Private percussion lessons

PRIVATE PERCUSSION LESSONS: CURICCULUM AND TEACHING TECHNIQUES (general guidelines) Dr. Scotty Horey Blue text denotes teaching techniques Red text denotes specific topics of curriculum Category 1: Children ages 5-12: Step 1: Meeting with parents (usually conducted after first lesson) Reflection on interaction during lesson and child’s personality and communicative traits Child’s learning style preference Parent goals for lessons with child Teacher’s proposed curriculum for child Various lesson activities: (to be decided upon during each lesson plan design) -

Basic acquaintance, conversation Call and response activities Play with bare hands on hand drum or snare drum, basic 8th and 16th note rhythms vocalizing basic 8th and 16th note rhythms with . . . names of fruits, food, cities, and states silly sounds (vocal and/or percussive) vocalizing only vocalizing and playing simultaneously 4 way inter-limb co-ordination gestures with tapping and stomping free-improvising on one drum with sounds and rhythms (exploration!)

Step 2: Various lesson activities: (to be decided upon during each lesson plan design) -

learning counting system (“1-e-&-a, 2-e-&-a, 3-e-&-a, 4-e-&-a”) call and response with counting system (vocalizing and playing simultaneously) music reading studies with flashcards (one “cell” or one measure rhythms) basic stick technique concepts

correct grip proper technique for striking the drum basic drumset studies learning all the different instruments on a drumkit correct set up of drumkit, and playing position/posture expressive and committed teacher demonstrations learning basic style grooves from an international perspective (1 and 2 bar structures) including: rock (with variations) mambo swing 16th note hi-hat rock 16th note bass drum rock bossa nova samba soca reggae son with 2:3 and 3:2 clave shuffle *teaching techniques for drumset grooves: -

vocalizing drum grooves, encouraging vocal creativity with student counting drum grooves with counting system playing permutations of “limbs” with a particular groove (hands and feet) vocalizing/counting and playing at the same time student demonstrates groove while teacher vocalizes, conducts, and dances along to support students performance teacher periodically asks student to take a short break to listen to specific coaching, before asking the student to try again student and teacher may improvise within the feel or style of a groove with hand drums or two drumsets teacher may play along to drum groove with piano in a popular form/style (to help student begin to understand musical context)

Category 2: High School Level OR College Non-Music Major study Step 1: -

discussion of student and parent goals for percussion lessons (usually taking place before or after first lesson) discussion of student background and personal interests in music

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basic hand technique (grip, hand position, and stroke) “8 on a hand” exercise (3 measure version) demonstrations and descriptions from teacher

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coaching student on hand technique perform exercises together teacher watches student perform exercise, and provides coaching “while in motion” or after the student has completed demonstration assessment of drumset skills teacher asks student to demonstrate favorite feels, teacher listens receptivity and responds to the music teacher asks student to demonstrate styles (teacher vocalizes feel) assessment of music reading skills teacher asks student to sight read excerpts from snare drum methods (Reed, Goldenberg)

Step 2: -

Drumset study (using “Groove Essentials” from Tommy Igoe, teacher’s written and vocalized examples documented carefully, and song examples) demonstrations and descriptions from teacher student demonstrations of lesson concepts/assignments teacher responds positively to students playing teacher vocalizes and dances to encourage students playing teacher provides demonstrations and coaching in response to students demonstrations to foster improvement teacher may choose to coach using body language, vocalizing, or verbal instruction while student continues to play playing examples along with student in unison improvising with student (2 drumsets) listening/analysis of students chosen songs for study mapping out song form recognizing techniques, figures, and styles creative interpretation transcription (if applicable to student) approaching learning and practicing the song in preparation for performance Continuation of hand technique studies (as described above in Step 1) (using a practice pad) Developing the roll (using 5 progressive preparatory exercises before beginning the roll) development of specific hand techniques in the following order: single paradiddle flam (both hand lead) double strokes (including preparatory exercises) “Scotty’s flam exercises” flam tap double paradiddle

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paradiddle-diddle inverted paradiddle moeller technique concepts open/close technique concepts Snare drum study (using “Syncopation” from Ted Reed, “Modern School for Snare Drum” by Morris Goldenberg, and “Portraits in Rhythm” by Anthony Cirone) reading skills/counting system (as described above) demonstrations and descriptions from teacher student demonstrations of assignments- teacher provides coaching and asks student to repeat demonstration playing examples along with student in unison

Category 4: College study (music majors) -

discussion of student background and personal interests in music discussion of long term goals and career path discussion of practical issues (practice routine, ensemble participation, etc.)

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Practice Skills

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developing an organized efficient routine with appropriate time blocks understanding learning and memory to optimize practicing (scientifically informed)

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each below area will be implemented after a brief assessment by the teacher in the early stages of lessons

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Snare Drum Study (using “Syncopation” from Ted Reed, “Modern School for Snare Drum” by Morris Goldenberg, and “Portraits in Rhythm” by Anthony Cirone)

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basic hand technique (grip, hand position, and stroke) “8 on a hand” exercise (3 measure version)

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development of the roll (using 5 progressive preparatory exercises before beginning the roll) development of specific hand techniques in the following order: single paradiddle flam (both hand lead) double strokes (including preparatory exercises) “Scotty’s flam exercises” flam tap

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double paradiddle paradiddle-diddle inverted paradiddle moeller technique concepts open/close technique concepts assignments from Goldenberg book as chosen by teacher assigned solos from Cirone book as chosen by teacher coaching/demonstrations from teacher for Cirone solos dynamics/score markings phrasing/shading understanding form and musical role understanding performance tradition/style/interpretation refining advanced technique in aid of musical subtleties tempo/agogic stress/rhythmic accuracy counting and vocable practice Mallet Percussion Study (using “Modern School for Xylophone, Marimba, and Vibraphone” by Morris Goldenberg, and “Funny Mallets” book 1 and 2

by Nebojsa Jovan Zivkovic) Mallet percussion study will always include music theory study/discussion during lessons 2 mallet technique basic technique instruction major scales in two octaves major arpeggios in two octaves melodies and reading skills (from Goldenberg book) 4 mallet technique stroke types, developing exercises for stroke types interval changing 4 mallet solo pieces from “Funny Mallets” book 1 and 2 dynamics/score markings phrasing/shading understanding form and musical role understanding performance tradition/style/interpretation refining advanced technique in aid of musical subtleties personal expression/personal choices preparing for a public performance: Timpani Study (using “The Modern Timpanist” by Saul Goodman) Student studies and practices progressive lessons in book as instructed by teacher Drumkit Study: (using “Groove Essentials” by Tommy Igoe, teacher’s written and vocalized examples documented carefully, and song examples)

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Student prepares written example, creative variations, fills, and can successfully play through written chart corresponding to groove in Igoe book demonstrations and descriptions from teacher student demonstrations of lesson concepts/assignments teacher responds positively to students playing teacher vocalizes and dances to encourage students playing teacher provides demonstrations and coaching in response to students demonstrations to foster improvement teacher may choose to coach using body language, vocalizing, or verbal instruction while student continues to play playing examples along with student in unison improvising with student (2 drumsets) listening/analysis of students chosen songs for study mapping out song form recognizing techniques, figures, and styles creative interpretation transcription (if applicable to student) approaching learning and practicing the song in preparation for performance