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STANDARD SNARE. IDRUM METDOD··

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INCLUDJNG DOUBLE\.DRUMS--AND
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INTRODUCTION TO TJM-PANI

* *
*

A complete perso~lized mode~ course in percus-

sion studíes, includirÍg all standard and modero drum
strokes, 88
1
well as ~rum solo passages from world- ·
famous concert and-iymphonic compositions, together
with striking exeecises for double drumming.

An analysis oí the Timpani- the Insrrument,

tuníng, correct method of playing, rhythm, and beats;
. ! • ---~
- , by

BENJAMIN PODEMSKI '

· Renowned Percues ion. Arriet: with th e Phi'ladefphi·a
· Symp·ia~'Jy Orchestra
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,....,_ STANDARD
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SNARE DRUM METHOD \

-
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IncludinqDouble Drums and An
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lntroduction to Tympani

by

BENJAMIN PODEMSKI

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Copyright© 1940 (Renewed 1968) MILIS MUSIC INC.

Ali Ríghts Assigned t!' and Cont~olled by BEAM ME UP MUSIC e/o CPP/BELWIN, INC., Miami, FL 33014
tntematíonal Copyright Secured Made in U.S.A. Ali Rights Reserved
 In presenting the most complete and most recen+ drum course es written by
Benjemin Podemski, one of the world's foremost percussion euthotities,· much re.
search, care and editorship has been placed- in an educational worlc most sincere
end appliceble to the drum student's. and professionel's needs.

The object of this Method is to fumish the music student .with the basic
fundamentels necessary to the mastery of the rudiments · and technique of drum-
ming plus a general knowledge of music reeding,., as well as on:hestre end c:oncert
bend drumming. The text is composed of e compilation of studies which the author
has used end continues to use with artistic suc:cess. ·· ·

Benjamin Podemski, famous percussionist with the Philadelphia Symphony Or-

chestra since 1923, playing under Leopold Stokowski, Eugene Ormandy, and guest
conductors, has achieved brilliant percussion effects that have 9ained him world
recognition.

He has also appeered with Arturo Toscenini, Fritz Reiner, Victor Herbert,
Richard ·strauss, Víctor Kolar, Sokoloff, and other greet symphony c:onductors in
th~ United States and Europe.
-~· . ¡¡ His drum method is a most active educational fon:e in the field of standard
·-¡-
percussion ert todey. Full care is given to drum strokes •nd to the explanation of
modem rhythms. Every lesson is a veluable addition to the pen:ussionist's study.
The boolc is profusely illustrated ·with drum solo passages from concert and sym-
phonic compositions as wefl as striking examples for double drums--b.ss and
snare-in simultaneous execution.

C.utiously analV%in9 the tympani for percussion players, Podemski explains

the instrument, the correct method of playing, tuning, rhythm and beats. Exen:ises
for ihe tympani are included in the volume.

The course that follows is definitely a university of musical •nd percussive tho1HJht.

THE PUBLISHERS

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¡ BENJAMIN PODEMSKI
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 TABU: OF CONTENTS
Page
Ccrrect Method of Holding Snare Drum Sticks 5
PART I-BASIC DRUMMING ..... .... ... ........ 6
Note Values, Musical Terms and Expressions . . . . . . 6
The Roll .... t..... .............. ............ 12
The Flam .. l , /·...... 13
The Drag ·...... ..... 14
· The Four Stroke Roll . . . . . . . . . . . . . . . . . . . . . . . . . 1S
The Five Stroke. Roll or Gruppetto .. ·. . . . . . . . . . . . 15
¡
The Four Stroke Roll . . . . . . . . . . . . . . . . . . . . . . . . . 15
i
The Single Stroke Roll . . . . . . . . . . . . . . . . . . . . . . . . 16
.. 1
The Seven Stroke Roll . . . . . . . . . . . . . . . . . . . . . . . . i7
Flam Strokes ·.;. . . . 18
Drag Serokes '· ":' .. · . 19 Exercise No. 31-"'-::,.;::. •.. ;·.:..":.....•... ·····
Combination ot'~~Q~es . . . . . . . . . . . . . . . . . . . . . . . . 20 Exercise No. J6 ·._ •.: ..... ·--- .. :. · · · · · · · · · · )'_,.
· Abbreviated Value$ :':.......................... 21 Exercise No. 37 .:..,,.:~-· .~ .. ·-~-·· ······ ""
Elementary Beat Exercise Studies Excrcise No. )8 '~'. ·• '.~ t:.5:..' · e,
Exercise No. 1 22 Exercise No. 39
Exercise INo. 2
1
23 Exercise No. -40 ..... . . -~ ,... .
Exercise INo. 3 24
1 '

Exercise No. 4 25
Exercise No. 5 26
Exercise No. 6 27 e
Exercise No. 7 28 ( "
Exercise No. 8 29 7'
Exercise No. 9 30 7"'
Studies in Flams
Exercise No. 1 O 31
Exercise No. 11 32
Exercise No. 12 33
Rhythi .and the Percussionist . 34
A Stuqy ·in Rhythmical Division ......•......... .H
Exercise No. 13 ...............•...••.... 36
1·
,,.. ~ercise No. H . 37
Crush Roll
1 . ·.:
· Exercise No. :J 5 •....•.....•.•.....••...••. 38
. ·~. Exercis~ in .. A.~breviated Values
\ .. N o. 1 6
Exerc1se. . 39
.Exercise No. 17 . -40
• 1
Exercise with Scotch Snap and che Reverse
'
Exercise No. 18 . 41
Exercise No. 19 . 42
'PAR.T II-ADVANCED EXERCISE STUDIES
Exercise No. 20 43 9\.'
Exercise No. 21
.........................
44 Exercises for Tympani -.-~. ., :·.. ,.'
. . . ....
: 9~""'
\ _,.,,
Exercise No. 22 45__ _.__ MUSICAL VOCAB~Y ~r:-::~·:~..r..;..: !_• •• _,_,__,_,_,~~!
 Correct Met:hod of Holding Snare Drum Sticks

lnside of right hand, showing the ~ase lnside .of left hand, showing the ease with
with whieh . stiek is handled between the whíeh stick is handled between thumb and
thumb and forefinger. third finger.

Proper standing positíon for snare

drum exeeutíon.

·,_.~·
:' ,· .j .
•• • ' 'lo. ~

Showing the propeir way for sticks

to be held in <i9ht hand and in
left hand.

,,...._ lnside of right hand with stick held upwerd, Showing position of stick in left hand
reddy for execu+ion.

f" Showing position of right hand over stlek.

Note fingers earefully.

Showing the stiek resling on the thumb

and seeond finger of the left hand in an
a .. sy flexible position.
 6 PART
BASIC DRUMMING
· NOTE VALUES

Hcre is given a diagram showing the proper way of dividing 1whole note.
. . 1 . .
The whole note or 4 quarters

-----
___ _..... o- . .,...........
_ ...... --------
¡>·-------
~
1,H.If notes ···············J
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. . ....... ~ • !
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.........
.........

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)/
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-, ''
Quarter notes
,
l/ ") , ''
, ,, , '' ,
'\

,
, ' '• .,
, '' ' -, ·' , ' ' -,

,• ·. ,• ·. ,' ·. J
,! / ', ,' ,'
! , .,' ', ,,' \ ," '\
, ,' -,..
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n~~es J
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t :
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t :
'I• '\ ' 't ' '\ ' ' ,I ' '\ ' '\ , '\
'• •' ,' .,• ', '' '• 1'' ', '' ,' •' ', '' ,' ''
I I 1 l.\ .\ \ I I 1

J.. ).. j.. J.. j. j.. j. j. . !!!J. J.. j.. J. j. ). . j.. j.. ~
I \ I \ : \ I \ I \ I \ I \ : \

...
: : . -, t: : :~
,, ..
:~ :. .
: ~.. : ~
,, :~
,, :~
,, ....
:~ :~ ,: ~.....
:~ :~ :~
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..:! :~ =~ : .. =~ :~ :~ ..:~ =~ ..:~ :~ . ,, ,,
\

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·' • • • • • ' • ' , ' • ' 1 ' • 1 ' ' • ' ' • • • ' ' , ' ••
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"'I ,, • • ' •
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l • • 1
,,
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-. j j j j. J j j j J J j j J j j j :Jj j j j j j j j J j j j j j j J:
: ~ : ~ : ~ : ~ : : ~ : ! : ~ : ~ : ! : ! : ! : ! : ! : ~ : ~~

.
This is how Sth, 16th and 32nd notes appear when written separately (not in group form) .
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Sthnotes 16th·notes · 32nd notes "'"\

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RESTS ,.....,

4/4
- 2/4
- 1/a
~
~
~
or ~hole or half
~
Copyright ©1940 (Renewed 1968) MILLS MUSIC, INC.
Ali Rights Assigned to and Controlled by BEAM ME UP MUSIC e/o CPP/BELWIN, INC., Miami, FL 33014
Intemational Copyright Secured Made in U.S.A. Ali Rights Reserved
\

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DOTTED NOTES ANO DOTTED RESTS 7
........
,-

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Written
,,--...

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........... Equals ·- - -,.. -

,,....... 1 1 1 1 y p p ~

Written

Equals

A dot placed after a note or rest in creases its value by one-half.

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THE DOUBLE DOT

Written
1
----.--i-·-..---
- --
1
-~~
~,

Equals ~· - - -. -- - ,
-
~
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T

1 1 r 1 r r r y
f'

Written
..

Equals

r» A double dot af ter a note or rest increases its val ue by three-fourths.

,.......,
11393 i
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 )
8 Artificial groups of notes which are played in other than their original form. \

The Triplet rn played in the value of n notes.

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The Sextuplet jj/j}:¡ played in the value of ~ J J J notes.
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Group of five played in the value of J J J :J notes.

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J:U1SD
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JJJJJJ
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Group of seven played in the value of notes.
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. Group of four JJ JJ played in the value of FJ J J J :J notes.
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Group of two n played in the value of J J J notes.
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Group of three quarters played in the value of notes. \
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[ Group of three halves played in the value of notes.
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MUSICAL EXPRESSf.ONS MOSl FREQUENTLY USE' <,

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.J Íorte (meaning) Loud
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ff Ío~o (meaning) Very loud
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fff iortissisSimo (meaning) Extremely loud
... -·-· .. -·
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. ! mf · ~m~.~:Ío!Xe .(meaning) The ·medium between soft and .loud . )
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p piano (meaning) Soft
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pp pianissimo.:..~~~g) Yery soft

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ppp pianississimo (meaning) Extremely ·soft.

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mp mezzo piano (meianing) · Medium between soft and very soft. l

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MOST FREQUENTLY USED TIME (Tempo) 9
,-..

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Modera to (rneaning) . Modera te

Ali egro (meaning) Lively

Andante (meaning) Slow

Adagio (meaning) Slower than Andante

Vivace (meaning) Quick

Presto (meaning) Very qui ..:k

Tempo di March (meaning) March time

""'"'

A FEW OTHER MUSICAL EXPRESSIONS ANO SIGNS

p ---======== f =======--- p
crescendo diminuendo
mcreasing in loudness Gradually softer

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i
Sforzando · strongly accented 1
·~
s

Fermata

Ritardando
- over note or rest-to be held at pleasure by instrumentalist or conductor.

( rit.) slowing down of speed.

Accellerando ( accel.) Gradually increasing speed.

Dal Segno sign $.5 (D. S.) wherever

, the D. S. sign is used, it means that that portion of the com-
position is to be repea ted. .

Da Capo (D. C.) wherever D. C. is used,' ir means to go back to the very beginning of the composition
and play ir over again.
 \
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REPETITION SIGNS
1 :~

10
'
A section of music is sometimes played rwice. The signs for showing where the repetition begins and
'
1
ends are these: \

11
: No definiré number of : 11
measures.
'--·-~
.• JI: No·
.
definite
measures.
number of
·
~
j· I .\
~ ~ \

These two signs are identical in meaning.

Sometimes the section that is to be played twice needs a different ending the second time. In that '
case the repetition marks are printed as follows: '

11= ,JJ,JJ¡&?il;;n 1'í•\JQ¡tfjil tA'í1i1 ª~11J;i¡"ili:\j;mJ.¡tJí.\i1 ~

A B C D

The student will understand that in printed music the letters A, B, C, D, are not used, but are here in
order to. facilitare the following explanation. First, the student will notice what the marks are: at A a re-
petition mark as shown above; at B a numeral 1 followed by a horizontal line above the stave and extending
to C, a repetition mark as shown above. After C a numeral 2 followed by a horizontal line over the
stave.

!"t
», The section as originally written is from A to C. The measures B to C are called the first ending. The
'
n
measures C to D are called the second ending. The section will then be played without breaks or pauses in
this way-from A to B, from B to C, from A to B, from C to D and then on.

The important -ihing for .the student to remember is that af ter he has played from A to B the second '
time he must then skip over from B and play from C to D. Occasionally a
conductor will direct his men '"'\
to "rake the second -ending" in which case the section will be played from A· to B and from C to D and '
then on.

CODA. MARK EXPLANATION

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A Coda is a elosing section .of .a composition.

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Sometimes it is incorporated "into the composition in such a way that no special markings are necessary. ~
'.:.
At other .times _it is to be played .afrer certain portions of the workare repeated. .In such case special mark- """'\
ings are used. Somewhere ~ thecourse of ·such ·a work this sign .. •
•I
:.1 -will appear.
!::ri}
During the first time that the work is being played this sign will be ignored, but toward the end the \
}1
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1T
:' I
the fS (D. S.) and play the composition through again until he reaches the Coda '*
playcr will .find printed the words Da Capo or D. S. He will then return to the beginning (D. C.) or to +-,
mark. Thence he -,
will skip to the Coda which will be printed .at the end of thé work. . The exact place to which he is to
~ii.:! ~: -skip will be marked with the word Coda or -with the same sign • or sometimes with word and sign. \
'l',. 11393
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______________ ...:._ ' _'
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 11

Legato.....----.. or Tie. When a legato appears overa group of notes it means that the notes should
be played connectedly.
1; r
Bis means repeat, Any measure or any number of measures marked Bis should be repeated,

r
r r r r ;AJ u
1 bis

1 t 1

RITORNELLQ SIGNS
2
~21·
r:
When a preceding measure .is to be repeated this Y. symbol is used.

1 rrrl
When two preceding measures are to be repeated this ~ symbol is used.

'r 'r ir ' t-----tf }cr 1

Abbreviations of rests by means of convcntional signs•

.6 8 10
1j
 12 SYNCOPATION
Syncopation is the placing of an accent on a parr of the measure where none is expected. Each kind 1
of measure (2/4, 4/4, 3/4, 6/8 etc.) has its principal accent on the first beat. In the longer measures (like \
-4/4 and 6/8 time) there is a secondary accent on the second half of the mensure. If an accent is placed
on any other beat than the one which ordinarily carries the .accent, syncopatian will result.
1
natural

czr
A \ A A A A A

1 EJJ 1 tJ EJJ t r r r r r r r r l_r r r r r r r r 1

11

i E2J E2J IEJJ EJJllt rrrrrrr lrrrrrrrrl

THE ROLL
Of utmost importance to the drumrner is the Roll. The student cannot give too much attention to
the Roll as it is the foundation of all drum techniquc,

It is advisable for the student to start practising very slowly and pav atrention to the uniformity of
the beats. Start the Roll slowly and evenly,

thus: ¡
:> > > > R indicares right hand
1 ~ ~ 1 ~ ~ 1 ~ ~ 1 ~ ~ L indica tes lef t hand
R R L L R R L L
very gradually increasing the time.
"'! ..,..... _...
)

íl ~
,As :SOOn .. as the student feels rhat his strokes are becoming shaky and uneven he should immediately+ ~
slacke~':his':.Speed until he gets back to where he started.
1 •

\-~~~~ -commence again ¡cnd repeat the process over and over again. By practicmg in this manner J '
the student -will find that his strokes are becorning gradually faster and falling more easily into the Roll,\-- ~
.as pelr ~l~tration.
'"•.J./ r
·~~t:;;y~ ~
~ 'IR ,;:~~. L R R L L R R L L RRLLRRLL
!>·"''""!>
\
:::... > >

RR LL RR LL RRLLRRLLRRLLRR
. . /":'.

i11; it.I!f it il il 61 61 i i i 8" i i i 8" r·

~ . r ·~·] :~;.\:' .
., , ~ ··~-. e, >

. ~~¡~ At all times the muscles of the arms, and also the wrists, should be limber.
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 THE FLAM 13

The Flarn is an appoggiatura. (Appoggiatura means leaning against.)

The Flam. if properly executed is effective and plays an important part in drumming. The grace
h
note should be play distinctly but more softly than the quarter note ; theaccent, however, s ould be on
11

the quarter note and sound something like this-FLAM-FLAM

J.¡p
L >
Diagram I 1 1 l.
1
-R . R

The Flarn should be practiced as shown in diagrams-i-, first from left to right, rhen right to lef t and final-
ly from hand to hand. The student will find it best to always use the Flam as shown in Diagrarn I, as it is
safest for speedy and clean technique, unless a passage is very difficult and alternating is really necessary.
 14 THE DRAG
The Drag is a Mordente consisting of three notes-two ornamental notes and the main or fundamen-
tal note as shtwn here- · I ~;

i :
1
!

The two ornamental notes precede the fundamental note and should be played softly and distincrly while
1r the accent should be on the main or fundamental note.
i l
Commence practicing the Drag slowly and openly, gradually- closing up the beats as the speed increases,
The left hand should strike rwo sof t, distinct beats followed by a smart; precise stroke on the beat with the
right hand thus:

11

This can also be practiced the reverse way thus: . '

1

1ng
L L \ L

: .. :
1ñf t
·~>
1~r 11

··'!
., and ñnally from hand to hand thus:

'
l
. - ·l.. \
The drag is not a difiicult stroke but care should be taken not·to\
crowd the two ornamental notes too
close to the main (fundamental) note as this woúld result in a "sm dge" instead oí a clean even group of '
1 three notes .as it ~hould be. -, · ""'
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· I
l '
•
R L R L R L R L
Right Way ~I~:~r·~~:i:!•~:~r~•~[i:~:!•§ Wrong Way ~I ~fl»~·~~g~l~ªgz~l~ªlti:li~I
11393
'
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 THE FOUR STROKE RUFF 15

A Mordente of four notes.

1 The three ornamental notes soft. and the eighth notes loud, striking the principal note on the beat
with the right hand. The time between the beats should be equal. Begin slowly, gradually closing up
the 1 stroke.
1
The technique of the four stroke ruff is also used on the following passages,

1 ~1 F f
-R LRLR
r f r [ ~ r f r E~ Eh F ~ Wf ~ r f r i ,
LRLR LRL R
1
LRLR LRLR ,.
11

rhe ~nly difference being that in such passages as these the triplet has its proper time in the division, while
in the four stroke ruff the tripler or the ornamental notes do not rake up any time in the división.

THE. FIVE .. STROKE -ROLL . OR GRÜPPETTO

1nu¡, nu¡'
R R

11

-It .can also be practiced the reverse

. way.
. L . ~ .L

Generally it is best to play from the right hand.

THE FOUR STROKE ROLL

A Four stroke Roll especiallv adapted to pianissimo passages.

mi , mi , mi
R R R

~i 1

ppp . ppp ppp ppp ppp

,.. OfteO: passages with pianissimo expressions such as these are encountered. To attempt to play these
. r: with the four stroke ruff is an error as chis will not have the proper effect. The stroke will sound either
coo long or too rough. Sorne will attempt to play with a drag in order to get a smooth pianissimo effect
,..._but it will be too short and the five stroke roll too long.

,,.-- Ir is essential, therefore, to study the four stroke roll as_oudined above .. This will be found to be a difíi-
,,-.... cult technical stroke but with a little patience and enough practice the student will be rewarded for his
efforts,

r This stroke can also be used to great advantage in F passage in 2/ 4 and 6/8 marches and the like.
r: 11393
 16 THE SINGLE STROKE ROLL
Single stroke · rolls are the .most effective strokes on the snare drum. Considerable practice is neces- \
sary to .develop the strokes evenly.
'
V arious ways of practicing the single stroke roll .
.,

rrrr crrr crrr rrrr lcrrrrrrrcrrrrrrr~I'

~ R L R L R L R L R L R L R L R L R, L R ·L R L R L R L R L R L R L ~

u 1
LRLR LRLRLRLRLRLR LRLRLRLRLRLRLRLR.,.

R L R L R L R L ·R L R ·L ~ ~ L R L R. L R L R L. R L R ·::::

:H~ r Ll Ll Ll Ll r E e e Ll r r ji
r E r r r r r r r r r r .......
. . .
RLRLRLRLRLRL RLRLRLRLRLRL""

'l ,
E aE E e f F ·ae r E e aLl F 1 E aLl E e ar F E a·E E e 3Ll F ]I
Although the single stroke roll is. very important .in orchestral work- ir is -one which is .the most ignored
by percussionists. These strokes will be found mostly in solo passages and below are given a few examples
of how they might appear in different works. ·

:'I
~· R RLRLR L R R~RLR L R

R L.R L R '
R R L RL R

rrrr ir rrrrEJ!
RLRL R RLRLR L
¡,. RLRL R

rr r r r rrrr Ir rrrr
RLRL R

~
~ 11
1
)

,1 rrrrr r rrrrj r lrrrrcrrrrr

R L R L R L R L R L.R L R L RLR L RLRL RLRLRLRLRLRL

lrrrrrrrrrrr r lrrrrr r p !
RLRLRLR
11
)

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'.

r · 1• r r r r r · l r r r r Ir r r r
' R L R L R L R L R L R L R .L R L R L R L R' L )
.. ¡
.,'1
'
~ ¡· .d • r r r r 1 1 : 11 )

,•
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1

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r,

· ln executing these · passages with single strokes .. you will notice that the 32nd notes ·will sound crisp,
snappy and even, The five stroke roll is a poor substitute for the single stroke. and should never be used in
/ '.

'i. ~ ~
its place.
'i 11393
'
)
. ~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~·~·
\
;
 THE SEVEN STROKE ROLL 17

}'. ~ ! : ! ! ! fi }'. ,. 11 ¿ ! J J ! !fi ,.

R L

p p

Starr slowly increasing speed gradually. This gruppetto is used mosdy in military drurnming and is
~ seldom encountered in orchestral work. It is a very beneficia} stroke for wrist practice and may be played
-.., frorn either hand, it : being advis~ble,. however, to finish wirh theright hand.

,,.....,
Alternating Stroke Paradiddle
~tJ r R L
r r r r r r e r r r.. r r r r
R R L R ·.L L·
1
R ~L .R R L R L L
11

""" Alternating Flam Paradiddle

l~rrr
-l
Mr rr ~
R L ·R· R Á L - R. L L

The above fingering is excellent practice for dexterity, but "to simplify the stroke and flam paradiddle

.
it may be played in the following ways:

Stroke Paradiddle
~f E R
r rr fr
L R L R L
~
R
j
L
1 ¡rrrfr
R L R L R L
r
R
r·
L
11

Flam Paradiddle ~ 1 f! e e r pe e E F 1 ~ E E F F¬ E E r 11
t. R L R L t: R . L. R L . t. R L . R L L R .L .R L

Drag Paradiddle ~I ti rr r F a rr e F 1 ílEE u t2 u E F 1

R L R R L. R L L- R· L R ·.R L R L L

~ Should be execu red from hand to han d.

~ . Double Par~diddle @2 . Et r e rr EE E j E' F 1 me E e e F e cr E rr J

RLRLRRLRLRLL RLRLRRLRLRLL

Double Drag Paradiddle ~ ~ !fr r: E EE r ~E E cr r F liic cr rr rl-l cr nrr 11

· · . R L R.L R R L' R L R L L. RL RL R R L R L R L L

Double Flam Paradiddle ~a terr r r r te cr rr r te EE rr rtr ere cr

RL R L R R L R L R· L L
1
RL R L R R L R L R LL
11
 18 V arious strokes omamcnted with flams-drags-four-five and seven stroke rolls.
)

\
FLAM STROKES \

t~
fR
•

R
t~
f
•

R 1t
1 ttif
fLRRRLL
•

R R
ta
f
•

R R¡
1
1 t~
f
:

R. R
ta
f
r~
f
•
r~
f R
,. R
1 •

R R
•

R
1
. LRRa.LL
or: LRRRLL LRRRL
or: Í.RLÍ.R L Í.RLÍ.RL Í.RL Í.RL Í.RL Í.R

. ' . .
To acquire 'dexterity, the following exámples should be practiced with all the ·~ñngerings,, noted.
When actually playing with an orchestra or band, however, the .studcnt should himself know which way '
he can best execute certain strokes and should use that way. The conductor and listener does not care how ,
the instrumentalist executes various technical strokes as long as the proper result is achieved.

¡fi:J JrJ ,J 1 ¡J ¡J ¡J ¡J l
-1 L
L
R L R a. L 11. L
R B. L L R a. L
L .R
L LlR
L R RIL
R
1

(
a. L R L
L R 11. L
')1
L R
l. R
' ~ 11

L R L R L R LR L'R L R L R L R
Gradually increase speed

:'I

'
1¿ 1¿ :1
'ª
J )>
\

~I J argR J ¡J 1
R L
L B. L
L .L R
R
R
R
L R
L
R
R
L
R
L
L
B.
L
L R
L
R
R
R
R
L R
LR
R .L
R
L·
R
" t

Gradually increase speed 1

11
1
1

1
¡J. Q ¡J,
= . ~J. o J' ! IF j)
1
~I ' t
j
1 J{
=I
\.

., 1
1 L R L -a : L . ··R .L· R· 'L 'R. L R L .R
' .L R ·.R . R. L ·t L R· · ll "R. L L L R
.; 1 R L L .Jt L L R. L 1
L R L L R L
.\1
. '
.\ Gradually increase speed
!
f
i
¡

: !
't
.:!
! ¡
,(

\ ~
'
-----------'\ - )...;
 19
ORAG STROKES

di ~~

L L R
LLR
.
iE1 ~
RR L
LL R
1 FJ ~
L L R
RR L
~

RR L
RR L
~
=11
~

L L R
L L
~

R
~ 1

",..., dz Ji J j) B J )> 1 Jj J j) fj J )
•11
jj J ) 11 J ,. 11
L L R R RR L L L L R R RR L L .L L R R RR L
""'.

""'
........
,.......,

d1 J n J J a 3 1 J n 3 J n 3 ,1 J nJ ;Ji ~ 11
-
,...
L R.RL R LLR L RRL R LLR L R R L R
R R R L L- L L R R R R L L L L R R R. R. L R -
,.......,

~ -1 nffiJ
rv

LLR
LLR
-""""ª ---

LRL
RLR
R.R.LRL
LLRRL
R
R
LLRLRL
LLRRLR
RRLRL
LLRRL
R
R
LLRLRL
LLRRLR
11

:di n JJ J 3 n J J J J 1 n J J H
• LLRLRL RR.LR LR LLR LRL
n JJ J J :ll n J B J n ñ ,. 11
RRLRLR LLRLRLRRLR

ñJ J5J· =11
n j ,. ,. ~
,. 11
LLR LRL R.R.L RLR LLR L RL R R L R L R It L R
 20 COMBINATION OF STROKES

nq
3 3 3 3

@1 ñ J J J J J J 1J aJ 1
ñ J J J J J J ¡J
L L R L R L R L R L :L -i. ·R L L R L R L R L R L L L R

.r-

@1 , ~w
c.
L L
3

~ ~ ~
R L R L
I~
R L
¡, f.j, ~
LL R L
3
~ ~
R
~
L
:11' ~
R L
:1
-

@1 tEJ<J R. R
!;J 4ZD:J i;J 1 t!d]:J cJ LU]zJ
L R L L. R. L R R L R L L
lJJ' :11
R. Li

n J J J J J J J J J 11 n J j] 3 J J m J JJ =11
j .
R. R L R L R L .R L R L R. R L LL R L R L R L R L R

Note different fingering in second measure.

~i
,j ;-¡j fjj ) 1 ¡J J :rJ m J?
" '
1
=11
L R R L R LR L R L R R L R L R. L R

m ftjJ m f:tj
3 3 3 3 3 --.,,
¡J ñJ
3
¡J J • ¡J aJ arJ J J j
~
s
i" ~I L R L R L R L R L R L R. L L L R
1
L R L R L R L R L R L· R. L LL R
.--....,

@i t~ J ~ l J~ L RLRR
¡J fJJ~B~ tJ 1 tª; J~:J tJ
L R.L L R LRR
!!§fJ:J tJ LR.L
=11
'
1 ,.......,

~¡ + f,,, J j- ;- j- J-~¡::
~
L
~~ fi-¡=~
R LR
tl
RRL
LJ
R-LRLR
se rr ~ 11
-----
-----
tn l !ftr
L R
lr
LR
~ t!' e r r r
~

LL R L\ R L R L
l 3 --.,,
=11 ~
~
Note different fingering in second ,measure.

ª2) bl g,. 1 @lil i>- , 1 l!],@ r

. 1

.!
..
1

~I vP , 1 §;Q;J iJi ,
..,1; RLL R R. L L R ' R LL R L R R. L R. L L R R. L L R RLL R IL R R. L -,

e,c e E r ªe E r EE rr :11~
1!
3 3 . 3 3 R R L R L R.R. L R L R L R L ..--...

~I @A. jJ L L R L R L R L
m 1~Ill R. R L RL R
J JL JR :H@t · 3 .,. . ., ,
'.· !
','l --.,,
'¡ ,. 11393
~ :· :
\

''
1
.
"""\. ...
 ABBREVIATED VALUES 21

Abbreviarions in manuscrrpr or printed muste by rneans of signs.

,.,
...
r
"'
/"'"" 'W' ritten
' r
r> ~

,.,
--
1 1 1 l 1 • 1 I· j • 1 1 1 - l .1 1 • 1 1 .

r: Played • -
r: ~

rr
""' \V ritten
1 1 1

~,
,.,
,-..,.
Played - --- - - -- - .-- -------- - __ _
' '
~
r
'

"
r>:
,-...,

r: \Vrinen
/
.......,

Played
r>
,.....,,

"..--.,,,
f'"""'\
,....,.
,,,...,_ Written
,.....,.

"
,-._
Played
r>

.-'"'\

»<;

f'"'\

r-.
' I"\
 22 ELEMENTARY BEAT EXERCISE STUDIES
~
R. Indicares right hand. .......,

No. 1 1
L. Indica tes lef t han d.
"'"\

1,l r
Slow ( 4 beats in a measure). Count One (and) Two (and) Three (and) Four (and)
-.
\
1& 2& 8& 4& 1& 2& 8& 4& 1& 2& B& 4& 1& 2& 8& 4&
r Ir
"'"""

R
1) ~
r
L
F
R
r Ir f
L R .e r lf
L
F RF
L L R
FL RF t 1~-
+-,
l <;+..
1

2~ r r
R L
FR r Ir r
L R L
F
R
~ Ir R
F RF
L
r Ir r r
L R L R
~ I'
'
-r-,

'
""\

3~ r r
R L
F
R
r Ir
L R
FL i t Ir
R
F
L
r
R
F
L
Ir r
R L
~ t I~
' "'\

4~ F ~
r ~ 1 r t r t 1 r r r t lf -t r t 1:
,,
R L R L R L R L

'

5~ F t LF
* Ir r R L ~
~·

'r r t
L
# Ir R
F
L
- .1 r
R
# [ t
-.,,

R
"
'

6- F r - r r r r tr
""

R L '$ R
t F I~ F
RL
~
L
1
F
R L
F
R
r
L
I~
R L
1-
1

7~ J r
R
i r
L
1r
R
r
L
F
R
t I~ f - lt f - 1
'
'
\

'si r r r - r r Ir r Ir r r (
\

i
R
t
L
I~
R
1
R
'' L R
~ t
L R L R
.-..,

-
)

9~
R
F ( F i 1- t R .f 1 - ~
f 'r F
L
- 'f r t L f 11 )

"'"\
11393
\

'
 No. 2 23

Two beats to a measure. Count One (and) Two (and)

2 1 2 1 2 1 2 1 2 1 2

Ir r Ir Ir
1

1 ~I F F
R L R L R
F
L R
t 1
¡R
F F
L
Ir rR L
1

:2-
!"
1

~
r
L
2

1
R
1

F
2

~ Ir r
1

R
2

L
1
1

r
R
2

t 1
11

f r L
2
1 FR
1 2

"' 1 2 1 2 1 2 1 2 ~ 2 1 2

~ª ~ r r
R L
lt r
L
1 r r
R L
I~ r
R
I~ F
L
lt r
R
A

=i~
~
1 2 1 2 1 2 1 2 1 2 1 2
J r
L
1
R
r i I~ r
L
lt r
R
lt r
L
1
R
r t
t"',.

.';~~
r-;

1 2 1 2 1 2 1 2 1 2 1 2

R
r r L
I~ r
L
1 r r
R L
I~ r
L
lt r Ir
L R
t
n

~-
.,.......

1 2 1 2 1 2 1 2 1 2 1 2

,,.._.
~
r
L
1 F
R
i I~ r
L
1 r r
R L
Ir R
# -1 r
R
t
r"\

~-
r-;
1 2. 1 2 1 2 2 1 2 1 2

Ir
1

,--..
1 F
L
Ir R
F
L
Ir R
J
R
~ Ir R
~ 1
r r
R L
,.....,,

:st
r'-
1 2 1 2

r I~ f Ir
1 2 1 2 1 2 1 2

r»
r
R
i
'k r L
1 F
R L R
F
L
li r
L
~

I""'\

,,.......,.
 24
1 1 2
The nu~bers 1 w ¡with lines drawn across the stave separating the measures, denote whole mea- .-
, sures of rest.
No. 3
Exercise in quarter and eighth notes.

ur r r;
Count One (and) Two (and )

~: tJ r & , & ir r r 1 r & ; & 1 re e

~
~

i1 2 _,,1
lrr rr Ir~
2 1 2
r r r r Ir r r r Ir r r r
1 2 1 2 1 2 ---

~ F a
1~
1

'
1 1 2 1

Ir E2J Ir
1 2 1 2 2

rr r r rr r r r
1

1 1 ~
~

;1 1 2 1 2 1 2 1 2 1 2

~ F I~ E2f IEJJFt I~ E2f C2J ~ 1 1 t .EJJ 1~

2 1 2

rr r r
11
. . -
z 1

1 J 1 l

~ r ~ u r u. r e e e· r 1 r ~ r 1u
1 1 2 1 2 1 12 1 2 1 2 1 2 1 2
1---
1 1 1 1~ #
f .
i
i
t
l

¡
• ~ 1 2
~ t · F 1 E2f i I~
1 2 1· jtJ 1 2-.·
lte<;I~ E2J 1 F ~ Ir r r r
1 2 1 2 1 2 3
1~
t; . '
1 .,:. ~
l· z
n
1 ~

1
i.\:
J!
u rEr
2 1 2 1 2 1 2 1 2 1 2 1 2
~ p LJ 1 E E E¡ I~ 1 LJ r 1r EJ 1 r 1 F ~ I)~
11393
\
'\
 The fingcring (L. R.) muse be carefully observed. 25

No.4

2 1 2 1 2 1 2 1 2
o r
R L
1
R
r r
R L
Ir o'ºµ,.
R R L R L R
ILJ t
R L

r6 1 2 1 2
r
1 2
u
'º
1 2 1 2 1 2

u t iu .r r r :
,
t 1 t ILR J L RF 1 1
r- R L R R L R R L R L

=~
R L\
1

u
2
p ,. 1
1 ,. µ F , ,. µ
2 1
r , . r r r iu r
2 1 2 1 2
, ,. µ
1 2
l
,,... R L R L L R R L R L R L R R

, ,. p
:~ ,. µ ,.
1 2 2 1 2
, ,. p ,
1 1 2
,,. µ ,. P 1 2 1 2

r-.
,....
R
t
R
v
L L R R
1 F
R
r
L
¡,. v ,. D
R L
1

=~ ,. ,. , ,. ,. µ ,. ,. ,. ,.
1 2 1 2 1 2 1 2 1 2 1 2

F F µ µ ,
rr r ,
p ,
u l t µ

:~ ,
~ R .L R L L R L R L L R R

1
t ,. p , ,. p ,. p p
2 1 2 1
1 ,.
2
lt
1
,.
2
p lt ,. µ
1 2
1 ,.
1
•
2
r r
,
1
L R L R R L L R L
.-

~6 F ,. ,.
1 2 1 2 1 2 1 2 1 2
p o 1 't
~ 1
LJ p r r 1 FR r 1 Ll

:~
R L R L L R L L R L L R L
-
u v ,. 1
l ( J ,. 2 1 2
p ¡• r r LJ ,. p ,. ,. v
1 ,.
1 2
1 ,.
1 2

1
1 2

R L L R L L L R L L R R L
,..._

:j ,. LJ ,. µ ,. ,. p ¡ ,. r E r µ ,. ,. µ
1 2 1 2 1 2 1 2 1 2
1 r • F 1 1 ,.
1

:~
r L R R L !, R L R L L R L

µ ,. µ ,, µ ,. ,. µ v ,. u µ ,. ,. p
1 2 1 2 2

'lpº ,. ,.
1 1 2 1 2
p ;r 1 1 1
R L R L R R L R R L 'R L

=~ o
~
,.-,.11393
R
1

L
,.
2
µ
L
1 2

u Iµ ,. Ll r r r
L
1

R
2

R L
1
1

R L
2

R L
¡• 1
1

Ll p H
R L R
2

"
 •
'.,

26

12 128 128 1 2 2
r8 1 Y.
lpr l r 2

,, ,
1

,.
1
@
11 '
Ir ,, pr
'1
~ u
1
i
2 f r t
1
Iµ
2 8 1
t
2 B 1 2 8

® 1

P"'"rrrrr '" r r r r r , ,. p r u 1- - 8 1 2 8 128 128'

~'~:~v~f~~p~-~'~f~!~f~'~v~r~y~r~f~"~'r~~r~¡~r~;~v~';~P~i~r~r~1:
'
~~~®~r~t~r~,~~~r~a~-~1o§·§t~ru~-i1a~-~~~r~lr5t~~a~·~1i~a~-ªiª1~
128 128 1 28 1 28 128 12 8'"'

®
F , ,. p t2
,, r
~
1 1
1 2
p Ir r 1 2 8 1 8 1 2 8
,,. p 1 ,. P ¡,. P t
1 28 1 28"
1--

$ ,. µ t 9í ,. ,,
p p t µ lf
® ,
1 2 8 2 1 8 1

,, , ,. µ " µ r r
f p ,. µ µ 1 Y.
¡,. p "PP "ILJP"P"
1

I"'
'\

~
1 2 8 1 2 8

~® r r p ,, , ,. p p u r r r '.f r f 1,. r
r f 1 1~
y
=1~~~~~~~~~~~~~~~~~~1~~~2~~8~~~1~\~~2~~~8~~~
~ 1 Y. )!
'B 1 2 8
;
"
''\ @
.JJ
'¡ l
(,:
'\' 'P"UF
2 8
1
lv'UF
2 1 8 .1 2 8
lp"P"F
1'
.,' ¡· Lerters A-B-C-D-E-F-G denote the different sections of music. Sometimes numbers are used ·instead.
. ,¡¡ ,~:--
~~ : . 11393
'\
•'' '\
 27
-i. The two sixteenrh notes should be of the same duration as che eight note, no longer
....., or shorter.
No. 6

:J.
uu Ir
R R L R R R L R AR

~: r ur Ir crr Ir rru
R RLR L R R L R L R

1 & 2 &1 1 & 2 & 1 & 2 &

Ir ~
2
Ir
1
~
2
1 1 & 2 &

r@ r e;¿; ir
1 2 \1
l
2
Ir
R

1
uu
RLRL

2
ir
R

1
uu
RLRL

2
Ir
1
RRLRL

uu 2
R

Ir ~ 1
1 2

,. j i arr
,-
1
1 2
IEJf r IEJtu
1 2 1 2
ir~ 1 2
=11°a;a;1r t
1 2 1 2
1rnrn1r
1 2 1
i 1
2

=~ EJf F ltrrr
~,=== 1 2 1 2
Ir crr ulr * Ir
1 2 12
u Ir u Ir uu
D

12 12 1 2
1
~@ r r r r IEJtEJf
....... 1 2 1 2
irno:
1 2
1 e rr r lrnr i! re r IEJto:
1 2. 1 2 1 2 1 2
:
"'";J.
r§),. r r r larµ,. ¡,.r r r IEJ:fLJ IBfE1fl~"
FR R L R L

,...,_ 1 2 1 2 1 2 1 2 1 2 1
1 lblf
2 1
U1
2
,-.
-:J.
:¡ w u u 1 u~ u IW u lbíf r Ir ,
RRL R L RRLRL R L RRL RL RRL RL RRLR L

lbf! lbtf 1
"1212121 2 1 2 1 212
,. . . J GR L L
lu r
R R R R L R R L R L R R L R R L R R R L R L

,_~ W ID lblf U IW ID lg ru 1 ¡! 1 ¡! 1
,..... 1 2 1 2 1 2 1 2 1 2
,-,:J.
cru IUJu
R R L R L R R L R L R R L R L R R L RL R R R L R H L R L

:¡ GLr u-Ir
1 2 1 2 1 2
ir E!ID lutr
1 2 1 2
1"rr r
12

u 1..-A?I' r Ir uu iw u iw r
R L 2 L R L R LL R L R R L R L R R L R

,,.... 1
2 1
r r
2 1 2 1 '2 1 2

1 2 1 2 1 2 1 2 1 2 1 2
,..._11393

,..,
-------
 28 No. 7

uu crr uµ,. cu1 . .

R CRLR L

! r 1 >! Ir rr Ir Iµ,. r ulµ,.

¡ 1 2 1 2 1 2 1 2 1 2 ""'
i. '°'
e rrl,. EI" tF ¡,. i" µ lt U"
• 1
' '
F E!LlflElf~,. ,, E]fli 1:
1 2 1 2 12 12 1 2 1 2 12

t t bf' lt bf' lü"' ~" 'W, µ lctr,. µ ICJ btF ICff. p,. ¡~
1 2 1 2 1 2
A

1 2 1 2 1 2 1 2·
....,

@ ,. µ cu ¡, ~ 6U *
1 2 1 2
1 1 cu , µ lt , v lt ,, µ lt ,. µ
1 2
B

12 12 12
1 bilf ,. ~
1 2......,
l1
....,

~ at" µ 1 crr a" f

1 2 1
cu µ,. '' u,. 2 1
ª' Ef' µ ª' bf' cr"
2
1,
1 2
1
1 2
1
1 2 12
1~

i t et' 'u'"P IID 61" Ir orurlr au Ir crr u 1~

~ D '

12 1 2 1 2 1 2 1 2 1 2

g w r Ir ere u Ir reu Ir ere u Ir uw iw ~ 1~

1

E ""'
1 2 1 2 1 2 1 2 1 2 11 2 ....,
.....

g w t 1 w ,. cr 1 m- a ,. 1 rrr mr 1 ca , µ 1 rrr r:rr l!.mr µ ,. 1 ,

1 2 1 2 1 2 1 2 1 2 1 .2
1

11 :2
'

'
• F 1 1

¡¡
' cu cr:r er" s
~
[f ¡,.
"~
1 2 1

1
v EU ¡,, v blf lbf!,. v IEífW l[Ef CU 1 EJfBf
2 1

1 Et" 2s
11
2
l~
1

1 utw
2 1

l 6ff 2
2 1

ar arca w bf" 1
2

1
'
2

11 :
.. ·1 2 1 2 1 1 2 1 1 2 1 2
.' 11393 "'1
1:
''
~
 '"' The groups of four sixreenrh notes should be played with single stroke beats, thus:I
•:nencing always wich che righc hand.
rt t r
R L R L 29
1 and com-
.
'"\ No. 8

'1§1 lrrrru lrrrru lrrjru 1

1 2 1 2 2 1 2 1 2 1 2
1
rECCf j;: p rrrrlU rrrrlr µ rrrrlrrrrpr" IU UfflLJ SjjC 1, 1
1 21 2 1 2 1 2 1 2 1 2 1 2 1

,f rrrrrrrr lrrrru lu rrrrlu rrrrlu rrrrluprlt rrrrl

1 2 1 2 1 2 1 2 1 2 1212
2 1

I~§
r
r l ll rrrrlr l larrrrrlrrrrulrnrrrrlarr lrrrru 1
1212 1212121 2 1 21 2
1
~& rrrru 1212121
1 rnrrrr larr 1 bl1 rrrr 1 r r r lbrf
3

2 12
r 1
rrrrl u [r 1
2 1 2
l

r¡
r:
. 4
6ff rrr~lrrrrlEJEFLlflCEffF Ir r lEEEfBflr F l1·grrw 1
1 2 12 1 2 1 2121 2 121 2

6
Ufttrrl'p rrrrlr~uluWIEfffb[F Ir rplrrrrt 1
1 2 1 2 1 2 1 2 1 2 12 1 2
7

12 1 2 12 1 2
''Pulw~
1 2 1 2
lr1 rrrrrrrl
2
@
rrrrltf rrrrlrrrr; .. 1;· r 1• 11

tri b fF
2 1 2 1 2 12

~ Abbreviated j't 11 Abbreviated j :?.¡-• :51: ~

r
,,..... .... As Playedrrr - rr As Played 1 ~
,_,.=
:J ~
~f .... Dors are ofren placed to denote che number of bears.

'•
 30
A study in abbreviared quarter, eighth and sixeeenth notes.
No. 9
....
1 2 1 2 1 ·2 1 2 1 2 12
\ @ ,._
@ ,. ! w ;· 1 ,.. ,.. 1 bf ,. Jj bf ,, t gr ,. 1 1 ct ,. t 1 r E r r 9' E E E 1
12121 212 12 1 21 2
. ® ~ -
@ 9'f E E E E E E ll EFE 9' lt FE E;- I aJF í}[r (íf l LJ Uf l 6Ef f 1:
1¡ 2 1 2 1 2 1 2 1 2 1 2 1 2 ~

r tr p ,. w
1
ú F 1 ;.. 1 w 11 11 1 rrr r rrr r"'
1 2 12 1 2 12 1 2 .....
~ . z ~
:
bLF ;-rrrlrrrrrrcrlrrrrt .. l' u 74; ID,.¡,. blJ p 1~
1 2 1 2 1 2 1 2 1 2 1 2 "'\
!
1.
1

1 ;
1 ;

ri
[ '

1
1
'

.¡
1

'\
:,., '.\ -'
 No. 10 31
-. STUDIES IN FLAMS
....,,.

:: ~: 'r 'r 'r ' 1 : 'g~ ~

1 ~ I: '~-F
2
¡¡; 1 ir"!::::!'
1...1 fi~
r 1 ª• U ·+"f 1 ª.,.U U 1

¡.
1

pi
©
11 i'P ,. " p 1 ,. 'Er ,. 'r i- r 't1r ,.
1 ,. 1 ,.

®
1 'r u 1rrrrtlf1 'r cr 1
rrrrt1f
,_ ,,
1

1
=~ ¡
Jf.
1 1 - ~ :- u==~
q
, Jr r!L 1 " 1 ~[f f
jll • ,;::::¿¡
[d

Ji~ ~ rcr
·• rl
@
"tp l'E} ~ l 'BfBr l'urdrl 'urrrrrlrrrr@ 1

,.., 113:'.)3
 .
' ,,
32 No. 11

1 •••

1 ~

' 1 'ur
A ~
r r r r y" h· ;Br 1r
u l 'r r r r 'u 1 cr ;r 1Elf
1~

' rrc;r 1U l;r cr "tu11crr "U Ir rrr ~ W Ir CU •r !! ~

f t 'r 1 'rrrriejrrlt ,r ,,,P

B ~
1 .
1rrrrl,1p '¡µ 1,,-utFW 1~
1 ·

1 ~

f cr F 'W ¡, bf r ¡ , 'b!,,
;
e ~
1rr1rr r r 1rr Ir r r r" ¡;g¡ l ~
1

1 1 1
Jf6f

1 '.
¡
1 •
'
1~
'

l
í
-
i a" ; r r r 1 it(r r ; r,. r 1~
1
d" * 'r íl F r r r r,. r ¡,. 1 r Jr r Jf r 1 '
~

crr 1ta•;~1Trc'r 1 ~'

~ ~

r rrt l· l~ • .. ~ l'r;i'• tí'•

.

r r Er
'-

"ffi 1rf ,_ 1 1r 1r" "í~ ¡,. 1p 't Í'" lrr1rr 9'E 15r19'Cf9'
F 1 . 1 2
1
!~

.'
~ '.' ; . 11393
'.. ,.
,_ \'
\
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[!:- Tbis exercise should be srudied slowly and carefully. 33
¡1r Please observe che > accenrs.
No. 12
J.. i.
r

: ~1 1ttf &r
l. 2 g__
1 r r r r f 'r r r r ¡ 1 e r r r r r
4

1
2 ~

1 2

1-
1
trr r r,
4

1
:l
tr r r r t
2
, ,r
3 4

1
1
Jrfr r r -
23
¡u 4

r El 2 > 3 4 > 1 2 > 3 i. 1 2 3 4

~ ~ rrrrrr,rrrrrr
1·rtrl rrcrrr:#rr
1 jtr l;-jcrrr
'rr-r-EEtrr'*rrl
r
:t.
r 'r ,
2 3
1 ,. bJ,,
¡¿ 1

1 2 3 4

r F r r U r r j r.r P 1

1 2
y-r/lrljµ

g i $ i t ;t~ ~ tlz
Lasr Measure

A:~;,:;,:' ,, 1
'
r: "1= Ac lerrer G a repeat :/. sign ro che preccding half mensure is inserred. This is a common occurr-
-.. ence in orchestral work,
'""11393
1:
1 • 34 RHYTHM ANO THE PERCUSSIONIST
1

RHYTHM is the occurrence of accented beats at regular short intervals of time.

Most persons have a natural rhythmic sense and are able to keep time. Additionally, the musician, --.
and especially the percussionist, needs not merely a natural, but a very strong rhythmic sense. T¡o define '"'
it more clearly, a strong rhythmic sense means three things: Firsr, the ability to maintain a belt for a""'
long period of time (say five minutes) at a given tempo without permitting the beat to become either fast- '
er or slower. Second, the ability to combine beats into any kind of grouping the composer may call for "'"\
and to change the groups as frequently as may be necessary. Third, it means the abiliry to break up the
• 1
'
"'"\
beat inro smaller units and to execute any kind of pattern made up of those smaller units, For exarnple, if ...,,
che beat of che piece is indicated by quarter notes ( J ) , as ir most commonly is, che musician must be able '\
to break up the beat into two equal pares, eighrh notes ( JI ) , four equal parts, sixteenth notes ( )\ ) , '
eight equal parts, thirry-second notes ( J ),etc., or into any combinarion of these smaller units ( th~t
is, any rhythmic pattern) thar the composer may require.

It should be understood that what is here· called a strong rhythrnic sense does not come entirely from ¡
natural endowment; it also comes from study and training.
'
In respecr to rhythm, the percussionisr · occupies a position in the Orchestra of great importance. If 1
a player of one of rhe melodic instruments (cello, etc.) is deficient in rhythmic sense his deficiency will ..,
sometimes be covered up for years as he will always be able to follow the others, to play with the section.
The sound of his instrument need never emerge from the general mass of tone. The percussionist, however,
has no such safety. Practically every instrument he plays will emerge from the general mass of tone, When- 1
ever any percussion instrument is played it must be struck at exactly the right instant, neither too soon nor
too late. If the percussionist. is deficient in rhythmic .sense and training he will never.know when that
exactly right instant might be.

If he strikes his instrument át the wrong instant he will not only revea) the weakness of his rhythmic "
....
sense but, what will be more intolerable, he will impair and possibly ruin the performance of the music.

To a strong and well-rrained rhythmic sense the percussionist must add another qua!ifibation: namely, )
the intelligence and ability to follow the conductor. He must not only be able to read a~d interpret the "'
)
music, he must :ilso 'be able to read and interpret the conductor.
\
At rehearsals and ·cat performances the. percussionist must place his stand, his ·music, his instruments '
and himself in such a position that he can, without difliculry, follow the eye and hand of the 'conductor. He '
~\\: must, from observation and practice, learn to read and obey the slight~ sign that the conductor gives. ...,
¡ Any deficiency in following the c.~mductor will have serious consequences both to the music and to the '
...,,
j
1 player himself. lf, in an important passage, he fails to obey the conductor he will not only ruin the per-
1
! formance, he will find himself out of a job. >
1

'•:
.'•
''
',
''
 1 uu t IN KHT 1 HMlt;AL DIVISION

The dividing of these examples should be underst ood choroughly by che srudenr before proceeding
further wich che exercises.
r

"r
Written differendy bur rhychmically alike.

r
r:

r-
r:
1t B tB , 1tü . s8. 1
9

1? r ~ 9' ~ ~ ~ "11~" ~ 9' 2 ;- fY1

1~ f t ~ ~ t ; ~ 1 ~t ; ~ ~: t ~ 1
1f1t~!t~112J;~LJ;~1

1 f ·;: y F ~· :¡ y~ 1 { .. "1 { . "J 1

1 ~ j f: J 11 ;: ~ ~: ~ 11

r 1 ~· ' ~· ' 11 ~· y ~· y 11

The only way ro sustain notes on the snare drum is by execucing rhem wirh che roll-cherefore rhese
r> principies apply mosdy to S. D. playing.
r-
 No. 13
• ~
-,
'
t 1 ;Tif t li fJF 'r 1 t lf ,e 11
....,
..,
1
~...... ...,
J.
@ lt ¡ i""' lf Ir t
1 1 1 1 J;TIF 'r 11r •
i
B
11 ~ ,r ti1 1 ""...,
'

1 F ¡F ~¡ 1 t ; 1 *t f ~ 11 ~

'
'

1 ~ G u r tu t 1 f ¡; ¡; r t 1 ¡; ¡; r r t l l t 1 E r ~ 1 :

'ª p í
B

111 ~ Ir ()" lt 'r 1 F ;@u ca ;=1 ~ "'\

1 F 1F 1F
¡ 1 F ¡r ¡r t] E r Cú ¡ tr ::r t 11 :
"

11393
 ,
No. 14 37

T riplers are marked by a number 3 over or under a group of thrce notes,

+ire ro be played in che exact rime of two notes of che sarne durntion.
;-p
JJ J
which mea ns rhat they

... LJ
Please observe expression marks.

= ~11 p;; ~J~ .¡ - ii lg ,.''t ilt t

P-====f
1

= ~l' ,. :rr 1r jte l'r for 1r ffl ,. i.b". 1

=f

11

P'
1 u FU ,. 1r r r ¡ ,. e >·- rt
>
1 ¡

3 >

* Ul f
~Í 1 r r r r ,. !r µ ,. 'µ ,. ifp 1r r r r ,. 1µ ifr t r 1r ~ r >r ~ EJl().Y I
1 11

-
1 1

I1393
1 •

38 No. 15
CRUSH ROLL
~1)i,Ji,1~~~
u
Moderato
~I 11= ¡ 1> , 1 i, 1r rr 1 r r r r 1 *¡ 1 r· c:r u

"1~ r rµ,. w 1 r tu :rw 11 ;ttµ,.,. p ;"

:>
1

, =11
f
crrm,
e-

re re 1 u u ¡,, ¡µ ere e 1 {7U

~

" Jl'P 1 ~" ~ " 1,

'•' 11393 '; ..,

 EXERCISES IN ABBREVIATED VALUES 39
No. 16

t~ ~ ~ t~ ~ 1~ ~ w ~ ~ t~ 11$ i ~g it1
-r-, .EXAMPLES FOR THE FOLLOWING EXERCISE

~ Affu~;~:: ~I ~
,. J R RL R L R R RL R L R R RL R L RLRL RLRLR

r r µ ,. lrtrrp ,. lrtrr rcjrlcrrrp"

R ~~ R L R R LL R L R R LL R L RLRR LRLLR 1

r ~: r r 11
1

r ¡ r r r r r r r ¡ r r r r r r r; r r' r j· r r r j r r p ,. rf r r " µ.
1

1 1 1 11 1

RL R

u ,.
LL R

-§ ri r r,. p Ir r r r" µ 1 ri r r Y-tf rlr r-r r f qr r 1

RR L

,.. 1U

r r r r r/ r f 1,- -~µ r: r r !;· 1µ r gr r 9' ¡,. frµ r ar r 1,. id ,. 11

L R

r r 1• r r r t r e r r r r r i r e r r r r r t r t r r r q ,. 1 -
R L R L R L RR L R L R L R L RR L R L R L R L RR L R L R L RR L 1
1 1 1

.; &
r r r r/ r -
R LL R L R L RR L 1 R RL R L R L R

-~ ~ r ! 1 lr.srrrrr9' llrrrrrrtr lr1·rrrrir 1

: f r i 5 r r r f r Ir E r r 6f " l Y-t r r r r g
.....
1· l;-f r r r r r r Ir t r r r r r r 1

'"'~ ;-tEf r Fr r Ir r r r r r r r 1 tti1 r ri r IJ r r r r r r r 1et1· r ID 1

-. The fingering used in chis cxercise is opcional as long as che necessary resulr is achievcd. The srudcnr
-.. can use che fingeriog ro which he can bese adapt himself.
 No. 17

1 2 ·1 2 1 2
lr@Y-rrrrlf .. U 'Y:jEFbt"
1 : ,
I~

. . ""\

'"'
r r r r I~
. 1

lt §rrrlrr" 1 ILJ

3 ......
, lrrul-
""\

Ir-; re µ ,, 1,
4 '
,, 1 rt r r LJ 1 >1

,.¡§~,,,
5
1-

g r r µ , lt ~ , ,. p

11393
 No. 18 {l

-
.....
EXERCISE WITH SCOTCH SNAP ANO THE REVERSE

As \V ritten
As playcd

uulutf luu lu1p rllu iip y

6 LJ ¡~ " 1 O LJ 1 z! ILJLJ 1 Z!

.
iur 1 :=-u1;2u_1
f !FCT 1 r:• r;- U l(?tjf lLJ c:·r r ILJ Uf 9' ILJ(Uv- 1

CTU lucr· lurr· 1,,-(Ef U lu:_r· lra;LJI rrrrµ Ll

• 1 • - ~ • , .-
 42 No. 19

Jiu 1 r Jrr ,, u 1 f
1

~ t 1 t 11 ulr ¡1¡ criar 1 crcr1ac:f 1 --

~~~a~-i~10~·-r~~mümmPu~1=
~ 'µ W l[ltr IEJr

EJfF Ir ur ulu rrrrlt1LJ IEJ""

LJC r IBf F 11w EJIID r r ,,. g;r r lcu u 1

1 rr r r p " l_r; r r µ "

R LL R L R R LL R L R

ttID '"ctLJ 1uu1r

r IY-g r r lttr lrm r
RL R RL R L

rrrr

'
lrqr LJ 1 u r
i1
:.

'¡
:!
' "ff P 1rru1r:;rcrrrlcr¡¡la;r; lcrcrlcr rrrrlrgrrcrlEff r 1 ~ I
,.l
1 ;'

'
11393 ¡
 PART 11
ADVANCED EXERCISE STUDIES
No. 20

·· +·r· 3·u
L Ir· .:r·.:r 1 r· l r· ;f r

' r·:r·;r:.tr·;IX x iu r 11uu iau .

lr:rr::uiau 11
1

~ r r r y; Etf y 1 uu 1 r·rr·ru 1r·:r·.:p,.11 r:rr::u lrr· u ¡ '.

- ~ 6ff F llr µ (U
r
~
~
-.. ~
r1r:rg 1" µ. ;
í'
r-
""
....
r
11393
»<
 No. 21

f
; .. .,..

~ r·.:E·;,. p l(ff p" '" p Eff 1 Bf" p IY-EfFbf" 1 r u" p 1EJffbfr1

l

j
~
~
1 .
1

,! '
E~~~m~ümiiüiiümi§11 ~1
·~

RLRLRLRL

lbff Y'ff llu

rrr:tfterrrrr cf lEJ ri lmr 6!' l9rrrcr,. 1

:¡
.l·

i
. ¡
.'•
• 1
11393
I~
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''--~~~~~~~~~~~~~~~~~~~~...___::._~~---'~~~~~~~~..;..:::~
 -
J/8 rime. Counr three to cach mensure.
r
: §l rerªrº 1 r r r lu r r 1 ID ,. 1 r r r 1 r r r 1 r
-..
10
1 2 3 1 2 3 1 .2 3 1 2 3 1 2 3 1 2 3 1
1·
2
r r lbf p
3
z
1 2 3

r ,. r
123
1 µ ,. p ¡,. p ,. 1 p ,.
123 12 3123
y 1 u
123
µ :1 µ
123
u r r: r r 1
12 3
1 p ,. ,.
123

cu lg-r
1

,. g,.¡,. bif' I" r lubJ·ulrrrr~r lp GJP 1

12 312 3123 1 231213123 123
'

=~
,-..
,-
,. p
123123
r /rrrrr lrrrrr Ir rrcrlµ rr:rrlbfbf P ljr1•rrr
123123 123 12,J 123
1

:@ 123 12 3 1231 23 123 1 2 3

r· rr IY-Eífr~lr·1r IGi",. I· r··;lrr· !l2pr-.•jrl

12 3 1 2 3 12 3 1 2 3 l 23 1 23 1 2 3

µ· ~P Ir r·rlr r·¡l!'rrrrr
1 2 3 1 23 1 2 3 1. 2 3
lr~r
1 2
r lj
3 1
r -:-~Ir ur 1
2 3 1 2 3

,..., 123 123 12 3 123123123

r·.rl re,• r ar
R l. R L

r: 1 23 12 3
3 1 2 3
RLRLR L RLRL L RLRL L R RLRLR

1 3 1 2 3
11393
r 46 No. 23
1 The groups oí three sixteenth notes i=n are to be performed in· rhe time of rwo ñ of like value

I· i
e -.......¡¡_,,,,
in the regular rhythm. .

¡~ cu IE1f '"ª ¡,. p ,¡,, u:rlctr¡l"u luY I! E]f l(tf lí ~ bf I '"\

! Three counts to each measure. 1 2 "
i
1

-:J..
1

l. G r r r f 1 rr r r 1 y, 1 r r r 1 u ,. ¡ , , bt ¡, ,. bf 1 r cr r ¡,. cr ,.1 r r cr 1 r r cr 1 ~
3 4 5 "'

1
6 71 '
~ rrrr lrrrr l"p"IP"Pl'ulu'ljrrrjrlcrr rrlcrrr lrrrrrt 1~
"'

10 . u ~
~ rrrlrfrrfrrfrlrrrlrfrrfrµ 1
lcrr r lcrr r Ir rfru
.
I~
12 '· 13 ~

~ 9' ~u 1 r r rfrcrl r r rfrr r 1g¡r~O"1 t:r p,. ¡ p,. p Ir p r r Ir r r r r F 1 ~

.,
-:J.
¡rpp "latrpl
14 15 !l ~

* lfEJ1" lrpu lrfr,;: lrfr,. ,.1,. rfr" I',. rfrl~

18 . 17 ~
~ e rfr,. Ir rfr,. 1 r r r le rfr,. lrrrrrf r lrrcrrfr lu rfr,, lbf p' l~

11393
.
1
J',...., No. 24 47
Two beatS in a mensure.
~·.....
r· r · 1 EB µ " ,, 1 r· r· 1 m~ " " 1 w EH 1 ;··
-.. ..
: ~ ar µ "" 1 r· r · 1EBv""11 r crr r· 1 r crr r· 1 r· r · 1 crr v,. o;~

crr ;·
-...."·~..

r· 1 e 1
X Y.'
I "t "f
r crr r r r 1
""u " ulrcrrrrrl
o; "

,.
,. :¡
1 ,,.t. ,,.rl'-l:-."". ,,. n"
Q- u r rrr E1J , ,. u UJ r gr r u ,.
1 1 11

: ~ ~ · E! F r 1 v. 16ttf [U 1 r rfrr µ ,. "¡,. 6ff ID 1 Y. .1 r,. r,. ~,. ¡,. bff p " ,. ¡¡
»<

Abbreviared
As Played
 1
1 1'
' 48 No. 25

1, ¡ Count ali ehe eighrhs.

1 •

p ' p ' 1 CU ' p ,. r p 1 tu p ' ,. t · 11 r r r r r r_r r r ,. u~

1
i'
l1 ~ ,. ~ ' F
1 1

t e e r r r r r r r " u cr r r r cr r cr r r
1

1 11 r · 1r ' u r r r J

.:
lrrcrr' r ur r
·.r
"'.·

t:

~
r r· J
• rr r ' bLJ ' 11 r p F p F p 1rr r1
r·
e r r·
1

'.
' i
r r r r f r r f rir
1
1
;·
''

1
~ rérrfrrfrr
........
"' Slow-e-counc each eighrh.

t· t r r r 1r ,. ¡r ;·
1 ,1.

:: @1t 1F e ¡;. $ 9' p frµ

1
¡

...
fr Ü Ü 1F :rr Sr' ilrf e;;a l'r·rr (tr!'7r r' Y'S "$ rfrr F 1
1

r ~;· r·-rr·.·r·¡Efl 'r crtr r cru t gr s 'r jrt µ1

1 -
1
1

:@ ,. 'Ut rnrr" rt t? tr;rfrr Yffr'fr

1

1
;rfrrt (Ir rrrl

.z
z.

~ " " :¡: ~;· ,. ,. y ~1er1,.,. f~;· {trr ~ r r r

..., ~ ' r g,. r (O Y' Ctl:r rrru; 1;;; ,. Y'~,. r Ci'E ~f rr rfrr 1

1 ,.

....
r 1 r r j 1r ,. 11
11393
 ...., ,
50
.. ~.

No. 27

')

W Tempo di Polacca '

~ 1 ,. 'p ,. 'µ ,. IV l 'f '
re¡rrr E .
r >r r '\

.. '

i 'r 9' rrrrrru 1~:

t re:rrrrr r r >g 1
'
'

...,'

i1rrrrc:r*u11 e r r r LJ 1µ r p t
'l
1

,. ,µ 'µ ,, 1
1 ...,

'....
-,

')

'
l
.....

1
'
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11393 ')
'
'' ....
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.... ~

"'
µ 'r
>
P 1P 1 r
>
µ 1. µ . jr µ
>
1 P ,. 1 1v ir
>
p 1 lf ir ~ , ,. ,r
> >
µJ
"'
: ~
v" t 1 t ¡ v ' r µ µ r p r r r r t t µ . 'r o
--
1
>
1
>
1 1
-
1
>
1•

~ , . r r r µ ir " , ,. r r r t ; r r r r p r ,. , ,. r p *
--;J_ > - >

-
1 1 1 1 li 1 1

""'-.. ,. r· 'r o,,. ,r r , . ~ 'r µ 'r ,. r

> ;::. > ;::.
~
1 P P 1 1 11;·

~ 6 ,. u ,.
......
-J. ~
1 ;· · r 1 r· u >
11 ; ,. ~ 1 ,.
.
r r r 1 t ,. µ 1 ,. µ r ;,..
11
'
~ u ,. P' 1 P' r ,. 1 u ,. µ 1 P' r ,. 1 'ID ,. p 1 "ID t
""'~ > > > . >
1 'W ,. V
;,..
1

'-J.
- - 6 ¡· r )ir ~ 1;.. r '" !r µ 1 r r r r u 1 µ ,. r ;
> >

--,
1µ t 1

:~f U 1p1tr µ 1; f 1 r ¡ 1¡ U 1 µ 1 F p 11µ ,. t 11

~u393
 No.29

Ir r r r r , r l'r r r ,. 1p ., ,. Jtµ " ¡r

¡¡..,..
>
lk'f 11 1 µ
~
,.

,, Ir-·

l(f.. ...,
:·~ U I"'
1

.¡
¡· ¡
• ¡

1.
'

',
1/1
'

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> 1
\~ : ·11393
r,
'
'•' ~___,_ '\_
 No. 30

::f
~

Prfrf(}l'Eifr 11¡rr ir 1:U>t1f1 r ¡r 1;cJ r 1 1

tlr 11 'tii r
1

,. ¡rc:a3
:11

,...,
6
,..... t "'r ll'g fr '~ J)' r i<u I~ fi r
l
""t',
aj r r r , ,. • >'p
3

. ?u 'p " 11

,. . 6
,.....

11: P¡- grr" ¡O' ¡LJ 1 Y.

pi

11393
i ' 54 No. 31
¡::-.... Three counts to each rneasure. No. 32 55

~ .~ 1 t 1 f r F F F r ~F "~ r . ¡ ,. ~ r r ¡r. n F ,~ f
1 1 ¡,

~ 'í. IF t
a ,
* 1 'ccr r r r r r- ' ; 1

'¡tir u u 1 r r r , ,
\

* 1 r "'r 1 * 1 i,· 1err t =11

~ll=t· 1 r lf r r li 'r 1F 1 ,. ·, t· ,, jr *r l'r1rfir 1 ¡:: 1;'?1

tr r r 1; ~r "r 1cff r "r 1 rfrr 'r 1 ~ cr r l'r u :11 J:J r· H ¡J:J r· H . 1
~ "FFrrrlrrrrr ,.¡nF. ~F 113r· ~F l"EFErrlP'."*, lir t11~'11r I
@ 'rr~r 1;~r * l1r rrrr ljtur r 1?r r J'.Jr IJfcrr r lt r r rr11w rr1
@tt Et tai:r ~ ~ 1: 'r "'r ¡,. µ 'r t 1 ?tr '* ~r r '®uutr
2

: · .r_ r"r rrw.11crrt.'c:a - -i.r; t 1

r tf r
r: ~ ,,.u•rrr11g;,.w11r. --· I*r· ~r I"U"E!! 1 * 1 ttr a1r IR ;,.. 1
-- . -- --· - P'F
r.11393
 56 No. 33
Slow tempo . A -,,

~I ñF~ñF lt ñf, ¡ñF, ult nF; l u~ ñr lut nr 1 ~

1 •

iu1nr·1,nr1
1 n u,. cu n u t i ¡, 1' P' t ;
1 l Y Jj µ~ t l í JJ pi nr 1

G
1, n r r r ,. µ n µ,. 1n E!U ¡n r r r r U 1
. H
~ fjuu ¡nblf p ,. 1 1 nwr
i
'~
1·.

t 2

\p
~ ''rr r ¡,. ""P 'JJP 1nrrrr1 rr ltfr t]f ¡nW" r nr lt]f nr Dr 1 '

Q
' 1nr·1r·1u 1 x fi p Dp ,. 11

11393
.,, \
'\ -
 No. 34 57

A .

t.. 1 llr Cf U
11 t

1 Y- rr r ·"rr rF I 'rr r r , rrr i· r r r r Jiu1

1 ~;; J ;J _p
" N&µ ,. 1
¡v ,. n9 ,. 11'
1
w

:ll' 10 ,.
1- V t

r:
,. 1PBu µ ,.
1 frLl frg-1 :·rrr
R' r·p,.
R'

Ir 1r flr Pr tp mp Ir 'r ,r ,r i R'

1131!:.
_,
 58 No. 35

·· Andal\te .. · · · · · · .

@e m µ"P." ffrrµ" 1 onn{I,. ~p" rfCCCf"' qrrrr rrrirr Ü" 1 ~

;i. ••
i.

1 rtccrtuuú" lrtfJrtrrJirra:.rlr(trrátc;rr
1

rrrrl ~

. l

.t\
.I•.,
,,. 'i
.' ¡

'1
1

,.,
'1
11393
'>

r--
'¡ ~:
.• \
•
r No. 36 59
r

~F 1 '1

- :==:::-- . ~

car r Jjr aur· r

3

rr-
¡ar r 1 *crr ,. u ¡ca ;21
3' .1/3'-

F
)' 11 r r ; · ,. F 1 F
3 /"Y'-
m. ,_
1 J

,u r 1
3

l'·r-~,. BF lf·
1 11

"'¿ 1 pp, F•••1 F t ff=;¡¡::======lii====lii-

. ._ -.; ::::!..- F
2 1 1 1
p;l_r r _r
1 ..
f- f- F
r 1 tF t tF t 1 t
3

r r· r 11

.-11393
 60 No. 37 '
:J.
@lfR rrr lrrcr E! 1 rt rrr fff l F t!Jtr l_.LI f iff 1 & IF ¡¡F 1 ,
Moderato . -.

'

g nF :ntfrlt rrrrl,.,,. 1pl; rerrl''r nejjel; rrr l1Eftf1 . .

g H"llmµ.,;
1
1mµ,.; 1mµ·,;rv,.ltµ,r·rr1lp"i 1mp,.t 1 ;-1
,
'

.i
¡-~,.; 1 'r1r1u1rrrru 1ru1'r rrru 1;n,-1z 1 r·rr·1-n ·
1 3 . -!:_ .

fl'-u 1, µ114' u ¡., PRJ u 1 r ;1 ;1r r r r 1.r 1-~,. V'ti,. 1

1 1

~ " bf tif lc·rr·tftlr ¡,. bf1df lbíf ,errr lú "p 1 z l(J¡ p" 1 ~
¡ '

'
¡{/ ~· 'rrr1r·;pr r r r 'r iar e r r r Ir EUCCf lílfBf lffl ' 11-
~. ¡ /. 'From X to X mey be omitted. '
11 : 11393 '
~·' '
-- ~----- ·.~--'--L
\
'
'
 No. 38 tn

t Ef r ) ¡< cr
3
F 1.Y- E E r ;7Jr i r r_ .re r f tr E E F f

~ EFYJtrrrrl~ r~ rtpr ~r¡;rr l•A;rtrl

~ 1t1F · r r r r r r r r 1µ
1 y 1 t 1 j r f r c;rtt 1 tffj tÉEf 1 ;rµ ,, m ~ ' : Ir
1

3 1 3

@ll:t( ÚCCfFfE1Jlf tCFF ~.y¡uJtF CCFCEfflfE1JfrErCrl

wrrr
:;;..

y IYO YI?" $?rrrrl@rrrlY Qrrrltf 1

,.
:;;.. :;;.. 3 :;;,..3 s ::..3

l.p ( ?a-1 p ( $ 1.r r ·~-C r 1-; r r r r ~ 1 r ,. 11

,..,11393
 j· -62 No. 39

t rtfp "r P t tr,. ta"'' *tr~ tr P t 'r 'Jf~ tv' tp F

Syncopared 4/4 time.
1
1 ' ~ > .
J ~·
1 1 1 1 P

..

1 Eftf ffrrr~u 1fi·rrrr'')Jlrrrr",l

e
IJrrrrrtp t 'r l Jrrrrrt¡ Pt pi
;:...

' '

i '
'
¡;
l
!
l

,
¡
l

' '

'
11393
~·
 Three counts to the measure.
rxo, w

1 3
w
1$7bf P' Iµ b!P Iµ rrrp
;·
1 ;:;... ;:;... ;:;...

@fg_rrrrl,-~LJ 1
lr¡¡c:rµ IQQ"xPl&6f' l:g $ ""
~ 11= r r r rf I{ r r r f rr r u "lrrgr{r?frrrrrrl
µ , ,, 9' ~1)., y , ,, ,, y ~tu,,
: 11
~

,. íg íg tOEU ' ;· f· ,. foµ , ,. fo P'

>

~
Y. 1 1 1 1 ~
"

g3r r Wf 9' g 1 r r;
3 3
: ~ r~ lrr?r"rrrlrrrr
(
rrr
'

,.. 11393
 No. 41

"r'·Jfttr 01 1;·
1
i:_ Mar€h tempo
¡_i;· 1 ;·
1; > > > ,

1 r· 1r· 11µ,. r rrr 1 ElF E1J lf1· 1 ~

. 1

~;nr..r· 1"u.r· 1;·m lttf P""Yª;mm1i· rrrr IEZJEZJ)I

1 r #$~F ftr· cu 1,r,. r rgr 1 r· ir~",. 1 x >

TRIO

r p r rrrl r rrrlr. trJlr PF rCrl r p r rfrl x

3 3

~ rfr 1

crr .Fº :11,. ID

1 2

1 E" rrµ "" ¡iM'azr E"1r ¡, rr,rl1r e e ,P" '11

. 3 ,

v. 1 n¡. lp,.,.t· lllr,rrrcul'r"rrrc:ulEJU~Eíffl ~

.~ 1~·
r crr 1:, y" Et" 1
'>

X 1 Ji(EJ t C'!F 1 tr "rirp '" ": ffl r 't 'p ,,, 1 Y.

1

·'!·\
~
1

. .'•
''1:·

r-
' 11393 \

~----''----
''\ -
 No. 42 65

Three beats ro a mensure.

r-
r
r
r
r-
r

~
~

~ ,,.
~i
,....

~@
-.
11= t?o tl'rrr Jfr·rr l?t
>
O,.,.
>
1nnrrrtar 1 r t·rr t:zrrrrrrl
"' 6 R rru- ;?r#r l;:rCrj rG't·
1 :11:¡:=:;. Te,. rtttr .,
~i
¡e,. ir· rcr:r tttrr
®
';ulli ;4 :11
>
~@
,,...
11· 11; r· ;;· rrrrjrl

~ ~ ~ i i ~ ~i 1 r r· r; · r· rr r

~ m- l{trrrr ' cr ,. foµ ,. l;Jrrr ~EV rr 1'rrr I; 'r·;; ~ m; ,. 1

>

~ 11393
As \'(!rieren
As played ,. ,. ,.
®
11 tL e: ;2 11

r:
 66 No.43

Count 12/ 8 to each rneasure or 4 if faster tempo is being played.

')

~
., t? r ,. "t t· ¿;;;;q ,. ,.
t =11cr'r·rr1rpfrrfrr#rr rt 1 ~

p f
i
1
~t~'~mf~,P~¡~"~"~'~(J~-~·~~r~"~-~~r~;~·~~l~r~f~r~r~.,~r~·3~-r~r~c~r·~r~1~r·~J~-~~ ..,,
1
.:
~ 1: r
~
¡'
~

;· J-r ' 'Llf a g r " El ,, "t?tr f ,

> >
'r· ! >g r r ,..
t
~
1
~
" 1

'\

y ;=u 'r,. "r ¡e· ; Ql{ll

r 1

~
q s s s
rfr .r ,. erre e r rrrr,. rrrr rr?trrl
"~ " r ,. ,. rrrrr 'i rrcrl P' ,..
'
'
.& ., !!..- s EEFEf
r r r ,, rGre ,, r#rr ire ,,
")
!!p: -,. '~p: ,.- ¡~ Ir
'
•'
-~
11393
PI I ~ 11 . ')

'
'\
~~~~--~~~~~~~~~~~~ ~~~~~~~~~~~~~-"'-
 67
'""'
,..... >

r
~
1 r r re r· rr
"'
r

rf rr r r r r ;=e r r r 1f ¡
,,....
,,..... @ rrrrr:r y 1
" fr

.,. ,,
~

@ r- r r r r t2F ,,
> 2 1
"' lf ¡~ 11 !"
'"\

,..,

""'
..... f r
>
, ; r ,.
'r 'r r cr " 1~ ;·
>
'-·
>

1 r r
µ bJ r r r r r·
1
>
;er " ~ t
>

@ Ji ••
1 J ·r e# r r r r r· ;;·
§ ,. Ft1f p. te >'r 'r ,. 1 J@J-g ,. p ~- fJJtJJeJ t
....,
~
1
'í
"" " "
ar
,....
'"\
@ t.- rr rr r ,. fer
.........
~
,. ffl ~ ,. ,.¡JJJJJt. 1 ,. t ,. ., r e r ~
,.
"'
,....
~

)lt A iic ,. ,, ., ., .. ¡p ,. ,. ¡p ,.
..... @ r
jp
t4 r
,
,......
1 *1. r
~
,....
......
, § ¡'·
"
,. :'rw
1
,. Ji'g ,. ;
>

rr 'r r rr r
 ¡ , ........
..
rtft tr rita 1u 1irceerrt?tfl1Etffr r Jrrr 1 "rrrr[tf l JfbU 1)' 11,
> ¡ > -

'

r?rr ;zt·
;::...

..

P-
@ r "Ir r:; f liNfrrrr 1rultrrr ftif l;-CCC fiC r f 1-~rrrr tp f a-
;::... ;::... >- ;::.,... ~ .::::-..

@ lf!'r.rrr ;tatlrcrrrrirl rrrr ~,tif l;rftttif 1 tur taltfr trr 1 :

1

@
;::...

ltttJp '1n·tt11n+ rlrrrrf

1r
;::... 1 ;::... . ~

1rrr r r rt 1 t rr rr r r r l;r JfU ~ " 1 e r ;1 itr ; 1 ~

.. •
. :,,. i
re rl t : 1 e r r t r l;r ar· *6! ' li p 1j t p t~ lv- r r r e t r1 ~
1 ;::... ;::...

'
.!
!
;::...

" lf rrrrlt
11393 \
•' '
 No. 45 69
..._ Exercise wirh single stroke rolls.

A
,. ¡·rrr ".µ li;,. ~ "rrrrt lt3"F)"l"¡•rrrµ,.
> >

sf:s
iP"' 1

=@$,.~ sf:s
y ri-rrµ,. 1 >! [,.,
sf:s
,.rrrrµ"í'"''rrrrr~" 'v"t 1

.....

~ ~ • ~ E rrrrppl~
,....
tffFP ~rr:rr MP 'p IEFFFFrnu ,11
s z .

~@ &rrr Elf' frrrr 11 a, t ll"trCf t 'crcrtrl,. rrrrr mrrr rrrr(j 1

1

,.. 113·93
r:
-" ~~~~~~~~-
1 i.
70 No.46

r;
2 > ~ ....

--- TE E E F 'e E E E, 1 1 · t· ;j?I "

J
. . l ~:· \ '

b F rr 1 r· f p· f 'r E F E =111 · ! F' /Ü

> . ~ .
~ ~E· lfJ E E F 1 'r E E F Y- 1 "

"'\

!!
~1·rc·;c·;r·tlp ,r 1r 1r l1r t t 'r 10'rt1r·+r·;u 1~
'
'
1.
EUH
3 1 3 > 3 "'\
l 1rrrr1r·;r·¡I rrr1 "

' '

r.
¡ -J.-12~~~~~~~~~~~~~~~~----,,
b ¡r ¡ ¡Uf
1

r
~
t
••
1 •
1
1 trr 1i
1
E lfr ;< 11 r. ; r r ff r. ; E·;I ~

'
, . ~~~~~~~~
i
f ! )
Íl \ "'\
l .•
¡·- ·¡ 'J
I"
¡:'•\1'[ ~ r·; ~ r· ; F '
.,::q~~i
,¡:. '
f r ; r E ; r r r r El r ; r r· ! F
'
¡• '
~ 1

,'.·,.
I•
1

Í (
' E rn r· ! r. ; H 1 r. 1

f, i
)i. ,, \
' .....
 Fast tempo No. 47 71
Two bears to che measure.

r- §_~ u 1 u 1 e r r r 1 o 1 u lulrrrrlµ
., u

~ ' ., µ I' ~ 1 U ¡ .,_ p I t. I' µ I C r r F I µ "' I F r r [ I r E r r I

1 . . . . 1

~rfrpl• ~ lrrrrlí! I•~ lp d• gl•glcrrpl• rrl

. .

- =@ ., ~ ¡,. bf" r r r r , ., bJ ll;r r r r 1 µ µ

1 ·IY- rrr1µ µ 1 ~· u ¡,. rr 1

·& re r r lbJ., 112 bf bt Ir rtrr. Ir· r r Ir Q·u ¡,. µ Ir¡¡ u 1

~ ; ~ 1 ,. 1 ~ ' 1 ~ I • ~ I • :( IW r IO 1 E' ~ EE r F 1 (- "I

fl:. ;rr¡lr r r r lr·1r5rrl ( Ir·;µ 1 t .

IF·¡r·11
.
t. 1

3 3 /3"--.... 3

' 11 r r r r C r Ir r r g r r 1

~11393
 72 PART 111
MODERN RHYTHMS AS EMPLOYED BY CONTEMPORARY COMPOSERS
1

1'
'

DIFFICULT DIVISIONS ANAL YZED

'
~
' )
Two beacs to the rneasure,

• ~- í 3i <, ,
~I ''
Written and proper divi-
tt
sion for execu tion.
• 1 I f I V I 1 I 1 ••
1
I! 1

• -:s.: <:s:» --.3...-- '--1f-/

1 1\
!
Same division as above in
6/8 time. .. ' - - l ~ , 1

Two beats to the measure.

~~
Written
As played
ll 1 3 ,, 3
- - 3 ,'/

Four beats to thc measure. 1

1 '
3

Written

As played

Three beats to the measurc.

• 11 - 4 4
-
1 1 1 1 ' 1 1 ' 1

Written ~ ~

. •
V V V ·V .. V V • V 1, V

As played b~ '

•
.

Two beats to the measure.

\
~'
'
 No. 48

f
u u rrrr 1¡ 'r r r r r li
~1 JJJJF
-
7
p
~"Clf,., ,W ,. Uf " ~
.

~ iif nr u li ID µ ,. lrrrru 11,.t· tr 11,. p a ª· rrr§

-===== mf. . .

~ "bí'b!'et"bfli r u·u·-·1r.rr btf 11; rrr ·1

§ r r r r r r r ,.
1•
.

1v ; 7IlJ t r· r , - u r ..

"P'I· 1

j rfrrt?ur ;

F r e r- P' ,. ieu µ ,.
@ ,. µ ,. p 1,. µ .,. f r y 11 ·p,. p rrr r .lfLlr , ,. o rrm r ct ,.
~

6 ~~ rrrr1f1·)· 1;µ rrf1-bf" '' P' rrrr,. p ,,. crv-rrrrrrrli

6!.rr lc:J r
u r r 1 r "bifr·~ µ 1 lrcrrrrerr
r 11 y. 11

~ifwu iaru irnw 11_ararw 1: u'r. 1 * 11

~1 r rr r' µ r 1·r r ;. µ 1 rr r r" ~ rr r r ' µ 1 r r r r r ~" r r r r; ~" 1

~ J . r:rr.rrrra;rrrr.11.
11393
. .
rrrrrrrrlw rb[r.luret"
.
I; "
9' ~" 1
 .74 No. 49

' ".µ , p mf

~,. rrrrrt µ,. l,,rr' p ;< EE'P 1, rrefrt v"I

~ ~""pf{f rrrrlµ
p pp mp
'"v !{?rrrrlµmf 'rrrrr
p mp mf--===
1

No. 50·

Slow~·
a a ~ ~a a a
'
' jt r rfrr
m.f
,. erre rrrlr rtrr "etrr rrrlr crrr ,. erer

1:
1
~. r rÉer rr 1 2 1 y. 11 t . r 1 t ~t,.pl

g r 1 1 i t " p r s ; . 1 ,, p
'•

.
1 l
.
1F ; t ¡ i ,. p 111 r r f r F "rfre eie 1 -

1
g e crrr ,, rfrr cfrlí r cCcr 1 ¡,, erre r rlr r rr # ;,, erre rft111
a a ~ ~ a

a a ~

~ 1
':.
~t r r ir r r r 31( llí r rrrr j ¡,, rrrr rtrl * 11 t
1;¡
l:l . t ;
'
•l,1
..
•.
·~
f
1 F f f F iu u u u 1 µ ,. , - 11

\! :
·~' 11393 ''
 No. 51 . 75
'

r J. r
Four beats ro a mensure.
_.
~t~ r r r r r r F r r j r r le •
J F .J J
•
1 2· ·3 4 1 2 3 4

"
f 9' ~ [U UJ rr r Ir 9' ~f rr uul~r~.UJ rrG.[tF 1
1 2 3 4 2 3 4 1' 2 1 3 4

\
-~ r
1
y
~
2
r r . r- r r r-
3
~
4
9' 9' 1 r f r· r ·n s r y r F r r
r .,, r r
' rf r -
E F F r r I·.1 f F r r r E t F 9' -~
. -:¡.
'1

~ E f. r E r r ;t ~
9' F E r rr 1 r r• r r r F
1
9'
~
9'

gEE• 1
;t ~
9' ~
Y' 2'. r ! IY' 9' H 9' 9' e r r r 9' ~

@ 9' Y' ~
r !- r ri F 9' g 19' :¡.
~ ~
;t 9' r t r r f r
.
,. .
. Five bears ro a mensure.

!,- r r 9'
·@ !ID rt r E r F Jj
-:;. ;t
H -:¡.
~
1 2 3
9' 9' ~
4
G
5
9' 9'
- ..
,. . ,. . 9' 9' r r r ;t J) p 9' lR F r F r r r r r r r r F 1
~ ~
1 ·2
..
3 4 5 .1 2 3 . 4.
.. '.

~
9' 9' g r¡.
~
:¡. ;t 9'
~
-:¡.
~
s ir f ri r r r rf r 9' ~- 9'

r '·u
~

; ~ . 9' 9' ;t • r 9' t 9' y

~- r r F F i r 9' • ri 11
..
~ ~ 1
• 1 . l
1
1.

No. 52

l1
.::;.
~ t t
f
w >' .
111 J
mf
;p
'
y 111 J t
f
•

w 11 ¡ t
> .
1p ,.. 111 , t
f
w 11 > '
-v
-,

> a a a a '11

~
1
_,.
,_P
__,t
.
,.
1
p ÚJ 1
1 y. lp.___r;UJP''
__ _, ...__
"' _,· 1,..mf ~rrr;·;· I
1
,. t ,. p F f r 1
w

~~
mf

r
1 >
,.
3
~
~FFFP'"i
w
lt U LJ lf mf
3 3 3 >
•

1
t w w 11; w

. 2 8

w, r ,
'i
'j

~;.i
!
. ~ ,. ; r r e P' · p w

~· : 11393 \
'\
...
e
 SWING STROKES 77

iF~r~r~f~r~Ir~Fir~r~fir~r~f~I r~rif~r~r~F~r~r~=ll¡p~,ª~~11
RLLRL"LRL LRLLRLLR L·L·RLLRLL R

Single strokes jj~t~F~r~r ¡

Ali Flarns ro be played from Jefe hand.

'
 •
~

'

RLLR LR RLLRLLRL LRLLRLLR RLLRLR

~
Jrr r1k!
~
tr l§·~>>~>>>
fq-# lrrrrrrilrrrrrurlq-g- mtlrrrr
>>
'p,. =11
~ a
rrrnrr ~ a
rlrrr r er(ttrr; a
rrr(J)! " ¡;r r er l'r rr 1E rrr 1

.i
••

~
·ir j"r g;
> >
9' 1 e 'r re 'r ! 19rrrg1e e ¡ 9' ti 1rrrru9" t 1
1
> > >

',
'\
 rAKI IV
79
DOUBLE DRUMMING
EXERCISES FOR DOUBLE DRUMS ANO SOLO
. PASSAGES FROM MOST RENOWNED COMPOSITIONS .
,..... Lively March tempo

: "~ ~t;J 1 .. 1c;~;1i3ff1;HJ1~1rf#= 1

1
1

"' r ~ f P 1 ~ r r 1 ~ • Ua~ . 1; a ~ fl 1 ~ z b t

- ~ le & ti 1 t. ~. 1 ~ ~u 1 " 1 " 1~ ; ; ; 1~ .ge 1

., u ee 1f: MF ntz 11J en i42·trUJ ti

-.,1Ef·1J ~n·1R,.1J ~n1f3LJ1&%1
-·

8 1 E f. f • u = ~ ~ 1 ¡ ~ e 1 F U 1 ~ J f J 1
. .

- ? ~2 ~ ?. • 1 t 11

: ;!' ~ ; ~ ~ 1; a B 1 F f F trl B ~ "' f r rf¡n= 8 ¡ 1

~ !1 •
11393
B . 1 f r rf· r ~ • • ti~ . · ~ ,~~ . ü 1 1 1 .
80

\
'\
 r» 11393

.r">
--------------
 82 Excerpts from F. E. Aubers'·Overture MASANIELLO. J
To be played two in 2 measure. J

y, 1
"
..,
"'
Y. 1 "\

?~? ~? r~ 8' 1???? ? t -

1
y. y. 1

~?~!~1~é~r-~~ª'~F~,~-~1~:~1?~1~-~'~~ª'~F~,~-~11~
••

i •
!
? ; , Juug;, JJJJ ll=Ji, Ja¿u;,;,.1), JJJJj,. JJuu1: ..._

J u u u :l J n s.. l ,. ),. 2 11 ~

. 1 "\

. , '.n~ f "' ,:
1 ..

l - Y, ; ,,
; i
1 '
•
¡

., f 'iuuw~ 't f,. 15J~t.;~;

' '

. ~\
." '
5J31 1
' '

f!í f r 1fñ{ ir 1(ª{ f r

~ :
' ;

.,,,., :
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PART V
FAMOUS DRUM SOLOS -- .
Opening measures of F. E. Aubers' Overture FRA DIA VOl.O.

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The ordinary five srroke roll should not be used ·in the above passage. le should be execured wirh
single strokcs as wricten.
 ¡'
84 Excerpts from Franz v. Suppé's Overture PIQUE DAME

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 85
Important solo work for che snare drum from Rimsky-Korsakolf's CAPRICCIO ESPAGNOLE.

ALBORADO

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 86 Excerpts from Franz Liszr's SECOND HUNGARIAN RHAPSODY

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•
 88 PART VI
AN INTRODUCTION TO TYMPANI
Much ie required of the student who wishes ro study Tympani. The student must possess good rhythm,
a kcen ear and a fair musical training.
The knowledge of snare drum execurion and ability ro read drum parts are not suflicient and do not
mean rhat rhe student is ready to undertake rhe srudy of rympani. Those desirous of studying the tyrn-
pani should be able to play the piano, which is most suitable to the percussionist, or sorne additional musi-
cal instrument. 1

If the studenc has no musical training orher than the percussion · insrruments, he must then study sol-
fcggio with. a reputable music teacher before he actempts the' tyrnpani.

THE RANGE OF TYMPANI

The range of the ryrnpani is one octave ~ffe~<J~§t~I that is, if the rympani are of regulation size (28x
25 or 27x24) which are used for ordinary work. '. 11
1
However, che contemoorary composers go f~r beyond thar range and wrire as low as low C
and as high as high A !)' " 1 for which special size kerdes have ro be built, To get a low C che tym-
pani should be about 36 mches in diameter, for high A about 20 inches in diameter. Most Symphony Or-
chestras have these various sizes,
The range of che 28 or 27 inch tympani is from ~=·~"~J~~,J§i
and the range of the 2 5 or 24 inch rym-
pani is!J' J j ¡
TUNING OF THE TYMPANI
To assure uniforrnity, adjust che tensión of che heads evenly ali around the hoop and keep the hand
screws ali in the same direcrion. 1
Sound rhe "A" on an inscrument or a tuning fork and compare it with· the sound from rhe rympani
head. Ar first only an excellent ear will be able to distinguish whether rhe tympani are tuned above or be-
low the "A" sound. For example, if che sound of the tympani appears to be below the "A" or any other
desired note, then, by turñing the screws ali around evenly che desíred tone may be had. lf the sound is
flae the head needs more censioning. lf sharp, the tension must be lowered.
.• · The student will at firsr have sorne dífficulcy wíth his tuning. He may find ie difficult to differentiare
between the various sounds because of the many overtones rhese insrr.uments possess,
Overtones, natural with ali instrurnents, are more cornrnon wirh che ryrnpani and especially true of
the larger sizes of tympani.
Only afrer stringenr pracrice may che player be able to hear more and more clearly the sound desired,
regardless of the overtones surrounding the desired pitch.

THE POSITION OF THE TYMPANI

The large rympani should be placed ro the lefr of the player, the small one to che right, If che rym-

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pani happen to be the hand screw type, fare should be raken that the screws do not obstruct the place
the player srrike<.

THE. ROLL
The rympani roll requires practice. Ir consists of alternare single srrokes.
A good rol! and tone depends not o ly on good quality and properly adjusted heads bue also on the
1 corree e way of holding and swinging th~ sricks. The sticks should be held loosely for greater flexibility.
·The hand position of the sticks for play0g tympani should be the opposire of the position for playing the
bells or xylophone. (See il/11stratio11) I ·
To develop che tympani roll the student should begin pracricing with a slow morion, increasing the speed
1 ' gradually and evenly until a fast tempo is reached. A maximum speed should nor be atrempred until such
a time that it comes wirh perfect .faciliry and .flexibiliry. .
Ar no time should the sricks be allowed to "squat" on the drum heads, after striking them. The hands
1 ;
should be flung upward immediately after che beats. Never hit the. heads of the tympani in the center
as that will produce a dull thud instead of good tone. Strike the heads about four inches from che hoop.
Good tympani sricks are very essential co the player. As good sticks are diflicult to obtain, the player
should, if possible, learn to make his own. This will better suit his individual balance and touch. U tmost
care muse be taken in selecting and shaping the tympani sticks. ,
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 HAND .SCREW TYMPANI

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LATEST EUROPEAN MODEL MACHINE TYMPANI

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 ITAIJAN BY-WORDS 95
MUSICAL DYNAMICS
Al. .•• or Alla To At. Crescendo cresc .. · GcaduaUy louder
r Assai Very Decresoeedo decresc .Dccreasingly
Ben .................•.•..... WcU
n Con or Col. .......•....... With
Oiminuendo dim
Estindo ..........•...........
GraduaUy softcr
Barcly audible
Da or Dal. From Forte·piano ......• fp Loud-soft
Ma ......•.......•.•......... But Fortc .......•.... f Loud
r Meno ..............•.•....... Less Fortissimo •.•.... ff V cry loud
Mczzo ., .......•......... Half Lcgato ...•....... leg ......•.. Ticd smoothly
Molto _ Much or Vcry Lcgatissimo V ery smoothly
M0$$0 or Moto Moved or More Leggicro lcgg Lightly
Noo ·: Not Maccato mace ...••.. Acccntcd
Ossia Or Else Mezzo.piano mp .....•... Medi~ soft
Piu J •••••••••••••••• More Mcuo-voce Half vosee
Poco Llttlc Moccndo Oying Away
Quasi l. Ncarly Pcrdcndosi ...........•........ Growing faintcr
Scmprc j Always Piano p Soft
Scnza . . . . . . . . .......•....... Wichout Pianissimo pp ..•..•... Very $0Ít
Sotto 1 Undcr Piano-forte . , ....• pf ..•...... Soft, thcn Joud
Tanto As much Rinforzan<lo rfz Vcry acccnted
T coppo Too much Sfoczando ••...... sfz Sudden acccnt
Un or Una A or Onc Smorzando Fading out
Sorto-voce Under-roae
Sostenuto Sostained
MUSICAL TEMPO TERMS Staccato Oetached
Adagio : . A slow movcment Tenuto ten ....•...• Hcld in foil
Andante .............•.••..•.• Modcratelyslow Un poco piano .......•......... Llttle sofrer
Andantino ...........• , •.• , ... Less moderaccly Un poco focte Little louder
Allegro ...........•.•.•.....• Quidc and lively
Allegrctto ..........•.•.•...... Moderatcly quick MUSICAL EXPBESSIONS
Largo , ......•. , .. Broad and slow
Larghctto , .. Less than Largo A bbandono A bandonment
Lento Leisurcly slow Affetuoso .............•....... Affectionately
Moderato ......•...•.......... Moderare time Allcgrcmento .......•......... AJcrtnC$S
Presto _ Fastcr than Allegro Amabi le Amiably
Prcstissimo Ver¡ fast time Amoroso Amorously
Allegcczza .............•.•.... Joyously
Apoassionaro ....•.•..•. ~ Passionate!y
. ANIMATING TEMPOS A rdcnte Ardently
Accelerando Accel Accelerating Bravura , Boldly
Agitato Agito Agitating Brillante .......••• brio Brilliantly
Animato Animo J\.nimating Canrabile Melodiously
Stretto Hasting Capciccioso Capriciously
Stringcndo Stcing .. , Hurrying Occiso Dccidcdly
Vivace Vivo Vivaciously Oclicato Delicately
Disperato , , Dcspairingly
Dolcissimo ......•. dolce ......• Softly, swcctly
RETARDING TEMPOS Doloroso Dolcful
Ocamatico Dramatic:ally
Allargando Slower and broader Elcganu Elcgantly
Calando ..••..... Cal ..•••.••. Lessening-tempo Energice .. , Energctically
Rallentondo Rall Gradually slower Espeesslvo C$prcss .. , .. , Expccssively
Ritardando Rit Rctarding-tcmpo Funebre ..................••.• Moumfully
Ritcnuto Rctaining Fuoco ......................• Fugaciously
Slargando Spug Enlarging Furioso ..........•........... Furiously
Giocoso ..........•........... Humorously
(\ SUSPENDING TEMPOS Gusto Tastcf~
Grandioso ....•.•........•.... OigniJi
A Ad libitum Ad-lib At libcrty Grave .......•........•.•.... Solemn
Alla cadenza Cad At lcisure Gracioso .....•.•...... _ , ..... Gcaccfully
A piaccce At eleasure Heroica ......•............... Hercic
Recitativo Rccit ..•.•.. Rcotingly Imperioso ,lmpcriously
Rubato Unrhythmic:ally Innoccntc ....•..•...•.•.... , . InnocentJy
Senza-tempo Wichout•tcmpo Lacrimoso , Sorrow fully
1 Lamentoso . ~ .........•.•..... Lamentably
BESTORING TEMPOS Largemcntc ..............•.... Largely
Macstoso , MajC$tically
A T crnpo Back in time Marcialc Martwly
Tempo guisto ......•.•.•....... Stcict time Melancolia ..........•........ Melancholy
Tempo primo .•....•....•.•.... Original time Mesto ..... , , •......•.•...... Sadly
L'iseesso tempo .......•.•....... Same time Misterioso ......•............. Mystcriou.sly
>.
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96 Nobilc Nobly Duo Aduet
Patctico ...•.....•............ Pathctically Fine ........•.•.............. End oc Finish
Posante Heavily loco As written
Pomposo Pompously Maggiore Major
Religioso Religiously Minore Minor
Risoluto Decidedly Modo Mode
Rustico ......•.•......•...... Rustically Opus .......................• A Work
Sernplice Simplicity Ottava 1 •••••••••• Octave
Sentimento ....•...•.......... Sentimentally .P~dale pe~ A foot pedal
Spirito ' Spirit, Jife Pizzicaro Fmger-píucked
Teneramento ............•..... Tenderly Portamenro Carrying
Tranquillo .......•......•..... Tranquilly Primo Firsr-part
Tristemente ......•....•.•..... Tristfolly Replica An answer
Vigoroso ..............••..... Vigorously Seronda Secoed-part
Segue Fo!Jow-directly
MUSICAL TERMS Simik
1
Simllarly
Solí Plural of Solo
Arco A Bow, bowing Sordini Mutcd
Arpeggio Harp-Iike chord Tacet .....•.•.....•.•......... Be Silent
Attacca ......•....•.•........ Warning-attack Thema ......•.•.......•...... Main !heme
Bis Repear tcrm Timbre Tone color
Chorda Chord or string Tremolo ...•.....••.•........ Tremulous
Coda End, linish T utti All·together
Da Capo D. C Back to beginning Unisono , .In unison
. D~l. Segno Back to sign Vibraco ........•..•.......... Vibrating
Divisi Divide the parts Voleo Subico Tum quickly

'
MUSICAL CHARACTERS
A Cappella ......•............ An unaccompanied vocal cborus '"\
Aria A.o elaborare theme ot solo for vcice .....
Baccarolle .......•............ A V cnctian boat song in 6/8 ..-
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Ballad A descriptivo short song
Bolero A Spanish dance usually in % e l
Bourree , •.•....... A lively dance in common time
Caprice ..........•......•.... In a capricious or fanciful stylc
Canzonetta .......•...........
Cavetina .......•......•......
A short song or hallad
J\n a.ir of expressive style
rp .....'
Cboral An air dcsigned for voices
Concertó •. , . . . .•........ An elaboratc solo cornpositioo ~ -..
Divertissement . . . . . . ~ In an entertaining mood
Elegía Elegy; or cootcmplativc style
.....
Fantasia In a free and fanciful spirit
Fuga .........•....•...•..... In a contrapunta! seyle 1
Gavottc ..........•.•.•....... An old F.ench dance Í!\ duple time "')
Goodolicra An ltalian boat song 1
Hcmoresque ....•.•.•......... A humorous composition
lmpromptu ....•....•......... lmprovi.sed-spontaneou51y
Intermezzo .....•... , •.•...... Short enter'act music 1
Legend Of a romantic charactcr 1
Lieder Classical German song 1
Madrigal ......•.•....•.•..... Elaborare vocal music
Marcia Cha.racteristic march style
Minuetto .. ~,,
A grscefuJ p1ecc 10 14 I
Nottumo Rcmantic nocturnal style
Oratorio .......•.•.•....•.... A musical drama from tb~ scriptures
Ouverture .............•...... Instrumental iotroduction'musíc
Polacca A Polish dance in 2/4 or ~
Polonaise A Polish dance in triple time
Prelude , •.......... A short piece of extempore charactcr
Pasrorale ........•.•.........• Pastoral oc rural character
Romance ......•........•..... A song of romantic expression
Rapsod1c Piece of irregular form
Rondo : Piece of recurring themes
Sarabande ........•.•......... An antic¡ue slow dance
Serenade An evening Iove song
Scheczando In a playful manncr
Sonata .. : ......•......•.•.... Ao instrumental work in 3 or 4 pa.rts
Symphonie ...•.•............. A Sooau. for Orchestre