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| − | {{otheruses}} | + | {{otheruses4|the percussion unit of a marching band|the 2002 film|Drumline (film)}} |
| − | {{Redirect|Flam||Flam (disambiguation)}}
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| − | A '''rudiment''' is basic patterns used in '''rudimental drumming'''. These patterns form the basic building blocks or "vocabulary" of drumming, and can be combined in a great variety of ways to create drumming music.
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| − | There have been many attempts to formalize a standard list of [[snare drum]] rudiments. The [[National Association of Rudimental Drummers]] (NARD), an organization established to promote rudimental drumming, put forward a list of 13 "essential" rudiments, and later a second set of thirteen to form the original 26. Finally, the [[Percussive Arts Society]] (PAS) reorganized the first 26 and added another 14 to form the current 40 International Drum Rudiments.
| + | A '''drumline''' or '''drum line''' is a section of [[percussion instrument]]s usually played as part of a musical marching ensemble.<ref>{{cite news |title=Drum Bum Glossary|url = http://store.drumbum.com/drums/drums-glossary.htm |publisher = Drum Bum |accessdate = 2007-11-30 }}</ref> Drumlines are usually incorporated into high school or college [[marching band]]s, [[drum and bugle corps]] or [[drum and lyre corps]], [[indoor percussion ensemble]]s, and [[pipe band]]s, but also can exist independent of these ensembles.<ref name="Marching Dictionary">{{cite news |title=Marching Dictionary|url = http://www.onlinedrummajor.com/gloss.html#Anchor%20b |publisher = Drum Major Resource Center |accessdate = 2007-12-05 }}</ref> The term '''battery''' is used to refer to a specific part of the '''drumline'''. The '''battery''' is the drum section that marches on the field as a group. The battery usually consists of snare drums, bass drums, tenor drums, and cymbals.<ref name="Marching Dictionary" /> Stationary percussion within a marching ensemble is called the ''[[front ensemble]]'' or ''pit''.<ref name="Marching Dictionary" /> This also describes the area where those percussion instruments are set on the field. |
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| − | The origin of snare rudiments can be traced back to [[Swiss mercenaries]] armed with long poll arms. The use of long [[pike (weapon)|pike]] in close "hedgehog" or [[Phalanx formation]] required a great deal of coordination, and [[Tabor (instrument)|tabor's]] ability to cut through battlefield noise was used to set the tempo and communicate commands to pikers. Short sustain sound produced by tabor drum allowed to produce easily distinguished patterns which were used to convey different formation commands. These drumming patterns-commands became the basis of the snare drum rudiments.
| + | == Battery == |
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| − | The first written rudiment goes back to the year 1610 in Basel, Swizerland<ref>http://www.pfyffersyte.ch/files/repertoire/hit2005_PundT.php</ref>. The cradle of rudimental drumming is said to be France, where in the 17th/18th century professional drummers became part of the King's honour guard. The craft was perfected during the reign of Napoleon I. The march [[Le Rigodon]] and his different interpretations in the 18th century is one of the cornerstones of modern rudimental drumming (among others the "two level"-playing). <ref>http://www.tamboursde89.com/revue/88.pdf</ref> <ref>http://www.pfyffersyte.ch/files/repertoire/hit2005_PundT.php</ref>
| + | [[Image:Drum Line Dorito.jpg|thumb|Right|The [[Eagle High School]] drumline.]] |
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| − | The "buzzer-drums", later called "tambours" (French) came originally from Turkey to Europe during the crusades. Later other drums came with the Turkish wars in the 17th century. (encyclopedia Brockhaus)
| + | Drumlines typically consist of marching [[snare drum]]s, [[tenor drum]]s, (also known as Quads, Quints, or Quint Toms) [[Bass drum#Marching bass drums|bass drums]], and – less universally – [[cymbal]]s.<ref name="Marching Dictionary" /> In the past, marching [[timpani]] were common before the adoption of the front ensemble, as were marching keyboard percussion instruments such as [[glockenspiel]]s and [[xylophone]]s. Marching [[steelpan]]s are rarely part of drumlines due to issues with volume and durability, and are typically used in large ensembles with only steelpans. In modern marching band and drum corps snares, tenors, bass drums, and sometimes cymbals march on the field and are generally referred to as the battery, while the pit, or front ensemble, is stationary in the front of the field. |
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| − | The turkish origin of Tabor is highly questionnable for following reasons: the Tabor or "tambour" word comes from Latin "drum", the tabor drum was use by Swiss and German mecenaries several centuries earlier, and the crusades were over before Turkish conquest started. There are a number of examples of medieval taborers in buildings of the era, for example [[Lincoln Cathedral|Lincoln]] and [[Gloucester Cathedral|Gloucester]] cathedrals, and [[Tewkesbury Abbey]], which predate Turkish wars by at least several hundred years. The use of [[Pipe and Tabor]] was wildly spread in Ireland, Scottland, England, France and on Iberian Peninsula, areas not affected by Turkish wars.
| + | === Snare Drum=== |
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| − | Today there are 3 main Rudimental Drumming cultures: Swiss Basler Trommeln (probably the highest level of all), Scottish Pipe Drumming, and American Drumming. [[Rudimental Drumming - Joachim Fuchs-Charrier]]
| + | [[Image:17ton.jpg|thumb|left|A drumline with sling-harness snares.]] |
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| | + | Marching [[snare drum]]s have high tension heads typically made of [[Kevlar]] or [[PET film (biaxially oriented)|PET film]]. In the past, snares were typically carried with slings, and due to the discomfort of this angle for the left hand, [[traditional grip]] was created. Most modern snare drums have rigid over-the-shoulder harnesses that hold the drum with the playing surface parallel to the ground, |
| | + | which affords the option of performing with [[matched grip]]. However there are many groups that are returning to a slight tilt in order to make using [[traditional grip]] more comfortable for the players.<ref>{{cite book |last=Casella |first=Jim |title=Green Beats 06-07|year=2006|publisher=Tapspace Publications LLC and The Cavaliers Drum and Bugle Corps|pages=12–13}}</ref> |
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| | + | Snare parts are typically unison and provide the center rhythm of the drumline. The snare drum line is the center of tempo in the ensemble, and the "center snare", a position typically held by the most experienced snare drummer, is responsible for maintaining the tempo. When rehearsing or performing, the center snare may "tap off" the ensemble, setting the tempo with a solo rhythm. |
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| − | ==40 P.A.S.(Penis+Ass=Sex)International Drum Rudiments== | + | === Tenor Drum === |
| − | ===Roll rudiments=== | |
| − | ====Single stroke rudiments====
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| − | The single-stroke roll consists of alternating sticking (i.e., <tt>RLRL</tt>, etc.) of indeterminate speed and length.
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| − | {|class="wikitable"
| + | [[Image:UVa-Marching-Band.jpg|right|thumb|A tenor drummer in the [[Cavalier Marching Band]].]] |
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| − | !align="center"|No.
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| − | !align="center"|Name
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| − | !align="center"|Notation
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| − | !align="center"|Description
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| − | |-
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| − | |1.
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| − | |Single Stroke Roll
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| − | |[[Image:1 single stroke roll.gif]]
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| − | |Evenly-spaced notes played with alternating sticking. Though usually played fast, even [[half note]]s with alternating sticking would be considered a single stroke roll.
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| − | |-
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| − | |2.
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| − | |Single Stroke Four | |
| − | |[[Image:2 single stroke four.gif]] | |
| − | |Four notes played with alternating sticking, usually as a triplet followed by a strong beat (as in the picture) or as three grace notes before a downbeat (like a ruff). | |
| − | |-
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| − | |3.
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| − | |Single Stroke Seven
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| − | |[[Image:3 single stroke seven.gif]]
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| − | |Seven notes played with alternating sticking, usually as sextuplet followed by a strong beat.
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| − | |-
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| − | |}
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| − | ====Multiple bounce roll rudiments====
| + | Contemporary [[tenor drum]]s (also called ''toms'', ''quads'', ''quints'', or ''sextets'') are single-headed tonal drums. There are usually four to six drums in a set, but there can be as few as three or as many as seven. Tenor players add pitch variety to the drumline with drums of different sizes and tuning. Tenor players use [[matched grip]], and generally play with mallets with plastic disc-shaped heads, though traditional drumsticks and softer mallets are commonly used to achieve different [[timbre]]s.<ref>{{cite book |last=Casella |first=Jim |title=Green Beats 06-07|year=2006|publisher=Tapspace Publications LLC and The Cavaliers Drum and Bugle Corps|pages=12–13}}</ref> Tenor drummers typically play in unison. Recently, multiple percussion programs have experimented with "split" parts, meaning that the parts are not in unison. Some examples include Rhythm X's quad feature from 2007, The Cavaliers' quad features from 2000 and 2008, The Reading Buccaneers puff mallet solo from 2008, and many others. |
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| − | |- | |
| − | !align="center"|No.
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| − | !align="center"|Name
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| − | !align="center"|Notation
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| − | !align="center"|Description
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| − | |-
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| − | |4.
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| − | |Multiple Bounce Roll
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| − | |[[Image:4 multiple bounce roll.gif]]
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| − | |Alternating handed strokes with no specific number of bounces. Should sound even and continuous. Also called "buzz roll."
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| − | |-
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| − | |5.
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| − | |Triple Stroke Roll
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| − | |[[Image:5 triple stroke roll.gif]]
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| − | |Each stroke can be bounced or wristed. <!-- needs explanation, perhaps a glossary on this article? --> Also called a "French roll."
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| − | |-
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| − | |}
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| − | ====Double stroke open roll rudiments==== | + | === Cymbals=== |
| − | The double stroke roll is a rudiment consisting of alternating [[diddle|diddles]] (i.e., <tt>RR</tt>, <tt>LL</tt>, etc) of indeterminate speed and length. There are 10 official variants of the double-stroke roll (see below).<ref name=PAS>[http://www.pas.org/Resources/rudiments.cfm ''"International Drum Rudiments" Page of the Percussive Arts Society (PAS)'']</ref>
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| − | {|class="wikitable"
| + | Marching [[cymbal]]s are typically pairs of [[crash cymbal]]s played in a variety of ways. Cymbals are [[bronze]] with leather carrying straps. Players in cymbal lines may all carry the same size and type of cymbal, or a variety of instruments may be used. Cymbals are played being held before the body, in unison or split parts. In addition to being played by the cymbalists, snare drummers may play on the cymbals as [[ride cymbal]]s or like [[hi-hat]]s, thus there is typically a minimum of one cymbalist for every two snare drummers. Cymbals are also used for visual effects due to their reflectiveness while twirling or spinning them. Many contemporary field ensembles do not utilize a cymbal line, as cymbals are played in the front ensemble. |
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| + | === Bass Drum === |
| − | !align="center"|No.
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| − | !align="center"|Name
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| − | !align="center"|Notation
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| − | !align="center"|Description
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| − | |-
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| − | |6.
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| − | |Double Stroke Open Roll
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| − | |[[Image:6 double stroke open roll.gif]]
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| − | |Like the single-stroke roll, usually played fast, but even when played slowly, alternating [[#Diddle Rudiments|diddle]]s are considered a double stroke roll. Played so each individual note can be heard distinctly.
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| − | |-
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| − | |7.
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| − | |Five Stroke Roll
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| − | |[[Image:7 five stroke roll.gif]]
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| − | |Two diddles followed by an accented note.
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| − | |-
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| − | |8.
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| − | |Six Stroke Roll
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| − | |[[Image:8 six stroke roll.gif]]
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| − | |Unlike most other double stroke rudiments, the six stroke roll begins with an accented single note. Then it is followed by the diddles and another accented note.
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| − | |-
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| − | |9.
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| − | |Seven Stroke Roll
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| − | |[[Image:9 seven stroke roll.gif]]
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| − | |Three diddles followed by an accented note.
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| − | |-
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| − | |10.
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| − | |Nine Stroke Roll
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| − | |[[Image:10 nine stroke roll.gif]]
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| − | |Four diddles followed by an accented note.
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| − | |-
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| − | |11.
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| − | |Ten Stroke Roll
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| − | |[[Image:11 ten stroke roll.gif]]
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| − | |Four diddles followed by two accented notes.
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| − | |-
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| − | |12.
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| − | |Eleven Stroke Roll
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| − | |[[Image:12 eleven stroke roll.gif]]
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| − | |Five diddles followed by an accented note.
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| − | |-
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| − | |13.
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| − | |Thirteen Stroke Roll
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| − | |[[Image:13 thirteen stroke roll.gif]]
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| − | |Six diddles followed by an accented note.
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| − | |-
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| − | |14.
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| − | |Fifteen Stroke Roll
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| − | |[[Image:14 fifteen stroke roll.gif]]
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| − | |Seven diddles followed by an accented note.
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| − | |-
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| − | |15.
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| − | |Seventeen Stroke Roll
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| − | |[[Image:15 seventeen stroke roll.gif]]
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| − | |Eight diddles followed by an accented note.
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| − | |}
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| | | | |
| − | === Diddle rudiments ===
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| − | In percussion, a diddle consists of two consecutive notes played by the same hand (either RR or LL). Compare to the [[#Drag rudiments|drag]], which also consists of two consecutive notes played by the same hand.
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| − | The paradiddle is a rudiment consisting of a four-note pattern of the form <tt>RLRR</tt> or <tt>LRLL</tt>.<ref name=PAS /> When multiple paradiddles are played in succession, the first note always alternates between right and left. There are also several official variations of paradiddle rudiments. Paradiddles are often used to switch hands while playing steady notes. For example, if steadily playing sixteenth notes, with right hand lead (<tt>RLRL</tt>, etc), then wanting to end on a drum to the left of the current drum, he may stick it as follows: <tt>RLRL RLRL RLRL RLRR L</tt> with the final left tap on the ending drum.
| + | Marching bass drums are most frequently used as tonal drums split between several percussionists. Each drummer plays a unique part, though the entire bass drum part is conceived as a whole. Marching bass drums, which produce the deepest sound in the battery, are larger drums carried on harnesses with the heads facing the front and back sidelines. The musicians carrying the bass drums typically line up in size order. Bass drummers use mallets with rounded or cylindrical heads often made of hard [[felt]]. Small bass drum lines typically consist of four or five members to ensure enough for a melody, and large lines can have eight or more drummers. |
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| − | {|class="wikitable"
| + | == Front ensemble == |
| − | |-
| + | {{main|Front ensemble}} |
| − | !align="center"|No.
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| − | !align="center"|Name
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| − | !align="center"|Notation
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| − | !align="center"|Description
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| − | |-
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| − | |16.
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| − | |Single Paradiddle
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| − | |[[Image:16 single paradiddle.gif]]
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| − | |Two alternating notes followed by a diddle.
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| − | |-
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| − | |17.
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| − | |Double Paradiddle
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| − | |[[Image:17 double paradiddle.gif]]
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| − | |Four alternating notes followed by a diddle.
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| − | |-
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| − | |18.
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| − | |Triple Paradiddle
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| − | |[[Image:18 triple paradiddle.gif]]
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| − | |Six alternating notes followed by a diddle.
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| − | |-
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| − | |19.
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| − | |Paradiddle-Diddle
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| − | |[[Image:19 paradiddle diddle.gif]]
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| − | |Two alternating taps followed by two alternating diddles.
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| − | |} | |
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| − | === Flam rudiments === | + | The [[front ensemble]] (also called the ''pit'') can include any [[percussion instrument]].<ref name="Marching Dictionary" /> Typical front ensembles include mallet instruments such as [[marimba]]s, [[xylophone]]s, [[glockenspiel]]s and [[vibraphone]]s, [[timpani]], cymbals, concert [[bass drum]]s, [[Bongo drum|bongo]]s, [[conga]]s, [[cowbell (instrument)|cowbell]]s, [[claves]], [[tambourine]]s, [[gong]]s or [[Gong|tamtam]]s, [[tom-tom drum]]s, and a variety of concert and world percussion instruments.<ref>{{cite book |last=Casella |first=Jim |title=Green Beats 06-07|year=2006|publisher=Tapspace Publications LLC and The Cavaliers Drum and Bugle Corps|pages=44–47}}</ref> Instruments may be mechanically or electronically [[amplifier|amplified]]. Some competitive circuits also allow electronic instruments such as [[synthesizer]]s and [[bass guitar]]s, which are typically part of the front ensemble. This wide selection of instruments allows for great [[timbre]] variety. Most front ensembles are centered in front of the front sideline of an [[American football#Field and players|American football field]]. |
| − | A flam is a rudiment consisting of a quiet "grace" note on one hand followed by a louder "primary" stroke on the opposite hand. The two notes are played almost simultaneously, and are intended to sound like a single, 'broader' note.<ref name=PAS />
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| − | {|class="wikitable"
| + | ==See also== |
| − | |-
| + | {{portal|percussion|Bendir.jpg}} |
| − | !align="center"|No.
| + | {{Portal|Music|%27A%27_(PSF).png}} |
| − | !align="center"|Name
| + | {{br}} |
| − | !align="center"|Notation
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| − | !align="center"|Description
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| − | |- | |
| − | |20. | |
| − | |Flam | |
| − | |[[Image:20 flam.gif]]
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| − | |A single [[primary note]] note preceded by a [[grace note]] which is played with the opposite hand. The temporal distance between the grace note and the primary note can vary depending on the style and context of the piece being played.
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| − | |-
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| − | |21.
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| − | |Flam Accent
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| − | |[[Image:21 flam accent.gif]]
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| − | |Alternating groups of three notes of the form [Flam - tap - tap].
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| − | |-
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| − | |22.
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| − | |Flam Tap
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| − | |[[Image:22 flam tap.gif]]
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| − | |Alternating [[#Diddle Rudiments|diddles]] with flams on the first note of each.
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| − | |-
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| − | |23.
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| − | |Flamacue | |
| − | |[[Image:23 flamacue.gif]]
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| − | |A group of four notes and an ending downbeat, where the first note and the down beat are flammed, and the second note is accented.
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| − | |-
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| − | |24.
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| − | |Flam Paradiddle</td>
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| − | |[[Image:24 flam paradiddle.gif]]
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| − | |A paradiddle with a flam on the first note.<ref name=PAS />
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| − | |-
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| − | |25.
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| − | |Single Flammed Mill
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| − | |[[Image:25 single flammed mill.gif]]
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| − | |An inverted paradiddle (<tt>RRLR</tt>, <tt>LLRL</tt>) with a flam on the first note of each diddle.
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| − | |-
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| − | |26.
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| − | |Flam Paradiddle-diddle
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| − | |[[Image:26 flam paradiddle diddle.gif]]
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| − | |Alternating paradiddle-diddles with flams on the first note of each.
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| − | |-
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| − | |27.
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| − | |Pataflafla
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| − | |[[Image:27 pata flafla.gif]]
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| − | |A four-note pattern with flams on the first and last notes.<ref name=PAS />
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| − | |-
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| − | |28.
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| − | |Swiss Army Triplet
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| − | |[[Image:28 swiss army triplet.gif]]
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| − | |A right hand flam followed by a right tap and a left tap, or (using a left hand lead) a left hand flam followed by a left tap and a right tap. <ref>[http://www.vicfirth.com/education/rudiments/28swissarmytriplet.html Swiss Army Triplet Example on VicFirth.com''] Accessed 8/11/2007.</ref><ref name=PAS /> It is often used in the place of a flam accent, since repeated flam accents will have three taps on the same hand in a row, where repeated swiss army triplets only involve two taps on the same hand.
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| − | |-
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| − | |29.
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| − | |Inverted Flam Tap
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| − | |[[Image:29 inverted flam tap.gif]]
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| − | |Alternating diddles (offset by one sixteenth note) with a flam on the second note of each diddle.
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| − | |-
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| − | |30.
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| − | |Flam Drag
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| − | |[[Image:30 flam drag.gif]]
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| − | |Alternating groups of three notes of the form [flam - drag - tap].
| |
| − | |}
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| | | | |
| − | === Drag rudiments === | + | == References == |
| | + | {{reflist}} |
| | | | |
| − | {|class="wikitable"
| + | == External links == |
| − | |-
| + | * [http://www.dci.org/index.cfm/ Drum Corps International (DCI)] |
| − | !align="center"|No.
| + | * [http://www.drumlines.org/ Drumlines.org] |
| − | !align="center"|Name
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| − | !align="center"|Notation
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| − | !align="center"|Description
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| − | |-
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| − | |31.
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| − | |Drag
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| − | |[[Image:31 drag.gif]]
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| − | |A drag consists of two consecutive notes played by the same hand (either <tt>RR</tt> or <tt>LL</tt>). This is similar to the diddle, except that by convention diddles are played the same speed as the context in which they are placed, where drags are played at twice the speed as the context in which they are placed. For example, if a sixteenth note passage is being played then any drags in that passage would by definition be thirty-second notes, where diddles would be sixteenth notes. Drags can also be played as grace notes. When played as grace notes on [[timpani]], the grace notes are alternated (<tt>rlR</tt>, <tt>lrL</tt>). <ref name=nasatir>{{cite web
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| − | |url= http://www.keynotesmagazine.com/article.php?uid=120
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| − | |title= Too Many Rudiments?
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| − | |accessdate= February 3 2008
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| − | |dateformat= mdy
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| − | |last= Nasatir
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| − | |first= Cary
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| − | |publisher= Conn-Selmer Keynotes
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| − | }}</ref>
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| | | | |
| − | Continuously playing alternating drags (or diddles) results in a double-stroke roll.
| + | {{Rudimental Percussion}} |
| − | | |
| − | A similar rudiment is the ruff, which is a note with three grace notes, but they are usually alternated <ref name=nasatir />
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| − | |-
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| − | |32.
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| − | |Single Drag Tap
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| − | |[[Image:32 single drag tap.gif]]
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| − | |A single drag tap is two alternating notes where the first note has drag grace notes and the second is accented.
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| − | |-
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| − | |33.
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| − | |Double Drag Tap
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| − | |[[Image:33 double drag tap.gif]]
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| − | |A double drag tap is a single drag tap with another grace note drag before it.
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| − | |-
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| − | |34.
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| − | |Lesson 25
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| − | |[[Image:34 lesson 25.gif]]
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| − | |A lesson 25 is three alternating notes where the first note has drag grace notes and the third is accented.
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| − | |-
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| − | |35.
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| − | |Single Dragadiddle
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| − | |[[Image:35 single dragadiddle.gif]]
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| − | |A single dragadiddle is a paradiddle where the first note is a drag.
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| − | |-
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| − | |36.
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| − | |Drag Paradiddle #1
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| − | |[[Image:36 drag paradiddle 1.gif]]
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| − | |The first drag paradiddle is an accented note followed by a paradiddle with drag grace notes on the first note.
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| − | |-
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| − | |37.
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| − | |Drag Paradiddle #2
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| − | |[[Image:37 drag paradiddle_2.gif]]
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| − | ||The second drag paradiddle is two accented notes followed by a paradiddle with drag grace notes on the second accented note and the first note of the paradiddle.
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| − | |-
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| − | |38.
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| − | |Single Ratamacue
| |
| − | |[[Image:38 single ratamacue.gif]]
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| − | |A single ratamacue consists of four notes where the first note has drag grace notes and the fourth is accented. <ref name=PAS />
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| − | |-
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| − | |39.
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| − | |Double Ratamacue
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| − | |[[Image:39 double ratamacue.gif]]
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| − | |A double ratamacue consists of a single ratamacue with a drag before it.
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| − | |-
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| − | |40.
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| − | |Triple Ratamacue
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| − | |[[Image:40 triple ratamacue.gif]]
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| − | ||A triple ratamacue consists of a single ratamacue with two drags before it.
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| − | |}
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| − | | |
| − | == Historical organization (Standard 26 American Drum Rudiments) ==
| |
| − | === Thirteen "essential" rudiments ===
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| − | # The Long [[drum roll|Roll]]
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| − | # The Five Stroke Roll
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| − | # The Seven Stroke Roll
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| − | # The Flam
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| − | # The Flam Accent
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| − | # The Flam Paradiddle
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| − | # The Flamacue
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| − | # The Ruff
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| − | # The Single Drag
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| − | # The Double Drag
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| − | # The Double Paradiddle
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| − | # The Single Ratamacue
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| − | # The Triple Ratamacue
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| − | | |
| − | === Second thirteen rudiments ===
| |
| − | | |
| − | #The Single Stroke Roll
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| − | #The Nine Stroke Roll
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| − | #The Ten Stroke Roll
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| − | #The Eleven Stroke Roll
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| − | #The Thirteen Stroke Roll
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| − | #The Fifteen Stroke Roll
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| − | #The Flam Tap
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| − | #The Single Paradiddle
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| − | #The Drag Paradiddle #1
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| − | #The Drag Paradiddle #2
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| − | #The Flam Paradiddle-diddle
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| − | #The Lesson 25
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| − | #The Double Ratamacue
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| − | | |
| − | === Last fourteen rudiments ===
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| − | | |
| − | More recently, the Percussive Arts Society added 14 more rudiments to extend the list to the current 40 International Drum Rudiments. Note that the ordering was completely changed during this last re-organization, so these numbers won't match those above.
| |
| − | | |
| − | *The Single Stroke Four
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| − | *The Single Stroke Seven
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| − | *The Multiple Bounce Roll
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| − | *The Triple Stroke Roll
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| − | *The Six Stroke Roll
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| − | *The Seventeen Stroke Roll
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| − | *The Triple Paradiddle
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| − | *The Single Paradiddle-Diddle
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| − | *The Single Flammed Mill
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| − | *The Pataflafla
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| − | *The Swiss Army Triplet
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| − | *The Inverted Flam Tap
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| − | *The Flam Drag
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| − | *The Single Dragadiddle
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| − | | |
| − | | |
| − | {| class="wikitable" | |
| − | |+Books
| |
| − | !Publishing year
| |
| − | !Name
| |
| − | !Author
| |
| − | |-
| |
| − | |1812
| |
| − | |''A New, Useful, and Complete System of Drum Beating''
| |
| − | |Charles Ashworth
| |
| − | |-
| |
| − | |1815
| |
| − | |''The Art of Beating the Drum''
| |
| − | |Samuel Potter
| |
| − | |-
| |
| − | |1861
| |
| − | |''The Drummers' and Fifers' Guide''
| |
| − | |Bruce Emmett
| |
| − | |-
| |
| − | |1869
| |
| − | |''Strube's Drum and Fife Instructor''
| |
| − | |Gardiner A. Strube
| |
| − | |-
| |
| − | |1886
| |
| − | |''The Trumpet and Drum''
| |
| − | |[[John Philip Sousa]]
| |
| − | |-
| |
| − | |1935
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| − | |''Stick Control''
| |
| − | |[[George Lawrence Stone]]
| |
| − | |-
| |
| − | |1942
| |
| − | |''Modern Interpretation of Snare Drum Rudiments''
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| − | |[[Buddy Rich]]
| |
| − | |-
| |
| − | |1945
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| − | |''The All-American Drummer''
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| − | |Charley Wilcoxon
| |
| − | |-
| |
| − | |1959
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| − | |''14 Modern Contest Solos For Snare Drum''
| |
| − | |John S. Pratt
| |
| − | |-
| |
| − | |1979
| |
| − | |''The Technique and Mechanics of Rudimental Snare Drumming''
| |
| − | |Ken Mazur
| |
| − | |-
| |
| − | |1992
| |
| − | |''The Drummer's Rudimental Reference Book''
| |
| − | |John Wooton
| |
| − | |-
| |
| − | |2004
| |
| − | |''The Beat of a Different Drummer''
| |
| − | |Dominick Cuccia
| |
| − | |}
| |
| − | | |
| − | == Notable contributors ==
| |
| − | | |
| − | * John S. Pratt: composer, arranger, Former U.S. Military Academy instructor
| |
| − | * Charley Wilcoxon: instructor, author, and teacher
| |
| − | * Dante Agostini, French instructor, autor and teacher
| |
| − | * Dr. Fritz R. Berger, inventor of the Berger-Notation, Basel Switzerland
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| − | * J. Burns Moore: instructor, author, and teacher
| |
| − | * [[George Lawrence Stone]]: instructor, author, and teacher
| |
| − | * Earl Sturtze: instructor, author, and teacher
| |
| − | * Les Parks: instructor and arranger, Sons of Liberty Fife and Drum Corps, Hawthorne Cabaleros, Garfield Cadets
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| − | * John S. Pratt: instructor, author, and teacher
| |
| − | * [[Fred Sanford (musician)|Fred Sanford]]: instructor and arranger, Santa Clara Vanguard Drum and Bugle Corps
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| − | * [[Ralph Hardimon]]: instructor and arranger, [[Santa Clara Vanguard Drum and Bugle Corps]]
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| − | * [[Tom Float]]: instructor and arranger, [[Blue Devils Drum and Bugle Corps]]
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| − | * [[Marty Hurley]]: instructor and arranger, [[Phantom Regiment Drum and Bugle Corps]] during the 1970's and early '80s
| |
| − | * Paul Rennick: instructor and arranger, [[Phantom Regiment Drum and Bugle Corps]]
| |
| − | * [[Scott Johnson (percussionist)|Scott Johnson]]: instructor and arranger, Blue Devils Drum and Bugle Corps
| |
| − | * James Campbell: instructor and arranger, The Cavaliers Drum and Bugle Corps
| |
| − | * Bret Kuhn: instructor and arranger, [[The Cavaliers Drum and Bugle Corps]]
| |
| − | * Dennis DeLucia: instructor and arranger, Bridgemen Drum and Bugle Corps
| |
| − | * Thom Hannum: instructor and arranger, Cadets Drum and Bugle Corps
| |
| − | * Charley Poole, Jr. instructor and arranger, 27th Lancers Drum and Bugle Corps
| |
| − | | |
| − | == Hybrid rudiments ==
| |
| − | Over the years, many other rudimental patterns have been informally identified and given creative names, although most of these are based upon the original 40. They are commonly known as "hybrid rudiments" or "hybrids," and are especially common in drumlines and drum corps. A few notable examples are the ''Herta'', which is a drag played with alternating sticking, the ''Cheese'', a diddle with a grace note, and the ''Eggbeater'', a five-tuplet with the sticking "rrrll"; indeed, these hybrids have themselves given way to more innovative and arguably more difficult hybrids, "Cheese Invert" (an inverted flam tap with cheeses instead of flams) and the "Diddle-Egg-Five" (a paradiddle-diddle followed by an Eggbeater and two diddles, one on each hand).
| |
| − | | |
| − | ==References==
| |
| − | <references />
| |
| − | | |
| − | ==External links==
| |
| − | *[http://www.drumrudiments.com DrumRudiments.com]- All 40 Drum Rudiments with Video examples.
| |
| − | *[http://www.pas.org/Resources/rudiments/rudiments.html The Percussive Arts Society International Drum Rudiments]
| |
| − | *[http://www.rudimentaldrumming.com RudimentalDrumming.com]
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| | | | |
| − | {{Percussion}}
| + | [[Category:Drum and bugle corps]] |
| − | {{Rudimental Percussion}}
| + | [[Category:Musical groups]] |
| − | [[Category:Percussion performance techniques]] | + | [[Category:Percussion ensembles]] |
| − | [[Category:Drum rudiments]] | |
| | [[Category:Rudimental Percussion]] | | [[Category:Rudimental Percussion]] |
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| − | [[de:Rudiment (Schlagzeug)]] | + | [[de:Drumline]] |
| − | [[it:Rudimento]] | + | [[id:Drumline]] |
| − | [[nl:Rudiments]]
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| − | [[ja:ルーディメンツ]]
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| − | [[ru:Барабанный рудимент]]
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| − | [[fi:Rudimentit]]
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Template:Otheruses4
A drumline or drum line is a section of percussion instruments usually played as part of a musical marching ensemble.& Drumlines are usually incorporated into high school or college marching bands, drum and bugle corps or drum and lyre corps, indoor percussion ensembles, and pipe bands, but also can exist independent of these ensembles.& The term battery is used to refer to a specific part of the drumline. The battery is the drum section that marches on the field as a group. The battery usually consists of snare drums, bass drums, tenor drums, and cymbals.& Stationary percussion within a marching ensemble is called the front ensemble or pit.& This also describes the area where those percussion instruments are set on the field.
Battery
Drumlines typically consist of marching snare drums, tenor drums, (also known as Quads, Quints, or Quint Toms) bass drums, and – less universally – cymbals.& In the past, marching timpani were common before the adoption of the front ensemble, as were marching keyboard percussion instruments such as glockenspiels and xylophones. Marching steelpans are rarely part of drumlines due to issues with volume and durability, and are typically used in large ensembles with only steelpans. In modern marching band and drum corps snares, tenors, bass drums, and sometimes cymbals march on the field and are generally referred to as the battery, while the pit, or front ensemble, is stationary in the front of the field.
Snare Drum
Marching snare drums have high tension heads typically made of Kevlar or PET film. In the past, snares were typically carried with slings, and due to the discomfort of this angle for the left hand, traditional grip was created. Most modern snare drums have rigid over-the-shoulder harnesses that hold the drum with the playing surface parallel to the ground,
which affords the option of performing with matched grip. However there are many groups that are returning to a slight tilt in order to make using traditional grip more comfortable for the players.&
Snare parts are typically unison and provide the center rhythm of the drumline. The snare drum line is the center of tempo in the ensemble, and the "center snare", a position typically held by the most experienced snare drummer, is responsible for maintaining the tempo. When rehearsing or performing, the center snare may "tap off" the ensemble, setting the tempo with a solo rhythm.
Tenor Drum
Contemporary tenor drums (also called toms, quads, quints, or sextets) are single-headed tonal drums. There are usually four to six drums in a set, but there can be as few as three or as many as seven. Tenor players add pitch variety to the drumline with drums of different sizes and tuning. Tenor players use matched grip, and generally play with mallets with plastic disc-shaped heads, though traditional drumsticks and softer mallets are commonly used to achieve different timbres.& Tenor drummers typically play in unison. Recently, multiple percussion programs have experimented with "split" parts, meaning that the parts are not in unison. Some examples include Rhythm X's quad feature from 2007, The Cavaliers' quad features from 2000 and 2008, The Reading Buccaneers puff mallet solo from 2008, and many others.
Cymbals
Marching cymbals are typically pairs of crash cymbals played in a variety of ways. Cymbals are bronze with leather carrying straps. Players in cymbal lines may all carry the same size and type of cymbal, or a variety of instruments may be used. Cymbals are played being held before the body, in unison or split parts. In addition to being played by the cymbalists, snare drummers may play on the cymbals as ride cymbals or like hi-hats, thus there is typically a minimum of one cymbalist for every two snare drummers. Cymbals are also used for visual effects due to their reflectiveness while twirling or spinning them. Many contemporary field ensembles do not utilize a cymbal line, as cymbals are played in the front ensemble.
Bass Drum
Marching bass drums are most frequently used as tonal drums split between several percussionists. Each drummer plays a unique part, though the entire bass drum part is conceived as a whole. Marching bass drums, which produce the deepest sound in the battery, are larger drums carried on harnesses with the heads facing the front and back sidelines. The musicians carrying the bass drums typically line up in size order. Bass drummers use mallets with rounded or cylindrical heads often made of hard felt. Small bass drum lines typically consist of four or five members to ensure enough for a melody, and large lines can have eight or more drummers.
Front ensemble
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The front ensemble (also called the pit) can include any percussion instrument.& Typical front ensembles include mallet instruments such as marimbas, xylophones, glockenspiels and vibraphones, timpani, cymbals, concert bass drums, bongos, congas, cowbells, claves, tambourines, gongs or tamtams, tom-tom drums, and a variety of concert and world percussion instruments.& Instruments may be mechanically or electronically amplified. Some competitive circuits also allow electronic instruments such as synthesizers and bass guitars, which are typically part of the front ensemble. This wide selection of instruments allows for great timbre variety. Most front ensembles are centered in front of the front sideline of an American football field.
See also
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References
- ↑ Template:Cite news
- ↑ 2.0 2.1 2.2 2.3 2.4 Template:Cite news
- ↑ Casella, Jim (2006). Green Beats 06-07. Tapspace Publications LLC and The Cavaliers Drum and Bugle Corps. pp. 12–13.
- ↑ Casella, Jim (2006). Green Beats 06-07. Tapspace Publications LLC and The Cavaliers Drum and Bugle Corps. pp. 12–13.
- ↑ Casella, Jim (2006). Green Beats 06-07. Tapspace Publications LLC and The Cavaliers Drum and Bugle Corps. pp. 44–47.
External links
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de:Drumline
id:Drumline
