Each year, many middle school and high school percussionists will perform a concert percussion ensemble composition at their state-sponsored solo & ensemble festival. The performance of a concert percussion ensemble at a solo & ensemble contest is a great educational opportunity for the school percussionist.

    Below is a list of details for you to consider as you prepare your students for such a contest. This list of details is "food for thought" as you work to move your students beyond notes, dynamics and rhythms. Attention to details will magnify the educational opportunity you have offered your students.

1) Individual Instrument Technique ~ Just like wind instruments, techniques for individual percussion instruments can vary tremendously. Failure to play the instrument correctly will tarnish the overall sound of the ensemble. Timpani technique is different than snare technique. Bongos and Congas should be played differently. Technique is also affected by the style of music. A tambourine will be played differently for a rock style, as opposed to a classical style.

    While the students are learning the notes, address the techniques of each instrument. This is a learning opportunity for the entire ensemble. Once students can perform the ensemble without stopping, observe individual student technique. Have students investigate the techniques of their instrument outside of rehearsal time. If students can bring the results of their investigation back with them and share it with the other members of the ensemble, all participants will benefit.

2) Trap Selection or the right trap for the right job ~ Let’s define traps as hand held percussion instruments. The choice of a concert tambourine over a rock tambourine can change the entire nature of ensemble. Shakers can vary greatly. The percussion instrument manufacturer, Rhythm Tech makes a "live" and a "studio" model. At times, the "live" model is too powerful for the groove set-up by the ensemble. Part of the education process of learning a concert percussion ensemble composition is to explore the different types of traps available and decide which traps will be right for the style of the composition.

3) Equipment Maintenance ~ I have worked with band programs which would change marching drum heads several times during a season, but use the same concert snare head until it is broken. While preparing for the concert ensemble performance, check the condition of the concert percussion instruments. Prepare the concert percussion instruments for the concert percussion ensemble performance and also concert band use. Remember: Your students are striking the concert percussion instruments to make sound. Thus, there will be more wear and tear on percussion instruments as opposed to your concert wind instruments.

4) Tuning of Ensemble ~ Besides tuning the individual percussion instruments, think about the tuning of the ensemble as a whole. Do the tunings work well together, or are some percussion instruments being masked by other percussion instruments with similar timbre and pitch? Be careful with your snare drum and tenor drum tunings. Make sure there is contrast in the pitch and timbre between the different percussion voices.

5) Balance and Set-Up ~ Balance is a tough responsibility for the percussion student because it demands critical decision making during the performance based on the acoustics of a room, a hurried set-up and possible mallet changes. Balance is also a question of taste. Teach balance immediately while students are learning the notes. The ensemble set-up should aid in the balance of the group. Put the mallet instruments and hand held traps toward the front. Experiment with the set-up and try different, perhaps radical, set-ups. Always keep the performance hall in mind while working balance and set-up.

6) Musical Styles and Groove Beats ~ As mentioned earlier, tambourine is played differently depending on the style. Techniques for percussion instruments are influenced by the musical style. Be careful with ensembles that employ Latin beats. A Samba is totally different than a Cha - Cha as far as groove, feel and tempo are concerned. Be sure to investigate the correct interpretation of musical styles. Concert percussion ensemble compositions present the opportunity to teach the percussion student musical styles, interpretations and correct time patterns.

7) Stick & Mallet Selection ~ Stick and mallet selections affect volume, color, balance and tone quality. Invest in a variety of sticks and mallets and experiment. Involve students in the mallet selection process.

8) Professionalism and Communication ~ Professionalism and performance etiquette should be part of the educational process. Take time before the performance to discuss performance etiquette. Include discussion about dress, appearance, audience acknowlegement, communication with the audience, behavior at the contest site and the entertainment aspects of music.

9) Programming ~ With all the work that has been put into preparing the concert percussion ensemble composition, your students may feel a short performance for an empty room at the state sponsored solo & ensemble contest to be very unrewarding. Consider other performance venues including: instrumental music concerts, choral concerts, elementary schools, senior citizen homes, Percussive Arts Society’s State Chapters’ Day of Percussion, percussion festivals and awards banquets.

    Also consider indoor percussion contests that include a division for concert percussion ensembles. You and your students will appreciate the feedback from the judges and other participants. You can use these comments to take the concert percussion ensemble to a higher level than what is expected at solo & ensemble contest.

    Good luck with the preparation of your concert percussion ensemble. Your students will benefit greatly from the extra attention they will receive as you prepare them for contest.