PERCUSSION

TECHNIQUES
MANUAL
VOL. 1

@ 2000 JOHN BACON, Jk

PLEASE DONOT PHOTOCOPY BOOK WITHOUT THE CONSENT OF THE
PUBLISHER. TO DO SO IS A VTOLATION OF COPYRIGHT LAW.
 Snare drum basics/ development

FFPPL

Fulcrum

Fingers

Posture

Position

Lift

Beating Area

Key Points:
Fulcrum- thumb and ISt crease of index finger
Stroke type- full (down-up), down, up, grace, double, multiple bounce (buzz)
Also posture, sound, dynamics, tempo...

Exercises:
(use a metronome for all)

Stick control p.5 #1-12

with a 1/4 note pulse or 1/ 2 note pulse
each exercise individually 20x's
sequence 1&3, 2&4, 5-8, 9&11, 10&12, do each # 2x's, seq. lox's

Stick control p. 10-11

Down each column or across both pages and down

Syncopation
lesson nine 4 ways
single strokes
double s&okes
paradiddles
multiple bounce sfrokes

lesson six
multiple bounce strokes on the triplets

Excercises with accents (toward the end of the book)

play each line with one hand only
pay attention to stick height
lift with the forearm for the accents

keep unaccented notes low

Rubrics

Syncopation Lesson Nine (sixteenth notes interpreted two ways)

Double sfrokes

Doubles are pinched with a gap No doubles, buzz or singles

between the hands. instead. R L Both

One hand is louder than the other.

Multiple Bounce Strokes (buzz, orchestral)

Choppy. Pulse can be heard. Not One hand is louder than the other.
smooth like a continuous tone.

Not enough texture, bounce buzz ,

to the sound. More like doubles.

Flams

Faa-Lamb "Popped" or "Flat" flams

High hand hits before low hand.

Three Camps in Paradiddles

More accent is needed. Lift your Incorrect sticking on L R
paradiddle or double paradiddle.

Last measure:
Triplet rhythm
Ruff
Situgle Stroke C14-4/11 S4Föke)

Stick houhce all

DO b le Stroke I S+oke-)

a—50-oke3 ih
(e + boqnce—

Bq z Stroke ( m Q) +iple baqmce)

sfjcl< Luøces 3 or more t;mes

be fore
S iN51e Sfroke Rol I

Qlternc,-tinj siN51e strokes e

slow, increase feel.

I

practice keepinj even ,

hdJ iF steady

Dub It 1201) Poll/ open Roll)

a l+erna+jny Vøqb(e Strokes.

514k), 'ID crease speeo
l<eep even ,

at 510k' leeD$ use a.)ßisfs .

At Osler Steeps use nuue Lure.

Poll (Oechestm) poll mnl+lfle Eqnce

buzz
Sfjd< bounce
ho-hå DD
 Sticking Combinations

PPP PPP It is best to practice these

1
RLRLRLRL excercises one at a time
repeating each 10-20 times.

To begin with tap your

2 foot on the quarter note and
play all excercises in 4/4.
When you feel comfortable
you may speed up.
Eventually play the
3 excercises in cut time with a
foot tap on the half note.

Always stay relaxed and

allow the stick to rebound
4
off the pad or drum. At
faster speeds the double,
triple and Quad strokes
should be bounced using
5 one arm motion.

When you have mastered

the excercises in this manner
you may begin to playthem
6 in the alternate sequence
indicated by the arrows.

10

11

13
 Single Stroke Roll Development
Play each excercise 10-20 times.
Strike the center of the pad.
Bring the sticks up to an even height.

PPP PPP PPP PPB

RI-RL RLRLRLRL RLRLRLRLR LRLRLRLRLRLRLRL
L FRLR LRLRLRLR LRLRLRLRLRLRLRLRLRLRLRLR

RI-R
RI-RI-RI-RLRI-RLL
LRLRLRLRLRLRR

RLRLRLRL
LRLRLRLR L RLRLRLRL
LRLRLRLR

LR LR LR LR L R L R LR LR LR LRL R LR LR LR LR LRL R LR LR LR LR LRL

LRLRLRLRLRLR LRLRLRLRLRLR LRLRLRLRLRLR LRLRLRLRLRLRLRLR
 Metered Rolls

R R lulu R R lulu

R L R L R L R R L L R R L L R R L L
L R L R L R L L R R L L R R L L R R

BPPPPP PP
RLRLRLRLRLRL RRLLRRLLRRLLRRLLRRLLRRLL
LRLRLRLRLRLR LLRRLLRRLLRRLLRRLLRRLLRR

R L R L R L R L RRLLRRLLRRLLRRLL
L R L R L R L R LLRRLLRRLLRRLLRR
 Metered Multiple Bounce Rolls

R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R
 ' = 120
Multiple Bounce Roll Endings
or:
written:
nare Drum played:

RLRLRLRLÆR
(multiple bounces)

or:

written: played:

RLRLRLRL
(multiple bounces)

or:
written:
played:

R L R
(multiple bounces)

or:
written:
played:

(multiple bounces)

or:
written:
played:

R L R L
(multiple bounces)

written: played:

(multiple
bounces)
 2
Multiple Bounce Roll Endings
J = 80
or:
written: played:
6 6

RLRLRLRLRLRLR
(multiple bounces)

or:

written: played:
6 6

RLRLRLRLRLRL
(multiple bounces)

or:
written:
played: 6

(multiple bounces)

or:
written:
played:

R La R 10 R L R
(multiple bounces)

or:
written:
played:
6

(multiple bounces)

or:

written: played:
3

(multiple
bounces)
 Double Stroke Roll Development

R LIJR
aaa

3
R L R L

6
R L R L R L R L L R R L L R R L L R

8
RLRLRL RLRLRL RLRLRL RLRLRL
11 11 11 11 11 11
 7-
7
7

9-gTroke
7

pot t

Poll
Due f
Shyt
plhY q$ sj05
sj/J5 Doab It S/
Its / rqrad/ctd// e S
rqrad/4d/es
dQZ?
MJQZ? L//f/l aae

j-w--j I I
 goll

Sfhoke R o LL-

ßRLL.-rZ

@ stuke ( ßqwj
 Seveh- s+boke Roll

4 L c lee c t.-

4
 14

Seven— I I OR che s •fret/

 f — 5720k e 20//

—excerc —

Z (-rZL
 154
159
577
5 q - s Tao/<E i?öcc5

II
 / / — Stroke Rot/

S¯

ree

@ 5tRoke 201/

cncp-—
 16q
stroke roll excercises

•ii iii "i Di iB iii

RRLLRLLRRL
LLRRLRRLLR RRLLRLLRRL
LLRRLRRLLR RRLLRLLRRLRRLL
RLLRRLRRLLR
LLRRLRRLLRLLRR LRRLLRLLRRL

"ii 'iii
RLLRRLRRLLRLLRRLRRLL RRLLRLLRRLRRLLRLLRRL

iii iii i' iii iii iii iii i' iii iii i'

RRLLRRLLRRL RRLLRRLLRRL LLRRLLRRLLR LLRRLLRRLLR

11 >

RRLLRRLLRRL
13

i iii •ii i iii i" i i" iii i iii iii

LLRRLLRRLLR LLRRLLRRLLR RRLLRRLLRRL RRLLRRLLRRL

17

'iii iiiii "iii iii•i 'iii iiiii "iii iiiii

RLLRRLLRRLLRLLRRLLRRLL RLLRRLLRRLLRLLRRLLRRLL

Diø• invi Diiø

RLLRRLLRRLLRLLRRLLRRLL RLLRRLRRLLRLLRRLRRLL

RLLRRLLRRL RLLRRLLRRL RLLRRLRRLLRLLRRLRRLL

 Three Camps

— 92
5 11

are Drum
Oiii Oiii Diii iiiii
RRLLR LLRRL R L

5 5 5 5 11
3

R L L R R L R L R R L

5
5 5 10 5 > 10

R L L R R L LRRLL R L R L L R R L

7
5 > 10 5 > 5 5 > 10

L R L R

10 > 10 > 10 10 > 10 > 10

L R L R L L R L L R L

5 > 10 10 5 > 5 > 10

R L L R L R L L R R L

10 > 5 > 5 > 10

16 >

R L L R R L L R L L R R L

19 > 10 > 5 > 5 > 5 > 5

R L R L L R L L R R L L R
 17

13— SÉRoKe Roll

(also

(4150

(41so
 S-sfroke
5-sfroke POI/
Rol/

c c PR
rare car L c
e

Ill

Q (50D

17- s+ßoke /20//

1—14 Zz

u 22 4150)
2 2 4154)
 6
Flam
s+at±
up
# 11
up
Drop
le/+ Stick

$t/cks
Sick J".Jh,
den
J"Jh,
smdelt

pos} leflqp R5J,4//Lø

grate no+e
no+e ( hi6 h)

'far +
S-har+ Sfick
sfick up
5bck debJh
siick
haus a aer

11

face
bounce
 Flam R

SWISS any y +ve;p/ef

r¯T7
IQ(CC

4 eceAf # /
 al

$1awl Q cu e

6 ep L e+er
 (Z C 12 C

2-
 23

Para I

C 12- C

Para JlJJ/e
 2

— comb;n —

frjg,ü-j
s Teoke
 mar"

L_

41 c,Jq
e 1.3

eÄL
 FaiZüiuc.iieS
Play A-B-A-C-A-ü-A-E with repeats.
 Paradiddle Variations
30

RLRLRRLR LRLLRL L RLRLRRLRL

RLRRL RLRLRRL RLRLRLRRLRL

RLRLLRL R L

RLRLRRLRLRLL RLRLRLRR

LRLRL RRLRLR LRLLRLRRLRLRLRLL

RLRLRRLR RRLRL RLLRLRRLRLL

LRLRL LRLRLRRLRLR
Drumset Excercises
Single Stroke Roll Double Stroke Roll Single Paradiddle
RLRLRL2LRL2LRLRL RRLLRRLLRRLLRRLL
LRLRLRLRLRLRLRLR LLR2LLRRLLRRLLR2 RLRRLRLLRLRRLRLL

Two Feel Four Feel Samba Feel

b. drum hi hat

Add These Accents

Clave Accents

02000 John Bacon, Jr.

 ROCK BEATS

10

@ Jon 2016
 SHUFFLE BEATS

13

14

15

16

17

Disco
Drum S q,lq
Pock 31 b

rn rTJ
Rock
 Drumset Excercises No.2
32
Single Stroke Roll Double Stroke Roll
RLRLRLRLRLRL LRLRLRLRLRLR RRLLRRLLRRLL

RLLRLLRLLRLL RRLRRL LRRLRRLRRLRR

Double Paradiddle
R L R L L RRLR

Single Paradiddle Swing Ride

RLRRLRLLRLRR LRLLRL RLLRLRRLLRLR

Play all above with these feet patterns

Two Feel Four Feel Quarter Note Triplet Feel

B. Dr. H.H.

Accents (double with bass drum for variation)

02000 John Bacon, Jr.

Drumset Rudiments

Single Stroke Roll

Double Stroke Roll

R R LL RRLLRRLL R 2 LL

Single Paradiddle

RLRRLRLL RLRRLRLL
RLRRLR LL RL R R L R LL

iii iii iii iii_

Double Paradiddle

02000 John Bacon, Jr.

Cymbal Variations
Once you have mastered the previous examples, add a light four on the bass drum,
snare rim click and tom tom variations to each of them.
Here are a few examples:

Now here is an etude that combines some of these ideas.

12

14

16

18

20
 Bossa Nova 37

Bossa Nova Clave Pattern

Reversed

ride cym.

7
 38

Tamborim Pattern

11

Partido Alto Pattern

13
Cha

ero

iii
 Afro-Cuban Patterns
The Cascara pattern is played on the shell of the drum, cymbal belt or cowbell.
The Clave pattern is usually played on a mounted block and may be played with the left foot.
The Timbale Bell pattern can also be played on the cymbal alternating between the bell

for open sounds and the ride for muted sounds.

The feet patterns may be added to any and all of the hand patterns.
Creative orchestration of the clave between snare and bass drum may be applied to create new variations.

Generally the Cascara is played on verses and piano solos.

The Timbale Bell pattern is used for horn solos.
The Bongo Bell pattern is used for song choruses (choro). Listen to recordings of Latin Jazz
and Dance music for more references on how to apply these rhythms within the structure of the song.

Cascara (right hand)

Clave (left hand)

Timbale Bell (right hand)

open muted
o o o o o
o o

Clave (left hand)

o o o o o o O O o + + 00

Bongo Bell
O o
o

Foot Patterns

b. dr.
h.h. 0 2000 J. Bacon Jr.
SAIL
Chart Reading Basics
l) Time Signature/Tempo/ Groove
a) Counting and reading rhythms in common time signatures.
b) Playing of common
grooves.
c) Does the time signature change?
d) Does the groove change?

2) Rhythm Patterns
a) Drum patterns (Latin, swing, rock etc.)
b) Section figures
c) Ensemble figures
d) Bass figures
e) Phrasing

3) Repeat Signs
a) Repeat from and to
b) 1st and 2nd endings
c) D.S. (Dal Segno) back to the sign
d) D.C. (Da Capo) back to the top
e) al Coda- to the coda

4) Breaks
a) Solos
b) Fills

d) Tacet

5) Quick Rehearsal Hints

a) Sing the rhythms while playing the basic groove.
b) Follow the road map with your eye while counting through the repeats.
c) How literally should you interpret the chart?
 N 16ÆT 41 espie
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 Blues

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GROVER/TROPHY MUSIC CO.

AD LIB

Des, caJq

GROVER/TROPHY MUSC CO.

OTÄ«e 44z/,
 A femN
Qeeo

9
10
 63
Latin Percussion Rhythms

Clave

Shave and a hair cut two bits

s h a

out in out in out in out in out in out in out in out in

C o g a

heel tone tone heel slap heel tip tone tone

heel tip Slap tip tip

C be

edge top edge top top edge top edge top top
32 1"
2911

etc i

12 v

GROVER/TROPHY MI-SIC CO.

Ohio ld
— S/mr- 70, /

GROVER[TROPHY MUSIC CO.

Cleveland. ONO
F-eb

GROVER/TROPHY MUSIC CO.

Cleveland. Ohio
 70

The Triangle

1 2

9
9 3

1) The triangle shouldbe suspended by a small cord attached to a

clamp. The clamp may attach to music stands. To hold the clamp
in your hand, rest it on your middle finger and thumb. Squeeze your

fingers to mute the ring.

2) Thin metal rods of various sizes are used to strike the triangle. The
size of the beater is determined by the application of dynamics and
tone.

3) The triangle will produce an array of sounds depending on where it

is struck.

4) Rolls (tremolos) are produced by placing the beater inside of the

triangle. The beater strikes alternate sides in a rapid manner.
4 5) Intricate patterns may be
played with two beaters, the triangle

4 suspended by two clamps.

 71
Triangle Excercises

1 2 1 2 etc 1

1 2 1 1 2 1 21 1 2 1 21 1 2 1 21

I 2 1 2 1 2 1 21 1 2 1 212 1 21

1 2 1 2121 2 12121 12121212 12121

1 2 1 2 etc. 1

iii•i
1313131313131 1313131 1313131

Di•i Dib'
1 13131 13131 13131 1313 1313131 1313131

13131 13131 131313131313

 71 a

1 2121 2123 3 3 3 1 2121 2

 72

The Tambourine

1) The tambourine should have a head on one side. Generally a calf

skin head produce a better sound and create a
will lighter
instrument that will be easier to control.

2) The tambourine may be held with one hand and struck with the
other. You may also place the instrument on a piece of cloth or
foam and play with both hands or fingers.

3) Quick, loud passages may be played by alternating the head

between the knee and fist.

4) Rolls are produced by rotating the wrist of the holding hand to

produce a shaking motion. Softer tighter rolls can be produced by a
thumb friction roll.
 73

Tambourine Excercises

with fist
Shaken

Thumb roll

c
3 3

K= knee
K fist
K F K F K F K F K
F K F K F K F K F F

D Play with fingers on head, instrument on foam or cloth

R LRLRL R L R R LRLRL R L R
 74

The Bass Drum and Cymbals

1) The Bass Drum and Cymbals often act as a team in concert band
music and therefore occupy the same staff. Their notes are often
written stems down. If the cymbal is meant to be played alone the
note head will be an x. The two instruments may share a stand with
the bass drum to the left and cymbals to the right (players view).

2) Unless otherwise noted the cymbal part should be played by a pair

of crash cymbals 18-20 inches in diameter. Smaller cymbals are
used for a smaller sound or a smaller player (elementary band).

3) The cymbals should have a leather strap through the hole that is
o firmly grasped between the thumb and forefinger with the tip of the
thumb against the bell of the cymbal,

4) To crash the cymbals use the plate in your strong hand as the
striker. Raise the cymbal and drop/throw it at the other.
Immediately after the impact the striker should lift away (a full
stroke). The other cymbal will remain motionless untit after it is
D struck at which point it may respond to the impact and be held aloft.

5) To mute the cymbals pull them quickly into your body. Often a
horizontal rest position is most comfortable.

6) A suspended cymbal is a cymbal 14-22 inches in diameter that is

placed on a stand. A suspended cymbal is called for when the
music specifically states sUs. cym. (or another abbreviation) or
when rolls, ride patterns (jazz, rock or iatin beats) or other special
effects are required.

1
 74

7) The cymbal stand adjustable and collapsible. You should

is

familarize yourself with its' function. It should have a nylon or

rubber sleeve, felt washers and a wing nut at the top threaded post
to protect the cymbal.

8) The bass drum is placed on a stand most often in a vertical position

although occasionally it may be
placed horizontally to
accommodate multiple percussion setups or smaller individuals.

9) The bass drum is struck with a large soft beater. Never with snare
drum sticks unless the music specifies such and great care is taken.

10) The optimal beating area may be determined by striking the

head in the center and then moving in increments toward the edge,
striking at each circumference. The varying degrees of attack and
resonance will suit different musical passages.

1 1) The bass drum may be muted by placing one hand on either

head, placing a knee on the striking head and a hand on the
opposite head, or placing a cloth mute on the striking head. It is
less desirable to put linings inside of the drum to decrease the
resonance since this limits the options.

12) Rolls may be played using either a double headed beater or

two mallets.
 74b

Percussion Section Excercises

Triangle

ass Drum & Cymbals

B Dr & cym.

Trgl

amb

13

•am b
 74 C

16

Trgl

Tamb

16

Dr. & cym

19

Trgt

Tamb.

19

S.Dr.

19

Dr. & Cym

 OVERALL EVALUATION SCALE 7
AC
.. 97-100 77-79 1

OVERALL EV
Level Evaluation
93 _ 96 c 76

90_9 c- 70-72

87- 89 67-69
SNARE DRUM SOLO
111
B 83- 86 D 63-66

80- 82 60-62 1

E. 59 and below Festival

Name of Student Grade in School

Name of School Name of School Dist. NYSSMA Zone

Address of School NY
Street City Zip

Title of Solo Composer

Arranger Manual Page No. Date

ADJUDICATOR'S EVALUATION
SOLO EVALUATION ADJUDICATOR'S COMMEN'I'S
TONE ... ... . 0-10
PLAYING AREA
TENSION
SNARE TENSION .

CHOICE OF STICKS
CHOICE OF INSTRUMENT ....

TECHNIQUE ............ 0-15

HAND POSITION .

STICK CONTROL ..

EVENNESS OF ROLLS
ARTICULATION
EXTRANEOUS SOUNDS
RHYTHM .. .. 0-15
ACCURACY
PULSE

INTERPRETATION ...... 0-20

TEMPO
ACCENTS .

DYNAMICS .

STICKING

MUSICIANSHIP ... ....... 0-20

STYLE .

PHRASING & EXPRESSION .

GENERAL APPEARANCE .

FINESSE OF PERFORMANCE
SOLO APPROPRIATE TO
PLAYERS RESOURCES
BASIC PROFICIENCY EVALUATION
RUDIMENTS ... 0-10
LONG ROLL
RUD.
RUD.
RUD.
TEMPO (MM) ..

SIGHT READING ................ ... 0-10

TEMPO
RHYTHMIC ACCURACY
DYNAMICS .

TOTAL NUMBER OF POINTS

Adjudicator's Signature

County Representative Signature

OV EVALUATION SCALE AC
97-100 77-79 OVERALL EVALUATION
Level Evaluation
c 73-76

90_92 c- . 70-72

87- 89 67-69 MALLET PERCUSSION SOLO

111
B . 83- 86 D . 63-66
11

80 -82 60-62 INSTRUMENT 1

E 59 and below Festival

Name of Student Grade in School

Name of School Name of School Dist. NY SSMA Zone

Address of School NY
Street City

Title of Solo Composer

Manual Page No. Date

Arranger

ADJUDICATOR'S EVALUATION ADJUDICATOR'S COMMENTS

TONE .0-15
ACCURACY OF PITCHES
PLAYING AREA
STROKE
CHOICE OF MALLETS

TECHNIQUE . 0-15
HAND POSITION
MALLET CONTROL .

EVENNESS OF ROLLS
ARTICULATION
EXTRANEOUS SOUNDS .

DAMPmG
RHYTHM .. 0-15
ACCURACY .

PULSE

INTERPRETATION . ........ 0-20

TEMPO .

ACCENTS .

DYNAMICS ..

STICKING .

MUSICIANSMP . 0-15
STYLE.
PHRASING & EXPRESSION
GENERAL APPEARANCE
FINESSE OF PERFORMANCE .

SOLO APPROPRIATE TO
PLAYERS RESOURCES

BASIC PROFICIENCY EVALUATION

SCALES .0-10

TEMPO (MM).
SIGHT READING .. ..................„...... 0-10
TEMPO
RHYTHMIC ACCURACY
DYNAMICS .

ACCURACY OF PITCFES
TOTAL NUMBER OF POINTS

Adjudicator's Signature

County Representative Signature .

 Midterm Examination
SUNY Fredonia MUED 221
John Bacon, Instructor
Name
Date

Semester

Snare Drum Mallets

Tone (1-10)
Technique (l -10)
Playing Area
Hand Position
Stroke
Stick Control
Accuracy of Pitches
Eveness of Rolls
Articulation Technique (1-10)
Hand Position
Rhythm (1-10)
Stick Control
Accuracy
Eveness of Rolls
Pulse
Articulation
Interpretation (1-10) Dampening
Terppo
Rhythm and Interpretation (l -10)
Accents
Accuracy
Dynamics
Pulse
Sticking
Tempo
Accents
Dynamics
Sticking
Improvisation

55 A 52 46 C+ 40 D+
Total (60)
54 A 50 B 44 c 38 D
48 B 42 c 36 D-

Grade

comments:
 For Snare Drum
Score The Stars and Stripes Forever John Philip Sousa
h = 120
Paul Yoder

?C >˙ >œ >œ >œ >œ >œ > .. >œ ‰ œ œ œ

Dylan W. Schiffhauer
∑ Ó Œ ˙
Timpani
æ æ J
1
ƒ
2 3 4
ƒ 5

? >œ œ œ œ œj œ œj œ >œ œ œ œ
Timp. ‰J Œ Œ Œ œ œ œ ‰J ‘ Œ œ Œ œ
6 7 8 9 10 11

?Œ œ ˙ >
Œ œ Œ œ Œ œ Œ œ œj œ ˙ œ ‘ Œ œ Œ œ
æ æ15
Timp.

subito p f p 17
12 13 14 16

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˙ œ œ œ Œœ œ
Œ . Œ Ó . Œ Œ œœœ œ
1. 2.
j j j
‘ . .
æ19 æ
Timp.
18
f 20 21
ƒ 22 23

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æ 26 æ æ 27 æ
Timp.
24 25 28 29

? Œ œj œ Œ œj œ Œ œ œ œ œ Œ œj œ Œ œj œ Œ œ œ œ œ œ œ œ ‘
æ 34 æ
Timp.
30 31 32 33 35

?œ œ œ œ œ Œ Ó .. œ Œ Ó Œ œœœ œ Œ œœœ œ
1. 2. Trio

Timp. ‘
36 37 38
p 39 40 41

Timp.
?œ œ œ œ Œ œœœ œ ‘ Œ œœœ œ œ œ œ œ Œ œœœ œ
42 43 44 45 46 47

? Œ œœœ œ œ œ œ œ Œ œœœ œ Œ œœœœœœ

Timp. ‘ ‘
48 49 50 51 52 53

?œ Œ ˙ Œ œœœ œ ‘ Œ œœœ œ œ œ œ œ Œ œœœ œ

æ
Timp.
54 p 55 56 57 58 59

Timp.
? ‘ Œ œœœ œ œ œ œ œ Œ œ Œ œ ‘ ‘ ‘
60 61 62 63 64 65 66

©
 2 The Stars and Stripes Forever
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ƒ
73

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æ æ æ
Timp.
74 75 76 77 78 79 80 81

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∑ œ
j
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j
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Timp.
æ æ æ æ J
82 83 84 85 86 87 88

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j >œ œj >œ
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Timp.
J æ æ æ æ æ æ
89 90 91 92 93 94
p f 95
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‘ ‘ ‘
æ 99 æ æ 100 æ
Timp.
96 97 98 101 102

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æ 103 æ æ 107 æ
Timp.
104 105 106 108 109

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æ æ 111 æ æ 115 æ
Timp.
110 112 113 114 116

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Timp.
117 118 119 120 121

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1. 2.

æ123 æ 124 æ
Timp.
125 126 127
 For Timpani
Score The Stars and Stripes Forever John Philip Sousa
h = 120
Paul Yoder

>˙ .. >œ Œ Ó >œ

Dylan W. Schiffhauer
? bb C
Eb-Bb

b ∑ Ó w œ Œ ˙.æ Œ Ó
æ æ 4 >
Timpani

ƒ ƒ 5
2
1 2 3 6

? bb œ Œ œ Œ >œ >œ œ Œ œ Œ
Timp. b wæ Œ Ó Œ Ó
7 8 9 10 11 subito p 13

? b œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ ˙ œ
bb œ Œ Ó œ Œ Ó
f> 15 > 16
Timp.
14
p 17 18
f 19
? b .. œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ
b b œ Œ ˙æ .. œ Œ Ó
1. 2.

>
Timp.
20 21
ƒ 22 23 24

? bb œ Œ œ Œ w w œ œœœ œ œ œœœ œ œ Œ œ Œ
Timp. b æ 26 æ 27
25 28 29 30

? b w w
Timp. bb œ Œ œ Œ œ Œ œ Œ æ æ œ Œ œ Œ Œ œ œ œ

32 8
31 32 33 34 35 36
Trio
? b œ Œ Ó .. œ Œ Ó j
bbbb ..
1. 2.

bb
Ab-Eb
œ. œ œ œ
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Timp.
37 38 39 71

? bb b æ >œ . œ œ œ w w ˙ œ Œ
b w wæ ˙æ œ Œ
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J æ æ æ 86
80 81 82 83 84 85

? bb j >œ >œ j >œ >œ w w

b b œ. œ œ œ Ó œ. œ œ œ Ó
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88 90 91 92

? bb w w
Timp. bb
æ æ œ Œ œ Œ œ Œ œ Œ œ œœœ œ œ œ œ œ
93 94 p f 95 96 97 98

? bb b œ Œ œ œœœ œ œ œ œ œ œ Œ œ Œ
Timp. b œ Œ œ Œ œ Œ
99 100 101 102 103

©
 2 The Stars and Stripes Forever
? bb b œ Œ œ Œ œ œœœ œ œ œ œ œ
Timp. b œ Œ œ Œ œ Œ œ Œ
104 105 106 107 108

? bb œ œœœ œ œ Œ ˙
Timp. bb
æ œ Œ œ Œ œ Œ œ Œ œ œœœ œ
2
109 110 111 112 113

? bb b œ œ œ œ Œ œ œ œ œ œ œ œ œ wæ
Timp. b wæ
114 115 117 118 119 120

? bb b œ œ œ œ œ œ æ >œ >œ ˙ œ œ œœœ œ ..

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1.

Timp. b ˙. ˙æ.
121 122 123 124 125 126

? bb Œ Œ
2.

bb œ œ
>
Timp.
127
 For Bells
Full Score
The Stars and Stripes Forever John Philip Sousa
h = 120 Arr. Paul Yoder

b ˙ œ . œJ œ >˙ > >

Transcribed By Dylan W. Schiffhauer

Glockenspiel &b b C œ #œ œ Aœ nœ œ Œ ˙ .. ˙ . œ
ƒ ƒ
6
b >. ˙ œ œ
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b œ Œ œ Œ j j
12

Glk. & b b n˙ œ Œ œ Œ Œ œ œ‰ Œ Ó œ‰ Œ Ó
p
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bb œ Œ œ Œ œ Œ Œ b œ œj ‰ Œ
17 1. 2.

Glk. & b n˙ œ Œ ˙
p f
b .. ˙ œ . œ ˙ ˙ j œ >˙ œ ˙ ˙
22

Glk. &b b J
˙ ˙ ˙ œ. œ
ƒ
b œ œ œ Œ œ. j œ ˙ j
œ ˙ œ. ˙
28

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˙ ˙ ˙ œ. œ

bb ˙ j
˙ bbbb
34

. .
1. 2.

Glk. & b ˙ ˙ œ œ œ œ œ Œ œ œ. œ Œ Ó

b 2 2
& b bb Ó Aœ œ ˙ Ó ˙
39 Trio

Glk. Ó œ œ Ó
p
b b 2 2
Ó œ œ ˙ Ó œ œ Œ Ó
47

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2 2
bbbb œ œ ˙ œ œ ˙
55

Glk. & Ó Ó Ó Ó

2 4
bbbb Œ œ œ œ œ Œ Ó
63

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>
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Glk.

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 2 The Stars and Stripes Forever
b >
& b bb Ó
73

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>
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79
b b b n >œ . œ œ œ n >œ Œ Ó 2 # >œ . œ œ œ # >œ
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b 2 > >> > > > >. > > > > >
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85

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J J
bbb A˙ ˙ Aœ œ ˙ nœ œ w
92

Glk. & b ˙ b˙ ˙ nœ bœ œ œ
pƒ
b b ˙ œ . œ Aw
& b b ˙ nœ œ ˙ nœ œ
98

Glk. J ˙ . œ ˙ nœ œ

b œ œ œ ˙. ˙. œ ˙
& b bb ˙ nœ œ w ˙
104

˙ ˙
Glk.
˙

bbb ˙ œ œ ˙ nœ œ w ˙ n œ œ ˙ n œ œ œ œ œ . œj
111

Glk. & b

b b w œ
b˙ œ œ œ
117

Glk. &b b w ˙. œ ˙ œ œ œ œ
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b b >œ ‰ œ œ >œ
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1. 2.

Glk. b
& b J œ w œ Œ Ó Œ
 For Bass Drum and Cymbal
Score The Stars and Stripes Forever John Philip Sousa
h = 120
Paul Yoder

?C
Dylan W. Schiffhauer
∑ Ó ˙ ˙ ˙ œ Œ Ó .. œ Œ œ Œ
> > > ƒ>
Timpani
1 ƒ 2 3 4 5

?
œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ ‘ œ Œ œ Œ
> 6 > 9
Timp.
7 8 10 11

?
œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ ‘ œ Œ œ Œ
f> 15
Timp.
12 subito p 13 14 16 p 17

? ‘ .. œ Œ Ó .. œ Œ œ Œ œ Œ œ Œ
Timp. œ Œ œ Œ œ Œ Ó
18 f 19 20 21 ƒ 22 23

?
Timp. œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ
24 25 26 27 28

?
Timp. œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ
29 30 31 32 33

Trio

? .. œ Œ Ó
œ Œ œ Œ œ Œ œ Œ œ Œ Ó œ Œ Ó
No Cymbal
Timp. ‘
34 35 36 37 38 p 39

?
Timp. ‘ œ Œ œ Œ œ Œ Ó œ Œ Ó ‘ œ Œ œ Œ
40 41 42 43 44 45

©
 2 The Stars and Stripes Forever

?
Timp. œ Œ Ó œ Œ Ó ‘ œ Œ œ Œ œ Œ Ó œ Œ Ó
46 47 48 49 50 51

?
Timp. ‘ œ Œ ˙ ˙ ˙ œ Œ Ó ‘ œ Œ œ Œ
52 53 54 p 55 56 57

?
Timp. œ Œ Ó œ Œ Ó ‘ œ Œ œ Œ œ Œ Ó œ Œ œ Œ
58 59 60 61 62 63

?
Timp. ‘ ‘ ‘ œ Œ œ Œ ‘ œ Œ œ Œ œ Œ Ó
64 65 66 67 68 69 70

2 2
? ..
B.D. + Cym.
Timp. Ó œ œ œ Œ Ó Ó œ œ œ Œ Ó
71 ƒ73 74 75 77 78

?
Cym.

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B.D. + Cym. Cym. Both

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> > > > > >
Timp.
79 80 81 82 83 84

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Cym. Both Cym.

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> > > > >88 > > >
Timp.
85 86 87 89

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> >90 >
Timp.

Ï 91 92 93 94 p f 95 96

?
Timp. ‘ ‘ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ
97 98 99 100 101 102
 The Stars and Stripes Forever 3

?
Timp. œ Œ œ Œ ‘ ‘ ‘ œ Œ œ Œ ‘ œ Œ œ Œ
103 104 105 106 107 108 109

?
Cym.

œ Œ · œ Œ œ Œ ‘ ‘ ‘ œ Œ œ Œ
>
Timp.
110 111 112 113 114 115

?
Timp. ‘ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ ‘ œ Œ œ Œ
116 117 118 119 120 121

? .. œ Œ œ Œ
Timp. œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ Ó
122 123 124 125 126 127
 Percussion Proficiency Examination
SUNY Fredonia MUED 221
John Bacon, Instructor
Name
Date

Semester

Mallets
Snare Drum
Tone (1-10)
Double Stroke Long Roll (3)
Playing Area
Technique (1-10) Stroke
Hand Position Accuracy of Pitches
Stick Control
Technique (I-1 0)
Eveness of Rolls
Hand Position
Articulation
Stick Control
Rhythm (1-10) Eveness of Rolls
Accuracy Articulation
Pulse
Dampemng
Interpretation (1-10) Rhythm and Interpretation (1-10)
Tempo Accuracy
Accents Pulse
Dynamics Tempo
Sticking Accents
Timpani Dynamics
Single Sfroke Long Roll (3) Sticking

Improvisation
Tone (1-10)
Playing Area
Stroke Bass Drum (1)
Technique (1-10) Cymbals (1)

Hand Position Triangle (1)

Stick Control
Tambourine (l)
Eveness of Rolls
Articulation

Dampening Total (100)

Rhythm and Interpretation (1-10) Pass/Fail
Accuracy comments:
Pulse
Tempo
Accents
Dynamics
Sticking
Percussion Literature
I would recommend that all of these books be included in a basic percussion library for pre college
students. Some books will be appropriate for beginners while others will challenge advanced students. There
are many other fine materials available. These are some of the most widely used and readily available books I
have personally used all of these and can recommend them first hand. ( * denotes my favorites and must haves)
Snare Drum
*Modem School for Snare Drum, Morris Goldenberg, (Hal Leonard)
comprehensive orchestral snare book with excerpts, other perc instruments also included
Haskell Harr Drum Method Book I and II, Haskell Harr
beginner through intermediate method
*The All American Drummer, Charley Wilcoxon, (Ludwig Music)
150 rudimental solos easy to very difficult
Breeze Easy
beginner method book
*Stick Control, George Lawrence Stone
technique book for all levels
Accents and Rebounds, George Lawrence Stone
intermediate technique book
*Modem Rudimental Swing Solos, Charley Wilcoxon, (Ludwig Music)
intermediate to advanced snare solos

*Portraits inRhythm, Anthony Cirone, ( Belwin Mills)

advanced snare solos with an orchestral slant
Keyboard Percussion
*Modern School for Xylophone, Marimba and Vibraphone, Morris Goldenberg, (Hal Leonard)
comprehensive two mallet orchestral book with excerpts and technique exercises
Four Mallet Primer, Neil Grover, (Hal Leonard)
classical tunes arranged for beginning to intermediate four mallet students
Mallet Technique, Vic Firth, (Carl Fischer)
two mallet technique exercises
Bach for Marimba, James Moore, (Kendor)
arrangements of classic pieces for beginner to advanced mallet
Vibraphone Technique, David Friedman, (Berklee Press)
advanced vibraphone solos utilizing pedaling and dampening
Solo Jazz Vibraphone Etudes, Arthur Lipner, (Ludwig Music)
solos for intermediate to advanced vibe students

Timpani
*Modern Method for Timpani, Saul Goodman, (Belwin Mills)
comprehensive timpani method with entire timpani parts from classic orchestral works
Drum Set

*Syncopation for the Modern Drummer, Ted Reed (Alfred)

simple layout allows variations of exercises including snare and bass drum alone and complex jazz
*Realistic Rock, Cannine Appice, (Warner Brothers)
good basic through intermediate rock patterns
*Creative Coordination for the Performing Drummer, Keith Copeland, (Carl Fischer)

drum set instruction book covering rock, jazz and latin patterns
 Jazz Percussion Bibliograpby

Bailey. Derek. Imorovisation: Its Nature and Practice in Music. New York: Da Capo

ID Chapin, Jim. Advanced Techniques for the Modern Drummer-

1948
New York: Jim Chapin)

fnr Drummer.
New York: Carl Fischer, 1986.
Cottler, I've Got You Under My Skins. Van Nuys: Alfred 1986.
Irv.
De Fonseca, Duduka, and Bob Weiner. Brazilian Rhythms for the Drumset Miami:
CPP Media Group, 1991
DeJohnette, Jack, and Charlie Perry. The Art of Modern Jazz Drumming. Long Island:
Drum Center Publications, 1981
DuBoff, Rob. 200 of the Best Songs of the Swing Era. Milwaukee: Hal
Leonard Corporation, 1996.
Friedman, David. Vibraphone Technique: Dampening and Pedaling. Boston:
Berklee Press Publications, 1973.
Hart, Mickey. Planet Drum. San Francisco: Harper, 1991
Hart, Mickey. Drumming at the Edge of Magic. San Francisco: Harper, 1990.
Houghton, Steve. The Ultimate Drumset Reading Anthology. California: Alfred, 1998.
Houghton, Steve. Studio and Big Band Drumming. Oskaloosa: C.L.
Barnhouse Company, 1985.
Koran, Burt.Drummin' Men, The Heartbeat of Jazz, The Swing Years. New York:
Schirmer Books, 1990.
Lipner, Arthur. The Vibes Real Book. Stamford: Malletworks Music, 1996.
Mathieu, W.A. The Listening Book. Boston: Shambala, 1991.
Molenhofl Bill. New Works for New Times. Delavan: Kendor Music Inc., 1981.
Moreira, Airto. The Spirit of Percussion. Wayne: 21st Century Music Publications,
1985.
Ramsay, John. The Drummers Complete Vocabulary as taught by Alan
Dawson. Miami: Warner Brothers, 1997.
Riley, John. The Art of Bop Drumming. Florida: Warner Brothers Publications, 1996.
Real Book, The. United States: n.p., n.d.
Reed, Ted. Progressive Steps to Syncopation for the Modern Drummer.
Van Nuys: Alfred Music Publishing, 1958.
Samuels, Dave. A Musical Approach to Four Mallet Technique for Vibraphone. New
York: Excelsior Music Publishing, 1991
Stone, George Lawrence. Stick Control. Randolph: George B. Stone and
son, Inc., 1935.
Stone, George Lawrence. Accents and Rebounds. Randolph: George B. Stone and
son, Inc., 1961.
Uribe, Ed. The Essence of Afro-Cuban Percussion and Drumset. Miami: Warner
Brothers Publications, 1996.
Wilcoxin, Charles. Modern Rudimental Swing Solos. Cleveland: Ludwig
Music Publishing Co., 1941.