Marching 110

Drumline
2010-2011
Bass 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.

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Good technique is based on relaxation. Though marching percussion does require
a significant amount of muscle, successful playing is based on efficiently using all
muscles with minimal overall effort. Strokes for all drums should be conceived as
initiating from the wrist. However, the motion incorporates the entire arm and hand to
produce the meaty sound we are looking for. It is recommended that you seek out
private lesson teachers to help you refine your technique and learn the music. Make sure
to mark time, and practice with a metronome.

Grip and Playing Positions:

Matched grip consists of forming a fulcrum between your thumb and first finger.
These two should be directly across from each other. The rest of the fingers wrap around
the stick. Notice how the pads of the remaining fingers are in line, on the stick. Make sure
you match both hands.

For playing, the head of the mallet should be kept directly in the middle of the
head. The shaft of the mallet forms a 135 angle with the form arm. Keep the thumb
tucked in, across from the first finger (no thumbs up). The shoulders should be relaxed,
with the arm down from them. The in position has the mallets on the shoulders, next to
your head.






Strokes:
- 8elaxaLlon ls Lhe key - Lhere musL noL be any Lenslon when approachlng Lhe drum
- WrlsL Lurn ls dlfferenL on bass Lhan lL ls on snare or Lenors (Lhose are more hlnge-llke")
o 1he plane (sLralghL llne) made by Lhe forearm and Lhe back of Lhe hand does noL break as
much as ln horlzonLal playlng - lnsLead, Lhe enLlre forearm roLaLes on an lmaglnary axls LhaL
beglns aL Lhe elbow, Lravels Lhrough Lhe cenLer of Lhe arm and ends ln Lhe space beLween
your mlddle and rlng flngers
- Swlvellng, and maklng clrcles wlLh Lhe paLh of Lhe malleL !"# %&' (#)*"#( !' !++ - Lhe malleL needs
Lo follow one archlng paLh from polnL A Lo polnL 8 and back
- 1he player should focus on leLLlng Lhe head do Lhe work Lo rebound Lhe malleL back Lo Lhe deslred
helghL on conLlnuous lull sLrokes and should noL resLrlcL Lhls rebound moLlon as lL wlll lnhlblL Lhe
head's resonance
- 1he arm needs Lo move very naLurally - as Lhe drum ls sLruck, Lhe elbow wlll naLurally move away
from Lhen back Loward Lhe player's body (sllghLly)
o 1hls musL noL be resLrlcLed, buL aL Lhe same Llme don'L force Lhls elbow movemenL -
resLrlcLlng and forclng wlll produce a poor quallLy of sound (less resonance)
- llngers wlll be lncorporaLed aL lower dynamlc levels and ln more dense rhyLhmlc passages - less
dense passages aL mld-dynamlc ranges wlll be played mosLly wlLh wrlsL Lurn and Lhe naLural roLaLlon
of Lhe arm






-1he above sLroke descrlpLlon ls from Lhe Clemson unlverslLy 8ass 1echnlque ackeL, by uerek SmlLh.



Stroke Types:

There are four stroke types that make up every stroke played in percussion.
Mastery of these four strokes creates the most efficient, relaxed method for playing.

Full: Starts up, ends up. It rebounds back to the same height. Do not stop the
stick! The speed of the down stroke should match the rebound. Let the stick do the work.
This is the stroke type used in 8s. This stroke is used in a series of consecutive accented
notes.

Down: Starts up, ends down. The initial part of the stroke is identical to a full
stroke. After hitting the drum, allow the weight of the arm, wrist, and hand to stop the
stick from rebounding. Do not squeeze the stick to stop it. The rebound is stopped
through a cessation of motion, not through adding tension. Sounds identical to a full
stroke. This is used to transition from an accented note to an unaccented note.

Tap: This is a full stroke from approximately 3 off the drum (Technically, it
starts from a low up, and ends at a low up). Strive to get as much sound as possible
in this small space. Focus on getting a full meaty sound from this height. No tension!
This stroke is used in a series of unaccented notes.

Up: The stick starts low and ends up (full stroke height). Imagine the stick
exploding away from the drum. Sounds identical to a tap stroke. This stroke is used to
transition from an unaccented note to an accented note.

Final Tips:

- Good technique is based on relaxation. Tension prevents speed, volume, and
power, and leads to medical problems (tendonitis, carpal tunnel, etc.)
- You should feel strong and confident when you play.
- Do not squeeze. Part of the sound produced is from the vibration of the stick.
- The sticks should feel heavy. Let the stick do the work.
- Our marching style and performance demands make it very difficult to play well.
A thorough mastery of technique will be the only way to perform at our
highest level.





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Practice at all dynamics, unison and split, from < 80 to > 180 bpm. Play it off of the left
hand by reversing the indicated stickings. Each hand should feel like it is playing 8s,
simply interlocked.


Use the maximum accent height feasible for the given tempo. Practice transitions from
hand to hand through isolating and mapping out the different stroke types. Practice at all
dynamics and tempi, from < 80 to > 180 bpm.






Practice at a variety of dynamics and tempi, from < 90 to > 140 bpm. Stay relaxed. Keep
the sound quality and flow from hand to hand to be completely smooth. Whenever a
particular hand is playing, it never stops moving.


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possible for the given tempo and dynamic. Initiate from the wrist. Keep your fingers on
the stick. Play each diddle as a rhythm, exactly dividing the notes on either side. Do not
pulse or accent any notes; they should all be completely even. Practice at all dynamics
and tempi, from < 70 to > 130 bpm (half note).

The same guidelines for Duple Rolls apply here. Make a large difference between accents
and taps. Practice marking time to the quarter note and the half note. Practice all
dynamics and tempi, from < 90 to > 180 bpm.

This is our on the field warm up, played with the band. It has elements of all the previous
exercises with it, plus a fun etude at the end to put it all together. Learn it slow, and tear it
apart! Perform between 100 bpm and 130 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 ! (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