201 Notre Dame College Percussion Coursepack. Contents:

Transcription

1 DEPARTMENT OF BANDS 201 Notre Dame College Percussion Coursepack Contents: Front Ensemle Technique.. pg 1 6 Front Ensemle Exercises and Etudes. pg 7-25

2 Notre Dame College Percussion 201 Front Ensemle Technique Packet By 1

3 Notre Dame Percussion Ensemle Front Ensemle Technique The following technique packet explains the various procedures involved in playing a keyoard instrument for the Notre Dame Indoor Percussion Ensemle. Follow the diagrams and read the instructions carefully. Two Mallet Technique Fulcrum The following section deals with how our mallet shafts make contact with the hands, as well as how the hands motivate the mallet to perform the stroke. 1. Hold your hands out in front of you with your fingers pointing straight ahead. Place the inside edge of your thums against the underside of your index fingers. 2. Wrap your index fingers around the tip of your thums.

4 3. Turn your hands over and naturally curl the rest of your fingers into your palm. 4. Turn your hands ack over and notice the curvature of the hand. Using only wrist motion, knock on a hard surface with the first knuckle of your index finger. This is the main motion of the stroke. 5. Place the mallets in etween the thum and index finger and wrap your other three fingers around the mallet as well. Maintain the same curvature as the previous picture. 6. When placing the mallet in etween the thum and index finger it is important to note that the mallet is not squeezed etween the thum and index ut rather placed gently in front of where the thum and index fingers make contact. 7. Gently wrap the index finger around the mallet shaft.

5 Stroke 1. Start with your arms relaxed at your sides. Gently end at the forearms until your arms are parallel with the keyoard surface. Be sure that a straight line path goes directly from your elow all the way to the mallet head. The wrist should never reak past zero degrees. 2. A stroke is played y raising the mallets up exclusively with the wrists. Any stroke that requires a height higher than that created y maximum wrist rotation will include the use of arm. The picture aove is an example of what the stroke will look like using a comination of wrist and arm. 3. When playing a stroke it is important that the arms and wrists feel relaxed and heavy. This is to ensure that the natural weight of the arms are engaged, thus creating a full tone from the ar. 4. When playing a stroke it should always feel like you are pushing the mallet toward the instrument and not pulling the mallet. This pushing motion will help ensure that arm weight is engaged and maximum tone is produced from the instrument.

6 Bar Placement 1. Ideally the mallet should strike directly over the resonator to produce the warmest, fullest tone possile on the instrument. When playing on the sharp keys, strike over the resonator whenever possile. However, it may e necessary, during fast two-mallet passages, to play on the very edge of the key. 2. In the event of passages containing fast two-mallet runs at soft dynamics, it s necessary to have the mallets placed right-over-left, or left-over-right, depending on the nature of the run. In this case the mallets are to e placed as close together as possile and as near to the resonator as possile to ensure as warm of a tone as possile from the key.

7 Four Mallet Technique The following section will demonstrate the four-mallet technique that is utilized at Notre Dame Indoor Percussion Ensemle. Every keyoard section will use the Stevens Technique, when playing four-mallets. The Inner Mallet 1. Place the tip of your mallet on the crease that goes around your thum (pictured aove) 2. Keep the mallet tip in place, ut turn your wrist position as if you were going to shake someone s hand.

8 3. Rest the mallet on the crease of the first knuckle on the index finger. 4. Place the thum on top of the mallet. Be sure that the thum does not end or extend eyond the index finger. 5. Bend your middle finger so that it makes contact with the mallet shaft. The role of the middle finger is to keep the tip of the mallet touching your palm.

9 The Outer Mallet 1. Place the outer mallet on the second knuckles of the ring and pinky fingers. Be sure to only leave a tiny it of space on the end of the mallet sticking out 2. Wrap the ring and pinky fingers around the mallet, holding it in an upward trajectory. It is important that your outer mallet does not dip downward. 3. An example of how the inner and outer mallets should look is pictured aove.

10 Notre Dame College Percussion 201 Front Ensemle Keyoard Exercises LEGATOS c 7 8 c n n n n c n n R R R R R R L c 12 n n n Œ Ó 8 L L L L L L R 12 8 n n 128 ROLL n n n little fish extension n n n n Œ Ó Zider - Z Extension n n n n Œ Ó NEO 3 8 c 11 n c > > > > > 7 Œ Ó

11 2 NDC Keyoard Exercises - Page 2 3 > 4 > > > > > > > n > > n > > n > n > n L L L L L L n BOB-ABE L R L R L R L R n n n n n add one of the following extensions n n Œ Œ Minor Thirds Extension n n n n n n n Major Thirds Extension n n n n nn n Tri-Tone Extension n n n n n c n Perfect 5ths Extension 3 4 n n n n n 2 4 c DOUBLE STROKES c Œ Ó R R R R R R R R R R L L L L L L L L L L R R R R R R R R R R L L L L L L L L L L 1 2 CHUCK-CHUCK > > > > > > > > > > Œ Ó L R L R L R L R L R L R L R L R L R L R L R L R > > > > > > > > > > > > > > Œ Ó 8

12 Notre Dame College Percussion Keyoards 6 8 Traditional arr. John Max McFarland { Synth Electric Guitar Drumset o o o j j Bass Guitar 6 8 Perc 1 Tamourine (orchestral) 6 8 thum roll (thum roll) j æ æ æ æ Perc Guiro g j j g g j j g Perc Crash Cymals Y Y Y p mp 9

13 Full Score - Page 2 Boards 10 A { Syn Guit DS p f > > >>>>>> > j Bass P1 tamourine on leg with fingers ΠR R L R R R R R R L R R R L R 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 R L R L P2 P3 Y Y Y f f f 10

14 Full Score - Page 3 3 Boards 18 B C j Œ j Œ { Syn j Œ Guit DS n n n o o o o o o n n n j Œ Œ Bass j Œ P1 fist knee Œ > (shake roll) æ æ j Œ R P2 P3 Y Œ 11 Y

15 Notre Dame College Percussion 201 Doule Verticals Keyoards A 4 Be ale to perform in 1st and 2nd inversion chords as well q = 180 John Max McFarland 4 { Synth 4 Electric Guitar 4 C D D E E F F V V V V V V V V V V V V V V V V V V V V V V V V V V V V Drumset 4 Bass Guitar 4 Perc 1 4 R L R L R R (natural sticking) Perc 2 Perc 3 4 R L R L R R (natural sticking) 4 R L R L R R (natural sticking) 12

16 2 Doule Verticals - Full Score - Page 2 Boards 8 B { Syn Guit G A A B B C B B A A G V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V DS o o o o o j Bass P1 P2 P3 13

17 Doule Verticals - Full Score - Page 3 3 Boards 16 n n nn n n C n n n n n n nn n n n n n n { Syn n nnn n n n n n n Guit F F E E D D C D D E E F F G V V V V V V V V V V V V V V V V V V V V DS o o o o o Bass n n P1 R L R R L R L L R L R R L R L L P2 R L R R L R L L R L R R L R L L P3 14 R L R R L R L L R L R R L R L L

18 4 Doule Verticals - Full Score - Page 4 Boards 21 n n n n n n n nn n n n n Œ Ó n n n n n n n nn n n n n Œ Ó { Syn n n n n n n n n nnn n n Œ Ó Guit A A B B C B B A A G F F E E D D C V V V V V V V V V V V V V V V V V Œ Ó DS o Œ Ó Bass n n n Œ Ó P1 Œ Ó R L R L R R L R L R L L R L R R L L R L R R L L R L L R R L L R R P2 Œ Ó R L R L R R L R L R L L R L R R L L R L R R L L R L L R R L L R R P3 Œ Ó R L R L R R L R L R L L R L R R L L R L R R L L R L L R R L L R R 15

19 Notre Dame College Percussion Mallet Independent Permutations Keyoards A Continue ascending Chromatically John Max McFarland { Synth 4 4 Electric Guitar Drumset Bass Guitar 4 o o o o o o o o 4 4 Perc 1 4 Snare Drum 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 R L L R R L L R R L L R R L L R R L L R R L L Paradiddles, etc. Perc 2 4 Temple Blocks Perc 3 4 Tom-Tom 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 R L L R R L L R R L L R R L L R R L L R R L L Paradiddles, etc. 16

20 2 Boards Mallet Independent Permutations - Full Score - Page 2 B B2 Continue descending Chromatically 1 Œ Ó { Syn Œ Ó Guit Œ Ó Same as efore DS o o o o o o o o Œ Ó Same as efore Bass Œ Ó Same as efore P1 Œ Ó Same as efore P2 Œ Ó Same as efore P3 Œ Ó Same as efore 17

21 4-Mallet Independent Permutations - Full Score - Page 3 3 Boards 13 B3 B C continue in the same fashion as B2, B3, B4 D E F G { Syn Guit DS Bass P1 P2 P3 18

22 Glockenspiel Xylophone Viraphone 1 Viraphone 2 Marima 1 Marima 2 Marima 3 Rack Impact Accessories q=86 q=86 Politik from the alum, "A Rush of Blood to the Head" splash rion Coldplay arr. Seth AdamsMatt Zadell A A riderion B.D. triangle 19 ride

23 2 Glock. Xyl. 8 B Politik f Vi. 1 Vi. 2 Mar. 1 Mar. 2 B f Mar. 3 R I A sleigh ells 20

24 Politik 3 Glock. Xyl. 16 Vi. 1 Vi. 2 Mar. 1 Mar. 2 Mar. 3 R I A 21

25 4 Politik Glock. Xyl. 23 Vi. 1 Vi. 2 f Mar. 1 Mar. 2 Mar. 3 R I A 22

26 Glock. Xyl. 30 C Politik 5 Vi. 1 Vi. 2 Mar. 1 Mar. 2 Mar. 3 C R I splash rion A triangle 23

27 6 37 Glock. Politik D Xyl. Vi. 1 Vi. 2 Mar. 1 Mar. 2 Mar. 3 D dim. dim. dim. dim. R dim. I A 24 dim. dim.