Metodo de Tecnica para Tambor

Student Form
Name:
Corps:
It is recommended that all the following areas be completed before proceeding to a higher level:
METHOD BOOK - Exercises to be completed before evaluation.
RUDIMENTS - Skills to be mastered before evaluation.
USSION
RHYTHM - Demonstrate increasing ability to play or clap
back melodies with correct rhythm.
TECHNIQUE - Skills to be mastered before evaluation in

C
PER
auxillary percussion, timpani and mallet instruments.
THEORY - Completed at level, correlated with Theory

M.A.P. form.
SOLOS - Two solos on snare drum taken from the

suggested solos - one performed in public and a different
solo for evaluation. Students at Levels PRIMER and ONE
may play in a rehearsal for the public performance.
ENSEMBLE - Signature of corps music leader indicating

satisfactory seasonal performance and attendance.
SIGHT-READING - At grade level, must be 90% correct.

LESSON PLANS FOR
Percussion Level
RUDIMENTS
PRIMER
METHOD BOOK (SEE BACK)
RHYTHM
Fundamentals of Rhythm
for the Drummer
A Pages 5-8
Match grip technique Quarter notes and rests
(quarter notes and rests)
Pages 9-11 Rudiment PA Quarter notes and rests,

B (add eighth notes) (buzz roll) eighth notes
Rudiments PB1, PB2, PB3

Pages 12-14 Quarter notes and rests,
C (eighth notes and quarter rests)
(single stroke exercises with
eighth notes and rests
quarters and eighths)
Pages 28-31 Rudiment PC

D (eighth notes and rests) (alternating flams)
Review
Pages 32-35 Rudiment PD

E (eighth notes and rests) (double stroke: drag)
Quarter, half and whole notes
Pages 37, 41-42

Review Quarter, half, dotted half
F (half, dotted half,
(Level PRIMER Rudiments) and whole notes
whole and tied notes)
EVALUATIONS BY INSTRUCTORS
At Levels PRIMER and ONE, instructors may complete student evaluations in group settings.
*Solos within the rehearsal setting can be taken from the Fundamentals of Rhythm
for the Drummer method book or repertoire being used within their ensemble.
Recommended Level PRIMER Solos

Snare Drum: The Competition Collection, Thomas Brown More Contest Solos for the Young Snare Drummer,
Rudelmint (page 3) Murray Houllif
Way to Go (page 4) Act One (page 1)
Taking Giant Steps (page 2)
Winning Snare Drum Solos for the Beginner, Thomas Brown
Drum Drops (page 2) *Method Book Exercises
Waltzy Walter (page 3) *Ensemble Repertoire
Laser Beats (page 4)
Stick Kickers (page 5)
Double Trouble (page 12)
Easy Rudimental Solos for Snare Drum, Jeffrey Funnell

Kay-Dance (page 1)
INSTRUCTOR
THEORY SOLOS
INITIALS & DATE
excellence in Theory, 1st Level PRIMER Solo __________

Book 1, Pages 2-5 on snare drum
(staff, treble and bass clef) basic rhythms and stickings at a slow tempo ___/___/___
Pages 6-9 Learn difficult spots and work up to __________

(ear training, qhw, measures
and barlines, time signatures)
performance tempo. ___/___/___
Pages 10-13 Add dynamics and consider stage presence __________

(counting, QHW time
signatures, ear training)
Perform for Public ___/___/___
2nd Level PRIMER Solo __________

Pages 14-16
on snare drum
(ledger lines, grand staff) ___/___/___
basic rhythms and stickings at a slow tempo

(2/4, 3/4, 4/4 counting, h.
ties vs. slurs)
Page 21 __________
Add dynamics and consider stage presence
(ear training)
Perform for Evaluator ___/___/___
Level PRIMER Test
SOLOS
Public Solo Title: ______________________________________________ Date Completed: ___/___/___
Evaluation Solo Title: __________________________________________ Date Completed: ___/___/___
COMMENTS ENSEMBLE
Ensemble: _______________________________
Corps Leader: _________________ Year: _____
SIGHT-READING
Title:____________________________________
Evaluation Score:__________ Date: __________
Percussion Level PRIMER Completion: ________________________ ____________

Evaluator Name Date
LESSON PLANS FOR
Percussion Level ONE
METHOD BOOK RUDIMENTS RHYTHM TECHNIQUE
Fundamentals of Rhythm
Rudiment 1A Introduce Suspended
for the Drummer Four sixteenth and
A Pages 15-19 (multiple bounce roll
quarter note patterns
and Crash Cymbals
(dffg and q) with cresc. and dim.) (see back)
Pages 20-26 Rudiments 1A2, 1A3

Two sixteenth and
B (dffg and ry)
(5 stroke rolls on and
eighth note patterns
Introduce Triangle
off the beat)
Rudiments 1B1,1B2,1B3
Pages 56-64 (single stroke sixteenths) 5 stroke patterns with
C (dffg and ry)
Rudiment 1D
(double stroke eighth note patterns
Introduce Woodblock
single paradiddle)
Pages 67-70 Rudiment 1C 5 stroke patterns with

D (downbeat 5 stroke
(flam taps) sixteenth note patterns
Introduce Bass Drum
rolls)
Pages 71-74 Review

Rolls with eighth and
E (downbeat 5 stroke (Level ONE
sixteenth notes
Introduce Tambourine
rolls) Rudiments)
Review Review Review
(p. 27 ex. 1A & 1B,
F p. 65 ex. 1C, p. 75
(Level ONE (Level ONE Introduce Claves
ex. 1D, p. 83 ex. 1E) Rudiments) rhythm patterns)
EVALUATIONS BY INSTRUCTORS
At Levels PRIMER and ONE, instructors may complete student evaluations in group settings.
*Solos within the rehearsal setting can be taken from the Fundamentals of Rhythm for the Drummer
method book or repertoire being used within their ensemble.
Recommended Level ONE Solos

10 Intermediate Snare Drum Solos, John Beck Winning Snare Drum Solos for the Beginner, Thomas Brown
Single Stick It (page 2) Fivery (page 8)
Flam It (page 4) Snaarzz (page 9)
Ruff It (page 12) Flampage (page 10)
Diddle Pad (page 11)
Snare Drum: The Competition Collection, Thomas Brown
Rough It (page 5) Contest Solos for the Young Snare Drummer, Murray Houllif
Flamery Flats (page 6) A Strange Accent (page 2)
Monkey Dance (page 7) William Tells All (page 5)
Turbo Tubs (page 8)
A Stitch in Time (page 9) *Method Book Exercises
Wriskit (page 10) *Ensemble Repertoire
Paradiddle Do Do (page 11)
INSTRUCTOR
THEORY SOLOS
INITIALS & DATE
excellence in Theory, 1st Level ONE Solo __________

(eryE q.) basic rhythms and stickings at a slow tempo ___/___/___

(ear training, sharps, flats) performance tempo. ___/___/___
Pages 30-34
(naturals, accidentals, half and Add dynamics and consider stage presence __________
whole steps, ear training, Perform for Public ___/___/___
enharmonics)
Pages 35-37 2nd Level ONE Solo __________

(tetrachords, major scales, on snare drum
ear training) basic rhythms and stickings at a slow tempo ___/___/___

(scale degrees, sharp scales,
flat scales)
Pages 4 and 14 __________

(bass clef and ledger lines)
Level ONE Test
SOLOS
Public Solo Title: ______________________________________________ Date Completed: ___/___/___
Evaluation Solo Title: __________________________________________ Date Completed: ___/___/___
COMMENTS ENSEMBLE
Ensemble: _______________________________
SIGHT-READING
Title:____________________________________
Evaluation Score:__________ Date: __________
Percussion Level ONE Completion: ____________________________ ____________

Evaluator Name Date
LESSON PLANS FOR
Percussion Level TWO MALLET
METHOD BOOK RUDIMENTS RHYTHM
TECHNIQUE (OPT.)
Fundamentals of Sixteenths to
Rudiment 2A1, 2A2 Getting It, Book One
Rhythm
A for the Drummer (open roll, 9 stroke)
dotted eighths / dotted Pages 3-7
eighths to sixteenths (middle C and D)
Pages 80-82 (cut time)
Pages 84-86 Rudiment 2A3, 2A4 Syncopation with
Pages 8-10
B (dotted eighth and (open roll, 13 stroke eighth and quarter
(add E, F, G)
sixteenth notes) and 17 stroke) notes
Rudiment 2B Pages 11-13

Pages 88-91
C (syncopation)
(single stroke quarter Eighth note triplets (add A, B and
and eighth notes) key of G)
Rudiment 2C Pages 14-16

Pages 92-94
D (triplets) (flam accent #2)
Sixteenth note triplets (high C, low B and
two Bb's)
Rudiments 2D1, 2D2

Pages 95-99 Combine eighth notes Pages 17-18
E (triplets continued)
(double stroke double
and triplets (add F# and C#)
paradiddle, lesson 25)
Review Rudiment 2D3 Review
(p. 83 ex. 2A, p. 87 Pages 19-20
F ex. 2B, p. 91 ex. 2C, (single ratamacue) (Level TWO
(high D and two Eb's)
p. 98 ex. 2D & 2E) Review Level TWO rhythm patterns)
EVALUATOR EVALUATOR EVALUATOR EVALUATOR
__________ __________ __________ __________

___/___/___ ___/___/___ ___/___/___ ___/___/___
Recommended Level TWO Solos

Snare Drum Solos Mallet Solos
10 Intermediate Snare Drum Solos, John Beck Getting It, Book One, Bill Quick
Five to Nine (page 10) Turn the Whole Thing Upside Down (page 12)
Paradiddle Waltz (page 14) Mary Had a Little BAG (page 13)
B Round (page 15)
Snare Drum: The Competition Collection, Thomas Brown Keep It Sharp (page 18)
Rapper Upper (page 12) Bs and Es Flatter Than a Pancake (page 20)
Roller Derby (page 13)
Ratamacat (page 15)
Winning Snare Drum Solos for the Beginner, Thomas Brown

Quick Sticks (page 14)
Power Drums (page 15)
Easy Rudimental Solos for Snare Drum, Jeffrey Funnell

Trident (page 2)
INSTRUCTOR
THEORY SOLOS
INITIALS & DATE
excellence in Theory, 1st Level TWO Solo __________

(key signatures, sharp keys) basic rhythms and stickings at a slow tempo ___/___/___

(key signatures, flat keys) performance tempo. ___/___/___

(major key signatures,
circle of fifths and fourths)
Pages 14-19 2nd Level TWO Solo

(chromatic scale, repeat __________
on snare drum
signs, 1st and 2nd ___/___/___
endings, coda) basic rhythms and stickings at a slow tempo
Pages 20-24
(dynamics, articulation, Learn difficult spots and work up to __________
tempo markings, performance tempo. ___/___/___
ear training)
Pages 25-29 __________

(sdffg r.g, ear training)
Level TWO Test
EVALUATOR COMMENTS
__________ Public Solo Title: __________________ Date Completed: ___/___/___

___/___/___ Evaluation Solo Title:_______________ Date Completed: ___/___/___
SOLOS ENSEMBLE
One solo should be on snare drum and Ensemble: _______________________________

one on mallets.
Public Solo: ______________________________
SIGHT-READING
Date: __________ Instrument:_______________
Evaluation Solo:___________________________ Title:____________________________________
Date: __________ Instrument:_______________ Evaluation Score:__________________________
Percussion Level TWO Completion: ____________________________ ____________

Evaluator Name Date
LESSON PLANS FOR
Percussion Level THREE MALLET
METHOD BOOK RUDIMENTS RHYTHM
TECHNIQUE (OPT.)
Here's the Drum, Vol. 1 Rudiment 3A1 Combined quarter and Getting It, Book One
A Pages 20-26 (double stroke eighth notes in Pages 21-22
(5 stroke rolls in 6/8) open roll) 6/8 time (two Ab's and Db's)
Pages 26-28 Dotted eighth and
Rudiments 3A2, 3A3 Pages 23-24
(review of cut time,
B dotted eighths and
(stroke rolls, 7 and sixteenth notes in (eighth notes
15 stroke rolls) 6/8 time and rests)
triplets)
Rudiment 3B
Sixteenth notes and Pages 25-28
Pages 29-31 (single stroke quarter
C (7 stroke rolls) and eighth note eighth rests in 6/8 time
(eighths on different
beats)
triplets)
Rudiments 3C1, 3C2,
Pages 34-38
3C3 (Flam accent #1, Pages 29-30
D (9 stroke rolls,
flam drag, flam
Rolls in 6/8 time
(four eighths in a row)
7 stroke rolls)
paradiddle)
Here's the Drum, Vol. 2 Rudiments 3D1, 3D2,
Pages 44-47 3D3 (single dragadiddle, Flams and flam taps Pages 31-32
E (flam accents and drag paradiddle, in 6/8 time (dotted notes)
flam paradiddles) single drag tap)
Review Review
Review
(Level THREE rhythm Pages 33-35
F (Level THREE (Level THREE
patterns in 6/8, 9/8 and (eighths in 3/4 time)
method book work) Rudiments) 12/8 time)
__________ __________ __________ __________

___/___/___ ___/___/___ ___/___/___ ___/___/___
Recommended Level THREE Solos

The Peach Grove Drummer, Alan Abel Getting It, Book One, Bill Quick
Hear the Bells' Ring (page 22)
10 Intermediate Snare Drum Solos, John Beck A Mighty Fortress (page 26)
Mixing It Up (page 16) Break Forth, O Beautious, Heavenly Light (page 26)
Syncopated (page 18) Be Kind to Your Web-Footed Friends (page 28)
Londonderry Air (page 32)
Winning Solos for the Intermediate Drummer, Tom Brown Be Thou My Vision (page 35)
Lift Off (page 4) St. Agnes (page 35)
On a Roll (page 8)
Metro Man (page 14) Timpani Solos
Primary Handbook for Timpani, Garwood Whaley
The Solo Snare Drummer, Volume 1, Pratt/Schinstine/Moore
The Connecticute Halftime (page 5)
Here's to the Ratamacue, John Pratt

TIMPANI INSTRUCTOR
THEORY SONGS/SOLOS
TECHNIQUE (OPT.) INITIALS & DATE
excellence in Theory, Primary Handbook for 1st Level THREE Solo
Book 3, Pages 2-4 Timpani basic rhythms and __________
(intervals, harmonic and Pages 7-9 stickings at a slow ___/___/___
melodic intervals) (quarter and half notes) tempo
Pages 5-7 Learn difficult spots and __________
Pages 11-13
(intervals, perfect and major work up to performance
(eighths) ___/___/___
intervals, ear training) tempo.
Pages 8-10 Add dynamics and
(minor intervals, major and Pages 14-18 __________
consider stage presence
perfect intervals, (rolls) ___/___/___
ear training) Perform for Public
Pages 11-13 2nd Level THREE Solo
(augmented and diminished Pages 19-21 basic rhythms __________
intervals, review other (rolls) and stickings at a ___/___/___
intervals, ear training) slow tempo
Pages 14-18 Learn difficult spots and __________
Pages 22-25
(3/8, 6/8, 9/8, 12/8, 2/2, work up to performance
(muffling) ___/___/___
cut time, ear training) tempo.
Pages 19-22 Add dynamics and __________

Pages 26-29
(all triads) consider stage presence
(staccato) ___/___/___
Level THREE Test Perform for Evaluator
EVALUATOR EVALUATOR COMMENTS

__________ __________
___/___/___ ___/___/___
SOLOS ENSEMBLE
One solo should be on snare drum, one on timpani Ensemble: _______________________________

and one on mallets.
Public Solo: ______________________________
SIGHT-READING
Date: __________ Instrument:_______________
Evaluation Solo:___________________________ Title:____________________________________
Date: __________ Instrument:_______________ Evaluation Score:__________________________
Percussion Level THREE Completion: __________________________ ____________

Evaluator Name Date
LESSON PLANS FOR
Percussion Level FOUR MALLET TIMPANI
METHOD BOOK RUDIMENTS
TECHNIQUE (OPT.) TECHNIQUE (OPT.)
Here's the Drum, Vol. 2 Fundamental Method Primary Handbook
Pages 50-21, 64-65 Rudiments 4A1, 4A2,
for Mallets, Book 1 for Timpani
A (11 stroke rolls, 4A3 (open, 10, and 11
Pages 34-40 Pages 30-33
stroke rolls)
10 stroke rolls) (key: C and G) (cross sticking)
Pages 46-49 Rudiment 4B Pages 40-45 Pages 35-38

B (flam paradiddle, (single stroke 4s, (key: F Major, (staccato stroke,
flamacue) single stroke 7s) B Major scale) without tuning)
Pages 52-55 Rudiments 4C1, 4C2 Pages 46-50 Pages 39-42

C (flam tap and (flamacue, flam (key: D Major (triple/dotted rhythms
lesson 25 review) paradiddle-diddle) and scale) without tuning)
Pages 56-60 Pages 51-59 Pages 44-45

Rudiment 4D1
D (15 stroke roll, single
(triple paradiddle)
(key: Bb Major, (ruff and flam,
and double drag) chromatic scale) forte piano)
Pages 61-62, 67-68 Rudiments 4D2, 4D3 Pages 60-69

Pages 46-47
E (ratamacue, (double ratamacue, (key: a minor
(7/8 time, accents)
4 stroke ruff) triple ratamacue) and scale)
Review Review Pages 74-78 Page 43

F (Level FOUR (Level FOUR (key: A Major (musical study
method book work) Rudiments) and scale) with tuning)
__________ __________ __________ __________

___/___/___ ___/___/___ ___/___/___ ___/___/___
Recommended Level FOUR Solos

The Colonial Drummer, John Beck Fundamental Method for Mallets, Book 1
Advanced Solos for Snare Drum, John Beck Use Reading Studies as solos:
Double-Timing (page 2) G Major (pages 39-40)
Rudiwaltz (page 4) F Major (pages 44-45)
14 Modern Contest Solos for Snare Drum, John S. Pratt D Major (pages 49-50)
Drum Corps On Parade (page 4) Bb Major (pages 54-55)
The New Pratt Book, John S. Pratt Chromatic (pages 58-59)
The Conquering Legions of Rome (page 2) a minor (pages 54-65)
Cider Jug (page 5) Double stops (pages 72-73)
Sound Off (page 11) A Major (pages 77-78)
Timpani Solos - Select from:

Primary Handbook for Timpani, G. Whaley (pages 30-47)
10 Intermediate Timpani Solos, John Beck
INSTRUCTOR
THEORY SOLOS
INITIALS & DATE
excellence in Theory,
Book 3,Pages 23-24 1st Level FOUR Solo __________
(triads in major scales, basic rhythms and stickings at a slow tempo ___/___/___
ear training)

(minor scales, relative keys,
forms of minor scales)

(triads in minor scales,
ear training)
Pages 30-32
(common chord 2nd Level FOUR Solo __________
progressions in major keys, basic rhythms and stickings at a slow tempo ___/___/___
harmonizing melodies)
Pages 33-34
(common chord Learn difficult spots and work up to __________
progressions in minor keys, performance tempo. ___/___/___
harmonizing melodies)
Pages 35-38
(V7 chord, harmonizing Add dynamics and consider stage presence __________
with V7, ear training) Perform for Evaluator ___/___/___
Level FOUR Test
__________ __________
___/___/___ ___/___/___
SOLOS ENSEMBLE
One solo should be on timpani, another on a mallet Ensemble: _______________________________

instrument and one on the snare drum.
Public Solo 1: _____________________________ SIGHT-READING
Public Solo 2: _____________________________ Title:____________________________________

Evaluation Solo:___________________________ Evaluation Score:__________________________
Percussion Level FOUR Completion: _________________________ ______________

Evaluator Name Date
LESSON PLANS FOR
Percussion Level FIVE MALLET TIMPANI
METHOD BOOK RUDIMENTS
TECHNIQUE (OPT.) TECHNIQUE (OPT.)
Fundamental Method Concepts for Timpani
Portraits in Rhythm Rudiments 5A1, 5A2
for Mallets, Book 1 Pages 22-33
A Lessons 1-8 (triple stroke roll,
Pages 82-86 (developing slow,
( ) 6 stroke rolls) (e minor) medium and fast lift)
Rudiment 5B Pages 87-90 Pages 54-57

Lessons 9-16
B ( )
(eighth, sixteenth and
(Eb Major) (muffling)
thirty-second notes)
Rudiments 5C1, 5C2,
Lessons 17-24 5C3 (single flammed Pages 91-95 Pages 59-64
C ( ) mill, inverted flam tap, (d minor) (cross sticking)
swiss triplet)
Rudiments 5D1, 5D2 Pages 96-105
Lessons 25-32 (single paradiddle- Pages 65-75
D ( ) diddle, double
(key: E Major, g minor
(combination etudes)
drag tap) / g minor scale)
Rudiments 5D3, 5D4 Pages 106-109 Pages 92-109

Lessons 33-41
E ( )
(drag paradiddle #2,
(Ab Major) (solos)
pataflafla)
Review Review
Lessons 42-45 Pages 110-113
F ( )
(Level FIVE
(b minor)
(Level FIVE timpani
Rudiments) techniques)
__________ __________ __________ __________

___/___/___ ___/___/___ ___/___/___ ___/___/___
Recommended Level FIVE Solos

Advanced Solos for Snare Drum, John Beck Fundamental Method for Mallets, Book 1
Two for Six (page 6) Use Reading Studies as solos:
J.R. Special (page 9) A Major (pages 77-78)
Winning Snare Drum Solos, Thomas Brown e minor (pages 85-86)
Reggae Rhythms (page 6) Eb Major (pages 89-90)
"Drag" Ons (page 8) d minor (pages 94-95)
East Meets West (Orchestral Style), Murray Houllif E Major (pages 99-100)
Syncopating the Single Drag, John S. Pratt g minor (pages 104-105)
Ab Major (pages 108-109)
Timpani Solos - Select from: b minor (pages 112-113)
Concepts for Timpani, John Beck
10 Intermediate Timpani Solos, John Beck
Fundamental Solos for Timpani, Mitchell Peters
The Developing Solo Timpanist, William Schinstine
INSTRUCTOR
THEORY SOLOS
INITIALS & DATE
Handouts Inversions of
Triads and Inversions 1st Level FIVE Solo __________
of Dominant Seventh basic rhythms and stickings at a slow tempo ___/___/___
Chords (5-A)
Handouts Harmonic
Analysis and Learn difficult spots and work up to __________
Secondary Dominants performance tempo. ___/___/___
(5-B)
excellence in Theory,
Book 3, Pages 39-40 Add dynamics and consider stage presence __________
(composing a melody, Perform for Public ___/___/___
various assignments)
Handout 2nd Level FIVE Solo __________

Solo Composition (5-D) basic rhythms and stickings at a slow tempo ___/___/___
Handout __________
Learn difficult spots and work up to
Vocal Arrangement
(5-E)
Handout __________
Brass Arrangement
(5-F)

__________ __________
___/___/___ ___/___/___
SOLOS ENSEMBLE
One solo should be on timpani, another on a mallet Ensemble: _______________________________

instrument and one on the snare drum.
Public Solo 1: _____________________________ SIGHT-READING
Public Solo 2: _____________________________
Title:____________________________________
Evaluation Solo:___________________________ Evaluation Score:__________________________
Percussion Level FIVE Completion: __________________________ ______________

Evaluator Name Date
SNARE DRUM RUDIMENTS
A Six Level Sequence by Bill Quick
Level PRIMER Snare Drum Rudiments

PA. Roll Rudiment: Buzz Roll
Play the long roll using multiple bounce (closed/buzzed) strokes.
U
÷ wæ
Start R or L
PB. Single Stroke Exercises: Quarter and Eighth Notes

Start each line with either hand and then alternate hands until the end of the exercise.
The lines should be played evenly without accent in a steady tempo.
1 2 3 4 1 & 2 & 3 & 4 &
÷ c œœ œœ œœ œœ œœ œ œœ œ œœ œ œœ œ ..
Snare Drum:
1.
Foot Tap:
1 2 3 4 1 2 & 3 4 &
2. ÷ c œœ œœ œœ œœ œœ œœ œ œœ œœ œ ..
1 2 3 4 1 & 2 3 & 4
3. ÷ c œœ œœ œœ œœ œœ œ œœ œœ œ œœ ..
PC. Flam Rudiment: Alternating Flams
> > > >

KEY:
u D u D u D u D
÷c œ œ œ œ ..
D = Accented Down Stroke
j j j j u = Unaccented Up Stroke
œ œ œ œ bu = Bounced Up Stroke
t = Tap
R = Right Hand
L R R L L R R L L = Left Hand
PD. Double Stroke Rudiment: Drag (Ruff/Half Drag)
> bu D
>
bu D
>
bu D
>
bu D
÷ c œœ œ œœ œ œœ œ œœ œ
.
..
L L R R R L L L R R R L
Copyright © 1995 by Wm. S. Quick

Level ONE Snare Drum Rudiments
1A. Roll Rudiments: Multiple Bounce (Closed/Buzzed/Concert) Roll & 5 Stroke Roll
Start the multiple bounce roll with either hand. Use stick placement from the edge to the center of the drum
and back to help create the dynamic contrast. Play the 5 stroke rolls open or closed.
1. Multiple
U > > > > 3. 5>Stroke>Roll (off
2. 5 Stroke Roll (on the beat)
> the>beat)
wæ .. œ@ œ œ@ œ œ@ œ œ@ œ .. .. œ œ@ œ œ@ œ œ@ œ œ@ .. œ Œ Œ Œ
Bounce Roll
÷
π Ï π RRLL R LLRR L RRLL R LLRR L R LLRR L RRLL R LLRR L RRLL R
Edge to Center to Edge
1B. Single Stroke Exercises: Quarter, Eighth and Sixteenth Notes

Start each line with either hand and then alternate hands until the end of the exercise.
1 2 3 4 1 e & 2 e & 3 e & 4 e &
÷ c œœ œœ œœ œœ œœ œ œ œœ œ œ œœ œ œ œœ œ œ ..
Snare Drum:
1.
Foot Tap:
1 2 3 4 1 & a 2 & a 3 & a 4 & a
2. ÷ c œœ œœ œœ œœ œœ œ œ œœ œ œ œœ œ œ œœ œ œ ..
1 2 3 4 1 e & a 2 e & a 3 e & a 4 e & a
3. ÷ c œœ œœ œœ œœ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ ..
1C. Flam Rudiment: Flam Tap
> t u D> t u D> t u D> t

u D KEY:
÷ .. œj œ œ œj œ œ œj œ œ œj œ œ ..
u = Unaccented Up Stroke
t = Tap
R = Right Hand
L = Left Hand
L R R R L L L R R R L L
1D. Double Stroke Rudiment: Single Paradiddle
>D u t t >D u t t
÷ .. œ œ œ œ œ œ œ œ ..
R L R R L R L L

Level TWO Snare Drum Rudiments
2A. Roll Rudiments: Double Stroke (Open/Rudimental) Roll, 9 Stroke,
13 Stroke and 17 Stroke Rolls
Play the 9, 13 & 17 stroke rolls open or closed with the indicated sticking.
1. Double Stroke
U
(Open/Rudimental) Roll 2. 9 Stroke Roll
> > > >
3. 13 Stroke Roll 4. 17 Stroke Roll
> >
÷ wæ .. œæ œ œæ œ .. .. œæ œ@ œ œæ œ@ œ .. .. úæ œ úæ œ ..
Start R or L RRLLRRLL R LLRRLLRR L RRLLRRLL RRLL R LLRRLLRR LLRR L RRLLRRLLRRLLRRLL R LLRRLLRRLLRRLLRR L
2B. Single Stroke Exercise: Quarter and Eighth Notes

Start the line with either hand and then alternate until the end of the exercise.
1 2 3 4 1 & 2 & 3 & 4 &
÷ c œœ œœ œœ œœ œœ œ œœ œ œœ œ œœ œ
Snare Drum:
Foot Tap:
1 e & a 2 e & a 3 e & a 4 e & a 1 & 2 & 3 & 4 & 1 2 3 4
÷ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œœ œ œœ œ œœ œ .. œœ œœ œœ œœ
2C. Flam Rudiment: Flam Accent #2 KEY:
> t u D>
u D t u = Unaccented Up Stroke
÷ 68 œj œ ‰ œ œj œ ‰ œ ..
t = Tap
b = Bounced Stroke
bu = Bounced Up Stroke
R = Right Hand
L R R R L L L = Left Hand
2D. Double Stroke Rudiments: Double Paradiddle, Lesson 25 & Single Ratamacue
1. Double Paradiddle 2. Lesson 25 (on the beat) 3. Lesson 25 (off the beat)
> >
D t t u t t D t t u t t
>
b u t Db u t D
> > >
D b u t D b u t
÷ 68 œ œ œ œ œ œ œ œ œ œ œ œ .. 24 œ œ œ œ œ œ œ œ œ œ .. 24 œ œ œ œ œ œ œ œ œ œ ..
R L R L R R L R L R L L L L R L R L L R L R R L L R L R L L R L
R R L R L R R L R L L R R L R L R R L R
4. Single Ratamacue (on the beat) 5. Single Ratamacue (off the beat)
b t u t D
>3
b t
>
u
3 >
t D
3 > u t
3
D b t u t D b t
÷ 24 œœ œ œ œ œ œœ œ œ œ œ .. 24 œ œ œ œ œ œ œ œ œ œ œ œ ..
L L R L R L R R L R L R R L L R L R L R R L R L

Level THREE Snare Drum Rudiments
3A. Roll Rudiments: Single Stroke Roll (Slow-Fast-Slow), 7 Stroke & 15 Stroke Rolls
Single Stroke Rolls are played with one stroke per hand that rebounds naturally without a multiple bounce.
Match the speed of the roll to the drum head tension (Low/Loose: Slow, High/Tight: Fast)
1. Single Stroke Roll

> >
2. 7 Stroke Roll
> > 3. 15 Stroke Roll> >
wæ .. œæ. œ œæ. œ œæ. œ œæ. œ .. .. œæ œæ. œ œæ œæ. œ ..
(Slow-Fast-Slow)
÷c
Start R or L LLRRLL R LLRRLL R LLRRLL R LLRRLL R LLRRLLRR LLRRLL R LLRRLLRR LLRRLL R
or: RRLLRR L RRLLRR L RRLLRR L RRLLRR L or: RRLLRRLL RRLLRR L RRLLRRLL RRLLRR L
3B. Single Stroke Exercises: Quarter & Eighth Note Triplets
Start the line with either hand then alternate hands until the end of the exercise.
1 2 3 4 1 La Lee 2 La Lee 3 La Lee 4 La Lee
3 3 3 3
Snare Drum:
1.
Foot Tap:
1 2 3 4 1 La Lee 2 3 La Lee 4
3 3
2. ÷ c œœ œœ œœ œœ œœ œ œ œœ œœ œ œ œœ ..
1 2 3 4 1 2 La Lee 3 4 La Lee
3 3
3. ÷ c œœ œœ œœ œœ œœ œœ œ œ œœ œœ œ œ ..
3C. Flam Rudiment: Flam Accent #1, Flam Drag & Flam Paradiddle
KEY:
1. Flam Accent #1 2. Flam Drag 3. Flam Paradiddle
> > > > >

t D u t t D u t
>
t D b u t t D b u t t D u t t tD u t t u = Unaccented Up Stroke
t = Tap
÷ 68 œj œ œ œ œj œ œ œ .. 68 œj œ œ œ œ œj œ œ œ œ .. 24 œj œ œ œ œ œj œ œ œ œ ..
b = Bounced Stroke
bD = Bounced Down Stroke
R = Right Hand
L R L R R L R L L R L L R R L R R L L R L R R R L R L L L = Left Hand
3D. Double Stroke Rudiments: Single Dragadiddle, Drag Paradiddle #1

& Single Drag Tap
1. Single Dragadiddle 2. Drag Paradiddle #1 3. Single Drag Tap
> t t bD> u t t
bD u
> >
D b t u t t D bt u t t
> >
bu t D bu t D
÷ 24 œ! œ œ œ œ! œ œ œ .. 68 œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 24 œ œ œ œ œ œ œ œ ..
RR L R R LL R L L R L L R L R R L R R L R L L L L R L R R L R

Level FOUR Snare Drum Rudiments
4A. Roll Rudiments: Long Roll (Slow-Fast-Slow), 10 Stroke & 11 Stroke Rolls
Play the Long Roll starting with two slow full strokes per hand - gradually get faster into open/double strokes -
get faster into closed/multiple bounce strokes - switch to fast bounced open/double strokes - gradually slow
down into two full strokes per hand that return to the starting tempo.
1. Long Roll
U
(Slow to Fast to Slow)
>>
2. 10 Stroke Roll
> > >
3. 11 Stroke Roll
>
÷ wæ .. œæ œ œ ‰ œæ œ œ ‰ .. .. œæ œ! œ ‰ œæ œ! œ ‰ ..
Start with R or L RRLLRRLL R L RRLLRRLL R L RRLLRRLL RR L RRLLRRLL RR L
or: LLRRLLRR L R LLRRLLRR L R or: LLRRLLRR LL R LLRRLLRR LL R
4B. Single Stroke Exercises: Quarter, Eighths, Single Stroke 4s & Single Stroke 7s
Start the lines with the right or left hand and then alternate hands until the end of the exercise.
1 2 3 4 1 & ta tee 2 & ta tee 3 & ta tee 4 & ta tee
3 3 3 3
÷ c œœ œœ œœ œœ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ ..
Snare Drum:
1.
Foot Tap:
1 2 3 4 1 ta tee & 2 ta tee & 3 ta tee & 4 ta tee &
3 3 3 3
2. ÷ c œœ œœ œœ œœ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ ..
1 2 3 4 1 ta tee & ta tee 2 3 ta tee & ta tee 4
6 6
3. ÷ c œœ œœ œœ œœ œœ œ œ œ œ œ œœ œœ œ œ œ œ œ œœ ..
4C. Flam Rudiment: Flamacue & Flam Paradiddle-Diddle

1. Flamacue 2. Flam Paradiddle-Diddle
> u t t D u d D> u t t D
u d D
> >
tD t t t t u t D t t t t u
÷ c œj œ œ œ œ œj œ œj œ œ œ œ œj œ .. 68 œj œ œ œ œ œ œ œj œ œ œ œ œ œ ..
L R L R L L R L R L R L L R L R L R R L L R L R L L R R
or: R L R L R R L R L R L R R L
Level FOUR Snare Drum Rudiments
(Continued)
4D. Double Stroke Rudiments: Triple Paradiddle, Double Ratamacue & Triple Ratamacue
1. Triple Paradiddle
>
D t t t t u t t D t t t t u t t
>
÷ c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
R L R L R L R R L R L R L R L L
2. Double Ratamacue
b t b t
3
>
Du t b t b t u
3
>
t D
÷ 68 œœ œ œœ œ œœ œ œœ œ œœ œ œ œ œ ..
L L R L L R L R L R R L R R L R L R
3. Triple Ratamacue
> >
b t b t b t u t D b t b t b t u t D
3 3
÷ c œœ œœœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
L L R L L R L L R L R L R R L R R L R R L R L R
KEY:
d = Unaccented Down Stroke
t = Tap
b = Bounced Stroke
R = Right Hand
L = Left Hand
Level FIVE Snare Drum Rudiments
5A. Roll Rudiments: Triple Stroke (Slow-Fast-Slow) & Six Stroke Rolls
Start the Triple Stroke Roll with three slow full strokes per hand - gradually get faster into bounced open triple strokes -
get faster into closed/multiple bounce strokes - switch to fast bounced open triple strokes - gradually slow down into
three full strokes per hand that return to the starting tempo.
1. Triple Stroke Roll
U > > > > > > > >

(Slow - Fast into a buzz - Slow) 2. 6 Stroke Roll (on the beat) 3. 6 Stroke Roll (off the beat)
÷ wæ .. œæ œ œ œæ œ œ .. .. œ œ@ œ œ œ@ œ ..
Start with R or L RRLL R L RRLL R L R LLRR L R LLRR L
or: LLRR L R LLRR L R or: L RRLL R L RRLL R
5B. Single Stroke Exercise: Quarter, Eighth, Sixteenth & Thirty-second Notes
Start the line with the right or left hand and then alternate hands until the end of the exercise.
1 2 3 4 1 & 2 & 3 & 4 &
Snare Drum:
Foot Tap:
1 la lee 2 la lee 3 la lee 4 la lee 1 e & a 2 e & a 3 e & a 4 e & a
3 3 3 3
÷ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ
1 ta e ta & ta a ta 2 ta e ta & ta a ta 3 ta e ta & ta a ta 4 ta e ta & ta a ta
÷ œœ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ
1 e & a 2 e & a 3 e & a 4 e & a 1 la lee 2 la lee 3 la lee 4 la lee
3 3 3 3
÷ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ
1 & 2 & 3 & 4 & 1 2 3 4
÷ œœ œ œœ œ œœ œ œœ œ œœ œœ œœ œœ ..
5C. Flam Rudiment: Single Flammed Mill, Inverted Flam Tap & Swiss Triplet
1. Swiss Army Triplet 2. Single Flammed Mill 3. Invertd Flam Tap
> > t > u t t D> t u t t D> u t D> u t D> u t D> u

3 3
t D u t t D t D t u
÷ .. œj œ œ œ œj œ œ œ .. .. œj œ œ œ œ œj œ œ œ œ .. .. œj œ œ œj œ œ œj œ œ œj œ œ ..
LR R L R R L L R R L R L L R L L R L L L R
>
R L R
R L R R L
or: R L L R R L L R
Level FIVE Snare Drum Rudiments
(Continued)
5D. Double Stroke Rudiments: Single Paradiddle-Diddle, Double Drag,
Drag Paradiddle #2 & Pataflafla
1. Single Paradiddle-Diddle
>
D t t u t t
> t t u t t
D
÷ 68 œ œ œ œ œ œ œ œ œ œ œ œ ..
R L R R L L R L R R L L
or: L R L L R R L R L L R R
2. Double Drag Tap

b t bu t
>
D b t bu t
>
D
÷ 68 œ œ œ œœ œ œ œœ œ œœ œ œ ..
L L R L L R L R R L R R L R
3. Drag Paradiddle #2
> b t b t u t t >D b t b t u t t
D
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
R L L R L L R L R R L R R L R R L R L L
4. Pataflafla
> u
t D t
> u D
> u
t D t
> u D KEY:
÷ 24 œj œ œ œ œj œ œ œ œ œ œj œ ..
j t = Tap
b = Bounced Stroke
L R L R R L L R L R R L
R = Right Hand
or: R L R L L R R L R L L R L = Left Hand

Snare Drum Single Stroke Exercises Summary
Level PRIMER
Snare Drum:
÷ c œœ œ
œ
œ
œ
œ
œ
œ
œ
œ œ
œ
œ œ
œ
œ œ
œ
œ ..
Foot Tap:
÷ c œœ œœ œœ œœ œœ œœ œ œœ œœ œ ..
÷ c œœ œ
œ
œ
œ
œ
œ œœ
œ œ
œ
œ
œ
œ œ
œ ..
Level ONE
Level TWO
÷ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œœ œ œœ œ œœ œ .. œœ œœ œœ œœ
Level THREE
3 3 3 3
÷ c œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
œ œ œ œœ œ œ œ
3 3
÷ c œœ œ
œ
œ
œ
œ
œ œœ
œ œ œ
œ
œ œ œ œ
œ œ ..
3 3
÷ c œœ œœ œœ œœ œœ œœ œ œ œœ œœ œ œ ..
Level FOUR
3 3 3 3
3 3 3 3
÷ c œœ œ
œ
œ
œ
œ
œ œœ œ œ œ œ œœ œ
œ
œœ œ œ
œ
œ œ œ œ
œ ..
6 6
÷ c œœ œœ œœ œœ œœ œ œ œ œ œ œœ œœ œ œ œ œ œ œœ ..
Level FIVE
3 3 3 3
÷ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ
÷ œœ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ
3 3 3 3
÷ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ
÷ œœ œ œœ œ œœ œ œœ œ œœ œœ œœ œœ ..
TECHNIQUE TIPS for CONCERT PERCUSSION
Presenting Fundamentals for: Auxiliary Percussion, Timpani and Mallet Percussion
SUSPENDED CYMBAL
1. Check the felt and tubing before playing. Nothing ruins a suspended cymbal sound more
than metal hitting brass.
2. Prime the cymbal with your fingers or mallets to start it vibrating before the first entrance.
3. When rolling, use a single stroke roll that matches the vibration of the cymbal. It should be
played with yarn mallets hard enough to get a good attack, but soft enough so individual
strokes are not heard. Roll on the very edge of both top sides of the cymbal.
4. For notes that are struck, rather than rolled, use hard yarn mallets on the very edge of both
top sides of the cymbal.
CRASH CYMBALS
1. Use leather straps without cymbal pads, instead of handles, so the cymbals
vibrate freely.
2. For loud (forte) crashes:
a. Hold the cymbals close together at an angle of about 45 degrees.
b. Slightly overlap the top cymbal.
c. Only move the top cymbal for the attack.
d. Pull the top cymbal away from the bottom cymbal after the initial attack.
e. Have the bottom cymbal arch away from the top cymbal, so both cymbals ring freely.
3. For repeated, quick, loud crashes:
a. Hold the cymbals close together at an angle of about 45 degrees.
b. Overlap the bottom cymbal so it sticks out slightly past the top cymbal.
c. Only move the top cymbal for the crash.
d. Different from the loud crash, quickly lift and reposition the top cymbal for the next stroke after
the attack.
4. For soft (piano) crashes:
a. Hold the cymbals close together, so they are almost parallel to the floor.
b. Align the edges of the cymbals.
c. Only move the top cymbal for the cymbal crash.
d. Hit all edges together as softly as possible.
e. For extremely soft crashes, only hit the outside edge.
5. For short, choked crashes:
a. Hold the cymbals at a 90º angle.
b. Overlap the top cymbal.
c. Move both cymbals for the attack.
d. Arch the cymbals back, so they are muffled by the rib cage after the attack.
Copyright © 2011 Wm. S. Quick

TRIANGLE
1. Make sure the triangle clip string is short enough, so the triangle will not spin when struck.
Double string the triangle clip with a slightly longer safety string in case the main one breaks.
2. Strike the triangle with the tip of the triangle beater on the bottom in the spot that gives you
the most harmonics for a “shimmering” sound.
3. Roll in the bottom corner of the triangle at an angle, so the triangle beater hits two sides of the
triangle when struck.
WOODBLOCK
1. Use a medium soft rubber xylophone/marimba mallet for most playing.
2. Strike the woodblock on the edge near the opening.
3. If the woodblock is held while being played, make sure the opening is not blocked.
BASS DRUM
1. If possible, angle the bass drum so it can be played easily with two bass drum beaters on
the same head. If a tilting bass drum stand is not available, put the drum flat on the stand
with the best sounding head facing up.
2. Clip a towel to the rim of the batter head to be used for muffling.
3. Play off center towards the bottom of the head, or edge when the drum is lying flat.
4. Use a single stroke roll that is played slowly enough not to cancel out vibrations of the head.
5. Have a heavier beater for one-handed passages and a lighter, matched pair of beaters for two-
handed passages.
TAMBOURINE
1. Use a tambourine with a good head.
2. Prepare the head using bee’s wax for thumb and finger rolls.
3. Hold the tambourine with the thumb on the top head and the
fingers wrapped around the bottom rim.
4. Do not move the tambourine when it is struck.
5. General tambourine playing:
a. Play with a flat fist striking the center of the tambourine with the second sections of the fingers.
b. Keep the wrist straight.
6. Soft (piano) tambourine playing:
a. Play near the edge of the tambourine with the fingertips touching so they form a flat circle.
b. Make sure the jingles sound together.
7. Extra soft (pianissimo) tambourine playing:
a. Flip the tambourine over, resting it on the knee.
b. Rest the palms of the hands on the rim of the tambourine.
c. Play with the inside of the fingers on the rim.
8. Extra loud (fortissimo) fast tambourine playing:
a. Hold the tambourine in the strongest hand with the head facing down.
b. Keep the other arm and wrist straight. Form a fist with the hand and hold it inside the
tambourine.
c. Position the tambourine over the knee on the same side as the strong hand.
d. Move the tambourine up and down, so one sound is made when the tambourine hits the knee and
another is made when it hits the fist.
9. Tambourine rolls:
a. Create a roll by making the tambourine vibrate as the thumb slides around the edge of the
head of the tambourine.
b. Create a roll by making the tambourine vibrate as the third finger slides around the edge of the
head of the tambourine. This technique makes it easier to switch from rolled to non-rolled
notes.
c. Shake the tambourine fast enough to create a roll. Strike the tambourine to start the roll.
CLAVES
1. Hold one clave as you would a snare drum stick using a loose matched grip.
2. Hold the second clave near the top with the thumb and pointer finger.
3. Curve the last fingers under the clave so the side of the clave rests on the fingernails.
4. Cup the hand to form a sounding chamber.
5. Strike the claves so they form a 45 degree angle and are free to vibrate.
RHYTHM KODALY SYLLABLES TAKADIMI COUNTING
Duple Time (2/4, 3/4, 4/4)
q ta (tah)
ALTERNATIVE
COUNTING "GORDON" ta (tah)* 1
ry ti-ti (tee-tee) ta-ti* ta di 1 + (an)
h ta-ah ta 1-2
h. ta-ah-ah ta 1-2-3
w ta-ah-ah-ah ta 1-2-3-4
sh or ts, sh-m,
EQHW sh-m-m-m, ts-ts, (ta) rest
ts-ts-ts-ts**
q. e ta-i-ti ta-(ah)-ti ta _____ mi 1 _ (2) +
eq e syn-co-pa ta di ___ mi 1 an_da
dffg ti-ri-ti-ri ta-ki-ti-ki* ta ka di mi 1e+a
rdg ti-ti-ri ta-ti-ki* ta __ di mi 1_+a
dgy ti-ri-ti ta-ki-ti* ta ka di _ 1e+_
r.g tim-ri ta-kim* ta ___ mi 1 a
dy. ti-rim ta-kim* ta ka ___ 1 e ___

Compound Time (6/8, 9/8, 12/8)
rty tri-po-let ta ki da 1 an da
rtyrty ti-ti-ti ti-ti-ti ta-ti-ti ta-ti-ti ta ki da ta ki da 1 an da 2 an da
q eq e ta-ti ta-ti ta _ da ta _ da 1 __ da 2 __ da
eq eq ti-ta ti-ta ta ki __ ta ki __ 1 an __ 2 an __
q. q. ta- ta- tam - tam ta ta 1 ____ 2 ____

* Ta is always on the beat, no matter what rhythmic value in these examples.
** The whole rest equals one entire measure regardless of the time signature.
(i.e. 2 beats in 2/4 time, 3 beats in 3/4 time, etc.)
© 2018 The Salvation Army
Version 10.09.18

Metodo de Tecnica para Tambor

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Student Form

METHOD BOOK - Exercises to be completed before evaluation.

RUDIMENTS - Skills to be mastered before evaluation.

TECHNIQUE - Skills to be mastered before evaluation in

auxillary percussion, timpani and mallet instruments.

THEORY - Completed at level, correlated with Theory

SOLOS - Two solos on snare drum taken from the

ENSEMBLE - Signature of corps music leader indicating

SIGHT-READING - At grade level, must be 90% correct.

Pages 9-11 Rudiment PA Quarter notes and rests,

Rudiments PB1, PB2, PB3

Pages 28-31 Rudiment PC

Pages 32-35 Rudiment PD

Pages 37, 41-42

Recommended Level PRIMER Solos

Easy Rudimental Solos for Snare Drum, Jeffrey Funnell

excellence in Theory, 1st Level PRIMER Solo __________

Pages 6-9 Learn difficult spots and work up to __________

Pages 10-13 Add dynamics and consider stage presence __________

2nd Level PRIMER Solo __________

Pages 17-20 Learn difficult spots and work up to __________

Public Solo Title: ______________________________________________ Date Completed: ___/___/___

Evaluation Solo Title: __________________________________________ Date Completed: ___/___/___

Corps Leader: _________________ Year: _____

Evaluation Score:__________ Date: __________

Percussion Level PRIMER Completion: ________________________ ____________

Pages 20-26 Rudiments 1A2, 1A3

Pages 67-70 Rudiment 1C 5 stroke patterns with

Pages 71-74 Review

Recommended Level ONE Solos

excellence in Theory, 1st Level ONE Solo __________

Pages 26-29 Learn difficult spots and work up to __________

Pages 35-37 2nd Level ONE Solo __________

Pages 38-41 Learn difficult spots and work up to __________

Pages 4 and 14 __________

Public Solo Title: ______________________________________________ Date Completed: ___/___/___

Evaluation Solo Title: __________________________________________ Date Completed: ___/___/___

Corps Leader: _________________ Year: _____

Evaluation Score:__________ Date: __________

Percussion Level ONE Completion: ____________________________ ____________

Rudiment 2B Pages 11-13

Rudiment 2C Pages 14-16

Rudiments 2D1, 2D2

EVALUATOR EVALUATOR EVALUATOR EVALUATOR

__________ __________ __________ __________

Recommended Level TWO Solos

Winning Snare Drum Solos for the Beginner, Thomas Brown

Easy Rudimental Solos for Snare Drum, Jeffrey Funnell

excellence in Theory, 1st Level TWO Solo __________

Pages 7-8 Learn difficult spots and work up to __________

Pages 9-13 Add dynamics and consider stage presence __________

Pages 14-19 2nd Level TWO Solo

Pages 25-29 __________

__________ Public Solo Title: __________________ Date Completed: ___/___/___

One solo should be on snare drum and Ensemble: _______________________________

Percussion Level TWO Completion: ____________________________ ____________

__________ __________ __________ __________

Recommended Level THREE Solos

Here's to the Ratamacue, John Pratt

Public Solo Title: ____________________________________________ Date Completed: _/_/_

Evaluation Solo Title: ________________________________________ Date Completed: _/_/_

Corps Leader: _____________ Year: _

Evaluation Score: Date:

Percussion Level PRIMER Completion: ____________

Public Solo Title: ____________________________________________ Date Completed: _/_/_

Evaluation Solo Title: ________________________________________ Date Completed: _/_/_

Corps Leader: _____________ Year: _

Evaluation Score: Date:

Percussion Level ONE Completion: ________________

Public Solo Title: ______ Date Completed: _/_/_

Percussion Level TWO Completion: ________________

Percussion Level THREE Completion: ______________

Public Solo 2: _ Title:________

Percussion Level FOUR Completion: ___________

Percussion Level FIVE Completion: ____________

dy. ti-rim ta-kim* ta ka _ 1 e _

q. q. ta- ta- tam - tam ta ta 1 2