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eee abe ode a the: Bh ofged-eiete oe ae: oye ora ede? piddap-ete ote t fit sie siecle theses se eerie eh be P28 28 alee EXERCISES FOR ENSEMBLE DRILL Arranged for Band or Orchestra A series of warming up exercises, technical studies and rhythm drills for daily practice by any group—large or small. Bite ale 9}, SCHMITT, HALL & McCREARY ‘A Division of Belwin-Mills Publishing Corp. Melville, N.Y. 11747 INTRODUCTION SERIES of exercises in which the full band or orchestra A can join is a necessary part of the training of ensembles. Ensemble practice has hitherto been largely limited to the num- bers currently studied, whose scores often gave emphasis to instruments, where, from a practice standpoint it was least needed. In this book every instrument in the group, including the drums, is scored either in harmony or unison. Thus the in- structor may drill by instrument, by section, or by full band or orchestra, each player always being represented in the en- semble. The book is divided into three parts: I WARMING UP EXERCISES, consisting of full chords for the entire band, enabling each player to get the feel of his instru. ment and of the group at the opening of the rehearsal. I TECHNICAL STUDIES, scored for all instru- ments in unison, covering fundamental scales, intervals and arpeggios in all keys. This part includes lip drill for brasses with accompanying chords for other instruments and also exercises on the slur for all in- struments, Ml RHYTHM DRILL, scoring 195 fundamental thythms, followed by 40 exercises applying certain rhythms to interval studies. Players will easily grasp the use of the book as they need only follow the instructor's directions. Many suggestions are made in the book for effective use of the material; others will occur to the instructor as he becomes more familiar with its Pages. Copyright © 1994, 1985, 1959 by Paul A. Schmitt Muse Company, - ‘Copyright Renewed {narmational Copyright Secured ite Reserved Printed inthe US.A, ‘Copyright Asignd to Blwin ie Publishing Corp., Mlle, NY 11747, TABLE OF CONTENTS and SUGGESTIONS FOR DIRECTOR WARMING UP EXERCISES SECTION 1. Chords, so : ——— Emphasize: 1, attack; 2, intonation; 3, balance; 4, dynamics; §, release.” Teach the players to listen by playing these chords as though there were « hold over each tone. Insist on por- fecting the intonation of each chord before progressing to the next one. TECHNICAL STUDIES SECTION 2. Major and Minor Seale#...ccrons sosenae Gel Major and minor scales should, of course, be memorized. The careful musician has his scales always at his command and in different articulations such as, 1, all tongued; 2, all slurred; 3, two slurred and two tongued: 4, three slurred and one tongued; etc. Also use different rhythms besides the one given. SECTION 2. Chromatic Scales... = : = las ‘The chromatic scales should also be memorized throughout the entire register of the inalna. ment ond use different articulations and diferent rhythms, SECTION 4. Intervals : a : : 1ea7 Listen very carelully for intonation when playing these intervals SECTION §. Arpeggie8 coon : = 16.23 Repeat each score several times and use different articulations SECTION 6. Lip Drill for Bp Brasses : creinnnennne MS ._ Be sure to take advantage of the different models shown at the bottom of page 24 SECTION 7. Exercises on the Slur. 7 ee con 26-97 The different models at the top of pages 26 cnd 27 will furnish plenty of variety if used consistently and the progressive musician will think of others that will be helplul to him. Be sure that clarinet players use both octaves SECTION 8. Scale Exercises and Transposition and Concert Key Chatt.wswscvennnnnnnen 2899 1. Don't overiook the fact that each of these exercises may be played in all keys. ‘The exercises on thirds, fourths filths, sixths and octaves pages 29 to 33 are to be played only one score at a time, that is, in playing in Bb concert, for example, the Bp instruments would Play line one and repeat, the C instruments would play line seven and repeat, the Ep in- struments would play line five ond repeat, ete. 2 Forms 1 to 24: In playing forms 1-2-3 etc, the players start in different places de- pending upon the key of their instruments but play through to the end of the form, then D.C. and finish on their starting measures, The entire process is much simpler thon the explanation. A very important point, however, is to leam to figure the transposition nd starting point mentally. The chart on page 28 should not be used except by beginners who have not yet leamed to do this RHYTHM DRILL SECTION 9. Fundamental Rhythms... = a ce AOA Study the instructions at the top of page 40 carefully. “The notes in this section indicate thythm only—not pitch, SECTION 10. Application of Rhythms... 49.52 unlike section nine the notes in this section are to be played exactly az written both aa to pitch and as to rhythm, tion plarers see pages 52-54 for speciic suggestions, VIOLAS—In ook too Buity. supplement hor becs larued separcaly for vslas : SECTION 1 Chords 2®os Db Piccolo bo Ist & 24 Plates Ist 2d Violins Ist & 2d Oboes 84 & 4th Violin Bassoon Cella By Clarinet Solo & 1st Bb Clarinet 24484 Be Clarinet By Base Clarinet Bb Alto Sax. BB Alto Clarinet Soprano Sax. By Tenor Sax Ry Baritone Sax. Solo & Ist Cornet 24 & 8d Cornets 1st & 2d Horns nF 8d & 4th Horns in F 16024 By Horns a e4th Bh Horas} ist 24 Tr Ad Trombone NOTE, Vicias ate the apecal supptement SECTION 1 : Chords 2OQhe _ ba®e © Db Picesto 1st 4.24 Fotos Ist 24 Violins 1st 24 Oboes Bd ath Violins Bassoon Celle Es Charinet Solo 6st BC 28484 ByClorin Bb Bass Clarinet Bb Alto Sax Bb Alin Clarinet Soprano Sax Bs Tenor Sax Bb Baritont Sax Solo Ist Cornet 24.84 Comets 1st 424 Horns in F Rd th Horas in F 1st 2d Horny Bd ath Bo 18t824Tromboars 84 Trombone Baritone Drums 7 SECTION 1 ® _ Chords fff. ® Z Db Piceate Ist &24 Flutes Ist 424 Violins 1st & 24 Oboes 84 & Ath Violins Bassoon Cette By Clarinet Solo ts Bo Ctarinn 248.94 BsCtarint 1 Race Clarinet By Alto Sax By Alto Clarinet Soprano Sax Bb Tenor Sax Fy Baritone Sax Solo & 1s Cornet 2A 6 8d Cornets Isl & 2d Horns in Ad & Ath Horns nF 144 24 Fo Horns A AUN Rb Horns 15 424 Tomb 34 Trombone Baritone Basses Drums SECTION 1 7 Chords Db Piccolo 1st 24 Flutes 1st 24 Violine Ist &24 Oboes 84 Gath Violins} Bassoon Calle Rb Clarinet ol fest Bs Carine 24434 BECacne Bb Rass Clarinet Bb Alto Sax BY Alto Clarinet Soprano Sax. By Tenor Sax By Baritone Sax Solo 1st Cornet 246 84 Cornets 151624 Hopne nr 84.64th Horns in F 121824 Horns 84 & 4018 Horns 14424 Trombones 54 Trombone Baritone Peums 8 SECTION 2 Major and Minor Scales for all Treble Clef Instruments Bass Clef players turn to page 10, Percussion players see page 63 INSTRUCTIONS: At the beginning of each pair of scales (major and minor) will be found a series of keys and figures. ‘The director should call the scales dy number only and indicate concert pitch. For in- stance, if number 6 is called for, the Bb instruments will look for Bo-6, the Eb instruments for Eb-b, the C instruments for C-5, ete. A little study of these two pages will show that the scales for each different keyed instrument follow a regular order and are not difficult to locate. ‘The director should also indicate whether Major or Minor is wanted. (Use different articulations.) <6 MAJOR £ fa ca 10> |MINOR Bae Fa MAJOR Be - cs a oh) {MINOR Ba Ba ws Dh whe Fa Bhd os ot ba BS cr wa Be F6 MAJOR 6 ca ra Bs B7 SECTION 2 z Major and Minor Scales for all Treble Clef Instruments Bass Clef players turn to page 11 INSTRUCTIONS: See page 8 (Use different articulations) MAJOR eb Det Be 8 ol ete! MAJOR a8 co bbs ea Fo Fao, Bb-101 ce Bo en the 2 9 Boul Pa ie SECTION 2 Major and Minor Scales for all Bass Clef Instruments ‘Treble Clef players turn to page 8 INSTRUCTIONS: These scales are in unison or octave with those on pages 8 and 9. The director should cal for scales by same number as given treble clef instruments and indicate whether Major or Minor is wanted. Drums follow thythm indicated, rolling on notes longer than quarter. (Ose different articulations) MAJOR - MINOR = MAJOR Imiwor SECTION 2 uy Major and Minor Seales for all Bass Clef Instruments Treble Clef players turn to page 9 INSTRUCTIONS: See page 10. (Use different articulations) MAJOR IMiNOR MAJOR NOR Es SECTION 3 Peroussion players see page 68 Chromatic Scales for all Treble Clef Instruments INSTRUCTIONS: at the beginning of each staff willbe found a series of keys and figures. The director should call the seals by number only, For instance, if number 6 is called for, the Bs instruments will look for Bb-6, the Eb instruments for Eb-5, the C instruments for C-5, eto. & litle stuy ofthis page will show that the scales foreach diferent keyed instrument follow a regular order and are not difficult wo locate, In dition to the rhythms given below, use rhythms 140, 142, 144,146,147 and 150 on page 44— 201 too fast. " (Ose different articulations) b, feeiecicet tthe abe she shes tied tad f— Saoe Tee 2Eet oF ry ey. Ms ee Copeman she gia bad Sp op ore Foe she he Fb C10 i SF Teeete. So, a Seep eee Pore Wwositehe 5 oO Fig se tote wie SECTION 3 w Chromatic Seales for all Bass Clef Instruments INSTRUCTIONS: See page 12. These scales are in unison or octave with those given on page 12, Call by same number. (te different articulations) 2 Lo SECTION 4 Intervals for all Treble Clef Instruments Bass Clef players turn to page 16, Peroussion players see page 53 INSTRUCTIONS: The same numbering system is used here as in Section 2 and 3. Refer to page 8 for complete instructions. To accomodate the ranges of different instruments each exercise is written in octaves With the upper octave on the upper staff and the lower octave on the lower staff. The director should eall for the exercise by number only Be cn Dies Bo! Faz Bh cg, bs) ea Fa Bhs cr Dh Eh Re ca bb Biss Pa Bhs, oa Bhs Fa Bhs: on pho) Bh? FS SECTION 4 16 Intervals for all Treble Clef Instruments Bass Clef players turn to page 17 INSTRUCTIONS: See page 14 ab? cs bb 10 Eee Pe Bhs 8 Db-tt eo Fa Bho co? phe) Bb ce phe Be Fo 6 SECTION 4 Intervals for all Bass Clef Instruments Treble Clef players turn to page 14 INSTRUCTIONS: To accommodate the ranges of different instruments each exercise is written in octaves with the upper octave on the upper staff and the lower octave on the lower staff. ‘The director should call for the exercise by mumber only. These exercises are in unison or octave with those on pages 14 & 15, Call same number. 7 fe SECTION 4 ” Intervals for all Bass Clef Instruments Treble Clef players turn to page 15 INSTRUCTIONS: See page 16 8 SECTION 5 Arpeggios Picootos tur to page 12 es turn to § Percussion players see page 54 flutes, torn to— page 12 Saxophones turn to page 20 Oboes tura to page 20 This page for Gornets turn to page 24 CLARINETS ONLY Trombones turn to page 22 Baritones turn to__page 22 Horns turn to__— page 21 > Bassoons turn to__ page 22 Cellos turn to page 22 Basses turn to page 23 (Use different articulations) Be also 70a also $00 SECTION 5 * Arpeggios Clarinets turn to_ page 18 Saxophones turn f.fage 29 oes turn to page ‘This page for Gornets turn fo_— page 24 C FLUTE, Db PICCOLO, VIOLIN, Trombones turn to. page 22 XYLOPHONE & BELLS Baritones turn to— page 22 Horns turn to. — page 21 Bassoons turn ta_ page 22 Lelios turn to_——— page 22 Ose different articulations) Basses turn to page 23 ot = Do-s %0 SECTION 5 Piccolos turn to__page 19 Arpeggios Flutes turn to page 19 Vitis turn to — page 19 Clarinets turn to__page 1 ‘This page for Gornets turn to page 21 SAXOPHONES & OBOES ‘Trombones tura to page 22 ‘ONLY Baritones turn to__page 22 Horns turn to_~ page 21 Bassoons turn to__ page 22 ° Gellos turn to_— page 22 (Use different articulations) ~ = Gellog tam to — page 28 Bb-12, C2 Bhatt SECTION 5 " Piccotos turn to_page 19 Arpeggios Flutes turn to—— page 19 Violins turn to page 19 Saxophones turn to page 20 Clarinets turn to_ page 18 This page for ‘Trombones turn to page 22 CORNETS & HORNS Oboes turn to. page 20 ONLY Baritones turn to- page 22 Bassoons turn to_page 22 ., Cellos turn to page 22 Ose different articulations) Basses turn to page 23 * SECTION 5 Piccotos turn to_ page 19 Arpeggios Flutes turn to page 19 This page for Violins turn to page 19 BARITONES, TROMBONES, Saxophones turn to page 20 BASSOONS & CELLOS Oboes turn to__ page 20 Clarinets turn to page 18 Cornets turn to page 21 Horns turn to__— page 21 (Use different articulations) +> Basses turn to page 23 1 SHES asf z 2 ae 10 uM 12 SECTION 5 * i Piccotos turn to— page 19 Arpeggios Flutes turn to_— page 19 Violins turn to page 19 ‘ Saxophones turn To page 20 ‘This page for Oboes turn to. page 20 BASSES ONLY Clarinets turn to- page 18 Cornets turn to page 2t Trombones turn to page 22 Baritones turn t Ose different articulations) epee Upper notes fr String. ass Cellos turn to page 22 —— 1 ee a 2 FE a ae BEER = 38 ee = 4 Fa aoe off 5 a ’. 7 6 us 8 9 10 4 12 al SECTION 6 Lip Drill for Bb Brasses (Parts for other instruments on page 25) Bb Cornets (Trumpets) and Fr. Horn in Bb 71h position 3 3 2 3 BBb Basses & Different models to use in playing the above exercise 4 2 x 26 SECTION 6 Accompanying Chords for B} Brass Lip Drill Percussion players see page 64 2 2 be Db Flutes & Picodtos € Flutes Piccalos Oboes & Violins Bb Clarinets & Alto Clarinets Solo & Ist Bb Clarinets 24 & 8d Ry Clarinets ass Clarinets Rb Soprano Sax. Fb Tenor Sax salto Sax, EbHritone Sox] Bassoons Cellos ist & 24 Horns in P Aa & 4th Horns in F ist 24 Ex Hlorns 36 44h Fé Horas By Basses Strg. Basses ey SECTION 7 Exercise on the Slur Peroussion players see, page 54 : INSTRUCTIONS: Note that each instrument is scored i unison or octave with all other instruments. Here are a few different models to use in playing this section 1 2 3. 4 5 B» Clarinets and Saxophones ve Az tba Bb Cornets, Trumpets and Baritones 6 bas ay ba € Flutes, Piccolos, Oboes, Violin and Xylophone Db Flutes and Piecolos coe ay a be pte LEE ee re ee 27 SECTION 7 Exercise on the Slur Here are a few different models to use in playing this section 4 2 3 4 5 E} Clarinets, Saxophones and Horns French Horn rar: iv By bey alle) BB) Basses 28 SECTION 8 Scale Exercises and Transposition and Concert Key Chart INSTRUCTIONS: This section consists of several different forms of scale exercises,each of which is divided into seven divisions. These exercises have no clef signs and are to be used by both treble and bass lef players in the following manner: the director will indicate what concert key is to be used. Then refer to the chart below and look in the proper column to find where to start and what signature to use. The player of a transposing instrument should, of course, learn to figure his transposition mentally when iven any concert key, but the chart will serve as an aid to those who have not learned to do this. ‘With the aid of this chart it is possible to transpose.quickly from any part for any instrument. To transpose a melody- first determine new key (see chart); then see that each note fits that key. It is sometimes necessary to change letters to their enharmonic equivalents, for example: C# = Db — D#=Eb- Ef =F - Fb Ft Gb” Gh=Ab~ AR= Bh BEC ~ Gh. Concert key [ab] A [Bb| B [c+] c |c# [Ds | D [Es] 5 | F [re [as] o Transposed key-|Bs|B|C [0x[Ds] D | 5+[ EB] B| F/F#| G [ablasl A Bb |Start at number.| 7/7) 1/1] 2]2/3]3]a}alalolelele Signature. . - |2| 64] 0 [zt] 5+ | 24| ab | a+ | at | a6 | ot | 1# [45] 45] 38 Transposed key-[Ab] A [B+|B [cb| c {ct [p+ | D [Es] & | F [ra [os |e © |Start at number|6]}6]7]7] 1] 1/12] 2/3 ]3 falalo|s Signature. - - -|45| 3#| 2/54 | 2| 0 | 7t| 5b | 2x | 36] at | 1» | ot] 6b | 14 ‘Transposed key -| 6 [as] a [Bs] Bo] BC] c [Ds] D [es] E| F[F | or Db |Start at number 7laj7jal1felelslalalals Signature... 2h | 25] 64] 0 | 6 | 56] 2k] 36] a8 | 45 | 15 | 6b A ‘Transposed key -| F [6] G ab] ab] A | Bs] Bs] B | C[Ds]D BH] Es] E 5] Eb | Stare atnumber-/4]5]6/6]6]6|7]7]7]/1/2]2/3/ 3/3 & Signature . . . _| 16] 65] 1# | 45] 4] 38 | 2 | 2b] BE] 0 | 6» | 24 / 3b] 35/48 Zi ‘Transposed key .|Eb| E | F | F#]Gb| G | Ab! Ab| A | Bs| B| © |c#/Ds| D. S| F [Start at mumber|3]3]4]4]5]5jelelel7]7]1jalale 5 Signature . - . -| 3] 48| th | ok] ob] 14 | ab] 4b | 32 | 26] 54] 0 [7k [ 55 | 28 x Bans | Transposed key -[Ab] A [Be/ B [cb] c [ct [Ds] D [eb] | F [Fa [as ]G Chor | Sart atnumber|4]}4)5]}5]6]6]o] 7/7] 1] 1] 2/2] 3] a et | Signature... .|45] 34] 2b] 64] 7b| 0 | 74] 55 | 28] 3b] 44} 4b | GH] 6 ‘Transposed key -|B | c]Ds] D[D [Es] E]E| F[cs]o [abla] a [Bs A [Start at number |7]1]2]2]2/3/3]3 }alo]5|6lel6}7 Signature... -|54| 0 | 55/24] 28] 35] 42/43] 15] 65] 14 | 4/32] 32 | 25 Viola | Transposed key -|A+| A |B>EB [c+| c [ct [ps] [e+] | F [re {es] c Ato [Start atmumber-/6]5}6]e6}7|7/7]/1/1]2l2]alslala Cler [Signature - . -}4b] 34] 2b] 64 |75] 0 | 78 | 65] 24 | 95 44| 1» [68] 65 | rf + Gene" | Transposed key -|as] a [Bs] B c+| c {ct [ps |p le+|E| F [rales |e fromb) Start at number. 7/7/41 /4}2/ 22/3/38 ]4la|o[5|o/6 pelle | Signature... . [45] 34] 2] 64] 2 © | 28] 8+] 2a] 95 | 44] 4b | 69] 65 | 18 SECTION 8 29 Seale Fxercises Percussion players see page INSTRUCTIONS: When playing the exercises on thirds, fourths, fifths, sixths, and octaves the director names a concert key and each player figures his transposition and starting: point,(see page 28) ‘Then in un- ison each plays his respective line with repeat, That finishes the exercise. Then the performance is re - peated with a different concert key, And dont forget to use different articulations. Nore: ‘When playing forms 1 to 24 inclusive (beginning on page 34) the director names a concert key, the players find their starting: points and then, in unison, each plays through to the end.of the form and then goes back to the beginning and plays down to his starting point, finishing either on Ais starting tone or playing the entire starting measure, When ending on the starting tone play it as a held tone holding it out for the full value of the measure, Example A - 2 ‘The above is an example of how both beginning and advanced players may play toxgether on the ful- lowing exercise. (Ose different articulations) ‘Thirds —p-#-04 uw) SECTION 8 Fourths SECTION 8 s Fifths . SEQTION§ SECTION 8 38 Octaves a SECTION 8 INSTRUCTIONS: See page 29. Scale Exercises Form 1 Form 2 His Sa: eee “D-e and end on your starting note F.G.and end on your starting note Form 8 Form 4 eeek Lee es D.C.and end on your starting nike SECTION 8 es Scale Exercises ant end om yor tating mnasars playing the entire mensure Form 7 Form 8 D.C.and end on your starting note D. Cand end on your starting note td SECTION 8 Less advanced payers may play the lage notes only but Br sure to ploy them efacente, Seale Exercises Form 9 Form 10 tate — eee =, Ree ennce 7 1 = - Barsens Piss Pies D-G.and end on your starting note D.C.and end on your starting note Form 1 Form 12 D.C.and and on your starting aote SECTION 8 . Less advanced players may play the age motes nly but be muro play them staccato, Seale Exercises Form 13 Form 14 | poe tera, a epfie eet SS Sa 1 Pe eee =. eee =a gett ete + 7 : Stas Se aS SSE Sooo See B.0.and end on your starting note D.0.and'end om your starting: note 7 ae ee ze 7 SS = DiC. and ond on your starting note = D.Cland end on your starting note 8 SECTION 8 Less advanced pagers may play the large oles " ‘nly but Be sure to play them staccato. Seale Exercises Form 47 Form 48 Ke D.Gand end on your startng measure playing the entire measure DiGi your starting measur, playing the entire measure Form 19 Form 20 7 D.Goand end on your starting measure laying teenie mensare D.C.and end on your starting meatun, plang the entire measure SECTION 8 30 Less advanced players may play the large notes ae Seale Exercises only but be sure fo play them staccato D.C. and end on your starting noto : D.G.and end on your starting: mle 2 SECTION 9 Fundamental Rhythms Peroussion players sec page 54 INSTRUCTIONS: Here ere ao eee yore oro R RE tung. ‘They may be used in diferent ways. First ‘Take any one measure and play it on each tone of any given soale. (See section 2). Second Take any sixteen consecutive measures and play one of them on each tone of any given scale. Use a unison scale for all players. The ingenious director will find many other ways of using these rhythms to his advantage. The notes in this section indicate Rhythm Only — Not Pitch. hada 5 SECTION 9 - Fundamental Rhythms cc 6 . i 74 7 78 : gio ph oo be ee 2 . 86 87 88. 89. 90. Ps 92. 93. 94 95 96. 42 SECTION 9 Fundamental Rhythms 157, 158 3 159 9 160 161 162, glow 168 2 sés__é 164 145, Ae 169 fl 170 174 f 172, Spanish Dance ‘Tempo di Potacca Polonaise pet kow sk Mignon Thomas ‘eux temps 173, 474 175 176 Bol 3° 477 Bolero 178 9 180 181 182 Hungarian Lustspiet Finlandia Keke Bela Shelee 183 184 185, 186 4187 From Bohemian Girl From La Source bate bette eoreeery am 189,190 a. tit 192, 7198 we 195 2% Quarter rest found in foreign editions. SECTION 10 48 Peroussion players see page 64 Rhythm INSTRUCTIONS: These rhythms are to be played exactly as written instead of on scales as in Section ® Dh Piccolo players trantpose the © part as they would a G Flite part. See page 28. F Horn players should read the Hb part and transpose the same as they do on regular Eb band parts “4 SECTION 10 Rhythm 5 6 Bel SECTION 10 45 Rhythm 9 SECTION 10 * Rhythm 13 SECTION 10 Rhythm a7 8 SECTION 10 Rhythm 21 SECTION 10 a Rhythm 25 i) SECTION 10 Rhythm 29 & ne SECTION 10 C Rhythm b SECTION 10 Rhythm A few Suggestions for the Percussion Players SECTION 1. Chords Section 1 contains a drum part. Xylophones and Bells play Violin or Oboe parts. SECTION 2. Major and Minor Seales 1. Play scales in Section 2, using the rhythm number 1 of Section 9. Play Jong roll for each note with definite attack and release. 2. Play scales in Section 2, using quarter notes instead of eighth notes. Snare drums play seven or nine stroke rolls. Play scales in Section 2, using the flam tap, the ruff, and the half drag. 3. Play scales as written. Snare drums play flams on first and third eighth notes, left to right, then right to left, then using flams on the second and fourth eighth notes, left to right, then right to left. 4, When the rest of the band or orchestra slurs two or more notes, have drums roll for the length of the slur, 5. Play scales in Section 2, using all chythms in Section 9. Add flams wherever desirable. 6. Play scales in Section 2, using rhythm number 94, page 41. Snare drums play paradiddle. Using the same rhythm, play flamadiddle. Apply the same to rhythms number 92, 93, 94,95, 96, 97, 98, 106, 307,111, 118 and 114. 7. Play the scales, using rhythm number 137, page 41. Snare drums playing double paradiddle and double flam paradiddle 8. Scales using rhythm number 143, snare drums play flam accent number 1, Scales using rhythm number 140 and 144, snare drums playing flam accent niumber 2. Scales using rhythm number 140, snare drums play full drag. 9. Scales using flamacue, rhythms number 98, 95, 96, 97, 98 and IL, page 41. 10, Scales using single drag, rhythms number 121, 122, 128 and 124, page 41. Ti, Scales using double drag, rhythm number 147, page 41. 32, Seales in eighth notes, drums play single ratamacue. Scales in eighth notes, drums play double ratamacue. Seales in eighth notes, drums play triple ratamacue. See the “Ludwig: Instructor in the Art of Snare Drumming” by Sanford A. Moeller, pages 13 to 3, for other beats to apply to te scales in Section 2 and rhythms in Section 9 of this book. Also Prescott Percussion Outline. SECTION 8. Chromatic Scales Snare drums play flam accents 1 and 2, and the full drag. Use the double drag when playing rhythm number 147, Use rolls when band slurs two or more notes. Bells and Xylophones play C part. SECTION 4.. Intervals ‘Use rolls, flams, ruffs, drags, the flamacue, and single ratamacue, according to tempo. SECTION 5. Arpeggios ‘Use the same rhythms as employed in Section 4. SECTION 6. Lip Drill for Bb Brasses ‘Use rolls with accompanying chords. Snare drum use rudiments to agree with articulations at bot- tom of page 24, SECTION 7. Exercises on the Slur__ Rolls to correspond to models 1 and 2 at top of page. Use flams, ruffs, drags, single strokes, para- diddle, flamadiddle, and flamacue for models 3 and 4, and flam accent 1 for model 5. SECTION 8. Scale Exercises Use all the rudiments that fit the twenty-four forms. Use rolls for all sturs. Bass drum always plays principal beats. SECTION 9. Fundamental Rhythms Play all of Section 9 single stroke using roll on all long notes beginning with the quarter notes. ‘Then play it applying rudiments that fit and supplying grace notes where necessary. SECTION 10. Application of Rhythms Roll all Jong notes beginning with quarter notes. Apply rudiments to fit character of figure. General Suggestions ‘Tympani play fundamental bass using tones one and five, tonic and dominant or do and sol. lied eso ate ete vette eek eT ees eevee vee 1 Tv Concert Keys: © _G D A EB F¥ Gb Db Ab BP Bb F CO @DAEBNAD AE BF OG ‘Tympani o@DAEB HG DAE BF C All members of the drum section should take turns playing snare drum, bass drum, cymbals, bells, xylophone, marimba, chimes, tympani and effects. 4n playing rhythm number 115, have one drummer play castanets and unother tumbourine to suggest the Spanish rhythm. a ‘Tho above are only a few of the many possibilities the instructor hax in applying the rudiments to scales and chords. ‘ = dg mine 3 ae iS ee? pica eres bedbe Soho ays oS vongsd givere* Ina aE! ee * whe oy SCHMITT, HALL & McCREARY ‘A Division of Belwin-Mills Publishing Corp. Melville, N.Y. 11747 filet ete the ph SCHBK 9603