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    100 views91 pages

    Camp Duty Update - Claus Hessler

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    andrewconfy

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    © All Rights Reserved
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    a lessler s MY Duty Tpdate ea Snare Dagens: Bcidping the Gap Berween Past and Present + History of Buropean and American Drumming Traditions * Traditional Pieces taken from the U.S, Camp & Garrison Dury ‘+ A Guideline for the Interpretation of Rudiments + Modern Versions of Rudimental Classics, Quicksteps, and Play-Alongs ei Claus Hessler’s Lamp Duty poate... More Testimonials ees gory Tissier scaarare FN nies socmeria een a ce a eta eran eect lena meena ctees Eumicctiemoeieen parte Roomcgeestnseeeccaereis ee aiaieeme niet paborseeateemecetcra! Saeaten mmm entttacrecy Seemann Severe rena near Peo Se ae pectreneneeraes Setertaee Srcinanacs een peers eerie mpretratrnoapans se teen ee eer sms eit ¢ at ieee regs sane Sere ieee Brey Cine | fit beg pay, loved ines He] Sint wine sone Wer to a Tomes sete funds moveners hat ‘Slow es delop vocab on te duns ately ae we tt abot he istry fhe ‘ume radon ht oes bck ets, nd ‘seven mere ik saith eas ight averted tem ous gs us es ook as and (fess anew yolk ts ug ator, ely ped “re nooted bo Cat DARD GARIBALD(rurner th ower Powe) Weraisescoatssigetenamatine for erat nner drum ory th gant of toc pes nd wp ‘wll Cus fas pt topeter 2 fabulous book ‘nh sels histor of rade rations tht 23 can lean fom, 5, ith at eng a ees to exing hw ordinates came ie hw By ae festa sound on done wh play sore ee You heck So wy nat jan en at you mig nt knw? al are for 2 peat lle ean on stig ou rot fade tring nl ine on Bok so get thee and pt Youre sme Py af willbe ge! RALPH HARDIN BiveKights Drum Corps. OC Hal ome ember educa) Claus Hessler’s Lamp Duty cpdate Snare Drum Rudiments: Bridging the Gap Between Past and Present + History of European and American Drumming Traditions + Traditional Pieces taken from the ULS, Camp & Garrison Duty + A Guideline for the Interpretation of Rudiments + Modern Versions of Rudimental Classics, Quicksteps, and Play-Alongs LEARN “TEACH PLAY ©2017 by Ard Mc tie CAN een nes atfedcom Cot PhateGse ae Backcover Photo: Florian Alexandry-Zomn AllRights Reserved Engraving & Layout: Claus Hessler Pied noma ncn Cs ese tem co-a2S818 cok NP3CD) —_EnshTarion Anny Cooma iv iorsaocs017 tng Tames Psi re EIR Se 6 Hew! oe homes el 2 Claus Hesslr’s Camp Duty poate Acknowledgements My thanks te: «= ny family, fr conan occepting my addicon o drumming, «+ Mat D&rsam forthe fife recording «Allred Music Publishing Thomas Petzold and Helge Kuhnert for her great work and ossistanes, + my sdenis, for being the human guinea pigs and beta testers for my educational projec. + Patrice Schneider for addtional help wih edting. + Jochen Heck for sound and mixing «+ Anthony Copnal for helping withthe English translation. + other rudimentaddicled crummates, in lphobetcal order: ‘Alex Aco Joh C. Moon ‘Woligong Basler Rainer RSmer Ed Boyle Werner Schmit Rober Bronaer Sve Smith om Famularo Jochen Sponsel Vie Fish Greg Tunest David Geribal Stafon Wandel ‘Matt Helpers Jahn Wooton Rolph Hordimon + the componies/endortomentpernets hat support me and my work ‘Musik & Technik, Marburg: Michaol Lange, Frank Rohe, Gerd licking Mapex Drums: Joe Hs, Otto Choi Cooperman Rope Tersion Drums: Poly ond Jim Elis Sbion Cymbals: Chrshan Koch, Nadine Malayer Promatk Drumsicks: Kyle Thomas, Elijah Navarro Evans Drumfeods: Marco Soccol, Stove Lobmaiey, Jim Bailey, Stephan Hanisch, end Mercos ipperer ‘Gon Bops Pereusion ‘The Drummer Shoe: Tom Beck toourma@. Key PROMAR This book is dedicated othe memory af Vie Firth and Joe Hibbs. Sad, they both passed away before the Bost ofthis Book wos completed. Both were unique in hei love and passion for drumming, and, believed in supporting music edvcation. ? About the Author In the drum world, Clous Hessler is not only well known as an inituon of he Male Technique, but has also fot standards in dum education with his interational publications Open Handed Fioyng, Volumes 1 and 2, Daily Drumset Workout, and hie double DVD Drumming Kairos. Bacause Clous works 0s an international cinicon, you might moo! him at drum evens anywhere from Mexico to Aisa, As on author, he eaguloly writes for drum magazines sich a Modern Orummer and Drums & Percussion. ‘As drum insrctor, he feoches of the German university, Hechschule fir Musik und Dorsallendo Kuns, in Frank He isthe fst European to receive Distinguished Profeso: ite from Keimyong Universit in Doegy, ‘Souh Korea, Clovs andorses Mopex Drums, Sabian Cymbals, Evans Drumbeads,Promark Drumsticks, and ‘Cooperman Rope Tension Drums, learn mare about Cus by visting lausheslr.com. peste 3 Preface There ore two mor resons for wetng this bok. Fi, | woned 0 shed ite mre ight on he mony nlso wellknown foc abou te xigins of rudiments, which many oftodoy's dumners dor know much about Though mos! top drummers woud soy thal «bose sud of he rudiments is an inportan foundation of heir rt form, sir history ond European reas ar in danger of being forgaten. Saccnd, | hope to owken on inorest and posion for his speci ld of cumming that hos had a masive influence onthe way modem drumset playing hos evolved. Most of the une roughot the book have bean laken rom ths U.S” Camp & Garrison Buyhence the tie, lous Hesler's Camp Duy Update ‘When teaching, I fen ind hat no slisiclly adequate musical imapinotion goes ina the readin of o spacil pater ore, parlor regarding the choice of tampo, sound, and phraing.Aleratvely, whan theres En aterp ot inerpstation, ther ir ofan iserterence rom ater musa influence hat have rathing a lo do wih the “orginal” sound. Jt azz ond cen forms of ain mesic hare tele peciolchoraierisie ond touch, 2, too, do the ifleen schools of udimoral adlone have dsnguihing ste feakeee. Ther musical periormonce can enly Wl be outhene when thse are obsorved. When i comes fo rudiments (he core of ou Summing word, we somehow nega! these considerations and seam fo be content wih inaricional Books or «pasier on the well of our rehearsal sudo, rather thn thinking about how te music i supposed fo sound By exomining several hiserieel stages of edimenal drumming, Ihave ried o odd more understanding othe fed, Dring my research for his boo, | come aross mony inlrsing foes, cmos keeping mo fom exscuting ny ve intention bap people improve thesis wih rodent. hope have fund a reasonable Compromise by lo focusing n the muse thal would accompany he drumming, Thal sid, another impotent geal bee's co inne bok peril ash igh hen be eoing We gee Fone of drummer The trodional pisces in ths book can, of course, be understood os milestones of drumming, sometimes dating bbock 200 years and mare; usualy bath the drum parts and melodie have evolved overtime. Although mar the ancient versions are guile simple in srucire, 1 seems hal these need particule atetion and care when it comes io creating a true musical rendlifon. My own interpretations (Ihe “Anoher” versions, which ean be heard ‘on fhe accompanying CD} are marly inflsenced by Baeel drumming, French raional slements, and conten porary American rudimentol drumming. | have found that many of the mace traditional pares gain clay and musical flow once you stort considering en underlying rhythmic structure of quintuplets. You are encouraged to refer to the oddiiona exercises in the = eppondx which Fellow the som saciure atthe ones in my book sn Daily Dromset Workout en ‘A few words regarding the recording: The play-longs with «real if will hap to add moce musical cuentcy: ch version ofthe funes also comes with a slighty slowed-down version. Als, evry Wack has a click counting you in. This wy you can also practice playing along wih my rondtion on the recording. You could even make Indo performance with yourself playing he original score ond me playing the “Another” verson-—or vice Two mote things before we get going ‘Any syle of music and any writen piece of music are open fo individual interpretation, andthe tunes in } this beok are no diferent. red to find «form of notation tha isa: ue fo he intended sound as possible, / conveying the sirvture in the bes! posible way ond yet remaining easy o read and undersond, Secondly, you dont have to have areal id drum in order to make use ofthis material; you can, of course, cso jus use a regular snare | am closing this preface with o sctoment | found dung the research fr this Book. It ‘combines basically everyhing tha drumming is about to me: ‘= take pride in making it look easy and beat your dury with spirit!” Claus Hessler swe clausheslr com 4 CClous Hessle’s CampsDuty cpa Contents PREFACE 03 NOTATION 05 ‘CHAPTER 1 | HISTORY AND BACKGROUND Rudiments: A Defriton o7 Rudiments: Compresied Historic Tinaling 08, Rudiments: Geographical and Musical Connections 18 Tha Swiss Schoo! of Drumming | Basel Drumming Tradition 18 ‘Tha French Schoo! of Drumming 18 The Traditional American Schoo! af Brumming 9 Seotish Drumming Tradtion 1% Contemporary Rudimental Drumming 1° FREQUENT MISCONCEPTIONS [No Direct link Between “Clasico!” and "Rudimenta” Drumming 2 Choice of Tempo 2 The Drog | The Swiss "Dreier Rub” |The French “Ra de wois.And Whot About the Ruff. 21 Ait des Fires ou Houtbois, rs ‘ides Fires ov Houtbois—Roulae 25 (CHAPTER 2 | PIECES FROM THE US. CAMP & GARRISON DUTY Bockgrund of he US, Camp & Garon Duty 28 Tha Three Comps ot "Points of Wr” 30 Another Three Comps 32 Breokfost Call "eas Upon @ Trenchor” 33 ‘Another Breakfas Call (Teo Many Peas Upon @ Trencher’) 35 Dinner Call “The Roastbef of Ol England” 3% ‘Another Dinner Call 39 Dusky Night 20 Another Dusky Night 3 ‘he Slow Scotch a ‘Ancther Slow Scoich 46 (CHAPTER 3 | TRADITIONAL “QUICKSTEPS" AND RUDIMENTAL ALLTIME CLASSICS Concerning the Choice and Origin of Tunes 50 The Downill of Pris 31 Another Dowell 54 Gonyowen 55 Another Gartyowen 7 Dixie 58 Another Dixie 60 Yankee Doodle ry ‘Another Yankee Doodle od British Grenadiers 65 ‘Another Grenadier oa CHAPTER 4 | RUDIMENTS ON DRUMSET: Diferent Prospects 68 [APPENDIX 11 RUDIMENTS AND THEIR NAMES IN DIFFERENT AREAS AND ERAS 73 [APPENDIX 2 | RUDIMENTS | QUINTUPLETS | COLLAPSED & UNCOUAPSED RUDIMENTS... 79 APPENDIX 3 | SOURCES AND MATERIALS USED a5 BSED | Trock lit MP3 Recording Allracks have a fourbor countofl.On tunes in time, the BPMnfo relates othe quarter noes; fon les in § time the tempo information relates lo the doted querer notes, 1 02 03 04 05 06 o7 08 08 10 n 12 13 “4 15 16 7 18 19 20 21 2 23 24 25 26 7 28 29 30 31 32 33 34 35 38 37 38 a9 40 4 a2 43 44 45 46 7 43 9 ‘Mathias Dérsam: Piccolo Fifa | Clave Hessler: Cooperman Rope Tension Drum Air des Fes ou Houtbois Air des Fes ov Hovbols—Roue Arde ites 8 Hovfois—PloyAlong Airdes Fite 9 Hovois—Plyalong sow Three Comps dncther Tres Camps Shree Compe—ay Aang Three Conpe Hop Along sow Brooks Cal Another Beats Call Breaks! Col Poy Along Breakfast Colo Along slow Dinner Call dnather Dinner Cal Dinner Colo Along Diner Colla Along slow Dotly Ngh~Orginal ren No Dosky Night—Orgia Varon No.2 dnather Busy Nigh Dusky Night PlayAlon Duly Netto Along dw The Slow Seach The Slow Seach Play Along The Slow Scteh—PtAlng dow Ancter Sow Sete bocther Slow Scotch Play long bocther Slow Sctch—PlayNorg sow The Downfall of Paris. ” dncther Down The Dowrkl of Pars fly Along The Dowel of Prs—PloyAlong sow Ganyewen SemyowentiayAiong Gemyowen—PlAlong dew docther Garyowen. Soother Garyowen fay Alng ‘nother Garyowen—Payalng sow Oi oot Bis Drie PoyAlong Diie—PlyAoeg slow “ekee Doodle Ancther Yankee Boodl, ‘erkee Doodle Pay Along Yonkse oodle—Pay Along slow Bish Grenadiers Another Greracier : Bren Grnodirs—Floy Along Brith Grenoders lay Along dow 82 5PM, 82 BPM 82 BPM, iid ee 110 BPM, 110 6PM Tis ew 118 BPM 118 Bem id BP 4 BPM, 84 BPM, 36 Bea 86 BPM. 6 BPM, 16 BPM, ‘36 BPM ‘96 BPM 36 8M 96 BPM ‘98 BPM ‘98 BPM ‘98 BPM Viz Bem 112 8M iz ee 126m, ‘38 8PM ‘98 BPM ‘98 BPM 68 beat 108 BPM 108 BPM 950M ‘95 BPM 95 BPM 00:52 00:52 00:32 00:38 ony ory onto oni 00:39 00:39 00:39 00:43 00:38 00:36 00:36 00:40 00:46, 00:46, 00:46 00:48 00:51 ona o1a7 o14s. o2n2 e211 02:26 02:05 02:05 02:05 oie ong. ong 01:28 01:00 00:58 01:05 o1:48 o14s. 14s, 0137 01:00 01:00 01:00 oir 00:48 00:48 00:48 00:33 e Clous Hesler’s Camp Duty pate Notation 1. Righthand strokes are notated above the lire, and lethond stokes below the ine. Lelthanded players can us reverse this hey wish at 2. For flams we use an abbreviated farm using lite line inside the notehead. This applies both to single stokes ford ral: top atr ey er =! toe ety 2, Droge | Soke os re mosy writon sing dion nln. Th itpetaon ends very “ope” (io it) Renae one dog n= chop Tepe yf meme PP Sus | A. With ols we fequenly moke use of unusual hyhnic layers; check outhe two examples os well a > m1 ¥ Gopendicas 1 and 2 In cenain cates also gave oddiional information in connection withthe pieces themselves ant ASaicarsee, tyg@—F-_ emma hi topbbectt There is alto roam for interpretation lik his: tobe Topham CELT — tholdbeplod ite i 5. Sometimes it wos dificlo show a “cite” phrase using abbreviated actaton In certain cases have thus ‘Chosen fo wre paters ving notsheadk of diferent sizes, which also improves he readoblily of he phrase: Bamplet: fet Example 2: toni ‘banter: | Hisory ond Background 7 CHAPTER 1 | HISTORY AND BACKGROUND twas ot a prety erly sage in preporing this book when I came to realize tat it wauld not ut be abot the tunes themselves, but Go about paining © pile of he vot cule of rudimental drumming, i history, and is evaltion Every now and then, for example, my studonts will har me soy, “Know your enemiesI” when it comes fo working intensively on a rudiment or pater. This sa stotement made in jet, ofcourse, but what | mean i hat you need to know the background of what you are lacring. This fakes us tobe very fist question: What realy Trodinent? RUDIMENTS: A DEFINITION The word rudimantis actully of latin descent; rudimentum literally means a frst atempt or tat un. The rds, for instance, was 2 weoden sword used by gladiators for raining purposes. Today we have diferent ures for this term, the most common ange being + Alffover, or kagment ‘+ In medical terms, something that is underdeveloped or unused (ag, human har, coscum,fngerail ‘The basic or elementary principles of certain mater or issue, For the purpose of his book like to use this dafintion of eudiments Rediments are mosty Fogment of tunes fom the Camp Duy of he US. originally bared on Eurapacn humming redfons. Inthe proper sense a rudiment today i an excerp! oko rodional military “march* or “call” wih (more or les): + defined rhythin «+ defined dynamic structure + defined ecking + defined nomenclature The names of he phrases oe often onomatoposc [meaning they emulate he original sound) eg. paradiddle,ratamecve, fam, potoie). Sometimes the names alo refer othe sructre of he phrase [e-g, fivesroke rol, double drag tap). The frst agreement on 26 basic rudiments was reached in 1933 by the National Association of Rudimental Drummers (NARD] ond was mos based on prior iterature [Srube, Ashworth, Poe; seo + appendix 3: sources and moterial ured, Sue mes Rudiments have always been connected fo he evolution of he (snarel drm and it use inthe militar The relevant terature makes several references tothe fact thatthe crusades brought significant stimulus to Europe, both relating lo drumming syle andthe insruments used, This oko seams fo be the reason wht wae mosly the crusading nations who developed some kind of rudiment drumming Kaditon, Drums and flags heve always bean regarded as superior rophias of wor and retained thelr speciol significance wel into modern times. Even in Werld Wor Il thre are reports recording that all efors would be made to ovoid ‘he capturing of drums by the enemy. OF curse, the very first evidence of drumming dates back lo around 30,000 years ago. For drummers, however, things start fo get inleresing somewhere around the medieval ‘mes. Switzerland and the neighboring French and German regions were of particular importance, but the records alo include early references aly, England, ond Prusio, ot wel othe Dutch provinces. CClous Heslar’s Camp uty Upbate HISTORY OF RUDIMENTS: COMPRESSED TIMELINE 14TH ceTuRY Inthe 14th century, Switzerland was extremely infvential in the development ofthe at of drumming. Sources mention ofthe uso of drums [and fies) therefrom the early part of he cerry fe. in connection wih the Bale {Sf Loupen in 1339), There ore ao references fo the use of drums and Fes in he fomous Bate of Sempoch, ‘hough occording to my esearch, there ore no concrete records describing how drums were played and with “what patierns, us es with mat othr forms of early militory music, psychdogical warfare mus olso have played SSimapr role; the drums were supposed fo encourage the soldiers while tying to frighten the fe. The painting Prayer and Sermon ofthe Berns and Ther Allies before th Bole of Loupen in 399, iusoted by the pictorial bry Ben MARL TOBMAAL 2 Pe ert ech chronicle Diebold Sehilirg the Youngor, shows a solder with ‘drum. As Schiling found the drum necessary inlude in the picture, # must have had a cenain significance in warfare. However, tho chronicler couldn't have been a hue contemporary ‘wiiness_he wos only bor around the middle of he 15th century Uhre ore no records about the exact year) ond most key ced in Lucerne in 1515, Therefore, itis dificult say his picture rely ilcrates he exoe! spirit end foshion of 1939 or of his age. On the ole hand, iis fair to arsume thot his ra did not progress ‘0 quickly ho such customs would have changed dresealy in o shot spoce of time ‘Anjou sng tht kind ration ox even or he rcv vn of mer Switland wos be ing oo fe Oh wors of ciling Fein drming ond ing tae ac ved comesion win Bal of tupen| do ot Ica oun the bos mac of hae Wo samen wih wrrfre, Recording oo eer to fe milory ws of aus in Eland in ho Lah conkry ding te Socond War of Seth Indepondanes, Poon ant bald raring othe voy ofthe Erg oe the Seach nder King Edd ot Holden il munlon Ie ose of socal ober, When we bar he ems ‘oor. fobor, were we unl Rink of ums of somewhat Smaller sze on twee ston of Disb Seiling, ‘piel techagun esl be olay he drum wth one hor nd cre sae fne af wih he borhan, bot isomers hs tring syed by to soe perv. However we cana! bese te Enlh due evel he som size and cosucion a hey tne Stand ; Long ory sho eis ederce of he use ol fs end ems tr ceaezion wih mir ond profane, seclr ncn con isco in Srzefond os wel os in Eaglond os eo o he Tah con, The Ss hereto con deni imo be very dgnicont “bt ot he olj—source of he rosmens os we brow im odo. Alot flea Rsory ean sob found in France, which wel heer Sout 300 ¥ oy ‘Chapters | Hislory end Background ° sta cenTURY First evidence ofthe special connection between Fasnacht (he Swiss Carnival) ond drumming can be found in ‘odmiaistatve orders dating bock o 1422 that banned mesqueraded mercenaries From milling oround with drums. The coresponding decree was also aimed at “Toregn mercenaries” (or insonce, from adjacent areas In today's Germany) and no just ot Swiss solders alone. Official records from 1445 show that certain dum Signls were used focal he inhabitants to crms in Bosal, Switzerland; before tha, call to rms wos ros likely ‘orgonized through rompet colle and by ringing church bell As previuty mentioned he ue of hums wae mes lialy nt sic excl Sized, Swe ‘eresnries, however, could be ound at umervs pricy houses foughos Europe. Ther Fowl wre, then ho response for he dsseminaion ol her axzavrier—-ihch incod he St fo and drm (Scryer Fre und Trmmel long wi cean signals ond orcs In 1492, for example, Sos grt borers Imeoring Swiss popl wih big cums] were on he payroll Enlsh King Heny VI. Ther s.0 goo hance Its Swissco could be the reson why both ne Englah and Sits norces hove ened ober {olen and on he sow side ‘Swiss soldiers clo hod a strong pretence in Fronca, mos! likely how the subsaquent spacial drumming reletionship betwoen those hwo nations begen. The socalled Cent Susses or he Gardes du Corps Suisse had {© special responsibility forthe security ofthe French kinge andthe royal rasidencee.& Franch royal dacree from 1656 would lle designate a typical lineup of he royal ifeguards o three drummers and one far. Later sil nthe 19th century, the Swiss were using @ “Gener” march wth French roots (la generale do la garde francols) 16TH cenTURY The 16h conkry marked th anivl of a rue Renaissance highligh for damming In 1588 Thonot Arbaay from Dijon predicad hs Orchézogrophio. His book ly oe of he mos remarkable works of his ea, providing amazingly dated ond sytamaticinforeton about he rythm sruchre o:carin drumming paters. Among ‘ther fscinaing bockgound debs, Arbacu descrbas he pralred typical base bot of French drummers ot that ine, os flows ‘Coe Fenty March with Arbeau Original Notation ‘A Posibe Interpretation SLbhp eee The complete poten is made up of eght half nos (Aboau expresiy mentions mini, wth he peor baton ‘heft ond hunt, Beats 1 and 5 fen ao exolsh he mpo th sols should march a, Abeau rentone ‘hat theft our sokes ee o be ployed with only one hon fnfrknaely, he doesn la s know which, ond tha fifth minim using bat hors. rs Hel hol his represents an ery form of lam oF Coup de Chorge in he Swi omencltte, though may eelly have been inended ot both hond should move in unison. My version us “omer specilaive. Arbeau aio describes the peered ale of he Swiss chimes, 0 characters sing fo icore ou hence on bo! 4 This Swe Merch dd not have @ speci fe moldy or home, bu, revere, he ‘ypealstucre of he march mst bave been enought dently Swiss ory uit Verblzng “clin on pon” {ens to hve served os a kind of mehodial memory ed. I seems es though he accent played wih both honds on bao 5 hos been eae in odes pt: 10 Claus Hesslr’s Camp Duty empbate — ‘The Suuss part with Arbeaw rina Notion ’A Posie erpeation | goto Br ft fo tn non [Arbeou also aduresses how and why soldiers ware to macch instep and works with th use of certain syllables to rosomble patterns in tha Franch ond Swis yes [e.., anton retoreton). The box below shows some of bis ‘xampes in he French ale, sthich ore alo relevant othe fst tune in hs book. The sylable fre has a rldike ‘Sxure, bul the text does not give any information on how the rls shoud be played (double strokes, single Stokes, closed rls), 'ossums some kindof Five stroke rol is represanod hee, shown inthe interpretation onthe ‘ight side of he table below. Regarding the execution, my gues is thot he inerpetation is almost some kind of Inintre of open and closed rolnot realy © stong doublestroke RRLL action, but nota pressing ofthe sticks into the drumhecd either. “Fronch-Style” Patterns with Arbeau horror get Tan te re tan tan TTT Tt Pep ott | Te retin tin fre j2rtrpr set Ten te fo tan un ae ~s Chapt. | History and Background n 7H cenTuRY In English record from the 17th century there ore some remarkable satemen's concerming the importance and function of drums in ther milter use. There is reference o socalled crumsleds or drumslades (iterally meaning crumbeaters nhs Five Decades of Epislas of Warre rom 1622 Francis Markham wes: a eas neal oe tas eae ci sere ca cee Pelican pope nce repengg mie ened toners eae a eae eee [ccc ean! eens Marko's Satement iors the traional French srctre ond orgonizator of ums ond es inthe 17th century~the relevant voice crying the mliory odes the drum-nat fhe fe Looking at his om tadoy’s Stondpoin it might seem suprising hath Fes accompany the drums and rt the ther way arcund (Note: inthe French covly, which used tmpani and wumpes, the duce was eversad—hetmpanozcompanied ‘he tunes, wit the mitary erder eontcned inthe voice o th Fumpet The fl drums of his period must have been prety large inumens, of evidenced by contemporary pictues and engravings by Marine Mersoane (Harmonie Universe), Michoe Prostar [Syrtogme Musicum, oF ato os fe amiqu, surviving inruments Show: Asa el hey seem fo have hod o diameter of between 18 ond 20 inches, ond the sell had smlar depth (somaimes even moc).In sme cases hese drums even measuted 24 nhes In dimer Inkooping wi the Swiss March the English Mach thought have conssed predominantly of charosersic drum pot without prope flse melody nerestngly enough, bo pieces were thought have isons fr good at diferent ine sen. The famous Warrant of Carls {om 1632 demande ho! his morch shouldbe played wa ts eriginl majese gravy. Obviousy, Charles warted his pace to be played again In ‘ie tuo orm. The original document hos unforunctly boon ae However a eoupl of eopis sl exis, 2 da Aifret works regarding the original inerpettion othe English March. The tx of he Waran commences with those words a ara arena sey oi agant cr twas ae ek ro er tone a ioanenlaeacl pao ava aea tee oan aes tau damage tm ral coanpd ach eft ea a ae mt Scene ig ee ar ee ees Sela ave tope wy treba ad on™ Record clo show that diferent ragions’ and nations’ itary units could be ‘ecognized by their drumming siyes end ther marches and bects. There are several Bish | Stheentry doaiments hat mention the following rmorches: TWenlih Manche (Ce English Marc) “TWatinigne Marche (Ce Geran Mar) ‘The emis Marche (Ce Flemish March) “The fence Marche (he French Marc) ‘The Pyemonne Marche The Pidmontee Marc) to name jst fw 12 CClous Hessler’ Camp utp pate Tho nota i rminacen of Arba ad lk inde tonal ifomaon vena he mac, With [hoagie he unl anmetopots nr on) whereos are eres mare oon oho ncn eeeon ln ocr dtsid oy The sylbles po a fu mos hy repeat he rg indcaon Pou mening a tober ssa hilo tots re lb bond. hor’ ote The poy or ts Inia othe order ska con slb ond net Levering’ Dimers’ Aston or The A of Drumming Mode Easy tom 1818. Pesmebly tere might io bea ceonecon ah he rm Flamopoo,dvrbing@ Fon Top Mt sorta nse he cop R os. lyri deta execon i hry conus. The ere Pour might be on ety verona he Pong Shae or ong Sok, whch con alto be found In cty [Aericon dv otton bok pote oconvndrum ogrdng he exon Wazoms vty ky ol ney sand {eter accned sete by meu of on ncn! nse, rg he Sum andre wooden ering hop ot he tae tre The polo, weve sat mst esr Seseoe Hin ce fo nth layed boo nonce i's Borne nchot Pying a fam afr preci lx sown ee llowing rer some ely, oeghy sen you sli for om eoel, ey Sot etn bowen Tho Egish March conse of wo prs: Tha Yoon Beoe The Mech, layed fond then The March The Volar Beto the Morcha no dtaed time snore, nr sere ony rll indian ofthe tempo Ths sequence woud be ployed ‘CheEnglsh 3px | Voluntary Before The March (Original Notation Pou tou pou tau pov R pou tay pou pou tou pou = Paung Possible Interpretations Hoo oo tet Beta tot aa ors me pum cen Sn Pk hwo ica enna Sct Voritions of some of the pote included inthe Valuntary Before The March were than ined in The March Thus, he Englih March consisted of several pas. The maja pat fellows the suctre thot Arbecu describes ‘atthe French sy, made up of five strokes of which the ith was accented. An inferesing development can be {ound herein thot sicking i indicated, whereas in Arbeou's version it not Performing the Poung os kind of rimsho! flom, using both hands, wauld be possible technical y ‘he aglsh apart | The March Orginal Neton ing Ehapters | History and Background 13 Interpreting the English Morch nthe histrically proper way and uncovering all its hidden or Fegotan det have boen constant challenges fr historians. Thus the diferent attempts and nlepretations have always bean notional aa certain dagres The fret emigrants othe Now Worldwhat would later become the United States of Amarica—alzo exported their drums ond drumming there, In 1637 Authur Perry, who wos 2 ype of own exer, would announce news, he beginning of religious services, and anything that would be of interest forthe people of Boston, by becting his cum accordingly, This insument is now © museum object and the oldes sil existing drm in the U.S. The fret professional drummer i you wan! cll them ha] will mos likly have been the belimen of he fis sealemens of English emigrant. From here, ls focus lila moro on what was happening inthe U.S. and see what hoppened tothe European ros of drumming inthe New Weel, 18TH cenTURY In thie oro, the War of Independonce [oto called the Revolutionary War [1775-1783] benweon he new calenos and Great Britain had a major impact on American military music aid drumming, including how tho patterns—loter known as rudiments—would develop. At this imo, Swiss mercenaries were sil spreading their {1 of drumming al over Europe; besides forming ond sillod crafts and trades, Swiss soldiers remained @ rajor ‘export forthe country, There is evidence that approximately 40,000 Swiss merencries were fighting under foreign flags around the ime when the French Revoluon sorted, hus spreading their woy of drumming see In 1792, however, the royal Heguard ofthe French kings emember the »Can Susss] wos disbanded by me. Louis XV, Those seldiers who sil possessed Swiss ciizenship relumed to thet homes; many olhers stayed but later died during the tock onthe Tulers on August 10, 1792, or were copured ond beheaded by guiline. The Lions’ Monument in Lucerne, Switzerland, reminds us ofthe Swiss merceraries ofthe Gardes Susses who ware killed in action, During this athe British Army intoduced their Comp ond Garrison Duy. This collection of tunes, cals, ond signals played o major role inthe daly routine ofthe soldiers by helping to arcture and announce any event between the wakeup call and the tatoo In Germeny a book withthe suggeave tke Kurze Anweisung doz TrommelSpelen ul die leichieste At zu erlemen fraralation: A Short Isrvcion on How to Learn to Ply the ‘Drums inthe Easiest Wes) wos published. Besides some basic musical ond echnical information, i contains o numberof becs ved inthe miltary such os the socalled revi he woke call for Noops, which already shows significant similares to structures that can also be found in the equivelent Swiss Tagwacht ar he Diane in the French drumming tradition: th typical combination of « 9stoke oll anda structure similar oa dovble drog top. However, the Stroke rls rule /dogs) are missing. Unforuncaly, nether the txt nor the notation in he ‘book clarify in any deal how the als should be played. The assignment shewn inthe text below is, of course, ‘alsa composed in an od form of German, sthich have ried to preserve in ay tranlation: "Dees Stick Ang: sch mit ces Iarzen Wisbel sn, sd slidenn get cin sine Taktrt fort. Es it sar ‘Anfnuntering ngeicuct, and im ner gringenden ‘Takzset gents dacbalb mast et such ndchern und trig gespiee werden, imi ein jeder bald zu seinem Frakes pope” aha ast spe starts saad on ste sme mesinPsna tory mine sett ‘olf umber ct toa ul eats, Sant See 312 igs eS {iCtrsh Utsav ens emes RAD Moston 4 CClous Hessler’ Camp utp pate The book fectures onomalopoeic signals for the music (fr instance ravlavvax) and o remarkable collection of words of wisdom, ames guile visionary in hee quality cesar ort per er sf der Tom _gopiet werden? Im Holistenechen tnaen dle geminen Leate Minaets and Aaglosen auch der Tromme Schon ein ser wet gebrachter.Anfing!” thr tarsi: Wo ctl inane ror mapa mbes pete popcorn th run? ni (gon in | meters ended atone Ir seams likely that an anonymous author copied certain parts of his book in his own publication Over het Tromsloon (About Becting the Dru) in 1809; there ie 2 good deal ofeverlap withthe preceding German book, which wor released in 1801 The new Americ colonies induced their “Ragulatins,” wich were opprewed by he Continental Congres in Priladelahia, These regulations were writen insructions by Friedrich von Steuben, o former Presson officer who [became fomous for his special dil phase in Valley Forge, educating ofesfr the American Cortinenel Ary Rethor thon showing ny music or nots, hawever these “Regulations” describe the drumming more or less verbal: Buronvon Steubens fF the ont to advance quart long march, To march slower—the tps Rclvconary War Front flscvo fame from gh tole nd» Bl dag withthe gh,» Dally band fla and 4 ight hand fll deg.” a ‘ate mtr Sf Be Sib Sb Rls ao Fas te yawn near KNOT OE ‘An insruction lit hiss ill vague, a detailad information about what should be played with which hand is still ‘missing, though this doesn't avomatically mean that there wos no orde or predentin a ‘The Supreme Commander ofthe Continental Amy, George Weshinglon, wos wall aware ofthe importance and the function of drummers ia the miliary. He alsa knew thot his ormy was more an accumulation oF ambitious Clans rather thon seal sldiars, and being wal roinad in he oof worfare he also realized tha inthe Wr of he wos facing one of the moe powerful armed forces inthe word ofthat me. might be ex Forth reson tho he appreciated the drums ond ffs so much, with fir motivating power and ifluence ondhe ‘mood and mental condition of he zolders. Ths recorded order given ky Weshinglon speaks volumes “The muse of the amy engin gener ey expect et he ram ad Ae majors xe these to improve or thy il be rede an hi rer py tk om thm. Bae hors 9 be Sgn fr ll he dams nd lof ch pine, 9 and thm i prac. Nothing more arable | Sed rman han god mus evry fi forthe ct of tcp, sold tk caret prone.” (ee ee ee Marching wih fos end duns and fring the fampos ond number cfstps mole, oli sare or a kind of ‘ongelne fr towp moverets ond hv ware sigucen on main Sage milan etslons [Tabu bo he cmmoncor ho dened he merch nd th ep np Tos Pron Sop mes Fave been omonhere aroun 60°70 SM, Tre Grand March around 80 BPM, Conmon Tine Macher rod 96 BPM, ‘Gui Te aproninotly around 120 8PM hy ‘hnptes | History and Bockground 15 Thus he drums wore vil in ening that the hops woud march at © cosa ompe ovr «crn paid cf tin, which alowed more preci freon regarding te overage of dnc, Drom end Fes were aloo imparon over shor dines A bayonet ofc, or intone, wos inno dione of ound 1,000 Yords om te enemy. Here the roops woud sop ond he bynes woul be aboched oth es, In ordrio menial srt cece and renga rare the sles woul hen mach noe 40D yor wit he slow Framian Afro! he comrnnders voy erred an advance of around 200 yrds in The Gand March, hen ‘ted Conmen Tie fx the not 200 yor, en actor 100 yrds in Guck Tine, ni ia esh oftnes th tempo wou red ogcn, ronetines even dove. Ary mscoccon of dienes, tmp ond ile ronge ead bef, posbly weakening the onlin 1 © Gage where ie sces ofthe eck wos pln oo. Verto nd onomotopeic nsrctons clo dominated in Swtzeand daring h 1700s. Hae ison excerpt from Swiss 178 drm dy, efed Di no fequach (meonng The Ravi Te sound fh alone wah the words Rrang.rongrang, DieersteCaguuacye Za fem Tak von deer Ondooane gies ln Sit, Man wid expen amie eeet ty, sob! deemed wee Pai sca! ner dander fee manencemtcacanrnnt tigen Dic rete Hed mach ds vrai Bp von deer ‘Sciumrtnungueeotorotepmee Tapwact” ak Laer raf sean soa ls py etn e ee] ee LET) pce nha rnn ae ae] eens] ears] "ipa Casse) This strategy of imitating the sounds ofthe drums can be found fo his very day in Basal drumming and is cso described in the methods of Dr, Fitz Berge, one of he grand masirs of Swiss drumming. ft might sound funny fo eur eas ty, bu it can definitely be of great help as © memory oid and asi in developing @ nfl fhe sound hat you ae cout to prodvce. Ard have we come acs his aspocceody wih he *Orchésographie? me 19TH ceNTURY The American Civil War (1861-1845) wos undoubtedly one ofthe most formative evens for the configuration ‘ond further development af military music and drumming inthe U.S. in he TSth century. During thi ime we ‘to find en incoasing amount af mare detailed inormation and some of heist educational Books that in @ ‘more conerole wey, isd fo leach people what io do wih which hand. One che frst tue drum methods datat bock o 1812: A New, Usoil and Complete Systom of Drum Beating writen ay Charles Ashworth (ho woe ‘on Englishman by the woy). He uses the farm rudiment in is witing and nots 27 bosie poten (quite close ‘0 26l) by using a writing system that may look a ile exotic from today’s standpoint log, he ses diferent noleheods for diferent dynamics, lfthond stokes are writen higher the feline sys thon righthand strokes, el). Ashworth also mentions paters that are surprisingly close to some Swiss rudiments but which can't be found anymore inthe American ist of rudiments (s asa the compcratve is of rudiments ond thei ‘names/origins inthe -appendis. As already mentioned, Ashworh also testo communicate dynamics nthe Se ‘way the notsheads are designed, In foct you can hardly find eny common tems indicating dynamics such as 77h. Piano, mezzafete, forte, le instead there are descriptions like Fain! Sroke or Fain Rll whos notshaads lock Tike half notes, fr instance. He also describes proper grip ving unique conarzons: Se + 16 Claus Hessler’ Camp up cappare “the left mst be Bey ld eowen the tha and wo mile Rogers, crest on the third Anger « tle above the male it, The right fad sc mnt be eld fst by the Lele Ange, and be allowed 0 play with ene through the other, as man may aie 2 sec ln Fndog Chl ee tino aes Reeth destinies te Z Dei, A one eae roe go Esa are, Cee Sa de tn hones “emeeiggies yr alt none sic Pe waka Sec te ce ieee ere en oe taro ‘Soon afer hat we encounter oncther edscafional book by ‘Samoal Pater (1772-1838 thot leans heavily on Ashworhs back. His book gives futher ond more detailed information, ‘though some ofthe deta might possibly be questionable Same henntenncamy Rom day porpectve (especialy os where be ois Tieton con posture, for instance). OF course, | am ro ring to belle his wort m jst doubt i some of his advice realy hos cnything to do wih o netural and relaxed playing postion. Poter wat the Drum Mejor ofthe Coldstream Regimen of Foo! Guords and published tee more books wih ines as well es on instructional method for bugle and fies His work vies modified eyetem of weling tht indicted lethond and righthand strokes in diferent positions of he Fvetina eytem, and employs lerms that cre no longer in ve toda, such asthe close flam meaning @flom as we understond i today witha close distonea botwaen grace note and main note, the {grace note being sal and he open lam (messing 2 flam in which both stokes would be accented, thus being sort of coup de charge inthe Swiss nomenelatre) We cso hear ebout fam and fon’ (basically « fom fop, bot with larger distance between the eokes), drag and srako (very smilor othe single dg tp), the mother (our Fvestoke ral todo), ond many more ‘More books followed: In 1862 come the famous and highly ee fegardcl Te Demers and Pe Guide wren by George Bre ond Did Erne. Buce served os 9 dranmer now amp Bare ExsraveroR: he's Amy whe Emmet played the fue [oor hstine as nay nusriincmusnam. inbecrmytevecene wecntlconecos ond mal a HK instrumentalist in soverol minstrel shows—a remarkable Sees ceiendcminbantepes abc) ke many ober ecb needs aud Se, RRR Step ie wobckar Oe teeth dtr whte be iced hel aves Penarth Bence shone waa lo iets Cop Doyen eed ry seu, chon wera ins a serene ne nd usp er cmommatamantae Be Sh lor on eee nlon A el ot tein Olsen ety, tet wos he compro thous hw Die a cw 24 “helo Compored ie 1860) whi ir enpely enced wih te Resin Soak eon beh ‘The fst publication thot mentions 26 bes rudiments is Shube's Drum and Fil Instructor (sil call lessons in this beak) by Gardiner A. ube, waite in 1869- Inthe some yeor the U.S. government acknowledged this method asthe prevailing foundation for al Army drummers. Alhough the singlestroke cll is nota numbered rudiment, iis, of courge, par of the 26 paters. An essontol foc is ot the rudiments came into ile 0s excerpls ‘of military tines ond signals—not the other way around. T his day the common misconception prevails that miliary drum music was consitveted using rudiments, whichis defintely nt the case g a pte ‘Chapters | Hislory ond Background v7 Jus os Fronch military musi switched fom ffs to oboes around the end ofthe 17Ih century, we find o shit from Fos fo bugos inthe U.S. in ho 19th century. Ath te that there bugs (rumpets without valves) ware inroduced we Fd onother important publication in 1880: John Philip Sovsas A Boot Instruction for Field Trumpet and Drum. One of Sousa's drummers, Avgus! Helmicke, was later to become one ofthe fist formal teachers of Sanford Augustus Moeller. After Helmike, the fomous George L. Stone alto went on fo be a

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