14 Etudes for Snare Drum (digital download)

From the Preface to 14 Etudes for Snare Drum

The world probably already has more snare drum etudes than it really needs. Still, after over a quarter century of teaching, I think I have a few ideas that could be useful to those who want to be better at playing the snare drum. I hope these etudes will be interesting and enjoyable, and that they will help percussionists understand, organize, and refine the skills they already have while also building new ones.

These etudes are written to demonstrate important concepts that will solidify technical abilities, build rhythmic integrity, improve sensitivity, and encourage musical expression. Look for the music in each etude and work hard to bring the pieces to life. The etudes in the book's second half were conceived not only as pieces for study, but also for performance. You can combine them in groups of three or four (or maybe even five) to create suites for recitals.

Even if you feel comfortable with the rhythms and patterns of the early etudes, I encourage you to spend a little time with them. Practice them and play them well. They may help clarify ideas and techniques that will be useful not just for future performances but for future teaching.

I came to the snare drum the long way around. When I was seven, I began studying piano and then wound up playing keyboard percussion when I joined the marching band in ninth grade. It was over a year after that when I had my first snare drum lesson. But, even after playing (and practicing) snare drum for years, I still didn’t feel musically connected to it the way I felt connected to the marimba or to playing timpani in an orchestra or wind ensemble.

When I was 23, I began studying with Michael Burritt. His approach to the snare drum inspired me to see it as a truly expressive musical instrument. Not long after I met Mike, I began taking lessons on the derabucca with Halim El-Dabh. Halim taught me that a single drum head doesn’t contain just one sound, or three sounds, or five sounds. Instead, if you listen closely and sensitively, it can reveal thousands of timbres and colors to you. These revelations changed how I played not only the snare drum but everything else. As I became more connected to the snare drum, I became an even better player on the instruments I had loved for years.

I wish it hadn’t taken me so long to find the connection, and so I hope the music in this collection will help others find a meaningful musical bond with the snare drum—a way to communicate music, emotions, and ideas through the instrument. The most important thing we can do is find a connection to the music we play. Then, once we have found it, we can share the magic we feel with others through our performances and our teaching.

Don’t forget that the “secret” to being a great snare drummer is just to play the snare drum. Play every day, even if it’s just for a little while. On most days, make sure you play a lot! Rudiments, exercises, solos, improvisations. Play with natural rebound and fluid motion. Work on playing loudly (but not ridiculously loudly) and work on playing softly (and YES! Ridiculously softly!).  Play with good technique and work to get better each day. And no matter what instrument you are playing, always work towards being a great musician!

Most importantly, have fun playing the snare drum!

– Blake Tyson