Iowa Percussion Faculty Dr. Daniel Moore Professor of Music, Percussion Area Head Thomas L. Davis Percussion Suite 2357 VOX Dr. Benjamin Yancey Visiting Instructor Dr. Virginia Armstrong Adjunct Instructor Teaching Assistants: Peter Naughton Nick Miller TA Office 2350 VOX Your Responsibilities Iowa Percussion has a rich legacy of success of which you are an integral part. It is your responsibility to help maintain and strengthen that legacy. This means you must strive to be a person of integrity in your pursuits as a student. You must be highly organized, flexible, dependable, and cooperative. Without exception you must: • Check your University email account several times a day, especially first thing in the morning and last thing in the evening for announcements, rehearsal schedules, and other important information. • Have your calendar at your fingertips (analog or digital). Enter all rehearsals (scheduled and extra), gigs, concerts, tours, etc. Keep track of your professional commitments and avoid double bookings. A Iowa Percussion Spring Calendar.pdf that percussion majors are required to attend is published at the beginning of each semester. • Join the Percussive Arts Society. All percussion majors are required to be current members. All ensemble members must have a PAS member number to enter competitions or attend the convention. Information for First Year Students Course Syllabuses Your Commitment By accepting Dr. Moore’s invitation to become a percussion major at the University of Iowa, you have made a commitment that your responsibilities within the School of Music take first priority. We depend on your commitment and naturally assume that you will meet those responsibilities. As long as you are a student, all other professional or extracurricular activities are secondary. This includes work study or other jobs. As a professional it is imperative that you develop a clear sense of priorities, otherwise you will find yourself in the undesirable and uncomfortable position of disappointing people who have come to count on you. Because it is impossible to give every project you undertake first priority, you must make it clear to the people you are working with exactly what your priorities are. Follow these simple rules and you will avoid conflict: • Check. Never accept any engagement without consulting the percussion calendar. • Inform. Always make people you are working with aware of your primary responsibilities. Communicate. If a conflict arises, deal with it immediately and honestly. Always consult Dr. Moore before accepting any engagement, whether it is with a UI group or professor, or for an outside event. This is primarily for your own protection. Organizers may have unrealistic expectations of percussionists, and Dr. Moore will help you avoid becoming overextended. It is your responsibility to initiate conversation with Dr. Moore, teaching assistants, other faculty, and ensemble directors before missing any rehearsals, lessons, classes, or events. Percussion Equipment Percussion instruments at the University of Iowa are among the best anywhere. It is your responsibility to keep them that way. In our current situation of having to move equipment for most concerts, the following guidelines are all the more important. • Immediately report anything that is missing or needs to be repaired. • Keep instruments covered when not in use. Use the Brian Boron method for uncovering and covering instruments. • Do not lend percussion equipment to anyone unless you own it. • Do not borrow equipment belonging to another percussionist without first asking permission. • Dr. Moore is willing to loan selected equipment to percussion majors for local use in certain situations. Ask him for permission and reserve instruments in a timely and professional manner. Depending on the type of gig, there may be a rental fee that must be paid by the concert presenter. Care for the instrument as if it were your own. • Transportation of instruments must be done using methods prescribed by Dr. Moore. Small instruments must be in bags or hard cases; large instruments must be secured in enclosed vehicles. Ask Dr. Moore for specific requirements. This is extremely important now that we must move equipment for nearly every performance. • Percussion Area storage cabinets are to be closed when not in use. Return equipment and instruments to their original locations after each use. • Keep all rooms clean and clutter-free. Your Personal Music & Percussion Equipment For a percussionist, collecting music and instruments is a lifelong pursuit. You must own all in-print music that you perform in public, and you must have access to original copies of all required method books for lessons. It is your responsibility to acquire small instruments, sticks, and mallets necessary to perform any music assigned to you for lessons and ensembles. A minimum list of equipment that a serious percussionist owns: • medium yarn marimba mallets (long birch shaft), 2 pair: Innovative IP240, IP300 • medium vibe/marimba mallets (rattan shaft), 2 pair: Innovative DM-21, DM-26 jazz vibe mallet, 2 pair: Innovative DM-28, DM-31 soft marimba mallets, 1 pair: Innovative DM-18 • multi-mallet, 1 pair: Innovative JC-1M, JC-2M, or equivalent • polyball xylophone mallets, 1 pair: Innovative IP902 or equivalent • orchestra bell/xylophone mallets, 1 pair: Innovative IP905 or equivalent • medium rubber ensemble mallets, 1 pair: Innovative ENS260R or equivalent • hard rubber ensemble mallets, 1 pair: Innovative ENS360R or equivalent • general purpose timpani mallets, 1 pair: Innovative CT-3 or equivalent • staccato timpani mallets, 1 pair: Innovative CT-6 or equivalent • bass drum mallets, general purpose and a pair for rolling: Innovative Percussion • general purpose snare drum sticks, 1 pair: Innovative IP-1, IP-JC, CL-1, CL-1H, or equivalent • light duty drumset sticks, 1 pair: any model (jazz) • brushes, 1 pair: Innovative BR-1 or equivalent • triangle: Grover (6-inch) • set of triangle beaters: Grover • tambourine: Grover 10-inch double row, beryllium, silver, or phosphor bronze • woodblock: Grover cowbell: any size and model • electronic metronome such as the Roland “Digital Dr. Beat” DB-66, or smartphone app • at least 2 black hand towels used on music stands to facilitate silent mallet changes • stick bag or case to protect your investment • rubber stamp or labels to identify your music and books • paint stick or colored tape to identify your mallets Dr. Moore’s Favorite Percussion Method Books Books in bold text are important for all percussionists and music educators: Progressive Steps to Syncopation for the Modern Drummer, 1958, Ted Reed Stick Control for the Snare Drummer, 1933, 1963, George L. Stone Modern School for Snare Drum, 1955, Morris Goldenberg Portraits in Rhythm, 1966, Anthony J. Cirone Contemporary Studies for the Snare Drum, 1963, 1966, Fred Albright Modern School for Xylophone, Marimba, and Vibes, Morris Goldenberg Vibe Technique, Dampening and Pedaling, David Friedman Recital for Vibraharp, Thomas L. Davis Instruction Course for Xylophone, George Hamilton Green Masterpieces for Marimba, 1971, arr. Thomas McMillan Style Studies for Mallet Keyboard Percussion Instruments, John Bergamo Advanced Techniques for the Modern Drummer, Jim Chapin Musical Studies for the Intermediate Timpanist, Garwood Whaley Techniques of Playing Bass Drum, Cymbals, and Accessories, Al Payson The Contemporary Percussionist, 1986, Michael W. Udow and Chris Watts The Drummer’s Heritage, 1956, Frederick Fennell Images, Bart Quartier Books Dr. Moore Would Save If His Office Were Ever To Flood Percussion Instruments and Their History, 1992, James Blades O.B.E. Keiko Abe: A Virtuosic Life, 2007, Rebecca Kite The Marimbas of Guatemala, 1974, Vida Chenowith Silence: Lectures and Writings, 1961, John Cage The Music of John Cage, 1993, John Pritchett The Percussionist’s Art, 2006, Steven Schick Harvard Dictionary of Music, Willi Apel Dictionary of Percussion Terms, 1977, Morris Lang and Larry Spivak The Riverside Shakespeare, 2nd Ed., 1997 The Drummer: Man, 1975, Gordon B. Peters Body and Soul, 1993, Frank Conroy A Manual for Writers, 4th Ed., 1973, Kate L. Turabian Webster’s New Collegiate Dictionary The Creative Habit, 2003, Twyla Tharp Why We Make Things and Why it Matters, Peter Korn Lesson Attire Showing respect is an important part of the educational experience for both teacher and student. One part of that is how you dress for lessons. Make sure you are clean and well-groomed, and wear nice school clothes on lesson days. Turn off your cell phone. Performance Attire For an audience to take your performance seriously, you must dress the part. Percussionists are expected to be professionally attired for all performances. For Percussion Area performances, dress up. A stage look is something that makes you appear different than you do in daily life — it is not just a cleaner version of your usual look. Iowa Percussion Formal Concert Attire: • Nice black slacks, dress pants, skirt, or dress, with a stylish black-themed top with a splash of a single bright color, and black stage shoes (dress shoes rather than street shoes). The splash must be a bright color (not white, blue, or pastel). A colored t-shirt underneath a shirt is typically not acceptable. Be creative and think about developing an identifiable stage look and persona. • For Steel Band gigs and tour, attire is nice pants, skirt, or dress with an appropriate top in a bright color, and nice shoes. Not acceptable on stage (all applies to everyone regardless of gender): bare midriffs — includes tops that expose skin when arms are raised • strapless tops • low or plunging necklines • short skirts • rolled-up sleeves • hats unless outdoors • shorts • cargo pants • jeans • baggy pants • too-long pants • t-shirts • apparel with writing or suspect graphics • sandals or flip-flops • athletic shoes or tennis shoes • clacky, noisy shoes • anything else that Dr. Moore deems to be unacceptable Certain limited exceptions may be made to this list for casual outdoor gigs or for professionally designed costumes. Recital Courtesy When you attend any recital or performance, show respect for others. Turn off your cell phone. Do not bring drinks or snacks into recital halls. Be clean and neatly attired. Make other people’s recital days dress-up days to show the significance of these events, and to show your support of your colleagues. At the conclusion of band, orchestra, or percussion performances, all percussion performers will help strike the stage and remain until all percussion equipment is put away in its proper place. It is common courtesy to assist in moving percussion equipment following another percussion student’s recital or ensemble concert. Now more than ever, this is an important part of helping each other make equipment moves as easy as possible. Undergraduate Study Undergraduate study in percussion will encompass literature and techniques that are commensurate with the curriculum leading to the two undergraduate degrees offered by the University of Iowa School of Music: the Bachelor of Music (B.M.) and the Bachelor of Arts (B.A.). Although B.M. students may also participate in the teacher education or music therapy programs, there is no difference in applied percussion requirements for performance, education, or music therapy majors. All percussion students, regardless of focal area or emphasis, work from the same list of minimum expectations. In addition to Percussion Area information in this handbook, undergraduate students should consult the University of Iowa School of Music Undergraduate Programs of Study for specific guidelines regarding degree requirements. Applied Percussion Eight semesters of percussion lessons are required. Percussion students must successfully complete four semesters of MUS:2037 (lower level percussion) before applying for advancement to four semesters of MUS:3037 (upper level percussion). Students are allowed a maximum of six semesters (not including summer) in the lower level of instruction. Students will complete the minimum requirements for the lower level of study before being approved for upper level via an Upper-Level Jury. Advancement to upper level is not automatic after four semesters of study. To be advanced from MUS:2037 to MUS:3037, the student must successfully demonstrate an increased maturity in keyboard and snare drum performance and competency in the areas described in Guide for Advancement to Upper Level. Dr. Moore will discuss advancement with you at the appropriate time. MUS:2037 Lower Level Percussion Lower level percussion is the level in which basic percussion skills are introduced and/or developed. At this stage the student will focus primarily on the development of fundamental percussion techniques. This includes development of stamina, control, and rhythmic understanding through studies in rhythmic integrity, stick control, independence, and endurance. Two-mallet and four-mallet keyboard skills will be introduced, including fundamentals of theory, major and minor scales, chord study, and sight-reading. MUS:3037 Upper Level Percussion Students who have completed the minimum requirements for the lower level of study will be approved for MUS:3037 upper level percussion. Students admitted to upper level are expected to exhibit a more mature level of technical ability, musicality, reliability, integrity, and professionalism, and a heightened sense of performance artistry. This level continues to build upon previously studied concepts, but at a significantly higher level. Areas not covered at the lower level of percussion will be addressed, with the addition of elective areas that may include improvisation, composition, arranging, conducting, electronic percussion, and advanced ensemble experiences. Advanced work in the student’s chosen focal area will be more actively pursued. The successful completion of upper level percussion culminates in the senior recital, a public recital covering the major areas of percussion studied. Students are strongly encouraged to mount one or more elective joint or solo recitals leading up to the senior recital. Planning a Recital Recital Planning Guide Handbook_files/Iowa%20Percussion%20Spring%20Calendar.pdfhttp://www.pas.org/membership/Membership.aspxFreshmen.htmlSyllabuses.htmlhttp://www.amazon.com/Percussionists-Art-Different-Eastman-Studies/dp/1580462146http://www.registrar.uiowa.edu/registrar/catalog/liberalartsandsciences/music/#undergraduateprogramsGuide.htmlRecital_Planning.htmlHandbook_files/Iowa%20Percussion%20Spring%20Calendar_1.pdfshapeimage_1_link_0shapeimage_1_link_1shapeimage_1_link_2shapeimage_1_link_3shapeimage_1_link_4shapeimage_1_link_5shapeimage_1_link_6shapeimage_1_link_7

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