It can be easy to underestimate the role of an orchestral percussionist. They tend to be furthest from the conductor, perched at the back or along the periphery of the ensemble. Percussion parts might include more rest measures than notes. Depending on the piece, musicians may count hundreds of measures before delivering a cymbal crash, snare drum roll, or piercing run on glockenspiel. Some orchestrations, especially those written before the 20th century, call for little percussion at all. While many pieces composed since include a more integrated and diverse range of instrumental parts, percussionists can still be perceived as playing an adjunct role.

Despite this, the responsibilities carried by orchestral percussionists aren’t correlated to proximity or notes per piece. Counting requires focus. Complex arrangements turn percussion teams into logisticians as they set up, plan, and execute moves between multiple instruments. Their roles are integral whether they drive the momentum of a piece or underscore its most delicate and dramatic moments. As masters of both rhythm and emphasis, percussionists add important punctuation and texture to orchestral phrasing—and they do it all with the exposure of a soloist. 

In learning percussion, youth musicians often encounter an additional challenge. “We don’t get as much attention (as other musicians),” explained Anya McLaughlin, who until recently was the Anchorage Youth Symphony’s sole percussionist. “We’re there, at the back… and not all conductors can offer us more than the basics. At the same time, we’re under a lot of pressure. We play multiple instruments and often have to act as soloists in the orchestra.” 

In his new role as Alaska Youth Orchestra’s Music Director, David Platt recognized this mismatch could be treated as an opportunity. He approached AYO alum, percussionist and Clark Middle School’s Band Director Ethan Zawodny with the idea of running a percussion “Boot Camp” during AYS rehearsals this fall. Mr. Zawodny agreed, teaching the workshop over four weeks in September and October.

“It came out of a need based on this fall’s repertoire,” explained Mr. Platt. The series of 20th century pieces selected to honor America’s 250th anniversary at AYO’s Fall Concert (to be held at 4pm on November 15th at the Alaska Center for Performing Arts) “need not only percussion, but good percussion… and there’s a lot of nuance to playing percussion instruments.” For example, Margaret Brouwer’s “Pulse,” includes parts for vibraphone, tom toms, xylophone, snare drum, brushes, and timpani. In addition, “there’s a good ten measures of timpani solo with tom tom—a duet—so we really needed some strong players.” 

Corliss Kimmel, AYO alum, percussion coach, and Anchorage Symphony Orchestra’s acting principal percussionist, supported the Boot Camp idea, noting that “the percussion parts (in ‘Pulse’) are quite challenging!” Ms. Kimmel, who serves as a mentor and, when needed, plays with the youth musicians during concerts, “looks forward to seeing and hearing the AYS percussionists play” all the pieces slated for November.

Both Mr. Platt and Mr. Zawodny noted that some of the challenges facing Alaska’s youth percussionists are local. In Mr. Platt’s home state of Indiana and Mr. Zawodny’s alma mater in Oregon, traveling marching bands and sports pep bands attract broad, invested, and sustained interest for drum lines. While a few Alaskan school districts support competitive marching bands or dedicated drum ensembles, these programs are the exception in Alaska.

Mr. Zawodny added that managing large band classes of variably skilled, supported, and resourced students all learning and practicing their instruments at different stages leaves band directors “little time for focused teaching in percussion technique, notation, dynamics and logistics, which can be complicated given the multiple instruments, mallets, parts and timing in each piece.” Mr. Zawodny designed the Boot Camp aware that “for most (of the participants), this is the first time they’re receiving small group or private instruction.

Four musicians participated in AYO’s Percussion Boot Camp this fall, which meant the workshop was about half-full. “We want to do this again, at least annually,” said Mr. Zawodny. “It was offered to high school students with a year or more of experience playing percussion,” in part to introduce youth musicians to the challenges and rewards of symphonic music and build the skills and capacity of the AYS percussion section. However, their vision for the workshop extends beyond AYO. As Mr. Platt explained, the Boot Camp was meant to “serve the community of band programs… because hopefully they’re taking the skills they learned to their band classes.” Even if the participants elect not to join AYS after the workshop, “hopefully we’re helping the other music programs in ASD.” Mr. Zawodny added, “There’s discussion of including middle schoolers within the experience next year. We want more students to be involved and receive teaching and support.”

After the Boot Camp, AYS’s percussion section increased from one musician to three. Anya McLaughlin is now joined by Gemuel Capua (East High School) and Dawson Brunquist (Polaris), who also plays clarinet in AYO’s Overture Orchestra. “My band director (Mr. Todd Barton) told me about it (the Boot Camp),” said Gemuel. When asked why he chose to join AYS, Gemuel responded, “I thought it would be a unique experience for me—one I wouldn’t be able to find anywhere else.” 

Anya, Gemuel, and Dawson will continue to prepare for AYS’s fall concert on a range of instruments, some of which are new to the section. For example, the Anchorage Symphony Orchestra’s acting principal timpanist Steven Alvarez has kindly loaned five tom toms for practice at The Nave, and Alaska Music & Sound (Home of The Horn Doctor) has generously donated a used vibraphone. Other yet unmet needs include adding wheels to the base drum stand and purchasing a percussion cart and travel suitcase. Should the section continue to grow with repeat workshops and continued support, so will the orchestra’s capacity. Both Mr. Platt and Mr. Zawodny envision AYS and Overture Orchestra would benefit from each having up to four youth percussionists (currently, Overture has one; AYS three). With that many musicians, other opportunities—as an example, Ms. Kimmel would like to see percussion duets or trios, perhaps as part of AYO’s Chamber Music program—become possible.

“The Percussion Boot Camp addresses a vital need for our youth musicians,” shared AYO Executive Director Pierre Derycz. “We want to foster a thriving symphonic culture that will benefit the community as whole, and I am inspired to see our professional musicians, educators, and community partners come together to support this initiative. This sustained, collaborative attention and the reciprocal relationships within our music community are key to ensuring our youth musicians have the resources they need to flourish.”

AYO’s youth percussionists will perform at AYO’s Fall Concert at 4pm on November 15th at the Alaska Center for Performing Arts (tickets at CenterTix.com). We hope you will join us to cheer them on and celebrate the achievements of our community’s hard-working, dedicated, and talented youth musicians, coaches, and teachers. One of the best ways to offer support is to invite someone to a performance. For other ways to support AYO and youth music education in our community, please visit the AYO Website.