Percussion Section Organization

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Robert Snider

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Organize the percussion section into five areas. Each area may consist of several “performing stations.”

III. Snare Drum II. Miscellaneous Percussion IV. Bass Drum and Cymbals I. Keyboard Percussion V. Timpani

tam-tam

snare drum 2 chimes or tenor trap table snare susp. drum triangle, drum 1 cymbals crash bass marimba wood block, cymbals drum tambourine timpani orchestra bells and so on xylophone

vibes

Setup This setup will work well for performance of standard percussion ensembles and, when set within a band or orchestra, will allow for good “ensemble” and little movement between pieces. Percussion ensembles will be performable during a band or orchestra concert with the same instrument placement.

Divide the music into corresponding folders, and notate the folder number of each part so that the correct part will always be in the appropriate folder at the proper “station.”

Carpet squares or towels should be placed on leveled music stands at each station for use as stick trays and small instrument holders. Never use the floor or a bare table top for instrument placement. Elimination of all extraneous noise is a must for the percussion section.

Always strive for the best, most characteristic sound on each percussion instrument. Have a pencil on hand to mark instrument changes, types of mallets and instructions regarding interpretation.

No other section in the band or orchestra faces the organizational challenges of the percussion section. The difference between a tolerable and an outstanding section is often a matter of five or six minor problems that, when corrected, can transform several drummers into a sensitive and musical percussion section.

Percussion Section Organization Page 1

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Robert Snider

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COMMON PROBLEMS PROBLEM IS CAUSED BY WHAT TO DO

Simple tambourine rhythms are cluttered Swinging the tambourine outward before Hold the tambourine still in one hand at with extra jingle sounds moving it inward to strike against the about a 30-degree angle and strike with other hand the fingertips or knuckles of the other hand.

Tambourine shake rolls fail to have a Rolls are played with just a simple shake Start and stop each shake roll with a definite start and/or stop light tap at the indicated dynamic for a precise attack or release.

Calfskin tambourine sounds “flat” Worn out head or humidity Hold tambourine over a music-stand light before and in between passages, or tighten the head while playing by squeezing the head tighter between the thumb and fingers.

Triangle has metallic buzz while played Sympathetic vibrations of the stand from Hold the triangle from the hand. If it from a music stand the triangle via the triangle clip must be hung from a stand, place a cloth between the clip and the stand to insulate.

Triangle sound is more “clang” than Striking hard on the center of one of the Play closer to the closed corners with a “dting” triangle sides lighter touch.

Triangle has a woody or clickish sound The old notorious “hit the triangle with Have suitable triangle beaters near the the drumstick” trick instrument at all times.

When quickly dampened, a “whoop” Muffling the triangle too quickly Let the triangle “speak” its initial sound, sound comes from the triangle then dampen by quickly rolling the ringers of the holding hand onto the instrument.

Triangle roll sounds rhythmic or too Roll too slow if a rhythm is audible and Play the roll from either closed corner agitated too fast if very agitated at a speed just fast enough to avoid an audible rhythm.

Claves have dead sound Improper grip Hold the clave in the left hand like a matched snare drum grip. Turn the hand over and slide the clave out. Slightly lower fingertips closer to the palm. Place clave over the opening on top of the thumb and fingers. Strike with the other clave.

Latin guiro parts lack that proper Playing all notes as short scrapes Long notes should be scraped in one “Latin feel” direction and short notes in the other. Percussion Section Organization Page 2

Robert Snider

COMMON PROBLEMS PROBLEM IS CAUSED BY WHAT TO DO

Uneven snare drum sounds 1. One stick hitting near the center of the 1. Align the drum so the snare strainer drumhead and the other hitting near the faces player’s belt buckle and play “over edge the snares” with the sticks the same distance from the edge and striking within one half inch of each other

2. One hand playing from a different 2. The height of both sticks should be stick height than the other the same unless accents or embellishments are being played.

3. Cracked and/or taped sticks 3. Replace sticks.

Snares buzzing when drum is not being Snares left on during rest periods Release snares whenever possible to played avoid sympathetic vibrations.

Thin sound coming from a well tuned Sticks too light and thin Use snare drum sticks of 5A weight or snare drum more for general performance

Mallet parts not heard clearly Mallets used are too soft or light Try the following types: Bells—hard plastic (Musser M-5) Xylophone—hard plastic or hard rubber (M-5 or M-4) Marimba—semi-hard yarn (M-7) Vibes—hard yarn (M-6).

Mallet parts are played correctly Striking the bar over the nodal points Strike near the center of the bars and/or but tones are not heard (over the “strings”) at the extreme near edge of the “black keys.”

Chimes not heard through full band Chimes sounding louder near player and In any passage above a mezzo-forte, passage not projecting to audience perform the part at least one dynamic stronger.

Crash cymbals and bass drum don’t Dampening the sounds before the Encourage players to match the attack enhance a full ensemble entrance ensemble release—often due to and release of the ensemble, regardless incorrectly notated parts of written note values.

Certain percussion instruments lack their Students don’t have concepts of the Imitate the following sounds: characteristic sound sounds the percussion instruments Bass drum—booom (not thud) should produce Cymbals—crash (not pow) Triangle—dting (not clang) Tambourine—wild folk dancers Xylophone—dancing skeletons Bells—church handbells Chimes—huge church bells.

Percussion Section Organization Page 3Percussion Section Organization Page 2

Robert Snider

COMMON PROBLEMS PROBLEM IS CAUSED BY WHAT TO DO

Woodblock has a bright but thin tone Playing all notes with snare drum sticks Play woodblocks (and temple blocks) with a hard rubber mallet such as a Musser M-3.

Floppy hand castanets Loose or stretched clapper cords Tighten and retie cords. For a quick fix, pull the cord toward you with the first finger and play normally.

With the motor off, vibraphone tone Resonator discs are in a horizontal With the fingers, move discs to a seems muffled position vertical position.

Suspended cymbal stand rattles during Top section of stand is rattling inside Extend the top section out of the middle rolls middle section as far as possible and adjust the stand height between the middle and lower sections.

Suspended cymbal “crashes” sound thin Striking the cymbal with the tip of a Strike the edge of the cymbal at about a and pingy drumstick between the edge and the 45-degree angle with the shoulder or dome butt end of the drumstick.

Suspended cymbal roll sounds cluttered 1, Mallets are too hard or too soft 1, Try a medium yarn mallet like a Musser M-5

2. Rolling too close to the dome 2. Play at the edges with the left mallet at “9:00” and the right mallet at “3:00”

3, Rolling too fast or with double bounce 3. Use a single-stroke “roll” just fast or buzz strokes enough to avoid an audible rhythm.

Bass drum roll sounds thin Using lightweight timpani sticks for rolls Use two bass drum beaters of similar size and weight or a pair of factory matched bass drum beaters.

Uneven bass drum rolls 1. One-handed roll with a double-ball 1. Use two bass drum beaters of similar beater (heads are different sizes) size and weight or a pair of factory matched bass drum beaters.

2. Beaters are not hitting the same head 2. Play rolls with the beaters making area contact with the head at the same distance from the rim

3. Double bounce bass drum rolls 3. Use a single-stroke “roll” method with the stroke speed just fast enough to avoid an audible rhythm.

COURTESY OF PERCUSSIVE ARTS SOCIETY 701 NW FERRIS AVENUE ¥ LAWTON, OK 73507-5442 ¥ TEL: (580) 353-1455 ¥ FAX: (580) 353-1456 E-MAIL: PERCARTS@PAS .ORG ¥ WEB: WWW.PAS .ORG