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
Suggested Methods
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
Suggested 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
Suggested 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
Suggested 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 range 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
Suggested 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.