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This piece explores triplet-based, buzz-roll pulses in the context of different rhythm groupings. I often use this division as a solution to fill spaces with smooth sound, even though it doesn’t always exactly fit the surrounding subdivision. Masking this change in hand speed is awkward at first, but very useful once mastered. Many measures of this solo are also grouped in eighth-note combinations of threes and twos to help normalize the out-of-place feel in the triplet-roll pulse. Here are a few other details to note before beginning work on this solo:

• All rolls are to be played using buzz (multiple-bounce) strokes.
• All eighth-note roll durations should be played with a sixteenth-note triplet division, and all quarter-note roll durations with a sextuplet. Individual buzzes within notated sextuplets (e.g., measures 1, 2, 5, 6) are written out.
• There are five dynamic levels within the piece. Giving each level its own space from edge to center on the head will pair the resonance of the drum to the dynamic and increase clarity.
• Tenutos are weighted, half-accents and generally played with a sense of heaviness. Accents are more angular and generally sharper in character.
• Flams are not automatically accented. With the exception of measure eight, the principal note of each flam is at the same level as the surrounding notes, with the grace note lowered.

R!Solo: 3+1 for Concert Snare Drum by Daniel Krumm from Percussive Arts Society on Vimeo.

Daniel J Krumm is equally at home in the symphony orchestra, musical theatre ensemble, samba bateria, salsa band, folklorico, djembefola, chamber ensemble, solo stage, or teaching studio. Having received formal training in percussion during his undergraduate studies at Iowa State University and a Master of Music degree from the University of Wisconsin-Madison, Dan is now living and working in central Iowa. He can be heard on Matthew Coley’s CD Souvenirs, Neil Thornock’s CD Between the Lines, and the Heartland Marimba Festival’s inaugural CD, Heartland Marimba Dances.