Texas Bandmasters Association 2014 Convention/Clinic

Transcription

1 Developing Your Marching Percussion ection CLINICIAN: Jordan tern, Kris Hartman DEMONTRATION GROUP: Claudia Taylor Johnson H Marching Percussion PONOR: Marching how Concepts Texas Bandmasters Association 201 Convention/Clinic 201 Patron ponsor JULY 27-0, 201 HENRY B. GONZALEZ CONVENTION CENTER AN ANTONIO, TEXA

2 Claudia Taylor Johnson High chool Band Texas Bandmasters Association Clinic July 2 th, 201 Band Directors: Jarrett Lipman, Alan harps, Jordan tern Percussion Director: Kris Hartman Percussion Technicians: Courtney Kirkwood, Morgan Gutierrez, Boy Ramirez Percussion Private Teachers: Manny Maldonado, Kris Hartman, Courtney Kirkwood ound and Electronics Consultant: Colton Hines An Overview o our Percussion Program - 2 percussionists (1 Battery, 16 Front Ensemle including 2 doule reed players on soundoard) o Not all percussion students opt to e in the competitive marching and - trong emphasis placed on TMEA All-tate Audition Process o Daily work on etudes during summer and camp o : Eight Region students, our Area students, two All-tate students o Multiple mock auditions - Percussion Ensemle concert in pring - Private Lessons strongly encouraged - Marching Percussion Arrangements done in-house o Battery Composition: Kris Hartman o Front Ensemle Composition: Jordan tern Developing a Culture o Excellence in the Front Ensemle - tudents take pride in eing in the ront ensemle o Environment o an elite unit, not just or those who aren t ready or the attery section! Not all guaranteed a position, spots must e earned o Challenging writing/interesting colors/unique identity/risk-taking - Care/Maintenance o equipment and set-up o We eat irst with our eyes o Making sure the equipment looks new, even i it isn t Musical Concerns Front Ensemle Instrumentation - Four marimas (two with Mininova synths), our viraphones (two also play ass/gong impacts), Glock/Crotales, three Yamaha Moti XF6 synthesizers, one Roland electronic drumset, one Yamaha DTX ampling Pad, one Roland P- 0X ampler, two sound oard operators o Various auxiliary colors can e covered y mallet players/drum set/sampler

3 Front Ensemle Orchestration - The modern ront ensemle can create multiple, varied and unique sonic environments throughout the show. o Electronics are invaluale in this regard o I you can dream it, do it! ampler provides virtually unlimited timral possiilities - Creating opportunities to eature ront ensemle during design process o Opportunities to display virtuosity, musicianship, unique colors - Never writing technique or the sake o technique, always serving musical purposes o Round peg in square hole Technical Development Front Ensemle Warm-up and Technical Regimen - We employ two types o exercises o hort Technical Exercises! Usually deal with one technique or challenge! Taught y rote! Contain only one part! Usually only a ew measures long! When possile, taken through multiple tonal areas (major, minor, modes, symmetrical scales, etc.)! pecial emphasis placed on the our stroke types (Full, Down, Tap, Up)! Thom Hannum Check Patterns! Component kills o Longer Musical Exercises! Fully scored with drumset and synth parts! coring closely mirrors scoring used in marching show! Contain un melodic and groove content! Comine multiple technical, musical and rhythmic challenges into one musical example! Composite kills! Demonstration: Chicken and Punch, great opening exercise or regimen. heet music availale as a ree download at JordanternMusic.com Fun groove! ome challenging doule stop shits Doule stroke section a great way to loosen up muscles (two wrist strokes needed, instrument does not supply reound) - The warm-up process at a perormance ocuses primarily on the longer, musical exercises, creating a perormance mind-set in all that we do. o Engages right rain as opposed to let rain o John Coltrane I practice scales so that I can orget them

4 Fighting or the last Percent - % o preparation is learning the asics o Playing correct ars on the instrument o Playing with a correct stroke (reounded) o Playing with approximately the correct rhythm o Most competitive groups are ale to master this % - The Last Percent covers details that are diicult to master (similar to All- tate and etude prep): o Beating spots! Keeping mallet heads side y side, not one in ront o the other! Not just right notes, right spots on right notes! Poor eating spot = wrong note! Dead stroke approximation: training muscle memory o Evenness! 16 th udivision: Cutting a eat into perectly equal pieces! Main errors: wing and Anti-wing! Use Garageand or Logic to record players, show them how they look against the ruler o Accuracy! Causes o Accuracy Errors Incorrect shiting o tevens Kung-Fu hiting tanding at the incorrect position on the instrument troke height too high - Demonstration: Escalator heet music availale as a ree download at JordanternMusic.com o Covers all 12 tonal areas without stopping o Deals with challenge o maintaining uniorm mallet height (6 inches) through rhythmic shits containing th notes, th note triplets and 16 th notes - Mallet election o It is very useul to have a wide variety o mallets to choose rom! Try to avoid eing mono-chromatic Four-Mallet Mastery - The ar has een raised signiicantly in the past 10 years; what once were college level marima solos are now routinely played (and oten played very well!) y high school students (and sometimes even middle school students!) - Early exposure to extreme technical demands with mallets can create undesirale haits i let unchecked o Too much tension, especially in outer mallets/ th and th ingers o Lowercase t as opposed to Capital T etween thum and oreinger o Lack o proper rotation - Method o Movement or Marima y Leigh Howard tevens remains the deinitive guide or proper our-mallet technique using the tevens technique - Pay special attention to the ollowing: o Hands should stay physically sot

5 ! You should e ale to pull a players mallet away with little resistance rom the grip! should simply hang in the hand o Make sure shits are eicient (comine reound rom one note to the shit to the next) o Eliminate unnecessary oot shits - Demonstration: Avocado o This exercise uses all o the our-mallet stroke types (Doule Vertical, ingle Alternating, ingle Independent, Doule Lateral) o many possiilities - There are many variations in taste, writing, set up, instrumentation, etc., when it comes to ront ensemle - Your approach should e ased on what its your style as a and program o It is ideal to adapt your technique regimen to it this identity Eective Battery Warm-Up Eiciency ixteen on a Hand - Initiation and Approach - troke tyle - Tone Quality and Resonance - Height, Velocities and Volume Bucks in 2 and Bucks in with Variations - Physics o 2 Height - Dierences etween Bucks in 2 and Variation - yncopation - Constant Motion o Applying all ixteen on a Hand properties ixteenth Note and Triplet Accent Grids - Understanding o Accent Relationship to Meter and Time - Transitions rom Accent Pattern o Applying all ixteen on a Hand and Bucks Properties Legos - Automatic Application o all Prior Exercises - Addition o Dierent Techniques o Arm o Fingers - Metric Changes o Hand peed o Energy o Patience

6 The Break Down - ixteenth Note and Triplet Timing Grids o Understanding o Moving pace throughout the Meters o troke tyle Relation o Constant Motion - Doule Triple (anord) o Quality o Doule and Triple Beats o Management o Hand peed o Chop Building - Diddle Builder (Gallop) o Applying Philosophies o Doule Triple to Hand-to-Hand o Constant Motion o Hand peed * The ultimate goal o our exercise packet is to e perormed through a relaxed state at all times. Energy shits do NOT mean tension. Battery tick and Head election nares - Innovative Percussion Ike Jackson Model nare ticks (F-IJ) - Evans Hyrid Grey atter heads - Evans MX- Gold snare side heads Tenors - Innovative Percussion Tim Jackson Model #2 (T-TJ2) - Evans EC2 Marching Heads Basses - Innovative Percussion FBX 1- - Evans MX-1 Marching Heads Front Ensemle Mallet election Marimas - Innovative Percussion Field eries F 10X (Our go-to mallet) - Innovative Percussion Tom Rarick eries IP 002, 00, 00 - Innovative Percussion Jim Casella eries IP 1001, 1002, 100, 100X - Innovative Percussion Roin Engelman eries IP 702, 70, 706 Viraphones - Innovative Percussion Jim Casella eries IP 100, 100 (Our go-to mallet), Innovative Percussion Tom Rarick eries IP 006, Innovative Percussion Anders Åstrand eries AA2H Glockenspiel and Crotales - Innovative Percussion Orchestral eries O-1, O-2, O-, O-, O-, O-6, O-7 - Innovative Percussion James Ross eries IP 01, 02, 0, 0, 06 - Innovative Percussion Ensemle eries Aluminum EN 760R pecial Thanks to: - Innovative Percussion and Evans or all your support

7 Chicken and Punch Jordan tern To Coda j D.C. al Coda CODA 2 Ó JM 201

8 Escalator Jordan tern C Major F Major G Major D Major 1 # # # # # # # # # A Major 17 # # # # # # # # E Major 21 # # # # # # # # # # # # # # # B Major 2 # # # # # # # # # # # # # # # # # F harp Major 2 # # # # # # # # # # # # # # # # # # # # # # # # D Flat Major A Flat Major 7 E Flat Major 1 B Flat Major Tag # wing ths # n # n # Ó JM 201

9 Avocado Jordan tern To Coda N D.C. al Coda 2 JM 201 rit. Ó

10 core Legos Kris%Hartman nare Drum Quint Toms Bass Drums ^ ^ ^ ^ R R R R R R ^ ^ ^ ^ ^ R R R R R R R R R 1R R R ^ R R R R R R R R R R R R R R ^ ^ ^ R R R L L L ^ ^ ^ ^ ^ ^ ^ R R R L L L R R R L L L R R R R L L L L R R R R L L L L R R R R 1R R R R ^ ^ L ^ ^ L L L L L L L L L 2 L L L L L R R R R 6 R R R R ^ ^ ^ R R R L L L ^ ^ ^ ^ ^ ^ ^ R R R L L L R R R 10L L L L R R R R R17 R R R R R R R R L L L L R R R R L L L L R R R R 1R R R R ^ ^ ^ ^ ^ R R R L L L L L R R R R ^ ^ ^ R R R L L L L L R R R R R R R L L L7 L L R R R R R R R R R L L L L L R R R R R L L L L L R R R R R 11R R R R R R R L L L L L1 L L L L R R R R 1R R R R ^ ^ ^ ^ ^ ^ L L L L L L ^ ^ ^ ^ ^ ^ L L L L L L L L L L L L ^ L L L R R R R R L L L L ^ ^ ^ L L L R R R R R L L L L L L L L L L L L R R R R R R R R R L L L L L R R R R R L L L L L R R R R R 12R R R R R ^ ^ R R R R 1R R R R L L L L 16L L L L L L L L 20L L L L

11 R R R R R R R21 R R R R L L R R R R R2 R R R R R R R 2 R R R R R R L L L L L L L22 L L L L R R L L L L L26 L L L L L L L 0 L L L L L L x^ R R R R 2R R R R R R R R 27R R R R x^ ^ R L R L R L 1R L R L R L L L L L L L L L L L 2L L L L L L L L 2L L L L R R R 2R R R.... R L 6R L R L R 7L R L x^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ x^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ R ^ R R