A FRESH APPROACH a hee aL “~~ by MARK WESSELS + 7 A LOGICAL APPROACH FOR DEVELOPING RHYTHMIC READING ABILITIES, RUDIMENTAL TECHNIQU AND MUSICIANSHIP ON THE SNARE DRUM. Ce ia yar So L Can Re aa er Mc TEI Umm LY Cie ems VIC FIRTH'S TOUR OF PERCUSSION & 40 ESSENTIAL RUDIMENTS POSTER! INSTRUCTIONS ON PLAYING THE ACCESSORY PERCUSSION INSTRUMENTS!A note from the author: ‘The purpose of this book is to provide the beginning percussion student with a foundation of basic playing techniques, rudimental skills, reading ability and musicianship that is required to play the snare drum and most of the common percussion instruments. This book includes step-by-step instructions and suggestions regarding practice habits, sticking and stroke styles designed to develop a well rounded player and musician. ‘The playalong tracks on the Accompaniment MP3 CD not only to makes practicing fun, but will also to expose you to music that utilizes percussion instruments and musical styles from around the world. For convenience, | recommend that you transfer the MP3 audio tracks to your computer — and, using a music library program such as iTunes or Winamp, load the ‘tracks onto an iPod or other MP3 player for easy access. ‘The “Getting Off to a Great Start DVD” has video lessons on all the basic fundamentals, including: Setting up and tuning your new drum, gripping the sticks and making a perfect rebound stroke — everything you need to get off to a great start. And if you want an idea of how broad the world of percussion really is, don’t miss Vic Firth’s “Tour of Percussion” — a collection videos from some of the world’s top drummers and percussionists! Ifyou find the instructional videos on the included DVD helpful, downloadable video podcasts are available for FREE on iTUNES (search for "Fresh Approach” in the iTunes store) or you can also watch them on YOUTUBE. If you don’t have access to a quali- fied private instructor, these lessons can be a big help as you work through the book. For the band director using this method to teach beginning percussionists, the free downloadable podcasts can be an invaluable source of information in preparation for your class. Or with a computer and projector, you can bring me into your classroom to help teach your percussionists — or reinforce the information you're providing to them. I sincerely hope that you'll enjoy using this book and that itll be the beginning toa lifelong love of drumming — and to music. Good luck in your endeavor to learn to play the snare drum! Mark Wessels This book is dedicated to my wife Lynn, and my children Kaitlyn and Drew. For information on other products from Mark Wessels Publications, or to order additional copies of “A Fresh Approach to the Snare Drum,” please visit us online: Mark Wessels Publications http://www.mwpublications.com1 Before you begin Lesson One, you must have perfected the REBOUND stroke using the “One Hand Exercise” ‘on the previous page with a metronome set on 120. Every exercise that you learn in this book serves as a building block for new techniques, so itis important to master each one before moving on to the next! ‘Our first technique exercise is called “8 on a hand” and reinforces the proper REBOUND STROKES that you learned in the previous exercise, only this time with 8 strokes on the right, followed by 8 on the left. ‘On day 1, practice this exercise at 120 beats per minute (b.p.m) on your metronome for TWO MINUTES without stopping. On day 2, practice for two minutes at 140; day 3 at 160; day 4 at 180 - always paying attention to producing perfect rebound strokes on each hand. R RRR R RRR LeL. LeLL REPEAT FOR 2 MINUTES WITHOUT STOPPING! After working on rebound strokes in the "8 on a hand" exercise, you can add the “4-2-1” exercise notated in the TECHNIQUE WORKOUT section of the book on page 77. ‘Snare Drum RUDIMENT: Single ‘Stroke Roll € ‘Snare Drum RUDIMENT: Double Stroke Roll € The snare drum rudiments are a collection of the fundamental skills and techniques necessary to becom- ing a success‘ul percussionist. Mastering the rudiments will take many years of practice and practicing them EVERYDAY is important if you want to develop into a great drummer! Included with this book is a rudiment POSTER, which includes all 40 essential rudiments. (Our first rudiment is called the "Single Stroke Roll” or as | like call it “ALTERNATING SINGLE STROKES. The goal on this lesson is not to produce a “roll”, but rather to play perfect alternating rebound strokes at a siow tempo. Over the course of year, we'll gradually increase the tempo unti it begins to sound like a “roll”! Practice this rudiment at m.m.= 120 for two minutes on day one, m.m.=140 on day 2, etc. RLERL RL RL RLERL RLERL Also practice starting on the left. Starting with the “weak hand! increases your ability to make every stroke sound the same, L RL R L RLR L RL R L RL R Again, we'll learn this rudiment at a slow tempo, playing ALTERNATING DOUBLE STROKES. Work to ensure that every stroke sounds exactly the samie. Check out the video lessons included on the DVD to gat some valuable practice suggestions, as well as see a demonstration of this rudiment! R RELL RRLL R RLOL R RELL If you're right-handed, leading with the left will strengthen your weaker hand. LL RR LL RR LL RR LLRR ‘On page 76, I've included a LESSON PROGRESS CHART to help you track the tempos of ‘the essential exercises and rudiments that you'll learn as we progress through the book. Refer to this chart frequently as a guide for your weekly progress!Start these sticking exercises with a metronome set on 120, playing each line separately for two Sticking minutes. Then try all 10 lines without stopping, repeating each line twice. After you can play all ten Exercises with consistent rebound strokes and no mistakes, move the metronome up to 140 and repeat the process. Once you reach 180, you're ready to play along with the accompaniment MP3 track! @R RRR R RRR LeLEL riit € @R RRR LeLL R R RR Leet 1A OR RLL R RELL R RELL R RELL O®RLRL RLERL R-ERL RLERL OR LRR LRLEL RERR LRL L Siremeeernn ses ‘ont siprmacinnar saan @®R RL R LeRL R RL R LL RL eearit much euicker tan by raking epated mistakes. @R LLR L RRL RLLR L RRL OR RRL R RRL R RRL R RRL oL L LR Lo-LELR LLLeR LoL~LLR @RLRL R RELL RLERL RRLL Before we start reading music, here are a few musical terms you need to memorize: Essential Musical Terms Bar Lines: Measure: S lines and 4 spaces Divides the staf into measures Space between two bar lines Double Bar: Quarter Note & Rest: Time Signature: —_ — ff ‘Marks the end of a section Tells when to play or rest Top number tells how many beats are in one measure Bottom number tells what kind of note receives one beat ‘The "Getting Off to a Great Start DVD” ends with the Essential Musical Terms video lesson If these lessons were helpful, | would encourage you to check out the downloadable videos that are available on iTunes and YouTube!Technique WORKOUT The Single The fifth and final stroke style to lear is called the TAP. Taps are soft, relaxed wrist strokes played at 2-3 inches above the drum. This exercise isolates downstrokes, taps & upstrokes. Practice each hand separately. Aaa ee Down tap tap tap tap up Down tap tap tap tap up squeeze RELAX! squesze RELAX! In step two, you wil add the two soft taps that finish the Single Paradiddle Paradi Step Two Coordination Exercise Homework 8th Rests on the Upbeat ACN 182 8th Rests on the Downbeat kevexot 4 been So” R LOR R t R L L Down Up tap tap Down Up tap_— tap Th, TI mrs ge White the counting under the notes, then supply the top number in the time signature. 2 3 4 4 po 2B z 2 2 5 6 m7 8 co aa pe aaa poe oe] In the following KEY EXERCISES, the 6th notes fall on the downbeat, and the 8th rests fall on the upbeat. Since the rest ison the upbeat, simply leave out the hand that plays the ‘and’ or ‘te’ (the eft hand). g(a ai ay RLRL RR RLRL R RL RLRL RLR | ro 4 Fo A oF iN | Pa ee weed lovey lead ee leee aye } RR RLRL RR RLR = RLR ROR =| hdd tah delay R R RR RLR RLR R RLRL R RLRLR Inthe next three KEY EXERCISES, the Bth rests fall on the downbeats, and the 8th notes fall on the upbeats. Since the 8th rest is on the downbeat, simply omit the ight hand (and play the upbeat with the lft). Dom | Eom sy yF o Rl eevee 2p peep were RL LR R RUERE LoL R RL RThese exercises use the 8th rest on the downbeat. Follow the stickings and practice with @ metronome! Playing Exercises, ‘ontinuet Fp teas ioe fi aaa ae “yy ome RLRL RR RL RL L RLR RL R 5c add Td) RLRL LL RR RLR RR RLRL LL RLR sina playing upbeat th rete rater dif, mys mio mas TN | | sages yu racic Spe pepper] EEE RL LL LR RLER REL LR RRL L RR _ wwortanld"ee or ‘the upbeat rhythms, Dp hee aN | LR RR LoL OR LR UR coe R RE RRL R LR L RR RLRL FOOT on each downbeat! pe eed yehele yeh yet {et onthe downcat RE LC LR UR UR LRLR Ath rests in these lines. Me SA SS o SiN Dep peed y aye | wa eae eyes gee eee RR L RLR R LR L R RLR ‘The Nine Stroke Roll is four multiple bounces or double strokes, followed by 2 downstroke. The Nine Stroke Roll = > ~oR- RURLR LRURLE RRLLRRLLR ULRRLLRRL This etude includes some special instructions. The ‘’ on the top line is played by hitting the sticks together in the ait, Rudimental and the ‘¢' on the bottom line should be played with both sticks on the rim. Etude #2 dasos LL a veeveeee a @ *—® RL Rsteonsx LR L sxonrimRL RLRRLRLL R RL fun ere illont 5S et 5D Die cole we levee rdewe ee) @ x | Ro sons LR shonrim RL RLRRLRLL RLRLRTechnique WORKOUT The Whole ‘Ace you spending half of your practice time each day on the Technique Exercises and Rudiments? If you ignore the fundamentals of snare drumming, pretty soon your hands will not be able to play the written music! At this time, you should add the Flam to your daily drill of exercises and rudiments. ‘The following Coordination Exercise uses the whole note. The WHOLE NOTE looks ike a half note without the stem and receives four beats in quarter time. Net and le =] Whole Rest Homework New Rhythm Ercises erat The Flam Tap a ‘A note is missing at the end of each measure, Draw one note that corresponds to the missing note, Use the following note values: bye : ty 4 5 ; ee In this new rhythm, an 8th note | takes the place of the lasttwo =f 8 ‘6ths: —OR— PPrrerrr ta te ta 2 ta te ta oad fee late Always practice the correct sticking patterns while learning new rhythm patterns. Many percussionists cannot play fast thythmic parts because they are hindered by poor sticking habits. pps Saisie ap aay RLUR R RLURR RURRUR RL R TR RL RUR RL gpa a Sieh eg RLR RUR RURL RLER LC RLR L RURURL ALA RL ‘The Flam Tap is played with the Altemating Flam, adding a soft tap between the flams. d-s0.150Use the Lesson 8 Appendix inthe back ofthe book for extra practice on this new rhythm, he ope Tin Bry RLR R RLRR RLR RL RLR R RLR R RLR R qr So | 0 (DE fae 2 one a oae ave [ofan eae nae fo anen P| RLRR RLRRLR R RLRR RLR RLR R RLRL RK The ex ines offered in teaerdonpee eo = = ey deine Smiop sy = Ty “eter 0 [DE fiane see ne aia a ge ya oleae a eene le meee ee seer RLR RLRR RL LO LR RLRR RLRL R RLR R ea tt when playing a new rhythm, fae thee | 1 pe] Sranmomccoss RLRLR R RLRLR RLRR R L RLRR LOR nations. STA FR SI Om me ye 0 [DEP vve ove vee } RLR LR RLRL LR The following exercise is @ ROUND for two players. The fist player begins with the 1st measure. The second player Round for rests for four counts and begins when the first player reaches the second bar. Two Players | SOO SRS 0 Deas vaaaatae Laaeveina eee leessaedsoaseees) VRC = Se [De sae wed yp wee foe eae avd av ane oe pt a This etude includes the Flam Tap. The upstroke motion of the flarns should be exactly the same in measure 1 and Rudimental measure 2. Work to achieve 2 consistent sound on each flam — keeping the grace note low and relaxed. Etude #6 ToT tt) eee iplalolat ‘scorn oD pte j2eplealee | veecssee|« ite [a ptepieeees R L RR LL RLRRLRLL R LRL RL R L RLRRL RL ARUDIMENTAL ETUDE ~ ~ ~ Tt eet Ae pei Ei aR edie RR LL RLERRL R LRLRLR L RLRLRL RR LL RLRRL‘each measure from the following note values: You Draw Supply the missing note in the following measures. Use only one note in odd dd 93 a 4 HW 5 : cyan 8 4 6. 7 oN 8. 9. = T= 10. oF 4 oO £ oye 4 = § eeeee oo | Fill in the ‘Write in the counting under the notes, then give the top number in the time signatures. Blanks! bel SEGRE SSB SRA EE ag Se SIMI NG St 4 s Technique ‘To make sure that your technical development is on par with your rhythm reading development, check to see if you Workout can play each exercise and rudiment at these recommended tempos. Technique Exercises: Rudiments (p. 82 & 83): Double Stroke Rolls: «)=102 #1: c=150 Single Stroke Roll: «=96 (5, 9, 13, double stroke rolls) #5: d= 102 Single Stroke 4,7: 4-70 Multiple Bounce Rolls: ¢)=140 140 Flam Rudiments: 6-90 (Flam, Flam Tap, Flam Paradiddie) Single Paradiddle: Speed should not be the only consideration when practicing the Technique Exercises and Rudiments! Proper attention to the correct stroke styles and evenness of sound is most important. The tempos recommended here reflect where you should be ONLY IF you are paying attention to the proper funda- mentals of playing the snare drum! Ftude in Start slowly, gradually working up the tempo marked. “8 time” — Deve Pipers seeds te ee le ys |e one ewvoewsrne \ s So GT2A [Siew y ayy ly ee le ys le eee olin dSdotcom ee SS OF OS ee Rhythmic Etude Di 4 cevcceee cvede _e sever eoece cee cee eo0_coe ove oeodeees.. uric enoe RLRLRLR R RLRLR R RLRLR RLRLR GT2B A SNe nPPPere Pree Pree [Disa ya's a lye ys eedesed [ee ese eeealsyayeeasey| tOLROE LLR RL RLUR RLRL R R RLRLR each graduation etude out R I a ce OE |_ tutto a mevonome ae wel [de eee dee ye eae eo eee | eee edeee =i RURLR RLRL L Soe RUR R RLR Remember to “play” your oot onthe Eth ress n the FR ONE bh A Ny SNR NB RR) othr t atte (Sivdedysscseye vee ye-cve yee cave 0 avy eve secee cee, ‘tescates inert iaep a steady RLRL LRURL L RER LRLR L RRL LRAL LR campo. SS Re ee ee FN [i-eevadee-«-devee io eadee case _eevey-a'¢ 2050000 —y0'¥¥ RIAL L RRL L ALR IR This entire Rudimental Etude should be played at two heights: a 12 inch (ull stroke) height for accents, and Rudimental relaxed 2-3 inch height for grace notes, taps and bounces. Play either with multile bounces or with relaxed double Etude #9) strokes on the 8th notes notated with a slash UDIMENTAL ETUDE = ree eee [oa Stay a5 relaxed a posible R LRLRLR L RLRLRL RLRR LL RR LRLL RLRLERLR L RLR LR ontwinnerbeateandrols! Speed and consistency vl, ss > > > o> sd > = = ‘only develop ifyou have a 5 | “ Zu. +, | ‘oath, elaned approach r HY tothesree dum. LRLLERLRR LRLL R LRLR LR L RLRLR LRLL RR LL R ‘Most of the paradiddles in the following etude are played without accents, Strive to achieve a smooth, evensound Two Drum when playing the 16th notes drum to drum. Etude 05120 > > a 7 7 RURRiRLLRERR , R . Rc ceecRiRRipit RL RL R LR wo ofuM ETUDE -. = = i o- = GT2D [Dre we seas) 000 eee? ote 8 \ceve’**“ceee” | Lt Ry RURRL RLURRiRiLR | RLR LRe LRLLRERRiRLL RTechnique The progress chart on page 76 has @ complete lst of exerdises and rudiments that you should be working on at this WORKOUT point in the book. Because thelist grows as you add more techniques and rudiments, you might need to alternate between them (select one rudiment from each family rather than work on all of them in one practice session). Developing great technique requires mental discipline and consistent practice! More Dynamic : Crescendo : Gradual A : : iy get :Diminuendo : Gradually get Markings —_ louder ——— Sr This short piece uses all of the dynamic markings that we have learned so fat. Start at the slowest tempo marked, then work up to the fastest tempo that you can play (without sacrificing quality!). Avo the "age-ld” ‘problem that most drum- mes have: aching when you iy louder Wore with a meonome to develop tempo control on all dynamic eves New Rhythm i Notice that in this new rhythm, the 7 8th rest takes the place of the first 8th note. vey ex nes 6 A- a, B eo tee ly eee]: R RLR RLR RRLRL RLER L RL RL RLR Keep the back fingers in contact with the stick when playing rolls. Also, make sure that you are not “pulsating” your right hand (playing the right hand stronger than the left). et EA 5 7 wows (seer autlouionthestn = @ [oor rest in this nee rythm RRLRL RLR RLR patter. SUBDIVIDING 2 ret nil kepyou fom maaron Ae rhythmic accuracy @ Lot RLRLE L OL LRNotice that in tis new rhythm, the 8th ret falls on the upbeat. mA) ek} ma 6 eee ee eve RLRR RL R RLR RL RLR SN 5 Rg = 0 Ppa ya yea yee B RR RL RL L ORL RLR RLR RLR Remember to count each quarter note roll as you would four 16th notes. Practice both types of rolls: open (double bounce) rolls and ouzz (multiple bounce) rolis. Z co oD FM aie: RRLR RERLR RRLRLR RR RLR RL R = 4 o \ =o ph Fe | RRURL RR RL RR ALRR RR RR Reviewing Rolls 8 Time’ 14B Like the flam, the ruff is a combination of an upstroke (this time bounced), and a downstroke. Unlike the fam how- The. ever the ru is played with a “pickup” bounce stroke, with more space before the primary stroke, Practice the long buzz "pickup strokes” in Exercise A for several days before attempting the double bounce ruff in Exercise 8. A qe 2 4 a i R L t= ita RRL Alternating Ruff Make sure thet you "prep" the stick heights for each one of the rus in tis etude (set the hands at grace note! ‘accent note heights). Think of each ruff as two separate strokes (and+-ONE, and-TWO) until you get the feel for it. low, . ., ~-- Orta tedae [wacedeen! Rudimental Etude #13 UOIETAL ETUDE 14c18 Technique ‘As speed increases on Flam Taps, it becomes necessary to play rebound strokes instead of controlled strokes. Use a full WORKOUT stroke on the accent, but allow the stick to rebound for the second and third notes. Repeat on the opposite hand. RRRRRRRRARRR RRR RRR RRR RRR RRL RRL RRL RRL Dotted Remember that a dot behind a note INCREASES ITS Pad Pra Eighth VALUE BY HALF of its original value. Since one 8th note oyy J y . Notes equals two 16ths, a dotted eighth note would be vv eens equal to three 16ths: a lJ I 14 7 ad i ta 2 A Cc _ SS = | = [om roa = = 3 Subd every dated ty ‘note by counting the first thvee t6ths Tis will lp) keep an even spacing on a this naw rhythm pattem, = R LRLRL R LRLRL R LR RoLR R LR LRLR Playing im] Exercises o f es ue RLURL R LR RLRLRLR R tL R RLRLR L RLR LRLR eer Fe | ra Fr | 0 faa aeeanes se sata as ota es—| R LRRLR LR R L RL LR ar = 6 =, wes LRLR LRL R The Single Al “drag” and roll rudiments should be played Drag with double bounces, “Squeeze” slightly on the accents, but remember to relax the fulcrum on the innerbeats. RLLR TARE RoULR UL ARLSpend a few minutes to memorize these new musica terms. D.C al Fine ‘Accelerando Fine “Da Cah-poe aul fee-nay” abbreviated “ accel.” pronounced “fee-nay” Go back tothe beginning and play to gradually get faster the fish — the end the finish, The low torn-tom (notated on the 1st space) should be placed on the let, the snar ‘gmbal to the right. the middle, and the suspended Fast! bpeel ose’ oo a weee__eaee| aaee. RALLRRLLARLL R LRLLRURRLRLL R RLALRERLR f p— —f _ 3 Po — a ee ed wea DC al Fine Pp accel. ‘Try to play REBOUND strokes on the Flam Taps in this etude. Since the stick is ellowed to rebound, you will hear a difference in sound between regular downstroke accents (sometimes called “staccato strokes") and rebound accents (ometimes called “legato strokes”). dera0 Fee es a ee 7 RURLRURR LL RR CRLL RURL AR LR RURLRLRL RR LL RLURLRLR L LR RL CURLER RL L RR RLRR = == TR RL RURL RL RURRLRLL RRLLRL RURR LL AR LRLL R Musical Terms Etude for Low Tom, Snare and Suspended Cymbal rue 18¢ Workout te rhythms sticks and dams at VERY son tempo before you tempt to lay tas fast | doon the MPL Setyou metionome ona Slow tempo and ato lay a section PERFECTIY FOUR TIMES INA ROW before yout it faster you practic making ristkes, youl perform wi mistakes! Rudimental Etude #18 UDRUENTAL ETUDE 18D| = = = [DF 4 weeds —esens ‘seven seens 7? = = weere eevee > 4 a a SS = [DE #—sedee sesso —sueed —svee|e seaee eauele —seved a [Dt enewe en anew ecnee one nae LE ions vadbe=a-a-a aa 2 3 3 7 2 == == == == [Dif veedeeee = cccveere = evceeeee = eecveeee = | = = = = = = = = [DEA weed} —vees } iene } dene} |oees } vee} [vese } aeee || SSRN NR 4 Jeeves 0 eee @ leecey 0 evey 0 -| 4 op Shy SE), EO i. eee ¥ >EXERCISES Exercise #6: “Stick Control 2” This is a more dificult exercise to develop control aver rebound strokes using various sticking patterns Stay relaxed and listen for a consistent sound from hand to hand, Watch that the quarter notes are given their precise tythmic value (don’t rush them)! Play measure 1 & 2 three times, then meas. four & five, ot ome oo od Dpe « dade do deed i[eeodedddis 3 - | R L RERR L R LERLLE RLRRLRLL R R L RLLR L R LRRL RLLRLRRL R R L RRLR L R LLRL RRLRLLRLR R L RLRL LR LRLR RLRLLRLRR Exercise #7: "Mr. Freeze” Use this exercise to work on downstrokes (described on page 9), taps (described on page 14) and upstrokes (described on page 11), Squeeze the stick slightly ‘on each downstroke to control the rebound and "freeze" the stick 2 inches above the drum, then immediately relax the hand for the taps and upstroke, Play the taps as soft, relaxed wrist strokes (2-3 inches), then lift on the upstroke to prepare for the next downstroke. Tews P| vt Gre |e Frew | ot Tce | oe pap= ene ed ae ae R R R RRRRR L LLLLL Lo LELLLL DON tap op tp ap op DON tap ap tap tap up ON tap tap ap tap ap DOWN xp tap tp tp up Exercise #8: “Bucks in Three” Using the same basic technique as Exercise #7. Strive to play the exercse at two heights: 12 inches (a “full” stroke) forthe accent and 2-3 inches for the tap ‘and upstroke. Remember: lt the weight of the forearm and wrist take care ofthe volume of the accent! Don't use any mare tension than is necessary! 4 eo z + o “fs so # z . + | R R R R R R L L L L L L Down tap up, DOWN tap up DOWN tp up, DOWN tap, up Exercise #9: “Extended Doubles” ‘ONLY practice this exercise with your hands on your legs or with the sticks on a pillow! Stay relaxed, but do not allow the stick to bounce. L RRLLRRLL RL RRLLRRLL RRLLRRLLRRLLRRLL R RLLRRLLRR LRLRLLRRLLRR LLRRLLRRLLRRLLRR- L Exercise #10; “Flam Prep” Use this exercise to isolate the sof, relaxed grace notes ofthe flam as descrived in Lesson 7. Remember: two heights ~ 12 inches for the PRIMARY stroke, 2 inches for the grace notes. Exerose C should be played with an upstroke mation on the final grace note to prepare for the flam on the opposite hand. pia i es a LLLR LLLR RRRL RRRL LLLR RRRLAccessory Percussion These short etudes were written to give the serious percussion student an opportunity to perfect the methods of playing the various accessory percussion instruments. While playing techniques often vary from teacher to teacher, the instructions glven on the next 5 pages will give the student a basic knowledge of common practices regarding the accessory instruments. Read through the explanations on the pages that follow, then work master each etude below. Etude for = = = = . Bass Drum baad ed i eed a f P Etude for Crash | Cymbals DEpS = 2 eee lo o f —__ P peopel hy Ay Lh, . mf s | > wy fo a ee = ] Lf dim. poco a poco p Etude for fambourine Fh f - P - Sf P “¢ 4 g \ 2k sie FE = 2 oe 2 ove tee oe lees f P [ — ee Ser SESS nf KHRHKH K KHKHKH K KK KHKHK kK KHKH K KHK A SaaS =] * f erese. fA FRESH APPROACH ‘meal Vea aa by Mark Wessels “A Fresh Approach to the Snare Drum” is the most comprehensive method available that simultaneously provides instruction for rhythm reading, technique fundamentals, rudimental training, coordination and musicianship necessary for today's well rounded percussionist! The accompaniment MP3 CD makes practicing FUN by utilizing percussion instruments and grooves from around the world! Ew! DRUMSET N MARK WESSELS PUBLICATIONS! A FRESH APPROACH TO THE DRUMSET que independenc Including 40 dynamite play-along tunes Featuring some of LA's finest musicians! MARK WES 5 iiclupeot IT’S THE PERFECT COMPANION TO A FRESH APPROACH TO THE SNARE DRUM! TEM Naw Ask for “A Fresh Approach to the Drumset” at your local music store Or order online at www.mwpublications.com aE Ree Ee a ee ele DE a tea ee eC LF A Fresh Approach to the Snare Drum FATTSNCD-BOOK with MP3 CD: $16.95 | || i 9! 780978478411