frequently, these pieces also provide rhythmic challenges for the ensemble as well. In any case, pro-active planning on the director’s part is required to effectively use all the percussionists available.


Explain the Desired Sound


One common mistake amongst directors involves mallet selection. First, understand the sonic and technical limits of each instrument. Sometimes percussion parts that are poorly written ask for notes that are beyond the typical range of the instrument or are not idiomatic, which can create some challenges. Second, explain the sound that you want the percussionists to produce. Mallets are not standardized, therefore requesting a certain color of mallet will not necessarily get you the desired sound. Understand what certain mallet materials (plastic, yard, rubber, wood, poly, etc.) and drumheads sound like (or ask a percussion- ist colleague to help in this regard). A solid approach is to describe the sound you desire by defining the front part of the note or the sustaining qualities. Is there too much attack or not enough? Do you want a sustained sound or a lot of rhythmic definition? Do you want the sound to be brighter or darker (more mellow)? Te answers to these questions can help your percussionist select the appropriate mallets for a given part. Lastly, give your students every chance to succeed by providing good models of technique and sound. Gary Cook’s Teaching Percussion text now comes with two DVDs that provide visual examples for students and direc- tors. Additionally, the Vic Firth website (http://vicfirth.com/ education-resource-library/) provides numerous tutorials for percussion.


Also, make sure you are specific regarding dynamics with the percussion section. Since dynamics are all contextual, make sure that the percussionists know when they should be prominent and when they should be underlying support. Crescendos and decrescendos have different rates of devel- opment, therefore, it is helpful to instruct the percussion section on how to help lead these gestures for the ensemble.


Students are Off-Task


When directors comment that their percussionists are off-task, one must ask what the students have (musically speaking) to engage with at that moment. Too oſten, percus- sionists are getting fewer musical challenges, less interaction with the director, and little advice on technical or musical development. Engaging them as equals with the rest of the ensemble is the first step. Hold them accountable for the sounds they make as you do the rest of the ensemble.


To find the root of the problem ask yourself the following questions:


• Are there a fair number of challenges for the percussion section in the music currently programmed?


• Can you provide additional feedback to students on improving their fundamentals? Are you commenting on their musicality during rehearsal?


•


Is there are possibility of engaging the same percus- sionists in a percussion class or alternative ensemble to provide them a venue where they are the focus?


Teaching Sticking to Keyboard Players


When adjudicating or observing, I regularly see percussion- ists using stickings that don’t make sense for the lines they have to play. Tere are a couple general guidelines that are helpful to teach your percussionists. Tese guidelines are for two-mallet playing only.


• Te default sticking is alternating with doubles only used to address a change in contour or minimize hand movement.


• Tree strokes in a row with the same hand is not per- mitted.


• Doubles should be small intervals whenever possible. • Doubles should be white key to white key, black key to black key, or black key to white key. We avoid doubling from a white key up to a black key.


Multi-Percussion Set-ups in the Band Rehearsal


Frequently, percussionists are charged with playing multiple instruments as part of their set-ups in contemporary band literature. In addition to meeting with the percussionists in advance, there are several points of advice to help this go more smoothly.


• Figure out if any instruments are shared with another player.


• Determine which sticks/mallets are needed for the desired sounds.


• Figure out which stands allow for the best positioning of the instruments.


• Allow space in the set-up for multiple trap tables for small percussion and mallets/sticks.


• Make sure that there is a sight line where the music and conductor are both visible.


• Have students use memory locks on stands if possible to mark stand heights.


• Provide regular feedback on which instruments need to be louder or soſter; arrangement within a multi set-up can affect this perception.


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