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1/24/10 Developing Middle School The Problem Building the 21 st Century Percussionist Percussionists Percussion education has grown by leaps and bounds in the past twenty years. Depending solely on your band or orchestra method


  1. 1/24/10 ¡ Developing Middle School The Problem Building the 21 st Century Percussionist � Percussionists � Percussion education has grown by leaps and bounds in the past twenty • years. Depending solely on your band or orchestra method book to develop your percussionist will only take them so far and in most cases leave them lacking in many areas. • These method books often do not properly develop skills needed for young percussionist or only touch a skill set and then quickly move on. Brad Palmer, brad@doublestoppercussion.com • To continue your students’ development, your percussionists need to Sean Womack, sean@doublestoppercussion.com � acquire specific skill sets outside of your method book. January 21, 2010 Alabama Music Educators Association In-Service Conference Alabama Music Educators Conference Developing Middle School Selecting Your Percussionists � Percussionists � This clinic will focus on the development of skill sets needed by middle school percussionists, including the following: • Basic stroke • Legato stroke • Natural sticking • Ability to maintain a steady tempo Piston stroke Alternate sticking • • • Rhythmic aptitude • Down stroke • Scales Up stroke Rudiments • • • Pitch aptitude • Double stroke 1 ¡

  2. 1/24/10 ¡ The Grip � The Stance � • The fulcrum • Drum/Keyboard waist height • Thumb and first finger on the fulcrum • 6-12 inches away from the instrument • Fingers gently wrap around the stick/mallet, • Beads together in the center of head/bar but remain in contact with the stick • 90 degree angle • No space between fingers or the stick Starting the Legato Stroke � Legato Stroke � R R R R R R R R L L L L L L L L • • Legato - in a smooth flowing manner, without breaks between R R R R L L L L R R R R L L L L • notes R R L L R R L L R R L L • R L R L R L R L R L R L • • This stroke should have a full range of motion, starting from the wrist. The fingers should remain in contact with the stick at all R L R R L R L L R L R R L R L L • times. This is the most basic and one of the most utilized strokes These and many other sticking patterns can be found in “Stick Control” • percussionists use. by George L. Stone. These sticking patterns can be developed and used in middle school, as • well as throughout high school. 2 ¡

  3. 1/24/10 ¡ Continuing the Legato Stroke � Legatos with 16 th Notes � Legato Strokes Legato Stroke adding 16th notes Snare Drum Snare Drum � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � R R R R R R R R L L L L L L L L R R R R R R R R L L L L L L L L R R R R R R R R L L L L L L L L � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � R R R R R R R R L L L L L L L L R R L R L Sim. The Piston Stroke � The Piston Stroke � The Piston Stroke The piston stroke is utilized on keyboard instruments and is � � � � � � � � � � � � � similar to the legato stroke. The piston stroke starts at the � � � � � � � � � � � � � � � � � � � � � � top and returns to the top, which creates efficient movement across the keyboard and allows for a fluid stroke. � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3 ¡

  4. 1/24/10 ¡ Basic Timing Elements � 8 th Note Timing � 8th Note Timing • Once students begin to understand the concept of legato and � � � � � � � � � � � � ��� � � �� piston strokes, apply those ideas to basic timing exercises. � � � � � � � � � � � � � � � � � Snare Drum R L R L R L R L R L R R L R R L R L R L R L R L L R L L • These exercises will help percussionists develop a stronger � � � � � � � � � � � � ��� � � �� � � � rhythmic vocabulary. � � � � � � � � � � � � � � Keyboard L R R L R R L L R L L R R L R L R L R L R L R L R L R L • In addition, they will help students understand natural and � � � � � � � � � � � � � � � � � � � � � � � � ��� � � ��� � � � � alternate stickings. � R L R L R L R L R R L R R L R L R L R L R L L R L L R L R � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � R L R L R L R L R R L R R L R L R L R L R L L R L L R L R Combining 16 th and 8 th Notes 
 Natural Sticking and 
 Alabama Texas � Alternate Sticking � • Natural sticking is based on hands playing on a specific beat, Alabama Texas which allows the rhythm patterns to be played with the same sticking throughout a given passage. 1 � � � � � � � � � � � � � � � � � � � � � � � � � � � � • Alternate sticking simply alternates hands through a specific � � rhythmic passage while moving back and forth from right to left R L R L R L R L R L R L R L R L R L R L R L R L R hand. 3 � � � � � � � � � � � � � � � � � � � � � � � � � � � � R L R L R L R L R L R L R L R L R L R L R L R L R 4 ¡

  5. 1/24/10 ¡ Natural and Alternate 
 16th Note Timing � Sticking Examples � 16th Note Timing Natural Sticking � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � ��� ��� ��� ��� ���������������� � � �� � �� � �� � � � � � � Snare Drum R L R L R L R L R L R L R L R L R L R R L R R L R R L R R L R L R L R L R L R L R L R L R L L R L L R L L R L L � � R L R L R L R L R L R L R L R L R L R R L R R L R R L R � � � � � � � � � � � � � � � � � � ��� ��� ��� ��� ���������������� � � �� � �� � �� � � Keyboard Alternate Sticking R L R L R L R L R L R L R L R L R L R R L R R L R R L R R L R L R L R L R L R L R L R L R L L R L L R L L R L L � ���������������� � ��� ��� ��� �� ���������������� ���������������� � � � 5 � R L R L R L R L R L R L R L R L R R L R R L R R L R R L R L R L R L R L R L R L R L R L L R L L R L L R L L R L R � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � ���������������� � ��� ��� ��� �� ���������������� ���������������� � � � � R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R R L R R L R R L R R L R L R L R L R L R L R L R L R L L R L L R L L R L L R L R Down Strokes, Up Strokes, and Accents and Taps � Staccato Strokes � Accents and taps use down, up, and staccato strokes to create two • A down stroke is used to stop the stick at the bottom. It has different heights. These exercises should also be developed in 8 th a similar range of motion from the wrist, but uses the ring notes, 16 th notes, and triplets. and pinky fingers to stop the stick and not allow it to Basic Accent and Taps rebound. • An up stroke starts from the bottom and stops at the top of � � � the stroke. It has a similar range of motion and comes from � � � � � � � � � � � � � � � � � � the wrist. R L � � � • A staccato stroke, also called a tap, is played low, short, and � � � � � � � � � � � � � � � � � � � detached. � R L R 5 ¡

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