Explanation of Drum Rudiments
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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. -
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. -
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. -
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. -
A Nickel for Music in the Early 1900'S
A Nickel for Music in the Early 1900’s © 2015 Rick Crandall Evolution of the American Orchestrion Leading to the Coinola SO “Super Orchestrion” The Genesis of Mechanical Music The idea of automatic musical devices can be traced back many centuries. The use of pinned barrels to operate organ pipes and percussion mechanisms (such as striking bells in a clock) was perfected long before the invention of the piano. These devices were later extended to operate music boxes, using a set of tuned metal teeth plucked by a rotating pinned cylinder or a perforated metal disc. Then pneumatically- controlled machines programmed from a punched paper roll became a new technology platform that enabled a much broader range of instrumentation and expression. During the period 1910 to 1925 the sophistication of automatic music instruments ramped up dramatically proving the great scalability of pneumatic actions and the responsiveness of air pressure and vacuum. Usually the piano was at the core but on larger machines a dozen or more additional instruments were added and controlled from increasingly complicated music rolls. An early example is the organ. The power for the notes is provided by air from a bellows, and the player device only has to operate a valve to control the available air. Internal view of the Coinola SO “orchestrion,” the For motive most instrumented of all American-made machines. power the Photo from The Golden Age of Automatic Instruments early ©2001 Arthur A. Reblitz, used with permission. instruments were hand -cranked and the music “program” was usually a pinned barrel. The 'player' device became viable in the 1870s. -
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. -
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. -
8 Weeks Percussion Second Half.Pub
More Rudiment Fun! Volume 1, Issue 6 Week 5 Dynamic Fun and More Inside this week: Rudiments Dynamics on 2 Orchestra Bells Dynamic Work- 3 What Gives the Keyboard Instruments sheet Their Sound? Snare Drum 4 As we briefly discussed in sounds are the resonator Rudiments #2 earlier weeks, keyboard in- tubes below the tone bars. struments create different These resonators are spe- Snare Drum 5 pitches based on their cific lengths and sizes. At Exercises #3 length, width, depth, or den- the proper dimensions the sity (composite material). resonators will help create a Weekly Practice 7 clear tone and accurate Chart Adding to the quality of pitch. The vibraphone not only has resonators, but also paddles inside the tubes. These pad- dles are turned by a motor and the speed determines the width of vibrato pro- duced. The sounds is meant to mimic that of a human voice. Chimes The resonator tubes on the The chimes are re- marimba can be quite lengthy lated to keyboard and windy. Due to the low instruments. Each pitch and timbre needed the tune on a set of resonators must be large to chimes is like one key accommodate the sound. on a keyboard instru- ment. Chimes are struck at the very top with a rawhide ham- mer. Like the piano and vibraphone it has What To Expect This Week... a dampening pedal, that when pressed, allows the notes to ring. This week we will take some great percussionist. the book and look carefully time to focus purely on the at the items listed on the On snare drum we will learn fundamentals of playing. -
“Wrap It in Rhythm”- Celebrating the Heartbeat of A+ with Music
Beverly Botsford- Cross-Cultural Percussionist Performing and Teaching Artist, A+ Fellow [email protected] www.beverlybotsford.com (919) 824-3821 “Wrap it in Rhythm”- Celebrating the Heartbeat of A+ With Music A Workshop for Teachers Using Drumming, Percussion, Movement, and Word to Build Community, Honor Accomplishments and Inspire Innovative Classroom Action Focus Questions: How can we use rhythm and music to enhance curriculum and engage diverse learners? How is music a tool for building community, celebrating accomplishments and inspiring innovation? How are language and music connected? Goals: Have fun and build community through music. 2) Share, honor, inspire and empower personal and group accomplishments in arts in education and innovative teaching practice. 3) Learn strategies for using rhythm for classroom management, building fluency, enhancing core curriculum and engaging diverse learners. 4) Share ideas for simple, home-made percussion instruments that can be used in the classroom. 6) Collaborate, create and connect with our A+ Community. 7) Generate excitement and a renewed sense of community and support in the work that we do. Session Content and Agenda: Wrap it in Rhythm-build a beat, weave a word, celebrate, let your voices be heard! In this music workshop, Beverly guides teachers in an ensemble, teambuilding, percussion experience that celebrates the importance of arts in education and shares strategies that use rhythm as a tool in the arts integrated classroom. 1) Create a Rhythm Orchestra- Using words from inspirational quotes that speak to the heart of A+, we will “Wrap it in Rhythm” as Beverly guides teachers in a music experience creating a multi-layered, rhythm orchestration that honors culture and celebrates our common connections as well as our diversity. -
TC 1-19.30 Percussion Techniques
TC 1-19.30 Percussion Techniques JULY 2018 DISTRIBUTION RESTRICTION: Approved for public release: distribution is unlimited. Headquarters, Department of the Army This publication is available at the Army Publishing Directorate site (https://armypubs.army.mil), and the Central Army Registry site (https://atiam.train.army.mil/catalog/dashboard) *TC 1-19.30 (TC 12-43) Training Circular Headquarters No. 1-19.30 Department of the Army Washington, DC, 25 July 2018 Percussion Techniques Contents Page PREFACE................................................................................................................... vii INTRODUCTION ......................................................................................................... xi Chapter 1 BASIC PRINCIPLES OF PERCUSSION PLAYING ................................................. 1-1 History ........................................................................................................................ 1-1 Definitions .................................................................................................................. 1-1 Total Percussionist .................................................................................................... 1-1 General Rules for Percussion Performance .............................................................. 1-2 Chapter 2 SNARE DRUM .......................................................................................................... 2-1 Snare Drum: Physical Composition and Construction ............................................. -
General Musicianship Questions
General Musicianship Questions Each Rockschool grade exam ends with five questions asked by the examiner. The examiner will ask you these questions using a piece played by you as a starting point. In Grades 1-6, you will be asked questions in two main areas: (i) music notation and (ii) knowledge of the guitar (including amplification). In Grades 7 & 8 you will be asked a third category of question concerning history and style. Here are some sample questions that are typically asked by Rockschool’s examiners grade by grade, along with sample answers typically given by candidates. As a general rule, in Grades 1-3, examiners will ask candidates four questions on music notation and one instrument question. In Grades 7 & 8 you can expect questions to cover all three categories of notation, style and instrument knowledge. Please note that these are indicative questions and some may be asked in more than one grade. Grade 1 The music theory questions here refer to the performance piece ‘J.K.’, page 5. Q: What does 4/4 mean? A: Four quarter notes (crotchets) in a bar Q: What are the two drum voices at the beginning of the piece? A: Ride cymbal and kick drum Q: How long does the kick drum note last? A: One beat Q: What type of notes are the hi hat playing in line one? A: Eighth notes (quavers) Instrumental question: Q: Take me round the drum kit and tell me what each drum and cymbal is called Grade 2 The music theory questions here refer to the performance piece ‘Speed Data’, page 4. -
Alfred 2008-2009
Alfred 2008-2009 Percussion Catalog • 2008-2009 PERCUSSION learn•teach•play music CATALOG Alfred Publishing Co., Inc. USA/Canada: P.O. Box 10003, Van Nuys, CA 91410-0003 Asia: 15 Queen St. #04-08, Tan Chong Tower, Singapore 188537 30% total recycled fi ber Australia: P.O. Box 2355, Taren Point NSW 2229 Printed in USA Germany: Hansestraße 99, 51149 Köln U.K.: Burnt Mill, Elizabeth Way, Harlow, Essex CM20 2HX U(a38081*MRTMRp(u alfred.com 00-104085 / wo 82110 Alfred Publishing Co., Inc. P.O. Box 10003 Van Nuys, CA 91410-0003 alfred.com 08 percussion catalog cover 2_kp.indd 1 4/11/08 8:48:58 AM CONTENTS 1 DW DVDs ...............................................................................................................................2 Personality Titles A—Z .........................................................................................................4 Drumset Methods, Collections, Duets/Solos .................................................................19 Drum & Snare Drum Methods, Collections, Duets/Solos .................................................................................................32 Keyboard Percussion Methods, Collections, Solos, Duets/Trios, Ensembles ........................................................................................38 Percussion Ensemble Collections ...................................................................................43 Individual Percussion Ensembles ...................................................................................44 Multiple Percussion Solos