Se Ue 00 WHALEY OURS PES (=) SAN mt eee In i FY i SY 2 A y/ SSE \ = Se Es Za =} 1 =F => = 5 = pap & aes Ss a a iMFOREWORD The basic objectives for this text are to provide musical works suitable for solo performance, and to focus the performer's attention on developing rhythmic precision and dynamic control. Recital Solos for Snare Drum contains thirty musically challenging solos composed especially for retical or adjudication. Each solo is a complete musical work and is based upon a specific problem of tech- nique andlor musicality. Two tempo indications are provided for each solo. Although the faster tempo is preferred, the per- former is free to choose a tempo within those suggested. The wide variety of time signatures use this book includes: 2/4, 3/4, 4/4, 5/4, 3/8, 5/8, 6/8, 7/8, 9/8, 12/8, 3/16, 4/16, 5/16, 7/16, ¢, 3/2, and 4/2. In ad- dition, mixed meter, metric modulation, and artificial rhythmic groups appear throughout the text. Performance suggestions are provided ‘for each solo. They generally address one or two specific details but also provide suggestions regarding interpretation and practice. Itis my sincere hope that Recital Solos for Snare Drum will provide enjoyable and rewarding per- formance material for the contemporary percussionist. Gw. to MARGE & JOHN for their unending friendship . . . special thanks to Joel Leach, Chris Flannery, and Fran Taber © Copyright 1980 Meredith Music Publications, 170 N.E. 33rd St., Ft. Lauderdale, FL 39304 International Copyright Secured Made in U.S.A. ‘All Rights ReservedThis study presents several problems for the snare drummer. The triplet-duplet rhythm should be perfected using @ metronome. Sub-divide the dotted rhythms and pay close attention to dynamic shading.The triplet rhythm in measure six should have a light, skipping quality. To achieve this effect use the sticking LL RRL L. Do not accent short rolls unless they are so marked. Play all ruffs closed. Ds 144-152 = 3 3 3The sudden changes of tempo and style in this study present a challenge of musicality. It is necessary to memorize each tempo to insure a consistent interpretation. The use of a metronome during prepara- tion is essential. Presto (J= 108) ql tt Stovly (dss) Self Soff Self Poff falt SiPaltPractice the tied rolls and syncopations slowly, counting the basic eighth note pulse. Be sure to phrase each bar in groups of two and three or three and two in order to produce a continuous rhythmic flow. If necessary, mark each group. d= 198-146 > t ———p f P t —The beginning of this study is characteristic of many works for band and orchestra. While playing this piece imagine a performance situation in which a conductor indicates the duration and release (’)of the fermata rolls. Sub-divide all dotted rhythms. 4104116 —sF ps 3 3 3 = SS = Sa SS SeMake sure that all rapid rhythms are played evenly. Time all marks of expression to achieve the ultimate musical effect. Again, sub-divide all dotted rhythms.Before preparing this study practice playing quintuplets using a metronome. Since the artificial rhythmic groups contain an odd number of notes, sticking can be a problem. Work out and note any such problems. J=00-7 VII 5 5 5 aaa10 3 a3 Be careful that the rhythm 40s is not played 499094. Careful attention to rhythmic detail will pre- vent this inaccurate interpretation. Do not anticipate the sudden break just before the last {wo measures. This sudden stop should occur suddenly and without warning dence vi11 ‘The dynamic nuances in this study are subtle and must be approached with sensitivity. Strive to restate dynamic levels accurately. Think the sub-division before beginning this study, IX =f pnt pant pf ——— Ps — —= mp ————— pp. nf—pmf—p mf>prf>—p ——=mf ff mf P ———— of aim. ai fine poco rit.12 Before practicing this piece become familiar with the tempo changes; use a metronome. Begin practic: ing only after memorizing the two basic tempi. Using your inner-ear, mentally study the accelerando and ritardando measures in order to achieve smooth transitions. ds00 == cresc. e rit. (d200) => t P13 ‘The difference between tied and untied rolls should be made apparent to the listener. Practice counting each measure in groups of three and/or two. A slight, natural accent will be felt at the beginning of each group. XI ds14a-15214 This piece should be performed with snares off; a somber, muffled drum effect is desired. For rhythmic precision sub-divide both [3 and J. Practice the artificial rhythmic groups out of context using a XII metronome. P = =f = hey15 The rhythmic subject of this solo is taken from Anthony Cirone’s Portraits in Rhythm, study which presents an alternate development of the subject is in honor of Mr. snare drum text. study #1.” This one’s excellent XIII d= 120-192 >16 The basic pulse of this study is the eighth note, not the dotted quarter note. Sudden dynamic changes must be practiced slowly, concentrating on the accurate restatement of each dynamic level. This pro- blem may be greatly reduced if stickings are carefully worked out and noted d= 129=192,17 The “crescendo little-by-little to the end" must be gradual and even. Work out each change of tempo carefully in order to achieve smooth transitions. The molto accelerando at the conclusion should be ex- tremely fast. 3 pocoaccel. = = === ---- 7-7518 the use of alternate sticking will often determine rhythmic andlor dynamic precision. For instance, in measure one the following stickings may prove to be more practical than using single strokes: 5 TT Remember, it is the musicai end result that is important. Experiment and select the appropriate sticking XVI ds 144a15219 To insure rhythmic accuracy use a metronome to practice the first three measures and the retrograde. Practice at various tempi and dynamic levels. The rhythmic control demanded in this.piece is common in contemporary literature. , XVII : d09-76 z20 The way in which four-stroke ruffs are presented in this solo make their execution difficult. Practice this rudiment out of context. Using eighth note triplets, sub-divide the quarter note triplet to insure rhythmic precision. _ XVIIIat The forte-piano roll is an important snare drum technique. To achieve this effect, practice beginning a soft roll with a single, loud stroke. The initial attack must be a single stroke or a diminuendo roll will result. XIX d= 120-132 mf Pp IP tS P pp ff24 Although the time signatures employed in this study are not widely used they are encountered. Prac- tice this study counting out loud, sub-dividing dotted rhythms, and restating dynamic levels accurately. XXII 35 35 é. 39 34 > crese. ~~ P —————S..s Y¥ I IT HI KH 3g25 Problems of rhythmic accuracy and maintaining a strict tempo are often encountered when playing a slow work. Sub-dividing is essential. Pay close attention to rhythms that are similar but not exactly 2 alike such as {Jed and Lia. ’ XXII —3— —s—- 3 3 —3— =r3—726 The sixteenth note is the common rhythmic denominator throughout this piece. As in previous ex: amples, try to phrase odd meter rhythms in groups of three and two or two and three. The rhythmic drive of this work can be increased by playing ‘‘on top of the beat.” Keep the sixteenth notes moving, XXIV d= 4-02 tf ap = (sub. pf mf P=Sa7 This work presents a compositional technique known as metric modulation; a method of altering the basic pulse. At the point of modulation (tempo change), two note values above the staff indicate the old and new pulse. In measure nine for example, the eighth notes are played at the same speed as the preceding sixteenth notes. Thus, the tempo has been increased. XXV Jeo et28 This work is built on an opening two measure subject. Subsequent statements of this subject are transformed and appear in 6/8 and 3/16-2/16. The final thirteen measures serve as a codetta presenting the subject three times in various meters. Regardless of the metric variation, the subject must always sound rhythmically the same. J 208-72 XXVI29 Although this solo may appear difficult itis really not if the tempo is observed. The sixteenth note is the basic pulse throughout. Use a metronome and practice counting out loud to insure rhythmic precision. ae XXVII ; ‘mf sempre30 Work out the metric modulations before attempting to perfect this piece. Measure nine (the entire measure) is played at the same speed as the preceding quintuplet. Be careful to evenly space each quintuplet. XXVIII . deh31 This solo should be played in a relaxed jazz style. Eighth notes may be played with a triplet swing feel or 5 in straight rhythm. This includes the eighth note rolls which may be played as written £) orf). The choice is up to the performer. Lf Ord d=72-80 XXIX v v F sempre 3> 3> 3> 3>32 The basic pulse of this study is the eighth note. Work out each measure using a metronome. If necessary, mark the beats in rhythmically complex measures. Sub-divide dotted and slow rhythms, especially eighth note triplets. ds00-12 3.3 3 XXX J, 3