LSE Marching Percussionlseperc.weebly.com/uploads/1/0/4/6/104619499/front...LSE Marching Percussion Front Ensemble Fundamentals Packet For use in the 2018-19 Marching Season Compiled

LSE Marching Percussion

Front Ensemble

Fundamentals Packet

For use in the 2018-19 Marching Season

Compiled by: Gary Shuda

ThepurposeofthishandbookistopresentinformationforhowtheLSEMarchingPercussionSectionoperates.Exercisesandbasicguidelinesareprovidedtohelpdevelopasolidfoundationoftechniqueandmusicianship.TheinformationinthispacketiscrucialtoyoursuccesswiththeMarchingKnights.

Pleasereadandre-readeverythingpriortothefirstexerciseinthispacket.Itisimperativethatyouunderstandtheseconceptsbeforemovingon.

Fundamentals:Somuchofwhatwedoasmusiciansisdrivenbyourfundamentalapproachtotheinstrument.Weprideourselveshereondoingthebasicsextremelywell;it’snotwhatweplay,buthowweplayit.Eachexerciseinthispacketismeanttodevelopacertainskill,whetheritbephysical,mental,orboth.Simplyplayingthemusicinthispacketwillnotmakeyousuccessful.Successwillcomeonceyoudevelopanunderstandingofeachexerciseandareabletoapplytheconceptstoreal-worldmusicalsituations.Thethreeareasthatwewilldiscussingreatdepthare:technique,qualityofsound,andtiming.

Afewwordsonpractice:Likeanythingthatyoulearninlife,yourbrainneedsrepetitionandtimetoformnewsynapses.Thismeansthatifyoutrulywanttogetbetteratmusic,youmustpracticeeveryday.Practiceinfrontofamirrortocheckyourtechnique,useametronome,recordyourselfandbeyourownworstcritic.I’vealsocreatedaudiofilesoftheseexercisesatmanydifferenttempos.Theyserveasamodelexamplethatplaysinperfecttime,sousethemandusethemoftentohelpdevelopyourinternalclock.

SMARTpracticing:Thetwobiggestthingsthatwillmakeyoubetterarerepetitionandconsistentpracticehabits.15minutesaday,whileonlytotalingtoalmosttwohoursaweek,willbeMUCHmorebeneficialthan5hoursinoneday.Isuggestaminimumofthirtyminutesaday.

Aboveall,havefun!Playinginamarchingpercussionsectionisanincredibleexperiencethatrequireshighlevelsofdiscipline,dedication,andprecision.Likeanythinginlife,themoreeffortyouputintosomething,thebiggerthepayoff.Getreadyforagreatyearaheadofus!

GaryShudaAssistantDirectorofBands,DirectorofPercussionLincolnSoutheastHighSchool

“Talentisneverenough.Withfewexceptionsthebestplayersarethehardestworkers.”~MagicJohnson

Table of Contents

Two Mallet Technique…………………………………………………………………………………………….……....4-7

Music Theory………………………………………………………………………………………………………………..……8-9

Two Mallet Piston Strokes…………………………………….……………………………………………..……......10

Eights and Sevens……………………………………………………………………………….…………………………….…11

Green Scales……………………………………………………………………………………………………..………………….12

Jetson Scales………………..……………………………………………………………............................................13

Supplemental Exercises…….……………………………………………………………………………….……………..14

Double Sticking……….………………………………………………………………………………………………………….15

Major Scales….………………………………………………………………………………………………………………..16-17

Minor Scales.………………………………………………………………………………………............................18-19

Four Mallet Technique………………………………………………….………………..………………………….20-23

Four Mallet Exercises………………………………………………………………………………………………...24-30

Timing Breakdown…………………………………………………………………………………………………………….31

Check Patterns………………………………………………………………………………………………………………32-33

Rhythm Exercises….………………………………………………………………………………………………….…….…34

Natural Sticking…………………………………………………………………………………………………………………35

America North (Crash Cymbals)………………………………………………………………………………..…36

Keyboard TechniqueA solid foundation in technique will provide you with the ability to express yourself musically. It is important not to lose sight of this. Perhaps you've seen one or both of these scenarios. A student practices scales all the time and knows all of the exercises, but struggles with show music and solos. Or perhaps you've seen a performer who knows all of the latest solo literature, but can't figure out why they keep hitting wrong notes or why their dynamics are monotone. These scenarios are quite common. Students must learn to apply technique to music and learn to make music while practicing technique.

Stance/body position/posture

Good technique starts with having a good foundation. Good posture will allow your body to most efficiently do its job. Playing keyboard instruments can be a very physical activity, so it's a good idea to give yourself a few guidelines to follow.

In general, your feet should be about shoulder width apart keeping your knees relaxed and your back straight. Also, don’t cross your legs. This may sound obvious, but sometimes players have to “travel” to different ranges of the instruments (especially on marimba). If this is necessary, move your stance as little as possible.

It's important to note how far back from the instrument you are standing. It is common for beginners to get very close to the keys, sometimes so close that their pockets are brushing up against the bars. Not only will this dampen the bars, but it puts your arms and elbows at somewhat of a "cocked" position. This will make it difficult to playa proper stroke and stay relaxed.

Vibe players will need to keep one foot forward for pedaling. Remember that you don't have to use your entire leg to pedal! Try using just your toes or the front of your foot to pedal. This will help you keep your balance and keep you from "over-pedaling.

Try to avoid leaning on the instrument. This will cause serious back strain. If this is an issue, your instruments may be too low. If you don't have height adjustable frames, try installing larger casters or blocks to rest the instrument on. Having taught pits with heights that ranged

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from 6'5" to 5'0", we've found that it's a little easier for shorter players to adjust to taller instruments than vice versa.

Avoid forcing your wrists down to the instrument before you play. Forcing your wrists down, makes you extend your wrist to the full "up" position. Your wrist has no room to tum. Your only alternative is to start playing with your arms. Again, this is a very common problem with tall players on short instruments.

When you step up to the instrument, your wrists should be in a neutral position.

Avoid tension in other parts of your body. Besides the obvious muscles that will be involved with playing (wrists and fingers) some other common tension areas are shoulders, elbows, neck, and yes, even the face. Relax!

Basic 2-Mallet GripThe basic two-mallet grip revolves around the concept of a relaxed and natural hand position. If you let your hand hang by your side you'll notice the natural curve of all your fingers. Keep this look in mind as you go through the following setup:

1. Place the mallet between the first knuckle of your indexfinger and the pad of your thumb. This is a very importantcontact point as it is the fulcrum, or pivot point, of the mallet.

2. Start with your fulcrum one-third of the way up the malletshaft. In certain situations you may need to choke up a bit, butseldom do you need to go further back on the shaft.

3. The other fingers should wrap around the mallet in a curvedand relaxed manner.

4. Leave a little space between the mallet shaft and the palm ofyour hand. This will help to relax your stroke and let you imitatethe look of a natural rebound.

5. When setting up to the keyboard, your palmswill be flat to the keys. This should be arelaxed position, don't force your hands over.

6. The mallet heads will be slightly angled intoward each other.

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Wrist motionAs you strike the first notes on your keyboard of choice, remember that you must continue to follow all of the previous advice for stance, body position, and grip. Please reread the previous sentence...’

Play this exercise while keeping the following pointers in mind:

1. Start with your mallets in the "up" position. They shouldbe at the height that you want to play each stroke of theexercise.

2. Play with a continuous and relaxed wrist motion. This isthe legato stroke. The fulcrum should stay firm while theback three fingers relax and move with the stick. Again thestroke is mostly wrist at this point, not fingers. The backthree fingers can contribute more as the tempo increases.

3. Make sure that your mallet paths are straight up and down. You don't want any slicedstrokes or ellipses; these are very inefficient and inaccurate strokes.

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4. Make sure that your forearms andelbows stay relaxed during this wholeprocess. They should. not contribute tothe stroke motion. These "arm" strokesare very inaccurate and harsh sounding.

5. Strive for a consistent sound betweeneach note on each hand. This willrequire a consistent firmness betweenyour fulcrums, a consistent velocity ofthe mallet, a consistent playing zone onthe keyboard, a consistent height foreach stroke, and striking with the samepart of the mallet head each time.

Playing Zones(Marimba, Vibraphone, Xylophone, Glockenspiel)

For all of the keyboard instruments, the tone bars have a number of playing zones. The dark playing zones are great for general purpose playing. They have a focused fundamental and a pure sound. The bright playing zones have a thin, brittle sound. Though most people shy away from playing in the bright playing zones, these areas of the bar can add a great special effect, just make sure it's obvious that this is your intent!

The big question is: for general purpose playing, do I play on the edge or in the center? The answer: it depends. For

6. If one hand is not playing it should stay relaxed and in the "up" position.

passages that require a lot of movement and speed, try to play in the middle of the bar for the natural notes and on the edge for flats and sharps. (see photo). When you play on the edge of the bar, try to play on the angle of the bar, as if you're slicing the mallet head in half. Playing on the center and edge will allow for maximum speed and fluidity. Ultimately, this is the choice of the instructor. Try to take each musical situation as it comes and then decide what will allow you to play with the most fluidity and the most consistent sound. (Note: if you have extended range marimbas, avoid playing in the center of the bars on the bottom octave. Not only is

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Scales and Key Signatures Here are a few strategies to help with identifying scales and key signatures.

Order of flats Order of sharpsB E A D G C F F C G D A E B

Memorize the order of sharps and flats

Key signatures with flats

To find what key you are in when there are flats, find the second to last flat. Example: A key with three flats has Bb, Eb, and Ab. The second to last flat is Eb, making it the key of Eb Major.

Key signatures with sharps

To find what key you are in when there are sharps, find the last sharp (to the right) in the key signature and go up a half step. Example: A key with two sharps has F# and C#. Since the last sharp is C#, we know that a half step above that is D, making it the key of D Major.

Circle of Fifths

The “Circle of Fifths” is another way of understanding key signatures. C Major has no sharps or flats. Going up a fifth to G Major, one sharp is added and the pattern continues. This pattern also works for minor keys.

Minor Scales/Keys

Minor scales and key signatures can be made by starting on the sixth scale degree of a major scale. Example: The notes in Eb Major are Eb F G Ab Bb C D Eb. The sixth note in that scale is C, which means C minor will also have three flats in its key signature.

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Two-Mallet Piston Strokes

Keyboards

Timpani

Keys

Timp

4

Keys

Timp

7

4

4

4

4

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The piston stroke will be the foundation of our playing technique. The mallet should

start in the "up" position, travel with weight and some velocity down to the bar, and then

immediately come back up to its starting "up" position. As tempo increases, the "look" of

consecutive piston strokes should be fluid.

Each exercise should be played in all major and minor keys. Various dynamics,

including phrase shaping, should be incorporated into each exercise. Remember to use a

metronome.

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Eights and Sevens (Keys)

Keyboards

Timpani

R R R R etc.

Keys

Timp

L L L L etc.

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Keys

Timp

L alt. L alt.

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Keys

Timp

L alt.

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4

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7

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The piston stroke will be the foundation of our playing technique. The mallet should

start in the "up" position, travel with weight and some velocity down to the bar, and then

immediately come back up to its starting "up" position. As tempo increases, the "look" of

consecutive piston strokes should be fluid.

Each exercise should be played in all major and minor keys. Various dynamics,

including phrase shaping, should be incorporated into each exercise. Remember to use a

metronome.

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one octave two octaves

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arpeggio

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Green Scales

Play in All Major and Minor Keys

Keyboards

Timpani

Keys

Timp

3

Keys

Timp

5

Keys

Timp

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Keys

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Jetson Scales


Keyboards

Timpani

R L R L etc.

Keys

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To be played with "Stick Control"

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-This exercise develops "Jetson Scales," which are fast scalar sequences of notes

-Be sure to use back fulcrum and recover quickly from each stroke

-Strive for a full and even sound quality throughout the exercise

-The numbers indicate which scale degree the turns occur on. Use this as a guide

when learning new major and minor keys

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Supplemental Exercises

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Double Sticking

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Keyboards

Timpani

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

Keys

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Keys

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

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The preferred mallet sticking is alternating, however, musical situations may arise that

require mallet players to use a double stroke or double sticking.

Maintain a relaxed grip and initiate all strokes with the legato stroke motion.

To achieve note accuracy when doubling, be sure to bring the mallet back up after it plays.

The first note of the double will not return back to the starting position, so more velocity

will be necessary for the second note to sound the same as the first note. Strive for

rhythmic accuracy and sound quality while staying loose.

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Double sticking can also be played in the four-mallet grip to develop and facilitate

the inside single independent stroke.

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KeyboardMajor Scales with Flats

C Major

F Major

B Flat Major

E Flat Major

A Flat Major

-Perform all scales with true alternating sticking: R - L - R - L - etc.

-Perform each scale starting on either RH or LH

D Flat Major

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KeyboardMajor Scales with Sharps

G Major

D Major

A Major

E Major

B Major



F# Major

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KeyboardNatural Minor Scales with Flats

A Minor

D Minor

G Minor

C Minor

F Minor



B Flat Minor

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KeyboardNatural Minor Scales with Sharps

E Minor

B Minor

F# Minor

C# Minor



G# Minor

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Four Mallet Technique Steven’s Grip

Step 1: Grip the outside mallet with the back two fingers. About a half inch of the end of the mallet should

protrude from the hand.

Step 2: Place the end of the inside mallet in the crease inside the hand, underneath the thumb. Secure the

mallet by placing your middle finger on the side of the mallet. The mallet will rest on the first joint of your

pointer finger, as well as across the side of your middle finger.

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Step 3: Put steps 1 and 2 together and place the pad of your thumb on top of the inside mallet, forming a

lower-case “t” between your thumb and pointer finger. The pointer finger should be pointing across

the body (not curled in), and the thumb should be facing the sky at all times (not slanted in

towards your body). The mallets should rest at about the interval of a 5th between each other, and they

should be the same distance from the playing surface vertically. This is the Steven’s Grip.

Top View

Inside of Hand View

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Steven’s Grip Checkpoints

• Half an inch of the outside mallet protruding from the back fingers.• Inside mallet touching crease inside of hand, underneath thumb. Middle

finger is on the side of the end of the mallet, securing the mallet.

• Inside mallet is hanging on first joint of pointer finger, as well as acrossthe side of the middle finger.

• Pointer finger and thumb together form a lowercase “t.”• Pointer finger does not curl in, but remains curled and pointing across

body.

• Mallets are flat in relation to the keyboard when grip is fully-established.

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Keyboard Floor exercise permutations with 4 mallets

Double Lateral

1 2 3 4

2 3 4 1

3 4 1 2

4 1 2 3

4 3 2 1

1 4 3 2

2 1 4 3

3 2 1 4

Single Alternating

1 3 2 4

3 2 4 1

2 4 1 3

4 1 3 2

4 2 3 1

1 4 2 3

3 1 4 2

2 3 1 4

Mirror Dbl. Lateral

1 3 4 2

3 4 2 1

4 2 1 3

2 1 3 4

2 4 3 1

1 2 4 3

3 1 2 4

4 3 1 2

-Practice one permutation from each column at each practice session

-At the same tempo, play each permutation as:

-Eighth Notes

-Triplets

-Sixteenth Notes

-Sixtuplets

-32nd Notes

-The more permutations you master, the better a player you will be…

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Four Mallet Exercises

Keyboards

Timpani

Keys

Timp

Keys

Timp

4

4

4

4

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Double Vertical Legato Strokes - Perfect 5th Interval

The following exercises will develop four-mallet technique. The initial motion should

come from the wrist. The mallets should begin in the "up" position and travel down-up,

similar to two-mallet technique. Allow the weight of the mallet to help produce the sound.

Always strive to produce a full, resonant, and dark sound. Be aware of your sound

and the ensemble sound to achieve balance and blend. As an individual musician, strive to

achieve balance and blend from mallet-to-mallet. Various dynamics and phrase shapings

should be incorporated into the exercises. They should also be played in all major and

minor keys.

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The above exercise should be played with various intervals in each hand and chords,

as well as descending.

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Practice each hand and mallet individually to make sure the correct motion is being used.

Each mallet should be playing a "piston" stroke, rotating around the tacet mallet axis.

Strive for even and consistent sound from note-to-note and mallet-to-mallet.

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*Practice with each individual hand, as well as with both hands together.

2nds

Interval Changes

3rds 4ths 5ths 6ths 7ths Octave

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*Practice with each individual hand, as well as with both hands together.

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29

Keyboard4 Mallet Exercises - 3

1/3 2/4 1/3 2/4 etc.

4 3 4 3 4 3 4 3 1 2 1 2 1 2 1 2

3 4 3 4 3 4 3 4 2 1 2 1 2 1 2 1

1 2 3 4 4 3 2 1

16

1 2 4 3 3 4 2 1

1 2 3 4 3 2 1 2 3 4 3 2

etc.

24

64

34

Major Chords etc.

One-Handed Roll Builder3

3 3 3 3 3

5 5 5 5 6 6 6 6

Double Lateral Builder

Triple Laterals

6 6 6

30

™™ ™™ ™™ ™™ ™™ ™™ ™™ ™™ ™™ ™™

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16

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1

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/

The goal here is to give the musician a better understanding of how to interpret the common rhythms

that are notated when playing music. Although rhythms can be notated in many different ways, an effort

was made to notate the rhythms in a way that they would most likely be seen in a majority of the music we

play. Compare the bottom, or "base" rhythm to the variations notated directly above. It is easy to see where

everything lines up with this system. When practicing, tap your foot while playing to solidify the pulse.

Shuda

Timing Breakdown

/

/

/

Groupings of three can be notated in two different ways. In example A, the quarter note gets the beat while a

group of three has to fit into one quarter note. In example B, the dotted quarter note gets the beat. These two

variations sound the same, the only difference being the way they are notated. For our purposes, the next triple

variations will be notated with example B, where the dotted quarter note receives the beat. Follow the same

process, comparing the base rhythm to its variations. Don't forget to tap your foot!

Example A

Example B3 3

/

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31

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32

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/

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Playing Focuses

Always be aware of where the quarter note pulse is in relation to the rhythm.

The sticking used is natural sticking (excluding the 8th note skelton rhythms).

Count each variation using a system of 1-e-&-uhs.

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2 33

Rhythm Exercises

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Subdivisions

*All alternating, all full strokes.

*Start in the up position

3 3 3 3

/

3 3 3 33 3 3 3

/

/

3 3 3 33 3 3 3

/

3 3 3 3

/

16th Flow

/

/

/

/

Triplet Flow

3 3

3 33 3 3 3 3 3 3 3 3 3

/

3

3

3

33 3 3 3 3 3 3 3 3 3

/

3 3 3 3 3 3 3 33 3 3 3

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34

Natural Sticking

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/

16ths

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Repeat 4x

/

Triplets

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/

3

3

3 3 3 3 3 3 3 3 3 3 3 3 3 3

/

Repeat 4x

33 3 3 3 3 3 3 3 3

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35

America "North"

Cymbal Line

Perc. Gary Shuda

Arr. Dave Young

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q = 120

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4 crash, choke on rests (actual note duration)

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36

Documents

LSE Marching Percussionlseperc.weebly.com/uploads/1/0/4/6/104619499/front...LSE Marching Percussion Front Ensemble Fundamentals Packet For use in the 2018-19 Marching Season Compiled