Monday, February 12, 2024
There are many aspects of a band program that the director must maintain. One area that can be incredibly daunting - even for a percussion specialist - is managing the percussion inventory. To provide adequate training for the modern musician, you must instill proper behaviors. This is especially true for the percussion equipment, which tends to be left out in the elements of the band room, utilized by multiple people throughout the year, and is expected to last decades. This topic and its content are vast and varied. The information provided in this article is not a complete listing of possibilities, but rather a generic overview of how to embed healthy habits into your percussion curriculum. If you are looking for specific advice to meet your needs, feel free to reach out to me for a free consultation.
There are five areas of focus to consider when managing your percussion inventory:
Setup
- Physical space. It is important to have large instruments covered and smaller instruments stored away after each use. Consider placing slight gaps between instruments groups - timpani, battery/percussion, and mallets - to allow easy access for student and teacher. Having your storage labeled is good practice to help expedite the setup and cleanup process. Ultimately, the goal is to simulate the performance space within the rehearsal.
- Classroom procedure. The daily percussion procedures must be adopted and practiced with students during their beginning year. Make sure your expectations are visible and consistent with your bandroom policy. Always rotate the percussion part assignments to give all students equal opportunity to learn and practice care and maintenance for each instrument they play. Most importantly, plan for setup and cleanup to be done during the planned rehearsal time. There may be literature and rehearsals that require extra time for the percussion. Getting the timing right will take practice for the director and the students.
Logistics
- Daily and concert/performance PEDALS UP when moving vibe, chimes, and timpani. This prevents the pedals from dragging or snagging, especially on ramps or through doors. For the timpani, the high head tension will prevent the rim and head from shifting in transit. If you need to move equipment to another location for a performance, it is good practice to utilize the built in class time. Before and after each move, check all screws on wheeled instruments - start from the bottom and work your way up.
- Marching band and special events. It is beneficial to have designated cases for everything in your program. It will expedite the process if you pre-assign player responsibility for each instrument. I recommend having storage diagrams for trailers, or posted pictures on how things are to be properly stored.
Ordering
- Student consumables. Starting in their first year, have an progressive "recommended supplies purchase" list (see sample below). It must be realistic and accessible to ALL students. The school must also supply implements for each instrument it owns. It helps to ensure each student uses appropriate mallets on the respective instrument. Develop a consistent order rotation for items such as heads and marching percussion implements. An example would be to order your marching bass and snare heads on alternating years (bass heads one year, then snares the next).
First Year Second Year Third Year Snare/Drumset Concert sticks Drumset sticks Mallets Marimba (pair), Plastic (pair) Marimba (same to create a set of 4) Vibe Mallets Timpani Staccato pair This is a generic representation. Be sure to list specific brands and models. - Capital outlay. Plan your purchases based on the space you have. It is always a dream to have a five-octave marimba, but there is a high risk if you cannot store it properly. Some large purchases are for expansion, but if you replace items, be sure to have a removal plan for older instruments. A tip for purchasing large items is to shop drum corps inventory for used equipment.
- Student consumables. Starting in their first year, have an progressive "recommended supplies purchase" list (see sample below). It must be realistic and accessible to ALL students. The school must also supply implements for each instrument it owns. It helps to ensure each student uses appropriate mallets on the respective instrument. Develop a consistent order rotation for items such as heads and marching percussion implements. An example would be to order your marching bass and snare heads on alternating years (bass heads one year, then snares the next).
Maintenance
There must be a dedicated space for everything and be labeled with text, a picture, or color-coded tape. At the start of each semester, you should check head tension, clean wheels, and ensure frame screws are secure. To prepare for long breaks, cover, clean, and lock up your instruments as you are able. Most important is to create a culture where your students feel safe letting you know something broke. The earlier it is reported, the better chance you can identify the issue and adjust any procedures necessary.Repair
This is a last resort! By focusing on the previous four areas of focus, you will reduce the need to do excessive repair. Focus on preventative maintenance as opposed to a reactionary repair - you never know how long you will be without an instrument, or how long it may take to get a new one. If you need to do some repair, check the warranty, and reach out to the manufacturer. In some instances, you may be able to work with your school's insurance or safety and compliance officer. Mallet instruments with broken frames are a hazard to students and should be replaced!
Each program is different and will find the best methods and process that works for their students. It is also an on-going process that may require some trial and error. By allowing the students to be involved with the process, you create a strong sense of ownership and reduce your stress levels. I encourage you to reach out with any specific questions, needs, or if you want to share an idea. I do not have all the answers, but I am always willing to brainstorm ideas. Email: [email protected]; phone: (913) 302-4913.
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