Knight Document

Total Page:16

File Type:pdf, Size:1020Kb

Knight Document UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE TRENDS AND DEVELOPMENTS IN THIRTY PROMINENT SNARE DRUM METHOD BOOKS PUBLISHED IN THE UNITED STATES FROM 1935 TO 2008 WITH A REVIEW OF SELECTED MATERIAL A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By Joshua J. Knight Norman, Oklahoma 2014 TRENDS AND DEVELOPMENTS IN THIRTY PROMINENT SNARE DRUM METHOD BOOKS PUBLISHED IN THE UNITED STATES FROM 1935 TO 2008 WITH A REVIEW OF SELECTED MATERIAL A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY _____________________________________ Dr. Lance Drege, Chair _____________________________________ Dr. William Wakefield _____________________________________ Dr. Eugene Enrico _____________________________________ Dr. Roland Barrett _____________________________________ Dr. Mary Jo Watson © Copyright by JOSHUA J. KNIGHT 2014 All Rights Reserved TABLE OF CONTENTS CHAPTER I Introduction ............................................................................................................................1 Need for the Study ................................................................................................................4 Purpose of the Study ............................................................................................................6 Limitations of the Study......................................................................................................7 Design of the Study................................................................................................................8 CHAPTER II Survey of Related Literature ......................................................................................... 10 Theses and Dissertations ............................................................................................... 10 Books, Articles, and Data Bases.................................................................................... 15 Electronic Catalogs ............................................................................................................ 19 CHAPTER III REVIEWS OF THIRTY PROMINENT SNARE DRUM METHOD BOOKS PUBLISHED IN THE UNITED STATES FROM 1935 TO 2008 1. Rubank Elementary Method, Drums by Paul Yoder.......................................... 21 2. Stick Control by George Lawrence Stone ............................................................ 22 3. Drum Method for Band and Orchestra by Haskell W. Harr .......................... 24 4. Drum Method, Book II by Haskell W. Harr .......................................................... 25 5. Standard Snare Drum Method by Benjamin Podemski ................................. 26 6. Drum Method by Charley Wilcoxon ....................................................................... 28 7. Modern School for Snare Drum: Combined with a Guide Book for the Artist Percussionist by Morris Goldenberg ........................................... 29 8. The Moeller Book: The Art of Snare Drumming by Sanford Moeller .........30 9. The Roll by Emil Sholle ................................................................................................ 33 10. Here’s the Drum by Emil Sholle ............................................................................. 34 11. Accents and Rebounds by George Stone ............................................................ 35 iv 12. Elementary Drum Method by Roy Burns .............................................................37 13. Intermediate Drum Method by Roy Burns ........................................................ 38 14. Snare Drum Method, Book I, Elementary by Vic Firth .................................. 40 15. Snare Drum Method: Book II, Intermediate by Vic Firth ............................. 41 16. Developing Dexterity by Mitchell Peters ........................................................... 42 17. Method for Snare Drum by Jacques Delécluse ................................................ 43 18. Odd Meter Calisthenics by Mitchell Peters ....................................................... 44 19. The Logical Approach to Snare Drum, Volume I, by Phil Perkins ............45 20. Primary Handbook for Snare Drum by Garwood Whaley .......................... 46 21. Alfred’s Drum Method, Book I, by Dave Black and Sandy Feldstein ....... 47 22. Alfred’s Drum Method, Book 2, by Dave Black and Sandy Feldstein....... 48 23. A Fresh Approach to the Snare Drum by Mark Wessels .............................. 49 24. A Sequential Approach to Rudimental Snare Drum, by Tom Morgan ... 51 25. Mastering the Rudiments, by Alan Keown......................................................... 53 26. Simple Steps to Successful Snare Drumming by Kennan Wylie................. 54 27. Savage Rudimental Workshop by Matt Savage................................................ 55 28. Rudimental Logic by Bill Bachman ...................................................................... 56 29. Snare Drum Technique by Pablo Rieppi ............................................................ 58 30. Rudimental Arithmetic by Bob Becker................................................................ 60 CHAPTER IV TRENDS AND DEVELOPMENTS OF SELECTED MATERIALS 1. Set‐Up and Maintenance ............................................................................................. 63 2. Note Reading and Music Fundamentals............................................................... 66 3. Grip....................................................................................................................................... 69 4. Stroke ................................................................................................................................. 74 5. Rudimental........................................................................................................................ 82 6. Exercises ........................................................................................................................... 91 7. Etudes, Solos, and Excerpts .....................................................................................101 v 8. Organization ..................................................................................................................110 CHAPTER V Introduction .......................................................................................................................121 Recommendations ...........................................................................................................122 Need for Further Study...................................................................................................127 Conclusion ...........................................................................................................................129 BIBLIOGRAPHY ........................................................................................................................131 APPENDIX A Currently Published Snare Drum Method Books ...............................................134 APPENDIX B Top‐Selling Snare Drum Method Books..................................................................147 APPENDIX C Snare Drum Method Book Comparison Chart .....................................................149 vi ABSTRACT This document examines thirty prominent snare drum method books published between 1935 and 2008 in the United States. A review of each method book is provided, followed by a discussion of trends and developments in individual components including set‐up and maintenance, note reading and music fundamentals, grip, stroke, rudimental instruction, exercises, etudes and solos, and organization. By exhibiting developments and trends this study informs snare drum pedagogy and provides valuable comprehensive educational material for students and educators. The study also allows performers to efficiently filter through various approaches to technique and serves as a guide for effective musical contextualization. vii CHAPTER I Introduction The proliferation of snare drum method books published in the United States during the twentieth century necessitates an examination as well as an analysis of trends and developments in these publications. Inconsistent instruction in snare drum method books is apparent as early as the nineteenth century. Charles Ashworth and Samuel Potter, authors of two early nineteenth‐ century snare drum method books, present different explanations of fundamental techniques. For example, Ashworth (1812) writes, “The upper, or left‐hand stick must be firmly held between the thumb and two middle fingers and rest on the third finger. The lower, or right stick must be held fast between the little finger . as a man may use a stick in fencing.”1 Potter (1815) suggests that the right hand should be compared to holding a sword and the left hand like holding a pen.2 He writes, “ The right hand stick is to be grasp’d with the whole hand about two inches and a half from the top. The left is to be held between the 1 Charles Stewart Ashworth, A New Useful And Complete System of Drum Beating. Washington D.C, 1812. quoted in James A. Strain, “Evolution of Snare Drum Grips,” Percussive Notes (June 2002): 60. 2 Samuel Potter. The Art of Beating The Drum. London: Henry Potter, 1815. quoted in James A. Strain, “ Evolution of Snare Drum Grips.” Percussive Notes (June 2002): 60. 1 thumb and forefinger of the left hand close to the hollow . .”3 Subsequent methods toward the middle of the nineteenth century go on to present different analogies and conflicting
Recommended publications
  • December 1992
    VOLUME 16, NUMBER 12 MASTERS OF THE FEATURES FREE UNIVERSE NICKO Avant-garde drummers Ed Blackwell, Rashied Ali, Andrew JEFF PORCARO: McBRAIN Cyrille, and Milford Graves have secured a place in music history A SPECIAL TRIBUTE Iron Maiden's Nicko McBrain may by stretching the accepted role of When so respected and admired be cited as an early influence by drums and rhythm. Yet amongst a player as Jeff Porcaro passes metal drummers all over, but that the chaos, there's always been away prematurely, the doesn't mean he isn't as vital a play- great discipline and thought. music—and our lives—are never er as ever. In this exclusive interview, Learn how these free the same. In this tribute, friends find out how Nicko's drumming masters and admirers share their fond gears move, and what's tore down the walls. memories of Jeff, and up with Maiden's power- • by Bill Milkowski 32 remind us of his deep ful new album and tour. 28 contributions to our • by Teri Saccone art. 22 • by Robyn Flans THE PERCUSSIVE ARTS SOCIETY For thirty years the Percussive Arts Society has fostered credibility, exposure, and the exchange of ideas for percus- sionists of every stripe. In this special report, learn where the PAS has been, where it is, and where it's going. • by Rick Mattingly 36 MD TRIVIA CONTEST Win a Sonor Force 1000 drumkit—plus other great Sonor prizes! 68 COVER PHOTO BY MICHAEL BLOOM Education 58 ROCK 'N' JAZZ CLINIC Back To The Dregs BY ROD MORGENSTEIN Equipment Departments 66 BASICS 42 PRODUCT The Teacher Fallacy News BY FRANK MAY CLOSE-UP 4 EDITOR'S New Sabian Products OVERVIEW BY RICK VAN HORN, 8 UPDATE 68 CONCEPTS ADAM BUDOFSKY, AND RICK MATTINGLY Tommy Campbell, Footwork: 6 READERS' Joel Maitoza of 24-7 Spyz, A Balancing Act 45 Yamaha Snare Drums Gary Husband, and the BY ANDREW BY RICK MATTINGLY PLATFORM Moody Blues' Gordon KOLLMORGEN Marshall, plus News 47 Cappella 12 ASK A PRO 90 TEACHERS' Celebrity Sticks BY ADAM BUDOFSKY 146 INDUSTRY FORUM AND WILLIAM F.
    [Show full text]
  • The Snare Drum Roll
    ACADEMY OF MUSIC AND DRAMA The Snare Drum Roll Lúcia Viana da Silva Independent Project (Degree Project), 30 HEC, Master of Fine Arts in Symphonic Orchestra Performance Spring Semester, 2017 Independent Project (Degree Project), 30 higher education credits Master of Fine Arts in Symphonic Orchestra Performance Academy of Music and Drama, University of Gothenburg Spring semester, 2017 Author: Lúcia Viana da Silva Title: The Snare Drum Roll Supervisor: PhD Maria Bania Examiner: PhD. Tilman Skowroneck ABSTRACT Key words: orchestral percussion, snare drum, technique, roll. Like most other percussion instruments, the snare drum was introduced relatively late in the symphonic orchestra, and major changes and improvements concerning its playing techniques are still taking place. One of the most distinctive aspects of the snare drum is the roll, which consists of a challenge that most percussionists face eventually during their career. This project reflects my research on the snare drum roll during the last two years, gives a short background of snare drum playing and its technical development, and provides observations and reflections of different techniques to play a roll. As a percussionist myself, I analyzed and practiced on the execution of rolls as part of the research. This project includes notes on my interpretation of four orchestral excerpts, showing how technical development and control over the roll open musical possibilities to the orchestral percussionist. 2 ACKNOWLEDGEMTS I would first like to thank my supervisor, PhD Maria Bania, who was always available and responsive to my questions and supportive of my ideas. Her enthusiasm and constant demand gave me the drive and encouragement for writing this thesis.
    [Show full text]
  • The PAS Educators' Companion
    The PAS Educators’ Companion A Helpful Resource of the PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE Volume VIII Fall 2020 PERCUSSIVE ARTS SOCIETY 1 EDUCATORS’ COMPANION THE PAS EDUCATORS’ COMPANION PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE ARTICLE AUTHORS DAVE GERHART YAMAHA CORPORATION OF AMERICA ERIK FORST MESSIAH UNIVERSITY JOSHUA KNIGHT MISSOURI WESTERN STATE UNIVERSITY MATHEW BLACK CARMEL HIGH SCHOOL MATT MOORE V.R. EATON HIGH SCHOOL MICHAEL HUESTIS PROSPER HIGH SCHOOL SCOTT BROWN DICKERSON MIDDLE SCHOOL AND WALTON HIGH SCHOOL STEVE GRAVES LEXINGTON JUNIOR HIGH SCHOOL JESSICA WILLIAMS ALABAMA STATE UNIVERSITY EMILY TANNERT PATTERSON CAMBRIDGE UNIVERSITY PRESS How to reach the Percussive Arts Society: VOICE 317.974.4488 FAX 317.974.4499 E-MAIL [email protected] WEB www.pas.org HOURS Monday–Friday, 9 A.M.–5 P.M. EST PERCUSSIVE ARTS SOCIETY 1 TABLE OF CONTENTS BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM 3 by Dr. Dave Gerhart CONSISTENCY MATTERS: Developing a Shared Vernacular for Beginning 6 Percussion and Wind Students in a Heterogeneous Classroom by Dr. Erik M. Forst PERFECT PART ASSIGNMENTS - ACHIEVING THE IMPOSSIBLE 10 by Dr. Joshua J. Knight TOOLS TO KEEP STUDENTS INTRIGUED AND MOTIVATED WHILE PRACTICING 15 FUNDAMENTAL CONCEPTS by Matthew Black BEGINNER MALLET READING: DEVELOPING A CURRICULUM THAT COVERS 17 THE BASES by Matt Moore ACCESSORIES 26 by Michael Huestis ISOLATING SKILL SETS, TECHNIQUES, AND CONCEPTS WITH 30 BEGINNING PERCUSSION by Scott Brown INCORPORATING PERCUSSION FUNDAMENTALS IN FULL BAND REHEARSAL 33 by Steve Graves YOUR YOUNG PERCUSSIONISTS CRAVE ATTENTION: Advice and Tips on 39 Instructing Young Percussionists by Jessica Williams TEN TIPS FOR FABULOUS SNARE DRUM FUNDAMENTALS 46 by Emily Tannert Patterson ADDITIONAL RESOURCES 49 2 PERCUSSIVE ARTS SOCIETY EDUCATORS’ COMPANION BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM by Dr.
    [Show full text]
  • Relating Stave Pitches to DAW Piano & Drum Rolls for Inputting Notes Relating Notation Durations to MIDI Sequencer Note Leng
    Relating Notation durations to MIDI sequencer note lengths Note Name Duration Piano roll Snap/Quantise Semibreve 4 1/1 1-DAW (Digital Audio Workstation): a digital system designed for recording and editing digital audio. It may refer to audio hardware, audio software, or both. 2-MIDI (Musical Instrument Digital Interface): the interchange Dotted 3 - of musical information between musical instruments, synthesizers and computers. Minim 3-MIDI controller: any hardware or software that generates and transmits MIDI data to electronic or digital MIDI-enabled devices, typically to trigger sounds Minim 2 1/2 and control parameters of an electronic music performance. 4-Sequencer: a software application or a digital electronic device that can record, save, play and edit audio files. Dotted 1 ½ - 5-Arrange Window: the main window of Logic Pro. It incorporates other Logic Pro Crotchet editors and it's where you do most of your work. 6-Drum Machine: An electronic device containing a sequencer that can be Crotchet 1 1/4 programmed to arrange and alter digitally stored drum sounds. 7-Tempo: the pace or speed at which a section of music is played. 8-Quantise/Quantisation: the rhythmic correction of audio or MIDI regions to a Dotted ¾ - specific time grid. Quaver 9- Fader: a device for gradually increasing or decreasing the level of an audio signal. Basic Functions of a DAW Quaver ½ 1/8 Audio Recording: The basic function of any DAW is record audio. DAWs can handle dozens to hundreds of audio tracks without causing too much strain on most systems. Audio Editing: Audio clips can be cut, copied and pasted.
    [Show full text]
  • PASIC 2010 Program
    201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space.
    [Show full text]
  • Áskell Másson's Solos for Snare Drum: Maximizing Musical Expression Through Varying Compositional Techniques and Experimenta
    ÁSKELL MÁSSON’S SOLOS FOR SNARE DRUM: MAXIMIZING MUSICAL EXPRESSION THROUGH VARYING COMPOSITIONAL TECHNIQUES AND EXPERIMENTATION IN TIMBRE John Michael O’Neal, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2015 Christopher Deane, Major Professor Eugene Corporon, Related Field Professor Mark Ford, Committee Member Benjamin Brand, Director of Graduate Studies, College of Music James Scott, Dean of the College of Music Costas Tsatsoulis, Dean of the Toulouse Graduate School O’Neal, John Micheal. Áskell Másson’s Solos for Snare Drum: Maximizing Musical Expression through Varying Compositional Techniques and Experimentation in Timbre. Doctor of Musical Arts (Performance), December 2015, 38 pp., 7 figures, 29 musical examples, references, 27 titles. This dissertation and accompanying lecture recital explores the musical elements present in Áskell Másson’s three solos for snare drum, PRÍM (1984), KÍM (2001) and B2B: Back to Basics (2010). Two of the primary challenges for the performer when playing solo literature on a non-pitch oriented instrument are identifying thematic structures and understanding how to interpret all innovative sound production techniques employed within the music. A thematic and compositional analysis, as well as an investigation into the experimentation of timbre found in Másson’s three pieces for solo snare drum will help to clarify the musical complexities that are present throughout. Copyright 2015 by John Michael O’Neal ii ACKNOWLEDGEMENTS My sincere thanks and gratitude to my committee members and mentors Christopher Deane, Mark Ford and Eugene Corporon for their assistance with this project and their influence in shaping me as a teacher and performer.
    [Show full text]
  • A Study of Percussion Pedagogical Texts and a Percussion Primer Nathaniel Gworek University of Connecticut - Storrs, [email protected]
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-7-2017 A Study of Percussion Pedagogical Texts and a Percussion Primer Nathaniel Gworek University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Gworek, Nathaniel, "A Study of Percussion Pedagogical Texts and a Percussion Primer" (2017). Doctoral Dissertations. 1388. https://opencommons.uconn.edu/dissertations/1388 A Study of Percussion Pedagogical Texts and a Percussion Primer Nathaniel Richard Gworek, DMA University of Connecticut, 2017 My dissertation project is in two parts; the first part examines and evaluates percussion pedagogical literature from the past century, while the second is a percussion primer of my own authorship. The primer, which assumes a basic knowledge of standard musical notation, provide a structured system of teaching and learning percussion technique; it is supplemented with videos to utilize current technology as an educational resource. Many percussion method books have a narrow focus on only one instrument. There are few comprehensive resources that address the entire family of instruments, but they generally cater to a college level audience. My research focuses on the layout of the comprehensive resources while utilizing the narrow sources to inform my exercises. This research helped me find a middle ground, providing the technical development of the narrow focus resources while covering the breadth of topics in the comprehensive resources. This, in turn, help me develop an informationally inclusive yet concise resource for instructors and for students of all ages. My primer contain lessons on snare drum, timpani, and mallet percussion, and complementary instruments, such as bass drum, triangle, and cymbals.
    [Show full text]
  • Lance Philip
    TRANSFORMATIONS OF DRUM RUDIMENTS IN JAZZ PERFORMANCES Lance Philip An exegesis submitted to Victoria University of Wellington in partial requirements for the degree MMA New Zealand School of Music 2016 1 Table of Contents TRANSFORMATIONS OF DRUM RUDIMENTS IN JAZZ PERFORMANCES ....... 1 INTRODUCTION .............................................................................................................................. 3 PHILLY JOE JONES. ....................................................................................................................... 4 PHILLY JOE JONES: SOLO 1. ASIATIC RAES. ................................................................................... 5 PHILLY JOE JONES: SOLO 2. JAZZ ME BLUES ............................................................................... 19 PHILLY JOE JONES: SOLO 3. JOE'S DEBUT…………………………………………………. 22 STEVE GADD. ................................................................................................................................. 24 STEVE GADD: SOLO 1. CRAZY ARMY ............................................................................................. 25 STEVE GADD: SOLO 2. THE 11TH COMMANDMENT ...................................................................... 39 CONCLUSIONS .............................................................................................................................. 49 A DRUMMER'S REFLECTIONS: ........................................................................................................... 52 BIBLIOGRAPHY.
    [Show full text]
  • 40 Drum Rudiments with Video Examples
    Drum rudiment 1 Drum rudiment In percussion music, a rudiment is one of the basic patterns used in rudimental drumming. These patterns of drum strokes can be combined in many ways to create music. History The origin of snare rudiments can be traced back to Swiss mercenaries armed with long polearms. The use of pikes in close formation required a great deal of coordination. The sound of the tabor was used to set the tempo and communicate commands with distinct drumming patterns. These drumming patterns became the basis of the snare drum rudiments. The first written rudiment goes back to the year 1612 in Basel, Switzerland.[1] The cradle of rudimental drumming is said to be France, where professional drummers became part of the King's honour guard in the 17th and 18th centuries. The craft was perfected during the reign of Napoleon I. Le Rigodon is one of the cornerstones of modern rudimental drumming.[1] There have been many attempts to formalize a standard list of snare drum rudiments. The National Association of Rudimental Drummers, an organization established to promote rudimental drumming, put forward a list of 13 essential rudiments, and later a second set of 13 to form the original 26. The Percussive Arts Society reorganized the first 26 and added another 14 to form the current 40 International Drum Rudiments. Currently, the International Association of Traditional Drummers is working to once again promote the original 26 rudiments. Today there are four main Rudimental Drumming cultures: Swiss Basler Trommeln, Scottish Pipe Drumming, American Ancient Drumming, and American Modern Drumming.
    [Show full text]
  • First Drums 1958 and 1959
    THE DRUMS OF THE COLONIAL WILLIAMSBURG FIFES AND DRUMS VISIBLE SYMBOLS OF THE CORPS’ LEGACY BY: BILL CASTERLINE, JANUARY 21, 2012 1 FIRST DRUMS 1958 AND 1959 LEFT: Rehearsal inside the Powder Magazine just prior to the first performance on July 4, 1958, playing drums [1] borrowed from James Blair High School, and close up of one of the drums. MIDDLE LEFT: British Army drums in 1959 photo. The flag carrier on right is William “Bill” Geiger, Director of the Craft Shops and supervisor of the Militia and CWF&D. BELOW LEFT: One of three British Army drums purchased in 1959, with added “VA REGT” painted on the shell. The “worm” design on counter hoops is typical of British drums. One of the original British Army drums will return permanently to the CWF&D in 2012. BELOW RIGHT: 1959 Christmas Guns ceremony on Merchants Square, with Captain Nick Payne in uniform of the Virginia Regiment, during which ceremony original Brown Bess muskets were fired by the Militia. 2 Soistman Drums 1960 LEFT: 1958 visit of the Lancraft Fife and Drum Corps (New Haven, Conn.) provided example of top rate unit and demonstrated viability of a fife and drum corps for Colonial Williamsburg. Lancraft brought its “Grand Republic” drums (close up at left) built by Gus Moeller [2] that provided an example for Colonial Williamsburg of the authenticity and sound produced by such drums that CW was seeking since 1953 [3]. LEFT: July, 1960, training by SP5 George Carroll and Old Guard F&D musicians using a “shield” drum loaned to the Old Guard by Buck Soistman [4] and a Moeller drum from The U.S.
    [Show full text]
  • Sight Reading Complete for Drummers
    !!! Free Preview !!! Sight Reading Complete for Drummers Volume 1 of 3 By Mike Prestwood An exploration of rhythm, notation, technique, and musicianship ISBN # 0-9760928-0-8 Published By Exclusively Distributed By Prestwood Publications Play-Drums.com www.prestwoodpublications.com www.play -drums.com Sight Reading Complete for Drummers © 1984, 2004 Mike Prestwood. All Rights Reserved. First Printing, September 2004 No part of this book may be photocopied or reproduced in any way without permission. Dedication I dedicate this method series to my first drum instructor Joe Santoro. Joe is a brilliant instructor and an exceptional percussionist. With his guidance, I progressed quickly and built a foundation for a lifetime of drumming fueled by his encouragement and enthusiasm. Cover Design: Patrick Ramos Cover Photography: Michelle Walker Music Engraving: Mike Prestwood Special thanks to: James LaRheir and Leslie Prestwood Contents Introduction.................................................................................1 Lesson 1: Technique .................................................................7 Lesson 2: Tempo and Beat Grouping.....................................9 Lesson 3: Whole, Half, Quarter ..............................................11 Lesson 4: Snare and Bass ......................................................13 Lesson 5: 2/4 and 3/4 Time.....................................................15 Lesson 6: 8th Notes .................................................................17 Lesson 7: 16th Notes...............................................................20
    [Show full text]
  • 056-065, Chapter 6.Pdf
    Chapter 6 parts played in units. To illustrate how serious the unison, and for competition had become, prizes for best g e g e d by Rick Beckham d the technological individual drummer included gold-tipped advancement of drum sticks, a set of dueling pistols, a safety v v n The rudiments and styles of n the instruments bike, a rocking chair and a set of silver loving n n i 3 i drum and bugle corps field i and implements of cups, none of which were cheap items. percussion may never have been i field music The growth of competitions continued a t a invented if not for the drum’s t competition. and, in 1885, the Connecticut Fifers and functional use in war. Drill moves i Martial music Drummers Association was established to i that armies developed -- such as m foster expansion and improvement. Annual m competition began t the phalanx (box), echelon and t less than a decade field day musters for this association h front -- were done to the beat of h following the Civil continue to this day and the individual snare the drum, which could carry up to War, birthed in and bass drum winners have been recorded e t e t m a quarter mile. m Less than 10 years after the p Civil War, fife and drum corps p u u w organized and held competitions. w These hard-fought comparisons r brought standardization and r o o m growth, to the point that, half a m century later, the technical and d d r arrangement achievements of the r o o “standstill” corps would shape the g l g drum and bugle corps percussion l c c foundation as they traded players , a and instructors.
    [Show full text]