MOST FREQUENTLY USED TIME (Tempo) Moderato (meaning) Moderate Allegro (meaning) Lively Andante (meaning) Slow Adagio (meaning) Slower than Andante Vivace (meaning) Quick Presto (meaning) Very quick ‘Tempo di March (meaning) March time A FEW OTHER MUSICAL EXPRESSIONS AND SIGNS p———_ f ————_p crescendo diminuendo increasing in loudness Gradually softer Sforzando strongly accented Qe 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 thet 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 it over again. A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 No definite number of 1 measures. measures. These ewo signs are identical ini mesning, ‘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: ‘The studeht will understand that in printed music the letters A, B, C, D, are not used, but ate 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 B a numeral 1 followed by a 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 stiudent 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 this sign @ 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.. 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.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. bis Ss RITORNELLO SIGNS 2 ‘When a preceding measure is tobe repeated this 7% symbol is used. ‘When two preceding measures are to be repeated this i= symbol is used. 2 Abbreviations of rests by means of conventional signs.bed 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 con any other beat than the one which ordinarily carries the accent, syncopation will result. natural A A A A A A SS SS SS SS syncopated A A A A A A A A 3 ESE = — 4 SS SSS SS SS 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. Ic is advisable fot 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 RL eee 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. Then commence again and 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 Roll, as per illustration. RRLLRRLLURRLL RERLLRRLLERRLLRRLLERRLE > > > > > > > > > > i tt SSS SS SSS RRLLRRLL RR LL RR LL RRLLRRLL RR LL RR ‘At all times the muscles of the arms, and also the wrists, should be limber.THE FLAM B ‘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 ks Diagram I SS —= Rg R a> 8 n> gs a> a>. Diagram 1 EE we = ae + qe Se L L L L L L L & L > R L > R > L> rs R Diagram IIT = + # = = = R i R L R L R L The Flam should be practiced as shown in diagrams—first from lefe to right, thea-right to lef: and final- Jy from hand to hand. The student will find it best to always use the Flamgs shown in Diagram I, as it is safest for speedy and clean technique, unless a passage is very difficult and sfternating is really necessary.a THE DRAG The Drag is a 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 two soft, distinct beats followed by a smart, precise stroke on the beat with the right hand thus: R & ES This can also be practiced the reverse way thus: L L Ive* Iver and finally from hand to hand thus: & y= y= L & tr} a = Pf pf ewpf pf Pf Pf BP PKPS The drag is not a difficult 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. R L R L R L R L Right Vay EEOC SC Wins Vey EO ee}THE FOUR STROKE RUFF 15 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, > 2 — go> —- === R DRLR LRLR LRL R LRLR the only difference being that in such passages as thesethe triplet has its proper 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 Rg g R R It can also be practiced the reverse way. LP Generally it is best to play from the right hand. THE FOUR STROKE ROLL A Four stroke Roll especially adapted to pianissimo passages. PPP PPP PPP PPP PRR Often 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 not have the proper effect. The stroke will sound either too Jong or too rough. Some will attempt to play with a drag in order to get a smooth pianissimo effect but it will be too short and the five stroke roll too long: Ic is essential, therefore, to study the four stroke roll as outlined above. This wili be found to be a diffi- 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.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 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, RLRUR LR RLRER LR RLRLR L RLRLR_L RRLRLR RLRL R RLRLR L RLRLRRLRL RRLRLR RLRLRLRLRLERL RLRERLRERL RLRLRLRLRLRL 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 a poor substitute for the single stroke and should never be used in its place.THE SEVEN STROKE ROLL a 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 bé played from either hand, it being advisable, however, to finish with the right hand. Alternating Stroke Paradiddle Alternating Flam Paradiddle The above fingering is excellent practice for dexterity, but to simplify the stroke and flant paradiddle it may be played in the following ways: Stroke Paradiddle Flam Paradiddle RERLRR LRERLL RLRDRR LRERLL RLRLRR LRERLL RLRLRR LRLRLLVarious strokes ornamented with flams—drags—four—five and seven stroke rolls. FLAM STROKES To acquire dexterity, the following examples should be practiced with all the “fingerings” noted. ‘When actually playing with an orchestra or band, however, the student should himself know which way he can best execute certain strokes and should use that way. The conductor and listener does not care how the instrumentalist executes various technical strokes as long as the proper result is achieved. LR GR RL RL LRRL UR RL LRLR LR LR bRiLR RL aL bRaLLR aL LR ERURLR LR Gradually increase speed Gradually increase speed Gradually increase speedDRAG STROKES LER meb arb LER LER RoRRL LR LERDLRERALR EER ERLaaRLRER TERLRL aR LR LR LL EER ERL web RLR LER ERLE rab RLER20 COMBINATION OF STROKES BER RRLRL RLERLRL xexeb wtRLRELRERELR Note different fingering in second measure. TRERERLRLERL RL LER tR LRERLRERERL wRABBREVIATED VALUES a Abbreviations in manuscript or printed music by means of signs. Written = = £ +H Sn Played2 ELEMENTARY BEAT EXERCISE STUDIES R. Indicates right hand. No. I L. Indicates left hand. Slow (4 beats in a measure). Count One (and) Two (and) Three (and) Four (and) 16 2& 36 4% 1& 2% B& 4% 1% 2& 84 4% 1& 2& 38 4& ‘ge a = R Ro~L oR LL oR L R LoRNo. 2 Two beats to a measure. Count One (and) Two (and) 2 +ey 14 2 ‘The numbers| jwith lines drawn across the stave separating the measures, denote whole mea- sures of rest. No. 3 Exercise in quarter and eighth notes. Count Ore (and) Two (and) @ 1& 2& 1 & 2 &€ 14268 1 &€ 2 & 3 & 2‘The fingering (L: R.) must be carefully observed. No. 4 2 > 1 = 2 —— 2 R 2 TR 1 ® L 2 R 1 R L26 No.5 3/4 Time—Count One (and) Two (and) Three (and) Moderato 1°28 1°28 8 128 £F 2 8 1 2 8 +1 28 Letters A-B-C-D-E-F-G denote the different sections of music. Sometimes numbers are used instead.o The two sixteenth notes bed should be of the same’ duration as the eight note, no longer or shorter. No. 6 i R_RLR R RLR R RLRE R Ar RLR LR 1@ 2@ 1&@ 2@ 1 & 2& 1 2 1 & 2& 1 2 R_RLRL R RO RLR L R RLER LR RLER EL R FRRLRL t 2 1 2 1.2 1 2 1 2 102-07 2 RRL RL RRLRL R L RRL RL RRL RL RRLR L- 2 oe ee a Oe oe oe er ee a) RUR RLR RLRR L RLR RLR RLR RRERL 1 G, 1 2 1 2 1 2 r 2 fT 2 RRLRL R&R RERL RRERE R RERLR RRER Bere 15.42) A. 2 2 1 2 1 2 T R RRLRL g ‘ L 2 L L 1 RRL RL RLLR RRL RRLRL 29 The groups of four sixteenth notes should be played with single stroke beats, thus: and com- No. 8 meneing always with the right hand. Abbreviated ttf ee 4 = Abbreviated . acre REECE CEE Ek AaB £ -<232Doss are often placed to denote the number of beats.30 ‘ A study in abbreviated quarter, eighth and sixteenth notes. No.9 i 1 2 The measurestarked with letter Z are purposely divided so for quick eye training. & Abbreviated As PlayedNe. 10 STUDIES IN FLAMS @® —— + is frertoaee al32 No. HIThis exercise should be studied slowly and caretully. 5 No. 12 Please observe the > accents, 2 4 Abbreviated: @ Ac letter G a repeat % sign to the preceding half measure is inserted. This is a cofmon occurr- ence in orchestral work.ad RHYTHM AND THE PERCUSSIONIST RHYTHM is the occurrence of accented beats at regular short intervals of time. Most persons have a natural rhythmic sense and are able to keep time. Additionally, the musician, and especially the percussionist, needs not merely 2 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 a Jong period of time (say five minutes) at a given tempo without permitting 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 ( 4) ), four equal parts, sixteenth notes ( J), ight equal parts, thirty-second notes ( }) ), etc., or into any combination of these smaller units (that is, any rhythmic pattern) that the composer may require. It 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 to rhythm, the percussionist occupies a position in the Orchestra of great importance. If a player of one of the melodic instruments (cello, etc.) is deficient in rhythmic sense his deficiency will sometimes be covered up for years 2s 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. If he strikes 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 thé 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 to 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 himself out of a job.A STUDY IN RHYTHMICAL DIVISION 3% ‘The dividing of these examples should be understood thoroughly by the student before proceeding further with the exercises. Written differently but chythmically alike, The only ‘way to sustain notes on the snaré 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 are marked by a number 3 over or under a group of three notes, 4 7 4 which means that they. are to be played in the exact time of two notes of the same duration. ord er Please observe expression marks. r—f P———s P—_—+ P—38, Now 15 CRUSH ROLL | ar dy | Dy 2 | ModeratoEXERCISES IN ABBREVIATED VALUES 30 No. 16 EXAMPLES FOR THE FOLLOWING EXERCISE As Written As played ee 7 ne 27 zo nm ze Crd ee me R RLRLR R_ LER LR 0 em Ee om ee a= 70 nm Ee 70 LRLELRURRE RERERLERRL RLRLRERRL RERLRRL RILRLRLRRL 1f RRLRLRLR The fingering used in this exercise is optional as long 2s the necessary result is achieved. ‘The student ‘¢an use the fingering to which he can best adapt himself.No. 17No. 18 aL EXERCISE WITH SCOTCH SNAP AND THE REVERSE As Written. As played Either fingering may be used.a No. 19 RLLRER RLLRLPART Il ADVANCED EXERCISE STUDIES No. 20No. 21 RL RLRLR LE RLRLR EL RLR RL RERLRERL RLRLRLRL RLRLR RLRLRNo. 22 ba 3/8 time. Count three to each measure. Moderato 128 128128 128128128 12 8 1 2 8 -1 28 10°23 «#21 2.8 RLRLRLRLERL L RERL Lb R RERLR46 No. 23 ‘The groups of three sixteenth notes fT are to be performed in the time of wood of like value in the regular rhychm. . Three counts to each measure. 2 ee ee eerie ee 3 4 5 40 >> R gbbs = Same with right hand Crush.bs No. 53 A STUDY IN. SYNCOPATED RHYTHM f mfDOUBLE DRUMMING EXERCISES FOR DOUBLE DRUMS AND SOLO PASSAGES FROM MOST RENOWNED COMPOSITIONS Lively March tempoMarch tempo fi T T T plMarch tempo 782 Excerpts from F. E. Aubers’ Overture MASANIELLO. To be played two in a measure. Allegro ModeratoPART V FAMOUS DRUM SOLOS Opening measures of F. E. Aubers’ Overture FRA DIAVOLO. ‘poco @ poco decresc. The ordinary five stroke roll should not be used in the above passage. It should be executed with single strokes as written,8 Excerpts from Franz v, Suppé’s Overture PIQUE DAME Allegro con fuoco , Lf 8. DR. 8010 12 P —— aofisSe tthe Seth irianaEm ies Piu mossoImportant solo work for the snare drum from Rimsky-Korsakoff’s CAPRICCIO ESPAGNOLE. ALBORADO Vivo e strepijoso mplecyus — CYMB. ALONE FANDANGO OF THE ASTURIAS Vivace assai6 Excerpt. from Franz Liszt’s SECOND HUNGARIAN RHAPSODY Prestissimo ‘TYMPANT Andante Presto SfAdapted from A. V. Kontsky’s AWAKENING OF THE LION Caprice Heroique 87 ‘Tempo di Marcia i ‘ a a i hh a ak poppers Ty eggs PPP poco "cresc. Tempo di Marcia sore88 PART VI AN INTRODUCTION: TO TYMPANI ‘Much is required of the student who wishes to study Tympani. The student must possess good chythm, a 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 detirous of studying the tym- pani should be able to play the piano, which is most suitable to the percussionist, or some additional musi- cal instrument, If the student has no musical training other than the 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 2 that is, if the tympani are of regulation size (28x 25 or 27x24) which are used for ordinary work. Sj However, the contempgrary composers go far beyond that range and write as low as low C and as high as high A SE for which special size kettles have to be built. To get a low C the tym- pani should be about 36 inches 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 SF=F=sE] and the range of the 25 or 24 inch tym- 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- ~ Jlow the “A” sound. For example, if the sound of the tympani appears to be below the “A” or any other, desired note, thea, by turning 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, natufal with ail instruments, are more common with the tympani 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 left 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. It saat Kernate single strokes. A. g00d roll and tone depends not only on “e yy and properly adjusted heads but also on the correct way of holding and swinging the sticks. (The stitks should be held loosely for greater flexibility. ‘The hand position of the sticks for playing tympati should be-the opposite of the position fot playing the bells or xylophone. (See illustration) To develop the tympani roll the student should begin practicing with a'sléw motion, increasing the speed gradually and evenly until a fast tempo is reached. A maximum speed should not be attempted until such a time that it comes with perfect facility and flexibility. At no time should the sticks be allowed to “squat” on the drum heads, after striking them, The hands should be flung upward immediately after the beats. Never hit the heads of the tympani in che center as that will produce a dull thud instead of good tone. Strike the heads about four inches from the hoop. Good tympani sticks are very essential to the playe:. As good sticks are difficult 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.