Instrumental

Ensembles

Dr. Gary Heaton-Smith

Handbook Introduction
A career in music can be one of the most rewarding yet challenging ventures you
can undertake. In the countless hours of practice, rehearsals, and endless
preparation, you will be rewarded with moments of sublimity. This magnetic
feeling cannot be replicated in any other circumstances and is a primary reason
we do what we do.

Pursuing a career in instrumental music is an exceptionally more unique

experience. Not only do you strive for remarkably high-performance standards
and a means of self- expression, but you do so while learning and conquering a
wildly challenging and in a mostly new medium. This challenge is our vitality.

The expectation on a musician to be able to perform in a way that is sensitive to

ensemble character and compositional style requires the musician to be
especially prepared, spatially and temporally organized, creative, aware, and
flexible. If this sounds like you, then you are in for a very special ride!

Handbook Purpose
The purpose of this handbook is to:
1. Outline a philosophy that will help organize your journey towards your short-
and long-term goals.
2. Provide possible solutions and a foundation from which you can stem your
own confident decisions and directions in preparedness, organization,
creativity, awareness, and flexibility.
3. Open a dialogue between the student and the teacher (you and I) about
past, current, and future practices in instrumental performance.

Additional Goals and Learning Outcomes

Musical performance skill will be acquired through (articulation):
1. The development of technical facility for artistic expression on your
instrument.
2. The development of an understanding of the relationships between mental
and physical aspects of music performance.
3. Performance of a cross-section of standard repertoire in diverse styles.
4. The development of the ability to read music at sight.
5. Regular attendance and participation in extra-curricular master classes,
concerts, and recitals.
6. The development of an understanding of teaching, rehearsal, and
conducting techniques as it applies to music performance.

The development of the student’s music performance skills should (assessment):

1. Reflect the student’s understanding of tone production and technical
development (rhythmic accuracy, dynamic observation and control, pitch
accuracy, articulation observation and control, and phrasing sensitivity).
2. Reflect a clear understanding of the selected repertoire’s historical style
(Historically Informed Performance).
3. Allow the student to verbalize about historical placement, tonal framework,
rhythmic framework, and compositional/orchestration techniques of the
selected repertoire.
4. Be musically meaningful and progressively demonstrate the student’s
creativity, sensitivity, and level of achievement.
5. Reflect in the student’s preparedness and performance execution.
6. Reflect in the student’s care and maintenance of instruments.
7. Reflect in how the student prepares musical compositions with technical
accuracy and musical expression.
8. Reflect in how well the students creates successful performance.
9. See syllabus for additional objectives.
Principles of this Ensemble
To be successful in this class, you need to believe in the five Ps.
1. Present
2. Proactive
3. Personable
4. Professional
5. Prepared

Regardless of all of the information in the world, these five things will get you
farther than you can possibly imagine. Being present is very straight ahead: just
never be late, absent, or distracted! That means showing up early enough to
account for any issues that may pop up (I famously used to arrive to Los Angeles
Philharmonic rehearsals four hours early because I was afraid traffic would make
me miss the downbeat). You are a valuable member of this ensemble. You are
missed when you are not here. Treat this experience like you are the most
important person in the room, because in many ways, you are.

To be proactive means to be in the driver’s seat and get things done that need
to be done. Do you need a special mute for a piece you’re playing? Get it. Do
you need to make copies of your music to avoid a pesky page turn? Copy it. Do
you need to change the head of your snare drum so it sounds its best? Change
it! Being proactive means not being the person in an ensemble who always has
a logistical excuse as to why things are not their best.

Being personable should not be short changed. You would be surprised how
many musical mistakes are forgivable if you are kind, courteous, hard-working,
and genuine with the people around you. Furthermore, networking is happening
with the people around you (you probably won’t run into Quincy Jones in an
elevator, sorry). Treat them the way you want to be treated and you can ride
each other’s success to artistic mastery.

Professionalism is all encompassing but is really about how you represent the
ensemble. Is you concert attire clean and wrinkle free? Is your instrument in the
best shape possible. Treat every gig like it’s your most important gig (the secret is
that you’ll enjoy playing so much more if you treat it this way).

Playing great is always about being prepared. Preparation is your biggest ally
against the toughest physical and mental battles. When you feel like a musical
challenge has you backed into a corner, nothing is as strong a preparedness. In
this ensemble, we (including you) expect perfection. I’ll give you the tool, but you
have to swing the hammer.
Never forget that you are at a very special institution participating in a very
special, elite activity. Your spot in this ensemble is a privilege, not a right; it is
rented, not owned. Treat it as special as it is.

Lastly, always remember:

Performance = Preparation + Distraction

Learning Music
Learning music is a four-step process. For maximum success on a new work, all
four steps should be cumulative through the process (so a person is still working in
parts of the Conception stage while in the Implementation stage), with each of
the four steps being emphasized at certain points leading up to a full
performance of the work.

1. Conception
2. Preparation
3. Implementation
4. Presentation

The conception stage is centered around creating a vision for what the performer
wants to present. At this point, the performer is reading the score with a recording
multiple times a day to internalize an ideal and stylized sound, become familiar
with the aural form of the work, and gathering as much aural data as possible.

In the preparation stage, the emphasis is on preparing the score with analysis,
manipulation decisions, and implementation decisions (e.g. stickings, bowings,
fingerings, tongue placement). The performer should become as intimate with
the notation, history, region, and style as possible. Any uncertain manipulation
decisions should align with the default performance system (thus providing a
decision). The goal in this stage is to learn as much of the music as possible without
touching an instrument. This is also the time to use the information learned to
devise an implementation plan (learning map) or schedule and practice relevant
technical exercises. During this time, the performer should continue to listen to a
recording with the score at least once a day.

The physical practice of the music is the implementation stage. The performer
should work towards implementing all of the information absorbed in the
conception and preparation stages behind the instrument. Effective
implementation means playing everything at a strongly reduced tempo (if a
performer implements anything in the wrong way—including meter, pitch, rhythm,
dynamics, ornaments, articulations, or expressive text—they are implementing
too fast) and in a systematic way:

Tone, Style, Rhythm,

Pitch Articulation Dynamics Ornaments Tempo
Expression Meter

During this time, the performer should continue to analyze newly found
information in this score as well as listen to a recording (with the score) at least
once a day.
The presentation stage is the performance. This is when the performer transmits
the vision conceived during the conception stage to an audience. Presentation
will also occur in practice as the performer does performance simulations for
recording devices, private instructors, or for self-evaluation. During this time, the
performer should continue in the other three stages to further develop artistry.
Practicing
Practicing is the backbone to your music performance progress. Practicing should
consume most of the time you spend with music.

I recommend the following amounts of focused, efficient, practice time:

1. Community College/Four-year undergraduate (BA): 2-4 hours per day, 6
days per week
2. Four-year undergraduate (BM): 4-6 hours per day, 6 days per week
3. Graduate: 6-8 hours per day, 6 days per week

Always keep in mind: practicing 1 hour a day for 6 days in a row is better than
playing for 6 hours for 1 day a week. Aim for small, consistent practice sessions;
they are far more beneficial than long, inconsistent sessions.

Your practice routine should include:

1. A metronome. Always use it. Metronomes are a physical aid not a mental
aid; you will not handicap yourself by using the metronome always.
2. A tuner. Always use it. Tuners are a physical aid not a mental aid; you will
not handicap yourself by using the tuner always.
3. A recording device. Record yourself and listen back to it. You will be
surprised. This is the best thing you can do for your learning.
4. A warm-up routine. This will reinforce basics, solid technique, and avoid
injury. Make sure this is not optional. In many ways, the warm-up routine will
be as beneficial (if not more) than the woodshedding practice.
5. Woodshedding. Pick a small fragment of music you do not know and learn
it. To properly woodshed, you need to:
a. Play it slowly but correctly.
b. Play it at a comfortable dynamic before trying the written dynamic.
c. Strip it down and then build it back up. Remove all of the “extra stuff”
(ornaments, inner-notes, rolls, articulations, etc.) then add them back
in one by one.
d. Play it in “three dimensions.” Invert dynamics. Reverse articulations.
Move the pulse around. All of this will flex your creative muscle,
reinforce your newly learned music, and add to your technical
control.
6. Performance practice. Pick a large chunk of music that you know and run
it. Pretend like it is a performance and be sure not to stop. Once you run it,
note the spots you had trouble with and use it to form a plan for tomorrow’s
woodshedding. This is a great time to use your recording device.
7. Sight-reading. Never walk away from a practice session without sight-
reading. Ever.
8. Journaling. Write down what you did and how you did it. Note what worked
and what didn’t. A person’s practice habits are much like a fingerprint: they
 are different for every person. Once you find what works for you, your
practicing experience will be much more positive.

Below is an example of what your practice journal might look like for one selection
you practiced for the week:

Scheherazade Mvmnt III.

DATE D-E F-G G-H End
BPM=43 BPM=43 BPM=43 BPM=43
10-Jul Skeleton at mf Right hand at mf Skeleton at mf Skeleton at mf
Struggled with Watch three rights at Is roll skeleton Phrasing of these four
evenness end too fast? notes?

BPM=43 BPM=43 BPM=43 BPM=43

11-Jul Skeleton at mp Right hand at mp Skeleton at mp Right hand at mp
Bring out left hand Do not accent third note Sticking? Grace notes too loud?

BPM=43 BPM=43 BPM=43 BPM=43

12-Jul Skeleton at p Skeleton at p All at p Right hand at p
Right hand consistentcy
Bring out left hand Do not accent third note Do not rush roll issues

BPM=43 BPM=43 BPM=43 BPM=43

Skeleton at written Skeleton at pp, add
13-Jul dynamics drags 2/3 All at p All at pp
How much
crescendo? Do not accent drags Work on phrasing Lead to primary note

BPM=43 BPM=43 BPM=43 BPM=43

All at written
14-Jul dynamics All at pp All at p All at pp
Solo or Work on roll
accompaniment? Timing of last drag exercise Do not drag

BPM=43 BPM=43 BPM=43 BPM=43

Broke down each
15-Jul diddle All at pp All at p All at pp
Do not accent out Better! How does this
Slow is working! Tighten up drags of roll fit?
Audition, Seating, and Benchmarks
Every student must take a blind, prepared audition for the ensemble (blind means
the committee will be behind a screen so there is no bias). Once the audition
process is complete, a depth chart will be released ranking the students by chair.
If you did not pass the audition, your name will not be on the depth chart (you
are welcome to contact me for specific instructions on how to improve for future
semesters). The depth chart will help guide part assignments. Additionally, the top
person on the depth chart is assigned as the principal player. The audition
material is as follows:

1. Long tones (the committee will ask for specific pitches)

2. Two major scales/arpeggios, instrument’s full range (committee’s choice)
3. One octave major scale (committee’s choice) using selected air patterns
(to be provided at the audition)
4. Prepared piece as assigned by the committee and located on the
ensemble website. These change each semester depending on repertoire
planned.
5. Sight Reading

You may challenge the next person up on the depth chart between concert
cycles by contacting the instructor. The instructor will schedule a blind challenge
audition for both players. If the challenger wins the audition, the depth chart will
be reposted.

Principal Player Duties

If you are selected as a principal, congratulations! I trust in your amazing talent
and positive attitude to help lead your section to greatness. With your new role
comes some addition responsibilities, many of which will make sense once we
have our first meeting.
1. Assist in part assignments, particularly when sight reading.
2. Music markings. Before we dive into a full rehearsal, it is expected that
principal players and add key articulations, breath marks,
instrument/implement changes, alternate fingerings/stickings, and other
rehearsal markings into their section’s parts. These can be found in my
score.
3. Create a positive culture of inclusivity and accountability. According to
Maslow’s Hierarchy of Needs, social acceptance is necessary before one
can truly drive towards mastery. We want to create a non-judgmental,
positive, safe learning environment where we can feel safe to take risks, ask
questions, and hold ourselves accountable.
4. Be a teacher. As instrumental ensemble directors, your instructor knows a
thing or two about making music on instruments. However, many of you
have years more of experience actually playing the instruments in a real
 way. Be prepared to spread what you know (and communicate that
information to your instructor so we all learn!).

Ensemble Preparation and Rehearsals

Preparing for ensemble rehearsal can make your ensemble experience infinitely
more enjoyable. Here are some things to do to prepare for ensemble rehearsal:
1. Obtain the music as soon as possible. If you decide to get your own copy
before your ensemble librarian gets you the copy, double check that the
parts are from the same publisher and have the same edits.
2. Make a clean copy of your part before marking it up. You will keep this
copy in your personal library. NOTE: check copyright laws on the music
before making a copy.
3. Obtain a score of the same edition. Look through the score to make sure
your part is the same as the part in the score. Take notes on how your part
functions in the ensemble during specific passages. Is it a solo or
accompaniment? Is it coloring the ensemble or driving the ensemble?
These kinds of questions will guide your pre-rehearsal decisions.
4. Obtain several recordings of the music. Listen to the recordings for ideas
on tempo, dynamics, orchestration, notation, duration of notes, timbre,
articulation, phrasing, and cues (so you may not need to count all of those
stinkin’ rests!).
5. Do some historical research. Find out about the composer, period, original
instruments, and original performances the best you can. Use this to guide
your performance.
6. With all of these resources, take notes in your part to better guide that first
rehearsal. This may include fingerings, mallets, stickings, length of notes,
tempi, undisclosed dynamics and phrasing, cues and rests, and ensemble
markings (e.g. what rhythm does the piccolo play and how do you fit in).
As you rehearse and perform the piece, your notes will change until the
final concert.
7. Fix fast and awkward page turns. Don’t be afraid to make copies, write in
the margins, or rewrite some of the part in notation software or by hand.
8. Practice, practice, practice!

Once you have prepared, it is time to rehearse. Here is an expectation for the first
rehearsal:
1. Arrive early to set everything up (as a percussionist, I give myself at least an
hour for the first rehearsal). Unexpected occurrences happen all the time.
Do not let one cause you to miss the downbeat. For large ensembles, the
percussion setup should be as follows:
a. Timpani by the brass and basses (stage left)
b. Bass drum by the timpani
c. Cymbals by the bass drum
d. Keyboard instruments by the piano, harp, and winds (stage right)
 e. Accessories between the cymbals and the keyboard instruments.
f. If many instruments are going to be used, it is better to use two rows
than to make one long row. This will help your ensemble playing.
2. Spend time tuning and cleaning the instrument before rehearsal. Get the
best sound possible whenever possible.
3. Have a variety of mutes, implements, and small instruments (percussion)
available. Use your preparation to guide initial decisions and your ear/the
conductor to guide mid-rehearsal decisions. Once rehearsals are over, do
not make a last-minute change for the concert.
4. During rehearsal, hang on to every word of the conductor. What the
conductor says to the clarinet might alter what your musical choices.
5. Keep eye contact with the conductor always.
6. Take note of problematic passages. Practice these before the next
rehearsal. I recommend having a handful of sticky notes you can slap over
problem area in the middle of rehearsal. Add notes as soon as possible, but
this will help you to not forget.
7. Percussionists should take pictures of their setup. Choreography is a big
challenge in an ensemble. The last thing you want is your setup to change
every time you perform the piece.
8. Be a team player. Help pack up at the end of rehearsal. Communicate
with your section.
Concert Preparation
A secret to a successful concert is to not disrupt your routine. Follow the same
footsteps to take on rehearsal days and you’ll perform the same way you
rehearse. This also means that you have to rehearse the way you wish to perform.
“I’m too tired today,” or “today is just not my day,” should not be good enough
for you. If you can’t excel in rehearsal (which you should be able to do 90% of the
time), then learn to stumble forward so rehearsals are productive and more
importantly, you’ll be training your body and mind to produce on concert days
(not to mention, the ability to grind through the down periods—also called grit—
is one of the most important skills you can have as a musician).

In addition to following your routine, please be prepared to carry yourself as

professionally as possible and in the most relaxed way as possible (e.g. make sure
your suit is picked up from the cleaners before concert day so you are not stressed
out!).

The following attire is required for all performances unless otherwise noted. If you
cannot provide the attire, the music department has a “Concert Dress Closet”
that may have what you need. This dress code is straight forward and specific,
but if you have questions as to whether or not what you own is important, please
ask before you wear it.

Option 1:
Black Pants
Black Jacket
Black Long Sleeve Button Down Shirt
Black Belt
Black Long Socks
Black Dress Shoes

Option 2:
Black Shirt or Sweater with ¾ to Full Length Sleeves
Black Dress Pants
Black Low-Heeled Shoes
Rehearsal Techniques
Effective rehearsal techniques are like effective practice techniques: critical for
effective performance. We will move through our program with no stone
unturned: note by note, line by line, phrase by phrase, section by section, and
piece by piece. This amount of scope is required to escape mediocrity. Performers
should become familiar with the following rehearsal process. We will generally
start rehearsing each phrase 40 BPM under tempo (or slower, if need be). Tone,
style, blend, and balance are listed in the middle of this process because they
affect each step. Additionally, we may perform “skeletons” between steps, in
which we synthesize what we’ve learned so far by playing with all the learned
components and none of the extra (why it’s called a skeleton).

Note by
Note

Increase
Bopped
Tempo

Tone, Style,
Blend, &
Balance

Add
Air Pattern
Ornaments

Dynamic
Bookends

Note-by-Note Each note is performed as a fermata or quarter note

Bopped Quiet and short with good tone (used for correct rhythm)
Air Pattern Starting and stopping the air on one pitch (articulation)
Dynamic Bookends Chunk a phrase between changes in dynamics
Add Ornaments Add ornaments
Increase Tempo Increase the tempo by four clicks, start the cycle again

Below is an example of the first four rehearsal techniques. Take the main theme
from Gordon Jabob’s An Original Suite.
Note-by-note (first 14 pitches)

Bopped

Air Patterns (note that all slurred passages are limited to the first note; this is to
coordinate the tongue before adding in the fingers)

Dynamic Bookends (measure 7; note the passage is limited by either end of the
hairpin)

We will also do many things away from our instruments, including singing,
breathing, and buzzing our lips. We will use singing to internalize pitch and
creating a musical vision of what we how we want our sound to be (also called
audiating). We use buzzing our lips on many rehearsal components because
unlike singing—in which the sound is created before the articulation—buzzing our
lips follows the same order that playing a wind instrument follows (BreathàAir
ControlàVibrationàLength; to be discussed).

Other rehearsal rules:

1. Role will be called when class is scheduled to start. To have the most
efficient rehearsal possible, please be warmed up (NOTE: we will have
ensemble warmups developed each semester for the repertoire being
played). Your warmup should include the following:
a. Long Tones (mid-range, mf) in an undistracted environment so you
can hear yourself and make the small adjustments that are
necessary to achieving maximum resonance on your instrument. For
winds and brass, long tones will build breath support and improve
your range. Timpanist should roll long tones to cement pitch.
b. Lip Slur (brass only) up and down the instrument without the use of
valves or tongue, using just the embouchure and a steady flow of
air.
c. Scales (major, all minor, relevant modes, synthetic scales) for manual
dexterity using varying articulations (staccato; slur-two, tongue-two;
double tongue, etc.) to prepare for varying styles.
 d. Stick control (percussion only) to develop consistency between the
hands and feed into the rudimental toolbox.
2. When I step on the podium, we are in work mode. That means performers
should not make noise unless asked to make noise.
3. When I raise the baton, please make eye contact with me, bring your
instrument up to your face (even if you do not play the first note, this is so I
know you are ready), and begin exhaling to prepare for the preparatory
inhale.
4. Take the first preparatory breath with the ensemble, even if you do not play.
This is a great way to engage with the music from the start.
5. No cell phone use. If you need your cell phone for a tuner, please put your
cell phones on airplane mode.
6. Write everything down. I will stop rehearsal for performers to find a pencil
because it will save us so much time in the long run. Please be prepared
the first time.
7. Stay fully engaged. A good barometer of how focused you were in
rehearsal is how exhausted you feel after. As a fully engaged instructor, I
feel exhausted after every class. You should too; this is your future!
A Note About Technique
Before discussing instrument-specific techniques, it is imperative to understand
that your instructor is not an expert on every instrument (conducting and
percussion only!). With that said, this department believes in collaborative
education, where what we discuss in ensemble is emphasized by applied lessons
and vice-versa. If you have a specific question about instrument technique that
is not being answered in ensemble, please feel free to reach out to our area
faculty (this handbook was proofed by these faculty, but as emphasized
throughout, not every trouble area can be covered in a document).

Woodwinds Jeff Kaser [email protected]

High Brass David Pittel [email protected]
Low Brass Stephen Nutt [email protected]
Piano Les Counts [email protected]
Percussion Gary Heaton-Smith [email protected]
High Strings Elizabeth Fewtrell [email protected]
Low Strings David Newby [email protected]
Guitar Tizoc Estrada [email protected]
Bass Linda “Mage” Lockwood [email protected]

Default Performance System

A performance system is a consistent and controlled approach to interpreting
music notation and information. A primary goal of learning instrumental
performance is to develop a default performance system that is serviceable from
performance to performance but also malleable to accommodate historical,
regional, and stylistic context. The default performance system is the system that
will be used to tackle all repertoire until we are best informed about historical,
regional, and stylistic context (which is why we consider it our “default”). The
following information provides information for the default performance system
you will be taught. Manipulation of this system is critical to create adequate,
professional, informed performance and will be incorporated as repertoire is
explored.

An understanding of biomechanics—or the way a performer moves matter (air,

tongue, embouchure, and limbs) through space—leads to the performer’s ability
to control—and therefore manipulate—the default system. The more efficient the
biomechanics, the more time a performer has to make subtle, physical
adjustments to manipulate sound. Universally, efficient biomechanics are ones
that are relaxed and move as little as possible.
 Efficiency Strength Control Consistecy Employment!

AEROPHONE (WIND INSTRUMENT)

Aerophone performance can be reduced to a four-step cycle.

Breath

Air
Length
Control

Vibration

Here are general guidelines to most efficiently managing each step:

Breath
First, we need to understand the two main muscles used to breathe: thoracic
diaphragm (diaphragm) and intercostal. The diaphragm is a dome-shaped
muscle located at the bottom of the chest cavity. As the diaphragm contracts,
the dome collapses creating a negative space (vacuum) in the lungs, forcing air
into the cavities. The intercostal muscles are located around the rib bones and
work the same way but are limited by the rib cage. There are four types of
breathing: eupnea, hyperpnea, intercostal, and diaphragmatic. Eupnea is the
normal, quiet breathing one does when at rest. Hyperpnea is accelerated
breathing one does after exercise (think panting). Intercostal is shallow or chest
breathing. Finally, diaphragmatic is deep breathing. If one contracts the
diaphragm (actually, the diaphragm cannot be controlled, but the abdominal
muscles surrounding it can be), then air floods into the lungs allowing for the
deepest breath possible while still maintaining a relaxed body. Performers should
focus on the following:
 1. Relaxed, deep breathing in which the abdomen just above the navel
distends outward (horizontally) while the shoulders remain at the same
height (vertically). It should be noted that a comfortably full breath will
allow for the shoulders to rise slightly as the chest also fills with air, but this
should be because of an erecting torso, not because of the muscles used
to fill the lungs.
2. If sound is heard during the inhale process, something is impeding the air
from freely traveling to the lungs. Focus on relaxing the throat and keeping
the tongue at the bottom of the mouth.
3. The amount of fullness in the lungs should be comfortable. Too much air
can create tension.
4. There should never be a break between the inhale and exhale. In this
ensemble, please exhale when the baton is raised and inhale on the beat
before your entrance (called a preparatory breath).

Once the lungs are comfortably full, relaxation allows the diaphragm to “re-
dome,” exercising the air out of the body. Focus on the following:
1. There should never be a break between the inhale and exhale. In this
ensemble, please exhale when the baton is raised and inhale on the beat
before your entrance (called a preparatory breath).
2. There are moments when it is necessary (e.g. long phrases, various registers,
certain instruments (single reeds)), but do not force the air out of your lungs
(this also invites tension). Let the diaphragm relax to its domed shape while
allowing the air escape naturally. If your instrument does not make a sound,
slowly increase the speed of your air until you produce an ideal sound.
Focus on filling your lungs to an extent where the rush of air leaving the lungs
can create a sound on your instrument.
3. The exhale may be stopped at any moment (this is how rhythmic duration—
including articulations—are changed). In general, do not do so with the
tongue, throat, or embouchure. This will be discussed below.
4. The desired air is hot and fast. Cold air is caused by tension and sub-optimal
breathing. Slow air is constricted.

The space between phrases (or any musical chunk separated by a breath) will
dictate how much air the performer can accept. Small, micro-breaths are called
“sips” while full breaths (similar to our preparatory breath) are called “gulps.”
Either employs the same technique, but sips may limit how far the diaphragm can
contract.

Air Control
Breathing becomes more complicated because exercising all the air at once is
not always musically acceptable. To mitigate this, both the tongue and
abdominal muscles must stay engaged with the music making to best control
breathing. The tongue is responsible for holding the air until the pressure is too
great and the tongue must release from its upward position (think of a dam
holding water, but with much less pressure; it’s usually much less than thought). In
general, the tongue should dam the air where the tongue touches both the roof
of the mouth and the back of the teeth, or at the tip of the reed (as if to say
“duh”). Try thinking about one taste bud of the tongue touching the roof of the
mouth/reed. This is how slight the tongue tension should be. For brass players in
particular, the location of the tongue may change depending on the partial (the
lower the pitch, the lower the tongue). Performers should focus on the following:
1. Clearly identifying the tongue on both the back of the teeth and roof of
the mouth (or on the tip of the reed).
2. Create slight pressure behind the tongue before a sonic event.
3. Allow the tongue to naturally give out and release the air.

In general, the exhale will not be stopped with the tongue or throat, but rather by
stopping the diaphragm from relaxing in the most relaxed way possible.
Performers should focus on the following:
1. Confirm that the tongue is not being used to stop the air.
2. Use slight engagement of the abdominal muscles to stop the diaphragm
from relaxing

If a performed passage has eighth notes at or above BPM 120, the passage may
need to be double tongued (BPM 120-144 is a gray area depending on the
student’s development and will be decided on a semesterly basis). Please use
“dah-guh” as your default articulation for these patterns.

Vibration
This is where the sound is actually created. There are too many variables from
instrument to instrument, register to register, and person to person to discuss here,
but for vibration to occur, the embouchure (shape of the mouth) must be relaxed
(or as tense as needed to make the desired pitch). The location of that vibration
is in the lips (brass), reed (reeds), or air column (flutes). Performers should focus on
the following:
1. Minimize the amount of pressure your instrument puts on your face. Pressure
creates tension and tension is inefficient.
2. Whether your instrument requires a slight smile (corners of the mouth up) or
slight frown (corners of the mouth down), only contort the corner of the
mouth the amount that is required. Additionally, the stronger those muscles
develop, the more relaxed those contortions will feel.
3. For reed instruments, think of “padding” or gently “hugging” your reed
instead of biting your reed.

Length
Length is about physically manipulating the length of your instrument. Performers
should focus on the following:
 1. Play from the knuckles so the fingers stay in a relaxed, curved position and
do not need to travel the negative space between the fingers and the
instrument.
2. On slide trombone, keep all joints relaxed and loose. Keep the elbow close
to the body but not tucked.

Summary
1. Inhale as if to fill the lungs from the bottom up. No excessive sound should
be heard.
2. Between the inhale/exhale transition, gently place the tip of the tongue on
back of the teeth where the teeth meet the roof of the mouth (or on the
tip of the reed).
3. Exhale by simply relaxing the diaphragm (and pushing slightly as needed).
When enough pressure is built behind the tongue, the tongue will collapse
in the mouth and release air.
4. Allow the air to vibrate the lips/reed/column in a way unimpeded by
excessive tension in the body.
5. To stop the air, stop the diaphragm from relaxing.
PERCUSSION
First, the stroke is a percussionist’s primary vehicle for delivering artistry in
performance. The stroke is initiated in one of five fulcra:
1. Knees/hips
2. Shoulders
3. Elbows
4. Wrists
5. Fingers

The fulcra are dependent on one another from the top of the list down. This means
that if the stroke is initiated in the knees/hips, the stroke also has to travel through
the shoulders, elbows, wrists, and fingers. If the stroke is initiated in the elbows, it
also has to travel through the wrists and fingers. The wrists (and therefore fingers)
are the primary fulcra and should be developed as such. The stroke is
constructed of a four-part cycle, demonstrated below.

Apex

Rebound Approach

Interaction

The different stages of the cycle are defined as:

1. Apex: the point at which the bead/head of the implement is the highest or
farthest away from the instrument. This is also the starting position of the
stroke.
2. Approach: the period in which the implement is traveling from the apex to
the instrument.
3. Interaction: the point at which the implement is in contact with the
instrument.
4. Rebound: the period in which the implement is traveling from the instrument
back to the apex.
The manipulation of each of these steps how a percussionist is able to interpret
music notation with highest level of artistry and depth. There are seven ways in
which sound can be manipulated on percussion instruments.
1. Height
2. Velocity
3. Weight
4. Playing Area
5. Implement Angle
6. Implement Selection
7. Instrument Selection

Definitions for each of these are below.

1. Height. This is directly related to the Apex. As height increases, velocity and
weight tend to increase. Velocity increases because the implement has
farther to travel in the same amount of time, therefore requiring a greater
velocity to maintain the desired pulse. Weight increases because the wrists
can only provide a certain amount of height (through wrist extension).
Once the desired height has surpassed the capability of the wrists, large
fulcra must be implemented. When larger fulcra are implemented, velocity
decreases as does the ability to maintain the desired pulse.
2. Velocity. This is the speed at which the implement travels during Approach.
Smaller fulcra allow for a faster velocity while larger fulcra can only move
at a slower velocity. Therefore, velocity and weight are inversely related.
3. Weight. This is the weight of the implement during Approach, as decided
by the inclusion of larger fulcra (e.g. a stroke initiated at the shoulder is
heavier than a stroke initiated at the fingers). As described above, velocity
and weight are inversely related
4. Playing Area. This is the physical location of the Interaction. All percussion
instruments have a physical location that align with the node and anti-
node. A node is a point at which the fundamental pitch (the primary pitch)
has zero amplitude and is not heard. The anti-node is a point at which the
fundamental pitch is at maximum amplitude, but the harmonics are usually
out of phase and cancelled. Typically, a percussionist should find a physical
location between the node and anti-node to ensure a balance between
fundamental and harmonics. The following list gives an overview of the
default playing areas on some common percussion instruments.
a. Snare
i. Node: where head connects with the bearing edge
ii. Anti-node: center
iii. Default Playing Area: 1” from center to the top of the REMO
logo.
b. Keyboard
i. Node: where cord travels through the bar
 ii. Anti-node: center
iii. Default Playing Area: over the resonator rails
c. Timpani
i. Node: where head connects with the counter hoop
ii. Anti-node: center
iii. Default Playing Area: 3” from counter hoop and directly
between two tuning bolts.
d. Accessories/Multi-Percussion
i. To be discussed per specific instrument
5. Implement Angle. This is the angle created between the surface of the
instrument and the length of the implement at Interaction. In general, the
higher the angle, the lower the weight and contact surface area. On
yarn/cord/felt implements, a high enough angle removes the core of the
mallet from the stroke equation, leaving only a mass of yarn/cord/felt
interaction with the instrument. This is the equivalent of selecting a much
lighter, much softer implement (see “IMPLEMENT SELECTION” below)
6. Implement Selection. This is the selection of implements with varying weight
and hardness. Weight and hardness are not the same and should not be
addressed as such. Increasing weight increases volume (most specifically,
fundamental). Increasing hardness increases articulation (most specifically,
harmonics)
7. Instrument Selection. This is the selection of instruments with varying size,
materials, and construction methods. Instrument selection generalizations
are organized by instrument type below:
a. Membranophone (non-timpani)
i. Size: the smaller the diameter of the membranophone head,
the higher the pitch. The smaller the depth of the
membranophone, the more articulate the instrument will be.
ii. Materials: Metal shells are brighter, more articulate, and louder
than wood. Brass is the brightest and most articulate, followed
closely by aluminum, then the other metallic materials. Wood
is much darker. Of the common wood materials, mahogany is
the warmest and birch is the brightest. Maple is a nice balance
between both (although it sounds closer to mahogany than
birch) and is the easiest to tune.
iii. Construction: the more hardware there is attached to the
membranophone, the less the shell can freely vibrate and
produce.
iv. Batter head: the thinner batter head, the more resonant the
sound (this means that a snare drum will actually be more
articulate with a thinner head because of the mechanics of
the drum). Recommended heads will be discussed in lessons.
v. Resonant head: always thin.
b. Membranophone (timpani):
 i. Size: because of the mechanics of timpani, considerations are
different. Selecting the size of the drum has more to do with the
pitch being played. The tighter the head, the more articulate
the sound (which means playing a “G” on a 32” drum is more
articulate than playing a “G” on a “29” drum).
ii. Materials: Copper is warmer than fiberglass. Hammered
copper produces a darker and less focused pitch (a positive in
that it produces many good overtones). Fiberglass tends to
have an unfocused pitch and can sound very dry.
iii. Construction: the more hardware there is attached to the
bowl, the less the bowl can freely vibrate and produce.
Dresden and Berliner timpani pedal styles have a much more
stable pitch than balanced action.
iv. Heads: hazy heads have a darker, more focused, and more
articulate sound than clear or colored plastic heads. Calf
heads will be discussed in lessons.
c. Idiophones
i. Size: the smaller the idiophone, the higher the pitch. Thickness
of idiophones are related to articulation, where thicker
idiophones are more articulate than thinner idiophones.
ii. Materials & Construction:
1. Keyboard: Wooden keyboard are ideally constructed of
rosewood. Padouk is not nearly as resonant as
rosewood. Synthetic materials (like acoustalon) projects
well but is extraordinarily bright, not as responsive to low
dynamics, and has an uncharacteristic balance
between attack and sustain.
2. Cymbal: B20 bronze is much darker than B8 bronze (and
B20 or similar alloys are the professional standard).
Hammered cymbals project more overtones and have
a darker sound than non-hammered cymbals.
3. Other idiophones: follow industry standards.
Interpreting Notation
1. Tempo
2. Meter
3. Pitch & Rhythm
4. Dynamics
5. Ornaments
6. Articulation
7. Expressive Text

TEMPO
If the work does not have a professional recording and there is a given
mathematical tempo (e.g. BPM), follow the mathematical tempo. If the work has
a professional recording, compare the recordings tempo with the written tempo.
If there is a discrepancy, do some research to make a well-informed decision
about the intended tempo. If multiple recordings exist, listen to at least three
recordings and calculate the average tempo between all three. If one of the
recordings is an outlier, listen to three additional recordings, find the median three,
and take the average of those three.

METER
Whenever given the latitude to make such a decision, use an
articulation/sticking/bowing that emphasizes the strong beats of a written meter.
Below are examples of the most common meters and which beats are
strong/weak.

Meter Strong Beats Weak Beats

Simple Quadruple 1, 3 2, 4
Simple Duple 1 2
Simple Triple 1 2, 3
Compound Duple 1, 4 2, 3, 5, 6

In wind and string playing, beginning a slur on a strong beat emphasizes the
written meter, while having a slur go through a strong beat de-emphasizes the
written meter. Although changing bowing is common in orchestra, altering
articulations in wind music is a delicate process that could change the
composer’s intent. Never make articulation/bowing changes in ensemble without
consulting with your ensemble director first as the decision needs to be unified
throughout the ensemble.

Percussionists should use a sticking that allows the dominant hand to fall on strong
beats, while the non-dominant hand falls on weak beats. This can be reduced to
smaller levels, where the dominant hand should play on the beat and the non-
dominant hand plays on subdivisions. In this case, we will usually use a natural
sticking policy (hands are assigned to beats or individual subdivisions) instead of
an alternating sticking policy (hands alternate regardless of meter).

Instead of writing “R” for right hand and “L” for left hand, we will use a bracket
above two notes to show a repeated right hand and a bracket below two notes
to show a repeated left hand. This puts more responsibility on the performer to
know the function of the meter, as well as helps keep the score clean for other
important penciled information

PITCH & RHYTHM

Pitch and rhythm are the two elements most scientific and therefore not open to
interpretation. Stylistic elements may inform rhythm, but the default should be to
learn the rhythm as written.

We will use equal temperament tuning 90% of the time (melodic and fast
passages). For that reason, please start by learning to center every pitch we play
with a tuner. However, we will use just intonation the other 10% of the time
(harmonic and slow passages), meaning certain pitches will be tuned lower or
higher than what is shown on a tuner (these will be addressed in class). To do so,
the performer will need to know what interval they are playing in a given
harmonic context. In general, the primary melodic line will use equal
temperament tuning and the harmonizing notes will adjust to it. Once known, the
following adjustments should be made:

PU No Change P8 No Change
m2 +12 M7 -12
M2 +4 m7 -4
m3 +16 M6 -16
M3 -14 m6 +14
P4 -2 P5 +2
+4 -10 o5 +10

Timpanists will also use just intonation. The timpanist should clear the heads before
rehearsal (make sure the tension on the head is even), then set the gauges with
a tuner. From there, you will use your ears to adjust pitches depending on the
tonal context (to be discussed in class). Over time, the gauges will become less
useful to you, but they remain important for certain repertoire.

Aerophone performers please see the following sections for general intonation
tendencies. Please note that every instrument is different. Blank tendency charts
are available so you can fill these out to become as intimate as possible with your
instrument.
Flute Tendencies

Oboe Tendencies

Bassoon Tendencies

Clarinet Tendencies (Bb, Alto, Bass, Contra Alto, Contra Bass)

Saxophone Tendencies (Soprano, Alto, Tenor, Bass)

Brass Valve Combination Tendencies:

1 + 2 = sharp (use first slide)
2 + 3 = flat (lip up, absolutely no slide)
1 + 3 = sharp (use third slide)
1 + 2 + 3 = very sharp (use first and third slide)

Trumpet Tendencies
Horn Tendencies

Trombone Tendencies

Euphonium & Baritone Tendencies

Tuba Tendencies

Lower the pitch by:

1. Directing the airstream downward
2. Reduce the airspeed
3. Slight relaxation of the embouchure
4. Adjust the reed, reed/mouthpiece amount, or selecting a softer reed
5. Slide/barrel/bocal/head joint adjustment (make instrument longer)
6. Alternate fingering
7. Use of fourth valve

Raise the pitch by:

1. Directing the airstream upward
2. Increase the airspeed
3. Slight firming of the embouchure
4. Adjust the reed, reed/mouthpiece amount, or select a harder reed
5. Slide/barrel/bocal/head joint adjustment (make instrument shorter)
6. Alternate fingering
7. Use of fourth valve
We will use a tuning sequence to set up for success. The approximate sequence—
which can be varied—is as follows:

1 minute Concert Bb and F Scale in half notes

1 minute Concert Bb and F Scale Steps: 1 – 3 – 1 – 3 – 5 – 3 – 1
1 minute Concert Bb and F Scale Steps 5 – 6 – 7 – 8
1 minute Concert Bb and F Harmonizing Scale Steps (sustain final 1):

Group 1 (Low) 1 2 3 4 5 6 7 8 7 6 5 4 3 2 1
Group 2 (Mid) 1 2 3 4 5 6 7 8 7 6 5 4 3 2 1
Group 3 (High) 1 2 3 4 5 6 7 8 7 6 5 4 3 2 1

15 seconds Concert Bb Tuning (Trumpet, Trombone, Euphonium, Tuba)

15 seconds Concert F Tuning (Horn, Clarinets tune from the barrel)
15 seconds Concert Bb Tuning (All, Clarinets tune from the middle)
15 seconds Concert A Tuning (Woodwinds, Clarinets tune from the bell)

Note that all “Tuning” blocks will start with principal players and work out.

DYNAMICS
Dynamic changes are accomplished by maintaining an embouchure
(specifically, the aperture) to air (amount being pushed out) ratio (called E.A.R.;
also known as Air Pressure). For example, let’s hypothetically say that the EAR is 1
to 6, where for every 1 millimeter of aperture there is 6 pounds of air. In this case,
forte might require 18 pounds of air and 3 mm of aperture (EAR of 1 to 6), while
pianissimo might require 6 pounds of pressure and 1 millimeter of aperture (also
an EAR of 1 to 6). This allows the pitch and tone to stay steady while the dynamic
changes. Some find that gently contracting the abdominal muscles helps
maintain pitch while changing dynamics.

It should be noted that there is a limit to both the aperture size and amount of air.
At a certain point, the desired width of the aperture overcomes the physical width
of the vibrating object (lips or reed) and it becomes possible to alter the ratio by
overblowing (resulting in the pitch rising).
Dynamics are directly related to height (apex) for percussionists. The following
shows the height system we will use:

Negative extension (<0o): <piano (pp, etc.)

Zero extension (0o): piano (p)
Quarter extension (22.5o): mezzo-piano (mp)
Half extension (45o): mezzo-forte (mf)
Three-quarter extension (67.5o): forte (f)
Full extension+ (>67.5o): >forte (ff, etc.)

If you hold your hand out with your pinky parallel to floor, dynamics are as follows:

f (3/4)
mf (1/2)
ff
(full)
mp (1/4)

p (no extension)

In addition, dynamics on snare drum are tied to playing area. The image below
shows where a percussionist should play for the given dynamic.
ORNAMENTS
There are two common ornaments in instrumental ensemble performance:
1. Grace notes. These are constructed with a primary note (normal sized note
head), and grace notes (small note head). They should be played
accurately (with the correct number of notes) leading into a primary note
and the grace notes should have no aural metric dependence (in other
words, the primary note falls in time and the grace note is dependent on
it). We aim for a “fat” grace note, in which there is plenty of space between
the grace note and primary note to clearly hear both notes (although the
primary note is emphasized). This is dependent on tempo. In percussion,
there are two divisions:
a. Flam: grace note is <p (stay in the primary note playing area if playing
a flam on snare drum), primary note is at written dynamic.
b. Ruff: grace notes are <p (stay in the primary note playing area if
playing a ruff on snare drum), primary note is at written dynamic. Two
grace notes before the primary note are played by the non-
dominant hand as a diddle. Additional notes before the two final
grace notes should be played as diddle if in pairs, or as singles if they
are not paired (e.g. odd number of grace notes).
2. Trills/Rolls. Trills are the rapid alteration between the written note and the
note a step up diatonically (if written as appears on the left) or a half step
up (if written with a ½ marking above the trill). This alteration should be fast
and asymmetrical enough to have the desire affect (excited, unstable
energy), but not so fast to crowd out the individual pitches. The notation of
a roll may appear in one of two ways.
i. The three-slash notation literally means to play 32nd notes
(32nd notes have three beams/flags). However, if this notation
exists in a piece without coexisting with tremolo notation
(below), it should be interpreted as a roll. If both notations exist,
the three-slash notation should be interpreted as 32nd notes.
ii. The trill notation means to roll. The type of roll depends on the
instrument.
1. Snare: buzz/double-stroke/triple-stroke roll
2. Keyboard: single stroke roll
3. Timpani: single stroke roll
iii. The skeleton pattern of a roll (the pattern a percussionist would
be playing if they did not diddle/buzz each stroke) is learned
as such:
1. BPM <70: 32nd notes (or adjusted)
2. BPM 70-87: Sextuplets
3. BPM 88-107: Transitional
4. BPM 108-140: 16th notes
5. BPM >140: 8th note triplets
iv. Tied and separated trills/rolls
 1. If a trill/roll is tied to a note to indicate the release of the
roll, the release should not be articulated
2. If a trill/roll is not tied to a note to indicate the release of
the roll, the release should be articulated

ARTICULATION
There are six common articulations seen in the instrumental ensemble.

1. No specific articulation: played with the default tongue/air/stroke

2. Accent: played with additional air/height (one extra dynamic), for

additional amplitude and an angular sound envelope. To accommodate
for the extra air, the tongue may need to start further back in the mouth
(tah if the tempo allows it).

3. Tenuto: played with additional weight. Aerophones should increase air

after the tongue has collapsed and percussionists should incorporate the
elbow for a rounder sound envelope.

4. Staccato: separated with an angular sound envelope. Aerophones should

not allow the adjacent notes to touch by stopping the diaphragm from
relaxing between notes (slower tempo) or bouncing the tongue off the roof
of the mouth/reed (faster tempo; dah or tah if the tempo allows it).
Percussionists should play with additional velocity (fingers) and
compensated height (lower, to accommodate for the additional velocity).

5. Marcato: played with additional air/height (one extra dynamic), increasing

the air after the tongue has collapsed or using extra weight (elbow; similar
to tenuto), and at the instrument’s anti-node for a fundamental-heavy
sound (percussion only). In addition, the performer should use recordings to
decide if the marcato should be fully separated (like staccato) by stopping
the diaphragm’s relaxation or stopping the air with the tongue (daht or
taht; this will give it a pesante feel, if the tempo allows; this will be instructed
to you if used). Finally, to accommodate for the extra air, the tongue may
need to start further back in the mouth (tah if the tempo allows it).

6. Slur: collapse the tongue on the first note and leave it collapsed through
the entire articulation. Percussionists should put an emphasis on first note
and use a smooth (legato) stroke for the remaining notes (incorporation of
paradiddle rudiments are great for this).
EXPRESSIVE TEXT
Expressive text will be discussed on a case-by-case basis. Learning the meaning
of the text should be a priority before learning a new piece as expressive text
should always inform a performance.
Blend and Balance
There are three types of balance: melodic, harmonic, and instrumental.
1. Melodic balance is about being able to hear the melody sit on top of the
other voices and can be accomplished by being you can hear the melody
clearly while you are playing.
2. Harmonic balance is about locking in a chord by strengthening the lowest
notes of the chord’s tessitura and weakening the highest notes of the
chord’s tessitura.

Strongest Weakest
Root Third Fifth Seventh Compound

3. Instrumental balance is about balancing the various instrument groups to

one another. Percussion should blend with the instrument group they are
accompanying (from Francis McBeth).

Additionally, the pyramid applies to how early each instrument should begin a
crescendo, where the lower the instrument on the pyramid, the earliest the
crescendo should start (percussion should start the latest regardless of tessitura).
The opposite is also true, where the higher the instrument is on the pyramid, the
sooner the instrument should decrescendo (percussion should start the soonest
regardless of tessitura).

Here are some additional balance rules (from Greg Countryman)

1. Flutes should balance to the trumpets when they have unison melodies.
2. Flutes should balance to the clarinets when the flutes are an octave above
the clarinets.
3. Clarinets should balance to the flutes when they are in the same octave.
4. Alto saxophones should balance to the horn when they have unison lines.
5. Low woodwinds should balance to the low brass when they have similar
lines.
6. Some nice textures and colors can be created by balancing to the color
instruments (oboe, bassoon, piccolo), but only when there are strong
players on these instruments.
7. The power of the brass must come from the cylindrical instruments (trumpet
and trombone). When conical instruments (horn, euphonium, and tuba)
play with the same aggressiveness as the other brass, they lose the center,
focus, and resonance in their sound.
8. Battery percussion instruments should usually balance to and play inside the
sound of the ensemble.
9. Bass drum should not be louder than the timpani or tuba.

To blend, follow Ed Lisk’s three point system:

1. If you can hear yourself, play softer
2. If you can still hear yourself, adjust your intonation
3. If you can still hear yourself, adjust your tone
Gig Bag
Every musician should have a number of items in their bag at all times. Here are
recommendations:
1. Functioning, clean instrument
2. Maintenance items (e.g. valve oil, swab, drum key, basic tools for your
instrument)
3. Multiple pencils (including one red, erasable colored pencil)
4. Highlighter (for marking dynamics in copies of music, not originals
5. Post-It Notes (for sticking over trouble areas in rehearsal in a pinch)
6. Sheet music, either kept behind sheet protectors in a three-ring binder (pull
them out for rehearsal so you can more easily mark on them), or in a nice
folder (I recommend purchasing an oversized leather folder for full,
standard size sheet music). Never attempt to read music off your phone or
laptop (iPads are generally okay but talk to your instructor first).
7. Metronome (may be on your phone)
8. Tuner (may be on your phone)
9. Recording device (may be on your phone)
10. Additional items that need replacement (e.g. reeds, drum heads, drum
sticks).
11. Percussionists should also have their own personal implements and some
personal instruments (*essential):
a. General
i. Freer Classic Hard Case or equivalent*
ii. Moon Gel*
iii. Bath Towel (black)*
iv. Hand Towel (black)*
v. Large Spring Clamp*
vi. Heating pad
b. Snare
i. Freer General Orchestral Hornwood Signature Model: SGNF*
ii. Freer FSML Mesh Snare Muffler 14”*
iii. 14” Remo Diplomat M5 Snare Head
c. Keyboard (two pairs of each vibe and marimba mallets)
i. Malletech Bob Becker BB34 Medium Rattan
ii. Malletech Orchestra Series OR45R Hard Rattan*
iii. Malletech Orchestra Series OR48R Extra-Hard Rattan
iv. Malletech Orchestra Series OR39R Hard Rattan
v. Balter Unwound Series Rattan 08AR Hard Rosewood
vi. Balter 23R Blue Cord Medium Rattan Vibe Mallets
vii. Balter 22R Green Cord Medium-Hard Rattan Vibe Mallets*
viii. Balter 24R Red Cord Soft Rattan Vibe Mallets
ix. Balter 13R Blue Yarn Medium Rattan Marimba Mallets*
x. Balter 12R Medium Hard Green Yarn Marimba Mallets
xi. Balter 14R Red Yarn Medium-Soft Rattan Marimba Mallets
d. Timpani
i. Tuning fork (A=440 or A=442)*
ii. Weiss Brand Timpani Mufflers (5) or equivalent*
iii. Tuning keys (Adams and American)
iv. Innovative BT1 Large Roller Bamboo Timpani Mallets*
v. Innovative BT4 General Bamboo Timpani Mallets*
vi. Innovative BT7 Ultra Staccato Bamboo Timpani Mallets*
e. Accessories
i. Nylon-tip 7A drumsticks
ii. Vic Firth Dreadlock Wire Brushes
iii. Vic Firth Jazz Brush
iv. Musser M206 Vibraphone Mallets
v. Musser M208 Vibraphone Mallets
vi. Black Swamp 10” Double Row TC1 Tambourine
vii. Black Swamp SPSET-2 Spectrum Triangle Beaters (set of 6)
viii. Black Swamp Gig Pouch
ix. A. Stubbs TRHG2 Ergonomic Triangle Holder
x. Grover Dual Triangle Mount
xi. Sabian 10” Hand Hammered Triangle
xii. Sabian 8” Hand Hammered Triangle