Book 1 Elementary

rl,

I~,' ~T

Written by Vic Firth, 80/0 Timpanist and Head of 'the Percussion Section at The Boston Symphony Orchestra

CA •• ' ,R,' L ,ltI';lI'SC.H,: ili"R: ' "

, " ", .I", , , 1!;!, , ®

VIC

FIRT'·

SNARE DRUM METHOD

BOOK 1- Eleme:ntary

by

VIC FIRTH

5010 Timp:onist

ond Head of theP·er,cu5~j,on Sectio.n T"he BGston Sym,phony Orc:he"l'ra

CARL FISCHER®

66 B!eecl«u Slr~e:t, New Y9r\<, NY 10ln2

04653

Copyrlfjht@: HJ67.byCari RSllhef, lne, In{elilalfMfil( Copytfght Secured.

All rIghts rsssr:i/et;l,lncll.lI:lIm'll performing rlght'S_

'rAlINI ~IGI1}lI~p" bll.t:;>lkm:lr I1!C!~1 aillr( C~tlll~lllll'l;'J:o pl\of~~oPI'.oo I $1'0<11J bOo lOy M1'f"I "ill<>d JS nn In I,k\1l"1Il O'MI oIll1e·: C()j)~I'©"{ tow. My.:Jn6. ~CI mp.rod(Jil:ll~ ~p~Tlffnte.d mOlll".;" .tj~J)}cI' 10: 'wl>'~.nlIRI~erwlliB~·~n~. a~~~l~ IG< ~hl ~lrI~l&"",.I,t.

PMl!liI.ih'lfw U,s. A . .

FOREWOJlD

2

This. bonk has been conceived and written with. ! he' f'bHowl,ng gtial in tninIJ, ,to dC\lt'I~)p il '~,mu~icil.l" snare urummct in the elassieuland I r:itJitlo1;lillsl.ln1>c Qf,lhe:: word, '11.y yell'I's 01 pNFrll'milil! und teaching have repeatedly made, 'cll:!ar, me p)~obk'i1'" ;Hlci ~('Ihuiom, 01 the snare dru nnrrer <15. a pCJc'Us£i@TI artist, A. "f.!1'1 ;r!\con.i.rol lind r.1~t articu late hands, the snare urUn;l1'!t'F 1l1"L!S[ :Llcvdop H scns« of rhythmic p.l1ril!)ing. lNcrpU:ltil1ion~ ,IJ~~! o.:onoc,pl Q[ sound. He. ITIU:;,l un~er~t,1rt~! tone production ural SI'LI[h.lp..rOj":ClitHI' Ilsr'I,dufC!d III slil:lking and lc~I'lJ1j('ul cxecutinrs, H<: must not treat tile instrument 41sa noisy rh'~lrll11 maker, bill us U rnusjcul instrument capable Dr ,CI3I.Tnt1cs:: nhl~,ic:~d wbllclic~_ I present ihl~ baok 11$ the fir:u slep (1)\~'1!'!~:1 LIIK' development uf th!~ ':\IUbrc Of pli~ycr.

IncludcLl In; the book 'isi.Ll1 explanation I:lf the basic stroke <lIl,d pl~ylngposhion, Examples of simple fcadmg beglusn 4 4 {ill1~l{nd progress lliruugh 2'+, 6/8., anti 1/4. Also dj!iCI:lSi;~d tire Ilams. syncopatlcn. the 5. 9. 13, and 17 stroke rolls :I!oi \.'Ie.1! ~I~ ,(hI': long roll,

Onl.! t:Ollll.1ilml ll' the ~lutlCil,t:h~g';lrtlll'~\ vt ~hc. (,e,whc-r\ :1 bilit y und (he: quuluy cr-F the instruction book used, the kli:y to: ~lICC('''!> li[:-; wJlI1 the student :u'ld '.his desire to work hurd and diligl,m lly. The: nl1t'~o! reacher ~tnu 111\: most ,compre!H.-:.I1.~i\lc hook nrc r,HlliY I WI'-1 hird!l 1'1' I he ~tl~ic nC":'<':~J'li'tit:l.. '[':J,~ 111(l.~1 1m I,vr.q:nr third l~ I he <tudcnt 'whn Mil'>! palictuly practice many lung. hours. Then, .mcl1'1l11y then. wi II the cnrnhiruttion prod LI(:c' III usieul rcvultx th.n rue of the h ighesl musical standards,

nA~IC P1UNCIPLES OF MU.IC

To itliJiciltC I H~' ,IJllL'11 ul\~1 d.ltl"1llilljl "I these t'(l1l6_ ,-)m,!bl\'J~ Clllk(1 NUles un: U.,cu, rhc~c 11"01,· ... 011",:: ttl I related to each ()th~lr :1\0. il'ld,icl.\I'l.!L1 b;. rhulr numc .. (,~h~)lu, h~dL qurmcr. etc. I

,/\ li'lrQLE NOn~ IS EQ.U·\L TO

,0_

tlJ\Llc 'oTili'

, p:

, I '

, '~

or .~ Qu,mmR fl/fm7.S

or e, EIGHTII NOm....,

", , I '

,

if

'j ,

'1. ..

,.

,1'\ , I,·

I •

cr Hi

81 K'mEI\'1'11 NO'I'El~

cr J:! lllI1lTY-~E('ONl1 NOTE ~

.\ 1l0Tl1'tn \\1101£ !'lon: 15 'El.ttJfl.L ro

or ,j.

I)orn;u Q AHl'EH Nm·E.~

r'

< '

U:1." 12 'f.IGUTII,i'!0'l"ES

To indicate silence in music. symbols called RESTS are used. These roo are related ~o each other as art: note values, Below is a chart of reSIS 'with their related note values.

BINA Y

NO '

Rl~ST

llERNARY

[)OITED WHOL ~

NOTE

REST

o

HALF Q.UARTER EIGHTH 51 'TEENTH THIRTY·SECOND
d J j ~ ~
f '"
... Oc f
, orrao HALF DOTTED QU RTER EIGHTH SIXT ENTH HLRTY·SECO 1)
J. J. » )i J
-.' t- " ~ ~ .'\ DOT after 11 note or rest t J. f·, makes rhe note er rest ha If as long ~gQin ill' till' urigin'[11 value. For example:

.J = lwe h.:mS

J ~ rhree heaLS

I ('

two c igh til rests

r = three cighll.~ velm.

NOlTE!) o.lncJ REST' are written on a STAIi'F. T}~c sluff is rnude lip I)f rj-;r~ lin' arid four spaces.

f

B

We concern ourselves with ()n1Iy L\ 0 CLEFS. The T~HBVE Clef ~~~ HS in the' diagram above. and rbc .BASS dl:r as. i!1 _Illc diagrern below.

D

A~ you wUI observe, the lim::s and spaces.have.differca; names according [.0 tho clef employed, Degrees or J()lUJncs~ lind softness are determined by &}'I'n'bo1!l. known :J' DYNA..~U:S.

aell1\\ i~ Ii tabl'!! of 01' ' MICS

('PI' Pianissislns« as soft as possible
'PP Piunissimo very !;oft
p Piano soft
/11p Mf:Z,I.,rl pia:l!{) moderately soft
mi Mt';;to /0('(11 rnodcrately loud
f Fort/! loud
if Porti.uimo lIery loud
!f! P()Jljtss;:iimo -1l5101.ld ';,]5 possible Other lrnportaut terms are:

Aneie((Jlldo (A C' '.J If dligiv

MollO ruJagiu AllegfCo

'0(.1 Capo ('D.C! Fine

l.egow

:1'j or SjrJl"l.(JIIdo 01' I·

.~fz. ··1()ri:.arl~ \ with sudden force or emphasis

;l: Qr Riniortand» ~ LO reinforce wlth 1.Iciklll.\ll stress

If' 'Fome picrno loud then . uddenly soft

Crescendo (Crf':\'c.) Of-= increasing in loudne .. s, D'imil1w!tlilo (Dirn.) or

f)f!c.'TI.'<l'C:l1mi!~ (DIKrC-I'(.):::='=- ~CCireasitlg in lou cJ ness;

Iasrer and faster ~I!J\\'

very slow quiek

back 10 Ihe- beginning the ~nd

sr\1GGth and connected in style

Mu[w

Poco a poco "'rasta Prestissimo Staccat« Tac(u

Tenuto '(Tell.)

much or VfUY nule by litrle qvick

very quick

.short OT detached silent,

hold

TIM or MET, R is the grouping of the various rbyihmic progressions into MEASURES; The measure is a subdivision DC a piece of music,

IllR LINE

TJMEis il1wcllted by jJ,gure-s at the beginn ing IiIf ·a piece. TIle upper figllre denotes the. number of bears III a measure. The lo,vcr f.i~lIre denotes the note value thai get! one beat. For example:

2 = 1. beals te a measure

"4 a quarter note g,etsulIle beat'

3 ='" J beats in a measure

T <= .an .erghLlJ nore a~t~ one beat

TilE P\.IiTIoi \Nl> C\l{!':

of THE SNUIE UHli~1

1'1 esh 1In11If----

COlli rfj I

~LllI.n' \ •• .lilll'l

s: II!:' I 1

~lld_r·4·

.,.,1,·

J-....o..'';;P ~!II" lLll"lill"g. ro~I'~ :1111.1 ,.!f.l;ncr part". well' Ill~Tic~lhJd.

X\ 1!l"Icl ""he'll drum ... · t:\I.n he ~1~~\I''':lll <lnu "polhhcd: \~\.lh.l p"l~1 \~,li, .Ill"' rIII"lHlUI'L' p,,11-:h. Mdal ~hdl·.s., lug'" and

C01Jnlej":~110()rs~h()1l!d be cleaned "IJcC:t!si[)nally with [I good gn!l:h: oj rucl "I polish. To clean a p"e:rrl surface, siillp1l

""l,pl;: "'.Ih iI ~Idrnp IdClth".

CAltE 0.'" TllEHiRADS

("all skill 111;nd~ [:IT": v .. '.fy ~Il~~~plibli,"! llJ" ;ill.l11.!S!phcl"J!." l:nnLlnion'> :,I1.)tI, r.!lLll ire much care. "\~. hen "runi rig" (m:

1

ligillcningJ, u tlrUlt1. be su rc thut the same tension' 'jS aprli~l1 Il' '-::I . ch red, T u"OC! in C'lOC"WISI.'· s)lShml or upp0ffito

::;Y<;Ll'!1l.

1

"3

2

.onto..' m:W hI. ;Il!\. 1111\ ~ .. ct uud ,;t\lmd Cii~r a{1.~1 vleur, flw) .,1,ti\JlU 1\:qLli re 'ljTtI~ :IH .. ','ut inn except II..)'!' ~'l'l':ln!!~" ill ill[]lmphr.:d~t h\l,i'ilidjly 1 !!nntiiu(II1s;" It the \\"c~ld;a h"ClHi,li!' r.::\tl·I.'I'n\!l~ tI~llnp. 11 may be nC""~~l,If)i .tn I ;gHL\'\1 I' h~' he a,b .. [i~h t!v. I-kl\\·,,,',,;.:i'~ II Mil ri 11 jshutl P 1(1)"~ lnu. tU1'11 thu 1'I,l(h had, till' 'o;;Iln..: number (I~ 11:ll'IT!-t'lml w:i" r~~lu.i.~vd III go..! 1 rile' druui in plilying \:(lIlt.Jl1.i(ln, III ~:l.lf~'I'ITl,; ury w..:t1I,hcT" the h\!ad'> I)l(i~ h':Cllll'l'.: m~) light "ntl 11K' tcn:...illl1 will il,IW III hI.: ').1'~)J,'':Jl\:d in order hi !!.c'[' Illl: druru in ~u'id l~la}ill!; u'l~ditiml. Wl1l.!n rrni~llc:ll pl£l)'·U1g. Llnd~r dry t;VnL U.T.t~lh. t..:-llgb\l.:11 th~' hl'ud sllglnly:Llll1l.:rII isc, all lil!.:" ,.Ioa, ~ Clr clllh.u ill ihe head ",lUI he ab~or1~\'ll

1:1.,. the d "\ \~ .. ·;II her. .

, polll,l Le . h,l.."tl.J 1'11';1: ~r.:1. al\' l:~H1\p.kll'[~ l.lm1ff~l:r"ll '\1)

clillHnil' ,'h.II1.!!. ~. rhj~ j~ r:.lrLinilllr1y athll.lll.~g...:uus I,Hl

(i,I'U lil~ ~i"\Jd "utu nor ...

TUE STlCK

u:ct:t:lW i~ U ,picture l1.f";I drum' stick with hs des,;.rip~l'\1l' terms.

I But."lGri:'PPin,g- real Shoulder

Iltj p I.

or Bead

srtoc POSlT UN OF ),EF1)," AND RIGHT UA~1)

The .. IHlfL''> l Ill. Ihe 111"11111 shnuhl I.w ,l{Jhl~ll'd ~Q ;11' HI !,'fl,dlH':": ,I 11r:·.t'Ilbnll• 'cr'hp: .,u~ctf.Ll"n ~1~lllld. If [he ~n:,r(!~ ;1'1" .. tU(11 II~ht. Ih.: ~.lr,Ull1 1\1'11 ~llUlld ,dlOb.'d, If;· thl! l<llun::\ ;\1"1.: 1I11" UIIN·. lil!:\' will \·i'h,':lt.: ll'\' fr .. el ..... 111l1 the crisp

,< 1\ 1 I'fd Ih:ll I~ 1l1,Ll .. i I.k ..... ir:1 tIl\! wi.Il be los t.' "

I'h, dl1'I: .. '.t~ I'L'~ \;:1 '!jilin!'" ;In:" -'j :1I11':~" If wij'l: ... n'II·l:ll. ":.:~I'l ,11;1 rio· ..... mll \\ i.! ... ."~~" ound .. j,1 h ~11<t'l'.\.l~, T\1L; wi rc ST1.1 rt':~lr.l' ll~~d \ n ":::111'.t!l·~,1 '\111~. \\hi1r lho: ,gul rna) hit \'!l>~ll ill~ uoor;iI '~r ,)11 t. 'nl~! \\ hi'; .w:J ,£.111 :II:" 1,lnc !1l11\il PIiPulm:.

'I":rildiriouru Grip. Correct ~Ijcl:; ~1)JcI band position i'll ~Ihs()hildy ",g~crHlul to the:: an of fino p.laytng, Observe: 1M runes ant! ,picum:,,,; cDJ"rf,IIJy [I!' goad h.il hi!.. ftlrnU1t! in' the <::trly stugcs io] dt~cloPf11eJll 111'~ the key to fine musical ·pllll),in'i.!.

, .

'I'll" Righ! JJand J'usHioll. (Jr'l~p rhe .~(il:/.. .l~ y(~11 W,llur'u • 1I~y hlll,u.l;!rr {,hJ.:c! tl1.d. wu-, lying I'll ,t '·uibl.c (figurl.' I)

Curl i'lu.' J jfS( ;wd ~l'L! nul 1 JI1.!!- .... 1'~ 1)\'1.:1' llhi ''lid In. ill i'igul'l.' 5 .

. i g'lI r'c 1.

, dw 1,"": L.:;lli \lh~ .. rHO 'Ull' ('I['l~ iilg. ~m~lli()i\l)r both 'hund\,t \1;]: II d ruin ;1\ III J'if.,\urc(i,

~~~------~~~~

I{L'li)~ll'lhl:r. hl.1111 har,ld" 11I11~'1 1'..'ln;1111 rll,I'I\.(!,1 and flexihl~' ,II ilil tlmcx. II [Ill' nil !!l'r", bl.!I,'(IJ'IlL.: I I !.till. OJ' tile WlIfids 1'1 \\ri<I'~ .... W'l'l'I:T. then 11:1~·-nllhd ..... ~ \-1 ill l""cn~~ <lnl! tlgh'it:~ ;rlld Llll' I\~'I'I'II II i'll IiI: ill'lprt.1)l..:r ,IIIIJ' un .... v.;p l:lI.ccut.ion,

J'::iklu:d (;dp. ['fl.' ··!\I.lkh\!d Grip" :-.Iic:k arufhand' rl1~Jllull J" "'x;IL'Cly wlJ:1I Ihl' Jl.:fl'Il i.mplic.:, 1:1I)"h the lett :lIld ri~hl h:ll:lu." hrlld I he .. tid I h:r: ~;I me ;i'" l,hc- ri~ht hand rU\irl,PII ,if 1111.:." rrmJilil1fl'ilJ Grip". (s~c' figl1re; 7). TIll': drum i, not Jill,'u hut I"; pluccd para I! i!1 to. the floor. Th, .. ' 1,\"lldl...:~I' idip h riurlj~'\lllIrI) advantageous when per)'nrl'l1jl'l~ Ch;'l'llT~l.'1 1\1uI>II.: (w ill Pl.:rc(j~~inn Fns.c.1l1blcs where lilL' pl':lycr 1m .. II ruuhi-druru xct-up. fhe, 11l'!c.ililY andense (i,1 IIUI\ illg l',I'nlljl,lil."! d'l Uill II' tmt),I!lr.ir becomes very similar 1(1 lh~ ll"'<.:hrriqllc,,, lIJ1IPhl)~'UI!l tiIilp'ln'j pluyiug, Aside lrom Il1i, p:J.I'lkul:!r medium. I I~t:'r lhul. the accomplished ]'11:1\>:1' ,IMUld hl! pron..:idll \\j(11 rn:ll,ll lIi(;. "Traditional" anLf ·'/l.1';JI(;I1:I.',r' yip ,)JIll ~lmutd pruetice according,ly.

~\':h.:n Ii\(., hand is lUIIIl!UI lW\Jr. till' "'liu\" ,h,.uIU 'I!?p...:ur il~ i fl fiJ.:urt' _~.

tTl :wre 3.

Tin! I.tll'i I"~md I)ositilin .. G~:1!olP rhc !>otic" :ul -hown ill. ligutl.\ 4.

F'i~ I,

6.

THE PLot\. rtxc POSITI01'l

Below ate three .exumplus of playing .poslrion. Figlll't 1 i!hl<..!r~lC5 I.he proper Illswhing pesition. Figure :2 ill\ls~nl.t~~ the proper concert position. l'-igureJ Illustrates the MIJ.(c1ic~l. Grip ~uncc:rt 'po~luol1. -

l recommend a ·~[e nding concert posaion .for <In of the percussion players. SillinJt l'lilmPI;:I"f, life physical freedom necessary for' g~~d IJCl'CU1;J;jQn -plny-ing, f[.'"gardlc::is, of: whi.<:h'· percussien insr ru rnent is being played.

INGLE STROlil~

The- siogle stroke is the basic s.HiPke for an snnredrum 'r;l-hn[quc.. A~a drum is c,?nJpriscd of \\\10 vIbrating head':., the. drum mus~ be !;ttuck 111 such " way "Ii- to allow lHaxlmum vibration fr.om both heads. When. slrJJdng (he drum}

11:11;: tip ·~11.: the ~Iid .,h()lIld t.r:IVr.:\ in II ~l'mj-cin:LI'!ar Me :\10- btl~"Ii,i.-. 13 oth the righl IJIl('j, th e Jdl $.llak. I r;lVd tf1:(> sante nrc. The .streko i~· a combined arm and \\11'\81 metioa.

7

LESON 1

The first Iesson is in' 4/4 Lime. Tltis, means that there are £Qur beata in a measure, and that a qua.rter Ii.ote {J) gets one beat. Tile lesson utlltzes the quarter rest , t I which also has the valueof one beat. Count out loud '.l'fld .tap y.o.ur foot an each beat. Be sure to keep a .steady tempo. Check lor proper stfck posltlon as weU 'as arm and wrist actten. R. = a right hand stroke and L = a left hand stroke. Observe the repeatstgns (. II: :11 ') wbeife indicated.

1 2

1.E4J-J

3

J

4.

I

1

I

2

I

3

J

4

I

R L. R L

R L R L

R L R L

.l

2. "t J

R L R

I

2 3

J J

2

J

4 1

1 I J

3

J

4 r

"

R L R

1 I

2 I ..

2

J

3 4' 1

J } I, ~

1 I

23

J J

2 ,$ -4

J' J J

R L R L

3

J

-:I 1

J I t

2

1

3

I

4 1 2

J I j J

4

J

R L R

1

J

R L R

t

1

2 :3

J J

2

J

3

I

4

Z : II

4

l : II

3. 2: 2 I

3 4

I

wi t 'M

1

J

L R L

2, 1

3 I

'4 1

J I J!

L R L

2:

1

3 4. 1

H f J

L R L

2 1

'3 4

) m I

~ .

1

I uJ

L R

2

J

3

J

4.9~ f

1 2

2~ i J J

R L

3

1

R

R L

3 4 1

lJ I J

R

2

J

R L

3

4 1

J I J

R L R

2

l : I]

3

l

R L

1

2

J

3

1

4 1.

J I l

R L

2 3

J 1

L

4 1

J I t

R L

2

J

L

R

1

l

2,

J

3

J

6.

t

l

I

2

2

L

3 I

~

1

R

2 r

Iil

L

1

412.

J I J' z

R

3

J

L

4 1

l I J

L R

.2

J

t : IJ

3

J

R

1 1

2

J

l

2 r J

3

J

4 1

R

2

I

L

:3

J

4

J

R L R

1

J

2

J

I : II

L

3

J

4 I

3,

J

4

8.

Q4653 Nl4924

L R

t

L R

·l ,I 1

L B L

R L R

a : II

8

J.ES. ON 2

In Lesson 2 hall roles and half rests ,a.s well as whole notes and whole .rests are co rnbi ned wUh LJl€ quarter notes and quarter rests already 'studied ill Lesson 1, Observe the f011owjmg: _ and ~ .= 1 beat d and .... '" 2 beats, o and -- J:: 4 beats. The time signature Is 4/4. Continue to count aloud being careful not to rush the longer note values and rests.

1.

1

"it J

R

1 2

2. =,Jt J

R

3.

1

5>: t J

2 3

,J

4 123

IJ JJ

L

3 4

J J

R L

2

J

j

c:

R L R

1 .2

3

4

4

R. L R

1 2

J J

R L R

2" 3

J .J

R L R

~

2 3

J' J

4 1

t I J

R

3 4 1 2

J 1 I J

1~

4

R

4

~

1

2

2

3

J

4

1

I

R L R

1 2 :3

J J J

2 3

I J

• iii

2

2

J

L R

4

3

4

L

3 4

J J' ·1 II

R L

3

I

4, 1

J1 I

: II

3

J

4

1 .: II

R L

3

4

4

4.

!)= t II

~ : II

1

5. 4:1 J

R L

6.

1

9= f J

3

I

2 r

a 4 1

J3uI

R L R L

1

2: t eJ

2 3

,J

~

f

L

R L R L

1 2

II

• •

R L

2 3

-

1 1

2 3

J' l

I)

2 3

J J

L R L

2

R L' R

4 1 2 3

J I J J J

3 4 1 2

l, J I J J

L

3 4 1

J~I ~

11: L .R

R r;.. R

2 I J

4

t : II

3

J

4 l

R

8.

1

,! t J

-

L

2

J

341

J J I J

R L R L

N4924

R

2 3

J

R

R

3

4 1

J '- l

L

412

[ J J

R L

4 I

J I J

L

R

4- '1

I j

L

R

a 3

J

R L

4 1

I J • I ;j

R L

L R

2

J

3

LESSON 3

9

He'Teare two pieces coverrng the material studied thus far. You will observe that t/'ley are written in common time (C J. This means exactly the same as 4/4 time.

1\ general rule for sticking In bl~ary ttrr,e is. that all stick patterns 'are taken from the smallest denomination 0f tOUlt notes J be Uley quarte rs, elghth$, 0 r slxteen'ths: i r i 1., {"J a I ~. The one exception to true

Is the "even gr ouplnga" which is rest, note, rest, note I~J ~ .; I' , .. \., J., )'J 1'1. Here the sticking reverses

Itsali. More will be said about his in Lesson 14. R 1.. R 1.. R t,

1

Ii. -2: 1$ ,J

R

1 I 2:, d

3 I

4. I

R

1

2 3

J

2 3

J

R L

2 3

J I

L

R L R

4 1

}I eJ

R

L

4 123

[ J J J

R L R

4 1 2

1 Ii J J

R L

3

4

il.

L

2 3

J J

2 3

J

3

J

1

2

J

3

4 1

J I l

2

J

3 4

J

R

2

J

4

J

12

,Jd

I

4

1

l

L

4 I

R

L

3

J

4

1

2

I

J

R L R L

L R

4 1

J j' J

2

J

4 1

3 I

1 _I 1

L

R L R

3

4

I

1 2

J J

3 ,

123 '4

"

L

R

R L R L

2

J

1 2

I I

.' .

2 3 4 1

J JI l I J

4

J

--

3

J

R

L

L R L

L

<1

R L R

1

I

a. ,; n •

R

2 3

Z t

2 3

t J

R L R L

B L R L

Z 3

J n1

1

J

2

J

3,

4

Jzg.

4

1

1 2

J J

3

J

4 1

J ! J

4

J

R

R

L

l

3 1

R

1

...,: 1

2

J

3

l

R L

R L R L

4 I

"

2 3

J t

L

4.

Jg

R

2

I

3

J

4

I

l

1 2

n~ )

• :II!

3 4

II I

" .

1 I

"

2

3

1

i~

j •

2

I

4

I

L

R

R L

L

4 1

J I l

2

I

3

J

4 t

1 1

2 I

L

L R

L R

~

1

2 3 I d

t

4

,2,

t

1

I J

.3 I

"

R 1. R:L

L

R L

3

J

1 Z

4

J

1

1

R L R L

R L

L

3

J

2 I

4

J

1 2 3 4

T c

2 }

n. T

3 4- 1

J t4 J

2

4 1

I I

~ 1 •

2 3

Ii ~

• •

3

J

.R

R L

R L R

it

3 '4

1 }

. ~

1

I

R

R L

R

3 I

4.

I ~

t

2- I

,

1 2

J ~

3

1

4

J

L

a L

R

R

3'

J

23 4 1

Jdd It

;2 3

J J

4 1

1 l

L R L

L R L

I I

2 34

J J

d ~

3 I

4'

I

1

J

R .L

It L

'3

I

4

J

1

j J

L~SSON t

In th~s lesson we ~eg:ln the study of ,eighth notes Ai-). There, are tw.oeight.h notes to .each .quarte.r note, m~-n~ an eighth nets twtce as fast as a quarter note (II l' ",J)~ When'.a sjl1g1e¢lght.h 110te is wrrtten, It appears like ~j]..i,s ". When saccesstve eighth notes are wrttten, they al'e tied together and appear like -this nn. "Whether wriLten SiJlg1y or in a group, an. eighth note has 'one nag, In eouutingsucoessive eighth notes, count 1+2+3 ... 4", MaIntain. a steadY tempo and .re-check play"! Ilg positton,

10

1 2- 3 4 1 1- 2 -+ 3 .. -4 +
• J J I J i J ...j I ~ J ...j J .J J -i I--J J J, J n -l
1. 2!S1 • II! • • • « '. 1 • • :,11
R L R L R L B L R L It L R L R L R L R L a L R
I Z 3 4 ... 1 2 3 4 +
~ -i ...j n t1 ~ J R J ~ ,-, J J- ~
2. Eft • • • • I .. • .. J 1 t ; III
R L R R L R L R R L R L H F! L R L R
1 2 s + 4 1 2 .3 .... -4
J ~ B J I J B I ...j J n J J J --1 I
3. ?1:t • . 1 .. • • I· • ql
R L R L R R L R L B R b R L R R L R 1 2 ... 3 '" 1 2 4- -3 4
4@4 ~ fiJ--- J 1 J F31 OJ J t& B 1 J ~ £3 J
I t : H
!l. ,w. - • •
R R L R L R R 'L R L- R R L R- -L R R L R 1 + 2 3 4 1 + 2 :3 4
E3 ~ J J A \ ~. J n J kJ n -l I
5. 2: t • • I .; • 1 I ,. • t II
R L R R L R L R R L R L R 1.1 L R L R R 1 2 .3 -+ 11 -j, 1 2 3 + 4: t-
-l ~ J ~ J J'I I J J -I ttt# J J J J I I ~ J
6. ,: I • .' • .. 1- M • • t ~ 11
R L R L R L R L R L R L R L R L R L R L R 1 2 + 3 + 4' 1 2 .+ :3 + 4
d: I ., ,.Q f] J -1 ~ n ,J J n n I I J ~-1 t ~II
7. • 1: • . ~ Il ~.
R R L H' L H R R iL R L .R .R R L R L R R R L R 1 + ·2 f- 3 4 1 + 2 + 3 tl
':1 I i J J J J I-Jd J J t .J J J J J J ...j -J. i J J J
• of ;'1 I I ;-tH
B. • • •
R L R L Ii L R L R L R L R L H IL R L .fl L R L Ii 11

LESSON 5

Nere are two pieces utilizing all the material hue far. The counting Is now left to lhe student. Dyuamtcs .( f - p etc.) are introduced ill tlus lesson So be sure to observe them. In the second part of this lesson I accents (~l are used. 'I1his means 'give a little extra: stress or "accent" on notes 80 marked ().). Accents

re l"elative to' the dynamic mar king. An accent wl"itten tn a "lorte" passage will obvtously be louder than aa 1I.ccent in a "ptanc' section.

-':1 1 ~ J .J JbiLl n ,J J B I 1 Jrl ~ J J J n -l t
l. • •
fL R R L R L R L L R R R L R
,: m £3 J I l .a n J I n J · .. ·B J -1. aJ 1 BJ i3 I
• •
P RLR RLR R R B L R fR LR RL £3 n £3 I Rg--flJd J ·1 J n I I, .0 J
·9: t t I, l • I I .' I • •
P fR L R R L R L 7): JJJ~-jJ.JJ

R rt L R

R n R L

L

=,.: n ·1 k-----I / J n J~d n J 'I J B' J J JJ J
J • ., I " J l~
p R L R L R cresc. f.l :> ;:. :>
2. 9:1 J J J J J JI I I' I n I n j a--J I t A I 1
• • • • •
J'n L R L R R R :>

I

R L

R

L

B R L.

R L R R R L

H L

R L

L It mf' R L R R L R

'PP R L

L R
l J I 1·
ill: ~. ~): Q J J I J I LJ J I JI [3 Jd
I t .1 I "
• • •
R' L L: R L L H R L
IN4924 12

We now begin the study of the eighth rest(,). It bas the same 'time value as the eighth note, Two eighth vests '( 'I ) equa.1one quarter rest( n, and two eighth notes ( n ) equal a quartar note ( J ). The time signature is common time ( C). Count 1 2 3 4, and wbere there are eighth notes or eighth rests count It2+3+4+.

1 + 2 +- 3 + 4 + 1 +
tr J, _J I J m , i J I
l. e • •
R L R L 1 + ,2 + 3 :I- 4: + 1 + 2 + 3 .... 4 "I-
m m rn ~4*iJ--tr--f=j] m 1m I 9)
2. !) i e f , 1 ·r , ¥ •

R L R R L R
1 2 3 4 1 + 2 + 3 -. 4 -i-'
!f ~ J -I J 1,1 J f ~ J ~ ~ , 1 J ~ J---:J J , ~ J t ~ 1:1
3. I~ • w • r .. • • • y
R L
1 2 ),J 4 1 2 ... 3 4
2: J f .J [, ~ ~: J I J , )J J I J ,. _b J I : II
4. (' " • • c' ?
R L R L
1 2 :3 ... j 1 2 3 i- 4
=!f -,j J , -e I ~ .~ J I b J , }J I Ji J I iJ]]
5. " • • • " • r ..
R L L R
1 2 3 4 ... 1 2 3 4, +
J J -l *'1 I ., ., ~ ~ -l J f;r? J J t ~Il
8, 2: (' • " • '. • r J1! • • ¥
R L R L 11.
1 + ~ 3 4 1 + 2 3, ~
=2: J J I 'f-N J J ~~ J J -AJ J l : ~
~,
7. ., ¥ .' -, .rt !f r4
L R L R 1:..

1,+ 2+3+4+ 1+2+3+4+

~): n "rn ina I f DJ r fE] ,. m

.FE I" IE J ~ :11

L R L

L R L

L.ES O~ 7

13

This lessen continues wnh Lhe study or eighth notes and ei,ghth rests,

1.

1 + 2 + 3 + 4 +

2=1 rrn, fiJ I ' iiJ y fa I,' EJ ¥ EJ I ,Iil J

1

dl

R .L R L

1+2+3 ... 4+

2.;rt" m, ffi I: ,,£a, m I "I Fa f In I f ill J [. :11

R r:. LRL

3.

RLRL R L

4.

5.

1 ;f- 2 + 3 of- 4 +

2:1 B,)'[!TI In, )., ill I ,[3 f J'f mln,)J 1

: II

RL L LRL

R LRLR

R L R L

R L LR

1 ... 2 +3 ~ 4 -l'

8. !): I J uJ , J J f ,J' I J 3 ! Jd , f 3 II J iiia J f ,J I J 1 - ~ II

RL LR L R

1 2+3+4+

9. tf t J u Au f .ra I, J n, £iJ I J n 'f Ji] I J I

B R L R L 'R

-

:~

1 + 2' + 3 4 t

10, 2:1£3 1)J .Qjj9!)J n I n y)J n I J. 1 • :11

RL LR RL

N4924

nnJ

t J

14

LESSON 8

Here are two places employing all the p-revious material. Tbe cO,unting and sticking have purposely been ortJit~e'U, You should now be familiar with the correct sticklng Ior the vartous rh¥thmlc patterns. The new mat~la! "S the one and two bar repeat sign. This symbol /. meansto repeat the precec illg measure, 1'hls SYL'Ol:Iol

I :.r. I means to repeat the precectlng-two measures, Be sure to-observe a.lllhe dynamics.

f

IT"i iTi I ii ,--

'I I ri I,

p

.if

»

t>= "mfR·}

*

p

J

-

2~t J==m ;8' I [ I ~ I l 'id ~d ;' '~ J ,_).E~
2. z 56 • • ; • ~III

p .r ~: JJ J J J l

m cfE: " 'I J J J J .1

t II

!

N492<l

LESSON 9

L5

Lesson 9 is a short piece for percaaaion ensemble. Snare drum I should play with snares on, while snal',e drum II pl.ays with snares off. Bass drum and cymbals each require one player. For class work, the snare drummers may be evenly divided between the two drum parts (1 and II). However still use only one pla.:}'er [or pass drum and one play,a!' for cymbals.

I II

~! ~ I I r--1 r--n !'"-i t r-1 J
I ILJ W I 1 W IW L..J 1 W 1
.II I I I , I .e- Bolli
I I
·
" -
I, I I I I 1 I ! r- CYln B.D

r

I I ~ I I " ~ , .r:l ~ ~ ,
· I
.
.
JJ1sl <lmeW I L I I L I I W I f- W V I I
P 12nd fime, I ":>- ~
J. , , J I. I I
·
.
. .
I I l I I "I I I to- J , I t I II I I I J'1 I ~- ~ l'
·
·
g.l I w I I I L l I I Ll I I J J j
~ ~
• ,I I I I I I I I I 1
· -
.. I 1 I 1 J I I I I , ff

I ~ ~ I I ~~, I I ,II ~ J I ~ r
·
- I ULJ I I LJU I .yl I UI
'P mJ' .1'1 I I I .. i I ~n ~
·
f ., I U I N4924

16

LESSO.N 10

This lesson 'introduces 2/4 time. Tois means that there are two beats in a measure ami a quarter note gets one beat. The're are just half as many beats in 2/4 time as t.here ane In 4/4 time. Of course aU note and rest values remain the same.

1 2
i J J I J J J J
1. ,: .. I I: t :II

R L
1 + 2 +
2. ,! I A FJ A f3 I FJ f3 ! J l 1A

R L R L
1 E J7J
3. iJt! J I J I' J .rJ: I J l : II

R R L
1 + 2
,. i' A J A ~ ! A J ., ~ ! II
4. • .. o.
R L R
1 + 2 +
,: i ,. ) , "" I ~ f ~ ~ } J 1 :1'1
5. r rj ,p ,. • ,. I
R L
1 + 2 +
,: j' J ~ f J I J J J 1 J ~ J I J 1 : II
6. M ,. .' y ..
n L L R
1 + 2 +
7. t): i ,. J J J r , ~ J J ! J J, J I J 1 : 1,1

L R L
1 +- 2 +
5: i ~ J J ,. I J J J ,. I J J J 'f J ~ : II
8. M
R L R
J 2 \
'j ~ J f... J 1
9. 9: ¥ , ,r' OJ r ~ I' r .1 I ; II

R L R
1 + 2 +
10.. ,: i ,. Fl ¥ r Fl r , A , "1 J z : II

L R
N4924 117

LESSON 11

This lesson continues with the study of 2/4 meter. We now introduce- repeat signs 'with first and second endings. Tms means that the fil"st time the passage La, played plat the Iirat ending. When playing it the second ti,me through, • o~it t~1e firsfen~,n~ and go directly -1:0 the second, eU~llg. The ,tie (_ ) is when two. notes (o.fhe~ than a roll and Its tied note '--" ) are connected with a curved hne (..J_JI), The value ef the tied note IS simply added to, the valueof the Ii:rsfnote. 'Here is a stmple rnarch in 2/4. Observe all repeats and dynami:c markings.

,: i J_ fJ I n £J I J ~ I J I II: ) ,}1 r J J J
1. • • r ,
f.f m,f
:>- :>- ,,=>
~ ~ J A J J =I. ~ J ~ J J J J ~ J JI
'): ,- ,p , "9 1 r • , • - • J , • ~ ~ r ~ ~ " 1t~1 ~ ~ ~ n I B I
9: f r:. ~, II: I' r • ! -=1 '~ ~ 1 • I •
lIst end. I )2nd end. >-
~ J ~ I l ' '~' f.. I J J ~ I ~,
,. : II ;p • .] ~ r ~
• • • • • ,;- • -=
f

~ b ~ " ~ J J r J J I
~ J I I I
U!): ~ • I ,~ ';-' II : • ,. • , ,I ,. ., , • • • r
:P
h ~~ J I J " j: ~ ;:, F3
I J3
2: • ,. • , I • ,. 1. ~! .[1 I ,. :II~ , , r 5: f ~ h I f R F3 FJ 4 £J J J J J
.,p ,: • ¥ Y " I , ,. I I 11
-- 1 2 1 +

J-=J%4tt J

.11'

2: J1 J ~ I: ! B 1 , h D I J ~ b } J: I J
• • • , • I ¥ • I , .' f :1 t .. 1 .oJ

11st~@ndd.

I.E J 1'1'

If 2nd end.

~ J I ~ I

• ..~ ~ II ,p-;j

b

:> I

Jzj

N4924

1 234 5 6

HI'

LE ~,SON 13

We now begin the study of 6/8 time. !fhis is known as ternary lime as opposed to the binary meters preViously 5 tudied, Tile re a res,he beata ina measu re 1 and an eighth nate gets one be at. Howe v e,r a march in 6 /8 llm~ only has wo beats In a measure, ~llis may be accounted loi' in the [0 Iluwing manner: The re is a natural ar.:cen.!: on the first and fourlh eighth notes o{ each bar (*) J thus breaking down the six beats to tWG strong beats. Stan the lesson ceunting six beats to each measure, but only tap the root iwtce to each hal' ., I'ilI1. the "first and !our{ft

eighth notes. * .l ss q 5 Ii

1TI Tn

+ .~

1.

5.

R L R L R L R
1 2 3 4 5 6
J f 1 J J I f&:3FJ J J I I J , J J J ,J I J J;J jJ ,. 'f ~ II
• • • •
R L R L R L
R R L R n L
l 2 3 4 5 6
J J j J J J J I J J f I I,--Ra ~
f • 1 I , ,. -- I ¥ • , • ~1 f Y r 1;1
R L R L R
1;{ R L L R
1 2 3 ~ 5 6
I J J I " J J J J D i===34 I )1 J i J f?/
« • ;p t • I:?==--:IJ • I • ¥ , II
R L 'R L ~ R
1 2 3 5 6. 1 2 3 '4 5 6
, 1 2.

3.

4.

1 2 3 4 5 6
6. 2~ b B ,.- ¥ B I n ,. y' B f £J , , £J ] J J J ; ,. , 1
R L R L R L 1 2 3 I} ,5 (3 1 2 3 4 5 6
,:- II ¥ B .n f ~ n ~ I n··n I J J j --b, , If I~
7. re. ,. I( J , n L R L
1 2 3 4 5 6
8. d: H R " n , I n , B ,.
R L R L I rJ.. n I J ? J ._p Of, 0/ " 'j,

:-=-iF--.r :~~~_TI. :

1 2 3 4 5 6 1 2 3 4 5 e
~ t.. B J J B J ~ R J -3 J ) 1 ; ,I
9. :r h • , II' , I, I 'i • ,. "
R L R L l 2 J 4 5 6
1 ~ J J J ~ J J JI l
1.0. ,: b .. r , It'
L R 11 R
... ,4"'lth4 R L R L I )

w- !!l!

19

LESSO~ 13

This study is a march in s/a tfme. Observe the different dynamjc;s on the repeats, and be sure to take the co.tiectendings.

fi J ~ J J ~ J J J J J b ~ 1 I
1. tr ,p f MP f ~! !. ~j , , ,
ff .J . ...J 1,!)!.JjJ.1

--,: 11: it ¥ it J , ~ .: ~ z - ~ ~. -

J ,. J .g; J I J-d J Jfj§

P 1st ,lime nif 2nd time

R R L R'L

R

:>- :>
,: J J J J J J J J [J J J J lj. J J' J ~
, I , ", , IP I =!f5 J , J J ,J I J ,J J J J J, J J! J I J r 3 J J J 1

;> :>
,: J i l J J J~ J g i J J J s!hz? I J J :'Q
• • " I i • , • I ~ ...

• T.

'(

b

f IF' r

'4 )."t ,.

91

sr

,: II: J )J u)j J )J ) I J ,pmj J r FE ,- J wb J fA

l'Hof

-J ~ I J l J d J J J ~ J ~ :~ ~ I ;b
,: ~i • • I , I .f' • ~ . • ,I 1sl end.

b ~ b I:
• ! iJ' f ,. • 1 , 1 ,: I J J 3 ~

N4924

20

LESSON l.t.

This Iesson introduces sixteenth notes. Tbey are notated with- two il3.gs (e.g.). n > which means that they ar\:! twice as fast as eighth notes. In time value, two sixteenth notesequal one eighth ('n == J» and Jour stxreentn notes equal one quarter (~ = J). In binary Lime ('2/:4, 3/4, 4/4) there are Iour sixceertth notes to each beal and the-yare counted as follows: J J J J J J J j

1 tao + ta 2 ta + ta

The basic patterns for sticktng can now be discussed more extensively. As a good string secuon uses ldehticat bm ing, then a good percussion section must use identical sticking. I am absolu:telyagai.rls~ "free" or "hand to hand' sticking. This type of sttcldng does not produce un Lfo:.1' ml Ly of suund or eonslstency of attack. FOT eXAm.ple all five, nine, and thirteen- stroke rolls should be attacked and terminated willi the right hand. This does no~ illlply that rokls beginningand ending with the left hand shonldn It be perfected as well as right hand rolls. It simply means that the final production 01 snare- drum sound must be consrstent within itselL Regardless of how wIHL matohed the hands are, if the same rhythmic figu.re is played with var-ious stickings it will sound di.fIetentli each time, Below are some basic patterns with sticking: no matter how many times the figUre is repeated, the

same sticking is used each time. J . J, J J . .FfJ Tn nJ 1 m , .n n r n {

ilL!!!. RLII' P. ilL 11.1.. I- . L(l'l. RI.:R I- l.R

All the patterns are bas d on the l'irst group of four stxteenth notes, (The one excepdento this rule ts the "even. grouping" diacussed in Less6n:3.) TMs sUcking \viU apply 99%0£ the time. The remaining l%will be problems created by complex. rhythmic figures nr extremely fast. or slow 'tempos. It vJ ill then be up to the player to find a sticklng best suited fnrsmootf execution,

1 ta + ta 2
1. d1 ~.~ J 3' J I J:j J J J I .!--m:w f*J J JI J JJ J ;,~

IJ
'R L R L. n R R R
1 2. ta. ..j. ta.
-l J J J j I ~ J J J J' J. J ~ IJ ~ J4J J J J J
2, '=j • I .. • J • I • ::a
R R L R L R R
1 + ta 2
J n I J n , J Jj i In J l};J :ij
3, ¢l4i • I • I .. I

It R L R R R L R
1 2' ta +
2: i J IE I JI m I J m fjJ m ::9
4. . I
R R t, R R R L R
1 + ta .2.
5. j"2: i " n J , .a JI ,. fj , D I " n r .a§J

R L R R L R 1 ta + 2
6. §J! i n , J
R L R I fj ! n 1. I n y re, 'f :~ R r, H

7.

L ta + ta a

tJt I J 3 J J J

+ la 1 ta + 2-

nllJ5J J

I J-J J J J

RLRLR

R L

f'I4924

2L

LESSON 15

This lesson eomhines sixteenth notes and e~ghth notes as 'well as sixteenth rests. Sixteenth rests nave the same time value as a sixteenth note. They have two [lag~a:nd appear as follows: '1. Two Sixteenth rests equal

one eighth rest (; y' = ). Four slxteenthrests equal a quartet rest ( ; ; ; ; '" ~).

1.

2.

1 +

2~i FJ

2 ta + ta

JJJJ 8

JfElr=J

J J J J I J J J J J J J J ~ II

Ii. L RLHL R L ELRL

1 ta + ta 2 T

5) : i uJ J J J .r:J

RltRLR L

1 + ta 2 ...

RLRLR L

,: 1 J

to A ,I J h FJ !I J39 FJ I J n J n :1.1
R L R L R R L R L 1 +

4. : 9~ i A

2 ta T

m

R L R L R

'1 ta ,..

6. ;9: in,

R L:

1 ... ta 2 +

5. j): i ¥ Jj r:J

RLR L

3.

8.

2 +

A

R L

I~SJ ;ED

R L RLR

I, ,

R L R L

A

~ II

1 ta ·t ta 2 -I-

9:, , fDA Ii rnD If rnA I' ma ~II

L nt, R L

L R L R L

Ita+la2 +

2: !. uJ f , J.r=J I'd, , J A I J f (3 J, i J IJ, -f J J , f J ! II

R

L R L

R

LR L

Lta+ta2 +

9:1n,~n I.H,JD I~JfJD I J'3!JA :11

R L L R L

1 ,..

10. ;#):1 A

Nr4924

RL :LR L

2 ta ta

.s=J';! I I3

R r, R L R

R L, ~ L, R

LESS ~ 16

22

l'blS lesson is composed of two studies in 2/4 time. Observe the sticking, tap your foot on one' and two, an keep a steady tempo.

1 2 --+- 1 ta. + ta 2 + 1 .;- 2 + 1 + 2:
2: £ I fl 1 J J j f2] ~ b Fl f
1. « - r .. , " !
f R R L R L, L 11
£] fl h J Fl A A J 3 J J J
,: I 'I f
R L R R L '2! J ~ J ~I 1 £3

Jj J -~ J -8 i J J, Fl
I, I ,I t J
" •
- R RI.R RL

n J J :n FJ J I J i I I , I J ~
9: I • • • • • • ., ,. t
R L R H R L 2.

'}: j __ J n: J=3g--J J J J .R I Jj J .n J I J J y' J J

.f'

R L

L H

I L J J J J¥ffi_ J
! , i

L R L L R L !}: - I ) J " ~\ I £JSa J J J a - l'
.... • ,. I .1' Y I ..

Of- ~

r. •

HL LR RL

N492o!1

LE SO~ 17

This lesson Introduees the flam. The term Ham descr lbes the ecmbtnation Qf a grace note and B. main note. The main note can be of any duration. e.g. tth ijJ 4J J but the· grace note precedes i.he main note by a mere Iractien of a second. There are right hand (t.R) and left band (RL) IIams.

When pbtyi ng a J!ight hand ita m, raise the right hand higJl but do not allow the ten hand (or grace not) to be more ~.han two filches above the drum,

Inexecuting the righL tlarn, the mat n note (R.H.) Will start toward he drum hclore tile grace note (L.B.) because of ths greats!' dis lance to travel. Neverl.he:les-$ the grace note (L.H.h~I'iLl strike the drum sligbtly before the main note (R.R.) and will be sli.ghHy sofler than the main note. The reverse applies to the left hand flam.

Fl'ac:tlce~hesttldy very slowly at first. Observe tJh'11 the grace note stroke ls never allowed to rise mare than two inches abeve the drum. Watcli your own hand and arm position r and then make hI'; necessary adjustments to execute good Hams »

Right Hand Flam

1. ='~t 6 :,J cJ--:i:J

I.R I·R LR I.R Left Hanel: Flam

2~ ,: 2v2J ~-J ~J tJ

RL RL PL ilL Altamate J<llatms

3. J!4t:=6=t.J tJ 6

I.R st, I.R RL Flam Tap ill 2/4

Jlf2 r:-1!!>~

4. ~ t~ 0=-

LR R ilL L
Fiamac<l.e ""
!f i -- tJ mJ J n ~
5. •
I.R L R L I ~J-1.l -~~l 'J~ -2-

LR R RL L
~ l
a;:-
I.R -a I fj,J.
I t~
·I,.R L.R I .. R LR I ~J eFJ2J eJ

"L IL RL RL

]~J6~

L.R RL I.R i'lL

I,R R lit, L
>
eJ J J J
:LR L R L I eJ tJ=6
1.,R LR LR
I I' JjJ
Ii- {5·i
RL nL r~L : 11

I ~ jJJ 6 I

1.£1 IlL I,R

: IJ

r.R R HI.. L
i2J 1
LR : I)

LR HI.. LRIIL Flam. Tap ill 6/8

~ II

j'): It¥J ~ W f J, a JJJ J l!~ aN- ~ I ¥ J,-J.
7. " f , 1 I'S? II
..;.,- • :
t.R RilL L 8. =t¥tl J~J ~'J6 J J. I~ JI JtJ J J I' tJ J JtJ J J I t,J Jit-;J. : II

I R L RilL R L

N492~

. ~

· ,

LESSON 18

This lesson deals Witll flams and rhythmic patterns,

LHRLLRRL

2.

1 J"~'l. t 1"""""1

I -L I ~I

r I I

L R I. R: i, L, R LR L L R R L L R R L

3.

-, ~ ~ ... ~ ~~ ~
· ,
"
I •. R R L R L LR ilL RL l.R
~I .I-'l I~ ~ ."-. - r---1
~.
L,R L R loR L t.R RL 4.

I _ ......... r--I ~ ~.
5. L I
. .
-
loR L:R L 1:.R; R L R L t.R LR -

I

I I
·
fl:L LN
I I r 6.

LB s t, LR R L

R ItL L R R L R L R !. R L 'It t. R

7.

1

1

I

,: i ~ ~ ... ~ ~.~ ~'-~ ~ . .8 Y l ~~ ~ ~a ~ J'j
8. ;1-'
h:: ., -.,

I' I I I I I
9. i.
LR RL ~, R' I.R
>- ;>.
~
10,
LR L R L R L
N4924 I ! I

I

~ - I

25

LESSO:'i 19

,rh'is lesson 'Introduces 3/4 lime· and the dotted note. In 3/4 time there are ~.hree beats in a measureand 3J quartet' note gets one beat.

.to. dol added to a note (J;) Increases t1:fe va.lue gf the note by one IhaH of its orlgitla.! time va,.lue-' J = n ,J, = m. Be aware of the din erent w.aysof aotan !1:g m e s arne l' hythm, For exa TIl ple itt. P rev lou S lessons 'thi s Mlatiol1 was used J # 1 U. Now wiJh lhellse of the dot ,. the same rhythm iis wr itten this way ]:;I . Lifiitedbelow are a lewother d(JI;l1Cati'ons.

L ~;;:fil a. JJ; J :: Tn

2. J r )1 :: Tn'

4,. in; .,n

1 Z J 1, 2, 3
~. I .~ J , J .1 l J J J I I I ~ r I I J
1. ::r i • .. - I • I I t 'I t .. • I l • • t II " • I. t t .~
R L R L R L R L R, L '11 L R L R L R L 2. !J: i f3 f3JlI n nn I J ~ JSJ; JJ JJ JJ I ~n 3d J JJ nJJID

R L

3 .. ,la,nn ~n f15 I tn---.rn R 1 m-m f§TIJ

R L R L R RL R

1

. . . ~11 J j :l 1 ~, 11 r 1.49 j 4~ J!51 lUg ·n OJ .1Il-jbO.. .." ~ I' IJ.

IJ

H L LR L R

L E L
2; 3 1 2 3
~ ) ~ I J J h :H
-w ,. " .. r • 1

5. @1Ll Jd AJJJ JI £313 JJ J S'I' r

6;. --,: jl!.rnn .§q J J J J n d

j'

I /iiIJ·

?

,= ;,5J

J U J JJ US J I.[] II j), r

!Pc,;'e.sc.

26

LE SON 20

We n0W begin the study of lhe roll. The roll Is the means 0( producing a sustained sound nn the: snare drum, A great deal of time and effort wHl be requir-ed to develop and perfect a smooth toll. There are two tupes :()I rolls desc,dbed as the open and etc ed roll, The open roll . S executed with xacl ly two stnckes from each han~. The closed rull is a multtple-bounee roll. wi h a mil;1i mum of three stroses to each hand. To developthe con-at:! speed of the roll, we will commence with a metronomic markihg of .J "" 120. Once the 'player has develop~{j( smoeth rold, he wll.l not change the speed of the J'oll becauseof changes in tempo. We will. begin 'Work on tne. closed fille str-oke rolL. Strike the first beat and let the natural rebound or vtb atien of the head provide tile subsequent beats, Use the same wrist and stick motion as used in basic single strokes. (In an open {lve stroKe roll there are nve stroke Irom the Initial stroke to the concluding stroke e.g. ~ ,J As we are developlng'

'R fll. L R J!I 1 ~

a "closed' I' ox multiple-bounce-It ve- stroke r-cll. theoretkally lile sticking should a ppaar as follows: .~_'.

RIU"RlLLl. n,

Howevp.r, ill tire inte reat of conserving space. 1 have des ignatad two strokes to each hand [.Ol· (lie closed fElLI, All,biS lempo J == 120, the eighth note equals a five:"str.oke roll. All rolls are notated: with their proper time value pills thr e extra flags, e,g. i j J. Play Section A several times to get the ha,nds ceo rdlnated to the sixteenth .. note pickup. Then practice Section 13, "thinking" ,the sixteenth-nota pick'up.butaUowjng the sttcks to bounce Jr ely.

:::0 120
A B ~
,: j n II : J I I J l I, I I !: r 7. ~:II It ~ j l J l
1- • • •
RL R R R L R RRLL R R R L R RRLI.

2.

R L R RL R

RL R L R RRLL R

9ii i ~ ~ ~ j?J ~ I a ~. ! F1 J J ~ II
L .. I
: k ---
H If\ L n L 'R n t R L R RRLLR L R RRLLR L
I. L R 1. R L L n 1, R L LLRRL R 1:, 1.J.LRRL R
i):i If] FJ I m FJ I B .El I 9 fa - ~U
2.
R L R R L H L l'I. R L nRLI.R R L P.RLLR R L
r, R r, L R L H, L L R I.LnRL L R LLRRL L H 3. -:):-i J It3 J n I I -H J

It R L R R L
L L R L L R R HaLl;. R RR'LL en

"L LLl\HL LLRR L

4.

: II

n L 'R L R L..

RRLL'R RIH,.LR

LLIlHL LI.RRL

n L

5. - tJ: i J

n £1==:11

n R L R

L L R L

RRLL n LLRR L

6. 41¥i IE t:J I m t:]' L m--;(J I ffi t:J. 1.11
~ L R ~R\LI!.R R
L R- "LJ LLRRL LESSON 21

2-

This lesson is a continuatirm of the Jive-stroke roll. Keep the hands relaxed at aU times. Maintain an even balance between he right andleft hands. When playin~ the Irve- {rake roll the interpretation of accent Or stress is very important.

The section ef the roU that .falls on a strong beat ge~,sthe stress. 111 St\:!dj( 1, the e\'1dlgg [0.115 on a strong beat , censequenus the endIng of the FoIL gets the additional stress. 1.11 Study 3, the attack falls on a strongbeat, conaequently the attack of the roll gets the arldltlcna.l streas. Th.i,s addectstress, ' 'Hher on the auack or riding; gives uruqu musical v,arU1UOI'l to the 'five-stroke roll.

1. 2: i ~d@ I 9=E I J J== .r:J 'I d i ~, I ~ II
-="" ----
R Ri.. R L
~ J
2. 42$i a 1=-8 Q @A ~ 12 J ~ ) l' ~ II
-......
R L R R L R
B A ~ B a r
!J: i tJl
3. I ill: ¥ : II
2: i A .[J I A S I a B I J i ~ ¥ ;D
it >- B

IEL~;I)

: II

6. j): I B £J a ;9 j S ~ I J t J j :)
- !f ¥ ~ j i 3 ,- at ) ~ ~ t ) 3 ~ j 3 : 11
7. .,. • r
- ------ 8.

s

'9. ,=- IH J JQJJ:] J J f3 .g I J J J J S I J Ii --I , : II
OJ J! 10. ---!): i -

:N4924

-

sr

LESSON 22

Her:e are two SOlOS utiUz.ing lhe five stroke Ioll plus all the other material studied thus tar,.,

Also we introduce some additional repeat aigns , Dai Segno or D.S. means :to return to the sign. f $S 1, play to, Th,e Pin« and 61Op. Pause ~ destgnatsd by a r.-... Tllis sign placednvera note or rest means that it Is to, be held fonge!"' than the designated time value. It is also called a "hoM" or. "Ieernata."

J = 120

1.

lISt. end.

~i j---. ~r=1 b

- 9: • !! -3 -J- ~ - T rEi -" - z-

112nd __ end. __ I = "':" . .• _u

: II Il.EJ -II: liJf] "lilJ .. Jj _.FJ j:

'1'-) f l {II-~~~ffi J£j=CI-.Qjg I r~ J 3 J

Fine 'P

J

cresc.

f D~ S. (1/: Fin(;

,J = 108

I

f

t, " i J L J i J l
« ,. ;p 1 .L • • f • { .. N4924

-r1 t"

ttJJ

!-t£l::.fJsb r J j 3 - °1 nCJ - ~

1->-- -- ._ We r=:;; ~~

!p cresco

LESSON 23

'29

This lesson deals with the rune-stroke roll., I have omitted the: seven-stroke roll temporar-ily because r want to deal first with rolls_that begin and .end with the same hands. P:rac;ti~e thi's study with the metronome set at J '" ].20. Balance the bauds so tha:.t :the.y both produce the same aumaer af bounces at the same dynamic level.

j): i ~ ~ I ~ ~ ~ J j ~ J I ) I J
I. ~ I .' 'rl -.¥ .l ~: II
s- o;;:::
R R L R: L R B L 'R L R Rll.LLRR,l..L R RRLLll'RLL =¥j J- J J J ~ 1- J J J J • t I -b I
:2" • • -I =- :1 -50"" .. _ J : rl
=
R L R L R a L II L H RRLLRRLLR RRLLRi'l..LL R 9:j A J I iiJ J I A ~ J J J I a ) dEl J .... ; II
3, M •
.:;;:::;: s
H L R l~ R L, R lTt L RRLL'RRLL R '4"

=

m

,It

!R: ·'9

i't.LRLftLR

R

'RRLLRRLLIR

t:J • .: .

R RLRLRL

RRLLrtRLL H:

..

H.L !LllLl1.I..

It L L fUi.LLRRLL R

2~ i i ~ I ~ ~ tJ::j 1:-) t b ~ Ie "'-
'T" rI - I • ~ :11
.............-. :;;;;::=:0-
R R L R L R R n RRLtRRt.LR R 8, -gEl Jj J JA

:RLRI:.ll L

:U

RRLLRRLLR L

R

tt. j)~ ¥ ~ -f 4 ~ t pJ ~ ;pwl -t -:~
-,...,...... ............ • <::
R RRLLRRLL R R-
• I' l,., I t I .!= -~
1.0. ,: i 'I< • I, I( J I ~ I -, II
2? --... ---==
RRLLRRLLfi R This study Ineludes both £ive and nine-stroke rolls. Observe the dynamics and maintain a steady tempo.

so

L[SSO~ 2-1

I -tJ --/1--8 1~F3 -6, -I~k

f 1st Ti-me p 2nd 'rIme

" \' W-+;Q)JO

LR R R L L

11. ~ 112. . _

I!r f till AS]

1 :> :t J
,: II . J I
. --=?' • =
,f :>

JJ J ~ J ~.r3 1_ id __ )- _ 3- ~_ = j

t J-

='" -

-;:::::: --

J

-_I _ Jj J

gl

-~ .

-¥- 8= 51

ff

RL LRL L

tEl

IS 81 J.

_,-:= J, _ ?_J ;'~- _ = _ I,

---

---

- "e ~~

---.. - - rJ j - J "7----1 ~ :.t}2J1

2- _ _ _ _ ,. j;- -- - - - -;=" . ,

/).S. -at Fi'l~

N4924

LESSON 25

31

We now study the seven-stroke, the thirte(H~-gtroke, and the seventeen-atroke roll. The seven-stroke roll begjlls with the left hand and ends with Ute right hand. The other two roUs begin and end with tihe same hand. Observe the chart COml~al'ing the time value and stteking .for the various rolls.

J ~ 120

'HI. R

Ll:l.L R flLRL R RLRLRL R

R

II

Chart

13

17.

'RL R

LRL n RLRL R ELllLRt R

HLRr..nLUL

R

~ Stroke Roll ~ ~

1. 2:1 f mJ I { oc=:.l! ,JnJ bfa' :!' JnJ

L R L R

l"LRRLLR

2:, JJJJJ I, A:::J I JJ3JJ I ftj I J2JJJ

RLFtLR

R LLRRLLR

R L R L R L L B.I'tLL R

'LLllRLLR r, R L 13 Stroke Roll

LLRRLL R

2.

B RRLLRRLLRRLL

R.

;fIJ,J Ja~ I' bbm

R L It L 'R L R

RRLLRRLLRJtLL R

.

~'1 Stroke Hell

a. ,: iPJ J J J J J J J I rt--s;

R !L n: L R L t\ L

RRLDRRLLl}fitLLR~~LL R

N4924

j .ra

~

•..

~

..............

J

MJ

-I

32

LESSON 26

This Iesson employs all the rolls studied thus, far" ~b'ive Ior an even we'll-balanced toll. Do not let One hand oIstl:C.l\ out" above the 'other; Begin each roll with a firm attack, and end-It with a cleansrngle ,sh'okeequally ILS' firm 'as the attack Add as well tne whole note roll 16'_ LJ l -I which iSU1B equrvatent of a 3,:3- stroke 1'011. We have new gotten to the long rull. There is no Irmlt to l1e possible length ofthis roU. Practice it for as long astha hands can maintaina smooth even sound. Pl'act(ce it "fode"as weU as "piano;"

J :: 126

1.

17

@

I

II: ~J

9

b=;J

nE

::>- ~7 1
j J J J A J (!J ijJ J J i flc I J J J
9: , I
'. .t;b;J • ::- 5 5
5): E 8 £a J I f fj J,:=i J J f .Fj J J 3= Jr'
-~
9 5 5 17
'i 4\ t ~- m il;=J I B J J -'~ J I t ~ l :JI
• --.}--c •
: :;;-- L- """"=""'"' 13

P 5 17
,: jj ~ EJ A J, 8-=1 ~ 3 J J t 4- .p ., tl
• • • ---
-- -
13 13 9
}1 .- } 1- I-=J J A J 3, I J J J l:;
: 2r -~ s: ............. - . J =-l
-.... 5

r--l .'H J _ CJ .8

O!f2=~ _~.f ~ ~

7

11: )9 J J J

1

.)i J J J J z z z
p cresc.
2k J J J J Z It Z
r cresco
N4924. 33

ft I;J J J' J

z

J7

~ ~Ji

-»if

cresc.

~3

t I;J 3D Z z

Sign up to vote on this title
UsefulNot useful