The Snare Drum: Medieval to Modern Day

The history of percussion (drums, membranophones, idiophones) arguably begins with the birth of the planet and the Big Bang. Drums have morphed tremendously over the years. Virtually every region on earth has a rich history of drum development. In some cases, drum and percussion history is untraceable and archaeologists are still discovering evidence today. Fortunately as orchestral music developed during Medieval times in Europe, as did art and literature, so did percussion. The range of possibilities of what actually constitutes a percussion instrument is endless. One particular percussion instrument came to prominence in the Medieval period; the side drum or more commonly called the snare drum.

By the 13^th century, in Europe, percussion instruments took on a more advanced, and in some cases, ornamented form rather than primitive animal skin over hollowed out tree trunks. The side drum began to find its place in the military during the Crusades. A percussion instrument similar to a large tambourine, with Middle Eastern roots, was referred to as a drome or tabor, and started to evolve into the snare drum used by drummers today (Blades). The instrument was adapted so soldiers could carry it over their shoulder with a sling allowing the players hands to be free. Depth was added to its cylindrical shape to add more projection. The newly named side drum needed to be loud so the soldiers could hear it for marching. However, the side drums animal skinned head, strapped down with leather or hemp string, needed to be more taught in order for the drummer to play faster and more complex rhythms.

Clear evidence of a fully developed side drum has been immortalized in a painting by Rembrandt. The painting, The Night Watch (1642) displays the use of hoops (to aid in tensioning the drum head), a studded shell, uniform rope-tensioning, and the side drums most distinguishing feature which separates it apart from all other percussion instruments, the snare. James Blades, author of Percussion Instruments and Their History, describes the painting perfectly. Blades explains, “The drum is suspended at the player’s side at an angle of forty-five degrees. The sticks are perfectly poised and held in the traditional manner; and as an extension to such close observation Rembrandt has suggested the actual sound of the drum by the inclusion of a small dog who is clearly replying to the ‘snap’ from the snares (Blades).” This is strong proof that the snare drum originated in Europe in the Medieval period and took its most common shape during the Renaissance.

With a tighter skinned drum and a snappy snare sound, drummers played faster and more complex rhythms. Often these rhythms provided cadence for soldiers in war. Double time! Triple Time! It has been recorded that “no one [was allowed to] strike or wound the drummer as he is rather a man of peace than of the sword, yet he is a man of valour and courage, his place is at the Captain’s heels even in the field of the battle.” The drummer also played for the funerals of those deceased in war where he was allowed, as his fee, to challenge the sword of the deceased (Blades).

The side drum player was required to develop complex cadences. He developed reveilles and other rhythms signifying; assembly, dismissal, march, halt, call to arms, disperse, open and closed ranks all observed and obeyed by the soldiers (Blades). All these new rhythms did require the drummer to utilize new playing techniques. These rhythms needed to be clear and concise because they conveyed crucial and prompt orders from the Captain. Today’s common drum “rudiments” played by most musically literate drummers reflects the courageous soldiers’ efforts of originality. Foundation building techniques used by most drummers today were created by the drummers of the Crusades. A drummer today may only be avoiding the shrapnel from his broken sticks or perhaps irate remarks from other musicians to STOP POUNDING ON THOSE DRUMS! Nonetheless, he or she owes a debt of gratitude to the man behind the drum during the Crusades.

Common drumming patterns used by all drummers nowadays such as; the buzz roll (bzzzz), long roll (right, right, left, left), flams (both sticks striking a drum on the same beat with a minute degree of separation for emphasis), the ruff (the closest thing to a trill on a single drum), and a drummers favorite, the paradiddle (right, left, right, right, left, right, left, left). These basic rhythmic configurations continue to drive the underlying rhythms of rock music, jazz, and what the general public considers classical music. Though, cylindrical drums did have their critics during a rise to distinction.

Johannes Virdung, a well known astronomer and writer who was considered a man of importance during his time (the 16^th century) considered drumming an act of evil. “I verily believe that the Devil must have had the devising and making of them.” He proceeds to claim, “If hammering and raising a din be music, then coopers and those who make barrels must be musicians (Blades).” In spite of this, those in the know possessed skills such privileged individuals as Virdung, who never had to understand nor be privy to such noise, refer to the act of drumming as “Rumpelfesser” or rumbling tubs (Blades). Virdung and other like minded individuals considered drums or what is now considered more accurately, especially amongst academics, percussion a third class instrument. This is probably why percussion has always taken a back seat in an orchestra setting.

Conversely, drums are loud and probably belong in the back as they commonly are. It can be said drummers continue to pound the visceral sounds of war. Perhaps, it is just the heartbeat felt amongst the masses of a given space and time. Conceivably, drummers are vessels of the natural rhythm of planet Earth. Possibly, the Big Bang really did happen. Rhythm begot Earth and life. The beat will always live on…