ALL HANDS - Box Five Creations · That way advanced middle school/junior high ... - Single Paradiddle - Paradiddle-diddle ... Interval Exercises at least ¼ note=90bpm

Copyright © 2012 Don Neptun Music LLC. Please do not make copies without permission from the author/composer.

ALL HANDS

A Comprehensive Percussion Education Curriculum for Secondary Schools

Original Concept by John Wetherington, Band Director, Bethel HS, Spanaway, WA

Designed, compiled, & composed by Don Neptun, Don Neptun

2012 Don Neptun Music LLC. Please do not make copies without permission from the author/composer.

ALL HANDS



Designed, compiled, & composed by Don Neptun, Don Neptun Music LLC, Puyallup, WA

2012 Don Neptun Music LLC. Please do not make copies without permission from the author/composer.



Music LLC, Puyallup, WA

Don

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SAMPLE

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How to use the ALL HANDS Percussion Curriculum

For the teacher


All Levels:

Snare Drum

Timpani

Mallets

Drumset

Hand Drums

Body Coordination

Level 1:

Bass Drum

Tom-Toms

Gong

Temple Blocks

Triangle

Suspended Cymbals

Crash Cymbals

Congas

Bongos

Quad Drums

Level 2:

Claves

Maracas

Tambourine

Woodblock

Shaker

Whip

Quad Drums

Level 3:

Guiro

Bell Tree

Wind Chimes

Sand Blocks

Ratchet

Cowbell

Samba whistle

Level 4:

Cabasa

Castanets

Sleigh Bells

Shekere

Flex-a-tone

Vibra-Slap

Slide Whistle

This curriculum is designed to help your percussion students improve their musicianship, knowledge, and skills by

providing:

1) A clearly defined set of tasks that are sequential, logical, achievable, and are designed to enhance musical growth.

These tasks should be treated like goals and/or benchmarks for student achievement.

2) A tracking chart that will provide you and your students with an easy-to-understand visualization of their progress.

You'll find an empty box next to every task on the chart. That is a place for you to sign/initial/date when the student

passes that particular task.

3) Seven areas or percussive musicianship, each with 8 sequential tasks, to ensure that students maintain a balanced

music education. The seven areas are: Snare, Timpani, Mallets, Auxiliary, Drumset, Hand Drums, & Self.

4) Written tests to ensure that your students can not only play the music, but that they understand the theory too.

5) Etudes, exercises, and excerpts. All included music was composed and carefully chosen to be in this curriculum.

6) Bonus material for your percussion class: warm-ups, rudiment-based exercises, drumline warmups, and a drumline

cadence.

To keep your students' percussive music education balanced it is recommended that you require that your students follow

a 'rule of two' while using this curriculum. That means: don't let a student get more than two tasks ahead in any one area.

For example, your classic "I play the snare drum" student will likely want to finish all of the snare tasks before they touch

mallet task number one. Make sure that their least-completed area on the chart is no more than two tasks behind their

most-completed area. So, the classic "snare only" student could be on snare task 5, but every other area needs to be at

least at task 3.

The level system was designed with average high school percussion students in mind. Level One A would suit most high

school freshmen percussionists. Level Three B would suit most high school juniors. But, because all students & music

programs are different, the term Level is used instead of grade level. That way advanced middle school/junior high

musicians can start the program. While this program can work for new band members, it uses the assumption that your

students know the basics of how to read standard musical notation and that they can properly hold two sticks or mallets.

Consider tying this curriculum to each student's grade. For example, if you are on semesters, you could require that a

student must complete all tasks for Level One A to pass your class for that semester. I recommend that you stay away

from doing percentage points for each task. That becomes rather subjective and takes up a lot of your time. The all-or-

none method holds students accountable and is easier for you to track progress and manage your grade book.

Students will focus on these instruments at each level:

Percussion Curriculum Checklist Name: ______________________________

H.D. 5

Make a hand

drum of your

own.

H.D. 6

Interpretation

H.D. 7

New notation

system

H.D. 8

Drum Circle

Hand Drums

H.D. 1

Technique,

Tones, Notation

H.D. 2

Son Clave,

Polyrhythms

H.D. 3

Djembe

H.D. 4

Know your hand

drums

Self 5

Partner-Juggling

Self 6

Lead Class

Self 7

Hacky-sack

mentor

Self 8

Musical mentor

Self

Self 1

Hacky-sack

Self 2

Juggling

Self 3

Help your

teacher

Self 4

Lead Warm-ups

Drumset 2

16th Note Rock

Drumset 1

Rock & Swing

Drumset 5

Latin Grooves

Drumset 4

Rock & Swing

Drumset 3

The Grid

Drumset 7

Jazz Chart

Drumset 8

Drum Solo

Drumset 6

Recording Play-

along

Mallets 6

B,G#m,

Gb,Ebm

Solo Perf.

Mallets 7

C whole tone & C

H-W dim,

Solo Perf.

Mallets 7

Db whole tone &

C W-H dim,

Solo Perf.

Auxiliary 6

Wind chimes,

sand blocks,

samba whistle

Auxiliary 7

Cabasa,

castanets, sleigh

bells

Auxiliary 8

Shekere, vibra-

slap, Flex-a-tone,

etc.

Auxiliary 1

Quads, Cymbals

Auxiliary 2

Quads, Triangle,

Gong, BD

Auxiliary 3

Quads, claves,

maracas,

tambourine

Auxiliary 4

Quads, shaker,

woodblock, whip

Auxiliary 5

Guiro, bell tree,

cowbell, ratchet

Level

One

Level

Two

Level

Three

Level

Four

Levels & Tasks

B

A

B

B

A

B

A

Timpani Mallets Auxiliary Drumset

Snare 6

Etude No. 6

Snare

Snare 1

Etude No. 1

Snare 2

Etude No. 2

Snare 3

Etude No. 3

Snare 4

Etude No. 4

Snare 5

Etude No. 5

Mallets 1

C, Am, F, Dm,

Etude No. 1

Mallets 2

G, Em, Bb, Gm,

Etude No. 2

Intervals 1/2

Mallets 3

D, Bm, Eb, Cm,

Etude No. 3

Intervals 3/4

Mallets 4

A, F#m, Ab, Fm,

Etude No. 4

Mallets 5

E,C#m,Db,Bbm

Etude No. 5

Snare 7

Etude No. 7

A

Snare 8

Mastery of

Rudiments

Timpani 1

Written Test &

Etude No. 1

Timpani 2

Etude No. 2

Timpani 3

Etude No. 3

Timpani 4

Etude No. 4

Timpani 5

Etude No. 5

Timpani 6

Etude No. 6

Timpani 7

Orchestral

Excerpt

Timpani 8

Orchestral

Excerpt


PERCUSSION CURRICULUM SAMPLE TASKS 1

Snare 3

Task: Perform Snare Etude 3

Skill Focus: Flam Accents

Speed: Dotted ¼ note = 120

Hints/Tips: Make sure that your flam is “wide” enough to be heard as a flam; if the flam is too close to the note

itself it may just sound like a mistake instead of an intended flam. Keep your flams lighter than the

following notes too.

Snare 8

Task: Perform the following rudiments from memory:

- Double Stroke Roll

- Nine Stroke Roll

- Seventeen Stroke Roll

- Single Paradiddle

- Paradiddle-diddle

- Flam Accents

- Flam Taps

- Pataflafla

- Swiss Army Triplets

- Flam Drag

- Lesson 25

- Single Ratamacue

Skill Focus: Memorization & Mastery of the most distinct and commonly used rudiments.

Speed: The “Speed of Success”: play each rudiment multiple times, as fast as you can, without errors.

Hints/Tips: As you’re practicing, say the name of each rudiment as you’re playing it. Have a friend quiz you on your

rudiments. Multi-task: work on rudiment memorization while you watch TV. Play through each

rudiment 5 times before you go to sleep each night ; you might be asleep but your brain is still

functioning at night…give it something good to process. Good luck!

Timpani 1

Tasks: Complete the Timpani Tuning Written Test.

Prepare/tune timpani and perform Etude No. 1.

Skill Focus: Timpani tuning & notation.

Speed: Moderato (¼ note = 100bpm)

Hints/Tips: Keep your strokes light and crisp. Don’t try to play the timpani with heavy hands. A great timpanist will

play with finesse.


Timpani 4

Tasks: Prepare/tune timpani and perform Etude No. 4.

Skill Focus: Tuning “on the fly”. Finding tuning changes & writing them in.

Speed: Maestoso (¼ note = 90bpm)

Hints/Tips: Sometimes composers put tuning changes into your music. For professional musicians, most of the

time, they do not. Scan your music for notes that are different from your marked tuning notes

(Ab,C,Db,Eb). Once you find a different note look for which one of your marked notes is not being used.

Use that drum to tune to the new note. There are several instances in Etude No. 4 where you need to

change a drum to a different note, even while you are playing. This takes considerable amounts of

concentration and the ability to multi-task.

Mallets 2

Tasks: Perform Mallet Etude 2.

Perform Narrow Intervals 1 & 2, as well as Wide Intervals 1 & 2, from Mallet Interval Exercises.

Perform G Major, E natural minor, Bb Major, & G natural minor scales from memory.

Perform G Major Thirds from memory.

Skill Focus: 4-mallets. Shortening and/or widening intervals.

Speed: Mallet Etude 2 at ¼ note=90bpm. Interval Exercises at least ¼ note=90bpm.

Scales at least ¼ note=90bpm.

Hints/Tips: While you’re away from the instrument, practice touching your fingertips to your thumb. Use only one

hand at a time. For example, touch your pinky, ring, middle, then your index finger. This will help with

dexterity and coordination. Know thy self!

Mallets 5

Tasks: Perform Mallet Etude 5 for your classmates.

Perform E Major, C# natural minor, Db Major, & Bb natural minor scales from memory.

Perform Db Major Thirds from memory.

Skill Focus: Rolls/tremolos. Performing for peers.

Speed: Mallet Etude 5 at ¼ note=110bpm. Scales at least ¼ note=110bpm.

Hints/Tips: Work on your rolls/tremolos at a slow speed. Make sure you have an even sound between each mallet

in your hand. Speed will come with time. Go for consistency right now. Once you gain the muscle

memory to play consistent rolls and to have L & R hand independence you will have it forever. This

piece isn't going to be easily sight-read. You'll need to put in some serious work to be able to play this.

Don’t just work smarter; work harder and longer too if you want to be successful.


Auxiliary 1

Task: Learn & perform all of the Quad Drum parts on the Drumline Warmups.

Demonstrate that you can do the following with proper technique:

Suspended cymbal roll

Suspended cymbal crash

Crash cymbals: crash at piano and at forte

Crash cymbals: hi-hat

Crash cymbals: scrape

Skill Focus: Multiple Percussion Techniques

Speed: Drumline Warmups ¼ note = at least 100bpm

Hints/Tips: Each percussion instrument has a technique. Using the proper technique will give you the best sound

possible for each instrument.

Auxiliary 3

Task: Perform letters B through C from Engine on the Quad drums.

Demonstrate that you can do the following with proper technique:

Play the claves

Play the maracas

Play a marcato hit on the tambourine

Play a thumb roll on the tambourine

Skill Focus: Multiple Percussion Techniques

Speed: Engine ¼ note = 120bpm

Hints/Tips: Practice the quad part slowly. Pay carefully attention to the sticking. There are a few moments where

your hands will have to cross each other. This is done for visual effect, which can be an important part

of playing the quad drums.

Drumset 3

Task: Perform all grooves on Drumset Grooves 3.

Skill Focus: The Grid: 16th note accuracy & coordination

Speed: at least ¼ note = 100bpm

Hints/Tips: Keep your 16th

notes on the hi-hat very light. Try vocalizing each measure before you play it. Also, if you

get stuck on Part 2 or Part 3, go back to Part 1 and work on it until you hate it. Then work on it some

more. Part 1 lays the foundation for Parts 2 & 3.


Drumset 7

Task: Ask your teacher for a copy of a swing drumset chart from jazz band. Learn to play the chart including

all of the grooves, fills, & transitions.

Skill Focus: Reading. Performing for peers.

Speed: as the original music intends.

Hints/Tips: Fills, fills, fills. Fills can be, and are often, overplayed. Drummers try to play too much during fills. Try

doing as little as possible during a fill, but play just enough to keep it interesting. Almost anyone can

make a lot of noise during a fill. Talented drummers choose their notes wisely and play only those that

are interesting to listen to. Listen to professional jazz drummer s and ‘borrow’ some of their ideas for

fills. Ask your teacher if you need some suggestions for listening.

Hand Drumming 1

Task: Demonstrate the four common hand drumming tones: Bass, Open, Slap, Muffled Slap

Perform all exercises on Hand Drumming Exercises 1. Use congas, bongos, or two other drums of

different size and sound.

Skill Focus: Fundamental Hand Drumming Tones.

Speed: ¼ note = 160 bpm

Hints/Tips: Read through the "Hand Drumming Basics" to fully understand the technique for creating each kind of

tone. Grab a drum and improvise rhythms and grooves using the proper technique to create various

tones.

Hand Drumming 4

Task: Research the following drums: congas, bongos, djembe, ashiko, talking drums, Native American hand

drums, water drums, bodhran, doumbek, tabla, tambora, cajon.

Use the Hand Drumming 4 sheet as your guide.

Skill Focus: Knowing your hand drums from around the world.

Hints/Tips: Get on the internet and look up examples of each type of drum. You'll be amazed at how incredible and

peculiar hand drums sound throughout the world. There are distinct differences between tablas &

djembes, and between doumbeks and congas. If you want to experience how these drums sound live go

to the percussion section in a music store. They often carry hand drums that you may not played, or

even seen, before.


Self 3

Task: Help your teacher for one hour by cleaning instruments, organizing music, and/or cleaning the

classroom.

Skill Focus: Cleanliness & organization.

Hints/Tips: When your class is organized and clean you will have a better learning experience. Ask your teacher

what cleanliness & organization means to them. You will learn something about how valuable it can be,

especially in a musical classroom setting.

Self 6

Task: Lead an entire class for one day. Run everything from setup & warm-ups to the clean-up at the end.

Skill Focus: Leadership. Teamwork.

Hints/Tips: Meet with your teacher and prepare a plan. Be a servant leader instead of a tyrant. A good teacher is

always willing to help. Help your peers improve their skills.

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68

Snare Drum Etude 3 - Keep your flams light. They are like sprinkles

on a cake: they add decoration, not domination.

ALL HANDS


ALL HANDS


Timpani Tuning Written Test

1. Fill in the range of notes, and the size (in inches) of each drum.

Drum:

1

2

3

4

2. The determine the pitch of a timpani drum you can strike the drum head with a mallet or your fingertip.

You can also determine the pitch of the drum by ______________ or ______________ into the drum.

3. Tuning a timpani requires an accurate pitch source. The most commonly used device to provide an accurate

pitch source for tuning is called a ____________ ____________.

1

Range:

____________________

____________________

____________________

____________________

2

Size:

____________

____________

____________

____________

3

Name: _________________

4

f p cresc. f

Moderato q=100

p f p

6

fp f

11

p mf

17

p mf f

21

44

G,C,D,E

Timpani: Etude No.1

ALL HANDS


mf

Maestoso q=90

p mf

9

f

17

p f p f

25

34

24

3 3 3 3Ab,C,Db,Eb

Timpani: Etude No.4

3 3 3 3

3

ALL HANDS


3 3 3

ALL HANDS


Keyboard Note Name Written Test

1. Fill in the names of the notes. If a note has more than one name (# or b) then write in the alternate name.

Note:

1

2

3

4

5

6

7

8

1

9

Name:

____________

____________

____________

____________

____________

____________

____________

____________

2

10

3 4

11

5

Note:

9

10

11

12

13

12

6

Name:

____________

____________

____________

____________

____________

13

7 8

Name: _________________

1


Four Mallet Techniques

There are several commonly-used techniques for playing with four mallets. In this curriculum we will learn

about one of them: the Stevens grip.

(Note from the author: I prefer teaching students to use the Stevens grip, especially in a large group , or classroom, setting. After

teaching my percussion students a few different techniques it seemed that the Stevens grip was the most natural grip and seemed to

'click' with more students than other common grips. I use it myself as well. As a percussionist who is affected by carpal tunnel

syndrome in both wrists I need a grip that requires the least amount of tension in the hands while playing very wide or very close

intervals. The Stevens grip is very relaxing and puts the least amount of strain on my hands and wrists. This is my opinion based

upon my experience as a teacher and a player. It is not a rule. Feel free to learn and use a different technique if you'd like to do so.)

Stevens Grip

Outside Mallet

Look at your palm. Spread your ring finger and middle finger away from each other. Your hand will probably

look like your imitating Spock from Star Trek (ex. 1). "Live long and prosper." Place the mallet in the webbing

between your ring and middle fingers. The end of the mallet should be about 4"-5" from where you placed it

in your hand. Next, close your ring and pinky fingers over the mallet, holding it securely in place, but not

holding it with a tight grip (ex. 2) These two fingers don't move when you're playing. The Stevens grip will feel

a bit loose at first. As you use the grip you'll learn how much pressure you'll need to keep things in place. The

outside mallet should not move around within your hand. When held properly, it is an extension of your

hand. It only moves when you move your hand, wrist, or arm.

ex. 1, webbing

ex. 2, outer mallet

2


Inside Mallet

Look at your palm then close your fingers into a fist. Your middle finger should land near the center of your

wrist on a curved line that frames your thumb. Hand surgeons refer to this line as the Thenar (ex. 3). Place

the end of your mallet in the center of this line, right where your middle finger landed while in a fist (ex. 4).

Once you place the end of the mallet on the line it should not move from that spot. That spot will be your

fulcrum point, or the support point as your mallet acts like a lever. Next, rest the mallet on your index finger

on the Distal Interphalangeal. That's the crease that is closest to the tip of your finger (ex. 5). Place your

thumb on top of the mallet. Your thumb will keep light pressure on the top of the mallet so that it stays in

that crease on your index finger. The last part of the grip involves your middle finger. Simply place your

middle finger on the end of the mallet. That will help the end stay in place. Voila! Stevens grip! (ex. 6 & 7)

ex. 3, Thenar ex. 4, fulcrum

ex. 5, index crease

ex. 6, Stevens grip top view ex. 7, Stevens grip side view

3


Playing with the Stevens Grip

- Keep your hands up as though you were going to shake hands with someone. Don't turn them in like a 2-

mallet grip or like a matched snare grip.

- To play with both mallets simultaneously move your wrists in a vertical motion making sure that both mallets

strike the keyboard at the same time (ex. 8). Watch the ends of your mallets. They should all be travelling the

same distance. If one mallet is going higher than another mallet then you have either turned your wrist away

from the up position or you are not moving your wrists in a vertical motion.

- To play with one mallet at a time while playing a roll, a tremolo, or an arpeggio, you'll need to use a rotating

motion in your wrists. The rotating motion is the same that you would use to turn a door knob. Making sure

that there is no tension in your wrist, rotate your wrist back and forth. This will cause the inner and outer

mallets to strike the keyboard in an alternating manner.

- To change the interval, or distance, between two mallets in one hand simply move your index finger left, or

right, while keeping the inside mallet placed in the index crease (ex. 9). You should be able to move your

index finger and adjust your mallets so that they can play as close as two notes next to each other or as far as

two notes that are at least an octave apart.

- Sometimes you'll need to play a part in your music where you only need to mallets, but you've already got

the four mallets in your hands. Don't put the outer mallets down. Just adjust your wrists slightly to bring the

outer mallet up and out of the way so that you don't accidentally strike the keyboard. You can use the inner

two mallets by themselves. When you do, use the same rotating motion with your wrists. Just don't rotate

out so far that your outer mallet hits the keyboard.

For more information, or to see a video demo, on the Stevens grip check out VicFirth.com. There is a video lesson section with dozens

of lessons from professional percussionists. Gifford Howarth has a video lesson series on how to hold and use the Stevens grip. There

are many resources out there with video lessons, but VicFirth.com has world-renowned percussionists teaching the lessons.

ex. 8, vertical motion

ex. 9, changing interval

44

44

44

44

44

44

44

44

Narrow Intervals 1

Mallet Interval Exercises - Use a vertical stroke for exercises 1 & 2.

- Use the wrist rotation for exercises 3 & 4.

- Play exercises 3 & 4 with the R hand and the L hand.

Narrow Intervals 2

Narrow Intervals 3

Narrow Intervals 4

Wide Intervals 1

Wide Intervals 2

Wide Intervals 3

ALL HANDS


Wide Intervals 4

p

q=90

mp

5

9

ff

13

mp

17

ff

21

44

Mallet Etude 2 - Try to be as fluid and graceful with your

hands and wrists as you can possibly be.

- Practicing one measure at a time, repeatedly, can

help you gain muscle memory for changing intervals.

R Hand

L Hand

Both Hands (double 8va or 8vb)

R Hand

L Hand Both Hand

q=110

mp

mp

5

mp

mp mp

9

mp mp

mp f

13

mp f

p

17

p

34

34

Mallet Etude 5- Keep the rolls/tremolos smooth. Playing with a consistent and

even sound is more important than playing fast rolls/tremolos.

- This piece requires finesse. Allow your body to be relaxed. Use

fluid and graceful movements. Take long, deep breathes before,

and while, you play to keep your body and your mind relaxed.

ALL HANDS


mp mp

21

mp mp

mp mp

25

mp mp

mp f

29

mp f

p

33

p

37

pp ppp

Mallet Etude 5 (cont.)

ALL HANDS


2

Cymbals

Snares

Quads

Basses (5)

R R ... L L ... R R ... L L ... R

R R ... L L ... R R ... L L ... R

R R ... L L ... R R ... L L ... R

Cymbals

Snares

Quads

Basses

R R ... L L ... R R ... L L ... R R ...

R R ... L L ... R R ... L L ... R R ...

Cymbals

Snares

Quads

Basses

L L ... R R ... L L ... R R R R L L L L R R L L RR R L L RR R R R L L L L R

L L ... R R ... L L ... R R R R L L L L R R L L RR R L L RR R R R L L L L R

44

44

44

44

54

24

54

24

54

24

54

24

34

44

34

44

34

44

34

44

Accent 8's

HH SZ HH SZ HH SZ HH SZ HH

Drumline Warmups

Double Beat

HH SZ HH SZ HH SZ HH SZ HH SZ HH SZ HH SZ

HH SZ HH SZ HH SZ HH CR

ALL HANDS


Cymbals

Snares

Quads

Basses

R R R ... R L L L ... L R RR R R ... R L L L L ......

R R R ... R L L L ... L R RR R R ... R L L L L ......

R L R ... R R L R ... R RR L R ... R R R L R ......

Cymbals

Snares

Quads

Basses

L R RR R R ... R L L L L ...... L L L L R R R R R R R R L L L L R R L L R

L R RR R R ... R L L L L ...... L L L L R R R R R R R R L L L L R R L L R

R RR L R ... R R R L R ...... R L R L R L R L R L R R R L R R R R R R R

Cymbals

Snares

Quads

Basses

R L R L RR LL RR LL R L R L RR LL RR LL R L R L R L R L RR LL RR LL RR LL RR LL R

R L R L RR LL RR LL R L R L RR LL RR LL R L R L R L R L RR LL RR LL RR LL RR LL R

R R R R R L R L R L R L R R R R R L R L R L R L R R R R R R R R R L R L R L R L R L R L R L R L R

Triple Beat

HH (Alternate)

Drumline Warmups (cont.)

(Alternate)

(Alternate) (Alternate) CR

Higga Digga BurrHH

HHSZ HH

HHSZ HH

HH(Alternate) CR

ALL HANDS


A

Quads

q=120

4 - Engine

3 4 5

6

B7 8

9 10 11

12 C13

14 15

16

D17 18 19

20 21 22

E23 24 25

26 27 28

F29 30 31

V.S.

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StickClick

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ALL HANDS Copyright © 2012 Don Neptun Music LLC. Please do not make copies without permission from the author/composer.

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ALL HANDS Copyright © 2012 Don Neptun Music LLC. Please do not make copies without permission from the author/composer.

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ALL HANDS


Keeping Standard Drum Notation in mind, match each note to the correct drum or cymbal sound.

Note:

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Drumset Notation Written Test

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Name: _________________

The Grid Part 1

The Grid Part 2

The Grid Part 3

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Drumset Grooves 3

ALL HANDS



Hand Drumming Basic Technique

- Make sure your hands & body are warmed up. Cold hands limit your flexibility, accuracy, and speed. Hand

drumming can be physically demanding so breathe regularly. Don't hold your breath.

- Remove any jewelry or gloves. The most authentic, and best-sounding, tones come from your bare hand

hitting the drum.

- Align your hands on the edge of the drum head so that your hands and arms at a 90-degree angle to each

other. This position should feel comfortable and your hands should be relaxed.

- When striking the drum head be sure to flex from your wrist. Your arm movement should be minimal, unless

you are creating a visual effect. Keep your wrists very relaxed; no tension.

- Look at your hand and imagine a curved line from where your index through pinky fingers connect to your

palm. In hand drumming the most commonly-used part of the hand is the area from that curved line out (ex.

1) to your finger tips. More specifically, the area in the middle of that part of your fingers creates the best

tone on a hand drum. Some people call that area the 'sweet spot.' (ex. 2)

- Keep your fingers together and your thumb tucked in while striking the drum. Allow your hand to rebound

off of the drum head to achieve the best possible tone quality. Don't push into the drum or hit it so hard that

your hand hurts or gets bruised. That can lead to long-term damage and can limit your ability to play. Use

finesse while drumming, not sheer strength.

ex. 1 the curved line

ex. 2 the 'sweet spot'


Hand Drumming Tones

Bass: The bass tone has the deepest sound. To play a proper bass tone hit the drum head with your fingers

and your palm, striking the drum head at the same time. Your finger tips should be near the center of the

drum head but, generally, not past it. Experiment with how much force it takes to create the deepest sound

on the drum. Some drums will create a bass sound with a light hit, while others will take some significant

force to barely hear the bass sound.

Open: The open tone is the most frequently used tone. It has the full sound of the drum which is a mixture of

high, mid, & high frequencies. To play a proper open tone hit the drum head with your fingers (the 'sweet

spot'). You should be striking the outer area of the drum head, about 3"-5" away from the edge. Practice this

stroke so that you hear a blend of bass, mid, & high frequencies. Make sure that both hands can achieve the

same tone quality

Hand Drumming Tones (continued)

Slap: The slap tone has a 'pingy' sound. The ping is the high frequencies and overtones of the drum. Even big

drums, like a djembe, can have very high overtones. To play a proper slap tone hit the drum head with the

pads of your finger tips near the edge of the drum. You can get a slap tone out of most drums by striking

about 1" from the edge. Try learning the slap tone on a bigger drum, like a djembe. It is, generally, easier to

achieve a proper slap tone on a bigger drum head.

Muffled Slap: The muffled slap tone has a pingy sound, but is quickly muffled with the opposite hand. To play

a proper muffled slap tone simply hit the drum head to create a standard slap tone, then gently place your

opposite hand on the outer 1" of the drum head. By stopping the vibration of the outer area of the drum head

you will stop the resonating high frequencies and, therefore, have a muffled slap. You can vary how the slap

tone can sound by adjusting how hard you and how quickly you press your opposite hand. Try lightly placing

your opposite hand, or fingers, on the outer edge of the drum head while you play a slap tone. Try letting the

sound ring for a second or two, then place down your hand or fingers. These variations in the sound can

create effective nuances while hand drumming.

Hand Drumming Notation

- Notation of hand drumming can be a controversial topic. Most of the world's hand drumming techniques,

rhythms, and music has been carried through generations of aural teaching and learning. Simply put, most of

this is learned by watching, listening, and doing. Each culture has different ways to communicate the language

of drumming. Most music students in the USA are learning Western standard notation with 5 lines on a music

staff. You will see hand drum music written this way, but you will also see that each piece of music may have

different rules of notation. How do you know what sound to create? Well, fortunately, most pieces come

with a key, or guide, which shows how to understand the notation on the page. If there isn't a key, or guide,

look for the vertical relationship between notes: there are usually higher notes and lower notes that

correspond to higher sounds and lower sounds, respectively. In this percussion curriculum you will find a key,

or guide, on some pieces of music, but you may just see notes on another piece. Use what you've learned and

use good judgment to determine what to do.

B O S O B O S B O S O B O S MS

ALL Exercises: q=160

B S O S MS B S O S B

B O B O MS B O B O

O S B S B S O B

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Exercise 1

Hand Drumming Exercises 1 Key

B: bass tone O: open tone

S: slap tone MS: muffled slap tone

Lower note: bigger drum

Upper note: smaller drum

Exercise 2

Exercise 3

3

Exercise 4

ALL HANDS


Hand Drumming 4 - Page 1 Name:


Know Your Hand Drums

Congas

Location of origin: __________________________________________________________________________________

Made with these materials: ___________________________________________________________________________

Historical significance: _______________________________________________________________________________

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Unique sound characteristics: _________________________________________________________________________

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Drum-specific techniques: ___________________________________________________________________________

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Bongos




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Djembe




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Ashiko




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Talking Drums




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Native American hand drums




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Water Drums




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Bodhran




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Doumbek




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Tabla




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Tambora




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Cajon




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