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THUNDERCUSSION 2012 Expectations Here is a list of guidelines
designed to enhance the mental focus, physical appearance, and
general quality of Thundercussion.
BEGIN ON TIME: If practice starts at 4:00, that is when the
section leader begins tapping off.
Attendance is mandatory; you can't improve if you’re not there!
All tuning, drum adjustments,
etc. should be taken care of before rehearsal. Show up
earIy!
STICKS TAPED (white): For every performance, cover up hack marks
and gashes. This helps to
save sticks (and money) as well as give the section a sharper
more unified appearance.
STAND AT ATTENTION: Feet together, eyes forward, standing up
straight, mouth closed, sticks
in (matching the rest of the Iine)
DRESS THE LINE: Within sections and within the drumline (tenors
and bass properly angled off
snares, snares dress center)
STICKS OUT ON 3: This is extremely important because if everyone
brings their sticks out
together on 3, there is a greater chance that you will attack
together on 1.
MARK TIME: Play to your feet. Your eyes watch the conductor’s
hands. His or her hands drive
your feet, your feet drive your hands, you hands drive the
music). If your feet are in time, the
music will be in time.
SUBDIVIDE: Subdivide the attack, attack together, play through
to the end of the phrase,
release together. Keep subdividing.
STICKS IN: On the beat immediately following the release.
FOLLOW PROPER GRIP AND PLAYING GUIDELINES:
1) Fingers on the stick at all times 2) PIay from the wrist 3)
Play at the proper level (as dictated by the dynamic marking - pp,
p, mp, mf, f, ff) 4) Play INTO the drumhead, producing a solid,
consistent quality of sound. This is one of
the key factors separating a strong drumline from a weak
one.
STAY AT ATTENTION: Until told differently by the section leader
or staff member. Wearing the
instrument is mind over matter.
++ A mistake due to a lack of concentration or failure to adhere
to these simple guidelines does
not detract from the individual as much as it does the entire
ensemble. A chain is only as strong
as its weakest link - don’t let your friends down ++
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Summer Reading I do realize you are just beginning to shift into
summer mode, but read the following
information before even touching your drum this summer. This
information is vital to
productive practice, and if everyone applies it Thundercussion
will make tremendous progress
this year! These articles can be applied to any skill or
discipline – music to video games ☺
The Fine Art of Practice by Bart Elliott Anyone who has learned
to play a musical instrument knows that practice plays an important
role in the
learning process. Unfortunately, many musicians spend time
practicing without having a full grasp on how to
practice. In order for the practice sessions to be effective and
improve skills, one must have a goal or vision to
direct towards. Without goals, the process may seem not only
overwhelming but unfruitful.
*** Before You Practice ***
In order to practice well, you must know what it is that you are
working towards. You need to have a clear
understanding of what a truly excellent player sounds like and
looks like when they play. If a musician makes it
look "easy" it's probably because they are relaxed and have
total control of the instrument. Having this visual and
aural picture will help you aim your study in the right
direction. Make the most of every opportunity to see and
hear great players perform live, or take advantage of the
multitude of recorded materials (video, compact disc)
that are available today.
Become aware of your immediate needs or weaknesses. Is it your
overall technique, sound, reading,
dexterity or facility? Perhaps you are limited in your grooves,
beats, fills, solo ideas, time keeping or basic
musicianship? Whatever it is (and we all have something to work
on), begin focusing on these areas of greatest
need. If you're not exactly sure what it is you need to work on,
ask a private instructor, fellow musician or band-
mate. I have found that video taping (or recording) myself
playing has greatly helped in my goal setting. My areas
of weakness always seem to reveal themselves just by watching
and listening to myself play.
With some basic goals in mind, you will begin to practice more
effectively and see a tremendous growth
in your playing.
*** Setting Goals ***
Many people talk about it, but rarely reach the mark; why is
that? I believe it comes from setting
unrealistic goals. Consider the following three scenarios:
1. You want to learn a new funk groove that you heard on the
radio. You sit down and immediately start trying to work it out.
You suddenly realize that the technique required to play this
groove is currently beyond your
grasp; so you give up for the day and just "jam." Several days
later, you decide to practice again and find that
not only do you still lack the technique and coordination needed
to play the funk groove, but you've forgotten
exactly how it goes; so you just "jam."
2. You saw someone play this cool hand drum the other day and
you want to learn to play it. You rush out and buy the drum, bring
it home, and don't know what to do next. Every week or so you pull
the drum out and tap
around on it; then you put it away again. As the days and weeks
roll by, you figure that you should put the
"cool looking drum" to use, so you use it as a coffee table or
lamp stand in your living room.
3. You've been playing drums for about 4 years and feel good
about yourself. In fact, you tell everyone that you liken your
drumming to the styles of Neil Peart and Terry Bozzio. One day a
fellow musician (band member, or
director) bursts your bubble by telling you that you don't have
a good grasp of the rudiments and need to take
some drum lessons. You find a local teacher and immediately try
to "wow" him by playing "your version" of a
Double Stroke Roll. The teacher quickly points out that your
strokes are not even (in fact, they sound like lawn
mower with water in the tank). Despite the encouragement of your
new teacher, you have determined that he
doesn't know what he is talking about. You go home and play your
double strokes as fast as possible, feeling
that they sound good to you . . . at least, when you play them
really fast!
These three examples are true stories; do they sound familiar?
There are many issues that need to be dealt
with in these scenarios, but can you see a common thread? This
type of thing happens every day (unfortunately)
but it doesn't have to!
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Here's what needs to happen:
Once you determine the "big picture" goal (like learning a beat,
an instrument, etc.), you need to place it in a time
frame. Your level of ability as well as the degree of difficulty
of the goal will help determine the length of time
needed to complete your objective. If I wanted to learn to play
Tabla, but have no hand drum experience, it would
be unrealistic for me to plan on learning Tabla (which by the
way is truly a life long goal) in just a few days. Give
yourself some time! Set a goal like: "by the end of the year, I
want to know the basic techniques and strokes for
Tabla. I'd also like to be able to play several cool grooves."
That's a realistic goal.
After you determine the goal, break it down into "bite size
pieces."
You might have a goal to eat a hamburger, but you don't just
shove the thing down your throat in one
enormous bite do you! How healthy is that? By taking small bites
from the goal, chewing, then swallowing, you
slowly devour your goal. Savor each bite and enjoy the process!
If you don't take small bites, your goal will appear
too big to handle and it will just sit there.
So, in regards to learning Tabla; you've set your goal for the
year. Now break this large year goal into
smaller monthly goals. Then break these monthly goals into
weekly goals; the weekly goals into daily goals. By
taking your goal and breaking it into smaller manageable pieces,
you will experience and realize success.
*** How Much You Should Practice ***
In order to have a effective practice session, you will need to
practice on a regular basis. Of course you
can practice as often as you like, but you need to establish a
set amount of time every day (5-6 days a week) in
which to practice. If possible, find a time during the day (or
night) that you can always practice; preferably the
same time every day. Mark this time down on your calendar and
make every effort to stick to your schedule.
*** How Long You Should Practice ***
The length of time you spend practicing will greatly depend on
two factors:
1. Yyour current playing level
2. The goals you have set for yourself
Most musicians seeking to become professional players will
practice four or more hours every day; many
of whom are also enrolled in a music program at a college or
university. I can remember practicing 8 hours a day
while working on my Bachelor of Music degree. I had a full load
of classes and was working & gigging to put myself
through school. There's no way I could find 8 hours these days,
but I'm glad I did while I was younger.
Setting goals aside, here are my recommendations based on your
current playing level:
Beginner (or Junior High) should practice at least 30 to 45
minutes a day
Intermidiate (or High School) should practice at least 1 hour a
day
Advanced (or college and beyond) should practice at least 2
hours a day
Once you factor in your goals, you may need to increase the
length of time you spend practicing. As
discussed in Part 2 of this series, be sure that you break your
large goals into smaller, more obtainable goals. You
should have daily, weekly, monthly and yearly goals.
The more you practice ... the better your progress will be.
*** How To Structure Your Practice Time ***
Each practice session should be divided into these four
important areas; each one getting an equal
amount of time and attention.
1. Warm-up, Technical Exercises 2. Coordination Studies,
Technique Applications 3. Styles, Grooves, Fills, etc. 4.
Play-along, Jam, Warm-down
Regardless of how long you've allocated to practice, each of
these areas need to be covered every session. If
you have two hours to practice each day, you would spend 30
minutes on each of the four phases.
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Phase One
Warming up the body is the most important thing you can do to
assure progress in your practice time. It
gives your muscles (including your brain) a chance to relax and
get reacquainted with the instrument and the goals
for the day. The warm-up will also afford you the time to focus
on the technical aspects of playing such as grip,
posture, motion and sound production. Getting the blood to flow,
as well as a warm, relaxed body will make or
break your practice time productivity. This is a great time to
be using a metronome.
Phase Two
Now that the body is warmed up, it's time to start putting the
limbs together. 4-way coordination studies
as well as applying rudiments, stickings, etc., to the drumkit
is one example of what can happen during this time.
Apply the techniques you worked on in Phase One. This is another
great time to be using a metronome.
Phase Three
During this time you will work on specific styles, grooves or
fills that fulfill your predetermined goals. It
may mean you that you take items from Phase Two and apply them
or simply come with something totally new
and unique. Resist the urge to jam at this time; you get to do
that later. Use this time to extend your percussive
vocabulary. Oh, you guessed it ... it's yet another great time
to be using your metronome.
Phase Four
Now is the time to apply Phase 3 by playing along to albums,
loops or music-minus-one CDs. If you are
working on developing solos or specific compositions, you'll
want to work on that now. If you just want to jam or
use the time to warm-down, go for it.
For this type of regimen to work, you've got to adhere to the
guidelines to see consistent progress. When
your time is up for Phase One (30 minutes in on a 2 hour
practice session), stop and move on to Phase Two. Do this
until you've made it all the way through the four phase areas.
If you suddenly find some extra time in the day, you
can go back and pick an area that you would like to concentrate
on ... or ... start the cycle again. If you only have an
hour to practice, you would devote 15 minutes to each phase.
All of this may sound too strict, but don't knock it until you
try it. Making slow steady progress over
numerous days is the key .... far better than cramming 4 hours
into one day, making that your only practice time
for the week.
Remember, you set your own goals; you set the pace. If you want
to meet your goals in the time allotted,
you've got to stay on target by meeting each day as it comes.
Dropping phases or practice sessions will only cheat
yourself ... and keep you from meeting your musical goals.
Bart Elliott is a degreed professional musician and founder of
the Drummer Cafe. His 30+
years in the music industry, over 100 albums to his credit, as
well as his understanding of
contemporary and classical music, makes him a complete and
skilled master musician. A
highly sought after drummer and percussionist, both live and in
the studio, Bart is widely
known as a top music educator and gifted teacher, appearing as a
guest artist and clinician
throughout the USA. He currently resides in Nashville,
Tennessee.
Inspiration! Search the title on youtube, or type the link
Cavaliers Drum Break Finals Night -
http://www.youtube.com/watch?v=dms9lOmEMYA
Blue Knights Bass I&E Ensemble 2007 warm up run-thru -
http://www.youtube.com/watch?v=gdEjA8GW1lw
Viper (SVC cymbal line) -
http://www.youtube.com/watch?v=nzmCxJxfgpI
Bluecoats 2009 Groove Sixes -
http://www.youtube.com/watch?v=dGLUW5W6Z5k
Carolina Crown's Pit- Opener Segment 2008 -
http://www.youtube.com/watch?v=XC86PH0LCEY
Keep browsing – there are endless examples of clean and musical
‘beatz’ in the marching percussion world!
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Vertical Crash
Set Position: Hold plates vertically, about an inch and a half
apart where the knots of the plates are at eye level, and forearms
are slightly less than 90 deg. from each other. Plates should be
about 2 to 3 inches away from your face. The Crash: This crash has
seven steps to it:
A - pull bottom of the plates out, so that they become
perpendicular (90 deg.) to each other, forming an A.
V - reverse the A step, so that the tops are now out. Preparing
for the bottom contact, your right handed cymbal should be about an
inch above your left.
Bottom Contact (BC) - simply move the cymbals horizontally
inward from the V step so that the bottoms of the plates contact.
*ting!* The right cymbal should be about 1.5 inches in from the
edge of the cymbal.
Top Contact (TC) - hinge the V system closed. *crunch!* If you
look on the left side of the system, you should see a crescent
peeking out which is where air escapes, preventing that nasty air
pocket.
A - return to the A step described above
V - continue to V step described above
(7.) Return to set.
Things to watch:
• Be sure that the center of cymbals stays at eye level, i.e.
movement is only in the horizontal direction. (This excludes the
inch lee-way for the V-step)
• Don't show your knots. Knots are ugly, and it looks like you
have more control over the cymbals if you don't. This'll feel like
you're pushing the front of the cymbals in with your fingers.
• Your forearms should never be touching the cymbals, especially
in the A-step. This means elbows out!
• Make sure your bottom contact is as close as possible to the
bottom of the plates. If you contact slightly foreword or behind
the bottom, you'll "roll" the crash and lose sound quality.
Thundercussion 2012 TechniqueCymbals
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• Note that these are check points of the actual crash to make a
cymbal line look uniform; all motion should be fluid between steps.
Also, be sure to play through the cymbals when actually crashing.
You'll lose power if you think too much about getting back to the A
step.
• The goal of separating the bottom and top contact (as mention
briefly above) is to prevent an air pocket. When actually crashing,
the two steps are condensed to a "flam" between the bottom and
top.
* Note: This is the hardest crash to master. Obviously by my
lengthy description there's always something on which to work.
Don't worry if you don't get it perfect right away, it can take
months to master. Once the basics of this crash are learned, you
can apply them to the rest of the crash techniques. You'll know
you've made a good crash sound when you hear beautiful warm lower
pitched undertones of the cymbals, and the plates resonate in your
hands.
Vertical Choke or Crash Choke
Set Position: Same as Vertical Crash; Plates are vertical, about
1.5 inches apart, knots at eye level. The Crash: Begin with a prep
& crash similar to the Vertical Crash, with A, V, then Bottom
& Top Contact. Immediately after top contact, push with your
fingers so that the plates are muted by your forearms, and bring
the plates into your armpits so that they form a flat A, a little
bit more open than 90 deg. The tops of the plates should be around
chin level (depending on your height), and less than an inch
apart.
Things to Watch:
• The most important part of the choke is the crash. Don't botch
up the bottom or top contact, or get an air pocket, because you're
thinking too hard about choking off the sound.
• Make sure to mute the sound (virtually) entirely with your
forearms. If you don't it'll sting in your armpits as the skin gets
jolted, and you'll end up with some sweet bruises.
• The contact point between the plates and your body should
always be the in the crook of your armpit. It may be difficult to
do this accurately (especially when repeating chokes rapidly), but
again, you'll end up with some pretty purple/yellow blobs on your
chest and/or arms if you aren't consistent.
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Horizontal Crash
Set Position: Here, set position is such that the center of the
bottom cymbal (left cymbal) is level with/directly in front of your
left hip at an angle. It's a matter of preference, but the angle I
like is 45°. The right cymbal is positioned directly on top of, and
parallel to the left, about an inch above. Both plates should be
about 2 inches away from your hip. The knots of the plates should
be fixed on a line perpendicular to the 45° plane made by the
cymbals. The Crash: This crash has seven steps, beginning with the
prep:
A - pull right cymbal up to horizontal, at about shoulder level.
The left arm barely moves downward, but the wrist will turn (as
though opening a doorknob) so that the plate is slightly past
vertical. The "tops" will end up about 7 inches apart.
V - the left cymbal rotates back to a little past set position,
while the right rotates back near the left. The right should be
about an inch above the left, the bottom in a bit so, that the
plate is slightly "past" vertical.
BC - bring the cymbals together by dropping the right cymbal
onto the left, making contact the usual 1.5 inches in from the edge
of the left. *ting!*
TC - Hinge the system closed *crunch!* so that the cymbals are
in front of your left hip, as though you've closed set position.
Remember, if you could bend over that way and look under the
plates, you'd see that crescent shape which lets out air.
A - return to A step described above
V - move to V step described above
7. Return to set.
Things to watch:
• Make sure the crash point is in front of your left hip, not
near the center of your body. Same goes for returning to set, think
about pushing your cymbals down and to the left. It's an entirely
unnatural position that takes a while to get used to.
• Similar to the V. Crash, make sure all movement is along that
line perpendicular to the plane generated by the cymbals at
set.
• Keep your wrists parallel to forearms. If you weren't wearing
the cymbals, it would look like you're clapping.
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• Don't show your knots. Knots are ugly, and it looks like you
have more control over the cymbals if you don't. This'll feel like
you're pushing the front of the cymbals in with your fingers.
• Your forearms should never be touching the cymbals, especially
in the A-step. This means elbows out!
• Make sure your bottom contact is as close as possible to the
bottom of the plates. If you contact slightly foreword or behind
the bottom, you'll "roll" the crash and lose sound quality. If you
want to get scientific about the angles, you could say the "bottom"
of the cymbals in this case is along the line orthogonal to both
the plane of the plates and the line of movement.
• Note that these are check points of the actual crash to make a
cymbal line look uniform; all motion should be fluid between steps.
Also, be sure to play through the cymbals when actually crashing.
You'll lose power if you think too much about getting back to the A
step.
• The goal of separating the bottom and top contact (as mention
briefly above) is to prevent an air pocket. When actually crashing,
the two steps are condensed to a "flam" between the bottom and
top.
Horizontal Choke
Set Position: Same as Horizontal Crash; plates are centered in
front of your left hip at 45°, 1.5 inches apart. The Crash: Perform
the normal Horizontal Crash A, V, Bottom and Top contact.
Immediately after the crash, push with fingers so that the sound in
muted against your forearms. In addition, bring the right cymbal
back to a shoulder height horizontal against your chest (kind of in
your armpit), while bringing the left plate back so that it
vertically rests on your left hip. The bell of the cymbal should be
directly aligned with your hip, so that the bottom and top of the
plates are in contact with your side. All in all, the cymbals
should form a right angle with respect to each other. Things to
Watch:
• The most important part of the choke is the crash. Don't botch
up the bottom or top contact, or get an air pocket, because you're
thinking too hard about choking off the sound.
• Make sure to mute the sound (virtually) entirely with your
forearms. If you don't it'll sting in your chest and hip as the
skin gets jolted, and you'll end up with some sweet bruises.
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Flat Crash
Set Position: Set position is similar to that of a Horizontal
Crash, but in the center of the body. Looking in a mirror, your top
(right) hand should be dead center on the torso. Cymbals are tilted
a little more then 45°, (about 60°) and 1.5 inches apart. The
Crash: There are four steps to this crash:
Prep - With the left cymbal, simply push with fingers so that
cymbal gets pressed against your forearm. The rest of the left arm
doesn't move. The right cymbal is brought back as though you were
starting a lawn mower, so that the plate is by your ear, again
pushing with your fingers so that it touches your forearm. As a
result of this motion, the upper part of the (right) arm should be
a little past horizontal. The right cymbal should fit into your
bicep. The top contact for this crash will be halfway between the
edge of the cymbal and bell, so you want to "aim" your (straight)
right forearm towards that spot on the left plate.
Front Contact (FC) - As mentioned in the previous step, you're
ready "aimed" toward the contact point, so simply push the right
arm forward to make contact with left plate. *ting!* the left
cymbal does not move in this step.
Crash - Relax left fingers, so that cymbals smash together
"flat," as in a closed set. Though this is the flat crash, the
whole system remains at the 60° during the crash (& set) phase.
Follow, or push through with the crash by extending your right arm
out fully. Your left hand will "flatten," and pull towards your
chest a bit. At the end of the crash the cymbals should be very
nearly touching (they shouldn't sizzle though).
4. Return to set.
Things to Watch:
• This crash is meant to be a very aggressive crash, thus all
movements must be sharp.
Flat Choke
Set Position: Same as the Flat Crash; plates are at a 60° angle,
1.5 inches apart; with the right cymbal in the dead center of the
torso. The Crash: Begin with the prep and crash of the Flat Crash.
After the follow through, rather, more as a continuation of the
follow-through twist the whole
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system clockwise (to the right, toward vertical) and pull the
plates back to the sides of your body. The choke ends up looking
like a plow with the fronts of the plates nearly together. For
consistency with Clunks and Clanks (described later) the left
cymbal should be about 1.5 inches inside (i.e. closer to your
chest) than the right, but not touching. The bells of the plates
are at navel-level.
Things to Watch:
• This crash is meant to be a very aggressive crash, thus all
movements must be sharp.
FP Crash Set Position: Set position is the same as the
Horizontal Crash; plates are centered in front of your left hip at
45°, 1.5 inches apart. The Crash: This crash is almost the same as
a Horizontal Crash, but with a different release. Here are the five
steps:
A - the same A as the Hoz. crash, though minimized a bit. The
right arm doesn't go quite horizontal, the left not as vertical,
and the distance between the cymbals is about 4, instead of 7
inches.
V - as the A is not as large, the V is also smaller, but
otherwise the same as a Horizontal Crash.
TC/BC - same as Horizontal Crash.
Release - Immediately after the crash, the right cymbal is
brought horizontal, level with the navel so it "hangs" from your
hand. The plate should be 2 inches from body, and the bell should
be in front of your right hip. The left cymbal "moves" to its
original set position in front of the left hip at 45°, against your
body at "hip rest".
5. Return to Set
Effect Crashes Hi-Hats Set Position: Cymbals are placed (right
on top, left on bottom) together, perfectly horizontal up against
the stomach, and just above the navel. The Crash: The prep for the
crash is done as though the plates were hinged at the contact
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point with the stomach, with only the top (right) plate making
any movement. When "opening" the Hi-Hats a good standard height to
make a decent sound is 6 inches. Then, simply drop the right onto
the left, using fingers for control.
Things to Watch:
• The crash should sound like a "chump." To achieve this instead
of a big air-pocketed "THUMP," closed Hi-Hats should be end up
slightly off-set (as opposed to perfectly on top of each other) to
let some air out.
• Use your fingers for control. For slowly repeating, or single
instance Hi-Hats, press with your fingers to achieve a good tight
sound. For faster repetition, be sure to relax, and think of the
plate as an extension of your hand.
Vertical Hi-Hats Set Position: Similar to the Hi-Hat, but the
cymbals are oriented vertically. Contact point with the stomach is
the same, maybe a little higher, i.e. just under the sternum. The
Crash: The prep still hinges at the back, but both cymbals move an
equidistant 3 inches. Again, to crash, just "close" the Hi-Hats.
Same as the Hi-Hats, this crash makes a "chump" sound.
Klunk
Set Position: Plates are at your sides, with the bell at about
navel level (this can be adjusted). The front of the cymbals are
angled in, so they form a 90 deg angle, with the left plate
slightly (1.5 in from the edge) inside the right, not touching. The
Crash: To perform the crash, simply hinge the right cymbal on your
side, swinging a little out, and then in to make contact with the
left. The plates should always stay in contact with your body, and
the left hand never moves. The prep, like the tap, is minimal but
it depends on the volume you want from the klunk. This crash sounds
like a "klunk."
Things to Watch:
• Like the Tap (described later) return to set as quickly as
possible without jiggling the cymbals around.
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Klank
Set Position: Set position is the same as the Klunk: Plates are
at your sides, with the bell at about navel level. The fronts of
the cymbals are angled in, so they form a 90 deg angle, with the
left plate slightly inside the right, not touching. The Crash: This
crash is the similar to the Klunk but allowing the cymbals to ring.
Now, along with hinging outward for the prep, move both cymbals
away from the body straight out about 6 inches; only horizontally
forward, no vertical motion (holding the same 90 deg plate angle
throughout). Make contact at this point, as though it were a Tap,
of course making sure not to mute any sound with your forearms.
Then, bring the system back into set immediately to choke off the
sound.
Things to Watch:
• Here, like the Tap and Klunk, the left plate serves only as a
contact surface and doesn't move other than the outward motion.
• The crash sounds like a "klank." In order achieve the best
sound quality, it's important to relax both hands during contact.
If not, you'll get a more klunky sound. It probably also means
you're too tense, and slamming the plates together, which you need
not do.
• Remember to keep all motion fluid between the prep, contact,
and choke.
HOAC (Horizontal Open Attack Choke)
Set Position: Set for the HOAC is similar to a Hi-Hat in that
the plates are perfectly horizontal, but they're two inches from
the body, and separated about 1.5 inches. The Crash: The crash is
just forcing the cymbals together from there, making a tight,
soft-but-punchy sound.
Crunch or (Vertical Open Attack Choke) Set Position: Here, set
position is the same as a vertical crash, bells at eye level plates
1.5 inches apart. The Crash:
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Just as the HOAC, the crash is just using brunt force to push
the plates together, making the characteristic crunchy sound.
Tap
Set Position: Set position for the tap is to have the left
cymbal at Vertical Crash set position, and the right moves from
Vertical Crash set up, and rotated counter-clockwise to an exactly
45 deg angle. Thus, the top of the right cymbal is hovering about
an inch above the left, about an inch past the edge of the left.
Make sure to keep your right plate perpendicular to the plane of
your body, so you don't show your knots. An alternate set has the
plates at 90 deg to each other (instead of 45), ala the A step of
the Vertical Crash. The right cymbal will still be above the left,
about an inch apart. The Crash: The crash is just swinging the
right cymbal (slightly) up, and hitting it down on the edge of the
left. The left plate does not move for this crash. Here, your wrist
serves as the hinge, (think legatos with a drumstick) using your
fingers as the controlling power. For the "release," make sure the
right cymbal returns to its set position quickly, without flopping
around.
Things to Watch:
• The crash makes a "ting" or "tong" sound. Both cymbals should
ring, so make sure that the right forearm does not make contact
with its plate (elbow out!).
• You can change the timbre of this crash by varying the contact
position with the inside of the right plate: closer to the edge of
the (right) cymbal means more "ting," closer to the bell means more
"tong."
Slide Choke
Set Position: A slide has the same set and prep as a Hi-Hat:
plates perfectly horizontal just above the navel, with the right
resting on the left. The Crash: Begin the crash as a Hi-Hat.
However, when the right cymbal comes down to make contact, bring
the left cymbal out a bit (not more than an inch), and extend the
right arm straight out in front of you fully. The cymbals should
continue to touch each other (but not tightly) after the crash so
that they sizzle. When bringing the plates back to Hi-Hat, lightly
push with the heel of the hand so the back of top plate slides
along the inside of the bottom. As you bring the right cymbal in,
you'll begin to generate suction, which cuts of the sound, and then
bring the plates back to set. All said and done, the crash should
sound like
-
"Psssshhhhhhhhoop."
Sizzle
Set Position: Set position is that of a Horizontal Crash. The
Crash: Though it depends on the duration and volume you want the
sizzle to be, the prep for a sizzle is similar to the smaller AV
prep. However, in this crash the bottom contact point is your left
about an inch inside the right. This prevents the sound cut-off
while performing the release. For the release, instead of moving
the plates away from each other leave them in slight contact so
that they sizzle (be gentle!). As the sizzle progresses, drag the
top (right hand) plate slowly across the bottom one, which remains
in set. The top plate should drag showing from a 1.5 inch crescent
to the entire top half of the left plate, making sure not to expose
the knots. The movement should be along that line that's parallel
with the plane created by the plates, and with the front of your
body (i.e. down at a shallow 45 degrees and towards your right).
Finally, bring the top plate back u p to the set position.
Suc
Set Position: Set for this crash is different from most others.
Bring the cymbals up to Vertical Crash position. Then bring the
left plate down and in, nooked in the center of your chest, so that
the top is at eye level, and about 1 inch from your chin. The right
plate is touching the left, with the arm fully extended, at a 45
deg angle (looking at a profile of you). The Crash: To achieve the
crash, pull the right in toward along the 45° angle, creating the
same suction as in a Slide. The left plate moves out/up in the 45°
just a little bit, so that the closed Suc position has the top of
the plates about an inch above eye level. Remember, getting a good
sound requires pushing with the heel of your hand. You'll get a
sound similar to the "shoop" part of the Slide Choke.
Kruant
Set Position: For set, the left cymbal is the same as for a
Horizontal Crash, level with the left hip, at 45°. The right cymbal
is above the left and perpendicular to the left so that the bottom
of the right plate is 2 to 3 inches above the left, "aiming" just
below the
-
knot inside the bell. From the front, the system looks like a
tipped over, upside-down T. Angle the plates as to not show your
knots to someone standing right in front of you.
This crash has four steps:
Prep - move the right plate up and to the right (along the same
line that the cymbal creates) so that it ends up about 6 inches
above the left.
Contact - Bring the cymbal down and to the left, making contact
with the bell of the left plate. The point of contact is slightly
below direct center, just so you don't hit the knot.
Release - Bring the right plate up again to 6 inches, like the
prep.
4. Return to set.
This crash sounds like a "gong."
Things to Watch:
• Don't move your left cymbal at all. The natural tendency is to
move it up and to the right to meet the right. Just like the
Horizontal Crash, always think about pushing the left cymbal down,
so that the contact point doesn't drift up towards the center of
your body.
Zischen
Set Position: Similar to the Tap, the left plate of Zischen set
is the same as a Vertical Crash. The right plate is the same 45 deg
angle as the Tap, but the tip/top of cymbal is now "inside" the
left, slightly above the bell, a half-inch away. Again, there
shouldn't be any forearm contact, see keep elbows out. The Crash:
Keeping the left plate stationary throughout the crash, scrape the
right plate into and up against left. Continue to scrape the right
off the left cymbal, until it is 1.5 inches above the left.
Forcefully return to set. Make sure that the right plate stays at
the same 45° angle throughout the crash, and as usual don't show
your knots.
Miscellaneous Information
Remember that proper visual presence (posture, marching
technique, etc., as defined by the drumline visual staff) is to be
maintained at all times.
Contributing to the sound of the overall percussion ensemble is
paramount; any and all extraneous visual contribution of the cymbal
line (and all of the subsections of the field percussion ensemble)
is secondary to that.
-
Stick Height Chart
This chart provides guidelines for relating stick heights to
dynamic markings indicated throughout parts. Although the stick
height may be changed in various playing situations, this chart
provides a constant frame of reference and is considered
default.
Dynamic* Inner Beats Accents (>) Full Accents (^)
Pianissimo (pp) Piano (p) Mezzo Piano (mp) Mezzo Forte (mf)
Forte (f) Fortissimo (ff)
1” 1” 1” 3” 3” 6”
N/A 3” 3” 6” 9” 12”
N/A N/A 6” 9” 12” 15”
-
I. ROLL RUDIMENTSALL RUDIMENTS SHOULD BE PRACTICED: OPEN (SLOW)
TO CLOSE (FAST) TO OPEN (SLOW) AND/OR AT AN EVEN MODERATE MARCH
TEMPO.
A. SINGLE STROKE ROLL RUDIMENTS
1. SINGLE STROKE ROLL *
7. FIVE STROKE ROLL *
6. DOUBLE STROKE OPEN ROLL *
5. TRIPLE STROKE ROLL
4. MULTIPLE BOUNCE ROLL
3. SINGLE STROKE SEVEN
2. SINGLE STROKE FOUR
8. SIX STROKE ROLL
9. SEVEN STROKE ROLL *
* These rudiments are also included in the original Standard 26
American Drum Rudiments.
B. MULTIPLE BOUNCE ROLL RUDIMENTS
C. DOUBLE STROKE OPEN ROLL RUDIMENTS
19. SINGLE PARADIDDLE-DIDDLE
18. TRIPLE PARADIDDLE
17. DOUBLE PARADIDDLE *
16. SINGLE PARADIDDLE *
II. DIDDLE RUDIMENTS
11. TEN STROKE ROLL *
15. SEVENTEEN STROKE ROLL
14. FIFTEEN STROKE ROLL *
13. THIRTEEN STROKE ROLL *
12. ELEVEN STROKE ROLL *
10. NINE STROKE ROLL *
œ œ œ œ œ œ œ œR L R L R L R L
3œ œ œ œ 3œ œ œ œRL
LR
RL
LR
RL
LR
RL
LR
6œ œ œ œ œ œ œRL
LR
RL
LR
RL
LR
RL
3œ œ œ 3œ œ œ 3œ œ œ 3œ œ œR R R L L L R R R L L L
6 6œ œ œ œ œ œRL
LR
RL
LR
10 10œ œ œ œ œ œRL
RL
LR
RL
RL
LR
œ œ œ œ œ œ œ œR L R R L R L L
Z
R R L L R R L L
5 5œ œ œ œR R L L
7 7œ œ œ œRL
LR
RL
LR
9 9œ œ œ œR R L L
11 11œ œ œ œ œ œRL
RL
LR
RL
RL
LR
13 13œ œ œ œ œ œR R L L15 15œ œ œ œ œ œ
RL
LR
RL
LR
17 17œ œR R L L
œ œ œ œ œ œ œ œ œ œ œ œR L R L R R L R L R L L
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œR L R L R L R R L R L R L R L
L
œ œ œ œ œ œ œ œ œ œ œ œRL
LR
RL
RL
LR
LR
RL
LR
RL
RL
LR
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PERCUSSIVE ARTS SOCIETY INTERNATIONAL DRUM RUDIMENTS
Copyright © 1984 by the Percussive Arts Society™, 110 W.
Washington Street, Suite A, Indianapolis, IN 46204 International
Copyright Secured All Rights Reserved
-
PAS INTERNATIONAL DRUM RUDIMENTS PAGE 2
III. FLAM RUDIMENTSœ œ œ œL R R L
œ œ œ œ œ œ œ œL R L R R L R L
œ œ œ œ œ œ œ œ œ œ œ œL R R R L L L R R R L L
œ œ œ œ œ œ œLR
RL
LR
RL
LR
LR
RL
œ œ œ œ œ œ œ œ œ œL R L R R R L R L L
20. FLAM *
21. FLAM ACCENT *
22. FLAM TAP *
23. FLAMACUE *
24. FLAM PARADIDDLE *
25. SINGLE FLAMMED MILL
œ œ œ œ œ œ œ œ œ œL R R L R R L L R L
26. FLAM PARADIDDLE- DIDDLE *
œ œ œ œ œ œ œ œ œ œ œ œ œ œL R L R R L L R L R L L R R
œ œ œ œ œ œ œ œ œ œ œ œL R L R R L L R L R R L
œ3œ œ œ œ 3œ œ œ
LR
RL
RL
LR
LR
RL
RL
LR
27. PATAFLAFLA
28. SWISS ARMY TRIPLET
œ œ œ œ œ œ œ œ œ œ œ œL R L R L R L R L R L R
œ œ œ œ œ œ œ œ œ œL R L L R R L R R L
FOR MORE INFORMATION ON BECOMING A MEMBER OF THE PERCUSSIVE ARTS
SOCIETY CONTACT PAS AT:110 W. WASHINGTON STREET, SUITE A,
INDIANAPOLIS, IN 46204 • E-MAIL: [email protected] WEB SITE:
WWW.PAS.ORG
29. INVERTED FLAM TAP
30. FLAM DRAG
IV. DRAG RUDIMENTS31. DRAG *
32. SINGLE DRAG TAP *
33. DOUBLE DRAG TAP *
34. LESSON 25 *
R R L L
œ œ œ œ œ œ œ œL R R R L L
36. DRAG PARADIDDLE #1 *
37. DRAG PARADIDDLE #2 *
38. SINGLE RATAMACUE *
39. DOUBLE RATAMACUE *
40. TRIPLE RATAMACUE *
œ œ œ œ œ œL L R R R L
œ œ œ œ œ œ œ œL L R L R R L R
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LR
RL
LR
RL
LR
LR
RL
LR
RL
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L R R L R L L
œ œ3œ œ œ œ œ œ 3œ œ œ œ
L L R L R L R R L R L R
œ œ œ œ œ 3œ œ œ œ œ œ œ œ œ 3œ œ œ œL L R L L R L R L R R L R R
L R L R
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R L R L R R L R R L R R L R L R
35. SINGLE DRAGADIDDLE
-
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Flowplets Brandon Graves
©2012
Snareline
The first time through play as written at 3" from the wrist. No
Dynamics. Quads around. Basses split.
The second play the check (first two bars) at 9" and put an
accent on the first note of each sticking change. Rr Ll Rr Ll Rrr
Lll.... No Dynamics. Quads drum 2. Basses with snares.The accent is
played by articulating at the wrist and lifting the forearm
slightly. There will be a pocket behind the stick as the stick
comes up to 9" then the pocket closes as the stick comes closer to
the head in order to contol the rebound of the stick. Absorb the
rebound into the upstroke of the first tap. Do not stop the stick.
Make sure all strokes flow from top to bottom.Do not squeeze the
front fulcrum. Keep even preasure from the front of the hand to the
back fingers.
Third time play the check at 9" and put an accent on the last
note of each sticking change. rR lL rR lL rrR llL rrrR lllL ....No
Dynamics. Quads drum 2. Basses with snares.Make sure that the wrist
drives the up stroke and that the forearm is relaxed and moving
with the stroke. Rebound the stick to tap height and play the taps
from the wrist.
Fourth time play as written and follow dynamic markings. Play
from the wrist with fingers opening near the top of the arc, to
allow relaxed playing. The pocket should never open to the point
that the pinky finger is straight. Quads play as written with
dynamics. Basses split with dynamics.
Do not play higher than 9" and do not play faster than 90bpm.
This is a warm up not a chops builder. RELAX! Let your wrist bounce
and flow. Think of dribbling a basketball.
Use a met and mark time.
"It is good to eat food before you come to band camp." -The
Bullsquatch
-
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Triplet Timing
Colts 10'Duple Pattern:
Duple Variations
1 2 3 4
5 6 7 8 9 10
11 12 13 14
Triple Pattern:
Triple Variations
16th Timing
Replace each set of four 16th notes with all variations
Replace quarter notes with all variations
1 2 3
4 5 6 7
Colts 10'
-
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Tenors
Bass Drums
Cymbals
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RRR
LLR
RRL
LRL ...
L...
R L L ...
œ œ
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R R ...
œ œœ œ
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R R ...
x x t x
œ
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L L ...
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L L ...
x x t x
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x x t x
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Cym
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Double Triple Beat David Wingerson
©2012
Double Beat
Triple Beat - same check patterns and stickings
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DIRECTOR
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TRIPLET ROLLSBrian S. Mason
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Combined GridDavid Wingerson
©2011
1. "Combined Grid" = As written, Cymbals play quarters2.
"Diddles" = Diddles replace accents, Cymbals play eighths3. "Buzzed
Accents" = Buzzes replace accents, Cymbals play split eighths4.
"Accent Timing" = Accents only, Cymbals play accents (only first
note of groups of more than one)
Variations
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Cymbal Line ∑ ∑up
∑down
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Ultimate Warmup Better
©2011 David Wingerson
(snare tap-off)
part 1
part 2