snare etudes - imea sets 1,2,3 advace .pdf

8/11/2019 Snare Etudes - IMEA Sets 1,2,3 advace .pdf

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IMEA

Etudcs

trerGusslom

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


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


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)


2/7

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

a

the

loud rolls

and

very soft

pas$ages. To execute

the

linet accurately,

avoid

any

accents

or

phrase

marking

To

obtain

a

consistent

s*und

and

dyn*mic

lev

throughout

the three

lines,

chocse

a very scirsitive

ar

af

the

drumhead,

near

the

rirn,

and

keep

the tips

of

t

sticks

clsse

together.

4.

Line

I

begins

with

a

rfleasure

that

includss

4-str*ke

mff,

a drag,

and

a flam.

This

could be

stumbling bloek

to

the

consistent

articulation

iu

discus$ed.

I

suggest

cr*ating

an

exercise

CIut

of

ti

measure

sa

it can

be

performed

withaut unwan

accents

or

changes

in

the

dynamic

level.

5.

The extreme

dynamic

chartges

near

the

end

the weirk

call

far a

triple

/er{e

with wcdge

accents

twhi

are

stronger

than

normal

accents)

and

triple

pi'anissim

which

represent$

the sottest dynanric.

ln

thi$

instance

suggest

playing

in the center area

of

the

drumhe

because

both

dynarnics

change

eo

quickly. Wh

dynamics

change

at

such

a

rapid pace,

th

sound

more

ccnsistent

when

executed

in

anly

ffne

arca

of

drumhead.

INTERPRETATIONS:

1- The

opening

4-stroke

ruff

gives the player

Excellent

opportunity

to

creato

a

grandioso

effect.

open,

4-stroke

ruff

with

a

crr,ctnda

wiln sound

more

character

af the

grondiosn

rnarking

than

a

closed,

4-stro

ruff. This

is a

matter

of

interpretation

and,

especially

solo

playing,

the

player

needs

ts

use

his

irnaginatipn

create

a

tnrly

musical

expression.

2.

To

obtain

a

consistent

sound

in

line

2,

flams

should

b

played

on

the snme

hand.

Ne

altcrnate

long

series

of flams

or drags

in

orches

playing.

The

goal

in

maintaining a

cansistent

sound

accompli*hed

much

better

by using

the

same

flam.

3-

The

secand

measure

of

line

4 begins

a

fo

section;

it easily

lends

itself to

phrasing

with

two

be

in the

measure.

A

more accurate

way of

notating

thi

as

follaws;


3/7

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'


4/7

^

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,

-,r

,i1

|

-,

4

Andante

grandioso

,1.

=

58

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5/7

58

tfit{'{d"

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.


6/7

(

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

ci

A

ts

A

,i*72

t

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23

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pp

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nrany

dynamic

markingJs

must he

carefull1' obsen,ed

here,

rvith

$iight exaggerarion of

the

cre-

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ind'decrescendos'

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snare etudes - imea sets 1,2,3 advace .pdf

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