THE SOLO SNARE DRUMMER ADVANCED ETUDES AND DUETS VIC FIRTH SOLO TIMPANIST AND THE PERCUSSION >. oD [Fuga DuesForeword ‘This book, “The Solo Snare Drummer” was written to cover several phases in peroussion repertoire, It isthe last in a series of three snare dram books designed to tako the student through the elementary, intermediate and advanced stages of technical progress. ‘Upon completion of the three books, the student should have absorbed the most extensive group of studies ever written for the snare drum. For the advanced student, there will be found new and challenging problems encountered in contemporary liter- ature. The Btudes will not only further develop the hands, but will attune the mind to complex rhythms and complicated meter changes not found im most books. For the professional, the studies may well serve as a “refresher” for several facets of his play- ing. The varied meters, 5/8, 1/8, 10/8, 15/8, 9/16, 12/16, together with the more eom- mon meters, 2/4, 8/4, 4/4, 5/4, 6/4, 8/8, 6/8, 9/8, 12/8, 2/2, 8/2, axe all utilized with ‘unlimited rhythmie patterns. ‘The professional should find these challenging as well as stimulating. ‘The Btudes may also serve as colo pieces for collegiate euditions as well as those involving professional positions. Besides the 24 Ktudes written just for snave drum, theve are six solo Etudes waitten for a multiple drum combination of two, three, and four drums. ‘These would afford excellent demonstration and audition pieces. For the con- servatory level students or an advanced student end teacher combination, there are six duets. These too will be found quite challenging to both hands and mind. And for the player who wants to test his ambidexterity, there are two duets written for one player. In other words, one player executes both lines, the upper with his right hand and the lower with his left hand. When playing the tudes, one must abide strictly by the metronomic markings. It is also important to observe carefully, when there are meter changes, as to whether cighth notes equal eighth notes (or quartars equal quasters,whatever the ease may be) ‘or heats equal beats. Otherwise tempos may get out of hand by becoming extremely fast or laboriously slow. ‘A final word to the performer: in addition to control and fast, artieulate hands, strive to develop a sense of rhythmic phrasing, as well as a cancapt of sound. Be eon- stantly awave of tone production and sound projection as related to sticking and teeh- nical execution. The instrament is eapable of countless nuances and subtleties. The responsibility of producing these musical sounds remains wholly with the player. It is to that caliber of player that I dedicate this book,1. [es alvays atviesble to practice exch Etude ata slower tempo than tho one indicated When a \icient proficiency is attained, the Indicated tempo may be attonptad following the dasignated metronome ark: his Ponts quests throat te motor changes = (d=), Oboe the thing = S SS oe ea