¥ POD EM SKIS | INCLUDING DOUBLE DRUMS AND e INTRODUCTION TO TIMPANI + A complete personalized modern course in percus- sion studies, includinig all standard and modern drum strokes, as well as drum solo passages from worid- famous concert and¢ymphonic compositions, together with striking exercises for double drumming. ‘An analysis of the Timpani—the instrument, tuning, correet method of playing, rhythm, and beats. BENJAMIN PODEMSKI - Renowned Percussion Artist with the Philadelphia Symphony Orchestrary b, his STANDARD SNARE DRUM METHOD Including Double Drums and An Introduction to Tympani by BENJAMIN PODEMSKI a Sepmisht © 1940 (Renewed 1968) MILLS MUSIC INC {troy BEAN EF MUSIC fo CPP LMR INC, Mm, FL 33014Sed In presenting the most complete and most recent drum course as 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 mest 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- ring 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 and continues to use with artistic success, Benjamin Podemati, famous percussionist with the Philadelphia Symphony Or- chestra since 1923, playing under Leopold Stokowski, Eugene Ormandy, 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 most active educational force in the field of standard His drum method percussion art today. Full care is given to drum strokes and to the explanetion of modern rhythms. Every lesson is a valuable addition 40 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 drum+—bass and snare—in simultaneous execution. Cautiouly anelyzing the tympani for percuuion 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 @ university of musical end percussive thought, ‘THE PUBLISHERSBENJAMIN PODEMSKI: TABLE OF CONTENTS : > a | core Mebod of Holing Sure Drum Secs 5 PART I-BASIC DRUMMING es eS Neo Vidoes MOST Te tess le Th xo ee a ee ‘i ‘Theil © dla neki ie ob B The Drag ..... a peice: 4 ‘The Four Stroke Roll ae. at Ths Fir See Ril 9 Goats | 1s “The Four Subke Ret 1s The Single Stoke Rll eee The Seven Seroke Roll ....... ra nese Se e Dep es te a; Coabiscia cosas eS lea [ASieriad Vata oe Eaeebe Na. 37 28. Elementary Beat Exerc Sade ine - 2 nec iNo 2 3B Exercise Ne 3 ‘ a aecie No.4 ei Bazin No a eae ees ig 3 Exercise No. 7 2 r eerie No.8 = Enecoe No.9 0 Sead ia Fane See pot eee es Enecte Ne 12 es: naraheulcsretaseat eels | a nua A Study in Rhythmical Division .. = 35 Seen em Re ie = Exercise No. 14 oe rot el hei Naas s nec in Abbeevated Values Baer No. 16 aly ‘Exercise No. 17 i 40 = : acai artisan ad Gel aoe : eee fa 2 Yo REIN er rf Exercise No. 19 42 ‘Examples of Tympani eae ge Eh. |. PART I—ADVANCED EXERCISE STUDIES (Correct and incorrect postions. oF holding E Exercise No. 20 ie a a 1 eae ; “ ee en dL aef Correct Method of Holding Snare Drum Sticks of sick in Jolt hand —~ oht handover tek6 PART | BASIC DRUMMING NOTE VALUES nea ‘Here is given a diagram showing the proper way of dividing a whole note. ‘The whole note or 4 quarters This is how sth, 16th and 32nd notes appear when written separately (not in group form). ed 3 3 4-3 8th notes 16th notes 32nd notes RESTS 4Ya 2g Ya Ye Ye Yge or whole or half right ©1940 (Renewed 1968) MILLS MUSIC, ‘A Rights Assigned to and Clit ty BEAM ME UP MESIC oo crn, INC, Muni FL 33014 Secured Madein USA. Ail Rights “International Copyright SecuDOTTED NOTES AND DOTTED RESTS cl ‘Written Equals These notes are equivalent to these rests. Written Equals ‘A dot placed after 2 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. _ 11398Artificial groups of notes which are played in other than their original form. The Triplet The Sextuplet Group of five Grouped area Group of four Group of two Group of three quarters ‘Group of three halves ie played in the value of played in the value of played in the value of peter ieee played in the value of played in the value of played in the value of played in the value of Fa tees ees 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 pianisissimo (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 Vivace (meaning) Quick Presto (meaning) Very quick ‘Tempo di March (meaning) March time A FEW OTHER MUSICAL EXPRESSIONS AND SIGNS P ——— _f —————_ pp crescendo f ‘diminuendo increasing in loudness Gradually softer A Sforzando 6 strongly accented ef a 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. ee eee ‘pee i 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 z 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 C a numeral 2 followed by a horizontal line over the stave, : The section as originally written is from A to C. The measures B to C are called the first ending. The measures C to D are called the second ending, ‘The section will then be played without breaks or pauses in this way—from A to B, from B to C, from A to B, from C to D and then on. The important thing for the 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 woD. 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 2 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 thissign _ @ 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 Ds Capo or D.$. He will then return to the beginning (D.C.) or to | the §§ (D.S.) and play the composition through again until he reaches the Coda mark. Thence he will skip to the Coda which will be printed at the end of the work. The exact place to which he is to i 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 SS ‘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 ‘on any other beat than the one which ordinarily carries the accent, syncopatian will result. natural A A A A A = 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 x ers Ra aaR ih ib very gradually increasing the time. AAs soon as the student fees chat 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. RRDLRRLELRRLL RRLLRRLLRRLLRRLLRRLL > Bo Sas > — OO SS SS Se eS Se eS SeTHE FLAM 13. The Flam is an appoggiatura. (Appoggiatura means leaning against.) The Flam if properly executed is effective and plays an important part in drumming. The grace note should be play distinctly but more softly than the quarter note _; the accent, however, should be on the quarter note and sound something like this—FLAM-FLAM Diagram I Diagram Il R > L R > L > R > L R Diagram IL ESS Se See R L R 1 R if R ib 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 as shown in Diagram I, as it i 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: & & This can also be practiced the reverse way thus: 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 2 clean even group of «three notes as it should be Right Way 11393THE FOUR STROKE RUFF oo) A Mordente of four notes. The three ornamental notes soft and the eighth notes loud, striking the principal note on the beat with the right hand. The time between the beats should be equal. Begin slowly, gradually closing up the stroke. The technique of the four stroke ruff is also used on the following passages, ov RUAPLURGL) REMANGRT AlRNER YT RORUOLERYL: ReSeeLIREL 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 take up any time in the division, THE FIVE STROKE ROLL OR GRUPPETTO. R R g R Ic can also be practiced the reverse way. & & Seere eee anee 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- i sary to develop the strokes evenly. : Various ways of practicing the single stroke roll. RLRLRLRLRLRL RERELRERERERLRLRLS ERDRDRDRLRLRODRDR CRURLRLRLRLRLRL R* 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 LL. RLR OL RRLRLR RLRL R RLRLR L RLRLR RLRL R RLRLR RLRLRLRLRLRL RLRLRLRLRL RLRLRLERLRLRL 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. fi 11393THE SEVEN STROKE ROLL a ene “F P f P F P f 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. cither hand, it being advisable, however, to finish with the right hand. Alternating Stroke Paradiddle Alternating Flam Paradiddle The above fingering is excellent practice for dexterity, but to simplify the stroke and flant paradiddle it may be played in the following ways: Stroke Paradiddle PL) aes SRN eRe Flam Paradiddle Drag Paradiddle RLRR iconeiaerl RL RR aaa Should be executed from hand to hand. Double Paradiddle RLRLERRLRLERLLEL RLRLRRLRLREL Double Drag:Paradiddle RURLRR LRLRLL RLRLRR LRLRLL Double Flam Paradiddle RLRLRR LRLRLL RLRLRR LRLURLLiB ' 25 ME, t liies: ai 3 fae aii Lac ee a A Lee 6 9 oe PES TE ao ¥ gM se Ee OMS 7 oO Jonetonstenna Pay aaa 0 Oe ot 5 eee iy ets me 03 a eal aay ax 0 ae pats: Bylo aks ee ie Aefera pee eae ame i eo ane fet § ae nce f i ; ay sae g rae a Pead eon Re i aus 4 3 2 dat 6 & Hy Bede a Bad Gradually increase speedw DRAG STROKES RRL nal BRL LLR LER Ral LER LLR LURRLR tt RRLR tuRRLR LER RLR LER LRLRRERER iteRERLRALR buURLRL anbR LR BL RRL RLR ctR LRL xeabL RLR EER ORD20 COMBINATION OF STROKES | | | | 3 3. 3 2 | TLR &RLRL RLRERL rab wiRLRERERLR Note different fingering in second measure. TR LURERERERL &L it R tR LRERER LR GRE wR L Ro uR eebR-LRER w Ro LR wRL RLRL ‘Note different fingering in second measure. RLUR LR AL RL RL apLRLELRLRL Ru RRL GR. RLERiRAL BLERRLER R LER LR LR L eeb RLR LR 11393ABBREVIATED VALUES . a ions in manuscript or printed music by means of signs. Written Played Written Played Written Played Written Playeda. 2 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& 2&6 8& 4& 16 24 8& 4&4 14 2% 34 4% 16 26 3& 4% R 11393No. 2 28 Two beats toa measure. Count One (and) Two (and)a 1 He) The numbers| = sures of rest. with lines drawn across the stave separating the measures, denote whole mea- ~~ No. 3 4 Exercise in quarter and eighth notes. Count One (and) Two (and) | guigee dea) & eee eee ee eee As 11393‘The fingering (L. R.) must be carefully observed. & No. 426 No.5 3/4 Time—Count One (and) Two (and) Three (and) > Moderato a aber s CMMMMerE a Lai, Pema Se ya Seep ok a Letters A-B-C-D-E-F-G denote the different sections of music. Sometimes numbers are used instead. “11393as 2 > The two sixteenth notes should be of the same duration as the eight note, no longer .. oF shorter. = No. 6 R R RLRL R Ra RL, PE! 2 8) ee Oe eM Bo ee a A 8 REORL RoR Re REUREL | REMRME RL FRRLRL 2 frare eat, Pee RL REISE RRL RL RRL RRL - 1 2 T 2 Dr © 2ae z is 2g my 3. RLR RL ro R LR RL RRR, 1 2 1 R_RER EL 2 if 2 RRLRL gy eT 2 RRERLR Retr A pre wees rs 2 ApS a aes TRE 2p Ik 2 RL RULRL RRLRL RRL R 11393No.7 28 11393RURL 20 "The groups oFilctig a eee eeesete eT Mpemeenetis tiinele secoke beats shu EET and oe Detacing alwayswul needs + No. 8 a f 2 2 2 f 2 J, * ‘ ® I Abbeevined pee tf Abbceviaeds pwont—ob ~ aPhsed REESE Absa, (te poe + +++ Dots are often placed to denate the number of beats.% 30 A study in abbreviated quarter, eighth and sixteenth notes. | No.@ 1 2 The measures marked with letter Z are purposely divided so for quick eye training. ey Abbreviated As Playedon No. 10 31 = STUDIES IN FLAMS @ i) ) 1999090No. 11 aLast Measure Ss oF jated As played = At ee Ga repeat % sign to the preceding half measure is inserted. This is a common occurr- ence in orchestral work. 11393Be RHYTHM AND THE PERCUSSIONIST RHYTHM is the occurrence of accented beats at regular short intervals of time. Most persons have 2 natural chythmic sense and are able co keep time. Additionally, the musician, and especially the percussionist, needs not merely a natural, but very strong rhythmic sense. To define it more clearly, a strong rhythmic sense means three things: First, the ability to maintain a beat for 2 ong period of time (say five minutes) at a given tempo without permitting the beat to become either fast er or slower. Second, the ability to combine beats into any kind of grouping the composer may call for and to change the groups as frequently as may be necessary. Third, it means the ability to break up the beat into smaller units and to execute any kind of pattern made up of those smaller units. For example, if the beat of the piece is indicated by quarter notes (J ), 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 ( f\ ), eight equal parts, thirty-second notes ( \ ), 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 as he will always be able to follow the others, to play with the section. The sound of his instrument need never emerge from the general mass of tone. The percussionist, however, has no such safety. Practically every instrument he plays will emerge from the general mass of tone. When- ever any percussion instrument is played it must be struck at exactly the right instant, neither too soon nor too late. If the percussionist is deficient in rhythmic sense and training he will never. know when that exactly right instant might be. I he scrikes 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 interpret the conductor, ‘At rehearsals and at performances the percussionist must place his stand, his music, his instruments and himself in such « 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.eo EET UNO RETTTEIMELAL = UDIVIDKOIN ‘The dividing of these examples should be understood thoroughly by the student before proceeding further with the exercises. Written differently but 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 notes, are to be played in th 3 w means chat they time of ewo notes of the same duration, Sideas Please observe expression marks. ef P =f P—_————F P— “11393aol 38 No. 15 CRUSH ROLL 9 adr dx lPret | Moderato of 11393EXERCISES IN ABBREVIATED VALUES 39 No. 16 EXAMPLES FOR THE FOLLOWING EXERCISE As Written As played R RLRLR RRLRLR RRLRLRLRL RLRLR R LL RL EK RLL RL R RLEL RAL GRR ER DRO TAE A RLRLRERL RLERER RRL RLRLRERRL RLURLRRL RURERERRE 4 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 himselé.11393EXERCISE Fichee finge may be used. No. 18 5 WITH SCOTCH SNAP AND THE REVERSE As Wri As played —a No. 19 RILRLR RULRLR 11393PART Il 48 ADVANCED EXERCISE STUDIES No. 20 11393i RURLRLRL No, 21 RLRLRLR LRUERLRLR L RL RURL RLURLRLRL RLRLR RLRLR3/8 time. Count three to each measure. 7 Moderato‘The groups of three sixteenth notes ddd are to be performed. in'the time of rwod @ of like value in the regular thychm, Three counts to each measure. 4. 2 gas a No, 23 ps! : , | | | | 11393Two beats in a measure. Abbreviated As Played48 Count all the eighths. No. 25No. 26 z 49 Slow—counc each eighch. = SSS = y 7 — ‘4 SS eS i 2 2 2 —— SSSba No. 27 Tempo di Polacoa2/4 Syncopation No. 28 at The prover division for syncopation. 113935 No. 29 : 113931139354 No. 31 | Two counts to the measure. F fNo. 32 ‘Three counts to each measure. 1139336 No. 33 Slow tempo ‘ 1139858 No. 35. 11393No. 36 59 Maestoso 1139360 No. 37 Moderato F From X to X may be omitted. 11393J =n —_ No, 38 _ 113932 No. 39 Syncopated 4/4 time. > 11393‘Three counts to the measure. he pate 11393| ode 11398 Maréh tempo af No. 41We 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.N 1" 5 2/4 Syncopation > Ff EaNo. 45 69 Exercise with single stroke rolls.a No. 46 Modexato 70Fast tempo No. 47 n Two beats to the measure. 11393a. ae eee a n PART Il MODERN RHYTHMS AS EMPLOYED BY CONTEMPORARY COMPOSERS DIFFICULT DIVISIONS ANALYZED ‘Two beats to the measure. 7 a Written and proper divi- sion for execution. ‘Same division as above in 6/8 time. ‘Two beats to the measure. eet ores ae ee ve Gey ‘Written = As played a = a ; ft Spee Pe Re ee Cte Four beats to the measure. \ 7 ge ae Written [1 As played 3. oes 2 ams 3 Three beats to the measure. Written \ As played Two beats to the measure. Writcen ‘As played11393a No. 49No.5 Four beats to a measure.No. 52 11393SWING STROKES A REG REGRE ERELRELR LE lyn Single strokes RRELRE RERRLLRLRLR RLLRURLRRL &R RJ rnd wit Peace Pam Tacx Temn Poze] —— Alll Flams to be played from left hand. REL RLERL L REL RULE R-LERLEREL me with right 5 = and Crush. RiS No. 53 A STUDY IN. SYNCOPATED RHYTHM Si = of: = > > RLLR LR RLLELLRL LRLLRLLR RLLRLR 2 ee eS zB 2 3) oa > > _ERLRiR RELRLRERRLEREREa, a TF DOUBLE DRUMMING EXERCISES FOR DOUBLE DRUMS AND SOLO PASSAGES FROM MOST RENOWNED COMPOSITIONS Lively March tempo Paar oo 1139380 Mare! tempo + > 113938 March tempo DRUMS SAND_PAPER, a = pd al alae ea altar ofa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. Solo 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 fuoeo , reso. 1 Piu mosso 11393 \Important solo work for the snare drum from Rimsky-Korsakoff’s CAPRICCIO ESPAGNOLE. ALBORADO Vivo @ strepitoso mplecrua |. OMB ALONE, t FANDANGO OF THE ASTURIAS Vivace, assai 113938 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 Marcia $ 2 a aos 87 3 3 3 PP. poco Terese. 3 ay fe Tempo di. Marcia 1139388 z 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 are 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 mest suitable co Ye percusonist, or some addional must cal instrument. If the student has no musical training other than che percussion instruments, he must then study sol- feggio with a reputable music teacher before he attempts the tympani THE RANGE OF TYMPANI The range of the tympani is one octave ===] that is, if che tympani are of regulation size (28x 25 or 27x24) which are used for ordinary work. However, the contemporary compoiers go far beyond that range and write as low as low = and as high as high A for which special size kettles have to be built. To get a low C the tym- pani should be about 38 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 and the range of the 25 or 24 inch tym- 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- Tow 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, natural with all instruments, are more common with the cympani 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 lef 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. Ie consists of alternate single strokes. A good roll and tone depends not oly 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 2 slow motion, increasing the speed gradually and evenly until a fast tempo is reached. A maximum speed should not be attempted until such 2 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 as that will produce a dull thud 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 a in A-D92 in G-C Moderato 3 z i 2 3 11393in G-C0 Vivace (fast tempo) 11393cry in Bb-Eb Six beats m the measure. mf 11398 ——ITALIAN BY-WORDS AL....or Alla weet eTOs. sot é ae Tvery Well With ‘From But ‘Less Halt Mach or Very + Moved or More MUSICAL TEMPO TERMS Adagi +A slow movernent Andante: ‘Moderately slow Andantine ‘Less moderately Allegro... U1 lQuick and lively Allegretto I [Moderately quick Largo... -. 20120, [Bread and slow Larghetto UU Tess chan Largo. Lento .. Leisurely slow ‘Moderato fice li IMederate time Presto Faster than Allegro. Prestissimo 0000.00 .cc..2s.2. sWery fast time Accelerating “Agtating ‘animating 3 1000 Seting Stengendo. 20 Seriag 211 Tewaring Vieae Vivo. 01 Liviu RETARDING TEMPOS Allargando 2 .Slower and broader Calando 2220.2 C3i “Lestening tem; Rallentando 1). Rall [Gradually slower Ritardando Rit Retarding-fempo Ritenuto, 7 10. cRetaining Slargando 1. .sparg -. 1. “Enlarging SUSPENDING TEMPOS Ad libitum........Adlib ..... At liberty ‘Alla cadenza! |! (Cad At leisure A. piacere ves tissvessAt pleasure Recitstivo 11.1... .Retit +» -Rectingly Rubato Unshythmically Senza-tempo : Without-tempo RESTORING TEMPOS A Tempo. Back in time ‘Tempo puto... Settine Tempo primo. *Oniginal time eile 1Seme time Listesco tempo. Srmate 120. Accented 1S Medium soft Halfvoe “Dying Away Growing fainter Soft Very soft ‘Sof then ond Rinlorsedo : aa : Soran Fieger Sues “"Undetone Sonn ‘Sestuped Sman Benched tence SUBS fu ‘Un poco ‘piano = Little softer. Un poco Hort. locker MUSICAL EXPRESSIONS Abbandono ... vs Abandonment foes a Ae ae “Alene ee fo Reeritede Ett ame ‘Alleges Soe orem Soekeonss Peony Aaa Tt acdeely Beavers SSS aa Balnte a Balleey Glnenbis 222000o iter coe Melody Grease Copel Bess Sea Delis. Bale Bisperse ‘Besa Dols, Seity, mee Doloroso . +. .Doleful peers Bramtaliy Elgunea Elgaaty Beeson Oe i pected, Poche leche Mery bow Fimocah Faneso Partesly Giocoso ........... * avert Sees al Grandiono 3 ied Se ee Heroica ..... eee Heroic Imperioso e Imperiously Innocent oo. jo. lc lcs. clamor ee “Sorowtaly Faia Toot [a ee a See ety Meee cy Mataaly pee. "Melee Menon. Miswiens96 Nobile Patetico Pesante | Pomposo Religieso Risolato «2. Rustico 11111! Serplice Sentimento | Spiito Teanquillo .. 11. Tristemente Vigoroso ‘eco se ane oe Chosia Brey » C50 Dustino Brit Nobly Pathetically Heavily ‘Pompously “Religioasly “Decidedly Rustically 1" Siomplicigy + Sentimencally Spirit, life Tender ang Tha “Vigorosly MUSICAL TERMS A Bow, booing Harp-like chord ‘Watning-atack Repeat term ‘Chord or string End, fish C22. Back to beginning : Back to sign Divide the poets A duet ‘End or Finish ScAs written -Major Dao ok. aes Loco Mapeiore Minore Modo... Opus Clave: Fecal | Pints Portamento 200002202220 22 Scar Primo Erepert Replice ‘An atowee Seconda Seane Senile Sol. Sordi Tact Thema Timbre Trenoio Ther aaa Vibrato Woleo Subics MUSICAL CHARACTERS A Cappella dra Bees Balad Balers Bounce Ciprce | Crbeonctia Contin Geral Concent Diventemeat Elegie Fas Ei Gave! Gondolica Hmoresque Irmprompte tntemedo Lagend es, Macrigd Marae Minsero Norma Onion. Ouvemice Ponca Polontise Prelude =. Pastore TA Venetian boat song in 6/8, TA descriptive short song UA Spanish dance urvally ia ¥, ¢ ‘A lively dance in common dime 1A short song or ballad -An unaccompanied vocal chorus ‘An elaborate theme of solo for voice In a capricious or fanciful style fa ai of expresive style ‘An ai designed for voce Ad labore sole comportion Ro “in an entertaining mood “Elegy; or contemplative style In a free and fanciful spicit In a contrapuntal style ‘An old French danc: in. duple time “An Italian boat song ‘A humorous composition “nmprovised—spontancously ‘Short enter'act music [Of romantic character | ‘Classical German song Elaborate vacal music Characteristic macch style “A graceiul piece in 7h Ramantic nocearnal style {A musical drama from the scripuures Instrumental introduction music ‘A Polish dance in 2/4 or %4 2A Polish dance in triple time ‘A short piece of extempore character “Pastoral or rural character ‘A song of comanti expression Piece et regular 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 LIA Sonata for Orchestre \