Bent Lylloff
known to many as the "Dean of Scandinavian Percussion," died on March 7th 2001.His musical career included jazz symphonic, opera and avant-garde music. Lylloff began studying drums at the age of seven, marching in a Boy Scout band. At the age of ten he began studying piano and mallet instruments. After studies with Danish teachers, he continued studies with Gilbert Webster in London, Robert Tourte in Paris, and Morris Goldenberg and Saul Goodman at the Juilliard School of Music in New York.
Lylloff was at the forefront of Scandinavian percussion music for many years as a result of his accomplishments as a recording artist, his concert tours, and his educational clinics and master classes. From 1961 to 1989 he served as Principal Percussionist and Timpanist with the Royal Danish Orchestra. He worked with many prominent composers and conductors, including Leonard Bernstein, Pierre Monteux, Georg Solti, Igor Stravinsky, Aaron Copland, Pierre Boulez, Witold Lutoslavski, Krzysztof Penderecki, Karlheinz Stockhausen, Benjamin Britten, Andre Previn, Eugene Ormandy, Otto Klemperer and Charles Munch. He also worked with such popular artists as Frank Sinatra, Louis Armstrong, Dizzy Gillespie, Lena Horne, Jack Teagarden, Earl Hines, Harry Belafonte and Toots Thielemans.
In 1989 he became a professor at the Royal Academy of Music in Copenhagen. He often appeared as a soloist in Europe, the USA, Japan and Australia. Many composers wrote works for him and Lylloff himself was recognized as a composer.
Tricky Biscuits, 172 exercises for snare drum.
Bent Lylloff had one of the biggest profiles in the world of Scandinavian percussion. During his impressive career as a performer and teacher, he often encountered complex rhythms and recognized the technical and notational challenges they presented to students. He saw a need for a set of special exercises that would prepare them to meet these challenges. The exercises presented in this book are the result. They remained unpublished until the publication of this edition.
While these exercises/etudes are short, they are challenging on many musical levels. How they sounded to the listener as a piece of music, rather than how complicated the rhythms were or how they were notated, most concerned Bent. He encouraged his students to find the musical idea inherent in each exercise and to transcend the technical obstacles and make the music their own. He intended that the difficult notation of these pieces, while not always at first seeming to be logical, would inspire players to interpret the music in innovative ways.
Bent purposely did not provide sticking suggestions because he wanted his students to decide on the sticking they felt would give the best musical result. This obviously assumed that they had done their "homework" and were up to the task technically.
Bent was an outstanding musician. His ability to make a snare drum roll sing and melt into the music, for example, was a constant source of inspiration to us. He encouraged us to become strong players technically. But more importantly, he inspired us to become strong players musically.
Lennart Gruvstedt, prof. at the Academy of Music in Malmö, Sweden
Translation and interpretation made by Jan Williams, prof. Emeritus, University at Buffalo Music Department
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