PERGUSSION BOOK 1 Inctueles l(eybocrrd Percussior ESSENTIAI CON'TPREHENSI\/E BAND |nETHOD TIN'I TAUTZENHEISER JOHN HIOGINS GHARTES II'IENGHINI PAUL TAVENDER rO'N G. RHODES DON BTERSGHENK Percussion consultont ond editor WILL RAPP 'Lfts VFf ar ol F.^rr\r,,.r?n@,
a D I I I I I I f I I I I I I I I I I I I I t I I I t I I I I I I T I I I I I I I I I I D I PER.CUSSiON:BOOK T ESELSENTIALTS CO'nPREHENSI\/E BAND INETHOD TT|t,l TAUTZENHEISER PAUI TAVENDER JOHN HIGGINS ro|n C. R.HODES Percussion consultont ond editor \,yILL RAPP CHARLES N'IENGHINT DON BIERSGHENK Band is... Making music with a family of lifelong friends. lf nderstanding how commitment and dedication lead to success. Sharing the joy and rewards of working together. I ndividuals who develop self-confidence. Creativity-expressing yourself in a universal language. Band is...ftfUStC! Strike up the band, Tim Lautzenheiser P"r.urrion instruments were invented by prehistoric cultures. However, most percussion history is connected with military groups. Drums were used in the 700 A.D. Moorish invasion of Africa. These instruments were ancestors of the snare drum and timpani. Both the Scots and Swiss developed the snare drum around 1300. Around 1450,Turkish military bands featured triangles, cymbals and several sizes of drums. The instruments used in these "Janizary Bands"communicated signals to large numbers of fighting troops. J.S. Bach, Mozart, Beethoven, Berlioz, Debussy, Sousa and Stravinsky are all important composers who have included percussion in their writing. Common percussion instruments are the snare drum, bass drum, crash cymbals, triangte and timpani. Famous percussionists include Vic Firth, Peter Erskine, Buddy Rich and Al Payson. tSBN 0-634-00327-s copyright @ 2004 by HAL LEONARD CORPORATTON International Copyright Secured All Rights Reserved -21 TIJHRL.LSoNARD' L--coRPORA-t-toN 7A7A W. BLUEMOUND RD. P.O. BOX I3A I 9 MILWAUK€E, vl't 532I 3 - , ,II .lUl':, -l. i;(E),, - l .< O , !F ;, !,, H ''6..'.. 71.," (E',tl 'Y)'-. '.5.',1 rI:o', -.:j : -;i:.l!-liii ,c'l:i: l . '_: ;:. . "ll": : .r.a . .:
2 _ MATCHED GRIP rHE BASICS Poslure Stand near your instrument, and always keep your: . Spine straight and tall . Shoulders back and relaxed . Feet flat on the floor Mcrtched Grip fA Ncrturcrl Sfick Positionl Every percussion instrument requiring sticks or mallets can be played with this basic grip. Both sticks or mallets are held exactly the same "matched" way. . Place the sticks in front of you with the tip of the sticks pointing forward. . Extend your right hand as if shaking hands with someone. . Pick up the right stick with your thumb and index finger about 1/3 from the end of the stick. . The curve of your index finger's top knuckle and the thumb hold the stick in place, creating a pivot point. . Gently curve your other fingers around the stick. . Check to be sure the stick is cradled in the palm of your hand. . Turn your hand palm-down to a comfortable resting position. . Follow the same procedure for your left hand. Prcrclice & Performdnce Position . Put the practice pad on a flat surface slightly below your waist. . Stand up straight with your arms relaxed at your side. Raise your forearms by bending your elbows. . Form the cutline of a slice of pie with the sticks about 2 inches above the practice pad. . Move your wrists to raise the sticks 6-8 inches from the practice pad. This is the "up" position. . Begin with your right hand. Strike near the center using a quick, reflex-like wrist action. Let the stick return to the "up" position to prepare for the next strike. . Follow with your left hand, and strike about 1 inch away from your first right hand strike. Return to the "up" position. . When resting, keep the sticks about 2 inches above the practice pad in the outline of a slice of pie. Sficking Work-Ouls R. - Right hand stick L - Left hand stick Play the following sticking work-out on your practice pad, keeping an even pulse vvhen playing and resting: O = Strike near the center of the practice pad. L o R o t o R o R o E 3 R o : Inrsrl You will learn several"sticking" methods in this book. The method above is called Right Hand Lead (Rr-nr-...RLRL, etc.). I nrsr I
a D I I D I I t t I I I I I I I I I I I I I I I t I I t ) I I ) I I ) I I t ) ) ) ) t ) ) I Getting'lf Together The two ways to set up the snare drum depend on which grip you are using. Matched Grip = level drum set-up. Traditional Grip - angled drum set-up. 9tep I Open the bottom legs of the snare drum stand. Lock them into place by tightening the tripod base screw. Grasp the bar and raise stand below your waist. Tighten the height adjustment screw and lock into place. Step 2 Put the two support bars closestogether in front of you. Be certain they are even. lf your stand has an adjustable arm, it should point away from you and be extended. The bars should be parallel to the ground. Tighten the angle adjustment screw. Sfep 3 Carefully place the snare drum in the stand so the snare strainer lever faces you. Step 4 Slide the adjustable arm until it fits snugly against the shell of the drum. The top batter head should be slightly below your waist. Lock your drum stand into position. Tighten all screws each time you play. Step 5 Tighten the snare strainer. Tap the head of the snare drum. lf the sound is not crisp, tighten or loosen the tension control screw. The snares should rest lightly againsthe bottom head. Stand by the drum as shown: 3 - MATCHED GRIP MATCHED GRIP SNARE DRUM SET-UP support DerfS ongle odiustrnent SCrew rdpod Delse' sc?ew ldentify and draw each of these symbols: Ledger-n"t Meqsures Measure & Bor Lines Measure READING MUSIC Music Stoff The music staff has 5 lines and 4 spaces where notes and rests are written. Ledger lines extend the music staff. Notes on ledger lines can be above or belorry the staff. Bar Line Bar Line Bar lines divide the music staff into measures. I Bar Line
a t I I I I I t I I I I I I I I I I I I I t I I t I D I ) I I ) I I ) I I , ) t ) ) ) ) ) I Gelting lt Together The two ways to set up the snare drum depend on which grip you are using. Matched Grip = level drum set_up. Traditional Grip = angled drum set-up. step I open the bottom legs of the snare drum stand. Lock them into place by tightening the tripod base screw. Grasp the bar and raise stand below your waist. Tighten the height adjustment screw and rock into prace. Srep 2 Put the two support bars closestogether in front of you. Be certain they are even. lf your stand has an adjustable arm, it should point away from you and be extended. The bars should be parallel to the ground. Tighten the angle adjustment screw. Srep 3 Carefully place the snare drum in the stand so the snare strainer lever faces you. Step 4 slide the adjustabre arm untir it fits snugly against the shell of the drum. The top batter head should be slightly below your waist. Lock your drum stand into position. Tighten ail screws each time you pray. step 5 Tighten the snare strainer. Tap the head of the snare drum. lf the sound is not crisp, tighten or loosen the tension control screw. The snares should rest lightly againsthe bottom head. stand by the drum as shown: 3 - MATCHED GRIP MATCHED GRIP SNARE DRUM sET-UP Meqsures & Bor Lines Measure Measure support l'erfs rripod l'etge' READING MUSIC Music Stoff The music staff has 5 lines and 4 spaces where notes and rests are written. ldentify and draw each of these symbols: redserl* = Ledger lines extend the music staff. Notes on ledger lines can be above or belol the staff. SCfew .\4 5 Bar Line Bar Line .\ Bar Line Bar lines divide the music staff into measures.
I D t I I I I t I I , I I I I I I I I I I I I I I ) t ] I I t I I t I I I t I I I I I l I I Getting lt Together The two ways to set up the snare drum depend on which grip you are using. Matched Grip = level drum set-up. Traditional Grip - angled drum set-up. Slep I open the bottom legs of the snare drum stand. Lock them into place by tightening the tripod base screw. Grasp the bar and raise stand below your waist. Tighten the height adjustment screw and lock into place. Step 2 Put the two support bars closest together in front of you. Be certain they are even. Put the remaining support bar on your left and raise it about 2 inches. Tighten the angle adjustment screw. Srep 3 carefully place the snare drum in the stand so the snare strainer lever faces you. The left side should be angled higher. step 4 Slide the adjustable arm until it fits snugly against the shell of the drum. The top batter head should be slightly below your waist. Lock your drum stand into position. Tighten all screws each time you play. Slep 5 Tighten the snare strainer. Tap the head of the snare drum. lf the sound is not crisp, tighten or loosen the tension control screw. The snareshould rest lightly against the bottom head. Stand by the drum as shown: READING MUSIC Music Sfoff The music staff has 5 lines and 4 spaces where notes and rests are written. ldentify and draw each of these symbols: Ledserg"t 3 _TRADITIONAL GRIP TRADITIONAL GRIP SNARE DRUM SET_UP rim balter head snote strcriner lever Meqsures & Bor Lines Measure Measure Ledger lines extend the music staff. Notes on ledger lines can be above or below the staff. Bar lines divide the music staff into measures. -\ Bar !-ine ] Bar Line -\ Bar Line
4-A t I I I I I I I I I I I I I I I I I I I I I I I I I I ( ( I I I I I I I I I I I ( ( I ( I I BASIC PERCUSSION INSTRUMENTS Percussionists play several instruments. Snare drum and keyboand percussion instruments provide the basic techniques to play all other instruments in the percussion section. Ask your director to help you identifu each of these basic percussion instruments and mallets you may have in your school's band room. INSTRUMENT Concert Snare Drum with stand Concert Bass Drum with stand Crash Cymbals (16"to 18") Suspended Cymbal and stand (16"to 18") Triangle with cllp Wood Block Timpani (23': 26': 29': 32') Bells Xylophone Chimes Marimba Vibraphone General Accessories: Tambourines (with and without head), Cowbell, Bongos, Congas, Timbales, Maracas, Gu i ro, Claves, Casta nets, Slapstick, Sleigh Bells, Slide Whistle. MALTET/STICK 58 or 28 sticks 1 pair medium bass drum mallets Played in pairs 1 pair medium yarn mallets 1 pair metal beaters 1 pair medium rubber mallets 1 pair hard rubber mallets 1 pair general timpani mallets 1 pair hard timpani mallets 1 pair very hard lexan mallets 1 pair hard rubber mallets 1 pair hard rubber mallets 1 pair medium rubber mallets 2 plastic or 2 rawhide mallets Various yarn and rubber mallets Various yarn and rubber mallets
1&2 & 3 & 4 & 1& 2 & 3 & 4 & 1& 2 & 3 & 4 & I & 2 & 3 & 4 & l. lltlllt lf lttlll llltttll ltltitJt 2. , I I I D I I I I I t I I I I I I I I I I I I I D I I ) ) I I I I I I I I t t I I ) I ) ) I The Beot : The'beat is the pulse of musit, and like your heartbeat it should remain very steady. Counting aloud and foot-tapping help us maintain a steady beat. Tap your foot down on each number and up on each "&." Onebeat = 1 & .1. t 4-B Notes And Resfs Notes tell us how high or low to play by their placement on a line or space of the music staff, and how long to play by their shape. Rests tell us to count silent beats. I a Quarter Note = 1 beat l Quarter Rest = I silent beat I. THE FIRST NOTE Snare Drum R Play your quarter note as the band plays their long tone. L COUNT AND PLAY RRRR Count: Tap: 3. A NEW NOTE L 4. TWO'S A TEAM LLL I Start with right-hand stick \ Play sticking os marked. I a t af, Count&Tap:l & 2 & 3 & 4 & 1 & 2 & 3 & 4 & & 2 & 3 & 4 & 1a 2 & 3 & 4 & 5. HEADING DOWN Always stand straight and totlwith your shoulders relaxed. R L 6. MOVING ON UP RRR - t t t Count&Tap:1 & 2 2&3&4& & 2 & 3 & 4 & & 2 & 3 & 4 &
5-A E 4 o ttl - F Snare Drum Bass Drum Cymbals Drum Set Accessory Instruments le Clef Bells Xylophone Marimba Vibraphone Chimes Note Nqmes Each note is on a line or space of the staff. These note names are indicated by the Clef. Clef Timpani Marimba Older snare drum and bass drum publications often use the bass clef. h* ho. Bqss = gE o II !E ltr e (l ', CIefS indicate a new line of music and a set of note names. Percussion istruments use three common clefs: Percussion Clef Treb # Time Signoture indicates how many beats per measure and what kind of note gets one beat. 4 = 4 beats Per measure -*- = Quarter note gets one beat ShOfp # raises the note and remains in effect for the entire measure. Flqf b lowers the note and remains in effect for the entire measure. NqtUfql ! .un.uls a flat (b; or sharp (fi) and remains in effect for the entire measure. Keyboqrd Percussion This chart will help you play notes on orchestra bells. Practice all exercises with other percussionists using the keyboard percussion section at the end of this book. Switch parts often! Gt / Ab At /sv ci /D, Dil /Eb ft /Gb Gl / Ab Ai /Bb cI /Db Dil /Eb Ft /Gb G{/Ab Ai /Bb €-u A B T' G
5-B DOUble Bqr :-=il indicates the end ' -------tl of a piece of music. Repeor sisn : U:f;:*"1#lgi'Iff:" 7. THE IONG HAUI R 8. FOUR BY FOUR RLR Practice Right Hand Lead as marked. L R Count&Tap:l & 2 & 3 & 4 & I a 2 & 3 & 4 & 9. TOUCHDOWN L lo. THE FAB FIVE Risht Hand Lead RRR a I t I I D I I I I I I I I ) ) t ) I ) ) ) ) ) ) t ) ) ) I ) ) ) ) ) ) ) I ) I I I I I l l t - &2&3&4& 1a2&3&4& 1a2&3&4& 1a2&3&4& sna&Drum \ , The bass drum is one ofthe most important instruments in band. Hold the bass drum BqSS DfUm "lT--zF: mallet.with you-r right hand{matched grip). Place your left hand on the head opposite rL_- the striking surface. Strike the bass drum half-way between the center and the top rim, o*s o'.r- y' | pulling the sound out ofthe bass drum. B.D. is the abbreviation for bass drum. | | . READING THE NOTES Compare this to exercise rI,THE FAB F|VE. RRRLRLR 1a 2 & 3 & 4 & 12. FIRST FLIGHT ESSENTIAL ELEMENTS QUIZ Fillin the remaining note names before ptaying. [r 13. 74 7-- -- BbCD RLRLR RLRLR
6-A 14. ROTLING ALONG R L Go to the next line..,t L R S.D. Holf Note I d > =2Beats ,, : " 1a2& Holf Rcsf =",!1Silen! B.gags I ^ I .,&, i:2 .'&,' 15. RHYTHM RAP Clap the rhythm while counting and tapping. Clap Repeat Sign 1 I &2&3&4& I &2&3&4& 1&2&3&4& 1&2&3&4& I &2&3&4& t &2&3&4& Alierlote .,Sticking . n5anaffi"d,Brjetln$0"f,'_",,1!.iyrylryptsilnins w;t1i,1 rieht:hand . ': .!.. B0SS DfUm When playing half notes, use a stower stroke to pul/the sound out of the bass drum. | 6. THE HALF COUNTS Practice Alternate sticking as marked. RLRLRLRLRLRL ttl
17. HOT CROSS BUNS RLL 6-B R , - a) I8. GO TEIL AUNT RHODIE L L American Folk Song R L | 9. ESSENTIAL ETEMENTS QUIT using the note names and ftythms below, drow the metody notes on the stqff beforc ptaying. ) I I I I I I I I I I I I t I I I I I t I I I I ) I ) ) ) I I ) I ) ) t I ) ) l ) ) D ) ) ) ffi )))) EbDEbD )J cBb L d c R a D R ))) EbDEb
7-A Whole Nofe O__-_+>=4Beats 1a2a3a4a Whole Rest - 1a2a3a4a A Whole Measure of Silent Beats Whole Rest Half Rest ------r------ I hangs from sits on a a staff line. staff line. 20. RHYTHM RAP Clap the rhythm while counting and tapping. Clap I I I I I I I I I I I I l I ( I I I I I t &2&3&4&'l &2&3&4& t &2&3&4& 1&2&3&4& 1&2&3&4& 1&2&3&4& L Multiple bounce sticking is your first step to learning the roll. a Simply let the stick bounce freely on the drum head,like this: ooooc'oQoooo' Ji-t ,t tJJ l.l Jltr ) RRR R R R R L L L L L L L Multiple Bounce Special Percussion Exercise d))yti 1];,uti 1 Keep counting and maintain a steady tempo. 2I. THE WHOTE THING RLRLRL Practice this exercise with Alternate Sticking. RLRLRLRL 1JJuti (JJJlr) Duet A composition with two different parts, played together. BOSS DfUm When playlnn whole notes, use a very slow,long stroketo pullthe sound out. 22" SPIIT DECISION - Duef Playyourpercussionpartasthebrassandwoodwindsplaytheirduetparts. RLRL RLR
The Key Signature tells us which notes to play with sharpr (#) o, nut, (b) throughout the music. When playing keyboard percussion, this key signature indicates the Key of Bb - play all B's as B-flats, and E's as E-flats. 7-B { - E o *t Key Signoture 23. MARCH STEPS L I t - , - t - 24. LISTEN TO OUR SECTIONS Percussion Woodwinds Brass RLRL Percussion RLL Woodwinds Brass Perc. R Ww. Brass All R t?- t l I I --- - - 7t ,. ---) 25. LIGHTIY ROW Markyour own sticking before you play. t t t I I I I I I I I I I I D I I I I I I I I I ) I I ) ) I I ) I l ) ) ) t ) ) ) ) ) ) ) ) -t-a +.Ftl - - - - - - - - - t - t a - +tl - - - - - - - t - t 26. ESSENTIAL EtEn ENTS GIUIZ Drow in the bor lines before you ptay. .ft' -
8-A Fermqfq 27. REACHING HIGHER r-R n L A Hold the note (or rest) longer than normal. RUdimenfS Rudiments are the basic techniques of playing snare drum. You should practice and memorize rudiments to improve your skill. The flam is your first rudiment. --*-lFlom -URight Hqnd Flom Left Hond Flqm A flam produces a sound that is slightly longer than a regular note (a tap). Listen to the difference between flams and taps. The small note is a grace note. lt has no rhythmic value and sounds just ahead of the regular sized, or primary note. The primary note sounds on the beat. r-R I --*-f-- --77- n L I --*-1-- ---nJHold the left stick about 2 inches above the drum head. Hold the right stick in the "up" position. Move both sticks at the same speed. The left stick will hit the drum just before the right stick. Let the left stick rebound to the "up" position, and the right stick rebound to the 2 inch position. Hold the right stick about 2 inches above ih" drur head. Hold the left stick in the "up" position. Move both sticks at the same speed. The right stick will hit the drum just before the left stick. Let the right stick rebound to the "up" position and the left stick rebound to the 2 inch position. Fermata I A 28. AU CTAIRE DE tA rR R L tUNE r-R t 29. REMIX r-R a a A I - a- - -
a 8-B l= I HOrmony Two or more nQtes played together. Each combination forms a chord. I i"nto,n;b;id-:;'#;;;,y;i.ir"v""pr,v.-- - --""* €l I ; 30. TONDON BRIDGE Matk your own sticking before you p.tay. Engtish Fotk song I t I I t I I I Austrian composer wolfgang Amadeus|t{ 6zarl (1756-1791\ was a child prodigy who started playing professionitlly at . .= ] : age six, and lived duringthe time of the American Revolution. MozartS music iimelodic and imajinaiive. He wrote more i a than 600 compositions during his short life, including a piano piece based on the famous song,"Twinkle,Twinkle, Little star." E, I I rh'rnangle should be suspended on a clip and held at eye level. Use a metaltriangle beater I Triongle uni iit tt " ttiungl" opposite the open end. To stop the sound, touch the instrument with your I fingers. Tri. is the abbreviation for trianole_ I r 3t. A t\ ozART METODY Adaptation I -:: i rvrvrtr{rrr rvrEIr\. S.D. B.D. I Triangle ,4 J t t ) l'll t t rl ) I I I I 32. ESSENTIAL EIEMENTS QUIZ Draw these symbols where they belong and write in the note names before you play: 6 il 'll 7) ,i:" :l
9-A Eighth Note & Eighth Rest 33. DEEP POCKETS RLRRLR Each Eighth Note or Rest = l/z Beat 2 Eighth Notes or Rests = I Beat dtahb '1 & 77 ) * n 1 & J7 a+ n 2 & )7 Eighth Notes groups have a beam. 2-notebeam 4-notebeam n n=rTT 34. DOODLE ALL DAY Mark the sticking before you play. Doubling or Double Stickittg A pattern in which two consecutive notes are played with the same hand (R R L L, R R L L). Double Sticking, or Doubling is an important skill for snare drum. T I I I I I I I I I I I I I I I I I I I I I I I I I I ( I I I I ( I ( ( ( ( ( ( I ( ( I ( { 35. JUi P ROPE rollow tne Double Sticking corctully and strive fot a consistent sound. B LLFI LL R LLR LL BRL RAL R LLR Pick-Up Nofes Rudiment Porodiddle 36. A-TISKEL A-TASKET Pick-up R R L R L R R One or more notes that come before the first ful/ measure. The beats of Pick-Up Notes are subtracted from the last measure. RLRRLRLL A snare drum rudiment (see measure 7.) '1 Paradiddles RLR 4& 1 & 2 & 3 & RLRLL
9-B Dynomics 37. IOUD AND SOFT Clap f - !?:n,.(play.loudly) lift sticks higher ,!f - mezzo forte (play moderately loud) normal stick height p -,piano. (play softly) bring sticks close to head ' o : ' 38. JINGTE BETLS J. S. Pierpont I I I I I I I t f I I I I I I I I I I D I I I I I I I D I I t l I I I I I I I I I I I t I D 39. MY DREYDT r-R L Practice "Doubling" in this exercise. L R L L I.R L L R R Traditional Hanukkah Song RLRLR
10-A 40. RHYTHM RAP Ctap the rhythm while counting and tapping. 1&2&3&4& 1&2&3&4& 1&2&3&4& 1& 2 & 3 & 4 & Multiple Bounce Eighth Notes RLRLRLRL RLRLRLRL RLRLRLRLRLRLR Special Percussion Exercise + + Connect J J so the bounces sound even and consistent. 4I. EIGHTH NOTE JAM Suspended Cymbol 1& 2 & 3 & 4 & 1a 2 & 3 & 4 & 1& 2 & 3 & 4 & 1a 2 & 3 & 4 & One single cymbal suspended on a stand. Always use yarn mallets, not timpani mallets. Sus. Cym. is the abbreviation for suspended cymbal. l I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I { I I I I I I I I I I I I I I SKIPTO MY tOU "f American Folk Song 42. lffi Sus. Cym. 'f 43. LONG, IONG AGO
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1 1-A ! ;. p Time Signofure E4 ,'-{'1,,, ffi = 2beatspermeasure ,,F, ',:. Lt*- = Quarter note gets one beat '",',t, 46. RHYTHM RAP Clap | | | | Conducfing Practice conducting this two-beat pattern. {b Rudiment Flom Top After you play a flam, play a tap, always with the low hand. This will keep your hands correctly positioned for the rest of the exercise. Remember, a tap is played with the stick closest to the drum head. Solo ln ensemble music,So/o marks a passage where one instrument takes a leading part. In the next exercise, the Bass Drum is featured in the places marked 5o/o. 47. TWO BY TWO Be corefulto maintain the same tempo when going from flam taps (measures 1 and 2) to the regular flams in measure 3. Solo Tempo Morkings Solo Tempois the speed of music. Tempo markings are usually written above the staff, in ltalian. Allegro - Fastempo Moderato - Medium tempo Andante - Slower walking tempo 8.H Allegro ,.o.4 IGH SCHOOL CADETS - Mqrch John Philip Sousa 4 ,f Use a slower motion on half note croshes.
1 1-B Tqmbourine Hold the tambourine steady in your left hand at a slight upward angle. Your right hand strikes the head of the instrument according to the written dynamics: Soft light sounds use one or two fingertips near the edge of the head. Medium loud sounds use tips of all fingers one-third of the way from the edge to the center. Loud sounds knuckles on head, half-way between edge and the center. Use a motion similar to knocking on a door. NOBODY'S HOME Crescendo (gradually louder) Decrescendo or Diminuendo (gradually softer) Dynomics I t I I I I I t t I I I I I I I I I I I I t I l D D I t I I I , ) t ) I I ) ) ) ) ) ) ) ) ) 50. CTAP THE DYNAMICS lt I - - -' - - - - - - - - tl ,) J tt ,J tt ,J-] I l) tl ,J tl ,J J-l l-l l' l, Suspended Cymbol Roll With yarn mallets on a suspended cymbal, use a rapid series of alternate strokes on the opposite edges of the cymbal (3 o'clock and 9 o'clock). Increase the speed of the roll to build an effective crescendo 5I. PIAY THE DYNAMICS Sus, Cym. I 7
12-A PER.FORMANCE SPOTLIOHT 52. PERFORMANCE WARM-UPS TONE BUILDER I I I I I I I I I I I I I RHYTHM ETUDE I "f Tambourine Remember: how your hand strikes the tambourine is determined by the dynamicsI J ^ = Let the sound continue to"ring"without stopping. lt is a common indication for triangle or cymbals. The same effect is sometimes marked Lv. (let vibrate) or /.r. (let ring). Let Ring CHORALE Andante Sus. Cym. I 7 Remember: start softly to make an effective crescendo. I Let the sound continue.
I 12_B t L:,,.,fttdnntr-. I .l t' ""' , . I ! ta. OU* IEE - Duer or Bond Arrongemenf a - George R. Poulton I '?,-' ;-:- q _> ? =-=:==:=:::= ),,o2 to< r? t? ,? ,1 I Triansle I D -ryf I I 444.- f ,'3 - t( --- rZ rZ r? '..l^l D I I ,!f -p A I .s.D.C r I r , @ ) uK rZ ,2 ,1 ,2 ,. I l? I I Sl. fninf JACQUES - Round (when srcup A reaches@,sroup B besins at@) I Modir.aro - ^- - - French Forksong lr I I l' ) ) BD I ryf Wood Block ,r2 ) t J l' ) ) l' ) ) l' ) ) l' ) ) l. ) ) l. ) ) lI llI I I t I t I , t l
13-A PER FO R.TNANCE . SPOilI OHT 55. WHEN THE SAINTS GO MARCHING lN - Bond Arrongement E: uegyriylg; Arr. by John Higgins S.D B.D. I p Cr. Cym. I f J^t l" ,!f l' J^r a l ( I I J^\ f'rf f Sus. ,Cym. wifh'sticks When playing sus. cym. with sticks, the best sound is usually one thifd or one half the distance from the edge to the dome. MACDONALD HAD A BAND - Section Feoture l"li f ,J^ ) - cl , J^, J^ I cl I I J^ \ .,J^ ryf Choke l'l' f I ct'ot. I J}J\ 56. OLD Allegro rk ll 'o), ( | | t"' cym. witl w+imf Sus. Cym. with sticks After repeating,go on to next page
13-B Ludwig van Beethoven Arr. by John Higgins TO No. 9) El *----ztl-= f tl #,- rl f 7. ODE Moderato ;bu ffi uo I t mf +;- Triangle (Ren a I I I l I D t t I D I I I I ) JOY (from Symphony ,t,llll l-l Fundamental or overtones -your choice) 5 (Remember: .D. uo I t mf ,fl" . - r .r .r T t .f t "f E I. c Sus. Cym. with yarn mallets T I I ? , A I t , tttl , c l'l f j^l r .f r I- .- '\7 John Higgins 4ff _ ? --T.k ---r-aa ---r-, llI I ore [FL[:- r#L 58. Hl Allegro rffi Tambourine FLh's I ) ) ) ) ) ) ) ) ) ) ) ) ) t ) ) ) ) ) ) l I I I I : . HARD ROCK BTUES - Enc llegro A T t .f I I , l'l J^| r I t\:/ A , d -l t -l r - c S.D. 'ol 'vl I r Sus. Cym. with sticks ,4 J-Iri fi-J-l l. illl ,tf - ll J I I 'VI I f .rlnJ-J-J-I l.||ll mf JI J J | 'vl I f J'J-J] J-J-J'] Ir |tl mf llll 7t i' l f- rl t" l f rl f l l r rl r l I I tl | | rj l"tttl JI J I l"rl f goto) llll | ll f , J-J-fi v I t-i " l"rl (Solo) llll | 'vl I l-l-J-l J-l-Jl tttl J J:I ] t t I I t t l rl r l
14-A Tie Pifched Percussion (Keyboards and Timpani) Other Percussion (S.D., B.D.,Tamb., Cym., etc.) 59. FIT TO BE TIED 1 2 beats = 2 Beats A curved line connecting notes of the same pitch. Play one note for the combined counts of the tied notes. A curved line connecting two notes on the same staff line or space. Play one note for the combined counts of the tied notes. 60. ATOUETTE French-Canadian Folk Song t l I t I I I I I a I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I Doffed Holf Note ). -+ =3Beats 1&2&3& I d-<Dot A dot adds half the value of the note. C'---to J i = ). 2beats+lbeat= 3beats 61. ATOUETTE - THE SEQUEI French-Canadian Folk Song American composer Stephen Collins Foster (1826-1864) was born near Pittsburgh, PA. He has become the most recognized song writer of his time for work5 such as "Oh susanna,"which became popular during the California Gold Rush of 1849. Among his most well-known songs are"My Old Kentucky Home" and "Camptowri-Races."
62. CAMPTOWN RACES LR R Practice FlamTaps in this exercise. rR R "t4-B Stephen Collins Foster ,f wd. Btk. S.D. BD I I ryf ,nit J t J I t I I J I I I r <J^ tl .-J^ I I 63. NEW DIRECTIONS nL L }J} J I t l a }J} J lll' ,I J JI , , I c 64. THE NOBTES '7 3 beats 65" ESSENTIAI ELEMENTS QUIZ ffi"
i 5-A 4 o lrl - h l ? tt-iSnofure Conducting Practice conducting this three-beat pattern. =' 3 beats per measure =. Quarter note gets one beat rN t I I I I I I I I I I I I I Rudimenf Double Pqrodiddle 67. THREE BEAT JAM RLRLRR t , - - - - - - - - - - - 68. BARCAROLLE Jacques Offenbach Moderato mf ','!1: :a;-. E . 'iQ;:; ,:|:,1 .19|' i I,S, Rudiment Flom Accent 69. MORNING (from Andante r-R L R nL R L _-rNorwegian composer Edvard Grieg (1843-1907) wrote Peer Gynt Suite for a play by Henrik lbsen in 1875, the year before the telephone was invented by Alexander Graham Bell. "Morning" is a melody from Peer Gynt Suite. Music used in plays, or in films and television, is called incidental music. r-R Peer Gynt) After you play a flam, play two strokes, always with the high hand. This will keep your hands properly positioned. Edvard Grieg S.D. B.D. I p Tri. I J. I J J lll - JJ I I "f J l-__l tl l l dlv I p I J. p
1s-B Accenf Emphasize the note. 70. ACCENT YOUR TATENT -t-- ) Latin American music has its roots in the African, Native American, Spanish and Portuguese cultures. This diverse music features lively accompaniments by drums and other percussion instruments such as maracas and claves, Music from Latin America continues to influencejazz, classical and popular styles of music. "Chiapanecas"is a popular children's dance and game song. MqfqCqS Hold maracas by the handles. Use GlqVeS cup your left hand to form a resonating chamber. Hold a short, precise wrist motion to shake the lower pitched clave in your left hand. Use the clave maracas. Maintain a steady tempo. in your right hand to strike the center of the left clave. *;t -. =- Place tip of left stickon center ofdrum. Rest stick on rimand hold firmly. strikewith right stick Klm lnot - about l/3 away from tip of left stick R.s. is the abbreviation for rim shot. 71. MEXICAN CLAPPING SONG ("Chiopqnecos'/) Latin American Folk Song - I 9l' { O ; -, ) I I I I I I I I I D I I I I I I I I I I D I D I I t D D I I I I I t I D I l D I ) t I I I Claves l f rl nj'lJ-l I soul ' tl )\-l cll t l I I a a a a)) I t I t 72. ESSENTIAL CREATIVITY Compose your own melody for measures 3 and 4 using this rhythm: S.D. I l-1 1 l I B.D. This percussion part con be played to accompany a band member's melody. --- nt'..7,- '!a:...-
16-A 73. HOT MUFFINS 74. COSSACK DANCE - S.D. BASIC BIUES f Tamb. 75. lffi Key Signoture The Key Signature tells us which notes to play with sharps or flats throughout the music. For keyboard percussion,thi5 Key Signature indicates the Key of F - play all B's as B-flats. I sf & 2nd Endings Play through the lst Ending. Then play the repeated sectlon o-f music, skipping the l st Ending and playinQ the 2nd Ending. , F. llr--_-l 76. HIGH FTYING B.o. l ,f Triangle 2nd time
Japanese folk music actualtyhas jts orfgins in ancient China. 'Sakura, Sakura"was performed on instrumentsuch as the koto, a 13-string instrument'that is more than 4000 years old, and the shakuhachi or bamboo flute. The unique sound of this ancient Japaneie melody resutis from tne:pentatonic (or five-note) sequence used in this tonal system. 16-8 '_., I . ,:.!t . I i,vt !l;l l r,,iiO': '-: .{ Snqre Drum Turning the snares off can create an effective, dark sound, similar to a tom-tom. 77. SAKURA, SAKURA - Bond Arrongemenf Andante Snares off Japanese Folk Song Arr. by John Higgins S.D. BDI | | t ryf Sus. Cym. I ,1r. J^ \ lll' J^) - t t J^, J^) .\ I S.D.and B.D.can share the same rest. '4 r ,f Triangle ) I ,/t r t j ^ t I}J^ r. c I}J^ t.tl Itll r1 ^t.1 r,l^ I t l l r 4f Wood Block p ) I I I I D I I I D I I D I D I I I I I D I I I I I I D D t I I I I t D I I D I I I t I I I l.,l^I rll t r/ .,r,^ Shared rest Y/ t f ^J^ , J^ ) rrrt ttl ttl -rI F vl^ ) p J^ I c t f ,J l l ,l t l I J -r- l J^l l^I I r all ^ t */ r.' t p _ Choke t(tll J^a J J J t l .r .rlr , p f -
17-A Sleigh Bells Sleigh bells are usually shaken on the rhythm indicated. However, handle-mounted sleigh bells can be tapped gently in time with the fist by holding the instrument perpendicular to the floor. UP ON A HOUSETOP Snares on 79. JOLLY OLD ST. NICK Remember to emphasize the accented notes. Moderato s.D. \ l-t l-t I I I I ! I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I 80. THE BIG AIRSTREAM 8t. wAtTz THEME (THE MERRY WTDOW WATTZ) Franz Lehar 6 Glocken Verlag Ltd., London
17-B Sixteenfh Nofes EI Fr-rF-il t'ttl attaa 1 e &"a JT I aJl: II- rri-t aaaa 2 e &.a l/,t\ :1, I t : .)- F-t ) ) --- rTl-] aaao f eAa J ,t R L R L R L R L RLRLR L RLRLR L R L RLRLR 3&4 & 1e&a2&3eaa4& 1&2e&a3&4 & Special Percussion Exercise 1 82. AIR TIME Each Sixteenth Note = 1/+ Beat 4 Sixteenth Notes = 1 Beat Count carefully and maintain a steady tempo. f I I I I t D I I t I I I I I D I D I I I I I I I I I I t I I I I I I I t D I I I D I I I D I 84. ESSENTIAI EIEMENTS QUIZ Moderato S.D. 74 a ESSENTIAL CREATIVITYlmprovise your own part for measures 3-8 using these rhythms: ), n, ffi 83. DOWN BY THE STATION Allegro BD I "!f t t I f tl t l Solo Cr. Cym. I )\ay'^ Solo I p --
18-A nDAILY WARM.I'PS 86. TONE BUITDER WORK-OUTS FOR TONE &TECHNIQUE 87. RHYTHM BUITDER 88. TECHNIGIUE TRAK Paradiddles RLRRLRLLR FlamTaps L R R 89. CHORATE ^dapted from Cantata 147) Paradiddles RLRRLRLL RLRLRLRLRLRLRLRL RLRLRLRLRLRLR Johann Sebastian Bach A E o lrl E F A musical form featuring a theme, or primary melody, followed by variations, or altered versions of the themc. p - Theme ond Vqricrfions
) 18-B I go. vannmoNs oN A FAM|L|AR THEME I .,-., tnitu 3w Dll "f 3t!-r; D Variation 1 lrChange to Triangle l| Variation2 - - - - - 11rl I | 1,, Change to Cr. Cym. | | t: ' I I ; D.c. or Fine illl,ii;!;1#i"-li3l?::i"":'#:::,'f:lill'"fi;'*rue"X*HJ';1'"i:?;""",." I I a-> . 1 I Eishth-Nore _ .ffi = re"ut ffi=fE n n : Two Sixteenths I e & a subdivide each beat into 4 equal parts. l-e & a a I r J r li-r'l -rl-l aaaaaaaa I t e&a2e&a lrrrf 191. BANANABOATSONG t Moderato Caribbean Folk Sono D - ,.o. tlu'"'otl ? Fine Change to Cr. Cym. lrffi nlf , irffi + ,fr,f] fTll ttl rII: fTTl t t rTIf fTll lll' rTT TTrl l- -v - D.c. ar Fine l I I D )
19-A 92. RAZOR'S EDGE Snares on 93. THE MUSIC BOX African-American spirituals originated in the 1700's, midway through the period of slavery in the United States. One of the largest categories of true American folk music, these primarily religious songs were sung and passed on for generations without being written down. The first collection of spirituals was published in'1867,four years after The Emancipation Proclamation was signed into law. 94. EZEKIEL SAW THE WHEET Africa n-America nS pi ritua I 95. SMOOTH OPERATOR Rim Shot A 7 Note how the pattern changed.
t le-B D D CC. Of.lOlNG ATONG prcctice -Doubting" in this exercise. Rimshot I |-tLRL R LLRLRLR LLRLRL R LLRLRLR LLRLRL R L RLRLB A - -l!!! - t I I R R L RLRLRLRLR lRLLRLLBLLRLRLRLLFLLRLLRLRLRLLRLLRLLRLRL>>> D I , I I : Ragtime is an American music style that was popularfrom the 18903 untilthetimeof Wo dWarl. This earlyform of a jaz brought fame to pianists like "Jelly Roll" Morton and Scott Joplin, who wrote "The Entertainer'and "Maple Leaf Rag.' I Surprisingly, the style was incorporated into some orchestral music by lgor Stravinsky and Claude Debussy. - The trombones now learn to play a glissando, a.technique used in ragtime and other styles of music. I I I 97. TROMBONE RAG t Atleero D ^^ o"Ri'" lI a I I ) ) ) ) t ) ) 98. EssENTrAr ETEMENTs clurz ) Andante l,w' ) ) D.C. al Fine t ) ) ) i
20-A 99. TAKE THE LEAD Practice Right Hand Lead in this exercise. e o El - II oo. A musical"sentence"which is often 2or 4measures long. Percussionists should match the dynamics of the band.' Phrqse THE COID WIND p I ol. PHRASEOTOGY 4 (t tg ITF Mu tripte Meosure Resr n:ijl$j :j,i:::H:ff"j::ff ,:".Y,T;ll ll'Iu"n.", E# 1-z-z-+ 2-z-z-q Simile gim.) IO2. SATIN LATIN Allegro Snares off R LLR L R L Continue playing in the same sryle. Proctice Double Sticking in this exercise. R L R LLR L RLRLR L I tttl -v-- | 'vl I | || ffi- 'ta ta ta ta tatatata- t a tllt rTTl fTTl I t rl | | | / | r - - - il llrr'-il a a - ta tatatatata t ) rll' rTtl fTTl Go on to next page
20-B | '? | | e Soli b '? | | | ttrTr..]tl "-t-/--)----) ta )) ) . JJ- n ^ffi[-) ryf L R t t 'v | | cllt n-ll ffi,|-J ffiffi) - I 6 -l o F 2 D I I I I D I I D D D I D I I I I D I I t D I I I I D I I I D D t I D D I t I I D D I t l D 1 -z-z-q 2 -z-t-q German composer Johann Sebastian Bach (1685-1750) was part of a large family of famous musicians and became the most recognized composer of the Baroque era. Beginning as a choir member, Bach soon became an organist, a teacher, and a prolific composer, writing more than 600 masterwork. This Minuet,or dance in 3/4 time, was written as a teaching piece for use with an early form of the piano. I 03. MINUET Moderato Johann Sebastian Bach 1 -z-z-q 2 -z-z-q 2 | 'v | | -:- ) ) ) ) ))))) ) c - : ttl . . / ) ))))) *f l04. ESSENTIAT CREATIVITY This melody can be played in 3/4 or 4/4. Pencil in either time signature, drcw the bar tines and play- Now eruse the bar lines and try the other time signoture. Do the phrases sound diffetent?
21-A I 05. NATURALLY Risht Hand Lead R RLR L RLRLRL sin E o h vl I trE o t{ - F Austrian composer Franz Peter Schubert (1797-:1828) lived a shorter life than any other great composer, but he created an incredible amount of music: more than 600 art-songs (concert music for voice and accompaniment),en symphonies, chamber music, operas, choral works and piano pieces. His "March Militaire" was originally a piano duet. One Meqsure Repeot Repeat the previous measure. I 06. MARCH MITITAIRE Allegro RLLRLRL Proctice "f)oubling" in this exercise. L R L r-R R nL L Franz Schubert B-D. f Cr. Cyrn. I IO7. THE FLAT ZONE
21-B I 08. ON TOP OF OtD SMOKEY American Folk Song f t t a a , J^ tn t t J^ t t rtl JJ J I J) Boogie'woogie is a style of the blues, and it was first recorded by pianist Clarence "Pine Top" Smith in 1928, one year after Charles Lindbergh'solo flight across the Atlantic. A form of jazz,blues music features altered notes and is usually written in 12-measure verses, tike "Bottom Bass Boogie." I 09. BOTTOM BASS BOOGIE Allesro ;E; .i:- :,.6:, :'-l , "€)' 7 ' ,'r< i f Sus. Cym. (with S.D. stick) I | 'v | ' ,, J-J-TI J-TT1 | '? | ' JTII JJ-l--] | '? | ' JT]-I J-J-JI | ., v | | J'TT1 l-l-J-.J
22-A Doffed Gluqrfer & Eighth Notes I I O. RHYTHM RAP . J.-->J= 2 Beats 1e2& A dot adds half the value of the quarter note. J.--*'b J-..-.Ja 1a2& I I I I I I I I I I I I I Clap I I I. THE DOT ALWAYS COUNTS ctosed Ro[ j :f,1]':"ilff[iiTi;qiiit',15i]jii"'"T"""T"'"H"ncesassmoothrvaspos5rQre' 1_ TZZt ta - taaaa II2. Att THROUGH THE NIGHT D.C. al Fine I 13. sEA CHANTY English Folk Song Moderato
D 3 r t^l;",?cARBoRoucH FArR 22-6 English Folk Song *f f -_ l_ ,J. ,b I J. IfJ J J\J p *f IIIIIIIDDIIIIIItIII)DII)t)D))ItIl),))))I))) I 15. RHYTHM RAP Clap I *f J Ij )J IpJ 2 & 3&4 & 2 & 3&4 & I 16. THE TURNAROUND ll7" ESSENTIAT ELEMENTS QUIZ - AUID IANG SYNE Andante Scottish Folk Song m-
23-A PERFORTNANCE SPOTLIOHT Solo with Piqno Accomponiment | | 8. HUNGARIAN DANCE NO. 5 - Snore Drum Solo Allegro You can perform this snare drum solo with a piano accompaniment. Play it for the band,the school or your family. The theme in the piano part is a well-known melody from a setof orchestral works called Hungarian Dances, by the German composer Johannes Brahms (1833-1897). Many of Brahms'works include dance and folk styles he learned from touring Europe as a young mbn. Johannes Brahms Arr. by Will Rapp RLRLRRLR Snare Drum L f J Single Paradiddles @ .-l Measure Number Stick Clicks* Stick Clicks Rim Shot LRRL LRLRRLR *Hit sticks together.
I | 8. HUNGARIAN DANCE No. 5 - Piono Accomponimenf 23-B Johannes Brahms Arr. by Will Rapp t- --1t! _1_. ---.--.-7 aJ tf" I J ' tf" e -/- t I t I I D I I I I ) ,rl D] r1rf I I I ) ,r\ri )l l( D I ) ,rI t) D) r( I D I r(r) 31 u-e p JJJ J ,,1 r -iJ-Tf I !7 "7 7 E I I D I I I I D I I D I ? o r f ?? ? t Lta a/ etj. -+ w -r't I' I -p-
24-A Grcat musicians give encouragement to fellow peiormers.On this page,cla netists leon their instruments'upper rcgistet in the Grenadillq Gorilla.!umps" (named ofter the grenadilla wood used to mal<e cladnets). Brass players learn lip slurS a new warm-.up pattern and percussionists combine new sticking paftems. The success of your band depends on everyone's effort and encourugement. Snqre Drum The following exercises will help you develop important skills. Follow the written sticking very carefully to help build your snare drum technique. | | 9. GRENADIIIA GORlttA JUMP No. I R LLR LLRLRRL L R LLR L L LR LLRLRRL R LLR I2O. JUMPIN' UP AND DOWN RLRRLRLLR LLR L RLRRL R R LRLLRLRRL RRL R LRLLR L L RRLLR l2l. GRENADITLA GORlttA JUMP No. 2 RRL RRL RLRRL L sim. RLRRLR LR LLR RLRRL R R I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I ( I ( I I I I ( I ( R R L R R L I.R L R I22. JUMPIN' FOR JOY r-R R L R L L R L r-R R n L L RRL r-R R L R L L R L R L RRL R L RRL
24-B 123. GRENADILIA GORILLA JUMP No. 3 RRRRRRRRRRRR RLRLR L RLRLR L I24. JUMPIN'JACKs RLR LRL RLRLR LR LRL R L RRL {} {> , I I I I I I I D D t D t I I I D D I I I I D I I I t t , I I D I I I D D I t I I I I ) I ? Intervsl 2nd-t 3rd-1 4th-1 5th-t 6th-1 "716 ESSENTIAI ETEMENTS QUIZ A quiz on intervols appeors in the keyboard section (page 24). The distance between two pitches is an interval. Starting with "nl" on the lower note, count each line and space between the notes. The number of the hi{er note is the distance of the interval. octave -l 125. ,n
25-A 126. GRENADIIIA GORILIA JUMP No. 4 R L IR L R L R L R L R L I.R L R L R Practice Alternate Sticking os marked' L R L R L I-R L R L R L R L RLRLR L R LRL I27. THREE 15 THE COUNT I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I e I T 128. GRENADITLA GORlttA JUMP No. 5 Closed Roll n aa Subdivide each J into 2 equal strokes, and connect the multiple bounces as smoothly as possible. - : I I _ ZZ I a a -aoa 129. TECHNIQUE TRAX
26-A Repeot Signs Repeathe section of,music enclosed by the repeat signs. (tf Ist and 2nd endings ore used,they are played as usual- but go back only to the first repeat sign, not to the beginning.) I I I I I I I I I I I = = 132. MICHAEL ROW THE BOAT ASHORE Flam accents con also apply to eighth notes. r-R L RnL R Lr-R African-American Spiritual Andante Snares on I33. AUSTRIAN WALTZ Moderato Austrian Folk Song Australian Folk Song