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Ultimate Percussion Method
Ultimate Percussion Method
3. Play a stroke.
grip checklist:
____no gaps between thumb and index
finger
____all fingers and thumbs are touching
the sticks at all times
____elbows are about 2 inches from the
sides of the body
____sticks are in line with the forearms
(straight line from the tip of the stick to the
elbow)
____hands are turned over (analogy:
students should imagine getting a nice tan
on the top part of their hands if they were
outside)
*** KEEPING THE HANDS TURNED OVER IS A VERY IMPORTANT CONCEPT TO GET
RIGHT!
3. Review “Set Position.”
stroke checklist:
____start in the “set position”
____while keeping your elbow still, turn
wrist back, tip of the stick is the first thing
to move, NOT FOREARM!
*** THIS ISOLATED WRIST TURN
CONCEPT IS CRUCIAL
* When the stick moves to the up position
it is called the up-stroke.
____play a 12 inch stroke (full wrist turn)
* When the stick is moving downward it is
called the down-stroke.
checklist:
____count “1234, 1234”… while playing a 12 inch quarter note on beat one
____maintain grip and stroke guidelines
____return to “set position” immediately after the stroke
____demonstrate steady and relaxed time-keeping
____play the exercise with just the right then just the left, then alternating but with the same
rhythm
____encourage students to play individually
To the Teacher:
- show the class a flash card of a quarter note and explain that it is a quarter note and tell them
that we play on “notes”
- show the class a flash card of a quarter rest and explain that it is a quarter rest and tell them that
we do not play on rests
- have a bunch of quarter note and quarter rest flash cards in a mixed pile on a table, invite each
student to walk up and choose one quarter note and three quarter rests and bring them back to
his/her drum
- ask if anyone knows how to arrange the flash cards to create the measure that we’ve been
playing, have the entire class arrange their cards on their own music stand in front of their drum
checklist:
____encourage students to look at each
flash card as the time goes by
____have students clap and count aloud
____have students play right hand only
while counting aloud
____have students play only left hand
while counting aloud
____have students alternate hands: one
measure with right hand, one measure with
left hand
Student Fill-ins:
1. Do you know any drummers? (family, friends, neighbors, professionals)
List them here:
2. Experiment with the snare/tom switch. Which sound do you like better? Why?
______________________________________________________________
To the teacher: display eight flash cards on the chalkboard, have a bunch of quarter note and
quarter rest flash cards on a table. Ask students to find a partner and decide among themselves
who will get the notes and who will get the rests from the table, invite them to arrange the flash
cards on their own music stand.
warm-up checklist:
____encourage students to clap the rhythms while counting aloud
____encourage students to play the rhythms as a group with right hand only
____encourage students to play the rhythms as a group with left hand only
____review technique detail (see grip, set position, and stroke checklists in Lesson 2)
Measure – A group of beats separated by barlines. In other words, a box in which music is
written.
Time signatures –
4/4 Time Signature – Tells us there are four quarter notes per measure and each quarter note gets
one beat.
** 4/4 Time Signature is also known as Common Time Signature.
** The abbreviation for Common Time is a capital letter C. (Example #2)
Examples #1 and #2 sound exactly the same. It is just the sticking (which hand you play) that
changes
1. Practice drawing quarter notes and quarter rests in the spaces provided.
Quarter Notes:
Quarter Rests:
To the Teacher: The “Listening Games” section is a great way to help players develop listening
skills. Most of the activities found in this section involve a soloist playing for the class while the
class writes answers in their workbooks. Have the soloist positioned so that the
class cannot see him/her. The students filling in answers should only use their ears. Get in the
habit of rotating the soloists as much as possible. As always, the more confidence you can give
the students the quicker they will develop.
Activity:
One player sets up in the back of the room. The rest of the class are seated and facing the front of
the room. The soloist puts the snare/tom switch on or off. The soloist plays one note. This is
example #1. Students record their answer in their workbooks. The soloist chooses whether to put
the drum on tom or snare and plays another note. This is example #2. The class records their
answer and so on.
To the Student:
To the Teacher: From Lesson 3 on you will find a feature composition at the end of each lesson.
These solos are perhaps the most important element of this method book. The featured solo gives
the student a chance to demonstrate ownership of the concepts covered. Fun and appealing titles
were given to make performing an engaging and enjoyable experience for the player. Each solo
will be followed by a checklist of details. Student and teacher should work together to complete
all checklists.
1. Matching Game: Fill-in the correct term.
A) double barline B) measure C) barline
“Blast-off!” checklist:
How many measures are there in “Blast-off!”?______________
How many barlines are there in “Blast-off!”?_______________
How many double barlines are there in “Blast-off!”?___________
____play the correct sticking
____your stick should immediately return to the “set position,” especially every
measure that has a quarter note followed by three quarter rests
____maintain a steady beat throughout
____play the piece while counting aloud
____clap the rhythm while counting aloud
Repeat Sign - A double barline with two dots tells us to repeat the enclosed measures. Usually a
repeat sign tells us to repeat the section once but in our warm-up exercise we will repeat it
indefinitely.
Standing Position
standing checklist:
____left hand resting on the rim on player’s left side of the drum
____right hand strikes the head slightly off-center for fullest sound
grip checklist:
____bass mallet grip is similar to snare grip (no gaps between thumb and index finger)
____all fingers stay on the mallet at all time
____fulcrum is at the point on the mallet that is one-third the way up from the butt of the mallet
Whole Note – A whole note looks like an oval-shaped circle. It lasts for four beats in 4/4 time.
Half Note – A half note is an oval-shaped circle with a line attached. It lasts for two beats in 4/4
time.
1. Does the bass drum sound lower or higher than the snare drum? Why?
2. Can you think of anything that is not a drum yet sounds like a bass drum?
5. Draw two repeat signs in the following measures (one in the first and one in the second):
- Performer plays either bass drum or snare drum (on tom). Write down the name of the
performer and circle the instrument that was played.
1. The major difference between a barline and a double barline is that a barline has _____ line
while a double barline has ______ lines.
2. Matching: Draw the note or rest that equals the value given.
4 beats
1 beat rest
2 beats
1 beat
3. 4/4 Time Signatures tell us there are __________________ beats per measure and the
__________ note gets one beat.
BAD - thumb off the stick, poor fulcrum GOOD - thumb on stick, great fulcrum
BAD - moving arm instead of just wrist GOOD - isolated wrist turn, elbow remains
still
BAD – stick is not an extension off the GOOD – stick is a natural extension of the
forearm forearm
÷c w w ˙ ˙ w w w ˙ ˙ w
÷w w ˙ ˙ ˙ ˙ w w ˙ ˙ w
9
÷˙ ˙ w ˙ ˙ w w w ˙ ˙ w
17
÷w ˙ ˙ w w ˙ ˙ w ˙ ˙ ˙ ˙
25
Dynamics – Dynamics are musical terms for the volume of the music. Here are two common
dynamics:
Fortissimo – Fortissimo means loud, let’s call it a 12 inch stroke, the symbol for
fortissimo is ff
Piano – Piano means quiet, let’s call it a 1 inch stroke, the symbol for piano is p
warm-up checklist:
____when playing at lower dynamic levels you must maintain all “grip guidelines” described in
Lesson 2
____remain relaxed when playing low
____there should be a definite difference in the stick heights for piano (1”) and fortissimo (12”)
A whole rest is a rest that lasts for four beats in 4/4 time.
The symbol for a whole rest is
A half rest is a rest that lasts for two beats in 4/4 time.
The symbol for a half rest is
Soloist either plays a dampened note or a non-dampened note on the bass drum. Class records
answers below.
7. What is the musical term for stopping an instrument from ringing? _____________________
Warm-up checklist:
____play the following levels: 12” forte, 6” mezzo-forte, and 1” piano
____display three distinctly different dynamics at the three different levels
____both hands have the same height and volume at any given dynamic
(make sure the left hand is not played lower than the right hand)
____maintain “grip guidelines” (see Lesson #2) while playing the three dynamics
Duet – A duet is a piece of music written for two players. The featured piece in this lesson is a
duet.
This is the first example of sight reading. The intent of sight reading is to see how quickly and
accurately you can play a piece that you’ve never seen before.
*** KEEP YOUR EYES MOVING FORWARD ALL THE TIME. YOUR EYES
SHOULD ALWAYS BE A LITTLE AHEAD OF THE MUSIC YOU ARE ACTUALLY
PLAYING. Imagine riding your bike – wouldn’t you be looking ahead for what was coming up
next?
Draw the following:
Half Notes
Quarter
Notes
Quarter
Rests
Whole Rests
Half Rests
Whole Rests
Soloist performs the bass drum sight reading excerpt from this lesson in front of the class. Soloist
will play four times. Soloist will either dampen or not dampen during each performance of the
piece. The class circles either dampened or not dampened.
Performer’s Name:_________________
6. What is it called when you are reading music that you’ve never seen before?
÷c œ œ œ œ œ Œ Œ Œ œ œ œ œ œ Œ Œ Œ
pR (1")L
Snare
ƒ (12")
R L R L R R L R
÷c w w w w
Bass
ƒ (12") p (1")
÷œ œ œ œ œ Œ Œ Œ œ œ œ œ œ Œ Œ Œ
5
ƒ (12")
SD
R R R R R L L L L L
BD ÷˙ ˙ ˙ Ó ˙ ˙ ˙ Ó
ƒ (12")
÷œ œ œ œ œ œ œ œ œ Œ Œ Œ
9
SD ∑
F (6") ƒ (12")
R L R L R L R L R
BD ÷ ∑ œ œ œ œ œ œ œ œ œ Œ Œ Œ
F (6") ƒ (12")
warm-up checklist:
____play at ff (12”)
____play at f (9”)
____play at mf (6”)
____play at p (1”)
____play as a loop (four measures at each dynamic without stopping)
____play slowly
____play quickly
Rudiment – Rudiments are skills that are required to play the drums. Just like scales help wind
players, rudiments help drummers improve.
mf 1 inch
p 6 inches
ff 9 inches
f 12 inches
2. Draw repeat previous measure symbols in the blank measures below then play the piece with
the written repeat symbols.
Soloist sets a snare drum up in the back of the class. Soloist plays four notes one at a time.
Choose either a buzz stroke or a normal stroke. Class circles the stroke that was played.
Performer’s Name:_____________________
To the Teacher: You will find strategically placed Video Goals throughout this method.
Naturally, you will need to get permission forms if your school requires them. The process of
having to PERFORM for a video camera immediately raises the performance level of the player.
Getting young players into the habit of performing is beneficial to the development of the player.
Plus, the video documentation will benefit you as a teacher as well. You can easily chart
progress. The students will get a kick out of seeing themselves after a few months pass. They
will clearly recognize their own progress. In later lessons you will have students make videos for
younger students in your district.
Student chooses a solo from Lessons 4 through 7 and performs for the video camera.
3. True or False: When we play a buzz stroke we want to stop the bouncing immediately.
÷c w w ˙ ˙ œ œ œ Œ
ƒ
Bass
÷œ œ œ œ œz œz œ Œ œ œ œ œ œz œz œz œz
p
SD
R L R L R L R R L R L R L R L
BD ÷˙ ˙ ˙ Ó w w
p
SD ÷œ œ œ œ œz œz œ Œ œ œ œ œ œz œz œz œz œ Œ Œ Œ
f
R L R L R L R R L R L R L R L R
BD ÷œ œ œ Œ œ œ œ Œ ˙ ˙ œ œ œ œ œ Œ Œ Œ
f
warm-up checklist:
____play at 12”, 6’, 1”
____play faster
____play slower
____”Eights Down the Line” one player at a time (4 measures each) then the next player enters,
there should be no stops, visual cues will help students enter
Tempo – A musical term used to describe the speed of the music. (slow, medium, fast, very
fast…)
Auxiliary Instrument – Special effect instrument. The most common sizes of triangles are 6-8
inches per side.
Triangle – The triangle is a very popular auxiliary instrument. Here are some examples of how
to play a triangle.
Triangle Dampening – Pinch the triangle with the fingers of your left hand to stop the ring.
triangle dampening checklist:
____dampening takes place on the downbeats of the rests (silence on the rests)
____allow triangle to ring for the full value of the note before dampening (don’t clip the note
off)
Rim Click – Hit the top of the snare drum rim (12 o’clock) with the shoulder of the stick.
______________________________________________________________________________
2. Soloist plays triangle excerpt #2 at the back of the classroom. Soloist plays four times. Soloist
chooses whether or not to dampen the rests. Class circles the correct answer below.
Performer’s Name:________________________
3. Soloist plays the snare drum. Soloist plays four times. Soloist chooses whether or not to play a
rim click or a normal hit on the drum head. Class circles the correct answer below.
Performer’s Name:_________________________
2) Demonstrate the correct way to dampen a triangle. Play a single note then dampen.
3) Demonstrate a rim click on the right hand and the left hand.
6) True or False: Alternating Sticking is when you play only with your left hand.
7) Circle the correct answer: When dampening a triangle, it is best to use your (A) chest, (B)
knee, (C) fingers, or (D) your face.
“Waterpark” checklist:
____snare: buzz strokes should “fizzle” as long as possible
____bass: act quickly to dampen the quarter rests in the piece
____snare: get the rim clicks in measures 13 and 14
____record you and a friend performing this piece
____give this piece another title, Why did you pick that title?
____add a few more dynamic markings and perform the piece
Snare ÷c œ œ œ œ œz œz œ Œ œz œz œ Œ œz œz œ Œ
f
R L R L R L R R L R R L R
Bass ÷c ˙ ˙ œ œ ˙ œ œ ˙ œ œ ˙
f
÷œ œ œ œ œ œ œ Œ œ Œ œ Œ œ œ œ Œ
5
SD
p
R L R L R L R R L R L R
÷w w ˙ ˙ œ œ œ Œ
p
BD
÷œ œ œz œz œ œ œz œz œ œ œ œ œz œz œ Œ
9
SD
F
R L R L R L R L R L R L R L R
BD ÷˙ ˙ ˙ ˙ w œ œ œ Œ
F
œz œz œ
Rim Clicks (x)
÷¿ ¿ œ œ ¿ ¿ œ œ œ œ œ œ Œ
13
SD
ƒ
R L R L R L R L R L R L R L R
BD ÷w ˙ ˙ ˙ ˙ œ œ œ Œ
ƒ
Mezzo-piano is a dynamic that means medium quiet.
The symbol for mezzo-piano is mp.
Mezzo-piano music will be played at 2 inches.
warm-up checklist:
____keep all fingers on the sticks at all times
____keep both elbows still (turn from the wrist)
____be relaxed (your forearm muscles should feel like jelly)
____play as a group
____play individually
____play “Down the Line” (one player at a time)
____play at 12”, 9”, 6”, 2”, 1” (change dynamic level every four measures)
Listen to any piece of music (in 4/4 time) and count “1 2 3 4” aloud with the quarter notes of the
music. Which beat do you think is the most important?
Try counting along to a lot of music with different tempos, styles, eras, and origins.
* Next play “Eight on a Hand” with some recordings. Count out loud.
4. The tambourine is usually played with (A) the knuckles, (B) the palm, (C) the finger tips, (D)
your nose.
“Pirates” checklist:
____measure 5 should be much quieter than measure one
____the 4 rim clicks in measures 2 and 14 should all sound good (don’t make 4 different sounds
when you play those 4 notes on the rim)
____switch parts and perform
____all buzzes should “sizzle” as long as possible
____pinch your fulcrums (thumb and index finger) for all buzz strokes
rim clicks (x)
Snare ÷c œ œ œ œ ¿ ¿ ¿ ¿ œ œ œ œ œz œz œ Œ
ƒ
R L R L R L R L R L R L R L R
Bass ÷c ˙ ˙ ∑ ˙ Ó w
ƒ
÷ œ Œ Œ Œ œ Œ œ Œ œ Œ Œ Œ
5
∑
p
SD
R R L R
BD ÷˙ ˙ w ˙ ˙ œ œ œ œ
p
÷œ œ œ Œ œz œz œ Œ œ œ œ œ œ Œ œ Œ
9
SD
P
R L R R L R R L R L R L
÷w ˙ Ó ˙ œ œ œ Œ œ Œ
P
BD
÷œ œ œ œ ¿ ¿ ¿ ¿ œ œ œ œ œz œz œ Œ
13
SD
F ƒ
R L R L R L R L R L R L R L R
BD ÷˙ ˙ ∑ ˙ Ó œ œ œ Œ
F ƒ
New term – crescendo
Crescendo – A crescendo means you start quietly and gradually get louder.
warm-up checklist:
____play a crescendo that starts at p (1”) and goes up to ff (12”)
____make sure that the last eighth note on each hand returns to the “set position” immediately
following the eighth stroke in “Eight on a Hand”
____keep all fingers on the sticks regardless of dynamic level
____elbows don’t need to move, isolate the wrist turning
____make sure that both hands start at a 1 inch level
____after playing the eighth stroke, make sure to immediately return to the set position
____make sure the crescendo is gradual, take 8 strokes to arrive at fortissimo (12”)
____play it “Down the Line” (4 measures for each player)
One player performs “Eight on a Hand” at either 12” (ff), 6 (mf), or 1 inch (p). The performer is in
the back of the room so the rest of the class cannot see the player.
Write down the player’s name then circle the dynamic that was played. Rotate until entire class
gets a chance to be the performer.
4. If we start at piano and gradually increase our volume to fortissimo, what is this called?
________________________________
5. True or False: Your elbows should stay still while playing to make sure that you are turning
your wrists and not moving your whole arm. (please say true)
6. True or False: When sight reading it is always a good idea to look ahead.
“Dolphins at Play” checklist:
____bass: dampen each quarter rest
____both players should start at a mezzo-forte (6”) level, neither player should be louder or
quieter
____measure 11 should be louder than any music before it
____snare: make sure to return to the set position immediately following beat one in measures
20, 22, and 27
____try making measures 19-27 a warm-up exercise!
____pencil in your own dynamics
____come up with another possible title
____try clapping the piece
____try stomping your foot as a way of playing the piece!!
____try having the bass drummer stomp his/her part while the snare drummer claps his/her part
÷c ∑ ∑ .. Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ œ œ ..
F
Snare
R L R L R L R L R
Bass ÷ c œ Œ œ Œ œ Œ œ Œ .. œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ Œ Œ ..
F
÷Œ Œ œ Œ Œ Œ œ Œ Œ Œ œ œ œœ ŒŒ œœ ŒŒ œœ œœ
7
SD ∑ ∑
f ƒ
R R R L R L R L R L R L
BD ÷œ Œ Œ Œ œ Œ Œ Œ œ œ Œ Œ œ Œ Œ Œ Œ Œ œ œ Œ Œ œ œ ∑ œŒŒŒ
f ƒ
÷Œ œ Œ œ Œ œ Œ œ œ Œ œ Œ œ Œ Ó œœ œœ œŒÓ œœ œœ œŒÓ
15
pR L R L R L R pR R R R ƒ pL L L L ƒ
SD
R L
BD ÷œ Œ œ Œ œ Œ œ Œ Œ œ Œ œ œ Œ Ó ∑ œŒÓ ∑ œŒÓ
p ƒ ƒ
÷œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó
23
pR R R R ƒ pL L L L ƒ
SD
R R R R L L L L R
BD ÷œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó
p ƒ p ƒ
New term – decrescendo
Decrescendo – A decrescendo means to start loud and gradually get lower in volume.
warm-up checklist:
____play a decrescendo that starts at ff (12”) and goes down to p (1”)
____make sure the last eighth note on each hand immediately returns to “set position” following
the eighth stroke of “Eight on a Hand”
Rudiments – paradiddle
Paradiddle – A paradiddle is made up of a single stroke (R) followed by a single stroke of the
opposite hand (L) followed by a double stroke on the original hand (RR). Also, follow this
pattern but play the opposite sticking. A paradiddle is a very important rudiment.
examples:
right hand paradiddle – RLRR
left hand paradiddle – LRLL
alternating paradiddles – RLRR LRLL RLRR LRLL…
Why do we need Rudiments? Rudiments make up the nuts and bolts of drumming. They are the
equivalent to scales for melodic instruments. It is very important to practice all the rudiments you
will be learning since you will see rudiments in all types of music. There are 26 official
rudiments and many others that are not official! You will be learning all 26 official rudiments, as
well as, many unofficial yet valuable rudiments.
1. A musical term for getting louder is_________________________
Compare the moods of “Tortoises”, “Birds”, and “Fish” from Carnival of the Animals by
Camille Saint-Saens:
Performer plays “Eight on a Hand” using either a crescendo or decrescendo. Class writes down
the performer’s name then circles either crescendo or decrescendo:
performer’s name______________________ crescendo decrescendo
L ___ ___ ___, ___ ___ ___ ___, ___ ___ ___ ___, ___ ___ ___ ___
R ___ ___ ___, ___ ___ ___ ___, ___ ___ ___ ___, ___ ___ ___ ___
L ___ ___ ___, ___ ___ ___ ___, ___ ___ ___ ___, ___ ___ ___ ___
R ___ ___ ___, ___ ___ ___ ___, ___ ___ ___ ___, ___ ___ ___ ___
L ___ ___ ___, ___ ___ ___ ___, ___ ___ ___ ___, ___ ___ ___ ___
R ___ ___ ___, ___ ___ ___ ___, ___ ___ ___ ___, ___ ___ ___ ___
6. Compose your own piece using only quarter notes. Include a crescendo and a decrescendo.
÷c w w ˙ ˙ œœœŒ ˙ ˙ ˙ ˙ ˙ ˙ œœœœ
f
Bass
÷ œ œ œ Œ œz œz œ Œ œ œ œ œ œ Œ Œ Œ œ œ œ œ œ Œ Œ Œ œ œ œ œ œ œ œ œ
9
SD
R L R R L R R L R R L L R L L R R L R R L R L L
BD ÷Ó ˙ Ó ˙ ˙ ˙ w œœœœ œŒŒŒ w w
÷œ œ œ œ œ Œ Œ Œ Œ œ Œ œ Œ œ œ œ œ œ Œ Œ œ Œ œ Œ œ œ œ œ œ œ œ œ
17
p
SD
f
R L R L R R L R L R R L R L R R R R R R R R
÷œ œ œ œ œ Œ Œ Œ œ Œ œ Œ œ Œ Œ Œ Œ Œ œ Œ Ó œŒ ∑ w
f
BD
÷œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó œ œ œ œ œ Œ Ó
25
f
SD
p p f p f
L L L L L L L L R L R R L L R L L R
÷ ∑ w œ œ œ œ œ Œ Ó œ œ œ œ œ Œ Ó
f
BD
p f p f
warm-up checklist:
____play even crescendos or decrescendos (take all the notes to get louder or quieter)
____most crucial concept to understand in these exercises is to get low enough (height and
volume) on the piano dynamics
____see how fast you can play these exercises
____play each exercise for five minutes without stopping
____find a partner, you play one exercise while your partner plays the other simultaneously
Repeat Previous Two Measures Symbol – Means just as it says repeat the two measures you
just played.
Eighth Noes – Eighth notes are twice as fast as quarter notes. So where there were four quarter
notes in a measure there are eight eighth notes.
Eighth notes are counted “1 and 2 and 3 and 4 and” or “1 & 2 & 3 & 4 &”
Soloist plays in the back of the classroom. Soloist plays four times. Soloist chooses whether to
play a great sounding crescendo or a poor sounding crescendo. A great sounding crescendo starts
quietly and gradually builds using every stroke to get a little bit louder. A poor sounding
crescendo doesn’t start very quiet and sound even when it gets louder. Class circles the
correct answers.
4. So far, we know whole notes, half notes, and quarter notes, and _____________ notes.
11. Compose you own solo for triangle using whole notes, half notes, whole rests, and half rests.
Snare ÷c œ œ œ œ œ Œ Œ Œ œ œ œ œ œ Œ Œ Œ œ œ œ Œ œ œ œ Œ
f
R R R R R L L L L L R L R R L R
Bass ÷c œ œ œ œ œ Œ Œ Œ œ œ œ œ œ Œ Œ Œ ˙ ˙ ˙ ˙
f
÷ œ œ œ œ œ œ œ œ œ œ œ œ œz œz œ Œ œz œz œ Œ œz œz œ Œ
7
SD
R L R R L R L L R L R L R L R R L R R L R
BD ÷˙ ˙ ˙ ˙ w œ œ œ Œ œ œ œ Œ œ œ œ Œ
÷ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œz œz œ Œ Œ Œ ..
13
p
SD
p ƒ
R R R R R R R R L L L L L L L L R L R L R
BD ÷ .. ˙ Ó ˙ Ó w w ˙ œ œ œ Œ Œ Œ ..
÷Œ œ Œ œ Œ œ Œ œ Œ œ œ œ œ Œ Œ Œ Œ Œ œ œ
19
‘
P
SD
R L R L L R L R R L
BD ÷œ Œ œ Œ œ Œ œ Œ œ Œ Œ Œ œ Œ Œ Œ œ œ Œ Œ ‘
P
÷œ œ œ œ œz œz œz œz œ Œ Œ Œ
25
∑ ∑
F
SD
R L R L R L R L R
÷w ˙ ˙ w w w
F
BD
2
stick clicks
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30
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SD
÷w w ˙ ˙ ∑
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BD
2
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34
SD «
BD ÷œ œ œ Œ œ œ œ Œ w œ Œ œ Œ œ Œ Ó
÷ œ œ œ œ œ œ œ œ œz œz œz œz œz œz œz œz œz œz œz œz œz œz œz œz œ Œ Ó
39
SD
f
R L R L R L R L R L R L R L R L R L R L R L R L R
÷w w w w w ˙ ˙ w
f
BD
Quality of Sound – Quality of sound means using your listening skills to create a consistently
great sound. A great sound is relaxed and open. Strive for a long tone (“dah” as opposed to “dit”)
and be sure to maintain all the grip and stroke guidelines outlines in Lesson #2. Allowing the stick
to bounce freely (rebound) will help a great deal. To get a long tone the stick should never stop its
motion. “Eight on a Hand” is a study in legato strokes (the stick never stops moving – except for
the last eighth note on each hand)
Copy Machine Game – Start with a great sound then simply use your ears to replicate that
sound. So think of the notes you play to be in a perfect copy machine. Every note sounds exactly
as you want it to sound. In “Eight on a Hand” focus on the great sound of your first eighth note
then concentrate on listening to the following seven eighth notes to sound like perfect replicas of
the first note. Once you have it sounding great – don’t change a thing – in fact focus on NOT
CHANGING anything with your technique!
* This is the essence of controlling your own quality of sound!
grip checklist:
____no gaps between thumb and index finger
____all fingers and thumbs are touching the sticks at all times
____elbows are about 2 inches from the sides of the body
____sticks are in line with the forearms (straight line from the tip of the stick to the elbow)
____hands are turned over (analogy: students should imagine getting a nice tan on the top part of
their hands if they were outside)
Musicianship – andante
Andante – Moderate Tempo, also known as the walking tempo, not too fast and not too slow.
1. Fill-in the counting:
* List some artists or pieces that you like. Write down at least three adjectives to describe them
* Play a recording of one of the above pieces and see if the class can come up with more
adjectives that describe this music.
1) Describe in your own words what the “copy machine game” is all about:
2) Give five positive adjectives to describe great quality of sound.
_______________, _______________
3) Fill-in the counting for the excerpts found in the “Reading” section of this lesson.
“Weeza” checklist:
____clap the rhythms
____begin the snare part with the left hand
____play the bass part with the left hand
____this piece only uses one dynamic (forte), strive for a consistent forte sound throughout
____write in your own dynamics
____experiment by playing the top line with a tambourine and the bottom line with a triangle
Andante 84-104
Snare ÷c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
f
R L R L R L R L R R L R L R R L R
Bass ÷c ˙ ˙ œ œ œ Œ ˙ ˙ ˙ ˙
f
÷œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
5
SD
R L R L R L R R L R L R L R L R
BD ÷˙ œ œ ˙ ˙ ˙ œ œ œ œ œ Œ
÷œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
9
SD
R L R L R L R L R R L R L R R L R L
BD ÷w w ˙ ˙ œ œ œ Œ
÷œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
13
SD
R L R L R L R R L R L R R L R R L R
BD ÷˙ ˙ ˙ œ œ ˙ ˙ œ œ œ œ Œ
New term – rebound
Rebound – Rebound is allowing the stick freedom to do what it wants to do – bounce! Rebound
is similar to dribbling a basketball. Whatever speed you send the ball into the ground will be the
same speed it will come up. However, when drumming your fingers are on the sticks constantly.
The main dilemma in allowing the stick to rebound naturally is being able to get out of the way
of the stick!
* Concentrate on doing the least amount of work for the greatest amount of quality sound.
* Remember – THERE IS A HUGE DIFFERENCE BETWEEN MAKING THE STICK
REBOUND AND ALLOWING THE STICK TO REBOUND! Natural rebound will have the
stick moving faster than normal. You want to use the natural rebound the stick will produce.
warm-up checklist:
____play “Eight on Hand” in the normal “set position” but keep the idea of rebound
____play at 12, 9, 6, 2, and 1 inch levels or ff, f, mf, mp, and p dynamics
____increase the tempo
____decrease the tempo
2/4 Time Signature – Two beats per measure and the quarter note gets one beat.
* Teacher plays a mix of slow and fast pieces. Student circles slow or fast.
Compose your own solo by filling in the blank measures with your own combinations of quarter
notes and eighth notes:
4. True or False: Your forearms should feel completely relaxed when playing the drums.
5. Add dynamics to the composition you wrote. Have a pal play it.
“Splash!” checklist:
____identify the five loudest measures in the piece
____identify the two quietest measures in the piece
____make a clear difference between dynamics (p, mp, mf, f, and ff)
____be careful to play the left hand just as loud as the right
____for fun play this piece as a duet for cowbells
Andante q» 76-84
Snare ÷c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
P
R L R L R L R L R L R L R L R L R L R
Bass ÷c ˙ ˙ œ œ ˙ ˙ ˙ Ó ˙
P
÷œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
5
SD
f
R L R L R R L R L R R L R L R R L R
÷w w ˙ œ œ œ œ œ œ Œ
f
BD
÷œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
9
SD
ƒ
R L R R L R L R R L R L R L R R L R
BD ÷˙ ˙ w œ œ ˙ Ó ˙
ƒ
÷œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
13
SD
p F ƒ
R L R L R L R L R L R L R L R L R L R L R L R
BD ÷œ œ œ Œ œ œ œ Œ ˙ ˙ œ œ œ œ œ Œ
p F ƒ
New term – pianissimo
Pianissimo – Means very quiet. Let’s say we’ll play pianissimo at 1/2 inch.
The symbol for pianissimo is pp.
pp (1/2”)
warm-up checklist:
____play “Eight on a Hand” on a pillow, table, snare drum, and bass drum – notice how different
the rebound feels on each surface
____maintain all grip, stroke, and set position guidelines (Lesson #13) when playing pianissimo
(1”)
____lower dynamic levels are not to be played “light” or “soft” they should be played with the
same stroke velocity as the higher levels, you must still adhere to the levels, example/ a
pianissimo stroke (1/2”) should only be coming back one-half an inch.
Accent – An accent is a symbol that when placed above a note tells us to play that note louder
than usual.
Tap – Tap is a slang for unaccented notes in a phrase that has accents.
Accent / Tap Dynamic Notation System – When I write phrases with accented and
unaccented notes I like to write two dynamics: one for the accented notes and one for the
unaccented notes.
In the next musical excerpt, the accents are to be played at ff (12’) while the unaccented notes are
to be played at mp (2”). In other words, this excerpt is 12 and 2.
6 inches mp
1 inch f
12 inches p
½ inch mf
9 inches ff
inches pp
2. When playing at pianissimo you should play without any fingers on the sticks:
TRUE FALSE
* Teacher plays four quarter notes. One of them is an accent while the others are taps.
Example #1 1 2 3 4
Example #2 1 2 3 4
Example #3 1 2 3 4
Example #4 1 2 3 4
4. For fun: Listen to Ludwig van Beethoven’s “Fur Elise”______ (check mark)
#1 ÷c ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Œ
#2 ÷c ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
÷¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
5
#1
#2 ÷¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
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9
#1
#2 ÷¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Œ
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13
#1
#2 ÷¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
#1
Rudiment – flam
Flam – A flam note that has a tiny note right before it. This tiny note is called a grace note. Here
is an example of a flam:
Grace Note – A grace note is really an embellishment. It is not counted as a beat or rhythm in the
measure. A grace note is written like:
Most grace notes are played at 1 inch or lower. Naturally, the grace note will be much quieter than
the note after it.
How to Play a Great Flam – When I hear a great flam it almost sounds like someone is saying
“ba-Dup” very quickly. Try it: say “ba-Dup” one time quickly. That’s how you want your flams
to sound. Or you can say the word “flam”. You didn’t say “fa-lam” did you? This would be a flam
that is too wide and open (“fa-lam”). You want a nice “flam” sound”.
RIGHT FLAM:
____tip of the left stick doesn’t go higher than 1 inch since it is the grace note
____tip of left stick should be in the “set position” before you play the flam so it is already at 1
inch off the drum, now when you play the flam just have your left stick’s tip go directly down
with no up-stroke
____right stick plays a normal stroke at whatever dynamic is written for the flam
____right stick immediately returns to the “set position”
____both sticks will start and end in the “set position”
LEFT FLAM:
____ for a left flam just follow the above directions but reverse the sticking directions
2) Compose a snare drum solo using quarter note flams, normal quarter motes, and normal
eighth notes. Remember to write the stickings below the notes.
Performer plays four flams. (two bad, two good - in any mixed order) Class writes down the
performer’s name then circles good or bad:
2) If the left hand plays the grace note are you playing a right flam or left
flam?_______________
3) True or False: When you play a flam both sticks should hit the drum from the exact same
height.
6) Take a look at the warm-up exercise in this lesson. Are there crescendos or decrescendos in
this exercise?____________________
7) Demonstrate a single quarter note flam on the right hand. Now demonstrate a flam on the left
hand. Did you show off your excellent control of the tips of your sticks?
Yes No
“March of the Soldiers” checklist:
____bass drummer: How many dampens should you perform in this piece?_____
____snare drummer: Did you make a difference between the 12” flams and 2” taps in
measures nine, ten, and eleven?
____snare drummer: Start the piece on your left hand.
____bass drummer: set two bass drums side by side and play your part with two drums
____both players: Write another eight measures and add them to this solo.
* Add your own checklist reminder:
____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
Andante
> > > > >
Snare ÷ c œjœR Œ Ó œœ
j
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j
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j
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SD
j
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ff/mp
÷œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ œ œ Œ
13
j j j j j j j
œ œ œ œ œ œ œ
SD
ƒ
R L R L R L R L R
Dotted Notes - Dotted notes add half the value of the note.
Dotted Half Note – One half note is worth two beats. So if we put a dot after the half note it is
now worth three beats.
Sleigh Bells – Sleigh bells are a specialty instrument. They are prominently found in Christmas
pieces. Sleigh bells can provide an effective change of timbre. As we cover more and more
auxiliary and world percussion instruments it will become increasingly more important for you to
find your own way of manipulating these instruments. Nothing is more disturbing to a conductor
or audience as extra jingle sounds created by a performer who is just putting the instrument down
after playing. Take care to be silent with an instrument that jingles or rattles until you play your
actual part.
The sleigh bells can be played a few different ways:
3. What is the name of an auxiliary instrument that reminds you of Christmas music?
4. ¾ time signature tells us there are_________ beats in every measure and the
_________________ note gets one beat.
Performer plays 3 crescendos and 3 decrescendos (8 eighth notes on either hand). Let’s say two of
the three are purposely not smooth and one is smooth. Class completes the fill-ins:
CRESCENDOS:
performer’s name______________ crescendo #1 smooth not smooth
performer’s name______________ crescendo #2 smooth not smooth
performer’s name______________ crescendo #3 smooth not smooth
DECRESCENDOS:
performer’s name______________ decrescendo #1 smooth not smooth
performer’s name______________ decrescendo #2 smooth not smooth
performer’s name______________ decrescendo #3 smooth not smooth
÷ 34 œR œ œ œ œ œ œ œ œ œ Œ Œ
P
Snare L R L R L R L R L
Bass ÷ 34 ˙ . ˙. ˙. ˙.
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9
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f ƒ
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÷œ œ œ Œ œ œ œ œ œ Œ œ œ œ Œ Œ œ Œ Œ
13
SD
F ƒ
R L R R L R L R R L R R
BD ÷œ œ œ ˙. ˙. œ œ œ œ Œ Œ œ> Œ Œ
F ƒ
warm-up checklist:
____What are the dynamic levels for the decrescendos? ___inches to ___inch.
____beat one of measure 3 should be the same volume and height as measures 1 and 2
____play the first 17 eighth notes with an identical quality of sound (remember the “copy
machine” game – play one note then make exact copies of that note)
Mallet Instruments:
Bells Vibraphone
Xylophone Marimba
Mallet Technique:
Select a pair of medium hard yarn mallets.
____grip the mallets at the point that is one-third the way up from the bottom end of the mallet
since this is your balance point
____make sure your hands are turned over (remember the “get a suntan on the top part of your
hands” analogy)
CORRECT INCORRECT
____turn your wrists back to 12 inches – now you are in the up position, in mallets we start in the
up position so all we need to do is play a pivot stroke, the only motion of the pivot stroke is
down/up, there is no prep stroke from the up position, all strokes return to the up position
* Mallet players start in the up position for accuracy and economy of motion.
mallets checklist:
____maintain all mallet grip, set position, and stroke guidelines listed above
____no prep stroke – only motion is “down/up” stroke, all strokes must return to the up position
____play the same dynamic levels as snare drum (ff = 12 inches…)
____BE RELAXED!
____play this same excerpt at all the levels you know (ff = 12”, f = 9”, mf = 6”, mp = 2”, p = 1”,
pp = ½ inch), whatever dynamic you are playing determines for far up your set position will be,
example: if you are going to play a note at mp you need to set your mallets 2” above the note
* Naturally, you will not be able to be so detailed in many playing situations.
____play “Eight on a Hand” on any note on the xylophone, start and end in the up position
sleigh bells, triangle, maracas, snare drum, tambourine, bass drum, shaker, bells
Performer plays (behind the class) one measure of eighth notes in either alternating sticking or
paradiddle sticking. Class writes in the performer’s name and circles whether the performer
played alternating or paradiddle sticking.
________________
2. Explain in your own words how the fulcrum for mallets is different than the fulcrum for snare
drum. _____________________________________________________
_____________________________________________________________________
3. What is one good reason why we start in the “up” set position in mallets?
_____________________________________________________________________
________________ ___________________
÷ 34 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Œ Œ
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5
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9
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13
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#1
Changing Meters – Changing Meters is exactly what it says. You start in one time signature and
suddenly move into another. It isn’t a big deal you just need to figure out how the counting
changes and count away!
Conga Drum – The conga drum is a large drum played with the hands. Congas are used in many
styles of world music including rumba, son, and salsa.
Playing Position – We will begin with one drum. Most players play congas while seated. The
head of the drum should be level with the bottom of your rib cage. The drum is angled slightly
away from the player.
Closed Tone – Turn your right hand palm up. Notice the padded area located at the base of your
fingers. This area along with your fingers will strike the head. In a closed tone there is no
rebound.
Here are some combination exercises. Demonstrate your ability to create the longest and shortest
sounds on the conga. Remain relaxed and tension-free throughout. A good syllable for an open
tone is “doo” while a good syllable for a closed tone is “dit.”
Sight reading – triangle duet in 3/4
1. Performer plays (from behind the class) either “Right on Left Effect” or a normal stroke on the
head of a snare drum. Class writes down the performer’s name and circles the technique played.
2. Performer plays either an open tone or closed tone on a conga drum. (from behind the class)
Class writes down the performer’s name and circles open or closed.
ƒ ƒ
Snare
p ƒ P p
RLRL RLRL RLRL RLRR L R L L RLRLR R RLR RL R RLR RL R L RLRL R R
ff/mp
Bass ÷ c >˙ >œ >œ >˙ >˙ >œ œ œ œ Ó >œ Œ Ó ˙ Ó ˙ ˙ œ œ >œ Œ Œ >œ
ƒ ƒ P p ƒ
> > >> > > >
ff/mp
P
R L R L R RLR RLR RLRLR L R RL R RL RLRRL
mf/mp
p ƒ
RL RR LR L L RL RR LR L L RL RR LR L L RL RR L RL RL RL RL RL RL RL RR L R L L RLRLR
ff/mp ff/mp
BD ÷ Ó >˙ Ó >˙ Ó >˙ >˙ >œ Œ >˙ >œ >œ >˙ >˙ >œ œ œ œ Ó >œ Œ
ƒ ƒ ff/mp ƒ
stick clicks R on L shot
÷ ¿ ¿ ¿ ¿ ¿ ¿ 34 ¿ ¿¿¿ 24 ¿ ¿ ¿ c œœŒÓ œ Œ Ó 34
25
f ∑ ∑
F
SD
BD ÷ ∑ 34 ˙ . ∑ 24 ∑ ∑ c œœŒÓ œ Œ Ó 34
f F
> > >
÷ 34 œ œ Ó c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œz œz œz œz œ
32
SD ∑
ƒ
RRRR RRRR L L L L L L L L RRRR L L L L RL RL R LR
ff/mp
Let’s put a ritard marking in the fourth measure of the warm-up exercise of this lesson:
warm-up checklist:
____play measures one, two, and three at a moderately fast tempo, when you reach the fourth
measure take the entire measure to slow down significantly
____it should seem as if you are stretching the measure out, you must leave space between these
eighth notes to make them ritard
____perform this exercise starting on the left hand
____perform this exercise at all dynamic levels, remember: just because you get slower doesn’t
mean to get quieter – maintain your levels regardless of the tempos unless other dynamics are
marked
Rhythm – eighth / quarter combos
Metronome – A metronome is a small device that clicks whatever tempo you want. It is a very
valuable tool to help you develop steady pulse and accurate rhythms. I recommend that you play
with a metronome every day.
Metronome Marking – A metronome marking is a number that tells us how many clicks will
occur in one minute. example/ if we set our metronome at 144 the metronome will click exactly
144 times in one minute
* See Lesson 18 to review the guidelines for mallet grip and technique.
Play these warm-up exercises on any mallet instrument. Remember to begin and end in the up set
position.
Next lesson you will be performing a solo piece from Lesson 17-21 for a video camera!
Write the name of the solo you wish to perform here:
Composition’s Title___________________________from Lesson #_______
START PREPARING NOW!!
÷c w w Ó œ œ Ó œ œ w w
P
Bass
>
÷ œœœœœ œœ œ œ œ Œ Œ œ Œ œ Œ œœœ œ Œ œ Œ œœ Œ œ Œ Œ
7
ƒ
SD
P f
R L R L R R L R L R R L R L R L R R L R
BD ÷˙ ˙ œ œ >œ Œ œ Œ œ Œ œ Œ Ó œ Œ œ Œ œ Œ œ Œ
P ƒ f
P
SD
f
R R L R R L R R L R L R L R R L R R L R L R R L R R L R
÷w w w ˙ œ Œ Ó œœœ Ó œœŒ
P
BD
>ritard >
÷ œ œ Œ œ Œ œ Œ Œ œœœœœœœ œœœœœœœ œœœ œœœ œ œœœœœœ œ Œ Ó
19
f
SD
P F p ƒ
R L L R RLRLRLR RLRLRLR RLR RLR R RLRLRL R
÷Œ Œ œ Œ œ Œ œ Œ w w ˙ Ó >ritard
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P
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F f ƒ
warm-up checklist:
____demonstrate a clear understanding of accent / tap control by playing the tap (unaccented
note) after the accent at the proper low level (2”)
____play this exercise extremely slow and maintain grip and stoke guidelines
____see how fast you can play this exercise, how long can you keep it up?
____make up your own accent / tap levels and play the exercise (9/2; 6/2; 6/1; 2/1…)
write your own checklist reminders:
____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
Snare Drum Playing Zones – There are three major playing zones on the snare drum:
CENTER - Play directly in the center of the drum head. This produces the fullest and loudest
sound.
HALF-WAY – Play half-way between the rim (rim at 12 o’clock) and the center. Half-way
sounds a bit dryer (slightly more articulate and muffled) than the center.
EDGE – Play an inch away from the rim (rim at 12 o’clock). The edge sounds even dryer than
half-way. This zone is excellent for pianissimo and delicate excerpts. It is very easy to get a quiet
buzz roll at the edge.
musicianship – timbre
Timbre (pronounced “tam-ber”) – Timbre means tone color. It is what allows us to tell the
difference between the sound of a violin and a bass drum. Timbre is the specific sound of an
instrument. Notice how the three snare drum playing zones have different tone colors or timbres.
Experiment with their different sounds.
1st and 2nd Endings – These are fancy repeat symbols. The below excerpt would be played from
the beginning to the first repeat sign (measure four) then you would repeat back to the beginning,
then you would skip the measures bracketed by a 1 and go right to where there are measures
bracketed with a 2 and play to the end. Sounds tricky but once you play through it a few times
you’ll be fine.
Triangle dampening – To dampen the triangle pinch the triangle with your left hand (non-playing
hand).
Drumset – introduction
Playing Position – When playing the drumset you should be seated comfortably on a drummer’s
throne. The most important element of drumset playing position is balance. You must feel the
center of your weight in the middle of your chest. The top of your thighs should angle slightly
downward. Sit up straight to prevent back problems in the future.
Chorus Soloing – Hum the melody for “Frere Jacques.” You have just hummed one chorus of
“Frere Jacques.” If you hummed it three times in a row that would be three choruses of “Frere
Jacques.” Follow the Playing Position guidelines above and sit at the drumset. Now play an Eight
Chorus Solo of “Frere Jacques” on drumset. Play the tune one time on every instrument of the
drumset.
Chorus 1: Hihat
Chorus 2: Snare Drum
Chorus 3: Bass Drum (with foot pedal)
Chorus 4: Tom 1
Chorus 5: Tom 2
Chorus 6: Floor Tom
Chorus 7: Ride Cymbal
Chorus 8: Crash Cymbal
Make sure to keep the tune moving in time. DO NOT pause in between each instrument.
4) Label the three major playing zones for the snare drum:
Performer plays (behind the class) a few measures of any rhythm he / she wants. Play the rhythm
in the center, half-way, or the edge. Performer plays three times, one time at each of the three
zones in a mixed order. example/ first time performer plays at the edge, second in the center, and
third at half-way. Class completes the fill-ins and circles the correct zones.
“Barbecue” checklist:
____play this piece with a metronome playing at the same time, do not lose the beat
____snare: make a clear change in zone whenever notated
____bass: get comfortable performing quarter note dampens
____play the 1st / 2nd Ending correctly
____both: maximize the crescendo in measures 11 and 12
____both: measure 17 should be 9/2 levels
Allegro 132
Play in the center if no zone is given >>
÷ c Œ œ œ Œ Œ Œ œ œ Œ Œ Œ œ œ Œ Œ Œœ œ œ œ œ Œœ œ Œœ œ Œœ œ Œœ œ Œ œ œ Œ œ œ Œ œ œ Œ
f ƒ
Snare
R L R L R L R L R L R R L R L R L R L R L R L R L
SD
p ƒ F
R LRR LR L R LRR LR L R L R L R L R L R R R L R L R L R L R L R L R
BD ÷Ó ˙ Ó ˙ Œ œ œ œ œ œ >œ Œ œ Œ œ Œ œ Œ œœ Œ œ Œ œ Œ œ Œ œ Œ
p ƒ F
> > > > > > > > > > > > > > > >> ^^ ^
center 1. 2.
SD
p f ƒ
R LRR LRL L R LRR LR L L R L R R L R R R L R L R L R L R R LR RL RL R L R
f/mp
BD ÷ .. >˙ . œ >˙ . œ >˙ >˙ >œ Œ Œ œ >œ Œ Œ>œ Ó Œ>œ .. Œ >œ Œ >œ Ó Œ œ^ ^œ ^œ Œ Ó
f/mp f ƒ
warm-up checklist:
____start with the left hand
____change the dynamics markings and perform the exercise
____perform at a much slower tempo
____perform at a much faster tempo
____play as a duet (each player plays one measure)
____perform this exercise with a ritard in measure 6
____perform piece by playing measures 5 and 6 first then play measures 1 through 4, keep the
last measure the same
Suspended Cymbal – Suspended cymbal is a common auxiliary instrument found in all types of
music including rock , jazz, and classical.
2. Make your own movie soundtrack! Watch a movie or television show that shows someone
jumping into water. Play a loud suspended cymbal crash at the instant the person enters the
water. Try this with any action in a film.
3. Perform the three sight reading excerpts as a 3 movement piece. In between movements, tell
a short story describing what is happening in the music.
4. Improvise (make up) a suspended cymbal piece. Position all your suspended cymbals so they
are spread out in an auditorium. Each player takes turns entering with a suspended cymbal roll.
Alter dynamics and leave silence too! Have a musical conversation with the other players.
Performer plays long rolls on the suspended cymbal with soft mallets. Performer purposely plays
one smoothly and the other not so smoothly in any mixed order. Class writes down the
performer’s name and circles the description of the cymbal roll.
1) True or False: Suspended cymbals are commonly used in rock, classical, and jazz music.
2) True or False: When playing a suspended cymbal roll, your right hand should be much louder
than the left.
3) Two reasons for beginning and ending in the up set position on mallets are:
A. look cool, be daring B. more fun, look smart C. accuracy and conservation of
energy D. look weird, be funny
4) Matching:
5) Draw a line from the playing zone term to its exact location on the snare drum diagram:
Edge
Half-way
Center
“Snorklin” checklist:
____snare: control the taps in measures 1 through 4
____bass: perform clean dampens on the downbeat of every rest
____both: make it clear to the audience that measures 5 and 6 contain crescendos
____snare: concentrate so you can keep the motion of your sticks the same in measures 9
through 12 (regardless of whether you are paying normal strokes or buzz strokes your sticks
should move in the same way)
____both: in measures17 through 21: listen to each other and be careful not to clip the other
player’s notes off, give full value to all the notes
____snare: measure 22: control the tip of the stick after the accent on beat one so you can be
low enough to play the piano dynamic on beat 2
____both: count carefully in measures 26 and 27 so your can perform the unison ending cleanly
> > > > > > > > > >
Allegro 132
÷ c œ œœœ œœœœ œœœœœ œœœ œ œœœ œœœœ œœœœœ œœœ œœœœœœœ œ œœœœœœœ œ œ œœœœ œœœ œ œœœœ œœœ
f P f f/mp
Snare
P
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mf/mp
P fP f
>>>>>>>> >>>>>>>> >>>>>>>> >>>>>>>> > > >
z z z z z z z z z z z z z z z z z z
÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ œ œ Ó œ œ Œ Ó œjœ œjœ Ó œjœ œjœ
9
j j
p
SD
f
RLRLRLRL RLRLRLRL RLRLRLRL RLRLRLRL R R R R R L L
BD ÷ >œ >œ >˙ >œ >˙ . >˙ >œ >œ >œ >œ >œ >œ >˙ >˙ >˙ >˙ œ œ Ó œ œ Ó
f p
> >
÷Ó œ œ œ Œ œœ Œ Œ œ œ Œ œ Œ œœŒ œœ Œ œœœ œœ
17
j j j j
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fR
SD
F
R L R R L R R L R L R L R R L
SD
fp f p f
R R L R L R R L R R L R L R L R L R R L R L R R L R R L R
Cap Accents – Cap accents are played with more velocity and volume than the usual accents.
Eighth Note Rest – An eighth note rest is a rest that lasts for half a beat.
NEW concept – DOWNBEATS AND UPBEATS
Upbeat – An upbeat is a beat that falls on the “and” counts. Upbeats are opposite downbeats.
Keyboard – The keyboard is the arrangement of pitches on a piano or mallet instrument. There
are two main keys: white and black. The white keys make up the bottom row while the black keys
make up the top.
Keyboard Groupings – There are two groupings on the keyboard: the two group and three
group. Look at the black keys and you will see groupings of two and three black notes. These are
the “two groups” and “three groups.”
Two Group
Three Group
How to find the pitch C: locate any ‘two group” and play the white note immediately to the left
of the “two group.”
How to find the pitch F: locate any “three group” and play the white note immediately to the left
of the “three group.”
There is a musical alphabet. However, in music the letters go from A up to G and then you must
start at A again.
example/ A,B,C,D,E,F,G,A,B,C,D,E,F,G,A…
You should be able to name every white note from the bottom to the top of the instrument. TRY
IT!
When playing the following excerpts remember to start and end all your mallet strokes in the “up
position.”
1) Beats that occur on the numbered counts (1,2,3,4) are_____________________.
3) True or False: Cap accents are the same volume as normal accents.
5) Name the pitches in the above diagram. Write the pitch name in each box.
Performer plays “Eight on a Hand” (play for at least 20 seconds for each example) with
crescendos two times. Once smoothly and once purposely not smoothly in any mixed order.
Class writes down the performer’s name and circles the description of the playing.
Repeat for “Eight on a Hand” with decrescendos.
1) A downbeat is______________________________________________________________.
2) An upbeat is______________________________________________________________.
8) Compose a duet similar to the downbeat / upbeat duet found in this lesson. Include quarter
notes (downbeats) and eighth notes / eighth rests (upbeats).
“A Clever Trickster” checklist:
____snare: play even eighth notes in measures 1 and 2
____both: listen to the other player and make the parts sound even
____snare: measure 5: play off of the bass drummer’s downbeats
____snare: measure 9: feel beat one played by the bass drummer
____bass: measures 14-16: play two different dynamics (12” for accents, 2” for taps)
____measure 30: beat one is a normal accent while beat three is a capped accent, the capped
accent should be louder and higher than the normal accent
____snare: measure 30: return to set position immediately after the rimshot
____snare: measure 42: strive for a great flam sound (not too open and not too closed)
____________________________________________________
÷
triangle
÷
9
÷ ∑ ∑
17 to tambourine
÷
25 tambourine
÷
33
÷
41
Allegro 120
X notes = rim
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34
SD
R L R L R L R R L R L R L R L L R R L R R L R L R R L R
BD ÷Œ Œ Œ Œ Œ Œ
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f ƒ
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warm-up checklist:
____measures 1-4: should be 6’ for accents and 2” for taps
____measures 5-6: all 6” strokes, try to make them sound identical
____keep fulcrum closed and firm (no gaps between thumb and index finger)
____keep elbows still, this will isolate your wrist turn
____no arm movement
____elbows should be about 1” away from your sides
____perform this exercise at Allegro
____perform this exercise at Adagio
____perform this exercise at Andante
____perform this exercise to two different recordings (play-a-longs teach you to listen)_
The Treble Clef is made up of five lines (think of the acronym: Every Good Boy Deserves
Fudge). Label the five lines from the bottom moving upward. (E, G, B, D, F)
The Treble Clef is also made up of four spaces (think of the acronym: F-A-C-E). Label the
spaces from the bottom moving upward (F, A, C, E).
Helpful Tip: When reading music while playing a mallet instrument always try to keep your eyes
off the keyboard. You don’t want to stare at the keys because you will not be able to watch the
music and/or conductor. Get in a good habit of using your peripheral vision when playing
mallets.
Peripheral Vision – Peripheral vision is when you are looking straight ahead but you can still
see above, below, and to either side. Try this experiment: focus on something directly in front of
you and notice if you can still see your surroundings while focusing on that one object. So when
you are looking at your music notice how you can still see the outline of the keyboard in your
peripheral vision – USE THIS SKILL!!!
Excerpts for Xylophone:
Excerpts for Vibraphone:
Crash Cymbals – Crash Cymbals are used in marches and classical music. Many composers use
the crash cymbals to add punctuation and excitement to their music.
Orchestral Crash – Orchestral crash is the term used for your most common crashes.
Flam Concept – Believe it or not, of the most important skills needed in cymbal crashing is the
ability to play a flam! In order to get the maximum vibration form the cymbals we need to strike
the side closest to us slightly before striking the portion of the cymbals that is away from us. This
is the flam concept. When two cymbals are stuck straight on the sound is popped and lacking
resonance and quality.
STEP 1 STEP 2
STEP 3 STEP 4
STEP 5
Crash Choke – A crash choke is a very short crash. Play a great quality crash and then dampen
the cymbal quickly in your chest.
Staccato Dot Marking – A staccato dot marking is a small dot placed over a note. When a note
has this staccato marking it should be played very short and muffled if possible.
9. If a note had a staccato dot attached to it would you play a long or short
sound?_______________
1. Performer plays four orchestral crashes (two purposely poor and two purposely great in any
mixed order). Class writes down performer’s name and circles the descriptions.
2. Performer plays four crash chokes (two purposely poor and two purposely great in any
mixed order). Class writes down performer’s name and circles the descriptions.
performer’s name ________________ crash choke #1: great poor
3. Performer plays four crashes (a mix of orchestral crashes and crash chokes) all should sound
great. Class writes down the name of the performer and circles either orchestral crash or crash
choke.
1. Compose a solo for xylophone using the pitches E,F,G in whole notes, half notes, and quarter
notes.
2. Compose a solo for bells using the pitches F,G in quarter notes and eighth notes.
3. Get some ear plugs and a pair of crash cymbals. Practice orchestral crashes in a mirror. Play
10 crashes with a 5 second rest between each crash. Rest a few minutes then practice your
crashes again. Watch your technique in the mirror and take note of the good and bad sounds
you hear. If you look correct playing it will most likely sound correct. Orchestral crashes
should sound full and resonant. Strive to perform 10 great sounding crashes in a row. Many
people cannot play great sounding crashes because they simply haven’t played enough
crashes.
4. Make a recording of yourself playing crash chokes for 4 minutes leaving a space of 5 seconds
between each crash choke. Listen to the recording and count the great sounding ones. Upon
your next recording session your number of great crashes should increase.
5. Compose a crash cymbal solo using orchestral crashes and crash chokes. Give it an exciting
title so your audience will be excited about your piece before they even hear it!
÷ 34 .. œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ Ó c
π
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Bass ÷ 34 .. ˙ . ˙. ˙. œ œ œ ˙. ˙. ˙. œ Ó c
ƒ π
SD
F p f p f p
RR LRLR R R R L R RRRLRL R L R R LRLRLRL LRLRLRL R L R L LRLRLRL
BD ÷ c œŒ Œ œ Ó œ œ Ó œ œ Œ œ œ Œ ˙ ˙ ˙ ˙ Œ œŒ œ ˙ œ œ
F p F p F f p
÷ œ œ œz œz œ œ œz œz œ œ œ œ œz œ œz œ œ œ œ œ œ œ œ œ œz œ œzœ œz œ œz œ œ œ œz œz œ œ œz œz
17
SD
f
R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L
BD ÷œœŒ Ó œœŒ œ œ ˙ ˙ œ œ œ œ Ó ˙ Ó ˙
f
j j j j
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23
SD
R L R L R L R L
∑ L L L L R L R L R L R
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BD
J J J J J
warm-up checklist:
____remain completely relaxed while playing (your arms and hands should feel like jelly)
____allow the sticks to bounce off the head with natural rebound
____concentrate on having velocity in each stroke
____play a friend’s order of dynamics
____play your order of dynamics with a friend’s order (they will be different)
____fingers and thumbs remain on the sticks throughout the strokes
____work on great quality of sound (make a replica of the first note you play, start with a great
sound and simply duplicate that sound)
Pickup Note – A pickup note is a note that starts on a beat other than the first beat of the
measure.
auxiliary instrument – triangle
A. make your hair fly up B. flam concept C. strive for a nice air pocket sound
Performer plays (behind the class) any two measures of rhythms on a tambourine. The performer
plays this excerpt three times. Each of the three tambourine zones is played in any mixed order.
The class writes down the performer’s name and circles the zone played.
performer’s name ________________________________
1. Show that you know the three zones on tambourine by playing a few notes at each zone.
2. True or False: If you have good stick control you’re hands sound the same.
3. True or False: If a piece of music is marked “let vibrate” that means you should dampen the
instrument whenever you can.
4. Compose a piece for triangle. Use a pick-up note, use ¾ time signature, never get louder than
a mezzo-piano dynamic.
4. A note that starts a piece on a beat other than the first beat of the measure is a:
A. pop up B. fun beat C. pick-up D. mistake E. miracle
5. Listen to Duke Ellington’s “Take the A Train”. What type of music is it?__________
Does this piece put you in a happy or sad mood?______
“Ants” checklist:
____both: pay careful attention to playing the first two notes of the piece in perfect unison
____both: measure 5: express the crescendo
____snare: demonstrate three distinct playing zones in measures 10-13
____perform the piece at Allegro and Andante tempi
____bass: play your part on a tambourine
____compose a tom part to go along with the snare and bass parts
Compose a conga solo for someone close to you. Title the piece after that person. Use open and
closed tones.
> > > > > > >
Allegro 152
p ƒ F
L R L R L R RLR L LRL LRL LRLRLR R L R R RLRL
ff/mp
p
SD
F f
RL LRLR LRLR RLR LRL R L R R L R L R L R L R L
mf/mp
> > > > > >j > >j >j >j >j
÷ œœ œ œœœjœ Ó Œ œœ Ó Œ œ œ Œ œœ œ Ó ‰ œŒ Œ œœ ‰ œ ‰ œ ‰ œ ‰ œ
17
j j j j j j
œ œ œ œ
SD
RL R RL R R L R L R L R R R L R L
ff/mp
> > >j >j >j >j > > >j > >
÷ œ œ œ œ œ œ ‰ œ ‰ œ ‰ œ ‰ œ œ œ Œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œœ œ Œ
23
j j
p ƒ
SD
R L RLRL R L R L R L L R L R L R RLRLR LRL LRL LRLR
BD ÷ >˙ ˙ >œ >œ >œ >œ >œ >œ >œ œ œ >˙ . œ ˙. œ ˙ œ œ œ œœ >œ Œ
p ƒ
warm-up checklist:
____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
Multi-percussion
Multi-percussion – A multi-percussion piece involves more than one percussion instrument. It is
very important to have a set-up that makes performing on more than one instrument comfortable
and practical. Many composers include a diagram of the suggested set-up.
Here is the diagram of the set-up for the multi-percussion excerpt shown above:
Musi
Music stand
Half step – A half step interval is the distance between adjacent pitches. Example: B up to C
Whole step – A whole step interval is two half steps. Example: C to D
mallets – tunes
rhythm – wood block duet
“Parade” checklist:
* write your own checklist reminders:
____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
____ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
> > > > > > >> > > > > >
March Tempo 120
L R R L R L R L R R L R L R L R L R R L R L R R L
ff/mp
> > > > > > >> > > >
Tom ÷ c œjœ œjœ Œ Ó œœ
j
Œ Ó œœ œœ œœ
j j j
œ œ Œ œjœ œjœ Œ œ œœjœ Ó
L R R R L R R L L R R L R
ff/mp
> > > > > > > > >> > >
÷Ó œœ œœ Œ œjœ œjœ œjœ œjœ Œ Ó ‰œœœœœœœ œ œœœœœ
6
j j
∑ ∑
ƒ
SD
p ƒ
R L L R L R LRLRLRL R RLRLR
> > > > > > > > > >> > >
TT ÷ œœœjœ Ó œœ Œ Ó
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p p ƒ
RL R R L R L LRLRLRL R L RLRL LRLRLRL R RLRLR
ff/mp
edge
> >center
> > > > > > >>>
÷ .. ‰œœœ Ó ‰œœœ Ó œœœjœ Ó ‰œœœœœœœ œ œ œzœzœzœz œ œ œzœzœzœz œ œzœzœzœzœzœz œ œ œzœzœ ..
13
p
SD
p P ƒ
LRL LRL RL R LRLRLRL R L RLRL R L RLRL R RLRLRL R L RLR
mf/mp f/mp
edge
> >center
> > > > > > >>>
÷ .. Ó ‰œœœ Ó œœœœ Ó œœœjœ Ó œœœœ œ œ œzœzœzœz œ œ œzœzœzœz œ œzœzœzœzœzœz œ œ œzœzœ ..
p
TT
p f/mp P ƒ
LRL RLRL RL R RLRL R L RLRL R L RLRL R RLRLRL R L RLR
mf/mp
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warm-up checklist:
____listen to the first note you play then play seven more that sound exactly like the first (quality
of sound)
____keep elbows still and relaxed
____allow sticks to rebound freely
____realize you are playing legato strokes (continuous motion of the sticks)
____play with a friend
____perform this exercise starting with the low dynamics and move up to the loud ones (pp –p-
mp-mf…)
timpani – introduction
Timpani – Timpani play an important role in classical music. They have been used in symphonic
music since the days of Franz Joseph Haydn and Wolfgang Amadeus Mozart.
Timpani Grips – The two major timpani grips are German and French. German is like Matched
Grip on snare drum. Hands are turned over so the top part of your hands would get a nice suntan
if you were playing outside. The wrist turn is the normal snare drum wrist turn. French Grip is
quite different. A great exercise for learning the French Grip wrist turn motion is to imagine you
are holding a grapefruit in front of you with two hands. Each fingertip should be touching (thumb
to thumb, index to index, middle finger to middle finger…) Now get used to the wrist turn. Your
elbows should remain still as your wrist rotates.
Stroke Guidelines:
____turn both wrists back to a forte level
____play some legato strokes at forte and remember legato means the mallet never stops moving,
strive for an even and relaxed stroke
____keep elbows still while playing (for now)
____imagine you are drawing the sound out of the drum with your continuous stroke
____mallet should rebound off the head immediately after striking
____keep all fingers except your pinky on the mallets at all times during the stroke (keep your
pinky within an inch of the mallet)
____both mallet heads should strike the same approximate area of the drum head (3-4 inches from
the edge)
Playing Zone
Things to think about: When you play timpani you have to portray confidence. You need to
concentrate on DRAWING OUT THE SOUND of the drum (D.O.T.S.). For the following
excerpts it is important to get the drum to ring as much as possible. LET IT RING!
rhythm – pickup notes (quarters and eighths)
A. the floor B. the next room C. the ceiling D. a close friend E. the drum
3. If timpano is the term for one drum, timpani is the term for_________________.
4. Which finger doesn’t come in contact with the mallet when playing
timpani?___________________
5. What is the most important concept to think about when playing timpani? (hint: the initials are
D.O.T.S.)
Performer plays a single stroke on a timpani from behind the class. Choose either the center or the
normal playing area (3-4 inches from the edge) in any mixed order. Class writes the performer’s
name and circles the zone played.
2. Perform the warm-up exercise at the beginning of this lesson three ways.
• The first is on snare drum with normal snare drum technique. Both hands are turned over so
you’d get a suntan on the top part of your hands if you were outside.
• The second is on xylophone with appropriate mallets. Remember to change the fulcrum to
thumb and knuckle of index finger closest to fingernail. You start and end in the up position.
• The third is with timpani mallets on a timpani using the thumbnails up to the ceiling technique
(French Grip). Realize the difference in technique between the three instruments!
3. Listen to any piece of classical music that shows how the timpani can be effective in an
orchestra.
4. Perform “Mary had a Little Lamb” and “London Bridge” with a friend.
5. Compose a snare drum duet starting with eighth note pickups:
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Allegro 152
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Warm-up Checklist:
____Accents / Taps: differentiate between the two heights (accents = forte or 9”, taps = mezzo-
piano or 2”)
____Accents / Taps: strive to play all accents the same volume and all taps the same volume
(quality of sound)
____Accents / Taps: perform as a trio
____Eights: focus only on rebound
____Eights: play the exercise with crescendos or decrescendos
____Eights: find the fastest tempo you can endure for 4 minutes without stopping
Chorus – There are two major definitions for the word chorus. The first is a group of singers.
The second is one time through a song or tune.
Here’s an experiment:
Hum the tune “Frere Jacques”.
You just hummed one chorus of “Frere Jacques!”
Now hum “Frere Jacques” three times in a row.
You guessed it – you hummed three choruses of “Frere Jacques.”
Chorus Soloing – Chorus soloing is soloing by repeating a tune over and over again.
Here’s another experiment:
Hum five choruses of “Frere Jacques.” It may help you to keep track of the five choruses by
counting them on your fingers.
Now, play one chorus of “Frere Jacques” on just the snare drum.
Here’s the fun: Play one chorus of “Frere Jacques” on each of the instruments of the drum set:
snare drum, bass drum (with right foot), tom #1, tom #2, floor tom, ride cymbal, crash cymbal,
and hihat. This is an eight chorus “Frere Jacques” solo!
Middle C – Middle C is the C between the treble clef and bass clef (covered later). See if you can
locate Middle C in “Ode to Joy.”
Ledger Lines – A ledger line is short line that helps the player keep his / her place when reading
in extreme registers. Ledger lines can be positioned above and below any staff.
stick control – mixed quarter notes
Strive to create identical sounds from the left and right hands. Allow your listening to guide your
hands!
Compose a solo for the xylophone using pitches in the treble clef. Quarter and half notes are your
rhythms to work with.
3-4 inches away from rim on the foot pedal on the rim
A. flam concept B. cause and effect concept C. both hands sound the same concept
4. Play “Ode to Joy” on the drumset! Design a five chorus solo of the tune.
5. For fun: Set-up two timpani. Play the Stick Control excerpts from this lesson on the two
timpani. Low drum is on left, higher drum on right. Play the right stickings on the higher drum
and the left stickings on the low drum. Be sure to maintain proper timpani technique throughout.
Performer plays a “Frere Jacques” solo on the drum set. The performer decides how many
choruses to play (no more than six). Each chorus should be on one instrument of the drum set so
the listeners can keep track of the choruses. It may help the performer to write a little outline
beforehand.
example/
1. ride cymbal
2. hihat
3. snare drum
4. bass drum
5. floor tom
The class should write down the performer’s name and fill-in the instruments that were played in
each chorus.
4. What are some other tunes you could use to play chorus solos? (Example: Row, Row, Row
Your Boat; Twinkle, Twinkle; Jingle Bells etc…)
5. Independence is a crucial skill in performing drumset. Find the definition of independence and
write it here:
______________________________________________________________________________
______________________________________________________________________________
“Python” Checklist:
____rim taps (played at 12 o’clock on the drum rim) don’t need to be played very strong, they
should just serve as a different timbre (timbre - need to look that one up?)
____snare: measure 5 marks a change from mf (6”) playing to f/mp (9” and 2”)
____bass drum: the accent on beat one of measure 7 should be a bit louder than the accent on
beat three of measure 6
____snare: measures 8 and 9 is a good place to show-off your skill of playing flams with
identical spacing (in other words make all three flams sound identical)
____both: measures 17-22 demand that you play with a great deal of control (notes are either
accented or non-accented nothing in between)
____both: measure 23 is played at a mp level
____snare: measure 25 to the end contains three zones and a lot of dynamic contrast, take
advantage of the fact that the drum sounds differently at each zone
Allegro 152 rim
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