SCHLAGZEUGFEST! and Other Strategies to Create a Culture of Excellence in Your Percussion Section

Introduction

This session will explore strategies for creating an environment in which your percussion students will grow and thrive. In the context of percussion ensemble, percussion class, or even small group lessons, you can help students develop an ownership of musical excellence and artistry. Be prepared for tips on motivating, educating, and challenging your percussion students. Topics to be covered will include programming, selecting repertoire, scheduling and structuring rehearsals, set-ups, instrumentation modification/substitutions, rehearsal tips and how to create events that showcases the great things happening in your program. The Waubonsie Valley High School Percussion Ensemble will serve as the demonstration group performing a variety of percussion ensemble literature.

Contents

Program and Personnel……………………………………………………………………….….…4-8

Session Outline ……………..…………………………………………………………….…..……9-12

Resources Great Percussion Artists and Ensembles……….……………..……………………….…….……..13 Considerations for Selecting Percussion Ensemble Literature……………………………….14-16 Common Genres and Representative Literature……………..………………………………..17-20 A Handful of Percussion Ensemble Music by Difficulty…………………………….……..…….21 Some Great Books for Your Library…………………………………………………………….22-24 Percussion Publishers…………………………………………………………………………….….25 Percussion Manufacturers…………………………………………………………………..……….26 Suggested Sticks and Mallets………………………………………………………………..………27 Set Up for Success!……………………………………………………………………………………28

Thank You Page………………………………………………………………………………………29

Closing Message……………………………………………………………………..………….……30

IMEC 2017 - CHRISTOPHER DANDELES 3 Program

Little Sea Gareth Farr

Ice Dance Anders Åstrand

Study no. 2 in Wood from Four Studies for Young Percussion Ensemble Mario Gaetano

Apple Blossom Peter Garland

Mercury Rising Nathan Daughtrey

Stompin’ Grounds Bela Fleck and Victor Wooten, arr. Hearnes

Personnell

Cole BenVau, Stephen Ehlert, Jim Keppler, Patrick Krawczyk Brian Martin, Devin Pyla, Christian Smith, Nolan Thilk, Philip Wig

IMEC 2017 - CHRISTOPHER DANDELES 4 Program Notes

Little Sea Gongs Little Sea Gongs is a miniature companion-piece to From the Depths Sound the Great Sea Gongs, a major work composed for the New Zealand Symphony Orchestra which incorporates the visual spectacle of three percussionists playing a line of ten roto toms. The drumming style is very much inspired by Rarotongan log drumming and is fast, furious and very loud.

Little Sea Gongs started as a short drumming piece to end the composer`s stage show Drumdrag. Like the larger work, it was intended to be a Rarotongan-style composition, but played on western drums. It was never notated, and was intended to be flexible in its instrumentation—the drummers would simply play on whatever instruments they happened to have handy. The number of performers also varied from three to seven players.

The present quartet arrangement of Little Sea Gongs was made at the request of Murray Hickman of the percussion ensemble Strike, and has since become one of the group`s most frequently performed pieces. -notes by the composer

Ice Dance Ice Dance is a beautiful keyboard ensemble composed by Swedish percussion virtuoso Anders Åstrand in 2002 for the dance company Barents Dansensemble. Its premier performance was at the Winter Festival "Vintervägen" of the same year and featured instruments crafted from ice during the third movement. The songlike structure of the piece allows for opportunities in free improvisation, which is a typical feature in the Åstrand’s music. The parts vary in difficulty, but a couple of the parts require proficient four-mallet technique.

Study no. 2 “Wood” from Four Studies for Young Percussion Ensemble Four Studies for Young Percussion Ensemble was written by Mario Gaetano as a vehicle for young percussionists to explore different timbres available in the percussion family. Each of the four movements features a different set of instruments, with membranes, woods, metals and a mixture in the final movement. Gaetano suggests that each movement could be performed independently, so we have chosen the second movement “Study no. 2 in Wood.” An accessory-type piece like this can serve as a great platform for teaching advanced ensemble and musicianship skills, as well as provide students an opportunity to explore different sound possibilities available with a simple setup.

IMEC 2017 - CHRISTOPHER DANDELES 5 Apple Blossom For 3 or more marimbas played by 4 or more musicians. One continuous rolling. With notes added, taken away, brought back. The density increasing, decreasing (i.e. a crescendo of volume; but volume as density, not loudness). Quietly. Time length: 8-12 minutes. A gradual procession. Durations of chords free. No repetition, going back.

The following poem is also found in the score:

Behind you Casting its last dark flames between your legs The ground of paradise lost Ice of darkness mirror of love And lower down towards your arms that open wide To the proof of spring Of AFTERWARDS And the non-existence of evil All the apple blossom of the sea -notes by the composer Mercury Rising Featuring a balanced ensemble of keyboard and battery percussion, Mercury Rising is, in essence, a double fugue that gives all players the opportunity to shine. After a brief anticipatory introduction, the tempo picks up and the keyboard percussion introduces the primary fugue theme (or subject), with entries by the marimba, the xylophone, and then the vibraphone. The battery joins the excitement before taking over the fugue subject, featuring the snare drum and concert toms. By the time the timpani takes over the subject, all members of the ensemble have entered leading to a climactic explosion at m. 72. After a brief developmental 3/4 section, in which fragments of the fugue subject are strewn about the ensemble, intensity continues to build to the end of the piece, as the theme appears in its loudest and fastest presentation yet. -notes by the composer

Stompin’ Grounds Stompin’ Grounds is a catchy and inspired composition by world renowned banjo picker and jazz musician Béla Fleck and bassist Victor Wooten from the album Live Art by Béla Fleck and the Flecktones. Maybe Thom Jurek put it best when he described their music as an “unclassifiable meld of jazz, progressive bluegrass, rock, classical, funk, and world music traditions.” Their style has been dubbed by some as “blu-bop.” Featuring driving sixteenth note pedals and fast moving melodies, this upbeat fusion drive from beginning to end. The syncopated rhythms and fluid banjo picking transfer well to percussion ensemble, making this a great transcription for bringing a jazzy pop flavor to any performance.

IMEC 2017 - CHRISTOPHER DANDELES 6 Waubonsie Valley Percussion Ensemble

The percussion program at Waubonsie Valley High School is committed to developing superb musicianship and aesthetic awareness through studying and performing music for percussion. The comprehensive curriculum also helps students become confident performers, knowledgeable musicians, and productive individuals who are dedicated to the pursuit of excellence in all dimensions of professional life with a life-long passion for music.

The Waubonsie Valley Percussion Ensemble was founded as a co-curricular ensemble in 2003 to provide the students opportunities to play significant repertoire composed for the percussion ensemble medium. Now one of the premier ensembles at Waubonsie Valley, the WVPE has performed some of the cornerstones of the percussion repertoire and exposed the students to a wide variety of genres, styles, and composers. The collaborative nature of the ensemble provides students with an identity and a feeling of accomplishment and self-worth as the work together to achieve musical excellence.

Students audition to be in the ensemble, and meet twice each week after school to rehearse. Performing several times each year, including two full-length percussion concerts, the WVPE also hosts the annual Schlagzeugfest (“Festival of Hitting Things”) to inspire the percussionists in the middle schools. In addition to concerts at home and in the area, the WVPE was invited to perform on the 2007 Sandy Feldstein National Percussion Festival and in 2015 shared a concert with the internationally-recognized Indiana University Percussion Ensemble. The WVPE was also recently awarded second place in the Black Swamp Percussion Ensemble Showcase. Waubonsie Valley Music Department

The Waubonsie Valley Music Department has a long tradition of musical excellence. The music department has been recognized as a GRAMMY Gold Signature School and acknowledged by the National Association of Music Merchants as one of the Best Communities for Music Education.

The Music Department offers four curricular bands, six curricular orchestras, seven curricular choirs, and two music theory courses. Curricular ensembles at Waubonsie Valley High School include Concert Band, Symphonic Band, Wind Symphony, Wind Ensemble, Concert Orchestra, Concert Strings, Symphonic Orchestra, Symphonic Strings, Chamber Orchestra, Chamber Strings, Cecillian Singers, Bass Chorus, Concert Choir, Treble Singers, Varsity Singers, and Varsity Chamber Singers. In addition to the large ensemble courses, the music department offers weekly, small-group technique classes for every instrument. Co-curricular ensembles include the Marching Warriors, Warrior Pep Band, Jazz Ensemble, Jazz Band, BigBand Jazz Combo, Percussion Ensemble, World Beat, Warrior Strings, Mosaic, Tri-M.

IMEC 2017 - CHRISTOPHER DANDELES 7 Chris Dandeles Waubonsie Valley Percussion Ensemble, Director Chris Dandeles has served on the faculty of Waubonsie Valley High School since 2003. Prior to teaching at Waubonsie Valley, he was Director of Bands at Timothy Christian School in Elmhurst, IL. Mr. Dandeles earned his Bachelor's Degree in Music Education from the Wheaton College Conservatory of Music, and his Master's Degree in Music Education from Northern Illinois University.

Mr. Dandeles directs the WVHS Symphonic Band, Concert Band Percussion, and teaches small group wind and percussion technique classes. Co-curricular responsibilities include the Warrior Pep Band, assisting with the Marching Warriors, and directing the Waubonsie Valley Percussion Ensemble.

A percussionist, Mr. Dandeles has promoted the advancement of percussion education throughout his career. In addition to serving as a clinician and consultant, he has written solos and ensembles for developing percussionists. He recently completed The Compleat Percussionist, a 600+ page method book of graduated exercises, etudes and solos for the major areas of percussion.

Mr. Dandeles continues to perform in his school and community, most recently with the marimba quartet Rosewooden Carols, the DuPage Symphony Orchestra, and Fox Valley Orchestra. Mr. Dandeles lives in Aurora with his wife Amy, and their children Annika and Henry.

Shelley May Hutchison Waubonsie Valley Percussion Ensemble, Associate Director Shelley May Hutchison is a National Board Certified music educator in Naperville District 204, teaching general music and chorus at the elementary level. She is the Associate Director of the Waubonsie Valley Percussion Ensemble, also in District 204. At Our Saviours Lutheran Church, she is the director of the youth ensemble, Praise Percussion, while frequently playing percussion in worship services, cantatas and concerts. In the community, Shelley plays in the marimba quartet Rosewooden Carols. She plays percussion with the DuPage Symphony Orchestra and the Agape Handbell Choir. Shelley also teaches private lessons out of her home.

IMEC 2017 - CHRISTOPHER DANDELES 8 Session Outline

Houston, We Have a Problem

Common Issues • Student’s don’t learn their music. • Student’s don’t understand their roles. • Students are disengaged in rehearsal. • Too many students and not enough parts.

Nature of the Instruments and Repertoire • Beginning and intermediate music is often harder for percussionists • Percussionists are so focused on technique and rhythm (just to satisfy their parts) • The parts look easy on paper, so there is no urgency to practice. • Identifying and fulfilling the different roles of a percussion part. • The soloist nature of percussion and the maturity vacuum of the back row.

Unfamiliarity with the Context (non-percussionists teaching percussion) • It is difficult to provide percussionists with what they need in the learning context. • Lack of supplemental materials and resources. • Lack of technical expertise.

Demands (and lack thereof) on the students • Percussionists deserve a rich musical education, just like all of the other students. • Entire rehearsals can go by and the percussionist has only played a single note. • The natural development of the one-trick pony.

The Needs of the Student, and the Program

Respect • Each student is valuable and important. • The music and the sounds are important.

Relationships • We are all in this together, so we have to help each other and work for each other. • Percussionist schlepp together and have to get along. • Celebrate each other’s successes. • Create an “Organization of People Who Hit Things Well.”

IMEC 2017 - CHRISTOPHER DANDELES 9 Rigor • Everyone needs to be challenged. • Every challenge is an opportunity to grow. • Harder workers usually see greater rewards. • The content is so great…don’t allow students to be marginalized because teaching is hard.

Relevance - Music is Worthwhile! • Music effects the lives of the musicians. • Music effects the lives of the audience. • Students chose to be musicians, help them make it real! • Percussion is the new violin (maybe)?

(Possible) Solutions to Age Old Problems

Schlagzeugfest! • Celebrate the percussive arts! • Have a concert - ensembles, solos, demos, you name it. • Offer clinics or masterclasses. • Make it an event. • Build it and they will come. • Involve other students and teachers. • Advertise • Offer something for other grade levels to enhance the feeling of community. • If there is a concert component, how about a combined piece? • Incorporate guest artists. • Performers, college professors, composers…they are all around us. • Funding is not scary. • Many college professors need exposure. • Manufacturers often help support their endorsing artists. • PTAs and other groups in your school/district may offer grants. • Look outside your district for grants.

Other Performance Ideas • Feature a percussion group on a band concert. • Play at the half time of an a basketball game or other athletic event. • Play for a school assembly, or create a lunchtime performance opportunity. • Create and support percussion ensembles for the solo/ensemble season. • Take a percussion group to an out-of-district festival.

IMEC 2017 - CHRISTOPHER DANDELES 10 Have a Vision • Know what you want the students to know and be able to do. • Start with your values. • What are the objectives? • Is competition necessary? • What will bring the most rich and rewarding experience to all of the students?

Have a Plan • Who is this for (which students)? • How can you make a model work for you and the students? • Curricular instruction in the form of a percussion class? • How will students be grouped? • Focus on etudes and individual skills? • Percussion ensemble context (to mirror the full band experience)? • Co-curricular instruction for the students that are looking to do more? • Will the group be auditioned or open to all? • When will the group meet? • Mornings, afternoon, or evening? • How often, and for how long?

Organize • Know how much time you need to accomplish your goals. • Know how much time you will actually have when the full schedule is considered. • Be realistic, but make sure students are challenged and grow. • Keep the students be a part of the process. They need to help create and meet goals.

Communicate! • Insufficient communication is at the heart of most problems. • Determine a system that you think will work and stay consistent. • Train students (and parents) to know the expectations. • Be sure to communicate specific rehearsal plans, needs and objectives.

Is it for you or the students? • Students have to “buy in” to the goals and the process. • Students might (probably will) fail at some point. • Keep track of where students are and catch issues quickly. • Acknowledge the break down together. • Help him or her get back on track. • Be patient, but don’t relinquish your expectations.

IMEC 2017 - CHRISTOPHER DANDELES 11 Proper Care and Feeding for Developing Musicians • Listen! • Know what other groups are doing (including the colleges and universities). • Repertoire • Learn about the history and development of the repertoire. • Know the major genres and styles. • Balance • Everything and anything can have a place. • Too much of one style/genre is a red flag. • Too much novelty music is like trading Shakespeare for comic books. • Aim for diversity and variety, think well-rounded. • Build a library. • Borrow pieces. • Write pieces (or have them written).

Strategies and Suitcases

Some Effective Ensemble Strategies • Listening • Singing! • Moving • Body Percussion • Air Drumming • Touching • Alternative Implements/Instruments

Setups and Stickings (oh my) • Many students get tripped up on parts because of poor sticking choices. • Stickings can be complicated, especially on keyboards. • If students are struggling, take a look and help them find a sensible way of sticking before they practice the “wrong” way too much. • Keep in mind that setups (multiple percussion) can significantly impact stickings.

Packing Suitcases • Steven Schick theory… • Experiment with different sounds so you have choices later (different acoustic settings). • Explore the full range of dynamics and contrasts. • Experiment with weight, stroke, and velocity.

IMEC 2017 - CHRISTOPHER DANDELES 12 Resources

A Selected Reference List of Great Percussion Artists and Ensembles

Some Great Percussion Names to Know in Illinois Greg Beyer: NIU Vadim Karpinos: CSO Jamie Ryan: EIU David Collier: ISU Kathleen Kastner: Wheaton Dan Smithiger: SIU-E Ron Coulter: SIU-C Michael Kozakis: DePaul Ben Wahlund: NIU Patricia Dash: CSO Rick Kurasz: WIU She-e Wu: NU Ricardo Flores: UIUC William Moersch: UIUC Cynthia Yeh: CSO Edward Harrison: Lyric Doug Perkins David Herbert: CSO James Ross: CSO

A Very Short List of Percussion Artists, Past and Present Keiko Abe Peter Erskine Sanford Moeller Anders Åstrand Mark Ford Clair Omar Musser Bogdan Bacanu Steve Gadd Emil Richards John Bergamo Guy Gauthreaux II Steven Schick Kevin Bobo Evelyn Glennie Robert Van Sice Michael Burritt Lionel Hampton Leigh Howard Stevens Gary Burton Steve Houghton Gordon Stout Casey Cangelosi Glenn Kotche Nancy Zeltsman Pius Cheung William Ludwig Nebojša Jovan Živković Colin Currie Katarzyna Myćka

A Handful of Professional Percussion Ensembles Amadinda Percussion Group Meehan/Perkins Duo Ethos Percussion Group Nexus Percussion Global Percussion Network Safri Duo Hands On’semble So Percussion Kroumata Talujon Maraca2 Third Coast Percussion

IMEC 2017 - CHRISTOPHER DANDELES 13 Considerations for Selecting Percussion Ensemble Literature

What do you want the students to learn from the experience? This is of course the biggest question, and one of the primary responsibilities of a music educator. Please keep in mind that student percussionists are often lacking fundamental knowledge in regards to how music is constructed, so consider music that can be a vehicle for teaching phrase, form, theme, development, etc.

What kind of styles and genres do the students need to study? Always think about exposing students to diversity. Don’t let the ensemble become a “one- trick pony” by playing the same types of music. Explore a wide variety of styles and genres to develop well-rounded musicians.

What skills do the students need to further develop? Do students need to develop a stronger sense of internal pulse? Try a groove piece or a march. Do students need to develop keyboard skills? Maybe try a keyboard groove piece, a minimalist piece, or transcription. Do students need to develop decision making skills? Try an ethereal soundscape or an improvisation-based piece. Do students need to develop musicality and musical understanding? Try a chorale or a transcription.

What are the strengths and weaknesses of each player? Most mixed ensembles (combinations of keyboards and battery) will have some more difficult parts and some easier parts. Do the requirements of the parts work for all students. Avoid marginalizing players by choosing music that is too hard for the less-experienced players, or lacks the musical content to challenge the more advanced players.

Does the difficulty of the piece preclude students from really mastering their parts? Advanced students are often concerned that music is not technically challenging enough. It is great that when students have ambition and want to be challenged, but these students often miss the mark in what is really challenging and special about music. Playing in an ensemble is challenging, and truly learning a piece of music is more than notes and rhythms. Student musicians need to be reminded from the beginning to make beautiful sounds and play expressively. Hopefully you can find a piece that will inspire all players to play their best but also want to dig in an understand the musical content. With that it in mind, every piece of music is challenging.

IMEC 2017 - CHRISTOPHER DANDELES 14 Does the piece allow for doubling? Most percussion ensemble music is chamber music, intended for small numbers of players with one player on a part. Music for a large number of players often requires a large arsenal of instruments, and the score can quickly become dense and complicated. If you are looking for an easy to medium difficulty piece, it might be worthwhile to find a piece that could allow for doubling parts. Doubled parts gives students safety in numbers, helps drive home the need for consistency and matching sound, and gives strength of sound to a young ensemble.

Does each of the parts contribute to the piece? Sometime percussion ensemble pieces have a couple of hard parts and a couple of easy parts. This is particularly common in groove-based ensembles where there might be a triangle part or suspended part that adds to the piece, but is not musically compelling to the student performing the part. Make sure the music students will be rehearsing for weeks is worth everyone’s time. Make sure that everyone has the opportunity to grow and learn from the music you select.

How long will it take to set up for each rehearsal? Some of my favorite pieces involve big setups for each player. Sometimes these instruments are regularly stored in pieces, or in other rooms, and it can take a long time to setup for each rehearsal. Keep this in mind when selecting a piece with a large setup. The time setting up and tearing down for regular rehearsals will eat up rehearsal time…and when large setups are involved, rehearsal time on the instruments is critical to the students. Pair a piece like this with more straightforward pieces, less difficult pieces, and/or pieces easy to setup.

How long is the piece (duration and number of measures)? Short pieces are hard to develop musically, but long pieces are hard to learn and sustain. How much time do you have available on the concert program? Is the piece longer than the time it takes to setup? Is the piece too long when combined with the other works on the concert? If you are programming a full percussion concert, keep in mind that a couple of longer pieces might be easier to put together than a bunch of short pieces with separate setups and styles.

Is the required instrumentation doable with your inventory? Do you have the instruments required by the score? Do you have adequate substitute instruments that will come close to the authentic sounds? A composer intends for specific sounds, but there is a lot that can be learned from a piece even with substitutions. Make wise decisions that will benefit the students but still honor the music and the composer’s intentions.

IMEC 2017 - CHRISTOPHER DANDELES 15 Is there enough time to properly prepare the selection? Think honestly about whether or not there is enough rehearsal time to properly prepare the piece. Keep in mind school events, assemblies, field trips, and the chance of student illness. Pushing and stretching students is important, but so is the opportunity to foster excellence. Always choose literature about a grade level easier than they might play in band unless the group is meeting on a daily basis.

Will the selection contribute to the overall performance program while providing what the students need? Selecting music that serves student needs and learning objectives is incredibly important, but so is providing the audience with a compelling program and performance. Is the program well-rounded? How does each purpose fit into the big picture? Is the music inspiring and spark imagination?

Does the selection expose students to other cultures? Percussion music is pervasive in cultures all around the world. The folkloric roots of percussion make it a great vehicle for studying music from other countries and cultures, and help develop a sense of music as a universal language. There are some great ensembles based on African music, gamelan, Brazilian samba, etc.

Is there an opportunity for a student conductor? Is there a talented senior thinking about music beyond high school? Is he or she mature, responsible, and musically-minded? Maybe it is a good time to start developing some leaders within the ensemble. Break the ensemble into a couple of groups and assign a student leader to be responsible for most of the rehearsals in one of the groups while you rehearse the other group. Be sure to check in frequently to make sure things are on track and provide guidance for the leader and the rest of the ensemble.

Is there an opportunity for a guest artist? Working with guest artists is great for students (and their directors). Guest artists can provide new perspectives, new approaches, urgency to prepare a piece for a new set of ears, as well as create an opportunity for real-world collaboration at a high level. Is there a piece of music that will be good for the ensemble as well as highlight the guest artist?

IMEC 2017 - CHRISTOPHER DANDELES 16 Common Genres in Percussion Music

Historic/Standard: the roots of the percussion ensemble date back to a handful of composers that in the early twentieth century started exploring the wealth of sounds available in the percussion family. Many of the early percussion ensemble works were composed by well- known, outstanding composers, and their works still have much to say to the students and audiences of today. Consider programming a standard work of historic significance to give your students a sense of community with what came before. Some great historic percussion ensemble pieces include: Any ragtime by G.H. Green, Joe Green, and Harry Breuer IV, Johanna Beyer Ceremonial, Paul Creston October Mountain, Alan Hovhaness Toccata, Carlos Chavez Ostinato Pianissimo and Pulse, Henry Cowell Double Music, John Cage and Lou Harrison Ritmicas no. 5 and no. 6, Amadeo Roldan Third Construction, John Cage

Minimalism: music that is based on repetition that develops through slow, minor changes was an important new style in the twentieth century. The heavy use of rhythm made percussion the perfect medium for this style, which in turn helped bring percussion to the forefront of modern music. Some great minimalist pieces include: “Raindrops” from Rainbows, Alice Gomez Clapping Music, Steve Reich Apple Blossom, Peter Garland Music for Pieces of Wood, Steve Reich Fratres, Arvo Part Apple Blossom, Peter Garland Mallet Quartet, Steve Reich

Transcriptions: when a piece of music is re-written for a different instrument or set of instruments. Transcriptions are great way to teach students well-known classical composers, or introduce styles that they may not learn in concert band. Some great classical transcriptions for percussion ensemble include: Sabre Dance, A. Khachaturian, arr. Moore Adagio from Symphony no. 3, C. Saint-Saens, arr. Gipson “Farandole” from L'Arlésienne, G. Bizet, arr. Jeanne Bolero, E. Rosales, arr. Musser

IMEC 2017 - CHRISTOPHER DANDELES 17 Some great pop/jazz transcriptions for percussion ensemble include: Stompin’ Grounds, Bela Fleck Inuyasha Dakagu-Renka, Wada, arr. Fujita Minuano, Pat Metheny, arr. Curnow

Percussion Orchestra: a mixed percussion ensemble composed in a style similar to orchestra or band with the keyboards usually serving melodic and harmonic functions with support from drums and percussion. Percussion orchestra music may include original compositions and transcriptions. Percussion orchestra is a great way to teach students important musical roles they may not have a chance to study in full band, such as melodic shape or harmonic function. Some great examples of percussion orchestra pieces include: Palace of the Nine Perfections, Eric Ewazen Limerick Daydreams, Nathan Daughtrey Stained Glass, David Gillingham Doors, Dave Hall Portico, Thomas Gauger Ceiling Full of Stars, Blake Tyson

Groove Pieces: an ensemble comprised of any instruments in which the primary musical function is layered rhythms and textures. Groove pieces come in a lot of “flavors,” and they are very important to the training of percussionists. Try to use variety when programming groove pieces. Some great groove pieces include: Catching Shadows, Ivan Trevino Gigue, Anders Åstrand Sleepless, Dan Moore Race the Desert, Dan Moore Sossa-Bala, Emmanuel Sejourne Technology, Jim Casella

Novelty: a piece that functions outside the box. Novelty pieces are usually funny or focus on “found sounds” - every day items used as musical instruments. Novelty pieces are often groove pieces, and may also be “drummy” in nature. Some great novelty pieces include: Stick Schtick, Chris Brooks Martian Tribes, Emmanuel Sejournce Musique de Table, Thierry de Mes Head Talk, Mark Ford Stool Pigeons, Julie Davila Brooms Hilda, Chris Crockarell

IMEC 2017 - CHRISTOPHER DANDELES 18 Keyboard Ensemble: ensembles comprised entirely (and exclusively) of keyboard instruments. Most keyboard ensembles are small chamber groups, such as a marimba quartet, but large keyboard “orchestras: go back to the early twentieth century. Most large keyboard ensembles are transcriptions of orchestral works. Some great keyboard ensembles include: Crown of Thorns, David Maslanka Sculpture in Wood, Rudiger Pawassar Stubernic, Mark Ford Omphalo Centric Lecture, Nigel Westlake Marimba Quartet, Daniel Levitan Unleash the Fury, Nathan Daughtrey Metric Lips, Bela Fleck, arr. Steinquest Akadinda Trio, Emmanuel Sejourne Vespertine Formations, Christopher Deane Three Seconds to D, Anders Åstrand Ice Dance, Anders Åstrand Any ragtimes by G.H. Green, Joe Green, and Harry Breuer

A great way to teach phrasing and tone production is through the study of chorales. Some great chorales for keyboards can be original works or transcriptions of choral music, string music, organ music, etc. Some great chorales include: Daybreak, Jack Stamp Not Far From Here, Black Tyson ( a great keyboard ensemble based on a solo) Light in Darkness and A Little Prayer, Evelyn Glennie (solos that can be ensembles) Adagio for Strings, Samuel Barber (originally for strings) O Magnum Mysterium, Morten Lauridsen (originally for choir) Sleep and Lux Aurumque, Eric Whitacre (originally for choir)

Pan-Global/“World” Ensembles: there is such a wealth of percussion from cultures around the world. Percussion ensemble is a great way to expose students to other cultures and great musical traditions outside the traditional Western music styles. Some great examples include: Tumbao Talk, Julie Davila Brazilian Beat, Joel Scales Orisha Offering, N. Scott Robinson Sankofa, N. Scott Robinson Three Shona Songs, B. Michael Williams Taiko, Scott Harding Hoo-Daiko, Robert Damm Drama Trio, Guo Wenjing

IMEC 2017 - CHRISTOPHER DANDELES 19 Soundscapes: ethereal compositions that create an atmosphere of sounds. Sometimes these pieces are more aleatoric, but more often than not they are written with a lot of strict detail and just give the impression of aleatoric. Some great soundscape pieces include: Entresons.Recreo, Alexandre Lunsqui Invisibles Pass By, Yo Goto A Whispering, William Duckworth

Drum/Battery Ensembles: the roots of percussion music in the Americas certainly lie in the heritage of rudimental/military drumming. Although the arsenal of percussion instruments has grown dramatically, there are many great ensembles that celebrate great drumming and the variety of percussion sounds now available. Some great battery ensembles include: Raptures of Undream, Bruce Hamilton Away Without Leave, Bob Becker Little Sea Gongs, Gareth Farr Chamade Suite, Igor Lesnik Blue Burn, Joe Tompkins Coyote Builds North America, John Luther Adams Oguon Badagris, Christopher Rouse Bonham, Christopher Rouse Four Four for Four, Anthony Cirone Lift Off!, Russell Peck Taiko, Scott Harding Equal Fire, Paul Bissell Sizzle!, Nathan Daughtrey Doomsday Machine, Michael Burritt Sharpened Stick, Brett William Dietz

Accessory Pieces: pieces that highlight on the smaller percussion instruments, such as tambourine, triangle, , etc. Some great accessory pieces include: Phylogeny, Daniel Kneupper Overture for Percussion “Toys,” Grant Cambridge Fanfare for Tambourines, John Alfieri Angels, Stuart Saunders Smith Escape: Sextet for Unclipped Triangles, Drew Worden Shake, Josh Gottry Scratch, Eugene Novotney Crash Course, James Campbell Cymbalectomy, Chris Crockarell

IMEC 2017 - CHRISTOPHER DANDELES 20 A Handful of Great Percussion Ensemble Pieces by Difficulty

Easy Medium (continued) Begin Transmission, John Herndon Race the Desert, Dan Moore Beyond Basic Percussion, Rath & Hicks Raspberry Tango, Dustin Schulze Five Petite Movements, Chris Roode Shock Factor, Nathan Daughtrey Hot Marimba & Marimba Mojo, Walt Hampton Sizzle, Nathan Daughtrey I Am Still the King, Kevin Lepper Taiko, Scott Harding Katie’s Bossa, Chris Crockarell Three Shona Songs, B. Michael Williams Playing Together (1 and 2), Walter Mertens Tom’s Tool Shed, Chris Roode Medium Difficult Thunder on the Bay, Scott Harding Aboriginal Dreams, Roland Barrett A la Samba, Mitchell Peters Medium Easy Angels of the Apocalypse, David Gillingham Backroads of Medellin, Chris Brooks Away Without Leave, Bob Becker Balalaikan Holiday, Morris Brand Blue Burn, Joe Tompkins Berceuse, Jay Dawson Catching Shadows, Ivan Trevino Dance of the Wind Up Toy, Chris Crockarell Equal Fire, Paul Bissel Fanfare for Tambourines, John Alfieri Four Four for Four, Anthony Cirone Four Studies for Young Percussion Ens., Gaetano Gainsborough, Thomas Gauger Groovesicles, from RowLoff Inuyasha Dakagu-Renka, Wada, arr. Fujita Lost Souls, Nathan Daughtrey Metric Lips, Bela Fleck, arr. Steinquest Melancholia, Katrina Cavaliere Normandy Beach - 1944, David Gillingham Mosaics, Jared Spears Portico, Thomas Gauger On the Spectrum, Nathan Daughtrey Sleepless, Dan Moore Orientale, Thomas O’Connor Stompin’ Grounds, Fleck/Wooten, arr. Hearnes Rhythmsicles, from RowLoff Three Brothers, Michael Colgrass Ritmo Sauve, Lalo Davila Roll Off Rhumba, Difficult Storm Warning and Dance, Steve Riley Bonham, Christopher Rouse Technology, Jim Casella Chamade Suite, Igor Lesnik Colored Windows, Tempered Rooms, B. Sekhon Medium Coyote Builds North America, John Luther Adams A la Samba, Mitchell Peters Doomsday Machine, Michael Burritt Ancient Voices, Distant Storms, Michael Varner Entresons.Recreo, Alexandre Lunsqui Bayport Sketch, Jared Spears Fandango 13, Michael Burritt Little Sea Gongs, Gareth Farr Limerick Daydreams, Nathan Daughtrey The Meeting, Anders Åstrand Oguon Badagris, Christopher Rouse Mercury Rising, Nathan Daughtrey Palace of the Nine Perfections, Eric Ewazen Mixtures II, David Long Sharpened Stick, Brett William Dietz Pops for Percussion from Hal Leonard Raptures of Undream, Bruce Hamilton Prelude in E minor, F. Chopin, arr. Steinquest Sharpened Stick, Brett William Dietz Stained Glass, David Gillingham

IMEC 2017 - CHRISTOPHER DANDELES 21 Some Great Percussion Books for Your Library

Combined Percussion Methods Audition Etudes, Garwood Whaley The Book of Percussion Audition Music, McClaren/Daughtrey The Compleat Percussionist, Chris Dandeles Percussion: A Course Study, Thomas Siwe Percussion Manual, F. Michael Combs The Floppy Paw-Book, Ben Wahlund Simple Steps to Successful Beginning Percussion, Kennan Wylie Teaching Percussion, Gary Cook

Snare Drum Advanced Etudes for the Snare Drum, Keith Aleo Advanced Snare Drum Studies, Mitchell Peters A Fresh Approach to the Snare Drum, Mark Wessels Alfred’s Drum Method (1 and 2), Feldstein/Black The All-American Drummer, Charlie Wilcoxon Contemporary Method for the Snare Drum, Thomas McMillan Developing Dexterity, Mitchell Peters Drum Method (books 1 and 2), Haskell Harr The Drummer’s Rudimental Reference Book, J. Wooton 40 Intermediate Snare Drum Solos, Ben Hans Intermediate Snare Drum Studies, Mitchell Peters Methode de Caisse-Claire, Jacques Delecluse Modern Contest Solos for Snare Drum, John Pratt Modern School for Snare Drum, Morris Goldenberg Orchestral Repertoire for the Snare Drum, compiled by Raynor Carroll The Performing Percussionist, James Coffin Portraits in Rhythm, Anthony Cirone The Roll for Snare Drum, Emil Sholle The Rudimental Cookbook, Edward Freytag Savage Rudimental Workshop, Matt Savage A Snare Drummer’s Toolbox, Crockarell/Brooks Standard Snare Drum Method, Benjamin Podemski Stick Control for the Snare Drummer, G.L. Stone Ten Etudes for Snare Drum, Nebojsa Zivkovic Twelve Studies for Snare Drum, Jacques Delecluse Wrist Twisters, Buster Bailey

IMEC 2017 - CHRISTOPHER DANDELES 22 Keyboard Percussion Additive Method for Two-Mallet Playing, Gene Koshinski Bach for Bars Book 1 and 2, arr. Roger Faulmann Contemporary Mallet Method, Jerry Tachoir A Fresh Approach to Mallet Percussion, Mark Wessels Fundamental Method for Mallets (1 and 2), Mitchell Peters Fundamental Solos for Mallets, Mitchell Peters Funny Mallets for Xylophone, Nebojsa Zivkovic Funny Mallets for Vibraphone, Nebojsa Zivkovic Ideo-Kinetics, A Marimba Technique, Gordon Stout Instruction Course for Xylophone, G.H. Green Jazz Mallets in Session, Arthur Lipner The Mallet Player’s Toolbox, J. Hearnes The Marimba: Teach It!, Kathleen Kastner Masterpieces for Marimba, arr. Thomas McMillan Masterworks for Mallets, arr. Beth Gottlieb Modern School for Mallet-Keyboard Instruments, Sewrey/Hans/Scheller Modern School for Xylophone, Marimba and Vibraphone, Morris Goldenberg The Percussion Keyboards Vol. 1, Emmanuel Sejourne Rubank Intermediate Method for Marimba, Art Jolliff Southern Special Marimba Solo, William Schinstine Symphonic Repertoire for Keyboard Percussion, Jack van Geem Vibraphone Technique: Dampening and Pedaling, David Friedman

Keyboard Percussion (four mallet methods) 4 Mallet Democracy for Marimba, Jack van Geem For Four, Josh Gottry Four-Mallet Marimba Playing, Nancy Zeltsman Four Mallet Fundamentals, Neil Grover & Garwood Whaley Funny Mallets for Marimba Book I, Nebojsa Zivkovic Funny Mallets for Marimba Book II, Nebojsa Zivkovic Image: 20 Children’s Songs for Marimba, Bart Quartier Jazz Vibes, Gary Burton Impressions in Wood, Julie Davila Marimba: Technique Through Music, Mark Ford Method of Movement for Marimba, Leigh Howard Stevens Sequential Studies for Four-Mallet Marimba, Julia Gaines Simply Four, Gifford Howarth

IMEC 2017 - CHRISTOPHER DANDELES 23 Timpani Concepts for Timpani, John Beck Etuden for Timpani (1, 2 and 3), Richard Hochrainer Exercises, Etudes and Solos for the Timpani, Raynor Carroll Modern Method for Timpani, Saul Goodman The Solo Timpanist, Vic Firth Fundamental Method for Timpani, Mitchell Peters

Drumset Advanced Technique for the Modern Drummer, Jim Chapin Alfred;s Beginning Drumset Method, Feldstein/Black The Art of Bop Drumming, John Riley Drumset Essentials, Peter Erskine Essential Styles, Houghton/Warrington Essential Technique for the Drumset, Ed Soph A Fresh Approach to Drumset, Mark Wessels Jazz Drummer’s Reading Workbook, Tom Morgon Groove Essentials, Tommy Igoe Studio and Big Drumming, Steve Houghton Syncopation, Ted Reed

Multiple Percussion 10 Beginning Studies for Multiple Percussion, Ney Rosauro The Contemporary Percussionist, Udow/Watts The Multiple-Percussion Book, Petrella/Allemeier Multiple Percussion Solos at the Intermediate Level, Feldstein/Burns Multiple Percussion Solos at the Advanced Level, Feldstein/Burns Multitudes, Andrew Bliss Multitudes, Thomas Brown Music for Multi-Percussion: A World View, Campbell/Hill Portraits for Multiple Percussion, Anthony Cirone Reflex, Brett William Dietz Studies in Solo Percussion, Morris Goldenberg

Accessories The Art of Percussion Playing, Anthony J. Cirone, Neil Grover and Garwood Whaley Techniques of Playing Bass Drum, Cymbals and Accessories, Al Payson Cymbals: A Crash Course, Mitchell Peters & Dave Black Orchestral Repertoire for Tambourine, Triangles and Castanets, Raynor Carroll Orchestral Excerpts, Abel/Payson/Press

IMEC 2017 - CHRISTOPHER DANDELES 24 A Selected List of Percussion Publishers

Publishers that Specialize in Percussion Music Advantage Network Go Fish Music Bachovich Music Publications* HoneyRock Publications* ProPercussão Brasil Innovative Percussion* C. Alan Publications* Keyboard Percussion Publications (KPP)* Cirone Publications Ludwig Music Publishing Colla Voce Music, Inc. Norsk Music Forlag A/S CPP/Belwin OU Percussion Press Creative Music and Ovation, Inc. Per-Mus Publications Drop 6 Media (now part of RowLoff) RowLoff Publications* Dutch Music Partners Smith Publications Edition Musica Europea Studio 4 (now part of KPP) Edition Svitzer* Tapspace Publications*

Publishers that Offer Notable Percussion Music Alfred Music Kendor Music Alphonse Leduc Media Press Inc. Belwin Publishing Company Meredith Music Publications Boosey and Hawkes Ongaku No Tomo Sha, Corp. Carl Fischer Rimshot Music C.L. Barnhouse Company Schott Music Edition Peters Southern Music Company Editions Salabert Theodore Front Musical Literature Elkan-Vogel, Inc. Theodore Presser Co. Frog Peak Music Universal Edition, Ltd. G. Schirmer, Inc. Wingert-Jones Helicon Music Corp.

Major Percussion Retailers Chops Percussion Lonestar Percussion Percussion Source Steve Weiss Music*

* These are publishers/retailers with many fantastic compositions for percussion. Check out the online catalogs!

IMEC 2017 - CHRISTOPHER DANDELES 25 A Selected List of Major Percussion Manufacturers

Drumsets Mapex Tama Gretsch Pearl Yamaha Ludwig

Concert Drums Black Swamp Majestic Yamaha Dynasty Pearl Ludwig Tama

Marching Drums Dynasty Mapex Yamaha Ludwig Pearl

Keyboard Percussion Adams Malletech Musser DeMorrow Majestic Yamaha Dynasty Bergerault Marimba One

Cymbals Bosphorus Meinl UFIP Dream Cymbals Zildjian Istanbul Sabian

Auxiliary/Accessories Black Swamp Percussion Pearl Grover Pro Percussion Ron Vaughn

World Percussion Gon Bops Meinl (LP) Pearl

Sticks and Mallets Balter Mallets Encore Mallets ProMark Clevelander (Timpani) Innovative Percussion Vic Firth Cooperman (Snare) Malletech

IMEC 2017 - CHRISTOPHER DANDELES 26 Suggested Sticks and Mallets

Percussionists are required to play a wide variety of instruments in a number of settings and genres. While instruments will be provided for use, percussion students are required to own a basic “arsenal” of sticks and mallets. Listed below are the basic required materials and some suggested models. It is common for percussionists to add new sticks and/or mallets each year throughout their high school career as their skills continue to improve.

Each student is expected to own a basic setup, including:

• one pair of concert-style drum sticks: Innovative Percussion IP-JC alternatives: Cooperman #5, Innovative Percussion CL-1, or Vic Firth SD1

• one pair of drumset drumsticks: Innovative Percussion Ed Soph 1 alternatives: Vic Firth: SD4 Combo or 7A

• one pair of general timpani mallets: Innovative Percussion CT3 alternatives: Vic Firth VFT1

• one pitch pipe or tuning fork: Kratt Chromatic Pitch Pipe (F-F is the best) alternatives: tuning fork

• two pair of matching marimba mallets (matching set of 4): Malletech CN14 alternatives: Malletech MB13, Innovative Percussion AA25H, Vic Firth M113, or Vic Firth M114

• one stick/mallet bag: any model large enough to accommodate a full complement of sticks and mallets. A bigger bag will hold more as you acquire more: Liberty I Tour Caddy (Steve Weiss), Innovative Percussion MB3, Mike Balter Carry All Case

• access to a tuner and metronome

All personal materials must be labeled, color coded or inscribed with your name or initials.

Other Considerations Advanced percussionists will need to play a much wider variety of instruments and styles, requiring more variety in mallets. Consider adding to your arsenal, particularly vibraphone mallets, xylophone mallets, and different sounding timpani and marimba mallets.

IMEC 2017 - CHRISTOPHER DANDELES 27 Set Up for Success!

A percussion ensemble concert can include a variety of pieces that each call for different instruments and different setups. Every time instruments move across the stage the moment of the concert can stall and lead to distraction. I have been to some concerts in which I spent as much time watching people move stuff across the stage as I did listening to music. To keep your audience engaged, plan ahead:

• Consider setups that can work for multiple pieces. • Consider creative/fun introductions to pieces to transitions on stage. • Consider a soloist playing in a different part of the venue to allow for changes on the stage. • If transitions must occur, students need to know where every instrument should be at all times. • Create a list of pieces and what has to happen in between the pieces. • Practice the transitions between pieces, or there will be that inevitable moment where one percussionist is walking around the stage trying to find a triangle beater.

A sample setup plan with a basic tech script that could be given to students:

IMEC 2017 - CHRISTOPHER DANDELES 28 Special Thanks

District 204 General/Choral Music Faculty Indian Prairie School District 204 Administration Brookdale: Danielle Donaldson, Kaitlyn Yi Dr. Karen Sullivan, Superintendent Brooks: Cara Knutson Laura Johnston, Asst. Superintendent Elementary Builta: Mary Schmitz Brad Hillman, Asst. Superintendent Middle Schools Clow: Ryan Henry Dr. Louis Lee, Asst. Superintendent High Schools Cowlishaw: Cristina Wagoner Grant Sahr, District 204 Music Coordinator Fry: Ryan Henry, Mary Schmitz Georgetown: Andrea Burck Waubonsie Valley High School Administration Gombert: Shelley May Hutchison Jason Stipp, Principal Graham: Kathy Muno Charles Bibbs, Assistant Principal Kendall: Rachel Luhn, Kari Rothmeyer Jason Schimdtgall, Assistant Principal Longwood: Kaitlin Yi Rebecca Schreiber, Assistant Principal May Watts: Danielle Donaldson, Shelley Hutchison Chris Neibch, Athletic Director McCarty: Jeanette Brooks Owen: Sue Boozell Patterson: Kari Rothmeyer Peterson: Jamie Erlenbaugh, Rachel Luhn Waubonsie Valley Band Boosters Spring Brook: Adam Duym Amy Brozak, President Steck: Kim Kessler, Kathy Muno Cheryl Wilczynski, Vice President Welch: Maureen McCoy Donna Elkins, Treasurer White Eagle: Sue Boozell, Jamie Erlenbaugh Lori Stoakes, Secretary Young: Cary Knutson, Anthony Pape Crone Middle School: Sarah Long, Michael Sillar Last Year’s Percussion Ensemble Members Fischer Middle School: Allison Rider, Veronica Roman-Meyer Andrew Colin, Matthew DeMaso, Joe Dieter, Granger Middle School: Jeff Haeger Adam Dix, Emerald Gruett,Matthew Hubbard, Gregory Middle School: Claire Fenton, David Pfenninger April Kochman and Callie Vitro Hill Middle School: Ron Korbitz Scullen Middle School: Michael Ferguson, Graham Heise Still Middle School: Mary Whitney Metea Valley High School: Melinda Arnold, Paulette Boddy, Nathan Bramstedt Neuqua Valley High School: Jay Kellner, J. Ryan Rimington, Reid Spears Waubonsie Valley High School: Beth Best, Nicole DiGrazia, Seth Durbin District 204 Instrumental Music Faculty Crone Middle School: Katie Brown, Regina Kazda, Brad Pfeil, EJ Roberts, John Timmons Fischer Middle School: Caitlynne Burgess, Bethany Lugay, Kim Kessler, Beth Myers, Allison Rider Granger Middle School: Jason Dyhouse, Anneke Miers, David Pakkebier, Dawn Pakkebier Gregory Middle School: Kelly Dimidik, Lori Lauff, Stephanie Lein, Melissa Schwolow Hill Middle School: Sarah Friederich, Megan LoPresto, Heidi Rogers, Loretta Valentin Scullen Middle School: Graham Heise, Kim Kessler, Laura Patterson, Jessica Sanders, Matthew White Still Middle School: Claire Fenton, Michael Naughton, Chris Niesluchowski, Doug Ruhs, Megan Zalokar Metea Valley High School Band: Don Devany, Claire Fenton, Josh Kaminsky, Glen Schneider, Metea Valley High School Orchestra: Mark Liu, Michael Naughton, Robin Sackschewsky Neuqua Valley High School Band: Emily Binder, Corinne Collier, Jonathan Lauff, Andrew Seidel Neuqua Valley High School Orchestra: Kevan Kosobayashi, Brad Pfeil, Greg Schwaegler Waubonsie Valley High School Band: Kevin Carroll, Chris Dandeles, Mark Duker Waubonsie Valley High School Orchestra: John William Burck, Daryl Silberman Primary Percussion Private Lesson Teachers Frank Check, Dane Crozier, Matt Plaskota, Ben Wahlund, Alex Wier

IMEC 2017 - CHRISTOPHER DANDELES 29 A Closing Message

Thank you for attending this session! I hope that you have found this session helpful! Please send me a message if there is something that inspired you, interested you, or made you think a little about to improve the learning environment for the percussionists in your school. If you have questions or need help implementing any of these ideas, please feel to contact me for assistance. I am passionate about improving percussion education everywhere, and I would be more than happy to help in what ways I can.

Now it is time for you to go and create your own “Schlagzeugfest” (or other opportunities) to motivate and inspire the percussionists that you know and love! Good luck and best wishes!

Contact Information

Please feel free to contact me with questions, comments or funny percussion stories. I would love to hear from you, and will try to get back to as quickly as I can.

[email protected].

Please check out the following websites for more information, materials and resources:

www.wvhsmusic.org/percussion

www.chrisdandeles.com

Also, please check out my compositions available at J.W. Pepper. More are being added all the time, so come back often!

www.jwpepper.com