The Elementary All Percussion Band

The Elementary Percussion Marching Band

by Rhexenor V. Arboleda

Submitted to:

Advisers: Dr. Patricia Holland Dr. Judy Bond Prof. Robert Rosen

Department of Music University of Wisconsin – Stevens Point

Table of Contents

I. Introduction: The Why’s of Percussion Band in Teaching Music …………p. 4

II. Goals and Objectives in Organizing a Percussion Band …………………...p. 8

III. How to Organize a Percussion Band /General Music Curriculum…..……...p. 9

IV. Check List of Percussion Instruments ……………………………………...p.12

V. Getting Started on Proper Stick Selection/Grip ……………………………p.14

VI. Hand Exercises and Basic Rudiments….…..………………………………p.16

VII. Note Reading and Rhythmic Pattern Exercise ……………………………p.19

VIII. Learning Basic Patterns …………………………………………………...p.24

IX. Relevance with Other Music Philosophy …………………………………p.32

X. Assessment for the Percussion Band ………………………………………p.35

XI. TCCES Elementary All Percussion Band …………………………………p.37

XII. The Benefits in Relation to Physical Fitness ………………………………p.40

I. Introduction: The Why’s of a Percussion Band in the Teaching of Music

An elementary percussion band is an extra curricular group that may be organized as part of any music curriculum. It can be designed as a program to provide students opportunities to explore the different kinds of percussion instruments, the proper use and the different ways to produce a sound from each instrument.

There are several reasons why elementary schools might want to add a percussion band to their general music program.

The first reason is that a percussion band provides students with additional opportunities and enables students to apply musical concepts and skills. It will provide Music teachers with activities that will reinforce practical use of the music concepts they teach. For example, rhythmic concepts such as note values and rests, time signature, and tempo markings are best understood in a performance setting.

According to Toni Steinitz, music, time, space and energy are closely linked together. This concept plays a vital role in all musical activities such as playing an instrument. She also discusses the connection of timing and physical spacing. Physical spacing helps visually demonstrate the abstract conception of time; equal spacing of the height of the stick from the drums may help good timing

(Steinitz, 1988 p.93). A percussion band exposes the students to these concepts in practical ways.

Second, teaching music in the context of a percussion band helps children to develop their kinetic skills. Playing percussion instruments involves a great deal of movement and physical activity.

The authors of the book Music in Childhood, Patricia Campbell and Carol Kassner, pointed out that children between 10 to 12 years of age (i.e. Grades 4-6) develop small muscle coordination that is

necessary for performing wind and brass instruments. They enjoy physical activity and may prefer sports rather than dance to satisfy their need for activity. They can perform rhythmic “canons” by moving to music that is previously sounded while listening to other music. They can also respond to two distinctive features of music through simultaneous movement. They can step in rhythm while conducting the pulse (Campbell & Kassner, 1995 p. 189). These facts suggest that 4th and 5th grade students possess the necessary motor coordination needed for a percussion band while marching, and they are most likely to enjoy it because they are in that stage when they are very kinesthetic.

Music teachers are commonly asked by their students this question: “Can we have music class outside?” Why not? Teachers can use their instruction methods outside on a beautiful day, just as teachers of science, geography and physical education do. This has the added benefit of moving the sounds of the band outside, causing less disturbances to other classes.

Another reason to adopt a percussion band is to optimize use of school resources such as percussion instruments that are already available in most schools. Every elementary school’s general music program has percussion instruments in their classrooms. The general music teacher may be amazed to discover how many instruments have been accumulated and are just stored unused. There may even be more than enough instruments for the entire class to use.

The percussion band provides teachers with opportunities to reinforce students’ understanding of cultures from around the world while the students learn details about the music of that culture.

Interestingly, many of the musical instruments from other countries and cultures are percussion instruments. Students will learn a great deal, and probably experience considerable enjoyment, as they

explore music of the Indonesian gamelan, the bamboo Angklung, or drumming of Native Americans or

Africans.

Music education and specifically the percussion band can have benefits even beyond the development of music appreciation and skills for students. Based on this author’s experience of teaching music to elementary students of the Twin City Catholic Education System (TCCES), it has also served as a tool in addressing health issues. Considerable attention has been given to the increasing prevalence of obesity in American society, including young children. According to one population-based study (Mokdad et al.,1999), the prevalence of obesity increased from 12% to 18.9% from 1991 to1998.

Another study (Trojano & Flegal, 1998) using a different set of national data indicated that obesity increased from 14.5% to 22.5% over the past two decades. Although obesity is caused by many factors, there is some evidence that physical inactivity plays a more pivotal role in the overall process (Welk,

2000).

In the summer of 2003, the Twin City Catholic Education System (TCCES) sent selected teachers and food service staff to attend the Education for Healthy Kids (EHK) Conference that was organized by the Appleton School District. It was a three-day conference that focused on what schools needed to do to help fight obesity. Each school team submitted a project proposal for a wellness program for their students. If approved, the project would receive funding from the government toward implementation. The TCCES submitted a successful proposal. It included, as one of the components of the wellness program, the use of music by organizing a regularized physical activity among students, through enjoyable exercises, accompanied by the rhythmic music of a percussion band that was organized for the purpose.

Another source of funding for the percussion band program (instruments) came from donations and fund raising events from each of the three TCCES grade school campus. The program’s innovation and effectiveness was recognized among Catholic schools nationwide.

This author, who was part of the wellness program committee, and who specifically advocated and included the music element in the program, was recognized by the Wisconsin State as one of the top

100 educators of the State in 2005. This paper includes a chapter that tells the story behind the success of the TCCES Elementary Percussion Band as a tool in responding to a health problem.

Lastly, passion for music is best communicated by teachers to their students by demonstrating their love for it as they teach their favorite songs or play their favorite instruments. One of the ultimate goals of teaching music is to influence children even at a very young age to develop the appreciation, love and passion for music itself. Music teachers will always have the desire to inspire their students to participate in some kind of music experience that will become part of their best memories of their total development as human beings. One way of doing this is to have the students learn to play in a percussion band.

This paper provides its readers, particularly music educators in the elementary schools, with practical information and hopefully motivation to organize their own percussion band and make it part of their music curriculum and use it as a learning tool and method. To guide teachers and give ideas in lesson planning, teaching and organizing a percussion band, chapters have also been allotted to goals and objectives, procedures or steps to follow in organizing a percussion ensemble, some background

information on percussion instruments and some basic lessons to cover. The TCCES experience was also shared as a case study of how a percussion band can serve and benefit a school beyond music relevance and appreciation.

II. Goals and Objectives in Organizing a Percussion Band

The goals and objectives in organizing a percussion band are as follows:

1. To learn and apply rhythmic concepts and skills by using percussion instruments;

2. To help students develop hand coordination and learn to play basic rudiments;

3. To learn basic rhythmic patterns such as March, Cha-cha, Rock, and different

styles that are easy to play;

4. To introduce students to different percussion ensembles that exist in the United States and in

other parts of the world as part of music appreciation;

5. To encourage students through group activities, to compose or write their own rhythmic pattern;

6. To develop self-discipline among the students;

7. To encourage cooperation and teamwork among student participants;

8. To mobilize the students for community service such as participating in parades outside the

school and other community events;

9. To develop leadership skills and exercise organizational ability among students within a small

group setting; and

10. To promote health and wellness among students, e.g. marching in a parade while carrying an

instrument as a physical fitness activity.

III. How to Organize a Percussion Band Within A General Music Curriculum

The following are the steps in organizing a percussion band in a school setting:

1. Seek the approval of the School Administrator, Principal, or the District Superintendent. Submit

a letter that would serve as a program proposal. The proposal must include the goals and

objectives, proposed schedule, instruments needed, estimated budget and potential sources of

funds.

2. Once the proposal is approved, inform the parents. Send out a letter that explains not only the

program but the benefits of the program to convince parents that their children should be

involved. Communicate to the parents that it is an extra curricular activity.

3. Assemble the instruments needed for the band that may already be available in the school. If

additional instruments are needed, explore steps to acquire these instruments. For example, talk

to the president or the officers of your parent-teacher organization (PTO). Ask their help on

investing for percussion instruments.

Each school year, fundraising events can be organized to help raise money to purchase

additional instruments. Although it may be quite slow to do so, attempt to acquire even just one

or two percussion instruments each year. The instruments on your inventory list will increase

each school year.

Be sure to have a list of all the percussion instruments and equipment (e.g. sticks, mallets,

drum slings/harness, etc.) that are available at the beginning and at the end of each school year.

4. Design a music curriculum that meets the standards of music education. Implement the

curriculum/design.

Dr. Debra G. Hedden in her article “General Music Curriculum Framework Document”

explains how to facilitate curriculum development that ultimately focuses on philosophy, goals,

objectives, lessons, activities and assessment measures. She states that the curriculum design is

based on the premise that general music is comprised of the elements of melody, harmony,

rhythm, and form to which all other musical elements are related (Hedden, 2008 p.2). According

to Dr. Heddon general music learning should include singing, moving, listening, performing,

composing, improvising and reading/writing (literacy) music in each music class. Her guidelines

for the general music curriculum include active learning; she also states that a meaningful

experience in music is required in order for life-long skills to accrue. The percussion band can

provide activities that will engage the students to acquire skills and competencies. The article

suggests that active learning is typically much more effective, efficient, and long-lasting because

the senses are in essence, “bombarded” (Hedden, 2008 p. 4).

According to Dr. Hedden, students learn concepts if they experience them in several

“threaded” ways, e.g. via performing, composing, improvising and listening. The percussion

band provides a performance venue or lab for reinforcing these concepts.

5. Have the percussion band practice marching out in the field or within the playground area during

the fall or spring. During winter the band may practice in the gym or in a multi-purpose hall.

6. Design an evaluation system to monitor students’ progress. Evaluation should include individual

ability and ensemble skills. It should also measure the concepts and skills that were taught,

reflecting the variety of learning the students have accomplished visually, aurally, physically and

cognitively (Hedden, 2008 p. 5). For example assessment on 16th note concept:

 Visually- The student’s visual skill can be assessed by having them play or clap 16th note

patterns on flash cards, clapping or using a percussion instrument.

 Aurally- Students’ aural skills can be measured though error detection, where the teacher

performs a rhythm, and the student selects the correct notation from several choices.

 Physically- Teachers can evaluate students’ physical skills by checking for correct

posture, grip, ability to play the pattern on a percussion band instrument.

7. All parent-volunteers should be registered at the school office and should be approved by the

school administrator. Parents may need to submit background information or go through

background check. This is an important protocol to follow in order to ensure the safety of the

students.

8. Contact parade organizers to inform them about the existence of a percussion band in your

school. This will help the school to be included as contact and participant for future events /

parades.

IV. Check List of Percussion Instruments

Many instruments may used in a percussion band. The basic instruments usually include:

1. The Bass Drum is probably the most expensive instrument because of its size. Consider getting

the smallest size available so that a 4th or 5th grade student can carry it. The following bass drum

sizes are ideal for grade school students: 14x14, 16 x14, 18 x14, or a 20 x14 (in diameter x depth

in inches).

2. The Snare Drum can be heavy for grade school students, so weight must be considered in its

selection. Standard sizes are 14” in diameter but they can have a depth of 5 or 5 ½ inches.

3. The Concert Toms or Tom Toms come in a variety of sizes with diameters of 6, 8, 10, 12, 13,

14, 16, and 18 inches. The drums have two heads.

4. The Timpani Drums for Kids are similar to the regular concert Timpani because they are both

single head and tunable drums. Both drums can be tuned without using a drum key because of

the wing nut on top of each rod that are attached to the rims. The Timpani for Kids are smaller

in size and the shape of the shells are similar to a concert tom. To use the Kids Timpani for

marching, just detach the three legs and use a drum sling.

5. The Timbale can also be a good addition for the percussion band. The timbale head diameters

range from 13” to 15”. Even though timbale drums come in sets of two, they can be detached so

that each drum can be played by a different student.

There is a wide variety of hand drums specially made for kids that can be used both in the classroom

and for marching purposes.

6. The Congas also have a variety of drum head sizes. The depth of the drum is around 30 inches, a

barrel-shaped body. However, kid’s size Congas are only 10 to 11 inches in depth and come with

a strap for easy playing.

7. The Bongos head sizes range in diameter from about 7” for the smaller drum and 9” for the large

one. The two drums are given male and female connotations - the high bongo is called macho

(male) and the low drum is called a hembra (female) (Beck, 2007 p. 252).

Traditionally, they are played in a sitting position, with the drums placed between the legs. In a

marching band, a student may carry the bongo with one hand and playing it with the other.

There are many other hand drums that can be included in this group, such as:

8. The Tubano;

9. The Djembe; and

10. The Doumbek.

These hand drums can be purchased from your local music stores or ordered from

on- line music stores.

Some music stores have kids’ Floor Toms that come in colorful designs. There are also other big size drums that are called Kid’s Gathering Drums. However, in order to use the Gathering Drum in the marching band, it is necessary to construct a wooden box with wheels to carry the instrument.

The box is pulled with a rope by another student in the marching band.

Most schools would have a pair of marching cymbals. The ideal cymbal size is 13” or 14” in

diameter. There are different types of cymbals. They are classified as follows: Splash, Crash, Ride, and

Chinese Cymbals. The marching band will need a pair of crash cymbals.

Additional percussion can be used, in order to accommodate the number of students in the class.

The following additional percussion instruments may be included: Cowbell, Agogo bell, Tambourine,

Maracas, Wood Block and Vibra Slap.

V. Getting Started on the Proper Stick Grip

Different types of grips. There are two main types of grips for drum sticks: the traditional grip and the

matched grip. Matched grip simply means that you hold the sticks exactly the same on both hands.

While for traditional grip the left and right hand holds the stick in a different way. Both are very useful

and each has its own advantages. But for an elementary student, the matched grip seems to give a

natural sense of how to hold the drumstick. With the matched grip, a student may stand or sit as they

practice with a drum pad or drums. However, because the goal is to have the students march with their

instruments, it is advisable to require them to use a standing position for practice. For both sitting and

standing position, the posture of the body and position of arms above the waist must be the same. The

position of the elbows and shoulders must be relaxed (Buggert, 1960 p.4). For additional reference

check out the book “Teaching Percussion” by Gary Cook.

Some important factors in selecting the drum sticks. In selecting drum sticks, there are four very important features that must be taken into consideration. These are as follows: (1) the drum stick size;

(2) the weight; (3) the levelness; and (4) balance (Rich & Adler, 1942 p. 4).

The size of the stick is judged by the size of the student’s hand. It is important that the size is just right for the student’s hand to grip the stick. The weight of the sticks is determined by placing a stick in each hand and turning the wrist from side to side, several times. The student has to be comfortable with the weight of the sticks. It is necessary that the sticks weigh exactly the same.

The levelness is tested by rolling each stick on the store counter or table. If the sticks do not roll evenly, or have a tendency to wobble, the student needs to select a different pair.

The balance should be the distance of about two thirds from the acorn (tip) of the stick. Holding the stick at the balance point with the thumb and first finger, try some sample strokes to check how much bounce the stick does on a pad or a drum. It is true that stick selection is a personal preference, but the four features are still very important factors to consider.

Holding the drum sticks. Begin by having the student grasp the stick with the right thumb and first finger, about two-thirds of the distance from the acorn (tip) of the stick at the center of balance. If the stick bounces freely when struck on a pad or drum, it is being held at the center of balance. (Rich &

Adler,1942 p.5). One can also find the center of balance by holding the stick with one hand and

dribbling it with the other hand like a basketball.

After identifying the center of balance you may use a permanent marker to mark a line on the

stick. This will help the student remember where to place their fulcrum. The other three fingers (middle,

ring and pinky finger) act in an auxiliary way to control the various movements of the sticks. Remind

the students to use a wrist motion with the palm of the hand facing downward. Because they are using a

matched grip, the same steps apply to the left hand. It is important to reinforce having the hands relaxed.

Begin by holding the sticks pointing upward, where the hands are raised slightly higher than the elbows.

The wrists are not bent; the arms from the elbow to the hands are straight. The elbows are close to the

body, while the hands and forearms are away from the body.

When a student plays a down stroke, observe if the stick performs a rebound. Holding the stick

too tightly or to loosely will affect the rebound of the stick. Stick control will be evident in the rebound

of the stick off the head. According to Buddy Rich, “The hand, wrist and arm movement is not for

striking the drumsticks through the head of the drums, but off the head, using more of a “rebound”

(Rich, 1942 p. 6).

VI. Some Basic Hand Exercises and Rudiments to be Taught

The following are some basic hand exercises and rudiments used to teach students to play

percussion instruments. Hand exercises are important to help students learn coordination skills in

playing the drums. The book Stick Control for the Snare Drummer by George Lawrence Stone

contains many highly recommended exercises, especially those from the first few pages of the book.

The three basic problems that the teacher needs to address are:

1. The quality and quantity of the equipments available;

2. The correct position and grip for the sticks; and

3. Teaching the students the correct basic rudiments for drumming (Buggert,

1960 p. 4)

Students must learn the parts of the drumsticks and the proper grip before beginning to practice hand exercises because it helps them understand how to properly hold the drum stick and learning the proper grip will help the students apply the correct way of executing strokes and rebounds. These will also prevent any bad habits that could cause wrist injury.

Hand exercises can be used to introduce the drum rudiments needed by the members of the percussion band. The exercise is based on a two-measure pattern in common time while playing eighth notes.

R = the right hand

L = the left hand.

Exercise 1: Begins with straight eighth-notes in one hand and leads into a set of four, by combining the right hand with the left hand. The exercise ends with an alternating right and left hand sticking pattern. The exercise begins to introduce a rudiment skill known as the Single Stroke Roll.

R R R R / R R R R

L L L L / L L L L

R R R R / L L L L

R L R L / R L R L

Exercise # 2: Can help to introduce and develop the skills to play a Double Stroke Roll.

R R L L / R R L L

L L R R / L L R R

R R L L / L L R R

L L R R / R R L L

Exercise # 3: Is used to work on hand coordination for execution of triplets. The exercise is based on an 8th note triplet pattern. This is a rudiment known as a Triple Stroke.

The > marking means to accent the first stroke.

> > R R R / L L L > > R L L / R L L > > R R L / R R L > > R L R / L R L

Exercise # 4: The last example, Exercise 4, is a combination of single and double strokes in order to introduce a Rudiment called the Paradiddle. This rudiment begins with two single strokes followed by a double stroke with an alternating lead hand. When you recite the syllables, it clearly illustrates the pattern Pa-ra-di-dle. For this exercise we will be using eighth note patterns in common time.

> > R L L R R L L R > > L R R L L R R L

> > R L R R L R L L > > R R L R L L R L

There are different kinds of Paradiddles, although the instructor may not use all of them.

Some of the more elaborate patterns can be used for students who are looking for an extra challenge.

Here are examples of the Paradiddle variations.

 Single Paradiddle: R L R R / L R L L

 Double Paradiddle: R L R L R R / L R L R L L

 Triple Paradiddle: R L R L R L R R / L R L R L R L L

 Inverted Paradiddle: R R L R / L L R L

Another rudiment for students to learn is called the Multiple Bounce roll. The skill requires the student to strike the stick and allow it to bounce multiple times. This creates what is called a buzz roll or an open roll sound.

VII. Note Reading and Rhythmic Pattern Exercise

Now that the band members have learned the proper stick grip and have practiced some rudiments, they need rhythmic patterns to play while marching. They may also need to learn to read rhythms in drum notation. Each measure will be played by the band in rhythmic unison. These examples can be played repeatedly for 8 measures. Teachers can use notation software to design their own note

reading and rhythmic pattern exercises.

The students need to follow three basic steps to learn each exercise before playing it on the instruments.

Example:

Bass: Drun:::a. □ i 11= i rr i CT =I I

1. Count out the rhythm, recite the counting in unison. (Ex. Count: 1 2 n 3 4 n)

2. Clap the pattern.

3. Play the rhythmic patterns by tapping their drumstick or mallets along the

rims of the drums.

The following examples of the rhythmic pattern exercise can be used to develop the note reading skills of the band.

Example No. 1: Combining quarter, 8th, and 16th notes variation.

Rhytlnn Exercise No. 1 [Cornp:,serJ .I-- □ ill' r ur rrll

□ Hurur r -11 II i bU"i u·II

E □ Hr uu r -11 II ITTITTU r II

□ Hu CTbU r ,11 11, WbU WbU" II

As the students practice each measure, the instructor may integrate other musical elements, for example, playing the patterns in different tempos or changing the dynamic levels.

Example No. 2:

Rhytlun Exercise No. 2 [Co1np:,se1]

•

' • • i 11, r a:rr a:r'II 11 a:rcr r r ,11 ; ' ' ' i • 11 crrcrrr r II • II Ur t.rrt:U II ; ; ; ; ' • • i II a:rcra:rt1"II 11, a:rtcra:rtcr'II ' ' ' ' ' '

Example No. 3:

This last rhythm exercise is a little similar to example no. 1. But the rest in this exercise test

student’s mastery of counting and timing.

Rhythm Exercise No. 3 [Composer]

.L .tlO

B II u• cur II

s B II UU • tull

B II r tu' mll llcrw'c::.rll s

Teachers can devise endless patterns. Those that are favorites of the band work well when

performing in a parade.

VIII. Learning Basic Patterns

The percussion band need not always play in unison. They will have sections, where each group plays their own rhythmic pattern. Each section’s pattern should be practiced separately before being combined with the other sections’ patterns.

Assign a section leader to lead the group in counting and practicing on their own. This will allow the instructor to divide their time with the other sections of the band. The following are some simple yet fun examples that the Band can play.

Pattern No. 1: “March”

This is an important pattern for the percussion band to play. Because of the driving quarter notes, it causes the students to march in perfect time and also helps both the drummers and baton twirlers to stay in line within each row and column of the marching formation.

l\1arch Exercise No. 1 [Corrq::o,er]

_,Drnrn

Pattern No. 2: “Triplet March”

Triplet March

Cymbai

Sl'Lare Drum.

T.imbalet

Tom TC!ll'.IS

B~sDruw.

Pattern No. 3: “Star Wars”

This example uses a familiar rhythmic idea from the Star Wars movie. For this pattern all the drums will be in unison and the crash cymbal provides the final accent. Having all the drums play the rhythmic theme together captures the intensity of marching to battle.

STAR WARS

Srure Drum

Timbilis

Tom Toms

BassD:rum.

Pattern No. 4: “Rock”

During parades, the percussion band may need to stop in front of a big crowd. Making use of a

Rock pattern helps keep the students energized and makes the crowd start jumping.

ROCK Pattern

Cymbals

Srure Drum.

Titnbili! s

Tom. Toms

Bm Drum.

Pattern No. 5: “The Cha-Cha”

Latin rhythms are often popular with audiences. For this example, everyone who plays a hand drum in the band will be playing the rhythmic patterns of the tom toms.

The hand drums will provide the accents on beat 4. At least three to five players should also be assigned to the cowbell. This will set the pulse and that cha-cha groove.

Cha Cha [Comp:iser]

Cymbak

Cowbell

Tom Toms

Bas~ Dnn:n

Pattern No. 6: “Jungle Beat”

The students from the author’s school were the ones who gave the name to this pattern. This style was used for the Baton twirlers. The rhythm allows them to perform exhibitions to showcase their skills in twirling the batons.

The twirlers can perform as a solo, duo or trio but should always have a choreographed routine.

JUNGLE BEAT

Cymbals:

Srure Drum

T:imbdes

Tom.T~

Btis Drum

Pattern No. 7: “Soca”

The Soca may be too difficult to perform in parades, but it is something that students can try practicing, to serve as a challenge for everyone. It is another example of a Latin rhythm. Each section will have more notes to play that include syncopated 16th notes. The whole percussion band has to be very precise and together in timing.

This will demand a lot of patience from the students and from the instructor as well. Remind the students to play very slowly and count out the rhythm in their minds.

Soca [ComPJser]

Cymbal;

Cowbell

T:imbilis

Tom Toms

Bass Drum

IX. Relevance with Other Musical Philosophy

The percussion band is compatible with all of the major philosophies and methods of music

education, such as Orff, Dalcroze, Suzuki and Kodaly. Let us first look at Carl Orff’s music education

philosophy. His approach combines the love of sound, love of music-making and appreciation of how

children can participate in their own musical education and personal growth (Frazee, 1987 p. 7).

What makes Orff’s approach special is in the way it develops the idea that the child learns

musical behavior through behaving in musical ways: by creating, listening and performing (Frazee, 1987

p. 7). Two of the principle elements of Orff-Schulwerk are physical movement and improvisation. It

recognizes the importance of the kinesthetic aspect in a musical performance. In fact Orff teachers

acknowledge physical response as the foundation upon which group music making is laid, for when

children are able to keep a steady beat and can establish tempo they are ready for ensemble work such as

an elementary percussion band (Frazee, 1987 p. 19). The use of instruments is another element in Orff’s

philosophy. His approach provided children with both aural and visual reinforcement. Rhythmic

patterns or phrases can be performed on contrasting un-pitched percussion instruments (Frazee, 1987p.

21). The book Discovering Orff by Jane Frazee is a valuable resource for more information on the Orff-

Schulwerk philosophy.

Emile Jaques-Dalcroze also made a significant contribution to music education. In the late 19th

Century, this Swiss man developed the system called “Gymnastique Rythmique”. In the United States,

it is known as “Eurhythmics”.

Dalcroze believed that the primary aim of music education should not be the production of instrumentalists or singers, but of musically developed people (Simpson & Dobbs, 1976 p. 52). He claimed that each person’s body has a number of natural rhythms. These rhythms are expressed in definite time with a specific degree of energy based on the individual’s temperament. He said that musicians who are rhythmically unstable have either too slow or too quick muscular response.

Rhythmic movement is one of the elements of the Dalcroze method. He created some walking exercises that teach students to stop their movement without disturbing time. The repression of steps teaches the students the concept of rests, and although they lack visible movements, they must still be alive as a basic element of musical phrasing (Simpson & Dobbs, 1976 p.56). Dalcroze also gave his students exercises to introduce “Polyrhythm”. He explained that polyrhythm is facilitated by the cultivation of one arm executing a rhythmic pattern while the brain allows the other limbs to play a different rhythm pattern (Simpson & Dobbs, 1976 p.57).

Dalcroze’s philosophy reminds teachers that some students in the percussion band may be rhythmically unstable and have problems with muscular coordination. Teachers can apply Dalcroze’s method in order to address these problems first, before attempting a more difficult exercise such as polyrhythm.

The Japanese philosopher Shinichi Suzuki devoted his life to the formation of what is now known as the Suzuki method. According to his philosophy, musical ability does not develop without musical experience (Hermann, 1981 p. 137).

He listed three important aspects of music education. These are:

1. Fostering musical sense;

2. Developing performing ability; and

3. Developing behavior and mind (Hermann, 1981 p. 141)

The percussion band is an ensemble that can provide students with musical experience to develop their musical ability, reinforcing what Shinichi Suzuki considered to be important aspects of how music should be taught.

A Hungarian composer, Zoltan Kodaly’s musical philosophies is focused on true musical literacy: he believed that the ability to read, to write, and think music is the right of every human being

(Choksy, 1981 p.21). Kodaly also recognized the importance of physical movement. He believed that a child’s body relates more easily and naturally to self-produced music (Choksy, 1981 p. 22). For this reason, it is valuable to work on clapping rhythmic patterns before students attempt to play the patterns on instruments.

Lois Choksy’s book, The Kodaly Method, gives examples of Kodaly’s rhythmic exercises to use for a 5th grade class. These exercises use a variety of rhythms including triplets, dotted eighth followed by a sixteenth note and a sixteenth note followed by a dotted eighth note. These are concepts teachers can apply when they write rhythmic exercises for percussion band.

Teaching music can make use of different music philosophies. The percussion band program is adaptable to any teaching philosophy.

X. Assessment of the Percussion Band Program

Teachers need not only teach but also find ways to assess and evaluate the appropriateness and

effectiveness of their learning programs. The band as a whole and the individual students performing in

the band can be assessed. Here are some ways, based on this author’s experience:

1. Oral Exercise

Using rhythmic patterns on flash cards, on paper, or on the board, ask the students to

count out the measure then have them clap the pattern on their own. This exercise assesses their

ability to sight read rhythmic patterns.

2. Small Group Test

Pick out 4 to 6 students assigned to play different instruments. Have them play rhythmic

patterns that the percussion band plays for parades/performance. This will assess their mastery of

the patterns they have learned as well as such things as sticking rudiments.

3. Small Group Assignment

Divide the band into smaller groups. Each group can consist of a minimum of 4 to a

maximum of 8. Assign a group leader. Ask each group to compose a 4- measure rhythmic

pattern. They are to write and submit a copy to the teacher. Then each group will perform in

front of the class. They will not be allowed to use their percussion instrument. They need to use

different objects such as empty water bottles, tin can, lunch boxes, etc. to produce different

sounds as they perform their compositions. Group activity is a good way to promote teamwork

and cooperation among students. By assigning a student leader we are encouraging self-

discipline among the members of the group, on how to be a good follower. We are also

providing a chance for any student who may have leadership potentials to exercise and develop

their leadership skills. Using different objects other than their percussion instruments will bring

out their creative ideas similar to the popular stage show of the “Blue Man Group” and the

performers of “STOMP” whose significant component is on percussion instruments and dance

for their acts.

4. Score Analysis

The student will be given a simple score for a rhythmic exercise. He or she needs to be

able to identify the time signature that was used, number of measures, kinds of notes or rests in

the score, any tempo or dynamic markings, etc. Afterwards ask the student to try and play the

exercise on a single drum (snare drum).

5. Music Notation

If the school’s computer lab has some kind of music-notation software, encourage

students to compose a 4- to 8-measure rhythmic pattern. They can listen to their work as they

press the playback. This activity will allow students to apply music concepts and to encourage

composition. The project hopefully could bring out their creativity and serve as a tool for

learning rhythm through discovery and writing.

6. Surprise Trivia

Some games can be played during rehearsals. Give trivia information that increases the

students’ knowledge on the origin of an instrument, materials used in making the instrument, etc.

They can watch videos that feature percussion groups or bands. After the video, ask feedback

from them, e.g. things they liked or didn’t like about the performance or the performer in the

video. The teacher can open up the discussion leading to music appreciation.

There are many ways to evaluate the students’ progress and the effectiveness of the music

program on them. What is important is that the percussion band program meets the needs of the

students. Teachers need to make sure that the program continues to be relevant to music education as

discussed in previous chapters of this paper. These are just suggestions for assessment and evaluation.

XI. The TCCES Elementary Percussion Band: A Case Study

A. Organizing the Percussion Band

In 2003 when the Twin City Catholic Education System (TCCES) was interviewing

applicants for an elementary general music teacher, the principal asked the applicants, “Why should

I hire you and not one of the other applicants? What could you bring to the program that no one else

would bring?” I replied that I could create a percussion marching band for fifth grade students. The

principal was intrigued, I was hired, and the percussion band program at the St. Gabriel and St.

Margaret Mary campuses of TCCES, both located in Neenah, Wisconsin, was born.

The Twin City Catholic Education System (TCCES) began its percussion band program in

the spring of 2003, in their St. Gabriel and St. Margaret Mary campuses, which are both located in

Neenah, Wisconsin. In 2005, the St. Mary’s grade school in Menasha, WI, joined the two schools.

Every year since then, all three grade schools participated in two big parades. One parade was

organized by the Winnebago County Mental Health Institute. The parade is scheduled every

September. The other was the St. Mary’s Central (TCCES High School) Homecoming Parade. The

three grade schools perform in separate parades, and each campus holds an Annual Halloween

Parade. For the Halloween parade, the percussion band leads the entire school, with the students

grouped by grade level and dressed in their Halloween costumes, marching behind the band. The

three schools also hold a “Mardi Gras” Parade that includes both teachers and students wearing

colorful clothing and beads.

The band also includes a baton twirlers squad. The baton squad is trained by volunteer

parents who are skilled baton twirlers. The band instructor, however, has direct supervision of the

practice time. For teachers who are not skilled in baton twirling, there are books and videos available

for reference.

The following photos are included with consent /permission from the principals of the three

TCCES elementary campus.

First Photo: During a percussion band practice inside St. Gabriel’s music room (2003).

Second & Third Photos: Baton Twirlers leading the Percussion Band at the Winnebago County Mental

Health Institute (2004). The band marches around hospital buildings and through the parking area.

Fourth Photo: A close up look at the drummers playing their instruments while dancing and jumping.

This picture was taken at the Winnebago County Mental Health Parade (2004).

B. Using the Percussion Band for a School’s Physical Fitness Program

In addition to the other benefits of the percussion band, this ensemble can also address a serious health problem common in the United States, especially among school children, namely obesity. We discussed the increasing problem of obese children in schools here in the United States. The 1999 government article entitled “Physical Activity Promotions and School Physical Education” indicated that the percentage of overweight children and adolescents had doubled in the preceding 30 years.

Especially alarming was the statistic that reported that about 12.5% of 5.3 million U.S. young people aged between 6 to17 are seriously overweight (Morrow, J.).

The problem was evident before the period of the research study. In fact, as early as 1956,

President Dwight D. Eisenhower issued an executive order for the establishment of The President’s

Council on Physical Fitness and Sports (PCPFS). He appointed 20 individuals to serve as members of the council as part of the national campaign to help shape up America’s younger generation (Weiss, M.).

Daniel M. Lander’s article “The Influence of Exercise in Mental Health” provided evidence of the relationship between exercise and improved mental health. He explained how some scientists believe that regular physical activity may reduce the risk of developing depression, and may relieve symptoms of anxiety, improving mood (Landers, D. fitness.gov).

Schools are now faced with the challenge of developing a health and wellness program. The challenge for teachers is the need to provide activities that are appealing and fun for their students. In order to sustain commitment and motivate students to be physically active, physical activities must be an enjoyable and emotionally positive experience (Weiss, M).

When the percussion band was organized and taught in the different grade levels of the TCCES, physical activities were not only done and integrated during physical education classes, but in general music classes as well. A 15-minute percussion band practice could be equivalent to a 30-minute walk because of the distance that the band marches plus the weight of the instruments they carry. The physical activities involved in the percussion band, that is marching, carrying and playing the instruments, are estimated to allow the students to burn between 10 to 15 calories each rehearsal.

The health and wellness program of the TCCES Elementary schools which made use of the percussion band as one of the tools in creating physical activity for the students in a creative and fun way was eventually recognized for its innovation. In 2005, the school system won the Catholic Schools of Tomorrow Award for Innovations in Curriculum/Excellence in 2005 for its health and wellness program. They were also featured in the March 2005 issue of Today’s Catholic Teacher magazine.

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