Effectively Engaging the Percussion Section


Dr. Brandon Haskett


Percussionists, by the nature of standard band set-ups and the requirements placed on them to perform modern literature, require extra consideration to address logistical and musical concerns. Tey are oſten disconnected from the group, both physically and musically; however, they need to be developed as musicians in order for them to effectively connect with the music and the rest of the ensemble. Below are some recommendations and strategies for directors to help their percussionists towards these goals.


Rehearsal Set-up


Directors should always be explicit with po- sitioning of each percussion instrument. For much of the repertoire, this poses few prob- lems. Typically, the bass drum, snare drum, and cymbals are directly in front of the direc- tor. Timpani are typically off to the right for the director, while keyboard percussion are to the leſt. However, in more advanced music or percussion-heavy pieces there can be numer- ous challenges. Instruments might be shared between players and/or players may have to move across the set-up. Some pieces essentially require each percussionist to have a multi-per- cussion set-up. Te best solution is for the conductor to meet with the percussion section before the first rehearsal in order to clarify set- up issues, minimize movement for sharing of equipment, and help prevent logistical prob- lems in rehearsal. Toward that end, directors should always pass out percussion parts before the first rehearsal of the piece. Tis allows per- cussionists to see what instruments and mallets are needed and to ask for clarifications from the director.


Part Assignments


Directors should assign parts to the percus- sion section to provide a balance of learning opportunities in the section. While this can be a bit bumpy at first, in the end the director has more flexibility because that percussion section


is full of musicians and not just drummers. An easy way to accomplish this is to hand out parts in a folder with a copy of the part assignment sheet in the folder. Additionally, always ask the students to write at the top of their part the in- struments and mallets needed lightly in pencil. Tis reduces the number of times you need to remind the students of the desired sounds or needed instruments. Percussion parts are notorious for either having no list of needed instruments (Perc. I part) or incomplete and/or inaccurate instrument lists. Also, have percus- sionists write in notes like “To Tamb.” if they need to move to a different instrument, in this case tambourine. Many times parts are missing notes on when to switch instruments or they come too late in the music.


During rehearsals, point out to the percussion section what other sections they are playing along with. For example, the glockenspiel part might be doubling the flute part. Te timpani part typically should match interpretation with the low brass and/or string bass. Your percus- sionists won’t know to match style unless you teach them what to listen for. Tis is particular- ly challenging for the percussionists as some of the parts they may be reinforcing are far away from them within the rehearsal space.


Too Many Players for Parts


Frequently, directors find themselves with more percussionists than percussion parts. Tere are several constructive ways to address this. One solution involves having understudies on different instruments – either on actual instru- ments or on practice pads; rotating who is an understudy prevents animosity in this set-up. I find practice pads to be preferable as they don’t affect the ensemble’s balance as much. A second solution, if you have extra keyboards, is to re- inforce wind parts with a percussionist playing the same part. Lastly, if you have a wealth of percussionists, consider programming a couple percussion-heavy pieces to keep them engaged;


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