Most of the dynamic changes in this study happen suddenly and without warning (subito). Be sure to look ahead and be ready for quick dynamic changes. I
)= 92- to+
Pf
ru -i
_ .tf
UYP @ Copyright
l9?t by JOEL ROTHMAN,
lnternational Copvrichr Seeurert
be played in relation to the Note the difference between the two types of accents used in this study. Accents must dynamic levcl in which theY occur i
J= [0a't
L6
Again, sudden dynamic changes are common in this exercise. Make sure that the cresc. poco a poco is gradual and even;
do not reach
,=
104-
ff
prematurely.
L L6
aresc.poco a poco
6 This study combines elements from the previous pages. Observe carefully, dynamics and accents. I
J= t04- t t6
The time signature of 514 is not uncommon in music of today; count accurately. The crescendo from beginning to end must be gradual and even.
l= I
LL6- 126
cresc.poco a poco
al
Fi.ne
One of the most frequently misplayed rhythms in our musical vocabulary is that of the dotted eighth-sixteenth. To insure rhythmic accuracy, sub{iuding (in thls case counting I e & a) should be used.
|
I
= 92- lO4
Be sure
that the beat does not change when changing the rhythm from duplets to triplets etc. This study will require to produce rhythmic precision.
concentrated practice I
J= t04- l- 1,6
P cresc. 3
>>>>>
r0
3
I-|J
Do not confuse sixteenth note rhYthms.
J = e6- to8
*itn
J-]-]
Triplets must be even; they have a characteristic sound which is unlike that
of
ll The interplay between sixteenth and eighth notes and triplets in this study is rather
tricky. Subdivide
carefully.
I
J = t00- t t2
ff
tr-
PP
cresc. poco a poco al Pine 3
lf
t2 precise. The sixteenth note triplets in this study must be played dynamically even and rhythmically I
J = 88-t00
ry
semtre
,
r3 which uses the eighth note as the metric denominator. These exercises should completely this study familiarize the student with rhythms characteristic ol 3/8 - 618 - 9/8 and l2/8. Note the difference in
This is the
fint of several exercises
between
F]|],
).=
and
6s-8a
cTesc.
dirn.
P cresc.
L4
This study begins in a characteristic march tempo in two, which gradually ritards to a slow section to be played in the ritard and the accelerando should be gradual and even until the desired tempo is reached. I
J.
=
I'
L6- 126
fff
aim. poco a poco
poco
Doco
Slowly
f pP
ctesc.and accel . Pocoa Poco
f,
Tempo I
ftf
six. Both
t5 The measures of rest in this exercise come at awkward places. Make sure that the rhythms preceding these empty measures do not "spill over." I
).=
6O-72
r6 Try to make the swells
({
::-)
in this study
as
smooth
as
possible. A smooth contour of sound should be
_-_--.f----P
_*=_P
17
A combination of elements from the preceding studies are found in this exercise. The pulse remains steady throughout the many meter changes. Changes in meter are quite common in today's music. I
J= 6o-72 j
P
D
f
.--____-__->D
f-P
p<:rr
r8 rolls are not measured. This study deals primarily with rolls of varying duration' ln concert band or orchestrd drumming, sound. continuous The desirtd effect is a smooth, I
J = 92- l'08
r9 This is the first use of flams in this book. Flams should have a sharp, clean sound, not too open and not in unison (both sticks striking together). I have left the sticking up to the student and teacher. However, the end result must be a perfectly executed flam. I
J= t00-Lt2
cresc.
----------_L
20 of many drum parts. They may be played "open" so that all notes are distinguishablJ(common in rudimental drumming) or "closed" so as to make a short, sharp roll sound. In this study the ruffs should Drags or ruffs are quite characteristic be played closed.
J= qo- ros
2L Again in this study the ruffs should be played "closed." Note the marking s.1D.
) = 92- toq
It means with
a sudden, strong accent.
22 Once again, this exercise utilizes changing meters. The pulse is constant, only the number of beats in the measure changes. Be sure to make all sixteenth note rhythms as even as possible. I
/=
92-
LO4
23 By playing on different areas of the drum a variety of sounds may be produced. The edge of the drum is often used to execute -xtremely soft passages. The center of the drum produces a dry sound. Playing on the rim is an effect often called for in nrarches and show music. I
)= 92- LO} On edge
Center
Cemer
Note the difference between
J = 8o-ez
J]l
ano
f'l'
Be sure
to sub divide for rhythmic precision'
25 As prelicusly stated, great care should be taken in changing from duplets to triplets, etc. Be careful not to accent the end of a roli unlcss an accent is indicated (especially f-l ).
.
J = 84'96
aa
3-3
i-__-_i+r Pp
2b When the end of a roll is also the beginning of a rhy.thmi. figure. Great care must be taken to avoid this practice.
nru*(t-Jffi)it
is often quite
difficult not to accent that
I
J= 96- t08
P
> >>
>>>->>
27 This study contains many elements previously discussed. Rhythmic precision and good sound should be the goal of this page.
J = e2- 108
28J the student must be completely relaxed. This is a difficult figure and must be played ln playing the figure fffi, correctly. Tighteningip will only cause the triplet to be played incorrectly. NI of the triplet figures must be perlectly even. I
) = 72-86
J
3
pf
,-f 3
>>>>>
Pf,
=:>P
3
29
This exercise should be played "in 1." Start slowly in order to learn the dynamics and rhythms and gradually increase the tempo until a relaxed leeling of " l" is reached.
j=
66-76
f
semPre
30 This is a rather characteristic 6/8 study. Since the dynamic levet is constant, the accents must also be constant. This ir an important point. The student must consciously establish a dynamic level for accents. I
J= 72-80
3r A great deal of control is necessary in order to achieve the edge of the drum will help to produce this sound.
a
"clean" sound during the soft
I
J= 60-72
-:-=::--:>P 3
passages
of this study. Playing
near
32 The main theme of this study, measure l, is brought back several times. Be sure it is played the same on each restatement. Again, as in the last exercise, the ex,tremely soft passages may be played on the edge. I
..= 60-7 2
DRUM, PERGUSSION, HUMOR & MUSIG FUN BOOK! by JOEL ROTHMAN (JR PUBLICATIONS, LLC) STUDIES FOR ROCK DRUMMING (1) Basic Rock Beats (2) Mini-Monster Book Of Rock Drumming (3) The Rock And Roll Bible Of Coordination (4) RockAnd Rolls Featuring "The lnside Story" (5) The Turtle Factor (Rock Drumming At A Snails' Pace) (6) 3,5,7,9, Rock! (7) Four-Way lndependence For Rock Drumming (B) Hardest Drum Book Ever Written
(9) Paradiddle Rock (10) Splashdown (Hi-Hat Splashes For Rock Drumming) (11) Rock Drum Solos To Develop Coordination (12) Rock Breaks ln A Nutshell STUDIES FOR JAZZ DRUMMING (13) The JazzBible Of Coordination (14) 3, 5,7 ,9, Jazzl (15) Four-Way lndependence For Jazz Drumming (16) Jazz Drum Book (17) Easy Drum Solos For Jazz Coordination (18) Take A Break (19) Jazz Breaks lnANutshell (20) Country Drumming
STUDIES FOR AROUND THE DRUMS (21) Rudiments Around The Drums (22) AQuartet Of Recipes Around The Drums ACCENT STUDIES (23) Fun With Accents Around The Drums (24) Accents And Solos For Rock And Jazz Drumming
STUDIES FOR TECHNIQUE (25) Easy Drum Solos To Develop Technique (26) Basic Drum Technique And Beyond
ROLL STUDIES (27) (28)
Roll Control Rolls, Rolls, Rolls
STUDIES FOR BASIC READING (29) Teaching Rhythm (30) Clap Your Hands (31) Basic Drumming (32) Basic Drumming Made Easy (For Snare And Set) STUDIES FOR ORCHESTRAL READING (33) Fundamental Studies For Snare Drum (34) Musical Studies For The lntermediate Snare Drummer (35) lntermediate Duets For Snare Drum (36) Rhythmic Patterns Of Contemporary Music MALLET & TIMPANI STUDIES (37) (38) (39) (40)
Fundamental Studies For Mallets Recital Pieces For Mallets Fundamental Studies For Timpani Musical Studies For The lntermediate Timpanist
STUDIES FOR SHOW DRUMMING (41) Drum Arrangements (42) Cut-Time Parts (43) Show Drumming (a ) Big Band Drum Charts MISCELLANEOUS TITLES (45) Beats And Variations (46) A Quintet Of Coordination Patterns (47) Shuffle Rock (48) Rock Drumming With Quintuplets HARDCOVER DRUM BOOKS (a9) (50) (51) (52) (53)
The Compleat Drum Reader The Compleat Show Reader Around The Drums Completely The Compleat Rock Drummer The Compleat Jazz Drummer
(54) (55) (56) (57) (58) (59) (60)
Rock-N-Roll Word Finder Music Word Finder Easy Music Crossword Puzzles Book One Easy Music Crossword Puzzles Book Two Musical Crossword Puzzles Super Quiz Of Music Super Quiz Of Opera
MUSIC FUN BOOKS
HUMOR BOOKS (61) Name The lnstrument (For Children 3-7) (62) MusicalAnts (63) Music Lover's Joke Book (64) Jokes And Pokes At Opera (65) Top OfThe Bops (66) Ha Ha Ha Haa! NEW PUBLICATIONS (67) Reading, Rudiments, And Rock Drumming (68) Reading, Rudiments, And Marching Cadences (69) Rock Breaks Around The Drums (70) Rock With Hand-Foot Drum Breaks (71) Drumming And All That Jazz (72) Blood, Sweat & Rudiments (73) Reading Syncopation & Beyond (74) Sticking Patterns For All Drummers (75) Duet Yourself-Book One (76) Duet Yourself-Book Two (77) Son Of The Mini Monster (78) Drum Set Etudes (79) Rock Etudes For Drum Set (80) Jazz Etudes For Drum Set (81) Orchestral Snare Drumming (82) I & Thou (Musical Duets) (83) Roll Etudes For Snare Drum (84) 45 Minutes, 33 Seconds (Concerto For Drum Set) (85) Crazy Mixed-Up Meters
SEND FOR FREE CATALOG ISBN: 978-1 -61727 -025-3 il1il
il[ililillililfifi ililil
JR Publications, LLC c/o Charles Dumont & Son, lnc. 1085 Dumont Drive, Voorhees, New Jersey 08043 . Fax: 1 Phnna' 1 or 1
