This document is prepared by the percussion faculty solely as a student reference. Students should refer to the University Bulletin for information about official University academic policy. In any case of conflicting statements between this document and the University Bulletin, the University Bulletin will prevail as the correct source of information.
Undergraduate Percussion students who wish to major in the field
of music
at Valdosta State University may choose from two degrees.
The Bachelor of Music is a professional music degree and is available
with majors either in music education or in the applied music
performance area. The Bachelor of Music degree in music education
meets the requirements of the State Department of Education for
T4 teacher certification in music. The Bachelor of Arts
with a major in music is a liberal arts degree and is offered
by the Department of Music in conjunction with and through the
School of Arts and Sciences. The Master of Music Education degree
and The Master of Music degree in Performance are also available for students who are interested in graduate
study. Percussion instruction is also available, subject to demand,
for the nonmajor or music minor who wishes to develop a music aptitude
for personal enjoyment. Valdosta State University is a member
of the National Association of Schools of Music.
Within the framework of an outstanding department of music, the
applied percussion student receives a comprehensive study in applied percussion through private lessons, percussion ensemble, percussion
studio classes, recitals, and master classes. Each student receives
a rigorous training and experience in technique, solo repertoire,
orchestral excerpts, and percussion ensemble/steel band combined
with large ensemble experiences gained from the Valdosta Symphony
Orchestra, marching band, concert band, jazz ensembles, jazz combos,
and pep band. All percussion students have an opportunity to participate
in all ensembles every semester in residence. Diversity is stressed
for all percussion students. Specific requirements in applied
music for each degree program are outlined below:
Bachelor of Music with a Major in Performance
Classification: Major
Two one hour lessons per week (Total of 8 semesters of study required)
Attendance at required departmental events
Attendance at weekly Studio Classes
Performance on one student recital per semester
Performance of a jury at the end of every semester
Junior Recital (2030 minutes of music)
Senior Recital (4060 minutes of music)
Bachelor of Music with a Major in Music Education
Bachelor of Arts with a Major in Music
Classification: Principal
One hour lesson per week (BA 8 semesters, Mus Ed 7 semesters)
Attendance at required departmental events
Attendance at weekly Studio Classes
Performance on one student recital per semester
Performance of a jury at the end of every semester
Senior Recital (2030 minutes of music)
Study for the NonMusic Major
Classification: Secondary
or Minor
A One half hour lesson per week
Requirements determined by the instructor based on interest of
the student
J. David Morris,
Percussion Area Chair
Office 192B Fine Arts
Phone 333-5813
dmorris@valdosta.edu
Paul Campiglia
Office 1194A
Fine Arts
Phone 249-2711
pcampiglia@valdosta.edu
Be sure to check the percussion bulletin board and your E-Mail several times daily for messages that pertain
to you. Messages for instructors can be left on E-Mail or through
the Department Secretary. Students may also want to consult the
VSU Percussion Web Page for information about the program at www.valdosta.
edu/~dmorris
DEPARTMENTAL FORMS
Copies of departmental forms are available through the music office and online at the Music department Web Site.
THE PERCUSSIVE ARTS SOCIETY
In 1960 a group of professional players, educators, and manufacturers
met and conceived the idea of the Percussive Arts Society, (P.A.S
.).
The PAS issued this statement of purpose:
To raise the level of musical percussion performance and teaching;
to expand understanding of needs and responsibilities of the percussion
students, teachers, and performers; and to promote a great
er communication
between all areas of the percussion arts.
Membership in this organization includes issues of Percussive
Notes magazines and other publications. PAS is a source for information
for all areas of percussion. By sponsoring
concerts, clinics,
and conventions, PAS supports performance, education, and research.
PAS sponsors an annual composition contest creating new works
for percussion solo and ensemble. Remittance should be sent to:
Percussive Arts Society
PO Box 25
Lawton, OK 73502
405-353-1455
Students may access the PAS Web page through the VSU Percussion
WEB Page at www.valdosta.edu/~dmorris
Membership in PAS is required for all students studying
percussion at any level.
The VSU Percussion Ensemble and Steel Band perform a wide variety
of literature written for or transcribed for percussion instruments.
These ensembles meet every semester, and rehearse during studio class hour. The rehearsal schedule for these groups
will always be given in advance at the beginning of each semester. Players are
expected to prepare parts in advance of each rehearsal and are expected to
arrive for rehearsal far enough in advance to set up so that rehearsals can
begin on time and run smoothly.
Attendance at Percussion Studio Classes by percussion majors and principals is required. The schedule for studio class activities will be given out at the beginning of the semester.
Attendance is required at all daytime departmental Student Recitals
for those students who are enrolled in principal or major applied
lessons. One performance per semester on these programs i
s required
of all students who are enrolled at the principal or major level
of applied study.
Attendance at designated music department evening and weekend
events is required for those students enrolled at the principal
or major level. A schedule of these events will be distributed
to all music students at the beginning of each semester with the
required events for percussion students designated.
BREAKDOWN OF PERCUSSION STUDIES BY YEAR
The following pages indicate the breakdown by years and semesters
of percussion studies at VSU for principals and majors.
FRESHMAN
First Semester
Modern School for Marimba,Vibraphone, and Xylophone
Morris Goldenberg
Percussion Keyboard Technique Thomas McMillan
24 Duets for Guitar - Curulli
Fundamental Mallet Studies - Garwood Whaley
Students may use the freshman literature list as a guide to selecting a solo or solos that are suitable for this level of performance. Students should select both accompanied an unaccompanied works during the freshman year.
Second Semester
I. Bar Percussion Instruments
A. Technique
Students are expected to maintain all major and
minor scales, arpeggios, and other first semester two mallet
work.
Four mallet studies - Method of Movement - Leigh Howard Stevens
B. Reading/Style/Interpretation
Same books as first semester can be used
for
continued reading studies.
Four mallet reading - The Solo Marimbist (Vol 1 and 2) by
Pimentel
C. Solo Literature
Using the freshman list as a guide, work(s) should be selected for performance and prepared during the semester. A balance of accompanied and unaccompanied two and four mallet work(s) should be covered.
II. Snare Drum
A. Technique
Students are expected to continue exercises in
books from 1st semester.
B. Reading/Style/Interpretation
Continue Books from the first semester these should be finished early in the semest er.
Add advanced snare drum studies such as:
Cirone - Portraits in Rhythm
Firth - The Solo Snare Drummer
Delecluse - Douze Etudes
C. Solo Literature
Select either a rudimental or concert style solo
for jury or student recital. Use literature
list below as
a guide.
III. Accessories - Continue with the Payson book
This list is to be used as a guide and is not comprehensive. Some
works on this list may also be appropriate for sophomore study.
I. BAR PERCUSSION
Collections of Solos
Bach for Marimba Moore (two and four mallet)
The Solo Marimbist Vol. 1 and 2 Pimentel (two and four mallet)
Bar Percussion Notebook Pimentel (two and four
mallet)
Marimba Goes Baroque Pimentel (two and four mallet)
Multiple Mallet Studies for Marimba Meyer (four mallet)
Recital Pieces for Mallets Whaley (two and four mallet)
Masterpieces for Marimba McMillan (
only two mallet)
Xylophone Album Hiaoka (two mallet only)
78 Solos Jolliff (four mallet only)
Bach for Mallet Percussion Powley (two and four mallets)
Contest Solos Houllif (two and four mallet)
U
naccompanied Solos (3 or 4 indicates that 3 or 4 mallets are
needed)
Agia Triada Tiedemann (4)
Ave Maria Bach/Gounod/Hatch(3)
Ave Maria Bach/Schubert/Hatch (4)
Chant Peters
El Choclo Hatch
Crepusculo Kastuck (4)
I Skovens Dybe Stille Ro Stensgaard (4)
January Song Kastuck (4)
Prayer Gipson (4)
Two Chorales Larson (4)
Waves Kastuck
Sea Refractions Peters (4)
Prelude in C Minor Chopin/Hatch (4)
Accompanied Solos (3 or 4 indicates that 3 or 4 mallets are
needed)
Allegretto Mozart/Meister
Bagatelle Beethoven/Meister
Caprice Valsant Green
Chanson
de Nuit Elgar/boo
Comedians Galop Kabalevsky/Goldenberg
Concertino Frock
Concerto in A Minor Bach/Goldenburg
Le Couco C. Daquin/Dolby
Csardas Monti/Moore
Dancer at Heart Molenh
of
Danse Rituelle du Fue DeFalla/Hatch
Freshman Solo Literature List (continued)
Accompanied Bar Solos (continued from the previous page)
Evening in the Country Barto
k/Meister
Fantasisie a la Nudge Asabuki
Funeral March of the Marionette Gounod/Roy
Humming Bird Green
Hungarian Dance # 5 Brahms/Hatch
Liebesfreud Kreisler/Green
Menuet Haydn/Meister<
br>
Quiet Place Frazeur
Rondo Marpurg/ Meister
Rondo for Marimba Frazeur
Sabre Dance Khatchaturian
Second Arabesque Debussy/Miller
SonataAllegro Peters
Spanish Dance
; Popper/ Meister
Sparks Asabuki
Suite for Xylophone and Orchestra Carey
Third Handel Sonata Handel/Musser
Toccata for Marimba Norton
Turkish March Beethoven/Meister
Two Short Pieces
Siennicki
Villageoise, La Rameau/Meister
Whirlwind Green
Zignany Nany/Meister
Le Secret Gaultier
Gypsy Rondo Haydn
II.SNARE DRUM
14 Modern Contest Solos Pratt
Thr
ee Solo Dances Benson
Stamina Markovitch
Six Unaccompanied Snare Drum Solos Colgrass
The Winner Markovitch
524 Main Abel
Hi HO Simpson Abel
Tornado Markovitch
Snare Drum S
olo #1 Houllif
Contemporary Collection for Snare Drum Houllif
2040's Sortie Abel
Colonial Capers Beck
The Victor Berg
Bobbin Back Buggert
Thundering Through Buggert
Snare
Drum Solo No. 1 Gauger
Technica 9 Gauthreaux
5/8 Romp Goldenberg
6/8 Etude Goldenberg
7/8 Romp Goldenberg
Turquoise Harr
Snare Drum Solo Hartweg
General Washington Heney
Theme and Variations for Snare Drum Heslink
T
hree Etudes for Snare Drum Kettle
Agressively McCormick
Snare Drum Solo 1 Payson
Snare Drum Solo 1 Petercsak
Exhibition Solo No. 1 Price
All State Drummer Schinstine
Contest Solo No.
1 Silverman
Snare Drum Solo No. 1 Tuthill
Championship Corps Style Solos Wanamaker
Recital Solos for Snare Drum Whaley
The All American Drummer Wilcoxon
NARD Rudimental Drum Solos
SOPHOMORE
First Semester
I. Bar Percussion Instruments
A. Technique
1. Students are expected to maintain all studies
on
technique that were learned t
he freshman year.
This
includes scales, arpeggios, etc. and Goldenberg
studies.
2. Continue work in Method Of Movement. This
will be
done in primarily
on the students own time.
B. Solo Literature for two and four mallets
Using the sophomore literature list as a guide,
students should select solo(s) for preparation
and
performance during the semester. Certain works
from the freshman list may also be appropriate for sophomore
performances during the first semester of sophomore study. (Emphasis
on 4 mallet work)
II. Timpani
Technique
Timpani Method by Freise/Lepak, or Modern Method
for Timpani by Saul Goodman. Stroke, sound production,
muffling, rolls, dynamic changes, tuning..
Second Semester
I. Bar Percussion Instruments
A. Technique
Vibraphone Technique, Dampening and Pedaling
David Friedman. Also reading standa
rd chord sheets
and simple improvisation
B. Solo Literature for two and four mallets
Same as first semester using the sophomore list.
II. Timpani
A. Technique
Continue Freise/Lepak Book or Goodman book
B. Reading/Style/Interpretation
Etuden fur Timpani by Hochrainer
Orchestral Repertoire from the back of the
Goodman
Book
Upper Level Qualifying Jury
At the end of the fourth semester of applied study, students are
required to perform a barrier jury that admits them to private applied
study at the upper level.
This jury should be prepared during
the fourth semester of study and should consist of appropriate
literature selected from the lists that are presented at the sophomore
level. Students in percussion will be required to demonstrate
proficiency in keyboard percussion, snare drum, and timpani.
This list is to be used as a guide and is not intended to be comprehensive.
Some works from the freshman list may be
appropriate for sophomore
study and some works from the sophomore list may be appropriate
for junior or senior study.
I. BAR PERCUSSION (A 3 or 4 indicates that 3 or 4 mallets are
required)
Unaccompanied Solos
Sona
tas and Partitas for Unaccompanied Violin Bach
Suites for Cello Bach
Etude Op. 11 #4 Musser
Prelude Op. 11 # 3 Musser
Toccata for Marimba Diemer
Prelude Op. 11 No. 7 Musser (4)
Compas
sion Irvin (4)
Etude Op. 6 #8 Musser (4)
Etude Op. 6 #9 Musser (4)
Etude Op. 6 #10 Musser (4)
Reverie Stout (4)
Three Songs of the South Houllif (4)
Estudios for the Marimba No. 1 Houllif
Frogs Abe(4)
Album for the Young Tchiakovsky/Stevens (4)
Rosewood Blues DeLancey (4)
Etude No. 1 Smadbeck (4)
Granada Lara/Chenoweth (3)
A Little Jazz Skoog (
4)
Marie Larrick (4)
Miniature Set Steinhort (4)
Nocturn in Eb Major Chopin/Hatch (4)
Plan fur Marimba Toccata Hayakawa (4)
Prelude Hiatt (4)
Prelude No. 1 Gaetano (4)
Rec
ital Piece Cahn (xylophone)
Restless O'Meara (4)
Ricamo Franchetti
Simplicity Irvin (4)
Sonata for Marimba Kuzell (4)
Spanish Dance Stensgaard
Spinning Song Elmenreich
/Hatch (4)
Suite Lang (4)
Sun Shadows Brown
Teardrops Peters (4)
Tune for Mary O. O'Meara (4)
Waves Peters (4)
Yellow After the Rain Peters (4)
Zen Wanderer
Peters (4)
Accompanied Solos
Unchosen Path Stirtz
JUNIOR
First Semester
I. Bar Percussion Instruments
A. Technique
Students should continue to maintain all warm
up materials previously studied. (Scales, arpegg
ios,etc, Method
of Movement, and Vibe techniques.)
B. Solo Literature
Students should select work(s) from the Junior/Senior
literature list and prepare for performance. Students should
work on at least o
ne vibraphone solo during the Junior year.
Emphasis is placed upon choosing literature that will be performed
on either junior or senior recitals. Some literature from
the sophomore list may be appropriate for the junior/senior
level study.
Continue with Hochrainer and Freise/Lepak/or
Goodman and repertoire
Second Semester
I. Bar Percussion Instruments
Continuation of first semester with addition of new
literature. Focus on the preparation of major work(s) for the
instruments. Performance majors will spend the bulk of this semester
preparing the half hour junior recital.
II. Ti
mpani
Orchestral Repertoire
Timpani Solo for presentation on junior recital (performance majors)
III. Multiple Percussion/ Drumset
Students should select a multiple percussion work
from the junior/seni
or literature list and prepare it for performance.
Performance will use this work on their half hour junior recital
in the spring. Drumset work may be substituted for multiple
percussion during this semester.
Drumset materials:
Performance majors only:
The Junior Recital consists of a twenty to thirty minutes of repertoire
that is presented in a public performance during the sixth quarter
of applied study. This recital must be approved by a faculty
committee that is appointed by the Head of the
Music Department.
The faculty committee will hear the entire performance at least
thirty days in advance of the performance date and will approve
or disapprove the public performance based on this prehearing.
All literature for this program must be
of an appropriate junior/senior
level and approved by the instructor.
This list should be used as a guide and is by no means comprehensive.
Some
works from the sophomore literature list may be appropriate
for junior/senior level study. The literature on this list is
all appropriate for either the junior or senior recital. (m
marimba, x xylophone, v vibraphone)
I. B
AR PERCUSSION INSTRUMENTS
Unaccompanied Solos
Espace Rieunier
Bar Instruments Only
Multi Percussion with Bar Instrument(s)
During seventh semester of applied study, the student must present
a Senior Recital consisting of a twenty to thirty minute performance.
The senior recital must be approved by a faculty committee appointed
by the Head of the Music Department. The committee will hear the
entire proposed recital at
least thirty days in advance of the
performance date and will approve or disapprove the public performance
of the recital based upon this hearing. Ordinarily, the recital
will be presented during the seventh semester of applied study
and the entire seni
or year is devoted to the preparation of this
program. All literature for this program must be of an appropriate
junior/senior level and approved by the instructor.
Bachelor of Arts Degree with a Major in Music
Same as Music Education except that BA students except
that the senior recital will be presented during the eighth
semester of applied study.
Bachelor of Music Degree With a Major in Performance
During the eighth
semester of applied study, the student
must present a Senior Recital consisting of a performance of
forty to sixty minutes. Recitals must be approved by a faculty
committee appointed by the Head of the Music Department. The
committee will hear the ent
ire recital program at least thirty
days in advance of the performance date and will approve or disapprove
the program for public performance based on this hearing. Literature
for this recital must be of the appropriate junior/senior level
and be ap
proved by the instructor.
Note:
Students who perform recitals as part of their degree program
are not required to perform juries at the end of the term that
the student performs the recital. The following checklist on
the next page wil
l be of help in preparing the recital:
1. Literature must be approved by the instructor, and be of an
appropriate level.
2. Recitals must be approved thirty days in advance of the performance
date. At this hearing the entire program must be performed. The
recital will be either approved or disapproved at this hearing.
3. Dress for all recitals is formal.
4. Programs are the students responsibility. Program materials
and information must be turned into the music office at least
two weeks in advance of the recital date. The program format must
be approved by the instructor.
5. Whitehead Auditorium must be reserved for rehearsals . From
8 am to 5:30 pm reservations can be made through the music office.
All rehearsals after 5:30 pm must be made through the Dean's office.
6. You may request an accompanist through the Music Office. Music
for recitals should be given
to accompanist at least one semester
in advance. Make sure that you get your rehearsal times organized
with your accompanist and that you have adequate time to prepare.
7. Work out logistical problems and staging in advance. Percussion
recitals
have special problems that must be worked out in advance
of the performance.
8. Extra publicity beyond what the Music Department publishes
for the recital is the student's responsibility. The Music Department
will post the recital in all Music Department news releases. PERCUSSIONISTS RESPONSIBILITIES
I. Rehearsals
It is expected that students will arrive at rehearsals
allowing enough time to set-up equipment. Further, percussionists
are also expected to break down and properly store equipment
following
rehearsals or practice sessions. Students are also
expected to come to rehearsals prepared to perform their parts.
For some works, this may take outside rehearsal preparation.
II. Equipment Care
Percussion equipment is stored in certain designated
areas. It is expected that
all areas of storage will be kept organized and neat.
Personal belongings should not be kept in these storage areas.
It is the responsibility of
all percussion students to make sure
that equipment is always stored properly, covered, and cared
for and that the percussion practice areas are kept organized
and neat.
1. Building hours are posted. Students
must plan ahead for access to personal belongings stored in the
Fine Arts Building during times
when the building is closed.
2. Music practice and performance facilities are not a place to
socialize. Percussion practice facilities are specifically designated
for percussionists.
3. No food or drinks are to be consumed in Whitehead Auditorium,
the practice rooms, or designated
percussion practice facilities.
4. All instruments are to be covered when not in use and stored
in an orderly fashion.
5. Do not keep personal belongings in percussion practice facilities.
6. If any problems arise, please contact Dr. David Morris, Area
Chair for percussion studies.
SOURCES TO PURCHASE MUSIC,MALLETS,AND INSTRUMENTS
Steve Weiss Music Percussion - check online
The Percussion Source - check online
Local dealers in Valdosta - check directory
Additional sticks and mallets as the literature demands
Junior and Senior
Additional mallets and sticks as literature demands.
It is recommended that students buy their own instruments whenever
possible. Easiest to purchase are: snare drum, triangle, tambourine,
wood block, castagnet machine, cowbell, drumset and other more
personal type instruments. Students should also begin thinking
about the eventual purchase
of larger instruments for personal
and professional use such as a steel drum, marimba, vibraphone,
xylophone, or timpani.
Attendance at lessons is not sufficient to fulfill the requirements
for applied music. Students must prepare for lessons outside
of class. The following are considered minimal guidelines:
MUSIC EDUCATION AND BA STUDENTS
FRESHMEN
Two hours per day as follows:
1. Bar Percussion
Technique 20 minutes (scales, warmups,etc.)
2. Snare Drum
Technique
15 minutes (rudiments,warmups)
SOPHOMORE SOPHOMORE
PRACTICE SUGGESTIONS
1. Practice your entire lesson every day. Do not practice snare
one day, mallets the next day, etc. Play through your entire assignment
every day that you practice.
2. If focusing your concentration for a long period of practice
is a problem, try breaking up your practice
hours so that you
do not practice during one block of time. (For example, try practicing
mallets in the morning between classes and snare drum after supper.)
3. Remember that morning hours are the most productive practice
hours.
4. When
you enter the practice room, leave all you other daily
cares outside. You cannot practice with the weight of the world
on your shoulders. Learn to concentrate only on your music.
5. Develop a mental picture of how a truly excellent player can
per
form. Listen to many live and recorded performances and ask
yourself frequently what it takes to make a performance great.
6. Be aware of your goals. Know your strengths and weaknesses.
7. Learn all rhythms and notes correctly the firs
t time. Practice
slowly at first and strive for accuracy. Keep a constant check
on hand position and always listen to the sound that you are producing.
8. Always use a metronome.
9. Practice short sections and play these sections many times
slowly and accurately. Practice overlapping these sections so
that your piece will be coherent.
Each student enrolled at the principal or major level must perform
a jury at the end of the semester unless a half or full recital
is given during that particular semester. Juries are the final
exam in applied music and will be scheduled by the Area Chair
for Percussion Studies.
1. Dress properly for the jury. Coat and tie. Dress or skirt
and blouse for women.
2. Fill out the jury sheet completely and submit this form to
the committee before you play. Forms are available in the music
office. List all that you have prepared and studied
during the
semester. List pages and etudes numbers for method books. Be
specific on this form, composers and authors should be listed
along with the method books. Your teacher should see this form
before you submit it to the jury committee.
3
. Know all the terms and information on your music.
4. You are responsible for all items that are listed on the jury
sheet and may be asked to perform anything that appears on the
jury sheet. In general, however, students will be allowed to prepared
selections for performance.
5. Present a professional performance.
6. If an accompanist is called for in your piece then you are
required to perform with one. Accompanists may be requested through
the music office subject to availability.
7. The jury will count as 25% of your applied music grade. However,
failure to perform a jury will result in a failing grade in applied
music for the semester.
GRADING POLICIES FOR PERCUSSION APPLIED LESSONS
A grade will be given for each lesson. Students are evaluated
on the basis of the quality of the completed assignment.
Attendance and participation at all studio classes is mandatory for
students to receive a passing grade
for the semester in applied music.
Students must fulfill the events attendance policy or receive a grade of F in
applied music for the semester. Students who do not perform on one
departmental recital will receive a grade of F in applied music for the
semester.
The
jury at the end of the semester is the final exam in applied
music.
Students will perform selected music for a faculty committee
who will
assign a grade to the performance. These grades will be averaged and will
count as one third of the total applied music grade. The jury is a
requirement to receive a passing grade in applied music for the semester.
Grading
Scale:
100-90 A 89-80 B 79-70 C 69-60 D Below 60
F
5 New Ragtime Solos Bruer (two mallets)
Aragonaise from Carmen Bizet/Hatch
Concertino for Marimba DePonte (4)
Csardas
Monti/Moore (4)
Dancer at Heart Molenhof
Flight of the Bumblebee Korsakov/Hatch
Hora Staccato Dinicu/Heifitz/Hatch
Introduction and Romp Frankenpohl
Masterworks for Marimba (collection) Chopin/M
usser
Meditation Creston (4)
Menuet Debussy/Miller
Nocturn Op. 27 No. 2 Chopin/Musser
Perpetual Commotion Brown
Rimba Samba Hatch
Scherzo Caprice Musser (4)
Six Sonatas Ha
ndel/Betti
SonataAllegro for Marimba and Piano Peters
Suite for Xylophone and Orchestra Carey
Suite for Xylophone and Piano Lacerda
Tambourin Chinois Kreisler/Green
Theme and Variations Peters
Themes and Variations on Japenese Children's Songs Hatch
(4)
Toccata (xylophone) Glynn
Valse Op. 64 No. 2 Chopin/Musser
Xylophone Rags of George Hamilton GreenGreen ed.by Eyles(2
mallets)
Dotty Dimpl
es Green/cahn
II. TIMPANI
Unaccompanied Solos
Three Designs for Three Timpani Muczynski
Seven Solo Dances Frock
Solos for the Virtuoso Timpanist(collection) Hinger
Sonatina f
or Timpani Ridout
Statement for Timpani Whaley
Ballad for the Dance Goodman
Suite for Timpani Houllif
Air and Dance Peters
Chamelon Akins
Figments Russell
Introduction and
Allegro Goodman
MSP Kraft
Primal Mood Peters
Scherzo for Three Timpani Peters
Rondino for Four Timpani Peters
The Storm Peters
Timpani Solos Nos. 1 12 Price
Tribal Serenade for Four Timpani Peters
Triptych Motif Beck
Two Episodes Spears
Two Pieces for Unaccompanbied Timpani McCormick
Variations for Ki
ng George Kraft
Slide Beck
Grand Teton Beck
Snake River Beck
Accompanied Solos
Concertino for Timpani and Piano McKenzie
Fantasy for Timpani and Piano Wuebold
Solo Imp
ression for Three Timpani Firth
Solo Piece for Timpani Britton
Sonata # 1 Cirone
Sonatina Tcherepnin
Tympendium Schinstine
Tympolero Schinstine
II. Timpani
Methods:
Advanced Techniques for the Modern Drummer-Chapin
Funky Primer - Dowd
Syncopation - Reed
Funk Sambas - Doboe
3,5,7,9 Jazz - Rothman
Patterns - Vol 1,2,3,4 - Chaffee
Afro-Cuban Rhythms for Drumset
- Malabe/Weiner
Practical Applications - Silverman
The New Breed - Chester
Performance and Music Minus One:
Studio City (MMO) Unive N Texas Stage Band
Contemporary Drummer + 1 - Weckl
Essential Styles - Houghton
Bru
sh Technique:
The Sound of Brushes - Thigpen
Brush Method - PJ Jones
Album for the Young Tchiakovsky/Stevens (m)
Etudes for Marimba Book 1 and 2 Stout
Four Preludes Penn (m)
Grand Fantasy in C Major Helbe (m)<
br>
Suite for Marimba Sifler
Modern Japanese Marimba Pieces Vol 1 and 2 Ed. Abe
Prelude and Noel Ulrich (m)
Preludes for Marimba Vol. 1 & 2 Helbe (m)
Sonata for Xylophone Pitfield
Suite for M
arimba Fissinger
Suite for Marimba Ulrich
Three Pieces for Marimba Houllif
Three Sonatas Scarlatti/Ervin (m)
Two Mexican Dances Stout (m)
Two Movements for Marimba Tanaka
Estudios for
Marimba Houllif
My Lady White Maslanka (m)
Suite for Solo Guitar Wilder/Stout (m)
Pieces of R Boo (m)
Rhythm Song Smadbeck (m)
Water and Fire Skoog (m)
Michi Abe (m)
Conte
mplation Houllif (v)
Four Bagatelles for Solo Vibraphone Steiner
Links 1,2,3 Smith (v)
Music of the Day Molenhof (v)
Seven Pieces for Solo Vibraphone Meister
Suite for Solo Vibraphone Lepa
k
Three Pieces for Vibraphone Solo Steiner
Tranquility Houilff
Sonata Brevis Houllif (v)
Frogs Abe (m)
B Minor Sonata Bach/Stevens (m)
Toccata Fantasy Helbe (m)
Variations on Los
t Love Maslanka (m)
Abmiram Blair (m)
Boku for Marimba Sugiura
Contemporary Marimba Solos Molenhof
Continuum Kessner (m)
Etudes for Marimba - Smadbeck
Unaccompanied Solos (Junior/Senior List) continued
Contrasts for Vibraphone deBerandis
Daybreak Chapman (v)
Digressions Shechtman (m&v)
Dream of Cherry Blossoms Abe (m)
Drifts Kastuc
k (v)
Ethos Jenny (m)
Etude for a Quiet Hall Deane (m)
Etude in d Minor Gomez (m)
Etudes 1,2,3 Smadbeck (m)
Ever Inward MacBride (v)
Fantasia from the Marimba Mass Sifler
La Fil
le Aux Chauveax Debussy/Hatch (m)
Five Scenes from the Snow Country Henze (m)
Fool's Gold Pierce (v)
For Miles and Miles Diemente (v)
Furioso and Valse in D Minor Hatch (m)
Furioso and Valse # 2
Hatch (m)
Gitano Gomez (m)
Imagery for Marimba Shibata
Impression Lang (v)
Intrada and Episode Barber (m)
Jubilee Boo (m)
Miraggi Willis (m)
Music of the Spheres S
oloman (m)
One for Syl Smith (v)
Rhapsody for Marimba Serry
Song of the Libra Gaetono (v)
Siciliano Spivack (v)
Recital for Vibraharp Davis (collection)
Seven Short Pieces for Solo Vibrapho
ne Meister
Six Solos for Vibraphone Vol. 1 & 2 Wiener
Solo book for Vibraphone Schluter
Solos for the Vibraphone Player Finkel
Sonata for Solo Vibraphone Steiner
Sonatas and Partitas for Viol
in Bach
Suites for Cello Bach
Sonatina for Vibraharp Stirtz
Songs for Vibes Fink
Suite for Marimba Ameele
Suite Moderne for Marimba Smith
Two Etudes for Marimba Irvin
Var
iations on a Gallarde Ervin (m)
Accompanied Solos
Andante and Allegro Stout (m)
Concertino for Marimba and Orchestra Creston
Concertino for Marimba dePonte
Concertino for Xylophone and Orchestra Lang
Concertino for Xylophone and Orchestra Mayuzumi
Concertino fur Vibraphon Fink
Concerto for Mallet Instruments Lepak
Accompanied Solos (junior/senior list,
mallets) continued
Concerto for Marimba and Orchestra Basta
Concerto for Marimba and Orchestra Kurka
Concerto for Marimba and Orchestra Milhaud
Dialogue for Marimba and Orchestra Kreutz
Etude in Ab
Op. 6 # 2 Musser
First Arabesque Debussy/Miller (v)
Four Preludes and Scherzo Ptaszynska (v&x)
Percussion Duo Wuorinen
Recital Suite for Marimba Watson
Sonata for Marimba and Piano Ta
nner
Vibe and Piano Duos Molenhof
Mutables Gonzales (v)
Fantasy on Japanese Woodprints (x)
II. TIMPANI
Unaccompanied Solos
Canticle Leonard
Canto 9 Adler (need 5 timpani
& 6 roto toms)
Drei Szenen fur Vier Pauken Joaquin
Eight Pieces for Four Timpani Carter
Episodium for 5 Pauken Roeder
Fanfare and Scherzo Curnow
Four Pieces for Timpani Bergamo
Four Vers
es for Timpani Houllif
Melodia Nera DiPietro
Scherzo for Timpani Whaley
Short Story Newman
Sonata Mardinly
Sonata for Three Unaccompanied Kettledrums Jones
Sonata for Three Unaccompan
ied Timpani Ramey
Sonata for Timpani Beck
Sonata for Unaccompanied Timpani Maves
Sonata No. 1 Udell
Soundings Igelsrud
Suite for Timpani Mitsuoka
Suite for Timpani Peterson
Suite for Timpani Whettam
Suite for Solo Timpanist Huston
Theme and Variations Floyd
Three Episodes for Timpani Beck
Variations for Solo Kettledrums Williams
Accompanied Solos
Concerto for Five Kettledrums and Orchestra Parris
Drumstec III Delecluse
Konzert fur Pauken und Orchester Tharichen
A La Maniere de, No. 4 Delecluse
Timpian Fantasy
Sarraco
Unchosen Path Stirtz
III. MULTIPLE PERCUSSION SOLOS
Unaccompanied Solos
French Suite Kraft
English Suite Kraft
Love of L'Histoire DeLancey
Morris Dance &#
173; Kraft
Die Zwtschermachine Payson
The Journey Duckworth
Adventures for One Stern
Inspirations Diabolique Tagawa
Machine Drums Fink (drumset)
Zyklus # 9 Stockhausen
King of De
nmark Feldman
27' 10.554 Cage
Etude for Taperecorder and Percussion Cahn
For a percussionist Houllif
Computer Music Hiller and O'Conner (with tape)
Janissary Music Wourinen
Space Mode
l Ptsznska (tape or duo)
Chop City Keezer (drumset)
Flitation Rogers (drumset)
Homage to a Bebop Drummer Carol (drumset)
A La Maniere De, No. 2 Delecluse (drumset)
A La Maniere De, No. 3 D
elecluse (drumset)
Mezclado White
182 Norwood Gibson
Peregrinations Alfreri
Rhapsody for Solo Drumset LaRosa
Rondo for Srumset Snyder
Sambaly Houllif
Sonic No. 7 & 10
ElDabh
Suite for Unaccompanied Drumset Miranda
Theme and Metric Variations Kraft
Toccata D'Angelo
Trifle for Timothy Kraft
Tripling Perry (drumse
t)
Two Sketches White (drumset)
241 Kraft
Cappricio Ramey
Conversation Witten
Musics for Percussions by One Player Sugiura
Partita Cahn
Andrea's Dancing Music Zonn
De
sign Group 1 Simons
Episode for Solo Percussion Beck
Etude for Taperecorder and Percussion
For a Pertcussionist Houllif
Homage to Harry Partch McCormick
Kontraste und Visionen Funda
Metal 1
Stover
Music for Solo Percussion Barnes
Only Dance There Is Smith
Percussion Music Lang
Photogenisis IV Barolsky
Soliloquy Davis
Soliloquy Kraft (with tape)
Solos for the
Percussion Player O'Reilly (collection)
Song HaubenstockRamati
Sounds of the Kabuki Davis
Theme Alsina
Studies in Solo Percussion Goldenberg (collection)
Uberschrengen Gumbel
El
egy Rosen
Four Solo Etudes Chang
Mood Piece Frazeur
Nara Cahn
Orion M 42 Brindle
Perplexus Cahn
Triptyque Sagnier
Waves Norgard
XL Plus One Etler
Accompanied Multiple Percussion Solos (with piano)
Concerto Pour Batterie et Petite Orchestra Milhaud
Duo for Percussion and Piano Pillin
In Ancient Temple Gardens Cahn
Konzert Genzmer
Alterna
nces Casterade
Cinq Pieces Breves Delecluse
Concert Asiatque Tomasi
Concerto for Solo Percussion and Orchestra Suderberg
Contrasten Kersters
Danse Pie
Hors D'Oeuvre Petit
Quatre Preludes Landowski
Rhapsody sur des Airs Japonais Bozza
Trois Etudes Aubain
Two Pictures for Solo Percussion and Orchestra Lambro
The Wo
rried Drummer Schreiner
IV. PERCUSSION CHAMBER MUSIC (Ensembles with one percussionist
with
other nonpercussion instrumentalist(s) or voice)
MultiPercussion
Circus Parade Dub
ois (alto sax)
Confusion Breaths LaSeige (soprano,trumpet,viola)
Country Fiddle Pieces Schoenfield (electric violin,amplified
piano)
Double Crossings Bazelon (C trumpet)
Duettino Concertante for Flute and Percussio
n Dahl
Five Pieces Andrix (violin)
Gagok Yun (guitar,voice)
Game for Two Fink (accordian)
Grand Union Wourinen (cello)
MatchFur Drei Spieler Kagel (two celli)
Poems 1,2,3
Smith (brakedrums and narrator)
Ritual Heinick (trumpet,clarinet)
Septigrams for Flute, Piano and Percussion Schmidt
Sonata Heins (clarinet)
Sonatine No. 1 Metral (violin)
Sonatine No. 2 Metral
(one player doubling alto and tenor
saxophone)
Variations for Four Drums and Viola Colgrass
MultiPercussion with Bar Instruments and Timpani
Concerto Denisow (flute,oboe,piano)
Controverse Fontyn &
#173; (clarinet or bass clarinet or
tenor saxophone)
Diversions for Two Erb (trumpet)
Duo for Bassoon and Percussion Chandler
Duo for Trumpet and Percussion Sydeman
Excursion for Percussion and woodwindsCoffi
n(flute,clarinet,bassoon)
Four Pieces for Trombone and Percussion Syverud
Konzert fur Orgel und Schlazeug Genzmer (organ)
Lovers Rorem (cello,oboe, harpsichord)
Ludus Americanus Schmidt (narrator)
Madig
als Book II Crumb (Soprano,flute)
Playphone Heussenstamm (alto saxophone)
Range of Light Schmidt (wind ensemble and speaking chorus)
Sonancias Nobre (piano)
Wild Tales Told on the River Road Simons (B
ass clarinet)
Asymptotes Lazarof (vibes,flute)
Composites Witten (marimba,bassoon)
Concerto for Flute and Vibraphone Houllif
Dialogue for C
larinet and Marimba/Vibes Schietroma
Diatomaceous Earth Deason (vibes,bass clarinet)
Diversions Tanner (marimba,flute)
Divertimento for Marimba and Alto Saxophone Yuyama
Duo (Dance Song 1977) Stout (m
arimba,trumpet)
Duo Sydeman (xylophone, double bass)
Duor Vibraphone and Piano Saperstein
Fivescape Tautenhaum (marimba,violin,clarinet,horn, piano)
Four Dialogues for Marimba and Euphonium Adler
Four M
iniatures DeBerandinis (vibraphone and flute)
Fusions Weiner (vibe,alto flute)
Homage to Keith Jarret and Gary Burton Kolb (vibes,flute)
In Quest of Silence Fulkerson (vibe,piano,trombone)
Interludes for Oboe
and Vibraphone DeBeradinis
Interludes III Steiner (vibe, voice)
Introduction and Allegro Granger (vibeand marimba,alto
sax)
Inventions and Interludes Hoag (marimba,clarinet)
JeuParti Ptas
zynska (vibe,harp)
Lanterns and Candlelight Childs (marimba,soprano)
Lyric Suite Horvit (marimba,flute)
Madigals, Book I Crumb (vibe,voice, contrabass)
Movimento III Beck (vibe,flute)
Scenes, Par
t II Syverud (vibes,piano,violin)
Sonata #4 _ Cirone (vibe and temple blocks, piano,violin)
Sonata II Hazzard (marimba,clarinet)
Suite for Flute and Marimba Wilder
Sunflowers Sollberger (vibe, flutealt
o flutepiccolo)
Thoughts for Flute and Vibraphone DePonte
Tria Fox (flute,piano,bar percussion)
Timpani and MultiPercussion with Timpani
Branches Chihara (2 bassoons,needs 8 roto to
ms)
Fanfare and Allegro Leonard (trumpet,timpani)
Music for Timpani and Brass Yasui (timpani,brass quintet)
Serie Braun (multipercussion,guitar)
Study for Timpani and Low Instruments Fenner(trombone,ba
ssoon,cello)
Thing for Tuba and Timpani Rice
3 Movements for Trombone and Timpani Houllif
Canto Notturno Campo (viola)
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br>
Catalogue Metral (piano)
Clandestine Dialogues Bergsma (cello)
Commedie Campo (trombone)
Duo for Euphonium and Percussion Barber
Duo for Trombone and Percussion Steiner
Encounters IX Kr
aft (alto sax)
Duo for TRuba and Percussion Hackbarth
Encounters III Kraft (3 trumpets)
Encounters V Kraft (cello)
Firdausi Hovhaness (clarinet,bells)
Four Sea Fragments Frazeur (clarinet)
Halo Albright (organ)
Illegible Canons Bergsma
Intento A Dos Benguerei
Interplay for Trumpet and Percussion Houllif
Ludi A Tre Hummel (Oboe,Piano)
Madrigals, Book III Crumb (soprano,
harp)
Madrigals, Book IV Crumb (soprano,flute,harp,contrabass)
Miriada (guitar)
Music for Three Steinke (oboe,guitar)
Pas De Deux Russell (clarinet)
Pergiton IV Hashagen (guitar)
Set of 5 &#
173; Cowell (violin,piano)
Sonata No. 2 for Percussion and Trumpet Cirone
Sound Poem Ameele (alto sax)
Suite for Violin and Percussion Hovhaness
Tiento 1 Farinas (clarinet,electric guitar,piano)
Traumta
nz fur Schlagzeug Redel (organ)
Trio for Flute,Double Bass, and Percussion Brun
Trio for Trumpet,Trombone, and Percussion Brun
Trio 1967 Alsina (Cello,trombone)
Triplum 72 Steffen (flute,piano)
V
ariations for Multiple Percussion and Flute Frock
Bachelor of Music Degree With a Major in Music Education
Freshmen
1 pair of general snare drum sticks
1 pair of metal triangle beaters
2 pair of medium unwound marimba mallets
2 pair of medium wound marimba mallets
1 pair of staccato timpani mallets
1 stick case or caddy
1 pair of wire brushes
1 metronome
1 pair of hard xylophone mallets
1 pair of bell mallets
1 Snare drum
Sophomore
Complete set of timpani mallets (ultrastaccato,staccato,general,soft
and wood)
2 pair vibe mallets
Reading and literature 40 minutes to
an hour
Reading and literature 45 minutes
Two to two & 2 hours
per day as follows:
1. Bar Percussion
1 to 1&1/2 hours
2. Timpani 1 hour
JUNIOR/SENIOR
Three hours per day as follows:
1. Bar Instrument Literature 1&1/2 hours
2. Timpani 1 hour
3. Multiple Percussion or Drumset 1 hour
(Seniors who are preparing for recital will have to spend
more time in daily preparation).
PERFORMANCE MAJORS
FRESHMEN
Three hours per day as follows:
1. Bar Percussion
Technique 45 minutes (scales, warm
ups)
Reading and literature one hour
2. Snare Drum
Technique
; 30 minutes (rudiments,warmups,etc.)
Reading and literature 45 minutes
Four hours per day as follows:
1. Bar Percussion &
#173; 2 hours
2. Timpani/Drumset/Other 2 hours
JUNIOR/SENIOR
Four hours per day as follows:
1. Bar Percussion 2 hours
2. Timpani 1 hours
3.
Multiple Percussion or Drumset/Other 1
hour
(Juniors and Seniors who are preparing recital programs
will have to invest more time in program preparation).