Prattamacues by Jason Tiemann was written in honor of the late, great rudimental snare drum composer John S. Pratt (1930-2020) who played a profound role in the development of innumerable percussionists. The solo explores the three variations of the ratamacue, which is common in traditional snare drum pieces. This piece, which is perfect for solo recitals, contests, or just for fun, may be played on a concert snare drum or marching snare.
This solo can also be found in The Blue Book - Volume 3along with over 40 other solos for snare drum, drum set, mallet keyboard, and timpani.
Use of this product is governed by the license terms outlined here.
Instrumentation
• Snare drum (rudimental or concert)
Reviews
This solo begins with a roll-off and ends with the “Shave and a Haircut” riff. The content in between is a contemporary tribute to John S. Pratt, who wrote solos in 2/4 and 6/8 that featured the ratamacue rudiments. In “Prattamacues,” Jason Tiemann combines both feels into one solo.
The solo is written in 6/8 at a tempo of dotted-quarter note equaling 67. After the introductory roll-off, a traditional 6/8 feel is established. The rhythms are mostly straightforward, slightly hinting of the rhythmic twists to come. The single ratamacue is first phrased as eighth notes, ending with a dotted-quarter note. It is then phrased as sixteenth-note triplets, ending on an eighth note. This gives a hemiola-style effect to the ratamacues.
A 2/4 feel is then produced over the 6/8 time signature. This is done by phrasing the ratamacue as three sixteenth notes and a dotted-eighth note. Tiemann also adapts this phrasing to both double and triple ratamacues. The solo then switches back to a more traditional 6/8 feel.
The ratamacue is then phrased in a flattened-out format. The double strokes that are traditionally written as grace notes are notated as sixteenth notes. The main notes of the rudiment are also written as sixteenth notes, giving the ratamacue variation a sextuplet-style feel. Accent variations are applied, keeping listeners on their toes.
The solo then switches back to a traditional 6/8 feel. It appears that it will end similar to many solos: full force. However, a ritardando and diminuendo are employed. After a grand pause, the “Shave and a Haircut” rhythm is used as the tag for the ending.
While this piece focuses on ratamacues, such rudiments as five-stroke rolls, flam taps, and Swiss triplets are utilized. This solo is inspired by Pratt, but has the personality of Tiemann. It is a fitting tribute to a snare drumming legend.
—Jeff W. Johnson Percussive Notes Vol. 60, No. 1, February 2022
Description
Prattamacues by Jason Tiemann was written in honor of the late, great rudimental snare drum composer John S. Pratt (1930-2020) who played a profound role in the development of innumerable percussionists. The solo explores the three variations of the ratamacue, which is common in traditional snare drum pieces. This piece, which is perfect for solo recitals, contests, or just for fun, may be played on a concert snare drum or marching snare.
This solo can also be found in The Blue Book - Volume 3along with over 40 other solos for snare drum, drum set, mallet keyboard, and timpani.
Use of this product is governed by the license terms outlined here.
Instrumentation
• Snare drum (rudimental or concert)
Reviews
This solo begins with a roll-off and ends with the “Shave and a Haircut” riff. The content in between is a contemporary tribute to John S. Pratt, who wrote solos in 2/4 and 6/8 that featured the ratamacue rudiments. In “Prattamacues,” Jason Tiemann combines both feels into one solo.
The solo is written in 6/8 at a tempo of dotted-quarter note equaling 67. After the introductory roll-off, a traditional 6/8 feel is established. The rhythms are mostly straightforward, slightly hinting of the rhythmic twists to come. The single ratamacue is first phrased as eighth notes, ending with a dotted-quarter note. It is then phrased as sixteenth-note triplets, ending on an eighth note. This gives a hemiola-style effect to the ratamacues.
A 2/4 feel is then produced over the 6/8 time signature. This is done by phrasing the ratamacue as three sixteenth notes and a dotted-eighth note. Tiemann also adapts this phrasing to both double and triple ratamacues. The solo then switches back to a more traditional 6/8 feel.
The ratamacue is then phrased in a flattened-out format. The double strokes that are traditionally written as grace notes are notated as sixteenth notes. The main notes of the rudiment are also written as sixteenth notes, giving the ratamacue variation a sextuplet-style feel. Accent variations are applied, keeping listeners on their toes.
The solo then switches back to a traditional 6/8 feel. It appears that it will end similar to many solos: full force. However, a ritardando and diminuendo are employed. After a grand pause, the “Shave and a Haircut” rhythm is used as the tag for the ending.
While this piece focuses on ratamacues, such rudiments as five-stroke rolls, flam taps, and Swiss triplets are utilized. This solo is inspired by Pratt, but has the personality of Tiemann. It is a fitting tribute to a snare drumming legend.
—Jeff W. Johnson Percussive Notes Vol. 60, No. 1, February 2022
This piece was written to combine rudimental drumming vocabulary with the structure and flexibility of a concert solo, and as such is intended for concert hall performance.
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