2020-2021 CINCO RANCH HIGH SCHOOL DRUMLINE AUDITIONS(Battery and Front Ensemble)

This is the audition packet for the 2020-2021 CRHS Drumline. This packet contains the variouswar ups and technique exercise that we use daily and will be used for your audition forplacement within the drumline at Cinco Ranch High School. We will be focusing our attentionon these during our mini camps. These camps will be held at the band hall at CRHS. Dates forthose are as follows....

March 31stApril 7thApril 14thApril 21stApril 28thMay 5th

Incoming 9th graders onlyIncoming 9th graders onlyALLALLALLALL

5:00-6:00 (bring drum pads)5:00-6:00 (bring drum pads)5:00-6 305:00-6:305:00-6:305:00-6:30

IMPORTANT: We ha e our Drumline Camp (both battery and front ensemble)at Cinco Ranch High School from July 20th to July 22nd from 9:00 am to 5:00 pm.Absence from this camp may jeopardize your placement in the drumline. Pleasefeel free to contact me with any questions at (281)237-5202 or atdanielrivera<S)katvisd.org. **

Additional information about full band camp will be coming in a separate packet. Please visitour website at hItps://cincoranchcouRarband.com/ and click the Charms Calendar link toview our calendar.

2020 Cinco Ranch HS Drumline Info

Drumline Mini Camps

March 31st (Incoming 9th graders only)

*bring drum pads5:00 PM-6:00 PM

April 7th (Incoming 9th graders only) 5:00 PM-6:00 PM

*bring drum pads

April 14th (AN) 5:00 PM-6:30 PM

April 21st (All) 5:00 PM-6:30 PM

April 28th (All) 5:00 PM-6:30 PM

May 5th (AN) 5:00 PM-6:30 PM

**Drumline Camp**

July 20th-July 22nd 9:00 AM-5:00 PM

Drumline TechniquesBattery Approach & ExercisesTaha Ahmed

The information and philosophies in this packet are designed to make you a better musician, allow us to startwith the same mindset and approach, and prepare you to have a successful audition process and season.

Please note, this is not the ONLY or RIGHT technique, it's just how I choose to teach. Be open to different ideas,and try to learn as uch as you can. The staff is hereto help you, but at the same time, we must e aluate e eryindividual objectively and do what s best for the team.

The staff is looking for good attitudes, ork-ethic, skill sets, physical abilities, preparedness, receptiveness,presence, and performance quality.

Please understand, this will probably be the hardest thing you have been asked to do in your musical career.Being a part of the drumline not only takes physical endurance but mental stamina as well. It requires theutmost time-management and grit. You will be asked to step outside of your comfort zone and push yourself tothe limit.

With that being said, we try to make dru line be a fun and exciting outlet for students to compete at thehighest level of the activity. Although it seems daunting, reading the text in this packet will help answer anypreliminary questions you may have. If you haveany further questions, feel free to email me at:tahaahmed22@gmail.com

Let s get started!

APPROACH

I believe we ha e an APPROACH to the Battery and our technique will be dependent on what the music calls for. This canbecome a very sensitive topic for drummers. Some people like to define it to the last detail and want e ery person downthe line to look exactly the same, while others don t stress it quite so much. We don t believe there is a right or wrongway. I like to define what the stick should FEEL like in your hands to achieve the SOUND we are looking for. We considereach individual is built uniquely from an anatomical standpoint so we don't stress everyone loo ing the EXACT same.Each indi idual has different sized hands/arms/fingers, o could be double-jointed or some other variance. Ourphilosophy is - instead of telling the players what to do, we let them play how they are comfortable (to an extent) andtell them what not to do. Ob iously, there will be guidelines as to how to grip the stick, the fulcrum points, the initiationof the stroke, and the pathway the stick takes, but in the end, the player should feel comfortable while playing. Withthat being said, to a hieve the same sound the players will naturally approach the stroke the same way and willautomatically look similar. If someone s technique is inhibiting them from achieving that sound, then we will makeadjustments. Now with all that, we will go into much further detail to give e eryone a base foundation to begin with.

Technique:

I like to think of the technique as relaxed but deliberate. We are looking for th best sound with the greatestease, or in other words, efficiency. We use a natural approach that looks fluid and makes the indi iduals lookrela ed and comfortable. If you watch how a dru set player approaches their instrument; the s oothness andfluidity to their playing is essentially what e are going for. It is also acceptable (and recommended) to feel themusic you are creating. The audience members will naturally feel the music if they can see you putting out someemotion. Monitoring one's posture is also much more important than people think. Your shoulders should berelaxed and there should be no unnecessary ension anywhere in your bod . This applies while you are marchingas well; keep the hands as relaxed as possible to achieve a nice sound. The sound we are going for is a full, warmtone that isn t choked off. The word resonance can be applied to all aspects of drumming. The sticks mustresonate to allow the drum heads to esonate to cause the drum to resonate and create a full sound.

Timing:

Timing is one of the most important aspects for the battery section. The battery must be perfectly accurate intime to allow the rest of the ensemble to have an anchor to listen to and play with. Each indi idual is responsibleto stay perfectly in time so the battery as a whole has no variance. When you play something, play as if youraudience is a computer that will transcribe your every note. Be excellent with your timing for the rhythms to bemathematically accurate. This begins with the feet and then correlating the hands to the feet. If you put yourfeet with the met and hands with the feet, in theory, we should all be in time. It is very important to kno howthe hands line up with the feet because it is a marching activity after all. Always practice with a metronome; Icannot stress this enough. No days, you can find free metronomes online or get a free App on your phone,so nobody has an excuse. Building good internal time is just as important as building chops. We al ays like totalk about the groove pocket . We consider everything you play will create some sort of groove and tf you feelthe usic this way, your body naturally tends to stay in the pocket. It's the same concept as listening to a son on your iPod and bobbing your head; everybody likes that comfortable feeling of being in time.

Sound:

The sound is probably the biggest aspect of the technique . If you are creating good sounds out of yourinstrument, more than likely, you are approaching it the correct way. Each individual has to create a good soundand also BLEND and BALANCE with the rest of their section. You ha e to be able to use your ears just as well asyour hands. Not only do you ha e to evaluate your sound actively and constantly, but you need to be able toblend that sound within your section and then the ensemble. This takes ears that can hear e er thing in theenvironment you're in and a brain that is capable of making subtle adjustments that enable you to fit into, andcontribute to, the ensemble sound. The first step in achieving this is to make sure you are producing ev nsounds between your hands and playing in the proper zones. As stated before, the sticks have a pitch of theirown and if you hold them too tightly you will inhibit them from resonating, therefore choking off the sound. Thedrum heads also need to resonate in order to produce good sounds. This is achieved by playing with a goodTOUCH. Touch simply refers to the amount of pressure you apply to the implement in your hand. For the mostpart, we tal about making the stick feel heavy and a light touch to get a good sound on all passages. This isachieved by havin even pressure throughout the fingers and hand on the stick. The stick will vibrate (breathe)in your hand as a result of the impact and e control this with different STROKES.

Grip and Stroke Types:

It is important that the drum be at the right height for you. We will not sacrifice individual comfort for perfectdrum heights across the line. A rough uideline (for Snares and Tenors) is this: from the elbows down to yourhands, there should be a slight downward angle. From your hands down to the bead, there should also be aslight downward angle. For Basses, the forearm will be approxi ately parallel to the ground.

For all sections, the thumb wilt be across from the index finger (two-point), but sometimes we will relax theindex and allow the pressure to be shifted to the middle finger (three-point), depending on the application. Thedifference between the two will be much less a visual change but ore of an internal refocusing of energy todifferent parts of the hand. The rest of the fingers will wrap naturally around the stick. They should be loose andrelaxed but not lea e the stick. It is also imperative to play in the proper zone on the drum head (depending onwhat the music calls for). There is no way to balance a sound if the players don t play in the same part of thehead.

The stroke will lead with the fulcrum and initiate from the wrist but it is not isolated to just the wrist. The armand fingers will move naturally when different muscle groups are needed. Usin the arm, wrist, and fingers inconjunction allow you to utilize the full range of muscles; from the big power muscles to the small, fast, twitchmuscles. The stroke should ha e velocity, and this is what allows you to get a full sound. It's not about how hardyou hit the drum, but rather, how fast. Allow the dead weight of the arm to be utilized in the stroke and allowthe drum to assist you by using the rebound and not putting too much downward force.

The main stroke types are: Full-Stroke (Rebound), Downstroke, Taps, and Upstrokes. The Full and Taps areessentially the same strokes at different heights. With these strokes, the rebound should be the same sp ed asthe stroke and the stick will return to the point of initiation, hence the rebound . With a downstroke, thestroke should feel the same as a full-stroke prior to hitting the drum. After contact, the wrist motion should stopto stop the stick from rebounding back to the initial height. The players should avoid squeezing the fingers tostop the stick as this will cause a change in sound and touch . The upstroke is the reverse; it begins with thesame stroke as a tap and then after contact, the stick is rebounded and the wrist motion turns the stick up to agreater height. Again, the less variation in hand-shape and pressure on the stick, the less ariation in sound.

Playing Positions & Instrument Specifics:

Snare: For the Left-Hand Traditional grip: The back of the stick should rest in the webby connection betweenthe thumb and index finger. The thu b should connect with the index finger roughly at about the first knuckleof the index finger; this connection will not separate. The stick rests on the cuticle of the ring finger and thepinky curls naturally underneath. The entire hand should have a natural cur ature resembling the shape of a C (From the top angle). No unnecessary tension or manufacturing of the hand should be done. The hand shapeis ery natural and no flexing or condensing is required. The stroke will rotate around the fulcrum point,resembling the motion of a turning doorknob.

For Snares and Tenors: The matched-grip will be American grip. This means it will be rotated slightly outwardsin relation to the drum. We want to utilize the best of both German grip (hand fiat, wrist access) and French grip(Hand vertical, fin er access). Usually, the crease created between the thumb and index finger willapproximately be a 45° angle.

Tenors: The home base is RH over Drum 1 and LH o er Drum 2. This is where your hands will rest when notplayin and should always be returned to in spaces or rests. Our basic technique re ol es around the "ThreePoints of Alignment." These are: the elbow, the fulcrum and the bead of the stick. We aim to keep these inalignment for unification of around technique as well as maintaining of the Y-axis ( ertical) technique whenadding motions on the X-axis (horizontal). There are three main X-a is motions you will need to aster: Pi ot,Extension and Retraction. Pivoting side to side from the elbows controls the motions near home base. E tensionis moving the forear and wrist forward away from the body which allows motions reaching across to theopposite side of the drums. Retraction is the opposite of Extension which allows you to move back towardshome base as well as in towards the spock drums. In eneral, the wrist and lift of the forearm will control the Y-axis and will match the motions the other sections employ. When playing crossovers, avoid bending the wrist sonot to cause poking at the drumhead. The crosso ers will either be a stick on stick c osso er or wrist on wristcrosso er depending on how any drums the crossover covers.

Bass: The forearm should be parallel to the ground. The mallet will be slightly turned in towards the head(imagine the downward angle for Snares/Tenors). The bottom of the mallet should not be isible from theaudience perspecti e. The motion should resembie that of playing on a flat drum, just turned on the side. Nounnecessary bends in the wrist are needed.

Preparation:

The success you have during the audition, and o erall success of the Battery is heavily dependent on the amount ofpreparation you do beforehand. A couple of practice tips:

• Be diligent wit your practice regimeo Practice everyday in order to build the uscles necessary

¦ Don t try to procrastinate and cram everything the day before

• Practice with PROPER techniqueo It does you no good to get through the music with bad technique

• Start SLOW!o Build the correct mechanics and stroke types FIRST, then work on speeding it up.

• Get in front of a mirroro Pay close attention to the details of your stroke pathways, stic angles, bead placements, etc.

• USE A METRONOME!• Practice on a drum (if possible)

o A pad just doesn't feel or sound the same• Record yourself

o Great practice tool to see and hear e actly what you are doing

What to Expect:

If you are asked to be a member of the drumline, there are certain things you (and your parents) should expect:

• You will be required to attend summer "drum camps o Dates TBD

• Sub-Sections will hold individual sectionalso These ill be decided by the section leaders

• You will be expected to be physically in shape to carry a drum and marcho Work out / Run over the summer

• ideo assignments are requiredo There will be weekly assignments over the summer

• You will need a Practice Pad and Marching Stickso Every member should own at least 1 pair of marching snare sticks

• Earplugs are requiredo It's loud, save your hearing.

• Water Jugs are requiredo At least 1 gallon

• Wear athletic clothes / shoeso Invest in a good pair of shoes for the season

Again, this is not the end all be all for technique. This is just a compilation of all the things we consider, and a set ofguidelines to adhere to. In the end, you are here to play and make some music so ha e some fun!

Exercises & Warm-Ups

Below is a packet of Basic Exercises" that cover a multitude of isolated motions and rudimental ocabulary. Regardlessof section, these exercises are good for every drummer to have in their arsenal. This packet also contains Full Batteryexercises that will primarily comprise our Warm-Up Sequence. Keep in mind that everything is subject to change andbe ready for anything. We could as you to play something that is not in the packet. Prepare e erything in this packetwith a metronome and marking time. The tempos are listed but be ready to play it slower or faster.

Definitions:

• D namics'.

o Our approach is to use dynamics and not heights. We define dynamics based on the sound we want.¦ To correlate our system with the "height system" use the con ersions below

• These are all relative. This is a general guideline but we will ma e adjustments asneeded per the music,

o pp = 1" (grace notes) / beneath fulcrumo p = 3 (taps) / 0° / flat wristo mp = 6" / 22.5 / 34 wrist turno mf = 9 / 45° /wrist turno f= 12 /67.5°/% wrist turno ff = 15 / 90 / full wrist turn ( ertical)

¦ These are all relative. This is a general uideline - a ain, use your ears.• Set Position/ Mark-Time / uts:

o The sticks will start down by our sides already in both hands. The sticks will come up on beat 7 of thecount-o f. The sticks will go down on beat 3 between reps and come back up on the subsequent beat 7.

o We will mark time with the heels together and toes apart (I position). The entire foot will come slightlyoff the ground. There will be a natural sway and flow to the mark-time as well.

¦ As a default, start marking time with the LEFT foot.¦ Start marking time the last 4 beats of the count in.¦ Continue marking time between reps

o The duts will be short yet articulate. We will dutthe last 4 counts of the count-off with the syllable"dut."

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„ iJ -J ¦Am d j 3 j n d = ia T~3 j Z a ~3 ia |R 1 r L i 1 R 1 r L r 1 R R 1 R R 1 ft R 1 P I r L r l R 1 r L r 1 ft 1 r L L r L L r L L r L r 1

iFlan M Il

.. jj j j j j J3-j-~3 nri id T~3 J~t~3 | T~3 3-fi 1 f L f 1 R 1 r L r 1 R ft 1 r L L r 1 R R 1 i L r i R 1 r L r 1 R 1 r L L f 1 R R 1 r L l r 1

IDo hlft Flaml

j T~ Ir ~3- JU~5 J~r5 a 7~3 |aJ J Jim i ~3 3 JTS B iR 1 r L r 1 | r l r l R ft 1 r L L r r ft R 1 r L r l R 1 r L r 1 R 1 r L L r 1 R R 1 r L l r 1

IFI m-Parartlrlillril

„ Jj J J J Afn mS t~3 u ~T~3_d BA d~ ~3 ij ~3~3 j n j~n /BhR I r L r 1 R 1 r L r 1 R 1 r r L r 1 1 1 r r L r 1 R 1 r L r 1 R 1 f L r 1 1 R 1 r r L r 1 1

IChOO-ChOOl >| , |t i i;| ,

> -j | , | t >, ! l( < >j , l| ) _

R 1 r L r C R 1 r L r J R 1 r r L r J I ft 1 r r L r 1 R 1 r L r l R I f L r 1 1 1 r r L f 1 t

ITadialal

¦¦ J j-i- - ~T~3 nj-i n ) d~ ~3 a i J n- jb /m R 1 r L r l R 1

ITadiata-Swiss!

¦ ¦¦ J J J . J J . J

r L r I

. J J

R 1 r

l-rm

L r l R l r L r 1

j di nr-] j~~j

R l r

~r -J J

L r 1

jJTP

R 1 r L r 1 R 1 r

I jm-

L T 1

J J

R I r L r 1

JB T~] |R I r L r 1

iPalaflAtlfll

R | r L r 1 R 1 P R 1 1 R I 1 R 1 rr* "L r 1 R 1 r L f 1 R 1 r L r r L r r L r r L r 1

R I r L r 1 R | r L r 1 R 1 r L 1 r L R 1 r L L r 1 R 1 r L f 1 R 1 r L r 1 R L r 1 R L r 1 R

IFIamaarfll

1, d j J d~T~] 1 dTT - |a ~3 jJ~T~3 ~T~J i J d J J aTT~] iAm r a t"] Aim i1 r L r 1 R 1 r L r l r L r 1 1 r L r 1 R 1 R J r L r 1 R 1 r L r 1 r L f 1 R 1 r L I R 1

i hala h hl

p j ! ! | j | | |> , | | , | | >j | -|

=- > >

R 1 r L r 1

llnv rtel

R 1 r L r l R 1 r L r 1 R 1 r L r 1 R 1 r L r 1 R 1 r L r 1 R 1 r L r 1 R 1 r L r <

R r L r 1 R 1 r L r l R 1 L f R 1 L r R 1 L r H i r L r 1 R 1 r l r 1 R 1 L r R I L r R r L r

IFubarsI

.. d J jaJj J-d JJd J Jidd i-d j h n~~i j ~g~g i -J-d Am jJ"T"3 d~T~ id d-J- l d J An~] nj~5=1RlrLrlRIrLrl RRI L L r R R 1 L L r R 1 r L 1 1 R 1 r L r 1

iR 1 L L f RRI L L r

IFIam-DrsasI

p | , r---| M l~ 1 r 1 i r !* | i i i

r t

R 1 r L r 1 R 1 r L r I R 1 r L r 1 R I r L r 1 R 1 r L r 1 R 1 r L r 1 R 1 r L r 1 R 1 r L r l

lOlfMSRfll

R 1 r L r l R 1 r l r 1 R I r L r 1 R 1 r L r 1 R 1 r L r 1 R 1 r L r 1 R 1 r L r 1

/

7

ISwIss-Draol»j ¦ ¦ *j , , *• - >•, . =>. -r . *•. .

R 1 r L r 1 R 1 r L r 1 R r 1 R r 1 R f 1 R 1 r L r 1 R 1 f L r i R 1 r L 1 r L 1 r L 1 f L r 1

IFIam Dcruble-Dransl» , >• > -j >• _ > i ,

> |_|_ r_r- r | r , r i >_=

R I r L r 1 1 r L r 1 R 1 r 1 r L r 1 1 R r L r 1 R 1 r 1 R 1 r L r 1 1 R 1 r 1 f L 1

IFIam-Drao-Flafla 1* < < |

n r-| ¦5j >| | l V-r1 > * ! p-gj

R 1 r L r I R 1 r L r 1 R 1 r L R 1 r L R 1 r L L r 1 1 f L r 1 1 r L t 1 R L r 1 R L r 1 R

IDouble-Flam Draol~ } r

>1

R 1 r L r 1 R 1 r L r 1 R 1 r L L r 1 R R 1 r L r 1 1 r L r 1 R I L f 11 R R 1 r L L r 1 R

iCheese-FIaflal

1 | , Sj , r _

R 1 r L r 1 1 r l r 1 r L R | r L R 1 r L L r 1 R 1 r L r 1 R 1 r L r 11 R L r 1 R L r 1 R

IChul-Cheesali r'n j

=>nr

= i a- r~i Tm 1 f ~ J 1U ftf J~~T

=»

R 1 r L r 1 R 1 r r 1 R I r L L P 1 R R 1 r L L r 1 R 1 r L r 1 R 1 r L r 11 R R 1 r L L r 1 R

R 1 r L r 1 R 1 r L r 1 R 1 r L R 1 r L 1 r L L r 1 R 1 r L r 1 R 1 r L / 1 R L f 1 R L r 1 R

ICh l-Cfieese-Fivel_ >•

>• > > >j j *| * h .

R 1 f L f 1 R 1 r L r 1 R 1 r L L r 1 R R 1 r L L r 1 R 1 r L r 1 R 1 r L f 1 R R 1 r L L r l ft

RlrLrlRIrLrl rLrIRIrUrIRI RlrLrlHIfLrl rLrI IfLfIRI

RlrLfl IrLrl RLRLRLRLRLRL RlrLrlRIrLrl LRL LR RLRL

8 IndependenceDuple

Base Patte ns

-nolal |2-nola| |3-nolel

J J J J i.

1s

2s

IndependenceTriple

Base P items J. J. J. J.

Is

2s

3s

To practice this exercise:- Play one of the "Base Patterns" at a piano height on the edge of the drum with one hand.-Play each isolate pattern at an accented height in the center of the drum with t e opposite hand.- During each bar of rest, continue to play the base pattern.

Variations on the exercise:-Take out the bar of rest between the isolated patterns within the phrase but leave the measure of rest in bet een note groupings,

(i.e - no bar of rests between all of the 1s but then bar of rest between 1s and 2s)-Flip which hand is piano and which hand is accented-put different heights in the exercise