INTRODUCTION Book Four of the DRUM READER series deals with the pcoblem of the TIE. The main purpose of the DRUM READER series 1s to solve each individual reading idea. If you have Hooks 1 through 5, you will have covered most of the basic "Hang-Ups" of drummers who can't read, I would say that the TIE 1s probably one of the most misunderstood of music notations that give drummers, as well as melody men, most of their difficulties. Because of this problem,Book four deals only with the application of the tie. ‘Throughout the book you will see the TIE as it 1s applied to various time signatures, 4/k,3/4,2/,5/U,6/4,7/4, 3/8,6/8,7/8,9/8 and 12/8, Constant work With these studies will help you clear up the problems you have with ties, and I am sure you will understand just how it is applied when you read, The thought still comes to mind that 1f you can locate a Gcod drum instructer, you will find it easter to understand the material in the DRUM READER series. liowever, as stated in the previous books, if you can't get to a capable instructor, then you will be able to progress on your own by following out the detailed explanations throughout the book. The drum is the one instrument that cannot be sustained in sound, unless you roll. ‘he TIE ts a form of extention, However, most of this extention is done mentally, not while you actually execute the strokes you read, ‘This is the part of the TIE that you mist try to clear up in your mind, Book four is one of the intermediate studies ia the DRUM READER series. ‘The first four books are the elementary stage of’ reading. Book five starts the intermediate stage, Follow all explanations as well as you can. Iam sure you will find the material clearly explained. is hoped you will gain from this series of studies and will find yourself moving ahead in your drum reading abilities, cerely, db+— Ulano copyright by Sam Ulano All rights secured:International copyright secure: READER SERIES is the original creation of Sam Ulaao: in DRUMTo be a _good reader, one must have the fundamental theory well set in his mind. This is very important for better reading and drumming. The following 23 hints will help clear up the many thoughts are are needed for reading. STUDY THEM, MEMORIZE THEM AND TRY TO APFLY THEM: . ‘The STAFF ts the five lines that music 1s written on. 1 The BAR is the line that is drawn straight down the staff and separates the measures. MEASURE ic the box on the staff thet contains the musical notes. ‘The TREBLE CLEF looks like a capital S(hand written style), It 1s also kmown 25 a GQ" CLEF, ‘The word TREBLE represents HIGH TONES, The BASS CLEF ts usually used for drum music since the drum is a low sounding instrument. It is also known as the "F" CLEF, Although not a must, the BASS CLEF has become a standard for drum music through the years, Many times, 1f there is a BELL part or xylophone part, the TREBLE CLEF 1s placed on the staff instead of the BASS CLEF. 6. 4/4 PIME'STGN or TIME SIGNATURE, ‘This is used to indicate the value of the PULSE, The top i means that there are four beats in a measure. The bottom 4 means that each quarter note gets one beat. 7. When music 1s written on the staff in MEASURES it usually appears as follows: BASS CLEF, TINE SIGN, THE NOTES, AND THEN THE END OF THE MEASURE ITH A BAR. 8. he WHOLE NOTE is a round note with the center emety. It 1s equal to four beats. 9. Tt is to be counted as follows: ‘hen playing the WHOLE NOTE in drum music you strike the drum on the count of one and renain silent for the ecunts of 2&3 44 &, If the WHOLE NOTE is a ROLL then you will roli for a full measure and count 1 &2&3&4 &, But asa SINGLE NOTE, you will strike only once on the count of one as stated before and count the rest of the measure. 10. The HALF NOTE 1s a round note with a stem, The center of the HALF NOTE 1s encty. 11. The HALF NOTE'1s played on the count of one and the & 2 ts stlent. In 4/4 time you can have two half notes and each receives two beats, If there are two Half notes tn the measure, then you strike the dru on the one count and then again on the three count. 12, he GUARTER NOTE ts a round note, filled in the center and also has a stem as the half note does. 2 QUARTER NOTE, you strike the drum on the one count and the "é" count is silent.’ In 4/i time you have have four quarter notes ina measure. You strike the drum on all number counts. (2 2 3 4) and do not play on the "&" counts. 14, For each corresponding note that you play on there is a REST for th same value in beats, A WHOLE NOTE REST is equal to FOUR BEATS REST. A HALE NCTE REST is‘equal to TWO BEAT REST, A QUARTER NOTE REST 18 equal to ONE BEAT REST, 15. If you divide @ whole note into EIGHT parts, then you have EIGHTH NOTES, 16. fn EIGHTH NOTE looks like a quarter note except for the LINE or TAIL that 1s drawn across the top of the note. 17. ‘THERE ARE EIGHT EIGHTH NOTES in a whole note. 18. here are FOUR EIGHTH NOTES in a half note. 19, ‘There are TWO EIGHTH NOTES in a quarter note. 20: When playing the eighth notes in a measure in 4/l time, you strike the drum on the following counts: 1&2&3&4 & 21, A TIE joins two notes together, You ada the value of the second note to the value of the first note thus tying them together. You strike the drum on the first note and then count the added value of the second note. 22, A DOT after a note adds one half more of the rhythm of the note it follows together. For example: If you have a whole note (which has four beats in it) followed by a dot, you add one half (or two more beats) to the value of the whole note thus’making it a total SIX BEATS all together. 2 FO pe 3 aBORER eiee® YOU UNDERSTAND THE MATERIAL TN BOOK FOUR OF THE DA s AL TN B00) K FOUR Of om A TIE 4s a marking that is used in music notation to help join two or more notes together, By joining two or more notes togeth you extend the sound value of that group of notes together, When 2 trumpet, sax or any other wind instrument wishes to hold a sound for a longer duration, he does this through his w. column that is blown into his instrument. However in the drum we cannot do this, since once you strike tne drum head that sound is all you get. It does not extend itself and 1s finished after the stroke on the drum is made. The only means that a drunner has of sustaining sound is through the use of the CLOSE ROLL, However, many times there 1s music written and a roll is not written by the arranger, and so when two or fore notes are joined together, most of the DURATION VALUE of the Broup of notes that are tied, are sustained only in your mind. Whenever you play a group of notes that are ties, you have to THINK THE VALUE OF THE SOUND, YOU CANNOT PLAY A TIE SOUND. IT IS ALL N YOUR MIND. The following is a more detailed demonstration as to how you play a tie. Here you see various combinations of notes j together by the TIE, which looks like a cradle, attached fr to the next, YOU PLAY THE NOTE ON THE LEFT SIDE OF THE PLAY THE NOTE ON THE RIGHT SIDe OF THE TIE, For example: Here you see two quarter notes tied together, you play the first quarter cn the left, and leave out the second quarter note, THIS SOUNDS LIKE A REST, BUT IT ISN'T A REST, SINGS THE VALUE OF THE SECOND NOTE IS ADDED INTO THE VALUE OF THE FIRST QUARTER NOTE. (Thus, the two quarters will equal the sound value of one half note.) wba dd id dd el ld WLARAAZ AXA; LAZAZAUATIAZAZALALIAZAZANA Above you see the TIE as applied to quarter notes, Play the note on the left side and do not play the note on the right side of the tie, but COUNT THE VALUE OF THE SECOND NOTE, AS IF IT NOW IS PART OF THE VALUE OF THE FIRST NOTE. You can have one, two, three or any amount of notes tied together, as long as THE TIE MARKING IS USED You can ask this question: If a tle sounds like a rest, since you do not play the note at the right side of the tie, why not write a rest instead of the tie? This question has been in the drum field for many years and has confused many a drummer for a long period of his drum career. TI cannot give you the answer to this question, except to say that the TIE when used gives the drummer a more musical conception of the music he is playing. It has to do more with the arranger and his ideas when he writes the music, HOWEVER, THE PACT REMAINS, THAT THE TIE IS USED, AND WE MUST LEARN IT AS EXPLAINED ABOVE. Practice the material that follows and play all exercises SLOWLY at first until you are, familiar with the material, then go on to playing the exercises at faster speeds.YOU PLAY THE N Basic appLicatio: - Zh two or more no} oz 23 AN [AY THE NOTE ON THE ‘The studies on this page deal with quarters and eighth n notes with THE: RIGHT SIDE NOTE ON THE LEFT SIDEThe tie as ap any other meter Beats BSS right side:find the tie a will be asTEES APPLIED 70 7, CONSTANT PRACTICE Weing the tie and the notes that are notes:D a —— a eS = SSS A ay 1 Fae ane a ay = ee — Dz =! a 70 - f 2S SESS 7S SLE ai =e PEE: in — Zz zZ a pa =z x === = SeeIh : i : :FS FS SR So 5CLOSING 7o sum up the material in Book Four of the DRUM READER secies: Now that you have worked through the material in this book, you should be well aware of the way ties are played and applied to the drum part. It really isn't complicated. 11 you have te do is practice this material each anc every day, and keep in mind that the tie Joins two or more notes together to help the drummer get a longer extention of sound and time value in connection with the rest cf the melody instruments in the band, Also remember, that the tie is a means of developing your musical conception as applied to the band. Book four is the intermediate stage of reading, As you progress along with the DRUM READER series, you will find a very advanced stage of the aprlication of the tie. This will be Book nine. Once you know the basic ideas using ties, you will have very little difficulty in aprlying the tle to the more advanced stage of reading. results with Book Four of Follow these basic rules for the be EADER serte! the DRUM R! 1. Review Books one through Three each and every day. 2, Before you attempt to play this material faster, ne at Slow tempos so you can see what ysu are playing, and also understand 2 the ties a: the same way each and everyday for best results 4, Re-read the explanations of the tie as explained in the first two pares of this book, This is your best method for understanding now to apely the tie. 5. If you are n of the x al in th beginning each day, until you know dn you ety 8 good drunner friend who can and demonstrate tne material in Rook fo if he has the time to work with you 7. You will find that the rial in Book Four is all simple material using the ties, no rest markings. By che time vou are up to Sook four vou shoald know all the basic iaeas as to how to cractice. If some of the statements in these books seem to be repeated tco many times, remember that you cannot be reminded enough times until these basics are stored away in your mind, Then, and only then, will you be able to read better and better. You know that oniy by repetition can you know in your mind what you are playing and doing, NEVER FORGET THIS, Once you have gone through Book Four,vou can start on Book Five which deals with DOTS. This topic will be clearly explained and demon- strated in Book Five.However do not work into book Five untill Book Four is well understood. PRACTICE, PRACTICE AND MORE PRACTICE IS THE MOTTO OF THIS MATERIAL. IF YOU ARE A POOR READER, THEN THIS MOTTO SHOULD BE THE KEY TO HELP YOU UNDERSTAND WHAT YOU ARE BOING, —— Sam UlanoRO.576 Radio City Station NY. 10107 212 9775209 764 6636 16