and fingers. Moeller's playing system utilized rebound, accents, and tap concepts which perpetuated speed and power, as demonstrated by Chapin in his video. Ironically, many contemporary drum corps and marching band drum lines have integrated Moeller's playing styles into their technique in recent years for visual effect. Earl Sturtze was another figure famous for his phenomenal technique and was later known for teaching some of the biggest names in rudimental dnmiming of the next generation. From 1950-1960, a trend to move away from military styles of drumming occurred and a significant amount of changes took place regarding styles and techniques in modem drum and bugle corps. The development of the plastic head in 1957 allowed drum corps and marching bands to obtain higher quality performances because of the tuning consistency of the plastic head. Plastic heads also influenced writing by allowing for more notes to be heard and led to a more complex writing style overall. "By the mid 1950s, due to the increasing difficulty of the drum parts and a faster marching cadence, stick height was lowered and execution of rudiments was focused more in the wrists with greater uniformity of hand position and arm movement" (Cook 1997,316). In 49
1954, Frank Arsenault, former student of Earl Sturtze, was teaching the high, fast, open technique to his Chicago Cavaliers. Arsenault refined the military style of playing by incorporating a high stick height and narrowing his elbow movements towards and away from the sides of his body which, to everyone's surprise, resulted in extremely clean and powerful execution. (Cook 1997,317). Another leader of this period was Les Parks, who wrote a book entitled. Fundamental Approach to the Snare Drum. Parks advocated playing closer to the drum head with a lower stick height and more wrist control. Because of the lower stick height, volume was slighdy reduced, causing instrumentation to expand. Many felt like the powerful sound of the drum lines was lost, but trends in the 1950s placed greater emphasis on precision, uniformity, and execution and compensated for the sound reduction with more players and larger drum Unes. This playing style also featured harder, more powerful strokes which eventually led to the downstroke. In 1956, playing styles were further influenced by the introduction of drum solos staged at the front of the field and the use of rolls on the bass dnmis, both accredited to Eric PeriQoux (Spalding 1980, 126). Visual uniformity was becoming increasingly important in the 1970s and was the focus of Larry McCormick's precision drumming philosophy. Precision Drumming was a book written by McCormick advocating the use of correct and uniform stick positions. These stick positions were the basis for execution and correct interpretation of rudimental patterns and uniformity. In an interview with Larry McCormick in a 1997 issue of The Rudimental Percussionist, the approach was defined as using "precise, measurable motions to play exactly in time with others in an ensemble" (McCormick 1997, 12,13). Trends away from the old American drumming styles became more and more evident In the late 1960s and early 1970s, the development of the drum carrier by several drum companies and instructors had a major impact on drumming techniques and styles. The carrier replaced the traditional sling which put the drum at a severe angle, causing 50 the drum to move a great deal while playing, and causing the sticks to reboimd at different angles, resulting in uniformity errors from player to player (Hartsough and Logozzo 1995, 30). The arrival of the drum carrier contributed to lower stick heights and led to experimentation with using matched grip. Now that a flat playing surface existed, traditional grip was no longer a necessity. Fred Sanford, instructor with the Santa Clara Vanguard in the 1970s, led the movement for a low, wrist-oriented style of playing and employed the use of matched grip for two reasons: to accommodate the flat playing surface created by the carrier and to accommodate tenor players who were good matched grip players making the transition to the snare line. "By the late 1970s, the leading corps in the country were seen fielding a dozen or more snare drummers with great volume and clarity in execution due to this low, wrist style of playing" (Cook 1997, 317). Since the 1970s, snare drum instrumentation has declined due to several factors: a higher level of technical skill demanded of snare dnmmiers, a priority for a better balanced ratio between snares and tenors, and a trend in fielding smaller drum lines. In the last thirty years, marching percussion has developed its own verbal and written language, including a unique vocabulary, terminology, and notational system. This language has dominated written percussion parts throughout the last decade, bringing to life new techniques, timbres, and instrumental colors never before conceived in a marching percussion ensemble. For example, notating playing areas on the snare drum such as "edge" and "center " has entered written percussion parts analogous to Bartok and Stravinsky. Accented rim-shot techniques such as "gawks," "pings," and double stops have also led to specific notation resembling marcato accents. Buzz rolls are often notated with a "z" on a note's stem, distinct from the slash notation of double strokes and diddles. Other examples include cross-stick and muffled/open notation in multi-tenor parts, muffle and timing notation (rim-clicks) in bass drum parts, and a variety of cymbal notation used for techniques such as scrapes, taps, hi-hat, sizzle crashes, and crunches. 51
In 1998, Norman Weinberg authored Guide To Standardized Drumset Notation, published by the Percussive Arts Society. This text was a long-awaited source for clarifying and defining notational discrepancies for the drumset In the text, Weinberg suggests and defines notational guidelines when writing for drums, cymbals, and accessory instruments, as well as notation for noteheads, articulations, and voicing. In my opinion, this important contribution to drumset pedagogy will have a profound affect on the need to standardize percussion notation in the marching percussion ensemble, concert percussion ensemble, and multiple-percussion genres. As the language of marching percussion continues to evolve, writing styles must evolve with it. It can be concluded that if marching percussion music is to be performed in the maimer it was conceived, the clarity of intent within an arrangement must be presented in great detail and must contain all the elements which the arranger desires the players to execute. This correlation between the clarity of the arrangement's writing style and the resulting performance by a marching percussion section continues to become a dominant factor in the quality of our marching percussion programs and our students' experiences. Throughout the last decade, a trend on performing serious literature by adapting orchestral repertoire to the marching idiom has almost become the norm. According to an interview with Thom Hannum, "Nowadays, there is much greater diversity to the musical selections. More groups are playing wind ensemble pieces, symphonic band music, and orchestral literature" (Wyman 1999,25). Although this musical diversity is heavily influenced by the addition of percussion instruments in the pit, a sincere effort to bring symphonic music alive in the marching idiom has become increasingly popular. Whereas show concepts in the 1980s tended to emphasize separate and sometimes unrelated pieces plus a "drum solo", the 1990s has seen a total show concept integrating the percussion section's capabilities within the entire musical production. Performing an arrangement of a complete musical production has significantly influenced the writing for the marching percussion ensemble. According to Hannum, 52
The musical selections tend to direct the style of parts being written and played....OveraU, I think writing style is somewhat less rudiment^ than it used to be. There are more orchestral influences. Percussion features tend to be part of an entire musical selection rather than an independent production that only showcases the percussion section ... it has become increasingly common to incorporate overt technical displays as part of the program layout (Wymann 1999, 25)
The use of buzz rolls and orchestral cymbal techniques, in addition to more awareness of dynamic contiast and timbral exploration, are just a few examples of how orchestral percussion techniques have influenced marching percussion writing. I believe that as percussion education and pedagogy have improved in the schools throughout the last decade, it can be concluded that these musical concepts have been readily applied to marching percussion. Today's writing styles are extremely advanced in concept, rhythmic complexity, tonal variety, and instrument role and function. Over the last several years, the rudiments have been slightiy deemphasized in writing styles and performance techniques; however, they are still very important in developing technical mastery of a rudimental drumming style. The marching percussion language includes forty International Drum Rudiments adopted by the Percussive Arts Society plus a plethora of advanced, contemporary rudiments and hybrid sticking combinations, with new ones being created every day. Many of these rudiments are included in the essential performance skills I have outlined for intermediate and advanced marching percussion sections. Rudiments such as single stroke rolls, accents, flam accents, flam drags, double stroke roUs, cheeses, inverted flam taps, heartas, pataflaflas, and triple stroke rolls are all commonly written for in intermediate and advanced arrangements respectively. By incorporating essential performance skills into an arrangement combined with the innovative and sophisticated writing styles of today, a marching percussion score of the 1990s has become a musical composition which can stand alone. "Our percussion arrangements are now more musically driven and less technically motivated" (Wyman 1999,24). Throughout the late 1970s and early 1980s, styles evolving from the low-stick height and wrist-oriented playing started to become extremely defined, to the point 53 where all strokes were identified by how many inches the sticks were raised off the drum head. This defined approach led to a closed, tense grip with very little rebound and led to some instances of tendinitis and carpal tunnel syndrome, especially for snare drummers who were playing on the extremely high-tensioned Kevlar Falam heads. In the 1990s, Premier Percussion developed a version of the Kevlar head called the Tendura, which arguably provided the player with more give and shock, thereby reducing the injuries caused by the playing style being used on the Remo Falam head. The injuries in the 1980s and the invention of Tendiua heads led to a more open-handed, relaxed playing approach which integrated much more rebound than had previously been used. The 1990s has seen a change in style toward a looser, more relaxed approach, iu addition to focusing more on the music, including phrasing, shaping, and dynamics, and less on the visual aspect and uniformity. "Some instructors have made a conscious decision to use a lighter touch - less velocity on the stroke. Full, rebounded strokes characterize a lot of today's approach . . . hopefully, this approach can apply to all percussion instruments. To me, it's just good basic percussion technique - one that can translate to many percussion instruments" (Wyman 1999, 23). A significant influence to the current evolution of marching percussion writing is the use of multiple arrangers. "It is rather common to have one arranger for the pit and one for the battery. In essence, we are in the age of specialization within the percussion family" (Wyman 1999, 25). As the old saying goes, "two heads are better than one," and this is certainly true in the case of arranging for marching percussion. It is a daunting task to write a complete show for both the pit and battery and it is extremely time consuming. By having multiple arrangers, more time can be committed to arranging and more ideas and creativity will most likely result due to the collaborative effort. Without question, the focus of arranging has changed from a technical and visual execution emphasis to that of a creative, musical endeavor. Today, precision drumming and uniformity principles are still the essence of the playing style, but the music has taken center stage. Contemporary marching percussion 54
ensembles are placing more emphasis on quality of sound, exploring different timbres, and experimentation. More quality arrangements are also making use of silence more than ever before. In the days when percussion sections were strictly timekeepers, drum lines would play constantly in order to keep a beat. It was unheard of to have the percussion tacet within the course of a show. Today, silence is often what the music demands. Having the percussion section not play can become a problem, however, in a college marching band situation. With crowd noise and large formations being characteristic elements of a college band, silence or segmental scoring can be detrimental to a band staying together. Sometimes sheer volume from the percussion section is of the utmost importance in a hostile musical environment The Indoor Drum line Circuit of Bands of America, Winter Guard International, and the Percussive Arts Society have elevated marching percussion to new heights of exploration and experimentation. "Chamber" marching percussion ensembles such as The Star of Indiana's Brass Theater, FutureCorps at Walt Disney world, and the integration of electronic and world percussion into the drum line activity have also impacted the state of the art of marching percussion into the 21st century. "Whereas the indoor ensemble used to be the training ground for the marching band season, it's quite possible for some that the opposite is now true" (Wyman 1999, 20). Evolution of Marching Ra<;s Drums
Before the 1960s, drum corps drum lines were using two bass drums of identical size, either 10" x 26" or 10" x 28", that were tuned to the same pitch and played in unison. A characteristic feature of the drum lines at this time were rudimental "rudi" bass drums, developed by by Eric Perilloux in 1956 (Spalding 1980, 126). The rudimental bass drum was smaller, approximately 12 x 24", and was played with two wooden mallets called "potato mashers" to play rudiments on the marching field. To further improve articulation, legendary percussion instructor Bobby Thompson started to experiment with muffling bass drums in the early 1960s. Thompson was one of the first instructors to muffle the drums on the inside of the head to produce a drier sound (Hartsough and Logozzo 1995, 26). According to DeLucia, the rudi bass drums were muffled with bed sheets. The rudi bass drums supported the snare voice by playing rudimental patterns with considerable muffling to blend "with the shortness of the snare lines" (Hurley ND, 1). In 1963, Larry McCormick wrote for pitched bass drums, tuning the same size drums (either 10 x 26 or 10 x 28) to different pitches (Hartsough and Logozzo, 1995, 28). By 1965, Mitch Markovich and the Ludwig Drum Company took this concept to a new level by developing the first tonal bass drums using a variety of different sizes and tuning to specific intervals. This greatly improved the tone quality of the drums and led to a greater emphasis on the bass drum line overall. The introduction of tonal bass drums led to the performance practice of playing split parts; a practice which has existed ever since. For years, bass drummers in drum corps and marching bands played the bass drum facing forward, with the drumheads facing the end zones. In the 1970s, bass drum players began to march sideways with the drumheads facing the stands. This marching concept impacted the function and style of tonal bass drums and improved the projection of the bass drums greatly. As a result, bass drummers and arrangers must 56
now choose stickings that allow the sound to be projected toward the audience whenever possible. This often entails a lot of right-hand playing, or forces the left hand to lead when the players are turned around facing the opposite side of the field. Bass drummers benefit greatly when the arranger makes these considerations and writes in stickings as part of the arrangement. This consideration falls under my fourth criterion. "For much of the seventies and eighties, bass drum sections of four to six players and drum sizes ranging from 22" to 36" were the norm" (DeLucia 1995, 61). In the 1980s and 1990s, marching bass drums have taken on new significance with a higher level of playing techniques than ever before. Tonal colors are explored using bass drums ranging from 16" to 32" in diameter and through a variety of maUet choices. The number of bass drums used can include up to eight, as best seen by the Spirit of Adanta Drum and Bugle Corps in the early 1980s and many other drum corps and marching bands in the late 1970s. Bass drum lines most commonly include four to six bass drums. At the present time, most publishing companies only offer bass dnma parts written for four bass dnmis. Although four may be the most common, it is my belief that stock chart arrangements should provide parts written for four, five, and six bass drums. This would make the parts ready to play without having to rewrite them. Although this raises concerns about compensating arrangers for writing additional parts and limited space on the score, I believe it is the publishing company's responsibility to accommodate different size band programs. One solution can be found in Jim Campbell's, Championship Technique for Marching Percussion, in which bass drum parts for three, four, and five drums are published and sold separately. I recommend that when purchasing a stock chart arrangement, all bass drum parts be available so the director can purchase the proper "package" that fit his specific instrumentation. This would apply to quad and quint parts as well. Snare, cymbal, and pit parts would continue to be sold in their original form. Many times the marching bass line is often reinforced with an "impactf' bass 57 drum in the pit This provides another bass voice for the arranger and can create an interesting front-to-back effect if used intelligently. Many dnmi corps have explored this effect in their snare writing by using a concert snare drum in the pit as a contrasting snare voice. Other timbral changes are also possible when writing for the bass drum line. Mallet changes are now logistically possible by attaching mallet holders to the top of the bass drum shell. "Puff' or "fur" mallets are common for legato passages, giving tonal attention to rolls and pitches of the melodic line. Yamaha, Pearl, and Premier provide muffling on the bass drum heads when they are purchased to yield appropriate note lengths and tone quality. White smooth plastic heads produce a warm, round, and defined tone quality and have become the preferred bass drum soimd in the world of marching percussion. For indoor drum line competitions, bass drums are often muffled to an extreme in order to balance with the rest of the ensemble. Painted heads, cloth patches, styrofoam peanuts, newspaper, and "falam slams" are just a few examples of muffling experiments that indoor drum lines have used to increase the tone and articulation of the drums and decrease the volume. Furthermore, smaller sized bass drums, often played with wood mallets, are preferred indoors to allow for more advanced rudimental techniques such as rolls and drags to be heard, reminiscent of the rudi bass drums. 58
Evolution of Bass Drum Writing and Plavin|g Styles
Marching bass drums have arguably undergone more innovations in their playing and writing styles than any other section in the battery since the 1960s. Bom out of a strict military tradition, bass drums were originally regarded as the timekeeper of the band. Keeping time generally meant playing some variation of a strong quarter- note pulse that rarely if ever deviated. The bass drum parts consisted of unison quarter notes played with large felt or wooden maUets (DeLucia 1995, 61). A bass drummer was not required to possess the same performance skills as the snare drummer, but rather a strong sense of pulse and superior time-keeping ability. It did not take long however, for the bass drum section to evolve into one of the most challenging sections in the entire marching percussion ensemble. As early as the 1950s, rudimental playing was being implemented on rudi bass drums by Eric PeriUoux and Bobby Thompson in many groups under their instruction. This immediately placed a higher demand on the technical skills of bass drummers as well as influenced bass drum writing styles. As a result, writing styles became more complex and were directly related to the rudimental writing styles of the snare drums and tenors. The creation of tonal bass drums was historic and changed the way bass drum parts would be written and performed from that point on. The tonal bass dnun concept, which logically led to split bass drum part performance, is one of my essential performance skills I have cited under intermediate and advanced levels. Split bass drum part performance demanded three new skiUs from the performer a heightened sense of subdivision and pulse, an auditory awareness of melodic line, and a compliment of rudimental skills similar to that of early rudimental snare and bass drum techniques. These new skills had an impact on the arranger as well, forcing him to think melodically as well as rhythmically. In addition to rudimental playing styles, techniques regarding forearm and wrist 59 rotation, mallet angle, beating spot awareness, and muffling have come into play for the marching bass drummer. Timbres can be explored through a muffling technique where the player's left hand muffles the unplayed head while the other hand is playing, killing the head's vibrations and producing a muffled tone. Combining this muffling technique with standard playing leads to interesting tonal colors exploiting tone quality, resonance, and note duration used in a variety of writing and playing styles. In conclusion, the marching bass drum line has evolved into a section unique to any other in the marching percussion ensemble. With demands similar to a cross between a hand-bell choir and a snare drununer, players must possess extremely sharp timing skills, a strong sense of pulse and tempo, and a high degree of technical facility. Quality bass drum arrangements should include balanced writing distribution throughout the melodic line, giving all individuals a chance to play and develop performance skills. Stickings should be considered and written in whenever possible and unison playing should be effective and appropriate to the rest of the arrangement. Writing in timing notation should be considered to help bass drum players execute highly syncopated rhythms that may be split throughout the line. This can be done by indicating a note with an "x" and asking the players to play on the rim for timing purposes. Finally, bass drum arrangements should reflect and reinforce the musical arrangement as to why certain drums are written in certain places in the music. For example, ascending or descending lines in the bass drum line might correlate with similar motion, dynamics, and phrasing in the winds. Carefully choosing when to implement the largest bass drum for exciting unison impacts also demands strong consideration. Evolution of Multi-Tenors
Tenor drums in the 1960s, as in the 1950s, were individual double-headed, IS IS" wooden-shell drums without snares, used to support and accompany the military style snare drum parts. "In the 1950s, the average size of a drum line in a drum and bugle corps was three snares, three tenors, two bass drums, and one cymbal player" (Spalding 1980, 123). In 1967, Jerry Shellmer of the Boston Crusaders experimented with two single-headed bass drums mounted horizontally and appropriately named the combination the double bass, which at the time was intended to simulate the sound of timpani. Based on their melodic possibilities, Shellmer's double-bass invention influenced the use of marching timpani on the field in 1968 and eventually led to early models of multi-toms. Shortly after, Ludwig introduced "timp-toms," an abbreviation for "timpani toms," which consisted of two or three drums of various sizes including bass, bari, and tenor duos and trios. By the end of the 1960s, Bill Moffitt and the Hal Leonard Publishing Company, along with the Ludwig Drum Company, began experimenting with instrumentations of four snares, three tenor trios, three bari trios, three bass trios, four pitched bass drums, four cymbals, and four marching timpani. "The range in size of the trios were 14-16-18 x 10 for the tenor to 24 - 26 - 28 x 16 for the bass" (Hartsough and Logozzo 1995, 30). This combination of graduated drums "met with little acceptance due to the tonal dissonances created in the baritone and bass sets of timp-toms and the impracticalities of their size and weight" (Cook 1997, 326). In the 1970s, trios were standardized in the drum corps and marching bands with sizes consisting of 10" x 14", 10" x 16", and 10" x 18". In 1976, manufacturers developed sound projectors for the toms, created marching Roto-toms, and debuted the first set of North tom toms in sizes 8", 10", and 12". The North Drums were made by the Roger North Drum Company and were lower in pitch and had a very directional design. This created a very unique visual appearance and started an evolution in 61 projection techniques for marching percussion in designing scoops and cutaway tenor designs (Odello ND, 3). In 1977, manufacturers developed the first "cutaway" toms, which through extensive experimentation by manufacturers such as Slingerland, produced better projection and less weight Also ia 1977, Dan Spalding of the Spirit of Atlanta developed the sep-tom (seven toms). A trend moving away from trios in the late 1970s and early 1980s led to a desire for a higher pitch spectrum in all drums and resulted in the introduction of smaller drum sizes and the addition of a fourth and fifth drum to create quads and quints (Cook 1997, 326). In the 1990s, reduced drum sizes ranged &om the smallest 6" "gok" or "spock" drum to the large 14" drum on the player's left. Typical sizes of quints are either 6", 8", 10", 12", 13" or 6", 10", 12", 13", 14". As I stated with bass drum parts, I strongly believe that publishing companies should make available parts for both quads and quints. Even today there are stiU instances where many stock charts come with both a tri-tom part and a quad part. Tri-toms have become virtually obsolete because most band programs have invested in quads or quints. In today's high schools, quints are quickly becoming the standard because of the influence of drum and bugle corps and indoor drum line circuits; however, there exists a lack of published arrangements written for quints. Students and band directors will greatly benefit from both quad and quint parts being made available when the arrangement is initially purchased. Other manufacturer contributions for tenors in the 90s include a free-floating shell and a tilt-up feature to reduce the weight on the player's shoulders and back when not playing. According to DeLucia, 'Tremier's introduction of the HTS-free floating tenors in 1993 was the most striking advancement in multi-toms in 15 years!" (DeLucia 1995, 58). Drum companies such as Yamaha and Premier have also developed tenor stands for indoor use at stationary rehearsals. 62
Evolution of Multi-Tenor Writing and Playing Styles
Innovations in the construction of multi-tenors have affected writing and playing styles signijScantly. The development of multi-tenors over the years has led to a palette of up to six tonal colors, influencing writing styles to become much more melodic in nature. Tenor parts are conceived melodically and commonly double melody lines in woodwind and brass voices while at the same time providing a solid rhythmic accompaniment and counterpart to intricate snare parts. As more drums were added to multi-tenors, new playing styles and terminology evolved. As a result, essential performance skills were introduced such as scrapes, crossovers, and sweeps. A scrape is a technique where one hand plays a double stroke between two drums or a triple stroke between three drums. A crossover is a technique in which one mallet crosses over another determined by a specific stickiag, similar to timpani playing. A sweep is similar to a scrape, but represents a continuous "sweeping" motion played in conjunction with a crossover involving four drums. According to Paul Rennick, Director of Marching Percussion at the University of North Texas, "Essentially, they're the same thing, but could have a local origin difference." According to Brian West, Director of Percussion at Texas A & M University - Commerce, "The origin is the problem. There is so much difference in terms between West coast. East coast, and Midwest. It depends on where you march" (West email interview, 13 January 1999). Today, these skills are necessary to learn if one is to become a proficient player on this new, sophisticated instrument. Along with these performance skills specifically adopted for tenors, the same essential performance skills that are required of snare drummers are necessary for proficient tenor performance. Depending upon the ability level, syncopation performance, basic drumming rudiment proficiency, section interplay awareness, advanced sticking combination performance, and ensemble polyrhythm performance are all necessary skills a multi-tenor player must possess. 'Trom a technical standpoint. 63 these perfonners (tenor players) are as proficient as snare drummers" (Wyman 1999, 25). It is also common for accessory percussion instruments such as cowbeUs, jam blocks, and crashers to be clamped to the rim of the tenors for a mini-auxiliary percussion set up, especially in Latin-style music where authentic drumset patterns can be applied. Results from this have provided arrangers with an auxiliary percussionist at their disposal. Writing styles often portray authentic Afro-Cuban music simulating timbale, clave, and cowbell patterns. Playing styles have also evolved as a result of world percussion and drumset patterns incorporated into contemporary tenor writing. A tenor player must now possess coordinated independence similar to a drumset player and the arranger must be able to implement a variety of instruments and mallets, such as nylon, lexan, felt, puff, rubber, and wood into his tenor writing. The introduction of essential performance skills, the use of a wide variety of mallets, the addition of accessory percussion instruments, and a palette of five to six pitches have aU contributed greatly to the growth in writing and playing styles for multi-tenors. Unfortunately, many tenor parts written for stock arrangements do not meet my five criteria. In general, many do not fit the music and are not conceived with player benefits and growth in mind. Throughout my research, I have found many of the tenor parts to be tedious, repetitive, and awkward, without providing any real musical contributions to the overall arrangement It is common for the tenor part in a stock arrangement to be written in a manner that supports or even doubles the snare voice, without enhancing the musicality of the arrangement. All too often, especially at the beginning and intermediate level, these tenor parts are a study in keeping the tenor player occupied through the use of simple ostinatos and patterns. In most of the tenor parts I have analyzed, the musical impact would not be affected in the least if the tenor part was removed from the instrumentation. This current state of affairs does not provide the multi-tenor player with a meaningful musical experience. It is simply unfair to students who will inevitably commit themselves to rehearsing and practicing these parts. In 64 today's evolving world of marching percussion, we must accommodate the multi-tenor players with quality, up-to-date music that in most cases the stock arrangements do not provide. Today, multi-tenors may be considered the most challenging of all marching percussion instruments. Without question, the essential performance skills needed to become an accomplished tenor player match and exceed those of the snare player. In addition to possessing the same technical and rudimental facility as snare drummers, tenor players must also be able to read melodic notation consisting of up to six pitches. Multi-tenor players must also have the kinesthetic and psychomotor skills that the instrument's performance practice demands, similar to the skills of a timpanist or drumset player. 65
Evolution of Marching Cvmhals
"In the 1950s and 60s, drum corps usually marched with only one pair of cymbals, typically 14 - 16". By the mid-sixties, quantity and variety had appeared" (DeLucia 1995, 67). It was at this time that cymbal "lines" started to appear, creating a cymbal section similar to that of the snare, tenor, and bass drum sections. In the early to mid 1980s, three significant events happened in marching percussion that changed the role of cymbals dramatically (DeLucia 1995, 67). The first event is credited to Thom Hannum, Director of Marching Percussion at the University of Massachusetts and Percussion Caption Head for the Grossmen Drum and Bugle Corps. In 1984, the cymbal line's prominent role in the marcMng percussion section was documented in Hannum's thesis: The Cymbal: Its Standard and Special Use In Contemporary Marching Ensembles. In his thesis, Hannum addressed grip, holding positions, circle positions, physical conditioning, and sound production techniques. The second event was when Sabian came on the scene to compete with Zildjian ui the industry. Sabian brought new ideas and products and a desire to listen to the leading artists in the drum corps/imiversity communities (DeLucia 1995, 67). The third significant event was the evolution of "pit" percussion in the 1980s and 1990s. As instruments began to expand in the pit, drum corps explored the use of a wide range of hand cymbals (marching and orchestral), plus suspended, ride, crash, China and hi-hat cymbals (DeLucia 1995, 67). "Cymbal manufacturers soon were making a larger than ever selection of hand cymbals, specifically designed for drum corps and marching bands, including different weights, styles, effects, and even colored cymbals" (Hartsough and Logozzo 1995, 32). The colored cymbal concept was pioneered by the Paiste Cymbal Company in the 1980s and was primarily aimed at school colors consisting of red, blue, green, and black. Most manufacturers have created a line of crash cymbals designated marching band or drum corps; however, "symphonic quality instruments are recommended" (Cook 1997, 329). 66
Evolution of Cvmbal Writing and Plaving Styles
In the 1970s and 1980s, cymbal lines in drum corps and marching bands began to develop a repertoire of new playing techniques, specifically orchestral crashes, chokes, scrapes or zischens, taps, crunches, sizzle crashes, hi-hat sounds, slides, and circular rolls. These and other performance practices, such as muffling and playing on the bell and the edge of the cymbal, are often incorporated into the playing styles adopted for marching cymbals. Students learning these playing styles and arrangers writing for these techniques should put more of an emphasis on the quality of sound that is produced, in order to stay consistent with the concepts derived from orchestral cymbal techniques. Students must always keep in mind that the soimd they produce is the most important concept to be aware of, whether plajdng an orchestral crash, tap, or crunch. In the stock arrangements I have analyzed, there has not been many that utilize these cymbal techniques. Most arrangements tend to contain only orchestral cymbal crashes without exploring the palette of other sounds available. Utilizing these techniques in all stock chart arrangements are beneficial because first, they can be performed at any ability level, and second, they can make cymbal playing more challenging, enjoyable, and rewarding and might help change the negative attitude that many students have about plajdng cymbals in marching band. Although these techniques have the capability of improving the musicality of stock arrangements, it is important to keep in mind that their use be musically driven and not technically driven. As these playing techniques evolved in the marching percussion ensemble, writing styles for cymbals took a new turn. Not only were these techniques played in unison throughout the cymbal section, but they were also being written as split parts similar to the bass drum line. As a result of this new writing style, a variety of sizes, thicknesses, and tone colors, including marching China cymbals, have been used in split part cymbal writing. In addition, the rhythmic structure found in split cymbal parts is 67
characteristically faster and more syncopated than unison cymbal parts. As a result, performing arrangements with split cymbal parts must meet my criteria for several reasons. In general, split cymbal parts are a sign of an advanced arrangement which demonstrate the rhythmical imderstanding found in a bass drum line; therefore, my first criterion must be considered at all times. It is also important to consider my second criterion because when the cymbal part is split, the impact and volume of the cymbal section is diminished. As a result, smaller cymbal lines will balance the Ml ensemble and enhance the music better by pla5dng unison parts rather than split parts. Very often, split cymbal parts can detract from the overall performance if the ensemble is not at the ability level necessary. If, however, the cymbal players are producing great sounds, and the split part is rhythmically audible and enhances the music, intelligent decisions can be made regarding split cymbal parts at intermediate and advanced levels. My third criterion applies to memorization demands placed on cymbal players. Since it is extremely difficult to read music while marching and playing cymbals, most performance situations require memorization. Knowing this in advance, directors must always select arrangements based on this criterion. My fourth criterion is the primary consideration when selecting an arrangement with a split cymbal part. Playing a split part can be extremely valuable to students who are capable and extremely destructive to those who are not, not to mention the musical consequences. There are also several playing techniques that can be explored through holding positions. The ride cymbal and hi-hat holding techniques, which occur when cymbal players hold for snare drummers creating a drumset approach, remains popular especially in jazz, rock, and Latin-oriented music. Another playing style similar to the ride cymbal technique is the "crash-ride" technique, where a ride pattern is played on the inside of one cymbal and the other cymbal is crashed on the outside. Another sound variation can be executed by designating "ride up" or "ride down," either by playing a ride pattern in the original inside position (up) versus the outside (down) position. A crash could also be played firom a "ride up" position simulating a China effect 68
Percussion writing that requires these types of cymbal techniques must be played by a band that marches a cymbal line on the field. If cymbals are only played in the pit, it would be inappropriate to incorporate these timbres into the show. The visual aspect of the cymbal line has become an art form of its own in the last decade, as can be seen by watching the finest cymbal lines in drum corps, marching band, and indoor drum line circuits. DCI has also opened up its solo and ensemble competition to cymbal lines in recent years. Many advanced school programs are hiring cymbal instructors to bring endless possibilities to contribute to a musical program both visually and aurally. In contrast, many smaller corps and bands have abandoned the use of a marching cymbal line altogether by incorporating cymbals into the pit Many stock chart arrangements provide an optional crash cymbal part during music which requires cymbal players to hold. This option has always created much confusion for cymbal players and is basically dependent on how many cymbal players there are at a given time. If, for example, there are five cymbal players and four snare drummers, then it would be possible for four to hold and one to play the optional crash cymbal part. However, I would not recommend this practice for two reasons: first, it would cause a visual imbalance with body facings. The four players holding would be facing backfield and the one crashing would look out of place. Second, it would be highly unlikely that one cymbal player would be heard in relation to the the rest of the ensemble and would only detract from the music rather than enhance it I would suggest that if this optional part does enhance the music, it is played in the pit 69
CHAPTER IV
STAGING AND DRILL DESIGN
For many years, staging of the dnim line was centered on the 50 yard-line, both mid-field and back-field, with the exception of the drum line occasionally marching towards the front of the field during a drum solo. This centralized staging provided the most stable tempo control and ensemble precision for bands that were spread out over a large football field. Consequently, much of the driU movement that was written for the percussion section consisted mainly of what came to be known as "elevator drill," where the drum line would move up and down the 50 throughout the show, while its primary job was to be the timekeeper and keep the band together. Not only was elevator driU repetitive and simplistic, it was marched at a moderate tempo. According to Thom Hannum, music was generally played "at a cadence, or march tempo of 112-120 beats per minute" (Wyman 1999, 25). As a result, drill was never really a factor in the playability of a marching percussion arrangement Since marching demands were relatively easy, the focus was placed on the music. Prior to the drum carrier being developed in the early 1970s, drums carried by shoulder slings and leg rests would not allow for very much complicated drill movement The use of drum carriers not only made marching a much easier task, but would eventually influence a trend that moved away from writing elevator drill for marching percussion sections. A significant factor in introducing new drill concepts was the dramatic increase of tempos that were being performed. "Basically, you see a lot more fast music being performed nowadays - probably brought about by the Garfield Cadets of the mid-1980s, where fast movement became a part of the visual palette. Naturally this occurred because of the changes in the musical palette" (Wyman 1999, 20). The increased tempos in the music, in conjunction with the influence carriers had on marching maneuverability, led to placing faster, more challenging physical demands 70 on the marching percussionist These innovations in staging and drill design have produced very intricate and rapid drill being written for and executed by drum lines, to the extent of which has propelled the art form into an athletic endeavor, demanding its participants to be in shape and in good health. By the late 1980s, many new staging iimovations began to take place. For example, the battery was being split apart by voicing as segments were placed with their corresponding horn section (Hartsough and Logozzo 1995, 33). Today, the drum line is no longer the timekeeper of the band and rarely finds itself marching elevator drill up and down the 50 yard-line. There exists several schools of thought as to how drill design effects the playability of an arrangement In my experience, learning driU effectively is most influenced by sufficient rehearsal time. As stated in my third criterion, arrangements need to be selected with consideration for sufficient rehearsal time to leam music and drill in order to execute parts at the highest level of performance. Today, several publishing companies offer a complete field show package including a custom arrangement with a corresponding drill design. The drills are written to fit the same ability level as their musical arrangement counterpart. Although this may save the band director valuable time, it will have no bearing on the students' learning process. Li other words, a band's success will always be determined by the quality and quantity of their rehearsal time. It is important that we not forget the main purpose of drill design: to create movement and provide a visual representation of the music. Depending on whether one is writing for a middle school, high school, or college band versus a drum and bugle corps, the importance of drill to arrangers will vary greatly. In drum corps and competitive high school marching band, the role of drill can be huge. This is primarily due to the nature of the activity - competition. In competitive drum corps and marching band, it is a primary consideration to write and leam only one driU during the season. According to Hannum, visual moments in the show that were discussed before the parts were written are often the most effective 71
"since the overall objective and parameters are predetermined" (Wyman 1999,26). Due to the nature of this type of competition, both the drill and music have relatively equal importance to adjudicators. As a result, the drill has a significant influence on how the arrangement will be written. It is also common for an outside drill writer to be hired who may be unaffiliated with a particular organization. In these cases, the drill is usually written separate from, simultaneously with, or after the musical arrangement is written. This means that the drill is written to accommodate the music, rather than the other way aroimd as discussed in the first example. It is common for high school bands to "hire out" drill writers giving them only a score and an audio tape to work from. These driU writers often write many different drills for many different schools at the same time. This makes it very difficult to collaborate ideas between the arranger and drill designer. The final scenario that exists is that of performing multiple shows throughout the season, and thereby learning multiple drills and multiple arrangements. This situation is most common in college marching bands where entertainment, not competition, is the driving force of the organization. In this environment, the music is the primary focus and the drill, although still important, may be secondary. This is primarily due to a limitation of rehearsal time needed to leam sophisticated and intricate drill design. In applying this to my third criterion, the main goal must be that whatever arrangements and drill are selected or written, there must be sufficient rehearsal time to prepare them properly. On the average, college marching bands who perform five to six halftime shows a year generally have a maximum of two weeks to leam each new show. As a result, drill is written to enhance the musical production as well as facilitate student learning in a limited amoimt of time. The main goal is to execute music and drill at a high level of confidence, leading to an outstanding performance. Under these circumstances, arrangements are often written or selected before drill design is considered. From my experience, common problems associated with percussion drill that can 72
affect the musical arrangement include staging of the percussion section and playability of the music. According to my second criterion, "Arrangements Need to Fit the Music," the director must oversee the placement of the drum line on the field in relation to the winds for each arrangement Staging the drum line correctly throughout an arrangement will have an enormous impact on ensemble playing and realizing musical intent. Thom Hannum asks us to consider if the intended dynamic level is achievable considering location and movement demands (Wyman 1999, 26). We must also constantly ask ourselves whether or not everything that has been written can be heard. If a part cannot be heard, why play it? Marching percussion sections must be staged in a manner that allows for all parts to project within a musical arrangement According to my second criterion, the director must determine if the arrangement yields clarity and balance in all voices. Hannum asks us to listen to an arrangement and determine if a part projects, given the staging and field placement of the battery. He fiirther encourages arrangers to change their writing style from when the battery is positioned in the back of the field and when they are up front According to Hannum in regards to acoustical problems with indoor marching percussion, "I would certainly hope we could arrive at the point where everything that is played is heard. Otherwise, what's the point" (Wyman 1999,28). Another common problem to be aware of is when drill demands influence the playability of the music. According to my second criterion, the director must determine whether the percussion arrangement is playable in relation to the drill written. Far too often, poorly written drill causes music to suffer and prevents any chance a drum line has of playing at a high level. Excessively fast tempos are also conducive to an arrangement's playability to suffer. The arranger must know where these cutoff points exist (Wyman 1999, 25). Hannum also asks us to consider if the part is compatible with a particular change of direction, with stopping or starting a drill move, and if it can be performed and executed consistently, given the movement responsibilities (Wyman 1999, 26). It is my recommendation that at a beginning level, the band, as well as the drum 73 line, should generally be staged in the middle of the field for ensemble purposes, giving the band an opportunity to project their sound. If a small band is too spread apart, the result will be a thin, imimpressive soimd. At an intermediate level, drum lines can start to move off the fifty and become an intricate visual component in the band's visual performance. Care must be taken to keep all segments of the percussion section close to each other to allow for optimum listening and musical execution. This can be done by writing curvilinear drill in which segments expand horizontally and connect to each other, or in a block formation, similar to how a drum line might set up in a parade. Keeping the percussion section together throughout all drill is imperative. A marching percussion arrangement will only make sense to the listener if all parts are executed in relation to each other. At an advanced level, more experimentation with drill can take place, provided once again that unrealistic drill demands or a lack of rehearsal time do not effect the execution of the music. Drill writers must also take into consideration the weight of battery percussion instruments in relation to the drill demands, as well as the larger intervals required. For bass drums, tenors, and cymbals, four-step intervals are generally recommended while snare drums usually play at a one or two-step interval. Drill writers must also be aware of the placement of the cymbal line. If the music calls for cymbal players to hold, then cymbal players must obviously be staged in front of the snare line. In conclusion, there are many ways in which drill can effect the overall success of a marching percussion section. First, drill must always be conceived in a manner that allows the percussion section to perform their music to the best of their ability. Drill which is illogical or unnecessarily difficult will only cause poor music performance and a frustrating musical experience. Drill should always enhance the music being played, not detract from it. Second, it is important for marching percussionists to always learn drill in relation to their music. If the drill is realistic and logically put together, players will memorize both music and driU simultaneously and wih be more confident and better prepared to perform. Third, proper staging is imperative for percussion parts to project 74 as well as providing the band with a solid musical foundation. Properly staging the drum line will allow for the best musical impact on the field. Finally, as stated in my third criterion, drill must be conceived with consideration for sufficient rehearsal time. Only by having sufficient rehearsal time will a percussion section march their drill and play their music at a high level of performance. 75
CHAPTER V
EVOLUTION OF STOCK CHART ARRANGEMENTS
Beginning in the 1960s, publishing companies such as Jenson, Charter, Coliunbia, and Hal Leonard controlled an enormous market of stock chart arrangements for high school and coUege bands. The majority of these arrangements were poorly- written and simplistic and failed to provided performers with challenging musical experiences. Despite the fact that stock chart arrangements have always been musically weak, it is safe to say that because of their availability, publishing companies led a healthy existence thirty and forty years ago. Since this time, the quality of music distributed by publishing companies in marching band education has actually gotten worse. As a result of new trends in the marching activity, the importance of stock chart arrangements to marching band programs has been greatly affected. In the 1960s, high school bands modeled themselves after college bands who performed five to six different halftime shows a year. According to Jay Rees, who is published with Warner Brothers/CPP Belwin and Music Expresso, "High school bands in the 1960s modeled themselves after college bands who were performing theme shows" (Rees telephone interview, 25 April 1999). These shows generally consisted of a variety of music and featured a different show, and consequently three or four different arrangements, at every home football game. Publishing companies thrived in this environment because bands were purchasing a multitude of new arrangements each year. It was also common for stock chart arrangements to be recorded by college marching bands, making arrangements more attractive to the high school director purchasing them. As a result of their great demand, stock chart arrangements became the primary musical repertoire for high school and coUege marching bands across the country for many years. In the 1970s, marching band competitions, contests, and festivals became popular and caused high school bands to model themselves after drum and bugle corps rather than college bands. Whereas coUege bands perfomed for 76
entertainment, drum and bugle corps performed for competitions (Rees telephone interview, 25 April 1999). According to Rees, a major moment which changed the marching activity significantly was when the 1975 Madison Scouts won DCI finals. "Before Madison, only California corps had won DCI; the Kingsman, Blue Devils, and Santa Clara Vanguard. This changed the national feel of drum and bugle corps and caused DCI to become more spread out" (Rees telephone interview, 25 April 1999). As a result of the increased exposure and popularity the 1975 Madison Scouts brought to DCI, high school marching bands turned their attention to modeling drum and bugle corps rather than college bands. By the late 1970s, drum and bugle corps had established a new trend in performance. Rather than performing many different shows during the season, drum corps committed themselves to performing a single show. In a short time, high school bands began performing fewer shows as weU. As high school bands began to compete in a similar manner as drum and bugle corps, the concept of performing one show throughout the marching season became the norm. No longer did band directors purchase a multitude of arrangements, but instead focused their attention on creating a single custom arranged show. These shows were characteristically more difficult, demanding, and challenging for students, and due to the increased rehearsal time that was now available to spend on a single show, every detail could now be addressed, fixed, and cleaned for competitions. The goal was to accomplish musical and marching perfection, and many believed that the stock chart arrangements did not meet this new standard of excellence. In the last twenty years, this intense focus on performing one show has without question resulted in the birth of a new art form and has produced some of the highest quality musical and visual productions ever achieved in the marching activity. As high school bands have shifted their attention to performing one show a year, pressure to hire an outside arranger to write a custom arrangement has dominated not only band budgets, but band booster organizations and to an extent, adjudicators' expectations. As a result. 77 many band directors feel that stock chart arrangements do not meet their program's musical standards. In the past ten years, high school band programs have received substantial financial support to hire multiple band directors, drum line instructors, color guard instructors, and other specialists. It is now common for arrangers and drill writers to be hired to help create an award winning show. According to Mark Hosier, Assistant Director of Bands at Clemson University, Publishing companies assume that powerhouse marching band programs at the high school and college level will only play custom arrangements. As a result, the demand for competition-level stock chart arrangements has significantly decreased, and many publishing companies now simply do not offer any. It seems that some publishing companies tend to cater to smaller, less experienced bands with lower budgets based on the large quantity of easy, low-quality arrangements that exisL As fewer stock arrangements have been published for competition-level shows, it seems more emphasis has been placed on publishing "stand" tunes. Although only a theory, publishing companies may now be focusing their attention on selling arrangements to be performed in the stands rather than arrangements that are suited for the field. (Hosier 1999) If this is indeed the case, the need for simpler, less challenging arrangements has increased to accommodate the repertoire of stand tunes for football games. It is not uncommon for high school and college bands to perform up to fifteen different arrangements throughout the course of a football game. Due to the sheer quantity of demand, quality has suffered greatly, as supported by my five criteria. If publishing companies are now conceiving stock chart arrangements to be primarily played in the stands, then it could be justified that the criteria I have established do not apply; for it is rare in most band programs that stand tunes are ever rehearsed at a high level or on a consistent basis. I must emphasize that my criteria, the essential performance skills, and the ability levels I have recommended have been established for students' musical experience on the field, and that the musical experience students receive in the stands should not be the focus of publishing companies or of marching band education in general. According to Rees, Associate Director of Bands at the University of Arizona, Many of the big publishing companies, specifically Warner Brothers, demand that their arrangers adhere to strict perameters. The market for stock charts is two-fold; first, it is for bands who are not competitive, bands who want to play different tunes at each football game, and bands who are not quality concious. 78
Secondly, the market focuses on music for the stands and homecoming festivities. Publishing companies realize that the market has changed and more custom arrangements are in demand. It is often a self-fulfilling prophesy. Publishing companies put their music out there knowing full well who is going to buy it (Rees telephone interview, 25 April 1999) The discussion I have presented here outlines several factors which may have contributed to the demise of a quality standard for stock chart arrangements. I refuse to believe that the real reasons so many stock chart arrangements are of such poor quality is laziness on the arranger's part or mass production. Similar to elements of the corporate world, stock chart arrangements are primarily a money maker and quantity of arrangements published often takes precedence over their quality. For many individuals, arranging is an opportunity to endorse a publishing company and make some extra money on the side. Unfortunately, this process has gotten in the way of percussion education because the majority of stock chart arrangements do not meet my five criteria. 79
CHAPTER VI
PUBLISHER REVIEWS
In the vast world of published marching band music, there seems to be a significant discrepancy between the diESculty level of a stock arrangement's wind parts and the difficulty level of its percussion parts. Today, each of the five major publishing companies- Arrangers', Band Music Press (Carl Fischer), Hal Leonard, Warner Brothers, and Matrix, as well as Row-Loff Productions, have assign grade levels to their marching band arrangements in their catalogs. According to The Marching Band Compendium by Robert Meaux, "the grading scales used here were applied by the publisher at the time of publication" (Meaux 1996, 3). This is very important to consider when performing arrangements that date back ten or twenty years. As talent and skill levels of marching percussion sections have greatly improved during tliis time, a grade 3 arrangement published in 1981 may not be the same difficulty as a grade 3 arrangement published in 1999. As a result, directors cannot always trust that the grade level assigned to an arrangement will accurately reflect the ability level of their marching percussion section. The criteria by which publishing companies grade their arrangements has not been standardized. Furthermore, arrangements assigned the same grade level, but published by different companies, tend to be inconsistent with one another in regards to the performance skills they contain. Some publishing companies, such as Hal Leonard and Warner Brothers, assign a grade level from 2-5; "2" being the easiest and "5" the most difficult These grade levels are then organized into different series with various names that are intended to clump similar arrangements together. The confusion occurs when arrangements assigned the same grade level are not found in the same series. Throughout my research, I have not come across any explanation of why this occurs; consequently, I believe there is a dire need for criteria to be developed when assigning a 80 grade level to an arrangement. Other companies such as Matrix, Arrangers', and Row- Loff assign a difficulty level of easy, medium, medium advanced, and advanced. Because these levels are somewhat vague in nature, the band director can only assume that technical difficulty, range, instrumentation, rhythmic difficulty, tempo, and length are some of the factors that are considered when an arrangement is assigned a particular grade leveL According to Best Music For High School Band. Dvorak, Grechesky, and Ciepluch present a "Criteria for Grade Level Assignments" pertaining to the concert band and wind ensemble literature they discuss in their book. They preface their criteria by sa)dng. Assigning grade levels to music is a complicated task. Even when the most precise criteria are adhered to, the grading may seem inaccurate. Music is not an exact science, hardly a science at all. Hence, grading becomes an art in itself, with experience and 'feel' of a piece being the best guides. When technical difficulty is considered, it is easy to objectively assign grade levels. Factoring in aesthetics makes the grade level assignment more a matter of judgment (Dvorak 1993,11) Regardless of the subjectiveness of assigning grade levels to concert band and wind ensemble repertoire, the authors offer a detailed criteria in which they believe is in the best interests of students and directors performing this literature. The criteria in Best Music For High School Band is based on the "grade 1" through "grade 6" spectrum that is so commonly used in music education, with grades 1 and 2 being suitable for first and second year bands, such as middle schools, grade 3 being suitable for mature third year bands in middle school and beginning first year bands in high school, grade 4 being suitable for most high school bands, grade 5 being suitable for the finest high school bands and most college bands, and grade 6 being suitable for advanced college bands and professional bands (Dvorak 1993, 11). The authors then offer certain musical elements that are characteristic of grade 4 and grade 5 levels. Grade 4 music will consist of challenging rhythms, syncopation, require fluent technique, and include diverse instrumentation in regards to woodwinds and percussion. Grade 4 pieces are not suitable for middle school bands, but are suitable for good high 81 school bands or as slightly challenging material for small college band programs. Grade 5 music will consist of very challenging rhythms including polyrhythms, extremely fluent technique, and virtuoso writing throughout Grade 5 is only suitable for the finest high school bands and as challenging material for good college bands (Dvorak 1993, 11). In contrast to my five original criteria, these criteria do not focus on the quality of an arrangement but are used for defining a piece of music's grade level; consequently, this approach relates more to my essential performance skiUs. Syncopation performance, ensemble polyrhythm performance, and basic and advanced drumming rudiment proficiency are the essential performance skills I have recommended which strongly relate to syncopation, polyrhythms, and fluent technique characteristics in Best Music For High School Band. In the following pages, I will discuss the grading criteria and promotional CDs from the 1998 marching band catalogs of Arrangers', Band Music Press, Hal Leonard, Warner Brothers, Row-Loff, and Matrix. 82
Arrangers'
Arrangers' 1998 catalog lists all their marching band arrangements alphabetically and classifies their difficulty levels into four categories: easy, medium easy, medium, and medium advanced. Their promotional CD also clearly labels each arrangement's difficulty level.
Band Music Press
Band Music Press was originally formed in 1993 and is distributed today by Carl Fischer Music, Inc. It is owned and operated by John Tagenhorst, a long time arranger in the marching band field. In their 1998 catalog. Band Music Press classifies their marching band arrangements by grade level. The grade levels used are 2, 2.5, and 3.
Hal Leonard
Hal Leonard classifies its marching band music into thirteen different marching band series. Each series is designated by a grade level from 2 to 4; 2 being the easiest and 4 the most difficult. The series are defined as follows in Hal Leonard's 1998-1999 Catalog:
1. Limited Edition Series Grade 4 2. Spectra Series Grade 4 3. Performance Series/Easy Limited Edition Grade 3-4 4. Easy Spectra Series Grade 3 5. Hal Leonard Marching Band Series/ Grade 3-4 Contemporary Marching Band Series 6. Power Charts Grade 3 7. Esprit Series Grade 2-3 8. Discovery Series Grade 2 83
9. Easy Marching Band Series/ Grade 2-3 Easy Contemporary Marching Band Series 10. Series One Grade 2 11. Percussion Series Grade 3-4 12. Sports Band Series Grade 3-4
The problem with this classification system is that there is no explanation in the catalog or on the CD as to the difference between the various series, and why certain series have the same grade number. Many of the arrangements on the CD were recorded with an authentic drumset part rather than the written marching percussion parts. This makes it impossible for a director to listen to the marching percussion parts and evaluate the arrangement based on my criteria. It also defeats the whole purpose of promoting a CD which claims to aid the director in selecting music. In their 1998 catalog, Stanton's Sheet Music of Columbus, Ohio lists the Hal Leonard series in order of decreasing difficulty. They also provide a brief description of each series.
1. Limited Edition - Advanced competition arrangements 2. Performance - Medium/advanced competition 3. Esprit Series - Confidence building competition arrangements 4. Contemporary - Hot pop tides 5. Power Charts - Pops with power scoring 6. Soundpower - BUI Moffit's original series 7. Marching Band - Hot pop titles 8. Sports Band Series - Pep band arrangements 9. Easy Contemporary - Pops for young band 10. Easy Marching Band - Simplified pop tunes 11. Series One - Very easy but scored for a big sound 12. Percussion - for competition and parade 84
Warner Brothers
Warner Brothers classifies its marching band music similarly to that of Hal Leonard by using series names to distinguish between difficulty levels. However, Warner Brothers includes a "Features" section describing what the series means and why a particular arrangement is categorized under that series. Grade level is also included. The series and features are as follows:
1. Signature Series - The best of the best! Very challenging arrangements that feature some of the most outstanding arrangers in the country. These titles have already been performed by some of the country's top high school and college marching bands. (Grade 5)
2. Diamond Series - Arrangements are designed for field show use with maximum general effect written in. (Grade 3 to 4)
3. Mega Sounds - These arrangements are designed for field use like the Diamond Series, but a grade level lower in difficulty. This is the perfect series for smaller bands that still want technically challenging arrangements. (Grade 2.5 to 3)
4. Pops - These arrangements are specifically written to be played in the stands or for pep band. They will work as auxiliary features or production numbers as well. The arrangements are more straight ahead and pop/rock oriented. (Grade 2.5-3)
5. Big and Easy - This series is designated for the young or less experienced groups. Limited ranges and rhythms. Optional parts include tri-toms. (Grade 2)
6. Easy Pops - Pop/rock oriented material perfect for the stands or pep band, as well as auxiliary features and production numbers. (Grade 2)
7. Very Easy Pops - These arrangements are intended to be performance ready for high school bands in a hurry. Great for young bands as well. The arrangements are short and to the point. (Grade 1.5)
8. Bleacher Blasters - Written specifically for pep band use, short versions of pop/rock tunes. They work great in the stands with marching band as welL (Grade 2.5- 3) 85
Row-Loff Productions
Row-Loff Productions was founded in 1990 by Chris Crockarell and Chris Brooks. The primary goal was to conceive state of the art percussion literature for both marching and concert idioms. According to Meaxix, "their goal is to supply musically enriched as well as entertaining percussion arrangements and compositions for junior high through college level students and teachers" (Meaux, 1996, 352). According to Kent White of Stanton's Sheet Music in Columbus, Ohio, Row-Loff and Matrix came about in part as a reaction against all the poor quality music that was being published by other publishing companies (White telephone interview, 2 February 1999). Row-Loff divides all their marching percussion arrangements into three categories: easy, medium, and advanced in both their catalog and on their compact discs. This method it very clear and concise when selecting and listening to arrangements. These ability levels consistently meet my five criteria and present essential performance skills.
Matrix
The Matrix Publishing Company was formed in 1987 with the name "Marching Percussion Northwest" and became Matrix Publishing Company in 1993 (Meaux, 1996, 351). The 1998 Matrix catalog states that Matrix contains "the finest percussion parts on the market" The parts are of excellent quality, with Matt Savage and Alan Keown as two of the primary arrangers. Keown, President of the Matrix Publishing Company, is Director of Marching Percussion at the University of Oregon. The percussion parts can be heard very clearly on the 1998 CD, and the arrangements demonstrate excellent quality percussion writing. The Matrix arrangements showcase the percussion section more extensively than other promotional CDs and the percussion parts are treated as an integral component of each arrangement. Matrix classifies its marching band arrangements into four categories: easy, medium easy, medium, and medium advanced. 86
CHAPTER Vn ANALYSIS OF ARRANGEMENTS
Analysis of Over The Rainbow
Over The Rainbow, arranged by John Higgins and published by Jenson in 1967, is a fairly well-written marching percussion arrangement, but only meets one out of my five criteria completely. An arrangement that meets so few of my criteria and is still regarded as "fairly well-written" is a rare case indeed. This is definitely an exception to the large number of poorly-written arrangements that were available at that time. This proves, however, that my criteria and essential performance skills can be successfully applied to a broad spectrum of arrangements since the late 1960s. Over The Rainbow does come close to meeting all of my criteria, but not throughout the arrangement. The one criterion which it does meet is my third criterion. According to The Marching Band Compendium by Robert Meaux, Over The Rainbow is a grade 4 arrangement. This grade is high in relation to the arrangement's intermediate level percussion writing. Grade 4 is defined as a medium-advanced ability level and although the wind writing is at a grade 4 level, the percussion writing is at a grade 3 intermediate level based on the essential performance skills it contains. As a result. Over The Rainbow does not meet my first criterion and will not challenge medium-advanced level players. Although Over The Rainbow presents all of the intermediate level performance skills including syncopation performance, basic drumming rudiment proficiency, section interplay awareness, and split bass drum performance, it contains several lapses of quality writing which fail to meet my second and fourth criteria. The percussion writing does not support and enhance the wind arrangement in three particular sections. The first section is measures 3-13 and 24-29 of the snare part. The part consists of a ride 87 cymbal pattern played on the cymbal dome and contains ruffs (see FIGURE I.l).
1^^ On cym. dome I j yc 1 yc 1 £' I J.flJ-'JDJ ^
FIGURE 1.1, Ride cymbal part containing ruffs, measures 24-29.
Although ruffs can produce omamental metallic effects and are effective grace note figures, they are generally considered an orchestral percussion technique played by a solo percussionist. It is nearly impossible to play ruffs cleanly in a snare line due to individual differences in interpretation and timing. As a result, the cymbal part at the beginning will most likely be executed poorly unless an exact interpretation is defined. The second section which does not support or enhance the wind arrangement is measures 15-22. The snare line is deprived of an enormous musical opportunity because the part lacks essential performance skills and consists only of a drumset- oriented timekeeping part (see FIGURE 1.2).
1—1 Sticks on dosed HJf. ^ , , Cym. Iisl A A .V On bead \
jj I K I X [ I /C I >c [ Cross stick RS.
FIGURE 1.2, Drumset-oriented timekeeping part, measures 15-22.
Incorporating accented sextuplet patterns into these measures would effectively help drive the crescendo in measure 15 and help punctuate the downbeat of measure 16 (see FIGURE 1.3). 88
FIGURE 1.3, Sextuplet accent pattern, measures 15-16.
In measures 17-23, double stroke rolls, accented sextuplets, and syncopated rhythms would significantly help enhance the melodic line and create the necessary rhythmic energy the arrangement needs (see FIGURE 1.4).
FIGURE 1.4, Double stroke rolls, sextuplets, and syncopated rhythms, mm. 17-23.
The tempo is slow enough (quarter note= 96-l(X)) for intermediate level students to play several double stroke rolls in this arrangement, while at the same time contribute to the legato style of the melodic line. In addition, a crescendo by the percussion section in measure 14 rather than the written diminuendo would help drive the phrase during the crescendo in measures 15-16 with the winds (see APPENDIX 1). In conclusion, measures 15-23 of the original score contain several musical moments which fail to meet my fourth criterion because the percussion parts do not support or enhance the wind arrangement Another questionable characteristic of the percussion writing is the bass drum texture because it also does not support the dynamics of the arrangement The rhythmic activity of the bass drum part is slow and unison bass drum writing is infrequent For 89 example, in measures 15-39 of the original score, the bass drum writing primarily consists of simple quarter note and eighth note rhythms and fails to provide the necessary musical impact and dynamic support (see APPENDIX I). In measure 31, which marks the peak of a phrase, the bass drum part is poorly conceived because only the bottom two drums are played, rather than unison writing which would provide the proper musical impact and support the dynamics of the arrangement. The arranger should have increased rhythmic activity by writing eighth notes, sixteenth notes, and sextuplets while incorporating unison impacts (see FIGURE 1.5).
FIGURE 1.5, Well-written bass drum part supporting wind arrangement, mm. 15-39. 90
Beginning in measure 30, the percussion parts start to become very appropriate and provide the music with many exciting moments leading to the end of the piece. With the exception of measures 47, the transition to a triple feel is successfully accomplished, providing contrast and excitement. The bass drum solo in measure 47 with cymbal crashes is a weak use of the percussion's potential in this musical transition because bass drum rolls, especially when played on the bottom two drums, will not provide the necessary impact (see FIGURE 1.6).
SNAPS OR. ^-8 J • ^ > CYUOALS il " -I J =: rsff-tf L, TOMS r*
FIGURE 1.6, Poorly conceived musical transition, measure 47.
Unfortunately, Over The Rainbow does not consistently meet my criteria throughout the arrangement. Glimpses of musical brilliance combined with disappointing musical moments result in a mediocre musical experience for the performer. It can also be concluded from my research and analysis that some sections of an arrangement can meet more of my criteria than other sections. My fifth criterion can only be met if the other four criteria are met throughout an arrangement's entirety, and not through brief moments of well-written music. Only if an arrangement meets my fifth criterion, can it be regarded as a quality marching percussion arrangement. Although not a poor arrangement. Over The Rainbow does not fully meet my first, second, third, and fourth criteria. 91
Analysis oi And The Band Played On
And The Band Played On, arranged by Larry Kerchner and published by Arrangers' Publishing Company in 1996, contains an extremely challenging and overwritten percussion score arranged by Joe LeRoux. According to Arrangers' 1998 marching band catalog. And The Band Played On is a. medium level arrangement. This grade level is low in relation to the arrangement's advanced level percussion writing. The arrangement contains several advanced level performance skills including advanced drumming rudiment proficiency, split bass drum and cymbal part performance, and ensemble polyrhythm performance. As a result. And The Band Played On does not meet my first criterion. Furthermore, the arrangement does not meet my second criterion because the medium level wind parts are not enhanced due to the overwritten percussion parts. In addition, the advanced percussion writing will most likely cause the arrangement to fail to meet my third criterion, especially if performed by an intermediate marching percussion section as its grade level indicates. My fourth and fifth criteria arc also not met as a result of the arrangement's excessive and unnecessary difficulty. The piece begins with a four measure percussion solo featuring the tenors and bass drums. The most advanced technique, however, is the ride cymbal pattern in the snare part. This double time jazz feel is marked at quarter note= 140, and will challenge the most advanced players to play at tempo (see FIGURE 1.7).
Snare Doubk Time Jazz Feel RideCym. _ - _ _ _ edge • I n •THn'raj-Hj-H.n'j n rHnTi jn m
FIGURE 1.7, Advanced double time jazz feel, measures 1-4. 92
The only way intermediate players could keep up with this part would be to play it with two hands, thereby destroying the swing feel the arrangement is trying to establish. This introduction will without question frustrate percussionists from the start Another example of excessive difficulty can be found on beat 4 of measure 6 in the tenor part This rhythm is completely unnecessary in the music and will only result in poor timing and incorrect interpretation of this figure (see FIGURE 1.8).
FIGURE 1.8, Poorly written tenor part, measure 6.
In measure 8, the bass drum part contains sextuplets which are very difficult for an intermediate level ensemble to execute at the marked tempo of quarter note= 140. Furthermore, these sextuplets are written over sixteenth notes in the upper woodwinds and mallet parts creating inappropriate polyrhythms (see APPENDIX 2). In measure 13, the tenor part features a syncopated accent pattern between the rim and the drums. Although this pattern represents the intermediate essential performance skill of syncopation performance, it does not enhance the music because it is played inaudibly on the rim, and therefore does not meet my second criterion (see APPENDIX 2). Also in measures 13-14, the top three bass drums play the melody with the winds, while the bottom bass drum pounds out a steady quarter note pulse. This effect causes the music to stagnate and does not give the music the forward motion it needs, failing again to meet my second criterion (see FIGURE 1.9).
on " yj r r r r^ r
FIGURE 1.9, Ineffective bass drum writing, measures 13-14. 93
Another unusual musical effect occurs in measure 21, where the percussion is scored fortissimo and the winds subito piano. This makes little musical sense and would be more effective if the winds played a forte-piano rather than a subito piano. There are many instances in which the cymbal parts fail to meet my first and second criteria as well. Starting in measure 21, the cymbal part is split and contains syncopated rhythms characteristic of an advanced arrangement. Although a potentially effective musical effect, the part is written as split eighth notes crashes and clutters the rhythmic clarity of the rest of the percussion section (see FIGURE 2.1).
C}iok£
11£r ^ ======nj
FIGURE 2.1, Poorly written cymbal part, measures 21-23.
Similarly, the split cymbal part in measure 46 may clutter the rhythmic line in the percussion break, rather than enhance it (see APPENDIX 2). The cymbal writing in this measure should support the rhythmic punctuations and accents of the music rather than play straight eighth notes. The flam passage in measure 28 of the snare part will be difficult for intermediate players to execute because of the fast tempo (see APPENDIX 2). This pattern can be simplified by using the essential performance skill of alternating sticking and accent pattem performance played at quarter note= 140. An extremely poor example of percussion writing occurs in measure 32 of the bass drum part. This type of syncopation in an intermediate level arrangement is not only unnecessary, but detrimental to the rhythmical clarity of the music. The dynamic shaping will only add to the inevitable timing problems of this measure (see FIGURE 2.2). 94
32 33
f> -eC *51
FIGURE 2.2, Poorly written bass drum part, measure 32.
The next set of problems occurs with the snare and tenor parts in measures 40- 60. Due to the fast tempo, the rolls in these measures should be played with a triplet roll base. The recording of As The Band Played On demonstrates playing the rolls with a sixteenth note roll base, exhibiting the essential performance skill of advanced drumming rudiment proficiency. This again shows the arrangement's failure to meet my first and my fourth criteria. These rolls present intermediate players with skills that are beyond their capabilities and will most likely cause tempos to drag and parts to be played poorly. Measures 51-52 consist of some rather unusual percussion scoring which fails to meet my second criterion. In these measures, the wind scoring is very thick with everyone playing fortissimo and the percussion scoring is very thin, consisting only of bass drums, a light cymbal ride pattern, and very spacious rhythms. The percussion parts do not reinforce and support what is going on in the wind arrangement at this point, (see HGURE 2.3). 95
Flute/P^olo
Ctaritxet 2-2
Alto Sax 1-2
TaujrSax
f=f=pf^ Trumpet 1 71— 1 K IT . = • Trumpet 2-3 ^ —
F Horn J' J J—»-!-
Trombone 1-2
Banlcne
Tuba
Snare
Quad/Tri Tarns =J=» Bass Drums W J J d-W ^ ti J _
Cymbals
Figure 2.3, Poorly conceived percussion scoring, measures 51-52.
The next section of the score is the drum break which showcases both the tenor and bass drum sections. Although these solos in measures 60-64 are rhythmically effective and showcase the virtuosity of each section, they can present timing problems 96 for intermediate level ensembles because of their extremely syncopated nature (see APPENDIX 2). The end of the piece from measures 65-77 presents some challenging material including a sudden tempo change and metric modulation in measures 65 and 69 respectively (see APPENDIX 2). Although these are appropriate musical concepts to leam at an intermediate level, execution of these concepts will depend of my third criterion. In conclusion. And The Band Ployed On fails to meet my first four criteria and has been assigned an incorrect grade level. It should definitely be an advanced level arrangement based on the essential performance skills it contains and the tempo for which it is written. Musically, the percussion arrangement is far more advanced than the wind arrangement which will most likely lead to several problems throughout the rehearsal process. As a result of failing to meet my first four criteria. And The Band Played On also fails to meet my fifth criterion. Analysis of Brass Roots
Brass Roots, arranged by John Tagenhorst and published by Band Music Press in 1971 and edited in 1996, is categorized as a grade 3 arrangement in Band Music Press' 1998 catalog. The arrangement was rescored in 1996 for snares, quads and quints, four bass drums, and cymbals. The original 1971 arrangement is scored for snares, cymbals, tri-toms, and a single bass drum. Ironically, both arrangements, written 15 years apart, are not that different from each other but warrant two different grade levels. While the 1971 arrangement exhibits primarily beginning level performance skills such as fundamental reading proficiency, basic rhythmic pattern and repetition performance, sticking policy application, and unison bass drum part performance, the 1996 edited arrangement contains intermediate skills such as syncopation performance, split bass drum performance, and a small use of basic drumming rudiment proficiency. The 1996 arrangement is very contradictory in that about eighty percent of the percussion writing exhibits beginning level performance skills and twenty percent (measures 39-40, and 71-83) exhibits intermediate level performance skills (see APPENDIX 3). As a result, the grade 3 level assigned to the edited 1996 arrangement of Brass Roots is accurate and supports my first criterion. However, the 1971 arrangement should be labeled a grade 2 based on ±e beginning level performance skills it contains. Brass Roots also presents several problems in the percussion writing in relation to the wind arrangement and consequently fails to meet my second criterion. At the beginning of the piece, the snares are asked to "click sticks with partner" to provide a steady pulse for the band. This effect is obviously to portray an energetic, party-style atmosphere, but will only result in a poor start from the percussion section, as demonstrated on the Band Music Press promotional CD. If the effect is to establish a quarter note pulse, the cymbals could play the part using the hi-hat technique. 98
33. In these measures, the snare, tenor, and bass drum parts are rh)ahmically identical, contributing very little to enhance the music. This supports the fact that the essential performance skill of section interplay awareness is lacking in this arrangement. As each section plays the same part, no timbral variety takes place within the musical texture. As a result, the percussion parts become monorhythmic and fall under the beginning essential performance skill of basic rhythmic pattems and repetition performance (see FIGURE 2.4).
n J J jm J J /m J J") J J J J J J STJl J J J J J J 1 1 rnn " mf ' J rm u • « 1 J i 1 J 1 >1 ' 1 - J ( J 1 t f , f*i J.1 f> . -_ . I]—1J JTn /j n. 1 iTrm , , JTD -i-j-im . j/m , hn-n —z tg-A— d 2—Z • !' ' f J J jTn . h'rm ' -jrn , rlfTpn-
FIGURE 2.4, Monorhythmic percussion parts, measures 17-24.
Another problem exists in the cymbal part in measures 19,23, 27, and 31. The rhythms in these measures do not fit with die accent pattems taking place in the wind parts and other percussion parts. This causes a very awkward syncopation and detracts from the musical and rhythmical clarity of the melody, again failing to meet my second criterion (see FIGURE 2.4). However, this part does enhance the music in measures 61 and 65 where the rest of the percussion section as well as the brass have these syncopations (see APPENDIX 3). There are also several errors in the cymbal part on the promotional recording, as cymbal crashes are added in measures 32, 46, 49, 50, and 67-70. As discussed later in the analysis of The Wizard OfOz, parts that are not written in the original score but played on the recording can be very misleading to the listener, director, and student. Other inappropriate parts that fail to fit the music include the tenor scrapes in 99 measures 41-44, sweeps in 71-75, and the consecutive cymbal crashes in measures 51- 58 (see FIGURES 2.5 and 2.6).
FIGURE 2.5, Tenor scrapes, measures 41-44.
J ,177] T: 7jT\r •J" J7T]_T; ^ J J IJ— =- L J R , * u s " L «
FIGURE 2.6, Tenor sweeps, mejisures 71-75.
First, the tenor scrapes and sweeps are written completely out of context compared to the difficulty level of the rest of the tenor part. These techniques are not musically motivated and will not only fail to enhance the music, but will most likely result in poor execution. The cymbal crashes in measures 51-58 depict an inappropriate march style and have no business being written. The tenor and bass drum parts are also poorly conceived in these measures, with the tenors playing a single note every other measure during a crescendo and the bass drums playing in unison at a piano dynamic level (see FIGURE 2.7).
(MAJKOAVM % J- J'J-J J J JT71
fl- y IJI J} J i j > J) JI JI ±: -X— rm
I -i-
FIGURE 2.7, Poorly written cymbal part, measures 51-58. 100
The only other criterion Brass Roots meets is my third criterion. This arrangement can be played a high level of performance due to the playability of most of the parts and the logical phrases throughout the piece. The only real challenges that intermediate players will require significant rehearsal time on are the tenor and bass drum parts in measures 71-78 and the rolls in measvires 79-83 (see APPENDIX 3). Since most of the arrangement is written at an easier level than its grade level indicates, all parts can be played at a high level of performance with sufficient rehearsal time. Brass Roots also fails to meet my fourth criterion. As previously discussed, a large percentage of the arrangement lacks intermediate level performance skills and is not written at a grade 3 level. The first 51 measures of Brass Roots are very simplistic and will not challenge intermediate level players for several reasons. First, even though intermediate level performance skills exist in measures 51-58 and 67-83, these skills do not dominate the fabric of the arrangement and are written too infrequently for players to develop them (see APPENDIX 3). In other words, because these skills are not written throughout the arrangement, this will influence the overall effectiveness of the percussionist's technical development and the arrangement's musical intent Secondly, students will not develop section interplay awareness because of the unison writing style between snares, tenors, and bass drums. As a result, students will not develop listening skills as readily and may feel they are not contributing to the musical product because of the unison writing style. In conclusion. Brass Roots is an arrangement that may be fun for students to play but will not provide them with a strong musical experience. Brass Roots fails to meet two of my first four criteria and consequently fails to meet my fifth criterion. 101
Analysis of Men In Black
Men In Black, arranged by Michael Sweeney and published by Hal Leonard in 1998, is categorized in Hal Leonard's "Easy Contemporary Marching Band Series" and is a grade 2-3 arrangement This grade is appropriate to the arrangement's beginning level percussion writing. Men In Black fails, however, to meet my second, fourth, and fifth criteria. My first observation is the inappropriate cymbal writing in measures 5-8 and similar measures which requires extra cymbal players to play chokes while the snare line plays a hi-hat rock groove (see FIGURE 2.8).
Hi-Koi > > .J J J J J J jj J
, j ^ «/• f
FIGURE 2.8, Poorly conceived cymbal part, measures 5-8.
Not only is playing consecutive chokes inhibiting, but it is musically inappropriate at a mezzo forte dynamic level with a hi-hat rock groove. Throughout Men In Black, very few essential performance skills exist for any extended period of time. Fundamental reading proficiency is rarely presented, resulting in a strong probability that rhythmic reading will not be highly developed in this artangement. Timing awareness is limited to drumset-oriented timekeeping pattems and simple ostinatos in multi-tenor and bass drum parts (see APPENDIX 4). Basic rhythmic pattems and repetition performance is not presented- Although repetition is a dominant characteristic in Men In Black, timekeeping rather than rhythmic pattems and phrases dominate the music. Alternating sticking and accent pattern performance is presented in small fragments, but not consistendy enough to proficiently develop these skills (see APPENDIX 4). Sticking policy application occurs infrequentiy providing 102 little chance of players becoming comfortable with sticking concepts. The only beneficial performance skill in Men In Black is split bass drum performance. Although considered an intermediate and advanced level performance skill, split parts are presented well at a beginning level and can be developed in this arrangement. If altemating sticking and accent pattern performance were utilized instead of the constant repetition of a hi-hat rock groove, this arrangement would come much closer to meeting my criteria. Although this arrangement will develop the skill of independence between the snare drum and hi-hat, students will benefit and grow much more firom developing essential performance skills than they will &om just keeping time. The tempo of Men In Black (quarter note= 120) provides a perfect laboratory for developing begirming level performance skills. The lack of these performance skills clearly supports the need for my fourth criterion. Other elements within the arrangement also fail to meet my second criterion. Although the published parts may fit the music rhythmically, there are several other elements that fail musically. First, the bass drum texture is very thin in measures 26-30 and may not be loud enough during this section of the music (see FIGURE 2.9).
—:—fr-1 ; h f=^—! n ^ r ' i , -1 1 v-. ^ IJ i (j 1 JJJ r i
FIGURE 2.9, Thin bass drum texture, measures 26-30.
Unison bass drum writing is very infrequent. Second, there is no change in texture throughout the entire percussion arrangement This creates a very thin sound with littie impact and power. In all probability, this percussion score wiU not project outdoors within the context of the band sonority. As a result, the percussion parts do not create any musical excitement and provide no musical purpose beyond keeping time. Third, there is very littie opportunity to actually play cymbals besides the optional cymbal part. Cymbal players are required to hold throughout most of the arrangement Fourth, and 103 most significantly, the writing in the drum breaks of Men In Black miss a golden opportunity to practice, rehearse, perform, and develop essential performance skills. Measures 13-17, 19-21, 20-22, 24-26, 34-41, and 42-48 all fail to include any new performance skills other than the hi-hat rock groove (see APPENDIX 4). Student interest will rapidly decline after discovering the failure of the arranger to write challenging percussion parts during these drum breaks. Our smdents deserve quality music that challenges them and provides them with the oppormnity to grow in many different ways. An example of a snare drum part containing all of the beginning level essential performance skills is illustrated in FIGURE 3.1.
Men In Black Arr. Buyer J =12.0 Snares ) ' tEFF? i.^3 i J >- J~] J | /
lU
FIGURE 3.1, Snare drum part containing beginning level essential performance skills. 104
Men In Black does meet my first and third criteria. As a result, this arrangement is very playable for students at a beginning level and can be played at a high level. The musical experience students will receive, however, wiU be weak in certain areas. In conclusion, this arrangement is poorly written because it does not meet three out of my five criteria and lacks several essential performance skills. Men In Black is a new arrangement that has been recorded with an authentic drumset part rather than the published marching percussion parts, except for the marching cymbal part, marked optional. The score specifies that a drumset part is included as an optional substitute for marching percussion. This is quite ironic because the majority of the marching percussion part is a drumset-oriented part The drumset part recorded on the CD is of use only if this arrangement was to be played in a pep band situation. Recording the arrangement with a drumset part rather than the written parts hinders the selection process considerably by not allowing directors to hear the complete marching band arrangement. This arrangement is without question written for a marching band, and as a result is located in Hal Leonard's Easy Contemporary Marching Band Series, and can be heard on Hal Leonard's Marching Band 1998 CD. 105
Analysis of The Wizard Of Or (Medley)
The Wizard OfOz, arranged by Victor Lopez and published by Warner Brothers Publications in 1998, contains an extremely advanced percussion score arranged by Anthony Falcone. According to the Warner Brothers 1998 marching band catalog. The Wizard Of Oz is a grade 5 arrangement. This grade level is accurate in relation to the arrangement's advanced percussion writing. The arrangement contains most of the advanced level performance skills including advanced drumming rudiment proficiency, advanced sticking combination performance, split bass drum performance, and ensemble polyrhythm performance, but does not include split cjonbal part performance. Although the percussion arrangement is written at an advanced level and presents these essential performance skills, it is flawed with unnecessary difficulty and questionable stickings. As a result, it does not support my first and third criteria. The recording of the arrangement features a live performance by the James Madison University Marching Royal Dukes. There are several problems that arise from this performance. First, the percussion parts on the recording have been rewritten to suit the instrumentation of the James Madison University Dram line. The published instramentation includes snares, quads, cymbals, and four bass drums. The instrumentation heard on the recording includes snares, quints, cymbals, and five bass drums. As discussed in the analysis of Brass Roots, this creates a false pretense of how the arrangement actually sounds to the percussionist. In other words, the recording fails to accurately reflect the score. In addition to the different instrumentation, the recorded percussion parts have also been rearranged for a more advanced ability level. As I mentioned in discussing the evolution of stock chart arrangements, college bands are often asked to record stock chart arrangements as a marketing strategy to make the arrangement more attractive to high school band directors and their smdents. While this would be effective if the percussion arrangement on the recording coincided with the percussion arrangement in the score, it is instead misleading and unethical to promote a piece of music on a recording that is 106
The beginning of the percussion score features the cymbal line rolling their cymbals together in a circular fashion (see APPENDIX 5). This "circular roll" is a nice musical effect for the introduction and will require demonstration from an instructor as well as individual practice to master this technique. Although the cymbal part does explore many cymbal techniques and timbral colors throughout the arrangement, they are often ineffective within their musical context. The cymbal techniques called for in The Wizard Of Oz include the circular roll, orchestral crash, scrape, slide, choke, and hi-haL A scrape is called for in measure 4 and 5 and although an effective timbre, scrapes do not project well at loud dynamic levels. The scrapes written in measures 4 and 5 are played with a forte-piano effect in the snare part, along with accented notes in the winds at a forte dynamic level (see APPENDIX 5). The probability of the scrapes being heard and musically contributing to the crescendo and accelerando is minimal. A sizzle crash or orchestral crash would be much more musically effective. Secondly, measures 17-18 are poorly written and do not help the transition to the duple feel starting in measure 19 (see FIGURE 3.2).
^ * 1 J 1 »' > > Cym*. J J J J J KJ K AJ A AAA S.Q JR JL JR JL R'J t •JR mJL JRB 9JL mJR JmL 1 AJ A1 t AJ AI AAAJ 1 f J 1 ^ J 1 ^ J Quads -J J —1—i ^ J1 ^ Jf—^
B.D (4) J , J i" i , i , i ^ - 17 18
FIGURE 3.2, Poorly written rfiythm, measures 17-18. 107
The bass drum writing most prominently fails to meet my first criterion. Starting in measures 4-5, the written sextuplets on the fourth beat of the bass dnmi part are extremely difficult to execute during an accelerando (see FIGURE 3.3).
FIGURE 3.3, Inappropriate bass drum part, measures 4-5.
Sextuplets are unnecessary in these measures musically because they will only inhibit the band's execution in recognizing the new tempo. Sixteenth notes not only fit the music better, but will make the accelerando more effective. Most of the bass drum writing from measures 19-46 works very well because of the appropriate use of syncopation performance and unison writing on musical impacts (see APPENDIX 5). Measures 46-83 are also well-written combining a split quarter note pulse with effective unison impacts ending musical phrases. Measures 82-90 are slightly more complex and are based on the melody. Measures 95-103 feature the bass drum line playing the melody and present some advanced split rhythms which may affect the pulse of the music if not executed properly (see APPENDIX 5). Whether or not this section can be performed at a high level will depend on my third criterion. The snare and tenor parts primarily fail to meet my second criterion. Measure 15 contains triplets in the snare part that are unnecessary and extremely fast (see APPENDIX 5). Measure 25-26 specifies a virtually unplayable snare drum sticking (see FIGURE 3.4).
FIGURE 3.4, Virtually unplayable snare drum sticking, measures 25-26. 108
It is likely that the sticking in measure 25 is a misprint and should be rewritten was a double stroke roll sticking in its place: R LL RRLL RRLL RRLL. This sticking would best compliment the phrasing of the wind parts and help support the crescendo into measure 27 (see APPENDIX 5). In addition, the tenor part ends this same phrase with scrapes between the first and third drums and the second and fourth drums (see APPENDIX 5). At the current tempo (quarter note= 120), scrapes will not produce a rhythmically solid ending to the phrase. Measures 27-34 are extremely technically advanced and would challenge the most advanced lines to play at a high level. Specifically, the snare drum part in measures 27-29 is not well-written and will most likely result in poor execution of these measures (see FIGURE 3.5).
0 =. , , =. > J ^ J J i"! JlJ J j-j- j-] J J j- J I R ^18 L L 29 ^ ^ ^30
FIGURE 3.5, Poorly written snare drum part, measures 27-29.
Measures 35-38 are well written and the paradiddle-diddle sticking phrases extremely well with the winds in this section (see APPENDIX 5). However, the sticking given in measure 94 of the snare and tenor part (R LL RRLL) is musically inappropriate. To create the energy required for the crescendo, key change, and meter change, the sticking choice demands an alternating sticking pattern (R RL RLRL). The tenor writing in this arrangement does not meet criteria two, three, four, or five because of its unnecessary difficulty and questionable stickings. Although the tenor part presents all of the advanced level performance skills, the writing is sometimes so difficult that few tenor lines will have success playing this arrangement at a high level. The arrangement features several advanced techniques, specifically triple strokes, double stops, scrapes, and crossovers in measures 103-105 and 127-130 which are not musically motivated (see FIGURES 3.6 and 3.7). 109
fR RRR RRIMRRRR RL 'MRLR RRRLLL'
FIGURE 3.6, Triple strokes, measures 103-105.
III •27 «2gR R L L R R L L'29 R X |J0 JJff" crois (tick
FIGURE 3.7, Double stops, scrapes, and crossovers, measures 127-130.
The triple strokes and scrapes are very difficult to execute at the marked tempo of quarter note= 142 and fail to provide the music with the necessary forward motion because of their legato feel. Furthermore, measure 128 indicates a dynamic marking of J®*" which cannot be attained by playing scrapes. In measure 127 and again in 129-130, the triple strokes, double stops, and crossover are combined (see FIGURE 3.7). Although visually effective, these techniques can cause poor execution at the end of the piece if players are not at the appropriate ability level. If these techniques are not played cleanly throughout the section, the music will suffer greatly. Changing the triple strokes, scrapes, and double stops to alternating sticking patterns will provide the music with the rhythmic drive and intensity it requires and tenor players with the best opportunity to perform the arrangement at a high level (see FIGURES 3.8 and 3.9).
R fi L n n I. Rt /z AL p. i
FIGURE 3.8, New sticking for triple strokes, measures 103-105. 110
/? t ft a 1. Ri_ Ri. /I. J-
FIGURE 3.9, New sticking for double stops, scrapes, and crossovers, mm. 127-130.
Although this is an advanced arrangement, these advanced sticking combinations, if not rewritten, can severely inhibit its playability, considering my first and third criteria. The majority of the snare writing in measures 109 to the end is well-written and meets my five criteria. All of the double stroke rolls throughout the arrangement are quite fast, but C£m be played at a high level by advanced level drum lines. It is important for any advanced sticking combinations used in advanced arrangements to suit a musical purpose and to be inspired by the music. There is no place for awkward stickings in percussion music if there is no purpose behind them. Playing advanced sticking combinations that do not enhance the music will only confuse young players and firustrate young sight readers. This supports my fourth criterion. In conclusion. The Wizard Of Oz fails to meet my first four criteria throughout the arrangement's entirety and also in a variety of sections of the snare, tenor, bass drum, and cymbal parts. As a result, my fifth criterion is not met; consequentiy. The Wizard OfOz cannot be classified as a quality marching percussion arrangement Ill
Analysis of Get On Your Feet
Get On Your Feet, arranged by Chris Crockarell and Jay Dawson, is a marching percussion feature with full band accompaniment, published by Row-Loff Productions in 1998. According to the Row-Loff Productions 1998 catalog. Get On Your Feet is a medium level arrangement. This grade is accurate in relation to the majority of the arrangement's percussion writing. The arrangement contains aU of the intermediate level performance skills including syncopation performance, basic drumming rudiment proficiency, section interplay awareness, and split bass drum part performance but also contains examples of advanced drumming rudiment proficiency and advanced sticking combination performance. Since the arrangement contains both intermediate and advanced level performance skills and the nature of the percussion score is very soloistic. Get On Your Feet most accurately reflects a medium-advanced ability level. Since Row-Loff does not use a medium-advanced designation in their grading system, directors should be aware of the combination of intermediate and advanced performance skills when selecting this arrangement in regards to my first criterion. My second criterion is also strongly supported in this arrangement. The first exceptional element of Get On Your Feet is the way in which Crockarell combines basic drumming rudiment proficiency and section interplay awareness with a groove-oriented feel to support the pop style of the original music. This approach is lacking in most of the pop-oriented arrangements I have researched and is the key to arranging music that is both musically appropriate and beneficial to the development of essential perfonnance skills. In measures 4-28, the snare, tenor, and bass drum parts supply intense rhythmic energy and provide ornamentation with flams and diddles coupled with exciting accent patterns (see APPENDIX 6). In measures 18-23, these three parts, although different, relate well to each other and enhance the wind parts by giving the music a powerful drive and solid groove (see FIGURE 4.1). 112
n 1 11^n •—cj"! K 1—t—r ~r
JT I A K •rm" rp , ^ nrm 1 , n n •' i i-Hrr^ji— i1L^'' J J ^ J J T KL L KU U K f A Cymbalt ^ 1 ^ * = '• ^ ^ ' 1 A A A A
ft— .in f g—1 1 1 nrm J rti. r? ri ^ J LJ r r ^ •' *- 1 i - • :— f ^ 1
J J j' J J-J-J •J.-.fJ J J Li j-.J i-j-j J J rjjj.j J J j-i
1
-1 J -T"]—J=m 1 1 j 1—, f=n -frn i •• i U i ~l rnrm 1—] J Jj—•nZ3.-fTTl 1—1 J J"3. m /m I1i • r~n..g 1 J w ' ^ * i i j_i= FIGURE 4.1, Well written percussion groove, measures 18-23. This arrangement is well conceived because the percussion writing is groove-oriented and contains essential performance skills. It is common for many rock and pop tunes arranged for marching band to be drumset-oriented because they are often transcribed from the original drumset part. Get On Your Feet successfully incorporates Dennis DeLucia's philosophy of combining both the idiom of the original material with the marching music idiom (see pages 25-26). The arranger's job "is to not literally transcribe what's on the original, but to make the marching version sound and feel great on the football field" (DeLucia 1995,139). In regards to my third criterion. Get On Your Feet is an arrangement that can be performed at a high level with sufficient rehearsal time. Two factors that must be considered when performing this arrangement are music and drill. Since Get On Your Feet is a marching percussion feature, it will most likely be performed with a minimal 113 amount of drill to allow the percussion section to focus on the music. A major reason for this is the fact that Get On Your Feet is scored heavily for pit as well as battery. The battery will have to be staged toward the front of the field behind the pit to allow for optimal listening to take place within the marching percussion ensemble. It is important to consider that the percussion section will need significant rehearsal time to prepare the parts to a high level of performance, and because of the soloistic nature of the percussion writing, sufficient sectional time away fix>m the band wiU also be necessary. The most valuable attribute of Get On Your Feet is that it meets my fourth criterion. According to Robert Meaux, "their [Row-Lofrs] goal is to supply musically enriched as well as entertaining percussion arrangements and compositions for junior high through college level students and teachers" (Meaux, 1996, 352). Through this goal, percussionists will develop and refine essential performance skills to a great degree. The writing will challenge advanced players as well as heighten the skills of intermediate players. The percussion writing is not too difficult for intermediate players to handle, but will push them to reach a new level of technical proficiency. In addition to the development of essential performance skills, many musical attributes presented in Get On Your Feet are extremely conducive to a student's musical growth. For example, the arrangement consists primarily of four-bar phrases which conclude with punctuation in the percussion section, as in measures 20 and 44 (see FIGURE 4.2). A A FIGURE 4.2, Well written punctuation concluding a phrase, measure 20. 114 This leads to a very effective and powerful entrance by the fuU band in measures 21 and 45 (see APPENDIX 6). Secondly, the arrangement combines full ensemble playing with sectional playing very effectively. The following excerpt features the advanced level performance skills of advanced sticking combination performance in the snare part and advanced drumming rudiment proficiency in the tenor part, making the arrangement's ability level medium-advanced rather than medium, as stated earlier. The soloistic writing style in measures 31-36 provides dynamic and textural contrast and allows for each percussion segment to be featured (see FIGURE 4.3). 'J=£a-.gf3 f -m- •f y FIGURE 4.3, Soloistic percussion feature, measures 31-36. The percussion parts in Get On Your Feet fit the music very well, as supponed by my second criterion. The arrangement's groove-oriented writing style in conjunction with its intricate sectional interplay make it technically challenging and musically enhancing. In conclusion. Get On Your Feet not only meets my first four criteria, but serves as a model for students, directors, and arrangers. Without question. Get On Your Feet meets my fifth criterion. 115 Analysis of El Gato El Gato, arranged by Roland Barrett and published by Matrix in 1998, contains an extremely well-written percussion score arranged by Alan Keown. According to the Matrix 1998 Marching Band CD, El Gato is categorized as an easy arrangement. This grade is accurate in relation to its beginning level percussion writing and thus meets my first criterion with some reservations. El Gato contains several beginning level performance skills such as fundamental reading proficiency, timing awareness, basic rhythmic patterns and repetition performance, alternating sticking and accent pattern performance, and sticking policy application. It also contains intermediate level performance skills such as syncopation performance and split bass drum part performance and is marked at quarter note= 148-190. Although the intermediate performance skills will present a challenge to the beginning player, these skills are presented in an introductory fashion and can provide a valuable training ground for the novice percussionist with the aid of an instructor. However, in regards to the tempo marking. Matrix should have assigned this arrangement a medium-easy grade level, rather than easy. El Gato meets my second criterion and enhances the wind arrangement with a combination of driving rhythmic patterns and soloistic percussion interludes. Keown effectively writes for alternating sticking and accent pattern performance throughout the snare and tenor parts while simultaneously creating various textures and rhythmic support. For example, in measure 9-14, the tenor part tacets while the snare voice supports the bright trumpet melody. Conversely, in measures 17-25, the tenors reenter and help support the forte dynamic level of the fiill ensemble (see APPENDIX 7). The challenging bass drum part also contains textural reinforcement, as demonstrated by the split part writing in measures 9-16 and unison writing in measures 43-62 (see APPENDIX 7). The bass drum part also presents strong timing awareness as well as a good mix of unison accents and spUt melodic lines, while simultaneously developing a 116 player's fundamental reading proficiency with quarter note, eighth note and sixteenth note liijrtiims. In addition, the percussion breaks in measures 3-4 and 45-46 provide an opportunity for the percussion section to be featured while they set up the band for the next musical section (see APPENDIX 7). The cymbal part provides a variety of articulations, durations, and dynamics and explores the orchestral crash and hi-hat techniques. The cymbal part greatiy enhances the wind and percussion score by punctuating the climaxes of the phrases. El Goto also meets my third criterion because this piece can be played at a high level given sufficient rehearsal time. Key elements in the arrangement that contribute to performing at a high level include rfiythmic motives and ostinatos, regular four and eight measure phrases, and the arrangement's ABA' form. The regular phrases in measures 9-16 and 17-25 comprise the A section, followed by a legato B section from measures 29-41, followed by an A' section with slight variation in measures 47-54, and concluding with a coda in measures 57-62 (see APPENDIX 7). This well-structured form better facilitates learning the parts, and wiU lead to high quality performances given sufficient rehearsal time. Regarding my fourth criterion. El Gato is conceived with the player's experience as being an important consideration. For example, in measures 2-4 of the bass drum part, timing notation is indicated for the players to click the counterhoop (see FIGURE 4.4). FIGURE 4.4, Bass drum timing notation, measures 2-4. 117 By playing these notes on the hoop with their left hand, students will develop timing awareness and syncopation performance at a much faster pace. The fact that Matrix includes riming notes in their published bass drum parts demonstrates their concern for and awareness of a bass drum player's learning process. Another element in El Gato that supports my fourth criterion is the opportunity to practice sticking policy application. As demonstrated in measure 26 of the snare part. Matrix notates the sticking in this measure so it can be applied to similar rhythms throughout the piece (see FIGURE 4.5). FIGURE 4.5, Sticking policy application, measure 26. A major problem today in learning percussion parts is the lack of notated stickings, especially in bass drum parts. If challenging or syncopated rhythms were always notated with stickings, students would develop sticking policy application faster, develop strongerreading skills, and would immediately match each other in a drum line using the same stickings. Other essential performance skills which contribute to a student's growth in El Gato include basic drumming rudiment proficiency, and split bass drum performance. The accent patterns in measures 17-26 in the snare and tenor parts feature accents for both the right and left hands (see APPENDIX 7). This is paramount to a beginning percussionist's technical development because if an arrangement does not present accent patterns for both hands, than it is probable that the percussionist will not develop this skill in both hands. Unfortunately, many beginning level arrangements are comprised of mostly right hand dominant accent patterns. Other musical elements El Gato offers include a variety of dynamics, contrasting musical styles and textures, and solo percussion breaks. In combination with its 118 essential performance skills. El Gato is an extremely well-written, musical arrangement that offers a wealth of technical and musical benefits. Although the percussion arrangement presents a greater challenge than most arrangements labeled "easy," El Gato does meet my fifth criterion. 119 Conclusion It is evident from the analysis of these arrangements that a significant problem exists in percussion education today - namely, the lack of a positive musical experience students receive from playing marching percussion stock chart arrangements. Therefore, the importance of this document to the future of percussion education is critical, and can be measured in several ways. First, it presents a system for selecting and performing marching percussion arrangements based on the five criteria and essential performance skills. This system primarily targets band directors who are responsible for selecting music for their band; however, inevitably, a domino effect occurs between the four parties involved in realizing a marching band arrangement Arrangers write them, publishers sell them, directors select them, and students perform them. Second, this document focuses on the student's musical experience. It consistently identifies weaknesses in the training of a young player's fundamental music education through the failure of marching percussion stock chart arrangements to present essential performance skills and meet the five criteria. Finally, this document wiU raise awareness of quahty marching percussion arrangements. By holding arrangements to a higher standard, the selection process for band directors will become more rigorous, creating greater awareness and selectivity. To improve the quality of arrangements, publishing companies should acknowledge and adopt the criteria to hire better arrangers, arrangers should recognize the value of the criteria and essential performance skills and incorporate them in their writing, and directors and marching percussion instructors should use the criteria when selecting arrangements to perform. As a result, students wiU receive a better music education and will be put in a situation that wiU heighten musical success. This success will be realized by performing arrangements that use essential performance skills to define their ability level as weU as evaluating the overall quality of an arrangement based on the five criteria. 120 The five criteria in this document have been developed as a means for evaluating the quality of a marching percussion arrangement. However, all the criteria do not apply to arrangers, publishers, and directors simultaneously. For example, the first criterion relates mostly to the director, who is the foremost authority on the ability level of his players. It is the director's responsibility to select arrangements that fit his performers' present ability level. However, it is the arranger's responsibility to write for a specific ability level when given one, whether begirming, intermediate, or advanced. As I have concluded in this document, the most effective way to insure that this occurs is to incorporate the appropriate essential performance skills into the arrangement. My second criterion relates mostly to the arranger. It is the arranger's responsibility to write quaKty percussion parts that compliment and enhance the wind parts; however, it is the director's responsibility to select music which meets this criterion. My third criterion relates to the director. Only the director will know how much rehearsal time wiU be available or needed to perform an arrangement at a high level. Since rehearsal time is always variable, arrangers cannot be held responsible for this criterion. My fourth criterion relates to both the arranger and director. Arrangers should utilize essential performance skills in their arrangements which will benefit players' musical and technical growth. Directors should select arrangements containing essential performance skills in order to provide this growth for their students. My fifth criterion is inclusive of the other four and advocates a long term goal for students and directors. After meeting my first four criteria, an arrangement is classified in this document as a quality marching percussion arrangement and thus meets my fifth criterion. Ideally, smdents and directors who perform quality arrangements will become more aware of their merits and values, leading to more quality arrangements being written, selected, and performed in the future. Further advocacy of the criteria and essential performance skills will be achieved by presenting clinics, raising awareness in coUege percussion method courses, pubKshing articles, and web page dialogues. Finally, with marching percussion 121 instructors now being commonplace, we must take what has improved in instruction and develop an effective approach to coaching and teaching. All instructors must develop an effective warm-up routine, write and select quality arrangements based on the five criteria, and advocate essential performance skills that players should develop in the marching percussion ensemble. These skills can first be addressed in the warm-up routine and then developed, reinforced, and refined in the show music performed. Only then can we honestly say that we are providing our students with the best possible musical experience. 122 APPENDIX 1 (measures 1-8) - W 123 APPENDIX 1 (measures 9-16) ' "W 124 125 APPENDIX I (measures 25-32) i H ^ > S \ 126 APPENDIX 1 (measures 33-39) ?5 J* e •a I APPENDIX I (measures 40-46) ss S9 sti> ?ati«"t -g *Sp9 e i; » 'W * " K* l»v -I 128 APPENDIX 1 (measures 47-53) a 5t i «.r 129 APPENDIX 1 (measures 54-60) !*•> >>J fv > .>1 !>"* I>J l>J •1>JJ>v) •>J 130 APPENDIX 2 (measures 1-8) •i"®" 8-3:1 rii I ' r ' ! i I? I t^iii «* 11 i _IW ilir: 131 APPENDIX 2 (measures 9-16) ::mA III*- Ti\,lii - lii-.-olh 1 uiiil 132 APPENDIX 2 (measures 17-24) ij- ^ ftflM APPENDIX 2 (measures 25-32) 134 APPENDIX 2 (measures 33-40) f " 2 r ^ ! 1 135 APPENDIX 2 (measures 41-48) a ml It I 1tw r*r\ { /ittf M fe- iilL. APPENDIX 2 (measures 49-55) 137 APPENDIX 2 (measures 56-62) 11 ill § 138 appendix 2 (measures 63-70) 3f 9 P ? e€v>> I I I 139 1' BAND MUSIC PRESS Don Sebesky BRASS ROOTS arr. John Tatgenhorst a J-120 3 4 8 PLint/nccoLo oo 1 (U cn a lnAMtlOMBONB U Oi n;BA«AIUTONISA)( eULSOtYLOrHONC J J J J J J J J (QttlMQUADIOMS pan cficlotcdl MUlTIPLI lAU OIUML Copyright © 1971 Cymbaline Publishimj Company This arrangemeni Cgpyrighl O 1996 Cymbaline Publishing Company BMB • 28 .. A^KighG.RcscrvedrPnWtiJiJfefe^^^^nted in I Used by mmlsslon: BAND MUSIC PRESS. INC. APPENDIX 3 (measures 9-16) 142 APPENDIX 3 (measures 17-24) 2:CD % o CO BRASS ROOTS -4- ru/n/ricnHjo b^TCNOftSAX OJ cnI *n I (rnnrt u cn tt A TtOMSONi CiJ cu TVBA/VAIirTONIlAX tELLSOCYLOPHONS J-J-OT J—J—J-J-J-J J jj/m J J JTXJ J-J-JOT J J srn i-mm MUlTirKtAtt DRUMS • —=J=.J:ri5B: BMB • 28 144 APPENDIX 3 (measures 33-40) 145 APPENDIX 3 (measures 41-49) APPENDIX 3 (measures 50-58) 147 00 8^' snnvonyti'wuvin ^XJ'Ll^|'XU|£XJ|uLLr'^ ILUJ^ICLU''^ mjmN sKOiovnO ram ruui 7jmj [TTi^ rr r rrrrr auarf rr r rrrrr UXfUXf iLLfCIi: LEDTT if V V V V V V V 8NOH4 XYSINOinVI/VVU is m aNMHOUmVlil a>B g? iS4NnU4RHVP^ 1 ON annron (noa^M/u/ru siooHssvyg 4^ 00 149 APPENDIX 3 (measures 76-83) 0 DT o 10* 150 APPENDIX 4 (measures 1-8) SI e > Il'lil "S r V • m tn ^ ^ ToCoda^ ' iri A . r=£^ [fff p-—^ .. > > > ^ ^1 ^"fi =111' n ir~F f"c jff—1 M •1 1 " ' 1 1 1 IJ 1 + P-f i. ?i g,.i = ^ ?• J 1 1 r i§ L CU If I' = ir' PT > • J ia||i (t p 1 ^ r t \ ^ —- 4_J—1 ! 1- I-Uj ^ 1 ! ^ - 1 ^ |t ^ ^ , : » l-f »~!. vo LJ r :i= f. 1 fj = c ^ OsHN. J. il.l 00 •fr' r P"r j^r r Lrrr"r V t'" ^TBW. B'"" •niLT § Oi SN. DR. HTinTi n3WJ^ CVM. ± j=_ J- ) ."J'j QCADS j-n> j..h IU.DIIS. J rm I JH -i-JTO- I—>- 152 APPENDIX 4 (measures 17-23) 153 appendix 4 (measures 24-30) 154 appendix 4 (measures 31-37) pj I I i ? i f ' ' ' j 8 ' ' ^ I • c » e » e • e » e » M e • e i» « K - t— r k_ V ^ ><• 1 k. ? •—* |V c_ V It f : TIt 1 ' (• j l" :i r » * " f jir - > > u.. 4 "I J r r t r r r \ r r r r i • 1 ^r iin u Ji J1 Ji i\ u r X i -V 5 ? • ? • r ? - 1 • I- 1 • r I I, 1 [i L_ ! ! . ! . s . ?. s ii' f ' i^ • in s. f. f. . f. il r I I f 1 r I 1 1 f ! ii 5 if t t ' u '; ' ' ' : ; 1 * . y - •• V t**- * nL 1 a• 155 APPENDIX 4 (measures 38-43) c! > u e; e;i > e i'i> e i'i> e;i' > ci ii> cii' > eii i» r ^ X ^ *f-. rrrrrrrrrrrrffff—i Vf Vr Vr yr' r r r r^L££j' GSB^H CS^BB I 1 1 L-I t 1 » •-<< • • ==; -fUQ'n f f r f V V V VY _U1XJ f t| !— >1 P * > • p Fr !• F ^ SQvnd • r T' r r u-u r ' F V V V ^ * < -r -r -r O -• P ^ P t P t f T r ' P I H * " V / tavs hr rcf rCr fCf f C£J"£££r r f r r r f r r r ' r r Jl r|r r r r r r ° V V V VY fj< o m TtotnboaM •nr.^ ^ 4a = p , trttCfJcrrL . ^ ill, i =r ; P f ^ f ^ r !• -V—\r~r r—— mic # U] / cu (tr*cr«(trl SnirtDmm Quid-Tomi Toiul Bin Drumi (4 Vi'a AninitnHni OIWU EMI FIESTCATALOG INC RiihU ihroufSogI (he World Conlrolted b; EMI F1ESTCATALOG INC (PublUhini) MDQtMlC •nd WARNER BROS. PUBLICATIONS U.S. INC. (Print) All RJ|his RcMrvcd Indwdini Public Pcrforminct for Profll 158 APPENDIX 5 (measures 6-10) r o 9 i g ? s m -z e- 7H 5' I ' ? J 159 APPENDIX 5 (measures 11-15) e-I s o n t f t f n i "i: f 1 11 J. —.Tw 1 II :.!: T ' ll' . 1. 1 u. 1 IK V « . l-~VV! 11 fc— >w'-<:.! 7 * u: -J u^t I ..L _j ^'1 ip rr .L_ J..:.l :.j, . 1..J L—T«- "1 . ) :T: t—IJ 11 1 s. 111 1 II. T 91 —J* ' It ^ % •V « 1 4 •V % •V « 1 i•V* * 3 161 162 APPENDIX 5 (measures 26-30) Po» n3 s St a > Q 3 i? *? ? O ? ::: ff ::: 0-' 3-:3^ B- 3-:J 163 164 APPENDIX 5 (measures 36-40) > Q r o O 1 f! s f 1 - i^PENDDC 5 (measures 41-45) vo 'm>rOffT,tSftn*wuutj Coniluclor- 10 DrtcM J.«nt nypicc. ci». A. Sti/tlA. TSa«. 0 vo Tpii. 1 i4) Hn. m W lub« di MIt. Pitc. Cymi. s.a nm Quidi n m BO (4) 'W«'fvO,froStt nt witani' MBVMIC 0 |U.1V(Renfwrd l%7) EMI FEIST CATALOO INC 167 168 169 170 171 APPENDIX 5 (measures 71-75) 5 e- r J . , 5 p 172 173 APPENDIX 5 (measures 81-85) 174 lo C-- Conduclnr - 10 "ijH 'tt>f UrttfOULit^xfOl* J-128 C\u A Sa&y}tft. ON I ON Tpu. I Hn. (U «n liiba Mti. rcTc. Cymi. s.a Quadi BD(4) 'Tht Mtrry Old Land ofOt' O iVM (Renewed 1%6) MrTRO COLDWYN'MAYER INC. O t03V (Renewed 1V67) EMI rEIST CATALOG INC 176 177 178 179 APPENDIX 5 (measures 111-115) 9 e- ' I 180 APPENDIX 5 (measures 121-125) 182 < CO 00 by Cnsaa, DoFaria ond Ostwald Get On Your Feet arr. by Chris Crockdrsll • 124 Let't Dance! homs by Jay Dawson •ft~n iffTJ.hrri jTri-irn-i »n u vo a a 184 APPENDIX 6 (measures 6-11) ' f—I I APPENDIX 6 (measures 12-17) APPENDIX 6 (measures 18-23) 187 APPENDIX 6 (measures 24-29) TTTTTTT? 00 oo Get On Your Feet Pg6 '1 1 ==l i L L l L 1 L L i I ^ L U L I >. > . 4 ] / ^ VL ' ^ M M :i U4' ' ffHn' •' T=P-JT'n / nr / / fit m y COI 0 cn r Ki ?' ggf • • — 1(U E VC (Xi !l 189 P® rt- O ts O c CD fDrt- o as Get On Your Feet Pg8 nn J J J j J°p^ J, I j—n JtTJ i r^ 1-n.effl 1 a4) mu rmrm jmj rmrm jnu mrmrm Ou> ALrlJ 191 APPENDIX 6 (measures 48-54) ...III, I I !>l|>l^illl f ~ J n r ! j { ' ' I ^ ^ f [ ! t * . r T« r - 1 [ i r [t t I rt- r h: I p ® I , I rt- I o r p •aoq CO o r e I (D ® L 11 [ f I V i: IL. it •t3 1 - d I ct I r 192 APPENDIX 7 (measures 1-8) 193 194 195 APPENDIX 7 (measures 33-40) 197 198 APPENDIX 7 (measures 49-56) 199 APPENDIX 7 (measures 57-62) I ? . ? S f 5 f t ? t ?tttpp7' « *?i * *1 * *1 jf r »f iQI 1 t 1 U 1 In **111 1 i li 1 I n 1 uf I V ill 1 1 '11 ! 1 1 ^ Iff 1 1 ' itiM nfl 1 ' ' ~ t 1 < ~i 1 • ».r n 1|{| ' r f| >f 4 > . . jlUr 1 ^ r - ? Ur 7 » ^ . 1* f r> >? II 1 ^ r ^ r ^ [»ii ^ 1 ^ H* ( 1 ]-, J 1 III -{yL f I In i ' f U I. ' liII' 1 i| I i 1 1 ' 1 ^ I 1 1 i ^ li 11 j ]' ]'/ t t 1 4 1 II III illll' ' ill Ji 1. ' 1 ^ 1 1 1 ] j 1 i 1 11^1 1 [ r 1 ^ irtn {fTi^ * ' ^ ^ i IT i li ) If'** t ri clll^ I'^l J ^iijf ^ ''^1 ]^l} jt r r» " j«i l|i| ? |j >.r _i M. '1 L'( JL H 1 ) 1 tl IT J' ) t ' Ojfid 1 1 200 GLOSSARY Back-beat- A heavy emphasis on beats 2 and 4, usually in a rock 'n roll or jazz band setting. Band camp- The beginning of the marching season lasting approximately one week when all members of the marching band, old and new, start rehearsing for the upcoming marching season. Bass drum projection- The direction of the sound in relation to the facing direction of the bass drum heads. Battery- Those performers who march and play snare drums, multi-tenors, bass drums and hand-cymbals; originating from the French batterie, meaning percussion. Buzz roll- Achieving as many (multiple) bounces with each stick using alternating sticking creating a smooth, sustained sound as in an orchestral snare drum roU. Buzz rolls may be metered or unmetered. Cadence- A percussion street beat that is usually played while marching. Cheese- A grace note preceding a right-hand or left-hand diddle producing a flam connected to a diddle, (sometimes called stutters) LRft ^LL Choke- A crash cymbal technique in which the cymbals are immediately muffled after they are crashed. Crossover- A multi-tenor technique in which one mallet crosses over another determined by a specific sticking, similar to timpani playing. Crunch- ffitting two crash cymbals together and leaving them together producing a smothered, "crunch" sound. Diddle- Double stroke; two consecutive right-hand or left-hand strokes. RR or LL rrn'rT^. = Jij j J Jj j J i 201 Drag- A diddle which immediately follows an accent S R LL R L RR L R Drill- The movement and visual formations that marching bands march to during the music. Drum line- See marching percussion ensemble. Drumset groove- Simulating the beat a drumset player would play on marching percussion instruments. Ensemble cohesiveness- The extent to which all sections are aware of each other and how well they play together as an ensemble. Fill- A short drum solo used to connect phrases. Flam- A figure consisting of a grace note and a main note executed by making one stroke simultaneously with both sticks, keeping the grace note stick low to the instrument and striking just before the main note. Flam drag- A flam followed by a drag and a tap. LR LLR RL RRL Gawk- The loudest sound possible on snare and tenor drums produced by striking the drum on the rim and the head at the same time with the shoulder of the drumstick. Groove- A repeated pattern representing a particular musical style or feel establishing a steady tempo. Hearta- Using alternating sticking to execute two thirty-second notes followed by two sixteenths, usually at fast tempos. I***I nT"^ * ' R.L R L 202 Hi-hat- A pair of cymbals mounted on a vertical rod controlled by a foot-operated pedal. Li marching percussion, simulating the "chick" sound of the hi-hat requires opening and closing a pair of hand-held crash cymbals. Instrument assigrunents- Assigning students to particular instruments, Le.. snare drums, tenors, bass drums, cymbals, and pit, as a result of an auction. Inverted flam-tap- A right flam followed by a left tap; or vica-versa. (flam-taps are a right flam followed by a right tap or vica-versa.) J L ^ R Lfl L RL R Marching percussion ensemble, or drum line- the percussion section in a marching band consisting of individuals playing snare drums, muM-tenor drums, bass drums, hand-cymbals, and front sideline pit instruments. Marching season- The time span a marching band rehearses and performs relative to the school's football season usually covering August through November. Metered roll- A roll that is subdivided and played in a given tempo, e.g. see open roll. Open roll- A double-stroke roll that is always metered, i.e.. RRLLRRLL... Inlerpreudll LL RR LL RB LL RB LL RR LL RR LL RR LL RR Pataflafla- Two consecutive alternating flams within a rhythmic pattem. LR L RRLLR L RRL Paradiddle-diddle- A paradiddle (RLRR or LRLL) followed by a diddle, i.e.. RLRRLL or LRLLRR. II li J j#ij I j RLRRLLRLRRLL RLRRLLRLRRLL LRLLRR siniile Percussion feature- Music and sometimes drill featuring the individual segments of the percussion section and the entire ensemble as a whole. 203 Pit- The fixjnt ensemble made up of students playing a variety of percussion instruments including concert, keyboard percussion, timpani, and Latin-American instruments. The pit is staged on the front sideline between die 35 or 40 yard lines. Reading- The ability to read and perform basic riiythms consisting of quarter notes, eighth notes, and sixteenth notes in duple- and quadruple-simple meters. Ride cymbal- Suspended cymbal used to keep time on drumset In marching percussion, cymbal players hold crash cymbals in playing position for snare drammers to play them with a stick. Rock chart- An arrangement of a rock 'n roll song for marching band. Rock groove- A rock beat simulating that of a rock 'n roll drumset beat, where the snare drum plays on 2 & 4, and the time is played on the cymbals. Roll- Method of sustaining sound on snare drums, tenors, bass drums, cymbals, and other percussion instruments; either by playing alternating single-strokes, double- strokes, or multiple bounces. Roll base- The skeletal rhj^m played beneath a metered roll in a given tempo, (see open roll) Scrape- 1. A multi-tenor technique where one hand plays a double stroke between two drums or a triple stroke between three drums. 2. A crash cymbal technique where the edge of one cymbal scrapes the inside of the other. Also called zischen. RRLLRRLL RRRLRRRL Single-handed sticking- A sticking pattern using consecutive right or left hand sticking. Sixteenth-note accent pattern- Accents which occur on specific subdivisions while playing sixteenth notes using altemating sticking. fT Sizzle- A crash cymbal technique in which the cymbals are crashed and then loosely held together creating a sizzle effect Slide- A crash cymbal technique in which both cymbals are crashed and quickly brought together simulating an open hi-hat effect, also cdlXod fusion crash. 204 Sticking- The combination of right and left hand strokes used by percussionists analogous to the down and up bowing used by string players. Stock chart- A published marching band arrangement. Sweep- A multi-tenor technique, similar to a scrape, which represents a continuous "sweeping" motion played in conjunction with a crossover involving four drums. 14 \ 1 J \ 1 li \ d\ •' -- ra 4— RRLL RRLL Syncopation- A misplacing of the normal pulse, meter, and/or rhythm by displacing accents causing a feeling of an unbalance or a lack rhythmic security. Taps- 1. The unaccented notes/subdivisions within an eighth-note or sixteenth-note accent pattern; also called innerbeats. 2. A crash cymbal technique where the edge of one cymbal strikes the edge of the other. Timing - The ability to play with a metronome, with steady and accurate tempo, pulse, and subdivision. Triple strokes- Playing three notes on each hand using altemating sticking in fast tempos, (i.e.), RRR LLL . nTin nrm mm RRRLLLRRRLLLRRRLLLRRRLLL Unison impacts- Full mtti accents played by the entire marching percussion ensemble. Zischen- See scrape. 205 REFERENCES Baratta, Nick, arr. Old Time Rock and Roll. Warner Bros. Publications, 1996. Barrett, Roland. El Gato. Matrix Publishing Company, 1998. Battisti, Frank. The Twentieth Century American Wind Band/Ensemble: History, Development and Literature. Meredith Music Publications, 1995. Bauer, William I. "The Selection of Concert Band Music by High School Band Directors." Update: Applications of Research in Music Education 15, no. 1 (1996): 5-9. Beck, John, ed. Encyclopedia of Percussion. Garland Publishing, Inc., New York & London, 1995. S.v. "The Plastic Drumhead: Its History and Development," by Lloyd McCausland. Blades, James. Percussion Instruments and Their History. London: Faber and Faber, Ltd., 1972. Breithaupt, Bob. The Complete Percussionist. C.L. Bamhouse Company, Oskaloosa, Iowa, 1991. Campbell, James. Championship Technique for Marching Percussion. Row-Loff Productions, Nashville, Tennessee, 1997. Carroll, George. "Proposed Narrative for PASIC '93." Unpublished script, Yorktown, VA. 1993. Casella, Jim. "Arrangiag for the Pit and Battery." Percussive Notes, Vol. 36, No. 4, August 1998, 29-34. Conley, Lloyd. "More Views on Choosing Music." The Instrumentalist, Volume 52, No. 12. July 1998, 15. Cook, Gary D. Teaching Percussion. Pedagogy Notes,. Photocopied. Cook, Gary D. Teaching Percussion. Schirmer Books, New York, 1988. Cook, Gary D. Teaching Percussion. Second Edition, Schirmer Books, New York, 1997. Crockarell, Chris. "A Chat With Dennis DeLucia." Percussive Notes, Volume 36, No. 2, April 1998,30-31. Crockarell, Chris and Jay Dawson. Get On Your Feet. Row-Loff Productions, 1998. 206 Davila, Julie. Modem Multi-Tenor Techniques and Solos. Row-Loff Productions, Nashville, Tennessee, 1997. Dawson, Jay, arr. Al's Rag Band Arrangers' E^iblishing Company, 1994. Dawson, Jay, arr. Olympia. Arrangers' Publishing Company, 1983. Dawson, Jay, arr. Swingin' Chariots. Arrangers' Publishing Company, 1993. Dawson, Jay, arr. Tennessee Squire Dance. Arrangers' Publishing Company, 1986. DeLucia, Dennis. Dennis DeLucia's Percussion Discussion. Row-Loff Productions, Nashville, Tennessee, 1995. Dvorak, Thomas L., Robert Grechesky and Gary Ciepluch. Best Music For High School Band: A Selective Repertoire Guide for High School Bands and Wind Ensembles. Manhattan Beach Music, 1993. Dye, Ken, arr. The Magnificent Seven. CPP Belwin, Inc., 1994. FaUin, Jane and David Royse. "Common Problems of the New Music Teacher." Journal of Music Teacher Education 4. no. 1. (1994): 13-18. Fiese, Richard. "The Effects of Non-Musical Cues on the Rankings of Music Scores by Undergraduate Conducting Students Based on Judgments of Quality." Journal of Band Research 25, no. 2. 1990, 13-21. / Fuggett, Glen."Writing Quality Marching Percussion Arrangements For Developing Drumline." Percussive Notes, October, 1993. Goldman, Richard F. The Concert Band. New York: Rinehart & Co., 1946, 171-183. Haimum, Thom and Robert Morrison. Championship Concepts for Marching Percussion. Hal Leonard Publishing Corporation, 1986. Hannum, Thom. The Cymbal: Its Standard and Special Use in Contemporary Marching Ensembles. Amherst, Massachusetts: University of Massachusetts, 1984. Hardimon, Ralph and Robert Morrison."Some Thoughts on Scoring and Arranging for the Marching Percussion Ensemble. "PearZ Percussion Educational Resource. ND. Hartsough, Jeff and Derrick Logozzo. "Marching and Field Percussion Panel Discussion/Part 1." Percussive Notes, Vol. 33, No. 2, April 1995, 6-17. Hartsough, Jeff and Derrick Logozzo. "PASIC '93 Marching Panel Discussion Part 2." Percussive Notes, Vol. 33, No. 3, June 1995, 26-33. ion Hartsough, Jeff and Derrick Logozzo. "The Timeline of Marching and Field Percussion: Part 1." Percussive Notes, Vol. 32, No. 4, August 1994, 48-52. Hartsough, Jeff and Derrick Logozzo. "The Timeline of Marching and Field Percussion: Part 2." Percussive Notes, Vol. 32, No. 5, October 1994, 20-24. Hartsough, Jeff and Derrick Logozzo. "The Timeline of Marching and Field Percussion: Part 3." Percussive Notes, Vol. 32, No. 6, December 1994, 30-32. Hartsough, Jeff and Derrick Logozzo. "The Timeline of Marching and Field Percussion: Part 4." Percussive Notes, Vol. 33, No. 1, February 1995, 26-35. Higgins, John, arr. Firestorm, Jenson Publications, Inc., 1985. Eliggins, John, arr. Over The Rainbow. Jenson Publications, Inc., 1967. Hopper, Dale F. Corps Style Marching. Percussion Chapter by Larry Snider, C.L. Bamhouse Company, Oskaloosa, Iowa, 1977. Hosier, Mark. Interview by Paul Buyer, 1 February 1999, Clemson University, Clemson, SC. Huckeby, Ed, arr. Joy To The World. Jenson Publications, Inc., 1989. Hurley, Marty. "The Evolution of Competitive Drum Corps Percussion." Pearl Percussion Educational Resource. ND. Jennings, Paul, arr. Ghost Riders In The Sky. Jenson Publications, Inc., 1990. Kerchner, Larry, arr. And The Band Played On. Arrangers' Publishing Company, Inc., 1996. Kerchner, Larry, arr. Theme From "Shaft." Arrangers' Publishing Company, Inc., 1971. Klarfeld, J., arr. Scheherazade - Opener. Skyhawk Music Arrangements, 1995. Koter, ScotL "Design Tips for Marching Percussion - A Judge's Perspective," Percussive Notes, Vol. 34, No. 1, February 1996, 18-20. Lavender, Paul, arr. All Night Long. Jenson Publishing Company, 1983. Lavender, Paul, arr. Gimme Some Lovin'. Jenson Publishing Company, 1987. Lavender, Paul, arr. Open Wide. Jenson Publishing Company, 1977. Lavender, Paul, arr. Tequila. Jenson Publishing Company, 1986. 208 Lopez, Victor, arr. The Wizard ofOz (Medley). Warner Bros. Publications U.S. Inc., 1998. McCausland, Ooyd. Telephone/Fax interview by Jeff Hartsough and Derrick Logozzo. Columbus, OH: 17-18 October 1994. McCormick, Larry. "Memoirs of Larry McCormick." The Rudimental Percussionist. VoL 4, No-1, 1997, 3-13. McGrath, William. "The Contribution of Senior Drum and Bugle Corps to Marching Percussion." Percussionist. Spring/Summer 1980. Vol. XVH, No. 3. Meaux, Robert. The Marching Band Compendium. June 1996. MofiEit, BUI, arr. March America. Hal Leonard Publishing Company, 1966. Moore, Jeffrey. "Designing an Effective Warm-Up Program for the Marching Percussion Section." Percussive Notes. Vol. 33, No. 2, April 1995, 26-31. Odello, Rick. "Rick OdeUo & The Blue Devils: 1st D.C.I. Champions." The Rudimental Percussionist. VoL 3 No. 2, ND, 1-3. Peters, Gordon. The Drummer: Man, A Treatise on Percussion. Wilmette, IL., Kerper-Peters Publishing, 1975. Pierce, Bill, arr. Shake Your Love. Hal Leonard Publishing Company, 1988. Rapp, WUl. The Visual Drumline, Staging the Contemporary Marching Percussion Ensemble. Jenson Publications Inc., New Berlin, Wisconsin, 1985. Rees, Jay. Telephone interview. Clemson, SC; 25 April 1999. Reimer, Bennett A Philosophy of Music Education, Second Edition. Englewood Cliffs, NJ: Prentice-HaU, 1989, 192 Rose, Riley. "Guidelines for Marching Percussion Arranging." Percussive Notes, VoL 32, No. 2, AprU 1994, 27-28. Rose, Riley, "Marching Percussion Warm-Ups." Percussive Notes, Vol. 32, No. 3, June 1994, 34-37. Scott, Brian. Purple Majesty. Warner Bros. Publications, Inc., 1997. Shaffer, David. Thumbs Up. C.L. Bamhouse Company, 1993. Shaheen, Tom. "Bass Drums Over the Years." The Rudimental Percussionist. VoL 4, No. 3, 17-18. 209 Sheldon, Deborah A. "Selecting Music For Beginning and Developing Bands." Journal of Music Teacher Education. Fall 1996, 6-14. Sheldon, Deborah A. "The Selection of Curricular Music Literature for Use in the Instrumental Music Classroom." Contributions to Music Education. 1994, 6- 7. Shellmer, Jerry. "Gerry Shellmer Interview." The Rudimental Percussionist. Vol. 4 No. 2, 4-7. Smith, Robert W., arr. / Can't Get No Satisfaction. Abkco Music, Inc., 1994. Spalding, Dan. "The Evolution of Drum Corps Drumming." Percussionist. Spring/Summer 1980. Vol. XVII, No. 3. Swearingen, Jim, arr. Festive Overture. C.L. Bamhouse Co., 1987. Sweeney, Michael, arr. Carry On Wayward Son. Hal Leonard Publishing Company, 1995. Sweeney, Michael, arr. Friends In Low Places. Hal Leonard Publishing Company, 1992. Sweeney, Michael, arr. Men In Black. Hal Leonard Publishing Company, 1997. Sweeney, Michael, arr. Rockin' Me. Hal Leonard Publishing Company, 1996. Sweeney, Michael, arr. Sgt. Pepper's Lonely Hearts Club Band/With A Little Help From My Friends. Hal Leonard Publishing Company, 1997. Tatgenhorst, John, arr. Brass Roots. Knollwood Music Corporation, 1971. Tatgenhorst, John, arr. Brass Roots. Band Music Press, 1996. Wakeley, Dave, arr. Into The Future. Arrangers' Publishing Company, 1995. Wallace, Tom, arr. Blowin' In The Wind. Arrangers' Publishing Company, 1996. Wallace, Tom, arr. Evil Woman Don't Play Your Games With Me. Arrangers' I^blishing Company, 1992. Wallace, Tom, arr. Halloween Medley. Arrangers' Publishing Company, 1986. Wallace, Tom, arr. I Can See For Miles. Arrangers' Publishing Company, 1996. Wallace, Tom, arr. Kam Evil 9. Arrangers' Publishing Company, 1997. Wallace, Tom, arr. Land of WOO Dances. Arrangers' Publishing Company, 1977. 210 Wallace, Tom, art. Respect. Arrangers' Publishing Company, 1994. Wallace, Tom, arr. Roundabout. Arrangers' Publishing Company, 1994. Waters, Tim, arr. Boot Scootin' Boogie. Hal Leonard Publishing Company, 1993. Weinberg, Norman. Guide to Standardized Drumset Notation. Percussive Arts Society, Inc., 1998. Wells, James R. The Marching Band in Contemporary Music Education. Percussion chapter by Will Rapp, Interland Publishing, Inc., 1976. Wessels, Mark. "Developing the Marching Percussion Ensemble." Ludwig Percussion Educational Materials. ND. West, Brian. Email interview. Clemson, SC: 13 January 1999. White, Kent. Telephone interview. Clemson, SC: 2 February 1999. Wyman, Chad. "An Interview with Thom Hannum." Percussive Notes, Vol. 37, No. 41, February 1999, 20-28. IMAGE EVALUATION TEST TARGET (QA-3) 150mm IIVWGE.Inc 1653 East Main Street Rochester. NY 14609 USA Phone: 716/482-0300 Fax: 716/288-5989 O 1993. Applied Image. 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