The University of Central Florida Marching Knights … University of Central Florida Marching Knights Drumline ... Thank you for your interest in the 2018 Marching Knights Drumline.

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The University of Central Florida

Marching Knights Drumline

2018 Marching Percussion

Handbook

© 2017 Infinity Percussion. Reproduced for UCF Marching Knights with permsission of the copyright owner. All other use is prohibited.

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Contents

2018 BATTERY PROGRAM ................................................ 3INTRODUCTION ......................................................................... 3QUALITY OF SOUND.................................................................. 4GENERAL GUIDELINES ........................................................... 5PRACTICE GUIDE ....................................................................... 6DYNAMICS ................................................................................... 6SNARE DRUM APPROACH .......................................................7TENOR APPROACH .................................................................... 9BASS DRUM APPROACH .........................................................10THE EXERCISES ........................................................................ 11

“8 - 8 - 16” ..............................................................................12“Stick Control” .......................................................................14“Paradiddles” .........................................................................15“Triplet Roll Builder” ............................................................17“Spree” ...................................................................................19

CYMBAL APPROACH ........................................................... 20PRACTICE GUIDE ......................................................................21POSITION DEFINITIONS ........................................................ 22Overall Posture .............................................................................. 22Set Position .................................................................................... 22Standby .......................................................................................... 22Hip Rest ......................................................................................... 23Low Port ........................................................................................ 23Crash/Crash Choke Prep (low port) ............................................. 24Moment of Impact (low port) ....................................................... 25Choke (low port) ............................................................................ 25Tap Choke Prep (low port) ............................................................ 25High Port/Vert ............................................................................. 26Tap Choke Prep (high port) .......................................................... 26A/V Crash .......................................................................................27Moment of Impact ..........................................................................27Choke (high port) ...........................................................................27


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2018 BATTERY PROGRAM by In inity Percussion

These are items we expect each member to have with them at auditions:

1. This packet in a three-ring binder with room to take

notes and add any music we may give you.

2. Pencils

3. Metronome (highly suggested, but not required)

4. Sticks and/or mallets

5. Practice pad

6. Athletic clothing and shoes

7. GREAT, FOCUSED ATTITUDE

INTRODUCTION

Thank you for your interest in the 2018 Marching Knights Drumline. We are incredibly

excited to move forward with the upcoming season and hope that the audition process will

be very educational, enjoyable, and helpful in your percussive development.

Again, thank you for your interest in the ensemble. The rest of the packet is divided by section and

breaks down the program, approach, technique, and exercises you will need to be familiar with

for your audition.

GOOD LUCK!!!

- Marching Knights Percussion Staff

With regular practice of the following program, you will be sure to

improve yourself as an individual and as a member of this ensemble.

Remember, it is your responsibility to practice the concepts as

outlined on these pages.


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QUALITY OF SOUND as defined by Infinity Percussion

Our commitment to quality of sound is what will set us apart from other ensembles.

• Sound Quality is equivalent to maximized resonance of the drum andimplement

• We have the most direct control over the resonance of the implement• Resonance of the implement requires a lack of pressure, while control of

the implement requires maximum contact• Maximizing relaxed velocity allows the implement to resonate to its

greatest potential• Consistent Sound Quality can be achieved through maximizing velocity

without adding pressure

Our definition of sound quality is developed through the following concepts:

These ideas are very simple to understand, however very difficult to master. Keep in mind the notion of Sound Quality can be interpreted many different ways, but adherence to our concepts will help any performer come closer to achieving a higher personal standard of our sound quality.

1. Relax! This is the first step to achieving an open sound. Multiple elementscontribute to sound quality. The sticks are the main one that most peopleignore. If your grip is too tight, the sticks simply will not resonate the waywe desire. You must always use the least amount of pressure on the sticksas possible.

2. Commit to a consistent set position with beads securely in thecorrect playing zones. Bead placement is another integral part of soundproduction that is often overlooked or given little attention.

3. Play with velocity at all times. The sticks should be moving veryquickly from the top of each stroke, regardless of height, to the playingsurface. Keep in mind it is possible to distort your sound by forcing thevelocity and not using a relaxed grip. You must always use an appropriateamount of velocity based on your environment. Using your ears to listenwill often lead you in the right direction.


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GENERAL GUIDELINES as defined by Infinity Percussion

Posture

1. standing straight, poised and confident with the feet correctlypositioned

2. keeping your arms relaxed at all times3. holding your head up with both eyes focused straight ahead at all

times4. projecting a facial expression of both confidence and aggression5. exhibiting absolutely no movement at all while standing at attention

Establishing & Maintaining Proper Grip

1. the hands are relaxed — no tension!2. the fingers are in contact with the stick at all times with the index

finger relaxed and not fully wrapped under the stick (Bass Drums willbe an exception to the index finger)

3. the sticks act as a natural extension of the forearm, yet not extendingout parallel to the forearm

4. the sticks are held with a downward angle to the playing surface5. the sticks travel in a straight line path away from the playing surface6. the beads are confined to the correct zone of the drum head

The Strokes

1. Legato/Up Stroke• a relaxed stroke• a smooth, ‘pendulum’-like motion• the fingers are relaxed, but remain on the stick• stick is allowed to rebound fluidly• the grip serves as a guide as the stick rebounds

2. Staccato/Down Stroke• a strong, aggressive motion• the bead will be stopped down at the drum head• involves playing ‘into’ the drum head• in order to stop the bead, simply do not turn your wrist back upwards• the grip remains relaxed

3. Marcato/Controlled Stroke• is a combination of both of the other strokes• the bead is not completely stopped down, but is definitely approached in a similar manner• the grip remains relaxed• the stick does rebound


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Dynamics

PRACTICE GUIDE as defined by Infinity Percussion

Always consider the following points when rehearsing on your own and as an ensemble:• Practice daily for improvement.• Play slowly at first, speeding up only after you are sure you are playing correctly.• Use a metronome!• Play in front of a mirror, paying particular attention to your style and technique.

1. CHUNK• Note by note• Beat by beat• Measure by measure• Phrase by phrase

2. PRACTICE AT THE SPEED OF NO MISTAKES• Train everything correctly from the beginning

3. CORRECT REPETITION• Technique, dynamics, phrasing, beating areas, body position, metronome, articulations,

performance level

4. 100% EFFORT• Don’t give your mind the option for a bad rep• Give your mind only 1 outcome to choose

5. PATIENCE• Trust in the process

— 1.5 inches with a light touch — 3 inches — 4 inches — 6 inches — 9 inches — 12 inches — 15 inches — 18 inches, as high as possible with extreme arm

4”


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SNARE DRUM APPROACH as defined by Infinity Percussion

Before Playing:Great snare drumming begins before we hit the drum and it all starts with the look in our hands. Setting our hands up correctly will create a home base to reference stick angle and bead placement. We tilt the drums to a -12 degree tilt, allowing our right shoulder AND elbow to be relaxed and our left thumb to be on top of the stick. Though we have a slight tilt, our sticks should still be two fingers above the rim. The sticks should create a 90 degree angle between themselves at all times. We will strive to play with the BACK of the bead to maximize the surface area of the bead that strikes the drum. You should always strive to play with a “heavy hand” which requires whole hand contact on the stick, especially at the higher heights and slower tempos. The bead will turn the wrist, with the exception of “football fields” which will be explained below. We strive to have a “break” in the wrist at all heights, especially the low end.

Left Hand:The home base for the left hand revolves around the thumb being on top of the stick. This is very important because it compensates for where the stick is held compared to the right hand. The right hand has a palm on top of the stick, allowing more weight to contribute to a controlled stroke. More weight on top of the stick = less squeeze and more dead weight to stop the stick. The correct placement of the thumb along with the tilt also prevents a slice, thus eliminating bead path problems. The LH thumb should be in a straight line with the elbow, as an extension of the arm.

Right HandThe home base for the right hand is all about the angle of the palm. Much like the left hand, the right hand is able to relax in a more natural way without adding tension due to a flat surface. To set this up, simply set your palm at an angle parallel to the ground, and rotate it until it matches the angle of the tilt. Our hands are still at the same height; one is not lower than the other!

Football Fields:Football fields are unique stroke types that involve lots of arm motion in the left hand and a break in the wrist. These strokes are very visual, as well as enhancing the emphasis of the music. In the left hand, lift the arm from the thumb which should allow the wrist to break. In the right hand, the wrist breaks first, as the arm is lifted. At the top of the motion, the bead, wrist, and arm come back down as they would with any other stroke. We can think of the up motion as a controlled Moeller stroke and prep stroke combined.


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Playing:

We will use a heavy hand approach to snare drumming. This allows us to maximize our

sound quality and produce tone out of the instrument.

• Relaxed, firm grip with whole hand contact on the stick, especiallyat 15”

• Playing from set position (not opening the back of the hand)• Full rebounded stroke at low end (no bead wiggle at 3” taps)• VELOCITY• Center of body bead path• The bead turns the wrist• Flexibility• Allowing a “break” in the wrist at low end• Playing with the back of the bead

Here are some steps to start you in the right direction:

(1.5”) with a light touch, simply drop the sticks down from the set position

(3”) a full rebounded stroke! sticks parallel to the ground and very strict! This is where the “break” in the wrist shows up and should be present in every tap. The back of the hand DOES NOT open up!

(4”) allows for beefier taps

(6”) sticks are opposite angle of set position, this height is considered part of the accent family, but can be interpreted as a tap for bigger moments

(9”) from the wrist, sticks prep up to a 45 degree angle

(12”) wrist turn with support from the arm, lead with the bead, this height is not vertical and will be where a lot of our accents will occur

(15”) vertical. The arm moves with the rebound of the beads, creating a fluid “bouncing basketball” type motion

(18”) as high as possible with extreme arm, follow the rebound of the bead with more arm and elbow

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Snare Dynamic Definitions


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TENOR APPROACH as defined by Infinity Percussion

Home PositionWhen forming the home position, start with your arms relaxed down at your side; be sure your sticks are parallel and not angled towards your toes. There should be no tension in the shoulders and completely relaxed. This is also the “set” position. From here, without sticking your elbows out or adding tension in the shoulders, stay as close as possible to drum 3 and 4 and bring your sticks up to drums 1 and 2.

The beads should be between the front two lugs of the 1 and 2 drum with a slight downward angle at the drum. Sticks will always be set over drum 1 or 2 when not playing.

GripWe use a firm but relaxed grip. All fingers should be in contact with the stick. Most of the pressure will come from the thumb, middle, and index finger (depending on tempo). The index finger will not completely wrap around the stick but is also not pointing straight out. Tempo and certain arounds can have some exceptions and very specific grips and pressure points. Those will be discussed as needed.

Straight LinesWhile playing, we should think about moving in “straight lines” from point A to B and so on. This allows us to move efficiently and produce the same quality of sound while playing around the drums. This is also the approach for playing scrapes and crossovers.

In GeneralThe sticks should feel like a natural extension of your arms. Be relaxed at all times with the least amount of tension as possible in your upper body.

(1.5”) with a light touch, simply drop the sticks down from the set position

(3”) a full rebounded stroke! sticks parallel to the ground and very strict! This is where the “break” in the wrist shows up and should be present in every tap. The back of the hand DOES NOT open up!

(4”) allows for beefier taps

(6”) sticks are opposite angle of set position, this height is considered part of the accent family, but can be interpreted as a tap for bigger moments

(9”) from the wrist, sticks prep up to a 45 degree angle

(12”) wrist turn with support from the arm, lead with the bead, this height is not vertical and will be where a lot of our accents will occur

(15”) vertical. The arm moves with the rebound of the beads, creating a fluid “bouncing basketball” type motion

(18”) as high as possible with extreme arm, follow the rebound of the bead with more arm and elbow

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Tenor Dynamic Definitions


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BASS DRUM APPROACH as defined by Infinity Percussion

The GripThe mallets should be held similar to matched grip on the snare drum, with only a few slight changes. The back three fingers of each hand should wrap around the mallet shaft so that the mallet is even with the base of your hand; no extra mallet will extend past your hand. The pad of your thumb and the middle portion of your index finger should connect to form a ‘t’ shape. Place the mallet between those fingers so that your thumb is in line with the mallet shaft. Lastly, when in the playing position, your thumb should rest on top of the mallet and your thumb nail will face up toward the ceiling.

Playing PositionWhen forming the playing position, start with your arms relaxed down at your side; be sure that your mallets are parallel and not angled in toward your toes. Bend your elbows and raise your forearms until they are parallel to the ground. The mallet should form a 45 degree angle when compared to your forearms from the side. Slightly angle your mallets in toward the drum head; they should rest about 1 inch away from the head. The mallet should rest in the center of the head when viewed from the side.

(1.5”) from the playing position, with a light touch

(3”) parallel to the drum head, engage more with the back three fingers to achieve a full sound

(4”) slightly higher than mp, often used for low roll passage to achieve a fuller sound

(6”) slightly less than a 45 degree angle, you will likely not be able to see your mallet head

(9”) 45 degree angle to the drum head, you should be able to see your mallet head

(12”) parallel to the ground with a little arm

(15”) 2” past parallel to the ground, your arm will naturally be involved

(18”) as high as you can play, arm and lift will be implemented

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Bass Dynamic Definitions

The PrepAs you prep for each stroke, your thumb should remain on top of the mallet. Turn your wrist to achieve height away from the head and only involve the forearm as the dynamics require. The pathway of your prep, when viewed from the side, should follow the angle of the mallet.

VelocityVelocity is the speed at which the mallet is motivated towards the head. This speed needs to be created with a fairly relaxed hand; this will take practice and chops to achieve. Things to avoid are overusing velocity and over-squeezing the mallet, which both result in a harsh, pounding sound. Keeping the back fingers relaxed while moving the mallet with good speed will allow the stick and drum to resonate and create a full and balanced sound.

Rim ClicksThe purpose of rim clicks is only to aid in timing, not to be heard as a color. We will approach all rim clicks at 6” unless otherwise stated.


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The following descriptions are provided by Infinity Percussion to explain the intent behind

each exercise. We will utilize these exercises throughout the course of the entire season, in

a variety of ways. Making sure you understand fully how to get the most out of each one

will bring you closer to properly developing your own style and technique.

THE EXERCISES as defined by Infinity Percussion

8 - 8 - 16 (130 - 200 bpm)This exercise should serve as a way to fully relax and “reset” your hands. Allow full rebound, maximum velocity, and complete relaxation to rule supreme. The arms and wrist would work together to allow the stick to move fluidly and without interference. ―Arranged by James Sparling, Battery Caption Head INFINITY (PIW)

Stick Control (110 – 130 bpm)This exercise will serve as our main way to warm up our hands. At no time should the rebound and/or bounce of each stick be interfered with. Allow the arm and hand motion of each pattern to be the prominent focus. Great rhythmic integrity and sound production should be achieved through support of the arms and fingers. Be sure to focus on even, balanced sound production from hand to hand regardless of sticking pattern. ―Arranged by James Sparling, Battery Caption Head INFINITY (PIW)

Paradiddles (140 - 190 bpm)The flow between accents, taps, and single strokes should be connected throughout. Do not allow speed or sticking patterns to sacrifice this! Ensure the fingers are moving through all patterns and the touch is very defined, yet not tense or rigid. The feel of the double strokes at the beginning should be maintained through all patterns. ―Arranged by James Sparling, Battery Caption Head INFINITY (PIW)

Triplet Roll Builder (140 – 200 bpm)The buzzes in each variation are designed to show your hands what too much pressure feels like in the creation of a multiple bounce stroke. When the buzzes are replaced with double strokes the grip should be able to relax, allowing the stick to bounce with greater freedom. The fingers should also be more involved in the creation of the double strokes helping to keep the two notes of the double even in regards to sound and rhythm. Consistent sound and weight on every stroke, both singles and doubles, should be a constant focus. ―Arranged by James Sparling, Battery Caption Head INFINITY (PIW)

Spree (130 – 144 bpm)This exercise combines many advanced flam rudiments. Keep the triplet check consistent throughout and make sure the heights do no vary. ―Arranged by James Sparling, Battery Caption Head INFINITY (PIW)


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CYMBAL APPROACH as defined by Infinity Percussion

INTRODUCTION Though modern cymbal technique can vary—sometimes drastically—from one ensemble to the next, some fundamental skills are at the base of all cymbal lines regardless of the approach. Physically, cymbal players must have the strength to maintain control of the cymbals while guiding them through the different positions that make up musical and visual sequences. Body awareness, the ability to feel what something looks like in the absence of feedback is another vital skill required of any musician auditioning for a spot on the cymbal line. Attention to detail, persistence, enthusiasm, and a positive attitude are all components at the center of every good cymbal ensemble.

The INFINITY Cymbal Ensemble (ICE) embraces the viewpoint popularized by Kψμβοσ, an organization committed to furthering cymbal playing: “Different methods. Same Madness.”

Our way is not the only way to approach cymbal playing, and on occasion, our way changes to fit our needs in terms of look and sound. With that said, one skill often overlooked, but highly valued is “mental flexibility”. Flexibility is about being able to take in new information, execute technique based on that information, adapt, and then recall those changes with consistency. The demand on modern cymbal players to adapt on-the-move outweighs the importance of any other learned skill.

For that reason, our audition packet consists of a few of our basic positions with key definitions highlighted. Those applying for a position on the line will be required to demonstrate these basic positions and incorporate NEW information as it is given. Our audition process will mimic much of the methodology that we will use during shows and the fun and relaxed atmosphere will allow cymbal players of all skill levels to benefit.


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Here are a few points to consider in preparation for your audition.• Use a mirror - While using a full length mirror, observe yourself in a given position and compare

the image that you see with the definitions given in the reference photos. Learn to associate what you see with how what you see feels in your muscles.

• Differentiate between discomfort and injury - Safety and well-being is the number one concern for our members and only you know your body’s limits. The only way to build strength and stamina as a cymbal player is to push beyond comfort. Learn to recognize the difference between “wow, this is hard to do!” and actual injury.

• Get strong - Bottom line: lack of physical strength translates into bad form, inconsistency within the line, and poor execution. Do what you know to do to be fit and healthy every day.

• Use a critical eye - Treat EVERY detail as though it matters. Beyond angle definitions, heights/widths, and arm placement, seek out NEW details to perfect. Finger placement, eyeline, etc.

• Remember to breathe - Cymbals are heavy; visual sequences and crashes are physically demanding. Build a habit of breathing through fatigue.

• Go to your happy place - No, really. For each position defined in this packet, duplicate the form with great attention to detail and hold it for extended periods of time to increase endurance and your ability to adapt to muscle fatigue. Condition yourself to make each position more “comfortable” than relaxing.

PRACTICE GUIDE


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POSITION DEFINITIONS

Overall Posture• Stand straight, poised, and confident with the feet correctly positioned • Look intentional. Stay RELAXED and ENGAGED.• Level chin with ground. Set eye level with someone your height.• Don’t fidget.• Relax fingers and extend on the cymbals for control.• Open your chest and roll shoulders back and DOWN.• You should be able to rock back and forth on your feet (being able to lean forward and back). To exude

a great presence and posture, have your weight more towards the front side, on the balls of your feet (platform). Roughly 60% on the front side and 40% on the heels.

Standby• Arms should have a slight/natural and

comfortable bend at the elbow.• Right hand over left. Cymbals interlock.• Feet shoulder width apart• No tension in the shoulders

Set Position• Cymbals parallel with each other, very close to,

but not touching the body• Elbows slightly bent up and down (when

looking from a side/lateral profile)• Elbows slightly pointed outward away from

body to create a “filled out carriage” or bigger upper body look. (when looking from a front/anterior profile)

• Cymbals knots (front to back) right with the seam of your pants (when looking from a side/lateral profile)

• Heels together, toes apart (V-shape)


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Hip Rest• Align to hip bones in a “V” shape• Should feel like holding a basket.• When looking from a front/anterior profile the plates look like blades or 2 straight lines.

Low Port• Cymbals at 22.5 degree tilt (halfway between completely vertical and a 45)• Arms close to full extension with a slight bend.• Elbows contained within shoulders. Maintain some space in the armpit.• Cymbals parallel, very close but not touching, center of mass (in the center of both cymbals) is at

sternum height and aligned with the center of your body (when looking from a front/anterior view)• Wrists straight and aligned with forearm. Don’t break the wrists.• Cymbals pointing STRAIGHT (not pitching up, down, or side to side). You should be able to see

straight through the gap of the plates.


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Crash/Crash Choke Prep (low port)• Thinking of each hand separately, the left hand applies pressure and presses the cymbal directly onto

the forearm. (Maintaining that same angle it had in low port. Don’t break the wrist.) This sets up the placement of the right hand.

• Now, thinking of the right hand’s responsibility−the right hinges at the same angle as the left forming an arrowhead shape (on an angle). The right elbow pulls back and out slightly, and the wrist rotates toward you.

• The right cymbal SHOULDN’T be touching the forearm. Only the left hand touches.• Don’t break the wrists.

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Choke (low port)• After impacting the cymbals, bring the cymbals

into the body.• Maintain a 2 finger gap between the plates

(creating a vertical arrowhead shape coming out of your torso)

• Bottom of cymbals touching hips• Top of cymbals resting below armpit.• Elbows extend slightly from the body.

Moment of Impact (low port)• From the low port prep, the left remains stationary and the right hand strikes the left.• Point of impact (where the edge of the right cymbal touches on the left) is roughly 2 inches from the

edge of the left cymbal (towards the bell). This is the hinging line.• At contact, the right arm extends out (staying in line of the low port angle). Remember not to dip the

cymbal up or down as the right hand breaks through the left.

Tap Choke Prep (low port)• Cymbals parallel, and point at a 45 to the right.• Plates are perpendicular to the ground.• Space between cymbals also roughly a fist and

a quarter.• Center of mass slightly displaced to the right

side of body.


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High Port/Vert • Biceps parallel to the ground. • Elbows slightly wider than shoulder length

(front/anterior view)• Elbows bent, cymbals pointing out away from

your face at about a 45. • Cymbal knots level with the bridge of your

nose.• Shoulders relaxed and DOWN - maintaining a

long neck.• Cymbals close together, but not touching.

Tap Choke Prep (high port)• Both cymbals point up roughly into a 45 degree

angle• Cymbals parallel with each other• Left cymbal (knots) at eye level• Right cymbal - bottom of bell is lined with top

edge of left cymbal• Roughly a fist and a quarter gap between

cymbals


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A/V CrashAn “A/V” crash is a series of predetermined check points, used at High Port/Vert, that starts with opening up your cymbals to an “A” shape and then a “V” shape. Following the “V” position is the crash itself back into the “A” position, followed by the “V” position then back to High Port/Vert.

Moment of Impact• Right cymbal attacks the left by touching the

bottom edge roughly 2 inches into the left.• Crash follow through passes through “A” then

“V” and back to High Port• Let the fingers come slightly off the cymbals at

impact to allow the instrument to resonate.

Choke (high port)After striking the cymbals together, bring them into where they’ll rest against the “meaty part” of your body by your armpits, creating a slightly wider “A” shape. If you were to look in the mirror, you would only see the edge of the cymbals.

“A” position• Cymbals out in front of at the same height as

high port, create an “A” shape no wider than face width.

• Hands shouldn’t go wider than shoulder length (front/anterior view)

• Naturally, elbows will slightly move outward (front/anterior)

“V” position • Inverse of “A” position• Hands and elbows will naturally move inward


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The University of Central Florida Marching Knights … University of Central Florida Marching Knights Drumline ... Thank you for your interest in the 2018 Marching Knights Drumline.

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