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Leave bead of left stick on drum head.| |Dead stroke-no rebound 128 = : + 4 cae ES ? 4 Bp — HoneyRock 396 Raystown Road Everett, PA 15537 USAAN APPRECIATION ‘When I was asked to write a snare drum solo for HoneyRock, I had two immediate and pleasant realizations: I'd be composing my first drum solo in thirty-five years and I would be able to submit a personal appreciation for a style of music unfamiliar to many “post calfhead drummers.” Although “clean it up - - - please” is a rudimental renaissance in terms of my solo writing, I have written a fair amount of ensemble music for fifes and drums. ‘My interest in rudimental drumming and the music for fifes and drums comes primarily from one meeting with Patrick Cooperman at his home in New York City in 1976. Patrick had not yet started his own drum company and ‘was selling fifes, drum straps, sticks, and Eames drums from his basement. ‘The drums were not assembled - their separate parts stashed wherever space permitted - and my initiation to the world of rope drums began as Patrick put together what was to become my drum. He selected a shell, skin heads, counter hoops. snare strainer. and a seemingly endless length of rope which tied it all together. The piece-de-resistance was his demonstration of the rat's til knot which keeps the tension on the rope, and the knot for the excess rope, or drag, Patrick took me upstairs where we sat on his living room floor with a drum pad. For about an hour he showed me his style of drumming. He told me where to get books important to the history and music of the drum and within a Sew weeks I was looking at Bruce and Emmett’s “The Drummer's and Fifer’s Guide,” the first North American drum method in modern notation (1862); a modern reproduction of Baron Friedrich Wilhelm Ludolf Gerhard Augustin Von Steuben’s “Regulations,” referred to as the “Blue Book,” it was the guide for discipline in ‘Washington’s Continental Army; and “The Carroll Collection” by Drum Major George P. Carroll, FCMH. Carroll has for years, been publishing reprints of old drum and fife manuals and collections of period fife tunes with historical notes. A Canadian by birth, he helped establish The Old Guard Fife and Drum Corps of the 3rd United ‘States Infantry in 1960. One of Carroll’s major contributions has been the deciphering of arcane notations found in early drum methods. ‘The history, research, composition and performance of music for fifes and drums has provided me with countless hours of enjoyment. A particular pleasure has been mecting rudimental drumming experts, experiencing their artistry, and sharing with them the pleasures of this style of drumming, ‘The deep, rich sound of a rope drum with skin heads and gut snares is marvelous, but unfortunately, rarely heard outside fife and drum circles. However, | have played symphonic, band, and operatic music with this instrument, and on one occasion, Russell Hartenberger and I, standing side by side in the bass section of a symphony orchestra, powered a memorable performance of Ravel's “Bolero.” 1 would like to thank the following people for their music, advice and kindness: John Pratt for his “Fourteen Modern Contest Solos” - Belwin, 1959, Dana Kimble SSG, U.S.M.A. Band at West Point for proofing “clean it up ~~ - please,” Art Himmelberger MSG of the U.S.M.A. Band’s field music group, “Helleats” for his inspirational bass drumming, and Warren Howe SSG, “Hellcat” snare drummer and military historian for giving me the first of his two part “Study of the History of Military Music at West Point from the Revolutionary War through 1820” and showing me an original 1812 edition of “A New, Useful and Complete System of Drum Beating” by Charles S. Ashworth. Finally, I thank all the drummers in the U.S.M.A. at West Point, New York; the United States Air Force Band in Washington, D.C.; and The Old Guard Fife and Drum Corps at Fort Myer. Virginia for maintaining 4 great tradition at the highest level Robin Engelman