CHAMPIONSHIP CONCEPTSfor Marching Percussion

(Student Workbook)

BYTHOM HANNUM

TABLE OF CONTENTS

I. INTNODUCTTON

II. PROGRAM O\r'ERVIEW

II l . TECHNTQUE. . . . . . . . . . . . .3TheThr€e KqD . . . . . . . . . .3Crip. . . . . . . . . . . . . . . . . . .4Sfoke Cuidel ines . . . . . . . . .7Beat ht terns . . . . . . . . . . . gAccent l%tterm. . . . . . . . 15Flam htterns . . . . . . . .194olnternat ionalDrumRudiments . . . . . . . . . . . .20Rudiment Chal lengers . . . . . . . . . . . . . . . . . . . .ZzPlaying Characteristics of Each Inshument . . . . . . . ........25

M READINGCheck l%Lterns and One Beat\Ar iat ions. . . . . . . . .39Timing Exercises . . . . . .42Rol lsequencinghtterns. . . . . . . . . . . . . . . . . .45

v MUSICI/ANSHIP . . . . . . . . .46Idiomatic Interpretation, Tempo/pulse Control, Dynamic Contrast(\blume Chart), Aticulation, Timbr€ (playing Zones), Contouringof Phrases, Accenting, lLning/lntonation, Ensemble Blend andBalance, Emotional In\olvement

INTRODUCTIONThis lvcrkbook is a r€sult of teaching numerous seminars, $ lrl€hops, and clinicstnroughoutthe United States and Gnada. lt isdesigned as a supplement, or studentllorkbook to be used in conjunchon with CMMPIONSHIP CONCEPTS FOR MARCHINC PERCUSSION (HalLeonard Publishing Corporation, 1986). Now the student has aconcise r€source which is ideal for pru"te study, daily rehearsals, and ext€nded semjnars.

The contents repres€nt the essential materials of Chapter ll: Technique. Reading,and Musicianship- In addition there are fundamental exercises scored for all batterypercussion instruments and keyboards. Included is a listing of the 40 InternationalDrum Rudiments, as compiled by the furcussile Arts Socieq/. and a Rudiment Chal-lengers section geared for ad\ancing students. These rudimental studies are excellentfor de\,eloping cadences and exercises of youf own.

When practicing individuallj4 use a metronome, and tap your foot to esaablish asolid feel of the downbeat. As an ensemble, mark time when appropriate.

Al$ays start slowly and stli\€ for consistent stick heights, tempo confol, andrhythmic accuracy Vy'hen you lbel comfortable, gradually begin to speed up. As thetempo increas€s, remain relaxed. Be sure 1!' practice every exercise at each \olume le\,elin ofder to develop maximum control (see \blume Chart).

And finally, above all else, your mental commitment to excel will determine howfast and how far you will progress. This commitment is your abilib/ to focus on sp€cificguidelines, evaluate your level of achievemenl and make adjustments when neces9ryBe willing, listen to your insuuctors, and heed their advlce.

COMMNMENT''Commitment usually meansr giving up con\€nience, going the extl.a mile, invitingpersonal discomfort, embracing confrontation. sacrificing instant gratification for themission at hand. There are no miracle solutions. Excellence is achieved throughcommifmentl

Di Tim LautzenheiserCadets of Bergen County Clinic3/12/gJ

TO EXCEL To excel is to continually pedorm.

Not for a moment or moments.Not for a day or da],s.But to perform day after da!4month after month after month,and to make that uncommon pertormancelook commonplace.To excel is to tal<e the inner dri!€of competition and not only embrace it,but master it.It is no wonder then, that when onetruly excels. one ls known for excellence.It cannot be taught, or legislated. orwilled into existence.It must come fiomfne lery depths of anindividuals desireto be the best.

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jcr ds,€1oDir}!ti€se skllls. ln high schools. Junio. higlrs, ard colleg€s dte sprirE rnond.6 are anexcellent time tD administer glch a program. Thb k€€ps tne ensemble acti\€ in theoff-season, provides an opportunity for ALL percussionists to participate. and esctrlishes a solid foundation for music learning during the summei or band camp.

The amount of rehearsal time needed to master the elements of the p.ogram will\ary according to the experience and talent of the plaJ€rs. The entire procedure shouldtake less time each l,€a[ paticularly if the approach is co.sistent throughout theelementarl4 junior high and high school grades.

Pefo.mance )l(

The diagram helps illustrate a few impo.tdnt points. First, since correct technioue isthe lehicle for all quality performance it will sen€ as the foundation of the orooram.Second. music readtng. and the abiltl !o accurately su oo tvide rhythms. tsess€nL;l foluniform interpretation throughout the ensemble. Therefore, a second priority will begilen to this categoll4 but NCII at the expense of technique maintenance. Third. a basicle\,€l of musicianship can be achie\€d by producing a \Eriety of timbres and balancingdlnam,cs throughout the percussion section. proficiency in each of these areas isessential for a qualiry performance.

The final ingredient of any successful ensemble is one which is difficult to teach. vetextremely rmpon?nt: studert leadership. lr ts vita. for lhe olre.ior or irssuctoi tos€lect a leader who can assume the e\€May responsibilities of running a percussionsection. Qualifications and duties include:

1. The ability to communicate with the directot; instructol and fel]ow students.2. A firm knowledge of the playing sq.de and music.3. The ability to conduct \4armups and sectional rehear$ls.4, Coodination ofequipment maintenance and in\€ntory

TECHNIQUEFcr the sake of audio and vi$ial uniformiry, it is very important to establish a playingstyle with basic guidelines. In general there are three ke]rs which must be obs€rved,and caretully checl€d, as the student is practicino.THE T}IREE KE\61. Hold The Sttck/Mallet Wfth \6ur Flngers And Thumb At All Times.Naturally there are se!€ral different grips that are acceptable. pick one wtlich worksbest for you and master iL Howevet it is strongly recommended that you use agrip which utilizes the natural curve of the fingers and hands. TD/ to remain asrelaxed as possible.

One point is a mustl lGep the fingers and thumb on the stick or mallet at ALLtimes. Not only does this increase your control but it affects the sound. Adhering A1 thisguideline is especially important fof beginning-intermediate students. Through experi-ence you will begin to understand when to loosen the grip, use more fingers, etc.Howevel at frrst, DON'T LET cO!Z. Play Ftom The l4fist.tr\hile maintaining the grip,liftthe stick ormatiet byturningthe lM-ist up. ThefingersMUST remain on the stick in the "uD oosition. '

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A ,,\,ord of cautlon ! l,rany pere$ioobts drop tireir fingers and pi\ lt the stick hallettl lne up position b€tr €en tne thumb ard forefingel If you ty it, you ll see the lrristhas not mo\€d. This proc€dure violates guidelines n1 and lr2.

3. Use The Rebound.The natural rcaction of a drumstick when it strikes the head is to bounce, or rebound,back to the "up position." Due tc1the makeup ofthe bar and the mallet this reaction isnot as pronounced icr keyboafd inslTuments. Howe\€l it is ercremely important tolearn to fuel this natural rcbound, then incoryorate it into your playing.

To gain a lbel for the rebound, st ike the head and let the stick-hallet bounce.uninterrupted, back to the "up position. ' The hand should follow the motion of thestick or mallet It is ess€ntial to rcmain relaxed.

Allowing the stickhalletto rcact naturally has an enormous efFct on the qualiq/of sound. ln general, it produces a longel fuller sound and helps

a. draw out the fundamental toneb. projection (especially at forte and fortissimo)

ln addition, using the rebound requires a relaxed approach which is ess€ntial forplaying fastel

THE GRIP\\hen studying a percussion instlument the first priority is learning how to hold thestick of malleL As a general rule the fingers and thumb should ALWAYS make contactwith the stick or mallet in order to de!€lop maximum contr-ol. Oftentimes, lailure toadhere to this guideline is where the beginning and intermediate percussionists faltelTherefore. the instructor and director must check periodically to insure prop€r gripmarntenance.

Below are a few simple guidelines for establishing and maintaining proper gripswithin the snare, multitenol bass dn]m, and l€yboard segments. These guidelinescreate a basis for communication between the instructor/director and student.

1. Naturdl Cun€ of tlre Hands -All fingers and the thumb should assume theirnatural position as if the arm \ €s hanging down by the side. Relaxation of thehand and fingers is of utmost importance for grip maintenance.

2. Starting Position -Both sticks should form a 90 degree angle just abo!€ thesurface of the dmm head. The butt end of the stick or mallet is slightly ele\€ted.Fcr bass drums. place the head of the mallet in the center of the headjust awayfrom the surface.

3. Sticks are an Extension of the Forearm lmplements should not assume adiacent angles ilm the forearm in their approach to the instrument

4. Relaxed Elbows Elbows should rest comfortably in a direct line downvlarditom the shoulder Avoid body contact or extending a!\ay i1cm the body sincethis will cause tension.

5. Bead Placement -As close together as possible in the center of the head. Mastering this guideline is ess€ntial for an even sound Irom hand to hand.

Matched GripCheck the following criteria for matched grip playlng. Both stick are held exacdythe same.

l. Fingerand Thumb Contact Points Allingersshould< be comfoftably wrapped around the stick or mallet

with the thumb resting just opposite the indexfinger Make contact with the implement at allt ines w\' le avo.dtng le^sion. Fasrer tenpi 'naynecessitate an exception to this guideline.

2. l%lm Angle As flat as possible without ffeatingtension.

3. Fulcrum -The principal point of contact betweenthe stick and hand. This is the forefinger and middleflnger along with the thumb.

4. Pressure Points Same as fulcrum. The player willSqueeze or pjnch slightly to increase implementcontrol during more demanding passages.

Taditional GriPin. foffo*ing guidelines peruin to the left hand in traditional grip performance ln

marcning peicussion this grip is used almost exclusi\€ly by snare dmms'

Z. tulm Angle Approximately a 60 degree angle or

slightly less than perpendicular to the ground The

hand should maintain this angle when striking

I . Finger and Thumb Contact Points -The stick< will rest on the ring fingerjust below the flrst

jointand slightly above the nail. The index andmiddle finger should be comfortably \erappedaround the implementand making contact atalltlmes while a\oiding tension. The little fin-ger follows the natural cun€ture of the hand-The p€d of the thumb should lie on top of theforefinger, approximately at the first joint.

Maintain contact for maximum contol

4. Pressure Points -The thumb on top or e

< foreflnger and the ring flnger just below the

firstjoint and slightly above the nail Squeezeor pinch to increase implement confol during

more demanding Passages

tne drum.

3. Fulcrum -The principal point of contact betlveen

the stick and hand. This is located at the base of the

thumb and forcfingen a

tuur Malld CrtPSe!€ral texts ha\€ been written discussing four mallet grip and its us€ on keyboardinstmments. It wluld take far too many pages to adequately explain what thes€ bookshale already colered. As a result, it is recommended the director and insfructor makethe following materials part of his or her library

I . Method of Mc^rcmert by L. H. StevensA\,ailable through Marimba Productions. this book is the bible for the 'StelerE '

grip. which is the most popular multiple mallet grip currently used for marimba.2, An Intoduction to Modern Mutd-Mallet Plrying by Da!€ Samuels

A\ailabl€ through Excelsior Publications, this text (in two lolumes) helps de\elopl{ryboard skills using the Buton' grip. lt addresses dampening and pedalingtechniques us€d on the vibraphone.

3. Mbraphone Tbchnique: Dampening and Pedaling by David FriedrnanA\"ilable through Berkelee hess, this text fo{us$ on dampening and pedalingtechniques for contemporary vibmphone performance. Techniques ar€ presentedftrouoh etLdes rather than slandard exercises.

STROKE CUIDEUNESNow that the student can hold the stick or mallet proper\a it is time to play Thefollowing guidelines must be clos€ly monitored at all times.

1. Crip Maintenance -Constantly reinforce all guidelines for proper grip mainte-nance as outlined abo\€.

2. llth ofthe Stick/Mallet Straight up and dovln. Ellminate any circular or slic'ngmotions.

3 H l4o*5 Fis (|tr rm cr turrm) --{l sli*nptirl E initiTtEd trqn ttE H. Fr rH iidel€vating tlE arm tr fo.Etrnl WtEn dcrE cqrecttythe following can be obserwd. Right Hand: An obllous bendina in the crook of the vvrisL V

4. Height of Rise Consistency -Concentrate on duplj-cating the exact height of each and e!€ry upstroke.Use a minimum of 12':

5. Confol of the Opposite Stick/[.4auet -lf the righthand is playing, the left must remain in the startingposition. Conversely, if the left hand is playing. thenght must remain in the starting position.

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BEtr R{ITERNSThere are three beat patterns witich form the basis of most rudimental and orchestralpassages: singl€, double, and lriple beats. A single beat" is one stroke per hand motion(RLRL)| double beats aret!4o strokes perhand motion (RRLL), and "t ple beats arethree strokes per hand motion (BRRLLL). Most percussion music is usually somecombination of thes€ beat p€tterns.

Exercis€s I 4 emphasize the de\,€lopment of independent (one hand, then theother) playing skills. By isolating each hand separately these exercises gi\€ students thechance 1r' be specifrc, correct flavl,s, and refine their feel of the "three kqE.

The next step, in exercises $Z is to maintain these same skills when both hands areplaying together (at the same time). Oftentimes this is when probtems surface. ttrequires a cerlain le!€l of coordination 1D maintain the "three kevs' when usino bothhands simultaneoLs.li Beginning-:ntermedEte sq]dents may hale Io o\€rcor;e tnlscoordination facton

Take your time, be patient, and make sure BOTH hands mo\€ pfope.ly and soundgood. By practicing the rcbound your quality of sound will impro\,€.

PRACNCE TIPS:1. Begin slow[4 then gradually speed up as you feel comfortable. At first it is much

better to play slower and emphasize the fundamentals, than to plav fast andlack contl"ol.

2. As the tempo increases:a. lower the height of rise of the stick/maltets.b. use the fingers to control the rebound.c. begin using the forearm.

3. Keyboards should play the exercises in all kej6. \6ry the l(ey signature from dayto day. or week to week.

4. Bass drums should alternate between unison playing (all 4 drums play the snarepart jn unison) and divided playing (as lll.itten in the exercise).

Exeftise fao- f -tdcged€{rt fugie B€atsPlay I single beats on tiE nght tEnd. fcllo^€d by I on tlle left hard. The sttk o. nElletshould rebound up after each stroke. Use full strol€s.*+Note: Since tne multi tenors mo\,e from drum to drum. they need to de\€lop a

smooth arc motion emphasizing the rebound. This is \€ry important as the tempogets fastel The same is true for kEboards as they mo\€ f.om one bar to the ne*L

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Exercise No, z-lndependent Double BeatsPlay this one measure double beat pattern on your right hand, then your left. Repeat asindicated. l\,4ake sure the stick or mallet is reboundino 1D the "uo oosition' after thesecond beat

= 64 138

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Cymbals

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Exercise No. 3-lndependent l}iple BeatsPlay the trjple beat pattern on your right hand then your left. Repeat as indicated The

stick or mallet should rebound after the third beat.

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Exercise No. 4-Single/Doubte/lhpte ComboVy'hen comfortable. combine all three exercises to form the SINCLVDOUBLE/TBtpLECOMBO From now on start e!€ry practice session or r€hearsal with this exercise.

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Exerclse No. s-Extended Single BeatsPlay this exercise using full strokes. Maintain the same feel trom beginning to end.Repeat as indicated.

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Exercise No. 6-Extended Double BeatsConcentr-ate on the rebound after the second b€aL The sticks or mallets should mo'"€freelyto the up position. " Use tull strol€s liom beginning to end. Repeat as indi@ted.

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Exerclse No. 7-Extended Ttiple BeatsMd€ sure the sticks or mallets rebound lD the up position after the thid beat. Str-i\€for a smooth flow of the sticks/mallets and repeat as indlcated.

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Cvmbals

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AC'ENT RTITERNSPlaying accent patterns requires the abiliry b confol the rebound in the do\,M.]position afte. a sboke. Below are three different accent patterns based on thecounting sequence 1-2-3. I 2 3, 1-2. The accent mo\es liom 1,2, or 3 during tne 1 Z 3sequence. For now all accents are played at 12" and the unaccented notes, or tapheights, are 3l' Later the height of the accented note will change according to thedlnamic mai<ing.

Learn these three pattefns sepamte\{ then play them in succession. Keyboards usethree malletsi 2 in the right hand, and 1 in the left hand. Rememben conbollinq therebound after the accent is the key.

No.1

No.2

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ExerEise No. 8-Staggercd AccentsControl the rebound level at 3" and remember the 'pmctice tiprs. Stlive for consis.tency of accent heights and tap heights. As the tempo increases you may need 1Dloosen the grip slightly.

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Exercise No. g-Rqrlng 16thscontol the tempo and concentl.ate on the consistencv of the

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III. FLAM RUDIMENTS20. TLAM T

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PLAYING CHARACTERISTICSOF EACH INSTRUMENTEach instrument has unique playing characteristicsof its own. The director. instructor. and studentmust be aware of these for the individual and ensem-ble to reach its potential.

Snare1. The snare drummer must posses the ability to

control a short, staccato sound. This requiresa keen ear and advanced technical proficiencysince the snare drum tends to bethe most ex-DOSed SOUnd in the ensemble.

2. usually the snare part has the greatest fre-quency of notes. Densely scored parts requiregreater technical development ofthe hands inorderto Droduce and control a clear. articulatesound.

3. To illustrate intensity of stroke, some teach-ers instruct the student to imagine the play-ing surface being 1" below the batter head.Playing on this imaginary surface develops asense of playing through the sound."

4. oue to the sensitivity of the instrument, vol-ume extremes are more pronounced on snareorum.

5. Snare drummers must possess the ability toproduce a clear, articulate ride pattern on acymbal.

6. As a result of cymbal ride patterns, the snaredrummer is confronted with additional inde-pendence fadors.

7. The flam is a coloristic embell ishment usedprimarily on snare drums. The performermust be able to distinguish and control thesound of a good flam.

8. Snare drummers must be oroficient at tradi-tional grip if this approach is selected by thedirector or instructor.

9. The tendency for marching percussion ensem-bles is to field more snares than multi-tenors.bass drums, etc. This makes the developmentofa uniform style a bit more difficult since theperformer must learn to adjust to severalplayers.

10. As for stick motion, snare drummers shouldfocus on developing a consistent up and downpath, s ince there is l i t t le drum to drummovement.

1 1 . The adual height of the drum may alter theapproach to the instrument. Try to establishthe order of the snare line as soon as possiblein order to set the height of the instru-ment.

12. The snare line by its very nature tends to bemore visually oriented than the remainder ofthe Dercussion section.

13. A variety of rim shots are possible on thesnare drum. The performers'bead placementmust be accurate to insure a uniform soundthroughout the section.a. The Cock" - A single handed effect pro-

duced by leaving the bead of the stick inthe center of the head and striking thehead and rim simultaneously. Th€ sound isextremely loud and fat.

b. The Ping Shot" - Same app.oach as the''gock" except the bead is positioned suchthat the stick makes contact with the rimapproximately 2"-3/'from the tip. Thisproduces a higher pi tched, 'p ing 'souno.

c. Flat Flam Rim Shot - Strike both handstogether simultaneously using either the''gock" or "ping shot approach

d. Cross Stick Shot - Place the bead of theleft stick in the center ofthe head and ele-vate the hand slightly. Strike the shaft ofthe left stick with the shoulder of theright. With matched grip this can be per-formed vice versa.

e. Cross Stick Variation - Same as above ex-ceptthe left stick is lowered so the shaft ofthe stick makes contad with the rim.

Multi-tenors1. The general playing area for multi-tenors is

slightly off center. Balance and quality ofsound are dependent upon the performer'saccuracy with regards to striking area.

2. Not oniy do multi-tenors play parts compara-ble to snare drums, but they must deal withdrum to drum movement. Developing fluidmovement technique is a basic element ofmulti-tenor performance.

3. The movement factor requires the student tolearn an "arc stroke." Keep the palm facingdown and roll the wrist slightly from drum todrum. Limit a.m mot ion to that which isnecessary.

4. Tonal memory is important for multi-tenors.This can assist with learning parts and phras-r '19 rJr [dr Pdr>age>.

5. Two factors ef fect the approach to theinstrument:a. height of the drumsb. distance of the drums from the bodyStabil ize these considerations as soon aspossible.

6. There is less natural rebound offthe head formulti-tenors as compared to snare drums. lnfact, head response will vary from drum todrum. The students must adjust accordingly.

7. Due to the tonal quality of multi-tenors a lega-to stoke is oftentimes desirable.

8. C.oss over sticking is necessary for part writ-ing considerations and visual appeal.

Bass Drums1 . The general playing area for bass drums is the

center of the head. Consistent tone qualityfrom drum to drum is dependent upon theperformers accuracy with regards to strikingarea.

Z. Since the playing surface of bass drums is ver-tical the path of the mallet is straight out tothe side. Roll the wrist and forearm out toachieve maximum extension with the mallet.

3. Bass drums in marching percussion utilize theforearm and elbow as an integral part oftheirtechnique. Combined with the wrist and fin-gers these parts enable the perfotmer to usea "whip action" for louder volume levels andunison Playing.

4. Not only do bass drummers have to concernthemselves with unison performance likesnares and multi-tenors, but a maiority oftheir playing is divisi, or divided. In this senseeach bass drummer is a soloist.

5. As with multi-tenors, tonal memory is impor-tant for bass drummers since it helps whenlearning parts and makes phrasing of ly.icalpassages easier.

6. The natural rebound of a stroke on a bassdrum is very limited. The biggerthe drum' thelessthe rebound, Parts which demand greatertechnical proficiency should be scored for thesmafler drums (ZO" and 22").

7. Rhythmic accuracy should be a strong pointfor each bass drummer. The quality of thissegment depends on the individual s abilitytoexecute "Check Pattern Variations (Readingsection) consistently.

8. Since most parts for bass drum are divisi.these performers rely on a feel ' for eachother. Developing this 'feel" takes time'therefore attendance for bass drummers ismanqarory.

9. Due to the resonant quality of the bass drum'dampening techniques are frequently used. Todampen. place the fingers and thumb in thecenter of the head and apply pressure.

10. Due to the tonalquality of bass drums' a lega-to stroke is oftentimes desirable.

11. The fundamental tone of each drum is heardonly when the drum head is facing the audi-ence. This has led to numerous variations inmarching technique.

Hand-CymbalsSo far nothing has been mentioned regarding tech-nique for hand-cymbals. Since they are unllke any

other percussion instrument. cymbals warrant SPE-CIAL ATTENTION, not neglect. The next section ofthis text wil l provide valuable information abouthand-cymbals and their use in contemporary march-ing ensembles.

In orderto develop competent technique for hand-cymbals the perfo.mer must fl.st possess a positiveattitude toward playing these instruments. Develop-ing this attitude is the direct responsibility of themusic educato. and instrudor. Alltoo often, the mu-sic education community has neglected the needs ofthese studentsi p.imarilythe need to feelimportantCymbal players need to feel as if their part is essen-tial fo. a well-rounded ensemble sound. lf the direc-tor and instructor require quality performance f.omhand-cymbal playe.s, the groundwork for advance"ment is set.

Admittedly, there has been very little informationpublished on the topic of hand-cymbals. However'the following material has been thoroughly re-searched and is designed so the student can experi-ence a feeling of achievement rather quickly. As a re-sult. the performe.s develop a positive mentaloutlook and a sense of pride in their section.

The Cymbal As An Inst.umentThe director. instructor. and student should have abasic understanding of the cymbal s parts. The fol'lowing diagram shows these parts and briefexplana-tions aoDear below,

Bell - Also known as the crown, cup. ordome. The bell is the raised center portion ofthe cymbal.Bow - The area ofthe cymbal f.om the baseof the bell to the cymbal s edge.Edge - The outermost portion of the cymbalithe circumference.Base of the bell - The part of the cymbalwhere the edge ofthe bell meetsthe bow, Thebase ofthe bell is approximately 1 inchwide.Centerhote-Aroundopening. approximate-ly 1/2 inch in diameter, dri l led through thecenter of the bell.lnner edge - The a.ea ofthe cymbalfrom theedge to approximately 1y, or 2 inches in fromthe edge.Crooves - Also known as striations. Croovesare small ridges found on the cymbal's surfaceas a result of a lathing Process.

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The Gaifield GripThe Carfield grip is highly recommended since the weight of the cymbal isdistributed over the entire surface of the palm. This grip is the most effec-tive means of controlling the cymbals while atthe same time reducing handtenslon.

Step 1 - Hold the cymbal in a vertical position ( D) and put the entirehand through the strap up to the wrist.

Step 2 - Turn the hand so the palm is facing away from the pad of thecymbal.

Step 3 - Rotate the entire hand downward and turn the palm toward thecymbaluntil ittouchesthe pad. The strap should rest at base ofthe thumb and forefinge..

lvotei The strap may have to be loosened ifthe grip is too tight.lt is impor-tant to keep finger tips off the surface of the cymbal in orde. to allow theinstrument to vibrate freely.

The Carfleld CrlD

Cymbal Holdlng PosltlonsThe hand-cymbalist is not only concerned with sound production but visualeffeds, rest positions, and instrumental carriage during perfo.mance. lneach case, the way the cymbals are held is as important as how they areplayed. The following section illustrates a variety of rymbal holding posi-tions used at rest, while playing, and for visualeffects. These positionsweredevised for tlvo reasons:

1. To create a means of ensuring visual uniformity.2. To improve the consistency of sound production by utilizing predeter-

mined starting and stopping points.

Holdlng Pbsltlons (contlnued)

Circle PositionsThe circle positions are a series of five instrumental positions used as refer-ence points primarily for visual effects, although this concept may also applyto some playing techniques. In each position, the player's arms are fullyext€nded.

Clrcle Posltlons

Physical ConditionlngPlaying hand-cymbals is one ofthe most physically demanding assignmentsin the marching percussion ensemble. In order to perform comfortably it isimportant to develop strength and flexibility in those muscles which aremost f.equently used. Tbke whatever steps are necessary to help p.eventmuscle cramps, wrist sprains, tendinitis and otherinjuries commonly exper-ienced by the hand-cymbalist.

The fol lowing exercise program is div ided into two parts: one,calisthentics without instrumentst and two, calisthentics using the instru-ments along with the Holding and Circle Positions. Each sequence should bedone as a group prior to every rehearsal and performance.

Calisthentics Without Instruments1 . Sit ups - To strengthen stomach and back muscles lie down with the

knees bent and slowly move to a sitting position. Return to the start-ing position keeping the knees bent at all times. Repeat 25 times.

2. Torso Twists - In a standing position place the hands on hips and ro-tate the upper torso to the right and left. Repeat 10 times.

3. Push LJps - Push ups strengthen arm and chest muscles needed fo.extended playing. Bepeat 20 times.

4. Arm Rolls - Extend the right arm above the head and rotate it fo.-ward in a large circle 10 times. Repeat the exercise with the left arm.Then with the right arm, once again extended over the head, rotate itbackward in a complete circle l0times. Repeat the procedure with theleft arm.

5. Running - Jog for a half mile to develop proper breathing andstamlna,

6. Rest - A short rest period enables the players to slowtheir breathingand relax their muscles.

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Calistentics With lnstrumentsWhite facing each other, hold the cymbals in the following positions for ap-proximately 30 seconds. Each performer should checkthe placement oftheinstruments, then make aqjustments to improve visual uniformity.

After the above sequence has been completed place the cymbals on theground and repeat the torso twists, arm rolls, and rest period as outlinedpreviously. These exercises help relax stomach, back, arm, and chest mus-cles as well as regulate breathing.

Thefinal portionof thewarm-upincorporatesallthevariousHoldingPosi-tions. While facing each other the players hold the cymbals in each positionfor approximately 10 seconds as the instructor corrects allflaws regardinginstrumental placement. The performers will begin to gain a feel for theproper location of the instruments in each position. Ultimately, this proce-dure will insure the visual uniformity required of a contemporary hand-cvmbal section. The Dositions to use are as follows:

1. Side Rest2. Horizontal Ride3. Vertical Ride-up4. 0 degree Circle Position

1. Side Rest2. Side Rest-up3. Hip Rest4. Standard

6. Vertical closed-up7. Vertical Closed8. Vertical Clos€d-down9. Vertical Open-up

'10. Vertical Open11. Vertical Open-down12. Vertical Ride

5. 90 degree ci.cle Position6. Horizontal Ride7. 90 degree circle Position8. Side Rest

13. Vertical Ride-up14. Orchestra15. Zischen16. Tap17. Horizontal Closed18. Horizontal Closed-down19. Horizontal open20. Horizontal Open-down21. Horizontal Ride22. Horizontal Ride-up23. Horizonta' Arm-extension

Sound Productlon TechniquesThe most important aspect of hand-cymbal performance in the marchingensemble is the production of sound. A competent cymbalist will alwaysconsider two factors when playing: the method ofsound production andthevisual effect. As a musician, the first priority must be to achieve the propersound. The visual effect is secondary. As the player gains experience, he orshe will know exactly how to approach each musical phrase to optimumaudio and visual effect.

Most methods ofsound production incorporate a primary instrumentanda secondary instrument. Usually the primary instrument strikes the secon-dary instrument to initiate the sound. At the point of attack, the cymbalsshould NOT meet exactly together since this would result in an air pocket.This action forces out most of the air that would normally be between thetwo cymbals and creates a partial vaccuum which momentarily locks thecymbals together and kills most of the sound.i Nothing else points out anovice cymbal player more than the air pocket.

To avoid this pitfall. the primary qmbal should meet the secondary cym-bal app.oximately 1t/2" to 2" from the edge at the point of attack. The re-sult is a flam effect which is necessary for a quality crash sound. The di-rector and inst.uctor must insist upon this 'flam ' technique.

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Three steps form the basis of any sound production method in hand-cymbal performancei preparation, attack, and follow through. All soundproduction techniques should be performed incorporating these three stepswhileusingthe Holding and Circle Positions asa guide.ln the following expla-nations the right hand is considered the primary instrument. However, alltechniques should be practiced with both the left and right cymbal as theprimary instrument to develop dexte.ity and balance for the visualpresentation.

Orchestral CrashWith the cymbals in the orchestral position. move both instruments awayfrom each other, then strike them together using the flam concept. Atthe instant of attack the bottom edges meet firstfollowed by the top edges.Follow through moving both cymbals away from each other and conclude inthe orchestral position.

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Valuation Crash'zln a valuation crash the tength of the after^.ing is determined by the dura-

tion of the note value. For example, (.D 7) indicates a crash which is immedi-

ately dampened at the eighth-note rest and (.1 l)indicates a crash which isdampened at the quarter-note rest.

To play a valuation crash start with the cymbats in the vertical open posi-tion and move them to the standard"up position Quickly bring the cymbalstogether with the bottom edges touching first followed by the top edgesBoth instruments should ring onlyforthe duration ofthe note value beforethey are dampened against the chest Thevaluation c.ash can be perfo.medin a variety of positions.

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of the measure and dampens on the last eighth-note

The sixteenth-note version ofthe valuation crash is referred to as a crash-choke because the crash and choke are one simultaneous motion. Any notevalue longerthan a sixteenth has a pause between the crash and choke' pro-portionate to the duration ofthe note. The crash-choke is generally used forunison ensemble accents and staccato articulation as notated in the exam-oles below.

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Spray CrashStart with the cymbals in the vertical open position and move them to thestandard-up position. Quickly bring the cymbals together in an upward mo-tion so the point of attack is directly in front of the eyes. The bottom edgesmake contact firstfollowed bythetop edges. With the arms fullyextended,follow through to the 0 degree position and continue in a circula. path re-tu.ning to the vertical open position.

The spray crash is a visually oriented technique useful when the cymbalsection is positioned behind the battery percussion in the drill. The followthrough enables the cymbals to be seen and heard. This technique is effec-tive in both a unison and sequential approach.

At times it may be useful to originate the spray crash in a lower positionto achieve a louder volume level. lf so, start in the vertical open-down posi-tion and move to the standard-down position. Bring the cymbals togetherin an upward motion so the point of attack is at shoulder height. Afte. theattack proceed as explained above.

Flair CrashThe flair crash is identical to the spray crash exceptjust one cymbal contin-ues the follow through while the other cymbal returns to the vertical openposition after the attack.

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Vertical C.ashStart with the left cymbal in the vertical open-down position and the rightcymbal in the 0 degree position with the bell facing inward. Raise the leftcymbal and lower the right simultaneously so the instruments meet atshoulder height. At the point of attack the bottom edges meet first fol-lowed bythetop edges. Follow through sothe right cymbalis in theverticalopen-down position and the left cymbal is in the 0 degree position with thebell facing inward.

ChokesThere are two types of chokes, the hinge approach and the open approach.Both may be played in a vertical or horizontal position. The term choke is de-rived f.om the fact that the cymbals' vibrations are eliminated, or"choked, at the point of attack. Chokes are best written as staccato eighth-notes to insure a short sound.

1. Vertical Hinge Approach - Place the cJmbals in the vertical closed-down position with the edges against the stomach. While keeping theedges closestto the body together. open the outer edges approximately7" to 8". Quickly clos€ the outer edges to create a chick" sound charac-teristic of the hi-hat cymbal. The instruments should be slightly off-center to avoid an air pocket.

Z. Horizontal Hinge Approach - Same as above except start and finishwith the qmbals in the horizontal closed-down position with the edgesagainst the stomach.

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Vertical Open Approach - In the vertical open position. separate thecymbals so the distance between the instruments is approximately 9".Quickly bring the rymbals together in the vertical closed-up positionmaking sure the instruments are slightly off-center to avoid an airpocket. Keep the cymbals together after the stroke is completed toeliminate all vibration.

4. Horizontal Hinge Approach - Same as above except start and finishwith the cymbals in the horizontal open-down position.

ZlschenPlace the cymbals inthezischen position. Scrapethe right cymbalacrossthegrooves of the left cymbal and follow through so the right instrument is inthe 0 degree circle position while the left remains stationary. The belloftheright cymbalcan face eitherforward or inward. The zischen is also referredto as the swish effect" and works best for highlighting softer dynamicphrases.

TapPlace the cymbals in the tap position. Move the right cymbal approximately3" to4" away ardtap the left rymballightly. Return the right cymbalto itsposition approximately 3" to 4" away from the left. The tap works best ina divisi or sequential context.

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Two Plate RollBegin with the cymbals in the vertical closed position.Slide the instruments against each other until theyare approximately 4" off-center. Now rotate bothhands in a circularfashion away from the bodytryingto maintain the 4". off-center position. Continue forthe duration of the note value and follow throughwith the right cymbal to the 0 degree circle positionwith the bell facing inward. The left cymbal returns

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MusicianshipThere are several additional factors which influencesound production. The director. instructor. and stu-dent should monitor these closely to improve theconsistency, control, and quality of the sound.

1. Dynamicsa. The angle of the cymbals at the instant of

attacl(.b. Vertical positioning of the instruments.c. Length of stroke.d. Velocity of stroke.

e. The amount of pressure exerted bythe cym-bals against each other.

2. Dampeninga. To stop the cymbals from ringing by quickly

drawing the instruments to the chest ormidriff area.

b. All sound should stop immediatelywhen thecymbals make contact with the body.

c. Helps determine articulation.d. Helps achieve proper phrasing within the

cymbal section.3. Articulation

a. Staccato means short and detached. Damp-en the cvmbals immediately following the

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to the vertical closed oosition. The number of rota-tions per note value should be predetermined to in-sure v isual uni formity throughout the cymbalsection.

Dynamics are controlled by size and speed of therotations as well as the amount of pressure exertedagainst each cymbal. Increase the size, speed. andpressure to play louder. while decreasing to playsofter.

attack. Chokes provide a staccato withoutoampenrng.

b. Tenuto means to sustain the sound to theend ofthe note value. Refe. to the valuationcrash.

c. Legato means smooth and connected.Therefore. no dampening is required.

Accentsa. Play the accented note at the next loudest

volume level.b. Can be achieved in the cymbal section by

scoring players on a particular note.Phrasinga. Uniform interpretation of dynamics by the

individual cymbal player, the cymbal sec-tion, and the entire ensemble.

b. Method of articulation should be consistentthroughout the entire ensemble.

c. Accents must be balanced in all instru-ments.

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Vlsual EffectsOne important aspect of hand-cymbal performanceis the ability to incorporate visual effects into a pro-gram. Not only do visual effects add excitement tothe overall show but they also enhance the musicalpresentation. For instance, a player may draw atten-tion to the sound being p.oduced by adding visualmovementtothe preparation or follow through. Thisadditional movement is especially effective for cym-balparts ofsofterdynamic levels. Two factors shouldalways be considered when dealing with visual ef-fects: the music and the drill formation.

The music will determine the type of visual pre-sented whether unison visuals, done simultaneouslyby the cymbal section or sequential visuals, per-formed bythe player in sequence. Sometimes it is ap-propriate for the cymbal section to perform visualsduring tacit or periods ofrest. In such a casethevisu-al effect, unison or sequential, is determined by themusical intent of the playing ensemble.

Drill formations raise two logistical questions con-cerning visualeffects. One. will the effect be seen? 1notherwords. will the audience be ableto seethevisu-al effect or will their view be obst.ucted by othermembers of the marching ensemble? Two, is the.eenough room to perform the visual? Will the playershave ample space to execute the visual without hit-ting other marching members with the rymbals?

If the answer to both questions is yes, then thecymbal section can usually be found in some va ationof the following three drill settings: a file, a line, or apattern design. A pattern design can be defined asanything that is not a file or line. An example is p.o-vided below.

Flle, Llne. and Pattern Design

The five circle-positions serve as the basis for mostvisual effects. These positions specifl.r the placementof the instruments and establish guidelines for con-sistent performance regarding visuals in the march-ing ensemble cymbal section. All visuals should beconstructed using the ci.cle-positions, or their varia-tions, as aeference points.

Notei Fo. more information regarding sound pro-duction techniques and in-depth explanations ofvari-ous cymbal related topics, rcfer to The Cymbal: Its

Standard and Special Use In Contemporary MarchingEnsembles, o Thomas P. Hannum, University of Mas-sachusetts, 1984.

Bells1. Neve. use excessive force when playing bells

since this makes the keys lump and distortstone quality. oraw the sound out ofthe instru,ment by lifting the mallet head away from thekey afte. the attack.

2. Always play in the center of the bar. The edgeis acceptable only during quick passages. Avoidthe nodal points at all times.

3. Bells are a coloristic instrument. Dense partstend to "blur." or ring together, causing a lackof cla.ity in the music.

4. A vib.ato effect can be achieved by moving thehand in an up and down motion above the notethat has been struck. Thistechnique is especial-ly effective at softer volume levels.

5. The length of sound can be controlled by damp-ening the bar with the fingers.

Xylophonel. The xylophone by its very nature produces a

piercing sound. Overplaying wil l distort thetone quality and inhibit projection.

2. Always strike the instrument in the center ofthe bar except when quick tempi or denselyscored parts require striking the edge.

3, Pizzacato effects can be achieved by damp-ening the bar wi th the f inge.s af te. theattack.

4. Cl issandi can be achieved by doing thefollowing:a. slide one mallet up or down the keyboard ap-

proximately a fifth past the desired note.b. Then strike the desired note with the oppo-

site mallet.5. Xylophone parts tend to be more densely

scored than the other mallet instruments.These players should possess the dexterity tobegin a phrase on either hand.

Vib.aphoneDue to the sustaining qualities of the vibraphone ithas some unique playing characteristics which mustbe mastered to control the sound.

1 . Strive to play in the center of the ba.. However,the extreme edge does produce an acceptablesound. NEVER play on the nodes.

2. The player should possess the dexterity tobegin a phrase on either hand.

3. The pedal is used for dampening notes to makea phrase sound smoother. D0 NOT dampen withthe pedal after every attack.

4. DO NOT leave the pedal down during an entirephrase since this will cause the notes to "blur"together.

There are 5 different dampening techniquescommonly used in contemporary vibraphoneoerformance:a. Slide Dampening - Used primarily in scale

passages. With a mallet in the left hand.dampen the note which wasjust played. Atthe same time the right hand attacks thenext note of the scale. ln essence, the lefthand merely follows the right. The obiect isto create a smooth line without hearing thedampening take place. Either hand can per-form the playing or dampening.

b. Touch Tone - Used primarily when playingpassages with inte.val leaps. The obiect is todampen a pitch by depressing the mallethead against the ringing note. At the sametime the opposite hand attacks the nextnote of the passage. Try to dampen assmoothly and quietly as possible. Practicewith all four mallets.

c. Adjacent Note Dampening - This techniqueis suited for dampening adiacent notes of ei-ther a step or half-step and should be prac-ticed with all four mallets. The mallet whichplayed the flrst note will play the next adJa-cent note and slide back to dampen the pre-vious note. The object is use one, smoothmotion.

d. Hand Dampening - This technique is usedprimarily when dampening adJacent notesfrom the naturalto accidental keys. use thearea between the first and second knuckleof the pinky f inger on the hand whichstrikes the key. For example, as the righthand goes from 0 to Db dampen the D withthe pinky finger. Strive for smooth execu-tion and complete dampening of the firstnote.

e. Pedaling - The pedal should be used in con-junction with the above dampening tech-niques to develop control of melodic linesand harmonic changes. The flutter pedalmethod is accomplished by alternating be-tween the point whe.e the dampening barjust ctears the keys and the fully dampenedposition. This approach allows for smooth,legato phrasing of fast, melodic passages.The pedal may also be used to sustain tones.However. its most vital use will be to clearthe harmony in preparat ion for a newcnoro.

Creating a vibrato by usingthe motorshould bedone spa.ingly. Another method of achievingvibrato is accomplished by moving the hand inan uD and down motion overthe note which hasbeen struck. This should be done only when thenote is in the extreme upper register of thetnsuumenr.

Marimba1. Do not overplay the instrument since this will

distort the tone qualiw.2. The student must practice to become comfort-

able with four mallets.3. Dead strokes are achieved by stopping the mal-

let head on the bar. In short, the player is elimi-nating the rebound back to the starting posi-tion. This produces a short, staccato sound.

4. Pizzacato effects are accomplished by dampen-ing the bar immediately after striking the note.

5. The performer should be able to begin a phrasewith either hand.

6. Draw out the sound of all notes in the lower reg-ister by utrlizing a legato motion. Strive for afull, resonant quality of sound.

TympaniL Make sure the student is using proper tech-

nique. The mallet should rebound comfortablyoff the head in a relaxed legato motion.

Z. The general purpose playing a.ea is 3" to 6"from the rim. Playing in this area will insure afull, resonant quality of sound.

3. The student should practice singing intervals.Start with the interval of a fifth, then afourth, and gradually wo.k down to a minorsecond. Eventually the performer will tune allintervals from a tuning fork.

4. ldentify musical cues in brass and woodwindsfor tuning. Usually bass lines work the best.

5. A "roll on tympanishould maintainthesamerelaxed feel as a legato stroke. The performermust be aware of varying roll speeds to im-prove sound quality. Cenerally, the lower thepitch, the slower the roll speed. The objectiveis to produce a smooth sustaining sound with'out hearing individual strokes.

6. Muffling techniques help control the length ofsound. Use the finger tips to stop the vibra"tions as the opposite mallet strikes the nextd.um. This method will clear the sound oftheprevious pi tch so the new pi tch is morepronounced.Muffling is especially important at cadencepoints as well as close inte.vals.

7. Glissandi are achieved by moving the pedal upor down to the desired pitch.

8. Dead strokes are achieved by pressing thehead of the mallet onto the drum head toeliminate the rebound. This produces a short,staccato sound with a minimum of tonalresponse.

9, Playing inthe center ofthe head also producesa short sound with a minimum of tonal re-sponse. This technique is used primarily as aspecial effect.

10. A unique special effect is created striking thedrum and rebounding to the starting position.

6.

Then, gently place the head of the mallet onthe drum head and move in a circular motionaround the playing area, The pitch will gradu-ally ris€ and fall.

AccessorlesSince the number of accessories and theirtechnlquesane so numerous. we recommend the following booksfor reference.

Firth, Vic. Percussio, Symwsium,New York Carl Fischer. Inc.. 1966

Payson, Al. Techniques of Playing Bass Aum, qm-bals and Accessories.Park Ridge,lllinois: Payson Per-cussion Products. 1971.

READINGLearning to read music for percusslonists has longbeen an extremely trying task for both the studentandteacher. Quite simply. ''drummers get extreme-ly bored and have no interest in reading whole notes,quarter notes, and quarter note rests. These note andrest values provide no challenge to their technicalability. Most percussion music contains rhlrthms ofmuch smaller subdlvlslon and a majority of methodbooks take too long to address this fact. lt is time toacknowledge this deflclency and offer a methodwhlch focuses on the needs of the percusslonist.

When observed closely it becomes clear that allJnu-sic is some form of duole ( FfF) or triolet ( ril )srcupinss. As Paul Ht'io"ir'itii€ito, ir'"r. it8 6uitwo basic metrical units: those of two beats andthose of three beats; and rhythm once explained ra-

Uonally, will probably tum out to be an endless \.ariation of very few and very simple basic units. s There-fore, allreading concepts willbe covered in duple andtriplet meter.

The objectives of the music reading section are asfollows:

1. To develop interpretation and accuracy of dupleand triplet rhJthmlc patterns,

2. To develop interpretation and accuracy of dupleand triplst roll patterns.

3. To read by recognition.4. To provide a mear6 for unlform sticking through-

out the ensemble.5. To develop the hand coordination and rhythmic

accuracy of cymbal players by using sticks ormallets to play all reading materials.

Check PatternsThe student will learn two simple phrases r€ferred.toa C"heck Patterns, ' one duple (IlT ) and one tiplet (lt ). These eight measure phaases utilize tj|e''natural sticking concept, meaning a (R)ight strokefollowed by a (L)eft stroke. This negates any awk-ward doublings of one hand or the other.

The teacher or instructor will play the duple checkpattern as the students listen, tap their feet on eachdownbeat, and watch the music. After several hear-ings the students play the check pattern while look-ing at the music. Take a slow tempo to insure accura-cy. Remember to tap the downbeat.

After each student is able to play the check pattemand tap their foot simultaneously, repeat the aboveprocess for the triplet check pattern.

FILFILXL

^ ==: l-t

HLhLHL

Gr-, GGNLi1LI{L

G r-,

I {LKLIIL.:--> HLf{Lt tL

-

FtLT(LI, tLI tL,-;--\ Gt,t

R

TrlDlet Cbeak Patt€ro

f {LHLttLt{ t t l1

^ f=.. -.

HftHttHt i

RLRLRLR RLRLRLRLRLRL

HLhLttLHft t l HLItLI tLhLHLHL

.-.---\Z--------\

H

One Beat VarlatlonsBelow are 14 variations incorporating different note and rest values whichtotal 4 sixteenth-notes ( m ), or one beat. Insert each variation into theduple chec,k pattern whera an arc appears above a group of sixteenth notes.BegtnatJ=64.

Ex. of No. I

LI{LLIIL

----:-\ ----=--\

L

---l---'. ----=-\

B

All stickings are derived by eliminating the stroke of the note which isrested. Then play the remaining values in the sequence of "natural stick-ing. For example, in Var,1 the first sixteenth-note is rested so the stickingis LRL.

The following chart illustrat6 how note and rest !"alues determine stick-ing patterns.

. f=notI | =f ,ory 'r ; f,i/,o1//tl = /t1l 6ivtl.f = ny or r./

I = Rlfl, ot Ll/,

14 Duple Varlations

9

Below are 6 variations inco.porating different note and rest values whichtotal 3 eighth-notes (Fi.]), or one beat. Insert each variation into the tripletcheck pattern where iri 6rc appears aoove a group ofeighth-notes. Begin atJ.= 84.

L|, t HLH H H

,, -'l-=\ -

Lt l HL LH HL HtIf IRRR

LR

t =f lor l ,| =f lor l f ,

R

All stickings are derived by eliminating the stroke of the note which isrested. Then play the remaining values in the sequence of natural stick-ing." Due to the odd number of notes per beat (3), each consecutive down-beat starts on a different hand. The resulting sequence is a right hand onbeats 1 and'3t a left hand on beats 2 and 4. For examDle. in No.1 the firsteighth-note is rested so the sticking is LR-RL.

The following chart illustrates how note and rest values determine sticking

)=alorr /). = RVV ot LlV t. = lly' or t/fY

6 Ttiplet Varlatlons

A .RL A I RI

RXRL,AL RI A L A X

rvofe: The duple and triplet check patterns and their variations should bememorized since each make an excellent exercise when played in thefollow-ing sequence; check pattern, variations, check pattern. Both are ideal forplaying at pianissimo when marching to and from sectional and ensemblerehearsals.

LNHLHI{I{

-- --\ --

LIt HL LR RL

Timlng ExercisesAfter considerabte time has been spent mastering the one beat variationsfor duple and triptet meter, the next step is reading two-bar phrases whichtest uniformity of sticking and rhlrthmic accuracy. Below are exampleswhich utilize the 14 duple variations. Fonrl the rhythms using the "naturalsticking" concept. Start each example at J = 64 and gradually accelerate to

) = 1s2'

RLRLRLRLRLRLRLBL

^ rm. €.RLRLRLRLBLRLRLITL

a Fr't IE- f th

n tE lt- -E f, FTI

F+

-a---T Tr- |-#

^f-+.)'

Below are exercises which uti l ize the 6 triplet variations. Form therhythms using the natural sticking ' concept. Rememberthe sticking simi-larities of beats 1 and 3. and beats 2 and 4. Start each example at .. = 84and gradually accelerate to .1. = 168.

HLHLHLIiLRLRL

n- - .+.

RLRLRLRLRLRL

_ -e-

t ?'

^ -r .+

,n- .e. ?

Roll Sequencing PatternsThis portion of the reading program concentrates on quilding rolls by dou-bling sixteenth-notes ( rTn ) and eighth-notes ( tt: ). As the numberof doubled notes inc.eises, ioll patterns are developed.

There are two benefits of using this approach: one, it develops proper in-terpretation and rhythmic accuracy of doubled notes: and two' !t enablesthe student to advance technical facility in a step-wise manner. As a result,music reading .emains balanced in proportion to technical ability.

32 Note SequenclngNoticethatfour l6th.notes (.f::[1 ) are clearly discernible in allthe32nd-

note arouoinqs. Maintain a consistent 16th-note or "natural motion withthe siicks or mallets. Begin at .] = 60 and gradually accelerate to .] = 152'Emphasize precise spacing of all doubled notes

15th Note S€ouenclnoNotice that three 8th--notes 1 ,[] ) are clearty discernibte in alt the 16th-note groupings. Malntain a consistent 8th-note, or "natural. motion withthe sticks or mallets. Begin at J..=.84 and gradually acceterate to J. = i68.cmpnastze prectse spacrng ot a doubted notes.

MUSICIANSHIPAchieving a superlor musical performance is the

responsibiliw of the arranger, director, instructor,and student. If any one person falters, chances aregood the quality of performance will suffer. Ulti-mately, the director must decide which areas of theprogram need improvement. Overall responsibilitiesinclude: one, musical selectioni two, initiating andmonitoring a basics programi and three, establishinga musical standard, Below are some specific criteriafor upgrading musicianship.

1. ldiomatic Interpretation - The arrangementmust accurately portraythe sryle ofthe musicalselection. Percussion sections must be able tosimulate various musical styles. No longer do''drummers simply play cadence patterns toprovide a solid pulse forthe ensemble. Ifthe di-rector is not satisfied with an arrangementthen consider hiring a percussion specialist toadjust the chart.

2. Tempo/Pulse Control - Consistent control oftempo and pulse is absolutely essential for co-hesive ensemble performance. Checkthe densi-ty of the parts if the percussion sedion strug-gles to maintain tempo and pulse, Arrangersoftentimes overwrite certain passages and in-clude awkward sticklng patterns which lnhlbltcontrol. Adjust the part if necessary.

3. Dynamic Contrast - For the performer, thebasis of quality musicianship begins with theability to control dynamic extremes. However.the arranger is responsible for dynamic con-

trast in that certain parts are easier to performat certain volume levels. Also. the use of differ-ent playing areas on the drum head, keyboard,or cymbal can increase dynamic control.

Below is a Volume Chartwhich matches stickheights to volume levels. These heights are notlntended to be the final means ofachieving dy-namic control. They do, however. provide thedirector and lnstrudor wlth a set of guidelinesfor balancing the ensemble.

lf practiced consciously, these heights willhelp the performer become more sensitive todynamic contrast. Adjustments and additionsare encouraged as necessary.

Votume Chartppp - usually played near the edge of the drum headas low as possiblepp - 1Y2"p -3"mp- 6"

4. Articulation - Articulation refers to thelength of sound and should be consistentthroughout the entire musical ensemble. Spe-cial consideration is given to instruments withsustaining qualit ies. Dampening techniqueshelp control the length of the sound.a. Staccato means short and detached. The in-

strument should be dampened prior to theattack.

ml -9"t - 12"ff - 15"fff - 18" with forearm

b. Tenuto means to sustain the sound to theend of the note value. The instrumentshould be damDened after the attack, whenthe note value exDires,

c. Legato means smooth and connected.Therefore, no dampening is required.

5. Timbre - The timbre ofthe ensemble can bealtered by incorporating dampening tech-niques, experimenting with a variety of voicingcombinations, and striking different playing ar-eas. There are three generalplaying areas of thesnare. multi-tenor, and bass drum as seen inthe diagram.

Playlng Zones For Snares, Multl-Tenorc' Bass Drum3

Naturally the performer is not limited tojust theseplaying areas. A need may arise to use other portionsof the head or rim dependent upon the compositionor desired sound. However, it is importantfor all stu-dents to possess a knowledge of the most commonlyused zones and their sound production tendencies.

SnareZone #1 - Generally used for soft, delicate play-

ing. Produces a more tonalsound witha minimum of Snare response.

Zone #Z - Used mostly for playing in the mid-volume [anges. Produces a slightlytonal sound with imDroved snareresoonSe.

zone #3 - Used for upper volume levels and is thegeneral purpose playing area. Producesa very short, dry snare sound with aminimum of tonal response.

Bass DrumZone #1 - Used for special effects and soft, deli-

cate playing, Produces a thin, tonalsouno.

zone #2 - Used for all volume levels. Produces avery resonant sound but lacksdefinition.

Zone #3 - General purpose playing area. Producesa resonant sound with gooddefinition.

KeyboardsThere are three playing areas on keyboard instru-ments as seen in the diagram.

NODE

CENTER

NODE

1.

t ,^^-

Playlng Zones For Keyboards

The center of the bar is the primary playingarea. lt produces a full, resonant sound andpure pitch. Strive to play in the center at alltimes.The edge produces an adequatesound but lacksresonance. Usethe edge of the accidentals onlywhen the part requires speed and dextelity.Never play on the edge with bells.The nodes produce a thin sound which lacksprojection and tonal response. NEVER play onthis area of the key since the pitch soundssharp.

Multi-tenorZnne#l -

Zone #2 -

Zone #3 -

Used for special effects and soft, deli-cate playing. P.oduces a thin, tonalsouncl.General purpose playing area. Pro-duces a very resonant, tonal sound.LJsed for special effects. Produces ashort, staccato sound with minimumtonal response.

a

a

a

Tympani

Playlng Zones Fo. Tympanl

Zone #1 - This is the primary playing area, ap-proximately 3" to 6" from the rim.Produces a very resonant, tonal soundwith exceptional pitch quality.

Zone #2 - Approximately 1" to 2" from the rim.Produces a thin. tonal sound whichlacks projection. Excellent for a changeof timbre at soft dynamic levels.

Zone #3 - Produces a short. staccato sound withminimum tonal response. Used forspecial effects.

6. Contouring of Phrases - All phrases should becontoured to have high and low points. Makesure all phrasing concepts are consistentthroughout the entire ensemble.

7. Accenting - Accents are achieved by threemethods. One, the amount of players scored fora given note valuei two, an increase in playingheight; and three, increasing the intensity ofstroke.

8. Tuning Intonation - In order for each voice tobe heard clearly it is essential to tune the en-semble before playing. Intonation for b/mpaniand keyboard is dependent upon scoring, condi-tion of the instruments, and accuracy of thestroke with regards to stdking area.

9. Ensemble Blend and Balance - After all themechanics of the music have been worked out(items I - 8) the primary concern is ensembleblend and balance: one, of the percussion ele-ments: and two. between the oercussion andwind instruments. The Volume Chart andPlaying Zones p.ovide a solid foundation foruniformity and growth with regards to en-semble blend and balance.

10. Emotional Involvement - Enjoying the per-formance is an objedive of any performer. Forthis to happen the student must first be ableto play his or her part without hesitationi itshould be second nature. Then the player canbegin to refine the perfomance and focus on

subtle nuances. Ultimately the studentsshould understand and experience the highsand lows of the music. and oftentimes reflectthese through body motions. Keep in mind,we particlpate in music to have "fun. '

HINTS FOR IMPROVING MIJSICIANSHIPThe following are audio and visual considerationswhich can be monitored by the band diredor, pe.cus-sion instrudor. and students:

Establish and maintain proper grip.Establish and maintain proper motion of thestick or mallet.Uniform sticking in snares, multi-tenors. andbass drums.Uniform sound production technique incymbals.Dampening of the instruments to controlarticulation.Accuracy with regards to playing zones,Accuracy and uniformity of stick heights.Interpretation and accuracy of one beat rhyth-mic patterns.Interpretation and accuracy of roll sequencjngparTerns.

10. Tempo and pulse control (EXTREMELY lM-PORTANT).a. All tempi are maintained via visual cues

from the conductor since staging causesaudio delay problems.

b. Dense parts at fast tempi will cause prob-Iems. If this occurs, alter the part.

1 1. Use the Volume Chart and Playing Zones toblend and balance the ensemble.

Footnoteslsan Denov, The Art of Playing The Cymbats, (NewYork Henry Adler. Inc., 1963), p.12.zibid,, The Art of Playing The Cymbals, (New York:Henry Adler Inc., 1963), p.13.sDavid Ross Baskerville. Jazz Influence on Art MusicTo Mid-Century. (Los Angeles: University of Califor-nia, Los Angeles, 1965), p.49.

3.

1.

7.a.