Last Week We Learned About Rhythmic Percussion Instruments. There Are Metal, Wood, Membrane, and Shaker/Scraper Rhythm Instruments

Total Page：16

File Type：pdf, Size：1020Kb

Last Week We Learned About Rhythmic Percussion Instruments. There Are Metal, Wood, Membrane, and Shaker/Scraper Rhythm Instruments

Name: _______________________________________________ Classroom Teacher: ____________________________________ Last week we learned about rhythmic percussion instruments. There are metal, wood, membrane, and shaker/scraper rhythm instruments. Melodic percussion instruments can play a melody instead of only playing a rhythm. These instruments include mallet percussion and keyboard percussion. Mallet Percussion instruments include barred instruments. Barred instruments are commonly called “Bells.” Bells are considered percussion instruments because you strike them with a mallet. Here are some examples of classroom barred instruments. These instruments have bars that are in the same order as the notes on a piano. You can play both melody and harmony on the barred instruments! Orff Instruments: Glockenspiels, Xylophones, and Metallophones Xylophone > < Metallophone Xylophone > < Metallophone Glockenspiel > Keyboard instruments are considered percussion instruments because you hit the keys with your fingers to produce a sound. Keyboard instruments are the piano, electronic organ, harpsichord, and pipe organ. Keyboard Instruments Piano and Harpsichord Upright Piano Grand Piano Digital Piano Harpsichord Organ Electronic Organ Pipe Organ Today we will be making a melodic percussion instrument out of glasses, spoons, and water! Step 1: Get three glasses and one metal spoon and put them on the counter next to a sink. Step 2: Fill one glass ¼ full of water. Step 3: Fill a different glass ½ full of water. Step 4: Fill the last glass ¾ full of water. Step 5: Put your glasses in this order to create a glass xylophone. 1 2 3 Tap each glass lightly with your spoon. Do they sound different? The glass with more water in it sounds lower. The glass with less water in it sounds higher. Try playing “Mary Had a Little Lamb” following these numbers. If it does not sound right, you can add more water to the cups until you get the right sound. 3 2 1 2 3 3 3 2 2 2 3 3 3 3 2 1 2 3 3 3 2 2 3 2 1 Here are some more songs to try! “Au Clair de la Luna” 1 1 1 2 3 2 1 3 2 2 1 1 1 1 2 3 2 1 3 2 2 1 “Hot Cross Buns” 3 2 1 3 2 1 1 1 1 1 2 2 2 2 3 2 1 Now it is your turn to become a composer! Write down a number pattern using 1, 2, and 3. ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ Play your pattern on your glass xylophone. How did it sound? _____________________________________ Is there something you would like to change in your song? __________________________________________________________________________________ Write a second song. ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ Which song do you like the best, your first song or your second song? ____________________ Why? ________________________________________________________________________ .

Copy Link

Recommended publications

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.
[Show full text]
Harmonic Analysis of Mallet Percussion by Max Candocia Goals
Harmonic Analysis of Mallet Percussion By Max Candocia Goals • Basic understanding of sound waves and mallet percussion • Understand harmonic analysis • Understand difference in sounds of different mallets and striking location Marimba Vibraphone Recording: Vermont Counterpoint, Nathaniel Bartlett Recording: La Fille Aux Cheveux de Lin, Ozone Percussion Ensemble Photo courtesy of vichitex.com Photo courtesy of woodbrass.com Xylophone Recording: Fantasy on Japanese Wood Prints Photo courtesy of onlinerock.com Sound Waves • Vibrating medium (ie. Air, water, ground) • Longitudinal • Harmonics – Sinusoidal Components Sine: Sawtooth: Images courtesy of Wikipedia Qualities of Harmonics • Frequency – Cycles per second (Hertz); determines pitch Photo courtesy of Wikipedia • Amplitude – Power of wave; determines loudness Photo courtesy of physics.cornell.edu • Phase – Location of harmonic relative to other harmonics Photo courtesy of 3phasepower.org Harmonic Analysis Harmonics of Kelon xylophone struck in center with hard rubber mallet Vibraphone HarmonicsDry: Wet: Instrument Mallet Location # Harmonics H1 dB H2 dB H3 dB H4 dB H5 dB Vibraphone Black Dry 5 6 19 0.8 13 3 Vibraphone Black Wet 2 16 1.1 Vibraphone Red Dry 3 22 3.5 1.5 Vibraphone Red Wet 1 1 Vibraphone White Dry 4 16 0.5 9 0.6 Vibraphone White Wet 2 25 1.5 Xylophone Harmonics Instrument Mallet Location # Harmonics H1 Freq H2 Freq H3 Freq H4 Freq H5 Freq Xylophone Hard Rubber Center 4 886.9 1750 2670 5100 Xylophone Hard Rubber Edge 4 886.9 1760 2670 5150 Xylophone Hard Rubber Node 3 886.85
[Show full text]
Percussion Repertoire
1 Percussion Repertoire Compiled by Colby Snider from the lists of Dr. Julie Hill, Dr. Josh Smith, and Professor James Campbell Instrument Key Difficulty Key Concert CSD 1 and 2 Beginner Snare Drum DS Drumset 3 Beginner - Intermediate Drumset DSC 4 Intermediate Combo General GP 5 Intermediate - Advanced Percussion M Marimba 6 Advanced Marimba and MF 7 Extremely Advanced Flute Multi MP N/A Not Applicable Percussion Marimba and Various - Applies to MTU V Tuba collections of pieces. Rudimental RSD MB Method Book Snare Drum SD Snare Drum T Timpani V Vibraphone World WP Percussion XY Xylophone 2 Composer Title Instrument Difficulty A Dream of the Cherry 5 Blossoms Frogs 3 Itsuki Fantasy for Six 7 Mallets Little Windows 4 Kazak Lullaby 5 Abe, Keiko Marimba D'Amore M 6 Michi 5 Prism 4 Prism Rhapsody 6 Variations on Japanese 5 Children's Songs Wind in the Bamboo Grove 5 Aiello, Joseph Classic African T 4 Airto The Spirit of Percussion GP MB From My Little Island 5 Aldridge, Robert M Zoo Animals 6 Advanced Etudes for Snare Aleao, Keith CSD V Drum Alfieri, John Pereginations MP 5 Andriessen, Louis Woodpecker M 6 Appice, Carmen Realistic Rock DS MB Asia, Daniel Marimba Music M 5 B Bach, C.P.E. Solfeggietto M 3 3 Cello Suite No. 1 in G Major 4 Cello Suite No. 2 in D Minor 5 Cello Suite No. 3 in C Major 4 Partita No. 1 4 Partita No. 3 4 Bach, J.S. Prelude in Bb Major M 4 Prelude to Suite No. 1 for 3 Cello Sonata No.
[Show full text]
Multi-Percussion in the Undergraduate Percussion Curriculum Benjamin A
University of Miami Scholarly Repository Open Access Dissertations Electronic Theses and Dissertations 2014-12 Multi-percussion in the Undergraduate Percussion Curriculum Benjamin A. Charles University of Miami, [email protected] Follow this and additional works at: http://scholarlyrepository.miami.edu/oa_dissertations Recommended Citation Charles, Benjamin A., "Multi-percussion in the Undergraduate Percussion Curriculum" (2014). Open Access Dissertations. Paper 1324. This Open access is brought to you for free and open access by the Electronic Theses and Dissertations at Scholarly Repository. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of Scholarly Repository. For more information, please contact [email protected]. ! ! UNIVERSITY OF MIAMI ! ! MULTI-PERCUSSION IN THE UNDERGRADUATE PERCUSSION CURRICULUM ! By Benjamin Andrew Charles ! A DOCTORAL ESSAY ! ! Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Doctor of Musical Arts ! ! ! ! ! ! ! ! ! Coral Gables,! Florida ! December 2014 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ©2014 Benjamin Andrew Charles ! All Rights Reserved UNIVERSITY! OF MIAMI ! ! A doctoral essay proposal submitted in partial fulfillment of the requirements for the degree of Doctor of Musical! Arts ! ! MULTI-PERCUSSION IN THE UNDERGRADUATE PERCUSSION CURRICULUM! ! Benjamin Andrew Charles ! ! !Approved: ! _________________________ __________________________
[Show full text]
5Th-12Th Grade Concert Percussion Curriculum: a Detailed Guide to Techniques and Resources for Non-Percussionist Music Educators
Eastern Illinois University The Keep Undergraduate Honors Theses Honors College 2018 5th-12th Grade Concert Percussion Curriculum: A Detailed Guide to Techniques and Resources for Non-Percussionist Music Educators Rodney Rote Jr. Follow this and additional works at: https://thekeep.eiu.edu/honors_theses Part of the Curriculum and Instruction Commons, Music Education Commons, and the Music Pedagogy Commons 51h 12th Grade Concert Percussion Curriculum A detailed guide to techniques and resources for non·percussionist music educators. (TITLE) DY Rodney Rote, Jr. ····-----·--·- ·---- --- UNDERGRADUATE THESIS Submitted in partial fulfillment of the requirement for obtaining UNDERGRADUATE DEPARTMENTAL HONORS Departmentof Music along withthe Honors College at EASTERN ILLINOIS UNIVERSITY Charleston, Illinois 2018 YEAR I hereby recommend this thesis to be accepted as fulfilling the thesis requirement for obtaining Undergraduate Departmental Honors I� o.,r��t THESI ADVI 0 _Cti:-�I \� � 1_? _ Daie\··· 5 th - 12 th Grade Concert Percussion Curriculum A detailed guide to techniques and resources for non percussionist music educators. By Rodney Rote, Jr. Index Introduction Forward Page 2 Application Page3 Skill Level Break Down Page4 Chapter1 Page5 Snare Drum Chapter 2 Page12 Keyboard Percussion Chapter 3 Page18 Accessory Percussion Tambourine Page18 Triangle Page 20 Bass Drum Page 21 Cymbals Page 22 Hand Drums Page23 Chapter 4 Page26 Timpani Chapter 5 Page29 Percussion Ensemble Closing Remarks Page 32 1 Introduction Forward Primary and secondary school band directors enrolled in a semester long percussion methods course while pursuing their teaching degree. For most, only a semester of learning about the broad world of percussion is not enough to be as proficient at teaching percussion, unless percussion is their primary instrument.
[Show full text]
TC 1-19.30 Percussion Techniques
TC 1-19.30 Percussion Techniques JULY 2018 DISTRIBUTION RESTRICTION: Approved for public release: distribution is unlimited. Headquarters, Department of the Army This publication is available at the Army Publishing Directorate site (https://armypubs.army.mil), and the Central Army Registry site (https://atiam.train.army.mil/catalog/dashboard) *TC 1-19.30 (TC 12-43) Training Circular Headquarters No. 1-19.30 Department of the Army Washington, DC, 25 July 2018 Percussion Techniques Contents Page PREFACE................................................................................................................... vii INTRODUCTION ......................................................................................................... xi Chapter 1 BASIC PRINCIPLES OF PERCUSSION PLAYING ................................................. 1-1 History ........................................................................................................................ 1-1 Definitions .................................................................................................................. 1-1 Total Percussionist .................................................................................................... 1-1 General Rules for Percussion Performance .............................................................. 1-2 Chapter 2 SNARE DRUM .......................................................................................................... 2-1 Snare Drum: Physical Composition and Construction .............................................
[Show full text]
The Art of Marimba Articulation: a Guide for Composers, Conductors, And
THE ART OF MARIMBA ARTICULATION: A GUIDE FOR COMPOSERS, CONDUCTORS, AND PERFORMERS ON THE EXPRESSIVE CAPABILITIES OF THE MARIMBA Adam B. Davis, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2018 APPROVED: Mark Ford, Major Professor Eugene Corporon, Committee Member Christopher Deane, Committee Member John Holt, Chair of Instrumental Studies Benjamin Brand, Director of Graduate Studies Musicin the College of Music John W. Richmond, Dean of the College of Victor Prybutok, Dean of the Toulouse Graduate School The Art of Marimba Articulation: A Guide for Composers, Conductors, and PerformersDavis, Adam on the B. Expressive Capabilities of the Marimba 233 6 . Doctor of Musical82 titles. Arts (Performance), August 2018, pp., tables, 49 figures, bibliography, Articulation is an element of musical performance that affects the attack, sustain, and the decay of each sound. Musical articulation facilitates the degree of clarity between successive notes and it is one of the most important elements of musical expression. Many believe that the expressive capabilities of percussion instruments, when it comes to musical articulation, are limited. Because the characteristic attack for most percussion instruments is sharp and clear, followed by a quick decay, the common misconception is that percussionists have little or no control over articulation. While the ability of percussionists to affect the sustain and decay of a sound is by all accounts limited, the virtuability of percussionists to change the attack of a sound with different implements is ally limitless. In addition, where percussion articulation is limited, there are many techniques that allow performers to match articulation with other instruments.
[Show full text]
Keyboard Fundamentals
○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ ○○○○○○○○○○○○○○○○○○ 1 Keyboard FUNdamentals Ruth Cahn & Laurie Russell ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ “MALLETS LET’S GO!” While you are waiting for the session to begin, please read the following and mark your positive responses to the questions. By identifying your learning style, we can help you learn mallets more easily. Visual 1. I learn best by seeing something demonstrated. Aural 2. I learn best by listening. Body Movement 3. I learn best by doing. (Kinesthetic) Verbal 4. I learn best by having things explained to me in words or reading about it. Mathematical 5. I am good at math and like patterns, comparing things, etc. Internal 6. I learn best when I work by myself with a teacher. External 7. I learn best when I am with a group with a teacher/leader. ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ ○○○○○○○○○○○○○○○○○ 2 Keyboard FUNdamentals Ruth Cahn & Laurie Russell ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ “MALLETS LET’S GO!” Learning the Marimba Introduction of Presenters with brief description of how we began our personal marimba studies. The Questionnaire you have received and completed is based on work done by Howard Gardner, Professor of Education at Harvard University, who has developed the “Theory of Multiple Intelligences” to help iden- tify our personal learning/thinking style. By identifying and incorporating these “intelligences” we can learn and teach the marimba with greater ease and success. Let’s Get Started: 1. Body Movement learners (with Laurie) • use feet to find the notes on the Wenger footNOTES™ • demonstrate the importance of foot position when playing the “regular ” marimba At home: can you demonstrate marimba foot positions? 2. Mathematical learners (with Ruth) • use numbers to find sounds on the keyboard • find sounds by “playing” their telephone numbers • do patterns and sequencing by the numbers At home: can you create some patterns using numbers from 1–8? 3.
[Show full text]
The Art of Science of Mallet Instrument Tuning
The Art and Science of Mallet Instrument Tuning BY BILL YOUHASS he following are ideas and thoughts ultimately the bars “forget where they harmonic or partial is the fundamental, the I have put together over some time. belong.” This is especially true of wood second harmonic or partial is the octave, TThe ideas presented here are not bars, so I recommend keeping the bars as the third is the 12th, etc. “Overtones” refers too technical and definitely not complete, close as possible to a constant environment to pitches above the fundamental. I will but should act as a catalyst to help of 72 degrees Fahrenheit and 40 to 60 refer to middle C as C4. percussionists listen in a different way percent humidity. Octave stretching on mallet instruments to, and become closer with, their mallet- Additionally, all the bars on one is done for several reasons. One is that keyboard instruments. instrument are not affected the same. As the “Western” human ear tends to hear I retune the same instrument over many “perfect” octaves, double octaves, etc. in SOME BASICS years, I find the same bars move the same higher registers as flat and is generally The best practical technique found happier when higher octaves are so far to tune a fixed-pitch instrument “sharp.” Another grows out of the in such a way that it can be played physical characteristics of piano in all keys, or no key, is by “equal strings. Because piano strings are tempered” tuning. Because mallet very hard and are stretched tightly, percussion instruments are fixed- the overtones in a given string are pitch, like a piano, they are always sharp, and they get sharper as the “out of tune,” so tuning is both an art strings get shorter and are under and a science.
[Show full text]
The History and Development of the Marimba Ensemble in the United States and Its Current Status in College and University Percussion Programs
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1985 The iH story and Development of the Marimba Ensemble in the United States and Its Current Status in College and University Percussion Programs (Musser). David Paul Eyler Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Eyler, David Paul, "The iH story and Development of the Marimba Ensemble in the United States and Its Current Status in College and University Percussion Programs (Musser)." (1985). LSU Historical Dissertations and Theses. 4091. https://digitalcommons.lsu.edu/gradschool_disstheses/4091 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity.
[Show full text]
Educator Series PERCUSSION
Educator Series PERCUSSION Keyboard Percussion Repertoire: Elementary through High School By Rebecca Kite The challenge and excitement of learning to play the percussion instruments is created by the ever expanding number of instruments and techniques demanded of the musicians as they progress from beginning band through high school. No other instrument in the band program requires such a vari- ety of skills and musicianship. In the percussion section, the keyboard percussion offers a rewarding transition from the beginning small bell kit to the keyboard section of the band that includes the Rebecca Kite xylophone, bells, vibraphone, marimba, chimes and crotales. Rebecca Kite has been performing as a marimba soloist for over twenty years, Elementary Band appearing in concerts, recitals and festivals You can begin preparing your elementary school or beginning band students by making sure they across the United States and in South learn to read pitched music and listen to and perform melodies and harmonies as well as learning to America, Japan and Europe. Known as well play the snare drum. The easiest way to do this is to fully utilize the “Bells” book for the beginning as a percussion educator, she also conducts band method you use with your band. All percussionists should work from both the “Drums” and clinics, masterclasses, residencies and coach- the “Bells” books. If your band method doesn’t have a “Bells” book, your students can easily read ing sessions internationally. Kite is on the per- from the “Oboe” book. cussion faculty of the University of Maryland School of Music in College Park. I recommend that the percussionists participate in all playing tests, with daily scale practice and warm ups on both snare and bells.
[Show full text]
Advanced Marimba Techniques: an Analysis with Musical Approaches
ADVANCED MARIMBA TECHNIQUES: AN ANALYSIS WITH MUSICAL APPROACHES TO PERFORMANCE PROBLEMS IN WEST SIDE SUITE Music by Leonard Bernstein Lyrics by Stephen Sondheim Adapted and Arranged for Unaccompanied Marimba by John Serry by Dean Warren Gronemeier Copyright © Dean Warren Gronemeier A Lecture Recital Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 1991 TABLE OF CONTENTS ABSTRACT 3 Chapter 1 Review of Extant Materials 4 Chapter 2 Mallet Permutations 10 Single Line Permutations 10 Musical Analysis 15 Chapter 3 One-Handed, Two-Mallet Roll 23 Developing the One-Handed, Two-Mallet Roll 24 Roll Speeds, Attacks, and Releases 27 Musical Analysis 29 Chapter 4 Interval Changes 40 Musical Analysis 44 Chapter 5 Octave Playing 54 Exercises for Octave Practice 56 Additional Exercises for Octave Accuracy 58 Musical Analysis 60 Chapter 6 Peripheral Accuracy 69 Musical Analysis 72 Chapter 7 Ostinato Patterns 80 Musical Analysis 83 Chapter 8 Polyrhythmic Playing 93 Musical Analysis 96 Chapter 9 Chorale Playing 102 Musical Analysis 104 SELECTED BIBLIOGRAPHY 108 ADVANCED MARIMBA TECHNIQUES: AN ANALYSIS WITH MUSICAL APPROACHES TO PERFORMANCE PROBLEMS IN WEST SIDE SUITE Dean Warren Gronemeier, D.M.A. The University of Arizona, 1991 Director: Gary Cook This document presents a systematic study of advanced marimba techniques. Although the focus is technically based, special consideration has been taken to present the various topics in a musical setting. This methodology provides the student with a school of marimba playing that deals with the technical and musical aspects of marimba performance simultaneously.
[Show full text]