This is an updated version of the famous Saul Goodman Modern Method for Tympani. Roland Kohloff was the Fundamentals Editor, and Gary Werdesheim was the Music Editor, under the direction of Anthony J. Cirone. Many pages were re-engraved and many photographs have been re-done. This edition will continue the legacy of Saul Goodman as teacher and mentor to generations of percussion students, teachers, and performers.
Timpani Tone and the Interpretation of Baroque and Classical Music explores the nature, production, and evolution of timpani tone and provides insights into how to interpret the music of J. S. Bach, Handel, Haydn, and Mozart. In drawing on 31 years of experience, Steven L. Schweizer focuses on the components of timpani tone and methods for producing it. In so doing, he discusses the importance of timpani bowl type; mallets; playing style; physical gestures; choice of drums; mallet grip; legato, marcato, and staccato strokes; playing different parts of the timpano head; and psychological openness to the music in effectively shaping and coloring timpani parts. In an acclaimed chapter on interpretation, Schweizer explores how timpanists can use knowledge of the composer's style, psychology, and musical intentions; phrasing and articulation; the musical score; and a conductor's gestures to effectively and convincingly play a part with emotional dynamism and power. The greater part of the book is devoted to the interpretation of Baroque and Classical orchestral and choral music. Meticulously drawing on original sources and authoritative scores from the seventeenth through nineteenth centuries, Schweizer convincingly demonstrates that timpanists were capable of producing a broader range of timpani tone earlier than is normally supposed. The increase in timpani size, covered timpani mallets, and thinner timpani heads increased the quality of timpani tone; therefore, today's timpanist's need not be entirely concerned with playing with very articulate sticks. In exhaustive sections on Bach, Handel, Haydn, and Mozart, Schweizer takes the reader on an odyssey through the interpretation of their symphonic and choral music. Relying on Baroque and Classical performance practices, timpani notation, the composer's musical style, and definitive scores, he interprets timpani parts from major works of these composers. Schweizer pays particular attention to timpani tone, articulation, phrasing, and dynamic contouring: elements necessary to effectively communicate their part to listeners.
The Band Teacher's Percussion Guide: Insights into Playing and Teaching Percussion is an essential practical resource for instrumental music teachers and band directors. Author Stewart Hoffman, a Juilliard-trained percussionist, performer, private instructor, and former classroom teacher, offers a comprehensive yet accessible and clearly written handbook to help set teachers and students alike firmly on the road to classroom success. In this book, he presents a thorough foundation in snare drum, timpani, keyboard percussion, drum set, and auxiliary and Latin percussion techniques. More than this, he provides practical advice on curriculum and methodology, packing page after page with teaching tips developed through decades of experience. For educators and band directors who want to learn more about percussion instruments and playing techniques, refine their percussion-teaching skills, or set the classroom stage for a more effective and rewarding teaching experience, The Band Teacher's Percussion Guide: Insights into Playing and Teaching Percussion will be a valued resource for discovering: - keys to effective evaluation - how to plan a percussion program and select percussionists - recommended instruments and mallets; repair and maintenance guidelines - lifts and levels, a system that leads students to greater control and a more relaxed snare drum technique - technical exercises for all main and accessory percussion instruments - easily referenced summaries of points to focus on when practicing - guidelines for teaching jazz, Latin and rock drumset Visit the companion website at www.oup.com/us/bandteacherspercussionguide
In Percussion Pedagogy, author Michael Udow offers a practical guide for students interested in teaching percussion as well as improving their technique. Udow first introduces the bouncing ball system, a technical analogy that teaches students to resist the effects of inertia. Throughout the book, the bouncing ball analogy develops into a core performance principle based on integrated motions resulting in refined tone quality and meaningful musicianship. The book applies this principle to several instruments including snare drum, timpani, marimba, vibraphone, multiple-percussion, tambourine and triangle, bass drum, cymbals, tam-tams, and a variety of Western concert and world percussion repertoire. In particular, Udow addresses the importance of coupling stroke types with stickings to set the foundation for precise rhythmic playing and expressive musicality. Chapters also focus on integrated rhythms, breath, and pulsed rhythms, anatomy and physiological health, psychological health, purposeful listening, and the importance of singing when practicing. Offering solutions to common performance problems, the book's many examples serve as a paradigm for future problem solving. A comprehensive companion website complements Udow's teachings with a wealth of video tutorials and listening examples.
Learning was never so much fun! If you're looking for a revolutionary band curriculum that builds solid musicianship while motivating your students to practice throughout the year, then you've found it! This full band curriculum is sound in its pedagogy, written by leading young band composers and educators, including Robert W. Smith and Michael Story. The integration of important songs from the band world, that are both familiar and fun to play, is one of the stellar aspects of this course. Throughout the book, students experience music from a veritable "who's who" list of great band composers. They'll discover the musical contributions of Henry Fillmore, Johann Sebastian Bach, Wolfgang Amadeus Mozart, Clare Grundman, Ralph Vaughan-Williams, Scott Joplin, Peter Ilyich Tchaikovsky, and Igor Stravinsky. Some of the notable features include * A wonderful variety of melodies that span various styles and periods, including many popular themes students will know today
The Belwin Student Instrumental Course is a course for individual instruction and class instruction of like instruments, at three levels, for all band instruments. Each book is complete in itself, but all books are correlated with each other. Although each book can be used separately, all supplementary books should be used as companion books with the method.
