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Written out of a passion for rudimental snare drumming, Schnabel is Robert Sanderl’s homage to the Swiss Basel style of drumming. After a trip to Switzerland in 2015 to attend Fasnacht, a festival where Basel style drumming plays an important role, Sanderl wanted to blend his passion for rudimental drumming with his love of contemporary percussion ensemble music. The result is this fascinating piece with undulating melodies and tightly constructed rhythmic motives.
The piece consists of a percussion trio supporting a solo snare drummer. The soloist has several opportunities to shine throughout the piece, especially during an extended cadenza where traditional rudiments and more modern rudiments are juxtaposed, displaying a wide variety of snare drum vocabulary.
This piece comes as a professionally printed and bound score and includes individual parts in PDF format for printing or for tablet viewing.
• Vibraphone
• 5-octave marimba (low C)
• Solo snare drum (e.g., field drum, modern marching snare, or rope drum)
• Drums (snare drum, 4 concert toms, mounted drumset kick drum)
• Hi-hat
Inspired by contemporary ensemble writing as well as several branches of the rudimental world, including drum corps and Swiss Basel style playing, Robert Sanderl has melded these two genres to create "Schnabel." Here, a percussion trio uses post-tonal melodies and harmonies to accompany a snare drum soloist.
Throughout the work, the keyboards tkae a musical idea and perform variations to fully realize its musical capabilities. The percussion player provides either hi-hat grooves or marching bassline figures on the four concert toms. The snare soloist plays advanced rudimental figures that phrase nicely with the keyboard melodies. Such variations include intensity, fluidity, and simple and compound duple meters. The transitions between these ideas appear in the form of drumline-inspired cadences between the snare drum and the percussionist.
A feature of the work is a written out snare cadenza. The solo writing stands out to this reviewer due to its overall musicality. It doesn't depend on speed and a series of rimshots to create interest; rather, it highlights a player's sensitivity to dynamic contrast, clarity of the rhythms at low volumes, and phrasing ability.
Robert Sanderl has done well in creating a work in which the ensemble and the snare soloist complement each other. In several moment of the work, the marimba and the soloist have the same phrase structures, which give the effect that the snare drum is playing a melody. This work will challenge any rudimental player both musically and technically, as well as any college-level percussionist who is chosen to accompany them
—Kyle Cherwinski
Percussive Notes
Vol. 56, No. 5, November 2018
Written out of a passion for rudimental snare drumming, Schnabel is Robert Sanderl’s homage to the Swiss Basel style of drumming. After a trip to Switzerland in 2015 to attend Fasnacht, a festival where Basel style drumming plays an important role, Sanderl wanted to blend his passion for rudimental drumming with his love of contemporary percussion ensemble music. The result is this fascinating piece with undulating melodies and tightly constructed rhythmic motives.
The piece consists of a percussion trio supporting a solo snare drummer. The soloist has several opportunities to shine throughout the piece, especially during an extended cadenza where traditional rudiments and more modern rudiments are juxtaposed, displaying a wide variety of snare drum vocabulary.
This piece comes as a professionally printed and bound score and includes individual parts in PDF format for printing or for tablet viewing.
• Vibraphone
• 5-octave marimba (low C)
• Solo snare drum (e.g., field drum, modern marching snare, or rope drum)
• Drums (snare drum, 4 concert toms, mounted drumset kick drum)
• Hi-hat
Inspired by contemporary ensemble writing as well as several branches of the rudimental world, including drum corps and Swiss Basel style playing, Robert Sanderl has melded these two genres to create "Schnabel." Here, a percussion trio uses post-tonal melodies and harmonies to accompany a snare drum soloist.
Throughout the work, the keyboards tkae a musical idea and perform variations to fully realize its musical capabilities. The percussion player provides either hi-hat grooves or marching bassline figures on the four concert toms. The snare soloist plays advanced rudimental figures that phrase nicely with the keyboard melodies. Such variations include intensity, fluidity, and simple and compound duple meters. The transitions between these ideas appear in the form of drumline-inspired cadences between the snare drum and the percussionist.
A feature of the work is a written out snare cadenza. The solo writing stands out to this reviewer due to its overall musicality. It doesn't depend on speed and a series of rimshots to create interest; rather, it highlights a player's sensitivity to dynamic contrast, clarity of the rhythms at low volumes, and phrasing ability.
Robert Sanderl has done well in creating a work in which the ensemble and the snare soloist complement each other. In several moment of the work, the marimba and the soloist have the same phrase structures, which give the effect that the snare drum is playing a melody. This work will challenge any rudimental player both musically and technically, as well as any college-level percussionist who is chosen to accompany them
—Kyle Cherwinski
Percussive Notes
Vol. 56, No. 5, November 2018
