WEST LIBERTY UNIVERSITYDepartment of Music and TheatrePERCUSSION STUDIOCURRICULUMandHANDBOOKRevised January 2014ByBrian BaldauffDirector of Percussion Studies

AcknowledgmentsI would like to acknowledge Professor Jeffrey Moore of the Universityof Central Florida Department of Music for sharing his percussioncurriculum with me. Many of the materials, layout, and structuring ofthis curriculum were inspired or taken directly from him.IntroductionThis curriculum is intended to be a guide for West Liberty Universitypercussionists majoring in: Bachelor of Music in Performance (BMP) Bachelor of Music, Emphasis in Technology (BMEMT) Bachelor of Arts in Music Education (B.A.) Secondary Students (minor or elective) will also follow theseguidelines, but will have a curriculum tailored to them on a caseby-case basis.West Liberty Percussion FacultyBrian Baldauff, Director of Percussion StudiesOffice: FA 314Telephone: (304) 336-8513Email: [email protected] Studio Website

Audition Information No specific repertoire requirements have been established. The student should demonstrate training and facility in at least two (2) of thefour (4) core instrument categories. Admission is contingent upon audition before the percussion director.Percussion Categories: Drum (core instrument)Timpani (core instrument)Keyboard Percussion (core instrument)Drum Set (core instrument)Hand Drumming and/or World Percussion (optional)All admitted students to West Liberty University are eligible foracceptance as a music major. Acceptance into the Department of Music andTheatre is contingent upon an entrance audition for the music faculty, usuallyheld in the Spring.For more information on auditions, including dates and registration informationplease ation/General Objective of Applied LessonsTo acquaint each student with representative solo and study materialsthat will aid in an orderly development toward mastery of each instrument, anda thorough knowledge of its literature.2

Specific Objectives of Applied Lessons1. Increase percussion performance skills including:a. requisite physical techniques concerning sound production, posture, handgrips, stroke types, flexibility, endurance, strength, digital/wrist/arm control,etc.b. visual, aural and tactile rhythmic and pitch discrimination skills, includingsight reading.c. awareness, understanding, and synthesis of the elements requisite to sensibleinterpretive decisions in musical performance.d. solo keyboard, rudimental and orchestral snare drum, timpani, accessory,drum set, multiple percussion, hand drumming and world percussion.2. Gain familiarity with the musical and pedagogical literature associated withpercussion and stimulate interest in professional literature related to percussioninstruments and percussion performance.3. Acquire understanding of the basics of percussion pedagogy.4. Gain a practical understanding of the learning process aimed at increasedefficiency and economy in skill acquisition in order to:a. Acquire a constructive, problem-solving orientation.b. Enhance the quality of time spent in the practice and study of percussion.5. Develop through listening the awareness, appreciation, and critical discernmentof varying types of music.6. Cultivate interest in and development of improvisatory and compositional skillsas they relate to percussion performance.7. Develop an awareness of those disciplines and potential situations that candirectly benefit from the experience of applied study: self-motivation, problemsolving, goal setting, self-reliance and confidence, leadership, sensitivity, etc.8. Develop and apply appropriate strategies for dealing with stress andperformance anxiety.9. Acquire the self-initiative and ability for continued self-study in percussionbeyond the formal educational environment.Applied lessons are central to the music major’s curriculum and are designedwith the student’s need for individualized, concentrated instruction. The progressand lesson documentation of each student will be recorded in an individualizednotebook. The notebook will include a lesson assignment/grade sheet that isutilized for each lesson and a semester achievement form that records the student’sstudio status, test results, reading requirements, ensemble participation (includingpositions held), among other information.3

Methods of GradingI. General RequirementsA. Students are expected to report to all lessons.B. Students are expected to meet all requirements that are listed on their levelof study.II. Specific RequirementsA. To receive a grade of “A” for the course:1. A student must give a superior performance on the music forum and juryexam.2. A student must not have any unexcused absences.3. Assigned material should be completed on time and performed orcompleted accurately, showing superior quality.4. A student must participate in at least one ensemble each semester.B. To receive a grade of “B” for the course:1. A student must give an excellent performance on the music forum andjury exam.2. A student must not have more than one (1) unexcused absence.3. Assigned material should be completed on time and performed orcompleted accurately, showing excellent quality.4. A student must participate in at least one ensemble each semester.C. To receive a grade of “C” for the course:1. The student must give a good performance on the music forum and juryexam.2. A student must not have more than two (2) unexcused absences.3. Assigned material should be completed on time and performed orcompleted, showing a fair or good quality.4. A student must participate in at least one ensemble each semester.D. A student who fails to complete the above requirements will receive a gradeof “D” or “F” according to the degree of noncompliance.E. An “incomplete” will not be given unless it is considered to be in the bestinterest of the student.4

Evaluation ProceduresSpecific evaluation criteria will be based upon, but not limited to the following:Grade CategoriesDescription of the RequirementsWeightWeekly PreparationPreparation of all assigned materials. In addition, all students arerequired to attend a regularly scheduled studio class. The meeting timeof both the lesson and studio class will be determined by both theteacher and the student(s).50%Lesson TimePunctualityArrive a minimum of 10 minutes ahead of your scheduled lesson time.This allows for set-up and warm-up.5%Music/TextAcquisitionAll materials must be purchased by the student, including, but notlimited to, texts, solo pieces, mallets (appropriate to the musical materialbeing performed). The teacher will allow school-owned or teacherowned materials to be used by the student for two (2) weeks allowingtime for purchase.5%PerformancesAt least one performance on Student Forum per semester. This excludesfirst semester Freshman students and those taking 081 and 082 levels.10%Jury PerformancePerformance level and quality on the solo pieces and materialsperformed in the jury.20%Book ReportSubmit a book report by the due date given and present an oral report tothe studio members following the criteria outlined in this handbook.5%Listening CardsSubmit ten (10) listening cards following the given criteria.5% The student must give early notice if he/she plans on not attending a lesson.This can be done by making a phone call or email. Texting is NOTconsidered an excusable form of communication. Phone calls or emails mustbe received by the professor no less than 24 hours prior to the lesson. Superior preparation is expected at all lessons. One “coffee” lesson will beallowed each semester (at the student’s request) where the student is notrequired to play the assigned material and can discuss other things related topercussion with the professor. Attendance at ALL percussion events is mandatory (recitals, large ensembleconcerts, guest recitals, etc.). Your final grade will be lowered by a full letterfor each unexcused absence. This also includes you helping to tear downafter the concert. Failing to help tear down (even if you did not perform) willresult in an unexcused absence.5

Equipment Your own personal equipment is your responsibility - take care of it.Equipment belonging to West Liberty University is also your responsibilityand you are expected to take care of it as if it were your own. Equipment that belongs to neither you nor WLU is to remain untouched.Under NO circumstances are you to borrow, move, or practice on privatelyowned equipment unless you have permission to do so. If you need to move any equipment from one assigned area to another for arehearsal, performance, or practice period, it must be returned to its properstorage area upon completion of use. If anything must be removed from thebuilding, it must be properly signed out.Materials/Books/ParaphernaliaDue to the nature of percussion studies, the student will be required topurchase various study materials including method books, sticks and mallets,instruments, solo repertoire, and other paraphernalia. This must be clearlyunderstood by the student when collegiate studies are embarked on. The studentshould view these requirements as steps toward developing a professional/personallibrary and acquiring necessary “tools” for professional development and eventualemployment. The student should expect to spend an approximate minimum of 200.00 per semester for materials and equipment.At no time will photocopied music used in performance be acceptablewithout prior purchase of said music. Use of photocopies in performance is acopyright infringement and will result in an immediate grade of “F” for thatperformance (Forum, Jury, etc). Composers work hard to write their music anddeserve our financial support.*** Dropbox - All percussion students taking applied lessons are required toregister for Dropbox. The instructor will record all lessons and performance studioclasses. Mp3 files will be shared with the students through a Dropbox folder. Thestudents are required to download their individual lesson files and performancesfor review during weekly preparations.6

Required Equipment*Snare DrumOne of the following or similar:Innovative Percussion CL1L - Chris Lamb ModelAlan Abel Concert Model - Available from Drummers Service onlineVic Firth SATK - Ted Atkatz ModelandOne of the following:Innovative Percussion CL3L - Chris Lamb ModelVic Firth SD2 - Boleroand Some type of all-around sticks for rim shots, etc. - any make Some type of drum set stick (jazz weight) - any make A pair of brushes - Innovative, Regal, Vic Firth, etc.TimpaniInnovative Percussion - General Timpani ModelsOhio Timpani Sticks - turned handle cartwheels - small, medium, and largeCloyd Duff SeriesVic Firth Tim Genis SeriesMarimba (Rattan or Wood Handles)Soft (set of 4) - Innovative IP 3102 or 3103 (Albert) or IP 811 (Ford)Medium (set of 4) - Innovative IP 3105 (Albert) or IP 813 (Ford)Hard (set of 4) - IP 3106 (Albert) or IP 814 (Ford)Innovative Zivkovic Series - NJZ1 - NJZ7 (rattan or cedar handles)Xylophone/BellsInnovative IP 901 - SoftInnovative IP 902 - Medium Soft Xylo, RedInnovative IP 904 - Hard Xylo, GreenInnovative IP 906 - Brilliant Xylo, BlackInnovative IP 908 - Medium BrassorInnovative IP OS Series Mallets7

VibesInnovative IP RS201, RS251, and RS301 (set of 4)Innovative IP AA20, AA25, AA35 (Astrand Series, sets of 4)You should have the following as a minimum:1. At least one set of four yarn marimba mallets from above.2. At least one set of four vibraphone mallets.3. At least two pairs of xylo/bell mallets (one hard and one soft).4. At least three pairs of timpani mallets - soft, medium, and hard (not wood).5. Various snare drum sticks (see above).6. One general purpose bass drum mallet and rollers - IP, Vic Firth, etc.7. A stick bag or brief case. Must be large enough to carry all implements needed.8. Practice pad (Innovative, Vic Firth, RealFeel, etc.)9. A metronome (Dr. Beat, Tama Rhythm Watch, etc.). Must be capable ofsubdividing eighth notes, sixteenth notes, and triplets.10.A drum key and tuning fork (A440).Accessories At least one triangle (Abel, Grover, Black Swamp) with Stoessel beaters (inpairs). At least one tambourine with head (Grover, Black Swamp). Other small concert instruments - woodblock, claves, cowbell, finger cymbals,etc. Bass drum beaters - Vic Firth TG01 General, TG04 Rollers (pair), TG21 wood/chamois (Rite of Spring mallets) A stick bag (at least one and large enough for all mallets and sticks)* Equivalent substitutions for the equipment listed here are acceptable.Approve alternate choices with instructor before purchasing.8

Hearing ProtectionAs a developing professional musician, your hearing should be viewed aspart of your necessary “equipment” to succeed. You owe it to yourself to safeguardyour health, hearing included. The National Association of Schools of Music andthe Performing Arts Medicine Association recommends that all music students areregularly checked for hearing loss as this can occur gradually through prolongedexposure to high decibel levels. See below for examples of dB levels around us.Recommended daily exposure times (NIOSH) to sounds at or above 85 dB: 85 dB (vacuum cleaner, MP3 player at 1/3 volume) - 8 hours 90 dB (blender, hair dryer) - 2 hours 94 dB (MP3 player at 1/2 volume) - 1 hour 100 dB (MP3 player at full volume, lawn mower) - 15 minutes 110 dB (rock concert, power tools) - 2 minutes 120 dB (jet planes at take-off) - without ear protection, hearing damage isalmost immediate.All percussion students will be required to purchase and utilize hearing protectionduring practice sessions and rehearsals. Acceptable earplugs will be the decibelattenuating style plugs. Foam earplugs are NOT acceptable. Below are examplesof acceptable models. Every percussion student must purchase these by the fourthweek of applied study and approve them with the instructor. Failure to meet thisrequirement will result in an incomplete for all subsequent lessons until the studentmeets this requirement. Etymotic Musicians Earplugs Earasers Musicians Earplugs Hearos High Fidelity Earplugs Vic Firth High Fidelity EarplugsMost of these can be purchased through Steve Weiss Music and other onlinesuppliers.9

Studio ClassAll percussion students enrolled in applied lessons are required to attend aweekly studio class meeting. The time and day of the class will be decided at thebeginning of each semester. Studio class will be used to cover topics such asaccessory percussion playing, special instrument performance techniques, malletmaking, instrument repairs, and other important topics not covered in lessons aswell as general studio news and information. Monthly performance classes will bearranged to provide students with opportunities for regular performances of lesson,forum, or jury materials. An unexcused absence from a studio class will count asone unexcused lesson absence.Scheduling PracticeOne of the most challenging aspects of percussion study is theadministration of personal time for practicing a large family of instruments.Although the core of percussion studies centers upon keyboard, timpani, snaredrum, and drum set, it is vital to today’s percussionist to explore a wide variety ofinstruments. Scheduling balanced or proportional time for all of the instrumentscan be overwhelming if a formulated approach is not taken.The topics of instrumental study that are focused upon by each student willdepend, to some degree, upon the specific instrumental areas and literaturecurrently studied in the studio. Nevertheless, students should attempt to study inareas outside of those current studio parameters.In addition to the instrument levels assigned in the semester’s applied study,students should always address and schedule time for preparation requirements foreach ensemble for which the student is a member. This may include percussionensemble, wind ensemble, jazz band and combos, and marching band.Percussionists should seek feedback by usage of a mirror during practicesessions. If possible, use of a video camera is also desirable as one can then viewthe performance with total focus on the specific area being addressed. An audiorecording device of some kind is required, so please make use of this tool.10

Percussion EnsembleAn integral component of percussion studies at West Liberty University isthe WLU Percussion Ensemble. This ensemble serves as a laboratory for musicalexperimentation with focus on specific performance habits, listening skills, generalinstrumental techniques, and the development of chamber music skills. Theensemble repertoire comprises a wide variety of musical styles, including standardworks, contemporary works, marimba band, African and Brazilian drumming,commercial/jazz, and transcriptions. Knowledge of percussion ensemble repertoireis also an aspect of the course structure. Opportunities for student compositionsand arrangements are available and highly encouraged.Course prerequisites include percussion performance experience at the highschool or college level and concurrent percussion study (see instructor forexceptional circumstances). ALL percussion majors are required to participate inpercussion ensemble, in addition to other general ensemble requirements.Participating membership and exact instrumentation will vary according to thespecifications of each work. Enrollment is subject to audition or consent ofinstructor.Book ReportsAt the start of each semester, students are required to choose one book fromthe music or percussion genre. At the conclusion of the semester, during the laststudio class, students are expected to give an oral book report to the percussionstudio. The report should include a description of the book’s subject including ageneral outline of the book, information learned, a critical impression, and anoverall recommendation. A brief written summary including title, author, andpublishing information will accompany the oral presentation. Students are requiredto provide copies of the written summary for all members of the percussion studioat the time of the presentation. This summary does not need to exceed one (1) pageand will be double-spaced, justified, and use twelve (12) point font. The book’stopics may include a biography, a research/historical text, self-help/mental healthfor artists, performance/creativity enhancement, music business, pedagogy, musiccriticism, music appreciation, etc. The instructor must approve all books for thisassignment NO later than the third lesson of the semester. A list of suggestedappropriate books can be found in the Student Resources section of the WLUPercussion Studio website -

The following is an example book report sample that demonstrates what isexpected. Please follow this general format for your written reports.Example of a Written Summary12

Listening CardsEach semester the student shall create an annotated electronic file of ten (10)works. This list will be submitted in two parts. The first five entries will be due atmidterm and the final submission of all ten will be submitted two weeks prior tothe student’s jury. Submissions will be done through Sakai in PDF format. Thecards must encompass (10) different recordings and follow the guidelines listedbelow in terms of acceptable genres. YouTube videos or other similar media typesare NOT acceptable.5 - Classical music examples containing significant percussion parts or excerpts.Acceptable examples include - Scheherazade, Beethoven symphonies,pieces by Steve Reich that include percussion, Mahler symphonies, etc.3 - Solo or ensemble percussion recordings. Orchestral pieces are not acceptableunless they are concerto repertoire for percussion instruments. Solopercussion and chamber or large percussion ensemble works arerecommended.2 - Commercial/Pop/Jazz recordings. Must comment on the st