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Latin Arranging for the Marching Percussion Ensemble

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Latin Arranging for the Marching Percussion Ensemble LALO & Latin Arranging for the JULIE DAVILA WITH THE MTSU DRUMLINE MARCHING CLINIC Marching Percussion THURSDAY 2:00 P.M. Ensemble By Lalo and Julie Davila ith access to many global influences Because MTSU is a typical college in all aspects of percussion, the drumline with limited time to rehearse evolution of “world” percussion and additionally limited time to Wgrooves and writing styles has get on and off the field, we have infiltrated the marching percussion activity to be clever in scoring so and opened up an unending variety of choices that students can perform for the contemporary marching percussion successfully and effectively. ensemble. We plan to discuss and demonstrate, It is a challenge to achieve using the Middle Tennessee State University style and integrity of the Drumline, orchestration and arranging groove without hauling concepts for incorporating world percussion out a large inventory styles and grooves within the marching of equipment and percussion ensemble. without a tremendous The MTSU Band of Blue is known for amount of rehearsal their reputation of being big, loud, and time. During the clinic funky, exploring all styles of funk, Latin and we will discuss how we world influences. In our PASIC 2009 clinic, address those challenges we plan to discuss and demonstrate several utilizing substitutions of different world or Latin styles. The plan is to instruments, the mounting have a traditional salsa band perform each of color instruments, tune in its original form, progressing then implement choices, and how to to the adaptation of the tune (or a portion incorporate syncopation and style of the tune) to the marching percussion exercises into the warm-up process in ensemble, and then conclude with performing order to maximize rehearsal time. Plans are the selection together. The intention of this in the making to include some exciting guest format is to establish the authentic style, artists who will solo with the group for a finale then demonstrate different adaptations selection. Please join us for some cha-cha and Tenors rhythm to traditional marching instruments, and more at PASIC 2009. Snare drum rhythm conclude with incorporating the two together Field cymbal contribution to display how exciting it can be to perform in GUIDELINES FOR THE MARCHING tandem, maintaining style and energy. PERCUSSION ARRANGER Tuning There are many instruments now available Timing of the piece/solos Keep the style of music in mind when when exploring arranging ideas in Latin styles How long do you want the solo to be? tuning the battery percussion and unique ways to utilize traditional marching Give it time to develop instruments while maintaining the integrity Decide which are your strong sections/ Orchestration of the groove. At MTSU, with the vision of players and figure out how they will be Who will play melody and who will play Andy Smith, we have developed an instrument exposed; i.e., groove/solos harmony? called the “Multi Percs”: a percussion rack Decide on form: verse, grooves, chorus, solo Will you use timpani or bass guitar or both? that has a repinique, a set of bongos, a timbale, section, transitions, etc. When will everyone play unison? and the possibility of mounted cowbells and Decide what instruments are more blocks. The Multis are another division of the Style of the music important in the front ensemble when marching section and are treated similarly Is it a mambo, cha cha cha, etc. confronted with limited players to the tenors in drill and placement, but the Which instruments will best represent the color choices and the ability to incorporate style of the music; e.g., pit instruments Proper playing techniques on the Latin authentic voices in conjunction with traditional percussion instruments marching instrumentation is a very exciting Field instruments and their rhythms Timbales adaptation to the MTSU Band of Blue sound. Bass drum rhythm Congas PERCUSSIVE NOTES 60 AUGUST/SEPTEMBER 2009 Bongos Auxiliary instruments PASIC 2009 LAB SESSIONS Implements for each instrument PERCUSSIVE ARTS SOCIETY INTERNATIONAL CONVENTION Color choices and integrity of the style November 11–14, 2009 indiANAPOLIS, IN WWW.PASIC.ORG Balance and blend First introduced at PASIC 2001, “Labs” are designed to be mini hands-on clinic/master class Reference materials sessions. The presenter demonstrates and performs for a portion of the 50 minute session The Salsa Guidebook by Rebecca Mauleon during which, five or six student players take their turn performing and receive a helpful critique. Guide to Afro-Cuban Percussion by Ed Uribe If a student performer is interested in participating, he or she may sign up via e-mail, phone, or Three videos by Bobby Sanabria by fax before October 20, 2009. Each person may sign up for more than one lab, but ultimately Afro-Cuban Drumming by Glen Caruba acceptance will be based on a first come-first served basis. For more information, contact Puente in Percussion CD Percussive Arts Society, E-mail: [email protected]; Tel: 317-974-4488; Fax: 317-974-4499. Lalo Davila is Director of Percussion Studies CYMBALS—MARC DAMOULAKIS ACCESSORIES—CHRISTOPHER MCLAURIN at Middle Tennessee State University. He 1. Rachmaninoff—2nd piano concerto TAMBOURINE received his Bachelor of Music degree from 2. Tchaikovsky 4 and Romeo & Juliet 1. Britten—Four Sea Interludes from Peter Grimes, Corpus Christi State University and a Master 3. Mousorgsky—Night on Bald Mountain IV. 8 Before 10 to 11 (both Tambourine and of Music degree from the University of North 4. Rimsky-Korsakov—Sheherezade Snare Drum Parts) Texas. Lalo has performed with the Corpus 2. Dvorak—Carnival Overture, Opening to C, T to Christi Symphony Orchestra, the Nashville TIMPANI—GEORGE BROWN the End Symphony, Six Pence None the Richer, 1. Mozart—Overture to The Magic Flute 3. Stravinsky—Petrushka (1947), 201–207 Clay Walker, Vickie Carr, Sherry Lewis, the (Mm 186–end) TRIANGLE Panhandlers Steel Band, and Max Carl and 2. Beethoven—Symphony #9, 1st mvt. coda 1. Brahms—Symphony No. 4 the Big Dance. Currently, Lalo performs (18 before S–end) BASS DRUM with several Latin groups including Orkesta 3. Brahms: Symphony #1, 1st mvt. 1. Stravinsky—The Rite of Spring (Dance de la Eme Pe. Known as an outstanding clinician (2 before B–5 before C) Terre) and adjudicator, Lalo has conducted clinics 4. R. Strauss—Death & Transfiguration throughout the United States, Mexico, Cuba (Mm 6–9, and: 3 before H–downbeat of H) KEYBOARD—GLENN PAULSON and Japan. Lalo is the author of Contemporary 5. Elgar—Enigma Variations, “Troyte” XYLOPHONE Rudimental Studies and Solos (Row-Loff ) and (4 before #27–end) 1. Gershwin—Pogy and Bess ( Introduction) Play at First Sight (Alfred). 6. William Schuman—New England Triptych, 2. Kabalevsky—Colas Bruegnon (Overture) mvt.1 (Mm 122–152) VIBES Julie Davila is a member of the chamber 1. Bernstein—West Side Story m. 582–607 percussion ensemble the Caixa Trio. She serves SNARE DRUM—NICHOLAS ORMROD (m.701–705 are an added part to the Marine on the PAS Board of Directors and was chair 1. Gioacchino Rossini, The Thieving Magpie, Band version) of the PAS Marching Percussion Committee Overture 2. John Williams—Escapades Movment 1 from 1998–2007. She is the arranger and 2. Alexander Glazunov, The Seasons, Winter, m. 49–m.65 Movment III m.126–176 instructor for the Middle Tennessee State Variation III (Hail) GLOCK University Band of Blue Drumline and an 3. Alban Berg, Wozzeck, Act 2 fig 640–675 1. Respighi—Pines of Rome (mov. 1) adjunct professor of percussion at MTSU. 4. Sergei Prokofiev, Romeo and Juliet, No 12 2. Sousa—Stars and Stripes (oboe part in the trio) Julie received her degree from the University ‘Masks’ of North Texas. She is the author of the 5. Dimitri Shostakovitch—Lady Macbeth of Modern Multi-Tenor Techniques and Solos and Mtsensk–Act 3 interlude between scene 6 and 7 Impressions on Wood published by Row-Loff, (fig 383–392) and is a co-author of Aptitude, an innovative solo snare book published by Drop 6 Media. PN Notate which lab(s) in which you would like to participate. If multiple labs are selected, number in order of preference. MARCHING p CYMBALS p TIMPANI p SNARE DRUM p ACCESSORIES p KEYBOARD DAVID LINDBERG NAME ____________________________________________________________________ MARCHING CLINIC/PERFORMANCE SATURDAY @ 9:00 A.M. ADDRESS ________________________________________________________________ SANDI RENNICK AND THE CITY/STATE/ZIP __________________________________________________________ PHANTOM REGIMENT TEL ________________________________E-MAIL _______________________________ FRONT ENSEMBLE MARCHING CLINIC SEND TO: PERCUSSIVE ARTS SOCIETY SATURDAY @ 1:00 P.M. 110 W. WASHINGTON STREET, SUITE A, INDIANAPOLIS, IN 46204 PERCUSSIVE NOTES 61 AUGUST/SEPTEMBER 2009.
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