Developing a Successful Middle School

Percussion Ensemble

Scott Brown, Clinician

featuring

the

Dickerson Middle School

Percussion Ensemble
Midwest International Band and Orchestra Clinic
Saturday – December 20, 2008
Chicago, IL
9:45 AM
 Welcome

Dear Colleague,

On behalf of the students and parents of the Dickerson Percussion Ensemble, I would like to thank you for your
attendance at today’s clinic. We are honored to be given the opportunity to represent our school and
community in such a prestigious venue and hope that you will find our presentation beneficial.

Percussion ensemble is a wonderful vehicle to develop and motivate young percussion students. Our goal is to
provide suggestions and demonstrations to assist those wishing to begin, or develop, a percussion ensemble at
the middle school or intermediate
high school level. I would be
misleading to imply that all of the
ideas and techniques presented are
my own. As a young educator, I
have been extremely fortunate to
observe, work with, and build
relationships with wonderful
musicians and educators who have
shaped my techniques and style of
teaching. Use this event not only
to learn about our approach to
percussion education at Dickerson,
but to also interact and exchange
ideas with the other experienced
and knowledgeable educators in
attendance.
2006 Percussive Arts Society International Convention – Austin, TX

Please do not hesitate to contact me via email if you have any questions regarding today’s clinic or the
percussion program at Dickerson or visit our website: www.dickersonpercussion.com. I would also welcome
any ideas or suggestions that you have found useful through your experience. A healthy dialogue among the
percussionists across the country can only improve the quality of our programs and our students’ experiences.

Thank you,

Scott Brown
Assistant Band Director
Dickerson Middle School
[email protected]
 MUSICAL SELECTIONS
Kumi-daiko - 組太鼓 Scott Brown
Combined Ensembles

This piece was written to provide young students with an opportunity to explore the Japanese art
of Taiko drumming. The literal translation for Kumi-daiko is “grouped drums”, referring to the
popular Japanese drum ensembles. Although the playing of Taiko drums is an ancient tradition,
Kumi-daiko is a fairly recent phenomenon with the first Taiko ensembles appearing in the 1950’s.
Some contemporary ensembles have taken the traditional art of Taiko and infused it with hip-hop
and jazz to create a unique style. It is in this spirit that Kumi-daiko was written. Although
performed on traditional Taiko drums (shime daiko, oke daiko, and nago daiko) the piece can be
performed on toms, snare drums, bongos, etc. Published by JW3 publications in 2008.

Christmas Time is Here Vince Guaraldi & Lee Mendelson

th
7 Grade Ensemble arr. Chris Brooks & Kevin Madill
Mike Lynch, guest conductor

This arrangement of Christmas Time is Here for percussion ensemble is a perfect addition to the
holiday repertoire. Well known from A Charlie Brown Christmas, the piece will bring back
memories for audience and performers alike.

Metric Lips Bela Fleck/arr. David Steinquest

th
8 Grade Ensemble

Metric Lips was originally performed by the group New Grass Revival, known for their unique
blend of bluegrass, be-bop, and jazz. The original instrumentation of mandolin, banjo, bass, and
guitar transfers well to this arrangement for xylophone, vibes, and 2 marimbas. Metric Lips
provides a great opportunity for students to learn to work together and perform in a small chamber
setting, and to do develop 4 mallet techniques. Metric Lips is published by Row-Loff
Productions.

Teamwork Lynn Glassock

8th Grade Ensemble

True to its name, Teamwork demands that the performers work together to line up the intricate
patterns to develop the ensemble sound. The students must know how their parts fit in with the
other players. Utilizes traditional percussion ensemble instruments (marimba, vibes, bells,
chimes, timpani, toms, and accessory percussion). Can be performed with advanced middle
school ensembles, but best suited for high school programs. Published by C. Alan Publications in
1996.
Over the Rainbow Harold Arlen/arr. David P.
Eyler
7th Grade Ensemble

The popular theme from “Wizard of OZ” is beautifully scored for marimba quartet and
vibraphone. It is a perfect vehicle to develop the concepts of phrasing and balance while
developing roll technique with young students. This arrangement of Over the Rainbow is
published by Pioneer Percussion.

Bailando La Soca Julie Davila

Combined Ensembles

Lalo Davila, timbale soloist; Dom Famularo, drum set soloist

Bailando La Soca works great as the opening or closing tune of a concert. The piece is written for
xylophone, marimba, vibes, percussion, drum set, and bass guitar. Its difficulty lays in the
syncopated rhythms and the up-beat patterns of the vibe and marimba 2 parts. The music lends
itself well to doubling and tripling of keyboard parts for a full sound and the addition of Latin
percussion instruments and patterns to include everyone. Published in 2003 by Row-Loff
Productions.

2006 Percussive Arts Society International Convention – Austin, TX

 2008-2009 DICKERSON PERCUSSION ENSEMBLE

Eighth Grade

Skye Doughty Gil Goldshlager Mychael O’Brien

Emily Eller Hannah Greenwald Arjun Sannidhanam
Omeed Fatemi Carly Kanwishere Andrew Tanguay
Brandon Fish Jessica Leung Imani Trotman
Nima Mikailizadeh

Seventh Grade

Tanner Britan Caty Loomis Rhys Reynolds

Tyler Bugbee Charlie Lu Andrew Richardson
Katie Klopp Krista Moase Michael Sheahan
Matt Llewellyn Hannah Patterson Jackson Spencer
 Developing a Middle School Percussion Ensemble
In the beginning…
The percussion ensemble at Dickerson Middle School was initially developed to provide students with an opportunity to develop their
techniques on a wide variety of instruments, improve reading skills and ensemble awareness, but most importantly, to foster a sense of
excitement and a desire to learn more about the world of percussion. Prior to the “creation” of the ensemble in the spring of 2002, the
students were uninspired and unmotivated by the world of percussion that they were exposed to through much of the band literature
they were playing in class. Their skills were not being challenged to the same degree as those of the wind players, and there was little
desire to learn their weak instruments as they were rarely glorified in performance. Motivation, discipline, and retention suffered.
With the introduction of the percussion ensemble, the percussionists were able to play the melodic and accompaniment lines, along
with the supporting percussion parts and were exposed to a greater variety of music and instruments. Although there were ample
opportunities to improve technique, reading, and ensemble skills, the most important bi-product was the resulting sense of excitement
and the desire for more.

Structure 2003 National Middle School Association Conference – Atlanta, GA

* Participation in the percussion ensemble is entirely voluntary. However, nearly every percussionist since 2002 has elected to
participate.

* The regular schedule for the ensemble consists of two 40 minute rehearsals before school each week. Additional after school
rehearsals or weekend camps are scheduled when the ensemble is preparing for an important performance.

* Due to the limited number of rehearsals, and the short time frame of each, it is expected that each student prepare their part and
arrive early for set-up. Motivation in these areas has become easier as the popularity and desire to participate has increased.

* For pieces with limited instrumentation, we assign alternates also known as the “motivation crew” to become understudies to learn
the music in case of absence or to replace students who are habitually late or unprepared. Although it is rare that a student is replaced,
this helps them to understand the importance of their participation and involves more students in the process.

* We also prepare music that involves all members of the ensemble at one time; this can become quite a challenge and is discussed
later in doubling and adding parts. In general, students choose an instrument because they want to play it! The more opportunities
they are given to do so, the more motivated they become.
Preparation 2004 Georgia Music Educator’s Association Conference – Savannah, GA

As students set up their equipment for each rehearsal, there is a percussion video playing on the two televisions in the band room. The
content varies for each rehearsal and includes performance and instructional videos on: Latin, African, Irish, Japanese, and Middle
Eastern percussion, marching percussion, drum-set, accessory percussion, timpani and mallet percussion, and other percussion
ensembles. This is an opportunity for the students to gain some exposure and insight into the many styles and traditions of the
percussion world without sacrificing valuable rehearsal or class time.

Once the students are set-up, we will try to play through scales or read an easy piece of music or etudes. Reading new music not only
develops their skills, but aids in choosing music that will be good for future concerts.

Rehearsing

* All students must be able to read their music and count their parts out loud. If they cannot, it becomes a learning session for the
entire group as we break down the rhythms or figure out the notes.

* Once the students are comfortable playing the notes and rhythms of their music, we begin to focus on the technique and quality of
sound of the instruments, and the cohesiveness of the ensemble.

* Demonstrations of the correct technique or the desired sound are directed toward the entire ensemble so that it becomes a learning
experience for all instead of one student. Since students are normally rotated to different instruments for each piece, the possibility
that they will need to demonstrate that skill later is probable.

* We also do a lot of singing of the music in “drum speak” once the students understand how to count their rhythms. The natural
inflections of the voice are more apparent with this method, helping the students to discover musical line and direction. At times it is
necessary for me to dictate via call and response how I want the music to feel and sound.

* When the students are comfortable with their parts and what the piece sounds like, we will sing the “overall” tune as the audience
will hear it to be sure that we all agree on which parts should speak. The students are exposed to these various “western” and “non-
western” methods of learning music through the percussion videos before rehearsals and are fairly receptive to trying them.

* Recording rehearsals (audio & video) and bringing in guest clinicians and performers will provide a different perspective and
learning experience for students and directors. Continually critique yourself and search out other opinions and advice to keep the
program growing.
 2004 Demonstration at South Effingham H.S. – Guyton, GA
Equipment

* We are extremely fortunate to be well funded by the county and through fundraising efforts and lucky to have had some equipment
donated to us by the Walton High School Band and other sources. Several of our instruments are fairly new and of the highest quality,
while many are held together by duct tape and luck. If it will make a sound, whether good or bad, we will probably use it!

* An early priority was to get a large collection of mallet instruments, not for the percussion ensemble, but for the benefit of the
beginning percussionists in 6th grade. The wider bars made it easier for the students to learn to read music, and naturally provided
better instrumentation for the ensemble.

* We currently have nine keyboard instruments (2 bells, 1 xylophone, 3 vibraphones, and 3 marimbas) of which five are “new” since
2001. Storage and clutter can become a problem, but the hassle is well worth the rewards.

* We have also added some quality accessory instruments such as good tambourines, triangles, woodblocks, etc., and have purchased,
borrowed, and inherited several world percussion instruments such as congas, djembes, bodhran, talking drums, taiko drums, and
timbales, and a 17 drum Remo World Percussion set. Our most prized possession is a Cooperman rope drum.

* Every student is taught and expected to adhere to general maintenance and appropriate storage for the instruments. When
maintenance is necessary, the students either observe me doing it or take care of it themselves. The students have re-strung keyboards
and assisted in changing drumheads. I have also taught students to re-wrap keyboard mallets in previous years.

* All of the equipment (except the rope drum) along with instructional books and videos is available for the students to check out for
weekends and long holidays. The knowledge that the equipment is there for them and for their use encourages the students to take
proper care of it.

* If an instrument does not have a case or bag for transportation, the students bring blankets or sleeping bags to wrap them in.
Keyboards are usually disassembled when students take them home and the students are expected to dust off the various parts before
bringing them back to the school.
Ensemble Set-up

* In general, we place keyboard instruments in the front of the set-up (specifically marimbas and vibes) as they will usually carry the
melodic lines and tend to project less than battery instruments.

* Large drums such as timpani, toms, and drum set are located toward the back or buried in the middle of the ensemble, again for
balance purposes.

* Articulate instruments such as xylophone and snare drum will aid other students in listening for timing and rhythmic clarity if
located near the center of the ensemble.

* The students always have a variety of mallets, sticks, and beaters in addition to their ever-present pencil on trap tables or stands
with a towel draped over them, or in a mallet bag. This allows the students and the director to experiment with different implements
to find the correct balance and blend, and then mark their choices in the music.

2004 Georgia Music Educator’s Association Conference – Savannah, GA

Modifications

* Due to the large number of students in the ensemble and the varied instrumentation of percussion ensemble literature, it is often
necessary to make various adjustments.

* In order to expose students to various cultures, we often perform music for which we do not have the “authentic” instrumentation.
We have played music for taiko drums and djembes on toms, string bass on an electronic keyboard, and have two large floor toms that
also function as surdos. We also double and triple the keyboard parts on many pieces to give more students the opportunity to play.

* Although different students perform on each piece, and during the course of the concert all students will have the chance to play at
least once, we always include one tune at the end of each concert that involves everyone. Finding instruments and coming up with
parts for 20 to 40 students in a percussion ensemble is a challenge.

* Latin and African music lends itself well to full ensemble playing with the large variety of accessory instruments and the community
nature of their music and culture. We fit every student we can on a keyboard instrument, and then begin handing out cowbells, claves,
maracas and shakers, tambourines, bongos, etc. Fortunately, we spend a 2 to 3 week period with the percussionists in 6th grade
learning basic techniques and rhythms for the Latin instruments, so it is merely a matter of reminding them. Even without this prior
knowledge, it is not difficult or time consuming to introduce these instruments, techniques, and patterns to the students. Latin
American Percussion by Birger Sulsbruck provides excellent information and is coordinated with the video by the same name.
* Again, any demonstrations are directed toward the entire ensemble so that they can all benefit. Taking the time to implement these
modifications creates a better experience for all students as more can participate and experience the music and traditions of various
cultures.

* The combined ensemble at the end of the concert gives all of the parents a chance to see their child on stage for the final number and
the sheer numbers create excitement in sight and sound.

Literature

* Music is available for various sizes and instrumentations and can be done with a small class of 4 to 7 students or for a large
ensemble of 30+.

* To find quality literature, it is important to get, save, and listen to sample CDs and tapes. It is often necessary to contact publishers
or visit their websites to obtain recordings or samples.

* Contact other ensemble directors and ask for copies of their programs and recommendations. This will often save time and money
that would be spent on a poor choice, and can result in advice on rehearsal suggestions and substitutions.

* Attending conferences and concerts not only provides a venue for these collaborations, but an opportunity to hear the music in
person.

* For each concert, we try to showcase outstanding students as soloists with the ensemble. Xylophone ragtime music lends itself well
for advanced keyboard players while Latin music works well for talented performers on drum set or timbales.

* A final suggestion is to create an opportunity for rising high school students to work on marching techniques. Easy drum solos or
cadences or ensemble music such as Row Loff’s Short Circuits by Lalo Davila are excellent for students to gain exposure to the
marching idiom and work on fundamentals. Familiarity with this style of playing eases some of the students’ fears about high school
band. We bring in Tim Church, the percussion director at Walton High School, to work with the students to prepare this music. The
students are not only exposed to the technique and procedures they will use in high school, but have an opportunity to work with their
future instructor, again eliminating some of their uncertainties about the high school program.

2004 Georgia Music Educator’s Association Convention – Savannah, GA

 2003 Georgia PAS “Day of Percussion” – Kennesaw, GA
Beginning Percussion

The question I am most often asked is how we start our beginning percussionists. Although this clinic is focused on the percussion
ensemble, the strength of our 7th and 8th grade students is obviously heavily reliant on their 6th grade experience. Also, keep in mind
that we have 2 band directors and the 6th grade percussion students are taught separate from the winds. If you are in a situation where
the percussion students are mixed in with the other students, many concepts can still apply.

* When I audition students interested in percussion, I have a limited time to evaluate their skills. I ask the students to sit quietly while
I work with each student. If they do not have the patience or self-discipline to do this, they eliminate themselves from the beginning.
I wouldn’t want a student who cannot follow these instructions sitting in the back of the band room counting rests, or responsible for
numerous school owned instruments.

* After I show them how to correctly hold the stick, each student is asked to count and play several rhythms that I demonstrate for
them. I evaluate their ability to play each rhythm evenly and count while playing, even if they say the wrong syllables. I then show
them a C scale and have them play it up and down on a keyboard. Here I am looking at their dexterity. I may evaluate a student
several times before I allow them into the percussion program.

* This process creates an air of sophistication and honor around the percussion class and an expectation of quality and character.

* I always begin with snare drum as opposed to mallets to allow the students to develop their grip, stroke, and ability to read rhythms.
It is often very difficult for students to switch to keyboards before their grip and stroke are developed because the striking surface (the
bars) is so small it doesn’t rebound. Also the shaft of the mallet is very thin causing many students to grip too tightly.

* The students work out of theory books and have a good understanding of the note names and placement on the staff and keyboard
before we begin playing mallets toward the end of the first semester. Since they are somewhat comfortable in these areas, their only
concern is reading the music and finding the notes on the keyboard at the same time. This allows us to focus on this one issue, and
keeps students from becoming frustrated with mallets.

* During the first few weeks, I try to keep technique development and theory development separate to allow the students to focus on
one concept at a time. The students tend to develop faster in both areas, and develop quickly into difficult concepts.
* When working on technique development, the students all play on their drum pads. We focus on using the correct grip and a proper
wrist stroke. We begin with a basic “8 on a hand” exercise and gradually introduce various sticking combinations found in Lesson
One of our beginning snare book: “A Fresh Approach to the Snare Drum” by Mark Wessels. Another good resource is “Stick
Control” by George Lawrence Stone. A legato or rebound stroke is used on all patterns.

* When working on theory development, I pull out a variety of instruments from keyboards and timpani to tambourines and triangles
or use hand drums. The students are allowed to pick any instrument to play, and then rotate throughout the class. This gives me an
opportunity to walk around and show students how to hold various accessory instruments, and for them to experience the different
sounds and the different feel of striking various instruments. As they read the music, they are not concerned about using the correct
grip or stroke and can focus on playing the correct rhythm. In addition, they are excited about “reading day” and at least know what
the claves or sleigh bells are and how to hold them. Plus, the students can learn where the instruments are stored and are able to
retrieve them easily when you begin part assignments for the first concert.

* Rotate between these two approaches every few days for the first couple of weeks. Most beginning books move fairly slowly with
the introduction of notes and rhythms, so they can easily be played on various instruments while keeping the percussionists interested.
The students’ technique can be developed faster when they do not rely on the pace of the patterns introduced in the books.

* After a couple of weeks the students should be ready to move fairly quickly reading and playing snare music.

* As stated above, we begin mallet percussion toward the end of the first semester once the students have developed sufficient
technique and ability to read rhythms.

* I try to have as many full sized keyboards as possible so that the students can play with a real mallet and the correct stroke. In
addition, the larger bars are easier to see with peripheral vision, and make a much more pleasant sound than the beginning bell kits.
We usually use a couple of the bell kits due to the large number of beginners (as many as 23 students), but rotate the students through
the various keyboard instruments so they have an opportunity to play vibes, bells, xylophone, and marimba.

* We use Mark Wessels “Fresh Approach to Mallet Percussion,” which does a wonderful job of developing peripheral vision. The
book starts on the accidentals and places the notes at the bottom of the page in big font, making it easy to see the music and bars at the
same time. He gradually moves the music further up on the page and reduces the font while adding the naturals.

* In addition, I teach students scales from the

very beginning and compose several 8
measure tunes using various scale patterns. I
begin with tunes that only move up or down
one step at a time. Once the student knows
the scale, reading music in this fashion is
fairly easy because they already understand
the set of notes they are dealing with and can
look for patterns in the music. After we have
done this in several keys, I begin to introduce
skip patterns one at a time. For example:
motion by 3rds, 4ths, 5ths, etc. This again
allows the student to look for patterns and
makes it easier for them to recognize chords
later. This approach helps the students
develop an understanding of key signatures
and musical form from the very beginning.

* Always have the students sing pitches as

they play them. This will help them in tuning
timpani later by gradually developing their aural skills. 2005 Georgia Music Educator’s Association Convention – Savannah, GA

* When students begin to tire, or become frustrated with snare or mallets, I take the opportunity to introduce accessory instruments,
Latin percussion, timpani, etc. This tends to re-energize the students and gives them a chance to learn some other techniques.
 Recommended Literature
Following is a list of percussion ensemble pieces that fellow directors and I have found to be successful with young percussion
ensembles. This is an incredibly small selection of the many great percussion compositions and arrangements available, but should be
useful in starting a percussion ensemble library. Also included is a list of some prominent publishers of percussion ensemble music
and their websites.

Key to abbreviations: V=vibes, X=xylophone, M=marimba, B=bells, C=chimes, Cro. =crotales, T=timpani, P=percussion,
DS=drum set, PN=piano, GT=guitar, BG=bass guitar
* = highly recommended
Mixed Instrumentation

Title/Instrumentation Composer/Arr. Publisher # Players Grade

* Noisy Treehouse V/X/M/P Michael A. Hernandez Drop 6 6-7 1
Polo’s Candy Machine V/X/M/P Michael A. Hernandez Drop 6 6 1
2001 (A Mallet Oddity) V/C/X/M/B/4T/P arr. David Steinquest Row-Loff 8-10 2
* Amos B/V/C/X/2M/P Emil Richards/arr. Schietroma Drop 6 10 2
* Maggpie’s Groove Chris Crockarell Row-Loff 9 2
Mozambique B/X/M/4T/P Chris Brooks Row-Loff 10 2
The Thunderer B/V/M/PN/T/P John Philip Sousa/arr. Hatch Drop 6 10 2
* Bayport Sketch B/V/C/X/2M/2T/P Jared Spears C.L. Barnhouse 7 3
* Millennium B/X/M/V/4T/P Chris Brooks Row-Loff 14 3
* Ceremonium B/C/X/M/2-3T/P Jared Spears C.L. Barnhouse 8 4
Circus Circus V/X/2M/4T/P Chris Crockarell Row-Loff 10-12 4
Heavy Metal V/Cro./P Drew Hunter Drop 6 5 4
Storm Warning & Dance V/Cro./X/M/4T/P Steve Riley C. Alan Pub. 8 4
One Eyed Jacks V/M/2T/P Mark Ford C. Alan Pub. 6 4+
* Teamwork B/V/C/1-2M/4T/P Lynn Glassock C. Alan Pub. 7 4+
* Connected Forces B/V/C/2M/4T/P Lynn Glassock Southern Music 12 5
Overture for Perc. Ensb. V/C/X/M/4T/P John Beck Kendor Music 8 5
Slavonic Dance #8 in G minor B/X/2V/2M/2T/C/P Antonin Dvorak/arr. Hearns Row-Loff 13 5

Mallet Ensembles

Berceuse B/X/M/V/P Jay Dawson/arr. Steinquest Row-Loff 7 2

Irish Tune From County Derry B/V/C/5M/P Percy Grainger/arr. Ragsdale Not Available 9 2
* Over The Rainbow V/2-4M Harold Arlen/arr. Eyler Pioneer Perc. 5 2
Dill Pickles X/4M George H. Green/arr. Becker Not Available 5 3
* The Easy Winners X/2M Scott Joplin/arr. Freytag Row-Loff 5 3
* Metric Lips X/2M/V Bela Fleck/arr. Steinquest Row-Loff 4 5

Latin Ensembles

Island’s Groove X/M/V/T/DS/P Travis Downs DTW Pub. 10+ 2

* Katie’s Bossa B/X/M/P Chris Crockarell Row-Loff 6-8 2
South of the Border M/X/2T/P Edward Freytag Row-Loff 6-8 2
Bien Sabroso B/V/C/2M/Steel drms./PN/Horns/P/GT Poncho Sanchez/arr. Mayor Drop 6 10-11 3
Percuss! B/X/V/M/C/T/P Travis Downs DTW Pub. 16+ 3
Big Yellow Mambo B/V/M/X/C/2T David Steinquest Row-Loff 12 3+
Allegre Muchacho B/V/M/X/C/2T Alan Abel Ludwig Music 6 4
* Bailando La Soca X/1-2M/V/DS/P/BG Julie Davila Row-Loff 10-15 4
* Mo Java V/X/2M/P/Opt. Steel Drums/BG Lalo Davila Row-Loff 7-8 4
 Drum Ensembles

* Kumi-Daiko Scott Brown JW3 Publications 5-30+ 2

* Battle of the Samurai P Scott Snow Robo-Percussion 5 2
Mosiacs 2T/P Jared Spears C.L. Barnhouse 6 2+
Prologue and Flight 2T/P Jared Spears C.L. Barnhouse 4 3
* Head Talk - pre-tuned drumheads Mark Ford Innovative Perc. 5 4
High Voltage - marching snares & tenors Lalo Davila Row-Loff 8 4+
* Short Circuits - marching snares Lalo Davila Row-Loff 8 4+

Novelty Ensembles
Me Tarzan - Bodies Chris Crockarell Row-Loff 8-12 3
* Junk Funk - Trash cans, bottles, pipes, etc. Mario Gaetano C. Alan Pub. 5 3+
Brooms Hilda - Brooms Chris Crockarell Row-Loff 6 4
Stinkin Garbage - Trash Cans Ed Argenziano Row-Loff 4-32 4

Holiday Ensembles

Christmas Presence B/V/M/4T/P arr. Chris Brooks Row-Loff 10-12 2

Christmas Time is Here B/2M/1-2V/P/BG Vince Guaraldi/arr. Brooks, Madill Row-Loff 8-9 3

Publishers & Websites

C. Alan Publications
www.c-alanpublications.com
C. L. Barnhouse Co.
www.barnhouse.com
Drop 6 Media, Inc.
www.drop6.com
Innovative Percussion
www.innovativepercussion.com
JW3 Publications
www.jw3.com
Kendor Music Inc.
www.kendormusic.com
Ludwig Music Company
www.ludwigmusic.com
Row-Loff Productions
www.rowloff.com
Tap Space Publications
www.tapspace.com
2005 Georgia Music Educator’s Association Convention – Savannah, GA

Music Retailers
J.W. Pepper www.jwpepper.com
Steve Weiss Music www.steveweissmusic.com
About the Director
Scott Brown is currently the Assistant Band Director at Dickerson Middle School in Marietta, GA and Assistant Percussion Director
and co-arranger for the percussion section of the 1998 & 2002 Bands of America Grand National Champion Lassiter High School
Band. In addition, Mr. Brown is co-founder of Percussion Workshop, a percussion consulting company, and co-founder and director
of the North Georgia Middle School Percussion Camp.

Mr. Brown is co-author of “Field Level – The Ultimate Band Director’s Guide to fielding the Ultimate Marching Percussion Section”
published by Row-Loff Productions and his articles on percussion pedagogy have been selected for publication in the Georgia
Percussive Arts Society Newsletter, Percussive Notes Magazine, Halftime Magazine, and on the Vic Firth Inc. website. Mr. Brown is
active as a clinician, having presented clinics for the Percussive Arts Society International Convention, the Georgia Music Educator’s
Association Conference, the Texas Bandmasters Association, and marching percussion clinics in the Netherlands, Belgium, and
Germany. As an adjudicator, Mr. Brown has judged competitions throughout the United States and Belgium for Drum Corps
Associates, World Association of Marching Show Bands, United States Scholastic Band Association, and the Carolina Indoor
Performance Association.

Mr. Brown holds a Bachelor of Science degree in Music Education from Western Carolina University where he was a recipient of the
prestigious North Carolina Teaching Fellows Scholarship. He was a three-year member of the Carolina Crown Drum & Bugle Corps
where he was recognized as “Percussionist of the Year” in 1997 and has worked with concert and marching percussion ensembles
throughout the southeast including the Spirit of Atlanta Drum & Bugle Corps and the Kennesaw Mountain High School Band.

In addition to the National Championships, the Lassiter Band has won several BOA Regional Championships, participated in both the
Macy’s Thanksgiving Day Parade and the Tournament of Roses Parade. The Lassiter Percussion Ensemble has performed for the
Bands of America National Percussion Festival, PASIC, and the Midwest Clinic. In 2003, the ensemble presented a clinic,
“Developing Technique and Musicianship with the High School Marching Percussion Section”, for the Georgia Music Educator’s
Association Conference.

Mr. Brown received a citation for “Significant Contributions to Bands in the State of Georgia” from the Georgia Music Educator’s
Association, the “Citation of Excellence” from the National Band Association, and is included in the 2006 National Honor Roll listing
of “Outstanding American Teachers”. Mr. Brown is a member of the Vic Firth Education Team and is an educational artist for Evans
Drumheads, Mapex Drums, Majestic Concert Percussion, ROSS Mallet Percussion, Sabian Cymbals, and Row-Loff Productions.
About the School
Dickerson Middle School is located on the eastern corner of Cobb County, just a few miles north of the Chattahoochee River. Opened
in 1980, Dickerson was named a Georgia School of Excellence in 1989 and a National Blue Ribbon School of Excellence in 2003.
The school currently has an enrollment of approximately 1300 students. Dickerson Middle School was ranked #1 in the state from
1999-2001 on the Georgia Department of Education report card, and its students have produced some of the highest test scores in the
state of Georgia. According to an Atlanta Journal Constitution analysis, Dickerson Middle School was rated the “Best Public Middle
School” in the State of Georgia for 2006. The Dickerson mission is to build on its tradition of academic excellence by creating a
positive learning environment that challenges every student to prepare for his or her own future.

About the Percussion Ensemble

The percussion ensemble at Dickerson is an extra-curricular program comprised of 26 students in 7th and 8th grades. The ensemble
rehearses twice a week before school with occasional after school rehearsals with guest clinicians. The percussion ensemble gives
several performances throughout the year, including prism concerts in the fall and spring.

Since its inception in the spring of 2002, the Dickerson Percussion Ensemble has presented performances for the University of
Georgia Middle School Band Festival, the Georgia Percussive Arts Society “Day of Percussion”, the Georgia Music Educators
Association In-service Conference, the National Band Association Southern Division Conference, the Percussive Arts Society
International Convention, and was selected as the “Featured Ensemble” for the closing session of the National Middle School
Association’s 30th Annual Conference and Exhibit.

The ensemble performs a wide variety of percussion literature ranging from Japanese Taiko drumming and Latin American music, to
ragtime music for mallet ensembles and the “traditional” percussion ensemble literature. In addition to exposure to different musical
styles and traditions, the students learn appropriate techniques for the orchestral percussion instruments, including accessory
percussion, and are given the opportunity to learn hand drums, drum-set, and marching percussion. Some past guest artists and
clinicians for the percussion program include: Mike Lynch, Travis Downs, David Starnes, Kari Klier, Nick Angelis, Jorge Simmonds,
Mike Back, Ralph Hardimon, John Lawless,
Emil Richards, Lalo Davila, Glen Caruba,
Michael Spiro, Tony McCutchen, Kit Chatham,
and Sonny Emory in addition to “Boomshaka”
from Northwestern University and the Taiko
ensemble “Fushu Daiko”.

Using a “total percussion” approach, all

members of the ensemble are expected to play
keyboards, as well as various drum and
accessory instruments. Students will perform
on different instruments during the program. In
line with this belief in the well-rounded
percussionist, a majority of the members
currently study percussion privately with
prominent percussionists in the community,
including members of the Atlanta Symphony
Orchestra. Several students each year are
selected to participate in prestigious honor
bands and camps including the University of
Georgia Middle School Honor Band, the
GMEA District 12 Middle School Honor Band,
the Georgia Middle School All-State Band, and
the Interlochen Arts Camp. 2004 Georgia Music Educator’s Association Conference – Savannah, GA
About the Band Program
The music program is a fundamental element in the educational experience at Dickerson Middle School. Approximately 60% of the
student population at Dickerson is enrolled in band, chorus, or orchestra classes. Dickerson Middle School offers band, orchestra, and
chorus to all students.

Close to 400 students participate in one of six band classes during each school day: 8th Grade Symphonic Band, 8th Grade Concert
Band, two 7th grade band classes, and two periods of 6th grade beginning band. Instruction is provided by two full-time directors. The
Dickerson Symphonic band has been an invited performance ensemble for the University of Georgia Middle School Band Festival, the
American Musical Salute Memorial Day Celebrations in New York City and Washington D.C., and the Georgia Music Educator’s
Association In-service Conference.

Beginning band students are placed into smaller homogeneous classes

which allow for more individualized instruction. During the first nine-
week period, the 7th and 8th grade students are grouped into woodwind,
brass, and percussion classes. For the remainder of the year, the 7th grade
students are divided into two equal bands of similar instrumentation and
ability while the 8th grade is divided into two ability-based performing
groups by audition.

In addition to these curricular classes, the band program offers two jazz
bands, a percussion ensemble, and several chamber ensembles that
rehearse in the morning before school. On days when these groups do not
meet, there is a one-hour practice session open to all students for extra help
before school. Since most of our students participate in extra-curricular
sports, religious school, dance and ballet classes, or other activities, after-
school rehearsals are rarely held. Many of our students also participate in
musical activities outside of school, such as church instrumental groups,
community orchestras (the Atlanta Symphony Youth Orchestra and the
Metropolitan Youth Symphony Orchestra), and private lessons. A large
number of students are selected each year for participation in the GMEA
District 12 Honor and Clinic Bands with several students representing
Dickerson in the Georgia Middle School All-State Band.

Students from Dickerson Middle School feed into Walton High School.
Many band students continue their musical education in the award-winning
and nationally recognized Walton Band Program participating in such
events as the Bands of America Regional and National Championships, the
Tournament of Roses Parade, and the Macy’s Thanksgiving Day Parade.

2005 American Musical Salute – Washington, D.C.

 Lalo Davila

Lalo Davila is currently Director of Percussion Studies at Middle Tennessee State University. Lalo received his Bachelor of Music
degree from Texas A & M Corpus Christi and a Master of Music degree from the University of North Texas. Originally from Corpus
Christi, Lalo has extensive experience both as an educator and performer. Lalo was named Nashville’s Top Five 1998 Percussionist of
the Year Award. Lalo spent three years (1984-1986) performing and instructing with University of North Texas Percussive Arts
Society Championship Drum Line and has served as an instructor for the Phantom Regiment and the Star of Indiana Drum and Bugle
Corps. The MTSU Drumline has won two PAS marching percussion championships over the past few years. Lalo has toured with
many artists including the "Take 6" Summer 1996 tour of Japan. Other performances include; the Corpus Christi Symphony
Orchestra, the Nashville Symphony, Six Pence and None The Richer, Clay Walker, Vickie Carr, Sherry Lewis, The Panhandlers Steel
Band and Max Carl and the Big Dance. Mr. Davila has recently performed percussion and lead vocals for the American Bible Society
CD project and can also be heard on Kirk Whalum's Grammy-nominated CD. Currently, Lalo performs with several Latin groups
including "Orkesta Eme Pe". Known as an outstanding clinician and adjudicator, Lalo has conducted clinics throughout the United
States, Paris, Australia, Mexico, Cuba, and Japan. Lalo is the author of Contemporary Rudimental Studies and Solos, and Play at First
Sight. Lalo is an active clinician/performer for the Pearl Corporation, Row-Loff Productions, Avedis Zildjian Co., Innovative
Percussion, and EVANS Drumheads.
 Dom Famularo

Dom Famularo has been traveling the globe preaching the gospel of drumming for over 30 years. An intense performer, Dom is one of
the most respected solo drum artists in the world, with a career built solely upon his unique skills as a drummer and motivational
speaker. The first Western drummer to perform clinics in China, Dom is accustomed to making headlines. He was a special guest
performer at the first-ever Buddy Rich Tribute Concert, an event which he helped organize. He was a highlight as host and performer
at the Pacific Rim Drum Invitational (the first drum event to be simulcast live on the Internet), and he's a primary attraction at star-
studded drumming events such as the Koblenz International Drummer Meeting in Germany, the Florida Drum Expo, the Paris Music
Show, the massive Drummers Day in Australia, the Heartbeat World Rhythm spectacle for Canadian TV, and the Montreal Drumfest.

In addition to large drumming expos and clinic tours, Dom is an active educator at colleges, drum schools and camps. He has
performed at the Percussive Arts Society Convention (PASIC), Percussion Institute of Technology (PIT) in Hollywood, California,
KOSA Camp in Vermont USA, North Texas State University, the Graham Cole Percussion Camp in England, and Drummers Camp in
the Black Forest of Germany. In addition, he is an in-demand consultant to major music corporations, and serves as Education
Director for Sabian Ltd., Vic Firth inc., and Mapex drums and is an artist/endorser for Evans Drumheads.
 Mike Lynch

Mike Lynch has 24 years of public school teaching experience and is currently the Director of Percussion Studies at Lassiter High
School and Assistant Band Director at Simpson Middle School in Marietta, Georgia. Mr. Lynch's drumlines and percussion
ensembles have performed at the Georgia Music Educator's Association Conference on 4 different occasions, the BOA National
Percussion Festival on 2 occasions, the Percussive Arts Society International Convention, and the Midwest Clinic.

While he has been the percussion instructor at Lassiter, the Lassiter "Trojan" Marching Band has won the 1998 & 2002 Bands of
America (BOA) Grand National Championships and 7 BOA Regional Championships. The band also participated in the 1999 & 2004
Macy's Thanksgiving Day Parade in New York City and the 2001 & 2005 Tournament of Roses Parade in Pasadena, California. Mr.
Lynch is the co-author of "Field Level", "The Rudimental Cookbook", and "Just Desserts" all published by Row-Loff Productions. He
has had articles published in the Georgia Percussive Arts Society Newsletter and Percussive Notes Magazine. Mr. Lynch is a member
of the Vic Firth Education Team, and is an educational artist for Remo Drumheads, Mapex Drums, Majestic Concert Percussion,
Zildjian Cymbals, and Row-Loff Productions.
Special thanks to the following businesses and individuals for their support of the
Dickerson Percussion Ensemble and assistance in presenting today’s clinic.

John Lawless, Director of Percussion Studies, Kennesaw State University

Dr. John Culvahouse, Professor of Instrumental Music Education, Kennesaw State University
Mike Lynch, Director of Percussion Studies, Lassiter High School
Jim Bailey, Educator Relations Manager, Evans Drumheads
Rick Dejonge, Artist & Program Development Coordinator, Jupiter Band Instruments
Chris Hankes, Percussion Product Manager, Jupiter Band Instruments
Neil Larrivee, Director of Education, Vic Firth Inc.
Olin Johannessen, Assistant Director of Education, Vic Firth Inc.

And a very special THANK YOU goes to all of our Dickerson

Percussion Ensemble parents for all of your support and
encouragement!

Acknowledgements
 Administration
Fred Sanderson, Superintendent, Cobb County Schools
Garland Markham, Supervisor of Instrumental Music, Cobb County Schools
Carole Brink, Principal, Dickerson Middle School
Michael Stokes, Assistant Principal, Dickerson Middle School
Dorothy Miley, Assistant Principal, Dickerson Middle School
Tricia Alford, Administrative Assistant, Dickerson Middle School

Music Department
John Palmer, Director of Bands
Butch Sievers, Orchestra Director
Paige Dobbins, Choral Director
Irene Smith, Assistant Choral Director
Mike Back, Director of Bands, Walton High School
Jeff Pollock, Associate Director of Bands, Walton High School

Front Office Staff

Rita Janik, Secretary
Pat McGill, Bookkeeper
Ivy Foo, Clerk
Edwinna Musheno, Pupil Pers. Clerk
Kathren Inman, Media Specialist

2006 Percussive Arts Society International Convention – Austin, TX