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2017 Clements High School Marching Percussion

Technique Guide

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2017 Clements High School - Marching Percussion Technique Guide

WELCOMEWe urge you to read and comprehend the technical descriptions as well as memorize all the music. We take pride in creating an educational atmosphere in our process, and wish to give every student every opportunity possible. And while not everyone will be placed in their desired section, EVERY MEMBER is an asset to the program. From the triangle player in the front ensemble to the center snare drummer, EVERY MEMBER contributes something of importance. We look for members who are mature, musically intuitive, technically proficient, teachable, humble, physically fit, who can afford the time commitments and have a mature drive to be the best they can possibly be. Being in the Clements Band is an ongoing commitment, but it is an extremely rewarding and can be a life-changing experience. We encourage you to go for it and look forward to seeing you! Should you have any questions, feel free to contact me at [email protected].

Musically,

Bryan WaitesClements High School, Percussion Directoroffice: [email protected]

TABLE OF CONTENTS

FOUNDATIONS .................................................................................................................... 2

HOW TO PRACTICE ............................................................................................................. 3

SNARE DRUM TECHNIQUE GUIDE.....................................................................................5

MULTI-TENOR TECHNIQUE GUIDE ..................................................................................10

BASS DRUM TECHNIQUE GUIDE .....................................................................................16

MARCHING ENSEMBLE EXERCISES .................................................................................20

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FOUNDATIONS

MUSIC OVER MATTERMusic is probably what gave most of us our start and ultimately brought us to band. While it’s true that marching band has become something of a serious athletic sport, music is what drives the philosophy of The Clements percussion program. So while we do require players with a much technical ability, they need to be true musicians, not just technical players.

Sometimes our musical education focuses on academia and the technical chores of becoming proficient on our instrument. These are important aspects to development, but we have to remember to stay in touch with why we’re doing it all in the first place. This is why listening is so important. Listen, listen, listen. The more diverse your musical palette, the more intuitive you will be when playing music with the ensemble. Spend as much time listening to music as you do practicing your instrument. They are mutually beneficial.

TIMINGThis is a percussion program - timing is a very important aspect of what we do. Timing is important for our role within the musical ensemble and for maintaining the integrity of the rhythms we play. Remember: Rudiments are rhythms! Know your rudiments and know them well, but be sure you are playing them CORRECTLY – meaning pay attention to how certain sticking patterns affect your rhythmic tendencies. Don’t practice difficult parts at tempos that are faster than your hands can play, or you’ll end up practicing bad habits.

Practice with a metronome to focus on good timing and rhythmic accuracy. To make it more enjoyable and realistic, play your various exercises along with music you like to listen to. It’s generally the same thing as using a metronome, but it gives you a musical context on which to base your playing. This is the foundation of ensemble playing. Groove along with it and enjoy it!

CHOPSThis is a marching/rudimentally based drumline. You must have chops to get by. Your chops (technical strength and proficiency) are one of the basic building blocks of your contribution to the ensemble. This doesn’t mean showing up with every hybrid rudiment and stick trick ever invented ready to whip out at the first chance. That stuff is a lot of fun and we don’t mind seeing it, but it’s not the basis for making music.

We’re more interested in making sure you have a strong foundation of all the standard rudiments at a variety of tempos. This includes very slow tempos! As mentioned above, practice physically demanding parts correctly and do so for extended periods of time. Chops aren’t something you’re going to build in a week. It’s a progressive and continual process.

CONFIDENCEPerformance must be authentic. At the levels we strive for, you can’t fake it. It is important that you play with a high degree of confidence and authority so you can be in charge of what you are doing. This doesn’t mean putting on the “mean face” and acting tough. In fact, it’s just the opposite. Confident players play with a level of calmness and relaxation that should ”feel and look good” to both the player and the listener. Confidence is a powerful thing and will help you fit into the line.

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HOW TO PRACTICE

Correct practice is crucial to your development as a rudimental percussionist. We can define practicing correctly as:

1. Practicing with a Plan/Setting Goals

2. Practicing those things you cannot play perfectly

3. Practicing on an instrument vs practicing on a pad

4. Practicing with a metronome

5. Practicing in front of a mirror

6. Constant evaluation of quality of sound, rhythmic accuracy, and tempo control

7. Marking time while you practice

Let’s evaluate and elaborate on the above items.

PRACTICING WITH A PLAN/SETTING GOALSPracticing with a plan or goal is crucial to your development as a rudimental percussionist. Having a plan allows you to be methodical and smart about your approach. This approach leads to efficiency. The more efficient you are at practicing, the quicker you will become a rudimental Jedi. Here is an example of having a solid practice plan or goal:

WEEK OF APRIL 20-27• Goal: Tap Fives at mm=112-128

• Monday - One Hour; Tap Fives at mm= 60-78; pushing tempo every ten minutes.

• Tuesday - One Hour; Tap Fives mm= 78-100; pushing temp every ten minutes

• Wednesday - Rolls mm=100-128; Tap fives isolated mm=100-114

• Thursday - Rolls mm=100-132; Tap fives isolated mm=110-128

• Friday - Tap Five in context; Tap Five Exercise, mm=100-128

Keep a practice journal or wall chart. Writing things down will keep you organized. Seeing your progress in writing will help your crystalize your improvement. Playing rudiments slow is important . . . slow things down. You’ll be amazed at how much better your control will be and how much of a better overall player you will become.

PRACTICING THOSE THINGS YOU CAN’T PLAY PERFECTLYIt is very easy to play things that feel good and sound good. At your level, you should be disciplined enough to play things you can’t play perfectly. Make everything you play sound perfect and feel good! Your job is to be a master of all motions at all tempos, so practicing things you don’t feel completely comfortable with is key. Play things slow . . . off the left . . . whatever you can do to expand your repertoire.

PRACTICING ON A DRUM VS. PRACTICING ON A PADA practice pad does not give you the same feel as a drum. There is no substitute for the chops you will gain practicing on a drum versus a practice pad . . . no exceptions, period. Based on personal experience, practicing on a drum between camps will give you 25 to 30 percent advantage over practicing on a pad. Drums are available to practice on everyday at CHS.

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HOW TO PRACTICE - continued

PRACTICING WITH A METRONOMETempo control is crucial as a rudimental percussionist and is probably the single most important trait you, as an individual performer, can bring to the table. There is simply no substitute for practicing with a metronome. Keep it fresh by practicing to a half-time feel. Try putting the metronome on the upbeat and keep a constant, steady pulse. Experiment. TEMPO CONTROL IS EVERYTHING.

PRACTICING IN FRONT OF A MIRRORPracticing with correct height control is crucial to your development. Practicing in front of a mirror allows the performer to observe any height discrepancies, Y-axis motion (slicing,) weird facial tweaks, etc., and to fix any of the above. Take a dry erase marker and draw lines for heights on the mirror. While practicing, keep your beads touching these lines consistently. Draw a vertical line to observe the vertical rise and fall of the stick. (It should be exactly straight up and down.) When practicing in front of a mirror, continually ask yourself the following questions:

• Are my heights correct?

• Are my stick paths (R and L) moving straight up and down?

• Are there any extra unnecessary motions? (ex. shoulder, elbow)

• Is my body symmetrical? (even if my hands are not, traditional grip)

• Do I look relaxed, am I making this look easy?

CONSTANT EVALUATION OF QUALITY OF SOUND, RHYTHMIC ACCURACY AND TEMPO CONTROLWhen you practice, you should constantly evaluate how you feel and look. You should critique how you sound. Does it sound good? Does it flow? Are the sticks resonating at all times? Does it sound relaxed? Am I breathing calmly and evenly when I play? Is there tension in my back? Shoulders? Arms? Wrists? Do I sound like I am “owning” the music? Constant self-evaluation is important in your development as a rudimental percussionist. If something isn’t right, you have the tools to diagnose the problem, find a solution (practice tip), and fix it.

MARKING TIME WHILE YOU PRACTICEBecause this is MARCHING BAND, marking time is important. This is a movement-based activity, if your feet are not in time, you will not play in time. Your foot should be impacting the floor EXACTLY on the beat. Your feet must be in time. It cannot be stressed enough that you coordination must be impeccable.

YOU WILL BE AMAZED AT YOUR PROGRESS, IF YOU FOLLOW THE ABOVE GUIDELINES

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SNARE DRUM TECHNIQUE GUIDEThis section serves as an outline to the fundamentals of our technique. In order to achieve our goal of being the absolute best in the activity, we must simultaneously achieve exact uniformity in technique, touch, sound quality, rhythmic clarity, and dynamic clarity. Each individual in the line must be accountable for his or her individual performance and be aware of the accompanying responsibilities with regard to the percussion ensemble and full ensemble. This information, combined with the exercises, helps you achieve the highest degree of performance possible.

HOW YOU FEEL WHEN YOU DRUMAs you play, you should always strive for a relaxed physical sensation. The stronger a player you are and the more chops you possess, the more efficient you become, hence, the more relaxed you are. A relaxed hand allows the stick to “resonate” and produce a pitch conducive to a relaxed, open sound. Physical relaxation also pertains to your brain and state of mind. No matter what the musical or physical responsibility at any given time, through practicing GOOD habits and utilizing the descriptors above, you are setting yourself up for success by having peace of mind and a strong mental approach to your playing. This approach allows you to be more consistent as a player and musician. When you play, try and breathe comfortably. By learning to breathe naturally while playing, you will achieve a more relaxed, healthy sound and approach, regardless of the difficulty level.

IMPLEMENT GRIPA great quality of sound and approach to the drum starts with the grip of the stick. In order to produce a full, resonant tone from the drum, it is important that your hands maintain a relaxed grip around the stick at all times, allowing the stick to resonate in your hand. If you hold the stick too tightly, you dampen the stick’s natural vibrations and “choke off” much of the sound, which produces a very thin quality of sound. Also, the brunt of the impact from the stick striking the drum will be transferred directly into your hand, leading to unnecessary injury. Always let the sticks “breathe” in your hands.

RIGHT HAND

The fulcrum is located between the thumb and the index finger. This is the point from which the stick pivots in your hand. This pivot point should be located at the optimal balance point of the stick and is generally located about 1/3 up the length of the stick from the butt end.

The remaining fingers should be wrapped naturally around the stick. They should be loose and relaxed but can never leave the stick. In order to employ the fingers properly, the stick should lay through the fleshy part of your palm opposite your thumb.

The palm of your hand should be flat to the drum and the thumb should be on the side of the stick and the center line of the thumb should be aligned with the center line of the stick.

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SNARE DRUM TECHNIQUE GUIDE - continuedLEFT HANDThe fulcrum point is again located between the thumb and index finger, with the thumb sitting on top of the index finger between the first and second knuckle. This connection must ALWAYS be maintained. There are common tendencies to push down or flex up the tip of the thumb. Avoid these by keeping the thumb relaxed but straight.The stick will rest on the fourth finger just past the first knuckle and near the cuticle on the nail bed. The pinky should stay aligned and touching to the fourth finger in a relaxed position, and the middle finger will rest beside the stick with the fingertip being slightly on top of the stick. Please be aware that the middle finger should simply be “along for the ride” and not used to generate a stroke by applying pressure in any way.All fingers must remain relaxed and in a curved position at all times. Any unnatural straightening or flexing of the fingers simply causes unwanted tension that will ultimately inhibit your performance and quality of sound.The palm should be perpendicular to the floor. Here is a good analogy: Your palm should be turned up enough that if it were raining, water would hit your palm and drain off. If your palm is turned up too much, the water would collect – not being able to drain off. If your palm is not turned up enough, your thumb would block the water from access to your palm.

PLAYING POSITIONA proper playing position begins with finding an appropriate drum height. This can be done using the left hand as a starting point:With your arms relaxed by your sides, raise your left hand from the elbow until your forearm is parallel to the ground. With the stick in your left hand and the bead of the stick in the center of the drum, put the width of two fingers between the rim of the drum and the stick to establish the proper drum height. This will give the stick a slight downward angle (with your wrist being higher than the bead), yet still allow the meaty part of the bead to make contact with the drum.Next, simply raise your right hand to the drum, matching the fulcrum point of the right hand to the fulcrum point of the left hand, making sure the stick angles down to the drum are the same.Be careful to match the actual fulcrum points and not the hands in elevation. When playing traditional grip, most of the right hand is on top of the stick and most of the left hand is under the stick, so you will actually hold your right hand higher than your left to match the fulcrum points. Simply put, to generate the same sound from each hand, first each stick must strike the drum from the same pivot point.The beads will always remain in the center of the head, resting 1/4 inch apart and 1/2 inch off of the head. It is absolutely essential for the beads to remain in the exact center of the drum at all times. If the sticks are not striking the drum in the same location, then they will not produce the same sound from one hand to the other. Looking down at the drum, the angle created by the sticks (the “V” shape) should be approximately 90 degrees. The same concept of symmetry used earlier to match stick angles will be used here as well.

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SNARE DRUM TECHNIQUE GUIDE - continued

Again, the left hand makes a good starting point. Think of your left hand as a natural extension of your arm by keeping a straight line from the tip of your thumb through to your elbow, with your elbow hanging a few inches from your side. The half of the “V” your left stick creates should be mirrored by the right stick. Avoid any awkward bends in your right wrist by keeping your fulcrum point on a straight line through to your elbow as well. Please note that matching the right stick angle to the left will push your right elbow farther out from your body than your left elbow. Don’t take this too far, however. You don’t want unnecessary tension in your shoulder and/or upper arm.

HEIGHTS AND DYNAMICSThe Clements drumline employs the following stick height system as a part of our overall approach to dynamics. These must be learned and executed as accurately as the rhythms on the paper. The dynamics/heights through the ff (15”) are, in general, produced with mostly wrist which begins turning from the set position. Additional arm is added at the fff (18”). The sticks will not travel past vertical but will be higher in the air because of the arm extension. Please note again, these heights are only a part of our overall approach to dynamics. While playing from the correct height, the player must ultimately listen in order to balance his or her sound and match energy to the player inside.

STROKEEvery stroke will initiate from a wrist turn with the bead of the stick moving first. Even when playing 18”, a wrist turn will lift the bead before the arm rises. This wrist turn is essential to every stroke played. However, do not restrict your arms by trying to use only wrist. As your wrist turns, your arm should naturally move. Also, there should be a weight to your stroke in order to produce a big, full sound. A relaxed hand will allow the stick to feel heavy in your hands, thereby allowing the stick to fully resonate, producing a quality sound even at a pianissimo level.LEGATO STROKEThe legato stroke is often referred to as the rebound stroke. When using this stroke, the player should allow the stick to rebound (bounce) off of the drumhead. The player is responsible for the initial effort of quickly moving the stick toward the head. From here, the drum naturally rebounds the stick back to the upstroke position. The key to playing legato is to not restrict the motion of the stick. The motion should never stop – it is always moving either toward or away from the drumhead. All fingers should remain on the stick at all times, but they should not inhibit the rebound by holding the stick against the palm. The arms, hands, and fingers remain relaxed, naturally moving with the motion of the stick.MARCATO STROKEWe define a marcato stroke as a controlled rebound stroke. When playing marcato, the fingers stop the stick to keep it from rebounding fully instead of traveling with the natural rebound motion of the stick after striking the playing surface. The marcato stroke is exactly like the legato stroke until after contact with the playing surface. The fingers simply do not allow the stick to rebound back up. Don’t make the mistake of applying the brakes on the way down, as the sound will be choked. Instead, concentrate on what your fingers do immediately after contact with the playing surface. Try and use only the exact amount of energy needed to stop the stick. We will use a variety of strokes, but mastering the legato and marcato strokes is crucial to your success as a battery member.

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Heights and Dynamics

The Clements drumline employ the following stick height system as a part of our overall approach to dynamics. These must be learned and executed as accurately as the rhythms on the paper. The dynamics/heights through the ff (15”) are, in general, produced with mostly wrist which begins turning from the set position. Additional arm is added at the fff (18”). The sticks will not travel past vertical but will be higher in the air because of the arm extension. Please note again, these heights are only a part of our overall approach to dynamics. While playing from the correct height, the player must ultimately listen in order to balance his or her sound and match energy to the player inside.

Stroke

In the Clements Drumline there are two common stroke types we employ: legato and marcato. Before we define the specifics of each, there are some key points that apply to both of these stroke types.

Every stroke will initiate from a wrist turn with the bead of the stick moving first. Even when playing 18”, a wrist turn will lift the bead before the arm rises. This wrist turn is essential to every stroke played. However, do not restrict your arms by trying to use only wrist. As your wrist turns, your arm should naturally move. Also, there should be a weight to your stroke in order to produce a big, full sound. A relaxed hand will allow the stick to feel heavy in your hands, thereby allowing the stick to fully resonate, producing a quality sound even at a pianissimo level.

pp = 1/2 inch p = 3 inches (common tap height) mp = 6 inches mf = 9 inches

f = 12 inches ff = 15 inches fff = 18 inches*

grace notes 1/5 wrist turn 2/5 wrist turn 3/5 wrist turn

* Not an exact science.

4/5 wrist turn full wrist turn 45° arm added, 12" wrist turn = vertical bead

2014 CLEMENTS PerCussion audition PaCket - snare

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Our approach to flams is based on the “Three-Height Flam” theory. This theory is based on the grace note being played as an actual upstrokeor as a tap stroke. After being placed at 1”, the grace note upstrokes to the 3” tap-height. Converse-ly, when multiple consecutive grace notes are present, the grace not becomes a legato tap and works between the 1” and 3” range. We use the “THF” theory for a few reasons:• It represents a correct, defined approach to heights.• It helps the performer “place the grace.” In effect, even grace note placementcan be cleaned.• It allows the performer to play quick flam passages with dexterity and control. The heights represented in the Three-Height Flam theory are:• Grace (1”)• Tap (3”)• Accent (6”,9”,12” or 15”)

What’s a little physical prowess amongst friends? The following exercise is a study in several ways. Obviously, the three-height flam concept is apparent as well as groove, flow, and a “long phrase” mentality. A sense of mastery and sonic splendor should purvey as you work through and perform this piece. Interpretive perfection allows a sense of groove from the whole line, as counterpoint between sections is a huge part of this holistic groove. When you finally get it, please, by all means look in the mirror and do the Icky shuffle. Google it, You’ll understand . . .

mm = 110-160

THREE HEIGHT FLAM THEORY

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MULTI-TENOR TECHNIQUE GUIDE

HOW YOU FEEL WHEN YOU DRUMAs you play, you should always strive for a relaxed physical sensation. The stronger a player you are and the more chops you possess, the more efficient you become, hence, the more relaxed you are. A relaxed hand allows the stick to “resonate” and produce a pitch conducive to a relaxed, open sound. Physical relaxation also pertains to your brain and state of mind. No matter what the musical or physical responsibility at any given time, through practicing GOOD habits and utilizing the descriptors above, you are setting yourself up for success by having peace of mind and a strong mental approach to your playing. This approach allows you to be more consistent as a player and musician. When you play, try and breathe comfortably. By learning to breathe naturally while playing, you will achieve a more relaxed, healthy sound and approach, regardless of the difficulty level.

IMPLEMENT GRIPThe tenor line will be using match grip. All fingers should contact the stick with minimum pressure at the fulcrum. A great quality of sound and approach to the drum starts with the grip of the stick. In order to produce a full, resonant tone from the drums, it is important that your hands maintain a relaxed grip around the stick at all times, allowing the stick to resonate in your hand. If you hold the stick too tightly, you dampen the stick’s natural vibrations and “choke off” much of the sound, which produces a very thin quality of sound. Also, the brunt of the impact from the stick striking the drum will be transferred directly into your hand, leading to unnecessary injury.

PLAYING POSITIONThe following diagram illustrates an overhead view of the playing position and stick angles when traveling from drum to drum. When moving to drums 3 & 4, it is important to keep the mallets pushed forward toward the front of the drum. Maintaining accurate playing positions is essential to to producing quality sound, fluid motion and in avoiding excess shoulder movement. Incorporating these concepts as a daily practice routine will aid in the development of technique, speed and execution.

MOVEMENT AROUND THE DRUMSWhile getting around the drums the hand and forearm should always be in the same position in relationship to each other. Meaning don’t use the wrist to play on a different drum, move your forearm to get to the next drum.The stick should travel in a smooth arc during the rebound to get to the next drum.

Think of the movement in terms of two planes: x and y.

The “Y” axis is the vertical axis. Upon this axis the forearms, wrists and fingers move the mallet straight up and down. Most quad drumming errors are caused by the confusion between these two planes and the lack of maintaining accuracy upon each axis. A quad player should be able to focus on the X and Y axes independently while playing through a phrase. The “Y” axis should be the first priority when playing around the drums. The way to manipulate this axis is by playing a passage on one drum. Some players rely on around patterns to get through certain passages. If you can’t play it on one drum, then you certainly won’t be able to play it around the drums with any accuracy.

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After mastering a passage on one drum, you will be able to play it around the drums with better sound quality, mallet heights and dynamics. A player should be able to focus on the hand’s movement, heights and velocity through the drumheads while playing through any given passage around the quads. The “Y” axis must not get melded with the “X” axis in order to play with a consistent quality of sound, good mallet heights and dynamics.

The “X” axis should be the second priority when playing around the drums. A lack of accuracy within the “X” axis results in poor playing areas and the accidental hitting of the drum’s rims. Whenever you hear an ugly bark sound from missing a drum’s playing area or hitting a rim, go back and figure out exactly where you missed the playing area or hit the rim. Then adjust where your forearms are putting your hands along the “X” axis in order to contact the drum in the proper playing area.

SCRAPESScrapes are one of the best reasons to play quads. Also commonly referred to as “sweeps,” scrapes are defined as diddles that are played on two different drums, the first beat of the diddle on any one drum, and the second beat on a different drum. Scrapes are commonly used for three reasons: musicality, logistics, and glamour. Musically, scrapes can offer new effects through new drum-to-drum combinations; logistically, they can help move hands “out of the way,” to make certain drum-to-drum combinations flow better. As far as glamour is concerned, scrapes just plain look cool!

The hand motions used when scraping diddles are no different than they are when playing diddles on one drum. All diddles should be played as two consecutive controlled legato strokes on a hand, using a combination of wrist, fingers, and at fast tempos, forearms.

There are really only two types of scrapes: those scraping outward, away from the center of the body, and those scraping inward, towards the center of the body. There are no special considerations needed for playing outward scrapes. When playing INWARD scrapes, however, it’s helpful to turn your hands up a little so that the mallet downstrokes toward the first drum at an angle. The faster the tempo/lower the mallet height, the shallower the angle of the initial downstroke. Although the hands themselves are turned up a little, the hand motion doesn’t change. DO NOT play inward scrapes with a “French Grip;” the fulcrum must still be located where the player can control the mallet’s side-to-side motion and his/her fingers can control both beats of each diddle (shown at right)

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PLAYING ZONESIt is very important for tenor dummers to have full control of a natural stroke and good sound on ONE DRUM before applying it to split parts around the drums.

As noted previously, playing zones are a very important part of creating a good sound on tenors. Each drum has a particular “target” for each particular stick to shoot for. This gives each stick the least amount of distance to travel in any given pattern around the drums. Refer to this general zone diagram to view different sticking scenarios. It’s very important to practice patterns around the drums SLOWLY, striving for accurate zones before increasing tempos.

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It is very important for tenor dummers to have full control of a natural stroke and good sound on ONE DRUM before applying it to split parts around the drums.

Playing Zones

Playing zones are a very important part of creating a good sound on tenors. Each drum has a particular “target” for each particular stick to shoot for. This gives each stick the least amount of distance to travel in any given pattern around the drums. Refer to this general zone diagram to view different sticking scenarios. It’s very important to practice patterns around the drums SLOWLY, striving for accurate zones before increasing tempos.

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40

NOTE: -The slight turning up of the hands should happen natu-rally as one tries to play inward scrapes with the hands flat.

When playing scrapes, it is imperative not to just “go with theflow” of the forearm’s motions; one must know exactly where eachbeat of each scrape is contacting the drums. For ease of movementand conservation of motion, be sure to play in the “scrape playingareas” (as shown in chapter 5 on set positions/playing areas). It is alsosometimes helpful to think about the three gaps between the drumsrather than the four drums themselves. Proper scrape technique canbe summed up as this: the hands turn from the wrist and incorporatethe use of fingers in order to play excellent quality diddles, while theforearms move the hands where they need to go around the drums.This is the key to playing scrapes with great sound quality.

Now that the technique has been broken down, it’s time to getbehind the drums and play some quality scrapes. Remember to peri-odically review the “12 GOLDEN QUAD RULES” on page 22.

1. Right hand out

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5. Right hand in and out

6. Left hand in and out

7. Both hands out

8. Both hands in

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2. Left hand out

3. Right hand in

4. Left hand in



7. Both hands out

8. Both hands in

÷ 44 œ œ œ œ œ

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(R R L L)



÷ 44 œ œ œ œ œ


(R R L L)


÷ 44 œ œ œ œ œ

→


(R R L L)



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(R R L L)


÷ 44 œ œ œ œ œ

→


(R R L L)



÷ 44 œ œ œ œ œ

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÷ 44 œ œ œ œ œ

→



2. Left hand out

3. Right hand in

4. Left hand in



7. Both hands out

8. Both hands in

÷ 44 œ œ œ œ œ

→


(R R L L)



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(R R L L)


÷ 44 œ œ œ œ œ

→


(R R L L)



÷ 44 œ œ œ œ œ


(R R L L)


÷ 44 œ œ œ œ œ

→


(R R L L)



÷ 44 œ œ œ œ œ

→



÷ 44 œ œ œ œ œ

→



2. Left hand out

3. Right hand in

4. Left hand in



7. Both hands out

8. Both hands in

÷ 44 œ œ œ œ œ

→


(R R L L)



÷ 44 œ œ œ œ œ


(R R L L)


÷ 44 œ œ œ œ œ

→


(R R L L)



÷ 44 œ œ œ œ œ


(R R L L)


÷ 44 œ œ œ œ œ

→


(R R L L)



÷ 44 œ œ œ œ œ

→



÷ 44 œ œ œ œ œ

→



2. Left hand out

3. Right hand in

4. Left hand in



7. Both hands out

8. Both hands in

÷ 44 œ œ œ œ œ

→


(R R L L)



÷ 44 œ œ œ œ œ


(R R L L)


÷ 44 œ œ œ œ œ

→


(R R L L)



÷ 44 œ œ œ œ œ


(R R L L)


÷ 44 œ œ œ œ œ

→


(R R L L)



÷ 44 œ œ œ œ œ

→



÷ 44 œ œ œ œ œ

→



2. Left hand out

3. Right hand in

4. Left hand in



7. Both hands out

8. Both hands in

÷ 44 œ œ œ œ œ

→


(R R L L)



÷ 44 œ œ œ œ œ


(R R L L)


÷ 44 œ œ œ œ œ

→


(R R L L)



÷ 44 œ œ œ œ œ


(R R L L)


÷ 44 œ œ œ œ œ

→


(R R L L)



÷ 44 œ œ œ œ œ

→



÷ 44 œ œ œ œ œ

→



2. Left hand out

3. Right hand in

4. Left hand in



7. Both hands out

8. Both hands in

÷ 44 œ œ œ œ œ

→


(R R L L)



÷ 44 œ œ œ œ œ


(R R L L)


÷ 44 œ œ œ œ œ

→


(R R L L)



÷ 44 œ œ œ œ œ


(R R L L)


÷ 44 œ œ œ œ œ

→


(R R L L)



÷ 44 œ œ œ œ œ

→



÷ 44 œ œ œ œ œ

→



Below are some compulsory scrape exercises that will increase you ability to play through scrape patterns seen in our repertoire. Mastering these is essential to becoming fluent in tenor playing - work them slowly with a metronome and work for consistent quality of sound from both notes of the scrape.

14


Our approach to flams is based on the “Three-Height Flam” theory. This theory is based on the grace note being played as an actual upstrokeor as a tap stroke. After being placed at 1”, the grace note upstrokes to the 3” tap-height. Converse-ly, when multiple consecutive grace notes are present, the grace not becomes a legato tap and works between the 1” and 3” range. We use the “THF” theory for a few reasons:• It represents a correct, defined approach to heights.• It helps the performer “place the grace.” In effect, even grace note placementcan be cleaned.• It allows the performer to play quick flam passages with dexterity and control. The heights represented in the Three-Height Flam theory are:• Grace (1”)• Tap (3”)• Accent (6”,9”,12” or 15”)

What’s a little physical prowess amongst friends? The following exercise is a study in several ways. Obviously, the three-height flam concept is apparent as well as groove, flow, and a “long phrase” mentality. A sense of mastery and sonic splendor should purvey as you work through and perform this piece. Interpretive perfection allows a sense of groove from the whole line, as counterpoint between sections is a huge part of this holistic groove. When you finally get it, please, by all means look in the mirror and do the Icky shuffle. Google it, You’ll understand . . .

mm = 110-160

THREE HEIGHT FLAM THEORY

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15


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2 BD FlamsBD FLAMS - Page 2

16


BASS DRUM TECHNIQUE GUIDE

THE ROLE OF THE BASS DRUM LINEThe role of the bass line is to provide a foundation for the battery and the band, provide melodic and tonal support to the rhythmic passages of the percussion section and supply depth and impact to overall sound when needed.There are three levels of listening that are crucial to the success of the bass line:

1. The individual - Individual performance must accurate and consistent2. The Section - Performance of the bass line must flow as if one person were playing the part3. The Ensemble - Fitting the section sound into the ensemble as a whole and understanding how the sound

contributes musically

HOW YOU FEEL WHEN YOU DRUMAs you play, you should always strive for a relaxed physical sensation. The stronger a player you are and the more chops you possess, the more efficient you become, hence, the more relaxed you are. A relaxed hand allows the mallet to “resonate” and produce a pitch conducive to a relaxed, open sound. Physical relaxation also pertains to your brain and state of mind. No matter what the musical or physical responsibility at any given time, through practicing GOOD habits and utilizing the descriptors above, you are setting yourself up for success by having peace of mind and a strong mental approach to your playing. This approach allows you to be more consistent as a player and musician. When you play, try and breathe comfortably. By learning to breathe naturally while playing, you will achieve a more relaxed, healthy sound and approach, regardless of the difficulty level.

POSTUREPosture is very important to achieving not only a good, clean look as a bass line, but great sounds as well. Your shoulders should be back and down, but relaxed as possible and there should be a slight arch in your lower back. Think about making the space between your bottom rib and your hip bone as wide and open as possible while still remaining relaxed, you should feel your abs engage when you do this.

When marking time and marching, there should be separation of the upper and lower body. No matter what challenges are placed on the feet and lower body, the upper body should remain relatively unaffected; this can be achieved by engaging the core and lifting up from the chest in a controlled yet relaxed fashion.

You should make it a habit to constantly analyze how your body feels while drumming and try to eliminate unnecessary tension. Remember to always relax and breathe while keeping your chin up and focusing energy where it is needed. Extraneous tension is not only uncomfortable, but it negatively affects your endurance with playing and marching.

IMPLEMENT GRIPThe Bass line uses a modified matched grip. The bass mallet is held with the butt-end of the stick even with the bottom of the hand. From the audience’s perspective, there should be no part of the stick visible underneath the hand. The grip is fulcrum focused, meaning that the tightest point of contact will be between the thumb and index finger; the back three fingers are relaxed around the mallet, but still engaged while playing. This grip is very similar to playing matched grip on a practice pad, with the playing surface simply turned vertical.

It is important that there is no exposed gap between the thumb and index finger. The fingers should not be tensely pushed together, but at the same time there should be no visible space between them. Keep in mind that the more skin contact/surface area your hand can cover while holding the mallet, especially in the fulcrum, the more control you will have over the stroke. Your grip should be approached with a relaxed focus, since the same unnecessary tension (previously mentioned) most directly impacts playing when it’s in your hands.

17


PLAYING POSITIONTo get a feel for the correct playing position, start with both arms hanging relaxed at your sides. Comfortably grip the mallet as described above, and note that the mallets should be parallel to your legs. Next, bending only at the elbows, bring your arms up until your forearms are parallel to the ground (the position of the hand, wrist and mallet should not change when you do this). The head of the mallets should be very slightly angled toward the drumhead, and the mallets should rest as close to the head as possible without touching the head’s surface. This is the correct playing position, and again it should feel completely relaxed and natural.

The mallet should create a 45 degree angle from the ground; the tendency for most beginning bass drummers is to either flatten out this angle towards parallel or to pull their wrist back to the forearm toward more of a 90 degree angle. Always maintain the correct angle while at set and while playing. Playing directly in the center will allow us to achieve the best possible sound. Try to find checkpoints along the rim where your hand or forearm should be placed in order to easily check whether or not you are playing in the center of the head.

THE STROKEAgain, the approach to the drum should be relaxed in grip and stroke. Each stroke should initiate from the mallet head first, not any part of the arm in a whipping motion. The path of the stroke should be a straight line matching the angle of the mallet. This stroke is a hybrid between a rotation of the forearm and a breaking of the wrist; the entire fulcrum travels down and back on a 45 degree angle. Make sure you do not restrict the natural motion of the arm while playing; while it is important to maintain a good wrist turn with every stroke, at higher heights the arm will naturally move slightly away from the drum, pivoting at the elbow. This arm motion will help add both power and velocity behind the stroke. A consistent motion and amount of energy in each stroke is crucial to producing a great, consistent sound.

Developing the correct grip, set position and stroke can be a long process and requires a lot of practice. Make sure you take the time to carefully analyze your playing and develop a good understanding of how it feels to use the correct technique. Getting in front of a mirror is a great way for bass drummers to check the path of their stroke and their general appearance while playing. The Clements drumline employs the following stick height system as a part of our overall approach to dynamics. These must be learned and executed as accurately as the rhythms on the paper.

7


Heights and Dynamics

The Clements drumline employ the following stick height system as a part of our overall approach to dynamics. These must be learned and executed as accurately as the rhythms on the paper. The dynamics/heights through the ff (15”) are, in general, produced with mostly wrist which begins turning from the set position. Additional arm is added at the fff (18”). The sticks will not travel past vertical but will be higher in the air because of the arm extension. Please note again, these heights are only a part of our overall approach to dynamics. While playing from the correct height, the player must ultimately listen in order to balance his or her sound and match energy to the player inside.

Stroke

In the Clements Drumline there are two common stroke types we employ: legato and marcato. Before we define the specifics of each, there are some key points that apply to both of these stroke types.

Every stroke will initiate from a wrist turn with the bead of the stick moving first. Even when playing 18”, a wrist turn will lift the bead before the arm rises. This wrist turn is essential to every stroke played. However, do not restrict your arms by trying to use only wrist. As your wrist turns, your arm should naturally move. Also, there should be a weight to your stroke in order to produce a big, full sound. A relaxed hand will allow the stick to feel heavy in your hands, thereby allowing the stick to fully resonate, producing a quality sound even at a pianissimo level.

pp = 1/2 inch p = 3 inches (common tap height) mp = 6 inches mf = 9 inches

f = 12 inches ff = 15 inches fff = 18 inches*

grace notes 1/5 wrist turn 2/5 wrist turn 3/5 wrist turn

* Not an exact science.

4/5 wrist turn full wrist turn 45° arm added, 12" wrist turn = vertical bead

2014 CLEMENTS PerCussion audition PaCket - snare

18


TIMING & RHYTHMGood timing starts in the feet. It is extremely important to line up each rhythm with a solid foot pulse; we always play to our feet, we do not put our feet to our hands. Make sure you always play with a metronome or recorded music and move your feet when you are practicing. Bass drummers especially, who play only certain parts of rhythms, must understand how each of their parts line up with their feet.

INTERPRETING 2’S, 3’S, AND 4’SBefore we play 2’s (16th notes), 3’s (half of a sextuplet) or 4’s (32nd notes), we must first be able to play the underlying 8th note check in time with our feet. Once this check is smooth we can add on more notes to fill the space between 8th notes evenly. We must make sure that each rhythm is placed carefully and accurately. The tendency for most bass drummers is to close or “crush” down the space between notes, which doesn’t allow the overall sound to flow evenly across the drums. If the check is solid and the interpretation of the rhythmic space isn’t too closed or open, we then have to look at the articulation of each note. Bass drum is a very resonant instrument, meaning that once the head is struck, the note will reverberate for a longer period of time than, for example, a snare drum. Because of this, the 2nd, 3rd and 4th notes in a rhythm are often covered up or drowned out by the initial sound of the attack of the first note. To counteract this we do two things.

Don’t over-attack or over-prep for the first note of the rhythm; play at the written dynamic level

Push through the rhythm dynamically by putting a slight crescendo through to the last note

These two points allow each note in the rhythm to be heard and result in a more even sound. Finally, with all of these elements in place, we can start to balance and blend the sound across all five drums and create a truly great bass sound.

Work the following exercises while marking time. Use a metronome and start slowly working the tempos up into the 144-160 range.

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16th Note Timing Exercises

16th Note Check Pattern Exercises

19


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Individual Bass Drum Exercises

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INDIVIDUAL BASS DRUM EXERCISES

20


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MARCHING ENSEMBLE EXERCISESWhile technique is the number one priority, we must begin applying it to exercises and in turn, apply the exercises to our music. Fundamental studies are the backbone of success. The better you are at these fundamental exercises, the better the ensemble will perform as whole.

I recommend learning these by memory as soon as possible. Be familiar with them when you walk into the first camp. This will put you ahead of the game when it comes time to break into sections and begin playing as an ensemble. If you are striving to be in the bass line, please learn at least two drums, i.e. 1 and 2, or 2 and 4, etc. This will give you a com-petitive edge in that you can easily and quickly adapt to the scenarios the staff creates within that section.

These exercises will be utilized through the season as our warm-ups and will serve as a primer before we play show mu-sic. We play them EVERYDAY. Know them, live them, eat them, drink them, sleep them. CDL4LIFE.

21


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Snare

Tenor

Tenor Variation

Bass Unison

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S. D.

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R R R R L L L L R R R R L L L L R L R L R L R L R L R L R L R L R R L L R R L L R R L L R R L L

6




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22


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q.=170


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14

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24

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23


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Tenor

Bass

R r r R r r R r r R r r r R r r R r r R r r R r r r R r r R r r R r r R R r r r r r r r r R r R r R r r r r r r r R r r r r r r r R r r

q = 90

r R r r R r r R r r R r r r R r r R r r R r r R r r r R r r R r r R r r R r r r r r r r r R r R r R r r r r r r r R r r r r r r r R r r

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6

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R r l R r l r L r l R r l R r l r L r l R r l R r l r L r l r L r L r l r l R L r L r l r l R L r L r l r l

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11

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15

R r R r R r L L R r R r R r L L R r R R R r L L r L L r L R L R L R B B B B B B B B B B B B B B B B B B B

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19

r r R r r R r r r R R r r r R r r R r r R r R r l l L l l L l l l L L l l l L l l L l l L l L l R r r r R r r r R r r R r r L l l l L l l L l l r r R r l r R r l r R r r r L l r l L l r l L l L L L

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27

r R r r R r R r l L l l L l L l r r R r r R R r l l L l l L L l R r r R r r R r L l l L l l L l R r L l l R r L l l R r L l R

3

4

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SCV Thirteen

Thirteen

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3

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24


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r l r l r l r l r r l l r r l l r r l l r r l l R l r r l l r r l l r r l l r r L r l l r r l l r r l l r r l l

r l r l r l r l r r l l r r l l r r l l r r l l R l r r l l r r l l r r l l r r L r l l r r l l r r l l r r l l

R R L R L L L R L R R L

S. D.

T. D.

B. D.

R l r r l l r r L r l l r r l l R l r r l l r r L r l l r r l l R l r r L r l l R l r r L r l l R l r r L r l l R l r r L r l l

5

R l r r l l r r L r l l r r l l R l r r l l r r L r l l r r l l R l r r L r l l R l r r L r l l R l r r L r l l R l r r L r l l

R R L R L L L R L R R L L R L L R L

S. D.

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R l r r l l R l r r l l R l r r L r l l r r L r l l r r L r l l R l r r l l R R L r l l r r L L R l r r l l R R L R R R

9

R l r r L R l r L r r L r R l r r L R l r L r r L r R l r r l l R R L r l l r r L L R l r r l l R R L R L R

R R L R R L R R R L R R L R R l r r l l r l R l r r l l r l

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L r l l r r l l R l r r l l r r L r r L r r L R l l R l l R L r l l r r l l R l r r l l r r L r L r r L R l r r l l

13

L R L r r l l R l r r l l r r L r r L r r L R l l R l l R L r L r r L R l r

B R R R R L B R R R R L R

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R l r r l l R L r r l l R L R L r r l l r r l l r r l l r r l l R

17

l l R L r r l l R L R L r r l l r r l l r r l l r r l l r r l l (R)

R L R L R L R L R

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r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l r l

q. = 180



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5


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13


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17


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2017 Clements High School Marching Percussion

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