Video Tracks |
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xii | |
Preface |
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xiii | |
Introduction |
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xix | |
About The Author |
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xxxi | |
Chapter 1 General Considerations and Prerequisites |
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1 | (23) |
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Percussion Performance and Education |
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2 | (8) |
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2 | (1) |
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Classification of Instruments |
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2 | (3) |
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Tone Production on Percussion Instruments |
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5 | (2) |
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Notation Systems for Percussion |
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7 | (1) |
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Interpretation of Notation |
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8 | (2) |
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Organizing the Beginning Percussion Program |
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10 | (3) |
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Selecting the Percussion Student |
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11 | (1) |
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Training the Beginning Percussionist |
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12 | (1) |
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Organizing the Percussion Section |
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13 | (7) |
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Recommended Percussion Instrumentation |
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14 | (2) |
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Recommended Sticks and Mallets |
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16 | (1) |
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Instrument and Percussionist Assignments |
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16 | (1) |
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Location of the Percussion Section in the Ensemble |
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17 | (1) |
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Percussion Instrument Substitution |
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17 | (1) |
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General Maintenance and Head Replacement |
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18 | (1) |
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Motivating the Percussionist |
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19 | (1) |
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20 | (3) |
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Individual Instrument Methods |
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20 | (1) |
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Combined Percussion Methods |
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20 | (1) |
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Percussion Ensemble Collections |
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20 | (1) |
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General Guides to Percussion |
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21 | (2) |
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23 | (1) |
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23 | (1) |
Chapter 2 Basic Percussion Technique Through the Study of the Snare Drum |
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24 | (55) |
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24 | (1) |
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25 | (6) |
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25 | (2) |
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27 | (1) |
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28 | (1) |
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29 | (1) |
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29 | (1) |
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30 | (1) |
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Tom Tom, Field Drum, Tenor Drum, and Roto-Toms |
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31 | (2) |
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The Attitude Toward Percussion Performance and Education |
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33 | (2) |
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Matched and Traditional Grip |
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35 | (1) |
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Instrument Height and Stance |
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36 | (1) |
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A Concept of the Grip and Stroke |
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37 | (7) |
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The Pivot Point or Fulcrum |
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38 | (1) |
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38 | (1) |
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The Basic Percussion Stroke |
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39 | (5) |
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44 | (22) |
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Rebounds, Doubles, and Rolls |
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45 | (6) |
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51 | (6) |
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The Stroke-and-a-Bounce and Finger Stroke Control |
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57 | (4) |
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61 | (1) |
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Grace Note Figures (Flams and Drags/Ruffs) |
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62 | (4) |
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Special Effects-Rim and Stick Shots and Others |
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66 | (1) |
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66 | (4) |
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70 | (1) |
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71 | (2) |
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Individual Snare Drum Methods and Supplemental Studies |
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73 | (5) |
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73 | (1) |
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74 | (1) |
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75 | (1) |
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76 | (2) |
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78 | (1) |
Chapter 3 Multiple Percussion |
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79 | (14) |
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79 | (1) |
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80 | (6) |
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Additional Considerations |
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86 | (3) |
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Multiple-Percussion Studies and Solos |
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89 | (4) |
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Methods and Solo Collections |
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89 | (1) |
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89 | (4) |
Chapter 4 Keyboard Percussion |
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93 | (64) |
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Origins and Classifications |
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93 | (1) |
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Instrument Characteristics |
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94 | (13) |
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94 | (1) |
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95 | (2) |
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Vibraphone (Vibraharp or Vibe) |
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97 | (2) |
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Glockenspiel or Concert Bells |
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99 | (2) |
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101 | (1) |
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101 | (2) |
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103 | (1) |
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104 | (1) |
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105 | (1) |
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106 | (1) |
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Keyboard Percussion Technique |
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107 | (18) |
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107 | (2) |
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Playing Areas on the Bars |
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109 | (1) |
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110 | (1) |
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110 | (1) |
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The Full Stroke Technique |
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111 | (3) |
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114 | (2) |
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The Sustained Tone or Roll |
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116 | (2) |
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118 | (1) |
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Keyboard Percussion Reading |
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119 | (6) |
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Expression and Phrasing On Keyboard Percussion Instruments |
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125 | (2) |
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127 | (6) |
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The Traditional Cross-Grip |
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128 | (2) |
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The Musser (Stevens) Grip |
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130 | (2) |
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132 | (1) |
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Multiple-Mallet Keyboard Percussion Technique |
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133 | (10) |
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143 | (3) |
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Individual Keyboard Methods and Supplemental Studies |
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146 | (10) |
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146 | (1) |
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147 | (1) |
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148 | (1) |
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149 | (1) |
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Other Music Adaptable to Keyboard Percussion Study |
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149 | (1) |
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150 | (6) |
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156 | (1) |
Chapter 5 Timpani |
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157 | (58) |
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157 | (1) |
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Performance Considerations |
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158 | (2) |
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160 | (3) |
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160 | (2) |
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162 | (1) |
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163 | (12) |
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Construction and Manufacturers |
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163 | (1) |
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164 | (1) |
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165 | (2) |
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167 | (1) |
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Head and Mechanical Adjustments |
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168 | (4) |
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Head Replacement/Selecting the Playing Spot |
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172 | (1) |
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Fine Tuning/Clearing Heads |
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173 | (2) |
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175 | (34) |
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Position of the Timpani and Playing Areas |
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176 | (1) |
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177 | (1) |
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178 | (1) |
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179 | (2) |
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181 | (3) |
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184 | (1) |
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185 | (1) |
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186 | (2) |
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Articulation Considerations and Musical Expression |
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188 | (8) |
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Rolls, Finger Strokes, and Forearm |
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196 | (4) |
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200 | (1) |
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201 | (2) |
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203 | (1) |
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204 | (5) |
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Individual Timpani Methods and Supplemental Studies |
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209 | (5) |
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209 | (1) |
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210 | (1) |
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210 | (1) |
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Reference Books and Videos |
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211 | (1) |
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211 | (3) |
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214 | (1) |
Chapter 6 Bass Drum, Cymbals, and Accessories |
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215 | (38) |
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215 | (10) |
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Construction and Selection |
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215 | (1) |
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215 | (1) |
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216 | (1) |
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216 | (1) |
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217 | (1) |
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218 | (3) |
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221 | (3) |
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The Art of Playing Bass Drum and Attached Cymbal |
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224 | (1) |
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225 | (6) |
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225 | (1) |
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Construction and Selection |
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225 | (1) |
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226 | (1) |
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226 | (1) |
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227 | (3) |
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230 | (1) |
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231 | (3) |
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231 | (1) |
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232 | (1) |
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232 | (1) |
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233 | (1) |
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233 | (1) |
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234 | (4) |
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234 | (1) |
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235 | (1) |
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235 | (1) |
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235 | (3) |
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238 | (2) |
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238 | (1) |
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Construction and Selection |
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239 | (1) |
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239 | (1) |
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240 | (1) |
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240 | (2) |
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240 | (1) |
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Construction and Selection |
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240 | (1) |
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240 | (2) |
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242 | (1) |
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242 | (1) |
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Construction and Selection |
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242 | (1) |
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242 | (1) |
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243 | (1) |
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243 | (1) |
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243 | (1) |
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Less Common Instrumental Accessories |
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244 | (7) |
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244 | (1) |
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244 | (1) |
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244 | (1) |
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245 | (1) |
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246 | (1) |
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Metal Plates, Anvils, and Pipes |
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246 | (1) |
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246 | (1) |
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Percussion Aerophones, Toys, and Exotic Instruments |
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246 | (1) |
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247 | (1) |
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248 | (1) |
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Marching Machine and Horses' Hooves |
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248 | (1) |
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248 | (1) |
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248 | (1) |
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249 | (2) |
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Methods and Studies for Bass Drum, Cymbals, and Accessories |
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251 | (1) |
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252 | (1) |
Chapter 7 Percussion Instruments of the World |
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253 | (41) |
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African Influences and Styles |
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254 | (10) |
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254 | (1) |
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254 | (5) |
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259 | (5) |
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Afro-Cuban Influences and Styles |
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264 | (11) |
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265 | (1) |
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266 | (2) |
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268 | (3) |
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271 | (2) |
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273 | (1) |
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274 | (1) |
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274 | (1) |
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Jawbone (Quijada) and Vibra-Slap |
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275 | (1) |
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Brazilian Influences and Styles |
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275 | (4) |
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275 | (1) |
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276 | (1) |
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Other Brazilian Instruments |
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276 | (3) |
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279 | (6) |
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Middle Eastern Influences and Styles |
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279 | (1) |
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Global Frame Drumming and Groove Tunes |
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280 | (3) |
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283 | (2) |
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285 | (4) |
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Percussion of the World: Methods and Study Materials |
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289 | (5) |
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291 | (3) |
Chapter 8 Drum Set |
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294 | (35) |
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294 | (4) |
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295 | (1) |
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The Swing Era and Big Band Drumming |
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296 | (1) |
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Bop, Cool Jazz, and Hard Bop |
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296 | (1) |
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Contemporary Eclectic and Rock Styles |
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297 | (1) |
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298 | (3) |
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300 | (1) |
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300 | (1) |
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Electronic Percussion and Technology in Education |
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301 | (4) |
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Current Electronic Percussion Instruments |
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301 | (1) |
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Using Technology as a Tool |
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302 | (1) |
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Other Technologies for the Classroom |
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303 | (2) |
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Concepts for Drum Set Study and Performance |
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305 | (2) |
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Body Awareness and Instrument Setup |
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305 | (1) |
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306 | (1) |
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307 | (14) |
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308 | (2) |
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310 | (3) |
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Coordinated Independence, Four-Way Coordination, Interdependence |
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313 | (2) |
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Movement Around the Drums |
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315 | (1) |
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Chart Reading and Interpretation |
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315 | (2) |
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317 | (1) |
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Basic Styles and Considerations |
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317 | (4) |
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Drum Set Methods, DVDs, Videos, and Supplemental Studies |
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321 | (7) |
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321 | (1) |
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Comprehensive Methods for Drum Set Study |
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322 | (1) |
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Supplemental Studies for Comprehensive Study |
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323 | (1) |
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Methods for Styles Awareness, Chart Reading, and Interpretation |
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324 | (1) |
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Supplemental Studies for Styles Awareness, Chart Reading, and Interpretation |
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325 | (1) |
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Afro-Cuban and Brazilian Styles |
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325 | (1) |
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326 | (1) |
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Methods for Movement Around the Drums |
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326 | (1) |
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Supplemental Studies for Movement Around the Drums |
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326 | (1) |
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Multiple-Percussion Drum Set Solos |
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327 | (1) |
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328 | (1) |
Chapter 9 Marching Percussion |
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329 | (96) |
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329 | (3) |
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Developing the Contemporary Marching Percussion Section |
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332 | (1) |
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Instruments and Equipment |
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332 | (12) |
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332 | (4) |
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336 | (4) |
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340 | (2) |
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342 | (1) |
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The Front Ensemble or Pit |
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342 | (2) |
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Training the Marching Percussionist |
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344 | (33) |
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344 | (1) |
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344 | (1) |
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345 | (1) |
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Rehearsal Techniques and Philosophy |
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346 | (1) |
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The Stroke Awareness Approach |
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347 | (2) |
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The Stroke Awareness System |
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349 | (1) |
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The Basic Grips, Strokes, and Dynamic Levels |
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350 | (1) |
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Developing a Warm-Up Routine |
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351 | (11) |
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Developing Uniform Drumming Skills |
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362 | (13) |
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375 | (2) |
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377 | (16) |
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Scoring and Arranging for Marching Percussion |
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393 | (10) |
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Field Placement and Projection |
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403 | (2) |
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405 | (1) |
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Marching Percussion Arrangements for the Methods Class |
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406 | (14) |
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Marching Percussion Methods and Materials |
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420 | (4) |
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Major Complete Methods for Individual and Ensemble Study |
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421 | (1) |
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Supplemental Studies for the Individual and Full Ensemble |
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422 | (1) |
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Warm-Ups and Cadences for the Full Ensemble |
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423 | (1) |
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423 | (1) |
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Contemporary Rudimental Solos, Books, and Videos |
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424 | (1) |
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Selected Traditional Rudimental Solos and Books and Videos |
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424 | (1) |
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424 | (1) |
Chapter 10 Musical Interpretation of Percussion Parts |
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425 | (29) |
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Interpretive Commentary on the Percussion Writing in Gustav Holst's First Suite in E sharp for Military Band |
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426 | (27) |
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453 | (1) |
Chapter 11 Supplemental Playing Exercises |
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454 | (17) |
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Basic Stroke Combinations |
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454 | (1) |
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455 | (2) |
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457 | (1) |
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457 | (2) |
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Double Stroke and Rebound Control |
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459 | (1) |
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459 | (1) |
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Sticking Policy Exercises |
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460 | (3) |
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463 | (7) |
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Supplemental Percussion Ensemble African Creation by Dr. Jeannine Remy |
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470 | (1) |
Appendix A: Orchestral Excerpts for Percussion and Discography of Percussion Music |
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471 | (10) |
Appendix B: Select Percussion Solo and Ensemble Music |
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481 | (26) |
Glossary of Foreign Terms |
|
507 | (3) |
Bibliography |
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510 | (4) |
Index |
|
514 | |