Nit Every single order that goes out the door has a tracking number that will be emailed to you, and all of it is completely insured. We ship from centrally-located Dallas, Texas. Also includes an analysis of the timpani — the instrument, tuning, correct method of playing, rhythm and beats. Benjamin Podemski MD Dr.
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The text is composed of compilation of studies which the author has used and continues to use with artistic success, Benjamin Podemati, famous percussionist with the Philadelphia Symphony Or- chestra since , playing under Leopold Stokowski, Eugene Ormandy, and guest conductors, has achieved brilliant percussion effects that have gained him world recognition.
Full care is given to drum strokes and to the explanetion of modern rhythms. Accellerando accel. Gradually increasing speed. Da Capo D. The signs for showing where the repetition begins and ends are these: I No definite number of measures. Sometimes the section that is to be played twice needs a different ending the second time. In that case the repetition marks are printed as follows: E 2 z A B Cc D The student will understand that in printed music the letters A, B, C, D, are not used, but are here in order to facilitate the following explanation.
First, the student will notice what the marks are: at A a re- petition mark as shown above; at B a numeral 1 followed by a horizontal line above the stave and extending to C, a repetition mark as shown above. After C a numeral 2 followed by a horizontal line over the stave, : The section as originally written is from A to C.
The measures B to C are called the first ending. The important thing for the student to remember is that after he has played from A to B the second time he must then skip over from B and play from C woD.
In such case special mark- ings are used. He will then return to the beginning D. Thence he will skip to the Coda which will be printed at the end of the work. The exact place to which he is to i skip will be marked with the word Coda or with the same sign or sometimes with word and sign. When a legato appears over a group of notes it means that the notes should be played connectedly. Bis means repeat. Any measure or any number of measures marked Bis should be repeated.
Abbreviations of rests by means of conventional signs. The student cannot give too much attention to the Roll as it is the foundation of all drum technique. It is advisable for the student to start practising very slowly and pay attention to the uniformity of the beats. AAs soon as the student fees chat his strokes are becoming shaky and uneven he should immediately slacken his speed until he gets back to where he started.
The Flam is an appoggiatura. Appoggiatura means leaning against. The Flam if properly executed is effective and plays an important part in drumming. The three ornamental notes soft and the eighth notes loud, striking the principal note on the beat with the right hand. The time between the beats should be equal. Begin slowly, gradually closing up the stroke.
R R g R Ic can also be practiced the reverse way. To attempt to play these with the four stroke ruff is an error as this will not have the proper effect. The stroke will sound either oo long or too rough. Some will attempt to play with a drag in order to get a smooth pianissimo effect but ic will be too shore and the five stroke roll too long. It is essential, therefore, to study the four stroke roll as outlined above. Considerable practice is neces- i sary to develop the strokes evenly.
These strokes will be found mostly in solo passages and below are given a few examples of how they might appear in different works. The five stroke roll is a poor substitute for the single stroke and should never be used in its place. It is a very beneficial stroke for wrist practice and may be played from.
Indicates right hand. Indicates left hand. Slow 4 beats in a measure. Sometimes numbers are used instead. This is a common occurr- ence in orchestral work. Most persons have 2 natural chythmic sense and are able co keep time. Additionally, the musician, and especially the percussionist, needs not merely a natural, but very strong rhythmic sense. To define it more clearly, a strong rhythmic sense means three things: First, the ability to maintain a beat for 2 ong period of time say five minutes at a given tempo without permitting the beat to become either fast er or slower.
Second, the ability to combine beats into any kind of grouping the composer may call for and to change the groups as frequently as may be necessary. Third, it means the ability to break up the beat into smaller units and to execute any kind of pattern made up of those smaller units. In respect co rhythm, the percussionist occupies 2 position in the Orchestra of great importance. If a player of one of the melodic instruments cello, etc.
The sound of his instrument need never emerge from the general mass of tone. The percussionist, however, has no such safety.
Practically every instrument he plays will emerge from the general mass of tone. When- ever any percussion instrument is played it must be struck at exactly the right instant, neither too soon nor too late. If the percussionist is deficient in rhythmic sense and training he will never. I he scrikes his instrument at the wrong instant he will not only reveal the weakness of his rhythmic sense but, what will be more intolerable, he will impair and possibly ruin the performance of the music.
To a strong and well-trained rhythmic sense the percussionist must add another qualification: namely, the intelligence and ability to follow the conductor. He must, from observation and practice, learn to read and obey the slightest sign that the conductor gives.
Any deficiency in following the conductor will have serious consequences both to the music and to the player himself. If, in an important passage, he fails to obey the conductor he will not only ruin the per- formance, he will find himself out of a job. Written differently but rhythmically alike.
The only way to sustain notes on the snare drum is by executing them with the roll—therefore these principles apply mostly to S. Count three to each measure. Abbreviated As Played 48 Count all the eighths. As Written As played 66 No. R iS No. To be played two in a measure. Solo z poco a. It should be executed with single strokes as written 84 Excerpts from Franz v. The student must possess good rhythm, 2 keen ear and a fair musical training. The knowledge of snare drum execution and ability to read drum parts are not sufficient and do not mean that the student is ready to undertake the study of tympani.
Those desirous of studying the tym- Bani should be able to play che piano, which is mest suitable co Ye percusonist, or some addional must cal instrument. To get a low C the tym- pani should be about 38 inches in diameter, for high A about 20 inches in diameter. If the sound is flat the head needs more tensioning. If sharp, the tension must be lowered. The student will at first have some difficulty with his tuning.
He may find it difficult to differentiate between the various sounds because of the many overtones these instruments possess. Overtones, natural with all instruments, are more common with the cympani and especially true of the larger sizes of tympani.
If the tym- pani happen to be the hand screw type, care should be taken that the screws do not obstruct the place the player strikes. Ie consists of alternate single strokes. The sticks should be held loosely for greater fiexibility. See illustration To develop the tympani roll the student should begin practicing with 2 slow motion, increasing the speed gradually and evenly until a fast tempo is reached.
A maximum speed should not be attempted until such 2 time that it comes with perfect facility and flexibility. The hands should be flung upward immediately after the beats. Never hit the heads of the tympani in the center as that will produce a dull thud instead of good tone. Strike the heads about four inches from the hoop.
Good tympani sticks aze very essential to the player. As good sticks are difficul: to obtain, the player should, if possible, learn to make his own, This will better suit his individual balance and touch. Utmost care must be taken in selecting and shaping the tympani sticks.
Prestissimo Slower and broader Calando Cad At leisure A. Settine Tempo primo. Srmate Un poco Hort. Rustico ! Serplice Sentimento Spiito Teanquillo..
Podemski's Standard Snare Drum Method
The text is composed of compilation of studies which the author has used and continues to use with artistic success, Benjamin Podemati, famous percussionist with the Philadelphia Symphony Or- chestra since , playing under Leopold Stokowski, Eugene Ormandy, and guest conductors, has achieved brilliant percussion effects that have gained him world recognition. Full care is given to drum strokes and to the explanetion of modern rhythms. Accellerando accel. Gradually increasing speed.
[drum] benjamin podemski - standard snare drum method.pdf
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