Musical Studies for the Intermediate Snare Drummer Garwood Whaley

Most of the dynamic changes in this study happen suddenly and without warning (subito). Be sure to look ahead and be ready for quick dynamic changes. I

)= 92- to+

Pf

ru -i

_ .tf

UYP @ Copyright

l9?t by JOEL ROTHMAN,

lnternational Copvrichr Seeurert

be played in relation to the Note the difference between the two types of accents used in this study. Accents must dynamic levcl in which theY occur i

J= [0a't

L6

Again, sudden dynamic changes are common in this exercise. Make sure that the cresc. poco a poco is gradual and even;

do not reach

,=

104-

ff

prematurely.

L L6

aresc.poco a poco

6 This study combines elements from the previous pages. Observe carefully, dynamics and accents. I

J= t04- t t6

The time signature of 514 is not uncommon in music of today; count accurately. The crescendo from beginning to end must be gradual and even.

l= I

LL6- 126

cresc.poco a poco

al

Fi.ne

One of the most frequently misplayed rhythms in our musical vocabulary is that of the dotted eighth-sixteenth. To insure rhythmic accuracy, sub{iuding (in thls case counting I e & a) should be used.

|

I

= 92- lO4

Be sure

that the beat does not change when changing the rhythm from duplets to triplets etc. This study will require to produce rhythmic precision.

concentrated practice I

J= t04- l- 1,6

P cresc. 3

>>>>>

r0

3

I-|J

Do not confuse sixteenth note rhYthms.

J = e6- to8

*itn

J-]-]

Triplets must be even; they have a characteristic sound which is unlike that

of

ll The interplay between sixteenth and eighth notes and triplets in this study is rather

tricky. Subdivide

carefully.

I

J = t00- t t2

ff

tr-

PP

cresc. poco a poco al Pine 3

lf

t2 precise. The sixteenth note triplets in this study must be played dynamically even and rhythmically I

J = 88-t00

ry

semtre

,

r3 which uses the eighth note as the metric denominator. These exercises should completely this study familiarize the student with rhythms characteristic ol 3/8 - 618 - 9/8 and l2/8. Note the difference in

This is the

fint of several exercises

between

F]|],

).=

and

6s-8a

cTesc.

dirn.

P cresc.

L4

This study begins in a characteristic march tempo in two, which gradually ritards to a slow section to be played in the ritard and the accelerando should be gradual and even until the desired tempo is reached. I

J.

=

I'

L6- 126

fff

aim. poco a poco

poco

Doco

Slowly

f pP

ctesc.and accel . Pocoa Poco

f,

Tempo I

ftf

six. Both

t5 The measures of rest in this exercise come at awkward places. Make sure that the rhythms preceding these empty measures do not "spill over." I

).=

6O-72

r6 Try to make the swells

({

::-)

in this study

as

smooth

as

possible. A smooth contour of sound should be

_-_--.f----P

_*=_P

17

A combination of elements from the preceding studies are found in this exercise. The pulse remains steady throughout the many meter changes. Changes in meter are quite common in today's music. I

J= 6o-72 j

P

D

f

.--____-__->D

f-P

p >>

>>>->>

27 This study contains many elements previously discussed. Rhythmic precision and good sound should be the goal of this page.

J = e2- 108

28J the student must be completely relaxed. This is a difficult figure and must be played ln playing the figure fffi, correctly. Tighteningip will only cause the triplet to be played incorrectly. NI of the triplet figures must be perlectly even. I

) = 72-86

J

3

pf

,-f 3

>>>>>

Pf,

=:>P

3

29

This exercise should be played "in 1." Start slowly in order to learn the dynamics and rhythms and gradually increase the tempo until a relaxed leeling of " l" is reached.

j=

66-76

f

semPre

30 This is a rather characteristic 6/8 study. Since the dynamic levet is constant, the accents must also be constant. This ir an important point. The student must consciously establish a dynamic level for accents. I

J= 72-80

3r A great deal of control is necessary in order to achieve the edge of the drum will help to produce this sound.

a

"clean" sound during the soft

I

J= 60-72

-:-=::--:>P 3

passages

of this study. Playing

near

32 The main theme of this study, measure l, is brought back several times. Be sure it is played the same on each restatement. Again, as in the last exercise, the ex,tremely soft passages may be played on the edge. I

..= 60-7 2

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STUDIES FOR TECHNIQUE (25) Easy Drum Solos To Develop Technique (26) Basic Drum Technique And Beyond

ROLL STUDIES (27) (28)

Roll Control Rolls, Rolls, Rolls

STUDIES FOR BASIC READING (29) Teaching Rhythm (30) Clap Your Hands (31) Basic Drumming (32) Basic Drumming Made Easy (For Snare And Set) STUDIES FOR ORCHESTRAL READING (33) Fundamental Studies For Snare Drum (34) Musical Studies For The lntermediate Snare Drummer (35) lntermediate Duets For Snare Drum (36) Rhythmic Patterns Of Contemporary Music MALLET & TIMPANI STUDIES (37) (38) (39) (40)

Fundamental Studies For Mallets Recital Pieces For Mallets Fundamental Studies For Timpani Musical Studies For The lntermediate Timpanist

STUDIES FOR SHOW DRUMMING (41) Drum Arrangements (42) Cut-Time Parts (43) Show Drumming (a ) Big Band Drum Charts MISCELLANEOUS TITLES (45) Beats And Variations (46) A Quintet Of Coordination Patterns (47) Shuffle Rock (48) Rock Drumming With Quintuplets HARDCOVER DRUM BOOKS (a9) (50) (51) (52) (53)

The Compleat Drum Reader The Compleat Show Reader Around The Drums Completely The Compleat Rock Drummer The Compleat Jazz Drummer

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