thundercussion 2012 expectations - wingerson

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!

Snare drums: Excerpts from "The Blue Way" packet - Bluecoats Drum and Bugle Corps Goals: In order to achieve our goal of being the absolute best in the activity, we must simultaneously achieve exact uniformity in technique, touch, sound quality, rhythmic clarity, and dynamic clarity. Always strive for a BIG, STRONG, uniform quality of sound as you play---quality of sound is everything. Allow the stick to resonate

maintaining rhythmic accuracy at all times is paramount. ronome,

marking time, in front of a mirror to encourage absolute consistency. Technique: Right Hand - Grip the stick with your thumb/Index finger connecting at approx. 1/3 from the bottom of the stick. Middle, ring, and pinky fingers are all wrapped naturally around the stick, they never completely leave the stick when in motion.

NO YES

Left Hand - The bbetween the thumb and index finger. It should also rest on the cuticle of the ring finger. The pinky stays under the ring finger. The pad of the thumb connects with the index finger around the stick. The middle finger relaxes around the stick, it is not straight. The arm and stick should make a 45 degree angle and not be perpendicular or parallel to the arm.

NO YES

Thundercussion 2012 Technique

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 œLR

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 œL L R L R L R R L R L R

œ œ œ œ œ3œ 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 œ3œ 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 œœ

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 ≈ œ œ œ œœ 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


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

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

≈ œ œ œ œœ 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 œ

R 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


L 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 œ

R 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

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


L 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


R 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 œ

L 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

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 3 3 3

œ œ œœ œ œ

œ œ œœ œ œ

3 3 3 3

˙

>

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 3 3 3


3 3 3 3

∑

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 3 3 3


3 3 3 3

˙

>

˙

>

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 3 3 3


3 3 3 3

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

thundercussion 2012 expectations - wingerson

Documents