2019 Jayhawk Drumline Academy HB
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The Percussion Family 1 Table of Contents
THE CLEVELAND ORCHESTRA WHAT IS AN ORCHESTRA? Student Learning Lab for The Percussion Family 1 Table of Contents PART 1: Let’s Meet the Percussion Family ...................... 3 PART 2: Let’s Listen to Nagoya Marimbas ...................... 6 PART 3: Music Learning Lab ................................................ 8 2 PART 1: Let’s Meet the Percussion Family An orchestra consists of musicians organized by instrument “family” groups. The four instrument families are: strings, woodwinds, brass and percussion. Today we are going to explore the percussion family. Get your tapping fingers and toes ready! The percussion family includes all of the instruments that are “struck” in some way. We have no official records of when humans first used percussion instruments, but from ancient times, drums have been used for tribal dances and for communications of all kinds. Today, there are more instruments in the percussion family than in any other. They can be grouped into two types: 1. Percussion instruments that make just one pitch. These include: Snare drum, bass drum, cymbals, tambourine, triangle, wood block, gong, maracas and castanets Triangle Castanets Tambourine Snare Drum Wood Block Gong Maracas Bass Drum Cymbals 3 2. Percussion instruments that play different pitches, even a melody. These include: Kettle drums (also called timpani), the xylophone (and marimba), orchestra bells, the celesta and the piano Piano Celesta Orchestra Bells Xylophone Kettle Drum How percussion instruments work There are several ways to get a percussion instrument to make a sound. You can strike some percussion instruments with a stick or mallet (snare drum, bass drum, kettle drum, triangle, xylophone); or with your hand (tambourine). -
Bringing the Spirit
Linfield Magazine Volume 16 Number 1 Fall 2019 Article 15 Fall 2019 Bringing the Spirit Travis McGuire Linfield College Follow this and additional works at: https://digitalcommons.linfield.edu/linfield_magazine Recommended Citation McGuire, Travis (2019) "Bringing the Spirit," Linfield Magazine: Vol. 16 : No. 1 , Article 15. Available at: https://digitalcommons.linfield.edu/linfield_magazine/vol16/iss1/15 This article is brought to you for free via open access, courtesy of DigitalCommons@Linfield. orF more information, please contact [email protected]. Bringing the spirit From the trill of a piccolo to the ate director of bands at the University would pay for itself relatively quickly. He chose popular songs that students booming bass drum, marching bands of Kansas, who has led the Marching “To do this right, we needed a plan, and crowds recognized, such as Bruno Mars’ are galvanizing communities and rekin- Jayhawks since 2011. He acknowledges and we had to hire someone who knew Uptown Funk, and incorporated movements dling pride among students and alumni. that when the band plays the fight song, what they’re doing,” recalls Hopp. into their routines based on the choreography On an overcast fall Friday night, 26 it rekindles a sense of pride and belong- Enter Wollam, who became Linfield’s from the music video. students gather on the Maxwell Field ing for alumni. But, Smith concedes, first marching band director since Clifford Now in year two, word is spreading about sideline. They begin their three-hour marching bands tend to be associated Elliott led the band beginning in 1933. the Linfield program. In October, Linfield rehearsal with a light jog followed by with large universities and massive Wollam hit the ground running in the hosted the Sherwood Show, a marching band stretching. -
Drum Major Audition Information 15
2015-2016 Drum Major Audition Information *Auditions held after school the week of April 27-May 1, 2015* Role and Responsibilities of a Drum Major The drum major is the leader of the marching band during rehearsals and in performance. His/her job is to carry- out the instructions of the band director and other instructional staff regarding what needs to be done with the band. Some examples of what the drum major does include: • Getting the band out to the rehearsal area, into the proper formation and ready to begin rehearsal. • Taking the band through warm-up exercises • Leading the band through practice runs • Helping rehearsals run smoothly and productively • Leading the band in performance • Adding to the overall showmanship of the band during performance with their own performance as the drum major • Setting the standard for discipline, bearing, and conduct for the members of the band to follow • Assisting in teaching marching to other members of the band • Conducting Pep tunes at the behest of the band director at football games • Leading the band in parade formation by marching in front of the first rank of instrumentalists. • Signaling percussion section to roll-off to play during a parade • Acting as the band’s representative at award ceremonies and special functions Characteristics of a Successful Drum Major Effective drum majors have a number of things in common: • They have a good understanding of music • They are skilled as a field conductor • They have developed a high level of skill with a drum major baton or mace • They have exceptional marching technique • Their vocal commands are loud and easily understood • They are highly responsible and reliable • They are dedicated to having the band succeed • They work well with both the band director and the membership of the band • They know how to teach and assist other members of the band • They have the ability to inspire the band in performance Term of Service Drum Majors are selected for one school year. -
African Drumming in Drum Circles by Robert J
African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle. -
Basic Snare Drum Tuning
Basic Snare Drum Tuning by Tom Freer Please follow these simple and basic instructions for tuning and adjusting your Pearl snare drum. In order for you to get and maintain the best possible sound out of your instrument, it will be important to save this sheet so that you can "tune up" the drum as the heads become broken in, and replace heads when necessary. YOU WILL NEED THE FOLLOWING TOOLS TO PROCEED: 1. DRUM KEY 2. RULER STEP ONE: Loosen the top head completely. Place the drum on a flat surface and unscrew all the tension rods so that there is no tension on the top head. You don't need to take them out, just loosen them all the way. Next, begin to tighten down each rod just until they touch the counter hoop (or rim) WITHOUT PULLING IT DOWN. Just screw the tension rod down until it just touches. Go across the drum and do the same to the opposite tension rod and repeat, always working across the drum head in opposites, this keeps the head very even. When all the tension rods are seated and just touching the counter hoop, take your ruler and beginning with the tension rod directly beside the strainer, measure the distance from underneath the counter hoop to the top of the lug. Repeat this process with the lug directly across the drum and repeat until all measurements are the same. Remember we are not concerned with how tight the head is right now, just how even the tension is. Now that the head is evenly tensioned, bring the top head up to pitch. -
CBA Drum Tuning
Hello band directors! I know you’re in the throw of marching band season and I wanted to help you with an easy task to improve the overall sound of your ENTIRE ENSEMBLE! I’ve seen a few groups this year and wanted to share some information about tuning the marching percussion section. First: consider the size of your ensemble. If your group is smaller, choose smaller bass drum sizes. The bigger drums will drown our your wind section and affect the balance of your group. Second: Tune the drums on a regular basis! I know you tune your wind section every day. Same should go for the percussion section. Third: Tips and tricks -I’ve included a link to the Evans Drumheads tuning guide which has great information! http://www.evansdrumheads.com/upload/ EVBR_MPSG07_Marching_Percussion_Survival_Guide_12562.pdf -A few things to add to the link -I tune bass drums to a major triad ex. 28” C, 24” G, 22” C, 20” E and 18” G -This might differ slightly depending on your drum sizes, head combination etc. -Tuning a major triad makes split playing more melodic and unison stronger -Most groups I’ve seen this year had bass drums with TOO LOW of a tuning scheme. This creates a low rumble which lacks clarity and over balances the wind section. -Also make sure your bass drums have proper dampening. Too much “boom” will again over balance the winds and create a lack of clarity. The Evans MX series heads are a great start! Fourth: Front Ensemble -Tune for articulation, balance and sound quality -I tune concert bass drums to the same root pitch as the triad in the marching basses -Keep timpani in tune DAILY! Weather changes will affect the tuning drastically -give your student/staff time in the lot on show days to “clear” timpani heads Happy tuning and good luck with your season! Shilo Stroman www.shilostroman.com www.percussionloft.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. -
Thesis- Pedagogical Concepts for Marching Percussion
PEDAGOGICAL CONCEPTS 1 Running head: PEDAGOGICAL CONCEPTS PEDAGOGICAL CONCEPTS FOR MARCHING PERCUSSION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC EDUCATION: STUDIO PEDAGOGY EMPHASIS THOMAS JOHN FORD UNIVERSITY OF WISCONSIN-STEVENS POINT MAY, 2019 PEDAGOGICAL CONCEPTS 2 Abstract This document serves as a guide for recent music education graduates who are put in the position of having to teach marching percussion to students who have joined the marching band, specifically in the drumline. To have a well-rounded understanding of the drumline, teachers will need to know the instruments of the drumline, and the associated sticks and mallets. This document also discusses pedagogical concepts for all of the instruments, including playing techniques required to achieve a balanced sound throughout the ensemble, and how to properly care for marching percussion equipment. Keywords: marching percussion, drumline, battery, snare drums, tenor drums, bass drums, crash cymbals PEDAGOGICAL CONCEPTS 3 Table of Contents Abstract 2 Acknowledgements 5 List of Figures 8 Introduction 9 Chapter I: Marching Percussion Equipment 12 Snare Drums 12 Tenor Drums 14 Bass Drums 16 Crash Cymbals 17 Other Equipment 18 Chapter II: Pedagogical Concepts for Marching Percussion 21 Posture 21 Playing Positions 21 Grips and General Playing Techniques 25 Stroke Types and Dynamics 31 The Exercise and Technical Development Program 32 Timing Strategies 37 Chapter III: Marching Percussion Care and Maintenance 39 Changing and Replacing Heads 39 Repairing Broken and Loose Drum Equipment 40 Cymbal Straps 42 Cleaning and Storing Equipment 43 PEDAGOGICAL CONCEPTS 4 Conclusion 45 References 46 Appendix A 49 PEDAGOGICAL CONCEPTS 5 ACKNOWLEDGEMENTS There are so many people who I want and am obligated to thank for helping me in this whole process of graduate school and writing my thesis. -
Marching Band Handbook ______Foreword
“All-American” MARCHING BAND HANDBOOK PURDUE “ALL-AMERICAN” MARCHING BAND HANDBOOK _____________________________________________________________________________________________ FOREWORD This booklet is an addendum to the “All-American” Bands and Orchestras General Information Handbook. It is not intended as a replacement for that handbook, but as an additional resource for members of the “All-American” Marching Band containing information of a nature that is applicable specifically to the marching band. It is assumed that all marching band members will have read the General Information Handbook, as it contains important information on matters such as membership and enrollment, rehearsal and performance procedures, equipment, attendance and grading, administrative organization, and awards. Specific policy matters that directly affect the membership of the marching band are discussed in the General Information Handbook, and all members will be expected to be familiar with such information. The “All-American” Marching Band Handbook includes a list of marching band fundamentals, information on reading charts, and specific discussions of special policy matters that affect only the marching band. A thorough understanding of this information along with the general information provided in the regular handbook will enable you to function as a knowledgeable, contributing member of the “All-American” Marching Band. Membership in the “All-American” Marching Band is an honor and a privilege, and makes you a member of a unique musical organization with over 130 years of service to Purdue University. Your commitment and dedication to the traditions and service of the marching band will insure the continuing role of this organization as the major force in building and maintaining a love and spirit “for the honor of old Purdue”! 1 PURDUE “ALL-AMERICAN” MARCHING BAND HANDBOOK _____________________________________________________________________________________________ TABLE OF CONTENTS SECTION TOPIC PAGE I. -
Marching Band Faqs (For Website)
BU MARCHING BAND FREQUENTLY ASKED QUESTIONS Will I have time for Marching Band in my academic schedule? Yes. The Marching Band schedule is designed to be achievable for BU students. We know your studies come first. The schedule is lighter than most U.S. high school marching band schedules for this purpose. The season ends on the first weekend of November, five to six weeks before final exams begin, so you’ll have plenty of time to study. What are the top reasons I should join Marching Band? Start college with a huge group of friends! Move into your dorm early. Learn the campus before classes begin. Have a weekly musical outlet that is designed to fit into your academic schedule. Blow-off steam after a day of class, lab and study. Perform exciting shows for appreciative band crowds. Belong to a community at BU. When does Marching Band rehearse? Tuesdays & Thursdays from 6:30-9:00 PM, and one event per weekend (either a performance or rehearsal). The season is only eight weeks long and ends on the first weekend of November, five to six weeks before final exams begin, so you’ll have plenty of time to study. Where / when / what do we perform? The BU Marching Band performs as a featured collegiate exhibition group at regional high school band competitions, on campus, in our community, and at the Collegiate Marching Band Festival in Allentown, PA…..a fun trip. There is typically only one Marching Band performance per weekend, leaving you time to study, work, or sleep. The field show differs each year, and is designed to be entertaining for both the performers as well as the audience. -
Faculty Biographies Division Coordinators and Educational Consultants
2012 Summer Symposium, presented by Faculty Biographies Division Coordinators and Educational Consultants Mark Buselli Jazz Band Division Coordinator Mark Buselli is Director of Jazz Studies at Ball State University. Awards include a 2010-2011 BSU College of Fine Arts Dean’s Creative Arts Award, a Creative Renewal grant from the Indianapolis Arts Council in 2005, a teacher of the year award in 2004 at Butler University, a Creative Vision award from NUVO in May of 2007, a top 10 CD release of 2009 (December 2009) in JAZZIZ magazine for “An Old Soul,” and a top 100 CD of the decade (January 2010) in DownBeat magazine for the Buselli/Wallarab release of “Basically Baker.” Mr. Buselli has over 40 arrangements published for big bands, brass ensemble and piano/trumpet. He has nine recordings out as a leader on the Owlstudios and OA2 record labels. He has written/arranged/performed for numerous artists.Mr. Buselli currently serves as Education Director of the Buselli Wallarab Jazz Orchestra/Midcoast Swing Orchestra in Indianapolis, where he has created numerous educational opportunities for over 10,000 students. Mr. Buselli graduated from the Berklee School of Music in Boston and received his Master of Music degree in Jazz Studies from Indiana University. Thomas Caneva Concert Band Division Coordinator Dr. Thomas Caneva is Director of Bands, Professor of Music and Coordinator of Ensembles and Conducting at Ball State University. At Ball State, Dr. Caneva’s responsibilities include conducting the Wind Ensemble, coordinating the graduate wind conducting program, teaching undergraduate conducting and administering the entire band program. Under his direction, the Ball State University Wind Ensemble has performed at CBDNA Regional and National Conferences, the American Bandmasters Association Convention, and state and regional MENC conventions. -
2006 Adams Timpani and Mallet Catalog
Adams Soft Cases & Accessories Trust the safety of your prized instruments to the feature 8 soft bags sets, the 4.3 octave marimbas bags feature company that knows them best, Adams. Each cover 6 soft bag sets, and the 4.0 or 3.5 octave xylophone bags and bag is designed to fit perfectly and securely to feature 3 soft bags sets. These bags are the perfect ensure years of service. Our Marimba soft bags instrument compliment and enable the performer to protect compliment the unique breakdown design of all Adams their instrument during transport. Voyager Frames. The 5.0 and 4.6 octave marimba bags Timpani and Mallet Instruments Long Timpani Cover Short Timpani Cover PM-100 Timpani Key MLBK Chime Mallet Universal Timpani Soft Bag Marimba Soft Bags Product and specifications are subject to change without notice. ©Copyright 2006. Printed in the U.S. Adams Percussion Instruments are proudly distributed in the U.S. by Pearl Corporation. For more information contact any Pearl Educational Percussion Dealer, or write to Pearl Corporation, 549 Metroplex Drive, Nashville, TN 37211. Adams Percussion Instruments can also be found on the web at www.pearldrum.com ITEM # ADM106 THE SOUND OF QUALITY Philharmonic Light Timpani Cloyd Duff Model Dresden Style Original Berlin Style Philharmonic Light Timpani Philharmonic Light Timpani dams Philharmonic Light Timpani represent the ultimate expression of quality in timpani sound and design. Two he classic European style of the Adams Frame, in combination with the latest computer aided machine technology, distinct models are available, distinguished by a choice between our original Berlin style pedal, or our Cloyd results in timpani frame construction that is unmatched in precision, quality and attention to detail.