This exercise is a good warm-up for practicing tone quality and pedaling changes. It goes through the circle of fifths, and each section incorporates the tonic and dominant of the key. Like the other “12 Bucks” exercises this week, today’s timpani exercise can be played individually or with a group of percussionists.
This exercise can be played on three drums, but four will be easier. The rhythms are not overly difficult, so it’s a good opportunity to focus on drawing a full tone from the drum on every stroke. When playing with a group, you may want to use a medium hard mallet to produce slightly sharper articulation.
The main challenge on this exercise will be the pitch changes. Gauges will certainly make the changes easier, but a well-trained timpanist can learn to “feel” the next pitch as he or she becomes more familiar with the specific set of drums used. As always, use your ear and learn to adjust quickly, whether you have gauges or not.
I live near the Dallas/Ft. Worth metroplex in Texas. One of the most popular drum line contests in this area is the Plano Drum Line Competition, which is held every year in September. In addition to offering the opportunity for dozens of drum lines to compete, Plano’s contest also features an individual & ensemble competition. For each instrument, there is a “compulsory” that is to be performed before the contestant’s solo. For snares and tenors, they must open and close a flam drag. For timpani, they must perform “My Country, ‘Tis of Thee” on a maximum of three drums. For four-mallet keyboard percussion, they are required to play the above double lateral exercise.
When I first saw this exercise, I really liked it. I wondered how the contest hosts had decided to use it. Well, this past year, I decided to start working through every exercise in Leigh Howard Stevens’ classic Method of Movement for Marimba. (Of course, I had played from various sections before, but never in such a focused and goal-oriented way. This time I was determined to play through the entire book.) Lo and behold, this exercise is in the book’s section on double laterals.
I offer this bit of personal background info just to let you know why this exercise has stuck with me. I’m glad it has. It really is a great exercise for working double laterals across the keyboard. I recommend starting it slowly until you feel confident in each position. It is probably easiest to memorize the pattern. Focus on striking the bars on the proper beating spots. Also take care that each note resonates at an equal volume. Don’t drop the second note of each lateral!
This exercise is obviously written for marimba, but it can also be played on xylophone and vibraphone. For xylophone, simply play the exercise an octave higher. For vibraphone, transpose the exercise up a minor seventh. That is, take it up an octave, and then take it down a whole step, so that your first four notes are F, B-flat, B-flat, F.
Here is a playlist Andrea Centazzo’s World Percussion Christmas. All 10 tracks are arranged in different styles with different world percussion instruments. (I particularly like the rainy “O Holy Night” and the taiko-style arrangement of “The Little Drummer Boy.”) Enjoy!
Merry Christmas and Happy Holidays from Rudimental University!
I got a CD of the University of Oklahoma Percussion Ensemble several years ago, and it is one of my favorite Christmas albums of all time. I believe it has a lot of mass appeal; it should be of interest to an audience of more than just percussionists. The all-percussion arrangements of different Christmas carols are excellent. Each arrangement is unique and original while always retaining a certain level of sophistication. The album strikes the perfect balance between interestingly energetic and calming background music.
I cannot find a site that currently sells the CD (please leave a note in the comments section if you know of one). However, OU Percussion Press has sound files of every track available on their website: http://oupercussionpress.squarespace.com/catalog/ Just scroll down about two-thirds of the way until you see a section entitled “The Christmas Series.” All of the tracks are listed in order. Even better, you can purchase the full score and parts on their site to perform with your group. (I have performed two of them with a high school group in the past, and they were a lot of fun!)
Here is the track list:
I Saw Three Ships
Away in the Manger
Christmas Medley (Joy to the World/ God Rest Ye Merry, Gentlemen/ O Little Town of Bethlehem/ What Child Is This?)
All this week, we are featuring percussion arrangements of Christmas and holiday music. These two performances by the drum line and percussion ensembles at the University of North Texas are from a December 2016 concert. Enjoy music from “The Nutcracker” and “Frosty the Snowman.”
Many of you have time off from your normal schedule during this holiday season, and it’s a great time for practicing. If you need some material, there are quite a few exercises already posted on Rudimental University. This week, however, we’re going to take a break from the usual exercises and articles and just enjoy some percussion performances found on the Web. Today’s featured performance is the Belmont Percussion Ensemble’s unique twist on an arrangement of a Christmas classic entitled Patapan.
This is a fun exercise for keyboard percussion that focuses on the “doubles rudiments” of four-mallet playing. I regularly use it with the high school where I teach. During marching season, our front ensemble uses it to work on double vertical strokes (measures 1-4) and double lateral strokes (measures 5-end).
Additional stroke types are used for transitions—single alternating strokes (ex: measure 5, beat 4) and triple lateral strokes (ex: measure 6, beat 4). These short occurrences frequently happen in actual musical situations, so it’s good practice for being able to switch quickly between stroke types.
Take care to achieve a full sound on every note. The double verticals should strike exactly together, and the double laterals should have a clear, consistent sound. Make a clear difference between the accented and non-accented notes at the end. Do not get sloppy on the non-accented notes. Keep the continuous 16th notes precisely in time.
When you can play this entire exercise with great consistency of sound, you will have a pretty solid grasp of the fundamental “doubles” strokes of four-mallet keyboard percussion. Enjoy!
Greetings! My name is James Christian, and I am the founder of Rudimental University. I am a percussionist, teacher, and author, and my specialty is rudimental drumming. I am best known for being the seven-time DCA multi-tenor drum champion (2001-2007). However, I do not consider myself as merely a “tenor drummer.” I am a drummer and a percussionist, and I love every aspect of percussion. I hope this site will provide valuable resources and inspiration for both percussionists and percussion instructors.
The site’s name, Rudimental University, has its origins in rudimental drumming, but I intentionally did not name it Rudimental Drumming University. All percussion instruments have essential rudiments that must be learned, and they can all be taken to extremely advanced levels. This site is a celebration of the rudiments of all percussion. I chose to call it a “university,” because I want this to be a place of learning, sharing knowledge, and being exposed to new ideas. I plan to bring along other percussionists who will offer different perspectives—including those who may disagree with me on certain issues.
I have big plans for Rudimental University, which I will reveal over the weeks, months, and years to come. Go ahead and bookmark the site, and check back over time as new features are added. I hope you will join me on a new percussion adventure!
