THUNDERCUSSION 2012 Expectations - Wingerson SHHS Cymbal Techniq… · 3. Styles, Grooves, Fills, etc. 4. Play-along, Jam, Warm-down Regardless of how long you've allocated to practice,

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 ++

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!

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!

Vertical Crash

Set Position: Hold plates vertically, about an inch and a half apart where the knots of the plates are at eye level, and forearms are slightly less than 90 deg. from each other. Plates should be about 2 to 3 inches away from your face. The Crash: This crash has seven steps to it:

A - pull bottom of the plates out, so that they become perpendicular (90 deg.) to each other, forming an A.

V - reverse the A step, so that the tops are now out. Preparing for the bottom contact, your right handed cymbal should be about an inch above your left.

Bottom Contact (BC) - simply move the cymbals horizontally inward from the V step so that the bottoms of the plates contact. *ting!* The right cymbal should be about 1.5 inches in from the edge of the cymbal.

Top Contact (TC) - hinge the V system closed. *crunch!* If you look on the left side of the system, you should see a crescent peeking out which is where air escapes, preventing that nasty air pocket.

A - return to the A step described above

V - continue to V step described above

(7.) Return to set.

Things to watch:

• Be sure that the center of cymbals stays at eye level, i.e. movement is only in the horizontal direction. (This excludes the inch lee-way for the V-step)

• Don't show your knots. Knots are ugly, and it looks like you have more control over the cymbals if you don't. This'll feel like you're pushing the front of the cymbals in with your fingers.

• Your forearms should never be touching the cymbals, especially in the A-step. This means elbows out!

• Make sure your bottom contact is as close as possible to the bottom of the plates. If you contact slightly foreword or behind the bottom, you'll "roll" the crash and lose sound quality.

Thundercussion 2012 TechniqueCymbals

• Note that these are check points of the actual crash to make a cymbal line look uniform; all motion should be fluid between steps. Also, be sure to play through the cymbals when actually crashing. You'll lose power if you think too much about getting back to the A step.

• The goal of separating the bottom and top contact (as mention briefly above) is to prevent an air pocket. When actually crashing, the two steps are condensed to a "flam" between the bottom and top.

* Note: This is the hardest crash to master. Obviously by my lengthy description there's always something on which to work. Don't worry if you don't get it perfect right away, it can take months to master. Once the basics of this crash are learned, you can apply them to the rest of the crash techniques. You'll know you've made a good crash sound when you hear beautiful warm lower pitched undertones of the cymbals, and the plates resonate in your hands.

Vertical Choke or Crash Choke

Set Position: Same as Vertical Crash; Plates are vertical, about 1.5 inches apart, knots at eye level. The Crash: Begin with a prep & crash similar to the Vertical Crash, with A, V, then Bottom & Top Contact. Immediately after top contact, push with your fingers so that the plates are muted by your forearms, and bring the plates into your armpits so that they form a flat A, a little bit more open than 90 deg. The tops of the plates should be around chin level (depending on your height), and less than an inch apart.

Things to Watch:

• The most important part of the choke is the crash. Don't botch up the bottom or top contact, or get an air pocket, because you're thinking too hard about choking off the sound.

• Make sure to mute the sound (virtually) entirely with your forearms. If you don't it'll sting in your armpits as the skin gets jolted, and you'll end up with some sweet bruises.

• The contact point between the plates and your body should always be the in the crook of your armpit. It may be difficult to do this accurately (especially when repeating chokes rapidly), but again, you'll end up with some pretty purple/yellow blobs on your chest and/or arms if you aren't consistent.

Horizontal Crash

Set Position: Here, set position is such that the center of the bottom cymbal (left cymbal) is level with/directly in front of your left hip at an angle. It's a matter of preference, but the angle I like is 45°. The right cymbal is positioned directly on top of, and parallel to the left, about an inch above. Both plates should be about 2 inches away from your hip. The knots of the plates should be fixed on a line perpendicular to the 45° plane made by the cymbals. The Crash: This crash has seven steps, beginning with the prep:

A - pull right cymbal up to horizontal, at about shoulder level. The left arm barely moves downward, but the wrist will turn (as though opening a doorknob) so that the plate is slightly past vertical. The "tops" will end up about 7 inches apart.

V - the left cymbal rotates back to a little past set position, while the right rotates back near the left. The right should be about an inch above the left, the bottom in a bit so, that the plate is slightly "past" vertical.

BC - bring the cymbals together by dropping the right cymbal onto the left, making contact the usual 1.5 inches in from the edge of the left. *ting!*

TC - Hinge the system closed *crunch!* so that the cymbals are in front of your left hip, as though you've closed set position. Remember, if you could bend over that way and look under the plates, you'd see that crescent shape which lets out air.

A - return to A step described above

V - move to V step described above

7. Return to set.

Things to watch:

• Make sure the crash point is in front of your left hip, not near the center of your body. Same goes for returning to set, think about pushing your cymbals down and to the left. It's an entirely unnatural position that takes a while to get used to.

• Similar to the V. Crash, make sure all movement is along that line perpendicular to the plane generated by the cymbals at set.

• Keep your wrists parallel to forearms. If you weren't wearing the cymbals, it would look like you're clapping.

• Don't show your knots. Knots are ugly, and it looks like you have more control over the cymbals if you don't. This'll feel like you're pushing the front of the cymbals in with your fingers.

• Your forearms should never be touching the cymbals, especially in the A-step. This means elbows out!

• Make sure your bottom contact is as close as possible to the bottom of the plates. If you contact slightly foreword or behind the bottom, you'll "roll" the crash and lose sound quality. If you want to get scientific about the angles, you could say the "bottom" of the cymbals in this case is along the line orthogonal to both the plane of the plates and the line of movement.

• Note that these are check points of the actual crash to make a cymbal line look uniform; all motion should be fluid between steps. Also, be sure to play through the cymbals when actually crashing. You'll lose power if you think too much about getting back to the A step.

• The goal of separating the bottom and top contact (as mention briefly above) is to prevent an air pocket. When actually crashing, the two steps are condensed to a "flam" between the bottom and top.

Horizontal Choke

Set Position: Same as Horizontal Crash; plates are centered in front of your left hip at 45°, 1.5 inches apart. The Crash: Perform the normal Horizontal Crash A, V, Bottom and Top contact. Immediately after the crash, push with fingers so that the sound in muted against your forearms. In addition, bring the right cymbal back to a shoulder height horizontal against your chest (kind of in your armpit), while bringing the left plate back so that it vertically rests on your left hip. The bell of the cymbal should be directly aligned with your hip, so that the bottom and top of the plates are in contact with your side. All in all, the cymbals should form a right angle with respect to each other. Things to Watch:

• The most important part of the choke is the crash. Don't botch up the bottom or top contact, or get an air pocket, because you're thinking too hard about choking off the sound.

• Make sure to mute the sound (virtually) entirely with your forearms. If you don't it'll sting in your chest and hip as the skin gets jolted, and you'll end up with some sweet bruises.

Flat Crash

Set Position: Set position is similar to that of a Horizontal Crash, but in the center of the body. Looking in a mirror, your top (right) hand should be dead center on the torso. Cymbals are tilted a little more then 45°, (about 60°) and 1.5 inches apart. The Crash: There are four steps to this crash:

Prep - With the left cymbal, simply push with fingers so that cymbal gets pressed against your forearm. The rest of the left arm doesn't move. The right cymbal is brought back as though you were starting a lawn mower, so that the plate is by your ear, again pushing with your fingers so that it touches your forearm. As a result of this motion, the upper part of the (right) arm should be a little past horizontal. The right cymbal should fit into your bicep. The top contact for this crash will be halfway between the edge of the cymbal and bell, so you want to "aim" your (straight) right forearm towards that spot on the left plate.

Front Contact (FC) - As mentioned in the previous step, you're ready "aimed" toward the contact point, so simply push the right arm forward to make contact with left plate. *ting!* the left cymbal does not move in this step.

Crash - Relax left fingers, so that cymbals smash together "flat," as in a closed set. Though this is the flat crash, the whole system remains at the 60° during the crash (& set) phase. Follow, or push through with the crash by extending your right arm out fully. Your left hand will "flatten," and pull towards your chest a bit. At the end of the crash the cymbals should be very nearly touching (they shouldn't sizzle though).

4. Return to set.

Things to Watch:

• This crash is meant to be a very aggressive crash, thus all movements must be sharp.

Flat Choke

Set Position: Same as the Flat Crash; plates are at a 60° angle, 1.5 inches apart; with the right cymbal in the dead center of the torso. The Crash: Begin with the prep and crash of the Flat Crash. After the follow through, rather, more as a continuation of the follow-through twist the whole

system clockwise (to the right, toward vertical) and pull the plates back to the sides of your body. The choke ends up looking like a plow with the fronts of the plates nearly together. For consistency with Clunks and Clanks (described later) the left cymbal should be about 1.5 inches inside (i.e. closer to your chest) than the right, but not touching. The bells of the plates are at navel-level.

Things to Watch:

• This crash is meant to be a very aggressive crash, thus all movements must be sharp.

FP Crash Set Position: Set position is the same as the Horizontal Crash; plates are centered in front of your left hip at 45°, 1.5 inches apart. The Crash: This crash is almost the same as a Horizontal Crash, but with a different release. Here are the five steps:

A - the same A as the Hoz. crash, though minimized a bit. The right arm doesn't go quite horizontal, the left not as vertical, and the distance between the cymbals is about 4, instead of 7 inches.

V - as the A is not as large, the V is also smaller, but otherwise the same as a Horizontal Crash.

TC/BC - same as Horizontal Crash.

Release - Immediately after the crash, the right cymbal is brought horizontal, level with the navel so it "hangs" from your hand. The plate should be 2 inches from body, and the bell should be in front of your right hip. The left cymbal "moves" to its original set position in front of the left hip at 45°, against your body at "hip rest".

5. Return to Set

Effect Crashes Hi-Hats Set Position: Cymbals are placed (right on top, left on bottom) together, perfectly horizontal up against the stomach, and just above the navel. The Crash: The prep for the crash is done as though the plates were hinged at the contact

point with the stomach, with only the top (right) plate making any movement. When "opening" the Hi-Hats a good standard height to make a decent sound is 6 inches. Then, simply drop the right onto the left, using fingers for control.

Things to Watch:

• The crash should sound like a "chump." To achieve this instead of a big air-pocketed "THUMP," closed Hi-Hats should be end up slightly off-set (as opposed to perfectly on top of each other) to let some air out.

• Use your fingers for control. For slowly repeating, or single instance Hi-Hats, press with your fingers to achieve a good tight sound. For faster repetition, be sure to relax, and think of the plate as an extension of your hand.

Vertical Hi-Hats Set Position: Similar to the Hi-Hat, but the cymbals are oriented vertically. Contact point with the stomach is the same, maybe a little higher, i.e. just under the sternum. The Crash: The prep still hinges at the back, but both cymbals move an equidistant 3 inches. Again, to crash, just "close" the Hi-Hats. Same as the Hi-Hats, this crash makes a "chump" sound.

Klunk

Set Position: Plates are at your sides, with the bell at about navel level (this can be adjusted). The front of the cymbals are angled in, so they form a 90 deg angle, with the left plate slightly (1.5 in from the edge) inside the right, not touching. The Crash: To perform the crash, simply hinge the right cymbal on your side, swinging a little out, and then in to make contact with the left. The plates should always stay in contact with your body, and the left hand never moves. The prep, like the tap, is minimal but it depends on the volume you want from the klunk. This crash sounds like a "klunk."

Things to Watch:

• Like the Tap (described later) return to set as quickly as possible without jiggling the cymbals around.

Klank

Set Position: Set position is the same as the Klunk: Plates are at your sides, with the bell at about navel level. The fronts of the cymbals are angled in, so they form a 90 deg angle, with the left plate slightly inside the right, not touching. The Crash: This crash is the similar to the Klunk but allowing the cymbals to ring. Now, along with hinging outward for the prep, move both cymbals away from the body straight out about 6 inches; only horizontally forward, no vertical motion (holding the same 90 deg plate angle throughout). Make contact at this point, as though it were a Tap, of course making sure not to mute any sound with your forearms. Then, bring the system back into set immediately to choke off the sound.

Things to Watch:

• Here, like the Tap and Klunk, the left plate serves only as a contact surface and doesn't move other than the outward motion.

• The crash sounds like a "klank." In order achieve the best sound quality, it's important to relax both hands during contact. If not, you'll get a more klunky sound. It probably also means you're too tense, and slamming the plates together, which you need not do.

• Remember to keep all motion fluid between the prep, contact, and choke.

HOAC (Horizontal Open Attack Choke)

Set Position: Set for the HOAC is similar to a Hi-Hat in that the plates are perfectly horizontal, but they're two inches from the body, and separated about 1.5 inches. The Crash: The crash is just forcing the cymbals together from there, making a tight, soft-but-punchy sound.

Crunch or (Vertical Open Attack Choke) Set Position: Here, set position is the same as a vertical crash, bells at eye level plates 1.5 inches apart. The Crash:

Just as the HOAC, the crash is just using brunt force to push the plates together, making the characteristic crunchy sound.

Tap

Set Position: Set position for the tap is to have the left cymbal at Vertical Crash set position, and the right moves from Vertical Crash set up, and rotated counter-clockwise to an exactly 45 deg angle. Thus, the top of the right cymbal is hovering about an inch above the left, about an inch past the edge of the left. Make sure to keep your right plate perpendicular to the plane of your body, so you don't show your knots. An alternate set has the plates at 90 deg to each other (instead of 45), ala the A step of the Vertical Crash. The right cymbal will still be above the left, about an inch apart. The Crash: The crash is just swinging the right cymbal (slightly) up, and hitting it down on the edge of the left. The left plate does not move for this crash. Here, your wrist serves as the hinge, (think legatos with a drumstick) using your fingers as the controlling power. For the "release," make sure the right cymbal returns to its set position quickly, without flopping around.

Things to Watch:

• The crash makes a "ting" or "tong" sound. Both cymbals should ring, so make sure that the right forearm does not make contact with its plate (elbow out!).

• You can change the timbre of this crash by varying the contact position with the inside of the right plate: closer to the edge of the (right) cymbal means more "ting," closer to the bell means more "tong."

Slide Choke

Set Position: A slide has the same set and prep as a Hi-Hat: plates perfectly horizontal just above the navel, with the right resting on the left. The Crash: Begin the crash as a Hi-Hat. However, when the right cymbal comes down to make contact, bring the left cymbal out a bit (not more than an inch), and extend the right arm straight out in front of you fully. The cymbals should continue to touch each other (but not tightly) after the crash so that they sizzle. When bringing the plates back to Hi-Hat, lightly push with the heel of the hand so the back of top plate slides along the inside of the bottom. As you bring the right cymbal in, you'll begin to generate suction, which cuts of the sound, and then bring the plates back to set. All said and done, the crash should sound like

"Psssshhhhhhhhoop."

Sizzle

Set Position: Set position is that of a Horizontal Crash. The Crash: Though it depends on the duration and volume you want the sizzle to be, the prep for a sizzle is similar to the smaller AV prep. However, in this crash the bottom contact point is your left about an inch inside the right. This prevents the sound cut-off while performing the release. For the release, instead of moving the plates away from each other leave them in slight contact so that they sizzle (be gentle!). As the sizzle progresses, drag the top (right hand) plate slowly across the bottom one, which remains in set. The top plate should drag showing from a 1.5 inch crescent to the entire top half of the left plate, making sure not to expose the knots. The movement should be along that line that's parallel with the plane created by the plates, and with the front of your body (i.e. down at a shallow 45 degrees and towards your right). Finally, bring the top plate back u p to the set position.

Suc

Set Position: Set for this crash is different from most others. Bring the cymbals up to Vertical Crash position. Then bring the left plate down and in, nooked in the center of your chest, so that the top is at eye level, and about 1 inch from your chin. The right plate is touching the left, with the arm fully extended, at a 45 deg angle (looking at a profile of you). The Crash: To achieve the crash, pull the right in toward along the 45° angle, creating the same suction as in a Slide. The left plate moves out/up in the 45° just a little bit, so that the closed Suc position has the top of the plates about an inch above eye level. Remember, getting a good sound requires pushing with the heel of your hand. You'll get a sound similar to the "shoop" part of the Slide Choke.

Kruant

Set Position: For set, the left cymbal is the same as for a Horizontal Crash, level with the left hip, at 45°. The right cymbal is above the left and perpendicular to the left so that the bottom of the right plate is 2 to 3 inches above the left, "aiming" just below the

knot inside the bell. From the front, the system looks like a tipped over, upside-down T. Angle the plates as to not show your knots to someone standing right in front of you.

This crash has four steps:

Prep - move the right plate up and to the right (along the same line that the cymbal creates) so that it ends up about 6 inches above the left.

Contact - Bring the cymbal down and to the left, making contact with the bell of the left plate. The point of contact is slightly below direct center, just so you don't hit the knot.

Release - Bring the right plate up again to 6 inches, like the prep.

4. Return to set.

This crash sounds like a "gong."

Things to Watch:

• Don't move your left cymbal at all. The natural tendency is to move it up and to the right to meet the right. Just like the Horizontal Crash, always think about pushing the left cymbal down, so that the contact point doesn't drift up towards the center of your body.

Zischen

Set Position: Similar to the Tap, the left plate of Zischen set is the same as a Vertical Crash. The right plate is the same 45 deg angle as the Tap, but the tip/top of cymbal is now "inside" the left, slightly above the bell, a half-inch away. Again, there shouldn't be any forearm contact, see keep elbows out. The Crash: Keeping the left plate stationary throughout the crash, scrape the right plate into and up against left. Continue to scrape the right off the left cymbal, until it is 1.5 inches above the left. Forcefully return to set. Make sure that the right plate stays at the same 45° angle throughout the crash, and as usual don't show your knots.

Miscellaneous Information

Remember that proper visual presence (posture, marching technique, etc., as defined by the drumline visual staff) is to be maintained at all times.

Contributing to the sound of the overall percussion ensemble is paramount; any and all extraneous visual contribution of the cymbal line (and all of the subsections of the field percussion ensemble) is secondary to that.

Stick Height Chart

This chart provides guidelines for relating stick heights to dynamic markings indicated throughout parts. Although the stick height may be changed in various playing situations, this chart provides a constant frame of reference and is considered default.

Dynamic* Inner Beats Accents (>) Full Accents (^)

Pianissimo (pp) Piano (p) Mezzo Piano (mp) Mezzo Forte (mf) Forte (f) Fortissimo (ff)

1” 1” 1” 3” 3” 6”

N/A 3” 3” 6” 9” 12”

N/A N/A 6” 9” 12” 15”

I. ROLL RUDIMENTSALL RUDIMENTS SHOULD BE PRACTICED: OPEN (SLOW) TO CLOSE (FAST) TO OPEN (SLOW) AND/OR AT AN EVEN MODERATE MARCH TEMPO.

A. SINGLE STROKE ROLL RUDIMENTS

1. SINGLE STROKE ROLL *

7. FIVE STROKE ROLL *

6. DOUBLE STROKE OPEN ROLL *

5. TRIPLE STROKE ROLL

4. MULTIPLE BOUNCE ROLL

3. SINGLE STROKE SEVEN

2. SINGLE STROKE FOUR

8. SIX STROKE ROLL

9. SEVEN STROKE ROLL *

* These rudiments are also included in the original Standard 26 American Drum Rudiments.

B. MULTIPLE BOUNCE ROLL RUDIMENTS

C. DOUBLE STROKE OPEN ROLL RUDIMENTS

19. SINGLE PARADIDDLE-DIDDLE

18. TRIPLE PARADIDDLE

17. DOUBLE PARADIDDLE *

16. SINGLE PARADIDDLE *

II. DIDDLE RUDIMENTS

11. TEN STROKE ROLL *

15. SEVENTEEN STROKE ROLL

14. FIFTEEN STROKE ROLL *

13. THIRTEEN STROKE ROLL *

12. ELEVEN STROKE ROLL *

10. NINE STROKE ROLL *

œ œ œ œ œ œ œ œR L R L R L R L

3œ œ œ œ 3œ œ œ œRL

LR

RL

LR

RL

LR

RL

LR

6œ œ œ œ œ œ œRL

LR

RL

LR

RL

LR

RL

3œ œ œ 3œ œ œ 3œ œ œ 3œ œ œR R R L L L R R R L L L

6 6œ œ œ œ œ œRL

LR

RL

LR


RL

LR

RL

RL

LR

œ œ œ œ œ œ œ œR L R R L R L L

Z

R R L L R R L L

5 5œ œ œ œR R L L

7 7œ œ œ œRL

LR

RL

LR

9 9œ œ œ œR R L L


RL

LR

RL

RL

LR

13 13œ œ œ œ œ œR R L L15 15œ œ œ œ œ œ

RL

LR

RL

LR

17 17œ œR R L L

œ œ œ œ œ œ œ œ œ œ œ œR L R L R R L R L R L L

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œR L R L R L R R L R L R L R L L

œ œ œ œ œ œ œ œ œ œ œ œRL

LR

RL

RL

LR

LR

RL

LR

RL

RL

LR

LR

PERCUSSIVE ARTS SOCIETY INTERNATIONAL DRUM RUDIMENTS

Copyright © 1984 by the Percussive Arts Society™, 110 W. Washington Street, Suite A, Indianapolis, IN 46204 International Copyright Secured All Rights Reserved

PAS INTERNATIONAL DRUM RUDIMENTS PAGE 2

III. FLAM RUDIMENTSœ œ œ œL R R L

œ œ œ œ œ œ œ œL R L R R L R L

œ œ œ œ œ œ œ œ œ œ œ œL R R R L L L R R R L L

œ œ œ œ œ œ œLR

RL

LR

RL

LR

LR

RL

œ œ œ œ œ œ œ œ œ œL R L R R R L R L L

20. FLAM *

21. FLAM ACCENT *

22. FLAM TAP *

23. FLAMACUE *

24. FLAM PARADIDDLE *

25. SINGLE FLAMMED MILL

œ œ œ œ œ œ œ œ œ œL R R L R R L L R L

26. FLAM PARADIDDLE- DIDDLE *

œ œ œ œ œ œ œ œ œ œ œ œ œ œL R L R R L L R L R L L R R

œ œ œ œ œ œ œ œ œ œ œ œL R L R R L L R L R R L

œ3œ œ œ œ 3œ œ œ

LR

RL

RL

LR

LR

RL

RL

LR

27. PATAFLAFLA

28. SWISS ARMY TRIPLET

œ œ œ œ œ œ œ œ œ œ œ œL R L R L R L R L R L R

œ œ œ œ œ œ œ œ œ œL R L L R R L R R L

FOR MORE INFORMATION ON BECOMING A MEMBER OF THE PERCUSSIVE ARTS SOCIETY CONTACT PAS AT:110 W. WASHINGTON STREET, SUITE A, INDIANAPOLIS, IN 46204 • E-MAIL: [email protected] WEB SITE: WWW.PAS.ORG

29. INVERTED FLAM TAP

30. FLAM DRAG

IV. DRAG RUDIMENTS31. DRAG *

32. SINGLE DRAG TAP *

33. DOUBLE DRAG TAP *

34. LESSON 25 *

R R L L

œ œ œ œ œ œ œ œL R R R L L

36. DRAG PARADIDDLE #1 *

37. DRAG PARADIDDLE #2 *

38. SINGLE RATAMACUE *

39. DOUBLE RATAMACUE *

40. TRIPLE RATAMACUE *

œ œ œ œ œ œL L R R R L

œ œ œ œ œ œ œ œL L R L R R L R

œ œ œ œ œ œ œ œ œ œ œ œ œ œL L R L L R L R R L R R L R

œ œ œ œ œ œ œ œ œ œLR

LR

RL

LR

RL

LR

LR

RL

LR

RL

œ œ œ œ œ œ œ œ œ œ œ œ œ œR L L R L R R L R R L R L L

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œR L L R L L R L R R L R R L R R L R L L

œ œ3œ œ œ œ œ œ 3œ œ œ œ

L L R L R L R R L R L R

œ œ œ œ œ 3œ œ œ œ œ œ œ œ œ 3œ œ œ œL L R L L R L R L R R L R R L R L R

œ œ œ œ œ œ œ œ 3œ œ œ œ œ œ œ œ œ œ œ œ 3œ œ œ œL L R L L R L L R L R L R R L R R L R R L R L R

35. SINGLE DRAGADIDDLE

ã 812

œ œ œ œ œ œ œ œ œ œ œ œ

r l r l r l r l r l r l

Œ.=90


r l r l r l r l r l r l


r r l l r r l l r r l l


r r l l r r l l r r l l

ã

5


r r r l l l r r r l l l


r r r l l l r r r l l l


r r r r l l l l r r r r


l l l l r r r r l l l l

ã

9


r r r r r r l l l l l l


r r r r r r l l l l l l


r r r r r r r r r r r r


l l l l l l l l l l l lp

ã

13


r r r r r r r r r r r rf


r r r r r r r r r r r rp


l l l l l l l l l l l lf



ã

17




r r r r r r r r r r r r


r r r r r r r r r r r rp



ã ..

21


l l l l l l l l l l l l


l l l l l l l l l l l l




l l l l l l l l l l l lf

Flowplets Brandon Graves

©2012

Snareline

The first time through play as written at 3" from the wrist. No Dynamics. Quads around. Basses split.

The second play the check (first two bars) at 9" and put an accent on the first note of each sticking change. Rr Ll Rr Ll Rrr Lll.... No Dynamics. Quads drum 2. Basses with snares.The accent is played by articulating at the wrist and lifting the forearm slightly. There will be a pocket behind the stick as the stick comes up to 9" then the pocket closes as the stick comes closer to the head in order to contol the rebound of the stick. Absorb the rebound into the upstroke of the first tap. Do not stop the stick. Make sure all strokes flow from top to bottom.Do not squeeze the front fulcrum. Keep even preasure from the front of the hand to the back fingers.

Third time play the check at 9" and put an accent on the last note of each sticking change. rR lL rR lL rrR llL rrrR lllL ....No Dynamics. Quads drum 2. Basses with snares.Make sure that the wrist drives the up stroke and that the forearm is relaxed and moving with the stroke. Rebound the stick to tap height and play the taps from the wrist.

Fourth time play as written and follow dynamic markings. Play from the wrist with fingers opening near the top of the arc, to allow relaxed playing. The pocket should never open to the point that the pinky finger is straight. Quads play as written with dynamics. Basses split with dynamics.

Do not play higher than 9" and do not play faster than 90bpm. This is a warm up not a chops builder. RELAX! Let your wrist bounce and flow. Think of dribbling a basketball.

Use a met and mark time.

"It is good to eat food before you come to band camp." -The Bullsquatch

ã 44

41œ œ œ œ œ œ œ œ œ œ œ œ

R L R L R L R L R L R L

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

R L R L R L R L R L R L R L



œ œ œ œ œ œ œ œ œ Œ

R L R L R L R L R

ã 41 œ œ œ

R L R

œ œ œ

R L L

œ œ œ

R R L

œ œ œ

L R L

ãœ œ ‰

R L

œ œ

L R

‰ œ œ

R L

.œ œ

R L

œ œ

R R

œ œ

L L

ã 812œ

R

r

œ ‰

L

‰

j

œ

R

‰ .

r

œ

L

ã 812 .

. 86œ œ œ œ œ œ œ œ œ

R L R L R L R R R

œ œ œ œ œ œ œ œ œ

R L R L R L R R R



œ œ œ œ œ œ

R R R R R R

.œ Ó . Œ .

R

ã 86

‰ œ œ

j

œ

L L L

œ œ ‰ œ œ ‰

R L L R

œ

j

œ œ

j

œ

R R L L

ã‰ œ œ ‰ œ œ

L R R L

.œ .œ

R L

Œ

j

œ Œ

j

œ

R L

‰

j

œ ‰ ‰

j

œ ‰

L R

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'

ã

ã

ã

ã

44

44

44

44

..

..

..

..Snares

Tenors

Bass Drums

Cymbals

œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ

RRR

LLR

RRL

LRL ...

L...

R L L ...

œ œ

œ œœ œ ≈ œ œ œ œ

R R ...

œ œœ œ

œ œ ≈ œ œœ œ

R R ...

x x t x

œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ

œ œ

œ œœ œ ≈ œ œ

œ œ

L L ...

œ œœ œ


L L ...

x x t x

œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ

œ œ

œ œœ œ ≈

œ œ

œ œœ

R R ...

œ œœ œ

œ œ ≈ œ œ œ œ œR R ...

x x t x

œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ

œ

œ œ ≈ œ œ œ œ œ œ œ

œœ œ ≈

œ œ

œ œ œ œ œ

x t x œ œ

ã

ã

ã

ã

Sn

Tn

BD

Cym

5

œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ

5

œ œ


œ œ

L L ...

œ œœ œ


L L ...

x x t x

œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ

œ œ

œ œœ œ ≈ œ œ œ œ

R R ...

œ œœ œ


R R ...

x x t x

œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ

œ œ

œ œœ œ ≈ œ œ œ œ œ

L L ...

œ œœ œ

œ œ ≈ œ œ œ œ œL L ...

x x t x

œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ

œ

œ œ

≈ œ œ œ œ œ œ œ

œœ œ ≈

œ œ

œ œ œ œ œ

x t x œ œ

ã

ã

ã

ã

Sn

Tn

BD

Cym

9

œ œ œ œ œ œ ≈ œ œ œ œR R ..

9

œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ

RRR

LLR

RRL

LRL

...L...

R L L ...œ œ


œ œ

R R ...

x x t x

œ œ œ œ œ œ ≈ œ œ œ œL L ...

œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ

œ œœ œ


L L ...

x x t x

œ œ œ œ œ œ ≈ œ œ œ œ œR R ...

œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ

œ œœ œ

œ œ ≈ œ œ œ œ œR R ...

x x t x

œ œ œ ≈ œ œ œ œ œ œ œ

œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ

œœ œ ≈

œ œ

œ œ œ œ œ

x t x œ œ

ã

ã

ã

ã

..

..

..

..Sn

Tn

BD

Cym

13

œ œ œ œ œ œ ≈ œ œ œ œL L ...

13

œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ

œ œœ œ


L L ...

x x t x

œ œ œ œ œ œ ≈ œ œ œ œR R ...

œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ

œ œœ œ


R R ...

x x t x

œ œ œ œ œ œ ≈ œ œ œ œ œL L ...

œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ

œ œœ œ

œ œ ≈ œ œ œ œ œL L ...

x x t x

œ œ œ ≈ œ œ œ œ œ œ œ

œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ œ

-œ œ œ

œœ œ ≈

œ œ

œ œ œ œ œ

x t x œ œ

ã

ã

..

..

Tn

BD

17

œ œ œ

œ œ œœ œ œ

œ œ

œ œ œœ œ œ

œ œ œ œ œ

œ œ œ

œ œ œœ œ œ

œ œ

œ œ œœ œ œ

œ œ œ œ œ

œ œ œ

œ œ œœ œ œ

œ œ œ

œ œ œœ œ œ

œ œ œœ œ œ

œ œ œœ œ œ

œ œ œ

œ œ

œ œ œœ œ œ

œ œ œ œ œ

ã

ã

..

..

Tn

BD

21

œ œ œ

œ œ œœ œ œ

œ œ

œ œ œœ œ œ

œ œ œ œ œ

œ œ œ

œ œ œœ œ œ

œ œ

œ œ œœ œ œ

œ œ œ œ œ

œ œ œ

œ œ œœ œ œ

œ œ œ

œ œ œœ œ œ

œ œ œœ œ œ

œ œ œœ œ œ

œ œ œ

œ œ

œ œ œœ œ œ

œ œ œ œ œ

Double Triple Beat David Wingerson

©2012

Double Beat

Triple Beat - same check patterns and stickings

DIRECTOR

ã

ã

ã

ã

ã

&

?

4

4

4

4

4

4

4

4

4

4

4

4

4

4

Snare

Tenors

5 BD

4 BD

Cymbals

Mallets

Timpani

œ œ œ œ œ œ œ!œ!œ!œ!œ!œ!

3 3 3 3


3 3 3 3

œ œ œœ œ œœ œ œœ œ œ

3 3 3 3


3 3 3 3

˙

>

œœœ

œœœ

œ œ œ œ œ œ

3 3

3

3

œ

œ

œ

œ


3 3 3 3

œ œ œ œ œ œ œ!œ!œ!œ! œ!œ!

3 3 3 3

œ œ œœ œ œ

œ œ œœ œ œ

3 33 3

œ œ œœ œ œ

œ œ œœ œ œ

3 3 33

˙

>

œ œœ œœ œœ

œ œ œ

33 3

œ

œ

œ

œ œ œ

3


3 3 3 3

œ

œ œœ œ

œ œ œ

œ œœ œ

3 3 33


3 3 3 3


3 3 3 3

˙

>

œœœ

œœœ

œ œ œ œ œb œ

3 3

33

œ

œ

œ

œ

œ!œ!œ!œ!œ!œ!œ!œ!œ!œ!œ!œ!

3 3 3 3

œ!œ!œ!œ!œ!œ!

œ!

œ

!

œ

!

œ

!œ!œ!

33 3 3


3 33 3


3 3 33

∑

œ œœb œœ œœ

œ œ œ

3

33

œ

œ

œ

œ œ œ

3

ã

ã

ã

ã

ã

&

?

sn

tn

5 bd

4 bd

cy

key

Timp

5

œ

>

œ œ œ œ œ œ

>

œ!œ!œ!œ!œ!

3 3 3 3

R R

œ

>

œ œ œ œ œœ

>

œ

!

œ

!

œ!œ!œ!

3 3 3 3

R R


3 3 3 3


3 3 3 3

˙

>

˙

>

5

œœœ

œœœ

œ œ œ œ œ œ

3 3

3

3

5

œ

œ

œ

œ

Divisi

œ

>

œ œ œ œ œ œ

>

œ!œ!œ!œ!œ!

3 3 3 3

R R

œ

>

œ œ œ œ œœ

>

œ

!

œ

!

œ! œ!œ!

3 3 3 3

R R


3 33 3


3 3 33

˙

>

˙

>

œ œœ œœ œœ

œ œ œ

33 3

œ

œ

œ

œ œ œ

3

œ

>

œ œ œ

>

œ œ œ

>

œ œ œ

>

œ œ

3 3 3 3

R L R L

œ

>

œ œœ

>

œ œ

œ

>

œ œœ

>

œ œ

3 3 3 3

R L R L


3 3 3 3


3 3 3 3

œ

>

œ

>

œ

>

œ

>

œœœ

œœœ

œœœ

œœœ

3 3 3 3L R R sim.

œ œ œ œ

œ

>

œ!œ!œ

>

œ!œ!œ

>

œ!œ!œ

>

œ!œ!

3 3 3 3

R L R L

œ

>

œ!œ!

œ

>

+

œ!œ!

œ

>

œ!œ!

œ

>

+

œ!œ!

3 3 3 3

R L R L


3 33 3


3 3 33

œ

>

œ

>

œ

>

œ

>

œœœ

œœœ

œœœ

œ œ œ

3 3 33

œ œ œ œ

œ

>

Œ Ó

R

œ

>

Œ Ó

R

œ

>

Œ Ó

R

œ

>

Œ Ó

R

œ

˘

‰ Œ Ó

œ

Œ Ó

œ Œ Ó

(choke)

TRIPLET ROLLSBrian S. Mason

ã 44 œ

>

œ œ œ œ

>

œ œ œ œ œ œ

>

œ œ

>

œ œ œ œ

>

œ œ œ œ

>

œ œ œ œ œ œ

>

œ œ

>

œ œ œ

ã

3

œ œ

>

œ œ œ œ

>

œ œ œ œ œ œ

>

œ œ

>

œ œ œ œ

>

œ œ œ œ

>

œ œ œ œ œ œ

>

œ œ

>

œ œ

ã

5

œ œ œ

>

œ œ œ œ

>

œ œ œ œ œ œ

>

œ œ

>

œ œ œ œ

>

œ œ œ œ

>

œ œ œ œ œ œ

>

œ œ

>

œ

ã

7

œ œ œ œ

>

œ œ œ œ

>

œ œ œ œ œ œ

>

œ œ

>

œ œ œ œ

>

œ œ œ œ

>

œ œ œ œ œ œ

>

œ œ

>

ã

9

œ

>

œ

>

œ œ œ

>

œ

>

œ œ œ œ œ

>

œ

>

œ

>

œ

>

œ œ œ

>

œ

>

œ œ œ

>

œ

>

œ œ œ œ œ

>

œ

>

œ

>

œ

>

œ œ

ã

11

œ œ

>

œ

>

œ œ œ

>

œ

>

œ œ œ œ œ

>

œ

>

œ

>

œ

>

œ œ œ

>

œ

>

œ œ œ

>

œ

>

œ œ œ œ œ

>

œ

>

œ

>

œ

>

œ

ã

13

œ œ œ

>

œ

>

œ œ œ

>

œ

>

œ œ œ œ œ

>

œ

>

œ

>

œ

>

œ œ œ

>

œ

>

œ œ œ

>

œ

>

œ œ œ œ œ

>

œ

>

œ

>

œ

>

ã

15

œ œ œ œ

>

œ

>

œ œ œ

>

œ

>

œ œ œ œ œ

>

œ

>

œ

>

œ

>

œ œ œ

>

œ

>

œ œ œ

>

œ

>

œ œ œ œ œ

>

œ

>

œ

>

ã

17

œ

>

œ œ œ œ œ œ œ œ

>

œ

>

œ

>

œ

>

œ

>

œ

>

œ

>

œ

>

œ œ œ œ œ œ œ œ œ

>

œ

>

œ

>

œ

>

œ

>

œ

>

œ

>

œ

>

ã..

19

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

>

œ

>

œ

>

œ

>

œ

>

œ

>

œ

>

œ

>

œ

>

œ

>

œ

>

œ

>

œ

>

œ

>

œ

>

œ

>

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

Cymbal Line ∑ ∑up

∑down

∑up

«

2∑updown

‘ ‘ ‘

ã x.x

.x

.x

.A

HH chokeF

‘ ‘ ‘ X.>

X

.>

HOAC

‘ ‘ ‘

ã w^

B

flat crash

w.̂

flat crash choke

«

2

«

2

«

2w

>w.>

hor. crash choke«

2

«

2

«

2

ã2

C

visualw

hor. crash

visual 2Ó Œ œ

.̂

flat crash choke

6D

restw

E

vert. crash

w

.

vert. crash choke«

2

«

2.˙ œ

.

ã ∑

F

Ó œ.>Œ

hor. crash choke

2œ œ œ œ

vert. crash

w

G

T

tap‘ ‘ ‘ ‘ w

H

sizzlef‘ ‘ ‘

ã

69 ‰œzx

. ‰ ‰œzx

. ‰

‰ ‰ ‰ Jœ

z

x

.œ

z

fusion

‰œzx

. ‰ ‰œzx

. ‰x

.œ

z Jx

. ‰ ‰ ‰˙ ˙

I

hor. crash

w

ƒ

Ó œ.>Œ

flat crash choke

∑ whor. crash

.˙ œz

fusionÏ

œ

.Œ Ó

Ultimate Warmup Better

©2011 David Wingerson

(snare tap-off)

part 1

part 2

Documents

THUNDERCUSSION 2012 Expectations - Wingerson SHHS Cymbal Techniq… · 3. Styles, Grooves, Fills, etc. 4. Play-along, Jam, Warm-down Regardless of how long you've allocated to practice,