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Rudimentální Hraní Na Malý Buben a Jeho Použití V Sólové a Ansámblové Literatuře Současnosti Bakalářská Práce

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Rudimentální Hraní Na Malý Buben a Jeho Použití V Sólové a Ansámblové Literatuře Současnosti Bakalářská Práce JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra bicích nástrojů Hra na bicí nástroje Rudimentální hraní na malý buben a jeho použití v sólové a ansámblové literatuře současnosti Bakalářská práce Autor práce: Samuel Kmotorka Vedoucí práce: MgA. Martin Kleibl, Ph.D. Oponent práce: Kamil Slezák Brno 2019 Bibliografický záznam KMOTORKA, Samuel. Rudimentální hraní na malý buben a jeho použití v sólové a ansámblové literatuře současnosti. Rudiments for snare drum and its usage in solo or ensemble present literature. Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra bicích nástrojů, rok 2019, s. 41. Vedoucí diplomové práce MgA. Martin Kleibl, Ph.D. Anotace Bakalářská písemná práce Rudimentální hraní na malý buben a jeho použití v sólové a ansámblové literatuře současnosti se věnuje rudimentální hře na malý buben a praktickému využití rudimentů v současnosti. Prezentuje novodobé bubenické orchestry (sbory). Cílem práce je seznámit čtenáře s rudimenty jako samostatnou uměleckou disciplínou, popsat historii vývoje rudimentální hry, přiblížit metodiku rudimentální hry vybraných současných interpretů a zmapovat novodobé bubenické orchestry a jejich působení v současnosti. Značná pozornost je věnována největší organizaci (Drum Corps International), která se věnuje mezinárodnímu vzdělávání mladých lidí ve věku od 13 do 22 let. Právě tato organizace využívá ve svých vystoupeních bubenická rudimentální seskupení. Annotation Bachelor thesis Rudiments for snare drum and its usage in solo or ensemble present literature deals with rudiments for snare drum and also its practical usage in present day and present drum corps. The goals of thesis are to acquaint with rudiments, show the history of rudiments evolution, methodic of some interpreters and map drum corps. We mark out the Drum Corps International as the largest organisation that educates youth from 13 to 22 years old. This organisation uses rudiments and ensemble choreography during its performance. Klíčová slova Rudimenty. Malý buben. Drum corps. Drum Corps International. Marimba. Pochodová bubenická seskupení. Bubenický orchestr. Vojenské bubnování. Keywords Rudiments. Snare drum. Drum corps. Drum Corps International. Marimba. Marching drum corps. Drum corps. Military drumming. Prohlášení Prohlašuji, že absolventskou písemnou práci na téma Rudimentální hraní na malý buben a jeho použití v sólové a ansámblové literatuře současnosti jsem vypracoval samostatně pod odborným vedením konzultanta a s použitím uvedené literatury a informačních zdrojů. V Brně, dne 31. března 2019 Samuel Kmotorka Poděkování Děkuji všem, kteří se svými cennými zkušenostmi podíleli na mé bakalářské práci, jmenovitě: Danielovi Rayovi, Aaronovi Spevakovi, Rossovi Taylorovi. Děkuji za Váš pohled na současné dění ve světě Drum Corps International. Velké díky taktéž patří vedoucímu práce MgA. Martinovi Kleiblovi, Ph.D. za odbornou asistenci a konzultace, které vždy probíhaly v pozitivním duchu. Obsah BIBLIOGRAFICKÝ ZÁZNAM ........................................................................................................... 2 ÚVOD ......................................................................................................................................... 7 1. HISTORICKÝ VÝVOJ RUDIMENTŮ, RUDIMENTÁLNÍHO HRANÍ A BUBENICKÝCH SESKUPENÍ POUŽÍVAJÍCÍCH RUDIMENTÁLNÍ BUBNOVÁNÍ OD POČÁTKU AŽ PO SOUČASNOST...................... 8 1.1. VÝVOJ RUDIMENTŮ ................................................................................................................................ 8 1.2. HISTORIE MARCHING PERCUSSION, RUDIMENTŮ A VÝZNAMNÉ OSOBNOSTI OD ROKU 1900 DO ROKU 1950 ......... 11 1.2.1. Instrumentace v letech 1920–1940 ............................................................................................. 13 1.3. ROK 1950 AŽ 1960 V STYLECH MARCHINGOVÉHO BUBNOVÁNÍ.................................................................... 13 1.4. VÝVOJ RUDIMENTÁLNÍHO BUBNOVÁNÍ A DRUMLINE OD ROKU 1960 PO SOUČASNOST ...................................... 14 2. SÓLOVÉ HRANÍ NA MALÉM BUBNU A JEHO METODIKA SOUČASNÝCH INTERPRETŮ ................ 18 2.1. JEDNODUCHÉ ÚDERY ............................................................................................................................ 18 2.2. MOELLERŮV ÚDER ............................................................................................................................... 18 2.3. RYCHLOSTNÍ ÚDER ............................................................................................................................... 19 2.4. OSVOJOVÁNÍ SI RUDIMENTŮ METODIKOU JEFFA QUEENA ............................................................................ 20 2.4.1. Životopis Jeffa Queena ................................................................................................................ 20 2.4.2. Metodika Jeffa Queena .............................................................................................................. 21 2.5. VÝSTAVBA RUDIMENTÁLNÍHO SÓLA PRO MALÝ BUBEN................................................................................. 23 2.5.1. Sestavení svých nápadů a zručností ............................................................................................ 23 2.5.2. Identifikace svých silných stránek ............................................................................................... 24 2.5.3. Nalezení tématu sóla ................................................................................................................... 24 2.5.4. Psaní sóla ..................................................................................................................................... 24 2.5.5. Tempo a změny tempa ................................................................................................................ 25 2.5.6. Příprava a interpretace ............................................................................................................... 25 2.6. JEFF QUEEN - „TRIBUTE“ ...................................................................................................................... 26 2.7. POHLED JEFFA QUEENA NA SOUČASNÉ RUDIMENTÁLNÍ HRANÍ NA MALÉM BUBNU ............................................ 27 3. RUDIMENTY A JEJICH VYUŽITÍ V SOUČASNÝCH BUBENICKÝCH ANSÁMBLECH .......................... 28 3.1. CO JE TO DRUM CORPS INTERNATIONAL .................................................................................................. 28 3.2. ORCHESTRY DRUM CORPS INTERNATIONAL .............................................................................................. 29 3.2.1. Složení orchestrů Drum Corps International ............................................................................... 30 3.3. BUBENICKÁ SEKCE ORCHESTRŮ DRUM CORPS INTERNATIONAL ..................................................................... 30 3.3.1. Drumline (Battery) ....................................................................................................................... 30 3.3.2. Sekce malých pochodových bubnů .............................................................................................. 31 3.3.3. Sekce tenorových bubnů.............................................................................................................. 32 3.3.4. Sekce basových bubnů ................................................................................................................. 32 3.3.5. Činely………………........................................................................................................................... 33 3.3.6. Front ensemble ............................................................................................................................ 33 3.4. OSOBNÍ ZKUŠENOST AUTORA S DRUM CORPS INTERNATIONAL .................................................................... 34 ZÁVĚR ...................................................................................................................................... 38 APENDIX ................................................................................................................................... 39 POUŽITÉ INFORMAČNÍ ZDROJE .................................................................................................. 40 Předmluva Téma práce Rudimentální hraní na malý buben a jeho použití v sólové a ansámblové literatuře současnosti jsem si vybral z důvodu poukázání na důležitost rudimentů ve světě bicích nástrojů. Výskyt rudimentů a rudimentální hry na malém bubnu je stále aktuální a permanentně se vyvíjející, etablují se nové rudimenty a tak jako i rudimentální bicí nástroje, tak i hraní samotné se spolu s dobou neustále vyvíjí. V roce 2015 jsem absolvoval sezónu s orchestrem zaměřeným na rudimentální hraní Madison Scouts, USA, a tudíž bych nyní rád zužitkoval získané informace a zkušenosti v mé bakalářské práci. Úvod Téma Rudimentální hraní na malý buben a jeho použití v sólové a ansámblové literatuře současnosti bylo zvoleno autorem práce, který se s tímto druhem bubnování seznámil po zahájení studia na konzervatoři Jána Levoslava Bellu v Banské Bystrici pod pedagogickým vedením Mgr.art. et Mgr. Petra Solárika. Bakalářská písemná práce seznamuje s poznatky o vývoji rudimentálního bubnování, s historií a etablováním rudimentální hry od počátku až po současnost a s praktickým využitím rudimentů v novodobých bubenických ansámblech. Práce čtenáře obeznámí taktéž s informacemi o soudobých rudimentálních interpretech a s jejich metodikou
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