Accessories Handout from my presentation at the 1998 NYSSMA Winter Conference

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Erica Coleen Porter
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1 Accessories Handout from my presentation at the 1998 NYSSMA Winter Conference How To Create An Outstanding Percussion Section In Your Band Or Orchestra In order to create an outstanding percussion section you need three things: outstanding instruments; students with outstanding performance skills; and outstanding organization. Most of this clinic focuses on the second and third items. Instruments Bring a professional percussionist, or percussion educator, to your school and have him/her assess the quality of your instruments. Develop a plan to obtain what you need. More importantly though--maintain what you have.(it is difficult to argue for capital outlay money when there is evidence of misuse...)providing proper storage space will improve and prolong the life of your percussion instruments. Performance Skills There are many good primers for snare drum, timpani, and the mallet instruments; and, they will provide you with more information than I have time for in this clinic. I would like to focus this section on the other instruments.

Cymbals There are several ways to properly crash the cymbals (I list three here).1.

) The V is slightly tilted and the left hand does not move--the right hand drops onto the left and then both hands fall away.3.

Again, the left hand does not move--the right hand drops and then lifts while the left falls away (I am partial to this technique because it is

2 Cymbals There are several ways to properly crash the cymbals (I list three here).1.) This is the easiest way--just make a V and push them together.2.) The V is slightly tilted and the left hand does not move--the right hand drops onto the left and then both hands fall away.3.) The V is tilted and upside down. Again, the left hand does not move--the right hand drops and then lifts while the left falls away (I am partial to this technique because it is consistent with the concept of lifting sound out of the instrument.) 4.) Most players agree that this does not get the best sound from the cymbals.striking the cymbals in this fashion produces only the highest register of the cymbal s sound and may also produce an airpocket.the first three methods involve a V ; this creates a flam when the cymbals meet which, in turn, brings out the full spectrum of the cymbals sound.

Suspended Cymbal The suspended cymbal should be

Tambourine Single hand articulation--the tambourine

3 Suspended Cymbal The suspended cymbal should be struck simultaneously on opposite sides (imagine 3:00 and 9:00 on a clock face.)this produces a full rich tone. Tambourine Single hand articulation--the tambourine should be held at a degree angle for general playing.dynamic contrast can be achieved by changing the beating spot and striking technique.1.)pp-p1 finger, unbraced, on the edge.2.) mp-mf2 fingers, braced, on the edge.3.) fall fingers, braced, in the center.4.) ffuse the fist in the center of the head.

4 Two hand articulation--for rhythms that move too quickly to be played with one hand, use two hands.roll a towel and prop the tambourine against it (to simulate the degree angle).use both hands to play the rhythm.dynamic variations can still be achieved using the techniques described above. Rolls--are generally produced by either shaking the tambourine or using a finger (usually the thumb) to create a friction roll on the head.perform a shake roll by rotating the hand that holds the tambourine in the same manner that you would turn a doorknob.change the volume by shaking faster or slower and raising or lowering the tambourine.friction rolls are produced by placing the finger on the head (near the rim) and sliding it along the path of the rim.apply enough pressure to create friction on the head.the resulting sound should resemble a Snare Drum Buzz roll.

Triangle The triangle is capable of producing many tones.

) When rolling, move the beater to the closed corner at the bottom and

5 Triangle The triangle is capable of producing many tones.for general playing, the player should try to produce a sound with multiple overtones.1.) Achieve this by striking the bottom of the triangle at a 45 degree angle.2.) When rolling, move the beater to the closed corner at the bottom and alternate between bottom and side. Notice that the color changes as you change the angle of the beater.3.) Play difficult rhythmic passages by mounting the triangle and using two beaters.

Bass Drum Tuning is a key issue with the bass drum.

) Strike the bass drum slightly off center and lift the sound out of the drum.2.

by using one hand on the back head and your knee on the front.3.

6 Bass Drum Tuning is a key issue with the bass drum.experiment and find the sound that best fits your music.1.) Strike the bass drum slightly off center and lift the sound out of the drum.2.) For marches, you may need to muffle both sides of the drum--this can be achieved by using one hand on the back head and your knee on the front.3.) Roll on the bass drum by placing the mallets on opposite sides of the drum. Strike the tam-tam slightly off center. Experiment with your tam-tam to find the richest sound.(each tam-tam will have a different sweet spot.)also, for notes at mfand above, warm-up the tam-tam by lightly agitating it several times before striking it.

separate hands and using a snare drum technique (as if the maracas were sticks.

7 Maracas Maracas can be played either by holding both in one hand and using a shaker technique (for rolls and extended 16th note ostinatos); or, for executing nonrepetitive rhythms, by holding them in separate hands and using a snare drum technique (as if the maracas were sticks.)some players like to extend the index finger for more control. Guiro Scrape the serrated surface to produce rhythms on the guiro.

Vibraslap This instrument serves as a replacement for the jawbone of an ass or quijada.hold this instrument at the node (the sharp curve) and strike the large ball.

Instruments--teach the proper care and maintenance of each instrument that the students will play--this is worth the time it will take.

8 Vibraslap This instrument serves as a replacement for the jawbone of an ass or quijada.hold this instrument at the node (the sharp curve) and strike the large ball.allow the vibraslap to dangle freely for the longest resonance. Sleighbells Hold the handle with one hand and strike it with the other. Organization a. Instruments--teach the proper care and maintenance of each instrument that the students will play--this is worth the time it will take. Provide the proper storage space for the instruments and clearly label where each instrument belongs. This will save you a considerable amount of money and time in the long-run. b. Rehearsal set-up--configure your percussion set-up with plenty of room between players. This will help their technique (by giving them adequate space for cymbal crashes, pulling the sound from the bass drum, allowing mallet players to move laterally, etc.); and, it will improve discipline. Each player should have his/her own stand, music, and station.

9 c. Players--Use a chart to assign parts. Each player should know exactly what parts he/she is responsible for at any given spot in the music. Part assignments are the most difficult part of organizing the percussion section--this should not be the responsibility of the students! Sample Part Assignment Chart Student Incantation... NYSSMA Mash Weak Waltz Mary Maracas Timpani--you may want to use small muffles Bass drum--use your hand to muffle; or, use a combination of hand and leg Jaimie 200-Cymbals Maracas--alternate Snare drum hands at the beginning 205-Temp blks Claves Joe Bells--soft mallets at the Snare drum beginning (Becker 226-Cymbals blues?) Terry Tambourine--shake rolls Vibra slap Cymbals--a light sound Mike Whip--note the line Claves Triangle--double the switch on the last system snare part Timpani Mark Timbales Guiro--see me about thetechnique for this instrument Sal Timpani--this will put your muffling technique to the test! Bass drum--you will need to muffle the drum quite a bit Tambourine--double the snare part in measures 9-16(Thumb-rolls) Comments Good Luck! Do not play the gourd cues at/after 205 Let!s start this piece very softly and build from there. I have added a secondsndr part and triangle and tambourine to allow you all to play.with this in mind, we need to be very careful about dynamics!!let!s not bury the band.

10 Musical examples

Percussion 101. Midwest Clinic 2006

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