Sck Control Mulple Bounce Rolls
Marching Technique Concepts By Tohbias Juniel Grip: The Traveling Fulcrum - This technique requires constant contact with the stick and each digit of the hand in a match position. The primary connection happens where the print of the thumb rests on the stick just under the first finger and above the middle finger. This position requires a steeper angle of the back fingers (middle, ring, and pinky). - From this position, roll the fingers/stick into the palm of the hand while maintaining a relaxed approach of the grip. The fingers will curve around the stick and remain in this state even when the hand is fully extended to a vertical position. - When playing multiple notes on a single hand along with turning from the hinge at the wrist, pressure from the front of the hand becomes more necessary. The closeness of the notes (in terms of space) determines the amount of pressure needed from the front of the hand (thumb and first finger).
Left Hand Technique for Traditional Grip: This technique requires a stable, yet relaxed curved position of the digits. - Begin by placing the arm in a resting position with the arm angled toward the ground. Face your palm toward your leg. - Once comfortable, raise from the elbow until the forearm becomes parallel to the ground. Be sure to refrain from allowing tension to enter your shoulder or hand. - With very little effort, angle the thumb to sit just above the resting position of the wrist. - In this position, the thumb print should rest on the first knuckle of the first finger in its natural upward state. - The stick should enter the hand through the space created between the thumb and first finger. To eventually rest on the ring finger just below the nail and above the first knuckle. Though this will create more space between the middle and ring finger, the middle and first finger will be positioned on the top side of the stick. The middle finger will travel with the stick and adjacent fingers. More or less, the middle finger is there for the ride. - While playing, the stick will keep its position established in the hand while the forearm rotates to the left positioning the palm to face up towards the sky. (This will also change the angle of the stick. Placing it in a 90 degree angle to the striking surface) - Though the pinky finger is not in direct contact with the stick, it should rest comfortably shadowing the curve of the ring finger. - The ring finger will lose contact with the stick during the brief period of time which the stick contacts the striking surface. - When playing multiple notes in a single hand along with the rotation of the forearm, pressure from the front of the hand become becomes more necessary. The closeness of the notes (in terms of space) determines the amount of pressure needed from the top of the hand (thumb and first finger).
Bass Drum Technique: This technique requires both the hinge approach as well as the rotation approach. - Utilizing the beginning steps of the left hand technique for traditional grip start with both arms in a resting position with the palms facing the body. - Once comfortable, raise both arms to a parallel position to the ground. Without raising either shoulder. - With very little effort, angle both thumbs to sit just above the resting position of the wrists. - Once comfortable, place a bass drum mallet in either hand while maintaining the structure of the hand, forearm, and shoulder. - From here, this technique requires constant contact with the stick with each digit of the hand. With the primary connecting spot being the print of the thumb resting on the stick just under the first finger and just above the middle finger. This position will require a steeper angle of the back fingers (middle, ring, and pinky) - When preparing to strike the drum the forearm will travel outward (away from the drum) while maintaining the space relationship between the striking surface and the forearm of the player. The majority of control over the stick will be issued from the back of the hand (the area of the palm across from the middle finger, ring finger, and pinky).
Playing the Drum: - The idea is to put in motion the relaxed state of the hand from its set position. To do this effectively, we put into effect the rebound technique. - By maintaining the space relationship from the hand to the palm and fingers to the stick the player can stop the stick at a designated or desired height away from the striking surface. - Similar to a bouncing object, the more velocity used to initiate the stick, the higher the rebound and louder the volume. Definitions: Set Position The time when the hand is not in motion. Vertical Position When the hinge (wrist) allows the hand to be raised above the position of the forearm Rebound Utilizes the striking surface to create one or more strokes. This approach will place less stress on the fingers and wrists of the player. Hinge Technique Using the motion of the wrist to initiate the movement of the hand and stick/mallet. Rotation Technique Using the turning motion of the forearm to initiate movement of the hand and stick/mallet. Heights: - We will use a four height system consisting of,, 9, and 12. - This height system will be referred to as such:! Mezzo-piano represented by inches away from striking surface.! Mezzo-forte represented by inches away from striking surface.! Forte represented by 9 inches away from striking surface.! Fortissimo represented by 12 inches away from striking surface. - Lower dynamic levels will be explored with less velocity behind the stroke and various striking areas of the drum. Default Heights: - Exercises will begin at level 9 representative of Forte unless otherwise indicated by the musical literature or staff.
Snare Drum SAN DIEGO STATE UNIVERSITY MARCHING AZTECS FANFARE 2014 bryan k. ransom inspired by cjf Perc. Arr. Tohbias S. Juniel q = 142 4 f R L R 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 f R L R L R L R R L R L R L R L R L R L R L R L A R L R L R L R L R L R L R L R L R L R R 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 L R L R L R L R R L R L B 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 C R L R L R L R L R L R L R R R L R L R R L R R L R L R 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 R L R L L R L R R L R L R L w/ Arm R L R R L L R L R R L L R R R L R L R R
Tenor Drums SAN DIEGO STATE UNIVERSITY MARCHING AZTECS FANFARE 2014 q = 142 4 bryan k. ransom inspired by cjf Perc. Arr. Tohbias S. Juniel f R L R 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 f R L R L R L R R L R L R R L R L R L R R L R L R L R L R L R A L R L L R L R L R L R L R L L R L R L R L R R L R L R L L B R L R L R L R 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 R R L L L R R R L L L C R R L R L R R L R R L R L R R L L R L R L R L R L R R L R L R L w/ Arm R R L R R L R L L R R L R L R L R R L L R L R R L L R L R L R L R R
Bass Drum SAN DIEGO STATE UNIVERSITY MARCHING AZTECS FANFARE 2014 q = 142 4 bryan k. ransom inspired by cjf Perc. Arr. Tohbias S. Juniel R L R L R L R R L R L R R L R L R RL RL RL RL RL R L R L f R L R L R L f R L R A R L R L R L R L 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 L R L R L R L R L R R L R L B 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 RL RL RL RL RL R R R L C R L R L R L R L R RL RL RL RL RL R R L R L Double Stop! R RL RL RL RL RL RL R
Cymbals SAN DIEGO STATE UNIVERSITY MARCHING AZTECS FANFARE 2014 bryan k. ransom inspired by cjf Perc. Arr. Tohbias S. Juniel q = 142 4 A f B Flat C
Snare Rope Drum 2k14 (written for SDSU 2014) q = 11 Solo Add 2 Add 2 Tohbias S. Juniel 4 f R R R R 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 Add 2 A All L R L R L R L R R L R L L L L R R R R 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 R L R L R L R L L R L R L mp 9 B Soli 12 f R R L mp R L R L R L R L R f L R L R R L R L R L R L R L R L R L R L R L s.c. C to gut edge edge to 1/2 way to gut edge 17 D edge R.H. stick clicks R L R L R L RLetc.. p p R R L L L L RLetc.. mp to 1/2 to C. 20 C. R R R L R L R L R L R L R L R L R R L R L R L R L R L R L R L R L R L R L R L mp E S.C. 25 f R mp R L R L f R R R L R R L R L R L R L R L R L R mf f F R L L L R L R L R L R L L R L L R L R L L R L R L R L R L R L R L R L 27 0 R R R L R L R L R L R L L R L L R L R L L R L R L R L R L R L R L R L R RLLRRRLRRLLL mp f R L R L R L R L R L R L R L R L R L R L L R L L R L R L R L R L L R L L R L R L R L mf Copyright TJ Music 2014 f R
Tenor q = 11 2 Solo Rope Drum 2k14 (written for SDSU 2014) Tohbias S. Juniel 5 A f R 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 R L Add 2 Add 2 R R (L) R L R L R R R (L) R 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 (L) R R L 8 B 1 C R L R L 4 D mp L R L f R R L R L R R R R L R L R L R L 20 mp R R R R R R R R L R L R R R R R R R L R L R L R L R L R L R L R L R L R L E 22 f R R L R L R L R R L L R R L L R L f R R L R L R L R L R L R L R R R R L R L R L R L R L R L R R L L R L R L R L R L R L R L R L R 24 F 2 R R L R L R L R L R L R L R R L R L R L R L R L R L R L R L mf f 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 28 0 R L R L R L R L R L R L R L R L R L R mp R L L R R R L R R L L L f R L R L R L R L R L R L R L R L R L R L L R L L R L R L R L R L L R L L R L R L R L mf Copyright TJ Music 2014 f R
Bass q = 11 Rope Drum 2k14 (written for SDSU 2014) Tohbias S. Juniel 4 f A 7 9 B mp 12 f mf C 1 f D mf 20 mf E 2 25 F f mp f mf f 28 0 mp f mf f Copyright TJ Music 2014
Cymbals q = 11 Solo Rope Drum 2k14 (written for SDSU 2014) Tohbias S. Juniel Add 2 Add 2 mf 5 A Add 2 All 9 B f 1 C mp p 17 D Flat Crash Orch. mp f 21 E f mf f 25 F 28 f mf f Copyright TJ Music 2014
Snare Drum 's On Tap Volume 1.0 Tohbias S. Juniel 12 8 A q. = 84 R- L- 5 B R- 7 L- 9 C R R R L R R L L L R L L R R R L R R L L L R L L 10 R R L L R R L R L R L R L L R R L L R L R L R L 11 R R L L R R L R L R L R L L R R L L R L R L R L 12 R L L R R L L R L R L R L R R L L R R L R L R L 1 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 Copyright TJ Music 2014
Snare Drum 2 's On Tap Volume 1.0 Tohbias S. Juniel 12 8 A q. = 84 R R R L L L R R R L L L R R R L L L R L L L R R R L L L R R R L L L R R R L R R R L L L R R R L R R R L L L R R R L R R R L L L R R R L R R R L L L R R R L 5 B - 8"- - 8"- R R R L R R R L R R R L R L L L R L L L R L L L R R R L R R R L R R R L R L L L R L L L R L L L 7 RLR LRL RLR LRLRL RRLR LLRL RR LRL RLR LRL RLRLR LLRL RRLR LL 9 C R R L R L 10 R R L L R R L R L R L R L L R R L L R L R L R L 11 R R L L R R L R L R L R L L R R L L R L R L R L 12 R L L R R L L R L R L R L R R L L R R L R L R L 1 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 Copyright TJ Music 2014
Tenor 's On Tap Volume 1.0 12 8 A q. = 84 Tohbias S. Juniel R- L- 5 B R- 7 L- 9 C R R R L R R L L L R L L R R R L R R L L L R L L 10 R R L L R R L R L R L R L L R R L L R L R L R L 11 R R L L R R L R L R L R L L R R L L R L R L R L 12 R L L R R L L R L R L R L R R L L R R L R L R L 1 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 Copyright TJ Music 2014
Marching Tenor Drums #2 's On Tap Volume 1.0 Tohbias S. Juniel 12 8 A q. = 84 R R R L L L R R R L R R R L L L R R R 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 5 B - 8"- - 8"- R R R L R R R L R R R L R L L L R L L L R L L L R R R L R R R L R R R L R L L L R L L L R L L L 7 R L R L R L R L R L R L R L R R L R L L R L R R 8 L R L R L R L R L R L R L R L L R L R R L R L L 9 C R R L R L R R L L R R L R L R L R L L R R L L R L R L R L 11 R R L L R R L R L R L R L L R R L L R L R L R L 12 R L L R R L L R L R L R L R R L L R R L R L R L 1 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 Copyright TJ Music 2014
Marching Bass Drum 's On Tap Volume 1.0 Tohbias S. Juniel 12 8 A q. = 84 R- L- 5 B R- 7 L- 9 C f 10 R L R L R L R R L R L R L R 12 4 Copyright TJ Music 2014 R L R L R
Marching Bass Drum #2 's On Tap Volume 1.0 12 8 q. = 84 A Tohbias S. Juniel 2 4 B 9 C 10 11 12 1 4 Copyright TJ Music 2014 R L R L R
Cymbals 's On Tap Volume 1.0 A q. = 84 12 8 Flat Crash Orchestral Crash B Tohbias S. Juniel 9 C 12 Flat 2 Orchestral Copyright TJ Music 2014
Snare Tenor Bass q = 110 edge (triplet pulse) p p Triplet pulse p Pressure (1th note pulse) to C. 1th note pulse mf C. to 1/2 RLRL R L R L R L R Tohbias Juniel to C. L R L R S. D. S. D. 8 12 stick clicks mp solo vamp til quad cue R L R R L R L p Vamp til quad cue p mp r.h. on back rim ( ) = cross stick R L mp Dampen R- mf L- Copyright 201 til cue
2 S. D. S. D. S. D. 19 1. 2. L R L L R L R R R L L R L R R L R L R L R L R L- to top edge ping R mp L R- to top edge b.s. L ping R mp (solo cue) vamp til snare cue L R L Rf (2x on) mp R Vamp til snare cue mp mf R L L L L L L R R R R R L L R L R L R L R L L R L R L R L 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 L L L L L L R R R R R R L L L L L L R R R R R L L R L R L R L R L L R L R L R L R L L R L R L R L L R R L R L R L R f
S. D. S. D. R L L L R R L R R L R L R L RRLRL R L R LRRLLR L R L R R R L R L R L R L R L RRLRL R L R LRRLLR L R L R R R L R L R L L R To Coda R R L L L L L L R R R R R R R R L 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 L R R L R L R L R L R R L R L R L R L R R L R L R L R D.S. R solo
Arr. Tohbias Juniel Marching Percussion Basics
Snare Tenor Bass 8 On A Hand *Note* - Execercise should be practiced at various dynamic levels and tempos. - Tenors begin playing on one drum only. Once comfortable, apply the same technique to playing around the drums. - Basses, begin playing in unison. Using the sticking indicated for the snare voice. R- L- R- R- L- R- L- R- L- Tohbias Juniel 5 L- R- L- R R- L- R- L- R R- L- R *Note* This exercise should be played at various tempos while 5, 7, 10 maintaining a consistent "tap" (lower level) sound. Allowing the stick/mallet the opportunity to "rebound" (naturally bounce). The accent should be produced by striking the drum from a higher level combined with more velocity behind the stroke. All while allowing the stick/mallet the opportunity to rebound. R- L- R- L- R- L- R- L- R- L- R- L- Copyright 2009
R- L- R- L- R- Tap Doubles (short, short, long variation) Similar to "8 On A Hand", each note of this exercise will be produced by a turn/rotation of the hand/wrist. Strive for accuracy of rhythms and consistency of sound. At faster tempos we will apply the "speedo" technique, which requires more involvement from the forearm while minimizing the "break" of the wrist. SNARES (This will create a more "up and down" motion in your left hand). R- L- R- R- L- R- R- L- R- R L L- R- L- R- L R R L R L L R R L R L R L- R L R L R L R R R R R R R L
4 L- R L- R R R L R R L L R R L R Triple Beats (short, short, long variation) At slower tempos the player should initiate the first beat of three at a specified height then turn/rotate hand/forearm for each stroke following to create the same height and sound for the two consecutive notes following. At faster tempos, the first stoke will be initiated the same while the second and third notes will have a slight decay in height. R- L- R- R- L- R- R- L- R R R R R R R R R R L L L L- R- L- R- R R R R R R R R R R L L- R-
L- R L- R L L L L L L L L L L R R R L L L L L L L L L L R R This exercise combines the previous three one height exercises. The techniques from each should be applied in Stick Control when appropriate at slower and faster tempos. CHECK Stick Control R L R L 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 L L R R L L R R L L R R L L R R L R L 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 L L R R L L R R L L R R L L R R L R L R L R L R L R L R L R L 5 R R R L R R R L R R R L R R R L R L L L R L L L R L L L R L L L R R R R L L L L R R R R L L L L R R R L R R R L R R R L R R R L R L L L R L L L R L L L R L L L R R R R L L L L R R R R L L L L R L R L R L L R L R L R R L R L
-Tag is played on last time of exercise- TAG R L L L L R R R R L L L L R R R R L L L R L L R L L/R R R L R R L R R L L L L R R R R L L L L R R R R L L L R L L R L L/R R R L R R L R R R R L R L R R L R Duple/Triple Timing The "rebound" technique will be applied to each note of this exercise. Each stick should spend the majority of its time "up". 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 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 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 R L R L R L R L R L R L R L R L R Mulitple Bounce Rolls Triplet Drags 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 To best play this exercise the player must understand and apply the use of the "traveling fulcrum". Legatto buzzes will call for less pressure in the front of the hand, while stacatto buzzes need front hand pressure.*note* "Pressure" does not mean tension. This exercise is best achieved while maintaining a relaxed grip of the stick/mallet. R R R R L L L L R R R R L L L L R- L- L R R R R L R L R L R L R L L L L R L R L R L R L R R R R L R L R L R L R L L L L R L R L R L R L 7
8 Three Camps (2nd x) 1th Note Drags R L R R L R L R L R L R L R L R L
Duple/Triple Rolls Triplet Grid 9 Fivelet Grid 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
10 Flam Breakdown R R R R L L L L R 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 L R R R L R R L R L R L R L R L R L R L L L L L L L L L L L L L L L L L L R L L L R L L R L R L R L R L R L R L Flams Check Flam Drags Cheeses 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 Flam Fives Chu-chuttas Cheesed Chu-chuttas 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 Tu-chuttas Cheesed Tu-chuttas R L R L R L R L R L R L Flam Inverts Cheese Inverts R L R L R L R L R L R L Pata Fla-flas R L L R R L L R R L L R R L L R R L L R R L L R R L R L R L R L R L R L
Pata Fla-flas Book Reports Book Reports R L R L R L R L R L R 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 Fu-bars Fu-bar Cheese Flam Taps 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 L L R R L L R R L L 11