Jesse Willis is the Director of Percussion Studies at Coastal Carolina University in Conway, South Carolina. He earned a BME and a BM from Texas Tech University, a MM in percussion performance from Indiana University, and he is currently pursuing a DMA at Texas Tech University. At CCU, Jesse instructs the Spirit of the Chanticleer marching percussion section and he directs all of the CCU Percussion ensembles, including: the Percussion Ensemble, Steel Pan Ensemble; Brazilian Percussion Ensemble; and Afro-Cuban Percussion Ensemble.

Prior to living in South Carolina, Jesse was an Associate Instructor at Indiana University, where he taught undergraduate private lessons, and directed the Indiana University Steel Pan Ensemble. While in Indiana, he had the opportunity to study and work closely with the internationally acclaimed percussion faculty, Michael Spiro, Kevin Bobo, Steve Houghton, and John Tafoya.

Jesse maintains an active performing schedule, which has taken him all over the United States. He has performed on Royal Caribbean Cruise Lines Monarch of the Seas, and at several music conventions throughout the country, including: PASIC, Oklahoma PAS Day of Percussion, South Carolina PAS Day of Percussion, TMEA, CMEA, LMEA, The National Kodaly Convention, and The National Orff Conference. Jesse is currently a member of the Long Bay Symphony Orchestra in Myrtle Beach, SC. He has also performed with several other symphony orchestras in Indiana, Texas, and South Carolina including: the Big Spring Symphony Orchestra, Midland-Odessa Symphony, and Bloomington Camerata Orchestra.

Jesse has also been involved as a performer and teacher of the marching arts for several years. He has worked with several World Class Finalists in the Drum Corps activity, including the Blue Knights, Blue Stars, Madison Scouts, and Carolina Crown. He has also worked with several championship high school and college marching bands in Texas and Indiana. Jesse is in demand as a marching percussion consultant, and maintains an active schedule as a guest clinician and adjudicator at high schools and universities throughout the country. Jesse is an educational endorser for Vic Firth and Remo.

Good Vibrations:Getting The Right Sounds Out of Your Percussion Section

The percussion family is the largest family of instruments in the band or orchestra. Percussion instruments include any instrument that makes a sound when hit, shaken, rubbed, or scraped. However, there is more to percussion than just hitting the instrument at the right time. It’s about striking the instrument in the right place, with the correct implement, and with the right amount of touch and strength. Percussion is used to keep rhythm, punctuate phrases, add color, and create excitement within a piece of music. The average percussionist will typically be called upon to play several different instruments during one piece. This is really what makes the job of a percussionist different from other instrumentalists. In order to make a positive contribution to the musical ensemble, the percussionist must know how to produce good characteristic sounds on several different instruments,. Therefore, a “total percussion” education approach must be used with all young percussion students. Special care must be taken to educate students on instrument maintenance, implement choice, and the techniques of playing the most standard percussion instruments.

The techniques and concepts offered within this presentation are designed to help music educators train their percussion students to take care of equipment, make educated stick/mallet choices, and produce good characteristic sounds on the following instruments:

Snare Drum

Keyboard Percussion

Timpani

Bass Drum

The Cymbal Family

Tam-Tam/Gong

Tambourine

Triangle

Snare Drum

- Maintenanceo Change the heads once a year if possible.o Always clean out the inside of drum while the head is off. o Lightly lubricate the tension rods before putting the head and rim back on the

drum.o Check to make sure the snare strainer and snares are in proper working order.

- Tuningo If you are putting on a new drumhead, begin by getting all the lugs “finger-

tight;” then tighten the head gradually, one half turn at a time, using the “cross-tuning” method. 3-4 half turns of a drum key on each lug should get the drum close to an appropriate pitch.

o Check the tension on the head by pressing down on the middle of the head with your thumb. If it gives slightly, it should have the correct amount of tension.

o You will then want to check to make sure the head is balanced, which means the tension of each lug is equal. Lightly tap the head at the edge of the drum directly over each lug to see if they match in pitch. If they are uneven, choose the pitch you like the best and match all of the others to it.

o The snare tension should also be adjusted, using the adjustment knob on the side of the drum, to appropriately match the music you are playing. Generally, it is a good idea to have the snares pulled slightly tighter for louder playing, and left a bit looser for softer playing.

- Playing Areao The snare drum can get a variety of different sounds depending on where you

play it.o The most characteristic sound is achieved when playing directly over the snares. o The lowest fundamental tone is achieved by playing directly in the center of the

drum. A thinner, more ringing tone occurs when you play near the edge. o In general, most playing should occur about 1/3 of the distance from the center

to the edge of the head, directly over the snares.o At times, you will want to play closer to the edge for softer passages, or in the

center for a louder, drier sound. o Be careful not to overuse moving from the edge to center for dynamic contrast,

moving too often will drastically change the timbre and color of your sound.

- Gripo There are two snare drum grips.

Matched grip Traditional grip

o Matched Grip provides the most natural and consistent approach to all-around percussion playing.

o Start all beginning percussionists on matched grip. o To achieve a good matched grip, hold the stick loosely between the pad of the

thumb and first knuckle of the index and middle fingers, and then gently curl the rest of the fingers around the stick.

o The stick should fit comfortably in your palm, and exit the bottom of your palm slightly outside of the wrist.

- The Basic Strokeo The basic percussion stroke should be executed primarily from the wrist.

o The stick should travel completely up-and-down.o Use one wrist motion per stroke. This single wrist motion should consist of a

downward stroke, and a rebound back to the point of departure. It is important that you let the stick rebound naturally off the head after it makes contact with the drum.

o Your wrist and fingers must develop an acute sensitivity to the natural rebound of the stick. Your hand should follow the path of the stick, just like your hand would follow the natural path of a bouncing ball when dribbling.

o As you begin to get into more advanced playing, it is important to integrate the arm and fingers into the stroke. This will help you develop a more versatile, and complete style of playing.

- Stickingo Every percussionist should be familiar with “Natural Sticking.”

Natural sticking develops: Greater rhythmic stability Evenness of sound Uniformity between players Stronger sight reading

- Rolls: o There are two types of rolls, concert (buzz) rolls and open (rudimental) rolls.o Concert rolls

A single concert roll stroke should allow for the stick to bounce 3 times (or more) on the head consecutively.

The amount of pressure in your fulcrum is one of the main factors in controlling the speed at which the bounces occur. Applying more pressure will make the bounces occur faster, and vice versa.

The weight of the hand and length of time that the stick stays on the head also affects the number of bounces, or “buzz quality.”

The correct stroke will be a combination of arm and wrist. When playing a concert roll, the goal is to create a sustained sound by

overlapping the bounces of each hand. Work on rolls by starting with very slow roll strokes, and then

gradually increase the speed of the strokes until you achieve a sustained sound.

o It is important to master the long roll when developing your roll technique. Once you are comfortable with playing a long sustained roll, add in a gradual crescendo and decrescendo.

o Practice maintaining a consistent hand motion while playing rolls by working on base-to-roll exercises.

o A roll base is the skeletal rhythm that is played as you are executing a roll. Beginner students should start by using a 16th note roll base.

o In performance, tempo and dynamic will ultimately determine the roll base (16th note, triplet, etc.).

o It is important for the snare drummer to think musically, and try to compliment the sound of the ensemble. Consult the score or other parts in the ensemble to match roll length and phrasing.

- Grace Note Figureso Think about having a short duration for all grace note figures.o Flams and drags should be played with one motion made simultaneously by both

sticks.

o The height of the grace notes should never exceed 1 inch, and should not involve a prep stroke.

o To perform a flam start with one stick at 9” (primary note) and one stick at 1” (grace note), then drop them at the same time. The grace note should land slightly before the primary note, creating the characteristic flam sound.

o Drags may be played closed or open.o Concert (closed) drags should sound be kept short in duration.o Multiple grace note figures, like four stroke and five stroke ruffs, should be

played open, but kept short.

Keyboard Percussion

- Maintenanceo Do not ever lean or set objects down on any mallet instrument.o Check the keyboard string regularly for fraying.o Always go slowly, and be very careful when moving instruments from place to

place. o Check all the knobs and screws on the frame to make sure they are secure. This

will help the instrument stay secure when moving from place to place, and prevent the instrument from rattling while playing.

o Check to make sure that the wheels/casters on your mallet instruments are in working order.

o Lift the frame of the instrument over any bumps as you move the instrument from place to place.

o Use covers on all of your mallet instruments. Blankets work great if you do not have an instrument cover from the manufacturer.

- Tips for Improving Note Accuracy and Sound Consistencyo Stand with your feet apart, about shoulder width.o Shift your weight from side to side and lean to follow the melodic line that you

are playing. Avoid taking unnecessary steps as you move throughout the range of the instrument.

o Place your music stand where you can see both the conductor and the keyboard.o To produce the best tone quality on marimba, vibraphone, and xylophone, you

will want to play all of the natural notes in the center of the bar, over the resonator. On the accidental notes, you should also play in the center, unless the rhythm is too fast to reach the center, in which case you should play on the edge of the bar closest to your body.

o Use one wrist motion per stroke. The one wrist motion should consist of a stroke and a rebound (upstroke) back to the point of departure. You should visualize pulling the sound out of the instrument.

o Use a natural or alternating sticking whenever possible.o Employ the use of double strokes when the hand motion of an alternating

sticking becomes too awkward, and your hands start to get in the way of each other.

o Rolls Rolls on mallet instruments are used to sustain the sound of the

instrument longer than its natural decay.

Always use a relaxed single stroke motion when rolling on a mallet instrument.

As the speed of your roll increases, the mallets should deliberately be lowered closer to the bar.

When switching between notes while sustaining a roll, lead with the hand closest to the next note.

- Common Mallet Percussion Instrumentso Marimba

Marimba bars are generally made from rosewood or synthetic material. If the instrument is rosewood, avoid touching the bars with your bare hands whenever possible.

If a bar sounds muted, check the posts in between the bars to make sure they aren’t making contact with the bars.

Medium yarn mallets with birch shafts are the most common implements for general playing.

A soft yarn mallet will provide more warmth and depth in the lower register.

A hard yarn mallet will give you a brighter sound and more articulation in the upper register.

Cord or latex rubber mallets may also be used. Never use plastic mallets.

o Vibraphone Use yarn or cord mallets with rattan shafts for flexibility. If pedalings aren’t marked, pay close attention to the phrase markings

in the music for guidance on when to use the pedal. Do not mash the pedal all the way to the floor with your foot; only apply

enough pressure so that the damper bar is no longer in contact with the keys.

Individual mallet damping can also be used to silence individual notes while letting others continue to ring.

Keep the motor and pedal in working order.o Xylophone

Xylophones have rosewood or synthetic bars. For general playing, use a poly mallet. For louder playing in the upper register of the xylophone, use a plastic

mallet, but be careful not to pound or you could damage the instrument.

Rubber mallets provide a full sound when playing in the lower register. Do not use mallets made of material that is harder than the instrument

itself.o Glockenspiel/Orchestra Bells

Play in the middle of all the bars. Use a hard plastic mallet for general playing. Use a mallet with a Poly or Hard Rubber head for a warmer sound. Use a brass mallet for a more brilliant sound. Do not hit the instrument with a lot of force. The characteristic sound

of the instrument is designed to cut through the ensemble. Check the mounting of the bars to make sure all of the bars ring

correctly.o Chimes

Before playing, check the pedal and damper bar to make sure it is in working order.

Use a chime mallet with a hard plastic, wood, or felt covered head.

Place your music stand as close as possible to the instrument, directly in-between yourself and the conductor. Make sure that the stand is high enough so that you can see your music, the conductor, and the instrument.

Timpani

- Maintenanceo Keep the drums clean and the pedal system lubricated.o Know what type of pedaling system you have: Dresden, Ball lock, or Balanced

Action. Balanced Action is the most common. o Know how to move the drums appropriately.

Make sure the wheel locks are off before moving. If the pedal is flush with the ground, lift the pedal up off the ground

before moving. Grab the drums by the struts. Never grab the drums by the counterhoop/rim.

o Keep the drums covered when they are not in use.o Know what the pedal tension knob (“Mystery Knob”) does, and how to use it.

Turning the knob counterclockwise loosens the spring tension, and helps keep the pedal in heel position.

Turning the knob to the clockwise, increases spring tension, and helps keep the pedal in toe position.

o Practice “clearing” the drumhead by matching the pitch of all the individual tension rods.

- Typical Drum Sizes and Rangeso 32’’ – D to Ao 29” – F to Co 26” – B-flat – Fo 23” – D to Ao 20” – F to C

- Drum Positioning and Playing Areao First decide whether you will play while sitting down or standing up.o Whether sitting or standing make sure the drums are at a comfortable height.

Your arms should hang down naturally with no tension in the shoulders. Your forearms, wrists, and mallets should create a straight-line path at a slight angle down toward the playing area.

o General playing should take place on the head approximately 1/3 of the distance from the edge of the drum to the center of the drum.

o Position the drums in a wide arc so that a natural swiveling of the upper body will always position the mallets over the correct playing area.

o Position your drums so that your music stand sits between the two middle drums, directly between yourself and the conductor.

- Mallet Selection/Careo Have multiple pairs of mallets

General – Used for all around general playing Cartwheel Style – Ideal for soft rolls and legato playing

Staccato/Ultra Staccato – Used for faster, more articulate playing. o Keep your felt mallets in good condition by avoiding contact with oily hands.o Keep the felt even and manicured to help produce even sounds.

- Tuningo Have a pitch source such as a tuning fork, pitch pipe, or piano to reference when

practicing tuning.o First develop your ear to be able match pitch, and sing any interval.o Practice matching pitch, and tuning intervals on the instrument.o Gauges can be very valuable when performing quick tuning changes.

- Techniqueo Grips

German (Match Grip) - Darker French Grip (thumbs up) - Lighter

o French Grip is basically a matched grip rotated outward to where the thumbs point toward directly to the ceiling.

o The Fulcrum should be formed between the pad of the thumb and the first knuckle of the index and middle finger. The rest of the fingers should curl lightly around the stick to support the stick in the hand.

o A small space should exist naturally between the base of the thumb and the base of the index finger (open fulcrum).

o Basic Legato Timpani Stroke: The downward motion of the stick is initiated with a natural combination of wrist, fingers, and arm. The motion of the stroke continues back upward, as the stick naturally rebounds off the head.

o When working on the legato stroke it is important for the wrist, hand, and arm to follow the natural path of the stick back to its point of departure.

o Articulation on timpani can be manipulated in many ways, such as stroke velocity, grip alteration, stick height, and beating area.

- Rollso Timpani rolls are performed as single stroke rolls. Your notated volume, the size

of the drum, and the head tension, will determine the speed of the roll. Smaller drums require faster roll speeds and vice versa. Evenness is the most important quality to a roll.

o The fingers initiate and control the motion of the stick during the roll.o Have about 6 inches of space in-between your mallets when rolling. o Listen to the music and match the ensemble when making a decision to connect

or not connect your roll to the terminating note.

- Mufflingo Muffling should be performed using the middle, ring, and pinky fingers. The

stick remains grasped by the index finger and thumb. o To muffle, simply touch the head of the drum (don’t press) in the playing area

until the sound dissipates.

Bass Drum

- Maintenance

o If the head is scratched, dented, or has holes in it, it should be replaced. o When replacing the head, take this opportunity to also check the cleanliness of

the drum shell, and the quality of the rim. Check to make sure there are no foreign objects in the drum (pencils,

trash, etc.). Make sure the rim isn’t warped or cracked by gently rolling it on the

ground.o When putting the head back on, balance the head by finger tightening the lugs.

Then evenly put tension back on the head using the cross tuning method. o Tune the resonant head to the lowest ringing tone, probably about 3-4 half

turns past finger tight. o Tune the batter head (playing side) to a m2 or m3 above the resonating head,

usually about 2-3 half turns more than the resonant head.o The drum should ideally be mounted on a suspension stand.

- Malletso A basic set of bass drum mallets should include one general sostenuto mallet,

and a matched pair for rolling.o Additional harder felt mallets, chamois covered, or wooden mallets may be used

as necessary for increased articulation on faster passages, or for cannon shot effects.

- Playing Position/Techniqueo Position yourself where you, the player, is directly facing the conductor, and the

drum is tilted on the stand at a slight angle.o For general playing, strike the drum just off the center of the head; use the very

center of the drum for a drier sound with more impact.o The best sound is produced with a direct stroke, not a glancing blow to the head

of the instrument.o Use a combination of wrist motion and arm weight to get a full, weighty stroke,

and then allow the beater to rebound freely off the head.

- Rollso Use two mallets to play a bass drum roll. Position them in symmetrical positions

on opposite sides of the head, 1/3 of the distance from the center of the head to the rim.

o Matched grip or traditional grip technique may be used, with the evenness of the strokes being the priority.

- Muffling Techniqueso Never use internal muffling on concert bass drum!o Bass drum muffling needs to be used to match the length of sound of the

ensemble.o Appropriate muffling can greatly increase clarity and articulation on marches. o There are a few different muffling techniques.

Place your knee against the batter head, and have your non-playing hand rest lightly on the resonant head.

Drape a small towel over the top edge of the playing side of the drum. This will leave both of your hands free to play, and your legs free to help stabilize your body.

The Cymbal Family

- Crash Cymbals o Maintenance

All percussionists should know how to tie a cymbal knot. Use leather straps without pads for concert cymbals. Check the strength of the knots regularly.

o Cymbal Types 18” is a standard size. French – Thin, quick response, fast decay Viennese – medium thickness, quick response, fast decay German – Thicker, Slower response, slower decay

o Basic Technique Posture: stand with your feet staggered, in a relaxed “athletic” position. Grip: Hold the strap between the thumb and index finger at the point on

the strap closest to the cymbal bell, the rest of the strap should lie in the palm, and the other fingers should curl around the strap (like matched grip snare drum).

With the cymbals in your hand: The top cymbal should hang down like a suspended cymbal but at an angle, hold the bottom cymbal facing upwards at a slight angle, the cymbals should also be at an angle to each other.

For loud crashes with a long sustain: The top cymbal is dropped down onto the bottom cymbal as the bottom cymbal moves gently and subtly toward the top cymbal to meet it. The bottom cymbal should accept the top cymbal at the moment of impact.

At the moment of impact, you want the edges of cymbals to make contact slightly offset from each other. This will help you avoid “air pockets.”

Follow-through: The sound is not over after impact. Allow the cymbals to resonant freely by separating them and letting them ring for the desired length.

When playing loud, consecutive crashes: Hold the cymbals close together at a slight angle to each other, keep the LH stationary, Impact the LH with the RH, and get volume through velocity rather than distance.

When playing soft crashes: begin with the cymbals very close together; hold both cymbals at a very slight angle and parallel to each other. Keep the LH stationary, and gently push the RH toward the LH. Allow the cymbals to return to the starting position after impact.

To mute the cymbals, draw them in to the tightened muscles of the chest or abdomen.

o The Sound A good cymbal sound consists of two parts, attack and sustain. Listen for “Chaaa…!“ Explore your cymbal sound through different crash techniques. “10 crashes a day keeps the conductor away” – Keith Aleo

- Suspended Cymbalo Instrument Selection, Implements, and Maintenance

Make sure the cymbal stand is equipped with a cymbal felt, a plastic/rubber sleeve, and a wing nut on the center post.

Gooseneck cymbal stands allow for more resonance, and a richer sound.

Drum set cymbals are not suspended cymbals. Select your cymbal carefully to match the ensemble. Soft Yarn mallets are the implements of choice for general playing. Do not ever use timpani mallets to play the suspended cymbal. To get a bright, faster sound, strike the cymbal with the shoulder of a

drumstick.

o Basic Technique Strike the cymbal on the edge of the instrument. Use an upstroke to pull the sound out of the instrument; this will help

the cymbal vibrate freely. Use the weight of your arm and mallet to get volume and depth.

o Rolls Position the mallets at the 4 and 8 o clock positions. Use a slow roll speed, just fast enough to achieve a sustained sound. As the music gets louder, gradually increase your roll speed to get more

volume out of the instrument. Be careful not to roll too fast, even and smooth is better. Be patient with crescendos, save the blossom for the end, and peak

with the ensemble.

Gong / Tam-Tam

- Selecting an instrumento A gong has a definite pitch.o A tam-tam has an indefinite pitch. o When selecting an instrument, look for a low, sustaining sound.o An appropriate size for a band or orchestra is anywhere between 24” and 32.”

- Maintenanceo Mount the instrument on a sturdy frame.o Use thick rope or cable to hang the instrument.o Check the quality of the rope regularly to prevent the instrument from falling.

- Implement Choiceso Use a mallet with a lot of weight and a head of comparable size to the

instrument itself.o Do not play the tam-tam with a bass drum beater.

- Body Positiono The instrument should face the conductor.o The player should position himself to the side of the instrument, so that he/she

can play with one hand and use the other to reach around and muffle the instrument from the backside. The player can also use the side of the body to help muffle the instrument.

o The player should position the music stand in between his/her body and the conductor.

- Playing Techniqueo The most characteristic sound is generally just off the center of the instrument.o Warm-up the instrument before playing by lightly and inaudibly tapping the

instrument with the mallet, or your finger.o Use a lot of arm in the stroke; let the weight of the mallet do the work.o Rolls should be performed with two beaters, not one.

Tambourine

- Instrument Characteristics and Maintenanceo 10” is a typical size for a concert tambourine.o A good concert tambourine should have a shell made out of wood and jingles

made out of bronze, copper, or silver. It will also have a calfskin head.o Keep the instrument in a case to prevent damage in-between uses.o Most tambourines will have a hole in the shell for mounting the instrument on a

stand. Although some people call this the “thumb hole,” it is not intending for thumb placement.

- Grip and Playing Techniqueo Place the instrument in the open palm of your weaker hand, perpendicular to

the plane of your hand. Close your fingers around the underside the shell, and place your thumb on the topside of the head.

o For general playing, the instrument should be held at a 45-degree angle at eye-level.

o The angle at which you hold the tambourine will change the sonority of the instrument (Wet vs. dry).

o Striking the instrument 1/3 of the distance from the edge to the center will produce the best balance of head to jingle sound.

o For lighter playing, use only a combination of your fingers, less fingers equals a softer dynamic.

o When playing with your fingers, you may choose to rest your wrist on the instrument to dry out the sound.

o When playing extended soft passages, you may also want to set the instrument on your knee and play with the tips of your fingers.

o Play with the knuckles of a closed fist for louder, fuller playing.o You can also use the palm of your hand to strike the instrument to produce a

forceful accent with a loud pop.o The fist/knee technique may be employed when playing loud, rapid

articulations.

- Rollso The Shake Roll

Always begin and end a shake roll with an articulation from the striking hand.

To end a shake roll, immediately return the instrument to the original angle upon the terminating stroke.

When performing a shake roll, think wiggle, rather than rotate.

Varying the height that the instrument is held controls the volume of a shake roll.

o The Thumb Roll To perform a thumb roll, rub your thumb against the head, along the

circumference of the instrument. Make sure that your thumb points in the direction of travel around

edge of the head. Using the tip of the fleshy part of your thumb, apply a light yet

consistent pressure against the head, do not push too hard. Friction is the most important element to a thumb roll. It will help to

rub some wax along the rim of the head to help create a tackier surface. It is also be a good idea to slightly moisten your thumb immediately before playing.

You may use the heel of your hand to articulate the end of a thumb roll.

Triangle

- Instrument Characteristics and Maintenanceo Triangles come in a wide range of sizes. 6” is a standard size.o When purchasing a triangle, listen for a shimmery quality with a lot of

overtones.o It is also necessary to purchase a clip with some type of nylon or fishing line to

suspend the triangle while playing.o Have a variety of sizes of triangle beaters on hand to use for various levels of

dynamic.

- Playing Positiono Hold the triangle by cradling the clip with your thumb and middle finger;

stabilize it with your index finger on top of the clip. Whenever possible, hold the triangle up at eye level. This will allow the instrument to ring freely, and the sound to travel directly to the audience without being filtered through the ensemble.

- Techniqueo A good general playing area is near the bottom, closed corner of the instrument.o Triangles have infinite sounds. Get to know your instrument and find the sound

that best suits your ensemble. o To cut-off the sound of the triangle, gently close your hand around instrument. o Be careful not to strike the instrument with a forceful blow. The acoustics of the

triangle allow the sound to cut through the ensemble without having to strike it hard.

- Rollso Triangle rolls are typically executed on the inside of a closed corner of the

instrument by rapidly oscillating the beater back and forth between the two sides. Evenness and consistency are more important than speed when executing a triangle roll.

Suggested Sticks and Mallets

Snare Drum Sticks - Vic Firth SD1, STG, STG1

Bass Drum Mallets - Vic Firth Tom Gauger Series: TG3, TG4, TG7

Gong Mallets – Vic Firth Soundpower Gong Mallets: GB3, GB1

Chime Hammer – Vic Firth Soundpower Chime Hammer: CH

Keyboard Mallets - VF Orchestral Series: M130, M133, M134, M135, M136, M144

Timpani Mallets – VF Tim Genis Signature Timpani Mallets: GEN4, GEN6, GEN8

Suspended Cymbal Mallet - Vic Firth Becken Cymbal Mallet: BCS1

All of these sticks and mallets were used in today’s presentation.

Concert Percussion Resources:

Teaching Percussion by Gary Cook

Percussion Essentials: A Practical Manual for Music Educators by John H. Beck

Percussion Manual by J.C. Combs

Band Director’s Percussion Repair Manual by Ed Brown

Percussion Instruments and Their History by James Blades

Fundamental Method for Timpani by Mitchell Peters

Fundamental Method for Mallets by Mitchell Peters

*Vic Firth Percussion 101 – www.vicfith.com/education/percussion101

*Remo Drum Resources - http://remo.com/portal/pages/drumming/index.html

*Pearl Drums Education – www.pearldrum.com/education.aspx