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Time on My Hands
John Willmarth’s Time on My Hands is a suite for solo snare drum featuring three movements, each exploring different aspects of snare drum playing. This collection of short movements is designed to provide beginning players with an engaging performance piece that will also enhance their early studies.
Movement I (”Texture”) utilizes different sonic possibilities including rim clicks and sticks. (1:45)
Movement II (”Timbre”) explores the sound of the brushes on the snare drum and can also be played with just the hands if brushes are not available. (1:40)
Movement III (”Touch”) uses common technical elements including a variety of stickings and rudiments. (1:35)
Time on My Hands ships in a printed, professionally bound folio with a full color cover.
• Concert snare drum
This three-movement suite affords the novice or advanced beginner the opportunity to apply basic rhythms in a musical manner. All three movements are in common time. Each movement concentrates on a specific musical aspect or technical concept. The movements are respectively named “Texture,” “Timbre,” and “Touch.”
“Texture” examines the sonic possibilities of the snare drum, utilizing the standard drum sound as well as buzz strokes, accents, stick clicks, and stick-on-stick hits. The performer is required to follow basic single- and double-stroke stickings. Dynamics are included, as are first/second endings, and D. S. al Coda indications. This movement is to be played within the tempo range of quarter note equaling 160–180.
“Timbre” requires the performer to utilize brushes. Sonic possibilities are again explored. The brushes are to be played as standard (vertical) strokes, as well as sweeps and “air strokes” (playing the brushes in the air so the “whip” of the brush can be heard). This movement adds sixteenth notes as well as sixteenth- and eighth-note combinations (within the same beat). The sixteenth notes are played with both alternated and double-stroke stickings. This movement is performed with the snares disengaged at quarter note equaling 90–110.
“Touch” further explores stickings (paradiddles, double strokes, three on a hand, and four on a hand). The performer is also required to distinguish between tenuto accents and the horizontal wedge accent. Flams and dotted-quarter notes are added to this movement. “Touch” is to be played at a tempo ranging from quarter note equaling 144–164.
Each movement is under two minutes in length, making it a nice choice for a first recital. The composer also suggests performing the piece in unison as a group, providing supplemental material for school band percussion sections.
—Jeff W. Johnson
Percussive Notes
Vol. 59, No. 1, February 2021
John Willmarth’s Time on My Hands is a suite for solo snare drum featuring three movements, each exploring different aspects of snare drum playing. This collection of short movements is designed to provide beginning players with an engaging performance piece that will also enhance their early studies.
Movement I (”Texture”) utilizes different sonic possibilities including rim clicks and sticks. (1:45)
Movement II (”Timbre”) explores the sound of the brushes on the snare drum and can also be played with just the hands if brushes are not available. (1:40)
Movement III (”Touch”) uses common technical elements including a variety of stickings and rudiments. (1:35)
Time on My Hands ships in a printed, professionally bound folio with a full color cover.
• Concert snare drum
This three-movement suite affords the novice or advanced beginner the opportunity to apply basic rhythms in a musical manner. All three movements are in common time. Each movement concentrates on a specific musical aspect or technical concept. The movements are respectively named “Texture,” “Timbre,” and “Touch.”
“Texture” examines the sonic possibilities of the snare drum, utilizing the standard drum sound as well as buzz strokes, accents, stick clicks, and stick-on-stick hits. The performer is required to follow basic single- and double-stroke stickings. Dynamics are included, as are first/second endings, and D. S. al Coda indications. This movement is to be played within the tempo range of quarter note equaling 160–180.
“Timbre” requires the performer to utilize brushes. Sonic possibilities are again explored. The brushes are to be played as standard (vertical) strokes, as well as sweeps and “air strokes” (playing the brushes in the air so the “whip” of the brush can be heard). This movement adds sixteenth notes as well as sixteenth- and eighth-note combinations (within the same beat). The sixteenth notes are played with both alternated and double-stroke stickings. This movement is performed with the snares disengaged at quarter note equaling 90–110.
“Touch” further explores stickings (paradiddles, double strokes, three on a hand, and four on a hand). The performer is also required to distinguish between tenuto accents and the horizontal wedge accent. Flams and dotted-quarter notes are added to this movement. “Touch” is to be played at a tempo ranging from quarter note equaling 144–164.
Each movement is under two minutes in length, making it a nice choice for a first recital. The composer also suggests performing the piece in unison as a group, providing supplemental material for school band percussion sections.
—Jeff W. Johnson
Percussive Notes
Vol. 59, No. 1, February 2021
