Snare Rudiments Pdf

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Jule Kue

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Aug 4, 2024, 1:06:38 PM8/4/24

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Thislisting was an outgrowth of a five-year project compiled by the PAS International Drum Rudiment Committee, a highly select group of percussionists, organized and chaired by Jay Wanamaker. It is the hope of the International Drum Rudiment Committee that this new listing of rudiments will create a new vocabulary of drum rudiments that will serve contemporary percussionists for many years to come.

*These rudiments are also included in the original Standard 26 American Drum Rudiments

Battery/mallet players will play pre-selected rudiments memorized within a one-minute time limit as well as pre-selected major scales within a separate one-minute time limit. Students are expected to play the rudiments and scales in the order specified on the notecards. Click here for examples of the notecards.

All rudiments will be performed at a flat speed equal to or faster than the tempo listed. Rudiments will not be played from slow to fast to slow (also referred to as open to close to open). Students have one minute to play all listed rudiments exactly six times consecutively (and a release note when applicable). If a student performs more than six repetitions, only the first six are to be judged.

Battery/mallet players will play pre-selected major scales within a separate one-minute time limit. Students are expected to play the scales in the order specified on the notecards. For examples of the notecards, please scroll back to the top of this page.

NOTE: Reference pitches for tuning Timpani may only be obtained from a tuning fork or pitch pipe. Students are not allowed to use a mallet instrument to obtain their reference pitches.

This book is packed full of lessons and exercises. Neatly organized into 41 different sections, this book covers rudiments, one-handed exercises, stick control, timing, relaxation, odd-groupings, back sticking, & tenor drumming. A must for the private instructor and band director!

A fantastic compilation of rudimental exercises written and collected throughout the years by Dr. John Wooton. Included is an accompanying DVD of Dr. Wooton performing many of the exercises and etudes. An enormous amount of downloadable play-along tracks are included on the DVD as well as insightful philosophies from Dr. Throwdown, himself!

In rudimental drumming, a form of percussion music, a drum rudiment is one of a number of relatively small patterns which form the foundation for more extended and complex drumming patterns. The term "drum rudiment" is most closely associated with various forms of field drumming, where the snare drum plays a prominent role. In this context "rudiment" means not only "basic", but also fundamental. This tradition of drumming originates in military drumming and it is a central component of martial music.

The origin of snare drum rudiments can be traced back to Swiss mercenaries armed with long polearms. The use of pikes in close formation required a great deal of coordination. The sound of the tabor was used to set the tempo and communicate commands with distinct drumming patterns. These drumming patterns became the basis of the snare drum rudiments.

The earliest instance of rudimental fife and drum is often cited as the Swiss military at the battle of Sempach in 1386.[5] There is evidence, however, that the Swiss were already using drums in battle in 1315 at the Battle of Morgarten.[6] Initially, Swiss rudiments were very influential to the French system, which in turn was the basis for many other rudimental systems. Switzerland produced two distinct rudimental cultures, the wider Swiss Ordonnanz Trommel[7] practiced in Zurich, Valais, and Geneva, and the Basel version or Basler Trommeln.[8]

The Basler Trommeln rudiments, in contrast to the Swiss Ordonnanz Trommel, are much more widely known and practiced outside of Switzerland due to Fritz Berger's publications, Das Basler Trommeln, Werden und Wesen[9] and Instructor for Basle Drumming,[10] and travels to the United States in the 1930s. His student Alfons Grieder continued to promote Basel style drumming in North America for many years.[8] The two Swiss systems differ in several ways, including that Basel drumming rudiments draw heavily from the French system while Swiss rudiments are indigenous, and that Basel drumming was notated in a set of symbols until the 20th century (Berger devised his own notation system for export that was much more legible) while Swiss rudiments were written in standard notation centuries earlier. Swiss Ordonnanz rudiments are nearly unknown outside of Switzerland, while Basel rudiments are featured (after the 1930s) in other systems around the world, such as the Scottish, American, and Hybrid. The Top Secret Drum Corps is a prominent organization from Basel Switzerland that utilizes traditional Basel rudimental drumming along with other rudimental influences.

In the 20th century, Henri Kling [nl] published his Mthode de Tambour in 1901.[17] Robert Tourte's Mthode de Tambour et Caisse Claire d'Orchestre[18] was published in 1946 and combined a selection of 34 rudiments and the classic French military calls with studies of common orchestral excerpts such as Nikolai Rimsky-Korsakov's Scheherezade and Maurice Ravel's Bolero. The French system is complex and expansive, rivaled in scope only by the Swiss, American, and Scottish systems. Between 30 and 34 rudiments have normally been taught from the mid-20th century onward,[19][20] from a historical catalog of over 70 rudiment variations.

Spain used its own rudimental system, documented as far back as 1761, with Manuel de Espinosa [es] publication of Toques de Guerra. Composed mostly of single strokes, the system is extremely simple with only around eight to ten named patterns.[21]

The Italian peninsula was home to fife and drum traditions as far back as the 1400s. During the 19th century, at least 3 distinct styles of drumming were practiced: Austrian style [22] drumming in the northern regions adjacent to the Austrian Empire, a central Italian style in Sardinia, Piedmont, and the Papal States,[23] and a southern style in Naples and Sicily.[24] With the unification of the Kingdom of Italy in the 1870s, the central Italian style was adopted over the Austrian or Sicilian as the official pan-Italian rudimental system.

Sweden had drummers on military payrolls as early as 1528. The Swedish rudimental style has some unique features and rhythmic interpretations, however it draws significant influence from both French and Prussian sources. The first written manual dates from 1836 with little variation in style until the 20th century. After the 1960s the drum parts in standard military music became simplified compared to their earlier incarnations.[29]

Russian drumming was originally brought in from abroad specifically to emulate the drumming of other nations. Dutch drumming was used verbatim in the 17th century. This gave way to a more distinct Russian style in the 18th century under Peter I. Imperial Russian military units stopped using drummers around 1909 but the USSR reintroduced drumming to the military in the 1920s. Russia actually has no names or specific sticking for rudimental patterns[33] but a selection of rolls and ruffs of various lengths are present in military music. Youth Pioneer groups use simplified military signals, though the rudiments taught in these groups use American terms.[34]

British rudimental manuals with decipherable rudiments date back as far as 1634 with the publication of Thomas Fisher's Warlike Directions or the Soldiers Practice which shows at least 4 ruff-based rudiments.[35] A more thorough manual appeared in 1760, Spencer's The Drummer's Instructor.[36] British military drumming had already been exported to the American Colonies by the time of the American Revolution in the 1770s. The anonymously authored Young Drummers Assistant[37] was published around 1780 and was an influential book on both sides of the Atlantic. The British system was further refined for the 19th century by Samuel Potter in 1817 with his book The Art of Beating the Drum.[38] In the 18th century, drummers uniforms were reverse color from the rest of their military unit, but after the War of 1812, and coincidentally during Samuel Potter's service, their uniforms were switched to the standard color scheme so as not to stand out in battle. Samuel's son, Henry Potter, a noted instrument maker,[39] would later publish an updated drum manual called Authorised Sergeant Drummers' Manual. In 1887, the War Office published Drum and Flute Duty for the Infantry Branch of the Army [40] which is one of only a few pre-20th century publications to feature the 17 stroke roll. In modern times, every infantry battalion in the British military has a rudimental Corps of Drums except for Irish, Scottish, and Rifle Battalions which feature Pipe Bands and their associated style of Scottish drumming.[41]

Gardiner A. Strube published his influential distillation of Civil War practices in 1870.[65] Between the Civil War and the 20th century, Fifes and Drums were phased out in favor of bugles for official signals, though military music continued to be taught and practiced for ceremonial purposes.[66] John Philip Sousa produced a manual in 1886 that would later be revised several times by the U.S. Army. Walter Smith also produced a manual in 1897[67] for the Army and Navy, though he was a bandleader in the Marines. In 1912, just 42 years after Strube's Lessons, Harry Bower, in his book The Harry A. Bower System for Drums Bells Xylophone and Tympani, calls the military rudiments "ancient," "old fashioned," and "old style beats, rolls, and flourishes," to be played only when emulating a military sound.[68] The Bower book offers several competing versions of many rudiments taken from multiple competing 19th century manuals.