Percussion section:  The basics
 
For this, my next instalment on basic ensemble training knowledge I would like to share some thoughts and resources regarding the development of our percussionists.  And yes, posture and hand position play an important role in percussion performance, so once you have the templates clearly established, be prepared to remind your percussionists 70 X 7!
 
So often in our rehearsals our percussion sections get left out, either through ours, or our percussionist’s mis-understanding, lack of confidence, lack of specific knowledge/role models, or the fact that they are simply isolated by too great a distance from our podium.  Sometimes we fail to understand how to employ the sequential and systematic learning approaches found in our method books, or lack proper materials, or instruments, to prepare our students to meet the challenges in our performance repertoire.
 
What other section in our ensemble is presented with so many performance challenges? Physical distance between unlike instruments, the need to develop individual/group organisation skills, the ability to master performance technique for so many different kinds of instruments, and the list goes on.
 
And do we actually know the different percussive sounds our individual scores demand?  Can we describe them? Do we actually know what kind of sound the composer wishes to hear at a particular point in the score for each instrument?  Can we articulate it? Can we demonstrate the sound for which we desire?  
 
Sometimes we have to admit that we just don’t know enough…yet.  Once again, 'we don’t know what we don’t know’!  But, we need to know! Do we know where to find the answers, and is this important?  However, it is a plain fact that the success of our bands and orchestras lie in the effectiveness of our percussionists to possess the techniques, reading skills and passion to cover and musically meet the challenges of modern ensemble repertoire.  If we are fortunately endowed with a fine percussionist tutor/staff, we still need to reinforce their teaching and direction. And we still need to be able to articulate that special sound we wish our percussionists to produce.
 
Another important point for consideration is the need for we musical directors to be able to build and encourage our percussion sections to become vibrant communities of shared challenges, learning journeys and ultimate joy of being a part of an important group of musicians within our ensemble.
 
For the developing of an effective and engaged percussion section, it is essential that we hold in our repertoire of teaching strategies, the accurate physical and aural templates for percussion.  To this end I have chosen several video demonstrations and written articles covering what I consider to be the most important fundamentals of percussion performance.  
 
This next portion of my presentation for beginning and training knowledge acquisition, and development provides you with both written and video resources for percussion instruments technique. These resources specifically explain and demonstrate posture, hand position, stick/mallet angles, and proper sound production. Also provided within this section are several approaches and specific exercises for introducing developing basic technique.
 
Percussion Basics Websites:
 
Vic Firth Percussion 101 – This is an absolutely fabulous video site covering almost every aspect of percussive techniques and individual instrument description, including: selecting mallets, sticks and beaters and suitable instruments as well as practical maintenance tips, such as replacing heads, snares and simple repairs. 
 
The site also presents descriptive techniques and demonstrations that cover the major points of snare drum, bass drum, timpani, tom tom, cymbals - both suspended and crash, and triangle performance.  Also included is an excellent series of videos demonstrating most of the basic Latin and auxiliary percussion performance techniques.  This is an incredibly comprehensive resource and I highly recommend it for broadening your knowledge of this absolutely essential and often little appreciated or understood section. https://www.youtube.com/results?search_query=vic+firth+percussion+101
 
Here are further resources:

• http://apps.texasbandmasters.org/archives/pdfs/clinic/2010-dick.pdf

• http://www.beginband.com/percussion.shtml

• http://bandmasters.net/JHV%20Perc.Inst.Recommend..pdf

• https://fas.org/irp/doddir/army/tc1-19-30.pdf

• http://www.bandworld.org/pdfs/WarmUp_Percussion_Todd.pdf

• http://www.bandworld.org/pdfs/PercussionABC_Schwartz.pd

 
 Snare drum technique:

• https://www.youtube.com/watch?v=0Krnkf865SI

• The following site is impressive, as it features a young student teaching basic snare drum rudiments! http://www.youtube.com/watch?v=Mj2AgAs-3gQ&feature=related

• https://www.youtube.com/watch?v=0HFW7yplSBw

• http://www.youtube.com/watch?v=JIQKyLX9QPU&feature=channel&list=UL

• http://bandmasters.net/JHV%20Perc.Inst.Recommend.pdf

 
Mallet performance sites:

• https://www.smartmusic.com/blog/developing-a-young-mallet-player/

• http://news.chopspercussion.com/what-mallets-does-my-student-need-beginners-faqs/

• http://groverpro.com/an-organized-percussion-section-the-key-to-success-by-john-r-beck

• http://apps.texasbandmasters.org/archives/pdfs/bmr/2004-06-wessels1.pdf

In my next post I am hoping to share some thoughts on the importance of getting the breathing concepts we share with our wind students unified and maybe less contradictory.  After all it is a topic fraught with difficulty, and there are many diverse philosophies swirling around this important issue...
 
By the way, just as a reminder, I have added several new articles for your consideration in my "Publications and Articles" section. However, you will need to obtain a password to access the section.  Please contact me.

I hope that you may find all of my resources useful! 
 
Thank you once again for reading!
 
Warm regards,
 
Monte














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Goal/target identification: Becoming visually and aurally aware: The Brass Family
 
Continuing on from last week’s post, here is the 3rd instalment addressing the importance of introducing, reinforcing and maintaining acceptable performance habits.  Please find below the set of visual rehearsal ‘templates’ we should employ to introduce and reinforce proper brass posture, hand position and embouchure.  Once again, it is essential that we remain committed to consistently using them to remind students to demonstrate correct responses throughout every private lesson and training/rehearsal session.
 
The word ‘template’ may be unfamiliar to my readers, however it is the term I commonly use to describe and reinforce the set of aural and visual skills, such as characteristic tone production, or a specific hand position for any particular instrument.  In my mind I hold a picture of the acceptable tone quality, articulation, accurate rhythmic response, correct posture, hand position, properly formed embouchure, mouthpiece placement, etc, which has been systematically and sequentially introduced to the student in the early stages of their private lesson/ensemble participation.  In subsequent rehearsals/lessons I then superimpose these over the student’s physical demonstration/performance.   My use of both visual and aural templates assists me in determining whether their present performance habits are being formed and successfully developing.  The constant use of these templates allows for me to either reinforce acceptable habits, or correct and re-establish the proper performance response.
 
Your visual and aural ‘templates’ should always be derived from your music education philosophy and your student  learning objectives’ (SLOs) such as:  

• What is appropriate posture, and what does it look like?
• What should each instrument’s hand position look like?
• What should the characteristic embouchures and mouthpiece placements for each instrument look like?
• What should a ‘characteristic tone’ for each instrument sound like?

 
Once again, the various templates I have listed below require a consistent ‘attention to the specific details’ representing a basic catalogue of the sorts of things for which we should be both looking and listening. However, it is only after we have effectively transferred these essential templates on to our students that we will begin to see student ownership and personal assessment opinions progress into significant rewarding and lasting success.
 
For the next topic in this series on “Basic Ensemble Training Knowledge”, let me introduce you to some helpful brass teaching aids and specific details that you can actively share and reinforce in each rehearsal.
 
Brass: the basics - Brass instruments come in two basic shapes: Conical and Cylindrical. Simply put, cone shaped and cylinder shaped bores. Cone shaped instruments gradually get larger from the time the tubing leaves the mouthpiece receiver and are as follows:

• Cornet
• Flugelhorn
• French horn
• Tenor horn
• Baritone
• Euphonium
• Tuba/Sousaphone 

 
The conical bore tone characteristic is generally warm and round, voice-like and less direct.  The conical instruments respond best when the sound is not forced.
 
Cylindrical Instruments relatively retain their bore diameter until they arrive at the beginning of the bell flare, and are as follows:

• Trumpet
• Trombone
• Bass Trombone

The  cylindrical tone characteristic is generally bright, directional and penetrating. Both the conical and cylindrical shapes are capable of singing. However, the cylindrical needs more attention.  It is a little less easy to distort the cylindrical shape, but one still needs to be careful. 
 
The best way to develop a beautiful characteristic tone for both shapes is to find and listen to fine brass artists.  Besides, no one instrument has the corner on beautiful sound production, so don’t limit yourself to your own instrument!  The human voice actually offers the best options!
 
Trumpet: getting started:The size of the instrument does matter – The trumpet is relatively heavy, and as most wind instruments, basically designed for adult body shapes and hands. Check student hand sizes to ensure that their fingers can comfortably depress the corresponding valves and that the left hand can comfortably support the weight of the instrument.

• It is the Left Hand that holds the instrument, allowing for the right hand 1st three fingers the ease of action without trying to carry the weight of the instrument and operate the valves simultaneously. 
• Eventually the left hand 4th finger, or middle finger will operate the 3rd valve slide for 1 & 3 and 1, 2 & 3 valve combinations. These 2 combinations are physically too short and need extra length to compensate for the inherent sharpness.  Some trumpets, the more expensive models, tend to also include a 1st valve slide, which compensates for 1 & 2 valve combination sharpness.
• All trumpets come equipped with a hook ring on the lead pipe for the right hand ‘pinkie’ finger. Its general usage is to steady the instrument; hold the instrument while turning pages or inserting and removing mutes.  I generally discourage its use in young students, as they tend to pull on it to increase embouchure pressure or use it to support the weight of the trumpet. I prefer the floating little finger.
• Developing the right- hand’s position is really important at this early stage, as bad habits are very hard to break later on.  Furthermore, incorrect right-hand position can impact embouchure setting and stiff, tense fingering, causing further difficulties.
• The right hand thumb should be placed between the 1st and 2nd valve casing, under the lead pipe and opposite the 1st finger placement on 1st valve. Be sure that the elbow is not too high or too low, but is following a natural looking angle down from the wrist.  This ‘hand position’ can be discovered by simply dropping the right hand to the side and lifting it into its place.  It will appear completely natural!
• The left hand starts in the same place, dropped to the side and then lifted to hold the valve casing between the thumb and fingers. Don’t allow them to strangle the instrument.  Both natural & relaxed is best:  Avoid hand, shoulder and neck tension!
• Additional information:
• https://www.youtube.com/watch?v=XFPTUOJjjWg
• http://www.thetrumpetblog.com/trumpet-hand-playing-position/

• Embouchure formation, once again starts with either the letter “M” or “P”: firm, set corners, flat chin and relaxed centre;

Once the correct lip formation is set, we are now ready for the correct placement for all brass instrument mouthpieces; this is essential, and is best accomplished with a ‘mouthpiece visualiser’.  This is generally a trumpet, French horn, trombone/euphonium & tuba rim.  Old mouthpieces can be turned into visualisers. Simply cut the rim off and have a little thin metal rod welded to the outside face of the rim.  Conversely, you buy an expensive one from a music store supplier. In either way you will need 4 of them.  The visualiser allows both teacher and student the opportunity to both see and feel the correct placement, and should be used regularly in the early learning stages to avoid incorrect habits to develop. After demonstrating the proper mouthpiece placement, let the student now place the mouthpiece on their lips.  Be sure to encourage the student to regularly check their mouthpiece placement with a mirror.

• The correct trumpet mouthpiece placement is 50/50 top/bottom lip, in the centre, or as close to the centre as possible.  Be very sure that the line on the lip THAT divides the white portion from the red is INSIDE the cup!  This set-up supposes that the student’s teeth are fairly even, and that there are no serious issues with crooked teeth, severe ‘under bite’ or ‘over bite’, otherwise known as malocclusions.  If this is the case, the success rate for a student choosing to play a brass instrument can be greatly diminished and a second instrument should be suggested.  You will need to be committed to consistently checking and correcting embouchure on a regular basis! Look for it and correct it immediately!  A good mouthpiece recommendation for getting started would be a Vincent Bach 7C.

   http://www.bandworld.org/pdfs/embstudytpt.pdf

• The angle of the instrument should be at a comfortable, slightly slanted (10%) angle towards the bell end.  This angle is very important, as an improper angle (usually too low due to the weight of the instrument) can lead to incorrect mouthpiece placement on embouchure; generally, too low on the lips. Overbite and underbite can be compensated by aligning the bottom and top teeth against the mouthpiece rim.
• Valves and slides, (all four slides, including tuning & 1st, 2nd & 3rd) need regular lubrication.  Valves (approved valve oil), at least once a week, and slides (Vaseline Petroleum Jelly), once a month.
• Be sure that the student presses the valves straight down and not from the side.  Correct right hand and finger position will generally solve this issue.

 
 French Horn: The basics:

• The size of the instrument does matter: The instrument is heavy:  As in the trumpet, check for hand position and the ease of finger action.  It is fingered with the left hand and basically supported by both hands; left hand pinkie; right hand inserted into the bell with the weight supported by the back of the right hand placed in the upper opening of the bell throat. This right hand position will assist in shaping the sound and controlling intonation as the student progresses. (Maybe controversial, but for smaller students it may be acceptable in the initial stage to rest the bell rim on their leg as long as the mouthpiece remains in the proper position.)  
• The most common form of the modern French horn today is known as the ‘Double Horn’ having ‘two sides’; pitched in both Bb and F.
• the shorter/higher side being pitched in Bb and the longer/lower side pitched in F.  The instrument is set to play in F and then moved into Bb via the depressing of the thumb valve, operated by the left hand thumb.
• The main advantage of the Bb side of the horn is improved intonation and accuracy of pitching.
• Embouchure formation, once again starts with either the letter “M” or “P”: firm, set corners, flat chin and relaxed centre;
• For more information:

http://hornmatters.com/2010/08/hornmasters-on-mouthpiece-placement/

• The mouthpiece placement is quite different from the trumpet.  Top lip portion is between 2/3, and 3/4, and bottom lip placement is between 1/3 and 1/4. The bottom edge of the mouthpiece rim should be placed in the red of the lip.  The mouthpiece is placed as close to the centre of the mouth as possible.

    An all-round mouth piece for starters is a Yamaha 30 C4

• The instrument is held at an angle, bell pointing towards the right ‘off side’, accommodating a natural right hand/left hand juxtaposition. A picture is worth a thousand words! (Insert picture)
• The valves and slides must be lubricated, just as in the trumpets on the same sort of schedule. 
• For further information check out these sites:

http://www.public.asu.edu/~jqerics/beginners.html
https://www.musicarts.com/Student-Resources---A-Beginners-Guide-to-French-Horn-g29315t0.mac

Trombone: the basics-

• The size of the instrument does matter: Arm length is ALWAYS going to be a problem for young trombonists, but don’t despair!  There are trombone slide extenders available which will assist in getting out to 6th and 7th positions. 
• The hand position is complicated to the uninitiated so here are some pictures… https://www.youtube.com/watch?v=pUhTG74aqZM

• The left hand holds the instrument and the right hand moves the slide.  Right hand holds the slide, palm facing the chest and the 1st two fingers and thumb holding the slide brace towards the bottom of the brace.  Make sure that the elbow is not too high or too low, naturally follows the angle from the wrist.  The palm should be facing your heart.
• The trombone comes in three pieces and has to be put together and taken apart by the student. Herein lies the great danger for serious damage to occur, as the slide is very delicate, the slightest dent impacts the instrument’s ability to be played.
• It has a bell, slide and mouthpiece combination.  The slide section being inserted into the bell receiver pipe and connected together by the use of a threaded circle.  The bell and slide should be at a 90% angle.  Beware of the slide coming in contact with the bell rim as this can dent the slide, making the instrument inoperable.
• Embouchure formation, once again starts with either the letter “M” or “P”: firm, set corners, flat chin and relaxed centre;
• The trombone mouthpiece placement, again crucial for future success is placed in the middle of the mouth, with a 2/3 top lib and 1/3 bottom lip ratio: It is the same placement set-up for euphonium mouthpieces as well.
• For further information:
• https://www.youtube.com/watch?v=hJW4wibjR_E

• An all-round mouthpiece for starters is a Bach 11C
• As a trombone has a slide instead of valves or keys, with the exception of the ‘double trombone’ the instrument is, for all practical purposes is a fretless instrument.  It has 7 positions, just as the valved brass has 7 basic valve combinations, nevertheless, the positions are slightly different on every trombone.  Ultimately, it is a combination of ear and kinaesthetic muscle memory, which the trombonist must acquire from ‘time on task’ learning, comparative, mindful repetition, just like young string players.
• The most common trombone model today is the Bb/F instrument.  As you are most likely to come in contact with this instrument fairly early on, it is important to know that it has become the ‘standard’ instrument.  Unlike the double French horn, the trigger trombone is in Bb the F side is engaged when the left thumb depresses the valve.  It expedites the slide requirements, simplifying the slide shifts by often replacing the need for using 6th and 7th positions.  There is insufficient space to go into great detail here regarding the various pros and cons.
• Other developments include the introduction of the new plastic trombones called P-Bones, coming in various bright colours.
• The main slide and tuning slide(s) must be lubricated on the same schedule for the trumpet and horn.  However, the slide lubrication is of a special nature and must be demonstrated.
• Types of slide lubricant:

• Trombotine cream,
• Slide-O-Mix; liquid & comes in both a two-pack, or single application,
• Conn Sure-Slick, & comes in both a two-pack, or single application,
• Yamaha Brand: comes in two options; cream in a tube, or a liquid.
• Bach Slide Cream.

 
Euphonium: the basics-

• The size of the instrument does matter: The Euphonium is a heavy instrument:  Holding it is like cradling a small child.  The instrument is supported by the left hand and the valves are operated by the right hand.  In the case of English and European instruments, if there is a 4th valve, it is most likely located on the right side of the instrument half way down the bell tube.  In this arrangement, the left hand forefinger is used to depress the valve.
• The Japanese, Chinese, American, and some European models follow the “in-line arrangement of either 3 or four valves. in this case the 4th valve may be covered by the right hand pinkie or played by the left hand index finger.    The euphonium will be either be 'upright bell' or 'bell front'. 
• More advanced euphonium models have a 4th valve, as already mentioned.  This is a 'double' instrument arrangement: shorter side in Bb and longer, 2nd side in F.  This arrangement is a cross between the need for improvement in intonation and more effective valve combinations.  The instrument suffers from the valve issues mentioned in the trumpet as well as the problems brought on by its conical shape, which compounds the intonation issues.  
• As the instrument height adjustment is crucial for proper mouthpiece placement and lead pipe angle, one may find that adjusting the angle of the instrument may be necessary.  It will have a lot to do with the length of the student’s torso.  A long torso will require a cushion under the bottom of the instrument. If the torso is too short, then the angle of the instrument will have to be adjusted.  Just as in the trumpet, the correct finger alignment is very important to developing quick and secure fingering.  Make sure that the right thumb and elbow are in the right place: Be sure that the elbow is not too high or too low, but follows a natural looking angle down from the wrist.
• Embouchure formation, once again starts with either the letter “M” or “P”: firm set corners, flat chin and relaxed centre; The proper mouthpiece placement, like the trombone is 2/3rds upper lip and 1/3 lower lip, in the centre.

 
Tuba: the basics-
The Size of the Tuba matters: The tuba is a heavy instrument: Holding the instrument is problematic, depending on the size of the student.  There are tuba- stand options such as tripod posts, cradles and such: See:
https://www.wwbw.com/Tuba-Stands.wwbw
 
The best option is to use either a single Bb tuba or a single Eb tuba.  These provide easier handling options allowing for younger students to get started.

• The Eb tuba option sets up minor transposition issue when reading bass clef.  When reading from a Bb method book the student has to remember that on an Eb instrument G equates to concert Bb.    If you choose the Bb tuba option there are no transposition issues. Follow this site for assistance in transposing Eb tuba to Bb bass Clef:

http://www.johngagemusic.com/2014/12/reading-bass-clef-parts/

• The tuba is played ‘bell up right’ and has the same fingering arrangement as the euphonium.  Again, be sure to check body shape and hand size.
• The mouthpiece is placed in the centre of the mouth and 50/50 on the upper and lower lips.
• Carrying the instrument can lead to creative cartage options such as a little handcart, shock cords on a skateboard, etc. and a variety of other ideas.
• More advanced Tuba models have a 4th valve option, as already mentioned.  This too is a double instrument arrangement: shorter side in Bb and longer 2nd side in F.  This arrangement is a cross between the need for improvement in intonation and improved valve combinations.  Just like the euphonium, the tuba suffers from the valve issues mentioned in the trumpet as well as the problems brought on by its conical shape, which compounds the intonation issues.   Make sure that the right hand position is set by properly aligning the thumb under, the 1st and 2nd fingers, and keeping the wrist from collapsing to the valve casing.
• Another viewpoint article on brass embouchures: http://www.brucepearsonmusic.com/articles/TeachingTheBrassEmbouchure.pdf

 
As in all wind instrument hand positions, it is always best to bring the instrument to your lips and not the other way around!
 
 Understanding the development of air support is crucial for all wind instruments.  However, the topic of air support needs a separate discussion as there are many approaches to this important topic and equally many points of view and equal number of strategies.
 
Many have merit and some are really contradictory and confusing.
Some people talk about the diaphragm in incorrect terms and function.  Proper air intake, delivery and control are essential for a rewarding engagement with the wind family.  I hope to address this subject in a future post.

In my next instalment I hope to continue our discussion of acquiring and using the visual templates for the Percussion families. I also hope to discuss some basic ideas for addressing 'breathing for winds: a can of worms for sure!
 
By the way, In my website I have added several new articles for your consideration in my "Publications and Articles" section. However, you will need to obtain a password to access the section.  Please contact me.

I hope that you may find them useful! 
 
Thank you once again for reading!
 
Warm regards,
 
Monte