{"id":3481,"date":"2024-03-22T09:35:11","date_gmt":"2024-03-22T13:35:11","guid":{"rendered":"https:\/\/www.TommyGoddardMusic.com\/?p=3481"},"modified":"2024-03-22T09:35:11","modified_gmt":"2024-03-22T13:35:11","slug":"the-marching-percussion-section-for-the-marching-percussionist","status":"publish","type":"post","link":"https:\/\/www.TommyGoddardMusic.com\/?p=3481","title":{"rendered":"The Marching Percussion Section: For the Marching Percussionist"},"content":{"rendered":"\n<p>Percussive Arts Society&#8217;s Virginia\/Washington D.C. Day of Percussion<\/p>\n\n\n\n<p>Saturday, March 23, 2024 @ Virginia Tech<\/p>\n\n\n\n<p><strong>Dr. Tommy Goddard<\/strong><\/p>\n\n\n\n<p><em>Assistant Director of Athletic Bands and Drumline,<\/em> Liberty University<\/p>\n\n\n\n<p><em><a href=\"https:\/\/www.TommyGoddardMusic.com\/wp-content\/uploads\/2024\/03\/VADC-DOP-Marching-Perc-Clinic-Handout-32324.pdf\" data-type=\"URL\" data-id=\"https:\/\/www.TommyGoddardMusic.com\/wp-content\/uploads\/2024\/03\/VADC-DOP-Marching-Perc-Clinic-Handout-32324.pdf\">Click here for a pdf of this clinic.<\/a><\/em><\/p>\n\n\n\n<p><strong>Reason For Clinic<\/strong><\/p>\n\n\n\n<ul>\n<li>Goddard\u2019s Doctoral Thesis (2022)\n<ul>\n<li>\u201cEquipping College Students for a Marching Percussion Career in the United States\u201d<\/li>\n\n\n\n<li>Majority of survey participants &#8211; Prepared as Performer, not Teacher\/Arranger\n<ul>\n<li>Pedagogy Techniques: 143x<\/li>\n\n\n\n<li>Comp\/Arranging Techniques: 185x<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<p><strong><em>The Goal<\/em><\/strong><em> &#8211; To produce successful percussion educators!<\/em><\/p>\n\n\n\n<p><strong>Marching Percussion Pedagogy<\/strong><\/p>\n\n\n\n<ul>\n<li>Concert Percussion vs. Marching Percussion Technique &#8211; <strong><em>The Same!<\/em><\/strong><\/li>\n\n\n\n<li>What is written, equipment, and the role of the performer constitutes the differences.<\/li>\n\n\n\n<li>Misconception &#8211; Playing \u201cthrough the bar or drum\u201d is <strong>INCORRECT!<\/strong><\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Dennis DeLucia\u2019s Teaching Plan\n<ul>\n<li>The Grip (relax, relax, relax)<\/li>\n\n\n\n<li>The Flow (arms-wrists-fingers &#8211; tension-free motion)<\/li>\n\n\n\n<li>Strokes (Down, Up, Natural)<\/li>\n\n\n\n<li>Reading (RH lead\/LH lead\/Alternating)<\/li>\n\n\n\n<li>Rhythm Exercises<\/li>\n\n\n\n<li>The Rudiments (OG\/Standard &amp; Hybrids)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Dennis DeLucia\u2019s 3 Rs:\n<ul>\n<li>Reading (exercises &amp; solo\/ensemble literature)<\/li>\n\n\n\n<li>\u2019Riting (composing\/arranging)<\/li>\n\n\n\n<li>Rudiments (OG\/Standard &amp; Hybrids)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Basics must first be mastered to advance to higher level of achievement:\n<ul>\n<li>Marching percussion method books<\/li>\n\n\n\n<li>Literature (exercises &amp; solo\/ensemble)<\/li>\n\n\n\n<li>Technique manuscripts (\u201cHow To\u201d books like the Bachman books)<\/li>\n\n\n\n<li>Transcriptions of marching percussion performances (WGI\/DCI show excerpts)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Matched Grip &#8211; version of this is used on all instruments<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Why Traditional Grip? &#8211; Sling drumming &amp; it looks cool!<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Legato Stroke &#8211; basic motion for all styles\/instruments<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Dynamics are based on stick height:<\/li>\n<\/ul>\n\n\n\n<p>p = 3\u201d &nbsp; &nbsp; mp = 6\u201d &nbsp; &nbsp; mf = 9\u201d &nbsp; &nbsp; f = 12\u201d &nbsp; &nbsp; ff = 15\u201d&nbsp; fff = 21+\u201d with full arm<\/p>\n\n\n\n<ul>\n<li>Mallet technique &#8211; concert technique\n<ul>\n<li>2 mallets<\/li>\n\n\n\n<li>4 mallets (Stevens Grip is most common)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Legato stroke (piston stroke) is the basic motion.<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Dynamics are based on mallet height:<\/li>\n<\/ul>\n\n\n\n<p>pp = 1 1\/2\u201d &nbsp; &nbsp; p = 3\u201d &nbsp; &nbsp; mp = 4 1\/2\u201d &nbsp; &nbsp; mf = 6\u201d &nbsp; &nbsp; f = 9\u201d &nbsp; &nbsp; ff = 12\u201d fff = 15+\u201d (w\/forearm)<\/p>\n\n\n\n<p><strong><em>The Goal<\/em><\/strong><em> &#8211; To produce the most effective teaching philosophy!<\/em><\/p>\n\n\n\n<p><strong>Marching Percussion Arranging<\/strong><\/p>\n\n\n\n<ul>\n<li>It is the director\u2019s role to ensure that the <em>total musical production<\/em> is:\n<ul>\n<li>Uniform in style (winds &#8211; DL &#8211; FE)<\/li>\n\n\n\n<li>Balanced<\/li>\n\n\n\n<li>Creates a strong combined musical effect<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>The <em>role of the percussion section<\/em> in marching band is to:\n<ul>\n<li>Support &amp; enhance the wind writing<\/li>\n\n\n\n<li>Create a rhythmic pulse when appropriate<\/li>\n\n\n\n<li>Highlight the percussion section in a featured role<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Wind Arranger &#8211; sketch mallet parts if integral to wind parts.<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Percussion Arranger\n<ul>\n<li>Develop those parts &amp; make them percussion appropriate.<\/li>\n\n\n\n<li>Don\u2019t introduce new musical material that isn\u2019t part of the OG music intent of the composition, unless they are experienced.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>FE &#8211; 4th section along w\/WW, Brass, &amp; DL.<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Don\u2019t <strong><em>overuse<\/em><\/strong> FE! FE shouldn\u2019t play continuous throughout compared to other sections.<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Write fewer musical lines for the mallets &#8211; 1 for vibes &amp; 1 for marimba is plenty.<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Don\u2019t always have marimbas &amp; vibes playing together. Use each as a unique tone color: woods\/metals<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Use xylo &amp; glock colors sparingly.<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Mallets should double the WWs only occasionally.<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Write aux Perc like a composer would for concert band or orchestra.<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Use full DL ensemble sparingly &#8211; save for full impacts, fills, &amp; features.<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>To accompany the winds, use 1 or 2 sub-sections only (rarely snares &amp; tenors together).<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Include <em>dynamics<\/em> in the initial writing &amp; insist they are actually performed.<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Develop rhythmic motives &amp; have direction. All fast notes are <strong>boring<\/strong>. Rhythmic variety is pleasing to all.<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Ensure the <em>level of difficulty<\/em> is appropriate for the players.<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Be flexible &amp; willing to <em>re-write &amp;\/or cut<\/em> once music gets on the field. It never sounds the same in standing rehearsal or on the computer as it does in the drill.<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Listen to the wind section at each segment with &amp; without the DL &amp; FE. Decide which way it sounds better as a total music package.<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Less is more &amp; more is less!<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Need to be proficient in the following:\n<ul>\n<li>Notation &#8211; Finale or Sibelius<\/li>\n\n\n\n<li>Digital Audio Workstation &#8211; Logic Pro, Pro-Tools, Ableton, Digital Performer, Cubase, Studio One, Reason, GarageBand, etc.<\/li>\n\n\n\n<li>Drill Writing: Pyware, EnVision 3D, Field Artist 3, Drill Studio, Precision, etc.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<p><strong><em>The Goal<\/em><\/strong><em> &#8211; To produce the most professional representation of your skills!<\/em><\/p>\n\n\n\n<p><strong>Marching Percussion Performance<\/strong><\/p>\n\n\n\n<ul>\n<li>High School may only have budget for 1 percussion teacher, resulting in them having to split their time between both sections (DL &amp; FE). So, combine the warm-up of DL &amp; FE!<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Key components of effective warm-up:\n<ul>\n<li>DL: Singles\/Doubles\/Triples, 2 Height, Accents, Timing, Rolls, Rudiments, etc.<\/li>\n\n\n\n<li>FE: Scales\/Arpeggios, Vertical\/Independent\/Alternating\/Lateral Rotations, Block Chords, Permutations, Interval Control, etc.<\/li>\n\n\n\n<li>Listening, Balance, Blend<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<p><strong><em>The Goal<\/em><\/strong><em> &#8211; To produce the most efficient warm-up routine!<\/em><\/p>\n\n\n\n<p><strong>Recommended Resources<\/strong><\/p>\n\n\n\n<p>Beck, John H., ed. <em>Encyclopedia of Percussion. <\/em>2nd ed. New York: Routledge, 2007.&nbsp;<\/p>\n\n\n\n<p>Buyer, Paul. Drumline Gold: Innovative Systems for Marching Percussion Excellence. Chicago: Meredith Music Publications, 2020.&nbsp;<\/p>\n\n\n\n<p>Buyer, Paul. <em>Marching Bands and Drumlines: Secrets of Success from the Best of the Best. <\/em>Galesville, MD: Meredith Music Publications, 2009.&nbsp;<\/p>\n\n\n\n<p>&#8212;. \u201cReading is Not Optional.\u201d <em>Percussive Notes <\/em>45, no. 3 (June 2007): 34-36.<\/p>\n\n\n\n<p>&#8212;. <em>Working Toward Excellence: 8 Values for Achieving Uncommon Success in Work and Life. New York: Morgan James Publishing, 2012.&nbsp;<\/em><\/p>\n\n\n\n<p>Casella, Jim, and Jim Ancona. <em>Up Front: A Complete Resource for Today\u2019s Pit Ensemble. <\/em>Portland, OR: Tap Space Publications, 2003.&nbsp;<\/p>\n\n\n\n<p>Casella, Jim, and Murray Gusseck. <em>Fresh Perspectives for the Modern Drumline. <\/em>Portland, OR: Tap Space Publications, 1998.&nbsp;<\/p>\n\n\n\n<p>Cook, Gary D. <em>Teaching Percussion. <\/em>3rd ed. Boston: Cengage, 2019.&nbsp;<\/p>\n\n\n\n<p>Freytag, Edward. <em>The Rudimental Cookbook. <\/em>Nashville: Row-Loff Productions, 1993.&nbsp;<\/p>\n\n\n\n<p>Fyffe, Daniel. <em>Indoor Percussion Ensembles and Drum Corps. <\/em>New York: The Rosen Publishing Group, 2007.<em>&nbsp;<\/em><\/p>\n\n\n\n<p>Hannum, Thom, and Robert Morrison. <em>Championship Concepts for Marching Percussion. <\/em>Milwaukee: Hal Leonard Publishing, 1986.&nbsp;<\/p>\n\n\n\n<p>Holland, James. <em>Practical Percussion: A Guide to the Instruments and Their Sources. <\/em>Lanham, MD: Scarecrow Press, 2005.&nbsp;<\/p>\n\n\n\n<p>Markworth, Wayne. <em>The Dynamic Marching Band: A Resource Book. <\/em>2nd ed. Orlando: Marching Arts Education, 2017. iBooks.&nbsp;<\/p>\n\n\n\n<p>Molina, Oliver. \u201cWriting and Arranging for Marching Percussion in the 21st Century.\u201d <em>Percussive Notes <\/em>51, no. 4 (July 2013): 10-15. https:\/\/olivermolinacom.files.wordpress.com\/2018\/02\/writing-and- arranging-for-marching-percussion-in-the-21st- century.pdf.&nbsp;<\/p>\n\n\n\n<p>Ryder, Dan. <em>Techniques of Marching Band Show Designing System. <\/em>6th ed. Wylie, TX: Dan Ryder Field Drills, 2016.&nbsp;<\/p>\n\n\n\n<p>Sapadin, Pete. <em>Drumline Essentials. <\/em>8th ed. Chino Hills, CA: Pete Sapadin, 2020.<br><\/p>\n\n\n\n<p>Udow, Michael. <em>Percussion Pedagogy: A Practical Guide for Studio Teachers. <\/em>New York: Oxford University Press, 2019.&nbsp;<\/p>\n\n\n\n<p>Walker, Clif. \u201cEnsemble Listening: Rehearsal Techniques for Marching Percussion.\u201d <em>Percussive Notes <\/em>43, no. 3 (June 2005): 30-33. http:\/\/www.marchingroundtable.com\/wp-content\/uploads\/2012\/08\/ Ensemble-Listening.pdf.&nbsp;<\/p>\n\n\n\n<p>&#8212;. \u201cUsing a Metronome with the Marching Ensemble.\u201d <em>Percussive Notes <\/em>40, no. 1 (February 2002): 23-24. http:\/\/www.marchingroundtable.com\/wp-content\/uploads\/2012\/08\/Using-A- Metronome-1.pdf.&nbsp;<\/p>\n\n\n\n<p>Wooten, John. <em>The Drummer\u2019s Rudimental Reference Book. <\/em>Nashville: Row-Loff Productions, 1992.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Percussive Arts Society&#8217;s Virginia\/Washington D.C. Day of Percussion Saturday, March 23, 2024 @ Virginia Tech Dr. Tommy Goddard Assistant Director<\/p>\n<p><span class=\"more-link\"><a href=\"https:\/\/www.TommyGoddardMusic.com\/?p=3481\" class=\"readmore\">Continue reading<span class=\"screen-reader-text\">The Marching Percussion Section: For the Marching Percussionist<\/span><\/a><\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_newsletter_tier_id":0},"categories":[1],"tags":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p2GZWf-U9","_links":{"self":[{"href":"https:\/\/www.TommyGoddardMusic.com\/index.php?rest_route=\/wp\/v2\/posts\/3481"}],"collection":[{"href":"https:\/\/www.TommyGoddardMusic.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.TommyGoddardMusic.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.TommyGoddardMusic.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.TommyGoddardMusic.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3481"}],"version-history":[{"count":3,"href":"https:\/\/www.TommyGoddardMusic.com\/index.php?rest_route=\/wp\/v2\/posts\/3481\/revisions"}],"predecessor-version":[{"id":3486,"href":"https:\/\/www.TommyGoddardMusic.com\/index.php?rest_route=\/wp\/v2\/posts\/3481\/revisions\/3486"}],"wp:attachment":[{"href":"https:\/\/www.TommyGoddardMusic.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3481"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.TommyGoddardMusic.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3481"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.TommyGoddardMusic.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3481"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}