percussion assignment chart pdf

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“Where’s the Triangle?” Strategies for managing percussionists and percussion instruments – Part 3

Setting up the percussion section

Every conductor has experienced it: rehearsal is progressing smoothly, then the triangle part is missing. “Who is playing the triangle?” “Umm…we didn’t know we needed it.” Or “We can’t find it,” your percussionists reply. 

There are three keys to solving this dilemma: 

• Students must be able to quickly and easily locate the instruments and equipment they need, 
• Students must know what they need and when they need it, and
• Students must set up their stations efficiently for each piece.

This is the third article in a three-part series addressing each of the keys to success. In this installment, we examine how the physical setup of the percussion instruments affects students’ performance and effective methods to maximize efficiency and musical results. Many conductors follow a traditional model of setup for percussion instruments in wind bands. Typically this would feature the timpani on the conductor’s right, followed by the bass drum and then the snare drum close to the middle of the ensemble. Cymbals and an accessories station often come next, with a long row of keyboard instruments stretching out around the ensemble to the conductor’s left.

This setup is traditional for several good reasons:

1. It keeps the timpani near where tubas would typically be seated,

2. It places the bass drum (also a bass voice) near the timpani and tubas as well,

3. The placement of the bass drum and snare drum near the center of the ensemble helps promote stability of time as all instrumentalists can hear them easily, and

4. Keyboards wrap around the areas where trumpets and clarinets are often placed, which is advantageous when they play similar parts.

When rehearsing and performing music with very traditional percussion writing, the traditional model of setup works well. By “traditional percussion writing” we refer to percussion parts where one performer plays one instrument. For example, a part for snare drum, a part for xylophone, a part for cymbals, and so on. In this type of scoring, it would be common for there to also be a part for accessories designed to be performed by one or perhaps two players. Many works for wind band feature this type of writing and, as a result, this setup will work for all of those pieces.

The traditional setup fails when programming music with more modern percussion scoring. Since Vincent Persichetti’s “Symphony for Band” (Symphony No. 6), Op. 69 (1956), more and more composers are writing percussion parts best approached as though each part was a multi-percussion solo or setup. In “Symphony for Band,” Persichetti scores for timpani and three percussion parts, and each of the three parts contains several instruments. 

This type of writing for percussion is very common in wind band music composed since the 1980s, especially in grade 4/5/6 literature. Of course, there are times when conductors may decide to split or share parts with more than one performer. See Part 2 of this series for more on best practices when assigning parts. Assuming the piece will be performed as the composer intended with one player per part, using the traditional percussion setup creates many challenges that are difficult if not impossible to overcome. With the instruments grounded in their traditional positions, players will be running back and forth across the rear of the ensemble throughout the piece. They will require multiple copies of each part (or will need to carry their music with them, an even worse solution). Instrument changes that occur with only a few beats in between may be missed, and the flurry of activity will distract the audience from the performance.

The solution is simple: move the instruments as needed for each piece being rehearsed and performed. While simple, this concept can be hard to explain to students. During one band clinic, I once saw a percussionist constantly running between the marimba and the xylophone, going around the vibes each time.  I asked the student: “Why don’t you move the xylophone and the marimba next to each other?” The student simply hadn’t considered that as an option. We laughed together when I jokingly remarked “They are on wheels for a reason.” In short, the lesson is: all percussion instruments can move.

During rehearsal and performance, percussionists should be encouraged to have only the instruments and equipment they are actively using on that particular piece in front of them. Instruments and equipment needed for other pieces in the rehearsal should be kept out of the way behind the percussionists, and instruments and equipment not needed at all in the rehearsal should be left stored away properly. Giving percussionists the freedom to set up the percussion section for each piece means a more efficient rehearsal and better performance. It is critical that conductors post a list of all pieces being played in the rehearsal in the correct order to allow percussionists to know what they will need and set up for each piece in succession. It also means there will be some required downtime between pieces while the percussionists move instruments as needed, including moving some that are no longer needed out of the way and retrieving others from behind them where they were staged. Some conductors use this time to talk about the piece and the composer, but in doing so the percussionists are not able to learn along with the winds. A better idea is to fill this downtime with either discussion of rehearsal goals for the winds or to intersperse relevant warm-up and technique studies that will prepare the wind section for the challenges they will face in that piece.

So how might one of these setups be arranged? Together, we will design a setup for Vortex by Dana Wilson. Vortex is scored for five percussionists, and the staves are labeled Percussion 1 through 5. Percussion 1 primarily plays timpani, and also plays bongos, a small triangle, and lion’s roar. Percussion 2 plays vibraphone, xylophone, tam-tam, and guiro. Percussion 3 plays 4 concert toms, marimba, and tam-tam. Percussion 4 plays a small wood block, bass drum, chimes (noted in the score as tubular bells), and lion’s roar. Percussion 5 plays celeste, 2 suspended cymbals (noted in the score as large and small), and lion’s roar. Wilson notes that the lion’s roar (parts 1, 4, and 5) and tam-tam (parts 2 and 3) can be shared by relevant players. 

In this case, we are fortunate to have two tam-tams and don’t need to share those instruments. Further, lion’s roars are easy to build – all one needs is a concert tom with a head in which you are comfortable putting a hole, a length of string, and a washer or nut – so we will make one for each player to reduce the need to share and move back and forth.

The first step is to create the percussion assignment chart for the conductor and to include this piece on the percussion assignment chart for the players. See part 2 of this series for more on creating percussion assignment charts. (hyperlink to part 2)  Here is our percussion assignment chart for Vortex :

Now that we have our instruments assigned and know exactly what we need, we can draw or sketch a setup diagram. This need not be too formal; a simple paper diagram or drawing on the white board is sufficient. 

We’ve chosen to place the timpani on the conductor’s right. This keeps the timpani near the tubas, plus the timpani are the hardest to move. We include the bongos in between the 23” and 26” timpani so they can be closer to the player and reduce problems with reach. One tray table holds the triangle, beaters, and lion’s roar and a second holds timpani mallets.

To make it easier to for cuing, we can fill in percussion 2 – 5 from right to left following timpani (percussion 1). Percussion 2 is next, and an examination of the part shows more intricate rhythmic parts on the xylophone, while the vibraphone is mostly chordal. Therefore, we put the xylophone in front and the vibes off to the side so the performer can more easily see the conductor while playing xylophone. Tray tables for guiro and mallets along with a tam-tam complete this setup.

In percussion 3, the concert tom part predominates, so they are placed in front as in percussion 2. The marimba is placed at an angle to the concert toms, and the lower end can overlap the toms since it is not played in this piece. Finally, add the tam-tam and tray tables for sticks and mallets.

Percussion 4 plays two instruments best performed at 90 degree angles to the conductor: concert bass drum and chimes. These instruments are placed across from each other, creating a space in the middle for a tray table to hold the wood block and lion’s roar. As always, tray tables also hold bass drum and chime mallets. Music stands make great tray tables for sticks and mallets and sometimes even small accessories, but they must be first covered with hand towels to reduce noise. Hand towels can be bought in black or other dark colors for very little money at many large retailers. 

Percussion 5 is an interesting part as it contains a part for celeste. First, one must assign a player with reasonable piano skills to this part. Second, few programs in schools and even many colleges and universities own a true celeste. A good keyboard with excellent sounds and an appropriate amplifier can substitute. Wilson doesn’t specify cymbal size other than large and small, so we have chosen 16” and 20” suspended cymbals for maximum timbre separation. A tray table for the lion’s roar and cymbal mallets finish this setup.

When taken altogether, the percussion section now looks very different from the traditional setup. This new arrangement makes the performance of Vortex much easier for the musicians – imagine the same piece in the traditional setup! – and much easier for the conductor. As noted previously, cuing parts becomes much easier when we respect the intended scoring by the composer. If we wanted to share parts between multiple players, we could still do that by spreading out each setup slightly to allow two players access to the instruments.

While not needed for every piece, the concept of multi-percussion stations and moving instruments will make or break the rehearsal and successful performance of others. The extra time it takes to re-arrange percussion instruments pays off in more effective use of rehearsal time and reduced load on the musicians. By assisting our young performers to understand how best to set up their section through careful planning and diagrams, we can ensure a positive musical experience for the entire ensemble.

RELATED ARTICLES MORE FROM AUTHOR

“Where’s the Triangle?” Strategies for managing percussionists and percussion instruments – Part 2

“Where’s the Triangle?” Strategies for managing percussionists and percussion instruments. – Part 1

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“Where’s the Triangle?” Strategies for managing percussionists and percussion instruments – Parts 1 and 2

Curated from Bandworld – by Russell G. McCutcheon –

Managing the percussion inventory

Every conductor has experienced it: rehearsal is progressing smoothly, then the triangle part is missing. “Who is playing the triangle?” “Umm…we didn’t know we needed it.” Or “We can’t find it,” your percussionists reply.

There are three keys to solving this dilemma:

• Students must be able to quickly and easily locate the instruments and equipment they need,
• Students must know what they need and when they need it, and
• Students must set up their stations efficiently for each piece.

This is the first article in a three-part series addressing each of the keys to success. In this article, we will examine how to organize and manage percussion instruments and equipment. With more than 100 instruments a percussionist might be expected to play, it is no surprise that managing the physical instruments, sticks, mallets, beaters, and other equipment is one of the biggest challenges for student percussionists and music educators alike.

Keeping the instruments, sticks, mallets, beaters, and other percussion equipment where it can be easily found and just as easily returned to storage is an art by itself. A disorganized percussion inventory leads to damage, costing the program money. It makes it difficult or impossible for players to find what they need and just as unlikely they will put anything away in its proper place.

Large instruments, like marimba, xylophone, vibes, bass drum, and timpani are typically either left in their regular places in the rehearsal room or wheeled into a storage closet if one large enough is available. For most schools, leaving these out is the only option. It is a good idea to purchase short covers for keyboard instruments and covers along with head protectors for timpani. These covers will keep the instruments clean and dust-free, and have the added benefit of preventing impromptu playing by non-percussionists. Be sure to designate a space to put the covers when the instruments are in use.

Mid-size instruments, like snare drums, cymbals, and glockenspiel can either be left set up and ready to play or placed in storage, depending on the space available. If possible, best practice would be to get your students in the habit of returning these items to a storage location after each rehearsal. The storage location for mid-size instruments may be as simple as a set of deep shelves in the rear of the rehearsal room. Shelves can often be constructed by facilities staff, or can be purchased at relatively low cost from a home improvement store. If buying shelves, avoid the plastic versions as they tend to warp and often cannot support the weight of the instruments. Ideal shelves have metal frames and plywood or other solid shelves.

Plywood can be left bare or covered in heavy-duty fabric to protect instruments; either way is better than a metal shelf which may scratch the instrument. A web search for trunk liner carpet or speaker carpet yields great results. This carpet is thin, protective, and easily cut and applied with spray adhesive.

When arranging instruments on your shelves, it is most important that each instrument have its own designated space and that each space is labeled. Spaces can be set apart with thin colored tape (often called spike tape). A battery-powered labeling machine can be had for less than $75; aim for a labeler that can print on 18mm (3/4”) label tape. High contrast label tape with extra-strong adhesive is widely available and will help ensure labels stay put. In the November 2010 issue of Teaching Music, Steve Fidyk stresses the importance of neatly labeling each instrument’s individual location and every drawer, cabinet, and more.

Small items, including accessory instruments, stick, mallets, and beaters, are ideally stored in percussion cabinets with drawers. There are many types of percussion cabinets available on the market, in styles designed for classroom use as well as more rugged “road case”-style cabinets.

All are good choices, but one might also consider another option: the tool cabinet. Tool cabinets are available from every home improvement center and come with many small, shallow drawers that are perfect for small percussion instruments. They can often be had for less money than cabinets intended for percussion, but work just as well if not better. When choosing a tool cabinet, make sure the drawers are deep enough (front to back) for sticks and mallets to fit.

It is also important that items in each drawer only be one layer deep. In other words, avoid loading lots of stuff into the larger drawers causing students to have to dig for items. Save the larger drawers for larger items. As with the shelves, label each drawer with the items it contains and keep like items together.

Percussion hardware, including snare stands, tom stands, cymbal stands, and the like can be stored in several ways. Hardware storage bags and cases are rarely the best solution as these are designed primarily for transport and assume that every stand will be removed from the case for each rehearsal and performance. Our goal is to create a storage system that will allow musicians to easily find and return only the stands and equipment they need at the time. Some conductors have found success designating a shelf for these items. This is good, but sometimes can make it difficult to retrieve a “buried” stand. Conductors may consider custom-built boxes or carts to hold their stands. These may be built by handy band parents with common materials, and go a long way toward helping organize the multitude of stands in many percussion sections.

The conductor and the students alike must commit to keeping the percussion area organized. Over time, students will see the value in a well-arranged system, taking pride in their instruments and in their role as valuable members of the ensemble.

Determining percussion needs and assigning parts

This is the second article in a three-part series addressing each of the keys to success. Here we examine percussion scoring and creating percussion assignment charts. While there is some standardization of percussion writing, almost every piece requires different instruments and a different number of performers. Preparation and score study prior to the initial rehearsal is key to a successful first reading. It is important to do this work in advance to avoid confusion at the first rehearsal, especially if percussionists are young or do not get their parts ahead of the first reading.

Percussion staves can be arranged in several different formats, and each poses different challenges to the conductor and percussionists. Some scores label staves by instruments, as in snare drum, bass drum (often combined with cymbals), xylophone, etc. Others are simply labeled Percussion 1, Percussion 2, and so on. In both cases, an examination of the score and parts is important. Many composers list all the percussion instruments required in front matter or on the first page of music on each staff, but just as many do not. It is not uncommon to find a staff labeled “snare drum” and assume the snare drum is the only instrument called for on that staff, only to find the snare player is expected to double tambourine, claves, or another percussion accessory not listed at the beginning. This causes confusion during initial readings when players may not be aware of all the instruments they need before beginning the piece. Best practice is to examine both the score and the individual parts, listing all the instruments required.

After establishing the complete list, the conductor can decide how best to assign each part. Scores that list parts as Percussion 1, 2, etc. are often designed for one person to cover each part, but that is not always the best option for students. It may be that a part should be shared by two players, especially if there are fast transitions between instruments. A conductor may also split a part to more evenly distribute parts among many percussionists. For some pieces, it could be better to combine several parts into one, especially if there are not enough percussionists to cover the parts as designed by the composer. When studying scores, be sure to note not only which instruments are required but how much time percussionists may have to switch between each instrument. Conductors must also consider technical demand; it may be that the triangle part requires less proficiency than the tambourine part, for example. Through careful assignment of each part and sharing parts as appropriate, conductors can ensure each student is performing a part most suited to their skills that will – hopefully – also help them further develop those skills and improve as a percussionist.

Conductors can assist their percussionists through the creation of a percussion assignment chart for each piece. There are several pre-made charts available online, including an excellent one originally designed by Bruce Pearson, edited and adapted by M. Max McKee, Director of the American Band College.

Whether you choose a pre-made chart or create your own, the chart should include each student’s name and all the instruments they are playing for each piece. This chart can be laminated and posted where percussionists can refer to it easily, and can also be handed out for inclusion in each student’s folder. The conductor may also wish to create their own chart or assignment list for individual pieces. This way, students can be listed in score order and any special notes can be included. (Figure 2: pdf/image of conductor’s assignment list) The conductor’s list can be kept inside the front cover of the score so it is always available when rehearsing. Keeping the list or chart in the score when the piece is returned to the library is a good idea; then the next time the piece is brought out most of the work is already complete.

Finally, students must know what instruments to set up first, second, and so on. This can be achieved by simply writing the rehearsal order on a white board or chalk board at the front of the room. Having all musicians put their music in “rehearsal order” can be a time-saver for the entire ensemble as well.

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Percussion Assignment Sheet

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