/WIGFIRTH ‘si I Tk | I DUETS \ CNARE NPIIMIVIER b VIC FIRTH SOLO TIMPANIST AND HEAD OF THE PERCUSSION SECTION CARL FISCHER:THE SOLO SNARE DRUMMER ADVANCED ETUDES and DUB TS / Edeaevitis Gunaesel Rerto83 SUR TRY AMD FERRED Gore Penge mer VRE HOSTOR Byer ION) Sweveee OEY Gre: sErER‘ 1 Doveword This book ‘Lhe Solo Suave Brummen” wan weltten to cover soveral phases in percussion repertoire, Tt is the laut in a eeries of three snare dram books desigued to leke the student Uvough the elementary, intermediate and advanced siages of toctaeat progr Up 2 beaks, the stutent should have absorb: extensive group of studies ever written for the snare drum, Por the advanced student, there with be foun and challenging problems encounteved in contemporary lites ature, The indes will not only further develop the hands, but will attune the mind te complex rhyttiras end oumplicatéd moter-changes not found in most bioks. Fox the professional, the studies may well serve as a “eefveshex” for several facets of his play ing. The vevied moters, 8/8, 1/8, 10/8, 15/8, 9/16, 12/16, together with the moro ¢o mon meters, 2/4, 8/4, 4/4, 5/4, 6/4, 8/8, €/8, 9/8, 12/8, 2/2, 8/2, axe all utilized with uulimited rhythmic patterns, ‘The professional should find theso challenging ss well as stimulating, The Biudes may also serve as polo piccos for collepinte auditions #9 w for pnare ave the mest, 2 coinpletion of the th coyol yt ales 9, the there ave six solo Etudes four 4 These would afford excellent demenstratic: anv eudition pleses. For the em- cavitary level students or an advanced student aid teacher combination, th ix d the player who wants to test his aibidexterity, there are two duets written for player, In other words, one player executes bath lines, the upper with his right hend and the le with his left hand, ying the Ruides, one must abide strictly by the metronomic It is also important to observe carefully, when there are meter changes, as to whether cighth notes equal eighth notes (or quarters equal quarters, whatever the ease may be} ur beats equal heats. Otherwise tempos may get out of hand by booming extremely fast. ov Isboriourly slow. A final word to the performer are markings. in addition te contro and fasi, articulate hands, strive fo develop 8 sense of rhythmic phresiag, as well as a concept of sound, Ro con- stantly aware of toue produetion and sound projection as relai-d to aticking and tech- pable of countless nuarces and sublieties, ‘The I sands reniaine wholiy wih the player, It is is book. ib execution. The instrument is reiponsibility of producing thede n-ste to that caliher of player that I dedicate th1 KIs always advisable to practice each Bhude at a slower tempo than the one indicated, When a ‘Mlclent proficiency is attained, the indicated tempo may be attempted following the designated metronome ‘vkings. In this Etude, beats equal beats throughout the meter changes ~ (ded), coserve the sticking - neg 7 SIT; 8T SAAR § a SITE Fly2. 5 Practice this Etude In slow tempo, counting five heals per measure. After this is mastered, in- crease the tempd and count two beats per measure (5/8 J J. or 5/8 J. J}, I have notated it so that the beat ultivistons are visually clear. us ESS Se — f2. Although you may start this Etude counting nine to a bue, try (0 feel it in a slow three as soon as ‘nnvlicated chythave Figures ure established in your mind, ip kare 19 and 20,be particularly careful not to eats the group ‘of fur, Double chick this passage with a metronome,<<. : te bars 25 through 32, and bars 48 through $2, practice counting two beats per measure as well as one beat per measure. Observe sticking from bar 57 to the end, S dim RLRLR R RLRLR R RERLR R RERER Feo. Commence this Etude by using six beats to a measure. Bar 19 should have two beats, The accel «vando in vars 17 and 18 should afford suffictent time for the transition from six beats totwo beats in a meas~ ire. Be sure thet the querter note triplets over the bar line between bars 1 and 14 remain steady J=120 i See ae SSeS aa cil Sa ata ~ 3 eee =) 32 ed be IT IS Saas a ee a a ee Sas Ob 3nf Maree motos: ono wecede the beat on whieh the main note is weieten, ta ae wills SHYT Ga the te cr! eighth of the triplet figure, Notice that when the meter varies son (Ps dy white others are (d= dy wo. i Sure 2, the gece. tte Keep the triplet figure rhythmically correct, in bar 3, the grace notes ine of the changes RORLR L RLR L RLUR TL RLR 2 a SS = 3 yee SSSyp SPB pis les, gad oy Ree i LRL2. in Ihis Ete (until the moter changes) the measure must be subdivided into eight. Keep triplets wa and be particularly carefal with dotted -note figures (Jd J°%), although the tempo docen' change, bars Cireugh 2 should Fave an Attegvo feoling, ,10. 13 * point of observation: if the triplet brackets over quarter and half note triplets were removed 1 hroukh and a G/4 time signature Inserted, the rhythmic contest wouid be unchanged. This May Prove helpful at tines in reading large triplet guees in € time, 7100Think of 7/8 metorasombinationsot JJ J sisuilly clear, J=116 11. T have notated it so a to make the beat subsivisions sy1a. Observe the sticking, particularly in bars 1 through 12, 6— a1. ‘i ‘This Etude 4s tn 10/8 time, which ts an enlarged 5/4, However, instead of five beats in u measure ithas four beats which are broken down into combinations of the foliowing: 10/8= 4d J. J. the 9/8 time sig= nature, instead of three beats, 1s enlarged to a four beat combination of the following: 9/8 d dd d d=1s2 518818 15. ‘Tals Enide (s in a very fast two-beat, Treat it as you would a fast up-tempo jazz study, d= 16016 19 This Enide is an example of 2/4 meter beat in one, Do not allow the tempo to fluctuate, PRRRRRRAR oe a ESS Se FRRLR RE z ded,20 17. ‘Use caution not to play this Etude too fast. The meter changes are abrupt and cont-nuous, Strive for rhythmie precision,18 . inthis Ende, D=) Keep the tempo steady while going back and forth between the 6/8 and 9/4 meters,19.2o. a ‘This Etude has some awkward meter changes between bars 24 and 40, Check to be sure that your final tempo after bar 40 is the same as the opening tempo, R LR LR OL ‘a (20) hd 15155SS crese. hh 1st a Pee esas LRB22 25 ‘This Etude 1s extremely difficult and ean only be mastered with much work and patience, Several ours regeise special explanation, For example, in bar 12, there are three quarter notes with the following mark- ings: Jd d This means the ‘hree quarternotes must be played in the same time as is required for five eighth notes, (if it were astnpte Jd d, Gesignating quarter note triplets, they would be played inthe same time as ‘our elghth notes.) In bar 21, we find the following markingo."7? This means theseven sixteenth notes must be played in the same time as three eight notes, J=72 s 6 1155dene on rim er of drum of drum ‘ares off aeat. 2 mis maik® 18 in 12/16, or an expanded 6/8, However, in 12/16 we have four beats to « measure - NAIA 4 FY waist thes of your metronome tobe sure there is no varlation in tempo, Ae 16 —— pS Se SSS Ss25. In the multiple drum Etudes, position the drums to your convenience, For the three and four drum ules, place thet ina semi-circle, in orde. to fucititae rex the outside drums, Adjust the drum stands so Wall batter heads ere in a horizontal position, This Etude calls for a small snare drum (5x13), snare drum ) and military drum (10x15). These sizes are approximations, J=u6, ce26. ‘This 1s for four drums, without snares, graduated in size from the smallest to the largest, The part for the largest drum is written below the staif, ‘al “JE PRLURR LRLR R "a 515527. BIBLIOTECA GANSERVATORIO PRGVINEIAL Be MUSIRE mx MRR This Etude is written for two snace drums, one with sores, the o! cs tthout snares. The part or drum without snares is written on the lower space, {TELE DAT Ig TI) AT 7 ys Li vk we ok31 28. This Etude calls for a snar: ¢ drum and military drum, The latter part 1s written on the lower space.2. This Lade is written 1or cree small tom toms graduated in pitch. The lowest one is written on fatter el SSF molto rit,This Etude requires four drums, ', 7, ‘TD, =tenor drum, 3o. ~small fom tom, 8. D,= snare drum, M.D. =military drum, 33 sl ooDuet 2.G 37 Ff Snares off ~—————_p wal=)) Snares on Snares onPp ——= = panbiloRLLRRLLRRL RRLERROEORL) ) SSS = : . > )Each player has two snare drums: w, sn, (with snares on) wo, sn, = (with snares off)Ra a‘ EB ed Tame ee op ie Ree oe) 4 5155Duet for one Player #1 3up=R.H, Small Tom Tom, 3down = L.H. Larger Tom Tom, E me HE LLL Ee tkDuet for one Player #2 ‘Top Jine R. H. —Snare drum with snares. Yottom line L. H.~Snare drum without snares, SaaS — = 3. Fe. a ne) Es ee Se ee eee | = ftCe ee ee re eee ee ee eT ee uM RS ell