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1 Welcome Everyone! This clinic guide provides excerpts rom ow-o's Toolbox Curriculum: The Snare Drummer's Toolbox (SDT) The Mallet Player's Toolbox (MPT) The solos duets within these two texts are integrated and share the same title It is important to know when perorming the solos/duets rom both books that you'll need to use the accompanying disk's Play-Along Trax rom MPT We suggest teaching a lesson rom SDT ollowed by the same numbered lesson in MPT As you may surmise, teaching the techniques o snare mallets together is a somewhat daunting task but we eel that the texts progress comortably or the student SDT is complemented with a DD that contains approx hours o video instruction! This includes a video or each lesson, a thorough percussion tutorial by Dr Julie Hill covering the 9 Toolbox percussion instruments presented, as well as instruction rom Scott Brown on how to use the book in a classroom ormat The disk also contains a PD o additional exercises as well as Play- Along Trax, Groove Trax and Stick Click Metronome Trax MPT includes an enhanced CD that comes with Play-Along Trax, Groove Trax, a student PD as well as a director's PD that contains the solos/duets in score orm containing both snare and mallet parts MPT also contains an 8-page Timpani tutorial (Both texts interior are -color throughout) Thank you or oining us today and eel ree to ask any questions you may have (All hecklers will be subect to ull extent o local law enorcement)

2 Snare Drummer s Toolbox - Table o Contents and Index Table o Contents Index How To Use This Toolbox Snare Drum Set-Up Maintenance Snare Drum Tuning 5 esson - et s Get Started 6 esson - Quarters, Halves and Wholes (Notes ests that is) esson - Eighth Notes Eighth ests 8 esson - Accents Dynamics 5 esson 5 - Sixteenth Notes Sixteenth ests esson 6 - Basic olls 8 esson 7 - Paradiddles (Single Double) Cut Time 7 esson 8 - lams, Drags oad Maps 5 esson 9 - Triplets Triple Meter 6 esson 0 - Nailin It Down 70 Accessory Percussion 78 Index 80 About The Authors Chris Crockarell Chris Brooks, known to most as Crock Brooks, have spent a lietime in the world o drums and percussion They both attended McGavock High School in Nashville, TN, which or over 0 years has had one o the premiere band programs in the country, and ater graduation went their separate ways to pursue careers as proessional drummers Over the next 0 years they played stage shows, marched drum corps, toured with artists, worked as recording drummers, gigging drummers and on occasion worked a ew drum lines In 990, based on the popularity o drum lines, they started ow-o Productions ow-o was immediately recognized as a ground breaking publisher o percussion literature Over the past 0 years, ow-o Productions has become a premiere publisher o percussion literature with a diverse library o concert percussion ensembles, drum line eatures, novelty literature, solo/method books and DDs This book is a culmination o their lie experiences as drummers, teachers, writers, publishers and percussion aicionados - - Crock Brooks A Tempo 66 Accelerando 66 Accents 5 Accessory Percussion 78, 79 Coda 57 Crescendo 8 Cut Time 9 Da Capo (DC) 57 Dal Segno (DS) 57 DC al ine 57 DS al Coda 57 Decrescendo 8 Diminuendo 8 Dotted Eighth Notes Dotted Hal Notes Dotted Quarter Notes Double Paradiddle 8 Drag 55 Dynamics 8 Eighth Notes ests 8 ermata 66 ine 57 lam 5 lam Accent 66 lam Tap 56 Grooves or Thought 0,8,9,6 Hal Notes ests, Matched Grip 6 Poco a poco 66 Quarter Notes ests, allentando 66 epeat Measure 9 epeat Sign 8 itard olls, Buzz Cut Time 50 Double Stroke 8 ive-stroke 0 Nine-Stroke Seven-Stroke 0 Seventeen-Stroke Single-Stroke 65 Thirteen-Stroke Triple Meter 65 u 55 Set-Up Maintenance Single Drag Tap 56 Single Paradiddle 7 Sixteenth Notes ests,6 Stick Anatomy 6 Strokes, Down 5 ull 9,7 Natural 9 Tap 6 Up 6 Thirty-Second Notes Slashes 9 Ties 9 5 Toolbox Essential udiments 75 Traditional Grip 7,9 Triple Meter 6 Triplets, Eighth Note 6 Sixteenth Note 6 Sixtuplets 6 Tuning 5 Whole Notes ests,

3 Mallet Player s Toolbox - Table o Contents and Index

4 rom The Snare Drummer s Toolbox ESSON - et s Get Started Anatomy o a Stick Shat Shoulder Tip (Bead) Butt Matched Grip - A Simple Explanation With your right hand, grab the stick ive to six inches rom the butt end holding it between the lat part o the thumb and the st oint o your index inger This holding point is called the ulcrum ightly curl your other three ingers around the stick Holding the stick is similar to the way most people hold their toothbrush or your let hand, duplicate the right hand grip or the beginning percussionist we recommend using matched grip - 6 -

5 rom The Mallet Player s Toolbox

6 rom The Snare Drummer s Toolbox et's Make Some Noise The ull Stroke et's Move Those Hands Now that you're amiliar with the ull stroke, here are some sticking combinations or you to practice Start by playing each line twice, slowly at irst As you become more comortable, increase the tempo Once you've mastered each line, play lines through (each line once) without stopping Keep a consistent look and sound between your right and let hand (Practice in ront o a mirror) Stay relaxed and keep a consistent tempo ) ) ) ) 5) 6) 7) 8) 9) 0)

7 News lash -e- a Example Grooves or Thought and News lash rom The Snare Drummer s Toolbox -e- a Grooves or Thought A drummer s most important ob is to be a good time keeper, both within the percussion section and or the band What does that mean? It means the band relies on you to provide a steady tempo, whether in the band room or on the marching ield Once the band director counts o a tune, don't speed up (rush) or slow down (drag) To become a solid time keeper, you should AWAYS practice playing along with a source o solid time This can be one o your avorite tunes, a metronome, a drum machine, or one o the Stick Clix or Groove Trax provided on The Toolbox DD emember: A drummer s # ob is to be a good time keeper Dotted Eighth Notes A dot placed ater a note (or rest) increases its value (duration) by one hal A dotted eighth note is equal in duration to three sixteenth notes Below are examples o rhythms that are written dierently but are played the same on a snare drum (e) () a (e) () a - e () a - e () a = = b b Example Grooves or Thought and News lash rom The Mallet Player s Toolbox b b b b

8 Example Eye-Q eviews rom The Snare Drummer s Toolbox Eye-Q eview - esson Eye-Q eview - esson 7 ) A quarter note receives count(s) ) A hal note receives count(s) Name the our parts o a stick ill in the measures below with the appropriate number o quarter notes emember, snare drum notes are typically written on the rd space o the sta 5 ill In The Blanks Example: ) There are quarter notes in a / measure ) A musical sta has lines and spaces Across Crossword-a-diddle stroke recipe or single paradiddle - downstroke, upstroke, tap, right single paradiddle 8 In Cut Time, a hal note receives one 9 a let double paradiddle 0, a let paradiddle Down another "Cut Time" name 5, a let paradiddle 6 A time signature that cuts note and rest values in hal 7 A measure o Cut Time equals two notes ill In The Blanks Multiple Choice ) In the measure below, write two single ) In the measure below, write two double paradiddles in Cut Time (include stickings) paradiddles in / time (include stickings) ) A vertical line across the sta is called a: ) Barlines are used to divide the sta into: A - repeat sign A - rhythms or beats B - barline B - measures or bars C - tuba insert C - bass drums or triangles D - divider D - eighth notes and quarter notes ) A drummer s main ob is to: 5) The tip o the stick should always move: A - keep solid time A - slightly let to right B - play as loud as possible B - in and out C - get the band director coee C - straight up and down D - impress people by playing ast D - toward the rim o the drum ) The top head o your drum should be: 6) How ar you stand rom your drum is: A - parallel to your shoulders A - dictated by the length o your orearm B - waxed oten B - not important C - a place to set the band director s coee C - dictated by the length o your sticks D - to inches below your belly button D - to 8 inches Name The udiments ( - ) ( - ) Hi C ) ill in the stroke types or the single paradiddles ) ill in the stroke types or the double paradiddles Eye-Q 5 Write in the stickings below Use only single and double paradiddle stickings

9 Example Eye-Q eviews rom The Mallet Player s Toolbox b b b b # # b # b b b b b #

10 rom The Snare Drummer s Toolbox ESSON - Quarters, Halves Wholes (Notes ests that is) q or now, we'll concentrate on the quarter note and the quarter rest A number in parentheses ( ) denotes a rest (silence) In a measure o / time, there are our beats per measure Play or clap the ollowing exercises Count,,, as you play and keep solid time ) () () () () () ) () () () () () ) () () () () Now let's try / time Count,, as you play and keep solid time ) () () () () () 5) () () () () () () () () () () Now let's try 5/ time Count,,,, 5 as you play and keep solid time 6) 5 5 () 5 () () 5 () () 5 () 5 () (5) () 5 () (5) - -

11 rom The Mallet Player s Toolbox b b b b b b b b b b b b b

12 q»80-0 b b b b b b b b b b b b b b b b b

13 How To Build An Inexpensive Practice Pad or () Students Items You ll Need: () 8 long x 8 piece o lumber (pine) () 6 x 6 pieces o rubber, /8 - / thick Small tube o iquid Nails () sturdy chairs The rubber squares are most easily accessible rom the plumbing supply department at your local hardware store They re about $00 each and are /8 thick You can get thicker rubber rom an industrial rubber supply house, but may have to cut it to size / thick gives a better playing eel and makes the sound a little easier on the ear I you do have a rubber supply house in your area, you may be able to get a scrap rom them or little or nothing You ll only need one square oot to make your () 6 x 6 squares Once you have your materials, glue the rubber squares to the x 8 as shown in the drawing below Be sure and clamp the rubber when you glue it or a secure, tight glue oint Ater all is assembled, set the board up on the backs o two chairs appropriately spaced (with the backs o the chairs perpendicular to the board), and oilà, you have practice pads or () students or about $000! When it s not in use, ust set in in the corner o the band room I you have more students, make another! NOTE: I you eel your students need a little more space, opt or () students per board Space the () rubber squares center to center at x 6 6 x 6 6 x 6 6 x 6 6 (7 / ) rubber rubber rubber rubber 96 (8 ) Addendum pg

14 rom The Snare Drummer s Toolbox ESSON - Accents Dynamics Webster s deinition o accent is emphasis or stress on a note or chord In other words, a note marked with an accent ( ) is played noticeably louder Up to this point, you ve been playing all ull strokes To play accented patterns, rudiments, and rolls, you ll need to learn three more basic strokes: ) The Downstroke ) The Tap Stroke ) The Upstroke The Downstroke To play a downstroke, start in the regular playing position and play a ull stroke (see igure ) As you strike the drum, stop the rebound o the stick one to two inches above the head by lightly squeezing the back three ingers and stopping the wrist motion (see igure ) igure igure Stopping the stick in this down position deines this as a downstroke Stay relaxed Don t squeeze the stick too tightly Practice these three exercises, slowly at irst, ocusing on proper execution o the downstroke = ull Stroke D = Downstroke ) ) D D D D D D ) D D D D - 5 -

15 The Tap Stroke To play a tap stroke, start in the regular playing position Slightly lit the stick and strike the drum, returning to the normal playing position In executing the tap stroke, you ll be using a slight wrist motion as well as the back three ingers to control the stick Practice these three exercises, slowly at irst, ocusing on proper execution o the tap stroke T = Tap Stroke ) ) ) T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T Tap strokes are basically sot strokes and are undamental in the development o a musical snare drummer The Upstroke The upstroke is a preparation or an accent To play an upstroke, start in the regular playing position (see igure ) Play a tap stroke and, in the same motion, lit the stick approximately 5º in preparation or an accent or stroke o louder volume (see igure ) Practice playing individual upstrokes, at no tempo, with each hand igure igure - 6 -

16 rom The Mallet Player s Toolbox (esson ) bb n n n w b w b

17 cresc dim

18 ) ) ) ) b p b p p b b b p P P π π P P n p π p π n b b A

19 b b b b b b q»9-60 n p p n n b b A p π p w n p p π

20 rom The Snare Drummer s Toolbox ESSON 5 - Sixteenth Notes Sixteenth ests A sixteenth note looks like a quarter note with a double lag attached Consecutive sixteenth notes are usually beamed r In a typical / measure, sixteenth notes are played twice as ast as eighth notes and are counted: e a e a e a e a ta e te ta a ta e te ta a This is a sixteenth rest Another popular counting system or sixteenth notes is: ta te ta ta te ta ta te ta ta te ta This book will use the traditional e a e a e a e a ta e te ta a ta e te ta a News lash st and nd Endings When a musical phrase is repeated, sometimes the end o the phrase is altered In the example below, play measures A, B, C, and D, then play measures A, B, C, and E (skipping measure D when you repeat the phrase) ) Play this exercise our times starting with the right hand Then play it our times starting with the let hand Count e a e a e a e a as you play st nd A B C D E Note: I there is no orward repeat sign, go back to the beginning e a e a e a e a Practice at several tempos, and always keep solid time e a e a e a e a Eighth / Sixteenth Combos ) ) ) e a e a e a e a e a e a e a e a e a e a e a e a e a e a e a e a - - st nd

21 ESSON 6 - Basic olls So ar we've learned to execute our basic strokes (the ull stroke, the downstroke, the tap stroke and the upstroke), and read quarter notes, eighth notes and sixteenth notes All the strokes and notes we've played have been short with no duration As mentioned on page, duration (a sustained sound) on a snare drum is accomplished by playing a roll In this book, you'll learn two types o rolls: double stroke (generally used in rudimental playing) and buzz or multiple bounce (generally used in concert/orchestral playing) The irst we'll learn is the double stroke roll The Double Stroke oll A double stroke consists o two notes coming rom one wrist motion To The Double Stroke play a double stroke, start in the regular playing position (both sticks one to two inches above the head) and play a ull stroke Ater the initial strike, allow the stick to bounce, then immediately squeeze the back three ingers pushing the stick back to the head or the second note The goal is to have both notes be equal volume Play the ollowing exercise several times, slowly at irst Strive or equal volume between the two notes emember, a double stroke is played using a single wrist motion Play the ollowing exercise incorporating the double stroke Maintain a constant wrist motion throughout the exercise ««««- 8 -

22 rom The Mallet Player s Toolbox (esson 5) b æ æ æ æ æ æ b b æ æ æ b b æ æ æ

23 b n n n b b n b b b b b b

24 rom The Snare Drummer s Toolbox ESSON 7 - Paradiddles (Single Double) Cut Time The Single Paradiddle ight Single Paradiddle et Single Paradiddle A right single paradiddle is executed by playing a right hand downstroke, ollowed by a let hand tap/upstroke, then two right hand tap strokes As speed increases, the two right hand tap strokes will morph into a double stroke or the let single paradiddle, the sticking is reversed D U T T D U T T D U T T D U T T D U T T D U T T D U T T D U T T D U T T D U T T Great importance should be placed on the stroke types used in the single paradiddle (Down, Up, Tap, Tap) or (Down, Up, Double Stroke) Mastering this sequence will develop low and speed Single Paradiddle Exercises Cut Time Equivalents Play the ollowing examples in Cut Time emember, in Cut Time a hal note receives one beat ) C played the same as ) C e a e a played the same as ) C e a e a played the same as ) C e a e a played the same as e a e a e a e a a e a e

25 rom The Mallet Player s Toolbox w b

26 rom The Snare Drummer s Toolbox ESSON 8 - lams, Drags oad Maps The lam The lam is a rudiment comprised o two strokes, a grace note (tap stroke) ollowed by a undamental note (downstroke or ull stroke) hythmic igures containing lams should not be attempted until the lam is mastered A lam should be thought o as a single sound, but the sticks should not strike the head at the same time The grace note is always soter than the undamental note, and the undamental note should always land on the beat grace note ight lam undamental note et lam To learn proper execution o the lam, start with your sticks in the position shown in the photos below or the right lam the let stick should be one to two inches rom the head, and the right stick ten to twelve inches above the head Start a stroke moving both sticks at the same time, allowing the let stick to strike the drum irst (the grace note) immediately ollowed by the right stick (the undamental note) There s your irst lam Practice this until it has become one coordinated motion (stroke) Then do the reverse to develop the let lam Ater you ve mastered both right and let, practice them slowly and alternate News lash (starting position or right lam) (starting position or let lam) % oad Map Signs i Sometimes when reading music you may come across the ollowing terms or symbols which guide you through the music These directions will have you umping ahead or going back to a speciic measure Here are the terms and symbols most commonly used: DC = Da Capo - go back to the beginning DS = Dal Segno - go back to the Sign -% ine = the end o the piece Coda = a separate ending to the piece, denoted by a Coda Sign - i You will ind these terms in many combinations, but the most commonly used are: DC al ine - Go back to the beginning and play to the ine DS al Coda - Go back to the Sign, play to the Coda Sign, then ump to the second Coda Sign to end the piece

27 rom The Mallet Player s Toolbox # # # æ # # æ J #

28 rom The Snare Drummer s Toolbox ESSON 9 - Triplets Triple Meter So ar in this book all o our reading exercises, solos and duets have been duple based, meaning that rhythms within the beat are divided into groups o two (eighth notes) or our (sixteenth notes) A triplet subdivides the beat or pulse into three even notes as illustrated below: quarter notes eighth notes eighth note triplets a a a Sixteenth Note Triplets Sixteenth note triplets subdivide an eighth note into three even notes as illustrated below: a The three notes in an eighth note triplet will be beamed together with the number above or below the group There are several ways to count triplets: --a --a -trip-let -trip-let -la-li -la-li (lah-lee) In this book we ll use: --a --a ta ta ta ta ta ta ta Be - duh - lee Be - duh - lee Be - duh - lee Be - duh - lee ta Because sixteenth note triplets go by at a much aster speed, counting them can be somewhat o a challenge Here are a ew ways to count sixteenth note triplets: -ta-ta -ta-ta Be-duh-lee Be-duh-lee Buh-guh-duh Buh-guh-duh Triple Meter (/8, 9/8, 6/8 /8 Time Signatures) In a measure o /8 there are twelve eighth notes, beamed in groups o three A composition in /8 will typically be counted and/or conducted with our beats to the bar, making a dotted quarter note the beat To simpliy the counting, the groups o three are counted like triplets: a a a a 8 a a a a The Beat A measure o 9/8 has nine eighth notes and will typically be conducted in three 9 8 a a a A measure o 6/8 has six eighth notes and will typically be conducted in two A measure o /8 has three eighth notes and will typically be conducted in one 6 8 a a 8 a Music with a triplet eel is most commonly written using triple meter so groups o three do not have to be designated with a number above or below the group Using triple meter simpliies the look o the music, and makes it easier to read In the example below the /8 measure is played and sounds exactly the same as the / measure q»0 8 ( ) ( ) ( ) ( ) a a a a played the same as q»0 ( ) ( ) ( ) ( ) a a a a

29 b b b b rom The Mallet Player s Toolbox # # # # # # # # b b b b b w bb bb b æ æ æ æ w æ # # æ æ æ æ æ æ æ æ w æ

30 rom The Mallet Player s Toolbox (essons 8 0) bb æ æ æ æ æ æ æ æ æ æ æ æ æ b æ æ æ æ æ æ æ

31 bb bb b b (excerpt) = 8-0 bb æ bb bb æ % æ æ æ æ æ To Coda i bb n b æ æ æ æ æ æ æ æ P b b n b bb #

32 rom The Snare Drummer s Toolbox æ P stick clicks ( on ) p æ @ p 6 Jivin On Mixin It Up - Monkey p stick clicks ( Mixin It Up - Player Ó on æ 6 z p

33 J J J J J Mixin It Up - Player Ó J J J J J J P Mixin It Up - Player J J J J rom The Mallet Player s Toolbox Ó P J J P P

34 Double Stroke The 5 Toolbox Essential udiments When you go to a estival, contest or audition, you may be asked to play certain rudiments open - closed - open This means to start slowly, gradually get aster and slow down to your beginning point (anywhere rom 0 to 60 seconds) Slow ast Slow You ll ind a ew examples on the Toolbox DD ive Stroke oll Seven Stroke oll Nine Stroke oll Thirteen Stroke oll Seventeen æ æ æ Buzz or Multiple Bounce oll z z z z z z æ æ Single æ æ Single Paradiddle Double Paradiddle lam lam Tap lam Accent (in Duple Meter) lam Accent (in Triple Meter) 6 8 Drag (or u) Single Drag Tap

35 Topics covered in the 8-page Timpani Tutorial ound in MPT include: l The Three Grips (German, rench, American) l Playing Areas l The Bass Cle Sta l Drum anges l The egato Stroke l Tuning The Drums l Ear Training l olls l Two Drum, Three Drum, our Drum Exercises l Dampening l () Etudes

36 # q»00 - # z # # N J J # æ æ z æ æ ż æ æ z z æ æ ż # p # # p # z