Snare drum
Ruth Cahn, Instructor
The goal of the percussion department is to use the “wonderful world of percussion instrument” study to connect the student with the wider world of music. Our other lead goal is to build both technical and musical skills of students so that they will become valued participants in their school and community music programs. Orchestra or total percussion instruction may start with the snare drum, but will include keyboard and timpani instruction. Students may be accepted who wish to study just one instrument, for example marimba. We encourage all students to reach level V on snare drum so that they will have a solid skill set to apply to drum set study.
Level I
Suggested Methods
T. McMillan
Contemporary Method
V. Firth
Snare Drum Method Book I
Haskell Harr
Drum Method Book I
M. Peters
Elementary Snare Drum Studies
Solos
W. Schinstine
Little Champs Solos
Hathway/Wright
Graded Music for Snare Drum, Book 1
W. Schinstine
Three Festival Solos
Technique
Rudiments – flam, ruff, 5, 7, 9 and 17 stroke rolls, flam tap, long roll, single paradiddle
Coordination – Tap foot on beat while hands play quarters-eighths-sixteenths
Musicianship
Aural Skills – Imitate by listening rhythms similar to those learned by reading music
Musical Elements – Play F and P
Ensemble
Be able to watch conductor and try to stay with the beat
Level II
T. McMillan
Contemporary Method
M. Peters
Intermediate Studies for Snare Drum
H. Harr
Snare Drum Method Book II
V. Firth
Snare Drum Method Book II
Solos
W. Schinstine
Southern Special Drum Solos
Hathaway/Wright
Graded Music for Snare Drum, Book I
Bizet/J. Roy
Toreador March from Carmen
Technique
Rudiments – (in addition to level I), 10, 11 and 13 stroke roll, flam accent #2, single drag, double drag, double paradiddle, flam paradiddle, flamacue, both multiple and rudimental long rolls, lesson #25,
drag paradiddle #1
Coordination – be able to maintain skills as in level 2 in 2/4, ¾, and 6/8 signatures. Be able to play triplets within context of 2/4 and ¾ while tapping foot.
Musicianship
Aural Skills – by listening imitate 2 bar patterns that use familiar rudiments
Musical Elements – recognize and understand dynamic range, be able to follow both section and multiple measure repeats.
Ensemble
Experience playing bass drum, cymbals, triangle and snare techniques with good coordination with ensemble
LEVEL III
Methods
M. Peters
Intermediate Studies for Snare Drum
Gardner
Progressive Studies for Snare Book 3
G.L.Stone
Stick Control
H. Harr
Drum Method Book II
Solos
W. Schinstine
Southern Special Solos
F. Fennell
Drummer’s Heritage
EL 03901
Classic Festival Solos, V. 2
Goldenberg
Simple Minuet-12 Progressive Solos
Technique
Rudiments – (In addition to levels 1 & 2)- four stroke ruff, 15 stroke roll, excellent quality single stroke roll,
begin work to open and close the rudimental long roll, drag paradiddle #2
Coordination – be able to read and play music for several drums at once
Auxiliary Percussion Instruments
Triangle-proper playing position with good roll
Tambourine-shake and thumb roll
Cymbals-good crash sound
Bass drum-proper playing area
Musicianship
Improvisation Skill – be able to improve an 8 bar “street beat” and 8 bars of non-rudimental using the unique sounds of the snare drum
Musical Elements – Fp roll, begin phrasing, begin listening and responding to other instruments while playing
Ensemble
Perform the snare and above-mentioned auxiliary percussion instrument techniques accurately and musically in ensemble
Level IV
Methods
Hochrainer
Ubungen for Klein Trommel
Gardner
Progressive Studies for Snare Book 4
Goldenberg
Modern School for the S.D.
Solos
J. Pratt
14 Contest Solos
Hathway/Wright
Graded Music for Snare Book 2
J. Beck
Colonial Drummer
Gounod/Roy
Soldier’s March from Faust
Schinstine
Drumming Together
Technique
Rudiments - (in addition to levels 1, 2, 3), six stroke roll, flam paradidddle, All 26 Rudiments
Coordination – read and play independent rhythms with each hand. Tap foot on subdivisions of odd meters while playing
Auxiliary Percussion Instruments
Castanets – experience stick and machine technique
Techniques for wood blocks, temple blocks, tam-tams and small multiple percussion set ups
Conga and bongos – simple hand percussion patterns
Musicianship
Aural Skills – listen to a wide variety of music, be able to improvise ongoing patterns in odd meters, recognize and play basic rhythm patterns (waltz, pasadoble, swing, march, etc.)
Musical Elements – identify and perform phrases, form concepts of good snare drum tone and be able to adjust the drum to achieve your concept
Ensemble
Begin to play with school orchestras and other ensembles in the community, all county groups, NYSSMA festival ensembles to increase skills, pit orchestra performance
LEVEL V: DIPLOMA LEVEL
Methods
Goldenberg
Modern School for the S.D.
A. Cirone
Portraits inn Rhythm
Payson
Snare Drum in the Concert Hall
Solos
C. Wilcoxon
Swing Solos
J. Beck
Colonial Capers
S. Leonard
Contemporary Studies for S.D.
W. Kraft
French Suite for Percussion Solo
Technique
Skills – in rudimental, orchestral and multiple percussion techniques
Coordination – read and play multiple percussion scores with ease, continuing development of independence between hands
Auxiliary Percussion – expand knowledge to entire ranage of Latin percussion instruments, continue development of multi-cultural hand drumming
Ensemble – ability to effortlessly switch between instruments during performance, interpersonal/musical skill to work with a group of percussionists to develop the “section sound”
LEVEL VI: HONORS LEVEL
Methods
J. Delecluse
Initium 3 and 4
M. Peters
Developing Dexterity for the S.D.
McMillan
20th Century Orchestral SD Studies
Cirone
Portraits in Rhythm
E. Bailey
Wrist Twisters
Solos
Hathway/Wright
Graded Music for S.D.
W. Benson
Three Dances for Solo S.D.
S. Leonard
Contemporary Album: Time Studies
W. Kraft
Morris Dance
Technique
Stick Control – fluid and even both hands together and excellent control in each hand separately. High-level technique in orchestral, rudimental and multiple techniques. Great roll sound.
Musical Elements – ability to move beyond the techniques of drumming and use both snare and the auxiliary percussion instruments in expressive support of musical idea or composition
Ensemble
Performing as soloists with school and community ensembles, performance in NYSSMA All State, youth orchestras and high level community groups, chamber music performance without conductors.
Timpani Curriculum
Ruth Cahn, Instructor
The goal of the percussion department is to use the “wonderful world of percussion instrument” study to connect the student with the wider world of music. Our other lead goal is to build both technical and musical skills of students so that they will become valued participants in their school and community music programs. Orchestra or total percussion instruction may start with the snare drum, but will include keyboard and timpani instruction. Students may be accepted who wish to study just one instrument, for example marimba. We encourage all students to reach level V on snare drum so that they will have a solid skill set to apply to drum set study.
Level 1
Suggested Methods
T. McMillan—Basic Timpani Technique
M. Peters—Fundamental Method for Timpani
Solos
Wright—Graded Music for Timpani
P. Brazauskas—Five Timpani Solos
Technique
Develop roll with proper grip, finger action
Begin legato lift stroke
Establish playing area
Tune 4ths and 5ths
Recognize odd and even sticking groups
Musicianship
Utilize f and p dynamics
Ensemble
Self tune the drums and try to stay with conductor
Level II
Methods
T. Mc Millan—Basic Timpani Technique
M. Peters—Fundamental Method for Timpani
Solos
Wright—Graded Music for Timpani Book 2
J. McKenzie—Six Graded Timpani Solos
Technique
Tune 4ths, 5ths, M3, M2 and m2
Begin staccato stroke
Refine playing area, develop good cross stroke
Develop ability to dampen with both hands
Musicianship
Full dynamic range development
Fp roll sound
Develop sonic palette: arm, wrist and finger elements
Ensemble
Able to retune during a composition
Greater dynamic range
Level III
Methods
R. Hochrainer—Etuden for Timpani Vol. 1
Goldenberg—Classic Overtures for Timpani
Solos
Wright—Graded Music for Timpani Book 2
J. Beck—Grand Teton
W. Schinstine—Tymp Tunes
Technique
Tune P4, P5, M3, m3, M2, m2
Develop 3 and 4 drum technique
Develop drum crossing
Musicianship
Crescendo rolls and releases
Able to switch and choose stroke types
More centered tone
Ensemble
Can really respond to conductor
Confident at retuning while the ensemble is playing
Level IV
Methods
Hochrainer—Etuden for Timpani Vol. I
Goldenberg—Classic Overtures for Timpani
Goodman—Modern Method for Timpani
Solos
J. Beck—Alpine Slide
Goodman—Introduction and Allegro
Muczynski—Three Designs for Three Timpani
A. Tcherepnin—Sonatina
Technique
Tune all intervals as before plus M6, m6, and octaves
Good stick control on crescendo and diminuendo rolls
Ensemble
Ability to play out to balance the ensemble
Ability to choose hardness of stick
Full dynamic range
Ability to blend with the ensemble
Level V: Diploma level
Methods
R. Hochrainer—Etuden for Timpani Vol. 2
Goldenberg—Romantic Symphonies for Timpani
Delecluse—30 Studies for Timpani Vol. 2
Solos
J. Bergamo—Four Pieces for Timpani
Firth—Solo Impressions for Two Timpani
Goodman—Ballad for the Dance
Technique
Odd meters and odd groupings
Non-traditional notation reading
More doublings between drums
Musicianship
Ability to work independently and solve creative problems - begin to create a sense of personal sound
Ensemble
Experiences with NYSSMA All county festivals, community bands and orchestras, RPYO audition
Level VI: Honors Diploma
Methods
Hinger—Technique for the Virtuoso Timpanist
Delecluse—30 Studies for Timpani
Hochrainer—Etuden for Timpani
Solos
Hinger—Solos for the Virtuoso Timpanist
Wright—Graded Music for Timpani Book 4
Beck—Sonata for Timpani
Floyd—Theme and Variations for Four Timpani
Technique
Tune all possible intervals
Develop non-traditional timpani sounds
Musicianship
Show a real sense of personal style as a player that includes stick choices (making your own sticks).
Develop a knowledge of much standard orchestra repertoire for timpani
Ensemble
Perform in youth orchestras, All State Festivals and community groups
Ability to play out to balance the ensemble
Ability to choose hardness of sticks
Full dynamic range
Goals
Audition for RPYO
Prepare for Honors Jury to be played in February of Senior year