Hands On: Book

Solomon writes from real classroom constraints and possibilities, not theoretical ideals. The book's flexible architecture lets you teach the 30 pieces in sequence or remix them to match your students' needs, your available instruments, and your curricular priorities. That adaptability, combined with the range of musical content (from rhythmic grooves to timbral exploration to polymetric thinking), makes this feel like a resource designed by someone who actually knows what works when 20 young percussionists gather around.

The collection moves between moments of pure grooved joy (the conga jams invite full-body engagement) and focused, contemplative listening (the timbre studies train ears to distinguish subtle differences in sound). Students will find themselves naturally locking into polymetric passages once the architecture clicks, experiencing the satisfaction that comes from holding a complex rhythmic line while others hold different ones.

General music teachers and classroom music specialists working with students in grades 3 through 8 who want to develop rhythmic literacy and listening skills through hands-on percussion exploration. This book serves both beginners encountering hand percussion for the first time and groups ready to engage with more complex rhythmic concepts.

• Build the conga pieces from single-hand patterns to the full groove, letting students master each layer before stacking rhythms. This prevents overwhelm and sharpens their listening to what others are playing.
• When students encounter polymetric sections, use visual cues (hand signals, colored cards for each metric layer) to help them maintain their individual line while staying aware of the composite rhythm.
• Rotate players between instruments across rehearsals. A student who learns a pattern on cowbell will bring fresh interpretation and understanding when they later play the same piece on claves or woodblock.

Use the collection as the core of a percussion unit within general music, selecting pieces that align with whatever rhythmic or timbral concept you're teaching that week. The timbre studies work beautifully in the context of a broader exploration of orchestral or world instrument families, while the conga jams function as energizing warm-ups or performance pieces for community events.

• Reading and performing conga rhythms and hand percussion notation
• Listening to and maintaining individual rhythmic lines within polymetric textures
• Developing timbre awareness and tone control on unfamiliar instruments
• Building coordination between hands and understanding common percussion ostinatos
• Understanding the role of percussion in ensemble settings and how patterns fit together