Marching 110 Drumline
2010-2011
Cymbals Packet
2010-2011 Marching 110 Drumline Welcome! Thank you for your interest in the Marching 110 Drumline. This page is the first step towards joining a top-level collegiate drumline. The Marching 110, and the Drumline in particular, have a long tradition of success and excitement that is still going strong today. With your efforts, you can help keep that tradition strong and help us be Better than the best. Ever. The Marching 110 Drumline is the most selective group within the band. Every position is open to all applicants. The only way to not have a chance is to not audition. This season, we will be accepting the following positions: - 6 snares - 3 timbales - 3 tenors - 4 tonal bass drums - 4 cymbals The numbers for placement within the block are limited, so a number of alternates will be accepted as well. Alternates are key to the success of our group and are members of the line in full, so if asked to be an alternate, please stay! This packet is designed to help you prepare for the audition process, as well as the entire season. The warm-ups and exercises contained are designed to give you musical fluency and a strong technique that will be the foundation of our success. Please pay proper attention to all tempos, dynamics, and notes, as they are key to interpretation and development. For over 40 years, the 110 Drumline has provided the energy and back-beat of the Marching 110. To be accepted into the Line means that you are becoming part of that legacy. Our traditions give us pride, but they come with an obligation: To exceed them. As you prepare for the coming season, keep in mind that your actions today become the traditions of tomorrow. Live up to that honor, that pride, that legacy by pushing yourself to be worthy of the respect future generations will show you. Thank you for your interest, Patric Buchroeder Section Leader
Expectations The Marching 110 Drumline has a long history of high-energy musical performance. In order to continue and expand our performance level, we expect our members to be completely committed to the success of the group. Remember that you are auditioning and participating in this group voluntarily, and as such, there are standards you must meet and, hopefully, exceed.
All members are expected to display high levels of technique, musical proficiency, confidence (but not arrogance), and a positive attitude to get along with others and work hard. Displaying openness to learning, and “buying in” to our system are some of the intangible qualities that will make our group truly great.
All music must be memorized in very rapid succession during the year, so music proficiency is your responsibility. Be diligent in your practice, and internalize the technique so that you can focus on what to play, rather than how. Memorization of the exercises is required at the audition. Memorization of the cadences is not required, but it would obviously be to your advantage.
Practice slowly and incrementally. Building a fundamental technique will carry you through a successful season. Using a metronome will greatly improve your internal pulse, and rhythmic accuracy. Lastly, the section leader does not hand out placements. Performers earn them! Prepare, play and perform to a level where there is no option but to be placed on the line.
Reminders: -‐ Have all music in a three ring binder -‐ A pencil -‐ Bring sticks/practice pad (Snares bring Vic Firth Colin McNutt, middles, bring Vic Firth Billy Club. Basses will have mallets provided, but should bring pad/sticks for practice) -‐ Athletic clothes -‐ Sunscreen -‐ Earplugs -‐ Get in shape! The performance demands of our marching style are incredibly rigorous, and drums and cymbals are heavy! Cardio such as biking, running, swimming, etc., and strength training such as push-‐ups, crunches, weight lifting will help you be physically ready to face the challenges ahead.
Technique Performance of cymbals in the marching band idiom consists of two areas: Aural, and visual. As the marching band is first and foremost a musical ensemble, the primary focus must be on proper execution of the musical needs of the group. Only after the aural component has been satisfied can visual be used to add excitement to the performance. Much like the bass drum section, the cymbal section often performs parts that are conceived as one melodic line, but performed in split parts by the ensemble. Thus, you should strive to execute the sounds perfectly, both in sound and rhythm. Forming the Grip:
Form the grip by forming a 90° with the thumb and index finger. Place this “L” at the bell of the cymbal. Allow the strap to fall down, across the middle of the hand. Wrap the fingers around the strap. The thumb should be tucked in. This grip facilitates easier flips and visuals that are used by the Marching 110 cymbal line.
Ready Position:
The ready position is used any time there is an extended period of rest. This can take place between warm-ups and during the tap-off, or while marching around the field. The cymbals are tucked in along the forearms and generally makesV shape, centered in front of the body. The right cymbal forms the stem of a “T”, meeting the left cymbal about two inches in from the edge. Hi-Hat:
Occasionally, the cymbal section will be called upon to hold for the drums. Form the hi-‐hat by placing the right cymbal on the left, holding them parallel to the ground, away from the body. Different amounts of pressure can be applied to elicit “loose” or “tight” sounds.
Ride Cymbal:
Form the ride cymbal by holding them upside-‐down. This allows the drums to play the cymbal and the bell without risking pain for the cymbal player. Make sure to adequately support the cymbal to prevent it from wobbling uncontrollably when struck. Vertical Crash:
The vertical stroke begins with the cymbals perpendicular to the ground. To prepare the crash, pull the cymbals away to form an open “V.” Bring the cymbals back together, striking in a “flamming” motion, striking the bottom edges of the cymbals just before the top edges. Despite the edges hitting at slightly different times, think of it as one motion and one sound. This “flam” will avoid the creation of an air pocket, which chokes the ring and tone of the cymbals. Follow through until you form an inverted “V” shape (like an A, minus the cross bar).
Diagonal Crashes:
Diagonal crashes are identical to vertical crashes, but with the cymbals rotated 45° to the left or the right (depending on which direction the crash is in.) The size of the crash is determined by dynamics and frequency of the crash (louder/slower covers more distance, softer/faster covers less distance). A “right hand crash” has the right hand on top; a “left hand crash” has the left hand on top. Don’t forget to flam, but maintaining one motion and one sound!
Sizzles:
Also known as “fusions,” sizzles begin like vertical crashes, with the cymbals parallel to each other, and perpendicular to the ground. To prepare, slightly lower the right cymbal while slightly raising the left. Crash the cymbals together, with the top edge of the right cymbal hitting about halfway between the bell and the edge of the left cymbal. Maintain contact between the two cymbals as you follow through (see the top right picture above). Finally, slide the cymbals back to parallel. This will form an air pocket, which will cease the sound (in this case, it’s desired).
Chicks:
Chicks begin with the cymbals perpendicular to the ground, away from the body. Bring the cymbals together, with the right cymbal slightly lower than the right. They should meet directly in front of the body. This sounds similar to hi-‐hats on a drumset being closed by the foot pedal. Muffling:
To muffle, bring the cymbals against the body to cease all vibration. Visuals: The visuals used by the cymbal section of the Marching 110 Drumline are unique to our group, and involve multiple steps to execute. A live demonstration of the visuals is much more succinct and effective in relaying proper execution. Videos of the visuals can be found on the Marching 110 Drumline Channel, at http://www.youtube.com/user/Marching110Drumline.
Practice at all dynamics and tempi, from < 80 to > 180 bpm.
Practice at all dynamics and tempi, from < 80 to > 180 bpm. Use your feet as an inaudible rhythm that is played in conjunction with the hands.
Practice at all dynamics and tempi, from < 80 to > 180 bpm.
Cadences Our cadences have grown into the current sequence over the more than forty years that the drumline has been in existence. No doubt, they will continue to expand in the future! The titles all have a story behind them, so pay them respect by performing at a high level! Be prepared to perform at march tempo, 120 bpm.
“Cops” is our timekeeper. The cadences are not played in any set order, but “Cops” is a constant. We play this between all of the cadences as a way to keep the band moving.
This is played as a unison part. The snares are the only ones to play flams. You end up on your right foot.
This is the bass feature always performed right after 7 ½ (after Cops).
This gets you “out of it,” back onto your left foot. This is played right after Robbers (after Cops).
Final Thoughts
Tackling the amount of music and material presented in this packet can be a daunting, and at times, overwhelming experience. It is the hope of the leaders of the Drumline that this packet will instead serve as a guide to dispel most of the mystery of the preparation process. Many generations of musicians have undergone the same process, and have helped build the legacy of excellence we enjoy, and honor today. With due diligence, perseverance, and a positive attitude, you can join the distinguished, selective family that is the Ohio University Marching 110 Drumline. Resources: Videos of the exercises can be found at http://www.youtube.com/user/Marching110Drumline. Even though the footage is of the snare parts, the fundamentals, look, and technique can be applied to the other sections as well. Footage of the cadences, standards, and previous drum breaks can also be found at YouTube. Any additional questions concerning the audition process or anything else concerning the Marching 110 Drumline can be directed to: Patric Buchroeder, Section Leader 7944 Jasmine Trail Cincinnati, OH 45241 513-240-9196
Top Related