Texas Bandmasters Association
Bandmasters Review • April 2013
12
pitch. This is to facilitate the correct tunable range
on each drum. An easy way to remember the correct
lowest pitch is a first inversion Bb major seven chord
32” D, 29” F, 26” A, 23” Bb.
As for Concert Bass Drum, I use the Evans Strata
heads. I prefer the Strata 1400 series with the power
center dot for the playing side of the bass. This thicker
ply head with the power center allows
the player to play rather aggressively
when needed and it can really add quite
a bit of punch to the ensemble. On the
backside, I use a 1000 Strata without
the power center. A thinner head on the
back tends to be more responsive and
activates the shell resonance quicker.
I tune the playing side of the head as
low as possible but make sure it doesn’t
sound “flappy.” I also tune the back side
of the head a half step sharper than the
front to facilitate shell response.
Snare Drums are easily the most
under-explored instrument in the
percussion section. There are quite
a few options, and finding the right
sound for each production is well
worth the effort. Evans offers a number
of Batter (or top heads) and a coupIe of options for
the snare side. I often have four to five different snare
sounds per program. From light and delicate to deep
and robust, they are almost a choir in their own right.
Try to at least have a light, bright and extremely
articulate choice, a deep robust choice, and something
in between the two to compliment all possibilities.
For light and articulate, I prefer the Strata 700 7mil
and the Orchestral 200 on the snare side. It resembles
calf skin and it is very sensitive (think the beginning
of
Bolero
). It can also really help with balance issues.
Next, I usually have a medium pitched general snare
that blends with most ensembles. I use the coated
Evans Orchestral Staccato 7.5mil. I feel it’s the most
versatile head for band, and if you can have only
one option, this is it. It is really easy to tune with a
focused sound, perfect for the middle school setting!
This head makes an average player sound better. For
the deep robust sounds I like the either the Orchestral
Staccato or the Strata 10mil. for the top
and the Orchestral 300 3mil. on the
snare side. The Strata is a bit thicker
and darker in timbre. I love this head
on a field drum and it works well for
marches. Don’t be afraid to experiment
and let your ear be your guide. Maybe
you want a light articulate sound to
accompany the woodwinds or you
may want a contrasting darkness to
warmup their sound. Never forget to
consider style and historical relevance
to help guide you. For example a band
in our cluster is playing
Highland
Rhapsody
by Jan Van der Roost. I am
using a pipe drum with the Evans Grey
Hybrid head which lends itself to the
style and historical relevance of the
piece. For the 6/8 at the end section we
wanted a little more darkness and body so we switch
to the Orchestral Staccato. In the end, all bands have a
slightly different approach and concept when it comes
to sound. Experiment and choose what works for you.
You also have a number of options available when
it comes to Concert Toms. I choose to use a head that
works for band as well as percussion ensemble. Again
the Strata line from Evans is really versatile because it
blends with almost anything. Other choices may be
a clear or fiber skin head and even power center dot.
They all have different characteristics and work well in
certain settings.
“Tune Up! ” Gett ing Your Membranes Ready for the Stage
. . .wi th a l i tt le
experimentat ion
and careful
maintenance,
your percussion
sect ion can
enhance your
band’s sound
and help your
percussionists
take more pride
in their individual
contribut ions to
the ensemble