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ANTHONY CIRONE 1

Educator Series

PERCUSSION

Concert Snare Drum

The Fundamentals of Musicianship

By Anthony Cirone

Anthony J. Cirone received his bachelor’s and

master’s of science degrees from the Julliard School

of Music where he studied with timpani legend

Saul Goodman. In addition to his long tenure as a

member of the San Francisco Symphony, he served

as professor of music at San Jose State University

from 1965 to 2001, and has been on the faculties

of San Francisco State University and Stanford

University. Mr. Cirone is currently professor of

music and chairman of the percussion department

at Indiana University at Bloomington. As a

composer, he has published over seventy titles

including textbooks, three symphonies for

percussion, four sonatas, seven works for orchestra

and a string quartet. Anthony J. Cirone is a

Yamaha performing artist and clinician.

What could be more challenging to a percussionist than extracting the greatest amount of music from

an instrument that supplies the least amount of possibilities? This challenge is presented to every

concert snare drummer. The snare drum lacks most of the characteristics musicians look for when

attempting to play musically. Basically, it has one sound and is very staccato – both undesirable

elements when performing in a musical manner. After considering these limitations, let’s look at what

is available to the performer:

(1) Rhythm, (2) Dynamics, (3) Tempo, (4) Phrasing and (5) Interpretation.

Although these musical elements are available to every instrumentalist, snare drummers ignore many of

them in order to concentrate on the snare drum’s most obvious element – rhythm. Musicians, however,

can improve their performances by properly utilizing these elements as outlined below:

Rhythm

Once we have properly placed the rhythms, our next concern should be focused on their accuracy.

Rhythms should not be rushed, dragged, or interpreted in such a way as to be inconsistent with musical

style or ensemble. Rhythm is very important and deserves our primary attention. When this element of

music has been taken care of, we can then focus on other, equally important, areas of performance.

Dynamics

Performers are constantly involved with interpreting dynamics because they are not always played at the

same level. Many factors enter into a decision on how loud a forte marking should be played; for

example: (a) The size of the ensemble; (b) The size of the hall; (c) Whether a performance is indoors

or outdoors; (d) Whether the stage has a shell or not; (e) The quality of the instruments being used;

(f) Balancing the dynamic level with other performers; and (g) Being flexible to the conductor’s

indications.

Tempo

Tempo is closely aligned to rhythm; however, it takes on another very important area of musicianship

– the ability to follow the conductor. A performer may be playing accurately and with the correct

dynamic, but if the conductor’s tempo indications cannot be followed, a major problem will exist.

During the course of a performance, the conductor may make tempo changes (whether they have been

rehearsed or not). It is the performer’s responsibility to maintain eye contact with the conductor and to

be flexible enough to adjust the tempo at any given time. Tempo is critical with regard to solo playing

because it cannot vary haphazardly within the work. There is an enormous difference between adjusting

tempos for musical reasons and just plain rushing or dragging.

Anthony Cirone

Summary of content (2 pages)

PAGE 1
PERCUSSION Educator Series Concert Snare Drum The Fundamentals of Musicianship By Anthony Cirone What could be more challenging to a percussionist than extracting the greatest amount of music from an instrument that supplies the least amount of possibilities? This challenge is presented to every concert snare drummer. The snare drum lacks most of the characteristics musicians look for when attempting to play musically.
PAGE 2
Anthony Cirone Phrasing Since much of the music written for percussion instruments is not phrased, the musical element of phrasing is a major consideration for percussionists. Phrasing is the composer’s responsibility; but, for many reasons, some composers do not feel the necessity of adding phrase markings to the percussion parts. Whether these markings are present or not, music played by percussion instruments must be phrased in the same manner used by any instrumentalist.