Ep. 7 - Player's Guide Deep Dive: Keyboard Mode

Have you ever experienced keyboard confusion in your beginner classroom? We have, and that’s why we started from the ground up for the mallet mode in Player’s Guide for the Beginning Percussionist. Tune in and hear how the book navigates students through complex concepts in ways that help them build confidence and enjoy playing keyboards from day one. 

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Transcript

UNKNOWN 0:00

Thank you.

SPEAKER_02 0:15

Congratulations, friends, and welcome back to the Team Islas Podcast, Episode 7. My name is Doug Bush, and today, when you lifted it up, I thought you had the book upside down there. For a second, I haven't seen it like that, where the covers are open like that. It has two covers, folks. My name is Doug Bush, and today I'm joined by...

SPEAKER_00 0:36

Patricia Islas.

SPEAKER_02 0:38

Zach Scheer. Yeah, and this podcast is for anyone looking to better themselves in percussion education. We're still talking about the Player's Guide for the Beginning of Percussion. Let's take a look at how the Player's Guide handles learning to play mallet instruments. Honestly, guys, I think this is the crown jewel of the book. There is a ton of innovation here, things I have not seen anywhere else in the entirety of my career teaching percussion here. Ms. Islas, do you want to walk us through some of your thoughts?

SPEAKER_00 1:05

Sure. Yeah, I'm really excited to get to talk about this today. We clearly put a lot of time and energy into the production of this part of the book. It was really apparent at the beginning of this process that we needed to really just start from scratch and build it from the ground up to do it the right way. There are a lot of problems that I've witnessed in my own students that I remember having 25 years or so ago when I was learning how to play keyboard percussion with no piano experience. And it's painful to watch your students go through the same problems that you've dealt with yourself knowing that that these are problems that could be solved. So we really started from the back with a list of things that we wanted the students to be able to manage and handle at an achievable level for seventh grade and for eighth grade and beyond. And then also a list of things that we wanted to help at least alleviate with how the structure of the book went out. So Zach, I'm going to pass it to you to talk a little bit about some of the examples of things that we were trying trying to solve with this book

SPEAKER_01 2:17

yeah absolutely so I know as a percussion educator I've sat in I feel like specifically this happens in like all region auditions but also just like randomly in class where you're coming in and it's like man that kid's playing in the wrong octave you know or solo contest solo contest or you know they get their band music like you're talking about they get to seventh grade and now they're on this different instrument and they're by themselves back there in the back of the band hall and it's like which C is the middle one? Or

SPEAKER_00 2:49

does it even matter?

SPEAKER_01 2:50

Does it matter? I didn't know it mattered, Miss Islas. They're all Cs. What's the problem? One of the things we've tried to address in the book, and it's kind of being silly about it, but it's like in order for your students to become great keyboard players, specifically at that younger age, or in order just for them to become proficient so they don't cause problems in their band class, we need to know where middle C is. And so where is middle C? What does it look like when I approach a marimba or a vibraphone or bells? This thing is different. Right at the very beginning of the book, there's an introduction where we're showing the students what does a marimba look like, a vibraphone, xylophone, bells. There are pictures of each book. This is a place at the beginning of the book where we're just explaining what the different instruments look like. We're labeling the parts of the book, resonators, bars, so on and so forth. But you'll notice even just here in the introduction, that middle C is labeled on each instrument. So from the beginning, it's like, okay, we're learning that middle C is in a different place on each instrument. Then when the students get into the book and start to actually learn notes on the keyboard, every time a new note is introduced, it's introduced with just a short explanation, like D is located on the fourth line, that sort of thing. Then we'll show a staff with the note D labeled Then there will also be a little diagram of a keyboard layout and middle C will be labeled on that keyboard layout. And then whatever new notes are being introduced are also labeled. So even if those notes are like at the top of the treble clef staff and they're not really close to middle C, we're still going to include middle C as a reference point when those new notes are introduced. So, um, how, what I'm playing on my keyboard relates to middle C, like geographically on the keyboard. board itself and how it relates on the staff should be second nature to your students. If you're, if you're using the book kind of the way it's laid out. So that's, that's the first thing. The second thing, again, sounds like a pretty simple, common problem. And it's something that, you know, as a teacher, you're going to eventually get this and they're going to eventually figure it out. But the question is how much time does it take you? And our thought here is like in the layout of the book, can we save you time? Can we get you from a to you know, G G, right? Get it. Can we get you from, can we get you from a to D or can we get you from step one to step six faster? Right. Um, so an example of that is what is down and up or what is left and right on my keyboard. When my teacher is saying down, does that mean I'm going, I'm going, wait, what is down to the note? The bar, the bars are getting bigger this way. Or like, so maybe, maybe your keyboard doesn't actually have graduated bars, which can be confusing to students. Right. So,

SPEAKER_02 5:45

Or maybe it's an old mallet tech and the bottom bars are the size of Texas.

SPEAKER_01 5:48

Right. Or if you were like me, like I know I taught some beginner classes sometimes or maybe even some like seventh and eighth grade classes where we'd have like a vibraphone and a marimba and a xylophone and the kids were playing on all kinds of stuff. So again, in the introduction of the book, there's a diagram laid out of a keyboard and all the notes are labeled, but also there are arrows, one pointing to the left that is labeled down and another pointing to the right. that is labeled up and it is laid out in a very simple, clear fashion for a student to understand. And again, hopefully just to save you time. Another thing that you'll find in the book that I know some people have seen maybe in some older books that I don't think appears in more recent keyboard textbooks, but is really helpful is showing the student where to stand. So you're going to find in Level A, level B, and even a little bit further on in some of the later levels that we're telling the student based on what playing range is being called for in those lines right there, we're telling them where to stand. So you'll see at the bottom of the page, for instance, I'm looking at page six right now, which is in level B. And at the bottom of the page, there's a big C and a down arrow. And it very clearly says, line up this down arrow with the C on your keyboard and put the book right there. So it is pointing at the right place on your keyboard and this is where you should stand. So you're never gonna have a student, again, when they're at home and you're not there to point this out to them, you're never gonna have a student with like their book way over on the left and the notes they're playing are over here on the right and they're standing like, you know, across the room or something, right? You're gonna have the student lined up in the correct place with the notes they're playing right in front of them and the book right in front of that. So I think that's also very, very helpful. The last thing I would say that's laid out really clearly and that will hopefully clear up some confusion in your classroom is the way we introduce key signatures. Ooh, folks, you gotta

SPEAKER_02 7:52

listen up. Mr. Bush sat through hours and hours of his life with intense debates. I mean, this is another great example of what Mr. Scheer was just saying. I mean, this is a six-year project of ours, right? And just so much time was invested in these core concepts because we all know that feeling of having a seventh grader or eighth grader and pointing a key signature and saying, what is this? And then being like, I have no idea, right? And that starts with how you introduce it, right?

SPEAKER_00 8:27

Being really mindful to not give information too soon or too much information too soon. Or too

SPEAKER_02 8:33

much

SPEAKER_01 8:33

information,

SPEAKER_00 8:34

right?

SPEAKER_01 8:34

So Mr. Scheer, how we approach the key signatures? So again, okay, here we go. Level D, page 13. Very short, simple explanation of first, where is the key signature? signature located right before we go into like as key signature is this algorithmic no stop wait where is this on the book okay where is this on my music so it's going to tell them very clearly it's going to point to the spot with a very clear arrow where this is located on their music and then it's going to give a very short simple explanation of what that is the very next line we're going to show them with arrows and with a short explanation it says right here above line three and level d in line one the key signature shows and this is in bold, one flat on the B line. And then it says, this means every B in the song is played as B flat. And again, all of those B flats have arrows pointing towards them. The very next line, line four, says above it, another way to think of this is that the song is in the key of F and only uses notes of the F major scale. So we're trying to give them one thing at a time. Like, okay, there's a flat in my key signature. That means all these notes are flat. Cool. Got it. Oh yeah. That means I'm in the key of F. Okay. Yeah. Awesome. Got it. After that, we're going to introduce two flats. It talks about how this is going to be a B flat and an E flat and that sort of thing. Then we're going to take that line that they play in line five. And in line six, it says, now try the same song in the key with three flats. Do you know which scale to use? So we're taking these rhythms they've already played this tune that they've already gotten their head and going, okay, And now what we're working on next is really seeing, do you really understand key signatures? Not just, can you play this cool tune, but do you understand key signatures? We're going to take that same thing and we're going to put it in a new key and give the student the experience of like, all I'm changing now is the key.

SPEAKER_00 10:32

That's all I'm changing. Which I haven't seen anywhere before. No, no. Really drive home the concept of what a key signature does.

SPEAKER_01 10:39

Exactly. Because sometimes kids would ask me like, well, what, what is a key signature, Mr. Shearer? And it's like, well, well, you know, if you're a composer, you could write this and this key or that key. And they're like, what? You know,

SPEAKER_00 10:49

but in our book, they are composers.

SPEAKER_03 10:53

Yeah.

SPEAKER_01 10:53

So, and I won't, I won't go into the whole thing here, but also there there's the, uh, uh, that same level of depth happens when we get into how naturals are used. Right. Because gosh, if you don't understand, I mean, like we're talking about naturals and like, well now what if it's in a different octave or what if the natural comes, but then there's a different octave and then there's a flat and then, oh my Gosh. So that same level of like, we're walking them through that one step at a time happens when naturals are introduced as well.

SPEAKER_00 11:23

Yeah. Obviously a lot of attention to detail on those ends, on those complex concepts to try and to make it really achievable early on and pretty easy. And that's one of the things that I think we've all experienced in class or in a lesson situation with beginners, especially when you've been spending a A lot of people have the tendency to start with the drum practice pad stuff first, which makes a lot of sense. And then they get to keyboard percussion, whether that's in the first month or in the first semester or even in the second semester. And you see this light that was showing up in the lessons and in the classes all of a sudden get dimmed because there's this, they never say it out loud, but there's this impression of like, oh, this isn't fun anymore. It's really just hard. So we wanted to try and navigate that. Obviously, as an adult and as a musician who's been studying music for a long time, sometimes it's really difficult to understand what's difficult and realize how many details someone that is younger who hasn't seen it is trying to process at once. And Doug has a great story about realizing this.

SPEAKER_02 12:35

Oh, yeah, yeah. I remember early in my career, I had the pleasure and privilege of being the director of percussion studies for Sherman High School, along with the head director, Jeff Brad it was awesome it was right out of college really excited to get in there and simultaneously Missy Sloss and I began to learn a brand new martial arts no new to us an ancient martial arts a skirma or a kali like a Filipino martial art you know but we're taking lessons and I'm at one of the earlier lessons and the instructor says wonderful instructor Wiley Mitchell and he said you know throw a jab at me so I threw a jab he said I want you to do this this this this this next thing I knew Elbows were flying at me. Knees were flying at me. I'm like tied up in some kind of like Nolan Ryan, like headlock move or something. And I just feel, I mean, it was probably genuinely maybe five steps. Maybe. Maybe. But I felt like at least a dozen things in rapid succession had just flown at me. And then he was like, okay, you do it. And I was like, whoa, man, can you show me again? Like do what? Yeah, exactly. Do what? And he's like, okay, throw a jab. I throw a jab. He's like, it's just this, this, this, this, this. And you could hear his frustration. Like, it's so simple. It's just all these things. But I was like, what is the first thing? Okay, the first thing seems to involve an elbow. Okay, cool. Fast forward the literal next day, I'm teaching my beginners. And I'm like, it's just an accent to tap into. And as I'm saying the words and I'm hearing the frustration, because my beginning class was at the end of the day too, right? You know, I had before school marching band. I had, you know, and I'm looking at this like 12 year old look at me in bewilderment. It just hit me so powerful. Oh my gosh, I'm doing the same thing. They need just one thing. And even some of the greatest educators I've worked with in my career, I'll see like, you know, whatever we're like in marching band. And you know, the band directors are really excited. They're so far removed from what it is to be a 14 year old trombone player. And we're trying to do the tempos too fast. And we're trying to do segments too far. And they've never marched. They didn't even know what marching was two years ago. But the band directors are just yelling at, well, I gotta do this. I'm gonna do this. And let's do this. And it's just, I always just, just think of that to myself of like, if we could just simplify it and do one thing, very basic, very slow for a while, the student will not only do it so much better, but they'll be having such a better time,

SPEAKER_00 14:55

right? Yeah, because they're going to have so much more success at it. And so our method of approaching it with this mentality was to start the introduction with a number of different exercises that are written or organized in a way on the page that could be understood by someone who can't read street... sheet music. So these are exercises dealing with spatial awareness around the keyboard, identifying a few select notes on the keyboard, but all intended to be played without music in front of them. Really just so that the kids can get a chance to learn and get exposed to the keyboard instrument and figure out how to create great sounds, figure out how to move around in a way that's fun before they have to also navigate on top of that what reading music looks like and then to approach reading music on the staff which also can be kind of a beating at the beginning for a lot of people because it's so challenging there was a lot of research done in terms of like how our brains process new information and so one of the things that I discovered was working memory which is dealing with new pieces of information a younger student you know at the age of a sixth grader is going to be able to handle three to five pieces of information at a time that's different. So the new note introduction at the very beginning of the book only introduces three new notes at a time. And so hopefully, even for the student that has no piano background or maybe is a little bit intimidated in reading music on the staff, all they have to identify is a high note, a medium note, and a low note. And they can be successful. Another thing along with that that was very intentional with the layout is that each level, when it comes to the playing lines, is introduced by these three very defined segments, one of which is the new note playing lines, which are very simple and clearly involve the new notes of the level. There's another section, a completely different section, that involves the review lines, which only are comprised of notes from the review levels do not include the new notes. So it's simplified that way. And then after those two sections, we have a put it all together segment of lines. So they get sequentially a little bit tougher, but each step should be fairly achievable so that nothing is terribly stressful for the student. And then the final music that we have in each level is a longer etude that may be more musical, that may, and some of the later levels involve dynamics potentially to be used in a way of maybe the playing lines before or for sight reading and this musical segment is for music that you take home and you spend some time learning practices or skills to practice things at a high level that you bring back to class but really structured in a way that there's plenty of material for examples but nothing is too terribly difficult or challenging that can't easily be managed. So I think the next thing, Zach, I'm going to pass it to you. Is there anything else that's outstanding or that you think that should be mentioned about the keyboard book?

SPEAKER_01 18:28

Yeah, so I'll add two things, Macy Sloss, to what you just said. When new notes are introduced, the very first section you're going to see, so for instance, I'm looking at level B, page four right now in the keyboard book. The new notes are introduced, and then there are four lines in a section called write it in. So you're going to see those notes that we just introduced. We told you, you know, for instance, B flat is located on the third line, yada, yada, yada. And then we show you a staff with B flat on it. And then we show you a diagram on a keyboard with, again, with middle C referenced. Then you're going to get some lines that have all of your new notes, just with note heads on the staff and blanks underneath where the student is going to fill in to identify that note. Okay. Yeah. I'm going to write it in. That's B flat. Okay, that's D. Okay, that's C. Good. Then the next line is the inverse of that. So the staff is blank, but the blank lines underneath the staff are filled in with a B or a C or a D, and their job is to write the note heads on the staff. So before they are asked to play them, they are asked to make sure they can identify them and prove that they can identify them on the actual staff, both by writing in the note name and and by writing in the note head. And then, Missy Sloss, in those sections that you referenced, new note practice, review, and then put it together, which are sections that appear in every level, next to that heading, you're going to also see, and more importantly, the student is going to see listed there what notes are used in these lines. So kind of like you said earlier, Mr. Bush, we're not trying to trick anybody. We're not trying to trip up the students like, ha-ha, snuck a B in there, gotcha. We want them to know what's coming and have the tools to be successful. So even in the like musical practice lines towards the end of each level that are more like a short etude, the notes that are going to be used in those lines are listed right there. So the student is ready and knows what to look for on the page. The other thing you're going to see in the keyboard book that is different than some of the other resources that are out there is stickings. Again, kind of like we talked about earlier with some of the up and down and those are the other things. Will your students figure out stickings eventually? Will you help them figure out stickings eventually? Yes. Would you be able to do it quicker if stickings were already in their music so you can focus on the really, really tough things for them? Yes, you can do it quicker that way. So stickings are found all throughout. I mean, in every single line, there are stickings in the keyboard book. Now you will find a place in leveled G where we get to like what I like to call choose your own adventure with stickings right but it's like it's choose your own adventure with guidance right so I know Miss Eastloss I remember when we talked about this you did such a good job of going like okay we've got to give these kids the tools they need to play stickings on keyboards that make sense because we've all seen like a kid going you know I'll just play all these notes down here with the left and then all these up here with the right it works great and to be honest if they haven't been told otherwise then And yeah. Yeah. I mean, yeah. Okay. So when we get to level G, there's a specific section that's called sticking practice and it lays out three very simple rules. Number one is alternate as often as possible. Number two, and ascending lines on the right hand. Number three and descending lines on the left hand. And again, we have given them in the line that comes next, we've given them the stickings. Hey, here's an example of how to do this correctly. Then in the next line, we've given them them blanks underneath so they can write in their own. As this level progresses, it gets a little more complicated. Above line five, it says sometimes a double is necessary, but don't ever play more than two notes in a row on the same hand. And then there's an example of how to handle that with stickings written in by the master, Missy Sloss. And then they have some examples, some lines where they can write in the stickings. Then it talks about how to handle doubles between naturals and accidentals, that sort of thing. So it's all presented again in a very sequential manner, but stickings are addressed. And it's just something that I know I've spent a lot of time and stress on in beginner classes. And we wanted to just make that easier for the teacher and the student. The same thing applies when it comes to scales. So I know some people might do a lot of scales right up front. If you want to do that, go for it. Some people might want to let the scales be introduced as you learn new notes. And as you start to learn more about key signatures, that's the way scales are laid out in the book. Again, referencing back to the snare drum episode, we are in favor of long on-ramps. So being able to learn a few skills at a time, master those. But as the semester goes on and as you get closer to the end of the book, obviously the playing level of the students is increasing. So you'll notice towards the end when we're introducing some of the sharp skills at the end, because it does go circle of fourths first and then circle of fifths second, you'll notice that when the new scales are introduced and arpeggios introduced at the same time so in addition to there being some arpeggio exercises and things like that in the book there are some scales towards the end where it's like hey by this point you can handle the new scale and the new arpeggio all at once so

SPEAKER_00 23:59

yeah and to speak a little bit on the scale construction the new notes in the way that they're introduced throughout the levels is to facilitate the introduction of the key signatures and the scales so there will be notes that are introduced that then apply to the new additional scale that's added in. And the other thing I wanted to mention with regards to the keyboard book is that similar to having two separate covers, similar to having two separate sections of the book, the way that the lines were written was intended to be useful for introducing the book at any point in the year. The rhythms are very simple. Most of them in the first few levels are quarter notes. And even in the first level, it's limited to maybe two variations of those. You'll have a quarter note, a rest, a quarter note, a rest for a few of the lines. So there's no surprises with regards to the rhythm. And then that might be varied up by having three notes in a measure and then two notes in the next measure. But it's a very familiar pattern. So the kids are really just concentrating on the thing that's the newest and the most crucial for them to learn, which is identifying the notes in the staff and on the keyboard. And that is hopefully allows for the educator to have a freedom of using it whenever they feel like they want to use the keyboard part of the book or whenever they need to. Some people have concerts early in the year and they need their students to learn keyboard music pretty quick because they're doing Christmas music or Halloween music or whatever. And you can implement it early. It could be happening in the first month of class. Or if it does happen later in the year, the simplicity of the rhythms still a allows for focus on notes and sound quality and technique, which we all obviously want them to do at a high level.

SPEAKER_01 25:49

And Missy Sluss, you mentioned the exercises that come at the beginning of the book, which are designed to give the student familiarity with the keyboard before they can read music. There's also a whole nother set of exercises that appear in later checkpoints that are written on sheet music. So things like not exactly green, but something that's sort of like green, some arpeggio exercises, things like that.

SPEAKER_00 26:11

Chromatic scale exercise. Chromatic

SPEAKER_01 26:12

scale, yeah. Again, to give you the flexibility, regardless of how often you see your students or when you start or if you're geared more towards technical things or geared more towards reading, you're going to find whatever resources, whatever tools you need, you're going to find that in the book. And I think the exercises specifically are something that's not available in a lot of other beginner resources and something that I know I would have benefited a lot from. A lot of those exercises, I found myself just kind of teaching by rote, which is maybe helpful in the beginning of the year. But later on, if my students can read, it would be a lot more helpful to have those things written out. So I think those later exercises really fill that space very well.

SPEAKER_00 26:53

Right. So the construction of the exercises and the layout and the way that the information is introduced, all with the mentality and the goal of making it an achievable task of learning how to play keyboard percussion, but also keeping in mind at the end of the day, any of this stuff just needs to be fun. I mean, that's why we come That's why all of us started playing music and are still involved in this activity at any level is because music is fun. So, Doug, would you speak a little bit about how we were able to implement that?

SPEAKER_02 27:25

Sure, of course. I mean, there's been a lot of talk here of pulling these inspirations and doing these deep studies away from kind of the field. And one of the things that you'll come across is the overwhelming scientific data that points to children learning and retaining things. better when it is fun or it is a game to them, right? If they are enjoying the process, they end up learning it more, right? And so then it comes in, I mean, there's a bunch of simple methods that, you know, you applied here, but the titles, you know, having these titles for six years, as opposed to etude seven, right? You know, having like battle chef brawl and the dodo code and let's go. Okay, hey, no coming after Mr. Bush here. for his awesome Mario accent, right? But yeah, the kids end up enjoying these silly titles so much. It's memorable. They get excited. They come back. Can we do Chucky Brown? Can we do Chucky Brown? And then they will title their own compositions in the composition thing. And it's wonderful because not only is it a fun thing, but I've learned a lot about my students when they come in. And they're like, you know, Arjun ate my ice cream. And I'm like, who's Arjun? Oh, that's my little brother or whatever. So it's... You know, these are things to keep them engaged and fun and involved with it. The etudes, many of the etudes have familiar melodies for us, you know. I mean, you know, don't let Nintendo know, but there's some stuff in there that, you know, you're probably going to enjoy. And I can say that as an educator, if I'm not enjoying listening to the music, what is the likelihood this 12-year-old is going to enjoy the process of practicing it? But the inverse is true as well. Anytime I hear a kid playing that Mega Man chart, you know, it gets... It's like, oh man, you know, or that Ruska tune or whatever. It's really, really exciting. You know, we got the solos. And, you know, I would just, I would say kind of like what we had said for the snare. The person that's composing all this, Missy's class, has a long track record of like an internationally acclaimed composer, you know, where she's written things for PASIC and TMEA and Midwest, right? Several award-winning drumlines But arguably most standout accomplishment is what is now kind of like the gold standard de facto intermediate to advanced two mallet book momentum, right? Where that's another great example of like by making it logical and systematic, but then making the music sound cool, right? Like we have had so many middle school students over the years that have heard an older student playing something out of momentum and gone, oh my gosh, what is that? I want to play that. I don't know if you're ready for kinetic energy, buddy, right? You know what I mean? And then they do it simply because they enjoy the music, right? A lot more than, you know, the brown jug quilts a coat or whatever, right? You know, you need to have something in here and that appeals to the demographic that we're trying to get excited for. And I think that was a huge part of that.

SPEAKER_01 30:38

Yeah. The cover of the keyboard book. This is my if I had to pick one I would pick the cover of the keyboard book it's my favorite you know I remember when we saw it for the first time I was like that's cool

SPEAKER_03 30:50

yeah

SPEAKER_01 30:51

that's really cool so just when you were talking about making it fun and appealing to the student I was like yeah look at that cover yeah I mean it's cool

SPEAKER_02 30:59

yeah oh yeah I mean Gabby did such a great job with both covers but I mean it's there is a truth to the matter of I think all of us probably have a memory of when we saw Four Mallets for the first time and it was like wizardry here this is straight up Harry Potter and I can remember Eric Martin many years ago saying like man when these 12 year olds these 6th graders you know we do a thing where the 6th graders come up and see the high school drum line and he's like man when they're sitting in front of Lily Lee and she's it is I mean Missy Sloss herself has a beautiful story about the first time she saw you know really high level four mallet playing by someone in the high school she was going to go into and that changed the trajectory of everything she did so you know we're trying to single out the things that make mallets fun cool exciting all those things. And yeah, you know, in closing here, guys, thank you so much for hanging out with us today. We'd love to hear your thoughts on the implementation of the mallet mode, you know, with your program and things that you've seen that it's kind of hopefully helped you with. And if you have any questions about that or the podcast or kind of anything at all, all percussion related, send them to teamislas at gmail.com. That's teamislas, T-E-A-M-L-E-S-L-A-S. I-S-L-A-S at gmail.com. Shout out to all the great percussion companies that support Team Islas. This is Mapex Majestic Percussion, Remo Drumheads, Promark Sticks and Knots, Sabian Cymbals, Beatle Percussion, and Lot Riot Apparel. Mr. Scheer, if our listeners want a beginning percussionist that can play White Knuckle Stroll, where should they pick up a copy of Player's Guide?

SPEAKER_01 32:37

Anywhere fine percussion texts are sold, such as Dallas Percussion Steve Weiss Music, your local music store, or teamysloss.com.

SPEAKER_02 32:46

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