Presents:

Warm Up Basics for

Battery Percussion
By Ryan Jobe

1 of 37
 Introduction
This packet is meant to provide a fundamental approach
to any level battery percussion section for daily warm
up use.

Included are 8 exercises that cover all the basic strokes

and techniques found in every battery percussion
repertoire.

Each exercise will break down the fundamental

approach used to master the technique for your battery
percussion section.

Each exercise features variations to the fundamental

approach to provide maximum results.

Each exercise is 8 measures in length for easy

memorization, and focused practice.

Each exercise can also be used for standard 8-5 box drill
exercises, with the exception of Duf 16ths, which would
be a 6-5 box drill exercise.

This packet is orchestrated for:

Snares, Tenors (5 drums), 4 or 5 Basses, and Cymbals
(minimum 2 players).

2 of 37
 Technical Approach
-Stroke Types

There are 3 fundamental stroke types that

percussionists use: The Full Stroke, Down Stroke, and
Up Stroke.

Full Stroke: is a stroke that starts and ends at the

same height. The height that the player initiates the
stroke should also be the height that the stick returns to
after striking the surface.

Down Stroke: is a stroke that starts at a higher height

and ends at a lower height. The height that the player
initiates the stroke should start higher and end lower
after striking the surface. This is commonly found when
accents are present in the music.

Up Stroke: is a stroke that starts at a lower height and

ends at a higher height. The height that the player
initiates the stroke should start lower and end higher
after striking the surface. This is commonly found in
notes before an accent is used.

3 of 37
-Dynamics and Articulations

An understanding of Dynamics and Articulations is

crucial for the player to know what types of strokes to
use.

A general standard for stick heights in relation to

dynamic level is shown below.

pp = 1”
p = 3” - parallel to surface (0 Degrees)
mp = 6” - 22.5 Degrees from parallel
mf = 9” - 45 Degrees from parallel
f = 12” - 67.5 Degrees from parallel
ff = 15” - 90 Degrees from parallel (full extension)

Dynamics are generally assigned to the accent only. All

other notes are understood to be a “tap” or 3” unless
otherwise noted. This helps with rhythmic clarity and
uniformity of approach.
*If there are no accents in a passage, all notes are
understood to be played at the dynamic assigned.

Notice that none of the exercises in this packet have

dynamic markings. This is because each exercise can
focus on various heights. It is important to remember
that if accents are present, then the dynamic assigned is
for the accent only.

4 of 37
-Muscle Groups

There are 3 primary muscle groups that work together

to create motion: Fingers, Wrist, and Arm.

The Fingers are the smallest muscle group that can

maneuver the stick. This muscle group is anchored
around the “fulcrum.” The “fulcrum” is the contact
between the thumb and index finger while gripping the
stick. Although the “fulcrum” is important, the other
fingers are needed for stability and control.

The Wrist is the next largest muscle group. The wrist is

the primary motion used to move the stick to and from
the playing surface. How much wrist is used
depends on the rhythms, dynamics, and tempo called
for in the music.

The Arm is the largest muscle group. The arm is used as

an extension of the stick. With that in mind, it is only
needed for extra weight or for larger motions. If a player
uses too much arm, they will struggle to stay in tempo,
and become quickly fatigued. However, the arm is useful
to help push sound at a variety of dynamics.

5 of 37
-Cymbal notation

The “x” notehead is for a hi hat position or (HH).

This is when the player places one cymbal on top of the
other horizontally to the ground against the body. The
player moves the top hand open (like an alligator
mouth) to create the hi hat sound.

The diamond notehead indicates for a “sizzle-suck.”

From the hi hat position, the player moves the top
cymbal out and away after striking the bottom cymbal
and pulls it back in.

The triangle notehead indicates a tap. This is when the

player holds the cymbals at eye level and angled
towards each other (^). The cymbal in the right hand
will slightly overlap the left by 1-1 ½.” The player lifts
the right hand to strike the left hand for a tap.

A regular notehead indicates a cymbal crash.

-Uniformity

There should be standards set in place for posture,

sticks in/out, and playing spot. Each player must
understand these standards first before ever playing a
note. Every player must look the same. This will
increase their level of success. Everyone must do
everything the same way every time.

6 of 37
General Concepts
RELAX. Longevity is the name of the game. Muscles do
get fatigued, but tension only makes things worse.

Learn things SLOW. When learning new music or new

concepts, it is crucial to take your time. If you take your
time, you won’t waste time! Details are important. You
are building muscle memory.

PRACTICE. Yes, practice. After you learn something

new, you are only at the beginning. Learning new
information is easy. Retaining information is hard.
Retention is everything. If you play a rep 10 times, and
4 reps were good, you are only at a 40% proficiency rate.
Practice, and practice some more!

Rehearsal. Consistent rehearsal routine builds higher

quality results. Make a plan before rehearsal, and focus
on the task at hand. If you work the fundamentals every
day, it will transfer to other areas of playing.

Attitude. Positive attitude equals positive results.

Frustrations occur, but that is part of the process. If
you’re not stretching, you’re not growing. Stay positive
and trust the process.

7 of 37
 Eights
This exercise focuses on the Full Stroke. Each hand is
isolated to work on consistent strokes. There is only 1
rhythm and 1 height used in this exercise.

It is recommended to start this exercise at a slower

tempo with a larger height, i.e. 90bpm – 15”. As the
tempo increases, the heights should lower. This shifts
the focus from larger muscle groups to smaller. It is
important to create the same quality of sound no matter
the height. There should be energy through the stroke
no matter the height. When the bass drums play their
split, they should alternate the sticking to focus on an
even sound from hand to hand.

-Variations

Variation 1
-Tenors move around the drums while still isolating
each hand.
-Bass splits change from two eighth notes per
player to one.
-The cymbals split into two parts, an “A” and a “B.”
One player is assigned to play where it’s marked “A” and
the other “B.” This helps each player count and listen
across the section to match sounds.

8 of 37
Variations 2 and 3
-Crescendos and Decrescendos.
This forces the player to move within different muscle
groups as the heights increase and decrease. The
difficulty will be maintaining time as the heights change,
especially from hand to hand.
-Bass drum part changed to 16th notes down and up
the section.

9 of 37
 Eights

                                 
Ryan Jobe

                                 
Snare
R... L... R...

Tenors

                                 
R... L... R...

     
4 Basses

                           
R... L... R L...

5 Basses

                   
R... L... R L...

Cymbals
Unison... Siz-suck

                                
HH
5

                                
Sn
L... R... L...

Tn

                                
L... R... L...

     
4 Bs

                          
L... R... R L...

5 Bs

                  
L... R... R L...

Cym

                           
Variation 1
9

           
      
Sn

        
R R... L... R...

Tn

                           
R R... L... R...

  
4 Bs

                        
R R... L... R...

5 Bs

                   
R R... L... R...

Cym
Unison... A B A B...
HH Tap

10 of 37
                                 
13

             
            
Sn

     
L... R... L...

Tn

                                
L... R... L...

     
4 Bs

                    
     
L... R... L...

5 Bs

                        
L... R... L...

Cym
Uns... B A B A...

                           
Variation 2
17

 
                       
Sn

 
R R... L...

Tn

                           
R R... L...


4 Bs

                          
R R... L...

5 Bs

                   
R R... L...

Cym
Uns. Unison...
HH

                  
21

Sn

                  
R... L... R...

Tn

           

R... L... R...

 
4 Bs

 
             
R L... L... R...

5 Bs

                  
R L... L... R...

Cym
Siz-suck

2
11 of 37
                     
Variation 3
25

   
Sn

                
L... R R...

Tn

      

L... R R...

 
4 Bs

        

R L... R R...

5 Bs

                 
R L... R R...

Cym
Unison...
HH

                  
29

         
Sn

       
L...


L... R...

Tn

                  
L... R... L...

 
4 Bs

           

L... R L... L...

5 Bs

                        
L... R L... L...

Cym
A B A B... Uns...
Tap

                    
33

                    
Sn
R... L... R

Tn

             
R... L... R

 
4 Bs

                   
R... R L... R

5 Bs

                       
R... R L... R

Cym
B A B A... Uns.

3
12 of 37
 DuF
This exercise focuses on the Down stroke and Up stroke.
The Full stroke is found in the variations. This exercise
is 1 rhythm at 2 different heights. Each hand is still
isolated to focus on consistent strokes. It is natural to
focus on the accented note, but the unaccented note
needs just as much attention. The unaccented note, or
“tap,” is the Up stroke that sets up the Down stroke
afterward.

It is recommended to start this exercise at a slower

tempo. The accent should be at 12” and the tap at 3”.
The accent height can be lowered, but the tap should
remain at 3”.

-Variations

Variation 1 introduces a new accented pattern to focus

on timing.

Variations 2 – 4 use a combination of accented patterns.

Each section of the ensemble follows their own accent
pattern. This creates a new listening environment to
help train the players’ precision.

13 of 37
 DuF
                   
Ryan Jobe

             

R...               
Snare

   
         
L...


R... L...

  

                L...   
Tenors

         
R... L... R...

Basses    

     
R... L... R... L...

Cymbals                

                
Uns...
Variation 1

      

HH
6

R  
             
Sn

 
R... R...

    

L... L...

                
Tn
R... L... R R... L...

Bs        

R... L... R R... L...

Cym                      

            
Unison...
HH

     

12

            
Sn


R...

  
L... R... L...

 
      L...      
Tn
R... R... L...

Bs      

      
R... R... L...

           
L...

Cym

14 of 37
              
Variation 2

       

17

           
       
   
Sn


R...

    
R R... L...


             
Tn
R R... L... R...

Bs        

      
R R... L... R...

Cym              
Unison...

             
HH


Variation 3

      

23

           
Sn

         
L...

 
L... R... R R...

  
           
Tn


R... L... R R...

       

L...

Bs

   
L... R... L... R R...

Cym                 
Unison...

                   
HH

     

29

            
Sn

    


L... R... L... R...

           
Tn
L... R... L...

Bs      

   
L... R... L... R...

Cym                

2
15 of 37
        
        
Variation 4

  
   
34

L...   R...  
    L...    
Sn

    

R

 
                  
Tn
R... L... R R... L... R...

Bs        

      
L... R

            
R... L... R...

Cym
Unison...
HH

            
      
40

R...              
Sn

   

R... L...

  

L... R

                   
Tn


R... L... R

      

L...

Bs

      
R

             
L... R... L...

Cym

3
16 of 37
 DuF 16ths
This exercise combines all 3 stroke types with a new
rhythm. This exercise is 1 rhythm at 2 heights. This
exercise is written in a 3/4 time signature. This is
designed for the players to focus on feet timing. Marking
time helps keep the pulse in the hands. In most
marching situations, accents and time signatures will
not line up with the feet. This exercise will not only
reinforce the 3 main stroke types, but will also develop
strong feet timing. If the feet are in time, the hands
will be in time.

You should approach this exercise the same way as DuF.

Start with a slower tempo with accents at 12” and taps
at 3”.

-Variations

Variation 1 moves the tenors around the drums while

maintaining the same accent pattern.

Variation 2 has a different accented pattern for all

players. This also includes one crossover for the tenors
indicated with a (+). The right hand crosses over the left
to strike the drum while the left hand stays in place.
After striking the drum, the right hand comes back
across. Crossovers occur frequently in todays marching
percussion repertoire. This will provide a great
introduction for younger tenor players.

17 of 37
 DuF 16ths
             
Ryan Jobe

                

R L...             
Snare

                

             
Tenors


R L...

     

             
4 Basses

             
R L...

5 Basses   

            
R L...

Cymbals     
Unison... A B A B A B A B
HH Tap

              
     
5

Sn
              
     
             
Tn


     
             
4 Bs


5 Bs      

Cym                
Uns... A B A B A B A B Uns.

18 of 37
              
    
Variation 1
10

R L...             
Sn

     

 
             
Tn
R L...

    

             
4 Bs
R L...

5 Bs     

         
R L...

Cym       
Uns... A B A B A B A B
HH Tap

              
     
14

Sn
              
  
  
             
Tn


     
             
4 Bs


5 Bs      

Cym                
Uns... A B A B A B A B Uns.

2
19 of 37
              
    
Variation 2
19

R L...               
Sn

     

 
             
Tn

     
R L...

   

            
4 Bs

   
R L...

5 Bs       

         
R L...

Cym       
Unison... A B A B A B A B
HH Tap

             
   
 
23

          
  
  
Sn

      
   

     
Tn

     

     
4 Bs

 
5 Bs      

Cym                
Unison... A B A B A B A B Uns.

3
20 of 37
 16th Note Timing
This exercise focuses on variations of 16th note
rhythms. The goal is to be able to transition from
rhythm to rhythm as smoothly as possible while staying
in time. The sticking for all players can be found under
the snare part.

It is important to note that all strokes in this exercise

are Full strokes. The focus should be on consistent
strokes from hand to hand reaching the same height for
every note played. This will help with rhythmic
accuracy and consistent sound production. It is
recommended to work on this exercise at various
heights to build rhythmic stability.

-Variations

Variation 1
-This variation moves the tenors around the drums
to build rhythmic accuracy while changing drums.

Variation 2
-The second variation flips the pattern for the bass
drums. This forces the players to count and focus on
their own part. If they are in time, then it should sound
like constant 16th notes are being played.

21 of 37
 16th Note Timing
Ryan Jobe

Snare                                            

                                           
R L... RL R RL R R L... RL L R L L R L... R RL R RL

Tenors

Basses                                            

Cymbals            

      

4

Sn

      

R L... L R L L R L RLRL RLR RLRL R L L RLRL R R L RLRL L R L

Tn

Bs       

 
Cym            

                             
Variation 1
7

Sn

                               

RLR RL L R R L LRL RL R RL L R R L R L R R L... R LR R LR

Tn  

Bs                              

Cym              

22 of 37
        
11

Sn

       

R L... RL L R L L R L... R RL R RL R L... L R L L R L

Tn

Bs        

 
Cym            

                                                 
14

Sn

                                       

RLRLRLR RLRL RL L RLRL R RL RLRL LRL RLR RL L R RL LRL RLR RL L R RL R L

Tn

Bs                                                  
 
Cym               

         

Variation 2
18

Sn

               

R R L... RLR RLR R L... RL L RL L R L... R R L R RL

Tn          

Bs         


Cym            

2
23 of 37
       
22

Sn

      

R L... LRL LRL RLRL RLR RLRL RL L RLRL R R L RLRL L R L

Tn

Bs       

 
Cym            

               

25

Sn

         

  
R L R R L L R R L L R L R L R R L L R R L R L R

Tn    

Bs             


Cym           

3
24 of 37
 Doubles
This exercise focuses on double strokes. Double strokes
occur when a player uses one motion to play two
strokes. These strokes are used in open rolls found in
percussion repertoire. Although it is important to
rebound the stick off the surface, the player must
approach each stroke as Full strokes. As the tempo
increases, the player must shift to smaller muscle
groups while staying relaxed. Keep in mind that the
fingers are not the only muscles used.

This exercise isolates each hand to focus on the double

stroke, and then combines them together. This exercise
has 2 rhythms played at 1 height. It is recommended to
start this exercise slow at 9”. Each stroke should sound
the same. As the tempo increases, the heights should
lower.

-Variation

This exercise has 1 variation that moves the tenors

around the drums, and includes bass splits. The same
approach should be applied even though more drums
are used.

25 of 37
 Doubles
Ryan jobe

Snare                                                  

                                                 
R... L... R... L...

Tenors

                                                 
R... L... R... L...

4 Basses

                                                 
R... L... R... L...

5 Basses

  
R... L... R...

                  
L...

Cymbals
Unison... Siz-suck
HH

                                               
5

Sn

                                               
R... L... R... L... R R L L... R L L R R L L...

Tn
R... L... R... L... R R L L... R L L R R L L...

4 Bs                                                
R... R R L L... R L L R R L L...

                                               
R... L... L...

5 Bs
R... R R L L... R L L R R L L...

                            
R... L... L...

Cym
A B A B A B A B

26 of 37
                      
Variation 1
9

Sn

           

         
R R... L... R... L...

Tn

              

L...

      
R R... L... R...

4 Bs

                 
         
R

5 Bs

                     
R

Cym
Uns. Unison... Siz-suck

                                               
14
HH

Sn

      
                 
R... L... R... L... R R L L... R L L R R L L...

Tn

                                                 
R... L... R... L... R R L L... R L L R R L L...

4 Bs

  
                      
R L...

5 Bs  
R L...

Cym                             
A B A B A B A B

   
18

Sn

   
R

Tn

   
R

4 Bs

   
R

5 Bs

   
R

Cym
Uns.

2
27 of 37
 Triples
This exercise focuses on triple strokes. The approach to this
exercise should be similar to “Doubles.” All of the notes are
full strokes. The player should focus on making each note
sound the same. Start this exercise slow to develop the feel
of the larger muscles pushing each stroke. As the tempo
increases, lower the heights, and use the smaller muscle
groups to accomplish the same goal.

-Variation

In this variation, the snares and tenors have accents.

This is to develop full, down, and up strokes while playing
triples. The tenors move around the drums and the basses
are given a split groove to outline and play around what the
snares and tenors are doing. There are elements of the
triples in this part for the basses, but this variation provides
an opportunity for more complicated split bass reading/
playing. The cymbals should be the “beat keeper” as they
help keep a steady pulse for the ensemble.

28 of 37
 Triples
Ryan Jobe

Snare                                                  

                                                 
R______ L_______ R______ L_______

Tenors

                                                 
R______ L_______ R______ L_______

4 Basses

                                                 
R______ L_______ R______ L_______

5 Basses

   
  
R______ R______ L_______

Cymbals                   

                                         

5

Sn

                                         

R___ L___ R___ L___ RRRLLLRRRLLLRRR LL LRRRL LL RRRL L L R

Tn
R___ L___ R___ L___ RRRLLLRRRLLLRRR LL LRRRL LL RRRL L L R

4 Bs                                          

R___ L___ R___ L___ RRRLLLRRRLLLRRR LL LRRRL LL RRRL L L R

5 Bs                                         

          
R___ L___ R___ L___ RRRLLLRRRLLLRRR LL LRRRL LL RRRL L L R

Cym                      

  
              
10
Variation 1

  
Sn

          

R______ L_______ R______

   

     
Tn

   
R______ L_______ R______

                   

3 3 3

     
4 Bs

 
R r r R r r L

         
L R L R L

  
3 3 3

5 Bs

  
R r r R r r L L R L R L

Cym                

29 of 37
         
             
13

L___ 
    
  
Sn

  
           
L_______ R___ L___ R___ RRRLLLRRRLLLRRR


            
Tn

                 

L_______ R___ L___ R___ L___ RRRLLLRRRLLLRRR

  
           
4 Bs

  
Rr r L r r r

         
R l l l R LR L L R L R L R L

5 Bs          
       
Rr r L R l l l R LR L r r r L R L R L R L

Cym                     

    
                  
17

  
 
Sn

       
L L L R R R L L L R R R L L L R

          
      
Tn


 
L L L R R R L L L R R R L L L R

            
      
4 Bs


r

 
R L R l R L R L R

5 Bs            
   
R L R l r R L R L R

Cym        

2
30 of 37
 Duple Rolls
This exercise breaks down double strokes for the use of
rolls. This exercise has 2 rhythms played at 1 height.
The approach used in the Doubles exercise should also
be used here in this exercise.

-Slash Notation

This exercise includes slash notation. Slash notation is

commonly used to indicate a double stroke or “diddle” in
percussion repertoire. When a slash is added to the
stem of a note, the rhythm is then doubled. For example,
a slash on a quarter note makes it two 8th notes. A slash
on an 8th note makes it two 16ths, etc.

With this in mind, it is important to know that rolls are

rhythms. The approach to rolls should be the same as
the approach to any other rhythms played. The rhythm
that is slashed should be the underlying motion used by
the player. For example, in this exercise, the 8th note is
played throughout. Therefore the subdivision should be
8th notes. Only when notes are slashed should the
player use a double stroke.

-Variations

This exercise has 2 Variations.

-The first includes bass splits, and moves the tenors
around the drums. The focus should be evenness of
sound from stroke to stroke, and hand to hand.
-Variation 2 introduces accents. The accent is now
the dynamic height, and all other notes are taps.

31 of 37
 Duple Rolls
Ryan Jobe

Snare                                                  

                                                 
R L...

Tenors

                                                 
R L...

4 Basses

                                                 
R L...

5 Basses

     
R L...

Cymbals                    
Unison... A B A B Uns... B A B A Uns... A B Uns... B A
HH Siz-suck

        

Variation 1
7

Sn

        

R L...

Tn

        

R L...

4 Bs

 
        
R L...

5 Bs

                      
R L...

Cym
A B A Uns... Unison... A B A B Uns... B A B A
Crash HH Siz-suck

32 of 37
    
        
Variation 2
14

R L...   
Sn


     
  
  
   
Tn

    

 
R L...

   
   
4 Bs

 
 
 

R L...

5 Bs      
R L...

Cym                       
Uns... A B Uns... B A A B A Uns... Unison... A B A B

          
Crash HH Siz-suck


        
21

           
Sn

        

          
Tn


        
          
4 Bs


5 Bs         

Cym                       
Uns... B A B A Uns... A B Uns... B A A B A Uns...
Crash

2
33 of 37
 Triplet Rolls
This exercise breaks down the use of double strokes for
triplet-based rhythms. This exercise has 2 rhythms
played at 1 height.

Triplet rolls usually occur when tempi become too fast

for duple-based rolls. Even though we move from a duple
to triple feel, the same approach to subdivision is
applied. The triplets are the underlying rhythm.
Therefore, triplets should be the continuous motion
used in the hands. Only when notes are slashed should
the player use a double stroke.
It is important to remember that rolls are rhythms.

-Variations

This variation introduces accents. The accent is now the

dynamic height, and all other notes are taps.

34 of 37
 Triplet Rolls
Ryan Jobe

                                                 
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

Snare

                                                 
R L...
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

Tenors

                                                 
R L...
3 3 3 3
3 3 3 3
3 3 3 3 3 3 3 3

4 Basses

 
R L...

     

3 3
3 3 3 3
3 3 3 3
3 3 3 3 3 3

5 Basses

                 
R L...

Cymbals
Unison...
HH

      

5 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

Sn

      

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

Tn

                              

3 3 3 3
3 3 3 3
3 3 3 3 3 3 3 3
4 Bs

                 
           
3 3

      

3 3 3 3
3 3 3 3
3 3 3 3 3 3

5 Bs

Cym                  
A B A B A B Uns.
Tap

35 of 37
  3  3 3 3  3  3 3 3  3  3 3 3  3  3 3 3
Variation 1

    

10

R L...3  3 3 3  3  3 3 3  3  3 3 3  3  3 3 3
Sn

    

 3  3 3 3  3  3 3 3  3  3  3  3
Tn

           
R L...

    

3
3
3 3

 3  3  3  3  3 3 3  3  3  3  3  3 3 3
4 Bs

  

R L... 3 3

5 Bs    

R L...

Cym                 
Unison...

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
HH

      

14

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Sn

      

3 3 3 3 3 3 3 3 3 3 3 3
Tn

                  

3
3
3 3

 3  3 3 3  3  3  3  3  3  3  3  3 3 3
4 Bs

    

3 3

5 Bs   

Cym                  
A B A B A B Uns.
Tap

2
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Ryan Jobe is a percussionist and music educator from Cleveland,
Mississippi. He earned his Associates degree in Music from
Northeast Mississippi Community College, his Bachelors in Music
Education from Delta State University, and his Masters in Musicology
from West Virginia University.

Since 2010 Ryan has taught, composed, arranged, and performed for
many camps, clinics, schools, and audiences all across the United
States including DCI, WGI, the NFL, and the Percussive Arts Society
International Convention.

Ryan was a performing member of the 7th Regiment Drum & Bugle
Corps in 2013-14, and was an instructor for Southwind Drum & Bugle
Corps in 2017-18. While attending WVU, Ryan was the Graduate
Teaching Assistant for the World Music Performance Center where
he directed the Beginning Steel Drum Band, assisted with the world
music ensembles, and taught the world percussion methods course
for undergraduate music majors.

Ryan has studied with Dr. Josh Armstrong, Dr. Michael Vercelli,
George Willis, Bryan Mitchell, Brendan Mason, Colin Mason, Michael
Blancoflor, and Dan Schack.

Ryan is currently the Director of Bands at Mississippi Delta

Community College and is a proud endorser and artist for Salyers
Percussion, Ludwig-Musser, and Black Swamp Percussion.

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