Master Technique Builders for Snare Drum Actual Daily Practice Routines Used By The Professionals compiled & edited by ANTHONY J CIRONEae Me INTRODUCTION | would like to express my heartfelt and sincere thanks to the many professional percussionists represented in this book. Thank you for sharing your personal warm-up exercises with the percussion students of the future, ‘These patterns resulted from many years of thought within a professional atmosphere. The performers contributing to MASTER TECHNIQUE BUILDERS FOR SNARE DRUM have developed these exercises from a common goal: the need to be prepared for a performance situation. Whether it be a symphonic ‘orchestra, jazz, rock or big band concert, drum- >, = > > ( pS Ss SS Se SS SF} RALLRREUR ALLER LR CTR R LERALERRLLRRERERE LY 2S a a REAL: Un WLSSREC RTS LULU R ayn CREE AUREL SR Loy REET LAER Cviae U Cit, :JOHN BECK Professor of Percussion - Eastman School of Music Timpanist - Rochester Philharmonic Orchestra Conductor - Eastman Percussion Ensemble WARM-UP EXERCISES ‘A sensible warm-up is vitally important toa productive practice session or good performance. There is no question that relaxed ‘and supple muscles allow the mind to work better and more improvement is attained. ‘There are no tempo markings attached to the warm-ups. Each exercise should tart slowly and top speed should be determined by the performer based on maintaining relaxed muscles. At the first sign of tension or stress, the tempo shouldbe slowed. There is ‘no time limit set for warming up as this wil vary from day to day based on the feelings ofthe performer. The warm-ups should be l practiced at both loud and soft dynamics, and may be played at a steady tempo if desired. Remember relaxation is the key word in — t I ae 1. J re aac I i r ZIAD RGRIRGRINER! RRO Lab) bot aba UREA GR ER RGR, WHRLRS ELIT Tepe L oe rEA 2 z Soh fe oe 2 ae | 5 ‘e aoe . -—e ee eee eee eee eee3% Byfadidale Sa ke so ai i eee dene a fe Pe ere ae pee a a aa aa aaa aa aa aa aay ELPURGLORGLE NLL, DiWteR PGMLOMAESAGE RUUROL Re LLG ATL RLGRLD MIR. pe exencisss-50 Fn RIGHT AND LEFT HANDS I. 3 Col gigretaveratelaleret Tt = To ear Uti He LOVER TERETE r eas see Nona ee 3x or Deen eee ofr fn) cons al os de ne er, take a pair of sticks inthe pool with you. Get in the shallow (three FaeZt 04-04 PAUL S. BERNS Principal Percussionist - Indianapolis Symphony Orchestra Instructor of Percussion and Director of Percussion Ensembles - Butler University My daily snare drum practice routine begins with a “warm-up.” It includes technique builders and concludes with exercises ‘eared toward the compositions I will be playing that day. For example, i I willbe playing a quiet passage (such as, Lt. Kije by Prokofiev), I practice playing softly (on that particular performance date and for weeks before). Remember, do not warm-up to the point of becoming tired. You need to go into your performance with the utmost control and endurance. The more polished technique you possess prior to a performance,the better your execution if “nerves” hit You control the sticks. Constantly work on the evenness and continuity in your practicing. Periodic pauses during your practice sessions are important in order to relax your muscles, ‘These exercises are designed as a guide to your practice. Feel free to add your own ideas according to your particular needs and style of playing. /- ee ee eo ee ee 1, / 7S UE, Tee, R ete, t r; !_—-Medium tempo high strokes -work your hands! 8 times, SIS, Push tempo -high strokes, easiest fee ae rt E =o a oar FR Se Forte then pianisino Every eighth note must sound the same. Measure 2-stck height and loudness constant throughout the measure, Rudimental (open and clean) and concert style (uz). ———— R Ree,ul ‘Unaccented nates very low -accented note very high. Tempo at your discretion. Z Z Zz Zz D2 [tore en prin, Raine stn ener sy, ne De PERRO RR oe of and PP. Smooth and very even dynamics throughout Rudimental style then concert style RGGy LEE NGL aRGRR Less t Rob oR LR ae | a UR R RL L IR RAL LO BomL LTR RRL LGR RR =- Re RULR RL ALR @FER Ri WLe Lod cml ot RURAL fitege LOR LERE (EEE ae run town anyon vould rutin, Slow to fatto slow. -—— -- —Yo-pd- eo ANTHONY J. CIRONE Percussionist - San Francisco Symphony Associate Professor - San Jase State University Percussion Consultant - Belwin.Mills Publishing Corp. Clinician - Avedis Zildjian Cymbal Co. aradually loosen up the muscles without causing any strain or injury. Over the years, the following series of exercises evolved in ‘my warm-up routine. | star with single-strokes at a tempo that does not cause any strain; next, I add the rebound stroke (finger contro), and then ‘back to the singl-strokes. I follow this sequence throughout the warm-up routine; flams,single-strokes, rolls, single-strokes. I find it invaluable always to return to the initial exercise in order to maintain complete relaxation after the more demanding exer- ses. I find it necessary to warm-up for at least a 20-minute period so as to be ready to perform. I ‘Warming up to perform on the snare drum is not much different than preparing for any physical activity, The purpose is to d= 90 y= tomoNoael Spa ERRRRRRRRALLLCLLLLLRARARRARRLLLLLLUL LR RAARLLEL LRRRRALLEL SS SS ST aS SS aaa aa a oo RURURLALR RAR LRERLALRL LLL RERUALREA RAR CRLRLRIRLL LL ~ ERRRARRRRRLLECLLILLRRARRARRALLLLLLLE pRRRARLLLL LRRAARULIL ers RERCRERRURE REALL RERLRRLRLRLL RURRLALLALRRURLL ERR RRRRRA ALLLLILEL LARARABRARLLLLLELL RR ARALILE CARA ARILIL FL.ao7 —— Soe ee ee y Vv v' So-ot-0d 18 |, ei l TRRARRARKRULELLLLLIRRRARARAALELLLLLLLRRRARLLLELRARRALLLL le =: 2 aes TR RALLURLRRALLIRRRE RTL TRLURLARR RERRL REL maa aay TRE R RAL R LL URL RRALALL 1 TRA RRARRRRLLLLLLLLLRRRRRARRALLELLLLLERRRARLLLLELAR RARE LLL A Gel Lane uy a RGU Laks wcll eRE RIL GUE RERLTuEY EL anaes tye KORG Lack RULILLG RE R SUL R RUPEE IRSA TLUUMERN RCI EGRTR CD LameR (Lob ! om oe oe je ies aiaaa aaa aay i TRRRRRRRRRULLLLLLLURRARRARARALLLLELLL ERRAAALLLLUIRARARLLLE02 oA FRANK B. EPSTEIN Percussion - Boston Symphony Orchestra Instructor and Director of Percussion Ensemble-New England Conservatory Founder and Director-Collage, Contemporary Music Ensemble ‘The practice routine best suited is one based on several factors: level of competency, actual amount of performance and technical demands to be met, Basically, the more actual playing one does, the less warm-up time is necessary. However, this is not ‘hard, fast rule. General playing may require additional warming-up ifthe particular demands (i. forte rolls) are necessary. ‘Such cases would require additional preparation, longer warm-up time and possibly additional exercises in order to confidently ‘meet unusual demands, A general routine should normally involve single-strokes, bounce-strokes, articulations, and closed-roll exercises. My normal routine takes 30-40 minutes and might look like tis: He tl I Mi “ie7 06. 02-04 Tar AE ELIOaE Tacapiagaeats TRUER TER TER TER Fume oe ‘The lat three bars should be payed slow to fast, f and p RERL RURL TRER T f | I ) ® es es eeeAe T. BAXTER HEMPHILL Percussionist - San Francisco Symphony Principal Percussionist - San Francisco Symphony : 19741981 ‘Warming up before a concert serves two purposes for me. One isto limber up before I go on stage; the other isto aid in relax- ing before performing. I don't have any set warm-up routine, although I always play single repeated notes and double strokes in the course of warming up. My most valuable exercise developes support of the second note of a double stroke. I've found emphasizing ths technique bet- ter enables me to play evenly, forcefully and smoothes out the roll. Exercises 4, $ and 6, listed below, help me more than any other warm-up routine, TL RL RCRLALAL RL AT RLELRTRL oe cat Ses HF CR CRERCRCRER ER ER ERERERER OF Noel mae z C Ree @ R RRR RR ARE UL Cente uetewe wan arn Play slow enough so the sixtuplets are played with equal stress throughout, This is nota “Buz2” exercise. atv gee ee ESE Pe Seer er faa a aaa at wat ata at baa aaa aa at RRUERRLEL RRRLELRRRILL RRLURALL RRRTLOR@RTIL7 19 Doe, eRe Dai Deus im mAnR TO otoL aes, z= Ree eee se 2 2 nf iy eed &y Crescendo to louder than you can pny comtortbly. 1d for one minute ‘The following is a good way to check on your control of singles, doubles and accents. Basically, improvise, using the exercise below as a framework.t like to play all unaccented notes softly and really “ay into” the accents. Switch from singles to doubles fon the 16ths and check for evenness of sound. Mix up the dynamics and make sudden changes. have fun with it! Inone J=100 og a RERLRLERE oe === ; |RALPH HUMPHREY Recording and Concert Artist Associate Director of Curriculum - Percussion Institute of Technology Author of “Even in the Odds” Clinician and Teacher One of the more important aspects of hand development and control for today’s varied musical styles is the achievement of hand equality. The ability to begin and end rhythmic ideas and phrases with the hand that does not normally take the lead has ‘become a necessary factor in the modern drummer's arsenal. The weaker limb, then, must be stressed in one’s practice routine land made to come up to the level ofthe stronger, more coordinated limb. Moreover, the drummer mus, in his routine, focus on all the functions the limbs are expected to perform. This incudes exer ‘ses for the arms, wrists and fingers ‘The following exercises are designed to help develop equality of the limbs (in terms of contro, strength and speed); each exer- cise focusing on a certain aspect of limb development. In addition, some of the patterns develop better performance of rhythm; specifically, rhythm modulation (or changing note values) and odd rhythms or progressions of groups of two's, three’s and four's. These exercises constitute a sort of prelude to the book, “Even in the Odds”, a comprehensive study of odd rhythms and meters for the drummer. hope you enjoy working out with these exercises — good luck! WRIST DEVELOPERS LERRLURRELRALERRLELARLLAL LRRLERRLLARLURALLERALARLR ‘THREE-STROKE DEVELOPERSa N23) ao (ODD RHYTHM DEVELOPERS, INCORPORATING 3-STROKE 21 Wg J-120-132 RHYTHM (note value) MODULATION USING ARM STROKES ON ACCEN IS fl 4 = 88-100 Shngle Paradidtes J 92-100 ; Double Pudies )LA- elo A 0% 02 -°S RICHARD M. JENSEN Percussionist - Cincinnati Symphony Percussionist - Grand Teton Music Festival Timpanist - Cincinnati Chamber Orchestra SPEED AND LOOSENING In exercise 1, I begin witha very slow, comfortable tempo. The speed is gradually increased until fel tension in my wrists, still playing evenly. When I reach this point, I slow down to my “safe” loose tempo. Repeating this procedure five or six times without pause really loosens things up. Practice exercises 3, 4 and 5 with and without accents. SOFT PLAYING For warming up soft chops, the key is relaxation. Read down any snare drum exercise of moderate difficulty. Start the passage ata comfortable pianissimo; gradually decrescendo as you physically loosen your hands. Practice this alot. Do not think of play- ing soft in terms of limiting motion; rather, think of not having to work so hard. ROLIS In exercise 12, try for long, smooth buzzes that get neither softer nor faster; then, put them together and concentrate on con- necting in bars 5-8. In exercise 13 and 14, these are obviously bounces, three and four strokes per hand. Also, try fWve, six, or even ‘up to nine strokes per hand, always keeping the notes steady. In exercise 15, the idea isto play a normal multiple-bounce roll; then, stop the left hand, while keeping the right hand going exactly as it was during the roll. Repeat withthe left hand and com- pare tend to think of technique as the freedom to put into sound any musical idea that I wish to express. My practicing is geared to achieving that freedom J=129-0= 104° RL PR GUPR, Lari brya Guam uLRALRbiRGLs RO LERGLTR Ul Rab ck TaReto Rae HAGE TR ER RRERLL URLRRALRLELURLR RRLRLLCRERRALR LL CLES 2 eee ‘ OPO BO ee | © aeguaRAD (UgRnU IR, Deals Ral abc arly APL SER Ua teRal ee LooL | WaLTILG Reka RIL bee RR UR LR A LR RL RL ROR RRL LR RD OR RL nL R OR) 8) SO A) Be Bere aa a aa es ea ea een a oe ae Cc a ea BRL RRR RER RL RR RELR RERRRRER RERRARRLR co Oo eee ee eo Poe oe eeeRERER LA CREAR LAL RERL R LRURL RL RERERERUERERL TRER RERL UALR RURL LRLR URLR URCR LRLR RLRL RLRL AURAL RLAL TRIER RURL URLR LRUR RLRL ERER RERL RURL 4 HIRT INE RURU EGR) UEL[USUy iL SueuseNUeRCL] MEDEA nT RULER 1 7RTUGRS 7108 ¢ 6 6 6 2 RE RU LoLGu Rea Ry LoLek, RRR CLEL CLAS AGERE L J 176ROLAND KOHLOFF Principal Timpanist - New York Philharmonic Faculty - Juilliard School of Music Dante cece et the Ht Lk ae oe rte at Lage eno, or slowest eno nicer. The, iak your tine ‘and progress smoothly from one dynamic level to the next. Keep each dynamic constant from beginning to end, each time, i.e. if \ you start piano, maintain that dynamic throughout the entire exercise; then, begin again at a new dynamic. 4 § indi SINGLE STROKES: Very slow to rapid tempo; use all namie, t RORLRLRERERERLERE pocoapocoaccelerando - - - - - - = = = pose Groups of tree's turning into sixes, very slow to fast fi oa eae nie ee V eae - RtErRtRER OURO RURLRERERLRERLERLRLRLRERL £ pocoa pocoaccelerando - - - - - - - : fc RURUREREALRURURURERERERERURLRLERERERLRTRLRITALALR25 dod 2 fi Bey ee ee rest RERLALRLALR TELL PERL RURL poco a poto acéelerandy © 8." 8+ 8 TET AT UERURURTOURUAUALALATRUNCRTRTATALELAUALAIAUR Eventually eliminate the acon MULTIPLE BOUNCE STROKES: Very slow to rapid tempo; use all dynamic levels one at time. t Flood the pad with as many multiple bounces as possible, getting the correct symphonic sound at every dynamic; that is, very fine, tight-knit, smooth sound. The symphonic roll should have no open quality whatsoever-tightly knit but not choked, I popspcoeciendetstciidmpencnue: eee ene Execute a single bounce off the first stroke, eventually becoming an open, rudimental-ype roll. Work longer at those dynamics ‘which the smooth, sustained rol is difficult to perform. Practice at every dynamic level, poco a poco accelerando until a full open roll is achieved. R TR UR ER ER UR ER ae t RL RLORL RL ORL RURL ete I ieee a TR RE TR RL ER RL ERALERAL ete, Use all down strokes with one-handed flams and forearm up-trokes with alternating flams. Be sure the sound is correct, i.e. the flam sounds as one full note with the grace note softer than the main note. Use all dynamic levels. = > >>. = J >I ata >apasae => TIL RRL RTLRAL TERT TLRTRLRUUREL PRRtERCRREER Rete TRERE AREER Gb pict! sn hg ae Occ Oe eet — #F “The sicstroke rolls donot have tobe played exactly in rhythm, but may be phrased over the time span ofthe inner two sixteen- I ths, The two accented notes may be played snappier (quicker) than written. RELRLLS Tre TRRERR RRL Ww I ‘CLOSED ROLL: “Brush your teeth” (hands) th IG ae aR times a day with the following: wD we | pepe. ppp - mp—mf —f - I - finff - f - mf- mp - p- PP- PPP > Many Ayame evel is ough or uneven, go back othe mip stokes at tht ee ox | umnPETER MAGADINI Professional Drummer and Percussionist Clinician and Teacher Author of: Learn to Play the Drum Set Vol. and II, Music We Can See and Hear (for children), Musician's Guide to Polyrhythms Vol. Land 1M, Poly-Cymbal Time (Betwin-Mills) POLYRHYTHM SNARE DRUM EXERCISE This exercise developes hand-to-hand technique on the snare drum and, at the same time, expands rhythmic awareness through the gradual acceleration of polychythms over a reoccuring four-beat pattern. When playing this etude, try to fel the rhythms as a smooth, flowing transition from one rhythm to the next. ‘Concentrate on playing the polyshythms over the entire four-beat space rather than trying to match the individual beats ofthe top and bottom lines. Use alternating strokes only. After learning this exercise, stating with one hand, its suggested you lear it starting with the opposite hand. You may also try playing it in the reverse direction. Any polychythm that is foreign should be worked out before learning this etude. d= 76 * Use alternate strokes only Lees 8 nu. 6 ——— ee oe ee oe eee [SEL NL SE Start the etude with either the right hand or the left hand, lL L 2 ee I21 13:WS 8A JOE MORELLO Leader of Joe Morello Quintet for 1214 years Former Drummer with the Dave Brubeck Quartet Clinician - Ludwig Drum Company Performed on over 120 albums and has won the Downbeat Award five years ina row, Playboy Award seven years in a row and International Awards five ‘years in a row. Metric Sub-division: ‘The purpose ofthis exercises to develop the ability to subdivide the beat into any number of groupings with evenness and ease. It ‘also aids in the development of the single stroke roll. I recommend this exercise be practiced with a metronome gb‘Control Studies: C “The purpose of the control studies isto develop evenness and balance of sound between the hands. This wll allow the player the fice to move from one sticking to another without sacrificing the quality of sound. AY ka PSS see es eee ee eae eee eee (aaa aa aaa a aa a aaa a a RUERLRURL B@UERLRIRL RRLUCRAREL RALLARRLL RERREREE a) (ESS Ga a Se aay TU ERURTL RRURR ORR DR RL® ACR RLLATORE LRELRELR ae a PRURRLIRRLDE RLRALRLLALRR CRELRLARD ! (rs: re re te fee Pe eee ee ere) Eee ery | eee Tala bata ada a a area RRULRRUERAERRL RRUERRLRRERARL RLELALERLCRLL RLELRELREEREL RERLRLRLERERE RLARLRERERUERLE RRLEERRELRARLL (ARR ee ee eed aaa aaa aa oa zoL pinata | RURLARLERERERERERE RRULERRELRRELRREL RERRERLL TRRURRTRALRRLRCHARLES OWEN Timpanist and Marimba Soloist - U.S Marine Band 1934-54 First Percussionist - Philadelphia Orchestra 1984-72 Professor of Music - Univesity of Michigan 1972-82 ‘Warming up with drum sticks on a pillow or on my thigh has always seemed to be a quick way to get the hands moving, and ‘then when one plays on a drum or a pad, the rebounds come easier and faster. This preparation to play isa two-fold activity, involving mental alertness as well as physical activity. After playing some of the ‘more familiar routines, [like to include those that require more attention and concentration to develop needed flexibility. All of these examples should be done starting first with one hand and then the other to be most helpful Invent your own patterns to suit. your needs. ten ORE RURAL RORRT ALL WERRCLOT RRTCRROL RROURLIRL RURULRLR RELRLRRL TRL RURER ERLRRL RL TRRLURRL TRRRRRRALLLLLE ER URAL RL CREARLRLLRL ARLALURERL LARRLLIRRALL LALRLRLALRot- 03-5 a RR RR RR LRLRiRLRLRLA tRLR LL “L ORURL RURL RURL RLRL v v v v V Vv v v v v v v v RRELRALURALL RRALLLARRLLL RRRALLLLERRRA LULURRRALLLL y RRLELRRLL RRUL RRRLELLL RRR RLLLE i i Pesrrres Be i R v v v v vy vy v Vv Vv RRRUCLE RARLLL RRRLLL RRRLEL ARRELL RRALLL ' Seo eo oo se E So 3 = ataeae| TEUUCE RRTDU® @P TUTE @ETLOR @RDLL® BELLIS Rob DEL oMTeE w Leu cc) wl RE MRTLUL OU REN ERNL SC TtRER Se RSLOL ERR? EC LOL ROR RRRL RRRL eararer ara RRRLLERRALLEPIP IT OA AL PAYSON Percussionist, Chicago Symphony Orchestra Percussion Instructor, De Paul University Clinician, Author, and Manufacturer ‘of percussion accessories ‘The chart on the right represents the range of dynamics on the snare drum; the bottom line indi- ‘ates the softest one ean possibly play, and the top line the loudest. Many players fall into the category of warming up (and also practicing) at levels within the middle, lunshaded area — the area often referred to as “practice-room” dynamics. It is important for orchestral players to avoid this habit because symphonic literature includes many passages at the ‘extreme dynamics levels; some passages are easy 0 play at the mezz0-forte level and are quite dif- ficult at the extreme pianissimo or forissimo level 1 start my warm-ups at mezzo-forte, then proceed to a wide variety of dynamics, making sure I include both extremes, ‘The tempo indications on the following exercise are only a general dynamics guide, Feel free to change them. Begin slowly TR LR ete RE RL tte, Repeat several times, Increasing the tempo cach time aaa Accent warm-up si0ge® RERLR RLRL R RLRLRLRIR Rf ote, RA lead) bb LRLRL LALA LERLRLRL RL L ete: Head) M6 GR LRULRL RLRL RLRLRERL RL fete (Alternate) 6 GR LUERRE RRLL RLERRTLR RL mete (Double stcking)a MNi-o3-5A Roll warmups d=112 military roll buzz ol 33 Rage eu ee Leh aes TT RLR LORELE A UO CRT LI SRe U REUIRELERDL, & “CURTLOR LoeeL kU To RUA Tom = mm ve i i -_ a2 TRERRALERLLERL RRRLRL L LR RALLERRAL LERRAL LURRRLL tod) eb en fe SS ee ae pata TRERLRLRLRER LRLALRER URL ALRIRLRLRIRLALRURLRL RK Drag warm-up paste 2 rer geOCER Mh: LOR CL ORMLR LOR URE OR ERM RL R TERE RUCRERULALRLELAL RLLRL RLLR LER LARLRLLRLARL RULR LRRURULRTRRLR Four-stroke ruff warm-up 476 r Vv === TRER URLR LRLR LRLR R URLR R LRLR R iRLR L RURLA L RURLALR URLR L LR LRLR LL RURLR LE LR CRR LALR ew, bumtR LOR L RiRL Ro L RURLR L OR L RURL RERL ec. ERLR URER LRUR LALR LRLR RURL ORERL © RURL © RERL © RERL ‘This page contains excerpts from Snare Drum inthe Concert Hall, by Al Payson, copyright 1970, Used with permission,' \ ol-c4-6oA Marcus Ste ineg 35 Bp esa as Re aes ie ie ad 3 Lo a Fac a aaa aaa a a aaa RR CE CL RURLRERL RURTRERER LAL RURCALRURLRURLRL NM pp RE RE RERERERERLERL RLRLRL Pres ears eee er teers phat aa a aa = simultaneous, not flams. = R Embellishments: listen for evenness and consistency of embellishments, fete che I I TRU aeRbn Le TRE RRL RL TRUR IRL RURURERERLRLR Dee ee Se eee eee AEA AAA AAA AAA EY PERULRLRLER ERE RLRURERERERL RERLRUERLELRE TER RAL RRL RRL RRL LER RAL CLR RRL CLA RRL LER RRL ERL@URLA LRUR ERER RLAL RURL RAL ALRL LALRRLAL LACRALRL LAUR RAL URLR RLRL ‘S-Stroke Rolls vi W 1 wv u " " W 1 Vv W v Continue with 9,11, 12, 15,17 stroke rol a eee race aa et ee Multi-bounce, wrists stil playing 16ths. RERL RL RRLERRLELRALERALL Frees JourMITCHELL PETERS Principal Timpanist and Percussionist - i Los Angeles Philharmonic Orchestra ‘Lecturer in Percussion - U.C.L.A ‘The technical demands of the snare drum in a symphony orchestra are so varied and so demanding that a very high evel of Aexibility and technique must be developed. Once achieved, maintaining this caliber of playing i essential. Fortunately, ahighly- skilled snare drum technique carries over into many other facets of percussion playin. For these reasons I feel that maintaining some kind of dally snare drum practice is very important. I do not have a particular routine, but the following exercises represent some of my favorite “warm-ups.”" Practice first for relaxation and ease of playing ata full, unstrained a} jynamic level. After the muscles relax, expand dynamics to ‘cover loud and soft, then accelerate patterns for speed. l hp _Reveat each pattern many times at relaxed tempos. v Use wrists only in examples 1 and 2i UlR) Ro LSRE LCL RETR AT URILTAILIRO SLR TOUR Lo RyRe AL LWIA AD aR LR L RL RL MURMUR BL RL RT R UR RRL AR ARLL ARO, Exerctes 12 and 13 should be done with both open and closed roll d= 112 I bagel AREAL ‘A continuous closed rol ina triplet background, Gradually crescendo and diminuendo. (¢ SOLE ETL EEL EPL EEL TTL IT A ete SEW ORR RO RORDAD Lob dot, UU GRAD RULGRGLERILY ROL] RL REpTAy Lam Cat rittan ne Rae RURRTR RERCRLRLRURIRURFRED ¥. SANFORD Staff Clinician - Ludwig Drum Co. Leading Authority in Marching Percussion Each of the following exercises are designed for specifi pysical motions. The forearm, wrist, hand and fingers work in har ‘mony to produce rhythmic evenness and flow. When total stick control and coordination of the exercise pattern are achieved, (ne should experiment with “variations on each theme.” Different sticking patterns and rhythmic variations enable you to for, ‘mulate an infinite amount of musical combinations. ‘A part of your daily practice routine should include a wide range of dynamic contrasts. You will find that playing soft requires ‘seater control of the sticks or mallets, Strive for accuracy rather than speed. When you become fully confident of a patern, speed will follow Give yourself specific goals to be met in each practice session and always remember: “Practice makes perfect” — but, only if You practice it perfectly! Best of luck ia all your musical endeavors. /):> SINGLE HAND “CHOP” BUILDERS ee ee ee ee ee | RicR Gn Rese RNS eho ] Be oan eon iy ee 7120.20 /-+ o> ALTERNATING STROKES IN TRIPLETS Ge Ee ee oe a Rea po pies gear | [a See ss Sid React oe) als Se ee, Fe = eset ee oS eave aL DOUBLE BEAT SYNCOPATION RR LL ec RR RR RR AR A ] RR RR ae, eM AMS ee UL Sr uke wie aL ek prison SINGLE/DOUBLE BEAT CONTROL EXERCISE RULRETURRERRLARLL RLURLRRLRLLRLRRE L280me oe SPEGU CRU T be REE UL R Ds Rtagun RU RaR at BULL mala RGAp RRL RURURUATROALAURL RERUALACAUARL ALARL ALAL AL AL ALLARD ALAR apa Ss Ss 2 TRERRLRLERARLER LRALRLCRRL ERLARERLE RRL RLERL RAL RL = Des) AS Sas oasis > ca as TST SRR DSIRE DR US RRO ps UR EUE REM LERy RRR Oy \ FlanAccent Flam vGiddle Flam Aooent Flan Tap , =e FLAM DRAG ROLL EXERCISES TRUARERECRERLIRURALAL CRERRERLURLALERERE AL RU RLMLCRURERUAREMLE RURLMLRURLERUARLAL RUMUE MUL RUARI RURAL ML RUWAR LAR R ARLL A LL ARUL ALL Fier| =_ = = = = CHARLES SMITH Principal Percussion - Boston Symphony Orchestra Faculty - Boston University like to stress to my students that “chops” are important, but technique alone has never made an artist. Most important isthe re-creation of the composer's intentions through the interpreters imagination. Once, while lecturing on percussion sound at Tanglewood, a remark was made that my approach was the same as Rudolph Serkin's forthe piano. have used 64th and 128th notes in order to make students familiar with them as they have come up in parts I have played. ‘These exercises could also serve as an introduction to “‘hythmic modulation.” 1 suggest practicing exercises 1 and 2 with a metronome, (using the sixteenth note as the pulse), before attempting the more ‘complicated warm-ups in 3-7, 1 believe in warming-up with a tempo in mind. Perhaps the greatest asset any percussionist can have is a good sense of time.LeGugne RRRRR LLLLL BORER R Tau L RRRRR LILEL RRRRR LELLL RRELR TERRE RRLLRAL L RRLURRLLUERRLULR RORID pap UCT TRU ALOU Sn RRLELRRE TRARLLR RRLLARL LURRLLR TRRLERZt oe ED SOPH Drum Set Recording and Performing Artist Clinician / Yamaha and Avedis Zildjian Cymbal Co. | A musical snare drum technique — one which provides control of dynamics, tempi, accents and rhythmic flow — is a prere- cule for muse rum technique, Thee ene, when paced wth concentration and imagination, hp atta tat pos Ia ach bar atest ih tines in ation othe our consecutiv bars f each xr. Pa with helt REBOUNDED strokes allowed bythe tempos and noe grouping. Alo lay wih REBOUNDED strokes 11" fom the hea. Excet inthe ee [cfs statin, wie rie the ingeuiy of hepatic, the oust nt tobe ay peparny stokes. All downstrokes begin where the preceding upstrokes stopped. 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