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Ithaca College Undergraduate Catalog 2005-2006

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556-14300 through 556-49300 Percussion I-V -- Major Instrument, Music Majors

556-14301 through 556-24301 Percussion I-II -- Major Instrument, Music Minors

556-14302 through 556-34302 Percussion I-III -- Secondary Instrument, Music Majors

    The order and amount of study varies from student to student, depending on strengths and deficiencies upon matriculation at Ithaca College. Variations also occur when a student, in consultation with the major teacher, decides to concentrate in one or more particular areas. An examination is conducted by the instructor at the end of each semester. This examination includes performance and sight-reading. Specific requirements are provided by the instructor.

    Snare Drum -- Technical studies covering all material in Stone, Stick Control; rudimentary studies from Pratt and National Association of Rudimental Drummers (NARD) materials, both of the above emphasizing use of natural bounce and conservation of energy through minimal motion. Rhythmic studies from Cirone, Portraits in Rhythm; Firth, The Solo Snare Drummer; Albright, Contemporary Snare Drum Studies; development of steady inner pulse, varieties of meters, and overlapping and compound rhythmic figures; performance of simultaneous rhythmic patterns. Reading and interpretation study through the use of Cirone; Firth; and Hochrainer, Übungen für Klein Trommel; plus orchestral excerpts. Emphasis is placed on dynamic control, phrasing, and immediate recognition of stylistic requirements. Closed roll studies as given to develop a smooth sound at all dynamic levels. The use of measured rolls, and attack-and-release characteristics of rolls.

    Keyboard I -- Technical studies from Green, Xylophone Method; Firth, Mallet Technique; Payson, Progressive Studies in Double Stops; scale and arpeggio studies, one and two octaves. Emphasis is placed on two-mallet motion development, relaxed drop stroke, conservation of energy, visual and kinetic memorization, basis of tone production. Sight-reading materials taken from Green, Xylophone Method; Voxman Flute Duets, books I-II; baroque wind and string solo literature. Emphasis is placed on accuracy, pattern recognition, overcoming the "panic stop," and interpretation. Études and literature taken from Tanner; Frazuer; Grainger; Creston; Stout, two-mallet études; Green, Xylophone Rags; beginning four-mallet study. Exercises as assigned emphasizing proper hold, simultaneous stroke, individual stroke, rotation motion, exercises for various roll patterns, simple arpeggio patterns (1234, 4321, 4312), strengthening mallets 2 and 3. Simple literature such as Peters, Yellow after the Rain; Musser, Études; Stout, Étude no. 1. Mallet construction.

    Keyboard II -- Two-mallet technical studies from Green, Advanced Instructor for the Xylophone; Bailey, Mental and Manual Calisthenics; scale and arpeggio studies in two and three octaves. Emphasis is placed on greater speed and accuracy with quicker visual and kinetic orientation, greater flexibility through use of alternate sticking patterns. Sight-reading from Viegl, Etüden für Xylophone; Bergamo, Style Studies; Payson, Progres-sive Studies in Double Stops. Emphasis is placed on recognition of non-tonal patterns, disjunct line, double-stop reading, immediate recognition of stylistic requirements. Four-mallet technical studies as given, including all sticking patterns for arpeggios; all roll patterns (traditional, Musser, measured-alternate, independent); Stout, Ideo-Kinetic Exercises; contra-puntal independence. Études and literature including Stout, Four-Mallet Études; Miyoshi, Torse III; Stout, Two Mexican Dances; Sifler, Suite for Marimba; Fissinger, Suite for Marimba; Penn, Four Preludes.

    Timpani -- Technical exercises from Friese-Lepak, Timpani Methods; Firth, The Solo Timpanist; Hochrainer, Etüden für Timpani. Emphasis is placed on mounting heads; intonation problems; ear training; fundamental, harmonic, and overtone tuning systems. General tone production through use of various mallets; type of attack such as staccato, legato, and variations; striking spot; preparation of head. Roll study including French and German hand positions; rolls at all dynamic levels emphasizing smooth transitions; attack and release characteristics; rolling between drums, cross sticking, muffling, and pedal technique. Études and literature including Hinger, Solos for the Virtuoso Timpanist; Jones, Sonata; Youhass, Four Pieces for Unaccompanied Kettledrums; Carter, Eight Pieces for Timpani; Bergamo, Four Pieces for Timpani; Williams, Variations for Kettledrums; orchestral excerpts.

    Bass Drum -- Choice and tuning of heads, types of mallets; tone production through choice of beating spot, head tension and preparation, mallets; legato and staccato strokes, roll technique, and angle and positioning of bass drum.

    Cymbals -- Choice of cymbals; single crashes at various dynamic levels; full plate, edge, body, scrape, etc.; two-plate rolls; repeated strokes. Orchestral excerpts.

    Accessories -- Group instruction and development of techniques through requirements of literature under rehearsal.

    Multiple-percussion -- Study of instrument placement, stick placement, and music placement to facilitate performance. The multi-instrument setup as single instrument; rapid stick changes and tone production on various instruments in quick succession. Study of representative literature such as Duckworth, The Journey; Burge, Sources III; Stockhausen, Zyklus, no. 12,; Dahl, Duettino Concertante; Chatman, O Lo Velo; Feldman, The King of Denmark; Etler, XL Plus One.

556-19900 Performance Repertoire and Pedagogy   NLA

    Students meet weekly as a group with their performance study teacher to perform repertoire and discuss performance technique and pedagogy. Pass/fail only. 0.5 credit. (F-S)

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