Progressive Solos for Snare Drum
There is no instrument so simple yet so demanding as the mighty snare drum. It's at the core of everything we do as percussionists. That's why we desperately need solos that are both exciting and accessible to young performers. In ‘Progressive Solos for Snare Drum’, John Beck has done it, composing three pieces that are fun, creative and simple enough to perform in the early years. As a bonus, you're actually getting three lots of three solos because the suggested tempos suit players in Grades 1, 2, or 3. Score!
The first solo, ironically called ‘The Two's’, is a mix of quavers, semiquavers, accents and ruffs. It's namesake is likely down to the 2/4 meter. It also features two tones, the punchy timbre of the standard beating spot and a thinner sound obtained at the resonant edge. Right off the bat, Beck dodges convention and showcases the different colours achievable on a single drum! Packed with unique stickings, contrasting dynamics and echoing themes, ‘The Two's’ is a zesty aperitif for what's to come.
Students getting cocky now that they've mastered two tones? Great ready for three! ‘The Chase’, the second étude, requires striking dead centre for a thick stocky timbre. As the name implies, it's a game of ‘cat and mouse’, where three tones follow one another round and round in sets of crochets, quavers, and semiquavers. The whole thing culminates in a series of syncopated accents racing in circles to the final stroke. One might call it mass hysteria!
The name of the third and final étude, ‘A Flam Accent Fantasy’, conjures up exactly the kind of daydreaming you want to encourage in class. Not one to disappoint, Beck ups the ante by introducing the coveted flam accent, a prized rudiment for any young drummer. However, there's a twist! The performer must play with right hand in the centre and left hand on the rim, then switch. The result is a clever weave of 6/8 and 3/4 meter. Groove is king right down to the last note and as 6/8 meets 3/4, the magic happens.
Play Drum kit, Timpani and Percussion: Books one and two
The longwinded title of these books almost put me off, I'm glad it didn't. Instead, I found them surprisingly charming. Beginning with the first volume, each lesson was seasoned with a pinch of personality. Enough to elicit a smile, but not so much as to feel over-done. The trick is in the doodles. Rather than the usual wordy explanations followed by exercises, our authors have chosen a more personal approach. Garraway and Stanley pop up every so often in the form of comic book caricatures offering helpful tips and tricks to the learner. Why read a pesky paragraph when you can munch on snack-sized sentences as you go along?
I found that these doodle dudes have done a clever job with the daunting task faced by any percussion teacher. How do you teach a new student how to play four instruments at once? Most books cover depth over breadth, tackling one instrument per volume and leaving the beginner feeling overwhelmed. Too many books to buy! Too many instruments to practice! In this case Garraway and Stanley have organized everything into one spiral-bound, glossy-covered compendium. It's cute and practical. Each module starts with rhythmic fundamentals on snare drum and progresses to drum kit, tuned, and timpani. By the end of the first module your primary percussionist should have the skills to play simple parts on each of the core instruments.
We all know post-millennial students gravitate toward lessons that are quick, simple and engaging. This book won't disappoint. Building on familiar concepts like body percussion and rhythmic sayings, Garraway and Stanley ease the learner into new material. Module One has a focus on improvisation and creativity, challenging students to ‘compose a four-bar melody’ or ‘improvise your own fill’. Module Two covers a broad array of styles with tunes ranging from Afro-Cuban to Gospel. The best is saved for last, a bonus ensemble section. Here students can put their new skills to use, performing short songs from various regions including Africa and Brazil. It seems Garraway and Stanley have struck a chord with this book. It's a fun, fundamental, and inclusive approach to music-making. Just right for a progressive new generation of kid percussionists.
The duo are right back at it with Book Two. Only this time, they've rolled out a more sophisticated edition. Module Three is all about high schoolers and it gets to the point – how to be the solid player your bandmates can trust. Hooray for peer approval! This book is brimming with efficient practice habits, historical factoids, and rocking duets delivered in the signature brand: more music, fewer words. We still encounter helpful tips and tricks along the way, just sans comics.
The Drum Kit Module Three is a big thumbs up from me. The highlights are in its suggested listening: Metallica, Motorhead, Chaka Khan, Gloria Estefan, Deep Purple, Red Hot Chili Peppers, and more. études draw on influences from artists the students already know (or darn well better!). A particularly good romp was a tune called ‘Jimmi Brown’. Yep, it's just as you thought, a Jimi Hendrix and James Brown mixup. ‘Jimmi Brown’ sports a funky beat at a playable tempo, solid backing track, and lots of room to put students creativity to work. Rhythm slashes indicating how to develop the part give the student total creative control for five whole bars. Teenage drummers should heed the warning given to Spiderman though – with great power comes great responsibility.
True to form, the authors have included an awesome array of styles, grooves, and examples from all spheres of music. The cool thing is, artist-driven repertoire doesn't stop with the drum kit. The tuned and timpani sections feature classical favorites like ‘Minuet in G’, ‘William Tell Overture’ and The Magic Flute. Contemporary music fans need not fear, if you listen closely there's a tip of the hat to Coldplay's ‘Viva La Vida’ in the pop chords section.
Hang on, what about high school beginners? The duo has you covered. Each section begins with handy reminders of the concepts from Book One. New recruits can skim the first two modules and use reminders as a starting point for Book Two. But wait, there's more… a timpani and drumset duet!? ‘Bing Bonga Bing Bong’ could be the only timpani and drum kit duet ever written. I certainly hadn't seen one before, but somehow it seems just the ticket to entice two raucous drum-loving teenagers to ‘smash it’ (artistically of course). If that's not enough to get their blood pumping, take a look at the final showpiece, a taiko tune called ‘Momentum’. Music teachers beware, this book will have your classroom crawling with deafening drummers hard at work!
