Percussion Studio Handbook
And Syllabus
Dr. Michael Waldrop
509-359-6120
mwaldrop@mail.ewu.edu
Eastern Washington University
Dr. Michael Waldrop
509-359-6120 Office 143
mwaldrop@mail.ewu.edu
PERCUSSION
APPLIED LESSONS HANDBOOK
Lessons are divided into ten assignments, with the material of each
level divided accordingly to assist individuals in pacing themselves
throughout the semester.
It is the responsibility of students to prepare material prior to their
scheduled lesson time. The assignments are arranged to allow ample time
for preparation. Students should give notice if they cannot attend a lessson.
This can be done by making a phone call , placing a note on the door, or
placing a note in the teacher’s box (in the music office). Failure to notify
your instuctor can affect the final grade. 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.
The student will be allowed one absence; after that each absence
lowers the final grade by a letter. The student is also responsible for Friday
Convocation Hour Attendance and Performances. Everyone is required to
perform at least once, except for those students who are studying percussion
as a secondary instrument or who aren’t music majors. Failure to perform,
as well as excessive absences (2-3) from Recital Hour, can affect the final
grade. Additionally, students are also required to attend all student, guest
artist and faculty percussion recitals in a given semester and to assist with
equipment movement for these recitals. A list of percussion events will be
posted during the semester which will list all required performances. Failure
to attend and assist with equipment movement will result in the reduction of
the student’s grade, at the teacher’s discretion.
ESSENTIAL MATERIALS FOR THE PERCUSSION STUDENTi
The student will need to have a number of different sizes of snare drum sticks
ranging from light(7A), Medium( 5A, 3A) to Heavy(2B, 3S). The student will need a set
of 4 matched medium soft marimba mallets. A pair of General size timpani mallets are
also needed. Students focusing on drumset will need to have a set of cymbals(2 rides, a
crash and hi-hats).
The above listed materials are the bare minimum. Obviously a percussionist
should work over a career to acquire as many different types of mallets and sticks as
possible. However, the requirements listed above will suffice for the short term for the
new student.
The methods and solo repertoire listed below can be obtained at the area music
stores. Music that is not at these two stores can be mail-ordered through various stores.
An excellent source for both mallets/sticks and printed percussion music is Steve
Weiss Music PH:215-659-0100. I have a number of catalogs for them, which I will be
glad to loan you.
Students should strongly consider joining the Percussive Arts Society. Emembership is 25$ for students. You can access the website and join at www2.pas.org.
PRACTICE ROOMS
The main percussion practice room is 143. There is the large 5 octace
Adams marimba, a snare drum on a stand, a set of five timpani, vibraphone and
xylophone.
Adjacent to 143 is room 141A; this room is a drumset teaching studio and
practice room. There is an alcove of five rooms reserved for percussion practice, they are
assigned as follows: Room 136A is a drumset practice room with a student kit, Room
137B houses a 4 octave marimba, 137C is a room with an Roland RMP electronic
practice pad and various auxiliary percussion instruments, 137D has a 4 &1/3 marimba,
137E holds a pair of 29” and 26 timpani. There is another room in the northwest alcove,
Room 140D with a 4 1/3 marimba. Room 130 is a large practice room housing a drumset
and a vibraphone. All rooms will have a schedule and students will be allowed to sign up
and reserve an hour a day in each room. The student is encouraged to practice more than
the assigned hour of course and you may sign up for an hour in every room. If the room
is vacant then the student is welcome to practice outside of his/her assigned time.
PURCHASING MUSIC
Students are required to purchase the music and books as assigned by their applied
professor. Copies of music are illegal and not acceptable. Failure to properly obtain
assigned music will result in the reduction of the grade. Music on the syllabus can be
obtained at local music stores and through ordering out of state from stores such as Steve
Weiss Music and JW Pepper.
SNARE PROFICIENCY
Facility in snare drum playing is the foundation of good technique in the
performance of virtually all Western percussion instruments: timpani, mallets, and
drumset. Snare drum study is the time when the student can focus on stick control,
articulation and execution of the four basic strokes (single, double, flam and buzz),
sticking variations, reading, and finally and most importantly: the musical phrasing of
rhythm.
1800 First Year Materials: Modern School for Snare Drum- Goldenberg, Haskell Harr
Drum Method Volume 2, Stick Control- Stone
2800 Second Year Materials: Portraits in Rhythm- Cirone, The All-American
Drummer- Wilcoxen, Modern Rudimental Swing Solos- Wilcoxen, Stick Control- Stone,
3800 Third Year Materials: Douze Etudes- Delecluse, Advanced Snare Drum StudiesPeters, 14 Modern Contest Solos- Pratt, Master Studies- Morello
4800 Fourth Year Materials: Three Dances- Warren Benson, Six Unaccompanied
Solos- Colgrass, Rudimental Cookbook- Freytag, Pezzo Da Concerto- Zivkovic, The
Noble Snare- ed. Stuart Smith (these are just a few examples of advanced solo material
for snare drum that may be programmable for recital hour or senior recitals,)
Orchestral Excerpts: Rimsky- Korsakov- Scheherazade and Cappricio Espagnol,
Prokoviev- Lieutenant Kije, Ravel- Bolero, Nielsen- Symphony No. 5, BartokConcerto for Orchestra
MALLET PROFICIENCY
The study of mallet instruments is the percussionist’s link to melody and
harmony. There are four main instruments in the mallet family: Marimba, Vibraphone,
Xylophone, and Bells. The main instrument students will focus on will be the marimba
because of it’s extended range. The vibraphone will also be addressed with its additional
difficulties relating to dampening and pedaling techniques. The coverage of xylophone
and bells will be limited mainly to orchestral excerpts.
1800 First Year Materials: Fundamental Method for Mallets Vol. I - Peters, Grover
Transcriptions- Grover, chorales and miscellaneous repertoire
2800 Second Year Materials: Fundamental Method for Mallets Vol. 2, Vibraphone
techniques, lead sheet realization, Intermediate solo literature for marimba (some pieces
listed below under solo literature), Bach Chorales- arr. Waldrop, Sonatas and PartitasBach, Sonatas for Cello- Bach
3800 Third Year Materials: Solo literature(see attached list) for marimba and
vibraphone, excerpts, and jazz improvisation.
4800 Solo Literature:
Intermediate:
Teardrops, Yellow After the Rain, Waves - Mitchell Peters Raindance, Gitano- Alice
Gomez, Monograph IV- Gipson, Etudes Op. 6- Musser, Concertino- Creston, Funny
Mallets I and II Zivkovic, Contemporary Solos and Etudes- Karen Ervin, Preludes for
Marimba- Rosauro
Advanced:
Works for Marimba- Keiko Abe, Two Mexican Dances- Stout, Marimbetudes, Four
Movements for Marimba- Burritt, Time- Miki, Two Movements- Tanaka, Concerto for
Marimba- Rosauro, Rhythm Song- Smadbeck, Grand Fantasy- Helble, Dream of the
Cherry Blossoms- Abe, Drei Fantastiche Lieder- Zivkovic
The above listed works are merely a few well-chosen suggestions; marimba repertoire is
now vast and rich in quality. Students are invited to choose their own repertoire from this
list or from outside the list provided the chosen pieces meet the instructor’s approval.
Orchestral Excerpts:
Xylophone: Porgy and Bess- Gershwin, Colas Breugnon- Kabalevsky, Appalachian
Spring- Copland, Golden Age Polka- Shostakovich
Bells: Sorcerer’s Apprentice- Dukas, Pines of Rome- Respighi, La Mer- Debussy
TIMPANI PROFICIENCY
Timpani is unique among percussion instruments in that it is the only
membranaphone with definite pitch. Timpani playing requires a more legato stroke than
in snare drum playing. The grip used is generally French grip with the palms facing each
other and the thumbs facing up. Perhaps the most challenging aspect of timpani playing
is intonation or tuning. Proficiency in timpani playing is inextricably linked to the
development of the ear. Skill in solfege is essential. Because of these additional
demands timpani study begins in the second year of percussion study, after basic ear
training, keyboard and snare drum skills are attained. The skills gained by playing
multiple drums also transfers to drumset playing.
Materials: The timpanist should ultimately have at least 3 pairs of mallets: soft, medium,
and hard(staccato).
2800 Second Year Materials: Fundamental Method for Timpani- Mitchell Peters,
Etuden fur Timpani- Richard Hochrainer
3800 Third Year Materials Timpani Tuning Etudes- Ron Fink, 32 Solos- Al Lepak
4800 Solo Literature: 8 Pieces for Timpani- Elliot Carter, Raga No. 1- William Cahn,
3 Etudes for 5 Timpani, 4 Verses, 3 Settings- Houliff (this is just a sampling)
Orchestral Excerpts:
Symphonies 5, 7 and 9- Beethoven, Sym. 4- Tchaikovsky, Symphonie FantastiqueBerlioz, The Rite of Spring- Stravinsky, Symphonic Metamorphosis- Hindemith
DRUMSET PROFICIENCY
Every percussionist should have at least basic proficiency in drumset. Orchestral
and classical percussionists are often required to play some drumset in pops type concerts
and contemporary music often requires the percussionist to use his feet playing pedal
percussion instruments such as hi-hat and bass drum. Those percussionists who aspire to
a career in jazz will obviously need to acquire a highly developed proficiency on the
drumset. The following three year program of study is recommended for those
percussionists who wish to focus on jazz and the drumset. For those percussionists who
do not intend to focus on jazz the first year of this program will be sufficient.
The drumset is the highest evolution of western percussion. Mastery of the instrument
requires intensive study, development of independence, memorization of style patterns,
and development of improvisational sensibilities. The use of the feet to such a high
degree is unique in the percussion world. No other percussion instrument in the world
necessitates such an evolved usage of the feet in its playing techniques.
1800 First Year Materials:
Basic Independence Exercises in Jazz and Rock Styles(excerpted from Erskine’s Drum
Concepts), Creative Coordination- Keith Copeland, Essential Styles- Houghton, Studio
and Big Band Drumming- Houghton, Groove Pamphlet- Waldrop, Bop DrummingRiley, Foot Ostinatos- Waldrop
2800 Second Year Materials:
A continuation of the above materials with the intent of finishing them. Two new
materials will be introduced:
Future Sounds- Garibaldi (or Advanced Funk Studies- Rick Latham), Beyond Bop
Drumming- Riley, Solo Transcriptions
Introduction of Song Form playing- The student will begin to a acquire a memorized
repertoire(see below) of jazz standards which he will be able to realize and improvise
over on the drumset.
3800 Third Year Materials:
Continuation of the above materials with the goal of finishing them before the year is out.
The student will continue working on preparing transcribed solos from the three volumes
of North Texas Drumset Transcripitions, Steve Gadd Up Close, and from the other
publications by the Drummers Collective. He or she will also transcribe and notate two
solos from a recorded source in consultation with the professor.
4800 Fourth Year Materials:
Hi- Hat Integration- Jan Prins, Recital Preparation
Initial Repertoire for Song Form Playing:
Blues Tunes: C Jam Blues, Sonnymoon for Two, Billies Bounce, Blue Monk, Mr PC,
Tenor Madness, Blues Walk, Now is the Time, Straight No Chaser,
32 bar AABA Tunes: I Got Rhythm, Salt Peanuts, Oleo, Rhythm-a-Ning, Seven Steps to
Heaven, Scrapple from the Apple, Confirmation
Miscellaneous forms and styles: Doxy, St. Thomas, Blue Bossa, Someday My Prince
Will Come
PERCUSSION ARTISTS TO BE AWARE OF AND TO LISTEN TO:
Here is a brief list of some of the various percussionists in many different fields you need
to know about and listen. It is imperative that you know what the standards are for
excellence in percussion performance and who sets these standards.
Classical Percussion/Marimba:
Evelyn Glennie-Marimba and Percussion(many CD’s available)
Nebojsa Zivkovic- Marimba and Percussion(Castle of the Mad King, Uneven Souls)
Gordon Stout- Marimba(2 CD’s)
Leigh Howard Stevens- Marimba(2 CDs)
She e Wu- marimba
Anthony Cirone-orchestral percussion
Jonathan Haas-timpani
Keiko Abe-marimba
Steve Schick-percussionist
Ney Rosauro-marimba/percussion
Jazz Vibraphone:
Gary Burton
Arthur Lipner
Dave Samuels
Lionel Hampton
Dave Friedmann
Milt Jackson
Bobby Hutcherson
Drumset Artists:
Steve Gadd
Dave Weckl
Steve Smith
Kenny Aronoff
Vinnie Colaiuta
Steve Houghton
Max Roach
Louis Bellson
John Riley
Peter Erskine
Jack DeJohnette
Elvin Jones
Art Blakey
Buddy Rich
Keith Copeland
Manu Katche
Alex Acuna
Dennis Chambers
Omar Hakim
Jeff Hamilton
Greg Bissonette
Greg Field
Dennis Mackrel
Mike Portnoy
Danny Carey
Josh Freese
Phil Collins
JoJo Mayer
Latin Percussion:
Pancho Sanchez
Giovanni Hidalgo
Tito Puente
Luis Conte
Alex Acuna
Manolo Badrena
Nano Vasconcelos
World Music/Percussion:
Glen Velez
Zakir Hussein
Jamey Haddad
Essential Discography for the Drumset Student
This is a brief compilation of some of the most important records ever recorded(also
included are some excellent compilations which give a nice overview of an important
artist’s ouevre. The student should listen extensively to these albums in order to
assimilate style and learn about the great music and drummers that have shaped musical
style. Each album is listed by Style, Artist, Title and Drummer. Albums that are marked
in bold* with asterisk are absolute musts!
Small Group Jazz:
Miles Davis
Miles Davis
Kind of Blue*
Milestones
Jimmy Cobb
Philly Joe Jones
Miles Davis
Art Blakey & The Jazz Messengers
Clifford Brown and Max Roach
“
Sonny Rollins
Sonny Rollins
John Coltrane
“
“
McCoy Tyner
Elvin Jones
Chick Corea
Roy Haynes
Keith Jarrett
Chick Corea
Bill Evans
Peter Erskine Trio
Wynton Marsalis
Herbie Hancock
Four and More*, Nefertiti* Tony Williams
Best of (Blue Note)*
Art Blakey
……………………
Max Roach
Study in Brown*
Max Roach
Saxophone Colossus
Max Roach
Ken Burns Jazz
Max, Elvin, et al
Live at Birdland*
Elvin Jones
A Love Supreme*
“
Ken Burns Compilation
Elvin Jones et al
The Real McCoy*
Elvin Jones
Live at the Lighthouse
Elvin Jones
Friends*; Three Quartets
Steve Gadd
We Three
Roy Haynes
Standards 1,2 and Live*
Jack DeJohnette
Now He Sings, Now He Sobs Roy Haynes
Live at the Village Vanguard Paul Motian
You Never Know, As It Is Peter Erskine
Standards Vol. 1
Jeff Watts
Best of Blue Note
Billy Higgins
Tony Williams
Big Band Albums:
Count Basie
Atomic Basie
Sonny Payne
Count Basie
Straight Ahead
Rufus Jones
Dianne Schurr…..
and the Count Basie Orchestra* Dennis Mackrel
Thad Jones/Mel Lewis
Consummation*
Mel Lewis
Buddy Rich
Best of ..the Pacific Jazz Years* Buddy Rich
Duke Ellington
Ken Burns Jazz Collection*
Sonny Greer et al
(this is an excellent compilation/overview of Dukes ouevre)
Bob Mintzer
Urban Contours
Peter Erskine
Bob Mintzer
Incredible Journey
Peter Erskine
Bob Mintzer
Art of the Big Band
Peter Erskine
Bob Mintzer
The First Decade
Peter Erskine
(this album is a best of compilation of the first 3 titles and other albums)
Gregg Field
The Art of Swing
Gregg Field
Woody Herman
Giant Steps
Ed Soph
Patrick Williams
Sinatraland*
Peter Erskine
UNT 1 O’Clock Band
Lab 75
Steve Houghton
Bob Curnow(with the WDR) Music of Pat Metheny and Lyle Mays
Paquito D’Rivera(with the WDR) Big Band Time
Mark Walker
Electric Jazz: Funk and Fusion(some pop music)
Weather Report
Weather Report
Weather Report
Herbie Hancock
Heavy Weather*
8:30
Domino Theory
Head Hunters*
Alex Acuna
Peter Erskine
Omar Hakim
Harvey Mason
Herbie Hancock
Miles Davis
Thrust
Bitches Brew*
Miles Davis
Mahavishnu Orchestra
Tower of Power
Tower of Power
Chick Corea/RTF
Chick Corea
Chick Corea
Pat Metheny
Amandla, Tutu
Inner Mounting Flame
self titled
What is Hip-Anthology
Where Have I Known You Before
Return to Forever
Light as a Feather*
Still Life, Letter From Home*
Imaginary Day etc.
Pat Metheny
Pat Metheny Group
Peter Gabriel
So*
Jan Garbarek
Visible World
Steely Dan
Aja*
Sting
Ten Summoners Tales
Frank Zappa
Joe’s Garage
Stax: Otis Redding, Al Green etc………..
Motown: Marvin Gaye, Supremes, etc……….
Mike Clark
DeJohnette
Lenny White
Ricky Wellman
Billy Cobham
David Garibaldi
David Garibaldi
Lenny White
Airto Moreira
Airto Moreira
Paul Wertico
Dan Gottlieb
Manu Katche
Manu Katche
Steve Gadd et al
Vinnie Colaiuta
Vinnie Colaiuta
Al Jackson
Benny Benjamin
Latin: Cuban and Brazilian
Cuban:
Los Van Van
Songo, Que Pista
Changuito(congas)
(any CD is good, there are a couple of best of compilations also excellent)
Tito Puente
Dance Mania
Tito(timbales)Mongo
Santamaria(congas)
Tito Puente
Puente Goes Jazz*
“
Tito Puente
Best of (Rhino)* nice compilation “
Mongo Santamaria
Best of , Afro Roots*
Santamaria(congas)
Eddie Palmeiri
Mambo con Conga es Mozambique …………………
Ray Baretto
Handprints*, Que Viva la Musica Baretto(congas)
Ed Uribe(drums)
Cal Tjader
Soul Sauce,..Plays Mambo
Tjader(vibes) et al
Carribean Jazz Project…………..
Dave Samuels(vibes)
Paquito D’Rivera
Havana Café
Sandoval, D’Rivera
Reunion
Michel Camilo
On Fire
Joel Rosenblatt
Batucumbele
Con un Poco de Songo
Mario Bauza
Mambo Kings Play Songs of Love various
(soundtrack recording)
Paquito D’Rivera
Big Band Time
Mark Walker
Alex Acuna
Acuarela de Tambores
Acuna, Giovanni
Hidalgo, Luis Conte
Poncho Sanchez
Soul of the Conga, Latin Soul*
Brazilian:
Airto Moreira
The Essential Airto….
“
The Colours of Life
(also see the Chick Corea albums listed above in fusion)
Milton Nascimento
Miltons
Getz
Jazz Samba*
Getz/Gilberto
The Girl from Ipanema*
Francis Albert Sinatra and Antonio Carlos Jobim*……..
Eliane Elias
Plays Jobim*
Eliane Elias
Three Americas, Fantasia
Eliane Elias
Long Story
Nana Vasconcelos
Saudades, Storytelling
Ivan Lins
Viva Sonhando/Triste
Sanchez, Tony Banda
Airto
“
Dom Um Romao etc
Jack DeJohnette
Erskine et al
Dave Weckl
Nana(percussion)