My Aching Back

By: Tara Maioriello

The marching band and drum corps activities have been around for many, many years. Just like drums have evolved during that time period, so have the drum carriers. From the simple T-Bar, to the vest carrier, to the tubular carrier, drum harnesses have grown and changed throughout the years. One thing that has remained relatively unchanged, is the back bar. The back bar has been a straight piece of material that rests across the upper back that connects the two shoulder bars. While it serves its purpose and has its place, it could surely be improved upon. Enter, the Randall May ABS.

ABS stands for Articulating Back Support. The ABS carrier is the first of its kind to enable correct posture. It works by dispersing the weight of the drum more evenly reducing player fatigue. This takes all the pressure off of the neck and shoulders, and evenly distributes it through the back – which is a much stronger set of muscles than the neck or the shoulders. This allows for the player to wear the drum for longer periods of time with less pain and more comfort. The articulating design provides a customized fit so the player has complete control of the drum during complex body movement. The unique design allows free movement of the shoulder blades and scapula. This is an important feature because of the intense drill writing now in demand on the field and in the gym.

Simply marching and drumming is no longer the norm – now, to participate in marching activities, you have to be able to run, dance, and flip across the floor or field. The level of flexibility the player needs to perform these complex moves could be inhibited by the carrier they are wearing. Now, with the addition of the ABS carrier, the player has full range of motion in their arms. In addition to free range of motion, the ABS carrier also provides the necessary compactness of drum – to – body, which is essential for intense spinning motion or fast turns. Previously, when a player had a fast turn, the drum would lift away from the player’s body, thereby pulling the player around with centripetal force. This can lead to a flaw in the drill, and even worse personal injury. Now, by utilizing the ABS, the drum stays flush against the player’s body therefore enabling the player to be in control of all body movements. This allows drill and choreography to be sharp and precise, while keeping the player safe.

By bringing together the Articulating Back Support with the contour hinge lineup of carriers Yamaha already offers, an unbeatable combination was put in place. Having a carrier that offers a total customized fit to the player, and enables proper posture, is a sure recipe for a successful season in the gym or on the field.

To the New Instructor: Instilling Pride in Your Percussion Section From Day 1

John Wittmann is the Manager of Education and Artist Relations for the Band and Orchestral Division of Yamaha Corporation of America. He is responsible for organizing the educational support for over 1000 woodwind, brass, string, percussion and drumset artists as well as running the educational programs such as The Yamaha Young Performing Artists Competition. John has also served as Manager of the Percussion Department and produced the Living Legends Video Series for Yamaha. He holds a Bachelors and a Master of Arts Degree in Music Education concentrating in conducting, percussion and 20th Century composition. John has toured extensively throughout the United States and abroad as a drummer and has given hundreds of drum set clinics. He remains an active performer and clinician and is the drummer for the Jennie DeVoe Band. John has lectured on career development in the music industry at NAMM conventions, many major universities as well as PASIC 2004 and 2007. He is the recipient of the Percussive Arts Society’s 2007 President’s Industry Award and has been published in many magazines.
Previous to his duties at Yamaha, John taught percussion and the jazz ensemble at Lawrence Central High School in Indianapolis, Indiana. He was a band director in New York State where he headed two highly successful High School music programs. He was awarded the TEACHER of THE YEAR award at Waterford-Halfmoon High School.
John is active in music ministry. He is proud to serve on the Board of Directors for The Percussive Arts Society, The Jazz Education Network and Dolce Suono Advisory Board.

By. John Wittmann

Some band directors who play wind instruments believe that percussionists are a different breed. They feel that percussionists are, as a group, high maintenance and are the “troublemakers in the back.” Chances are we have all heard insinuations implying that drummer/percussionists are one step below other musicians on the food chain. People react and act according to those insinuations. These actions perpetuate some negative affects that further separate the percussionists from the rest of the musicians in an ensemble. I can’t stress enough that from day 1 of your new position as band director, or percussion instructor, it is crucial that you hold every member of your percussion section to the same high standards that you hold members of other sections.

The Dotted Line
Consider having a contract that each percussion student and their parents must sign. It could include expectations concerning setup, equipment care, attendance, lesson policies etc. If they know you mean business from day one they will considerate it an honor to be in your percussion section. Let them know you expect an elite force of professionals and although you plan on having fun, there is no room for irresponsibility. Every percussionist must know what you expect at every rehearsal from day one.

Professional Percussion Procedures
Do your part by always having the order of rehearsal on the board BEFORE they get there. If a percussionist is absent on any given day, it is the attending percussionists’ responsibility to cover all parts (no exceptions). They will love this challenge but you must train them to expect it as standard procedure.

Percussionists should observe the blackboard immediately when entering band room and start set up immediately.
• On the first downbeat of the first warm-up it is understood that EVERY percussionist is playing a mallet instrument or percussion instrument part written for that specific warm
up, not standing still. WARM UP TIME IS NOT SET UP TIME. Everyone else in the band came in set up their own instrument and is reading a melody. Double players on different octaves of a marimba, xylophone or bell instrument. No one is allowed to be setting up gear during this time.

• Every percussion student must show up with all his or her tools every day. This is not optional. These are their instruments! How would you handle it if a saxophone player showed up sat down and said “Sorry, I forgot my sax.” I suggest it be understood that their tools for every rehearsal are:
•1 pair of maple snare drum sticks
•1 pair of medium yarn mallets
•1 band folder containing band music, solo and ensemble music and method books
•1 pair of medium timpani mallets
•1 pair of hard rubber mallets

So what do you do if they show up with no tools? Simple, subtract one point and write it down in the grade book in front of them; no drama, just write it down. They will know by now that if they get 3 points taken of it equals one letter grade. Yes, this is a class and they are responsible. They have signed a contract and you mean business.

Testing, testing, one, two, three.
You must test every percussion student fairly, often, and on various instruments. They play an instrument which by its very nature is challenging and problematic; it is one of the only instruments not held by a player, it is too high for some, too low for others, it is a “solo” instrument, young mallet players
start on a bell kit and pad not a “real” instrument, etc. All of these factors result in physical issues that make phrasing, dynamics and general musicality more illusive. If you don’t believe me, try making a dolce mezzo piano decrescendo retarding phrase on a xylophone or a snare drum. It takes years to sound good on percussion instruments…that’s instruments, (plural) don’t forget they have to learn the idiosyncrasies of many instruments, unlike your other students! Test often on simple skills from good books like the Yamaha Advantage Band Method.

No excuses- I am a pro- I am completely responsible-I deal with it.
This was the mantra of the percussion section at Lawrence Central High School where I taught for several years. Everyone knew it. Everyone lived it. Everyone knew exactly what it meant. Every percussion student was simply expected to fix broken gear, find missing parts, organize music and “work” in the percussion section as if they were, as we would say “getting paid a million dollars an hour to do so”. If a student was not holding up their part of the bargain, a simple look to the section leader from me was all it took. It was not a threatening look, it was an “I don’t understand, we agreed to all be professionals” look. We had a wonderful and versatile percussion section. I
learned quite a lot from them and the gifted staff. Percussionists are generally creative people who can make or break the sound of your ensemble. As with any relationship, the more time you invest in it the better it is. Don’t fall into the trap of ignoring your percussion section and yelling at them because they are not making the sounds you need. Teach
them. Work with them. They will be proud to be in your section.

Developing a Musical Percussion Section in your Band and Orchestra

James Campbell has received worldwide recognition as a performer, teacher, composer, author, and is a respected figure in the development of the contemporary percussion ensemble.  Currently Professor of Music and Director of Percussion Studies at the University of Kentucky in Lexington, he also holds the positions of Principal Percussionist with the Lexington Philharmonic, drummer with the Kentucky Jazz Repertory Orchestra, and Past-President of the Percussive Arts Society.
Well known for his long association with the internationally renowned Rosemont Cavaliers Drum and Bugle Corps, Jim has served as their principal instructor, arranger, and Program Coordinator. He was Percussion Director for the McDonald’s All-American High School Band and has performed at the International Society of Music Education World Conference, Journal’s de la Percussion, MENC National In-Service Conference, Midwest Band & Orchestra Clinic, MusicFest Canada, All-Japan Band Clinic, Texas Bandmasters Association, Bands of America World Percussion Symposium, and at several Percussive Arts Society International Conventions.

by: James Campbell

Percussionists make many decisions when interpreting a piece of band or orchestra music, often more than the composer or arranger who wrote their parts.  Because percussionists have a wide variety of instruments, implements, and playing techniques available to them, each performer makes personal choices that affect the overall sound of the ensemble.

For instance, when the music calls for a snare drum to be played, it is seldom more specific than simply labeling the percussion part with the term “snare drum”. However, the sound of a snare drum can vary greatly with extremes in pitch, timbre, sustain, focus quality, and projection. Each drum has an individual sound that is determined by its diameter, depth, shell construction, snare material, head thickness and material, dampening, as well as the tensioning level. These construction techniques contribute to create a unique instrument that produces a specific quality of sound. With the wide variety of instruments that are available, it is possible that some drums may not make an appropriate choice for the music to be performed. The percussionist and music educator must often work together to determine which instrument, implement, and technique makes the best characteristic sound for each particular piece of music.  

Five Percussion Parameters of Ensemble Blend

As they perform, percussionists must actively listen to the rest of the ensemble to determine their own musical function and how they can best blend their sound alone or with others who share the same musical role. This role can be soloistic, supportive, or coloristic. Encourage the students to listen to the other instruments in the ensemble that share their part and imagine how they would interpret their sounds on a percussion instrument. The students should mirror the shape of the musical line as they play along. The director must also make the students aware of their placement within the ensemble and help them develop their listening skills to make them more aware of their musical role within the context of the entire ensemble.

Percussion performers need to have a variety of instruments, implements, and technical skills available to them so that they can choose the most appropriate sound for each musical situation. Careful listening to the ensemble will help the performers choose the most appropriate instrument, implement, playing area, playing technique, and whether to dampen an instrument or allow it to sustain. Marked dynamic levels are often misleading because some instruments in the percussion section naturally “speak” louder than others. Consider dynamics as a relative indication and maintain an ongoing awareness for proper balance in the percussion section as well as the entire ensemble. The student can choose a unique texture or imitate the instrument(s) that they mirror when they consider the Five Parameters of Ensemble Blend.

1)      SIZE – Choose the most appropriate size instrument for its pitch or tonality.

1. Smaller instruments are generally brighter or have a higher pitch than large instruments of the same design.

2)      IMPLEMENTS – Choose appropriate implements for each situation.

1. Soft, large-headed, and/or heavy mallets produce darker tones than hard, small-headed, and/or light mallets.

3)      PLAYING AREA – Choose a specific playing area. Find the “sweet spot” on every instrument that is played and use this as a reference point for achieving a full, vibrant tone. Aim for the correct playing area, not just the correct note. Achieving consistency in the playing area is the first step toward playing with consistent, quality tone.

1. Drums have three basic playing areas:

i)        Center – lowest fundamental tone with minimal sustain.

ii)       Off-center –dark tone with sustain.

iii)     Edge – bright and thin tone with increased sustain.

1. Percussion Keyboard instruments have three basic playing areas:

i)        Center of the bar – lowest fundamental tone with wide spectrum of overtones.

ii)       Slightly off-center – dark tone with less pronounced overtones.

iii)     Node – bright and thin tone.

4)      TECHNIQUE – Choose the correct strike, scrape, shake or crash technique for each instrument.

1. Technique that emphasizes a firm grip, quick stroke, and a quick lift produces a bright and clear tone quality.
2. Technique that emphasizes a relaxed grip, smooth stroke, and a natural lift produces a dark and vibrant tone quality.

5)      RESONANCE – Choose to dampen the instrument only when appropriate. Since percussion instruments have a natural decay, they should normally be allowed to sustain.

1. Percussionists should be flexible when interpreting note values and rests on percussion instruments. Rests are often used to make percussion rhythms clearer and easier to read and do not always indicate note length or when to dampen the sound.
2. Let the instrument vibrate freely if it’s part of a melodic line or if it connects musical ideas.
3. Dampen to mirror the note lengths of other instruments.
4. Partial dampening can provide extra clarity to an active part. Place a mute or a cloth on an instrument to achieve a drier tone quality. 
5. Leave only the last note of a phrase sounding along with the rest of the ensemble.
6. Avoid “choking” a note by dampening too quickly. Allow the tone of the instrument to fully sound before dampening.

There are few standards in the percussion world with new products being created all the time. It is quite a daunting task for the music educator, student, and even the professional performer to keep up-to-date with all the musical tools that are available to them and to become familiar with the characteristic sound of that particular product or technique. However, percussionists usually enjoy the challenge that comes with creative interpretation of the music set before them. Have fun as you help your percussion section become better musicians in the band and orchestra.

Twelve Tweaks for your Percussion Section

James Campbell has received worldwide recognition as a performer, teacher, composer, author, and is a respected figure in the development of the contemporary percussion ensemble. He has toured extensively throughout North and Central America, Europe, and Asia. Currently Professor of Music and Director of Percussion Studies at the University of Kentucky in Lexington, he also holds the positions of Principal Percussionist with the Lexington Philharmonic, drummer with the Kentucky Jazz Repertory Orchestra, and Past-President of the Percussive Arts Society.
Well known for his long association with the internationally renowned Rosemont Cavaliers Drum and Bugle Corps, Jim has served as their principal instructor, arranger, and Program Coordinator. He was Percussion Director for the McDonald’s All-American High School Band and has performed at the International Society of Music Education World Conference, Journal’s de la Percussion, MENC National In-Service Conference, Midwest Band & Orchestra Clinic, MusicFest Canada, All-Japan Band Clinic, Texas Bandmasters Association, Bands of America World Percussion Symposium, and at several Percussive Arts Society International Conventions.
Among his works for concert and marching percussion, Jim has published with Hal Leonard Publishing, C.L. Barnhouse Co., C. Alan Publications, Innovative Percussion, Row-Loff Productions, Meredith Music and Warner Bros. Publications with whom he serves as Percussion Team Author for the Expressions Music Curriculum.
Jim is an endorsee for Innovative Percussion, Evans Drumheads, and is a member of the Latin Percussion Educational Advisory Board. He is a clinician for the Avedis Zildjian Cymbal Company and a Performing Artist for Yamaha Corporation of America, Band & Orchestral Instruments Division.

By: James Campbell

When it comes to contest and festival time, your percussion section usually needs a little more focus and attention to get ready. Remember, they have more instruments to manage, implements to change, setups to move – more details than other sections of the band or orchestra.

The successful percussion section should exhibit a professional approach with every new instrument they play as they negotiate the changing musical environment of a festival/contest program. The instructor or director should also realize that for a percussion section, they will only sound as good as their equipment. All the equipment components need to be addressed to achieve good sound production, especially on accessories such as triangle, bass drum, cymbals, and tambourine. As the teacher, you can help them make intelligent musical decisions by using creativity, imagination, and focused listening in producing good sounds. Your percussion section will contribute more musicality and exhibit a professional attitude if you address these issues.

1.) Move the cymbal player next to the bass drummer (especially for marches). It will be easier for the percussionists to communicate timing, phrasing, and blend if they are next to each other and can maintain both audio and visual contact.

2.) Make an effort to silently pick-up and set-down instruments like tambourine and sleigh bells. Keep these and other accessory instruments on covered stands and padded tables close to the performer. Most percussionists would benefit from having a black towel draped over a flattened music stand for a silent exchange of mallets.

3.) Allow enough time between pieces for the percussionists to re-position the instruments. Avoid the situation where a player has to run across the stage to reach an instrument to perform.

4.) Disengage the snare throw-off switch during rests and silently turn them on again before playing. An unattended snare drum will often ‘rattle’ due to sympathetic vibration from other instruments.

5.) Ensure that there are enough printed parts for each percussionist to have their own copy and make them responsible for their own music folder. Players shouldn’t walk from one setup to another with a piece of music. Have enough stands for each player at each instrument. The conductor should always be in the player’s sight line (mallet players should keep the music stand low to see the keyboard and use peripheral vision to see the conductor).

6.) Hand-held instruments should be held above the music stand for proper projection and clarity. The loop on a triangle clip should be no longer than 1” of fishing line. In this case, all three components of the instrument need to be addressed to produce a good characteristic sound: a quality triangle, a well-designed clip, and a professional beater. Make the instruments visible to be heard: “Do you hear what I’m playing?”

7.) The suspended cymbal should hang freely for maximum response. Avoid having it clamped to the cymbal stand with a wing nut – so tight that it restricts vibration.

8.) Balance with your ears, not your eyes.  The dynamics you see in the score or part are only a guide. A fortissimo suspended cymbal can overpower a fortissimo clarinet section.

9.) The bass drummer should use muffling that can easily be adjusted. The bass drum needs the flexibility to change from short and long note durations (and notes in-between) several times during each phrase. The bass drummer should listen to the parts that they are supporting (often low brass/strings) and match the articulation and sustain. Too much dampening leaves the bass drum sounding like a cardboard box.

10.) Match the size and weight of the cymbal to the music.  A typical festival concert often requires at least 3 different pairs of hand cymbals to be the most effective.

11.) Slow down the single-stroke roll speed on suspended cymbals, timpani, and mallet keyboard instruments to accommodate the natural resonance and sustain of the instrument. Spread the mallets on timpani and suspended cymbal for added resonance; bring them together for clarity. Also think: “What’s the slowest speed I can roll and still sustain a quality tone?”

12.) Play the ‘easy’ accessory instruments with the same artistic consideration as the ‘harder’ percussion instruments. Take every instrument seriously and find the ‘sweet spot’ on each instrument you play – even marking the instrument to achieve a consistent beating spot that produces the best tone.

Percussion Throwdown!

Challenging Your Percussionists to Use Their Finest Ingredients

As a teacher, I have always found a lot of parallels between cooking and musical performance. A memorable 3-course meal includes an appetizer, entrée, and dessert that are complimentary of each other, and that ultimately create a sum that is greater than their parts. Similar to a 3-course meal, a well-prepared percussion section needs to have all the fix-in’s, which includes great organizational skills, the ability to think critically, and musical intuition.

Preparing Your Ingredients

T-I-M-P (this wouldn’t be a clinic without an acronym, right?)

Preparing a meal requires planning and decision making ahead of time, and the same is true for expressive performance in percussion. A chef needs to have all of the ingredients available, and know which ones are best for which situations. For percussion, I parallel these ingredients and the knowledge of how to use them to our sound options. There are 4 primary areas that we can think about surrounding sound options on percussion instruments. Check out this recipe card to help you remember!

Choosing Your Appetizer

How do percussionists select which musical sounds are appropriate?

Choosing and creating an appetizer is typically decided upon with relation to what will follow itbin the entrée. In a similar fashion, percussionists need to carefully select their sounds based onbwhat will be needed for thatbparticular piece. We have already created a mental checklist of ourboptions (T-I-M-P remember!), but now we must address how to make a selection?

The following areas are things that I try to keep in mind when I am deciding what instrument(s) to select in any given piece of repertoire.

A good rule of thumb is that a pure sound (a sound free of rattling hardware and choking pads) is usually a great choice and typically considered “characteristic” of that instrument. In most situations, we need to consider at least one of the above areas to help us make an informed decision about our instrument and the way we play it.

/// History ///
The warmer, more robust snare drum sound that is characteristic of a march requires a deeper drum when performing Stars and Stripes Forever by John Phillips Sousa.
/// Orchestration ///
The triangle part in Alfred Reed’s Armenian Dances requires a very different instrument than the part that Rossini wrote in William Tell Overture.
/// Character ///
The opening entrance in John Adams’ Short Ride in a Fast Machine sets the tone for the work, as the woodblock carries on throughout the piece.

Preparing the Main Course / Entree

How do we tangibly address Expression in percussion?

In any 3-course meal, the entrée is the focal point, and can stand on its own without the appetizer or dessert, as necessary. The same can be said about expression in percussion performance. Regardless of how many instruments or mallets are available for selection (yes, not every school has 4 tambourines to pick from), we can always work harder to take great care of what we do have, and make sure we always sound our best. “A good craftsman never blames his tools” they say, and the same is true in music — a great musician will shine through regardless of what instrument they are playing.

For an average percussion student in a private lesson, having the notes and rhythms learned at a moderate tempo is good progress for a week’s work, but we have to make sure that we insist that students work towards expressive musical performance as well. I have had the most success with this by assigning small “bite-size” sections, which allows us to dig deeper into these areas of musicianship.

Dessert! Putting on the Final Touches

Interpretation: It is important not to let the music get lost in translation.

“Music is not written to tell you what you should play; it is written to show you what the audience should hear.” – Frederic Macarez

Once a chef reaches more advanced levels, a unique spin or style is added that usually makes their dish standout. This may be the result of how a certain dish was prepared or what dessert was offered that “completed” the meal. In music, we often desire a similar experience. We expect that the instruments will sound great and the person playing them has an intuitive
performance ability. However, any inspiring musical performance also has that “unique spin” that frequently is a product of interpretation.

In percussion, we are the most susceptible to questionable markings from composers and it is increasingly important that we are active listeners. It is very common to see suspended cymbal played with “soft stick” or “timpani stick,” both of which are out-of-date directions. Many parts require that percussionists rely heavily on their ears in rehearsal to make the appropriate performance decisions.

My Favorite Ingredients from Today:

Snare Drum
✦ Drumheads
✓ 14” Evans Strata 700 Batter Head
✓ 14” Evans Orchestral 200 Snare Side Head
✦ Sticks
✓ Innovative Percussion James Campbell Series Snare Drum Stick, IP-JC & IP-JC2
✓ Innovative Percussion Chris Lamb Series Snare Drum Stick, IP-CL1, IP-CL2, IP-CL3
Keyboard
✦ Marimba
✓ Yamaha 5100 Series 5.0 Octave Rosewood Marimba
✦ Vibraphone
✓ Yamaha YV3710 Glossy Gold Bar Vibraphone
Tambourines & Triangles
✦ Black Swamp SoundArt Series 10” Double Row TD1: Chromium 25
✦ Black Swamp SoundArt Series 10” Double Row TD2: Phosphor Bronze
- – - -
✦ Black Swamp Spectrum Triangles (6” & 8”) – SPT6 & SPT8
✦ Black Swamp TRCLIP (Triangle clip) & TRHANG Triangle Holder
✦ Black Swamp Spectrum Triangle Beaters (Double Set – SPSET-2)
✦ Black Swamp TGP Gig Pack
Cymbals
✦ Zildjian 18” K Constantinople Crash Cymbals

“Come Back Real Soon!”

Please consider keeping in touch. I always welcome the opportunity to share ideas with others and learn from so many great educators and artists in our community. You can reach me / follow me at:

Web     http://www.andybliss.net    Twitter   @andybliss /// @UTPercussion
Email   abliss@utk.edu   Facebook  http://www.facebook.com/UTPercussion

ANDREW M. BLISS, DMA

Andrew Bliss is a versatile percussionist, specializing in the performance and education of contemporary solo and chamber music. His work has been heard at the Banff Centre for the Arts (Canada), the SEAMUS National
Conference (IN), the LiveWire Festival (Baltimore, MD), the Intermedia Festival (Indianapolis, IN), and at multiple Percussive Arts Society International Conventions. A devotee of commissioning and creating new works involving percussion, Bliss regularly works with composers such as John Supko, Christopher Adler, Mark Applebaum, and John Luther Adams.

Andrew is the Artistic Director of the nief-norf Summer Festival and co-founder of the nief-norf
Project, the organization’s performance ensemble which is currently preparing commissioned works by Michael Gordon, James Wood, and Martin Bresnick. He also regularly appears with pianist Mabel Kwan as Nothing in Common, works with multi-media artist John Pobojewski, and was a founding member of the Base4 Percussion Quartet.

Equally committed to education, Andrew is the Assistant Professor of Percussion at the University of Tennessee, where he serves as Director of Percussion Studies. He has been featured at the Midwest Band & Orchestra Clinic, the National Conference on Percussion Pedagogy (NCPP), and at the Association for Technology in Music Instruction’s (ATMI) National Conference. He has held faculty positions at the University of Tennessee at Martin, Centre College, and the University of Kentucky, and has also taught at the Music for All Summer Symposium, served as front ensemble caption head for the Madison Scouts Drum & Bugle Corps, and has given a variety of masterclasses throughout the U.S. as well as in Bangkok, Thailand and Stockholm, Sweden.

His research interests involve music and number as well as the trajectory of the percussion repertoire within sociological, historic, and cultural contexts. As such, the findings of his DMA document, which surrounded the music of David Lang, have been presented at the the 2nd International Conference on Music and Minimalism (Kansas City, MO) and in Zagreb, Croatia at the CMS International Conference.

Andrew received his DMA and MM in percussion performance from the University of Kentucky and his Bachelor’s degree from Northern Illinois University. He is proud to be a Yamaha Performing Artist and to have the generous support of Innovative Percussion, Evans Drumheads, and Black Swamp Percussion Instruments and Accessories. His primary teachers
include James Campbell, Rich Holly, Robert Chappell, Orlando Cotto, and Liam Teague. A native of Illinois, Andrew currently resides in Knoxville, TN with his lovely wife Erin, their dog Chloe, and their three cats Bo, Dora, and Fiona.

“Orchestral” Compared to “Rudimental” Drumming

By: Dennis DeLucia

Dennis DeLucia is one of the most respected percussion teachers, arrangers, clinicians and judges in the United States.
He is best known for his accomplishments with championship drum corps including the Hawthorne Muchachos, Bayonne Bridgemen, Star of Indiana and the Crossmen; senior corps such as the Sunrisers and Caballeros; and championship bands such as Piscataway High School (NJ). His drumlines have won sixteen championship “High Percussion” titles, including the only Triple Crown in drum corps history – (1981). He appears as an expert analyst on the telecast of D.C.I. finals on PBS and serves on the Task Force for W.G.I. Indoor Percussion. He is the first percussionist to have been inducted into both the World Drum Corps Hall of Fame and the Drum Corps International Hall of Fame.
He is an Associate Professor of Percussion at Rutgers University, teaches at Piscataway High School (NJ), and has two books currently in print: “The Drummer’s Daily Drill” (1998) and “Dennis DeLucia’s Percussion Discussion” (1995).

This article is designed to separate the study of snare drumming into two categories: “Orchestral” and
“Rudimental”. While many elements are identical (a quarter-note = 1 beat; a half-note rest = 2 beats, and so on), some significant questions arise.
1. Are the rolls played “open” or “closed”?
2. What sticking should I use?
3. How loud is forte?
4. How much flexibility does the performer have to interpret a phrase?
5. Are there differing philosophies in regard to “Time” and “Technique”?

The chart below will attempt to answer these, and other questions.

 

Originally posted as part of Yamaha’s “Tips From the Pros” campaign

Electronic Percussion in the Classroom

Dr. Norman Weinberg is an associate professor of
music and coordinator of percussion technology at
The University of Arizona. He has served as the
principal timpanist/principal percussionist with the
Corpus Christi Symphony Orchestra and as principal
timpanist with the Jerusalem Symphony
Orchestra, the Evansville Philharmonic, the Spoleto
Festival Orchestra, and the Leonard Bernstein
Festival Orchestra. Currently he performs with the
Arizona Opera. A prolific author, Norman is an
associate editor for Percussive Notes, and a regular
contributor to Drum! magazine. His book, The
Electronic Drummer, is a part of the Modern
Drummer Library and is distributed by Hal Leonard
Publishing. His most recent book, Guide to
Standardized Drumset Notation, has set a worldwide
standard and is published by the Percussive
Arts Society.

By: Norman Weinberg

An electronic drumset can’t replace its acoustic counterpart, but it certainly can enhance a band program. The electronic drumset is a musical chameleon, able to change its sounds in an instant. Start with a kit that has deep, booming toms; a canon-like bass drum; and a snare that can smash through brick walls. Push a button and you’ve immediately got a kit that would be perfectly at home in a small jazz club—bright resonant toms; a punchy kick; and a snappy, articulate snare.

In the stage band setting, a student can design an electronic kit that will best reflect the style of the music being played. If the piece is a Count Basie chart, the drums and cymbals can have a totally different sound than when the band is playing a more contemporary composition. Not only is  this good for the overall sound and style of the group, but your drummer will gain valuable knowledge concerning instrument selection, tuning, and tone quality as it applies to musical style.

However, this example is just the tip of the iceberg. Contemporary electronic drumsets contain thousands of instruments. Examine the sounds in an electronic kit, and you’ll find all the components of a standard acoustic drumset—hundreds of snares, toms, bass drums, and cymbals—but you’ll also discover a full complement of sound effects, ethnic instruments from around the world, and melodic percussion instruments such as xylophone, marimba, vibes, chimes, crotales, tuned gongs, and more. Since each sound is a digital recording of the actual instrument, the sonic accuracy is quite good. In fact, if you haven’t heard one of these electronic kits in a while, you owe it to yourself to hear just how good the current technology sounds.

Each of the digital recordings can be edited to create even more variety. On most electronic drumkits you can tune the instruments to cover a range of several octaves. Instruments can be programmed to have a shorter or longer decay, more or less treble and bass, and even include different types of audio effects such as reverb or echo.

With so much variety, you may find yourself tempted to use the sounds inside an electronic kit in other ensembles. As the world continues to get smaller, the number of percussion instruments that swell the composer’s pallet grows. The contemporary wind ensemble and percussion ensemble repertoire often calls for extended range instruments, exotic instruments, sound effects, and even “found” instruments (bowls, glasses, bottles, cans, etc.). For example, the conga sounds included in an electronic drumkit may not be as versatile as the actual acoustic instruments, but they can be a viable instrument substitution if acoustic congas aren’t available. Certainly, they would be a better choice than substituting marching tenors! Need the sound of a low church bell, a canon, a Chinese cymbal, or even a set of tuned cowbells? You can find them in the sound set of an electronic drumkit.

A Few Hints

When blending electronic percussion instruments with acoustic instruments, there are a few important matters to consider: First, use a sound reinforcement system that can handle the extreme high and low frequencies that electronic drums offer. Electric guitar or bass rigs are designed to enhance the sound of those instruments, and neither will correctly reproduce all the sounds of percussion instruments. Good choices are professional quality systems designed for the stage amplification of keyboard synthesizers. Pick one that has a large woofer (12 or 15 inches in diameter) for the lows and a high quality horn for the high frequencies. It’s true that the quality of the kit can’t improve the sound coming out of the speakers, but the quality of the speakers can improve the sound coming out of the kit.

Have the speaker (or speakers if you’re using a kit’s stereo capabilities) placed close to the performer so that the sound will come from approximately the same physical space as the instrument. Having the speakers positioned behind and to the side of the player will enable the performer to hear him or herself clearly. Doing so will help the player feel more connected to the sound and will better integrate the sound into the group in a more natural way.

Be certain to give your players enough time to adjust the instrument to their playing style and adjust their playing style to the instrument. It really is a two-way street. Controlling the performance dynamics is much more than simply turning the amplifier louder or softer. Players must feel comfortable controlling the dynamics as they are playing. Even though electronic percussion instruments are played with sticks, they feel and respond differently than acoustic percussion instruments (somewhat similar to the way a piano feels and responds when compared to an organ, even though they both use keys). Adjusting each pad’s sensitivity, along with the threshold, velocity curve, and overall MIDI response of the kit will go a long way toward making the instrument play in a natural manner.

Originally posted as part of Yamaha’s “Tips From the Pros” campaign