Can’t Remember Percussion Techniques? Percussion For

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Houghton handout3/21/054:08 PMPage 1Can’t Remember Percussion Techniques?Percussion for Non-PercussionistsPresented bySteve Houghton and Linda Petersen2004 Midwest International Band and Orchestra ClinicSponsored by GIA Publications, Inc. Chicago, IL

Houghton handout23/21/054:08 PMPage 2Clinic Concepts1. Listening/Modeling Using CDs/ Instructive ListeningA teacher must take advantage of sound modeling at all levels. Play-along CDs are the ultimateteaching tool and have replaced the soundless band method books of old, which were oftenpracticed to a metronome. CD’s provide the player/teacher with a wide assortment of valuableinformation to be used frequently throughout a music teaching career. Rudiment practice format,various stylistic accompaniments, and basic drumset beats enhance learning for percussionists atall levels.Ask students to listen for a specific instrument, beat, or style element to develop criticallistening skills.2. Percussion Ensembles – The Key to Efficient, Effective LearningPercussion ensemble activity is perhaps the single most important way to both energize andunify the percussion section, and to teach the section to play as a stand-alone musical ensemble.If possible, form percussion ensembles who can rehearse throughout the school year.Learning Strategies Sing every exercise or part before playing it. Percussionists must have excellent aural skills. Play with CDs. Recorded backgrounds also help develop accurate time and balance. Subdivide, subdivide, subdivide! Mandatory for all musicians! Rotate parts so students are sure to gain experience on all percussion instruments.3. Assessment – Saves teacher’s time because students actively participate in their ownprogress Self assessment – Evaluate your own work (video, record – independent student work) Peer assessment – Evaluate the progress of others using specific descriptors Teacher assessment – Evaluate student’s work (preferably after self assessment) Portfolio assessment – Set weekly goals, expanded learning tasks, references, reflections4. Drumset and World PercussionNearly every beginning percussionist wants to play drumset, and many start banging right awayon sets they coerced their parents into purchasing. Opportunities for drumset performance intraditional percussion education are very limited, and usually don’t become available until latemiddle school or high school when students perform in jazz band or combos. However, thedrumset should be integrated into the percussion section as soon as possible, depending entirelyon instruments, personnel and literature available, and should reflect the diversity of styles utilized in the band program.In many K-4 general music classes, the current focus is on multicultural or world music, whichutilizes creative movement, improvisation, and group performances (hand drumming, drumcircles). But as we progress to school band programs, many of those important learning conceptsfall by the wayside. Granted, the concert band director music be concerned with many essentialissues, but somehow, the sheer joy, spirit, inventiveness, excitement, physical movement, andraw enthusiasm of those early years must find their way into the band room. Hand drumming canbe integrated easily into contemporary band literature and many percussion ensembles.5. ImprovisationAs suggested in the National Standards, improvisation (rhythmic and melodic) plays animportant role in a student’s musical development. It makes sense to start this processimmediately on all percussion instruments, including mallet keyboards. The act of improvising ina musical fashion provides many benefits to the player: Stronger sense of time Improved sense of phrasing More developed rhythmic awareness Stronger melodic sense Clearer sense of formAll excerpts in this handout are from Play and Teach Percussion: A College Method for Success in the ClassroomA Lifetime Reference for Music Teachers by Steve Houghton and Linda Petersen.Copyright 2004 GIA Publications, Inc. Chicago, IL 2004. All rights reserved. Used with permission.

Houghton handout3/21/054:08 PMPage 33SNARE DRUM STROKEA.Position the sticks in a “ready position” 1" to 2"over the head at an angle of about 60 degrees.Note: To play on the rim of the snare drum, movefar enough away from the drum to position the tipsof the sticks just past the rim.B.Use your wrist to raise the stick 6" to 8" abovethe head.C.Drop the stick and allow it to rebound back to aposition 6" to 8" above the head.Note: Steps B and C should be one smooth andcontinuous motion.D.Repeat steps B and C with the left hand.RudimentsNEWSKILL!Rudiments are technical exercises which form the foundation for snare drum technique and readingskills. They are found in most concert band and orchestral music. The Percussive Arts Society (PAS)recognizes 40 different rudiments (see page 104). This book introduces 16 rudiments. All rudimentsshould be practiced slow–fast–slow as is demonstrated on CD#1.The exercise numbers in Section 1 match the CD#1 Track numbers.1â Practice slow-fast-slow.SINGLE STROKE ROLLRUDIMENTœœœœœœœœR L R L R L R LThe first rudiment is the single stroke roll. Listen to CD#1 Track 1 to hear how thesingle stroke roll should be practiced. When you practice R L R L (Right hand/Lefthand) at various tempos, listen carefully to ensure you play steady strokes with evendynamics from both right and left hands.53 BINGOPERCUSSIONENSEMBLEBells(CD Intro)b& b b 423S.D. B.D. W.B. 422442Gaily3Œ ‰ j .œ œ œæ œæ œæ œæœ œ œ œ œ œ œ œ œ œ œ jŒ ‰ œ@ . œ œjœ œ œjœ œ œjœ œ œjœ œ œj œ œ œj œ œ œjœ œjœ œjœ œ œj œ œ œj œ3. œ H. Cym. 2442 œœœœ œ œ 3œœœ24. œœœ œ œœœ œ œS.D.B.D. œ œ œœW.B. œœœ œœTamb. œ œ œœ œ œ œ œ œ œœ œœœjj‰ œ ‰ œ œ œ œœ œœœ œœ œœœœœ œ œ œ œ œjjj j‰ œ ‰ œ œ œ œ ‰ œ ‰ œH. Cym. ¿ ¿ ¿¿¿œ œ œæ œæ œæ œ œjœ œ œjœ œjœ œjœ œjœ œ œjœ œ œjœœæœæœ¿œ œ œ¿ ¿ ¿œ œ œœœœœ¿œ œ œœ œ œ œœ jjjjœœ œœ œœœ œ œ œ œjœœ œ œ¿ ¿ ¿œœ¿¿jœœœT.Blks.œ b&bb œ œ œ j jj œœ œœ œœBellsœ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœœ œœjjjjjjjj. ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œj ‰ œj. ¿¿¿¿¿¿¿¿¿ ¿ ¿ 3T.Blks.œ33Tamb.œ œœœ œœœ œœ‰œ œ.œ œ.jj@œ œœ œ œ .jœ œ ‰ .jœ œ œœ œ ‰ .jœ œ ‰ .j¿ ¿ ‰ .jœœ œ ‰ .œæ

Houghton handout3/21/054:08 PMPage 44a Rock Drumset Sound within the Concert Percussion Section:NEW Create Hand Cymbals imitate the Hi-Hat (see page 30).IDEA! Bass Drum should be muffled with the hand or knee (see page 31). Snare Drum plays rock guitar rhythms.66 JUBAPERCUSSIONENSEMBLEKybd.Perc.(CD Intro)4b 2&bb4. œ œ œ œ œ . œ œ œ œœœ ‰ . œ œ œ œ œ . Œ ¿Œ4S.D. 1 S.D.2 2424H. Cym. 24B.D. 24Cowbell 24S.D./Sn. Off W.B. 242444444œ œ œ œ œ œ œæ œ œ œ œ œ œ œæ œ œ œ œ œ œ œæœ œæ 222jœ œœœœ««« 222œ œ œ««« 222¿«««Ch.Ch.222j. œ . œ œ Œ««« 222. œ œœ œ««« 222. œ œ œœœœœŒ«««.â Improvise a rock style accompaniment using Snare Drum, Bass Drum, Hand Cymbals, andCowbell.â Name the percussion instrument which keeps the quarter note pulse inJuba:SEVEN-STROKE ROLL 42 œ@.RL œ œ@. œ œ@. œ œ@. œ .LRLRLRLRRLRLRLâ Practice slow-fast-slow.Primary strokes:FLAM PARADIDDLERUDIMENT jj2 4 œœ œ œ œœœ œ œ œL.4â Write out the woodblock part played on CD#1 Track 66.RUDIMENT.R L R RRL R LLjœ jœ œ œ œ œ œ œ œ œ .LR LR RRL R LLâ Practice slow-fast-slow.

Houghton handout3/21/054:08 PMPage 5571PERCUSSIONENSEMBLETHE STARS AND STRIPES FOREVERâ CD#1’s final track (71) provides you with a chance to accompany a concert band playing one ofour nation’s greatest marches, The Stars and Stripes Forever, by John Philip Sousa. As always, playmusically and give special attention to the written dynamics.H. Cym. CS.D.B.D. C ÓO æjjœ œ œ œ œ œ Ó ÓO æjjœ œ œ œ œ œ Ó ¿ Œ ¿ Œæœw Œ œ Œ¿ Œ ¿ Œæœw Œ œ Œ¿ Œ ¿ Œæœw Œ œ Œ¿ Œ Ówœæ œŒŒ π œŒ œj œ œ œÓ œj œŒ ‘‘ ‘‘‘jŒj‘ œ œ œ œ œÓ œ œŒ‘ FjjŒjŒj‘ œ œ œ œ œÓ œ œ œ œ œ œ œÓ œ œŒŒ(4)(8)(4)‘‘ p πjŒjœ œ Œœ œ Óœ œ œ ‘‘¿¿ ¿ŒÓ œÓ œ œæ œ œœ Œ ÓŒÓ ¿. ‰ Ó ‘‘jœ‘‘‘. Ó œœ Œ Ó. ƒ œ œ Ó ¿. ‰ Ó Ó PjŒj‘ œ œ œŒ œ œÓ œ œ(8) πP Œœ œj œ œ Óœ œj œ Œœ œj œ œ Óœ œj œŒŒ (4)jŒj‘ œ œ Œœ œ Óœ œ œ¿ ¿ Ó‘¿ ¿ ¿ Œ ÓÓÓ æ œ Œ Óœ œ œ œ œ Œ Ó¿. ‰ Ó¿ Œ Ó œ œ Ó¿ŒÓ jjææææææ œ Œ œ Œ wŒ œ œ œ wœ œ œ œ œ œ œœ ‰ Œ œ Œ œ Œ wŒ œ œ œ wœ œ œ œ œ œ œœ ‰ ŒJJ¿. ‰ Ó¿ ¿ Óƒjjœ œ œ œ Óœ œ¿jœ Cym. 2nd time only ¿ Ó¿ Œ ¿ Œ ¿ Œ ¿ Œ ¿ Œ ¿ Œ ¿ Œ Óœ œj œ Óœ œæææwæœw Œ œ Œ œw Œ œ Œ œw Œ œ Œ œ Œ Ó(4) ¿ Œ ¿ Œπ-f œœ œæ œœ œæŒŒ‘‘‘‘‘‘ ¿ Œ ¿ Œ¿ Œ ¿ ‘‘‘(4)(8)2. ¿ Œ ¿ Œ‘(8)¿ Œ ¿ Œ œœ œæ œœ œæ œœ œæ œœ œæ œœ œæ œœ œæŒŒŒŒŒŒ œœ œæ œœ œæŒŒ¿ ¿ œœ œæ œœ œæ œ Œ ÓŒŒ. ¿ Œ ¿ Œ ¿ Œ ¿ Œ æ æj. œœ œ œœ œ œœ Œ œ œœ ŒŒŒ

Houghton handout3/21/054:08 PMPage 66Skills Assessment Exercises 37 – laves)This performance demonstrates:109Consistently correcttechnique and tone ontambourine, maracas,claves. Rhythms areprecise throughout.876Too tight or too loosehand positions creatingslightly muffled toneand/or uncontrolledrhythms. Play Ex. 37, 38, 39,40, 41.Composition 8 bars usingTambourine,Maracas, Claves.ConcertInstruments(Hand Cymbals,Bass Drum) Play Ex. 42, 43.PercussionEnsembleBalance Play Ex. 43, 44 withand without theCD.10109Consistently correcttechnique on handcymbal crash, choke,and bass drum.109Attentive listeningskills with sensitivitygiven to balance andstyle elements.Aural Skills Play and notateClaves part by earon Ex. 44.9Distinct tension/releasephrase(s),complementaryrhythms, rests, andmusical use. Writing isbalanced for ensemble.109Accurate rhythmicperformance,technique, andnotation of claves part.876Phrase(s) which lacktension/release.Ensemble iscompromised due toexcessive or sparse useof rhythms and rests.876Too tight or too loosehands, or incorrectbody position creatingslightly muffled toneor decay.876743543A completecomposition, but onewhich lacks in ensembleunity. Phrase(s) are notobvious. Rests andrhythms are noteffective.543Incorrect hand or bodypositions ressult inuncharacteristic toneor decay.5436Minor rhythmic errorsby ear or on writtenclaves part.54Several rhythmicand/or writtennotation errors onclaves part.210Inability to play orhold tambourine,maracas, and/or clavescorrectly.210Little or no sense ofphrase or shape.Composition does notuse all threeinstruments, or is lessthan 8 measures long.210Inability to play orhold hand cymbals orbass drum correctly.210Insufficient attentionto listening skills,balance, and styleelements.Minimal ability andawareness ofhow/when to adjustbalance and styleelements.An understanding ofbalance and styleelements butadjustments are notalways correct orconsistent.85Incorrect handpositions createuncontrolled rhythmsand uncharacteristictones for theseinstruments.3210Inability to hear ornotate claves part.PORTFOLIO – BeguineListen to “Begin the Beguine” and “Beguine for Band.” Name the percussion instruments usedto create this style. In your portfolio, write down the percussion rhythms you hear which defineBeguine style.Comments / Point Total:

Houghton handout3/21/054:08 PMPage 77TWO-WAY COORDINATIONNEWSKILL!The following exercises will help develop independence between the limbs, which is essential whenplaying the drumset. First, we will focus on two-way coordination between the ride cymbal and snaredrum. The ride cymbal will play an ostinato ride pattern against various snare drum rhythms. Then,the bass drum will play rhythms against the cymbal ostinato.1.Ride Cymbal Ostinatoâ432.¿ 44¿¿¿¿3j¿ ¿¿j¿ .¿Play the ride cymbal with your right hand, and the snare drum with your left hand.SNARE DRUM EXERCISESâPlay Examples A-F three times each with CD#2 Track 4. The ride cymbal fades out soyou can play the ostinato on your own. Stay with the click.q 100Play 3 times.A. 44 . ŒB. 44 . ŒœœŒœŒœŒœŒœŒœŒœ.œ.ŒPlay 3 times.œœœœŒœœœŒœCorrect right foot position for bass drum.â5œŒIncorrect right foot position for bass drum.Don’t play like this!1.Ride Cymbal OstinatoœŒ32.¿ 44¿¿¿¿3j¿ ¿¿j¿ .¿Play the bass drum with your right foot, and the ride cymbal with your right hand.BASS DRUM EXERCISESâPlay Examples A-H three times each with CD#2 Track 5. The ride cymbal fades out soyou can play the ostinato on your own. Stay with the click.q 100Play 3 times.A. 44 . œB. 44 . œŒÓŒÓŒœÓŒœ.ÓœPlay 3 E-WAY COORDINATIONWhen you are comfortable with two-way coordination on theprevious pages, play the snare drum exercises on page 64 with a hihat on beats 2 and 4. Practice exercises A-F until you arecomfortable with three-way coordination. Use both ride cymbalostinato patterns with CD#2 Track 4. Stay with the click.Here’s Example A using Ride Cymbal Ostinato Pattern #1:S.D.R.C. ¿ œ¿¿¿œ¿¿.

Houghton handout3/21/054:08 PMPage 88NEWSKILL!â Play Exercise 16 with CD#2 Track 16. On the repeat, you’re on your own. Stay with the click.16 GROOVE DEVELOPMENT ROUTINE #1H.H. ¿ 44¿¿¿¿¿¿¿œœœŒœŒŒŒB.D.S.D.œœ œœœ¿œœœœœ¿¿œœ¿¿œœ¿¿œœ¿.â Play Exercise 17 with CD#2 Track 17. On the repeat, you’re on your own. Stay with the click.17 MEDIUM ROCK PLAY ALONG #1q 96¿ 44 œ¿¿œœ¿œ¿¿œœ¿¿œœ¿ ¿œœ¿¿œœ¿¿œœ¿¿œœ¿¿œœ¿¿œ¿ œ¿¿œœ¿.Teaching TipYour music library of recordings should provide you and your students with a varied collection of different styles ofmusic. Here is a recommended list of recordings for your home and school music libraries:JazzSatchmo At Symphony HallKind of BlueMoanin’Brown/Roach Inc.At The PershingLouis ArmstrongMiles DavisArt BlakeyMax RoachAhmad JamalAfro-CubanMaster SessionsThe Best of IrakerePalmasTop PercussionAfro-Cuban FantasyCachaoIrakereEddie PalmieriTito PuentePoncho SanchezBrazilianGetz/GilbertoThe Legendary Joao GilbertoTom and ElisJobimOceanoBrazilieroFunk-FusionIn Modern TimesLive WiresVoicesThe ZoneCrushStan GetzJoao GilbertoAntonio CarlosSergio MendesToots ThielemansSpyro GyraYellowjacketsMike SternDave WecklRichard Elliot

Houghton handout3/21/054:08 PMPage 99NEWSTYLE!RHYTHM AND BLUESRhythm and Blues, commonly known as “R&B,” originated from African American musicians. Therecordings of B. B. King, Ray Charles, and Muddy Waters helped define this style, and continue toinfluence current composers and performing artists.122 8 HANDAND FEET EXERCISES21 â Exercises A - C will help you develop the skills needed to play Rhythm and Blues (R&B)style music. Practice each one bar example until you are proficient, and then move on to thenext measure. Play along with CD#2 Track 21.A.R.C. y y yœy y y y y y œy y y . . y y y œy y y y y y œy y y . 128 .œ.œ.Œ.Œ.B.D.22 AMERICA THE BEAUTIFUL

Houghton handout3/21/054:08 PMPage 101032 LATIN BLUESPERCUSSIONENSEMBLEKybd.Perc.4&4Claves 44 44CowbellGuiroRhythmically(CD Intro)b œœ œb œœ b œœ œœ jœœ Jœ œ œ œbœ Œ . æ .œ b œ æ.b œ n œ æ. Œ œ œ Œ œ . œj Œ œ Heel 44 . œ œ œ œ œ œ œ œ œ œ œMouth- up. . - . . - . . - . . œ œ œ œ œ œ œ œ œ œ œ œdownAd libTimbales 44 Congas 44 HighShellLow. ¿ œ¿ ¿ œ¿ œ ¿ œ¿ ¿ œ¿ œAd libjj. œ . Highœ œ Œ œ . œ œ ŒJamaican Street SongŒœ b œ æ.2«2«2«2«2«LowKybd.Perc.& b .æœ b œ æ.Claves Œ œCowbell Guiro œ œ œ œ œ œ- . . - . . œ œœ œ œ œ œTimbales ¿ œ¿Congas jœ. œ œ ŒLabel the following:œ Œœ.¿ œ¿ œ ¿œ.Œ . b œ œ b . œ b œ æ.Œ .b œ œ æ. œ b œ æ.b œ œ æ.ææ222j.œŒ œ«««222œœ œ œœ.«««. . - . .222.œœ œ œœ«««222œ¿ ¿ ¿.œœ«««222jœœ Œ.«««

Houghton handout3/21/054:08 PMPage 1111NEWSKILL!SURDOThe Surdo serves as the Brazilian bass drum. Like the marching snare drum,it is held by a sling. It is played with a beater or mallet (large head, hard felt)in combination with the hand, which is employed to dampen certain beats.ˆIntroAd lib.42. œ 4ˆ dampen w/ hand openˆœooœ.œ(Alternative instrument: Bass Drum)NEWSKILL!AGOGO BELLSThe Agogo Bells consist of two differently pitched bells joined by a curved rod. It isplayed with a stick held in the right hand while holding the bells with the left hand,which is also free to squeeze the bells together to produce a variety of interesting soundsand rhythms.Intro 42High4. œ œ œ .œ œœ œ.Low(Alternative instrument: Cowbell)NEWSKILL!PANDEIROThe Pandeiro is similar to the American tambourine. However, its invertedjingles produce a warmer, dryer sound. The performance technique involvesthree different movements:1) T - strike with thumb,2) F - strike with fingertips, and3) H - strike with heel of hand.Intro 424Ad lib. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .T F H F T F H F(Alternative instrument: Tambourine)NEWSKILL!T F H F T F H FTAMBORIMThe Tamborim is the smallest drum used in the Brazilian percussion ensemble (Batucada). It is asingle-headed drum about 6 inchesœ in diameter similar to a small American tambourine withoutjingles. It is held in the left hand at eye level and struck with a thin timbale-like stick. The best tone isproduced when the head is struck slightly off center.Intro 424Ad lib. œ œ œ .œ œ œ œ œ .(Alternative instrument: S.D. Shell)IntroNEWSKILL!GANZA 424Ad lib. œ œ œj‰ œ œ.The Ganza is a tubular metal shaker commonly employed in Brazilian music ensembles. It is held at eyelevel with both hands. The sound is produced with a forward-backward shaking motion.Intro 424 . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .Ad lib.(Alternative instrument: Shaker)Intro 424 . œ œ œ œ œ œ œ œ .Ad lib.

Houghton handout3/21/054:08 PMPage 12PLAY AND TEACHPERCUSSIONA COLLEGE METHOD FOR SUCCESS IN THE CLASSROOMA LIFETIME REFERENCE FOR MUSIC TEACHERSSteve Houghton andLinda PetersenFinally! A comprehensivepercussion method book forcollege music educationmajors! This fantastic newresource includes 2 CDsdemonstrating the proper wayto practice rudiments, playalong tracks, accompanimenttracks,extendedworldpercussion examples, andmuch more. Written by masterpercussionist and educator team ofSteve Houghton and Linda Petersen, the entire course can becompleted in one semester.Here’s why you’ll use Play and Teach Percussion throughout yourteaching career: Concert percussion instruments and accessories areintroduced with illustrations, specific instructions, CD soundmodels, etudes, play-along tracks, and more Numerous percussion ensembles provide musicalexperiences and flexibility Drumset coordination exercises teach jazz swing, rock, rhythmand blues, and Latin styles in a systematic method for success African, Afro-Cuban, and Brazilian instruments and musicexamples feature illustrations, music examples, and extendedplay-along tracks. Rubric-based Skills Assessment pages help you diagnose problems, and offer concise solutions Portfolio ideas will augment your music teaching resourcesCarefully correlated with the National Standards for MusicEducation, the book also includes numerous ways to incorporatecomposition and improvisation into a regular rehearsal.Regardless of your major instrument or voice, you’ll use Play andTeach Percussion frequently throughout your teaching career.M538 Spiral bound with 2 CDs . . . . . . . . . . . . 40.00GIA Publications, Inc.7404 South Mason Avenue, Chicago, IL 60638(800) GIA-1358 or (708) 496-3800www.giamusic.com

Rudiments Rudiments are technical exercises which form the foundation for snare drum technique and reading skills. They are found in most concert band and orchestral music. The Percussive Arts Society (PAS) recognizes 40 different rudiments (see page 104). This book introduces 16 rudiments. All rudiments

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