Texas Bandmasters Association 2017 Convention/Clinic

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Marching Percussion Concepts ith the Floer Mound Drumline CLINICIAN: Darrin Hicks, Adam cheitzer DEMONTRATION GROUP: Floer Mound H Drumline PONOR: Marching Clinic

1 Marching Percussion Concepts ith the Floer Mound Drumline CLINICIAN: Darrin Hicks, Adam cheitzer DEMONTRATION GROUP: Floer Mound H Drumline PONOR: Marching Clinic Area ponsors: Corps Design, Marching ho Concepts Texas andmasters Association 2017 ConventionClinic ULY 20 22, 2017 HENRY. GONZALEZ CONVENTION CENTER AN ANTONIO, TEXA

2 MARCHING PERCUION CONCEPT WITH THE FLOWER MOUND DRUMLINE Darrin Hicks and Adam cheitzer OUR APPROACH Fundamentals and asic Exercises April thru Novemer; to e played every day! Numer o exercises and variations e use are overkill or perormance o sho music Hoever, more tools make it easier to adapt; results in higher level o perormance Importance o percussive and musical terminology (rudiments, sticking concepts, scale degrees, intervals, circle o thsths, chromatic, maorminor, articulations, dynamics, etc.) estalished early on in middle school, and during spring audition camps Precision is paramount! Precision irst then, inect musicianship Ensemle Etudes May thru August ridge the gap eteen undamental technique exercises and sho music Large-scale exercise intended to e perormed Develop ensemle listening skills, advanced skills, and mental ocus or longer time periods ho Music May thru Novemer Every memer must understand their role ithin the ensemle Deine listening points Practice o Individual LITEN TO YOURELF and EVALUATE! o Within section Listen to deined listening point, and match Understand dierence eteen rhythmic accuracy and alance o Within ensemle Kno exactly hat to listen or and hat to expect; can t make adustments ithout understanding Front ensemle learns attery parts (at least the outline) attery sections learn each other s parts THE ECTION attery 8 s our version o long tones; asis or everything e play o asic reound strokes and controlled strokes; relaxed grip o uads have series o arounds, asses have series o splits o Countless variations Dynamics CrescendoDecrescendo Add a diddle (+-2-1) Filled in Threaded Metered (+2-height variations) Pyramid Cominations o everything

3 Marching Percussion Concepts ith the Floer Mound Drumline Darrin Hicks and Adam cheitzer Hugadigs + variations Timing o 16th timing -note o Triplet Timing 1-note 2-Height ucks Rolls o Gallop o Pats o Iced Coee o Trips and s ag Taps 16 th note-ased eepers accenttap exercise o Extension o ucks, ith ill-in o Develops to-heights, as ell as : hemiola o Mark-time is essential to evaluating understanding o pulse and timing DV ans hopping pree, introduces advanced and hyrid rudiments o Not everything in this etude directly relates to sho music; may not get as perormance clean as e ould like, ut that s ok! o Develops students hands and pushes them to e etter players Uncommon Mind Control tick Control meets lo o A hugadig motion, organized in dierent numeric groupings (2 6 notes on a hand) o Develops a diicult motion master (one rist turn, multiple notes) Flam am iss lam taps ith a groove; short, and un to play o Develops iss triplets and lam taps on oth hands o uads learn to move around the drums o Countless variations Front Ensemle Exercises 2-mallets countless dierent scalar exercises, some hich also include arpeggios cales and arpeggios asis or knoledge o scales; one and to octaves o Primarily maor and minor, ut can ranch out to other modes o Forard and ackards start y ascending the scale, or start y descending Green o Mastery o scales, traverse them in ays oten ritten in music o Variants o playing scales ith organized note groupings (2 note groupings) Arpeggios o Arpeggios up and don, in triple and duple meter o Emphasizes larger skips eteen notes or oth hands Chromatic reakdon o Chromatic runs up and don o varying lengths o Introduces sextuplets 67 ensemle exercise o Comines doule stopsreounds, interval changes, chord outlines o Introduces metric modulation 2

4 Marching Percussion Concepts ith the Floer Mound Drumline Darrin Hicks and Adam cheitzer -mallets cover stroke types requently used in sho music; introduce advanced strokes Chromatic ths estalishes -mallet grip and shiting eteen pitches at a ixed interval Chord sequence London ridge, Golden Gate o Interval changes ased on chord unctions and their inversions o Dierent versions incorporate dierent chord progressions, larger interval changes lock chords and permutations o 78 meter, leaps eteen thrd intervals o Emphasizes proper playing zones eteen manuals (naturalsaccidentals) o Incorporates push-pull technique hen using single-alternating stroke roccoli ocuses on dierent possile sticking permutations Dierent ays to play through exercises that utilize key signature o Maor tonality o Circle o thsths o Circle o chromatic Perormance elements o Maor relative minor o Maor modal Front ensemle is responsile or conveying dierent emotionscharacters presented throughout the and sho, oth hile playing and tacet Important to visually proect to ack ro o perormance venue almost over-the-top, ut tasteul; enhances, ut does not detract rom ig picture We try to incorporate this element hile playing exercises as ell Chin up, conident, enthusiastic, engaged ith music Electronics Third musical element in sho design, along ith ind design and percussion design Incredily important to ig-picture musical design and overall aesthetic o sho o hould NOT serve to only doule the lo rass voice o A separate musical voice that may have oth supportive and leading musical roles Electronics section to 6 memers that run mixerssound cene changes and automated aders o Crucial or accurate ensemle alance o Aility to change the mix through saved scenes o Electronics section perorms shaping and dynamics the same ay every time, ithout using an expression pedal o They can create a humanized actor through shaping MIDI controllers ith capaility to trigger custom-designed samples Mainstage sotare enales live sho perormance exactly ho our designers envisioned Examples audio samples and synthesizer layering Thank you or attending our clinic! uestions Please us at hicksdd@lisd.net or scheitzera@lisd.net

5 67 This is a percussion ensemle that is designed to address a speciic technical concept (or multiple concepts) in the context o a piece o music. This particular etude is ased largely on the concepts discussed along ith 78 octaves. Oviously, all the doule stops are reminiscent o that exercise. Keep in mind the concept o separating lateral motion rom vertical motion as you practice. Don t let the umps rom one chord to the next cause you to make a rhythmic mistake. The same concept applies in the inal section (measure 17 to the end), the only dierence eing that the hands are no staggered instead o playing together. Make sure you re alanced at all times and can reach oth manuals ith ease. Play the keyoard part ith your right hand and the ynth (LH) part ith your let. 1

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7 FloMo Flam am Darrin Hicks nare uad R R L R R L L R R L R R L L R L ass R L R R L L R L R R L L R L R R L L R L R R L L R L R R L R L L R L L R 7 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 L R R L L R L R R L R L L R L R R L 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 R All ections play "tock" pattern (nare Drum part) in hich groupings o notes are iss Triplet and groupings o 2 notes are Flam Taps until "plit" (ritten aove)or another variale is called. These are only a e o the limitless options...try adding variales including Diddles, Flams, Accents, Dynamics, other Rudiments, etc. Example Variales: 1. iss Triplets and Flam Taps 2. Flam Accents and Flam Taps. iss Triplets and Inverts. Flam Accents and Inverts. tright ticking Flam Tap itcher 6. Flam Threes and Flam Taps 7. Flam Threes and Inverts 8. Alternating Flam Pudaduhs and Inverts 9. Flam Drags and Invert Cheese 10. Cheese and Flam Taps 11. Tachuta and Inverts 12. Chutacha and Flam Taps 1. Replace accents ith Hertas

8 nare q=128 Uncommon Mind Control (UMC) æ olo 6 Tutti Accent = same volume as check throughout R R R L R L L L R R R L L L R L R R L R L R L R L R L R L R L R L R R R R L L L L R R R R L L L L R L R L R L R L R L R L DHicks uad R L R L R L R L R L R L R L R L R R R R L L L L R R R R L L L L R L R L R L R L R L R L ass R L R L R L R L R L R L R L R L R R R R L L L L R R R R L L L L R L R L R L R L R L R L 2 R R R L L L R R R L L L R L R L R L R L R R L L R R L L R L R L R L R R L L R R R L L L R R R R 2 R R R L L L R R R L L L R L R L R L R L R R L L R R L L R L R L R L R R L L R R R L L L R R R R 2 R R R L L L R R R L L L R L R L R L R L L L L L R R R L L L R R L L R L R L R L R R R R L L L L R R R R L L L L R R R L L L R R R L L L R R L L R R R R L L L L R R R L L L R R L L L L R R R L L L R R L L R L R L R L R R R R L L L L R R R R L L L L R R R L L L R R R L L L R R L L R R R R L L L L R R R L L L R R L L L L R R R R L L L R R R L L R R L L R R R R L L R R L L L L R R R R L L L R R R L L R R L L.. R L R L R R L L R R L L R R R L p cresc. L L L L R R R R L L L R R R L L R R L L R R R R L L R R L L L L R R R R L L L R R R L L R R L L.. R L R L R R L L R R L L R R R L p cresc. p cresc.

9 LH Visual 7 7 L L R R R L L L R R R R L L L L R R R L R L L L R R L L R L L L R L R R R R R R L L L L 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 L L L R R R R L L L L kank R L R L R L L L R R L L R L L L R L R L R R R R L L L R L R L R L L L R R L L R L L L RH Pancake Flip R R L L R L L L L L L R L L L L R R R R L L L L R R R R L R R R R L R R R R L R R R R L R R L L R L L L L L L R L L L L R R R R L L L L R R R R L R R R R L R R R R L R R R R L R R R R L L L L R R R R L L L L 6 6 R R R R L L L L R R R L L L R R R L L L R R R L L L R L 6 6 æ æ æ æ R R L R L R R R L L L R R R L L L R L L L L L R L R L R R L 6 6 R R R L L L R L

10 Floer Mound H Part 6 "Without Warning" & "Metropolis 1927" Composer: teve Melillo & Peter Graham Winds arr: Wayne Doney Percussion arr: Darrin Hicks & Alan Miller nareline TenorLine assline q = p p p R L R R L L R L R L R L R L R R m R L R R L L R R L L { ynthesizer 1 & Patch TD { yntheisizer 2 Glockenspiel Upper Viraphone Loer Viraphone XylophoneCrotales Upper Marima Loer Marima Percussion 1 Percussion 2 Percussion & & plit - IP1006 & # nn # nn # nn # nn & & plit - F20 & # nn # nn # nn & Concer ass Drum 18" uscym Piano Piano plit - IP1006 plit - IP100 dampened WindChimes & æ m # n n # n n # n n # n n & n # n # n n n # nn # n # n n Percussion Percussion Percussion 6 20" uscym Tam Tam Y 20" China (mallets) Y æ æ Timpani...

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Texas Bandmasters Association 2014 Convention/Clinic

Developing Your Marching Percussion ection CLINICIAN: Jordan tern, Kris Hartman DEMONTRATION GROUP: Claudia Taylor Johnson H Marching Percussion PONOR: Marching how Concepts Texas Bandmasters Association