FOREWORD ‘This deum method is the result of more than twenty years of reeearch and study in the field of drumming and drum instruc: tion. Tt is hased on the Standard Drum Rodiments as adopted by the National Association of Rudimental Drummers (No A RD). The Rudiments ure not a recent invention. They have existed and wr used suciessfully for more than a hun: dred years The Rudiments have stood the test of time and are vised almost without exception in every mulscal onganisation the ath and breadth of the hind. New systems fnve appeared m time to time bt the Stincard American Ridimets sil remain anchallenged. These time-tested Rudiments, that ate, in fact, the “scales for the drum, haye heen offically adopted by the American Schoo Bind Masters Asociation and nearly every prominent drum teacher in the enuntry has established them as the only foundation of peoper and expert drumming The rudiments are primarily martial in character and are adaptable to classical and) moder music in the sume proportion 16 are the sales on ether instruments The enact application them to. concert or symphonic playing depends upon he rmusictnship of the individual ‘The rudimental system has standardized drum notation and execution Rudinental players always play alike producing tuniforonty an ehe drum section, Rudimental drummers play bower, phrase better, read better, and inject dynamic taste ft every composition. “The Risliments are a proven fact, nct @ ecry. They stand untconguerable and supreme Wa. F Lupwic PROFESSIONAL CAREER OF WM. F. LUDWIG Founpar, Lunwic Daum Co, )898— Wood Brothers: Ciecus 1896 Haris Nickel Plate Show : 1898 Omaha Exposition 1809. Salishury’s Orchestra 1900- TP. Brooke, Chicago Marine Band, Chicago Opera Howse WO] Browke Band, West End, Now Orleans; Brooke Band Tour of Canada Buffalo Exposition, Chicago Opera House AIS Rosenbecker’s Chicago Symphony Orchestra; H.W. Sav- age English Grand Opera Co, }o0& H.W Suvage English Grand Opera Co.: Phinnev's Band, St Louie Exposition English Grand Opera Co, Tour; Brooke Band, Chicago 1906 English Grand Opera Co. Tour; Conway's Band 1907-—Madam Butterfly Grand Opera Co.; Phinney’s Band, Jomestown Exposition 190R Auditorium Theatre, Chicago 1909 Philharmonic Orchestra, Chicago, Timpanist, Pittshurgh Symphony Orchestra 1910- Chicago Philadelphia Grand Opera Co. 1911-1912- ChicagoPhilidelphia Grand Opera Co. 1913. Arthur Pryor's Band; Chicago Civic Grand Opera Co. 1914—Max Bendix Orchestra: Chicago Civic Grand Opera Co. 1915— Chicago Symphony Orchestra 1916-1917-1918 Chicago Symphony Orchestra 1918 Resigned from the Chicago Symphony Orchestra and discontinued professional career to devote full time to the manufacture of percussion instruments 1922.1932-American Legion Drum Corps Activities 1924-1942-—Active in development of Public School percussion clinics, ete 1945-1955 Operation of Ludwig Drum Co,Wm. F. Ludwig. COMPLETE DRUM INSTRUCTOR Application of the Rudiments 46 Base Deum Exercises 55, 56, 57 Bass Drum Technique 52, 53, 61, 62, 6 Bell Lyra Technique 59 Gare of the Drum Head . 3 Care of Calf Drum Heads 4 Castanet Technique 58 Concert Snare Deum 2 Counting Time (Cymbal Technique Double Drag Double Paradiddle Double Ratamacue Drag Paradiddle No. 1 Drag Paradiddle No. 2 Drum Solos Drum Sticks a Elementary Exercises 15, 16 Eleven Stroke Roll 39) Fam 2 Flamacue 29 Flam Accent No. 1 26 Flam Accent No. 2 27 Flam Exercises 24 Flam Paradiddle Flam Paradiddle-Diddle Flam Tap Fifteen Stroke Roll Five Stroke Roll Fundamentals of Drumming History of the Timpani Holding the Sticks 6 DEX Marching Taps Marks of Expression ye Stroke Roll Parade Dram Plastic Deum Heads Playing Positions Practise Pads Ratatap (Lesson 25) Reading Exercise Rhythm Exercises Rudiments of Music Ruff Scotch Bass Drtim Tech Seven Stroke Roll Single Dray Single Paradiddle Single Ratamacue Sigos of the Staff Single-Stroke Roll Snare Dror Syncopation Tambourine Technique Tenor Drum Tes Ten Stroke Roll Thirteen Stroke Rol Three Camps Triangle Technique Triple Ratamacue Tuning of the Timpani Toning the Snaré Drum Timpani Exercises Timpani Rol Leson 25 (Ratatap) 4 Timpani Technique TLeston Schedule LI a yey of Teas Lesson No.1 3 ig Roll 19, 20° Vale of Notes Copyright 1942 by W. FL. Drum Co Chicago, Ith SECOND EDITION 1947 THIRD EDITION 1952 S FOURTH EDITION 1956 International Copyright Secured All Rights Reserved 18, 49, 50, nique 60, 61, 62 70, 71, 72, 73, 74, 64, 65, 65, FIFTH EDITION 1960 SIXTH EDITION i961 SEVENTH EDITION 1963 fadwig DRUM CO. Wom. F, Ludwig. Founder 1728 North Damen Avenue Chicago, Ill, 0647 U.S.A. a 6 cH 6 o nuFUNDAMENTALS THE ART OF SNARE DRUMMING Music is a succession of harmonious sounds composed of two principal elements—melody and rhythm. Of the: greatest im Portance is rhythm, for without it there can he no music. All instruments that produce melody have rhythm, ‘The drums do not produce melody, but they ure the chief and principal instru- ‘ments of shythm production ‘The, elementary principles referred to as the “drum rudi- ments" consist of twenty-six various beats that may be termed ‘exercises, but which occur in musie precisely as presented in the rudimental studies ‘The student should become ao familiar with each of these rudimental beats that they are instantly recognized and executed. Rudimental figures are read and Played in groups, rather than read and played note for note. ‘The exact origin of the drum cudiments is not known, It hhas been definitely established, however, thae drum rudiments ‘were used in Europe before the founding of this natin, ‘The first authentic record of a drum instruction book printed in America is “The Drummers and Fifere Guide” (1862) by George B. Bruce, drummer, and Daniel D, Emmett, an expert fifer and composer of “Dixie.” It is probable that this pair also ‘sed “The Downfall of Paris,” “Three Camps,” and many ‘other compositions in use today that were first shown. in that book. “In 1869, Gardner A. Strube, drum major of the 12th infantry N. G. 8. N. ¥. a0:! formerly drummer of Company A, Beh raiment N.Y, V., wrote and published “Sires Dram ‘The Strube instructor was adopted by the U. S, Army as the offial drum instruction book for the Army. By reason of this, Xt was regarded by some as a publication for Army use only, and did not get into private cieulation, The Bruce and Emmett Book, published by Pond & Co, seven years before the Strube book, received wide distribution and, in fact, was the only authentic rudimental instructor available for many years. ORCHESTRA OR CONCERT DRUM ‘The first, and most important instrument of the percussion family, is the snare drum. The “snap” or “buzz” of the snare drum is eavsed by the vibration of the snares against the lower head. Remove these snares and you have a tom tom effect The snares are made of either gut, wite-wound, of coiled wire. Gut snares are used for military work in bands or drum corps. Wire wound snares are used in both concert bands and dance bands, Coiled wire snares are best suited for orchestra or dance orchestra drumming, ‘of these instructors should receive equal credit for the Sm establishment of the drum rudiments we have today. Both hooks mentioned above contained the same set of rad: ments almost identical to the twenty-six rudiments as we know 4 them today. ‘The outstanding exceptions between these early books was the omission of “Dixie” and the “Downfall of Paris” from the Strube method. Professional drummers and drum instructors realized that the rudiments set forth in these books were standard and regarded them as such. They used them not only in their own drumming but in their teaching as wel, and thereby perpecvated their use With the introduction of the so-called “ragtime,” chat later veloped into jazz and swing, there appeared a number of ‘drum methods based on a system of syncopation that were hailed as “shortcuts,” "modem methods,” ete. patterned to fit the trend of the transition period. They were not altogether bad, but because they were intended only for the modesn trend, they did not include the Standard Rudiments which are fundamental Many students did not correctly understand this and, for a period disregarded them, assuming that the Standard’ Deum Rudiments had outlived their usefulness, Yet, in lateer years they found it necessary to seriously take up the study of the Standard Rudiments in order to keep abreast with the ever: changing trends of modern music. Drummers today realize more than ever that the Standard Rudiments form the very foundation of all drumming, and, in fact, are the only safe method for the serious student Hence, it is of the utmost importance that the student should take his first steps in the night dicection. ‘The author has endeavored to place the true principles of drumming before the beginner, and he hopes he has done #0 in manner that is interesting, intructive and truly practical FIELD OR PARADE DRUM Coiled wire snares are very light and therefore sensitive. They are used universally in the dance field, ‘The great faule with coiled wire snares lies in their tendency to fly far off the snare head during heavy beats. ‘This eautes rattles and tubby tone. Wire wound snares are excellent for heavy beats. Gut snares optional fn ee ss inc aessascaomeanscnmmenalanamnTHE SNARE DRUM 3 The top head is the playing or “batter” head. The lower head ‘on the opposite side is the snare head—so named because the ‘snares rest against this head. ‘The batter head should be of medium weight, either calf or plastic. The snare head is thinner in order to vibrate and sets the snares into action Plastic heads in recent years have developed to a point where they are the favorite of the great majority probably for two 4, They are capable of greater tension, therefore sharper in tone 2. They are entirely immune to weather changes The sare a gengly of ened wire although some we it for heavy duty. Wire snares are weatherproof while gut Shares eink in damp weather Wire wares ae the mom popu: lar type. ‘The drum shel s constructed of plywood, strongly reinforced with maple glue-rings for additional strength Tension casings are atached to the shell inte which are threaded. tension screws. The tension screws pass through heles unched i the metal counterhoop to provide for tension of the fesas tension refers to the tensioning of each head individually,” Single tension eefers to tendoning bath heads together and not having control over either head separately ‘The “snare strainer” is the lever at the side of the drum fo hich are attached the snares running against the lower or snare” head. The strainer mechanism ss 50 constructed a8 t0 Sie nmanttesning of the mare by tuning the tenon Screw to right or left, and to be capable of throwing the snares completely away from the head when a tom tom effect is desired. ‘The “snare butt” isthe bracket opposite the snare strainers to which the other end of the snares are attached. The “snare drum muffler” is an internal mechanism which presses a small piece of felt afainst the top or batter bead t0 prevent “ringing” of this head, or to mulfle the resonance. This ‘muffler is ealled the “internal tone contro” and is operated by ‘means of a knurled nut on the outside of the shell. ‘The use of the internal tone control or muffler is becoming limited since i destroys a certain amount of resonance and often becomes loose from constant vibration and sets up disconcerting rattle inside the shell. After short use, any new head will get "broken in” and have good resonance without overtones of afterring The vent hole on the shell, around which is attached che ‘manufacturer's trademark, relieves air expansion and contraction caused by the up and down movement of both heads. CARE OF THE DRUM HEAD ‘The life of the snare drum heads depend on the use and care given them. ‘The heads will tend to sete, or pull down on the shell until the tops of the counterhoops will be almost even with the shell. When this oceurs, you should reset either head, To re-set the snare side head, remove it from the drum and ‘moisten on both sides with a wet rag until head is flabby Do not moisten the edges near or on the flesh hoop. Reset the head on the shell and apply just enough tension to hold the sounterhoop in placé. Set drum on the floor or other flat sur- face with wet head facing down and allow it at least twelve hhours for slow drying before using Repeat the above process to re-set the batter head. Use soap spite water on the Etter, or top ead ocean atthe ame time you moisten it, Replace in position on shell to allow heads to dry and shrink slowly Do not loosen the tension on your snare deum after playing! ‘This constant loowning and tightening only weakens the head, Keep the head at an even playing tension at all times. In damp weather you will have to ughten the heads while in dry weather You wall fooen them. Th both cate, rleae or apply tenon after the jb in proportion to changes made for weather compen- ‘ation. In other words, return to your original tension position. RELEASE OR TIGHTEN TENSION ONLY WHEN WEATHER CONDITIONS DEMAND. RETURN TO ORIGINAL TENSION AFTER THE JOB. OTHERWISE NEVER RELEASE TENSION AFTER PLAYING! THE TYPE OF DRUM There are three distinct types of snare drums: the orchestra drum, the band snare drum, and the street drum. The word Snare” refers to the snares that are used on the vibrating or snare side of the drum, The best size for orchestra use is 5" x 14", That is, a shell hhaving a 5” depth and a 14” diameter, ‘This size is very respon: sve to light strokes and has a sharp tone For concert brass bands where more volume is required, a slightly larger drum is used. ‘The 6/4” x 14” fs the most prac: tical for this use. The deeper shell affords more body and tone and supplies more volume For the symphony band or larger symphony orchestra, this size is both genstive and powerful. For the street, in drum corps or military bands, a still larger drum is necessary. ‘The sizes, however, vary according to the ‘age and convenience of the player. I would recommend a 10” x 14” drum for the boy between the ages of eight and four toon; a 12" x 15" drum for the adule in the corpe and military band. "The latter size has more volume. TUNING THE SNARE DRUM The heads are tensioned by means of a square-holed key which fits the square topped tension screws. ‘Turning the key to the righ tightens the head—to the left loosens it. Pass from screw to serew in successive order so that you will know where to stop. ‘This isthe only practical method of tensioning the heads The batter head should be rather tight—the snare head, rela tively loose. Some drummers prefer a loose, “deep” tone- others prefer a brilliant, sharp, sappy tone’ I suggest you strive «9 obtain a happy medium. ‘Tension the batter head 10 a point where it responds best for you. WOOD OR METAL SHELL as long as it is rigid, round, and durable. It must be accurate {in construction so that it will hold its shape and not draw out of round because of unequal tension, The rods and heads exert a great strain on the shel.4 THE SNARE DRUM The first, and most important instrument of the per- cussion familys the snare drum. The “snap! "buzz" Of the snare drum is caused by the vibration of the snares ‘against the lower head. Remove these snares and you have a tom tom effect. ‘The snares are made of either gut or coiled wire, Gut spares are used for military work jn bands or drum corps. Coiled wire snares are best suited for orchestra or dance drumming and have also become popular in the mazching field Coiled wire snares are very light and therefore sensi- tive, They are used universally in the dance field. Do not use snares too loose. Keep enough tension on snazes for snap and good, clean response. Drum heads, batter or gnare, also bass drum and tym- pani heads have always been made of calf skins. But ince calf skins are very sensitive to weather conditions id will stretch in clamp weather and shrink in dey, itis diffe to keep them propery tensioned for best playing results. To overcome this a special plastic has recently ap- peared on the market in the form of a very strong plastic that is mounted on a hoop for all sizes of drums, the same as the familiar calf This new plastic, however, is 100% weather resistant It will not stretch or shrink ‘and once set will hold its ropes tension and with the proper tension, that is the Snare head not too tight, will give excellent results both in tone and durability The top head is the playing or “batter” head. The lower or “snare” head is thinner and should have less tension than the batter head because the snares that lie CARE OF CALF DRUM HEADS ‘The life of the snaze drum heads depend on the use and core given them. The heads wil tend to settle. of pull dows on the shell unt the tops of the counteshoops will be'almost even with the shell. When this occurs, You hold rest citer bead TTo re-set the mare side head, remove it from the drum and moisten on both sides with a wet rag until Read 1s {abby Do not moisten the edges near or on the flesh hoop. Re-set the head onthe shell and apply Just encugh tension to hold the counterhoop in place. Set rum on the fogt of thes fat sutlace with wet Read facing down and alow itt least (weve hours for slow deyang before slog, Repeat the above process to re-set the batter head. Use soap with the water on the better. oF (op Read, to clean it at the same time you moisten i; Replace In post tion on shell fo allow beads to dry and shrink slowly. ia De morse the tension on your ene dum after playing! ‘This constant’ loosening’ and. tightening only weakens the head. Keep the head at an even playing tene Sion at al times In damp weather you will have to tighten theca whe in dey weather yu wil sen them. th cases, release or apply tension after the job in prot partion to changes made for weather compensation, In Gther words, retuin fo your original tension poston WITH CALF HEADS RELEASE OR TIGHTEN TENSION ONLY WHEN WEATHER CONDI TIONS DEMAND, RETURN TO ORIGINAL TEN- SION APTER THE JOB. OTHERWISE NEVER RE- LEASE TENSION APTER PLAYING. “Cramp: against the snare head to produce its cha.actersstie snare tone are set in motion by the vibrating snare head actuated by the force of the drum sticks impact on the batter head. For best results, therefore, the snare head must be thinner and have less tension. The drum shell is constructed of plywood, strongly reinforced with maple glue-rings for additional strength or metal Tension casings are attached to the shell into which are threaded tension screws. The tension screws pass through holes punched in the metal counterhoop to pro- vide for tension of the heads. Separate tension refers to the tensioning of each head individually. Single tension refers to tensioning both heads together and not having control over either head separately. The “snare strainer" is the lever at the side of the drum to which are attached the snares running against the lower or "snare" head. The strainer mechanism is 30 constructed as to assure instant tensioning of the snares by turning the tension screw to ight or let. and to be capable of throwing the snares completely away from the Head when's tom tom effects desired The “snare drum muffler” is an internal mechanism which presses a small. piece of felt against the top or batter Read to prevent “ringing” of this head, or to muffe the resonance. This mufler is called the "internal tone control” and is operated by means of a knurled nut on the outside of the shell ‘The heads are tensioned by means of a square-holed key which fis the square topped tension screws, Turning the key to the right tightens the head — to the left loosens it Pass from screw to screw in successive order so that ‘you will know where to stop. This is the only practical imethod of tensioning the heads. PLASTIC DRUM HEADS Inthe early 1950's a new type of tough, resilient plas- tic was developed which was epplied as drum heads by ‘arlous manufacturers including Cudwig Drum Company, The new plastic drum head is:completely weather-proof and impervious to weather changes. With plastic heads, the player need moke only his inital tuning and ignore weather changes. Thus itis pos: tible to play near large bodies of water without undue concern. The tone, action, and response is idential to calfskin heads and they are availabe In all sizes — even for tympani. In fact, the tone of plastic tympani heads is particularly resonant because plastic is even in thickness Bll over the head:SELECTION OF STICKS It is extremely important to select the proper sucha, Many considerations enter into @ proper choice such ag age and size of player: whether for practice or actual use on the drum: and whether for concert or parade. The “A” model sticks are designed for use in dance and orchestra; “BY models for the concert band; and the models for parade work and the practice pad. ‘The use of an “S” model stick for practice on a pad will build up the young players" atm and wrist muscles and facilitate a change to "B” and “A” models when actually performing on a drum. Remember that there is a stick for every use. You would not use the lightest stick where power is needed. Neither would you recom heavy stick for light, delicate solo work! In general, be: ware of using t the work required! The et ticks are mode of stright grained B-Models S-Models oie A-Models | pur—-—cwippn anéa-—1-—swouroer —[-necc-taean THE PRACTICE PAD <> It is essential that every drummer be equipped with a + top quality practice pad which he will use throughout his drumming career. Pad should be constructed of select hard woods with thick, live gum rubber set into playing surface al stick rebound. Select a pad that will provide a n: a pad mounted It is highly suggested that you purch: fon a stand as illustrated at right. This provides a com- plete height and angle adjustment and holds the pad in the proper position. THE GLADSTONE PAD The Gladstone pad is made of pure gum rubber and ig designed to fit over the b: ‘of youir snare drum A steel plate is imbedded to make a rigid foundation at the crown for proper stick action and snare response. A special vacuum feature holds the pad rigidly to the «v face of the drum head. An ideal practice arrangement for use with dance outfit or concert snare drum.THE HOLDING OF THE STICKS RIGHT HAND Note that aaa ght at 5 controlled principally by the second thumb, The frst, third, and fourth hand. Note not. expe Ne 17 No. 18 Ne. 19 No. 20 Ne. 21RUDIMENTS OF MUSIC The characters, which indicate the pitch and duration of musical sound are called notes, figured thus: o Jd db SS, ete Notes may be of longer or shorter duration, which is shown by the peculiar form of each note: Ss — © Wile Note — Half Note Quarter Note Righth Note Sixteonth Nowe ‘Thirty-second Nate Whether the stem of a note points up () or down (p) does not affect the value or character of the note. However, the notes used to express the snare-drum music have their stems pointing up- ward and are placed on the third space }) Bass drum musi is written on the first space Music is written on a STAFF or STAVE, which is five parallel, horizontal lines and the four spaces between them. The lines are named E,G,B,D,F; the lower line (E) being the first, “G" the second, ete ‘The spaces are F,A,C,E; the lower space (F) being first, "A the second, ete. is equal to 2 Half notes . or 4 Quarter notes. . seersnote Abbreviations: or 8 Bighth notes from ep pinot or 16 Sixteenth notes fo" Coe? Eber or NAAR . 32 Thirty-second p equals: ratea, OAD f° peer eececeer Rests ‘Temporary silence is denoted by characters called Rests. Each kind of note has its corresponding in time Rest, equivalent value to the note. In place of a note, a Rest must be used Examples: [Whoie | war | Quarter | eignin | sixteen | Thirty-second On account of the similarity in appearance between the whole-rest and half-rest, let it be under stood that the whole-rest is set immediately under the 4th line—the half-rest above the 3rd line The Dotted Note When a dot is placed after a note it prolongs its time-value one half, thus: 40708Signs of the Staff At the beginning of the STAFF is a musical symbol known as the clef. Both the Treble clef ee and the Bass clef S2= are used in drum music. Bars and Measures A bar is a vertical line drawn to divide or separate the staff into measures. Bar: Measures: Double- Bar 1. The double-bar is two thick vertical lines drawn across the staff to mark the end of a division, ‘movement or entire pieee. 2. When two thin vertical lines (bars) are shown it merely di tion of a movement from the next section, ides one sec- Repeat ‘When the sign == occurs the whole section from the preceding double-bar (or if there be no earlier double-bar, then from the very beginning of the piece) is to be played again. This is called are. Peat. It is just as important to read the repeat sign as it is the notes. means to repeat the preceding printed measure. means to repeat the two preceding measures. Played Written, The sign, thus: 4 means to repeat stroke as many times as the sign occurs: Time ‘The sign for Time is called the time signature, and is usually in the form of a fraction set immedi- ately after the clef at the beginning of a movement; the numerator (top figure) indicating the number of a given kind in each measure, while the denominator lower figure) shows the kind of notes taken as a unit that receive 1 count, ie, 34 (three-four time) means 3 quarter-notes to the measure Jd au (four-four time) or the equivalent © (common time) means that there must be 4 quarter notes, or their time-value in other notes or rests to occupy the measure. Common i Sie- Bight time opera ae Gon? 2 e466 Tour Quarter lor beat time at Lands. fotes oF the same value of lm notes or the Six Eighth notes or fr oF shorter nates or eats may laquvatent tn tguivalent in the eqetealnt inva ‘ecupy the menssre value wake, Alla Breve time, 44 time with two beats to the measure instead of four to the measure, and in quick er tempo (speed); time signature: ¢. commonly called 39 or cut time. Triplets ‘The symbol “F placed over a group of three notes indicates a triplet. The three notes of the tri letoccupy the same time-value in counting as two of their kind not so marked, i.e., 3 eighth-notes 47a must be played in the time required to play two eighth notes JJ not so marked. Three sixteenthen« must be played in the time required to play 2 sixteenth-notes £ not so marked. ~ Generally, the first note of the group is accented 274. ‘This produces a certain swing which the player will sense after sufficient practic 488Rudiments of Music—Continuea v Examples here follow of different measures, the manner in which they are marked at the beginning of each piece of music, and the method of beating time. COMMON Time, or four beats in abar, is marked by a © and is beaten thus:— TRIPLE Time, or three beats in a bax, is marked > 94, and is beaten thus: TWO-FOUR Timo, or two bests in bar, is marked 2/7, and is beaten thus:— TWELVE-EIGHT Time is derived from Commontime is marked 12/p, and is besten in four division: NINE-BIGHT Time is derived from Triple timo, is marked 9/j, andis beaten iihree divisions: — SIX-EIGHT Time is dorived from Two-Four time, is marked Op, and is beaten in two divisions: THREE-EIGHT Time is marked 9/3, and is beaten in three divisions: — ADRREVIATIONS USED IN DRUM PARTS: Written Played Written Played Written, Played Wetton Played (Rl) TREBLE or G Cue) For notes shove or below the standard five Vine staff, extra lines called Ledger Lines are used:— Concerning the Sharp, Flat and Natural : The sharp(f) is a sign which raisos a note one half tone, The fat(b) lowers it ons half tone; while the natural) £0 ‘stores a note (altered by a sharp or flat) to its original sound, A shary or flat placed before a note is called an accidental, land acts only in the bar in which it occurs. When those signs are placed at tho commencement of a composition, namely next to the clef, (o point out its tone all the nates therein which are on the same line or space, on which these signs ae pact, are affected by them each time they occur in that composition, or until a change of key is indicated. ‘There are as quan sharps ‘and flats as there are notes, ‘The sharps are placed, beginning with F, by filths ascending, and by fourths descending. ‘The flats are placed, beginning with B, by fourths ascending; and hy fifths descending. KEY SIGNATURES Drum parts may bo writien in either the Sexo To ue ee a treble or bass clef. It has bocome the us apna bens tom to use the truble clef when writing for é Bes = the snare drum only, and the bass clef when a HAY 4 ass and snare drum parts are written to- i parts are wrilten in the bass clef, bel parts are written in the treble clef. oth arv of definite piteh, each none is placed in the yroper line or space in the staff to indicate the tone to be played.10 Marks of Expression Tn music there are many marks used to signify the shades of tone, (loud or soft), alsorepeat measures, strains eto., Signs to do this, or that, ete. ‘They will be given below, most of these being commonly used. The student should study these marks of expression carefully, and be able to know yust what £o do when they are encountered. P— Piano, or soft. SF Forte, oF ious. PP — Pianissimo, or very sott. ff Fortissimo, or very loud. JP— The note to be commenced loud, thea immediately soft. @' oF f— Placed over or under a note signifies that such a note is to be struck forcibly. b Crescendo, crese. or = the sound to be gradually increased. Diminuondo, dim. decrescendo, decrese. or ——— the sound to de gradually diminished. > or ~ The note to be accented, but not necessarily loud. SYNCOPATION: Placing the accent off beat, or other than its natural accent, THE TIE: The tie — placed from one note to an they are to be played as one note with the value of the iother on the same space or line of the staff indicates that two combined. THE SLUR: A slur—— drawn over or under any number of notes on different spaces or lines of the staff, ‘means that the sound is to be continued from one note to another ia a connected, smooth manner without a break, THE SIGN: The sign or % stands for the word Segno. termination or beginning of a repeated part of the music. repeat. You will often find § Da¢ Segno ad oy which D.S. ot D.S. al Fine (Finish), THE PAUSE: When the pause is placed over a note, pleasure of the player or conductor. When placed over a double bar it signifies the ‘Thas Dal Segno means go back to the sign and means go back to the sign $ and play to). Written the counting stops and the note is held at the Syncopation Syncopation is the placing of an accent on a part of the measure where none is expected. Each kind of measure (2/4, 44, 34, 6/8, etc.) has it Principal accent on the first beat. In the longer measures (like 4/4 and f time) thore is a secondary accent on the second half of the measure, If an accent is placed on any other beat than the one which ordinarily carries the accent, syncopation will resvlt, Italian Words in General Use Denoting the Speed, Classed from Slow to Quick: Grave—a slow movement. Adagio— one degree faster, but very expressive, Largo— slow and in an extended style. Larghetto—a degree faster than largo. Andantino—a little slower than andante, Andant Macstoso— in a majestic style. slow and distinct, Alta Breve—a quick species of measures marked @, equivatent to 2/2, two covets in a measure Altegretto—n0t 80 quick as ailegro. Alegro—a tively movement Fivace—with spirit. Presto—quick. Prestissino— the quickest movement, 483 Denoting the Character and Style: Affettuoso—with a soft expression. ‘Agitato—with passion and fire Amoroso—with a tender expression Cantabite—in a singing stvle Con brio— with brilliancy Con gusfo—with taste Purioso—with great spirit Pastorate—in a simple and tender style ‘Sostenuto—all the notes must be sustained their full length, ‘Scherzando—in a light and playful style Vigoroso—with force.Value of Notes - Counting Time u As explained in preceeding chapters, music notation is written on five lines called the “staff.” ‘The staff is divided by vertical lines called “bars.” see page 8. ‘A ‘time signature” is placed in the staff immediately following the “clef” sign __ to indicate the time count in quarter note: The bar may contain four quarter notes—in that case one count to each quarter note. ‘The same bar may contain only one note—in that case the note would be a “whole note”, and receive four counts. When divided into eight notes, two eighth notes (JJ) are played in the time allowed for one quarter. Each note, whole, half, or quarter, has its equivelant in a symbol called “rest” receiving its time value in count but not played. see page 8. Play the following exereises very slowly and count. Exercises 1 and 2 are for right hand and left hand separately—the rule in drumming is to alternate as shown in exercises following: Metronome 4:60 Exercise No.1 mene 4 a4 He go {4 P= ere aS See ee gre eR wR RR RR (d= 50) Exercise No. 2 but 28s ee NO Telt bana id. 80) count (4: 80) Gount 1 and 2 and Fant 4 and 1 ant 2 and Sand Sa 12 9 bd. ~EROIR Con G ® Petomebe nya t c Exercise No. 3 a A cea ets LROER OLR Exercise No. 4 TRERERER CRE RUERER ee 45055 Count 1 2 n even motion of the arms and wrist. Exercise No. 5 444 1 2 2 pede ly 9 ay.1 PLAYING POSITIONS Photo No. 6 shows the correct seated position forthe concert band or symphonic orchestra enare drummer. Snare drum is concert band work I recommend tha ll percussion mem " i, Photo No. 5 shows the correct sanding position for placed at left side for free arm movement and to enable per. drummer. Stand at attention but not stiffly—remain Sussionist to play other traps and instruments set near him, ‘elaxed Keep arms slightly away from body for absolute free Nes Ne 6 7 shows the correct stan iting snapy above che tine ase Math with bottom of rum ald dram inthe coc bund, ‘The drum won a ge utd ve ey ee a meee, AE FO Bos eemy for Cea aor eee ent Seed Y marching and for prevention of uncontrolled drum swing thE Proper angle and height. Arms are away from the bod) The leg rest should contact left leg about three inches above "ee, relaxed movement position for the Photo No. 8 shows the best standing position for playing the cy13 rime Sastre: Ye LESSON NO.1 an Count; 1-2-8-4 Half Note (J) + 2 beats Half Rest (=) =2 beats Whole Note (o) = 4 beats Whole Rest (~) 4 beats t rush longer vaiue notes, Keep counting even and steady, give the notes and rests thei fall Continue to work on Rxoroise 9 and 4 of Lesson No.1 Geet tg 3) ue. Combination Exercisea Play by Note It is very tempting to play drums by ear because it appears easy to do so. However, the road of least resistance should not be chosen by the serious student. ‘The reading of drum notation is not at all dif- ficult because the element of pitch is entirely eliminated. The only question is time, (tempo andcount- ing), combined with the technique of the instrument. Always practice with the musio in front of you and follow the part. Play exactly as written. Improvising can only be accomplished by the finished mus cian, You must be a good reader to be a good musician. That combination makes the expert improvisor. Reading Exercise 4/4(C) Time Cun 144 ta ae cae ROREL RER RE LRER Tit kak On Goynt 2 ant Fab? and fant 2 and Land? 1 and_2 and Exercise in Counting Gynt 12344296 1284 1394 4aee ER URE RURAERLER LR UR ew. 1494 1294 1384 12346 4294 12396 1234 1258 iw Leen GR Exercise in Half Notes Ommt £234 12946 1295 12346 1294 Leecar tik Exercise in 3/4 (Waltz) Time Cut 122429428 8 1236 LESSON NO. 2 Time Signature, 4/, Count: 1823848 Subjects: Bighth Notes (2) Yo beat An eighth note (d) in 4/s ime receives half the value as a quarter note (d) or Yfy beat. Follow the counting indicated above cach exercise Lezesete taresese RERUERERLE RERERERLExercise in Sixteenth Notes & tart each Exercise slowly and count loudly. Exercise in Counting Cas RSs te E22 a Count the rests in str ; Exercise in 6/g Time te pata Ty &- = Observe the rests precisely. tempo. Exercise in 344 Time peepee ieenth notes in strict tempo. Exercise in 34 Time = a $i saa Pia lae aves aaa Observe closely the dotted notes. 93 nat7 Rhythm Exercises 2 2 @ 7s. ¢ & 12 tc15018 Reading Exercise in 44 Time Use a ice pad and in a standing position, strike the pad in the center. The sticks should swing straight -.... ‘not with a side or scraping motion. This applies tothe drum aswell. The tone of the di ‘in the center for band and general concert playing; for the dance orchestra you may play soft rolls or soft rhythmic figures towards the hoop of the drum. For general playing, form the habit ear- ly to strike the drum in the center. Draw a circle on your practice pad 244 inches in diameter and strike within that circle with a precise and firm blow. ds 120 TR CR ERE RER UR LRLR ove. RLR ERE RE RLER LR LR LRERLR L L 0058fi RUDIMENT No.4 { i A drummer is often judged by his Roll. It is the very foundation of the art of snare drumming. You should regard it as your most important study. Be proficient in this and the rest will be greatly simplified. The Long Roll 4 i ‘The study of the Long Roll begins with two strokes of the left hand, then two strokes of the right hand. Start very slowly. Play the second stroke of each hand slightly louder than the first. ‘This i8 called an accented note, indicated by an arrow under the note to be accented. The object of the accent is to. make two distinct strokes rather than one depending on the rebound of the stick for the second. The natural rebound of the sticks will come into play of its own accord, but only at the very close of the Roll. In alternating, two beats with the left, then two beats with the right, be sure that each note hhas the same time value. This is called the Da-da Ma-ma roll. Be accurate and regular in your practice periods. You will find that it ean be mastered, and you will be proud of your ability to make a smooth and even Roll. Start each daily practice period with the Roll Devote your first ten minutes to it. Then you may take up other beats that are to be regarded as re- creational studies. Close with another five or ten minutes devoted entirely to the Roll. Your first three or four weeks’ drill naturally will seem a bit monotonous; but, like all great accomplishments, it is worth the effort and soon will be interesting and pleasing to you. If your practice of the Roll becomes monotonous you may proceed to the next rudiments or other beats as a matter of variation or recreational study. But you should return to the Roll just as soon as you feel rested. Remember, the Roll is the key to all drumming. Preparatory Study for the Roll De Dn ae fe fxs z Ma Count. . Da Da Ma Ma LoL RR ete, as Repeat the above strains 10 times bbofore proceeding to the next stl Metronome 60-120 Gti 2941234 12941234 13294 FOE TEE L2OE Hg eee n LLRR LLRRLLRR ELLRR ELRRLLRR LLERR Le Left —R- Right hand ae Metronome 120-is0 = 20000 Repeat many vines ISG ror0-mThe Long Roll RUDIMENT No. 1. Faster feos ea | a ass ra Lob ok & b LOR R De ® hoe Fuster Faster Jed | a hs aS a Ri LRR LE RR E LURR DL Lo Faster e a SS ae Se E sa ee RRLLRRL ERR LIRR LC Foster losing the roit Faster =a The roll as aa pHaeoannnn5 —— SS Se SS = re =F. eae = = eee = —_The Five Stroke Roll ie RUDIMENT No. 2 j o ‘self with the Long Roll to the extent that he knows the fun- damental principles and has attained some speed, he may proceed to the short rolls. ‘The first of this series is the Five-Stroke Roll. The object is to bring the roll to a sudden and precise halt wherever it may be necessary, according to the time value in the music. Count 1,2,3,4,5. Reverse immediately without a pause to sound like a continuous roll with accents. After the student has familiarized Do not start faster than you can speak it, say: one, two, three, four, five, and accent the five. Start very slowly, then gradually inerease speed to develop the short or five stroke roll. Open and close thi and all rudiments starting slowly and evenly and increasing the speed to close the rudiment. Then, without a pause, open to the starting point. RRELR TERRE RRLLR LLRRL RRELR bitty TORRL RREER R LLERRL RREER Exercise in Five Stroke Rolls Notation Played sia a0 Review the Long Rolla The Seven-Stroke Roll RUDIMENT No. 3 ‘The eee Stroke Roll starts with the left hand and ends with the right. It is the most popular and most important of the stroke rolls; you will use it a great deal. This is not played from hand to hand because the hands naturally alternate— start with left, end with right, start with left again. “Hand to hand” means to reverse the beat or rudiment. The student may reverse the seven-stroke roll as a matter of diversion, for practice, or to prove his dexterity. In that case, the next stroke is started with the same hand with which the preceeding stroke was closed. Start very slowly, count seven as you start. Then, increase in speed as you feel you are able. Re- member, the five and the seven stroke rolls are most important; you must go back to them often. In- clude them in your daily practice period. The Seven-Stroke roll closed jotetntai lai | Se) om S51 tee fae wwf To open the Seven-Stroke roll Gees er ar i ee end ieee tee ew a} LERRLER LERRELR LLRRLLER LLRRLLR O18 Notation Plage, 7 7 7 7 Exercise in the Seven-Stroke Roll Modern Notation =e R LR The accent is onthe beat The accent is on the heat Whether you use a Five or S n-Stroke Roll depends on the time allowed in the composition. Re aus sw the Long RollThe Open and Close Flam RUDIMENT No. 4 ‘The Flam in drumming sounds like the word “Flam”. The “P” is soft; the “a accent. Played from hand to hand, it is very important in accenting the rhythm. alternate. Take position as illustrated. Raise the right hand high for the right hand flam. ‘The left hand is 1 and close to the pad. Start both sticks towards the pad at the same time, but use a degree of fore with the right hand while the left hand is a tap and preceeds the main stroke by just a sm: ‘The small note is a grace note and has no time value whether you are playing consecutive fam slowly or quickly. When reversing the flam to make a left hand flam the right remains low. Left hand is raised immediately after making the tap in right flam to the position of a stroke~shoulder high you play alternating hand-to-hand flams say: “high hand hits hard", reverse, “high hand hits hard’ reverse, ete. Continue at Metronome 45, gradually increasing to 110, Correctly executed it will “lam”, not “ta-tum’. Whether open or olosed (slow or fast) the sound is “flam” even though each f may be separated by several seconds pause when beginning slowly pista eat ‘Open Flam The Right Hand Flam 1 R aR «Rk 1k ik «RfProgressive Flam Exercises ments you have had in the preceeding studies. Keep strict time, and observe all the nee 8 L TRAL IR aL ete vR iR wRal oR fot 1 29412944994 1 2041 2 P dire ete Larghetto ( Count 1 R Played dade 120) 45058The Standard Marching Taps Assuming that you have mastered the preceeding rudiments to a degree wher we will take up a few of the standard beats that all drummers know but do no properly. On the march you step off with your left foot on the first beat of the bar, flam. Reverse the arms as you step forward with the right foot and be in posit hand flam on the first beat of the next bar. Rol oR TR aR R Repeat until signal fo ‘then finish the phease and Roll Off, The Standard Roll-Off (he signal for the Band to begin) By using this Standard beat, you will a- void confusion. LR ® Reading Exercise LR ERL RERLRL ReLiR Qarerrennt eae?The Flam Accent No. 1 RUDIMENT No. 5. ent is used a great deal in all types of music and is indispensible in correct ret music. Many drummers fail in the playing of drum solos of the “Semper Fidelis? ason that they do not play this rudiment from hand-to-hand. No. 1 consists of a right-hand flam followed by a left hand tap and a right hand ap-stroke. The beat is then reversed starting: left-hand flam, right-hand up- troke. Result: flam-tap-stroke. Raise the“tap” hand at once so as to be in and hit hard” flam after stroke is played to begin next flam-accent. Raising the ‘is called the“up-stroke”. The accent is on the flam: played flam, left, right; flam, right, i igrting tie third stroke of each group remains close to the pad in position for the next r he flam-accent slowly and with clock-like prec Count 1-2-3, 1-2-3, 1-2-3, alter- nating from hand to hand; the left hand flam must be as pronounced and even—as the right, with the accent on the flam, Say “Plam-ac-cent”, “Flam-ac- cent” Start this, as all rudiments, very slowly, no faster than you can speak it gradually increasing the speed to close the rudiment. Retard the speed to open the rudiment, slower and slower until the start- ing point is again reached. Flom-ce-cent Flam- ac. cent sos = Sato aa Fim ® Flam R L Flam 1 oR Flam Wh RUER ORL RL RL RE RER CURL RER Repeat this tine many times, Starting slowly and increasing the speed gradually. Close the rudiment to the best speed you can atain, then open evenly. Written Count viz in a bar; as you gain, count boo ina bar, ‘d- 100 - 120 Exercise for the Flam Accent sanaThe Flam Accent No. 2 The flam accent No.2 is a close companion to the flam-accent No.1. separate rudiment because the sticking is the same as No. 1 but you do not rest-stroke, flam-rest-stroke, eto. Flam-aceent No.2 is the standard six-eight rhythm. The flat this a colorful beat. N nds ct TR Ral Lik Ral Lik Ral L ete Exercise in Flam Accents No.1 & No. 2 RERALRE wR Ral L iRERALR LGR Ral L Exercise in Flam Accents & Hand to Hand Flams RaLik RLER RERERE RE R RER RE R Standard Marching Taps % q Alternate Marching Taps 7s \ on Standard % Drum Corps BeatThe Flam Paradiddle RUDIMENT No. 6 is the equivalent of the Flam Accent, but is executed in 3% or 44 time, while principally to 6/g or Y/g. This rudiment is played as it sounds, “Flam- Flam Accent, except that the two last beats are made with the same stick, ee hand flam, then a left-hand tap, (and raise the hand), then two se; start with the left-hand flam, right tap, and two beats with the fonder, is very important in modern music. Watch the left-hand flam, Make ; accent the flams. ind Flam; do not rush the last two double beats, and speak: “Plam-a-did-dle” as ‘start faster than you can speak it! Say Flam. ial FREER R WRUL mWtRR a= ROLL IR TERR THR Monk LL Fant RR Mam R LL Fem RR Pama ddde Fawedide PRURR aE RLLERLRRaLRLL RLRR LRLL RLRR LRLL pre CrEemeer score reerrrreeres freee Exercise for the Flam Paradiddle -120 RURR ERLE Bs nd ae, Bebe tee deyThe Flamacue a RUDIMENT No. 7 The Flamacue is sit r to the Paradiddle, except that the second beat is accented, as the hands alternate, using only a right-hand Flam. The rudiment does not alternate. ‘The second beat is the important one and is played a little stronger than the first. It accent that characterizes this beat, and makes it very effective and distinctive. Like other rudiments, it is played open and close. - s the off-beat The Troop Exercise for the Flamacue in 34 Mazurka Tempo i The Army %/ [aerated soed an30 The Ruff ‘The Ruff is similar (o the Flam; but, instead of one beat preceding the principle note asin the Flam, you play a double beat in the Ruff, This alternates: first a double beat with the left hand, followed by fa single accented beat with the right. Then reverse, starting with a double beat with the right hand and followed by a single accented beat of the left Start this exereise with the same position used in the elementary Flam development by holding the left stick close to the pad and the right-hand shoulder high. Again we say, “High hand hits hard’; but, instead of sounding “Flam”, the Ruff sounds “Ta-da-Dumn’, or “Go-to-Bed”. Say “Go-to-Bed” as you practice. In the elementary practice of this rudiment, the first two beats may be rather open so that they are distinct. In closing this rudiment, the small notes, or grace notes, must be played more closely, almost to the point of using a slight pressure. ‘This beat is sometimes referred to as the “Tap Ruff”, which is played with three single strokes in rapid succession, accenting the last beat. This beat is also referred to as the “Half Drag”; although many rudimental books show theHalf Drag as a separate rudiment, I see no difference and no reason for what seems to me a repetition. They are both written and executed alike. Do not assume that once you have turned the pages of this book you have finished with them. ‘The drum rudiments are the scales of your instrument. You must review them often. If the following beats seem difficult, it is proof that you should go back to study each rudiment and exercise as if it were your first reading of them, even though you do this several times it will not be time wasted. ds ips aoe eae oe Rg LER RR OUR awh wk axl wR awl WR wel ote Exercise for the Ruff (trom “The Downfall of Paris”)Exercise for the Ruff i: wR WRAL co RReRLL The Three Stroke Ruff The Three-Stroke Ruff is written the same as the standard Ruff, but is executed with three sin- gle beats, ac ing the last stroke. It is not a common beat and is used only when the first two beats are to be very pronounced as in slow compositions Exercise for the Three Stroke Ruff on Bale 4 =e = = fe The Four Stroke Ruff The Four-Stroke Ruff is played with four single beats; the first three are played very rapidly, be- cause they are without time value. The accent and main beat is on the fourth stroke. The Four Stroke is very common in European notation. Often when a Ruff or Five-Stroke is wanted, the p may use his judgment as to which to play, depending on the composition and e allowed for the figure. : Exercise for the Four Stroke Ruff |=10 et SF teR une 4508332 The Single Drag RUDIMENT No. 9 The Single Drag is similar to the Ruff, except that there is an added single beat and only the last beat is accented. Tt sounds “Go-to-Bed, Tom. Go-to-Bed, Tom”. This is a very important beat which is also played from hand to hand, using a graceful swing. The left hand plays the first two taps, followed by a single right tap and a left stroke accented. Then reverse, starting with thé right in the next group, using a little more force on the last beat or stroke of each phrase Play the last two beats distinctly; do not crowd them. Do not start faster than you can speak it, s to - bed- Tom Go - to - bed - Tom Go - Te, RR oe 7 ReoRL axl Exercise for the Single Drag J+ 100-120 SS SS (EE EE BS, sa aa : 08a iad33 The Double Drag RUDIMENT No. 10 The Double Drag consists, as you will see by the illustration, of two Ruffs with an added beat and sounds like “Go to bed, Go to bed, Tom”. Practice this, and all other similar rudiments, very slow ly at first; then close the double beats so that they, in reality, consume slightly more time than a single beat. These beats ure important and interesting. Make no attempt at haste. Take your for accuracy so that you will preserve the rhythm of the figures. 1e and strive Go-fo-bed-Go-torbed, Tom Goto-bed- Gota-bed, Tom Go-to-bed-Go-tobed, Ton Go-lobod- Go-tobed, Tom a SS tek uiR heE oral Reto. The Double Paradiddle RUDIMENT No. 11 This rudiment is very similar to the Single Paradiddle, except that there are six notes instead of four; however, only the first of each group of six notes is accented, there being only one accent to each rudiment. This applies to all rudiments:~ Only One Accent to Each Rudiment. Do not start faster than you can speak it, say Dou-ble-par-a-did-dle. Close and open this and all other rudiments. } LRERGCL RERLTRR LED L RUERLRR LRLERL Eee. Peete ete ty etd oye aaa wet edelseeeee leeteww [ewww e | PRLERLL RLRLRR Exercise for the Double Paradiddle Waltz tempo RL LRLERLL RERLRR 48034 The Single Ratamacue RUDIMENT No. 12 This rudiment may be termed a Ruff preceding a triplet, the triplet being followed by an accented beat. The important part is the eveness of the triplet the accent NOT on the triplet, but on the beat following—the closing beat of the Ratamacue. In practice, be certain that the triplet is even and each beat of equal value and volume. RL RRLRLER LLRERL Sa feat! 2 LLRERL RRERLR ete, Close and open the rudiment As weitten The Triple Ratamacue RUDIMENT No. 13 Same as single ratamaque but with two additional ruffs preceeding. LER LURLER ERLE RRUERRERRERLER LERLERLERERL e = 100-110 | ss the “Essential 13” rudiments. Before going on to the next 13, review all the preceeding rudiments. This compte: 35 The Single Stroke Roll RUDIMENT No. 14 The single stroke roll is important in the development of speed in single beats and wrist control. Use it as a limbering up exercise. In music it is not written as a roll and should not be confus Da-da Ma-ma roll. See example below: Start slowly, increase gradually ass36 The Nine-Stroke Roll RUDIMENT No, 15 This, like the Five-Stroke Roll, starts with the left hand and ends with the left hand. The roll is then reversed, starting with the right and ending with the right. This and all short rolls to follow are principally practice beats. They will not be spoken of or designated in music by the number of strokes in the roll in the same manner that the five- and seven-stroke are, because the longer rolls consume a given time, the duration depending upon the tempo of the composition. It may be necessary at times to use a longer or shorter roll than the nine-stroke; experience will celal emiemreeimemeiee cies | fp LCR M Ee Meee mE E LR RELI R LLRRILER LT é paias T | RRLELRRELR LERRLERRE RRLLRRLELR ai ee eee) ia Gone ae sven ed nnaaenae daenntaed aenbbiee = —— ett Written Played Written Played Allegro (set. d-144) Tempo di Marcia (wet. d-128) 9 Stroke Rolls 5 Stroke Rolls 7 Stroke RollsThe Ten- Stroke Roll i RUDIMENT No. 16 Start this roll the same as the Nine-Stroke, using three pulsations. The two beats with the left hand, followed by the two with the right consume but one count, or puisation. This is followed by an- other four beats in the same manner. The third (left hand) is a single stroke which is followed by a single stroke with the right hand. It sounds 1-2-3. This is not alternated, because it starts with the left and stops with the right. fee ere ee LERRLLRRLR LERRELRRLR LERRLELRRER EC RRLLRRLIR Close and open the rudiment Notation of the Ten Stroke Roll Played Weitten 10 Stroke > Met. d= 120 al ae ‘The Three Camps are to be played as a continuous roll with accents. oanThe Eleven-Stroke Roll RUDIMENT No, 17 ‘The Eleven-Stroke Roll, like the Seven-Stroke, starts with the left hand, and ends with the right. ‘This follows, naturally, the general rule of alternation. The time or tempo of the composition will de- termine whether you are to use seven, nine, or eleven stroke roll. SSS SSS wy te L ge Ly SS SS SS c TR Ro aWaL yay ae L ® Rob Uk Roe eee Close and open the rudiment Example of Short Roll Notation The Thirteen-Stroke Roll RUDIMENT No. 18 ‘The Thirteen-Stroke Roll starts with the left hand and ends with the left, and is executed from hand to hand, the same as the five- and nine-stroke, You now use a roll of sufficient length to take notice of pulsations in the roll i ceva ii arta ia yey i (a LER LERRLERREERRL O LERKRLERRLEERRL RRELRRELR ee aaa aaa aa O TERREERREERRE RRLERRLERRLLR & 2 3 4 This, as all rudiments, is played open, close, and open. Rudiments start with the left hand as a matter of training; in actual playing you may start with either hand. Count the motion or swing of the hand rather than each beat, as follow: 4 41, TERRULRR LIERRLERRLLRR39 The Fifteen-Stroke Roll RUDIMENT No. 19 Here again you will follow pulsations; but, instead of finishing on the beat, with the fifteen strokes you play four double strokes, or pulsations, with the left hand and finish with the right. This roll is not played from hand to hand. Count 1-2-3-4; in this way you count the left hand two beats, followed by two with the right, or four beats to one count, but playing only one beat with the last right hand an accented stroke. This is the pulsation in the fifteen stroke roll. LTERRELRRELERRECR LERRELERRLCIRRLELR SS Een eee Deletes tf ee see PERRILCRREERREL RO Teas G wd 2 and 9 and 4 and 7 March tempo Seven Stroke Rolls Written Played => (ore ore =: =e Ayo git) Peas Fast tempo Five Stroke Rolls spas40 The Flam Tap RUDIMENT No. 20 ‘The Flam Tap is just what the word implies—a flam followed by a tap. It must be a tap and not & rebound, however, for the rebound would be lost in fast tempo. Start very slowly and make a dis- tinct tap with the same hand that makes the flam—the high hand—then reverse. In two-four or four-four tempo this beat is referred to as a Flam Tap. In six-eight or nine-eight tempo it is-called the Flam Accent No. 2, because there is an eighth rest between the flam and the tap. 2 diners salt ie wR ReLL wR Ral Lik Ral L as all rudiments. OUR Ret Cok Ral Lik Ral Lok Ral L ao oR RRL L ete, tR RELL ERRRLLIRRALL wRRaLLURRALL ee, wR Ret Lik Ral LCiR Ral L ee, TR RRL L Reading Exercise for the Flam Tap Gia eae paataat ara tae 1 RREL RRLL RR LL "Alternating Flams Flam Taps roe 49409a 7: ww The Single Paradiddle RUDIMENT No. 21 Preciseness and eveness are the important elements of this rudiment. Do not slight the third and fourth beats that are played with the same hand of each group. Count 1-2-3-4 and accent the first beat slightly, not too loudly, but pronounced. The first beat may be termed a stroke; the remaining three of each group-taps. Close and open the rudiment. a RERR LREE RERR LRLE RLERR LRT Lee, The Double Pai (seen nsseeDlssee= én [eawewnlewedweleaaw aa] LRLERLL RLRLRR (Rudiment No. 11) For special effects two accents may be used, The Triple Paradiddle (4 compound Rudiment) sa ——SS_ SELES SS ESS SS Gye ners aaa lsede eee eeee eee eee eee ewe e eel LRERLRLL RLERERERR RUERERUERR LRLERERLL Rees 169 A Paradiddle Exercise SS SS SS SS hie aaa aaaaatinetaeterl ae now popular in dance drumming RURRLRLL RLRERERR LRELRLRR LRERL = Z a Gadeydeejeeeeea dfesree® ff pha E a = —== Ss Paradiddles for Practice SS = = e (ice coer eeee eee = = OU The Single Paradiddte The Double Paradiddle The Triple Paradiddle = = = ee z [ewe ee anna2 - The Drag Paradiddle No.1 RUDIMENT No, 22 At first glance this appears rather difficult because there seems to be little alternating of beats— when it is played slowly. As you increase in speed, the first two beats develop into a drag and you play it similar to a Flam Paradiddle; however, bring in the extra beat with just a slight pressure of the Ham to effect extra rebound. Hence the term “Drag”. If you know the Flam Paradiddle, you will have Uttle trouble with this. ‘Thus, one rudiment leads to another, so do not slight any of them, they all have 4 specific purpose. Be thorough. PERRY PaO DIVER Dee RRL Rk Li aR TT Paradiddle No. 2 IMENT No, 23 1 The Dra; RU im fg ee RL RULRRERRERLL ROCRLLR ERR CRRL RRERLL Open aitd close the above rudiments Exercise for the Drag Paradiddle No. 2 $5408The Flam Paradiddle-Diddle RUDIMENT No. 24 ‘This rudiment is similar to the Double Paradiddle, but you will note that it differs in the stick- ing. In one case four beats are played single and two double, while in the other only two beats are played single and four beats are double. ‘The trained rudimental student will apply the first to slow tempo, and the latter to increased tempo. It is permissible, in fact considered good form, to use the method of sticking best suited to the composition. You may study this rudiment both as a Flam Double Paradiddle and as a Flam Paradiddle-Diddle pola Gaia CFL WRLL «Lt WRG eL LMGTR LL RR URL ROL = == SS SS SE SS FE hs aie ada ieee iene eats [ovens te [ewaexte] URE RRLL aLR LERRiRLRRLL RRLL Rel Exercise for the Flam Double Paradiddle 1k al GR CRE EEE POL RE Fr —S iad aes z TRERR Reape ob Eka Yeeet te Exercise for the Flam Paradiddle -Diddle Met. det44 Fast tempo sLROUR EL Rab oR LR LERR RR R «kL RRL LERR L UREERRLERRE RL aaa o sane“ The Ratatap RUDIMENT No. 25 (Lesson No.28) This is the rudiment made famous by Gardner A. Strube, generally referred to as Lesson Number Twenty-Five. It is the only unnamed rudiment of the 26. It is an important rudiment used often in solo and concert drumming and should have a name; (therefore, the writer takes the liberty to name this rudiment “The Ratatap”—as it sounds, as has been done by predecessors in naming other rudi- ments.) The student who has mastered the Ruff or Drag will have little difficulty with the Ratatap « Tt is acknowledged that more single rudiments could be compiled by the simple process of combining one or more of the preceding rudiments. This type may be and often is referred to as Compound Rudi- ments, but it is generally conceded that 26 basic rudiments are sufficient for an instructor. $ = = LURE R LE RER EERE RELR ER oe wRLER UuRER TRL [xta a Tina [aoa a tae ise ae ae ote R LuRLR R ete WRLR aRLR L uiRL R LR I (May be played hand lo hand for practice) Exercise for the Ratatap GLE L WHUR to ‘Tabiinen afte pedis b ION Galeaondy 48aThe Double Ratamacue RUDIMENT No, 26 ‘The general principle of the Double and Triple Ratamcue is the same as the Single Ratamacue. The triplet must be even, the accent on the closing beat. This group is very interesting and extremely use- ful. mo ome mim eared al Sr ae eg “UO LLR TER TR Tt RRL RROER CR CERLLR LR rea, Exercise for the Double Ratamacue twee Z ae wR wRLRL axel asb RLR ete.B & Double Paratiddte eee Ge tages fie = fap=eGaey PEER Ee Pt a - . a. RURLEQ TE RCRLe ee BeRCRR CRERLL L + Reviewing the Ratamacue geben Aadieaday aoaa Application of the Rudiments Example of Counting by Group Reading Form the habit of reading drum music by rudimental grouping, rather than one bar at a time. Rec- ognize the rudiments and count successive bars of similar notation. This will aid you in reading. Do not deviate from the part or resort to improvising. That will come later! But play the part rudimentally even if it is not so written. Andante 3 Bars Roll 4120 3 Bars Flam Accent out? 36 2234 Sa94 4 oo Fea 7 a oo Read this with one glance as 2 bars Flam Accent No.2 and 2 bars of Flam Accent No.1, them change, and againshars Flam Accent No.l. 4 Peer 3 = 8 10 fe 4] ————] tars sa Mothod of counting abbreviations, common in drum parts Boars Rest bars Rost 10 bars z Seeawe|z|"ea ie} 7 7 2 7 7 2 2 T 29:4 3 2 2 bars Flam Paradiddle bars Flam Taps QharsFlamacue § Stroke Rell The Accented Beat The accented beat in drumming is very important. Your rudimental training will guide you in the proper placing of the accents. Play the following, first without the accents, then play the same with the accents, and observe the difference. The accent brings forth the character of the compo: Se ee ee ee ee ee ee wes jon. fiver eee eee ‘music on tho beat Dance musiooff he beat Oriental Dance Rhythm Fem re ora im i iy ~ © Dixicland Ragtime Spanish Dance Rhythm Flam Paradiddle Flamacue Flam Tap The following popular drum beat is an example of continuity and sequence common in drum parts. Note the three repetitions of the first two bars in the first strain and the six successive Drag Paradiddles of the second strain. Also, the seventh and eighth bar endings of both strains The student should write drum solos as an aid in reading. Refer to The Win.F. Ludwig Solo Book for further examples of solos: and duets Hell On the Wabash a —_ ffAT Drum Solo Beats (Observe marks of expression) Bataan Quickstep WM, F, LUDWIG (ioe e a 7 ep . ——= Lf Pp _ —= ff P—— Stick Beat 6/848 On The Ranch 464 aig 9 OG ge 6 4 WHER yupwyc Double Paradiddle tues) 46 es 4 oe WM. F LUDWIG + = For additional Solos, Duets, Trios and Quartets refer to the Wm.F. Ludwig Solo Book.\ I le Teall 49 Reading Exercise Ts as a a OS 2 SI se ee Not accented 7 ard, ——— 3 45458e Reading Exercises Observe marks of expression March Tempo (¢: 120) ———— = F sitace cat atc ae Flamacue Boe elise soLp F Flan Paradidate March Tempo Grin ener =f Po Waltz Tempo P—f sanReading Exercises a 423.456 123 4--Observe marks of expression ue — of The Signature ¢ is common in March time; written in 4/4 but played as 2/4 time. Observe marks of expression and Flams. Tempo di Marcia (4-120) i ok P sas= THE BASS DRUM “The bass drum i the mow important single nsrument in the G2gg searching nd, Te pte fu drones fo falda steady tempo ar indicated by the decor. "He must statch the music andthe conductor atthe ame time. Ifa choise sere t be made between the two good bass drummer would Tather Jo without the music. ‘The understanding barween the fondycior and the bas drummer shouldbe" omplete and ceasing, Selection of 2 tae drummer is very in some previous musi traning i ber at ‘ines exree keen musi adgment Bass drum music is written in the first pace with the snare drum part in the third space. The cymbal notation is usually in the second space and indicated by a diamond shaped character The bass drummer should ever be on the alert for dynamics that may be required as indicated by the conductor even though not marked in the part, The beat should be slightly anticipated 10 sound brisk and precise—-not late and slow, Frequently the bass drum beat will tend to lag even though the player is play- ing on the beat. Just how much to anticipate is a matter of experience, Be on the alert for changes in tempo, expression,and dynamics both in the score, or improvised by the conductor For concert use, the separate tension bass drum permits better head tension regulation to produce best tonal results. ‘The heads should be tuned to low G or F, one and a half octaves below riddle C_ For the marching hand, slightly more tension is applied. “Tap the head neat each tension screw to test for even tension and to keep the hoop pulled down evenly BASS DRUM SIZES ‘There are various size bass drums to ft individual tastes and ‘The following chart indicates my preference of sizes according to the number of players in the instrumental group, ‘The first measurement refers to the shell width. ‘The second to the shell diameter, 1422" Dance band size 14°x28" For 28 to 40 piece marching band 4 30" For 49 to 50 piece marching band 16"x30" Combination marching and concert size 16"x32" 40 piece concert band of orchestra 16°X3$" 60 piece concert band or orchestra 167X536" 80 piece concert band or orchestra No. 26 POSITION OF THE BASS DRUMMER Tustration No. 26 shows the correct concert postion, Notice that the player does not stand directly behind the drum but slightly t0 the right side in order to have full control over the bass drum head and the cymbals mounted on the drum shell. ‘The most practical swing of the beater is a steady glancing down Blow with the cymbals in unison as shown in Photo No. 27. ‘This corresponds with the down beat of the conductor's biton Do not swing down and up, but always contact the head for ‘every beat on the down swing. Beat with a steady downward ‘swing with metronomical pretision. Ilustration No. 28 demonstrates a fancy Sgure-eight motion ‘which places every beat on the uprstroke. This should be used sparingly not continuously. A little showmanship is permissible. If gracefully executed you may use this beat on the trio fist strain of a march where the bass drum plays softly. The steady, solid beat is of first importance, and deserves your complete attention af all times, Photo No, 29 shows the accent swing and stroke. Serike the drum near dead center to obtain the greatest force and volume for a heavy accent. In normal playing, beat about eighe inches from the center. For pianissimo execution, play approximately half way between the center of the head and’ che bus drum 00. ‘To mule or to stop the tone after a beat, place the finger tips aguinst the head as shown in Illustration No. 30. You may let the stick touch the head also, but be careful not to make another stroke. If additional mufling is necessary, place the left hand against the opposite headBASS DRUM STICKS Mlustration N@, 31 consists of the most practical sites and ‘weights of bass drum sticks, The ideal concert stick is the double end lamb’s wool covered beater No, 320. The double for the tremolo or roll made ly rotating against the head THE BASS DRUM ON THE MARCH ‘One of the important functions of the bass di is to help the drum major hold to a steady tempo. Photo No. 32 demonstrates the correct marching position, ‘The bass drum sling should be of the pack-carrying type with strong swivel snaps and hooks to hold the vam in place ‘The left hand steadies the drum which against the chest, but no higher than the pl 18"X28" size is well suited for marching. “14 very popular size for marching use, When lazger bass drums are used h, ancther person should walk in front to help euy x36" bass drum may be used in the field if two carriers are employed leaving th xr free to march alongside and play. Frequently, small le wheel type carriages ate employed. Giant bass drums attract considerable attention, made in sizes up to ‘on special order, The down and up stroke should be used on the march for greater volume. Use a hard fele beater for out-of-doors pl ld be carried eyes The 0" is another They are No. 32 USE OF THE CYMBALS In concert playing, the Js and_‘bass drum ics The stroke of ss drummer should play both n unison for a better control the cymbal is a steady downward and ilustration No. 33, ‘The eymbs outward motion 38 show make contact only on the out swing. A separate player 1s very fective t0 play double cymbals. double cymbal player reinforces the cymbals on the bass drum to produce heavy accents, cymbal solos, and cfeate extra volume passages, No. 33 To muffle the cy shown in Photo No. 34. Press the lft slecve ag: wver feymbal and turn the hand back to bring the top eymb 4 the let sleeve Never stop the cymbal ring by clamping them together—this is very bad and noisy form, Cymbals for concert * be too light—it is weight chat has the reserve force when needed xs and climax use on the bass drum, I recommend med cymbal as double cymbals, T Double cymbals should be played by a separate play force the bass drum cymbals, He should gle note but should reserve his effect for an acce solo. Do not strike the cymbals evenly to ult in an “air lock” “Fhit off-center about an inch with a glancing ssveep, oS No. 34A DOUBLE CYMBALS Leather straps should always be used. Bolted wooden handles tall the tone and tend to break the cymbals around the cup because they hold the cup rigidly and do not permit free vibra tion. Do not plage the hand thidugh the loop—lay the strap across the fingers and close all the fingers firmly about it. Brace the thumbs and frst fingers against the cymbal pads as shown in the position illustrated in Photo No. 35. The position shown in Photo No. 35 is correct for a steady two beat march rhythm, The right strikes the left cymbal in an upward, glancing blow. The left remains stationary. ‘The motion of the right hand resembles the short jabs of a boxer. This technique will produce a steady rhythm and a unifed tone. Do rot clap the eymbals together—the blow should resemble 2 stroke in an up and down motion To execute the heavy cymbal solo, assume preparatory posi: tions chown in Ilustration No, 36. Bring the right cymbal up and move left cymbal down simultaneously. Make an initial Contact with the edges fist in ordee to stare the vibration of the cymbals. This initial contact will prevent a “clanging” effect Photo No. 37 shows the eymbals at che direct point of con- tact. Notice the right of Center to prevent “aiplock." The Seger and wry are nc an the thon exe «ead ressure aguinet the cymbal pad Immediately after contact i 1de, the cymbals are lifted as in Photo No. 38. The thumbs ie lifted rom the cymbal pads ao that che only pressure guint each cymbal is from the weight of the cymbals agains the knvciles To stop the tone, simply pull both cymbals in a vertical posi- tion aguinst the shoulders. Allow the cymbals to ring for the full time valve of the note—then muffle No. 33 ‘Modern Symphony timpani with #oor pedal balanced action and suspended Kees for clear, resonant tone. Player isin sated positon to make rapid changes with pedals. No. 37 Ne. 38 CYMBAL SOLO BY BASS DRUMMER Generally, itis not well to depend on the bass drummer to produce cymbal soles by striking the cymbal with the bass drum. Beater. The tone is usually weak and ineffective and striking the cymbal in this manner might crack or break it. Cymbal foloe should be played exclusively by the double cymbal player. Tf, however, double cymbals are not available, the cymbal solo should be accomplished by lifting the cymbal to head level and itrking it with che bass drum beater with a glancing blow. Hold the eymbal very loceely to allow full resonance and free ringing as shown in Illustration No. 39,5B Example of Bass and Snare Drum Notation i Ce Gym, Soto c Bp, oan,56 Exercise in Waltz-time (Continued) > oe = Exercise for the Bass Drum 45458Symphony Moderno. ce TAcUCT Allegro Gym. Sola Hate Dram and Cymbals abana58 THE TAMBOURINE Select a well made tambourine eight or ten inches in diameter. ‘The larger size is more commonly used. The tambourine should have eight to ten sets of jingles. Some have more; this is a matter of personal taste. The jingles must not be too heavy or they will not speak easily ‘The fundamental tambourine grip is shown in Mlustration No. 40, The left hand grasps the shell firmly and the head is struck with the right knuckles, The left hand remains station ary. With this grip you have full control of the instrument to play the rhythmic patterns precisely. For a sustained roll, hold the tambourine as shown in Photo No. 40 and shake from side to side rapidly Illustration No. 41 showe the position of the tambourine for delicate chythmic passages. ‘The fingers strike the shell with a 'p wrist motion. Ifa lighter touch is desired, use only two or even one finger. ‘Sometimes 2 passage of rapid eighth notes or triplets are to be played double forte. Ifthe tempo isso fast you can not execute it with sufficient volume by using the regular technique, assume the position shown in Photo No. 42. Move the tambourine vigorously against the left knee and knuckles of the left hand This is 2 very effective cechnigue Illustration No, 43 shows the fundamental position to execute the thumb roll. The head should have a lacquer coating and the thumb should be moistened slightly. Hold the tambourine Jooeely so the thumb will vibrate rapidly ae you draws it up and around the outer edge as shown in Phots No. 43, To produce a continuous roll, moisten the tip of the little finger and the thumb. Hold the little fiager straight out. After the thumb has rezched to the left or grip hand, draw the tip of the litle finger on the head and move the hand in a reverse ‘motion as shown in Ilustration No. 44, Reverse the motion uickly so that the rll will sound continuous Ilustration No, 45 demonstrates the double forte tambourine roll, ‘The left hand remains stationary and grips the edge of the tambourine shell lightly. The right hand and forearm turns violently back and forth THE CASTANETS ‘Castanets are mounted on a handle for the convenience of the player. Spanish dancers use a set of castanets in each hand ‘without handles to produce the rhythmic figures. This requires 4 technique that is rather difficult. For the convenience of the drummer, the clappers of the standard castanets are attached to the handle by means of gut cords. Hold the handle in the right hand and strike the clappers against the left palm as shown in Illustration No, 46, This will produce a double click of sufficient volume to penetrate almost any combination of instruments. For a roll, shake the handle vigorously. For special pianissimo rhythm patterns, holdithe castanets as shown in Photo No, 47 and tap the handle with the two fingers of the right hand. For concert band work where additional volume is required, T suggest double castanets mounting two sets or 4 clappers,THE TRIANGLE ee ‘This litle instrument is very effective when correctly used Fire, select a triangle of good quality steel approximately eight or ten inches in diameter. 1 prefer the latter. Then select the proper metal beater, or several beaters for special effects as required. Never use a snare drum stick on the triangle. The triangle beater should be approximately eight inches in len and at least half the thickness of the triangle itself Ilustration No. 48 shows the proper beating position and the best grip on the triangle beater. The triangle holder may be attached to the music stand by a removable clamp or held in the left hand and suspended from the holder by a gut cord. Place the open end to your right and play mid-way between the left comer and the center of the lower side. To mute the tone, press the left fingers on the top near the To produce a fine, in tion illustrated in No. 49 and move it quickly from side to si. ‘This is accomplished by a steady, relaxed wrist movement Practice slowly at fret to deve hythm and good the speed of the roll until you are play Gradually increas g four beats for every tick of the metronome when placed. a marking 144. At this tempo you will obtain a roll of sufficient ed. Use the tip of the beater for pi greater volume use a heavy beater, be done with the tip of the ‘Most of your playing should angle beater, act FA THE BELL LYRA The bell Iyra is caried in a strap holster slung over the right shoulder as shown in Tustration No. 30, “The supporting tall is teadicd with the let ard, "The player uss ony one malt to play one of two notes in a bar with considerble force. The bells ating over the enti hand Originally there were no bell yea pars, thus it was nec for the player to use the B fat cornet part apd play (two notes tothe measure) one tone I lishers now have recognized the bell yma as a instrament for the march verter in the hey of © ir owo octaves, A'to A The shoulder strap, similar to a fag holier, is by most practical. It gi Steadies the staf with the ndird band ng bands and include bell The range of th e player ample vision left hand. The soralled “harness aE) No. 50 suspended from # ported on this frame and di 19 mallets is with the entite in tly in front of the player using fF che bel Iyra i The be! he marching band. Rapid execution isnot requited s ring out and tend to intermingle if attempted and create a jangl rom the instrument and i . correct marching positi instrument is in front of the band, One or two players in a band of forty to sixty pieces may be used, Specially arranged, harmonized parts are recor mended when four or more players are used. For concert work the bell sed in a horizontal postion as shown in Il ent can, e left in the fibre laying rack and veed as orche60 THE STANDARD RUDIMENTS OF SCOTCH BASS AND TENOR DRUMMING HOW TO HOLD THE SCOTCH BASS AND TENOR DRUM STICKS Loop the thong around lest two fingers of each hand ‘as shown in figure 1. Wrap thongs, around middle finger as in figure 2.’ Figure 3 illustrates the complete hold. Close lingers so that end of stick lies between thumb and forefinger as in figure 4. wing ‘Sick up ond back one eomplate revolution ‘Proce thle with bath hands to Become oo. ‘ustomed fo bolance ond swing ofthe nick. Player should adhust length of loop by, means of the knot so as {o lit the hand bringing the end of the stick out between forefinger and thumb as shown. The grip is the same for both Scotch bass as well (9s tenor drumming. Most practical sizes are 10" x 28” for Scotch bass drum and 12” x 17” for the tenor drum. Separate tension is preferred. Lamb's wool sticks supply a nice mellow tone while felt sticks Provide more volume and sharper accents ‘eid olhoush vation Tho outage "Y Murer of ravalPosition of Tenor rom Toil Note n Figure @ that the actual twirl Ie mode igh ia the al Fence drum Ie showa in covet rorehing height Figure Figure 12. Position of B Deas Below eye level 10"x26" ie beat fot Gramm corps Gnd choot onde, Figure 8. Sticks Fro front” sed in ome bests and tise or postion “veadys, Hold SSicke high ood in Tie with the Figure 13. Sticke Front. ‘hig spon of "aiken! or ready Figure 16. Right Gross and Ta Right hond eronoe io stike head ‘while lat hond tls one testa flonsoe sadiment No. hie beat alternates Figure 17. Let Cross and Twit. ‘Tinie the severe! of Fgus 18 wile right Raed twit Figure 18. Double Cross, Right 61 Photos Posed By H. J. Bevnger, Bandmaster Figuee 11. Tener Drum “aspecton. Botiom hoop = grorped with lf hhond ond drum is voted for speation ow shown in Pogue if ‘Applies parade drums cls, Figure 10. Carry Drum. ‘ostn a chston, Ths apple eA Ts Figure 18. Cross Beat Swi right over left sick” Keep Tet suck vary low—swing night ‘Bier high lor easton Hesh Figure 14. Down Stroke snd ‘Toi eh down sroke end sight tie 1obe alternated er desired. Twit Is en cutee twit ma io Nigh ti igure 18. Lett Cross Stick Hand Oy Used on rudiment Ho. 8. Tenor62 THE STANDARD TWELVE RUDIMENTS OF SCOTCH BASS AND TENOR DRUMMING If the student will practice these rudiments earnest ly and diligently they will be found quite simple and ‘easy to master. Each rudiment must be practiced in open form, that is, you must start very SLOWLY and by degrees become faster until the required March tempo is attained, ‘TOP NOTES ARE PLAYED WITH THE RIGHT STICK, BOTTOM NOTES ARE TO BE PLAYED WITH THE LEFT STICK The most im; Playing is the To indicate the Cross Boots notes are marked tent feature in Scotch Bass Drum rose Beats and Twirls, thus QO, A Cross (0 over a top note indicates that Koy: R—Right [otek D—Down Stroke SERIES A the note so marked must be played by Crossing the Right stick over top of drum and striking the Left side. A Cross (X) over or under a bottom note is played in the reverse manner. “Sticks Front" or position of attention is shown by figures 9 and 13. Hold the sticks crossed and touch- ing one another in front of the face and in line with the mouth—see illustration. TWIRLS are indicated by figure yu . and the dis- engaged sick should ot all mes be TWIRLED. For example, when playing with the Right stick, the Left Suck dhould be EWIRLED, of viscera, Commence with Series (A) from 1 to 12 until you are familiar ‘with them, then practice Series (B). U—Up Stroke X—Cross Free Stick UV Twirl Free Sticke SERIES B - 1 war snc 2 d duets Be ___te __4e_* _| r rt ——A i L ‘The single stroke as shown in Rudiment No. 1 is to teach balance, but later becomes the single stroke and twirl. (See rudiment No. 6, 2nd measure.) REVERSAL ak # wea t te Bou Terr sree r D> ot is used only in soit passages. orgs g Mow snce_2 ot trite et Right down stroke, Left down stroke, Right up stroke, Left up stroke, This is called the piano beating, and at REVERSAL, LEFT STICK 4 tof z Right, Left, Cross Right. . 4g. Mam mee 2B LEFT STI mg far Right, Left, Cross Right, Left ulead J ene aa ee far Right, Left, Cross Right, Left, Right, Twirl both sticks. a tite et Sie ett vu tf ex pe | w at woke WO Col MP endo63 5 Tete Right SCOTCH BASS AND TENOR DRUM RUDIMENTS: @ moun sick 2. rie exe iw J eS ik ref o te ip Right, Left, Cross Right, Left, Right stroke Left twirl, Left stroke Right twirl. fy Moustice 2 @ pune barene—4- fF ty feels ef Right, Left, Cross Right, Left, Cross Right, Lett, Right. x 9 ts 2 g Roursmicx 2 aere—z Ep i= tty ef Right, Left, Cross Right, Left, Right, Cross Lett, Right, Left. piss edly serena teh nles veer rh pae ‘The double stroke and twirl. Two Rights, twirl Left. Two Lefts, twirl Right. af arene Wer) Ne Ce faa) li a ere og 17 Right cmd Left strokes together, Right stroke, Left twirl. Right and Left strokes together, Left stroke, Right twit fates j Gls fie) nivale ai Dei uma ee ste ian die ena. Right and Left strokes together, Cross Right, twirl Left. Right and Left strokes together, Cross Lett, twir! Right. ecm SIRs yl eee ie Ake ee EES tT son pata Right Over Left Left Over Right Right and Left strokes together, Cross both sticks, striking opposite sides of drum, Right and Left strokes to- gether, and twirl both sticks. momeg dd |S a ip miei A bot Sticke Front | WU March Beat Po orwictaom | tl hoe ee Fl Wa DI 4} TIMPANI TECHNIQUE EARLY HISTORY The history of the vimpani is probably more colorful than any other instrament. ‘They are direce descendants of the fst drums, which were simply hollow logs with a skin stretched over one end. Teis known that the Persian armies used kettle drums in boch military mancuvers and civilian festivities cen- tunes before their introduction into Europe Early European history refers to court erumpetes and kettle drummers who formed Guilds for the purpese of mutual ad- ‘ancement and the perpetuation oftheir art. The trumpets and kettle drums were used to announce gala court affairs, royal reclamation, entrances of the Knights for Jousting bouts, et: Sometimes aiver hers were presented. to cuvalty units for special deeds of valor. Early composers. of modern music such as Purcil, Haydn, and Mozare Used the timpant as 3 foundation to the base pare Beethoven intreduced the timpani as 1 major volo snstrvment i symphonies such as his third, fifth, seventh, eighth, and ninth The Scherao movement ® n's great Ninth Symphony contains 2 particularly brilliant timpan part, Great masters like Beethoven, Beriog, Wagner, and others berated the tin pani from playing only the tonic and dominant by writing scores falling for two oF mote tes of timpani with a8 many players. This soon created a demand for fastcr tuning mechanism DEVELOPMENT OF PEDAL TIMPANI In the latter part ofthe last century, several forms of machine and pedal timpani appeared in Europe. ‘The, first, pedal tuned timpant built te America were designed and built under my supervision in 1911, They were used by Lawrence Manzer, then timpanist with the St. Paul Minn. Symphony Orchestra, in 1912. With this mechanism it was possible to change the pitch simply by moving the foot pedal up or down. When the pedal ‘yas brought up, the pitch was lowered. Pressing the pedal down raised the pitch. I improved the design and structure of these early pedal tuned timpani a number of times until near- perfection sally ben achieved i our present pedal ned ‘impani shown in illustration No, 52. With this new mechan- sum tis not necesary to have locks or ratchet, to hold the pedal in place whenever the foot is removed A second type of mechanically tuned timpani is shown a8 the “Universal” Pedal Timpani shown in Mlustration No. $3. Te is dependable and works smoothly, quietly, and quickly. ‘Hand timpani are highly impracticable. I do not recommened theic use. The difference in the cost between hand tuned and single screw or pedal timpani is returned through the added years of good service machine tuned timpani give. In addition, the hand timpani requires much greater skill in tuning than do the pedal or machine timpani No. 52—Symphonie Pedal Tuned Timpani SIZES AND RANGE OF TIMPANI ‘The most widely wed and most practical timpani gies are 257 and 28” in diameter, The smal timpano of 23" diameter bas 4 normal range of "F below middle "C” to the “B” fat below that. The large timpano of 28" diameter has « range of the ‘ctave "C” below middle “C* to the low “E Ieis quite posible to extend the range of either drum beyond their normal range. This ie not recommended, however, a3 these tones are not satisfactory Larger kettles of 26" and 29" diameter produce correspond ingly greater volume, A 12" diameter buss kettle may be used for greater power on the ower tones. A 5” timpano fs now in tue inthe Chicago Symphony Orchestra with «set of four pedal Kimpani. Small kettles for high “F" sharp and “GO” are also made in diameters of 22" of 23” For a set of three drums, I recommend 25°, 28°, and 30" diameters. If a fourth drum is added it should be 23" in diameter ‘The size and shape ofthe kettle bow! naturally varies aecord- ing to the diameter. “As the pitch drops, the kettle becomes deeper. Best results depend on a correctly proportioned Kette No. $3—"Universa™ Pedal Tuned Timpani USE OF THE TIMPANI IN THE ORCHESTRA AND BAND In orchestra scores, timpani parts are closely related to the double string bass parts and should therefore be placed near this section. In the concert band, the timpani are placed close to the tubas and trombones. The timpani in the concert band act as a rein- forcement to these ponderous lower voiced instruments. As the timpani frequently play in unison with the entire percussion section it is advisable not to split the section—keep the timpani near the bass drum especially. In the orchestra where the section plays together less frequently this is not important If the band or orchestra is playing a compotion without a timpani part, or with a very limited part, the timpanist may read from the bass or tuba part. This develops tuning ability and is wonderful training for the young timpanist. The timpani should play in all marches by following a base partTIMPANI HEADS AND THEIR CARE “There are two types of timpani heads—skin and plac, The shin ‘heads. are tanned. from young call skin hides" late heads are fashioned from Du Pont Mylar ‘Calf skin timpani heads should be clear and fine-grained and selected for evenness, Heads should be of medium weight on all size drums. Plastic timpani heads are absolutely even all around the radius fare immune to weather changes therefore more desir: able. Skia heads are highly temperamental and fluctuate with every weather change. ‘After a certain amount of playing, white marks will appear on the head. This is natural nd is ot cause for undue alarm “Altera long period of use, the entire bead may turn white, the tone then will sufer, and the head should be replaced ‘As timpani beads are close to their natural hide sate under the timpani head tanning proces, they are patiilalysiscep. tible to weather changes. Frequently, in the course of a single number, the pitch will become altered due to changes in the hhumidity. ‘Lack of humidity causes the bead to shrink and deaw tight in either hot or cold temperatures, Dampness causes, the head to become slack and flabby. ‘As timpani are generally left in overheated band rooms during the winter maths the head will chink and become too tight for normal use. Use the pedals to counteract weather conditions In dry rooms keep the heads under constant tension Tn damp climates releawe the tension. In dry clinaten,leve the pedals on both drums al the way down to the floor to hold heads At a high tension and prevent abrinking. In damp climates, False both pedals to prevent stretching too far for proper tuning, ‘When the head is drawa so tghly you aren able to secure low tones, you will have to "reset" the head. To do this, remove the head and soak on both sides with a moist sponge making TIMPANI TUNING GAUGE ‘The new timpani tuning gauge shown ia illustration No. $5 ‘will mount on any type or make of timpani, even hand tuned timpani, It asasts che player greatly in obtaining the correct pitch. Moveable letters slide on an adjustment track so that ‘Compensation for weather changes may be made. It isa valuable aid for the timpanist. SELECTION OF TIMPANI STICKS Illustration No. $6 contains an ideal election of timpani sticks. ‘The student should have three pair—one each soft, medium, and hard. A fourth pair can be added—extra hard or “holt schlagel” (ood) News auempt © ply sft rage with meiom oF hard sicks. “Similarly never play 2 fortssimo passage with soft “wooly” sticks. I find moet students make the latter mistake — using soft “wooly” sticks for all passages, This causes the sound to be dead and muffled—not alive and dramatic. ‘The combination stick contains a medium dise type head and wood “holtechlagel” handle for reversible playing when required. ‘Most disctype timpani sticks are constructed with remov- able and thus replaceable heads as illustrated, ‘Registered Trade Mark WM. F, LUDWIG SELECTS TIMPANI HEADS No. 54 sure to Keep all moisture an inch away from the hoop. Then replace on the kettle picking up loote drops with a sponge Replace the counterhoop and tension screws at evenly as pombe 000 tension fo trech the head “Then cover thr entire kettle with paper to retard the drying and to retain transparency and prevent breaking while stretching. You must apply tension to stretch the head—press both pedals down, Place the drum away from heat and allow at least twelve hours for drying. When the head is thoroughly dry, you will hhave your full range restored. ‘Where it is constantly damp, the head will tend to pull down too far. To reset, follow che procedure 28 outlined above but do not pull down the wet head Resetting the head is also necessary when the head is pulling unevenly due to uneven tensioning of the “T” handles. nnn a 2 CORE IT LETTERS, i) on PO SLiMISis7 Ne 5666 HOLDING THE STICKS ‘The timpani sticks are held exactly the same in each hand s0 the illustrations apply to both. In illuscration No. $7, grip the stick with the thumb and forelinger—thumb is directly on top. ‘Then curl the remaining fingers about the stick as shown in Photo No, 58. Tie is the standard timpani grip. The thumb is turned up to provide strength in the single strokes and the roll. The fingers grasp the stick firmly but not so tightly as to stiffen the wrists. The wrists should be locse at all times, Photo No. 59 shows the proper grip for executing the soft roll and soft single strokes. Note that the third: Ginger is the motivating force while the index finger and thumb are the ful: rum or balancing point. The writ moves slightly and the third finger moves against the handle, For loud rolls and heavy beats, grasp the stick frmly with all fingers and use the arm and wrist motion simultaneously. For soft, delicate execution, use only the wrist and finger action. No. PLAYING POSITIONS The word “timpani” is plus. “Timpsno” is singulg, de rived from the Latin word “Timpanum’ meaning exr dum ‘The large timpano is placed onthe player’ left and the smaller ete 1 the right, thut conforming with the piano Keyboard Inthe standing postion, Se top ofthe tmpani shold about Si inches abowe the foot ‘Many timpanists prefer to stand while playing. But most symphonic performers use a high chair in order to keep both No. 61 Fred Hinger SETTING Place pedal in low note position. ‘Then turn each “T" tension handle releasing tension until head is loose. Place the hand on the center of the head and exert pressure to take up all che slack. Then turn each "T™ handle to the right the same number of turns until the slack has been removed. Now turn the two PRACTICE PROCEDURE. ‘After you have assumed the correct grip as shown in the illustrations, place a soft pad or pillow on a table for elementary practice of the single stroke timpani roll. Hold the arms sta tionary and move the sticks up alternately as far as the wrist ‘will yo be sure to Reep your thumbs up. Play alternate strokes slowly and watch the wrists and sticks carefully. Make sure the sticks move absolutely vertically. The value of practicing fon a pad or pillow can not be underestimated. As there is no rebound or bounce when playing on such a soft abject, every beat must be made with the full weist movement thus strength: ening your wrists. For practice, you may place the heads of the sticks and the hands together ‘and move up and down using a wrist movement only, ro guide the let wrist on an even motion with the right. Develop control of the left hand as it is usually the weaker hend. Strive for ebsolute evenness of control and power of both hands. No. 59 fect on the pedals for quick, effortless runing. Another advan tage of the seated position is that the player does not become fatigued during long periods of counting rests. He is able to sit in a relaxed position and devote all his attention to the con: ductor and the music. Illustration No. 61 shows the correct standing position. Photo No. 62 chows the correct seated posi- tion. In both pasitions, place the music rack at a level where the eyesight just clears the top of the music to watch the conductor. No. 60 No. Bd. M, Metsenger THE HEAD tension handles nearest you one-half a turn to the right. Pro- ‘eed to the next two, then to the last two, and repeat again beginning with the first pair. In this manner tune each kettle to its lowest note while the pedals are up. If an even tension thas been applied the timpani are ready for useTUNING or Tuning the timpani is not as dificult as some students think The fest thing you mut learn isto be able to sing A440 with: out the ad fants narument Th ane mee with Practise. Every time you pase piano, stop for an instant ry fo hum “A” then hie "A on the piano to check. Soon you will be able to hie "A" in exact pitch “Then spend a. Few Irinutes every day practicing intervals.” Fit hum "Athen fing up the sale to “D” fora perfect fourth, Ths a common orchestral interval, Now try other intervals, Uf you exabiah the interval "A and “D" in your mind and set your drums accordingly, twill he an eaty' matter to change 2 few tones cither way to obtain other interval Study the intervals show studied the frst interval of on page 66 the same as you “and “D.” In the orchestra, the strings will tune to “A-440™ before the rehearsal or concert begins. It is a good practice for the tim- panist to immediately tune to"A” on the large drum and “D" fon the small drum, In the band, you will tune to “B fat” and “E* flat.” Tune the same as in the orchestra by thinking up or down the scale by whole and half steps, Use an “A” 440 tuning fork for practice and to check your tuning from time to time. Always try to think “A” before striking the tuning fork to check your pitch. In tuning the timpani itis not considered good form to strike the head with your stick as this annoys other instruments trying to tune up and is particularly uncalled-for when others are playing as the timpant tone js very penetrating Check your tuning by placing the middle finger tip on the head and fipping it out as shown in Illustration No. 69, You will have to lean forward a little zo hear the pitch but do not make a practice of SINGLE “The tinpani stroke ia combination of writ and arm motion Ths am sth ck wh a selsed wrt The hed ofthe srick bangs downward sighly- At the top ofthe upswing, the head of the stick moves higher than the writ as the arm kegs the downward swing. Alle ptient practice will develops pracefal robe For short, accented beats, itis suggested that you use less arm ‘motion and’ more wrist snap so that the head of the stick is brought up sharply after each beat. In passing from one drum to another, lead with the hand nearest the direction you want to go. To go from the left drum to the right—lead with your right stick. Reverse this movement to pass from right drum to left When you begin an even group of noes on the right hand ‘ram sch as evo, four ost noi, and end on the Ie das Even groups @uR BLRL Uneven groups Z @LRERL bending over every few minutes as this is distracting to the audience and to the conductor Listen closely to the bass instruments at vou play, for they frequently play the sume notes as the timpani. As long as the timpani are playing in the same key as the orchestra or band, you are able to check your tuning by listening to other sections, However, you must often tune in advance, that is, tune to an interval of a succeeding section which is in'a foreign Key to the preceding section. Here is where your knowledge of intervals ‘comes in. If you are able to hum or think up or down the scale to the new interval, and, at the sime time, count the mearares of ret, you wil not mis the next entrance or be out ‘Above all else, however, make your entrance boldly regard- less of whether you are uncertain or out of tune. A timid entrance is a sure giveaway that you are uncertain. Play with confidence and anticipate every entrance! COUNTING Counting rests is of extra importance to the timpanis. ‘therefore, counting must become a habit. You must count accurately as you do not have anyone else to depend on for help in making a correct entrance. Sometimes cues are marked in the part just before the timpani entrance. These are usually a few measures played by some outstanding instrument which can be easily recognized. Follow these cues only in conjunction with your counting—never depend on cues alone—even the cue may make a wrong entrance! Count the measures by pl ber in place of “1.” ‘Thus! 5.2544, ete. STROKES begin with the stick which will pass to the left drum—in this cave the left stick, To play an uneven group of notes such as ‘one, three, or five and end on the left drum, begin the group ‘with the hand opposite to the direction you wish to goin this cease the right stick, ing each successive measure num- 234, 2244, 8234, 423-4, If you betin on the left drum, begin even groups of with the stick in the direction you with to pate For uneven Broupe of notes begin with the sick oppeity tothe drecton You wish 20 go. Remember! If you pass to another drum after playing an ‘even group—begin the group of notes with the hand in which direction you want to go. If you pass to another drum after playing an uneven grou begin the group of notes with the hand oppodte t0 te dies tion you with to go tas ®t RL RD RT 268 THE TIMPANI ROLL The timpani roll is made by a succession of single alter nate strokes. There is never an occation to play « double roll on the timpani. Start your practice of the single stroke timpani roll by prac ticing on a pad or pillow to obtain the correct wrist movement without benefit of the rebound. Now execute the same wrist and arm motion on the timpani, Notice the tendency of the stick to bounce back automatically! Control of this bounce will come naturally and you will find less wrist action is necessary Set your metronome at 48 and play one beat for each tick alkernating the sticks. Gradually move the marking forward to 120 carefully watching the sticks to make sure they are moving uup and down vertically with only the wrists moving. ‘Then Ilustration No. 63 shows the pianissimo roll with sticks very close to the head and near the edge. Photo No. 64 shows the larger are of travel for No. 65 shows height of sticks executing a me Notice sticks gradually move s the dynamics Ilustration No. 66 demonstrates the ap: THE ATTACK ROLL ‘The natural way to begin the roll isto attack with the right stick, pause for a fraction of a second, and pick up the vibe tions with the left stick followed by right and lefts alternately Make the initial right beat stronger chan the actual roll will be order to set the head in motion and produce the fundamental tone as quickly as possble. If you do not hesitate slightly with the left stick, you will make two beats or a “flam” which is not good form, ianissimo rolls forte roll, away from the edge towards the increase in volume. MUFFLING THE TONE “To stop the vibration of the head when necessary. place the little finger on the head as shown in Ilustration No. 68 and immediately drop all the fingers in place as shown in Illustration No. 69. Try rolling the fingers in rapid succession making contact with the head one at a time. This way you will avoid the “dap” tone you get when you place the entire hand on the head at once. Always dampen the tone with the same hand which made the beat—to use the opposite hand would produce a “elap” effect. PP P 7y move your metronome marking down to 60 and play two alter: nating beats for each tick Gradually move the metionome marking forward to 120 playing two beats for eich tick. Move the metronome back to 60 again and play four beats per tick Gradually move the tempo forward to 126 and you will have a fine, even oll. At no time will the single stroke roll be made faster than four beats per tick when the metronome is set at ‘marking 120. Play the same number of strokes in a soft roll as you do for a forte or loud roll. Do not increase the speed of the roll when greater force is required. The larger swing of the sticks and arms will supply the extra force and volume. The following series of photographs with their musical equiv alents directly underneath, demonstrate the approximate dis tance the sticks are raised in a normal roll from pianissimo to double forte proximate height the sticks will move to obtain the forte roll ‘The beating spot is now about four inches from the edge and the arm has come into action. The double-forte roll uses more ‘arm motion while the sticks strike approximately six inches from the edge. The arc of the stick travel for the double-forte dynamic is illustrated in Photo No. 67. Do not “choke” the tone off with vicious pressure by damp ning too guickly—mufling the tone should be done smoothly, Where eighth notes are written with an eighth rest following each note, do not dampen after each note. Often the notation is indicated in eighths instead of quarter notes to match up with other notations on the score. Do not dampen the tone unneces- sarily—usually let the tone ring free as much as posibleGENERAL TECHNIQUE Whenever the tempo or passage is slow enough for you to use only one stick for several notes, do so instead of playing with alternate sticks. Strive to make a succession of single beats as evenly as possible. “If the passage is too fast to be played with fone stick, then, of course, you will use alternate sticks — but strive to make each beat sound exactly the sume as the last. Rapid wp as played with aerate wicking bu slow triplets, especially those occurring in a solo passage, should be played: R-LR, R-LR, R-LR, as this fingering tends to hold the regular six-eight thyehm in the right hand, CROSS STICKING TECHNIQUE Cross sticking should be used sparingly. Wherever pos sible, avoid it as it leads to confusion and the steady rhythm often suffers. Never use cross sticking as « means of dram: ing attention to your playing. Hower, there are times when cross aching i neceuary, particularly in a passage of fast triplets alternating from drum to drum. It is a standard practice to follow this rule: left— ‘when moving from left drum to right cross left tick over the right; right—when moving from the right hand drum to the left ross right stick over the left. Keep the sticks low and the 69 No. 70 ‘wrists close together. Play the cross sticking passages where the tympani are nearest to one another. Cue down distance mover ment as much a8 possible. Ilustration No. 70 shows the right crossing over the left as in Exercises No. 31, 32, 33, and 34. Timpani Technique The range of the Timpani E F o A Bb Saal Tmpano 7 2 © F 6 oy 2 # Progress (Half Sto Intervals (Whole St Augmented Prime Major Second Minor Second Aug, Second Perfect Fifth Aug. Fifth Major Sixth Common Intervals found in Timpani parts Minor Sixth Major 71 Minor Third Perfect Fourth Aug. Fourth ‘Aug. SixthHo Fundamental Exercises. Notice sticking carefully Timpani in A and E 1 DeeGReRt RO RLR LR LE RLR UR LO RRL RR 2 3 Peek FLARE RL L RERDLR DR LR RL 4 - z RLERL RRLR LLRRLLRR LRLRL RL RRERL Tuning of the Timpani is usually found in the signature 5 R Rk b, R LERE RR DR ERE ERRD © DR 2 git SS. a aaa Zz Fe 3 = a bee Lae L ete, 4545371 Fundamental Exercises—Continued TRR RL RRERLRL RL pF eg ee ee RLRLRERRLERL RERLR LRLRLR LRLLERELR R ‘ a z BOER RO TROP RE I Lene. R LRaoRteR Cor Erte ReERE ERER RRL RERTRERRL RLR TE RLR ER CRE RERERERLRL R LRER CF Exercises in Passing Rolls2 Exercises In Passing Rolls— Continued aousane Timpani Exercises In Triplets 7 Use this sticking of triplets in very fast tempo. For slower triplets use sticking in No. 22, Place left stick on leg and notice how uneven No. 21 sounds. RoR Re. HDR © RER ORD on c This sticking is best because it preserves the fundamental 6/g rhythm in the right hand, Play left stick on leg at first to hear right hand rhythm. a ae eee ar 22 TR RERROERTimpani Exercises In Triplets—continuea R ER RUR CRE ROERRUIRRER LRLRER ROR Rewer ck rR on LE LAL 2 ok Bh L ® ROR 2 2. OF Pe ky Re 30 RRORCRIR CRERER RLELRRLLR ——— "Pp cRoIR ——_—— Tre Sa eS ee ee REEPRL RURLRERL ®& 45488) Seem tear ice Cross-Stick Technique % = x aa 3 fRKLR CRE RER CRE Rk tT RL ROR cane LRLERERLERLRER LREREEREL ERE RLRERERERERE ee R REIRLRLERR LRLR RLERL RRLERLLIR R ing R LR Lee RDRL RR De Bo kate R RL e Soi) SO ee ee oe neet oS “Fé -F e RERURLRER LRERERERE RURLRLRCR LRUERERER e a e fc CLs 2 et FC Te eeL EL Pe e ges ek Ses ® RRLRUERLT RLRLRR R LR LR ERIRERE a 35 RULR LRLER tRLER ER LR L atRatR we LRi RMR RLR vt / z J LRLERLRERLIR wtRinLarRinL RULRRLR LAUR tRLRaDR eos 00