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Essential Elements for Band and Essential Elements Interactive are fully compatible with Essential Elements 2000 Essential Elements for Band offers beginning students sound pedagogy and engaging music, all carefully paced to successfully start you... Show more...PERGUSSION Inctueles l(eybocrrd BOOK Percussior ESSENTIAI 'Lfts CON'TPREHENSI\/E BAND |nETHOD TIN'I TAUTZENHEISER J Views 240 Downloads 97 File size 13MB Report DMCA / Copyright DOWNLOAD FILE Recommend StoriesCitation previewPERGUSSION Inctueles l(eybocrrd BOOK Percussior ESSENTIAI 'Lfts CON'TPREHENSI\/E BAND |nETHOD TIN'I TAUTZENHEISER JOHN HIOGINS GHARTES II'IENGHINI PAUL TAVENDER rO'N G. RHODES DON BTERSGHENK Percussion consultont ond editor WILL VFf RAPP ar ol F.^rr\r,,[email protected], 1 a D I I I I I I f I I PER.CUSSiON:BOOK T ESSENTIAL EL TS I I I I I I I I I I I t I CO'nPREHENSI\/E TT|t,l TAUTZENHEISER PAUI TAVENDER BAND JOHN HIGGINS I I I T I I I I I I I I I I D I CHARLES N'IENGHINT DON BIERSGHENK ro|n C. R.HODES Percussion consultontond editor \,yILL RAPP Bandis... Making musicwith a familyof lifelongfriends. lf nderstanding how commitmentand dedicationleadto success. Sharingthe joy and rewardsof workingtogether. I ndividualswho developself-confidence. yourselfin a universallanguage. Creativity-expressing Band is...ftfUStC! Strikeup the band, Tim Lautzenheiser I I t I I I INETHOD P"r.urrion instrumentswere inventedby prehistoriccultures.However,most percussion historyis connectedwith militarygroups.Drumswere usedin the 700 A.D.Moorishinvasion of Africa.Theseinstrumentswere ancestorsof the snaredrum and timpani. Both the Scots and Swissdevelopedthe snaredrum around1300. -, , I I .lUl':, -l. i;(E),, .< - l Around 1450,Turkish militarybandsfeaturedtriangles,cymbalsand severalsizesof drums.The instrumentsusedin these"JanizaryBands"communicated signalsto large numbersof fighting troops. O, !F ;, !,, H ' '71.," 6..'.. Berlioz,Debussy, J.S.Bach,Mozart,Beethoven, Sousaand Stravinsky are all important composerswho haveincludedpercussionin their writing. 'Y)'-. '.5.',1 instruments arethe snaredrum,bassdrum,crashcymbals, Commonpercussion triangte includeVic Firth,PeterErskine, and timpani.Famouspercussionists BuddyRichand Al Payson. -.:j : -;i:.l!-liii ,c'l:i: l (E',tl r I : o', ;:.. .'_: " :l.r.a l " .: .: tSBN0-634-00327-s [email protected] HALLEONARD CORPORATTON International CopyrightSecured All RightsReserved -21 T IJHRL.LSoNARD' L--coRPORA-t-toN 7A7A W. BLUEMOUND RD. P.O. BOX I3A I 9 MILWAUK€E, vl't 532I 3 2 _ MATCHEDGRIP rHE BASICS Poslure Standnearyour instrument, and alwayskeepyour: . Spinestraightandtall . Shouldersbackand relaxed . Feetflat on the floor Mcrtched Grip fA Ncrturcrl Sfick Positionl Everypercussion instrumentrequiringsticksor malletscan be playedwith this basicgrip. Bothsticksor malletsareheldexactlythe same"matched"way. . Placethe sticksin front of you with the tip of the stickspointingforward. . Extendyour righthandasif shakinghandswith someone. . Pickup the rightstickwith yourthumband indexfingerabout1/3from the end of the stick. . Thecurveof yourindexfinger'stop knuckleandthe thumb holdthe stickin place,creatinga pivot point. . Gentlycurveyourotherfingersaroundthe stick. . Checkto be surethe stickis cradledin the palmof your hand. . Turnyour handpalm-downto a comfortablerestingposition. . Followthe sameprocedurefor your left hand. Prcrclice & Performdnce Position . Putthe practicepad on a flat surfaceslightlybelowyour waist. . Standup straightwith your armsrelaxedat yourside.Raiseyourforearms by bendingyourelbows. . Formthe cutlineof a sliceof pie with the sticksabout 2 inchesabovethe practicepad. . Moveyour wriststo raisethe sticks6-8 inchesfrom the practicepad.Thisis the "up"position. . Beginwith your right hand. Strikenearthe centerusinga quick,reflex-like wrist action.Letthe stickreturnto the "up"positionto preparefor the next strike. . Followwith your left hand,and strikeabout 1 inchawayfrom yourfirstright hand strike.Returnto the "up"position. . When resting,keepthe sticksabout2 inchesabovethe practicepad in the outlineof a sliceof pie. Sficking Work-Ouls R.- Righthandstick L - Left hand stick Playthe followingstickingwork-outon your practicepad,keepingan evenpulsevvhenplayingand resting: O = Strikenearthe centerof the practicepad. R E R o 3 o R : Inrsrl o methodsin this book. Youwill learnseveral"sticking" etc.). The methodaboveis calledRight Hand Lead(Rr-nr-...RLRL, t R o o L o I nrsr I a D I I D I I t GRIP 3 - MATCHED Getting'lf MATCHED GRIP SNARE DRUMSET-UP Thetwo waysto setup the snaredrum dependon whichgrip you areusing.MatchedGrip= leveldrum set-up. Traditional Grip- angleddrum set-up. 9tep I Openthe bottom legsof the snaredrum stand.Lock them into placeby tighteningthe tripod basescrew. Graspthe barand raisestandbelowyourwaist.Tighten the heightadjustmentscrewand lockinto place. Step 2 Putthe two supportbarsclosesttogetherin front of you. Becertaintheyareeven.lf yourstandhasan adjustable arm,it shouldpointawayfromyou and be extended.Thebarsshouldbe parallelto the ground. Tightenthe angleadjustmentscrew. t I I I I I I I I I I I I I I I t I Together placethe snaredrum in the standsothe snare Sfep 3 Carefully strainerleverfacesyou. support DerfS ongle odiustrnent SCrew Step 4 Slidethe adjustable arm until it fits snuglyagainstthe shellof the drum.Thetop batterheadshouldbe slightlybelowyourwaist.Lockyourdrum standinto position.Tightenall screwseachtime you play. Step 5 Tightenthe snarestrainer.Tapthe headof the snare drum. lf the soundis not crisp,tightenor loosenthe tensioncontrolscrew.Thesnaresshouldrestlightly againstthe bottomhead.Standby the drumasshown: rdpod Delse' sc?ew I t ) I I ) I I ) I I t READING MUSIC ldentifyand draw eachof thesesymbols: Music Stoff Ledger-n"t Meqsures & Bor Lines Measure ) Measure ) ) I Bar Line ) t ) ) I The music staff h a s5 l i n e sa n d4 spaceswhere notesand rests are written. Ledger lines extend the musicstaff. Noteson ledgerlines can be aboveor belorrythe staff. Bar Line BarLine Bar linesdividethe musicstaff into measures. a t I I I I I t I I I I I I I I I I I I I t I I t I D I Gelting 3 - MATCHED GRIP lt Together MATCHED GRIP SNARE DRUMsET-UP Thetwo waysto set up the snaredrum dependon whichgrip you areusing.MatchedGrip= leveldrum set_up. Traditional Grip= angleddrum set-up. step I open the bottom legsof the snaredrum stand.Lock them into placeby tighteningthe tripodbasescrew. Graspthe barand raisestandbelowyourwaist.Tighten the heightadjustmentscrewand rockinto prace. Srep 2 Putthe two supportbarsclosesttogetherin front of you. Becertaintheyareeven.lf yourstandhasan adjustable arm,it shouldpointawayfromyou and be extended.Thebarsshouldbe parallelto the ground. Tightenthe angleadjustmentscrew. Srep 3 Carefullyplacethe snaredrum in the standso the snare strainerleverfacesyou. support l'erfs Step 4 slidethe adjustabre arm untirit fits snuglyagainstthe shellof the drum. Thetop batterheadshouldbe slightlybelowyourwaist.Lockyourdrumstandinto position.Tightenail screwseachtime you pray. step 5 Tightenthe snarestrainer.Tapthe headof the snare drum. lf the soundis not crisp,tightenor loosenthe tensioncontrolscrew.Thesnaresshouldrestlightly againstthe bottomhead.standby the drumasshown: rripod l'etge' SCfew ) I I ) I I ) I I READING MUSIC ldentifyand draw eachof thesesymbols: Music Stoff redserl* , Meqsures & Bor Lines Measure ) Measure t ) = ) ) ) ) I The music staff has5 linesand4 spaceswhere notesand rests are written. Ledger lines extend the musicstaff. Noteson ledgerlines can be aboveor belol the staff. .\4 BarLine 5 Bar Line .\ BarLine Bar lines dividethe musicstaff into measures. I D t I I I I t I I , I I I I I I I I I I I I I I L RIP 3 _ T R A D I T I O N AG Getting lt Together TRADITIONAL GRIP SNARE DRUMSET_UP Thetwo waysto set up the snaredrum dependon whichgrip you areusing.MatchedGrip= leveldrum set-up. Traditional Grip- angleddrumset-up. Slep I open the bottomlegsof the snaredrum stand.Lock them into placeby tighteningthe tripodbasescrew. Graspthe barand raisestandbelowyourwaist.Tighten the heightadjustmentscrewand lockinto place. Step 2 Putthe two supportbarsclosesttogetherin frontof you. Becertaintheyareeven.Putthe remaining supportbaron yourleftand raiseit about2 inches. Tightenthe angleadjustmentscrew. rim balter head snote strcriner lever Srep 3 carefullyplacethe snaredrum in the standso the snare strainerleverfacesyou.Theleftsideshouldbe angled higher. step 4 Slidethe adjustable arm untilit fitssnuglyagainstthe shellof the drum.Thetop batterheadshouldbe slightlybelowyourwaist.Lockyourdrum standinto position.Tightenall screwseachtime you play. Slep 5 Tightenthe snarestrainer.Tapthe headof the snare drum. lf the soundis not crisp,tightenor loosenthe tensioncontrolscrew.Thesnaresshouldrestlightly againstthe bottomhead.Standby the drumasshown: ) t ] I I t I I t I I I t I I I I I l I I READINGMUSIC ldentifyand draweachof thesesymbols: Music Sfoff Ledserg"t Meqsures & Bor Lines Measure -\ Bar!-ine Themusicstaff h a s5 l i n e sa n d4 spaceswhere notesand rests arewritten. Ledgerlinesextend the musicstaff. Noteson ledgerlines can be aboveor below the staff. Measure ] BarLine -\ BarLine B ar l i nes di vi de the musi c st af f i nto measures. 4-A BASICPERCUSSION INSTRUMENTS playseveralinstruments.Snaredrum and keyboand Percussionists percussion instrumentsprovidethe basic play techniquesto all other instrumentsin the percussion section.Askyour directorto helpyou identifueach of thesebasicpercussion instruments and malletsyou may havein your school'sband room. INSTRUMENT MALTET/STICK ConcertSnareDrumwith stand 58 or 28 sticks ConcertBassDrumwith stand 1 pairmediumbassdrum mallets CrashCymbals(16"to18") Playedin pairs Suspended Cymbaland stand (16"to18") 1 pairmediumyarnmallets Trianglewith cllp 1 pairmetalbeaters Wood Block 1 pair mediumrubbermallets 1 pairhard rubbermallets Timpani (23':26':29':32') 1 pairgeneraltimpanimallets 1 pairhardtimpanimallets Bells 1 pairvery hardlexanmallets 1 pairhardrubbermallets Xylophone 1 pairhardrubbermallets 1 pairmediumrubbermallets t I I I I I I I I I I I I I I I I I I I I I I I I I I ( Chimes 2 plasticor 2 rawhidemallets Marimba yarnand rubbermallets Various Vibraphone yarnand rubbermallets Various GeneralAccessories: Tambourines(withand without head), Cowbell,Bongos, Congas, Timbales, Maracas, Guiro,Claves, Castanets, Slapstick, SleighBells,SlideWhistle. ( I I I I I I I I I I I ( ( I ( I I 4-B , I I I The Beot D I I I I I t Notes And Resfs : The'beatis the pulseof musit,and likeyour heartbeatit shouldremainvery steady.Countingaloud and foot-tapping help us maintaina steadybeat.Tapyour foot down on each numberand up on each"&." Notestell us how high or low to playby their placementon a line or spaceof the musicstaff,and how long to play by their shape.Reststell us to count silentbeats. On ebeat = 1 & a .1. t I l I. THE FIRSTNOTE Quarter Note = 1 beat Quarter Rest = I silent beat Playyour quarternote as the bandplaystheirlong tone. SnareDrum R I I I I Startwith right-handstick I I 2. COUNT AND PLAY I I I 1&2 & 3 & 4 I Count: Tap: l . l l t l l l t I I I 3. A NEW NOTE I D I \ Playstickingos marked. I L RRRR & 1& 2 lf lttlll & 3 & 4 & 1& 2 & 3 & 4 & llltttll I & 2 & 3 & 4 & 2 & 3 & 4 & 2 & 3 & & ltltitJt L ) ) I I I I I 4. TWO'S A TEAM LLL I a t af, Co u n t& T ap: l & 2 & 3 & 4 & 1 & 2 & 3 & 4 & & 2 & 3 & 4 & & 4 & 1a I I I 5. HEADING DOWN Alwaysstandstraightandtotlwithyour shoulders relaxed. RL t t I I ) I 6. MOVING ON UP RRR - ) ) I t t Count&Tap:1 & 2 2&3&4& t & 2 & 3 & 4 5-A indicatea new lineof musicand a setof note names.Percussion instrumentsusethreecommonclefs: CIefS PercussionClef 4 o ttl F # S n a reD ru m BassDrum Cymbals Dr u mSe t Accessory Instruments E - Bqss Clef Treble Clef Bells Xylophone Mari mba Vibraphone C hi mes = Ti mpani Mari mba Ol dersnaredrum and bassdrum publications often usethe bassclef. Time Signoture Note Nqmes indicateshow manybeatsper measure and what kind of note getsone beat. Eachnote is on a line or spaceof the staff. Thesenote namesare indicatedby the Clef. = = 4 -*- 4 beatsPermeasure Quarter note gets one beat gE o II !E l- ShOfp # raises the noteandremains in effectfortheentiremeasure. Flqf b lowersthe noteandremains in effectfor the entiremeasure. NqtUfql ! .un.ulsa flat(b;or sharp(fi)andremains in effectforthe entiremeasure. Keyboqrd Percussion Gt / Ab At /sv ci /D, Thischartwill helpyou playnoteson orchestrabells.Practice with other percussionists all exercises usingthe keyboard percussion sectionat the end of this book. Switchpartsoften! Dil/Eb ft /Gb Gl / Ab Ai /Bb cI /Db Dil/Eb Ft/Gb G{/Ab h* tr ', (l T' €-u G AB e Ai /Bb ho. 5-B a I t I DOUble :-=il Bqr ' Repeor sisn: theend indicates -------tl of a pieceof music. U:f;:*"1#lgi'Iff:" 7. THE IONG HAUI I R D I I I I I I I I ) 8. FOURBY FOUR PracticeRightHandLeadas marked. RLR LR Co u n t& T ap: l & 2 & 3 & 4 & I a 2 & 3 & 4 & 9. TOUCHDOWN L ) t ) I lo. THE FAB FIVE RishtHandLead ) RRR ) t - ) &2&3&4& ) ) sna&Drum \ , "lT--zF: rL_o*s o'.r- y' | ) t BqSS 1a2&3&4& DfUm ) 1a2&3&4& 1a2&3&4& The bassdrum is one ofthe most important instrumentsin band. Hold the bassdrum mallet.withyou-rright hand{matched grip). Placeyour left hand on the head opposite the striking surface.Strikethe bassdrum half-waybetweenthe center and the top rim, pulling the sound out ofthe bassdrum. B.D.is the abbreviationfor bassdrum. ) ) | | . READING I RRRLRLR THE NOTES Compare thisto exercise rI,THEFABF|VE. ) ) 1a ) 2 & 3 & 4 & ) ) 12. FIRSTFLIGHT ) ) I ) NTIAL ELEMENTS QUIZ I 1 3 . ESSE I I 74 BbCD I RLRLR -I l 7-- l [r Fillintheremainingnotenames beforeptaying. RLRLR 6-A 14. ROTLINGALONG Go to the nextline..,t RL LR S.D. Holf Note I d ,, 1a2& Holf Rcsf > =2Beats :" =",!1Silen!B.gags I ^ I . , & ,i : 2 . ' & , ' 15. RHYTHM RAP Clapthe rhythm whilecountingand tapping. RepeatSign 1 Clap I &2&3&4& Alierlote I &2&3&4& .,Sticking 1&2&3&4& 1&2&3&4& . n5anaffi"d,Brjetln$0"f,'_",,1!.iyrylryptsilnins w;t1i,1rieht:hand . B0SS | 6. DfUm t t l ': .!.. Whenplayinghalfnotes,usea stowerstroketo pul/thesoundout of the bassdrum. THE HALF COUNTS RLRLRLRLRLRL I &2&3&4& Alternate sticking Practice asmarked. t &2&3&4& 6-B ) I I I I I I I I I I I I 17. HOT CROSSBUNS RLL R , - a) t I I I I I t I I I I I8. GO TEILAUNT RHODIE AmericanFolkSong LL RL ) I ) ) ) I I | 9. ESSENTIAL ETEMENTS QUIT using the notenamesand ftythmsbelow,drow themetodynoteson the stqffbeforcptaying. ) I ) ) t I ) ) l ) ) D ) ) ) ffi )))) EbDEbD )J d a cBb c D R R L ))) EbDEb I 7-A Whole Nofe Whole Rest A Whole Measure of Silent Beats - O__-_+>=4Beats RHYTHM RAP Half Rest ------r-----I hangsfrom a staffline. 1a2a3a4a 1a2a3a4a 20. Whole Rest sitson a staffline. Claptherhythmwhilecountingandtapping. Clap &2&3&4& t &2&3&4&'l Multiple Bounce 1&2&3&4& 1&2&3&4& t &2&3&4& 1&2&3&4& Multiplebouncestickingis your firststepto learningthe roll. Simplylet the stickbouncefreelyon the drum head,likethis: L a Ji-t,ttJJ l.l Jltr ) ooooc'oQoooo' R R R RRR Special Percussion Exercise 1 ]J;J, uuttii d))yti R L L L L L L L (1J J J l r ) Keepcountingand maintaina steadytempo. 2I. THEWHOTETHING RLRLRL Duet BOSS 22" Practicethisexercisewith AlternateSticking. RLRLRLRL A compositionwith two differentparts,playedtogether. DfUm Whenplaylnnwhole notes,usea veryslow,longstroketo pullthesoundout. SPIIT DECISION - Duef RLRL Playyourpercussionpartasthebrassandwoodwindsplaytheirduetparts. RLR I I I I I I I I I I I l I ( I I I I I 7-B t t t I I I I I I I I I I I D I I I I I I I I I Signoture - , - t - 24. LISTENTO OUR SECTIONS Percussion RLRL Woodwinds Brass Percussion RLL --t ? - ,. 25. Woodwinds t l ----) - - - - +.Ftl - - - t t a - I l ) - ) - - - + t l t -- t ) t ESSENTIALEtEn ENTS GIUIZ Drowin theborlines youptay. before ) 26. ) .ft' ) ) ) - Perc. R Ww. Brass All R 7t I I ) Brass I I youplay. Markyourown sticking before LIGHTIY ROW ) ) *t I t I I ) o L - t - a ) E 23. MARCH STEPS ) ) { - tellsuswhichnotesto playwith sharpr(#) o, nut,(b) TheKeySignature percussion, Whenplayingkeyboard music. the throughout thiskeysignature andE'sasE-flats. theKeyof Bb playall B'sasB-flats, indicates Key 8-A A Fermqfq Holdthe note (or rest)longerthan normal. Rudiments arethe basictechniquesof playingsnaredrum. Youshouldpractice and memorizerudimentsto improveyour skill.Theflam is your firstrudiment. RUdimenfS Flom --*-l-U- The smallnote is a gracenote. lt hasno rhythmicvalueand soundsjust ahead of the regularsized,or primarynote.The primarynote soundson the beat. r-R I Holdthe left stickabout2 inchesabovethe drum head.Holdthe right stick in the "up"position.Moveboth sticksat the samespeed.The left stickwill hit the drumjust beforethe right stick.Letthe left stickreboundto the "up"position,and the right stickreboundto the 2 inch position. nL --*-1--I ---nJ- Holdthe right stickabout2 inchesaboveih" drur head.Holdthe left stick in the "up"position.Moveboth sticksat the samespeed.The right stickwill hit the drum just beforethe left stick.Letthe right stickreboundto the "up"positionand the left stickreboundto the 2 inch position. --*-f---77- Right Hqnd Flom Left Hond Flqm A flam producesa soundthat is slightlylongerthan a regularnote (a tap). Listento the differencebetweenflamsand taps. 27. REACHINGHIGHER r-R nL Fermata I A 28. AU CTAIREDE tA tUNE rR R L r-R t 29. REMIX r-R a - A I a- - - a a 8-B l= HOrmony I Twoor morenQtesplayedtogether.Eachcombination forms - --""* a chord. i"nto,n;b;id-:;'#;;;,y;i.ir"v""pr,v.-- €l I I 30. TONDON BRIDGE ; Matkyourown sticking beforeyoup.tay. EngtishFotksong I t I I t I I Austriancomposerwolfgang Amadeus|t{ 6zarl (1756-1791\wasa child prodigy who started playing professionitlly at age six,and lived duringthe time of the AmericanRevolution.MozartSmusiciimelodic and imajinaiive. He wrote more than 600 compositionsduring his short life,including a piano piece basedon the famous song,"Twinkle,Twinkle, Little star." I : a I I rh'rnangle shouldbe suspended on a clipandheldat eyelevel.Usea metaltrianglebeater uni iit tt ttiungl"oppositethe openend.Tostopthe sound,touchthe instrumentwith your " is the abbreviation fingers.Tri. for trianole_ Triongle I . .= ] i E, I I -:: A t\ rvrvrtr{rrr ozART rvrEIr\. METODY r 3t. I S.D. Adaptation i B.D. I t t l'll t rl t I Triangle ,4 J I ) 32. ESSENTIAL EIEMENTSQUIZ I ) Draw thesesymbolswheretheybelongand write in the note namesbeforeyou play: il 'll I 6 7) ,i:" :l 9-A T EachEighthNoteor Rest= l/z Beat 2 EighthNotesor Rests= I Beat Eighth Note hb & Eighth Rest dta '1 & 77 )* a+ 1& 2& J7 )7 EighthNotesgroupshavea beam. nn 2-notebeam 4-notebeam n n=rTT 33. DEEPPOCKETS RLRRLR 34. DOODLE ALL DAY youplay. Markthesticking before Doubling or Double Stickittg 35. JUi P ROPE B LLFI A patternin which two consecutivenotesare playedwith the samehand (RR L L,R R L L). DoubleSticking,or Doublingis an importantskillfor snaredrum. rollow tneDoubleSticking corctullyand strivefot a consistent sound. LL R LLR LL BRL RAL R LLR I I I I I I I I I I I I I I I I I I I I I I I I I I ( I I I I One or more notesthat come beforethe first ful/measure.The beatsof Pick-UpNotesare subtractedfrom the lastmeasure. Pick-Up Nofes ( Porodiddle A snaredrum rudiment(seemeasure7.) R L R L ( R R ( ( 36. A-TISKELA-TASKET Pick-up R I ( RLRRLRLL Rudiment ( ( I 4& 1 & 2 & 3 & '1 Paradiddles RLR RLRLL ( ( I ( { I I I I I I I 9-B f Dynomics - !?:n,.(play.loudly) lift stickshigher ,!f - mezzoforte (play moderatelyloud) normalstickheight p -,piano. (play softly) bring stickscloseto head :' ' o 37. IOUD AND SOFT Clap t f I I I I 38. I I I I I I D I I I I I I I D I I t 39. l I I I I I I I I I I I t I D JINGTEBETLS J.S.Pier pont MY DREYDTPractice"Doubling"in this exercise. r-R L L R L L I.R L L Tradi ti onal HanukkahSong R R RLRLR l I RHYTHM RAP Ctapthe rhythm whilecountingand tapping. 40. I I I 1&2&3&4& 1& 1&2&3&4& 1&2&3&4& 2 & 3 & 4 & I I I Multiple Bounce Eighth Notes I I I ++ Connect J J so the bounces sound even and consistent. I I I 4I. EIGHTHNOTEJAM I I I I 1& 2 & 3 & 4 & 1a 2 & 3 & 4 & 1& 2 & 3 & 4 & 1a 2 & 3 & 4 & I I Onesinglecymbalsuspendedon a stand.Alwaysuseyarn mallets,not I Suspended Cymbol for suspendedcymbal. timpanimallets.Sus.Cym.is the abbreviation I I I 42. SKIPTO MY tOU A m er icanFolkSong I "f I I I 'f Sus.Cym. I I I 10-A RLRLRLRL RLRLRLRL RLRLRLRLRLRLR Special Percussion Exercise lffi 43. LONG, IONG AGO { I I I I I I I I I I I I I I r' (F I "r |1 /,A,A A J t: ''r'l ] { J,A '----rl'1i r'|' 'll! t" ' - I /,A td ),A tl ),4 i t1- I - ", ,l fl tfriil a o ", ,,A,n,nl,,'n,,:1 ,,A,n nl ,,'n,'fr||":'lfil t-t -------r---E-t I I I Jw ourrlrreorD lulssou ilil utvtltiln - ztno slNlwtll wuNrssr '9? 'slequr,t: qse.rJ.ro; uollelaarq{b aqisi:tiiifr'ti,. a a ! | {poq,noi(1su1e6es",qa"q,p,"43'iff#T'13li"Hll:r"#?',,XH:I,;;#:? 'salou s!uollou auresaql'saloualoq/t^ ro,'paaosu! ra,^olslnq 'salou,leq Jleq.,o]ueqlJa/vrols 'q6norq1 pueleqruibt;a1aqtoul dorpol ;equrrblq6p ro, pesns! uollourauress1q1 rvrollol pue)aloJu 6urtruel6 aqr molte'(Ir!^er6 e 6ursn'alouraupnbe ro, alols )!seqaql urpa'l I I !:f;tiift:flll"":1?il1rTi:fi:ffiljl: sloqurrsqrDr) pauo,llsodaqo,req.,t,,qsu"q,^orrv : -: E P: = ll 'uors!^erel pu. olper uo ,{ppo}preaqllrlssreuaql relllurejsl! pue3erado,Oro,srrl,o rselaqrselE a6elp,llar urelllli , alol/r^ 1u-,1 pu" ";o,n 'oupldaql uo luar)gordftaA sp/r^ "grasoduo)uplleu puera6euaalBse6ursodurolue6aq(89g1-Z6l!) lulssououlqrteolD I a - a rr fl lI ll rI - ttt - | ll rl ) ' ( rl'r ' il 'r ( I I I ll r r rl -t -t ' rt :tl : l.l ' t , , ,l t i , , 'l I | l , J J Jl J J 'r rl ' rI ' r,,il; r' llll ttI t l! )a l- r#,il! r rl rl'""'"i.^ll rl t r' t rl t r| t J JI J J | -rl J ralsolsu!o) uaqdars l! ta VNNVSnS 'HO '?t' I g I llolq pooM Jo, uolre!^arqqeaql s!?lg'ptn punos poo6ea>npord rorate- ,*;l'itJiit;Ti"j":ir: rousaop r)llsurnrp v 'lateurauoqdox uapoo/r^ no 't!ls uado aql ql!,r apls aql ieau e)epns do1aq1;o a6pa sql prp/v\ots! punos l53q aql-itolq pQo Irlell I ! t ,qessarau,!r,!rsu,n,pa,eusJolarp'r,*$:l#H,::ili""JH1:l"j:il3:H#h1].j1ffi:1":"i:ll {rot' poo A : a s-or 11-A ! ;. p Time Signofure E4 ,'-{'1,,, ,,F, ',:. '",',t, ffi Lt*- Conducfing = 2beatspermeasure = Quarternotegetsonebeat conductingthis Practice two-beatpattern. {b 46. RHYTHM RAP Clap | | | | Rudiment Afteryou playa flam,playa tap,alwayswith the low hand.Thiswill keepyour handscorrectlypositionedfor the restof the exercise. Remember, a tap is playedwith the stickclosestto the drum head. Flom Top ln ensemblemusic,So/o marksa passage whereone instrumenttakesa leadingpart. In the next exercise, the BassDrum is featuredin the placesmarked5o/o. Solo 47. TWO BY TWO Becorefultomaintain the sametempowhengoingfrom flam taps(measures1and 2) to the regularflamsin measure3. Solo Solo Tempo Morkings Tempoisthe speedof music.Tempomarkingsare usuallywrittenabovethe staff,in ltalian. Allegro - Fasttempo Moderato - Mediumtempo Andante - Slowerwalkingtempo 4 8 . H IGH SCHOOLCADETS- Mqrch Allegro J o h nP h i l i pS o u s a ,.o.4 ,f Usea slowermotion on half note croshes. I 11-B t Tqmbourine I I I I I t NOBODY'S HOME t I I I I I I I I I I I I Holdthe tambourinesteadyin your left handat a slightupwardangle. Yourright handstrikesthe headof the instrumentaccordingto the writtendynamics: Soft light soundsuseone or two fingertipsnearthe edgeof the head. Medium loud soundsusetips of all fingersone-thirdof the way from the edgeto the center. Loud sounds knuckleson head,half-waybetweenedge and the center. Usea motionsimilarto knockingon a door. --- tl ,) J -' l t - I - -- -- tt tt I tl tl ,J ,J-] l) ,J ,J l' J-l l-l l, t I l D Dynomics D I t Crescendo(graduallylouder) Decrescendo or Diminuendo (graduallysofter) 50. CTAPTHE DYNAMICS I I I , ) t ) I I ) Suspended Cymbol Roll 5I. PIAY THE DYNAMICS ) ) ) ) ) ) ) ) S u s ,C y m . I7 With yarnmalletson a suspendedcymbal,usea rapidseriesof alternatestrokes on the oppositeedgesof the cymbal(3 o'clockand 9 o'clock).Increase the speed of the roll to build an effectivecrescendo I 12-A I I I I I I I I I I I I I SPOTLIOHT PER.FORMANCE WARM-UPS 52. PERFORMANCE TONEBUILDER RHYTHMETUDE "f Tambourine how your hand strikesthe tambourineis determinedby thedynamicsRemember: I Let Ring J ^ = Letthe soundcontinueto"ring"withoutstopping.lt is a commonindicationfor triangleor cymbals. The sameeffectis sometimesmarkedLv.(letvibrate)or /.r.(let ring). CHORALE Andante S u s .C y m . I7 I Letthesoundcontinue. start softlyto makean effectivecrescendo. Remember: I 12_B t L:,,.,fttdnntr-. t' .l I ""' ,. I !a ta. OU* '?,-' I IEE- Duer or Bond Arrongemenf - q ;-:- to t? ,? ,1 -ryf Triansle I D I I 444.- f ,'3 t( - --- rZ rZ D I '..l^l -p ,!f I r? ) uK ,2 rZ I A ,1 ,2 ,. l? I I Sl. I I Modir.aro .s.D.C r JACQUES - Round fninf BD I t ryf lr lI I ([email protected],sroup B besins [email protected]) r , French Forksong ^@ l' l' l' l' l' l. l. )) )) )) )) )) )) )) Wood Block ,r2 ) I I llI I I t I t I , t l J 13-A PERFOR.TNANCE .SPOilI OHT 55. WHEN THE SAINTSGO MARCHINGlN - Bond Arrongement E: uegyriylg; S.D B.D.I p Cr. Cym. f ,J^ ) ,!f l( I I J^r J^t cl l"li a l' l" I f Arr.by JohnHiggins J^\ cl I l'l' f ryf - , J^, J^ I I J^ Choke \ ct'ot. I f f'rf Sus.,Cym.wifh'sticks I J}J\ .,J^ When playingsus.cym.with sticks,the bestsound is usually one thifd or one halfthe distancefrom the edge to the dome. 56. OLD MACDONALD HAD A BAND - Section Feoture Allegro rk 'o),( ll mf w i t l sticks t " ' Cym. Sus. c y m . with w+i| | Afterrepeating,goon to nextpage a I 13-B El I I l I D t t *----zt- l-= f tl #,rl f I D I I I I 5 7. ODE TO JOY (from Symphony No. 9) ;bu ffi ) ) ) ) ) ) ) ) ) ) ) ) t u oo I ,t,llll mf ,fl" +;- t l-l .- .r r .r ) ) ) ) l I I I I : .f E [F L[:c II Sus.Cym. with yarn mallets A j^l , c r .- r _? r# A --T.k ---r-aa ---r-, t L , .f I- l'l f t , T tttl I ? I. ll T I I t\:/ I A I .f l'l , I J^| -l r , d -l c' \ 7 t 4ff r- 58.. HARD Hl ROCK BTUES- Encore JohnHiggins Allegro llegro S.D. ) ) T "f ) t t (Remember:Fundamentalor overtones-your choice) Triangle (Ren ) I Ludwigvan Beethoven A rr .by JohnHiggins Moderato .D. 'vl 'ol I r rffi l. illl ,tf - f Sus.Cym. with sticks ,4 J-Iri fi-J-lrlll 7t i' l f- Tambourine F Lh's I | I tl | ll | I f , J-J-fi vt-i"rj t t I 'VI I mf f Ir |tl mf J I rl.rlnJ-J-J-I JI J J J'J-J]J-J-J'] llll rl t" l f f l l r r l l"tttl l"rl f JI J I llll I | 'vl I l.||ll I goto) tt l"rl (Solo) llll | 'vl I tttl l-l-J-lJ-l-Jl J J:I ] l rl r l t 14-A l I Tie Pifched Percussion = 2 Beats (Keyboards andTimpani) A curvedlineconnectingnotesof the samepitch. Playone notefor the combinedcountsof the tied notes. A curvedlineconnectingtwo noteson the samestaffline or space.Playone note for the combinedcountsof the tied notes. Other Percussion (S.D., B.D.,Tamb., Cym.,etc.) 1 2 beats 60. ATOUETTE F r e n c h - C a n a d i aF n o l kS o n g Doffed Holf Note I ). =3Beats 1&2&3& - THESEQUEI 61. ATOUETTE I I I I I a 59. FITTO BE TIED -+ t J i d-c I mf ) j I ).1 ( -[-- ( f )l ( ( ( f ( I cn cn A A A \ 'l O:":'. l/t/ t-? . rnvi g'b 11. r!, E ' , ' 8, .8 { G' '= SC o-,= s :B xuF u-- o .; = :{i) ;* (tl '6 .t 9 Pn a EE 5Ua, g.sr *r0(.,qJF (g ou- S;E eug f E; fi',U'',E, €EE its '/i 5 -tr E,!. = o€ \ ios 'jr, = E;€ L o, E',9 ,g V:'9,J tt ll : ' 8:r g o o. :Eg . I E lI q J* vli rC o o. ,,E p II ilt l H5s *Er llll gtr.i EE3 .sEv, HiE lt ll tl EUI ts 06 c 5.2.n gE:;' tl r-r" :.?' p 5€s : EET ; e# 9fi9 L . . : . 'L rE ttl L 'E,'€ ; t s s".t 'r' oE € ' =cui s+, 3j PE 2ra tt tJ , ,.: Q r n C(t' 9! L - - ttl J;ttl A -ctr I SPfi .!P- .;{ OJ 'lC qJF .Ltr ul q de^ I' tA Itl g 3 o 3 o |lI F =ss o z oi at t\ F ! o.J E,g5 6g+ O '/|.?i z I o. o = rn Y ll| . I I * o En g.E ;o oz 1- |n I tr J I { N F I I (1835-1921 FrenchcomposerCamilleSaint-Sa€'ns ) wrotemusicfor virtuallyeverymedium:operas,suites, l and chamberworks.The"EgyptianDance"is one of the mainthemesfrom his famousopera symphonies I io^,tonet Delitah.The operawaswrittenin the sameyearthatThomasEdisoninventedthe phonograph-1877. I I I Shakethe tambourinein your left hand. Stopthe shake Shoke Tcrmbourine I on the release(tied)note with the fist of your right hand. I I I75. EGYPTIANDANCE. C a m i l l eS a i n t - S a E n s I Allegro Snaresoff I I I I I I l I I I I I I I I I I I #^J ( ( ( ( ( ( I ( ( 175. EGYPTIANDANCE- TimPoni ( Tunethe largerdrum to A and thesmallerdrum to E. Watchfor accidentals. [Jseo light stroketo achievea dance-likequalityin your sound. Allegro LRRL ( 2 RRLR , I ( tr. ( *f 2 , ( ( ( t 34-B t I I I I D D I I I 176. SILVERMOON BOAT ChineseFolkSong Largo . Fine ,f l7 ryf Claves D.C. al Fine t I D D I D D GermancomposerLudwig van Beethoven(1770-1827)is consideredto be one of the world'sgreatestcomposers, D despitebecomingcompletelydeaf in 1802.Although he could not hearhis musicthe way we can,he could"hear"it in his mind. As a testamentto his greatness, hisSymphonyNo.9(p.13)was performedasthe finaleto the ceremony I celebratingthe reunificationof Germanyin 1990.Thisis the theme from his SymphonyNo.7,secondmovement. D I I FROM SYMPHONY NO. 7 D I77. THEME Whilethispart lookseosy,itis difficultbecauseit is slow.Strivefor an evenconsistent sound. D Ludwigvan Beethoven t I I I I I I I I I I D I t I I D D I D I Allegro (moderately fast) S.D. Snares off B.D. p 177. THEMEFROM SYMPHONY NO. 7 - Timpqni Ludwig van Beethoven TunetoEband N. Allegro (moderately fast) I 3 E I t p + ,!f 3s-A wrote sixsymphoniesand hundredsof otherworksincluding composerPeterlllyichTchaikovsky(18a0-1893) Russian ballet.He wasa masterat writing brilliantsettingsof folk music,and hisoriginalmelodiesareamongthe TheNutcracker ltalienwere both written in 1880,the yearafterThomasEdison most popularof all time. His 18:l2OvertureandCapriccio practical electriclight bulb. developedthe I 78. CAPRICCIOITAUEN Allegro Snareson S.D. I I I Peter Illyich Tchaikovsky I 178. CAPRICCIOlTAtlEN - Timponi Peter lllyich Tchaikovsky lJsea slow stroke to"pull" the sound out of the timpani. Tune to F and Bb. 1E-- Allegro m r-R Rudiment L R the A snaredrum rudiment.Emphasize Flqmocue I79. AMERICANPATROL r-R Allegro rR L R L r-R h a' F.W.Meacham ryf r-R LR rR Go on to next Page D I 3s-B t D I D I I I t D D I I I I D I I D I I D I 80. WAYFARINGSTRANGER African-American 5piritual Andante s.D.tttttt t I D I I D I l8l. D I I I I D D D I I D D I I ESSENTIAT ETEMENTS QUIZ - RUDIMENTCOUNTING CONQUEST w. r-R ) I r-R nL r-R nL r-R RnL Lr-R RnL RLRRLRLLR r-R R L lR nL r-R L r-R L RLRRL L RLRRLRLL RnL R Lr_R RLRRL L uR R R nL R L I 36-A gPOTLIOHT PERFOR.IUIANCE - Bond Arrongemenf 182. AMERICATHE BEAUTIFUL I I I A. War d Sam uel I Arr.by John Higgins ( ( ( ( ( ( ( ( ( ( tr Andante 36-B I D SPOTTICHT D PERFORTNANCE D Sam uelA. War d I 182. AMERICATHEBEAUTIFUI- Bond Arrongement A rr.by JohnHiggins Maestoso D t I f I I D D p -f t D D D 'mf p I I I t I f I ' D Rapidlyalternatesinglestrokesas smoothlyas possible.Forthe best sound, , D Timponi Roll o playabout one third of the'wayfrom the edge to the'centerof the head. D D I | 82. AMERICATHEBEAUTIFUI- Bond Arrongement Sam uelA. War d Arr.by John Higgins D D -I D 17 Andante I D t Cr. Cym. Maestoso Timpani E ) ) t A I - f ) 6 ) ) | . l ) ) l25l Maestoso '- ) ) t D ';t Roll f t 36-C | 83. tA CUCARACHA- Bond Arrongement Latin Rock off > Snares S.D. LatinAmericanFolkSong Arr.by John Higgins I I I t t t I I t I I t I t I I t I I I I I I t I I l I I I I C I I I I I I I I I I I I I I I I I D I D I I l D D D ) D ) I ) ) I ) t ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) 36-D 183. LA CUCARACHA- Bqnd Arrqngement Latin Rock Maracas Claves I (Opt. Cowbell) LatinAmericanFolkSong Arr.by John Higgins 37-A PERFORTNANCE SPO TTOHT - Bond Arrongement | 84. THEMEFROM | 8 | 2 OVERTURE Allegro S.D. I I I PeterlllyichTchaikovsky.I A rr.b y JohnHiggins I I I I I I I I I I I I I I I I I I I I l I I I I I c I I I l I I I I T T t t I I c 3 PERFoRnilANGE'sPffiGHr I I I - Bond Arrongemenr t84. THEMEFRoM t8t2 ovERTURE Peter I llyich Tchaikovsky A r r .b y J o h n H i g g i n s Allegro cr.-cr*.f I !^ x^ f - Bond Arrongemenf | 84. THEMEFROM | 8 | 2 OVERTURE Peter||lyichTchaikovsky A rr .by JohnHiggins Allegro Timpani 4 @f ,. | 2 7 EY @f t dampen I t - ! t - r. I , f. *Stopsound with fingertips. - 38-A PERFORTNANCE SPOTIIOHT Solo for Percussion Ensemble Performing for an audienceis an excitingpart of beinginvolvedin music.Percussion ensembles providea uniquesoloperformingopportunityfor all membersof the percussion section.Thispercussion ensemble is written for 5 or more players.lt is basedon the famous"Can-Can"dance from JacquesOffenbach's operetta Orpheus in theunderworld, ensemblecan performfor the band oi at completedin 1858.Yourpercussion otherschooland communityevents. | 85. CAN - CAN Allegro S.D Eory JacquesOffenbach Arr. by Kevin Lepper a t I 38-B | 85. cAN - cAN JacquesOffenbach Arr.by KevinLepper Attegro I i+ lv D lr- I I n 8.. ,!f "r-. ,ft Choke t I I t I I D I I D I I I I i - cAN tr^i;,".AN rri. I D-f I I t I D I D t D I t D D t D D D JacquesOffenbach Arr.by KevinLepper ,, To Tambourine ,f 39-A DUETS 5win9 Low,SweetChariot and Laparhbi" arertr;itte;iasduetffui woodwinds,brass,and keyboardierculsion. partscanaccompbhyiwo.orrmgrd.plFyers pl4yingthe ddetparts Thesepercussion inaiment$viCw Flom Accent (Eighth Notes) 186. SWING LOW SWEETCHARIOT African-American Spiritual Andante .D. uol p | | Sus.Cym. with stick ,,2,) J I I I c f of c f p D.C. al Fine -_ I I I I I D D I 39-B Hold left stickwith butt end facing,out.Placetip of stickabout t /3 awayfrom the rim , and knockthebutt end of the stickon the rim. A rim knock is usuallywritten with an J on the snaredrum space.The regularnotesare playedon the drum h6adwith the right hand. ',',,.'.,.,,i, 187. LA BAMBA Allegro S.D. r1 *{ RimKnock Dl rl Dl rl f Sus.Cyrn. dome with stick rI I I I I I,- Claves Dl I ll Dtl Dll 3tl I t I I 3fi )tl rll 3ll I D l I D 3tF rll ) l Iill D ) ll, ru I D D.C. al Fine 40 RUBANK' RUDIMENilATSTUDIES and accompanimentfor Full Band.Scaleand Arpeggio Studies | . (ConcertBbor ConcertEbMajor) R L R R L R L L R L'R RRLRLL RLLRL RLRRLRLRLL LRL 2. (ConcertBbor ConcertEbMajor) 3. (ConcertBbor ConcertEbMajor) L R L R L R L L R 4. R RLRLRLRRLRLRLRLL L R R LRLLRLRR L R L R L R R LRLRLRLLRLRLRLRR RLRR LRLRLLRL LR L LR L R (ConcertBbor ConcertEbMajor) rR nL uR nL rR R L nL r-R R nL R r-R R L nL r-R L R r-R nL R aL r-R L L r-R R nL rR r-R L L L R R nL nL R L R aL r-R R LR L t I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I t 41 I D RUBANK' RUDilnEN!:AI SilUDIES, I and accompaniment for Full Band Scaleand Ar.peggioStudies I I | . (Concert F or Concert Ab Major) l RRLLRRLLR I t t t l I I I D 2. D D I (ConcertF or ConcertAbMajor) l ) 3. ) (ConcertF or ConcertAbMajor) R L R L R L R L RL ) I I ) R I LRLRLRLL R LRLRL ) ) ) ) ) 4. (ConcertF or ConcertAbMajor) uR RnL LI.R RnL L RRL RRL RRL RRL R LLR LLR LLR ) ) ) ) R LLRRL R LLRRL RLRLRLRRL R L ) ) ) ) RLRLRRL RLRLRRL RRL R LLRRL ) ) ) ) ) I RLRLL RLRRL R L L LR R L l 1,',; l I I I I I I I I I I I ( ( ( ( ( ( I 43 I I D 37 f I L I I I I 41 I D L t D I D 45 D L-.. I t D D I 49 I D I D D 53 I L D t I I I )5 7 D t-t siluDlEg ffinrHYTHfn t I I 61 I ) D )T D I I 65 I ) I t--r t I D D 69 I I I I 44 T I I composition is the art of wr.itingoriginalmusic.A composeroften beginsby creatinga melody Somemelodieshavephrasesthat seem I madeup of individualphrases,likeshortmusical"sentences." Joy.Playthis melody and listen OdeTo phrases, Beethoven's as in to'euestion" to answeror respond I to how phrases2 and 4 give slightlydifferentanswersto the samequestion(phrases1 and 3). I van Beethoven Ludwig I ODE TO JOY 4.Answer 3.Question l.Question l I I I melody. Gl. AND A. Writeyourown"onswer"phrosesinthis 2.Answer l.Question I I I 4.Answer I I I I phrases usingtherhythmsbeloweochstaff. PHRASE BUIIDERS Write4 different I CREAilINOTUIUSIC I. 2. 3. ( n) n ( rTrl) ( I I ( rTn ( ( 4. YOU NAME IT: for phrases2 and 4. for phraseS1 and 3 below.Thenwrite2 different"Answers" PickphraseA, B,C,or D from above,and writeit as the "Question" 2.Answer ( I I l 4.Answer ( l( '( ( lmprovisqtion 5. INSTANTMETODY A Z il A B lmprovisation is the art of freely creatingyour ol\tn mefodyosyou play, Usethese notesto play your own melody(LineA),to go with the accompaniment(LineB). ( ( I I I D I I D I I t I I I l I I D I D l D I D I D 45 I ou can markyour progress throughthe bookon this page.Fillin the starsasinstructedby your band director. 27 28 24 ESSENTIAL rs 23 .l I I I I I I I I I I .-,:'-ii,r.t ..;, 'il|:rY: srAR AFlllEvER 21 : .:t'" .. ' 7 , 'lr''-; i ",!l ii"'.. . l ' ,i r, : ' i - 20 R NAIi'IE i..,,'i t I D I I D I I I I I I I -,i'' ...,/ 22 : 1t 11 17 15 1. Page2-3,TheBasics 2. Page5, EEQuiz,No.13 3. Page6, EEQuiz,No.19 4. Page7,EEQuiz,No.26 5. PageB,EEQuiz,No.32 Page10,EEQuiz,No.45 Page12-13,Performance Spotlight Page14,EEQuiz,No.65 8. Creativity, 9. Page15,Essential No.72 1 0 . P a g e1 7 , E E N o . Quiz, 84 11. Page17,Essential Creativity, No.85 12. Page19,EEQuiz,No.98 Creativity, 13. Page?0,Essential No.104 2 1 , N o . 1 0 9 14. Page TUIUSTCI ;1, 10 18 6. 7. t', -r" 14 1 5 . P a g e2 2 , E EQ u i zN , o .11 7 '16. Pugq23,Performance Spotlight ' 1 7 . P a g e2 4 , E EQ u i zN , o .1 2 5 18. Page26,Essential Creativity, No.137 '149 19. Page28,No. 20. Page28,EEQuiz,No.15'l 21. Page2g,Performance Spotlight 22. Page3i, EEQuiz,No.164 23. Page32,EEQuiz,No.168 24. Page33,No.174 'lB1 25. Page35,EEQuiz,No. 26. Page36,Performance Spotlight 27. Page3T,Performance Spotlight 28. Page38,Performance Spotlight AN ESSENTIAL ELEMENT OF LIFE 46-A I SNARE DRUIh INTERNATIONATDRUM RUDIMENTS I I All rudimentsshouldbe practiced: I open (slow) to close(fast)and/orat an even moderate I marchtempo. I I Inslrumenl Gcrre Reminders Snaredrumsoccasionally needtuning.Askyour I teacherto helpyou tighteneachtensionrod I equallyusinga drum key. . Be carefulnot to over-tightenthe head. lt will I breakif the tensionis too tight. I . Loosenthe snarestrainerat the end of each I rehearsal. . Coverall percussion instruments I when not i n us e. I . Put sticksawayin a storagearea.Keepthe I percussion sectionneat! . Sticksarethe onlythingswhichshouldbe placed I on the snaredrum. NEVER put or allowothers I to put objectson any percussioninstrument. I I I I I I Instrumentcourtesyof I YomahaCorporationof America, Band and OrchestralDivision I I I I I. ROLLRUDIMENTS I I A. SINGTESTROKERUDIMENTS I 6 l. Sinqle Stroke Roli I 3. Single Stroke Seven | .aaaaaaa affiT= aaaaaa I RLRr-Rr-RL I I 33 2. Single Sfroke Four I ))J) J))) I I I I B. MUITIPIE BOUNCEROtt RUDIMENTS I 3333 4. Multiple BounceRoll 5. Trrple Srrore ' '\v" I Rolt + ))))))tt ))))))ti .171J77 J77.177 I I tnternationat o,r^ r"o, r^:, r;:,;T{rXf percussi on ArtsSociety I I RLRLRLR LRLRLRL RLRL LRLR RLRL LRLR RRBRRRRR LLLLLLLL RRRLLL RRRLLL 46-B I sNAREDRUtil,t$.UBNATr0NAr. DR{rrl RUDUUIENT 3 I I c. DouBtEsrRoKEopENRorLRUDTMENTs ; 'n#i:ii-n" ! _ R a I L L R B L L "'lilon*ou !_fr, !_fr, n-n L l-i h I I ; I t' i --. !lfn" ""u t > fr ^ -l > r- l--'l 12' '-'Eleven ;- -j ii'r'"n"rr !-il' LR ii -r ' {-fr L LR I -J=- -rfi ; '' !lln"""u ',-l ''-[ ) I F I ) iD D D ''!ir",l*.u iE-; i i- 3'o'|'::L*"u !_i i_i tR l D D I n "'ll5nTi.u I;--*n o'-'-l 'o'!',5i1".u li I-i E-'-l F-'-l "'ff;"if;fii, i_i !_i t I rr. DTDDLE RuDttvlENTs D I t I I I I I I I D t I I D D D 16. single Porodiddle =: =:l= tJJ)))t) RLRRLRLL =#'.,.5g =p:g...gq )))) )))) )))) )))) RLRLRLRRLRLRLRLL .. =:=: Porodiddle ))JJ)J)))),)) RLRLRR l8.Triple Porodiddle LRLRLL | 9. Single Porodiddle-Diddle -- iffi] aaaaaa RLRRLL LRLLRR iffi] acoaao RLRRLL LRLLRR 47 I SNARE DRUII'I TNTERNAflONATDRUTI RUDIilTENTS I I I III. FLAM RUDIMENTS I I 25. Single 2O. Flom t At ol Al I I I rl | | | Flomed Mill JR JL I I -- I 21 . Flom Accent 26. Flom i-] A l | | | | l r l l l | | | hl | | Al | | Porodiddle-Diddle I I I --27. Polofloflo 22. Flom Top At tAt I At tAt I At I ttt At I tAl I ;R nJl r- Jn R;L L I I 28. Siwss Army 23. Flqmqcue I xl | | | xl It I tAt | | JU"'JU Triplet I JRRLJnRL -RLRr-Jn I I --29. lnverted 24. Flom A l | | | r l | | | A l I r l I r l l r l I I Porodiddle Flom Top JnlJlRJnr-JlR I or) oO oO a a o) a O O O JnRLRJLLRL ttJOOtt)aO tOOaaOO JRLRJLRL .-RLRRLLJI-NI-T.RR oOOtOaoOOoOa oOaOoOoOaOoO ;R L tOOaaaO RJL >j ot)OOOtt)aOa Jn L R;L >3 oO O C oO O O nL L R RL L R oJOot)Oot)OoOO ;RLRRJLRLL 3O. Flom Drog ri - f fO tJ O ; LL O i orJi t - JL R I I T I - O' ] O i O R R L @ IV. DRAG RUDIIVIENTS 31 . Drog 32. Single Drog Top 33. Double Drog Top 34. Lesson 25 35. Single Drogodiddle -l aaa l-a n n L R -l ada a LLR L . -. t4 ^Yr- I a R i-''i a t - .t --Ot . . O \/' a I.I.R L NNL RRL R -/ -t-ttl I ..4 a a r-r-R nnL L R R L -+ ltt ooaaaaao R RRBL -a R a L LLR L R -+ LLR I I I L r-r-R - | -t O R r=i-1-i-1 a L a R ..ta a L -tt O R RRL O L O L --l ..O tt r-r-R rlR L O R | | a R r a L | t - - - - | a R ..O lr-R Rqlqmqcue L ..a | - nt | - -tt ..ta ..O RRL nnL v L R L nnL R L a O R | L O L R J1 3> - t - t t t- .tOrO-ttt - t t ttlt ..a .-ta ..aaO J rlR nnL nnLRL R - .v IIRLR L - 4O. Triple ttl lt = i-i-]-] ttttttttttttl 38.5ingle Er # ,= # ))a aa a ))aa J a Rqlcrmcrcue 39. Double Rofomqcue I -t ..4 RRL a R 37. Drog Porcdiddle #2 I i-] -t-t ..O ..O LLB -- 36. Drog Porodiddle #l I I -l aata G l l - :-FlrEr-r-l-l-lr -t-tr-tttt ..ta \v/ J2 - r-t-t-tttl 3> ..(a -.e O O a cot) oot) ..O O a O lr-R lr-R L R L RRL nnL naL R L R v t-t-R - \\r/ .-/ | I I I t I I I l I I I I I I e 48-A t I D D I D I t D I D I t I D t I I D I D D I I I I D t D I I I D D D I I I I D I I D D D I INDEx flREFERENGE Definitions (pg.) c Acce nt 15 Acci d e nt al 16 Allegro 11 An d a nt e 1l Arpeggio 28 clefinst.) BassClef 5 (Bass Ba rL i nes 3 Beat 4 Bfu e s 21 BreathMark 6 Chord 28 ChromaticNotes 33 ChromaticScale 33 CommonTime 26 Cre scendo 11 D.C.a l Fine 18 De cre s c endo 11 Diminuendo 11 DottedHalfNote 14 Dotted QuarterNote 22 DoubleBar 5 Duet 7 Dyn a m ic s 9 Ei g h thN ot e 10 EighthRest 31 Embouchure 2 (Bross &WW's) Enharmonics 33 Fermata 8 l st & 2 nd E ndings 16 Flat 5 Forte ("f) 9 HalfNote 6 Half-step 33 Harmony 8 lnterval 24 KeySignature 7 Largo 23 LedgerLines 3 Measure 3 MezzoForte (tl:f) 9 Moderato 11 MultipleMeasureRest 20 MusicStaff 3 N a tu raS l ign 5 Notes 4 Phrase 20 Pi a n o( z ) 9 Pick-UpNotes 9 QuarterNote 4 R a g ti m e 19 R e p e aS t ign 5, 26 Rests 4,6,7,31 R o u n d( Canon) 12 Scale 28 Sharp 5 Simile 2O (Perc.),7 (Kybd.Perc.) Slur 19 Soli 29 Sofo 23,38 Tempo 11 ThemeAnd Variations 18 Tie 14 TimeSignature 5 TrebleClef 5 (Treble clefinst.) Trio 25 WholeNote 7 Composers JOHANNSEBASTIAN BACH . Chorale(fromCantata147) 18 . Chorale 30 . M i n uet 20 . M i n uet 31 LUDWIG VANBEETHOVEN . OdeTo Joy (fromSym.No.9) 13 . ThemeFromSymphonyNo.7 34 JOHANNES BRAHMS . ThemeFromSym.No.1 38 (Bross & LowWW's) ANTONINDVORAK . ThemeFrom"NewWorldSym." 23 STEPHEN FOSTER COLLINS ' CamptownRaces 14 . O h ,S usanna 10 EDVARD GRIEG . Morning(fromPeerGynt) 15 FRANZJOSEF HAYDN . ThemeFrom"SurpriseSymphony' 28 FRANZLEHAR . WaltzTheme 17 WOLFGANG AMADEUS MOZART . A MozartMelody 8 . EineKleineNachtmusik 38 (HighWW's) JACQUES OFFENBACH . Barcarolle 15 GIOACCHINO ROSSINI . Wi l l iamTel l l 0 CAMILLE SAINT-SAENS . EgyptianDance 34 FRANZSCHUBERT . MarchMilitaire 2'a JEANSIBELIUS . Finlandia 26 JOHNPHILIP SOUSA . E l C a pi tan 32 . H i g hS chool C adets 11 PETER ILLYICH TCHAIKOVSKY . Capriccioltalien 35 . MarchSlav 33 ' 1 8 1 2Overture 37 World Music AFRICAN ' K umB ahY ah 25 AMERICAN . AmericanPatrol 35 . AmericaThe Beautiful 36 . AuraLee '12 . Ezekiel SawTheWheel 19 . GoTellAunt Rhodie 6 . MichaelRowThe BoatAshore 26 . On Top Of Old Smokey 21 . SkipTo My Lou 10 ' SwingLow,SweetChariot 39 . The StreetsOf Laredo 28 . WayfaringStranger 35 . WhenThe SaintsGo Marchingln 13,27 AUSTRALIAN . BotanyBay 26 AUSTRIAN . AustrianWaltz 26 CANADIAN . Alouette 14 . OCanada 32 CARIBBEAN . BananaBoatSong 18 CHINESE . SilverMoon Boat 34 ENGLISH . LondonBridge 8 . ScarboroughFair 22 . SeaChanty 22 FRENCH . Au ClaireDe LaLune 8 . FrdreJacques 12 GERMAN . GermanFolkSong 27 ISRAELI . Hatikva 30 ITALIAN . CarnivalOf Venice 29 JAPANESE . Sakura, Sakura 16 MEXICAN . C hi apanecas 15 . LaBamba 39 . LaCucaracha 36 SCOTTISH . Auld LangSyne 22 TRADITIONAL HOLIDAYMUSIC . JingleBells 9 . JollyOld 5t.Nick 17 . My Dreydl 9 . U p On A H ousetop 17 INDEX ffi:.nririnEncl Definitions (pg.) BassDrum 5 C l a ve s 15 CfosedRoll 22,25 Cowbell 3l CrashCymbals 10 DoubleParadiddle 15 EighthNoteTwo Sixteenths 18 ExtendedRoll 28 Flam 8 FlamAccent 15,39 Flamacue 35 FlamTap 1I Maracas 15 MuftipleBounce 7,'10 Left Hand Flam 8 Let Ring 12 One MeasureRepeat 21 Paradiddle 9 RightHandFlam 8 RimKnock 39 R i mSh ot l5 SixteenthNotes 17 SfeighBells '17 S o l o 11 , 2 3 , 3 8 Suspended Cymbal 10 Suspended CymbalRoll 11 Sus.Cym.withSticks 13 Ta mb o ur ine 11 TambourineShake 34 Timpani 33 TimpaniRoll 36 Triangle 8,12 TripleParadiddle 30 Two MeasureRepeat 27 WoodBlock 10 |
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