MUSICAL STUDIES 7h INTERMEDIATE SNARE DRUMMER end WHALEY , anPREFACE The purpose of this text is to provide the intermediate drummer with a collection of musical studies which will 1. increase his technical ability and 2. develop musicianship. Musical Studies for the Intermediate Snare Drummer is divided into two sections. Both sections are saturated with dynamic markings in order to cultivate the student’s sense of musical expressiveness The first section contains fifteen studies in both simple and compound time. No rolls or embellish: ments are used in this section in order to allow the student time to become completely familiar with dynamics and accents. The second section contains an equal number of studies but makes extensive use of flams, drags and rolls of varying duration. Icis my sincere hope that this book will provide the serious student with an effective and musical approach to drumming. Ma Da a a a © Copyright 1971 by JOEL ROTHMAN, 3 Sheridan Square, New York, N.Y.10014 International Copyright Secured| Downs Sree = Saws Hew Fyreisie UP Siam 3 STAMIS te, Gees “]__ Most ofthe dynamic changes in this study happen suddenly and without warning (subito). Be sure to look ahead and be | ready tor quick dynam changes 3 Cte: d= 92-104 : SS Se ed pe Fo fen P 7 mf P Saag © Copyright. 1971 by JOEL ROTHMAN, 3 Sheridan Square, New York, N. ¥.10014 International Copyright Secweéfe the difference between the two types of accents used in this study. Accents must be played in relation to the namic level in which they occur. d= 103-1165 Again, sudden dynamic changes are comm do not reach ff prematurely d= 104-116 ce = non in this exercise. Make sure that the crese. poco @ poco is gradual and even: wee a ‘oresc.poco a pococombines elements from the previous pages. Observe carefully, dynamics and accents, 104-116 * Pe ree tee poJ ‘The time signature of 5/4 is not uncommon in music of toda must be gradual and even, d= 116-126 'y; count accurately. The crescendo from beginning to end ) "PRP cresc.poco a poco al Fine | |) ee ee oe P= = eee eee F 5 = Sa aes ae ee eee ee oe eee ee veeee—e‘One of the most frequently misplayed rhythms in our musical vocabulary is that of the dotted eighth-sixteenth. To insure hythmic accuracy, sub-dividing (in this case counting 1 e & a) should be used = 92-104 = = =_ fever vee ever ere reBe sure that the beat does not change when changing the rhythm from duplets to triplets etc. This study will concentrated practice to produce rhythmic precision | = 104-116 3 3 3 3 3 3 ed a es Se ee ee P Sse qe ay ee = > 3 3 oO Sees> Le a a a ie ADo not confuse with Triplets must be even; they have a characteristic sound which is unlike that of cee d= 96-108 5 3 MP ee a ae elThe interplay between sixteenth and eighth notes and triplets in this study is rather tricky. Sub-divide carefully d= 100-112 3 a 3 3 3 3 a SSS,or note triplets in this study must be played dynamically even and rhythmically precise. 88-100 3 PP een Bp ome~~ 1 J ‘This is the first of several exercises which uses the ith note as the metric denominator. These exercises should complete! familiarize the student with rhythms characteristic of 3/8 — 6/8 — 9/8 and 12/8. Note the difference in this study. erly 0d) rs @ - = 69-84 P crese.: study begins in a characteristic march tempo in two, which gradually ritards to a slow section t ae he ritard and the accelerando should be gradual and even until the desired tempo ig reached) Pe Paved in six. Both L J.= 116-126 ae | IPF dim. poco a poco i aa ih a | ee ee eee ee ee eee ee crese.and accel. pocoa poco Tempo IThe measures of rest in this exercise come at awkward places. Make sure that the rhythms preceding these empty measures J do not “spill over.” de 60-72 J a ——— oo 35 =e eee NE el el el Ll6 ‘Try to make the swells (<= >) in this study as smooth as possible. A smooth contour of sound should be achieved. d= 72-84 i ee fF‘combination of elements from the preceding studies are found in this exercise. The pulse remains steady Wy meter changes. Changes in meter are quite common in today’s music. d= 60-72 x Pena ae ¥ —S8 L ‘This study deals primarily with rolls of varying duration. In concert band or orchestral drumming, rolls are not measured The desired effect is a smooth, continuous sound. d= 92-108 L L mm rm oft‘This is the first use of flams in this book. Flams should have a sharp, clean sound, not too open and not in unison (both icks striking together). I have left the sticking up to the student and teacher. However, the end result must be a perfectly cecuted fam. 00-112 yh bh by he wt cresc.L Drags or ruffs are quite characteristic of many drum parts, They may be played “open” so that all notes are distinguishe able (common in rudimental drumming) or “closed” so as to make a short, sharp roll sound. In this study the ruffs shoul be played closed. en : = L— Again in this study the ruffs should be played “closed.” Note the marking sfx. It means with a sudden, strong accent. d= 92-104 = SSS fa ee fea : f P 7 b b Zt = rs. eae eee | 5 eee 2S ey P Ee = cresc. poco a poco g 122 ‘Once again, this exercise utilizes changing meters. The Be sure to make all sixteenth note rhythms as even as possible d= 92-104 ulse is constant, only the number of beats in the measure rm $F mfOo ORE TEE gay or gr ph =) an a By playing on different areas of the drum a variety of sounds may be produced. The edge of the drum is often used to xccute »xtremely soft passages. The center of the drum produces a dry sound. Playing on the rim ie an effect ofven led for in marches and show music ae “ea EdgeNote the difference between 7] and 7], . Be sure to sub divide for rhythmic precision. d= 80-92 P crese. t FTF a re TS i er eee| 25 As prev:ously stated, great care should be taken in changing from duplets to triplets, etc. Be careful not to accent the end — of «rol un’ ess an accent is indicated (especially $7) ). ~ d= 84-96 > 3 3figure. Great care must be taken to avoid this practice d= 96-108 2 ‘When the end of a roll is also the beginning of a rhythmic figure($_ J-J-J-g) itis often quite difficult not to accent that L P iI |- PRETO OPE SRS Se eee ee |This study contains many elements previously discussed. Rhythmic precision and good sound should be the goal of this age. = 92-108ra = . In playing the figure ¥_J-g-d. the student must be completely relaxed. This is a difficult figure and must be " correctly. Tightening up will only cause the triplet to be played incorrectly. All of the triplet figures must be d= 72-86 3 L Zz =— — Pe eee ee eeeThis exercise should be played “in 1.” Start slowly in order to learn the dynamics and rhythms and gradually tempo until a relaxed feeling of “1"" is reached. 66-76 F semire =30 This is rather characteristic 6/8 study. Since the dynamic level is constant, the accents must also be constant. This is an important point. The student must consciously establish a dynamic level for accents. 4-72-80 OP FN RN FN coSle - ‘A peat deal of control is necessary in order to achieve a “clean” sound during the soft passages of this study. Playing near ~ the edge of the drum will help to produce this sound. a32 The main theme of this study, measure 1, is brought back several times, Be sure it is played the same on each restatement Again, as in the last exercise, the extremely soft passages may be played on the edge = et ee