Phildior’s MS presents examples of a wealth of rolls, including multiple beatings that have second parts that mostly just roll.

Instruction des Tambours utilizes this underlying roll throughout the ordonnances, explaining that a zigzag line will mark where the rolls begin and end and that ¼ of the drummers should perform them. This distribution allows a soft, nearly continuous sound in the background of the main beating.

The only exception is La Charge, in which ¾ of the drummers roll continuously throughout, and the main beating (made up of Charge Strokes) creates an intimidating accent on the roll.

Structure of rolls in French music

Typically, the drummers all perform the main beat together. On the repeat, a fourth of the drummers beat the roll and end on the final (or penultimate) note of the main beating. This continues throughout the duration of the beating.

Some beatings alter this slightly to make the beating more dynamic. For example, in Le Drapeau, the roll ends in time for all the drummers to perform the final flams together. In La Marche (Aux Champs), the roll occurs for the middle phrase every time, rather than the alternating between the main beating and then rolling through the main beating.

Very similar patterns occur throughout Philidor, in which sometimes the drums roll all the way through the main line and sometimes roll just through a few measures.

While Philidor doesn’t elaborate, these rolls should probably be beaten by ¼ of the drummers and should be avoided if there are only three or fewer drummers, as the roll will drown out the main beating.

Philidor doesn’t include the rolls in every beating, but presumably any beating could incorporate rolls.

Performing the Rolls

Here is an example of how the rolls accompany the full line in “Marche des Mousquetaires” (18):

Interpretation of “Marche des Mousquetaires” (18) by John Chapman. Using the double stroke roll in Philidor.
Interpretation of “Marche des Mousquetaires” (18) by John Chapman.

Here is an example of how the rolls accompany only a part of the beating, in “Marche” by Philidor the Younger:

Interpretation of “Marche” (31) by John Chapman. Using the double stroke roll in Philidor.
Interpretation of “Marche” (31) by John Chapman.
More Resources:

If you want more music from Philidor’s Collection, check out my book ‘Philidor’s Drum Beatings’.

If you have questions or comments regarding interpreting The Philidor Collection, contact me or comment below.

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