Helpful Information for North Allegheny High School Percussionists

High School and University Audition Repertoire

Snare Drum

1.  Snare Drum- Should consist of two parts

1.      Rudiments- All rudiments should be practiced in a traditional performance style (slow to fast to slow at a forte dynamic level).  You should practice all rudiments a various dynamic levels.  Students should be familiar with the 40 world rudiments that are published by the Percussive Arts Society (PAS), which includes the 36 original rudiments as published by the National Association of Rudimental Drummers (NARD).  The PAS has also published the seven essential rudiments that are included in the published 40 world rudiments.

2.      Rudimental Solo (Contest Solo), Etude, and/or Orchestral Excerpts

Suggested Repertoire:

·        Wilcoxen, Charlie – The All-American Drummer (150 Rudimental Solos)

·        Goldenberg, Morris – Modern School for Snare Drum

·        Cirone, Anthony – Portraits in Rhythms

·        Firth, Vic – The Solo Snare Drummer

·        Peters, Mitchell – Intermediate Studies for Snare Drum & Advanced Studies for Snare Drum

·        Pratt, John – The New Pratt Book & 15 Contest Solos

·        Schinstein, William – Adventures in Solo Drumming

2.  Keyboard Percussion- Solo, etude, and/or excerpt employing 2, 3, and 4 mallets

                        Suggested Solo Repertoire:

·        Bach – Violin Concerto in A Minor (In Goldenberg – Method for Marimba and Xylophone)

·        Handel – Six Sonatas for Violin and Piano (Choose any two movements)

·        Eyles – George Hamilton Green’s Xylophone Rags (Choose one)

·        Peters – Yellow After the Rain

·        Musser – Any Etude or Prelude

Suggested Etudes:

·        McMillian – Percussion Keyboard Technique (Choose one from pages 49-52)

·        Goldenberg – Method for Marimba, Xylophone, and Bells (Choose one from pages 62-93)

Suggested Orchestral Excerpts:

(All excerpts are located in the Morris Goldenberg – Method for Marimba, Xylophone, and Bells)

·        Bells – Mozart – The Magic Flute

·        Xylophone – Kabalevsky – Colas Bruengnon

·        Xylophone – Shostakovich – Polka from the Golden Age Suite

·        Xylophone – Gershwin – Porgy and Bess

3.  Timpani – Orchestral excerpt, contest solo, and/or etude.  Demonstration of tuning   

                      ability.  The students should be able to tune a pitch set, such as a major triad                                 

          in second inversion.

            Suggested Etude Repertoire:

·        Peters – Fundamental Method for Timpani (Etude #29)

·        Goodman – Modern Method for Timpani (Exercise #37)

Suggested Solo Repertoire:

·        Beck, John – Sonata for Timpani (One movement)

·        Bergamo, John – Four Movements for Timpani (One movement)

·        Cahn, William – Raga No. 1

Suggested Orchestral Excerpts (located in the Saul Goodman – Modern Method for Timani)

·        Beethoven – Symphony No. 5 (fourth movement)

4.  Drum Set – A demonstration basic styles and concepts such as New Orleans-     

                        dixieland, swing,  jazz brush playing, Brazilian (bossa-nova, samba),

                        Afro-Cuban, rock, and funk.

                        Suggested Repertoire:

·        You may wish to play over the form of a jazz tune such as a blues or 32 bar AABA tune.  You could learn the melody and play time for one chorus of the tune while you sing the tune, you could then play a solo over the next chorus

·        You might wish to trade four or eight measure solos with yourself – this might include 4 measures of a swing time feel followed by a four measure solo – repeating this numerous times.

·        You might prepare a composed drum set solo such as:

o       Max Roach – Big Sid (published in Nov. 1994 Modern Drummer Magazine)

o       Roy Burns – Drum Set Music Collection of 12 Solos

5.  Multiple Percussion – A solo utilizing a variety of percussion instruments

                        Suggested Repertoire:

·        Kraft, William – Morris Dance

·        Kraft, William – French Suite

·        Udow, Michael – The Contemporary Percussionist 20 Multiple Percussion Solos

Suggested Orchestral Excerpts:

·        Cymbals – Tchaikovsky – Symphony No. 4 (cymbals at the end of the fourth movement)

·        Tambourine – Bizet – Carmen (entire first movement)

·        Tambourine – Dvorak – Carnival Overture (first page)

6.  Latin (hand) Percussion – A short solo composition/improvisation on conga drums,

                                               bongos, timbales, or other hand percussion instruments.

                        Suggested Repertoire:

·        You might prepare a composition/improvisation on congas based on a particular groove such as the tumbao pattern used in salsa music.

Make sure that you have the following equipment for auditions:

·        Sticks, mallets, and music

·        Any equipment you feel will enhance your performance, such as your own snare drum

·        Most universities will supply the larger instruments.

Private Lessons and Practice Suggestions

What can my lesson be?

1. A chance to share your enthusiasm for the instruments and for music, and an opportunity for that enthusiasm to grow.

2. A chance to correct basic technical problems and to learn new an better ways to solve challenges that the instruments and music present.

3. A chance to learn new repertoire and to learn about repertoire yet to be studied.

4. A chance to be a part of a community of players on your instruments; to learn and grow with them.  Many other students studying your instruments will have the same problems to work on; maybe even the same solos and etudes.

5. Ultimately, lessons give you the chance to increase your prospects for better music making at North Allegheny and beyond.  As your performing ability improves, so does your satisfaction with music making.

Practicing – Be regular in your routine; this will help you to measure progress and pinpoint problems.  You cannot “cram” for a lesson or performance; it does not work.  Put in the time each and everyday.  It shows when you get on stage.  There is no substitute for the confident attitude and technical accomplishments arrived at through hours of practice time.  Most stage fright and tension problems are a result of poor/irregular preparation.  Here is a basic list of practice goals:

a.       Determine your semester goals. Then determine your weekly goals.

b.      Decide what you must do today (today’s goals) to realize the weekly goal.  Be very specific.

c.       Warm-up.  This can and should consist of a wide variety of techniques and styles.  Feel free to vary you warm-up from day to day.

d.      Practice individual patterns or sections of the music that need the most attention.

e.       Take a brief rest.  Walk away from the instrument to get something to drink and to refresh your mind.  This should be brief so as to not lose your focus.

f.        Upon returning do a run through (or two) as if you were in a lesson, audition, recital, or professional performing situation.

g.       Review problem spots from the run-through.

h.       Review previous etudes or repertoire.

i.         Do some sight-reading.  The best way to learn to read is with another player.  This can be either duets or playing the same thing together.  Sight-reading alone is not nearly as beneficial.

j.        Decide on tomorrow’s goals.

k.      Now its all behind you; you’ve set very specific goals, worked hard to achieve them, and tested yourself with a run-through.  If you’ve done this and succeeded you have something to show for it and should feel a great sense of accomplishment.

l.         Think about the following quotes everyday:

o       Nothing happens but unless first a dream

o       Go for it!  Life is not a dress rehearsal

o       All gave some, but some give all.  Which am I?

Duets – Find another musician to play with.  You can also play solos and etudes together.

              This is one of the best ways to improve sight-reading, and it’s a good time.

Listening – Find recordings of professionals that play your instrument and other Instruments.  Go and hear as many live performances as you can!

Join Your Professional Association – Make an effort to purchase a membership to your applied professional association.  For example, the Percussive Arts Society, they will often supply you with journals, performance dates, articles, and related materials to help you in the study of your instrument.

Buying Your Own Music – You should buy and own as much music for your instrument as you can afford.  Often in auditions, contests, or competitions copies are not permitted and can get you disqualified.

Percussion Method Books and Repertoire

General References:

Concert Percussion:

Snare Drum:

Timpani:

Keyboard Percussion:

Multiple Percussion:

Drum Set:

Hand and Ethnic Percussion:

·        Birger Sulsbruck – Latin American Percussion: Rhythms And Instruments From Cuba (His book with cassettes or video are both excellent

·        John Bergamo – Art And Joy Of Hand Drumming (Video) (Covers a various frame drums

·        Glen Velez – The Fantastic World Of Frame Drums (Video)

·        Airto Moriera – Brazilian Percussion (Video)

·        Giovanni Hidalgo – Conga Virtuoso (Video)

·        Bobby Sanabria – Conga Fundamentals – Volumes 1-3 (Videos)

·        Jerry Steinholtz – Essence of Playing Congas (Video)

·        Giovanni Hidalgo & Changuito – Duets (Video)

Standard Orchestral Audition Repertoire

          The following pieces/excerpts are regularly requested a most college and orchestral auditions.  Some universities/orchestras may request excerpts not found below.  The published source for each excerpt is in parenthesis. 

Snare Drum:

Bass Drum:

Cymbals:

Bass Drum and Cymbals (One Player):

Tambourine:

Triangle:

Castanets:

Xylophone:

Glockenspiel (Orchestra Bells):

Vibraphone:

Timpani:

Instrument and Mallet Purchase Suggestions

          A large part of your success in music and as a percussionist will depend on the quality of your practice and performance experience.  This experience will be dramatically heightened if you own your own instruments and mallets.

            The percussion field is vast and the amount of mallets and instruments that are required is sometimes overwhelming.  Because of this, I encourage you to begin a regular plan of purchasing quality mallets and instruments throughout your high school and college careers.  Obviously, those of you wishing to continue beyond high school and major in percussion at a college or university should plan on making these purchases.

            There are, of course, several minimum mallet and instrument requirements to become a professionally capable percussionist.  Many bands, churches, clubs, etc. will not provide you with equipment and expect you to come to the gig prepared with your own mallets and instruments.  Without your own mallets and instruments, people are reluctant to hire you because you are a liability – costing them extra money for instrument rentals.  Furthermore, owning your own instruments ensures mastery on them.

            If you are a planning on continuing your studies of percussion instruments at a college or university, you should plan on obtaining all of the following equipment by the conclusion of your freshman year.  The items that have an asterisks (*) beside them should also be owned by a high school aged percussionist.

1)      Mallets:

·        A large mallet case.  I would recommend Mike Balter’s case, which is well made and versatile.  Malletech’s Leigh Howard Steven’s mallet bag is great for hanging on a keyboard but will not stand upright and can spill rather easily.  Vic Firth makes a hard mallet case which works well for timpani mallets.  Or, you might want to buy one or two large briefcase (new or used) – one for sticks and mallets and one for timpani gear.  Even a small hardcover suitcase will do.  Goodwill usually has some for $1.00

·        *If you are not continuing on to major in music as a percussionist, as a high school student you should own your own stick bag.  A variety of companies make a variety of stick/mallet bags at very reasonable prices.

·        * 1 pair of Vic Firth SD1 General – concert snare drum sticks, pitch matched

·        * 1 pair of hard plastic xylophone mallets, Malletech or 45

·        * 1 pair of Vic Firth – 5A – wood tip drum set sticks (or similar)

·        * 1 pair of retractable wire brushed- Regal Tip or Vic Firth Jazz Brushes

·        * 2 pair of Vic Firth timpani mallets – T3 Staccato, T4 General (Vic Firth also makes T1 Wood, T2 Ultra Staccato, and T5 Cartwheel for advancing players).  Clevelander also makes good professional mallets that cost a little more than the Vic Firth mallets.  If you choose the Clevelander mallets, you should buy soft, medium, and hard.  They come in a cherry handle or a more expensive bamboo handle.

·        * 1 pair of medium yarn covered marimba mallets- Encore, Malletech, Mike Balter or Mike Burritt make good mallets.

2)      Metronome:

·        Roland Dr. Beat or Tama Rhythm Watch. 

·        * If you are not planning on majoring in music, you should still own a cheaper electronic metronome.

3)      Snare Drum:

·        Quality concert snare drum.  A highly recommended set-up includes Remo Fiberskyn III FD Batter Head, Diplomat Snare Head, and Cable Snares.  Consult a professional concert percussionist before purchasing a quality concert snare drum.

            The next tier of purchases might include: Abel or Grover triangle and beaters, Grover tambourine, a pair of crash cymbals, * 1 pair of plastic and brass bell mallets, *yarn and rubber marimba mallets, more timpani mallets, and more xylophone mallets of varying hardness.

            The third tier of purchases should include a xylophone, bells, bass drum mallets, tam tam mallet, and chime hammers.

            The next tier might include 2 timpani, small concert bass drum, accessories such as maracas, claves, castanets, wood block, etc.  Bongos are often required on many gigs.

Jazz Drumming Requirements

            The following is a sample of what most college and university percussion programs require as a jazz musician.  Keep in mind that this is only a sample and will serve you very well if followed, but different universities have different requirements and you should consult the specific school that you are interested in attending.

21    Freshman Level:

a)      A jazz style drum set and cymbals.  See the Jazz Drumming Workbook for more specific information on brands, sizes, etc.