2022 CMB Percussion Handbook

CORNHUSKER
MARCHING BAND
PERCUSSION HANDBOOK
20 22
University of Nebraska–Lincoln Percussion Faculty
Anthony M. Falcone
Associate Director of Bands
Director, Cornhusker Marching Band
Dr. David Hall

Associate Professor of Percussion & Jazz Studies
The University of Nebraska does not discriminate based upon any protected status. Please see go.unl.edu/nondiscrimination
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How Do I Use This Handbook?!
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The purpose of this handbook is to provide the necessary information for a
percussionist in preparation for performance in the Cornhusker Marching Band
Percussion Section. The techniques and information presented here represent the
most contemporary practices in marching percussion and the handbook is updated
regularly to keep it current. It is the goal of the Cornhusker Marching Band Percussion
Section to present high-energy, focused, and entertaining performances of extremely
high musical merit for the benefit of both its audience and players. !
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The Instrument Assignment Process!
Instrument assignment for the Cornhusker Marching Band Percussion Section is a
thorough, full participation, hands-on learning process. The atmosphere is relaxed and
low-pressure but realistic of our expectations and standards. It is intended to make
sure we put the right people in the right spots. The materials for the process are found
in this book. The requirements for each of the instruments are given and it is up to the
player to prepare accordingly. !
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It is strongly encouraged that you try more than one instrument. This is a highly
competitive group and there is a good chance you may not make it on your first
choice of instrument. Keep your options open!!
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The instrumentation will consist of no more than:!
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14! Front Ensemble Players!
8! Snare Drummers !
4! Tenor Drummers !
5! Bass Drummers !
8! Cymbal Players!
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4
EXPECTATIONS!
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The Cornhusker Marching Band percussion section is a community of individuals who
are all committed to one thing: Doing whatever it takes to help the group succeed and
function at the highest level. !
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Maturity!
This is a professional organization. We have lots of fun and embrace the unique and
valuable personalities of each person. However, we hold very high standards in how
we perform, rehearse, and conduct ourselves as both musicians and citizens.
Responsibility and maturity is expected without fail.!
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Fundamental Proficiency and Development!
This is a college drumline that expects performances of the highest level. To play at a
high level you must prepare at a high level. Fundamentals are the backbone and basis
from which our playing begins and ends with. Players will place the utmost priority and
constant attention on development and mastery of these basics.!
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Humility!
Humility means being teachable, coachable, flexible, and maintaining a selfless
attitude. Those who achieve the most brag the least.!
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Attitude!
Your attitude is your choice alone 100% of the time. Life is often 10% of what happens
to you and 90% of how you react to it. Members are expected to maintain and develop
attitudes of contribution, optimism, service, and gratitude. !
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Conduct!
What do you and how you do it. What you say and how you say it. On the field and off
the field. We do the right thing regardless. We are not only a group, but a community
and family first and foremost. !
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Impeccable Work Ethic!
The title speaks for itself--We work hard. There are no substitutes here. Everyone is a
starter and we depend on each other. You must have an eagerness 100% of the time
to work hard: Every day. Every rehearsal. Every Performance.!
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Health!
Each individual is expected to take the necessary care and action to ensure their
mental and physical wellness functions at the highest level. !
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Practice and Preparation!
Additional practice is necessary and required. Members are expected to consistently
refine and work their fundamentals and show music away from group rehearsal.
Progress and preparation should go without saying.
5
Practice
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“The artist is nothing without the gift, but the gift is nothing without the work.”!
-Emile Zola!
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The UNL Drumline requires commitment and discipline, just as a job, education and
family would demand. Your mind is a deep well full of potential, but it must be worked in
order to prosper. By applying yourself in the right ways, being great will become more
effortless, require less mental fatigue, and open up doors and opportunities you might
never have imagined. Having the piece of mind you have done your best should
become a daily mantra.!
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To be the best, you must practice performing. There are times to relax and be casual,
but part of your time–even alone with no one around–should be spent as if you were
being watched in performance. Visualize being surrounded by others. See yourself
projecting confidence and power. At the same time, give yourself permission to make
mistakes. Always focus on progress, not perfection. Great musicians, athletes and
others put themselves into “real-world scenarios” on a daily basis. They allow room for
mistakes, creativity, and spontaneity. In this manner, when the game or performance
comes, it’s a familiar and comfortable situation!!
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Using a Metronome!
Many people think that using a metronome means turning it on at the start of your
rehearsal and off at the end. In this case you are using the metronome as a crutch
more than a tool. Often one can spot those who fall prey to this because they can play
a musical excerpt with a metronome very well until it is shut it off and they are asked to
play it again. Their ability to feel themselves drag or rush is hindered because they are
more used to playing time with the metronome than keeping time themselves (which
takes energy and thought). Here are a few suggestions to try when using a
metronome.!
Hit more than just the standard times (100, 110, 120, 130...). In doing this, you are
increasing your sensitivity to time. You are teaching yourself to feel the difference
between 110 and 112 instead of 110 and 120. A famous musician was quoted saying
that “...no one plays truly in tune, the best just catch it before others do.” The same is
true for time. Increase your sensitivity to time and you will find yourself among those
who can keep great time.!
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Use the metronome in a creative way like setting it to a comfortable tempo and playing
your favorite exercise or etude while using the click as the upbeat. Now try the same
with the click representing other notes of a subdivision (maybe ‘e’ or ‘a’ of a 16th note
based exercise). Also try playing 8th note based exercises with triplets set on the
metronome or vice versa. Rehearsing odd meters with a metronome is one of the best
ways to solidify time and feel. Try practicing 7/8 or 5/8 to a metronome and you will find
that the quarter note falls on the beginning of the measure every 2 bars. Try practicing
6
scales and other exercises to the quarter note and don’t shy away from the metronome
when facing an odd meter.!
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Listening!
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.!
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What is DELIBERATE practice?!
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Design:!
1. It is designed to take us to the next level. It should be uncomfortable, otherwise we
are doing the same routine to maintain a level we most likely reached years ago.!
2. Great people identify and act upon those areas in which they need the most
improvement.!
3. Comfort is easy, we must choose activities just outside our reach, constantly
challenging ourselves.!
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It Can Be Repeated:!
1. One must demand repetition of activities in their learning zone and have a plan in
place on how to reach it.!
2. Truly great people repeat activities at a mind boggling rate. The have identified
what needs work and they do it everyday so that in any situation, they will be
prepared.!
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Feedback is Available:!
1. Having feedback from a coach or others lets one see the effects of what they have
done, otherwise they stop caring and will not get any better!
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It is Highly Demanding Mentally:!
1. Activities should constantly engage the mind!
2. Great people can focus intently and accomplish more in a shorter period of time!
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It is Not Much Fun:!
1. The activities that stretch and make us better are not inherently enjoyable. The
things we already know are always comfortable!
2. If activities that lead to greatness were comfy and easy, everyone would be doing
them and no one would be distinguishable!
3. By doing activities that are not enjoyable, you are choosing to separate yourself
from the rest in a deliberate way.!
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Final Thoughts!
• You must have a plan in place. Put something down in writing and stick with it.
Pretty soon it will become a habit–and a good habit at that. !
• Find a friend to play with, have them provide feedback, be accountable with each
other. !
• Scour the internet and library. These sources are running wild with information to
keep you busy for years.!
• Fundamentals are the most important foundation for what you do in life. They
cannot be overlooked, but rather incorporated as part of your daily routine. !
• Most importantly, you must work on the areas that you are not good at. This is the
only way you will get better.!
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! **Parts of this were excerpted from Talent is Overrated by Geoff Colvin**
8
Snare Drums!
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The snare drum acts as the soprano voice in the percussion choir on the field. Snare
drummers must have a complete mastery of all the basic drumming techniques
presented in this book. Because of the large number of players and the very short
characteristic sound of the instrument, they must be able to execute them in
conjunction with other players, matching them exactly in both sight and sound. Snare
drummers will also be called upon to execute ride patterns on cymbals. This requires
additional coordination skills much as those used by drum set players. !
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The general purpose playing spot on the snare drum is in the center of the head. Spots
between this and the far edge will also be used for nuances of tone color. These
alterations to the general playing spot will be specified in the music (see below).
Another technique to be learned by snare drummers is the rim shot. Rim shots alter the
tone of the drum giving a sharp penetrating sound. Striking the head with the bead of
the stick and the rim with the shaft of the stick simultaneously creates rim shots. !
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Players are individually responsible for the care and maintenance of their instruments.
You should familiarize yourself with how to change heads properly and keep the drum
in tune. The overall relative pitch of the drum should be high and the snare response
crisp. To achieve this sound tune the batter (top) head to feel, where technical figures
can be executed comfortably, and the snare (bottom) head to pitch. This means that
the snare head may be higher sounding than the batter. It is extremely important to
maintain even tension from point to point around the drum. Check this by tapping lightly
at each tension point and adjusting so that all the pitches are the same. To adjust snare
tension loosen the snares until they do not contact the head, then gradually tighten
them while lightly tapping the center of the batter head with a stick. Stop tightening
when a crisp sound is reached. Be careful not to over-tighten the snares as this
diminishes response at softer dynamic levels.
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Basic Technique Fundamentals!
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Grip!
Snare drummers will use Matched-Traditional Grip, and the Tenors and Bass
Drummers will use the Matched Grip. While there are many variations on these basic
grips in the percussive world, we have chosen a system that allows for the greatest
amount of power, flexibility, and relaxation. !
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Matched Grip!
This is a grip that allows for the use of both the wrists and the fingers easily while
maintaining the same form in the hand. It allows for the stick to be a more-or-less
straight extension of the forearm; moving in conjunction with how the arm wants to
naturally operate. The grip will operate from a 45º angle. Both arms will form this angle
together when in the set position. The primary fulcrum of this grip will be the thumb-
index finger connection. The fleshy pad of the thumb resides on the stick along with the
index finger as shown below. The remaining three fingers will rest comfortably around
the stick.!
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Traditional Grip Left Hand!
The single most important aspect of the left hand traditional grip is the fulcrum. As seen
below, the thumb and index finger form a connection somewhere around the first
knuckle of the index finger. This is the single source of power and articulation for your
left hand. Maintaining the finger connection in the fulcrum and staying “on top of” the
stick, as seen below, is crucial. It cannot be stressed enough the importance of
developing this muscle group and technique. The middle finger will rest comfortably on
top of the stick. The ring finger will support the stick around the first knuckle and cuticle
area while the pinky finger will rest naturally below that. !
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The Stroke!
The most important fundamental stroke used is called the Free Stroke. Although this
basic stroke must be modified to suit the various musical and technical demands, it is
the core of all playing. A step-by-step method for the proper execution: !
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Free Stroke:!
1. With a properly formed grip place the tips of the sticks or mallets together one inch
above the proper playing spot.!
2. Using the wrists alone lift the tips of the sticks to about nine inches over the playing
spot.!
3. Again using only the wrist, and with no lift, toss the stick straight at the instrument
with maximum velocity and allow it to rebound back into position. The feel should be
that of bouncing a ball. The hand is simply following the stick without hinderance.!
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Some checkpoints:!
1. Are the fulcrums properly formed?!
2. Are all your fingers on the stick?!
3. Are your wrist motions correct?!
4. If done properly the hand should feel like it follows the stick.!
5. The grip should remain relaxed and natural yet firm like holding a wounded bird.!
6. If the stick does not bounce all of the way back the player either stopped it or it
wasn't tossed with enough velocity.
11
Tenors!
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The tenor drums, act as alto and tenor voices in the percussion choir on the field. Tenor
drummers must have a complete mastery of the basic drumming techniques presented
in this book except for the more advanced flam patterns. There is also the added
dimension of moving these skills around five drums in exact visual and aural unison
with other players. It is critical that the arms not be involved in producing strokes as this
will interfere with the fluidity necessary to move from drum to drum. The ability to think
and hear melodically is very helpful to tenor players when learning their parts. !
! !
Tenors should be played about one to two inches from the in a straight line across the
drums (see diagram below). This playing spot produces a sound rich in overtones that
aids projection. The straight-line system of these playing spots also facilitates
movement. Use the movement exercises below and the splits to develop the straight-
line system. Practice with your back up against a wall, and pay careful attention to
playing spots. Be sure to maintain hand positions when moving from drum to drum.
The matched technique should always stay consistent. There are some special
techniques to be learned by tenor drummers. Like the snare drummers. tenor
drummers will also play rim-shots. Muffling a drum in rhythm just after playing a rim
shot is called Skanking. The muffling with the hand is notated with an open and circled
note. Crossovers are notated with the crossing stick in parentheses. !
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Players are individually responsible for the care and maintenance of their
instruments. You should familiarize yourself with how to change heads properly and
keep the drum in tune. It is extremely important to maintain even tension from point to
point around the drum. Check this by tapping lightly at each tension point and adjusting
so that all the pitches are the same. Care should be taken not to tune the relative
pitches of the drums too close together. Tune like sized drums the same from player to
player. It is important that each player owns a heavy-duty ratchet- type drum key, and
has it at every rehearsal. Drum tuning is a constant concern, and players are
individually responsible for the sound of their instrument.!
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Tenor Notation
^ . ^ ^ . ^
Drum 1 Drum 3 Skanking Cross Overs
.
Spock
œ œ œ œ œ
ã œ œ x œ œ œ œ œ
œ f F œ œ f F œ F f F œ f F œ
Drum 2 Drum 4 Stick Click r l (r) l r (l) r l r
Muffled Hit Hand Muffle
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Tenor Legato Patterns and Sweeps!
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The following two pages contain extra patterns specifically aimed at movement around
the tenors. !
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When playing basic rebound strokes around the drums, players should focus on
playing spots and stroke quality. The playing arm will move on a lateral plane while the
shoulders and upper body remain relaxed. The Legato Patterns should be used as a
starting point. Players are encouraged to come up with their own. !
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Sweeps involve a single motion that plays multiple notes on adjacent drums. Two major
points will help in executing sweeps:!
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1. Enough velocity in the stick to attain proper bounce.!
2. Careful attention to playing spots to reduce the distance the stick must travel.!
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Developing strong double and triple strokes on a single drum is paramount to
transferring the concept to a sweep motion.
13
2018 UNL Drumline Exercises
8s (4x)
/ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ œ Œ Ó
R R R R R R R R L L L L L L L L R
16th Note Timing (1-Note)
/ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ ≈ œ œ ™™
R L R L R L R L R R R R R L R L R L R L L L L L
/ ™™ œ œ œ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ ™™ œ Œ Ó
etc.
/ œœœœœœœœœœœ œœœ œœœœœœœœœ œ œœ œ œ œœœœœœœœœ œœœ œœ œœœœœœœœ ≈ œœœ ≈ œœœ
/ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ œ ™™ œ Œ Ó
Triplet Timing (1-Note)
j j
/ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ ‰ œ œ œ ™™
R L R L R L R L R L R L R R R R R R R L R L R L R L R L R L L L L L L L
j
/ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ ™™ œ™ Œ™ Œ™ Œ™
etc.
A/B Doubles
/ œ œ œœ œ œ ≈ œœ œ œ œ œ œ œ œœ ≈ œ œ œ œ ™™ œ œ œ œ œ œ œ œ œ œ ™™ œ œ œ ≈ œœ œ œ œœ œ
R R R R R R R R R R L L L L L L L L L L R R R R R L L L L L R R R R R R R R R R
/ œ œ œ ≈ œ œ œ œ œ œ œ ™™ œ œ œ ≈ œ œ œ œ œ ≈ œ œ ™™ œ Œ Ó
L L L L L L L L L L R R R R R L L L L L R
"Irish Spring" Doubles

j j j j j j j j j j j j j j j j
/ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™
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
j j j j j j j j
/ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™
R R R R R R R R L L L L L L L L
j j j j
/ ™™ œ œ œ œ œ œ œ œ ™™ ™™ œ œ œ œ œ œ œ œ œ œ œ œ ™™ œ™ Œ ™ Œ™ Œ™
R R R R L L L L R L R R L R L R L L R L R
2
Huggadiks 'A'
>- >- >- >- >- >- >- >-
/ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ œ
™ Œ Ó
R R R R R R R R R R R R L L L L L L L L L L L L R
Huggadiks 'B'
>- >- >- >- > - >- >- >- >- >- >- >- >- >- >- >-
3
/ œœœ œœœ œœœ œœœœ œ œ œœ œ œœ œ œœœœœ œ œœœ œœœ œœœœœœ 4 ≈ œœœ ≈ œœœ ≈ œœœ
R R R R R R R R R R R R L L L L L L L L L L L L R R R R R R R R R R R R L L L L L L L L L L L L
>- >- >- > - >- >- >- >- >- >- >- >-
4 3 4
/ ™ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ ™4 œ œ œ œ œ œ œ œ œ œ œ œ ™™ œ Œ Œ
™ ≈ ™ ™ 4
R R R R R R L L L L L L R R R R R R L L L L L L R R R L L L R R R L L L
Gallop
4
/ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ œ œ œ œ œ œ œ œ œ œ œ œ ™™
R R L R R L R R L R R L R L L R L L R L L R L L R R L R R L R L L R L L
/ ™™ œ œ œ œ œ œ œ œ œ œ œ œ ™™ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ œ Œ Ó
R R L R L L R R L R L L R R L L R R L L R R L L R R L L R
Triplet Rolls
/ œ œ œ œ œ œ œ œ œ œ œ œ œæ œæ œ œæ œæ œ œæ œæ œ œæ œæ œ œ œ œ œ œ œ œ œ œ œ œ œ
ææ ææ ææ ææ ææææææææææææ
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ Œ ™ Œ ™ Œ ™
Two-Height Rolls
> > > > > > > > > > > >
æ æ æ æ æ æ æ æ æ æææ
/ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ
> > > >

æ æ æ æ æ æ æ æ æ æ æ æ Œ™ Œ™ Œ™
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™
Accents/Flams
> > > > > > > > >
™ j j j j j
/ ™œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ œ œ™ Œ ™
™ Œ™ Œ™
Flams/Flam Taps variation

> > > > > > > > > > >
j j j j j j j j j j j
/ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ œ œ™ Œ ™ Œ ™ Œ ™
œ
*Various flam rudiments may be substituted in the second bar (swisses, flam taps, cheeses, flam fives, etc.)
Tenor Arounds
Play all exercises on drum 2, as well as the arounds
3
8s
1
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
/ œ œ œ œ œ œ œ œ
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
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœ œœœœœœœœ œ Œ Ó
/
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
2 (Outs)
(4x)
œ œ œ œ œ œ œ œ ™™ œ
/ ™™ œ œ œ œ œ œ œ œ Œ Ó
R R R R R R R R L L L L L L L L R
3 (Triangles)
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
œ œ œ œ
/ œ œ œ œ œ œ œ œ œ
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
œœ œœ œœ œœ œœ œœ œ œœ œœ œ œœ œœ œ
/ œ œ œ œ œ œ œ œ œ œ Œ Ó
4
œ œœ œœœœ œœOœœ œ œœœœ œœœ œœœOœœœ œ Œ Ó
/ O œ œ O œ
16th Note Timing

œœœ œœœ œ œ œœœœœœœœ OœœœOœœœ
/ œ œ œœœ œœœ
R L R L R L R L L R L R L R L R R L R L R L R L R L R L R L R L
Triplet Timing
œœœœœœ œœœ œœ œœœœ
/ œ œœ œœœœœœ œœœ œœœ œœœ
œ œ œ
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
*Jungle patterns may also be used (without flams)

4
A/B Doubles
œœ œ œœ œœ≈O O œ œ œ œ œœ œ œ œ œ œœ œœ œœ œœ œ œ œ œœ œœ œO
/ œ œ œœ ≈OO œ œ œ œœ Oœœ
R ... L ... R ... L ...
œœ œ œ œ œ œ ≈ œ O œ œ œ œ œ œ ≈ œ œ O œ ≈ œ œœ œœ œœ ≈ œO œ œ œ œO ≈ œœ œ œœ Œ Ó
/ œ œ≈œ O œ œ œ œ œ O œ OOO œ
R ... L ... R ... L ...
Irish Spring
West Out West In
œ œ œ œ œ œJ œ œJ œ œJ œ œJ œ œj œ œj œ œj œ œj
/ ‰ œ œJ œJ œJ œ œJ œ œJ œ œJ œ œJ
R ... L ... R ... L ...
East Out East In

œ œ œ œ œ œ œ œ œ œj œ œj œ œj œ œj œ œ œ œ œ œ œ œ
/ œ Jœ Jœ Jœ J œ Jœ Jœ Jœ J J J J J
R ... L ... R ... L ...
Huggadiks
East Out
>- >- East In West Out West In
>- >- >- >- >- >-
œ œ œœœ œœœ œœœ œœœ œœœ œœ 12
/ œœ œœ œ 8
R L R L R L R L
Jungle Patterns
Jungle Reverse Jungle 5
> > > > > > >
j j j j
12 j œ jœ œ j
œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ
/ 8 œ œ œ œ œ œ œj œ œ œ œ œ œ
Urban Jungle Suburban Jungle

> > > > > > > >
œ j
œ œ j
œ œ
j œ œ œ œ œ œ œj œ œ œ œ œ œ
j œ œ j
j j
/ œ œ œ œ œ œ œ œ œ œ œ œ
West Out West In

> > > > > > > >
jœ j jœ j œ j œ œ j
œ œ œ œ œ œ œ œ œ œ œ
œ œ œ jœ œ
œ œj œ œ
œ œ œ œ
/ œ œ œ
East In
East Out > > > > > >
œj j j j
> œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ
j œ œ œ œj œ œ œ œj œ œ œ œj œ œ œ 7
/ œ 16
*Jungle patterns can be used for ANY accent/tap or flam exercise, or any exercise in 6/8, 12/8, etc.
Slow-Fast Patterns
(7)
7 œ œ œ œ œ œ œ œ 9
™™ 16
/ 16 œ œ œ œ œ œ
(9)
9 œ œ œ œ œ œ œ œ œ œ œ œ 13
™™ 16
/ 16 œ œ œ œ œ œ
(13)
13 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ 15
/ 16 œ œ œ œ œ œ œ œ ™ 16
(15)
15 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™
/ 16 œ œ œ
*Slow-fast patterns can be applied to practically all exercises with alternating sticking and no flams. (Timing, Gallop, Rolls, etc.)
**When starting exercises off the left hand, mirror the slow-fast patterns by starting on drum 4.
Bass Splits
6 8s Play all exercises unison, as well as the splits
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ
œœœœœ œ œ œœ œ œ œœ œ œœœ
/ œ
œ œ œœ œ œ œœ œ œ œœ œ œ œ Œ Ó
*Variations: 2s, 3s, 4s, and diddles

œœœœœœœœœ œ œ œœœœœ œ œœ
/ ™™ œ œ œ œ œ œ œ œ œ ≈ œ œ ≈ œ œ ™™ œœ≈œ œ
œœœœœ œœœœ≈œ œœœ œ œœœœ≈œ

/ œœœœœ œ œœœœ≈œ œ œ œ œ œ œ œ
Œ Ó
16th Note Timing (3 note)

œœ œœ œœ œœœ œœ œœ œœ œœœ
/ œœ œœ œœ œœ œ œœ œ œœ œœ œœ œ œ œœ œ œ œœ œœ œœ œ œœ œœ ≈ ≈ œœœ
œœœ œœ œœ œœœ 12
/ œœœœœœ œœœ œœ œœœœœœœ œœ≈œœœœœœœœœ œœ
œœ œœœœœœœœ œœ œœœœ œœœœ≈?? ? ? ŒÓ 8
Triplet Timing (1-Note)

j
12 œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ j œ œ
/ 8 œœœ œ œ œ œ œœœ œœœ ‰ œ œ œ‰ œ
œ
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
‰ œ œ œj ‰ œ j ™™ œ œ œ œ œ œ œ œ œ ‰
j ™ œ™ ™ ™ ™ ™ 4
Œ Œ Œ ™4
/ œ œ œœœœœœ œ œ ™
œ
*Variations: 2s, 3s, & 4s on quarter note triplets, both on and off the beat.
7
A/B (1)
4 j™ ™ j
/ 4 ? ?? ?? ? ? ? ? ? ? ™? ™? ? ? ?? ? ? ™? ™? ?? ? ? ™? ™? ?? ? ? ™
≈ ‰
R ... L ...
™ ?
/ ???≈??≈??≈??? ???≈????? ?? ? ? ? ™ ?? ? ? ™ ? ?
™ ?? ? ??≈?? ?ŒÓ
R ... R L R L ... R .. L ... R
A/B (2)
œ œ œœ œœ≈ œœ ≈œœ œ œ œ œ œœ œ œœ œ œ œ œœ
/ œœ œ œ œ œ œœ œœ œ œ œ œ œ œ
œœ≈ œœ œ œ œœ≈œœ
/ œ œœ œœ œœ œ œ œœ≈œœ œœ œ œœ≈œœ
œ œ œ œœœœœœœœœœœœœœœœ Œ Ó 12
/ œœœœœœœœ ? 8
Irish Spring (1)

12 j j j j j j j j j j j j
/ 8 ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
R L
j j j j j j j j j j
/ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ‰ ? ?‰ ?
R L
j j j j j j
‰ ‰
/ ?? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
R L
j j
/ ? ? ? ‰ ? ? ? ? ? ? ‰ ? ? ? ‰ ? ? ? ? ? ? ‰
R L
j j
j j
/ ?? ?? ?? ?? ?? ?? ‰??‰?? ???????????? ???????????? ? Œ™ Œ™Œ™ ™
‰ ‰
R L R L R R L R L R L L R L R L R R L R L R L L R L R
8
Irish Spring (2)

œ œ œ œ œ œ œ œ
/ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œœ œœ œ œ œ œ œ œ
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ ? ™Œ ™ Œ ™ Œ ™ 44
Gallop
4 œœ œœ œœ œœ œ
/ 4 œ œ œ œ œœ œ œœ œ œ œœ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œ œ œ œ œœ œ œ œ
œœœœ œ œœ œœ
/ œœœ œ œ œ œœ œœ œ œœœ œ œœ œœœœœœœœœœ œœœœ
œœœœœœœœ œ 12
/ œœœœœœœœœœœœœœœœœœœœœœœœ Œ Ó 8
Triplet Rolls
12 œ œ œ œ œ œ æœæœ œæœæœ œæœæœ æ æ
/ 8 œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œæœæœ œæœæœ œæœæœ œæœæ
œœœœœœ œœœœœœ œœ
/ œœœ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ Œ ™ Œ ™ Œ ™
Two-Height Rolls
> > > > > >
œœœœœœœœœœœ > œ œ œ > > >
/ œ œœœœœœœ œ œ œœœœ œ œ œœ
œœœœœœœœœœ
> > > > >
œ œ œ œœœ > œ œ œ œ
/ œœœœ œ œ œœœœœœ œ œ œ œ œ œ œ œ
œ œ œ œ™ Œ™ Œ™ Œ™
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Cymbal Exercises
Use various sounds for exercises not specifically notated
Sizzle Zing 9
Crash Crash Choke Hi-Hat Tap Smash Plate Roll Sizz-Suck
> >. . - ^ m T Ÿ~~~~~~~~~ o +
œ œ œ œ œ œ œ œ œ œ 4
/ 4
8s
4œ œ œ œ œ œ œ
/4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œœœ œœ œ œœœœ œ œœœ œœ

/ œœœ œ œ œœœœ œ œœ œ œ œ œ Œ Ó
16th Note Timing
™ œ œ œ œ œ ≈ ≈ œ œ ™ ™ œ œ œ œ ™ œ ‰ œj ‰ œj ‰ œj ≈ œj™ ™ œ Œ Ó ™™
/ ™ œ œ œ ™ ™ ™
œœ
Triplet Timing
. . . . o + o + . . . . . o + o
/ ™™ œ™ œ™ œ™ œ™ œ™ œ™ œ™ œ™ œ™ œ™ œ™ œ™ œ™ œ™ œ™ œ™ ™™
+ > . o + . .
/ ™™ œ ™ Œ™ œ™ Œ™ œ™ œ™ œ™ œ™ ™™ œ ™ Œ™ Œ™ Œ™
A/B Doubles
. . . . . . . . . . . . o
/ œ Œ œ Œ œ Œ œ Œ œ œ œ œ œ œ œ œ œ
+ . . . . . . . . . . . o +
/ œ œ Œ œ Œ œ Œ œ œ œ œ œ œ œ œ œ œ Œ Ó
"Irish Spring" Doubles

. . . . . .j . .j . .j . .j . . . . . . . . . . . .
/ ™™ œ™ œ™ œ™ œ™ œ œ œ œ œ œ œ œ œ™ œ™ œ™ œ™ œ œj œ œj œ œj œ œj ™™
. . . .j . .j . . . . . . . . .j . . . > > > > > > .

j j j
/ ™™ œ™ œ™ œ œ œ œ œ™ œ™ œ œ œ œ ™™ ™™ œ™ œ œ œ™ œ œ ™™ ˙™ ˙™ œ™ œ™ œ™ œ™ œ™ Œ™ Œ™ Œ™
10
Huggadiks 'A'
/ ™™ œ œ œ œ œ œ œ œ ™™ œ Œ Ó
Huggadiks 'B'
3 4 3 4
/ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ ™™ œ œ œ 4 œ œ œ œ ™™ ™™4 œ œ œ ™™ œ Œ Œ 4
Gallopo + o + o + o + . o + o + o + o +o + o + . o + o +o + o + . o + o
4
/ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ
>+ > > > > > > > > > > .
œ œ œ œ >
/ ˙˙ ˙ ˙ ˙ œ œ œ œ
œ Œ Ó
Triplet Rolls
j 3j 3j 3j 3 m m .
/ œ œ œ œ Œ œŒ œŒ œŒ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ œ Œ Ó
Two-Height Rolls
. . . . o + o + . . . . + o + o + . . . m m .
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ œ Œ Ó
Flam Accent
> > > > > > > > > > >
° 12 > j j j j
Snare / 16 œ œ œ œ œ œ œ œ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ
R R R R . . . L L L L . . . R L R L R L . . .
12 > > > œ œ œ >œ œ œ œ >œ œ œ œ >œ œ œ œ >œ œ œ œ >œ œœœ œ

j >œ œ œ œj >œ œ œ œj >œ œ œ œj >œ œ œ
Tenor / 16 œ œ œ œ œ œ œ œ œ
R R R R . . . L L L L . . . R L R L R L . . .
Bass
12 > > > > > > > > > > > >
/ 16 ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ??? ? ??? ? ??? ??? ??? ???
R R R R . . . L L L L . . . R L R L R L . . .
.™ . j™
Cymbals / 16
12 ˙ 7
˙™
1¿ ™ 1 ¿ ™ 1 1¿ ™ 1 ¿ ™ 1 1¿ ™ 1 ¿ ™ 1 1¿ ™ 1 ¿ ™ 1 ¿
1 1
¿j™ 1 1 ¿j™ 1 ¿j™ 1
¢ 7 J J J J J J J J
6 > > > > > > > > > >
° j j j j
S. D. / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
R R R R . . . L L L L . . .
>
j j>
œ j>
O j> œ œ œ œ œ œ
œ œ œ œ œ >œ œ œ œ >œ >œ œ œ œ >œ œ œ œ
T. D. / œ œ œœ œ œœ œ œœ O œ >œ >œ
R R R R . . . L L L L . . .
B. D.
> > > > > > > > > >
/ ???????????? ? ??? ? ??? ? ??? ? ??? ? ??? ? ???
R R R R . . . L L L L . . .
j™ j™ j™ j™ .
Cym. / 1 ¿ 1 ¿ 1 1 ¿ 1 ¿ 1 ˙. ™ 7
˙™ 1 ¿™ 1 1¿ ™ 1¿ ™ 1 ¿™ 1
¢ 7 J J J J
10 > > > > > > > > > > > > >
° j j j j j j j j j j j Œ™
S. D. / œ œ œ œœ œ œ
œ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™
R L R L R L . . R R L L R R L L R R L L R
j j j
> > >
j
œ œ œ œ
>œ œj > œ œ œj > œ
T. D. / œ œ œ
>œ œ œ œ œj >œ œ œ œ >œ œ œ œ >œ œ œ >œ œ œj >œ œ œ œj >œ œ œj œ œ œj œ œ™ Œ™
R L R L R L R L R (L) R L R R L L R R L R R L L (R) (R)
B. D.
> > œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœœœœœœœœœ >œ ™ Œ™
/ ? ??? ? ???
1 ¿j™ ¿j™ ¿j™ ¿j™ ¿j™ ¿j™ ¿j™
Cym.
1 ¿™ 1 1¿ ™ 1 ¿™ 1
1 1
¿j™ 1
1 1 1 1 1 1 1 1 1 ¿. ™ Œ™
¢ / ¿J ™ J J J
Big Red Cheese Wheel
Mike Roe
> > > > > > > > > >> > > > >
° 12 j > j j j j æ j æ j æ j æ j æ æ j æ æ j j j j
Snare / 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
12 j > j> j> j> j> j> j> j> j

œ
>œ œ œ œ œ œj >œ œ œ œ œ >œ >œ œj >œ œ œ œj >œ œ œ œj >œ œ œ œj >œ œ œ
Tenor / 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ æœ œ œ œ æœ œ œ œ æœ œ œ œ æœ œ æ æ æ æ
Bass / 8
12 œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œœ œ œ œœœ œ œœœ œ œ œ œ œ œ œ œ œ ?? ? œ œ œœœ
œ œœ œ œ œ œ
. . . . . . . .
12 >
˙ ™ ¿™ .
¿™ ¿™ ¿™. ¿™. ¿™ .
¿™ >˙ ™ ¿™
Cymbals / 8 ¿™ ¿™ ¿™ ¿™
¢
5 > > > > > > >> > > > > > > > > >
° æ j j æ j æ j æ j æ æ j æ æ æ æ j j j j j j j æ æ j æ æ
S. D. œ
/ œ œ œœ œ œ œœ œ œ œœ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ œ œ œœ œ œœ œ œœ œ œ œœ œ œ œ
R R L L R R L R L R L R
j
œ
>œ œ œ œj >œ œ œ œj >œ œ œ œj >œ œ œ œj >œ œ œ œ œ œj >œ œ œ œ œ >œ >œ >œ œ œ œj >œ œ œ œj >œ œ œ œj >œ œ œ œj >œ œ œj >œ œ œj >œ œ œj >œ œ œ œj >œ œ œ
T. D. / æ æ æ æ æ æ æ æ ææ R R L
ææ ææ
L R R L R L R L R
œ œ œœ œ œ œœ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj œ œ œj œ œ œj œ œ œœœ œœœ
B. D. / œœ ? ? ? ææ
œœœœ ææ
. . . . . . > .
.
¿™ ¿™. .
¿™ ¿™ >
˙ ™ ¿™ .
¿™
-œ -œ -
Cym.
¢/ ¿™ ¿™ ¿™ ¿™ œ œ™ ¿™
2
9 > > > > > > > > > > > > > > > > > > >
° j j j j æ æ j æ æ j j j j j
S. D. œ
/ œ œ œ œ œ œ œ œœ œ œ œœ œ œ œ œ œ œ œ œ œj œ œ œj œ œ œj œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œj œ œ œ
œ œ œj œ œj œ œj œ
L L R R L L R L R L R L R L R L R L R L R R L L R R L R L R L R L R R R R R
> ^ Skanks
j> j> j> j> j> j> j œ œj œ œ j> j> j> œj œ œj‹ ^ ^
œ œ œ œ œ œ œ œ œœ œ œ œœ œ œ œ œ œ œ >
œ œ œ> œ œ œœ œœœ œ œœ œ >
œ œ >œ œ
T. D. / f f
æ æ æ æ
L L R R L L R L R L R L R L R L R L R L R R L L R R
L L R L R
L L R L R R
j j æ æ > > > >

B. D. / œ œ œ œj œ œ œ œ œ œ œ œ œæ œæ œ œ œ ?
œ œ
œ œœ œ œ œ œœ œ œ œ œ œ œ œœœ œ œœ œ œœ
J ???
- - - ^
-œ œ - >œ™ ¿™. >œ™
Œ™ - >˙ ™ œ. ‰ ‰ Œ™
Cym. œ
œ œ œ
¢/ J
12 > > > -- ^ > > ---- ^ > > > ^^ ^^

° j j j j j j j
S. D. œ
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‹ œ œ œœ œ œ œ œ œ œ œ œ ‹ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ ™ ∑
R L R L R L R R L R L L R L R L R L R L L R L R L R L R L R L R L R L R R L R L L R R L R
^ >œ >
j ^ j
> j> ^‹ œ œj œ œ œj œ œ ^‹
œ ‹ œ œ ^ œ œ œ^ Œ ™ ∑
T. D. / ‹ œ œ œ œ œ œj œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ >œ >œ œ^ œ œ œ
J
R R L R L R R L R L L R L R L R L R L L R L R L R L R L R L R L R L R R L R L L R R L R
> >
B. D.
> œœ œœ > >œœœœœœ > >™ >™ >™ œ œ >Œ™ ∑
/ ? J ? œ œ œ œ ?>
J ?
J Ã Ã ? ? œ œ œ œ ? ? ? ?œ œ œœœœ Ã?
.™ > >œ ™ >œ ™ > >œ ™ >™ >
Cym. / ¿ ¿. ™ ¿. ™ ¿. ™ œ™ ¿. ™ Œ™ >œ ™
œ™ œ œ ¿. Œ ™ ∑
¢
Tenor Legato Patterns
!
Outward Side to Side
ãc
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
Inward Side to Side

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
ãœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Outward Triangle 1
ã œ œ œ œ œ œ œ œ
Outward Triangle 2
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
ã œ œ œ œ œ œ œ œ œ œ œ œ
Outward Triangle 3
Inward Triangle 1
ã œ œ œ œ œ œ œ œ œ œ œ œ
Inward Triangle 2
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Inward Triangle 3
ãœ œ œ œ œ œ œ œ œ œ œ œ
Circle Pattern
Reverse Circle Pattern
ãœ œ œ œ œ œ œ œ
Z Pattern
ãœ œ œ œ œ œ œ œ œ œ œ œ œ œ
Cross Over
ãœ œ œ œ œ œ œ œ œ œ œ œ
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
Rock Cross Over

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
ãœ œ œ œ œ œ œ œ œ
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
Long Distance Cross Over

ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
(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
14
Sweeps
! 1. Right Hand Out
!
ãc œœœœœœœœœœœœœœœœ
œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ
r r l l r r l l
2. Left Hand Out

œœœœœœœœœœœœœœœœ œœœ œœœ œœœ œœœ œœœœœœœœœœœœœœœœ œœœ œœœ œœœ œœœ
r r l l r r l l
3. Right Hand In
ãœœœœœœœœœœœœœœœœ œ œœœ œœœ œœœ œœ œœœœœœœœœœœœœœœœ œ œœœ œœœ œœœ œœ
r r l l r r l l
4. Left Hand In
œœœœœœœœœœœœœœœœ œœ œœœ œœœ œœœ œ œœœœœœœœœœœœœœœœ œœ œœœ œœœ œœœ œ
r r l l r r l l
5. Right Hand In and Out

œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ
ãœœœœœœœœœœœœœœœœ
r r l l r r l l
6. Left Hand In and Out

œœœœœœœœœœœœœœœœ œœœ œœ œœœœ œœ œ œœœœœœœœœœœœœœœœ œœœ œœ œœœœ œœ œ
r r l l r r l l
7. Both Hands Out

œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ
ã
r r l l r r l l
8. Both Hands In
œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ
ã
r r l l r r l l
9. Figure Eights Out

œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ
ã œœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
r r l l r r l l r r l l (r) (r) l l r r l l (r) (r) l l r r l l (r) (r) l l r r l l (r) (r) l l
10. Full Figure Eights Out

œœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ
ã œ œ œ œ œ œ œ œ œ œ œ œ œ
r r l l r r l l (r) (r) l l r r (l) (l) r r l l (r) (r) l l (r) (r) l l r r (l) (l) r r l l (r) (r) l l
11. Figure Eights In

ã œœœœœœœœ œœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ
r r l l r r l l r r (l) (l) r r l l r r (l) (l) r r l l r r (l) (l) r r l l r r (l) (l) r r l l
12. Full Figure Eights In

œœœœœœœœœœœœœœœœ œ œ œ œ œœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ
ã œ œ œ œ œ œœœœ œ œ œ œ œ œ œ
r r l l r r l l (r) (r) l l r r (l) (l) r r l l (r) (r) l l (r) (r) l l r r (l) (l) r r l l (r) (r) l l
15
Bass Drums!
!
The bass drum section acts as tenor and bass voices in the percussion choir on the
field. Bass drummers must have a complete mastery of all the basic drumming
techniques presented in this book. 24th note figures will rarely last beyond three notes
and 32nd note figures rarely longer than a quarter note. Since the playing surface is
vertical, some stroke modifications are necessary. !
!
The principals of grip and stroke are basically the same as for snare, just turned
sideways. The mallet should be held at an angle–just less 45º–up from the forearm.
Leading with the mallet-head, break the wrist back with the forearm following naturally
outward bringing the mallet to an angle. Complete the piston stroke by moving the arm
back inwards and rotating the wrist. The general playing spot is just above center. In
order for this tone to project most efficiently to the audience, the heads should always
face toward the audience. Since most stickings are right hand lead, whenever possible
direct the left drum head toward the audience thereby playing through the drum in their
direction. !
!
!
!
!
!
!
!
!
!
!
!
!
!
!
Sometimes the players will fill rests or create different sounds by playing on the rims.
This will be notated in the music by replacing the note heads with a different shape.
Also, players may be asked in the music to dampen one of the drumheads with the off
hand for a muted sound. This is notated with a plus sign (see below). Of utmost
importance to bass drummers is the ability to think and hear melodically.!
!
Mastery of all of the timing exercises is imperative. Rather than learning only his or
her individual part, the player should know the part as a whole and plug-in his or her
notes as required. Good bass drum sections can accurately play their music even after
switching parts. Balance is another important concept for bass drum sections. Although
there are five or six different instruments being played, relative volumes need to be
regulated so the sound is as one. The lowest or anchor bass should be tuned similar to
a concert bass drum as it is used for impact. Each of the other drums should be tuned
to the pitch that gives it the most resonant tone, while avoiding too small or too large an
16
interval between them. It is extremely important to maintain even tension from point to
point around the drum. Check this by tapping lightly at each tension point and adjusting
so that all the pitches are the same. Also each side of the drum should be tuned to the
same pitch.
Bass Notation
Drums 1 - 5 Unisons Rims Muffling
œ œ œœœ yyy ‰ j
ã œ œ œ œœ S yy y
œÑ . œÑ œÑ
Movement Exercise
4
Check Pattern Check Pattern
ã4 S S S S S S S S œ œ œ œ œ œ œ œ
œ ’ ’ ’ ’ œ œ œ œ œ œ
œ
r r r r l l l l
œœœœœœ œœœœ œœœœ

ã’ ’ ’ ’ œœ œœœœ ’ ’ ’ ’ œœ œ œ œ œ œœœœœœ
5 6 6 6
6
6 6
œœœœœœœœœ œœœ œœœœœœœœœ

6 6
ã ’ ’ ’ ’ œœœœœœœœœ œœœœœœ ’ ’ ’ ’ œœœœœœ œœœœœœ

9
œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ

ã ’ ’ ’ ’ œœœœ œœœœ œœœœ œœœœ ’ ’ ’ ’ œœœœ œœœœ œœœœ œœœœ
13
œ œ œœœœ
ã’ ’ ’ ’ œ œ œ œ œ œ ’ ’ ’ ’ œœœœœœ
œœ œ œ œ œ
17 6 6
6
œœ œ œ œ œ œœ œ œ œœœ œ œœœ œœœœ œœœœ œœœ œ

6
ã ’ ’ ’ ’ œ œ œ œœ œ œ œ œ œ œ œ œœ œ ’ ’ ’ ’ œœ œœ œœ œœ œœœ œ
21
17
Health and Wellness!
!
An important, yet often ignored, part of the drumline experience involves taking care of
our body. Just as an athlete or other musician must warm up, so must we. On the
macro level it is imperative we spend time stretching and developing our shoulders and
back. On the micro level, we must give attention to our arms, wrists, fingers and be
committed to a proper warm up routine. Tendonitis affects many percussionists,
pianists, and other instrumentalists each year. The effects can be devastating.
However, through proper instruction and listening to our bodies, we can take preventive
steps from this happening. By treating our body well, not only will we combat
tendonitis, but have a more enjoyable experience in our playing, marching and carriage
of our instrument.!
!
A basic warm up routine could consist of the following:!
!
Taking a few minutes to stretch will allow blood to start moving into your muscle fibers,
which will afford them more flexibility and oxygen to function properly. If you have ever
sat down to play without a proper warmup, soon the forearms will begin to feel tight
and have a burning sensation. This is a lack of oxygen and blood flow which can have
damaging effects over the course of time. Find a routine that works for you, but do the
right thing. Your body will thank you in the long run!!
18
Hearing Protection!
!
The ears of a musician are the most precious resource available. We depend on them
to check ourselves, listen to nuances of touch, and interact with others around us. The
noise levels while playing marching drums, drum sets, and other percussive
instruments can reach well over 100 decibels. At that pressure, hearing damage can
begin to occur after only 20 minutes of exposure. A simple search on the internet will
reveal hundreds of drummers and musicians who suffer from tinnitus, a constant
ringing of the eardrum. For many, it causes immense pain, discomfort, and disrupts
their everyday living. Once damage has been done, it cannot be reversed. What you
do in your own personal time is your choice, however, UNL Drumline members are
required to wear hearing protection when rehearsing as a group. !
!
There are several manufacturers of quality earplugs on the market. These are plugs
which are both comfortable and have a choice of decibel filters as to keep the integrity
of sound at a higher quality than foam earplugs. !
! !
! Ear Inc.!
! http://www.earinc.com/p2-specialty-musician-er20.php!
!
! ER-20 Hi-Fi Ear Plugs!
! ER-20 Ultratech Plugs (same as Hi-Fi model but with a retaining cord)!
!
! Both retail for $15.00 a pair plus shipping.!
!
!
! For custom molded plugs:!
! !
! Sensaphonics!
! http://www.sensaphonics.com/prod_erseries_customs.html!
!
! Westone!
! http://www.westone.com/hearing-protection-products/custom-fit-hearing-!
! protection-products-4!
!
!
!
!
!
!
!
!
!
!
!
19
The Mental Game of Life and Performance!
!
To be a high-level performer, you must conquer the inner game. The game that
encompasses the personal voice inside of you that dictates a running dialog in your
mind. What you tell yourself, how you perceive ups and downs, how you control your
emotions. Athletes deal with this on a daily basis, and the best have learned
techniques to maintain their inner voice so they can perform on a high level. !
!
This excerpt, from the book The Mind Gym by Gary Mack, explains the concept clearly:!
!
! Sports psychology is especially prescribed for two kinds of athletes. Some
perform well in practice but break down in competition because they become self-
conscious or overanxious. Others possess worlds of talent but can’t perform
consistently. Consistency separates good athletes from great ones. The best athletes
win consistently because they think, act, and practice consistently.!
! Consistency is a defining quality. “Whatever your job, consistency is the
hallmark,” said Joe Torre, manager of the world champion New York Yankees. “It’s
much more important than doing something spectacular just once. Do your job
consistently, and you will be considered good.”!
! Ben Crenshaw says that in golf you take the lies as they come. “Take the bad
bounces with the good.” Have you ever hit a terrible drive then followed it with a
miraculous recovery shot out of the trees, landing the ball on the green? Don’t act
surprised when you do something well, and when you’re struggling don’t let others
know it.!
! Maintain the warrior mentality. Stand tall even if you feel you are coming apart
on the inside, and carry yourself in a confident way. All performers can act themselves
into a way of thinking just as they can think themselves into a way of acting. Mental
attitude is always important. As a player, Dave Winfield, a member of the 3,000-hits
club, knew that what he thought affected how he felt and how he felt affected how he
performed. “Sometimes you have to say to yourself that you’re going to have fun and
feel good before you go out there,” Winfield said. “Normally, you have fun after you do
well, but I wanted to have fun before I did well. And that helped.”!
! To perform consistently you must prepare consistently. Act the way you want to
become until you become the way you act.!
!
! Some techniques that can help calm the mind focus the inner voice include:!
!
! •Listening to calming or inspiring music before an activity!
! •Spending a few minutes with your eyes closed breathing deeply!
! •Meditation!
! •Stretching!
! •Visualization!
! •Incantations!
!
!
20
How Do We Feel When We Play?!
!
What Are The Ingredients?!
Performing is a living and breathing activity. Without the human element, notes are
merely ink on paper. Instruments are piles of metal and plastic–dead and lifeless. The
opportunity for a group of people to engage in a singular activity, such as music, is an
amazing opportunity. Consider an approach with a heart that is open, challenged, and
excited. Too often we crush our personal potential by letting fear, doubt and negative
internal talk cloud our mind.!
! !
The ‘How-To’! !
How then do we accomplish this? First off, you and you alone control your internal
thoughts. No other person, place, distraction or beyond is responsible for how you
approach your playing. Practice directing the right and positive thoughts to your mind.
Although we might have different ability and talent levels, we can choose to be
confident at our given level at any moment in time.!
!
Another factor is that of physiology–how the human body functions and the
relationships between various systems. This can be simplified to a mind and body
connection. Ask yourself this question: Are my thoughts and physical aspects of my
body projecting the same image? !
!
A person might be THINKING: I feel confident, powerful, relaxed and ready. Yet, that
same person PHYSICALLY is: eyes at the ground and wandering, slouching in their
posture, head tilted to the side, shoulders forward and weak.!
!
What’s wrong with this picture? The two body systems are not aligned with each other.
It stands to say that this person is not going to be successful in playing to their
potential. Studies have shown that by merely changing the body’s physical posture, it
can coax the mind into thoughts of confidence, relaxation, awareness, and more.!
! !
Wrapping It All Up! !
We place a high priority on the physical and mental aspects of what we do. After all,
they control what comes out on the instrument. Those that watch from the crowd will
see with their eyes much faster than they hear. Approaching everything you do with an
aggressive, professional, relaxed, and confident mindset will add a whole new
dimension to your experience now and in the future.
21
Core Essentials!
!
Consider this scenario. A basketball team is fighting to the hilt for a league
championship against their long-time rival. Back and forth the game switches hands–
each team refusing to surrender. With minutes dwindling in overtime, one of the star
players goes down with an ankle sprain battling for a rebound. With two other starters
having fouled out, the coach has no other choice than to dig deep into his bench. !
In goes a player who has rarely seen playing time during the year, his moment to help
the team squarely in front of him. The next three minutes unfold like a bad dream:
shots clearly off target, fumbling the ball like a stick of butter and misplaced passes. A
chance to redeem at the foul line only succumbs to both shots bricked off the rim.!
!
What we learn in the aftermath tells an all too familiar story. This player showed up at
practice each day, did what he was told, and worked hard. However, his time away
from the coach and peers was strikingly different. He spent his time perfecting his
dream dunks, fancy ball handling through his legs and behind his back, and spins that
would make a professional dancer look amateur.!
!
The moral of the story is this: !
!
The best people and organizations place a premium on doing the fundamentals better
than anyone else. The majority of their time is spent relentlessly practicing that which is
the foundation from which everything else flows from. There are no shortcuts, only
proper time spent on what is important.!
! !
Take ownership and pride in your personal development as a player. Nothing is more
respectable and valuable than someone who can rock the basics at an extremely high
level. It will pay off tremendously in the long run!!
22
Developing Grip and Stroke!
!
I!t is essential that players always maintain the integrity of the fundamentals outlined
above. If you find yourself deviating from them even slightly, you are either playing an
exercise for which you are not yet ready, or you are playing too fast. Once the player
feels comfortable with the grip and is able to execute a proper rebound stroke, these
skills can be reinforced using the exercises below. Start very slowly and emphasize the
wrist turn--letting the hand follow the stick--striving for maximum rebound off the
playing surface. !
!
Strive to stay completely relaxed from the neck, through the shoulders and arms, all
the way down to the fingers. It is very easy to see and hear when a player is not
relaxed. Tension affects sound quality and disrupts the flow of the music. Although
chops are a necessity at the levels we strive for, sound quality is primary.!
!
The following exercise reinforces relaxation and sound quality. This should serve to
keep your muscles flexible and limber. There are many variations which can be
implemented in your own practice time. Replace the “16 on a hand” with 14, 15, 17,
etc. !
!
Add dynamics as well. Crescendo each hand up, decrescendo each hand down,
alternate, and more. Developing a well-rounded routine when it comes to basic strokes
will raise the level of your competency and abilities as a musician.!
!
!
Dynamics and Musicality!
!
The most crucial tool any musician possesses is his or her ears. It’s the feedback
mechanism that allows awareness with ourselves, the players around us, and our
interaction with an audience. In using our listening, dynamic levels can be seen as
ranges rather than concrete points. The situational demands and context will always
dictate our approach. !
!
How are dynamics and musicality created then? Largely through velocity rather than
simply stick heights. One could play at 9”, for example, but depending on how much
velocity the stick it tossed with, the sound and style can be vastly different. !
!
In this manner, we will rely on a musical and listening environment. When players are
focused on blending and agreeing on style and volume, stick heights will take care of
themselves. !
!
!
!
!
!
23
Timing
Natural Sticking Throughout
One Note 16th
ã c œœœœœœœœœ œ œ œ œœœœœœœœ≈œ œ≈œ œ œœœœœœœœœ œ œ œ œœœœœœœœ≈œ œ≈œ œ

r l r l r l r r r r r r l r l r l r l l l l l r l r l r l r l r r r r r l r l r l r l l l l l
ã œœœœœ œ œœœœ≈œ œ œœœœœ œ œœœœ≈œ œ œœœœœ œ œœœœ≈œ œ œœœœœ œ œœœœ≈œ œ

r l r l r r r l r l l l r l r l r r r l r l l l r l r l r r r l r l l l r l r l r r r l r l l l
Three Note 16th
ã œœœœœœœœœœœ œœœ œœœœœœœœœœ œœœ œ œœœœœœœœœ œœœ œœ œœœœœœœœ≈œœœ≈œœœ

r l r l r l r l r l r r l r r l r l r l r l r l l r l l r l r l r l r l r r l r r l r l r l r l r l l r l l r l
ã œœœœœœœ œœœœœœ œ œœœœœ œœœœœœ≈œœœ œœœœœœœ œœœœœœ œ œœœœœ œœœœœœ≈œœœ

r l r l r l r r l r l r l l r l r l r r l r l r l l r l r l r l r l r r l r l r l l r l r l r r l r l r l l r l
Two Note 16th
ã œ œ œ œ œ œ œ œ œ œ ‰ œ œ ‰ œ œ œ œ œ œ œ œ ≈ œ œ ≈ œ œ œ œ œ œ œ œ œ œ ‰ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ. œ œ. œ
r l r l r l r l r l r l r l r l r l r l l 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
ã œ œ œ œ œ œ ‰ œ œ œ œ ≈ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ ‰ œ œ œ œ ≈ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ. œ
r l r l r l r l r l l r r l r l r l r l r l r l r l r l r l r l r l l r r l r l r l r l r l r l
j j
One Note Triplet
ãc œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰œ œ œ‰œ œ œ
3 3 3 3 3 3 3 3 3 3 3 3
r l r l r l r l r l r l r r r r r r r l r l r l r l r l r l l l l l l l
j j
œœ œœ œœ ‰ œ œ œ œœœœœœœ œ œ œœ œœ œœ ‰ œ œ œ
3 3 3 3 3 3 3 3 3 3 3 3
ãœ œ œ œ œ œ œ œ œ
r l r l r l r r r r l r l r l l l l r l r l r l r r r r l r l r l l l l
Two Note Triplet
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ ‰œ œ ‰ œ œ ‰œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰œ œ ‰œ œ ‰ œ œ ‰ œ
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
2
r l r l r l r l r l r l r l l r r l l r r l r l r l r l r l r l l r r l l r r l r l r l r l r l r l r l r r l l r r l l
ã .. œ œ œ œ œ œ œ œ ‰ œ œ ‰ œ œ œ œ œ œ ‰ œ œ ‰ œ œ œ œ œ œ œ œ œ ‰ œ œ ‰ œ .. 4 .. œ œ œ œ œ ‰ œ œ œ ‰ œ œ œ œ œ œ ‰ œ ..
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
r l r l r l r l l r r l r l r l l r r l r l r l r l r r l l r l r l r r l r r l r l r l l
Three Note Triplet
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰œ œ œ ‰œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰œ ‰œ œ œ ‰œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰œ œ œ ‰œ œ œ ‰œ œ
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
2
r l r l r l r l r l r l r l r r l r r l r r l r l r l r l r l r l r l l l r l l r l r l r l r l r l r l r l r r l r r l r r l
ã .. œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ ‰ œ ‰ œ œ œ œ œ œ œ œ ‰ œ œ œ ‰ .. 4 .. œ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ ..
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
r l r l r l r l r r l r l r l r l r l l l r l r l r l r r l r r l r l r r l r l l r l r r l
28
Accent Patterns!
!
For the proper execution of accent patterns the ability to stop the stick over the playing
spot must be mastered. This modified stroke is called a Down Stroke. The stick is
caught, primarily with the back fingers and stopping the wrist, with the bead just above
the playing surface. The original tossing feel is the same and everything in the grip and
hand remains constant. To return to the louder dynamic, an Up Stroke is used. This is a
stroke with an exaggerated rebound. It is important to develop the ability to control both
the volume and rhythmic placement of taps following accents at various tempi. !
!
The accent basics below breaks down the simple strokes while the tap isolation
exercises provide a comprehensive workout to isolate these stroke types within
common performance patterns. Practice various accent-to-tap ratios: f to p, mf to p, mp
to p. !
!
Always remember to relax and keep the grip and stroke consistent. Accents and taps
are a HUGE part of creating rudimental music, and the backbone of many rudiment
combinations, so the concept of relaxation is paramount to creating a well blended and
contrasting sound.!
!
A few checkpoints:!
!
1. Grip and pressure on the stick should stay exactly the same for both accent and tap!
2. The tap should sound full and pronounced. It is still a stroke, just at a low height.!
3. Sound quality, sound quality, sound quality.!
!
!
Accent Basics
>1 > > > > > > > > > > > > > > >
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
r . . l . . r . . l . .
2
> > > > > > > > > > > > > > > >
ãœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
>3 > > > > > > > > > > > > > > >
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
>4
> > > > > > > > > > > > > > >
ãœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
29
16th Note Tap Isolation
>!Natural>Sticking>(as shown)
ãc !!œ œ œ œ œ œ >œ œ >œ œ >œ œ >œ œ >œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ
!
> > >
r r r r r
>
r
> > > >
r r l l
>
l
>
l
>
l
>
l
>
l
>
l
> >
r l r r l r r l r r l r l r l l r l l r l l r l
ã œ œ!! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œœœ œ œ œœœ œœœ œœœ œ

> !> > > > > > > > > > > > > > >
r r l r r l r r l r r l l r l l r l l r l l
ã œ œ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œœœœœ œ œ œœœ œ œœœœœ œ œ

! r l r r r l r l r r r l r l l l r l r l l l
> !> > > > > > > > > > > > > > >
!
ã œ œ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
! r r l r l r r r l r l r l l r l r l l l r l r l
!
!
>! > > > > > > > > > > > > > > >
!
>! > > > > > > > > > > > > > > >
!
ãœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œœœ œ œ œœœ œœœ œœœ œ
!
>!! > > > > > > > > > > > > > > >
ã œ œ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
!
>! > > > > > > > > > > > > > > >
!
!
!
> !> > > > > > > > > > > > > > >
!
> > > > > > > > > > > > > > > >
ãœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œœœ œ œ œœœ œœœ œœœ œ
> > > > > > > > > > > > > > > >
ãœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œœœœœ œ œ œœœ œ œœœœœ œ œ
> > > > > > > > > > > > > > > >
ãœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œ œœœœœ œ œœœœœ œ œœœœœ
30
Triplet Tap Isolation
12 !>œ œ œ >œ œ œ >œ œ œ >œ œ œ
Natural Sticking (as shown)
> > > > > > > > > > > >
ã 8 œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ
r r r r r r r r r r r r l l l l l l l l l l l l r l r r l r l l
> > > > > > > > > > > > > > > >
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ
> > > > > > > > > > > > > > > >
r r l r l l r l
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
> > > > > > > > > > > > > > > >
r r r l l l l r
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ

> > > > > > > > > > > > > > > >
r l r l r l r l r l
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œœœœœ œœœœœ œœœ œ œœœœœ œœœœœ œœœœœ œœœ

> > > > > > > > > > > > > > > >
r r l r l l l r l r
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœœœ œœœœœ œœœœœ œ œœœ œœœœœ œœœœœ œœœœœ œ

r l r r l l r l l r
> > > > > > > > > > > > > > > >
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
> > > > > > > > > > > > > > > >
r r r l l l r l r r l r l l
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ
> > > > > > > > > > > > > > > >
r r l r l l r l
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œœœ œ œœœ œ œ œ œ œœœ œ œœœ œ œœœ œ œ

> > > > > > > > > > > > > > > >
r r r l l l l r

> > > > > > > > > > > > > > > >
r l r l r l r l r l
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œœœœœ œœœœœ œœœ œ œœœœœ œœœœœ œœœœœ œœœ

> > > > > > > > > > > > > > > >
r r l r l l l r l r
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœœœ œœœœœ œœœœœ œ œœœ œœœœœ œœœœœ œœœœœ œ

r l r r l l r l l r
> > > > > > > > > > > > > > > >
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
> > > > > > > > > > > > > > > >
r r r l l l r l r r l r l l
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ

> > > > > > > > > > > > > > > >
r r l r l l r l
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œœœ œ œœœ œ œ œ œ œœœ œ œœœ œ œœœ œ œ

> > > > > > > > > > > > > > > >
r r r l l l l r

> > > > > > > > > > > > > > > >
r l r l r l r l r l
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
> > > > > > > > > > > > > > > >
r r l r l l l r l r
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
r l r r l l r l l r
31
Accent Timing Concepts
> > > > > > > > > > > > > > > >
Single 4-2-1
ãc œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ

> > > > > > > > > > > > > > > >
ã .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
>> >> >> >> >> >> >> >> >> >> >> >> > >> >> >> >
Double 4-2-1
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ
>> >> >> >> >> >>> >> > >> >> >>> > >> >> >>> >
ã .
. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .
. .
. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
6 > > > > > > > > > > > >
Single 4-2-1
ã8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
> > > > > > 9 > > > > > >
ã . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
. 8 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
6 > > > > > > > > > > > > > > > > > > > > > > > >
Double 4-2-1
ã8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
> > > > > > > > > > > > 9 > > > > > > > > > > > >
ã . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
. 8 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
These exercises can be played numerous ways:!

!
• As written!
• Backwards (inverting each measure)!
• Flam every accent!
• Diddle the downbeat!
• Diddle the accent!
34
Double Strokes!
!
Another large area that rudimental percussion features is that of double, triple, and
quadruple strokes. These are largely produced by one large stroke followed by
catching the stick and letting it rebound in the hand. Regardless of the tempo, the stick
always stays in motion. As with the laws of physics, an object in motion stays in motion
unless a force stops it, in this case our hand. Always keep the stick moving. Check
your hand and arm tension as well. Too much and the stick will not bounce as needed.
Too little and you will not be able to control the rebound.!
!
Triple strokes (hugadicks) on page 37 are executed with one stroke producing three
gradually decaying notes. If you were to articulate these vocally, it might sound like this:
DA-Da-da. Smooth and relaxed.!
ã c œœ œœ œœ≈œœ œ œ œœ œœ œœ≈œœ œ œ œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ œ
r r r r r r r r r r l l l l l l l l l l r r r r r l l l l l r r r r r l l l l l
ã œ œ œ ≈œ œ œ œ œ œ œ œ œ œ ≈œ œ œ œ œ œ œ œ œ œ ≈œ œ œ œ œ ≈œ œ œ œ œ ≈œ œ œ œ œ ≈œ œ œ Œ Ó
r r r r r r r r r r l l l l l l l l l l Triplet
r r r Double
r r l l l l l r r r r r l l l l l r
ãc .. œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ .. 6 .. œ œ ‰ œ œ ‰ œ ‰ œ œ ‰ œ ‰ œ œ ‰ œ œ
4
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
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
3
l l l l l l l l l l l l l l l l l l l l l l l l
ã œ œ ‰ œ œ ‰ œ ‰ œ œ ‰ œ ‰ œ œ ‰ œ œ .. 4 .. œ œ ‰ œ ‰ œ ‰ œ œ œ œ ‰ œ ‰ œ ‰ œ œ ..
3 3 3 3 3 3 3 3 3 3 3 3
l l l l l l l l l l l l
Double Stroke Iso
r r r r r r l l l l l l
>No. 1 > > > > > > > > > > > > > > >
ãc œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
r l r l r l r l r l r l r l r l r l r l l r l r r l r l l r l r
> > > > > > > > > > > > > > > >
l r l r l r l r l r l r l r l r l r l r r l r l l r l r r l r l
ãœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
r l r l r l r l r l r l r l r l r l r l l r l r r l r l l r
l r l r l r l r l r l r l r l r l r l r r l r l l r l r r l
No. 2
ã c œ œ œ œ œ œ œ œ œ. œ œ. œ œ. œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
r l r l r l r l r r r r r r r r r l r l r l 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 l l l l l l l 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
ã œ œ œ œ œ . œ œ . œ œ . œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
r l r l r r r r r r r r r l r l r l 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 r
l r l r l l l l l l l 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 l r l l
36
TRIPLE BEAT
> > > > > > > > > > > > > > > >
ãc œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœ
r r r r r r r r r r r r l l l l l l l l l l l l r r r l r r r l r r r l r r r l l l r l l l r l l l r l l l
> > > > > > > > >

ã œœ
j
œ œ œ œ
j
œ œ œ œ œ
j
œ œ œ œ œ
j
œœœ œ
j
œ œ œ œ œj œ œ œ œ œj œ œ œ œ œj œ œ œ œ
j
œ Œ Ó
r r r l r r r l r r r l r r r l l l r l l l r l l l r l l l r
ã c œœœœœœœœœœœœ œœœœœœœœœœœœ œj œœœœj œœœœj œœœœj œœœ œj œœœœj œœœœj œœœœj œœœ œj œœœj œœj œœœj œœj œœœj œœj œœœj œ
rrrrrrrrrrrr l l l l l l l l l l l l rrr rrr rrr rrr l ll l ll l ll l ll rr l rr l rr l rr l
ã œj œœœj œœj œœœj œœj œœœj œœj œœœj œ œj œœœj œœœj œœœj œœœj œ œœj œœœj œœœj œœ œj œœœj œœœj œœœj œœœj œ œœj œœœj œœœj œœ œj œ Œ Ó
l l r l l r l l r l l r rr l l rr l l r r l l rr l l rr l l rr l l r r l l rr l l r
15 > > > > > > > > > > > > > > > >
ã 16 œ œ œ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
r r r r r r r r r r r r l l l l l l l l l l l l r r r r r r r r r r r r l l l l l l l l l l l l
> > > > > > > > >

7
ã8 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 6 >œ œ œ >œ œ œ >œ œ œ >œ œ œ > > > >
œ œ œ œ œ œ œ œ œ œ œ œ œ. Œ.
r r r r r r l l l l l l r r r r r r l l l l l l
8 rrrlllrrrlll r r r l l l r r r l l l r
15 > > > > > > > > > > > > > > > >
ã 16 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œœœœ œœœœ œœœ œœœœœœœœœœœœœœœ œœœœ œœœœ œœœœ œœœ
r r r l r r r l r r r l r r r l l l r l l l r l l l r l l l r r r l r r r l r r r l r r r l l l r l l l r l l l r l l l
7 > > > > > > > > 6 >œ œ œ >œ œ œ >œ œ œ >œ œ œ > > > > >
ã8 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 8 rrrlllrrrlll œ œ œ œ œ œ œ œ œ œ œ œ œ. Œ.
r r r l r r r l l l r l l l r r r l r r r l l l r l l l r r r l l l r r r l l l r
ãc œœœœœœœœœœœœ
3 3 3 3 3 3 3 3 3 3 3 3 9 9
œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœœœœœœœ

r l r l r l r l r l r l r r r l l l r r r l l l r l r l r l r l r l r l r r r l l l r r r l l l r r r l l l
l r l r l r l r l r l r l l l r r r l l l r r r l r l r l r l r l r l r l l l r r r l l l r r r l l l r r r
..
3 3 3 3 6 6 6 3
ãœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
r l r l r l r l r l r l r r r l l l r r r l l l r r r l l l r r r l
l r l r l r l r l r l r l l l r r r l l l r r r l l l r r r l l l r
37
Immigrant Beat
° 12 œ j
œ œ
j
œ œ
j
œ œ
j
œ œ
j
œ œ
j
œ œ
j
œ œ
j
œ œ
j
œ œ
j
œ œ
j
œ œ
j
œ œ
j
œ œ
j
œ œ
j
œ œ œ
j
Snares / 8
R R R etc L L. L etc
f
12 œ œj œ œj œ œj œ œj œ œj œ œj œ œj œ œj œ j
œ œ
j
œ œ
j
œ œ
j
œ œ
j
œ œ
j
œ œ
j
œ œ œ
j
Tenors / 8
f
j j j j j j j j j j j j j j
/ 8 V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
Basses
12
f
¢/ 8 ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
12
Visual
Cymbals
°
5
Snare / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
R L
> > >j

œ œj œ œj œ œj œ œj œ œj œ ‰ ‰ j j œ ‰ ‰ œ œ œ œ
Tenors / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
R L L L R L L L L L R L R L L R L L R R R
j j j j j j j j
BassDr / V V V V V V V V V V V V V V V V V V ‰ V V ‰ V V V ‰ V V ‰ V V V V
R L
Cym.L ¢/ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
°
9
Snare / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 68
R L R L
>j
j j j j j œ œ œ œ œ œ œ j j j j œ 6
Tenors / œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ ‰
œ œ œ œ œ œ œ œ 8
L L R R L R L L R L R L L R L L R R R L L L L L L L L L R R
j j j j
/ V V V V V V V V V V V V V V V V V ‰ V V V V V V ‰ V V V ‰ V V V V V V ‰ 8
BassDr
‰ ‰ 6
L R R L R L
¢/ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
6
Cym.L 8
2
° 6œ
13
j j j j j j j j
Snare /8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 12
8
R L R L R L R R L R L R L L R L R L R R L R L R L L R L
> >
6 œ œ œ œj œ œ œ œ œ œ H œ œ ‰ œœ œœ œœ 12
œ œ œ
/8œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ 8
Tenors œ œ œ œ œ
L R L L R L R L L R L L R L R L L L L L L L R R R R R R R R L R L R (L) R L B B B
j j j j
/8V V V V ‰ V V ‰ V V V V V V ‰ V V ‰ V V V V V V V V V V V V V V V V V V V V V V V V V V 8
BassDr
6 12
R L R L R R L R L R L L R L R L R R L R L R L L R L
¢/ 8 ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
6 12
Cym.L 8
° 12 >œ œ œ œ >œ œ œ œ >œ œ œ œ œ œ œ ^‹ œ œ œ œ œ ^‹ œ œ œ œj œ œ ‰ œ œ œ œ >œ œ ‰ œ œ ‰ œ œ œj œ

Tag
21
> >
Snare / 8 œ œ ‰
R L R R L R L L R L R L R L L R L L R L L R L L R R L R R L R L R L L L L L R L L L
>j > ^ ^ > >j

12 œ œ j‹ ‹ j j j œ œ
Tenors / 8 œœ œ œ œ ‰ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ ‰ œ œ œ œ œ ‰
B R L R L R L R L R L R L L L L R L R L L L L L L L R L L L L L R L L L
> > > > > > > > > > j j j j j j j j
/ 8 V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
BassDr
12
R L R etc R L
^ ^ o + o +
Œ™ œ™ Œ™ œ™ Œ™ Œ™ Œ™ œ Œ™ Œ™
12
Play
j j
¢/ 8
Cym.L ∑ œ ‰ œ œ Œ
° > > > > > ^j ^ > >j >

25
Snare / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‹ œ œ œ ‰ œ œ ‹ œ œ œ™ Œ™ Œ™ Œ™
L L R L R L L R L L R L R L R etc R L L R R L R L L R
> > ^j ^
Tenors / œ œ
œ
œ
j
œ œ
j œ
œ œ œ ‰ œ œ ‰ œ œ œ œ œ œ œ œ
‹
œ œ œ ‰ œ œ
‹ > >j >
œ œ œ™ Œ™ Œ™ Œ™
L L R L L L L L R L L L L L R L R L R L R L L R R L R L R L
> > > > > > >j >

V V V™ Œ™ Œ™ Œ™
j j j j
BassDr / V V ‰ V V V V V V V V ‰ V V V V V V V V V V ‰ V V ‰ V V ‰
R L R L R L R L R L R L R L R L R
o + o + . ^ ^j ^
œ Œ™ Œ™ œ Œ™ œ™ Œ™ Œ™ œ™ Œ™ œ Œ™ œ™ Œ™ Œ™ Œ™
j j
¢/
Cym.L œ œ Œ
A 1-4
4 > > > > 3 >œ > > > 4

Snares ã 4 œ œ œ œ œ! œ! œ! œ! œ œ œ œ œ! œ! œ! œ! œ œ œ œ œ! œ! œ! œ! œ œ œ œ œ! œ! œ! œ! 4 œ œ œ œ! œ! œ œ œ œ œ! œ! 4
r
> > > > > > ! ! > >

ã4
4 ! œ! œ! œ! œ œ œ œ œ! œ! œ! œ! œ œ œ œ œ! œ! œ! œ! œ œ œ œ! œ! œ! œ! 3 œ œ œ œ œ œ œ œ œ œ! œ! 4
Tenors œ œ œ œ
r
œ œ 4 œ 4
> > ! ! ! ! > > > ! ! > >
4œ
ã4
œ œ œ œ! œ! œ! œ! œ œ
œ œ œ! œ! œ! œ! S S S S
œ œ œ œ S S S S œ! œ! œ! œ! 3 >S S S S œ œ S S S S œ! œ! 4
Bass 4 4
ã4
4œ œœœ .. œœœ .. 3 œ. 4
4 4
Œ Œ œœœ œœœ œœœ œœœ
Cymbals œ œ œ œ .. œ œ œ .. œ œ œ œ œ œ œ.
4 > > >

S.Dr. ã 4 œ œ œ œ œ œ œ œ œ! œ! œ! œ! œ! œ! œ! œ! œ œ œ œ œ œ œ œ œ! œ! œ! œ! œ! œ! œ! œ! œ Œ Ó
> >
4
>
4 œ œ œ œ! œ! œ! œ! œ! œ! ! ! œ ! ! ! !
œ! œ! œ! œ! œ œ œ œ
ã4
œ œ œ œ œ œ Œ Ó
T. Dr. œ œ œ œ œ œ œ œ œ
(r)
> > >

4
ã4 œ œ œ œ œ œœœœ S S S S S S S S œœœœœœœœœœœœ Œ Ó
B. Dr.
œ œ œ
œ œ
œ œ œœœœ
œ œ œ œ œœœœ S
j
4œ
ã4 œ œ Ó œœ
œœ
œœ ..
œœ ..
œœ ˙˙
œœ ˙˙
œœ ‰ Œ
œœ Ó
Cym. œ
16th Note Diddle Breakdown
ã c œ œ œ œ œ œ œ œ œ!œ œ œ œ!œ œ œ œ œ œ œ œ œ œ œ œ œ!œ œ œ œ!œ œ œ œ œ œ œ œ œ œ œ œ œ!œ œ œ œ! œ œ œ œ œ œ œ œ œ œ œ œ œ! œ œ œ œ!
ã œ œ œ œ œ œ œ œ œ! œ! œ œ œ! œ! œ œ œ œ œ œ œ œ œ œ œ œ! œ! œ œ œ! œ! œ œ œ œ œ œ œ œ œ œ œ œ! œ! œ œ œ! œ! œ œ œ œ œ œ œ œ œ! œ œ œ! œ! œ œ œ!
ã œ œ œ œ œ œ œ œ œ! œ! œ! œ œ! œ! œ! œ œ œ œ œ œ œ œ œ œ! œ! œ œ! œ! œ! œ œ! œ œ œ œ œ œ œ œ œ! œ œ! œ! œ! œ œ! œ! œ œ œ œ œ œ œ œ œ œ! œ!œ! œ œ! œ!œ!
5-Stroke Roll Breakdown
ã c œ œ œ œ œ œ œ œ œ!œ!œ œ! œ!œ œ! œ! œ œ œ œ œ œ œ œ œ œ!œ!œ œ!œ!œ œ! œ œ œ œ œ œ œ œ œ œ œ!œ! œ œ!œ! œ œ œ œ œ œ œ œ œ œ!œ œ œ!œ œ œ!œ!
40
12/8 Rolls
12 œ œ œ œ œ œ œ! œ œ œ! œ œ œ œ œ œ œ œ œ œ! œ œ œ! œ œ œ œ œ œ œ œ œ œ! œ œ œ! œ œ œ œ œ œ œ! œ! œ œ! œ! œ
ã 8
ã œ œ œ œ œ œ œ œ!œ!œ œ!œ! œ œ œ œ œ œ œ!œ œ!œ!œ œ! œ œ œ œ œ œ œ!œ!œ!œ!œ!œ! œ œ œ œ œ œ œ œ!œ!œ!œ!œ! œ . Ó . Œ .
12 œœœœœœœ!œœ!œœ!œ œœœœœœœ!œ!œœ!œ!œ œœœœœœœœ!œœ!œœ! œœœœœœœœ!œ!œœ!œ! œ . Ó .

Pats
ã 8 Œ.
12 >Two-Height
> >Rolls> > > > > > > > >
ã 8 œœœœœœœœœœœœ œ!œ!œ!œœœœ!œ!œ!œœœ œœœœ!œ!œ!œœœœ!œ!œ! œœœœœœœœœœœœ œ!œ!œ!œ!œ!œ!œ!œ!œ!œ!œ!œ! œ . Ó . Œ .
Switchback Rolls
2 > > 5 > > 9 > > > 5 > > 2
ã 4 œ œ œ œ œ œ œ! œ! 16 œ œ œ œ! œ! œ œ œ œ! œ! 16 œ œ œ œ œ œ œ œ œ 16 œ œ œ œ! œ! œ œ œ œ! œ! 4
r l r l r l r l r l r l r l r l r l r
2 > > 5 > > 9 > > > 5

! ! ! ! ! !
ã 4 œ œ œ œ œ œ œ œ 16 œ œ œ œ œ œ œ œ œ œ 16 œ œ œ œ œ œ œ œ œ 16
> > > > >
5 2
l r l r l r l r l r l r l
ã 16 œ œ œ œ! œ! œ œ œ œ! œ! œ œ œ œ! œ! œ œ œ œ! œ! 4 œ Œ
r l r l r l r l r l r l r
Switchback Swiss
2 > > 5 > > 9 > > > 5 >
ã 4 œ œ œœœ œ œœœ œ œ œ 16 œ œ œœœ œ œœ œ œ œœœ œ œ œ 16 œ œ œœœj œ œœœj œ œœ 16 œj œ œœœj œ œ œ
3 3 3 3
j j j j j j 41 j j
r l r r l r l l r l r r l r l r l r r l
Paradiddles/Two-Height Diddles
Huckadicks
>DUPLE >j > > >j > > > > > > >
c ‰ ‰ ‰ ‰
ã œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ
> >j j > > >j j > > > > > > >
r r r r r r r r r l l l l l l l l l 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
ã .
œ œ ‰ œ ≈ œ . œ œ œ œ . œ ‰ œ ≈ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ
> >j >j > > >j >j > > > > > > > > >
r r r r r r r l l l l l l l r l l r l l r l l r l l r l r r l r r l r r l r r l r r l r l l
‰ ≈ ‰ ≈
ã œ œ œ œ œ . œ œ œ œ œœ œ œ . œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
> >j > > >j > > > > > > >
r r r r r r r r l l l l l l l l r l r r l l r l l r l l r l r r l r l l r r l r r l r r l r l l
‰ ‰ ‰ ‰
ã œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
r r r r r r r r l l l l l l l l r l l r l l r l r r l l r l r r l r r l r r l r l l r r l r l l
>TRIPLE >3 >3 >3 >3 >3 >3 >3 >3 >3 >3 >3
ã œ≈œœ œ≈œœ œ≈œœ œ≈œœ œ≈œœ œ≈œœ œ≈œœ œ≈œœ
3
œœœœ œœœœ œœœœ œœœœ

>3 >3 >3 >3 > 6 > 6 > 6 > 6 > 6 > 6 > 6 > 6
r r r r r r r r r r r r l l l l l l l l l l l l r l r r r l r r r l r r r l r r
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
l r l l r l r r l r l l l r l l r r r l l r r r l l r r r l l r r r l l l r r l l l r r l l l r r l l l
7 9 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
Single Height
ã8 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8 rlrrllrlrrlrllrlrr
r l r r l r l l r l r r l l r l r r l r l l r l r r l l r l r r l l r l r r l r l l
7 >Accent Downbeat
> > > > > > > > 9 >œ œ œ œ œ œ >œ œ œ œ >œ œ œ œ >œ œ œ œ ..
ã8 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8rlrrllrlrrlrllrlrr
7 > >
Accent "E"
> > > > > > > 9 œ >œ œ œ œ œ œ >œ œ œ œ >œ œ œ œ >œ œ œ ..
7 >Accent
> Downbeat
> > >and> "E" >> >> >> >> >> >> 9 >œ >œ œ œ œ œ >œ >œ œ œ >œ >œ œ œ >œ >œ œ œ ..
7 >> >> >>>>

Accent Diddle
>> >> >>>> >>>> >> >> 9 œ œ >œ >œ >œ >œ œ œ >œ >œ œ œ >œ >œ œ œ >œ >œ ..
43
Flams!
!
Flams add duration and texture to notes. The addition of the grace note makes the
whole figure sound "fat." The properly executed flam has two parts: the Primary Stroke,
and the Grace Note. The Primary Stroke is a Piston Stroke or a Down Stroke from a
height suitable for the dynamic. The Grace Note is dropped from an inch or less. When
these components are initiated simultaneously, the desired flam effect is achieved. The
most common error in flam execution is to lift the Grace Note. No matter how high the
Primary Stroke, the Grace Note should be dropped from one inch or less. Mastery of
Up and Down strokes is important here so Accent to Tap exercises are good
preparation. Practice the exercises slowly, then gradually speed them up but not at the
expense of proper technique. New drills can be constructed for the Advanced Flam
Patterns in much the same way as the Flam Builders. Practice with both right and left
hand lead.
Flam Builders
> > > > > > > >
4
Flams
ã4 œ
j j j j j j j j
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
r r r r r r r r l l l l l l l l r l r l r l r l
> > > > > >

12
Flam Accents
ã 8 œ ‰ œ œ œ ‰ œ ‰ œ œ œ ‰ œ ‰ œ œ œ ‰ œ ‰ œ œ œ ‰ œ œ ‰ œ ‰ œ œ œ ‰ œ ‰ œ
r r r r r r r r r r r r r r r r l l l l l l l l
> > > > > > > > > >
ã œ œ ‰ œ ‰ œ œ œ ‰ œ ‰ œ œ
j
œ œ œ œj œ œ œ œj œ œ œ œj œ œ œ œ
j
œ œ œ œj œ œ œ œj œ œ œ œj œ œ œ
l l l l l l l 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
4
Flam Taps
ã4 œœœ œœœ œœœ œœœ œ œœœ œœœ œœœ œœ

j
œ œ œ œj œ œ œj œ œ œj œ œ œj œ œ œj œ œ œj œ œ œj œ œ
r r r r r r r r r r r r l l l l l l l l l l l l r r l l r r l l r r l l r r l l
Flamacue
> > > >
j j j j
ãœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œœ œ
r r r r r r l l l l l l l l r l r l r r l r l r
> >
Flam Paradiddles
> > > >
ã œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ ‰ œ œ œ œ œ ‰ œ œ œ
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
> > > > > > > > > >
ã œœ‰ œ œœœœ‰ œ œœ
j j j j j j j j
œ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œ œ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œ
l l l l l l l l 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
>Swiss Triplets> > > > > > >
12
8 œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ j j j j
ã œ œ œ œœ œ œ œœ œ œ œœ œ œ œ
r r r r r r r r l l l l l l l l r r l r r l r r l r r l
45
Flam Accent
> > > > > > > > > > >
° 12 > j j j j
Snare / 16 œ œ œ œ œ œ œ œ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ
R R R R . . . L L L L . . . R L R L R L . . .
12 > > > œ œ œ >œ œ œ œ >œ œ œ œ >œ œ œ œ >œ œ œ œ >œ œœœ œ

j >œ œ œ œj >œ œ œ œj >œ œ œ œj >œ œ œ
Tenor / 16 œ œ œ œ œ œ œ œ œ
R R R R . . . L L L L . . . R L R L R L . . .
Bass
12 > > > > > > > > > > > >
/ 16 ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ??? ? ??? ? ??? ??? ??? ???
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46
Stick Control!
!
The basis of everything we do can be boiled down to this simple term: stick control.
When all the ornaments and articulations are stripped away, we are left with basic
patterns. The following are taken from George Lawrence Stone’s Stick Control and
John Wooten’s Drummer’s Rudimental Reference Book. Consider setting a metronome
very slow then increasing the tempo slightly every minute. Play each pattern the at
least 10 times through. Mix and match, make variations. The goal is even flow and
agility but without thinking too much. This will prove to be very difficult for many:
maintaining consistent sound quality amidst various hand changes. !
!
Think you don’t have time for these? Do this during your favorite tv program. You’d be
surprised how many movies you can make it through while practicing. Let your mind go
free and your muscle memory take over as you build a solid foundation.!
!
Stick Control Games!
In addition to playing these straight from the page, here are several ways to spice it up.
Use your imagination though. The possibilities are endless!!
!
• Play right hand notes against constant left, and vice versa!
• Play each exercise using flams instead of single notes!
• Accent every right hand note; then every left!
• Flam every right hand note; then every left!
• Accent the first and fifth notes of each measure.!
• Flam the first and fifth notes of each measure.!
• Diddle the first and fifth notes of each measure!
• Swing the beat in each exercise!
• Create tenor and bass splits!
!
48
!
49
The Cymbals!
!
Although technically a field instrument, the cymbal section has been given its own
chapter because of its unique and specialized nature. Cymbal technique is unlike that
of any other instrument used in the band, and its mastery requires diligent practice and
high skills of physicality and aural awareness. The cymbal has the added dimension of
contributing as much visually as with its sound. Controlling the plates to this end is very
important. This also calls upon the creativity of the cymbal section to the utmost
degree. !
!
Parts of the Cymbal!
Players are individually responsible for the care and maintenance of their instruments.
You should familiarize yourself with how to tie a good cymbal knot. The instruments
need to be cleaned before every performance. When polishing a cymbal, always rub in
a circular motion with the tone grooves so as not to wear them off. Should a cymbal
develop a crack, stop playing it and notify the instructor immediately. Cracked cymbals
can be fixed but continued playing after one develops can cause it to get too severe.
Reasonable quantities of the supplies you need will be provided: cymbal straps,
gloves, cymbal cleaner, etc., however it may be a good idea to obtain some of these
items on your own.!
!
Notation!
Cymbal parts in marching ensembles are written in much the same way as bass drum
parts, that is melodically. Rather than having one unison cymbal part, the notes are
more often spread out in sequence. Depending on the number of players there may be
some doubling, but generally players are responsible for one part of a whole. Due to
this, of utmost importance to cymbalists is the ability to think and hear melodically.
Mastery of timing concepts is imperative. Rather than learning only his or her individual
part, the player should know the part as a whole and "plug-in" his or her notes as
required. Good cymbal sections can accurately play their music even after switching
parts. The notation will be with real note heads (no x's or diamonds). In general the
cymbals should be allowed to ring unless a duration is indicated. This will be notated
either as a choke or a tie to a rest. !
Cymbal Notation
> . - ^ m TZing Ÿ ~~~~~~~ o

Plate Roll
Ñ
Splash Choke
fl
Crash Crash Choke Hi-Hat Tap Smash Sizzle
ãœ œ œ œ œ œ œ œ œ œ
!
!
!
52
Basic Crash Cymbal Technique!
!
Physical Conditioning!
Playing cymbals in a marching ensemble puts physical demands on the player above
and beyond most instruments. Upper body strength and flexibility as well as good
endurance are all necessary not only to perform the basic skills, but to control them
with ease and sustain them through a lengthy performance or rehearsal. The cymbal
section's warm-up should always begin with exercises designed to develop these
physical attributes. Exercises without instruments should be done in a number of
repetitions suited to each player. Exercises with instruments should be done to counts. !
!
Exercises without instruments:!
• Upper torso and arm stretches for flexibility!
• Crunches for abdominal strength!
• “Supermans” for back strength!
• Push-ups for arm strength!
• Running or jogging for endurance!
!
Exercises with instruments:!
• Front Lifts!
• Side Lifts!
• Circle Lifts!
!
!
The Marching Cymbal Grip!
Marching cymbals are held differently from concert cymbals. The marching cymbal grip
allows more control of the plates that is essential for visual uniformity. Here is a step-
by-step method for forming the proper marching cymbal grip:!
!
1. Hold the cymbal in a vertical position and put the entire hand through the strap up
to the wrist with the thumb pointing up.!
2. Point the thumb down turning the hand so the palm is facing away from the bell of
the cymbal.!
3. Rotate the entire hand downward pointing the thumb toward yourself and turn the
palm toward the cymbal until it touches the bell. The strap should rest at the base of
the thumb and forefinger.!
!
!
!
!
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53
SET POSITIONS!
! !
Symmetry across the line is important even before a single note is played. This not only
helps achieve a uniform look, but sets individual posture and physical presence. These
positions are used when standing at attention or when moving in drill not playing. There
are three set positions we will use. A basic set, chest plate, and face plate.!
!
Basic Set Position!
This position is defined as: standing straight, hands by your side with the cymbals
straight up and down parallel to the body, leaving a 2-inch gap between your hips and
the cymbals. This position should look and feel strong and confident. Keeping an
intense and ready look. There should be a slight ben in the elbow and the shoulders
should be pulled back.!
!
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Chest Plate Position!
For this position, you have the left cymbal over the right cymbal and they are both
covering your chest. Your elbows will be away from your body so that you are forming
an “A-Frame”. This position can be used when marching while not playing or a slow
part of a show with no visuals. This is a much more secure position allowing greater
uniformity across the line.!
!
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54
Face Plate Position!
This position is very similar to Chest Plate and is used for the very same purposes
explained in that section. The difference, as shown, is the top edge of the cymbals are
positioned right below the eyes. It give you a mysterious look compared to the other set
positions.!
!
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!
PLAYING POSITIONS!
!
Having a solid set position is the first element in uniformity across the line and
individual presence. The second element is the playing position. Correct playing
positions will aid in technique and sound quality. !
!
Think of this in terms of football perhaps. A kicker must have the ball properly
positioned on the tee for kickoff. If the setup is poorly executed, chances are the actual
kick will be less than desirable. The same holds true for our playing positions. We will
use two positions depending on music and visual application; the vertical and
horizontal.!
!
Vertical!
This position is defined as having your cymbals in front of your face, straight up and
down, perpendicular to the ground and parallel to each other having 1 to 2 inches of
space
55
separation. The cymbals are raised to the point at which the bell of the cymbal is at
eye-level.!
!
Horizontal!
This position is defined as having the cymbals in front of your mid-section at a 45-
degree angle with 1 to 2 inches of separation between the cymbals. The bells of the
cymbals should be about 2 inches below and to the left of the sternum on your chest.
The edge of the cymbals away from your body will be slightly elevated above the edge
closest to your body.!
!
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56
The Basic Crash!
This basic crash motion illustrates all the principles necessary for good crash cymbal
technique. Though many different crash motions will be used both for tonal and visual
variety, they are all based on this foundation. Always be aware of the quality of sound
being produced. Excellent technique and sound quality is largely a matter of grace and
finesse rather than power. Here is a step-by-step method for the proper execution of
the basic crash:!
!
1. Start from the vertical playing position as discussed previously.!
!
!
!
2. Open the gap at the top of the cymbals to for a “V” shape. From here, you will
proceed to your contact point.!
!
!
!
!
3. It will appear that you are making contact at the bottom of the cymbal first rather than
the top due to the fluid motion of this technique. But you will actually make contact at
the same time on almost all edges of the cymbals. Have one cymbal slightly higher
than the other. This will leave a small gap which will allow air between the cymbals to
escape and decrease your chances of inverting or catching an airpocket that will
give you very poor sound quality. !
!
!
!
57
!
4. At the time of contact, you start the after-flow motion. The bottom of your cymbal
follows your elbows away from the body into an “A” position.!
!
!
!
5. This is followed by a fluid motion back inward forming another “V”!
!
!
!
6. The “V” position will flow directly into the vertical playing position. The important
concept from this entire progression is flow. Effortless and natural.!
!
58
Timing Exercises!
!
It is paramount for a cymbal line to move and interpret rhythms in a similar fashion.
When split parts are involved, it helps to internalize the entire line rather than your
individual notes. This will create better cohesion and flow–the entire group thinking as
playing as if it were one person. These should be practiced with a metronome and
music. Being able to feel groove and correct placement within the context of music will
be beneficial.!
4-2-1 Timing
j j j j j j j j r r r r
ãc œ œ œ œ ! œ . ! œ . ! œ . ! œ . ‰ œ ‰ œ ‰ œ ‰ œ ‰. œ ‰. œ ‰. œ ‰. œ
j j j j r r j j j j r r
ãœ œ ! œ . ! œ . ‰ œ ‰ œ ‰. œ ‰. œ œ œ ! œ . ! œ ! ‰ œ ‰ œ ‰. œ ‰. œ
5
j j r j j r j j r j j r
ãœ ! œ . ‰ œ ‰. œ œ ! œ . ‰ œ ‰. œ œ ! œ . ‰ œ ‰. œ œ ! œ . ‰ œ ‰. œ
9
!
!
!
This exercise incorporates unison downbeats with other 16th-note subdivisions.
Players must also execute moving from the horizontal to vertical playing positions for
the two different sounds. Various crashes and playing positions can be used.
Timing/Movement 1
. . . . . ^ . . . . ^ ^ . . . . ^ ^. ^ . .
ãc
œœœ œœœ œœœ œœœ œœœ œ ‰ œœœ œœœ œœœ œœ œ œ œœ œœœ œœœ œ œ œ œ œœ œœœ
œ œ œ œ œ œ œ œ œ œ œ œ
. ^ ^ . ^ . ^ . . . . . . ^ . . . . ^ ^ . . .
œœ œ œ œ‰ œ œœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œ œœ œœ
ã œ œ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œ œœ œœ œœ
. ^ ^ . ^ . ^ ^ . ^
5
. . . ^ . .
œ œ œ œœœ œœœ œœ œ œœ œœœ œœœ
ãœ œ œ œ œ œ œ œ ‰ œ Œ Ó
9
59
The Front Ensemble!
!
Orchestra Bells (Glockenspiel)!
The orchestra bells or glockenspiel, has a high pure tone that projects well through any
ensemble. The range is two and one half octaves from G3 to C6 and instrument has a
transposition of two octaves. In other words the notes sound two octaves higher than
written. It should be played with plastic mallets as a rule, occasionally brass may be
used for a special effect. Due to the high register, natural sustaining quality of the metal
bars, and delicate sound highly technical passages and rolls are rarely given to the
bells. Take care to lighten up both the grip and stroke while playing bells as due to the
complex overtone structure it is easy to overplay and get a harsh tone. In general, let
the bars ring.!
!
Chimes!
Chimes will be suspended from a rack and used as necessary. They are played with
plastic hammers on the crown at the top of each tube. Notes from a range of one and
one half octaves from C4 to F5 will be used.!
!
Xylophone!
The xylophone has a high, brittle tone. It’s range is three and one half octaves from F3
to C7 and it also transposes, sounding one octave higher than written. Plastic mallets
should be the general choice, with softer mallets also used for special effects. The
staccato nature and piercing tone of this instrument suit it to highly technical writing.
The shortness of tone will require a faster roll speed than other instruments.!
!
Crotales!
Two octaves (C4 to C6) of crotales (tuned metal disks) will be mounted on the
xylophone. They sound two octaves higher than written, and are played with plastic
mallets. They have a high, singing tone similar to that of orchestra bells but with more
warmth and sustain.!
!
Vibraphone!
The vibraphone has a mellow, ringing tone that nevertheless projects because of the
metal bars. It has a three octave range from F3 to F6 and sounds as written. General
purpose mallets would be medium hard to hard, cord wrapped in sets of two and four.
Because of the natural sustain of the instrument, rolls are seldom used, and skill must
be acquired to control this sustain. The principal tool for this is the sustain pedal, which
in practice works much like a piano's sustain pedal. Mallet dampening is another more
advanced method. Here the mallets are pressed into the bars, cutting off the ring. Many
times this is necessary for clarity of line, so scale tones do not ring together. Using
mallet dampening while the sustain pedal is depressed allows some notes to ring on
while others are muffled creating harmonic textural effects.!
!
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!
60
Marimba!
The marimba is a cousin of the xylophone. It typically has a wider range (four and one
third octaves from A2 to C7) and sounds as written. They share many qualities in
sound, however the marimba's is more versatile. It can have the brittle tone of a
xylophone, but also the mellow quality of the vibes. It depends on the mallets and
technique used. For this reason a wide variety of mallets are necessary to suit each
musical situation. Sets of two and four, soft through hard, wrapped and unwrapped, are
all useful.!
!
Accessory Instruments!
A wide variety of accessory instruments will be used based on the musical demands of
the program. The most commonly used instruments are: suspended cymbals, bass
drum, tam-tam, triangle, tambourine, wood blocks (jam blocks), cowbells, shakers, etc.
Techniques for playing these instruments will be addressed in rehearsal.!
!
Timpani!
There will be a set of four timpani for use when the program calls for it. Only players
approved to do so will play timpani. Timpani technique will be addressed on an
individual basis.!
!
!
!
Basic Keyboard Percussion Technique!
!
Playing Spots!
The proper playing spot on the naturals (white keys) is just in the center of the bar. Use
the tops of the resonator tubes as a guide. This area produces the desired overtones
aiding projection. The accidentals (black keys) will be struck in the center of the bar as
well. The edge will be used only when speeds dictate better accuracy and movement.
The spots where the bar cord passes through the bars are called nodes and should be
avoided. When it is necessary to play with two mallets on an accidental, such as when
sustaining, it is acceptable to position one of them near the center of the bar. !
!
Technique Exercises!
Exercises should be practiced with a metronome whenever possible. You can also
practice scales along with your favorite songs. Have fun with it! Start slowly and
increase tempo gradually. Accuracy and efficiency are more important than speed.
Speed will come with patient repetitious practice. Practice with full, loud strokes at first,
then try different dynamics, crescendi and decrescendi, etc. Exercises without specified
transpositions should be played in all keys. Transpose chromatically upward. Play
scale exercises to both major and minor, and apply major, minor, dominant seventh,
and diminished seventh qualities to chord exercises. Single line exercises can be
stacked into chords among the ensemble. !
!
!
!
61
Two-Mallet Grip!
The setup for two-mallet playing will be similar to that of the snare drum: 1 to 2 inches
of the butt end of the stick behind the back of the hand, thumb placed parallel on the
side, etc. There are some differences though moving forward which are outlined below.!
!
!!
• The front of the hand, which includes the index finger, is
relaxed. Notice in the photo the relaxed, natural curve to the
index finger and the space between the index finger and the
middle finger. !
• The back of the hand, which includes the pinky and ring
fingers, is firm.!
• About two inches of mallet shaft should stick out behind the
hand. Find the best fulcrum spot for the mallet and avoid
choking up too much or too far back.!
• With the exception of very fast playing, the mallet should not
move much within the hand during the stroke. The wrist will
general all of the momentum. Unlike drums, mallet instruments
to not provide a rebound, so we much generate our own using
the wrist.!
• The firmness in the back of the hand should generate weight
into the bar. Think of your hands feeling heavy enabling you to
produce a big, dark, full sound.!
!
!
Stroke!
!
! !
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!
• Wrists are positioned very low to the instrument and the mallet heads are high.!
• Hands should angle in slightly. The tops of your hands are neither completely flat
with your palms down, nor turned completely to the side with the thumbs facing up.!
• Think of all strokes being initiated by the wrist and back of the hand. We will
incorporate some arm movement later on. In order to produce maximum volume in
a football stadium, arm movement will be needed. Always start though at the wrist!
• When executing fast two-mallet passages, the fulcrum will transfer to the front of
the hand, thumb and index finger. This will allow for greater agility. At fast tempos,
lower your mallet heights and eliminate any extraneous movement not needed.
Efficiency is the key here.
62
Keyboard Posture!
!
Great percussion performance begins with great posture. Before you play a note,
members of your audience make conscious and unconscious judgements of you based
on the way you look behind your instrument. Our goal is to convey a sense of maturity
and professionalism. Performers should make a noticeable impression on the viewer/
listener by projecting confidence, poise, and dignity.!
!
• Stand with your feet shoulder width apart!
• Stand as tall as possible, imagining a string
pulling you up from the top of your head!
• Imagine a straight line extending from your ears
to your shoulders to your hips on down to your
heels!
• Your upper body should be upright, never
hunched over!
• Shoulders should be slightly back and relaxed.
Opening up the check and creating a “big look” to
your stance and body carriage!
• Keep your head up and look down at the
keyboard through your nose!
• Upper arms should stay relaxed and hang down
from the shoulders naturally and without tension!
• Although the distance between your body and the
keyboard will vary based on the musical passage,
in general you should stand in such a way that
moving between the upper and lower manuals is
easy and fluid!
!
!
!
Setting Up The Mallets and “Looking In”!
Set up for each exercise, phrase of music or start of a piece with your mallets directly
above the notes the hands are about to play. This is very important in facilitating
starting music by looking towards the inside of the pit rather than at your own
instrument. Set up directly over the notes you want to strike, look into to the center of
thee pit, and strike your notes without looking back. Trust that if you are over the proper
notes and you fire straight down, you will (with time) rarely miss notes. This process
takes practice and patience but it is worth it. A missed note on a rhythmically accurate
attack is far better than late or early attacks.!
!
Even when practicing alone, practice the act of “looking in.” Get comfortable with what
it feels like. Successful execution of this ensemble activity will greatly enhance the
musical, physical, and performance level.
63
Scales and Modes!
All scales and modes, as show below, are based off of differing intervals of half and
whole-note steps. You can also think of these in relation to what scale tones, in it’s
major key, have been altered, ie. Lydian is a major scale with the 4th raised a half step.!
œ œ œ œ #œ œ
Natural Minor Harmonic Minror
œ œ
Major
&œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Melodic Minor
œ œ #œ bœ nœ œ nœ œ œ
&œ œ œ œ œ œ
œ œ œ #œ œ
Lydian œ œ œ œ œ
Natural Minor
Harmonic Minror
œ
Major
& œ œ œ œ œ œ œ œ
œ œ œ
Dorian Phrygian
& œœ œœ b œ œ œ œ b œ œ œ b œ b œ œ œ b œ b œ œ œ œ œ # œ œ œ œ œ
œ # œ b œ n œ Locrian
œ nœ œ
Melodic Minor
& œMixolydianœ œ œ œ œ œ œ
& œ œ œ b œ œ œ bœ b œ b œ œ
œ œ œ œ bœ bœ
Dorian Phrygian Lydian
& œ œ bœ œ œ œ bœ œ œ bœ bœ œ œ bœ bœ œ
Chromatic
œ œ œ #œœ # œ œœ
œ œ œ
œ
&œ #œ œ #œ œ œ #œ œ #œ
Mixolydian Locrian
& œ œ œ bœ œ œ bœ bœ bœ œ
œ œ bœ bœ
C Whole Tone C# Whole Tone
& œœ œ œ #œ #œ #œ œ
#œ
œ
#œ œ œ œ œ #œ
Chromatic
&œ œ #œ œ œ # œ# œ œ œ#œ œ
œ # œ œ
C Diminished C# Diminished D Diminished
# œ œ œ œ œ bœ bœ nœ # œ œ
& œ bœ œ #œ #œ
œ #œ #œ œ #œ
œ œ œ œ œ bœ
C Whole Tone C# Whole Tone
#œ œ œ œ #œ
&œ ! œb œ #b œ b œ# œ b œ #bœœ œ œ
Major Pentatonic Minor Pentatonic Blues
& bœ b œ œ b œ b œ b œ b œ # œ œ bœ œ
! bœ œ bœ œ #œ
Pentatonic
C Diminished
and Blues Scales!C# Diminished D Diminished
& Blues
Pentatonic
#
scales
œ
are mostœ easily
œ œ œ œ
on theœ black
b
demonstratedDIMINISHED
œ # œ keys
œ b œ
SUS 4 of the keyboard.
nœ #œ
bC6œthird.! œ
b œ œ # œ œ # œ œ œ
MAJOR MINOR AUGMENTED
œ œ
& www scales are altered
b www#œ #œ
pentatonic scales including
# www
the ‘blue œ
note’ or lowered w b b www www www
bœ
b œ 7TH bœ
b œ b œ DOMINANT bœ bœ bœ
Major Pentatonic Minor Pentatonic Blues
& bœ bœ œ bœ œ
b œ b wwb œ œ bœ œ !# œw
MAJOR 7TH MINOR 7TH HALF-DIMINISHED 7TH DIMINISHED 7TH
& wwww b www

w b ww b b b wwww b b www
! MAJOR
& !www
MINOR AUGMENTED
ww #DOMINANT
DIMINISHED SUS 4
ww MINOR
C6
wwww
b www # w www b b www w w w
MAJOR 13 13 (#11) 13
& !wwww b www b b wwww

w
w
MAJOR 7TH DOMINANT 7TH MINOR 7TH HALF-DIMINISHED 7TH DIMINISHED 7TH
& www b www b b wwww b b b wwww b b ! wwww

w w 64
MAJOR 13 DOMINANT 13 (#11) MINOR 13

œ œ bœ œ bœ bœ œ œ œ œ œ œœ œ œ œ œ # œ œ
œ
œ œ œ œ œ
& œC Whole œ œ œ œ œ œ œ
Tone C# Whole Tone
&œ #œ #œ œ œ œ œ #œ
Mixolydian
œ œ #œ # œ
Locrian
# œ œ
& Melodic œMinor œ œ œ œ bœ bœ œ nœ b œ b œ œ bœ bœ bœ œ
œ œ œ # œ œ œ n œ œ œ
& œC Diminished œ œ C# Diminished D Diminished
œ œ œ
!
& Chromatic b œ œ # œ # œ œ œ œ œ # œ œ œ bœ œ #œ œ œ œ b œ bœ nœ #œ œ
& œœDorianœ # œ
! œ # œ œ œ Phrygian
# œ # œœ #œ œ #œ œœ #œ œ œ
!
& Triads! œ œ œ bœ œ œ
Lydian
b œ b œ œ Blues œ œ # œ œ œ œ œ
œ œ b œ bœ œ b œ b œ œ
b œ b œbasic b œ b œ the first,
Major Pentatonic Minor Pentatonic
& bœ C Wholeb œTone
Triads are b œthe most of chords,
b œ bœ and b œ b
are œ built
C# Whole from
Tone
b
third, and fifthœscale
œ œ # œ bœ œ
& œMixolydianœ #œ #œ œ œ œ œ œ #œ
œ #œ # œ
Locrian
# œ œ
& MAJOR œ œ œ œ AUGMENTED bœ œ œSUS 4 b œ b œ C6b œ œ
œ œ MINOR œ DIMINISHEDbœ bœ
& Cwww Diminished b www #C#www Diminished b b www www
D Diminished wwww
& Chromatic œ b œ œ # œ #œ œ œ œ
# œ œ # œ œ œ bœ œ # œ
œ œ œ œ bœ bœ nœ #œ œ
& œœMAJOR 7TH# œ œ DOMINANT # œ 7TH œ
#œ
œ
MINOR 7TH
#œ œ HALF-DIMINISHED
#œ œ
7TH
#œ œ
DIMINISHED 7TH
œ
& ThewwwMajor triad

degrees.
b w
w
The suspended fourMinor
w b œ b œ
chord
sixth stillb functions
b w
w
w
has become a commonBlues
b b bbw
w
wœ b b ! wwww of the œ
sound in popular music.
b œ b œ
Pentatonic Pentatonic
w b œ w w b œ w
& bcolorœ b œtone. They can also be played b œ b œ inœbinversions.!
œ b œ œ # œ œœ b œ # œ
C Whole Tone with an added as aWholetriad, even with the addition
œ
C# Tone
&œ ! œ #œ #œ #œ œ MINOR œ œ
MAJOR œ13 DOMINANT 13 (#11) # œ # œ
!ww # wwww AUGMENTED ww
w www SUS 4
13
w
& wwwC Diminished b www C# Diminished b
! b w
MAJOR MINOR DIMINISHED C6
& www b www # www b b www b œ œ # œ w www wwww

D Diminished
œ bœ œ nœ #œ œ
!
& œ bœ œ #œ #œ œ œ œ
œ # œ œ œ œ œ b
œ #œ # œ œ
& www wMajor Pentatonic

b www b œ b œ Minorb wPentatonic
b www b œ b œ b œ b b bbwwwwœ b b ! wwww
b œ
Blues
& bœ bœ b œ w œ #œ œ bœ œ
bœ bœ œ bœ
wwSeventh # ww DOMINANT ww SUS
w w w
MAJOR 13 13 (#11) MINOR 13
& wwwwSeventh chords are a further b wwwextension of triadic harmony. The b www most
Chords!
b
MAJOR MINOR AUGMENTED DIMINISHED 4 C6
& www b www the seventh.w #They

www w ww
b b wwwplayed in inversions.w wwwwtones
important
are the third and can also be Diminished
seventh chords are symmetrical. There are three sounding chords whose inversions
each serve four keys.!
& !wwww b www

w b b wwww b b b wwww b b ! wwww
!
ww # ww ww
& wwwww b wwww w
MAJOR 13 DOMINANT 13 (#11) MINOR 13
w b wwww
b
!
!
Extended Harmony!
Chords can be stacked in thirds beyond the seventh to form up to a thirteenth chord.
Beyond this the root is repeated. There are three commonly used thirteenth chords,
each having the same function as the seventh chord from which it was built. The raised
eleventh in the major and dominant thirteenths is to avoid a clash with the third.
65
Scales and Check Patterns!
!
Rhythmic consistency is the backbone of any playing, regardless of instrument. Mallet
instruments also have the unique addition of scalar patterns, which make up a large
majority of their musical material. The check patterns should be a daily and regular part
of your practice. They cover every combination of duple and triple combinations (three
note, two note, and single note.) All front ensemble members should also incorporate
Timing 101 from the battery section. Good timing is good timing no matter what section
you are in.!
!
Use the pattern in the exercise or play them on a single note. You should be fully
proficient in these leading with both the right and left hands.!
!
Practice the check patterns at all dynamic levels and tempi.!
!
!
!
66
Four Mallet Technique!
!
Occasionally on marimba and vibraphone it is necessary to use four mallet technique.
This allows for fuller harmonic textures and more advanced melodic figures. Four
mallet ability is not required to get or stay in the Pit but it is hoped that the keyboard
players will want to gain some knowledge in this area to supplement and expand both
their capabilities and those of the section as a whole. There are two basic systems of
playing with four mallets that will be used. Players may become proficient in either or
both as they are not exclusive of one another. Indeed they are complimentary, the
strengths of each covering the weaknesses of the other. As these systems are too
complex for detailed presentation here, only brief descriptions are given. For more
detailed information, consult the bibliography and the instructor for assistance.!
!
The Burton System!
Jazz vibist Gary Burton developed this system in the early 1960's. It uses a firm grip in
which the mallets cross in the hand, and a stroke similar to that used for drumming. Its
advantages are relative ease in learning, inherent strength in grip and stroke, and it is
very good for vibraphone mallet dampening. Its disadvantages are clumsy interval
changes, and limited mallet independence. To form the Burton Grip, start with a normal
two-mallet grip. Insert the second mallet (which will be the outside mallet) in each hand
between the first and second fingers, and between the inside mallet and the palm.
Intervals are changed by moving the inside mallet with the pinkie and ring finger on the
end of the mallet, and the forefinger and thumb on the other.!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
87
The Stevens System!
Leigh Howard Stevens first developed this system in the early 1970's for his style of
"classical" marimba playing. The mallets do not cross in the hand using the fingers
more and giving them greater independence. Also, the hand position is vertical allowing
for a rocking back and forth motion of the mallets as well as the up and down. Its
advantages are freedom of motion, mallet independence, and smooth interval changes
in a wide range. Its disadvantages are that it's difficult to learn due to great amount of
technical detail, and it's not as strong until well developed. As this system is too
complex for complete discussion here, individual attention from the instructor is
necessary for those interested.!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
88
!
Stroke Types!
There are four basic stroke types for four-mallet performance. They are Double
Verticals (both mallets in one hand striking at the same time), Single Independents
(each mallet striking separately), Single Alternating (both mallets in one hand
alternating strokes), and Double Laterals (sequential striking of both mallets in one
hand). !
!
Double Vertical strokes are done in a similar fashion to a regular two-mallet stroke.
Using the off mallet as an axis, and rotating the stroke around it performs single
Independent strokes (one mallet at a time). By rocking the hand back and forth, Single
Alternating strokes are produced. Double Lateral strokes are the equivalent of a
double-stroke on a drum, where to notes are produced by one stroke. They are
accomplished by scooping the wrist in the direction of the stroke. !
!
Each stroke type should be mastered alone before continuing on to the exercises. In all
further discussion and in the exercises, the mallets will be numbered from left to right,
low to high (1-2-3-4). Practice these very slowly at first; accuracy is more important
than speed. As before, transpose through the twelve keys.
89
One Octave My Favorite
bœ œ
& œ œ œ œ œ œ œ œ bœ œbœbœbœ œbœbœ œ œ#œ œ œ œ#œ œ œ œbœbœ œ œbœ œ#œ#œ œ œ#œ#œ
L R L R L R L R L
œ œ œ œ bœ œ#œ#œ#œ#œ œ#œ œ œ œ œ b œ œ b œ b œ œ œb œ œ #œ#œ œ œ#œ œ

& œ œ œ #œ#œ#œ œ œ bœ œ
b œ œ œ œ b œ œ # œ #œ#œ œ#œ œ œ œ œœ œœœœœœœ œ#œ#œ# œ œ

b œ œ œ #œ œ œ œ œ œ #œ #œ
&
L R L R L R L R L R L R L R L R
b œ œ œ œ bœ œ#œ#œ œ b œ œ œbœbœ œbœbœ œ œ œ œ œ#œ œ #œ#œ#œ#œ œ#œ
& œ œ b œ œ œ#œ œ œ #œ#œ
œ œ œ #œ #œ œ œ bœ
& œ œ œ bœ œ œ #œ #œ œ bœ œ œ bœ bœ œ œ
& œ #œ œ œ œ #œ œ œ bœ bœ œ bœ bœ bœ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Two Octave My Favorite

#œ œ#œ#œ#œ#œ œ#œ œ œ œ œ œ œ bœ œ
&
b œ œ œ œ œ #œ # œ œ bœ bœ œ b œ
œ # œ œ œ#œ#œ œ
œœ œ b œ œ
L R L R L R L R L
b œ œ œ œ b œ œ # œ #œ#œ œ#œ œ# œ œ œ œ#œ œ
& bœ œ œ #œ œ œ œ œ œ œ b œ œ
œ œ œ œ bœ bœ œ bœ bœ bœ
bœ œ œbœbœ
œ œ bœ œ #œ#œ œ œ b œ œ œ œ œ œ œ œbœ œ œ
œ œ
& œ œ #œ #œ œ œ œ œ bœ œ œ œ
œ#œ#œ œ œ b œ œ#œ œ œ œ # œ œ b œ œ b œ b œ bœ œ bœ
& #œ#œ œ bœ œ œbœbœ œ œ œ bœ œ œ œ œ
œœœœ
œ b œ œ œbœ œ œ œ b œ œ #œ#œ œ œ#œ œ

& # œ #œ œ#œ#œ#œ œ bœ œ œ bœ bœ
œ b œ b œ œ œ œ œ œ œ#œ œ
œ
#œ #œ œ œ œ œ bœ œ œœœœ
& #œ #œ #œ œ #œ #œ œœ œœœ œ œ œ b œ
bœ œ œ œ œ œbœ œ œ œ
Lockjaw
& œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœœ œ# œ œ œ œ
...
L R
8's
& ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ œ Œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
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 R
One Octave Scales & Arpeggios

& œœœœœœ œœœœœœ œœœœœœ œœœœœœ œœœœœœ œœœœœœ œœœœœ
L
Two Octave Scales & Arpeggios

œ œ œ œœœœœ œœœœœœ œ œœœ
& œœœœœ œ œ œ œ œ œœœœœœœœ œ œ œ œ
L
œœœœœœœœ œ œ œœœ œœ œ œœœœœ
& œ œœœœœ œ œ œœ œ Œ
œ œœœ œœœœœ
Chromatic Up/Scale Down
& œ # œ œ #œ œ œ #œ œ #œ œ #œ œ œ œ œ œ œ œ œ œ # œ œ #œ œ œ #œ œ #œ œ #œ œ œ
R
& #œ #œ #œ #œ #œ #œ #œ # œ œ œ #œ œ #œ œ œ œ #œ œ
œ #œ œ œ #œ œ #œ œ #œ œ
...
(at the end) œ #œ œ œ œ œ œ œ œ œ œ œ
& œ #œ œ #œ œ œ #œ œ #œ
œ œ œ œ œ œ
Thirds
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
L
2
Four Note #1/Green #1
œ
& œœ œœœœœœœœœœœœ œœœœœœœœœœœœœ œ œœœœœœœœœœœœœœ œœœœœœœœœœœœ
œ œ œ
R L
Four Note #2
œ
& œœœœœœœœœœœœœœœœ œœœœœœœœœœœ œ œœœœœœœœœœœœœœœœ œœœœœœœ œœ œ
œ œœ
L R
Green #2
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ
R
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Green #3
& œœœœœœœœœ œœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœ œœœœœœœœ œœœœœœœœ˙
œ œ
R
Green #4
3
3 3 3 3
œ
& œœœœœœœœœœœœ œœœœœœœœœœ œ œœœœœœœœœœœœœœ œœœœœœœœœœœœœ
RLRL 3 3 L
Triplet Green
3 3 3 3 3 3 3
3 3 3 3 3
œ œœœœœœ œœœœœœœœœœœ
& œ œœœœœœœœœœœ œœ œ LRLR
œ œœœœœœœœœœ
RLRL 3 3
Triplet Arpeggios
œ œ
3
œ œœœœ œœ œœ œ 3 3
œ œ œœœ œœœœ œ 3
& œœœ œ œ œœœœœ œ œ œœ œ
3 3 3 3
L 3 3 3 3
Duple 7th Arpeggios

œ œ œ œ
œ œ œ œœœœœ œ œ œœœœœœœœ œ œ œ œ œ œœœœœ œ œœœœ œœœœ œ
& œœœ œ œ œœœœœ œ œ œœœ
L
London Bridge
(Double Verticals)
& œœ œœ œœ œœ œœ œœ œœ œœ
{
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
? œœ œœ œœ œœ œœ œœ œœ œœ œœœœœœœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœœœœœœœ
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
{
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
? œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
& œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
{
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
? œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ˙˙
I - ii7 - V7 - I
& œœ œœ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ ˙
{
œ œ œ œ œ œ œ œ œ ˙
? œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ˙˙
2
London Bridge Permutations

Contrary Single Alternating
& œ œ œ œ œ œ œ œ
{
? œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
Out/In In/Out
Parallel Single Alternating

& œ œ œ œ œ œ œ œ œ
{
? œ œ œ œ œ œ œ œ œ
Left/Right Right/Left
Broken Single Alternating

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
{
? œ œ œ œ œ œ œ œ
1 3 2 4
1 4 2 3 2 3 1 4 2 4 1 3 3 1 4 2 3 2 4 1 4 1 3 2 4 2 3 1
Outside Double Laterals Inside Double Laterals Ascending/Descending DL

& œ œ œ œ
{
? œ œ
1 2 4 3 4 3
œ œ
1 2
œ œ
2 1 3 4 3 4
œ œ
2 1
œ œ
1 2 3 4 4 3
œ œ
2 1
Inside Triple Laterals Outside Triple Laterals Ascending/Descending TL

&
œœœ œœœ
œœœ œœœ
œœœ
œœ
{
œ
? œœœ œœœ œœœ
œœœ œœ
œ œœœ
2 1 2 3 4 3 3 4 3 2 1 2 1 2 1 4 3 4 4 3 4 1 2 1 1 2 3 4 3 2 4 3 2 1 2 3
7/8
Sandi Rennick
Marimba & Xylophone

7 ™™ œ œ œ œ œ œ œ ™™ ™™ œ œ œ œ œ œ œ ™ ™ ™™
&8 œœ œœ œœ œœ œœ œœ œœ ™ ™ œœ œœ œœ œœ œœ œœ œœ #œœ œœ œœ œœ œœ œœ œœ
{
bœ œ œ œ œ œ œ œ œ œ œ œ œ œ
b œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ
?7 ™™ œœ œœ œœ œœ œœ œœ œœ bœœ œœ œœ œœ œœ œœ œœ ™™ ™™ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ ™ ™ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ™™
8 ™ ™
Vibraphone ˙ œ
™™ b˙˙˙ œ ˙ œ ˙˙
7
{& 8 œ œ bb˙˙˙˙ œ œ œ ™™ ™™ ˙˙ œœ ˙˙ œ œ œ ™™ ™™ ˙˙ œ œ #˙˙˙˙ œ œ œ ™™
˙ ˙ ˙
Timpani
°? 7 ™ œ œ bœ œ œ œ œ œ ™™ ™™ œ œ œ œ œ œ œ œ œ œ œ œ ™™ ™™ œ œ œ œ œ œ œ œ œ œ ™™
¢ 8 ™ œ œ œ œ œ œ
& ™™bbœœ œœ œœ œœ œœ œœ œœ ™ ™ œœœœœœœ

bœœ œœ œœ œœ œœ œœ œœ ™ ™ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ
™™ ™™ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ™™
{ ? ™™ œœ œœ œœ œœ œœ œœ œœ
bb˙˙
b œœ œœ œœ œœ œœ œœ œœ ™ ™ œœ œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ œœ
œ b˙˙
™ ™
˙˙
œ
œ ˙˙
œœœ
œœœœœœœ
™™ ™™ œ œ œ œ œ œ œ
˙˙
œ
œ
œœ œœ œœ œœ œœ œœ œœ
˙˙˙ œœœ ™
™™
™ œ œ œ œ ™™ ™™ ˙˙ œ b˙˙ ™™ ™™ ˙˙ œ
{& ™ ˙ ™
˙ œ b ˙˙ ˙
°? ™ œ œ œ œ œ bœ œ œ œ œ ™ ™ œ œ œ œ œ œ bœ œ œ œ œ œ ™ ™ œ œ œ œ œ œ
¢ ™ œ œ ™ ™ ™ ™ œ œ œ œ œ œ ™™
œœ bœœ œœ œœ œœ œœ œœ œœ ™™ ™™ bœœ œœ œœ œœ œœ œœ œœ bœœ œœ œœ ™™ œœ ‰ Œ Œ ™

& ™™ b œ
bœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
{
J
œ œœ œœ œœ œœ œœ
œœ b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ œœ œœ
? ™™ b œ ™™ ™™ ™™ J ‰ Œ Œ ™
bb ˙˙ œ ˙ œ
œ œ bb˙˙˙˙ œ œ œ b ˙˙ œ œ bb˙˙˙˙ œ œ œ œœ
™™ b˙˙ ™™ ™™ ˙ ™™ œœ ‰ Œ Œ ™
{ &
J
°? ™ œ œ œ ™™ œj ‰ Œ Œ ™
œ œ œ bœ œ œ œ œ œ ™™ ™™ œ œ œ œ œ œ bœ œ œ
¢ ™ bœ œ œ
Bibliography!
!
General Sources!
Capps, Edward. Cymbal Technique: Basic to Advanced. Fort Walton Beach, FL:
Foundations in Brass, 2010.!
Casella, Jim and Ancona , Jim. Up Front, A Complete Resource for Today’s Pit
Ensemble. San Jose, CA: Tap Space Productions, 2003.!
Cook, Gary D. Teaching Percussion. Second Edition, New York, NY: Schirmer Books,
1997. !
Hannum, Thom. Championship Concepts for Marching Percussion. Milwaukee, WI: Hal
Leonard Publishing, 1989.!
Queen, Jeff. The Next Level. Briarcliff, NY: Hudson Music, 2007.!
Rennick, Paul. Various Materials.!
Stone, George Lawrence. Stick Control for the Snare Drummer. Randolph, MA:
George B. Stone & Son, 1935.!
Various. The Cavaliers Complete Percussion Book. Rosemont, IL: The Cavaliers Drum
and Bugle Corps, 2003.!
Wooten, John. The Drummer's Rudimental Reference Book. Nashville, TN: Row-Loff
Productions, 1992.!
!
For Further Drumming Study!
Bachman, Bill. Bass Logic. Nashville, TN: Row-Loff Productions, 2004.!
Bachman, Bill. Quad Logic. Nashville, TN: Row-Loff Productions, 1997/2000.!
Bachman, Bill. Rudimental Logic. Nashville, TN: Row-Loff Productions, 2000.!
Bissell, Paul. Tenor Madness! Corpus Christi, TX: Go Fish Music, 1996.!
Buecker, Glen A. "Contemporary Marching Bass Drum Techniques," Percussive Notes
Vol. 33, No. 3 (June 1995): 22-23.!
Cirone, Anthony J., ed. Master Technique Builders for Snare Drum. Melville, NY: Belwin
Mills, 1982. !
Davila, Julie. Modern Multi-Tenor Techniques and Solos. Nashville, TN: Row-Loff
Productions, 1997. !
Morello, Joe. Master Studies. Cedar Grove, NJ: Modern Drummer Publications, Inc. !
Peters, Mitchell. Developing Dexterity for Snare Drum. Los Angeles, CA: Mitchell
Peters, 1968. Stevens, Mike. The Ultimate Quad Video. Dynasty, 1999!
Stone, George Lawrence. Accents and Rebounds for the Snare Drummer. Randolph,
MA: George B. Stone & Son, 1961.!
Werth, Nick. Movement and Mentality: A Treatise on Quad Drumming. Denton, TX;
Self-Published, 2010.!
!
!
For Further Cymbal Study!
Denov, Sam. The Art of Playing Cymbals. New York, NY: Henry Adler, 1963. Hannum,
Thomas P. The Cymbal: Its Standard and Special Use in Contemporary Marching
Ensembles. Amherst, MA: University of Massachusetts, 1984. !
Soroka, John. "John Soroka on the Cymbals: Part 1," Percussive Notes, Winter 1990.!
!
92
For Further Keyboard Percussion Study!
Bobo, Kevin. Permutations for the Advanced Marimbist. Asbury Park, NJ: Keyboard
Percussion Publications, 2007!
Cirone, Anthony J., ed. Master Technique Builders for Vibraphone and Marimba.
Melville, NY: Belwin Mills, 1985.!
Friedman, David. Vibraphone Technique, Dampening and Pedaling. Boston, MA:
Berklee Press Publications, 1973.!
Ford, Mark. Marimba: Technique Through Music. Nashville, TN: Innovative Percussion,
2007 !
Goldenberg, Morris. Modern School for Xylophone, Marimba, Vibraphone. New York,
NY: Chappell & Co., Inc., 1950.!
Green, George Hamilton. Instruction Course for Xylophone. Ft. Lauderdale, FL:
Meredith Music Publications, 1984.!
Samuels, David. A Musical Approach to Four Mallet Technique for Vibraphone, vol. 1,
New York, NY: Excelsior Music Publishing, 1982.!
Stevens, Leigh Howard. Method of Movement for Marimba, Revised and expanded,
Asbury Park, NJ: Keyboard Percussion Publications, 1990.!
Stout, Gordon B. Ideo-Kinetics: A Workbook for Marimba Technique, Ithaca, NY: G & C
Music, 2001. !
Stone, George Lawrence. Mallet Control for the Xylophone. Randolph, MA: George B.
Stone & Son,!
1949.!
!
Miscellaneous!
Hinger, Fred D. Technique for the Virtuoso Timpanist. Hackensack, NJ: Jerona Music
Corporation,1975. Payson, Al. Techniques of Playing Bass Drum, Cymbals, and
Accessories. Northbrook, IL: Payson Percussion Products, 1971.!
Peters, Mitchell. Fundamental Method for Timpani. Van Nuys, CA: Alfred Publishing
Co., Inc., 1993.
93
World Wide Web!
!
Avedis Zildjian Company: www.zildjian.com !
Bands of America: www.bands.org!
Blast!: www.blasttheshow.com!
Drop6 Media: www.drop6.com!
Drum Corps International: www.dci.org!
Drum Health & Wellness: www.sportsrehab.com/drumming.htm!
LP Percussion: www.lpmusic.com!
Marching Percussion Forums: www.drumlines.org!
The Percussive Arts Society: www.pas.org !
PASIC Convention: www.pasic.org!
Row-Loff Productions: www.rowloff.com!
Snare Science: www.snarescience.com!
Tap Space Publications: www.tapspace.com!
UNL Bands: www.unl.edu/band !
Vic Firth Inc.: www.vicfirth.com!
Winter Guard International: www.wgi.org !
Yamaha Corporation: www.yamaha.com
94

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CORNHUSKER

Dr. David Hall

16th Note Timing (1-Note)

16th Note Timing (3-Note)

/ œœœœœœœœœœœ œœœ œœœœœœœœœ œ œœ œ œ œœœœœœœœœ œœœ œœ œœœœœœœœ ≈ œœœ ≈ œœœ

"Irish Spring" Doubles

> > > >

Flams/Flam Taps variation

16th Note Timing

*Jungle patterns may also be used (without ﬂams)

East Out East In

Urban Jungle Suburban Jungle

West Out West In

16th Note Timing (1-Note)

œœœœœ œœœœ≈œ œœœ œ œœœœ≈œ

16th Note Timing (3 note)

Triplet Timing (1-Note)

Irish Spring (1)

Irish Spring (2)

œ œœœ œœ œ œœœœ œ œœœ œœ

16th Note Timing

"Irish Spring" Doubles

. . . .j . .j . . . . . . . . .j . . . > > > > > > .

12 > > > œ œ œ >œ œ œ œ >œ œ œ œ >œ œ œ œ >œ œ œ œ >œ œœœ œ

12 j > j> j> j> j> j> j> j> j

j j æ æ > > > >

12 > > > -- ^ > > ---- ^ > > > ^^ ^^

Inward Side to Side

Reverse Circle Pattern

Rock Cross Over

Long Distance Cross Over

2. Left Hand Out

5. Right Hand In and Out

6. Left Hand In and Out

7. Both Hands Out

9. Figure Eights Out

10. Full Figure Eights Out

11. Figure Eights In

12. Full Figure Eights In

œœœœœœ œœœœ œœœœ

œœœœœœœœœ œœœ œœœœœœœœœ

ã ’ ’ ’ ’ œœœœœœœœœ œœœœœœ ’ ’ ’ ’ œœœœœœ œœœœœœ

œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ

œœ œ œ œ œ œœ œ œ œœœ œ œœœ œœœœ œœœœ œœœ œ

ã c œœœœœœœœœ œ œ œ œœœœœœœœ≈œ œ≈œ œ œœœœœœœœœ œ œ œ œœœœœœœœ≈œ œ≈œ œ

ã œœœœœ œ œœœœ≈œ œ œœœœœ œ œœœœ≈œ œ œœœœœ œ œœœœ≈œ œ œœœœœ œ œœœœ≈œ œ

ã œœœœœœœœœœœ œœœ œœœœœœœœœœ œœœ œ œœœœœœœœœ œœœ œœ œœœœœœœœ≈œœœ≈œœœ

ã œœœœœœœ œœœœœœ œ œœœœœ œœœœœœ≈œœœ œœœœœœœ œœœœœœ œ œœœœœ œœœœœœ≈œœœ

Two Note Triplet

Three Note Triplet

ã œ œ!! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œœœ œ œ œœœ œœœ œœœ œ

ã œ œ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œœœœœ œ œ œœœ œ œœœœœ œ œ

ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ

ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œœœœœ œœœœœ œœœ œ œœœœœ œœœœœ œœœœœ œœœ

ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœœœ œœœœœ œœœœœ œ œœœ œœœœœ œœœœœ œœœœœ œ

ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œœœ œ œœœ œ œ œ œ œœœ œ œœœ œ œœœ œ œ

ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ

ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œœœœœ œœœœœ œœœ œ œœœœœ œœœœœ œœœœœ œœœ

ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœœœ œœœœœ œœœœœ œ œœœ œœœœœ œœœœœ œœœœœ œ

ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ

ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œœœ œ œœœ œ œ œ œ œœœ œ œœœ œ œœœ œ œ

ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ