Chapter 1 - Pg. 4
C Major Scale, Matched grip
Chapter 2 - Pg. 19
Mallet Instrument Overview for the Percussion Section
Chapter 3 - Pg. 31
Solfège, Circle of 4ths., & F Major
Chapter 4 - Pg. 45
Solfège, Circle of 4ths., & Bb Major
Chapter 5 - Pg. 55
Solfège, Circle of 4ths., & Eb Major
Chapter 6 - Pg. 64
Solfège, Circle of 4ths., & Ab Major
Chapter 7 - Pg. 74
Remaining Flat Major Scales and exercises
Chapter 8 - Pg. 82
Solfège, Circle of 5ths., G Major Scale & Concert BD
Chapter 9 - Pg. 91
Solfège, Circle of 5ths., D Major Scale, & Concert Crash Cymbal
Chapter 10 - Pg. 101
Solfège, Circle of 5ths., & A Major Scale
Chapter 11 - Pg. 109
Solfège, Circle of 5ths., & E Major Scale
Chapter 12 - Pg. 115
Remaining Sharp Major scales
Chapter 13 - Pg. 123
Chapter 14 - Pg. 129
Chapter 15 - Pg. 139
How to tune the 26" & play
Chapter 16 - Pg. 147
How to tune the 29" & play
Chapter 17 - Pg. 151
26" & 29" performance exercises
Chapter 18 - Pg. 157
Classical Rolls for timpani
Chapter 19 - Pg. 160
Timpani Master Pieces
Chapter 20 - Pg. 163
Percussion cabinet & Concert Percussion Section
Chapter 21 - Pg. 167
Cymbals, Sounds & Gongs
Chapter 22 - Pg. 185
Accessory Percussion instrument
Book 2 focuses on 2 Mallet theory and performance for all beginning mallet instruments. Use of the Circle of 4ths. and 5ths. is presented for the learning of the Major scales. Each scale is reinforced with a series of ten original skills development exercises, some across the Grand Master Staff. Included in these exercises are single strokes, double strokes and Classical Rolls for the keyboards/timpani. Since the percussionist is going to need to learn to perform on all percussion mallet instruments, the student will work these development exercises on various instruments.
The use of the Circle and Solfege to help teach theory is not an advanced technique.
I just finished teaching two classes of percussion K to 8th grade (2018-2019) and used these very same drills and exercises. If you are of the mind that Kindergartners cannot learn these concepts think again. If they are capable of learning and memorizing 26 alphabet characters, including vowels and spelling rules/syntax, of the English alphabet. They are very capable to learn the 12 characters of the musical alphabet, whole notes/rests to 32nd notes/rests, in various combinations (Spelling) and learning to write using these notational figures. (composing)
The Circle and Solfege can easily be taught at the standard beginner band level and are great value to the growing percussionist in addition to learning all of the Major Scales and reading Key signatures.
Solfege is presented as an option to use to teach basic theory and help the young percussionist develop a pitch center and listening skills in the Mallet section.
Later it will be used to help teach by ear tuning on the Timpani. (If any instructor has not embraced using Solfege, I highly recommend implementing this into your curriculum development plans.) The student blossoms with this type of knowledge. Provide opportunities for your students to become the best bandsman possible.
The same chapter openings of the Review section and the Objectives section is continued in this book.
The same type of CWE's and Musical Writing are included at the conclusion of each chapter as well as the Assignment section and any Tips provided. Remember, the Assignments Section is that information that needs to be put on to a weekly Goal Setting and Practice sheet. Encourage all percussionists to keep and update a Drum Binder for each year of band. Build that responsibility level to get the student to practice outside of band. Confidence in the material and techniques builds monster percussionist and retains students for the life of your program.
The continued care and encouragement to build a practice ethic are used throughout Book 2.
The Timpani are presented as needed for the beginner age level. There is an over all presentation about the drums themselves and the practical tuning ranges for all five timpani. Beginner band music centers on the student mostly performing on the 29 and 26 timpani and that is where the tuning by sound source and then tuning by pitch are focused.
Again care, moving and storage are stressed to allow the students to develop the responsibility of handling some of the most expensive instruments in the entire band.
Getting ALL beginning percussionist comfortable and confident on the timpani is critical to developing a rounded, trained percussion section. (Alludes to the team building theme)
The percussion cabinet is the heart and soul of the concert percussion section. Students must learn to stock it, maintain it and care for it. Numerous hand percussion instruments fill a properly stocked and managed percussion cabinet and this section of Book 2 addresses numerous beginner level hand percussion instruments.
The concert bass drum, cymbals, sounds, gongs, sound effect percussion and latin/concert percussion instruments are all shown and discussed for a performance stand point. The care of all of the small percussion instruments are presented.
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The Intermediate Percussion Book will include 4 mallet theory suing both accepted grips (you choose), continuation of music theory and chord construction, use and tuning of all five timpani, how to prepare auditions and solo/ensembles, use of more advanced percussion tools for performance, etc...
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