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Snare Drum

Use traditional or matched grip. Keep hands low and maximize on the wrist motion. Use a coated batter head and keep it fairly tight. Use a clear snare head, but do not tighten it too much. Snare Drum. Most concert band rolls should be “closed rolls” (3 bounces per stroke).

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Snare Drum

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  1. Use traditional or matched grip. Keep hands low and maximize on the wrist motion. Use a coated batter head and keep it fairly tight. Use a clear snare head, but do not tighten it too much. Snare Drum

  2. Most concert band rolls should be “closed rolls” (3 bounces per stroke). Occasionally there is a need for “buzz rolls” (4 bounces per stroke) which are usually labeled with a “Z” on the note stems. Sometimes in marches or other similar literature, there is a need for “open rolls” (diddles/2 bounces per stroke). Snare Drum

  3. Best striking spot on the head is just off center. You will draw more tone out of the drum by starting the stroke close to the head and pulling it away quickly. You will draw more of the fundamental pitch out of the drum by using a heavier mallet. Rolls should be played with hands far apart and alternating in a single stroke manner. Bass Drum

  4. The best striking spot on the head is 3-5 inches from the edge. Most concert playing will call for the “French grip” (thumbs up). Occasionally there is a need for the “German grip” (similar to the matched grip when playing snare drum). The grip should be fairly loose so that you can draw more sound out of the drum . Timpani

  5. Loud playing requires tightening of the grip so that control of the sound is maximized. • Soft playing require a loosening of the grip so that there is more tone. • Sound can be dampened by “wiping away the sound” with the fingertips. • All rolls must be single stroke rolls (no bouncing!). The higher the pitch, the faster the roll needs to be. Timpani

  6. When playing staccato passages: Use harder mallets. Move the striking spot closer to the center of the head. Play in a “V” motion so that you are hitting in the same spot with both mallets. Timpani

  7. Always strike the bars on the most resonant spots (center or at the edge). • Use a matched grip. • Keep your hands low, so that maximum wrist motion will be achieved and you will draw more sound out of the bars. • Be sure to move your body so that you are centered in the range of notes that you are playing. Keyboard Percussion

  8. Xylophone and Marimba can be played using rubber or wound mallets. Vibraphone can be played using wound mallets. Glockenspiel (Orchestra Bell) can be played using brass, acrylic, or hard rubber mallets. Chimes can be played using rawhide, acrylic, or hard rubber mallets. Keyboard Percussion

  9. Triangles, woodblock, claves, guiro, maracas, shakers,sleigh bells should all be held up so that the audience can see the instrument being played and will be able to hear the true tone color of that instrument. These instruments should be place on a table when not being played and need to be silent as you pick them up to get ready to play. Auxilliary Percussion

  10. Experiment to find the best sound from these instruments. Use a different mallet/beater? Use a different stroke? Use a different striking spot? If one is available, try a different instrument.? There are multiple triangles, woodblocks, etc. available. Auxilliary Percussion

  11. The best stroke is one that makes use of a circular motion with a little bit of a “flam action” where you first strike the other cymbal one inch from the edge. • Loud playing requires more energy to be placed into the stroke/ not necessarily more motion. • Soft playing requires you to keep your elbows tight to your body and do not use the flam action. Crash Cymbals

  12. You can change the sound of the cymbals by: Changing the stroke (more vertical or horizontal). Displaying more or less “follow through”. Changing to a different pair of cymbals. Crash Cymbals

  13. Place it directly in front of you, at waist level and parallel to the ground. • Strike the cymbal at the edge. • For rolls, use wound mallets and play at opposite side of the instrument (3:00 & 9:00). • The speed of the rolls needs to be only fast enough to keep the cymbal vibrating. • Dampen the sound by squeezing between your fingertips. Suspended Cymbal

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