2 0 2 0

BATTERY AUDITION PACKET

Justin Moore

Justin MooreName

CONTENTS Introduction 4

History 5

Important Dates 6

Letter from Tom Aungst 7

Technique and Approach 9

Rudiment Sheet 13

Roll Exercise 16

Unison Single Beats 19

Split Single Beats Finger Control 20

Alan 24

Noah’s Diddits 25

A.T. And More 27

Triple Flam Thing 31

Double Beat 33

Contact The Cadets 36

HISTORY The corps was founded in Garfield, NJ as The Holy Name Cadets in 1934 and is currently headquartered in Allentown, PA. With 10 American Legion National Championships and 10 Drum Corps International World Championships, The Cadets are one of the winningest drum corps in history. PHILOSOPHY The Cadets is focused on the educational development of today’s students into tomorrow’s leaders. The Cadets provide hands-on interactive learning and achievement in the pursuit of excellence.

GOALS

• To create a safe and nurturing environment for all students

• Provide exceptional education of music, movement, Guard Choreography and performance training

• Teach students life lessons of teamwork, discipline, dedication, commitment, and integrity.

• Provide students with instructional support, perseverance and commitment to excellence.

• To promote innovation, creativity, and growth for all student

FROM THE DIRECTOR

I am honored to be the first female Director of The Cadets, and I’m looking forward to kicking off the 2020 season. The Cadets are committed to providing students an opportunity through guided and exceptional education, all the skills needed to achieve at your ultimate best. The audition information you’re about to read will prepare you for a future audition with The Cadets. Not ready to audition for a World Class Drum Corps? No worries, please come and learn from some of the most talented and decorated Instructional staff in the world. I’ve been involved in Pageantry of Arts since I was a teenager, and have decades of experience in educating and leading young adults to achieve at their ultimate best. I am passionate about leading The Cadets into the 2020 season and developing a team of exceptional young adults that will raise the bar far beyond expectations. Come to an Audition/Clinic and let us teach you some valuable tools to prepare you for the future. Best wishes, Denise Bonfiglio, Director

5

Dear Applicant,

On behalf of The Cadets Percussion Staff, I would like to welcome you and thank you for choosing The Cadets. We are all very excited about the 2020 season and the opportunity to work with you.

At the first camp, we will focus on two major objectives. First, we will teach the basic style and technique used by The Cadets drumline. Second, we will hear each person play individually to evaluate their skill level. We will be considering four major factors in determining the percussion section: your ability to adapt to the style, work ethic, attitude and playing ability. By the end of the evaluation camp, some decisions will be made and you will know exactly where you stand. To be sure that each of you receives the best possible chance to be a part of The Cadets, the final decision will be made by the second or third camp. This will give you a chance to work and develop the skills needed to be a part of The Cadets.

I have enclosed exercises that you will be responsible for during the evaluation process. These exercises will help you prepare for the audition and gives us the opportunity to move quickly through the technique instruction. In addition to the exercises, you should prepare a short solo which should be no longer than a minute. You can write a solo yourself, connect various exercises you already know or play a short etude from a book. Also, be prepared to play various rudiments from the rudiment sheet.

REQUIREMENTS FOR ALL

SNARE -- All rudiments on rudiment sheet, short solo, all exercises. TENORS -- All rudiments on rudiment sheet, short solo, all exercises. BASSES -- Be able to play rudiments 1-9 on rudiment sheet and a short solo. EXERCISES -- Basses should learn snare parts listed below.

UNISON SINGLE BEATS -- learn entire snare part SPLIT SINGLE BEATS -- learn snare part up to B ROLL EXERCISE -- learn snare part up to D TRIPLE FLAM THING -- learn entire snare part all the way through with NO variations ALAN AND NOAH’S DIDDITS -- learn split parts only

Be comfortable with split parts for exercises for whatever drum you are trying out for.

7

THINGS TO BRING

1. Sticks for whatever instrument you are trying out for. 2. A music stand. 3. If possible, your own drum with STAND or harness. If you can't, don't worry about it.

We look forward to meeting you at the audition/clinic.

Tom Aungst The Cadets Battery Arranger & Program Facilitator

8

TECHNIQUE AND APPROACH By Tom Aungst

GLOSSARY OF PERCUSSION STROKES Below are the basic strokes we use to unify our sound and detail the music. The touch and feel of each stroke may vary according to the musical intent. Besides these basic strokes, other types of strokes will be taught to achieve the integrity and style of the music.

1. Legato Stroke or Rebound Stroke: A stroke that starts at any height, plays, and then returns to its original height. It has a constant flow or motion, never stopping or starting. It is the natural REBOUND of the stick.

2. Staccato Stroke or Down Stroke: A stroke that starts high, plays, and is stopped close to the drum. Basically, you are controlling the stick from rebounding up. This stroke is usually used on accents.

3. Tap: This is usually a 3, 4, 6 - inch legato stroke. Taps are usually the notes that are in-between the accents.

4. Up Stroke: A stroke that starts low, plays, and quickly lifts upward to a particular height. An example would be grace notes from alternating flams.

DYNAMICS These dynamic levels and heights are used to unify the sound and look of the ensemble. Like the percussion strokes described above, the dynamic levels are used to achieve the composer’s musical intent and is a major part of how the percussion ensemble maintains the integrity of the music.

p piano = 3” mp mezzo-piano = 4” mf mezzo-forte = 6” f forte = 7” f+ = 10” ff fortissimo = 12” fff = 15” ffff = 18”

Also, the intensity of the stroke for each dynamic level or height may change depending on what is needed to achieve the musical intent of a particular pattern or musical phrase. For example, a group of forte accents may need to sound less intense because:

9

1. the tempo is too fast; 2. an individual or the ensemble is out of balance; 3. a certain touch is needed to achieve a better FEEL; 4. it is affecting the quality of sound.

All these concepts will be considered as the music is being taught.

PLAYING AREAS OR ZONES In addition to using dynamic levels and different strokes to achieve the musical intent, different playing areas or zones on the drum head can also be used to:

1. balance and blend the total ensemble; 2. create different timbres and colors; 3. achieve the appropriate touch and or feel.

THE 3 BASIC ZONES are center, 1⁄2 way between center and rim, and the edge.

MECHANICS OF PLAYING When talking about the technical skills needed to perform at a high level, the mechanics of playing must be taught and more importantly, must constantly be developed. By developing these skills, you will upgrade the performer’s ability and, at the same time, enhance the overall sound of the ensemble. Through repetition and proper coaching these techniques used to play a particular stroke, control a sticking pattern, or just be able to play more “stuff” at certain tempos, are very important for the performers to learn in order to achieve demanding material at the highest level. These are the basic components on both hands that should be developed.

1. Fulcrum: This is the point where the stick should be held with the most pressure. a. RIGHT HAND = between the bottom part of the thumb and the side of index

finger on the 2nd knuckle groove. b. LEFT HAND (for traditional grip only) = inside the crease between the thumb and

index finger, making sure it is down at the bottom part of the thumb.

It is very important to keep the fulcrum intact at all times to ensure control.

2. Fingers: The back fingers on your right hand should be relaxed naturally around the stick. For the left hand, if playing traditional grip, the stick should be placed on the first knuckle of the ring finger. Like the right hand, the other fingers should be relaxed and curved in a natural fashion. Also, it is very important to develop your fingers through various exercises. Developing the use of your fingers will upgrade your quality of sound and the control needed to play advanced material.

10

3. Wrist and Forearm: The wrist and forearm should work hand in hand to achieve a

natural relaxed approach to playing. When both are rotating together it should feel like you are DRIBBLING A BASKETBALL. By turning your wrist and using some forearm motion, you will be able to expand the range of your technical and musical skills.

EXERCISES Purpose - To become great at playing any musical instrument you have to be willing to advance your technical skills. Learning how to play advanced percussion music without learning the techniques needed to play that music will not help you perform at the highest level. THE BASICS, as most people call them, are very important to the success of the individual player as well as the total ensemble. We need to strengthen ourselves individually and, at the same time, work together in harmony.

The exercises in this packet are used to help the players advance technically and musically and learn how to work together to achieve a great ensemble sound. Some of these exercises are camp or audition exercises, used to teach a basic concept or evaluate the players skills. Once the show is learned and the drill is taught, more exercises will be written and taught by rote, focusing on a particular rudiment, pattern or musical phrase written in the drum book. By the end of the season we may have 15 different exercises which will be repeated over and over each day. These exercises are called SHOW EXERCISES, Usually short in length, they are used to clean the musical book. For now, let’s focus on the exercises in this packet.

By developing the techniques above and working these exercises the players will:

1. be better prepared physically to perform the demanding responsibilities of the music and drill;

2. learn how to work together to achieve a unified ensemble sound 3. increase the quality of their playing; 4. expand their rudimental vocabulary and upgrade their musicianship; 5. learn advanced rehearsal techniques; 6. strengthen their muscles (chops); 7. increase their endurance to play for longer periods of time.

WAYS TO PRACTICE THE EXERCISES Here are a few tips for practicing individually or as an ensemble.

1. Use a metronome! 2. When starting to learn an exercise, remember to start with a slower tempo. Be very

methodical and detailed. Follow all dynamics and check to make sure you are using the correct technique.

3. Vary the way you play an exercise, use different tempos and dynamics. Also, if it is a “One Hander” exercise, play the entire exercise with just the right or left hand. This will help strengthen your playing chops and endurance.

11

4. The bass drummers should always learn the snare parts for all exercises, even if there is a split part for the basses to play. We want all of the players to develop their hands equally.

5. When tenor players are learning these exercises, make sure they work on playing their part on one drum first. By playing on one drum they can focus on technique and not worry about what drum they need to play next.

6. Many of these exercises are long and are meant to be so. We want the players to develop their chops and endurance and feel as if they are playing a longer piece of music. The best way to develop a playing concept is to break down an idea into smaller segments. Example: When working the “Double Beat” exercise start by working on the right hand first, trying to master the stroke and mechanics. Continue adding on segments to the exercise until you have a stronger approach to the exercise. You may just want to work the beginning to A and use that as an exercise. Remember, you will not get better by just playing these exercises, you need to work on the technique and approach that is used to play them.

7. Also, when you get comfortable playing a particular exercise make sure you add your feet. This is as important as learning the proper technique.

12

Snare Drum

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

S. D.

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

7

S. D.

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

13

S. D.

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

19

S. D.

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

25

S. D.

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

31

S. D.

r l r l r l r l r l r l r l r l r lrl

rl

lr

rl

rl

lr

38

S. D.

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

46

S. D.

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

53

24

34 24

1. Flam Accent 2. Flam Tap 3. Flam Paradiddle3 3

Cadets 2020Rudiment Sheet

4. Single Flammed Mill 5. Flam Paradiddle Diddle 6. Pataflafla

7. Swiss Army Triplet 8. Inverted Flam Tap 9. Swiss-A-Diddle6 6 5 5

10. Choo-Choo 11. Shirley Murphy 12. Shock-A-Diddle6 6

13. Flamacue-Diddle 14. Diddle-Flafla 15. Egg Beaters5 5

16. Drag Paradiddles 17. Tap Drag-A-Diddles 18. Drag Tap-A-Diddles 19. 5-A-Diddles

20. Cheeses 21. Flam Fives 22. Flam Drags 23. One Handed Flam Drags3 3 3 3 3 3 3 3

24. Drag Pu-da-tas 25. Swiss Cheese Inverts 26. Cheese Chain 27. Chutra-Cheese3 3 3 3 5 5

28. Book Reports 29. Double Flam Drag 30. Cheese Pataflafla5 5

13

S. D.

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

60

S. D.

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

66

S. D.

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

72

S. D.

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

78

S. D.

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

84

S. D.

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

90

S. D.

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

97

S. D.

R l r l R L r L r r l R L r l r L R l R l l r L R l rr ll rr ll rr L r ll rr ll rr ll

103

68

68

24

24

31. Flam Five Flafla 32. Cheese Inverts 33. Cheese Cha3 3

34. Hand to Hand Cheese Cha 35. Chut Cheese36. Cheese Tap Cha

3 3 3 3 3 3

37. Grandmas 38. Inverted Grandmas 39. Dig-ga-dup-dat

40. Dap-dig-ga-up 41. Chap-dig-ga-up 42. Extended Book Report

43. Nut-Cha-Da 44. Drag Nut-Cha-Da 45. Drag Choo-Choo5 5 5 5

46. Single Drag Flammed Mill47. Tap Flam Tap Drag 48. Book Ends 49. Manzo's

5 5 5

50. Sausage Links 51. Scallywag 52. Tap Flam Tap 5 5 3 5 5

53. Screwball 54. Para-Roll5 5 5 5 3 3 3 3

2

14

S. D.

R l r r L R l r r r L r l l R L r l l l R l r l R L r L r r l l R L r l r L

110

S. D.

R l R l l r r L R r r l l r r L l l r r l l R r r l l r r L l l

116

S. D.

R l l l R R L r r r L L r l r r l r r l r l l r l l

12238

55. Book Report 5 Chuttas? (With a Turn Around) 56. Jesters

5 5 5 5 5 5 5

57. 7 and 7 58. 5 and 5

5 7 7 5 5

59. Helping Hands 60. Book Report-a-dada

3

5

3

5

3 3

3

15

f

q

f

f

mf

mf

mf

ff mf ff mf ff mf ff mf

44

44

44

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3 3 3 3 33 3 3

3 3 3 3

3

3 3 3 3

3 3 3 3 3 3

3

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3 33 3 3 3

3 3

3

33 3 3 3

3

3 6 6

3

3 6 6

3

3

3 3 3 3 3 3 3 3 3 3 3 3

3 33

3 3 3 3 3 3 3 3 3

6 6 6 66

6 6 63 3

3

3

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

33 3 3 3 3 3 3 3 3 3 3 3 3

3 3

3 333 3

3 3 3 3

3 3

3

3 3

16

f

f

ff ff

ff f ff f fff

ff f ff f fff

ff f ff f fff

ff

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

3

3

3 3 3 33 3

3 3

3 3

3 3

3 3

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3 3 33 3 3 3 3

3

3

3 3 3 3 3

3 3 3

3 3

3 3 3

3 33 3 3 3 3 3 3 3 5 5

3 33 3 3 3 3 3 33 5 5

3 33

6 3 3 3 3

6

3 5 5

3 3 3 3 3 3

3 3 3 3 3 3

3 3 3 36

6 6 6

17

fff mp

fff mp

mp

f mp f mf f

f mp f mf f

f mp f mf f

ff ff mf ff mf

ff ff mf ff mf

ff ff mf ff mf

ff f mf mp ff mp

ff f mf mp ff mp

ff mp ff mp

34

34

34

44

44

44

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

3 6 63 3

3 3 3 33 3 3 3 3 3

3 3 3 3 3 3 3 3 3 3 3 3 3 33 3

3 3 3 3 3 3 33 3

3 3 3 3 3 33

3 6 36

3 66

3 3 33 3 3

3

3

3

33 3 3 3 3 3 3 3

33 3 3 3 3 3 33

3 33 3

3 33

3 3

33

33

3

33 3 3 3

366 6 6

18

MarchingTenor Drums

MarchingBass Drum

Rfff

q = 120

Rfff

Rff

R Rf

Lff

L Lf

Rff

L R Rf

S. D.

T. D.

B. D.

Lfff

4

Lfff

Rff

L R L R R Rf

S. D.

T. D.

B. D.

R

7

R

R R L Rff

R Rf

Lff

L

S. D.

T. D.

B. D.

B L B

10

B L B B

Lf

Rff

R R L L Lf

Rff

R R L L

44

44

44

Snare

No MarchingComposer Tom Aungst, Bobby Marino, Paul Nalesnic

CADETSUnison Single Beats 2020

3

6 3 6

3

6

19

fff mp

q

fff mp

fff mp

ff

fff

fff

fff

mp

mp

mp

44

44

44

44

3 3

3 3 3 3 3 3

20

fff mp fff mp fff

fff mp fff

fff mp fff mp

mp fff mp fff mp fff mp fff

mp fff mp fff mp fff p fff mp fff

fff mp fff ff

mp ff

fff mp mp mf mf f f

mp mp mf mf f f

fff mp mp mp mf f

mp mp mf mf f f

34 44

34

44

34 44

34 44

44 24 34 44 24

44

24

34

44

24

44 24 34 44 24

44 24 34 44 24

3 3

3 3 3 3 3 3

6

6 6

6

3 3 3 3 3 3

3 3 3 3 3 3

6 6 6 6

6

6

3 3

33 3 3

21

mp mp mf mf f f ff mf

mp mp mf mf f f ff mf

mp mp mf f f ff f

mp mp mf mf f f ff mf

ff mf ff mf ff mf f mf f

ff mf ff mf ff mf f mf f

ff ff mf f mf f

ff mf ff mf ff mf

fff mf fff mf fff mf f mf fff mf f mf

fff mf fff mf fff mf f mf fff mf f mf

ff mf ff mf ff ff mf ff

ff ff

24

34

44

44

24 34 44 44

24 34 44 44

24 34 44 44

34

34

34

34

34

34

34

34

3 3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3

3

6 6 6 6

6

6

63 3

3

3

3

3

3 3 3 3 3

3

3

3 3 3 3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3 3 3 3

3 3

3 3

3

3 3 6 3

6

3 3 3

3

3

3

3

3 3

3 3 3

3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3

6 6 6

6 6 6 6

6 6

3

33 3 3

3 3

33

22

fff mf f mf fff mf fff mf

fff mf ff mf fff mf fff mf

ff mf ff mf ff

ff mf ff mf

ff mf ff fff

ff mf ff

ff

ff mf ff mf ff

44

44

44

44

3 3 3 5 5

3 3 3 5 5

6

6 6

5 5

3 3

3 5 5

5 5

5 5

5 5

6

5 5

23

SnareLine

TenorLine

BassLine

rff

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

q=132

rff

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

r

ffl r l r l r l r l r l r r l r l r l r l r l r r

Snare

Tenors

Bass Dr

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

6

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

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

Snare

Tenors

Bass Dr

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

q = q.10

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

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

Snare

Tenors

Bass Dr

r l r l l r l r r l l rf

r r l l l r r r l l r r r l l r r r lff

r r l r l r

14

r l r l l r l r r l l rf

r r l l l r r r l l r r r l l r r r lff

r r l r l r

r r r f ff r l r l r

34 c

34 c

34 c

34

34

34

34 c

98

34 c

98

34 c 98

24

24

24

24

24

24

Tom Aungst, Paul NalesnikAlan 2020

ComposerCADETS

5 5 5 5

55 5

5

55

5 5

13:8

13:8

13:8

24

SnareLine

TenorLine

MarchingBass Drum

rff/mp

l r r l r r l r l l r l l rff/mp ff mf mp ff

ffmf mp

l

q = 120

rff/mp

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

ff/mp ff mf mp ff mf mpl

rff/mp

l r r l r r l r l l r l lff/mp

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

Snare

Tenors

B. D.

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

A5

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

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

Snare

Tenors

B. D.

l r l r l r l l r l r l l l l rf

r l r r r l r r r lf

r rmf

r lf

l l l rf

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

B9

l r l r l r l l r l r l l l l rf

r l r r r l r r r lf

r rmf

r lf

l l l rf

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

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

Snare

Tenors

B. D.

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

12

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

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

44

44

44

simile

3

Noah's Diddits 2020CADETS

ComposerTom Aungst, Paul Nalesnik

simile

3

3

3 3

3 3

3

3

simile

3

simile

3

3

25

Snare

Tenors

B. D.

r

fr l r r l

ffr l l r

fr l r r l

ffr l l r

fl r l r l r

mf+l r r l l r

mfl r l r l r

ff

14

rf

r l r r lff

r l l rf

r l r r lff

r l l rf

l r l r l rmf+

l r r l l rmf

l r l r l rff

rf

r l r r lff

r l l rf

r l r r lff

r l l rmp

l rff

54

54

54

taps 6

taps 6

5 5 3 3 6

5 5 3 3 6

55 6

2

26

fff ff ffmf ff mf ff

mp

q. = 90 96

fff ffmf ff mf ff mp

fffff mf ff mf ff

mp

ff ff mp ff fff ff

ff ff mp ff fff

ff ff mp

ff mfff mf ff mp ff

mp ff mp fff mp ff

ff mf ff mf ff mp ff mp ff mp fff mp ff mf

ff mf ff mf ffmpff ff mp

mf f mf f f+ mf f f mf

f mf f mf f mf f f+ mf f f mp mf

mf f f+ mf

68

68

68

4

27

ff mf f ff ff fff mf

ff mf f ff ff fff mf

mf

fff ff

fff ff

ff

fff ff fff mf fff mf fff mf

fff ff fff mf fff fff mf fff mf

mp

fff mf fffmf fff mf fffmf fff mf ff fff f

q. = q

fff mf fff mf fff mf fffmf fff mf ff fff f

_______

38

68

38 68

38 68

38 44

38

44

38 44

2

5:6x 5:6x

5:6x 5:6x

5:6x 5:6x 5:6x 5:6x 5:6x 5:6x2:3e

5:6x 5:6x 5:6x5:6x

5:6x5:6x

2:3e

28

fff f

fff f

______

fff f ff

fff f ff

ff mf ff mf f f f f ff f ff f fff

ff mf ff mf f f f f ff f ff f fff

mf

mp mf+ mf+ mf+ mf+ mf f mf

mp mf+ mf+ mf+ mf+ mf f mf

mf29

f mf+ f

f mf+ f

f ff

44

44

44

30

SnareLine

TenorLine

BassLine

Rff

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

q=144

Rff

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

Rff

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

Snare

Tenors

Bass Dr

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

5

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

R R R R R R R R R R R R R R R R RR RR R RR RR R L L L L L L L

Snare

Tenors

Bass Dr

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

9

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

L L L L L L L L L L L L L L L

Snare

Tenors

Bass Dr

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

13

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

44 34 44 34

44 34 44 34

44

34

44

34

44 34

44 34

44

34

44

44

44

taps 6No Marching

3 3 3 33 3 3 3 3 3 3 3 3 3

Composer Tom Aungst, Paul Nalesnick

CADETSTRIPLE FLAM THING 2020

taps 6No Marching

3 3 3 33 3 3 3 3 3 3 3 3 3

3 3 3 33 33 3 3

3 3

3 33

3 33

33 3 3 3 3 3

3 3 3

3 33

33 3 3 3

3 3 3 3 3

3 3 3 33 33

3 33

3 3 3

333 3 3 3 3 3 3 3 3 3 3 3

3

333 3

3 3 3 3 3 3 3 3 3 33

3 33

3 33

33 3 3 3 3 3

33

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

3 3 3 3 33 3 3

3 33

3 3 3 3 3

31

Snare

Tenors

Bass Dr

L R L R L R L R L R L R L L R L R R L R L L R L R RL

LR

RL

RL

LR

RL

LR

LR

RL

LR

RL

RL

17

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

Snare

Tenors

Bass Dr

R L R R L L L R L L R R R L R L R L R L R L R L RL

LR

RL

RL

LR

RL

LR

LR

RL

LR

RL

RL

22

Snare

Tenors

Bass Dr

RL

LR

RL

RL

LR

RL

LR

LR

RL

LR

RL

RL

RL

RL

LR

RL

LR

LR

RL

LR

RL

RL

LR

RL

28

Snare

Tenors

Bass Dr

RL

LR

RL

RL

LR

RL

LR

LR

RL

LR

RL

RL

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

32

VARIATIONS FOR BARS 14 AND 18/tenors play variations on one drum

FLAM PARADIDDLES3 3 3 3 3 3 3 3 3 3 3 3

3 3 3 33 3 3 3

3 33 3 3 3 3

3

FLAM PARADIDDLE DIDDLE PATAFLAFLA CHOO - CHOO

3 3 3 3 33 3 3 3

3 3 3

Drag CHOO-CHOO SINGLE DRAG FLAM MILL

3 3 3 33 3 3 3

BOOK REPORTS EXTENDED BOOK REPORT

3 3 3 3 3 3 3 3

2

32

fff

q.

fff

fff

f

f

f

ff mp

ff mp

ff mp

128

128

128

33

ff

ff

f f

ff mp ff mp ff

6

6

2 2 2 2

6 6 6 2

34

mf f mf f fff

mf f mf f fff

68

68

68

9:6x 9:6x9:6x

9:6x 4:6x 4:6x

9:6x 9:6x9:6x

9:6x4:6x 4:6x

9:6x 9:6x

9:6x9:6x

4

4

35

CONTACT THE CADETS

Denise Bonfiglio, Director dbonfiglio@yea.org

Ron Lambert, Assistant Director

rlambert@yea.org

Michele Teevan, Operations Manager mteevan@yea.org

Tom Aungst, Battery Arranger & Program Facilitator

taungst@yea.org

Jake Gall, Battery Caption Manager jgall@yea.org

The Cadets

601 W Hamilton Street Allentown, PA 18101

(610) 821-0345

(Fax) (610) 821-1452

cadets.org

36