The UA Percussion Studio is one of the most active and forward-thinking studios in the country. There’s always something exciting happening.
News & Announcements
UA Students participate in frame drum building workshop!!
In Spring 2023 the University of Arizona Percussion Studio set out to learn the frame drum. As a part of this learning experience they became interested in building drums of their own! With the guidance of studio members Dan Kruse, Katelynn Ward, and Griffin Law,...
Music to Ring the Trees – March 20th Concert!!
The University of Arizona Percussion Studio is thrilled to announce its upcoming concert featuring the music of Michael Udow, Daniel Goode, Rob Funkhouser, and frame drum transcriptions from Jason Koontz. Join us on March 20 at 7pm in the Laboratory for Tree Ring...
Malleus & Graduate Wind Quintet perform Terry Riley’s In C!!
Malleus recently joined forces with the Fred Fox Graduate Wind Quintet to produce a performance of Terry Riley’s seminal work In C. The performance took place at the University of Arizona Laboratory of Tree Ring Research. This concert was part of on going...
Faculty & GTAs
Gabriel Albertus
Michael Dolese
Dr. Morris Palter
Nathan Smith
Arthur Vint
Alana Wiesing
Ensembles & Calendar
- April 5 – UA Steel Band @ Field of Steel
- April 6 – Arizona Day of Percussion
- April 14 – Sidney Rovney senior recital, 7:30 PM, room 170
- April 21 – UA Steel Band Concert, 7:30 PM, Crowder Hall
- April 22 – Jeffery Koyiyumptewa, 7:30 PM, Crowder Hall
- April 25 – Wind Symphony, 7:30 PM, Crowder Hall
- April 26 – Philharmonic Orchestra and ASO, 7:30 PM, Crowder Hall
- April 27 – Wind Ensemble, 7:30 PM, Crowder Hall
- April 30 – Symphonic Band, 7:30 PM, Crowder Hall
- June 7 & 8 – Tocalo Tucson Concerts, 7:30 PM, Crowder Hall
Chamber Ensembles
- Percussion Ensemble
- UA Steel Pan Ensemble
- CrossTalk
- World Music Gang
- Rosewood Marimba Band
- Malleus
- Speak-Easy Xylophone Ragtime Band
The steel band program at the UA is one of the oldest and most respected in the country. The program offers any student who shows ability and desire to perform on pans the opportunity to explore the rich traditions of Trinidadian steel band music as well as classical and pop transcriptions. The band rehearses on Monday and Wednesday evenings and is open to any qualified students enrolled at UA, as well as community members. Membership and enrollment permission is granted through permission of Dr. Morris Palter, the Director of the UA percussion program. No previous steel band experience is necessary; however, good time with a natural ability to groove and knowledge of note reading, scales, and chords is helpful..! The percussion program offers a full TA to either a MM or DMA student to co-direct the group. Please email mspalter@email.arizona.edu for more details.
Malleus is the newest chamber ensemble in the UA Percussion Studio. It is comprised of DMA students enrolled in the studio and has at various times been a trio, quartet, and quintet. Students in Malleus are responsible for every aspect of the group: picking repertoire, arranging rehearsals, scheduling concerts and concert promotion. This gives each member of Malleus the experience of running and managing a professional-style chamber ensemble.
Created in 2018, the Speak-Easy Xylophone Ragtime Band is directed by Ragtime xylophone specialist, Dr Morris Palter, and is comprised of between 8-10 percussion studio members for any one performance. The group regularly performs 4-6 concerts per academic year – on campus and off-campus events.
Large Ensembles
- Arizona Symphony Orchestra
- Arizona Philharmonic Orchestra
- Wind Ensemble
- Wind Symphony
- Pride of Arizona Marching Band
- Symphonic Band
- Jazz Ensembles
- To rehearse and perform important works of the orchestral and operatic repertoires
- To train and nurture students in developing their large ensemble playing skills
- To place the students’ understanding of the art of music in the context of the sister arts, history and culture.
Inside the Percussion Studio
Percussion Studio Philosophy
Percussion Studies at The University of Arizona are designed to develop in the percussionist the highest possible level of musicianship and an appropriate competency in performance and teaching, depending on the curriculum of study the student pursues. The University of Arizona percussion faculty includes Dr. Morris Palter, Associate Professor of Music and Director of Percussion Studies (office 110G); Fred Hayes (drum set). Graduate Teaching Assistants, Michael Pratt and Jacob Ransom, provide additional instruction and mentoring for students, teach the percussion methods class, coach UA chamber percussion groups, and help direct the percussion ensembles. The percussion curriculum is designed to present a relevant sequence of study of all the percussion instruments throughout each degree program. Musical performance skills, historical and stylistic understanding, and pedagogical concepts of education will be acquired through the following:
- The mastery of a technical facility and understanding of concepts of phrasing that will enable the student to perform with sensitivity and musical expression on percussion instruments.
- The cultivation of an understanding of the interrelations of mental and physical (psycho-physiological) aspects involved in the learning of musical skills and the performance of music.
- Performance of a cross-section of the very best literature in all styles and areas of percussion.
- The development of the ability to read at sight.
- Experience in solo and ensemble performance.
- Regular attendance and participation in weekly percussion master classes and recitals.
- The cultivation of an understanding of teaching procedure and practice, pedagogical systems, and rehearsal and conducting techniques. Observation of the working procedure in the private studio, master classes, and ensemble rehearsals is relevant to these goals.
The student’s scholarly and applied preparation and performance of materials while enrolled in percussion studies should:
- Reflect his or her progressive understanding and mastery of tone production and technical development on the respective percussion instruments. This should include concepts of rhythmic understanding, dynamic observance and control, technical velocity, pitch accuracy, and articulation and phrasing with touch and finesse.
- Continually demonstrate an awareness of the mental aspects involved in achieving high quality musical expression in performance and teaching.
- Show a clear understanding of the selected music with regards to musical style and form, including the ability to verbalize about the historical relevance and placement of the piece, the tonal framework and/or compositional techniques employed. Performance should be stylistically correct with regard to the rhythmic, articulation and phrasing concepts of the period and style.
- Be musically meaningful considering the student’s instinctive talents and level of achievement.
Degrees
The Fred Fox School of Music offers a complete range of degree options for the percussionist, including (but not limited to):
- Bachelor of Music
- Performance
- Percussion Emphasis
- Jazz Studies Emphasis
- Music Education
- Composition
- Performance
- Bachelor of Arts in Music
- Master of Music in Performance
- Doctor of Musical Arts in Performance
- Doctor of Philosophy
- Music Education
- Music Theory
Visit music.arizona.edu for more information and degree plan options.
Audition Information for New Students
Requirements for Undergraduate Admission into Percussion Studies and Scholarship Consideration: A personal audition with the percussion faculty or an audio/video recording is required to determine the student’s ability and acceptance into the studio. A student should be able to demonstrate proficiency in at least two of the following four main areas of percussion performance for entrance into the Percussion Studio and in at least three of the areas to be considered for scholarship. Scholarships in the Percussion Studio are based on ability and future potential.
- SNARE DRUM
- Concert-style: A published concert-style solo or etude from Anthony Cirone’s Portraits in Rhythm, Jacques Delecluse’s Twelve Etudes for Snare Drum (Douze Etudes pour Caisse-Claire), Vic Firth’s The Solo Snare Drummer, or equivalent. Select material that best represents your musical and technical development such as control of rhythm, dynamics, expression, rolls, ornaments, and touch.
- Rudimental-style: A published rudimental-style solo or etude from Charles Wilcoxon’s The All American Drummer, John Pratt’s Fourteen Rudimental Contest Solos, Edward Freytag’s Rudimental Cookbook, Scott Johnson’s Progression, or equivalent. Select material that best represents your musical and technical development such as control of a wide variety and style of rudiments and rolls, control of dynamics, physical dexterity, expression, accuracy of rhythm, and touch.
- KEYBOARD PERCUSSION (Marimba, Vibraphone, Xylophone)
- Two Mallets: A published two-mallet solo or etude from Morris Goldenberg’s Modern School for Xylophone, Marimba and Vibraphone, Garwood Waley’s Recital Pieces for Mallets, Thomas McMillan’s Fundamental Studies for Mallets or equivalent. Select material that best represents your musical and technical development such as control of rhythm, dynamics, expression, rolls, tone quality, and touch.
- Four Mallets: A published four-mallet solo or etude from James Moyer’s Four-Mallet Method for Marimba, Bart Quartier’s Image, Nancy Zeltsman’s Four Mallet Marimba Playing, Mark Ford’s Marimba:Technique Through Music, or equivalent. Select material that best represents your musical and technical development such as control of rhythm, dynamics, expression, rolls, tone quality, and touch.
- TIMPANI
- A published solo or etude from Saul Goodman’s Modern Method for Timpani, Garwood Whaley’s Musical Studies for the Intermediate Timpanist, Mitchell Peters’ Fundamental Method for Timpani, or equivalent. Select material that best represents your musical and technical development such as control of rhythm, dynamics, expression, rolls, tuning skills, tone quality, and touch.
- DRUM SET
- A published solo or a demonstation of musical styles including jazz, rock, and contemporary world-music styles (Afro-Cuban, Braziian, etc.) This demonstration should include the ability to play time, improvising fills and solos, and chart reading.
Requirements for Graduate Admission into Percussion Studies: Graduate students must audition to be accepted into the Percussion Studio. Audition repertoire is left to the discretion of the student, but should demonstrate the student’s musical and technical development. Repertoire may include solo literature, chamber literature, orchestral excerpts, or advanced etudes. Graduate students must perform on snare drum, keyboard percussion, and timpani. If the student has the appropriate skills, performance on drum set, hand drums, ethnic instruments, and percussion accessories is highly encouraged. If you have any questions concerning graduate-level audition repertoire, please contact Dr. Morris Palter, Director of Percussion Studies at mspalter@email.arizona.edu
Large Ensemble Audition Repertoire
Auditions are required of all undergraduate percussionists who are enrolled, or are wishing to enroll in applied lessons. As required by the School of Music, all students enrolled in private lessons must perform in one of the large conducted ensembles. To be clear: Unless you are excused by the Director of the School of Music, you will be playing in a large ensemble if you are enrolled in lessons. This means that you MUST take this audition. Further to this, you MUST perform in a large ensemble in the area of the degree you are seeking (i.e. jazz majors must play in one of the two jazz large ensembles, non-jazz majors must perform in one of the orchestral/wind band large ensembles. Please contact Dr. Morris Palter at mspalter@email.arizona.edu with any questions or concerns.
The audition will help determine personnel best qualified for these ensembles as well as give all auditionees the experience of preparing and taking a professional audition. The audition will consist of only the prepared orchestral excerpts as specified in the audition list and highlighted.
If you are a new student, or have not formally studied excerpts, you will need to prepare yourself as best you can on the excerpts. Apply your own good musical sense about rhythm and technique, get a score and study the excerpts for musical context, and listen to several recordings for style, tempo and phrasing. Do your best for your ability and experience.
Auditions will be held Saturday, August 24th, 2019 starting at 9:00 a.m. in room 170 with Dr. Palter and the Graduate TA’s. Auditions will be screened. All instruments will be provided at the audition site. Players may bring their own instruments if preferred but must be set up before their playing time. (Room 170 is reserved for percussionists starting at 8:00 a.m. on August 24th.) Persons auditioning found to be less than prepared will be dismissed from the audition.
Individuals will be ranked in order of playing ability. Individuals will be allowed to pick the large ensemble they would like to perform, going in order of audition placement/rank. IMPORTANT NOTE – there is no guarantee you will be awarded your top choice. This may be due a number of reasons including too many/too little percussionists in any one ensemble, or non-music related class conflicts. That said, every attempt will be made to place you in your ensemble of choice. Please review the hours that these ensembles meet in order to avoid class conflicts.
A PDF file of all the required audition excerpts can be found here. Download Large Ensemble Audition Material PDF
AUDITION HINTS
Find some good recordings (i.e., major orchestras, well known conductors, great percussionists), listen to as many recordings of the same excerpt as possible for the phrasing, tempo, style, texture (blend or soloistic), musical context, etc. Make study files/CDs and play alongs and practice with them. Online music sites such as Spotify and even YouTube can be great sources of recordings.
Get a score for the excerpt and study the musical context of the part in relation to the full ensemble (i.e., nature of the passage, phrasing, balance – is the part solo or accompaniment, how can you best enhance the music?)
Master the “mechanics” of the ink – rhythm, notes, dynamics, technical issues, etc. with a metronome. Decide on stickings or specialized performing techniques for the best phrasing and accuracy. Then “go beyond the ink” and make music with a beautiful sound and musical phrasing played with finesse and a refined touch.
Consider instrument selection, tuning (heads/snares), sticks, etc. (Summer is a good time to buy tambourines and triangles…!)