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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.
-
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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The Bass line: Excerpts from "The Blue Way" packet - The
Bluecoats Drum and Bugle Corps Purpose: The bass line consists of
[four or] five individuals with exact interpretation of rhythm,
space, volume, sound quality, and flow. All of these elements
combined created a seamless individual bass line with all of the
qualities desired for perfect blend, balance, and articulation. The
bass line, within the full marching battery, serves as a foundation
for all of
impacts, adding volume, and doubling other voices in the
ensemble, it can also serve as a soloistic voice. All of these
aspects will be utilized in their fullest potential. Along with
being the unyielding support of the marching battery, the bass drum
section also plays a major role within the entire music ensemble.
Providing rhythmic and spatial reference points along with volume,
impact, and motion are just some of the main character traits of an
effective and impressive bass line. Ensemble cohesion often depends
on exact clarity in all fundamental aspects of the bass line.
Technique: The grip used is very similar to that of snare drum
match grip, except the hands are rotated so that the wrists are
vertical instead of horizontal. The thumb and index
If one were to drive a nail through the thumbnail, it should
come out the index finger. This should cause any gap between the
thumb and the third knuckle of the index finger to disappear. The
rest of the fingers should be wrapped around the mallet very nathe
hand. This grip should be approached with relaxation in mind.
The bead of the mallet must be placed in the center of the head
1/4 of an inch from the playing surface. The mallet should be
either parallel, or slightly turned in toward the surface. The
hand/arm should be as close to the rim as possible without coming
in contact with it. There should be a natural, slight angle between
the top of the forearm and the highest point of the hand (the
thumb). The elbows
touching. The upper arm should hand in a very relaxed, natural
position. At no time should the player
have tension anywhere from the shoulder muscles on down the arm
through the hands. The forearm should be parallel to the ground.
The carrier and bass drum stand will be built to your body
specifics to make these requirements possible. There should be
about a 45 angle with the ground.
Thundercussion 2012 Technique
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The 12 Golden Bass Rules According to Bill Bachman
1. RELAX don't use any more muscles than necessary 2. Always
maintain a strong fulcrum 3. Play in the center of the head with
the mallet striking at a right angle (check this by practicing in a
mirror).
4. The mallet must always contact the head with its full
velocity, especially when playing low. Play through the drum!
5. Always be able to play the whole part with proper mallet
heights before attempting to split it up with the bass line.
6. Always know where the downbeats are and be able to count all
of the rhythms while marking time with your feet.
7. When playing splits, always stay with the full ensemble, DO
NOT adjust your timing to a previous error within the bass
line.
8. Hands not playing should be at rest in the set position in
order for one to look confident and professional.
9. PRACTICE WITH A METRONOME!!! 10. Don't Practice "Above your
head", take one step at a time (especially with tempos). 11. Chops
are the key to playing great burning muscle pain is your friend.
12. PLAY AGGRESSIVELY!!!!
Practice Tips: Get a pad. The Remo pads work fine but if you
can, get a better one. If you want
advice on selecting a pad, talk to us. We are the practice pad
gurus. Always work with a metronome. If you don't have one, use the
internet to find
one. Practice at varying tempos. Try to play the exercises on a
pillow. A pillow offers little-to-no rebound and can
help you build the strength in your arms (chops). If possible,
practice standing up with a pad on a table or stand. Practicing in
a mirror or with a video camera can help immensely. Practice means
nothing if you practice incorrectly. Don't bother working on
crazy
solos until you master the basics.
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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”
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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 *
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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
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PAS INTERNATIONAL DRUM RUDIMENTS PAGE 2
III. FLAM RUDIMENTSœ œ œ œL R R L
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20. FLAM *
21. FLAM ACCENT *
22. FLAM TAP *
23. FLAMACUE *
24. FLAM PARADIDDLE *
25. SINGLE FLAMMED MILL
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26. FLAM PARADIDDLE- DIDDLE *
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28. SWISS ARMY TRIPLET
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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
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36. DRAG PARADIDDLE #1 *
37. DRAG PARADIDDLE #2 *
38. SINGLE RATAMACUE *
39. DOUBLE RATAMACUE *
40. TRIPLE RATAMACUE *
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S.Dr.
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Flowplets Brandon Graves
©2012
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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R R ...
x x t x
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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
-
ã 44
Bass Drums2
Fœœœœœœœœ
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A
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C
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E
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ã
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Ultimate Warmup Better
©2011 David Wingerson
