UNIVERSITY OF SASKATCHEWAN

DEPARTMENT OF MUSIC

PERCUSSION STUDIES

HANDBOOK

PERCUSSION INSTRUCTOR

DARRELL BUECKERT

CONTENTS

PURPOSE............................................................................................................................3

INTRODUCTION...............................................................................................................3

GRADING POLICIES.........................................................................................................5

STUDIES IN PERCUSSION..............................................................................................6ENTRANCE REQUIREMENTS............................................................................6APPLIED PERCUSSION

MUAP 143/145............................................................................................7MUAP 243/245............................................................................................9MUAP 343/345..........................................................................................11MUAP 443/445..........................................................................................13

PERCUSSION MASTER CLASS........................................................................15PERCUSSION ENSEMBLE.................................................................................16

PRACTICE ROOMS AND KEYS....................................................................................17

PERCUSSION EQUIPMENT...........................................................................................18

PERSONAL EQUIPMENT NEEDS.................................................................................19100 LEVEL............................................................................................................19400 LEVEL............................................................................................................20

SUGGESTED READINGS...............................................................................................21

LISTENING LIST.............................................................................................................22

PURPOSE

This Percussion Studies Handbook is intended to provide students and prospective students withthe following information:

1. Requirements for entrance into percussion studies at the University of Saskatchewan.

2. An outline of the program for percussion studies and the requirements for successfulcompletion of each year of the program.

3. Policies and procedures of the University of Saskatchewan regarding percussion equipmentand facilities.

This Handbook should be considered a companion document to the University Calendar and theDepartment of Music Student Handbook. Policies and procedures, or changes to policies andprocedures stated in the Calendar or Student Handbook that conflict with those stated herein areto be taken as authoritative. Any inquiries, regarding this document or studies in percussion atthe U of S, should be directed to:

Darrell Bueckert, Percussion InstructorDepartment of Music, University of Saskatchewan28 Campus Drive, Saskatoon, SK S7N 0X1, CanadaPhone (306) 384-0667.

INTRODUCTION

Studies in percussion at the University of Saskatchewan are intended to provide the student witha comprehensive and thorough background in percussion. It is expected that each student willdevelop a high level of proficiency in all areas of percussion performance and a strongfoundation in educational concepts and strategies. The curriculum reflects this commitment tothe development of a well-rounded percussionist.

Opportunities at the University provide for experience in performance of solo and ensembleliterature of a wide variety of styles and areas of percussion. Solo recitals are a requirement ofall degree programs in 2nd, 3rd and 4th year. Students are also strongly encouraged to perform afirst year recital. As well, a variety of ensembles perform regularly throughout the year. Thereoften exist additional opportunities for students to gain experience in percussion educationthrough clinics and workshops that may occur on or off campus. Students are advised to takeadvantage of such opportunities.

Through academic study, musical preparation and involvement in a variety of performancesettings, the student should, over the course of the program, develop a high level of:

a/ responsibility as reflected in regular attendance at all lessons, classes and rehearsals, and byconscientious preparation of all literature, both solo and ensemble.

b/ professionalism including a mature attitude toward all musical styles, a commitment to themaintenance and care of the instruments, and a respect for the position of the conductor andfellow musicians.

c/ musical sensitivity to form, style, phrasing, and rhythmic, melodic, and harmonic structures.

d/ technical skill as demonstrated by performance of selected studies, solo and ensembleliterature. This should include observation and demonstration of dynamic control, articulation,rhythmic accuracy, accuracy in pitch, and technical finesse.

e/ organizational skill including the ability to prepare and assign ensemble parts and the ability todesign and implement instrument set-ups for solo and ensemble performance.

f/ ability to read at sight.

g/ aural skills including rhythmic, melodic, and harmonic relationships

h/ understandings with regards to:1/ the instruments, their history, construction, mechanical functions, technical and

musical possibilities, and concepts of tone production.2/ historical and stylistic aspects of the literature.3/ educational principles and methods.

GRADING POLICIES

Grades for Applied Percussion are determined as a combination of the Jury/Recital mark and theinstructor's grade, as outlined in the Department of Music Student Handbook. The instructor'sgrade will be determined by (1) regular attendance at Applied Percussion lessons, Master Classesand Ensembles - 20%; (2) consistency and growth - 40%; (3) technical progress - 40%.

Assignments

It is expected that students will come to lessons prepared, having completed all assignments to asatisfactory level. The assignment for each lesson will be recorded on an Applied PercussionRecord form which will be kept in the instructor's file. Students are welcome to view the file attheir convenience.

Log Books

Students are encouraged to keep a personal log of their assignments in a ringed steno pad. Foreach assignment, students should set down a plan for successfully completing it, indicating whatis required each day to meet their goal. The log should also contain personal critiques on piecesbeing worked on, instrument set-ups, information about works and composers researched, and arecord of the time and nature of work done in the practice room. In this way students willbecome more actively involved in their own development and more responsible for their ownsuccess.

STUDIES IN PERCUSSION

ENTRANCE REQUIREMENTS

Students may be admitted into the Department of Music as a percussion major by audition beforea jury comprised of members of the music faculty. The candidate must demonstrate proficiencyin at least one of the following areas of performance and a level of basic performance skills in atleast one other area. The ability to perform well in several or all of the areas listed is verydesirable.

KEYBOARD - Demonstrate (1) a basic understanding and ability to play major and minorscales and arpeggios; (2) musical and technical command of intermediate level solo literaturesuch as found in Modern School for Xylophone (Goldenberg), The Solo Marimbist vol. 1 & 2(Pimentel/Moore), Masterpieces for Marimba (McMillan); (3) functional ability with at leastone multiple mallet grip.

TIMPANI - Demonstrate (1) good command of the mechanical functions of the timpani; (2) agood understanding of intervals and scales and the ability to hear, sing and tune them on thetimpani; (3) performance of intermediate level solo literature such as found in The SoloTimpanist (Firth), Modern Method for Tympani (Goodman), Musical Studies for theIntermediate Timpanist (Whaley), Fundamental Method for Timpani (Peters).

GENERAL PERCUSSION - Demonstrate (1) strong rudimental background (40 internationalrudiments and solos by Wilcoxon, Markovich, etc.), and/or concert style snare drum performance(solos by Cirone, Payson, Lepak, Goldenberg, Whaley, Delecluse, etc.); (2) good command ofaccessory instruments in concepts of tone production and technical proficiency. Be able toperform on bass drum, cymbals, triangle, tambourine, Latin percussion and other accessorypercussion instruments.

DRUM SET - Demonstrate (1) an understanding of drum set performance in a variety ofmusical styles including jazz, rock and Latin; (2) an ability to play time as well as improviseappropriate solos and fills for each style type; (3) A thorough knowledge of musicfundamentals, including the ability to read a drum chart.

APPLIED PERCUSSION - 6 CREDIT COURSES

The following provides a basic outline to the course content for each year of the program forapplied percussion study. Materials listed are only examples of typical literature for that levelbut actual material covered may vary for each student depending on individual strengths. It isexpected that the student will, at a minimum, develop skills in each area of percussionperformance to a level represented by the materials listed for each of the instruments.

MUAP 143/145

TimpaniMETHODS

Goodman, Modern Method for Tympani (Belwin)Peters, Fundamental Method for Timpani (Alfred)Whaley, Fundamental Studies for Timpani (Meredith)

SOLO LITERATURE

Beck, Alpine SlideFrock, Seven Solo DancesGoodman, Ballad For The DanceGoodman, Introduction & AllegroPeters, Primal MoodPhilodor, March For Two Pairs of Kettledrums

Keyboard PercussionMETHODS

Payson, Elementary Marimba & Xylophone Method (Payson)Firth, Mallet Technique (Carl Fischer)Pimentel, Bar Percussion Notebook vol. 1 & 2 (Permus)Goldenberg, Modern School for Xylophone (Chappell)

SOLO LITERATURE

Grover, Four Mallet PrimerIrvin, Syncopated WaltzKabalevsky/Goldenberg, Comedians GallopKhachaturian/Goldenberg, Sabre DancePeters, Teardrops for MarimbaQuartier, Image

MUAP 143/145 ... continued

Snare Drum

METHODS

Stone, Stick Control (George B. Stone & Son)Delecluse, Methode de Caisse-Claire (Alphonse Leduc)Goldenberg, Modern School for Snare Drum (Chappell)Wilcoxon, The All-American Drummer (Ludwig)

SOLO LITERATURE

McCormick, Solo Suite for Snare DrumPayson, Snare Drum Solo #1Schinstine, Futuristic Drum SolosSewrey, Contrasts

General Percussion

METHODS

Payson, Techniques of Playing Bass Drum, Cymbals and Accessories (Payson)Delp, Multi-Pitch Rhythm Studies for Drums (Berklee Press)

SOLO LITERATURE

Gaetano, Multiple Episode #1Kraft, Two Drums in the Shape of an EtudePayson, Slavic DancePeters, Rondo

Drum Set

Appice, Realistic Rock (Carmine Appice)Pickering, The Drummer's Cookbook (Mel Bay)Chapin, Advanced Techniques for the Modern Drummer (Jim Chapin)

MUAP 243/245

Timpani

METHODS

Goodman, Modern Method for Tympani (Belwin Mills)Firth, The Solo Timpanist (Carl Fischer)Whaley, Musical Studies for the Intermediate Timpanist (Meredith)Friese/Lepak, Friese-Lepak Timpani Method (Belwin)

SOLO LITERATURE

Firth, Solo Impression for Four TimpaniJones, SonataMancini, Suite for TimpaniTcherepnin, Sonatina

Keyboard Percussion

METHODS

Green, Studies and Etudes for Xylophone (Heinrichshofen)McMillan, Masterpieces for Marimba (Belwin)Moyer, Four Mallet Method for Marimba (Studio 4)Goldenberg, Modern School for Xylophone (Chappell)Bona, Rhythmical Articulation (Schirmer)Whaley, Four Mallet Exercises (Meredith)

SOLO LITERATURE

Huesgen, TrilogyPeters, Yellow After the RainPimental/Moore, The Solo Marimbist Vol. 2Pitfield, Sonata for XylophonePtaszynska, Scherzo for Xylophone and PianoTanner, Sonata for Marimba

MUAP 243/245 ... continued

Snare Drum

METHODS

Delecluse, Methode de Caisse-Claire (Alphonse Leduc)Wilcoxon, Modern Rudimental Swing Solos (Ludwig)Whaley, Recital Solos for Snare Drum (Meredith)

SOLO LITERATURE

Benson, Three DancesColgrass, Six Unaccompanied Solos for Snare DrumDelecluse, Douze EtudesMcCormick, Aggressively

General Percussion

METHODS

Price, Techniques and Exercises for Playing Triangle, Tambourine and Castanets (Music for Percussion)

Goldenberg, Studies in Solo Percussion (Chappell)Peters/Black, Cymbals: A Crash Course (Alfred)

SOLO LITERATURE

Becker, LaharaD'Angelo, Toccata for Solo PercussionistKraft, French Suite____, Morris DancePayson, Die Zwitschermaschine

Drum Set

Chester, The New Breed (Modern Drummer)Dowd, A Funky Primer (Alfred)

MUAP 343/345

Timpani

METHODS

Abel, 20th Century Orchestra Studies for Timpani (Schirmer)Begun, Twenty-One Etudes for TimpaniHinger, Technique for the Virtuoso Tympanist (Jerona)

SOLO LITERATURE

Beck, Sonata for TimpaniBergamo, Four Pieces for TimpaniCahn, Raga #1Lepak, 32 Solos for Timpani

Keyboard Percussion

METHODS

Friedman, Vibraphone Technique (Berklee Press)Stevens, Method of Movement for Marimba (Keyboard Percussion Publications)

SOLO LITERATURE

Abe, FrogsGibson, Wallflower, Snowbird, CarillonGreen, selected ragsHovhaness, Fantasy on Japanese WoodprintsStout, Etudes Book 2____, Astral Dance

MUAP 345/345 ... continued

Snare Drum

METHODS

Albright, Contemporary Studies for the Snare Drum (Belwin)Payson, The Snare Drum in the Concert Hall (Payson)Zivkovic, Ten Etudes for Snare Drum (Studio 4)

SOLO LITERATURE

Adams, Variation Sans ThemeGauthreaux, Technica 9Markovich, Tornado / Stamina

General Percussion

METHODS

Denov, The Art of Cymbal Playing (Belwin)Udow/Watts, The Contemporary Percussionist (Meredith)

SOLO LITERATURE

Cahn, NaraDupin, MyriadsKraft, English SuiteMilhaud, Concerto for PercussionTagawa, Inspirations Diabolique

Drum Set

Houghton, Studio & Big Band Drumming (C.L.Barnhouse)Latham, Advanced Funk Studies (Pustjens)

MUAP 443/445

Timpani

METHODS

Hinger, Technique for the Virtuoso Tympanist (Jerona)Goldenberg, assorted excerpt books

SOLO LITERATURE

Carter, Eight Pieces for TimpaniHelble, Three Etudes for Five TimpaniHinger, Solos for the Virtuoso TimpanistMardingly, Sonata for Solo TimpaniWilliams, Variations for Solo Kettledrums

Keyboard Percussion

METHODS

Stevens, Method of Movement for Marimba (Keyboard Percussion Publications)Delecluse, Vingt Etudes pour Xylophone (Alphonse Leduc)

SOLO LITERATURE

Abe, MichiBasta, Concerto for Marimba and PianoCreston, Concertino for MarimbaDeponte, Concertino for MarimbaGreen, Valse BrillanteKurka, Concerto for Marimba and OrchestraMiki, TimeMilhaud, Concerto for Marimba and VibraphoneStout, Two Mexican DancesTanaka, Two Movements for Marimba

MUAP 443/445 ... continued

Snare Drum

METHODS

Cirone, Portraits in RhythmLepak, 50 Contemporary Snare Drum Etudes (Windsor Music)Stone, Accents and Rebounds (George B. Stone & Son)

SOLO LITERATURE

Gauthreaux, American SuiteKettle, Four Solos for Snare Drum

General Percussion

METHODS

Abel, 20th Century Orchestra Studies for Percussion (Schirmer)

SOLO LITERATURE

Brun, Stalks & Trees & Drops & CloudsDahl, Duettino ConcertanteFeldman, The King of DenmarkKraft, Images____, Encounters 3 or 4Stockhausen, #9 ZyklusStravinsky, Histoire du SoldatXenakis, Rebonds

Drum Set

Malabe/Weiner, Afro-Cuban Rhythms for the Drum Set (DC)Garibaldi, Future Sounds (Alfred)Houghton/Warrington, Essential Styles (Alfred)

PERCUSSION MASTER CLASS

Percussion majors are required to attend Percussion Master Class. The purpose of the MasterClass is to provide a forum for (1) critical appraisals of performance by peers (2) groupinstruction on various instruments towards developing a common approach (3) sharing ofinformation and ideas on a broad range of topics including instrument maintenance, repair andconstruction (4) developing an understanding of the history of percussion and its literature (5)development of an understanding of educational principles and practices.

Each student will be required to perform or present a mini-seminar at least once each semester.Performers should be prepared to discuss technical and musical aspects of the piece they performand be knowledgeable about the composer and the compositional style. Informal and/or formal(written) critiques of performances and presentations may be required.

PERCUSSION ENSEMBLE

Percussion Ensemble is an auditioned performing ensemble open to any university student. Awide variety of musical styles are explored, ranging from classical transcriptions tocontemporary compositions for percussion ensemble, as well as music from other countries andcultures. The instruments used represent a wide range of traditional orchestral percussioninstruments as well as Latin American instruments, the complete range of keyboard percussionand an assortment of special oddities. Members of the ensemble are encouraged to (1) developreading ability and performing skills, (2) gain a greater understanding of the literature forpercussion ensemble and the use of the percussion instruments, (3) recognize the educationalpossibilities of such an ensemble, (4) develop a high level of ensemble skills.

While the ensemble is comprised primarily of percussion majors, other students with percussionbackground or significant musical experience may also find the ensemble enjoyable andworthwhile. It is expected that every percussion major will endeavour to include this ensembleas part of each year's program of study.

Percussion Ensemble meets for one 2-hour rehearsal every week, at a time to be determined bythe Music Department pending the availability of Quance Theatre. Two concerts are performedeach year, typically one in early December and one in early April. As well the ensemble will attimes travel to various venues in the city for performances and/or workshops.

While the ensemble is intended to be enjoyable and have a relaxed atmosphere, it is expectedthat each member will take responsibility for coming to rehearsals well prepared and arriving inplenty of time to have instruments set up before rehearsal begins. Regular attendance at everyrehearsal is expected.

PRACTICE ROOMS AND KEYS

KEYS

Each percussion major enrolled in the Music Department is granted practice room privilegesupon payment of the key deposit fee. Fees and keys are handled through the music office.

All keys must be returned at the end of each academic year or final grades will be withheld bythe Music Department.

Percussion Techniques students may have access to the percussion modules by arranging for akey from the Music Department Office.

Other students requiring access must have written permission of the percussion instructor andapproval of the Music Department.

Any student using the percussion modules and percussion equipment is expected to comply withall policies.

PERCUSSION MODULES

Percussion modules are located in the lower level practice hall in the Education Building.Rooms are equipped as follows:

Module #3 : DRUMSETModule #4 : VIBRAPHONE & XYLOPHONEModule #5 : TIMPANIModule #6 : MULTI-PERCUSSION Module #7 : MARIMBA, PIANO ACCOMPANIMENT Etc.

Each percussion major will be allowed to sign up for reserved practice times after personalschedules have been set. Students are encouraged to make use of these times since competitionfor the rooms can become frustrating. Rooms that are not booked are on a first come first servedbasis. If a room is vacant ten minutes into a reserved time slot, any student may make use of thatroom.

These rooms are intended for practice only and it is expected that students will use themresponsibly. Instruments should be covered appropriately when finished, lights turned off, andthe door locked.

Food and drink are NOT allowed in the modules. Use the modules for practicing, not for homework or visiting.Personal equipment such as sticks, mallets and music are to be stored in lockers.

Failure to comply with these policies may result in loss of key privileges.

PERCUSSION EQUIPMENT - MOVING AND STORAGE PROCEDURES

STORAGE ROOMS AND CABINETS

All percussion equipment is stored either in the practice modules below Quance Theatre or in theequipment storage room, backstage of Quance Theatre. Equipment taken from these locations tobe used for practice or performance MUST be returned to these locations the same day, unlesswritten permission for extension has been given by the percussion instructor.

The storage room must be kept neat and orderly at all times, to facilitate efficient access toinstruments and accessories. Learn where all the instruments belong and be consistent inreturning them to their proper place.

The storage cabinet must also be kept neat and orderly so that instruments and mallets are easilyfound. All felt mallets must be covered with plastic before being stored, and all triangles musthave clips removed before returning to drawers.

MOVING INSTRUMENTS

All large equipment must be moved between floors of the Education Building by use of theelevator in the main hallway.

Keyboard instruments should be lifted over the threshold of the module doors carefully. Some ofthe larger keyboard instruments must be disassembled to accommodate smaller doorways.Vibraphone and chime pedals should always be raised before moving the instrument to avoiddamage.

Timpani should NEVER be moved or lifted by the counter-hoop as this will destroy fine tuningand put undue strain on the instrument. Always handle by the braces or bowls. The largest ofthe timpani may need to tipped sideways and the wheels removed to accommodate smallerdoorways. This is a job that requires at least two people and must be done VERY carefully so asnot to touch the rim against the door jam. Avoid laying the timpani on its side to remove thewheels; have a third person remove them.

Drum set bass drum pedals and mounted toms must be removed before moving the bass drum.

NO instruments may be removed from the Education Building without written permission fromthe percussion instructor and approval of the Music Department.

PERSONAL EQUIPMENT NEEDS

100 LEVEL

Each percussion major must equip himself or herself with some basic equipment for use inprivate study and conducted ensembles. The following is a list of the bare minimum that will berequired. Any percussion major that is missing one or more of these items should endeavour toown them by the end of the first semester.

Students involved in percussion ensemble who are not percussion majors may be asked topurchase a minimum of supplies.

Sticks and Brushes:1 pr. general snare drum sticks: 2B or Firth-general.1 pr. light weight snare drum sticks for drum set.1 pr. brushes.

Keyboard mallets:1 pr. soft rubber1 pr. acrylic (hard plastic).2 pr. medium yarn or cord wound for vibes and marimba.

Timpani mallets:1 pr. general.1 pr. staccato.

1 pr. medium-heavy triangle beaters.

1 drum key 1 A-440 tuning fork.1 small tool kit including; adjustable wrench, pliers, moleskin, scissors,

screw drivers (5-in-1 set).

400 LEVEL

The following is a list of equipment items that would complete the basic equipment needs of theperforming percussionist. Every percussion major should endeavour to acquire these items overthe course of studies at U of S. Furthermore, it is expected that students will purchase itemsneeded as these needs arise so that borrowing equipment from each other is not necessary. Everypercussionist is responsible for outfitting his or her own set-up, whether they be individual orensemble situations.

Snare Drum sticks:1 pr. general snare drum sticks: 2B or Firth-general.1 pr. light weight snare drum sticks for drum set.1 pr. brushes.

Keyboard mallets:1 pr. each of rubber; hard and very hard2 pr. acrylic (hard plastic)1 pr. brass4 yarn or cord wound soft4 yarn or cord wound medium4 yarn or cord wound hard

Timpani mallets:1 pr. general1 pr. staccato1 pr. ultra-staccato1 pr. wood ball

Triangle beaters (purchased or home-made);1 pr. light1 pr. medium1 pr. heavy

1 drum key 1 timpani tuning key 1 A-440 tuning fork1 small tool kit including; adjustable wrench, pliers, moleskin, scissors,

screw drivers (5-in-1 set).

Percussion majors studying at U of S are also encouraged to begin acquiring a greater variety ofsticks and mallets as well as personal instruments including various drums, cymbals,tambourines, triangles, wood-blocks, and other accessories.

UNIVERSITY OF SASKATCHEWAN

DEPARTMENT OF MUSIC

APPLIED PERCUSSION -- SUGGESTED READINGS

Abel, Alan. 20th Century Orchestra Studies for Percussion. MT 662.4.T97Bajzek, Dieter. Percussion: An Annotated Bibliography. ML 128.P23B34Blades, James. Early Percussion Instruments. ML 1030.B62Blades, James. Histoire du Soldat. M 1520.S91H5Blades, James. Orchestral Percussion Technique. MT 665.B63Blades, James. Percussion Instruments and their History. ML 1030.B63Breithaupt, Robert. The Complete Percussionist. Brindle, Reginald Smith. Contemporary Percussion. ML 1030.B85Brown, Robert. The Mrdanga. ML 1035.B88N9Chenoweth, Vida. The Marimbas of Guatemala. Cirone, Anthony & Joe Sinai. The Logic of it All. Cook, Gary. Teaching Percussion. MT 655.C7 EDUC PROF. COLL.Firth, Vic. Percussion Symposium. ML 1030.F52Gallwey. The Inner Game of Tennis. GV 1002.9.P75G34Gangware, Edgar. The History and Use of Percussion Instruments in the Orchestra. ML1030.G19Holland, James. Percussion. ML 1030.H64Jacob, Friedrich. La Percussion. ML 1030.J3414Kaptain, Laurence. "The Wood That Sings:" The Marimba in Chiapas Mexico. Kulb, David. Percussion Crafts. Larrick, Geary. Annalytical & Bibliographical Writings in Percussion Music. MT 90.L34Locke, David. Drum Gahu! MT 655.L6Meza, Fernando. Percussion Discography. ML 156.4.P4M5Moore, James. Acoustics of Bar Percussion Instruments. ML 1030.M6Payson, Al & McKenzie. Music Educator's Guide to Percussion. MT 655.P34M9Payson, Al & McKenzie. Percussion in the School Music Program.Press, Arthur. Mallet Repair. ML 1031.P93M2Reed, H. Owen & Joel Leach. Scoring for Percussion. MT 70.R32Richards, Emil. World of Percussion. ML 1030.R52Shivas, Andrew. The Art of Timpanist and Drummer. MT 665.S5Sachs, Curt. The History of Musical Instruments. ML 460.S12Tanner, Peter. Timpani & Percussion Writing in the Works of Hector Berlioz. ML 410.B51T16Taylor, Henry W. The Art and Science of the Timpani. ML 1035.T23Vela, David. Information on the Marimba.Vincent, David. A Percussionists Guide to Orchestral Excerpts. ML 128.P23V5Percussion Anthology: A Compendium of Percussion Articles from the Instrumentalist. MT655.P42Percussive Notes. a bi-monthly publication of the Percussive Arts Society.

UNIVERSITY OF SASKATCHEWAN

DEPARTMENT OF MUSIC

APPLIED PERCUSSION -- LISTENING LISTPERCUSSION RECORDINGS IN THE U OF S EDUCATION BUILDING

Attica LL 6415The Blackearth Percussion Group LL 6059Canons of Blackearth LL 6060Changes (Nexus) LL 7191Digital Percussion LL 6584I Ching MCD 0734Impact ( Beverly Johnson) MCD 0232Light in Darkness (Evelyn Glennie) MCD 1130Master Drummer From Ghana LL 7961Music of Herbert Brun... LL 6488-6489Music of Nexus LL 7190Percussion (Milhaud, Chavez, Bartok) LL 3735Percussion By William Kraft LL 5568Prison Song LL 6945Selections MCD 0873Shadowbox MCD 0231Song of Quezalcoatle (Lou Harrison) LL 6061Suites, Percussion LL 2701Zyklus (Stockhausen) LL 6852

Amadinda Percussion Group MCD 1687Chinese Drums and Gongs LL 7930Concert Percussion for Orchestra LL 3693Construction #2 (John Cage) LL 7304Drumming (Steve Reich) MCD 0959Ionization (Varese) MCD 1695Kroumata Percussion Enseble MCD 0619Kroumata and Manuela Wiesle MCD 0611Music for Pieces of Wood (Reich) MCD 1737Percussion (McGill Percussion Ensemble) LL 6030Pleiades (Xenakis, Les Percussion Strasbourg) MCD 0763Quartet Romantic (Henry Cowell) LL 5757Sonic Boom LL 7756Soundscape (Michael Rosen) LL 6739