American Suite: For Unaccompanied Snare Drum is a five movement work based primarily on a short rhythmic ‘motive. This motive, presented in the opening four measures, is continuously’ ie manipulated throughout all five movements utilizing augmentation, diminution, fragmentation and other variation techniques. Most accents and embellishments maintain motivic integrity and should be carefully observed, Each movement offers unique challenges to the performer utilizing many aspects associated with * snare drumming in America, including jazz, rudimental, ethnic, orchestral, marching, contemporary, 7 and so forth. Although this suite was written and conceived with a complete performance in mind, the Performer should program whatever combination of movements time and technique will allow. oe NOTATION LEGEND ‘ Ch 095 “SANK povita 0 OFder OF occurrence) ; coca Tm ee ay ane atin 3 Norma Playing Area: Strike the drum near the center of the drum head. (Kavos 5 a 1 _ 7 : Stick Shot: The left stick is held at a 45 degree angle td the’ aed adh Ge. eFtoudbetke from head while the righU SUCK strikes nearly hallway up on the left stick. aX : (Rete mre — Kan bh ge tue Keer Buzz Roll: A roll on the drum head in which each stick bounces at least three times (no definite or rhythmic pulse should be detectable), Often referred to as @ ‘concert’ or “orchestral” roll, in cases of short duration, a one-handed buzz roll may be used. (m.43): Edge: Play on the drum head near the edge. (Voxa Gta 6t ov \ ‘Scoop Shot: Hold the stick tip against the drum head while the body of the same stick strikes the ‘counterhoop (the tip should leave the head upon impact), Cx. : : Tone OT ogtye Keta s | Agree Kee Shee) : ‘ chet ty second notes. ( “3.4 ) : Brush Swirl: Lightly scrape the brush across the drum head in a circular motion to produce a ¢ ‘constant and sustained sound. Place slight emphasis on counts two and four in all four- four measures to enhance the jazz feel. ¢ Yue Why : » Mouse | 4 a | ‘Sixteenth Notes: Abbreviated notation for four sixteenth notes. ( ] 6 \ ‘Thirty-Second Not \bbreviated notation for two Latin Cllek: The left stick tip touches the drum head while the body of the left stick (near the butt end) strikes the counterhoop (i.e. samba, bossa nova, etc.). High and low pitches (H™ and “L”) are achieved by sliding the left stick across the drum head. Comme nae ete agian Yee — ragyd \ (psy hee. Cys Rim Shot: Using only one stick, strike the drum head and counterhoop (rim) simultaneously j (often referred to as a one-handed rim shot or a gawk). oie, get yi ue Stick Scrape: Hold the left stick at a 45 degree angle to the drum with the tip touching thé drum head. The right stick scrapes against the left stick in a down and up rhythmic motion about halfway up the Teft-stick.( Borex gust. Gia Duce Neg Erinn 6 Helsgaety tive meu Feely = - Publisher’s note: American Suite: for unaccompanied Snare Drum was selected as Ist place winner in i the 1989 Percussive Arts Society Composition Contest. The contest adjudicators were Anthony Cirone, Mitchell Peters and Garwood Whaley, i (Copyright © 1990 Meredith Music Publications, 170 NE. 33rd St, Ft, Lauderdale, F133334 : Ternationsl Copyright Secured Made In USA. All Rights Reserveda oe Shell: Strike the shell of the snare drum’ those made of metal) es a8 Stk Cileks Strike both snare drum sticks together. ( Weer uy. OD ici ge tom eee A bebe te . Snare Tap: The sound made when’ one activates the snare strainer (normall wanted sound!). This technique works best when the snare strainer is not completely tored aa, ele ie pane the desired sound. A quick release is * note can be played, 7 the nent pole ca one seg ABA eta Sing Sima = Fs Gugsa ) Shots Place the tip of one stick on the drum head sind keep the shoulder ot upper body of lng’ the shoulder of the stick down and up the stick tip will produce sixteenth’ Rock 3: wa not cee Se ae ty Eta PROGRAM NOTES + Movement The first movement serves to firmly introduce the rhythmic motive with only an occasional use of unrelated material. Hand to hand independence in mm.45-70 may require special attention for the young performer (Note: In mm,44-70, the right hand should play normal notes near the center of the ‘drum; do not utilize “Latin clicks" in this movement), Movement 11 ‘The second movement is & combination of the old rudimental style of drumming with a moze contem- Porary marching application. Meter changes are few and accents play an important role in motivic Statements, All forty Percussive Arts Society International Drum Rudiments appear in this movement, - The third movement, written entirely for brushes, makes extensive use of hand to hand independence while maintaining the rhythmic motive in a jazz style. Play the brush swirl with the left hand and u any pattern the performer is comfortable with, The ‘mix master” (circular motion) is preferred, Place a slight emphasis on counts 2 and 4 in all 4/4 measures. Play all eighth notes in a swing fashion until .62. At that point, play all eighth notes straight. At m.62, play with the fingers of the right hand on the drum head the first time through (‘ #1") and switch back to brushes on the repeat ('* #2"). The ending should fade gradually to nothing. This movement should be cool, light and casual. Movement IV This movement, written in a Latin style, uses numerous playing areas and special techniques. Although difficult to sight read, the techniques contained in this movement are easy to learn. Once mastered, they can be quickly incorporated into the music. Accents are especially important in this movement and should be carefully éxecuted. The optional cadenza, marked ‘* # ad. lib.,"" should be used at the perfor- ‘mers discretion. An effective cadenza should consist of improvisatory sections based on material from aniy of the five movements (deviations to tinrelated OF outside materials should be kept to a minimum)... Agente ‘iong as any oiher movement, It is more éd motivic variations, Hand to hand in- al challenge for most performers, y, istration?ie BLE DEC CEM cee 3 “Bets. ze “ 4 AMERICAN SUITE For Unaccompanied Snare Drum by Guy 6. Cauthreave 1 fl 4 = kee SS me decrese, 4 copyright @)1990 Meredith Musi Pubcon, 17010. 33d St, Ft Lauderdale, #133334TRREURRLER—_ RERLLL RRRELL 1 pr Hy URiRARURLR d..92s > ee ae ee f : ROR RL = v v v v t RERERRERUEREL RERRELRERRLL dim, p= 8 | RUR LR R LRRERLR Rie r®e ra tre otre CS _F a La RRL RRL Dal Code HB Coda L b L L L L eR LORE L t L \ TRERRULELR ELAR FERERERRERES; °F pf Oe cet 2B Jar76+ ee i’ a ee oe oe |a +92 (straight eighth’s) Tare, SS Lyn ore : Taf 1st time with ingers Tae 2.2nd time with stick — GAYS -z Tha pa 1 cue € at Pere Seonetor V/s cfr Dt (ree Minds cro Vepde) 6 Snares off throughout apenas erefiee eR Sein eR iL RL eee GH yvt | Se a Pale be tenets at) pee) dudes)oct a sons ee A mp in atil a or f & & i (Snares on) ——__ de 120 ‘ » g i fre a mf PEP | e Ys ( 3 | 3 Pep ¥ S dim.— Lata YO PpAaT excepwl 19 ABSA Jase ‘it, (move edge)AP (ro accents) fone (reser 28) nh” F ae