WEST LIBERTY UNIVERSITY. PERCUSSION STUDIO CURRICULUM and HANDBOOK Revised January 2014

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1 WEST LIBERTY UNIVERSITY Department of Music and Theatre PERCUSSION STUDIO CURRICULUM and HANDBOOK Revised January 2014 By Brian Baldauff Director of Percussion Studies

2 Acknowledgments I would like to acknowledge Professor Jeffrey Moore of the University of Central Florida Department of Music for sharing his percussion curriculum with me. Many of the materials, layout, and structuring of this curriculum were inspired or taken directly from him. Introduction This curriculum is intended to be a guide for West Liberty University percussionists majoring in: Bachelor of Music in Performance (BMP) Bachelor of Music, Emphasis in Technology (BMEMT) Bachelor of Arts in Music Education (B.A.) Secondary Students (minor or elective) will also follow these guidelines, but will have a curriculum tailored to them on a caseby-case basis. West Liberty Percussion Faculty Brian Baldauff, Director of Percussion Studies Office: FA 314 Telephone: (304) brian.baldauff@westliberty.edu Percussion Studio Website Address: westliberty.edu/percussion 1

3 Audition Information No specific repertoire requirements have been established. The student should demonstrate training and facility in at least two (2) of the four (4) core instrument categories. Admission is contingent upon audition before the percussion director. Percussion Categories: 1. Snare Drum (core instrument) 2. Timpani (core instrument) 3. Keyboard Percussion (core instrument) 4. Drum Set (core instrument) 5. Hand Drumming and/or World Percussion (optional) All admitted students to West Liberty University are eligible for acceptance as a music major. Acceptance into the Department of Music and Theatre is contingent upon an entrance audition for the music faculty, usually held in the Spring. For more information on auditions, including dates and registration information please visit: General Objective of Applied Lessons To acquaint each student with representative solo and study materials that will aid in an orderly development toward mastery of each instrument, and a thorough knowledge of its literature. 2

4 Specific Objectives of Applied Lessons 1. Increase percussion performance skills including: a. requisite physical techniques concerning sound production, posture, hand grips, stroke types, flexibility, endurance, strength, digital/wrist/arm control, etc. b. visual, aural and tactile rhythmic and pitch discrimination skills, including sight reading. c. awareness, understanding, and synthesis of the elements requisite to sensible interpretive decisions in musical performance. d. solo keyboard, rudimental and orchestral snare drum, timpani, accessory, drum set, multiple percussion, hand drumming and world percussion. 2. Gain familiarity with the musical and pedagogical literature associated with percussion and stimulate interest in professional literature related to percussion instruments and percussion performance. 3. Acquire understanding of the basics of percussion pedagogy. 4. Gain a practical understanding of the learning process aimed at increased efficiency and economy in skill acquisition in order to: a. Acquire a constructive, problem-solving orientation. b. Enhance the quality of time spent in the practice and study of percussion. 5. Develop through listening the awareness, appreciation, and critical discernment of varying types of music. 6. Cultivate interest in and development of improvisatory and compositional skills as they relate to percussion performance. 7. Develop an awareness of those disciplines and potential situations that can directly benefit from the experience of applied study: self-motivation, problem solving, goal setting, self-reliance and confidence, leadership, sensitivity, etc. 8. Develop and apply appropriate strategies for dealing with stress and performance anxiety. 9. Acquire the self-initiative and ability for continued self-study in percussion beyond the formal educational environment. Applied lessons are central to the music major s curriculum and are designed with the student s need for individualized, concentrated instruction. The progress and lesson documentation of each student will be recorded in an individualized notebook. The notebook will include a lesson assignment/grade sheet that is utilized for each lesson and a semester achievement form that records the student s studio status, test results, reading requirements, ensemble participation (including positions held), among other information. 3

5 I. General Requirements Methods of Grading A. Students are expected to report to all lessons. B. Students are expected to meet all requirements that are listed on their level of study. II. Specific Requirements A. To receive a grade of A for the course: 1. A student must give a superior performance on the music forum and jury exam. 2. A student must not have any unexcused absences. 3. Assigned material should be completed on time and performed or completed accurately, showing superior quality. 4. A student must participate in at least one ensemble each semester. B. To receive a grade of B for the course: 1. A student must give an excellent performance on the music forum and jury exam. 2. A student must not have more than one (1) unexcused absence. 3. Assigned material should be completed on time and performed or completed accurately, showing excellent quality. 4. A student must participate in at least one ensemble each semester. C. To receive a grade of C for the course: 1. The student must give a good performance on the music forum and jury exam. 2. A student must not have more than two (2) unexcused absences. 3. Assigned material should be completed on time and performed or completed, showing a fair or good quality. 4. A student must participate in at least one ensemble each semester. D. A student who fails to complete the above requirements will receive a grade of D or F according to the degree of noncompliance. E. An incomplete will not be given unless it is considered to be in the best interest of the student. 4

6 Evaluation Procedures Specific evaluation criteria will be based upon, but not limited to the following: Grade Categories Description of the Requirements Weight Weekly Preparation Lesson Time Punctuality Music/Text Acquisition Preparation of all assigned materials. In addition, all students are required to attend a regularly scheduled studio class. The meeting time of both the lesson and studio class will be determined by both the teacher and the student(s). Arrive a minimum of 10 minutes ahead of your scheduled lesson time. This allows for set-up and warm-up. All materials must be purchased by the student, including, but not limited to, texts, solo pieces, mallets (appropriate to the musical material being performed). The teacher will allow school-owned or teacherowned materials to be used by the student for two (2) weeks allowing time for purchase. 50% 5% 5% Performances At least one performance on Student Forum per semester. This excludes first semester Freshman students and those taking 081 and 082 levels. 10% Jury Performance Book Report Performance level and quality on the solo pieces and materials performed in the jury. Submit a book report by the due date given and present an oral report to the studio members following the criteria outlined in this handbook. 20% 5% Listening Cards Submit ten (10) listening cards following the given criteria. 5% The student must give early notice if he/she plans on not attending a lesson. This can be done by making a phone call or . Texting is NOT considered an excusable form of communication. Phone calls or s must be received by the professor no less than 24 hours prior to the lesson. Superior preparation is expected at all lessons. One coffee lesson will be allowed each semester (at the student s request) where the student is not required to play the assigned material and can discuss other things related to percussion with the professor. Attendance at ALL percussion events is mandatory (recitals, large ensemble concerts, guest recitals, etc.). Your final grade will be lowered by a full letter for each unexcused absence. This also includes you helping to tear down after the concert. Failing to help tear down (even if you did not perform) will result in an unexcused absence. 5

7 Equipment Your own personal equipment is your responsibility - take care of it. Equipment belonging to West Liberty University is also your responsibility and you are expected to take care of it as if it were your own. Equipment that belongs to neither you nor WLU is to remain untouched. Under NO circumstances are you to borrow, move, or practice on privately owned equipment unless you have permission to do so. If you need to move any equipment from one assigned area to another for a rehearsal, performance, or practice period, it must be returned to its proper storage area upon completion of use. If anything must be removed from the building, it must be properly signed out. Materials/Books/Paraphernalia Due to the nature of percussion studies, the student will be required to purchase various study materials including method books, sticks and mallets, instruments, solo repertoire, and other paraphernalia. This must be clearly understood by the student when collegiate studies are embarked on. The student should view these requirements as steps toward developing a professional/personal library and acquiring necessary tools for professional development and eventual employment. The student should expect to spend an approximate minimum of $ per semester for materials and equipment. At no time will photocopied music used in performance be acceptable without prior purchase of said music. Use of photocopies in performance is a copyright infringement and will result in an immediate grade of F for that performance (Forum, Jury, etc). Composers work hard to write their music and deserve our financial support. *** Dropbox - All percussion students taking applied lessons are required to register for Dropbox. The instructor will record all lessons and performance studio classes. Mp3 files will be shared with the students through a Dropbox folder. The students are required to download their individual lesson files and performances for review during weekly preparations. 6

8 Required Equipment* Snare Drum One of the following or similar: Innovative Percussion CL1L - Chris Lamb Model Alan Abel Concert Model - Available from Drummers Service online Vic Firth SATK - Ted Atkatz Model and One of the following: Innovative Percussion CL3L - Chris Lamb Model Vic Firth SD2 - Bolero and Some type of all-around sticks for rim shots, etc. - any make Some type of drum set stick (jazz weight) - any make A pair of brushes - Innovative, Regal, Vic Firth, etc. Timpani Innovative Percussion - General Timpani Models Ohio Timpani Sticks - turned handle cartwheels - small, medium, and large Cloyd Duff Series Vic Firth Tim Genis Series Marimba (Rattan or Wood Handles) Soft (set of 4) - Innovative IP 3102 or 3103 (Albert) or IP 811 (Ford) Medium (set of 4) - Innovative IP 3105 (Albert) or IP 813 (Ford) Hard (set of 4) - IP 3106 (Albert) or IP 814 (Ford) Innovative Zivkovic Series - NJZ1 - NJZ7 (rattan or cedar handles) Xylophone/Bells Innovative IP Soft Innovative IP Medium Soft Xylo, Red Innovative IP Hard Xylo, Green Innovative IP Brilliant Xylo, Black Innovative IP Medium Brass or Innovative IP OS Series Mallets 7

9 Vibes Innovative IP RS201, RS251, and RS301 (set of 4) Innovative IP AA20, AA25, AA35 (Astrand Series, sets of 4) You should have the following as a minimum: 1. At least one set of four yarn marimba mallets from above. 2. At least one set of four vibraphone mallets. 3. At least two pairs of xylo/bell mallets (one hard and one soft). 4. At least three pairs of timpani mallets - soft, medium, and hard (not wood). 5. Various snare drum sticks (see above). 6. One general purpose bass drum mallet and rollers - IP, Vic Firth, etc. 7. A stick bag or brief case. Must be large enough to carry all implements needed. 8. Practice pad (Innovative, Vic Firth, RealFeel, etc.) 9. A metronome (Dr. Beat, Tama Rhythm Watch, etc.). Must be capable of subdividing eighth notes, sixteenth notes, and triplets. 10.A drum key and tuning fork (A440). Accessories At least one triangle (Abel, Grover, Black Swamp) with Stoessel beaters (in pairs). At least one tambourine with head (Grover, Black Swamp). Other small concert instruments - woodblock, claves, cowbell, finger cymbals, etc. Bass drum beaters - Vic Firth TG01 General, TG04 Rollers (pair), TG21 wood/ chamois (Rite of Spring mallets) A stick bag (at least one and large enough for all mallets and sticks) * Equivalent substitutions for the equipment listed here are acceptable. Approve alternate choices with instructor before purchasing. 8

10 Hearing Protection As a developing professional musician, your hearing should be viewed as part of your necessary equipment to succeed. You owe it to yourself to safeguard your health, hearing included. The National Association of Schools of Music and the Performing Arts Medicine Association recommends that all music students are regularly checked for hearing loss as this can occur gradually through prolonged exposure to high decibel levels. See below for examples of db levels around us. Recommended daily exposure times (NIOSH) to sounds at or above 85 db: 85 db (vacuum cleaner, MP3 player at 1/3 volume) - 8 hours 90 db (blender, hair dryer) - 2 hours 94 db (MP3 player at 1/2 volume) - 1 hour 100 db (MP3 player at full volume, lawn mower) - 15 minutes 110 db (rock concert, power tools) - 2 minutes 120 db (jet planes at take-off) - without ear protection, hearing damage is almost immediate. All percussion students will be required to purchase and utilize hearing protection during practice sessions and rehearsals. Acceptable earplugs will be the decibel attenuating style plugs. Foam earplugs are NOT acceptable. Below are examples of acceptable models. Every percussion student must purchase these by the fourth week of applied study and approve them with the instructor. Failure to meet this requirement will result in an incomplete for all subsequent lessons until the student meets this requirement. Etymotic Musicians Earplugs Earasers Musicians Earplugs Hearos High Fidelity Earplugs Vic Firth High Fidelity Earplugs Most of these can be purchased through Steve Weiss Music and other online suppliers. 9

11 Studio Class All percussion students enrolled in applied lessons are required to attend a weekly studio class meeting. The time and day of the class will be decided at the beginning of each semester. Studio class will be used to cover topics such as accessory percussion playing, special instrument performance techniques, mallet making, instrument repairs, and other important topics not covered in lessons as well as general studio news and information. Monthly performance classes will be arranged to provide students with opportunities for regular performances of lesson, forum, or jury materials. An unexcused absence from a studio class will count as one unexcused lesson absence. Scheduling Practice One of the most challenging aspects of percussion study is the administration of personal time for practicing a large family of instruments. Although the core of percussion studies centers upon keyboard, timpani, snare drum, and drum set, it is vital to today s percussionist to explore a wide variety of instruments. Scheduling balanced or proportional time for all of the instruments can be overwhelming if a formulated approach is not taken. The topics of instrumental study that are focused upon by each student will depend, to some degree, upon the specific instrumental areas and literature currently studied in the studio. Nevertheless, students should attempt to study in areas outside of those current studio parameters. In addition to the instrument levels assigned in the semester s applied study, students should always address and schedule time for preparation requirements for each ensemble for which the student is a member. This may include percussion ensemble, wind ensemble, jazz band and combos, and marching band. Percussionists should seek feedback by usage of a mirror during practice sessions. If possible, use of a video camera is also desirable as one can then view the performance with total focus on the specific area being addressed. An audio recording device of some kind is required, so please make use of this tool. 10

12 Percussion Ensemble An integral component of percussion studies at West Liberty University is the WLU Percussion Ensemble. This ensemble serves as a laboratory for musical experimentation with focus on specific performance habits, listening skills, general instrumental techniques, and the development of chamber music skills. The ensemble repertoire comprises a wide variety of musical styles, including standard works, contemporary works, marimba band, African and Brazilian drumming, commercial/jazz, and transcriptions. Knowledge of percussion ensemble repertoire is also an aspect of the course structure. Opportunities for student compositions and arrangements are available and highly encouraged. Course prerequisites include percussion performance experience at the high school or college level and concurrent percussion study (see instructor for exceptional circumstances). ALL percussion majors are required to participate in percussion ensemble, in addition to other general ensemble requirements. Participating membership and exact instrumentation will vary according to the specifications of each work. Enrollment is subject to audition or consent of instructor. Book Reports At the start of each semester, students are required to choose one book from the music or percussion genre. At the conclusion of the semester, during the last studio class, students are expected to give an oral book report to the percussion studio. The report should include a description of the book s subject including a general outline of the book, information learned, a critical impression, and an overall recommendation. A brief written summary including title, author, and publishing information will accompany the oral presentation. Students are required to provide copies of the written summary for all members of the percussion studio at the time of the presentation. This summary does not need to exceed one (1) page and will be double-spaced, justified, and use twelve (12) point font. The book s topics may include a biography, a research/historical text, self-help/mental health for artists, performance/creativity enhancement, music business, pedagogy, music criticism, music appreciation, etc. The instructor must approve all books for this assignment NO later than the third lesson of the semester. A list of suggested appropriate books can be found in the Student Resources section of the WLU Percussion Studio website - westliberty.edu/percussion. 11

13 The following is an example book report sample that demonstrates what is expected. Please follow this general format for your written reports. Example of a Written Summary 12

14 Listening Cards Each semester the student shall create an annotated electronic file of ten (10) works. This list will be submitted in two parts. The first five entries will be due at midterm and the final submission of all ten will be submitted two weeks prior to the student s jury. Submissions will be done through Sakai in PDF format. The cards must encompass (10) different recordings and follow the guidelines listed below in terms of acceptable genres. YouTube videos or other similar media types are NOT acceptable. 5 - Classical music examples containing significant percussion parts or excerpts. Acceptable examples include - Scheherazade, Beethoven symphonies, pieces by Steve Reich that include percussion, Mahler symphonies, etc. 3 - Solo or ensemble percussion recordings. Orchestral pieces are not acceptable unless they are concerto repertoire for percussion instruments. Solo percussion and chamber or large percussion ensemble works are recommended. 2 - Commercial/Pop/Jazz recordings. Must comment on the style, percussion/drum contributions to the recording, and list names of performers. The card entry and submission must include: composer, title of piece, record title and label information, performer(s), general content, and other important information about the recording itself. The annotation must also include a brief discussion of your personal thoughts and impressions of the piece, the performance, and sound quality of the recording. Include recording identification numbers and dates of recordings, when possible. The student must maintain an electronic copy of ALL submissions for each semester of study. * Instructor MUST approve all choices for the listening cards. Begin this project well before the given deadlines. 13

15 Juries and Student Forums At the end of each semester, students are required to give performance exams before a faculty jury. The jury grade is generally determined by a combination of performance level, improvement, and appropriate level of the repertoire. Students must show progress each year in order to maintain their status as music majors. Freshman and sophomores must receive at least a C+ jury grade each semester to maintain their scholarships; juniors and seniors must receive at least a B. Student Forum is a class that occurs every Friday at noon during the fall and spring semesters (when classes are in session). This hour will be used for student recitals, special presentations, master classes, studio meetings, and other relevant experiences. All students must attend a minimum of ten (10) Student Forums per semester (with the exception of the professional semester for music education students). Failure to meet the minimum of ten (10) will result in a grade of Incomplete in applied lessons. The Incomplete can be remedied the following semester by making up the deficiency in addition to attending the required ten (10) Student Forums for that semester. Incomplete grades that are not remedied the following semester will result in a grade of F. All music majors are required to perform on Student Forum at least once a semester (excluding first semester freshman). Failure to do so will result in a grade of Incomplete in applied lessons. Recital dates will be chosen or assigned at the beginning of the semester. Information for the program must be submitted to the supervising teacher by noon of the Friday two (2) weeks prior to the performance. Program information will include the title of the work, movements, and the full name of the composer, with the composer s birth and death dates (if applicable). Appropriate professional dress is required for all performances. Please see the evaluation procedures for specific grade information. Pre-Recital Hearing Students must pass a pre-recital hearing before performing a degree recital. The recital jury panel includes your private instructor and as many as three other faculty members of the music department. The hearing must take place within the window of ten (10) to twenty-one (21) days before the recital date. Please see the Music Student Handbook for additional information on recital scheduling and guidelines. Percussion students will utilize the Recital Checklist for preparations. 14

16 Keys to Effective Practice Prerequisites Plan ahead! Define what part of the day you will be using to practice. Pretend this is a class and stick to your schedule. The mind functions more efficiently around consistent routines. Purchase a practice journal, notebook, or log of some kind. Keep detailed notes about your practice sessions - What did you work on? Were you successful that day? Why or why not? What are your goals for the next practice session? Bring this journal with you to each practice session. Be sure to have all materials with you before you enter the practice room. This will eliminate the need for you to leave the practice room and help avoid potential distractions. Materials include method books, sheet music, sticks/ mallets, recordings, etc. Define goals for each practice session. You can include these in your practice journal. Be specific in terms of what sections of music you will practice, including tempos and other relevant information. Consider the big picture when outlining the smaller goals for each day. Create a timeline for learning pieces and etudes. Write this down! In the Practice Room Warm up! Make use of a trusted warm up routine. This should consist of slow repetitive exercises until the muscles become warm and stretched. Increasing speed once you are warm. Create new exercises out of familiar repertoire or by slowly playing difficult passages in pieces you are learning. Maintain total relaxation. Take note of your physical self, including stance, posture, and breathing. Slow, careful practice. Correctly playing passages very slowly will build good habits and correct muscle memory. There is no substitute for slow, patient practice. It will however, take discipline. The payoff will be worth it! Take breaks! Frequent, short breaks will help alleviate stress placed on the body during practice sessions. Use this time for relaxed, mild stretching without sticks in the hands. It is also a time for mental breaks which will provide more focused practice. A general rule of taking five minute breaks for each forty-five minute practice session will keep you alert and focused. Stay aware of your time as time management is key to effective practice. 15

17 Use the metronome! Methodical use of a metronome will aid greatly in developing a solid sense of internal pulse and timekeeping. Set the metronome to a tempo you can execute. If mistakes are happening at that tempo, move the metronome to a slower tempo and play again. Gradually increasing the metronome by one of two notches until the desired tempo has been reached. Playing metronome games by moving the music to different partials of the beat will increase your awareness of time. Repetition. Divide phrases and longer musical passages into shorter segments, ranging from one measure to a line or two in length. Practice each line many times consecutively. Play the beginning of the next phrase and the end of the previous one to aid in transitions. Mental repetition is also useful. Visualize the instrument and music in front of you. This will help with memorization and flow of the music when reading. Kinetic awareness. Think of this as body sensing. Performance of percussion instruments is extremely physical and can be improved through your kinetic awareness. Repeat phrases with the goal of playing them for a specified length of time, not just a certain number of times. Make use of a timer for this. Staying alert! As a musician develops muscle memory in a piece or certain skill, they must work to stay alert and focused on what their body is doing and feeling. Physical awareness, coupled with aural awareness will increase the effectiveness of each practice session. Over-compensation. Practicing difficult passages above the desired tempi can allow the performer to relax during performance. When used in conjunction with slow practice, this concept can prove extremely effective. Always play musically! Demand musical qualities in every practice session. Making music is a life-long pursuit and should be viewed as such. Strive to play with a singing style and clear musical phrases in every practice session. Enjoyment of your instrument s sound is a prerequisite to focused, resultsoriented practice. Practicing does not make perfect. Practicing makes permanent! Always have clear goals for your practice sessions and be prepared to modify your goals and habits should they not prove effective. At times you will feel as you are practicing how to practice. Trust this process and make modifications as you need. Most of all, enjoy your practice sessions! This is where you spend most of your time and possibly have your best performances. 16

18 Lesson Flowcharts by Degree B.M. - Performance Fall Spring Freshman Snare Level 1 Mallet Level 1 Timpani Level 1 Mallet Level 2 Sophomore Snare Level 2 Mallet Level 3 Snare Level 3 Drum Set Level 1 Junior Snare Level 4 Mallet Level 4 Timpani Level 2 Drum Set Level 2 Senior Vibraphone Drum Set Level 3 Recital Prep/Senior Recital B.A. - Music Education Fall Spring Freshman Snare Level 1 Mallet Level 1 Timpani Level 1 Mallet Level 2 Sophomore Snare Level 2 Mallet Level 3 Snare Level 3 Drum Set Level 1 Junior Snare Level 4 Mallet Level 4 Timpani Level 2 Drum Set Level 2 Senior Recital Prep/Senior Recital Professional Semester 17

19 B.M. - Emphasis in Music Technology Fall Spring Freshman Snare Level 1 Mallet Level 1 Timpani Level 1 Mallet Level 2 Sophomore Snare Level 2 Mallet Level 3 Snare Level 3 Drum Set Level 1 Junior Snare Level 4 Mallet Level 4 Timpani Level 2 Drum Set Level 2 Senior Vibraphone Drum Set Level 3 Senior Project ** Students taking applied lessons as a minor or as secondary study will choose two (2) levels per semester, beginning with Snare Level 1 and Mallet Level 1. Following semesters will be discussed on a semester by semester basis with the instructor. 18

20 Snare Drum/Multi Proficiency Levels Level 1* P.A.S Rudiments - ALL Stick Control - George Stone Intermediate Studies - Mitchell Peters Portraits in Rhythm - Anthony Cirone WLU Snare Supplement Exercises Jury Piece Level 2* The All-American Drummer - Charley Wilcoxon Advanced Studies - Mitchell Peters Portraits in Rhythm - Anthony Cirone WLU Snare Supplement Exercises Jury Piece Level 3* The All-American Drummer - Charley Wilcoxon The Contemporary Percussionist - Michael Udow and Chris Watts Advanced Studies - Mitchell Peters WLU Snare Supplement Exercises Jury Piece - From The Contemporary Percussionist - Udow/Watts Level 4* The Contemporary Percussionist - Michael Udow and Chris Watts Douze Études - Jacques Delécluse Orchestral Repertoire for the Snare Drum - Raynor Carroll WLU Snare Supplement Exercises Jury Piece - Multiple Percussion Solo (Approved by Instructor) 19

21 Mallet Proficiency Levels Level 1* Reading Mallet Percussion Music - Rebecca Kite Marimba: Technique Through Music - Mark Ford Scales/Modes/Arpeggios - ALL keys and Qualities WLU Mallet Studies - Basics/Permutations Jury Piece Level 2* Modern School for Xylophone, Marimba, and Vibraphone - Morris Goldenberg Marimba: Technique Through Music - Mark Ford WLU Mallet Studies - Parallel/Contrary Motions Vibes Etudes and Songs - Ney Rosauro Jury Piece Level 3* Modern School for Xylophone, Marimba, and Vibraphone - Morris Goldenberg Marimba: Technique Through Music - Mark Ford WLU Mallet Studies - Chord Progressions with Interval Expansion Exercises Vibes Etudes and Songs - Ney Rosauro Jury Piece 20

22 Level 4* Orchestral Repertoire for the Xylophone Vols. I & II, Orchestral Repertoire for the Glockenspiel Vols. I & II - Raynor Carroll Marimba: Technique Through Music - Mark Ford Mid-term Solo Piece WLU Mallet Studies - Guitar and Piano Studies Jury Piece Jazz Comping and Improvisation Level Level 1* The Art and Language of Jazz Vibes - Jon Metzger Jazz Mallets in Session - Arthur Lipner Various tunes from lead sheets - see vibe supplement Jury Piece - solo transcription, performed with a combo or audio playback Timpani Proficiency Levels Level 1* Exercises, Etudes, and Solos for the Timpani - Raynor Carroll Jury - from Carroll book Level 2* Exercises, Etudes, and Solos for the Timpani - Raynor Carroll The Working Timpanistʼs Survival Guide - John Tafoya Vingt Études by Jacques Delécluse Jury Piece 21

23 Drum Set/World Music Proficiency Levels Level 1* Studio/Jazz Drum Cookbook - John Pickering Groove Essentials - Tommy Igoe Introduction to the Conga Drum (DVD) - Michael Spiro Jury Piece - play-along book Level 2* The Art of Bop Drumming - John Riley Groove Essentials - Tommy Igoe The Essence of Afro-Cuban Percussion and Drum Set - Ed Uribe Jury Piece - transcription or play-a-long book Level 3* The Art of Bop Drumming - John Riley The Conga Drummerʼs Guidebook - Michael Spiro Masters of Time - Steve Davis Drummers Collective - Afro-Caribbean and Brazilian Rhythms for the Drumset Jury Piece - Transcription 22

24 081 and 082 Levels 081 Materials Snare Mallets Timpani Jury Intermediate Studies by Mitchell Peters; WLU Snare Supplement; Rudimental Workshop by Matt Savage Reading Mallet Percussion Music by Rebecca Kite; WLU Mallet Studies Supplement Exercises, Etudes, and Solos for the Timpani by Raynor Carroll; Handouts from Instructor Jury will be selected from repertoire studied throughout the semester. 082 Materials Snare Mallets Timpani Jury Intermediate Studies by Mitchell Peters; WLU Snare Supplement; Rudimental Workshop by Matt Savage Reading Mallet Percussion Music by Rebecca Kite; WLU Mallet Studies Supplement Exercises, Etudes, and Solos for the Timpani by Raynor Carroll; Handouts from Instructor Jury will be selected from repertoire studied throughout the semester. *This percussion curriculum is intended to outline a general comprehensiveness and pacing for collegiate percussion study. Although this appears rigid in its structure, flexibility is an important component to successful applied instruction, requiring an individual approach in its application. The instructor may substitute appropriate solo, etude, and instructional materials for all levels. Equivalent requirements, however, will be in effect for materials thus substituted, and will be clearly established at the outset of the student s use of such materials. 23

25 Bibliography of All Required Methods Snare Drum/Multiple Percussion 1. Rudimental Workshop by Matt Savage (081 and 082 levels) - Alfred Publishing 2. Stick Control by George Lawrence Stone - Alfred Publishing 3. Portraits in Rhythm by Anthony Cirone - Warner Brothers Publishing 4. Intermediate Studies by Mitchell Peters - Mitchell Peters 5. Advanced Studies by Mitchell Peters - Mitchell Peters 6. The All-American Drummer by Charley Wilcoxon - Ludwig Masters 7. The Contemporary Percussionist by Michael Udow and Chris Watts - Meredith Music Percussion 8. Orchestral Repertoire for the Snare Drum by Raynor Carroll - Batterie Music 9. Douze Études by Jacques Delécluse - Alphonse Leduc 10.West Liberty University Snare Drum Studies Mallet Percussion (including vibraphone) 1. Reading Mallet Percussion Music by Rebecca Kite - Taki Music 2. Marimba: Technique Through Music by Mark Ford - Innovative Percussion 3. Modern School for Xylophone, Marimba, and Vibraphone by Morris Goldenberg - Alfred Publishing 4. Vibes Etudes and Songs by Ney Rosauro - Pro Percussao 5. Orchestral Repertoire for the Xylophone Volumes 1 & 2 by Raynor Carroll - Batterie Music 6. Orchestral Repertoire for the Glockenspiel Volumes 1& 2 by Raynor Carroll - Batterie Music 7. The Art and Language of Jazz Vibes by Jon Metzger - Jon Metzger 8. Vibraphone Technique, Dampening and Pedaling by David Friedman - Berklee 9. Jazz Mallets in Session by Arthur Lipner - Row-Loff Productions 10.West Liberty University Mallet Studies Timpani 1. Exercises, Etudes, and Solos for the Timpani by Raynor Carroll - Batterie Music 2. The Working Timpanist s Survival Guide by John Tafoya - Carl Fisher 3. Vingt Études by Jacques Delécluse - Alphonse Leduc 24

26 Drum Set/World Percussion 1. The Art of Bop Drumming by John Riley - Manhattan Music Publications 2. Studio/Jazz Drum Cookbook by John Pickering - Mel Bay Publishing 3. The Essence of Afro Cuban Percussion and Drum Set by Ed Uribe - Warner Bros. 4. The Essence of Brazilian Percussion and Drum Set by Ed Uribe - Warner Bros. 5. Groove Essentials by Tommy Igoe - Hudson Music 6. Masters of Time by Steve Davis - Aebersold 7. Introduction to the Conga Drum (DVD) by Michael Spiro - Sher Music 8. The Conga Drummer s Guidebook by Michael Spiro - Sher Music 9. Linear Time Playing by Gary Chaffee - Alfred Publishing Co, Inc. 25

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