Required Music List for Percussion Events

Required Music List
Group I
PERCUSSION EVENTS
2007-2008 2012-2013
This Association is governed by an elected State Board consisting of three

music teachers and one school administrator from each of the eight zones in
Indiana. Rules and Regulations of all events are determined through
procedures as prescribed in the ISSMA Music Festivals Manual.
All festivals are administered and coordinated through the ISSMA office.
Please direct all inquiries to:
Indiana State School Music Association, Inc.
www.issma.net
All Directors Please Note

It is important to refer to the Solo and Ensemble required manuals listed on
the official ISSMA web site to validate and retrieve the most current
information. Any publication posted on the ISSMA, Inc. website will
supersede any previously printed edition.
TABLE OF CONTENTS
Acknowledgements... 4
Drum Set Solo Event No. 99
5-6
Mallet Solo (Xylophone, Marimba, Vibraphone) Event No. 100..6-7
Glockenspiel or Bell Lyra Event No. 101 for Groups IV and V only
7
Snare Drum Solo Event No. 102 7-9
Timpani Solo Event No. 103
9-12
Multiple Percussion Solo Event No. 104....12
Multi-Tenor Solo Event No. 105
12
Percussion Ensembles Event No. 110 (3 to 6 performers). 12
Mallet Ensembles Event No. 111 (3 to 6 performers)
12
Large Mallet Ensembles Event No. 112 (7 to 20 performers)12
Large Concert Percussion Ensembles Event No. 113 (7 to 20 performers)
12
Rudimental Drum Ensembles Event No. 114 (3 to 6 performers). 12
Large Marching Percussion Ensembles Event No. 115 (7 to 20 performers)
12
Specifics for All Percussion Ensemble Events 13-14
Guideline for Stick and Mallet Selection
15-16
Required Music Selections
Drum Set Solos Event No. 99.. 17
Xylophone, Marimba, and Vibraphone Solos Event No. 100
17-19
Snare Drum Solos Event No. 102.. 19-21
Timpani Solos Event No. 103
21
Multiple Percussion Solos Event No. 104.. 21-22
Multi-Tenor Solos Event No. 105
22
Percussion Ensembles Event No. 110 22-23
Mallet Ensembles Event No. 111
23-24
Large Mallet Ensembles Event No. 112.. 24
Large Concert Percussion Ensembles Event No. 113
24-26
Rudimental Drum Ensembles Event No. 114 27
Large Marching Percussion Ensembles Event No. 115
27
Mallet Scales and Arpeggios. 28
Timpani Roll Requirement
28
Drum Set Rhythmic Patterns
Group I. 29-31
Group II
32-34
Group IV and III.. 35-36
Group V
37
Recommended Supplementary Material 38-43
Snare Drum Rudiments. A-O
The Indiana State School Music Association gratefully acknowledges

the professional efforts of the Percussion Manual Revision Committee
and all the contributors who offered suggestions for this publication.
Jim Williams and his committee devoted many hours in research and
meetings to develop all the material included. This publication
includes the required music selections as well as educational
instructions and explanations to aid teachers and students in their
quest to develop total percussion musicianship.
Percussion Committee
Jim Williams, Chairman - Indianapolis
Penny Dimmick - Butler University
Wilber England - Indiana University
Dan Fyffe - Franklin Central High School, Indianapolis
Herbert Hedstrom - Valparaiso
Erwin Mueller - Ball State University
David Schurger - Indianapolis
Beth Ann Thomas - Indianapolis
Murray Weaver - Penn High School, Mishawaka
Rebekah Weaver - Delta Middle School, Muncie
Gary Wishmeyer - Indianapolis
PERCUSSION SOLO EVENTS

I.
Drum Set Solo Event No. 99

A.
Rhythmic Patterns
1.
Any three of the appended Drum Set Rhythmic Patterns (depending on the Group Level entered)
must be performed from MEMORY.
2.
Group Requirements should be as follows:
3.
B.
C.
a.
Group V will play any three of the following Drum Set Rhythmic Patterns: Rock Time; Jazz Time;
Brush Time; Bossa Nova.
b.
Groups IV and III will play any three of the following Drum Set Rhythmic Patterns: Rock Time;
Jazz Time; Brush Time; Bossa Nova; Cha Cha; Funk; Samba.
c.
Groups II and I will play any three of the following Drum Set Rhythmic Patterns: Rock Time; Jazz
Time; Brush Time; Jazz Waltz; Bossa Nova; Cha Cha; Mambo; Samba; Funk; Beguine.
Performers should continue playing patterns until requested to stop by the judge.
Tuning, Stick Choice, Drum Set-Up

1.
Tuning of an indefinite pitched instrument and size relationship of sticks to that instrument are
extremely subjective. Consequently, the adjudicator should evaluate as to rhythmic articulation and
clarity.
(For stick choice, see appended Guideline for Stick and Mallet Selection. NOT REQUIRED ONLY
A RECOMMENDED GUIDELINE.)
2.
Tune drum set in order of Pitch form highest to lowest snare drum, small tom-tom, large floor
tom-tom, and bass drum.
3.
Drum set set-up should give the performer a comfortable playing position and accessibility to all
pieces of equipment.
Accuracy of Notes and Rhythms

1.
Correct pitches on correct drum.
2.
Correct interpretation of rhythms.

a.
Optional interpretation of eighth and sixteenth notes when applied to jazz phrasing:
(1)
(2)
D.
Interpretation, General Musicianship and Balance of Sound

1.
Correct interpretation of style (jazz, rock, latin, etc.)
2.
Evaluation should be made only on the indicated expression marks.
3.
Additional expression marks may be indicated on the music by the performer or teacher and are
acceptable but not required.
4.
Evaluation of the observation of dynamics.
5.
Balance of sound the ability of the performer to dynamically control the various drums and cymbals
of the drum set (e.g., the bass drum and/or ride cymbal too loud or the small tom-tom too soft)
.
E.
II.
Technique Facility on Set

1.
Matched or traditional grip is acceptable on the drum set.
2.
Technique the ability of the student to perform with skill on the drum set (stiff/relaxed fast/slow).
3.
Facility on the drum set the ability of the performer to get around on the set (smoothly or awkwardly).
F.
General Effect (Preparation) - Evaluation of the performers adherence to the details or aspects of a composition
which results in a fine musical performance.
G.
Time Keeping Evaluation of the ability of the performer to keep a steady beat.
Mallet Solo (Xylophone, Marimba, Vibraphone) Event No. 100

A.
Scales Arpeggios
1.
Three (3) Scales Arpeggios (depending on the group level entered) must be performed from
MEMORY. (See appended list of Mallet Scales Arpeggios for tempi, rhythm options, and range.)
2.
Group Requirements
3.
B.
a.
Group V and IV - Any three scales and arpeggios up to four flats and four sharps. (students choice)
b.
Group III, Scales Arpeggios; C, F, G, B-flat, D, E-flat, A, A-flat, E. (judges choice)
c.
Groups II and I, Scales Arpeggios; C, F, G, B-flat, D, E-flat, A, A-flat, E, D-flat, B, G-flat, F-sharp,
C-flat, C-sharp. (judges choice)
Size of instrument may limit the Scale Arpeggio range with no penalty to the performer.
Choice of Mallets and Correct Playing Area

Considering that the performer has no pre-performance knowledge of the acoustics of the room, the
adjudicator must not allow his evaluation of choice of mallets to be influenced by either excellent or poor
acoustics. (See appended (Guideline for Stick and Mallet Selection. NOT REQUIRED ONLY A
RECOMMENDED GUIDELINE.)
1.
Choice of mallets Considering the highly subjective nature of this area, the adjudicator should base
his evaluation on the following criteria;
a.
Balance of solo with accompaniment.
b.
Dictates of music:
(1) Indicated on the solo
(2) Rhythmic articulation and clarity
(3) Legato, staccato, etc.
(4) See appended Guideline for Stick and Mallet Selection.
2.
C.
D.
E.
a.
Center of bar.
b.
End of bar (not on node).

1.
Correct notes.
2.
Correct interpretation of the rhythms
Expression, Phrasing, Tempo, Dynamics

1.
2.
Additional expression marks may be indicated on the music by the student or teacher and are
Mechanical Skills (Technique) and Physical Approach

1.
F.
Correct playing area
Acceptable grips
a.
Two mallets Traditional grip
b.
Four mallets Traditional, Musser, Stevens, or Burton groups acceptable.
General Effect (Preparation)

Evaluation of the contestants adherence to the details or aspects of a composition which results in a fine
musical performance.
III. Glockenspiel or Bell Lyra Event No. 101 for Groups IV and V only
Groups I, II or III for Event No. 101 have been deleted because of the lack of quality solo literature.
A.
Groups IV and V will perform Scales Arpeggios as listed under Group Requirements for
Events No. 100 (Mallet Solo).
B.
All captions for Events No. 101 are the same as Event No. 100. (See II. Mallet Solo.)
IV. SNARE DRUM SOLO Event No. 102

A.
Rudiments
1.
Three of the Standard 26 American Drum rudiments (depending on the Group level entered) must
be performed from MEMORY. (See appended List of Rudiments and their metronome markings
for each Group level.)
2.
Group Requirements
a.
Group V Any three rudiments (students choice) from the four categories below: Roll
Rudiments, Diddle Rudiments, Flam Rudiments, and Ruff Rudiments. No two rudiments
may be chosen from the same category.
Roll Rudiments: Single Stroke Roll, Long Roll, 5 Stroke Roll, 7 Stroke Roll, 9 Stroke Roll,
10 Stroke Roll, 11 Stroke Roll, 13 Stroke Roll, 15 Stroke Roll.
Diddle Rudiments: Single Paradiddle, Double Paradiddle.

Flam Rudiments: Flam, Flam Accent, Flam Paradiddle, Flamacue, Flam Tap,
Flam Paradiddle-diddle.
Ruff Rudiments: Ruff, Single Drag, Double Drag, Single Ratamacue, Double Ratamacue,
Triple Ratamacue, Drag Paradiddle No. 1, Drag Paradiddle No. 2, Lesson 25
b.
Group IV any three rudiments from the following (judges choice; no two rudiments chosen
from the same category):
Long Roll, 9 Stroke Roll, 5 Stroke Roll, Single Paradiddle, Double Paradiddle, Ruff,
Flam, Flam Accent.
3.
4.
B.
c.
Group III will play any three of the first thirteen (13) Standard 26 American Drum Rudiments,
Single Stroke Roll, 9-Stroke Roll, Single Paradiddle. (judges choice)
d.
Groups II and I will play any three of the Standard 26 American Drum Rudiments. (judges choice)
Acceptable Methods of Demonstration

a.
Fortissimo, gradual decrescendo to pianissimo, gradual crescendo to fortissimo, at performers

maximum controlled tempo. (See appended List of Rudiments for minimum tempi.)
b.
Run-down slow, gradual accelerando to fast gradual ritard to slow. (See List of Rudiments
for minimum fast tempi.)
A uniform rhythm, as specified in the appended List of Rudiments, must be maintained throughout
the demonstration of each rudiment.
Tone, Snare Adjustment, Head Tension

The tuning of a snare or field drum and the size relationship of sticks to drums are extremely subjective.
Consequently, the adjudicator should evaluate this category as to rhythmic articulation and clarity. (See
appended Guideline for Stick and Mallet Selection. NOT REQUIRED ONLY A RECOMMENDED
GUIDELINE.)
C.
Rhythmic Accuracy
1.
Rudimental Solos
a.
Correct interpretation of the 7-Stroke Roll:
(1) Short 7-Stroke Roll
(2) Long 7-Stroke Roll
(Tempo and uniformity are governing factors.)
b.
2.
Correct interpretation of the 15-Stroke Roll:
Jazz Style Solos in a Moderate Tempo

a. Optional interpretation of eighth and sixteenth notes when applied to jazz phrasing:
(1)
(2)
D.
E.
Expression, Phrasing, Tempo, Dynamics

1.
2.
Additional expression marks may be indicated on the music by the performer or teacher and are

1.
Acceptable hand positions:

a.
b.
2.
Angle of the drum should be compatible with the hand position; however, drum angles are extremely
subjective. Consequently, the judge should evaluate this category as to rhythmic articulation and
clarity. The suggestions regarding playing surface angle are only a guide.
a.
b.
3.
F.
Traditional (Unmatched)
Matched (Left hand identical to the right hand of the traditional grip)
Traditional Playing surface should be slanted, high side to the players left.
Matched Playing surface should be horizontal.
Style of the rolls used (rudimental or multiple-bounce) must be consistent with the style of the solo
or as indicated by the composer.

Evaluation of the performers adherence to the details or aspects of a composition which results in a fine
V.
Timpani Solo Event No. 103

A.
Tone and Tuning

1.
Tuning Requirements
a.
Groups V and IV Tune pitches needed in performers solo.
b.
c.
Group III Tune an interval of a perfect fifth up from one of the following initial pitches:
G, A-flat, or B-flat. (judges choice)
1)
G to D
2)
A-flat to E-flat
3)
B-flat to F.
Groups II and I Tune one interval, either a major third, perfect fourth, or perfect fifth up
from an initial pitch of G, A-flat, or B-flat. (judges choice)
1)
2)
3)
d.
Major third
(a)
G to B
(b)
A-flat to C
(c)
B-flat to D
Perfect fourth
(a)
G to C
(b)
A-flat to D-flat
(c)
B-flat to E-flat
Perfect fifth
(a)
G to D
(b)
A-flat to E-flat
(c)
B-flat to F
Adjudicators will indicate the initial pitch to be tuned on timpano 2. (The performer will utilize an
accepted pitch source to obtain initial pitch.) The second pitch of the interval requested by the
adjudicator is to be tuned on timpano 3 without further assistance, i.e., by ear.
2
B.
(set of timpani)
2.
Tuning of the timpani will be accomplished from memory solely by the performer.
3.
Acceptable pitch sources:

a.
Pitch pipe (unaccompanied solo)
b.
Tuning fork (unaccompanied solo)
c.
Accompanying instrument (accompanied solo).
Roll Requirement
The Roll Technique exercise (see appended Timpani Roll Requirement) is to be performed from
memory on a pitch determined by the tuning requirements of V-A-1.
10
C.
Choice of Mallets and Correct Playing Area

Considering that the performer has no pre-performance knowledge of the acoustics of the room, the
adjudicator must not allow his evaluation of choice of mallets to be influenced by either excellent or poor
acoustics. Choice of timpani mallets for a particular solo is extremely subjective. Consequently, the
adjudicator should evaluate as to rhythmic articulation and clarity. (See appended Guideline for Stick
and Mallet Selection. NOT REQUIRED ONLY A RECOMMENDED GUIDELINE.)
1.
Objective criteria to be used to evaluate this area:

a.
Balance of solo with accompaniment
b.
Dictates of music:
(1) As indicated on the music
(2) Rhythmic articulation and clarity
c.
2.
See Guideline for Stick and Mallet Selection.
Correct Playing Area

a.
The general playing area approximately four to five inches from the edge of the kettle.
b.
Dictates of the music:
(1) Legato General playing area used

(2) Staccato Playing area may be moved slightly toward the center of the kettle
(3) Pianissimo Playing area may be moved slightly toward the edge of the kettle
(4) Special effects As indicated on the solo.
D.
E.
F.

1.
Correct notes and/or pitches on kettles.
2.
Correct interpretation of the rhythms.
Expression, Phrasing, Tempo, and Dynamics

1.
2.

1.
Acceptable grips
a.
Matched
b.
Thumbs up:
(1) French-- Use of finger for impetus
(2) German Use of wrist for impetus.
11
G.

Evaluation of the performers adherence to the details or aspects of the composition which results in a fine
VI. Multiple Percussion Solo Event No. 104

A.
B.
Tone and Tuning

1.
No requirement for tuning, rudiments, or Scales Arpeggios in the Multiple Percussion event.
2.
Tuning of an indefinite pitched instrument and the size relationship of sticks to that instrument are
clarity.
All captions for Multiple Percussion Solos other than tone and intonation will be the same as for
the Timpani Solo Event.
VII. Multi-Tenor Solo Event No. 105

A.
B.
Tone and Tuning

1.
No requirement for tuning, rudiments, or Scales Arpeggios in the Multi-Tenor event.
2.
Tuning of an indefinite pitched instrument and the size relationship of sticks to that instrument are
clarity.
All captions for Multi Tenor Solos other than tone and intonation will be the same as for
the Timpani Solo Event.
PERCUSSION ENSEMBLE EVENTS

I.
Percussion Ensembles Event No. 110 (3 to 6 performers)
II.
Mallet Ensembles Event No. 111 (3 to 6 performers)

Small Ensembles shall perform without direction. Small ensembles that are directed by an individual from
any place in the audition room shall be penalized one division rating except that a student director is
permitted when he/she is a performing member of the small ensemble.
III. Large Mallet Ensembles Event. No. 112 (7 to 20 performers)

IV. Large Percussion Ensembles Event No. 113 (7 to 20 performers)
Large Ensembles (Events 112, 113, and 115) may be directed by a student director who might or might not be a
performing member of the ensemble.
V.
Drum Ensembles Event No. 114 (3 to 6 performers)
VI. Large Marching Percussion Ensembles - Event No. 115 (7 to 20 performers)
12
SPECIFICS FOR ALL PERCUSSION ENSEMBLE EVENTS
A.
Tone and Intonation

(Refer to this category under Snare Drum Solo, Mallet Solo, Timpani Solo, Multiple Percussion Solo,
Multi-Tenor Solo, and Drum Set Solo.)
B.
1.
Tuning of an indefinite pitched instrument and the size relationship of the sticks to that instrument are
clarity.
2.
Tune drum set in order of Pitch from highest to lowest snare drum, small tom-tom, large tom-tom,
floor tom-tom, bass drum.
3.
Appropriate substitution for unique and difficult to obtain instruments is acceptable without penalty.
Set-Up, Choice of Mallets, Sticks, Beaters and Correct Playing Area

1.
Considering the vast choice of beaters, mallets, and sticks available and the extreme subjectivity of
this area, evaluation should be made according to rhythmic articulation and clarity. (See appended
Guideline for Stick and Mallet Selection. NOT REQUIRED ONLY A RECOMMENDED
GUIDELINE.)
2.
Correct playing area:
3.
C.
D.
a.
Mallets center of bar or end of bar (not on node)
b.
Timpani General playing area, approximately four to five inches from the edge of the kettle
c.
Snare Drum Dependent upon dynamic level desired or dictates of music.
Set-up:
a.
All instruments should be easily accessible to the performer
b.
Section leader should be visible to all musicians.
Accuracy of Notes, Rhythms and Precision

1.
Accuracy of Notes Drum set notation is generally written considering the placement of the drums
rather than the pitch of the drums themselves and is not standardized. Therefore, the adjudicator
must refer to the music for its legend and correct interpretation.
2.
Correct notes performed on mallet instruments.
3.
Correct pitches performed on timpani.
4.
Correct interpretation of the rhythms.
Expression, Phrasing, Tempo, Dynamics and Balance

1.
2.
3.
Evaluation of tempos played and the observation of dynamics.
13
E.
F.

1.
Refer to this category under the Snare Drum Solo, Mallet Solo, Timpani Solo, Multiple Percussion Solo
and the Drum Set Solo.
2.
Matched or traditional grip acceptable.

Evaluation of the performers adherence to the details or aspects of a composition which results in a fine
14
GUIDELINE FOR STICK AND MALLET SELECTION

There is an infinite number of possibilities to choose from when selecting mallets and sticks. The following
suggestions are meant only as a guide. These selections are NOT required. The committee is only attempting to
aid the non-percussionist music educator and his students.
Considering the highly subjective nature of this area, the selection of sticks and mallets should be based on:
A.
Balance of solo with accompaniment
Dictates of the music:

1.
2.
3.
Indicated on the printed solo or ensemble part

Rhythmic articulation and clarity
Striving to obtain legato, staccato, etc.
Many fine stick and mallet manufacturers are in operation today. However, the following list has been compiled
for the sake of reference.
SUGGESTED STICKS AND MALLETS (only suggestions; not required)

Snare Drum Sticks (Concert Use)
Innovative Percussion IP1

Pro-Mark SD-1 (general)
Vic Firth SD-1 (general)
Pro-Mark OWL (light)
Vic Firth SD-2 (light)
Snare Drum Sticks (Drum Set Use)
Vic Firth 5A
Pro-Mark 5A
Timpani Mallets
Grover TM4 (cartwheel-soft)

Vic Firth T2 (cartwheel-soft)
Grover TM1 (general)
Vic Firth T1 (general)
Grover TM2 (staccato-hard)
Vic Firth T4 (ultra-staccato-very hard)
Xylophone
Innovative Percussion IP 901 (soft)

Vic Firth M14 (soft)
Pro-Mark PK63
Innovative Percussion IP 902 (general)
Vic Firth M6 (general)
Pro-Mark PK60 (general)
Innovative Percussion IP 905
Vic Firth M7 (loud)
Pro-Mark PK61 (loud)
Bells/Glockenspiel

Innovative Percussion IP 906 (general)
Innovative Percussion IP 907 (brass-loud)
Vic Firth M11 (brass-loud)
Pro-Mark PK62 (brass-loud)
15
Marimba

Vic Firth M1 (soft)
Pro-Mark PSM10 (soft)
Innovative Percussion IP 240 (medium)
Vic Firth M2 (medium)
Pro-Mark PSM25 (medium)
Innovative Percussion IP 400 (hard)
Pro-Mark PSM40 (hard)
Vibes
Innovative Percussion RS 201 (soft)

Pro-Mark PK91 (soft)
Innovative Percussion RS 251 (general)
Innovative Percussion RS 301 (hard)
Vic Firth M9 (loud)
Pro-Mark PK95 (very loud)
Vic Firth M10 (very loud)
Chimes
Grover PM4
Mike Balter CM3
Bass Drum
Vic Firth TG01 (general)

Innovative Percussion CB 1
Vic Firth TG 05 (pair for rolls)
Innovative Percussion CB 5 (pair for rolls)
Gong
Innovative Percussion CG-2 (small)

Mike Balter GM-1 (general)
Innovative Percussion CG-1 (large)
Suspended Cymbal
Various yarn marimba mallets depending on desired

volume and color. Do not use timpani mallets on
suspended cymbals even when noted as such in
the score.
Temple Blocks/Wood Blocks
Pro-Mark PK 21 (soft)
Pro-Mark PK 23 (medium)
Pro-Mark PK 35 (hard)
Innovative Percussion IP 902 (hard)
Bongos
Use fingers when possible (or)

Pro-Mark 716 (timbale stick)
Vic Firth WTAP (timbale stick)
Brushes
Vic Firth WB (general)

Pro-Mark TB3 (general)
Vic Firth BJR (heavy)
16
PERCUSSION SOLOS
GROUP I
REQUIRED MUSIC SELECTIONS
DRUM SET SOLOS
XYLOPHONE - MARIMBA - VIBRAPHONE SOLOS
EVENT NO. 99
EVENT NO. 100
001 Boursault, E./Lefevre, G.-Dechiffrages pour

Batterie, Book 2 (#4, 11, 15, 16, 21, 31)
(any one)
LED
002 Elias, S.-Sieve's Tweed
EDI
003 Fink, R.-Drum Set Suite (any two mvts.)
FIN
004 Henry, A.-C.K.
KAS
005 Holmquist, J.-Drum Set Etudes, Book III
(#1, 2, 6, 7, 9, 10, 14, 17, 18) (any one)
NAK
006 Houllif, M-Afro Cuban
KEN
007 Houllif, M.-Ain't It Rich
KEN
008 Houllif, M.-Con-Fusion
KEN
009 Houllif, M.-El Vino
KEN
010 Houllif, M.-Geneology
KEN
011 Houllif, M.-Homage
KEN
012 Houllif, M.-Just For the Funk Of It
KEN
013 Houllif, M.-Philly
KEN
014 Houllif, M.-Reggae Rock
KEN
015 Houllif, M.-Rudimentary, My Dear Watson KEN
016 Houllif, M.-Samba-ly
KEN
017 Houllif, M.-Shufflin' Feat
KEN
018 Kastuck S.-Syncopated Swing
KAS
019 Keezer, R.-Chop City
KEN
020 Kettle, R.-Blue Rondo a la Max
(9 Solos for Drum Set)
BTP
021 Kettle, R.-For Philly Joe (9 Solos for Drum Set)BTP
022 Kettle, R.-Folk-Cycle (9 Solos for Drum Set) BTP
023 Kettle, R.-Metric Variations (9 Solos for
Drum Set)
BTP
024 Kettle, R.-Snavelying (9 Solos for Drum Set) BTP
025 Kettle, R.-Sonant XVII (9 Solos for Drum Set) BTP
026 Kettle, R.-Trebling (9 Solos for Drum Set)
BTP
027 LaRosa, M.-Drum Set Etude #2
SOM
028 LaRosa, M.-Rhapsody for Solo Drum Set
SOM
029 Morey, C.-All Set
KEN
030 Nearpass, J.-BCR
NEA
031 Nearpass, J.-Dave's Samba
NEA
032 Paul, D.-Bossa Bop
PAU
033 Paul, D.-50 MPH
PAU
034 Paul, D.-For Pete's Sake
PAU
035 Paul, D.-Hang Ten
PAU
036 Paul, D.-3/4 Bop
PAU
037 Perry, C.-Tripling
KEN
038 Snider, L.-To Rock For Admiral Shunk
BAR
039 Stephans, M.-Downside-Up
STD
040 Thompson, R.-Blakey's End (Jazz Solos)
KEN
041 Thompson, R.-Elvin Like
KEN
042 Thompson, R.-Max's Mode
KEN
043 Thompson, R.-Tony's Way
KEN
044 White, E.-Two Sketches
KEN
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
17
Abe, K.-Frogs
Abe, K.-Dream of the Cherry Blossoms
Abe, K.-Michi
Abe, K.-Works for Marimba (any piece)
Albeniz/Stevens-Asturias Leyenda
Bach/Hatch-Fugue II (Bach for the
Marimba)
Bach/Hatch-Little Two Part Fugue
(Bach for the Marimba)
Bach/Hatch-Two Part Invention
(Bach for the Marimba)
Bach, J./Goldenberg, M-Violin Concerto
in A Minor (Modern School of
Xylophone, Marimba, and Vibraphone)
Bach, J. S./Gastyne-Gigot (Vibe)
(Partita in B Flat Major)
Bach, J. S/Moore, J.-Air for the G String
(Bach for Marimba for 2, 3, and 4
Mallet Solos)
Bach, J. S.-Sonata in E Minor
(Masterpieces for Marimba)
Bach, J. S./Moore, J.-Chorale-Kom
Susser Tod (Bach for Marimba for 2,
3, and 4 Mallet Solos)
Bach, J. S./Payson-Two Part Invention
No. 4 (Progressive Studies in Double
Stops)
Bach, J. S.-Concerto in A Minor
(1st or 3rd mvt.)
Bach, J. S./Moore, J.-1st Mvt. from
Brandenberg Concerto No. 2 (Bach
for Marimba for 2, 3, and 4 Mallet
Solos)
Bach, J. S/Moore, J.-Fugue from Sonata
in A Minor (Bach for Marimba for 2,
Bach, J. S./Moore, J.-Jesu, Joy of Man's
Desiring (Bach for Marimba for 2,
Bach, J. S./Moore, J.-Presto from Sonata
in G Minor (Bach for Marimba for 2,
Bach, J. S./Moore, J.-Toccata from
Toccata and Fugue in D Minor
Barnes, J./Maxey, L.-Yorkshire Ballad
for Marimba and Piano
Basta, J.-Concerto for Marimba and
Orchestra (any mvt.)
Bernadin, P.-Sonata for Vibes and Piano
(any two mvts.)
STD
ZIM
MUF
SCH
KPP
MUL
MUL
MUL
CHP
FER
KEN
PRO
KEN
PAY
GSI
KEN
KEN
KEN
KEN
KEN
SMC
MFP
MFP
024 Boo, M.-Pieces of R (a four mallet solo)

PPB
025 Breuer, H-Back Talk (From Mallet
Solo Collection )
ALF
026 Breuer, H.-Bit O'Rhythm (From Mallet
Solo Collection)
ALF
027 Breuer, H.-Encore-Elise (From Mallet
Solo Collection)
ALF
028 Breuer, H.-Happy Hammers (From
Mallet Solo Collection)
ALF
029 Breuer, H.-The 1908 Rag (From Mallet
Solo Collection)
ALF
030 Breuer, H.-On The Woodpile (From
Mallet Solo Collection)
ALF
031 Breuer, H.-Powder Puff (From Mallet
Solo Collection)
ALF
032 Brown, T.-Alone (Mallets in Mind)
KEN
033 Brown, T.-Cuernevaca (Mallets in Mind)
KEN
034 Brown, T.-Dahoon (Suite for Percussion)
(With Piano)
KEN
035 Brown, T.-Inagua (Mallets in Mind)
KEN
036 Brown, T.-Latin Chiffon (Mallets in Mind)
KEN
037 Brown, T.-Marimbato (Mallets in Mind)
KEN
038 Brown, T.-Mexican Murals (any piece)
BEL
039 Brown, T.-Rhumballade (Mallets in Mind)
KEN
040 Brown, T.-Samba Sonic (Mallets in Mind)
KEN
041 Brown, T.-Summer Scene (Mallets in Mind) KEN
042 Brown, T.-Sun Shadows (Vibe)
KEN
043 Brown, T.-Sunday Trolley (Mallets in Mind) KEN
044 Brown, T.-Time Has Come (Mallets in Mind) KEN
045 Burritt, M.-October Night (marimba solo)
LUD
046 Burton, G.-Ajax Men of Science (Vibe)
CMP
047 Burton, G.-Catapult (Vibe)
CMP
048 Burton, G.-(arr.)-Childhood (Vibe)
CMP
049 Burton, G.-Enihs (Vibe)
CMP
050 Burton, G.-A Singing Song (Vibe)
(6 Unaccompanied Solos for Vibes)
CMP
051 Burton, G.-The Sunset Bell (Vibe)
CMP
052 Chopin/Musser-Valse Brillante
FOR
053 Clementi, M.-Spiritoso (Vibe) (Solos
for the Vibraphone Player)
GSI
054 Creston, P.-Concertino for Marimba
(any mvt.)
GSI
055 Debussy, C./Miller-First Arabesque for
Vibes and Piano
LUD
056 Debussy, C./Miller-Second Arabesque
LUD
057 Debussy, C./Pimentel, L.-Le Petit Negre
PPB
058 De Lancey, C.-Rosewood Blues
MPM
059 De Ponte, N.-Concertino for Marimba
STD
060 De Pue, W.-Sonata Primitif
MFP
061 Diemer, E. L.-Toccata for Marimba
MFP,
(Unaccompanied)
PMC
062 Dinicu/Goldenberg-Hora Staccato
CFM
063 Dorn, B.-Step after Step
ADL
064 Eyles/Werle-The Golden Age of Xylophone
MED
065 Feldman, V.-Danny Boy (Vibe)
(All Alone by the Vibraphone)
GWN
066 Fink, S.-Concertino for Vibraphone (Vibe)
WRE
067 Frackenpohl, A.-Introduction and
Romp for Marimba and Piano
GSI
068 Frazeur, T.-The Quiet Place for
Marimba and Piano
KEN
069 Frazeur, T.-Rondo for Marimba and Piano
PMC
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
18
Gomez, A./Rife, M.-Rain Dance

SMC
Green, G. H.-Waltz Brillante
CFM
Green, G. H./Becker-Valse Brilliante
MED
Green, G. H./Cahn-Dotty Dimples
CAH
Green, G. H./Cahn, W. L.-Fluffy Ruffles
CAH
Green, G. H./Eyles, R.-Chromatic Fox
Trot (From Xylophone Rags)
MER
Green, G. H./Eyles, R.-Cross Corners
(From Xylophone Rags)
MER
Green, G. H./Eyles, R.-Jovial Jasper
MER
Green, G. H./Eyles, R.-Log Cabin Blues
MER
Green, G. H./Eyles, R.-Rainbow Ripples
MER
Green, G. H./Eyles, R.-The Ragtime
Robin (From Xylophone Rags)
MER
Green, G. H./Eyles, R.-The Whistler
MER
Green, G. H./Eyles, R.-Triplets
MER
Green, J./Becker, B.-Xylophonia
BEC
Handel, G./Feldstein, S.-Sonata No. 3
(4th mvt.)
ADL
Hatch, E.-Furioso and Valse in D minor
EHA
Haydn, J./Finkel, I.-Divertimento (Vibe)
(Solos for the Vibraphone Player)
GSI
Herold/Luscomb-Zampa Overture
RUB
Houllif, M.-Casper's Dance
KEN
Houllif, M.-Contemplation for Vibraphone
KEN
Houllif, M.-Estudios #1-6 para marimba
(any one)
KEN, PPB
Houllif, M.-Mist (Vibe)
KEN
Houllif, M.-Samba (marimba solo)
STD
Hovhaness, A.-Fantasy on Japanese
Woodprints
EDP
Hulling, C.-A Collection of Marimba Solos
(any one)
LUD
Immerso, J.-Viaggo per Marimba
Irvin, L.-Two Etudes for Marimba (any one) PPB
Kraus, P.-Jan
BEL
Kraus, P.-Just Flippin'
BEL
Kreisler/Green-Caprice Vienois
FOL
Kreisler/Green-Tambourin Chinois
FOL
Kreisler/Green-Liebesfreud
FOL
Kuhlau, F./Finkel, I.-Allegro from
Sonatina No. 1 (Vibe) (Solos for
the Vibraphone Player)
GSI
Kurka, R.-Concerto for Marimba and
WTB
Kuzell, C.-Six Little Pieces for Marimba
(any one or all)
MTP
Lang, M.-Etude #1 and 5 (Both)
(14 Contemporary Etudes)
ADL
Lang, M.-Etude #2, 7, 9 (any two)
(14 Contemporary Etudes)
ADL
Larrick, G.-Marie, A Four Mallet Rag for
Marimba
PPB
Lecuona, E./Peterson, H.-Gitanerias
MAR
Lecuona, E./Peterson, H.-Malaguena
MAR
Lipner, A.-Solo Jazz Vibraphone Etudes
(any one)
LUD
Liszt/Edwards-Rhapsodie Fantasie
RUB
112 Mayuzumi, T.-Concertino for Xylophone

and Orchestra (1st or 3rd mvt.)
CFP
113 Miki, M.-"Time" (marimba solo from
Modern Japanese Marimba Pieces)
TPC
114 Molenhof, B.-A Dancer At Heart
KEN
115 Molenhof, B.-From Music of the Day
(any one)
KEN
116 Molenhof, B.-From New Works for New
Times (any one-except Solo #1)
KEN
117 Molenhof, B.-Kleine Albstadt
KEN
118 Monkman, J.-Parody
TSP
119 Monti, V./Moore, J.-Csardas
PPB
120 Mozart, W./Scarmolin, A.-Allegretto
LUD
121 Musser, C.-Etude in A Fllat, Op. 6, No. 2STD, ALF
122 Musser, C.-Etude in C Major, Op. 6, No. 10STD, ALF
123 Musser, C.-Prelude, Op. 11, No. 3
STD, ALF
124 Musser, C.-Etude in B, Op. 6, No. 9
STD, ALF
125 Nearpass, J.-Border Song
NEA
126 Nearpass, J.-Childlike
NEA
127 Peters, M.-Sonata Allegro for Marimba
and Piano
MTP
128 Peters, M.-Theme and Variations
MPM
129 Peters, M.-Three Pieces for Three Mallets
(any two mvts.)
MPM
130 Peters, M.-Waves (marimba solo)
MPM
131 Peters, M.-Yellow After the Rain for
Marimba
MTP
132 Pitfield-Sonata (any mvt.)
PET
133 Rimsky-Korsakov/Quick-The Flight of
the Bumble Bee
RUB
134 Rosauro, N.-Concert for Marimba and
POP
135 Rosauro, N.-Sonata-The Periods of Life
(any mvt.)
ZIM
136 Rosauro, N.-Suite Popular Brasileira
(any mvt.)
ZIM
137 Samuels, D.-Footpath (marimba solo)
138 Schubert/Quick-Marche Militaire
RUB
139 Schumann/Stevens-Album for the Young
(any piece)
MAP
140 Sholle, E.-The Brook
BPC
141 Sifler, P.-Marimba Suite (any or all)
WIM
142 Skoog, D.-Water and Fire
CNT
143 Smadbeck, P.-Rhythm Song
MAL
144 Smith, S.-Suite Moderne (marimba solo)
PPB
145 Spencer, J.-After the Storm
SPP
146 Spencer, J.-Ask (vibraphone solo)
SPP
147 Spencer, J.-Fire Elves (marimba solo)
SPP
148 Spencer, J.-Icecream (marimba solo)
SPP
149 Spencer, J.-Mountain Stream
SPP
150 Steinquest, D.-Radford Rag
PIO
151 Stout, G.-Andante and Allegro
STD, ALF
152 Stout, C.-Astral Dance
ALF
153 Stout, G..-Elegy
STD, ALF
154 Stout, G.-Two Mexican Dances for
Marimba (any mvt.)
STD, ALF
155 Tanner, P.-Sonata for Marimba and
Piano (any two mvts.)
COP
156 Tschaikowsky/Stevens-Album for the
Young (any mvt.)
STD
157 Ukena, T.-Tempest
SMC
158 Ulrich-Suite No. 1 (Marimba,

Unaccompanied)
MFP
159 Verdi/Edwards-Il Trovatore Fantasie
RUB
160 Virich-Suite No. 1 (Finale)
PMC, MFP
161 Vivaldi/Moore-Concerto in A minor,
Op. 3, No. 6 RV356 (1st mvt.)
PPB
162 Watson, W.-Recital Suite for Marimba
MFP
163 Weber, C. M./Sifert, C.-Invitation to Dance BMP
ORCHESTRA BELLS - BELL LYRA SOLOS

EVENT NO. 101
NO REQUIRED LIST
Entries accepted only in Groups IV & V
(Not a State Event)
SNARE DRUM SOLOS

EVENT NO. 102
001 Abel, A.-Hi Ho Simpson
FMH
002 Abel, A.-Jennifer's Jog
PPB
003 Abel, A.-2040's Sorte
LUD
004 Angelis, N.-Train Wreck (from An Amazing
Collection
of Top Ranking Snare Drum Solos)
TSP
005 Baker, J.-Lonely City Suite (Mvts. I,II,III) (from An
Amazing Collection of Top Ranking Snare
Drum Solos)
TSP
006 Barrett, G.-Rudimental Heights
PPB
007 Beck, J.-Advanced Solos for the Snare Drum
(No. 2 or 3)
KEN
008 Beck, J.-Colonial Capers
KEN
009 Benson, W.-Three Dances for Solo Snare
Drum
CHP
010 Berg, S.-Festival Capers
BOU
011 Berg. S.-Rocky Rhythm
BOU
012 Burns/Feldstein-Soloistic Studies
(Intermediate Drum Method, Pp. 49,
50, 52, 55, 56, 57,58, 59, 60 - any two)
ADL
013 Cappio, A.-Lu-Lu
HMR
014 Ceroli-Trick Stickery
PDS
015 Colgrass, M.-Six Unaccompanied Solos for
Snare Drum (any one)
GSI, LGM
016 Dempsey, T.-Rodent Tomfoolery (from An Amazing
Collection of Top Ranking Snare Drum Solos)
TSP
017 DiBona, E.-Celtic American, The
RLP
018 DiBona, E.-Latin Drum Sargent, The
RLP
019 Duggen, S.-First (The Rudimental Cookbook) RLP
020 Duggen, S.-Method To My Madness
(The Rudimental Cookbook)
RLP
021 Firestone-Etudes for Drum
OOP
022 Firestone-Solo No. 11
OOP
023 Firestone-Tapology
OOP
024 Freytag, E.-And The Kitchen Sink
(The Rudimental Cookbook)
RLP
19
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
065
066
067
068
069
070
071
072
073
074
075
076
077
Freytag, E.-Prattfalls (The Rudimental Cookbook)RLP

Funnell, J.-Corps-Dially Yours
KEN
Gauger, T.-Snare Drum Solo No. 1
PMC, MFP
Gauthreaux, S.-Technica 9
STD
Gilbert, K.-Barney the Pedantic Weasel
KGG
Gilbert, K.-Esoteric 6/8
KGG
Goldenberg, M.-Farfel's Gavotte
CHP
Goldenberg, M.-5/8 Etude
CHP
Goldenberg, M.-5/8 Romp
CHP
Goldenberg, M.-Graduation Etude
CHP
Goldenberg, M.-Ramble Rumple
CHP
Goldenberg, M.-Rim Shot March
MFP
Goldenberg, M.-7/8 Romp
CHP
Goldenberg, M.-6/8 Etude
CHP, MFP
Harber, S.-1/2 Way There
STD
Harris, E. E.-Sonata (The Solo Drummer)
RIC
Harris, E. E.-Theme and Variations
(The Solo Drummer)
RIC
Harris, E. E.-The Yankee Flamdoodle
(The Solo Drummer)
RIC
Helm, D.-The Titan
PIO
Hoey, F.-Jet Age 6/8
SMC
Hoey, F.-Ruff Drag Strip
SMC
Hoey, F.-Unrolly Permutation
SMC
Hurley, M.-Crash Landing (Festival Snare Solos)RLP
Hurley, M.-Mambo King, The (Festival
Snare Solos)
RLP
Hurley, M.-The Phancy Phantom
MHA
Hurley, M.-Phantom of the Phield
MHA
Hurley, M.-Phantom Phire
RLP
Hurley, M.-Phantom Phrenzy
MHA
Hurley, M.-Scud Attack (Festival Snare Solos) RLP
Hurley, M.-Tower of Terror
(Festival Snare Solos)
RLP
Jenny, J.-At Odds (2nd & 4th mvts.)
PPB
Kettle, R.-Three Etudes for Snare Drum
(any one)
STD
Leonard, S.-5 - 6 - 7 (Contemporary Album
for the Snare Drum)
LUD
Lynch, M.-Odyssey II (The Rudimental
Cookbook)
RLP
Machamer, S.-Twenty-Four Swing Street
PPB
McIntosh, M.-Three (from An Amazing Collection of
top ranking Snare Drum Solos)
TSP
Markovich, M.-Stamina
CMP
Markovich, M.-Tornado
CMP
Markovich, M.-The Winner
CMP
Marvin, H.-Variety
MFP
Marvin, H.-HaMaR's Delight
HMR
McMahan, J. W.-Hamiltonian
SPR
McMahan, J. W.-Lizard Thicket, The
SPR
McMahan, J. W.-Mueller's Mazurka
SPR
Miller, D.-Four Marches for the Rudimental
Snare Drummer (Nos. 1 & 3 or 3 & 4)
LUD
Moore-Six Solos for Snare Drum
(any of the six)
BPC
Morey, C.-Jim Dandy
KEN
Morey, C.-A Real Drag
KEN
Morey, C.-Waltzing Hipster, The
KEN
Morton, J.-One of a Kind
STD
Mouse, J.-Accentric
SPR
Mouse, J.-Conception
SPR
Payson, A.-Snare Drum Solo No. 1
MFP
20
078 Pepe, J.-Snare Drum Solo

PPP
079 Petercsak, J.-Snare Drum Solo No. 1
MFP
080 Pratt, J.-Attaching the 4-Stroke Ruff
(Rudimental Solos for the Accomplished
Drummer)
MED
081 Pratt, J.-Boston's Drumming Crusader
Drummer)
MED
082 Pratt, J.-Buttermilk and Crackers
Drummer)
MED
083 Pratt, J. S.-Cider Jug (From The New
Pratt Book)
PPB
084 Pratt, J. S.-Conquering Legions of Rome, The
(From The New Pratt Book)
PPB
085 Pratt, J. S.-Coordination
BMP
086 Pratt, J. S.-Drum Corps on Parade
(14 Modern Contest Solos)
BMP
087 Pratt, J.-Emperor Justinian at Constantinople
Drummer)
MED
088 Pratt, J. S.-Flamaque Quickstep
BMP
089 Pratt, J. S.-Gladstone Cadets
BMP
090 Pratt, J. S.-Hodge Podge
BMP
091 Pratt, J. S.-My Friend Norman
BEL, BMP
092 Pratt, J. S.-Sound Off (From The New
Pratt Book)
PPB
093 Pratt, J.-Swinging the Swiss Pataflafla
Drummer)
MED
094 Pratt, J. S.-Syncopating the Single Drag BEL, SMP
095 Pratt, J. S./Schinstine/Moore-The Solo Snare
Drummer Vol. 1 (pp 11 & 12, or pp14 & 15)PPB
096 Prentice, H. F.-Richard's Rampage
BMP, SMC
097 Prentice H. F.-Santa Fe Chief
BMP
098 Queen, J.-Tribute (from An Amazing Collection
TSP
099 Reichett, K.-Adagio (from An Amazing Collection
TSP
100 Rogers, R. E.-Flamboyant
STD
101 Roy, J. M.-Prestidigitation
BAR
102 Schinstine, W. J.-Recital Suite for Solo
Snare Drum
KEN
103 Schinstine, W. J.-Beating the Blues
SMC
104 Schinstine, W. J.-Contrary Computer, The
SMC
105 Schinstine, W. J.-Festival Drummer
SMC
106 Schinstine, W. J.-Hectic Hickorys
SMC
107 Schinstine, W. J.-Innovation in Two-Four
SMC
108 Schinstine, W. J.-Soliloquy
OOP
109 Schinstine, W. J.-Space Probe
SMC
110 Schinstine, W. J.-Synco-Stix
SMC
111 Schinstine, W. J.-Evocation #1
KEN
112 Schinstine, W. J.-Evocation #2
KEN
113 Schinstine, W. J.-Three Means To An End
(any one)
KEN
114 Spede, M.-Speed Trap
PPB
115 Stone, G. L.-Massachusett's Champion
GBS
116 Straight, E. B.-Drummer's Downfall
(Deluxe Drum Solos)
117 Street, G.-Steppin' Out
CFM
CFM
118 Street, G.-Swingin' Down the Street

(The Drummer's Heritage)
CFM
119 Tuthill, G.-Snare Drum Solo
MFP
120 Varner, M.-Punctuality
PPB
121 Wanamaker, J.-Bridgemen (From
Championship Corps Style Contest Solos) ALF
122 Wanamaker, J.-Crazy Army (From
123 Wanamaker, J.-Drums Corps on the March
(From Championship Corps Style
Contest Solos)
ALF
124 Wanamaker, J.-4th of July (From
125 Wanamaker, J.-Hurricane (From
126 Wanamaker, J.-Main Street Strut (From
127 Wanamaker, J.-Spirit of Sanchez (From
128 Webster, C.-Bolero for Ed (from An Amazing Collection
TSP
129 Whaley, G.-Essay for Snare Drum
MER
130 Whaley, G.-Etude in 32nds
RAL
131 Whaley, G.-Recital Solos (any two)
MED
132 White, E.-False Images
KEN
133 Whitlock, J.-Hit-N-Run (The Rudimental
Cookbook)
RLP
134 Whitlock J.-In-Pulse (The Rudimental Cookbook)RLP
135 Whitlock J.-Shala' (The Rudimental Cookbook)RLP
136 Whitlock J.-Tuo Kaerf (The Rudimental
Cookbook)
RLP
137 Wilcoxon, C.-Battin' 'Em Out
CHW
138 Wilcoxon, C.-Heating the Rudiments
CHW
139 Wilcoxon, C.-Lake Woodite, The
LUD
140 Wilcoxon, C.-Swinging the Twenty-Six
CHW
141 Wooten, J.-Africa Hot
WOO
142 Wooten, J.-Rudimental Clave
RPP
TIMPANI SOLOS
EVENT NO. 103
001 Ameele, D.-Cadenza No. 1
KEN
002 Ameele, D.-Cadenza No. 2
KEN
003 Beck, J.-Interaction for Music and Sounds
(with CD recording)
KEN
004 Beck, J.-Sonata for Timpani (any mvt.)
BMC
005 Beck, J.-Three Episodes (II or III)
KEN
006 Beck, J.-Triptych Motif (no cut)
KEN
007 Beck, J.-Three Movements for Five
Timpani (any one mvt.)
MER
008 Bergamo, J.-Four Pieces for Timpani
Nos. 1 & 4
MFP, PMC
009 Bergamo, J.-Four Pieces for Timpani
Nos. 2 & 3
MFP, PMC
010 Britton, M.-Solo Piece for Timpani
MFP, PMC
011 Bigot-Timpaniana pour Timbales et Piano
LED
012 Campbell, J.-Blue Hammers
RLP
013 Carter, E.-Eight Pieces for Four Timpani
(any one)
AMP
014 Cheadle, R.-Melodic Movements for Timpani ALP
21
015 Cirone, A.-Sonata No. 1 for Timpani and

Piano
CIR
016 Curnow, J.-Fanfare and Scherzo
MDM
017 Erickson, K.-In the Valley of Kings
(Mvts. 2 and 3)
INP
018 Firth, V.-Solo Impressions for Two Timpani CFM
019 Firth, V.-Solo Impressions for Three Timpani CFM
020 Firth, V.-Solo Impressions for Four Timpani CFM
021 Firth, V.-Solo Timpanist, The, Nos. 1, 2, 3, 7,
8, 10, 11, 15, 17, 22, 23, 25, 26 (any one) CFM
022 Frock, G.-Seven Solo Dances (any one)
SMC
023 Gay, K.-Farfenmarch
TSP
024 Gay, K.-Overture for Timpani
TSP
025 Gomez, A./Rife, M.-International Style
Etudes (any one etude)
SMC
026 Goodman, S.-Ballad for the Dance
BEL
027 Hinger, F.-Solos for the Virtuoso Timpanist
(any one)
JER
028 Holly, R.-Sonata for Timpani
KEN
029 Houliff, M.-Der Paukenmeister
KEN
030 Houllif, M.-3 Settings for Timpani
(any two mvts.)
STD
POT
031 Houllif, M.-Suite for Timpani
GSI
032 Huston, S.-Suite for Solo Timpani
033 Igelsrud, D.-Soundings
KEN
034 Jones, D.-Sonata for Three Unaccompanied
Kettle Drums
HRS
035 Kashanski, R.-Semi-Straight Jazz Waltz, A HMR
036 Leonard, S.-Canticle
VLK, LUD
037 Leonard, S.-Ostinato (From Forms)
LUD
038 Leonard, S. Rondino (From Forms)
LUD
039 Leonard, S.-Solo Dialogue
VLK, LUD
040 Mancini, D.-Suite for Timpani
KEN
041 Mancini, D.-Suite #2 for Timpani
KEN
042 McCormick, R.-Fanfare Variations for Solo Timpani
KEN
043 Peters, M.-Primal Mood for Four Timpani
MTP
044 Peters, M.-Randino
MTP
045 Peters, M.-The Storm
MTP
046 Ramey, P.-Sonata for Three Unaccompanied
Timpani
MFP
047 Riley, S.-A Delivering
ALP
048 Schinstine, W.-Dresden Dance
SMC
049 Schinstine, W.-Artistie Sonata, The (I or III) KEN
050 Steinhart-Dance (+ 4 Timbales or Rotos)
LAN
051 Tharichen, V.-Concerto for Timpani
(any mvt.)
AMP
052 Vitto, B.-Scherzo
FDS
053 Whaley, G.-Scherzo for Timpani
MER
054 Williams, J.-Variations for Solo Kettledrums
(theme and any one variation)
MFP
055 Wuebold, E.-Fantasy for Timpani and Piano PMC
056 Youhass-Four Pieces for Unaccompanied
Kettledrums, Nos. I and II
MMC
057 Youhass-Four Pieces for Unaccompanied
MMC
Kettledrums, Nos. III and IV
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
MULTIPLE PERCUSSION SOLOS
MULTI-TENOR SOLOS
EVENT NO. 104
EVENT NO. 105
Angelo, J.-Toccata for Solo Percussionist

MMC
Beck, J.-Episode for Solo Percussionist
STD
Burritt, M.-Sticks of Eloquence
LUD
Campbell, J.-Engine Room
RLP
Campbell, J. -Fork
RLP
Christian, B.-Rondino
CRE
Christian, B.-Danze Espagnola
CMP
Combs, F.-Gesture for Solo Percussionist
MMC
Davis, T.-Multi-Percussion, Suite No. 1
BAR
Davis, T.-Soliloquy
CRE
Davis, T.-Spanish Dance
CMP
DeLancey, C.-Love of L'Histoire
PET
Delecluse, J.-A La Maniere #3
LED
Dervaux-Batterie-Sketch (any two mvts.)
LED
Edgerton, M. -Songs of Vent
MCP
Frazeur, T.-Mood Piece
MFP
Frock, G.-Concert Etude for Solo PercussionistHLN
Gaetano, M.-Multiple Episode No. 1
STD
Glassock, L.-Motion
KEN
Glassock, L.-Statement for Solo Percussion KEN
Goldenberg, M.-Studies in Solo Percussion
(any solo, pp 36-72)
CHP
Guager, T.-Nomad
GUA
Holliden, D.-Six Ideas for Snare, Bass and CymbalMCP
Jager, R.-Concerto for Percussion and Band MED
Johnson, W.-Five Words
SMC
Kastuck, S.-Dance I
KAS
Kraft, W.-Da-Dit
AMC
Kraft, W.-English Suite (play any one of the
six mvts.)
AVM, OOP
Kraft, W.-French Suite for Percussion Solo
(any one of four)
MEM, AVM, OOP
Kraft, W.-Morris Dance
AVM
Lopez, R.-Two Days
TSP
McCormick, R.-Homage to Harry Partch
KEN
Milhaud, D.-Concerto for Batterie and Small
Orchestra (Condensed for Piano)
UTP
Moore, J.-Sonata No. 1 for Percussion Soloist LUD
Payson, A.-Die Zwitschermaschine
CMP
Payson, A.-Slavic Danse
CMP
Peters, M.-Etude #2
MTP
Peters, M.-Perpetual Motion for Snare Drum
and Four Tom-Toms
MTP
Peters, M.-Rondo for Four Tom-Toms
MPM
Pillin, B.-Duo for Percussion and Piano
WIM
Ramey, P.-Capriccio
MCP
Rosen, J.-Elegy for Solo Percussion
MFP
Russell, A.-Sonata (any two mvts.)
MFP
Schinstine, W.-Etude for Latin Instruments CMP
Schinstine, W.-Etude for Membranophones CMP
Starer, R.-Excursion
MCA
Stern, R.-Adventures for One
(any two mvts.)
MFP, PMC
Tagawa, R.-Inspirations Diabolique
(any one mvt.)
WIM
Udow, M. W./Watts, C.-Contemporary
Percussionist, The (any one EXCEPT:
IV; VII; XI; XII; XV; XVII; XVIII)
MER
Whaley, G.-Three Movements for Two Drums PRO
22
001 Aungst, T.-It's Time (From Modern Multi-Tenor

Techniques and Solos)
RLP
002 Bailey, J.-Green Lightning (From Modern
Multi-Tenor Techniques and Solos)
RLP
003 Bissell, P.-Bones (From Tenor Madness)
GFM
004 Carr, C.-Busy Frames (From Modern
RLP
005 Davila, J.-Cruise Control (From Modern
RLP
006 Davila, J.-Webster's Rumble (From Modern
RLP
007 Hansen, L.-Out House
RLP
008 Hansen, L.-Double Crossed
RLP
009 Hansen, L.-Twist It Up
RLP
010 Hurley, M.-Crash Landing
RLP
011 Hurley, M.-The Phancy Phantom
RLP
012 Hurley, M/Hansen, L.-The Phantom of the
Phield
RLP
013 Hurley, M./Hansen, L.-Phantom Phrenzy
RLP
014 Hysell, E./Bissell, P.-SVC (From Tenor Madness)
GFM
015 Johnson, S.-Cha-Da-Da-Cha-Cha (From
Modern Multi-Tenor Techniques and Solos)RLP
016 Rennick, P.-Backstreet Beat (From Modern
RLP
PERCUSSION ENSEMBLES
EVENT NO. 110
(Three to Six Performers)
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
Abel, A.-Allegro Muchacho (6 players)

LUD
Abel, A.-Serenade To a Sand Dune (6)
PPB
Alfeieri, J.-Fanfare for Tambourines (6)
MUF
Artenziano, E.-El Muchacho Cinco
RLP
Bach, J. S./Moore, J.-Little Fugue in G minor (4)
PPB
Beck, J.-Concerto for Timpani and
Percussion Ensemble (6)
KEN
Bellson, L.-Four Stories (4 drum sets)
TRY
Benson, W.-Three Pieces for Percussion
Quartet (any two mvts.)
GSI
Brand, M.-Africantus
KEN
Breaux, T.-Ostinato-A-Koto
DSM
Brown, T.-Morning Flower (5)
BMP
Brown, T.-Particles (any two mvts.) (6)
SMC
Carno, Z.-Sextet for Percussion (any one mvt.)MFP
Chavez, C.-Toccata (1st or 3rd mvt.) (6)
BMP
Cirone, A.-5 Items for Solo Marimba and
Percussion Ensemble (any two) (6)
BMP
Cirone, A.-4/4 for Four (4)
CIR
Cirone, A.-Japanese Impressions (5)
BEL
Cirone, A.-Overture in Percussion (5)
CIR
Cirone, A.-Percussionality (4 percussion +
1 student piano or 6 percussion)
BEL
Cirone, A.-Triptych (1st mvt. or
2nd & 3rd mvts.) (4)
BMP
021 Colgrass, M.-Chamber Piece for Percussion

Quintet
MFP, PMC
022 Colgrass, M.-Fantasy, Variations for 8
Chromatic Drums and Percussion Sextet MFP
023 Colgrass, M.-Percussion Music (4)
MFP
024 Cowell, H.-Pulse (5)
MFP
025 Davis, T. L.-Greensleeves (5 players and
string bass)
CMP
026 Davis, T. L.-Fughetta Rock (6)
BAR
027 Debussy/Reeves, D.-Bruyeres (from Three Preludes)
(Orch. bells can be sub. for crotales)
TSP
028 Del Borgo, E.-Dimensions II
KEN
029 Del Borgo, E. A.-Preludio for Percussion (6) KEN
030 DiBlasio, D, -Cancun
KEN
031 Elias, S.-Suite for Three Drum Sets
EDI
032 Faberman, H.-Percussion Ensemble Collection
Level III (any two) (6)
BMP
033 Foss, L.-Percussion Quartet (4)
CFM
034 Frock, G.-Fanfare for Double Percussion Trio SMC
035 Frock, G.-Three Asiatic Dances (6)
SMC
036 Gauger, T.-Gainsborough (any one mvt.) (5) SMC
037 Gillingham, D.-Sacrificial Rite (5)
ALP
038 Glassock, L.-Between The Lines
MED
039 Goodman, S.-Canon for Percussion (6) BMP, MEM
040 Goodman, S.-Scherzo (3)
BMP
041 Goodman, S.-Theme and Variations (4)
BMP, MEN, CHP
042 Gould, M.-Parade (3)
CHP
043 Handy/Houliff-St. Louis Blues
KEN
044 Hanna, S.-Sonic Sauce (4)
KEN, AKI
045 Haydn/Jeanne, R.-Rondo from String
Quartet Op. 33 No. 3 (4)
PPB
046 Hodkinson, S.-Drawings: Set No. 1
(any two mvts.) (4)
MFP
047 Holly, R.-Battlestations II (4 )
KEN
048 Houliff, M.-Undercurrents (5)
049 Hovhaness, A.-Bacchanale
EDP
050 Jebe, P.-On The Horizon (6)
RLP
051 Jemison, D.-Quintession
WIM
052 Jenny, J.-Pursuit for Solo Marimba and
PPB
053 Jerger, J.-"36" Heads (4)
OOP
054 Jerger, J.-"54" Heads (3 or 6)
OOP
055 Joplin, S./Burkett, G.-Stoptime Ray (3)
PPB
056 Joplin, S./Houllif, M.-Maple Leaf Rad (4)
PPB
057 Karlin, F.-Repercussions (4)
SFP
058 Keezer, R.-For Four Percussionists (4)
KEN
059 Kosteck, G.-Counterpoint for Percussion
Quartet (4)
BMP
060 Kraft, W.-Suite for Percussion
(any two mvts.) (4)
BEL, MEM
061 LaRosa, M.-Good News, The
HMR
062 Leonard, S.-Four Images (6)
LUD
063 Leonard, S.-Promenade
LUD
064 Lepper, K.-Boasphere (6)
LEP
065 Mancini, D.-Exit 39
KEN
066 McKenzie, J.-Introduction and Allegro
MFP
067 McKenzie, J.-Three Dances (3)
MFP, PMC
068 Meacham/Houliff -American Patrol
KEN
069 Meyer, R.-Ostinato
KEN
070 Miller, D.-5 Short Pieces (No. 1 plus
any two mvts.)
LUD
071 Miller, D.-Prelude for Percussion
MFP, PMC
072 Mozart, W. A./Moore, J. L.-Eine Kleine

Nachtmusik (Allegro Mvt.) (4)
PPB
073 Mozart, W. A./Moore, J. L.-Ronda Ala Turk (4) PPB
074 O'Gorman, P.-Fire (4)
BAR
075 O'Mahoney, T.-Burundi Shuffle (5)
PPB
076 O'Reilly-Three Episodes (5)
SCN
077 Parchman, G.-Symphony for Percussion
(any mvt.) (6)
ELV
078 Parchman, G.-Fifth Symphony for
Percussion Ensemble (any mvt.) (6)
ELV
079 Peters, M.-A La Naningo (6)
KSM
080 Peters, M.-A La Samba (6)
MTP
081 Peters, M.-Piece for Percussion (4)
MTP
082 Peters, M.-Study in 5/8 (4)
PDS, WIM
083 Proto/Akins-Protoplasm
(4 percussion + 1 bass)
KEN
084 Rauschenberg-Discussion (4)
PDS, WIM
085 Rossini, G./Houllif, M.-William Tell
Overture, The (6)
KEN
086 Russo, W.-Music for Percussion (4)
SFP
087 Snider, L.-Fixations (6)
BAR
088 Spears, J.-Jubiloso
SMC
089 Starer, G.-Night Music for Percussion (6)
BMP
090 Strang, G.-Percussion Music for Three
Players
TPC
091 Tilles, D.-Blue Percussion (6)
CMP
092 Williams, K.-African Sketches (4)
LUD
MALLET ENSEMBLES
EVENT NO. 111
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
23
Adams,-Sonata Ico (4)

Bach/Houliff-Double Concerto In D Minor (4)
Bach/Houliff-Fugue In A Major (3)
Bach/Moore-Air (for the G String) (4)
Bach/Moore-Fugue in C minor (3)
Bach/Moore-Fugue in D minor from the
Well Tempered Clavier (3)
Bach/Moore-Little Fugue in G minor (4)
Bach/Moore-Toccata & Fugue in D minor
(4 or 5)
Bach/Schaefer-Brandenberg Concerto No. 2
(1st mvt.) (5)
Bartok/Jeanne-Rumanian Folk Dances (5)
Beethoven/Jeanne-The Metronome from
2nd Mvt., Symphony No. 8 (5)
Bizet/Janicki-Miacaela's Aria (6)
Bizet/Jeanne-Farandole from L'Arleisienne
Suite No. 2 (5)
Bizet/Musser-Selections from Carmen (5)
Brahms/Houllif-Hungarian Dance No.5 (4)
Breuer/Gipson-Back Talk (5)
Breuer/Gipson-Blue Tid Bit (4)
Breuer/Gipson-Four Stick Joe (4)
Breuer/Gipson-Minor Moment (4)
Breuer/Pershing-Balk Talk (3)
Breuer/Pershing-Bit O' Rhythm (3)
PPB
PPB
PPB
PPB
PPB
PPB
PPB
PPB
PPB
PPB
PPB
PPB
PPB
FOR
PPB
MED
MED
MED
MED
ALF
ALF
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
065
066
067
068
069
070
071
072
073
074
075
076
077
Breuer/Pershing-Encore-Elise (3)
ALF
Breuer/Pershing-Happy Hammers
ALF
Breuer/Pershing-1908 Rag, The (3)
ALF
Breuer/Pershing-On the Woodpile (3)
ALF
Breuer/Pershing-Powder Puff (3)
ALF
Butov, G.-Russian Rag (3)
STD
Cahn-La Negra (5)
CAH
Chabrier/Hatch-Espana Rhapsody (6)
EHA
Chandler/White/Cohn/Cahn-Canadian
Capers (5)
CAH
Chopin/Hatch-Minute Waltz, The (3)
EHA
Chopin/Jeanne-Prelude Op. 28, No. 4 (5)
PPB
Dauwalder, L.-Ice Cream Suite Rag, The (4) PPB
Debussy/Barton-La Fille Aux Cheveaux De Lin
(The Girl With the Flaxen Hair) (6)
PPB
Debussy/Prince-Danse (6)
PPB
DeFalla/Hatch-Ritual Fire Dance (4)
EHA
Dinicu/Hatch-Hora Staccato (5)
EHA
Dvorak, A.-Finale from Quartet in F Major (4) PPB
Dvorak, A./Musser-Largo from New World
Symphony (5)
FOR
Ford, M.-Afta-Stuba! (3)
INP
Ford, M.-Stubernic (3)
INP
Fleck, B./Steinquest, D.-Metric Lips (4)
RLP
Gabrieli/Schaefer-Canzon Prima (5)
PPB
Glassock-Passage (6)
INP
Green G. H./Becker, B.-Chromatic Fox Trot (5)BEC
Green, G. H./Becker, B.-Charleston Capers (5)BEC
Green, G. H./Becker, B.-Cross Corners (5)
BEC
Green, G. H./Becker, B.-Jovial Jasper (5)
BEC
Green, G. H./Becker, B.-Log Cabin Blues (5) BEC
Green, G. H./Becker, B.-Stop Time (5)
BEC
Green, G. H./Becker ,B.-Triplets (5)
BEC
Green, G. H./Becker,B.-Whistler, The (5)
BEC
Green, G. H./Becker, B.-Xylophonia (5)
BEC
Green, G. H./Cahn, W. L.-Fluffy Ruffles (5) CAH
Green, J./Schinstine-The Whirlwind (4)
SMC
Hatch, E.-Olivera Street, L. A. (any mvt.) (5) EHA
Hatch, E.-Pliatan (4)
EHA
Hatch, E.-Three Concert Pieces for 8 Hands (5)DSM
Haydn/Moore-Trio Sonata No. 1 (3)
PPB
Jeanne, R.-Paquita (5)
PPB
Johnson, C./Becker, B.-Dill Pickles (5)
BEC
Joplin/Burkett-Stoptime Rag (3)
PPB
Joplin/Freytag-The Easy Winners (4)
RLP
Joplin/Houllif-Maple Leaf Rag (4)
PPB
Joplin/Moore-The Entertainer Rag (4)
PPB
Joplin/Rauschenberg-Solace (4)
EXC
Kabalevsky/Peters-Comedians Gallop (5)
FDS
Kachaturian/Hatch-Sabre Dance (6)
EHA
LaRosa, M.-Creation and Rebirth (5)
KEN
Leonard-Prelude (for Four Marimbas) (4)
LUD
Leonard-Quarimba (4)
LUD
Mendelssohn-Bartholdy/Tanner-Consolation,
Op. 30, No.3 (6)
PPB
Moszkowski/Tanner-Scherzino (6)
PPB
Moszowski/Vigneron-Caprice Espagnol (5)
DSM
Moussorgsky/Moore-Gopak (4)
PPB
Mozart/Gilroy-Variations On "Ah, Vous
Dirai-Je Maman" (Twinkle Twinkle
Little Star) (4)
BMP
Mozart/Glassock-Allegro (from Quartet In C) (4)PPB
078 Mozart/Glassock-Allegro Assai (from Quartet

In E-flat) (4)
PPB
079 Mozart/Glassock-Andante (from Quartet
In C) (4)
PPB
080 Mozart/Glassock-Rondo (from Quartet In
B-flat) (4)
PPB
081 Mozart/Hatch-Overture to the Magic
Flute (5)
EHA
082 Mozart/Hatch-Overture to the Marriage
of Figaro (6)
EHA
083 Mozart/Janicki-Rondo (4th mvt. from
Eine Kleine Nachtmusik) (4)
PPB
084 Mozart/Moore-Rondo Ala Turk (4)
PPB
085 Mozart/Musser-Marriage of Figaro (5)
EHA
086 Paine/Roy-Fuga Giocosa (3)
MDM
087 Palestrina/Tanner-Exultate Deo (5)
PPB
088 Prokofiev/Gipson-Field of the Dead (from
Alexander Nevsky) (4)
OPE
089 Raff/Jeanne-The Mill
PPB
090 Rimsky-Korsakov/Hatch-Flight of the
Bumble Bee (6)
EHA
091 Rimsky-Korsakov/Hatch-Scheherazade (6) EHA
092 Rimsky-Korsakov/Janicki-Variazioni (from
"Capriccio Espagnol") (6)
PPB
093 Rosales/Musser-Bolera (5)
FOR
094 Rossini/Hatch-Overture to William Tell (6) EHA
095 Sibelius/Musser-Finlandia (5)
FGP
096 Slater, J.-Suite for Keyboard Percussion
(I and II, or II and III) (4)
OPE
097 Smetana/Musser-Dance of the Comedians (6) FOR
098 Sousa/Hatch-Stars and Stripes Forever (6) EHA
099 Sousa/Leaman-Stars and Stripes Forever (5) PPB
100 Steinquest, arr.-County Claire (6)
RLP
101 Strauss/Hatch-Tales of the Vienna Woods (5) EHA
102 Tchaikovsky/Hatch-Dance of the Candy
Fairy (5)
EHA
103 Tchaikovsky/Hatch-Dance of the Flutes (6) EHA
104 Tchaikovsky/Hatch-Overture Miniature (5) EHA
105 Tchaikovsky/Hatch-Russian Dance (4)
EHA
106 Tchaikovsky/Hatch-Waltz of the Flowers (5) EHA
107 Tchaikovsky/Jeanne-Album for the Young
Suite (all three mvts.) (5)
PPB
108 Tchaikovsky/Jeanne-Arabian Dance (5)
PPB
109 Tchaikovsky/Musser-Andante from
Symphony No. 5 (5)
BHI
110 Tignor-Enchanted Circus (4)
PPB
111 Texidor/Jeanne-Amparito Roca
(Spanish March) (5)
PPB
112 Vivaldi/Gilroy-Vivo Vibaldi (4)
BMP
113 Wagner/Musser-Pilgrim's Chorus from
Tannhauser (5)
BHI
114 Wagner/Musser-Traume (4)
BHI
24
023
024
025
026
027
LARGE MALLET ENSEMBLES

EVENT NO. 112
(Seven to Twenty Performers)
In addition to this list, any titles from event #111
may be used with appropriate doubling of parts.
001 Grainger/Ragsdale-Irish Tune (9 players)
002 Granados/Tanner-Moresque (7)
003 Handel/Janicki-Allegro (From Concerto
Grosso In C) (7)
004 Houliff, M.-Octaphonics (8)
005 Saint-Saens/Gipson-Adagio from Symphony
No.3 (8)
006 Steinhort, W.-Two Movements For Mallets
(Mvt. I or II) (8)
028
029
030
031
SMC
PPB
PPB
PPB
032
OPE
033
OPE
034
035
036
037
038
039
040
041
LARGE CONCERT PERCUSSION ENSEMBLES

EVENT NO. 113
042
043
044
045
046
Selections marked with an asterisk (*)

may double the snare and multiple tenor parts up
to a maximum of 20 players in the entire ensemble.
001 Abujamra, A./Smith, W.-Alma Nao Tem Cor
DSM
002 Arevalo, M.-Shadows (8)
DSM
003 Arevalo, M.-Shiva's Dance (8)
DSM
004 Astrand, A.-Purge (7)
INP
005 Bach, J. S./Faini-Fuga Five (10)
CMP
006 Bach/Freytag, E.-Brandenburg Concerto No.2
(First Mvt.) (10)
RLP
007 Bach/Jebe, P.-Sambach (6-7 percussion + 1 piano)RLP
008 Barber, B./Ford, M.-Invention (11 percussion
+ 1 piano and 1 bass)
INP
009 Barretto, R./Nearpass, J.-Song for Chano
NEA
010 Bartok/Ancona, J.-The Miraculous Mandarin TSP
011 Bavicchi, J.-Music for Mallets and
Percussion (12)
OUP
012 Beck, J.-Concerto for Drum Set and
KEN
013 Beck, J.-Jazz Variants (8)
BMC
014 Beck, J.-Overture for Percussion
Ensemble (8)
KEN
015 Bencriscutto, F.-Rondeau for Percussion
(7 percussion + 1 piano)
MFP
016 Bissonnette, M./Rennick, P.-Wildwood
(11-12 percussion + 1 guitar and 1 bass) DSM
017 Bizet, G./Brooks, C.-Instant Carmen (10-12) RLP
018 Bizet, G./Houllif, M.-Excerpts from
Carmen Suite (7)
KEN
019 Brand, M.-Concerto for Percussion
Ensemble (9)
BRA
020 Brand, M.-Tijuana Samba (8)
KEN
021 Brecker, R./Freytag, E.-Some Skunk Funk
(14-20) *
RLP
022 Brooks, C.-Midnight in Tunisia (18-20) *
RLP
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
065
066
067
068
25
Brooks, C.-Millennium (14)

RLP
Brooks, C.-Ritual of the Tribe (9)
RLP
Brooks, C.-Shongaloo Ramble (9-11)
RLP
Brooks, C.-Valley of Nepal (14-15)
RLP
Brown, T.-Above and Beyond
(8 percussion + 1 synthesizer + 1 bass)
BMP
Brown, T.-Brazilian Street Dance
BMP
Brown, T.-Keystone Capers (8)
KEN
Brown, T.-Strike Force (9)
KEN
Brubeck, D./Kellis/Scheitroma-La Fiesta De la
Posada (13)
RLP
Bruford, B./Smith, W.-Beelzebub
(11 percussion + 1 bass, 1 piano, 1 guitar) DSM
Camillo, Eigenberg, Koski/Brooks, C.-Why
Not! (9 percussion + 1 piano + 1 bass)
RLP
Campbell, J.-Batik (10)
RLP
Casella, J.-Katraterra
TSP
Casella, J.-Technonlogy
TSP
Cirone, A.-Dichotomy (8)
BMP
Cirone, A.-Symphony No. 1 (any mvt.) (8)
CIR
Cironw, A.-Symphony No. 2 (any mvt.) (9)
CIR
Colgrass, M.-Three Brothers (9)
MFP
Creston, P.-Ceremonial for Percussion
Ensemble (7)
GSI
Crockarell, C.-Circus Circus! (10-12)
RLP
Crockarell, C.-Glitzville (9-11)
RLP
Crockarell, C.-Gorsky's Dream (12)
RLP
Crockarell, C.-Stratus (9)
RLP
Crockarell, C.-Sushi Funk (9-11 percussionists
+ 1 bass)
RLP
Davila, L.-Cruzin' (8-12 percussion + 1 bass) RLP
Davila, L.-Dun't Be Blue Mon (8 percussion
+ 1 guitar and 1 bass)
RLP
Davila, L.-Fiesta Latina (8 percussion + 1 bass)RLP
Davila, L.-Mo Java (7-8 percussion + 1 bass) RLP
Davila, L.-Para Rafa (10-12 percussion + 1 bass)
RLP
Davila, L.-Ritmo Suave (8-9)
RLP
Davis, T.-El Races De La Camptown (8)
CMP
Davis, T.-Flat Baroque (7)
CMP
Davis, T.-Mau Mau Suite (8)
NME
Davis, T.-Panda Pause (9)
CMP
Davis, T.-Stompin' Thru the Rye (8)
CMP
Davis, T.-Taste of Brahms (8)
CMP
DiBlasio, D.-Outback (8)
KEN
Djavan & Fieger/Brooks, C.-The Zoo Blues
(10 percussion + rhythm sections)
(Do not use optional horn parts)
RLP
Douthit, M./Crockarell, C.-If You Please
RLP
Dutton, F.-Rondo Barock (8)
MTP
Dvorak, A./Rosener, D.-Carnival Overture,
Op.92 (14)
DSM
Erskine, P./McDonald, S.-Calypso
(11 percussion + synthesizer and bass)
DSM
Fagen, D./Brooks, C.-The Goodbye Look
RLP
Faini, P.-El Cumbanchero (10 percussion +
1 piano + 1 bass)
BMP
Firth, V.-Encore in Jazz (7)
CFM
Fleck, B./Steinquest, D.-Hurricane Camille
RLP
069 Fleck, B./Steinquest, D.-Sinister Minister

(7-9 percussion + 1 bass)
RLP
070 Flores, R.-Common Times (11)
RLP
071 Freytag, E.-Death by Oooga Booga (10)
RLP
072 Gaetano, M.-Undercurrents (7)
INP
073 Gilbert, K.-Street Samba (14)
KGG
074 Glassock, L.-Layers (8)
SMC
075 Glassock, L.-Mosaic, Op.30 (8)
ALP
076 Glassock, L.-No Exit (8)
SMC
077 Glassock, L.-Teamwork (7)
ALP
078 Gorecki/Kikta,P.-Concerto
AGP
079 Grainger, P./Ragsdale, C.-Irish Tune From
County Derry (9)
SMC
080 Grieg, E./Fyffe, D.-In the Hall of the Mountain
King (12)
DSM
081 Hennagin, M.-Duo Chopinesque (10)
OPE
082 Henson-Conet, D./Nearpass, J.-California
Calypso (7 percussion + 1 bass)
NEA
083 Herbert, V./Houllif, M.-March of the Toys (7) KEN
084 Holst/Ancona, J.-Mercury
TSP
085 Houghton, S.-The Path (4-7 percussion +
1 piano and 1 bass)
RLP
086 Houllif, M.-Blue Samba (8)
SMC
087 Jacob, G.-Hava Nagila (8)
MAR, HLN, OOP
088 Jebe, P.-Montunosis (9-12 percussion +
1 piano and 1 bass)
RLP
089 Jebe, P.-Xylatin (7-8)
RLP
090 Jenny, J.-Three Scenes from the Scioto
(any two mvts.) (13 percussion + 1 piano) PPB
091 Johnson, C./Argenziano, E.-Dill Pickles (6-8) RLP
092 Jones, K.Schietroma, S.-Servitude
(11 percussion + 1 bass and 1 guitar)
DSM
093 Kastuck, S.-Components (all 3 movements) (10)KAS
094 Kastuck, S.-Ritual No.2 (8-16)
KAS
095 Kennedy, J.-Odyssey: Concerto for Multiple
Percussion and Percussion Ensemble (7)
INP
096 Khachaturian/Moore-Sabre Dance (7-10)
PPB
097 Kim, B.-Concertino for Percussion
MTP
098 Leonard, S.-Antiphonies (8)
DSM
099 Leonard, S.-Ex Machina (8)
DSM
100 Leonard, S.-Skies (10)
DSM
101 Leonard, S.-Winter Fantasy (10 percussion and
hand bell choir or piano)
DSM
102 Lins/Martins/Nearpass-Leva E Traz (Elis)
NEA
103 Lipner, A./Steinquest, D.-Sweet Rio
(12-14 percussion + 1 bass)
RLP
104 Loya, M./Nearpass, J.-Rain: Weatherman
NEA
105 Mancini, D.-Caribbean Festival (7 percussion
+ piano and 1 bass)
KEN
106 Mancini, D.-Extremes (7)
KEN
107 Mancini, D.-Jubilee Concerto, Mvt.1: Legacy
KEN
108 Mancini, D.-Jubilee Concerto, Mvt.2:
Retrospective (8 percussion + 1 piano)
KEN
109 Mancini, D.-Jubilee Concerto, Mvt.3:
Celebration (8 percussion + 1 piano)
KEN
110 Mancini, D.-Song of Joy (9)
KEN
111 Mancini, D.-Suite for Solo Drum Set and
KEN
112 Manga, A./Nearpass, J.-Ekanga

NEA
113 Manring/Martin/Nearpass-Senegal Calling
NEA
114 Manring, M./Nearpass, J.-Life In the Trees
NEA
115 Mainieri, M./Rennick, P.-Beirut
DSM
116 McKenzie, J.-Introduction and Allegro (9)
MFP
117 McKenzie, J.-Nonet (9)
MFP
118 Mashina, T.-Conversation (10)
NAK
119 Meister, S.-Taqsimn (7)
ALP
120 Metheny/Ancona, J.-Metheny Dream
TSP
121 Metheny, P./Mays, L.-Phase Dance
SIE
122 Metheny, P./Houghton & Warrington- (It's
Just) Talk (7 percussion + 1 bass)
SIE
123 Moore, D.-Game Over (9)
INP
124 Moreira, A./Brochocki, D.-Tombo In 7/4
DSM
125 Moreira, A./McDonald, S.-Lua
DSM
126 Moussorgsky/Hannum-Pictures at an
Exhibition (12)
DSM
127 Moussorgsky/Peters-Ballet of the
Unhatched Chicks (7)
FDS
128 Narell/Mayor/Rennick-Calabash
(10 percussion + 1 piano + 1 bass)
DSM
129 Nearpass, J.-Blume'n Cuban (4-8)
NEA
130 Nearpass, J.-Looking Up (7 percussion + 1 bass)
NEA
131 Obiedo, R./Rennick, P.-Brasileiro
DSM
132 O'Connor, T.-Orientale (8)
BAR
133 O'Mahoney, T.-Aruba Getaway (8)
PPB
134 O'Mahoney, T.-Aruba Roca (Spanish March) (8)PPB
135 O'Mahoney, T.-Cha-Cha Rufus (7 percussion
+ 1 bass)
PPB
136 Pascole, H./Nearpass, J.-Pipoca
NEA
137 Peters, G.-Greensleeves (7 mallets)
FDS
138 Peters, G.-Swords of Moda-Ling, The
(Including student piano) (8)
FDS
139 Piazzolla/Smith/Schietroma-Oblivion
(10 percussion + 1 piano + 1 string bass) DSM
140 Piazzolla, A./Smith, W.-Tres Minutos Con La
Realidad (12 percussion + 1 piano +
1 string bass)
DSM
141 Prokofiev, S./Maricle, S.-Troika (12)
KEN
142 Ravel/Ancona, J.-Alborada del Gracioso
TSP
143 Rimsky-Korsakov, N./Houliff, M.-Capriccio
Espagnol (7)
KEN
144 Rossini/Kutz/Schietroma-Italian In Algiers (17)
DSM
145 Samuels, D.-Rendezvous (8 percussion +
1 bass)
BMP
146 Sanchez/Mayor/Schietroma-Sin Timbal
(10 percussion + 1 piano + 1 bass)
(Do not use optional horn parts)
DSM
147 Santamaria/Kikta, P.-Afro Blue
AGP
148 Schietroma, T./Schietroma, S.-La Chiave
(13 percussion + synthesizer + 1 bass)
(Do not use optional vocal parts)
DSM
26
149 Schman/Kikta, P.-Conversations

AGP
150 Schubert/Hatch-Symphony No. 8
(Unfinished) (7 mallets)
EHA
151 Shorter, W./Nearpass, J.-Palladium
NEA
152 Shostakovich/Peters-Polka from the Golden
Age (7 mallets)
FDS
153 Sousa/Hatch-King Cotton (6 mallets +
1 snare)
EHA
154 Sousa/Hatch-The Thunderer (6 mallets +
1 snare)
EHA
155 Spears, J.-Blues & Chaser (8)
SMC
156 Spears, J.-Caprice Diabolique (8)
SMC
157 Spears, J.-Flight of the Falcon (8)
SMC
158 Spears, J.-Time for Jazz, A (8)
SMC
159 Spears, J.-Winstone Suite (any two mvts.) (8) BAR
160 Spruance/Sipe/Schietroma-Ma Meeshka Mow
Skwoz (14 percussion + 1 organ + 1 bass) DSM
161 Steinquest, D.-Big Yellow Mambo
RLP
162 Steinohrt, W.-Two Movements for Mallets (8) PLY
163 Stravinsky, I./Ancona, J.-The Devil's Dance (8)TSP
164 Stravinsky/Moss/Schietroma-Suite for Small
Orchestra No.2 (12 percussion +
1 piano/celeste)
DSM
165 Strayhorn,B../Brooks, C-Take the "A" Train
(9-11 percussion + 1 piano + 1 bass)
RLP
166 Tchaikovsky, P./Fyffe, D.-Symphony No. 4 Finale
DSM
167 Tchaikovsky, P./Houllif, M.-Trepak from the
Nutcracker Suite (7)
KEN
168 Thompson, C.-Vegas (17-20) *
RLP
169 Tompkins, M.-Islands of Fire (13)
TOM
170 Traugh-1812 Over-Easy (13)
OAME
171 Udow, M.-African Welcome Piece for
Percussion Ensemble (7-12)
UMM
172 Vazquez/Warrington/Houghton-Pire
(8 percussion + 1 bass + 1 piano)
RLP
173 Whittaker, S./Schietroma, R.-Stumpy Meets the
Firecracker In Stencil Forest
(10 percussion + 1 piano, 1 guitar and 1 bass)DSM
174 Yanni/Brooks, C.-Marching Season (14-15)
RLP
175 Zawinul, J./Delucia, D.-The Pursuit of the
Lady in the Feathered Hat (19-20) *
RLP
009 McMahan, J.-Connecticut Overtime (6)

SPR
010 McMahan, J.-Trio Con Brio (3)
SPR
011 Prentice-Batter Up, Snare Down (with drum
set) (4)
SMC
012 Prentice-Epic of Western Man (4)
FMH
013 Tatgenhorst, J.-Razzle-Dazzle and Rock (5) BIM
LARGE MARCHING PERCUSSION ENSEMBLES
EVENT NO. 115
001 Brooks, C.-Midnight In Tunisia
RLP
002 Brooks, C.-Sans Rival
RLP
003 Camilo/West/McDonald-Caribe
(20 percussion + 1 bass + 1 piano)
DSM
004 Clarke, S./Crockarell, C.-Dayride
RLP
005 Crockarell, C.-Helichopter
RLP
006 Crockarell, C.-Mo Better Groove
RLP
007 Crockarell, C.-Orca
RLP
008 Crockarell, C.-Pass the Salsa
RLP
009 Gusseck, M.-Electric Wheelchair (from
Parking Lot Etudes)
TSP
010 Gusseck, M.-It's In Four (from Parking
Lot Etudes)
TSP
011 Gusseck, M.-Martian Mambo (from Parking
Lot Etudes)
TSP
012 McNutt, C.-Red's Rhumba (from the Vacant
Lot Sessions)
TSP
013 McNutt, C.-Star '93 (from the Vacant Lot
Sessions)
TSP
014 Reynolds/Davila/Davila-Cuban Dance
(20 percussion + 1 bass and 1 synthesizer) DSM
015 Shostakovich/Bovenschen-Symphony No.10,
Movement 3 (20)
DSM
016 Thompson, C.-Vegas
RLP
017 Watkins, K./Scheitroma, S.-Mr. Mirror's
Reflections on Dreams (20)
DSM
018 Webster, C.-Mr. Adamson's Monkey
TSP
RUDIMENTAL DRUM ENSEMBLES

EVENT NO. 114
("Rudimental" in parenthesis after title
indicates that Bass Drum and Cymbals are
called for as well as Snare Drum.)
001
002
003
004
005
006
007
008
Blount-Modulation (5)
FMH, CFM
Delp, R.-Announcement (4)
KEN
Firestone, H. E.-Drummer's Farewell (3)
OOP
Hankins, J.-Drummer's Five (Rudimental) (5)FMH
Hankins, J.-Five Up Front (Rudimental) (5) FMH
Hankins, J.-Snares Forward (3)
FMH
Markovich, M.-Four Horsemen (4)
CMP
Markovich, M.-Teamwork (4)
CMP
27
RECOMMENDED SUPPLEMENTARY MATERIAL

Code: B = Beginner; I = Intermediate; A = Advanced
SNARE DRUM/RUDIMENTAL DRUMMING

Accents and Rebounds
George Lawrence Stone
George B. Stone & Son Inc.
B, I
Alfred's Snare Drum Method Books 1 & 2
Sandy Feldstein & Dave Black
Alfred Publishing
B, I
All American Drummer, The
Charley Wilcoxon
Ludwig Music Publishing
I, A
Contemporary Studies For the Snare
Drum
Fred Albright
CPP Belwin Pub.
A
Douze Etudes pour Caisse-Claire
(Twelve Studies for Snare Drum)
Jacques Delecluse
Alphonse Leduc
I, A
Drum Method for Band & Orchestra Bk 1
&2
Haskell W. Harr
M. M. Cole Publishing
B
Drummer's Rudimental Reference Book
John Wooton
Row-Loff Productions
B, I, A
Flams, Ruffs & Rolls
John Beck
Meredith Music Publications
B, I
Fundamental Studies for Snare Drum

Garwood Whaley
J. R. Publications
B
Readin' Ritin' & Rudiments

John W. McMahan
Columbia Pictures Publications
B, I
International Drum Rudiments

Book and Tape
Wanamaker/Carson
Alfred Publishing
B, I, A
Recital Solos for Snare Drum

Garwood Whaley
I, A
Lifes Little Rudiment Book

David Steinquest
B, I, A
Master Technique Builders for Snare
Drum
Compiled/Edited by: Anthony J. Cirone
Belwin Mills Publishing
I, A
Modern School for Snare Drum
Morris Goldenberg
Hal Leonard Publishing
B, I, A
Musical Studies for the
Intermediate Snare Drummer
Garwood Whaley
J. R. Publications
I
Portraits in Rhythm
Anthony J. Cirone
A
Primary Handbook for Snare Drum
Garwood Whaley
B, I
38
Rudimental Cookbook, The

Edward Freytag
I, A
Rudimental Primer for the Snare Drum
Mitchell Peters
Mitchell Peters
B, I, A
Simple Steps To Snare Drum
Anthony J. Cirone
CPP Belwin Pub.
B
Solos and Duets for Snare Drum
Garwood Whaley
I
Standard Snare Drum Method
Benjamin Podemski
I
Stick Control
Georege Lawrence Stone
George B. Stone & Son Inc.
B, I, A
20th Century Orchestral Snare
Drum Studies
Thomas McMillan
Creative Music
A
MALLETS
Bar Percussion Notebook Vol. 1 & 2

Linda Lorren Pimentel
Permus Publications
B, I
Modern Mallet Method: Vol. 1, 2, & 3

Phil Kraus
CPP Belwin Pub.
B, I, A
Primary Handbook for Mallets

Garwood Whaley
B, I
George Hamilton Green's

Instruction Course for Xylophone
Edited by: Randall Eyles & Garwood
Whaley
I
Modern School for

Xylophone/Marimba/Vibraphone
Morris Goldenberg
I, A
Simply Four
4-Mallet Percussion
Gifford Howarth
Tapspace Publishing
B, I, A
Musical Studies for the

Intermediate Mallet Player
Garwood Whaley
I
Simple Steps to Keyboard Percussion

Anthony J. Cirone
CPP Belwin Pub.
B
Mallet Percussion for Young Beginners

Randall Eyles
B
Master Technique Builders
for Vibraphone and Marimba
Compiled and Edited by: Anthony J.
Cirone
I, A
Method of Movement for Marimba
Leigh Howard Stevens
Marimba Productions
I, A
Orchestral Mallet Player, The

Anthony J. Cirone
I
Vibraphone Technique: dampening

and pedaling
David Friedman
Berklee Press Pub.
B, I, A
Percussion Keyboard Technique

Thomas McMillan
Pro Art Publications
B, I
4 Mallet Primer
Neil Grover
Meredith Music Pub.
B
TIMPANI
Modern Method for Tympani

Saul Goodman
B, I, A
Orchestral Timpanist, The

Anthony J. Cirone
I
Technique for the Virtuoso Tympanist

Fred D. Hinger
Jerona Music Corporation
I, A
Musical Studies For The

Intermediate Timpanist
Garwood Whaley
J. R. Pub.
I, A
Primary Handbook for Timpani

Garwood Whaley
B, I
Twenty One Etudes for Timpani

Fred Begun
I, A
Simple Steps to Timpani

Anthony Cirone
Belwin Mills Pub.
B
Well Tempered Timpanist, The

Charles Dowd
Belwin Mills Pub.
I, A
Musical Timpanist, The

Thomas N. Akins
Kendor Music
I, A
39
DRUMSET
Advanced Techniques
for the Modern Drummer
Jim Chapin
Pub. by: Jim Chapin
I, A
Drum Improvising Studies for Jazz and

Rock
Joe Lambert
Mel Bay Publications
I
Logical Approach To Rock

Coordination, The
Phil Perkins
Logical Pub.
B, I, A
Alfred Master Tracks (w/CD)

Latin
Houghton, Warrington
Alfred Publishing Company
A
Drumset Reading
Ron Fink
I, A
Practical Approach to the Drum Set, A

John Beck
B
Drum Set Fundamentals-For Students

and Educators (w/audio tape)
Dave Mancini
Dave Mancini Pub.
B
Primary Handbook for Drum Set

George Sheppard
B, I
Alfred Master Tracks (w/CD)

Jazz
Houghton, Warrington
A
Beats and Variations
for Dance Band Drummers
Joel Rothman
J. R. Publications
I
Essential Styles for the Drummer &

Bassist: Vol. 1 & 2 (w/CD)
Steve Houghton/Tom Warrington
Alfred
A
Dancin On The Time

Royal Hartigan
Tapspace Publications
A
Essential Techniques for Drum Set: Book

1
Ed Soph
I
Double Bass Drumming

Joe Franco
D. C. Publications
I
Funk Drumming (book & tape)

Jim Payne
I
Drummers Cook Book, The

John Pickering
I
Killer - Fillers
Drum Set Exercises for Today's Drummer
James Morton
B, I, A
40
Rockin' Bass Drum

John Lombardo & Charles Perry
Alfred Publishing
I
Stage Band Drummers Guide
John Pickering
I
Students Guide to the Drumset, A
G.W. Sandy Schafer
IMP Publishing
B, I
Studio/Jazz Drummers Cookbook
John Pickering
I
Today's Sounds for Drum Set
Murray Houllif
Kendor Music
B, I
CONCERT PERCUSSION INSTRUMENTS

Art of Playing the Cymbals, The
Sam Denov
Henry Adler, Inc.
I
Modern School for Snare Drum

Morris Goldenberg
B, I, A
Percussion in the School Music Program

Payson/McKenzie
Payson Percussion Products
B, I
Bass Drum, Cymbals, and Accessories

Al Payson
Payson Percussion Products
B, I
North Texas Percussion Methods Manual

Schiertroma/Arevalo
North Texas Percussion Press
I
Percussion Symposium
Vic Firth
Carl Fischer
I
Logic of it All, The

Anthony J. Cirone and Joe Sinai
I, A
Triangle, Tambourine, & Castanets

Paul Price
Music for Percussion
I
MARCHING PERCUSSION (DRUM LINE)

Building A Championship Drum Line
Dennis DeLucia
B, I, A
Marching Percussion Ensemble Exercises

Novice, Intermediate & Advanced Vols.
Marty Hurley
Rudimental Perc. Pub.
B, I, A
Championship Concepts
for Marching Percussion
Thom Hannum & Robert Morrison
Hal Leonard Publishing Corp.
B, I, A
Total Marching Percussion Bk 1 & 2

Larry Snider
C. L. Barnhouse Publishing
I
Developing the Corps Style

Percussion Section
Larry Snider
C. L. Barnhouse Publishing
I
Up Front
Pit Ensemble
Jim Casella and Jim Ancona
B, I, A
Visual Drum Line, The

Staging the Contemporary
Marching Percussion Section
Will Rapp
Jenson Publications
B, I, A
LATIN AND ETHNIC INSTRUMENTS

Authentic Bongo Rhythms
Bob Evans
Henry Alder Publishing
Let's All Play Congas

Jack Burger
Robbins Music Publishing
Authentic Conga Rhythms

Bob Evans
Henry Alder Publishing
How to Play Latin American

Rhythm Instruments
Humberto Morales/Henry Adler
CPP Belwin Pub.
41
Brazilian Percussion Manual Rhythms & Techniques

Daniel Sabanovich
Alfred Pub.
REPAIR
Mallet Repair
Arthur Press
I
Percussion Repair and Maintenance

Mark P. Bonfoey
B, I, A
COMPACT DISC RECORDINGS

Various Recordings
Keiko Abe
Virtuoso Percussion Music

Rainer Kuisma
Various Recordings
Julie Spencer
Various Recordings
Gary Burton
Artistry of the Marimba, The

Linda Maxey
Bach on Marimba
Various Recordings
David Friedman
Various Recordings
Nexus
Marimba When...
Various Recordings
Evelyn Glennie
Various Recordings
David Samuels
Pictures for Percussion

Albrecht Voltz
VIDEO
The Living Art of Brushes
Clayton Cameron
DCI Music Video
Concert Percussion: A Performers Guide
Vol. 1 & 2
Cirone/Denov/Duff
Yamaha
Everything is Time Keeping
Peter Erskine
DCI Music Video
Time Keeping II
Peter Erskine
DCI Music Video
The Contemporary Rhythm Section

Steve Houghton
CPP Media Video
Fundamental Techniques for

Marching Percussion
Thom Hannum
CPP Media Video
Mallet Keyboard Musicianship Steps

to Excellence Vol. 1 & 2
Dave Samuels
Yamaha
Drummer's Guide to Reading

Drum Charts
Steve Houghton
CPP Media Video
The Drumset: A Musical Approach

Ed Soph/Horacee Arnold
Yamaha
Essence of Brushes
Ed Thigpen
Interworld Music
42
EDUCATIONAL SOURCES
Modern Drummer Magazine
Modern Drummer Publications, Inc.
12 Old Bridge Rd.
Cedar Grove, NJ 07009-1288
www.moderndrummer.com
Percussive Notes
An Official Publication
of the Percussive Arts Society
32 Washington St., Suite 1400
Indianapolis, IN 46204
www.pas.org
P.O. Box 55753
Portland, OR 97238-5753
www.tapspace.com
Teaching Percussion
Gary D. Cook
Schirmer Books
(2005 edition includes book and DVDs)
43
SNARE DRUM RUDIMENTS

Rudiment
No.
Rudiment
Page
Rudiment
No.
Rudiment
Page
14
Single Stroke Roll
Flam Paradiddle
Long Roll
Flamacue
5 Stroke Roll
B,C
20
Flam Tap
7 Stroke Roll
C,D
24
Flam Paradiddle-diddle
15
9 Stroke Roll
D,E
the Ruff
16
10 Stroke Roll
E,F
Single Drag
17
11 Stroke Roll
10
Double Drag
K,L
18
13 Stroke Roll
F,G
12
Single Ratamacue
L,M
19
15 Stroke Roll
26
Double Ratamacue
21
Single Paradiddle
13
Triple Ratamacue
M,N
11
Double Paradiddle
22
Drag Paradiddle No.1
the Flam
23
N,O
Flam Accent
25
Lesson No.25
List of Rudiments
(includes Tempos for all Groups, and various rhythmic interpretations of the Rudiments)
Roll Rudiments
Single Stroke Roll
Minimum Tempos
Rudiment No.14
Single Stroke Roll - 1/16 notes in 4/4 time *
(parentheses indicate this rudiment is not required)
Group
IV
120
III
II
(132) 152
184
200
60
(66)
76
92
100
88
96
104
112
120
88
96
104
112
120
88
96
104
112
120
Single Stroke Roll - 1/32 notes in 2/4 time *
Long Roll
Rudiment No.1
Long Roll - 1/8 notes in 4/4 time *

written:
played:
Long Roll - 1/16 notes in 4/4 time *

written:
played:
5 Stroke Roll
Rudiment No.2
5 Stroke Roll - 1/8 notes in 4/4 time

written:
played:
* This
can
berudiment
heard onmay
the be
ISSMA
Manual
Companion
CD available from
ISSMA.
* An
MP3Rudiment
example of
this
foundPercussion
on the ISSMA
Website
under Resources/Solo
and Ensemble
Manuals.
List of Rudiments
Roll Rudiments (continued)
5 Stroke Roll
Minimum Tempos
(continued)
Group
IV
III
II
88
96
104
112
120
108
120
132
144
152
88
(96)
104
112
120
60
(72)
80
88
92
written:
played:
5 Stroke Roll - 1/8 notes in 6/8 time (triplets) *

written:
played:
7 Stroke Roll
Rudiment No.3
7 Stroke Roll - 1/8 note triplets in 4/4 time (Long Seven) *
7 Stroke Roll - 1/8 note triplets in 4/4 time

written:
played:
* An
MP3 Rudiment
example ofcan
thisberudiment
may
found
ISSMA
Website
under
Resources/Solo
and
Ensemble
* This
heard on
thebe
CD
ISSMA
Theon
Percussion
26the
Standard
Manual
Rudiments
Companion
available
CDfrom
available
ISSMA.
from
ISSMA.
Listing of Rudiments
Minimum Tempos
7 Stroke Roll
(continued)
Group
IV
III
II
88
(96)
104
112
120
60
(72)
80
88
92
88
96
104
112
120
60
66
72
80
7 Stroke Roll - 1/16 notes in 2/4 time (Long Seven) *

written:
played:
7 Stroke Roll - 1/16 note triplets in 2/4 time (Short Seven)

written:
played:
9 Stroke Roll
Rudiment No.15

written:
played:
9 Stroke Roll - 1/8 notes in 3/4 time *
56
* An *MP3
of can
this be
rudiment
beISSMA
found onPercussion
the ISSMAManual
WebsiteCompanion
and
Ensemble
Thisexample
Rudiment
heard may
on the
CD available
from
ISSMA.
Manuals.
List of Rudiments
9 Stroke Roll
Minimum Tempos
(continued)
Group
written:
IV
III
II
88
96
104
112
120
played:

written:
56
60
66
72
80
played:
9 Stroke Roll - 1/16 note quintuplets in 2/4 time

written:
63
69
76
84
92
(60)
(66)
72
80
played:
10 Stroke Roll
Rudiment No.16

written:
56
played:
* An MP3
example
of this
may
on the
ISSMA Website
and from
Ensemble
* This
Rudiment
canrudiment
be heard
on be
thefound
ISSMA
Percussion
Manual Companion
CD available
ISSMA.
Manuals.
List of Rudiments
10 Stroke Roll
Minimum Tempos
(continued)

written:
Group
IV
III
II
56
(60)
(66)
72
80
56
(60)
(66)
72
80
56
(60)
(66)
72
80
(96)
(104)
played:
11 Stroke Roll
Rudiment No. 17

written:
played:

written:
played:
13 Stroke Roll
Rudiment No.18

written:
88
112
120
played:
* * An
This
MP3
Rudiment
example
can
of be
thisheard
rudiment
on the
may
ISSMA
be found
Percussion
on the ISSMA
Manual
Website
Companion
under CD
Resources/Solo
available from
andISSMA.
Ensemble
Manuals.
F
List of Rudiments
Roll Rudiments (continued) Diddle Rudiments
13 Stroke Roll
Minimum Tempos
(continued)
Group
written:
IV
88
(96)
III
II
(104)
I
112
120
played:
15 Stroke Roll
Rudiment No.19

written:
88
(96)
(104) 112
120
88
(96)
(104) 112
120
72
84
100
138
152
72
84
100
138
152
played:

written:
played:
Single Paradiddle
Rudiment No.21
Single Paradiddle - 1/8 notes in 4/4 time *
Single Paradiddle - 1/16 notes in 2/4 time *
Thisexample
Rudiment
heard may
on the
ISSMA
The
26
Rudiments
Companion
available
CDfrom
available
ISSMA.
from
ISSMA.
* An *MP3
of can
this be
rudiment
beCD
found
onPercussion
theStandard
ISSMAManual
Website
under
Resources/Solo
and
Ensemble
Manuals.
Diddle Rudiments (continued) Flam Rudiments
Double Paradiddle
Minimum Tempos
Rudiment No.11
Double Paradiddle - 1/8 notes in 3/4 time *
Group
IV
III
II
56
69
88
100
108
56
69
88
100
108
56
69
88
100
108
80
92
120
138
152
80
100
120
144
160
80
100
120
144
160
Double Paradiddle - 1/16 notes in 6/8 time *
Double Paradiddle - 1/16 note triplets in 2/4 time *
the Flam
Rudiment No.4
the Flam - 1/8 notes in 2/4 time *
Flam Accent
Rudiment No.5
Flam Accent- 1/4 notes in 3/4 time *
Flam Accent - 1/8 note triplets in 2/4 time *
An Rudiment
MP3 example
rudiment
be found
on the ISSMA
under
Resources/Solo
Ensemble
* *This
can of
bethis
heard
on themay
ISSMA
Percussion
ManualWebsite
Companion
CD
available fromand
ISSMA.
Manuals.
List of Rudiments
Flam Rudiments
(continued)
Minimum Tempos
Flam Paradiddle
Rudiment No.6
Flam Paradiddle - 1/8 notes in 4/4 time *
Group
Group
IV
III
II
66
(80)
92
108
120
66
(80)
92
108
120
72
(88)
100
112
120
(52)
(60)
69
80
72
(88)
100
112
120
48
(58)
69
80
92
Flam Paradiddle - 1/16 notes in 2/4 time *
Flamacue
Rudiment No.7
Flamacue - 1/8 notes in 4/4 time
Flamacue - 1/8 notes in 3/4 time *
44
Flamacue - 1/16 notes in 2/4 time
An Rudiment
MP3 example
rudiment
be found
on the ISSMA
under
Resources/Solo
Ensemble
* *This
can of
bethis
heard
on themay
ISSMA
Percussion
ManualWebsite
Companion
CD
available fromand
ISSMA.
Manuals.
List of Rudiments
Flam Rudiments (continued) Ruff Rudiments
Flam Tap
Minimum Tempos
Rudiment No.20
Group
Group
V
V
IV
IV
III
III
II
II
II
60
(72)
(88)
108
120
60
(72)
(88)
108
120
44
(52)
(60)
69
80
44
(52)
(60)
69
80
60
72
92
104
112
60
72
92
104
112
Flamadiddle-diddle
Rudiment No.24
Flamadiddle-diddle - 1/8 notes in 3/4 time *
Flamadiddle-diddle - 1/16 notes in 6/8 time *
the Ruff
Rudiment No.8
the Ruff - 1/4 notes in 2/4 time *

written:
played:
the Ruff - 1/8 notes in 2/4 time *

written:
played:
* An *MP3
of can
this be
rudiment
beISSMA
found onPercussion
the ISSMAManual
WebsiteCompanion
and
Ensemble
Thisexample
Rudiment
heard may
on the
CD available
from
ISSMA.
Manuals.
List of Rudiments
Ruff Rudiments
Single Drag
(continued)
Minimum Tempos
Rudiment No.9
Single Drag - 1/4 notes in 4/4 time
Group
IV
III
II
72
(96)
108
120
132
72
(96)
108
120
132
72
(96)
108
120
132
52
(60)
written:
played:
Single Drag - 1/8 notes in 2/4 time

written:
played:
Single Drag - 1/8 notes in 6/8 time (triplets) *

written:
played:
Double Drag
Rudiment No.10
Double Drag - 1/4 notes in 3/4 time

written:
72
80
92
played:
* An
MP3Rudiment
example of
this
found Percussion
on the ISSMA
Website
* This
can
berudiment
heard onmay
the be
ISSMA
Manual
Companion
CD available and
fromEnsemble
ISSMA.
Manuals.
Ruff Rudiments (continued)
Double Drag
Minimum Tempos
(continued)
Double Drag - 1/8 notes in 6/8 time

written:
Group
IV
III
II
52
(60)
72
80
92
52
(60)
72
80
92
52
(60)
72
80
92
60
(72)
92
104
116
played:
Double Drag - dotted 1/8 note version in 6/8 time *

written:
This rudiment has two rhythmic interpretations (see footnote)

version 1
version 2 *
Double Drag - dotted 1/8 note version in 2/4 time

written:
played:
Single Ratamacue
Rudiment No.12
Single Ratamacue - 1/8 note triplets in 4/4 time *

written:
played:
* An MP3 example of this rudiment may be found on the ISSMA Website under Resources/Solo and Ensemble.
The dotted 1/8 note version (6/8 time) of the Double Drag has two different rhythmic interpretations. Either version is acceptable.
List of Rudiments
Ruff Rudiments (continued)
Minimum Tempos
Single Ratamacue
(continued)
Group
IV
III
II
60
(72)
92
104
116
40
(48)
(60)
69
76
40
(48)
(60)
69
76
(72)
92
104
116
Single Ratamacue - 1/16 note triplets in 2/4 time *

written:
played:
Double Ratamacue
Rudiment No.26
Double Ratamacue - 1/8 note triplets in 3/4 time *

written:
played:
Double Ratamacue - 1/16 note triplets in 6/8 time *

written:
played:
Triple Ratamacue
Rudiment No.13
Triple Ratamacue - 1/8 note triplets in 4/4 time *

written:
60
played:
* An *MP3
Thisexample
Rudiment
ofcan
this be
rudiment
heard on
may
thebeISSMA
found on
Percussion
the ISSMA
Manual
Website
Companion
CD availableand
fromEnsemble
ISSMA.
Manuals.
M
List of Rudiments
Ruff Rudiments
(continued)
Minimum Tempos
Triple Ratamacue
(continued)
Group
IV
III
II
60
(72)
92
104
116
(54)
(60)
Triple Ratamacue - 1/16 note triplets in 2/4 time *

written:
played:
Rudiment No.22
Drag Paradiddle No.1 - 1/8 notes in 3/4 time *

written:
48
69
80
played:

written:
48
(54)
(60)
69
80
played:
Rudiment No.23

written:
72
(84)
(100) 112
120
played:
* An MP3 example of this rudiment may be found on the ISSMA Website under Resources/Solo and Ensemble
* This Rudiment can be heard on the ISSMA Percussion Manual Companion CD available from ISSMA.
Manuals.
Ruff Rudiments
(continued)
Minimum Tempos
(continued)
Group
IV
III
II
72
(84)
(100) 112
120
(84)
(100) 112
120
written:
played:
Lesson No.25
Rudiment No.25
Lesson No.25 - 1/8 notes in 2/4 time *

written:
72
played:
Lesson No.25 - 1/16 notes in 2/4 time *

written:
72
(84)
(100) 112
120
played:
* An *MP3
of can
this be
rudiment
beISSMA
found onPercussion
the ISSMAManual
WebsiteCompanion
and
Ensemble
Thisexample
Rudiment
heard may
on the
CD available
from
ISSMA.
Manuals.

Required Music List for Percussion Events

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Required Music List

This Association is governed by an elected State Board consisting of three

All Directors Please Note

The Indiana State School Music Association gratefully acknowledges

PERCUSSION SOLO EVENTS

Drum Set Solo Event No. 99

Group Requirements should be as follows:

Tuning, Stick Choice, Drum Set-Up

Accuracy of Notes and Rhythms

Correct pitches on correct drum.

Correct interpretation of rhythms.

Interpretation, General Musicianship and Balance of Sound

Correct interpretation of style (jazz, rock, latin, etc.)

Evaluation should be made only on the indicated expression marks.

Evaluation of the observation of dynamics.

Technique Facility on Set

Matched or traditional grip is acceptable on the drum set.

Mallet Solo (Xylophone, Marimba, Vibraphone) Event No. 100

Group III, Scales Arpeggios; C, F, G, B-flat, D, E-flat, A, A-flat, E. (judges choice)

Choice of Mallets and Correct Playing Area

Balance of solo with accompaniment.

End of bar (not on node).

Accuracy of Notes and Rhythms

Correct interpretation of the rhythms

Expression, Phrasing, Tempo, Dynamics

Evaluation should be made only on the indicated expression marks.

Mechanical Skills (Technique) and Physical Approach

Correct playing area

Two mallets Traditional grip

Four mallets Traditional, Musser, Stevens, or Burton groups acceptable.

General Effect (Preparation)

IV. SNARE DRUM SOLO Event No. 102

Diddle Rudiments: Single Paradiddle, Double Paradiddle.

Acceptable Methods of Demonstration

Fortissimo, gradual decrescendo to pianissimo, gradual crescendo to fortissimo, at performers

Tone, Snare Adjustment, Head Tension

Correct interpretation of the 7-Stroke Roll:

(1) Short 7-Stroke Roll

(2) Long 7-Stroke Roll

(Tempo and uniformity are governing factors.)

Correct interpretation of the 15-Stroke Roll:

Jazz Style Solos in a Moderate Tempo

Expression, Phrasing, Tempo, Dynamics

Evaluation should be made only on the indicated expression marks.

Mechanical Skills (Technique) and Physical Approach

Acceptable hand positions:

General Effect (Preparation)

Timpani Solo Event No. 103

Tone and Tuning

Groups V and IV Tune pitches needed in performers solo.

Acceptable pitch sources:

Pitch pipe (unaccompanied solo)

Tuning fork (unaccompanied solo)

Accompanying instrument (accompanied solo).

Choice of Mallets and Correct Playing Area

Objective criteria to be used to evaluate this area:

Balance of solo with accompaniment

See Guideline for Stick and Mallet Selection.

Correct Playing Area

Dictates of the music:

(1) Legato General playing area used

Accuracy of Notes and Rhythms

Correct notes and/or pitches on kettles.