| Pe rere er Pop EM SKIS | INCLUDING DOUBLE DRUMS AND Z INTRODUCTION TO TIMPANI + A complete personalized modern course in percus- sion studies, including all standard and modern drum strokes, as well as drum solo passages from world famous concert and¢ymphonic compositions, together with striking exercises for double drumming. ‘An analysis of the Timpani—the instrument, tuning, correct method of playing, rhythm, and beats. or BENJAMIN PODEMSKI - Renowned Percussion Artist with the Philadelphia Symphony Orchestrary f, his STANDARD SNARE DRUM METHOD Including Double Drums and An Introduction to Tympani by BENJAMIN PODEMSKI a Senin © 1940 Renawes 196) MILLS MUSIC. INC anf Conta BEAM ME UEMURI fo CPP WIN, INC. Mani FL, 33014 ional Copynunt Secured Made inaad In presenting the most complete and most recent drum course es written by Benjamin Podemski, one of the world's foremost percussion authorities, much re- soarch, caro and editorship has been placed-in an educational work most sincere and applicable to the drum student's end professional's needs. The object of this Method is to furnish the music student with the basic fundamentals necessary to the mastery of the rudiments and technique of drum- ming plus @ generel knowledge of music reading,.as well as orchestra and concert band drumming. The text is composed of @ compilation of studies which the author has used ond continues to wie with artistic success. Benjamin Podemsti, famous percussionist with the Philadelphia Symphony Or- chestre since 1923, playing under Leopold Stokowski, Eugene Ormendy, and guest conductors, has achieved brilliant percussion effects that have gained him world recognition. He has ako appeared with Arturo Toscanini, Fritz Reiner, Victor Herbert, Richord Strauss, Vietor Kolar, Sokoloff, and other great symphony conductors in the United States and Europe. 2 mot active educational force in the field of standard His drum method percussion art today. Full care is given to drum strokes and to the explanation of modorn rhythms. Every lesson is a valuable addition to the percusionis's study. ‘The book is profusely illustrated with drum solo passages from concert and sym- Phonic compositions as well as striking examples for double drums—bess and snare—in simultaneous execution. Cautiouly anelycing the tympani for parcuion players, Podemsli explains ‘the instrument, the correct method of playing, tuning, rhythm for the tympani are included in the volume. The course that follows is definitely a university of musical and percussive thought, ‘THE PUBLISHERSBENJAMIN PODEMSKI| Correct Method of Holding Snare Drum Sticks PART I-BASIC DRUMMING ee ‘Note Values, Musical Terms and Expressions ...... The Roll ....[.2.02 eae The Flam 1. The Drag ... ees The Four Stroke Roll et ‘The Five Stroke Roll or Gruppecco ‘The Four Stroke Rell ‘The Single Stroke Roll The Seven Stroke Roll . Flam Strokes Drag Strokes vs. Combination of $ezdkes “Abbreviated Values Elementary Beat Exercise Studies E TABLE OF CONTENTS ‘ 2 B “ 6 Bw as 16 7 8 1” 20 2 Exercte No. 1 2 Exercise No. 2 2 Exercite No. 3 3 * Exercise No. 4 2s ‘ Exercise No. 5 26 Exercise No. 6 paeth ed apc7 x Enercie No. 7 2 i Exercise No. 8 2» Exercise No. 9 on 2 Seudies in Flas Exercise No. 10... n Exercie NOM ose 32 Exercise No. 12... 8 Rhythm and che Percusionist o | A Szudy in Rhythmical Division «2... 35 Exercise NOS oocccscseseesescseeees 36 Exercise No. 14 ” Ceuth Roll Ehercae No.l oe Exercises in Abbreviated Values Exercise No. 16. 38 Exercise No. 17 : , 40 Exercise with Scotch Snap and the Reverse Exercise No. 18 a Exercise No, 19 ca |, PART IIADVANCED EXERCISE STUDIES F Exercive No. 20 * Exercise No. 21 4 Exercive No. 22 peeE Correct Method of Holding Snare Drum Sticks Inside of rig hand with fick held upward6 PART I BASIC DRUMMING NOTE VALUES FE ¥ j ‘Here is given a diagram showing the proper way of dividing a whole note. ‘The whole note or 4 quarters = This is how 8th, 16th and 32nd notes appear when written separately (not in group form). ds 3 3 aS 8th notes 16th-notes 32nd notes RESTS r 4a 2g Ya Ve Ye Yge or whole or half right ©1940 (Renowod 1968) MILLS MUSIC, INC. ‘A Rights Aan to and aad by BEAMEME UP MUSIC co CPP/SELYIN, ING. Mur, FL 33014 Madein USA. AIRGAS “Intemational ComyrghDOTTED NOTES AND DOTTED RESTS g ‘Written Equals These notes are equivalent to these rests. Written Equals A dot placed after a note or rest increases its value by one-half. THE DOUBLE DOT ‘Written Written Equals A double dot after a note or rest increases its value by three-fourths. _ 113938 Artificial groups of notes which are played in other than their original form. wes, The Triple d j 2) tein dotted ser eres ‘The Sextuplet mee plryalincbeyaloe oe (sO Melee on: Group of five fm irre asia ee BB Bae Group of seven inna played in the valueof J ddd dd noe : Group of four J J q peered ix crratae ot ees pe eee a Group of two ce played in the value of Pimp ee Group of three quarters id dl pepetintiewsiocct dd ae Ws eee eens ee) eres eters dd” ames lo MUSICAL EXPRESSIONS MOST FREQUENTLY USED Ff forte (meaning) Loud SF fortissimo (meaning) Very loud SPF fortississimo (meaning) Extremely loud mf -mezzo forte (meaning) ‘The medium between soft and loud. | P piano (meaning) Soft PP pianissimo (meaning) Very soft (PPP pianississimo (meaning) Extremely soft. mp mezzo piano (meaning) Medium between soft and very soft.MOST FREQUENTLY USED TIME (Tempo) 9 Moderato (meaning) Moderate Allegro (meaning) Lively Andante (meaning) Slow Adagio (meaning) Slower than Andante 0 Vivace (meaning) Quick Presto (meaning) Very quick ‘Tempo di March (meaning) March time A FEW OTHER MUSICAL EXPRESSIONS AND SIGNS Pf ————— crescendo diminuendo ncreasing in loudness Gradually softer A Sforzando f. strongly accented of Fermata over note or rest-to be held at pleasure by instrumentalist or conductor. Ritardando ( .) slowing down of speed. Accellerando (accel.) Gradually increasing speed. Dal Segno sign %§ (D. S.) wherever the D. S. sign is used, it means that #hat 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.10 REPETITION SIGNS “A section of music is sometimes played twice. The signs for showing where the repetition begins and ends are these: I No definite number of measures. I Ne elie mniber of | pee j These two signs are identical in meaning. 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: E 2 2 A B Cc D The student will understand that in printed music the letters A,B, C, D, are not used, but are 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 Ca 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 1 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 student 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 to D. 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 2 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 2 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.S. 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 il skip will be marked with the word Coda or with the same sign € or sometimes with word and sign. 11393n 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 ‘ RITORNELLO SIGNS 2 [See ‘When a preceding measure is to be repeated this 7 symbol is used. ‘When two preceding measures are to be repeated this Ae symbol is used. 2. Abbreviations of rests by means of conventional signs. 4 6 8 1012 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 fon any other beat than the one which ordinarily carries the accent, syncopation will result. natural i a! A A A Wen” A syncopated A A 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. It is advisable for 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 OR ce Rete aoe very gradually increasing the time. AAs 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 «nd 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. RRULRRLLRRLL RRLLRRELRRLLRRLERR UL pa =Js" s > SS SS SS SS SS SSS SSS SSS (THE FLAM 13. ‘The Flam isan 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 chan the quarter note _; the accent, however, should be on the quarter note and sound something like this—FLAM-FLAM Diagram I Diagram IL R > Le R> L > R > L R Diagram DI ESS = See R L R L R L R & The Flam should be practiced as shown in diagrams—first from left to right, then right to left and final- ly from hand to hand. The student will find it best to always use the Flam 2s shown in Diagram I, as it is safest for speedy and clean technique, unless a passage is very difficult and alternating is really necessary.a THE DRAG ‘The Drag is 2 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: g g 5 z This can also be practiced the reverse way thus: and finally from hand to hand thus: R L R L L z= & =e Es fe == == SS] pf pf PF Pf PF BPS BFS PSF 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 = vo Vo eyTHE FOUR STROKE RUFF © A Mordente of four notes. aa 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, ow R LRLR GRLR GRL R LRLR LRLR the only difference being thar in such passages as thesethe triplet has its proper time in the division, while in the four stroke ruff the triplet or the ornamental notes do not cake up any time in the division, THE FIVE STROKE ROLL OR GRUPPETTO. R R g R Ic ean also be practiced the reverse way. & & Se ee Generally it is best to play from the right hand. THE FOUR STROKE ROLL A Four stroke Roll especially adapted to pianissimo passages. R R PPP PPP PPP PPP PRP 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 oo long or too rough. Some will attempt to play with a drag in order to get a smooth pianissimo effect but ic will be too shore and the five stroke roll too long. It is essential, therefore, to study the four stroke roll as outlined above. This will be found to be a diffi- cult technical stroke bur with a little patience and enough practice the student will be rewarded for his efforts, This stroke can also be used vo great advantage in F passage in 2/4 and 6/8 marches and the like. 1139316 THE SINGLE STROKE ROLL Single stroke rolls are the most effective strokes on the snare drum. Considerable practice is neces- j sary to develop the strokes evenly. : Various ways of practicing the single stroke roll. RLRLRLERLRLRL RLERELRELRERLRLRLULRLS ERLRDURDRLRLRODRDTR CRURLRLRLRLRERLR* RLRLRLRLRELRLESZERERERERLRLRS RLRLRLRLRLRL RLERERLRLRERL “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. RLRLR LE RLRLR L RLR OL RRLRLR RLRL R RLRLR L RLRLR RLRL R RLRLR RLRLRLRLRLRL RLRLRLRLRL RLRLRLRLRLRL RLRLRLR In executing these passages with single strokes you will notice that the 32nd notes will sound erisp, snappy and even. The five stroke roll is a poor substitute for the single stroke and should never be used in its place. " 11393THE SEVEN STROKE ROLL v7 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 be played from. either hand, it being advisable, however, to finish wich the right hand. Alternating Stroke Paradiddle Alternating Flam Paradiddle LRERR &LRLL iR& RR AL RL L The above fingering is excellent practice for dexterity, but to simplify the séroke and flant paradiddle it may be played in the following ways: Stroke Paradiddle RLRL RE REL RE RL ROL OR L Flam Paradiddle Drag Paradiddle RLRR Relat RL RR EAREL EL Should be executed from hand to hand. Double Paradiddle RLRLERRLRERLL RLRLRRLRLREL Double Drag:Paradiddle RURLRR LRLRLL RLRLRR LRLRLL Double Flam Paradiddle RLRLRR LRLRLL RLRLRR LRURLL“fingerings” noted. F gs a - 4 bad 3 : 7 HH | 7 ay 3 a8 bag ea be lg pot LTE ve | con ee TH Liv 8 Per Bugs a a 0 eee Masieniel gies aaa fe oe os 5 a dias eae ase pene age sere ae 2 3 es Hi aaa «49 — | 3 saad Fae ae i E wh eaue Been g a ae rere at i is ei Bon saad 3 i gies sane aang : = Gal é g Hy Pegs a Bad Gradually increase speedw “DRAG STROKES RRL ark BRE LLR Li R Ral LER Gases EERERLARRLR LLERRLR LERRLR LeRRLR LURLRL exRLR ER tt R LRLRRLRLR LER RLR BL zal RLR LERERE RRL RLR EER LORD20 COMBINATION OF STROKES 3 3. 3 2 TDR &RLRL RLRERL xaeb ti RL RERERLR Note different fingering in second measure. TR LURERERERL &~L it R tR CRERER LR DRL wR L Ro uR rab RLRER Ro LR wRL RLRL ‘Note different fingering in second measure. RLUR RRL RL RL ap LRLRLRL Riu R RL GER. RLURGRRL BLLRRLIR % LER LR ER L eeb RLR LR + 11393ABBREVIATED VALUES aI ions in manuscript or printed music by means of signs. Written Played Written Played Written Played Written Playeda RB ELEMENTARY BEAT EXERCISE STUDIES R. Indicates right hand. No. | | | L. Indicates left hand. | Slow (4 beats in a measure). Count One (and) Two (and) Three (and) Four (and) 1& 26 8& 4& 16 24 8& 4&4 1 2% 34 4% 16 26 3& 4% 11893No. 2 28 Two beats toa measure. Count One (and) Two (and)a ii 2 The numbers| ¥ with lines drawn across the stave separating the measures, denote whole mea- ~~ sures of rest. No. 3 4 Exercise in quarter and eighth notes. Count One (and) Two (and) | 1@ 2 @ 1& 2& 14 2 &@€ i 28 1 & 2 & 11398‘The fingering (L. R.) must be carefully observed. 25 No. 426 No. 5 5 3/4 Time—Count One (and) Two (and) Three (and) a Moderato 9 M 4 Sets Mie 1B, eee Balad ee tt Letters A-B-C-D-E-F-G denote the different sections of music. Sometimes numbers are used instead. ) , * aases 1a The two sixteenth notes should be of the same duration as the eight note, no longer or shorter. = No. 6 A RLR RRR ROR RL OR DE. 2 8) eo eee th B - d 8 RoORL Rte RO RIE RL RL RE Rt yD i 2 12 1 RRLRL RL RRLRL RRLERL RRERLR ReRiR ANo.7 28 11393L 29 ‘The groups of four sixceenth notes should be played with single stroke beats, shu EET and com- Anencing always with the right hand. No. 8 © w wy w T 2 2 ” ® + +++ Dots are often placed to denote the number of beats,30 A study in abbreviated quarter, eighth and sixteenth notes. No.? 1 a. ‘The measures marked with letter Z are purposely divided so for quick eye raining. ey | Abbreviated As PlayedNo. 10 a STUDIES IN FLAMSNo. 11 32 11393‘This ex 33, Please observe the > accents. fo ee gk gk Last Measure Ss Abbreviated ‘As played @ At letter G a repeat % sign to che preceding half measure is inserted. This is a common occur? ence in orchestral work, 11393Ba RHYTHM AND THE PERCUSSIONIST RHYTHM is the occurrence of accented beats at regular short intervals of time. Most persons have 2 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 ix more clearly, a strong rhythmic sense means three things: First, the ability to maintain a beat for 2 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 best 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), 25 it most commonly is, the musician must be able to break up the beat into two equal parts, eighth notes ( J) ), four equal parts, sixteenth notes ( fi), eight equal parts, thirty-second notes ( f ), etc, or into any combination of these smaller units (that is, any rhythmic pattern) that the composer may require, Ic 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 co rhythm, the percussionist occupies 2 position in the Orchestra of great importance. If a player of one of the melodic instruments (cello, etc.) i deficient in rhythmic sense his deficiency will sometimes be covered up for years 2s he will always be able wo 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. Ii 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 the 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 imverpret che 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.ERENT ON ORIEL AL DIVDIOIN The dividing of these examples should be understood thoroughly by the student before proceeding further with the exercises. ‘Written differently bur rhythmically alike. = The only way to sustain notes on the snare 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 ace macked by a number 3 over or under a group of three nove, 7° $ * which means that they care to be played in th time of ewo notes of the same duration, Jane Please observe expression marks. cf P =f p ————F P—_—_—F — “11393oa 38 No. 15 CRUSH ae a] Py Pr lPrd | Moderato a 11393IN ABBREVIATED VALUES 39 No. 16 EXAMPLES FOR THE FOLLOWING EXERCISE EXERCISES As Written As played R RLRLR RRLRLR RRLRLRLRL RLRLR R_LLER LK RLL RL R RILRE RE RR LERIL ow Har em RLRLRUERLE RLERUERLRRL RLRLRERRL RERE RRL RURERERRE 42 RRLRLRLR The fingering used in this exercise is optional as long as the necessary result is achieved. ‘The student can use the fingering 2o which he can best adapt himself.11398No. 18 #1 EXERCISE WITH SCOTCH SNAP AND THE REVERSE Ss os As Wri As played Fithee fingering may be used.a2 No. 19 RLULRLR RULRLR11393 ADVANCED PART II EXERCISE STUDIES No. 20 43aa No. 21 4d RLRERLRELRELRLRLR LR LRERL RURLRELRL RURLRLRL RLRLR RLRLR 113933/8 time. Count three to each measure. Moderato46 No. 23 A B ‘The groups of three sixteenth notes ddd are to be performed. in'the time of two of like value in the regular thythm. Three counts to each measure. 4. 2 11393Two beats in a measure. Abbreviated As Played No. 24 a7Count all the eighths. No. 25No. 26 ie - 49 Slow—counc each eighch. Se Saas = 11393Tempo di Polacoa2/4 Syncopation No. 28 ot ‘The orover division for syncopation. “11393be No. 29 11393oo 33 7 No. 30 1139354 No. 31 ‘Two counts to the measure. 1189355, ‘Three counts to each measure. Nai 32 1139356 No. 33 Slow tempo 1139811393No. 36 59 Maestoso 1139360 No. 37 Moderato f = —— From X to X may be omitted. 11393or? i _ No. 38 = 1139362 No. 39 11393‘Three counts to the measure. eet 11393a 11393 Maréh tempo oF No. 41Three beats to a measure. As Written ‘As played66 No. 43 Count 12/8 to each measure or 4 if faster tempo is being played, 11393Ts { = No. 44 8 \ 2/4 Syncopation > Ff 11393No. 45 69 Exercise with single stroke rolls.No. 46 70 ModexatoFast tempo No. 47 n Two beats to the measure. 113932 PART lil MODERN RHYTHMS AS EMPLOYED BY CONTEMPORARY COMPOSERS DIFFICULT DIVISIONS ANALYZED ‘Two beats to the measure. 7 wa Written and proper divi- sion for execution. Same division as above in 6/8 time. ‘Two beats to the measure. ca aes oes ES Py Written As played i TT im i | Te ek £ Four beats to the measure. ? eo eS. Written [| . : As played e Fae 3 3 é ¢ Written a As played Two beats to the measure, ‘Weitten As played11393a No. 49Four beats to a measure. No. 51% No. 52 11393SWING STROKES rcs RELL RELERL LRLELRELR LE REEREL Single strokes ERURGCRRELREL RERRLLRERLR RLLRLRLRRL oR ame wit arp ae Dae Dn ae Pan Pe = — Alll Flams to be played from left hand. RLLRLERL LREL RULE me_with right and Crush.® No. 53 A STUDY IN. SYNCOPATED RHYTHM ™ = = - f > > RLLR LR RULRELRL LRULRLLR RLLRLR a BUDEULE BI eee = 7 2 a| i aia Se eae: UY" DOUBLE DRUMMING EXERCISES FOR DOUBLE DRUMS AND SOLO PASSAGES FROM MOST RENOWNED COMPOSITIONS Lively March tempo zo [ 1139380 March tempo ee eee 113938L March tempo | DRUMS SAND_PAPER, x RUNS “1139382 Excerpts from F. E. Aubers Overture MASANIELLO. To be played two in a measure. Allegro Moderato 11393 ‘PART V FAMOUS DRUM SOLOS Opening measures of F. E, Aubers’ Overture FRA DIAVOLO. 8. D. Sole z poco a. poeo decrese. PP PPP The ordinary five stroke roll should not be used in the above passage. It should be executed with single strokes as written.{ 84 Excerpts from Franz v. Suppé’s Overture PIQUE DAME Allegro con fuoco, orese. Piu mosso | 11393Important solo work for the snare drum from Rimsky-Korsakoff’s CAPRICCIO ESPAGNOLE. ALBORADO Vivo @ strepitoso mole crwa | °7MR anon FANDANGO OF THE ASTURIAS Vivace assai 11393B Excerpts from Franz Liszt's SECOND HUNGARIAN RHAPSODY Prestissimo ‘TYMPANI | Andante Presto 11393Adapted from A. V. Kontsky’s AWAKENING OF THE LION Caprice Heroique Tempo di Margia 87 2 3 3 3 a 2 3 PP. poco "eres, Fi Z 3g 3 Se orf Tempo di. Marcia ti — P— 113938B - PART VI AN INTRODUCTION TO TYMPANI Much is required of the student who wishes to study Tympani. The student must possess good rhythm, 2 keen ear and a fair musical training. The knowledge of snare drum execution and ability to read drum parts ore not sufficient and do not mean that the student is ready to undertake the study of tympani. Those desirous of studying the tym- Bani should be able to play che piano, which is mes suitable co Ye percussionist, or some additonal must cal instrument. | If the student has no musical training other than che percussion inseruments, 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 ===] thar is, f che tympani are of regulation size (28x 25 or 27424) which are used for ordinary work. However, the contemporary composers go far beyond that range and write as low a: low © > and as high as high A => for which special size kertles have to be built. To geta low G the tym- pani should be about 3 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 pani is and the range of the 25 or 24 inch eym- TUNING OF THE TYMPANI To assure uniformity, adjust the tension of che 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- low the “A” sound. For example, if the sound of the tympani appears to be below the “A” or any other desired note, then, 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, nacural with all instruments, are more common with che 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 lefe 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 consists of alternate single strokes. ‘A. good roll and tone depends not oily on good quality and properly adjusted heads but also on the ‘correct way of holding and swinging the sticks. The sticks should be held loosely for greater fiexibility. “The hand position of the sticks for playing tympani should be the opposite of the position for playing the bells or xylophone. (See illustration) To develop the tympani roll the student should begin practicing with a slow motion, increasing the speed gradually and evenly until a fase tempo is reached, A maximum speed should not be atcempted 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 the center a that will produce a dull chud instead of good tone. Strike the heads about four inches from the hoop. Good tympani sticks aze very essential to the player. As good sticks are difficul: 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.HAND SCREW TYMPANITHE CORRECT POSITION OF HOLDING THE STICKS THE INCORRECT POSITION OF HOLDING THE STICKSEXERCISES FOR TYMPANI 192 in 6-C Moderato 3 2 Z 3 3 11398in G-C0 Vivace (fast tempo) 11393ry in Bb-Eb Six beats m the measure. nf -——_ } 11393ITALIAN BY-WORDS AL..or Alla... see Toe ee Ate Sotto. . UII under Tanto. 2/1) As much Troppo Too mach Une--0F Una... AL...0r One MUSICAL TEMPO TERMS Adagio. +A slow movernent Andante: ‘Moderately slow Andanting + ‘Less moderately ‘Allegro... [Quice and lively Allegretto 5 [Moderately quick Largo... 0202002202010) [Bread and siow Larghetto. 220.2 UU Tess chan Largo: Lento... LILI einurely slow ‘Moderato fiorecto Moderate time Presto Faster than Allegro Prestissimo =o... ot ccesccso2. sWery fast time Accelerating “Ageing ‘Animating ios de eee ang Stringendo. 22. Seeing 21 Lewerying Vivace Vivo. 21 Vivid RETARDING TEMPOS Allargendo -Slower and broader Calando 52.22) 22Cai 1.7.1 Letening tem; Tikal 10.251 Gradually slower Ri Retarding-fempa [Retaining ‘Spars “Enlarging SUSPENDING TEMPOS Adib... .At liber Ga At esate TINA pleasure -Rectingly Unshythmically Without-tempo RESTORING TEMPOS A Tempo Back in time Tempo guisto.. Suice tine ‘Tempo primo. “-Quanal time Liistesco tempo. Estindo .. ‘Barely audible Forte-pisno Tond-sofe Forte Pianissimo |. Flnwiore Eales oe ae Sorat ny oe “Date oe Sonu 1. ‘Sessere cee Boachel Tenae Pedi fal Un pote pling. Tite sate ie ae ee MUSICAL EXPRESSIONS Ai os neocon tr Ain eee ioe epee “Alene hee ee dana caenioes CEO vA Allegena SIE peat Spear Prcety ee Arseny Bearers son 0 eee Balante i Seley Cine oe needy Cos pened Bee A Sea Delco Balece Bape ney Debnase: Scity sweety nee bate oon Basted Eepua Ls Elegnatiy Energico . Energetically Espressivo express |<... Expressively fore fee — Groce eo Sed! are a. fewer ae . oe, Gee a as Meee Melanesia =. sees96 Nobile .. Patetico Pesante | Pomposo Religieso Risolato Rustico 11111! Sernplice Sentimente | Spiito Teanquillo .. Tristemente Vigoroso Arco. Arpeggio » Amca | Bis Deas Dus Divisi = --Nobly Pathetically Heavily Pompously Religiously 1 Decidedly ee LL Simply 200277 [Sentimencally Spirit, life Tenderly ‘Tranquilly Tristflly Vigorously MUSICAL TERMS A Bow, booing Harp-like chord ‘Waring-attack Repeat term Chord or string Fad, fish + Back to beginning Back to sign “Divide the pacts uo sAduet Fine 1 [Bnd Finch Ds TAs written Maggiore “Major Mowe ‘Mince Modo se TEIN Mode Opus «A Work Oftava 22! Soave Pedale | ‘A fot pedal Prats ager packed Ponament 201000000000 Tying Primo... "Finsepart Replica ‘An aaower ‘Seconda Second: part Some low directly Senile ‘Simialy Soli. Pharal of Solo Sordini Muted Tact .. Thema Timbre ‘ Tremolo Tat Unione Vibrato ‘Vibra Volto Subice rea MUSICAL CHARACTERS Diverssement Ehgia Eee Fig Gave Gondola Himoresque Irmprompte tncemedo TA Venetian bout song in 6/8 TA descriptive short song a TA Spanish dance utvally ia ‘A lively dance in common dime 1A short song or ballad ‘A old French dance "Am Italian boat song LIA Sonata for Orchestre An unaccompanied vocal chorus ‘An elaborate theme or solo for voice In 2 capricious o fanciful style fn ai of expresive style At aks deiged for voces ‘AS elaborte mle composition in'an entraming mood Elegy ot contemplative sigle Jn's fee and fancifl sith Ins content syle Ko a duple time ‘A humorous composition mprovised—spontancously short enter act masc ‘Of a romantic duricer | Cussial German soog | Elaborate wocal manic Clacactertc acc tyke ‘A graceul pie in Romantic nocsueal smle {A anusical drama from the scripusres Instrumental introduction music ‘A Polish dance in 2/4 or %4 1A Polish dance in triple time ‘A short piece of extempore character “Pastoral or rucal character ‘A song of romantic expression “Piece ef imegular form ‘Piece of recurring themes ‘An antique slow dance “An evening love song. in a playful manner ‘An instrumental work in 3 or 4 parts