Department of Music

Applied Lessons - Percussion

COURSE SYLLABUS
MUA 1/3/671-2, Section 71
Music and Communications Building
Room 446

GENERAL INFORMATION

Instructor: Bruce Golden, Lecturer Percussion Studies
Office phone: 216.687.2033
E-mail: b.golden@csuohio.edu

Schedule              
You must register for lessons through Mrs. Gayle Kish (g.kish@csuohio.edu). Please register as early as possible! During the first week of the semester, I will schedule your lesson time.  In order to help me deal with scheduling, please e-mail your personal schedule each semester. When it is necessary for me to reschedule lessons, I will let you know as far in advance as possible. You will receive all the lessons for which you have paid.  Music majors receive 14 lessons plus one jury. Non-music majors receive 15 lessons.

Department Guidelines
We will have a percussion meeting during the first week of the fall semester to discuss percussion department policies about practicing, practice rooms, ensembles, equipment, etc. Consult the percussion graduate assistant, Andrew Boynton, with any further questions.

Materials (bring the following to every lesson):

Spiral-bound notebook (for assignments and taking notes)
Spiral-bound staff paper notebook
Music, mallets, and instruments for all currently assigned music Metronome

You must also own the following:

Three ring binder(s)
Sticks/mallets/beaters
Small percussion instruments (Music majors only)
**See “EQUIPMENT” for more information**

OBJECTIVES and EXPECTATIONS
Lessons focus on developing performance skills on percussion instruments with emphasis on concert percussion.  Students expand their skills primarily through study of solo repertoire, exercises, etudes, and orchestral repertoire.  Course goals will vary from student to student depending on factors such as student’s prior experience, major, and career goals. (See below.) In most cases, however, this course will acquaint the student with those aspects of percussion playing most likely to be encountered in an orchestra and provide the student with the skills to perform at the highest level in that setting.

Graduate Students—Lessons focus on refinement of ability on concert percussion instruments with emphasis on audition preparation.  These skills are developed through practice, performing in ensembles, mock auditions and a recital.  Students are encouraged to seek professional gigs in their field, schedule permitting.  Specialization in either timpani or percussion is allowed.  Graduate students are expected to devote at least six hours per day to personal practice and part-time Percussion Ensemble participation is strongly encouraged.

Non-degree Seeking Students (Post-Graduate)—Lessons focus on refinement of ability on concert percussion instruments with emphasis on audition preparation.  These skills are developed through personal practice and professional engagements.  Specialization in either timpani or percussion is allowed.  Eight or more hours per day of personal practice is expected and part-time Percussion Ensemble participation is strongly encouraged.

Undergraduate Performance Majors—Lessons focus on developing a level of proficiency on snare drum, two and four-mallet keyboard, timpani, accessories, and drum set that will allow the student to go to the graduate school of his/her choice and/or audition successfully for a regional orchestra.  These skills are developed through practice, performing in ensembles, juries, and two recitals.  Performance majors are expected to devote at least six hours per day to personal practice and full-time Percussion Ensemble participation is strongly encouraged.

Undergraduate Music Education Majors—Lessons focus on developing a level of proficiency on all the major percussion instruments that will allow the student to teach percussion through the advanced high school level and play as an extra or section player with a local orchestra.  These skills are developed through practice, juries, and participation in performance ensembles.  Music Education majors are expected to devote at least three hours per day to personal practice and part-time Percussion Ensemble participation is strongly encouraged.  (Full time participation is recommended.)

Non Music Majors—Lessons will be designed based upon the skill level and interests of each student.  Practice and preparation for lessons is expected.  Participation in Percussion Ensemble is allowed only with permission of the director.

COURSE WORK
Lesson preparation—Weekly assignments are recorded by both instructor and student.  It is expected that all assigned material will be prepared.  Preparation includes not only practice, but also analysis of music being learned (i.e. harmonic/rhythmic/formal), score study, and CD listening when applicable.

Concert Attendance and Listening/Score Study Requirement (Undergraduate music majors ONLY):

Attend at least one live concert performance every week.  (Thursday series does not count.)  Bring the concert program to your lesson and be prepared to discuss the pieces you heard.

Suggestions: Cleveland Orchestra, Cleveland Opera, Cleveland Chamber Symphony, Cleveland Pops Orchestra, Cleveland Museum of Art concerts/recitals, Cleveland Chamber Music Society, Rocky River Chamber Music Society, Recitals given at: CSU, CIM, Baldwin Wallace, Oberlin, etc., Visiting ensembles and/or soloists presented at Severance Hall, CMA, Playhouse Square, local churches/synagogues, etc.

**There are numerous opportunities to attend free concerts in town.  Check listings in the Plain Dealer, Free Times, Cleveland Scene, cleveland.com, etc.  See Joyce daily to inquire about free tickets.  Spend money when you have to!

Familiarize yourself with at least one composition by a major composer every week.  Do this by listening to more than one recording of the piece and studying the score.  Be prepared to discuss the piece in your lesson.  Pay special attention to any percussion used in the composition.  (Note that this assignment is in addition to any listening associated with your assigned repertoire.)

Suggestions: Buy recordings and scores of the most major orchestral repertoire; Go to CSU library to listen to recordings and check out scores; Borrow CDs and scores from Cleveland Public Library; Refer to the attached list of suggested repertoire.

CSU Percussion Ensemble
The Percussion Ensemble performs one concert each semester.  All percussionists studying at CSU are strongly encouraged to participate.  Graduate students, non-degree seeking students, and Music Education major undergraduates participate on a part-time basis.  This usually involves participating in large group pieces (minimal number of rehearsals) and/or independently preparing a small group or solo piece as assigned.  Performance major undergraduates usually participate on a full-time basis, which involves participating in all pieces as assigned and rehearsing weekly.  Credit for the ensemble may be obtained by registering for MUS 106/506, Section 71—Chamber Ensemble.  A rehearsal schedule is created during the first 2 weeks of each semester.  Some rehearsals will take place in conjunction with Wind Ensemble rehearsals.  It is each student’s responsibility to check the bulletin board DAILY for schedule updates.

STUDIO CLASS
There will be several classes each semester.  Each studio class will be 2-3 hours in length.  Topics will include: accessory playing techniques, stick wrapping, and orchestral repertoire.  Attendance is mandatory, except under prior arrangement.  Students will be charged one lesson each for these classes.

STUDIO ACTIVITIES
All percussion students are expected to attend studio activities such as masterclasses, concerts by visiting percussion artists, and student percussion recitals.  Check the percussion bulletin board frequently to keep apprised of such events.

GRADING
Students are graded at each lesson on the following basis:
Overall preparedness and performance—70%
Weekly listening/score study and concert attendance (undergrad music majors only)—15%
Professionalism (on time with all materials, looking presentable, etc.)—15%

Final grades will be determined by averaging the weekly grades.

Scale: 

A= Excellent
B= Good
C= Average
F= Fail

JURIES (undergraduates only, as determined by degree program)
Jury materials will be selected before the eighth week of the semester.  These pieces will be prepared concurrent with regular lesson materials.  Details regarding juries can be found in the undergraduate handbook.

RECITALS
Recitals are required of all music majors.  It is the student’s responsibility to take care of all organizational details of her/his jury.  Refer to CSU student handbooks for details.

EQUIPMENT and BOOKS
**Please be sure to label all of your personal belongings**

Listed below are the absolute “must have” items for all percussionists at CSU (except non-music majors):

Supplies
Spiral bound notebook
Three-ring binder with dividers and clear plastic sheet protectors (For excerpts, exercises, handouts, etc)
Spiral bound staff paper notebook
Metronome (This is very important—Dr. Beat DB-66, DB-88, or comparable)
Stick case

Snare Books

Stick Control

George Lawrence Stone

(Ludwig)

The Roll

Emil Sholle

(Ludwig)

Advanced Snare Drum Studies

Mitchell Peters

(Mitchell Peters)

The All-American Drummer

Charlie Wilcoxon

(Ludwig)

Douze Etudes pour Caisse-Claire

Jacques Delecluse

(Alphponse Leduc)

Mallet Books

George Hamilton Green’s Instructional Course for Xylophone

George H Green

(Merideth)

Modern School for Xylophone, Marimba, and Vibraphone

Mo Goldenberg

(Adler)

Method of Movement for Marimba

LH Stevens

(Marimba Prod)

6 Sonatas and Partitas for Violin Solo

JS Bach

 

**There are many publications of these solos.  I recommend the version edited by Galamian from the International Music Company.  It is best to get a version with few, if any, added markings.

Timpani Books

Etuden fur Timpani, Heft

Richard Hochrainer

(Verlag-Doblinger)

Modern Method for Timpani

Saul Goodman

(Belwin)

The Freise-Lepak Timpani Method

A. Friese & A. Lepak

(Belwin)

Schalginstrumente—Ein Schulwertk, Teil 2

Eckehardt Keune

(VEB Deutscher)

Trente Etudes pour Timbales (Cahiers 2&3)

Jacques Delecluse

(Leduc)

Classic Overtures for Timpani

Goldenberg

(Chappell)

Classic Symphonies for Timpani

Goldenberg

(Chappell)

Sticks and Mallets
Snare Drum: 2 pair general use stick such as, Firth SD1-Generals, ProMark T Freer-General Orchestral; Also one pair light-weight sticks such as Cooperman Graham Johns #1 or ProMark-Light Orchestral.
Xylophone/Bell mallets: one pair medium soft rubber (for practice) such as Freer Light Green Natural Rubber; one pair hard phenolic (for ensemble performance; One pair Malletech Becker “Blues” for xylophone solo work.  (Rattan preferred for two mallet work.)

Marimba/Vibraphone mallets: Set of four medium to medium hard yarn marimba mallets; set of four medium hard to hard cord vibraphone mallets such as Balter Green #22R.  (Birch preferred for marimba; rattan for vibraphone)

Timpani mallets: one pair for general use such as Adams/Duff #3; one pair hard or medium hard such as Adams/Duff #1 or #2.  (Also consider Black Swamp and California Percussion Technologies)

Drum set: Several pairs general drum set sticks such as: Firth 5A, Regal Tip 5A, etc.  (Nylon tips preferred)

Remember that this is a list of “must have” items for all serious percussionists.  It is meant to be the starting point for incoming freshman.  Through your undergraduate years you should plan on adding to your collection little-by-little as new situations require.  Some suggestions can be found in the section below.

ADDITIONAL ITEMS TO ACQUIRE (Eventually)
Specialty snare drum, field drum, and drum set sticks for extra loud and extra soft playing.

Keyboard mallets for all instruments that expand the array of hardness you have.  (Hint: Add harder sticks first, since they are more practical for ensemble playing.)

Complete a set of timpani mallets from hard to soft including specialty sticks such as holzschlagel and flip sticks.

Large instrument beaters such as bass drum, gong, and chime.

Accessory percussion instruments: triangle with clip and beaters, tambourine, one or two pairs of crash cymbals, castanets.

Replacement felt, yarn, and tools for wrapping timpani, marimba, and yarn mallets.

BOOK LISTS
Below is a reference list of commonly used concert percussion texts.  We will refer to it from time-to-time when a new text is required or recommended.

Snare Drum

 

Author

Title

Aleo, Keith

Advanced Etudes for Snare Drum

Cirone, Anthony

Portraits in Rhythm

Delecluse, Jacques

Douze Etudes pour Caisse Claire

Delecluse, Jacques

Keiskleriana 1

Delecluse, Jacques

Keiskleriana 2

Fennell, Fredrick

Drummer’s Heritage

Firth, Vic

The Solo Snare Drummer

Goldenberg, Morris

Modern School for Snare Drum

Hochrainer, R

Ubungen fur Kleine Trommel

Kvistad, Rick

Accent Studies and Etudes for Percussion

Ludwig, William

Drum & Bugle Manuel

Ludwig, William

Collection of Drum Solos

Moeller, Sanford

The Moeller Method

Morello, Joe

Master Studies for Snare Drum

NARD

Drum Solos

Olmstead, Gary

Snare Drum Roll/Rudiment Interpretation

Payson, Al

Snare Drum in the Concert Hall

Peters, Mitchell

Advanced Snare Drum Studies

Peters, Mitchell

Hard Times

Peters, Mitchell

Odd Meter Rudimental Etudes

Peters, Mitchell

Odd Meter Calisthenics

Peters, Mitchell

Developing Dexterity

Podemski, B

Standard Snare Drum Method

Pratt, John S

14 Modern Contest Solos

Pratt, John S

The New Pratt Book

Sholle, Emil

Roll, The

Stone, George B

Accents and Rebounds

Stone, George B

Military Drum Beats

Stone, George B

Stick Control

Street, William

Complete Works of William Street

Sweet, Walker

Complete Music for Fife & Drum (Book/CD)

Wilcoxon, C

Modern Rudimental Swing Solos

Wilcoxon, C

All-American Drummer

Wilcoxon, C

Wrist and Finger Stroke Control


Author

Title

Bach, JS

Sonata and Partitas for Violin (Galamian)

Bach, JS

Six Suites for Cello (Fornier—or whatever youy have)

Bailey, Buster

Mental and Manuel Calisthenics

Breuer, Harry

Mallet Solo Collection

Breuer, Harry

Five New Ragtime Solos

Delecluse, Jacques

20 Studies for Xylophone after Kreutzer

Delecluse, Jacques

20 Studies for Xylophone

Delecluse, Jacques

200 Daily Exercises for Xylophone (Bk 1)

Delecluse, Jacques

200 Daily Exercises for Xylophone (Bk 2)

Delecluse, Jacques

200 Daily Exercises for Xylophone (Bk 3)

Goldenberg, M

Moden School for Xylo, Vibes, Bells

Green, GH

Instructional Course for Xylophone

Green, GH

New Series of Indiv Intr Courses for Xylo & Marimba

Green, GH

Rags of GH Green (Ed Eyles)

Green, GH

Rags of GH Green (acompaniment recording)

Moyer, James

Four Mallet Method for Marimba

Quartier, Bart

Image

Samuels, Dave

Contemporary Vibraphone Technique (Vol 1)

Samuels, Dave

Contemporary Vibraphone Technique (Vol 2)

Sejourne, E

Percussion Keyboards (Vol 1)

Sejourne, E

Percussion Keyboards (Vol 2)

Sejourne, E

Percussion Keyboards (Vol 3)

Stevens, LH

Method of Movement

Stout, G

Ideo-Kinetics


Timpani

Author

Title

Abel, Alan

20th Century Timpani Studies

Carroll, Raynor

Exercises, Etudes, and Solos for Timpani

Delecluse, Jacques

20 Studies for Timpani

Delecluse, Jacques

30 Studies for Timpani (Vol 1)

Delecluse, Jacques

30 Studies for Timpani (Vol 2)

Delecluse, Jacques

30 Studies for Timpani (Vol 3)

Delecluse, Jacques

50 Daily Exercises for Timpani

Dowd, Charles

Well-Tempered Timpanist

Dvorak, Antonin

Timpani Parts Vol 1-Syms 3-9

Dvorak, Antonin

Timpani Parts Vol 2-Overtures/Slavonic Dances

Firth, Vic

Solo Timpanist

Freise/Lepak

Timpani Method

Goldenberg, M

Classic Overture for Timpani

Goldenberg, M

Classic Symphonies for Timpani

Goldenberg, M

Romantic Symphonies for Timpani

Goodman, Saul

Modern Method for Timpani

Hinger, Fred

Solos for the Virtuoso Timpanist

Hinger, Fred

Timpani Player’s Repertoire-I Beethoven

Hinger, Fred

Timpani Player’s Repertoire-II Brahms

Hinger, Fred

Timpani Player’s Repertoire-III Tchaikovsky

Hinger, Fred

Timpani Player’s Repertoire-IV Sibelius

Hinger, Fred

Timpani Player’s Repertoire-V Strauss

Hinger, Fred

Timpani Player’s Repertoire-VI Stravinsky

Hochrainer, R

Etuden fur Timpani (Vol 1)

Hochrainer, R

Etuden fur Timpani (Vol 2)

Hochrainer, R

Etuden fur Timpani (Vol 3)

Keune, Eckehardt

Pauken

Knauer, Heinrich

85 Ubungen fur Pauken

Knauer, Heinrich

Kleine Paukenschule

Knauer/Behsing

Paukenschule

Leonard, Stanley

Pedal Technique for Timpani

Lepak, Alexander

32 Solos for Timpani

Mahler, Gustav

Orchester Studien-Pauken—Vol 1, Syms 1-9

Mahler, Gustav

Orchester Studien-Pauken—Vol 2, Lieder/2nd Timp

Schumann, Robert

Symphonies, Pno Concerto—Timp Parts

Tchairichen, Werner

Pauker-Training


Repertoire and Miscellaneous

Author

Title

Abel, Alan

20th Century Percussion Studies

Adato/Judy

Percussionist’s Dictionary

Carroll, Raynor

Orchestral Repertoire for Tambourine, Triangle, Castanets

Carroll, Raynor

Orchestral Repertoire for Bass Drum and Cymblas

Carroll, Raynor

Orchestral Repertoire for Tambourine, Triangle, Castanets

Carroll, Raynor

Orchestral Repertoire for Glockenspiel, vol 1

Carroll, Raynor

Orchestral Repertoire for Glockenspiel, vol 2

Carroll, Raynor

Orchestral Repertoire for Snare Drum

Carroll, Raynor

Orchestral Repertoire for Xylo, vol 1

Carroll, Raynor

Orchestral Repertoire for Xylo, vol 2

Girsberger, Russ

Practical Guide to Percussion Terminology

Gschwentner/Ulrich

Test Pieces for Orchestral Auditions (CDs)

Gschwentner/Ulrich

Test Pieces for Orchestral Auditions (Book)

Lang, Morris

Dictionary of Percussion Terms

Moersch, William

Marimba Repertoire Guide

Press, Arthur

Mallet Repair

SUGGESTIONS for UNDERGRADUATE LISTENING REQUIREMENT
* Indicates highly recommended

Bach-Solo Violin and Cello Suites;
Masses; Motets; Passions; Cantatas
Barber-Medea’s Dance…; Essays for Orchestra;
Concertos: Violin, Piano
Bartok-Concerto for Orchestra;
Music for Str, Perc, Celeste;
Concertos: Piano, Violin,; Chamber Music
Beethoven-Overtures*, Symphonies*, Missa Solemnis, Concertos: Piano*, Violin*; Fideleo, Chamber Music
Brahms-Symphonies*; Overtures*;
Concertos: Piano*; Violin; Chamber Music
Britten-Young Person’s Guide*; Operas; Nocturne
Bruckner-Symphonies; Motets
Copland-Appalachian Spring*; Billy the Kid*; Rodeo;
Symphony #3*
Debussy-La Mer*; Images*, Nocturnes*
Dvorak-Symphonies* (esp #7-9), Slavonic Dances
Elgar-Enigma Variations; Pomp & Circumstance
Gershwin-Rhapsody in Blue; Piano Concerto in F;
American in Paris*
Grieg-Piano Concertos; Norwegian Dances
Handel-Oratorios, Water Music, Fireworks Music
Haydn-Symphonies (esp #80-104*); Creation; Chamber Muisic
Hindemith-Symphonic Metamorphosis*; Mathis de Maler;
solo instrument sonatas
Kabalevsky-Colas Breugnon Overture*
Khachaturian-Gayena Ballet; Sparticus
Kodaly-Hary Janos Suite*
Liszt-Piano Concertos, Les Preludes
Mahler-Symphonies (*esp #1, 5, 7); Das Lied von der Erde
Messiaen-All large ensemble works with percussion
Mozart-Overtures*, Symphonies*; Concertos: Piano*, Violin, Masses, Requiem*
Nielsen-Symphonies (*esp #4 & #5); Clarinet Concerto
Orff-Carmina Burana
Puccini-Operas
Prokofiev-Symphonies (*esp #5, 6, “Classical”);
Alexander Nevsky, Romeo & Juliet;
Scythian Suite
Rachmaninov-Symphonies, Piano Concertos*; Isle of the Dead;
Symphonic Dances
Ravel-Daphnis et Chloe*, Alborado del Gracioso*;
La Valse*
Respighi-All orchestral works
Rimsky-Korsakov-Capriccio Espagnol*, Scheherazade*
Schubert-Symphonies ; Songs
Schumann (Robert)-Symphonies
Schuman (William)-Symphony #3, New England Triptych
Shostakovich-Symphonies (*esp #1, 5, 7, 10, 11, 15)
Sibelius-Symphonies (*esp #1, 2, 5); Tone poems
Strauss-Tone Poems; Opera, Songs
Stravinsky-Firebird*; Rite of Spring*, Petrouchka*, Oedipus Rex; Symphony of Psalms
Tchaikovsky-Symphonies (*esp #4-6); Ballets
Verdi-Operas; Requiem
Wagner-Operas (*esp “Orchestral Highlights”)

engaged learning
Mailing Address
Cleveland State University
College of Liberal Arts & Social Sciences
Department of Music
2121 Euclid Avenue, MU 332
Cleveland, OH 44115-2214
Campus Location
Music and Communication Building
Room 332
2001 Euclid Ave.
Phone: 216.687.2033
Fax: 216.687.9279
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