Lesson 1

Warm-up 1. Students set-up their snare drums. The angle of the drum should be flat. The rim of the drum

should be 3-4 inches below the belt line of the player.

2. Students learn to grip the stick

3. “Set Position” or “Player’s Ready Position.”

3. Play a stroke.

To the teacher 1. GOAL: Have the student play one controlled stroke. 2. Don’t worry about tempo or time-keeping for now. Encourage the student to start in a good

“set position”, play one stroke, then return to “set position”. Repeat with the left hand. Have each student play individually. Always be very positive and encouraging. Make sure to say things like: “Great,” “You have it!,” “Exactly”…

3. Move the lesson along quickly and don’t get hung up on any one concept or individual. Your students need to feel that they are achieving and accomplishing at all times. 4. Lesson 2 contains much more detailed explanations of the concepts presented in this lesson.

Lesson 2

Warm-up

1. Students set-up snare drums at correct heights and angles.

snare drum set-up checklist: ____top rim of drum should be about 4 inches below the belt line of the player ____the angle of the drum should be pretty close to flat (like a tabletop) ____feet are shoulder-length apart ____no music stand is needed yet

2. Review grip checklist (Matched Grip).

grip checklist: ____no gaps between thumb and index finger ____all fingers and thumbs are touching the sticks at all times ____elbows are about 2 inches from the sides of the body ____sticks are in line with the forearms (straight line from the tip of the stick to the elbow) ____hands are turned over (analogy: students should imagine getting a nice tan on the top part of their hands if they were outside)

*** KEEPING THE HANDS TURNED OVER IS A VERY IMPORTANT CONCEPT TO GET RIGHT!

3. Review “Set Position.”

set position checklist: ____tips of the sticks form the top angle of a triangle ____tips should be 1 inch apart and 1 inch above the drum head ____tips are over the center of the drum head ____maintain the grip guidelines listed above

4. Review the stroke checklist. GOAL: Play a single stroke at full volume (tip of stick moves about 12 inches), no time-keeping or counting, first try right hand then left.

stroke checklist: ____start in the “set position” ____while keeping your elbow still, turn wrist back, tip of the stick is the first thing to move, NOT FOREARM! *** THIS ISOLATED WRIST TURN CONCEPT IS CRUCIAL * When the stick moves to the up position it is called the up-stroke.

____play a 12 inch stroke (full wrist turn) * When the stick is moving downward it is called the down-stroke.

____immediately return to the set position after the down-stroke, in other words, control the tip of the stick immediately after it hits the drum head ____maintain a firm FULCRUM (place where the meat of the thumb and the first knuckle of the index finger firmly pinch the stick, this occurs one-third of the way up from the butt end of the stick)

5. Counting. Demonstrate steady counting (“1234, 1234, 1234”…) at a moderately slow tempo, encourage students to join in counting out loud, praise students’ counting when they are steady and relaxed, try counting 2 measures of quarter notes yourself (“1234, 1234”) then the students echo (“1234, 1234”), repeat this individually and if there is a group of players go right down the line without missing any beats, gestural and eye contact cues will really help the students enter, it helps to have a relaxed demeanor when counting, teach your students to have PATIENCE! 6. Counting aloud while playing a 12 inch stroke on beat 1: GOAL: Play one quarter note on beat one then rest for three quarter rests while counting “1234” all along. checklist: ____count “1234, 1234”… while playing a 12 inch quarter note on beat one ____maintain grip and stroke guidelines ____return to “set position” immediately after the stroke ____demonstrate steady and relaxed time-keeping ____play the exercise with just the right then just the left, then alternating but with the same rhythm ____encourage students to play individually

Reading To the Teacher: - show the class a flash card of a quarter note and explain that it is a quarter note and tell them that we play on “notes” - show the class a flash card of a quarter rest and explain that it is a quarter rest and tell them that we do not play on rests - have a bunch of quarter note and quarter rest flash cards in a mixed pile on a table, invite each student to walk up and choose one quarter note and three quarter rests and bring them back to his/her drum - ask if anyone knows how to arrange the flash cards to create the measure that we’ve been playing, have the entire class arrange their cards on their own music stand in front of their drum

checklist: ____encourage students to look at each flash card as the time goes by ____have students clap and count aloud ____have students play right hand only while counting aloud ____have students play only left hand while counting aloud ____have students alternate hands: one measure with right hand, one measure with left hand

Creativity Student Fill-ins: 1. Do you know any drummers? (family, friends, neighbors, professionals) List them here: _______________________, ______________________, ________________________ _______________________, ______________________, ________________________ 2. Experiment with the snare/tom switch. Which sound do you like better? Why? ______________________________________________________________

review 1. Demonstrate a good matched grip. 2. Demonstrate a good “set position” at the snare drum. 3. Play a 12 inch stroke with your right hand. Remember you should be in a good “set position.” before and after the stroke. 4. Play a 12 inch stroke with your left hand. Remember you should be in a good “set position.” before and after the stroke. 5. Draw a quarter note on the chalkboard. 6. Draw a quarter rest on the chalkboard.

Lesson 3

Warm-up

1. Students set-up snare drums and music stands.

To the teacher: display eight flash cards on the chalkboard, have a bunch of quarter note and quarter rest flash cards on a table. Ask students to find a partner and decide among themselves who will get the notes and who will get the rests from the table, invite them to arrange the flash cards on their own music stand.

warm-up checklist: ____encourage students to clap the rhythms while counting aloud ____encourage students to play the rhythms as a group with right hand only ____encourage students to play the rhythms as a group with left hand only ____review technique detail (see grip, set position, and stroke checklists in Lesson 2)

Reading Musicianship – measures, barlines Measure – A group of beats separated by barlines. In other words, a box in which music is written.

Barline – A barline is a line that separates one measure from another.

Double Barline – A double barline signifies the end of a piece of music.

Time signatures –

4/4 Time Signature – Tells us there are four quarter notes per measure and each quarter note gets one beat. ** 4/4 Time Signature is also known as Common Time Signature. ** The abbreviation for Common Time is a capital letter C. (Example #2) Examples #1 and #2 sound exactly the same. It is just the sticking (which hand you play) that changes

Creativity 1. Practice drawing quarter notes and quarter rests in the spaces provided. Quarter Notes:

Quarter Rests:

listening game

To the Teacher: The “Listening Games” section is a great way to help players develop listening skills. Most of the activities found in this section involve a soloist playing for the class while the class writes answers in their workbooks. Have the soloist positioned so that the class cannot see him/her. The students filling in answers should only use their ears. Get in the habit of rotating the soloists as much as possible. As always, the more confidence you can give the students the quicker they will develop.

Activity: One player sets up in the back of the room. The rest of the class are seated and facing the front of the room. The soloist puts the snare/tom switch on or off. The soloist plays one note. This is example #1. Students record their answer in their workbooks. The soloist chooses whether to put the drum on tom or snare and plays another note. This is example #2. The class records their answer and so on.

To the Student:

Listen to the soloist and circle the correct answer. Example #1 tom snare Example #2 tom snare Example #3 tom snare Example #4 tom snare To the Teacher: From Lesson 3 on you will find a feature composition at the end of each lesson. These solos are perhaps the most important element of this method book. The featured solo gives the student a chance to demonstrate ownership of the concepts covered. Fun and appealing titles were given to make performing an engaging and enjoyable experience for the player. Each solo will be followed by a checklist of details. Student and teacher should work together to complete all checklists.

review 1. Matching Game: Fill-in the correct term.

A) double barline B) measure C) barline

Single line that separates measures__________________________________ Box in which music is written______________________________________ Indicates that you’ve reached the end of the piece______________________

2. 4/4 Time Signature is also called ____________________________. 3. A 4/4 Time Signature tells us that there are __________ quarter notes per measure and each

______________________________ gets one beat.

“Blast-off!” checklist: How many measures are there in “Blast-off!”?______________ How many barlines are there in “Blast-off!”?_______________ How many double barlines are there in “Blast-off!”?___________ ____play the correct sticking ____your stick should immediately return to the “set position,” especially every measure that has a quarter note followed by three quarter rests ____maintain a steady beat throughout ____play the piece while counting aloud

____clap the rhythm while counting aloud

Lesson 4

Warm-up Repeat Sign - A double barline with two dots tells us to repeat the enclosed measures. Usually a repeat sign tells us to repeat the section once but in our warm-up exercise we will repeat it indefinitely.

Eight on a Hand checklist: ____the tip of the stick should not press into the head or stop on the head during the stroke ____after the eighth stroke on each hand the student must return the tip of the stick to the set position (tip of stick is one inch above the center of the head) ____as a rule the stick that is not playing should be in the “set position”

Helpful Tips: - Figure 4.1 shows the player’s EXCELLENT stick control while playing “Eight on a Hand“

on his right hand. This is correct. Notice how the right stick is in the air while the left stick is in “set position.”

- Figure 4.2 shows the player’s LACK of stick control while playing “Eight on a Hand” with the right hand. Notice how the left stick is hanging in mid-air and NOT in “set position.”

- Whichever stick is NOT PLAYING should stay down at “set position.”

Figure 4.1

Figure 4.2

Reading Auxiliary instruments – concert bass drum Standing Position

standing checklist: ____left hand resting on the rim on player’s left side of the drum ____right hand strikes the head slightly off-center for fullest sound

Bass Drum Grip

grip checklist: ____bass mallet grip is similar to snare grip (no gaps between thumb and index finger) ____all fingers stay on the mallet at all time

____fulcrum is at the point on the mallet that is one-third the way up from the butt of the mallet

RHYTHM – WHOLE NOTES AND HALF NOTES Whole Note – A whole note looks like an oval-shaped circle. It lasts for four beats in 4/4 time. Here is a whole note:

Half Note – A half note is an oval-shaped circle with a line attached. It lasts for two beats in 4/4 time. Here is a half note:

bass drum checklist: ____no gaps between thumb and index finger ____turn the wrist

____keep all fingers on the mallet at all times ____hit the drum head slightly off-center ____strive for each stroke to sound the same ____left hand is resting on the top of the shell ____counting aloud while playing

CREATIVITY 1. Does the bass drum sound lower or higher than the snare drum? Why? 2. Can you think of anything that is not a drum yet sounds like a bass drum? 3. Practice drawing whole notes:

4. Practice drawing half notes:

5. Draw two repeat signs in the following measures (one in the first and one in the second):

LISTENING game - Performer plays either bass drum or snare drum (on tom). Write down the name of the performer and circle the instrument that was played. Performer #1:___________________ bass drum snare drum

Performer #2:___________________ bass drum snare drum Performer #3:___________________ bass drum snare drum

Performer #4:___________________ bass drum snare drum

Performer #5:___________________ bass drum snare drum

REVIEW 1. The major difference between a barline and a double barline is that a barline has _____ line

while a double barline has ______ lines. 2. Matching: Draw the note or rest that equals the value given.

4 beats

1 beat rest

2 beats

1 beat

3. 4/4 Time Signatures tell us there are __________________ beats per measure and the

__________ note gets one beat. 4. 4/4 Time Signature is also known as _____________ Time. 5. What does a repeat symbol tell us to do? ___________________

6. For a great bass drum sound hit the bass drum: (circle correct answer) A) directly in the center of the head B) on the shell C) slightly off-center To the teacher: Visual Technique Guide

COMMON ERROR ERROR FIXED

BAD - thumb off the stick, poor fulcrum

GOOD - thumb on stick, great fulcrum

BAD - moving arm instead of just wrist

GOOD - isolated wrist turn, elbow remains still

BAD – stick is not an extension off the forearm

GOOD – stick is a natural extension of the forearm

BAD – fingers off the sticks

GOOD – fingers and thumbs on the sticks

BAD – elbows are locked into the hips

GOOD – about two inches of space between the elbows and hips

÷ c w w ˙ ˙ w w w ˙ ˙ w

÷9 w w ˙ ˙ ˙ ˙ w w ˙ ˙ w

÷17 ˙ ˙ w ˙ ˙ w w w ˙ ˙ w

÷25 w ˙ ˙ w w ˙ ˙ w ˙ ˙ ˙ ˙

DRAG RACESBass Drum Solo

"Drag Races" checklist:____maintain proper bass drum grip (fulcrum with no gaps, all fingers on mallet, hold mallet at the balance point which is one-third of the way from the butt end of the stick)____left hand rests on opposite rim ____strike the head slightly off-center for fullest sound____all forty-four notes in this piece should have the same fullness of sound____perform the solo loudly____perform the solo quietly____notice that there is only one line through the staff where there is usuallyfive, this one-lined staff is used for non-melodic instrumentsThere are______half notes in this piece.There are______whole notes in this piece.

Lesson 5

Warm-up Copy the warm-up exercise from Lesson 4 in the measures provided below: (include repeat signs, stickings, and notes)

Dynamics – Dynamics are musical terms for the volume of the music. Here are two common dynamics: Fortissimo – Fortissimo means loud, let’s call it a 12 inch stroke, the symbol for fortissimo is ff Piano – Piano means quiet, let’s call it a 1 inch stroke, the symbol for piano is p

warm-up checklist: ____when playing at lower dynamic levels you must maintain all “grip guidelines” described in Lesson 2 ____remain relaxed when playing low ____there should be a definite difference in the stick heights for piano (1”) and fortissimo (12”)

READING RHYTHM – WHOLE RESTS AND HALF RESTS A whole rest is a rest that lasts for four beats in 4/4 time.

The symbol for a whole rest is

A half rest is a rest that lasts for two beats in 4/4 time. The symbol for a half rest is

Auxiliary – bass drum dampening Bass Drum Dampening - play a note on the bass drum and let it ring for a few seconds - with your left hand gently but firmly press your fingertips into the head on your left side - at the same time that you dampen with the left hand dampen with the fingertips of your right

hand on the head to your right (get used to holding the mallet in the crux of your thumb while you dampen with the right hand)

- strive for absolute silence on the downbeat of the rest - many players use their right knee to dampen the head also

cREATIVITY Draw whole rests:

Draw half rests:

Listening game Soloist either plays a dampened note or a non-dampened note on the bass drum. Class records answers below. Performer’s Name:_________________ dampened non-dampened Performer’s Name:_________________ dampened non-dampened Performer’s Name:_________________ dampened non-dampened Performer’s Name:_________________ dampened non-dampened

review 1. True or False: Fortissimo means loud. 2. True or False: Fortissimo means quiet.

3. True or False: Piano means loud.

4. Piano and Fortissimo are called __________________.

5. A half rest is worth ______ beats of rest in 4/4 time.

6. A whole rest is worth _______ beats of rest in 4/4 time.

7. What is the musical term for stopping an instrument from ringing? _____________________

8. Why would you need to dampen a note? __________________________________________

Lesson 6

Warm-up New dynamic – mf which stands for mezzo-forte or medium loud, let’s say that mf dynamics will be played as 6” strokes.

Warm-up checklist: ____play the following levels: 12” forte, 6” mezzo-forte, and 1” piano ____display three distinctly different dynamics at the three different levels ____both hands have the same height and volume at any given dynamic (make sure the left hand is not played lower than the right hand) ____maintain “grip guidelines” (see Lesson #2) while playing the three dynamics

reading new term – repeat previous measure symbol This symbol tells us to repeat the previous measure:

Our warm-up exercise above could also be written:

new term – duet Duet – A duet is a piece of music written for two players. The featured piece in this lesson is a duet. New term – alternating sticking Alternating Sticking – Alternate you hands when playing.

Examples/ RLRLRL… or LRLRLRLR…

Sight reading – snare drum This is the first example of sight reading. The intent of sight reading is to see how quickly and accurately you can play a piece that you’ve never seen before. *** KEEP YOUR EYES MOVING FORWARD ALL THE TIME. YOUR EYES SHOULD ALWAYS BE A LITTLE AHEAD OF THE MUSIC YOU ARE ACTUALLY PLAYING. Imagine riding your bike – wouldn’t you be looking ahead for what was coming up next?

creativity Draw the following:

Half Notes

Quarter Notes

Quarter Rests

Whole Rests

Half Rests

Whole Rests

Draw Repeat Previous Measure Symbols:

Listening game Soloist performs the bass drum sight reading excerpt from this lesson in front of the class. Soloist will play four times. Soloist will either dampen or not dampen during each performance of the piece. The class circles either dampened or not dampened. Performer’s Name:_________________ Example #1 dampened not dampened Example #2 dampened not dampened Example #3 dampened not dampened

Example #4 dampened not dampened Review 1. Fill in the correct dynamic levels for the following dynamics: fortissimo (ff) ____ inches piano (p) ____ inches mezzo-forte (mf) ____ inches 2. The “Repeat the Previous Measure” symbol looks like________ 3. The “Repeat the Previous Measure” symbol tells us to: 4. A piece of music written for two players is called a________ 5. R L R L is an example of _____________ sticking 6. What is it called when you are reading music that you’ve never seen before?

÷

÷

c

cSnare

Bass

ƒ (12")

œ œ œ œR L R L

ƒ (12")

w

œ Œ Œ ŒR

wp (1")

œ œ œ œR L R L

p (1")w

œ Œ Œ ŒR

w

÷

÷SD

BD

5

ƒ(12")

œ œ œ œR R R R

ƒ (12")

˙ ˙

œ Œ Œ ŒR

˙ Ó

œ œ œ œL L L L

˙ ˙

œ Œ Œ ŒL

˙ Ó

÷

÷SD

BD

9

F (6")

œ œ œ œR L R L

∑

∑

F (6")

œ œ œ œƒ (12")

œ œ œ œR L R L

ƒ(12")

œ œ œ œ

œ Œ Œ ŒR

œ Œ Œ Œ

BEACH FUN

"Beach Fun" checklist:____snare: demonstrate a good set position on beat two of measures 2,4,6,8, and 12____bass: strive to get the drum silent on the downbeats of the rests____switch parts____perform faster____perform slower____perform this duet along with a recording of your choice

Lesson 7

Warm-up Forte – Forte is a dynamic level that means loud. It is similar to fortissimo but not as loud. The symbol for forte is f. We will play forte dynamics at 9 inches.

warm-up checklist: ____play at ff (12”) ____play at f (9”) ____play at mf (6”) ____play at p (1”) ____play as a loop (four measures at each dynamic without stopping) ____play slowly ____play quickly

Reading Rudiment – Rudiments are skills that are required to play the drums. Just like scales help wind players, rudiments help drummers improve. Rudiments – buzz strokes (in quarter notes) GOAL – Play a buzz stroke: - Using your right hand, play a mf stroke but at the moment the tip of your stick touches the drum head let the stick fizzle (buzz) on the head. It will make a “zzzz” sound if you allow the tip to bounce multiple times in one spot. Do not stop the stick from bouncing just let it fizzle out on its own. It is important to pinch the fulcrum slightly to make the stick bounce. The symbol for a buzz stroke is a “z” through the note stem. It is better to have the tip of the stick bounce in one spot on the drum head than to smear the tip across the drum head.

Stick clicks – Just hit your sticks together. The symbol for a stick click is an x as a notehead.

Creativity 1. Draw lines connecting the dynamics to the correct stick heights:

mf 1 inch p 6 inches ff 9 inches f 12 inches

2. Draw repeat previous measure symbols in the blank measures below then play the piece with the written repeat symbols.

Listening fun Soloist sets a snare drum up in the back of the class. Soloist plays four notes one at a time. Choose either a buzz stroke or a normal stroke. Class circles the stroke that was played. Performer’s Name:_____________________ Example #1 buzz normal Example #2 buzz normal

Example #3 buzz normal Example #4 buzz normal

video goal To the Teacher: You will find strategically placed Video Goals throughout this method. Naturally, you will need to get permission forms if your school requires them. The process of having to PERFORM for a video camera immediately raises the performance level of the player. Getting young players into the habit of performing is beneficial to the development of the player. Plus, the video documentation will benefit you as a teacher as well. You can easily chart progress. The students will get a kick out of seeing themselves after a few months pass. They will clearly recognize their own progress. In later lessons you will have students make videos for younger students in your district. Student chooses a solo from Lessons 4 through 7 and performs for the video camera.

Review 1. What is it called when you hit your sticks together?_____________________ 2. If we play a 9 inch stroke, what is the dynamic level? ____________________

3. True or False: When we play a buzz stroke we want to stop the bouncing immediately.

4. Circle the correct answer:

The best way to get a buzz sound is to (A) pinch the fulcrum slightly or (B) take all the fingers off the stick and hope.

“Magic Trick” checklist: ____snare: allow the buzz strokes to buzz for as long as possible ____bass: make sure to get silence from the drum on beat four of measure four ____don’t forget the repeated section ____snare: try not to choke-off the stick’s vibration during the stick clicks ____play it much slower and see if you can keep it under control

÷÷cc

Snare

Bass

ƒœ œ œ œR L R L

ƒwœz œz œz œzR L R L

wœ Œ œ ŒR L

˙ ˙œ œ œ ŒR L R

œ œ œ Œ

÷÷

SD

BD

pœ œ œ œR L R L

p˙ ˙

œz œz œ ŒR L R

˙ Óœ œ œ œR L R L

wœz œz œz œzR L R L

w

÷÷

SD

BD

fœ œ œ œR L R L

fœ œ œ Œ

œz œz œ ŒR L R

œ œ œ Œœ œ œ œR L R L

˙ ˙œz œz œz œzR L R L

œ œ œ œœ Œ Œ ŒR

œ Œ Œ Œ

MAGIC TRICK

Lesson 8

Warm-up

warm-up checklist: ____play at 12”, 6’, 1” ____play faster ____play slower ____”Eights Down the Line” one player at a time (4 measures each) then the next player enters, there should be no stops, visual cues will help students enter

Reading New term – tempo

Tempo – A musical term used to describe the speed of the music. (slow, medium, fast, very fast…) Auxiliary instrument – triangle Auxiliary Instrument – Special effect instrument. The most common sizes of triangles are 6-8 inches per side.

Triangle – The triangle is a very popular auxiliary instrument. Here are some examples of how to play a triangle.

Triangle Dampening – Pinch the triangle with the fingers of your left hand to stop the ring.

triangle dampening checklist: ____dampening takes place on the downbeats of the rests (silence on the rests) ____allow triangle to ring for the full value of the note before dampening (don’t clip the note

off) new term – rim click Rim Click – Hit the top of the snare drum rim (12 o’clock) with the shoulder of the stick.

Creativity

Which of the following are examples of alternating stickings (circle two): RRRR RLLR LLRL LRLR LLLL LLLR LLRR RRLL LLRL RLRL RRLR LRLL

Listening For enjoyment Listen to “Trepak” from the Nutcracker Suite by Peter Tchaikovsky. The mood of “Trepak” is:_________________ The tempo of “Trepak” is_________________ Open-ended question: What is happening in this music? Listen to “Arabic Dance” from the Nutcracker Suite by Peter Tchaikovsky. The mood of “Arabic Dance” is:_________________ The tempo of “Arabic Dance” is_________________ Open-ended question: What is happening in this music?

listening games 1. Play a few notes on the triangle then play a few notes on the bass drum. Which one sounds low and which sounds high? Why do they sound differently? (Hint: Compare the sizes of the two instruments.) ______________________________________________________________________________

2. Soloist plays triangle excerpt #2 at the back of the classroom. Soloist plays four times. Soloist chooses whether or not to dampen the rests. Class circles the correct answer below. Performer’s Name:________________________ Example #1 dampened not dampened Example #2 dampened not dampened Example #3 dampened not dampened Example #4 dampened not dampened 3. Soloist plays the snare drum. Soloist plays four times. Soloist chooses whether or not to play a rim click or a normal hit on the drum head. Class circles the correct answer below. Performer’s Name:_________________________ Example #1 rim click drum Example #2 rim click drum Example #3 rim click drum Example #4 rim click drum

review 1) Demonstrate the correct way to hold a triangle. 2) Demonstrate the correct way to dampen a triangle. Play a single note then dampen.

3) Demonstrate a rim click on the right hand and the left hand. 4) True or False: “Trepak” is a slow piece. 5) True or False: “Arabian Dance” is a slow piece. 6) True or False: Alternating Sticking is when you play only with your left hand. 7) Circle the correct answer: When dampening a triangle, it is best to use your (A) chest, (B)

knee, (C) fingers, or (D) your face. “Waterpark” checklist: ____snare: buzz strokes should “fizzle” as long as possible ____bass: act quickly to dampen the quarter rests in the piece ____snare: get the rim clicks in measures 13 and 14 ____record you and a friend performing this piece ____give this piece another title, Why did you pick that title? ____add a few more dynamic markings and perform the piece

÷

÷

c

cSnare

Bass

fœ œ œ œR L R L

f˙ ˙

œz œz œ ŒR L R

œ œ ˙

œz œz œ ŒR L R

œ œ ˙

œz œz œ ŒR L R

œ œ ˙

÷

÷SD

BD

5

pœ œ œ œR L R L

pw

œ œ œ ŒR L R

w

œ Œ œ ŒR L

˙ ˙

œ œ œ ŒR L R

œ œ œ Œ

÷

÷SD

BD

9

Fœ œ œz œzR L R L

F˙ ˙

œ œ œz œzR L R L

˙ ˙

œ œ œ œR L R L

w

œz œz œ ŒR L R

œ œ œ Œ

÷

÷SD

BD

13 Rim Clicks (x)

¿ ¿ œ œR L R L

w

¿ ¿ œ œR L R L

˙ ˙ƒœ œ œ œR L R L

ƒ˙ ˙

œz œz œ ŒR L R

œ œ œ Œ

WATERPARK

Lesson 9

Warm-up Mezzo-piano is a dynamic that means medium quiet. The symbol for mezzo-piano is mp. Mezzo-piano music will be played at 2 inches.

warm-up checklist: ____keep all fingers on the sticks at all times ____keep both elbows still (turn from the wrist) ____be relaxed (your forearm muscles should feel like jelly) ____play as a group ____play individually ____play “Down the Line” (one player at a time) ____play at 12”, 9”, 6”, 2”, 1” (change dynamic level every four measures)

Reading Auxiliary instrument – tambourine Tambourine – Tambourine is a very effective auxiliary instrument. It is often used in classical, rock, funk, and world music. The three main parts of a tambourine are head, rim, and jingles.

rim head jingles

tambourine playing position checklist: (using a tambourine with a head)

____hold the tambourine with your left hand, your thumb will be on the head while your other fingers will hold the ring underneath (the opposite goes for a left-handed player) ____hold the tambourine about chest high at a slight angle (imagine the tambourine is a mirror and you are looking slightly downward to see your face in that mirror) ____play the tambourine with the fingertips of your right hand ____play the tambourine 1/3 of the way from the rim to the center

Creativity 1) What is the name of this instrument? (see photo)____________________

Listening fun Listen to any piece of music (in 4/4 time) and count “1 2 3 4” aloud with the quarter notes of the music. Which beat do you think is the most important? Try counting along to a lot of music with different tempos, styles, eras, and origins. * Next play “Eight on a Hand” with some recordings. Count out loud.

Review 1. Demonstrate the correct playing position for playing the tambourine.

2. Circle the correct answer: The tambourine should be held (A) above your head, (B) way

above your head, (C) about chest high, (D) about belt high.

3. The three main parts of a tambourine are:

__________________, _____________________, ______________________ 4. The tambourine is usually played with (A) the knuckles, (B) the palm, (C) the finger tips, (D)

your nose.

5. ____________________ is a dynamic marking that tells us to play at a medium quiet volume.

“Pirates” checklist: ____measure 5 should be much quieter than measure one ____the 4 rim clicks in measures 2 and 14 should all sound good (don’t make 4 different sounds when you play those 4 notes on the rim) ____switch parts and perform ____all buzzes should “sizzle” as long as possible ____pinch your fulcrums (thumb and index finger) for all buzz strokes

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PIRATES

Lesson 10

Warm-up New term – crescendo Crescendo – A crescendo means you start quietly and gradually get louder. The symbol for a crescendo is:

* Think of walking up a ramp!

warm-up checklist: ____play a crescendo that starts at p (1”) and goes up to ff (12”) ____make sure that the last eighth note on each hand returns to the “set position” immediately following the eighth stroke in “Eight on a Hand” ____keep all fingers on the sticks regardless of dynamic level ____elbows don’t need to move, isolate the wrist turning ____make sure that both hands start at a 1 inch level ____after playing the eighth stroke, make sure to immediately return to the set position ____make sure the crescendo is gradual, take 8 strokes to arrive at fortissimo (12”) ____play it “Down the Line” (4 measures for each player)

Reading Sight reading – stick clicks

Creativity 1. What is the name of the instrument pictured below? ____________________________

2. What is the name of the instrument pictured below?___________________________

Listening fun

One player performs “Eight on a Hand” at either 12” (ff), 6 (mf), or 1 inch (p). The performer is in the back of the room so the rest of the class cannot see the player. Write down the player’s name then circle the dynamic that was played. Rotate until entire class gets a chance to be the performer. performer’s name_____________ 12” (ff) 6” (mf) 1”(p) performer’s name_____________ 12” (ff) 6” (mf) 1”(p) performer’s name_____________ 12” (ff) 6” (mf) 1”(p) performer’s name_____________ 12” (ff) 6” (mf) 1”(p) performer’s name_____________ 12” (ff) 6” (mf) 1”(p)

Review 1. A crescendo tells us to ________________________________________________

3. The symbol for a crescendo is: 4. If we start at piano and gradually increase our volume to fortissimo, what is this called? ________________________________ 5. True or False: Your elbows should stay still while playing to make sure that you are turning

your wrists and not moving your whole arm. (please say true) 6. True or False: When sight reading it is always a good idea to look ahead.

“Dolphins at Play” checklist: ____bass: dampen each quarter rest ____both players should start at a mezzo-forte (6”) level, neither player should be louder or quieter ____measure 11 should be louder than any music before it ____snare: make sure to return to the set position immediately following beat one in measures 20, 22, and 27 ____try making measures 19-27 a warm-up exercise! ____pencil in your own dynamics ____come up with another possible title ____try clapping the piece ____try stomping your foot as a way of playing the piece!! ____try having the bass drummer stomp his/her part while the snare drummer claps his/her part

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dolphins at play

Lesson 11

Warm-up New term – decrescendo Decrescendo – A decrescendo means to start loud and gradually get lower in volume. The symbol for a decrescendo is:

* Think of walking down a ramp.

warm-up checklist: ____play a decrescendo that starts at ff (12”) and goes down to p (1”) ____make sure the last eighth note on each hand immediately returns to “set position” following the eighth stroke of “Eight on a Hand”

Reading Rudiments – paradiddle Paradiddle – A paradiddle is made up of a single stroke (R) followed by a single stroke of the opposite hand (L) followed by a double stroke on the original hand (RR). Also, follow this pattern but play the opposite sticking. A paradiddle is a very important rudiment. examples:

right hand paradiddle – RLRR left hand paradiddle – LRLL alternating paradiddles – RLRR LRLL RLRR LRLL…

Why do we need Rudiments? Rudiments make up the nuts and bolts of drumming. They are the equivalent to scales for melodic instruments. It is very important to practice all the rudiments you will be learning since you will see rudiments in all types of music. There are 26 official rudiments and many others that are not official! You will be learning all 26 official rudiments, as well as, many unofficial yet valuable rudiments.

Creativity

1. A musical term for getting louder is_________________________ 2. A musical term for getting quieter is____________________________

3. How many paradiddles can you find? (circle them)

RLLR RLRR RLLL LRRL RLLL LRLL LRLR LLLL RLRL LRLL LLLL RRRL RLLR LLRL RRLR LLLR RRLL LLRL RRRR LRRL LRLL RLRR LLLR LRLL

4. Draw a decrescendo symbol:

5. Draw a crescendo symbol

Listening for enjoyment Compare the moods of “Tortoises”, “Birds”, and “Fish” from Carnival of the Animals by Camille Saint-Saens: The mood of “Tortoises” is_____________________________________________ The mood of “Birds” is_____________________________________________ The mood of “Fish” is_____________________________________________

Listening game Performer plays “Eight on a Hand” using either a crescendo or decrescendo. Class writes down

the performer’s name then circles either crescendo or decrescendo:

performer’s name______________________ crescendo decrescendo performer’s name______________________ crescendo decrescendo performer’s name______________________ crescendo decrescendo performer’s name______________________ crescendo decrescendo performer’s name______________________ crescendo decrescendo

review 1. Decrescendo means to_______________________________________________ 2. Crescendo means to__________________________________________________ 3. A right-handed paradiddle is: ___ ___ ___ ___ 4. A left-handed paradiddle is: ___ ___ ___ ___ 5. Fill-in the chains of paradiddles below: (the starting sticking is provided) L ___ ___ ___, ___ ___ ___ ___, ___ ___ ___ ___, ___ ___ ___ ___ R ___ ___ ___, ___ ___ ___ ___, ___ ___ ___ ___, ___ ___ ___ ___ L ___ ___ ___, ___ ___ ___ ___, ___ ___ ___ ___, ___ ___ ___ ___ R ___ ___ ___, ___ ___ ___ ___, ___ ___ ___ ___, ___ ___ ___ ___ L ___ ___ ___, ___ ___ ___ ___, ___ ___ ___ ___, ___ ___ ___ ___ R ___ ___ ___, ___ ___ ___ ___, ___ ___ ___ ___, ___ ___ ___ ___

6. Compose your own piece using only quarter notes. Include a crescendo and a decrescendo.

student composition checklist: ____include a (4/4 or C) time signature in the first measure ____include a double bar in measure 8 (to show the end of your piece) ____at least one crescendo ____at least one decrescendo ____indicate dynamics so you know how quiet or loud to get at either side of the crescendo or decrescendo ____give your new composition a title! ____play your piece for someone ____have a friend play your piece “Popcorn & Paradiddles” checklist: ____snare: play all the correct stickings ____snare: make all crescendos and decrescendos noticeable for a listener ____bass: balance the snare when crescendo (you do not want to overpower the snare) ____snare: measure 23 should be very different than the measures before it (first time the volume drops below forte or 9”) ____for fun: start on measure 17 and go to the end then play measure 1 to 16 without stopping

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POPCORN & PARADIDDLES

Lesson 12

Level one graduation Great job!

Warm-up

warm-up checklist: ____play even crescendos or decrescendos (take all the notes to get louder or quieter) ____most crucial concept to understand in these exercises is to get low enough (height and volume) on the piano dynamics ____see how fast you can play these exercises ____play each exercise for five minutes without stopping ____find a partner, you play one exercise while your partner plays the other simultaneously

Reading New term – Repeat previous two measure symbol Repeat Previous Two Measures Symbol – Means just as it says repeat the two measures you just played. The symbol looks like this:

Rhythm – eighth notes Eighth Noes – Eighth notes are twice as fast as quarter notes. So where there were four quarter notes in a measure there are eight eighth notes. Eighth notes are counted “1 and 2 and 3 and 4 and” or “1 & 2 & 3 & 4 &” A single eighth note looks like:

Two eighth notes are grouped like this:

Creativity 1. Draw single eighth notes:

2. Draw two eighth notes grouped together:

3) How would you count these measures? (Fill-in the counting)

Listening game Soloist plays in the back of the classroom. Soloist plays four times. Soloist chooses whether to play a great sounding crescendo or a poor sounding crescendo. A great sounding crescendo starts quietly and gradually builds using every stroke to get a little bit louder. A poor sounding crescendo doesn’t start very quiet and sound even when it gets louder. Class circles the correct answers. Performer’s Name: ______________ Example #1 great crescendo poor crescendo Example #2 great crescendo poor crescendo Example #3 great crescendo poor crescendo Example #4 great crescendo poor crescendo

Video goal Perform “Grand Slam Homer” for a video camera.

Review 1. True or False: A crescendo and a decrescendo are the same exact thing.

2. “1 and 2 and 3 and 4 and” is a way to count _______________ notes.

3. Draw the symbol for a Repeat Previous Two Measures marking: 4. So far, we know whole notes, half notes, and quarter notes, and _____________ notes. 5. Draw a quarter rest:

6. Draw a half rest:

7. Draw a whole rest:

8. Draw a whole note:

9. Draw a half note:

10. Draw two eighth notes beamed together:

11. Compose you own solo for triangle using whole notes, half notes, whole rests, and half rests.

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GRAND SLAM HOMER!graduation piece - excellent job!

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Lesson 13 Welcome to level two

Warm-up New term – quality of sound

Quality of Sound – Quality of sound means using your listening skills to create a consistently great sound. A great sound is relaxed and open. Strive for a long tone (“dah” as opposed to “dit”) and be sure to maintain all the grip and stroke guidelines outlines in Lesson #2. Allowing the stick to bounce freely (rebound) will help a great deal. To get a long tone the stick should never stop its motion. “Eight on a Hand” is a study in legato strokes (the stick never stops moving – except for the last eighth note on each hand) Copy Machine Game – Start with a great sound then simply use your ears to replicate that sound. So think of the notes you play to be in a perfect copy machine. Every note sounds exactly as you want it to sound. In “Eight on a Hand” focus on the great sound of your first eighth note then concentrate on listening to the following seven eighth notes to sound like perfect replicas of the first note. Once you have it sounding great – don’t change a thing – in fact focus on NOT CHANGING anything with your technique! * This is the essence of controlling your own quality of sound!

grip checklist: ____no gaps between thumb and index finger ____all fingers and thumbs are touching the sticks at all times ____elbows are about 2 inches from the sides of the body ____sticks are in line with the forearms (straight line from the tip of the stick to the elbow) ____hands are turned over (analogy: students should imagine getting a nice tan on the top part of their hands if they were outside) set position checklist: ____tips of the sticks form the top angle of a triangle ____tips should be 1 inch apart and 1 inch above the drum head ____tips are over the center of the drum head ____maintain the grip guidelines listed above

warm-up checklist: ____maintain all grip and stroke guidelines ____maintain “set position” guidelines ____Copy Machine Game (strive to play 8 notes that sound precisely the same) ____be completely relaxed from head to toe when you play ____forearms should feel like loose like jelly when you play ____see how fast you can play “Eight on a Hand” ____see how slow you can play “Eight on a Hand”

Reading Rhythm – eighth note counting review

Musicianship – andante Andante – Moderate Tempo, also known as the walking tempo, not too fast and not too slow.

Creativity 1. Fill-in the counting:

How many quarter notes are in the excerpt above?______ How many quarter rests are in the excerpt above?______ How many half rests are in the excerpt above?______ How many eighth notes are in the excerpt above?______ 2. What is the musical term for a moderate tempo?______________________

Listening game

* List some artists or pieces that you like. Write down at least three adjectives to describe them

ARTIST/PIECE:____________ adjectives to describe (3): ________ ________ _________

ARTIST/PIECE:____________ adjectives to describe (3): ________ ________ _________

ARTIST/PIECE:____________ adjectives to describe (3): ________ ________ _________

ARTIST/PIECE:____________ adjectives to describe (3): ________ ________ _________

* Play a recording of one of the above pieces and see if the class can come up with more adjectives that describe this music.

Review

1) Describe in your own words what the “copy machine game” is all about:

2) Give five positive adjectives to describe great quality of sound. _______________, _______________, _______________, _______________, _______________ 3) Fill-in the counting for the excerpts found in the “Reading” section of this lesson. “Weeza” checklist: ____clap the rhythms ____begin the snare part with the left hand ____play the bass part with the left hand ____this piece only uses one dynamic (forte), strive for a consistent forte sound throughout ____write in your own dynamics ____experiment by playing the top line with a tambourine and the bottom line with a triangle

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Lesson 14

Warm-up New term – rebound Rebound – Rebound is allowing the stick freedom to do what it wants to do – bounce! Rebound is similar to dribbling a basketball. Whatever speed you send the ball into the ground will be the same speed it will come up. However, when drumming your fingers are on the sticks constantly. The main dilemma in allowing the stick to rebound naturally is being able to get out of the way of the stick! * Concentrate on doing the least amount of work for the greatest amount of quality sound. * Remember – THERE IS A HUGE DIFFERENCE BETWEEN MAKING THE STICK REBOUND AND ALLOWING THE STICK TO REBOUND! Natural rebound will have the stick moving faster than normal. You want to use the natural rebound the stick will produce.

warm-up checklist: ____play “Eight on Hand” in the normal “set position” but keep the idea of rebound ____play at 12, 9, 6, 2, and 1 inch levels or ff, f, mf, mp, and p dynamics ____increase the tempo ____decrease the tempo

Reading Sight reading – quarters and eighths

time signature – 2/4 time 2/4 Time Signature – Two beats per measure and the quarter note gets one beat.

listening game * Teacher plays a mix of slow and fast pieces. Student circles slow or fast. Example #1 slow fast Example #2 slow fast Example #3 slow fast Example #4 slow fast

Creativity New term – notation Notation – The act of writing musical notes on paper. Compose your own solo by filling in the blank measures with your own combinations of quarter notes and eighth notes:

Give it a title and you’ve just composed a piece of music!

Review

1. What is the term for allowing the stick to bounce?___________ 2. When you sound great, you have great quality of____________________________ 3. Do you prefer fast or slow music? Why?

4. True or False: Your forearms should feel completely relaxed when playing the drums. 5. Add dynamics to the composition you wrote. Have a pal play it.

“Splash!” checklist: ____identify the five loudest measures in the piece ____identify the two quietest measures in the piece ____make a clear difference between dynamics (p, mp, mf, f, and ff) ____be careful to play the left hand just as loud as the right ____for fun play this piece as a duet for cowbells

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Lesson 15

Warm-up New term – pianissimo Pianissimo – Means very quiet. Let’s say we’ll play pianissimo at 1/2 inch. The symbol for pianissimo is pp.

pp (1/2”) warm-up checklist: ____play “Eight on a Hand” on a pillow, table, snare drum, and bass drum – notice how different the rebound feels on each surface ____maintain all grip, stroke, and set position guidelines (Lesson #13) when playing pianissimo (1”) ____lower dynamic levels are not to be played “light” or “soft” they should be played with the same stroke velocity as the higher levels, you must still adhere to the levels, example/ a pianissimo stroke (1/2”) should only be coming back one-half an inch.

Reading New terms – accents and taps Accent – An accent is a symbol that when placed above a note tells us to play that note louder than usual. The symbol for an accent is

Tap – Tap is a slang for unaccented notes in a phrase that has accents.

Accent / Tap Dynamic Notation System – When I write phrases with accented and unaccented notes I like to write two dynamics: one for the accented notes and one for the unaccented notes. In the next musical excerpt, the accents are to be played at ff (12’) while the unaccented notes are to be played at mp (2”). In other words, this excerpt is 12 and 2.

Creativity

1. Draw lines connecting the following levels to their correct dynamics:

6 inches mp

1 inch f

12 inches p

½ inch mf

9 inches ff

inches pp 2. When playing at pianissimo you should play without any fingers on the sticks:

TRUE FALSE

Listening game * Teacher plays four quarter notes. One of them is an accent while the others are taps.

Circle the beat that has an accent:

Example #1 1 2 3 4 Example #2 1 2 3 4 Example #3 1 2 3 4 Example #4 1 2 3 4

Review

1. Unaccented notes are called________________ 2. Accented notes are called___________________ 3. If a piece of music was marked mf/pp: The accented notes would be played at_____dynamic or____inches. The unaccented notes would be played at_____dynamic or____inch. 4. For fun: Listen to Ludwig van Beethoven’s “Fur Elise”______ (check mark) This piece is a good example of classical music. How does this music make you feel?_____________________________________ What instrument is being played?_______________________ Would this music be legato or staccato?__________________ “Stick Click Mania” checklist: ____switch parts and play ____add your own dynamics ____add your own crescendos and decrescendos to make the piece more dramatic ____agree to switch parts half-way through the piece ____play the first half of the piece quickly and the second half slowly ____memorize this piece and perform it while walking down the aisle of an audience

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STICK CLICK MANIAPlayers 1 & 2: Stick Clicks Throughout

Lesson 16

Warm-up

warm-up checklist: ____beat one of measures one and two always starts from the set position ____control the tip of the stick immediately after it plays the “and” of beat four ____start low and get higher in height ____during beats two, three, and four of measure three both stick tips should be down in the set position * write your own checklist reminder: ____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ _ _ _ _ _ _ _ __ _ _ _ _ _ _ _ _ _ _ _

Reading Rudiment – flam Flam – A flam note that has a tiny note right before it. This tiny note is called a grace note. Here is an example of a flam:

Grace Note – A grace note is really an embellishment. It is not counted as a beat or rhythm in the measure. A grace note is written like:

Most grace notes are played at 1 inch or lower. Naturally, the grace note will be much quieter than the note after it.

How to Play a Great Flam – When I hear a great flam it almost sounds like someone is saying “ba-Dup” very quickly. Try it: say “ba-Dup” one time quickly. That’s how you want your flams to sound. Or you can say the word “flam”. You didn’t say “fa-lam” did you? This would be a flam that is too wide and open (“fa-lam”). You want a nice “flam” sound”. GOAL: Play a single flam without thinking about time keeping. single flam checklist: RIGHT FLAM: ____tip of the left stick doesn’t go higher than 1 inch since it is the grace note ____tip of left stick should be in the “set position” before you play the flam so it is already at 1 inch off the drum, now when you play the flam just have your left stick’s tip go directly down with no up-stroke ____right stick plays a normal stroke at whatever dynamic is written for the flam ____right stick immediately returns to the “set position” ____both sticks will start and end in the “set position”

LEFT FLAM: ____ for a left flam just follow the above directions but reverse the sticking directions

auxiliary instrument – tambourine playing position checklist: (using a tambourine with a head) ____hold the tambourine with your left hand, your thumb will be on the head while your other fingers will hold the ring underneath ____hold the tambourine about chest high at a slight angle (imagine the tambourine is a mirror and you are looking at your face in that mirror) ____play the tambourine with the fingertips of your right hand ____play the tambourine 1/3 of the way from the rim to the center

Creativity

1) Draw grace notes before each of these quarter notes to make flams.

2) Compose a snare drum solo using quarter note flams, normal quarter motes, and normal

eighth notes. Remember to write the stickings below the notes.

Listening fun

Performer plays four flams. (two bad, two good - in any mixed order) Class writes down the performer’s name then circles good or bad: performer’s name______________ flam #1: good bad flam #2: good bad

flam #3: good bad flam #4: good bad

performer’s name______________ flam #1: good bad flam #2: good bad

flam #3: good bad flam #4: good bad

review 1) How is an accent different from unaccented notes?_____________________________ 2) If the left hand plays the grace note are you playing a right flam or left flam?_______________ 3) True or False: When you play a flam both sticks should hit the drum from the exact same height. 4) True or False: A Flam is a rudiment. 5) True or False: It is simply impossible to play dynamics on a tambourine. 6) Take a look at the warm-up exercise in this lesson. Are there crescendos or decrescendos in this exercise?____________________ 7) Demonstrate a single quarter note flam on the right hand. Now demonstrate a flam on the left hand. Did you show off your excellent control of the tips of your sticks? Yes No

“March of the Soldiers” checklist: ____bass drummer: How many dampens should you perform in this piece?_____ ____snare drummer: Did you make a difference between the 12” flams and 2” taps in measures nine, ten, and eleven? ____snare drummer: Start the piece on your left hand. ____bass drummer: set two bass drums side by side and play your part with two drums ____both players: Write another eight measures and add them to this solo. * Add your own checklist reminder: ____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

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Lesson 17

Warm-up

warm-up checklist: ____in measures 3 and 4: what are the low and high levels for the crescendos? ____strive for even crescendos (take 8 eighth notes to build the volume) ____measure 2: the “and” of beat four on the left hand should return immediately to the set position ____allow the sticks to rebound freely in measures 1 and 2 ____entire class plays 4 measures then a solo player plays 4 measures (continue loop)

Reading Time signature – 3/4 time signature ¾ Time Signature – 4/4 time is counted in four while ¾ is counted in three. Counting in ¾ will be “1 2 3, 1 2 3…”.

¾ time means that there are three beats in a measure and the quarter note gets one beat.

Rhythm – dotted half note Dotted Notes - Dotted notes add half the value of the note.

Dotted Half Note – One half note is worth two beats. So if we put a dot after the half note it is now worth three beats.

Auxiliary instrument – sleigh bells Sleigh Bells – Sleigh bells are a specialty instrument. They are prominently found in Christmas pieces. Sleigh bells can provide an effective change of timbre. As we cover more and more auxiliary and world percussion instruments it will become increasingly more important for you to find your own way of manipulating these instruments. Nothing is more disturbing to a conductor or audience as extra jingle sounds created by a performer who is just putting the instrument down

after playing. Take care to be silent with an instrument that jingles or rattles until you play your actual part. The sleigh bells can be played a few different ways:

sight reading – quarter notes, quarter rests, and dotted

half rests in 3/4 time

Creativity

1. Explain a dotted note in your own words:_________________________________ 2. A dotted half note in Common Time would be worth_____beats. 3. What is the name of an auxiliary instrument that reminds you of Christmas music? 4. ¾ time signature tells us there are_________ beats in every measure and the

_________________ note gets one beat. 5. Compose a tambourine solo in the measures provided:

Listening fun Performer plays 3 crescendos and 3 decrescendos (8 eighth notes on either hand). Let’s say two of

the three are purposely not smooth and one is smooth. Class completes the fill-ins: CRESCENDOS:

performer’s name______________ crescendo #1 smooth not smooth performer’s name______________ crescendo #2 smooth not smooth performer’s name______________ crescendo #3 smooth not smooth

DECRESCENDOS: performer’s name______________ decrescendo #1 smooth not smooth performer’s name______________ decrescendo #2 smooth not smooth performer’s name______________ decrescendo #3 smooth not smooth

review 1. What is the normal playing area on a tambourine? (circle the answer)

center of head rim 1/3 way from edge

on the jingles underneath the head 2. If 4/4 time signature has 4 beats per measure, then ¾ time signature has ______ beats per

measure. 3. Listen to Ludwig van Beethoven’s Symphony Number 5 in C Minor, Opus 67, Movement 1: True or False: Beethoven’s Symphony Number 5 is jazz music. True or False: Beethoven is currently living in Connecticut. Beethoven was born in what year?_________ 6. My favorite two drummers are: _________________________ and ______________________________. “Two Playing in Three” checklist: ____snare drummer: reverse all stickings and perform ____bass drummer: play entire part on left hand ____find a partner and perform for a tape recorder, listen to the tape and talk about what was good and what could be improved ____compose your own version of “Two Playing in Three” and perform it for your teacher ____include stickings and dynamics in your composition

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Lesson 18

Warm-up

warm-up checklist: ____What are the dynamic levels for the decrescendos? ___inches to ___inch. ____beat one of measure 3 should be the same volume and height as measures 1 and 2 ____play the first 17 eighth notes with an identical quality of sound (remember the “copy machine” game – play one note then make exact copies of that note)

Reading

Mallets – introduction to mallet technique Mallet Instruments:

Bells

Vibraphone

Xylophone

Marimba

Mallet Technique: Select a pair of medium hard yarn mallets. Mallet Grip Guidelines: ____fulcrum is now between the meat of the thumb and the index finger’s joint that is closest to your fingertip, remember that the fulcrum for snare technique uses the meat of the thumb and the index finger’s joint that is in the middle of your finger, the biggest reason for the technique difference is the size of a drumstick shaft is larger than a mallet shaft

Mallet Fulcrum

Snare Drum Fulcrum

____grip the mallets at the point that is one-third the way up from the bottom end of the mallet since this is your balance point ____make sure your hands are turned over (remember the “get a suntan on the top part of your hands” analogy) Mallet Set Position and Stroke Guidelines: ____stand at the xylophone with your feet shoulder-length apart, your stomach should be 3 or 4 inches away from the instrument ____grip your mallets and position the heads of the mallets so they form a “V” above any note you choose on the xylophone just like you were going to play snare drum, aim for the center of the bar, check your grip carefully (hands turned over, new fulcrum), it is very important to strike

the same part of the bar with each mallet, striking different areas on the bar creates different sounds

CORRECT

INCORRECT

____turn your wrists back to 12 inches – now you are in the up position, in mallets we start in the up position so all we need to do is play a pivot stroke, the only motion of the pivot stroke is down/up, there is no prep stroke from the up position, all strokes return to the up position * Mallet players start in the up position for accuracy and economy of motion.

mallets checklist: ____maintain all mallet grip, set position, and stroke guidelines listed above ____no prep stroke – only motion is “down/up” stroke, all strokes must return to the up position ____play the same dynamic levels as snare drum (ff = 12 inches…) ____BE RELAXED! ____play this same excerpt at all the levels you know (ff = 12”, f = 9”, mf = 6”, mp = 2”, p = 1”, pp = ½ inch), whatever dynamic you are playing determines for far up your set position will be, example: if you are going to play a note at mp you need to set your mallets 2” above the note * Naturally, you will not be able to be so detailed in many playing situations. ____play “Eight on a Hand” on any note on the xylophone, start and end in the up position

Rudiments – paradiddles (eighth notes)

World percussion – maracas

Maracas – Maracas are common instruments in many forms of latin music. They are played in pairs – one for each hand. Maracas are filled with beads, beans, or other things that rattle when shaken.

Creativity

1. Draw a line connecting the terms with their pictures: sleigh bells, triangle, maracas, snare drum, tambourine, bass drum, shaker, bells

Listening fun Performer plays (behind the class) one measure of eighth notes in either alternating sticking or

paradiddle sticking. Class writes in the performer’s name and circles whether the performer played alternating or paradiddle sticking.

performer’s name___________________ alternating paradiddles

performer’s name___________________ alternating paradiddles performer’s name___________________ alternating paradiddles performer’s name___________________ alternating paradiddles performer’s name___________________ alternating paradiddles

review 1. What is a popular instrument used in latin music? ________________ 2. Explain in your own words how the fulcrum for mallets is different than the fulcrum for snare

drum. _____________________________________________________ _____________________________________________________________________ 3. What is one good reason why we start in the “up” set position in mallets? _____________________________________________________________________ 4. What are the names of two metal keyboard instruments? ________________ ___________________ 5. What is the name of a wooden keyboard instrument?_______________________

6. Compose a snare drum solo. Include eighth note paradiddles and a few quarter note flams.

“Amazon Waltz” checklist: ____memorize and perform outside ____rewrite the piece backwards and perform ____clap the piece ____play the piece as a tambourine duet ____play the piece as fast as you can ____play the piece as slow as you can ____try an experiment for fun: for every quarter note say “pie” and every eighth note groupings of two say “a-pple”

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Lesson 19

Warm-up

warm-up checklist: ____first four measures are to be played: accents = ff (12”), non-accents or taps = mp (2”) ____measures five and six are to be played at 12” ____for the accent / tap measures: try to get the “and” count of one down immediately to 2”, to do this you must grip the stick a little firmer on the accent so you stop the tip of the stick in the down position ____try this exercise starting on your left hand ____try playing this exercise in a round (a round is when one player starts at the beginning and additional players layer on top) example: (3 players in a round) Player A – play the exercise as written Player B – rest two measures then start at the beginning Player C – rest four measures then start at the beginning

Reading musicianship – right on left effect Right on Left Effect – This is a fun special effect sound. Press the tip of your left stick into the

head and elevate the butt end of the stick four inches off the head. Strike the shoulder of the right stick into the shoulder of the left stick.

Time signatures – changing meters Changing Meters – Changing Meters is exactly what it says. You start in one time signature and suddenly move into another. It isn’t a big deal you just need to figure out how the counting changes and count away!

World percussion – introduction to conga Conga Drum – The conga drum is a large drum played with the hands. Congas are used in many styles of world music including rumba, son, and salsa.

Playing Position – We will begin with one drum. Most players play congas while seated. The head of the drum should be level with the bottom of your rib cage. The drum is angled slightly away from the player.

Closed Tone – Turn your right hand palm up. Notice the padded area located at the base of your fingers. This area along with your fingers will strike the head. In a closed tone there is no rebound.

Try these closed tone excerpts:

Open Tone – Open tones are played exactly like closed tones only open tones rebound. The fingers and base of the fingers strike the head and rebound off the head immediately. A full resonant sound is the goal. Try to create the same sound whether you play the left or right.

Here are some combination exercises. Demonstrate your ability to create the longest and shortest sounds on the conga. Remain relaxed and tension-free throughout. A good syllable for an open tone is “doo” while a good syllable for a closed tone is “dit.”

Sight reading – triangle duet in 3/4

Creativity 1. Fill-in the stickings to create paradiddles:

2. Compose a snare solo using a few R on L effect shots.

Listening games 1. Performer plays (from behind the class) either “Right on Left Effect” or a normal stroke on the head of a snare drum. Class writes down the performer’s name and circles the technique played. performer’s name_________________ R on L normal stroke on head performer’s name_________________ R on L normal stroke on head performer’s name_________________ R on L normal stroke on head performer’s name_________________ R on L normal stroke on head performer’s name_________________ R on L normal stroke on head 2. Performer plays either an open tone or closed tone on a conga drum. (from behind the class)

Class writes down the performer’s name and circles open or closed. performer’s name_________________ open closed performer’s name_________________ open closed performer’s name_________________ open closed performer’s name_________________ open closed performer’s name_________________ open closed

review 1) Demonstrate a “R on L” effect shot. 2) What happens when we change meters within a piece of music? ______________________________________________________________________ 3) True or False: A closed tone is a long sound. 4) True or False: An open tone is a long sound. 5) The most common way to play a conga is: A. standing B. seated C. on your back D. with your feet 6) When playing an open or closed tone, which part of your hand should strike the drum head? A. back of hand B. side of hand C. elbows D. fingers and base of fingers “Shark’s Fin” checklist: ____snare: keep the motion of your sticks continuous through measure 1 ____bass: two different drastically dynamic levels in measure 3 ____for fun: start the piece on measure 25, play to the end, then play measure 1 through 24 ____make the most out of the crescendos in measures 4, 7, and 24 ____snare: show great stick control in measures 33 and 34 by getting the tip of the stick down to 2” immediately after the 12” accent on beat one

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Lesson 20

Warm-up

warm-up checklist: ____play a different dynamic level on every repeat stating with loudest and going to quietest

(12-9-6-2-1-1/2) ____ play a different dynamic level on every repeat stating with quietest and going to loudest

(1/2-1-2-6-9-12) ____start the exercise with the left hand ____allow your sticks to rebound freely ____make it a habit to play with great quality of sound, in other words, each note should sound exactly the same as the first note

NEW TERM – ritard Ritard – A ritard means to slow down gradually. Let’s put a ritard marking in the fourth measure of the warm-up exercise of this lesson:

warm-up checklist: ____play measures one, two, and three at a moderately fast tempo, when you reach the fourth measure take the entire measure to slow down significantly ____it should seem as if you are stretching the measure out, you must leave space between these eighth notes to make them ritard ____perform this exercise starting on the left hand ____perform this exercise at all dynamic levels, remember: just because you get slower doesn’t mean to get quieter – maintain your levels regardless of the tempos unless other dynamics are marked

Reading

Rhythm – eighth / quarter combos

New terms – metronome and metronome marking Metronome – A metronome is a small device that clicks whatever tempo you want. It is a very

valuable tool to help you develop steady pulse and accurate rhythms. I recommend that you play with a metronome every day.

Metronome Marking – A metronome marking is a number that tells us how many clicks will

occur in one minute. example/ if we set our metronome at 144 the metronome will click exactly 144 times in one minute

new term – allegro Allegro – Allegro is a musical term for fast or lively music.

Mallets – review technique * See Lesson 18 to review the guidelines for mallet grip and technique. Play these warm-up exercises on any mallet instrument. Remember to begin and end in the up set position.

sight reading – Conga Solo in 3/4

Creativity

Listening fun

Performer plays “Eight on a Hand” at pianissimo level (pp = ½ inch). Performer plays the exercise three times: twice smooth and once not smooth on purpose (in any mixed order). Class writes down performer’s name and circles smooth or not smooth.

performer’s name___________________ playing example #1: smooth not smooth

playing example #2: smooth not smooth

playing example #3: smooth not smooth

performer’s name___________________ playing example #1: smooth not smooth

playing example #2: smooth not smooth

playing example #3: smooth not smooth

video goal reminder Next lesson you will be performing a solo piece from Lesson 17-21 for a video camera! Write the name of the solo you wish to perform here: Composition’s Title___________________________from Lesson #_______ START PREPARING NOW!!

for a friend…

review

1. What is the musical term meaning slow down gradually? A. Crescendo B. Rebound C. Open Tone D. Andante E. Ritard

2. Why would anyone need a metronome? ________________________________________________________________________________________________________________________________________________ 3. If a metronome is set at 144, how many times will it click in one minute?___________ 4.______________ is a musical term meaning fast or lively music. 5. Demonstrate your fulcrum for a snare stick then demonstrate your fulcrum for a mallet. 6. How are the two fulcrums different? ________________________________________________________________________________________________________________________________________________ 7. True or False: There are 22 measures in the excerpt in which you filled in barlines. 8. True or False: A ritard marking tells us to get gradually faster. 9. Listen to a recording of Miles Davis playing “All Blues”. What type of music is this?____________ What instrument does Miles Davis play?____________ Can you hear the drummer playing? ____________ Do you like how the drummer is playing?___________ “Suit of Armor” checklist: ____snare: measures 3 and 4 should sound like 4 identical quarter notes ____bass: dampen on beat 1 of measure 3 and 4 ____both: bring out the crescendo in measure 8 ____play the piece at Andante then repeat it at Allegro (Bonus question: Which tempo is slower?) ____for fun: top line plays a tambourine (ignore sticking) and bottom line plays the triangle; both players still play the dynamics written ____both players: add 6 accents somewhere into your part and play the piece

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Lesson 21

Warm-up

warm-up checklist: ____demonstrate a clear understanding of accent / tap control by playing the tap (unaccented note) after the accent at the proper low level (2”) ____play this exercise extremely slow and maintain grip and stoke guidelines ____see how fast you can play this exercise, how long can you keep it up? ____make up your own accent / tap levels and play the exercise (9/2; 6/2; 6/1; 2/1…) write your own checklist reminders: ____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Reading musicianship – snare drum playing zones

Snare Drum Playing Zones – There are three major playing zones on the snare drum: CENTER - Play directly in the center of the drum head. This produces the fullest and loudest

sound. HALF-WAY – Play half-way between the rim (rim at 12 o’clock) and the center. Half-way

sounds a bit dryer (slightly more articulate and muffled) than the center. EDGE – Play an inch away from the rim (rim at 12 o’clock). The edge sounds even dryer than

half-way. This zone is excellent for pianissimo and delicate excerpts. It is very easy to get a quiet buzz roll at the edge.

musicianship – timbre

Timbre (pronounced “tam-ber”) – Timbre means tone color. It is what allows us to tell the

difference between the sound of a violin and a bass drum. Timbre is the specific sound of an instrument. Notice how the three snare drum playing zones have different tone colors or timbres. Experiment with their different sounds.

New term – 1st and 2nd endings

1st and 2nd Endings – These are fancy repeat symbols. The below excerpt would be played from the beginning to the first repeat sign (measure four) then you would repeat back to the beginning, then you would skip the measures bracketed by a 1 and go right to where there are measures bracketed with a 2 and play to the end. Sounds tricky but once you play through it a few times you’ll be fine.

Auxiliary instrument – triangle Triangle dampening – To dampen the triangle pinch the triangle with your left hand (non-playing

hand).

Drumset – introduction

Playing Position – When playing the drumset you should be seated comfortably on a drummer’s throne. The most important element of drumset playing position is balance. You must feel the center of your weight in the middle of your chest. The top of your thighs should angle slightly downward. Sit up straight to prevent back problems in the future.

Chorus Soloing – Hum the melody for “Frere Jacques.” You have just hummed one chorus of “Frere Jacques.” If you hummed it three times in a row that would be three choruses of “Frere Jacques.” Follow the Playing Position guidelines above and sit at the drumset. Now play an Eight Chorus Solo of “Frere Jacques” on drumset. Play the tune one time on every instrument of the drumset. Chorus 1: Hihat Chorus 2: Snare Drum Chorus 3: Bass Drum (with foot pedal) Chorus 4: Tom 1 Chorus 5: Tom 2 Chorus 6: Floor Tom Chorus 7: Ride Cymbal Chorus 8: Crash Cymbal Make sure to keep the tune moving in time. DO NOT pause in between each instrument.

Creativity 1) What is a metronome? ________________________________________________

_______________________________________________________________ 2) Why should you practice with a metronome every day?_______________________

______________________________________________________________________ 3) A musical term that tells us to slow down gradually is a _______________________ 4) Label the three major playing zones for the snare drum:

listening game

Performer plays (behind the class) a few measures of any rhythm he / she wants. Play the rhythm

in the center, half-way, or the edge. Performer plays three times, one time at each of the three zones in a mixed order. example/ first time performer plays at the edge, second in the center, and third at half-way. Class completes the fill-ins and circles the correct zones.

performer’s name _______________ first example: edge half-way center

second example: edge half-way center

third example: edge half-way center

performer’s name _______________ first example: edge half-way center

second example: edge half-way center

third example: edge half-way center

video goal Perform at least one of the following pieces for a video camera: Lesson 17, 18, 19, 20, 21

Review 1. Most music written for the edge is quiet or loud?___________ 2. Most music written for the half-way zone of the snare drum is medium volume or extremely

quiet?_________________ 3. Explain 1st / 2nd endings: _______________________________________________________________________ 4. One time through a tune is one____________________. 5. What musical term describes the specific sound of an instrument (or tone color): 6. When we dampen a triangle, we use: A. left foot B. large pillow C. hand that is holding the triangle D. hand that is striking the triangle E. nose because it tickles “Barbecue” checklist: ____play this piece with a metronome playing at the same time, do not lose the beat ____snare: make a clear change in zone whenever notated ____bass: get comfortable performing quarter note dampens ____play the 1st / 2nd Ending correctly ____both: maximize the crescendo in measures 11 and 12 ____both: measure 17 should be 9/2 levels

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Lesson 22

Warm-up

warm-up checklist: ____start with the left hand ____change the dynamics markings and perform the exercise ____perform at a much slower tempo ____perform at a much faster tempo ____play as a duet (each player plays one measure) ____perform this exercise with a ritard in measure 6 ____perform piece by playing measures 5 and 6 first then play measures 1 through 4, keep the last measure the same

Reading Auxiliary instrument – suspended cymbal Suspended Cymbal – Suspended cymbal is a common auxiliary instrument found in all types of music including rock , jazz, and classical. Suspended Cymbal Roll: - select a pair of soft mallets, follow the mallet grip guidelines in Lesson 18, position the mallet heads over the cymbal at 3 and 9 o’clock, play alternating strokes about 2 inches from the edge of the cymbal, strive for a continuous “hum” of the cymbal, you should not hear one hand louder than the other, you shouldn’t hear too much of the mallet striking the cymbal.

One-handed Suspended Cymbal Crash - Start with your right hand in the up position, play the cymbal, and allow the mallet to quickly rebound back to the up position to draw out the sound of the crash Two-handed Suspended Cymbal Crash: - repeat the procedure above for a one-handed crash but involve your left hand also, this is called a double stop (both hands play simultaneously), strive to get both mallet heads to strike the cymbal at the exact same time since you do not want to play a flam, hit the cymbal at the 4 and 8 o’clock areas

mallets – technique review

Sight reading – snare drum

Creativity 1. Circle the three playing zones on the snare drum:

A. rim, center, side B. center, half-way, edge

C. underneath, half-way, side D. side, corner, 2 inches away from center

2. Make your own movie soundtrack! Watch a movie or television show that shows someone jumping into water. Play a loud suspended cymbal crash at the instant the person enters the water. Try this with any action in a film.

3. Perform the three sight reading excerpts as a 3 movement piece. In between movements, tell

a short story describing what is happening in the music.

4. Improvise (make up) a suspended cymbal piece. Position all your suspended cymbals so they are spread out in an auditorium. Each player takes turns entering with a suspended cymbal roll. Alter dynamics and leave silence too! Have a musical conversation with the other players.

Listening game Performer plays long rolls on the suspended cymbal with soft mallets. Performer purposely plays one smoothly and the other not so smoothly in any mixed order. Class writes down the performer’s name and circles the description of the cymbal roll. performer’s name _______________ example #1 smooth not smooth example #2 smooth not smooth performer’s name _______________ example #1 smooth not smooth

example #2 smooth not smooth

review 1) True or False: Suspended cymbals are commonly used in rock, classical, and jazz music. 2) True or False: When playing a suspended cymbal roll, your right hand should be much louder

than the left.

3) Two reasons for beginning and ending in the up set position on mallets are:

A. look cool, be daring B. more fun, look smart C. accuracy and conservation of energy D. look weird, be funny 4) Matching: Andante gradually get slower Allegro gradually get louder

Ritard fast and lively tempo Crescendo walking tempo, moderate 5) Draw a line from the playing zone term to its exact location on the snare drum diagram:

Edge Half-way Center

“Snorklin” checklist: ____snare: control the taps in measures 1 through 4 ____bass: perform clean dampens on the downbeat of every rest ____both: make it clear to the audience that measures 5 and 6 contain crescendos ____snare: concentrate so you can keep the motion of your sticks the same in measures 9 through 12 (regardless of whether you are paying normal strokes or buzz strokes your sticks should move in the same way) ____both: in measures17 through 21: listen to each other and be careful not to clip the other player’s notes off, give full value to all the notes ____snare: measure 22: control the tip of the stick after the accent on beat one so you can be low enough to play the piano dynamic on beat 2 ____both: count carefully in measures 26 and 27 so your can perform the unison ending cleanly

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Lesson 23

Warm-up

warm-up checklist: ____make sure all accents sound the same ____make sure all taps sound the same ____isolate one accent with one tap: control the tip of the stick after the accent ____maximize the dynamic contrast in measures 7 and 8 ____maintain tempo in beats 1 and 2 of measure 2 ____play this exercise with crescendos in measures 7 and 8 ____play this exercise with a crescendo in measure 7 and a decrescendo in measure 8

Reading musicianship – cap accents Cap Accents – Cap accents are played with more velocity and volume than the usual accents.

Rhythm – eighth note rest Eighth Note Rest – An eighth note rest is a rest that lasts for half a beat.

NEW concept – DOWNBEATS AND UPBEATS Downbeat – A downbeat is a beat that falls on the numbered counts (1,2,3,4) Upbeat – An upbeat is a beat that falls on the “and” counts. Upbeats are opposite downbeats.

Mallets – review technique and introduce the keyboard Review the section on mallet technique in Lesson 18.

Keyboard – The keyboard is the arrangement of pitches on a piano or mallet instrument. There

are two main keys: white and black. The white keys make up the bottom row while the black keys make up the top.

Keyboard Groupings – There are two groupings on the keyboard: the two group and three group. Look at the black keys and you will see groupings of two and three black notes. These are the “two groups” and “three groups.”

C

Two Group

F

Three Group

How to find the pitch C: locate any ‘two group” and play the white note immediately to the left of the “two group.”

How to find the pitch F: locate any “three group” and play the white note immediately to the left

of the “three group.” There is a musical alphabet. However, in music the letters go from A up to G and then you must

start at A again. example/ A,B,C,D,E,F,G,A,B,C,D,E,F,G,A…

You should be able to name every white note from the bottom to the top of the instrument. TRY IT! When playing the following excerpts remember to start and end all your mallet strokes in the “up position.”

Creativity 1) Beats that occur on the numbered counts (1,2,3,4) are_____________________.

2) Beats that occur on the “and” counts are___________________.

3) True or False: Cap accents are the same volume as normal accents.

4) Label either “two group” or “three group”.

_______ group _____ group 5) Name the pitches in the above diagram. Write the pitch name in each box.

Listening game Performer plays “Eight on a Hand” (play for at least 20 seconds for each example) with crescendos two times. Once smoothly and once purposely not smoothly in any mixed order. Class writes down the performer’s name and circles the description of the playing. Repeat for “Eight on a Hand” with decrescendos. performer’s name _______________ crescendo example #1: smooth not smooth

crescendo example #2: smooth not performer’s name _______________ crescendo example #1: smooth not smooth crescendo example #2: smooth not

Review 1) A downbeat is______________________________________________________________.

2) An upbeat is______________________________________________________________.

3) A cap accent is_______________ than a normal accent.

4) Point to all the “two groups” on a vibraphone.

5) Point to all the “three groups” on a vibraphone.

6) Point to all the “two groups” on a piano.

7) Point to all the “three groups” on a piano.

8) Compose a duet similar to the downbeat / upbeat duet found in this lesson. Include quarter

notes (downbeats) and eighth notes / eighth rests (upbeats).

“A Clever Trickster” checklist: ____snare: play even eighth notes in measures 1 and 2 ____both: listen to the other player and make the parts sound even ____snare: measure 5: play off of the bass drummer’s downbeats ____snare: measure 9: feel beat one played by the bass drummer ____bass: measures 14-16: play two different dynamics (12” for accents, 2” for taps) ____measure 30: beat one is a normal accent while beat three is a capped accent, the capped accent should be louder and higher than the normal accent ____snare: measure 30: return to set position immediately after the rimshot ____snare: measure 42: strive for a great flam sound (not too open and not too closed)

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Lesson 24

Warm-up

warm-up checklist: ____measures 1-4: should be 6’ for accents and 2” for taps ____measures 5-6: all 6” strokes, try to make them sound identical ____keep fulcrum closed and firm (no gaps between thumb and index finger) ____keep elbows still, this will isolate your wrist turn ____no arm movement ____elbows should be about 1” away from your sides ____perform this exercise at Allegro ____perform this exercise at Adagio ____perform this exercise at Andante ____perform this exercise to two different recordings (play-a-longs teach you to listen)_

Reading Mallets / theory – treble clef introduction Theory - Theory is the analytical side of music. It tells us how music works. Treble Clef – Treble clef is a very common clef in music. Here is what a treble clef looks like:

The Treble Clef is also called a G Clef because the swirling line of the symbol stops on the second line up from the bottom which is the G line. Label the G:

The Treble Clef is made up of five lines (think of the acronym: Every Good Boy Deserves Fudge). Label the five lines from the bottom moving upward. (E, G, B, D, F)

The Treble Clef is also made up of four spaces (think of the acronym: F-A-C-E). Label the spaces from the bottom moving upward (F, A, C, E).

Label all the lines and spaces of this treble clef:

Helpful Tip: When reading music while playing a mallet instrument always try to keep your eyes off the keyboard. You don’t want to stare at the keys because you will not be able to watch the music and/or conductor. Get in a good habit of using your peripheral vision when playing mallets. Peripheral Vision – Peripheral vision is when you are looking straight ahead but you can still see above, below, and to either side. Try this experiment: focus on something directly in front of you and notice if you can still see your surroundings while focusing on that one object. So when

you are looking at your music notice how you can still see the outline of the keyboard in your peripheral vision – USE THIS SKILL!!! Excerpts for Xylophone:

Excerpts for Vibraphone:

Auxiliary instrument – crash cymbals Crash Cymbals – Crash Cymbals are used in marches and classical music. Many composers use the crash cymbals to add punctuation and excitement to their music. Orchestral Crash – Orchestral crash is the term used for your most common crashes.

Flam Concept – Believe it or not, of the most important skills needed in cymbal crashing is the ability to play a flam! In order to get the maximum vibration form the cymbals we need to strike the side closest to us slightly before striking the portion of the cymbals that is away from us. This is the flam concept. When two cymbals are stuck straight on the sound is popped and lacking resonance and quality.

STEP 1

STEP 2

STEP 3

STEP 4

STEP 5

Crash Choke – A crash choke is a very short crash. Play a great quality crash and then dampen the cymbal quickly in your chest.

Staccato Dot Marking – A staccato dot marking is a small dot placed over a note. When a note has this staccato marking it should be played very short and muffled if possible.

New term – adagio Adagio – Adagio is a tempo marking that means slow.

Creativity 1. Which is louder: cap accent or regular accent?_____________________

2. The tempo marking Adagio is: medium slow very fast

3. Fill-in the four spaces of the treble clef:

4. Fill-in the five lines of the treble clef:

5. What is peripheral vision? ___________________________________________________________________ 6. True or False: A crash choke is a short sound. 7. True or False: An orchestral crash is a short sound. 8. True or False: An orchestral crash is a long sound. 9. If a note had a staccato dot attached to it would you play a long or short sound?_______________

Listening games 1. Performer plays four orchestral crashes (two purposely poor and two purposely great in any

mixed order). Class writes down performer’s name and circles the descriptions. performer’s name ________________ orchestral crash #1: great poor orchestral crash #2: great poor orchestral crash #3: great poor orchestral crash #4: great poor 2. Performer plays four crash chokes (two purposely poor and two purposely great in any

mixed order). Class writes down performer’s name and circles the descriptions.

performer’s name ________________ crash choke #1: great poor crash choke #2: great poor crash choke #3: great poor crash choke #4: great poor 3. Performer plays four crashes (a mix of orchestral crashes and crash chokes) all should sound great. Class writes down the name of the performer and circles either orchestral crash or crash choke. performer’s name ________________ crash #1: orchestral crash crash choke crash #2: orchestral crash crash choke crash #3: orchestral crash crash choke crash #4: orchestral crash crash choke

Review 1. Compose a solo for xylophone using the pitches E,F,G in whole notes, half notes, and quarter

notes.

2. Compose a solo for bells using the pitches F,G in quarter notes and eighth notes.

3. Get some ear plugs and a pair of crash cymbals. Practice orchestral crashes in a mirror. Play

10 crashes with a 5 second rest between each crash. Rest a few minutes then practice your crashes again. Watch your technique in the mirror and take note of the good and bad sounds you hear. If you look correct playing it will most likely sound correct. Orchestral crashes should sound full and resonant. Strive to perform 10 great sounding crashes in a row. Many

people cannot play great sounding crashes because they simply haven’t played enough crashes.

4. Make a recording of yourself playing crash chokes for 4 minutes leaving a space of 5 seconds

between each crash choke. Listen to the recording and count the great sounding ones. Upon your next recording session your number of great crashes should increase.

5. Compose a crash cymbal solo using orchestral crashes and crash chokes. Give it an exciting

title so your audience will be excited about your piece before they even hear it!

6. Explain the flam concept: ____________________________________________________________________________ “The Chicken & the Weasel” checklist: ____play the piece at two tempos (Allegro and Adagio) ____both: make a large contrast in sound between measures 1-4 and measures 5-8 ____bass: execute clean dampens on all rests throughout the piece ____both: sudden change to piano at the beginning of measures 13 and 14 ____compose an alternate ending in 2/4 and perform ____experiment: top line played on the dome of a suspended cymbal (ignore buzz strokes), bottom line plays crash cymbals (all eighth notes will be crash chokes, everything else is an orchestral crash, dampen on all rests), play at Allegro and Adagio write your own experiment for this piece: ____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

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the chicken & the weaselDedicated to the entire gang at DH2

Lesson 25 Warm-up

warm-up checklist: ____remain completely relaxed while playing (your arms and hands should feel like jelly) ____allow the sticks to bounce off the head with natural rebound ____concentrate on having velocity in each stroke ____play a friend’s order of dynamics ____play your order of dynamics with a friend’s order (they will be different) ____fingers and thumbs remain on the sticks throughout the strokes ____work on great quality of sound (make a replica of the first note you play, start with a great sound and simply duplicate that sound)

Reading

New term – pickup note Pickup Note – A pickup note is a note that starts on a beat other than the first beat of the measure.

auxiliary instrument – triangle

auxiliary instrument – tambourine

stick control – quarter notes The goal of stick control exercises is to train your hands to sound equal. When playing the patterns below it is important to make them sound as if they were all one sticking. You shouldn’t hear one hand over the other. Listen carefully and allow your ears to make any adjustments in your hands. Be relaxed and smooth in your phrasing.

Sight reading – mallets

Play the following excerpt on any mallet instrument you want:

Creativity 1. Circle two concepts that contribute to great cymbal crashing: A. make your hair fly up B. flam concept C. strive for a nice air pocket sound D. bang em good! E. prep-play-follow through 2. What is a pick-up note?_______________________________________________ 3. What are the three main playing zones on tambourine? _______________, _________________, _________________

4. Compose and perform a short piece for tambourine using a pick-up note:

5. When sight reading, it is helpful to: A. hope B. smile C. keep eyes moving forward on the music D. phone a friend 6. True or False: The goal in stick control is to make both hands sound completely different.

Listening game Performer plays (behind the class) any two measures of rhythms on a tambourine. The performer

plays this excerpt three times. Each of the three tambourine zones is played in any mixed order. The class writes down the performer’s name and circles the zone played. performer’s name ________________________________

example #1: edge 1/3 of the way from edge center example #2: edge 1/3 of the way from edge center example #3: edge 1/3 of the way from edge center

review

1. Show that you know the three zones on tambourine by playing a few notes at each zone. 2. True or False: If you have good stick control you’re hands sound the same. 3. True or False: If a piece of music is marked “let vibrate” that means you should dampen the

instrument whenever you can. 4. Compose a piece for triangle. Use a pick-up note, use ¾ time signature, never get louder than a mezzo-piano dynamic.

4. A note that starts a piece on a beat other than the first beat of the measure is a: A. pop up B. fun beat C. pick-up D. mistake E. miracle 5. Listen to Duke Ellington’s “Take the A Train”. What type of music is it?__________ Does this piece put you in a happy or sad mood?______

“Ants” checklist: ____both: pay careful attention to playing the first two notes of the piece in perfect unison ____both: measure 5: express the crescendo ____snare: demonstrate three distinct playing zones in measures 10-13 ____perform the piece at Allegro and Andante tempi ____bass: play your part on a tambourine ____compose a tom part to go along with the snare and bass parts Compose a conga solo for someone close to you. Title the piece after that person. Use open and closed tones.

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Lesson 26

Warm-up

warm-up checklist: write your own checklist reminders: ____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Reading

Multi-percussion Multi-percussion – A multi-percussion piece involves more than one percussion instrument. It is

very important to have a set-up that makes performing on more than one instrument comfortable and practical. Many composers include a diagram of the suggested set-up.

Here is the diagram of the set-up for the multi-percussion excerpt shown above:

Musi Music stand Tambourine and Cowbell Mallets / theory – intervals

Interval – An interval is the distance between pitches.

Half step – A half step interval is the distance between adjacent pitches. Example: B up to C Whole step – A whole step interval is two half steps. Example: C to D Sight reading - mallets

mallets – technique

mallets – tunes

rhythm – wood block duet

Creativity 1. What is the definition of an interval?______________________________________________ 2. If we start on the pitch B and move up to C, is the interval a half step or whole step?________ 3. If we start on the pitch D and move up to E, is the interval a half step or whole step?________ 4. If we start on the pitch E and move up to F, is the interval a half step or whole step?________ 5. Compose a duet for two metal pots or pans. Use quarter notes, eighth notes, and eighth rests.

Listening game Either the teacher or a student performs “Parade” for the class. The performer will omit one of

three musical elements in the performance. The three elements are dynamics, steady tempo, and great flams. For example, the performer would play great flams and a nice steady tempo throughout the piece but he / she would intentionally leave out all dynamics. The rest of the class will write the performer’s name and fill-in the missing musical element.

performer’s name ____________ example #1 was missing__________

example #2 was missing__________

performer’s name ____________ example #1 was missing__________ example #2 was missing__________

performer’s name ____________ example #1 was missing__________

example #2 was missing__________

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Review 1. What is a multi-percussion composition?_______________________________________ 2. How many half steps equal one whole step?__________ 3. Play this lesson’s multi-percussion excerpt four more times each with different instruments. 4. True or False: When sight reading mallet music it is very important to keep your eyes on the music, as opposed to, the keys of the keyboard. 5. A pick-up note is_________________________________________________________ “Parade” checklist: * write your own checklist reminders: ____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

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Lesson 27

Warm-up

warm-up checklist: ____listen to the first note you play then play seven more that sound exactly like the first (quality of sound) ____keep elbows still and relaxed ____allow sticks to rebound freely ____realize you are playing legato strokes (continuous motion of the sticks) ____play with a friend ____perform this exercise starting with the low dynamics and move up to the loud ones (pp –p-mp-mf…)

reading timpani – introduction Timpani – Timpani play an important role in classical music. They have been used in symphonic music since the days of Franz Joseph Haydn and Wolfgang Amadeus Mozart. Timpani Grips – The two major timpani grips are German and French. German is like Matched Grip on snare drum. Hands are turned over so the top part of your hands would get a nice suntan if you were playing outside. The wrist turn is the normal snare drum wrist turn. French Grip is quite different. A great exercise for learning the French Grip wrist turn motion is to imagine you are holding a grapefruit in front of you with two hands. Each fingertip should be touching (thumb to thumb, index to index, middle finger to middle finger…) Now get used to the wrist turn. Your elbows should remain still as your wrist rotates. Standing Position Guidelines: ____stand directly behind the timpano (timpano is singular, timpani is plural)

____feet should be a normal standing position distance apart French Grip Guidelines: ____select a pair of general purpose felt timpani mallets ____find the balance point of the mallets (about one-third of the way from the butt of the mallets) ____both hands will be identical: grip the mallet with your thumb nails facing the ceiling, the meat of the thumbs are in contact with the stick ____your thumb, index finger, middle finger and ring finger are the fingers that come in contact with the mallet, the pinky finger does not touch the mallet

Stroke Guidelines: ____turn both wrists back to a forte level

____play some legato strokes at forte and remember legato means the mallet never stops moving, strive for an even and relaxed stroke ____keep elbows still while playing (for now) ____imagine you are drawing the sound out of the drum with your continuous stroke ____mallet should rebound off the head immediately after striking ____keep all fingers except your pinky on the mallets at all times during the stroke (keep your pinky within an inch of the mallet) ____both mallet heads should strike the same approximate area of the drum head (3-4 inches from the edge)

Playing Zone Things to think about: When you play timpani you have to portray confidence. You need to concentrate on DRAWING OUT THE SOUND of the drum (D.O.T.S.). For the following excerpts it is important to get the drum to ring as much as possible. LET IT RING!

rhythm – pickup notes (quarters and eighths)

world – one conga

mallets - technique Review the mallet technique guidelines described in Lesson 18.

sight reading – xylophone

Creativity 1. True or False: Timpani are a new instrument to the music industry. In fact, they were just

invented last March.

2. When playing French Grip on timpani, your thumbnails should be facing:

A. the floor B. the next room C. the ceiling D. a close friend E. the drum 3. If timpano is the term for one drum, timpani is the term for_________________.

4. Which finger doesn’t come in contact with the mallet when playing

timpani?___________________

5. What is the most important concept to think about when playing timpani? (hint: the initials are D.O.T.S.)

Listening game Performer plays a single stroke on a timpani from behind the class. Choose either the center or the normal playing area (3-4 inches from the edge) in any mixed order. Class writes the performer’s name and circles the zone played. performer’s name______________ example #1: center normal playing area example #2: center normal playing area performer’s name______________ example #1: center normal playing area example #2: center normal playing area performer’s name______________ example #1: center normal playing area example #2: center normal playing area

Review 1. Without referring back to the beginning of this lesson, list ten important things you know

about being a timpanist: 2. Perform the warm-up exercise at the beginning of this lesson three ways. • The first is on snare drum with normal snare drum technique. Both hands are turned over so

you’d get a suntan on the top part of your hands if you were outside. • The second is on xylophone with appropriate mallets. Remember to change the fulcrum to

thumb and knuckle of index finger closest to fingernail. You start and end in the up position. • The third is with timpani mallets on a timpani using the thumbnails up to the ceiling technique

(French Grip). Realize the difference in technique between the three instruments! 3. Listen to any piece of classical music that shows how the timpani can be effective in an

orchestra. 4. Perform “Mary had a Little Lamb” and “London Bridge” with a friend.

5. Compose a snare drum duet starting with eighth note pickups:

“Power Surge” checklist: ____work together and agree upon the exact volume of the first note you play so you can play it balanced ____both: control the last eighth note in measure one and measure three, try to have tips of your sticks return to the set position immediately following the last note ____both: listen carefully to the spacing between your grace note and your primary note in your flams, strive to make every flam sound the same in regards to spacing ____practice the tricky transition from measure 8 to measure 1 on the repeat ____be aware that measure 12 is a unison and should sound perfectly together ____measure 17 should be a completely new atmosphere because all the music suddenly drops down to mp ____measure 20 should also be quite an abrupt change in volume ____concentrate on measure 25 to the end, you must always start and end a piece with your very best playing, people remember the beginnings and ends! ____after playing the final note both players should freeze for 4-5 seconds to look professional before relaxing

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power surgeSnare Drum Duet

Lesson 28

Warm-up

Warm-up Checklist: ____Accents / Taps: differentiate between the two heights (accents = forte or 9”, taps = mezzo-piano or 2”) ____Accents / Taps: strive to play all accents the same volume and all taps the same volume (quality of sound) ____Accents / Taps: perform as a trio ____Eights: focus only on rebound ____Eights: play the exercise with crescendos or decrescendos ____Eights: find the fastest tempo you can endure for 4 minutes without stopping

Reading Drum set – review Drum Set – Drum set is one of the most challenging percussion instruments to learn because of the coordination needed. A requirement for all drum set players is the ability to play different rhythms with all four limbs simultaneously. The basic 5-piece drumset consists of a snare, bass, tom 1, tom 2, floor tom, hihat, ride cymbal, and crash cymbal.

new term – chorus Chorus – There are two major definitions for the word chorus. The first is a group of singers. The second is one time through a song or tune. Here’s an experiment:

Hum the tune “Frere Jacques”. You just hummed one chorus of “Frere Jacques!” Now hum “Frere Jacques” three times in a row. You guessed it – you hummed three choruses of “Frere Jacques.” musicianship – chorus soloing Chorus Soloing – Chorus soloing is soloing by repeating a tune over and over again. Here’s another experiment: Hum five choruses of “Frere Jacques.” It may help you to keep track of the five choruses by counting them on your fingers. Now, play one chorus of “Frere Jacques” on just the snare drum. Here’s the fun: Play one chorus of “Frere Jacques” on each of the instruments of the drum set: snare drum, bass drum (with right foot), tom #1, tom #2, floor tom, ride cymbal, crash cymbal, and hihat. This is an eight chorus “Frere Jacques” solo!

Here are some pictures demonstrating playing position on the drumset:

Hihat and Bass Drum Excerpts:

Hihat and Snare Drum Excerpts:

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new terms – middle C and ledger lines Middle C – Middle C is the C between the treble clef and bass clef (covered later). See if you can locate Middle C in “Ode to Joy.” Ledger Lines – A ledger line is short line that helps the player keep his / her place when reading in extreme registers. Ledger lines can be positioned above and below any staff.

stick control – mixed quarter notes Strive to create identical sounds from the left and right hands. Allow your listening to guide your hands!

sight reading – create your own piece for xylophone Compose a solo for the xylophone using pitches in the treble clef. Quarter and half notes are your

rhythms to work with.

Creativity

1. The normal playing area on the timpani is: on the shell dead center slightly off-center 3-4 inches away from rim on the foot pedal on the rim

2. Label the instruments of this drumset:

3. The most important concept to think about while playing stick control exercises: A. flam concept B. cause and effect concept C. both hands sound the same concept 4. Play “Ode to Joy” on the drumset! Design a five chorus solo of the tune.

Chorus 1____________, Chorus 2___________, Chorus 3______________, Chorus 4______________, Chorus 5_______________.

5. For fun: Set-up two timpani. Play the Stick Control excerpts from this lesson on the two timpani. Low drum is on left, higher drum on right. Play the right stickings on the higher drum and the left stickings on the low drum. Be sure to maintain proper timpani technique throughout.

Listening game Performer plays a “Frere Jacques” solo on the drum set. The performer decides how many choruses to play (no more than six). Each chorus should be on one instrument of the drum set so the listeners can keep track of the choruses. It may help the performer to write a little outline beforehand. example/

1. ride cymbal 2. hihat 3. snare drum 4. bass drum 5. floor tom

The class should write down the performer’s name and fill-in the instruments that were played in each chorus. performer’s name________________ performer’s name__________________ Chorus 1:___________ Chorus 1:____________ Chorus 2:___________ Chorus 2:____________ Chorus 3:___________ Chorus 3:____________ Chorus 4:___________ Chorus 4:____________ Chorus 5:___________ Chorus 5:____________ Chorus 6:___________ Chorus 6:____________

video goal Perform “Python” solo for a video camera.

Review 1. Playing a tune one time is one ______________. 2. If I played “Frere Jacques” on the bass drum, ride cymbal, and hihat. How many choruses of “Frere Jacques” would that be?__________ 3. What are the eight instruments that make up a basic 5 piece drum set? _____________, _____________, _____________, ______________ _____________, _____________, _____________, ______________ 4. What are some other tunes you could use to play chorus solos? (Example: Row, Row, Row

Your Boat; Twinkle, Twinkle; Jingle Bells etc…)

5. Independence is a crucial skill in performing drumset. Find the definition of independence and write it here:

______________________________________________________________________________ ______________________________________________________________________________ “Python” Checklist: ____rim taps (played at 12 o’clock on the drum rim) don’t need to be played very strong, they should just serve as a different timbre (timbre - need to look that one up?) ____snare: measure 5 marks a change from mf (6”) playing to f/mp (9” and 2”) ____bass drum: the accent on beat one of measure 7 should be a bit louder than the accent on beat three of measure 6 ____snare: measures 8 and 9 is a good place to show-off your skill of playing flams with identical spacing (in other words make all three flams sound identical) ____both: measures 17-22 demand that you play with a great deal of control (notes are either accented or non-accented nothing in between) ____both: measure 23 is played at a mp level ____snare: measure 25 to the end contains three zones and a lot of dynamic contrast, take advantage of the fact that the drum sounds differently at each zone

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