Boosey (cy HAWKES Batterie 5 Bateria ae i Schlagzeug l i Vi WO? ~ PERCUSSION by CAROL BARRATT More than 20 origi Plus de ieces for snare drum, timpani and tuned percussion |PREFACE The pieces in Bravo! Percussion take the student progressively through the early grades. They consist mainly of original material, with a few arrangements too - some well-known, some more unusual. These pieces are intended to encourage the student to perform - rather than merely play - whenever the opportunity arises A\ll too often, the early stages of learning an instrument can be a solitary process. Wherever possible, these pieces should be played with their keyboard accompaniments. In this way, even snare drum and timpani players will be able to give more polished performances. Hearing the keyboard parts will lead to an awareness and appreciation of different musical styles and a sense of harmony, not just melody. In addition, playing with an accompaniment develops the pupil's ability to maintain his or her own part while listening to another. And of course, it’s fun! PREFACE Les morceaux se trouvant dans Bravo! Batterie guident progressivement Pétudiant & travers les premiers niveaux. Ils consistent surtout en des morceaux originals, mais il y a également quelques arrangements - certains célébres, d’autres plus inhabituels, Ces morceaux ont le but d’encourager Pétudiant a interpréter - phutét qu’a se contenter de jouer - dés qu’il en a Poccasion Bien trop souvent, les premiers pas de l’apprentissage d’un instrument peuvent étre une entreprise bien solitaire. Il faudrait jouer ces morceaux avec leur accompagnement au clavier chaque fois que c’est possible. Ainsi, méme les joueurs de tambours 4 timbres et de tympans seront capables de donner des interprétations mieux rodées. Grace a l’écoute des parties du clavier, il sera possible de prendre conscience et d’apprécier différents types ‘musicaux et Je sens de Pharmonie, et non pas seulement celui de la mélodie. De plus, en jouant avec un accompagnement, I’éléve développe sa capacité de maintenir sa propre partie tout en écoutant celle d’une autre. Et bien sur, c’est trés amusant!VORWORT Die Musikstticke in “Bravo! Percussion” leiten den Schiller Schritt fiir Schritt durch die ersten Stufen. Sie bestehen hauptsichlich aus Originalmaterial, aber auch aus einigen Arrangements - teils wohlbekannt, teils eher ungewohnlich. Diese Musikstiicke sollen den Schiiler ermutigen, wann immer sich die Gelegenheit bietet, vorzutragen anstatt lediglich zu spielen. Allzu oft kénnen die ersten Versuche, ein Instrument zu erlernen, ein ‘einsamer Vorgang sein. Diese Stiicke sollten nach Méglichkeit mit Klavierbegleitung gespielt werden. Dadurch wird es sogar Snaredrum- und Paukenspielern méglich, ihren Vortrag attraktiver zu gestalten, Das Horen der Klavierstimme filhrt zu einer ethéhten Wahrnehmung und Wiirdigung von verschiedenen Musikrichtungen und zu einer Empfindung fiir Harmonie und nicht allein fiir die Melodie. Zusatzlich hilft das Spielen mit Begleitung dem Schiiler, seine eigene Stimme zu spielen, wahrend er einer anderen zuhért. Und natiirlich macht’s Spa! PREFACIO Las piezas musicales de ;Bravo! Batteria integran un método progresivo ideal en las etapas iniciales del aprendizaje musical. La mayoria son obras originales, aunque también hay arreglos -algunos famosos, otros menos conocidos- y estin concebidas para alentar al alumno a interpretar, y no simplemente tocar, siempre que se presente la oportunidad, Con demasiada frecuencia las etapas iniciales del aprendizaje de un instrumento musical se convierten en un proceso solitario. Por ello es aconsejable interpretar estas piezas con su acompafiamiento al teclado siempre que sea posible; de este modo incluso los percusionistas a la caja clara 0 a los timbales podrén oftecer interpretaciones mAs acabadas. Al oir la parte del teclado, el intérprete se sensibiliza y aprecia los diferentes estilos musicales y la armonia, ademas de la melodfa. Es mis, al tocar con acompaiiamiento el alumno desarrolla la capacidad de interpretar su parte a la vez que escucha otra. Y, por supuesto jes muy divertido!Cover design by Lynette Williamson Music set by Andrew Jones Cover illustration by Paul RussellCONTENTS Snare drum Barratt Work Out! Clarke The Duke of Gloucester’s March Barratt Pamp’s Rag Barratt Jamie’s Two-Step Barratt Middlesex March Barratt Musette Timpani Barratt Pick Up Your Sticks! Barratt Alpenstock Barratt Bravura Barratt Kettle Waltz Barratt Classical Minuet Barratt Fanfare Barratt March Past Kiev Barratt Lullaby Tuned Percussion Kabalevsky Russian Dance English Folk Song When I was a Tailor Barratt Stick Insect Czemny Rise and Shine! ‘Tchaikovsky ‘The Hurdy-gurdy Barratt Minuet in Blue Barratt Out-of-Step March ‘Schubert ‘Two Schubert Dances arr. Barratt Two Irish Folk Tunes Barratt Harvest-Time Clarke ‘The Duke of Gloucester’s March Barratt Fivestones arr. Barratt ‘Two English Folk Dances Barratt Pamp’s Rag AaUeRoY 10 10 uN 12 B 14 14 15 15 16 16 17 7 18 19 20 21 23WORK OUT! RLRULR tL RER RERRERLL R Carol Barratt SRL RER FC RE RE RRE RRE RE BOR RERLRR LERELR R RLERUER L L @oRUERR REE LRRERLLE RERLE RL ‘©Copyright 1996 by Boosey & Hawkes Music Publishers Lid. 2 10359)THE DUKE OF GLOUCESTER’S MARCH You can play this () with the piano accompaniment on page 4, or {¢) plus slophone (see page 20) withthe piano accompaniment on page 36 (hen playing (i) there will be 4 bars rest forthe piano and xylophone as de oer of the piece.) Piano part by Jeremiah Clarke j (1674 - 1707) arr. Carol Barratt Allegro con brio J= 132 f = PR 25 _ SOLO (es below or improvise) 10359 3You can play this (i) with the piano accompaniment on page 6, or (Gi) plus xylophone (see page 23) with the piano accompaniment on page 42. Carol Barratt Ragtime” J=90.108 8 Ff 5 FINE a FDS. at Fine * Ragtime -see note on page 24 4 10359)JAMIE’S TWO-STEP r Carol Barratt Moderato / = 84-92 =e ——— 10359 5! t MIDDLESEX MARCH Carol Barratt Alla marcia J= 100 mpMUSETTE Carol Barratt Briskly = 100 108 f 10359 7PICK UP YOUR STICKS! Carol Barratt Confidently J =100 mp ——— ALPENSTOCK* Carol Barratt Moderato J= 104 mp mf f P f p——— mf op * A sout stick with en iro tip used by hikers. Common in Switzerland and Austria, 8 10359BRAVURA Carol Barratt Allegro vivace J= 108-110 f 10359 9KETTLE WALTZ Carol Barratt (Rest for four bars if playing with the piano accompaniment) Gently - with ait J 0s =P CLASSICAL MINUET Carol Barratt Elegantly J = 80 mp 10 10359Ceremoniously J= 60 F FANFARE 10359 D.C. al Fine Carol BarrattoF Un) MARCH PAST KIEV ‘Triumphantly 4100 Carol Barratt f mp Mia. = ss Se See fa ES 16 2 10359LULLABY Carol Barratt Gently 1 $490 P 10359RUSSIAN DANCE Dmitri Kabalevsky (1904 - 1987) arr, Carol Barratt Allegro. f WHEN I WAS A TAILOR English Folk Song, arr, Carol Barratt Moderato nf 10359)STICK INSECT Carol Barratt Mysterfously, but with humour P 9, atempo Hiss oe me = = P 13. atempo SF RISE AND SHINE! mf Karl Czemy (1791 - 1857) arr. Carol Barratt 10359 15THE HURDY-GURDY Peter Ilich Tchaikovsky (1840 - 1893) arr, Carol Barratt ‘Moderato MINUET IN BLUE (12-bar “Blues’) The blues" is one ofthe earliest jazz forms - look out for the so called “blue” notes (flattened 3rd, Sth, and 7th of the scale.) Carol Barratt Slow lazy beat, mp —= nf 16 10359OUT-OF-STEP MARCH Carol Barratt Strict march time Ff TWO SCHUBERT DANCES ae ECOSSAISE Andante P 10339 ”LANDLER Moderato P f TWO IRISH FOLK TUNES arr. Carol Barratt WALK MY LOVE (Sitil a Ghré) Andante cantabile mp 18 10359KERRY POLKA. Lively HARVEST-TIME Based on a Latvian Folk Song Carol Barratt mf P 1 = = atempo PP f 10359) 19THE DUKE OF GLOUCESTER’S MARCH You can play this March plus snare drum (see page 3). The xplophone and piano will est for 4 bars atthe end ofthe piece as the snare drum plays a 4-bar solo. Jeremiah Clarke (1674 - 1707) ar. Carol Barratt Practise this ‘warm-up’ first. RR LeLRRUEL RRELRREL Allegro con brio f 20 10359FIVESTONES Carol Barratt With enthusiasm mf 10359 aTWO ENGLISH FOLK DANCES OLD MOTHER OXFORD Cheerfully mf (mf) arr. Carol Barratt SHEFFIELD HORNPIPE Ina Hornpipe, the first and third beats of each bar are slightly accented. Jauntily - not too fast 2 10359)PAMP’S RAG ‘Scott Joplin - the King of Piano Rags - often wrote the following words above his music: “Notice! Don't play this piece fast. Itis never right to play ‘rag-time’ fast" Ragtime You can play this rag plus snare drum (see page 4) & Carol Barratt f DS. al Fine 10359 23