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The Journal of PERCUSSION PEDAGOGY

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The Journal of PERCUSSION PEDAGOGY The Journal of PERCUSSION PEDAGOGY Volume 1, No. 1 October 2008 The Journal of Percussion Pedagogy Vol. 1, No. 1 October 2008 LETTER FROM THE EDITOR Cort A. McClaren Welcome to The Journal of Percussion better and better musicians, and where ideas Pedagogy (JPP). I look forward to that project us beyond the norm abound. launching this journey of sharing Uninhibited communication has been the information, expanding horizons, and norm for the National Conference on enhancing communication through the JPP. Percussion Pedagogy since its inception. Success of the Journal depends on the Now, via the JPP, we have another venue for community of percussionist/musicians expressing our ideas - Ideas that will form adopting a common goal of “making a the future of teaching percussion. difference.” May I encourage every reader to imagine the possibilities, set aside bias, You are cordially invited to join the and aim for a world where high school discussion. graduates are fluent readers, where musicianship is the supreme goal, where university teachers are prepared to deal with Cort McClaren 1 The Journal of Percussion Pedagogy RUDIMENTS – AN ALTERNATIVE APPROACH Laura L. Franklin When I was asked to write an article on something more complex. These non- “rudiments” for this publication I thought, musical definitions can help us arrive at a “Are you kidding? Why are we still talking working definition that suits the purposes of about this?” Why, indeed. As recently as this article. A rudiment should be April 2005, Percussive Notes devoted an something that is essential to the issue largely to the discussion of rudiments. development of a higher level skill or The cover of the issue read: “Rudiments essential to percussion playing and Revisited: Were 26 enough? Are 40 too performance. Rudiments, then, are not in many? How about 80?” (Percussive Notes, and of themselves higher-level skills; rather, vol. 43, no. 2, April 2005). they may be more simplistic or basic ideas that can be applied in increasingly complex The fact that we even have to ask that musical situations. question is symptomatic of a much larger problem concerning rudiments: As experts A definition of a rudiment was presented by in our own field, we percussionists have Haskel Harr. Harr, writing in Percussive failed miserably in our attempts to 1. Define Notes in 1979, took similar ideas into what a rudiment is; 2. Describe the purpose account when presenting his definition of a of a rudiment; and 3. Express the proper drum rudiment as: “…a fundamental place rudiments have in percussion study rhythmic pattern which, when practiced and performance. As a result, rudiments diligently, will aid in developing a basic have taken on a life of their own apart from technique for playing the drum.” (PN, vol. any rational methodology for teaching 18 no. 1, 1979, p. 71) percussion, and have forced us to 1. Try to rationalize their very existence; 2. Invent I would propose as a working definition a increasing numbers of rudiments in attempt slight revision of Harr’s: A rudiment in to ensure their relevance; or 3. Ignore them percussion playing is a fundamental altogether. This article, then, is an attempt sticking pattern or skill set which will aid to start a discussion about the purpose and in developing a basic technique for necessity of rudiments in our teaching and musical performance on percussion performance, and to present an alternative instruments, specifically, the snare drum. methodology for the study of percussion that This definition allows for a broader view of may replace the traditional view of ourselves as percussionists rather than rudiments as the “scales and arpeggios” of “drummers” while retaining the idea of a our instrument. rudiment as a basic or fundamental skill. The revised definition also highlights that What is a rudiment? which must be the paramount concern to all percussion performers and educators – A rudiment, as defined by the American playing music. Heritage Dictionary, is, “1. A fundamental element, principle, or skill. 2. Something in If we can agree on this definition of an incipient or incompletely developed “rudiment,” we may begin to arrive at an form.” These two definitions together understanding the proper purpose and place express the idea of a rudiment as something for study of rudiments in percussion that is basic, or elemental – a part of performance. something larger, or the early stages of Volume 1, No. 1 – October 2008 2 Place of Rudiments in Percussion Study: National Association of Rudimental Drumming. The 40 International Drum Rudiments, as they are published and disseminated Given this history, we can see that there is presently, are mistakenly used or interpreted an historical significance to many of these as a basic skill set or benchmark for all rudiments. However, the educational and percussionists, regardless of personal goals pedagogical significance of these rudiments or area of interest. And although those who is not as clear. Almost by accident, what are trained percussionists may intuitively began as a limited number of sticking know which rudiments are important to their patterns used on one instrument for a particular area(s) of expertise or interest, specific purpose became mistakenly having a list of 40 rudiments sanctioned by regarded by most percussionists as a the professional organization of necessary part of our technical development. percussionists leads other educators (such as This is simply untrue. There are numerous band directors) to think that these rudiments ways to achieve technical proficiency as a are all equally important to all students, and percussionist that don’t include study of the that mastery of each is essential to effective 40 International Drum Rudiments, but that performance on percussion instruments. will still result in the ability to play a This is simply not the case. For almost rudimental snare solo, as well an orchestral every student, the study of rudiments as they snare solo or a mallet or timpani piece, etc. are presently understood can be eliminated One alternative to the traditional approach is from the percussion curricula without any presented here: significant compromise in a student’s ability to become a competent, professional As educators, we can approach percussion musician. teaching with one primary goal: Our students will be able to perform music at Why are rudiments unnecessary in increasing levels of musical maturity and percussion study today? First, consider that technical difficulty. To this end, we have rudiments originally served a military two musical objectives that will help us purpose. There were a small number of achieve this over-arching goal: 1) The sticking patterns that were played to ability to read and interpret music at an communicate specific commands across a increasingly high level; 2) The ability to battlefield. There were other rhythms or recognize and shape a phrase within a given patterns that signaled events in a soldier’s musical context. We also have two primary day outside of battle. Thus, simple, technical objectives that will help us meet repetitive patterns were developed to serve this goal: 1) The equal development of both those needs. Over time, these became more hands; 2) Control of the sticks or mallets at complicated and more numerous, requiring all tempi and dynamic levels. greater skill to execute them properly. In response to the desire of rudimental In order for effective learning to take place, drummers to display their skills publicly, the student must have the opportunity to competitions were held in which the practice these objectives in a structured way. performance of rudiments comprised one The teacher’s responsibility, then, is to lay adjudicated component. In 1932, as a result out a musical path for the student wherein of a meeting of drummers during the these objectives are ordered simple to more American Legion National Convention, a complex, and to provide the appropriate list of rudiments, known as the Essential 13, information and guidance at the appropriate were selected as a membership requirement time in the student’s development. The for the Thirteen Club, organized by the learning must be music-based, not 3 The Journal of Percussion Pedagogy technique-based, in order for both the purpose for teaching rudiments, or even for musical and the technical objectives to be the existence of rudiments. met. In other words, technique is built in response to musical demands, not the other Three intended purposes for the way around. The danger to a technique-first development of rudiments have been put approach is that this may result in a player forth in the last 75 years. These include a who is an impressive technician, but who descriptive purpose – describing the most lacks the type of musical skills necessary to common sticking patterns, a predictive be considered an impressive musician. The purpose – predicting what snare drummers music then becomes subservient to the might encounter in the future; and a technique. prescriptive purpose – prescribing to young snare drummers that which they need to Granted, in order to begin to play any practice to achieve minimum technical instrument, one must have some sort of basis competency. However noble each of these for approaching that instrument. We may stated purposes may be, they are not met and begin by teaching students how to hold their cannot be met by rudiments. Consider the sticks, how and where to stand, how to following: adjust their instruments in relation to their bodies, and how to strike the drum. (A more 1) Purpose I: Descriptive: In 1932 the first complete discussion of this approach can be list of The Essential 13 Rudiments was found in McClaren, Cort, The Book of adopted by the National Association of Percussion Pedagogy, [C. Alan Rudimental Drummers. Later, the same Publications, 2006].) Once the student body adopted The Additional 13 Rudiments.
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