Eastern Illinois University

The Keep

Undergraduate Honors Theses Honors College

2018

5th-12th Grade Concert Percussion Curriculum: A Detailed Guide

to Techniques and Resources for Non-Percussionist Music
Educators
Rodney Rote Jr.

Follow this and additional works at: https://thekeep.eiu.edu/honors_theses

Part of the Curriculum and Instruction Commons, Music Education Commons, and the Music
Pedagogy Commons
 51h 12th
Grade
Concert Percussion Curriculum
A detailed guid e to techniques and resources for non·percussionist music educators.

(TITLE)

DY
Rodney Rote, Jr.
····-----·--·- ·---- ---

UNDERGRADUATE THESIS

Submitted in partial fulfillment of the requirement for obtaining

UNDERGRADUATE DEPARTMENTAL HONORS

Department of Music al ong with the Honors College at

EASTERN ILLINOIS UNIVERSITY
Charleston, Illinois

2018

YEAR

I hereby recommend this thesis to be accepted as fulfilling the thesis requirement for
obtaining Undergraduate Departmental Honors

I�

o.,r�� t THESI ADVI 0

_Cti:-� I \� � 1_? _

Daie\··
 5th - 12th
Grade
Concert Percussion Curriculum

A detailed guide to techniques and resources for non­

percussionist music educators.

By Rodney Rote, Jr.

 Index

Introduction

Forward Page2

Application Page3

Skill Level Break Down Page4

Chapter1 Page5

Snare Drum

Chapter2 Page12

Keyboard Percussion

Chapter3 Page18

Accessory Percussion

Tambourine Page18

Triangle Page20

Bass Drum Page21

Cymbals Page22

Hand Drums Page23

Chapter4 Page26

Timpani

Chapter5 Page29

Percussion Ensemble

Closing Remarks Page32

1
 Introduction

Forward

Primary and secondary school band directors enrolled in a semester long percussion
methods course while pursuing their teaching degree. For most, only a semester of learning about
the broad world of percussion is not enough to be as proficient at teaching percussion, unless
percussion is their primary instrument.
Even more than other instrument families, percussionists are expected to learn techniques
on a much broader range of instruments. This includes a variety of drums, keyboard percussion,
and accessories. Because of this, it is easy for a developing percussionist to have deficiencies in
certain areas of percussion. It is understandable that a band director, whose primary instrument is
not percussion, would be less proficient in teaching percussion than someone who specializes in
percussion. A percussion methods class reduces approximately six-eight years of a
percussionist's musical training into a typical 15 to 16-week semester. Because of this, it is ideal
that schools hire a percussion specialist to teach lessons, and instruct the percussionists in the
school's band program. These specialists can be extremely helpful, when the funding is
available, but the music director being better trained in percussion will guarantee that
percussionists will receive a well-rounded education.
The purpose of this handbook is to provide music educators a user-friendly quick
reference guide for a 5th grade - 12th grade concert percussion curriculum. Included in this guide
are resources I recommend to be utilize to better educate percussionists to the best of their
ability. Each chapter separates major groups of percussion instruments that necessitate their own
techniques and requirements for proficiency. In each chapter, I will present chronological
outlines of essential techniques that should be taught to percussion students. The skill levels
should be regarded as general guidelines in order to assess a student's ability to determine where
they are in the sequence.

2
Suggested Application

As stated before, it is ideal that the schools band program hired an at least part-time
percussion instructor that can teach lessons and classes during and/or after school. What's
important is that the teacher is qualified to teach percussion to 5th_ 12th grade students. If there is a
college with a music department near by, there are likely several percussionists who are capable
of these duties. A good place to start is to contact either the department chair or the percussion
faculty of the college to see if they can recommend anyone for this position. One potential
drawback on hiring a college student is their schedule, so their availability could be limited to
weekends or evenings.
Another suggestion would be to have frequent sectionals/classes with the percussion
students, especially with beginning students. As a hypothetical, if a school has three lunch
periods that rotate different groups of students. Two out of three of these lunches are taken up by
class times. If the band rehearses during these lunch periods, a percussion sectional/class can be
worked out. While the band rehearses during the I st_2nd lunch period percussionists can have
lunch during the I st period and then join the band during the 2nd lunch period and then have the
percussion sectional/class during the 3rd lunch period. This is an ideal situation that ensures that
the director and/or percussion instructor can provide extra instruction to the percussionist in the
band.
Having this dedicated time to teach percussionists will help keep students engaged in the
music program during concert season. It is difficult for young percussionists to stay focused and
driven when they spend a majority of the concert season sitting in the back because of there
being limited parts that can challenge them. Giving these students something to do is essential.
Percussionists could become involved in a percussion ensemble as an after-school activity in
addition to the sectional/class times. This can be treated like any other extra ensemble in the
music program, but solely for percussionists or anyone interested in learning percussion. Starting
a percussion ensemble will offer an outlet for percussionists to apply and develop their abilities
while keeping their attention and enthusiasm.

3
Skill Level Break Down:

Throughout this handbook, I will give suggestions of repertoire, method books, and other
resources that are appropriate for these levels of skill. The purpose of this break down is to assess
a student's abilities and what standards they should be at. There will always be some variance,
but this should be used as a general guide.
:
•• Elementary

� This is the beginning level for a percussionist. Typically, this level includes students in
5th- ih grade. This, of course, is dependent on when a student began learning how to play
percussion.
:
•• Intermediate

� At this level, students typically had 1-2 years of percussion study and they are ready to
learn about new concepts that will prepare them for high school-level percussion playing.
Students at this level are typically in ih grade 1 oth grade. This is assuming that they
-

started playing in 5th -6th grade.

:
•• Intermediate/Advanced

� At this level, the student has been studying percussion for 3-4 years. Assuming that the
student has been playing since 5th-6th grade. Students at this level are typically
sophomores - seniors in high school.
:
•• Pre-College

� This level is reserved for students who demonstrate spectacular talent and who have the
potential, and drive, to achieve a high level of musicianship. This level should be
reserved for especially advanced and highly motivated students who intend on continuing
their percussion studies at the collegiate level and/or plan on auditioning for all state or
honor bands.

4
 Chapter 1

Snare Drum

The snare drum is an exceptionally standard part of of a percussionist's skill set. It is used
in concert, orchestral, and marching settings. This outline will focus specifically on what skills
and knowledge percussionists should have for this instrument. For each level, there will be
suggested snare drum rudiments that should be considered a benchmark for a student's playing
abilities. These rudiments are essential in both marching and concert snare drum styles and are
helpful for developing essential techniques. Each level has its own requirements and they are
broken down as:
! Elementary
••

� Snare drum concepts and skills that should be covered at this level are:
Rhythmic Reading: duple meter, simple time signatures, whole notes - 8th-notes.
•

6/8 and cut-time meters.

•

•
Primary Handbookfor Snare Drum, by Garwood Whaley
+ Page 1-25
•
Reading Exercises for Snare Drum, Book One, by Bob Tilles
+ Page 1-7
•
Teaching Rhythm, by Joel Rothman
+ Page 1-21
l 61h-notes, dotted rhythms
•

•
Teaching Rhythm, by Joel Rothman
+ Page 22-56
Triplets
•

•
Teaching Rhythm, by Joel Rothman
+ Page 57-64
Full Stroke (Rebound/Legato stroke)
•

•
This is a fundamental stroke that is applied to the snare drum. Most percussion
techniques on other instruments begin at the full stroke.
+ Modern School for Snare Drum, by Morris Goldenberg
� Page 3-5
+ Developing Dexterityfor Snare Drum, by Mitchell Peters
� Page 1-7
� Easy Drum Solos, by Joel Rothman
•
Page 1-5
•
The full stroke is used in several exercises and rudiments. Rudiments that expand
on the full stroke are:
+ Single stroke roll (alternating strokes)

5
 Single stroke 7's
+
+ Double strokes: slow to give emphasis on controlling the stick's bounce.
+ Paradiddles: start with single paradiddles (combination of single and double
strokes)
� Easy Drum Solos, by Joel Rothman
Page 1-7
•

� Developing Dexterityfor Snare Drum, by Mitchell Peters

Page 28
•

Roll Fundamentals
•

This concept should be introduced early because rolls can take a while for
•

students to fully develop. Introducing the multiple bounce roll (buzz roll) will
allow students to develop finger control that will equip them with the dexterity for
more advanced snare drum playing.
+ Developing Dexterityfor Snare Drum, by Mitchell Peters
� Page 8-1 0
Flams
•

Flams will introduce students to the concept of embellishments on the snare drum.
•

This concept is also applied to other percussion instruments.

+ Developing Dexterityfor Snare Drum, by Mitchell Peters
� Page 20-23
Dynamic Interpretation
•

Dynamic interpretation involves different uses of playing areas as well as stick

•

height on the snare drum.

+ Introduce and develop Down-Tap-Up full strokes for accent and dynamic
control.
� Developing Dexterityfor Snare Drum, by Mitchell Peters
Page 16-19
•

Solos and Etudes

•

Primary Handbookfor Snare Drum, by Garwood Whaley

•

+ Page 1 -1 8
Initium I, Jacques Delecluse
•

! Intermediate
••

� Snare drum concepts and skills that should be covered at this level are:
Rhythmic Reading: asymmetrical time signatures, further development of 1 6th notes
•

and dotted rhythms.

Reading Exercises for Snare Drum, Book One, by Bob Till es
•

+ Page 65-76
•
Primary Handbookfor Snare Drum, by Garwood Whaley
+ Page 22-30
•
Teaching Rhythm, Joel Rothman
+Page 77-80
� Roll Development
•
Metered and Unmetered concert/buzz rolls
•
Developing Dexterityfor Snare Drum, by Mitchell Peters

6
 + Page 1 1 -1 5
•
Primary Handbookfor Snare Drum, by Garwood Whaley
+ Page 32-40
• The Snare Drum in the Concert Hall, by Al Payson
+Page 4-8
� Recommended Rudiments:
• Double Stroke Roll
• 5 Stroke Roll
• 9 Stroke Roll
• 17 Stroke Roll
• Single Stroke 7
• Paradiddles (Single, double, and triple)
� Embellishments
• Flams
•
Suggested Rudiments
+ Flam Accent
+ Flam Tap
+ Flam Paradiddle
•
Developing Dexterityfor the Snare Drum, by Mitchell Peters
+ Page 24-25
•
The Snare Drum in the Concert Hall, by Al Payson
+ Page 30-31
• Ruffs/Drags
•
Suggested Rudiments
+ Drags: alternating hands
+ Single Drag Tap
+ Lesson 25
+ Single Ratamacue
•
The Snare Drum in the Concert Hall, Al Payson
+ Page 34-35
! Intermediate/Advanced
••

� Snare drum concepts and skills that should be covered at this level are:
Advanced rhythmic reading: asymmetrical time signatures, syncopation, metric
•

modulation.
Reading Exercises for Snare Drum, Book Two, by Bob Tilles
•

+ Page 15-32
The Snare Drum in the Concert Hall, by Al Payson
•

+ Page 46-63
� Roll Development
Suggested Rudiments:
•

Double Stroke Roll

•

7
 + 6 Stroke Roll
+ 7 Stroke Roll
+ 13 Stroke Roll
+ 15 Stroke Roll
•
The Snare Drum in the Concert Hall, Al Payson
•
Page 9-16
•
Developing Dexterityfor Snare Drum, by Mitchell Peters
•
Page 43-48
>-- Embellishments
• Flams
+ Flamacue
+ Flammed Mill
+ Patafla-fla
+ Swiss Army Triplet
+ Flam Drag
•
The Snare Drum in the Concert Hall, by Al Payson
+ Page 32-33
•
Ruff/drags
• Suggested Rudiments:
+ Double Drag Tap
+ Single Dragadiddle
+ Drag Paradiddle # 1 &#2
+ Double Ratamacue
+ Triple Ratamacue
•
Developing Dexterityfor the Snare Drum, by Mitchell Peters
+ Page 43-48
• The Snare Drum in the Concert Hall, by Al Payson
+ Page 36-41
Reading Exercises for Snare Drum, Book Two, by Bob Tilles
•

+ Page 4-1 4
>-- Solos & Etudes
Intermediate Snare Studies, by Mitchell Peters
•

Etude 1-13
•

Portraits in Rhythm, by Anthony Cirone

•

Etude 1-10
•

All-American Drummer, Charley Wilcoxon

•

Etude 1-20
•

! Pre-College
••

>-- At this level, students should have substantial awareness of technique and ideas of
interpretations on the snare drum. Further development of everything mention above is
always encouraged. This can be done by the use of solos and etudes. Always bring back
the fundamentals if a student has a weakness in specific areas.
>-- For this level, it is ideal that students could perform of a good number of the 40
Percussive Arts Society (PAS) essential snare drum rudiments; but at least competent in
the foundational rudiments such as:

8
 •Buzz roll
•Double stroke
•Flams (Both hands)
•Drags (Both hands)
� Solos & Etudes
•
Intermediate Snare Studies, by Mitchell Peters
• Etude 1 4-32
•
Portraits in Rhythm, by Anthony Cirone
• Etude 22-38
•
All-American Drummer, Charley Wilcoxon
• Etude 50-80

!
•• Resource list:
•
This is a list of primary resources that were suggested in the curriculum. I strongly
suggest utilizing and familiarizing these resources because they are considered
standards in percussion pedagogy. The sections I cited for specific situations can
prove to be valuable assets for lessons.
!
•• Vicfirth.com
� This website has a couple resources that provide excellent instruction for the snare drum.
• Percussion 1 01 : Concert Snare:
• The first page provide video demonstrations provided by David Skidmore, a
member of the Grammy winning Chicago based percussion quartet, Third Coast
Percussion.
• http://vicfirth.com/percussion-10 I-concert-snare/
•
40 Essential Rudiments:
• This page provides a list of all the essential rudiments mentioned above. There are
also play along tracks, broken down by level, that could be used for group and
private lessons.
• http://vicfirth.com/40-essential-rudiments/
!
•• Basic Drum Book, by William J. Schinstine and Fred A. Hoey
� Basic Drum Book is a workbook for an in-depth study of snare drum literature. It includes
illustrations of the basic set up for snare drum playing and detailed instruction and
exercises on essential skills for snare drum playing. Additionally, it includes a thorough
explanations of common musical terms/notation the student will need to learn.
!
•• Easy Drum Solos to Develop Technique, by Joel Rotheman
� Easy Drum Solos provides an outlet, for beginning students, to apply the techniques they
are learning through short and repetitive solos. These solos can be assigned to students in
order to motivate them to hone their abilities.
!
•• Rhythmic Technique, by Joel Rothman
� Rhythmic Technique is an in-depth study of rhythms that also challenge the student's
dexterity. Each section is broken down by rhythmic concepts such as triplets and 1 61h
notes and syncopation. Additionally, each rhythmic exercise includes different sticking's
that will help develop the student's hands. These exercises can be used as warm ups and
while the rhythms wouldn't be necessarily hard for a more advanced student, but it's a

9
 good idea to use the different sticking's the book recommends for each exercise to
increase a student's hand dexterity.
!
•• Primary Handbookfor Snare Drum, by Garwood Whaley
� Primary Hand Book is a progressive study of rhythmic reading and technique
development on the snare drum. In addition to these exercises, Primary Handbook
includes exercises that involve repetition, rudiments, and reading. Each page includes
exercises that can be assigned to students for preparing for lessons, group and private.
!
•• Modern School for Snare Drum, With a guide Bookfor the Artist Percussionist, by
Morris Goldenberg.
� Goldenberg's Modern Schoo/for Snare Drum is much like his addition of Modern School
for Xylophone, Marimba, Vibraphone, it is a very valuable resource that provides a clear
progression in fundamental skills in snare drum playing. Not only that, but it also
includes a guide to accessory percussion that provide substantial instruction on technique
for many other instruments that the students will be required to know how to play later on
in their studies.
•
There are also orchestral excerpts that a highly developed student may eventually
study for auditions. The excerpts included are very standard for percussionists at
honor band and all state band auditions.
!
•• Prof(ressive Steps to Syncopation for the Modern Drummer, by Tim Reed
� Progressive Steps to Syncopation for the Modern Drummer addresses in depth rhythmic
reading. It provides rhythmic exercises that progress in difficulty while illustrating the
quarter note, showing the relationship between the rhythms and the pulse/tempo that
holds it all together. These exercises can be used throughout the student's development
from middle school through high school because it includes all rhythmic ideas that are
essential to percussion playing as well as syncopated rhythms.
!
•• Initium I-III, by Jacques Delecluse
� Initium is a 4 volume series of snare drum etudes that cover basic through advanced
rhythms as well as asymmetrical time signatures. Each volume gets progressively more
advance, so it is recommended that each volume be reserved for:
• Initium I: Elementary
• Initium II: Intermediate-Intermediate/Advanced
•
Initium Ill: Intermediate/Advanced-Pre College
!
•• Snare Drum in the Concert Hall, All Payson
� Payson dives even deeper in concepts for advanced concert snare playing. He provides
detailed explanations on common challenges percussionists face. While this book
includes very important information, it gets pretty dense for a younger student who has
not fully grasped these concepts already. It would be a great resource for older students
who are ready for a more in-depth look into snare drum playing with exercises and
etudes.
!
•• Intermediate Snare Drum Studies, by Mitchell Peters
� Intermediate Snare Studies is a collection of etudes that apply skills of a snare drummer
that are appropriate for a college freshman, or a senior in high school if the student is
capable. This book can prepare the students for the level they would need to be at if they
plan on auditioning for a collegiate music program.

10
!
•• Portraits in Rhythm, by Anthony J. Cirone
>- Like Intermediate Snare Drum Studies, Portraits in Rhythm provides a collection of
etudes that apply skills a percussion student has developed extensively. Each etude has a
brief explanation for the challenges each etude provides. Etudes from Portraits are often
used in honor band and all state band auditions and also appropriate in auditions for
admission into a music school. This book is highly recommended for students who need
more of a challenge in order to prepare them for playing at that level.
!
•• The All-American Drummer, by Charley Wilcoxon
>- American Drummer provides a collection of snare drum etudes written in rudimental
snare drum style. There are distinct differences between concert snare drum literature and
rudimental snare drum literature; All-American Drummer exposes percussion students to
this style of playing that can be useful in concert pieces that are marches, or marching
drumline. The solos are progressive in difficulty; starting short and eventually get longer.
These will give students a reason to apply the snare drum rudiments they learned in
lessons. It even gives suggested sticking's and labels a rudiment when it is written in the
music. So it will help reinforce a student's knowledge of rudiments. This book's
difficulty increases significantly towards end of it, so students who exceled at rudimental
snare playing may be able to play most of these solos. But for other students, it would be
a great resource to assign solos to students who are ready to begin playing in this style.
!
•• Additional Recommended Material
>- Reading Exercises for Snare Drum, Book One, by Bob Tilles
>- Reading Exercises for Snare Drum, Book Two, by Bob Tilles
>- Easy Drum Solos, by Joel Rothman
>- Teaching Rhythm, by Joel Rothman
>- Developing Dexterityfor Snare Drum, by Mitchell Peters

11
 Chapter 2

Keyboard Percussion

Like the snare drum, keyboard percussion is an essential part of a percussionist's

regimen. While learning how to play rhythms on the snare drum, it is highly recommended that
students learn how to read pitched music too. Introducing both simultaneously will guarantee a
percussionist's well-roundedness on all of the instruments. It is far too common that
percussionist's do not learn how to read pitched music until later in their studies. This will lead
to deficiencies and not being able to read keyboard percussion music. Instead, they should be
learning how to read music the same way any other wind player would be learning it, learning to
read rhythms and pitch simultaneously.
!
• • Elementary

� This is the level where students are introduced to all keyboard percussion instruments
some instruments are used more often such as: marimba, xylophone, glockenspiel/bells,
and vibraphone. There are similar instruments but these 4 instruments are the core of
keyboard percussion.
� At this level, students should begin learning how to read a staff, treble clef, and what note
is which bar on the keyboard. This process should coincide with the rhythms learned
during the snare drum portion of the student's curriculum.
� Students should start learning key signatures and scale exercises. At this level, it would
be recommended that students know major keys with up to three sharps and flats.
� Essential skills/knowledge for beginner keyboard percussion studies:
• Knowledge:
• Identify different keyboard percussion instruments
• Major scales with up to three sharps and flats
• Mallet choices
• Two mallet playing:
• Mallet grip
• Stance/Posture
• Playing spots
• Alternate sticking
• Full strokes
• Double stops
• Coordination
• Stepwise melodic playing
+ Tunes for Mallet Percussion Technique Level One, by Saul Feldstein

12
:
•• Intermediate
� Students should have a basic understanding on how the note staff works; it should really
start being mostly second nature. Further development of pitched music reading should
coincide with rhythmic studies part of the student's snare drum study. Additionally,
students should begin reading ledger lines, both under and above the staff.
� Further development in key signatures and scale exercises. Students should learn key
signatures that have up to 5 sharps and flats.
� Essential skill knowledge for intermediate keyboard percussion studies:
• Knowledge:
• Major scales with up to 5 sharps and flats
+ Relative natural minor scales (Up to 5 sharps and flats)
• Major triads
• Chromatic Reading
• Two mallet playing:
• Alternative sticking
• Stepwise and non-stepwise melodic playing
+ Arpeggio study's and exercises
• Dynamic control
+ Mallet height
• Double stops
• Rolls
+ Single stroke roll
• Solos:
+ Tunes for Mallet Percussion Technique Level Two, by Saul Feldstein
� Page 1-10
• Vibraphone playing:
• Dampening concepts
+ Art of Vibraphone Playing, Buyer & Gottry
� Page 1 5-20
:
•• Intermediate/Advanced
� At this point, students should be competent in identifying notes on the staff in both treble
clef and bass clef (due to timpani study). Rhythmic studies should continue to coincide
with their snare drum studies. This stage in percussion studies would be good to
introduce the fundamentals of 4 mallet playing if the student has the desire to learn, and if
it is needed.
� Further development to scale studies. Students should generally begin to becoming
comfortable with all major scales and can continue learning relative minor keys.
� Essential skills/knowledge for intermediate/advanced mallet studies:
• Knowledge:
• All major keys and scales along with relative minors.
• Major and minor triads
+ Arpeggios
• Major and Minor ih chords
+ Arpeggios
• Chromaticism

13
 • 2-mallet playing
• Arpeggios
• Multi-octave scales
• Double stop coordination
• Solos:
+ by Saul Feldstein
Tunes for Mallet Percussion Technique Level Two,
� Pages 1 1-32
+ Style Studies, by John Bergamo
� Pages 1-6
• 4-mallet playing
• Grip:
+ Stevens or cross/traditional grip
• Chords
+ Major and minor triads and 7th•s
+ Technique Through Music, by Mark Ford (page 7)
• Basic stroke concepts
+ Double Vertical Strokes
� Technique Through Music, by Mark Ford (page 34)
• Montecristo (page 42)
+ Single independent strokes
� Technique Through Music, by Mark Ford (page 8)
• Fry (page 1 0)
• Oakland (page 12)
+ Single alternating strokes
� Technique Through Music, by Mark Ford (page 1 4)
• Manhattan (page 1 6)
• Vibraphone Playing:
+ Art of Vibraphone Playing, Buyer & Gottry
� Lesson No. 11 (page 22)
� Weightless (page 23)
+ Funny Mallets, by N. J. Zivkovic
� Andante
� Sommerlied/ Summersong
!
• • Pre-College
� Students at this level should be very competent in reading music, they should not have
any trouble identifying notes and rhythms. Students should especially begin working on
solo literature for both 2-mallet and 4-mallet playing. 4-mallet playing should be
introduced, and/or developed beyond introductory level.
� Major and natural minor scales should be fully realized by this point, constant reminders
and use of exercises will solidify the student's knowledge.
� Solo literature and etudes will be used to develop musical interpretation and musicality.
• Phrasing
• Expression
� Essential skills/knowledge for pre-college mallet studies:
• Knowledge:

14
 • All major and natural minor scales
•
Major and minor triads
• Major and Minor ih chords
• Chromaticism
• 2-mallet playing
• Solos:
+ Well- Tempered Mallet Studies, Dale Anderson
� Etude 1 -7
•
4-mallet playing
• Stroke concepts
+ Technique Through Music,by Mark Ford
Single alternating Strokes:
�
Bonnie Brae (page 19)
•

� Double Vertical Strokes:

Kain (page 36)
•

Tucker (page 38)

•

� Double Lateral Strokes (page 22)

White Hollow (page 26)
•

Green Run (page 30)

•

� Rolls/Chorales
Technique Through Music, by Mark Ford
•

Page 44-4 7.
•

+ Solos:
� Image, by Bart Quartier
• From the Cradle
� Yellow After the Rain, Mitchell Peters
• Vibraphone Playing
+ 2-mallet Playing
Buyer & Gottry
� Art of Vibraphone Playing,
•
(page 24)
Lullaby
Waltz (page 25)
•

Lesson No. 12 (page 28)

•

+ Funny Mallets, by N. J. Zivkovic

• Ragtimefor Joe
+ 4-mallet Playing
� Art of Vibraphone Playing, Buyer & Gottry (page 29-37)
•
Prelude (page 40-41)
•
Erinnerungen/ Memories
• Walzer/ Waltz
!
•• Resource list:
•
This is a list of resources and method books that were mentioned in the curriculum. I
strongly suggest utilizing these resources because they are considered for standards in
percussion pedagogy. The sections I cited for specific situations can be found in them
and can prove to be valuable assets for lessons.

15
!
•• Modern School for Xylophone, Marimba, Vibraphone, by Morris Goldenberg.
Y Goldenberg's Modern School for Xylophone, Marimba, Vibraphone is a highly valuable
resource for young percussionist. It is suitable for percussionists 61h-12th grade. This book
covers fundamentals that will prepare students for mallet playing at a high school level as
well as playing at the collegiate level. Additionally, the etudes and orchestral excerpts
included in Modern School for Xylophone, Marimba, Vibraphone are part of the audition
repertoire for Illinois Allstate Band.
•
Topics covered in this book:
• Theory Fundamentals
• Rolls
• Scale Studies
• Melody Studies
• Rhythmic Studies
• Etudes
• Excerpts form standard orchestral works
Y Modern School for Xylophone, Marimba, Vibraphone has an excellent reference for two
mallet playing. Students gain a substantial amount of the foundations needed for playing
mallet instruments.
!
•• Tunes for Mallet Percussion Technique Level One & Two, by Saul Feldstein
Y Tune for Mallet Percussion Technique is a collection of melodies and quick etudes that
provide applicable material for the student working to better their mallet playing. These
solos can be played on any mallet instrument available. The solos also feature common
melodies that the student may recognize; so this could keep the student engaged and
interested in their mallet study because they are playing more than just scales and
exercises. It is recommended that level one be used for beginning mallet percussionist,
and to use volume two to expand from. This is suitable for middle school percussionist.
!
•• The Art of Vibraphone Playing, by Paul Buyer & Josh Gottry
Y Like Modern School for Xylophone, Marimba, Vibraphone, The Art of Vibraphone
Playing is an excellent book for the fundamentals of vibraphone playing. It breaks down
each technique for the instrument specifically. There are short etudes that include
techniques introduced throughout the book. This would be a good book to use for
intermediate percussionists; vibraphones are more commonly used in high school or late
middle school, depending on the facilities.
!
•• Funny Mallet Series, Funny Vibraphone Book I, by Nebojsa Jovan Zivkovic
Y Funny Mallets, is a collection of 4 mallet vibraphone solos that expand on the techniques
discussed in The Art of Vibraphone Playing. These solos are suitable for high school
percussionists who want to learn a vibraphone solo. Some etudes can be considered
beyond the level of a high school percussionists, but the earlier etudes can be used.
!
•• Marimba: Technique Through Music, A Collection of Etudes Designed to Develop
Technique for the Intermediate Four-Mallet Marimbist, by Mark Ford
Y Recommended Usage: Technique Through Music is organized in different sections for
beginning techniques that are essential in four-mallet playing. It s a collection of solos
'

that feature techniques utilized by a marimba player. Mark Ford provides clear
descriptions of the techniques used, and even demonstrates them in a DVD that comes
with the book. Typically, a percussion student will not need to learn four mallets until
their junior-senior year of high school or even their first year of college. This suggestion

16
 is with the intention that the student is wanting to learn how to play four mallet
percussion. This book is great for a student who is especially a visual learner. It would be
great for a student who doesn't have a private percussion instructor available all of
the time.
•
Side Note: It is highly recommended that if a student wants to learn 4-mallet marimba
playing that they learn the technique from a percussionist that is proficient with the
technique. Four mallet marimba playing is easy to do incorrectly and having a
teacher, who is proficient, show them proper technique so the student does not risk
injury by learning the technique improperly.
!
•• Additional Resources
� Tunesfor Mallet Percussion Technique Level One, by Saul Feldstein
� Tunes for Mallet Percussion Technique Level Two, by Saul Feldstein
� Style Studies, by John Bergamo
� Well- Tempered Mallet Studies, Dale Anderson
� Image, by Bart Quartier

17
 Chapter 3

Accessory Percussion

There are several instruments that are considered percussion accessories. Some are used
far more often than some, and some are far less common. The four commonly used accessories
are the following: tambourine, triangle, bass drum, and crash cymbals. For the purpose of this
handbook, I will include explanations and resources for techniques and context of these
instruments.

Tambourine

This handbook discusses tambourines with membrane heads:

The tambourine is considered one of the more technically demanding percussion
accessories. There is a lot to consider when playing this instrument such as beating spots,
dynamic control, and rolls. The techniques to consider depend on the musical context. This
determines where the tambourine will be struck, what part of the hand will strike it, whether a
shake roll of finger roll is appropriate, and what position the tambourine will be in.
There are several different materials that a tambourine can be made of. Instrument
companies like Black Swamp Percussion and Grover Percussion offer several exceptional
options and explanations of their tambourines. The following is an explanation of the material a
tambourine is made of and what is recommended for a school level:
For all levels, tambourine shells are generally made from solid pieces of hardwood. The
shell should be a perfect circle and should not have any cracks in it. The standard diameter of a
shell is I 0 inches and can come in depths with a single row and doubled row jingles.
Tambourine heads are either calf skin or synthetic. Calf skin heads can be affected by weather
conditions; this could result in them becoming damaged to the point that they are then unusable.
Due to this, I would recommend owning a tambourine with a synthetic head because of its low
maintenance and durability. There are three different metals used for making tambourine

jingles. These are German Silver, Beryllium Copper, and Phosphor Bronze. German Silver is the
brightest sounding whereas Phosphor Bronze sounds darkest, and Beryllium Copper is the
middle ground.

18
 For middle school, owning one general tambourine is ideal. I would recommend owning
a tambourine that has single rowed jingles for younger students with smaller hands. Then, if
possible, owning a tambourine with double rowed jingles for older students. I would recommend
a less expensive tambourine for younger students to learn on and then use a tambourine made by
Black Swamp Percussion and Grover Percussion for the older students.
For high school, having two tambourines made of different material should suffice.
What the differing material should be is what the jingles are made of. If it is only possible to get
one tambourine from Black Swamp or Grover, then I would recommend getting one with
Beryllium Copper Jingles because this is the sweet spot between bright and dark sounding
jingles. If it is possible to purchase two tambourines, then one made with German Silver, and
Phosphor Bronze jingles is best to provide options for contrasting sounds.
As previously mentioned, the tambourine is considered an especially technical percussion
accessory. The primary book I am recommending is Percussion Accessories Vol. 1, by Todd
Meehan because it provides in-depth explanations and sequences on tambourine playing that can
model a lesson plan. The following is a break down of techniques each level should be
accustomed with:

!
•• Elementary
� Positioning and Grip
• Grip
•
Chest Level, 45-degree angle:
• Hand Position
• Bird beak formation
•
Percussion Accessories Vol. 1, Todd Meehan
•Page 12-13
� Stroke
• Arm Stroke
• Wrist Stroke
•Percussion Accessories Vol. 1, by Todd Meehan
+ Page 15-17
� Rhythmic Playing
• Playing with one hand
•
Playing with two hands
� Rolls
• Shake Roll
•
Percussion Accessories Vol. 1, by Todd Meehan
+ Page 21-23

19
!
•• Intermediate
);;>- Reinforcing previous concepts
);;>- Playing fast rhythms between hand and knee
•
Percussion Accessories Vol. 1, by Todd Meehan
•Page 30-31
);;>- Exercises I Etudes
•
Percussion Accessories Vol. 1, by Todd Meehan
•Page 70-71
!
•• Intermediate/Advanced - Pre-College
� Expanding on previous concepts of technique.
� Finger rolls
Percussion Accessories Vol. 1, by Todd Meehan
•

Page 34-37
•

� Understanding that jingles made out of different material provide variance in the
tambourine's brightness and darkness.

Triangle

The triangle is another percussion accessory that is technically demanding. There are
several different sounds a triangle can make and a lot of that depends on the size of the triangle,
what the triangle is made out of, and what type of beater is being used. Other than that, triangle
playing is a relatively straightforward process.
What percussionists should know about the triangle is that the sound is created by
striking the triangle and causing the entire instrument to vibrate. So, it should be clarified that the
triangle should be suspended where it wont lose its resonance. This is typically done by
constructing a triangle clip using fishing line for suspension. These can be purchased from
websites like Steveweiss.com, or lonestarpercusssion.com. Or you can make your own using
clips from hardware stores; this is a cheaper option. As mentioned before, triangle techniques are
straightforward. The following will be a simple break down of techniques and concepts that
should be established for playing this instrument.

!
•• Beginner
� Establish standard playing conventions
•
Open comer of the triangle should be on the side of the elbow of the arm holding the
triangle clip. Closed comer should be facing the side that the hand holding the
triangle beater.
•
Holding the triangle beater at the bottom inside of the triangle at a 45° angle.
• This ensures the greatest amount of overtones being produced by the triangle,
which is desirable.
•
Striking between the center and the closed comer of the triangle.

20
 � Percussion 1 01 - Vic Firth
• http://vicfirth.com/percussion-1 0 I-triangle/
!
•• Intermediate
� Reinforcing playing conventions.
� Rolling
� Rhythmic playing
� Muffling
!
•• Intermediate/Advanced
� Expanding on playing conventions
•Mounting a triangle
•
Playing with two beaters
•Beater choice
� Etude/Exercises
• Percussion Accessories Vol. 1, by Todd Meehan
•
Page 78-84

Bass Drum

The bass drum is another common accessory percussionist use in auxiliary parts of a
piece. Overall, it's very similar, technique-wise, to playing drums in general. There's just more
to think about in regards to beating area, muffling, and mallet choice. There isn't really a need to
break down techniques in regards to skill level. Instead, here's an outline of concepts that should
be established in order:

! Set up
••

� Bass Drum is next to player, typically on the left, so it is opposite of the hand the student
will be holding the bass drum mallet in
� Towel dampening
! Proper beating area
••

� For general sound, just off center of the bass drum's head
� For more staccato/accented sound, center of the bass drum's head
� For Rolls
•Two mallets, of the same size and hardness, held in each hand.
•
Played as a single stroke roll on the edges of the bass drum's head.
+ Slower strokes for quieter rolls
+ Faster strokes for louder rolls.
! Muffling
••

� Towel in opposite hand.

! All these concepts are covered in these resources:
••

� Vic Firth, Percussion 101

• http://vicfirth.com/percussionlOl-concert-bass-drum/
� Modern School for Snare Drum with a Guide bookfor the Artist Percussionist, by Morris
Goldenberg.

21
 Cymbals
Cymbals are an essential instrument in percussion. Cymbals can be applied as either
crash cymbals, or suspended cymbals. Both playing situations require knowledge in order to
make an effective decision on cymbal types, and mallet choices. Like the bass drum, a skill
leveled break down is not necessary. Instead there will be an outline of concepts and technique
conventions.

!
•• Crash Cymbals
� Cymbal Type
•
There are three common types of crash cymbal and each of them produce varying
timbres that are suitable for different musical situations. Different sizes can impact
the sounds they make too. As a general rule, bigger cymbals are usually darker and
have a thicker ring to them, while smaller cymbals are more bright and sound more
thin.
• French:
+ French cymbals are made thinner. This gives them a brighter, splashier sound
that are good for situations where a less impactful crash is desired.
• Germanic:
+ Germanic cymbals are thicker. This makes them sound a lot darker and
impactful. When these cymbals are played, it produces more of an attack and
less splashy quality than thinner cymbals.
• Viennese:
+Viennese cymbals are the sort of in-between, in regards to thickness, of
French and Germanic cymbals. These are probably the most versatile and
general cymbals that can be used in most situation.
� Techniques
•
There are several ways to play crash cymbals that produce similar results. For middle
school through high school, it is recommended that all students at this stage play the
same way. Methods of playing can be left up to the instructor as long as everyone is
on the same page and can produce the sounds while avoiding air pockets. The
following is the order of techniques that should
•Loud Crashes
+ Avoiding air pockets
+ Angle of attack/contact
•Soft Crashes
+ Avoiding air pockets.
•Muffling Techniques
� http://vicfirth.com/percussion-101-concert-crash-cym bals/
!
•• Suspended Cymbals
� What generally needs to be known about the suspended cymbal is that they are used in
musical settings that usually require a roll to sustain the cymbal sound Depending on
what the composer specifies, this can be done with softer marimba mallets on a cymbal

22
 that is not as thick as a ride cymbal but not to small like a splash cymbal. Concepts that
need to be covered are:
• Mallet selection
• Cymbal selection
• Rolls
• Muffling
).... http://vicfirth.com/pcrcussion-10 I-suspended-cymbal/

Hand Drums:

The following instruments are non-western percussion instruments. Often times they

aren·t needed for concert band literature. but there are still pieces that call for them. Typically.

these instruments wont be used in their traditional setting in a concert band, but it is still

important that students know about proper technique and how to make the right sounds on these

instruments. I highly recommend including historic and cultural background in lessons on these

drums.

Congas

•:• Basic hand techniques

"r Open Tone
• This is the simplest noise to make while playing a conga drum. It is done by striking
the edge of the drum with your hand then lifting the fingers off the drum lo create a
more open and full sound.
Step One
Proper Pl.cement
Hand Placement
Step 2
Striking the Drum
Lifting the F'lngen

23
 ,. Bass Tone
•
This is done by dropping the full, flat hand the center of the conga drum with the
palm of your hand . The bass tone is the deader. muffled sound you can make on a
conga drum.
Step One Step Two
Proper Hand Prep
Striking the Drum

lap
•
Slaps are the trickiest to completely master. It's done similarly as the open tone where
you strike the edge of the drum. but you cup your hand slightly while the other hand
is resting on the drum head so it will create a sharp. dry tone.
Step One Step 1\vo
Propper Hand Prep Striking the Orum

' Heel Finger

•
Heel finger is used in more advanced playin g. It might not be needed to play in a
concert setting. Essentially. this begins by striking the conga as if you·re play ing a
bass tone and then a flat handed slap. This is done in two separate motions where you
strike your full, flat hand on the center of the drum then lifting up the fingers to strike
in the same posit ion .
·:· Resources:
..
,.
..
Beginning Conga Drum Technique DVD. by Michael Spiro
;.. CongaMasterClass.com

24
 � https://www.youtube.com/watch?v=Jodz2hUIYTg
•
youtube.com: "Learn to Play Conga Drums: 7 basic Sounds for Beginners"
•
This is an excellent video lesson that is taught by a very accomplished conga
player. One potential drawback is that the video is about to 40 minutes long and
he includes more techniques than the techniques mentioned above. Other than
that, his explanations are thorough and he provides excellent demonstrations
which is essential for learning these techniques instead of just reading about them.
� Afro-Cuban Drumming: a comprehensive guide to traditional & contemporary styles, by
Glen Caruba.

Bongos
Bongos are similar to congas but at a much smaller scale. Sounds that are made on the
bongos are somewhat similar to the sounds made on the congas. The difference with bongos is
that they are playing with a much smaller part of your hands. They are essentially mainly played
with the tips of your fingers instead of your whole hand. The following is a list of resources that
demonstrate bongo playing and background of the instrument.
!
•• https://www.youtube.com/watch?v=TtoiC5qvqDO
� Youtube.com: Basic Bongos for Beginners
•
This is an 1 1 -minute video where the instructor is explaining the instrument and
demonstrates proper technique for playing with your hands.

25
 Chapter 4

Timpani

The timpani are some of the oldest instrument percussionists have used in a
classical/concert setting. There is also a significant amount of solos, and percussion ensemble
literature that utilizes the timpani's traditional and extended technique. What makes the timpani
different from other percussion instruments is that there are different stroke concepts for
articulation and a significant amount of aural skills needed in timpani playing.
!
• • Elementary
� The first thing that needs to be understood is how to match pitch to tune the timpani.
•
At this level, it is recommended that students gain the ability to match pitch with their
voice. This will help develop their aural skills that will help them in their further
studies.
•
The next step is matching pitch, then sing the same pitch and tune the drum to that
pitch.
•
Other aural skills that are necessary at this stage is recognizing intervals: recognizing
perfect 4ths and perfect 5ths are should be understood.
•
Fundamental Method for Timpani, by Mitchell Peters
+ Page 25-27
•
Depending on the timpani available, tuning gauges could be very helpful tools for
tuning. But students should realize that timpani can go out of tune because of
weather and other reasons, so the gauges shouldn't be relied on too much.
� Typically, percussionists at this level will not have to read bass clef when playing mallet
percussion. However, timpani music is written in bass clef so students should learn how
to read it.
� Depending on what technique the educator learned, or prefers, students should learn how
to hold timpani mallets.
•
There are three major grips for timpani mallets: French, German, and American.
•
American Grip:
+ The American grip is essentially the same as the grip used when playing snare
drum.
� Techniques to master at this level:
• Establishing playing areas/position
•
Fundamental Method for Timpani, by Mitchell Peters
+ Page 1 8-19
• Legato stroke
•
Fundamental Method for Timpani, by Mitchell Peters
+ Page 32-36
• Establishing p-f dynamic playing
•
Fundamental Method for Timpani, by Mitchell Peters

26
 • 52-53
• Introduce rolls
•
Fundamental Method for Timpani, by Mitchell Peters
+ Page 87-91
• Basic dampening concepts
•
Fundamental Method for Timpani, by Mitchell Peters
+ Page 60-62
:
•• Intermediate
� At this level, students should be able to confidently match pitch and tune the timpani
accordingly.
•
This is also a point to introduce tuning the timpani with an A440 tuning fork.
•
Some necessary intervals that students should start recognizing M2's, m2's, and
M3rds in addition to P4's and P5's
� Students should begin learning the context staccato stroke
•
Fundamental Method for Timpani, by Mitchell Peters
+ Page 78-84
•
Exercises, Etudes and Solos for the Timpani, by Raynor Carroll
+ Page 33-38
� Muting the timpani should also be developed further
� Roll speeds and dynamics should be further developed
� Shift drumming: 3-4 drum technique
• Fundamental Method for Timpani, by Mitchell Peters
•
Page 94-95
• Exercises, Etudes and Solos for the Timpani, by Raynor Carroll
•
Page 45-48
:
•• Intermediate/Advanced
� Aural Skills
• Be able to recognize P4's, P5's, M3rd's, m3rd's, M2's, m2's and octaves.
•
Fundamental Method for Timpani, by Mitchell Peters
+ Page 25-29
� Grip
• French Grip
•
Fundamental Method for Timpani, by Mitchell Peters
+ Page 1 6-1 7
� Cross sticking should be introduced to further develop 3-4 drum technique as well as shift
drumming.
•
Fundamental Method for Timpani, by Mitchell Peters
+ Page 94-1 00
� Students should begin to understand when to use different stroke types.
•
Switching between staccato and legato strokes seamlessly should start to develop for
situation that involve: Subito Piano, and or Subito Forte
•
Fundamental Method for Timpani, by Mitchell Peters
+ Page 84
� Quick tuning changes should start to be implemented.

27
 •
Use of tuning gauges, if available, is recommended. But sometimes they are not
available or reliable so students should learn ways to change the tuning without using
gauges.
•Fundamental Method for Timpani, by Mitchell Peters
+ Page 66-70
� Solos and Etudes
•
Fundamental Method for Timpani, by Mitchell Peters
•Page 169-200
•
Exercises, Etudes and Solos for the Timpani, by Raynor Carroll
•Page 127-142
!
• • Pre-College
•
Aural Skills
•Be able to recognize all previous intervals in addition to M6's and m6's
•
Drum coordination is further developed. Implementing both cross sticking and shift
drumming.
+ Fundamental Method for Timpani, by Mitchell Peters
� Page 94-104
•
Quick tuning changes and glissandi should be established.
+ Fundamental Method for Timpani, by Mitchell Peters
� Page 66-70
� Page 127-129
� Solo and Etudes
•
The Solo Timpanist, by Vic Firth
•Page 4-25
•
Exercises, Etudes and Solos for the Timpani, by Raynor Carrol.
•Page 29-43
!
• • Resources
� Fundamental Method for Timpani, by Mitchell Peters
� Exercises, Etudes and Solos for the Timpani, by Raynor Carroll
>-- The Solo Timpanist, by Vic Firth

28
 Chapter 5

Percussion Ensemble
I strongly recommend that band programs start a percussion ensemble as an
extracurricular. They can be offered to percussionists and those who would like to play
percussion. Percussion ensembles provide an ensemble experience that would be much more
engaging than wind ensembles. Percussionists can be underwhelmed by concert band literature
due to lack of parts, or a lot to do in a wind band piece. This is a way that can eliminate that
boredom among percussion students because a percussion ensemble gives students an outlet to
practice their technique and strengthen their ensemble playing abilities.

!
•• Ten Elementary Percussion Ensembles, by Donald Abbe: Beginner - middle school
� Ten pieces' percussion trios: various instruments non-pitched
•
This is a collection of non-pitched percussion trios that introduce chamber music to
beginning students. These pieces can be conducted if needed since students at this
stage are likely in need of someone to lead their performance.

!
•• Odd Duck, by Brian Slawson: Beginner/Intermediate - late middle school/early high
school
� Pitched and non-pitched percussion quartet: 2 Marimba Players (Shared),
Xylophone/Glock Player, Aux Percussion (Temple Blocks and Triangle)
•
This piece is a fun and simple quartet that is melodic and repetitive. The melodies are
fun and each player gets a brief solo that can encourage students to play out and
confidently. Odd Duck is in 5/8 so it can introduce students to asymmetrical time
signatures. This can be performed with, or without a conductor if the players are
competent in keeping time without losing track of each other. If not, then a conductor
is recommended.

! ALARM !, by Brian Blume: Intermediate - late middle school/early high school

••

� Non-Pitched 7 players: high snare drum, medium snare drum, low snare drum, concert
bass drum, low tom, medium tom, and high tom
ALARM! Is a fun, energetic piece that can be added to a concert program. The parts
•

are rhythmically involved and each player has a chance to practice their battery
percussion playing and rhythmic ability.

!
•• El Paso Waltz, by Brian Slawson: Beginner/Intermediate - late middle school/early high
school
� Mallet Quartet 4 players: Two Marimba players, Vibraphone, Glockenspiel.
•
This quartet gives students a chance to practice melodic voicing and phrasing. The
Vibraphone player has the majority of the melody and the rest of the players provide
accompaniment. There are opportunities for students to explore melodic ideas and
experiment with musical expression.

29
!
•• Yurikago, Brian Zator, arr. Roka Fuji: Intermediate+ - high school
� Mallet Quartet: Two marimbas (4 mallets) and Two Vibraphones
•
This quartet is a lot like El Paso Waltz but there is much more interpretation left for
the performers. The Marimba parts offer a chance for players to practice chorale
marimba playing. This piece isn't as technically demanding but there is a lot of
interpretation to explore. The piece is very soothing and pretty and would be well like
by audiences.

!
•• Songo Concertino, Michael Eubanks: Intermediate + - high school
� Non-Pitched 9 Players: Splash cymbal, claves, triangle, shaker, 2 ride cymbals, 2 pairs of
hi-hats, crash cymbal, large woodblock, snare drum, 2 cowbells (small and large),
bongos, 4 tom toms ( 1 0", 1 2", 14", 1 6"), concert bass drum.
•
Songo Concertina is an edgy, upbeat battery percussion piece. Students on the snare
drum and bongos get a chance to solo so more advance players should be assigned
these parts. For large percussion sections, students with different skill levels can work
on this piece together. There are a lot of rhythmic reading and grooving to be learned
with this piece.

!
•• Adagietto (from symphony no. 5), by Gustav Mahler arr. Jeffery Grubbs: Intermediate -
high school.
� Mallet quintet 5 players: Two shared Marimbas (Low A) and Vibraphone.
•
This piece features a significant orchestral piece that will be recognized by other
musicians. It features four marimba players and a solo vibraphone player. Like
Yurikago, this piece can be used to develop phrasing and musical interpretation and
texture within an ensemble. Player will have to think about harmonies and where they
fit in with the ensemble which can be used in other wind ensemble settings.

!
•• Stool Pigeon, Julia Davis: Intermediate/Advanced - late high school
� Non-pitched percussion 4-8 wooden bar stools: 4-8 players.
•
Stool Pigeon is rhythmically challenging and non-conventional. This would be really
fun for more advanced high school students, perhaps students on the drumline, it
would definitely be entertaining for audiences.

!
•• Bread and Butter, by Andy Smith: Intermediate/Advanced - Pre College - advanced
high school.
� Non-pitched percussion, 4 players:
•
Player l : 5-gallon plastic bucket, brake drum, snare drum, 2 tom toms, splash cymbal,
splash cymbal stack.
•
Player 2: 5-gallon plastic bucket, 2 mixing bowls, snare drum, 1 tom torn, splash
cymbal, splash cymbal stack
•
Player 3: 5-gallon plastic bucket, brake drum, snare drum, 2 torn toms, splash cymbal,
splash cymbal stack
•
Player 4: 5-gallon plastic bucket, 2 mixing bowls, snare drum, 1 tom tom, splash
cymba l, splash cymbal stack

30
\ .

� This is another fun battery percussion piece for students to gain experience playing multi­
percussion set ups.

:
•• Excalibur, by Chris Brooks: Intermediate/ Advanced - Pre college - high school
� Pitched and non-pitched percussion 1 2 players:
•
Player I: Snare Drum
•
Player II: Bass Drum
•
Player III: Crash Cymbals
•
Player IV: 4 Timpani
•
Player V: Bells
•
Player VI: Vibraphone
• Player VII: Xylophone
• Player VIII: Marimba
•
Players IX and X: Chimes, Snare Drum, Triangle
•
Players XI and XII: Gong, Suspended Cymbal, Pang Cymbal, Splash Cymbal
� Excalibur is for a very large ensemble and students at all different levels can be used in
this piece. Advance players can play the snare drum, and mallet parts while less
experienced players can player more of the accessories. Due to the density of this piece, a
conductor is highly recommended unless the ensemble is filled with highly skilled
players.

31
 • I

Closing Remarks
Percussion covers an expansive amount of instruments and techniques. Because of this, it
can seem difficult to accomplish significant competence. It is not expected that every band
director, whose primary instrument is not percussion, will master every skill there is within
percussion. However, the more knowledgeable the director is, the better they will be at
effectively teaching percussion students. Breaking down and outlining a lesson plan for each
percussion instrument is the goal of this document in order to alleviate the overwhelming nature
of this task.
Hopefully an organized approach to this task will increase a percussionist's involvement
with the school's band program because they will be applying the skills they learn from this
curriculum and not be forced to sit in the back of the room most of the time. Band directors are
responsible for instructing all students in their program. Percussionists are expected to learn
more than one instrument, so it requires more thorough instruction from a teacher. Because of
this, I highly recommend to consider hiring a percussion instructor if fiscally possible. A
percussion instructor can be extremely beneficial for a developing percussionist because they
will learn from someone who has significant experience with these instruments. Working with
the percussion instructor will be a learning experience for the band director too. Not only is the
instructor there to help the students, they can assist the band director. Don't hesitate to ask the
percussion instructor questions about percussion. They can help you with things in addition to
teaching the students such as maintenance, purchasing equipment, and picking repertoire for
percussionists.
Lastly, band directors should not expect less from a percussionist because they don't have
as much to do during a concert cycle as a wind player. This curriculum provides the structure and
resources to better train them to be disciplined, responsible musicians. Giving percussionists
something to do is crucial to their music education, they will be focused and encouraged to work
hard to contribute greatly to the school's music program. Again, I highly recommend starting a
percussion ensemble to eliminate boredom and apathy. Following the suggestions in this
handbook will give them the opportunity to grow into fine musicians.

32