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Drumline Handbook

2008-2009

Section Leader/ Tenor Captain:

Kirk Stonecipher

Bass Captain:

Mike Amend

Snare Captain:

Izaak MendozaFaculty Advisor:

Aric Hageman

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Basic Technique

Grip

The basic stick grip applies to all percussion instruments, with somemodifications relative to specific instruments, specified below. Hold the stick ormallet approximately 1/3 from the butt (bottom) end. Keep all fingers closed onthe stick. Stick motion comprises a combination of varying amounts of forearm,wrist, and finger exertion. Essentially, the greater the volume required, the moremass is utilized. Therefore, forearms are fully used only on the loudest notes.

Stick HeightsAccurate stick heights promote musical and visual uniformity within thepercussion section. Each stick height refers to the distance between the playingend of the stick or mallet and the playing surface to be struck:

Sforzado: 15 stroke, initiated by forearm12 stroke, no forearm

9 stroke, no forearm6 stroke, no forearm3 stroke, no forearm1 stroke, no forearm

StrokesIn rudimental playing, there are four types of strokes. These are defined by theposition of the stick before and after a note is played:

Down stroke: starts high, ends low

Up stroke: starts low, ends highFull stroke: starts high; ends highTap stroke: starts low, ends low

Accurate use of the four types of strokes assures visual uniformity and preventswasted motion. In fact, each stroke is a preparation for the next stroke. Forexample, paradiddles would be executed as follows: down, up, tap, tap.

StickingRight-hand lead is the default sticking pattern, in which the right hand plays alldownbeats and &'s of a sixteenth-note pattern, while the left hand plays the e'sand a's. Continuous eighth-note patterns are treated similarly - right hand on

downbeats, left hand on &s. Triplets alternate RLR LRL, etc. Note the exercise"Sixteenth Timing" for an illustration of the right-hand lead principal in broken-pattern situations. Segment leaders will clarify any ambiguous sticking situations,particularly when deviating from right-hand lead. Players then write stickings intoindividual parts.

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Stick Height ChartThis chart gives guidelines for relating stick heights to dynamic markingsindicated in parts. Although the stick heights may be changed in playingsituations, the chart provides a constant frame of reference.

Dynamic Inner Beats Accents(>) Full Accent (^)

Pianissimo (pp)Piano (p)Mezzo piano (mp)

Mezzo forte (mf)

Forte (f)Fortissimo (ff)

111

3

36

N/A33

6

912

N/AN/A

6

9

1215(forearm)

Key Notation (Snare Drum, Tenors, Basses)

Key to Cymbal Techniques

Ord. - ordinary crash (each plate directly into the other and away)ch. - choke (staccato crash: plates strike each other and immediately separateand muffle into chest)Cr.- crunch (plates strike each other and stay together tightly)HH- hi-hat (plates are held perpendicular to player, only top cymbal moves forHH effect; often notated with an x shaped note head)FC- full crash (cymbals prepare at a "housetop" angle)Lv.- let vibrate

roll- plate roll (cymbals slide-together in opposing circular paths)scr.- scrape (the edge of one cymbal scrapes the inside of the other from bell toedge)cas. - cascade (crash followed by arm-extension visual effect)FA- fall-away (cymbals strike, then one or both cymbals fall [visually] to the side)SC. slide choke, achieved by crashing cymbals out and pulling back in tosuction.

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Table of Contents

Snare Book

16 on the Hand - p. 516thAccents - p. 5

16th

Diddles - p. 516thStick Control - p. 5AE - p. 11Battle Hymn Chorale/Star Spangled Banner -p. 9Boom Boom - p. 11California - p. 12CC2 - p. 11Come On Wyoming - p. 10Cowboy Joe - p. 7Double Beat Triple Beat - p. 6

Downfield 95 - p. 9Fight Wyoming Fight - p. 8Heartburn - p. 11Hug A Dug A Brrr - p. 6Pet the Kitty - p. 13Preceding Monkey Beat -p. 14Staggered Accents - p. 6Stomp! - p. 12Sugar Bowl - p. 12Swung - p. 13Tio Loco - p. 14

Triplet Accent - p. 6Triplet Diddles - p. 7UW Drumline OTL -

p. 14

Walk on Cadence - p. 8What a Fanam p.13

Tenor Book

16 on the Hand - p. 1516thAccents - p. 1516thDiddles - p. 1516thStick Control - p. 16AE - p. 20Battle Hymn Chorale/Star Spangled Banner -p. 19Boom Boom - p. 21California - p. 21

CC2 - p. 22Come On Wyoming - p. 20Cowboy Joe - p. 18

Double Beat Triple Beat - p. 16Downfield 95 - p. 19Fight Wyoming Fight -p. 18Heartburn - p. 22Hug A Dug A Brrr - p. 16Pet the Kitty - p. 23Preceding Monkey Beat -p. 24Staggered Accents - p. 16Stomp! - p. 22Sugar Bowl - p. 22

Swung - p. 23Tio Loco - p. 24Triplet Accent - p. 17Triplet Diddles - p. 17UW Drumline OTL -

p. 24

Walk on Cadence -

p. 19

What a Fanam p. 23

Bass Book

16 on the Hand - p. 25

16th

Accents - p. 2516thDiddles - p. 2616thStick Control - p. 26AE - p. 31Battle Hymn Chorale/Star Spangled Banner -p. 30Boom Boom - p. 32California - p. 32CC2 - p. 33Come On Wyoming - p. 31Cowboy Joe - p. 28Double Beat Triple Beat - p. 27Downfield 95 - p. 30Fight Wyoming Fight -p. 29Heartburn - p. 33Hug A Dug A Brrr - p. 27

Pet the Kitty - p. 34Preceding Monkey Beat -p. 35

Staggered Accents - p. 27Stomp! - p. 33Sugar Bowl - p. 33Swung - p. 34Tio Loco - p. 35

Triplet Accent - p. 27Triplet Diddles - p. 27UW Drumline OTL -

p. 35

Walk on Cadence - p. 29What a Fanam p. 32

Cymbal Book16thGrid - p. 3616thStick Control - p. 36AE - p. 39Battle Hymn Chorale/Star Spangled Banner -p. 38Boom Boom - p. 39California - p. 40CC2 - p. 40Come On Wyoming - p. 39Cowboy Joe - p. 37

Downfield 95 - p. 38Fight Wyoming Fight -p. 37Heartburn - p. 40Hug A Dug A Brrr - p. 36Pet the Kitty - p. 41Preceding Monkey Beat -p. 42Staggered Accents - p. 36Stomp! - p. 40Sugar Bowl - p. 41Swung - p. 41Tio Loco - p. 42

Triplet Grid - p. 37UW Drumline OTL -

p. 42

Walk on Cadence - p. 38

What a Fanam p.41

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Snare Book

Snare Warm-ups

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Three Basic Rules1. Hold on to the stick!2. Play from the wrist!3. Utilize the rebound!

Attitude is everything. (A proverb of music and life)

Snare Drum Music

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Snare Chasers

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Tenor Book

Tenor Warm-ups

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When playing try to visualize playing on a straight line across the drums.

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Tenor Music

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Tenor Chasers

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Bass Drum Book

Bass Drum Warm-ups

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Tips

The general playing spot for bass drums is in the center of the heads, which produces a dry,full tone with maximum projection. Since you cant see your hand position, you should find aphysical reference point, such as the point where your arm or wrist meets a specific tension

claw at the hoop of the drum.

The correct hand position at the marching bass drum includes closed hands, thumbs up,

palms facing the drum heads. The shoulders should be relaxed, and the hands low enough toallow the mallets to angle comfortably up toward the head (approximately 45 degrees). The

mallet motion comprises rotation. Dont try to force a sideways tenor/snare drum stroke ontothe bass drum.

Use a mirror and/or video camera and practice as a section as often as possible.

Read accurately, including dynamics, tempos, repeats, and style.

Practice with ensemble recordings your individual part will make more sense.

The metronome and the mirror are also great practice tools.

Memorize in phrases, looking for patterns.

Play out!!!

Listen around!!!

Play the style!!!

Watch the conductor!!!

Have fun!!!

Bass Drum Music

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Bass Drum Chasers

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Cymbal Book

Cymbal Warm-ups

16th Grid

***This exercise is to be played with 16thAccents and Diddles.

Also, experiment with Ord., SC., etc.

16thStick Control

(TACET)

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Triplet Grid

***This exercise is to be played with Triplet Accents and Diddles.

Also, experiment with Ord., SC., etc.

Cymbal Music

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Cymbal Chasers

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