Marching Percussion Information and Technique Manual
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The Snare Drum Roll
ACADEMY OF MUSIC AND DRAMA The Snare Drum Roll Lúcia Viana da Silva Independent Project (Degree Project), 30 HEC, Master of Fine Arts in Symphonic Orchestra Performance Spring Semester, 2017 Independent Project (Degree Project), 30 higher education credits Master of Fine Arts in Symphonic Orchestra Performance Academy of Music and Drama, University of Gothenburg Spring semester, 2017 Author: Lúcia Viana da Silva Title: The Snare Drum Roll Supervisor: PhD Maria Bania Examiner: PhD. Tilman Skowroneck ABSTRACT Key words: orchestral percussion, snare drum, technique, roll. Like most other percussion instruments, the snare drum was introduced relatively late in the symphonic orchestra, and major changes and improvements concerning its playing techniques are still taking place. One of the most distinctive aspects of the snare drum is the roll, which consists of a challenge that most percussionists face eventually during their career. This project reflects my research on the snare drum roll during the last two years, gives a short background of snare drum playing and its technical development, and provides observations and reflections of different techniques to play a roll. As a percussionist myself, I analyzed and practiced on the execution of rolls as part of the research. This project includes notes on my interpretation of four orchestral excerpts, showing how technical development and control over the roll open musical possibilities to the orchestral percussionist. 2 ACKNOWLEDGEMTS I would first like to thank my supervisor, PhD Maria Bania, who was always available and responsive to my questions and supportive of my ideas. Her enthusiasm and constant demand gave me the drive and encouragement for writing this thesis. -
The PAS Educators' Companion
The PAS Educators’ Companion A Helpful Resource of the PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE Volume VIII Fall 2020 PERCUSSIVE ARTS SOCIETY 1 EDUCATORS’ COMPANION THE PAS EDUCATORS’ COMPANION PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE ARTICLE AUTHORS DAVE GERHART YAMAHA CORPORATION OF AMERICA ERIK FORST MESSIAH UNIVERSITY JOSHUA KNIGHT MISSOURI WESTERN STATE UNIVERSITY MATHEW BLACK CARMEL HIGH SCHOOL MATT MOORE V.R. EATON HIGH SCHOOL MICHAEL HUESTIS PROSPER HIGH SCHOOL SCOTT BROWN DICKERSON MIDDLE SCHOOL AND WALTON HIGH SCHOOL STEVE GRAVES LEXINGTON JUNIOR HIGH SCHOOL JESSICA WILLIAMS ALABAMA STATE UNIVERSITY EMILY TANNERT PATTERSON CAMBRIDGE UNIVERSITY PRESS How to reach the Percussive Arts Society: VOICE 317.974.4488 FAX 317.974.4499 E-MAIL [email protected] WEB www.pas.org HOURS Monday–Friday, 9 A.M.–5 P.M. EST PERCUSSIVE ARTS SOCIETY 1 TABLE OF CONTENTS BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM 3 by Dr. Dave Gerhart CONSISTENCY MATTERS: Developing a Shared Vernacular for Beginning 6 Percussion and Wind Students in a Heterogeneous Classroom by Dr. Erik M. Forst PERFECT PART ASSIGNMENTS - ACHIEVING THE IMPOSSIBLE 10 by Dr. Joshua J. Knight TOOLS TO KEEP STUDENTS INTRIGUED AND MOTIVATED WHILE PRACTICING 15 FUNDAMENTAL CONCEPTS by Matthew Black BEGINNER MALLET READING: DEVELOPING A CURRICULUM THAT COVERS 17 THE BASES by Matt Moore ACCESSORIES 26 by Michael Huestis ISOLATING SKILL SETS, TECHNIQUES, AND CONCEPTS WITH 30 BEGINNING PERCUSSION by Scott Brown INCORPORATING PERCUSSION FUNDAMENTALS IN FULL BAND REHEARSAL 33 by Steve Graves YOUR YOUNG PERCUSSIONISTS CRAVE ATTENTION: Advice and Tips on 39 Instructing Young Percussionists by Jessica Williams TEN TIPS FOR FABULOUS SNARE DRUM FUNDAMENTALS 46 by Emily Tannert Patterson ADDITIONAL RESOURCES 49 2 PERCUSSIVE ARTS SOCIETY EDUCATORS’ COMPANION BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM by Dr. -
PASIC 2010 Program
201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space. -
Study Guide for the High School Percussionist
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1965 Study guide for the high school percussionist Alan Anderson The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Anderson, Alan, "Study guide for the high school percussionist" (1965). Graduate Student Theses, Dissertations, & Professional Papers. 3698. https://scholarworks.umt.edu/etd/3698 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. A STUDY GUIDE FOR THE HIGH SCHOOL PERCUSSIONIST by ALAN J. ANDERSON B. M. Montana State University, 1957 Presented in partial fulfillment of the requirements for the degree of M aster of Music UNIVERSITY OF MONTANA 1965 Approved by: Chairman, Board of Exarqi rs D q^, Graduate School SEP 2 2 1965 D ate UMI Number: EP35326 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT UMI EP35326 Published by ProQuest LLC (2012). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. -
A Study of Percussion Pedagogical Texts and a Percussion Primer Nathaniel Gworek University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-7-2017 A Study of Percussion Pedagogical Texts and a Percussion Primer Nathaniel Gworek University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Gworek, Nathaniel, "A Study of Percussion Pedagogical Texts and a Percussion Primer" (2017). Doctoral Dissertations. 1388. https://opencommons.uconn.edu/dissertations/1388 A Study of Percussion Pedagogical Texts and a Percussion Primer Nathaniel Richard Gworek, DMA University of Connecticut, 2017 My dissertation project is in two parts; the first part examines and evaluates percussion pedagogical literature from the past century, while the second is a percussion primer of my own authorship. The primer, which assumes a basic knowledge of standard musical notation, provide a structured system of teaching and learning percussion technique; it is supplemented with videos to utilize current technology as an educational resource. Many percussion method books have a narrow focus on only one instrument. There are few comprehensive resources that address the entire family of instruments, but they generally cater to a college level audience. My research focuses on the layout of the comprehensive resources while utilizing the narrow sources to inform my exercises. This research helped me find a middle ground, providing the technical development of the narrow focus resources while covering the breadth of topics in the comprehensive resources. This, in turn, help me develop an informationally inclusive yet concise resource for instructors and for students of all ages. My primer contain lessons on snare drum, timpani, and mallet percussion, and complementary instruments, such as bass drum, triangle, and cymbals. -
Thesis- Pedagogical Concepts for Marching Percussion
PEDAGOGICAL CONCEPTS 1 Running head: PEDAGOGICAL CONCEPTS PEDAGOGICAL CONCEPTS FOR MARCHING PERCUSSION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC EDUCATION: STUDIO PEDAGOGY EMPHASIS THOMAS JOHN FORD UNIVERSITY OF WISCONSIN-STEVENS POINT MAY, 2019 PEDAGOGICAL CONCEPTS 2 Abstract This document serves as a guide for recent music education graduates who are put in the position of having to teach marching percussion to students who have joined the marching band, specifically in the drumline. To have a well-rounded understanding of the drumline, teachers will need to know the instruments of the drumline, and the associated sticks and mallets. This document also discusses pedagogical concepts for all of the instruments, including playing techniques required to achieve a balanced sound throughout the ensemble, and how to properly care for marching percussion equipment. Keywords: marching percussion, drumline, battery, snare drums, tenor drums, bass drums, crash cymbals PEDAGOGICAL CONCEPTS 3 Table of Contents Abstract 2 Acknowledgements 5 List of Figures 8 Introduction 9 Chapter I: Marching Percussion Equipment 12 Snare Drums 12 Tenor Drums 14 Bass Drums 16 Crash Cymbals 17 Other Equipment 18 Chapter II: Pedagogical Concepts for Marching Percussion 21 Posture 21 Playing Positions 21 Grips and General Playing Techniques 25 Stroke Types and Dynamics 31 The Exercise and Technical Development Program 32 Timing Strategies 37 Chapter III: Marching Percussion Care and Maintenance 39 Changing and Replacing Heads 39 Repairing Broken and Loose Drum Equipment 40 Cymbal Straps 42 Cleaning and Storing Equipment 43 PEDAGOGICAL CONCEPTS 4 Conclusion 45 References 46 Appendix A 49 PEDAGOGICAL CONCEPTS 5 ACKNOWLEDGEMENTS There are so many people who I want and am obligated to thank for helping me in this whole process of graduate school and writing my thesis. -
Faculty Biographies Division Coordinators and Educational Consultants
2012 Summer Symposium, presented by Faculty Biographies Division Coordinators and Educational Consultants Mark Buselli Jazz Band Division Coordinator Mark Buselli is Director of Jazz Studies at Ball State University. Awards include a 2010-2011 BSU College of Fine Arts Dean’s Creative Arts Award, a Creative Renewal grant from the Indianapolis Arts Council in 2005, a teacher of the year award in 2004 at Butler University, a Creative Vision award from NUVO in May of 2007, a top 10 CD release of 2009 (December 2009) in JAZZIZ magazine for “An Old Soul,” and a top 100 CD of the decade (January 2010) in DownBeat magazine for the Buselli/Wallarab release of “Basically Baker.” Mr. Buselli has over 40 arrangements published for big bands, brass ensemble and piano/trumpet. He has nine recordings out as a leader on the Owlstudios and OA2 record labels. He has written/arranged/performed for numerous artists.Mr. Buselli currently serves as Education Director of the Buselli Wallarab Jazz Orchestra/Midcoast Swing Orchestra in Indianapolis, where he has created numerous educational opportunities for over 10,000 students. Mr. Buselli graduated from the Berklee School of Music in Boston and received his Master of Music degree in Jazz Studies from Indiana University. Thomas Caneva Concert Band Division Coordinator Dr. Thomas Caneva is Director of Bands, Professor of Music and Coordinator of Ensembles and Conducting at Ball State University. At Ball State, Dr. Caneva’s responsibilities include conducting the Wind Ensemble, coordinating the graduate wind conducting program, teaching undergraduate conducting and administering the entire band program. Under his direction, the Ball State University Wind Ensemble has performed at CBDNA Regional and National Conferences, the American Bandmasters Association Convention, and state and regional MENC conventions. -
An Analytical Approach to Vibraphone Performance Through the Transcription and Analysis of Gary Burton’S Solo on Blue Monk
AN ANALYTICAL APPROACH TO VIBRAPHONE PERFORMANCE THROUGH THE TRANSCRIPTION AND ANALYSIS OF GARY BURTON’S SOLO ON BLUE MONK A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in Partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Charles B. Brooks B.A., Western Kentucky University, 1997 M.A., Austin Peay State University, 2000 December 2007 ACKNOWLEDGMENTS This document would not exist without the guidance and counsel of several extraordinary individuals. It is dedicated to my father for introducing me to the world of music. I would like to extend special gratitude to my mother for her guidance, strength, and belief that anything is possible. In addition I would like to thank Johnny Walker and my brother, Michael Brooks, without whom none of this would possible. This document is also dedicated to Kenneth Welch and Larry Long for their counsel and friendship. I extend special thanks to my teachers Dr. Christopher Norton, Mr. David Steinquest, Dr. Charles Smith, Dr. Thomas King, Dr. Jefferey Wood, Dr. Dinos Constantinides, Dr. Joseph Skillen, Dr. Robert Peck, and Dr. Michael Kingan. I would especially like to thank Dr. Willis Delony for staying the course and guiding me through rough terrain. ii TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................................................ii LIST OF MUSICAL EXAMPLES................................................................................iv -
Good Afternoon, the 2018/2019 Indoor Drumline Season Is Just
Good Afternoon, The 2018/2019 Indoor Drumline season is just around the corner and an interest meeting will be held on Tuesday, October 30th at 7:00pm in the Yorktown High School Band Room. If you are interested, but cannot attend that meeting time, send an email to let the director know that you are considering participating in the 2018/2019 season. The meeting will last no more than 45-60 minutes and staff will cover the schedule, expectations, goals, clinics/auditions, and will answer as many questions as you can think to ask! What is Indoor Drumline? Indoor Drumline combines elements of music performance, marching, and theater: Students work together to perform highly advanced percussion arrangements in coordination with choreographed drill on a customized floor covering. They then compete in gymnasiums with other performing groups. The Yorktown Indoor Percussion ensemble is a 25-40 member, extra-curricular, competitive percussion ensemble. The group consists of the marching percussion section and front ensemble section of a marching band or concert setting. Yorktown competes in the Atlantic Indoor Association (AIA) circuit that includes ensembles from Virginia, Maryland, and North Carolina, and the Winter Guard International (WGI) circuit that includes ensembles from all over the world. Is percussion experience necessary? No, percussion experience is not necessary; however, instrumental music experience is. Non- percussionists are invited to be a part of the ensemble. The staff is looking for students with good attitudes, and openness to learning and trying new things. Is marching experience necessary? No. Marching experience is not necessary to be a part of the ensemble; however, marching experience is necessary to be considered for the marching component of the ensemble (the battery section). -
Krissy Bergmark Tabla, Composition, Percussion
Krissy Bergmark Tabla, Composition, Percussion [email protected] www.krissybergmark.com 1730 Graham Ave, Apt 346, St. Paul, MN 55116 Tel 708.466.4424 Education Master of Music - University of Minnesota in Minneapolis, MN. 2012 Bachelor of Music - Northern Illinois University in DeKalb, IL. 2010 Awards and Distinctions Minnesota State Arts Board Artist Initiative Grant Recipient, 2018. Funding to compose and produce an album of original works featuring tabla in a modern acoustic instrumental setting. Minneapolis, MN. International Workshop for Jazz and Creative Music Participant, 2018. Banff Centre for Arts and Creativity in Banff, Alberta, Canada. Cedar Commissions Recipient - Cedar Cultural Center, 2016. Project to compose piece for dancer, tabla, guitar, cello, and fiddle through “conversational composition” with dancer and choreographer Lauren Baker. Premiered at the Cedar Cultural Center in Feb.2017. Minneapolis, MN. 2016 Metropolitan Regional Arts Council’s Next Step Grant Recipient, 2016. Funding to travel for continued study with Master Tabla Player Pandit Yogesh Samsi and to compose for Matra in Mumbai, India. Minnesota Percussive Arts Society Chapter Vice President. 2016 - present Responsibilities include holding chapter meetings, organizing a state-wide Day of Percussion, fundraising and management of funds. Silkroad’s Global Musician Workshop Participant, 2016. DePauw University in Greencastle, Indiana. Jerome Foundation Travel and Study Grant Recipient, 2015. Funding for travel to continue studies with Master Tabla Player Pandit Yogesh Samsi and compose for Matra in Mumbai, India. Minnesota Public Radio Class Notes Artist, 2015, 2017. With Matra in St. Paul, MN. Undergraduate Special Opportunities in Artistry and Research Grant Recipient, 2009. Funding from Northern Illinois University to travel and study North Indian tabla drumming with Master Tabla Player Pandit Yogesh Samsi in Mumbai, India. -
Extended Performance Techniques and Compositional Style in the Solo
EXTENDED PERFORMANCE TECHNIQUES AND COMPOSITIONAL STYLE IN THE SOLO CONCERT VIBRAPHONE MUSIC OF CHRISTOPHER DEANE Joshua D. Smith, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2008 APPROVED: Mark Ford, Major Professor Eugene Migliaro Corporon, Minor Professor Christopher Deane, Committee Member Terri Sundberg, Chair of the Division of Instrumental Studies Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Smith, Joshua D., Extended performance techniques and compositional style in the solo concert vibraphone music of Christopher Deane. Doctor of Musical Arts (Performance), August 2008, 66 pp., 1 table, 8 figures, 20 musical examples, references, 29 titles. Vibraphone performance continues to be an expanding field of music. Earliest accounts of the presence of the vibraphone and vibraphone players can be found in American Vaudeville from the early 1900s; then found shortly thereafter in jazz bands as early as the 1930s, and on the classical concert stage beginning in 1949. Three Pieces for Vibraphone, Opus 27, composed by James Beale in 1959, is the first solo concert piece written exclusively for the instrument. Since 1959, there have been over 690 pieces written for solo concert vibraphone, which stands as evidence of the popularity of both the instrument and the genre of solo concert literature. Christopher Deane has contributed to solo vibraphone repertoire with works that are regarded as staples in the genre. Deane’s compositions for vibraphone consistently expand the technical and musical potential of the instrument. -
Sight Reading Complete for Drummers
!!! Free Preview !!! Sight Reading Complete for Drummers Volume 1 of 3 By Mike Prestwood An exploration of rhythm, notation, technique, and musicianship ISBN # 0-9760928-0-8 Published By Exclusively Distributed By Prestwood Publications Play-Drums.com www.prestwoodpublications.com www.play -drums.com Sight Reading Complete for Drummers © 1984, 2004 Mike Prestwood. All Rights Reserved. First Printing, September 2004 No part of this book may be photocopied or reproduced in any way without permission. Dedication I dedicate this method series to my first drum instructor Joe Santoro. Joe is a brilliant instructor and an exceptional percussionist. With his guidance, I progressed quickly and built a foundation for a lifetime of drumming fueled by his encouragement and enthusiasm. Cover Design: Patrick Ramos Cover Photography: Michelle Walker Music Engraving: Mike Prestwood Special thanks to: James LaRheir and Leslie Prestwood Contents Introduction.................................................................................1 Lesson 1: Technique .................................................................7 Lesson 2: Tempo and Beat Grouping.....................................9 Lesson 3: Whole, Half, Quarter ..............................................11 Lesson 4: Snare and Bass ......................................................13 Lesson 5: 2/4 and 3/4 Time.....................................................15 Lesson 6: 8th Notes .................................................................17 Lesson 7: 16th Notes...............................................................20