isu drumline packet 2018 (180530) - iowa state university · iowa state university drumline packet...
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IowaStateUniversity
DrumlinePacket
2018
1
FOREWORDOURMISSION
Individual improvement is the key to our success as an ensemble. One person does not make ourdrumlinegreat;everyonemustworktoachievegreatness.Asmembersofthisorganization,weobligateand challenge ourselves to improve our abilities as players. By striving to achieve nothing less thanpersonalexcellence,weensurethequalityofourensemble.OURPHILOSOPHY
TheIowaStateDrumlinehasthecrucialroleofprovidingasolidrhythmandtempotoanensembleinexcess of 340members. To do this, drumlinemembersmust individually play accurate rhythms andparts.There isno“hiding”one’splaying inthe line.Eachmember isexpectedtoequallycontributetotheoverallsoundofthe line.Thus, the line isabletoproducea fullqualitysoundwiththevolumetoprojectintoafullstadium.HOWTOUSETHISPACKET
Itisunadvisabletoattempttolearneverythinginthispacketinonesitting.Thepacketisgenerallysetup in theorderof the learningprocess, so it is logical tostartat thebeginningandwork throughthepacket. All the advanced concepts are fundamentally based upon the previous concepts, so anunderstandingofthecoreconceptsinthispacketisnecessaryforprogressionontoadvanceddrumming.Practicewithametronomeisrequired;thiswillpromoteaccuraterhythmsandtheabilitytoplaymuchmoreconsistentlyasan individual.Also,play in frontofamirrorandobservehowyourhandsmove.Makesureyouflowwhenyouplayandavoidawkward,jaggedmotionsthatlookorfeeluncomfortable.Feelthereboundanduseittoyouradvantage.Keepyourhandsrelaxedandfingersonthestick,turnyourwrists, andhit thedrumwith sufficientvelocity.Playwithconfidenceanddon’tbeafraid toaskquestions.Throughout the summer, the Iowa State Drumline will be hosting several clinics to facilitateimprovement among its currentmembers and potential newmembers. The dates and times can belocated on the drumline page of the website. These camps are valuable sources of information andinstruction regarding technique. It is highly recommended to attend some of these camps to get ahands-on look at technique. Technique is not something that can be learned overnight - it is a longprocess.Withenoughtimeandpractice,theconceptscoveredinthisbookwillbecomeafundamentalpartofyourdrumming.Goodluckandhappydrumming!Thefirstdraftof thispacketwaswrittenandcompiledbyBrettEbert,KelseyKnief,LukeSesker,DaveReid,andScottSzurek in2011.ThecurrentversionwasupdatedandcompiledbyLukeSeskerandTravisHattery in2018.Ourmissionistoeducateasmanystudentsaspossibleandtobetransparentwithourtechniqueandapproach.Theinformationisnotproprietary;pleasefeelfreetodistributethispacket.
2
TheIowaStateApproachAPPROACHINGTHEDRUM
Onegoodanalogyofthismotionisthe“policeknock”.Themotionofstrikingthedrumisthesameasaheavyknockonadoor.Inthismotion,thewristturnstoknockonthedoor,buttheweightofthearmis
used to apply more energy to the door and create a louder and more powerful knock. Using thisanalogy,placeadrumstickinyourhandandreplacethedoorwithadrumhead.Maintainrelaxationinthehandwhileplayingtopromotebetterresonanceandmorecomfortableplaying.Thestroke isawrist-initiatedmovement; thewristturndrivesthemotionofthestick.Whenturningthewristandstrikingthedrum,keepyourhandandarmrelaxed.Althoughthestrikingofthedrumisawristmovement,thearmshouldbeallowedtomovenaturally.Theweightofthearmisusedtodrivethestickintothehead,creatingafullersound.Oncethedrumhasbeenstruck,donotstopthemotionofthestick.Stayrelaxedandallowthenaturalreboundofthesticktodriveituptotheheightofthenextnote.Ineffect,youareonlydrivingthestickdown and the rebound from the head drives it back up. Your hand does not pull the stick up, butmerely follows the movement of the stick and directs its upward motion in the proper direction.Dependingonheightsandtempos,itmayseemasthoughthestickspendsthemajorityofitstimeintheuppositionasthestickgoesdownfast,comesupfast,andthenwaitsintheuppositionuntilthenextstoke.Thisisbecausevolumecomesfromvelocity.REBOUNDEDSTROKES
Reboundedstrokes (regardlessofheight) shouldbe themost fluid, relaxed,andcomfortablenotes toplay.Thestickisdrivendownbythewrist,strikesthehead,andthenthenaturalreboundofthestickdrivesthestickbackuptotheheightofthenextnote.Thehandstaysrelaxedthroughouttheentiremotion.The“policeknock”conceptappliestoreboundedstrokesatanyheight.Dependingonwhetherthenextstrokeisanotheraccentoratap,thestickiseitherallowedtoreboundfullyorisstoppedatalowerheighttoallowforatap.Ifthestickiskeptdownaftertheaccent,make
sure not to squeeze the implement to force a lower height; actively stay relaxed in the hand at alltimes.Do not assume playing lower means playing weakly.When playing taps, still play with a full and
powerfulsound, just froma lower initialheight.Theweightofthearmisusedtogivethetapaddedpowerandfullnessofsound.Whilethearmisusedtogiveafullsound,ensurethatthemovementofthestickismotivatedfromthewrist.DOUBLESTROKES
Double strokes require a slightly different approach depending on tempo. At slow tempos, a doublestroke consists of two individual wrist turns, one for each hit of the drum. As the tempo increases,graduallyapplymorepressuretothestickwithyourbackfingers.Thissmallapplicationofpressurewillallowthesticktoplaytwonotesfromonlyonewristmotion.Thetransitionfromindividualwristturns
toamoresingularstroke isagradualone,notatransitionataspecific tempo.Playingdoubleswithwristturn isamoreaccurateandpowerfulwayofplaying,sothismethodshouldbeusedasmuchaspossible.However,everyplayerwillreachapointwhereitisnolongerpossibletoplayeverynotefromanindividualwristturn.Practicewillallowyoutoincreasethetempoatwhichaccuratewristturnsareplayableandimproveyourabilitytoplayfullandpowerfulrolls.
3
Itisimportanttomaintainconsistencyamongthetwoindividualnotesinthedoublestroke.Eachdrum
strikeinthedoublestrokeshouldsoundequal.Doeverythingyoucantominimizeplacinganemphasisonthefirstnoteinthedouble.Withafewrareexceptions,theheightofdoublesandrollsshouldbelowenoughtoensurethefirstandsecondimpactofthedoubleisofequalheight,volume,andfullness.POSTUREANDMARKTIME
Anoften-overlookedelementindrummingisone’sposture.Goodposturehastwoimportantbenefits:itpromotes better playing andmarching, and it is aesthetically pleasing to the audience. Think of yourbodyas a seriesof pivotpoints: ankles, knees, hips, shoulders, andhead.All these points should bestackedvertically.
Whenstanding,yourweightshouldbeevenlydistributedthroughoutthebottomofyourfoot.Besureto keep your chin up and keep your eyes focused forwards. This promotes a confident, strongappearance.While maintaining good posture, actively stay relaxed in your shoulders, arms, and
hands. Avoiding excessive tension in the arms, shoulders, and backwill allow you to play better andmorecomfortablyforlongerperiodsoftime.Accurate internalization of tempo is critical to a drumline’s success. The whole bottom of the foot
leavesthegroundtogether,andthenreturnstothegroundtogether.Thefootstrikesthegroundonthedownbeat.Instandard4/4timesignatures,theleftfootstrikesthegroundonbeats1and3,whiletherightfootstrikesthegroundonbeats2and4.DYNAMICS
AtIowaState,weusetheclassic3”-intervalstickheightsystemtodefinedynamics.Itisimportantthateveryonewithoutexceptionapproachesthesedynamiclevelsthesameway.Ifeveryoneisnotplayingwith the samevelocityat thewrittendynamic level, thebalanceandblend fromplayer toplayerwillsufferalongwithclarity.Essentiallyallstrokeshavethesameintensity,whileincreasinganddecreasingthedistanceandspeedatwhichthemalletstrikes.Ourdynamiclevelsaredefinedasfollows:pp pianissimo ½inches gracenotes
p piano 3inches flattothedrumsurfacemp mezzopiano 6inches mid-waybetweenflatand45degreesmf mezzoforte 9inches 45degreeanglewiththedrumsurfacef forte 12inches mid-waybetween45degreesand90degreesff fortissimo 15inches 90degreeanglewiththedrumsurface
TacetPositionSetWheninsetpositionyourbodyisatattentionreadytoacknowledgemovement.Bothcymbalsshouldberelaxedatyoursideswithyourarmsslightlybent.Yourcymbalsshouldbeperpendiculartothegroundandshouldneverrestagainstyourbody.Fromthesetpositionyouwillbeabletomoveorfliptoanyplayingposition.VerticalVerticalpositionis“homebase”forcrashingandplayingyourcymbals.Bothcymbalsareperpendiculartothegroundandthebellofthecymbalisheldateye-level.Thereshouldbe1-2inchesbetweenthefrontofthecymbalsandawideropeninginthebackcreatinga“tunnel”effectfromyourfaceoutward.Yourarmsfromwristtoelbowshouldcreateapproximatelya45-degreeangle.
HipRestHiprestisanotherpositiontoplayandcreatevisualswithyourcymbals.Athiprestyourcymbalsarepositionrightateachhipbonecreatinganopen“V”.Yourarmsshouldbebentatapproximatelya45-degreeangle.Thebottomofthe“V”shouldhavea1inchgapbetweenthecymbals.Yourarmsshouldbeoutawayfromyourbody;notrestingagainstyoursides.FlatSetFlatsetcanbeusedasanotherpositiontoplayandcreatevisualswithyourcymbals.Flatsetishelddirectlyinfrontofyourbody.Therightcymbalisplaceontopoftheleftcymbalsleavinga1-2inchgapbetweeneachplate.Theangleofbothcymbalsshouldbetiltedtotheleftresemblingthatofwearingaseatbelt.
CymbalEffects:The“A-V”CrashCountsfortheCrash:Prep“A”oncount4ofameasure.Prep“V”onthe“&”of4.Crashoncount1.Sustaincrashforcounts“1&2”.Resolve“V”on“&”of2.Endin“vertical”oncount3.
1. FirstPrepStep:From“vertical”pullthecymbalsouttoan“A”positionwiththetopsofthecymbalstogetherwitha1inchspaceandthebottomsofthecymbalsoutward.
2. SecondPrepStep:Fromthe“A”movethecymbalstoa“V”positionwiththebottomsofthecymbalsnow1inchapartandthetopsopenoutward.
3. Tocreatethecrashthebottomedgesofthe“V”shouldrollthroughtothetopwhilehittingthecymbalstogetherendingbackinthe“A”position.Thecrashiscausedbyaflameffectbetweenthecymbals.Tip:Bringyourfingertipsoffofthecymbalsasyoucrashinordertoensurethesoundresonatesanddoesnotdampen.
4. FirstStepinResolution:Holdthe“A”positionaftercrashingfor1andahalfcounts5. SecondStepinResolution:Afterholdingthecrash,bringthecymbalsbacktothe“V”position
andthenbackto“vertical”tocompletethewholemove.Tip:Allmovementsforacrashshouldbefluid.
ChokeFollowthefirstthreestepsofthe“Crash”andimmediatelypulleachcymbalintothemuscleofthearmpitata45-degreeangle.Thiswillcutoffthesoundcreatingthe“choke”effect.Hi-HatPlacethecymbalsverticallyatstomachlevel.Openthecymbalsapproximately1inchleavingthebackpartofthecymbalshingedatthestomach.Pushthecymbalstogetherinthefrontusingforcefromthewristscreatingasoundresemblingthatofadrumset“hi-hat”.ClapHoldthecymbalsat“vertical”or“flat”set.Pulleachcymbalaparttothecreatea1to2inchgap.Quicklypushthecymbalstogethertomakeasharp/cutoffsound.SizzleHoldthecymbalsat“vertical”or“flat”set.Pulleachcymbalaparttocreatea1to2inchgap.Looselydropthecymbalstogetherlettingthemvibratebetweeneachothercreatinga“sizzle”sound.Tostopthesound,pullthecymbalsapartagain.Siz-SuckHoldthecymbalsat“vertical”or“flat”set.Pushtherighthanduporforward(dependingonthesetposition).Thispushwillcreatea“sizzle”sound.Pullthecymbalbackandpushtogethercatchinganairpocketatthebellofthecymbaltocreatethe“suck”sound.This“suck”willstopallsound.EachSiz-Suckwillbedeterminedbyrhythmicnotationinthemusic.
VerticalTapHoldthecymbalsat“vertical”setinan“A”prep.Placetherightcymbalovertheleft.Raisetherightcymbalbybreakingthewrist.Bringtheraisedcymbalbackdownbouncingtheplateofftheleftcymbalcreatinga“ting”sound.Onlytheedgeoftherightcymbalshouldhittheleft(approximately1-2inchesinfromtheedge).BellTapHoldthecymbalsat“HipRest”set.Movetherightcymbaloverthecenteroftheleftcymbals;stillinthe“HipRest”position.Hittheedgeoftherightcymbalontotheouteredgeoftheinsidebelloftheleftcymbal.Movetherightcymbalinacircularmotionafterthehittopullthesoundfromthecymbal.WamHoldthecymbalsatanopen“A”positionfacingthebodyatstomachheight.Turntherighthandsotheinsideofthecymbalisfacingoutwardtotheleftcymbal.Bringtherightcymbalbacktotaptheedgeoftheleftcymbal;trytoonlyhit2inchesfromtheedgeoftherightcymbal.Quicklyaftertheedgeshittogetherpullthecymbalsintothebodyunderneaththearmpitstocutoffthesound.Theforceshouldbeenoughthecreatealoudstrikingsound.ZingHoldthecymbalsat“vertical”setinan“A”prep.Placetherightcymbalclosetotheinsidebelloftheleftcymbal.Scrapetherightcymbalupwardsagainsttheridgesoftheleftplatetocreatethezing.DYNAMICSDynamicswillbeplayedbyalteringthevelocity,notthelargenessofmovements.Thelouderwewanttoplay,thefasterwemakeourmovements.Thesofterwewanttoplay,theslowerwemakeourmovements.
8816ismeanttobea“stock”exercisethathastheoptionofapplyingthehand-to-handpatterntomanydifferentrudiments,rhythmsandstickings.While10variationsareincluded,manymorewillbetaughtthroughouttheseason,andappliedtothesamepatternof8/8/16.Youcanevengetcreativeandcomeupwithyourownvariations!Allvariationsshouldbeplayedatallheightsandawidevarietyoftempos.PlaythisexerciseVERYSLOW,aswellasveryfast.Thiswillhelpdevelopcontrol.Agreatpracticemethodistoplayonebeatbyitselfandmasterthetiming,andthenapplythe8816patterntogainagreateramountofconsistencyinapproachthroughrepetition.Utilizingametronomefortempocontrolandamirrorforself-critiqueofhandmotionandflowareabsolutelycritical.Individualrhythmicintegrityandtempomaintenanceareessentialforthesuccessofthedrumline.Bassdrumsshouldbepreparedtoisolateanyrhythmicpartialsofanyvariation.(i.e.onlyplayonthe“andof1”or“playontheup-beats”)AdditionalaroundpatternsforTenorsandsplitsforBasseswillbecreatedandtaughtthroughouttheseason.Cometocampspreparedtolearn!CymbalswillfindaguidetothestandardnotationutilizedbyIowaStateinthisexerciseaswell.Timingandconsistencyarecrucialtodevelopasyouisolateeachsound.HappyDrumming!
ã 44 œm Œ ÓZing
œæ Œ ÓSizzle
œ x Œ ÓSizSuck
^ Œ ÓBellTap
_ Œ ÓVerticalTap
1. Œ ÓWam
ã x̂ Œ ÓClap
œ Œ ÓCrash
x Œ ÓHiHat
œ. Œ ÓChoke
Cymbal Notation GuideCymbal Line
ãããã
44
44
44
44
Snareline
Tenorline
Bass Drums
Cymbal Line
œ œ œ œ œ œ œ œR
œ œ œ œ œ œ œ œR
S S S S S S S SR
∑
Stock
œ œ œ œ œ œ œ œL
œ œ œ œ œ œ œ œL
S S S S S S S SL
∑
œ œ œ œ œ œ œ œR
œ œ œ œ œ œ œ œR
S S S S S S S SR
∑
œ œ œ œ œ œ œ œR
œ œ œ œ œ œ œ œR
S S S S S S S SR
∑
ãããã
S.Dr.
T. Dr.
B. Dr.
Cym.
œ œ œ œ œ œ œ œL
œ œ œ œ œ œ œ œL
S S S S S S S SL
∑
œ œ œ œ œ œ œ œR
œ œ œ œ œ œ œ œR
S S S S S S S SR
∑
œ œ œ œ œ œ œ œL
œ œ œ œ œ œ œ œL
S S S S S S S SL
∑
œ œ œ œ œ œ œ œL
œ œ œ œ œ œ œ œL
S S S S S S S SL
∑
œ Œ ÓR
œ Œ ÓR
S Œ ÓR
∑
8816Hattery
Score
Variations on a Theme
ãããã
S.Dr.
T. Dr.
B. Dr.
Cym.
∑∑∑∑
œ> œ œ> œ œ> œ œ œ
œ> œ œ> œ œ> œ œ œ
S> S S> S S> S S S
œm Œ ÓZing
Bucks
∑∑∑∑
œ œ> œ œ> œ œ> œ> œ>
œ œ> œ œ> œ œ> œ> œ>
S S> S S> S S> S> S>
œæ Œ ÓSizzle
Invert Bucks
∑∑∑∑
œ œ œ œ œ œ œ œ œ œ œ œR R L sim...
œ œ œ œ œ œ œ œ œ œ œ œR R L sim...
S S S S S S S S S S S SR R L sim...
œ x Œ ÓSizSuck
Diddle Sticking
ãããã
S.Dr.
T. Dr.
B. Dr.
Cym.
œ œ œ œ œ œ œ œ œ œ œ œR L L sim...
œ œ œ œ œ œ œ œ œ œ œ œR L L sim...
S S S S S S S S S S S SR L L sim...
^ Œ ÓBellTap
∑∑∑∑
œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ3 3 3 3
R R R sim...
œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ3 3 3 3R R R sim...
S ‰ S S ‰ S S ‰ S S ‰ S3 3 3 3R R R sim...
_ Œ ÓVerticalTap
Swung
∑∑∑∑
œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ3 3 3 3
R R R sim...
œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ3 3 3 3R R R sim...
S ‰ S S ‰ S S ‰ S S ‰ S3 3 3 3L L L sim...
1. Œ ÓWam
2 8816
ãããã
S.Dr.
T. Dr.
B. Dr.
Cym.
∑∑∑∑
œ> œ œ> œ> œ œ> œ> œ œ> œ> œ œ>3 3 3 3
R l R sim...
œ> œ œ> œ> œ œ> œ> œ œ> œ> œ œ>3 3 3 3
R l R sim...
S> S S> S> S S> S> S S> S> S S>3 3 3 3
R l R sim...
x̂ Œ ÓClap
Swung - tap fill in
∑∑∑∑
œ> œ œ> œ> œ œ> œ> œ œ> œ> œ œ>3 3 3 3
R l R sim...
œ> œ œ> œ> œ œ> œ> œ œ> œ> œ œ>3 3 3 3
R l R sim...
S> S S> S> S S> S> S S> S> S S>3 3 3 3
R l R sim...
œ Œ ÓCrash
∑∑∑∑
ãããã
S.Dr.
T. Dr.
B. Dr.
Cym.
œ> œ> œ> œ> œ> œ> œ> œ> œ> œ> œ> œ>3 3 3 3
R L R sim...
œ> œ> œ> œ> œ> œ> œ> œ> œ> œ> œ> œ>3 3 3 3
R L R sim...
S> S> S> S> S> S> S> S> S> S> S> S>3 3 3 3
R L R sim...
x Œ ÓHiHat
Swung - Accent fill in
∑∑∑∑
œ> œ> œ> œ> œ> œ> œ> œ> œ> œ> œ> œ>3 3 3 3
R L R sim...
œ> œ> œ> œ> œ> œ> œ> œ> œ> œ> œ> œ>3 3 3 3
R L R sim...
S> S> S> S> S> S> S> S> S> S> S> S>3 3 3 3
R L R sim...
œ. Œ ÓChoke
38816
ã 44 ∑q = 110
Ó Œ ‰ J1. ∑ Ó Œ ‰ J1. x x x x x ≈ x .5æ ‰ .œ. œ. ‰ Jœ. ≈ Rœ. ‰ Œ
ã7 x x x x x ≈ x .5æ ‰ .œ. œ. ‰ Jœ. ≈ Rœ. ‰ Œ x x x œ x x x x x œ x x Ó 1. Œ Ó 1. Œ
ã13 x x x x x x x x x œm Ó ∑ æ̇ Ó ∑ æ̇ Ó ∑
ã21 Œ ‰ Jœ x Œ Œ 1. Œ x̂ .œ. œ. ‰ Jœ. ≈ Rœ. ‰ Œ Œ ‰ Jœ x Œ œ Œ Ó
BounceSesker
©
Cymbal Line
For the 'VMB Drumline
„ 33 ∑ ” Œ ‰ Ιœsl
œ− œ Œ −x xch cr tap tap
‰ Ιx x x x x x x x œtap hh... sl
Ιœ− ‰ œ Œ −x xch cr tap tap
„6 ‰ Ιx x x x x x x Ιx ‰tap hh...
Œ Œ Œ Œvis...
Œ Œ Œ Œ Œ t x Œ t xsiz suck siz suck
Œ t x Œ tsiz suck siz
„11 Œ Œ Œ œvis... cr
∑ x x x x x x x xhh...
œλ œλ œλ œλzing...
œλ œλ œλ œλ œ Œ ”cr
„17 Œ Œ œ Œcr
œ œ− −x x ‰ Ιx ≈ −Ιxsl ch tap
œ œ− −x x ‰ Ιx ≈ −Ιxsl ch tap
œ œ− ‰ − Θt −x t −x tsl ch siz suck siz suck siz...
Œ œ Œ Œcr
„22 œ ‰ Ιt ‰ t ‰ tcr siz siz siz
Œ Œ Œ œcr
Œ Œ ”down
Tasty TreatsHattery
©
Cymbal Line
For the 'VMB Drumline
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Cadences
Cymbals
ISU 2005
Sticks and Swing
RWB 32 cts. Latin 32 cts. #5, 16+32 cts. Go-Go 32 cts. Cowbell
1 time thru 4 times thru bass run and2 times thru
4 times thru start on tag
Homey the Jam
Drum Cheers Cadence
3X o c o c o c o c o c o c o c
o c o c o c o c o c o c
ã c ..x x x x x x x x x x x x œ> œ>
œ x. œ>Î F Î ‰ jœ x ‰ jœ x
fã ..6 ‰ jœ x ‰ jœ x ‰ jœ x ‰ jœ x ‰ jœ x ‰ jœ x œ Œ Ó ∑ ∑Fã12 ∑ ∑ ∑ ‰ œ x œ x œ x œ x œ x œ x œ x œ x x x x x x x
fã .. ..18 ‰ œ x œ x œ x œ x œ x œ x œ x œ x œ x œ x œ x œ
1.
x œ x œ x œ
ã222.
x œ x œ x œ> œ̆ ‰ jœ̆ Ó ∑ ∑ œ> Œ Ó œ> Œ Ó
LegacyDan Kelly
©2008 Dan Kelly
Cymbals Part I
ã c .. ∑q = 120
∑ Œ x ‰ x x xf
Œ x ‰ x x x Œ œ Œ œ x x x x x ‰ jœ.
ã7 ∑ Ó ‰ jœ Œ x. Œ x x x x x Œ Ó x xx xxx xxxx ∑ ‰ x ‰ x ‰ x ‰ x
pã14 ‰ x ‰ x ‰ x ‰ x x Œ Ó œ
.œ. Ó
P fœ. Œ Œ œ
.œ. Œ Ó œ Œ Ó
ã 42 ..20 .x x Œ Œ œ.̂ Œ Œ Œ œ
ƒœ.
œ. Œ3
œ Œ
Homey the JamISU Traditional
Cymbals