The snare drum (or side drum) is a percussion instrument that produces a sharp staccato sound when the top head is struck with a drum stick which is held under tension against the lower head. Snare drums are often used in orchestras, concert bands, marching bands, parades, drumlines, drum corps, and more. It is one of the central pieces in a drum set, a collection of percussion instruments designed to be played by a seated drummer and used in many genres of music. Because basic rhythms are very easy to learn to play on a snare drum even for children, the instrument is also suitable for the music education for young children and for a rhythm band.
Snare drums are usually played with drum sticks, but other beaters, such as the brush or the rute, can be used to achieve different tones. The snare drum is a versatile and expressive percussion instrument due to its sensitivity and responsiveness. The sensitivity of the snare drum allows it to respond audibly to the softest strokes, even with a wire brush. It can be used for complex rhythmic patterns and engaging solos at moderate volumes. Its high dynamic range allows the player to produce powerful accents with vigorous strokes and a loud metallic click with the rimshot.
The snare drum originates from the tabor, a drum first used to accompany the flute. The tabor evolved into more modern versions, such as the kit snare (the type usually included in a drum kit), marching snare, tarol snare, soprano snare, and piccolo snare.James Blades, et al. "Drum." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 13 February 2017. Each type is a different size, and there are different playing styles associated with each of them. The snare drum that one might see in a popular music concert is usually played on the backbeat (counts 2 and 4 or in slower tempi on beat 3). In marching bands, it can do the snare drummers are only responsible for that drum as opposed to drummer players so their playing is often more involved and they frequently play accent patterns of 16th and triplet eight notes.
The rope-tension field drum is the tallest and heaviest kind. The kit and the concert snare drums are each generally 14" across and 5" to 8" deep, while the soprano snare is about 7" deep but only 12" across. The piccolo snare has a shell 13" to 14" across but only around 4" tall and a higher pitch than the others, excepting the occasionally seen "firecracker" or “pancake” snare, an even smaller, auxiliary snare drum as shallow as the piccolo and just 10" to 12" across. The snare drum is easily recognizable by its loud cracking sound when struck firmly with a drumstick or mallet. The depth of the sound varies from one drum to another because of the different playing techniques and types of beaters used, as well as differences in the drum's construction, as in head material and tension, dimensions, and rim and drum shell materials and manufacture.
The snare drum is constructed of two heads—both usually made of Mylar plastic in modern drums but historically made from calf or goat skin—along with a rattle of beads (metal, plastic, nylon, or gut) called "snares" in close contact with it, on the bottom head, which vibrate when the drum is struck. The snares can also be on the top, as in the tarol snare drum, or on both heads as in the case of the Highland snare drum. The top head is typically called the batter head because that is where the drummer strikes it; the bottom head can also be called the snare head if the snares are located there. The tension of each head is held constant by tension rods. Tension rod adjustment allows the pitch and tonal character of the drum to be customized by the player. Most snare drums have a lever (the strainer) to engage or disengage contact between the snares and the head, which also permits adjustment of the snare tension. When the snares are disengaged, the sound of the drum resembles that of a floor tom-tom. The rim is the metal or wooden ring around the batter head that holds the head onto the drum and provides tension to the head; the rim can also be used in some playing techniques, notably the rimshot, in which the head and rim are struck together with a single stick to create a strong, accented tone, and the cross-stick, in which the rim is struck with a stick held across the head to produce a high-pitched click.
Playing
When the top head is struck, the bottom (resonant) head vibrates in tandem, which in turn stimulates the snares and produces a cracking sound.
The drum can be played by striking it with a drum stick or any other form of beater, including brushes, rute and hands, all of which produce a softer-sounding vibration from the snare wires. When using a stick, the drummer may strike the head of the drum, the rim (counterhoop), or the shell.
The snares can be thrown off (disengaged) with a lever on the strainer so that the drum produces a sound reminiscent of a tom-tom. Rimshots are a technique associated with snare drums in which the head and rim are struck simultaneously with one stick (or in orchestral concert playing, a stick placed on the head and the rim struck by the opposite stick). In contemporary and/or pop and rock music, where the snare drum is used as a part of a drum kit, many of the backbeats and accented notes on the snare drum are played as rimshots, due to the ever-increasing demand for their typical sharp and high-volume sound.
A commonly used alternative way to play the snare drum is known as "cross-stick", "rim click", or "side-stick". This is done by holding the tip of the drumstick against the drum head and striking the stick's other end (the butt) against the rim, using the hand to mute the head. This produces a dry high-pitched click, similar to a set of claves, and is especially common in Latin and jazz music. So-called "ghost notes" are very light "filler notes" played in between the backbeats in genres such as funk and rhythm and blues. The iconic drum roll is produced by alternately bouncing the sticks on the drum head, striving for a controlled rebound. A similar effect can be achieved by playing alternating double strokes on the drum, creating a double stroke roll, or very fast single strokes, creating a single stroke roll. The snares are a fundamental ingredient in the pressed (buzz) drum roll, as they help to blend together distinct strokes that are then perceived as a single, sustained sound. The snare drum is the first instrument to learn in preparing to play a full drum kit. Rudiments are sets of basic patterns often played on a snare drum.
Construction
Snare drums may be made from various wood, metal, acrylic, or composite, e.g., fiberglass materials. A typical diameter for snare drums is . Marching snare drums are deeper (taller) in size than snare drums normally used for orchestral or drum kit purposes, often measuring 12 in deep (tall). Orchestral and drum kit snare drum shells are about deep. Piccolo snare drums are even shallower at about deep. Soprano, popcorn, and firecracker snare drums have diameters as small as and are often used for higher-pitched special effects.
Most wooden snare drum shells are constructed in plies (layers) that are heat- and compression-moulded into a cylinder. Steam-bent shells consist of one ply of wood that is gradually rounded into a cylinder and glued at one seam. Reinforcement rings, so-called "re-rings", are often incorporated on the inside surface of the drum shell to keep it perfectly round. Segment shells are made of multiple stacks of segmented wood rings. The segments are glued together and rounded out by a lathe. Similarly, stave shells are constructed of vertically glued pieces of wood into a cylinder (much like a barrel) that is also rounded out by a lathe. Solid shells are constructed of one solid piece of hollowed wood.
The heads or skins used are a batter head (the playing surface on the top of the drum) and a resonant (bottom) head. The resonant head is usually much thinner than the batter head and is not beaten while playing. Rather than calfskin, most modern drums use plastic (Mylar) skins of around 10 mils thickness, sometimes with multiple plies (usually two) of around 7 mils for the batter head. In addition, tone control rings or dots can be applied, either on the outer or inner surface of the head, to control overtones and ringing, and can be found positioned in the centre or close to the edge hoops or both. Resonant heads are usually only a few mils thick, to enable them to respond to the movement of the batter head as it is played. Pipe band requirements have led to the development of a Kevlar-based head, enabling very high tuning, thus producing a very high-pitched cracking snare sound.
A new technique used to improve the sound quality during snare drum construction is symmetrical venting. In contrast to a standard single vent hole, air can easily travel through and around the instrument without getting caught. This rapid movement creates a smoother, stronger sound.
History The snare drum seems to have descended from a medieval drum called the tabor, which was a drum with a single-gut snare strung across the bottom. It is a little bigger than a medium tom and was first used in war, often played with a fife (pipe); the player would play both the fife and drum (see also Pipe and tabor). Tabors were not always double-headed and not all may have had snares. By the 15th century, the size of the snare drum had increased and had a cylindrical shape. This simple drum with a simple snare became popular with the Swiss mercenary troops who used the fife and drum from the 15th to 16th centuries. The drum was made deeper and carried along the side of the body. Further developments appeared in the 17th century, with the use of screws to hold down the snares, giving a brighter sound than the rattle of a loose snare. During the 18th century, the snare drum underwent changes which improved its characteristic sound. Metal snares appeared in the 20th century. Today the snare drum is used in jazz, pop music, and modern orchestral music.
Much of the development of the snare drum and its rudiments is closely tied to the use of the snare drum in the military. In his book, The Art of Snare Drumming, Sanford A. Moeller (of the "Moeller method" of drumming) states, "To acquire a knowledge of the true nature of the [snare] drum, it is absolutely necessary to study military drumming, for it is essentially a military instrument and its true character cannot be brought out with an incorrect method. When a composer wants a martial effect, he instinctively turns to the drums."
Before the advent of radio and electronic communications, the snare drum was often used to communicate orders to soldiers. American troops were woken up by drum and fife playing about five minutes of music, for example, the well-known Three Camps. Troops were called for meals by certain drum pieces, such as "Peas on a Trencher" or "Roast Beef". A piece called the "Tattoo" was used to signal that all soldiers should be in their tents, and the "Fatigue Call" was used to police the quarters or drum unruly women out of the camp.
Many of these military pieces required a thorough grounding in rudimental drumming; indeed Moeller states that: "They [the rudimental drummers] were the only ones who could do it [play the military camp duty pieces]". He says further, "No matter how well a drummer can read, if he does not know the rudimental system of drumming, it is impossible for him to play 'The Three Camps', 'Breakfast Call', or in fact any of the Duty except the simple beats such as 'The Troop'."