70

SnareDrumRudiment:

Accessory PercussionThese short etudes were written to give the serious percussion student an opportunity to perfect the methods of playing the various accessorypercussion instruments. While playing techniques often vary from teacher to teacher, the instructions given on the next 5 pages will give the studenta basic knowledge of common practices regarding the accessory instruments. Read through the explanations on the pages that follow, then workmaster each etude below.

Etude forConcert BassDrum

Etude forTambourine

Etude forCrashCymbals

dim. poco a poco

1 2 1 2

4 21

2 3

K H K H K H K K H K H K H K K K K H K H K K K H K H K K H K

K

1 2

cresc.

5

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The Concert Bass DrumBass DrumBeaters

The size of the bass drum beater generally is matched to the size of the bass drum itself. A general purpose concert bassdrum beater is soft, with a hard felt core. Timpani mallets are not large enough to get a good “deep” sound from thebass drum, so always use a mallet designed for the drum. The grip for the bass drum mallet is the same as the grip forthe right hand snare stick.

On a bass drum that is in a vertical position, stand slightly to the right side and behind the drum. You will play the drumwith your right hand and use your left hand to muffle the drum head (see fig. A below). The drum is then struck slightlyoff center.

The stroke that is required for the bass drum is the same as the stroke for the snare drum except that the player shouldstrike the drum with a “glancing blow,” then immediately pull the beater away from the drum head (much like an“upstroke”). All rolls on the bass drum should be played as single strokes, not as bounced strokes!

When playing with one mallet, the left hand is used for muffling while the right hand hits the drum with the mallet. Forshort, staccato notes, use the palm of the left hand to muffle the drum (the closer the hand is placed to the center ofthe drum, the shorter the sound). For normal, “legato” playing, use only the finger tips to muffle the drum. Let your “ears”decide how much muffling should be used.

When playing with two mallets, it may be necessary to use a cloth to muffle the drum if staccato, 16th notes patternsare to be played (see the Drum Cadence on page 43 for an example of this type of music). Find a soft towel or cloth anddrape it over the edge of the drum (as in fig. B). Again, you must use your ears to determine exactly how much mufflingis required.

Under no circumstances should muffling be taped to a concert bass drum head or put inside the drum!A concert bass drum should be able to ring in case a piece of music calls for a note to vibrate longer than a quarter note(see the Bass Drum Etude on the previous page).

PlayingPosition

Learningthe Stroke

Mufflingthe Drum

Figure A Figure B

72

SnareDrumRudiment:

CymbalGrip

The cymbal straps are held in much the same grip as the right hand snare grip. Let the strap drape over the second jointof the index finger (fig. A). The fingers then curl around the strap to make a fist (fig. B). Be sure that the cymbal strap isheld very close to the cymbal or cymbal pad to insure control of the instrument.

The Crash Cymbals

Dampening orMuffling

When muffling the cymbals, the follow through is omitted and the edges should be drawn to the players body (chest,midriff, or shoulders) to stop the sound. This is absolutely necessary for short, staccato notes. The shorter the notes, thefaster the player needs to draw the cymbals to his or her body.

Figure A

CrashCymbalNotation

Cymbal parts are usually notated with an ‘X’ on the 3rd space. Whenever a composer wants the cymbals to beallowed to vibrate freely, a small line is drawn after the note Use the Etude for Crash Cymbals on page70 to practice cymbal technique

If the crash cymbals are to be played for extended periods of time, first put your hand through the circle of the strap beforegripping as mentioned before. It is also very important to have a cymbal rack or padded table to lay the cymbals on whenthey are not being played. Do not simply lay the cymbals on the floor!

In order to play a full cymbal crash, one cymbal(usually the left) is held stationary. The right cymbalis held at a slightly higher angle and is droppeddown against the left with a “glancing blow.” Thiswill help eliminate “air pockets” that may occur if allof the edges hit at the same time.

After the cymbals are struck together, bring yourhands apart and down slightly so that the cymbalsmay be allowed to vibrate freely.

For fast, repeated cymbal strikes (as in a march),keep the cymbals close together, with all edgeseven. Keep the left cymbal stationary and strike itwith the left. Usually, time does not permit the“glancing blow” type of strike described above.Keeping one cymbal slightly off–center from theother will usually eliminate air pockets that mayoccur.

ToneProduction

Figure B

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The TambourineAlthough there are many different sizes and types of tambourines, a 10 inch tambourine with a double row of jingles isthe most practical. The shell of the tambourine should be relatively light for ease in playing.

The Etude for Tambourine (page 70) uses all of the techniques described on this page. Thenumbers notated in this etude correspond to the techniques outlined above.

The method of holding and playing the tambourine depends on the dynamic level and the speed of the rhythms to beplayed. Here are a few techniques for the most common playing requirements:

1 For slow, loud passages, the tambourine is held at about eye level, head side up. The tambourine is then struck withthe fist (or fingers) of the opposite hand near the center of the head (fig. A)

2 To achieve softer dynamics, hold the tambourine in the same manner as above, only strike the tambourine with thefingers of the opposite hand near (or on) the rim (fig. B).

3 For fast rhythmic passages, the knee must first be raised by placing the foot on a chair or stool. The tambourine is thenheld head side down and struck alternately against the knee and the fist of the opposite hand (fig. C).

4 A shake roll is produced by shaking the tambourine using an oscillating wrist action. In order to produce a “clean”start to the roll, strike the instrument in the manner previously described. If the tambourine roll has a release note also,strike the tambourine at the end of the roll.

5 A crescendo shake roll is produced by starting the shake roll low, at waist level (or below). As the roll gets louder, bringthe tambourine up to eye level.

To avoid extraneous jingle sounds while performing, always strike the tambourine with the hand that is not holding theinstrument. Try to keep the tambourine flat (horizontal) before and after performing a passage so that extraneous jinglesounds won’t distract from the band or orchestra’s performance. Again, it is also recommended that the tambourine beplaced on a padded table or stick tray when not in use.

Selecting theInstrument

PlayingTechniques

fig. A fig. B fig. C

74

SnareDrumRudiment:

The TriangleThe triangle holder should be a type that can clip onto a music stand. A clamp is probably the best triangle holder and isreadily available from most hardware stores. The cord that holds the triangle away from the clamp should be very thin (thickenough to support the weight of the triangle, yet thin enough to minimize any muffling of the instrument). Do not let theloop of the string be too long — it should be short enough that you can control the instrument (so that the triangle doesnot twist in a circle every time that you hit it!).

Triangle beaters should be made of steel and should vary in diameter to achieve various dynamic ranges. Avoid using “justanything” that is metal (screwdrivers, drum lugs, etc.).

Form a “C” with the thumb and fingers of the left hand (fig.A). Place the triangle on the top of the thumb and the firstfinger (fig. B). The triangle is then held at eye level when it is being played (fig.C). Do not clip the triangle to a music standto play it unless it is absolutely necessary. The percussion instruments should be seen as well as heard!

The triangle is muffled with the heel of the hand and the other three fingers. Generally, the triangle is rarely muffled unlessit is specified by a composer.

The triangle should be struck with the right hand on the base of the triangle (you may experiment with beating areas ofthe triangle to achieve different effects). A roll or tremolo on the triangle is produced by alternating between striking theinner right and inner bottom of the instrument (fig. D )

The Clamp orTriangle Holder

Triangle Beaters

Holding theTriangle

Muffling

PlayingTechniques

fig. A fig. B

fig. C fig. D

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Suspended CymbalThe suspended cymbal is usually thinner and smaller in diameter than the crash cymbals. The suspended cymbal is oftenused for cymbal rolls as well as fast, rhythmic figures (to mimic the sound produced by drumset players).

Soft mallets (usually yarn mallets, but sometimes timpani mallets) are usually required to play rolls on the suspendedcymbal. Drum sticks are necessary to play rhythmic figures (plastic tipped sticks project better than wood tipped sticks).Composers will often call for wire brushes to be played on the suspended cymbal. Special effects are sometimes calledupon and achieved by using triangle beaters or coins. Experiment with different types of beaters until you find the soundthat you desire.

Rolls are best produced on the suspended cymbal by placing the mallets on opposite sides of the cymbal (3 o’clock and9 o’clock). A roll is produced by alternating single strokes on the cymbal. When one hand is needed to play anotherinstrument while playing a roll on the cymbal, two mallets can be held in one hand (fig. B). The motion of the hand is thenobvious to have each mallet strike the edge of the cymbal. Make sure that there is enough distance between the headsof the mallets.

Some composers specify certain areas of the cymbals to be struck (edge, on the bell etc.). Unless it is specified in the music,the general playing area of the cymbal is about two inches from the edge.

PlayingTechniques

SuspendedCymbal Mallets

fig. Bfig. A