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Set I (2007-2008, 2010-2011):
SNARE DRUM
Portraits in Rh14hm, Anthony J. Cirone; Belwin-Etude #4 - Andante gtandioso, Meas. I -Fine, (p. 6)
TYMPANI
The Solo Timpanist, Vic Firlh; Carl Fischer-Etude #3, Meas. 9-34, (p.9)
KEYBOARD
Modem School for Xylophone, Marimba, and Vibraphone, Morris Goldenberg; Chappell and Co.-Etude #5 - A1-
legro, Meas. 1-31, (p. 6a)
AUXILIARY PERCUSSION
Crash Cymbals - Orchestral Repertoire for Bass Drum and Cymbals, Ralmor Canoll-Symphony No. 4, Peter
Tchaikovsky (Letter "H" to the End)
Tambourine - Orchestral Repefioire for Tambourine, Triangle and Castanets, Raynor Carroll-Roman Camival
Overture, Hector Berlioz (# 3,# 6, # 9 to the End)
Set lt (2008-2009, 2011-2012):
SNARE DRUM
Portraits in Rhy4hm, Anthony J. Cirone; Belwin-Etude#23,Meas. 1-Fine, (p. 25)
TYMPANI
The Solo Timpanist, Vic Firth; Carl Fischer-Etude #15, Meas. 1-8 and26-47
,
(p.27)
KEYBOARD
Modem School for Xylophone, Marimba, and Vibraphone, Morris Goldenberg; Chappell and Co.-Etude #15, Meas.
1-25, (p.73)
AUXILIARY PERCUSSION
Crash Cymbals - Orchestral Repertoire for Bass Drum and C1.rnbals, Raynor Carroll-Romeo and Juliet, Peter
Tchaikovsky (Letter "O" to Letter "U")
Tambourine - Orchestral Reperloire for Tambourine, Triangle and Castanets, Raymor Carroll-The Nutcracker
Suite, Peter Tchaikovsky ("Trepak" - ALL I "Arabe" - ALL)
Set lll (2009 -2010, 2072-2013):
SNARE DRUM
Portraits in Rhyhm, Anthony J. Cirone; Belfin-Etude#6 -Latgo expressivo (p. 8)
TYMPANI
The Solo Timpanist, Vic Firlh; Carl Fischer-Etude #18, Meas' 7-28 & 37 -a8,
@.
33)
KEYBOARD
Modem School for Xylophone, Marimba, and Vibraphone, Morris Goldenberg; Chappell and Co.-Etude#1 -
Allegro, Meas. 1-21, (p.66)
AUXILIARY PERCUSSION
Crash Cymbals - Orchestral Reperloire for Bass Drum and C)..rnbals, Ral,nor Carroll-A Night on Bald Mountain,
Modest Moussorsky (Letter "S" to the End)
Tambourine - Orchestral Repertoire for Tanrbourine, Triangle and Castanets, Rayror Carroll-Camival Overture,
Anton Dvorak (Beginn.ing to "C" - "F'r to 'H" - 14 Before "S" to the End)
ETUDH #4
Over the year$, I have discpvered certain etudes
work better for jury er(ams and recitals than others.
f,tude #4 is one of these; it is excellent for such a
purpos. What rnakes the etude rnore desirable for a
solo performanqe is the musical elements lqithin the
piece. The more musical elements there are - such as
phrasing, dynarnics, thematic nratrlrial, and character -
the rnore perforrners are able to express themselves
during the performance.
This etude has a ternpo marking af Andante
grandhs*" The .Andanfe indicates the tempo is nut very
fast, yet moves along at a comfortable pace; it is also
referred to *s a "walking tempo." Now you can
understand why composers use Italian terms instead of
English. I would have had to usc five or six English
words in order to describe cne l[alian wcrd.
The grnndroso gives us rnuch more inforrnation
regarding the character af the piece. Other wards that
d*scrjbe grnndiosa are: magnificent, stately, dignified,
arrd noble. [t is the perfcrmels pb to create this
character within the performance. Some eiements in
music that help us do this are: tempo, accent$, phrasing,
and dynamics. In additian to those markings indicated
by the composr, we mu$t add our own subtle elernents
to the degree neces$ary to create the ch*racter. This will
be discussed furth+r in the interpretdtion $ection.
OBSHRVATIONS;
t. The opening dynamic {in the fir$t measure}
requires a loud roll. A solid technique is impcrtant here.
The roll should be of the same dynamic and character as
the opening 4-stroke ruff and the following single
strokes. The roll should not be preesed into the
drurnhead or played toa closed. ?he loud character is
better execut*d with a nrore open roll, but never to thc
xtent of an ope'n r*dimental, doubie-stroke roil'
?. All the flarns in the second line should be
played with the same hand. trn other wcrds, DO NOT
AL'ITRNATE FLAMS. Use either all right- or left'
handed flams to produce the same consistent ssund
ttuoughout
the line. Move slightly toward the center of
the drumhead for the ctescendo and back toward the
edge for the dfrninuendo.
3. There are a nurnber of insiances in Fartraits In
pVtirnr where long sections must be played very softly;
torexample,
Iines 7, B, and 9 sf this ehrde. Prabably the
ELo36?6
:,
two most difficult techniques in snare drum playing are
the loud rolls and very soft pas$ages. To execute these
linet accurately, avoid any accents or phrase markings.
To obtain a consistent s*und and dyn*mic level
throughout the three lines, chocse a very scirsitive area
af the drumhead, near the rirn, and keep the tips of the
sticks clsse together.
4. Line I begins with a rfleasure that includss a
4-str*ke mff, a drag, and a flam. This could be a
stumbling bloek to the consistent articulation
iust
discus$ed. I suggest cr*ating an exercise CIut of tiris
measure sa it can be performed withaut unwantd
accents or changes in the dynamic level.
5. The extreme dynamic chartges near the end sf
the weirk call far a triple
/er{e
with wcdge accents twhich
are stronger than normal accents) and triple pi'anissimo,
which represent$ the sottest dynanric. ln thi$ instance, I
suggest playing in the center area of the drumhead
because both dynarnics change eo quickly. When
dynamics change at such a rapid pace, th sound is
more ccnsistent when executed in anly ffne arca of the
drumhead.
INTERPRETATIONS:
1- The opening 4-stroke ruff gives the player an
Excellent opportunity to creato a grandioso effect. An
open, 4-stroke ruff with a crr,ctnda wiln sound more in
character af the grondiosn rnarking than a closed, 4-stroke
ruff. This is a matter of interpretation and, especially in
solo playing, the player needs ts use his irnaginatipn ts
create a tnrly musical expression.
2. To obtain a consistent sound in line 2, all
flams should b played on the snme hand. Never
altcrnate long series of flams or drags in orchestral
playing. The goal in maintaining a cansistent sound is
accompli*hed much better by using the same flam.
3- The secand measure of line 4 begins a
forte
section; it easily lends itself to phrasing with two beats
in the measure. A more accurate way of notating this is
as follaws;
A slight accent on the first and fotlrth beats of
the rneasure l"itt a slight dirninrsffdo over each half of
the bar will accumPliah
this.
4. I have found it a good prectice to exealte
the
offbeats in line 6 with the weak hand' Therefore' a right-
handed per$on shoutd play alt the offbeat, 16th=notes
wxth the left hand.
5. The r:mmdo at the end of line I can be very
exciting,
The sound motr'es frorn the plr*issino
qg$FFe
to a
/oftssimo.
I begin the crescerdo slightly ahead of the
mari.ing in order to exaggerate the crescando effec-t'
6. Most of the rnearured
rolls in this boak
(sueh
as the 5-stroke roll* in line l0l are to be played closed
with an ar(nt on the end of the rsll'
^
This piece siould be plal'ed lvlth a feetring o{ f,*'o beats per rneasure, and w,irh exaggeration of the es-
6
tremely loud to extrernely snft dyrramic changes, Notice thal the last lile measurdJ form a
"coda'i,
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Etude #23
Etude #?3 begins the secpnd section of Psrfrsl&
in Rjrytftrr. The first section to*tained twenty two solon
for snare drurn with an emphasis on PHfi.ASINC.
DYNAMICS, INTERPRITATION and TECHNIQUE"
These four areas will confinue to be irnportant
throlghout the booki however, Etudes #?3 to #32 will
also include classical musical forms.
Musical form gives a cornposition cohesiveness.
The element of musical form contributes characir to
each work and diltinguishes one piece from another.
There is also a compositional device called "through
composed"; which means no particular forrn" It, too,
gives a camposition a p*rticular shape and character.
The classicai forms of music comporition that were
conlmon during ihe tSth and 19th centuries have cneated
a wealth of sonatas, syrnphanies, concertos and eolo*
that can $tiltr be heard in today's cncert halls.
The second sestion of Porfrcils ir Rhythm
contains the following musical forms: ABA, Sonatina,
9ong and Trio, Rondo, Allemande, Courante, Sarabande.
Cigue, Theme and Variations, and Sonata Atrlegro. Each
one creates a different character; however, thematic
material and ths use of variation is commtn throughout
the pieces,
The classical composers use.d harmonic
modulations
"vhen
moving from one secticn to another.
For example, if a work began in C major, a transition
into the second section might be accornplished by
modulating from C maior to C major. Because this is not
possible on the snare drum, I have used rhythmic
instead of harmonic modulations,' that is, instead of
modulating from C maior to G mairr, i modulated from
4/4 time to 3/4 time. A,s I discuss each etude, I will
point thsse 0ut.
OBSIRVATIONST
1. The first therrre {A) occurs over rneasures t to
6. Notice the shape of this theme: two measures
furte;
two msasures
Viano;
then again. two mea$ures
t'wte.
k
careful of ihe dotted t6th and 32nd rhythms" As I have
wamed befsre, whenever dotted rhythrns occur with
triplet rhythm$, the dotted rhythms shouid be played
very short so they do not sound like triplets.
2. The second theme {B} begtns at the double
bar in rneasure 7. Notice the diffurent time-sigrrature
(2/4).
As I mentioned above. it represents a change in
key-signature that might have taken place if the etude
was written for a rnelodic instrument such as the violin
8L036?6
or flute. The B theme is very different from the A theme;
rhythms are syncopated with heavy accents - this
c$ntrasts the flowing triplets in lheme A. Notice the
wedge actents
(they
are played with more emphasrs
than normal accents).
3. In line 6, mea$ure 2, the 4/4 rneasure begins a
short transition back ts the A theme. The changing time-
signatirres ruggest a rnodulatipn track to the original
time*ignature al 4/4.
4. Notice the Coda in line 10, it rcpre*ents
closing rnusic and dses not add to the form. Usually, a
Coda consists of mater.ial that has bc.en taken from the
body of the work. Alss, nsticc the pnu
f
marking nt this
point. The word pil" tltalian) means "more"; therefore,
this marking min$ "louder* and is interpreted as
samewhere between
.Jtrlr
and
/urtissfrno"
INTERT}NSTATIONS:
1. Flay the prsnirsirno section in line 5 near the
edge of the drum to obtain a delicate, as well as a, soft
qualilv to the sound.
?. Onc* again, do nst altsffiate flams in line 6.
The exceptian to this may be in measure 3 of line 6
where a Flarn-Tap sticljng can be used.
3. The last line of the piece is written as a
trdditisnal classicel ending. Gne hand rnay be used for
the 8thr, qu*rter-, and half-notes.
{, The final nuasure is a whol*.note ro}l
preceded by a flam. To be effective, I suggest playing all
flams that are attached to rslls on the open side. Nodce
the accnt is on the flarn.
(
F'*'k
The designatiou
"ASAI'refers
to 6tbree-partform comprisedof a first sect:on ("A"i in a particulsr
key, a 6econd, cootrestijrg section
{'8"),
i.n a.{lffeteat, but related key, andatlrird section
{"4"},
$ixcdlsr to the first, iJ not a$ scrual recapitrlation of it. Thls $trueture has beeu approxiruated here
as folloa*s: "A" equals measures 1*6, ix 4/4 me:teri
"8" equals ruea$ures f-L8, in 2,/4 rsetr;
"A"
equals measures 22-27, in ^l//4 meler. Siace the sn*re drum is incapable of e,rpressing changes !n
tonalitl', mler changes have replaced key changes in the respestive sections. Further, rneasures
19-21 act as a transition fron* the "B'back to the "A" section, aademploy shrftingmeters
just as a.r:r
harmonic modulation rr.ouid empioy shiiting tonalitie$. The last seven rueasures lorre a coda, which
does trot add to the iorm proper
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