# MUSA 227-1001: Applied Lessons — Percussion III UNIVERSITY OF NEVADA LAS VEGAS School of Music / Percussion Area Fall 2026 | | | | ------------------- | --------------------------------- | | **Time** | \[Redacted] | | **Class Location** | HFA 235 | | **Office Location** | — | | **Office Hours** | by appointment | | **Phone:** | — | | **WebCampus** | https://www.it.unlv.edu/webcampus | **_Note:_** The instructor reserves the right to change the syllabus as it relates to how the course is administered. ## Course Description A weekly, one-hour lesson with your assigned percussion faculty instructor designed to enhance your overall musicianship. This is the Applied Lessons course for undergraduate percussionists at UNLV in their third through eighth semester of study. MUSA 227 represents the third semester of undergraduate Applied Lessons. ## Course Prerequisite(s) Successful completion of MUSA 128. ## Course Rationale To prepare well-rounded, conscientious "thinking" percussionists who demonstrate excellence in performance, pedagogy, and professionalism through exposure to history, literature, culture, and awareness practices unique to the percussion discipline. Students will gain insight into various techniques and philosophies through a wealth of repertoire from a diverse selection of composers to inspire overall personal and musical growth. While all students will progress at different speeds and/or arrive at UNLV with different skillsets and knowledge, the objectives below provide a framework to guide students toward technical, pedagogical, and overall musical growth for professional success. ## Program Competencies Perform in one primary performance medium, at a level appropriate for the area of specialization, with sufficient technical and musical skills requisite for artistic self-expression. Demonstrate broad working knowledge of the solo repertoire for their primary performance medium, at a level appropriate for the area of specialization, and display essential skills to interpret a range of styles within that repertoire. Read solo and ensemble (large and small) literature at sight with fluency demonstrating both general musicianship and, in the primary performance medium, a skill level relevant to professional standards appropriate for the area of concentration. *Drawn from the [[4.1.1 BM Competencies]]* ## Course Competencies To meet course requirements, students are expected (at minimum) to show proficiency and/or growth in the following areas: **Basic and Advanced Musicianship** - Sight reading - Scales (including jazz scales) - Chord comping and progressions - Improvisation **Conceptual / Analytical** - Understand historical and cultural importance of their repertoire - Articulate the pedagogical concepts relative to what is being performed - Demonstrate problem-solving skills with regard to technique and musicality - Personal selection of repertoire that challenges their abilities **Instrumental and Performance** - Snare drum (solo, orchestral, marching, drum-set) - Keyboard percussion (marimba, xylophone, vibes, glockenspiel) - Timpani (solo, orchestral, percussion ensemble) - Multiple percussion - Auxiliary percussion (bass drum, cymbals, tambourine, triangle, etc.) - World percussion (congas, bongos, djembe, handheld instruments, etc.) - Drum set (jazz, rock, Latin, etc.) - Performance in a variety of large and small ensemble situations ## Learning Outcomes/Course Objectives - A heightened sensitivity to tone quality and historically informed understanding of performance practices and gestures - A considerable understanding of arm anatomy and stroke physiology from performance and pedagogical perspectives - A basic to intermediate understanding of harmonic and melodic comping and soloing - An individualized sense of expression and musicality built upon tone quality and appropriate contextual interpretation *Aligned with the [[4.2.1 BM Progression Map]] (Semesters 3–4).* ## Required Text There are multiple method and pedagogy texts that will be required by all percussion students at various points during their time at UNLV. While a large amount of material is now available (often illegally shared) in PDF form, it is imperative that students purchase the various texts they will use throughout their time at UNLV. This is both a matter of copyright and ethics that should not be ignored. **Required by week one (1) of the first semester of study for all undergraduate and graduate students:** - *Teaching Percussion*, 3rd Edition (or newer), Gary D. Cook - *The Percussionist's Guide to Injury Treatment and Prevention*, Darin Workman - A dedicated notebook for practice, repertoire class, and other notes **Other literature required later at your instructor's discretion:** - *The Musical Timpanist*, Jeffrey Peyton - *Douze Études*, Jacques Delécluse - *Méthode de Caisse-Claire*, Jacques Delécluse - *Permutations for the Advanced Marimbist*, Kevin Bobo - *Orchester Probespiel* Excerpt Book for Percussion ## Evaluation Methods While there is no fixed grading policy for this course, there are areas of evaluation that determine your earned letter grade at the conclusion of the semester. The following items are considered when determining your final grade: - Lesson preparedness and engagement - Attendance and punctuality at lessons and Repertoire Class - Additional attendance and punctuality - Performance in two (2) Repertoire Classes - Final Jury performance during Finals Week - Overall contribution and behavior as a team member among your percussion peers ### Lessons Preparedness and Engagement Music is a highly physical and emotional activity, thus some days a student's musical output may fall well short of their potential. However, it is expected that students arrive to their lesson on time, prepared, and receptive to information. Flawless execution and perfection are not the objectives of lessons. Preparation and engagement will result in growth and reflect accordingly in your final grade. ## Attendance Policy ### Lessons Attending your scheduled lessons is not optional under any circumstance except for emergencies. You must receive 16 lessons total for the semester. Failure to communicate possible absences will result in a lowered or failing grade. Most absences due to illness or other life events or complications are often fully excused with reasonable advance notification. Please ensure you communicate impending punctuality or absence issues as early as it is safe to do so. **Lessons Absence/Make-up Policy** - An absence communicated at least 24 hours in advance must be rescheduled within the next two (2) days of the missed lesson time for full credit. - Failure to reschedule promptly will result in a zero (0) regardless of when rescheduled, and it must be rescheduled. - An absence with no communication will receive a zero (0) regardless of when rescheduled, and it must be rescheduled. A "no-call, no-show" is unacceptable at the collegiate level. Period. ### Repertoire Class All music students at UNLV are expected to attend a weekly Repertoire Class where their peers within their division convene to perform for and critique one another. This weekly class meeting is the "officially scheduled" class time listed in MyUNLV and is mandatory. Repertoire Class occurs every Friday at 11:30 a.m. in HFA 235. ### Additional Attendance & Participation Students are expected to attend all percussion-related events as a component of their Applied Lessons grade. As percussionists, our duties extend far beyond a weekly, 1-hour lesson. Therefore, students should expect to attend and participate in various activities that fall beyond the weekly lesson. Such activities include but are not limited to: - Gear moves - Fellow percussionists' recitals - Guest artist masterclasses - Grad student and/or faculty-led masterclasses - Extracurricular rehearsals (as necessary) - Percussion Complex cleanup/organization sessions **Non-lesson Absences / Class Conflicts** Some events like gear moves may conflict with your scheduled classes. In these instances, absences must be communicated immediately and clearly. Students must notify both the individual leading the event and the Coordinator. Please *always* communicate possible absences or punctuality matters when it's safe to do so. Never communicate absences through another student or via Facebook, Instagram, or other social media messaging. ## Grading Policy There is no fixed numeric grading scale for this course. The following is a general, qualitative representation of letter grades relative to the six evaluation areas listed under Evaluation Methods: | Grade range | Descriptor | Standard | | ----------- | ------------ | ---------------------------------- | | A- up to A | Proficient | Consistently demonstrates/achieves | | B up to B+ | Sufficient | Frequently demonstrates/achieves | | C up to B- | Insufficient | Sometimes demonstrates/achieves | | D- up to C- | Deficient | Rarely demonstrates/achieves | | F | Absent | Never demonstrates/achieves | ## Equipment Needs Your implements are a reflection of you and the musical identity you aim to create. A percussionist must (eventually) amass a significant collection of sticks and mallets in preparation for any musical situation. By your third semester of study onward, your collection of implements should begin to contain most (or a similar combination) of the following: - General concert snare drum sticks — pairs of various quality from low to high for different situations - Multiple pairs of rubber and plastic-core, yarn and/or cord marimba mallets — various brands and hardnesses of each brand - Multiple pairs of rubber and plastic-core, hybrid yarn and/or cord vibraphone mallets — various brands and hardnesses of each brand - Multiple pairs of timpani mallets — various head shapes (e.g., standard, cartwheel, etc.) and hardnesses - Various pairs of preferred drum set sticks — plastic and wood tips, varying diameters and weights - Multiple pairs of xylophone and bell mallets — various head sizes and materials (e.g., nylon, acrylic, wood, etc.) - A pair or two of multi-application swizzle sticks - A pair of standard drum set brushes - A pair or two of timbale sticks (different diameters encouraged) # Course Agenda/Schedule | **Module/Week #** | **Activity** | **Due/Benchmark Dates** | | ----------------- | ---------------------------- | ----------------------------- | | All Weeks | Repertoire Class (recurring) | Fridays, 11:30 a.m., HFA 235 | | 1 | Meet with Instructor | Determine time by end of week | | 2 | Lesson 1 | | | 3 | Lesson 2 | | | 4 | Lesson 3 | | | 5 | Lesson 4 | | | 6 | Lesson 5 | | | 7 | Lesson 6 | | | 8 | Lesson 7 | | | 9 | Lesson 8 | | | 10 | Lesson 9 | | | 11 | Lesson 10 | | | 12 | Lesson 11 | | | 13 | Lesson 12 | | | 14 | Lesson 13 | | | 15 | Lesson 14 - Final Lesson | | | 16 | No Lesson - Final Jury | Finals Week | ## [[6.6 University Policies|University Policies]]