Percussion 101 – WELCOME BACK
Prof. John Kilkenny, clinician
2013 Virginia Music Educators Conference
The Homestead, Hot Springs Virginia
Percussion is terrifying. I know. Really.
My goal in the next hour is to make all of what I do a little less scary. Our session today
divided as follows:
1. Snare drum
2. Timpani
3. Mallet percussion
4. Tambourine
5. Cymbals
6. Percussion ensemble literature
I would like this to be interactive, please join in and play – why would you sit back when
you can get up and play drums!! I hope to push us through an enormous amount of
information in a short period of time. So – here we go!
Your clinician
John Kilkenny (B.M, The Juilliard School, M.M. Temple University) is currently
Director of Percussion Studies and conductor of the percussion ensemble at George
Mason University. The percussion ensemble has recently toured the Pacific Northwest to
perform at the Western International Band Conference and has been featured at the
College Music Society Mid Atlantic Conference and the John F. Kennedy Center for the
Performing Arts. Ensemble and academic opportunities include new classes in
Percussion literature and pedagogy, indoor drumline, as well as Afro Cuban and steel pan
ensembles.
Hailed by the Washington Post as a “ Particularly fine timpanist”, John enjoys a
multi faceted career that includes orchestral performances with the National Symphony,
Washington National Opera and Ballet, Washington Concert Opera, Cathedral Choral
Society, Washington Chorus, Choral Arts Society, and virtually every other Washington
DC area performing arts organization. A champion of contemporary music and an active
chamber music performer, he collaborates regularly with flautist Karen Johnson, pianist
Carlos Rodriguez, the Folger Consort, Washington Bach Consort, The Verge Ensemble,
21st Century Consort, and the National Gallery New Music Ensemble.
John is artist in residence at the Sewanee Summer Music Festival and has served
in similar capacities at the University of Maryland (summer 2005-2007) and Indiana
University (summer 2008-2010). Sought after as a clinician and guest conductor, he has
appeared at the Sewanee Summer Music Festival, Juilliard Summer Percussion Academy,
John Philip Sousa Foundation National High School Honor Band, the Music for All
Summer Symposium, Western International Band Conference, The Virginia Music
Educators Conference, and at several universities throughout the country. John is a
Yamaha Performing Artist and proudly sponsored by Vic Firth mallets, Zildjian cymbals,
and Remo percussion products.
Snare drum
Before you begin
1.
2.
3.
4.
5.
Check hand position - use “thumb test” and stick placement through the valley of the hand.
WHERE IS YOUR FULCRUM?!?
Consider playing spot on the drum/pad
Develop the idea of a “piston” stroke
Start to introduce the concept of down strokes, upstrokes and full strokes right from the start.
General Warm-up
1.
2.
Start with single strokes, 8 bars of quarter notes in each hand. Metronome starts at 100, topping
out at 180. FULL STROKES ONLY. All Right hand, all left -hand, then alternating. (5 minutes)
Then – crescendo/diminuendo in each hand, and alternating- starting at the same, slower tempo,
and moving to 180
Rudiments
I tend to sequence the rudiments in the following order – so that by the end of a given school year, or
similar sequence of lessons in a studio setting, a student would be able to play the rudiments listed below.
1.
2.
3.
Single stroke rudiments
a. Single, double and triple paradiddles
b. Single stroke 4
c. Single stroke 7
Flam rudiments
a. Flam
b. Flam tap
c. Flam accent
d. Flam paradiddle
Drag (ruff) rudiments
a. Drag
b. Drag tap
c. Double drag tap
d. Lesson 20
e. Drag paradiddle #1 and #2
f. Single, double and triple ratamaque
BE SURE TO CHECK OUT THE VicFirth.com RUDIMENT PAGE – your students will find it
exceptionally helpful
http://www.vicfirth.com/education/rudiments.php
Rolls
1.
2.
3.
4.
Double strokes – 8 in each hand, focused on the SECOND note of the double – think about lifting
out of the rebound (3 minutes)
Triple stroke – similar to above, focus on the third bounce
Buzzes – 8 in each hand, thinking about balance from hand to hand, at various dynamics (3
minutes)
Hands together, at the same time, and alternating, at various dynamics (4 minutes)
a. Again – focus on balance, evenness, sound, and relaxation.
Reading
1.
2.
3.
Both rudimental and “concert” style etudes
a. Wilcoxon, Pratt, Harr book 2 etc.…
b. Goldenberg, Whaley, Podemski, Reed
Consider sequencing of method books
a. Primary handbook for snare drum/Harr book 2
b. Intermediate snare drum studies/Wilcoxon 150 rudimental solos
c. Podemski snare drum method/continue Wilcoxon
d. Modern school for snare drum/Pratt 14 modern contest solos
Daily reading is critical to development
Timpani
Tuning
1.
Quality timpani playing starts with proper tuning, and the ability to hear and match pitch.
a. Keep a vibraphone near the timpani, have students play the note, hum the note, and then
try and match the pitch.
b. Do not use pitch pipes!!!!!
c. Keep a chromatic tuner on the timpani stand, and use it to train your students.
d. All students have “tendencies” in their tuning – some ride sharp, some flat. A tuner will
help them recognize their tendencies and correct problems.
e. Remember – those of us without perfect pitch will hear pitch best in our vocal range. So,
students will hear things differently as they age, and will need regular work on singing
and pitch matching in order to gain, and maintain, quality relative pitch.
Tone/sound production
1.
2.
3.
4.
Lift!!! – What does that really mean?
a. Stroke types – down, up and full.
b. Stroke speed – slow, regular, fast
Grip – allow for freedom of motion.
The way you hold the sticks doesn’t matter as much as the fundamental idea of FREEDOM OF
MOTION – get off of the drumhead!!!
Consider the concept of “two playing spots” the place where you start, and the place where you
stop.
Moving from one drum to another
1.
Pay close attention to “strike zones”
a. Students tend to play far to close to the edge
b. Typically, the best playing zone will be about 2.5-3 inches in from the edge, and in
between 2 lugs.
Other items to remember about timpani
1.
2.
3.
Have an array of mallets to choose from. As a starting point, I recommend the Tim Genis model
of timpani mallets made by VF.
a. Keep your mallets in a plastic bag
b. DO NOT let your students pull, rub or touch the felt – ever.
Keep a mirror close to the timpani match stick heights.
Keep an eye on the pedals – make sure they are moving in without impediment.
Keyboard Percussion
Scales – SCALE JAIL
1.
2.
Most percussionists do not start on a pitched instrument, so they are starting at a disadvantage
from even your most beginning student on another instrument
a. Develop a basic understanding of music theory from the start
i. The structure of major scales
b. Start with the circle of 4ths, since they are playing in band keys
i. Have your students play the tonic of each scale, in order of both the circle of
4ths and 5ths.
Draw parallels with other concepts in percussion
a. Full strokes
b. Piston strokes
c. Playing spot on the keyboard- this is an area that most people IGNORE! Consider where
you hit the instrument
Pattern exercises
1.
2.
3.
Block and broken 4ths and 5ths.
Group your arpeggios into visual patterns
a. Group 1 - C, F, F#, G
b. Group 2 - D, E, A
c. Group 3 - D (flat) E (flat) A (flat)
d. Group 4 - B and B (flat)
Up 5, down 5
a. Extended up 5, down 5
b. Standard 8th note pattern, and various rhythm patterns.
Reading
1.
2.
3.
4.
Have students listen and play back basic melodies
a. Use duets as well
b. READ DAILY
Use basic scale based readings and melodies to teach fundamentals concepts reading mallet
percussion music
a. Recognize patterns – which way is the melody moving?
b. Is the melody based on scales or intervals/leaps
c. What is they key? Does the key change?
d. Focus on proper reading of rhythm – rhythmic accuracy will likely improve note
accuracy
e. IMSLP is an amazing resource for developing a reading book
Move the music stand up – so students cannot look down
Use large cardboard sheets to cover the hands of players, so they cannot look down
Cymbals
Cymbal playing is great fun when done correctly, but can be a major source of stress for students who are
not familiar with some basic principals. The following are tips; suggestions and exercises that should help
improve your playing, and give you a basic approach to the instrument. Some are my own; some I have
“borrowed” from colleagues, and some come directly from my teachers and mentors. All are designed to
help you get a great cymbal sound. Happy crashing
Keywords/phrases
I like to have a few, short phrases or keywords that I keep in mind when I crash. I can change the
keywords depending on the style of music I am playing, or the
Ensemble I’m working with. Below are a few ideas to get you started:
Point of contact, dark, follow through
Sound, warm, open, rotation, impact, bright, clean, on point
The sound is the thing….
A terrific crash can be the highlight of a concert - and a poorly executed crash and ruins a musical moment.
Crash cymbal playing can be boiled down to three fundamental items:
1.
2.
3.
Sound is effected by distance, size and shape of the rotation
Sound is effected by velocity (speed) you move into, and out of the crash
Sound if effected by what you do at the moment of impact
So – you should be thinking, always, about sound, and fit your mechanics to make the sound that you want.
YOU control the cymbals, not the other way around.
So, how do you achieve a constant, quality sound????
Hand Position
1.
2.
3.
4.
Grip the straps so that only a small amount of your hand actually touches the cup/bell of the
cymbal. Use high quality leather straps
Cymbals should be held perpendicular, not parallel to the ground, they are not hi hats.
Do not place your hands through the straps, but hold them like snare drum sticks
Your dominant hand should be on the bottom, working AGAINST gravity. Your weak hand is on
top, working WITH GRAVITY.
Rotation
1.
2.
3.
4.
5.
Think about the sound you are trying to create
a. What is the character of the music? Are you playing a march, or a transcription? Do you
need the sound to sustain, or have a clean attack with little resonance?
Locate your “point of impact”
a. The closer to the bell, the bigger the “flam” the closer to the edges, the more likely you
are to have an air pocket
Move your bottom cymbal up to meet the top cymbal, while at the same time dropping the top
cymbal down to meet the bottom.
a. You should create a circular rotation
FOLLOW THROUGH – this is a big mistake many young players make, once you crash the
cymbals together, you need to keep moving!! Follow through on the crash so that you complete
the rotation, and return to your set position.
Muffle logically – if the band/orchestra is holding a note, you should as well, if they are cutting
off, then follow them. LISTEN, and match your sound to the sound of the band/orchestra
Tips for practice
1.
2.
3.
4.
Practice one cymbal at a time
a. Leaving the top hand still, holding the cymbal, rotate the bottom cymbal up – focusing on
the POINT OF CONTACT. Work to make this constant. Repeat the process, this time
leaving the bottom cymbal still and rotating the top cymbal down. Watch the impact
point, and the follow through2
Practice in front of a mirror – WATCH YOUR STANCE
a. This a good idea for any percussion instrument, but particularly for cymbal playing. Use
the mirror to locate and watch your point of contact, observe your follow through,
rotation etc.…
b. Make sure you are standing with your feet shoulder length apart, with one foot slightly in
front of another
Use early snare drum etudes for cymbal practice
a. Any beginning snare drum book (Harr, Podemski, Ted Reed, Goldenberg etc.…) can be
used as an etude book for cymbals. Play through early etudes, with a metronome
Don’t forget soft crashes!!
a. More often then not, if you play an audition, you will be asked to play soft crashes, make
sure you work on that too.
REMEMBER – CYMBAL PLAYING IS ALL ABOUT CHARACTERISTIC SOUND –
YOUR STUDENTS MUST HAVE THE RIGHT SOUND IN MIND BEFORE
PLAYING A NOTE. USE MODELING TECHNIQUES, RECORDINGS, AND
“KEYWORDS” TO HELP RE-INFORCE SOUND CONCEPTS
Tambourine
Tambourine playing has increasingly become an important part of wind band literature, particularly over
the last 20 years. Beyond repetitive rhythm patters, we are seeing composers employ advanced techniques,
including thumb rolls and complex rhythm patterns across the dynamic levels.
Single notes and rhythms
Dynamic
First finger, unbraced with thumb
Middle finger, unbraced
Middle finger, braced with thumbs
First two fingers, braced with thumb
Three fingers, braced with thumb
Four fingers, braced with thumb
Fisted fingers
ppp-p
ppp-p
p-mp
mp/meno F
mf-f
mf-ff
f-ff
Fast Rhythms
For loud, fast rhythms, I try to play as much as I can “up” and not play off my knee or turn the tambourine
over. If the tempo is really moving, I will play “knee/fist”. Make sure you match your playing spots, from
the shell to the knee
For softer rhythms, you have some options
1. Off the knee
a.
Place the head of the tambourine on you knee, so that the head is directly on you
knee.
b. Place your hands on the top of the head, and place with your index fingers. Make
sure you are plying directly on top of the jingles
2. On a table
a. Fold a bath towel or thick cloth lengthwise into a strip approximately 2 inches wider
then the tambourines diameter and roll up from one end into a dense, tight wrap.
You need to use a large enough towel to leave at least 12 inches left after you
complete the roll, which should be at least 3-4 inches high. Place the tambourine
with one edge resting on the roll and the other edge on the flat cloth on the table;
leave the tambourine at an angle to dry up the rhythms. You can then rest the
tambourine on the towel and play all of your soft, fast rhythms on this.
b. Rather then a table, use this same set up, but on a snare drum, which will allow you
to adjust the height.
Practice rhythm patterns and dynamics
1.
2.
3.
Much like cymbal playing, you can use early snare drum method books to practice tambourine.
Pick a couple of etudes, learn them at “F”, and then again, “PP” so you can practice both shake
and friction rolls.
Dynamics control
a. Work on transitioning from knee/fist to all “up”
b. Practice rhythm patterns knee/fist and “up”
Rolls
1.
2.
Thumb/friction rolls
a. Use rosin or bees was to help “catch” your finger on
b. Move both your thumb/finger AND the tambourine
Shake rolls
a. Must be able to execute with both hands, start and end roll with and without struck note,
holding the tambourine up in front or down the side.
b. Practice shake rolls slowly, with different rhythms, starting slowing.
c. Move between 16th notes, 8th notes, triplets etc. All the while staying relaxed and even.
Percussion ensemble repertoire, programming for student development
When selecting rep for middle and high school ensembles, you must first answer a few critical questions:
1.
2.
Should you have a percussion ensemble at your school?
a. YES – YOU SHOULD.
Why?
a. Because it is the best way to teach your percussion students how to play
b. If you have a strong ensemble program, your band section will play with greater maturity
sensitivity and ease
c. You will offer your students a more diverse musical experience
d. You will engage your parents and community
e. You can explore a wider variety of musical offerings
3.
But my kids/parents don’t want to, don’t think it will be fun, don’t like the music, they don’t
understand?.?.?
a. Kids only know what we tell them – that is one reason is it fun to teach middle and high
school. If we present them with a high quality musical experience, that they can do
together, for a shared goal, then they will want to be a part of it.
b. I have found that parents, in general, just want their kids to be doing something other then
getting into trouble, and to be involved with their kids. You can create opportunity for
parents to be involved
c. It is OUR job as musicians and educators to lead students, the parents and the
community. Educate them, and offer them high quality musical experiences. Don’t
follow, lead.
1.
2.
Who is the target audience?
Why am I starting an ensemble? What are the musical goals? Community goals? Student
goals?
Who will teach my ensemble?
a. If you are near a larger city, you will likely be able to find a professional percussionist
looking for a teaching opportunity.
b. If not, there is likely a college near you that would have a grad student, or an advanced
undergrad who can help you
Facilities and space?
a. How much room do you have?
b. Where will your ensemble rehearse
c. What type of equipment do you have, and what will you need to get in order to outfit a
basic ensemble?
Where do I find the music?
a. Start with Google. Google “percussion ensemble music”, or “middle school percussion
ensemble”.
b. Find out what is happening in your community or in your state, there is likely ONE
person with an ensemble. Call them.
c. Check out the local PAS (Percussive arts society) chapter.
d. Youtube.
e. The following composers are active in the percussion medium, particularly music for
early and mid level ensembles – this is NOT a representative list, just a small sampling
to help start your search
i. James Campbell, Ralph Hicks, Nathan Daughtrey, John Beck, Chris Brooks,
Jared Spears, Lynn Glassock, Tom Gauger, Christopher Deane, Anthony Cirone,
Mark Ford, Blake Tyson.
Ok – I want to do percussion ensemble, now what?
3.
4.
5.
f.
Check out the following percussion websites, search for percussion ensemble music
i. Steve Weiss Music
ii. C. Alan Music
iii. Row-loff productions
iv. Bachovitch music
v. Drop 6 productions
vi. Tap space
vii. Meredith music
viii. Honeyrock
ix. House Panther Press
g.
h.
Visit all the booths at the Midwest clinic and your local state conferences
Check out the Leopard percussion series with Hal-Leonard. The Louisville Leopards are
an amazing group of young percussionists.
http://www.louisvilleleopardpercussionists.com
Check out the Percussion Scholarship program. This is a program of the Chicago
symphony and is directed by CSO percussionist Patricia Dash.
http://cso.org/institute/youngmusicians/PercussionScholarship.aspx
i.
6.
What kind of music should I select?
a. This is a totally subjective, based largely on the level of your students, the reality of your
time, space and equipment, and the experience of your instructor. The following
questions will help you develop priorities for your ensemble
i. What do my kids need to know/play to become better players?
ii. What will help them become better ensemble players? What will help them have
a better sense of shape, phrase, sound, tone etc…
iii. What will they enjoy playing?
iv. What will the parents what to hear?
v. What will win at competition (I NEVER asked this question)
7. Should I play Christmas music? Or a piece with buckets? Or Balloons? Or
pieces where they bang on music stands? Or this great Justin Beeber tune transcribed for
percussion ensemble?
a. I offer my answer this way – I love Ben and Jerry’s New York Super fudge Chunk ice
cream. Once in a while, I have some. If I have too much, I get sick, after all, it is just
milk, eggs, and sugar, cream. But it sure is nice once in a while. Likewise, if I have
nothing but really complex, hard to create, stressful-to-make dinners every day, I get tired
too.
8. Where should we play?
a. Holiday concerts, spring concerts, “stand alone performances”
i. I use to do a “benefit concert” every January, before festival/assessment time.
Show off all of our percussion activities, feature student soloists, faculty
soloists, and the ensemble. Invite other HS groups, Middle School groups.
Make it a big deal, to give the kids and the parents a goal to work towards.
b. Middle school recruitment tours
c. Partner with the local college ensemble for a shared program
i. I cannot think of any college ensemble that would turn down the chance to have
a group of HS students at their school.
Sample programming:
This semester, I taught a literature and pedagogy class at George Mason University. Below are a few
sample programs, which I asked my students to create. I think you will find them useful for your own
schools. This is not meant as an endorsement of any of these works, but a place to get you started.
Beginning literature (for younger groups, or newly formed HS ensembles)
Piece
Composer
Notes
Tri Cycles
Michael J Roy
for 3 snare drums
Rechargeable Batterie
Eric Rath
mostly for accessories
Traumatic Chromatic
Ralph Hicks
keyboard and percussion
Multitasker
Ralph Hicks
A taste of the Classical
arr. John Hearnes
basic transcription of classic music
March of the Emperor
Chris Brooks
10-12 players, basic instruments
There are many great arrangements and settings from Hal Leonard, C. Alan and Meredith Music
Intermediate literature – this is the hardest category to fill, given the wide range of ability categorized as
“intermediate”. Your group has been established for a year or two, some kids take private lessons
Piece
composer
Notes
Various Xylophone Rags
G.H. Green
Setting of novelty music from the 1920’s
The Gilded Cage
Susan Powell
percussion quartet
October Mountain
Alan Hovhaness
percussion sextet
Power Struggle
Nathan Daughtrey
mixed of pitched and unpitched instruments
Techno-Pop
Nathan Daughtrey
inspired by techno dance music
Spiritus!
Jared Spears
small set up of percussion, teaches basics
Outbound
Chris Crockarell
9 players, mixed instruments
Batik
James Campbell
larger set-up, some mixed meter
Jazz Variants
John Beck
a classic, used drumset and keyboards
Advanced Literature – this music can be approached by more experienced HS players. If you are
considering this literature, you likely have a strong marching percussion program, a percussion specialist,
perhaps a percussion class or an established after school ensemble program
Piece
Christopher Rouse
drumming
Christopher Rouse
Dragoon
Marimba +6
Ceiling full of Stars
Sharpened Stick
The Doomsday Machine
Chameleon Music
Composer
Ogoun Badagris
notes
quartet, based on Haitian
Ku Ka Ilimoku
Lynn Glassock
Christopher Deane
Blake Tyson
Brett Dietz
Michael Burritt
Dan Welcher
quartet, Hawaiian drumming
6 players, one marimba
percussion quintet
percussion quartet
“percussion orchestra”
Conclusion and Thank you
So – there you go, an entire semester of percussion in one hour. PLEASE let me know if you have any
questions. A most sincere thanks to the leadership of VMEA for the opportunity to be a part of the 2013
conference, and for being such great hosts! Please stay in touch and feel free to contact me if you have any
questions!! Good luck!
George Mason University School of Music
music.gmu.edu
The Sewanee Summer Music Festival
www.sewaneemusicfestival.org
The Yamaha Corporation
Vic Firth
Zildjian
Remo Percussion Products
John Kilkenny
Jkilken1@gmail.com
www.johnkilkennypercussion.com