DOCSLIB.ORG

Study Guide for the High School Percussionist

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

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. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code uesf ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106 -1346 4 ACKNOWLEDGMENT The writer is grateful for the assistance and guidance given by Mr. Mervin Britton, Percussion Instructor at Arizona State University, Tempe, Arizona. TABLE OF CONTENTS PAGE INTRODUCTION..................................................................................................... 1 Background to the P ro b lem ..................................................................... 1 Trends in the Teaching of Percussion .................................................. 1 Preparation of the T eacher ..................................................................... 2 The Percussion L ib rary ............................................................................ 3 The Problem ..................................................................................................... 4 The Study G uide ............................................................................................... 5 THE STUDY GUIDE AND EXAMINATIONS...................................... 8 UNIT I. BASIC PERCUSSION TECHNIQUE ...................................... 9 II. THE SNARE DRUM ....................................................................... 26 III. THE BASS DRUM ............................................................................. 36 IV. THE c y m b a l s a n d THE TAM-TAM ........................... 44 V. THE TYMPANI.................................................................................... 55 VI. THE KEYBOARD INSTRUMENTS ....................................... 66 VII. THE LATIN AMERICAN INSTRUMENTS........................... 77 VIII. THE TRAPS AND THE SOUND EFFECT EQUIPMENT .................................................................................. 86 CONCLUSIONS AND RECOMMENDATIONS ...................................... 97 Facilitating L earning .....................................................................; 97 Stimulating Interest ............................... 99 BIBLIOGRAPHY............................................................................................................ 101 INTRODUCTION It is the responsibility of the music educator to provide a balanced musical experience for all members of the band or orches­ tra. A unit of the ensemble which is often neglected in this balanced experience is the percussion section. Instrumental music teachers who are not percussionists themselves, readily admit that the percussion section is most often the weakest part of the ensemble. In addition to this, percussionists in school bands and orchestras frequently receive the least amount of attention from their director. ^ Frank L. Battisti, Chairman of the Ithaca, New York, Instru­ mental Music Department, states the case of the percussionist as follow s: Until quite recently, and in some schools even today, the drummer was considered as "something other than a musician. " He didn't fit into the same category as the violinist, the clarinetist, or any of the other melodic instrumentalists. Drummers were talked to and treated by conductors of school musical organizations as participants who played some rhythmic figures. Things such as phrasing, tone color, blend, and balance were not asked for or taught and as a result the drummer grew up in a rhythm-pounding world rather than the musical world of the other members of the band or orchestra. ^ ^Robert Buggert, Teaching Techniques for the Percussions (Rockville Centre: Belwin, Inc. , 1960), p. 2. ^Frank L- Battisti, "Musicianship for the High School Per­ cussionist, " The Ludwig Drummer, Vol. 3, No. 2 (Fall, 1963), p. 21. This void in the instructional balance is partially caused by inadequate instruction offered the prospective music teacher by insti­ tutions of higher learning. A study made by Michael B. Lamade indicates that sixty-seven percent of the schools surveyed had no instructor who was a specialist in the area of percussion. ^ A more recent evaluation by Gordon Peters, the principal percussionist of the Chicago Symphony Orchestra, indicates; . of approximately 550 institutions conferring music degrees in the United States only about 50 employ a trained percussion instructor.4 To complicate matters further, the instrumental music teacher must accept the responsibility of instructing his students in all of the percussion instruments. This includes: the snare drum, the bass drum, the cymbals, the tympani, the mallet-keyboard instruments, the Latin American instruments, the traps (triangle, tambourine, woodblock, temple blocks), and the sound-effect equipment. The Guide to Teaching Percussion lists 52 separate percussion instruments.' ^Michael B. Lamade, "Teacher-training in Percussion, " The Instrumentalist, Vol. XII (March, 1958), p. 74. "^Gordon Peters, "Our Responsibilities in Percussion, " The Instrumentalist, Vol. XVIII, No 10 (May, 1964), p. 88. 5 Harry R. Bartlett, Guide W Teaching Percussion (Dubuque: William C. Brown Company, 1964), p. V. The band or orchestra director faces a formidable task in providing the necessary instruction on all of the percussion instru­ ments during the rehearsal periods. How could the m aterials required for adequate percussion instruction be made available to the student? To give answer to this question the Percussion Library was organized. The Percussion Library This library of percussion materials was designed to cover a wide range of percussion information. The following criteria were used in the selection of the m aterials for the library: (1) Musical value. The material must seek to inspire high standards of musicianship. (2) Clarity. The material must be clearly understood by the high school student. (3) Content. The material must cover the subject matter thoroughly and in an interesting manner. The selection of materials for the Percussion Library was supervised and approved by Mr. Mervin Britton, Percussion Instructor at Arizona State University, Tempe, Arizona. PERCUSSION LIBRARY BOOKS Bartlett, Harry R. Percussion Ensemble Method. Dubuque: William C. Brown Company, 1961. Bartlett, Harry R. Guide W Teaching Percussion. Dubuque: William C. Brown Company, 1964. Buggert, Robert. Teaching Techniques for the Percussions. Rockville Centre: Belwin, Inc. , 1960. Denov, Sam. The Art of Playing the Cymbals. New York: Henry Adler, Inc., 1963. Evans, Bob. Authentic Bongo Rhythms. New York: Henry Adler, Inc. , 1960. Evans, Bob. Authentic Conga Rhythms. New York: Henry Adler, Inc., 1960. Goldenberg, Morris. Modern School for Snare Drum. New York: Chappell & Co. , Inc. , 1955. Goodman, Saul. Modern Method for Tympani. New York: Mills Music, Inc. , 1948. Kent, Jerry. Handbook for the School Drummer. Denver: Jerry Kent, 1964. Kraus, Phil. Modern Mallet Method. New York: Henry Adler, Inc. , 1959. Vols. I and II. PERIODICALS The Holton Fanfare - selected articles. The Instrumentalist - selected articles. The Ludwig Drummer - selected articles. With the development of the Percussion Library came the need for a course of study following a logical sequence. The Study Guide was designed to fill that need. THE PROBLEM The purpose of this study was to design a study guide which would aid the director in providing instructional m aterial for the percussion section. The study guide would assist the student percus­ sionist in acquiring: (1) a general knowledge of the percussion instru­ ments and methods of their performance, and (2) an understanding of the role of the percussion instruments in the ensemble. These factors are related to percussion "technique" and are treated as aids in the development of the mental discipline which is a requirement of technique and musicianship. The Study Guide The study guide has been arranged in units, for example:
Recommended publications
  • THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014

    THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014

    COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography……………………………………………………………………………….
  • The Snare Drum Roll

    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

    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.
  • DANSES CQNCERTANTES by IGOR STRAVINSKY: an ARRANGEMENT for TWO PIANOS, FOUR HANDS by KEVIN PURRONE, B.M., M.M

    DANSES CQNCERTANTES by IGOR STRAVINSKY: an ARRANGEMENT for TWO PIANOS, FOUR HANDS by KEVIN PURRONE, B.M., M.M

    DANSES CQNCERTANTES BY IGOR STRAVINSKY: AN ARRANGEMENT FOR TWO PIANOS, FOUR HANDS by KEVIN PURRONE, B.M., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Accepted August, 1994 t ACKNOWLEDGMENTS I would like to extend my appreciation to Dr. William Westney, not only for the excellent advice he offered during the course of this project, but also for the fine example he set as an artist, scholar and teacher during my years at Texas Tech University. The others on my dissertation committee-Dr. Wayne Hobbs, director of the School of Music, Dr. Kenneth Davis, Dr. Richard Weaver and Dr. Daniel Nathan-were all very helpful in inspiring me to complete this work. Ms. Barbi Dickensheet at the graduate school gave me much positive assistance in the final preparation and layout of the text. My father, Mr. Savino Purrone, as well as my family, were always very supportive. European American Music granted me permission to reprint my arrangement—this was essential, and I am thankful for their help and especially for Ms. Caroline Kane's assistance in this matter. Many other individuals assisted me, sometimes without knowing it. To all I express my heartfelt thanks and appreciation. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii CHAPTER L INTRODUCTION 1 n. GENERAL PRINCIPLES 3 Doubled Notes 3 Articulations 4 Melodic Material 4 Equal Roles 4 Free Redistribution of Parts 5 Practical Considerations 5 Homogeneity of Rhythm 5 Dynamics 6 Tutti GesUires 6 Homogeneity of Texmre 6 Forte-Piano Chords 7 Movement EI: Variation I 7 Conclusion 8 BIBLIOGRAPHY 9 m APPENDIX A.
  • Exposing Corruption in Progressive Rock: a Semiotic Analysis of Gentle Giant’S the Power and the Glory

    Exposing Corruption in Progressive Rock: a Semiotic Analysis of Gentle Giant’S the Power and the Glory

    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY Robert Jacob Sivy University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2019.459 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sivy, Robert Jacob, "EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY" (2019). Theses and Dissertations--Music. 149. https://uknowledge.uky.edu/music_etds/149 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
  • A Study of Percussion Pedagogical Texts and a Percussion Primer Nathaniel Gworek University of Connecticut - Storrs, Ngworek@Gmail.Com

    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.
  • Handbook 17-18

    Handbook 17-18

    PERCUSSION STUDENT HANDBOOK 2017-2018 BGSU Percussion Studio Handbook 3 Table of Contents 1. Welcome, Introduction and General Information 5 Welcome 6 Important Contact Information for Students 8 2. Required & Suggested Materials 11 Sticks, Mallets & Beaters 12 Instruments 13 Additional Materials 13 Required Music Texts 13 Materials for Jazz Majors 14 Suggested Percussion Retailers 16 Suggested Supplemental Texts 16 3. Attendance, Communication & Personal Conduct 19 Ten Rules for Students and Teachers 20 General Expectations 21 Collegiality 21 Communication Policies 21 Attendance Policy 22 Rehearsal & Performance Expectations 23 Student Percussion Association (SPA) 24 4. Facilities & Equipment 25 Golden Rules of Percussion 26 Keys & Practice Rooms 27 Gear Usage 28 Repair Requests 28 Personal Equipment 29 Instrument Care & Maintenance 29 "Rules of the Road" 30 5. Private Study 33 Challenges for the College Percussionist 34 Applied Percussion Studies Overview 35 Typical Undergraduate Course of Study 36 Grading 37 Juries 38 Proficiency Examinations 39 Practice Expectations 41 Recitals 41 6. Percussion Ensemble 43 Participation Expectations 44 Rehearsal Schedule 44 Rehearsal Preparation 44 Grading 44 World Music Ensembles 45 1. Welcome, Introduction and General Information PERCUSSION 6 BGSU Percussion Studio Handbook Welcome Welcome to the Bowling Green State University Percussion Studio! We are very excited to have you on board, and we hope that this handbook will be your guide as you embark on this new chapter of your collegiate percussion studies. The Bowling Green State University Percussion Studio is structured to provide students with a comprehensive musical foundation as percussionists. We embrace an inclusive, integrated approach to musical studies that remains strongly rooted in the Western classical tradition, but also embraces jazz, popular musics, and non-Western musical traditions.
  • Basic Snare Drum Technique by Thom Hannum

    Basic Snare Drum Technique by Thom Hannum

    Basic Snare Drum Technique By Thom Hannum There are a number of effective methods for learning basic snare drum technique. So be open to suggestions and seek a teacher to help guide you through the fundamentals. Below are some guidelines to get you started. Have fun! Stand Assembly and Instrument Position 1. Spread the base of the stand far enough to create a stable platform. 2. Insert the top into the base of the stand. 3. Place the drum into the basket while avoiding contact with the snare strainer. 4. The drum should be at about waist level and slightly angled for your comfort. 5. Tighten all stand wing nuts. Step 1 Step 2 Step 3 Step 4 Step 5 Tuning and Stick Selection Now it’s time to tune the drum for the best possible sound. I recommend following the steps outlined in Tom Freer’s Pearl article, Basic Snare Drum Tuning, which can be found at Pearl’s website (www.pearldrum.com). Have your teacher help select snare sticks that work for you. Something equivalent to a 2B or a 5B usually works fine. The balance point is 1/3 of the way up from the butt end of the stick. Grip the stick near this point for the best response and bounce. Grip Guidelines and Posture Learning to hold the sticks properly is essential for improving technique. Use the photos as a guide and make sure to memorize the feel of the following guidelines: #1 Fulcrum (thumb and first two fingers), #2 Finger contact (comfortably wrap all fingers around the stick; not too tight), #3 Bead placement (as close together as possible for an even sound) and then striking area (center of the drum head), #4 Wrist motion (down position and up position).
  • The New Dream Theater Dream New The

    The New Dream Theater Dream New The

    ISSUE 27 ISSUE FREE CD INSIDE AUDIO PREVIEWS LessoNS praCTICE W/ THE pros TOSS JOHN DONALD BRIAN V PANOS WEATHERS BARRETT DOWNEY MAY / JUNE 2011 MAY MIKE MANGINI MIKE MANGINI THE NEW DREAM THEATER JOE MORELLO REMEMBERED 70000 TONS OF METAL May - June 2011 | NO. 027 $6.99 US | $7.99 CAN MASTER JEREMY COLSON CLASS NEW Z3 CHINAS & ZILDJIAN SWISH KNOCKER 040 JohnOn WeathersReflection On ReflectionInterview - Mover Think progressive rock from the ‘70s and immediately Genesis, Yes, ELP, King Crimson and Jethro Tull come to mind. All of them equally progressive in their own way, and in some ways, share a common thread between them. But, ask any diehard prog-rock fan and I guarantee another name comes up each and every time: Gentle Giant. Although never quite attaining the same level of sales or status of celebrity as the aforementioned, Gentle Giant most certainly made a statement, left a mark and carved their names into the history books of English prog. A mixture of rock, funk, jazz, classical, and even a bit of punk, Gentle Giant was as progressive as they come—and then some. Holding down the fort for the better part of eight years was John Weathers. Although not their original drummer, it was Weathers that helped propel Gentle Giant to international fame with an interesting mix of bombastic backbeat, an ear for tuned percussion and the ability to play any time signature and style thrown his way. On my interview list from the beginning, John wasn’t an easy man to fi nd. A few Internet searches every so often didn’t turn up much until I happened to stumble across ‘Two Weeks In Pain - Under The Knife’ [http:// www.gorgg.org/UnderKnife1.htm], a twenty-fi ve-episode online diary of John’s experience in the hospital and under the care of the N.H.S.
  • TC 1-19.30 Percussion Techniques

    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 .............................................
  • The Snare Drum

    The Snare Drum

    Simple Tips to Improve Your Contest Concert Percussion Section “It’s the Little Things that Count” Midwest Band Clinic @YAMyAHA w December 19, 2002 presented by Dr. Larry Snider, The University of Akron (based on years of listening to percussion sections at contest) I. When using-more than one snare drummer on a piece: A. Make sure drums are tuned alike. B. Metrics of rolls must be the same. C. Lower all dynamics one volume. II. When using suspended cymbals: A. Always “warm-up” cymbal for exact response. B. Always use marimba or vibe mallets - never use timpani mallets. C. Roll slow for no articulation sound. D. Never use brushes when they are called for - use thick wire for brush sound. E. Use opposite side of cymbal for best control. F. Dampen with body as well as with hands. III. When using crash cymbals: A. Do not overplay - use more angle for increased crash volume. B. For best sound, never use pads. C. Remember: crash cymbals always sound late! Play slightly early. Think of cymbals as a solo instrument - the sound comes late to a conductor so anticipate by performing at the top of the beat. IV. When using a bass drum: A. Tune drum to lowest possible note that does not sound “flappy” or false. B. Tune playing head 1/2 step higher than vibrating head. C. Articulation of commercial stick cannot be heard in a hall or gym. Use muffling cloth on drums for articulation; place 3 to 4 inches from rim. V. When using chimes: A. Always overplay up one volume (f from mf, etc.).
  • PERCUSSION STUDIO HANDBOOK and CURRICULUM Kurt Gartner

    PERCUSSION STUDIO HANDBOOK and CURRICULUM Kurt Gartner

    PERCUSSION STUDIO HA NDBOOK AND CURRICULUM Kurt Gartner Neil Dunn School of Music, Theatre, and Dance 130 McCain Auditorium Kansas State University Manhattan KS 66506 785-532-3808 ksu.edu/music/percussion © 2019 Kurt Gartner All Rights Reserved CONTENTS Acknowledgements ................................................................................................................................................................ 4 Introduction ............................................................................................................................................................................... 4 Overview ..................................................................................................................................................................................... 5 Requirements for entrance into the percussion program ................................................................................. 5 Master’s degree ................................................................................................................................................................... 5 Plan of study ......................................................................................................................................................................... 5 Required Core Method Books ............................................................................................................................................. 6 Drum Set ................................................................................................................................................................................