Name
DAILY DRILL
for winds and percussion
by Eric Rath with percussion by Ralph Everett Hicks
DAILY DRILL (OBOE) • TSPB24-DD02-OBO
by Eric Rath with percussion by Ralph Everett Hicks
© 2024 Tapspace Publications, LLC. Portland, OR. International copyright secured. All rights reserved.
www.tapspace.com
Any duplication, adaptation, transcription, or arrangement of the compositions contained in this collection requires written consent of the publisher. No part of this book may be photocopied, scanned, shared, or reproduced in any way mechanically or electronically without written permission. Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law.
Cover design by Jesse Mattson
Interior layout and design by Murray Gusseck
Backing tracks for Scale Express, Scale & Arpeggios, Scale Degrees & Thirds, Two Octave Arpeggios, Broken Chords, Scale Sequence 1, and Scale Sequence 2 composed by Alex Weinberg (alexwnbrg@gmail.com)
Backing track for Scale Builder composed by Fred Emory Smith (fredemorysmith.com)
Backing track for Chromatic Builder composed jointly by Alex Weinberg and Fred Emory Smith
All live guitar tracks for Broken Chords performed by Kyle C. Smith (www.kylecsmithmusic.com)
Piano performance for Scale Sequence 2 by Marco Diaz
Bass performance for Scale Sequence 2 by Saúl Sierra
Percussion performance for Scale Sequence 2 by Carlos Caro
Post-production audio and voice-overs by Jim Casella
Instrument photos courtesy of Yamaha Corporation of America, Band and Orchestral Division
ABOUT THE AUTHORS
Eric Rath is an active educator, guest conductor-clinician, adjudicator, arranger, and composer. He has served as a band and orchestra director as well as a percussion specialist at secondary and collegiate levels.
As a composer, Mr. Rath has a growing list of original works and arrangements published through Alfred Music, FJH Music, Tapspace Publications, and TRN Music. His music has been described as “very exciting for performers and audiences alike” and has been performed nationally as well as abroad at the Midwest Clinic, the Texas Music Educators Association Convention, and the International Double Reed Society’s Convention. Mr. Rath and Ralph Everett Hicks are co-authors of the popular percussion ensemble collection Beyond Basic Percussion, the snare drum and keyboard fundamentals books Five Minute Drill and Nine Minute Drill, and the multi-use solo and ensemble transcription book The Golden Age of Ragtime. All are published by Tapspace Publications.
Mr. Rath is a veteran member of the Amarillo Symphony Orchestra. He is an in-demand freelance percussionist and serves on the worship team at his church. Additionally, he is also an alumni member of the Phantom Regiment Drum and Bugle Corps.
Mr. Rath is a proud graduate of West Texas A&M University, where he received both his Bachelor of Music Education and his Master of Arts degree.
Mr. Rath resides in Canyon, Texas, with his wife Kayla and their children Regan, Grant, McKinley, Jackson, and Harrison. His professional affiliations include the Percussive Arts Society, Texas Music Educators Association, Texas Bandmasters Association, and the American Society of Composers, Authors and Publishers (ASCAP). He is a Yamaha Performing Artist and also an educational artist for Innovative Percussion, Inc.
Ralph Everett Hicks teaches general music at Orange Grove Elementary in North Houston and is Founder and Executive Director of the nonprofit group drumming corporation Let Them Drum, providing recreational and therapeutic group drumming experiences for people of all abilities. With 20 years of public education experience in the greater Houston area, Mr. Hicks is an international clinician whose educational materials are available worldwide through Tapspace Publications. In 2012 Mr. Hicks was Mitchell Intermediate’s Teacher of the Year and was named Conroe ISD Outstanding Teacher in the Arts by The Woodlands Waterway Arts Council.
Mr. Hicks is a member of Phi Mu Alpha Sinfonia, the American Society of Composers, Authors and Publishers, and is a Remo Recreational Music Partner.
DAILY DRILL CONTENTS
Key of C
3. Scale & Arpeggios
4. Scale Degrees & Thirds
5. Two Octave Arpeggios
6. Broken Chords
7. Scale Sequence 1
8. Scale Sequence 2
Key of F
Scale Builder
3. Scale & Arpeggios
4. Scale Degrees & Thirds
5. Two Octave Arpeggios
6. Broken Chords
7. Scale Sequence 1
8. Scale Sequence 2
Key of Bb
1. Scale Builder
Scale Degrees & Thirds
Key of E
3. Scale & Arpeggios
4. Scale Degrees & Thirds
5. Two Octave Arpeggios
6. Broken Chords
7. Scale Sequence
8. Scale Sequence
Key of A
1. Scale
3. Scale & Arpeggios
4. Scale Degrees & Thirds
5. Two Octave Arpeggios
6. Broken Chords
7. Scale Sequence 1
8. Scale Sequence
Key of D
1. Scale Builder
7.
Key of G
TRACKS
- 90 bpm (2'05")
- 120 bpm (1'40")
1. Scale Builder
SLOW - 60 bpm (0'55") MEDIUM - 80 bpm (0'45") FAST - 100 bpm (0'35") PLAY-ALONG TRACKS
2. Scale Express
3. Scale & Arpeggios
4. Scale Degrees & Thirds
- 60 bpm (0'35")
- 80 bpm (0'30")
5. Two Octave Arpeggios
- 60 bpm (1'20")
- 80 bpm (1'00")
6. Broken Chords
TRACKS
SLOW - 60 bpm (3'05")
- 90 bpm (2'05")
- 120 bpm (1'40")
1. Scale Builder
TRACKS
SLOW - 60 bpm (0'55")
MEDIUM - 80 bpm (0'45")
FAST - 100 bpm (0'35")
2. Scale Express
3. Scale & Arpeggios
4. Scale Degrees & Thirds
5. Two Octave Arpeggios
6. Broken Chords
- 60 bpm (3'05")
- 90 bpm (2'05")
- 120 bpm (1'40")
1. Scale Builder
TRACKS
SLOW - 60 bpm (0'55") MEDIUM - 80 bpm (0'45") FAST - 100 bpm (0'35")
2. Scale Express
3. Scale & Arpeggios
4. Scale Degrees & Thirds
6. Broken Chords
SLOW - 60 bpm (3'05")
- 90 bpm (2'05")
- 120 bpm (1'40")
1. Scale Builder
TRACKS
SLOW - 60 bpm (0'55") MEDIUM - 80 bpm (0'45")
- 100 bpm (0'35")
2. Scale Express
3. Scale & Arpeggios
4. Scale Degrees & Thirds
6. Broken Chords
(1'15")
TRACKS
SLOW - 60 bpm (3'05") MEDIUM - 90 bpm (2'05") FAST - 120 bpm (1'40")
1. Scale Builder
PLAY-ALONG TRACKS
SLOW - 60 bpm (0'55")
MEDIUM - 80 bpm (0'45") FAST - 100 bpm (0'35")
2. Scale Express
3. Scale & Arpeggios
4. Scale Degrees & Thirds
5. Two Octave
6. Broken Chords
SLOW - 60 bpm (3'05")
- 90 bpm (2'05")
- 120 bpm (1'40")
1. Scale Builder
SLOW - 60 bpm (0'55")
- 80 bpm (0'45")
- 100 bpm (0'35")
2. Scale Express
3. Scale & Arpeggios
4. Scale Degrees & Thirds
6. Broken Chords
8. Scale Sequence
PLAY-ALONG TRACKS
SLOW - 60 bpm (3'05") MEDIUM - 90 bpm (2'05")
FAST - 120 bpm (1'40")
1. Scale Builder
PLAY-ALONG TRACKS
SLOW - 60 bpm (0'55")
MEDIUM - 80 bpm (0'45")
FAST - 100 bpm (0'35")
2. Scale Express
3. Scale & Arpeggios
4. Scale Degrees & Thirds
5. Two Octave
6. Broken Chords
8. Scale Sequence
- 90 bpm (2'05")
- 120 bpm (1'40")
1. Scale Builder
SLOW - 60 bpm (0'55")
MEDIUM - 80 bpm (0'45") FAST - 100 bpm (0'35")
2. Scale Express
3. Scale & Arpeggios
5. Two Octave Arpeggios
6. Broken Chords
TRACKS
SLOW - 60 bpm (3'05")
- 90 bpm (2'05")
- 120 bpm (1'40")
1. Scale Builder
SLOW - 60 bpm (0'55")
MEDIUM - 80 bpm (0'45") FAST - 100 bpm (0'35")
2. Scale Express
3. Scale & Arpeggios
5. Two Octave Arpeggios
6. Broken Chords
8. Scale Sequence
SLOW - 60
(1'40") PLAY-ALONG TRACKS
1. Scale Builder
PLAY-ALONG TRACKS
SLOW - 60 bpm (0'55")
MEDIUM - 80 bpm (0'45") FAST - 100 bpm (0'35")
2. Scale Express
3. Scale & Arpeggios
4. Scale Degrees & Thirds
5. Two Octave Arpeggios
6. Broken Chords
Scale Sequence
- 60 bpm (3'05")
- 90 bpm (2'05")
- 120 bpm (1'40")
1. Scale Builder
SLOW - 60 bpm (0'55") MEDIUM - 80 bpm (0'45") FAST - 100 bpm (0'35")
2. Scale Express
3. Scale & Arpeggios
4. Scale Degrees & Thirds
6. Broken Chords
SLOW - 60 bpm (3'05")
MEDIUM - 90 bpm (2'05") FAST - 120 bpm (1'40") PLAY-ALONG TRACKS
1. Scale Builder
PLAY-ALONG TRACKS
SLOW - 60 bpm (0'55")
MEDIUM - 80 bpm (0'45") FAST - 100 bpm (0'35")
2. Scale Express
3. Scale & Arpeggios
4. Scale Degrees & Thirds
5. Two Octave Arpeggios
6. Broken Chords
Scale Sequence
SLOW - 60 bpm (1'30")
- 90 bpm (1'05")
- 120 bpm (0'50")
- 150 bpm (0'45")
SCALE APPENDICES
One Octave Scales & Arpeggios
Two Octave Scales & Arpeggios
Bb Chromatic Scales
1. Single Octave
2. Two Octaves
1. Single Octave
F Chromatic Scales Full
3. Two Octaves (compound time)
( half hole closed)
Where more than one fingering is presented, the first fingering is the most common.
Image courtesy of Yamaha Corporation of America, Band and Orchestral Division