Beyond Basic Percussion by Tapspace

BEYOND

BASIC PERCUSSION FOSTERING INDEPENDENCE THROUGH ENSEMBLE PERFORMANCE

BY ERIC RATH & RALPH HICKS

BEYOND BASIC PERCUSSION • TSPB-19 © 2011 Tapspace Publications, LLC. Portland, OR. International copyright secured. All rights reserved. www.tapspace.com Any duplication, adaptation, transcription, or arrangement of the compositions contained in this collection requires written consent of the publisher. No part of this book may be photocopied, scanned, shared, or reproduced in any way mechanically or electronically without written permission. Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law.

Music, text, and photo content by Eric Rath and Ralph Hicks. Videography, post-production, and DVD authoring by Tan Truong of West Side Recording Studios (www.westsiderecording.com). Cover design by Ryan Bruner (www.ryanbruner.net). Book layout and design by Jim Casella and Murray Gusseck. Edited by Murray Gusseck. Audio Mixing by Jim Casella. Note: Errata and additions to this text, if any, may be found by visiting the “Errata” forum board on the Tapspace Forum at www.tapspace.com/forums

TABLE OF CONTENTS

INTRODUCTION

About the Authors. . . . . . . . . . . . . . . . . . . . . . . . . 4 Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . 5 Background. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 How To Use This Book . . . . . . . . . . . . . . . . . . . . . 7

BATTERIE

General Information. . . . . . . . . . . . . . . . . . . . . . . 9 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

TRAP DOOR

General Information. . . . . . . . . . . . . . . . . . . . . . 15 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

MULTITASKER

General Information. . . . . . . . . . . . . . . . . . . . . . 31 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

LOW TIDE

General Information. . . . . . . . . . . . . . . . . . . . . . 41 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

FOLLOW SUIT

General Information. . . . . . . . . . . . . . . . . . . . . . 51 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

TRAUMATIC CHROMATIC

General Information. . . . . . . . . . . . . . . . . . . . . . 65 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

General Information. . . . . . . . . . . . . . . . . . . . . . 79 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

RECHARGEABLE BATTERIE

General Information. . . . . . . . . . . . . . . . . . . . . . 95 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

CLAVE & SONS

General Information. . . . . . . . . . . . . . . . . . . . . 103 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

ESCAPE ARTIST

General Information. . . . . . . . . . . . . . . . . . . . . 117 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

MI MILAGRO

BEYOND BASIC PERCUSSION

ABOUT THE AUTHORS First and foremost a teacher, Ralph Hicks feels blessed to have been influenced by amazing and dedicated teachers. He couldn’t have asked for better models for making a meaningful impact on the life of a young musician. Ralph is a product of the highly successful Spring HS Band program (Spring, TX), winning two Texas 5A State Marching Championships, one BOA Grand National Championship, a PAS Call for Tapes, and a naming to the 1995 Texas All State Orchestra. Receiving a full scholarship to the University of Kentucky, Ralph studied Percussion under Professor James B. Campbell. In 1996 he took first place in the PAS International Vibraphone Solo competition. In 1997 he was a member of the Cavaliers Drum & Bugle Corps and was named a Yamaha Young Performing Artist. His performing days behind him, Ralph has spent his entire professional career in the Greater Houston area. Currently at Mitchell Intermediate in The Woodlands, TX (Conroe ISD), he teaches saxophone, percussion, the steel drum band Teal Steel, and Let Them Drum!, a motor skill development program for special needs children involving hand drums. As a composer, he has spent the last fifteen years composing and arranging for schools across Texas, Louisiana, Oklahoma, and Kentucky. Ralph currently lives in his hometown of Spring, TX with his wife Marcail and two children, Brooklynn and William. He is a member of Phi Mu Alpha Sinfonia, Texas Music Educators Association, the Percussive Arts Society, and is endorsed by Innovative Percussion.

Eric Rath is an active educator, clinician, arranger, and composer. He is currently the Director of Bands at Panhandle High School in Panhandle, TX. Additionally, Mr. Rath serves as adjunct Instructor of Percussion at Amarillo College and is a member of the Amarillo Symphony. Mr. Rath is a graduate of West Texas A&M University, where he received both his Bachelor of Music Education and his Master of Arts Degree. As a composer, Mr. Rath has a growing list of original works and arrangements published through TRN Music, C. Alan Publications, Tapspace Publications, HoneyRock Publications, Key Poulan Music, JW3 Publications, and Eric Rath Music. His music has been described as “very exciting for performers and audiences alike.” Mr. Rath’s piece Paramount Park was the winner of the first Association of Texas Small School Bands (ATSSB) Composition Contest. Mr. Rath’s compositions have been performed at the Midwest Clinic and the Texas Music Educator’s Association Convention.

Mr. Rath resides in Amarillo, Texas, with his wife Kayla and their children Regan, Grant, and McKinley. His professional affiliations include the Percussive Arts Society, Texas Music Educators Association, Texas Bandmasters Association, and he is an alumnus and former chapter president of Phi Mu Alpha Sinfonia. He is also proud to be an Innovative Percussion Artist as well as a member of ASCAP.

Intro

ACKNOWLEDGEMENTS This book would not have been possible without the help, expertise, support, and encouragement of the following people: First and foremost, thanks to Jim Casella & Murray Gusseck at Tapspace for sharing our vision and for doing the heavy lifting that goes into a project of this size; to Tan Truong and crew at West Side Recording for lending their technical wizardry on the DVD footage; to Scott Stark, Susan White, Bryan White, Carlos Casso, and the front office of the Amarillo Symphony Orchestra for generously donating the use of the Globe News Center for the Performing Arts, their recording gear, video gear, and lighting expertise needed to help us produce the technique videos; a BIG thanks to Andy Salmon of The Woodlands High School and Susan Meyer at McCullough Junior High for the use of their facilities and their wonderful children who performed on the DVD. Thank you to the students who recorded the DVD performances and technique clips and to the feeder systems of The Woodlands HS and Randall HS—Mitchell Intermediate, McCullough Junior High, The Woodlands High School, Westover Park, and Randall HS— for providing equipment, rehearsal space, and a performance venue. To Erik Johnson and Henry Go at Innovative Percussion for providing all the implements used in the video; to Rob Chapleau and Marcail Hicks, who acted as our “token” non-percussionist band directors, ensuring that the explanations were written effectively for percussionist and non-percussionist alike; to Justin Arenas, Joel McAda, and Austin Prahl for their assistance in rehearsing the performers for the video shoot, and to John Zalman at Tascosa HS and Justin Nuckols at Amarillo HS for providing a few percussive odds and ends; to Henry Brun for making sure this “gringo” wasn’t too off-base with Clave & Sons! (Thanks for checking it out and for making suggestions concerning its authenticity); to all the attendees and teachers of the various summer camps who made themselves available as lab rats. Thanks to John Carroll (Permian High School, Odessa, TX), Jon Seale (A&M Consolidated High School; College Station, TX), David Ratliff (Madison Southern High School; Berea, KY), Brenden Steber and Rory Davis (Katy ISD Junior High Band Camp, Katy, TX). Your experiences and feedback were invaluable in the editing process! Additionally, Ralph Hicks would like to thank: my wife Marcail for keeping the family in order and for pretending 20 more minutes in Sibelius really meant 20 more minutes; my kids, Brooklynn and William, for being a living, breathing source of motivation and inspiration; my mom, whose nurturing nature is a strength I draw upon with my own family; to my dad, who is, and will always be, my hero in every sense of the word; my former band directors of Spring ISD (Mark Chapman, Mickey Vasquez, Tom Harrington, Bill Watson, Diane Vasquez, Don Meyers, Gregg Rinehart, and Rick Rodriguez). I still thank my parents to this day for moving there when we did! Thanks to Jim Campbell at the University of Kentucky for teaching me that after all the hard work and accolades, it is the experiences you share with your students along the way that hold the most value (and UK basketball); and lastly to Eric: It’s been a sincere pleasure getting to know you as a musician and a friend. The level of musicianship in your compositions not only inspired but demanded my absolute best work. I look forward to you completing the trilogy with Batterie III: This time, it’s personal... Additionally, Eric Rath would like to thank: my wife Kayla who is the most patient person in the world! I love you and don’t deserve you; to my kids Regan, Grant, and McKinley, I’m so blessed that God gave me such cool kids that I love and love hanging out with. Next Saturday morning, let’s go get donuts! Thanks to Dr. Susan Martin Tariq, Professor of Percussion at West Texas A&M University, Your guidance as a teacher and mentor and now your friendship has made me the percussionist I am and has sculpted me into the teacher that I have become; to my mom and dad, Thanks for listening to a lot of classical music when I was growing up and for not losing your minds when I poorly and loudly attempted to play the drums along with Rush albums! Lastly, Ralph, you are a great friend, a gifted writer, and a dedicated family man. I look forward to future projects and time spent with our wives on the Riverwalk in San Antonio. (Now, quit trying to get me to move to Houston!) 5

BEYOND BASIC PERCUSSION

BACKGROUND A dialog between authors Eric Rath and Ralph Hicks ER:

It was an early spring afternoon in 2009 when the phone call that birthed this project took place. I was on my way home from my first two-hour percussion ensemble rehearsal of Ku-Ka-Illomoku (by Christopher Rouse) with my four best high school percussionists. I knew that some of our rehearsal time would have to be spent coordinating each elaborate multiple percussion setup, but I didn’t realize it would take an hour and a half to do it! The remaining half hour was virtually useless. On the way home I was talking shop with my Houston counterpart, Ralph Hicks, who was in the car rider line to pick up his daughter. “I’m just so frustrated! These are my best players…my smartest kids. How could they be so ill-equipped to figure out the logistics of their setups? It felt like I had to hold their hands through the process and do all of the problem solving for them!”

RH:

I was not at all surprised to hear Eric’s concerns. It seems that when a student is in beginning percussion they get all this attention, only to spend a few years in the back of the room before they get to high school. For wind players, going from a beginner band to a concert band is a pretty smooth transition. For beginner percussionists who are used to spending all period on a bell kit or practice pad, they are now asked to play a variety of instruments that all require a unique setup and approach. And yet we’re surprised at all the attention they need when they get to high school!

“You know, Eric, the schools out there without a percussionist on staff are really at a disadvantage when it comes to producing a percussionist that knows that kind of stuff. There’s so much more to being a part of the percussion section that goes beyond playing their instruments. What if we wrote a book tailored to just that sort of thing?”

ER:

We continued to talk about the apparent absence of good material on the market that was designed specifically to help bridge the gap between beginner band and high school. Sure, there is a lot of great percussion ensemble music out there, and there are numerous solo books that are quality literature and age appropriate. But we couldn’t find anything that was specifically geared toward taking the beginning percussionist beyond basic percussion.

RH:

So we began to collaborate on a method ourselves, starting with a brainstorm of things we expect our percussionists to know by the time they get to high school but tend to be overlooked. The list included proper setup of multiple instruments, benefits of a trap table, basic accessory percussion, attention to stickings on keyboard parts, simple syncopation, dynamic control, dampenings, and an introduction to Latin percussion. Both being firm believers in the communal benefits of percussion (what’s more fun than playing together?!), we immediately knew the best way to communicate these concepts would be through percussion ensembles.

ER:

What you hold in your hands is the culmination of all of our work to provide a resource to you, the educator (whether you are a percussionist or not!), so that you may better instill in your percussionists what it takes to go Beyond Basic Percussion.

Intro

HOW TO USE THIS BOOK We wrote this book to be a resource that WE would want to use. Therefore, we structured a few things that we thought were essential to making the book logical and user friendly. 1. The ensembles are progressive and cumulative. The first few ensembles

introduce a concept and then proceed to beat you over the head with it. To ensure comprehension, the concept itself remains the focus of the ensemble. Batterie covers all the traditional concert band instruments, while Trap Door has every player constantly interacting with a trap table and so on. As the pieces progress in difficulty, the concepts become more musical in nature while building upon ones previously covered.

2. This book is intended for percussionists and non-percussionists alike.

Teaching positions come in all forms. Perhaps you’re teaching by yourself and it’s been a few years since your percussion methods class, or perhaps you’re a percussion specialist without enough time to see all of your feeder students. Regardless of the situation, we wanted anyone to be able to teach from this book. We’ve included an explanation at the beginning of each piece that discusses the core concepts, an educational approach to teaching it, and a section digging deeper into real world applications. There are also setup charts for each ensemble piece from the conductor’s point of view.

3. Not all parts are necessary. Parts labeled with an asterisk on the score are optional

parts that are not necessary for the ensemble to still function. They are nonessential parts intended for larger percussion sections that contain students needing a more easily achievable goal—recent move-ins, students with grade problems, etc. Assigning an optional part to these students will allow them to participate without endangering the success of the rest of the ensemble.

4. Take advantage of the DVD content. The accompanying DVD not only contains

printable PDF files of the individual parts but also high quality, multi-camera video recordings of each of the pieces and a series of video lessons designed to show students how to handle the various accessory percussion instruments. Whether you simply want to provide your students with a visual demonstration or you need a refresher course yourself, the resources are there for you to use. Additionally you will find MP3 recordings of all the ensembles as well as assignment charts—handy for keeping track of who is on what part, and with which implements.

5. There is no substitution for a live performance! Opportunities to play for an

audience are not always there when you need them, but don’t let that stop you! Why not create one? Try performing Follow Suit at a pep rally or spare your fellow teachers a few minutes of boring lectures with a little Clave & Sons before the faculty meeting. It can even be as simple as having the rest of the band watch you perform during class. We highly encourage you to seek creative performance venues…they are out there!

BEYOND BASIC PERCUSSION

ERIC RATH

6-8 PLAYERS 1 min 32 sec

(Implement model suggestions are Innovative Percussion brand.)

Player 1: Timpani—medium/general timpani mallets (CT-3) Player 2: Castanets Player 3: Triangle—medium triangle beater Player 4: Tambourine

Player 5: Snare Drum—general snare drum sticks (IP-LD) Player 6: Bass Drum—general bass drum rollers (IPCB-5) Note: This performer may wish to switch to a single bass mallet in measure 9 (IPCB-1).

Player 7*: Crash Cymbals Player 8*: Suspended Cymbal—general suspended cymbal mallets (JC-2SC) and a triangle beater or coin for scrapes * Denotes optional part

PRIMARY FOCUS:

INTRODUCING ACCESSORY PERCUSSION INSTRUMENTS

SECONDARY FOCUS: DEVELOPING AWARENESS OF TIMBRE AND TOUCH

BATTERIE

INSTRUMENTATION IMPLEMENTS SETUP

01 ENSEMBLE

THE RATIONALE

BEYOND BASIC PERCUSSION

There is no way around it—you have to start your beginning percussion class with snare drum fundamentals and keyboard skills. After that, the students will need to start gaining proficiency on timpani so they can satisfy the demands of every All-Region, All-District, All-City, All-State, or All-Galaxy audition they sign up for. Inevitably, once they make the band, they will play the triangle and count lots and lots of rests! Somewhere in all that, it is easy to forget how important it is to spend quality time on the accessory percussion instruments. If we’re not careful, we will end up giving crash courses (pun intended) on the very instruments that professional percussionists literally make their living playing. To the typical middle schooler, there may not appear to be much artistry or technique involved in playing the accessory instruments. How important could note length be on the bass drum? What function do castanets serve other than to represent a galloping horse? Can playing the triangle ever be considered cool??? Batterie begins to address accessory percussion instruments. What better way to teach your students how to play the accessories than to have a piece that focuses primarily on these instruments. Young players may not consider them to be the most glamorous in the percussion family, but as professionals, we certainly spend a lot of time playing them. While it is an important first step in understanding the basics of playing these instruments, it is good to be able to go further and address timbre and touch. Imagine your percussion section not only being agreeable to playing the accessory parts, but actually developing an independent thought process for how to produce an appropriate timbre for any given musical context!

EDUCATIONAL APPROACH AND PITFALLS To begin, you’ll need to go over the basic techniques for each of the accessory instruments. If you are a non-percussionist and don’t feel comfortable personally demonstrating these techniques, you might consider showing your students a portion of the technique video included on the DVD.

While the video clips are a good resource, nothing beats a live demonstration. For the non-percussionist band director, consider bringing in a respected percussionist from the area who can demonstrate these techniques for your students. You might also consider working out the techniques on your own, empowering you to provide your own demonstrations. Now you won’t just be able to demonstrate for your students; you’ll be able

to talk them through the process you went through to learn the techniques! Your practical experience will undoubtedly give you greater insight into what specific information your students need to know. There are a few general music terms your students may not have yet seen, so it will be important for you to point them out: subito (abbreviated sub) means “suddenly” and is used generally in the context of dynamics. Grand Pause (abbreviated G.P.) is used to denote a measure in which no one plays, but time and tempo do not stop. One simple musical concept we often forget about with our percussionists is note length. Batterie gives you several opportunities to

Batterie

discuss appropriate note lengths with the performers. Timpani, triangle, bass drum, crash cymbals, and suspended cymbals are all instruments that should have special care given in this regard. A simple slur extending to nothing from a notehead indicates that the performer should let the instrument sustain indefinitely. The same thing is true for the abbreviation “l.v.” (which stands for let vibrate or its French counterpart, “laissez vibrer”). Conversely, we need to pay attention to short notes, too. A staccato marking above or below a note indicates a short or separated note (as it does with other instrumentalists). Often that will require a specific technique (e.g., “choke” for a cymbal crash). But in other cases, it may

require a certain hand placement (e.g., using the left hand to dampen some of the sound on the bass drum). Therefore, the following markings should be discussed: secco (in Italian, this literally means “dry”) and muffle. Generally these terms indicate that you should mute or dampen the sound immediately after striking. As you notice your students gaining confidence in their accessory techniques, shake things up a bit! Have everyone switch to a different part. The learning curve should start to lessen as performers build on what they already know.

DIGGING DEEPER DIGGING DEEPER DIGGING DEEPER

Once you get everything out of Batterie that you can, take a look at its big brother, Rechargeable Batterie (page 95). This introduces additional techniques and requires a greater musical maturity and rhythmic vocabulary and is the next logical step. Another thing you can do for your students is to look for pieces of music that rely heavily on quality accessory instrument playing. Tchaikovsky’s “The Nutcracker” and Rimsky-Korsakov’s “Scheherazade” are wonderful resources for seeing and hearing these instruments in action in the orchestra. For the band world, use the music you are familiar with to stress the importance of these parts and help explain why a solid performance on these instruments can greatly enhance the sound of the entire ensemble. When you have your percussionists back in rehearsal with the rest of the band, be sure to call their attention to the techniques they learned from Batterie. With their newfound experience, let your students problem-solve in various situations. Granted, it is often easiest and quickest to simply tell a student what to do. However, letting them work through their own solutions allows them the room they need to grow into independent percussionists.

Level: Easy Duration: 1’32”

BATTERIE for McKinley

q = 112 Tune: F, Bb, Eb

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Eric Rath

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BEYOND BASIC PERCUSSION

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(Implement model suggestions are Innovative Percussion brand.)

Player 1: Snare Drum—concert snare sticks (IP-LD), light brushes (BR-2) Player 2: Castanets, Vibraslap—1 concert snare stick (IP-LD) † Player 3: Woodblock, Cowbell—concert snare sticks (IP-LD), medium rubber mallets (F9) Player 4: Suspended Cymbal—concert snare sticks (IP-LD), medium triangle beater Player 5: Bass Drum—bass drum beater (CB1), 1 soft timpani mallet (CT-1)

Note: Soft timpani mallet is shared with Player 10.

Player 6*: Snare Drum—concert snare sticks (IPLD), medium mallets (JC-2M)

Player 7*: Tambourine, Cabasa—1 concert snare stick (IP-LD) † Player 8*: High Concert Tom—concert snare sticks (IP-LD) & medium mallets (JC-2M) Player 9*: Triangle, 1 Finger Cymbal—medium triangle beater, 1 concert snare stick (IP-LD) † Player 10*: Low Concert Tom—1 concert snare stick (IP-LD), 1 soft timpani mallet (CT-1) Note: Soft timpani mallet is shared with Player 5. * Denotes optional part

† Optional for use in last measure

RALPH HICKS

5-10 PLAYERS 1 min 51 sec PRIMARY FOCUS:

USING TRAP TABLES

SECONDARY FOCUS:

COUNTING RESTS

TRAP DOOR

INSTRUMENTATION IMPLEMENTS SETUP

02 ENSEMBLE

THE RATIONALE

BEYOND BASIC PERCUSSION

Don’t we all love the sight of the snare drummer in the back of the room with sticks hanging out of one pocket and a triangle beater hanging out of the other? How about that bell player with their mallets on the floor? The thought, “I really should put those mallets somewhere else…” rarely occurs to a young percussionist. Trap Door is primarily designed to help young performers become comfortable using an accessory station, or trap table. A well-planned trap table can go a long way in developing a sense of organization and responsibility. A secondary focus of Trap Door is counting rests through busy passages. We often teach using unison lines to the point where students develop a strength in numbers mentality. It can be intimidating when that confidence is taken away, so in this piece we ween them off through progressively interrupting a repetitive pattern.

EDUCATIONAL APPROACH AND PITFALLS Trap tables tend to be somewhat of an afterthought. Trap Door gives them a center stage focus by being impossible to perform without them! Be sure to reference each trap table interaction with as much importance as you do the music itself. To create a trap table, simply fold a dark colored towel over a flat music stand. Place it in an ergonomically sound location for the performer, such as beneath a music stand Be aware of excess towel material hanging or within peripheral over. You don’t want to vision. Now that bass accidentally dampen an instrument meant to drum beater has a place resonate! to rest other than an armpit! Trap tables can hold mallets, beaters, small accessories, and pencils during rehearsals and a watch, metronome, or cell phone during individual practice. Before you begin, take the time to address all the different techniques that are called for throughout the piece, referencing the DVD when necessary. For instance, the 16

brush strokes with the dashed slur markings in ms. 17 of Player 1 should be played with a clockwise (or counterclockwise) sweeping motion, completing one rotation by the next count. Ms. 1–8 introduce the main rhythmic motifs and set the “traps.” Each entrance should blend into the ensemble rather than disrupt it. A good analogy would be arriving late to a birthday party; we want to slide in unnoticed, not announce to the world, “I’M HERE AND I’M LATE! WHERE’S THE CAKE?!?!” Ms. 9–16 are an embellishment of ms.1-8 with the parts becoming more independent. Again, the idea is to create a blended ensemble texture without one voice covering up another. The motions for each switch should be efficient and with purpose, not distracting to the audience or fellow performers. The same priniciple applies in baseball, where a player catches the ball, turns the body, and throws to their target all in one fluid motion.

Our first implement change, or switch, occurs in ms. 16–17. It might help to walk your students through it one beat at a time very slowly. You’ll find that a

Trap Door

common mistake is to play on beat 1 and then stand there. The switching motion should start immediately after the release and finish at least one count before coming back in. A wellplaced “Switch!” spoken in tempo can help students anticipate switches and minimize reaction time. The trap table interactions become progressively more frequent, so be sure everyone remains calm. Ms. 17–32 pass a solo among Players 1–4 with switches occurring every four measures. This would be a good place for the “Ready… and…SWITCH!” when the time comes. Remind the ensemble that if at any time they cannot hear the solo player, they are too loud! Ms. 33–40 continue with soli between Players 1, 2, and 4 with switches now occurring every two measures. The switch in ms. 40 mixes the implements in each hand and may require special attention. The solo section concludes during ms. 41–44 with 1-count features between Players 2 and 3.

We return to our mine field of traps at ms. 45 to spring them all! Expect some uneasiness, as this may be the first time they have ever had a solo in a piece of music, even if it is for only one count. Cues into your conducting pattern can help alleviate any anxiety. Remember that nothing builds confidence like eye contact between conductor and performer! You have the option in the last measure to inject a little humor—everyone falling into the final trap! Sticks of varying weight will be falling from different heights with no discernible pulse. Initially you might consider having the performers count out loud through the silence, creating an audible source of confidence that can be removed down the road. Finally, a not so small detail: Be sure to help the performers choose a sturdy music stand. A loose trap table can cause a major disruption to the rehearsal or concert and/or damage equipment.

DIGGING DEEPER DIGGING DEEPER DIGGING DEEPER

It is difficult to name a piece of music in which the use of a trap table would not be helpful. The independent percussionist will use one in every performance and rehearsal setting. A common full band rehearsal setup would have one trap table shared by the bass drum and snare drum, one for accessories, one for keyboards (e.g., between the bells and chimes), and one for timpani. While black towels are traditionally used, feel free to pick towels with your school colors, loud prints, or even tie-dye. Above all else, make sure the performers care about its appearance. A 5-year old Hannah Montana beach towel may not send the right message! Whether you are rehearsing Anne McGinty’s Atlantis or Sousa’s King Cotton, having trap tables throughout the band setup creates a place for performers to keep their sticks and mallets while not using them (keeping them out of idle hands!). It is important to convey the importance of this early on. When we do, losing sticks, missing pencils, dropping mallets, etc., will slowly become a thing of the past. 17

Level: Easy Duration: 1’51”

TRAP DOOR

Ralph Hicks

for Dad

q = 120 w/ sticks

Player 1 Snare Drum

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Player 8 High Tom

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Player 9 Triangle Finger Cym

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Player 10 Low Tom

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BEYOND BASIC PERCUSSION

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BEYOND BASIC PERCUSSION

17 P1

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BEYOND BASIC PERCUSSION

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BEYOND BASIC PERCUSSION

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f 35

Trap Door

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BEYOND BASIC PERCUSSION

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BEYOND BASIC PERCUSSION

Optional: Drop 1 stick on count 1

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P10

Œ ¢/

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Œ 50

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Œ 52

> œ

RALPH HICKS

4-8 PLAYERS 1 min 43 sec

(Implement model suggestions are Innovative Percussion brand.)

Player 1: Snare Drum, Woodblock—concert snare sticks (IP-LD) Player 2: Piccolo Snare Drum, Cowbell— concert snare sticks (IP-LD) Player 3: Bass Drum, Tambourine—concert bass drum mallet (CB-1), soft timpani mallets (CT-1) Player 4: Suspended Cymbal, Triangle—1 concert snare stick (IP-LD), medium triangle beater

Player 5*: Bongos—yarn mallets or “multi” mallets (IP-1M) Player 6*: High Concert Toms—concert snare sticks (IP-LD) Player 7*: Low Concert Toms—concert snare sticks (IP-LD) Player 8*: Cabasa, Slapstick * Denotes optional part

PRIMARY FOCUS:

MULTIPLE PERCUSSION SETUPS

SECONDARY FOCUS: “PREP STROKE” TIMING

MULTITASKER

INSTRUMENTATION IMPLEMENTS SETUP

03 ENSEMBLE

THE RATIONALE

BEYOND BASIC PERCUSSION

Multitasking is a skill we all need in this day and age. How else can we simultaneously watch the burgers and dogs on the grill, toast the buns in the oven, slice up the fixin’s on the cutting board, AND keep an eye on the game? There will come a time when a percussionist is required to multitask—in other words, to play more than one instrument at the same time. This is commonly known as a multiple percussion part (also multipercussion or simply multi). Multitasker introduces this concept, giving all performers the chance to play two instruments at once. Players 1–4 each have a primary and secondary instrument (e.g., snare drum and woodblock), while Players 5–8 have two different playing surfaces (e.g., high tom and low tom). Multi parts sometimes require playing two different instruments that require two different techniques, which does not often come naturally. You would not want to play a woodblock as if it were a snare drum and vice versa. A secondary focus of Multitasker is the use of syncopated rhythms to reinforce the preparatory stroke, or “prep stroke”—lifting the stick in rhythm to ensure proper timing. Thanks to a little deductive reasoning, we know that before a stick can come down, it must come up! Some of the offbeat rhythms in the piece (e.g., ms. 9–17) will help force this issue out into the open. Encouraging the performers to lift together on the preceding 8th note (coinciding with the slapstick part) should help clean up their entrances. Multipercussion literature can be intimidating to a non-percussionist. We try to alleviate this by keeping it to just two instruments—something almost anyone can learn to do well! This should help your performers break free of the “one-trick pony” mentality and gain a higher level of comprehension and coordination.

EDUCATIONAL APPROACH AND PITFALLS Take the time to go over the notation first; you’ll be glad you did! This may be the first time the students have seen percussion music written in this fashion. The notation consists of horizontal information (what rhythm to play) and vertical information (what instrument to play). Rehearse each section initially on primary instruments (or on one drum) only, focusing on the rhythms and stickings (horizontal information). Some will be ready before others, but when a player’s motions appear comfortable, they are ready to add the secondary instruments (vertical information). This should speed up the initial learning 32

process, allowing more time to focus on the “multi” aspects of each part. Instrument setups are crucial to success in multipercussion playing. To those who have been teaching young students for a while, you know better than to assume anything! Remember that triangle player facing the wall because that is where the music stand happens to be? Each instrument should be placed comfortably within reach while allowing the student to maintain focus on the music and on the conductor. At first they will need your help staying focused on getting a good tone out of their

Multitasker

instruments. Proper playing zones (“sweet spots”) can be reinforced by having them show you where they are. Thinking along these lines can develop tonal awareness and possibly avoid future frustrations of not sounding the way they would like to.

Ms. 17–29 add the bass drum and bongos into the mix of featured voices. Remind all other players that if they cannot hear the featured voice, they are too loud! Player 3 should aim for the center of the head with a heavy arm stroke. The more tilted the bass drum is, the closer it will feel to a normal stroke. The crescendo at the end of this section should be achieved by playing higher, not harder.

Young players often glue their eyes to the music as a form of “security blanket.” While we don’t want to disrupt that completely, they need to learn to feel comfortable looking away from the music periodically in order to check playing positions, watch the conductor, etc. Being smart about instrument placement is key.

Ms. 1–8 contain the main rhythmic idea in the P1 and P2 parts with staggered entrances from the rest of the ensemble. Similar to Trap Door, these entrances should blend in with the existing texture. Players 3–7 will most likely be late in ms. 10 due to delayed reaction time. They will wait for Players 1 and 2 to be finished, forgetting to factor in the time it takes to react. Having Players 3-7 time their prep strokes with the slapstick (e.g., ms. 8) will help them come in together. If the Player 8 part is not being covered, hand claps during rehearsals will work.

Ms. 29–40 should be fun! Players 1–3 and 5–8 all play a unison ostinato while Players 1-3 layer in on their primary instruments to create a simple rock groove. This is the most aggressive part of the piece, so be sure to keep them focused on good sounds! Draw their attention to the rebound of the strokes. As with a baseball swing, good follow-through can enable maximum rebound, resonance, and projection.

DIGGING DEEPER DIGGING DEEPER DIGGING DEEPER

Being comfortable early on behind a multiple percussion setup will pay off immensely down the road. Most higher-level wind literature is entirely made up of multi parts (e.g., Asphalt Cocktail by John Mackey and Concertino for Four Percussion and Wind Ensemble by David Gillingham). After Multitasker, students should be comfortable with two instruments. Subsequently adding a third, fourth, or even fifth instrument will be an issue of adjustment rather than a lack of ability. Multiple percussion solos can be a nice break from the traditional mallet or snare solo literature. I encourage you to visit the multipercussion section the next time you are shopping for music. The Contemporary Percussionist by Michael Udow and Solo Expressions for the Beginning Percussionist by James Campbell are both tremendous resources and would be good places to start. 33

Level: Easy Duration: 1’43”

MULTITASKER

Snare Drum

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Ralph Hicks

for Mom

q = 120

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RALPH HICKS

7-10 PLAYERS 2 min 29 sec

(Implement model suggestions are Innovative Percussion brand.)

Player 1:

Glockenspiel—medium bell mallets (IP901)

Player 2:

Xylophone or Marimba (upper)—medium hard yarn mallets (IP1002)

Player 3:

Xylophone or Marimba (lower)—medium hard yarn mallets (IP1002)

Player 4:

Chimes—1 or 2 chime mallets (CC-1)

Player 5:

Suspended Cymbal—yarn mallets (IP1002) and triangle beater

Player 6:

Brake Drum, Triangle—synthetic bell mallet (IP901), medium triangle beater

Player 7:

Bass Drum—brushes (BR-4)

Note: An ocean drum may be substituted.

Player 8*: Timpani—soft timpani mallets (CT-1)

PRIMARY FOCUS:

CONTROL AT A SLOW TEMPO

SECONDARY FOCUS: DYNAMIC EXPRESSION

LOW TIDE

INSTRUMENTATION IMPLEMENTS SETUP

Player 9*: Woodblock, Sleigh Bells —1 rubber mallet (F8.5) Player 10*: Wind Chimes

* Denotes optional part

04 ENSEMBLE

THE RATIONALE

BEYOND BASIC PERCUSSION

Try a little experiment during pad exercises in class: Without warning, set the metronome 30–40 beats slower than normal. Did they struggle? Did it resemble shoes in a dryer? Go back to the normal tempo, only now ask them to play as softly as they can. Did they struggle again? How long did they stare at you? While seemingly a bit premature, it should never be too early to introduce tempo control and dynamic expression to young performers. This is the purpose of Low Tide. The piece focuses on controlling a slow tempo with constant dynamic contrasts. We use these concepts as tools to convey musical expression and variety. Younger players don’t always have the necessary skills, although it may be within them. They just may not know how to bring it out. This is similar to the frustration of a toddler learning how to speak. They know what they want to say but can’t always say it! As they build their vocabulary, they are able to more fully express their wants and needs. Through Low Tide, hopefully your performers will develop enough tempo and dynamic control to turn their instruments into extensions of themselves. Unfortunately, we do not live in the world of Mr. Holland’s Opus. We cannot always just say, “Play the sunset,” and magically create a virtuoso performer. Like anything else, they must be shown how to do it.

EDUCATIONAL APPROACH AND PITFALLS When asking percussionists to play louder or softer, we can’t assume they know how to make that happen. While wind players manipulate dynamics with their air, percussionists manipulate their dynamics by changing the height and/or weight of their strokes, their mallet selection, or their roll speeds. However, louder does not mean forcefully playing harder! Forcing the stroke down may distort the timbre and produce an unpleasant tone. As you rehearse each section, it can help to count with them at the desired volume. Count louder as the music gets louder and softer as it gets softer, much like you would in a sight-reading environment.

Counting music at slow tempi is often underestimated. Once students make it past a few counts, they think, “I’ve got this. I can relax and think about something else.”

Inevitably, this will not work out too well. Counting slowly is important and needs to be practiced. Periodically running your daily drill at these slow tempi should help them in developing the “slow” muscle memory needed for moving at that speed. To this end, rhythmic subdivisions are your friend. While students may only see “1-2-3-4” coming from your conducting pattern, they can be thinking “1 and 2 and 3 and 4 and…” Low Tide follows a simple structure and

can be learned fairly quickly. It starts with the recreation of a midday ocean surf on a lazy Sunday afternoon. (This could be an opportunity to discuss the use of imagery!) Contrary to some of the other ensembles in this collection where blended entrances are necessary, disrupting this “scenic” texture is actually intended.

Low Tide

Player 1 begins the melody at ms. 8 that Ms. 29–45 are a repeat of ms. 9–25 with carries throughout the piece. Players 2 and added nuance to make it more interesting, 3 add in as chordal accompaniment with all albeit more intricate. Ms. 46 to the end is other players emuLating a short tag bringing This ensemble can be an opportunity for a crossthe ocean surf. Higher the piece to a close, disciplinary lesson plan—using a graph. We always hear strokes (and faster representing the last about the correlation between music and math; now we rolls) produce louder moments of calm at the get to show it! With Time on the horizontal (X-axis) and Volume on the vertical (Y-axis), you can chart different volumes, while lower beach before the ride types of crescendos and decrescendos. This visual aid strokes (and slower home. can help students understand how to more effectively rolls) produce softer pace their dynamic changes. Too much too soon can ruin the effect or vice versa. volumes. Lastly, Players 5, 6, and 9 play 8th-note patterns Try rehearsing each section a few times in throughout the piece that the entire ensemble two groups—one with pitched instruments will depend on for subdividing the pulse. It can (Players 1–4) and one without (Players 5–10). help players be accepting of a less interesting Clearly identify the melody to all members. part when they know how important their role As always, if they cannot hear it, they are too is to the group. loud!

DIGGING DEEPER DIGGING DEEPER DIGGING DEEPER

Drawing parallels between wind pedagogy and percussion pedagogy can improve overall engagement in full band rehearsals. Percussionists typically tune out because they cannot relate to the wind concerns being addressed. In an effort to involve them more, try having your woodblock player lead a ritardando, or have the snare drummer demonstrate a hairpin dynamic. Isn’t it nice when your percussionists have as much dynamic expression and tempo control as the rest of the band? You will especially notice a difference in your chorale performances, such as the climactic moments in Tchesnokov’s Salvation is Created. A long, dramatic timpani roll leading into a beautiful cymbal crash can really make or break the performance. What a relief it will be to have a percussionist in the back of the room that you can trust not to jump the gun. Understanding how to make changes in dynamic landscapes will also have tremendous impact in your students’ solo performances. Adding subtle dynamic nuances into the music might help you catch your white whale…a musical percussionist! 43

Level: Easy Duration: 2’29”

LOW TIDE

Ralph Hicks

for Marcail

q = 84

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BEYOND BASIC PERCUSSION

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RALPH HICKS

6-10 PLAYERS 1 min 54 sec

(Implement model suggestions are Innovative Percussion brand.)

Player 1:

Piccolo Snare Drum—1 concert snare stick (IP-LD)

Player 2:

Snare Drum—concert snare sticks (IP-LD)

Player 3:

High Concert Tom—1 concert snare stick (IP-LD)

Player 4:

Med High Concert Tom—1 concert snare stick (IPLD)

Player 5:

Med Low Concert Tom—1 concert snare stick (IPLD)

Player 6:

Low Concert Tom—1 concert snare stick (IP-LD)

Player 7*: Suspended Cymbal—1 concert snare stick (IP-LD) Player 8*: Triangle—medium triangle beater Player 9*: Cowbell—1 concert snare stick (IP-LD)

Player 10*: Bass Drum—1 concert bass drum beater (CB-1) * Denotes optional part

PRIMARY FOCUS:

PRODUCING NONSTANDARD SOUNDS ON STANDARD INSTRUMENTS

SECONDARY FOCUS: USE OF HANDS

FOLLOW SUIT

INSTRUMENTATION IMPLEMENTS SETUP

05 ENSEMBLE

THE RATIONALE

BEYOND BASIC PERCUSSION

Percussion literature is constantly yielding new and exciting combinations of instruments, styles, and sounds. Who knew scratching the cap from a can of spray paint across a tam-tam would sound so cool? Who came up with lowering a single crotale into a bowl of water? Gone are the days when there was only one way to play each instrument. Follow Suit is a high-energy piece aimed at introducing “out of the box” playing techniques beyond those taught on pad or keyboard. By focusing on dampening techniques and the use of the hands to achieve different sounds (either by themselves or on the instruments), the piece should help open your students’ eyes (and ears) to the endless realm of sonic possibilities that exist!

THE TECHNIQUES 1 MUTED STROKES

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2 OPEN STROKES

3 FINGERS

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Blank noteheads are the indication to place the left hand down onto the head (slightly off center) to dampen it. This should produce an audible sound.

The hand claps are indicated by a diamond notehead, while playing with the fingers is indicated with a small notehead. Note that when playing with the fingers, they should still strive to rebound off the head.

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EDUCATIONAL APPROACH AND PITFALLS When you study the score, you will see that the parts themselves are simple and repetitive. This is so the performer can be free to focus more on the techniques being introduced. To begin working the piece with your ensemble, you may find it helpful to practice the two-measure phrase starting at ms. 19 (see below).

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Most players have this part, and it is a useful practicing tool for teaching the dampening techniques (refer to page 52). Try practicing the phrase slowly at first (e.g., 70 bpm) and don’t panic if it takes up the entire first rehearsal for the students to get the hang of it. Slow and exaggerated motions should help develop the muscle memory.

repetitive pattern to create a background texture. While Players 3, 4, and 5 enter at different times (ms. 3, ms. 8, and ms. 13, respectively), they each play the same four-measure phrase and can learn it together. Pay close attention to the third measure in which they have to simultaneously play the head AND dampen it (For Player 4, this would occur on beat 3 of ms. 5 and >-œ beat . >œ1. of ms.>œ. 6). You can relate this œ Œ to a-œwind player timing their tongue with their fingers, avoiding blips caused by misaligning the two actions. Once everyone appears comfortable, you should be able to run ms. 1–16. Ms. 17–20 is a tutti section and can be learned in unison.

The trap tables come into play at ms. 21–27 as we switch from sticks and beaters to hands and fingers. As with Trap Door, all trap table interaction should not be distracting either to the audience or the other performers. Take the time to practice comfortable, All drums should be played As the students gain proficiency with smooth transitions. Also, in the center of the head for the techniques, they will likely begin to maximum articulation, albeit be sure to address how you assume they’ve mastered them before less resonance. This may make they really have. They need to be striving want the clapping to sound. lining things up vertically a Symmetrical contact (palm to for perfection every time. REMEMBER: For true mastery to be important to them, palm and finger to finger) does little difficult, so a clearly they have to see it’s important to you! not project; fingers into palms audible metronome should be used. Clicking sticks or tapping will project the most. Have on a stand will suffice, provided the “clicker” them cup their weak hand and bring in the has a good sense of time! Conversely, have the fingers of their dominant hand, making sure to keep those fingers together. performers play the open-tone accents offcenter, giving them more body. Ms. 27 is a hand-clapping bonanza. Most players double with somebody (e.g., Players 1 Once everyone is comfortable with the aforementioned two-measure phrase, start and 2, Players 4 and 6, etc.), so pointing this out may help minimize confusion. Ms. 31–46 at the beginning. Work ms. 1–17 without Players 3, 4, or 5. The remaining players should are more rhythmically challenging and require be identified as having the ostinato, i.e., a independent counting. The melody is in the

BEYOND BASIC PERCUSSION

four concert toms and will likely need to be broken down to ensure that the four players understand their role. Their attention should remain on producing good sounds, rebounding their fingers off the head and allowing it to resonate. A common tendency will be to leave the fingers on the head after striking. Take care, as a split second is all the time you need to accidentally dampen the head! Ms. 47 returns to a more unison feel with a single 8th-note pattern split between the tom players. Poor reaction time during this split

part will be its downfall. As with Trap Door, they need to be thinking ahead about their “prep” strokes…not just waiting for the player before them to finish. One last note regarding tempo: While it may be marked at 120 bpm, this is just a reference tempo. If each individual performer can master their part at 120 bpm, feel free to try faster tempos. Make it clear to the students, however, that accuracy should ALWAYS come before speed.

DIGGING DEEPER DIGGING DEEPER DIGGING DEEPER

The techniques in Follow Suit can definitely be applied to a concert band setting. Obvious places would be at the ends of phrases and final releases. Who wants to spend time cleaning up a brass release just to have a cymbal player hang over it? Whether timing a cymbal decay to the band’s decrescendo release or making a bass drum more stacatto, a percussionist’s attention to note length and sound decay is a sign of musical maturity and will be appreciated. The next time your ensemble has a concert march in the program, look for ways to apply the concepts your students learned here. Traditional batterie percussionists in concert marches quite often skim over nuances in note length on the crash cymbal and bass drum parts. Now you can feel comfortable having your percussionists make a distinction between a half note and a quarter note!

Level: Easy Duration: 1’54”

FOLLOW SUIT for Jim and Gregg

q = 120+

Ralph Hicks

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BEYOND BASIC PERCUSSION

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BEYOND BASIC PERCUSSION

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BEYOND BASIC PERCUSSION

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BEYOND BASIC PERCUSSION

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BEYOND BASIC PERCUSSION

RALPH HICKS

6-9 PLAYERS 2 min 21 sec

(Implement model suggestions are Innovative Percussion brand.)

Player 1:

Glockenspiel—bright synthetic bell mallets (IP906)

Player 2: Chimes—2 chime mallets (CC-1)

Player 3: Xylophone—medium soft mallets (IP902)

PRIMARY FOCUS:

FAST CHROMATIC SCALES

Player 4: Marimba—medium yarn mallets (IP1002)

Player 5: Snare Drum, Flexatone, Tam-tam—concert snare sticks (IP-LD), 1 concert gong mallet (CG-1) Player 6: Bass Drum—1 concert bass drum beater (CB-1),

1 pair concert bass drum rollers (CB-5)

Player 7*: Crash Cymbals

SECONDARY FOCUS: TEMPO MANIPULATION

TRAUMATIC CHROMATIC

INSTRUMENTATION IMPLEMENTS SETUP

Player 8*: Tambourine, Temple Blocks—medium hard rubber mallets (F8.5) Player 9*: Castanets, Ratchet, Triangle, Police Whistle— medium triangle beater

Note: If P9 is not covered, the police whistle part will need to be played by another player. * Denotes optional part

06 ENSEMBLE

THE RATIONALE

BEYOND BASIC PERCUSSION

Ah, yes…the chromatic scale. The sighs of boredom emanating from percussionists having to play their chromatic scale at the speed of their fellow wind players can be heard down the street. Percussionists don’t have to worry about making embouchure adjustments on a trumpet or cracking the Da Vinci code that is bassoon fingerings. Once we have the stroke down and know where to start, we’re good to go! Traumatic Chromatic focuses on playing a fast chromatic scale in a whole tone setting. This scale is broken down into its core components and rebuilt in several different ways (e.g., one hand at a time, both hands, groupings of four notes, groupings of six notes, etc.). After passing the scale around the various keyboard instruments, we are finally given the payoff at the end with a 16th note-based, single-octave chromatic scale. A secondary focus is tempo manipulation. There are several major moments in the piece that build tension and excitement by slowing down (molto rit.), speeding up (accel.), or even halting (fermata). Achieving these effects as an ensemble can be tricky.

EDUCATIONAL APPROACH AND PITFALLS The chromatic scale at a pace appropriate for winds can be too slow for percussionists to concern themselves with stickings—which hand plays what. Quite often you will see students keep one hand on the lower manual (white keys) and one on the upper manual (black keys). While not typically a problem at slower speeds, this can cause major problems at faster tempi (e.g., 16th notes at 90 bpm). If the stickings written in for the majority of the keyboard parts in Traumatic Chromatic are followed and muscle memory is allowed to kick in, faster speeds will be more easily achievable.

The molto rit. in ms. 3 is another opportunity for a graph. With Time on the horizontal (X-axis) and Counts on the vertical (Y-axis), you can chart out various tempo changes over time. The more consistent you guide them, the easier it will be for muscle memory to take over. While there is merit in developing tempo awareness by changing each time, predictability spawns confidence in younger players.

As with any percussion ensemble, be sure to allow time to address any logistical concerns the performers may have before starting. This includes questions about the overall setup, trap table placement, notation, or accessory techniques. Should you have questions about playing a certain instrument, don’t forget the DVD!

The piece begins with Players 3 and 4 playing elements of a chromatic scale, although they may not immediately realize this. Ms. 1 is the chromatic scale minus the left hand, while ms. 2 is minus the right hand. The rest of the ensemble punctuates with impacts leading up to the fermata at ms. 4.

Before rehearsing ms. 5–18, identifying the melody should help the ensemble balance appropriately. It might also be a good idea to walk through the first and second endings. Ms. 19–30 have a lot of musical dialog between the keyboard and batterie parts. Try rehearsing this section in groups—first keyboards only, then batterie only. When putting them together, the batterie should balance to the keyboards.

Traumatic Chromatic

Ms. 31–38 resemble a dream sequence, as the chromatic figures continue with Players 3 and 4. Since the melody is only in two staves at a soft dynamic, it is important that the rest of the ensemble follows the golden rule of balance: If you can’t hear the melody, you’re too loud!

Ms. 54 sends the bell player over the barline. This player may need your help in navigating, as the pattern changes seemingly in the wrong place. This section should be rehearsed in the same fashion as the molto rit. earlier in the piece (i.e., counting and “air drumming”).

The police whistle in ms. 39 hides the count-off for the march-style finish, so be sure everyone watches the conductor. Also, remind the whistle player to take a deep breath before playing! As with concert band marches, batterie instruments should be calm and controlled timekeepers. It may be helpful to rehearse this section as you did previously—first keyboards and then batterie only.

Notice that the accel. ends at ms. 57. Have all the performers write “look up” on their parts. This will give them five counts of the pulse before they play their fast 16th-note figures. This happens to be the only time we hear a complete one-octave chromatic scale this fast!

DIGGING DEEPER DIGGING DEEPER DIGGING DEEPER

Not many public school auditions out there do not require the chromatic scale. The “fastest hands” can be a source of pride similar to gunslinging in the Old West (not to mention a great way to settle ties on chair tests). A little healthy competition never hurt anyone, as long as no lunch money changes hands! Since the chromatic scale on keyboard has such a short learning curve, it is acceptable to have a higher standard for speed than the winds. Practicing the correct stickings will help instill the necessary muscle memory to create a smokin’ fast chromatic scale. They’ll be ready for Rimsky-Korsakov’s Flight of the Bumblebee before you know it!

Level: Easy Duration: 2’21”

TRAUMATIC CHROMATIC for William

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Player 4 Marimba

? 44 œ œ œ #œ #œ #œ Œ R R R R R R

Player 5 Snare Drum Flexatone Tam-tam

Player 6 Bass Drum

4 /4Ó

Player 7 Crash Cyms

4 /4Ó

Player 8 Tambourine Temple Blocks

4 /4Ó

Player 9 Castanets Ratchet Triangle Police Whistle

4 /4Ó

> Œ œœ œ

Snare drum

R R R R R R

U w œ œ #œ #œ # wæ # œ œ œ œ

bœbœ œ œ œb œ Œ

œ œ œ bœ bœ bœ

U œ œ #w wæ

R R R R R R R R

U æ œ œ œ œ œ œ wæ

#>œ

bœ bœ bœ Œ œœœ L

œ #œ

R R R R R R R R

> Œ œœ œ

>. œ Ó

>. œ

∑

>¿.

∑

>œ

∑

U w

U >Y

Blocks U " Temple ¿ ∑ ¿ ¿ ¿

¿ ¿ ¿ ¿

4 ¢/ 4

∑

Tambourine

∑

A Tempo

U #w

4 & 4 œ œ #œ #œ #œ Œ œ

U w # œ œ œ œ #œ #œ

molto rit.

Player 2 Chimes

Ralph Hicks

∑

U " ∑ 4

∑

Traumatic Chromatic

7 2nd time only ° ™Œ Œ P1 & ™ œ œœœ mf

R R R

& ™™ w

Œ Œ œ œ œ œ#œ#œ # œ œ #œ œ # œ #œ œ œ œ R R R R R

L L

2nd time only

L L L L

œœœ R R R

œ#œ #œ R R

œ#œ œ

œœ

R R R

R R

∑

bœ œbœbœ nœ nœ & ™™ œ œ œ œ#œ#œ œ œ œ#œ#œ#œ œ bœbœ œ œ œ œ bœ bœ œ œ œ œ œ R R R

R R R

R R R R R R

L L L

L L

L L L L

R R R

L L L

# œ œ #œ ‰ œJ Œ

œ nœ

bœbœbœ nœ nœ œ R R R

L L L

? ™™ œ

Œ Œ #œ œ

2nd time only

/ ™™ Œ

œœœ œ œ Œ

‰ #œJ Œ

j ‰œœ œ œ

œœ

œœŒ

#œ

Œ Œ

œœœ œ œ Œ

#œ

j ‰œœ œ œ

œœ

œœŒ

#œ #œ nœ #œ

∑

2nd time only . ™ / ™œ Œ Œ

. . œ œ

2nd time only

∑

/ ™™

. ‰ œj Œ

Œ Œ

. . œ œ

. ‰ œj Œ

. œ

∑

‘

∑

¿ / ™™

¿ ¿

‘

Triangle 2nd time only

™ P9 ¢ / ™ Œ 11

1 1

Œ 1

1 1

Œ 1

mf 7

BEYOND BASIC PERCUSSION

° #œ #œ œ P1 &

Ÿ~~~~~~~~~~~~ œ #˙ œ œ

™™ œbœbœ nœnœ œ R R R

L L L

bœbœbœ R R R

> œŒ œ œ # œ œ # œ œ œ bœ œ # œ œ#œ œ œ#œ L

L R L R L R L

R L R L R

∑

™™ ˙

∑

Ÿ~~~~~~~~~~~~ & œ # œ œ#œ œ œ#œ œ #˙ œ œ R

™™

L R L R L R L

? #œ

œ#œnœ#œ œ#œ œ Œ

‰bœ œ#œ ™™ J

/ Œ

b˙

œ œœ œ œ œ œ Œ

∑

œ #œ œ nœ #œ #œ nœ #œ

¢/

> œ œŒ > °

>œ

j œ

>. œ

>. œŒ

>¿.

>¿. Œ

∑

. ™™ ‰ œj Œ

∑

™™ Œ

. ‰ œj Œ

¿ Œ

. . . ‰ œj Œ œ œ

¿ ¿

∑

‰ ¿J ¿¿¿¿ ¿

™™ Œ

¿¿ Œ

¿ ¿

∑

™™ Œ 1

Œ 1

> ¿

1>. f

œŒ >

> > œ œœ œ Œ

j œ

Œ œ#œ œ œ œbœ œbœ œbœ œ œbœ œbœ œ œ œ œ œ œ#œ #œ œ œ#œnœ#œ > R R R R R R R R L R L RL RL R L R L R L R L R L R L R

∑

> ‰ œœœ œ ™™ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ

j œ

Traumatic Chromatic

> >œ >œ ° & œ#œ#œ#œ œ >R >R >R >R R R R

∑

b>œ b>œ >œ œ œ œ >œ > > > L L L L L L

∑

Œ œ>#œ#œ >œnœ#œnœ#œ R R R R L R L R sub. p

& Ó

Œ #œ > °

> > > >œ >œ#>œ#>œ & #œ#œ œ

∑

R R R R R R R

œ > °

∑

> >b>œb>œ >œ >œ >œ œœ L L L L L L

∑

#œ#œ#œ œnœ#œnœ#œ Œ > > R R R R L R L R

sub. p

>> ? >œ >œ >œ#>œ#>œbœ œ

∑

R R R R R R R

/ Ó

∑

¢/

∑

> > >œ >œ >œb >œ b >œ bœbœ L L L L L L

> > >> œ œ œ œ œ œ œ œ œ œ œ œ œœjœ Ó

∑

œœœœ œ œ Œ > >

sub. p

> > >> œ œ œ œ œ œ œ œ œ œ œ œ œœjœ Ó

> ‰ œœœœœ sub. p

>. œ

>. >. ‰ œj œ Ó

>¿

>> ‰ ¿J ¿ Ó

∑

>. œ

>. >. ‰ œj œ Ó

>¿

>> ‰ ¿J ¿ Ó

∑

sub. p

>. œ

‰

>¿ ¿ J

sub. p

œ œ sub. p

∑

sub. p 19

BEYOND BASIC PERCUSSION

° P1 & #œ #œ#œ œ nœ#œ nœ#œ Œ > > R R R R L R L R

> œ œ > œ#œ œ œ œ#œ Œ R R R R L R L R

26 œ œ#œ œ#œ

œ # œ œ#œ œ

L R L R

R L R L R

Ÿ~~~~~~~~~~~~~~~~~~~~ bœ œ Œ #œ œ#œ ˙ R L R L R

∑

bœ

> œ œ > œ#œ œ œ#œ Œ & œ R R R R L R L R

>œ#œ#œ >œ nœ#œ nœ#œ Œ R R R R L R L R

L R L R

œ œ#œ œ#œ

Ÿ~~~~~~~~~~~~~~~~~~~~ bœ œ Œ #œ œ#œ ˙

R L R L R

œ œbœ œ#œ

œnœ#œnœ œ

Ÿ~~~~~~~~~~~~~~~~~~~~ œbœ œ#œn˙ bœ Œ

R L R L R

œœ œœ œ

>>>>>>> > œ œ œ œ œ œœœœœœœ œ

>. œ

>. ‰ œj

> ‰ J¿. Œ

>¿

œ æ

œœ

œ # œ œ#œ œ

? >œ#œ#œ >œ

œ Œ

#>œ#œ#œ >œ

L R L R

> > œ œ œ œ /

> > > œ œœœœœ œ œ œ œ

/ Ó

>. œ

/ Ó

‰

>¿ ¿ J

/ Ó

> œ œœœœœ

œ œœœœ f

œ œ Ó

>. œ

‰

>¿ ¿ J

¢/

Ó 24

œ œ

œ æ f

>. œ

œ æ

∑

Traumatic Chromatic

31 P1

° ‰ œbœ Œ Ó œbœ œbœ œ œbœ & œbœ œ > L R L R L R L R L R L R

∑

˙˙ p

˙˙

b˙˙

j & ‰ œ #œ œ #œ œ #œ œ L

R L

° P3

> œ Œ Ó

∑

& ‰ œbœ œbœ œbœ œ œbœ œbœ œ Œ Ó > L R L R L R L R L R L R

∑

œ œbœ œbœ nœ œ nœ œ œ œ œ œbœ œ bœ œ œbœ œ nœ œ œ R L R L R L R L

R L R

sim.

? ‰ œ bœ nœ bœ nœ bœ nœ J

>œ

∑

Œ Ó

R L R L R L R L

> / œ

>. œ

>. >. œœ

>. œ Œ Ó

/ Œ

>¿

>¿ >¿

>¿. Œ Ó

sim.

∑

Tam-tam

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~

∑

Y p

>. / œ

/ œ

R L R

œbœ nœ œ # œ n œ œbœ

Flexatone

> ‰ œœ œ œœ œ œ œ œ Œ Ó f

œ#œ œ#œ œ œ nœ œ œbœ œ œ#œ nœbœ

∑

æ wæ

w æ

w æ p

¿ ¿ ¿ ¿

slow circular roll

‘

∑

w æ

‘

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Y Y

Ratchet (slowly)

¢/

∑

p 28

BEYOND BASIC PERCUSSION poco rit.

° P1 & bb˙˙

& w

˙˙

b˙˙

U ˙˙

bb˙˙

A Tempo

∑

U w

∑

U ˙ œ bœ œ œ œ œ œ bœ œ bœ œ # œ œ # œ œ ˙ & œ bœ œ œ nœ œ œ bœ nœ œ bœ œ bœ œ #œ œ #œ œ #œ ææ

∑

œ b œ n œ œ œ b œ œ # œ œ œ œ œ b œ n œ œ œ b œ œ b œ œ b œ bœ œ bœ œ bœ U ? œ bœ œ œ œ nœ œ # œ ˙˙ æ

∑

~~~~~~~~~~~~~~~~~~~~~~~~~~~ / ~

/ wæ

b˙˙

¢/

∑

‘

∑

æ wæ

w æ

‘

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ U O ~ Ó

∑

w æ

‘

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Y Y

‘

∑

U ∑

∑

U ∑

∑

U ¿ Œ

U ∑

∑

Police Whistle

~~~~~~~~~~~~~ w f

Traumatic Chromatic

40 œ ° œ#œ œ#œ œ œ œ œ œ œ œ#œ œ#œ œ œ œ œ œ#œ œ#œ œ œ#œ œ#œ œ # œ œ P1 & f

& Ó

Œ °

œ#œ œ œ œ œ œ & œ#œ

˙™

/ Ó

∑

ø œ œ#œ œ#œ œ œ œ œ

œ#œ œ # œ œ#œ œ#œ œ œ#œ

œ œ

∑

? œ œ bœ œ bœ œ œ œ œ bœ œ bœ œ œ œ œ œ œ

/ Ó

œ #œ #œ #œ

œ œ bœ œ bœ œbœ œ œbœ

œbœ œ

œœœœœ

j j j j j j œ œ œ œ œ œ œ œ œ œ œ œ œœjœ ‰ œjœ ‰ œjœ ‰ œjœ œœjœ ‰ œjœ ‰ œjœ ‰ œjœ

>. œ Ó

/ Ó

∑

>¿.

>. œ Ó >¿.

>. œ

>¿

. œ

∑

œœ‰ œœœ‰ œ œœ‰ œœœ‰ œ J J J J

¢/

∑

BEYOND BASIC PERCUSSION

45 ° ™œ P1 & ™

2nd time only

œ #œ œ #œ œ œ nœ #œ œ #œ

& ™™ œ

mf – f

œ#œ œ#œ œ œnœ œnœ

R L R L R L R L R

? ™™ œ #œ œ #œ œ œ nœ #œ

œ#œ œ#œ œ œnœ œnœ

œ œ #œ œ #œ nœ œ nœ

œ #œ œ #œ œ #œ

øR

œ #œ œ œ nœ #œ & ™™ œ #œ R

#œ

œ œ #œ œ

œ œ #œ œ #œ nœ œ nœ œ œ#œ œ#œnœ œnœ œ

sim.

mf – f

œ œ #œ œ #œ nœ œ nœ œ œ#œ œ#œnœ œnœ œ

sim.

R L R L R L R L R

mf – f

j j j j j / ™™ œ œ ‰ œ ‰ œ œ ‰ œ œ

‰

. / ™™ œ

. œ

> ˙

j œ

j œ ‰ œ œ œ œjœ

j œ

>æ œæ

j j j œ œ ‰ œ ‰ œjœ ‰ œjœ œ œjœ ‰ œ œ œ œjœ j œ

j œ

mf – f

/ ™™

. œ

mf – f

. œ

> ˙

•

mf – f

/ ™™ œ œ ‰ œJ œ œ ‰ œJ

. œ

œ œ ‰ œ œ œ >œ ææ J

•

Castanets

™ œœœ œœœ œ œ œ P9 ¢ / ™ œ œ œ œ œ œ œ œ œ œ œ œ œ

•

mf – f

>æ œæ

Traumatic Chromatic

° #œ P1 &

& #œ ø

œ œ œ #œ ø

∑

œ œ Œ

#œ œ# œ œ œ œ œ n œ #œ œ# œ œ œ œ œ n œ œ

œ œœœœ

œ# œ œ#œ œ R

LR LR

? #œ œ #œ œ œ œ œ nœ #œ œ #œ œ œ œ œ nœ œ Œ œ

#œœœœ #œ

#œ nœ#œ œ#œ œ ™™

>æ j j j j j j æ / œ œ ‰ œ ‰œ œ ‰ œ œ œ œ œ ‰ œ œœœ œ œ œœ œœ

. / œ

. . . œ œ œ

. œ

•

¢/

• 49

> ˙

œbœ œ bœ

#œ œ# œ œ œ œ œ n œ œ œ b œ n œ

œ œ#œ œ#œ

RL RL R

#œ œ#œ œ œ bœbœbœ œ œ ™™

#œ œ#œ œ œ bœbœbœ œ œ ™ #œ œ #œ œ œ œ œ nœ œ œ bœ nœ ™

œœ œœ œ

j œ

Œ #œ œ#œ œ ™™ #œ ° ø

RL RLR L R L RL

j œ

bœ

R L sim.

j j œœ œœœ œ œ œ œœ ™™ œ œjœ ‰ œjœ œœjœ ‰ œjœ

∑

. ™™ œ

. œ

∑

™™

∑

™™ œ œ ‰ œ œ œ ‰ œ J J

∑

™™ œ œ œ œ œ œœ œ œ œ

BEYOND BASIC PERCUSSION

54 accel. Vivace >~~~~~~~~~~~~~~~ ° œ œ bœ œbœ œ bœ œ œ bœ œbœ œ bœ œ œbœ œbœ œbœ Ÿw bœ Œ œ œ œ P1 & R L

& Ó

R L R L R L

sim.

R L R L R L

sim.

R L R L R L

œ #œ#œ œ#œ œ#œ

. ˙ >Y

>œ

>œ Œ œ Œ

. ˙

> œ Œ Ó

>. Œ œ

>¿

Œ Ó

>. œ

∑

>. . Œ œ œ Œ

>¿

> Œ œ

/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ wæ

~~~~~~~~~~~~~~~~~ > > w Œ œ P9 ¢ / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 54

>œ

>œ >œ Œ Œ

> œ

> > œ Œ œ Œ

>œ

> > > > > œ œ œ œ œ œ œ œœ œ œ œ œ œ Œœœ œ Œ

œ#œ#œ œ#œ œ Œ

>œ

>ææ w

> > > > > > j j j j j œ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œœœ œ œ œ /

. ˙

> œ Œ

>œ

j œ

/ Ó

œ >

sim.

> œ

Ÿ>~~~~~~~~~~~~~~~ >œ ? œ œ bœ œ œ nœbœ œ bœ œ bœ œ œnœbœ œ œ#œnœ#œ œ#œnœ œ w œ Œ R L

> Œ œ

w >

~~~~~~~~~~~~~~~ œ œ b œ œ #œ œ œ n œ œ œ b œ œ #œ œ œ n œ b œ œbœ œ nœbœ Ÿw œ œ > bœ R L

œ#œ œ œ Œ

b˙

œ # œ œ#œ œ œ#œ œ#œ

RALPH HICKS

3-8 PLAYERS 2 min 40 sec

(Implement model suggestions are Innovative Percussion brand.)

Player 1:

Marimba (upper)—hard yarn mallets (IP1003) or hard rubber mallets (ENS260)

Player 2:

Marimba (middle)—medium yarn mallets (IP1002) or medium rubber mallets (ENS360)

Player 3:

Marimba (lower)—soft yarn mallets (IP1001) or soft rubber mallets (ENS460R)

Player 4*: Bongos—multi-application mallets (IP-1M) or medium yarn mallets (IP1002) Player 5*: Congas—multi-application mallets (IP-1M) or medium yarn mallets (IP1002) Player 6*: Maracas, Cabasa Player 7*: Tambourine Player 8*: Triangle—medium triangle beater * Denotes optional part

PRIMARY FOCUS:

MAKING MUSIC!

SECONDARY FOCUS:

ENSEMBLE AUTONOMY (NO CONDUCTOR)

MI MILAGRO

INSTRUMENTATION IMPLEMENTS SETUP

07 ENSEMBLE

THE RATIONALE

BEYOND BASIC PERCUSSION

As we look back on the previous ensembles, it is probably safe to say you are thoroughly saturated with the concepts being addressed. As the ensembles have progressed in difficulty, so has the balance between educational concept and musical content. Mi Milagro, or My Miracle, was written for my daughter Brooklynn when she was born in 2003.

It was originally a trio in the style of traditional Mexican marimba bands (all players on one marimba). Her great-grandfather was a marimba player in Chiapas, Mexico, before coming to the states, so I wanted to remind her musically of her Hispanic heritage…especially since she came out looking like Snow White! Similar to Clave & Sons, there is no distinct Latin style being attempted…just a simple, fast three meant to be felt in one. Having a static tempo, straightforward structure, and simple repetitive ostinato patterns, this is the perfect ensemble to attempt without a conductor. With accessory percussion parts courtesy of Eric Rath, Mi Milagro is a wonderful addition to this collection.

EDUCATIONAL APPROACH AND PITFALLS

Mi Milagro has no introduction…it is full

speed ahead right from the beginning. All instruments play the same role throughout the piece. It follows a simple ABA form with a short coda at the end. The hardest part about reading music for a piece that is in a fast three (played in one) is underestimating how fast the measures go by. You can anticipate several times hearing, “What? We were at bar 33 already? I thought we were only at bar 20!”

Ms. 33–56 are a repeat of ms. 1–31 with Player 1 rolling two-note chords rather than single notes. This should not affect which roll speed is chosen. Lower pitches travel more slowly than higher pitches, so it is common to start rolling chords on the lower note. While the other members of the ensemble will have to balance to this voice, it is important that Player 1 play strong enough to give them something to balance to!

Player 1 has the melody throughout the piece. You should consider having Players 1 and 2 “pulse” their rolls, experimenting with different rhythmic subdivisions (e.g., sextuplets, 32nd notes, etc.). When rolls are pulsed in this fashion, it is easier for the players to anticipate which hand they will release with and thus be more comfortable coming out of the roll.

Players 2 and 3 make up the “oom-pah-pah” voice. Player 2 should strive for equal strength across the board, while Player 3 should use a little more arm in the stroke on beat 1 for more sustain (think upright bass). Both should be slightly softer than Player 1—always listening and balancing accordingly. Player 2 fills in the longer notes of the melody (e.g., ms. 6–8), so feel free to bring that out in the texture.

Mi Milagro

Players 4 and 5 (bongos and congas, respectively) use no complicated techniques and should use mallets to bring out the tone of the drums. They will need to be aware of the mallet parts in order to balance to that sound. If you were to ask them, “What is Player 2 doing while Player 1 holds out that long roll in ms. 7–8?” they should be able to answer! Players 6–8 (the accessory parts) are a continuation of the rhythm section. The accessories should be held at eye level, remaining light in volume throughout the ensemble. Tell the students it is a Jedi mind trick—the crowd can hear better what they can see! The triangle-dampening pattern may take a little getting used to. It is very similar to the techniques used in Follow Suit: Strike on beat 1, dampen on beat 2, and play it dampened

on beat 3. The hand clapping at ms. 65 should be done with straight fingers making contact with the palm—thin and light—creating a nice change in color. The tempo can be on autopilot until after you take the coda. Like Traumatic Chromatic, this ritard should be rehearsed by having the players count out loud while getting their pulse from Player 3. Much like the baton of a relay race, the tempo is controlled by Player 3 who hands it off to Player 2 who hands it off to Player 1. The last note should also be the softest note of the entire piece. Lastly, all keyboard parts can be doubled. P1 can be doubled on the orchestra bells by omitting the rolls. P2 can be doubled on vibraphone, marimba, or xylophone, and P3 can be doubled on low xylophone or marimba.

DIGGING DEEPER DIGGING DEEPER DIGGING DEEPER

It’s always fun to expose our students (and our children) to new and interesting genres of music. As Mi Milagro and Clave & Sons will show you, it doesn’t have to be a clearly defined style; sometimes just having “that Latin-American sound” can do the trick. Listening resources for this genre would be groups such as Marimba Chiapas and Marimba Chapinlandia, both rich in their cultural heritage. For an American twist on the small marimba band, check out Mark Ford’s Stubernic and Afta Stuba!

Level: Med-Easy Duration: 2’40”

MI MILAGRO for Brooklynn

h. = 66

Player 1 Marimba (upper)

œ œ œ

° b3 ˙ ™ & 4æ

Player 2 Marimba (middle)

3 & b 4 Œ œœ œœ

Player 3 Marimba (lower)

? b 43 -œ œ œ

Player 4 Bongos

w/ mallets 3 œj-œ Œ œ œj-œ œ Œ / 4

‘

Player 5 Congas

‘

™ œ œ œ ææ˙

˙™ æ

‘

j œ

˙™ ææ

Ralph Hicks

˙ ææ

œ ˙™ ææ

˙ ææ

Œ œœ œœ Œ œ œ œ œ œ œ œ œ œ œœ œœ Œ œœ œœ

‘

œ œ œ

‘

-œ Œ œ œjœ ™ œj œ œjœ œ œ œjœ œ Œ

‘

j œ

‘

œ œ œ

‘

œ œ œ œ œ œ jœ Œ œ œ œ œj œ Œ

w/ - mallets 3 œ œ œ œ Œ œœ œ œ œ œ œœ œ œ Œ œ œ Œ œ œ œœœ œ œœœ œ œ œ œ Œ œœ / 4

3 ‹ ‹ Œ ‹ ‹ / 4 Œ

Œ ‹‹‹ ‹ ‹

3 / 4

Œ œ œ

œ Œ Œ

-1 1. Œ

Maracas

Player 6 Maracas Cabasa

Player 7 Tambourine

∑

3 -1 beatŒ 2)1. 4 / ¢

(mufﬂe on

Player 8 Triangle

‹ Œ ‹ ‹ Œ ‹ ‹ ‹ ‹‹‹ ‹ ‹ ‹ Œ ‹ ‹ Œ ‹ ‹

Œ œ œ œ Œ Œ æ˙™ æ

˙™ æ

œ Œ œ œ Œ Œ

Œ œ œ

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Player 1:

Timpani—medium/general timpani mallets (CT-3)

Player 2:

Castanets

Player 3:

Triangle—medium triangle beater

Player 4:

Tambourine

Player 5:

Snare Drum—concert snare drum sticks (IP-LD)

Player 6:

Bass Drum, Tam-tam—general bass drum mallet (CB-1) and a triangle beater or coin for scrapes

Player 7:

Crash Cymbals

Player 8:

Suspended Cymbal—general suspended cymbal mallets (JC-2SC) and a triangle beater or coin for scrapes

Note: Rechargeable Batterie depends on all eight parts being played. If necessary, all of the cymbal parts can be covered by one performer on suspended cymbal. A separate sizzle cymbal can be utilized to substitute for the crash cymbal’s “sizzle” crash.

ERIC RATH

8 PLAYERS 2 min 36 sec PRIMARY FOCUS:

FURTHERING KNOWLEDGE OF ACCESSORY PERCUSSION INSTRUMENTS

SECONDARY FOCUS:

ACHIEVING NUANCE IN THE MUSIC THROUGH TOUCH

RECHARGEABLE BATTERIE

(Implement model suggestions are Innovative Percussion brand.)

RECHARGEABLE

BATTERIE

INSTRUMENTATION IMPLEMENTS SETUP

08 ENSEMBLE

THE RATIONALE

BEYOND BASIC PERCUSSION

If Batterie was an introduction to the accessory percussion instruments, Rechargeable Batterie is its souped-up, tricked-out, high-octane, high-protein, and high-performance big brother! When you begin with Batterie, you should be keeping your eye on the prize—playing Rechargeable Batterie. Simply put, this piece highlights a whole new level of performance that can occur with these instruments and does it in a more musically complex and satisfying manner. Within the first 15 measures, you should notice that Rechargeable Batterie aspires to make music with our newfound accessory percussion skills. At this point the performer is not worried about how to play triangle or castanets as much as how to achieve the proper nuance required by the music. Across a number of dynamic changes, there are ample opportunities for the performer to perfect the proper and musically appropriate touch on the instrument. The independent percussionist does not just play the notes on the page; they actively seek out ways to perform their parts in the most complementary fashion to the rest of the ensemble. There are, however, still some “training wheels” in place in the piece. Most real-world tambourine parts do not specifically indicate whether a roll is intended to be a “shake roll” or a “thumb roll.” Suspended cymbal parts may or may not tell you what part of the stick to use. Most of the time the composer does not care whether you scrape a tam-tam with a triangle beater or a coin. In Rechargeable Batterie, many of the techniques are specifically indicated so that the performer broadens their “technical vocabulary.” By the time you work up Rechargeable Batterie, you will have percussionists who have many more tools in their toolbox. They will also have gained those tools having to be increasingly aware of how the other performers’ parts fit together. They will be able to play their part but also know how their part functions in the overall ensemble.

EDUCATIONAL APPROACH AND PITFALLS If you have not yet played Batterie with your students, you really ought to stop and go back. (Do not pass “Go,” do not collect $200!) Introduce Batterie to your students before you dig into Rechargeable Batterie. At the very least, go over the information given for Batterie and make sure your students understand the foundations. All of the explanations for Batterie directly apply to this piece as well.

Your students may not yet have been exposed to a couple of musical devices that are used

throughout Rechargeable Batterie. It will definitely be worth your while to point these out to them. First, at the beginning and end of the piece, there are a number of pauses that are achieved through the use of fermati and caesuras. In ms. 15 and 72, a Grand Pause is utilized. Even seasoned performers will require some direction to navigate through these places, so be sure to use that interaction between performer and conductor as a teachable moment.

Rechargeable Batterie

Secondly, Rechargeable Batterie has a main rhythmic theme. The first place this occurs is in measure 8 in the castanet part. The theme is used throughout, but you might be able to better point out its use in ms. 58–70. This theme is even presented in augmented form in the timpani part during ms. 53–56. Admittedly, you could give a solid, noteworthy performance of Rechargeable Batterie without once discussing themes or motifs, but young musicians should be exposed to the construction of music to help them better understand the “why” as opposed to always focusing on the “what” or the “how.” Good music repeats itself and generally relies on patterns (no matter how obvious or obscure). Performers, when realizing this, give much more intuitive, purposeful, and organic performances. They understand how they are working together with other performers towards a common goal and are sensitive to

executing their part in a way that benefits the entire ensemble. Some of the rhythmic interplay between parts can get tricky. For instance, ms. 3 and 7 require a great deal of independence. Be sure your students understand the mantra, “If you wait, you’ll be late!” In other words, your students must almost disregard the other players in the ensemble in an effort to play their note or notes perfectly in time. When some of these moments of interplay occur, try having everyone clap their parts. Removing the variable of an instrument can often help students “cut through” to the heart of the rhythm. And, of course, the use of a metronome is essential. The independent percussionist is always internally subdividing the pulse and always practicing with a metronome to check his/her sense of pulse.

DIGGING DEEPER DIGGING DEEPER DIGGING DEEPER

While Rechargeable Batterie is, at its core, a piece for developing quality performance on accessory instruments, it is also a way for you to open a dialogue with your student performers about achieving a high level of musicianship by understanding how their parts fit into the larger musical landscape. Ask them, “What have you learned here that you will use in band rehearsal? How might you approach a tambourine or bass drum part differently?” Feel free to share experiences you have had that best illustrate the ways in which you have personally learned this. Even if you are not a percussionist, being open with students about what it’s like to be an individual working together with other individuals to create a larger work should give them an idea of how important a concept this is. Finally, encourage and challenge your students to not just “play the ink” but to give high quality performances. The good performer plays his or her part correctly. Great performers continually strive for a better ensemble performance by being musically sensitive to the contribution they make. 97

RECHARGEABLE BATTERIE

Level: Med-Easy Duration: 2’36”

for Grant

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Player 2 Castanets

Player 3 Triangle

Player 4 Tambourine

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p 71

Player 1:

Xylophone—medium hard rubber xylophone mallets (IP902)

Note: This part can also be double on bells (exclude the rolls).

Player 2:

Marimba—medium marimba mallets (IP1002)

Note: This part can also be double on vibraphone, although you will have to invert some of the double stops to suit the range.

Player 3:

Timpani—medium hard timpani mallets (CT-4)

Player 4:

Claves

Player 5:

Bass Drum—general bass drum mallet (CB-1)

Player 6:

Shaker Note: Maracas may be used instead.

Player 7:

Guiro

Player 8:

Timbales, Ride/Crash Cymbal or Cowbell—timbale sticks (LS-LD)

Player 9*: Bongos—played with hands Player 10*: Congas—played with hands * Denotes optional part

ERIC RATH

8-10 PLAYERS (OR MORE) 2 min 33 sec PRIMARY FOCUS:

INTRODUCTION TO AFRO-CUBAN INSTRUMENTS IN THEIR TRADITIONAL ROLES

SECONDARY FOCUS:

HAVING FUN WHILE LEARNING TO PLAY A GROOVE

CLAVE & SONS

(Implement model suggestions are Innovative Percussion brand.)

CLAVE & SONS

INSTRUMENTATION IMPLEMENTS SETUP

09 ENSEMBLE

103

THE RATIONALE

BEYOND BASIC PERCUSSION

A number of the accessory percussion instruments that we use today can be traced back to Cuban and African roots and are still considered to be Afro-Cuban instruments. Each instrument has a specific set of traditional rhythms or patterns that are commonly associated with them. As these instruments made their way to the “western world” (Europe, the United States, etc.), western music composers began writing for them. Often what they wrote did not have much to do with the instruments’ origins. Clave & Sons sets out to accomplish the following goals: (1) to expose the student to Afro-Cuban percussion instruments; (2) to give students an opportunity to learn about those instruments through their traditional musical roles; and (3) to have a lot of fun in the process. Latin-American music is a ton of fun to play! Clave & Sons does not have any particular style associated with it. Instead of writing a piece that is strictly Rumba, Mambo, or Salsa, it is written to allow each of the Afro-Cuban instruments to “do what they do.” In other words, you are experiencing the patterns and functions that are most common to these instruments. After you have worked up Clave & Sons, your students will not only understand how to play these instruments but also what their original purpose was. And because these rhythms and patterns are not part of our indigenous American music (presumably most of us grew up listening to rock music), our students will have an even larger rhythmic vocabulary.

EDUCATIONAL APPROACH AND PITFALLS At the heart of Clave & Sons is the rhythmic pattern called clave (KLAH-vay). In fact, the piece starts with the specific rhythm Son Clave (SONE KLAH-vay). Hence the play on words in the title. This is the most essential rhythm of this type of music. Clave is actually a Spanish word that means ‘key’ or ‘code’ (in the sense that it is the rhythmic ‘key’ to playing the music).

/ œ ‰ œJ Œ œ

Œ œ œ Œ

Ex. 1: 3-2 Son Clave

Traditionally, clave is a 2-bar rhythm in cut time that exists in a variety of forms, depending on the style of music and whether it contains duple- or triple-based subdivisions. Typically a delineation of clave direction is needed, as in “2-3” or “3-2”. A bar of 3-2 clave 104

would literally contain three notes in the first bar and two notes in the second.

/ Œ œ œ Œ

œ ‰ œ Œ œ J

Ex. 2: 2-3 Son Clave

There are several versions of clave used in this piece. You may even want to start by passing out the clave part to all of your students so they can see the different variations. Ms. 1–2 use the 3-2 Son Clave (see Ex. 1). Ms. 25–26 introduce the reverse of that, called the 2-3 Son Clave (see Ex. 2). Ms. 48–49 present a traditional Brazilian clave, the Bossa Nova (see Ex. 3).

/ œ ‰ œJ Œ œ

Œ œ ‰ œJ Œ

Ex. 3: Bossa Nova

Clave & Sons

Additionally, the bass drum part with its alternating open and closed strokes is similar in style to the Brazillian surdo drum. The timpani play a part similar to what a bass player might play (commonly extending tones “across the bar”), and the marimba part in ms. 48–49 utilizes a montuno (mon-TOO-no), a pattern often played by pianists or guitarists in Latin music. This is a pattern of one, two, or four measures in length that is repeated to create a groove. Some other important patterns associated with particular Afro-Cuban instruments are: • Cascara (CAS-cada, literally ‘shell’) in the timbale part, ms. 25–26. Although the term comes from playing the shells of the timbale drums, it also refers to the same pattern when played on a cymbal, woodblock, or cowbell. The direction indication of 2-3 or 3-2 also affects the cascara pattern.

• Tumbao (toom-BOW) in the conga part, ms. 25–26. • Martillo (mar-TEE-yo) in the bongo part, ms. 17–18.

Because Clave & Sons has so many syncopated figures, you may want to start by isolating each figure slowly and then gradually adding them together. Have the shaker player play steady 8th notes to act as a metronome for the group. Think of these rhythms like jigsaw puzzle pieces; they may appear to be different from each other, but they definitely connect and work together to form a larger musical idea or groove. When putting all of the parts together, make your accessory percussion students aware that it will be easy to overbalance the keyboard parts. They must actively listen for these parts to make sure they are not covering them up. Be sure your keyboard players are using mallets that will help them cut through the ensemble, and if you have extra players, consider doubling the mallet parts. Above all else, have fun with this piece. It’s easy to get bogged down in the individual patterns and lose sight of the goal here—to establish a groove and make music together!

DIGGING DEEPER DIGGING DEEPER DIGGING DEEPER

The music we grow up listening to is the music we are “hardwired” to play and understand. For many of us (myself included!), Latin-American music is not our native music. The thing I have found to be most beneficial in learning how to play this music is to listen to it. Expose your students to music by artists such as Buena Vista Social Club, Marc Anthony, Michele Camillo, and Tito Puente. The other reality of this piece is that students will be prepared to play these instruments in their native way but will often be asked to play them in other musical contexts. For instance, Incantation and Dance by John Barnes Chance calls for a number of Afro-Cuban percussion instruments to be played in decisively non-Afro-Cuban ways. Generally speaking, the techniques learned in Clave & Sons will not be different elsewhere, but your students may need to think more about balance and blend within the rest of the ensemble to achieve the desired function for that instrument. 105

Level: Med-Easy Duration: 2’33”

CLAVE & SONS for Regan

q = 126

106

Eric Rath

Player 1 Xylophone

° b4 & 4

∑

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4 & b4

∑

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? 44 b

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Player 4 Claves

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Player 6 Shaker

4 / 4

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Player 7 Guiro

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Player 9 Bongos

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Clave & Sons

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Clave & Sons

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109

BEYOND BASIC PERCUSSION

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Clave & Sons

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116

Player 1:

Glockenspiel, Concert Toms (2)—medium bell mallets (IP905), general snare drum sticks (IP-LD)

Player 2:

Xylophone, Triangle—medium xylophone mallets (IP905), medium triangle beater

Player 3:

Marimba, Temple Blocks—hard marimba mallets (IP1003), medium hard rubber mallets for temple blocks (IP901)

Player 4:

Timpani—staccato timpani mallets (CT-6)

Player 5:

Snare Drum, Hi-Hat, China Cymbal—general bass drum mallet (CB-1)

Player 6:

Bass Drum—general bass drum mallet (CB-1 or CB-2)

Player 7*: Tambourine, Shaker

Note: Player 7 part can be covered by either one or two players as needed. All keyboard parts may be doubled to facilitate additional players.

* Denotes optional part

ERIC RATH

6-7 PLAYERS (OR MORE) 2 min 19 sec PRIMARY FOCUS:

TYING TOGETHER ALL CONCEPTS IN THIS COLLECTION

SECONDARY FOCUS:

FURTHERING UNDERSTANDING OF SYNCOPATED RHYTHMS

ESCAPE ARTIST

(Implement model suggestions are Innovative Percussion brand.)

ESCAPE ARTIST

INSTRUMENTATION IMPLEMENTS SETUP

10 ENSEMBLE

117

THE RATIONALE

BEYOND BASIC PERCUSSION

And now…the grand finale! Escape Artist takes a cross-section of the concepts in the other ensembles in this collection and fuses them together. This piece blends the need for trap tables, multipercussion setups, and mallet changes with syncopated, interlocking rhythms, accessory instrument acumen, and overall ensemble awareness. And beyond that, Escape Artist throws in a few final things to work on. So much of what we do as percussionists boils down to our ability to play various subdivided rhythms and accent patterns. Every variation of two- and three-note, single-beat 16th-note patterns are presented here. Starting at ms. 5, all four three-note 16th-note patterns are placed together. This focus on rhythm and timing will help your students establish a better sense of pulse and rhythmic accuracy. The best part about Escape Artist is that it’s kinda funky! It was a lot of fun to write and even more fun to put together and play. And not only is it fun for students, but audiences enjoy it as well. It will provide your students one more chance to work on some of the fundamental concepts presented in this collection while introducing some new concepts…all while having a good time!

EDUCATIONAL APPROACH AND PITFALLS The first thing to address in Escape Artist will be the logistics of setting up each player’s instrument(s). Players 1, 2, 3, and 7 will need trap tables to manage the instrument and mallet switches they have to navigate. Also, players 1, 2, 3, and 5 all have multiple percussion setups. There isn’t anything terribly difficult about any of the setups, but coupled with the mallet changes for the keyboard players, there’s a lot to think about. Since the piece is so heavily steeped in 16th note-based rhythms, it would be a good idea to do some preliminary work on the rhythms presented in this piece. Consider doing some snare drum work with your students just on the snare drum part. If you have a favorite resource such as a beginning percussion book or snare drum method, choose applicable material from that to use as a refresher course 118

for these rhythms. You could even pass out the snare drum or xylophone parts to use as counting sheets. Students should be as aware of the other parts in the ensemble as they can be. Pointing out specific rhythmic interplay is essential. For instance, in ms. 4, Players 6 and 7 may try to simply play the given rhythm without regard to how it fits with any of the other parts. Be sure you show them how their part outlines the Player 6 part (the actual snare drum part). Another place where ensemble awareness is crucial starts at ms. 39. As these parts gradually layer in, call your students’ attention to where there are rhythmic similarities and differences among the parts. Mentioning that everyone in ms. 41 plays the exact same rhythm on count 3 may help to anchor the

Escape Artist

pulse through this section. Then demonstrating how the tambourine in ms. 45 helps to solidify the pulse will provide yet another anchor. Dynamics are always important in every piece of music. Having said that, you should still discuss the dynamics of this piece with your students. Point out the obvious dynamics (e.g., when everyone has the same dynamic or has a crescendo together). Also point out the less obvious, nuanced dynamics (e.g., when the keyboards are marked forte and the other players are marked mezzo forte). Helping your students develop a greater respect for dynamics ultimately facilitates their progress as musicians. Finally, a few relatively minor points: 1. Player 2’s triangle will probably have to be clipped to, and played from, their music stand. There is more time from ms. 39 to the end to switch between triangle and xylophone, so you may want your student to

hold the triangle during that section. 2. Player 5’s setup should work like a drumset (i.e., hi-hat on the left, snare in the middle, china on the right). In fact, if you have a student who is proficient at drumset, they could try both the P5 and P6 parts together as one combined drumset part. 3. Player 4 has to do some minor pedaling on timpani at ms. 18–19 and again at ms. 35–36. Pointing out that all three keyboard players have the same note (F#) should help to develop your timpanist’s ear. 4. In the triangle part, the circle above some notes indicates that the triangle should ring freely, while the plus sign indicates that the triangle should be struck with the fingers muting it. Similarly, in the hi-hat part the circle above some notes means the hi-hat should be open, while notes with no circle are considered closed.

DIGGING DEEPER DIGGING DEEPER DIGGING DEEPER

Working this piece up and even performing it in a concert or for a festival is great. Hopefully, though, your students will get much more out of the experience. Continue to encourage your students to set up trap tables when they are simply playing their parts in band rehearsal. Discuss the need to find just the right mallet or stick for the instrument and for what is appropriate for the music. Explain to your students how important it is to set up their equipment in a sensible and logical way. Stress to your students that becoming a quality percussionist (and musician, for that matter) is all about placing enough care in your playing assignment to give your best performance. The independent percussionist internalizes this and solves these problems on his/her own.

119

Level: Med-Easy Duration: 2’19”

ESCAPE ARTIST

Eric Rath

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Escape Artist

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ADDITIONAL RESOURCES

FOR CREATIVE TEACHERS AND YOUNG PERCUSSIONISTS PEDAL TO THE KETTLE Etudes and Solos for Timpani by Kirk J. Gay

SIMPLY FOUR 4-Mallet Technique as Easy as 1, 2, 3...4 by Gifford Howarth

This book contains some of the most creative modern timpani etudes and solos. Great for beginners, but also progresses to more advanced music as well. Educational and entertaining!

These days, 4-mallet technique has become an essential requirement for percussion students. “Simply Four” takes away the fear and gives students and teachers a fun method from which to learn. Very popular!

UP FRONT A Complete Resource for Today’s Pit Ensemble by Jim Casella & Jim Ancona Not just for marching ensembles, this wildly popular resource can be your Swiss Army knife of percussion information. Extensive info on equipment, exercises, technique, teaching, arranging, and more.

UP FRONT STUDENT EDITION A downloadable, student-based version of the flagship book “Up Front” Available for students at a reduced price, this downloadable product includes the technique and exercise chapters from the book “Up Front.”

PERCUSSION ENSEMBLES BOTH STUDENTS AND AUDIENCES WILL LOVE!

El Paso Waltz by Brian Slawson • 4 players • Easy • Duration 3:00 (TSPCE-32)

Written for beginning mallet ensembles so that each student in the quartet provides a specific function. This piece helps young players develop tremolo sensitivity, as well as to encourage eye-contact, body language, and musical communication during slower tempos.

Odd Duck by Brian Slawson • 4 players • Easy • Duration 2:00 (TSPCE-28)

A charming piece designed to introduce young players to the concept of odd meters, in this case 5/8, and how they can be divided into groupings of 2 and 3. Playful and light!

Songo Concertino by Michael Eubanks • 9 players • Easy • Duration 2:30 (TSPCE-38)

A groovy percussion ensemble designed for younger players that uses all common, non-pitched instruments found in most band rooms. The moderate tempo allows the developing ensemble to focus on establishing a groove while having fun!

Stormbreak by Jim Casella • 8 players • Med-easy • Duration 3:30 (TSPCE-33)

A sort of “sequel” to the popular piece “Technology” this piece has a funky groove for eight players. It can be performed as a standalone percussion ensemble, plus it includes an option for wind ensemble so percussionists can be “featured” in wind ensemble programs.

Technology by Jim Casella • 8 players • Med-easy • Duration 4:00 (TSPCE-01)

Written for eight beginning/intermediate percussionists with standard instrumentation. Based on a “techno” groove, this piece is sure to be a hit among middle school or high school percussion ensembles and audiences alike!