Teaching a Percussion Course as a Non

Teaching a Percussion Course as a Non-Percussionist
Band Division Demonstration Clinic
Thursday, January 29, 2015
Room CC-403/404
Ensemble: Belvidere North High School Percussion Ensemble
Clinician: Neal Shipton, Director of Bands, Belvidere North High School
[email protected] • (815) 547-3818
Session Description:
Percussionists deserve as much of a quality musical education and experience as the rest of the band. Unfortunately, all too often do we ignore, become frustrated with or take for granted our percussionists at the back of
the room. Many directors have little or no background in percussion and are uncertain or uncomfortable working
with these students. This clinic aims to provide some insight into how a percussion course can be instructed for
those of us with minimal percussion experience. Topics include working with colleagues within the building to
create the class, structuring the course, music selection and part assignments, curricular suggestions and resources
for instruction.
Performance Pieces:
Low Rider by Allen, et al, arr. Downs and Mattingly, Hal Leonard Corp. - Medium Easy
Cadences & Drumline “Cheers”:
Smokestack by Cassidy Byars, www.freedrumlinemusic.com - Level 3 (of 5)
Boogie Beat by Ayatey Shabazz, The Devmusic Company - Medium Easy
Salsa Verde by Ryan R. Laney, www.rlaneypercussion.com
Blues by Five by Red Garland, arr. Downs and Mattingly, Hal Leonard Corp. - Medium
Chopsticks by Charles Owens, arr. Ralph Hicks, Tapspace Publications, LLC. - Medium
Funky Buckets by Ed Argenziano, Row-Loff Productions - Medium
Stick Schtick by Chris Brooks, Row-Loff Productions - Medium
Smash Getaway by Chris Crockarell, Row-Loff Productions - Medium Advanced
Walk Like an Egyptian by Liam Sternberg, arr. Chris Crockarell, Row-Loff Productions - Medium
Ensemble Information:
The Belvidere North Percussion Ensemble is actually three ensembles in one: the Concert Percussion Ensemble
(made up of Concert Band percussionists), the Symphonic Percussion Ensemble (made of Symphonic Band percussionists) and the combined Percussion Ensemble (all percussionists). The ensemble rehearses each day during
school and regularly performs at school, athletic and community events. Each year the ensemble performs at the
VanderCook College of Music Day of Percussion Festival and the IHSA Solo & Ensemble Contest and takes trips
to see professional percussion ensembles.
Director Biography:
Neal Shipton earned his Bachelor of Music Education from the University of Illinois in 2007
and his Master of Music Education from the University of Illinois in 2014. Since 2007 he has
served as substitute assistant band director at Downers Grove South High School and Dundee
Crown High School and assistant beginning band director in Evergreen Park. He organized
and conducted jazz band at Hadley Junior High School and taught low brass private lessons in
Glen Ellyn. Mr. Shipton is currently in his sixth year as Director of Bands at Belvidere North
High School where he conducts the Symphonic Band, Concert Band, Jazz Band, Beginning Band, and Concert
and Symphonic Percussion Ensembles. He also directs the Belvidere North Marching Thunder and Thunder Pep
Bands, musical pit band and teaches music theory. He currently serves as the Illinois State Chair for the Tri-M
Music Honor Society. When he is not teaching, Mr. Shipton loves reading, the outdoors, playing banjo and spending time with his wife, Kelsey, and their cat, Luna.
Teaching a Percussion Course as a Non-Percussionist
Neal Shipton, Director of Bands
Belvidere North High School
featuring:
Belvidere North Percussion Ensemble

INTRODUCTION
o Percussionists:
 deserve to be as musically engaged as the other musicians in the ensemble
 want to be challenged
Performance:
 want to perform music that is fun to play and listen to
 Low Rider by Allen, et al,
o You do not need to be a percussion specialist to teach a percussion course
arr. Downes and
o You do not need to have a percussion specialist on staff
Mattingly. Leopard
Percussion Series (Hal
o Disclaimers:
Leonard Corp.)
 I am NOT an expert in teaching percussion
 This clinic is intended to:
 show you what we do that has worked well at Belvidere North High School
 give you some ideas and things to take back to your program
 give non-percussionists and young teachers the confidence to teach a percussion course

MARCHING PERCUSSION
o Benefit: full rehearsal everyday
o Band Camp
 If possible, hire a percussionist
 Avoid somebody without collegiate or drum corps experience
o Cadences
 2-3 cadences
 Roll-off between cadences
o Drumline ‘cheers’
 Purchase originals
 Create your own
 High school and college bands
 Take from songs you’re already playing and vamp
o Ear protection is a must!
o Use drum pads for group rehearsal so all students can work on snare drum together
o Resources:
Performance:
 www.freedrumlinemusic.com
 www.rlaneypercussion.com
 Cadences: Smokestack by Cassidy Byars
 www.vicfirth.com – Marching Percussion 101
(www.freedrumlinemusic.com) &

STRUCTURING THE COURSE
Devmusic Company)
o Communication is key
 Drumline ‘cheer’: Salsa Verde by Ryan
o Determine the grade/nature of the ensemble
Laney (www.rlaneypercussion.com)
 All percussionists in the program
 Number of ensembles/skill levels
 Avoid having beginning percussionists in the course
 Freshman only or auditioned ‘elite’ group
 Are there enough?
o Planning the course schedule
 A/B/C lunch period(s) rehearsal
 Allows you to rehearse the full ensemble every day
 Also allows multiple ensembles to rehearse at different times during same period
 Non-lunch period rehearsal
 Not recommended if more than one band/percussion ensemble; logistical problems
 Outside of school rehearsal?
Boogie Beat by Ayatey Shabazz (The
Neal Shipton
o

Teaching a Percussion Course as a Non-Percussionist
Page 2
Rehearsal space
 If one percussion/band ensemble in your program:
 All students are in the same ensemble, can rehearse at the same time in the same space
 Limited rehearsal spaces are not a problem
 If more than one percussion/band ensemble in your program:
 A/B/C lunch rehearsal option
Performance:
 Normal hour rehearsal option
 Blues by Five by Red Garland, arr.
o Sufficient rehearsal space?
Downes and Mattingly. Leopard
o Enough instruments/equipment?
Percussion Series (Hal Leonard Corp.)
LITERATURE & REHEARSAL
o Band Music
 Use recordings – SmartMusic is great for this
 Sing/count the band parts
 This helps you learn the score better
 Metronome
 Rehearsal with the band
 Percussion ‘field trips’ at least twice prior to the concert
o Communicate with teachers and administration
 Hold outside-of-school rehearsals
 Part Assignments
 Don’t let students to pick their own parts
o Experienced players may be able to do this
 Part assignments
o Students should get to play a little bit of everything
o Part Assignments Sheet
o Save your lists for future use
o Doubling/creating parts
 Engage all students during rehearsal - no students sit out
 Use wind parts for mallets if parts are lacking
 Double-up Mallets
 Double- or triple-up on snare drum
 Use drum pads
Performance:
 ‘Audition’ before the concert to determine who will play
 Chopsticks by Charles Owens,

Don’t
overdo it!
arr. Ralph Hicks (Tapspace
o
Marches
&
pieces
with sparse percussion
Productions)
 Students can play all parts and trade off each day
 ‘Audition’ before the concert to determine who will play which part
 Percussion Assignments for Band and Wind Ensemble, Vols. 1-2 by Russ Girsberger
o Percussion Ensemble Music
 The literature is the curriculum
 What is your focus?
o Mallets/battery/mixture?
o What styles/time periods?
 Include piece information in your daily agenda
 Be wary of difficulty ratings
 Listen to and play with recordings
 Publisher’s recordings
 Create ‘click tracks’
 Boomwhackers
o Great for teaching rhythm and vertical alignment
o Boomsicles & Boom Crackers by Row-Loff Percussion
 Novelty pieces
o Audiences and students LOVE these
o Good if you’re lacking enough ‘regular’ instruments
Neal Shipton
o
o
Teaching a Percussion Course as a Non-Percussionist
Page 3
Plan ahead and budget your rehearsal time between band and percussion ensemble music
Play with the students!
 Set an example
 Be able to play their parts
Performance:
 Demonstrate proper technique
 Funky Buckets by Ed
 Increase your own skill
Argenziano from Noveltysicles.
(Row-Loff Productions)
 Learn things about their parts that you might not have known
 Difficult stickings, technique, etc.
 Stick Schtick by Chris Brooks
(Row-Loff Productions)

AUDITIONS & ASSESSMENTS
o Auditions
 When auditions take place depends on the size and structure of your band program
 Ensemble placement?
 ‘Chair’ placement
o Student strengths and weaknesses
 Concert auditions should at least include portions for snare and mallets
 Snare and mallet etudes
 Timpani & Auxiliary?
 Fundamental Method for Timpani by Mitchell Peters
 If you’re going to expect students to audition on these instruments, you will need to take
the time to teach them
 Timpani info sheet
 Pull etudes from upcoming band pieces
o Regular Assessments
 Assessment packet
 Work on and reinforce important concepts
 Hold students accountable
 Interesting and stimulating for students
 Healthy competition
 Great way to start class
 Drum Pads
 Use on drums or stands
o Not ideal, but reality
 Cannon Gladstone Practice pads
 Students can use their own

PERFORMANCE OPPORTUNITIES
o Give your students plenty of opportunities to perform
 Build confidence and pride
o Take your students to see other high school, collegiate and professional ensembles
o Drumline
 Lead the football team out to the field
 Feature Post-game concert on the track – feature the drumline
 “Walk of Champions”
 Drumline leads students who have made it to the state level for sports or other activities
around the school while playing the cadence
o Percussion Ensemble
 Lunchtime or before-school performances
 Halftime at basketball games – low-stress performance opportunity
 Some percussion festivals around Chicago
 VanderCook Day of Percussion
Performance:
o Non-competitive performance/clinic opportunity  Smash Getaway by Chris
 Elk Grove Percussion Festival
Crockarell (Row-Loff
 Solo & Ensemble Festival
Productions)
Neal Shipton
Teaching a Percussion Course as a Non-Percussionist
Page 4
 EQUIPMENT
o Invest in marching drum stands for daily rehearsal
o Marching cymbals mounts and small splash cymbals are great for parades and pep band
o Take the time to teach students about instrument care & maintenance
 Proper mallet usage
 Knowing what mallets to use on which instrument and in which range
o Insist that everything be put away and stored properly after rehearsal
o Have your local music store assemble a percussion ‘kit’ and require/urge your percussionists to purchase
 Stick bag, yarn/rubber mallets, drum sticks, drum key
o If your program’s percussion equipment inventory is lacking:
 Gradually increase your percussion inventory each year
 Be aware: many percussion ensemble pieces call for multiple marimbas and vibraphones
 Communicate with administration
 Avoid cheap or ‘off-brand’ instruments.
 Higher quality instruments have a longer lifespan.
 Sometimes, cheap hardware can get the job done.
 Students can bring in old bell kits
 Novelty Pieces & Boomwhackers can be good substitutes
 Hold an instrument drive
o Drum Pads
 Cannon Gladstone Pads – cheap and students can use on drums or music stands
 Students can use their own

Performance:
RESOURCES:
 Walk Like an Egyptian by
o Music
Liam Sternberg, arr. Chris
 Leopard Percussion Series – Hal Leonard Corp.
Crockarell (Row-Loff
 Good for younger or less experienced groups
Productions)
 Row-Loff Productions
 Lots of great music and educational resources
 ‘Sicles packets
 Tapspace Publications
 C. Alan Publications
o Books
 Fundamental Method for Mallets, Books 1-2 by Mitchell Peters
 The Mallet Player’s Toolbox by John R. Hearnes
 Masterworks for Mallets by Beth Gottlieb
 A Fresh Approach to Mallet Percussion by Mark Wessels
 Percussion Assignments for Band and Wind Ensemble, Vol. 1-2 by Russ Girsberger
 A Fresh Approach to the Snare Drum by Mark Wessels
 Alfred Drum Method, Books 1-2 by Sandy Feldstein
 The Drummer’s Daily Drill by Dennis DeLucia
 Life’s Little Rudiment Book by David Steinquest
 The Drummer’s Rudimental Reference Book by John Wooton
 Fundamental Method for Timpani by Mitchell Peters
 Teaching Percussion, 3rd Edition by Gary D. Cook
 Watkins-Farnum Performance Scale by John Watkins and Stephen Farnum
o Websites
 www.freedrumlinemusic.com
 www.rlaneypercussion.com
 www.vicfirth.com
 www.rowloff.com
 www.tapspace.com
o Vic Firth Drum Rudiments App