You are on page 1of 66
SEE EST RB BRt 1 a d MODERN SCHOOL FOR SNARE DRUM Combined with a GUIDE BOOK FOR THE ARTIST PERCUSSIONIST yy - , By MORRIS GOLDENBI } rs / _ a ) diih (Wereaeh 4 Grmbiaahed ti Pace PART I STUDY MATERIALS 3 PART 11 GUIDE BOOK FOR THE ARTIST PERCUSSIONIST o 1 Background Materials “9 2. The Snare Drum n 3. Field Drum /Parade Drum a4 4 Tenor Drum/Caisse Roulante 87 5 Tabor, Tams ence, Tambourin (Provencal) 87 6 Tou-tom 89 7, Bass Drum 90 8 Scotch (type) Bass Drum 92 9. Cymbals a= 10, Antique Cymbals/Finger Cymbals B tL. Tambourine Tambour de Basque 9 12, Triangle 13. Gong/Tam-am 14. Wood Block 15. Castanets 6. Anvil 17, Auto (Tau) Hom/Claxoa 8, Temple (Chinese) Blocks 19, Ratchet/Raganella 25. Thunder Sheet/Thunder Drum 26. Wind Machine 27. Steel Plate/Bell Plate 28. Horses Hooves 29. Bird Whistles 30. Sering Drum/Lion's Roar Contenta (Cont'd LATIN AMERICAN INSTRUMENTS Ls 120 31, Maracas, : i. see. 120 a2 Gives EH) 5 nen s: ene gRpS RS hl Rie wes gk BP 2% aay 10 33. Bongos he 4 #0 $58 boda Bb 34. Guiro/Guachara /Reco-reca/Raspador (metal) /Gourd /Raspecs 5 1a 35, Cowbell /Cencerto . . eevee be Gb 36. Timbales ‘ F s 1 37. Guijada/Jawbone of an Ass ae leon be se tie OS Me we won Mel 38. Conga-Drum/Tumbadora : fi 1 39. Shaker i ours zi - A 121 40. Casaba . H ee WM ONE PLAYER FOR MULTIPLE PERCUSSION 12 41 L Histoire du Soldat Stravinsky 12 42° Facade Suite 2 aA: 4 Waltoa . 133 PERCUSSION SCORES z . 136 43. Symphony 4:11 (Military) Hayda 136 44 Polovetzian Dances (Prince Igor) Borodin f 37 45. Capriccio Espagnol Rumsky-Korsakor 140 46. Islamey 3 “ Balakicetf-Casella uw? 47. Pacific 231 Honegget 8 48 Symphony 5 Prokofiev 149 49, Syinphoay =6 Prokotes ust 50. Le Sucre du Printemps Stravinsky 132 51. Senseyama Revueltas 183 $2. Age OF Anxiety Berostein 15 53. Sonaca For Two Pianos And Percussion Bartok 137 54. Tonisation Vatise 163 $5 Glossary in English, Italian, German, French Back Cover £1955 by Cho Coorvighy Secered UC mch Ts Reseaven ing, "ecseding 91 aublic pertermance “+ on inhingumant af opregh Tatungors ar lable under the too PREFACE TO PART I Descriptions, definitions and sketches ace purposely omitted from Part I of this book because of the author's awareness of differing, chough equally valid methods of teaching the rudiments. The goal of rudi- mental teaching is stylized facility, It is the sound that counts, not the way one gets it. This conception applies to all percussion instruments, aot just the snare drum; the percussionist should experiment ia order to determine how to best achieve the desired sound. Thus it is seca that this is a book for practical, not rudimental, drumming, It is an attempt to clear vp difficulties of performance. The techniques givea are those usually employed by professionals ClecHEY~ nga Aron? cya. = Piette sesfero Dedicated ta my joven ; STUDY IN QUA R indicates right hand I indicates left hand