Iowa State University Drumline Packet

2020

FOREWORD OUR MISSION Individual improvement is the key to our success as an ensemble. One person does not make our drumline great; everyone must work to achieve greatness. As members of this organization, we obligate and challenge ourselves to improve our abilities as players. By striving to achieve nothing less than personal excellence, we ensure the quality of our ensemble.

OUR PHILOSOPHY The Iowa State Drumline has the crucial role of providing a solid rhythm and tempo to an ensemble in excess of 340 members. To do this, drumline members must individually play accurate rhythms and parts. There is no “hiding” one’s playing in the line. Each member is expected to equally contribute to the overall sound of the line. Thus, the line is able to produce a full quality sound with the volume to project into a full stadium.

HOW TO USE THIS PACKET It is unadvisable to attempt to learn everything in this packet in one sitting. The packet is generally set up in the order of the learning process, so it is logical to start at the beginning and work through the packet. All the advanced concepts are fundamentally based upon the previous concepts, so an understanding of the core concepts in this packet is necessary for progression onto advanced drumming. Practice with a metronome is required; this will promote accurate rhythms and the ability to play much more consistently as an individual. Also, play in front of a mirror and observe how your hands move. Make sure you flow when you play and avoid awkward, jagged motions that look or feel uncomfortable. Feel the rebound and use it to your advantage. Keep your hands relaxed and fingers on the stick, turn your wrists, and hit the drum with sufficient velocity. Play with confidence and don’t be afraid to ask questions. Throughout the summer, the Iowa State Drumline will be hosting several clinics to facilitate improvement among its current members and potential new members. The dates and times can be located on the drumline page of the website. These camps are valuable sources of information and instruction regarding technique. It is highly recommended to attend some of these camps to get a hands-on look at technique. Technique is not something that can be learned overnight - it is a long process. With enough time and practice, the concepts covered in this book will become a fundamental part of your drumming. Good luck and happy drumming! The first draft of this packet was written and compiled by Brett Ebert, Kelsey Knief, Luke Sesker, Dave Reid, and Scott Szurek in 2011. The current version has been updated annually by Luke Sesker and Travis Hattery since 2018. Our mission is to educate as many students as possible and to be transparent with our technique and approach. The information is not proprietary; please feel free to distribute this packet.

TacetPositionSetWheninsetpositionyourbodyisatattentionreadytoacknowledgemovement.Bothcymbalsshouldberelaxedatyoursideswithyourarmsslightlybent.Yourcymbalsshouldbeperpendiculartothegroundandshouldneverrestagainstyourbody.Fromthesetpositionyouwillbeabletomoveorfliptoanyplayingposition.VerticalVerticalpositionis“homebase”forcrashingandplayingyourcymbals.Bothcymbalsareperpendiculartothegroundandthebellofthecymbalisheldateye-level.Thereshouldbe1-2inchesbetweenthefrontofthecymbalsandawideropeninginthebackcreatinga“tunnel”effectfromyourfaceoutward.Yourarmsfromwristtoelbowshouldcreateapproximatelya45-degreeangle.

HipRestHiprestisanotherpositiontoplayandcreatevisualswithyourcymbals.Athiprestyourcymbalsarepositionrightateachhipbonecreatinganopen“V”.Yourarmsshouldbebentatapproximatelya45-degreeangle.Thebottomofthe“V”shouldhavea1inchgapbetweenthecymbals.Yourarmsshouldbeoutawayfromyourbody;notrestingagainstyoursides.FlatSetFlatsetcanbeusedasanotherpositiontoplayandcreatevisualswithyourcymbals.Flatsetishelddirectlyinfrontofyourbody.Therightcymbalisplaceontopoftheleftcymbalsleavinga1-2inchgapbetweeneachplate.Theangleofbothcymbalsshouldbetiltedtotheleftresemblingthatofwearingaseatbelt.

CymbalEffects:The“A-V”CrashCountsfortheCrash:Prep“A”oncount4ofameasure.Prep“V”onthe“&”of4.Crashoncount1.Sustaincrashforcounts“1&2”.Resolve“V”on“&”of2.Endin“vertical”oncount3.

1. FirstPrepStep:From“vertical”pullthecymbalsouttoan“A”positionwiththetopsofthecymbalstogetherwitha1inchspaceandthebottomsofthecymbalsoutward.

2. SecondPrepStep:Fromthe“A”movethecymbalstoa“V”positionwiththebottomsofthecymbalsnow1inchapartandthetopsopenoutward.

3. Tocreatethecrashthebottomedgesofthe“V”shouldrollthroughtothetopwhilehittingthecymbalstogetherendingbackinthe“A”position.Thecrashiscausedbyaflameffectbetweenthecymbals.Tip:Bringyourfingertipsoffofthecymbalsasyoucrashinordertoensurethesoundresonatesanddoesnotdampen.

4. FirstStepinResolution:Holdthe“A”positionaftercrashingfor1andahalfcounts5. SecondStepinResolution:Afterholdingthecrash,bringthecymbalsbacktothe“V”position

andthenbackto“vertical”tocompletethewholemove.Tip:Allmovementsforacrashshouldbefluid.

ChokeFollowthefirstthreestepsofthe“Crash”andimmediatelypulleachcymbalintothemuscleofthearmpitata45-degreeangle.Thiswillcutoffthesoundcreatingthe“choke”effect.Hi-HatPlacethecymbalsverticallyatstomachlevel.Openthecymbalsapproximately1inchleavingthebackpartofthecymbalshingedatthestomach.Pushthecymbalstogetherinthefrontusingforcefromthewristscreatingasoundresemblingthatofadrumset“hi-hat”.ClapHoldthecymbalsat“vertical”or“flat”set.Pulleachcymbalaparttothecreatea1to2inchgap.Quicklypushthecymbalstogethertomakeasharp/cutoffsound.SizzleHoldthecymbalsat“vertical”or“flat”set.Pulleachcymbalaparttocreatea1to2inchgap.Looselydropthecymbalstogetherlettingthemvibratebetweeneachothercreatinga“sizzle”sound.Tostopthesound,pullthecymbalsapartagain.Siz-SuckHoldthecymbalsat“vertical”or“flat”set.Pushtherighthanduporforward(dependingonthesetposition).Thispushwillcreatea“sizzle”sound.Pullthecymbalbackandpushtogethercatchinganairpocketatthebellofthecymbaltocreatethe“suck”sound.This“suck”willstopallsound.EachSiz-Suckwillbedeterminedbyrhythmicnotationinthemusic.

VerticalTapHoldthecymbalsat“vertical”setinan“A”prep.Placetherightcymbalovertheleft.Raisetherightcymbalbybreakingthewrist.Bringtheraisedcymbalbackdownbouncingtheplateofftheleftcymbalcreatinga“ting”sound.Onlytheedgeoftherightcymbalshouldhittheleft(approximately1-2inchesinfromtheedge).BellTapHoldthecymbalsat“HipRest”set.Movetherightcymbaloverthecenteroftheleftcymbals;stillinthe“HipRest”position.Hittheedgeoftherightcymbalontotheouteredgeoftheinsidebelloftheleftcymbal.Movetherightcymbalinacircularmotionafterthehittopullthesoundfromthecymbal.WamHoldthecymbalsatanopen“A”positionfacingthebodyatstomachheight.Turntherighthandsotheinsideofthecymbalisfacingoutwardtotheleftcymbal.Bringtherightcymbalbacktotaptheedgeoftheleftcymbal;trytoonlyhit2inchesfromtheedgeoftherightcymbal.Quicklyaftertheedgeshittogetherpullthecymbalsintothebodyunderneaththearmpitstocutoffthesound.Theforceshouldbeenoughthecreatealoudstrikingsound.ZingHoldthecymbalsat“vertical”setinan“A”prep.Placetherightcymbalclosetotheinsidebelloftheleftcymbal.Scrapetherightcymbalupwardsagainsttheridgesoftheleftplatetocreatethezing.DYNAMICSDynamicswillbeplayedbyalteringthevelocity,notthelargenessofmovements.Thelouderwewanttoplay,thefasterwemakeourmovements.Thesofterwewanttoplay,theslowerwemakeourmovements.

8816ismeanttobea“stock”exercisethathastheoptionofapplyingthehand-to-handpatterntomanydifferentrudiments,rhythmsandstickings.While10variationsareincluded,manymorewillbetaughtthroughouttheseason,andappliedtothesamepatternof8/8/16.Youcanevengetcreativeandcomeupwithyourownvariations!Allvariationsshouldbeplayedatallheightsandawidevarietyoftempos.PlaythisexerciseVERYSLOW,aswellasveryfast.Thiswillhelpdevelopcontrol.Agreatpracticemethodistoplayonebeatbyitselfandmasterthetiming,andthenapplythe8816patterntogainagreateramountofconsistencyinapproachthroughrepetition.Utilizingametronomefortempocontrolandamirrorforself-critiqueofhandmotionandflowareabsolutelycritical.Individualrhythmicintegrityandtempomaintenanceareessentialforthesuccessofthedrumline.Bassdrumsshouldbepreparedtoisolateanyrhythmicpartialsofanyvariation.(i.e.onlyplayonthe“andof1”or“playontheup-beats”)AdditionalaroundpatternsforTenorsandsplitsforBasseswillbecreatedandtaughtthroughouttheseason.Cometocampspreparedtolearn!CymbalswillfindaguidetothestandardnotationutilizedbyIowaStateinthisexerciseaswell.Timingandconsistencyarecrucialtodevelopasyouisolateeachsound.HappyDrumming!

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Cymbal Notation GuideCymbal Line

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Defense Cheers 2017

© ISUCF'V'MB

Cymbal Line

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