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    Edoc - Pub - Drum Benjamin Podemski Standard Snare Drum Methodp PDF

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    Иван

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    ft see ripen INCLUDING DOUBLE DRUMS AND INTRODUCTION TO TIMPANI A complete personalized modern course in poreus- sion studies, including all standard and modern drum strokes, as well as dram solo passages from world- famous concert and‘symphonic compositions, together with striking exereises for double drumming. An analysis of the Timpani—the instrument, tuning, correct method of playing, rhythm, and beats. BENJAMIN PODEMSKI - | Renowned Percussion Artist with the Philadelphia Symphony Orchestra Pod, bik STANDARD SNARE DRUM METHOD Including Double Drums and An Introduction lo Tympani by BENJAMIN PODEMSKI re Soptegh © J8u emowns 258) ules MUS: 1c Au Rit aged fo ad Canale by BEAM NE UPMURIC Ce CP BEEN. INC, ams L 20014 ‘Copyngnt So vA All ehts Revnvee ed In prosenting the most complete and most recent drum course as written by Benjamin Podemaki, one of the world's foremost percussion authorities, much re- search, care and editorship hes been placed-in an educational work most sincere ‘and applicable to the drum student's and profeiional’s needs. ‘The object of this Method ts fo furnish the music student with the basic fundamentals necestary to the mastery of the rudiments and technique of drum- ming plus e general knowledge cf music reading, as well as orchestra and concert band drumming, The tert ic composed of a compilation of studies which the author hat uted and continuos to uso with artiste suecest Benjamin Podemti, famous percussionist with the Philadelphia Symphony Or- chestre since 1923, playing under Leopold Stokowski, Eugene Ormandy, and guest conductors, hes echieved brillant percussion effects that have gained him word recesriti He hat alio appeared with Arturo Toscanini, Frite Reiner, Victor Herbert. Richard Strauss, Vietor Kolar, Sokoloff, and other great symphony conductors in the United States and Europe. Hit drum method it 2 most active educational force in the Feld of standard percusion art today. Full cars is given to drum strokes and to the explanation of ‘modem thythms. Every lesson i @ valuable addition fo the pereussionisl's study. The boot it profusely ilstrated with dram sole passages from concert and sym Phonic compositions as well as striking examples for double drum+—bats and snare—in simulteneous execution. Cautiously analyzing the tympani for percussion players, Podemtii explains ‘the instrument, the correct method of playing, tuning, rhythm and bests. Exercises for the fympani are included in the volume. The courte that follows is definitely @ university of musical end percussive thought, THE PUBLISHERS BENJAMIN PODEMSK! Correct Method of Helding Snare Dram Sticks . PART [BASIC DRUMMING |... The Roll. The Fam ..|.. The Dag... ‘The Four Stroke Roll “The Five Stroke Rell or Gruppctea The Four Stroke Roll : The Single Sere Roll ‘The Seven Sroke Rell Flam Strokes Drag. Seroket : Combination ot Abbrevisted: Vali Elemensary Rest Exercte Seadiee Exercise No. i Exercise No.2 Exercise No. 3 Exercise No 4 ' Exercise No.5 fi Exercise No. 6 Exercae No.7. P Exercie Ne, § Exercise No, 2 Stdies in Flme Exerche No. 11 Exercise No. 12 ‘Rhythm and the Percussonist A Stady in Rhyshmical Division - Exercise No. 13 FL Bhercise Noo 14 Crush Roll Eyerie No. 19 ‘Exercve in Abbrevisted Value Exercise No 16... 4 Exercise No. 17 TABLE OF CONTENTS Note Values, Musical Terms and Expressions Exercise Now 10 6. ecceeeseeeees T Exercise with Scorch Saap and she Reverse Exercise No 18 te Exercise No 19... 1 Exercise No. 20... iF Enereise No. 21 l Enercie No. 22 PART Tl_ADYANCED EXERCISE STUDIES Page 5 6 ‘ 2 » “4 1‘ 1“ % 1“ v a" » 20 Fa 2 23 ” 2 26 D 2 29 30 31 32 3 ot 3s 36 37 38 39 40 a 2 “as 45 xerciat Ne 49 = Correct Method of Holding Snare Drum Sticks Inde af ight bond i lok hold upward PART | BASIC DRUMMING NOTE VALUES e Here is given a diagram showing the proper way of dividing 2 whole note. | ‘The whole note or 4 quarters ‘This ishow sth, 16th and 32nd notes appear when written separately (not in group form). a) + $ AS 0 th notes | ‘16th notes 32nd noces RESTS a ly Ma Vg Ne Ysa | or whole or half é Copyright ©1940 (Renewed 1968) MILLS MUSIC 2 ‘a Ragns Azaene wat Contin ty BEAMS UP MUSIC cornet INC, Mew, FE 33016 sonal Copy OO gi Wigs Kaeo DOTTED NOTES AND DOTTED RESTS ‘Written Equals These notes are equivalent to these rests ‘Written Equals ‘A dot placed after a aote or rest increases ir value by one-half. THE DOUBLE DOT Written Equals Equals A double dot after a note or rest increases its value by three-fourths, ~ 11393 8 Artificial groups of notes which are played in other than their original form. The Title J j played in the value of Wa ees ‘The Sextuplee ma splayed diy the vahes Gf Cele Group of five fin peyote ie yueccciis a) notes. j . ess Group of seven ini plyedinherdatof Jd ddd d nom | ecins 2 J J J phyclatewsle a) OPENING rene zt Group of two inal played in the value of d 7 J aie Growp of thre quires J J phyedinthevituect = J nome SH I Group of three halves d4J splayed in the value of dd > woe ee MUSICAL EXPRESSIONS MOST FREQUENTLY USED Ff forte (meaning) Loud SF fortissimo demeaning) Very loud SEF fortississimo (meaning) Extremely loud mf mezzo force (meaning) The medium between soft and loud. | p piano (meaning) Soft PP pianissimo (meaning) Very soft PPP pimnissisimo (meaning) Extremely soft, mp mezzo piano (meaning) Medium between sofc and very soft, MOST FREQUENTLY USED TIME {Tempo} Moderato (meaning) Moderate Allegro (meaning) Lively, Andante (meaning) Slow Adagio (meaning) Slower than Andante Vivace (meaning) Quick Presto (meaning) Very quick Tempo di March (meaning) March time A FEW OTHER MUSICAL EXPRESSIONS AND SIGNS p———— P at diminuendo increasing in loudness Gradually softer A Sforzando ig strongly accented wt Fermata Dover note or rest-to be held at pleasure by instrumentalist or conductor. Ritardando (rit.) slowing down of speed. Accéllerando (accel.) Gradually increasing speed. Dal Segno sign % (D. S.) wherever the D. S. sign is used, ic means that thaf portion of the com. position is to be repeated. a Da Capo (D. C.) wherever D. C. is used, it means to go back to the very beginning of the composition and play it over again. su REPETITION SIGNS ‘A section of music is sometimes played twice, The signs for showing where the repetition begins and ends are these: Jp Ne sete mumber off i No definite number of J measures. | measures, These two signs arc identical in meaning. Sometimes the section that is to be played twice needs a different ending the second time. In that case the repetition marks are printed as follows: pipettes B C D The student will understand that in printed music the letters A, B,C, D. are not used, but are here in order to facilitate the following explanation. First, the student wil] notice what the marks are: at A 2 petition mark as shown above; at Ba numeral 1 followed by 2 horizontal line above the stave and extending t0 C, a repetition mark as shown above. After C a numeral 2 followed by 2 horizontal line over the save, ‘The section af originally written is from A to C. The measures B to C are called the first ending. The measures C to D are called the second ending. The section will then be played without breaks or pauses in this way—from A to B, from B to C, from A to B, from C to D and then on. ‘The important thing for the student to remember is that after he has played from A to B the second ‘time he must then skip over from B and play from Cro D. Occasionally a conductor will direct his men to “take the second ending” in which case the section will be played from A-to B.and from C to D and then on. CODA @ MARK EXPLANATION A Cods is a cloting section of 2 composition. Sometimes it is incorporated into the composition in such a way that no special markings are necessary. ‘At other times it is to be played after certain portions of the work are repeated. In such case special mark- ings are used. Somewhere in the course of such a work thissign 4 will appear. During the first time that the work is being played this sign will be ignored, but toward the end the player will nd printed the words Da Capo or D.S. He will then return to the beginning (D.C.) or to the §§ (D. S.) and play the composition through again wntil he reaches the Coda -@mark. ‘Thence he ‘will skip to the Coda which will be printed at the end of the work. The exact place to which he is to skip will be marked with the word Coda or with the same sign @ or sometimes with word and sign. 11393 iL Legato-——~ or Tic. When a legato appears over a group of notes it means that the notes should be played connectedly. —— Bis means repeat. Any measure or any number of measures marked Bis should be repeated. bis ' RITORNELLO SIGNS 2 When a preceding measure is to be repeated this 3 symbol is used. When two preceding measures are to be repeated this b= symbol is used: 2. Abbreviations of rests by means of conventional signs, 4 6 8 10 2 SYNCOPATION Syncopation is the placing of an accent on a part of the measure where none is expected. Each kind of measure (2/4, 4/4, 3/4 6/8 ete.) has its principal accent on the first beat. In the longer measures (like - 4/4 and 6/8 time) there is a secondary accent on the second half of the measure. If an accent is placed ‘on any other bear than the one which ordinarily carries the accent, syncopation will result, natural | A A A A A A syncopated A A THE ROLL Of utmost importance to the drummer is the Roll. The student cannot give too much attention to the Roll as it is the foundation of all drum technique. Iris advisable for the student co scare practising very slowly and pay attention to the uniformity of the beats. Start the Roll slowly and evenly, thus: > > = = R_ indicates right hand R R L L R R L L very gradually increasing the time. L_ indicates left hand As soon as the student feels that his strokes are becoming shaky and uneven he should immediately. slacken his speed until he gets back to where he started, { 0 Then commence again end repeat the proces over and over again. By practicing in this manner ! the student will find that his strokes are becoming gradually faster and falling more easily into the Roll, 2 per “llustration. RRULRRLERRLE RRLLRRLLRRLLRRLLRR LE faim FS > > = ss SSeS ES SSE THE FLAM B ‘The Flam is an appoggiatura. (Appoggiatura means leaning against.) ‘The Flam if properly executed is effective and plays an important part in drumming. The grace nore should be play distincrly but more softly than the quarter note ; the accent, however, should be on the quarter nore and sound something like this—FLAM-FLAM x pe we . iS Dugan 1 Pie ee R R et R R ree Diagram TT Diagram mt FERS SSS Ss ok ‘The Flam should be practiced as shown in diagrams—first from left to right, then right to left and final Iy from hand to hand. The student will find it best to always use the Flam as shown in Diagram I, as it is safesc for speedy and clean technique, unless 2 passage is very difficult and alternating is really necessary 4 THE DRAG ‘The Drag is a Mordente consisting of three notes—two ornamental notes and the main or fundamen- tal note as shown here— >= ‘The two ornamental notes precede the fundamental note and should be played softly and distinctly while the accent should be on the main or fundamental note. Commence practicing the Drag slowly and openly, gradually closing up the beats as the speed increases. The lefe hand should strike two soft, distinct beats followed by a smart, precite stroke on the beat with the right hand thus R R g g & This can also be practiced the reverse way thus: L qi lye and finally from hand to hand thus: a Se = R 8 fk ESS “= a =e = =p Pf Pf PSL PS FL BPS BS PS | The drag is not a dificult stroke but care should be taken not to crowd the rwo ornamental notes t00 close to the main (fundamental) note as this would result in a “smudge” instead of a clean even group of «three notes 2s it should be. * L R 1 R L R L Richt Vay EO OS Vo Vy Oe) 11398 THE FOUR STROKE RUFF ‘A Mordente of four notes. 2,8 ak 208 g i The three ornamental notes soft and the eighth notes loud, striking che principal note on the bear with the right hand. The time between the beats should be equal. Begin slowly, gradually closing up the stroke. The technique of the four stroke ruff is also used on the following passages, R ERLR CRLR OCRL RF LRLR LRLR the only difference being that in such passages as thesethe triplet has its proper time in the division, while in the four stroke cuff the triplet or the ornamental notes do not rake up any time in the division THE FIVE STROKE ROLL OR GRUPPETTO g g R R Te can also be pracziced the reverse way. & & Generally it is best to play from the right hand, THE FOUR STROKE ROLL A. Four stroke Roll especially adapted to pianissimo passages. PPP PPP PPP PPP PPP Often passages with pianissimo expressions such as these are encountered. ‘To attempt to play these with the four stroke ruff is an error as this will not have the proper effect. The stroke will sound either 09 long or r00 rough. Some will attempt to play with a drag in order to get 2 smooth pianissimo effect but it will be too short and the five swroke zoll too long. eis essential, therefore, to ctudy the four stroke roll as outlined above. This will be found co bea diff- cult technical stroke bu: with a little patience and enough practice the student will be rewarded for his efforts. This stroke can also be used to great advantage in F passage in 2/4 and 6/8 marches and the like. 11393 | 6 THE SINGLE STROKE ROLL | Single stroke rolls are the most effective strokes on the snare drum. Considerable practice is neces- i sary to develop the strokes evenly. Various ways of practicing the single stroke roll. RLRLRERLRERLERERL RERERERLRLRERURLS DRLRDERLRLRLRERER CRERERERLRLERERLER® Although the single stroke roll is very important in orchestral work it is one which is the most ignored by percussionists, These strokes will be found mostly in solo passages and below are given a few example: of how they might appear in different works, RURLR LR RLRLR L RERLR Lb RLRLR L RRURLR RLRL R RLRER L RERLR RERL RRERLR RLRLRLRLRLRL RLRLRUERLRLE RLRLRLRLRERL RERLRLR In executing these pasages with single strokes you will notice chat the 32nd notes will sound crisp, ' snappy and even. The five stroke rol! is's poor substitute for the single stroke and should never be used in its place. / 11893 THE SEVEN STROKE ROLL q R Rg L L = P P Ff ae P ae Start slowly increasing speed gradually. This gruppetto is used mostly in military drumming and is seldom encountered in orchestral work. It is a very beneficial stroke for wrist practice and may be played from either hand, it being advisable, however, to finish with the right hand. * Alternating Stroke Paradiddle Alternating Flam Paradiidle The above fingering is excellent practice for dexterity, but to simplify the stroke and flam paradiddle it may be played in the following ways: Stroke Paradiddle RL RL RE REL RLRELRL RL Flam Paradiddle ERE RL ERLRL oR RL ER L RL Drag Paradiddle RLRR ToReLee: RL RR ERLE Should be executed from hand to hand. RLRLURRLRERLL RERLURRERER EL 4 - oe [SSS SS RURLRR LRERLL RLRLRR LRERLL Double Drag Paradiddle Double Flam Paradiidle — ee Seas = = RERLERR LRLRLL RLRERR LRURLL 8 ‘Various strokes ornamented with flams—drags—four—five and seven stroke rolls. FLAM STROKES ‘To acquire dexterity, the following examples should be practiced with all the “fingerings” noted. When actually playing with an orchestra or band, however, the student should himself know which way he can best execute certain strokes and should use that way. The conductor and listener does not care how the instrumentalist executes various technical strokes as long as the proper result is achieved. Tat Tab oR LRRLLR AL LRAlL oR RL LR CRuRULRER wRiReRLR ER Gradually increase speed I RuR RLUR R UR R LR R Ewb RvR bab Rek tL LaR R BL Luk R RE R Gradually increase speed ROKES RR LER RR ie uER uu R eeb reek ie LuR TERERLRALR ELRLRLRRERER RRLER LR TLRERE Saree ee LER LURE enh RLR ao aARL RLR TER URE 20 COMBINATION OF STROKES 2 3 3 Z TORDTRE REAL ttR wiR ERE RLaL ite 3 s { EERLTRE ae a a ey RGR D Lo oRk Zz 3 3 3 3 3 TER weLRLRLRLRL ost cRERELRERER Note different fingering in second measure. TR LRLROGREREL AL ttR LR LERLREROURLEE ti Rk vt RouRR ae RGR ® Tat e L R LR eal RLROR RL L ROR L Note different fingering in second measure. i BinR BL GR kitR ERED RELR AL LR RLLRLRRL 3 Z R RL RL pe Re RERE ¢ TLR ERLRE aRL RERLR © — = 11393 ABBREVIATED VALUES 2 Abbreviations in manuscript or printed music ky means of signs. ritten, Played Written Played Written Played Written Played — = ELEMENTARY BEAT EXERCISE STUDIES R. Indicates right hand. No. | L. Indicates left hand. Slow (4 beats in a measure). Count One (and) Two (and) Three (and) Four (and) | 1@ 2@ 86 4@ 1% 2@ 8&6 46 1% 2& 3& 4% 18 24 3& 4% 11893 No, 2 28 Two beats toa measure. Count One (and) Two (and) ba 142 The numbers| jwich lines drawn across the stave separating the measures, denote whole mea- = No. 3 4 Exercise in quarter and eighth notes. i Count One (and) Two (and) | & 26 1@ 28 162 & 1828 1 4 2 8 1 113998 = Se > The Gngering (L. R.) must be carefully observed. No. 4 at 2 1 2 i 2 1 SS ——— 2 a J + ¥ = ¥ ¥ RL Les TR R t 26 No.5 3/4 Time—Count One (and) Two (and) Three (and) Moderato 1 Sp Ss Coens dg ee a eae _ Letters A-B-C-D-E-F-G denote the different sections of music. Sometimes numbers are used instead. “11398 Py ” ~The cwo sixteenth notes ey should be of the same duration 21 the eight note, no longer or shorter. No. 6 An RLR RRL RL RRU RL RRL pSeye RUR ROER R L RLR RLR R LR R RLRL 1 2 I z I 2 ous RRLRL yy RRLUR LD ep rere H pre RRULR L R RLRLR z ees. 2 i Se hela ci 2 3s L RE RELRL RREERL AR No.7 11393 Ywencing always with the right hand. . No. 8 ‘The groups of four sixteenth notes should be played with single stroke beats, thus: 29 EES and com- a ty Abbreviated o As Played ieepeaaal py + Dots are often placed to denote the number of beats. ar Abbreviated am CC 30 A study in abbreviated quarter, eighth and sixteenth notes No.9 1 i 2 ee Moka 1 The measures marked with letter Z are purposely divided so for quick eye training peep yb Abbreviated “As Played cn No. 10 at STUDIES IN FLAMS @ No. II 11393 pe “Thit exercize should be studied alo Please observe che and carefully. eS No. 12 1 a8 2 FS 4 oe 8 Seal ate Bh os ith FS = ea ee rere Last Measure Abbreviated Paes Fe FS As played = = = =—= = Ac letter G a repeat % sign so the preceding half measure is inserted ence in orchestral work, 1383 This is a common occurr- 34 RHYTHM AND THE PERCUSSIONIST RHYTHM is the occurrence of accented beats at regular short intervals of time, ‘Most persons have a natural chythmic sense and are able ro keep time. Additionally, the musician, and especially the percussionist, needs not merely a natural, but a very strong rhyzhmic sense. To define it more clearly, a strong rhythmi¢ sense means three things: First, the ability to maintain a beat for a long period of time (say five minvtes) at a given tempo without permicting the beat co become either fast~ er or slower. Second, the ability to combine beats into any kind of grouping the composer may call for and to change the groups si frequently as may be necessary. Third, ic means the ability to break up the beat into smaller units and to execute any kind of pattern made up of those smaller units. For example, if she beat of the piece is indicated by quarter notes (J ), 2s it most commonly is, the musician must be able to break up the beat into two equal parts, eighth notes ( J ), four equal parts, sixteenth notes ( 4), eight equal parts, thirty-second notes ( fi ), etc., or into any combination of these smaller units (that is, any chythmic pattern) that the composer may require. It should be understood that what is here: called a strong rhythmic sense does not come entirely from natural endowment; it also comes from study and training. In respect to rhythm, the percussionist occupies a position in the Orchestra of great importance. If 2 player of one of the melodic instruments (cello, etc.) is deficient in shythmic sense his deficiency will sometimes be covered up for years as he will always be able to follow the others, to play with the section. The sound of his instrument need never emerge from the general mass of tone. The percussionist, however, has no such safety. Practically every instrument he plays will emerge from the general mass of tone, When- ever any percussion instrument is played it must be struck at exactly the right instant, neither too soon nor too Tate. If the percussionist is deficient in rhythmic sense and training be will never know when that exactly right instant might be. If he strikes his instrument at the wrong instant he will not only reveal the weakness of his shythmic sense but, what will be more intolerable, he will impair and possibly ruin the performance of the music. To a strong and well-trained rhythmic sense the percussionist must add another qualification: namely, the intelligence and ability to follow the conductor. He must not only be able to read and interpret che music, he must also be able to read and interpret the conductor. At rehearsals and'at performances the pereusionist must place his stand, his music, his instruments and himself in such a position. that he can, without difficulty, follow the eye and hand of the conductor. He muse, from observation and practice, learn to read and obey the slightest sign that the conductor gives. Any deficiency in following the conductor will have serious consequences both to the music and to the player himself. If, in am important passage, he fails to obey the conductor he will not only rain the per- formance, he will find himself out of 2 job. eR STOTT IN RATIHMICAL DIVISION = The dividing of these examples should be understood thoroughly by the student before proceeding further with the exercises, ‘Written differently bur rhythmically alike ‘The only way to sustain notes on the snare drum is by executing them with the roll—therefore these principles apply mostly to S. D. playing. 38 No. 13 Moderato 11393 No. 14 37 s z oe Triplets are marked by a number 3 over or under a group of three notes,“ $ © which means that they care to be played in the exact time of two notes of the same duration. fedad or Please observe expression marks. p—f 2 SF SF p— 11393 38. No. 15 CRUSH ROLL | Py by [Prk | Moderato =e EXERCISES IN ABBREVIATED VALUES 39 No. 16 ~ EXAMPLES FOR THE FOLLOWING EXERCISE As Written As played R RL RL RLU RL eee Ee poe oe 3m R R eee RURGRURRL RLRLRLARL RURLRERRL RLRLRRE 1 4 RILRERLRRE RRLRL RER Sa The fingering used in this exercise is optional as long 2s the necessary result is achieved. “The student can use the fingering to which he can best adapt himselé. aa No. 17 No. 18 aL EXERCISE WITH SCOTCH SNAP AND THE REVERSE As Written As played Eicher fingering may be used a2, No. 19 RLELRLR RLLRLR 11393 } PART Il eo ADYANCED EXERCISE STUDIES No. 20 ~ 1ases. a No. 21 RL RURLRL RL RERLR URL RURLRERL RURLR RERLR 11393 3/8 time. Count three to each measure. Moderato 2 RLRLRE RLRL RLRER 46 No. 23 | ‘The groups.of three siteenth noter dg ace co be performed ik'che time of cw dd of like value in the regular thythm. oe ‘Three counts to each measure. 2 oe eel ~ Two beats ina measure. Abbreviated As Played No, 24 7 Count all the eighths. No. 25 Slow—couat cach eighth. No. 26 11393 Tempo di Polacca 2/4 Syncopation. No. 28 an The prover division for syncoparion. uss — ¥: — == ¥ => ~ 11893 * No. 31 Two counts to the measure, “STF P ere ee = 11398 No. 32 ba Three counts to each measure. Lisga 56 No. 33 Slow tempo 11398 58 No. 35 No. 36 59 Maestoso 11393 0 No. 37 Moderato f = —— a 5 ‘From X to X may be omitted. io 11398 = ss 1 I a No. 38 11393 2 No. 39 Syncopated 4/4 time. jf: ses ‘Three counts to the measure. bcc “ 11393 et No. 41 Maréh tempo Sf Ca 11393 65 Three beats to 2 measure, As Weitten As played 11393 No. 43 yy 2398 = > 11a93 11393 70 No. 46 Modegato mf ] Fast tempo No. 47 t Two beats to the measure. 11398 R PART Ill MODERN RHYTHMS AS EMPLOYED BY CONTEMPORARY COMPOSERS DIFFICULT DIVISIONS ANALYZED Two beats to the measure, = = ‘Written and proper divi-’ sion for execution. Same division as above in 6/8 time, Tero beats to the measure. a ‘Written As played aa = I 1 | i a F 2 Le Four beats to the measure. | + | Wriaen As played Three beats to the measure. ! 7 Sa ay. Written \ As played Toro beats to the measure, Written ‘As played 1383 a No. 49 3 No. 51 a Four beats to a measure. SS SS Ses == - z 3 4 1 2 3 # p os ee 2 = —— Ft i 2 3 4 1 2 B64 + 2 3 4 SSS v 3 : = = Five beats to a measure, —— SS = noe $ o = 1 2 a 4 5 > = = SSS a = 3 : 5 : 2 # e's 3 4 f SSS SS SSS SSS % No. 52 11393 SWING STROKES @ RLURLLRE ERLE RL ER LEREERED OB Single strokes ov ERURGRREGRE RiRRLLRLRZR RLLRLRURRL LR ame with Flam? All Flams to be played from left hand. came with right and Crash. — No. 53 A STU DY IN’ SYNCOPATED RHYTHM Nd » RLLR LR RLERULRL LRELRLER RLLRLR & £ Pes aS ERLE RER RLERLRERRELRERL SS ———— === —— FART IV Ey DOUBLE DRUMMING EXERCISES FOR DOUBLE DRUMS AND SOLO PASSAGES FROM MOST RENOWNED COMPOSITIONS Lively Mareh tempo TF 11393 March tempo 11393 81 March tempo Rus = oR | } 4 sbbitett Riemer 3 t t T SAND_PAPER oa 82 Excerpts from F. E. Aubers’ Overture MASANIELLO. To be played two ina measure. Allegro Moderato 11393 PART V FAMOUS DRUM SOLOS Opening measures of F, E, Aubers' Overture FRA DIAVOLO. 8.D. Solo f poco a poco decrese. PP PPP ‘The ordinary five stroke zoll should not be used in the above passage. It should be executed with single strokes as writcen, a Excerpts from Franz v. Suppé’s Overture PIQUE DAME Allegro con fuoco , | oreso. Pinu mosso Important solo work for the snare drum from Rimsky-Korsakoff’s CAPRICCIO ESPAGNOLE. ALBORADO Vivo e strepifoso mpd cnes |. OMB ALONE FANDANGO OF THE ASTURIAS Vivace assai 11393 86 Excerpts from Franz Liszt's SECOND HUNGARIAN RHAPSODY Prestissimo i Andante “ Presto 11398 Adapted from A. V. Kontsky’s AWAKENING OF THE LION Caprice Heroique Tempo di Margia a 2 z z 3 PP ft 1d Tempo di Marcia 11393 88 PART Vi AN INTRODUCTION TO TYMPANI Much ie required of the student who wishes to study Tympani. ‘The student must posess good rhythm, 4 keen car and a fair musical training. The knowledge of snare drum execution and ability to read drum parts are not sufficient and do not mean that the student is ready to undertake the study of tympani. Those desirous of studying the tym- pani should be able to play the piano, which is most suitable to the percussionist, or some additional musi~ cal instrument If the student has no musical craining other than the percussion instruments, he must then study sol~ feggio wich. a reputable music teacher before he attempts the tympani. THE RANGE OF TYMPANI The range of che cympani is one ocrave =F char is, if che cympani are of regulation size (26% 25 or 2722+) which are used for ordinary work. However, the contempgrary composers go f2e beyond thar range and write ss low alow C= and as high as high A =] for which special size kertles have to be built. To get a low C the tym- pani should be abour 3€ inches in diameter, for high A about 20 inches in diameter. Most Symphony Or chestras have these various sizes. The range of the 28 or 27 inch tympani is from pai Se and the range of the 25 or 24 inch tym- TUNING OF THE TYMPANI To assure uniformicy, adjust the tension of the heads evenly all around the hoop and keep che hand screws all in the same direction. Sound the "A" on an inscrumént or 2 tuning fork and compare it with the sound from the tympani head. At first only an excellent ear will be able to distinguish whether the tympani are tuned above or be- low the “A” sound. For example, if the sound of the tympani appears to be below the “A” or any other desired note, then, by turning the screws all around everrly the desired tone may be had. If the sound is flat the head needs more tensioning. If sharp, the tension must be lowered. The student will at first have some difficulty with his tuning, He may find it difficult to differentiate berween the various sounds because of the many overtones these instruments possess. Overtones, natural with all instruments, are more common with the tympani and especially true of the larger sizes of tympani. Only after stringent practice may the player be able to hear more and more clearly the sound desired, regardless of the overtones surrounding the desired pitch. THE POSITION OF THE TYMPANI The large tympani should be placed to the left of the player, the small one to the right. If the tym- pani happen to be the hand screw type, care should be taken that the screws do not obstruct the place the player strikes. THE ROLL ‘The tympani roll requires practice. |It consists of alternate single strokes. A good roll and tone depends not only on good quality and properly adjusted heads bur also on che \correce way of holding and swinging the sticks. The sticks should be held loosely for greater flexibility. The hand position of the sticks for playing tympani should be the opposite of the position for playing the bells or xylophone. (See illustration) Ta develop the tympani roll the student should begin practicing with a slow motion, increasing the speed gradually and evenly until a fasc tempo is reached. A maximum speed should mot be attempted uncil such a time that ic come: wich perfect facility and flexibility. ‘At no time should the sticks be allowed to “squat” on the drum heeds, after striking them. The hands should be flung upward immediately after the beats. Never hit che heads of the tympani in the center as that will produce a dull thud instead of good tone. Strike the heads about four inches from the hoop. Good tympani sticks are very essential co che player. As good sticks are difficult to obtain, the player should, if possible, learn to make his own, This will better suir his individual balance and touch, Usmost care must be taken in selecting and shaping the tympani sticks. THE CORRECT’ POSITION OF HOLDING THE STICKS THE INCORRECT POSITION OF HOLDING THE STICKS EXERCISES FOR TYMPANI on 2 in G-0 Moderato 2 3 2. zg 3 11393 in G- 0 Vivace (sast tempo) 11393 a4 in Bb-Eb Six beats ww the measure. mf P—— _ ‘ 11393 ITALIAN BY-WORDS AL uch or Very Moved ox More Else "Tec LoNeaely 1 LAlwaye 1 “Withoue DOTTIE ndee Tanto, ST asim Tr Teo mul Ua ee Bia hiceseunavasse nines OMe MUSICAL TEMPO TERMS Adagio... cesses A slow movement Andaste CUT Moderately slow Andantino 2022000002000. Less moderately alles 6200020000000 00000 Quid and ely Allegre TL Moderately qui Tage 000.002 mest Parga O00 esa Lasgo eno . Leisureiy slow Moderato 20000000 0.7 Moderate time Presto Seo aster than Allegro Prestissima. TEIN very tasetime AANIMATING TEMPOS Acceleeando.......Acc#l ....... Accelerating Agito LL Agito Agitating Animate, 020.2. .VAmime 112) Animating Steetto = ‘Hacting String... 2. Hanying ‘Vivo. «+... Vivaciously ‘RETARDING TEMPOS: Allargendo - Slower and broader Galando 222022 Gai Lessening-tempo Rallentando Rall. 2.12. ‘Gradually slower Ritandando 2.2) Rit 1 TReratding-tempo Ritenuto, : 2 Retaining Slargando ==... Sparg .---+ Enlarging SUSPENDING TEMPOS Ad Ubitum.-......Ad-ib At liberty ‘Alla cadenza 7" Cad ‘At leisure A piacere: . At pleasure Redtatieo ..osss Beit sss ses Reeitingly Rubero “Unchythmically Seaza-empe Z T Without tempo RESTORING TEMPOS. oe Bickin time Sgume ieee TE TU Sten te Half voice . Dying Away SaaS lee : Se foe Pilsen Coico ph es Saeed Vervecaatcd Salles act Riga Use pone Stee Deucied faeces 200 eddie fll Un poo pans “Dieser Ua poco oe... juscse Ei fader MUSICAL EXPRESSIONS. ABbatiee cxcvsoniedhidc 2 Aldean doe oss ‘Recinaly fepremetio 2c... sss. 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