Syllabus and Course Outline for Percussion Essentials Class 57-387, 57-887 Carnegie Mellon University 2012-2013 Jeremy Branson Associate Principal Percussion Pittsburgh Symphony Orchestra
Course Objective: Each musician should become familiar with a variety of problems facing an active performing percussionist and how to effectively control them. Resume building, audition recording and audio editing, instrument repair, part assigning, principal duties, professional practices, and budgeting should be understood, observed and studied during this course. Each musician should focus on the aspects that make up all non-playing parts of a successful musician. Student Expectations: Musicians are expected to thoroughly practice all aspects of instrument repair and maintenance. Audio recording examples and résumés will be used for audition applications when applicable. Part assignment exams will be administered as pop quizzes. Required Materials: Standard percussion instruments that should belong to the student: Snare drum, tambourine, triangle, bass drum beaters, timpani mallets, marimba mallets, one steel flesh hoop Assortment of German and American timpani felt Camera (inexpensive), notebook MP3 Player/Recorder such as an iphone, Belkin TuneTalk, Rio, etc. Suggestions: Keep a running list of repairs and ideas for fixing various instruments, ideas for new instrument set-ups, and timesaving devices that can be easily built Keep any and all receipts for percussion-related purchases Maintain a library of part assignments and layouts Attendance Policy: Attendance is mandatory for all classes due to the volume of works to be discussed and played. Any absence must be pre-approved by the instructor. Grading: Grades will be determined by quality of the following: Instrument repairs Effectiveness of resumes Clarity of recording projects Accuracy of part assignments Completion of itemized percussion expenses 2
Percussion Essentials Class Grading Rubric A(+) Exceptional progress; always prepared A- Outstanding progress; well prepared B+ Very good progress; usually well prepared B Very good progress; prepared B- Good progress made; usually prepared C+ Average progress made; inconsistent preparation C Below average progress being made; cause for concern C- Little or no progress; usually unprepared D+ Very little to no progress; unprepared D No progress made; consistently unprepared D- No progress made; always unprepared F No progress made; never prepared Holidays, Tours, Breaks All players should be aware of the following days literature class may not meet: September 6 October 15 November 10-14 November 24-26 December 6-16 Labor Day Mid-Semester Break PASIC (Indianapolis, IN) Thanksgiving Holiday Juries/Finals *This calendar does not yet reflect orchestra, contemporary ensemble, opera, or wind ensemble performances or special rehearsals. Remember to plan your class performances appropriately in order to satisfy the requirements of this course. 3
Week #1 Resumes/CV Understanding what makes an effective resume/cv What is your goal? Who is your target audience? What to put in your resume? What to LEAVE OUT of your resume? Materials and Subjects Covered: Examples of random resumes, both excellent and poor, will be examined and studied. Students will peer-review each other s resumes and make constructive comments. Week #2 Timpani Repair/Head Replacement Understanding how a timpano functions What are the symptoms of a problem and what are the solutions? How to avoid costly repairs How to make inexpensive repairs The specifics of changing a head -Rocker arm adjustment -Marking/taping tension rods -Head marking -Hoop marking -Counting revolutions as you back out the tension rods -Cleaning -Lubricating -Head selection -Teflon Tape/Spray debate which one works best? -Seating the head -Rule of Fours -Eyeball adjustment -Rocker arm adjustment -Fine tuning (the hard part) -Head marking -Hoop marking of adjustments 4
Week #3 Timpani mallet wrapping Saving money and sound quality by re-wrapping timpani mallets C = X D (always remember this formula!) Caliper Scissors (fine tip) Felt String (Grade AA) Sewing needles Circular knife Cutting pad Leather gloves 1. Measure properly 2. Cut cleanly with circular blade 3. Sew neatly 4. Pull firmly 5. Tie swiftly 6. Repeat as necessary Week #4 Marimba mallet/tam Tam beater wrapping Saving money and sound quality by re-wrapping marimba mallets and tam tam beaters Razor blade Scissors Yarn (No less than 80%/20% Cotton/Acrylic blend) in colors of your choice Crown dowel (1/4 - for marimba, 1/2-3/4 for tam tam) Sewing needles (you will need a 2 long needle at a minimum) 1. Knotting your yarn 2. Priming the crown 3. Star pattern wrapping 4. Sealing the crown 5. Ending your line 6. Knotting 7. Cut and bury 5
Week #5 Part Assignments Effectively assigning orchestral/chamber music parts to players that strikes a balance between maximum efficiency and artistic integrity Parts Worksheet Score (if necessary) Erasers 1. Start simple what instruments are needed? 2. What cannot be played by one player? 3. What can be played by one player? 4. What can be swapped? (triangle for example) 5. What assignments can be modified 6. What assignments are your style? Examples: Copland Hoe-Down Gershwin American in Paris Berlioz Symphony Fantastique Bernstein West Side Story Hindemith Symphonic Metamorphosis Reich Drumming Week #6 Tambourine Repair Properly replacing a tambourine head with a new calfskin head New calf head Wood glue Large 1 x 8 rubber band OR blank plastic 10 cross-stitching panel Sandpaper medium grit (c. 150) Paper towels 1. Fully remove old, ripped head 2. Sand the remaining glue and head remnants away until only smooth wood remains 3. Cut new calf head to size (2 minimum should be left on all sides) 4. Wet new calf head for 5-10 minutes 5. Liberally apply wood glue to sanded wooden rim 6. Place new head and rubber band or cross-stitching panel around head on rim 7. Neatly tuck all remaining creases underneath rubber band or cross-stitching panel 6
8. Place folded wet paper-towel in the center of the head and let dry 12-24 hours 9. Attend to proper head tension every hour or so for the next 4 hours Week #7 Triangle Clips Making triangle clips Needle-nosed pliers (2 pair) Un-painted, wire coat hanger(s) Vinyl tubing 1/8 ID, 1/4 or 3/8 OD Kevlar String or 15-20lb. clear fishing line Lighter C-clamps 1. Use pegs and C-clamps if first time 2. Follow instructor s examples 3. Measure tubing and slide through with 1/2 extra slack 4. Clamp, clip, light, and melt remaining extra tubing 5. Tie two loops with string to seat triangle (one loop lower than another for safety catch) Week #8 Calf Head Tucking Tucking a new calf head from scratch Re-tucking a usable head that has become un-tucked Becoming comfortable with calf (it s not that scary) New calf head New flesh hoop (metal is best, un-painted steel/aluminum) Tucking tool Water bucket/utility sink Wooden clothes pins (12 minimum) 1. Properly wet new calf head 5-10 minutes 2. Slightly dry new calf head before seating 3. Seat new head and begin tucking process by following instructor s example 4. As each 1-2 segment is tucked, use a clothespin to hold it in place 5. Tuck opposite sides in a 12:00, then 6:00 fashion, 12:00-6:00, then 3:00-9:00, etc. 6. When tucking is finished place a damp cloth in the middle to manipulate head tension 7. Let set for 12-24 hour 7
Week #9 Recording Practices Properly recording percussion instruments to ensure quality sound in audition recordings Tools/Instruments needed: Timpani Extra thin dowel-rod timpani mallets Snare Drum Cymbals Various digital recorders Belkin Tunetalk DAT recorder Apple Laptop Editing software PEAK ProTools GarageBand SoundForge 1. Play timpani example with standard mallets (p, mf, f, ff) 2. Play timpani with extra thin dowel-rod timpani mallets (p, mf, f, ff) 3. Move microphone/recording equipment 5, 10, 15 away 4. Repeat steps #1, #2 5. Use 18 cymbals (repeat steps #1-#3) 6. Use 16 cymbals (repeat steps #1-#3) Use editing software to: 1. Create space, take away space 2. Take away ambient sounds 3. Add cresc (what are the consequences of this regarding ambient sound?) 4. Changing notes and rhythms and the moral implications therein Week #10 Solo/Chamber Repertoire Library Accruing a library of working pieces that can be easily and quickly assembled to create a concert 1. Identify composer, work, instrumentation, difficulty level 2. Identify year composed, general notes regarding each work 3. Create themes for concert/recital programs (i.e. nature, mechanics, drums, mallets, baroque) 4. Codify each work in an index that can easily be cross-referenced (i.e. all nature-inspired works) 8
Week #11 Programming Practices Building a well-rounded recital or chamber concert 1. Using week #10 s assignments create a recital or concert that will last apprx. 1 hour 2. Create your theme and defend it 3. Explore programming order and explain why the order is appropriate for your audience 4. Examine any multi-media possibilities for your concert: lighting, movies, sound, etc. Discussion regarding proper programming form etiquette Begin peer review of programs Week #12 Budgeting/Taxes Helping students be smart about their taxes regarding music supply purchases. Certified CPA specializing in music and performing arts will discuss current tax law and how it applies to performing musicians and/or students. Subjects will include, but are not limited to: What is a deductible? How do I deduct? What if I get audited? What about freelance work in other states? Is mileage deductible? How about vehicle expenses? Are my instruments, music, sticks, mallets, etc. deductible? Using a CPA vs. tax software How long must I save my receipts? Week #13 Final Exam Corpus of semester course Written and oral exam 9
Pedagogy Instruction & Practice Percussion Essentials Class Carnegie Mellon University The Carnegie Mellon University percussion department is committed to equipping all of its students with the skill sets necessary to teach future students. Our students consistently receive instruction on the most up to date methods of teaching and pedagogy. This instruction is infused in their classes and private instruction. The students are consistently given assignments to research, practice, and incorporate the newest proven methods in instruction and teaching techniques. Purpose The purpose of the pedagogy element in this class is to ensure all students receive accurate, practical instruction in teaching the content of the class. The students should be well versed and acquainted with the current methods, materials, and issues involved with essential percussion practices, instrument repairs, professional problems with the percussion performance field, and their practical applications. Objectives 1. Student should be taught how to guide younger percussion players through development as practicing performers and many of the non-playing aspect of being a professional percussionist. 2. Students should gain a historical perspective of effective percussion pedagogy practices in regards to the professional successes and pitfalls of the percussion performance field. 3. Students should actively demonstrate teaching skills learned in class on a weekly basis. Practice Students will: 1. Learn to repair specific percussion instruments, then demonstrate that they can teach someone to repair that same instrument in an equally skilled manner. 2. Demonstrate knowledge and capability of teaching particular professional pitfalls in the percussion field that may include, but are not limited to: a. Dress b. Instrument selection and production c. Instrument repair and maintenance d. Financial budgeting for instrument purchase and maintenance e. Resume creation and maintenance f. School budgeting for percussion instruments (and how this differs from individual percussion budgeting) g. Personal marketing and contracting h. Electronic instruments and using multimedia to enhance practice efficiency 3. Discuss, explain, and teach through demonstration and presentations the material covered in each weekly class. These facets will include, but are not limited to those covered in section 2 (ah). 10
Evaluation Students will: 1. Be evaluated partly on their teaching capabilities by the student body. 2. Give feedback to their student peers regarding portions of their presentations. 3. Be evaluated by the effectiveness of their demonstration of the material based upon the results of the other student group to which they are teaching or presenting. a. Did the student body understand the lesson? b. Are the students able to replicate the objective (repair, budgeting, etc.)? c. Does the student behave and present themselves in a professional manner? d. Does the student provide the proper evidence of using learned materials? For example: personal budget, resume, repairs, electronic arsenal, and dress Notes This class is predominately a discussion/demonstration class. The student s evaluation is based on the student s ability to effectively replicate and demonstrate the materials learned in a practical manner. 11