Complementary Percussion

Typically, concert percussionists focus their practice sessions on snare drum, keyboard percussion, and timpani. Rarely do they practice what we often call the "accessory" percussion instruments. More importantly, the use of the term "accessory" to describe a group of percussion instruments diminishes their importance and role in the concert percussion world. These instruments are more appropriately described as "complementary percussion instruments."

Therefore, Complementary Percussion: A workbook for developing Tambourine, Triangle, Cymbals and Bass Drum Performance, provides the percussionist with exercises, etudes and duets specifically written for these instruments. The exercises are the "stick control" for this group of instruments and provide the necessary foundation to begin addressing the etudes. The etudes are idiomatic, musically satisfying, and simply "make sense" from a percussionist's standpoint. They vary in skill and serve as a launching point to master these instruments. Having perfected the exercises and mastered all of the etudes, a percussionist will be prepared to tackle any part for tambourine, triangle, bass drum and cymbals.

"Keith Aleo has filled a void in the field of orchestral percussion with his collection of etudes. They are clever, musically written, and address real challenges and impracticalities associated with these instruments. They are a valuable resource for all levels of experience."
Dan Bauch, Boston Symphony Orchestra

"This book is fabulous! A much welcomed musical vehicle to practice these instruments that so define our craft. This will be a definite staple in my studio at Eastman."
Michael Burritt, Eastman School of Music

"Keith Aleo is one of my best friends and greatest inspirations as a percussionist. When we were students together at the Eastman School of Music, he listened tirelessly, and offered invaluable insight to me as I was practicing for auditions, and in this book he has managed to capture the very essence of the techniques required to succeed at such an endeavor. This book is the best friend that you can have as you prepare for your life's work as a percussionist."
Patsy Dash, Chicago Symphony Orchestra

"This text has been sorely needed for years! I love how Keith composes such musical etudes; many based upon symphonic literature—without actually making it an 'excerpt study.' He provides just enough information for the student to interpret the etudes several different ways, preparing them for a variety of performance situations—very much like Delécluse. I have wasted no time in adding it to our applied curriculum at Florida State!"
John W. Parks IV, Florida State University