University of Central Florida

College of Arts and Humanities

School of Performing Arts
Department of Music

Percussion Studio
Handbook & Curriculum

Jeffrey M. Moore
Kirk Gay
Thad Anderson

Revised Summer 2011

 Acknowledgements
I would like to acknowledge Dr. Steven R. Hemphill of the Northern
Arizona University’s School of Performing Arts for sharing his Applied Percussion
Handbook with me. The Listening Cards and Composition semester
requirements were inspired by his program, which includes the sample Milhaud
entry taken exactly from his example. I also used his Ensemble Etiquette,
Percussion Ensemble, Materials, Books, and Paraphernalia,
Scheduling Practice, and Percussion Assistant pages with practically no
editing. The Recital Checklist/Deadlines was inspired by his, but modified
to fit the University of Central Florida’s requirements and procedures. The
literature, listening, and reading lists all started from his format and entries, I
updated/added works, discs, and books that I am familiar with and comfortable
recommending.
I would also like to acknowledge Stanley Leonard, retired timpanist of the
Pittsburgh Symphony, for the contributions in the timpani literature section. I
took some of the solos and accompanied pieces for timpani from a handbook he
produced in conjunction with his clinics and lessons.
Johnny Lee Lane contributed in the General Objectives and influenced
the Methods of Grading sections. Dr. Robert Schietroma of the University of
North Texas influenced the layout and structure of the level system and the
content/material contained in each of the instrument’s semester of study.

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 Percussion Curriculum
To meet degree requirements, students are expected to show
considerable proficiency in the percussion categories listed below. All students
entering the percussion curriculum should have had considerable prior training in
at least three of the six categories.
The percussion studies program at UCF offers majors comprehensive
instruction in all areas of percussion. Individualized instruction allows for
personal specialization, while providing a well-rounded foundation in all
percussion instruments. Intended for undergraduate or graduate percussion
students majoring in music, applied study is directed toward developing
competencies and understanding that will contribute to the goals of becoming a
competent percussionist, teacher and musician. Students with a minor in
music/percussion are also offered opportunities for individual instruction when
studio time is available.

Percussion Categories
I. Snare Drum (Rudimental, Orchestral)
II. Timpani (and Tuned Drums)
III. Mallets (Marimba, Xylophone, Vibes, Bells, and Chimes)
IV. Drumset
V. Multiple Percussion
VI. Hand Drumming and World Music

Requirements For Entrance to the Percussion Program

1. No specific repertoire requirements have been established.
2. The student should demonstrate facility in at least three of the six
categories.
3. Admission is contingent upon audition before the percussion director.

Lessons are divided into twelve (12) assignments, and the material of each
level has been divided accordingly. This procedure is to aid the student in
pacing him or herself throughout the semester. In addition to the weekly
assignments, the student is responsible for continuing to work on the
Semester Studio Requirements. Listening Cards (10), Composition (1), and
Book Report (1) are due at the end of the semester.
It is the responsibility of the student to prepare material prior to his or her
scheduled lesson time. The assignments are arranged to allow ample time for
preparation. The student must give early notice if he or she plans on not
attending a lesson. This can be done by making a phone call, placing a note on
the door, or in the teacher’s box (in the music office). Lessons missed by the
student will not be made up (unless excused by the instructor). Lessons missed
by the instructor will be made up at a time convenient for both.

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The general goals for your applied lessons are as follows:
1. Each student will perform a solo on the music forum at least once a
semester.
2. Each student should be able to sight read material according to his or
her level of study.
3. Each student is required to know the history and nomenclature of his or
her instrument, and should be able to engage in a scholarly discussion
utilizing this knowledge.

Methods of Grading
General studio evaluation criteria will be based upon, but not limited to, the
following: a) evidence of careful and complete lesson preparation, b) technical
(skill-related) progress and ability, c) attitude, d) regular attendance, e)
punctuality, f) overall progress made during the semester in relation to the
student's specific degree program, g) cooperative acquisition of required
materials.

I. General Requirements:
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,
barrier exams, and jury.
2. A student must not have more than one unexcused absence.
3. Assigned materials, including listening cards, composition, and book
report, should be completed on time and performed or completed
accurately, showing superior quality.

B. To receive a grade of “B” for the course:

1. A student must give an excellent performance on the music forum,
barrier exams, and jury.
2. A student must not have more than 2 unexcused absences.
3. Assigned materials, including listening cards, composition, and book
report, should be completed on time and must be performed or
completed accurately, showing excellent quality.

C. To receive a grade of “C” for the course:

1. A student must give a good performance on the music forum, barrier
exams, and jury.
2. A student must not have more than three unexcused absences.

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 3. All assignments, including listening cards, composition, and book
report, must show a fair to good quality.

D. A student who fails to complete the above requirements will

receive a grade of “D” or “F” according to the degree of non-
compliance.

E. An “Incomplete “ will not be given unless it is considered to be in

the best interest of the student.

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.

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 concert snare drum, timpani,
auxiliary, drumset, multiple percussion, Latin/hand drumming and
ethnic percussion.
2. Gain familiarity with the musical and pedagogical literature associated with
percussion - stimulate interest in professional literature related to
percussion instruments and percussion performance.
3. Acquire familiarity with, and 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

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 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 performance
stress and anxiety.
9. Acquire the self-initiative and ability for continued self-study in percussion
beyond the formal educational environment.

Private 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; a semester achievement form, recording
the student's studio status, test results, reading requirements, ensemble
participation (and positions held), among other information.

Percussion Ensemble
As an integral component of percussion studies at the University of
Central Florida, the UCF Percussion Ensemble performs extensively on campus
and throughout Florida. With the ensemble serving as a laboratory for musical
experimentation, with focus upon specific performance habits, listening skills,
and general instrumental technique, the development of chamber music
performance skills is at the core of the ensemble's existence. The ensemble
repertoire comprises a wide variety of musical and ethnic styles, including
standard works, contemporary works, marimba band, steel band, African and
Brazilian drumming, commercial/jazz, and transcriptions. The student should
develop an understanding of and an ability to apply appropriate and/or correct
performance techniques upon all pertinent percussion instruments, many of
which are not utilized in any other ensemble. Knowledge of percussion ensemble
literature is also an aspect of the course structure. Opportunities for student
composition and arranging, in the medium of percussion ensemble, are available
to the student 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 expected to participate in
percussion ensemble, in addition to other general ensemble requirements.
Membership of the ensemble is made up of percussion performance and
education majors, Bachelor of Arts majors, music minors, and majors of diverse
academic disciplines. Participating membership and exact instrumentation will
vary according to the specifications of each work studied and/or performed.
Enrollment is subject to audition and/or permission by the instructor.

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Procedures:
1. Lectures and demonstrations will be given by the instructor and
students. Recordings of percussion solos by distinguished
performers will be played. Video tapes will be used whenever
available. Clinicians will also visit the campus for performances
and workshops.
2. Read my office door and the percussion bulletin board regularly.
3. Students should split their lesson time between two
instruments. For example, a half hour snare drum lesson and
a half hour marimba lesson. Students may indicate their
instrument preferences at the time of registration. However,
final instrument assignments will be up to the instructor.
4. Attendance is urged at concerts given by all the major performing
groups on campus.
5. Attendance at all percussion events (Junior, Senior, Guest
Recitals, etc.) is mandatory. Your lesson grade will be
lowered half a letter grade for each unexcused absence. You
owe it to your colleagues to attend their performances, and you will
appreciate it when they come to yours. In addition, percussionists
frequently need assistance with their recital set-ups and you may be able
to help. Besides, this is an excellent opportunity to become familiar with
percussion solo and ensemble literature.

Equipment:
1. Your own personal equipment is your responsibility - take care of
it. Equipment belonging to the Department of Music is also your
responsibility, and you are expected to take care of it as if it
were your own.
2. Equipment that belongs neither to you nor to the University 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.
3. 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 removed from the building, it must be properly signed out.

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 SUGGESTED EQUIPMENT
Sticks and Mallets

Snare Drum

Pro-Mark Tom Freer - Orchestral General Pro-Mark SDJM-Jeff Moore

Pro-Mark S.D. 2 - Bolero OR Cooperman #1 Graham Johns
Pro-Mark S.D. 5 – Multi-Perc. Sticks Tom Gauger (Double-end)

* Some type of all-around sticks for rim shots, etc. - any make.
* Some type of drumset stick (jazz weight)- any make.
* A pair of brushes - Pro-Mark, Regal, Vic Firth, etc.

Timpani Mallets
Pro-Mark PST 1 Pro-Mark Bamboo PSTB 10
Pro-Mark PST 2 Pro-Mark Bamboo PSTB 20
Pro-Mark PST 3 Pro-Mark Bamboo PSTB 30
Pro-Mark PST 4 OR Pro-Mark Bamboo PSTB 40
Pro-Mark PST 5 Pro-Mark Bamboo PSTB 50
Duff Series

Marimba Mallets
Rubber Mallets Yarn Mallets
Pro-Mark PK 21 - Yellow Malletech - Concerto 14 (khaki)
Pro-Mark PK 22 – Green OR Malletech - Leigh Stevens 15
Pro-Mark PK 23 - Grey Malletech - Leigh Stevens 27
Musser M3 - Blue Malletech - Leigh Stevens 20

Ensemble Yarn Mallets Soloist Yarn Mallets

Pro-Mark Jeff Moore JM11
Pro-Mark Jeff Moore JM12
Pro-Mark Jeff Moore JM13
Soloist Yarn Mallets
Pro-Mark Kai Stensgaard KS1
Pro-Mark Kai Stensgaard KS2
Pro-Mark Kai Stensgaard KS3
Pro-Mark Kai Stensgaard KS4
Pro-Mark Kai Stensgaard KS5
Pro-Mark Kai Stensgaard KS6
Pro-Mark Performer PSM 8
Pro-Mark Performer PSM 10
OR Pro-Mark Performer PSM 20
Pro-Mark Performer PSM 25
Pro-Mark Performer PSM 30
Pro-Mark Performer PSM 40
Pro-Mark Blake Tyson BT1
Pro-Mark Blake Tyson BT2
Pro-Mark Blake Tyson BT3
Pro-Mark Blake Tyson BT4 and 5

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You should have the following:
1. At least one set of four yarn mallets from above.
2. One general-purpose bass drum mallet (Freer-Pro-Mark, Gauger-Firth).
3. A stick bag or briefcase (preferably both).
4. Drum key, tuning fork, pitch pipe, etc.
5. Practice pad (Pro-Mark, Remo, etc.)
6. A metronome (i.e. Boss DB 90, or similar)
7. A “pocket” music dictionary (The A to Z of Foreign Musical Terms by
Christine Ammer, published by E.C. Schirmer, or similar)
8. Cook, Gary Teaching Percussion [Third Edition](New York: Schirmer, 2006)

Xylophone – Bells
Pro-Mark Tom Freer FK4 (Rubber) Malletech - Bob Becker - Blue
Pro-Mark Tom Freer FK5 Malletech - Orchestra - Brown
Pro-Mark Tom Freer FK6 (Browns-General) OR Malletech - Orchestra - White
Pro-Mark Tom Freer FK9 (2 pair-General) Pro-Mark PK 62 - Brass
Pro-Mark Tom Freer FK10A Pro-Mark PSX 10R
Pro-Mark Tom Freer FK11 Pro-Mark PSX 20R
Pro-Mark Tom Freer FK11A Pro-Mark PSX 30 R
Pro-Mark Tom Freer FK12 Pro-Mark Tom Freer FK2AM

Vibes
Pro-Mark Jeff Moore 15R (Soft)
Pro-Mark Jeff Moore 16R (Medium)
Pro-Mark Jeff Moore 17R (Hard)
Pro-Mark Bill Molenhof - PBM (Grey)
Pro-Mark Joe Locke – PJL (Black)
Pro-Mark Lionel Hampton – PLH (Blue)

Accessories

1. At least one general-purpose triangle - Abel, Black Swamp, Yamaha, Grover

(Strikers may be cut from welding rod or Grover, Stoessel, Black Swamp).
2. At least one tambourine w/ head - Black Swamp, Grover.
3. At least one general-purpose woodblock – Black Swamp, Grover, L.P.
4. Small concert percussion instruments
a. Cowbell-LP
b. Claves-LP
c. Maracas-LP
d. Castanets-Black Swamp
e. Finger cymbals-Paiste, Zildjian, Sabian

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 Materials, Books and Paraphernalia
Due to the nature of percussion studies, the exploration of many different
instruments within the same general family, the student will require
numerous study materials, method books, sticks and mallets, solo repertoire,
and various paraphernalia. This burden must be clearly understood by the
student when collegiate studies are embarked upon. Expectations of the
teacher include the student’s acquisition of all necessary and recommended
materials. The student should regard these requirements as steps toward
developing a personal/professional library and acquiring necessary “tools” for
professional development and eventual employment. The student should
expect to spend an approximate minimum of $250.00 per semester for
materials and equipment.

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 drumset, evaluated through the school’s barrier process at
the end of each semester, 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. As there are numerous possibilities for the assignment of
instrumental study, each student should decide upon a schedule to be
followed for several weeks at a time, making necessary changes in that
schedule at the end of the range of time previously determined.
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, steel band, wind ensemble, orchestra, jazz
ensemble, marching band, chamber groups, and recital obligations.
Whenever possible, students should seek feedback during practice sessions
by way of mirror usage, and through video and audio tape recordings. An
investment in portable audio recording equipment can be very important at
any level of study. Working with a metronome and a drum machine
addresses the very heart of the percussionist’s endeavor. All musicians
should be exposed to the development of self-expression through
improvisation and composition, which is also enhanced by use of recording
equipment.

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 Snare Drum/Multi-Percussion Proficiency
Deficient Level I Level II
Savage Rudimental Workshop Savage Rudimental Workshop Advanced Snare Drum Studies
Matt Savage Matt Savage Mitchell Peters
Drumstick Control The All-American Drummer Symphonic Repertoire for Snare
Jeff Moore Charley Wilcoxon Drum Anthony J. Cirone
Portraits In Rhythm Portraits In Rhythm Contemporary Studies For the
Anthony Cirone Anthony Cirone Snare Drum Fred Albright
PAS Drum Rudiments PAS Drum Rudiments Hybrid Rudiments
(All @ Deficient tempos). (All @ Level I tempos). (Handout from instructor)
Jury Piece Jury Piece (Multi-Percussion)
Drumstick Control Performance of own Multiple
Jeff Moore Percussion Solo Composition
Supplemental Snare Drum Studies
1. Modern School for Snare Drum - Morris Goldenberg
2. 14 Modern Contest Solos - John S. Pratt
3. Stick Control - George Stone
4. Accents and Rebounds - George Stone
5. Snare Drum in the Concert Hall - Al Payson
6. Odd Meter Rudimental Etudes - Mitchell Peters

Timpani and Orchestral Percussion Proficiency

Deficient
Exercises, Etudes, and Solos for
the Timpani Raynor Carroll
Pedal to the Kettle Kirk Gay
Level I
Pedal to the Kettle Kirk Gay
The Working Timpanist's
Survival Guide John Tafoya
Timpani Tone and Interpretation
Steven Schweizer
Jury Piece
Level II Orchestral Level
Pedal to the Kettle Symphonic Repertoire for Snare Drum
Kirk Gay Anthony J. Cirone
The Working Timpanist's Orchestral Repertoire for the Bass Drum
Survival Guide John and Cymbals Raynor Carroll
Tafoya
Jury Piece Symphonic Repertoire for Keyboard
Percussion Jack Van Geem
Orchestral Repertoire for the Tambourine,
Triangle, and Castanets Raynor Carroll
Cymbalisms Frank Epstein
(Recommended Purchase)
Jury is a Mock Audition

Supplemental Timpani Studies

1. Fundamental Method for Timpani - Mitchell Peters
2. Modern Method for Timpani – Saul Goodman
3. The Solo Timpanist - Vic Firth
4. The Well-Tempered Timpanist - Charles Dowd
5. The Complete Timpani Method - Al Lepak/Alexander Friese

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Deficient
Instructional Course for
Xylophone G.H. Green
Reading Mallet Percussion
Music Rebecca Kite
Velocity Warm-Ups for
Vibraphone Charles Dowd
Mallet Proficiency
Level I
Instructional Course for
Xylophone G.H. Green
Reading Mallet Percussion Music
Rebecca Kite
Velocity Warm-Ups for
Vibraphone Charles Dowd
Second Book of Practical Studies for
Cornet and Trumpet Robert W. Getchell
Vibe Etudes & Songs Ney Rosauro
Permutations/Floor Exercises
UCF Mallet Studies
Jury Piece
Level II
Instructional Course for Xylophone
G.H. Green
Modern School for Xylo, Marimba
and Vibraphone Morris Goldenberg
Permutations Parallel/Contrary
UCF Mallet Studies
Vibe Etudes & Songs Ney Rosauro
Jury Piece

Level III Level IV

Instructional Course for Xylophone Modern School for Xylo, Marimba and Vibraphone
G.H. Green (Etudes and Excerpts) Morris Goldenberg
Chord Progression Permutations Chorales
UCF Mallet Studies UCF Mallet Studies
Guitar Studies UCF Mallet Studies Symphonic Repertoire for Keyboard Percussion
Jack Van Geem
Jury Piece Jury Piece

Jazz Comping and Improvisation

Level I Level II
The Art and Language of Jazz Vibes The Art and Language of Jazz Vibes
Jon Metzger Jon Metzger
Vibraphone Technique Dampening and Pedaling Voicing and Comping for Jazz Vibraphone
David Friedman Thomas L. Davis
Jazz Mallets: In Session Arthur Lipner Jazz Mallets: In Session Arthur Lipner
Velocity Warm-Ups for Vibraphone Charles Dowd The Vibes Real Book Arthur Lipner
Jury Piece Jury Piece

Supplemental Mallet Studies

1. Method for Movement - Leigh Howard Stevens
2. Percussion Keyboard Technique - Thomas McMillan
3. Fundamental Studies for Mallets - Garwood Whaley
4. Permutations for the Advanced Marimbist – Kevin Bobo
5. Well-Tempered Mallet Studies - Anderson
6. Contemporary Solos - Karen Erving
7. Contemporary Etudes - Karen Erving

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 Drum Set and World Music Proficiency
Deficient Level I Level II
It’s About Time Fred Dinkins The Jazz Drummer’s Reading The Essence of Afro-Cuban Percussion and Drum
Workbook Tom Morgan Set Ed Uribe
Mel Bay’s Studio/Jazz Drum Mel Bay’s Studio/Jazz Drum Drummers Collective Afro-Caribbean and
Cookbook John Pickering Cookbook John Pickering Brazilian Rhythms for the Drumset The Collective
Groove Essentials Tommy Igoe Groove Essentials Tommy Igoe The New Breed Gary Chester
Supplemental Handouts Jury Piece Drumset Control Marvin Dahlgren
Jury Piece

Level III Level IV

Masters of Time Steve Davis
Drumset Control Marvin Dahlgren
Brush Techniques – Handout from Instructor
Patterns Book III (Time Functioning) Gary Chaffee
Linear Time Playing Gary Chaffee-Recommended
Jury Piece
Standard Time Steve Davis
The Essence of Afro-Cuban Percussion and Drum Set Ed Uribe
The Essence of Brazilian Percussion and Drum Set Ed Uribe
Drummers Collective Afro-Caribbean and Brazilian Rhythms for
the Drumset The Collective
Groove Essentials Tommy Igoe
Style Performance - Be-Bop/Swing, Latin, Funk/Rock

Supplemental Drum Set Studies

1. Future Sounds - Dave Garabaldi
2. Contemporary + 1 - Dave Weckl
3. Up Close - Steve Gadd
4. Practical Applications - Chuck Silverman
5. Drummer’s Collective Books
6. Rudimental Ritual - Alan Dawson
7. Advanced Funk Studies - Rick Latham

Electives
1. Orchestral Excerpts
2. Hand Drumming / Small Concert Percussion
3. Arranging for Percussion Ensemble and Marching
4. Scottish / Swiss Basel Rudimental Drumming
5. Multiple Percussion

The Percussion Curriculum and syllabi, as academic documents, are intended to

outline a general comprehensiveness and pacing for collegiate percussion study.
Although the documents appear rigid in their structure, flexibility is an
important component to successful applied instruction, requiring an individual
approach in its application. As these documents offer ambitious models, 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.

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 Applied Lessons - Weekly Assignment Schedules
• The Jury Piece and other solo work will be introduced in a timely fashion according to
the student’s individual progress. We will modify the schedule to accommodate the
individual’s personal growth and development.
• There is no Jury Piece required for the Deficient Level.

Snare Drum Proficiency – Deficient Level

Week Cirone Rudiments-Moore Book (pg. in bold) Savage Video Listening
1 - Single Stroke Roll (1-3) pg. 4-18, 57 19-27 Beck
2 - Diddle Rudiments (16-19) 70-81 Rudiments!
pg. 31-37
3 - Multiple Bounce Roll (4) pg. 44-51 60-63
4 - Double Stroke Open Roll (6, 7, 9-10) 28-44 Concert Nexus-Story
pg. 26-29 (Skip 35-37) Vol. 1 of
5 - Double Stroke Open Roll (11-15) 45-59 Reefed Percussion
pg. 29-30 Beats
6 1 Flam and Drag Rudiments (20, 31-33) 100-103, 128- The Next In the Orch
pg. 66, 54-56, 58 135 Level
7 2 Drag and Roll Rudiments (34, 8, 38-40) 140-142, 35-37, Concert The Noble
pg. 59-62, 29 143-152 Vol. 2 Snare
8 4 Drag Rudiments (35-37) pg. 59-60 89-97
9 - Flam Rudiments (21, 23, 28) 104-106, 110- Tom Freer
pg. 67, 72-73 112, 116-118
10 5 Roll and Flam Rudiments (5, 22) pg. 67 64-67, 107-109 Bernstein-
11 - Flam Rudiments (24, 25, 27) 82-84, 119-121, How
pg. 68, 73 113-115 Musical
12 8 Flam Rudiments (29, 30, 26) 122-125, 136- Are You?
pg. 69-71 139, 85-88

Snare Drum Proficiency – Level I

Week Wilcoxon Cirone Rudiments-Moore Book Savage Video Listening
1 127 18 See Deficient Level Wk. 1 19-27 Beck
2 128 19 See Deficient Level Wk. 2 70-81 Concert Rudiments!
3 129 20,21 See Deficient Level Wk. 3 60-63 Vol. 1
4 132-33 24,25 See Deficient Level Wk. 4 28-44 Reefed Nexus-
(Skip 35-37) Beats Story of
5 134-35 27,28 See Deficient Level Wk. 5 45-59 The Next Percussion
6 136-37 29,30 See Deficient Level Wk. 6 100-103, 128-135 Level in the Orch
7 138-39 31 See Deficient Level Wk. 7 140-142, 35-37, Concert The Noble
143-152 Vol. 2
8 141-42 34 See Deficient Level Wk. 8 89-97 Snare
9 143-44 36,37 See Deficient Level Wk. 9 104-106, 110-112, Tom
116-118 Freer
10 145-46 38,39 See Deficient Level Wk. 10 64-67, 107-109 Bernstein-
11 149 40 See Deficient Level Wk. 11 82-84, 119-121, How
113-115 Musical
12 150 50 See Deficient Level Wk. 12 122-125, 136-139, Are You?
85-88

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 Snare Drum / Multiple Percussion Proficiency – Level II
Week Albright Peters Rudiments/Chaffee Cirone-Rep. Video Listening
1 1,2 1,2 Chaffee Sticking Moore Masterworks for
2 6,9 3,4 Handout DVD 1 Perc.-Gauthreaux
3 16,21 5,6 “ Sousa
4 24,28 7,8 “ Moore
5 29,32 9,10 “ DVD 2 Udow-
6 37,40 11,12 Contemporary Flam Contemporary
7 43,47 13,14 Variations Pg. 19 Bernstein- Percussionist
8 50,58 15,16 “ Happy B-Day
9 61,62 17,18 Complex Asymmetric Pg. 32 Stravinsky Stravinsky
10 46,14 19,20 Rudiments A Soldier’s Tale
11 17,31 21,22 “ Pg. 37 Schick-
12 39 23,25 “ Born to Be Wild

Timpani Proficiency - Deficient Level

Week Carroll Excerpt/K. Gay Video Listening
1 Pg. 1-26 - Bernstein-Musical Atoms:
2 Pg. 27-32 K. Gay Etude #1 A Study of Intervals
3 Pg. 33-41 K. Gay Etude #2 Concert Vol. 1-Duff Segments
4 Pg. 42-44 Magic Flute Overture Concert Vol. 2-Duff Segments
5 Pg. 45-52 K. Gay Etude #6 Canticle-Leonard
6 Pg. 53-68 K. Gay Etude #3 Bernstein-
7 - Academic Festival Overture What Does Music Mean?
8 Pg. 69-75 K. Gay Etude #7 Bernstein-
9 - Romeo & Juliet Overture The Sound of an Orchestra Carter
10 Pg. 76-91 K. Gay Etude #11 8 Pieces
11 Pg. 98-109 K. Gay Etude #16
12 - K. Gay Etude #14

Timpani Proficiency – Level I

Week K. Gay Tafoya Video Listening
1 Etude #9 Mozart Sym. #39 Pg. 6 Bernstein-Musical Atoms
2 Etude #12 Hochrainer #60 A Study of Intervals Fischer-Symphony
3 Etude #6 Beethoven Sym. #1 Pg. 8 Concert-Duff Segments in C Earl Yowell,
4 Etude #10 Beethoven Sym. #7 Pg. 26 Beethoven Symphony #5 Canticle-Leonard
5 - Beethoven Sym. #9 Pg. 38 Cleveland-Yancich
6 Etude #21, 22 -
7 Etude #20 Firth Etude #1 Bernstein- Carter Eight
8 - Brahms Sym. #1 Pg. 48 What Does Music Mean? Pieces for
9 Etude #29 - Timpani
10 - Tchaikovsky Sym. #4 Pg. 58 The Art of Conducting - Druckman
11 Etude #31 - Great Conductors of the
12 Etude #18 Strauss Burleske Pg. 73 Past

15
 Timpani Proficiency – Level II
Week K. Gay Tafoya Video Listening
1 Etude #13 - Carter Eight
2 Wagner – Gotterdammerung Pg. 102 Bernstein- What is Pieces for
Mahler Sym. #5 Pg. 87 Orchestration? Timpani
3 Etude #27 Shostakovich Sym. #1 Pg. 86 Druckman
4 Elgar - Enigma Variations Pg. 62
5 Etude #28, 25 - Timpani Concerto No. 1
6 Hindemith-Symphonic Metamorphoses Bernstein-What is
Etude #19 Pg. 67 American Music?
7 Schuman-New England Triptych Pg.89
8 Etude #24 Bartok - Concerto for Orchestra Pg. 76 What is Classical Music?
9 Etude #30 -
10 Bartok - Music for Strings, Percussion What Makes Music Kraft-
& Celeste Pg. 81 Symphonic? Concerto
11 Barber - Medea's Meditation & Dance
12 Stravinsky - Rite of Spring Pg. 93

Orchestral Percussion Proficiency – Level I

Week Cirone Van Geem Bass/Cymbal Accessories Video Listening
1 Pg. 20 - Pg. 34 Ta-Pg. 39 Beck Nexus-Story of
2 - Pg. 32 (Gold 122) - Tr-Pg. 61 Book-Logic Percussion/Orch
3 Pg. 12 - Pg. 68 - Of It All
4 - Pg. 5 - Ta-Pg. 85 Concert Vol. 1 Boulez-
5 Pg. 14 - Pg. 14 - Bernstein-What Notations I-IV
6 - Pg. 38 - Tr-Pg. 24 Is Sonata Form? Debussy La Mer
7 Pg. 5 Pg. 8 Pg. 78 - Concert Vol. 2 de Falla El Three
8 - Pg. 71 - Ta-Pg. 7 Cornered Hat
9 Pg. 25 - Pg. 27 - Tom Freer Clinic Chicago
10 - Pg. 14 - Tr-Pg. 92 Bernstein-What Barenboim, cond
11 Pg. 55 Pg. 48 Pg. 41 - Is a Concerto?
12 - Pg. 14 Pg. 80 Ta-Pg. 115

Mallet Proficiency – Deficient Level

Week Green Kite Dowd (Mode/Chord) Video Listening
1 1 pg 5-24 Ionian/Ionian (Major/Major) Bernstein-What is
2 1 25-31 Aeolyian (Nat. Min)/Major 6 a Mode? Nexus Plays
3 2 32-38 Harmonic Minor/Minor The Music of
4 2 39-45 Mixolydian/Dominant 7ths Bernstein-What is GH Green
5 3 46-52 Dorian/Minor 7ths a Melody?
6 3 53-59 Lydian/Dominant 13 (#11) Nola
7 4 60-66 Phrygian/Minor 11
8 4 67-77 Locrian/ Diminished Xylotopia
9 5 78-84 Whole Tone/Augmented
10 5 85-91 Major Pentatonics/Major 7 Green Brothers
11 6 92-98 Minor Pent./Half-Dim 7ths
12 6 99-102 Blues Scales/ Fully Dim 7ths

16
 Mallet Proficiency – Level I
Week Green Kite/Rosauro/Getchell UCF Mallet Studies Video Listening
1 7 103-107 Basics Bernstein-What is Nexus Plays
2 8 108-113 One a Mode? The Music of
3 9 113-117 Basics Giff Howarth- GH Green
4 10 Vibe Songs p. 2-3 Two Simply Four Masters of
5 11 Vibe Songs p. 4-5 1-4 Bernstein-What is The Xylophone
6 12 Vibe Songs p. 6-7 Three a Melody? Nola
7 13 67-69 5-10 Xylotopia
8 14 70-72 Four Bernstein-What Green Brothers
9 15 75,77,79 11-13 Does Music Mean? Rosauro-
10 16 82,84,86 Five In Concert
11 17 93,96 Review Humor in Music Stevens-
12 18 107, 115 Six Marimba When
It should be noted that if the student cannot adequately demonstrate his/her basic scales,
modes, and chord configurations; then the “Deficient Level” Dowd assignments will be included
in the Level I semester’s assignments.

Mallet Proficiency – Level II

Week Green Goldenberg/Rosauro Parallel/Contrary Motions Video Listening
1 19 32-34 P 5th’s Perm 1-13 Mike Burritt Glennie-
2 20 35-38 Tritones Perm 1-13 Live at PAS Rhythm Song
3 21 39-42 m 6th’s Perm 1-13
4 22 44-48 P 4th’s Perm 1-13 Bernstein-Folk Gianiscolli-
5 23 49-51 (52 #7) M 6th’s Perm 1-13 Music in the Concertino
6 24 Vibe Songs p. 8-9 M 3rd’s Perm 1-13 Concert Hall
7 25 Vibe Songs p. 12-13 m 7th’s Perm 1-13 Stout-Solo
8 26 Vibe Songs p. 16-17 m 3rd’s Perm 1-13 Bernstein- Marimba Music
9 27 53 M 7th’s Perm 1-13 What is Harnsberger-
10 28 54,55 M 2nd’s Perm 1-13 Impressionism Vertigo
11 29 56,57,59 Octaves Perm 1-13 Burritt-
12 30 60-61 Parallel/Contrary Motions Waking Dreams

Mallet Proficiency – Level III

Week Green Guitar Studies Progressions Video Listening
1 31 1 C,F,Bb w/rolls Keiko Abe-
2 32 2 Eb, Ab , Db w/rolls Fantastic Marimba
3 33 3 F#,B,E w/rolls
4 34 4 A,D,G w/rolls Mycka-Marimba
5 35 5 Review Permutations Spiritual
6 36 6 Review Permutations
7 37 7 Perm 14,15 Geoffroy-
8 38 8 Perm 16,17 Bach Cello Suites
9 39 9 Perm 18,19
10 40 10 Perm 20,21 Kolberg-
11 41 11 Perm 22,23 Animato
12 42 11 Review Permutations

17
 Mallet Proficiency – Level IV
Week Chorales Goldenberg Orchestral-Van Geem Video Listening
1 1 1 Polka-A Golden Age Pg. 62 Cotto-
2 2 2 App. Spring, Pg. 44 Philadelphia A Little Prayer
3 3 3 - Sound
4 4 4,5 - Bobo-Marimba
5 5 8 La Mer, Pg. 22 Boston Pops Jambalaya
6 6 10,11 -
7 7 14 Waldweben, Gold.-Pg. 103 Bernstein- Zivkovic-
8 8 15 - Birthday Marimba and
9 9 20 - Celebration Percussion
10 10 25 Russian Easter, PDF
11 11 31,33 - Stout-Astral
12 12 35 - Projections

Jazz Vibes – Level I

Week Metzger Friedman Dowd/Lipner Lipner Tunes Video Listening
1 1-4 - Review Dowd Slick, pg 6-13 Jazz Ball B-18
2 5, 22, 23, 24 - pg.16-18 Fog Scene, pg. 19-23 JV Vol 1
3 6,25 - pg. 24-25 Smooth...pg. 26-33 UCF Pop JV Vol 2
4 7,26 1, 2 pg. 34-35 Freddie’s…pg. 36-40 Ens.-Samuels
5 8, 27 3, 4 pg. 41-43 Afro Blue pg. 44-51 and Lipner B-19
6 8 5, 6 pg. 57-58 Afro Blue… JV Vol 3
7 9,28 7, 8 pg. 76-81 12 In 6 pg. 52-56 Jazz DVD
8 9 9, 10 pg. 106-107 JV Vol 4
9 10, 29 11, 12 - Now’s… pg. 59-67 Bernstein-Jazz
10 11 13-14 pg. 116-119 Now’s… In the Concert JV Vol 5
11 12 24 - Rhythm… pg. 71-75 Hall
12 12 pg. 145-147 Rhythm…

Jazz Vibes – Level II

Week Metzger Lipner Davis Voicing Tunes Listening
1 13 27-35 Read Handout Review Tunes Alone at Last- Gary Burton
2 13 36-38 Maj II-V from last semester
3 29 39-46 Chapter 2 pg. 8-14 Milt Jackson-Wizard of the Vibes
4 29 47-50 Maj II-V w/alt
5 14 51-58 “ -
6 14 59-60 Chapter 3 pg. 15-17 Ballad pg. 30 JV Vol 6
7 30 61 Min II-V Med. Swing pg. 32
8 30 62-65 Chapter 4 pg. 18-28 Fast Swing pg. 34 JV Vol 7
9 15 66-67 Min II-V w/alt Jazz Waltz pg. 36
10 15 68-70 Chapter 5 pg.29 Bossa Nova pg.38 JV Vol 8
11 16 - III-VI-II-V-I Samba pg. 40
12 31 - “
The Jury Piece for Level II Vibes is an arrangement of a standard with a harmonized head, solo
section, and recapitulation. The arrangement must be approved prior to the Jury and submitted
in digital notation.

18
 Drum Set / World Music – Deficient Level
Week Dinkins Pickering Igoe-Essentials Video Listening
1 p. 20-24+sup TLO 6 & 11 - - Soph-Drumset: UCF
2 p. 20-24+handouts TLO 1 6-10 p. 20, 22 A Musical Drum Set
3 p. 20-24+handouts TLO 21 11-13 p. 24, 26 Approach Listening
4 p. 20-24+handouts TLO 26 14-16 p. 28, 21 Steve Smith Anthology
5 p. 20-24+supp TLO 11 alt - p. 36, 38 US Beat Disc 2
6 p. 20-24+handouts TLO 5 - p. 30, 32 Igoe Groove UCF
7 p. 20-24+handouts TLO 16 - p. 82-84 Essentials DVD Drum Set
8 p. 20-24+supp TLO 23* - p. 91 (Bossa Nova) Igoe Deficient
9 p. 20-24+supp TLO 25* 18-20 p. 92 (Slow Samba) Igoe Latin Beats
10 Shuffle Handout var. 1 & 2 21-23 p. 94 (Fast Samba) Igoe
11 Shuffle/Reggae var. 6 & 7 24-26 p. 44 (Mambo) Miller Davis-
12 p. 20-24+handouts TLO 18 27-28 - Crash Course Kind of Blue

Drum Set / World Music – Level I

Week Morgan Pickering Igoe-Groove Essentials Video Listening
1 Basics/Reed - Rock p. 19-25 Igoe Groove Moore-
2 Sticking System 43-45 Rock p. 26-29, 82-84 Essentials DVD Essential Styles
3 Sticking/Sing - 16th Note p. 30-31 Watch the demo Davis-
4 pp. 5-8 46 - 48 16th Note p. 32-35 for each week’s Kind of Blue
5 pp. 9-12 - Half-Time p. 36-39 assignment Davis-Milestones
6 pp. 13-15 49-51 Funk p. 41-42 Soph-Drumset: Mel Lewis and
7 pp. 17-20 - Funk p. 43-47 A Musical His Big Band
8 pp. 21-22 52 - 53 R&B/Hip-Hop p.49-52 Approach
9 pp. 23-26 - R&B/Hip-Hop p.53-57 Steve Smith. Sonny Payne-
10 pp. 27-28 54 -55 Jazz Waltz p.76-79 US Beat Disc 2 Count Basie
11 pp. 29-30 - Jazz p. 59-71 Krupa: UCF Anthology
12 pp. 31-32 - Jazz p. 72-75 Jazz Legend

Drum Set / World Music – Level II

Week Uribe –Afro-Cuban D.C WkBk Chester Dahlgren Video Listening
1 pp. 30-53 - 3/5 IB, IIB 11 Garcia- Moore-
2 pp. 54-73 pp. 8-11 3/5 IIIB, VB 12 Vol. 1 Latin Styles
3 pp. 74-89 - 7/9 IB, IIB 13
4 pp. 74-89 - 7/9 IIIB, VB 14 Garcia- Weckl-
5 pp. 115-120 - 11/23 IB, IIB 15 Vol. 2 Master Plan
6 pp. 111-114, 137-144 - 11/23 IIIB, VB 16
7 pp. 145-179 - 13/14 IB, IIB 17 Gadd: Up Grusin-
8 pp. 94,124, 210-211 Close Gershwin
(Bolero, Cha) pp. 14, 18 13/14 IIIB, VB 18 Connection
9 pp. 94,121-123,180-183 Bernstein- Buena
(Mambo, Son) pp. 15-17 16/24 IB, IIB 19 The Latin Vista
10 pp. 96,103,123,130,183, American Social Club
192 (Gua, Moz.) pp.20,29 16/24 IIIB, VB 20 Spirit
11 pp. 101,125,191 (Conga) pp. 26 27/29 IB, IIB - Classic Los Van Van
12 pp. 108, 134,194 (Songo) pp. 27-28 27/29 IIIB, VB - Drum Solos

19
 • It is strongly recommended that the student transcribe his/her own Jury Piece for drum set
level II and III. Transcribing improves listening skills and heightens sensitivity to
playing styles and traits.

Drum Set / World Music – Level III

Week Davis Brushes/Dahlgren Chaffe Video Listening
1 - Jo Jones Handout Linear Handout Thigpen-Art of Brushes Tower of Power
2 pp. 4-5 Jo Jones Handout Linear Handout Cameron-Brushworks
3 pp. 9-10 Hazilla-Brushes Linear Handout Chaffe: Linear Flanagan-
4 pp. 12-13 The Art of Playing Linear Handout Overseas
5 pp. 25-26 Brushes DVD 40-44 Garabaldi:Tower of
6 p. 21 20,21 45 Inspiration Coltrane-My
7 pp. 15-16 22,23 46 Favorite Things
8 p. 28 24,25 47 Harrison-Transitions Love Supreme
9 pp. 33-34 26,27 (#121) 48
10 p. 45 29,30 49 Russ Miller-Behind the Pepper+11
11 p. 36 31,32 50 Glass
12 p. 38 33,34 51 Buddy Rich:Jazz Legend

Drum Set / World Music – Level IV

Week Uribe –Essence Davis D.C. Workbook Igoe/Style Video Listening
1 pp. 94,100,106-108,132-133 p. 3 pp. 12-13 Igoe p.81-86 Mozamb. Standard
2 pp. 291-297, 190,195- 196 p. 6 p.30 Igoe p.87-88 Time
3 Reggae / Ska p. 9 pp. 52-53 Igoe p.89-90 Hidalgo Discs
4 pp. 109, 135,199 p. 11 pp. 21-22 Igoe p.93
5 pp. 110, 136 p. 13 p. 51 Igoe p.95-98 Rosauro-
6 pp. 9 (Brazilian, Tango) Igoe p.109- Brazilian Latin IV
Soca, Calypso p. 18 p. 52 111 Percussion Listening
7 pp. 88-104 (Brazilian) p. 22 pp. 44-46 Swing/Bop CD
8 pp. 107-110 p. 26 - Swing/Bop
9 pp. 112 p. 29 p. 47 Funkifying
10 pp. 125-135 p. 33 p. 48 Funk/Rock The Clave
11 pp. 136-138 p. 36 - -
12 pp. 139-141 - Latin

The Style Performance serves as the Jury Piece.

20
 Tempos for Rudiments

Rudiment Deficient Level I

1. Single St. (32nds) 80 90
2. Single St. Four 114 162
3. Single St. Seven 128 144
4. Multiple Bounce Roll (Buzz) 120 120
5. Triple Stroke Roll (French Roll) 100 120
6. Double Stroke Roll Open Roll (32nds) 110 125
7. Five Stroke Roll 100 120
8. Six Stroke Roll 100 120
9. Seven Stroke Roll (Duple Pulse) 100 120
(Triple Pulse) 75 95
10. Nine Stroke Roll (32nds) 100 120
11. Ten Stroke Roll 100 120
12. Eleven Stroke Roll 100 120
13. Thirteen Stroke Roll 100 120
14. Fifteen Stroke Roll 100 120
15. Seventeen Stroke Roll 100 120
16. Single Paradiddle 150 180
17. Double Paradiddle 6/8 88 104
18. Triple Paradiddle 136 160
19. Paradiddle-diddle 6/8 94 120
20. Flam 250 300
21. Flam Accent 112 160
22. Flam Tap 104 124
23. Flamacue 110 130
24. Flam Paradiddle 88 108
25. Singled Flammed Mill 88 108
26. Flam Paradiddle-diddle 6/8 60 78
27. Pataflafla 4/4 70 106
28. Swiss Army Triplet 78 100
29. Inverted Flam Taps 74 100
30. Flam Drag 6/8 98 122
31. Drag 144 208
32. Single Drag Tap 140 170
33. Double Drag Tap 6/8 70 86
34. Lesson 25 4/4 100 124
35. Single Dragadiddle 106 120
36. Drag Paradiddle #1 6/8 68 82
37. Drag Paradiddle #2 4/4 90 120
38. Single Ratamacue 90 114
39. Double Ratamacue 6/8 58 72
40. Triple Ratamacue 4/4 90 112

21
 Tempos for the Snare Drum Proficiency

Tempos for Wilcoxon - Tempos for Savage -

All American Drummer Savage Rudimental Workshop

Solo or = As Marked in Book, Perform with CD

127. 114
128. 90
129. 114
132. 114
133. 90
134. 92
135. 180
136. 104
137. 66
138. 100
139. 69
141. 69
142. 100
143. 69
144. 100
145. 69
146. 100
149. 69
150. 69

Tempos for Portraits in Rhythm - Cirone

Etude Tempo Etude Tempo Etude Tempo

1 132 21 184 34 84
2 144 24 88 36 56
4 58 25 60 37 126
5 104 27 130 38 69
8 192 28 126 39 80
18 160 29 72 40 60
19 72 30 88 50 as marked
20 66 31 as marked

22
Tempos for Contemporary Studies for Snare Drum - Albright

Etude Tempo Etude Tempo Etude Tempo

1 112 24 104 /63 43 72
2 112 28 72 46 96
6 104 29 92 47 208
9 108 31 92 50 98
14 116 32 126 58 100
16 104 35 208 61 92
17 84 39 104 62 80
21 104 40 74

Tempos for Advanced Snare Drum Studies - Peters

Etude or or or = Etude or or or =
1 116 14 112
2 92 15 106
3 80 16 96
4 70 17 90
5 160 18 122
6 63 19 68
7 130 20 176
8 76 21 64
9 76 22 100
10 60 23 95
11 114 24 78
12 190 25 66
13 110

Tempos for the Timpani Proficiency

Tempos for Deficient Level Carroll - As marked in book

Tempos for Level II Orchestral Repertoire Tafoya – As Marked

Tempos for K. Gay - As marked in book

Tempos for the Orchestral Percussion Proficiency

Tempos for Level I - As marked in books

23
 Mallet Proficiency - Tempos

Tempos for Green - Instructional Course for Xylophone

Exercises = 60/72 play as eighth notes twice then as sixteenth notes twice.
6/8 = 120 or = 90
Double stops =90
Ragtime =120 - 132

Tempos for Kite - Reading Mallet Percussion Music

Melodies = 80-100 eighth note melodies
= 60-72 sixteenth note melodies
Etudes in Back as marked

Tempos for Getchell - Practical Studies for Cornet and Trumpet

Book II
67. 120 71. 110 79. 112 93. 96
68. 110 72. 110 82. 100 96. =69
69. 110 75. 120 84. 112 107. 140
70. 110 77. 115 86. 112 115. 120

Permutations 1-13 played at 108-144 with 2 to 4 repetitions per chord.

When playing Parallel/Contrary =40-60.

Permutations 14-23 played with progression in all keys.

60-80, 108-144

Tempos for Goldenberg - Modern School for Xylo, Mar, and Vibe
Melodies pp. 32-61 Etudes in Back
All melodies and studies, except 1. 60 14. 64
chordal and when noted are =72, =60 2. 72 15. 60
3. 60 20. 80
p. 32 Yankee Doodle (90) 4. 54 25. =106
p. 33 Irish Washerwoman (60) 5. 64 31. 60
p. 39 (90) 8. 60 33. 52
pp. 54,55 (64) 10. 72 35. 60
pp. 56 Melody (60) 11. 60
pp. 57 =(90)
p. 59 1&2 (54) Syncopated Study (76)
pp. 60,61 =90

Guitar Studies - As Marked Chorales - As Marked

Jazz Vibes Metzger , Davis , Lipner, and Friedman as marked

24
 Tempos for Drum Set Proficiency
New Breed - Chester
= 70 - 90

Drum Set Control - Dahlgren

16ths = 120
8ths = 180
Triplets = 150
Swing 8ths = 170

Masters of Time - Davis

As Marked

It’s About Time – Dinkins

As Marked / = 100 - 152

The Jazz Drummer’s Reading Workbook - Morgan

As Marked

Groove Essentials - Igoe

As Marked

Studio Jazz Cookbook - Pickering

=70 - 92 to =132 - 180

Patterns Vol.3 Time Functioning - Chaffe

= 80 - 132

Standard Time for Jazz Drums - Davis

As Marked

The Essence of Afro-Cuban Percussion and Drum Set – Uribe

As Marked

The Essence of Brazilian Percussion and Drum Set – Uribe

As Marked

Drummers Collective Afro-Cuban and Brazilian Rhythms for Drum

Set: Certificate Program Workbook – The Drummer’s Collective
As Marked

25
 U.C.F. Percussion Curriculum Book List
Snare Drum
TITLE AUTHOR PUBLISHER
1. Portraits in Rhythm Anthony J. Cirone Belwin/Mills
2. International Drum Rudiments P.A.S. Alfred
3. The All-American Drummer Charley Wilcoxon Ludwig
4. Advanced Snare Drum Studies Mitchell Peters Peters
5. Contemporary Studies for Snare Drum Fred Albright Henry Adler
6. Drumstick Control Jeff Moore Alfred
7. Savage Rudimental Workshop Matt Savage Warner Bros
Timpani
1. Exercises, Etudes, and Solos for the Timpani Raynor Carroll Batterie Music/Carl Fischer
2. Pedal to the Kettle Kirk Gay Tapspace
3. The Working Timpanist's Survival Guide John Tafoya Carl Fischer
4.Timpani Tone & Interpretation of … Steven Schweizer Oxford
Orchestral Percussion
1. Symphonic Repertoire for Snare Drum Anthony J. Cirone Meredith
2. Symphonic Repertoire for Keyboard Percussion Jack Van Geem Meredith
3. Orchestral Repertoire for the Bass Drum & Cym Raynor Carroll Batterie Music/Carl Fischer
4. Orchestral Repertoire for Tambourine, Triangle,& Cast “ “
5. Cymbalism Frank Epstein Hal Leonard
Mallets
1. Modern School for Xylophone, Mar. Vibe Morris Goldenberg Chappel
2. Instructional Course for Xylophone George Hamilton Green Meredith
3. Practical Studies for the Cornet Book II Robert Getchell Belwin
4. U.C.F. Mallet Studies --- U.C.F.
5. Velocity Warm-Ups for Vibraphone Charles Dowd Belwin
6. Vibraphone Technique Dampening and Pedaling David Friedman Berklee
7. The Art and Language of Jazz Vibes Jon Metzger ECM
8. Reading Mallet Percussion Music Rebecca Kite GP Percussion
9. The Jazz Vibes Real Book Arthur Lipner MalletWorks
10. Voicing and Comping for Jazz Vibraphone Thomas L. Davis Hal Leonard
11. Jazz Mallets: In Session Arthur Lipner Rowl-Off
12. Vibes Songs and Etudes Ney Rosauro Pro Percussao
Drum Set and World Music
1. The New Breed Volume I Gary Chester Modern Drummer
2. Studio/Jazz Drumming Cookbook John Pickering Mel/Bay
3. Masters of Time Steve Davis Aebersold
4. Standard Time Jazz Drums Steve Davis Aebersold
5. Groove Essentials Tommy Igoe Hudson Music
6. The Jazz Drummer’s Reading Workbook Tom Morgan C. Alan Pub.
7. Patterns Vol. III Time Functioning Gary Chaffe Alfred
8. Linear Time Playing Gary Chaffe Alfred
9. Afro-Caribbean & Brazilian Rhythms for the Drumset The Collective Carl Fischer
10. It’s About Time Fred Dinkins Warner Bros.
11. Drum Set Control Marvin Dahlgren Creative Music
12. The Essence of Afro-Cuban Percussion & Drum Set Ed Uribe Warner Bros
13. The Essence of Brazilian Percussion & Drum Set Ed Uribe Warner Bros

26
 PRACTICE
By Dr. Steve Hemphill
Northern Arizona University

Be sure to warm-up properly and with care. Begin with repetitions of simple figures that
loosen up the muscles by using material that is easily performed both physically and
mentally. Be sure to RELAX! The basic objective of the warm-up process is to encourage
and maintain complete relaxation of the hand, arms, shoulders, torso, etc. Slow,
deliberate practice can help to fully exercise all muscles, in addition to the conditioning
of tendons and ligaments.

In each session, concentrate upon the following:

• Sound production technique • Musical Interpretation
• Accuracy • Tempo and pulse control
• Evenness/uniformity between hands • Relaxation, Breathing

And, keep in mind the basics of musicianship:

• Tone • Phrasing
• Dynamic Control • Timbrel Variety
• Articulation and Accents • Emotional Involvement

HOW TO PRACTICE
Before discussion of the details required for effective and efficient, result oriented
practice, it is important to schedule practice sessions on a routine basis, the same time
each day, if possible. Assigning importance to the practice schedule (high on the priority
scale), just as one would for a job or a class in school, will help with the discipline and
consistency necessary for serious, growth-minded musicians. Also, make it convenient to
commence with practice sessions, retaining requisite materials (methods books and
literature, stick/mallet bags, metronome, pencils, note pad or notebook, manuscript paper,
etc.) in one location, always ready for each session. Perhaps one would benefit from
maintaining notes or keeping a journal for each practice session, providing efficient time
management from one session to another.

Be aware of immediate goals and define them for all practice sessions. What is the
greatest weakness right now? What technical problems are most deserving of attention?
Have I identified a sequential learning approach to my music and have I prioritized my
needs? With specific goals in mind, one can begin to practice more effectively. Also,
keep in mind long-term goals (the big picture) and how the designated short-term goals
will help to reach important over-riding musical achievements.

1) How to Warm-Up
When practicing, always try to be very relaxed physically. Warm up completely, and use
a proven technical routine that has been identified for its physical-support value and
thoroughness. Attention should be focused frequently on arms, hands, fingers, legs, feet,
back, neck, and face. Tension can inhibit a smooth and flowing performance and create a
high degree of exhaustion. Good posture, relaxation, and physical flow can be enhanced

27
by awareness of the breathing. Then, begin the day's practice with a piece of music that is
very familiar and which can be played comfortably. At this point, one can begin more
difficult work, trying to stay relaxed at all times, in all parts of the body.

2) Slow, Careful Practice

Slow practice is probably one of the most important aids to learning/advancing on any
instrument. Many students practice an exercise or a piece of music much faster than they
can play it accurately and cleanly. Every time one makes mistakes due to practicing too
fast, the mistakes are being learned! Always practice at a tempo that results in correct
performance, progressively increasing the speed. The discipline required for slow, careful
practice is a major musical commitment.

3) Frequent, Short Breaks

With the high frequency rate of repetitive motion ailments in the training of musicians, it
is important that one often takes brief intermissions for relaxation during all practice
sessions. Mild flexing motions, while stepping away from the instrument and without
holding any object in the hands, can relax the shoulders, arms, wrists, hands and fingers.
It is also critical to be refreshed and alert, mentally, if the practice session is to provide
significant results. Personal development in the area of concentration will bring
efficiency to each session. With a goal-driven orientation, time management also is
important to the practice routine.

4) Using the Metronome

The proper use of the metronome goes hand-in-hand with slow practice. The metronome
should be set at a tempo at which one can playa phrase (or larger section) easily and
without mistakes. Play it several times at this tempo. Move the metronome up one or two
notches. Play it several times at this faster tempo. Continue the process until the correct
or desired tempo has been reached as indicated on the music. If mistakes begin to appear,
move the metronome to a slower speed.

Also, the development of internal timekeeping, with a clock-steady pulse, is a discipline

that is crucial to musical performance. The use of a metronome, drum machine, or
computer with music sequencing software will aid greatly in this endeavor.

5) Repetition
Divide the music into short phrases, usually anywhere from one measure to a line or two
in length. Practice each phrase many times consecutively. Focusing on short sections at a
time will promote quick learning. Also, be sure to play the beginning of the following
phrase each time, thereby avoiding difficulty connecting musical phrases when the work
is played in its entirety.

Technical exercises (scales, arpeggios, sequences, rudiments, etc.) should be repeated

many times, and at all tempi (especially extremely slow and fast tempi). Check for flow
and relation at MM = 60, 90, and 120. Repeat a pattern or musical gesture for 2 or 3
minutes instead of just 10 or 20 times.

29
6) Kinetic Awareness
Through controlled repetition, the musician can focus upon the feel of the activity and the
accompanying motion involved, without visual aid (direct vision or use of a mirror).
Tactile sensory is extremely important to the development of accuracy and relaxation.
Try repeating phrases, not with the idea of playing a passage a certain number of times,
but with the idea of repeating a passage for three or four minutes at a time, without pause.
Body memory, or kinetic memory (orientation), should be a very positive and desired
result.

7) Staying Alert
Not only does a musician strive for muscle memory ("auto pilot" mode), but he/she
should strive for awareness on many different levels including the physical awareness of
activity, aural awareness, and awareness of sensation or feeling. The use of a timer (i.e. a
kitchen aid timing device) can help musicians focus on musical coordination and
physiology, instead of the distraction of keeping one eye on the clock (thinking about
when the practice session must end and imminent appointments of the day).

8) Over-Compensation
Practice difficult passages above the designated tempo. Being able to accurately perform
difficult (technically demanding) music well above designated tempi will allow the
performer to relax and play more expressively during performances where the original
(slower) tempi are observed. (To be used in conjunction with #2.) In addition, a musical
passage can be adjusted or re-composed to serve as a technical exercise, where the
technical challenge is purposely increased: adding ornamentation; increasing intervallic
relationships; doubling material between hands, etc.

9) Always Play Musically

Practicing is a life-long process, so demand musical qualities in all practice room
endeavors. Strive for a singing style, with artistic qualities - those that speak through a
musical communication. Enjoyment and appreciation of the instrument's sound is a
prerequisite to practice time concentration.

10) Practice Does Not Make Perfect. PERFECT PRACTICE MAKES PERFECT.

The Practice Doctor - An Analogy for Practicing

Practice is similar to that which takes place in a doctor's office, with the musician assuming
the role of the doctor: the patient becomes the musical work being studied (except that the
musical work can not tell the doctor "where it hurts" - the musician's ears must decide this).

• The "doctor" (musician) identifies an area that might have a technical or musical problem
• The "doctor" examines the area and gives a diagnoses
• The "doctor" treats the issue, prescribing a dose of musical exercise as a cure:
» extracting a few notes, specifically, and repeating the fragment or phrase many
times
» playing the fragment or phrase very slowly, focusing on a specific difficulty
» playing the fragment or phrase with a metronome, working slow to fast,
incrementally

30
 » playing the fragment or phrase very slowly, emphasizing a specific detail
» playing the fragment or phrase, but with different notes requiring a more
demanding technique (over-compensation)
» playing the fragment or phrase above the required tempo
» playing the fragment or phrase at extreme dynamics (ppp or fff)
» playing the fragment or phrase with various approaches to musical direction,
emphasis, shape, and articulation
» developing an original, spontaneous musical exercise which puts emphasis on a
technique in question
• The "doctor" re-examines the "patient" to determine if the treatment has "healed" the
problem' (the musician plays the selected passage in the original musical context several
times)
• The "doctor" then either: a) re-diagnoses the problem and prescribes a new or continuing
treatment, or, b) the doctor declares that the "patient" is cured, and then seeks new issues
(musical or technical) in the "patient"

MEMORIZING
Some people memorize music very easily, while others find it more difficult.
Memorizing, like everything else, becomes easier with practice and experience. Repetition
is key to memorization, with attention to all musical details (including stickings) at the
outset. Avoid memorizing only the notes first, and then going back to memorize the
musical aspects of a work (phrasing, dynamics, accents, etc.) - see and hear the entire
work with all musical components intact.

If memorizing a work is troublesome, try steps 1-4 below as a prescribed process, and then
try one or more of the other tasks (5-12):
1. Learn the music until it is fairly comfortable. It does not have to be completely up
to tempo at this time.
2. Then, practice one phrase at a time. Set the metronome to about one-half the
suggested tempo. Repeat the phrase twenty to thirty times. By then it should be
memorized. Repeat this procedure for two or three days to ensure that the phrases
have been correctly memorized.
3. Combine phrases into longer units, repeating many times.
4. Take the music up to proper tempo.
5. Practice/study the music away from the instrument (mental practice).
6. Sing or vocalize the music, and sing back specific passages without looking at the
music.
7. Try writing out the music from memory.
8. Check the music occasionally; making certain that it has not been altered (learned
incorrectly) in any way.
9. Record and/or videotape run throughs or performances of the piece and evaluate
10. If the piece is not overly demanding in a technical sense, attempt to play the work
"cold" at the beginning of several practice sessions.
11. Develop your own concentration exercises.
12. Practice memorizing short etudes from method books in a short period of time,
attempting to "beat the clock" by accomplishing the task in as brief a time period
as possible.

31
 Planning, Implementation, and Self-Evaluation
Part I – Career Development

Name______________________________________ Semester:___________

1. The following abilities and/or experiences are checked that apply to me:
 I have studies piano (Number of years: ______)
 I have studied jazz improvisation
 I can play by ear
 I can sight read melodic notation reasonably well
 I can sight read rhythmic notation reasonably well
 I have had formal musical composition studies
 I have composed musical work(s)
 I have experience with a computer software music notation system
 I have transcribed music from a recording
 I have studied other instruments: ______________________________
 I have played a percussion instrument in a band (i.e. drumset in a rock
band)

2. The following experiences are checked if they apply to me:

 I have visited a recording studio
 I have recorded myself in a recording studio
 I have made a CD (individually or with an ensemble/band)
 I have experience with MIDI
 I have experience with sound editing software program
 I have experience with designing/editing a website
 I have worked in the entertainment industry
 I have worked in a music retail store
 I have worked in a record store
 I have worked in a recording studio
 I have significant experience with video equipment
 I have significant experience with photography

3. The following attitudes toward practice are checked if they apply to me:
 I have a reasonable amount of patience
 I do not have difficulty scheduling and engaging in my practice
session
 I look forward to my accomplishments attained from my practice
 I am able to set specific short-term and long-term goals
 I find that it is relatively easy for me to complete two hours or more of
personal practice each day

32
4. My long-term goals include:
 Teaching music
 Teaching music in a public school system
 Teaching music in private school
 Teaching private and/or group music lessons
 Teaching marching percussion in schools
 Teaching music at the community college level
 Teaching music at the university level

 Performing professionally
 In commercial music venues (rock, etc…)
 In jazz music venues (club circuit, hotel, festival, etc...)
 Free-lance (shows, churches, industry, convention, etc…)
 Touring with professional acts (club circuit, hotel, convention,
etc…)
 In recording venues
 In broadcast venues
 In television and film recording venues
 In contemporary arts venues
 In theme park venues
 In percussion ensemble venues
 In orchestral venues
 In chamber music venues
 Historic
 Contemporary
 In opera venues
 In ballet venues
 In music theater/music review venues
 In a military music unit
 For Ethnic commercial group (Salsa, Brazilian, Steel Band,
etc…)
 In self-made entrepreneurial performing unit
 For dance schools or programs
 In foreign countries (Orchestral)
 In foreign countries (various venues)
 Other:
_________________________________________________
 Arts or artist management
 Arts administration
 Music library work
 Music review/critique
 Music editing/publishing
 Music retail
 Percussion instrument repair
 Starting my own percussion business

33
  Musical instrument industry
 Music education consultant
 Manufacturing
 Design
 Marketing
 Artist relations
 Sound engineering
 Conducting
 Composing
 Arranging
 Musicology/ethnomusicology
 Music research & writing
 Production of music education materials
 Production of computer music-related software and programs
 Integrating health and music
 Integrating business and music
 Other: ___________________________________________________

5. I have special interest in the following percussion instrument and/or literature:

 Marching percussion
 Marching Snare Drum / Tenor / Bass / Cymbals
 Front Ensemble
 Marimba
 Classical
 Commercial/jazz
 Vibraphone
 Classical
 Commercial/jazz
 Orchestral Percussion – Snare or Keyboards
 Timpani
 Multiple Percussion
 Percussion in mixed-instrument chamber works
 Auxiliary percussion (Bass Drum, Cymbals, Tambourine, etc…)
 Latin percussion (Congas, Timbales, etc…)
 Latin accessories (Maracas/Shakers, Shakere, Cabasa, Guiro, etc…)
 Hand drums (Tar, Bodhran, Riq, etc.)
 African Drums (Djembe, Dun-Dun, Dumbek, etc…)
 Drum set
 Jazz
 Big Band
 Fusion
 Rock/Funk
 Latin/Cuban
 Country
 Show drumming
 Electronic

34
  Udu drums
 Steel Drums
 Electronic percussion and keyboard percussion
 Self-made instruments (instrument design)
 Other Ethnic/Cultural percussion
 Middle-East
 India
 Turkey
 West Africa
 Cuba
 Caribbean
 Central America
 South America
 Brazil
 Japan
 China
 Indonesia/Malaysia
 Hawaii
 Australia
 Other: __________________________

*This evaluation is based on a similar document developed by Dr. Steven Hemphill

35
 Planning, Implementation, and Self-Evaluation
Part II – Goal Development

Name______________________________________ Semester:___________

1. My current abilities in the following areas of percussion performance are ranked

from strongest (1) to weakest (12):
___ Concert Snare Drum
___ Rudimental (marching) Snare Drum
___ Two-Mallet Keyboard Percussion
___ Four-Mallet Keyboard Percussion
___ Jazz Vibraphone
___ Timpani
___ Multiple Percussion
___ Drumset
___ Steel Drums
___ Latin & Hand Percussion
___ African Drumming
___ Orchestral Excerpts
___ Other: ________________

2. My semester goals include:

Overall
 Improving performance in my weakest area(s) of percussion
 Learning historical aspects of the percussion family
 Preparing for a jury
 Preparing for a degree recital
 Performing at a studio master class
 Becoming a more musical performer
 Learning to manage performance anxiety
 Learning to become my own teacher in musical performance
 Learning how to practice efficiently and intelligently
 Other:______________________________________________________
___________________________________________________________
___________________________________________________________
___________________________________________________________
___________________________________________________________
___________________________________________________________
___________________________________________________________
___________________________________________________________
___________________________________________________________
___________________________________________________________

36
Musicianship
 Improving my sense of time and inner pulse
 Investigating “touch” on percussion instruments
 Investigating “tone production” on percussion instruments
 Reading and performing more easily in all keys
 Learning and memorizing modal scales
 Learning and memorizing jazz-related chord/scale relationships
 Learning advanced rhythmic reading skills
 Learning polyrhythmic reading skills
 Learning and performing various musical style studies
 Improving sight-reading skills and techniques
 Improving music analytical skills
 Improving timpani tuning technique and interval study
 Improving memorizing skills
 Other:______________________________________________________
___________________________________________________________
___________________________________________________________
___________________________________________________________
___________________________________________________________

Technique
 Establishing consistent relaxation in my performance
 Improving technical strength and endurance
 Improving accuracy in melodic and rhythmic performance
 Learning and memorizing standard and asymmetrical snare drum
rudiments
 Improving control and double-stroke and multiple-bounce rolls
 Learning and memorizing major scales
 Learning and memorizing minor scales (all three forms)
 Learning and memorizing all arpeggios
 Investigating the physical grip and function of finger, hand, wrist, and arm
anatomy
 Developing comprehensive warm-up routines and on percussion
instruments
 Snare drums
 Keyboard
 Timpani
 Generally improving manual technique (i.e. hand speed, tone, and
control) on snare drum
 Generally improving manual technique (i.e. hand speed, tone, and control)
on keyboard percussion instruments
 Improving two-mallet technique
 Improving four-mallet Musser/Stevens grip
 Improving four-mallet Burton grip

37
 Generally improving manual technique (i.e. hand speed, tone, and
control) on timpani
 Generally improving manual technique (i.e. hand speed, tone, and
control) on accessory percussion instruments
 Improving multiple percussion reading and performance skills
 Learning performance skills on auxiliary percussion instruments (bass
drum, cymbals, tambourine, triangle, castanets, and tam-tam)
 Learning performance skills on Latin percussion drums (congas, timbales,
bongos, etc…)

 Learning style-related performance patterns on drum set

 Jazz
 Up-tempo
 Broken-style
 New Orleans (Second Line)
 Swing, Bebop, Fusion
 Shuffle
 3/4
 Ballad
 Rock/Funk
 Odd-meter
 Reggae/Calypso
 Latin
 Samba
 Bossa Nova
 Songo
 Mambo/Mozambique
 Afro-Cuban
 Other: _______________________
 Improving coordination and control on the drum set
 Improving left hand isolation and reading for jazz drumset
 Improving right foot coordination and speed
 Improving left foot coordination and speed
 Learning “set-up” techniques at the drumset
 Experience playing with recordings (various styles)
 Learning brush techniques at the drum set
 Learning soloing techniques at the drum set
 Trading fours
 Playing choruses
 Open solos
 Other:______________________________________________________
___________________________________________________________
___________________________________________________________
___________________________________________________________
___________________________________________________________
___________________________________________________________

38
 Literature
 Learning and performing orchestral snare drum excerpts
 Learning and performing orchestral timpani excerpts
 Learning and performing orchestral xylophone excerpts
 Learning and performing orchestral bell excerpts
 Learning and performing orchestral vibraphone excerpts
 Learning and performing orchestral cymbal excerpts
 Learning and performing orchestral tambourine excerpts
 Learning and performing orchestral triangle and castanet excerpts
 Learning and performing orchestral bass drum excerpts
 Learning and performing marching/rudimental snare drum solos
 Learning and performing solo two-mallet marimba or xylophone literature
 Learning and performing solo four-mallet marimba literature
 Learning and performing solo vibraphone literature
 “Classical”
 Jazz
 Learning and performing solo timpani literature
 Learning and performing solo concert snare drum literature
 Learning and performing multiple percussion literature
 Learning and performing standard marimba/xylophone concerto literature
 Learning and performing standard percussion (multiple) concerto
literature
 Learning and performing standard timpani concerto literature

6. My short term goals include: _________________________________________

____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________

7. In the previous semester, I feel that I have accomplished the following goals:
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________

39
 8. I have read the following books, relating to music or percussion, over the past
semester:_________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________

9. I have attended the following significant recitals, concerts, or performance in the

past semester:
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
_________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________

*This evaluation is based on a similar document developed and produced by Dr. Steven Hemphill

40
 PERCUSSION STUDIO SEMESTER REQUIREMENTS

Listening Cards
Each semester the student shall create annotated index file cards or computer
printout of ten (10) works from a minimum of five different recordings. The
cards/printout are due at the time of the barrier exam and must be turned in to the jury
before the student performs. The cards/printout must be comprised from a minimum of
five different recordings, of which only one work may be jazz or commercial, one work
must be for solo instrumentation other than percussion, and one work (complete) must be
an instructional percussion or percussion performance-oriented ethnic (world music)
videotape. The remainder of the assignment must represent percussion performances
from contrasting instrumentation, styles, and genre (e.g. solo, chamber, orchestral, etc.).
Not more than five (5) works may be from the orchestral excerpt genre. Listening
examples include: solo marimba and/or vibes, solo multiple percussion, drumset artists,
percussion/timpani excerpt repertoire, percussion ensemble, steel drum group/artists, etc.
Card/printout must include: composer, title, record title and label, performer(s),
general content, a brief discussion of personal impressions/thoughts regarding the work
and/or performance, and anything that will aid in later recall of the recording. Do include
identification numbers of recordings and dates when possible. The student must maintain
a copy (hard copy or disc) of all cards/printouts from each semester’s compilation.
Please read the example in the “Book Report” section for information on writing about
music.

1 – work of solo instrumentation other than percussion

1 – instructional percussion or percussion performance-oriented ethnic videotape
1 – (optional) jazz or commercial work
Remainder (7-8 works): significant percussion performances from differing genres

Example
Milhaud, Darius (composer)
“The Creation of the World” (work)
La Creation du Monde/RCA Gold Seal AGL1-2445 (record title, label, ID number)
Charles Munch/The Boston Symphony (performers)

This early recording is resigned to audio obscurity in the percussion parts (some
specific sounds being quite faint), but is worth studying as an introduction to the work as
well as for style, interpretation, and tempi. The composition is an early example (1923),
if not the first, of serious chamber music by a well-known composer of concert music
influenced by American Jazz, with much attention being assigned to percussion
instruments (2 players). Featured: an early example of “drumset” with a few auxiliary
instruments (tambourine and wood block) and the inclusion of piccolo timpani.

41
 Compositions

Acquiring basic knowledge of composition, experiencing the compositional

process, and actively utilizing analytical skills related to composition may help to
develop a deeper level of musicianship. The overview of musical experience acquired by
those engaged in composition may also refine important analytical skills directly related
to independent study and preparation of all solo and ensemble literature.
At the conclusion of each semester, at the time of the performance jury, the
student shall turn in a copy of their semester’s composition. The student must present a
brief oral description and analytical explanation of the work to the jury. In addition, the
student may wish to play a recording, either electronic or acoustic, of the composition
(time permitting) for the jury. Although the recorded performance is not required, it is
encouraged. If the composition is an ensemble, it is not necessary to produce the
individual parts for the jury. Please utilize the Planning and Implementation checklist
provided to aid inn creating your compositions. All student compositions will be
produced using a computerized music notation software of the student’s choice.
Hand written notation (manuscript) is not acceptable.

Composition I, compose a brief etude (minimum of 16 measures, no cut-time; two or

four mallets) for marimba or vibraphone which treats a specific technical problem of
interest to the student. The composer should strive to make the etude as musical as
possible. [Freshman; Fall Semester]
Composition II, compose a brief etude (minimum of 24 measures) for snare drum. Treat
a specific technical problem of interest to the student and strive to make the etude as
musical as possible. [Freshman; Spring Semester]
Composition III, compose a brief cadence or feature for drumline, without pit (minimum
of 24 measures, stickings for snares and tenors must be included). The composer should
strive to make it challenging, yet functional for the level s/he chooses. The UCF
Marching Knight Drumline may read the work if scheduling allows. [Sophomore; Fall]
Composition IV, compose a multiple percussion solo: minimum of 64 measures (2-3
minutes in length). This work will be performed as part of the jury for Level II Snare
Drum. [Sophomore; Spring]
Composition V, instrument(s) and style optional: minimum of 48 measures. [Junior,
Fall]
Composition VI, instrument(s) and style optional: minimum of 48 measures. [Junior,
Spring]
Composition VII, percussion ensemble: minimum of 80 measures (41/2-8 minutes in
length) – to be read by a percussion ensemble (with consideration for performance by the
UCF Percussion Ensemble). [Senior; Fall]
Composition VIII, instrument(s)/style optional: minimum of 80 meas. [Senior, Spring]

42
 Composition Projects
Planning & Implementation
Name______________________________________ Date:___________

1. Percussion composition overview/concept/artistic philosophy:

 An educational work/etude/study
 An art work
 An abstract work
 A programmatic work
 Source and description:
__________________________________________________
__________________________________________________

 Scope: a large work (multi-movement)

 Scope: a small work
 A work planned for a recital (forum, seminar, workshop,
demonstration)
 Other ______________________________

2. Scope (genre):
 Large ensemble
 Quintet/Quartet/Trio
 Duo
 Solo
 Single Instrument
 Multiple Instrument Set-Up
 Multiple Stations of Instruments
 Multi-Media
 Solo with Tape/CD
o Acoustic
o Electronic
 Solo with Video/Film
 Solo with Computer/MIDI interaction
 A "Theater" Work

3. Form (Design; Tonal Structure):

 Large
 Multi-Movement
o Dance Suite
o Sonata (essentially ternary, concerned with
presentation, the working out, and the return or
summing up of its thematic material; exposition,
development, recapitulation) [Sonata Allegro form]
o Concerto

43
 o Various Vocal Forms
 Smaller:
 Rondo (theme stated at the beginning returns after each
departure)
 Fugue (a monothematic form embodying the principle of
imitation; subject, episodes, stretto)
 Multi-Episodes
 Compound Forms:
 Compound Ternary
 Compound Binary
 Ternary (three-part forms):
 Binary (two-part forms):
 Popular Forms:
 AABA Song Form
 ABA
 ABCA
 Blues
 Through-Composed
 Other Terminology:
 Motive/Germ Cell (smallest identifiable musical unit; a
rhythm, or pitch pattern, or harmonic progression)
 Phrase (structural unit of music just larger than a motive; an
incomplete musical idea)
 Cadence (phrase endings; musical equivalent of the vocal
inflections in spoken language associated with the end of
phrases and sentences; complete and incomplete)
 Elision (a phrase juncture or dovetailing, where the cadential
note of the first phrase is also the initial note of the succeeding
phrase)
 Phrase Extension (consisting of an uneven number of
measures)
 Period (a unit of structure larger than the phrase, and one which
has a strong sense of closure)
 Sentence (synonymous with period, incomplete musical ideas
of two or more phrases combined to express a complete
musical thought)
 Sequence (process of combining repetition and change - the
immediate repetition of a motive or phrase beginning on a
different note or pitch level)
 Modulation (technique of moving from one tonic to another;
changing of mode)
 Syncopation (displaced rhythm, causing [agogic] accents on
weak beats and continuing to sound through succeeding strong
beats)

44
  Agogic Accents (accents or weights that occur on longer note
values, often falling on first beats of measures) vs. Metric
Accents vs. Dynamic Accents
 Polytonality (the presence of two or more tonalities - keys - at
the same time)
 Selected historic formal bases: [Gregorian] chant, ballade, virelai,
rondo, canon/round, motet, madrigal, chorale prelude, theme &
variation, concerto, sonata, suite, toccata, passacagia, chaconne,
ostinato bass, ritornello, fugue, variations, sonata allegro, minuet &
trio, scherzo, symphony, tone poem
 See: Form in Tonal Music by Douglass M. Green; Holt, Rinehart &
Winston
 See: Music-Patterns and Style by Richard P. DeLone; Addison-
Wesley
 See: Listener's Guide to Musical Understanding by Leon DaIlin;
Wm. C. Brown
4. Shape (surface contour of a work):
 Pitch Contour
 Qualities of Tension & Relaxation (dependent upon action &
interaction of:)
 Rise and Fall of Melodic Lines (particularly in outer voices)
 Rhythmic Activity
 Dynamics
 Texture
 Instrumentation
 Relative Amount & Degree of Consonance and Dissonance
 Harmonic Rhythm (rate of chord change)
5. Structures/Notation/Scoring
 Traditional
 Atonal
 Aleatoric/Chance/Indeterminate
 Cued Time-lines
 Graphic Notation
 Minimalism
 Improvisation
 Number of Staves
 Non-metered/no bar lines
 Metric Variety
 Tempo Variety (indicate with metronomic markings)
 Range Variety
 Accentuation
 Key Center/Tonic; Modes; Pentatonic; Chromaticism
 Harmonic & Chordal Variety
 Modulation (a change of key that is subtly or gradually introduced)
 Decorative Tones
 Basic Pitches

45
  Passing Tone (joins by step two basic melodic tones)
 Neighbor Tone (brief departure and return to a single basic
pitch)
 Non-chord Tune
 Appoggiatura/Leaning Tone (reached by a leap; resolved by a
step)
 Suspension (the anticipated arrival of a basic pitch is delayed,
or displaced from a strong beat to a subsequent weak beat)
 Escape Tone (reached by a step; resolved by a leap)
 Anticipation (an unaccented note, usually of brief duration,
reached by step or leap, that precedes a more important
accented articulation of the same pitch)

 Pedal Point (usually in bass voice; sustained or resounded pitches,

most often tonic or dominant, which continue to sound in one part
while various types of harmonic and rhythmic activity take place in
the other voices)
 Textures:
 Monophony (music consisting of a single, unaccompanied
melodic line)
 Heterophony (simultaneous occurrence of a simple melody and
an embellished version of the same melody)
 Homophony (melodic interest is concentrated in a single part,
usually the highest, and the remaining parts serve primarily to
provide an accompaniment)
 Polyphony (music conceived as a combination of two or more
melodies)
 Contrapuntal (employing counterpoint; the art of combining
melodies; polyphonic)
 Unity vs. Variety (repetition, variation, contrast)
 Components
 Melody
 Rhythm
 Harmony
 Other__________________________________________________

6. Instrumentation
 Marimba
 Marimba with percussion
 Vibraphone
 Vibraphone with percussion
 Timpani
 Timpani with percussion
 Multiple keyboards
 Multiple percussion
 Percussion ensemble

46
  Percussion including world percussion instruments
 Percussion with other non-percussion instrument (duo or larger)
 Mixed-instrument chamber ensemble
 Drum set
 Drum set within combo setting
 Electronic drum set/percussion
 Self-made or found instruments (perhaps including instrument
design)
 Body percussion
 Vocalization
 Families of Sound
 Metals
 Skins
 Woods
 Other__________________________________

 List of all instruments

used:___________________________________________________
_______________________________________________________
 Other__________________________________________________
7. Compositional Devices
General
 Motivic development
 Original
 Augmentation
 Diminution
 Fragmentation (shortening)
 Interpolation (adding within)
 Octave Displacement
 Rhythmic Displacement
 Interval Inversion (melodic inversion)
 Retrograde (backwards)
 Ornamental Variation (embellishment)
 Sequence (repetition at a given intervalic relationship)
 Mutation (change of mode; change of scale basis while
retaining initial tonic)
 Pointalism
Percussion-Dedicated Only
 Composing at the instrument(s) – music idiomatic to the instrument
(music lays well, technically); technique-based
 “Lick”-based composition (individual strengths identified and
exposed)
 Notebook compilation of motives, phrases, and ideas
(instrumentation-based)
 “Inventing” a “new” instrument – a combination of percussion
instruments as one

47
  Inclusion of foot-activated sound
Special Effects in Percussion
 Stick harmonics
 Rubber-ball rubbing (moan effect)
 Harmonics (drums/keyboards)
 Muffled/muted tone
 Pitch bending (drums/keyboards)
 Applied “sizzle” effects
 Playing on unusual part of instrument
 Applying unusual implement (handle of mallets, reversed ends,
extreme size of implement, specialty mallet [maraca, slap], brushes,
triangle beater, cluster beater [T-shaped mallet], etc.)
 Bowing of instrument
 Placing of instrument in water (bending pitch)
 Finger slides on heads (“moose”)
 Grips for multiple-implement use
 Other:__________________________________________________
8. Instructions
 Instruction page at front of score (technical explanations)
 Notation explanations
 Notation Keys
 Instrument Listing
 Mallet (implement) listing
 Set-up diagrams (including direction of audience and/or conductor)
 Tuning instructions
 Performance lighting and other effects
 Staging logistics and placement
 Consideration for special page turns
 List of possible substitutions for unusual instruments
 Timing: length of work
 Program notes (analysis, initial concept, motivating idea, etc.)
 Composer bio
 Date of score completion
9. Time-line Check-off
 ____/____/____ Deadline for completion of work
 ____/____/____ Performance date
 ____/____/____ Instrumentation and Form declared
 ____/____/____ Sketches of 3-4 motive and ideas
 ____/____/____ Draft of 1st section of the form (or a section)
 ____/____/____ Draft of 2nd section of the form
 ____/____/____ Draft of 3rd section of the form
 ____/____/____ Draft of complete work
 ____/____/____ Reworked, revised, edited draft
 ____/____/____ 2nd revision
 ____/____/____ Completed version of work in digital notation

48
 Book Reports

At the start of each semester, students are required to choose one book from the
music/percussion genre. At the conclusion of the semester, during the last two master
classes, students are expected to give an oral book report to the studio. The report should
include a description of the book’s subject including a general outline of the book,
information learned, critical impression, and 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
students in the studio at the time of the presentation. 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 some of the books appropriate for this
assignment is included in the repertoire section of this curriculum.
The following example is an actual UCF student’s book report. Not only is it an
excellent example of what is expected, it also contains information that is helpful in
writing listening cards. Please read this report and follow the advice to create more
thoughtful and professional listening cards.

Example of a Brief Written Summary

Kehau Kuhi
Fall 2004
Book Report

Wingell, Richard J. Writing About Music: An Introductory Guide. 2nd edition. New
Jersey: Prentice Hall, 1997.

This book provides information to the inquiring musician on the process of

writing research papers and other projects in the field of music. In classes like Music
Theory or Music History and Literature, students are required to write such papers
without writing about music before. Where does one get materials for his or her research?
What else could one write about music? Could one use musical examples in his or her
paper? These are some of the questions that can be answered in this book.
One of the first chapters discusses 'Inappropriate Ways to Write About Music'. Wingell
discusses that not all music is programmatic and to always research about the style or the
composer's intent before coming to that conclusion. Also, there should not be overly
imaginative descriptions of the music one is writing about (Le. "The light of hope dawns
anew as we approach the triumphant final cadence").

49
 A chapter on Musical Analysis discusses questions to ask when starting the
project or paper. Answering these questions can help get the project started or help move
along one's research. This also helps with listening cards for our percussion lessons.

- What type of form is it?

- What style is the piece in?
- Who was the composer influenced by? What characteristics influenced the writing of
the composer?
- What is the relation to the surrounding culture? (What was the concert life like?
Where was the music performed? What was the intended audience?)
- What was the intent of the composer?

Research projects for music can be a long process, but it helps to know where to
start. Another chapter lists different resources to look through for bibliographies,
dictionaries - all for music! Here is a list:

- Crocker, Richard L. A History of Musical Style. New York: McGraw-Hill, 1966/

- Randel, Don. Ed. The New Harvard Dictionary of Music. Cambridge, Mass.:
Belknap, 1986.

- Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. London:
Macmillan, 1980.

These are just a few of the resources one will be able to find (they are all at UCF).
One other thing that might help: all the biographies are located under MIA 10 in the UCF
Library (by the Library of Congress numbering system) which have the books
alphabetically placed by composer. Wingell also suggests looking at scores and
recordings (which should be cited in bibliographies).

The rest of the book gives information on formatting and the style of the paper.
There is also a section on the writing style of music (i.e. writing out 'sharp' and 'flat'; how
to write minor and major).

Wingell did not design this book to be read from front to back, but to be used as a
reference. This book is a great reference and will help in writing any project having to do
with music.

50
 ENSEMBLE ETIQUETTE
• Set-Up Time
- Arrive a minimum of 30 minutes before the scheduled start time.
A) Set-up carefully
B) Help others
C) Then warm-up a little (after everyone is set)

- Do not allow casual conversation to interfere with efficient set-up obligations.

- If course obligations across campus prohibit early arrival, communicate with

the principal/section leader and make arrangements for providing extra
assistance in putting equipment away.

• Do Not Leave Rehearsals

- If you don’t play in a work: remain in the area; if appropriate, perhaps begin
to remove unnecessary equipment very quietly, or practice in the percussion
area until needed (if those arrangements are appropriate)

- Always keep in touch with the principal; do not assume anything regarding
posted schedules – the conductor can change the rehearsal order and the needs
for percussion.

- Always return at the end of the rehearsal to complete the process of equipment
storage. Do not leave before EVERYTHING is stored properly. Let the
principal know when you are leaving the premises.

• Check the Band/Orchestra Board

- Each member of the percussion section is individually responsible for
rehearsal information. (e.g. rehearsal order of works, equipment needs, etc.)

- Personally check the rehearsal board on the way into the percussion area; do
not always ask the principal what the order is unless arrangements/decisions
have declared one member to check the board before each rehearsal.
- Know what is going on–become aware of the total needs of the section.

• Always Bring the Following to All Rehearsals

- ALL necessary sticks/mallets, trap cloths, pencil, instruments, etc.
- If you must borrow, arrange for it well ahead of time-not on the spot
- Try to avoid borrowing instruments and mallets. Always be courteous.
- ARRIVE with the music prepared carefully and completely. Because
percussion parts normally contain a great deal of rests, it is imperative that a
percussionist becomes familiar with ALL of the parts, not just percussion.
This is normally achieved through score study and listening to recordings (if
available) before the rehearsal. Rehearsal time is for deciding on sound
choices, balance/blending, and practicing consistency. Do not waste
rehearsal time learning your part and how it fits in the ensemble.

51
 PERCUSSION ENSEMBLE

• Attend all rehearsals and concerts. Do not accept commitments that conflict with
scheduled rehearsals and concerts. Percussion ensemble is chamber music requiring
the careful balancing of all parts and an understanding of the moment-by-moment
role and function of each individual part. This can only be accomplished by the
prepared presence of all ensemble members.

• If an absence is necessary, make sure that:

1) You telephone the percussion office at (407) 823-6181 and leave a message.
2) The folder of music arrives at the rehearsal.
3) A competent substitute replaces the absent player, if possible, and…
4) The substitute player has all necessary mallets, auxiliary instruments, and
knowledgeable of the necessary set-up (being aware of his/her
responsibilities).

• Arrive at a minimum of 30 minutes ahead of rehearsal times for set-up and warm-up.
The conductor’s downbeat will take place at the designated rehearsal time.
Preparations for rehearsal must be complete at this time. Proper warm-up on all
instruments to be played is very important and is considered a responsibility of each
member.

• All ensemble members should always be totally prepared; all instruments present, in
working order, and properly tuned. All mallets and paraphernalia are the
responsibility of the performer, as are pencils, music markings, auxiliary equipment,
tuning equipment, etc.

• Practice individual parts outside of rehearsal. All ensembles require concentrated

individual preparation. The quality of any ensemble is only as good as the weakest
individual performance.

• Contribute towards the scheduling and effectiveness of sectional rehearsals whenever

necessary.

• Regarding contributions towards productive and efficient rehearsals, talking during

rehearsals should pertain only to immediate ensemble requirements.

• Designed multiple set-ups are the responsibility of each performer. Diagram when
necessary; try to be consistent in set-up. (It is a good idea to recheck for possibilities
of improved set-ups as the music becomes more familiar and comfortable.)
Individual set-ups are first priority, but offer help to individuals with larger or more
complex set-ups.

• Maintain lists of all needed equipment and mallets for each work to be performed: do
not leave it to memory. Do not find yourself in performance with instruments or
mallets missing.

52
 PERCUSSION ASSISTANT
One percussion major is employed by the Music Department, as a student wage
employee, to assist the director of percussion studies in the maintenance, inventory, and
administration of the percussion area. The duties of the Percussion Assistant are as
follows:
1) To constantly evaluate the condition of all percussion instruments; to maintain, clean,
and tune all instruments; to complete repairs (minor and immediate) as necessary; and
to communicate to the percussion instructor information about the condition and
location of all percussion instruments and supportive equipment. All instruments
should function at 100% capacity.

2) To maintain an on-going survey/inventory of all instruments and equipment,

immediately advising the percussion instructor of any misplaced or stolen items. The
assistant will also complete an annual inventory (during the month of April) of all
area instruments and equipment.

3) To maintain percussion rooms, Organ Room, Percussion Studio, Rehearsal Hall, and
Colburn Hall Practice Room, in such condition that students may execute rehearsals
and practice sessions, without discomfort or inconvenience. These rooms have
designated locations for each large instrument and for various types of equipment and
small instruments. The assistant will endeavor to maintain the storage plan and serve
as an advocate for the plan with other members of the percussion studies area. Also,
the assistant will readjust room designs to accommodate special projects. The
marching band trailer will also require some supervision regarding storage plan,
instrument maintenance, and tuning.

4) To serve as liaison with faculty, administration, and staff regarding requirements and
logistical concerns (planning and execution) for the area of percussion before, during,
and after in-house festivals, clinics, workshops, and visitations.

5) To oversee (when appropriate) truck loading, securing, and unloading of all

percussion instruments and equipment for run-outs and tours of the UCF instrumental
ensembles.

6) To administer the collection, cataloging, and filing of all scores and parts for each
work read or performed by the UCF percussion ensembles.

7) Post notices relevant to the perc. studies program(e.g. masterclass sched, clinics).

8) To serve as an advocate for the correct/appropriate methods of handling/moving

instruments and equipment within the percussion area and the university community.

9) To interact with the percussion instructor regarding the planning and execution of
special projects that benefit the percussion studies program and/or students of that
program.

53
 MASTER CLASS

All percussion majors and minors (performance and education) are required to attend and
participate in the weekly percussion master class as an integral aspect of applied
percussion study. Classes will meet every Friday at 11:00 am. Topical areas of
presentation include: auxiliary percussion studies, drumset studies, percussion pedagogy,
repertoire and listening studies, video reviews, class performances, jury previews,
clinician development, instrument and mallet repair/construction, special projects, forum
discussions, among other topics.

DEGREE RECITALS

The solo recital is required of all BM and BME majors in percussion. BA students are
required to complete a senior project that can take many forms including a performance,
though performance is not required. BM majors must perform both a junior recital
(minimum 30 minutes of music), and a senior recital (minimum 50 minutes of music).
Music education majors are required to perform a BME senior recital (minimum 30
minutes of music), to be scheduled in a semester prior to their senior internship.
Depending on program length, the recital can be shared with another instrumentalist. All
recitals must be scheduled for the Rehearsal Hall unless special permission is granted for
use of an alternate site.

Students are responsible for all details relating to personal solo recitals (including
scheduling recital audio recordings). Use of the UCF Percussion Recital: Checklist and
Deadlines sheet will be important in organizing and accomplishing a successful recital.

Program notes are required for each composition performed. Include descriptive,
analytical, special interest/historical, composer information, and, of course, the date of
composition whenever possible.

Each student is responsible for engaging their own accompanist(s). Accompanists should
be secured as early as possible. Professional accompanists (Pianists) usually range from
between $20.00-$50.00 per hour.

Students must sign-up for a Recital Hearing within the first two weeks of the semester of
their recital. Hearings are scheduled on Mondays between 2-4 weeks before the
scheduled recital date. All participants in the recital, including accompanists, must be
available and present at the time of the hearing. Please consult the UCF Department of
Music Handbook for academic requirements.

54
 UCF PERCUSSION RECITAL: Checklist and Deadlines

Student___________________________ Recital Type___________________

Recital Date_______________________ Recital Hearing Date________________

Accompanist/Assisting Performer(s)__________________________________________

Repertoire/Instrument(s):
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________

Date
____ 1.  Finalize repertoire with Professor Moore. (3-6 months before recital)

____ 2.  Find open dates/times on the calendar with Mr. Meckley. Choose a few,
then agree on a mutually acceptable time with Professor Moore. (3-6
months before recital, no later than the first two weeks of the recital
semester)

____ 3.  Choose additional faculty to serve on your Recital Hearing Committee and
coordinate a Recital Hearing date and time with Professor Moore and the
rest of the committee. Reserve the Hall for the Hearing time with Mr.
Meckley. (2nd to 4th week of the recital semester)

____ 4.  Schedule a dress rehearsal (usually after 9:30 pm) with Mr. Meckley for
the Rehearsal Hall the week before the Hearing. The purpose of the
rehearsal is to practice the set-up and get used to the sound on the stage. (2
months before recital)

____ 5.  Secure accompanist and assisting performer(s), as required, (2-3 months

before recital)

____ 6.  Begin work on program notes. (12 weeks before recital)

____ 7.  Begin rehearsals with accompanist and other musicians. (12 weeks or
earlier)
____ 8.  First draft of program notes due to Professor Moore. (8 weeks)

55
____ 9.  Arrange for recording and/or videotaping if not already completed. Audio
arrangements are usually made when you scheduled with Mr. Meckley,
however, videotaping (if desired) requires an outside contractor. (6 weeks)

____ 10.  Second draft of program notes due to Professor Moore. (5 weeks)

____ 11.  Fill out and turn in to Professor Moore the Recital Hearing Approval Form
(available in the Music Office). This document must be signed by
Professor Moore, Mr. Meckley, and Dr. Pherigo. (2 weeks before the
Hearing)

____ 12.  Final draft of program notes due to the Professor Moore. (4 weeks)

____ 13.  Perform/present the Recital Hearing. All performers must be available
and all compositions/program notes (3 copies) ready for review. (2-4
weeks before recital date)

____ 14.  Confirm/schedule dress rehearsal in hall. (After Recital Hearing)

____ 15.  Turn in program order and notes (neat and typed) to Mr. Meckley. (4
weeks or after Recital Hearing)

____ 16.  Send out personal invitations to special guests, if desired. (4 weeks or
after Recital Hearing)

____ 17.  Perform for colleagues and friends in informal settings. Perhaps, find
another small/informal venues to perform recital. (2-3 weeks)

____ 18.  Prepare and post advertising fliers. (1-2 weeks, but after Hearing)

____ 19.  Proofread and approve draft of program from Mr. Meckley (1-2 weeks)

____ 20.  Arrange for location/service for post recitals reception, if desired. (3-4
weeks, unless early bookings are required)

____ 21.  Pull several programs for personal portfolio, assisting artists, and other
records. (Day of recital)

____ 22.  Pick up video equipment, if necessary. (Day of recital)

____ 23.  Turn in your key . (Day of recital)

____ 24.  Return video equipment, if necessary. (Day after recital)

____ 25.  Send out letter of thanks, gifts, and/or payment to accompanist/assisting
artists. (post recital)

56
 PERFORMANCE REPERTOIRE (Selected)
The following lists of repertoire represent significant examples of solo and chamber
works worthy of study at the collegiate level (there are many other works available):

Mallet Repertoire
LEVEL I
Composer Title (mallets) Publisher
Abe Frogs (4) Studio 4
Boo Jubilee for Marimba (4) Ludwig Music
Bach Various Transcriptions (2/4) Various
Bridge Of Dances… (4) Warner Bros.
Diemer Toccata (2/4) Music/Perc
Dinicu-Heifetz Hora Staccato (2) Fischer
Frazeur Rondo for Marimba (2) Music/Perc
Frock Concerto for Marimba and Piano Southern
Gipson Prayer(4) Southern
Gomez Etude in d Minor (3) Southern
Gomez Rain Dance (4) Southern
Green Xylophone Solos (book) (2) Sam Fox
Gwinn A True Lover’s Farewell (4) Southern
Hatch Challenge I (book) Earl Hatch Publ.
Houghton 21st Century Recital Series-Keyboard (2) Warner Bros.
Houliff Suite: Three Songs for the South (4) Ludwig Music
Houliff Two Pieces (4) Southern
Houliff Mallet Music (book) (4) Music/Perc
Irvin Octave Etude No. 2 (4) Studio 4
Kreisler/Green Tambourin Chinois (2) Charles Foley
Mayuzumi Concertino (2/4) Peters
McMillan Masterpieces for the Marimba (2) CPP Belwin
Musser Etude, C Major Op. 6 #10 (4) Studio 4
Musser Etude, Op. 6 #8 (4) Studio 4
Musser Etude, B Major Op. 6 #9 (4) Studio 4
Musser Etude, Ab Major Op. 6 #2 (2 or 4) Studio 4
Musser Prelude, Op. 11 #3 (2) Studio 4
Musser Prelude, Op. 11 #7 (4) Studio 4
Musser Etude, Op. 11 #4 (2) Studio 4
Musser Scherzo Caprice Studio 4
Musser Polanaise Brilliante Studio 4
Peters Yellow After the Rain (4) M. Peters
Peters Sea Refractions (4) M. Peters
Peters Zen Wanderer (4) M. Peters
Peters Waves (4) M. Peters
Peters Teardrops (4) M. Peters
Peters Allegro-Sonata (2) M. Peters
Peters Chant (2) M. Peters
Peters Theme and Variations (4) M. Peters

57
 LEVEL I (continued)
Pimentel/Moore The Solo Marimbist Vol. I, II (4) Permus
Pitfield Sonata (3) Peters Ed.
Rosauro Three Preludes (4) Southern
Rimsky-Korsakov/Heifetz The Bumble Bee (2) Fischer or Ludwig Music
Schumann/Musser Romance #1, Op. 94 (2) Sam Fox
Smith Suite Moderne for Marimba (4) Permus
Stout Etudes Books I-II, Selected (2/4) Studio 4
Tanner Sonata for Marimba and Piano Cole
Telemann Violin Concerto in G (2/3) Ernst Eulenburg Ltd.
Wittiber Rhythm Dance Bewimusic

LEVEL II
Bach Six Suites for Cello (4) International
Beals The Red Shoes (4) CPP Belwin
Breuer Xylophone Rags (Col.) (2) Alfred
Creston Concertino (2/4) Schirmer
De Vos Malan Mobile Stuctures III Musications
Deane Etude for a Quiet Hall (4) Innovative Percussion
Elster Four Pieces for Solo Marimba (4) Marimba Prod.
Ervin Contemporary Etudes (book) (3/4) Award
Fissinger Suite for Marimba (4) PercArts
Gipson Monograph IV (4) Studio 4
Gomez Gitano (4) Southern
Green Xylophone Rags of GH Green (Col.) (2) Meredith
Houliff Three Pieces for Marimba (4) Music/Perc
Houliff Samba (4) Studio 4
Hovhaness Fantasy on Japanese Woodprints (2) Peters
Moore Almost Calypso Panyard
O’Mera Tune for Mary O (4) Marimba Prod.
O’Mera Restless for Marimba (4) Marimba Prod.
Nevin/Becker Mighty Lak’ A Rose Marimba Prod.
Rosauro Suite Popular (4) Mus/Perc
Rosuaro Choro Bachiano (4) Pro Percussao
Schmitt Ghanaia (4) Matthias Schmitt Pub.
Smadbeck Etudes No. 1-3 (4) Studio 4
Smadbeck Rhythm Song (4) Marimba Prod.
Sor Estudio No. 6, 15, 17, 22 (guitar trans.) (4)Marimba Prod.
Steinquest Meditation and Dance (4) Studio 4
Stout Etudes 1-9 (2/4) Studio 4
Stout Reverie (4) or Elegy (4) Studio 4
Stout Andante & Allegro (4) Studio 4
Sukegawa Five Pieces…Paul Klee (4) Ongaku Tomo
Tchaikowsky/Stevens Album for the Young (4) Studio 4
Urlich Suite No. 1 (2/4) Music/Perc
Urlich Prelude and Noel (2 or 4) Music/Perc

58
 LEVEL III
Abe Michi (4) Music/Perc
Abe Variations on Japanese Children’s Songs (4) Shott
Abe Ancient Vase (4) Shott
Abe Little Windows (4) Shott
Abe Memories of the Seashore (4) Shott
Bach Preludium in g minor (3) Marimba Prod.
Burritt Four Movements for Marimba (4) Ludwig Music
Burritt October Night (4) Ludwig Music
Burritt Willow (2/4) Marimba Prod.
Burritt Preludes 1-5 (4) Marimba Prod.
Carno For a Marimba with a Mind of Its Own (4) M. Peters
DePonte Concertino (4) Studio 4
Edwards Marimba Dances (2/4) Universal Editions
Ford Polaris (4) Innovative Perc.
Gottry Irrelevant (4) C. Alan Pub.
Gronemeier Nature Alley (4) M. Baker Pub.
Heble Grand Fantasy (4) Studio 4
Khachaturian/Stevens The Adventures of Ivan (4) Marimba Prod.
Kreutz Dialog (4) Contemporary
Levitan Marimba Suite #2 (4) M. Baker Pub.
Margolis 3 Technical Sketches for Marimba (2/4/5) Manhattan Bch
Maslanka My Lady White (4) Marimba Prod.
Miki Marimba Spiritual (4) Ongaku Tomo
Milhaud Concert for Marimba/Vibes (4) Enoch
Miyoshi Conservation Suite (4) Ongaku Tomo
Monkman Rite of Passage (4) Tap Space
MusicAsia Marimba Music (4) Merion Music
Penn Four Preludes (4) Seesaw
Raphling Concerto for Mar., Vibes, Xylo., and Orch. Mus/Perc.
Reed Concertino for Marimba and Band (4) Barnhouse
Rosauro Variations on a Rio Grande Theme (4) Pro Percussao
Rosauro Concerto for Marimba #1 or #2 (4) Pro Percussao
Rosauro Valencia (4) Pro Percussao
Rosauro Variations on a “A Little Prayer” (4) Pro Percussao
Samuels Footpath (4) Orient Point
Sejourne Nancy (4) Froggy Pub.
Schumann/Stevens Album for the Young (4) Marimba Prod.
Sifler Marimba Suite (4) Brightstar
Skoog Water and Fire (4) Marimba Prod.
Smadbeck Virginia Tate (4) Smadbeck
Spencer Cat Clock (4) Studio 4
Stout Two Mexican Dances (4) Studio 4
Sueyoshi Mirage pour Marimba (4) Ongaku Tomo
Tanaka Two Movements for Marimba (4) Ongaku Tomo
Wilder/Stout Suite for Solo Guitar (4) Studio 4

59
 LEVEL IV
Abe Dream of the Cherry Blossoms (4) Zimmerman
Abe Wind in the Bamboo Grove (4) Shott
Abe Tambourin Paraphrase (4) Xebec Music Pub.
Abe Wind Sketch (4) Xebec Music Pub.
Abe Prism Rhapsody (2/4) Xebec Music Pub.
Adams Three Movements (4) Music/Perc.
Asia Marimba Music Marion Music
Bach Prelude and Fugue in Bb Major (4) Marimba Prod.
Bach Sonata in B Minor (4) Marimba Prod.
Bach Sonata in A Minor (4) Marimba Prod.
Bach Prelude and Fugue in g minor (4) Marimba Prod.
Bach Invention No. 4 in d Minor (4) Marimba Prod.
Bach Invention No. 8 in F Major (4) Marimba Prod.
Bach Invention No. 1 in C Major (4) Marimba Prod.
Bach Invention No. 14 in Bb Major (4) Marimba Prod.
Bach Chorale 371 Christ lag in Todesbanden (4)Marimba Prod.
Basta Concerto for Marimba (4) Music/Perc.
Bennett After Syrinx II (4) Novello and Co.
Burritt Caritas (4) Marimba Prod.
Burritt Waking Dreams (4) Marimba Prod.
Burritt Timeless (4) Marimba Prod.
Burritt Azure (4) Marimba Prod.
Burritt Shadow Chasers (4) C. Alan Pub.
Druckman Reflections on the Nature of Water (4) Boosey and Hawkes
Ewazen Northern Lights (4) M. Baker Pub.
Gronemeier Unchosen Path (4) M. Baker Pub.
Gronemeier Sweet Roselle (4) M. Baker Pub.
Gronemeier Population: One Too Many (4) M. Baker Pub.
Harnsberger Vertigo (4) Innovative Perc.
Harnsberger Words Unspoken (4) Innovative Perc.
Heble Toccata Fantasy (4) Marimba Prod.
Heble Preludes 1-3 (4) Marimba Prod.
Heble Preludes 4-6 (4) Marimba Prod.
Heble Preludes 7-9 (4) Marimba Prod.
Heble Movement for Marimba and Harpsichord (4)Studio 4
Heider Laudate Lignum (4) Edition Moeck
Ikebe Monevolance I (4) Ongaku Tomo
Ishii Marimbastuck (4) Japan Fed.
Klatzow Dances of Earth and Fire (4) Manuscript
Klatzow Concerto for Marimba(4) Percussion Music Europe
Koppel Concerto for Marimba (4) Norsk Musikforlag
Kurka Concerto for Marimba(2/4) Weintraub
Hollinden Of Wind and Water (4) McClaren Pub.
Klatzow Concerto for Marimba and Orch. (4) Musications
Mackey See Ya Thursday (4) Boosey and Hawkes

60
 LEVEL IV (continued)
Maslanka Variations on a Lost Love (4) Marimba Prod.
Miyoshi Torse III (4) Ongaku Tomo
Miki Time for Marimba (4) Ongaku Tomo
Miki Concerto for Marimba and Orch. (4) Norsk Musikforlag
Niimi For Marimba I (4) Japan Fed.
Schwantner Velocities (4) Helicon Music Corp
Serry Night Rhapsody (4) Marimba Prod.
Stevens Rhythmic Caprice (4) Marimba Prod.
Stout Ode for Marimba (4) Paul Price
Thomas Merlin (4) Margun Music
Tsubonoh Meniscus for Marimba (4) Ongaku Tomo
Wesley-Smith For Marimba & Tape (4) Australian Music Centre
Westlake Fabian Theory (4) Rimshot Music
Zivkovic Ultimatum 1 for Solo Marimba (4) Edition Musica Europea
Zivkovic Concerto per Marimba e Orchestra No.2 Op. 25 “ “

Jazz Vibraphone Repertoire

Burton Solo (4) Creative Music
Davis Recital for Vibraharp (Col.) (4) Barnhouse
Friedman Mirror from Another (Col.) (4) CPP Belwin
Gibson Wallflower/Snowbird/Carillon (4) Studio 4
Lipner Places to Visit (Col.) (2/4) Malletworks
Lipner The Jazz Vibes Real Book (book) (2/4) Malletworks
Molenhof Music for the Day/Vibe Songs (Col.) (4) CPP Belwin
Molenhof New Vibe Madness (Col.) (4) CPP Belwin
Rosauro Bem-Vindo (5) Pro Percussao
Rosauro Concerto for Vibraphone (4) Pro Percussao
Tachoir Solo Vibraphone Collection (4) Riohcat
Tachoir Design for Vibraphone and Piano (4) Riohcat

Timpani Repertoire
UNACCOMPANIED SOLOS
Beck Sonata for Timpani Boston Music
Beck Three Episodes for Timpani Kendor
Beck Triptych Motive for Timpani Kendor
Beck Three Movements for Five Timpani Meredith
Bergamo Four Pieces for Timpani Music/Perc
Cahn Raga #1 Wimbledon Music
Campbell Tangents (w/ Hi-Hat) Innovative Percussion
Carter Eight Pieces for Timpani Associated Music
Di Pietro Melodia Nera Op. 60 A.M. Percussion
Erickson Spanish Suite (5) Manuscript
Firth Solo Impression Carl Fischer
Firth The Solo Timpanist Carl Fischer
Floyd Theme and Variations Studio 4

61
UNACCOMPANIED SOLOS (continued)
Frazeur Mood Piece Music/Perc.
Frock Seven Solo Dances Southern
Goodman Ballad for the Dance CPP Belwin
Grimo Cortege Southern
Heble Three Etudes (5) Studio 4
Hinger Solos for the Virtuoso Timpanist Jerona
Hochrainer Etuden fur Timpani, Book III Verlag-Doblinger Wein
Houghton 21st Century Recital Series-Timpani Warner Bros
Houliff Four Verses for Timpani Paul Price
Huston Suite for Solo Timpani Schirmer
Igelsrud Soundings Kendor
Jones Sonata (3) Hinrichsen
Kraft Variations for King George New Music West
Kraft M’s P New Music West
LaFave Three Pieces for Five Timpani M. Baker Pub.
Lepak Thirty-two Solos for Timpani
Leonard Epigram Ludwig
Leonard Canticle Ludwig
Leonard Forms Ludwig
Leonard March and Scherzo Leonard Perc. Mus.
Leonard Solo Dialogue Columbia/Volkwein
Mancini Suite for Timpani Kendor
Mardinly Sonata for Solo Timpani Paul Price
Muzynski Three Designs for Timpani (3) Schirmer
Power Timepieces Honeyrock
Ramey Sonata for Three Unaccompanied Timpani Mus/Perc.
Peters Scherzo (3) Peters
Peters Rondino Peters
Shiner Declaration, Song, and Dance Ludwig Music
Tcherepnin Sonatina (3) Boosey and Hawkes
Williams Variations for Solo Kettledrums Music/Perc.
D. Williams Four Grotesques for Timpani Studio 4
Youhass Four Pieces for Unaccompanied Kettle Drums Cole

SOLO TIMPANI WITH OTHER INSTRUMENT(S), ORCH., WIND ENS., OR BAND

Baker 3 Pieces for Solo Timp., 5 Roto-Toms&Orch MMB
3 Pieces for Solo… & Wind Ensemble MMB
Colgrass Concertino for Timpani (w/brass & perc.) Music/Perc.
Donatoni Concertino for Timpani, Strings, & Brass Schott and Co.
Druschetzky Concerto for Timpani and Orch. Harrison Powley
Fischer Concerto for Timpani and Orch. Harrison Powley
Farberman Concerto for Timpani and Orch. Franco Columbo
Frid Zeven Pauken en een Koperorkest C. F. Peters
Gerber Celebration Suite for Timpani & Orch. Deborah Prod.,
Gerster Capricietto for Timp and String Orch. Schott

62
SOLO TIMP W/OTHER INST(S), ORCH., WIND ENS., OR BAND (continued)
Jacobs Concerto for Timpani and Band Boosey and Hawkes
Koper Mytho-Logica,3 Sketches for Timp&Orch.Koper-Hannover
Kraft Concerto for Timpani and Orch. C. Fischer
Leonard Fanfare and Allegro (w/tpt.) N. Simrock/Theodore Presser
Noak Concert Piece for 6 Kettledrums and Strings ACA
Oliverio Timpani Concerto #1 (Olympian) Collected Editions
Oliverio Dantreume Leu Pliska (w/st. bass) Collected Editions
Panufnik Concertino for Timpani, Perc.,& Strings Boosey & Hawkes
Parchman Concerto for Timpani and Orch. Seesaw
Parris Concerto for 5 Kettledrums C.F. Peters
Pieranzovini Concerto for Timpani and Strings Ricordi
Premru Celebrations-Overture for Solo Timp & Orch Oberlin Coll.
Raphling Timpani Concerto (5) Music/Perc.
Rice Concerto for Timpani and Orch. Seesaw
Sarmientos Concerto for 5 Timpani and Orch. Southern
Sosnick Concerto for Timpani and Band Bourne
Stock Earth Beat for Solo Timpani and Wind Sym. Duquesne Uni.
Streigler Concerto for Timpani and Orch. Goodman
Susskind Passacaglia for Solo Timpani and Orch. MMB Music
Tanner Concerto for Timpani and Brass Univ. of MA
Tausch March and Polinaise for 6 Timpani C.F. Peters
Tchherepnin Sonatini for Timp and Orch. Boosey &
Hawkes
Tharichen Konzert for Pauken and Orchestra Op. 34 Bote and Bock
Waxman Sinfonietta for Timpani and Strings Boosey &
Hawkes
Weinberger Concerto (w/4 tpts. & 4 trmbs) AMP,New York
White Concerto for Timpani (w/winds and perc) Shawnee
Wusthof Metrum for Five Timpani and Strings Peters Ed.

Multiple Percussion Solo Repertoire

Beck Episode for Solo Percussion
Brindle Orion M.42
Cahn Nara
Partita
Cirone Portraits in Multiple Percussion (Book)
De Lancey The Love of L’Historie
Duckworth Time Fields
Gambit (w/tape)
Etler XL Plus One
Feldman King of Denmark
Fink Conversation forTape and Percussion (w/tape)
Fink Alternation:Szenen und Variation fur Percussion Solo
Goldenberg Studies in Solo Percussion (Book)
Gottschalk Stations

63
 Multiple Percussion Solo Repertoire (continued)
Hiller/O’Conner Computer Music for Percussion and Tape (w/tape)
Hollinden Cold Pressed
Slender Beams of Solid Rhythm
Houghton 21st Century Recital Series-Multiple Percussion (w/cd)
Ishii Thirteen Drums
Kraft Corrente II
English Suite
French Suite
Morris Dance
Soliliquy (w/tape)
Norgard I Ching
Poeme
Waves
Payson Die Zwitschermaschine
Ptsazynska Space Model
Rolnick Ever-Livin’ Rhythm
Rosauro Cenas Amerindas
Serry Therapy
Stern Adventures for One
Tagawa Inspirations Diabolique
Udow Acoustic Study #1
Fracture
White Six Etudes
Wuorinen Janissary Music
Wyatt Time Mark (w/tape)
Xenakis Psappha
Rebonds
Zivkovic Generally Spoken, Its Nothing But Rhythm
Multiple Percussion with Band/Orchestra
Buggert Dialogue for Solo Percussion and Band
Cirone Double Concerto for Two Percussion and Orchestra
Colgrass Rhapsodic Fantasy for 15 Drums and Orch.
Erb Concerto for Solo Percussion and Orchestra
Foss Concerto pour Percussion et Orchestre
Hummel Concerto for Percussion and Orchestra
Jolivet Concerto for Percussion and Orchestra
Kraft Triangles, for Percussion Soloist and Chamber Orchestra
Lambro Two Pictures for Solo Percussionist and Orchestra
Mayuzumi Concerto for Percussion and Orchestra
McColloh Sounds for Percussion Solo and Woodwinds
Milhaud Concerto for Percussion and Small Orchestra
Pitfield Concerto for Percussion and Full Orchestra
Parchman Concerto for One Percussionist and Orchestra
Rosauro Rhapsodia
Schibler Scenes Fantatiques Op. 63 for Percussion and Orchestra
Schreiner The Worried Drummer
Spalding Concerto No. 2 for Solo Percussion and Wind Ensemble
Steinhort Dance for Solo Percussion and Orchestra
Suderberg Concerto for Percussion and Orchestra

64
 Listening Repertoire
The following lists represent suggested repertoire suitable for the listening requirements
(with annotated index cards or printouts) as described in the applied syllabus. Some of
the works are available at the UCF Library or from the percussion office.
PERCUSSION
Artist Title
Keiko Abe Concerto for Marimba (Ptaszynska)
Concertante (Ishii)
Works for Marimba & Percussion
Lullaby of Itsuki
Marimba Encore
Marimba Fantasy
Marimba Spiritual
Solo Marimba Selections
Solo Marimba Selections II
Solo Marimba Selections III
Keiko Abe & Dave Samuels Live in Concert: Merging Classical and Jazz Forms
Amadinda Percussion Group 4’33” (Varese, Chavez, Cage, Cage/Harrison)
Amandina (Marta, Sary, Cage, Reich, G.H. Green)
Steve Reich
Les Noces/1917 & 1923 Versions
American Wind Symphony New Brass Symphony (Mayuzumi-Concerto for Per/Winds)
Michael Askill Australian Percussion Vol. I
Aubier/Verite Music Francious pour Trpt & Perc
Severin Balzer Marimba en Concert
Bartok Sonata for Two Piano Pianos & Percussion
Bob Becker There is a Time
Bellson/Kroumata Music of Farberman & Shchedrin
Luciano Berio Berio (Circles)
Blackearth Blackearth Percussion Group (Cage, Harrison, Albright,)
Britan/Moore Duo Cricket City
Michael Burritt Perpetual
Shadow Chasers
Cabaza Percussion Quartet Cabaza
William Cahn The Solo Percussionist
Chojnacka/Gualda Harpsichord and Percussion
Continuim Percussion QuartetWorks By…(Cage, Bazelon, Rouse, Harrison, Kurtz)
Orlando Cotto Caribenos
George Crumb George Crumb (Madrigals, Summer Evening)
Ancient Voices of Children
Equilibrium Border Crossing (Rouse, Udow, Hollinden, Daugherty)
Double Image Open Hand
Duotones
Donald Erb Concerto for Percussion & Orch.
Harold Farberman All-Star Percussion Ensemble

65
 PERCUSSION (continued)
Sigfried Fink Art of Percussion
Pictures for Percussion
Mark Ford Polaris
Mark Ford Motion Beyond
Daniella Ganeva Dream of the Cherry Blossoms (Miki, Yuyama,Tanaka)
Greg Giannascoli Concertino (Creston, Kurka, Mayazumi)
David Gillingham Stained Glass
Evelyn Glennie Light of Darkness (Rosauro, Abe, Edwards, Tanaka)
Rebounds (Milhaud, Bennet, Rosauro, Miyoshi)
Rhythm Song (Musser, Smadbeck, Stout, Abe, Saint-Saens)
Drumming
Reflected in Brass
Wind in the Bamboo Grove
Gilbert Goulart The World of Marimba (Abe, Rosauro, Deane, Thomas)
Group de Percussao Group de Percussao da USFM (Rosuaro, Villa-Lobos)
Jonathan Hass 18th Century Concertos for Timpani
Lou Harrison Music for Guitar and Percussion
Robert Hohner Different Strokes (Rouse, Narell, Cage, Milhaud, Breuer)
Lift Off (Peck, Miki, Cahn, Norvo, Barber, Metheny)
The Gamut (Heble, Green, Samuels, Reich)
Horsholm Mar.& Perc. Ens Like in Everyday Life
Andy Harnsberger Vertigo
Beverly Johnston Alternate Currents (Southam, Jaeger, Hatch, Freedman)
Impact (Piche, Louie, Kulesha, Arcuri)
Marimbach (Bach)
Marimba Yajalon/Kaptain Huapango
Chiapas!
Rebecca Kite Across Time (Abe, Giuliani, Dowland, Bach, Miki)
Prism (Peters, Rosuaro, Gipson, Bach, Sor,Musser, Gomez)
Kroumata Kroumata Percussion Ensemble (Cage, Cowell, Lundquist)
Kroumata/Abe Works for Marimba and Perc. (Miyoshi, Takemitsu, Miki)
Kroumata/Mortensen Iannis Xenakis
Kroumata/Weisler Music of Jolivet, Harrison, Cage, & Sandstrom Stonewave
Rainer Kuisma Virtuoso Percussion Music (Milhaud, Fissinger)
Stanley Leonard Canticle (Music of Leonard)
Marimolin Marimolin
Marimolin/Shick Music for String and Mallets Percussion
Linda Maxey The Artistry of the Marimba
McCormick Duo Flute and Percussion: Premiers Plus One (Dahl)
th
Milwaukee 20 Century Ens. Music With Percussion (Salzedo, Harrison-Vln/Perc Con.)
William Moersch Piccolodeon
The Modern Marimba (Druckman, Thomas, Wesley-Smith)
Bill Molenhof All Pass By
Gert Mortensen Gert Mortensen (Norgard, Xenakis)
New Jersey Perc. Ensemble Percussion Music (Varese, Colgrass, Wuorinen, Cowell)

66
 PERCUSSION (continued)
New Music Consort Pulse (Cage, Harrison, Cowell, Foss, Sollberger)
Nexus Best of Nexus (Nexus, Green, Cahn, Cage, Birney)
Dance of the Octopus (Becker, Norvo, Cahn, Barnes)
Music of Nexus (Nexus, Silvers, Cahn, Nevin)
Nexus Now (Wyre, Cahn, Becker, Takemitsu, Engleman)
Nexus Plays the Novelty Music of George Hamilton Green
Ragtime Concert
Origins
The Story of Percussion in the Orchestra
Voices (Wyre, Cahn)
Paul Horn/Nexus Attitude of the Sun
Percussion Art Quartet Impulse
Stick Attack (Rosauro, Fink, Miki, Cage)
Percussion Group Cincinnati Music of… (Udow, Peck, Kramer, Brun, May, Mosko)
Percussion Group the Hague Irony (Cage, Reich, Donatoni, Kondo, Ford, Huber)
Skin Hits (Ford, Ishii, Xenakis, Rose)
Wooden Branch (Cage, Tsubonoh, Ford, Smith)
Michael Pugliese Percussion (Xenakis, Feldman, Vigeland, Cage, Norgard)
Quantor Helios Works for Percussion (all Cage and Harrison)
Classic Mallets
Steve Reich Drumming
City Life
Early Works (Piano Phase, Clapping Music)
Christian Roderurrg Works for Marimba Solo (Abe, Stout, Sukegawa)
Ney Rosauro Rhapsodia
Ney Rosauro in Concert
Brazilian Music for Percussion Ensemble
Peter Sadlo Classic Percussion (Bach, Brindle, Abe, Tanaka, Fink)
Joseph Schwantner The Music of Joseph Schwantner(Velocities, Concerto)
St. Louis Symphony (Déjà vu/Light Spirit – Colgrass)
Steve Shick Born To Be Wild
Brian Slawson Bach Beat, Bach on Wood, Distant Drums
Stuart Smith Memory Bands
Ragnar Soderlind Sofia Phil. 20th Century Music (Milhaud Perc. Concert)
Julie Spencer Ask (Cat Clock III)
Kai Stensgaard Marimba Classic
Leigh Howard Stevens Bach on Marimba
Marimba When (Debussy, Tchaik, Schumann, Khach.)
Stockhausen Zyklus No. 9
Gordon Stout Music for Solo Marimba
Strasbourg Percussion Les Percussion de Strasbourg (Varese, Xenakis, Taira)
Dallapiccola
Edison Dennissov
Stravinski/Ohana
Concertante

67
 PERCUSSION (continued)
Tri Perkussion Perfect Percussion Vol. 2 (Beck, Fink, Chavez, Teeling)
Perfect Percussion Vol. 1 (Fink, Strang, Bash, Russel)
Perfect Percussion Vol. 3 (Creston, Bach, Green)
Michael Udow Four Chamber Percussion Works
Univ. of North Carolina Sketches (Parker, Marek, Long, Grassano)
Univ. of Oklahaoma Laser Woodcuts (Breuer, Green, Gauger, Heble)
Univ. of Utah Classic Works for Perc.Ens.(Gauger,Maslanka,Gillingham)
Robert Van Sice Robert Van Sice (Klatzow, Sueyoshi, vos Malan)
Marimba Concertos (Klatzow, Hovhaness, Nuyts)
Japanese Music for the Marimba(Takemitsu,Sueyoshi)
Edgar Varese Ionisation (Ameriques,Offrandes,Octandre,Integrales)
Glen Velez Rhythmcolor Exotica, Rhythm of the Chakras
Albrecht Volz Pictures for Percussion (Tanner, Tscherepnin, Green)
Warsaw Percussion Group Polish Contemporary Percussion
Nancy Zeltsman Woodcuts (Levitan, Thomas, Zeltsman)
Zivkovic Marimba & Percussion Solo (Tanaka, Miki, Zivkovic)

CHAMBER MUSIC
Bartok Sonata for Two Pianos and Percussion
Berio Circles
Boulez Le Marteau Sana Maitre
Crumb Madrigals Books I-IV, Ancient Voices of Children
Music for a Summer Evening (Makrokosmos III)
Songs, Drones, and Refrains of Death
Foss Time Cycle
Husa Music for Prague, Apotheosis of This Earth
Milhaud La Creation du Monde (The Creation of the World)
Stockhausen No. 12 Kontakte
Stravinsky L’Histoire du Soldat (The Story of the Soldier)
Varese Integrales
Walton Façade

ORCHESTRAL
Bartok Music for Strings, Percussion, and Celeste
Concerto for Orchestra
Beethoven Violin Concerto
Piano Concerto #1
Symphonies 1-9
Berlioz Roman Carnival Overture
Symphonie Fantastique
Bernstein Age of Anxiety
Candide
Symphonic Dances from West Side Story
Bizet Carmen Suite No. 1 & 2 (En’tracte)
Bloch Schelomo 2

68
 ORCHESTRAL (continued)
Borodin Polovitsian Dances
Brahms Symphonies 1-4
Academic Festival Overture
Britten Young Person’s Guide to the Orchestra
Peter Grimes
Chabrier Espana
Copland Appalachian Spring
Rodeo
Debussy La Mer
Nocturnes
Afternoon of a Faun
Delibes Lakme
Dukas Sorcerer’s Apprentice
Dvorak Carnaval Overture
New World Symphony
Elgar Enigma Variations
Enesco Rumanian Rhapsody No. 1
Gershwin Porgy and Bess
American in Paris
Concerto in F
Glazounov Violin Concerto
Handel The Messiah
Hindemith Symphonic Metamorphosis
Holst The Planets
Kabalevsky Colas Brengnon
The Comedians Suite
Khachaturian Piano Concerto No. 1
Suite from the Gayne Ballet
Kodaly Hary Janos Suite
Liszt Piano Concerto No. 1 in Eb
Mahler Symphonies I, III, IV, and V
Mendelsohn Italian & Scotch Symphonies
Mozart The Magic Flute
Symphonies 38-41
Mussorgsky Pictures at an Exhibition
Night on Bald Mountain
Nielsen Clarinet Concerto
Nielsen Symphony #5
Orff Carmina Burana
Poulenc Concerto for Organ, Strings and Timpani
Prokofiev 1st Symphony
5th Symphony
Lieutenant. Kije
Peter and the Wolf
Rachmaninoff 2nd Piano Concerto

69
 ORCHESTRAL (continued)
Ravel Bolero
La Valse
Alborada Del Gracioso
Daphnis et Chloe Suite No, 2
Mother Goose Suite
Respighi Pines of Rome
Rossini La Gazza Gadra
Rimsky-Korsakov Scherezade
Capriccio Espagnol
Saint-Saens Carnival of the Animals
Dance Macabre
Schubert Unfinished Symphony
Schuller Seven Studies on Themes of Paul Klee
Schuman Third Symphony
New England Triptych
Shostakovitch Festive Overture
Symphony No. 1 & 5
Golden Age Polka
Sibelius Symphony No. 2
Sousa Stars and Stripes
Strauss Don Juan
Till Eulenspiegel
Death and Transfiguration
Also Sprach Zarathustra
Stravinsky Petroushka
Rite of Spring
Firebird
Les Noces
Tschaikovsky Capriccio Italien
Symphony IV & V
Romeo and Juliet
Wagner Tannhauser – Venusberg
Siegfried’s Rhine Journey
Forest Murmurs
Siegfried’sFuneral Music

70
 Recommended Readings in Percussion, Pedagogy, and Music
The following lists represent a sample of the readings and resource materials available to
the student to aid in gaining a broader understanding of music and percussion in
particular. These books and the articles contained in the journals listed, are excellent
examples of the scholarly works that the student should become familiar with. Selected
books listed below are suitable for the Percussion Studio Semester Book Review
Requirement.

BOOKS
Adato, Joseph and Judy, George. The Percussionist’s Dictionary (Miami, Florida:
Belwin-Mills, 1984).

Altenburg, Johann Ernst. The Trumpeter’s and Kettledrummer’s Art (Halle, Germany,
1795). Translation with introduction by Edward H. Tarr (Nashville: The Brass
Press, 1974).

Banek, Reinhold and Scoville, Jon. Sound Designs. A Handbook of Musical Instrument
Building (Berkley: Ten Speed Press, 1981).

Beck, John H., editor. Encyclopedia of Percussion (New York, NY: Garland Publishing,
1995).

Bernstein, Leonard. The Joy of Music (New York: Simon and Schuster, 1959).

Benvenga, Nancy. Timpani and the Timpanist’s Art: Musical and Technical
Development in the 19th and 20th Centuries (Goteborg, Sweden: Goteborg
University, 1979).

Berlioz, Hector. A Treatise on Modern Instrumentation and Orchestration (Paris:

Lemoine, 1843-44). Translation by Mary Clarke, ed. and rev. by Joseph Bennett
(London: Novello and Company, Ltd.).

Blades, James. Orchestral Percussion Technique, 2nd edn. (London: Oxford University
Press, 1973).

Blades, James. Percussion Instruments and Their History (London: Faber and Faber,
Ltd., 1975).

Blades, James and Montagu, Jeremy. Early Percussion Instruments from the Middle
Ages to the Barouque (London : Oxford University Press, 1976).

Bonfoey, Mark P. Percussion Repair and Maintenance: A Performer’s Technical

Manual (Miami, Florida: Belwin-Mills, 1986).

Breithaupt, Robert. The Complete Percussionist. (Oskaloosa IA: C.L. Barnhouse, 1992).

71
Brindle, Reginald Smith. Contemporary Percussion (London: Oxford University Press,
1970).

Brown, Ed. Band Director’s Percussion Repair Manual (Van Nuys, CA: Alfred
Publishing, 1995).

Brown, Theodore Dennis. A History and Analysis of Jazz Drumming to 1942, vols. I and
II (Ph.D. Dissertation, University of Michigan,  1976 T.D.B.) [Available
through University Microfilms, Ann Arbor, MI].

Bruce, George and Emmett Daniel. The Drummer’s and Fifer’s Guide (1862 and 1865
eds.) [1865 edn. Available from George Carroll, 4113 Fourth Street, North
Arlington VA. 22203].

Cahn, William L. The Xylophone in Acoustical Recordings (1877-1929). (Rochester,

NY: William L. Cahn, 1979).

Cameron, Julia. The Artist’s Way: A Spiritual Path to Higher Creativity (New York:
Jeremy P. Tarcher/Putnam a member of Penguin Putnam Inc., 1995).

Carrington, J.F. Talking Drums of Africa (New York: Negro Universities Press, 1969).
[Originally pub. London: Carey Kingsgate Press, 1948].

Chenoweth, Vida. The Marimbas of Guatemala (Kentucky: University of Kentucky

Press, 1974).

Chernoff, John Miller. African Rhythm and African Sensibility (Chicago: University of
Chicago Press, 1979).

Cirone, Anthony J. and Sinai, Joe. The Logic of It All (Menlo Park, CA: Cirone
Publications, 1977).

Coleman, Satis N. The Drum Book (New York: John Day Company, 1942).

Coleman, Satis N. The Marimba Book (New York: John Day Company, 1930).

Combs, F. Michael. Solo and Ensemble Literature for Percussion (Terra Haute, IN:
Percussive Arts Society, 1972).

Cook, Gary D. Teaching Percussion [3rd Ed.] (New York: Schirmer Books, 2005).

Copland, Aaron. What to Listen for in Music (New York: Penguin Putnam Inc., 1939,
1957).

Creston, Paul. Principles of Rhythm (Melville, NY: Belwin Mills, 1961).

72
Denov, Sam. The Art of Playing Cymbals (New York: Henry Adler, Inc., 1963).

Farkas, Philip. The Art of Musicianship (Bloomington, Indiana: Musical Publications,

1976).

Farmer, Henry George. Handel’s Kettledrums and Other Papers On Military Music
(London: Edwards and Brune, Ltd., 1960).

Fink, Sigfried. Tablature 72 (Hamburg: N Simrock, 1972). [A listing of tables of symbol

Notations for percussion instruments].

Foster, Robert E., Wanamaker, Jay A., Duffer, Bob and Cowles, Kraid. Championship
Auxiliary Units (Sherman Oaks, CA: Alfred Publishing Co., Inc., 1979).

Foster, Robert E. Multiple-Option Marching Band Techniques (Sherman Oaks, CA:

Alfred Publishing Co., Inc., 1962).

Gallwey, W. Timothy. The Inner Game of Tennis (New York: Random House, 1974).

Gelb, Michael. Body Learning: An Introduction to the Alexander Technique (London:

Aurum Press, 1981).

Geiringer, Carl. Musical Instruments (London: George Allen & Unwin Ltd, 1965).

Gerard, Charley and Sheller, Marty. Salsa: The Rhythm of Latin Music (Tempe, AZ:
White Cliffs Media Company, 1989).

Green, Barry and Gallwey, W. Timothy. The Inner Game of Music (Garden City, NY:
Anchor Press/Doubleday, 1986).

Hart, Mickey. Drumming At The Edge of Magic (New York: Harper Collins Pub., 1990).

Hart, Mickey. Planet Drum: A Celebration of Percussion and Rhythm (New York:
Harper Collins Publishers, 1991).

Hannum, Thom. Championship Concepts for Marching Percussion (Milwaukee, WI:

Hal Leonard, 1986).

Havas, Kato. Stage Fright: Its Causes and Cures (London: Bosworth & Co., Ltd.,
1973).

Hinger, Fred. Timpani Technique for the Virtuoso Timpanist (Levonia, NJ: Hinger,
1975).

Holland, James. Percussion (New York: Schirmer Books, 1978).

73
Hong, Sherman. “Percussion in the Orchestra: 1750-1850,” Percussionist, vol. VIII,
No. 4 (1971) (Terra Haute, IN: Percussive Arts Society).

Hooper, Dale F. et al. Corps Style Marching (Oskaloosa, IA: C.L. Barnhouse Co., 1977).

Howard, Joseph H. The Drums in the Americas (New York: Oak Publications, 1967).

Han, Kuo-Huang. “The Modern Chinese Orchestra,” Asian Music, vol. XI, no. 1 (1979).

Karkoschaka, Erhard. Notation in New Music, translated by Ruth Koenig (New York:
Praeger Publishers, 1972).

Kaufman, Frederick and Guckin, John P. The Roots of Jazz (Sherman Oaks, CA:
Alfred Publications Co., Inc., 1979).

Kettlekamp, Larry. Drums, Rattles, and Bells (New York: W. Morrow, 1960).

Keune, Eckehardt. Percussion Instrument-Part 2:Timpani (Leipzig, East Germany

VEB Deutscher Verlag fur Musik, 1977).

Kirby, Percival R. The Kettledrums (London: Oxford University Press, 1930).

Kohut, Daniel L. Musical Performance: Learning Theory and Pedagogy (Englewood

Cliffs, NJ: Prentice-Hall Inc., 1985).

Kotonski, Wlodzimierz. Schlaginstrumtente in modernen Orchester (Mainz, West

Germany: B. Schott’s Sohne, 1968).

Lang, Morris; Spivak, Larry. Dictionary of Percussion Terms (New York: Lang
Percussion Company, 1977).

Lebrecht, Norman. Who Killed Classical Music (Secaucus, NJ: Carol Publishing Group,
1996).

Ludwig, William F. The Development of Drum Rudiments (Chicago: Ludwig Drum Co.)
[n.d.]

MacCallum, Frank. The Book of the Marimba (New York: Carlton Press, Inc., 1969).

Maisel, Eric Ph.D. A Life in the Arts: Practical Guidance and Inspiration for Creative
and Performing Artists (New York: Jeremy P. Tarcher/Putnam1992, 1994).

Mason, Bernard S. Drums Tom Toms & Rattles (New York: Dover Publications, Inc.,
1974).

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May, Elizabeth. Music of Many Cultures: An Introduction (Dubuque, Iowa: Kendall
Hunt Publishing Company).

Molenhof, Bill. Positive Music Focus (Germany: Otto Wrede Regina-Verlag e.K.
Schumannstr. 1999).

Montagu, Jeremy. Making Early Percussion Instruments (London: Oxford University

Press, 1976).

Moore, James L. Acoustics of Bar Instruments (Columbus, OH: Permus, 1970).

Nketia, J.H. Kwabena. The Music of Africa (New York: W.W. Norton & Co., Inc.,
1974).

Norton, Sam and Spacey, Ken, eds. Drums and Drumming Today (Edgware, England:
Boosey and Hawkes, 1964).

Papastefan, John J. Timpani Scoring Techniques in the Twentieth Century (Mobile, AL:
University of South Alabama, 1978).

Partch, Harry. Genesis of A Music, 2nd edn., enlarged (New York: Da Capo Press, 1974).

Peinkofer, Karl and Tannigel, Fritz. Handbook of Percussion Instruments, translated by

Kurt and Elise Stone (London: Schott, 1969).

Percussive Arts Society. Percussive Education: A Source Book of Concepts and

Information (Urbana, Il: Percussive Arts Society, 1990).

Peters, Gordon B. The Drummer: Man, revised edn. (Wilmette, IL: Kemper-Peters Pub.,
1975).

Pinksterboer, Hugo. The Cymbal Book (Milwaukee, WI: Hal Leonard Publishing
Corporation, 1992).

Read, Gardner. Music Notation, 2nd edn. (Boston: Allyn and Bacon, Inc., 1969).

Read, Gardner. Modern Rhythmic Notation (Bloomington, IN: Indiana Univ. Press,
1978).

Reed, H. Owen and Leach, Joel T. Scoring for Percussion (Englewoods Cliffs, NJ:
Prentice-Hall, 1969).

Richards, Emil. World of Percussion (Sherman Oaks, CA: Gwyn Publishing Co., 1972).

Risatti, Howard. A Guide to Notational Signs for Contemporary Music, (Urbana, IL:
University of Illinois Press, 1975).

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Sachs, Curt. The History of Musical Instruments (New York: Norton, 1940).

Schmidt, Paul W. History of the Ludwig Drum Company (Fullerton, CA: Centerstream
Publishing, 1991).

Schuller, Gunther. Early Jazz, Its Roots and Musical Development (New York: Oxford
University Press, 1968).

Seeger, Peter. Steel Drums: How to Play them and Make Them (New York: Oak, 1964).

Siwe, Thomas, ed. Percussion Ensemble Literature (Champaign, IL: Media Press, 1998).

Siwe, Thomas, editor. Percussion Solo Literature (Champaign, IL: Media Press, 1995).

Sousa, John Philip. The Trumpet and Drum [A book of Instruction for the Trumpet &
Drum] 1886 2nd Reprint (Cleveland, OH: Ludwig Music Publishing Co., 1985).

Spalding, Dan C. “The Evolution of Drum Corps Drumming,” Percussionist, vol. XVII,
no. 3 (1980). (Knoxville, TN: Percussive Arts Society).

Spinney, Bradley. Encyclopedia of Percussion Instruments and Drumming (Hollywood,

CA: Hollywood Percussion Club and Clinic, 1955).

Stern, Marshall W. The Story of Jazz (London: Oxford University Press, 1970).

Stone, Kurt. Music Notation in the Twentieth Century: A Practical Guidebook (New
York: W.W. Norton, 1980).

Surplus, Robert W. The Beat of the Drum (Minneapolis, MN: Lerner Pub., 1963).

Tanner, Paul O. W. and Gerow, Maurice. The Study of Jazz, 2nd edn. (Dubuque, IA: Wm.
C. Brown, Co., 1973).

Taylor, Henry W. The Art and Science of the Timpani (London: John Baker Pub., 1964).

Thurmond, James M. Note Grouping: A Method for Achieving Expression and Style in
Musical Performance (Camp Hill, PA: JMT Publications, 1982).

Titcomb, Caldwell. The Kettledrums in Western Europe (Cambridge, MA: Harvard

University Press, 1952).

Udow, Michael. Rhythmic Source Book for Actors, Dancers and Musicians (Kansas
City, MO: Michael Udow, 1978).

Udow, Michael and Watts, Chris. The Contemporary Percussionist: A Multiple

Percussion Method, Book I (Kansas City, MO: Michael Udow, 1979).

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Vela, David. Information on the Marimba, Ed. and translated by Vida Chenoweth
(1957-58) (Auckland, New Zealand: Institute, 1958) {Originally printed-
Guatemala, 1953}.

Vincent, David W. A Percussionist’s Guide to Orchestral Excerpts (Columbia, South

Carolina: Broad Riner Press, Inc., 1980).

Walden, David E. How to Listen to Modern Music Without Earplugs (Toronto: Sound
and Vision, 1999).

Wells, James R., et al. The Marching Band in Contemporary Music Education, (New
York: Interland Publishing, Inc., 1976).

Wilson, Frank R. Mind, Muscle, and Music, Physiological Clues to Better Teaching
(Elkhart, IN: The Selmer Company, 1981).

Wilson, Frank R. Tone Deaf and All Thumbs? An Invitation to Music-Making for Late
Bloomers and Non-Prodigies (New York: Viking-Penguin Inc., 1986).

Wilson, Sule Greg. The Drummer’s Path (Rochester, Vermont: Destiny Books, 1992).

JOURNALS

The Instrumentalist. Evanston, IL: Instrumentalist Co., (Published Monthly).

Modern Drummer. Cedar Grove, NJ: Modern Drummer Publications, (Published

Monthly).

Percussive Notes. Lawton, OK: Percussive Arts Society, (Published Bimonthly).

*Percussion Anthology: A Compendium of Percussion Articles from The Instrumentalist.

Northfield, IL: Instrumentalist Co., 1988.
*A special collection of percussion articles (1946-87) designed for use by instrumental
music educators: Anthology Series Volume 4.

Resources for Required Materials

Books, Methods, and Chamber/Solo Literature, along with sticks and mallets, general
equipment, and other musical needs, can be ordered from the local Sam Ash or Drums 2
Go music stores. Faster service may be experienced by mail or phone/credit card orders
from:

Steve Weiss Music Lone Star Percussion The Percussion Source

2324 Wyandotte Road 10611 Control Place PO Box 5521
Willow Grove, PA 19090 Dallas, TX 75238 1212 5th Street
Phone: (215) 659-0100 (214) 340-0835 Coralville, IA (866) 849-4387
Fax: (215) 659-1170 www.percussionsource.com

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