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    7 views97 pages

    Benjamin Podemski - Standard Snare Drum Method (Version 2)

    Uploaded by

    Andy Dick

    Copyright:

    © All Rights Reserved
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    : POD EM Skis e INCLUDING DOUBLE DRUMS AND INTRODUCTION TO TIMPANI ‘A complete personalized modern course in pereus- sion studies, including all standard and modern dram strokes, as well as rum solo passages from world- famous concert and’¢ymphonic compositions, together with striking exercises for double drumming. An analysis of the Timpani—the instrument, tuning, correet method of playing, rhythm, and beats. BENJAMIN PODEMSKI ! Renowned Percussion Artist with the Philadelphia Symphony Orchestra Pr b, his STANDARD SNARE DRUM METHOD Including Double Drums and An Introduction to Tympani by BENJAMIN PODEMSKI he Copyright © 1940 (Renewed 1968) MILLS MUSIC. INC. Al Rights Ausimed to and Controlled by BEAM ME UP MUSIC c/o CPE) BELWIN, INC, Miami, FL. 33014 Tntemational Copyright Seeured MadeinUS-A. All Riches Reoses —reword In presenting the most complete and most recent drum course as written by Benjamin Podemski, one of the world's foremost percussion authorities, much re- search, care and editorship has been placed-in an educational work most sincere and applicable to the drum student's and professionals needs. The object of this Method is to furnish the music student with the basic fundamentals necessary to the mastery of the rudiments and technique of drum- ming plus a general knowledge of music reading, as well as orchestra and concert band drumming. The text is composed of @ compilation of studies which the author has uied ond continues 40 use with arfistic success. Benjamin Podemski, famous percussionist with the Philadelphia Symphony Or cchestra since 1923, playing under Leopold Stokowski, Eugene Ormandy, and guest conductors, has achieved brillant percussion effects thet have gained him world recognition. Ho hes alo appeered with Arturo Toscanini, Fritz Reiner, Victor Herbert, Richard Strauss, Victor Kolar, Sokoloff, and other greet symphony conductors in the United States and Europe. drum method is @ most active educational force in the field of standard percussion art today. Full care is given to drum strokes and to the explanation of modem rhythms. Every letson is a valuable addition to the percussionit's study. ‘The book is profusely illustrated with drum solo passages from concert and sym- Phonic compositions as well as striking examples for double drums—bes and smare—in simultaneous execution. Cautiously analyzing the tympani for percussion players, Podemeki explains the instrument; the correct method of playing, tuning, rhythm and boats. Exercises for the tympani are included in the velume, The course that follows is definitely © university of musical and percussive thought. ‘THE PUBLISHERS His BENJAMIN PODEMSKI TABLE OF CONTENTS Page | Correct Method of Helding Snare Drum Sticks .. 5 PART [BASIC DRUMMING . ‘ Note Values, Musical Terms and Expresions ...... 6 The Roll... : 12 she lam 2 ol cee fae Fes Cay, 5 The Drag — M4 ‘The Four Stroke Roll re ‘The Five Seroke Roll or Gruppetto . as The Four Stroke Rell “The Single Stroke Roll... The Seven Stroke Roll... Flam Strokes Drag Strokes x wan OF Corbina ot §es3iar c=. 20 Abbreviated Values 2... 2 Elementary Beat Exercise Seudies Exercise No.1. fo Exercise (No. 2 2 Exersite No, 3 : bas ae Exercise No. 4 = as : Exercise No. 5 ceucsetees 26 : Exercise No. 6 z £ Exercise No. 7 2 if Exercise No. 8 8 : Exercise No. 9 Pea) 5 Sat x2 5 33 Rhythm and the Percusionist a4 | A Sendy in Rhyshmial Division 35 Exercise No. 13. 3 ES = Exercise No. 14 v7 “cea ten i Egercse No. 15 3 3 Exercises in Abbreviated Values | Exercise No. 16 38 Exercive No. 17... 40 Exercise with Scotch Snap and the Reverse if Exercise No. 18 Coke Exercise No, 19 a _ _ Exereie NO 200 oe cccssseeees “ n° Exercise No. 21 ..-..2.+- ene “4 ; Exercise No. 22 ae | Correct Method of Holding Snare Drum Sticks Inde ‘of right hand wit ck eld upwards 6 PART | BASIC DRUMMING NOTE VALUES rE j ‘Here is given a diagram showing the proper way of dividing a whole note. | The whole note or 4 quarters This is how 8th, 16th and 32nd notes appear when written separately (not in group form). d 5 +s 4S Sth notes | 16th notes 32nd notes RESTS 4Ma 2g Mg Yg Ye Yge or whole or half Copyright ©1940 (Renewea 1968) MILLS MUSIC, INC. Al Rights Anges to and Contd by BEAM ME UF MUSIC Jo CP/BLLWIN, ING, Mis FL 3014 ational Copysght Secured" Madein U.S.A, All Rights Reserved DOTTED NOTES AND DOTTED RESTS Written Equals These notes are equivalent to these rests. Written Equals A dot placed after a note or rest increases its value by one-half. THE DOUBLE DOT ‘Written Equals Written Equals ‘A double dot after a note or rest increases its value by three-fourths. _ 11393 ee 8 The Triplet The Sextuplet Group of five endian Group of four Group of two Group of three quarters ‘Group of three halves FF Sm smn TT FA played in the value of played in the value of played in the value of played in the value of played in the value of played in the value of played in the value of played in the value of Artificial groups of notes which are played in other than their original form. re ee ee eee MUSICAL EXPRESSIONS MOST FREQUENTLY USED F forte (meaning) Loud SF fortissimo (meaning) Very loud IEF forvissisisno (meaning) Extremely loud mmf mezzo forte (meaning) The medium between soft and loud. P piano (meaning) ‘Soft PP pianissimo (meaning) Very soft PPP Pianississimo (meaning) Extremely soft. ‘mp mezzo piano (meaning) Medium between soft and very soft. MOST FREQUENTLY USED TIME (Tempo) 9 Moderato (meaning) Moderate Allegro (meaning) Lively Andante (meaning) Slow Adagio (meaning) Slower than Andante y Vivace (meaning) Quick Presto (meaning) Very quick ‘Tempo di March (meaning) March time A FEW OTHER MUSICAL EXPRESSIONS AND SIGNS p ———— —____ p crescendo diminuendo ancteasing in loudness Gradually softer A | Sforzando ie strongly accented f $ Fermata 2 over note or rest-to be held at pleasure by instrumentalist or conductor. | Ritardando (rit.) slowing down of speed, Accellerando (accel.) Gradually increasing speed. Dal Segno sign § (D. S.) wherever the D. S. sign is used, it means that that portion of the com. | position is to be repeated. Da Capo (D. C.) wherever D. C. is used, it means to go back to the very beginning of the composition and play it over again. 4 * | 0 REPETITION SIGNS ‘A section of music is sometimes played twice. The signs for showing where the repetition begins and ends are these: No definite number of sf md No definite number of i measures. measures. 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: Saeed A B Cc D ‘The student will understand that in printed music the letters A, B,C, D, are not used, but are here in order to, facilitate the following explanation, First, the student will notice what the marks are: at A a re- petition mark as shown above; at Ba numeral 1 followed by 2 horizontal line above the stave and extending to G,a repetition mark as shown above. After C a numeral 2 followed by a horizontal line over the stave. ‘The section as originally written is from A to C, The measures B to C are called the first ending. The 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 thing for the student to remember is that after he has played from A to B the second time he must then skip over from B and play from C toD. Occasionally a conductor will direct his men to “take 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 ‘A Coda is a closing section of composition. ‘Sometimes it is incorporated into the composition in such 2 way that no special markings are necessary. ‘At other times it is to be played after certain portions of the work are repeated. In such case special mark- ings are used. Somewhere in the course of such a work this sign @ -will appear. During the first time that the work is being played this sign will be ignored, but toward the end the player will find printed the words Da Capo or D.S. He will then return to the beginning (D.C.) or to the §§ (D.S.) and play the composition through again until he reaches the Coda mark. ‘Thence he will skip to the Coda which will be printed at the end of the work. The exact place to which he is to skip will be marked with the word Coda or -with the same sign @ or sometimes with word and sign. 11393 n Legato-——~ or Tie. When a legato appears over 2 group of notes it means that the notes should be played connectedly. Bis means repeat. Any measure or any number of measures marked Bis should be repeated. bis , RITORNELLO SIGNS 2 Se ‘When a preceding measure is to be repeated this 3 symbol is used. When two preceding measures are to be repeated this he symbol is used: 2. Abbreviations of rests by means of conventional signs. 4 6 8 10 2 SYNCOPATION Syncopation is the placing of an accent on a part of the measure where none is expected. Each kind of measure (2,'4, 4/4, 3/4, 6/8 etc.) has its principal accenton 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 measure. If an accent is placed fon any other beat than the one which ordinarily carries the accent, syncopatian will result. natural a_| A A. A A A syncopated A A A A THE ROLL Of utmose importance to the drummer is the Roll. The student cannot give too much attention to the Roll as it is the foundation of all drum technique Ic is advisable for the student to start practising very slowly and pay attention to the uniformity of the beats. Scare the Roll slowly and evenly, thus: R indicates right hand L indicates left hand R R L L R R L L very gradually increasing he time. As soon as the student feels that his strokes are becoming shaky and uneven he should immediately~! slacken his speed until he gets back to where he started. 5 |Then commence again «ad repeat the process over and over again. By practicing in this manner ! the student will find that his strokes are becoming gradually faster and falling more easily into the Roll,| as per illustration, MLRRLLRRLL RRLERRLELRRLLRRLLRRLL : gr zest ES SSS SSS SSS THE FLAM 13 ‘The Flam isan appoggiatura. (Appoggiatura means leaning against.) The Flam if properly executed is effective and plays an important part in drumming. ‘The grace note should be play distinctly but more softly than the quarter note; the accent, however, should be on the quarter note and sound something like this—FLAM-FLAM Diagram 1 Diagram IT \v = Vv 2 Vv Iv ie Vv a AV Diagram 11 E2 ee eS R ii R x ry The Flam should be practiced as shown in diagrams—firse from left to right, then right to lefe and final- ly from hand to hand, The student will find ie bese to always use the Flam as shown in Diagcam I, as itis safest for speedy and clean technique, unless a passage is very difficult and alternating is really necessary. ww THE DRAG ‘The Drag is a Mordente consisting of three notes—two ornamental notes and the main or fundamen- tal note as shown here— 5 —— = ‘The two ornamental notes precede the fundamental note and should be played softly and distinctly while the accent should be on the main or fundamental note. Commence practicing the Drag slowly and openly, gradually closing up the beats as the speed increases. The left hand should strike two soft, distinct beats followed by a smart, precise stroke on the beat with the right hand thus: R R zg & ‘This can also be practiced the reverse way thus: L L ye ve" and finally from hand to hand thus: Rg x L = R iy R z & & Pf Pf Pf ef BF PL PSL PS The drag is not a difficult stroke but care should be taken not to crowd the two ornamental notes too close to the main (fundamental) note as this would result in a “smudge” instead of a clean even group of «three notes as it should be. | \ R L R L R L R L | Right Wey Eee RR Wiens Woy SC eee} 11393 THE FOUR STROKE RUFF a ‘A Mordente of four notes. 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 stroke. The technique of the four stroke ruff is also used on the following passages, #. 2 2 =e R LRLR LRLR LRL & LRLR LRLR the only difference being that in such passages as these the triplet has its proper time in the division, while in the four stroke ruff the triplet or the ornamental notes do not take up any time in the division, THE FIVE STROKE ROLL OR GRUPPETTO R R Rg Rg Ic can also be pracziced the reverse way. oi L = Generally it is best to play from the right hand. THE FOUR STROKE ROLL A Four stroke Roll especially adapted to pianissimo passages. R & PPP PPP PPP PPP PrP Often passages with pianissimo expressions such as these are encountered. ‘To attempt to play these with the four stroke ruff is an error as this will nor have the proper effect. The stroke will sound either too long or too rough. Some will attempt to play with a drag in order to get a smooth pianissimo effect but it will be too shore and the five stroke roll too long. It is essential, therefore, to study the four stroke roll as outlined above. This will be found to be a diffi- cult technical stroke bur with a little patience and enough practice the student will be rewarded for his efforts, This stroke can also be used to great advantage in F passage in 2/4 and 6/8 marches and the like. 11893 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. 3 Various ways of practicing the single stroke roll, RL RLRLRLERLRERL RLERELRLRERLRELRERLS TROEROCRLRLERLRORER LRURERLRLRERLRLR® ‘Although the single stroke roll is very important in orchestral work it 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, RLRLR L RLRLR L RLRLR_ L RLRLR L R RLRLR RLRL R RLRLR L RLRLR RLRL R RLRLR RLRLRLRLRLRL RLRLRURLRL RLRLRLRLRLRL RLRLRLR In executing these passages with single strokes you will notice that the 32nd notes will sound crisp, snappy and even, The five stroke roll is 2 poor substitute for the single stroke and should never be used in its place. 11393 THE SEVEN STROKE ROLL uv Start slowly increasing speed gradually. This gruppetto is used mostly in military drumming and is seldom encountered in orchestral work. It is a very beneficial stroke for wrist practice and may be played from, either hand, it-being advisable, however, to finish with the right hand, Alternating Stroke Paradiddle ee ) knee ek Celene RL OR ‘Alternating Flam Paradiddle ERD RR AL RL L £RLRR ALR LL 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 Flam Paradiddle tRERL ERLRL ~LRELRL ERD RL Drag Paradiddle RL RR fea RL RR LRLL Should be executed from hand to hand. Double Paradiddle RLRERRLRERLL RLERLRRLERLREL Double Drag Paradiddle RLRLRR ULRLRLL RLRLRR LRLRLL Double Flam Paradiddle RERLRR LRERLL RERERR LRURLL ‘Various strokes ornamented with flams—drags—four—five and seven stroke rolls, R LER FLAM STROKES Tee ite LkR Tk ER ie aa A or: or: the student should himself know which way however, 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. To acquire dexterity, the following examples should be practiced with all the “fingerings” noted. When actually playing with an orchestra or band, DR oR RL RL TRGER#®L RL RRL LR RL ERUER LR IR Gradually increase speed LRRL UR RL L ERLR LR LR Gradually increase speed Gradually increase speed w DRAG STROKES R LL LLR =! == RAL eee =e Tasd au, LoeeLRuiR Loar R oiR RoreL bL-tiR Roam bb uur uiR ERE arLRLR tt RLROERRLR TERLRL aRLR LR BL LURLRL eal RLR aRL RLR EER DRL 20 COMBINATION OF STROKES 3 2 8 3 TURLRE RE REL eR tuRL REL RELL wR 3 z TLR RRERLRLRLRL web tpRLRELRERLR Note different fingering in second measure. r TRERERLREREL RL tt R FR LRERELRLIRLEL wR = RvR erb RERDR 1 Note different fingering in second measure. RILR RL GR. ®itRiRal HLLRELLR RLLRLR RL R RL RL gp LRi RURL ZER ERLRL aARL RLR LR > i 11393 ‘Written Played Written, Played Written, Played Written Played ABBREVIATED VALUES Abbreviations in manuscript or printed music by means of signs. 2 ELEMENTARY BEAT EXERCISE STUDIES R. Indicates right hand. No. | L, Indicates left hand. Slow (4 beats in a measure). Count One (2nd) Two (and) Three (and) Four (and) 1@ 2& 8& 4& 16 2& 38& 4& 1é 2& 8& 46 _ 16 2& 8& 4& | > dass3 No. 2 23 ‘Two beats to 2 measure. Count One (and) Two (and) 2a 112 ‘The numbers| jwith lines drawn across the stave separating the measures, denote whole mea- sures of rest. No.3 4 Exercise in quarter and eighth notes. Count One (and) Two (and) doe ae ee ae 8 ee eee ee 11393 The fingering (L. R.) must be carefully observed. No. 4 26 No. 5 3/4 Time—Count One (and) Two (and) Three (and) » Moderato = My 1 Sore Meee Le 8. eae a ae ae Letters A-B-C-D-E-F-G denote the different sections of music. Sometimes numbers are used instead. 11393 a bao i es ‘The two sixteenth notes should be of the same duration as the cight note, no longer SS ~ oF shorter. a No. 6 pg RRL RL RRLRL RL RRL RL RRL RE ee ee ee = = T 2 T 2 B 2 4 2 1 2 RLR RL RLER RULER RE 1 2 1 RRL RL z RARE ROL 1 2 ey 2 R RUERLR re Rtre A ire 1 RRLRL 2 1 2 1 2 ii LR Lb RLLR EL RRER EL RRL R 28 11398 No.7 RLRL 29 ‘The groups of four sixteenth notes should be played with single stroke beats, thu es and com- Ywencing always with the right hand. > No.8 Abbreviated BE ‘ As Played Abbreviated As Played | | ‘A study in abbreviated quarter, eighth and sixteenth notes. No.9 ai 2 “The measures marked with lester Z are purposcly divided so for quick eye training. e + = Abbreviated oy’ —ye ry ‘As Played on No. 10. a1 > STUDIES IN FLAMS 32 No. II 11393 ‘This exercise should be studied slowly and carefully, No. 12 Please observe the > accents 33 Last Measure Abbreviated As played ence 1n orchestral work. 11393 % Ac lecter G a repeat % sign to the preceding half measure is inserted. This is a common occurr- a RHYTHM AND THE PERCUSSIONIST RHYTHM is the occurrence of accented beats at regula 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. To define it more clearly, 2 strong thychmic sense means three things: First, the ability to maintain a beat for a Jong 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 ability co break up the beat into smaller units and to execute any kind of pattern made up of those smaller units. For example, if the beat of the piece is indicated by quarter notes (J ), as it most commonly is, the m to break up the beat into two equal parts, eighth notes ( J) ), four equal parts, sixteenth notes ( J ), jan must be able eight equal parts, thirty-second notes ( ), etc., or into any combination of these smaller units (that is, any rhythmic pattern) that the composer may require. It should be understood tha what is here: called a strong rhythmic sense does not come entirely from natural endowment; it also comes from study and training. In respect to rhythm, the percussionist occupies a position in the Orchestra of great importance. If a player of one of the melodic instruments (cello, etc.) is deficient in shythmic 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- 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 at the wrong instant he will not only reveal the weakness of his rhythmic sense but, what will be more intolerable, he will impair and possibly ruin the performance of the music. Toa strong and well-trained shythmic sense the percussionist must add another qualification: namely, the intelligence and ability to follow the conductor. He must not only be able to read and interpret the music, he must also“be able to read and interpret the conductor. ‘At rehearsals and-at performances the percussionist must place his stand, his music, faihecinaee and himself in such a position that he can, without difficulty, follow the eye and hand of the Conductor. He must, from observation and practice, learn to read and obey the slightest sign that the conductor gives, Any deficiency in following the conductor will have serious consequences both to the music and to the player himself. If, in an important passage, he fails to obey the conductor he will not only ruin the per- formance, he will find himself out of a job. STOTT RATIHMICAL DIVISION aS The dividing of these examples should be understood thoroughly by the student before proceeding further with the exercises. ritten differently but chythmically alike The only way to sustain notes on the snare drum is by executing them with the roll—therefore these principles apply mostly to S. D. playing. Moderato No. 14 37 Triplets are marked by a number } over or under a group of three notes, which means chat they mare to be played in the exact time of wo notes of the same duration. rr oad er Please observe expression marks, P—S Pp ———F -————_—fF OP “11393 ea 38 No. 15 > CRUSH ROLL a) Py dr [Prt | Moderato ne 11393 EXERCISES IN ABBREYIATED VALUES 39 - No. 16 ~ EXAMPLES FOR THE FOLLOWING EXERCISE As Written = As played R RLRLR RRLRLR RRLRLRLRL RLRLR RiLRER RILRER RLERLRERR LRLLR ‘ RLRLERERRE RERERURRL RLRLRURRL RLRLRRL 1 RLELR LR LRRL RRLRLRLR eS SS ee ‘The fingering used in this exercise is optional as long as the necessary resule is acl can use the fingering co which he can best adapt himself. ‘The student 11393 No. 18 al EXERCISE WITH SCOTCH SNAP AND THE REVERSE a = As Written a As played a 7 = == Eicher fingering 42 No. 19 RLLRLR RLLRLR ee = 11393 PART Il ADVANCED EXERCISE STUDIES No. 20 11393 £ No. 21 RLRLRLRLRUERERER L RL RERL RLERLRLRL RURLR RLRLR LE ae 3/8 time. Count three to each measure. 4 Moderato RURLRERERE RURLR 46 No. 23 = ~ The groups of three sixteenth notes ddd are to be performed in'the time of ewod @ of like value > in the regular Thythm. a ‘Three counts to cach measure. 2 11393 No. 24 a7 ‘Two beats in a measure. Abbreviated ‘As Played No. 25 Count all the eighths. ; No. 26 4g) Slow—count each eighth, 11393 Tempo di Polacca 2/4 Syncopation No. 28 St The vrover division for syncopation. No. 29 53. No. 30 11393 yg = ot No. 31 Two counts to the mezsure. if ce = 11393 Three counts to each measure. Ne 22 . 11393 36 No. 33 Slow tempo 11393 58 No. 35 11393 No. 36 8 Maestoso f ef i= 4 4 = s SSaee E SS ss “a = = F = oe 11393 wo No. 37 Moderato OF = = From X to X may be omitted. 11393 = a No. 38 oy 11393 | 62 No, 39 i Syncopated 4/4 time. > 21398 ‘Three counts to the measure. me 11398 Maréh tempo ‘if ar 11393 No. 42 85 Three beats to a measure. Si SS As Written As played 11393 66 No. 43 Count 12/8 to each measure or 4 if faster tempo is being played. j F 11398 es | \ — No. 44 2/4 Syncopation > 11393 \ No. 45 69 Exercise with single stroke rolls 11393 Modexato Fast tempo No. 47 a Two beats to the measure. 11393 a 2 PART Ill MODERN RHYTHMS AS EMPLOYED BY CONTEMPORARY COMPOSERS DIFFICULT DIVISIONS ANALYZED ‘Two beats to the measure. a a i Written and proper divi- sion for execution. Samg division as above in 6/8 time. Two beats to the measure. Cae oe Written As played 1S = — | 1 an 3 2 2 Four beats to the measure. | F ae ae. | i Vivien (ES F As played 5 (a ees Te ee aE: | Written \ As played Two beats to the measure, ‘Written, As played No. 48 Ed 11393 a No. 49 No. 51 a @ Four beats to a measure. —S SSS SSS e => F a aaa aaa ee a= Five beats to a measure, % No. 52 11393 SWING STROKES RLLRLLRL LRELRLLR Lk Bee’ Single strokes ERURIRREGRE RiRRLLRLRLR RLLRLRIRRL LR ame with Fling All Flams to be played from left hand, RLLREURL LRULRLLR-LURL Sees ee eee me with and Crush. 7 No. 53 A, STUDY, IN, SYNCOPATED RHYTHM WV ) Ff = RLLR LR RELRLLRL LRLLRELR RLLRLR = Bebe gees BR) LRLRLER RLLRLRERRELRLRL je ee ey =" FART IY DOUBLE DRUMMING EXERCISES FOR DOUBLE DRUMS AND SOLO PASSAGES FROM MOST RENOWNED COMPOSITIONS Lively Mareh tempo oO 11393 80 Mare FF; 11393 8t March tempo Damas 82 Excerpts from F. E. Aubers" Overture MASANIELLO. To be played two in a measure. Allegro Moderato ' 11398 PART V FAMOUS DRUM SOLOS Opening measures of F. E. Aubers’ Overture FRA DIAVOLO. 8. D. Solo F ‘poco a poco decrese. PP PPP The ordinary five stroke roll should not be used in the above passage. It should be executed with single strokes as written BA Excerpts from Franz y. Suppé’s Overture PIQUE DAME Allegro con fuovo , reso. 7 Piu mosso | 11898 Important solo work for the snare drum from Rimsky-Korsakoff’s CAPRICCIO ESPAGNOLE. ALBORADO Vivo e strepitoso ppaeors | OTM ALONE FANDANGO OF THE ASTURIAS Vivace assai 11393 86 Excerpts from Franz Liszt’s SECOND HUNGARIAN RHAPSODY Prestissimo ‘TYMPANE Andante “ Presto 11393 Adapted from A. V. Kontsky’s AWAKENING OF THE LION Caprice Heroique 87 ‘Tempo di Margia a 3 3 3 3 a ss poco "erese, nf | 1 Tempo di Marcia 88 7 PART VI AN INTRODUCTION TO TYMPANI Much ie required of the student who wishes to study Tympani. ‘The student must possess good rhythm, a keen ear and a fair musical training. The knowledge of snare drum execution and ability to read drum parts are not sufficient and do not mean that the student is ready to undertake the study of tympani. Those desirous of studying the tym- Bani should be able to play the plano, which is imow suitable tothe percusinist, or some addon mus. cal instrument. | If the student has no musical training other than the percussion instruments, he must then study sol- feggio with a reputable music teacher before he atzempts the tympani. THE RANGE OF TYMPANI that is, if the eympani are of regulation size (28% ‘The range of the tympani is one octave 25 or 27x24) which are used for ordinary work. However, the contemngrary composers go far beyond that range and write as low as low == and ashigh as high A SES] for which special size kertles have to be built. To get a low C the tym- pani should be about 3 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 pani is and the range of the 25 or 24 inch tym- TUNING OF THE TYMPANI To assure uniformity, adjust the tension of the heads evenly all around the hoop and keep the hand screws all in the same direction. Sound the “A”? on an instrument or a tuning fork and compare it with the sound from the tympani head. At first only an excellent ear will be able to distinguish whether the tympani are tuned above or be- low the “A” sound. For example, if the sound of the tympani appears to be below the “A” or any other desired nove, then, by turing the screws all around evenly che desired tone may be had. If the sound is flat the head need: more tensioning. If sharp, the tension must be lowered. The student will at first have some dificulcy wich his tuning. He may find it difficult to differentiate beeween the various sounds because of the many overtones these instruments possess. Overtones, natural with all instruments, are more common with the tympani and especially true of the larger sizes of tympani. Only after stringent practice may the 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 tympani should be placed to the left of the player, the small one to the right. If the tym- pani happen to be the hand screw type, care should be taken that the screws do not obstruct the place the player strikes. THE ROLL The tympani roll requires practice. |e consists of alternate single strokes A good roll and tone depends not only oa good quality and properly adjusted heads but also on the ieorrece way of holding and swinging the sticks. The sticks should be held loosely for greater flexibility. ‘The hand position of the sticks for playing tympani should be the opposite of the position for playing the bells or xylophone. (See illusiration) To develop the tympani roll the student should begin practicing with a slow motion, increasing the speed gradually and evenly until a fast tempo is reached. A maximum speed should not be attempted until such a time that it comes with perfect facility and flexibility. ‘At no time should the sticks be allowed co “squat” on the drum heads, afver striking them. The hands should be flung upward immediasely afccr che beats. Never hic the heads of the tympani in the center as that will produce a dull thud instead of good tone. Strike the heads about four inche: from the hoop. Good tympani sticks are very essential to the player. As good sticks are difficult to obtain, the player should, if possible, learn to make his own. This will better suit his individual balance and touch. Utmost are must be taken in selecting and shaping the tympani sticks. THE CORRECT POSITION OF HOLDING THE STICKS THE INCORRECT POSITION OF HOLDING THE STICKS EXERCISES FOR TYMPANI on in A-D 11393 8 in 6-0 Moderato 11393 in G-C Vivace (fast tempo) 11393 94 in Bb- Eb Six beats w the measure. mf. 11393 —— ITALIAN BY-WORDS ANS, SEALE scnaceerneranwar ROesweal AEs Very Swell With [From But Less “Half ‘Mach or Very “Moved or More LINoe Or... Ee ‘More 2 Liale Newly LAlways ‘Without Under As much o 0 mu SeeOE UME eee e cece eee eee OF One ‘MUSICAL TEMPO TERMS ‘Adsgio.....

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