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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:

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.

3. Performers should continue playing patterns until requested to stop by the judge.

B. 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.

C. 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.

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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. 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.

II. 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

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)

3. Size of instrument may limit the Scale Arpeggio range with no penalty to the performer.

B. 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.

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2. Correct playing area

a. Center of bar.

b. End of bar (not on node).

C. Accuracy of Notes and Rhythms

1. Correct notes.

2. Correct interpretation of the rhythms

D. Expression, Phrasing, Tempo, Dynamics

1. Evaluation should be made only on the indicated expression marks.

2. Additional expression marks may be indicated on the music by the student or teacher and are
acceptable but not required.

E. Mechanical Skills (Technique) and Physical Approach

1. Acceptable grips

a. Two mallets Traditional grip

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

F. 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.

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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.

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)

3. 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.)

4. A uniform rhythm, as specified in the appended List of Rudiments, must be maintained throughout
the demonstration of each rudiment.

B. 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.)

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b. Correct interpretation of the 15-Stroke Roll:

2. Jazz Style Solos in a Moderate Tempo

a. Optional interpretation of eighth and sixteenth notes when applied to jazz phrasing:

(1)

(2)

D. Expression, Phrasing, Tempo, Dynamics

1. Evaluation should be made only on the indicated expression marks.

2. Additional expression marks may be indicated on the music by the performer or teacher and are
acceptable but not required.

E. Mechanical Skills (Technique) and Physical Approach

1. Acceptable hand positions:

a. Traditional (Unmatched)
b. Matched (Left hand identical to the right hand of the traditional grip)

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. Traditional Playing surface should be slanted, high side to the players left.
b. Matched Playing surface should be horizontal.

3. Style of the rolls used (rudimental or multiple-bounce) must be consistent with the style of the solo
or as indicated by the composer.

F. General Effect (Preparation)

Evaluation of the performers adherence to the details or aspects of a composition which results in a fine
musical performance.

V. Timpani Solo Event No. 103

A. Tone and Tuning

1. Tuning Requirements

a. Groups V and IV Tune pitches needed in performers solo.

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b. 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.

c. 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) Major third

(a) G to B

(b) A-flat to C

(c) B-flat to D

2) Perfect fourth

(a) G to C

(b) A-flat to D-flat

(c) B-flat to E-flat

3) Perfect fifth

(a) G to D

(b) A-flat to E-flat

(c) B-flat to F

d. 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 3
1 4 (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).

B. 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.

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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. See Guideline for Stick and Mallet Selection.

2. 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. Accuracy of Notes and Rhythms

1. Correct notes and/or pitches on kettles.

2. Correct interpretation of the rhythms.

E. Expression, Phrasing, Tempo, and Dynamics

1. Evaluation should be made only on the indicated expression marks.

2. Additional expression marks may be indicated on the music by the student or teacher and are
acceptable but not required.

F. Mechanical Skills (Technique) and Physical Approach

1. Acceptable grips

a. Matched

b. Thumbs up:

(1) French-- Use of finger for impetus

(2) German Use of wrist for impetus.

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G. General Effect (Preparation)

Evaluation of the performers adherence to the details or aspects of the composition which results in a fine
musical performance.

VI. Multiple Percussion Solo Event No. 104

A. 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
extremely subjective. Consequently, the adjudicator should evaluate as to rhythmic articulation and
clarity.

B. 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. Tone and Tuning

1. Rudiments are to be performed the same as specified for Event No. 102 Snare Drum.

2. Tuning of an indefinite pitched instrument and the size relationship of sticks to that instrument are
extremely subjective. Consequently, the adjudicator should evaluate as to rhythmic articulation and
clarity.

B. 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)

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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.)

1. Tuning of an indefinite pitched instrument and the size relationship of the sticks to that instrument are
extremely subjective. Consequently, the adjudicator should evaluate as to rhythmic articulation and
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.

B. 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:

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.

3. Set-up:

a. All instruments should be easily accessible to the performer

b. Section leader should be visible to all musicians.

C. 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.

D. Expression, Phrasing, Tempo, Dynamics and Balance

1. Evaluation should be made only on the indicated expression marks.

2. Additional expression marks may be indicated on the music by the student or teacher and are
acceptable but not required.

3. Evaluation of tempos played and the observation of dynamics.

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E. Mechanical Skills (Technique) and Physical Approach

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.

F. General Effect (Preparation)

Evaluation of the performers adherence to the details or aspects of a composition which results in a fine
musical performance.

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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

B Dictates of the music:

1. Indicated on the printed solo or ensemble part


2. Rhythmic articulation and clarity
3. 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 902 (soft)


Innovative Percussion IP 906 (general)
Vic Firth M6 (general)
Pro-Mark PK60 (general)
Innovative Percussion IP 907 (brass-loud)
Vic Firth M11 (brass-loud)
Pro-Mark PK62 (brass-loud)

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Marimba Innovative Percussion IP 100 (soft)
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)
Vic Firth M3 (general)
Pro-Mark PK93 (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)

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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 001 Abe, K.-Frogs STD


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

17
024 Boo, M.-Pieces of R (a four mallet solo) PPB 070 Gomez, A./Rife, M.-Rain Dance SMC
025 Breuer, H-Back Talk (From Mallet 071 Green, G. H.-Waltz Brillante CFM
Solo Collection ) ALF 072 Green, G. H./Becker-Valse Brilliante MED
026 Breuer, H.-Bit O'Rhythm (From Mallet 073 Green, G. H./Cahn-Dotty Dimples CAH
Solo Collection) ALF 074 Green, G. H./Cahn, W. L.-Fluffy Ruffles CAH
027 Breuer, H.-Encore-Elise (From Mallet 075 Green, G. H./Eyles, R.-Chromatic Fox
Solo Collection) ALF Trot (From Xylophone Rags) MER
028 Breuer, H.-Happy Hammers (From 076 Green, G. H./Eyles, R.-Cross Corners
Mallet Solo Collection) ALF (From Xylophone Rags) MER
029 Breuer, H.-The 1908 Rag (From Mallet 077 Green, G. H./Eyles, R.-Jovial Jasper
Solo Collection) ALF (From Xylophone Rags) MER
030 Breuer, H.-On The Woodpile (From 078 Green, G. H./Eyles, R.-Log Cabin Blues
Mallet Solo Collection) ALF (From Xylophone Rags) MER
031 Breuer, H.-Powder Puff (From Mallet 079 Green, G. H./Eyles, R.-Rainbow Ripples
Solo Collection) ALF (From Xylophone Rags) MER
032 Brown, T.-Alone (Mallets in Mind) KEN 080 Green, G. H./Eyles, R.-The Ragtime
033 Brown, T.-Cuernevaca (Mallets in Mind) KEN Robin (From Xylophone Rags) MER
034 Brown, T.-Dahoon (Suite for Percussion) 081 Green, G. H./Eyles, R.-The Whistler
(With Piano) KEN (From Xylophone Rags) MER
035 Brown, T.-Inagua (Mallets in Mind) KEN 082 Green, G. H./Eyles, R.-Triplets
036 Brown, T.-Latin Chiffon (Mallets in Mind) KEN (From Xylophone Rags) MER
037 Brown, T.-Marimbato (Mallets in Mind) KEN 083 Green, J./Becker, B.-Xylophonia BEC
038 Brown, T.-Mexican Murals (any piece) BEL 084 Handel, G./Feldstein, S.-Sonata No. 3
039 Brown, T.-Rhumballade (Mallets in Mind) KEN (4th mvt.) ADL
040 Brown, T.-Samba Sonic (Mallets in Mind) KEN 085 Hatch, E.-Furioso and Valse in D minor EHA
041 Brown, T.-Summer Scene (Mallets in Mind) KEN 086 Haydn, J./Finkel, I.-Divertimento (Vibe)
042 Brown, T.-Sun Shadows (Vibe) KEN (Solos for the Vibraphone Player) GSI
043 Brown, T.-Sunday Trolley (Mallets in Mind) KEN 087 Herold/Luscomb-Zampa Overture RUB
044 Brown, T.-Time Has Come (Mallets in Mind) KEN 088 Houllif, M.-Casper's Dance KEN
045 Burritt, M.-October Night (marimba solo) LUD 089 Houllif, M.-Contemplation for Vibraphone KEN
046 Burton, G.-Ajax Men of Science (Vibe) CMP 090 Houllif, M.-Estudios #1-6 para marimba
047 Burton, G.-Catapult (Vibe) CMP (any one) KEN, PPB
048 Burton, G.-(arr.)-Childhood (Vibe) CMP 091 Houllif, M.-Mist (Vibe) KEN
049 Burton, G.-Enihs (Vibe) CMP 092 Houllif, M.-Samba (marimba solo) STD
050 Burton, G.-A Singing Song (Vibe) 093 Hovhaness, A.-Fantasy on Japanese
(6 Unaccompanied Solos for Vibes) CMP Woodprints EDP
051 Burton, G.-The Sunset Bell (Vibe) CMP 094 Hulling, C.-A Collection of Marimba Solos
052 Chopin/Musser-Valse Brillante FOR (any one) LUD
053 Clementi, M.-Spiritoso (Vibe) (Solos 095 Immerso, J.-Viaggo per Marimba
for the Vibraphone Player) GSI 096 Irvin, L.-Two Etudes for Marimba (any one) PPB
054 Creston, P.-Concertino for Marimba 097 Kraus, P.-Jan BEL
(any mvt.) GSI 098 Kraus, P.-Just Flippin' BEL
055 Debussy, C./Miller-First Arabesque for 099 Kreisler/Green-Caprice Vienois FOL
Vibes and Piano LUD 100 Kreisler/Green-Tambourin Chinois FOL
056 Debussy, C./Miller-Second Arabesque 101 Kreisler/Green-Liebesfreud FOL
for Marimba and Piano LUD 102 Kuhlau, F./Finkel, I.-Allegro from
057 Debussy, C./Pimentel, L.-Le Petit Negre PPB Sonatina No. 1 (Vibe) (Solos for
058 De Lancey, C.-Rosewood Blues MPM the Vibraphone Player) GSI
059 De Ponte, N.-Concertino for Marimba STD 103 Kurka, R.-Concerto for Marimba and
060 De Pue, W.-Sonata Primitif MFP Orchestra (any mvt.) WTB
061 Diemer, E. L.-Toccata for Marimba MFP, 104 Kuzell, C.-Six Little Pieces for Marimba
(Unaccompanied) PMC (any one or all) MTP
062 Dinicu/Goldenberg-Hora Staccato CFM 105 Lang, M.-Etude #1 and 5 (Both)
063 Dorn, B.-Step after Step ADL (14 Contemporary Etudes) ADL
064 Eyles/Werle-The Golden Age of Xylophone MED 106 Lang, M.-Etude #2, 7, 9 (any two)
065 Feldman, V.-Danny Boy (Vibe) (14 Contemporary Etudes) ADL
(All Alone by the Vibraphone) GWN 107 Larrick, G.-Marie, A Four Mallet Rag for
066 Fink, S.-Concertino for Vibraphone (Vibe) WRE Marimba PPB
067 Frackenpohl, A.-Introduction and 108 Lecuona, E./Peterson, H.-Gitanerias MAR
Romp for Marimba and Piano GSI 109 Lecuona, E./Peterson, H.-Malaguena MAR
068 Frazeur, T.-The Quiet Place for 110 Lipner, A.-Solo Jazz Vibraphone Etudes
Marimba and Piano KEN (any one) LUD
069 Frazeur, T.-Rondo for Marimba and Piano PMC 111 Liszt/Edwards-Rhapsodie Fantasie RUB
18
112 Mayuzumi, T.-Concertino for Xylophone 158 Ulrich-Suite No. 1 (Marimba,
and Orchestra (1st or 3rd mvt.) CFP Unaccompanied) MFP
113 Miki, M.-"Time" (marimba solo from 159 Verdi/Edwards-Il Trovatore Fantasie RUB
Modern Japanese Marimba Pieces) TPC 160 Virich-Suite No. 1 (Finale) PMC, MFP
114 Molenhof, B.-A Dancer At Heart KEN 161 Vivaldi/Moore-Concerto in A minor,
115 Molenhof, B.-From Music of the Day Op. 3, No. 6 RV356 (1st mvt.) PPB
(any one) KEN 162 Watson, W.-Recital Suite for Marimba MFP
116 Molenhof, B.-From New Works for New 163 Weber, C. M./Sifert, C.-Invitation to Dance BMP
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 ORCHESTRA BELLS - BELL LYRA SOLOS
120 Mozart, W./Scarmolin, A.-Allegretto
for Marimba and Piano LUD EVENT NO. 101
121 Musser, C.-Etude in A Fllat, Op. 6, No. 2STD, ALF
122 Musser, C.-Etude in C Major, Op. 6, No. 10STD, ALF NO REQUIRED LIST
123 Musser, C.-Prelude, Op. 11, No. 3 STD, ALF
124 Musser, C.-Etude in B, Op. 6, No. 9 STD, ALF Entries accepted only in Groups IV & V
125 Nearpass, J.-Border Song NEA (Not a State Event)
126 Nearpass, J.-Childlike NEA
127 Peters, M.-Sonata Allegro for Marimba
and Piano MTP
128 Peters, M.-Theme and Variations MPM SNARE DRUM SOLOS
129 Peters, M.-Three Pieces for Three Mallets
(any two mvts.) MPM EVENT NO. 102
130 Peters, M.-Waves (marimba solo) MPM
131 Peters, M.-Yellow After the Rain for 001 Abel, A.-Hi Ho Simpson FMH
Marimba MTP 002 Abel, A.-Jennifer's Jog PPB
132 Pitfield-Sonata (any mvt.) PET 003 Abel, A.-2040's Sorte LUD
133 Rimsky-Korsakov/Quick-The Flight of 004 Angelis, N.-Train Wreck (from An Amazing
the Bumble Bee RUB Collection
134 Rosauro, N.-Concert for Marimba and of Top Ranking Snare Drum Solos) TSP
Orchestra (any mvt.) POP 005 Baker, J.-Lonely City Suite (Mvts. I,II,III) (from An
135 Rosauro, N.-Sonata-The Periods of Life Amazing Collection of Top Ranking Snare
(any mvt.) ZIM Drum Solos) TSP
136 Rosauro, N.-Suite Popular Brasileira 006 Barrett, G.-Rudimental Heights PPB
(any mvt.) ZIM 007 Beck, J.-Advanced Solos for the Snare Drum
137 Samuels, D.-Footpath (marimba solo) (No. 2 or 3) KEN
138 Schubert/Quick-Marche Militaire RUB 008 Beck, J.-Colonial Capers KEN
139 Schumann/Stevens-Album for the Young 009 Benson, W.-Three Dances for Solo Snare
(any piece) MAP Drum CHP
140 Sholle, E.-The Brook BPC 010 Berg, S.-Festival Capers BOU
141 Sifler, P.-Marimba Suite (any or all) WIM 011 Berg. S.-Rocky Rhythm BOU
142 Skoog, D.-Water and Fire CNT 012 Burns/Feldstein-Soloistic Studies
143 Smadbeck, P.-Rhythm Song MAL (Intermediate Drum Method, Pp. 49,
144 Smith, S.-Suite Moderne (marimba solo) PPB 50, 52, 55, 56, 57,58, 59, 60 - any two) ADL
145 Spencer, J.-After the Storm SPP 013 Cappio, A.-Lu-Lu HMR
146 Spencer, J.-Ask (vibraphone solo) SPP 014 Ceroli-Trick Stickery PDS
147 Spencer, J.-Fire Elves (marimba solo) SPP 015 Colgrass, M.-Six Unaccompanied Solos for
148 Spencer, J.-Icecream (marimba solo) SPP Snare Drum (any one) GSI, LGM
149 Spencer, J.-Mountain Stream SPP 016 Dempsey, T.-Rodent Tomfoolery (from An Amazing
150 Steinquest, D.-Radford Rag PIO Collection of Top Ranking Snare Drum Solos)
151 Stout, G.-Andante and Allegro STD, ALF TSP
152 Stout, C.-Astral Dance ALF 017 DiBona, E.-Celtic American, The RLP
153 Stout, G..-Elegy STD, ALF 018 DiBona, E.-Latin Drum Sargent, The RLP
154 Stout, G.-Two Mexican Dances for 019 Duggen, S.-First (The Rudimental Cookbook) RLP
Marimba (any mvt.) STD, ALF 020 Duggen, S.-Method To My Madness
155 Tanner, P.-Sonata for Marimba and (The Rudimental Cookbook) RLP
Piano (any two mvts.) COP 021 Firestone-Etudes for Drum OOP
156 Tschaikowsky/Stevens-Album for the 022 Firestone-Solo No. 11 OOP
Young (any mvt.) STD 023 Firestone-Tapology OOP
157 Ukena, T.-Tempest SMC 024 Freytag, E.-And The Kitchen Sink
(The Rudimental Cookbook) RLP
19
025 Freytag, E.-Prattfalls (The Rudimental Cookbook)RLP 078 Pepe, J.-Snare Drum Solo PPP
026 Funnell, J.-Corps-Dially Yours KEN 079 Petercsak, J.-Snare Drum Solo No. 1 MFP
027 Gauger, T.-Snare Drum Solo No. 1 PMC, MFP 080 Pratt, J.-Attaching the 4-Stroke Ruff
028 Gauthreaux, S.-Technica 9 STD (Rudimental Solos for the Accomplished
029 Gilbert, K.-Barney the Pedantic Weasel KGG Drummer) MED
030 Gilbert, K.-Esoteric 6/8 KGG 081 Pratt, J.-Boston's Drumming Crusader
031 Goldenberg, M.-Farfel's Gavotte CHP (Rudimental Solos for the Accomplished
032 Goldenberg, M.-5/8 Etude CHP Drummer) MED
033 Goldenberg, M.-5/8 Romp CHP 082 Pratt, J.-Buttermilk and Crackers
034 Goldenberg, M.-Graduation Etude CHP (Rudimental Solos for the Accomplished
035 Goldenberg, M.-Ramble Rumple CHP Drummer) MED
036 Goldenberg, M.-Rim Shot March MFP 083 Pratt, J. S.-Cider Jug (From The New
037 Goldenberg, M.-7/8 Romp CHP Pratt Book) PPB
038 Goldenberg, M.-6/8 Etude CHP, MFP 084 Pratt, J. S.-Conquering Legions of Rome, The
039 Harber, S.-1/2 Way There STD (From The New Pratt Book) PPB
040 Harris, E. E.-Sonata (The Solo Drummer) RIC 085 Pratt, J. S.-Coordination BMP
041 Harris, E. E.-Theme and Variations 086 Pratt, J. S.-Drum Corps on Parade
(The Solo Drummer) RIC (14 Modern Contest Solos) BMP
042 Harris, E. E.-The Yankee Flamdoodle 087 Pratt, J.-Emperor Justinian at Constantinople
(The Solo Drummer) RIC (Rudimental Solos for the Accomplished
043 Helm, D.-The Titan PIO Drummer) MED
044 Hoey, F.-Jet Age 6/8 SMC 088 Pratt, J. S.-Flamaque Quickstep BMP
045 Hoey, F.-Ruff Drag Strip SMC 089 Pratt, J. S.-Gladstone Cadets
046 Hoey, F.-Unrolly Permutation SMC (14 Modern Contest Solos) BMP
047 Hurley, M.-Crash Landing (Festival Snare Solos)RLP 090 Pratt, J. S.-Hodge Podge
048 Hurley, M.-Mambo King, The (Festival (14 Modern Contest Solos) BMP
Snare Solos) RLP 091 Pratt, J. S.-My Friend Norman BEL, BMP
049 Hurley, M.-The Phancy Phantom MHA 092 Pratt, J. S.-Sound Off (From The New
050 Hurley, M.-Phantom of the Phield MHA Pratt Book) PPB
051 Hurley, M.-Phantom Phire RLP 093 Pratt, J.-Swinging the Swiss Pataflafla
052 Hurley, M.-Phantom Phrenzy MHA (Rudimental Solos for the Accomplished
053 Hurley, M.-Scud Attack (Festival Snare Solos) RLP Drummer) MED
054 Hurley, M.-Tower of Terror 094 Pratt, J. S.-Syncopating the Single Drag BEL, SMP
(Festival Snare Solos) RLP 095 Pratt, J. S./Schinstine/Moore-The Solo Snare
055 Jenny, J.-At Odds (2nd & 4th mvts.) PPB Drummer Vol. 1 (pp 11 & 12, or pp14 & 15)PPB
056 Kettle, R.-Three Etudes for Snare Drum 096 Prentice, H. F.-Richard's Rampage BMP, SMC
(any one) STD 097 Prentice H. F.-Santa Fe Chief BMP
057 Leonard, S.-5 - 6 - 7 (Contemporary Album 098 Queen, J.-Tribute (from An Amazing Collection
for the Snare Drum) LUD of Top Ranking Snare Drum Solos) TSP
058 Lynch, M.-Odyssey II (The Rudimental 099 Reichett, K.-Adagio (from An Amazing Collection
Cookbook) RLP of Top Ranking Snare Drum Solos) TSP
059 Machamer, S.-Twenty-Four Swing Street PPB 100 Rogers, R. E.-Flamboyant STD
060 McIntosh, M.-Three (from An Amazing Collection of 101 Roy, J. M.-Prestidigitation BAR
top ranking Snare Drum Solos) TSP 102 Schinstine, W. J.-Recital Suite for Solo
061 Markovich, M.-Stamina CMP Snare Drum KEN
062 Markovich, M.-Tornado CMP 103 Schinstine, W. J.-Beating the Blues SMC
063 Markovich, M.-The Winner CMP 104 Schinstine, W. J.-Contrary Computer, The SMC
064 Marvin, H.-Variety MFP 105 Schinstine, W. J.-Festival Drummer SMC
065 Marvin, H.-HaMaR's Delight HMR 106 Schinstine, W. J.-Hectic Hickorys SMC
066 McMahan, J. W.-Hamiltonian SPR 107 Schinstine, W. J.-Innovation in Two-Four SMC
067 McMahan, J. W.-Lizard Thicket, The SPR 108 Schinstine, W. J.-Soliloquy OOP
068 McMahan, J. W.-Mueller's Mazurka SPR 109 Schinstine, W. J.-Space Probe SMC
069 Miller, D.-Four Marches for the Rudimental 110 Schinstine, W. J.-Synco-Stix SMC
Snare Drummer (Nos. 1 & 3 or 3 & 4) LUD 111 Schinstine, W. J.-Evocation #1 KEN
070 Moore-Six Solos for Snare Drum 112 Schinstine, W. J.-Evocation #2 KEN
(any of the six) BPC 113 Schinstine, W. J.-Three Means To An End
071 Morey, C.-Jim Dandy KEN (any one) KEN
072 Morey, C.-A Real Drag KEN 114 Spede, M.-Speed Trap PPB
073 Morey, C.-Waltzing Hipster, The KEN 115 Stone, G. L.-Massachusett's Champion GBS
074 Morton, J.-One of a Kind STD
075 Mouse, J.-Accentric SPR 116 Straight, E. B.-Drummer's Downfall
076 Mouse, J.-Conception SPR (Deluxe Drum Solos) CFM
077 Payson, A.-Snare Drum Solo No. 1 MFP 117 Street, G.-Steppin' Out CFM
20
118 Street, G.-Swingin' Down the Street 015 Cirone, A.-Sonata No. 1 for Timpani and
(The Drummer's Heritage) CFM Piano CIR
119 Tuthill, G.-Snare Drum Solo MFP 016 Curnow, J.-Fanfare and Scherzo MDM
120 Varner, M.-Punctuality PPB 017 Erickson, K.-In the Valley of Kings
121 Wanamaker, J.-Bridgemen (From (Mvts. 2 and 3) INP
Championship Corps Style Contest Solos) ALF 018 Firth, V.-Solo Impressions for Two Timpani CFM
122 Wanamaker, J.-Crazy Army (From 019 Firth, V.-Solo Impressions for Three Timpani CFM
Championship Corps Style Contest Solos) ALF 020 Firth, V.-Solo Impressions for Four Timpani CFM
123 Wanamaker, J.-Drums Corps on the March 021 Firth, V.-Solo Timpanist, The, Nos. 1, 2, 3, 7,
(From Championship Corps Style 8, 10, 11, 15, 17, 22, 23, 25, 26 (any one) CFM
Contest Solos) ALF 022 Frock, G.-Seven Solo Dances (any one) SMC
124 Wanamaker, J.-4th of July (From 023 Gay, K.-Farfenmarch TSP
Championship Corps Style Contest Solos) ALF 024 Gay, K.-Overture for Timpani TSP
125 Wanamaker, J.-Hurricane (From 025 Gomez, A./Rife, M.-International Style
Championship Corps Style Contest Solos) ALF Etudes (any one etude) SMC
126 Wanamaker, J.-Main Street Strut (From 026 Goodman, S.-Ballad for the Dance BEL
Championship Corps Style Contest Solos) ALF 027 Hinger, F.-Solos for the Virtuoso Timpanist
127 Wanamaker, J.-Spirit of Sanchez (From (any one) JER
Championship Corps Style Contest Solos) ALF 028 Holly, R.-Sonata for Timpani KEN
128 Webster, C.-Bolero for Ed (from An Amazing Collection 029 Houliff, M.-Der Paukenmeister KEN
of Top Ranking Snare Drum Solos) TSP
129 Whaley, G.-Essay for Snare Drum MER 030 Houllif, M.-3 Settings for Timpani
130 Whaley, G.-Etude in 32nds RAL (any two mvts.) STD
131 Whaley, G.-Recital Solos (any two) MED 031 Houllif, M.-Suite for Timpani POT
132 White, E.-False Images KEN 032 Huston, S.-Suite for Solo Timpani GSI
133 Whitlock, J.-Hit-N-Run (The Rudimental 033 Igelsrud, D.-Soundings KEN
Cookbook) RLP 034 Jones, D.-Sonata for Three Unaccompanied
134 Whitlock J.-In-Pulse (The Rudimental Cookbook)RLP Kettle Drums HRS
135 Whitlock J.-Shala' (The Rudimental Cookbook)RLP 035 Kashanski, R.-Semi-Straight Jazz Waltz, A HMR
136 Whitlock J.-Tuo Kaerf (The Rudimental 036 Leonard, S.-Canticle VLK, LUD
Cookbook) RLP 037 Leonard, S.-Ostinato (From Forms) LUD
137 Wilcoxon, C.-Battin' 'Em Out CHW 038 Leonard, S. Rondino (From Forms) LUD
138 Wilcoxon, C.-Heating the Rudiments CHW 039 Leonard, S.-Solo Dialogue VLK, LUD
139 Wilcoxon, C.-Lake Woodite, The LUD 040 Mancini, D.-Suite for Timpani KEN
140 Wilcoxon, C.-Swinging the Twenty-Six CHW 041 Mancini, D.-Suite #2 for Timpani KEN
141 Wooten, J.-Africa Hot WOO 042 McCormick, R.-Fanfare Variations for Solo Timpani
142 Wooten, J.-Rudimental Clave RPP KEN
043 Peters, M.-Primal Mood for Four Timpani MTP
044 Peters, M.-Randino MTP
045 Peters, M.-The Storm MTP
TIMPANI SOLOS 046 Ramey, P.-Sonata for Three Unaccompanied
Timpani MFP
EVENT NO. 103 047 Riley, S.-A Delivering ALP
048 Schinstine, W.-Dresden Dance SMC
001 Ameele, D.-Cadenza No. 1 KEN 049 Schinstine, W.-Artistie Sonata, The (I or III) KEN
002 Ameele, D.-Cadenza No. 2 KEN 050 Steinhart-Dance (+ 4 Timbales or Rotos) LAN
003 Beck, J.-Interaction for Music and Sounds 051 Tharichen, V.-Concerto for Timpani
(with CD recording) KEN (any mvt.) AMP
004 Beck, J.-Sonata for Timpani (any mvt.) BMC 052 Vitto, B.-Scherzo FDS
005 Beck, J.-Three Episodes (II or III) KEN 053 Whaley, G.-Scherzo for Timpani MER
006 Beck, J.-Triptych Motif (no cut) KEN 054 Williams, J.-Variations for Solo Kettledrums
007 Beck, J.-Three Movements for Five (theme and any one variation) MFP
Timpani (any one mvt.) MER 055 Wuebold, E.-Fantasy for Timpani and Piano PMC
008 Bergamo, J.-Four Pieces for Timpani 056 Youhass-Four Pieces for Unaccompanied
Nos. 1 & 4 MFP, PMC Kettledrums, Nos. I and II MMC
009 Bergamo, J.-Four Pieces for Timpani 057 Youhass-Four Pieces for Unaccompanied
Nos. 2 & 3 MFP, PMC Kettledrums, Nos. III and IV MMC
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
MULTIPLE PERCUSSION SOLOS MULTI-TENOR SOLOS

EVENT NO. 104 EVENT NO. 105

001 Angelo, J.-Toccata for Solo Percussionist MMC 001 Aungst, T.-It's Time (From Modern Multi-Tenor
002 Beck, J.-Episode for Solo Percussionist STD Techniques and Solos) RLP
003 Burritt, M.-Sticks of Eloquence LUD 002 Bailey, J.-Green Lightning (From Modern
004 Campbell, J.-Engine Room RLP Multi-Tenor Techniques and Solos) RLP
005 Campbell, J. -Fork RLP 003 Bissell, P.-Bones (From Tenor Madness) GFM
006 Christian, B.-Rondino CRE 004 Carr, C.-Busy Frames (From Modern
007 Christian, B.-Danze Espagnola CMP Multi-Tenor Techniques and Solos) RLP
008 Combs, F.-Gesture for Solo Percussionist MMC 005 Davila, J.-Cruise Control (From Modern
009 Davis, T.-Multi-Percussion, Suite No. 1 BAR Multi-Tenor Techniques and Solos) RLP
010 Davis, T.-Soliloquy CRE 006 Davila, J.-Webster's Rumble (From Modern
011 Davis, T.-Spanish Dance CMP Multi-Tenor Techniques and Solos) RLP
012 DeLancey, C.-Love of L'Histoire PET 007 Hansen, L.-Out House RLP
013 Delecluse, J.-A La Maniere #3 LED 008 Hansen, L.-Double Crossed RLP
014 Dervaux-Batterie-Sketch (any two mvts.) LED 009 Hansen, L.-Twist It Up RLP
015 Edgerton, M. -Songs of Vent MCP 010 Hurley, M.-Crash Landing RLP
016 Frazeur, T.-Mood Piece MFP 011 Hurley, M.-The Phancy Phantom RLP
017 Frock, G.-Concert Etude for Solo PercussionistHLN 012 Hurley, M/Hansen, L.-The Phantom of the
018 Gaetano, M.-Multiple Episode No. 1 STD Phield RLP
019 Glassock, L.-Motion KEN 013 Hurley, M./Hansen, L.-Phantom Phrenzy RLP
020 Glassock, L.-Statement for Solo Percussion KEN 014 Hysell, E./Bissell, P.-SVC (From Tenor Madness)
021 Goldenberg, M.-Studies in Solo Percussion GFM
(any solo, pp 36-72) CHP 015 Johnson, S.-Cha-Da-Da-Cha-Cha (From
022 Guager, T.-Nomad GUA Modern Multi-Tenor Techniques and Solos)RLP
023 Holliden, D.-Six Ideas for Snare, Bass and CymbalMCP 016 Rennick, P.-Backstreet Beat (From Modern
024 Jager, R.-Concerto for Percussion and Band MED Multi-Tenor Techniques and Solos) RLP
025 Johnson, W.-Five Words SMC
026 Kastuck, S.-Dance I KAS
027 Kraft, W.-Da-Dit AMC
028 Kraft, W.-English Suite (play any one of the PERCUSSION ENSEMBLES
six mvts.) AVM, OOP
029 Kraft, W.-French Suite for Percussion Solo EVENT NO. 110
(any one of four) MEM, AVM, OOP (Three to Six Performers)
030 Kraft, W.-Morris Dance AVM
031 Lopez, R.-Two Days TSP 001 Abel, A.-Allegro Muchacho (6 players) LUD
032 McCormick, R.-Homage to Harry Partch KEN 002 Abel, A.-Serenade To a Sand Dune (6) PPB
033 Milhaud, D.-Concerto for Batterie and Small 003 Alfeieri, J.-Fanfare for Tambourines (6) MUF
Orchestra (Condensed for Piano) UTP 004 Artenziano, E.-El Muchacho Cinco RLP
034 Moore, J.-Sonata No. 1 for Percussion Soloist LUD 005 Bach, J. S./Moore, J.-Little Fugue in G minor (4)
035 Payson, A.-Die Zwitschermaschine CMP PPB
036 Payson, A.-Slavic Danse CMP 006 Beck, J.-Concerto for Timpani and
037 Peters, M.-Etude #2 MTP Percussion Ensemble (6) KEN
038 Peters, M.-Perpetual Motion for Snare Drum 007 Bellson, L.-Four Stories (4 drum sets) TRY
and Four Tom-Toms MTP 008 Benson, W.-Three Pieces for Percussion
039 Peters, M.-Rondo for Four Tom-Toms MPM Quartet (any two mvts.) GSI
040 Pillin, B.-Duo for Percussion and Piano WIM 009 Brand, M.-Africantus KEN
041 Ramey, P.-Capriccio MCP 010 Breaux, T.-Ostinato-A-Koto DSM
042 Rosen, J.-Elegy for Solo Percussion MFP 011 Brown, T.-Morning Flower (5) BMP
043 Russell, A.-Sonata (any two mvts.) MFP 012 Brown, T.-Particles (any two mvts.) (6) SMC
044 Schinstine, W.-Etude for Latin Instruments CMP 013 Carno, Z.-Sextet for Percussion (any one mvt.)MFP
045 Schinstine, W.-Etude for Membranophones CMP 014 Chavez, C.-Toccata (1st or 3rd mvt.) (6) BMP
046 Starer, R.-Excursion MCA 015 Cirone, A.-5 Items for Solo Marimba and
047 Stern, R.-Adventures for One Percussion Ensemble (any two) (6) BMP
(any two mvts.) MFP, PMC 016 Cirone, A.-4/4 for Four (4) CIR
048 Tagawa, R.-Inspirations Diabolique 017 Cirone, A.-Japanese Impressions (5) BEL
(any one mvt.) WIM 018 Cirone, A.-Overture in Percussion (5) CIR
049 Udow, M. W./Watts, C.-Contemporary 019 Cirone, A.-Percussionality (4 percussion +
Percussionist, The (any one EXCEPT: 1 student piano or 6 percussion) BEL
IV; VII; XI; XII; XV; XVII; XVIII) MER 020 Cirone, A.-Triptych (1st mvt. or
050 Whaley, G.-Three Movements for Two Drums PRO 2nd & 3rd mvts.) (4) BMP
22
021 Colgrass, M.-Chamber Piece for Percussion 072 Mozart, W. A./Moore, J. L.-Eine Kleine
Quintet MFP, PMC Nachtmusik (Allegro Mvt.) (4) PPB
022 Colgrass, M.-Fantasy, Variations for 8 073 Mozart, W. A./Moore, J. L.-Ronda Ala Turk (4) PPB
Chromatic Drums and Percussion Sextet MFP 074 O'Gorman, P.-Fire (4) BAR
023 Colgrass, M.-Percussion Music (4) MFP 075 O'Mahoney, T.-Burundi Shuffle (5) PPB
024 Cowell, H.-Pulse (5) MFP 076 O'Reilly-Three Episodes (5) SCN
025 Davis, T. L.-Greensleeves (5 players and 077 Parchman, G.-Symphony for Percussion
string bass) CMP (any mvt.) (6) ELV
026 Davis, T. L.-Fughetta Rock (6) BAR 078 Parchman, G.-Fifth Symphony for
027 Debussy/Reeves, D.-Bruyeres (from Three Preludes) Percussion Ensemble (any mvt.) (6) ELV
(Orch. bells can be sub. for crotales) TSP 079 Peters, M.-A La Naningo (6) KSM
028 Del Borgo, E.-Dimensions II KEN 080 Peters, M.-A La Samba (6) MTP
029 Del Borgo, E. A.-Preludio for Percussion (6) KEN 081 Peters, M.-Piece for Percussion (4) MTP
030 DiBlasio, D, -Cancun KEN 082 Peters, M.-Study in 5/8 (4) PDS, WIM
031 Elias, S.-Suite for Three Drum Sets EDI 083 Proto/Akins-Protoplasm
032 Faberman, H.-Percussion Ensemble Collection (4 percussion + 1 bass) KEN
Level III (any two) (6) BMP 084 Rauschenberg-Discussion (4) PDS, WIM
033 Foss, L.-Percussion Quartet (4) CFM 085 Rossini, G./Houllif, M.-William Tell
034 Frock, G.-Fanfare for Double Percussion Trio SMC Overture, The (6) KEN
035 Frock, G.-Three Asiatic Dances (6) SMC 086 Russo, W.-Music for Percussion (4) SFP
036 Gauger, T.-Gainsborough (any one mvt.) (5) SMC 087 Snider, L.-Fixations (6) BAR
037 Gillingham, D.-Sacrificial Rite (5) ALP 088 Spears, J.-Jubiloso SMC
038 Glassock, L.-Between The Lines MED 089 Starer, G.-Night Music for Percussion (6) BMP
039 Goodman, S.-Canon for Percussion (6) BMP, MEM 090 Strang, G.-Percussion Music for Three
040 Goodman, S.-Scherzo (3) BMP Players TPC
041 Goodman, S.-Theme and Variations (4) 091 Tilles, D.-Blue Percussion (6) CMP
BMP, MEN, CHP 092 Williams, K.-African Sketches (4) LUD
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 MALLET ENSEMBLES
(any two mvts.) (4) MFP
047 Holly, R.-Battlestations II (4 ) KEN EVENT NO. 111
048 Houliff, M.-Undercurrents (5) (Three to Six Performers)
049 Hovhaness, A.-Bacchanale EDP
050 Jebe, P.-On The Horizon (6) RLP 001 Adams,-Sonata Ico (4) PPB
051 Jemison, D.-Quintession WIM 002 Bach/Houliff-Double Concerto In D Minor (4) PPB
052 Jenny, J.-Pursuit for Solo Marimba and 003 Bach/Houliff-Fugue In A Major (3) PPB
Percussion Ensemble (6) PPB 004 Bach/Moore-Air (for the G String) (4) PPB
053 Jerger, J.-"36" Heads (4) OOP 005 Bach/Moore-Fugue in C minor (3) PPB
054 Jerger, J.-"54" Heads (3 or 6) OOP 006 Bach/Moore-Fugue in D minor from the
055 Joplin, S./Burkett, G.-Stoptime Ray (3) PPB Well Tempered Clavier (3) PPB
056 Joplin, S./Houllif, M.-Maple Leaf Rad (4) PPB 007 Bach/Moore-Little Fugue in G minor (4) PPB
057 Karlin, F.-Repercussions (4) SFP 008 Bach/Moore-Toccata & Fugue in D minor
058 Keezer, R.-For Four Percussionists (4) KEN (4 or 5) PPB
059 Kosteck, G.-Counterpoint for Percussion 009 Bach/Schaefer-Brandenberg Concerto No. 2
Quartet (4) BMP (1st mvt.) (5) PPB
060 Kraft, W.-Suite for Percussion 010 Bartok/Jeanne-Rumanian Folk Dances (5) PPB
(any two mvts.) (4) BEL, MEM 011 Beethoven/Jeanne-The Metronome from
061 LaRosa, M.-Good News, The HMR 2nd Mvt., Symphony No. 8 (5) PPB
062 Leonard, S.-Four Images (6) LUD 012 Bizet/Janicki-Miacaela's Aria (6) PPB
063 Leonard, S.-Promenade LUD 013 Bizet/Jeanne-Farandole from L'Arleisienne
064 Lepper, K.-Boasphere (6) LEP Suite No. 2 (5) PPB
065 Mancini, D.-Exit 39 KEN 014 Bizet/Musser-Selections from Carmen (5) FOR
066 McKenzie, J.-Introduction and Allegro MFP 015 Brahms/Houllif-Hungarian Dance No.5 (4) PPB
067 McKenzie, J.-Three Dances (3) MFP, PMC 016 Breuer/Gipson-Back Talk (5) MED
068 Meacham/Houliff -American Patrol KEN 017 Breuer/Gipson-Blue Tid Bit (4) MED
069 Meyer, R.-Ostinato KEN 018 Breuer/Gipson-Four Stick Joe (4) MED
070 Miller, D.-5 Short Pieces (No. 1 plus 019 Breuer/Gipson-Minor Moment (4) MED
any two mvts.) LUD 020 Breuer/Pershing-Balk Talk (3) ALF
071 Miller, D.-Prelude for Percussion MFP, PMC 021 Breuer/Pershing-Bit O' Rhythm (3) ALF
23
022 Breuer/Pershing-Encore-Elise (3) ALF 078 Mozart/Glassock-Allegro Assai (from Quartet
023 Breuer/Pershing-Happy Hammers ALF In E-flat) (4) PPB
024 Breuer/Pershing-1908 Rag, The (3) ALF 079 Mozart/Glassock-Andante (from Quartet
025 Breuer/Pershing-On the Woodpile (3) ALF In C) (4) PPB
026 Breuer/Pershing-Powder Puff (3) ALF 080 Mozart/Glassock-Rondo (from Quartet In
027 Butov, G.-Russian Rag (3) STD B-flat) (4) PPB
028 Cahn-La Negra (5) CAH 081 Mozart/Hatch-Overture to the Magic
029 Chabrier/Hatch-Espana Rhapsody (6) EHA Flute (5) EHA
030 Chandler/White/Cohn/Cahn-Canadian 082 Mozart/Hatch-Overture to the Marriage
Capers (5) CAH of Figaro (6) EHA
031 Chopin/Hatch-Minute Waltz, The (3) EHA 083 Mozart/Janicki-Rondo (4th mvt. from
032 Chopin/Jeanne-Prelude Op. 28, No. 4 (5) PPB Eine Kleine Nachtmusik) (4) PPB
033 Dauwalder, L.-Ice Cream Suite Rag, The (4) PPB 084 Mozart/Moore-Rondo Ala Turk (4) PPB
034 Debussy/Barton-La Fille Aux Cheveaux De Lin 085 Mozart/Musser-Marriage of Figaro (5) EHA
(The Girl With the Flaxen Hair) (6) PPB 086 Paine/Roy-Fuga Giocosa (3) MDM
035 Debussy/Prince-Danse (6) PPB 087 Palestrina/Tanner-Exultate Deo (5) PPB
036 DeFalla/Hatch-Ritual Fire Dance (4) EHA 088 Prokofiev/Gipson-Field of the Dead (from
037 Dinicu/Hatch-Hora Staccato (5) EHA Alexander Nevsky) (4) OPE
038 Dvorak, A.-Finale from Quartet in F Major (4) PPB 089 Raff/Jeanne-The Mill PPB
039 Dvorak, A./Musser-Largo from New World 090 Rimsky-Korsakov/Hatch-Flight of the
Symphony (5) FOR Bumble Bee (6) EHA
040 Ford, M.-Afta-Stuba! (3) INP 091 Rimsky-Korsakov/Hatch-Scheherazade (6) EHA
041 Ford, M.-Stubernic (3) INP 092 Rimsky-Korsakov/Janicki-Variazioni (from
042 Fleck, B./Steinquest, D.-Metric Lips (4) RLP "Capriccio Espagnol") (6) PPB
043 Gabrieli/Schaefer-Canzon Prima (5) PPB 093 Rosales/Musser-Bolera (5) FOR
044 Glassock-Passage (6) INP 094 Rossini/Hatch-Overture to William Tell (6) EHA
045 Green G. H./Becker, B.-Chromatic Fox Trot (5)BEC 095 Sibelius/Musser-Finlandia (5) FGP
046 Green, G. H./Becker, B.-Charleston Capers (5)BEC 096 Slater, J.-Suite for Keyboard Percussion
047 Green, G. H./Becker, B.-Cross Corners (5) BEC (I and II, or II and III) (4) OPE
048 Green, G. H./Becker, B.-Jovial Jasper (5) BEC 097 Smetana/Musser-Dance of the Comedians (6) FOR
049 Green, G. H./Becker, B.-Log Cabin Blues (5) BEC 098 Sousa/Hatch-Stars and Stripes Forever (6) EHA
050 Green, G. H./Becker, B.-Stop Time (5) BEC 099 Sousa/Leaman-Stars and Stripes Forever (5) PPB
051 Green, G. H./Becker ,B.-Triplets (5) BEC 100 Steinquest, arr.-County Claire (6) RLP
052 Green, G. H./Becker,B.-Whistler, The (5) BEC 101 Strauss/Hatch-Tales of the Vienna Woods (5) EHA
053 Green, G. H./Becker, B.-Xylophonia (5) BEC 102 Tchaikovsky/Hatch-Dance of the Candy
054 Green, G. H./Cahn, W. L.-Fluffy Ruffles (5) CAH Fairy (5) EHA
055 Green, J./Schinstine-The Whirlwind (4) SMC 103 Tchaikovsky/Hatch-Dance of the Flutes (6) EHA
056 Hatch, E.-Olivera Street, L. A. (any mvt.) (5) EHA 104 Tchaikovsky/Hatch-Overture Miniature (5) EHA
057 Hatch, E.-Pliatan (4) EHA 105 Tchaikovsky/Hatch-Russian Dance (4) EHA
058 Hatch, E.-Three Concert Pieces for 8 Hands (5)DSM 106 Tchaikovsky/Hatch-Waltz of the Flowers (5) EHA
059 Haydn/Moore-Trio Sonata No. 1 (3) PPB 107 Tchaikovsky/Jeanne-Album for the Young
060 Jeanne, R.-Paquita (5) PPB Suite (all three mvts.) (5) PPB
061 Johnson, C./Becker, B.-Dill Pickles (5) BEC 108 Tchaikovsky/Jeanne-Arabian Dance (5) PPB
062 Joplin/Burkett-Stoptime Rag (3) PPB 109 Tchaikovsky/Musser-Andante from
063 Joplin/Freytag-The Easy Winners (4) RLP Symphony No. 5 (5) BHI
064 Joplin/Houllif-Maple Leaf Rag (4) PPB 110 Tignor-Enchanted Circus (4) PPB
065 Joplin/Moore-The Entertainer Rag (4) PPB 111 Texidor/Jeanne-Amparito Roca
066 Joplin/Rauschenberg-Solace (4) EXC (Spanish March) (5) PPB
067 Kabalevsky/Peters-Comedians Gallop (5) FDS 112 Vivaldi/Gilroy-Vivo Vibaldi (4) BMP
068 Kachaturian/Hatch-Sabre Dance (6) EHA 113 Wagner/Musser-Pilgrim's Chorus from
069 LaRosa, M.-Creation and Rebirth (5) KEN Tannhauser (5) BHI
070 Leonard-Prelude (for Four Marimbas) (4) LUD 114 Wagner/Musser-Traume (4) BHI
071 Leonard-Quarimba (4) LUD
072 Mendelssohn-Bartholdy/Tanner-Consolation,
Op. 30, No.3 (6) PPB
073 Moszkowski/Tanner-Scherzino (6) PPB
074 Moszowski/Vigneron-Caprice Espagnol (5) DSM
075 Moussorgsky/Moore-Gopak (4) PPB
076 Mozart/Gilroy-Variations On "Ah, Vous
Dirai-Je Maman" (Twinkle Twinkle
Little Star) (4) BMP
077 Mozart/Glassock-Allegro (from Quartet In C) (4)PPB

24
LARGE MALLET ENSEMBLES 023 Brooks, C.-Millennium (14) RLP
024 Brooks, C.-Ritual of the Tribe (9) RLP
EVENT NO. 112 025 Brooks, C.-Shongaloo Ramble (9-11) RLP
(Seven to Twenty Performers) 026 Brooks, C.-Valley of Nepal (14-15) RLP
027 Brown, T.-Above and Beyond
In addition to this list, any titles from event #111 (8 percussion + 1 synthesizer + 1 bass) BMP
may be used with appropriate doubling of parts. 028 Brown, T.-Brazilian Street Dance
(7 percussion + 1 synthesizer + 1 bass) BMP
001 Grainger/Ragsdale-Irish Tune (9 players) SMC 029 Brown, T.-Keystone Capers (8) KEN
002 Granados/Tanner-Moresque (7) PPB 030 Brown, T.-Strike Force (9) KEN
003 Handel/Janicki-Allegro (From Concerto 031 Brubeck, D./Kellis/Scheitroma-La Fiesta De la
Grosso In C) (7) PPB Posada (13) RLP
004 Houliff, M.-Octaphonics (8) PPB 032 Bruford, B./Smith, W.-Beelzebub
005 Saint-Saens/Gipson-Adagio from Symphony (11 percussion + 1 bass, 1 piano, 1 guitar) DSM
No.3 (8) OPE 033 Camillo, Eigenberg, Koski/Brooks, C.-Why
006 Steinhort, W.-Two Movements For Mallets Not! (9 percussion + 1 piano + 1 bass) RLP
(Mvt. I or II) (8) OPE 034 Campbell, J.-Batik (10) RLP
035 Casella, J.-Katraterra TSP
036 Casella, J.-Technonlogy TSP
037 Cirone, A.-Dichotomy (8) BMP
LARGE CONCERT PERCUSSION ENSEMBLES 038 Cirone, A.-Symphony No. 1 (any mvt.) (8) CIR
039 Cironw, A.-Symphony No. 2 (any mvt.) (9) CIR
EVENT NO. 113 040 Colgrass, M.-Three Brothers (9) MFP
(Seven to Twenty Performers) 041 Creston, P.-Ceremonial for Percussion
Ensemble (7) GSI
Selections marked with an asterisk (*) 042 Crockarell, C.-Circus Circus! (10-12) RLP
may double the snare and multiple tenor parts up 043 Crockarell, C.-Glitzville (9-11) RLP
to a maximum of 20 players in the entire ensemble. 044 Crockarell, C.-Gorsky's Dream (12) RLP
045 Crockarell, C.-Stratus (9) RLP
001 Abujamra, A./Smith, W.-Alma Nao Tem Cor 046 Crockarell, C.-Sushi Funk (9-11 percussionists
(17 percussion + 1 bass) DSM + 1 bass) RLP
002 Arevalo, M.-Shadows (8) DSM 047 Davila, L.-Cruzin' (8-12 percussion + 1 bass) RLP
003 Arevalo, M.-Shiva's Dance (8) DSM 048 Davila, L.-Dun't Be Blue Mon (8 percussion
004 Astrand, A.-Purge (7) INP + 1 guitar and 1 bass) RLP
005 Bach, J. S./Faini-Fuga Five (10) CMP 049 Davila, L.-Fiesta Latina (8 percussion + 1 bass)RLP
006 Bach/Freytag, E.-Brandenburg Concerto No.2 050 Davila, L.-Mo Java (7-8 percussion + 1 bass) RLP
(First Mvt.) (10) RLP 051 Davila, L.-Para Rafa (10-12 percussion + 1 bass)
007 Bach/Jebe, P.-Sambach (6-7 percussion + 1 piano)RLP RLP
008 Barber, B./Ford, M.-Invention (11 percussion 052 Davila, L.-Ritmo Suave (8-9) RLP
+ 1 piano and 1 bass) INP 053 Davis, T.-El Races De La Camptown (8) CMP
009 Barretto, R./Nearpass, J.-Song for Chano 054 Davis, T.-Flat Baroque (7) CMP
(8 percussion + 1 bass) NEA 055 Davis, T.-Mau Mau Suite (8) NME
010 Bartok/Ancona, J.-The Miraculous Mandarin TSP 056 Davis, T.-Panda Pause (9) CMP
011 Bavicchi, J.-Music for Mallets and 057 Davis, T.-Stompin' Thru the Rye (8) CMP
Percussion (12) OUP 058 Davis, T.-Taste of Brahms (8) CMP
012 Beck, J.-Concerto for Drum Set and 059 DiBlasio, D.-Outback (8) KEN
Percussion Ensemble (8) KEN 060 Djavan & Fieger/Brooks, C.-The Zoo Blues
013 Beck, J.-Jazz Variants (8) BMC (10 percussion + rhythm sections)
014 Beck, J.-Overture for Percussion (Do not use optional horn parts) RLP
Ensemble (8) KEN 061 Douthit, M./Crockarell, C.-If You Please
015 Bencriscutto, F.-Rondeau for Percussion (9 percussion + 1 synthesizer + 1 bass) RLP
(7 percussion + 1 piano) MFP 062 Dutton, F.-Rondo Barock (8) MTP
016 Bissonnette, M./Rennick, P.-Wildwood 063 Dvorak, A./Rosener, D.-Carnival Overture,
(11-12 percussion + 1 guitar and 1 bass) DSM Op.92 (14) DSM
017 Bizet, G./Brooks, C.-Instant Carmen (10-12) RLP 064 Erskine, P./McDonald, S.-Calypso
018 Bizet, G./Houllif, M.-Excerpts from (11 percussion + synthesizer and bass) DSM
Carmen Suite (7) KEN 065 Fagen, D./Brooks, C.-The Goodbye Look
019 Brand, M.-Concerto for Percussion (8 percussion + 1 bass) RLP
Ensemble (9) BRA 066 Faini, P.-El Cumbanchero (10 percussion +
020 Brand, M.-Tijuana Samba (8) KEN 1 piano + 1 bass) BMP
021 Brecker, R./Freytag, E.-Some Skunk Funk 067 Firth, V.-Encore in Jazz (7) CFM
(14-20) * RLP 068 Fleck, B./Steinquest, D.-Hurricane Camille
022 Brooks, C.-Midnight in Tunisia (18-20) * RLP (6 percussion + 1 bass) RLP
25
069 Fleck, B./Steinquest, D.-Sinister Minister 112 Manga, A./Nearpass, J.-Ekanga
(7-9 percussion + 1 bass) RLP (8 percussion + 1 bass) NEA
070 Flores, R.-Common Times (11) RLP 113 Manring/Martin/Nearpass-Senegal Calling
071 Freytag, E.-Death by Oooga Booga (10) RLP (9 percussion + 1 bass) NEA
072 Gaetano, M.-Undercurrents (7) INP 114 Manring, M./Nearpass, J.-Life In the Trees
073 Gilbert, K.-Street Samba (14) KGG (9 percussion + 1 bass) NEA
074 Glassock, L.-Layers (8) SMC 115 Mainieri, M./Rennick, P.-Beirut
075 Glassock, L.-Mosaic, Op.30 (8) ALP (12 percussion + 1 bass) DSM
076 Glassock, L.-No Exit (8) SMC 116 McKenzie, J.-Introduction and Allegro (9) MFP
077 Glassock, L.-Teamwork (7) ALP 117 McKenzie, J.-Nonet (9) MFP
078 Gorecki/Kikta,P.-Concerto AGP 118 Mashina, T.-Conversation (10) NAK
079 Grainger, P./Ragsdale, C.-Irish Tune From 119 Meister, S.-Taqsimn (7) ALP
County Derry (9) SMC 120 Metheny/Ancona, J.-Metheny Dream TSP
080 Grieg, E./Fyffe, D.-In the Hall of the Mountain 121 Metheny, P./Mays, L.-Phase Dance
King (12) DSM (6 percussion + 1 bass) SIE
081 Hennagin, M.-Duo Chopinesque (10) OPE 122 Metheny, P./Houghton & Warrington- (It's
082 Henson-Conet, D./Nearpass, J.-California Just) Talk (7 percussion + 1 bass) SIE
Calypso (7 percussion + 1 bass) NEA 123 Moore, D.-Game Over (9) INP
083 Herbert, V./Houllif, M.-March of the Toys (7) KEN 124 Moreira, A./Brochocki, D.-Tombo In 7/4
084 Holst/Ancona, J.-Mercury TSP (12 percussion + 1 bass) DSM
085 Houghton, S.-The Path (4-7 percussion + 125 Moreira, A./McDonald, S.-Lua
1 piano and 1 bass) RLP (13 percussion + 1 bass) DSM
086 Houllif, M.-Blue Samba (8) SMC 126 Moussorgsky/Hannum-Pictures at an
087 Jacob, G.-Hava Nagila (8) MAR, HLN, OOP Exhibition (12) DSM
088 Jebe, P.-Montunosis (9-12 percussion + 127 Moussorgsky/Peters-Ballet of the
1 piano and 1 bass) RLP Unhatched Chicks (7) FDS
089 Jebe, P.-Xylatin (7-8) RLP 128 Narell/Mayor/Rennick-Calabash
090 Jenny, J.-Three Scenes from the Scioto (10 percussion + 1 piano + 1 bass) DSM
(any two mvts.) (13 percussion + 1 piano) PPB 129 Nearpass, J.-Blume'n Cuban (4-8) NEA
091 Johnson, C./Argenziano, E.-Dill Pickles (6-8) RLP 130 Nearpass, J.-Looking Up (7 percussion + 1 bass)
092 Jones, K.Schietroma, S.-Servitude NEA
(11 percussion + 1 bass and 1 guitar) DSM 131 Obiedo, R./Rennick, P.-Brasileiro
093 Kastuck, S.-Components (all 3 movements) (10)KAS (11 percussion + 1 bass) DSM
094 Kastuck, S.-Ritual No.2 (8-16) KAS 132 O'Connor, T.-Orientale (8) BAR
095 Kennedy, J.-Odyssey: Concerto for Multiple 133 O'Mahoney, T.-Aruba Getaway (8) PPB
Percussion and Percussion Ensemble (7) INP 134 O'Mahoney, T.-Aruba Roca (Spanish March) (8)PPB
096 Khachaturian/Moore-Sabre Dance (7-10) PPB 135 O'Mahoney, T.-Cha-Cha Rufus (7 percussion
097 Kim, B.-Concertino for Percussion + 1 bass) PPB
(7 percussion + 1 piano) MTP 136 Pascole, H./Nearpass, J.-Pipoca
098 Leonard, S.-Antiphonies (8) DSM (9 percussion + 1 bass) NEA
099 Leonard, S.-Ex Machina (8) DSM 137 Peters, G.-Greensleeves (7 mallets) FDS
100 Leonard, S.-Skies (10) DSM 138 Peters, G.-Swords of Moda-Ling, The
101 Leonard, S.-Winter Fantasy (10 percussion and (Including student piano) (8) FDS
hand bell choir or piano) DSM 139 Piazzolla/Smith/Schietroma-Oblivion
102 Lins/Martins/Nearpass-Leva E Traz (Elis) (10 percussion + 1 piano + 1 string bass) DSM
(11 percussion + 1 bass) NEA 140 Piazzolla, A./Smith, W.-Tres Minutos Con La
103 Lipner, A./Steinquest, D.-Sweet Rio Realidad (12 percussion + 1 piano +
(12-14 percussion + 1 bass) RLP 1 string bass) DSM
104 Loya, M./Nearpass, J.-Rain: Weatherman 141 Prokofiev, S./Maricle, S.-Troika (12) KEN
(6 percussion + 1 bass) NEA 142 Ravel/Ancona, J.-Alborada del Gracioso TSP
105 Mancini, D.-Caribbean Festival (7 percussion 143 Rimsky-Korsakov, N./Houliff, M.-Capriccio
+ piano and 1 bass) KEN Espagnol (7) KEN
106 Mancini, D.-Extremes (7) KEN 144 Rossini/Kutz/Schietroma-Italian In Algiers (17)
107 Mancini, D.-Jubilee Concerto, Mvt.1: Legacy DSM
(8 percussion + 1 piano) KEN 145 Samuels, D.-Rendezvous (8 percussion +
108 Mancini, D.-Jubilee Concerto, Mvt.2: 1 bass) BMP
Retrospective (8 percussion + 1 piano) KEN 146 Sanchez/Mayor/Schietroma-Sin Timbal
109 Mancini, D.-Jubilee Concerto, Mvt.3: (10 percussion + 1 piano + 1 bass)
Celebration (8 percussion + 1 piano) KEN (Do not use optional horn parts) DSM
110 Mancini, D.-Song of Joy (9) KEN 147 Santamaria/Kikta, P.-Afro Blue AGP
111 Mancini, D.-Suite for Solo Drum Set and 148 Schietroma, T./Schietroma, S.-La Chiave
Percussion Ensemble (8) KEN (13 percussion + synthesizer + 1 bass)
(Do not use optional vocal parts) DSM
26
149 Schman/Kikta, P.-Conversations AGP 009 McMahan, J.-Connecticut Overtime (6) SPR
150 Schubert/Hatch-Symphony No. 8 010 McMahan, J.-Trio Con Brio (3) SPR
(Unfinished) (7 mallets) EHA 011 Prentice-Batter Up, Snare Down (with drum
151 Shorter, W./Nearpass, J.-Palladium set) (4) SMC
(9 percussion + 1 bass) NEA 012 Prentice-Epic of Western Man (4) FMH
152 Shostakovich/Peters-Polka from the Golden 013 Tatgenhorst, J.-Razzle-Dazzle and Rock (5) BIM
Age (7 mallets) FDS
153 Sousa/Hatch-King Cotton (6 mallets +
1 snare) EHA LARGE MARCHING PERCUSSION ENSEMBLES
154 Sousa/Hatch-The Thunderer (6 mallets +
1 snare) EHA EVENT NO. 115
155 Spears, J.-Blues & Chaser (8) SMC (Seven to Twenty Performers)
156 Spears, J.-Caprice Diabolique (8) SMC
157 Spears, J.-Flight of the Falcon (8) SMC 001 Brooks, C.-Midnight In Tunisia RLP
158 Spears, J.-Time for Jazz, A (8) SMC 002 Brooks, C.-Sans Rival RLP
159 Spears, J.-Winstone Suite (any two mvts.) (8) BAR 003 Camilo/West/McDonald-Caribe
160 Spruance/Sipe/Schietroma-Ma Meeshka Mow (20 percussion + 1 bass + 1 piano) DSM
Skwoz (14 percussion + 1 organ + 1 bass) DSM 004 Clarke, S./Crockarell, C.-Dayride RLP
161 Steinquest, D.-Big Yellow Mambo 005 Crockarell, C.-Helichopter RLP
(11 percussion + 1 bass) RLP 006 Crockarell, C.-Mo Better Groove RLP
162 Steinohrt, W.-Two Movements for Mallets (8) PLY 007 Crockarell, C.-Orca RLP
163 Stravinsky, I./Ancona, J.-The Devil's Dance (8)TSP 008 Crockarell, C.-Pass the Salsa RLP
164 Stravinsky/Moss/Schietroma-Suite for Small 009 Gusseck, M.-Electric Wheelchair (from
Orchestra No.2 (12 percussion + Parking Lot Etudes) TSP
1 piano/celeste) DSM 010 Gusseck, M.-It's In Four (from Parking
165 Strayhorn,B../Brooks, C-Take the "A" Train Lot Etudes) TSP
(9-11 percussion + 1 piano + 1 bass) RLP 011 Gusseck, M.-Martian Mambo (from Parking
166 Tchaikovsky, P./Fyffe, D.-Symphony No. 4 Finale Lot Etudes) TSP
(16 percussion + 1 bass) DSM 012 McNutt, C.-Red's Rhumba (from the Vacant
167 Tchaikovsky, P./Houllif, M.-Trepak from the Lot Sessions) TSP
Nutcracker Suite (7) KEN 013 McNutt, C.-Star '93 (from the Vacant Lot
168 Thompson, C.-Vegas (17-20) * RLP Sessions) TSP
169 Tompkins, M.-Islands of Fire (13) TOM 014 Reynolds/Davila/Davila-Cuban Dance
170 Traugh-1812 Over-Easy (13) OAME (20 percussion + 1 bass and 1 synthesizer) DSM
171 Udow, M.-African Welcome Piece for 015 Shostakovich/Bovenschen-Symphony No.10,
Percussion Ensemble (7-12) UMM Movement 3 (20) DSM
172 Vazquez/Warrington/Houghton-Pire 016 Thompson, C.-Vegas RLP
(8 percussion + 1 bass + 1 piano) RLP 017 Watkins, K./Scheitroma, S.-Mr. Mirror's
173 Whittaker, S./Schietroma, R.-Stumpy Meets the Reflections on Dreams (20) DSM
Firecracker In Stencil Forest 018 Webster, C.-Mr. Adamson's Monkey TSP
(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

RUDIMENTAL DRUM ENSEMBLES

EVENT NO. 114


(Three to Six Performers)

("Rudimental" in parenthesis after title


indicates that Bass Drum and Cymbals are
called for as well as Snare Drum.)

001 Blount-Modulation (5) FMH, CFM


002 Delp, R.-Announcement (4) KEN
003 Firestone, H. E.-Drummer's Farewell (3) OOP
004 Hankins, J.-Drummer's Five (Rudimental) (5)FMH
005 Hankins, J.-Five Up Front (Rudimental) (5) FMH
006 Hankins, J.-Snares Forward (3) FMH
007 Markovich, M.-Four Horsemen (4) CMP
008 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 Fundamental Studies for Snare Drum Readin' Ritin' & Rudiments
George B. Stone & Son Inc. Garwood Whaley John W. McMahan
B, I J. R. Publications Columbia Pictures Publications
B B, I
Alfred's Snare Drum Method Books 1 & 2
Sandy Feldstein & Dave Black International Drum Rudiments Recital Solos for Snare Drum
Alfred Publishing Book and Tape Garwood Whaley
B, I Wanamaker/Carson Meredith Music Publications
Alfred Publishing I, A
All American Drummer, The B, I, A
Charley Wilcoxon Rudimental Cookbook, The
Ludwig Music Publishing Lifes Little Rudiment Book Edward Freytag
I, A David Steinquest Row-Loff Productions
Row-Loff Productions I, A
Contemporary Studies For the Snare B, I, A
Drum Rudimental Primer for the Snare Drum
Fred Albright Master Technique Builders for Snare Mitchell Peters
CPP Belwin Pub. Drum Mitchell Peters
A Compiled/Edited by: Anthony J. Cirone B, I, A
Belwin Mills Publishing
Douze Etudes pour Caisse-Claire I, A Simple Steps To Snare Drum
(Twelve Studies for Snare Drum) Anthony J. Cirone
Jacques Delecluse Modern School for Snare Drum CPP Belwin Pub.
Alphonse Leduc Morris Goldenberg B
I, A Hal Leonard Publishing
B, I, A Solos and Duets for Snare Drum
Drum Method for Band & Orchestra Bk 1 Garwood Whaley
&2 Musical Studies for the Meredith Music Publications
Haskell W. Harr Intermediate Snare Drummer I
M. M. Cole Publishing Garwood Whaley
B J. R. Publications Standard Snare Drum Method
I Benjamin Podemski
Drummer's Rudimental Reference Book Belwin Mills Publishing
John Wooton Portraits in Rhythm I
Row-Loff Productions Anthony J. Cirone
B, I, A Belwin Mills Publishing Stick Control
A Georege Lawrence Stone
Flams, Ruffs & Rolls George B. Stone & Son Inc.
John Beck Primary Handbook for Snare Drum B, I, A
Meredith Music Publications Garwood Whaley
B, I Meredith Music Publications 20th Century Orchestral Snare
B, I Drum Studies
Thomas McMillan
Creative Music
A

38
MALLETS

Bar Percussion Notebook Vol. 1 & 2 Modern Mallet Method: Vol. 1, 2, & 3 Primary Handbook for Mallets
Linda Lorren Pimentel Phil Kraus Garwood Whaley
Permus Publications CPP Belwin Pub. Meredith Music Publications
B, I B, I, A B, I

George Hamilton Green's Modern School for Simply Four


Instruction Course for Xylophone Xylophone/Marimba/Vibraphone 4-Mallet Percussion
Edited by: Randall Eyles & Garwood Morris Goldenberg Gifford Howarth
Whaley Hal Leonard Publishing Tapspace Publishing
Meredith Music Publications I, A B, I, A
I
Musical Studies for the Simple Steps to Keyboard Percussion
Mallet Percussion for Young Beginners Intermediate Mallet Player Anthony J. Cirone
Randall Eyles Garwood Whaley CPP Belwin Pub.
Meredith Music Publications Meredith Music Publications B
B I
Vibraphone Technique: dampening
Master Technique Builders Orchestral Mallet Player, The and pedaling
for Vibraphone and Marimba Anthony J. Cirone David Friedman
Compiled and Edited by: Anthony J. Belwin Mills Publishing Berklee Press Pub.
Cirone I B, I, A
Belwin Mills Publishing
I, A Percussion Keyboard Technique 4 Mallet Primer
Thomas McMillan Neil Grover
Method of Movement for Marimba Pro Art Publications Meredith Music Pub.
Leigh Howard Stevens B, I B
Marimba Productions
I, A

TIMPANI

Modern Method for Tympani Orchestral Timpanist, The Technique for the Virtuoso Tympanist
Saul Goodman Anthony J. Cirone Fred D. Hinger
Belwin Mills Publishing Belwin Mills Publishing Jerona Music Corporation
B, I, A I I, A

Musical Studies For The Primary Handbook for Timpani Twenty One Etudes for Timpani
Intermediate Timpanist Garwood Whaley Fred Begun
Garwood Whaley Meredith Music Publications Meredith Music Publications
J. R. Pub. B, I I, A
I, A
Simple Steps to Timpani Well Tempered Timpanist, The
Musical Timpanist, The Anthony Cirone Charles Dowd
Thomas N. Akins Belwin Mills Pub. Belwin Mills Pub.
Kendor Music B I, A
I, A

39
DRUMSET

Advanced Techniques Drum Improvising Studies for Jazz and Logical Approach To Rock
for the Modern Drummer Rock Coordination, The
Jim Chapin Joe Lambert Phil Perkins
Pub. by: Jim Chapin Mel Bay Publications Logical Pub.
I, A I B, I, A

Alfred Master Tracks (w/CD) Drumset Reading Practical Approach to the Drum Set, A
Latin Ron Fink John Beck
Houghton, Warrington Alfred Publishing Company Belwin Mills Publishing
Alfred Publishing Company I, A B
A
Drum Set Fundamentals-For Students Primary Handbook for Drum Set
Alfred Master Tracks (w/CD) and Educators (w/audio tape) George Sheppard
Jazz Dave Mancini Meredith Music Publications
Houghton, Warrington Dave Mancini Pub. B, I
Alfred Publishing Company B
A Rockin' Bass Drum
Essential Styles for the Drummer & John Lombardo & Charles Perry
Beats and Variations Bassist: Vol. 1 & 2 (w/CD) Alfred Publishing
for Dance Band Drummers Steve Houghton/Tom Warrington I
Joel Rothman Alfred
J. R. Publications A Stage Band Drummers Guide
I John Pickering
Essential Techniques for Drum Set: Book Mel Bay Publications
Dancin On The Time 1 I
Royal Hartigan Ed Soph
Tapspace Publications Meredith Music Publications Students Guide to the Drumset, A
A I G.W. Sandy Schafer
IMP Publishing
Double Bass Drumming Funk Drumming (book & tape) B, I
Joe Franco Jim Payne
D. C. Publications Mel Bay Publications Studio/Jazz Drummers Cookbook
I I John Pickering
Mel Bay Publications
Drummers Cook Book, The Killer - Fillers I
John Pickering Drum Set Exercises for Today's Drummer
Mel Bay Publications James Morton Today's Sounds for Drum Set
I Mel Bay Publications Murray Houllif
B, I, A Kendor Music
B, I

40
CONCERT PERCUSSION INSTRUMENTS

Art of Playing the Cymbals, The Modern School for Snare Drum Percussion in the School Music Program
Sam Denov Morris Goldenberg Payson/McKenzie
Henry Adler, Inc. Hal Leonard Publishing Payson Percussion Products
I B, I, A B, I

Bass Drum, Cymbals, and Accessories North Texas Percussion Methods Manual Percussion Symposium
Al Payson Schiertroma/Arevalo Vic Firth
Payson Percussion Products North Texas Percussion Press Carl Fischer
B, I I I

Logic of it All, The Triangle, Tambourine, & Castanets


Anthony J. Cirone and Joe Sinai Paul Price
Belwin Mills Publishing Music for Percussion
I, A I

MARCHING PERCUSSION (DRUM LINE)

Building A Championship Drum Line Marching Percussion Ensemble Exercises Visual Drum Line, The
Dennis DeLucia Novice, Intermediate & Advanced Vols. Staging the Contemporary
Hal Leonard Publishing Marty Hurley Marching Percussion Section
B, I, A Rudimental Perc. Pub. Will Rapp
B, I, A Jenson Publications
Championship Concepts B, I, A
for Marching Percussion Total Marching Percussion Bk 1 & 2
Thom Hannum & Robert Morrison Larry Snider
Hal Leonard Publishing Corp. C. L. Barnhouse Publishing
B, I, A I

Developing the Corps Style Up Front


Percussion Section Pit Ensemble
Larry Snider Jim Casella and Jim Ancona
C. L. Barnhouse Publishing Tapspace Publications
I B, I, A

LATIN AND ETHNIC INSTRUMENTS


Authentic Bongo Rhythms Let's All Play Congas
Bob Evans Jack Burger Brazilian Percussion Manual -
Henry Alder Publishing Robbins Music Publishing Rhythms & Techniques
Daniel Sabanovich
Authentic Conga Rhythms How to Play Latin American Alfred Pub.
Bob Evans Rhythm Instruments
Henry Alder Publishing Humberto Morales/Henry Adler
CPP Belwin Pub.

41
REPAIR

Mallet Repair Percussion Repair and Maintenance


Arthur Press Mark P. Bonfoey
Belwin Mills Publishing Belwin Mills Publishing
I B, I, A

COMPACT DISC RECORDINGS

Various Recordings Virtuoso Percussion Music Various Recordings


Keiko Abe Rainer Kuisma Julie Spencer

Various Recordings Artistry of the Marimba, The Bach on Marimba


Gary Burton Linda Maxey Leigh Howard Stevens

Various Recordings Various Recordings Marimba When...


David Friedman Nexus Leigh Howard Stevens

Various Recordings Various Recordings Pictures for Percussion


Evelyn Glennie David Samuels Albrecht Voltz

VIDEO
The Living Art of Brushes Time Keeping II The Contemporary Rhythm Section
Clayton Cameron Peter Erskine Steve Houghton
DCI Music Video DCI Music Video CPP Media Video

Fundamental Techniques for Mallet Keyboard Musicianship Steps


Concert Percussion: A Performers Guide Marching Percussion to Excellence Vol. 1 & 2
Vol. 1 & 2 Thom Hannum Dave Samuels
Cirone/Denov/Duff CPP Media Video Yamaha
Yamaha
Drummer's Guide to Reading The Drumset: A Musical Approach
Drum Charts Ed Soph/Horacee Arnold
Everything is Time Keeping Steve Houghton Yamaha
Peter Erskine CPP Media Video
DCI Music Video 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

Tapspace Publications
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 Rudiment
No.
Rudiment Page
No.
Rudiment Page

14 Single Stroke Roll B 6 Flam Paradiddle I

1 Long Roll B 7 Flamacue I

2 5 Stroke Roll B,C 20 Flam Tap J

3 7 Stroke Roll C,D 24 Flam Paradiddle-diddle J

15 9 Stroke Roll D,E 8 the Ruff K

16 10 Stroke Roll E,F 9 Single Drag K

17 11 Stroke Roll F 10 Double Drag K,L

18 13 Stroke Roll F,G 12 Single Ratamacue L,M

19 15 Stroke Roll G 26 Double Ratamacue M

21 Single Paradiddle G 13 Triple Ratamacue M,N

11 Double Paradiddle H 22 Drag Paradiddle No.1 N

4 the Flam H 23 Drag Paradiddle No.2 N,O

5 Flam Accent I 25 Lesson No.25 O

A
List of Rudiments
(includes Tempos for all Groups, and various rhythmic interpretations of the Rudiments)

Roll Rudiments

Single Stroke Roll Rudiment No.14 Minimum Tempos


(parentheses indicate this rudiment is not required)

Single Stroke Roll - 1/16 notes in 4/4 time * Group V IV III II I

120 (132) 152 184 200

Single Stroke Roll - 1/32 notes in 2/4 time *

60 (66) 76 92 100

Long Roll Rudiment No.1


Long Roll - 1/8 notes in 4/4 time *
written:

88 96 104 112 120

played:

Long Roll - 1/16 notes in 4/4 time *


written:

88 96 104 112 120

played:

5 Stroke Roll Rudiment No.2


5 Stroke Roll - 1/8 notes in 4/4 time
written:

88 (96) 104 112 120

played:

* This
* An MP3Rudiment
example can be rudiment
of this heard onmay
the ISSMA
be foundPercussion Manual
on the ISSMA Companion
Website CD available from
under Resources/Solo andISSMA.
Ensemble

B
List of Rudiments

Roll Rudiments (continued)


Minimum Tempos
5 Stroke Roll (continued) (parentheses indicate this rudiment is not required)

5 Stroke Roll - 1/16 notes in 2/4 time Group V IV III II I


written:

88 (96) 104 112 120


played:

5 Stroke Roll - 1/8 notes in 6/8 time (triplets) *


written:

108 (120) 132 144 152

played:

7 Stroke Roll Rudiment No.3


7 Stroke Roll - 1/8 note triplets in 4/4 time (Long Seven) *

88 (96) 104 112 120

7 Stroke Roll - 1/8 note triplets in 4/4 time


written:

60 (72) 80 88 92

played:

* An MP3 Rudiment
* This example ofcan
thisbe
rudiment may
heard on thebe found
Theon
ISSMA
CD 26the ISSMA
Percussion
Standard Website
Manual under
Rudiments
CompanionResources/Solo
available
CDfrom and
available
ISSMA. Ensemble
from ISSMA.

C
* An MP3 example of this rudiment may be found on the ISSMA Website under Resources/Solo and Ensemble
D
List of Rudiments

Roll Rudiments (continued)


9 Stroke Roll (continued) Minimum Tempos
(parentheses indicate this rudiment is not required)
9 Stroke Roll - 1/16 notes in 4/4 time
written: Group V IV III II I

88 96 104 112 120

played:

9 Stroke Roll - 1/16 notes in 6/8 time *


written:

56 60 66 72 80

played:

9 Stroke Roll - 1/16 note quintuplets in 2/4 time


written:

63 69 76 84 92

played:

10 Stroke Roll Rudiment No.16

10 Stroke Roll - 1/8 notes in 3/4 time *

written:

56 (60) (66) 72 80

played:

* An MP3 example
* This of this
Rudiment canrudiment
be heardmay be found
on the ISSMAonPercussion
the ISSMA Manual
WebsiteCompanion
under Resources/Solo and
CD available Ensemble
from ISSMA.
E
List of Rudiments

Roll Rudiments (continued)


10 Stroke Roll (continued) Minimum Tempos
(parentheses indicate this rudiment is not required)
10 Stroke Roll - 1/8 notes in 6/8 time *
written:
Group V IV III II I

56 (60) (66) 72 80

played:

11 Stroke Roll Rudiment No. 17

11 Stroke Roll - 1/8 notes in 3/4 time *


written:

56 (60) (66) 72 80

played:

11 Stroke Roll - 1/8 notes in 6/8 time *


written:

56 (60) (66) 72 80

played:

13 Stroke Roll Rudiment No.18

13 Stroke Roll - 1/8 notes in 4/4 time *


written:

88 (96) 104 112 120

played:

** An
ThisMP3
Rudiment can
example ofbe
thisheard on the
rudiment ISSMA
may Percussion
be found ManualWebsite
on the ISSMA Companion
underCD available fromand
Resources/Solo ISSMA.
Ensemble
F
List of Rudiments

Roll Rudiments (continued) Diddle Rudiments


13 Stroke Roll (continued) Minimum Tempos
(parentheses indicate this rudiment is not required)
13 Stroke Roll - 1/16 notes in 2/4 time *
written: Group V IV III II I

88 (96) 104 112 120

played:

15 Stroke Roll Rudiment No.19

15 Stroke Roll - 1/8 notes in 4/4 time *


written:

88 (96) (104) 112 120

played:

15 Stroke Roll - 1/16 notes in 2/4 time *

written:
88 (96) (104) 112 120

played:

Single Paradiddle Rudiment No.21


Single Paradiddle - 1/8 notes in 4/4 time *

72 84 100 138 152

Single Paradiddle - 1/16 notes in 2/4 time *

72 84 100 138 152

* An *MP3
Thisexample
Rudiment
ofcan
this be heard on
rudiment may CD Theon
thebeISSMA
found 26the
Standard
Percussion
ISSMA Rudiments
Manual
Website available
Companion
under CDfrom ISSMA.
available
Resources/Solo fromEnsemble
and ISSMA.

G
Listing of Rudiments

Diddle Rudiments (continued) Flam Rudiments


Double Paradiddle Rudiment No.11
Minimum Tempos
(parentheses indicate this rudiment is not required)
Double Paradiddle - 1/8 notes in 3/4 time *
Group V IV III II I

56 69 88 100 108

Double Paradiddle - 1/16 notes in 6/8 time *

56 69 88 100 108

Double Paradiddle - 1/16 note triplets in 2/4 time *

56 69 88 100 108

the Flam Rudiment No.4


the Flam - 1/8 notes in 2/4 time *

80 92 120 138 152

Flam Accent Rudiment No.5


Flam Accent- 1/4 notes in 3/4 time *

80 100 120 144 160

Flam Accent - 1/8 note triplets in 2/4 time *

80 100 120 144 160

* *This
An Rudiment
MP3 example
can of
bethis rudiment
heard on the may be found
ISSMA on the Manual
Percussion ISSMA Companion
Website under
CDResources/Solo and Ensemble
available from ISSMA.
H
List of Rudiments

Flam Rudiments (continued)


Minimum Tempos
(parentheses indicate this rudiment is not required)
Flam Paradiddle Rudiment No.6
Group
Group V IV III II I
Flam Paradiddle - 1/8 notes in 4/4 time *

66 (80) 92 108 120

Flam Paradiddle - 1/16 notes in 2/4 time *

66 (80) 92 108 120

Flamacue Rudiment No.7


Flamacue - 1/8 notes in 4/4 time

72 (88) 100 112 120

Flamacue - 1/8 notes in 3/4 time *

44 52 (60) 69 80

Flamacue - 1/16 notes in 2/4 time

72 (88) 100 112 120

Flamacue - 1/16 notes in 3/8 time *

48 (58) 69 80 92

* *This
An Rudiment
MP3 example
can of
bethis rudiment
heard on the may be found
ISSMA on the Manual
Percussion ISSMA Companion
Website under
CDResources/Solo and Ensemble
available from ISSMA.
I
List of Rudiments

Flam Rudiments (continued)


Minimum Tempos
(parentheses indicate this rudiment is not required)
Flam Paradiddle Rudiment No.6
Group
Group V IV III II I
Flam Paradiddle - 1/8 notes in 4/4 time *

66 (80) 92 108 120

Flam Paradiddle - 1/16 notes in 2/4 time *

66 (80) 92 108 120

Flamacue Rudiment No.7


Flamacue - 1/8 notes in 4/4 time

72 (88) 100 112 120

Flamacue - 1/8 notes in 3/4 time *

44 52 (60) 69 80

Flamacue - 1/16 notes in 2/4 time

72 (88) 100 112 120

Flamacue - 1/16 notes in 3/8 time *

48 (58) 69 80 92

* * An MP3
This example
Rudiment of be
can thisheard
rudiment may
on the be found
ISSMA on the ISSMA
Percussion Website
Manual underCD
Companion Resources/Solo and
available from Ensemble
ISSMA.
J
List of Rudiments

Flam Rudiments (continued) Ruff Rudiments


Flam Tap Rudiment No.20 Minimum Tempos
(parentheses indicate this rudiment is not required)
Flamacue - 1/8 notes in 4/4 time *
Group
Group V
V IV
IV III
III II
II II

60 (72) (88) 108 120

Flamacue - 1/16 notes in 2/4 time *

60 (72) (88) 108 120

Flamadiddle-diddle Rudiment No.24


Flamadiddle-diddle - 1/8 notes in 3/4 time *

44 (52) (60) 69 80

Flamadiddle-diddle - 1/16 notes in 6/8 time *

44 (52) (60) 69 80

the Ruff Rudiment No.8


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

60 (72) 92 104 112

played:

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


written:

60 (72) 92 104 112

played:

* An *MP3
Thisexample ofcan
Rudiment this be
rudiment may
heard on thebeISSMA
found on the ISSMA
Percussion Website
Manual under Resources/Solo
Companion CD available and
fromEnsemble
ISSMA.
K
List of Rudiments

Ruff Rudiments (continued)


Single Drag Rudiment No.9
Minimum Tempos
(parentheses indicate this rudiment is not required)
Single Drag - 1/4 notes in 4/4 time
Group V IV III II I
written:

72 96 108 120 132

played:

Single Drag - 1/8 notes in 2/4 time


written:

72 96 108 120 132


played:

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


written:

72 96 108 120 132

played:

Double Drag Rudiment No.10

Double Drag - 1/4 notes in 3/4 time


written:

52 (60) 72 80 92

played:

* An MP3Rudiment
* This example can
of this
be rudiment
heard onmay be foundPercussion
the ISSMA on the ISSMA Website
Manual under Resources/Solo
Companion andISSMA.
CD available from Ensemble

L
List of Rudiments

Ruff Rudiments (continued)


Minimum Tempos
(parentheses indicate this rudiment is not required)
Single Ratamacue (continued)
Group V IV III II I
Single Ratamacue - 1/16 note triplets in 2/4 time *
written:

60 (72) 92 104 116


played:

Double Ratamacue Rudiment No.26


Double Ratamacue - 1/8 note triplets in 3/4 time *
written:

40 (48) (60) 69 76

played:

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


written:

40 (48) (60) 69 76

played:

Triple Ratamacue Rudiment No.13


Triple Ratamacue - 1/8 note triplets in 4/4 time *
written:

60 72 92 104 116

played:

* An *MP3
Thisexample
Rudimentofcan
thisbe heard on
rudiment thebe
may ISSMA Percussion
found on Manual
the ISSMA Companion
Website CD available from
under Resources/Solo ISSMA.
and Ensemble
M
List of Rudiments

Ruff Rudiments (continued)


Minimum Tempos
(parentheses indicate this rudiment is not required)
Triple Ratamacue (continued)
Group V IV III II I
Triple Ratamacue - 1/16 note triplets in 2/4 time *
written:

60 72 92 104 116

played:

Drag Paradiddle No.1 Rudiment No.22


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

48 (54) (60) 69 80

played:

Drag Paradiddle No.1 - 1/16 notes in 6/8 time *


written:

48 (54) (60) 69 80

played:

Drag Paradiddle No.2 Rudiment No.23


Drag Paradiddle No.2 - 1/8 notes in 4/4 time *
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.
N
Listing of Rudiments

Ruff Rudiments (continued)


Drag Paradiddle No.2 (continued)
Minimum Tempos
(parentheses indicate this rudiment is not required)
Drag Paradiddle No.2 - 1/16 notes in 2/4 time *
Group V IV III II I
written:

72 (84) (100) 112 120


played:

Lesson No.25 Rudiment No.25


Lesson No.25 - 1/8 notes in 2/4 time *
written:

72 (84) (100) 112 120

played:

Lesson No.25 - 1/16 notes in 2/4 time *


written:

72 (84) (100) 112 120

played:

* An *MP3
Thisexample ofcan
Rudiment this be
rudiment may
heard on thebeISSMA
found on the ISSMA
Percussion Website
Manual under Resources/Solo
Companion CD available and
fromEnsemble
ISSMA.
O