Helping Percussionists Play Musically.

Percussion may have some unique features, but guiding young percussionists to develop musicality is not entirely different from guiding wind and stringplayers.

We often forget that the level of musicality in our instrumental music students may be a result of our own teaching practice. That is, musicality in our students is seldom purely innate; it is often a direct result of our efforts, or lack thereof. A percussionist's musicality may be well behind that of other players in an ensemble because of a lack of opportunities to develop musicality. The percussionist's opportunities may be limited because the director, often a wind or string player, may not know how to tap into the expressive potential of percussion.

Fortunately, most nonpercussionist directors have enough knowledge and skill on percussion instruments to introduce fundamental techniques. Many of the “basics” necessary to train musical wind and string players are, in fact, similar to those needed to train musical percussionists. For the purposes of this discussion, the “basics” are the techniques that beginning instrumentalists must study in order to progress adequately on a given instrument (e.g., embouchure, breath support, grip, and hand position). The terms “musical” and “musicality” refer to concepts typically used to evaluate or describe expression and musicianship. Aside from learning basic techniques needed to play an instrument properly, beginning instrumentalists can develop musicality through experiences with interpretation, which is an integral component in developing musicianship.[1] Young instrumentalists are often initially exposed to interpretation when they learn concepts such as accents, phrasing, and dynamics. Thus the terms “musical” and “musicality” as used in this discussion refer to these basic interpretation concepts.

One crucial factor in training musical percussion players is fostering their versatility by introducing them to keyboards and timpani as well as snare drum. Often there is an emphasis on the snare drum only, which deprives the student of the opportunity to develop musical skills in playing keyboard percussion and timpani. Musical percussionists need to acquire proficiency on all instruments encountered in section playing, just as serious wind or string players work toward the proficiency necessary to perform most music in their respective sections on demand. Percussion study often involves a focus on rhythm; however, training similar to that given to other musicians is also required.

Music that includes keyboards and timpani allows percussionists to participate in portions of the rehearsal that cultivate musicality, such as chorales and scale studies typically done during the warm-up. All too often, warm-up exercises designed to foster musicality are reserved for wind and string players, leaving the percussion section idle. (Is it any wonder that this is when behavior problems may occur in the percussion section?) Any strategy for fostering musicality in wind and string players also applies to at least one of the three main areas of percussion playing (snare/accessories, keyboards, and timpani). Training percussion students in these three areas will allow them to participate in activities designed to develop musicality within the ensemble.

To effectively train versatile percussionists, both snare drum and keyboard instruction should be given from the beginning. Most current band methods allow for this by offering a combined percussion book, which includes snare, bass drum, accessories, and keyboard percussion (bells). Timpani instruction can follow soon after keyboard and snare drum instruction begin. Many beginning band arrangements include timpani, and these parts should be covered whenever possible. Timpani are ideal for aiding the development of the ear of young percussionists, and the inclusion of timpani helps improve the sound of beginning bands, which often have too few players on the lower instruments needed for a strong bass line. Training versatile percussionists will benefit the entire ensemble while helping develop musicianship in the individual percussionists.

It can be argued that, to a certain extent, a musician can play musically without technical proficiency. However, the musical ideas originating in the mind of the percussion student will not be adequately communicated without attention to proper technique. The technical issues that follow are often neglected, yet they are part of the foundation needed to communicate musical expression effectively.

Regardless of the percussion instrument, the way in which the player grips the mallet or stick may help or hinder musical expression. The grip on sticks and mallets may impact tone, flexibility, technical facility, and articulation, just as on stringed instruments, and can be similarly compared to proper embouchure on wind instruments.[2] Though the stroke is also a factor, a relaxed grip helps facilitate a sound that utilizes the natural resonance of the given percussion instrument. A tight grip often contributes to a partial “dead stroke,” which restricts the vibration of the striking surface and impedes the natural resonance of the percussion instrument. There are a number of excellent publications that fully address the problems and remedies concerning the grip.[3] A relaxed grip must become second nature to percussionists if they are to execute musical nuances called for in sensitive interpretation and expression.

The stroke is another technical area that may hamper expressive communication. The stroke used to strike percussion instruments can be compared to breath support with wind instruments and bow pressure and motion on string instruments.[4] Young percussionists often lock the wrists and play using only the forearm. This stiffness can greatly hinder tone production, prevent speed development, and impede the vibration of the striking surface, resulting in a muffled tone. As with the grip, the emphasis here is on a relaxed stroke. There are many publications that discuss the stroke, but it is most important to note here that a proper stroke is also a factor in “freeing up” musical expression.

Technical proficiency, as well as musical expression, may suffer because of muscle tension that restricts, among other things, the relaxed grip and stroke discussed above. An observant teacher can see muscle tension hampering the performance of percussion students, especially when they attempt difficult music. As with all instrumental music, there is no substitute for slow practice with gradual increases in speed. Slow practice is crucial to proficient technique, which must be in place to adequately address musicality.

When teaching wind or string players, much of the training in musicality involves the quality and precision of the entrance, the sustaining of sound, and the release.[5] Technical and musical aspects such as articulation, dynamics, tone quality, intonation, and rhythmic accuracy are considered when addressing the entrance, sustaining, and release of any given tone. Although this has typically been a concern with pitch, the same considerations can be applied to percussion instruments of indefinite pitch (such as the snare drum) as well as instruments of definite pitch (such as keyboard percussion and timpani).

Some directors focus preparation of percussion parts and solos merely on technical aspects of the music, particularly rhythmic accuracy. However, musical considerations such as articulation and dynamics are just as important for percussion as they are for wind and strings. Even though the rhythmic complexity of much percussion music requires considerable attention, music for percussion is identical to that of wind and strings in that performance should not be considered proficient until indications provided by the composer, typically found “around the notes,” are accurately and sensitively executed.

With respect to entrance, sustaining, and release, rolls are the means of sustaining the tone on most percussion instruments. Although the roll is the most common way to sustain tone, entrance and release considerations should also be applied to the roll itself. The development of the roll is sometimes considered to be merely a technical aspect of percussion playing, rather than a concept central to musicianship. Musicality suffers when the emphasis is placed merely on pulsing the roll or on the number of primary strokes necessary to execute a smooth roll within a given tempo, without respect to the quality of sound (see figure 1 for a purely technical interpretation of a roll). Even when multiple bounce rolls are pulsed correctly, inexperienced snare drummers may press the sticks too firmly against the drum head (often because of improper grip, stroke, or both), rather than allowing even, multiple bounces from each stick. After the student has had time to develop a smooth roll and has gained some proficiency pulsing the roll within various tempi, musical considerations addressing the entrance and release of the roll need attention (see figure 2 for examples of rolls incorporating musical considerations).

Different musical styles often require different rolls. Further, the choice of roll often impacts the quality and expressive nature of the sustained sound on a given percussion instrument. Some directors emphasize only the rudimental style of drumming, which requires the double-stroke roll used typically with marching percussion. While orchestral snare drumming requires some use of the double-stroke roll, a smooth orchestral (multiple-bounce) roll is required more often in snare drum parts outside the marching percussion realm. Teachers also need to introduce the single-stroke roll because versatile percussion students who play snare, accessories, keyboard, and timpani must use this roll extensively. It is thus necessary to develop the rudimental (double-stroke), multiple-bounce, and single-stroke rolls when preparing percussionists to sustain tones on the various percussion instruments (see figure 3 for examples of all three types of rolls).

Even if the technical and musical aspects of percussion are well developed, the mismatching of sticks and mallets to percussion instruments may obscure expressive performance, much like poor-quality or inappropriate mouthpieces on wind instruments and bows on strings. Care must also be taken to avoid striking the wrong area on the percussion instrument. Matching mallets or sticks to the right instrument or choosing the appropriate striking area is simply a matter of consulting a standard percussion reference, an experienced performer, or, in some cases, using one's own judgment.

Students are not always aware that mallet choice and striking area are important. An effective approach to helping young percussionists understand the importance of proper sticks and mallets on desired striking areas is to let them experiment. I was initially quite surprised at my students' natural ability to detect appropriate timbres and optimal resonance. Take a few moments in the lesson or sectional to address mallet choice and striking area by guiding students' experimentation with the various timbres possible on a given percussion instrument. Allowing young percussionists to exercise judgment regarding mallet or stick choice may help them develop a concern for their sound, which is certainly a motivating factor in pursuing musicality.

An ideal opportunity for selecting proper sticks and mallets and experimenting with tone quality and timbre is when working on percussion parts in the sectional. The entire percussion section is typically present, and many instruments can be addressed in a “mini clinic” format. You might want to invite a percussionist colleague or college student to this session for demonstration and consultation.

Another issue related to stick or mallet choice that can be addressed in the sectional is how the percussionists will set up their section in order to “choreograph” movement to and from instruments and appropriate sticks and mallets. The director and responsible percussionists should determine the most efficient means of instrument and mallet changes and write these in the parts as pieces are rehearsed. Trap stands or music stands covered with carpet or black towels will also serve to organize and secure accessories, sticks, and mallets without the banging and clanging often heard when working from unmuffled surfaces. Positioning these trap stands in areas where players can easily work from them will also greatly decrease unnecessary scurrying during or between numbers and allow players to focus more on the musical issues at hand.

Though the nature of percussion may be unique, guiding the development of musicality in young percussionists is, in many respects, similar to guiding young string or wind players. The suggestions included above are intended to serve as a springboard for further inquiry or to reinforce some of the current practices of the director committed to aiding the development of musicality in student percussionists (see the sidebar for a list of suggestions). With this commitment, the director can achieve the same success with the young percussionist as with any other musician in the ensemble.[6]

1. Joseph A. Labuta, Teaching Musicianship in the High School Band (Ft. Lauderdale, FL: Meredith Music Publications, 1997), 17.

• 2. J. Lambert and R. Grifa, “Percussion,” in First Lessons on Each Instrument: The Good Habits to Develop from the Beginning (North-field, IL: The Instrumentalist Publishing Co., 1999), 72.
• 3. For a partial list of available percussion references and other resources, as well as practical advice regarding a number of issues related to teaching percussion, consult Percussion Education: A Source Book of Concepts and Information (Lawton, OK: Percussive Arts Society, 1993). This publication is currently available through MENC.
• 4. Gary D. Cook, Teaching Percussion, 2d ed. (New York: Schirmer Books, 1997), 36.
• 5. Edward Lisk, The Creative Director: Alternate Rehearsal Techniques, 3rd ed. (Ft. Lauderdale, FL: Meredith Music Publications, 1987), 54.
• 6. The author would like to thank Ernest Muzquiz, Paul Sauve, and Barbara McCoy for their comments and suggestions regarding this article.

• Require study in the three main areas of percussion: snare/accessories, keyboard percussion, and timpani.
• Include the percussion section in the warm-up.
• Consistently monitor fundamental technique (e.g., a relaxed grip and stroke).
• Encourage slow practice to facilitate the technical proficiency needed for clear and effective communication of musical interpretation and expression.
• Focus on musical aspects of parts and solo literature in addition to technical considerations.
• Focus on multiple-bounce and single-stroke rolls, as well as the double-bounce (rudimental style) roll.
• Consider Se expressive elements of the entrance, sustaining, and release of tones with percussion, just as with winds and strings.
• Guide students' experimentation with tone quality and timbre changes created by different sticks, mallets, and striking areas on percussion instruments.
• Plan instrument and mallet/stick changes and write them in individual parts, and take care in setting up the section for optimal performance.

DIAGRAM: Figure 1. Examples of technical aspects of roll development

DIAGRAM: Figure 2. Examples of musical aspects of roll development

DIAGRAM: Figure 3. Rudiments typically used to sustain sound of percussion instruments

PHOTO (BLACK & WHITE): Versatility is one of several crucial factors in the training of musical percussionists.