TEACHING TECHNIQUES. for the. for the PERCUSSIONS. by Robert Buggert

Transcription

1 TEACHING TECHNIQUES for for PECUSSIONS by ort Buggert by ort Buggert

2 2 PEFACE (, 55 E3 2 The The study percussion struments struments nd nd rhe techg rechg percussion stru struments pose vst ments pose numr numr problems ndre nd re revrtides re vrt ides reltg vs irsolutions. ir solutions. These Theseproblems problems retwo-fold: re two-fold: technicl technicl nd nd musicl. musicl. Although relted, problems will treted treted ro extent extent seprtely. Techers Techers strumentl strumentl music redily dmit dmit tht tht percussion section section onewekestbndororchestr.inddition,probbly one wekest bnd or orchestr. ddition, duelck due lck formtion,thsectiontenreceiveslestmountttention.mny th section ten receives mount ttention. techers techers enterpressionl enter pressionl field fieldstrumentl-music strumentl-music techgwithlittleornoknowl no knowledge percussion techg rechg techniques. A recent recent study by Michel B. B. mde.mde dictes dictes tht tht colleges f fer er no no percussion struction, fifty-seven percent hve hve no no progrms for percussiont music eduction, nd nd sixty-seven percent schools schools surveyed hve hve no no specilt techer techer re re percussion." 1 Prt Prr th th problem, refore, stems stems from n n dequcy mny techer recher trg stitutions.asecond stitutions. A second phseproblem problem tht tht very veryfewpercussionts few percussionts hve hve en en cled wrd field college techg. rechg. Most colleges nd nd universities do donot nor hve hve enough percussion students students require require full-time full-time services services percussiont hence hence -college percussion strucr must must ble ble tech tech eir eir ory, music literture, music eduction, or sst with ensembles. As result, knowledge knowledgepercussion percussion techniques lckg lckg nd nd reconfusion re confusion swells s well s munderstndg. 1IM. B. B. mde, "Techer-trg percussion; n n nlys percussion struction struction fered fered by colleges nd universities, universities," The Instrumentlt, ln11,umen1li11, XII,(Mrch, ( 1958), I p. 74. After mny yers experience with young students, college students, (both ( percussion mjors nd those studygpercussion percussion s s secondry secondry medium), nd music educrs, rhe writer lieves hndbook will fer solutions mny problems, mke percussion techg tter s s well s s more efficient, nd nd help clrify vrious phses phsespercussion percussion performnce nd pedgogy. Th book presented with scere scere desire desire improve techg techniques nd develop tter ttitudes cowrd wrd music generl nd nd percussion plyg specificlly. My thnks memrs rhe memrs University WichitSchoolMusic Fcultyfor for ir help nd suggestions, Virgi Glover for helpwith with mnuscript nd nd DouglsJcksonforpro-redg nd nd mny vluble suggestions from rhe college students' pot view. TABE OF CONTENTS Pge Prefce ChpterI INTODUCTION I - INTODUCTION... 3 ChpterII THEEBASICUDIMENTS - UDIMENTS ANDTHETEACHINGOF TEACHING THETHITEENSTANDAD THITEEN D UDIMENTS Chpter III-THE III THE SECOND Tf-IlTEEN THITEEN AND ADDITIONA UDIMENTS... UDIMENTS 24 ChpterIV-THEAPPICATIONOFTHEUDIMENTSOFDUMMING... OF OF DUMMING 36 ChpterV BASSDUMANDCYMBATECHNIQUES... V - DUM AND CYMBA 59 Chpter VI-- THE PECUSSION SECTION Copyright 1960 by BEWIN,Inc.,ockville Inc., Centre,.I., N.Y. All ights eserved (c) by 2018 VAP Medi, C vpmedi.com

3 5 Exmple 2. Sittg position Exmple 2. Sittgposition Holdg rightstick:among pressionlplyers, plyers, re rediffer differences grip used for holdg right stick. I should like mention three encesgrip usedfor holdg rightstick.ishouldlikementionthree concepts. The right rightstickmy my held with forefger forefger nd thumb thumb pproximtely three threendone-hlfches nd one-hlf ches from buttendstick. butt end stick. Exmple 3. ight grip: forefger nd thumb Exmple 3. ightgrip:forefger ndthumb S.B. 683

4 13 13 Sevensgle Seven sgle strokes strokes, JJJ.JJJJ Beu.. j.jjjjjj. t etc, Nesgle strokes JJJJJJJJJ Ne sgle strokes JJJJJJJJJ.. est etc. Followg, student should ply non-lterntg groups four, six, nd Followg, student should ply non-lterntg groups four, six, nd eight strokes.theseshouldlerned strokes. These should lerned strtgwith with right right nd nd strtgwith left. Exmple 16. Non-lterntg sgle strokes Fournon-lterntgsgle Four non-lterntg strokes, lso Exmple 16. Non-lterntg sgle strokes J J J.J en j.j.j.j!test,. Sixnon-lterntgsgle strokes lso. Six non-lterntg sgle strokes J J J J J J Bes.J J J J J J lttsi etc, ere: Eight non-lterntg sgle strokes Eightnon-lterntgsgle strokes? JJJ.J.J.J.JJ est lso..jj.j.jjjjj. C$t etc, S.B. 683

5 14 14 These form bs for or mesured rolls. Once student cn mnipu lte lte se se vriousptterns vrious ptterns with with ese ese nd nd sense sense security, he he redyddrebounds redy dd rebounds nd ndortypessgle or types sgle strokes. strokes. Therebounds: Afterlerng sgle strokes mentioned ptterns bove, drummerredydd drummer redy dd rebound rebound sgle co stroke. stroke.it It sug gested tht, for ske ske evenness, ll ptterns executed executed with no ccent. ccent. Th produces n even even roll roll nd nd eventully student student might ccent ccent eir eir gng or end end or center center roll, whichever necessry. After se se rollsrelerned, rolls re lerned, longrollmy long roll my studied. or n or Theflms:Afterlerng rollsstudent technique g flms.the flm, cuse ordtion, one most difficult rudiments The rebounds: After lerng sgle strokes mentioned ptterns ll student tenplys flmswellwhenplyg m poorly ppliction.. The /lms: After lerng rolls student usully dvnced enough technique g flms. The flm, cuse its demndg physicl coordtion, one most difficult rudiments ply well. In ddition, student ten plys Brns well when plyg m s rudiment but plys m its s no In rudiment but plys m A good method for techg flm hve student ply both sticks good methodfortechg flm hve student ply both sticks ger getl}jllt nd n ngrdully re one onewhile while keepg or one plce. If th th~ process followedcorrectly, followed result result should one onestickplyg lternd lter nd slightly stronger while or stick will ply erlier nd ster. It usully esiest gwithbothsticks with both sticks ger ndgrdully nd re right.th right Brn. flm. One importnt considertion from physicl stndpot plcebothsticksmotionsimultneously; simultneously; ction ction stick plyg grce note not seprte ction from tht tht stickplyg stick prcipl note. After right flm plyed with ese, next necessry step, nturlly, g left left flm.oneshould flm. One should creful nd cert tht right flm nd leftflm left flm re dividully wellperformedforellowg well performed llow~ student co proceedwithlterntg flms. At thpot th student student hscon control sgle stroke, control rebound, nd control flms. The lerng remder rudiments dependent upon combtions vrious dpttions se three fundmentl techniques.. A At It If Exmple 17. ight flm Exmple 17. ight flm Exmple 17b. ight flm position Exmple 17b. ight flm position ºrTºº TXTIT-STD2 TDºDººDºº CITI/TTITITIMTIMTEITEITE ITEM Nº.*Nººf Nºz Nº Nºr Nº. etc.

6 15 15 Exmple 18. eft flm Exmple 18b. eft flm position Exmple 18.eftflm Exmple 18b. eftflm position -vº ctºxtºtxºxtºººtºrºv DºººAºtººAºEFººFººFIF *w-º- * Nº N-f Nº N-f etc. Exmple 19. Alterntg lms etc, THE THITEEN STANDAD UDIMENTS OF THE NATIONA ASSOCIATION OF UDIMENTA DUMMES Some yers go group well-known percussionts orgnized Ntionl Someyersgo groupwell-known percussionts orgnized Ntionl Ass ocition Assocition udimentl udimentl Drummers Drummers.. Th body set up twenty-six rudiments s spe specific cific ptterns essentil for essentil for lerng ply snre snre drum.. These ptterns were divi ded two groups with first thirteen g clled '"Thirteen Essentil dividedtwogroupswithfirstthirteen g clled Thirteen Essentil u udiments. diments." They re re s follows: s set 1..Thelongroll The long roll 2. The five stroke roll 3. The seven stroke roll 4. The flm 5. The flm ccent 6..Theflmprdiddle The e 7. The flmcue 8..Theruff 9..Thesgle-drg The l The double-drg 11. The double prdiddle 11. The double prdiddle Thesgle e rcmcue rtmcue Thetriple e triple rtmcue up s

7 16 16 These rudiments ply n importnt role development techniques These rudiments ply n importnt role development techniques snre snre drummg. Dcussion Dcussion ech ech rudiment rudiment follows follows with with suggestions for for techg. The long roll: The long roll n excellent device for helpg dvnced Thelongroll:Thelongrollnexcellent deviceforhelpg dvnced student student ply nd nd execute execute rollswith rolls with greter perfection ndtter nd tter efficiency.it seems unwe, seemsunwe, however,uselongrollstechg however, use long roll s techg deviceforgng device for gng snre drummer s he will dcourged snredrummershewilldcourged byttemptg suchdifficulthurdle hurdle erly stge. It writer's suggestion erlystge.itwriter'ssuggestion thtrolltught tht roll tught firstbyply plyg even even sgle strokeswith strokes with usesecond use second bsic rudiment,rebound rebound mentioned chpter mentionedchpter one.once one. Once student student cn cn ply evensgle even sgle strokes nd n execute m with rebound, he might redy ( fter pproximtely, JJJJJJJJ.[J.[J.[JJJ n execute mwith rebound, hemight redy (fterpproximtely fewmonths) few months) strtprcticg strt prcticg longroll.thelongroll long roll twotswith with echstickstrtgslowly ech stick strtg slowly nd nd grdully ccelertg until dividul dividul notes lose lose ir identity nd meld susted sound. Once ctul crul roll chieved, it it n n ritrded ritrded until until it reches reches its origl stte. stte. Th clled openg nd dosg Jong~ roll. g nd closg longroll. its Exmple 20. The longroll etc. Tl[][][] grdully fster FF-H FH= E==TE== FFF. FFF [T] [T] [T] [T] Exmple 20. The long roll etc. grdully fster? J J J J J J J J JJJJJJJJJ J J J J J J 3,=fJfJJJJJJ grdully slower grdully slower J J J J J J The five stroke roll: Before ttemptg five stroke roll s rudiment Thefiveſtroke roll:beforettemptg fivestrokeroll rudiment drummer should ble ply three sgle strokes evenly nd dd rebounds.,, ebounds ;est Exmple 21. Three sgle strokes nd rebounds. Exmple 21. Three sgle strokes ndrebounds. J J J ojju Thiſ hiſ l[j JJ li. J J J iſ s Sgles? Best est ere ebounds ~ ~ ~ j est e,,:

8 17 17 After th device device lerned, drummer my ttempt five five stroke stroke roll s rudimentstrtgslowly rudiment strtg slowly nd nd grdullyccelertg grdully ccelertg swith s with longroll. long roll. Forrudimentlpurposes For rudimentl purposes throllusully th roll usully plyed with slight slight ccent ccent on on end. Drummers should lern roll, however, first unccented nd n eventully ble ble ccent ccent eir eir gng or or end. end. Avoid A void ny unmusicl, overdone ccent. Exmple 22. Thefive The five stroke roll ---~> > > >? J J J J J > J J J J J JJJJJ ~ JJJJJ ~ etc. >,. Js:::s:JJ==iJJ Js=::33=-=JJ - grdully fster grnn I 1y 11nwer The Theprciples prciples ppliedtechg techg seven stroke roll re sme s s those for five usg, however, four sgle strokes rr thn three s thoseforfiveusg,however,foursgle strokes rr thnthree s bs.,. * Exmple Four sgle strokes nd rebounds. Sgles J J J J lt-11 J J J J IBI e1c: EEEEEEEEEEEEEest-em. J... ~ ~ I ' ' I I f I., ;JJJJlcf est ~- ~J ebounds.. ebounds ifiſl: lj~ I I iſ liſh:thiſ I I. I I I I :g:~~fg: I I I ' ut etc. Plyed s s rudimentroll rudiment roll slightly crescendos nd hsnccenn hs n ccent on end. Avoid over-ccentg. Exmple 24.Thesevenstrokeroll > > > > etc. > i::::i=s:::..=i > > > F==== FFFFF EEEEEE E====El grdully fster Exmple 24. The seven stroke roll > > > > ſlſlſlſl[l[l,.jjjjjjj JJJJjJJ JJJJJJJ JJJJJJJ,. Js::=J J=:s:J :::;::::::J grdully fster 3 J J 3 J J J 3 J JJJJJJJ JJJJJJJ grdully slower S.B. 683

9 24 24 CHAPTE III THE SECOND THITEEN AND ADDITIONA UDIMENTS THE SECOND THITEEN UDIMENTS As previously seted, twenty-six rudiments were divided ro two groups with first thirteen g clled "Thirteen Essentil udiments". The As previously stted, twenty-six rudiments were divided two groups with firstthirteen g clled Thirteen Essentil udiments".the second second group rudiments, or second second thirteen re re s s follows: 14.Thesgle stroke roll 15.Thenestroke stroke roll 16.Thetenstroke stroke roll 17. The eleven stroke roll 23. The drg prdiddle numr two 24. The flm prdiddle-diddle 25. lesson esson twenty-five 26. The double rtmcue rudiments cuse severl, especilly rolls, which re dicted second hlf twenty-six twenty-six re ctully more importnt nd used usedmore more thn thn thirteen so-clled essentil rudiments such s doubledrg double drg nd nd sgle drg, mention few. Dcussion second thirteen rudiments follows with suggestions for techg ech rudiment. Theſgle The sgle stroke ſtroke roll: roll:thedrummer The drummer usg lterntgstroke-tp combtion hs hs lredy performed, n elementry sense, sgle stroke roll roll The Thesgle sgle stroke strokeroll roll s rudiment rudimentstrtsslowly strts slowly nd nd grdullyccelertes, grdully ccelertes, never never soundg, however, like long roll cuse rebounds re not used. Once 1) 14. The sgle stroke roll 17. The eleven stroke roll 18. The thirteen stroke roll 19. The fifteen stroke roll Theflm The flm tp The sgle prdiddle The drg prdiddle numr one one 23. The drg prdiddle numr two 26. The double rtmcue Theselsoply These lso mjorrole role developmenttechnique development technique snre drummer. Occsionlly, however, one my mled by clssifiction rudiments cuse severl, especilly rolls, which re dicted 1) 2) 2) s 3) n plyer reches pek ccelertion roll slowed down origl plyer reches pek ccelertion roll slowed down origl tempo. The development sgle strokeroll stroke roll depends upon three fcrs: 1) control, 2) technique, nd nd 3 ) relxtion. relxtion. The performnce fst sgle stroke roll nd development sethreechrctertics se three chrctertics comedirectly come directly from prctice. The followg two ides re helpful preprgforsgle stroke roll: I) right stick lone g lone-g slowly, ccelerte, nd return origl tempo, nd nd 2) left stick lone g lone-g slowly, ccelerte, nd return origl tempo. Exmple 40. The sglestrokeroll g stroke roll-g slowly,ccelerte, ccelerte, nd return origl tempo. EEEEEEE,. J J J.J J J.J J s by.. JJJJJ33J S.B. 683

10 25 25 Thesglestrokeroll The sgle stroke roll reches rechesbrrierpstwhich brrier pst which plyer plyer unble unble go without tension. Th tension must elimted; refore, drummer should prcticeslowly nd ccelerte until th pot reched. Onceit reched, plyermygoslightlyslowerndprctice plyer my go slightly slower nd prctice ttht t tht speedfor for lengthtime(myfivemutesortenmutesevery length time ( my five mutes or ten mutes every dyfor for week); ccelertion ccelertion should g g. Usully th brrier will pper t t fster fster pot speed.itdoesonelittlegood speed. It does one keepprcticg prcticg yond thpottension th pot tension cuse tensionwillhmper tension will rollndcuseituncontrollednduneven. roll nd cuse it uncontrolled nd uneven. One must mustgivecrefulttention give creful ttention evenness evenness nd cert cert tht right right nd left leftsticks sticks re replyedbsolutely plyed bsolutely smethroughout sme throughout roll. roll. The ne st,ok.e stroke,oil: roll: The ne stroke roll, s s rudiment, strts slowly, ccelertes, nd ndreturnsorigl returns origl tempo.inddition,reslight re slight ccent ccent onend. end. * H Exmple Five sglesndrebound. sgles nd rebound. Sgles J J J J J., JJJJJJJJJ J J J J J #EEEEEEEEEEEEEEE Btlt?T eesr I I I t I I I I I * I ' HI F ' I I t HI I I 1 I I I I I JJ:JlDJ3W I I I I I est en *iriirii, I I t I I iriſhi I I I : I ebounds I I I I I A Afesible fesible pln plnfortechg for techg th thbsicroll bsic roll hve hve student student plyfive five even evensgle sgle strokes nd dd rebounds with exceptionlststroke. exception lst stroke. Exmple 42. Ne stroke roll > >- > ==-- >,.Jj.JJ.J.J.JJJ JJJJJJJJJ EEEEEEET TTTTTTTTTTTTTTTTT T T TT > > [U J~~~3~~~~ > > > EEEFEEET :JI JJJJJJJJJ JJJJJJJJJJJJJJJJJ Thenestrokerollforgng The ne stroke roll student studentst st plyed plyedwithnoccent. with no ccent. The Thetenstroke ten st,ok.e t'oll: roll:thetenstroke The ten stroke roll rollrrely rrely usedtrditionlrollnd used trditionl roll nd unique tht it plyed with two ccents. The ten stroke roll my uniquethtit plyed with two ccents.the ten strokeroll my derivedfromsixeven even ts.therebounds rebounds reddedtirst dded first fourse s nie stroke roll but fifth nd sixth notes re plyed without s nestrokerollbut fifth nd sixth notes re plyed without rebound nd ccented.

11 44 44 Exmple 77c.g time > >- >A A >-> >A A >. Theruff:Theruffsrudimentusully plyedquiteopenstylend plyed"hnd--hnd". It my pplied vrious wys. A question which usully posed concerns mounttimeruffshouldtke; nswer th difficult. The degree openess or extent closedness depends primrily upon volumend volume nd stylemusicgperformed.asgenerl style music g performed. As generl rule, moremilitryorlouderpercussiont plyg, more open ruff; less militry, more orchestrl nd more delicte, more closed rudiment. It st pplied one-hnd mnner rr thn n lterntg or or"hnd--hnd" "hnd--hnd" mnner. Pressionl ppliction ruff very seldom done nlterntg n lterntg mnner. A mrch which hs hs followg followg drumprt, drum forexmple, wouldstplyed sdicted. Exmple 78.uffcontext The sgle drg.whenpplied sgledrg might ssocited with vrious rhythms. Exmple 79. Most Mostcommon common usge > >> >- Exmple 77c. : time "I e,ji)jjjt&j~jjj1~' ' i ' 11 The flmcue must pplied musiclly. The ccents should not overdone. The ruff: The ruff s rudiment usully plyed quite open style nd posed concerns mount time ruff should tke; nswer th more militry or louder percussiont plyg, more open for exmple, would st plyed s dicted. Exmple 78. uff context ~ I ~~ ' ~~ ' I ~~ ' ~~ ' II The sgle drg: When pplied sgle drg might ssocited with 5. - Exmple 79b. A g 3 vrition ~ I ~ ~# ~ ~#- I ~ Exmple 79c. A : rhythmic chnge Exmple 79c.A : rhythmicchnge 21 Jm Jru I j Dt-D,. or i

12 45 45 The correct rhythm must lwys mted. It rrely used concert Thecorrect rhythm must lwys mted.itrrely usedconcert performnce; it used used frequently trditionl plyg, rudimentl solos, nd nd recently hs hscome come fvoritefor fvorite for mrchg bnd bnd streetts. street ts. The Thedoubledrg.Thedoubledrg,usullypplied do#ble drg: drg, usully pplied 3 6 time,twovrt two mnners. 8 Exmple 80. Most frequent > > >- > > >> >- ~I ~~- ~; ~~- ~; ~ Exmple 80b. A vrition Exmple 80b. Avrition 11 J 11 Similr sgle drg, correct rhythm must mted. It Similr sgle drg, correct rhythmmust mted. It lso rrely used concert performnce but more frequently trditionl plyg nd rudimentl solos, nd, extent, street ts. Thedoubleprdiddle:Inppliction The do#ble prdiddle: ppliction double double prdiddle usully used timeor 8 l 4 time.itmy time. It my ppliedusg pplied eir one ortwo or two ccents. ccents. Occsionllyitpplied it pplied tripletrhythm. rhythm. Exmple 81. One Oneccent ccent > > > > > etc. Exmple >- >- 81b. Twoccents Two ccents >> >> > >> >- > 5 9 ; 5,JJJJJJJJJJJJJ IJ, fijjjjj pjl - - etc, > >->- > > > >3> 3 3 >3 3 > 21 jjj ~ ~ ~ I JJJmffiJJJ I;, - etc Exmple 81c. Triplets Exmple 81c. Triplets

13 61 61 Andnte mf Exmple 112. Plyg ner rim Exmple 112. Plyg nerrim r Cl r - II Allegro jº f Exmple 113. Plyg ner center Exmple 113. Plyg nercenter r r I r '_r' r 1 u r 11, f v 1 r Ir r 1 u r IP' Exmple 114. Plyg center Exmple 114. Plygcenter jºf > ;fj >- V V V V V V r v Iv ' ~ 11 sff, df s;q1. sff,sff. df',. sff. s.uz sff. s.t,,. sff. s,q,. The followg exmple shows vrce bss drum technique nd notes here would plyed different plces s dicted. Thefollowg exmple shows vrce bssdrumtechnique nd notes here would plyed different plces dicted. Exmple 115. Vrce plyg "spots" Exmple 115.Vrce s plyg"spots",.. _., ~ " , Center,1 I I r I - II cresc f r r r r r r ~ cresc ;f V V dfz sff, sjtz sºf: V V Most everyone with experience music cn recll sound strg Most everyone with experience music cn recll sound strg bssplyg,ss plyg pizzic.thebssdrumcertly certly cnnot produce sound strg bss, neir cn it produce sme qulity nor exct pitches; however, :ver, one tter bss drummer if he tries diligently imitte th qulity. Th lb qulity prticulrly desirble when plyg rhythmicl pssges. If drum lrum struck constntly sme wy or t sme spot sound comes mononous, nononous, unmusicl nd unterestg. When plyg rhythmicl pssges nd prticulrly >niculrly type pssges which re frequent mrches it we occsionlly x:csionlly chnge bss bssdrumplyg spot.the The followg eight mesures represent typicl bss drum prt. Below it typiclbssprtforsme bss prt for sme it if he or t it it If S.B. 683

14 64 64 The bss drum s rhythmicl strument: When bss drum prt Thebssdrum s rhythmiclstrument:when bssdrumprt primrily one one rhythmic rhythmicsupport,extreme support, extreme cre cre must must tken tken so so sound sound cocides cocideswithwht with wht gplyed g plyed by ensemble ensemble nd nd tnotimecomes t no time comes overrg or or mononous. mononous. The The bss bss drummer drummer cn mke cn mke prt quite terest -terest gbycrefuluseccentsndlsobyusg use ccents nd lso usg vrious vrious contrsts contrsts necolor. ne color. The bu drum s d,ynmic strument: In ddition g used for The bss drum s dynmicstrument:inddition g used for rhythm, rhythm,bssdrum bss drum usedtenbnd used ten bnd nd nd orchestr orchestr fordynmicor drmtic drmticeffects.mny effects. times times se se prtsmight nd nd ctully shouldmore proment thn thn when whenprt prt dictes dictes rhythmonly.bssdrumprtscom compositions s s "Flndi, "Flndi", 1812Overture", "1812 etc., etc.,shouldplyed should plyed with with drmtic drmtic effect nd lthough y should never overrg nd unmusicl, y should effectndlthoughyshouldnever overrg nd unmusicl, yshould not not subdued. subdued. Often performnce se se types prts roll roll clled foronbssdrum.thebssdrummershouldon drummer should not rollwith double end end ter ter but butshouldusepirtimpni should use pir timpni sticks sticks nd nd execute execute sglestroke sgle stroke roll. olls re usully plyed bout twelve ches from center. roll. olls re usully plyed bout twelve ches from center. Exmple 118. Bss drum roll with timpni sticks Exmple 118.Bssdrumrollwith timpni sticks Conclusions: The bss drum must treted s musicl strument, prts must considered n tegrl prt over-ll ensemble nd most prts must considered n tegrl prt over-ll ensemble nd most importnt spect bss drum techniques sound, its effect, nd its reltion tl totl musicl picture.. CYMBA TECHNIQUES In bnd nd orchestr cymbls re used three different wys: 1) seprte cymbls, 2) cymbls ttched bss drum, nd 3) suspended cymbls. In 2) its 3) its 1) S.B. 683

15 66 Cymbltechnique difficultdcusswithoutctul difficult dcuss without ctul demonstrtion. demonstrtion. Mny plyers tend strt with cymbls fr prt nd brg m ger plyers tendstrtwith cymbls frprt ndbrg m ger rr rr forceful forcefulmnnercretg mnner cretg n nunmusicl unmusicl crsh. crsh. Cymblplygcom comprome tween tween extreme extreme glncgblowsndstright nd stright blows. blows. Boxtremes Both extremes re re wrong. Neir Neir one one produces desirble desirble ne. ne. As comprome, cymbls should should struck struck n n rc-like rc-like mnner. mnner. Cymbl plyg depends on on wy which cymbls re brought prt s well s wy which y re which cymbls rebrought prt swells wy whichy re broughtger.toproduce roger. crsh,plyershouldstrtwithcymbls should strt cymbls ger nd rock m sidewys. ger nd rock m sidewys. Exmple 121. "Swhg" cymbls Exmple 121. Swhg cymbls Th produces strnge "swhg" sound. There no defite crsh while Thproduces strnge "swhg" sound.there nodefitecrshwhile th g done; however, while performg th rc-like stroke plyer should relx relxndtcomfortbletimebrg nd t time brg cymbls prt.severlttempts ttempts tthwill th revel tht fe ne my eventully come forth.thecymbl plyer must n prctice producethnewithout produce th ne without preprry preprry rc-like motion. motion.agoodqulityne A good qulity ne produced produced bystrtgwithcymbls by strtg with cymbls firly close ger, strikg m nrc-like rc-like mnner nd brg m prt.a A good crsh cnnot produced if ifplyer plyer strtswith strts with cymbls frprt. prt. The followg exmples show three positions for cymbl crsh.

16 71 71 Exmple 124. To right conducr Exmple 124.To rightconducr 1 Timpni 2 Bss drum 3 Cymbls 4 Snre drums 5 Equipment tble (Bells) 6 Xylophone Mrimb Xylophone-Mrimb Chimes 7 Suspended cymbl 8 Gong cconducrc [c] C Exmple 124b. To left conducr Exmple. 124b.Toleftconducr G C Personnel: The numr personnel section my vry with type Personnel:Thenumrpersonnelsection myvrywith type music g performed. In pressionl orgniztions, much performnce cn done by four people:-one plyg bss drum, one plyg cymbls, one cndone byfourpeople: one plyg bss drum,oneplygcymbls, one plyg snre snre drum nd nd ccessories ccessories ndfourth nd fourth plyg timpni nd nd mllet struments. However, mny times it necessry use five or six percussionts. In high schools most common numr persons percussion section would probbly five: one person plyg bss drum, one plyg cymbls, Inhigh schools mostcommonnumr persons percussion section wouldprobbly five: one person plyg bss drum, oneplyg cymbls, two twopersons persons plyg snre snredrumnd drum nd ccessories, nd ndoneperson one person plygtimpni nd mllet struments. Occsionlly six persons might used section but ndmllet struments. Occsionlly six persons might usedsection but usully more thn six persons section cuse confusion. S.B. 683

17 72 72 The dtribution responsibility: There must orgniztion with The diſtribution responsibility: There must orgniztion with section. section. The leder leder section section or or direcr orgniztion should should ssign specific prts cert cert plyers for for cert cert compositions. Th does does not not men men tht tht one one plyer must must lwys ply sme sme strument. strument. Conversely, it it desirble desirble hve hve vrition nd nd develop verstility, but but once once composition gprepred g prepred for for concert, concert, plyers plyers shouldlwys should lwys ply smestru sme strument th composition. Once prt ssigned, write nme ment th composition.once prt ssigned, write nme plyer on on prt, dictg which which strument(s) strument ( s) or or section(s) section ( s) re re h h respon sibilty.thessignments sibilty. The ssignments my vry fromcomposition from composition composition composition nd nd from from concert concert. COncert COncert. Mtennce equipment: All percussion struments should hve eir Mtennce equipment: All percussion struments should hve eir cses, covers coversorcbet or cbet whichymykeptwhennotuse.percussion which y my kept when nor use. Percussion struments should sred sred rooms rooms which re re not nor subjected extremes extremes temperture or humidity; it lso lso good if re re re re no no drstic drstic climtic chnges. Movg prts such such s s tung rod, snre snre strers, pedls, etc. ere. should kept lubricted. Hedsndsnresshouldnotloosened nd snres should nor loosened whennot nor use unless drums re g sred under undesirble conditions. Instruments should kept drumsreg sred under undesirble conditions.instrumentsshould kept wy from student trffic. THE PEFOMANCE OF THE SECTION Ingenerl, section will notter thn sum prts. The followg, if crefully observed, will vluble vluble ids ids development n efficient, lert, musicl percussion section: In generl, section will no tter thn sum its prts. The if Attitude: The ttitudes direcr, prent nd student ll ply vluble role rechg techg percussion. The bsic bsic ims ims music music eduction eduction must must not nor overlooked nor neglected. Technique: Technique importnt for for without it student student cnnot cnnot produce music. There re vrious methods, grips, pproches, etc. ere. development technique. The The techer techer must must select select those those which which re st st for himndn,for ske rhe student, tech rech with strong sense logic nd high degree constency. The rudiments form bsic foundtion for development technique bur but performnce rudiments rudiments without without sensible sensible ppliction little little vlue. Musicship: The ultimte performnce nswer nswer question, "How should it sound?" Technique should not domte musicship. Verstility: Percussionts should tught fmilir with ll struments section. it Summtion: It sum good ttitude, excellent technique, tsteful Summtion: sum good ttitude, excellent technique, tsteful musicship nd verstilitywhichbrgs bout successful percussionts. These chievements re result tter percussion techg techniques. It chievements re rhe result tter percussion techg techniques. re it for ll its ll n