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2015 Notre Dame Indoor Percussion Battery Technique
Packet
Goals of the Battery Technique Program
- Unify the visual mechanics of how we drum
- Achieve the fullest sound possible from our instrument at all dynamic levels
- Unify our heights and dynamic levels
- Unify our approach to various musical passages
- Consistently play with an aggressive and confident approach
General Technique Guidelines
This portion of the technique packet demonstrates general concepts of how the battery
percussion section should approach playing technique and musical interpretation.
Supplemental information for each battery instrument will appear later in the technique
packet.
The Set Position
- All performers will begin every exercise with their sticks straight down at their sides.
Snares and tenors will maintain a straight line path with the stick pointing down the
seam of their pants. The bass drums will maintain a mallet angle consistent with their
natural playing position.
- The “tap-off” will consist of 8 clicks from the instructor’s sticks or 8 clicks from the
metronome. The entire ensemble will bring their sticks up to the playing position on
beat 7 of the 8 beat count-off.
The Grip
The stick should be held in the following way:
- An initial fulcrum should be made by placing the stick between the index
finger and thumb
- The other three fingers should be wrapped gently around the stick with
the stick following the natural curve of the fingers
- In the playing position, the bead of the stick (or head of the mallet) should be as
close to the playing surface as possible
The Movable Fulcrum
- The movable fulcrum refers to where the stick’s “pivot point” is in the grip
- As stated earlier, the initial fulcrum is located between the index finger and thumb.
- This fulcrum can be transferred to different areas of the palm by the
application of pressure with various digits
Front Fulcrum – The front fulcrum or “initial fulcrum” is located between the index
finger and thumb. This is the fulcrum that is employed during the initial gripping
process by applying slight pressure between these two digits . However, this type of
fulcrum should only be employed during fast roll passages and fast single hand strokes.
Back Fulcrum – The back fulcrum is created by applying slight pressure with the pinky
pushing the stick against the palm. This transfers the “pivot point” to the back part of the
palm by the pinky. Using the back fulcrum creates a stronger tone and fuller sound
because more of the stick is engaged in sound production. Because the back fulcrum
creates the fullest tone from our instrument, this should be utilized as much as physically
possible to maintain a strong ensemble sound.
Middle Fulcrum – The middle fulcrum is created by applying slight pressure with the
middle and ring fingers. In this case, the pivot point is directly in the middle of the
palm. The middle fulcrum is utilized for passages that are too fast to utilize strictly back
fulcrum and not quite fast enough to justify using the front fulcrum. The idea is behind
the middle fulcrum is to help maintain a full sound at slightly faster tempi.
The Prep Stroke
The prep stroke is the process that takes place during the time that the stick leaves the
playing position, moves upward, and finally returns downward to strike the drum. The
prep stroke is incredibly important in a sense that it unifies the sound that is produced
from each section, unifies the “look” of the ensemble and determines the “feel” of a
particular musical passage or phrase. Here are some guidelines on performing a
successful prep stroke:
- The initial stroke leads from the bead of the stick and utilizes an equal and
cooperative combination of fingers, wrist, and arm motion
- Once the stick/mallet reaches the top of the stroke the performer should use the
dead weight of all three of these appendages (fingers, wrist, arm) to allow the
stick fall to the head.
- The amount of time it takes to go from the beginning of the prep stroke all the
way to the first strike of the drum should remain consistent, regardless of speed or
tempo. The duration of the prep stroke will become more consistent the longer
the ensemble performs together.
The 4 Stroke Types of the Battery Ensemble
1. High-High
- This stroke begins in the highest point of the prep stroke
- Utilizing the natural weight of the arm, wrist, and fingers the performer allows
the stick to fall to the drum surface
- Upon contact with the drum surface, the performer then allows the stick to
rebound back up to the top of the stroke
2. Hi-Low
- Once again, this stroke will begin at the highest point of the prep stroke
- Utilizing the natural weight of the arm, wrist, and fingers the performer allows
the stick to fall to the drum surface
- This time, instead of following the rebound the performer allows the natural
weight of the arm to stop the stick in the low position (approximately 3 inches
from the drum surface)
- It is very important that there be no squeezing or extra pressure used to stop the stroke
3. Low-Low
- This stroke begins in the low position
- The stroke is executed much like the high-high stroke - The full weight of the arm, wrist, and fingers are utilized to push the stick downward to
achieve as full of a sound as possible
4. Low-High
- This stroke begins in the low position
- All mechanics to perform this stroke are the same as the low-low with the
exception that after the stroke is performed, the stick is then thrusted back up to
the high position
2015 Notre Dame Indoor Percussion Snare Technique Playing position
A. The sticks should be as close to the head as possible at a 90 degree angle. B. The stick should be approximately 2 fingers above the rim. C. The right hand stick should be approximately 1" outside the "5 o'clock" lug. D. The left hand stick should be directly over the "8 o'clock" lug.
Right hand grip:
A. The grip of the hand should be natural and relaxed.
B. The butt end of the stick should be able to be seen, and should not be hidden
under the forearm.
C. The Front Fulcrum should maintain intact and all fingers should be wrapped
around the stick (avoiding tension) in a relaxed position.
D. The right hand thumbnail should be at a slightly less than 45 degree angle to the
ground.
Left hand grip:
A. The natural curvature of the hand should be maintained and the stick placed in
that natural curve. Avoid having straight fingers or condensing your hand.
Holding the stick in your left hand should look exactly how your hand looks
relaxed at your side without the drum stick.
B. The thumb should connect to the first knuckle of the first finger and should
never lose contact with the first finger.
C. The stick rests on the cuticle of the ring finger.
D. The middle finger should rest along the stick (but never straight).
E. There should be a slight air pocket between the stick and the second knuckle of the
index and middle fingers.
F. The ring and pinky fingers should work in unison to support the bottom of the
stick. These fingers should remain together and relaxed all the time.
G. While playing, the left hand should rotate similar to turning a door knob.
Other Notes:
A. The hands should be relaxed without sticking out your elbows (relax your
shoulders).
B. For the left hand, there should be some space between your elbow and your side,
but you should also not be straining to keep your elbow in.
2015 Notre Dame Indoor Percussion Tenor
Technique
The Grip
The tenor line will be using match grip. All fingers should contact the stick with
minimum pressure at the fulcrum. The stick should act as an extension of the forearm
with only a slight inward angle. A good way to check if you are holding the stick
properly is to hold the sticks upside-down, with the majority of the stick hanging
underneath the forearm. If the stick does not contact the under-side of the forearm there
is too much of an inward angle.
Set Position
When sticks are in the right stick should be in front of the left. No fingers are to
be inserted between the sticks when set. The thumbs should contact the side of the
sticks closest to the body. When sticks come out they should be over the playing zones
of drums 1 and 2 (referred to as home base) as close to the head as possible. While at
home base the arms should not contact the torso, but caution should be taken to not
extend the elbows too far. The wrists should be in a completely neutral position. An
easy way to check this is to place a stick on top of the forearm and hand. If there is any
part of the arm/hand not in contact with the stick the wrist is in a flexed position, which
is to be avoided. The sticks should be at a downward angle towards the drums, about 10
degrees. Correct posture is also important. Stand up straight with the chest slightly
forward and head looking straight ahead.
The Stroke
All strokes should be initiated with the wrist! Once the wrist has reached its
maximum turn the forearm should engage and continue the upstroke until the stick has
reached a vertical position. It is very important not to hyper-extend the wrist as this will
likely cause pain after long periods of playing and sometimes even injury (tendonitis,
carpel tunnel, etc.). The forearm should be allowed to move throughout all dynamic
levels so as not to create tension in the arm, but its role in the stroke will decrease as the
dynamic level decreases.
Playing Zones
The playing zones
pictured here are a good
representation of the
ideal place to strike each
drum. We will be using a
six-drum set up at Notre
Dame as opposed to this
five-drum set up. Any
differences in playing
zones will be addressed
at camps.
Moving from Drum to Drum
While getting around the drums the hand and forearm should always be in
the same position in relationship to each other. Meaning don’t use the wrist to play
on a different drum, move your entire hand using your arm to get to the next drum.
The stick should travel in a smooth arc during the rebound to get to the next drum.
Cross-overs
There are two types of cross-overs, the fulcrum cross and the wrist cross.
The fulcrum, or stick cross, occurs when playing on two adjacent drums (4-2, 2-1, 1-
3). The sticks should cross slightly in front of the fulcrum. The wrist cross occurs
when playing on two non-adjacent drums (4-1, 2-3, 4-3). The wrists will cross over
each other in this situation.
Scrapes
The quad drummer’s bread and butter! Scrapes occur when performing a
diddle across two different drums. It is extremely important to not change how the
wrist works while executing a scrape. The wrist should not move laterally during a
scrape (picture the Miss America wave). The hands should continue to play as if
they were on one drum while the arms take care of getting the hands from point A to
point B. The playing zones remain the same while executing scrapes. Unless
specific situations call for it we will not use the drums 1 and 2 scrape zones. If you
are unfamiliar with those playing zones great!
Home Base
As stated earlier home base is when the sticks are over drums one and two.
We will always return to home base (unless otherwise stated) after everything we
play. The hands should quickly yet naturally back to home base. During exercises in
which one hand is isolated at a time (eights, accent tap, double beat, etc.) the hand that
is not playing, also referred to as the tacet hand, will be held at home base. The hand
that is playing will return to home bases as soon as it has finished that phrase. There
will be instances where we will attack drums 3 and 4 as well as the spocks from home
base, and there will be time where a shift will be implemented. That will be addressed
on a case by case basis.
The Flow
When playing tenors there should be fluidity to the motion. Care should be taken
to avoid any sort of stiffness in the arms and hands in order to keep the sticks in motion.
If you have to stop one hand in order to navigate around the other there is more than
likely an issue in how the hands are approaching the music. It is a good exercise to
choreograph the movement without playing the drums. Put your sticks in playing
position and move them in time to the intended targets while keeping the hands as low as
possible.
The Tenor Line Mission Statement
Relax, have fun, play drums!
2015 NDIPE Bass Drum Technique
Role of the Bass Line The role of the bass line is to provide a foundation for the battery ensemble. The bass line adds
depth and impact to the parts the rest of the battery is playing, filling out the sound at the bottom
end.
There are three primary listening and playing levels of each bass drummer:
1) Self - Individual performance of your part must be solid and consistent
2) Section - Performance of the bass line as a unit must then flow as if one person were
playing all of the parts
3) Ensemble - Fitting that great bass sound into the ensemble as a whole and understanding
how the sound fits musically
These levels should develop in the listed order to build up the best possible sound. Each member
of the line must execute his/her individual rhythms accurately and consistently so that it can then
flow and blend with the rest of the basses, and then on a larger level contribute to the overall
sound of the ensemble.
Posture Posture is very important to achieving not only a good, clean look as a bass line, but great sounds
as well. Your shoulders should be back and down, but relaxed as possible and there should be a
slight arch in your lower back. Think about making the space between your bottom rib and your
hip bone as wide and open as possible while still remaining relaxed, you should feel your abs
engage when you do this.
When marking time and marching, there should be separation of the upper and lower body. No
matter what challenges are placed on the feet and lower body, the upper body should remain
relatively unaffected; this can be achieved by engaging the core and lifting up from the chest in a
controlled yet relaxed fashion.
You should make it a habit to constantly analyze how your body feels while drumming and try to
eliminate unnecessary tension. Remember to always relax and breathe while keeping your chin up
and focusing energy where it is needed. Extraneous tension is not only uncomfortable, but it
negatively affects your endurance with playing and marching.
Redline 2011
Grip The bass mallet is held with the butt-end of the stick even with the bottom of the hand. From the
audience’s perspective, there should be no part of the stick visible underneath the hand. The grip
is fulcrum focused, meaning that the tightest point of contact will be between the thumb and
index finger; the back three fingers are relaxed around the mallet, but still engaged while playing.
This grip is very similar to playing matched grip on a practice pad, with the playing surface simply
turned vertical.
It is important that there is no exposed gap between the thumb and index finger. The fingers
should not be tensely pushed together, but at the same time there should be no visible space
between them. Keep in mind that the more skin contact/surface area your hand can cover while
holding the mallet, especially in the fulcrum, the more control you will have over the stroke. Your
grip should be approached with a relaxed focus, since the same unnecessary tension (previously
mentioned) most directly impacts playing when it’s in your hands.
Playing Position To get a feel for the correct playing position, start with both arms hanging relaxed at your sides.
Comfortably grip the mallet as described above, and note that the mallets should be parallel to
your legs. Next, bending only at the elbows, bring your arms up until your forearms are parallel to
the ground (the position of the hand, wrist and mallet should not change when you do this). The
head of the mallets should be very slightly angled toward the drumhead, and the mallets should
rest as close to the head as possible without touching the head’s surface. This is the correct
playing position, and again it should feel completely relaxed and natural.
Eastside Fury 2013
The mallet should create a 45° angle from the ground; the tendency for most beginning bass
drummers is to either flatten out this angle towards parallel or to pull their wrist back to the
forearm toward more of a 90° angle. Always maintain the correct angle while at set and while
playing. Playing directly in the center will allow us to achieve the best possible sound. Try to find
checkpoints along the rim where your hand or forearm should be placed in order to easily check
whether or not you are playing in the center of the head.
Stroke Again, the approach to the drum should be relaxed in grip and stroke. Each stroke should initiate
from the mallet head first, not any part of the arm in a whipping motion. The path of the stroke
should be a straight line matching the angle of the mallet. This stroke is a hybrid between a
rotation of the forearm and a breaking of the wrist; the entire fulcrum travels down and back on a
45 degree angle. Make sure you do not restrict the natural motion of the arm while playing; while
it is important to maintain a good wrist turn with every stroke, at higher heights the arm will
naturally move slightly away from the drum, pivoting at the elbow. This arm motion will help add
both power and velocity behind the stroke. A consistent motion and amount of energy in each
stroke is crucial to producing a great, consistent sound.
Developing the correct grip, set position and stroke can be a long process and requires a lot of
practice. Make sure you take the time to carefully analyze your playing and develop a good
understanding of how it feels to use the correct technique. Getting in front of a mirror is a great
way for bass drummers to check the path of their stroke and their general appearance while
playing.
Velocity Each note, no matter what height or volume, should be played with good velocity into the
drumhead. Velocity is the speed at which the mallet moves towards the head. Finding the right
feel and level of tension in the grip is important because velocity needs to be created with a fairly
relaxed hand; this will take practice and chops to achieve. It is important to avoid overusing
velocity or over-squeezing the grip, which both produce a harsh, pounding sound. Keeping the
hand relaxed while moving the mallet with good speed will allow the stick and drum to resonate
and create a full and balanced sound. The top of the stroke is where the velocity toward the head
should be generated; otherwise, you should have a relaxed, controlled grip throughout the stroke.
Timing/Rhythm Good timing starts in the feet. It is extremely important to line up each rhythm with a solid foot
pulse; we always play to our feet, we do not put our feet to our hands. Make sure you always play
with a metronome or recorded music and move your feet when you are practicing. Bass
drummers especially, who play only certain parts of rhythms, must understand how each of their
parts line up with their feet.
Dynamics The different dynamic levels we will refer to are:
• piano (p) = 3 inches (tap height), Level 1
• mezzo piano (mp) = 6 inches, Level 2
• mezzo forte (mf) = 9 inches (45° from head), Level 3
• forte (f) = 12 inches , Level 4
• fortissimo (ff) = 15 inches (horizontal), Level 5
Because we can’t directly see our playing surface, a good way for bass drummers to think about
dynamics is in terms of “angles” rather than “inches”. When not playing, the mallets are set at the
pianissimo position since they are slightly angled into the head. Level 1 is a slight rotation of the
wrist so the mallet is parallel to the surface of the drum. Level 5 is a 90° rotation from the head,
parallel to the ground. In between Levels 1 and 5, Level 3 is a 45° rotation from the drum. Level 2
should be halfway between Levels 1 and 3 (where you can just see the mallet head when standing
behind your drum), and Level 4 should be halfway between Levels 3 and 5. You should try to get
the most sound possible out of all of the heights, meaning good velocity should be used no matter
what height you are playing at. A uniform height system will help us have strong, impactful
unisons and musically contrasting split parts. Heights are a great guide to making our volume
uniform across the line, but be ready to open your ears and use musical intuition to make the
dynamics expressive across the bass line.
Interpreting 2’s, 3’s and 4’s Before we play 2’s (16th notes), 3’s (half of a sextuplet) or 4’s (32nd notes), we must first be able to
play the underlying 8th note check in time with our feet. Once this check is smooth we can add on
more notes to fill the space between 8th notes evenly. We must make sure that each rhythm is
placed carefully and accurately. The tendency for most bass drummers is to close or “crush” down
the space between notes, which doesn’t allow the overall sound to flow evenly across the drums.
If the check is solid and the interpretation of the rhythmic space isn’t too closed or open, we then
have to look at the articulation of each note. Bass drum is a very resonant instrument, meaning
that once the head is struck, the note will reverberate for a longer period of time than, for
example, a snare drum. Because of this, the 2nd, 3rd and 4th notes in a rhythm are often covered up
or drowned out by the initial sound of the attack of the first note. To counteract this we do two
things.
1) Don’t over-attack or over-prep for the first note of the rhythm; play at the written
dynamic level
2) Push through the rhythm dynamically by putting a slight crescendo through to the last
note
These two points allow each note in the rhythm to be heard and result in a more even sound.
Finally, with all of these elements in place, we can start to balance and blend the sound across all
five drums and create a truly great bass sound.
2015 NDIPE CYMBAL TECHNIQUE This packet should be used as a tool to help you better understand the technique and way of life
here at NDIPE. The things covered in this packet are not everything that we will be covering
over the span of the season, but these will be the most critical during the audition process. We
are looking for talent, yes. But more so, we’re looking for individuals who are dedicated to the
group, and show a strong sense of personal accountability and growth between auditions. Prove
to us that you deserve a spot.
Notes: Cymbals are a visual instrument. Our bodies are not hidden behind a drum, therefor we
are totally exposed to the crowd. Because of this, you need to be as visually appealing as
possible. Upper body strength is critical in order to have solid set positions, defined motions, and
detailed visuals. While looking over this packet, imagine you are on the floor during finals with
one of your favorite world class lines. How are you expected to look? How should you feel while
playing?
The most important thing I can say is relax. Tense muscles means you can’t control the cymbals.
These big, heavy discs are just extensions of your body, and you have to learn how to move them
as easily and comfortably as you would your own hands or feet.
VERTICAL CRASH Set Position:
Hold plates vertically about an inch and a half apart where the knots of the plates are at eye level,
and forearms are slightly less than 90° from each other. Plates should be about 2 to 3 inches
away from your face.
The Crash:
This crash has 6 steps to it:
1. Pull the top of the plates out creating a V. Right hand should be about an inch above your left.
2. Bottom Contact.
3. Top Contact (This is the crash)
4. Continue moving the plates through the crash creating an A.
5. Pull the top of the plates back out to V position.
6. Return to set position.
The count structure:
----4----a----1-----e----&---2---&----3
Prep-----BC/TC----A------V--------Set
[-Prep-][-Crash-][------Release------]
Things to watch:
- Be sure that the center of the cymbal stays at eye level, i.e. movement is only in the
horizontal direction. (This excludes the inch lee-way for the V-step)
- Don’t show your knots, Knots are ugly, and it looks like you have more control over the
cymbals if you don’t. This may feel like you’re pushing the front of the cymbals inward
with your fingers.
- Your forearms should never be touching the cymbals, especially in the A-step. This
means elbows out!
- Make sure your bottom contact is as close as possible to the bottom of the plates. If you
contact slightly forward or behind the bottom, you’ll “roll” the crash and lose sound
quality.
- Note that these are check points of the actual crash to make a cymbal line look uniform;
all motion should be fluid between steps. Also, be sure to play through the cymbals when
actually crashing. You’ll lose power if you think too much about getting back to the A
step.
- The goal of separating the bottom and top contact (as mentioned briefly above) is to
prevent an air pocket (“Pop” sound), when actually crashing, the two steps are condensed
to a “flam” between the bottom and top.
*Note this is the hardest crash to master. Obviously by my lengthy description there’s always
something on which to work. Don’t worry if you don’t get it perfect right away, it can take
months to master. Once the basics of the crash are learned you can apply them to the rest of
the crash techniques. You’ll know you’ve made a good crash sound when you hear beautiful
warm lower pitched undertones of the cymbals, and the plates resonate in your hand.
TAP
Set Position: AV
The top of the right cymbal is hovering about an inch above the left, about an inch past the edge
of the left. Make sure to keep your right plate perpendicular to the plane of your body, so you
don’t show your knots. Set the plates at 90 to each other. (A position of the Vertical crash.)
The Crash:
You might guess ten that the crash is just swinging the right cymbal (slightly) up, and hitting it
down on the edge of the left. The left plate does not move for this crash. Here, your wrist serves
as the hinge (think matched grip), using your fingers as the controlling power. For the “release,”
just make sure the right cymbal returns to its set position quickly, without flopping around.
Count Structure:
There is very little prep for this crash, but just be uniform, the peak should hit on the & of 4.
Things to Watch:
- The crash makes a “ting” or “tong” sound. Both cymbals should ring, so make sure that
the right forearm does not make contact with is plate (elbow out!).
- You can change the tambour of this crash by varying the contact position with the inside
of the right plate: closer to the edge of the (right ) cymbal means more “ting,” closer to
the bell means more “tong.”
Double Taps/Diddles Double and Triple Taps:
These crashes are self explanatory. All positions (set, prep, and attack) are the same as the tap.
To achieve multiple hits though, the use of rebound is key. Think of it as a diddle on a drum.
You want to relax, and let the right plate “bounce” on the left. You might have to experiment a
bit to find the best contact point, but it should be close to the edge.
As with a stick, the term “bounce” can be misleading. You still want total control over the (right)
cymbal’s rebound, “stroking” through both contacts so that both taps are the same volume and
tambour. This control is mostly in the fingers. A correct double tap should “ti-ting”, vs. the
incorrect, front heavy, “TI-ting.
Body Tap Set Position:
Plates are at your sides, with the bell at about navel level (thought this can be adjusted to make
the height uniform for the line) The front of the cymbals are angled in, so they form a 90° angle,
with the left plate slightly inside the right, not touching.
The Crash:
To perform the crash, simply hinge the right cymbal on your side, swinging out to perpendicular,
and then in to the make contact with the left plate. The plates should always stay in contact with
your body, and the left hand never moves. The prep is minimal, and it depends on the volume
you want from the crash.
Things to Watch:
- Like the Tap, after contact is made return to set as quickly as possible without moving the
cymbals too much.
- Do not travel past 90° to the body with the right hand prep.
- The right wrist does not break. The hinge motion is all from the elbow.
Sizzle Set Position:
The Set position is the same as the Vertical Crash.
The Crash:
In this crash the contact is in unison and the right plate is ½” above the left. Press the cymbals
together and let them contact for as long as possible. Pull the fingers off of the plates to give the
note time to sustain. Pull the plates apart or press the cymbals together to choke off the sound for
the release.
Punch Set Position:
The Set position is the same as the Body Tap.
The Crash:
This crash is similar to the Body Tap, but allowing the cymbals to ring. Along with hinging the
right hand outward for the prep, move both cymbals away from the body straight out 6”.
Movement is only horizontal there is no vertical movement. The right hand swings out from the
elbow to 90° to the body. The contact is then slamming the right plate into the left creating both
cymbals to ring. (Be careful not to contact the cymbals with your forearm and mute the crash.)
Then bring the plates in to your body to choke off as much sound as possible, as quickly as
possible. This is a very loud and aggressive crash when done correctly.
Things to Watch:
- Like the Body tap, the left plate serves only as a contact point and doesn’t move other
than the inward and outward motion.
- In order to achieve the best sound quality, it is important to relax both hands during
contact.
- The contact point must be between 1” - 2” from the edge of the right plate.
- Hitting the plates too hard or in the wrong area will break, crack, or warp the cymbals.
- Do not bend the wrist when prepping for the stroke.
Crash Choke Set Position:
Same as Vertical Crash
The Crash:
Begin with a prep and crash similar to the Vertical Crash. Immediately after the crash mute the
plates with your forearms and pull the plate into the muscle between your armpit and chest so
that they form a slightly flatter “A”. Your biceps should be on the plates as well. The tops of the
plates should be around chin level. Then push the plates back to set position on the next count.
Count Structure:
Prep on 4, Crash on 1, Hold for beat 2, and push back out to set on beat 3. When doing several
crash chokes in a row push directly out to the V prep position so that you are ready for the next
crash.
Things to Watch:
- The most important part of the crash choke is the crash. Don’t sacrifice sound quality
because you’re trying to choke off the sound too quickly.
- Make sure too choke off as much of the sound as possible with your forearms.
- Be accurate with your choke. Try to hit the same position on your body every time.
Crunch Set Position:
Same a Vertical Crash
The Crash:
The prep is the same as set position. Hit the plates together like a Sizzle, but press them
completely together choking off as much sound as possible. This will sound similar to a Hi-Hat
sound.
Zing Set Position:
The left plate is the same as Vertical Crash. The right plate is at a 45° angle, with the top of the
plate inside the left, slightly above the bell, and half an inch away from one another. There
should be no forearm contact. (Push your elbows out to an A position.)
The Crash:
Keeping the left plate stationary, Scrape the right plate up and against the left cymbal until is
about 2 inches above the left, then return quickly to set. Do not show your knots, and be careful
to keep the right hand at a constant 45° angle.
Gong Set Position:
The left plate is navel level at a 45° angle with the bell up. The right plate is perpendicular to the
left over the top of the center of the bell creating a 90° angle with the left plate.
The Crash:
For the prep hold the left plate still and move the right plate in the same plane 6” apart from the
left plate. Take the fingers off of the plates and hit the right cymbal into the center of the bell.
Immediately pull away back to set to let the plates ring.
Hi-Hats Set Position:
Cymbals are placed (right on top, left on bottom) together, up against the stomach, just above the
navel. The plates are on a 45° angle with a ½” overlap.
The Crash:
The prep for the crash is done as though the plates were hinges at the contact point with the
stomach, with only the top (right) plate making any movement. When “opening” the Hi-Hats a
good standard height to make a decent sound is 6 inches. Then, drop the right onto the left, using
fingers for control.
Things to Watch:
- The crash should sound like a “chump.” To achieve this instead of a big air pocketed
“Thump,” closed Hi-Hats should be slightly off-set to let the air out.
- Use your finger for control. For slowly repeating, or single Hi-hats, press with your
fingers to achieve a good tight sound. For faster repetition, be sure to relax.
Fusion/Sizzle Sucks Set Position:
Same set position as Hi-Hats except slightly on an angle to the left of the body.
The Crash:
The prep is with the right hand only. Pull the plate up and in towards the right shoulder
approximately ½ plate length without exposing the knot on the left hand. Then push the right
plate through the left with all sides making contact at the same time, and then slide the right plate
½ way across the left plate, again not exposing the knots. The suck motion is then pulling the
right hand back flat over the left to cause air to be trapped in the cymbal and stop the sound.
Things to Watch:
- Be sure to make a good sizzle sound, and not a crash sound.
- Keep the plates together the entire time throughout the crash.
- Do not lift or dip the front edge during the crash.
Port/SCV Set Position:
Same as Fusion
The Crash:
To prep, bring the right hand into the right shoulder and extend the left hand away from your
body. Then push the right hand into the left cymbal making top contact first followed by bottom
contact, and return to set. An SCV crash is just a different visual approach to the port crash. It is
a much bigger motion with the left hand becoming fully extended down to the left at a 45° angle,
and the right hand as close to the arm pit as possible with the right elbow in the air. Both plates
are parallel to the body.
Count Structure:
Prep is on count 4, crash on count 1, and return to set on count 2.
Things to Watch:
- Do not drop the left shoulder during these crashes. The upper body remains vertical the
entire time.
Orchestral Set Position:
Plates are at waist level, with the left hand at a 45° angle, and the right hand flat to the ground.
The plates should form a shallow “A” position laid on its side.
The Crash:
To prep for the crash, the right hand moves vertical in front of the chest. Then the right hand
strikes the left plate, making bottom contact first. The hands then turn palms facing the ground
and on a 45° angle (At this point both hands are still in the same plane). On count 2 both hands
return to the prep position together, then on count 3 the right hand moves back to set. The left
hand does not move on count 3.
The Crash:
Prep on 4, crash on 1, follow through to prep on count 2, and return to set on count 3.
Things to Watch:
- This is a very difficult crash to master, although it is very similar to the Vertical crash.
- Do not “Dump” the cymbals after the crash. That is rushing through the follow through
and not putting the effort or detail into each movement.
- Make sure the plates are 90° or 45° at all check points.
- Set position must be flat and accurate.
Punch Hi-Hat Crash Choke
Gong A-Set Position Sizzle Suck
Vertical Set Position V-Set Position Port Crash
Orchestral NDIPE Cymbals 2014
The link below is for the cymbal gloves that we will be using this season, and the Κψμβοσ
cymbal scholarship. I recommend buying a pair of black gloves and looking into the scholarship
as well.
http://cymbalgloves.com/ (Black)
http://cymbalgloves.com/pages/the-scholarship
VISUALS The visual demand for cymbals is 50% of what we do. You should be comfortable with basic
movement of the cymbals by now and ready to have fun with some killer visuals. The basic
visuals are listed below with links explaining them more thoroughly.
Basic Visuals:
Flip ups
https://www.youtube.com/watch?v=H8NdGh4MKOY&feature=youtu.be
Flip downs
https://www.youtube.com/watch?v=VD8XtVRR8Og&feature=youtu.be
Inverted flip downs
https://www.youtube.com/watch?v=ay6YxpKEKsc&feature=youtu.be
Jones flips
https://www.youtube.com/watch?v=KIZEswivbTU&feature=youtu.be
WadBurners
https://www.youtube.com/watch?v=m_U4OyptMKY&feature=youtu.be
Advanced Visuals:
Unloads
https://www.youtube.com/watch?v=8-VizBIdtdA&feature=youtu.be
Reloads
https://www.youtube.com/watch?v=0CpvYy9Y1aQ&feature=youtu.be
Buckets
https://www.youtube.com/watch?v=4AatyJcaMls&feature=youtu.be
Final Thoughts
Do not let any of this information overwhelm you. We’ll be going over all of this and more
during auditions together. NDIPE veterans and staff members are more than happy to help you
out in any way we can. We encourage you to ask questions, break down movements, and
continue learning through practice. That being said, you are being held accountable for your
improvement during/in between auditions. A large part of critique is based on how much
improvement you show throughout the initial weeks. It’s up to you to rehearse the details given
to you in this packet.
Most importantly, enjoy yourself. Have fun with it. This activity is an absolutely life changing
gift to be a part of, and you get to be center stage as it takes place. Just you and your (soon to be)
closest friends, playing drums in a gym. Stay relaxed, stay positive, and show us that you have
what it takes to be a part of the 2015 Notre Dame Indoor Percussion Ensemble. Godspeed.
Exercises
8's (and 7's)
Thirteen
Double, Triple, Bibble
Pdidds
Pdidds express (Pdon'ts)
Triplet Diddle
Flam-Fighter
Singled Out
A Couple a Quintuple-in
°
¢
°
¢
SnareLine
TenorLine
BassLine
Cymbals
R R R R R R R R L L L L L L L L R R R R R R R L L L L L L L
R R R R R R R R L L L L L L L L R R R R R R R L L L L L L L
Snare
Tenors
Bass Dr
Cym.L
R R R R R R R R L L L L L L L L R R R R R R R L L L L L L L R
5
R R R R R R R R L L L L L L L L R R R R R R R L L L L L L L R
4
4
3
4
4
4
4
4
3
4
4
4
4
4
3
4
4
4
4
4
3
4
4
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
/
Notre Dame Indoor Percussion 2015
8's (and 7's)
Traditional
arr. John McFarland
/
unison = drum 2 only
/
unison = play snare part
/
vis.
∑ ∑
/
/¡
¡
/
/
Ensemble:
- Be able to play at ALL dynamic levels as well as crescendo, diminuendo
Bass Drums:
- Be able to play this split as well as 2's, 3's, and 4's. The written split will always be right hand lead
Cymbals:
- Rests are intended to be filled in with visuals as decided by instructor
sizzle
punch
.̂ .̂
Taps
- - - -
∑
.
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e = 120 - 180
Notre Dame Indoor Percussion 2015
Thirteen (feat. variation 1)
Curt Moore
arr. John Max McFarland
SnareLine
TenorLine
BassLine
Cymbals (5)
4
Snare
Tenors
Bass Dr
Cym.L
7
™™
™™
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Tenors
Bass Dr
Cym.L
3
4
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4
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3
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/
R r r R r r R r r R r r r R r r R r r R r r R r r r R r r R r r R r r R
/
r R r r R r r R r r R r r r R r r R r r R r r R r r r R r r R r r R r r
/
R r r R r r r R r r R r r R r r r R r r R r r R r r r R r r
/
/
R r r r r r r r r R r R r R r r r r r r r R r r r r r r r R r r L l l L l l L l l L l l
/
R r r r r r r r r R r R r R r r r r r r r R r r r r r r r R r r l L l l L l l L l l L l
/
r r r r r r r r r R r R r r r r R R r R r r r r R R r R r r r R 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 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 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 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 l l r r r r r r r r r R r R r r r r R R r R r r r r R R r R r r r R
/
Ensemble:
- This one must be marked time to the eighth note e
- Repeat the main exercise until an instructor gives the cue to go to variation 1.
Bass Drums:
- Be prepared for variations on the split parts on measures 4 and 9 as well as the "weaver" variation
Cymbals:
- Be prepared to apply other techniques (taps, body taps, etc.) to the splits in measures 4 and 9
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Variation 1
11
™™
™™
™™
™™
Snare
Tenors
Bass Dr
Cym.L
/
R r R r r R r R r R r r R r R r
‘
L l L l l L l L l L l l L l L l
‘
repeat to top of thirteen
/
R r R r r R r R r R r r R r R r
‘
L l L l l L l L l L l l L l L l
‘
/
R l r L R l r L R l r L R l r L R l r L R L L R L R L R L r l 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
3 3
/
body taps
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Thirteen - Full Score - Page - 22
°
¢
°
¢
°
¢
SnareLine
TenorLine
BassLine
Cymbals
R R R R R R R R R R L L L L L L L L L L R R R R R R R R R R R R R R R R R R R R R
R R R R R R R R R R L L L L L L L L L L R R R R R R R R R R R R R R R R R R R R R
R R R R R R R R R R L L L L L L L L L L R R R R R R R R R R R R R R R R R R R R R
Snare
Tenors
Bass Dr
Cym.L
L L L L L L L L L L R R R R R R R R R R L L L L L L L L L L L L L L L L L L L L L
5
L L L L L L L L L L R R R R R R R R R R 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 R R R R R R R R R R L L L L L L L L L L L L L L L L L L L L L
Snare
Tenors
Bass Dr
Cym.L
R R R ... L L L ... R R R ... B B B
9
R R R ... L L L ... R R R ...
R R R ... L L L ... R R R ... R R R L R R R R R L R
4
4
4
4
4
4
4
4
/
Double
John Max McFarland
Notre Dame College Indoor Percussion Ensemble 2015
Double Triple Bibble
/¡¡
¡¡¡¡
/
/
..
.
. . .
..
.. . . .
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..
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/
Triple
/
/
/
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.
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Snare
Tenors
Bass Dr
Cym.L
L L L ... R R R ... L L L ... B B B R
13
L L L ... R R R ... L L L ... R
L L L ... R R R ... L L L ... L L L R L L L L L R L R
/
.....Bibble
/
/
/
Ensemble
Be able to play snare part as unison
Be able to play at ALL dynamics and a variety of tempi
Tenors
Be able to play snare pattern on all 6 drums
Bass Drums
When playing unison pattern be sure to play the Bass drum rhythms as written on m. 12 and 16
Cymbals
Be able to play the Double pattern with a variety of techniques
o .
o.
o ..̂
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DTB - Full Score - Page 22
°
¢
°
¢
°
¢
™™
™™
™™
SnareLine
TenorLine
BassLine
R L R L R r L l R r L l R r r L l l R r r L l l R l r r L r l l R l r r L r l l
A
R L R L R r L l R r L l R r r L l l R r r L l l R l r r L r l l R l r r L r l l
R L R L R r R r R r R r R r r R r r R r r R r r R l r r R l r r R l r r L r l l
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Snare
Tenors
Basses
R R R L L L R r r R r r R r r L l l L l l L l l
B
5
R R R L L L R r r R r r R r r L l l L l l L l l
R R R L L L R r r R r r R L l l L l l L
™™
™™
™™
Snare
Tenors
Basses
R l r r l l R l r r l l R l r r L r l l r r L r l l r r L r l l
9
R l r r l l R l r r l l R l r r L r l l r r L r l l r r L r l l
R r r r r r R r r r r r r r r r r r r r r r r r r l r l r l r l r l r l r l r l
4
4
4
4
4
4
/
> > > > > > > > > > > > > > > >
Notre Dame Indoor Percussion 2015
P-didds
John Max McFarland
/
> >>
>
> >> >
>
>>
> > >> >
/
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>
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>>
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°
¢
°
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Snare
Tenors
Basses
R R l R l R B R B L r L r L B l R l R l R l R l R r r L r L r L r L r L l l
C
11
R R l R l R B R B L r L r L B l R l R l R l R l R r r L r L r L r L r L l l
R R l R l R B R B L r L r L B l
™™
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Snare
Tenors
Basses
R l l R l l R l l R l l R l r r L r r L r r L r r L r r L r l l R
15
R l l R l l R l l R l l R l r r L r r L r r L r r L r r L r l l R
R l l R l l R l l R l l R l r r L r r L r r L r r L r r L r l l R
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¡
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Ensemble
Be able to play snare part as unison
Be able to play at ALL dynamics and a variety of tempi
Be prepared to play this exercise letter by letter as well as all the way through (w/repeats every time)
Tenors
Be able to play snare pattern on all 6 drums
Bass Drums
First time through, play unison patter, on the repeat play the split pattern
When playing split pattern, be able to alternate between all Right Hands, and all Left Hands
Cymbals
Visual Warmup as dictated by instructor
> >>
>>
> >>
>>
>
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P-didds - Full Score - Page - 22
°
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SnareLine
TenorLine
BassLine
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 R l r r l l R l r r l l R l r r
A
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 R l r r l l R l r r l l R l r r
R l r r R l r r R l r r R l r r R l r r R l r r R l r r R l r r R l r r l l R l r r l l R l r r
Snare
Tenors
Basses
L r l l r r L r l l r r L r l l R l l R l l R l l R l l R l r r L r r L r r L r r L r r L r l l R
4
L r l l r r L r l l r r L r l l R l l R l l R l l R l l R l r r L r r L r r L r r L r r L r l l R
R l r r l l R l r r l l R l r r R l l R l l R l l R l l R l r r L r r L r r L r r L r r L r l l R
4
4
4
4
4
4
/
> > > > > > > > > > >
Notre Dame Indoor Percussion 2015
P-didds Express (P-don'ts)
John Max McFarland
/
> >> > > >
> > >>
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>
/
>>
>>
>>
>
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> >
¡
>
+
> > >
¡
> > > > >
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> > >
/
Ensemble
Be able to play snare part as unison
Be able to play at ALL dynamics and a variety of tempi
Bass Drums
Alternate between Unison and Split
Bottom Bass m. 3 and 4 should be muffled with LH
Cymbals
Visual Warmup as dictated by instructor
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>
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>
. .>
>> >
>>
>> >
>>
>>
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°
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SnareLine
TenorLine
BassLine
R R R R R R L L L L L L
A
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Snare
Tenors
Bass Dr
R R R L L L
5
R R R L L L
R R R L R L L L R R R L L L R L L L R R R
Snare
Tenors
Bass Dr
9
R R L R R L R L
12
8
12
8
12
8
/
Triplet Diddle
John Max McFarland
Notre Dame College Indoor Percussion Ensemble 2015
/
/
/
/
/
/
/
/
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Tenors
Bass Dr
B
13
Snare
Tenors
Bass Dr
17
Snare
Tenors
Bass Dr
21
Snare
Tenors
Bass Dr
23
/
> > > > > >
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/ ≠
4
/ ≠
4
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>>
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Ensemble
- Be able to march to the quarter note (6/4) as well as the dotted quarter note (12/8)
- A and B can be played separately or as one continuos exercise
- Be able to perform at a variety of dynamics and tempi
Cymbals
- Use this exercise to compose visual moves that fit with the counts and phrasing of the exercise
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Triplet Diddle - Full Score -Page 22
°
¢
°
¢
°
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Notre Dame College Indoor Percussion Ensemble 2015
Flam-Fighter
John Max McFarland
Flams
™™
™™
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Snares
Tenors
Basses
R l r L r l R l r L r l r L r l R l r L r l R l r l R l r L r l R l r l
q = 180 - 220A
R l r L r l R l r L r l r L r l R l r L r l R l r l R l r L r l R l r l
R R R R ...
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Snares
Tenors
Basses
R l r L r l R R L r l r L r l R l r L L R l r l R l r L r l R R L r l r L r l R l r L L R R L L
B
R l r L r l R R L r l r L r l R l r L L R l r l R l r L r l R R L r l r L r l R l r L L R R L L
R R R R R R R R R R R R R R R R
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Snares
Tenors
Basses
R l r r L r l l r L r l R l r r L r l l r L r l R l r r L r l l r L r l R R L L R R l R R L L R R
C
R l r r L r l l r L r l R l r r L r l l r L r l R l r r L r l l r L r l R R L L R R l R R L L R R
R R R R R R R R R R R R R R
6
4
6
4
6
4
/
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Ensemble:
- On repeats, fill in with either Cheeses, Flam-Drags, or Flam-Fives.
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Notre Dame College Indoor Percussion Ensemble 2015
Singled Out
John Max McFarland
Singles
Snares/Tenors
Basses
R
mp
L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L
q = 180 - 220A
R
mp
L R L R L R L R L R L R L
Sn/Tn
Basses
R
mf
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p
L R L R
mf
R R R R
p
L R
mf
L R L R L R L R
p
L R L R
mf
L R L R L R L R
p
L
B
mp
Sn/Tn
Basses
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p
L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R
mf
L R L R L R L
C
p mf
Sn/Tn
Basses
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p
L R L R L R L R L R L R L R L R
mf
B B B R
ff
R L
p mf ff
7
4
7
4
/ ‘ ‘ ‘
/ ‘ ‘ ‘
/ ‘ ‘
/ ‘ ‘
6
6
/ •
2
/ •
2
/
/
Ensemble:
- Hands should feel light and nimble (especially during the singles) while maintaining an
overall aggressive approach throughout.
Tenors:
- Rounds will be determined by the tenor technician(s). For now, be able to play on one
drum with proper phrasing and technique
6
6
6
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Notre Dame College Indoor Percussion Ensemble 2015
A Couple a Quintuple-in
John Max McFarland
Quintuplet Roll Exercise
™™
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Snares/Tenors
Basses
R
f
l r l R l r l R l r l r L r l r l R l r l r L r l r l R l r l r L r l r l R l r l r L r l r l
q = 160 - 212A B
R
f
l r l R l r l R l r l r L r l r l
Sn/Tn
Basses
R l r l r L r l r l R l r l r L r l r l R l r l r L r l r l R l r l r L r l r l R l r l r L r l r l
Sn/Tn
Basses
R l r l r l r l r l r l r l r l r l r l R
f
L R L R L R L R L
p
R L R L
f
R L R
C
R l r l r r l r l r r l r l r l r l r l R
f
R L R R R R L R L R
4
4
4
4
/
5 5 5 5 5 5 5 5
/
5
5
5
5
5
5
5
5
/
5 5 5 5 5 5 5 5 5 5
/
5
5
5
5
5
5
5
5
5
5
/∑
5
5 5 5
5
/
Ensemble:
- Letter A is extremely important and should not be overlooked. Throughout the book
quintuplet rolls will usually be preceded by some sort of 8th note based passage. It's
very important to understand the relationship between 8th notes and 8th note quintuplets
at a variety of tempi. The general flow of this exercise starts with a focus on the 8th note
relationship (A) followed by adding diddles to the quintuplet (B), and ending with a
quintuplet roll phrase in an applied context (C).
Tenors:
- Rounds will be determined by the tenor technician(s). For now, be able to play on one
drum with proper phrasing and technique
∑
5
5
5
5
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