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Its notation is located in the second space from the top of the staff. The snare drum is often considered to be the main drum of the drum set. Many drum fills are started on this drum, and many drum sets have more than one tom. Sometimes called the high tom, this drum typically produces a note higher than both the floor tom and bass drum. Toms are notated on the first space from the top of the staff and the line below that space. It is often referred to as a floor tom because it may rest on the floor by using legs. The floor tom (or low tom) is typically the next lowest note on the drum set. Notation for the floor tom sits in the third space from the top of the staff. It is used with a foot pedal and is often referred to as the “kick drum.” The bass drum is typically the biggest drum on the drum set, and usually produces the lowest note. Notation for the bass drum sits in the bottom space of the staff. There are several symbols musicians should know when starting to read drum notation, especially if they’re just starting off with a four- or five-piece drum set.
Brush patterns drums pdf how to#
Notice below that the bass drum is in a different position on the staff than the snare or ride cymbal.ĭrums are notated by dots, while cymbals are notated with an “x.” These symbols typically have “stems” attached to them, which help explain how to count the beat that is shown. Notes are placed in the staff based on which part of the drum set should be played at any given time. The staff is made up of five lines and four spaces, but notes can be positioned above or below the staff as well. Like the English language, drum notation is read from left to right. By learning to read and write this part of the musical language, you’ll develop a strong sense of timing and rhythm control. The space between the bar lines is referred to as a “measure.” You will typically count beats while playing different notes on the drum set within each measure.ĭrum notation does contain similarities to sheet music in that measures are counted and read the same way. This work fills a void in the repertoire for percussion ensemble pieces that teach a group of students drum set related skills within a context that is musically satisfying and accessible.In drum notation, the notes are written on the staff and are separated by vertical bar lines. This work is perfect for a high school or college percussion ensemble and is well worth each individual’s investment in time, as once the piece is learned each performer has further developed a marketable skill in playing brushes. In case any performers are new to brushes, Stopa provides written and video instructions to introduce them to drummers who may be unfamiliar with the specific performance needs.īeyond this seldom-seen nod towards inclusivity, Stopa makes a point to highlight the malleability of the work to fit the needs and style of the performers, ranging from playing surface (e.g., a snare drum to a pizza box) to openly welcoming diverse patterns within the jazz brush idiom that meet similar ends to those notated in this piece - an equitable approach to composer-as-utilitarIan that is reminiscent of the works of Christian Wolff, albeit a bit more tuneful. Not only are the performance and program notes a pedagogical delight, Stopa has managed to harness a variety of techniques for brushes within what he describes as a sort of “concert etude.” This work presents several brush techniques, particularly highlighting a few of the more novel techniques within Brushworks by Clayton Cameron, all within a musically approachable format.
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“Fly killers” abound in this fun and inventive work by Alex Stopa.