VOLUME 2 Blue Book A Test Guipe FOR THE MODERN PERCUSSIONIST Compiceo sy David Ratliff AND Rob Parks Evitep sy James Campbell creativity in percussion © 2018 Tapspace Publications, LLC. International copyright secured. All rights reserved, www.tapspace.com Notice of liability: Any duplication, adaptation, transcription, or arrangement of the compositions contained in this collection requires written consent of the publisher. No part of this book may be photocopi shared, or reproduced in any way mechanically Or electronically without written permission. Unaut are an inirngement of the U.S. Copyright Act and are punishable by law. TSPB-42The Blue Book - Vol. 2 © 2018 Tapspace Publications, LLC, Portland, OR. All ights reserved. www.tapspace.com “Fantasy on the Fifth” by Glenn Kotche @ 2018 Pear Blossom Music, Inc, Licensed for use in The Blue Book - Vol. 2. All rights reserved, Note: Errata (typos) and acicitions to this text may be found by visiting the “Errata” forum board on the Tapspace Forum at: www.tapspace.com/forums. Notice of liability: Any duplication, adaptation, transcription, or arrangement of the ‘compositions contained in this collection requires written consent of the publisher. No part of this book may be photocopied, scanned, shared, or reproduced in any way mechanically or electronically without written permission. Unauthorized uses ere an infringement of the US. Copyright Act and are punishable by law.CONTENTS FoReworD 4: SNARE SOLOS: 94 Asout THE AUTHORS 5 Tree Fros 98 Unexpecten ENCOUNTER 99 DRUM SET SOLOS 13 Guo Werxy 100 Ger on THe Goo Foor 7 Beware THE Biack Box! 101 Beat BLUES 18 Eucu (AVENUE OF CHAMPIONS) 102 Duo tr 20 MC. 104 Biues For Bu 22 Rocket BLast 105 Bue Bues 26 Two Twiigt FaNFARES: 106 Barugue 28 Backpack 108 Room 18 31 Dragon Rou, 110 Waar Ane You THINKING? 34 iio 412 THe TooLe SHED 39 My Biue Cents 14 Preparco 42 ‘Sorarou 16 Bouraon ‘N’ TouLouse 44 Get Ore My Lawn, ne Pippn's PeRsisTeNCe 47 ‘Secret Passace 123 Ope To ORNeTTE 49 Ace Our Surre, O. 401K 129 The Anr oF Ant 51 Biue Barucapa 53 TENOR SOLOS 135 FANTASY ON THE FieTH 56 The Speco Counter 137 CAVPBELL'S VLAN 60 Beware THe BLack Box! 138 Eucuo (AVENUE OF CHAMPIONS) 140 MULTI-PERCUSSION SOLOS 64 Coin Heanteo 142 Gave sHow 66 Wawa 144 8187 68 STREAKING THROUGH THE QUAD 147 1 Guaro, 70 Fiam Dunc 149 Wor a Lime Live Juice 72 1218 162 Time a Su oF THREES 154 Pate Buus Dor 78 Caruroay 156 SOUND OF THE AXE 82 Papercut 168 Don't Worry... He Never Fett a THNG84 Can | Just Get a Buzz Rol. 160 Rose Lane 86 PoyetytHm Stuy No. 1 88 Maes! 90Bilie Book - Votume 2 FOREWORD I'm pleased to present the second volume of The Blue Book, which provides music for contest, auditions, technique development, and drumming enjoyment! The Blue Book - Volume 2 includes music in a wide variety of rudimental styles, as well as nonrudimental origins, that range in difficulty from the developing student to the extremely advanced performer. This collection contains new music for drum set and multiple percussion in addition to the snare and tenor solo categories found in the first volume. You and your students will find these solos to be technically challenging and musically rewarding. The individuals who composed music for this collection are among several generations of outstanding students and alumni who passed through the percussion studies program at the University of Kentucky. Thay are enjoying ‘successful careers as performers, teachers, composers, and music industry professionals who continue to contribute to the growth of our percussive arts and are giving back to their alma mater and music education by donating their original music to this new collection. | am grateful for their generosity, support, and continued friendship. SmeCgbl. - James Campbell Director of Percussion Studies University of KentuckyA Test Guine Fon THE MobERN PEAcUSsiONisT ABOUT THE AUTHORS James Campbell has received worldwide recognition as a performer, pedagogue and author, and is a respected figure in the development of the contemporary percussion ensemble. Currently Provost's Distinguished Service Professor of Music and Director of Percussion Studies at the University of Kentucky in Lexington, he also holds the Positions of Principal Percussionist with the Lexington Philharmonic, drummer with the Kentucky Jazz Repertory Orchestra, and Past-President of the Percussive Arts Society, He is a member of the Drum Corps International Hall of Fame and the Bands of America Hall of Fame. He's an artist and endorser for Innovative Percussion, Evans Drum Heads, Mein! Percussion, and Black Swamp Percussion. James is an Artist and Educator for the Avedis Zildjian Cymbal Company and a Performing Artist for Yamaha Corporation of America, Band & Orchestra Division, who recently presented him with their Legacy Award, Rob Parks is the Director of Percussion Studies for the Lebanon Trail High School luster in Frisco, Texas. He has presented at the Percussive Arts Society International Convention (PASIC) and the Midwest Band and Orchestra Clinic. His students and ensembles have performed at PASIC, including a Showcase Concert in 2015 and the Midwest Band and Orchestra Clinic, His students have placed in the prestigious TMEA All State Bands, and performed with the Greater Dallas Youth Orchestra, as well as drum corps such as The Cavaliers, Blue Knights, Crossmen, The Madison Scouts and Southwind. He has previously been on the percussion faculty at the Bands of America/ ‘Music For All National Summer Symposium and served on the faculty of Yamaha ‘Sounds of Summer Camps. Rob is a Yamaha Performing Artist and an endorser of Innovative Percussion sticks & mallets and Evans drum heads. David Ratliff is the Director of Bands at Madison Southern High School in Berea, Kentucky. He was a member of the Boston Crusaders and The Cavaliers, has served {83 percussion instructor for the Phantom Regiment, was on the faculty of the Bands of ‘America/Music For All National Percussion Symposium and has served on the faculty of numerous Yamaha Sounds of Summer Camps across the country. He is currently the Percussion Coordinator for the Kentucky Music Educators Association All State Bands & Percussion Ensemble. David is a Yamaha Performing Artist and endorses Innovative Percussion sticks and mallets and Evans drum heads. John Alinutt is @ percussion consultant, performer, and private instructor in the Central Kentucky area. He received his B.M. in music performance at the University of Kentucky and his Masters in Music Education at Southern Methodist University in Dallas, TX. John is a former snare line member of the Cavaliers and Rhythm X Indoor Ensemble, and currently a drum line instructor at Madison Central High Schoo! in Richmond, KY. John endorses innovative Percussion sticks and mallets. Bryan Angel is currently serving as the Assistant Band Director at Morton Middle School in Lexington, KY. Bryan is also an active performer in the Central Kentucky area. and is a graduate of Walton-Verona High School and the University of Kentucky.Bilie Book - Votume 2 Michael Aukofer stays active with a variety of recording, composing and arranging projects in addition to being director of contemporary music and production at West Ridge Community Church in Eigin, IL Michael has several published compositions available through Drop6 Publications, distributed by Row-Loff Productions, Studio 4 Music, Malletworks and C. Alan Publications. Katie Beckmann graduated from the University of Kentucky with a Bachelor's Degree in Music Education. She is currently the Elementary Music Specialist at Brookside Elementary School in Jessamine County, Kentucky. She is currently pursuing her second level certification in World Music Drumming Curriculum. ‘Andy Bliss is the Director of Percussion Studies at the University of Tennessee in Knoxville and is the Artistic Director of Nief-Norf. He has presented at the Midwest Band & Orchestra Clinic, National Conference on Percussion Pedagogy (NCPP), and several Percussive Arts Society International Conventions (PASIC). Andy served as Front Ensemble Caption Head for the Madison Scouts Drum & Bugle Corps, and his method book, Muttitudes, is a widely-used pedagogical resource. Chris Butler is currently a Lecturer in Percussion at Southern Ilinois University at Carbondale. He completed his doctorate in percussion performance at the University of Kentucky, earned @ BM in Percussion Performance from Columbus State University and a MM in Percussion Performance from the University of llinois at Urbana-Champaign. Christopher proudly endorses Marimba One as an Educational Arist. Mark Casey has received national recognition as a marching percussion performer, instructor, and arranger. He was a performer and instructor for the world champion Cavaliers Drum & Bugle Corps and also served as an instructor and arranger for Phantom Regiment, Yamato, University of Kentucky, University of Miami, University of Nevada Las Vegas, Miami University (Ohio), MeGavock High School (TN), & Lafayette High School (KY). Mark is proud to endorse Innovative Percussion Sticks & Mallets and. Evans Drum Heads. Kelsey Collins received her bachelor's degree in music education from the University of Kentucky and is currently the band director at Woodford County Middle School in Versailles, KY, She is an active marching band/indoor percussion instructor in the central Kentucky area. Kelsey endorses Innovative Percussion Sticks and Mallets. James R. Corcoran Jr. is an Associate Professor of Music and Director of Percussion Studies at the University of the Cumberlands in Williamsburg, Kentucky. He serves as Instrumental Music faculty at the Kentucky Governor's School for the Arts and hosts the Cumberland Drum Camp. He is a former member of The Cavaliers and holds a B.M and an MLM. from the University of Kentucky. James endorses Innovative Percussion Sticks and Mallets. Paul Deatherage is on facuity at the University of Kentucky as Instructor of Drumset and on faculty at Centre Collage as instructor of Percussion. He is also on percussion staff for Lafayette High School band and Bluegrass Middle Schoo! for Creative and Performing Arts. He holds the drum set chair, and has recorded with the DiMartino- Osland Jazz Orchestra, Osland-Dailey Jazztet, the Raleigh Dailey Trio, and the Ross Whitaker Trio. Paul endorses Innovative Percussion sticks, mallets, and brushes.A Test Guine Fon THE MobERN PEAcUSsiONisT Josh Dekaney is currently a part-time Professor of Percussion at Syracuse University where he teaches drum set, hand percussion, jazz improvisation, small jazz ensemble, and Samba Laranja, the Syracuse University Braziian Ensemble. He was a featured headliner of the Batuka! International Drum Fest in Sao Paulo in 2010 and currently performs over 100 shows a year in Americana, Jazz, and World music. Josh plays Paiste cymbals, Evans drumheads, Vie Firth sticks, and Pearl drums and percussion. Jessica Dismukes currently teaches in the Marshall County Schoo! District in Kentucky. She eamed her Bachelor's degree in Music Education from the University of Kentucky and Master's degree from Morehead State University. Jessica has taught music at the elementary, middle and high school levels in Kentucky and llinois. Emily Durocher is currently pursuing her Masters degree in Percussion Performance from the Boston Conservatory at Berklee. She graduated from the from the University of Kentucky with her bachelors degree in Music Performance. She is an active alumnae of Sigma Alpha lota end has performed with the award winning UK Percussion Ensemble at PASIC as well as being a member of the Crossmen Front Ensemble from 2013 to 2014. Emily currently resides in Boston, Massachusetts. Brian Flack is the Percussion Coordinator at Tates Creek High School and serves as the Executive Director of Tates Creek Indoor Ensemble in Lexington, KY. Brian is a former member of Phantom Regiment Drum and Bugle Corps and proudly endorses Innovative Percussion Inc, Zildjian Inc, and Beetle Percussion. Chad Floyd currently serves as the Associate Professor of Percussion at Campbellsville University and President of the Kentucky Chapter of the Peroussive Arts Society. He holds degrees from the University of Kentucky (D.M.A.), Belmont University (VM), Eastern Kentucky University (M.A. Ed.), and Campbellsvile University (B.M). Chad is proud to be an artist endorser for Grover Pro Percussion, Humes and Bera, Innovative Percussion, Pear! Drums/Adams Musical Instruments, and Remo, Kyle Forsthoff is the Guest Artist/Teacher in Classical Percussion at the University of Rhode Island and a faculty member at The Rhody Center for World Music and Dance. ‘An active member of New England's Fife & Drum community, he currently performs with the Kentish Guards and Grand Republic Fife & Drum Corps and is an instructor/ arranger with the William Diamond Junior Fife & Drum Corps. He is a former instructor and marching member of the Bluecoats Drum and Bugie Corps. Kyle holds degrees from the University of Kentucky and Arizona State University and has been on staff and faculty at Capital University, the University of Kentucky, Morehead State University and Rhode Island College. Matthew Geiger is currently the Assistant Professor of Percussion at East Tennessee State University, He was named the winner of the 2013 International Solo Vibraphone Competition by the Percussive Arts Society. He is a former member of the Santa Clara Vanguard and has also served as an instructor for The Academy Drum and Bugle Corps. Matthew completed undergraduate degrees in music performance and. mathematics, as well as his Doctorate from the University of Kentucky.Bilie Book - Votume 2 Michael Gould is a Professor of Music at the University of Michigan in Ann Arbor, Michigan in the Jazz and Contemporary Improvisation Department in the School of Music, Theater & Dance and the Residential College. Michael has received international recognition as a performer and scholar in the field of drumset, contemporary percussion performance and pedagogy. In addition to his percussion teaching, Gould is currently the Director for the Center for World Performance Studies at UM. Michael is proud to endorse Innovative Percussion drum sticks & mallets, Remo drum heads, Yamaha Corporation of America and Zildjian cymbals. Aaron Graham is currently a Doctoral Fellow of Percussion Studies at the University of British Columbia. Aaron won first place in the 2014 Percussive Arts Society Composition Contest with his percussion ensemble piece "Sleeping Bear” and is, published in Percussive Notes Magazine, The International Journal of Music and Performing Arts, and has presented at the National Conference on Percussion Pedagogy. Ellis Hampton is currently the Percussion Coordinator and Associate Director of Bands at Guyer High School in Denton, TX. He holds a Doctorate of Musical Arts in Percussion Performance from the University of North Texas and a Bachelors and Masters Degree in Percussion Performance from the University of Kentucky. He served as Percussion Caption Head and Arranger for the Boston Crusaders from 2011-2016 and also served as instructor with the Cavaliers Drum and Bugle Corps, Phantom Regiment, UNT Indoor, University of Kentucky and Metro Alliance Indoor Percussion Ellis is an endorsee of Yamaha, Innovative Percussion, Zildjian Cymbals and Evans Drum Heads. Ralph Hicks teaches beginning Percussion at Mitchell Intermediate in The Woodlands, TX. He is Founder / Executive Director of Let Them Drum, a non-profit corporation providing recreational drum therapy and performance opportunities for al ages and abilities. He was a member of The Cavaliers Drum & Bugle Corps and was named a Yamaha Young Performing Artist. Ralph serves on the Education Committee, Diversity Alliance, and Board of Advisors for the Percussive Arts Society, and is endorsed by Innovative Percussion and is a Remo Recreational Music Partner. Colin Hill currently serves as the Professor of Percussion Studies at Tennessee Tech University. He holds degrees from The University of North Texas (BM), Jacobs School of Music at indiana University (M.M.), and The University of Kentucky (D.M.A), Colin is a sponsored artist of Innovative Percussion, Grover Pro Percussion, Sabian Cymbals, Evans Drumheads, and Peatl/Adams. Colin also currently serves as President of the Tennessee Chapter of the Percussive Arts Society. Mark Hunter is an accomplished percussionist, composer, and educator that excels in the marching arts. A native of Chicago, he began his percussion education under Bret Kuhn, As a student of James Campbell at The University of Kentucky, Mark performed in a number of the University’s ensembles, including the percussion ensemble that won the prestigious Percussive Arts Society Collegiate Percussion Ensemble Contest two times during Mark’s tenure. Outside of his college studies, he marched snare with The Cavaliers Drum & Bugle Corps (1997-2000), during which time the group was awarded two high percussion awards and a World Championship. Upon graduation from The University of Kentucky with a MFA in 2004, Mark won an audition with the Tony and Emmy Award-winning show Blast!, and toured Japan as the show's marimba soloist.A Test Guine Fon THE MobERN PEAcUSsiONisT Mark has worked with a number of Drum Corps’ including The Madison Scouts, The Mandarins, Phantom Regiment, Spirit of Atlanta and The Colts. Mark also taught Music. City Mystique from 2012-2016. Mark resides in Atlanta, Georgia where, in adition to arranging for many other groups across the Southeast, he is the Percussion Director at McEachern High Schoo! Glenn Kotche has released six solo albums and has been commissioned by renowned ensembles and organizations including Kronos Quartet, The Sik Road Ensemble, Beng on a Can All-Stars, Eighth Blackbird, So Percussion, Third Coast Percussion, Camegie Hall, Muziekgebouw Eindhoven, Norway's 181 Orchestra, the Chicago ‘Youth Symphony Orchestra and Roomful of Teeth. He has been the drummer of the groundbreaking rock band Wilco since 2001 and has toured extensively internationally and recorded seven studio albums - garnering a Grammy and 5 Grammy nominations along the way. Kotche has played on over 90 recordings by artists such as Andrew Bird, Iron and Wine, On Fillmore, KD Lang, Neko Case, Laura Viers, Loose Fur, Neil Finn, Wiliam Tyler, and Beck. ‘Scott Kretzer teaches percussion and directs the jazz ensemble at Heidelberg University in Tifin, Ohio. He was a member, instructor, and percussion arranger for the Cavaliers Drum and Bugle Corps and won the DCI snare drum competition in 1980. He performs regularly in the Toledo, OH and Detroit, Ml areas. Scott has worked with artists such as Clark Terry, David "Fathead Newman’, Shirley Jordan, John Clayton, Sonny Fortune, and Jon Hendricks, Scott McCoy lives in Frankfort, Kentucky where he works as a systems engineer. He has extensive drum corps experience as a member and percussion staff with the Guardsmen, Cavaliers, Music City Legend, and Star United. Scott is a three-time DCA snare drum solo champion and is an Evans and Innovative Percussion artist. Brad Meyer is the Director of Percussion Studies at Stephen F. Austin State University in Nacogdoches, TX. He has compositions available through Bachovich Publications and has taught the Blue Stars Drum & Bugle Corps and the Madison Scouts Drum & Bugle Corps. Brad is an endorser of Yamaha Instruments, Zildjian Cymbals, Vic Firth Sticks & Mallets, Evans Drumheads, and Tycoon Percussion. Dan Moore is the director of Percussion at The University of lowa. As a vibes, marimba, and percussion artist, Dan has appeared on more than 30 professional recordings. His music is published by Row-Loff Productions, Innovative Percussion, ‘Affred Publishing, and Cricket City Music and Media. Dan is a Yamaha international performing artist, a signature mallet artist for Innovative Percussion, and a performing artist for Sabian Cymbals, Gon Bops Percussion, and Grover Pro Percussion. Jordan Munson is a Senior Lecturer in Music and Arts Technology at IUPUI, as well as an associate of the Donald Tavel Arts and Technology Research Center. His music has been said to "merge acoustic melody and electronic rhythm with thriling purpose” (The New York Times). Munson has performed alongside artists such as Nico Muhly, RR. Luke DuBois, and Bora Yoon. Along with with Scott Deal and Michael Drews, he is a member of the electroacoustic ensemble Big Robot. Jordan holds degrees from Indiana University in Indianapolis (M.S.M.T) and the University of Kentucky (B.M)).Bilie Book - Votume 2 10 lan Murphy currently teaches in the Westerville City Schools in the Columbus, Ohio area. He is active as a percussion arranger, instructor, private teacher, and consultant throughout Central Ohio and has worked with multiple groups in DCI, WGI, and BOA. lan was a member of the Bluecoats Drum and Bugle Corps where he also served on the front ensemble staff. Brian Nozny is in demand as a composer, performer, and educator throughout the United States. His compositions are regularly programmed throughout the world and have been featured on multiple international recordings. As a performer, he has worked ina diverse number of settings throughout the US. Currently he performs in the BRN Duo with his wife, Flutist Rachel Nozny, as a member of the percussion group JP3, and regularly freelances throughout the Southeast. Brian presently resides in Troy, AL where: he is on the music faoulty at Troy University. Francisco Perez is coordinator of percussion at Lamar University in Beaumont, ‘Texas. As a percussionist and composer, he has accepted international engagements in Guatemala, Mexico, Spain, and China, and received a wide variety of solo and ensemble commissions. Francisco holds degrees from the University of Kentucky (OMA & MM) and Texas Christian University (BME). Francisco proudly endorses Marimba One, innovative Percussion drum sticks and mallets and the Zildjan Company as an Educational Artist. Rob Rawlings is @ music educator at Bath County High School in Owingsville, Kentucky, He received a Bachelor of Music in Music Education Degree from the University of Kentucky and a Master of Education Degree from Western Governors University. Rob endorses Vic Firth Sticks and Mallets and is a member of the D'Addario Education Collective, Gary Rudolph is the Director of Percussion at Ben Davis High School in Indianapolis, IN. He earnad a Bachelor's Degree in Music Education from the University of Kentucky and a Master's Degree in Music Performance from Miami University in Oxford, OH, Gary is an educational artist for Evans and Innovative Percussion, and a former member and instructor of the Cavaliers. ‘Andy Salmon is the Percussion Director at the Woodlands High School. During his tenure, the marching band has been a consistent Bands of America Grand National Finalist and was named the 2013 BOA Grand National Champion. The Woodlands High School Percussion Ensemble was selected as the 2014 Peroussive Arts Society “Call for Tapes" high school champion and the Woodlands Wind Ensemble performed at the Midwest Band and Orchestra clinic in 2003 and 2012. He was a member of the Blue Knights Drum and Bugle Corps and the Cavaliers Drum and Bugle Corps. Andy is an educational endorser for Innovative Percussion, Evans drum heads and Yamaha Corporation. Rande Sanderbeck recently retired trom being the Professor of Percussion at East ‘Tennessee State University, a position he held since 1985. He received his B.M. and MM. from West Virginia University and his D.M.A. in Percussion Performance from the University of Kentucky. His unaccompanied drum set solo “Homage to Max”, is published by Studio 4 Music and “Stylistic Modulations for 3” is published by JW3. Music. Rande was also a contributing writer for “Jazz Player" magazine and has also released two masterclass CDs that have been included in “Jazz Player” and “Saxophone Journal” magazines.A Test Guine Fon THE MobERN PEAcUSsiONisT Jonathan Sharp is currently Assistant Professor of Peroussion at lowa State University and has held previous appointments at Morehead State University and Centre College. He has served as Vice-President of the lowa Chapter of the Percussive Arts Society and holds degrees from the University of Kentucky (OMA), University of Ilinois (MIM), and Morehead State University (BM). Jonathan endorses Vic Firth Sticks and Mallets, Zijian Cymbals, and is a Yamaha Performing Artist. Matt Skaggs was recently named the inaugural Director of Bands at Frederick Douglass High School in Lexington Kentucky. His schools have consistently received distinguished ratings in concert band, jazz ensemble, and percussion ensemble assessments, Matt has toured throughout the U.S. and parts of Europe with various {groups in numerous musical genres and taught in the Private Lesson Studio at The Drum Center of Lexington. Joshua D. Smith is an accomplished author, composer, arranger, clinician, and also enjoys a teaching career that includes both university and public schoo! experience. Joshua is proud to be a Yariaha Performing Artist and is affiliated with the Percussive Arts Society, Black Swamp Percussion, D’addario & Company, and Innovative Percussion and Zildjian cymbals. Tyler Swick currently teaches elementary music in Las Vegas during the day and works at the College of Southern Nevada at night, composing for the Coyote Calypso Stee! Band, He took 2nd and 3rd place in the 2013 Percussive Arts Society International Composition Contest and was featured as a composer in the 2017 PASIC mass steel band. Swick received his Bachelors in Music Education from the University of Kentucky and Masters of the Arts from UK alum, Dr. Dan Moore at the University of lowa. Jason Tiemann is a New York City based jazz drummer, where he maintains @ busy schedule as a freelance performer and educator. Admittedly drawing influence from the great(s) Philly Joe Jones, Tony Willams, Elvin Jones and Bily Higgins, Tiemann is quickly forging his musical voice on the New York scene by fuding his depth of historical foundation with crisp technique and propulsive, intuitive swing, Tiemann is currently on the jazz faculty of the Jackie McLean Institute of Jazz at ‘the University of Hartford. Additionally, he has bean an artist/alincian for the Jamey Aebersold Summer Jazz Workshops since 1998, Before moving to NYC, he was an active component of the Midwest Jazz community where he was in constant demand throughout the region as a performer and educator and was afforded the opportunity to accompany numerous jazz luminaries. Throughout his career, he has performed and/or recorded with an astonishing array of musicians including, but certainly not limited to, Benny Golson, David Leibman, Harold Mabern, Eric Alexander, Mike LeDonne, Peter Bernstein, Slide Hampton and countless others on the New York scene. Jason in an endorsing artist for Remo drumheads and Innovative Percussion sticks, mallats and brushes. "Bilie Book - Votume 2 12 M. Jordan Williams is currently the Director of Bands at Casey County High School in Liberty, Kentucky. He was a member of the Madison Scouts Drum & Bugle Corps and has published works through Rowioff Production and G-Alan Publications, Jordan is @ Beetle Percussion Artist, endorses Innovative Percussion drumsticks and mallets, an active judge, olinician and has worked on staff with the Yamaha Sounds of Summer Camp. Eric Willie serves as Assistant Professor of Percussion at UNC Greensboro and has been featured at The Midwest Clinic, PASIC, the Big Ears Music Festival, and the Music {for All percussion festival. He has compositions published by TapSpace Publications and Row-Loff Productions and his ensembles have been featured at PASIC, NAIME conventions, and several state music conventions. He has served as instructor and arranger for the Carolina Crown, Cavaliers, Phantorn Regiment, Southwind, and Spirit, Drum and Bugle Corps. Eric holds a DMA from the University of North Texas, MM from the University of Kentucky, and BME from Austin Peay State University. John Willmarth is the Director of Stee! Bands at Summerville High School in South Carolina. He performs weekly at Bethany United Methodist Church where he is a staff musician for the Word and Table service. His compositions have been performed around the world including PASIC and the Midwest Band and Orchestra Clinic. He has previously served as an agjunet faculty member at the University of Kentucky, percussion instructor at Centre College, and as Director of Percussion at McKinney High School in McKinney, TX and Lafayette High School in Lexington, KY.DRUM SET SOLOS GENERAL NOTATION KEY Soto List AND Notes Get on the lnunced by tne get unk crurmers, partly thecrunmers of Jame Bron, Get On the Good Good Foot ‘00tis a good introduction to some base funk grooves. The middle section has come fils surour John Willmarth by armythmic igure reminiscent of hits played by a funk band horn section. 2) Beatnik Blues 82200 on the 12 bar blues form, Beatnik Blues in influenced by the solo yocebullary of Max Roach. John Willmarth Like a typical jazz standard, the composition has an intoduction, melody, and solo section. In the solo section, the drummer "tredes 4's," which is @ common technique wherein the drummer trades short Dhrases wit the other musicians in the band. After recapping the melody, the piece ends wth a fytnmic ‘igure similar tothe classic “Etington” ending, 3) Dud It (Dud It's an exploration of 2 notes paired together, some close and some far. Though there are no. ‘Tyler Swick stickings written in the music, the performer is attemping to create a consistent "dud it” regardless of what else is going on around the drum set 4) Blues for Bu Blues for Bu is a solo composed in the twelve bar blues form and is inspired by the vocabulary of Art ‘Seale Krbtaar Blakey. Art was also known as Abdulla lon Buhaina, or “Bu.” All tho downward facing bass crum notes Upto letter B should be played in a “Teathered” style, or as ight as possible, Stckings ara provided any \when necessary and the performer is encouraged to experiment with diferent options Listening to recordings of Art Blakey will give the performer a fe! for how to play ths solo. Check oul Art's playing on “This Dig of You" (Hank Moberly: Soul Station; Blue Note Records). “Lady Be Good’ (Kenny Buel: On View at the Five Spot Cate; Blue Note Records) and anything by Art Blakey and the Jazz Messengers, 5) Blue Blues {No notes) Rande Sanderbeck 3Bilie Book - Votume 2 14 6) 7) 8) 9) 10) Batuque ‘Aaron Graham Room 18 Michel Gould What Are You Thinking? Michel Aukofer The Toole Shed Rob Rawlings Prepared Mat Skaggs BBatugue Is @ musical genre and dance popular in Cape Verde, Alfica It's generally performed in a somewhat polyrhythmic fashion, typicaly moving in and out ofa S-beat pattern, over a 2-bat pattern For tis work, | wanted to take the standard 6/8 thythms we lea as drum set players and move {throughout these 3 and 2 beet patterns, such es one might do in the Betugue meodies of Cape Verde, ‘The tle is also an homage fo the fst percussion ensembie piece | performed atthe University of Kentucky “Rua's Batuque’ by Dr. Julia Hil Room 18 is decicated to Professor James Camobell and is his office number at the Universty of Kentucky School of Music. | spent an inordinate ammount of ie in this space practicing, teaching and ‘geting lessons from Campbell, The piece takes its inspiration trom Kendrick Soott's excelent eum intro ‘rom Gretchen Pariato’s album “Live In NYC" and spectically the tune “Weak”. His playing is super and it inspired me to write @ piace for solo right hand while the left hand plays only beats two and four on @ second snare drum throughout the piece. The notation for the plece therefore is only written forthe ight hand, “Take what | call the “callular approach’ to this plece. If there is something you cant play-take just one boat of the groove and loop it until you have it under your hands and feet. The most important part is to maka it feel good. groove, enjoy. “This quick and concise composition explores a varity of fashier approaches to Rock drumming, The {drumset soloist wil be challenged to work through some of the more common double bass drum Permutations used in Rock drumming. There is a simple accompanying tom drum part. This part was ‘created with the ncn-percussionistin mind-the diverse musician who is looking for an approachable ‘opportunity to perform in a percussion piece. This tom parts also recommended to be douibed or ‘tipled. The backing track was created through Dighal Performer using Kontakt 5 “This soo contains numerous “cross rythm” wherein the performer must perform an astinato that ‘soem fo be in one time signature, while playing other ostinat, or “melodies,” that appear to be in ‘another. Coordination of four imbs is essential during this solo. Note the use of a “splash” technique on the hi-hat in measures 9-4, This can be achieved by using the toe with a heel-up for the “chick” and a ‘Quick popping of tha heal downward and forward whi iting the toe high to get the “splash " The fast “doubles” on the bass crum at meastre 60 can be accomplisned using a couible-peda or sincle-pedtal (f you have the foot chops). The linear drumming passage at measure 5S requires using ight hand on ‘tha tide cymbal and left hand on tha hi-hats. Ths solo is dedicated to the memory ofa great frand and mentor, Kavin Tool. Because there is no “Standard Instrumentation” and no "Standard Pitch” forthe instrument, the crumsat isan individualized and very personal instrument. tis bocause ofthese factors that there are vitally no ‘wo drumsets exactly ake. Professional performers of the instrument (pastor present) have developed {an indvidual sound on the instrument. Think of some of your drumset influences, what ist you lke about their sound? What is they do whit playing the instrument that brings out their own indica style? ‘What type of sticks or mallets Go they use? How do they tune the instrument? Performing a drumset place requires a degree of improvisation and individual interpretation that does not lend ise to written instruction. ‘The purpose of Prepared is fo the performer to begin thinking about those individualized sounds and styles, Fach section ofthe pieos has been influenced by various "grooves" Irom mulile drummers. Each Of those incividvals has @ siyl or “crumset vocabulary” that fs ther own, inthis pieos, the performer should prepare the instrument to their own speciic tastes. Written into the piece ere repeats forthe performer to change mallets or sticks if desired, and to add a sound change to the instruments If also ‘desired. In the beginning section, | used stick inthe right hand that had a mavaca taped tot. The ‘change it made vas subtle, but it gave the section another sound while playing tha right hand pattern. Another idea isto use two pair of sticks while playing this section, ke Steve Gadd in Paul Simon's “Late In The Evening," Repeats in measures 19 and 20 are added to faciitate a mallet or stick change. Repeat aS many times as nasdd in order to create a smooth transtion into the next section of the piece.1) 12) 13) 14) 15) Prepared (cont) Bourbon ‘n’ Toulouse Brian Nozny Pippin’s Persistence Joshua Dekaney Ode to Ornette Jason Tiemann The Art of ‘Jason Tiemann Blue Batucada Paul Deatherage Daum Set SoLos Repeats in measures 33 and 3M are added fora stiektmellet change and to change the tom and snare sounds if dasred as well. Repeat as many times as needed to faciitate a smooth transton. One idea | use here is to mute the snare drum to create an acoustic “compressed” snare sound. Ihave done ths in {three ways, Fist lad @ drumhead upside down on the snares batter head, seo0nd was to use @ small rag or towel on the entire batter head, and third was to use a small splash cymbal on the batter head, Each of these ideas wil give you a diffrent sound option. The main idea is that the performer prepares the instrument to sound lke he or she warts to Sound and then perform the pisos. Whan the periormer takes the time to think about how he or she wants the place to sound, the piece wal become a unique ‘sounding ploce of music unique to the performer. Bourbon n’ Toulouse is inspired by my favorite restaurant in Lexington, KY. The New Orleans second line style of crumming is a perfect ft for a solo that bears the name of the best place to get some Cajun ‘and Creole cooking in Lexington! The second-line style and rrythmic theme in measure 11 are the ‘lus that makes up most of the solo. Al of the crashes can be performed on the ride cymbal with the ‘Shoulder ofthe stk if casted, Also nete the optional open solo after measure 80 f you want to extond things alte. And if you're ever in Lexington, be sur to head down to Eucid St. and grab some Chicken touf[ COMBINING ACUTE ACCENT} with extra bread! “The breath betwen bars 4 and 5 should be shor, witha longer breath belore letter A, Measure 22 23 can be repeated as long as necessary, The sams for measures 24 & 25, After taking the D, S. play through the fist ending and take the Coda at the end of bar 51. Have fur and make it bounce, ‘Ode to Ornette vias weitten and intended to be performed on a traditional four pisos Be Bop kit 18x14 bd, 1238 tom, 14x14 floor tom with logs and a 6-6 6x4 snare drum with two ride cymbals and 14” hi hats, Ideally, the heads should all be coated and of single ply variety with no hole inthe front of the bass ‘drum oad, "Ode to Ornette” (Ornette Coleman) is a tribute to two ofthe most notable drummers of the tee jazz movement in the 1960's, Ed Blackwell and Bily Higgins. The ideas represented ave an atternot to merge the musical voices and contributions oftheir colactive musical identities. The Art of Art was wttsn and intended to be performed with macium tinpari mallsts on a traditional four piece Be Bop kit 18x14 bd, 12x8 tom, 14x14 foor tom with legs and a 5-6 5x14 snare drum with ‘wo rida cymbals and 14" hi hats. Idealy, the heads should ll be coated and of single ply variety with no hole in the front ofthe bass drum head. “The Art of Art’ wes written as a tribute tothe masterful artistry ofthe legendary jazz master and jazz {drumming great, Art Blakey, who's picture hung inthe window of the University of Kentucky drum set practice room (alternated with Ehin Jones) for afew consecutive years during my study under professor James Campbell | would like to dedicate this solo to all of my mentors while studying at the Universty of Kentucky, including James Campbell, Michael Gould, Dan Moore and Frank Kumor. Thanks Cats “The Samba Batucada isa style heard inthe parades ofthe Carnival in Brazl. The Batucadais performed by the often massive groups called Escolas de Samba (Samba Schools). There are many Samba Schools, in a Carnival parade, each with their own take on how to play a Betucada. ‘The Batucada begins wit the Mestre de Bateria (Leader ofthe Batter), who plays @repinique drum end ‘2 whistle to lead the massive ensemble. The repiique is played with one tick, n the right hand. The left hand Is used to play fin notes, open tones, oF slaps, {A series of call and response segments often ocours between the Mestre and the Bateria, which are called Paradinhas or “litle stops’. On the last Paracinha the whistle announces the Chamada which is the repinique call 0 begin the main samba rythm. 16Bilie Book - Votume 2 16 Blue Batucada (cont) 16) Fantasy on the Fi Glenn Kotche 17) Campbell's villain Chad Floya Blue Batucada was inspired by my time as a student atthe University of Kentucky, playing surco wath the Brazilan Ensemble, im Campbell was the Mestre de Bateria, with his whistle and repinique, “Blue BBatucada” is an etude to learn fo play the Baatucacia on crum set, as a one-person Escola de Sara. “The otude utlizes rhythms fom some, not al, the instruments hoard in a Batucada. The instruments {are introduced one-by-one, and then combined atthe end, The diferent instrument sections are tied ‘together withthe typical drum sot foot ostinato “Samia feat," which is avery important foot patter for ‘any drum set player to have under his or har belt. The bass drum in the "Samba fest” patter imitatos a ‘composite rhythm from surdo drums in'a samba. Some prior practice playing George L. Stone's Stick Control wth the hands on snare and toms, while playing the “Samba feet” ostinato can be very helpiulin leaming this solo. Before learning “Blue Batucada’, one should consul the Sergio Mendez recording “Fanfarra (Cabua~ Le-Le)’ (composed by Carlinhos Brown] from the album Brasielro, to gat an idea of what is being imitated, Ths isa very famous recording which uses Paracinnas that are classics among Sama ‘Schools. ‘Setup: This solo requires @ standard 4-piece drum set (snare, bass, rack tom, foor tom, hi-hat, with an ‘additional auxitary snare drum and mounted agogo bsls. The aunliary snare drum can be placed on the left sido ofthe left log, wth the snares turned of. This drum represents tne repinique and should be ‘tuned higher than the main snare drum. The agaga bells should be mounted within easy reach ofthe fight hand. You can use any laud whistle, which needs to stay in your mouth all the way through. Performance Notes: The solo starts on auxitary snare (repinique), with @ sick in the ight hand only, the left fingers playing open tones (diamond note heads). All epinique rim shots are “ping shots” — the stick ‘bead should only be an inch or two from the rn. Inna samba school, each surdo player holds one drum and one mallet, dampening with the left hand. “The surdo section of “Blue Batucada' begins with the foor tom and one crumstick in the ight hand. The muffled tones have an "nots headin parenthesis. After 8 bars of low surdo, the lat hand quickly picks up a drumstick to play the interocking high surdo part. Leave the eft stick on top of the snare drum from the beginning, so that you can grab it quickly! With both hands holding sticks, the muting etfect is now achieved through dead strokes on beats 1 and 3, Press the stick bead down into the drumhead to stop the ringing and press with enough arm weight that there is no accidental buzz stroke. If the dead strokes ‘16 to0 challenging, they can be omitted. “The ag0g0 bal section includes aloft hand im click on the snare. This isto imitate the clicking sound the _agogo player can make in a Batucada when the two balls are squeczed togethox ‘The caixa (snare drum) partis next. The buzz strokes are indviduel uz strokes, with length on the short side. Don't try to make them sound smacth or connected. Consult recordings." | wate the intial sketches for Fantasy On The Fifth as part of a project forthe Becthoven Festival ‘Chicago in 20'S, Participants were asked to compose and perform a shor, 5 mirute, bagatalle based ‘on one of four Beethoven motifs. | chose perhaps his most recognizable mati «the famous 4-nota ine ‘rom his Fith Symphony. This actual ine appears inthe almglockan parts ofthis golo, and the pitches aro reconfigured and expanded to create the kalba melody and it's resiting cloud of looped sound that happen es part ofthe ant-cadenza two thirds of the way through. Throughout. the mots completely removed from i's orginal context and instead juxtaposed over dense 12/8 drumming with ythmic motif thet expand over-the-bar, transtioning nto a de-contextuaization of the original 4 note motif, and then transitioning back again into the maddening drumming. The plaoement ofthe motif into this very percussive setting is @ response to the personal turmoil end the polical and social unrest that Beethoven ‘was living through in the years that his Fith Symphony was composed. The inclusion of aimglocken, ‘glass chimes and amplified Kalimba to the standard drum, elect my personal view ofthe drum set 8s ‘the onginal multiple percussion “instrument”. The octave of the almglocken as wall as the type of kaimba ‘and looping davice are all at the discretion of the performer. The almglocken and kalimba parts may be performed on any pitched acoustic or electric instrument such as crotales, vibes, glockenspie, eynth, mutti-pad trigger, et. “This piece should be performed wih a towel covering hal of the snare crum. The cowbell should be plaved on the towel without any additional hardware. A fat cowbel, such as a bongo or mambo bell, 's strongly recommended sino® these bals wil rst nicely on the drum. All unacoerted strokes on the ‘cymbals should be played withthe tips ofthe sticks to help balance the ight strokes performed on the muted snare drum and cowbell throughout.GET ON THE Good Foot JOHN WILLMARTH Funky <= 110 - 130 5 oo To alae 34 = : 2 see Fo ene & DOS seme "TR RURLRER LRLRL Sample Image + + Ds al Fine 7Bile Book - Votume 2 25 136 - 168 swung 8th notes BEATNIK BLUES Joun WiLMarTH AL bstick shoy RLRLRLR RLRLA ti Sample Image2a OOO Oy py oy oy a = —— —— Sample Image LSBilie Book - Votume 2 Dub It Tree Swiox += 120 . mpl =e pomp Imagesp or ee See ee = = 2 =] Sa “Eis thee Efe oie EE eel ——_sr Sample Image Bees retestBile Book - Votume 2 BLUES FoR Bu Scott Kretzer 25112 swung 8th notes (stick shor) 22Bile Book - Votume 2 Blues for Bu (cont,) mf E| bend pitch by pressing L stick into head while striking with R Get SS ioe a Preptto» tf ti??? ft aH SS Sample Image25Bile Book - Votume 2 Bue BLUES Ranve SANDERBECK Swinging! . = 140 gos 2 (3 28 Bx 8 18 84 8 m8 La aa 26Ag Mg 3 48 A 3A 8 3 ABs BAAg ABA 28 a4 38 an BA ag ada os 3 27Bile Book - Votume 2 BaTUQUE Aaaon GRAHAM Note: This solo calls for 2 rack toms and 1 floor tam. oneness += 100 - 130 scrape snares off w/stick = =a fa 28Sample ImageBile Book - Votume 2 Batuque (cont)Room 18 MicHaeL Gouto += 120 LH on side snare (cont, LH part throughout, all other non-foot notes on RH) todd id bod td sim nd BAI 8 8 8 =F p——— s ——p => Sample Image 31Bile Book - Votume 2 Room 18 (cont,) (com, LID) bE he SS Se to ths + te tets he tte + te tet + ssingleshand press buzzes 38 ae + Sample Image * 32é a (cont. LED 22S tf Sample ImageBilie Book - Votume 2 Wat Are You THINKING? Michae. Aukorer a du Hick pedal or 2 hick pled wth mare pertormers for urs. ean also tions ith 2 00 d his The concert tom part of ich freely downloac d from supplemental downluads ea Concert tors (2) Drumset Sample Image 34Bilie Book - Voiume 2 What Are You Thinking? (cont,) Sample ImageSample Image 37Bilie Book - Votume 2 Wnar Are You THINKING? - Concert Tow 12120 qo EAt eG, aR Sample ImageTHE TOOLE SHED Ros Rawunes += 152 a3 3a pb $$$ Sample Image 39Bile Book - Votume 2 The Toole Shed (cont,) 2 a |_| FY) | at a 7 RLRRLLRLLRRLRLRRELRLRL eo 6 ee wo = = = = Pte ew eeee a z = 3 2 = ae =— « > See f ete itte test atte = a SS Se Ss 2a RLLRRLRLERRL RELRRLRLL RRL RLLORLR. RAL te ee ee ee ‘ . By-y (abrupt straight feel) =. s + TMLee = I S a ik Sample ImageWw Sample ImageBile Book - Votume 2 PREPARED sary mop wma -=126 floor tom floor tom _ rack tom PS ca z it ft 1 : vioecsn hi Sample vo Image 25 RRLRRLLRLRRUERRE mp 42ms of SSO == neem on pmo ooh po change sound via stick/mallet change 6 a (repeat as necessary) + 2 LERL LLREBile Book - Votume 2 BOURBON ‘N’ TOULOUSE Brian Nozny 44ee ee roe : : Sample oe Image Saas 45Bile Book - Votume 2 =a a «3. od — = Ss Ss Sa Pate te ate LRLL RLELRLRLLRALL RLRLLRRLLRLR Bourbon ‘n' Toulouse (cont,) Fa| LERRLELRLRERL * > = ©, = ° = mS « JI Ta ae 247) ot 2 J Z Sample Image » 27 2 ryPIPPIN’s PERSISTENCE Jost Dekaney Slowly single-stroke roll (snares off) As fast as possible P= p= p=f— p= [A] .=180 4 pF A FRLR RRURRURRUERRL RRLRRLR | oem Erer’e Sample Image 47Bilie Book - Votume 2 Pippin's Persistence (cont,) TF Sample we Image-=0ca.120 accel. ODE TO ORNETTE @_ JASON TIEMANN ® 1S ; Sample Image 2 oo 3 a ann TRURRURAL RALRRURR A 49Bile Book - Votume 2 (Ode to Omette (cont) 0 ee ee pes es (gen gey Sample SS Image 2 WoeTHE ART OF ART Swing | = 200 snares of > =i > 7] > A Sample —_— =e Image pe eae iBile Book - Votume 2 The Art of Art (cont) ea RRUERRLRRL Sample Image 82BLUE BaTUCADA Paut DeaTHERAge = 116 high-pitched side snare w/ snares off (la Brazilian repinique) Ri-stick, LH-fingers (Paradinhas) eth ——— el RRA A Sf (Ping shots) Sample Image 53Bile Book - Votume 2 Blue Batucada (cont) whistle 2nd x only (Chamada) ny (9)= dampen floor tom w/ LH a hile striking with RH (é la surdo drucs) cont. samba foot pattern up to bar 87 dead strokes (press stick into head) ‘6 SSS Litvack tom, RH-floor tor Sample Image agogo bells 54(@lacaixa) RL AL em RORRORRL RUERRLER Lo RL R Lem (@ la ful bateria) Ses RRUR CRUL 55Ble Book - Vo.ume 2 FANTASY ON THE FIFTH Guean Korome += 100 Bm edits cthertcenoad) ‘tog ape = SS z og | 4 on | salmglockenz ey Re Re See oe wen . . sama) toate 46 — —" “Sy . = J FE = at RORR CL om -— == SS SS "7 ei dix Don'j}———._. pp only) = (BD only) Sample Image pa ‘rowing DS.al CodaBle Book - Vo.ume 2 Fantasy on the Fifth (cont) 58 Coda (flams widening substantially) 65 " -=98 (englcke) B o zee =2 © i LL he Sample oe Image gently aggitate sD glass chimesso = Sr ee Hoy ry =e oalmglocken © DD) , 130 fade out loop while ‘gemly agitating glass chimes Sample Image 59Bile Book - Votume 2 CAMPBELL’S VILLAIN Cuan Flora += 108 with Innovative Percussion bundlz»*(or similar) lightly, on tops of cymbals mp == ‘Al (cowbell) oes, ee ee. see ee tee tte t,: FS SS ee eee ™p se we _.- Sample opel ETE Imageof p———f mp ee Lito stick TDF mle 2S SSS a = = RRRRZRR = / [E|-=.124 REC bendl la tick AS aa hy in seen a RURLRLL sim RL RERL eoBilie Book - Votume 2 Campbell's villain (cont,) Sample a, ImageSample ImageBile Book - Votume 2 MULTI-PERCUSSION SOLOS GENERAL NOTATION KEY Soto List AND Notes 1) Game Show ‘Game Show rfects tho tension and excitement of being a contestant on tloiion game show James'B. Campbell From the opening fic-iock o the clock, the contestant calmiy answers the easier questions. As the {game progresses the questons become more chalenging and diverse and itcauses the conestent {a strech heir krowiedge bese yng to answer. In the end, the contestant realizes satisfaction in {ust participating nthe moment, regardless of the outcome. 2) 8187 {81 87 is en attempt to cormbine 3 styles of percussion playing: concert percussion, solo mutiple dosiua Dit Percussion, and marching percussion. Wile an undergraduate at the University of Kentucky, | was ‘8xPosed to music from these three areas that took me much deeper in my thinking and stylistic playing. broadening my skils as a serious percussionist, While | approached the opening measures ‘with stct rules regarcing the number of notes petformed on each instrument (eight on the snare, cone on the bass drum, etc) | allowed myself more freecom for the remainder ofthe piece, grouping pDhrabes and instrument-focused patterns to measures of eight, then one, then sight, then seven. ‘A concert snare drum combined with a fat concert bass drum isthe ideal instrumentation for 81 87. Both drums should be at the sarne height, wth the srare on the left and bass drum on the right. Substitutions forthe bass drum can include a floor tor, surdo, field crum with snares ct, (ra low concert tom. Make a special effort to ensure that each drum is tuned far enough apart to ‘communicate contrast 643) 5) 6) 7) 10) 1) El Guapo Ralph Hicks Time Colin Hil Pale Blue Dot Dan Moore Don’t Worry... He Never Felt a Thing Chris Butter With a Little Lime Juice Francisco Perez Sound of the Axe Brad Meyer Rose Lane Jordan Munson Polyrhythm ‘Study No. 1 ‘Andy Biss Maps! Matthew Geiger ‘Aleck of interest in drumset, combined witha sight bout with ADHD, led most of my practice ‘sessions in the drumset room at UK to devolve into a goof off extravaganza. Sorry Jim! Whie tying to compensate fora lack of foot coordination, | found a simple workaround untl my skis could develop. Find the largest concert or drumset tom that you can set athe sasre height of your concert snare end secure a towel over the head. While i will ne doubt wreak havoc on your rebound, a heavy stroke dead center vil pass for a small bass drum sound, Add that to all the other awesome sounds you can get from your snare drum, and you have nies itis kit represented! 1 Guapo means a handsome man, butt can also mean a cool dude. Dos Equis has The Most Interesting Man Alve, crummers have El Guapo. £1 Guapo plays what he wants, and its cool. He uses a tom instead of a bass, and is cool. He's heavy on repoat signs to focus more on enjoying the moment, and it’s cool. His solos and fils are ful of simple ciche rhythms, and t's cool. This solo ‘guarantoas the audience an enjoyable experienca, be ta concert hal, a judge, famiy mombers. Mve El Guapo! Time naver stops. Although sometimes vie wish it id and often yearn for more, ta is persistent land dictates all aspects of our ves. This idea is represented by various instruments throughout the pieos (metronomes, N-hat, and stake), and wile the perception of time changes, this constant ‘can't be ignared. (On February 14, 1990 the Voyager 1 space snapped a photo of Earth fom a distance of about 8.7 billon miles, The iconic picture— showing the Earth as a tiny dot less than a pxelin size—came to be known as the "Pale Blue Dot.” Speaking about the image, Astronomer Carl Segan seid, “to my mind, there is perhaps no better demonstration ofthe fll cf human conceits than this distant image of our tiny world To me, it undersoores our responsibilty to deal more kindly and compassionately with one: another and to preserve and cherish that pale blue dot, the only home we've evar known.” Don’t Worry...He Never Felt a Thing was inspired by the infamous run-out concerts by the University of Kentucky percussion studio, The work features an upright bass drum and snare drum ‘and features several rooves inclucing a Brezilan samba with the bass drum acting as a surdo. Inspired by a variety of Afro-Cuban styles and rhythms, With a Little Lime Juice is a short, upbeat solo forthe intermediate mult-percussionst. n retrospect, my recent obssssion with Michal Camilo’: ‘album, Caribe, and Snatky Puppy’ We Like it Here clearly manifosts tslf here. Te get a sense ofthe ‘sight lit needed for this piece, Isten tothe percussionists in Snarky Puppy's “Tio Macaco,” ‘Sound of the Axe isa small, fun mufi-percussion writen for boginning/ntermediate mult Dercussonist, which utiizes hi/her hands and thes feet atthe simutaneously. This composition is perfect for performing at Solo & Ensemble festivals around the country! (Nonotes) (Nonotes) “Maps! pays homage to two cardboard maps used during steel band runouts at the University of Kentucky. in an effort to remember thase crucial elements to the show, *Mapal” was shouted and ‘echoed throughout the stucio so we all remembered to pack them. In the same way, the solo uses ‘muitiple themes echoed throughout in an aggressive yet playful manner, using two sets of seven instruments (minoring the seven continents) using a high and low sound.Bile Book - Votume 2 Game SHOW Headless tambourine Splash jeymbal Synthetic Swe -ablocks (mounted), James CAMPBELL (RH "tick tock" continues until m, 21) nf — 66 Sample Image= =e fee = & = == Sample _— Image ae Sy TaeBile Book - Votume 2 81 87 Joshua D. Swit ‘Snare drum Bass drum ffat, to the right of SD) Al yo A ET) ae ee 2 ga, —» P p— 4 fd2) 4, A FOE fe Bf —— P Sample Image RRLRRERR LL 68LRRLRRLR OL nf RR RR RR RR RR RRBile Book - Votume 2 GuaPo LPH Hicks Torvtom (covered w/ to vg ight of SD) = 104 SD (LH) AA A AA mee me Tru) pores ft [A] aige pe rerere eerie rerrrl 7S Se TRLURTR LRURRL RLLR LALRRURLAR LRURLR LRLERAL wf =p ca to-conter 2 , ein RLELRUERRLERERLER RLERRRE Rg a eo, Sample RURRURURRLERERG mp v(E) RURTRE RE RURE a P 70AE + = RURURLRURLRURERE RURURURURURERTRE Rk RUR RURR RtR RUR R f RURURERURURERERE t ROR RURLE RLURLUERTOR IL [C} snares of R RLURULURCRERE RLURLURCRERE Ke Ses a teow SatBile Book - Votume 2 WitH «A Littte Lime Juice EP Qs ® Francisco Perez Cymbat 2112-124 aay Sample Imagea iit tT fF — 2 me ; po oa. ™T eae vf cree TF == 7 . a =f yar et a Sample ImageBilie Book - Votume 2 TIME Coun Hitt Wind-up metronomes Bongos, as = = rate! ecto e122 bpm) aac 25212 (set metronome 1 in motion) (stop v/ hand) ‘start metronome 2 ww/ random synchronization sit (stop met 2 Sample Image start met 2, aim for even 8th note syn (vamp until syne is achieved) 0 A. * SSS 74Muti-Pencussion So.os A swizzle sticks (felt side) (metronomes cont.) ———, P =f f——~ =P morph to buzzes (stop metronomes) Sample by: sempre Image Sea Paar 75Bile Book - Votume 2 Time (cont) oS ee eis CEEFCRET EEETCEET CEES CEE CLE CE rubber me, ‘ets (LH w/ butt) (Lv. sempre) Sample eet S Image+r cher ieee mea —— =f "Tg 7 een Be “FOE tor Ce Ce > 200 Oh er ed cE cer Cire err Sample Image (stop met 1)Bilie Book - Votume 2 PALe Blue Dot Dan Moore Toms (4) Concert Tams (4) [ i if el ‘Small Snare Drum eS trerecr: + Sample ImageBile Book - Votume 2 Pale Blue Dot (cont,) 15132 a ImageBile Book - Votume 2 SOUND OF THE AXE Baap Meyer Solas cymbal cones * ¢ w = 154 wists Wy ee ee eee L = cont. ride Sample Image 82Bile Book - Votume 2 Don’t Worry...He Never Fett A THING Curis BuTLer rum um (fat, to the right of SD) = 100 Al SD (w/sticks) — ete Ths SOIT, NEI, All rim shots should be played as "ping” shots ‘y DEEN Def, Dee, oa, EE A) B se “t Siem. Sam t = ea y eB, Sample 4 fle A we! Image L wiagiais PBile Book - Votume 2 Rose LANE JonoaN MUNSON ‘Temple blocks Toms (3) — Sample ImageBile Book - Votume 2 POLYRHYTHM StubyY No. 4 aun buee @ Bongos we( 120 = 60 SSS bog ee ates oF 7 il a a a = SSS Ha eedddedde see ee SampleBile Book - Votume 2 Maps! MariHew Geicen Low pitched High pitched piece of metal piece of metal Small tom io High pitched Bongos 7 cya vectoso A evmbal ~% s cod . ae = 2 = 116-128 6 6 ‘ Sample ImageR v RRURURUR R R v v E aBile Book - Votume 2 Maps! (cont) rit ole a oa eo r Tr Thy Tt ere a er RLURLRRLR RRLRLRL RLRLARLF af RLRLRRLR RLRRURR oop ee Sample neriaeee enieum Image RURLRRUR RLR ROT 92Muuti-Pencussion Sote A ccancece, Oop Se a 93Bile Book - Votume 2 SNARE SOLOS GENERAL NOTATION KEY * & i ° & & ss se & € a e se ae 1 ; 7 T j 1 = abe 8 gg 3 s e < Fo 8 s ¢ 8 * 4 4 i = we at 1) Tree Frog ‘When 1 wasn the percussion stuck at UK end we were refersng an ensemble piece with Jin, ee tine he woul! sometimes court ut of ‘One, wo, te, Hog’ way ought ak was cule ans tat memory inapfed the pleco. attempted to put come sr of emphesi, whether rss or dynamic ‘onsionly on boats te and for of eoch mesaure taught contiuoust chanang tine slonatues. 2) Unexpected Unexpected namin wae 0 wot ula comping caro eourevensin Gast schoo Offen, | would have long commutes to school athe OART rin Texas but his alowed Enc te Raeii eat lac ces saroe esas Se ea thd ener hem no GarageBand Inthe soo you wi hea’ “swooshing” sound end tht actualy the sound ofthe moving ren berg chopped up into dita bts. then experiment wth the vce mrodioatin software nthe program resting ito a quzs elon enguage which you wll company at rehearsal eter C. Ate retng @ backing tack, | came uD vitha fun groove to play eong wth and te set music yu see belore you's the resi. nope the place I as fun or yout play €8 1 was forme to comooge, Noy 3) Guiro Weekly Suro Weekty sa snae oun sos nape ty the use ofnon-testona implements This sole Ee nak ont als forthe player to perfor wh anre kum sce but ao wth a yt sic or en ‘equivalent implemert to produce the guio's sound, These sticks are cornman in most general music classrooms and can be easly lound on ary website that sels clessroom music supplies 944) Beware the Black Box! Gary Rudolph 5) Euclid (Avenue of Champions) Davie Ratt 6) MC. Emily Durocher 7) Rocket Blast ‘Andy Salmon 8) Two Twilight Fanfares Kyle Forsthot SNARE SoLos “You suddenly oalize what you've done, and you know it might be t00 late. Filed wit fear, you ‘gather you things and hurry to your band looker. When you get there, your fears are confirmed - you loft your band locker unlocked, and only the Black Bax knows where this story ends...” ‘Whiten asa piece that could be performed as a snare slo, tan solo or 28a snaeftencr dust Euclid (Avenue of Champions) s a groove-oreniated rudiment! syle pace thal wil be fun for younger players. The ila akon from the name of a strest close tothe Unversity of Kentucky ‘Senool of Muss that runs directly through the heart of campus. MG. in three parts that showcase the main influences | have had with snare drum. From Tompkins 10 Delécluse to Drum Corps, the styies ae vast, but are stil cantered around a similar there tat Is varied throughout. Rocket Blast is snare solo writen for my son, Caden who is obsessed with the planets and ‘outer space. | wanted to create a solo for younger students that can be treated as either a concert ‘or marching solo dependent on the level and needs ofthe student, Roll can ether be played open (Gouble strokes) or closed (buzz rolls). | included recomendations for playing zones. Switching ‘rom edge to half way to center isa ski that should be practiced. Even if there Is no indication, feel ‘ree to vary up playing zones uring the practice and performance ofthe solo for musical effect. | Included some rudiments (fam accents, paradiddles, farnacue, paradkicle-ciddl) that all developing snare drummers should be able to execute. | also wrote sticking combinations that shoud help you develop a strong double stroke rol. The tenuto mark () above the note should be treated as a stoke ‘with extra weight. Bo sure that i is not treated as an accent, but as a note that is emphasized with ‘woight in the stroke and sound. Please pay careful attention and adhere tothe dynamics on the page. This wil help creata the musical effect that l was hoping to achiovs from the snare drum. Alco, ‘when working on some of the more syncopated rhythms, bs sure to work on counting the rhythm vith a basic pulse from the metronome, prior to attempting the pattern on a snare drum. The style of rudimental drumming curently played by the Fife and Drum community inthe Northeast US is known varnacuiaty as the “Ancent" style, as opposad fo the “Medem” sta typified by John Pratt and Charles Wicoxon and the highty-aevenced styles currently in use by Drum & Bugle Corps, Marching Band, and Incoor drumlines. That said, the language used in this soo i far more comilex than would fe found in a typleal F&D ensemble part, but does adhere to tho style while using a number of common variations and borrowing fgures ftom the Swiss Baste nscimental style. This piece comprises two Sections, representing the two most common tims signatures fit tunos «are found in, 6/8 and 2/4. The solo therefore “accompanies” two imagined three-part fife tunes, with ‘each part repeated as would happen in atypical tune. The tiles of the two sections reflect two things | see very often while ckving- the orange ribbon on the horizon creeted by the lest ight ofthe seiting '5un, and the siver ever of the moon, ‘This piace uses a modified version ofthe notation system Dr Fritz Barger created for Basle drumming in the 1930, ands one of the notation systems currently in vogue in the FED community. In this notation, the ight hand plays the notes above the staf line, the eft hand the notes below. Flams are indicated by a vetical dash attached to the notehead of the primary hand (¢, for a RH flam, the dash 's on a notehead above the line, and vioe versa fora LH fam) ow stystic notes: 1) Tonto marks indicate a *hal-accent", which wil assist with shaping largor phrases. 2) Allrols should crescendo sightly except where indicated, 9) “Ancient” drumming is NOT a “two-height" style, it should fee loose and flowing. Allow individual rudiments and phrases to shape organicaly, | have incicated as few dynamic markings es possible to ‘acitate the. 4) The final four bars (1st and 2nd endings of the final stain) are both Swiss fgures and should be played sured, sornevinere between sixtuplets and 16th-notes. 95Bilie Book - Votume 2 Two Twilight Fanfares 4) The inal four bars (at and 2nd endings ofthe final tran) axe both Swiss figures and should be (cont) played sured, semawhere betwenn situps and 16th-notes. 5) The “Ancient” style tequently uses rolls that do not have 16th-note bases. 7-stroke rolls should be played wth a 16th-note triplet base, 11- and 10-stroke rols with a Set base, and 15~ and 14-stroke rolls wi a 7:6 base. In practice this is not quite as complicated as it sounds here, Start and end with the appropriate hands, evenly iting the indicated number of notes in the allotted ime. The 10- end {.4-stroke rolls bong to the farnily of rls | call finished rolls. Play the same roll base as you would foran 11- or 15-stroke rol, respectively, and simply replace the fal cidde with a single emphasized rote. 9) Backpack Backpack is 2 solo written about the nicknames given by the members of the UK Drumiine when Eric Wile [taught therefrom 1983-2001. In particular, | have a fond memory of Skder yling the information _about an individual person's nickname over a run through of the cadence routine during bend camp. ‘The delvery and information provided, was quite memorable and stil ings a smile to my face when Ik about 10) Dragon Roll Dragon Rolls a werk dedicated to the development of rll and fam rudiment dexter. Pay Elis Hampton parsevar etertion tothe sticking designations and dynamics, Vite stickings are omitted, natura ‘sticking should be used, The work consists of a small set of musical fragments that are developed ‘and embelished throughout, You will nc almost a direct reworking of the frst 16 measures with ‘embelished fam figures and atered sickings. ‘Wnen preparing the piece, work for afulbodied rol quality n the opening figures with alarge ‘contrast to the piano answer on the edge, Work for clear accent quality throughout, however the Flam-Tap and Swiss-Army Triplet rudiments utlze a smoother decayed stroke to help the hands flow {and ghe more cheracter to the musical development. All didales are not oreated squall Work to bring ‘out personaly ofthe phrases as the music becomes more complex and aggressive. Also, the final phrase deconstructs the rol figure into single crags that can “morph into the paracidoes by gently ‘luring the drags lite by itl, 11) Jolt “The word jolts defined as an abrupt push o: shake, This piece was witen with that deiiton Modordan Wiliams 8 Mind, The opening theme fs scattered throughout the ieoe to depict this abrupt motion. The tematic materials supported by a very quick tempo and sucen dynamic changes. The “ot” eases Upin the middle of the piece wth a thematic timbre change (i). The theme oraduaby returns tothe «drum and aocels tothe tna, and most abrupt, jot! 12) My Blue Cents — My Blue Cents, ar obvious pun on the papular phrase "my two cents” intended fo highight two Jonathan Sharp tnythmic challenges for the performer: quintuplets, and displaced 16th note trples. The performer must master the quintupit with a font-loaded “throwing” approach, as vel asa reversed version {suggested peradiidle-ciddle sticking). Paying homage to Jacques Deléciuse’s snare drum etudes, the performer must also develop proficiency in playing displaced 16th note triplets (ofset by one 16th note) in a varety of settings, as fst seen in meesure 23, With the exception ofa few measures with ‘suggested stckings for quntuplet groupings, stckings in “My Blue Cents" are intentionally lft up to the performer. 13) Scratch ‘Scratch i tho leser known, and posit loos enjoyed mascot atthe Univers of Kentucky. He is Mark Hunter the“other* mascot appears that he is ust younger widest. To me, he aay Seemed todo ust 15 gfeat ofa ob as the main wicat. He was also usually a litle more readily available to take pictures vith. This is toute to whoever isin that suit. They never get to be the sta, but they always seem to take itn side. This piace calls for two visuals or stick tricks. For the “Crown Upswipe", hit the crown of the drum, ‘which isthe lower ofthe two top rims with the tapered portion of your stick with the bead down _and the buft of the stick up. Tha arm motion should bing your stick from low to high as you bring the stick back to the head and flatten it back out, For the “Hi Mom”, spin the stick between your left hand Srl and 4th finger. The stick wil do almost a 360 dogree cicls to hit thabsad ofthe stick on the: head, then turning i back to re-i. 9614) Get Off My Lawn Mark Casey 15) Secret Passage James R. Corcoran Jr. 16) Age Out Suite, Opus 401K Sectt McCoy SNARE SoLos Get Off My Lawn is a conversation between young and old. tis a slower more tradtiona fee! ‘yersus a quicker “The more notes the better’ style. Tha one constant through the enti conversation is the lack of change by the old. No matter how cool or fast the notes are by the young, the old never ‘changes. | give you a piece for both young and old. Get off mi kewn! ‘When | attended the University of Kentucky, there was a staiwall that led up three floors to tha practice rooms. My frisnds and | used to cal it the secret passage because the door was moderataly ‘dleguised behind some bushes, and served primarily as an emargancy axit. This compostion ‘concludes witha loasaly interpreted hemiola effoct, from Indian classical music, calod Thal ‘where 2 musica Kea (or phrasa) is played thre times in succession to conclude the passage that immediately precedes it Although itis not necessary required, i often has a space between each presentation. The phrase used forthe Tihal in Secret Passage is made up of a three-beat des played three times for a total of rine courts of sound, with one beat of rest between it. In @ Way, learning Tihai was a secret passage for me when | was a stucient, John Bergamo did & residency at UK, and I had the honor of taking some lessons, classes, and performing his composition Piru Bol ‘with him, This was my frst introduction to the concept of Tihal. Final, tis a rte of passage for many sare drummers to unlock the secrets of he French-American style udimental snare drum solos ‘written by Joseph Tompkins. This composition i iiuenced by my recent studies of his piaces. Beginning to letter A: Very strict rhythmic interpretation. Letter A: Low and flow to Keep the increased velocity and density an effective contrast rom the intr, Latter B: The Marty Hurley Toss Is an underhand let stick toss tothe right hand letting the stick rotate a hal-tur, catching t with butt in playing postion. While the lft tick is in the air you pass the right stick tothe left hand. Both sticks end up wth butts in playing postion on beat 2. The left hand {ips to tradtional grip on beat 3 and the right hand fips on beat 4 where both sticks end up in normal playing poston. Bars 2-20: Ty to make the hen to hand transitions from grace and primary notes as unnoticeable 2s possi on the law end. Thera shouldn't be an aula change obsorved by the listener that the hands are changing. Letter C: Make this section very two-helght in nature to contrast the inner beats and accents, The previous section was monotone so this section should have stoep peaks and vallys, Letter D: Pace yourslf but this section is meant to be a display of speed and endurance. The ‘accents are emphasis only that should not interupt the flaw. Keep it smooth yet driving to the point ofthe wheels almost faling of. Keep pushing forwerd to convey your sirenath as if you could do this al dy. Bars 67-70 is simply the check pattern forthe backsticked version in bars 72-75. You'thave to be ‘Quick, whipping the backsticks in and out so sioe, slice, ice! Letter G: Just ke the note says, mikit. This section is all about the Casey Claw and Hulka Helicopter (twoshanded Claw]. Strive for smooth transtions in and out of the Claw with each hand individually, land then setup the Helcoptor as the last big trick before the ending credits Letter H: Let loose and bum it ike @ machine gun mowing down zombies. Catch babies at the finish, 97Bile Book - Votume 2 TREE FROG Jessica Dismuxes 98SNARE Soto: UNEXPECTED ENCOUNTER some az This piece has an audio backing track (no click required). The audio file may be freely downloaded from the supplemental downloads page on the Tapspace website +2110 begin 8 counts of audio playback 8 ‘ ! = = f take both repeats on DS. vcade ori iF fs peers i os = 5S SS Hien he Ae ee oot! TROR ATRL A® TR URTATARURUTR TR RE CRURLAURTAL conter RURUR RURLARE RE RURURRURURLR LF RURURRERURARL RE TRE RURRLUCRURRLURTR RURURRCRTL CL iTRURRTRLL RE RARER LLLAL ARAL Trt RURRRACR LELTURE Image . BS at cade tf 99Bile Book - Votume 2 GuirRo WEEKLY ane Becawann 2= 112 Rif-guiro stick LH-regular stick RH scrape rim like guiro RH pick up stick (repeat as needed) Sample atest = ImageSNARE SoLos BEWARE THE BLACK Box! 2=172 SNARE VERSION Gary Rupowe# RRURLURE RRURLUCR RURRULRLRALE RURRLLRLARLLE RALRLCRE F P edge RRURLOAR RUCRALLRALLRALL R RURUR RLRE R RCRLAL ALRRUARTL P f P a) SB) aS SS Se _— eee (eee ee R RURCAL RURARCALLIL R RURLRL RURRALALIL AURRALAL IL tocenter edge - - . “ See Boa aa aw owt = TURRULF TER RURTRU RURRURUC R RURTRT RUTURRURRTT —=f Pp “TRR RAUL RLURRURREL RUURRUURRUURRCL RRLURRLL RRLURRLL ARRURCURL Sf 5 A fatwa wae eee a] RULLL R RURAL RURRALAREL WRULL RRLURRULARLLRALL Sample Image TRRIRLt RULRIURBile Book - Votume 2 Eucuip (AVENUE OF CHAMPIONS) SNARE VERSION Davin ature tele center ROR CRUR Lam RURTRUIRTRL CRLTIR nf PD -=130 tf af RURRURURRER go> 8 8 es HB RURRLRLARLERUARE RURAL Eo ee) Sample Image 103Bile Book - Votume 2 Emity Durochen RURURRURURLORURAT plist) mp (2nd x) S =f ® RRSNARE Soto: Rocket BLAsT Any SALMON += 126 fo center — RURLURURLE URL RRURURE TR LC RRL LER RURLRURURERE nf ———=f p (on Seo Se ae ea oP halfway edge £ jo SS ee Se qe ea ede 5 fe eee a 2a TPR LRL Lt CRRLLRLLR LRLL RUR LRLRLRIRL R RLRLR RLL ° — nf et halfway center = |= | =. | oe | RTS SS a ees Sc RURRCCR RUC “ nf T ROR t RURLLERURG RUCRURLAL R RLALRURR ies ES eee feele 3g =| 7 TRLULR URL 105Bile Book - Votume 2 Two TWILIGHT FANFARES = 100 |. Ribbon Orange TR UR R LRLRURURU RURE Seer scerer Eee cocci cere cere eee aT R LR R tRUtRURERL RIRL OT 106Snare Soto Il. Sliver Silver 1007 a 7 COR OL RL T RURRL OL LRLLR RU RRRELL RE OR Rt TR RUERRUR EL 107Bile Book - Votume 2 BACKPACK Enc Wii 42120 RURL RURL OUR RURTURRUUR f—p Sp =f f—r—_-¥ - > 2 2 8 4 FPe me RURCURALUR AL ALARL LCRRLLA RL RL - «-ARLLRT Sp of mp — f —— p—= nf »p — - f —— p——-0f Sample Image 108SNARE Soto: RURURLRURURURER To RE RUR TRURE RURLRURTRURLRURL R RL R R RR Rit R&R R 4 B ars 109Bile Book - Votume 2 DRAGON ROLL ELuis HAMPTON aaa eats Pla rare ¥ # RRURURURLLRURUL os ee SS TER tf 10 edge TRURURURERURE R noR URURL R R URERL RURUR TRURLRUR a RURUR LRERRL RR LER © dge to center z AA A pee T URURRUER 1Bilie Book - Votume 2 JOLT Fast! . = 180 m2C| Abruptly! - = 200 =) —— Sample - Image 113Bile Book - Votume 2 My Buue Cents JONATHAN SHARP. f= PS = PSP S=—pf=—p ———— be oo z == 5 aa 5 cur ~& £ [ee ——_— —— —_—_—_____ eerie me ee eee P —_—— f= =p f—— pf—> » —= Ee Ee fy = 4rit atempo RRLLRL : 5 >>? RRUCRL RRULRURRUCRURRULRURRULRURRLLRL rr —S /~ => 115Bile Book - Votume 2 SCRATCH Mark HunTer 120 BA ee ee oe ee ee ee a eee R Tt tt R RUERRURLTRURLT L R RUGRUL ® RURURLRLAL R c wo TR needge halfway ete 3 center ~a> _a> CSTs Sw Ses = >~__s Rit Rt RLRLUR p—— RL emScratch (cont,) RLALRALLARURLT RURALLRALRL RURRULURRURTL f =e Eaeweer WRURURURCRERE RURLRURLLLRRRULE R RUTURURURE RURUR: “TRERUR =p =f os = | = = FM yieeeeeedeeeed| ri =| RERURT RT ® zt ® Lem, Rt F "8Get Orr My LAWN Manx Casey t RUURRR LU RURURRURRALLL RR v RR UU TERE «R LLL RURLRERRURLRURRLRUR RR LURE RR LLL Sample ee Pot Rt RAR too 19Bile Book - Votume 2 Get Off My Lawn (cont,) 3 ees i a qe ee a ee ct 1 a TELRUR LLLR RURRLQLL ® v _ 0 Sample Image wR. — = > = > oe Se R.. RR RT RR RT TeOR RT og a) seek $i... 6 = 36 = 2 dadedaeasaaeaaeedunedesleeasendeessseesenszanese aaa caer sees eee eee wees eee eee ee sseeeeeeee ewe e “a RURRLURURURLURRURURURALL RURURLURRURURLLERRERRURRL ROR LRLRURRLLR RLRROL RURRLL 121Bile Book - Votume 2 Get Off My Lawn (cont,) —> “> — 4 5 ss > — eS SS a eae] T.R it RRtRLtt RtRttRtR ttRireotoe RURRUUCRURREL RURLR LRER LRUR “—RURERURERL 122 RURRUERLARL RSware Sc SECRET PASSAGE James R. Corcoran Ja. Allegro J = 140 RURRURURRL center to edge shoulders to tips shajis to tips Soe ee Foss FUssrs = = = pr daveweeses tealeee Feet ed ee tery wel = uf ——— — tf sto shafts tips to shoulders edge to center Se re ses Foss = Fe Ss po ee eres —p ——= nf =p Sample Image 128Secret Passage (cont,) 3 3 ~ a = RURL RLURLURLERTIRLL R RORRL RRL PP SS RRURRLRARL RAL RRUERLE R LRLERURURURERTRUERERO D 3 3 3 a 3 26 = 3 ny RURL RURLRURE RERL CRE R RLURLTR RR 2-RURRL Pf ~REERCURRURALRUCRRIRLLIRLEL R “—RECRREURI ~tRRUL Sample peers Image R RURLT RURE 124RRCRLLRER RURLLAL RRCRL RLRLRL RRLARL RURLRLRL af RRURt RRURL RURTRL RELL ARURLt RERURCE TRUR Lt RUR TRE RULER RL RURLR UREA 3 = come = = = = = Beas s prrirecmrerrrrerriciesrrrerricrrirr i RR v R v v R c R of Image Cae 125Bile Book - Votume 2 Secret Passage (cont,) RUR LR RUR UR AL LR RLR LR RUR LR RL LR RUR LR RLR LR RL LR RURLRERER eeltee. dee Ty RLF -RURERL ———ry us _ So 126SNARE Soto: RURL RLURLLRLLRLLRLL RR RAL RRL RAL RRL ALR LRL RAUL 2p =f Pp = of a. 3 os gg gg et a ee ee) 2 EES —=—S ————— SS — ESS ES SS Se a eo ee ee | RZ URTRURURURERURURTRL @ ACRE RURL ATRL RURAL ALA = a a ee a ee 2 eS SS RRLURURRUR RLURLARL RLLRELRRURRURLURRUERLUERRUL TUR RULCRURRE RUERUCRERERURURLLERRARURRCERL Image SSS 127Bile Book - Votume 2 Secret Passage (cont,) rall. Sample Image 128AGE Out Suite, Op. 401K Scort McCoy R RL LRROERE RR T R >, Pe ee ee eas 5 ar. RoLRRURLOCRRLLROUR Ri flip RH flip = tobut ——_,totip , nee 7p aaa aaa TLEELRLLLLRERRR PRU Sample Ty intage ree edge 10 center 129Bile Book - Votume 2 =92 Marty Hurley toss* accel. ‘Age Out Suite, Opus 401K (cont) Faas = 4 “ i iam | | | j_{ | | | { J i | 1 appa tet, see = RRRE RT 1 RURT RTRT RORI RORT RUILTRRRR H FF "Flip Lstick over oR grab Rastick with LH (psc halftrn whe other hand plas) to edge 5 = Ss OS Se a a a a a amolto rit. ——— a a me RLLRRRR RRARLCRRAARRLLRA ARRARLLRAAR {A es es =f 10 center. —__________, t@ edge ——_______, 6 6 LH spin = SS SSS SS SS SS SS wavevess eeeereeeeee easel TRLURURALL RURRLRLURRALRLLRE «© 250 (oras fast as possible) eS == = = seeeeeleeeeeseesevees es] RURRLL RURRLLRERRURLERR = = == = ieeeeeeeeee eee ee Image Gee DPE eE oer TRURR LURURRLTOR 131Bile Book - Votume 2 ‘Age Out Suite, Opus 401K (cont) RL UR RL IR RURARLRURALA R RCRLALRL RL T RRL RRL 6 = SS ES ES SS Ee Rt RURLA RURLP RLRLRLR RURLALCRLRUERTRLARCRIRG pabersta seatoenatsanttaatias tab anda aa RURURURURURURUERERERL RURURURURLRUALRURLY eS oT Sample a RRR sm, Image TUR TLR CLR LLto center R RURURL ee TRURURERRUER ORL Sample molto rit. Image —— [edeccveceeveedcs| diseretion of performerBile Book - Votume 2 ‘Age Out Suite, Opus 401K (cont) "Casey Claw” technique RRLCARLCRALURALLRRLURALLRAALLIRALL RALORRCL oS == ES SS a ee oral eee eee de ade eeel ee ee ee ee TERRULRARLCARLLCRALLA®LLRALLURRLLAP LLRALLRR DOUBLE "Casey Claw ‘technique (a.ka. the "Hulka Helicopte r 7 tease ets Ah aed — S | R R v RLF Image naebe- 8 us RRRULLRAALLL Re 134TENOR SOLOS GENERAL NOTATION KEY oa * g Wetuneenacecomtat 1) The Speed The University of Kentucky Steel Band performs at several elementary schools throughout the Central Counter Kentucky area esch year. Included in each performance fs @ competion between the students and Bryan Angel ‘the taschere to deternine who can hear and recognize the most melodies. The Speed Counter sal the students and teachers and reports the resuts to Jen Cambell 2) Beware the “You suddnty realize what you've dane, and you know it might be too late. Filad with fear, you ! ‘ather your tings and hurry to your band locker. When you get ther, you ars aro confned - you BlackBox) | gree Serengeti erent 2) Euclid (Avenue Wien asapic at cout bo paomed a tna sl ato slg or ata sar dt i uclid (Avenue of Champions) isa groove-crertatedrudimactalsvo ace that il bo fun fe Of Champions) jocnger payers. The es ake or ihe nae of estee dose othe Criverty of Kent ‘School of Music that runs directly through the heart of campus. 4) Cold Hearted Cold Hearted isa medium easy toner solo engaging a varety of rudimental techriquss. Although Kelsey Coline wien in £74, the piece is meant to be played and fel“in one.” Sight emphasis should be put on beat one of evory measure, and the groove should be prominent throughout, 135Bilie Book - Votume 2 5) 7 8) 9) 10) 11) 12) 136 Wawa ‘Andy Salmon Streaking Through the Quad lan Murphy Flam Dunk sJoha Wilimarth 1218 Fob Parks Sum of Threes Erie Wille Caturday Et Johnson Papercut Eas Hampton Can | Just Geta Buzz Roll Brian Flack {Nonotes) Bring out the aceanted “melodic" parts and be sure to keep the rim low and soft. Leaming measures 30-81 first and then adding the accented notes in 32-83 may halp cary tho sticking pattems for tho: performer and make measures 7-12 and 2-37 easier. The ending tempo ofthe aocelerando tram measure 38-44 shouid be performed as quickly as possible without losing the clarty of the accented notes. Flam Dunk highights various applications of fam rudiments to the tenor drums. A groove section in the mile utlizes a mult-rod ostinato and is book-ended by more vituosic sections. Fuciments include: same hand flam, alternating fam, flam acoant, fam tap, single flammed mil, and swiss ‘ple. Variable tempos alow the piece to bs played by players of varying experience levels. (Nonotes) ‘Sum of Threes was writen in honor of two sets of very close friends during my ime at UK. They ‘always hed a devi ofa time together when the three of them would hangout. (Nonotes) Paperout was composed to develop 2, 3, and 4 drum scrapes, aseorted fam rudiments, shaping melodic figures, and the coorcination of two-handed counterpoint. The work is largely baged in 7; ‘rom the atemting 4/4, 9/4 meter in the opening to the 7/8 grooves found throughout the reminder ‘ofthe work, The exception is winen the 7/S-meler dissolves/accalerates into @ steady stream of triple strokes and rol passages, ‘When preparing the piece, work for alyrisal and rubato musical ne in the introduction; creating ‘dynamic undulation unt the Fim shot at measure 12, Next, work to bring out the agogic stress ofthe 7/8 meter as you shape the left hand melodies 13-20, 42-64. For measures 60-63, the RH rim part ‘should keep the groove steidy whilo phrasing the loft hand 7 note motive so it can be recognized as ‘a repeated fragmont that ls accaleating across the bar line. Can | Just Get 2 Buzz Roll pays tribute to all those band directors requesting nothing more than a standard buz2 rol during our National Anthem. During te fall of 1967, Dr. chard Ciary conducted the University of Kentucky Marching Band in the playing of our Netional Anthem. He cued the battery {or what shoul have been a simple buzz rol, but wnat came out sounded ike measures 1-6 of “Can | Just Get a Buzz Rol." After cutting the band off, he proceeded to utter the vary tla itself. “Battery, Can | Just Get a Buzz Rot?”HE SPEED COUNTER Bayan ANGEL 12+ ee eee - > fia tae Ta “Te fata: Le i joe ROL RUCRTU RUT RURTRUR ~ RURURURTRERT RENT RURREERERRUCRLRL f of ees in —_ was _ a Et Ih I as ee ———_—"* + s88s sae RERCRE F RURLALAL R ff Pp — RRURLLRALRLL RURRULRUARLLALAL tf Sample Image 137Bile Book - Votume 2 BEWARE THE BLACK Box! TENOR VERSION Gary Rupowe# +5472 RERCRCEORC RERURER RRLURCRALLRC RRLLRTRRLIRG of P RUERUCRERE RLERLRUER RLCRRECRRCCRALLE RAERL RUERLK “RURLR CRLL URRCLLRREL f P da tL I+ a RURUR URLL RRRCRR f P Sample RRACCRRALLE RARE Image so a errr rr RRLURALURRELRR 138Rit RUCRRLRLLL RUR St Z TR URUTL RUARRALRALL P RURUR URLL RUURARURRL LL ALURARUERRL LL RRLURRULARLLRREL ft P t f pee odd PPP eee 7 1 RtRERE nf Sample Image RtRL RO RURUCRL RERUERL Lt 139Bile Book - Votume 2 Eucuip (AVENUE OF CHAMPIONS) TENOR VERSION Davin ature 140Tenon Soto T R v R i RLRRURLRRLE R RL CR REL RL R tT RURRURCARL RURAL RURRE RL R t = 8 2 E 3 +6 ae = 3 = 3, maa = 2 =a g # waa: 2 = Rou RRL LR RL L RURRLRLLR RL 141Bile Book - Votume 2 CoLpD HEARTED Ketsey Couns += 164 RH on rim of drum 3 LHon drum 4 ® f = P f= P f=? = = on drum 3 rim LH ums RUERRCRLRC RURRLLRLE tte de Soe Sample Imagey Jone ee Rt 143Ble Book - Vo.ume 2 Wawa ANY BALAN Freely - = 156 # a 5 I s = iss Ta tl eee ’ a Fr ___ pe = ee gyi eg Sample ImageTenon Soto vidd dd ds ps bs dd ==] = S=— = rt tt tt (tic an) _. _. i. =25 JJISII 7 .RRULRURRUL RRRRRR posub. LH cross-stick Z me = = x z a RRRLURR RUERRRE mpBile Book - Votume 2 Wawa (cont) S = =. tee Sr Ser wee Se RRRLRR TRtRURG nf — RH switch to hand clapper visual) : | s sya ou adit dia id did dd Dd dd _—_ F = £ = — P Tt tt ttt ttt tt tt 45108 RH-hand clapper, LH-drums Peeccrecer? crcMECOrereeMecereecercecy eer « fp AFT) 2 SSS SS SS SE we 15144 _use clapper as stick on drums RRLR = RL sin, Slieesteeees 7 mys oe Sample ImageSTREAKING THROUGH THE QUAD lan MuneHy = 120 - 132+ TURLRURURLRIR TRURL CRLRERLR TD LLPatRURLE RLRALLR L RRLARLRE Sample Image TRUE RRC RRCRRECRLURALE 147Bilie Book - Voiume 2 Streaking Through the Quad (cont.) RRUIROUTRTCRRURUTRE RAL LCLR RAL R TS Ts ATS F TL RE Lt tR tL tRL Rt Ct RLCRRCRL LR? ot .-s0RRIRE > x t sa CA = qs eg TUURRTRTRT RURRTER » RRLTRILAR TRL R peesreciresrind Image 148JoHN WILLMARTH > RH switch to multi-rod a a TLTURERAURTORG 149Bile Book - Votume 2 Flam Dunk (cont.) Sed ompre) . . jeg TE TE TOT g Tg oT > = el = = RUR CRE RARR RLR CRLR CR CARL RARRRARR RLR CRLR CR CRE = RUR TRUR UR URL RLURt LRLURURE RIF R RRtRUELRURLILRLNon Soto! E As fast as possible ( 200+) so pare RR RR RA LCL ttttRR tt tt RR ROL RR RR tL Ltt RRL ttt &RLLRRERRLCR TL RR TOR TL RARE RARER TORE RRUERRUR CT CRE RRURO Sample Image 151Bile Book - Votume 2 1218 Ros Parks 25112 RUR URUERURURL RUR LRUERURERE RUR LAUCRERERE P 4 ROR URUERURURE ROR CRURURURL & RR” an tert Sample ak ImageTenon Soto TER RUEUCRRRERAR TREC RETRARRLCRARERERE YLRRURL oR 153Bile Book - Votume 2 SUM OF THREES Enc Wii FRAC RARCRERUR RRAL ARAL AL RRCCRALLARLLRRLUR f mp = >, * ~_(ilip Li) ‘ RR RL RRR RRROt RRR RRR Sp ST TUCRRLURLLRAL RRURRUCRAL RLURRLUCRULARE RRL nf — (flip LH) on ===! es =F RRLECRRLLRARRL ee Sample == Image RRRUCLtRARRL 164z 9 2 Zz 3 eS a. 3E wy — zd — RRRLLLERRRLLERRRLLL RUERETRIR LR RR RURRURCURRL o_ PSA pop pp dW = — RURAURURAL RCRRUAURAL RCRALRCRAL RAARAR om wp "Dn DoDD mao As =Bile Book - Votume 2 CATURDAY E.ior JoHNSON RURL RCRURLR RURCRUARLLRAL RUERT RUERRCER titet ig, , (shank) = os 2 ‘ t 8 eS - it a ee woe RURURUALALALR AR CERRUCRATLRALE RLLRTRATT TLRAL® a + @_§ . r Prrleves es ifs! 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