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8/11/2019 Snare Etudes - IMEA Sets 1,2,3 advace .pdf
1/7
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ess{}fi1&Y*ffir't
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
Goldenberg; Chappell
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
Goldenberg; Chappell
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)
8/11/2019 Snare Etudes - IMEA Sets 1,2,3 advace .pdf
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;
8/11/2019 Snare Etudes - IMEA Sets 1,2,3 advace .pdf
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'
8/11/2019 Snare Etudes - IMEA Sets 1,2,3 advace .pdf
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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Jr:-:*
F t:
.tf
dim-
-
w
.trf,
cvesc,
paco
$
ppto
::::::3-
flnp
8/11/2019 Snare Etudes - IMEA Sets 1,2,3 advace .pdf
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.
8/11/2019 Snare Etudes - IMEA Sets 1,2,3 advace .pdf
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
t
23
.ff
__{._.=:*
pp
rnJf
r*3
-r
pia
"f
f,f,
HAB
lOT
>p
c'.esc.
8/11/2019 Snare Etudes - IMEA Sets 1,2,3 advace .pdf
7/7
]
t
.r
fi,*
"i.
The
nrany
dynamic
markingJs
must he
carefull1' obsen,ed
here,
rvith
$iight exaggerarion of
the
cre-
s""roos
ind'decrescendos'
t
o
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