PODEMSKIS— STANDARD SNARE DRUM METHOD INCLUDING DOUBLE DRUMS AND INTRODUCTION TO TIMPANI ‘ ‘A complete personalized modern course in percus- sion studies, including all standard and modern drum strokes, as well as drum solo passages from world- famous concert and¢ymphonic compositions, together with striking exercises for double drumming. ‘An analysis of the Timpani—the instrument, tuning, correct method of playing, rhythm, and beats. a iy BENJAMIN PODEMSKI ~ Renowned Percussion Artist with the Philadelphia Symphony OrchestraPodemsheis STANDARD SNARE DRUM METHOD Including Double Drums and An Introduction to Tympani by BENJAMIN PODEMSKI a Copyright © 1940 (Renewed 1968) MILLS MUSIC. INC All Rights Assigned to and Contrlled by BEAM ME UP MUSIC c/o CP8/MELWIN, INC, Miami, FL 33014 Intemational Copyaght Secured Madein USA, ait ereal In presenting the most complete and most recent drum course es written by Benjamin Podemsti, 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 professional's 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 @ general knowledge of music reading,.os well es orchestre and concert band drumming. The text is composed of 2 compilation of studies which the author has used and continues to use with ortistic success. Benjamin Podemski, famous percussionist with the Philadelphia Symphony Or- chestre since 1923, playing under Leopold Stokowski, Eugene Ormandy, and guest conductors, has achieved brillient percussion effects that have gained him world recognition. He has alo appeared with Arturo Toscanini, Fritz Reiner, Victor Herbert, Richard Strauss, Vietor Kolar, Sokoloff, and other great symphony conductors in the United States and Europe. His drum method is a most active educetionel force in the field of stendard percussion art todey. Full care is given to drum strokes and to the explanation of modern rhythms. Every lesson is @ valuable addition 4o the percusionis's study. ‘The book is profusely ilusrated with drum selo passages from concert and sym- phonic compositions as well es striking examples for double drum—bass and snare—in simultaneous execution, Cautiously analyzing the tympani for percussion players, Podemski explains the instrument, the correct method of playing, tuning, rhythm and beats. Exercises for the tympani are included in the volume. ‘The course that follows is definitely a university of musical and percussive thought. ‘THE PUBLISHERSBENJAMIN PODEMSKIt TABLE OF CONTENTS Page i Snare Drum Sticks 5 PART I-BASIC DRUMMING - ‘ Note Values, Musial Terms and Expresions 2... 6 The Roll ....1.. Bere eras The Flam ..| » The Drag - 4 The Four Stroke Roll 5 ¥ ‘The Five Stroke Rell or Gruppesto as “The Four Stroke Rell ctf “The Single Stroke Rell 16 The Seven Stroke Roll . Seah 7 Flam Strokes a ee 1" Drag Strokes. e se) Combination of $ei0ke Rear Abbreviated Values : 2 Elementary Beat Exercise Studies Exercise No. 1 2 Exercise No.2. 2 Exerc No. 3 ™ Exercise No. 4 2s : Exercie No.5. 26 : Exercive No. 6 ” & Exercite No.7. 2 ie Exercie No. 8... 2 ; eee Seudiet in Flams Exercise No. 10... a Exercise No. 11 32 Exercise No. 12 » Rhychm and the Pereussonist Pry | A Study in Rhythmieal Division Beane : Faerie NO occ eeeseecee seers 36 = Enercie No 14... CY Crush Roll 5 Exercise No. 15 a 38 Exercises in Abbreviated Values “f Exercise No. 16. 9 Exercise No. 17... : 40 4 Exercise with Scotch Snap and the Reverse | Exercise No. 18 ce a : Exercite No. 19 Ls eee || PART ADVANCED EXERCISE STUDIES Exercise No. 20 2 aaa Exercise No. 21 = “4 Exercise No. 22 4sCorrect Method of Holding Snare Drum Sticks6 PART | BASIC DRUMMING NOTE VALUES Ee ¥ j ‘Here is given a diagram showing the proper way of dividing a whole note. ‘The whole note or 4 quarters RSS a ‘This is how 8th, 16th and 32nd notes appear when written separately (not in group form). dd s 4 iS 2 ‘8th notes | 16th notes 32nd notes RESTS — ——— 4ia la Ma Ye Ye Yeg or whole or half Pytieh: ©1940 (Renewed 1968) MILLS MUSIC, INC au iis ange oan ‘Contoled by BEAN ME UP MUSIC Jo CPP/BEL IN INC. Man FL 33014 ‘Intemational Copyright Secured Maden US.A. Al Rights Reserved 7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,Rae eee ee 8 Artificial groups of notes which are played in other than their original form. az The Triplet d j q played in the value of ae notes. The Sextuplet fim played in the value of J J a a notes, Group of five A played in the value of J 5 J a notes, —— | ogee IU) aces ode Group of four J J 5 5 played in the value of ia J 7 J a notes. ae Group of two See) played in the value of Jae. Group of three quarters oleae played in the value of ie . WE : rere cro tare Oe tripe acento WS MUSICAL EXPRESSIONS MOST FREQUENTLY USED Ff forte (meaning) Loud FF fortissimo (meaning) Very loud FFF fortississimo (meaning) Extremely loud mf mezzo forte (meaning) The medium between soft and loud. P piano (meaning) Soft i {PP pianisimo (meaning) Very soft | PPP pianissisimo (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 i Vivace (meaning) Quick Presto (meaning) Very quick Tempo di March (meaning) March time A FEW OTHER MUSICAL EXPRESSIONS AND SIGNS crescendo diminuendo increasing in loudness Gradually softer A 5 Sforzando strongly accented Fermata 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 ¢ha? 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 ic over again.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 3] i, No definite number of I ‘measures. “HE measures, a 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: iy 2 z A B o 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 C, 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 a composition. Sometimes it is incorporated into the composition in such a 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 thissign @ 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 a 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. (ie are RITORNELLO SIGNS 2 ‘When a preceding measure is to be repeated this 7 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@ 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 accent on 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 on any other beat than the one which ordinarily carries the accent, syncopation will result, natural ean A A A Awe A syncopated A A THE ROLL Of utmost 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. It is advisable for the student to start practising very slowly and pay attention to the uniformity of the beats. Start 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 the 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. fe \ 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 Rell,\ as per illustration. RRDTLRRELRRLE RRELRRELRRELRRLLRRLL — SS SS SSS SSS 5 amma ee. LL RR LL RR LE RRLLRRLLRRLLRRTHE FLAM 13. ‘The Flam is an 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 L . L aged Se L fis Digan 1 See R zi R R R R R R Bee eee ee pe ee A Digom 1 See = S| L L ia Ve L L i 2 L Paes ar Diagram 1 Eee = ese R L R L R L R L The Flam should be practiced as shown in diagrams—first from left to right, then right to left and final- ly from hand to hand, ‘The student will find ic best to always use the Flam as shown in Diagram I, as it is safest for speedy and clean technique, unless a passage is very difficult and alternating is really necessary.“4 THE DRAG ‘The Drag is 2 Mordente consisting of three notes—two ornamental notes and the main or fundamen- tal note as shown here— > ——— 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 ewo soft, distinct beats followed by a smart, precise stroke on the beat with the right hand thus: z £ This can also be practiced the reverse way thus: and finally from hand to hand thus: yz Ivo vo The drag is not a dificult 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 |THE FOUR STROKE RUFF 5 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, RESELL Rie CFATL RegLOREL. REMELERILORASLIREL 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 8 & Tecan also be practiced the reverse way. L & ee Generally it is bese to play from the right hand, THE FOUR STROKE ROLL A Four stroke Roll especially adapted to pianissimo passages. R Rg PRP PPP PPP PPP PPP Ofzen 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 oo long or too rough. Some will attempt to play with a drag in order to get a smooth pianissimo effect but ie will be too shore and che five stroke roll too long. Ic is essential, therefore, to study the four stroke roll as outlined above. This will be found to be a diff- cult technical stroke but 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. 11393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, Various ways of practicing the single stroke roll. A _RLRERERLRERERIRL RERLRERERERLRLRLS 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 LR RLRLR L RURLR L R RLRLR RLRL R RLRLR L RLRLRRLRL R RLRLR RLRLRLRLRLRL RLRLRLRERL RLERLRERLRERL 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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. AL ae Ae ee Alternating Stroke Pwned = ee —— (SSS — a RESTRER LRG h. RELERG REAR, Alternating Flam Paradiddle iRLRR ALRL L iRL-RR AL ROLL 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 RTT) ORR a Ree eR eso eae aT Flam Paradiddle 2 RULER REPORT Remar wl demmueane Drag Paradiddle Rabenane MitigRauai RL RR LRLL Should be executed from hand to hand. Double Paradiddle RLRLRRLRLERLLE RLRLRRLERERLL Double Drag Paradiddle RERLRR LRERLL RURLRR LRLERLL Double Flam Paradiddle RLRLRR ERLRLEL RLRERR LRLRLLHR: : Rae , li, | HL | ne I [. 4 aan In. ! : te f.. § vik A. 3 : 5 Tate Ae i fg i re f ne ae road H aa e | i ce ea a Wes: Ma = i 2 Hgts M22 i a HE! ! 3 fit Ms: : ! § aaa i aepar ! ae cis Ht otn gi 4 paaa g | geae aPS3 uy AH SG eae Bad aw t ELERERLARLR LERRLR RRL RLR DRAG STROKES Dine LoREne Re Ree LL utr LURRLR TER ERLE aaLRELR LURLRE R fa Lael R Ro eeb b-tik LURRLR LERERL eRLR LR RRL RLR LURRLR EER DRL20 COMBINATION OF STROKES | | i 2. 3 2 bURERE RL aL R ttRLRERL RL it 3 z LE | TERELRL wt Tagky Lykke | | é = = | SEE a f R Renee Tae Le aoe Loe 3. 2. 3 2 2 2 TER RELRLEL RLRLRL xekb wtRiLRELRERLR Note different fingering in second measure. TR LDRIRBLREIRL AL tt R LR LRERLRIRGLRL wR L RvR eeb RLRGLR Ro LR wRL ROERL ‘Note different fingering in second measure. RinR RL GR. 8LuR GRRL BLERELIR RLLR LR RL 3 2. a 3. R RL RL apbRbRURL tuR LRLRL eek RER LR 7 11393ABBREVIATED VALUES = Abbreviations in manuscript or printed music by means of signs. Written Played ritten Played Written Played Written PlayedELEMENTARY BEAT EXERCISE STUDIES R. Indicates right hand. Indicates left hand. ‘Count One (and) Two (and) Three (and) Four (and) Slow (4 beats in a measure). 18 26 B& 4& 1& 2& 8& 4% 1% 2& B& 4& = ——— kb RP Le ReeNo. 2 23 Two beats toa measure. Count One (and) Two (and)mA Aoaeee! The numbers! iwith 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) fof Pe i 8 Gi ae Dineiee le Oo 1_@ 2 & 11393‘The fingering (L. R.) must be carefully observed. & No. 426 No.5 3/4 Time—Count One (and) Two (and) Three (and) a Moderato a a pats camera tai, "aaah hr ado eee a Letters A-B-C-D-E-F-G denote the different sections of music. Sometimes numbers are used instead. “isear Se eee eM SPAS ATT ocho tae durations the eight note, no longer or shorter. SS No. 6 R RLR OL R_RLRL R fe) 2 8) TM 2ieeee REORL RoR R eee 1 8 RLR L R RERL FRRLRL Pa re fay pees RR ASR OEM be RL. R RRL te ff iz T 2 Tn 2 0e8 z £ 2 my SA; 8. RLR RL RLR RLR RLR t z t 2 1 2 emery eT 2 R.RLR L RRERL RRELRLR Reiter ANo.7 28 11393RLRL 29 The groups of four sixteenth notes should be played with single stroke beats, thus: and com- mnencing always with the right hand. >a. No. 8 > a f 2 2 z f 2 1 * #. Or A. Abbreviseed pa Abbreviated a + +++ Dots are often placed to denote the number of beats,“a 30 A study in abbreviated quarter, eighth and sixteenth notes. No.9 1 2 “The measures marked with letter Z are purposely divided so for quick eye training. ey Abbreviated As Playedon No. 10 1 > STUDIES IN FLAMS @No. 11 a aThis xercise should be studied slowly and carefully. 33. No. 12 2 ape oe 2 3 4 Sa es Last Measure Abbreviated As played At letter G a repeat % sign to the preceding half measure is inserted. This is a common occurr- ence sn orchestral work, 11393Be RHYTHM AND THE PERCUSSIONIST RHYTHM is the occurrence of accented beats at regular short intervals of time. Most persons have natural rhythmic sense and are able co 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, a strong rhythmic sense means three things: First, the ability to maintain a beat for Jong period of time (say five minutes) at a given tempo without permicting 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 to 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 musician must be able to break up the beat into two equal parts, eighth notes ( J) ), four equal parts, sixteenth notes ( f\ ), eight equal parts, thirty-second notes (f+), etc., or into any combination of these smaller units (that is, any rhythmic pattern) that the composer may require, Ic should be understood that what is here: called a strong rhythmic sense does not come entirely from natural endowment; it also comes from study and training. In respect co rhychm, the percussionist occupies 2 position in the Orchestra of great importance. If a player of one of the melodic instruments (cello, etc.) i deficient in rhythmic 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. Ii he scrikes 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. To a strong and well-trained rhythmic 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, his instruments 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 vo 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 himsclf out of a job.OI EE EEE OT INERTIAL DISS ‘The dividing of these examples should be understood thoroughly by the student before proceeding further with the exercises. Written differently but rhythmically 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.36 No. 13 ModeratoNo. 14 37 Triplets ace marked by a number 3 over or under a group of three notes, $ * which means that they nate to be played in the exact time of two note: of the same duration. iid Please observe expression marks. ef P —f Pp ——F P——— fF oP “11393ol 38 No. 15 CRUSH ROLL 9 adr dx lPret | Moderato of 11393IN ABBREVIATED VALUES 39 No. 16 EXAMPLES FOR THE FOLLOWING EXERCISE EXERCISES As Written As played R RLRLR RRLRLR RRLRLRLRL RLRLR R_LL RL EK RLLR LR ROLL R-LGRGDR Re Di Ro La RLRLRLERL RLERERLRRLE RLRLRERRL RLURLRRL RURERERRE 4 RRLRLRLR The fingering used in this exercise is optional as long as the necessary result is achieved. ‘The student can use the fingering so which he can best adapt himself.11393No. 18 - EXERCISE WITH SCOTCH SNAP AND THE REVERSE Sas As Wr As played Eicher fingering may be used.a2 No. 19 RLULRLR RULRLR11393 ADVANCED PART II EXERCISE STUDIES No. 20 43ab No, 21 4 RLRERLRELRELRLRLR LR LRERL RLRLRLRL RURLRLRL RLRLR RLRLR3/8 time. Count three to each measure. Moderato‘The groups of three sixteenth notes ddd are to be performed. in'the time of rwod @ of like value in the regular thythm. F 46 No. 23 ae | Three counts to each measure, 2 ) | | | 11393Two beats in a measure. % Abbreviated As Played43 Count all the eighths. No. 25No. 26 : 49 Slow—counc each i fed 11393sa No. 27 Tompo di Polacoa2/4 Syncopation No. 28 a The prover division for syncopation. 113935 No. 29 1139333 No. 30 11393No. 31 F fNo. 32 ‘Three counts to each measure. 1139356 No. 33 Slow tempo 113985B No. 35 a See 11393No. 36 59 Maestoso 1139360 No. 37 Moderato f From X to X may be omitted. 11393e mT rer No, 38 = 11393e No. 39 Syncopated 4/4 time. a aaa ee 9 SS 11393=e ‘Three counts to the measure. 11393| bel 11398 Maréh tempo af No. 41As Written ‘As played66 No. 43 Count 12/8 to each measure or 4 if faster tempo is being played. 11393\ A 3 2/4 Syncopation go > See = a 11393No. 45 69 Exercise with single stroke rolls, 4 11393No. 46 70 ModexatoFast tempo No. 47 n Two beats to the measure. 113932 PART Il MODERN RHYTHMS AS EMPLOYED BY CONTEMPORARY COMPOSERS DIFFICULT DIVISIONS ANALYZED ‘Two beats to the measure. = Es Written and proper divi- sion for execution. Same division as above in 6/8 time. Two beats to the measure. oR ES PT TD ‘Written’ As played = — F ; a ee 2 Pe es ee Four beats to the measure. | e Fee een ae 4 Written] As played 2 a 3 a 3 é a ‘Three beats to the measure. 4 4 Written As played Two beats to the measure. Written. ‘As played113934 No. 49No. 51 Four beats to a measure.7% No. 52 ft 11393= SWING STROKES & RLLREGRL ERELRLLR Lk Single strokes LRUR RRUCRE RERRLLRERLR RLLRERLRRL LR ame with Flam tena amet ft : = Alll Flams to be played from left hand. RLLRLERL LREL REL > > RLLR LR RLLELLRL LRULRLLR RLLRLR BBE Se aes zB LRLRLR RLERLRERRLERERE >eS a ee — aa le DOUBLE DRUMMING EXERCISES FOR DOUBLE DRUMS AND SOLO PASSAGES FROM MOST RENOWNED COMPOSITIONS Lively March tempo Pm 1139380 March tempo x anes8L March tempo 2 DRUMS T SAND_PAPER,82 Excerpts from F. E. Aubers" Overture MASANIELLO. To be played two in a measure. Allegro Moderato 41393PART V FAMOUS DRUM SOLOS Opening measures of F. E, Aubers’ Overture FRA DIAVOLO. 8. D. Solo Zz poco a. poeo 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84 Excerpts from Franz v. Suppé’s Overture PIQUE DAME Allegro con fuoeo , orese. 4 Piu mosso | 11393 4Important solo work for the snare drum from Rimsky-Korsakoff’s CAPRICCIO ESPAGNOLE. ALBORADO Vivo @ strepitoso molecrua |. OMB ALONE i I FANDANGO OF THE ASTURIAS Vivace assai 113938 Excerpts from Franz Liszt's SECOND HUNGARIAN RHAPSODY Prestissimo ‘TYMPANI Andante Presto 11393Adapted from A. V. Kontsky’s AWAKENING OF THE LION Caprice Heroique Tempo di Margia 87 3 2 3 3 a 2 3 PP. poco Terese. 3 mf go} ft Tempo di Marcia 113938B s PART VI AN INTRODUCTION TO TYMPANI Much is required of the student who wishes to study Tympani. The student must possess good rhythm, 2 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 che piano, which is mest suitable co Ye percusionist, or some addonal must cal instrument. If the student has no musical training other than che percussion instruments, he must then study sol- feggio with a reputable music teacher before he attempts the tympani. THE RANGE OF TYMPANI The range of the tympani is one octave ===] that is, if che tympani are of regulation size (28x 25 or 27x24) which are used for ordinary work. However, the contemporary compoiers go far beyond that range and write as low as low = and as high as high A for which special size kettles have to be built. To get a low C the tym- pani should be about 38 tiches in diameter, for high A about 20 inches in diameter. - Most Symphony Or- Chestras have these various sizes. The range of the 28 or 27 inch tympani is from pais and the range of the 25 or 24 inch eym- 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- Tow the “A” sound. For example, if the sound of the tympani appears to be below the “A” or any other desired note, then, by tuzniing the screws all around evenly the desired tone may be had. If the sound is flat the head needs more tensioning. If sharp, the tension must be lowered. The student will at first have some difficulty with his tuning. He may find it difficult to differentiate between the various sounds because of the many overtones these instruments possess. Overtones, natural with all instruments, are more common with che cympani 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 lefe 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. Ie consists of alternate single strokes. A good roll and tone depends not oly on good quality and properly adjusted heads but also on the ‘correct way of holding and swinging the sticks. The sticks should be held loosely for greater fiexibility. “The hand position of the sticks for playing tympani should be the opposite of the position for playing the bells or xylophone. (See illustration) 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 2 time that it comes with perfect facility and flexibility. ‘At no time should the sticks be allowed to “squat” on the drum heads, afcer striking them. The hands should be flung upward immediately after the beats. Never hie the heads of the tympani in the center ‘as that will produce a dull chud instead of good tone. Strike the heads about four inches from the hoop. Good tympani sticks are very essential to the player. As good sticks are difficulr to obtain, the player should, if possible, learn to make his own, This will better suit his individual balance and touch. Utmost care must be taken in selecting and shaping the tympani sticks.HAND SCREW TYMPANITHE CORRECT POSITION OF HOLDING THE STICKS THE INCORRECT POSITION OF HOLDING THE STICKSEXERCISES FOR TYMPANI n in A-D92 in G-C Moderato 3 z i 3 3 11398in G-C0 Vivace (fast tempo) 113934 in Bb-Eb Six beats m the measure. nf , 11398 —ITALIAN BY-WORDS AL...or Alla, senteTOss¢¢ nt: és nee Llvery Well With ‘From But ‘Less = Halt Mach or Very + Moved or More -A slow movernent ‘Mederately slow SOIL es moderately Allegro =. TET aide and lively ‘Allegeero 10 [Nederaely guide Largo... 2212 read and slow Larghetto : 2 TTess than Largo Lento. SOIT Uueely alow Moderato TTT Moderate ume Presto Faster than Allegro Prestisimo DOLL very fast time Accelerating Vagitating ‘Animating 20021 THtasting 21. JHurring. 1 Vivaciously RETARDING TEMPOS ‘Allargando cascess++- Slower and broader Calasdo 22Cai LTT Lastening ean Rallentando 1. Rall’ 11°11 Geadually slower Ritardando Rit Retarding-fempo Ritenato. 0.00... 10s cRetaining Slarganda’ 1. .sparg 2... “Enlarging SUSPENDING TEMPOS Ad libitum... Alb... AE liberty ‘Alla cadenza. Cad Jat lesure ‘Alpes cs apes Reduativo v2.2. 1oRecie vss. Reatingly Rabu ‘Tashythmically Senza tempo s Without tempo RESTORING TEMPOS A Tempe. Back in time ‘Tempo puto... Sect time Tempo primo. “Original time Listesco tempo. {Seme time slege Tmare ‘Acceated mp ........ Medium soft Half voice Merendo .... Dying Awa Perdendos. Growing funter Piano Soft Pianissimo Very soft Fiano-forte "Soft, then loud Rinforsando TLL egy accented Sforzando . “Sudden accent ‘Smorzando Fading out Sotto-voce + Under“one Sostenuto Sustained Staccato Detached Tensto 2.000012 lten Fle in full Un poco piano. 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