2006 All State Band - Percussion

Music Samples

• Snare Drum
• Mallets
• Timpani

Hints from Dr. Barry Larkin

Snare Drum

Etude no. 12 presents several interesting challenges for the percussion student. The first concern I have seen repeatedly is a lack of attention to dynamics. In measure four, most students who perform this etude, begin to decrescendo during measure four. The dynamic change in measure five should occur like a light switch, not done gradually. Similar problems tend to happen in the third line, measures five, six and seven.

The next common problem is performing the quarter note triplets accurately. Most students rush the third note of the quarter note triplet giving them a swinging feel. I advise my students to count eighth note triplets while performing the quarter note triplet paying close attention to accuracy. Quarter note triplets can be practiced by playing eighth note triplets with an alternating sticking (beginning with the right hand), and after a measure or two, lift your left hand off the drum...your right hand is playing quarter note triplets. When playing etude no. 12, I play the quarter note triplet with the same hand for an even sound.

Many students try to use sixteenth notes as the base for their roll. Unfortunately, this will be to slow to create a smooth connected sound in this etude. I use thirty-second notes for the first roll but a sixteenth note triplet rhythm will work as well. For the ending section that alternates between two-four and three-eight measures, I use eight thirty-seconds for the two-four measures and four thirty-second notes for the three-eight measures.

The final problem is that of counting. Many students play with good technique and sound but make numerous rhythm problems due to the meter changes. The most common problem I have observed is the last measure in line eight going into the three eight measure of line nine. Remember, the eighth note is always constant.

Mallets

The tempo of quarter note equals 60 seems to work well for this etude but I suggest that students practice this with eighth notes clicking on the metronome in order to assure a accurate rhythmic performance. Practice this etude without the embellishments to establish a strong foundation before adding them. Careful, most students tend to begin the second section of this etude by playing the pick up note of e natural an eighth note early. Rhythm, rhythm and rhythm is the key to this etude. Also, a general dynamic rule in this style of music is to crescendo when ascending and decrescendo when descending. It might feel good but do not crescendo the end of the first phrase ending on a c sharp in the first measure of the second line with an accent.

Timpani

This is an excellent etude to introduce solfege as an easy way to make the tuning changes. Begin with sol and do for opening tuning of A and D. When it is time to move from the key of D to E flat, change the syllable do into ti (leading tone for the key of E flat) and sing ti to do. From there, sing down to the sol and you are now in the key of E flat. If the concept of solfege is to foreign to you at this point, just practice singing the tuning changes. A melodic concept that I use with young students is to sing d repeatedly while sliding up to e flat and then a up to b flat. This procedure (making melodies out of the tuning changes) can be used through out to assist with the changes.

Carefully note the tempo, most students have entered my office playing this etude to slowly. There are many solutions to the sticking problems but my general advice is as follows: If a problem arises, try starting that passage beginning on the other hand. Avoid playing more than two notes with one hand.