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Drachten-Elisabeth
Named for two Dutch points of significance, Drachten-Elisabeth is a new rudimental solo by powerhouse snare drummer, John Mark Reilly. With history at its roots, this is a hybrid solo using a traditional form but utilizing a blend of hybrid, orchestral, Basel, and Ancient shaped rudiments.
The piece makes frequent use of slight pauses before rolls, a technique used often in traditional rudimental drumming which creates a unique challenge in interpreting with an otherwise rigid tempo. Precision-minded drummers will find this solo both fun and challenging to perform and its familiar AA/BB/CC/etc. form will be easily accessible to listeners.
This piece ships as a printed, professionally bound folio with a full-color cover.
During a trip to Holland, composer John Mark Reilly fell in love with the traditional Dutch style of rudimental drumming. This solo reflects this style along with “a blend of hybrid, orchestral, Basel, and Ancient shaped rudiments.” Playing through the solo, one can easily see the different elements combined to create a compelling piece of music.
The tempo is marked 100–112 bpm. This slower tempo is typical of the style and allows for clean articulation and a relaxed, swinging approach. The solo is written in clear, four-measure phrases, and the form is easy to follow. Each four-measure phrase is repeated and, as the composer points out in the performance notes, this form “gave the judge the ability to see if the performer could repeat the same exact shaping and dynamic phrasing twice in a row.”
Most of the solo will be easy to interpret for any drummer familiar with the traditional rudimental style. The 7 and 15-stroke rolls are often preceded by a breath mark. This indicates that the player is to pause slightly before the rolls. This will take some practice, as the tempo is to remain constant. Several other interpretive directions are included in the performance notes and must be followed to play the solo with the correct style.
It is refreshing to see a solo like this being published that has clear musical phrases, dynamics, and is not filled with pyrotechnical licks.
—Tom Morgan
Percussive Notes
Vol. 53, No. 1, March 2015
Named for two Dutch points of significance, Drachten-Elisabeth is a new rudimental solo by powerhouse snare drummer, John Mark Reilly. With history at its roots, this is a hybrid solo using a traditional form but utilizing a blend of hybrid, orchestral, Basel, and Ancient shaped rudiments.
The piece makes frequent use of slight pauses before rolls, a technique used often in traditional rudimental drumming which creates a unique challenge in interpreting with an otherwise rigid tempo. Precision-minded drummers will find this solo both fun and challenging to perform and its familiar AA/BB/CC/etc. form will be easily accessible to listeners.
This piece ships as a printed, professionally bound folio with a full-color cover.
During a trip to Holland, composer John Mark Reilly fell in love with the traditional Dutch style of rudimental drumming. This solo reflects this style along with “a blend of hybrid, orchestral, Basel, and Ancient shaped rudiments.” Playing through the solo, one can easily see the different elements combined to create a compelling piece of music.
The tempo is marked 100–112 bpm. This slower tempo is typical of the style and allows for clean articulation and a relaxed, swinging approach. The solo is written in clear, four-measure phrases, and the form is easy to follow. Each four-measure phrase is repeated and, as the composer points out in the performance notes, this form “gave the judge the ability to see if the performer could repeat the same exact shaping and dynamic phrasing twice in a row.”
Most of the solo will be easy to interpret for any drummer familiar with the traditional rudimental style. The 7 and 15-stroke rolls are often preceded by a breath mark. This indicates that the player is to pause slightly before the rolls. This will take some practice, as the tempo is to remain constant. Several other interpretive directions are included in the performance notes and must be followed to play the solo with the correct style.
It is refreshing to see a solo like this being published that has clear musical phrases, dynamics, and is not filled with pyrotechnical licks.
—Tom Morgan
Percussive Notes
Vol. 53, No. 1, March 2015
