From the Podium to the Player: Two Perspectives on Symphonic Percussion Presented by Mr. Jon Bowman and Dr. Jeff Grant at the 2015 AMEA Conference

Acknowledgements

Introduction Purpose of Session -Translating expectations from the director to the percussion section (a work in progress) -Improving knowledge on percussion pedagogy

Choosing Percussionists Percussionists as musicians! Background of students (discipline/challenges?) Simple rhythm and timing evaluations Not just the ‘leftovers’

Expectations of Percussionists 10 Ways to better manage and direct your percussionists Use the rehearsal time you already have

10 Strategies to Better Manage Your Percussionists 1) Understand Percussion Notation! 2) Understand that percussionists play multiple instruments every day. 3) Help with repetition and rests 4) Expect percussionists to take pride in their instruments 5) Help them plan and manage time and space 6) Address problems with unusual stickings 7) Be able to explain extended techniques 8) Get the sound you want 9) Get their heads out of the sheet music 10) Keep them engaged

Rehearsal Heterogeneous Rehearsal Setting They do EVERYTHING the winds do Percussionists singing! Timpani tuning Separate Percussion Class Technique Scales and rudiments, scales and rudiments, scales and rudiments, scales and rudiments, scales and rudiments, scales and rudiments, scales and rudiments, scales and rudiments, scales and rudiments...

Music Examples and Basic Percussion Techniques Podium: What you want Player: How to achieve it

Scenes from the Louvre I. The Portals by Norman Dello Joio Podium: What you want Timpani Round, full and characteristic timpani sound Support of extensive low brass phrasing Imitative of connected low brass phrases

Scenes from the Louvre by Norman Dello Joio Player: How to achieve it Timpani Grip Playing Position Beating Spots Tuning Mallet Selection Phrasing

Grip

Be Thou My Vision by Larry Clark Podium: What you want Triangle Triangle not affecting sonority of piccolo solo at m. 10 Grade 3 ½ piece with a grade 6 cymbal part Articulation (esp. ms. 68)

Be Thou My Vision by Larry Clark Player: How to achieve it Triangle Instrument selection Beater angle (the more overtones the better) Crash Cymbals Technique Articulation Cymbal Selection

Puzta by Jan van der Roost Podium: What you want Tambourine Tambourine imitating and coloring trombone part Articulation and ‘errant jingle’ considerations Tambourine: picking up and putting down

Puzta by Jan van der Roost Player: How to achieve it Tambourine Technique Shake roll vs. thumb roll Sound production Instrument selection

Percussion Notation Slashes….open or closed!? Articulation [Timpani, Cymbals, Concert Bass Drum, etc.]

Part Assignments What NOT to give the weaker performers Play to strengths/give students an opportunity to be successful and grow as musicians The idea of the “total percussionist”

Part Assignment Example Part Assignment example

Equipment PRIORITIZE! Organize and Maintain Sticks and Mallets Cymbals Drums and Timpani Mallet Instruments Auxiliary Instruments

Mallet Hardness Yarn = Vibraphone, Marimba, Suspended Cymbal Rubber = Vibes, Marimba, Xylophone, Woodblock Plastic = Xylophone, Orchestra Bells, Crotales Aluminum/Brass = Orchestra Bells, Crotales

Podium Resources Guide to Score Study for the Wind Band Conductor by Frank Battisti and Robert Garofalo [minute clinics] – Website for Carl Fischer Editor in Chief Larry Clark Recordings, recordings, recordings!

Player Resources (Percussive Arts Society) Percussive Notes print publication University Instructors/Clinicians (Local or skype)

Questions/Comments DOOR PRIZES!

THANK YOU!