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    © All Rights Reserved
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    35 views47 pages

    Vic Firth - The Solo Snare Drummer

    Uploaded by

    Giovanni Ziparo

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 47
    THE SOLO SNARE DRUMMER ADVANCED ETUDES AND DUETS VIC FIRTH SOLO TIMPANIST AND THE PERCUSSION >. oD [Fuga Dues Foreword ‘This book, “The Solo Snare Drummer” was written to cover several phases in peroussion repertoire, It isthe last in a series of three snare dram books designed to tako the student through the elementary, intermediate and advanced stages of technical progress. ‘Upon completion of the three books, the student should have absorbed the most extensive group of studies ever written for the snare drum. For the advanced student, there will be found new and challenging problems encountered in contemporary liter- ature. The Btudes will not only further develop the hands, but will attune the mind to complex rhythms and complicated meter changes not found im most books. For the professional, the studies may well serve as a “refresher” for several facets of his play- ing. The varied meters, 5/8, 1/8, 10/8, 15/8, 9/16, 12/16, together with the more eom- mon meters, 2/4, 8/4, 4/4, 5/4, 6/4, 8/8, 6/8, 9/8, 12/8, 2/2, 8/2, axe all utilized with ‘unlimited rhythmie patterns. ‘The professional should find these challenging as well as stimulating. ‘The Btudes may also serve as colo pieces for collegiate euditions as well as those involving professional positions. Besides the 24 Ktudes written just for snave drum, theve are six solo Etudes waitten for a multiple drum combination of two, three, and four drums. ‘These would afford excellent demonstration and audition pieces. For the con- servatory level students or an advanced student end teacher combination, there are six duets. These too will be found quite challenging to both hands and mind. And for the player who wants to test his ambidexterity, there are two duets written for one player. In other words, one player executes both lines, the upper with his right hand and the lower with his left hand. When playing the tudes, one must abide strictly by the metronomic markings. It is also important to observe carefully, when there are meter changes, as to whether cighth notes equal eighth notes (or quartars equal quasters,whatever the ease may be) ‘or heats equal beats. Otherwise tempos may get out of hand by becoming extremely fast or laboriously slow. ‘A final word to the performer: in addition to control and fast, artieulate hands, strive to develop a sense of rhythmic phrasing, as well as a cancapt of sound. Be eon- stantly awave of tone production and sound projection as related to sticking and teeh- nical execution. The instrament is eapable of countless nuances and subtleties. The responsibility of producing these musical sounds remains wholly with the player. It is to that caliber of player that I dedicate this book, 1. [es alvays atviesble to practice exch Etude ata slower tempo than tho one indicated When a \icient proficiency is attained, the Indicated tempo may be attonptad following the dasignated metronome ark: his Ponts quests throat te motor changes = (d=), Oboe the thing = S SS oe ea B. [Sige Qusada| Practice this Etude in slow tempo, counting tive beats per measure, After ths is mastered, in- crease the tempo and count two beats per measure (5/8 J J, or 5/8 d. oh. I have notated it 60 that the beat subdivisions are virsaly clear, deus 5 Se, 2. Bet = B= [SS Sa Sas as so iS 3. Although you may start this Etude counting nine to bar, try to fool it in a slow three a8 soon 88 the cotplicated hylan figures are established in your mind, in bars 19 and 20,be particularly eareftl not to 4, 1 ‘bars 25 through $2, and bare 49 through 62, practi eaenting ‘wo beats per neasure ss well as one beat par measure, Observe sticking from bar 81 to th end Jo138 RERLR R RLRLR RK KLRER Ro NENT » sis — 9 Commence this Rude by uotngaix bens toa measure, Bar 19 should have two beats. The accel= crando in bare 17 aud 18 should afford aulfictent tine fo the transition (rom six beats to‘two beste in « mens~ tare, Be sure thatthe quarter nots triplets over the bar line between bars 19 and 14 romain stacy. rsa os $ = = fo Saas x 7 ‘A qrace sles must procde the baton which the main note i writen. In ntaor 2 the gre totes wit acusly start on th beat wo kept tlt fire shyly coer bar 8, he grace oes ld tenon tho eeind eighth ofthe tpl figure, Notice hat when th meta acon sone of he changes D, white others are (dd. 8158 2 2. ‘mn this tude (antl the mater changes} ie mearure must be subdivided into elght, Keep triplet ven ané bo purtoulaly careful with doted-note figures (J. d 4), Although she tengo dosent change, bars 19 through 22 should have an Allegvo feeling 1S eS Pay onal ee rer as =e 1o. a AA point of observation: if the wiplet brackets over quarter and half rote triplets ware removed between bars 29 through 64 ands 6/4 time signature inserted, the rhythaie context would bo unchanged. This nay prove helpful at tines in reading large triplet figures tn € Hine Jes00 seis, “ 11. ‘think of 1/6 meter as combinationsof J d J, 1havenotated st 2 as to make the best subtiviions iowaly clear. Jone a3e5Ss SS == Sas 12. 6 Observe the sting, particulary in bars 2 Siroxgh 12, de as fare | p LERRLLR RRR 6 13. The first eight bors comprises the ehythmle thane, From bars 9 through 28 the same theme is repeated ‘vice in changing meters, ‘The problems sre obvious, From bar 29 to tho end the sume theme appears in rtro~ Jeg 2 14. u “This Eta §9 in 10/8 time, whichis an enlarged 5/4, However, instead of fve beats ima measure ‘tas fou beats which are broken down into combination ofthe following: 10/8 = J. the 9/5 ume sig- nature nitond of three beats, te enlarged to 4 four beat combination ofthe folowing: 9/8 ddd J Jesse F 15. Tha Reude te ta very fast bvo-best, Treat tas you would a fast up-tempo jars ety. 16. | Sergio Quesada ” ‘This Baade is an example of 2/4 meter beatin one. Ba to alow the tonpo fo Hactuate, 17. ‘Use caution not to play this Baie ton fast, The meter changes are abrupt and continuous. Strive for ehythne precision, pe sis is. a i thls Brude, J=2) Keep tho tempo stondy while going back end forth between the 6/8 and 8/4 meters dens F = = 19. 2o. = “This Btudo has some aviward meter changes babween bare 24 and 40, Check tobe sure that your final tepo alter bar 40 is the same asthe opening tempo. 22. 25 sh rm et ncn ny see mh ek ts. bce stn, arcana ee ew tr eh lv vip 1] nun nestsdeqarurso ut layne eo si re notes, (It it wore a simple J J J, designating quarter note triplets, they would be played inthe same time as four eighth notes.) In ber Si, wo find the following markinge:"73° This moans the seven sixteenth notes must be played im the came tine as tree eight notes. 7 5 ‘ _ 3 ae 23. ‘age of run at. n ‘This Rtude is im 12/16,07 an expanded 6/8, However, in 12/16 we have four beste to « measure — FF) ETS FPS FA) nates the ata ot your metronome to be sure there is v0 variation in tempo. eas. tm the multiple drum Brides, position the drums to your conventence, For the three and four drum tudes, place them ina semi-circle, inorder to fallitete reaching the ouside drums, Adjust she dram stands 20 ‘hat all butzar heads are in a borfaontal position, This Esl cals for « smal! snare drum (5x18), snare drum (7624) sod militery drum (1016). These sizes ere approximations rom tbe smallest tothe largest, The part for ow the salt, wane 27. sibs ene ts writen for wo snare dri, one with ares, the othor witout sxares. The part for dre without snares is written en the Lower space, a 2s. ‘This Etude calle fora snare drum and military drum, The lator part fe written on the lower space sis 8 2s. ‘This Bhude ig writen for three sm the bottom space pp meio 30. ‘This Biade requires four drune, T,,

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