Furman University Department of Music

Percussion Studies Handbook

Revised 2005

John S. Beckford, D.M.A.

Professor of Percussion

Department of Music

Furman University

Greenville, SC  29613

Office:  (864) 294-2214

Home:  (864) 288-4242

E-Mail:  john.beckford@furman.edu

Website: http://www.furman.edu/~jbeckfor

PERCUSSION AT FURMAN UNIVERSITY

Introduction

            Welcome to the wonderful world of percussion!  You have received this handbook because you have indicated that music is your intended major and percussion is your major instrument.  However, to fully benefit from the opportunities available to the percussion major and to understand the responsibilities associated with these opportunities, you must know the contents of this handbook.  It has been written to describe the policies and procedures for successfully completing a music degree with percussion declared as the major instrument.  In addition, one will find helpful hints, advice, and some common sense rules on how to conduct oneself as a percussionist.  All percussionists will be expected to know the contents of this handbook so read it from cover to cover. 

            Percussionists at Furman are seeking one of five music degrees.  Opportunities for performance are extended to all percussionists in the following ensembles:  Wind Ensemble, Symphonic and Marching Bands, Symphony Orchestra, Percussion Ensembles, and Jazz Ensembles.  Further performance experiences are gained through off-campus requests from churches, orchestras, theaters, shows, etc. for Furman percussionists to assist in their performances.

            Percussionists majoring in music are required to take private percussion lessons for at least two years.  Performance majors study privately for four years.  The music major has a number of private lesson plans from which to choose.  These range from the half-hour lesson per week for no academic credit, to a one-hour lesson per week for two hours of academic credit per semester.  Applied music requirements for specific degrees are described in the University Catalog.

            In addition to the required courses, special events highlight the percussion experience at Furman.  On-campus percussion clinics have included the avant-garde expertise of the Percussion Group/Cincinnati, Fred Sanford (Drum Corps), Richard Wiener (Cleveland Symphony), Roland Kohloff (N.Y. Philharmonic), Ed Soph (drum set), Bill Molenhoff (vibes), William Moersch (marimba), Glen Velez (frame drumming), Robert Van Sice (marimba), Rod Morgenstein (drum set), Neil Grover (Boston Pops), and Nexus (percussion ensemble).  Furman percussionists are active in the state chapter of the Percussive Arts Society with appearances during the “Day of Percussion.” events.

The Instructors

John S. Beckford

Professor of Percussion

John S. Beckford, Professor of Percussion and Music History, has Bachelor of Music, Master of Fine Arts, and Doctor of Musical Arts degrees from the University of Iowa where he studied percussion with Thomas L. Davis. His performance experience includes Principal Percussionist and Timpanist for the Quad-City (Iowa/Illinois) Symphony Orchestra, Principal Percussionist for the Greenville Symphony Orchestra and Chamber Orchestra, and is an active free-lance musician for area orchestras, road shows, and churches. His research articles have been published in the Percussive Notes journal. He was a faculty member with the South Carolina Governor's School for the Arts from 1982-1999, past president of the South Carolina Chapter of the Percussive Arts Society, a Yamaha Regional-Artist Clinician, and an adjudicator for marching and concert percussion competitions.

A native of Burlington, Iowa, Dr. Beckford began teaching at Furman in the fall of 1976. As the first full-time percussion instructor at Furman, his percussionists have continued in careers as professional and amateur performers, high school and college teachers, as well as church music directors and members of the music business profession. The Furman Percussion Ensemble has become one of the most popular on-campus concerts of the year. This ensemble has also performed numerous concerts for schools, arts organizations, the South Carolina Music Educators Conference, and for the state chapter of the Percussive Arts Society. In his spare time he enjoys sailing and running. You can write to Dr. Beckford at john.beckford@furman.edu.

Ron Schwartz

Drum Set Instructor

Ron Schwartz grew up in the Sacramento, California area where he attended Sacramento City College and Sacramento State College. He studied drumming with Stan Lunetta and Vince Lateano and in the late sixties became affiliated with RCA Records playing for The Jefferson Airplane, Harry Nilsson, and Jose Feliciano. Over the next twenty years Mr. Schwartz toured or worked with Kim Carnes, Neil Diamond, and members of the First Edition. He had his own project with Capitol Records and worked on numerous commercials, television shows, and recording sessions. Other artists with whom he has collaborated include keyboardist Larry Knectel, drummer David Ragsdale of the Smashing Pumpkins and Kansas, bassist Jerry Peek of the Steve Morse Band, saxophonists Sam Skelton and Chris Vadala, trumpeter Jon Faddis, vibist Jon Metzger, pianist Joe Sample, and jazz guitarists Larry Koonse, Barry Greene, John Stowell, and Larry Coryell.

He has served as Senior Vice President and Creative Director for OneTen Management Group, producing recordings for the Boys Choir of Harlem, the Atlanta based acid jazz group PDQ, and the Acoustic Jazz Quartet from Los Angeles. In addition to his part-time teaching responsibilities at Furman, he remains an active performer and teacher and serves as an adjunct teacher to the South Carolina School for the Arts and Humanities. You can contact Ron Schwartz at dodrums@aol.com.

Patrick Lowery

Furman Drumline Arranger and Instructor

Patrick Lowery is a native of Savannah, Georgia, where he graduated from Effingham Co. High School in 1991. In 1996 he received his Bachelors degree in music education from the University of Georgia followed by an assistantship at the University of Tennessee, where he earned the Masters Degree in percussion performance in 1998. After returning to do post-graduate work at the University of Georgia, in 1999

Mr. Lowery accepted the position as band director and Director of Percussion Studies in District 5 Schools of Spartanburg County, South Carolina. Mr. Lowery has performed with many diverse groups including the Spirit of Atlanta Bugle Corps, Southwind Drum and Bugle Corps, the Tropical Breeze Steel Drum Band, UGA Wind Symphony, the Savannah Symphony, UGA African Ensemble, and the Battuta Percussion Group. In addition, Mr. Lowery has played with the Porto Alegre Symphony in Porto Alegre, Brazil and the Yuyama Duo, a saxophone/percussion duet with friend and saxophonist Ruth Colegrove. With Mrs. Colegrove, Mr. Lowery recently performed at the World Saxophone Congress in Montreal. Active as an adjudicator throughout the Southeast, Mr. Lowery has also given clinics at the Tennessee Music Educator's Conference, the University of Georgia January Festival, and the Joycliffe Marching Percussion Clinic in Athens, Georgia.

As a teacher and writer, Mr. Lowery has worked with numerous marching bands, drum corps, indoor percussion ensembles, and concert ensembles. These include the Spirit of Atlanta Drum and Bugle Corps, the University of Georgia Redcoat Band, the University of Tennessee Pride of the Southland, and countless high school ensembles. He joined the Furman Marching Band staff in 2000. Mr. Lowery has studied with F. Michael Combs, Dr. Tony McCutchen, Dr. Arvin Scott, Keith Brown, and Ney Rosauro. You can contact Mr. Lowery at LoweryPL@spart5.k12.sc.us.

FURMAN UNIVERSITY

Department of Music

Percussion Course of Study

Dr. John S. Beckford

September 2005

Those titles in bold face are required materials for percussionists majoring in music.

SNARE DRUM

Goldenberg, Morris.  Modern School for Snare Drum with a Guide Book for the Artist Percussionist.  Hal Leonard Music.

Albright, Fred.  Contemporary Studies for the Snare Drum.  Warner Bros. 

Cirone, Anthony.  Portraits in Rhythm.  Warner Bros. 

Whaley, Garwood and Joseph M. Mooney.  Rhythmic Patterns of Contemporary Music.  JR Publications (Dist. by Plymouth Music). 

Technical Studies

PAS International Drum Rudiments.  Free!

Stone, George Lawrence.  Accents and Rebounds.  George B. Stone (Dist. by Ludwig).

Wooton, John.  The Drummer’s Rudimental Reference Book.  Rudimental Percussion Publications P.O. Box 17163 Hattiesburg, MS  39404-7163. 

Supplemental Studies

Delécluse, Jacques.  Twelve Studies for the Drum.  Alphonse Leduc.

Payson, Al.  The Snare Drum in the Concert Hall.  Meredith Music Publications. 

Peters, Mitchell.  Advanced Snare Drum Studies.  Mitchell Peters 3231 Benda Place, Los Angeles, CA  90068. 

Olmstead, Gary.  Snare Drum Roll and Rudiment Interpretation.  Permus Publications P.O. Box 02033 Columbus, OH  43202. 

TIMPANI

Goodman, Saul.  Modern Method for Tympani.  Warner Bros. 

Supplemental Studies

Hochrainer, Richard.  Etuden for Timpani Books I and II.  Verlag Doblinger Publishers (Dist. by Wm. Elkin).

KEYBOARD PERCUSSION

Whaley, Garwood.  Musical Studies for the Intermediate Mallet Player.  Meredith Music Publishers (Dist. by Plymouth Music).

Bach, J.S.  Two and Three-Part Inventions, Bischoff Edition.  G. Schirmer/Hal Leonard Music. 

OR

Bach, J.S. Two Part Inventions, ed. by Keith Snell.  Neil Kjos Music Co. 

OR

Bach, J.S.  Zweitimmige Inventionen (Urtext).  G. Henle Verlag.

Technical Studies

Stevens, Leigh Howard.  Method of Movement for Marimba, Rev. Keyboard Percussion Publications (Marimba Productions Box 467 Asbury Park, NJ  07712). 

Supplemental Studies

Bona, Pasquale.  Complete Method for Rhythmical Articulation.  Warner Bros. 

Goldenberg, Morris.  Modern School for Xylophone, Marimba, Vibraphone.  Warner Bros. 

Bergamo, John.  Style Studies.  Music for Percussion (Dist. by Plymouth Music) 

DRUM SET

Sheppard, George.  Primary Handbook for Drum Set.  (Meredith Music Publishers, Dist. by Plymouth Music). 

Chapin, Jim.  Advanced Techniques for the Modern Drummer.  (Jim Chapin). 

Reed, Ted.  Progressive Steps to Syncopation for the Modern Drummer.  (Alfred Publishing Co.)

Riley, John.  The Art of Bop Drumming.  (Manhattan Music, Dist. by Warner Bros.).

Perkins, Phil.  The Logical Approach to Rock Coordination.  (Alfred Publishing).

MISCELLANEOUS PERCUSSION INSTRUMENTS

Payson, Al.  Techniques of Playing Bass Drum, Cymbals and Accessories.  Dynasty Elegance, 205 East Oakton, Arlington Heights  60004 (Dist. through Steve Weiss). 

Peters, Mitchell and Dave Black.  Cymbals:  A Crash Course.  Alfred Publishing Co. 

Uribe, Ed.  The Essence of Afro-Cuban Percussion.  Warner Bros.  w/2 CDs

Uribe, Ed.  The Essence of Brazilian Percussion.  Warner Bros. w/CD or w/Cassette

PERCUSSION REFERENCE BOOKS

Blades, James.  Percussion Instruments and Their History.  Praeger Publishers.  Hard Cover or Soft Cover

Cook, Gary.  Teaching Percussion.  G. Schirmer/Hal Leonard. (Required for Brass and Percussion Class, Mus. 29)

Lang, Arnold and Larry Spivack.  Dictionary of Percussion Terms.  Carl Fischer.

Press, Arthur.  Mallet Repair.  Warner Bros. 

Siwe, Thomas.  Percussion Solo Literature.  Media Press P.O. Box 3937, Champaign, IL  61826. 

These books and methods are available through Pecknel Music Company in Greenville or most of the major drum shops in this country.
 

ABILITY LEVELS

The five “Levels” of ability must include the following experiences and proficiencies.  All music majors must complete Level 3.

LEVEL 1

Snare Drum

·         Goldenberg -- Modern School for Snare Drum

·         40 International Rudiments (Correct execution, memorized)

·         Stone -- Accents and Rebounds (pp. 32, 16, and 4)

Keyboard Percussion

·         Whaley -- Musical Studies for the Intermediate Mallet Player

·         Introduction to Four Mallets (Stevens -- Method of Movement or Beckford “Four-Mallet Drills” for Burton grip)

·         Keyboard Warm-Ups (at Proficiency tempos)

·         All Major Scales with Arpeggios at          =100

·         All Minor Scales at          =80

Timpani

·         Fundamentals of grip and stroke

Other

·         Attend Seminar I:  Orchestral Accessories, Winter Term (Payson -- Techniques of Playing Bass Drum, Cymbals, and Accessories)

·         Appearance on Student Recital

LEVEL 2

Snare Drum

·         Albright -- Contemporary Studies for the Snare Drum

·         Stone -- Accents and Rebounds

·         40 International Rudiments (          =120 and           =90, memorized)

Keyboard Percussion

·         Bach -- Two-Part Inventions (Keys:  C, F, Dm, G, Bb, Fm, Am)

·         Stevens -- Method of Movement

·         Major Scales with Arpeggios at          =132

·         Minor Scales at          =132

·         Solo Literature (i.e. Peters -- Yellow After the Rain or Sea Refractions)

Timpani

·         Goodman -- Modern Method for Tympani

Other

·         Seminar II:  Ethnic Percussion Instruments and General References, Winter Term (Uribe -- The Essence of Afro-Cuban Percussion)

·         Appearance on Student Recital

LEVEL 3

Snare Drum

·         Cirone -- Portraits in Rhythm

·         Orchestral Excerpts (Payson -- The Snare Drum in the Concert Hall)

Keyboard Percussion

·         Stevens -- Method of Movement

·         Solo Literature (i.e. Musser -- Etudes or Tanner -- Sonata for Marimba)

Timpani

·         Orchestral Excerpts (Goodman -- Modern Method for Timpani)

·         Solo Literature (i.e. Beck -- Sonata for Timpani)

Other

·         Multiple Percussion Literature (i.e. Kraft -- French Suite)

·         Drum Set Fundamentals:  Four credit-hours of study for the B.M.; 2 credit-hours of study for the B.A. (Sheppard -- Primary Handbook for Drum Set or Chapin – Advance Techniques…)

·         Appearance on Student Recital

LEVEL 4

Snare Drum

·         Whaley/Mooney -- Rhythmic Patterns of Contemporary Music

·         Orchestral Excerpts (Payson -- The Snare Drum in the Concert Hall)

Keyboard Percussion

·         Solo Literature (i.e. Creston -- Concertino or Stout -- Two Mexican Dances

·         Orchestral Excerpts (Goldenberg -- Modern School for Xylophone, etc.)

Timpani

·         Solo Literature (i.e. Carter -- Eight Pieces for Timpani)

·         Selected Orchestral Excerpts

Other

·         Solo Recital

·         Chamber Percussion with Other Instruments (i.e. Russell -- Pas de Deux)

LEVEL 5 (Required for Performance Majors)

·         Solo Recital (Full)

·         Principles of Pedagogy and Practicum

·         Chamber Percussion with Other Instruments

·         Concerto Competition and/or MTNA Competition

·         Literature of the Instrument (Mus 43), Winter Term, 2 hours credit

GRADING

Grades are a blend of the student’s overall ability and progress during the term.  Students taking lessons for credit are required to take a jury at the end of the “wing” terms.  This instructor uses the grades submitted by the jury panel as advisory information.  Performance in Seminar I and II will affect the applied lesson grade in the Winter Terms.  The following is basis for evaluating progress in lessons: 

• “A” work is representative of flawless attendance and mastery of all assigned materials from week to week.  The student demonstrates the capacity to take additional assignments and progresses at an accelerated pace through the various levels of ability.
• “B” work is representative of flawless attendance and mastery of most assigned materials from week to week.  The student completes the assignments with occasional mistakes, but does not demonstrate the capacity to go beyond the normal pace of assignments.  Occasionally assignments must be repeated.  Steady progress through the various ability levels is evident in all areas.
• “C” work represents below average progress in moving through the ability levels.  Assignments are frequently repeated because of the lack of mastery, and a few unexcused absences can earn the student this grade.
• “D” work represents poor attendance and consistently ill-prepared lessons.  If the teacher sees this kind of performance in lessons, he will counsel the student to drop the private lessons before the end of the term.
• “F” work represents no effort or interest in studying percussion.
• The University’s attendance guidelines are adhered to in applied lessons.

Required Equipment

All serious percussionists should endeavor to acquire instruments and equipment of their own.  Although it is impractical to own every instrument and mallet that you will need throughout your college experience, a basic collection will increase your effectiveness as a performer.  Consider buying the best you can afford.  This will be an investment that will serve you well for a lifetime.  Inform family and friends of your specific percussion needs so that gifts for birthdays and holidays can be drawn from your suggestions.  The following are my recommendations.  Students are not restricted to these brands and models.  However, the following or their equivalents, is a minimum requirement for all percussionists majoring in music.  Ownership of these items must be demonstrated before you are approved as music major at the end of your sophomore year.

Recommended Accessories

The following accessories are recommended and can be gradually added to your collection over your course of study.  The sooner your own these items, the more independent you will be as a performing percussionist and the more proficient you will become in playing them.

Bass Drum Mallets                  General purpose and 1 pair for rolling

Chime Mallets                         1 pair (large polyurethane hammers from hardware stores)

Triangle                                   Grover (6”), or Black Swamp Artisan (6”) or Abel (6”)

Tambourine                             Grover (10” double row) or Black Swamp (same)

Woodblock                             Vaughncraft (hard maple) or Grover (WB1 or 2)

Cowbell                                   Any size model by Toca or Latin Percussion

Drum Set Instruction

1. For percussionists majoring in music (percussion is their major instrument) – drum set lessons with Mr. Schwartz for 2 credit hours per term will be available under the following conditions:
   1. Students must register for 2 credit hours of percussion lessons (w/Dr. Beckford) until they pass all the objectives for Level 2 (consult “Ability Levels” in Handbook) before they can take drum set lessons exclusively in any one term.
   2. Students may take drum set lessons concurrently with percussion lessons before they pass the Level 2 objectives if they are enrolled in percussion lessons for a minimum of 2 credit hours.
   3. Students pursuing the Bachelor of Music degree must take a minimum of 4 credit hours of drum set lessons to meet the requirements in percussion (current majors excluded).
   4. Students pursing the Bachelor of Arts degree must take a minimum of 2 credit hours of drum set lessons to meet the requirements in percussion (current majors excluded).
   5. Minimum proficiency levels as described in the Percussion Studies Handbook remain the same for all degrees.

B.  Drum set lessons with Mr. Schwartz for 2 credit hours per term will also be available to non-music majors playing drum set in a university ensemble, or by permission of the instructor.

Required Music

Students are required to own all method books and all solo literature assigned for public performances and juries (See “Course of Study” for list of method books used for undergraduate study at Furman).  Your applied lesson grade will be recorded as Incomplete until proof of the literature requirement is satisfied.  Duplicating copyrighted music is illegal.  As a musician, you should understand and respect a composer’s professional endeavors.

Required Membership

All percussionists intending to major in music must belong to the Percussive Arts Society by the end of the Winter Term of their freshmen year and remain a member throughout your studies at Furman.  Your applied lesson grade will be recorded as Incomplete until proof of membership is satisfied.  P.A.S. is your most valuable window on the world of percussion.  Participation in all of its activities and publications is the only way to stay current with the percussion profession.

Percussion Seminar

Percussion Seminar I and II meet for one hour/week during the Winter Term.  Seminar I is for freshmen percussionists or first-year transfer students intending to major in music.  Seminar I:  Orchestral Accessories uses Payson’s’ Techniques for Playing Bass Drum, Cymbals, and Accessories as its required text.  Seminar II is for sophomore percussionists intending to major in music.  Seminar II:  Ethnic Percussion Instruments and General References uses Uribe’s -- The Essence of Afro-Cuban Percussion as its required text.  The grade for these seminars is part of the 2-semester hour lesson grade for the Winter Term.  Non-majors may enroll with permission of the instructor.

Furman Symphony Orchestra Percussion

Membership is open to all qualified percussionists.  Percussionists majoring in music are required to register for Orchestra each term; however, assignments are determined by the repertoire.  The instructor will strive to be even-handed in assigning these parts.  Auditions are in the early fall.

Furman Symphonic Band and Wind Ensemble Percussion

Membership is open to all qualified percussionists; however, membership in the Wind Ensemble is by audition.  All percussionists receiving band scholarships are required to be in one of these bands and must audition for Wind Ensemble.  Participation in one of these bands satisfies the “Large Ensemble” requirement for any of the music degree programs.

Marching Band Percussion

Membership in this large percussion section is open to any qualified musician.  Auditions determine membership with instrument assignments being made by the percussion instructor.  Sectional rehearsals begin one-half hour before full band rehearsals and attendance is required.  Percussionists receiving band scholarships as well as those majoring in music are required to participate.  This ensemble meets only in the Fall Term.

Percussion Ensemble

The Furman Percussion Ensemble is a chamber ensemble which meets during the Winter and Spring Terms.  Rehearsals are once a week during the early evening hours.  The ensemble typically performs several off-campus concerts and a major campus concert in April.  Membership is open to all musicians, with preference to those with percussion skills.  Percussionists majoring in music are required to participate.

Other Ensembles and Performance Opportunities

From time to time you will be asked to participate in ensembles or music events for special occasions.  These can range from assisting someone on a recital to an opera production.  You should consider all performances as opportunities to further develop as a musician.  However, be cautious not to “overbook” yourself and become a liability to the musical endeavor.  Consider all Furman University obligations a priority over any off-campus opportunity.  You are a Furman student first, a freelance percussionist second.

Instrument Checkout

Students are financially responsible for any instruments loaned or assigned to them from the instructor or received in ensembles. Any student who loses or damages assigned instruments must replace the instrument or mallets or repair them to their original condition.  Ethically you should feel this same sense of responsibility toward your colleagues if you borrow their equipment.

Music Checkout

Students are financially responsible for any music loaned or assigned to them from the instructor or received in ensembles.  Any student who loses assigned music must replace the entire composition or provide an original published version of the lost part/score.  Guard all music from damage or mistreatment.  Mark only in pencil, never in pen.

Furman University Equipment

Furman has a handsome collection of percussion equipment for a program of its size.  However, acquisitions and repairs are difficult to procure.  Therefore, students are required to protect this investment, move instruments carefully, use correct mallets on all instruments, do not use them in ways they were not designed to be used, and report all damages immediately.  Return all equipment to its proper location.  If uncertain, ask the instructor.  If he is unavailable and you are uncertain, see that it is secured behind a locked door.  (See “Golden Rules for Living.”)  Do not remove any Furman University equipment from the Daniel Music Building without approval of the instructor.  Do not use any of Dr. Beckford’s equipment without his approval.  Failure to do so will result in the loss of this privilege.

Personal Storage

At the beginning of the fall term, check out a music department locker.  This should be an adequate location for sticks and mallets, small accessories, drum pads, and music.  Snare Drums should be stored at home unless you are using them on a regular basis in an ensemble or lessons.  In which case, these should be stored in the Percussion Practice Rooms or Instrumental Rehearsal Hall.  Do not store personal equipment and music in Dr. Beckford’s studio (there’s enough junk in there now).  The jazz band drummer(s) may store their kit(s) in the Percussion Practice Room A.  The instructor must approve other storage requests for personal equipment.

Practice Rooms

Four rooms are available for percussion practice.  Policies for each vary from room to room.  Keys are available from Dr. Beckford for Percussion Practice Rooms A, Percussion Practice Room (the former Choral Library) and 11B.  For 4-Timpani practice, the Rehearsal Hall will be made available on a case-by-case basis.  Never leave a room unlocked.  If after 15 minutes the assigned individual has not claimed their practice time, the room is available on a first-come first-served basis.  Do not sign up for more than one hour per day until the end of the fifth class-day.  Try to do practice pad practicing in a room other than one of our three percussion practice rooms (reserve these rooms for the large and high volume instruments).

Perc. Practice Room A – Drum sets (Max. 2 – one is Mr. Schwartz personal instrument), Practice Pad.  This room also serves as the drum set teaching studio.

Perc. Practice Room – (former Choral Library) Low A Marimba, 2^nd Keyboard, Timpani, Snare Drum and Multipercussion.                                                                     

Room 13 -- (Instrumental Rehearsal Hall) -- Timpani, other Orchestral Instruments.  For upperclassmen with the instructor’s permission.  Times must be reserved through the Music Department secretary.

Room 11B -- (Dr. Beckford’s Studio) – 5 Octave Marimba, Yamaha 4-octave Vibe, Ethnic Percussion.  For Upperclassmen with the instructor’s permission.

Tips for Being a Responsible Percussionist

·         Assist your colleagues in striking the stage following a percussion recital -- even it you didn’t play.  This is common courtesy and will be greatly appreciated when you are the performer. 

·         Arrive far enough in advance of a rehearsal to guarantee that all equipment is set up and you are properly warmed up before the rehearsal begins.  This may mean from ten minutes to an hour before a rehearsal depending on the complexity of the set-up.

·         Following a rehearsal, remain long enough to return all equipment to its proper location.  Leaving before this task is complete is selfish and inconsiderate to those who remain.  Even if you did not play all the instruments, help everyone until the task is complete.

·         Never challenge a conductor’s musical decisions during rehearsal.  “The conductor is always right, even when he/she is wrong.”  Use your section leader or principal to communicate alternative opinions.

·         Do not rely on other’s to bring music, mallets, or equipment you are required to provide.  Avoid the reputation of being the “mallet moocher” or worse, the “percussion parasite.”

·         Come to rehearsals with your music learned.  Rehearsals are for rehearsing, not for practicing.

·         Your ears are extremely important to any musician. Wear ear protection when necessary.

·         Keep a calendar so that you do not “double book,” forget engagements, or simply fail to have your time organized.

·         Attend as many percussion related performances as possible, especially those by professionals in the field.  Much can be learned by witnessing your colleagues, or the professional who makes a living at this craft.

·         Read as much as possible regarding percussion.  The Maxwell Music Library has an excellent collection of books, videos, and music about percussion.  Percussive Notes and Modern Drummer are found on the periodical shelves.  Check out the websites on the Internet, too. 

·         Share information with your colleagues and use the “Percussion News . . .” bulletin board outside of Dr. Beckford’s office.  Whether it be jobs, an interesting article, a new technique, a great concert next week, etc. share your ideas and information with your colleagues.  Don’t be selfish with your knowledge.

·         Percussionists have a reputation for being cordial, positive, and good humored.  Honor that reputation and continue to build a positive image wherever you take your musical activities.

Golden Rules for Living

If you open it, close it.

If you turn it on, turn it off.

If you unlock it, lock it up.

If you break it, admit it.

If you can’t fix it, call in someone who can.

If you borrow it, return it.

If you value it, take care of it.

If you make a mess, clean it up.

If you move it, put it back.

If it belongs to someone else, get permission to use it.

If you don’t know how to operate it, leave it alone.

If it’s none of your business, don’t ask questions.