NUM BRUM - 2

SERCUSSION III - TIMPANI

,r
- Iuist-upon tuning the drums even if there are no related tones. At measure 13 (fp) first strike the drum
and -then allow the head to vibrate freely until it reaches the dynamics of piano. Without breakingthein-
itial tone, the roll should then begin softly.

PERCUSSION IV - TOM TOM

At measure 35, the rim of the drum should be struck with drum sticks. The toar tom is struck with the
shoulder of the stick or the tapered section leading from the bead or tip. Dynamics should be observed
closely. Substitute quarter notes if the roll indicated in measures 44 and 45 is not adequately smooth.
Rolling will often cause the student to lose count. Encourage practice in order to maintain the beat..
Medium fas t
2 3 6
Snares on
SNARE BRUM
9 a-
BASS DRI1M
jr r rr
TOM TOM Bff

TIMPANI
)3 -
ttr MIL

8
7 8. A A 9 10 11

,_

'r r frrrr
r
AAAA
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4
d.
J o o
-.I

0
"-----.
o
4
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.-
.0

f A A d}rrr1.-with mallet ...

,. .1 . ... _ J J_ - -
)o -, _... 9 >

12 13 14 15 18
17
Sn.ares off
A ... di OA . ._. J O dr- orm a
A

P. .
Choke fi
ff 71W
, I 7 1 1 , i 1
. _
o fr

1 1 -,----_ o 4:1 -- ---

18
fP
19

To B.D

24 28 27
23 25

9:
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1MM

r r (t- Mai

r
A A A A
al
I m
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a

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r r
11
 HUM DRUM - 3
A 28 A A 29 30 31
32
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ct ,t
A A
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a MIR

0
1
33 35
34 36
Qn rim 37
r
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xf x
Mi

On rim A
r
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38 39 40 41
7 r", 42
4 I t

IP
4#

~mi

43 44 45 48
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ly
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48 49 51
50 52

a a

r"
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7
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53
54 58 86 87

IIIIIIII...11111~1111
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12
 HUM DRUPA - 4

ea
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PP
PRJ

SOLO BELL
us4!r1ts Page 10)
Place the music stand near the keyboard so that the music and keys will not be too far apart.

If bells are placed on a table, check for proper playing height. Often the bell player is bending over
a low keyboard, making it impossible to see either music or conductor.

Recommended mallets for this bell solo are those nade from brass. Remember that orchestrabells are played
with metal mallets, such as brass, since the bars are made of stainless steel.

If the bars are nade of aluminum (i.e., marching bell lyres), do not use metal mallets; instead, hardrub-
ber mallets are advised.

Keyboard percussion instruments should be played by alternating the mallets in a hand-to-hand fashion.
Two mallet playing is essential. Pay close attenton to the suggested malleting symbols (L.left and
R.right).

Demonstrate the various mallet sounds that can be obtained on bells.

PERCUSSION I - BELLS
(With optional mallet instrument accompaniment.)

PERCUSSION II - TRIANGLE
Since the triangle should not overshadow the bell tone, a light triangle beater is important. Throughout
letter "A", allow the triangle to vibrare freely except in the second ending when, for adulltone, the hand
should hold the triangle near the top. This effect lasts until letter "C".

PERCUSSION III - TAMBOURINE

For the jingle sound, hold the tambourine in the left hand and strike it near the rim with theright. Main-
tain this sound until the last note when the player slaps the center of the head with the right hand open-
palm.

PERCUSSION IV - SUSPENDED CYMBAL (SNARE DRUM) - TIMPANI

Suspended cymbal and snare drum should be placed side by side. Using two wire brushes at the 9th measure,
play the top notes with the brush handle near the cymbal dome or center; for lower notes, strike the edge
with brush wires.

The roll sign notation for brushes indicates a brush scrape instead of a roll. Letter "C" is played with
brushes on the head in a single stroke fasfilon.

Care should be taken to keep the timpani well balanced with the dynamics of the other instruments in the
ensemble.

13