Rise Percussion - Rhythm Section Packet 2017 FRONT ENSEMBLE RHYTHM SECTION PACKET - DRUMSET AND RACK EDITION -

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Ursula Hodges
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1 ise Percussion - hthm Section Packet 201 FONT ENSEMBLE HYTHM SECTION PACKET - DUMSET AND ACK EDITION -

2 ise Percussion - hthm Section Packet OVEVIEW This hthm Section Packet ill focus on the armups and exercises surrounding the Front Ensemble Mallet Warm-Ups as ell as some additional information specific to Drumset and ack. We ill attempt to define rolls for each instrument to give ou a clear idea of hat ou are expected to do during armups. Individual Audition equirements: ack and Drumset plaers ill need to be familiar ith Warmups and various Latin Stles and Bell patterns as it pertains to our instrument. You should also prepare a Concert/udimental Snare Drum Solo or a Solo tpe production accompanied b a track. ack ack Plaers ill be expected to learn the ritten Snare exercises to pla on our pads during rehearsal. In addition, rack plaers ill be expected to improvise Auxiliar parts for our more involved and musical armups. Our vie is that the rack plaers have the hands of a Snare Drummer and the musicalit of an Orchestral Percussionist. Drumset The Drumset plaer ill be expected to provide a comfortable setting for all to pla in, hile maintaining a high level of communication, musicalit, sound qualit and genre music base through each armup. As there are no Kit parts ritten for these armups, ou ill need to learn each exercise b folloing along the rhthm section packet and make good, musical decisions. Hoever, e ill provide ou ith extragenre grooves for ou to learn and appl to these armups.

3 ise Percussion - hthm Section Packet The folloing Drumset Grooves are not mandator, but fun. Give them a shot and expand our plaing abilit:

ise Percussion - hthm Section Packet ack These are some additional hand exercises to learn and perfect, as ell as, some essential rhthms that ill become useful to kno as our progress through our

4 ise Percussion - hthm Section Packet ack These are some additional hand exercises to learn and perfect, as ell as, some essential rhthms that ill become useful to kno as our progress through our percussive careers: PECUSSIVE ATS SOCIETY INTENATIONAL DUM UDIMENTS ALL UDIMENTS SHOULD BE PACTICED: OPEN (SLOW) TO CLOSE (FAST) TO OPEN (SLOW) AND/O AT AN EVEN MODEATE MACH TEMPO. I. OLL UDIMENTS A. SINGLE STOKE OLL UDIMENTS 1. SINGLE STOKE OLL * 2. SINGLE STOKE FOU 3. SINGLE STOKE SEVEN B. MULTIPLE BOUNCE OLL UDIMENTS. MULTIPLE BOUNCE OLL 5. TIPLE STOKE OLL C. DOUBLE STOKE OPEN OLL UDIMENTS. DOUBLE STOKE OPEN OLL *. FIVE STOKE OLL *. SIX STOKE OLL 9. SEVEN STOKE OLL * L L L L 3 L L L L 3 L L L L L L L L Ż 3 3 L L L LLL LLL L L L L L L L L L L NINE STOKE OLL * 11. TEN STOKE OLL * 12. ELEVEN STOKE OLL * 13. THITEEN STOKE OLL * 1. FIFTEEN STOKE OLL * 15. SEVENTEEN STOKE OLL II. DIDDLE UDIMENTS 1. SINGLE PAADIDDLE * 1. DOUBLE PAADIDDLE * 1. TIPLE PAADIDDLE 9 9 L L 19. SINGLE L L PAADIDDLE-DIDDLE L L L L L L * These rudiments are also included in the original Standard 2 American Drum udiments L L L L LLLL L L L L L L L L L L Copright 19 b the Percussive Arts Societ, 110 W. Washington Street, Suite A, Indianapolis, IN 20 International Copright Secured All ights eserved L L L 1 1 L L L LLLLL L LLLLLLLL L L L L L L L L

5 ise Percussion - hthm Section Packet check r l r l r l etc. Check Patterns - Duple Thom Hannum 1 r 2 l r l r r l r l r l etc. 3 r l r l r l etc. 5 r r l r l r r l r l r l r l l etc. etc. l r l etc. l etc. r l r l r l etc. r 9 l r l r l etc. r 10 l r l r r l r l l etc. 11 r l r r l etc. l r l etc. 12 r l r l r l etc. 13 r l r l r l etc. 1 r l r l r l etc. Copright 19

6 ise Percussion - hthm Section Packet Essential Latin Percussion Bell/Clave' Patterns 3-2 (Son) Clave' Œ 2-3 (Son) Clave' Œ Œ Œ Œ Œ 2-3 (umba) Clave' 3-2 umba Clave' Œ Œ Œ Œ Œ Œ 5 9 / Clave' Cascara 2-3 Cascara Mambo Bell > > > 3-2 Mambo Bell > > > > > Kata' 2-3 Kata' / Afro-Cuban Bell / Bell - Var. 1 / Bell - Var Songo >. Bell >.. >.. > Songo >. Bell. >.. >. >..

7 ob Bridge 2011 Basic Latin Stles for Drum Set Belo are some examples of popular salsa stles. I have included the conga and timbale parts to help ou understand ho the drum set part is built. With the exception of the songo, Latin drum set parts are derived from the percussion parts (often three or more plaers!) As ith an stle, it is ver important that ou listen to recordings or attend performances to understand the true feel of the music. Tumbao Tumbao is a standard time pattern used in man stles. Consider the basic eighth note rock pattern for drum set - it fits in man songs of man different stles - that's ho tumbao orks in Latin music. Conga Drums Timbales Drum Set 3-2 Son Clave c c c x H T S T H T O O 3-2 Son Clave Œ Œ 3-2 Son Clave m Œ o x H T S T H T O O Œ Œ m Œ Œ o This drum set pattern is built b: plaing the conga part in the LH - slap on 2 and open tones on ; plaing the cascara rhthm in the H (this is performed on the timbales b plaing on the sides of the drums); plaing 3-2 son clave in the HH; and plaing the Bombo (It's like a bass drum) on the drum. Another variation is to move the clave pattern to the LH (cross stick) and pla donbeats or upbeats ith the hi-hat. You could also add a bass drum note to beat.

8 ob Bridge 2011 Son Clave Son Clave - clave can be performed to as or 2-3. Once a song starts, it is ver rare for the clave to change direction. If it does change direction, this is done b having a phrase ith an odd number of measures. Timb. 3-2 Son Clave Œ Œ Œ 2-3 Son Clave Œ Œ Œ Cha Cha Cha Cha cha cha is a dance stle ith a heav donbeat. Note that the conga part shos clave b plaing the bombo note on the loer drum. C. Dr. x x x x x x H T S T H T O O H T S O O S 0 0 H T S T H T O O H T S O O S 0 0 Timb. x x x e x x x e Note that the drum set part uses elements of the conga part and the 2-3 son clave pattern in the LH. The H plas the bongo bell pattern hile the BD plas the bombo note. The HH can be slashed on 1 and 3 to emulate the guiro. The drum set part can also be plaed ith straight quarters on the bell

9 ob Bridge 2011 Bolero A Cuban Bolero is a slo torch song. The defining characteristics for the drummer are the maraca rhthm (plaed on the cascara in the timbale part) and the conga open tones at the end of the measure. The bass plaer usuall highlights 1 _ 3 1 _ 3. C. Dr. Timb. x h t s t h o o o x h t s t h o o o 3 3 ^ x x x x Œ 3 3 ^ x x x x Œ The drum set part is plaed ith the snares off. The measure starts ith a LH cross stick. The triplet is performed b the H alone. Mambo Mambo is an uptempo stle from the son tradition. Belo are to possibilities. Note that the second timbale version is for to bells. C. Dr. x x x x x x x x Timb. H T S T H T S O ^ ^ ^ ^ Œ Œ ^ ^ x ^ ^ Œ Œ H T S O O S 0 0 ^ ^ Œ x ^ ^ Œ ^ v ^ v v v v H T S T H T S O Œ Œ ^ H T S O O S 0 0 ^ v v Œ - 3 -

10 ob Bridge 2011 umba Clave umba clave has a more folkloric feel. The bombo note receives the most emphasis. Timb. 3-2 umba Clave Œ Œ Œ 2-3 umba Clave Œ Œ Œ umba Guaguanco The guaguanco has a distinctive open tone melod. Note that the timbales pla cascara ith rumba clave no. C. Dr. Timb. S S B S O S Œ O S O S O S Œ Œ S S B S O S Œ O S O S O S Œ Œ Œ Œ Œ Œ Œ Œ The HH can also pla don beats, upbeats, or both. The ride cmbal part can be plaed on the side of the floor tom or on a rim for a less prominent sound. The LH should be a rim click at loer volumes. You can leave out the BD donbeats for a more authentic sound. - -

11 Mozambique ob Bridge 2011 This stle utilizes the rumba clave and outlines the bass tumbao (hich has no notes on one.) You can also pla the shell ith the H for a cascara effect. C. Dr. Timb. O O B H T S.. S S O S S O S.. M O O Œ Œ M O O Œ Afro-Cuban / The conga part is from the umba Columbia - notice the open tone melod. The bell pattern is popular all over Africa - notice the rumba clave in / that accompanies the bell. C. Dr. x x c Timb. H T S O O O H T O O O O. H T S O O O H T O O O O. c x.. x.. x.. x.. c The HH part can also be quarter notes. Tr doubling the bell pattern in the BD! - 5 -

12 Drum Ostinatos ob Bridge 2011 Tr these ostinatos for BD - most are taken from the grooves that precede this. Add HH plaing donbeats, upbeats, both, or clave. c Œ Œ Ó Ó Œ Œ Œ Œ Timing Patterns Use these timing patterns over the ostinatos or as the independent voice in the previous grooves. After ou master these, tr reading from the Chester book or similar materials..... Œ Œ Œ Œ Œ Œ Œ Œ C. Dr. Œ Œ Œ Œ C. Dr. Œ Œ Œ Œ. C. Dr.... C. Dr. - -

13 ob Bridge 2011 Bossa Nova Bossa Nova began in the 1950's ith composers like obim and Gilberto sloing don the rhthms of samba and mixing it ith the harmonic language of azz. I like to start the stud of Brazilian rhthms ith Bossa Nova because of the relaxed tempo. Soon, e ill learn here man of these rhthms came from. Basic Bossa Nova Pattern.... ide Cmbal variation.... Hi-hat variation Note that the open/close sound of the hi-hat creates to distinct pitches. This is ver important in Brazilian music. o. + + o. + + o. + + o

14 Samba Variations Samba precedes bossa nova historicall and ou should be able to see ho thr rhthms of BN came from the street music of samba. ob Bridge 2011 C. Dr. Samba - Batucada Timb. Samba - Batucada o + o Samba - Batucada o + o o + o o + o o + o o + o C. Dr. Timb o + o o + o o + o o + o C. Dr... Timb. > > > > > > > > > > > > > > > >

15 Baiao hthms of Brazil ob Bridge 2011 This bd ostinato has become ver popular in the USA. Tr using different variations in the left hand. C. Dr. Triangle + + o + + o + + o + + o + + o + + o + + o + + o Timb. Zabumba o + + o + + o. Œ. + + o Œ o + + o + + o. Œ. + + o Œ - 9 -

16 ob Bridge 2011 Clave evie Almost all Latin music is governed b the concept of clave. Belo are eight exmaples of clave and the most common bell rhthms that accompanies them. You should be able to pla clave in one hand and cascara (or the / bell pattern) in the other. Man grooves are built this a. C. Dr humba CLave Œ. Œ Œ 2-3 humba CLave Œ Œ. Œ. Timb. 3-2 Son CLave. Œ Œ Œ 2-3 Son CLave Œ Œ. Œ 3-2 Cascara 2-3 Cascara C. Dr... Timb bell pattern 2-3 bell pattern

17 Score Basic Mallet Warm-Ups For hthm Section Piano Guitar Guitar C C Green Scales F F G G Snare Drum 2 C > > > > F > > G > > 5 5 A m A m C C D m D m G G C C Œ Œ Œ Œ 5 A m > > C > > D m > > G > > C > Œ

18 2 Basic Mallet Warm-Ups 10 1th Note Timing !!!! Œ Ó 12!!!! Œ Ó 12 1!!!! Œ Ó 12!!!! Œ Ó 12 1!!!! Œ Ó 12

19 Afro-Arpeggio b b b Basic Mallet Warm-Ups b b b b b 3 b b b L. b b. Eb (9) b b b C (9) L b b b b b b Bb (9). b b b b b b bb. Db (9) bb b b b b b bb b Ab (9). bbb b b b b > >> > > >> > > >> > > >> > > >> > 2 # # ## # B (9). # # 2 # # # # ### #. F # (9) # # # # #. # A 9 # #. ## E 9 #. G 9 # # # # 2 > >> > > >>> > >> > > >>> >>>> # #. D (9) # F # # # # # F + # # # # # # # # # # # Ó. Œ.. Ó. Œ. Ó. Œ.. Ó. Œ. 29 >> > > > > > > > > > > > > > > > Ó. Œ.

20 Basic Mallet Warm-Ups 3 A minor Chords L L L L L L L L L L L L L L L L L L L L L L L L Œ Ó Œ Ó Œ Ó Œ Ó Œ Ó L L L L L L L L L L L L L L L L L L L L L L

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24 Steve's Song Basic Mallet Warm-Ups 5 50 Center Marimba Onl Everbod Everbod 5 5 Everbod > > > 5 > > 5 > > > > L L L L L L L L > > > > > > 5 > > 5 > > > > > > > 0 L L L 5 L L L L L L L L L L L > > > 5 > > > > > > > 5 > > > > 3 L L L L L L L L L L L L L

25 Basic Mallet Warm-Ups Œ Œ > > > > > > > Œ Œ > > > 5 > > 5 L L L L L L L L L L L L L > > > > > > > > > > 5 > > 5 > > > > L L L L L L L L L L L L L L L Œ. Œ. Œ. > > > Œ. L L L

26 Score True Colors Based off the Marimba Solo, True Colours b ohn Throer Written b ohn Throer Arranged b ason eid Bells Vibraphone Marimba Piano π π π Am Em P P P Fb 5 Electric π P Bls. Vib. π π Mrb. F Gsus G π Am E.B. π

27 2 True Colors Bls. Vib. 11 F Mrb. 11 Œ Œ F F 11 Em F Bsusb 9 b 5/E Csus/F Gsus E.B. 11 F Bls. Vib. Mrb b b G GM/Gb b b b Œ p p p p E m # F # > > # > > # # #> b # # > Bm/D # # # > > b # > > E.B. 1 b p

28 True Colors 3 Bls. Vib. 21 # > # > > > > > # # >. # >. > Œ p Mrb b > # GsusM/C # > > > > > C >. D sus # >. > b # D E m E.B. 21 Bls. Vib. # F # > > 2 # # #> # # # > > # > # > > > > > Mrb. 2 2 # > > b # # > Bm/D b # > > b > # GsusM/C # > > > > > C E.B. 2

29 True Colors Bls. Vib. 31 # # >. # >. > Ó # Ó # ƒ Mrb. Í Í Í>. Í # >. > Dsus b # D ƒ ƒ ƒ G Dsus E.B. 31 Í f Bls. 3 Vib. Mrb. 3 3 # D G Dsus # D E.B. 3

30 Bls. Vib. E.B. Mrb Am G/B Gsus/C Bls. Vib. E.B. Mrb. C Dsus rit. b b b # # D rit. U U U U U U U G 5 True Colors

2018 Audition Process General Information

Drumline Audition Packet 2018 2018 Audition Process General Information What to Epect at Auditions for the Calgary tampede howband What should I bring? Bring what you would normally bring to a band rehearsal: