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The Arsenal
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The!guide!to!the!Trojan!Drumline!
Percussion!Program!
1!

The!Arsenal!
Contents!

Introduction**
*
*
*
*
*
*
Glossary*
*
Heights* *
*
*
*
*
*
*
*
Strokes* *
*
*
*
*
*
*
*
How*to*Practice*
*
Rudiments* *
*
*
*
*
*
*
Exercises* *
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Grips,*Fulcrums,*&*Pressure*Points* *
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Section*Specifics* *
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Snare* *
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Quad* *
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Bass*
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Cymbal* *
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Equipment*Manual* *
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3*

4*

5*

6*

7*

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11*

16*

17*

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23*
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29*
36*
39*

41*

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2!

Introduction*
!

Welcome!to!the!second!edition!of!The!Arsenal,!a!guide!to!the!Traverse!
City!Central!Trojan!Drumlines!approach!to!the!marching!activity.!This!
booklet!provides!information!to!guide!you!through!every!aspect!of!the!
program:!how!to!play,!how!to!handle!equipment,!how!to!practice,!and!
how!to!understand!the!lingo.!!
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Many!of!the!highest!performers!in!the!rudimental!drumming!activity!
have!contributed!to!this!resource,!so!use!it!as!a!reference!often.!It!will!
answer!most!of!your!questions!and!resolve!lots!of!disagreements.!
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!
!
For!any!other!material,!such!as!the!cadences,!stand!tunes,!this!packet,!
and!the!exercises,!visit!www.michaelsiciliano.org!and!click!on!Trojan!
Drumline.!The!password!is!drums.!
!
!
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!
Special!thanks!to!Will!Gordillo,!Kevin!Levandoski,!Nate!Leitz,!James!
Sparling,!Katie!Hanka,!Timon!Sherman,!Kevin!Jaskolski,!and!Alex!Gusler!
for!their!input!and!expertise.!
!
!

3!

Glossary!

*
These*terms*are*things*all*percussionists*should*understand.*The*list*just*
makes*sure*everyone*can*understand*everyone*else.*
*
Accelerando**to*speed*up*
Articulation**the*type*of*stokes*being*used*to*play*a*note*
Break/Tick**to*stop*playing*during*a*rep,*or*to*make*a*mistake*
Diddle**two*notes*on*one*hand*played*with*a*single*stroke*
Double**two*notes*on*one*hand*played*with*two*strokes*
Dirt/Fuzz**the*sound*made*when*players*are*not*together*
Dragging**slowing*down*when*it*is*not*marked*
Dynamics**the*volume*or*height*at*which*music*is*to*be*played*
Grace*Note**the*low*notes*of*a*Flam,*Malf,*or*Drag*
Interpretation**A*players*idea*of*how*the*passage*is*played*
Legato**a*stroke,*the*motion*of*the*stick*is*never*stopped*
Marcato**a*stroke,*the*stick*is*stopped*after*striking*the*head*
Partial**each*individual*note*in*one*beat,*three*per*triplet,*etc.*
Rallentando/Ritardando**to*slow*down*
Ram**an*tude*that*focuses*on*applications*of*rudiments*
Rep**verb:*to*play*a*piece,*noun:*the*play*through*of*the*piece*
Rudiment**a*combination*of*strokes*with*a*specific*name*
Rushing**speeding*up*when*it*is*not*marked*
Soli**played*by*only*one*section,*a*section*solo*
Spree**an*exercise*that*focuses*on*flam*rudiments*
Stutter**an*accented*diddle*
Subito**suddenly*
Tacet**to*rest,*specifically*the*control*of*the*non[playing*hand*
Tap**a*non[accented,*non[diddled,*controlled*note*
Tap*Space**The*gap*between*a*tap*and*diddle,*which*is*often*crushed*
Touch**the*amount*of*force*in*a*stroke,*separate*from*heights*
!

4!

Heights!
!

We*use*a*literal*interpretation*for*stick*heights.*This*means*that*for*a*3*
height*the*bead*of*the*stick*is*3*from*the*drumhead,*etc.*You*can*use*a*
ruler*if*youre*having*trouble*visualizing*the*heights.*At*a*3*height*the*
stick*should*be*parallel*to*the*drumhead.*Dynamic*markings*are*
shorthand*for*the*height*to*be*used.*
*
pp!!*!!!!p *1!!!!mp *3!!!!mf *6!!!!!f *9!!!!!ff *12*
*
Sometimes*the*heights*for*a*passage*are*given*in*a*height*index*instead*
of*a*dynamic*marking.*This*is*found*above*the*metronome*mark*at*the*
start*of*the*piece.*The*first*number*is*the*height*to*use*for*accented*taps*
and*the*second*number*is*the*height*used*for*unaccented*taps.*
*
*
*
Accents*indicate*where*a*note*should*be*played*with*a*height*other*
than*the*dynamic*marking.*In*ascending*order,*the*three*different*
notations*are*Tenuto,*Accent,*and*Marcato*or*Rooftop*Accent.*Tenutos*
are*played*1*above,*Accents*are*generally*3*above,*and*Rooftop*
Accents*are*played*6*above*the*given*height.*In*the*example*the*height*
played*is*6,*7,*9,*then*12.*Rooftop*Accents*are*typically*used*along*
with*Rim*Shots.*
*
*

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!

5!

Strokes!

*
These*three*basic*strokes*are*by*far*the*most*common,*and*mastering*
them*will*enable*you*to*play*a*wide*range*of*material.*There*are*many*
more*that*are*used*for*very*specific*situations.*
*

Full!Stroke!(Legato!Stroke)!

The*stick*returns*to*the*same*height*it*started*at*to*prep*for*the*next*
stroke.*The*Full*Stroke*only*connects*other*Full*Stokes.*The*term*Full*
Stroke*is*used*interchangeably*with*playing*as*high*as*possible,*though*
Legato*typically*only*refers*to*the*stick*returning*to*the*same*height.*
Make*sure*your*hand*never*blocks*the*stick*from*moving.*You*should*
give*the*stick*a*good*amount*of*force*even*at*very*low*heights;*always*
try*to*produce*a*big*sound*regardless*of*heights.*
*

Down!Stroke!(Marcato!Stroke)!

The*stick*ends*at*a*lower*height*than*it*started*at*to*prep*for*the*next*
stroke.*This*is*used*to*connect*high*strokes*to*low*strokes*and*to*
produce*sudden*sound*contrasts.*Its*important*that*your*stroke*is*the*
same*as*the*Full*Stroke*until*the*stick*hits*the*head.*From*there,*the*
fingers*stop*the*stick*from*rebounding.*Dont*squeeze*the*stick*on*the*
way*down,*as*this*will*choke*the*sound.*
*

Up!Stroke!

The*stick*ends*at*a*higher*height*than*it*started*at*to*prep*for*the*next*
stroke.*This*is*used*to*connect*low*strokes*to*high*strokes*and*to*
produce*sudden*sound*contrasts.*Its*important*the*stroke*is*the*same*
as*a*low*Full*Stroke*until*the*stick*hits*the*head.*From*there,*the*hand*
explodes*upwards,*pulling*the*stick*up.*

!
!

6!

How!to!Practice!

By*Michael*McIntosh*
*
Correct*practice*is*crucial*to*your*development*as*a*rudimental*
percussionist.*We*can*define*practicing*correctly*as:*
*
1.*Practicing*with*a*plan/setting*goals*
*
2.*Practicing*those*things*you*cant*play*perfectly*
*
3.*Practicing*on*a*drum*
*
4.*Practicing*with*a*metronome*
*
5.*Practicing*in*front*of*a*mirror*
*
6.*Always*evaluating*of*your*quality*of*sound/tempo*control*
*
7.*Marking*time*while*you*practice*
*
8.*Not*building*bad*habits*
*
Lets*break*down*the*above*elements.*
*

1.!Practicing!with!a!Plan/Setting!Goals!
Practicing*with*a*plan*or*goal*is*crucial*to*your*development*as*a*
rudimental*percussionist.*Having*a*plan*allows*you*to*be*methodical*and*
smart*about*your*approach.*This*approach*leads*to*efficiency.*The*more*
efficiency*you*are*at*practicing,*the*quicker*you*will*become*a*
rudimental*Jedi.*Here*is*an*example*of*having*a*solid*practice*or*goal:*
*
Week!of!12/24!through!12/30!
Goal:*Tap*fives*
Monday:*One*hour*tap*fives*(triplet[base)*mm=6084*(up*4*beats*
every*10*min.)*
Tuesday:*One*hour*tap*fives*mm=84108**
Wednesday:*@*mm=108132*
Thursday:*@*mm=132156*
!

7!

Friday:*@*mm=156180*
Saturday:*@*mm=180204*
Sunday:*@*mm=204229*

*
Keep$a$practice$journal$or$wall$chart.*Writing*things*down*will*keep*you*
organized.*Seeing*your*progress*in*writing*will*help*you*crystalize*your*
improvement.*Playing!rudiments!slowly!is!important*.*.*.*slow*things*
down.*Youll*be*amazed*at*how*much*better*your*control*will*be*and*
how*much*of*a*better*overall*player*you*will*become.*
*

2.!Practicing!those!things!you!cant!play!perfectly*

It*is*very*easy*to*play*things*that*feel*good*and*sound*good.*At*your*
level,*you*should*be*disciplined*enough*to*play*things*you*cant*play*
perfectly.*Make*everything*you*play*sound*perfect*and*feel!good!*Your*
job*is*to*be*a*master*of*all*motions*at*all*tempos,*so*practicing*things*
you*dont*feel*completely*comfortable*with*is*key.*Play*things*slowly,*off*
the*left,*whatever*you*can*do*to*expand*your*repertoire.!
*
3.!Practicing!on!a!Drum*
A*practice*pad*does*not*give*you*the*same*feel*as*a*drum.*There*is*no*
substitute*for*the*chops*you*will*gain*practicing*on*a*drum*versus*a*
practice*pad:*no*exceptions,*period.*Your*performances*will*be*on*a*
drum,*so*it*makes*good*sense*to*practice*on*one.*For*those*auditioning*
for*independent*groups,*based*on*personal*experience,*practicing*on*a*
drum*between*camps*will*give*you*25*to*30*percent*advantage*over*
practicing*on*a*pad.*

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!

8!

4.!Practicing!with!a!Metronome*

Tempo*control*is*crucial*as*a*rudimental*percussionist*and*is*probably*
the*single*most*important*trait*you,*as*an*individual*performer,*can*
bring*to*the*table.*There*is*simply*no*substitute*for*practicing*with*a*
metronome.*Keep*it*fresh*by*practicing*with*to*a*half[time*feel.*Try*
putting*the*metronome*on*the*upbeats*and*keep*a*constant,*steady*
pulse.*Experiment.*TEMPO!CONTROL!IS!EVERYTHING.*
*
5.!Practicing!in!Front!of!a!Mirror*
Practicing*with*correct*height*control*is*crucial*to*your*development.*
Practicing*in*front*of*a*mirror*allows*the*performer*to*observe*any*
height*discrepancies,*X[axis*motion*(slicing),*weird*facial*tweaks,*etc.,*
and*to*fix*any*of*the*above.*Take*a*dry*erase*marker*and*draw*lines*for*
heights*on*the*mirror.*While*practicing,*keep*your*beads*touching*these*
lines*consistently.*Draw*a*vertical*line*to*observe*the*vertical*rise*and*
fall*of*the*stick;*it*should*be*exactly*straight*up*and*down.*
!
When!using!a!mirror,!continually!ask!yourself!these!questions:*
Are*my*heights*correct?*
Are*my*stick*paths*(right*and*left)*straight*up*and*down?*
Are*there*any*extra*motions*such*as*shoulder*ticks,*elbow*motion,*
etc.?*
Is*my*body*symmetrical?*(Right*and*left*shoulders*parallel)*
DO*I*look*relaxed*and*do*I*make*it*look*easy?*

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9!

6.!Constant!Evaluation!of!your!Quality!of!Sound/Tempo!

When*you*practice*you*should*constantly*evaluate*how*you*feel*and*
look.*You*should*critique*how*you*sound.*Does*what*youre*playing*
sound*good?*Does*it*flow?*Are*the*sticks*resonating*at*all*times?*Does*it*
sound*relaxed?*Am*I*breathing*calmly*and*evenly*when*I*play?*Is*there*
tension*in*my*back?*Shoulders?*Arms?*Wrists?*Do*I*sound*like*I*am*
owning*the*music?*Constant*self[evaluation*is*important*in*your*
development*as*a*rudimental*percussionist.*If*something*isnt*right,*you*
have*the*tools*to*diagnose*the*problem,*find*a*solution*(practice*tip)*and*
fix*it.*
*
7.!Marking!Time!while!you!Practice*
Marking*time*is*important,*as*this*is*a*movement[based*activity.*If*your*
feet*are*not*in*time,*you*will*not*play*in*time.*Your*heel*should*be*
impacting*EXACTLY*on*the*beat.*Your*feet*must*be*in*time.*
*
8.!Not!Building!Bad!Habits*
Replacing*bad*habits*is*harder*than*learning*good*ones.*This*applies*to*
percussion*in*several*ways.*When*learning*music*for*the*first*time,*make*
sure*your*technique*and*stance*are*the*same*as*when*you*perform.*
Also,*if*you*break*on*a*part*multiple*times,*slow*it*down*to*where*you*
can*play*it*perfectly*and*work*it*back*up*slowly,*or*move*on*to*
something*else.*The*more*reps*you*break*on*a*section*the*harder*it*
becomes*to*play*it*correctly.*Perfect*music*slowly*before*playing*it*
faster.*
*

!
If!you!follow!the!above!practice!guidelines,!
you!will!be!amazed!at!your!progress!!

!
!

10!

Rudiments!

This*is*not*an*extensive*list,*but*rather*the*essential*rudiments*required*
to*be*fluent*in*todays*marching*percussion*material.*Mastering*these*
rudiments*will*greatly*expand*your*playing*ability.*
*
Buzz/Multiple*Bounce/Closed*Roll*
*The*goal*is*to*create*a*constant*tone*from*the*drum.*This*notation*is*
also*used*with*a*staccato*marking*for*a*Crush.**
*
Open*Roll*
*
Is*often*composed*of*five,*seven,*or*nine*strokes,*tap*included.*
Each*slash*doubles*the*speed*to*play*the*notes;*you*play*that*speed*of*
note*for*the*duration*of*the*note*with*the*slash.*The*example*given*is*all*
the*same*speed*roll.*
*
Single*Stroke*Four,*Seven,*etc.*
*
Can*be*extended*indefinitely*to*a*Single*Stroke*Roll,*but*these*two*
durations*(four*and*seven)*are*the*most*common.*
*
Herta**
*
Hertas*(pronounced*hair[uh[tuh)*are*an*essential*rudiment*and*can*be*
thought*of*many*ways,*such*as*a*Duhduhpuh*with*the*opposite*hand*
filling*the*space*between*the*first*two*partials.***
*
Single*Backs*
*
Practicing*Single*Backs*is*essential*to*playing*fast*single*stroke*passages*
and*getting*confortable*playing*32nd*notes.*
!

11!

*
Puhduhduh(Pudada)*
*
When*reversed*is*a*Duhduhpuh(Dadapu).*Its*a*very*common*sticking*
pattern*and*often*wont*be*in*triplets*like*the*example.*
*
Paradiddle*
*
Can*be*inverted*or*reversed*as*shown.*It*is*extremely*common*in*all*
percussion*styles.*
*
Double*Paradiddle*
*
Simply*add*a*para*(r*l*or*l*r)*to*the*beginning*of*a*paradiddle.*This*can*be*
repeated*for*triple*paradiddle,*etc.*
*
Paradiddlediddle***
*
Its*a*very*common*sticking*for*fast*passages*due*to*the*ease*at*which*it*
can*be*played.*It*also*can*be*reversed*and*inverted.*
*
Grandpas**
*
A*Paradiddle*Tap*with*accents*on*the*first*and*last*partial.*Theyre*
similar*to*Grandmas*and*super*fun.*
*
Grandmas*
*
A*Paradiddle*Tap*with*accents*on*the*second*and*last*partial.*Theyre*
similar*to*Grandpas*and*are*even*more*fun.*
*
!

12!

Shirley*Murphy*
*
A*single*stroke*followed*by*a*double*stroke*followed*by*a*triple*stroke,*
giving*the*secondary*name*of*1[2[3s.*
*
Flam*
*
For*notes*with*grace*notes,*the*sticking*letter*indicates*which*hand*plays*
the*primary*stroke.*Whenever*possible,*the*grace*note*should*be*played*
at**stick*height*(the*same*as*tacet*height,*so*it*is*not*necessary*to*lift*
the*stick*playing*the*grace*note).*This*is*not*always*the*case,*such*as*in*
Flam*Accents*or*their*permutations.*Getting*the*grace*note*down*to**
isnt*logical,*so*the*grace*note*is*played*at*the*same*height*as*the*low*
taps.*For*marching*percussion*the*space*between*the*grace*note*and*
flam*should*be*extremely*small,*think*about*aiming*for*a*double*stop*
and*missing.*
*
Drag/Ruff*
*
Similar*to*a*flam*but*the*grace*note*hand*plays*two*notes.*These*are*
more*common*in*concert*percussion*than*marching*percussion.*
*
Malf*
*
A*reversed*Flam*(notice*that*Malf*is*Flam*written*backwards),*so*the*
grace*note*comes*after*the*primary*stroke.*Be*sure*that*everything*
about*grace*note*control*and*height*remains*the*same*as*a*flam.*
*
Cheese**
Similar*to*Flams*except*the*primary*stroke*is*diddled.*Its*rare*to*see*an*
isolated*Cheese;*theyre*often*used*in*Cheese*Accents.*
!

13!

Flam*Accent*
*
This*is*the*most*common*use*of*non[isolated*Flams.*Flam*accents*have*
lots*of*permutations*by*adding*diddles*and*grace*notes*at*different*
partials*of*the*rudiment.*For*these*permutations,*learn*what*each*hand*
plays*individually,*as*a*lot*of*the*challenge*of*these*rudiments*comes*
from*long*strings*of*notes*played*on*a*single*hand.*
*
**Flam*Drags***************
*Cheese*Accent*********************Flam*Five*
*
************
*
*** *
Chutichuh*
*
*
***Cheese*Chutichuh*
*
*
*
*
Swiss*Army*Triplet*
*
This*is*a*Duhdipuh*with*a*flam*on*the*first*partial.*Swiss*Army*Triplets*
are*the*result*of*shifting*an*open*roll*one*partial*closer*together*so*that*
one*note*on*each*hand*overlaps.*This*can*be*done*again*to*achieve*
Flam[Flams.*
*
Flam[Flams*
*
Playing*quickly*alternating*Flams*requires*a*push[pull*technique*where*
both*hands*never*cease*to*play.*Each*hand*plays*a*higher*then*lower*
note,*with*the*right*hand*playing*the*higher*note*when*the*left*hand*
plays*the*lower*note,*and*vice*versa.*
*
!

14!

Flam*Taps*
*
Flam*Taps*are*triple*strokes*on*each*hand*with*the*last*note*of*each*
triple*overlapping*with*the*first*note*of*the*other.*
*
Inverted*Flam*Taps**
*
When*the*sticking*of*a*Flam*Tap*is*inverted*there*is*still*a*triple*stroke*
played*on*each*hand*with*the*third*partial*of*each*triple*overlapping.*
What*changes*is*that*the*third*partial*of*each*triple*stroke*is*accented*as*
opposed*to*the*first*partial*being*accented,*such*as*in*Flam*Taps.*
*
Inverted*Cheese*Taps*
*
Simply*add*a*diddle*to*the*accent*of*Inverted*Flam*Taps.*
*
Pataflafla*
*
This*rudiment*has*an*up*stroke*for*the*lead*hand*and*a*down*stroke*for*
the*other*hand.*The*upstroke*occurs*for*the*lead*hand*going*from*the*
fourth*partial*of*the*first*beat*to*the*first*partial*of*the*second*beat.*This*
is*also*where*the*down*stroke*occurs*for*the*other*hand.**Play*this*slow*
to*understand*what*this*is*saying.*
*
Book*Report*
*
This*rudiment*is*strangely*common*in*modern*percussion*material.*The*
base*for*this*rudiment*is*a*Paradiddle,*and*from*there*flams*and*diddles*
are*added*to*make*the*rudiment*flow.*Have*fun!*

!
!

15!

Exercises*

*
Legato,*a*basic*eight*on*a*hand*warm*up.*
*
Marcato,*an*up*stroke*and*down*stroke*builder*with*some*groove.*
*
Double*Beat,*a*12/8*double*and*triple*beat*exercise*
*
Roll*On,*a*16th[note*based*roll*sequence*and*chop*builder.*
*
Chuggeda,*an*exercise*to*introduce*and*build*various*flam*rudiments*that*
has*infinite*permutations.*This*is*a*fantastic*exercise*to*play*around*with*
and*come*up*with*your*own*interpretations*of.*
*
These*five*exercises*establish*a*very*strong*foundation*that*is*applied*to*
all*percussion*material.*Due*to*the*frequency*of*the*exercises*being*
tweaked*and*adjusted,*they*can*be*found*online*at*the*following*URL.*
*
http://www.michaelsiciliano.org/exercises/*
*
There*the*exercises*are*broken*down*into*each*section*so*you*dont*get*a*
bunch*of*unnecessary*music.*On*each*exercise*page*there*are*notes*
about*the*exercise*to*help*you*learn*and*master*each*one.*
*
Happy*practicing!*
*
*
*
*
*
*
!

16!

!
Grips,!Fulcrums,!&!Pressure!Points!
Note:*For*quads*and*basses,*simply*apply*right*hand*technique*to*both*
hands.*For*basses,*the*stoke*motion*is*a*doorknob[turning*rotation*
similar*to*the*snare*left*hand.*
*

Right!Hand!Grip!
For*right*hands*we*DO*NOT*simply*use*the*thumb[pointer*fulcrum,*but*
rather*a*thumb[pointer[middle*finger*fulcrum.*
*
Take*a*look*at*the*follow*two*pictures.*Are*there*any*differences?*

Thumb[
Pointer[Middle*

Thumb[Pointer*

*
At*the*front*of*the*hand*we*can*see*some*differences*where*the*direction*
of*force*that*is*being*placed*on*the*stick.*

Thumb[
Pointer[Middle*

Thumb[Pointer*

*
In*the*left*picture*there*are*only*two*points*that*are*applying*
perpendicular*force*on*the*stick.*However,*in*the*right*picture*there*are*
!

17!

three*points*that*are*applying*perpendicular*force*on*the*stick,*simply*by*
shifting*our*thumb*down*along*the*stick.*

Left!hand!Grip!

For*the*left*hand*we*DO*NOT*simply*use*the*thumb*as*a*counter*weight*
to*the*stick,*but*rather*the*thumb[pointer*pressure*point*as*well*as*the*
left[hand*fulcrum.*We*do*not*use*the*middle*finger*as*pressure*point*
though*it*is*a*matter*of*debate.*
*
**
*
*
*
*
*
Hand*position:*The*hand*should*be*in*a*relaxed*state.*There*must*be*a*
straight*line*that*passes*from*the*elbow*through*the*thumb.**Your*hand*
must*also*be*tightly*curled*around*the*stick*while*it*rests*on*your*shelf[
finger*(ring*finger).*
*
*
*
*
*
*
*
*
*
*
*
*
*
!

18!

!
Fulcrum/Pivot!Points!
!

A*fulcrum*is*defined*as*a*point*on*which*a*lever*pivots.*Using*the*basic*
mechanics*of*our*upper*body*appendages*we*will*find*that*the*fulcrum*
points*will*be*the*elbows,*wrists,!and*thumb/pointer/middle,*where*the*
levers*are*the*forearms,*hands,*and*sticks,*respectively.*
*
1. Right*Hand*(Thumb[Pointer[Middle)*Fulcrum:*This*fulcrum*was*
previously*defined*above*in*our*right*hand*grip*explanation.*The*
Right*Hand*Fulcrum*is*the*pivot*point*for*the*stick*and*the*hand*
levers.*
*
*
*
*
*
*
*
*
2. Left*Hand*Fulcrum:*This*fulcrum*is*defined*as*the*notch*between*
your*thumb*and*your*index*finger*on*your*left*hand.*The*Left*Hand*
Fulcrum*is*pivot*point*for*the*stick.!*
*
*
*
*
*
*
*
!

19!

*
*
*
*
*
*
*
*

*
*
*
*
*
*
*

*
!

3. Right*Wrist*Fulcrum:*Grip*the*stick*tightly*with*your*fingers*(using*
correct*technique)*and*lock*your*elbow.**Now*imagine*that*the*only*
movement*you*have*is*the*vertical*motion*in*your*wrist.*This*motion*
is*defined*as*the*Right*Wrist*Fulcrum*and*is*the*pivot*point*for*the*
hand*and*forearm*levers.*

4. Left*Wrist*Fulcrum:*Grip*the*stick*tightly*with*your*fingers*(Using*the*
correct*technique)*and*lock*your*elbow.**Now*imagine*that*you*are*
turning*a*doorknob*back*and*forth.**This*is*the*range*of*motion*that*
is*defined*as*the*Left*Wrist*Fulcrum,*which*is*a*pivot*point*for*the*
forearm*lever.*

5. Elbow*Fulcrums:*These*will*be*similar*for*both*hands.*The*forearms*
will*move*naturally*with*most*strokes,*but*the*independent*use*of*
the*forearm*is*also*used*as*a*pumping*action*to*give*more*energy*
into*the*stroke*in*situations*such*as*triple*strokes*and*faster*rolls.*
20!

At*this*point,*we*can*see*that*utilizing*only*one*of*these*pivot*points*at*a*
time*is*meaningless*and*we*actually*expend*more*energy*using*one*
fulcrum*over*utilizing*all*of*them*at*once!*It*is*up*to*you*to*understand*
the*different*pivots/fulcrums*and*how*you*can*best*utilize*them.*
*
A*lot*of*this*information*is*more*easily*explained*in*person*than*on*paper.*
Feel*free*to*talk*with*the*appropriate*staff*member*to*better*understand*
the*nuances*of*our*technique*or*if*you*have*any*question.*
*

Pressure!Points!

*
These*pressure*points*allow*us*to*control*the*stick,*which*is*one*of*the*
most*important*skills*for*drumming.*Simply*put,*if*you*cannot*control*the*
stick*then*you*cannot*progress.*
*
Right!Hand!Pressure!Points:*
*
Food*for*thought:*Try*playing*different*things*while*applying*the*same*
amount*of*pressure*with*each*fingerpretty*hard,*huh?*We*can*kind*of*
muscle*our*way*through,*but*we*do*not*accomplish*the*level*of*control*or*
cleanliness*that*we*want.*This*means*the*amount*of*pressure*used*on*
each*pressure*point*is*going*to*be*different*depending*on*what*the*music*
demands.*
*
For*the*right*hand*there*are*a*series*of*pressure*points:***
1. Thumb9Pointer9Middle!Pressure!Point.**Much*of*the*control*and*
power*comes*from*this*part*of*the*hand.*
2. Middle!Finger!Pressure!Point:*This*may*appear*a*little*redundant.*
Why*do*we*have*Thumb[Pointer[Middle*and*Middle*pressure*
points*The*reason*we*have*a*Middle*Finger*pressure*point*is*mostly*
for*isolated*diddles.*
!

21!

3. Back!Finger!Pressure!Point:**This*is*a*combination*of*your*ring*finger*
and*your*pinky*and*is*the*support.*This*is*also*where*most*of*the*
power*comes*from*during*open*stroke*rolls*and*legato*strokes.*
While*these*fingers*may*not*seem*like*they*do*a*lot*all*the*time,*
every*time,*when*they*are*used,*they*are*really*important!*

**
A*good*way*to*build*up*Middle*Finger*and*Back*Finger*strength*is*to*take*
an*empty*spray*bottle,*fill*it*with*water,*and*only*using*you*middle*finger*
or*back*fingers*spray*water*into*the*sink*for*a*few*minutes.**Itll*hurt*for*a*
bit,*but*the*next*time*you*play*legatos*youll*be*pleasantly*surprised.*
*
Left*Hand*Pressure*Points:*
*
For*the*left*hand*there*are*also*a*series*of*pressure*points:*
1. Left*Hand*Fulcrum*Pressure*Point:*Taking*your*left*hand,*squeeze*
your*thumb*into*your*hand.*The*muscle*that*pops*up*is*defined*as*
our*first*pressure*point.**This*pressure*point*is*similar*to*the*back*
finger*pressure*point*that*we*had*in*the*right*hand.**
2. Thumb[Index*Pressure*Point:*Much*of*the*control*for*our*left*hand*
comes*from*this*pressure*point,*and*it*is*similar*to*the*middle*finger*
pressure*point*that*we*had*in*the*right*hand.*

!
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!

22!

Section!Specifics*

*
These*are*things*that*only*the*members*of*the*specified*section*need*
know.*They*are*imperative*for*the*section*to*know*these*specific*
definitions,*as*they*are*what*make*each*section*unique.*
*

Snare!

Lets*start*with*tuning*snare*guts*and*bottom*heads.*Start*by*flipping*the*
drum*over*and*releasing*the*snares.*From*there,*place*a*pencil*or*pen*
under*the*guts*under*the*side*opposite*the*snare*release*and*reengaging*
the*snares.*
*
*
*
*
*
*
*
From*here,*pluck*each*gut*and*adjust*them*to*the*same*pitch*with*a*
Phillips*screwdriver.*
*
*
*
*
*
*
*
*
*
*
*
!

23!

After*every*gut*has*the*same*amount*of*tension,*the*distance*the*snares*
rest*from*the*bottom*head*needs*to*be*adjusted.*There*is*a*height*
adjustment*for*the*snares*on*both*sides*of*the*drum.*The*picture*shows*
the*side*without*the*snare*release,*but*the*height*adjustment*functions*
the*same*on*both*sides.*Adjust*the*snares*so*that*they*just*barely*make*
contact*across*the*entire*head.*If*the*snares*are*too*close*to*the*head,*
the*snares*will*bend*over*the*lip*of*the*rim*and*cause*the*guts*to*warp,*so*
dont*over[tighten*this*adjustment.*The*bottom*head*is*tuned*in*the*same*
way*as*the*top*head.*
*
*
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*
*
*
*
*
*
*
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!

24!

Rest*position*for*snares*is*sticks*together*and*above*the*back*edge*of*the*
snare*drum.*The*height*of*the*sticks*should*be*such*that*when*they*are*
placed*over*the*drum*they*are*at*the*correct*height.**
*
*
*
*
*
*
*
*
*
*
For*set*position,*the*sticks*should*rest*three*fingers*height*from*where*
they*cross*the*rim.*The*stick*will*form*slightly*less*than*a*90[degree*angle.*
This*should*feel*comfortable.*The*right*elbow*will*have*to*push*out*from*
the*body*to*accommodate*for*the*height*of*the*drum*required*by*the*left*
hand.*The*right*arm*and*stick*should*from*a*straight*line*to*the*drum*
from*the*elbow.*Notice*the*angle*of*the*right*hand,*with*the*line*between*
the*thumb*and*index*finger*around*45*degrees*above*horizontal.*
*
*
*
*
*
*
*
*
*
*
*
!

25!

There*are*five*different*zones*utilized*for*snare*drums.*These*five*are*the*
standard*center*(yellow),*half*way*to*front*edge*and*half*way*to*guts*
(blue),*and*over*the*guts*and*front*edge*(red).*The*tension*rod*circled*in*
cyan*marks*the*alignment*of*the*guts.*Utilizing*the*zones*effectively*
enables*different*tones*to*be*produced.*
*
*
*
*
*
*
*
*
*
*
*
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*
*
*
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!

26!

Rim*Shots*are*when*the*stick*hits*the*rim*and*head*simultaneously.*There*
are*three*different*timbres*of*Rim*Shot*that*are*defined*by*the*amount*of*
the*stick*in*front*of*the*rim.*The*amount*of*stick*drastically*changes*the*
sound*produced*and*the*volume*of*the*shot.*All*of*these*are*harder*to*
perform*with*the*left*hand,*so*they*need*to*be*practiced.*Use*a*trash*stick*
or*an*extra,*non[performance*stick*for*practicing*getting*rim*and*head*
contact*consistently,*as*the*stick*will*chip*heavily.*
*
The*standard*Rim*Shot*is*defined*as*pulling*the*stick*back*slightly*from*
center.*The*bead*should*hit*around*the*half*way*point*between*the*
center*and*the*edge.*Rim*Shots*produce*a*loud,*full*sound.*
*
Ping*Shots*are*a*much*higher[pitched,*softer*Rim*Shot*that*are*achieved*
by*pulling*the*stick*back*so*that*only*about*two*inches*of*the*stick*are*in*
front*of*the*rim.*They*produce*a*nice,*soft*popping*sound.*
*
Goks*are*used*for*huge*hits*that*need*to*be*deafeningly*loud.*The*stick*is*
not*moved*back*from*the*center.*These*notes*will*be*used*sparingly,*as*
the*volume*and*tone*produced*is*only*for*specific*situations.*
*
*
*
*
*
*
Back*sticks*are*approached*differently*for*the*right*and*left*hands.*For*
the*right*hand,*the*fingers*open*up*so*that*the*thumb*and*pointer*finger*
hold*onto*the*stick.*By*pulling*back*with*the*rest*of*the*fingers,*the*stick*is*
returned*to*the*normal*playing*position.*Left*hand*back*sticks*have*two*
ways*of*getting*in*and*out,*the*fast*way*and*the*flashy*way.*
*
!

27!

The*flashy*way*is*accomplished*by*rotating*the*left*wrist*like*a*normal*
stroke*but*continuing*until*the*back*of*the*stick*hits*the*head.*The*left*
forearm*is*lifted*a*little*to*allow*clearance*of*the*front*of*the*stick*from*
the*rim.*As*the*stick*rotates,*take*your*pinkie*and*ring*finger*from*under*
the*stick*to*around*the*stick,*thereby*adjusting*to*match*grip.*This*
process*is*reversed*when*the*stick*is*returned*to*traditional.*
*
The*fast*way*is*accomplished*by*rotating*the*stick*on*a*flat*plane*with*the*
fingers.*The*wrist*is*used*for*the*stroke*once*the*stick*is*in*the*back*stick*
position,*but*not*for*the*rotation*itself.*
*
Stick*clicks*are*played*with*the*left*hand*beneath*the*right*hand.*
*
Playing*snare,*especially*with*traditional*grip,*is*a*very*visual*
performance.*No*other*instrument*in*the*band*has*as*important*of*a*
visual*responsibility*as*snare*drummers*do.*Due*to*this*responsibility,*
practicing*visuals*such*as*stick*flips*and*other*tricks*is*very*necessary.*
Dont*feel*ashamed*about*practicing*and*inventing*stick*tricks!*
*
*
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!

28!

Quads*

*
When*tenor*drumming*began,*a*single*tenor*drum*was*played.*More*
drums*were*added*until*four*tonal*drums*were*mounted*together,*called*
quads.*One*or*two*spock*or*shot*drums,*which*are*more*effect*drums*
than*tonal*drums,*have*since*been*added,*but*the*community*has*kept*to*
calling*them*quads.*Quads*with*a*spock*are*sometimes*referred*to*as*
quints,*but*the*people*who*say*such*things*should*be*laughed*at.*Its*not*
common*to*call*a*six[drum*setup*sexs,*call*them*tenors*or*quads.*For*
our*purposes*we*prefer*to*call*them*quads*because*we*march*with*a*
tenor*saxophone*section*and*calling*the*instrument*quads*removes*
ambiguity*during*rehearsal.*
*
In*order*from*smallest*to*largest*(down*the*drums)*we*march*a*high*shot*
or*shot*1(6),*low*shot*or*shot*2*(8),*drum*1*(10),*drum*2*(12),*drum*3*
(13)*and*drum*4*(14).*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
!

29!

With*six*different*pitches,*quads*are*a*melodic*instrument.*There*are*
specific*zones*on*each*drum*that*are*played*on*to*produce*the*desired*
tone*out*of*the*drum.*These*zones*are*about*2*inside*of*the*rim,*and*go*
all*the*way*around*the*drum.*However,*we*want*to*play*on*the*zones*
closest*to*us,*so*we*play*in*the*zones*as*shown*below.*Notice*the*
separation*of*the*left*and*right*hands*on*drum*1*and*2.*This*will*help*with*
movement*later*on.*The*zone*for*the*low*shot*located*slightly*above*
center,*a*straight*line*left*of*the*high*shot*drum.*These*zones*are*used*for*
most*playing*situations.*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
When*playing*on*drum*3*and*4*with*both*hands,*the*hand*on*the*same*
side*as*the*drum*(left*hand*for*drum*4*and*right*hand*for*drum*3)*faces*
straight*away*from*the*player.*The*other*stick*forms*roughly*a*45[degree*
angle*with*the*straight*stick,*with*the*bead*of*the*hand*reaching*across*
the*drum*underneath*the*other*bead.*
*
!

30!

*
*
*
*
*
*
*
*
*
*
A*sweep*or*scrape*is*when*you*play*a*diddle*across*drums.*Because*of*the*
speed*of*this*movement,*different*zones*(marked*in*red*with*a*black*line*
to*the*connecting*drum)*must*be*utilized*in*order*to*maintain*good*sound*
quality*while*achieving*the*drum[to[drum*movement.*Youll*notice*that*
the*zones*shift*so*that*movement*is*minimized.*Note*that*these*zones*are*
still*within*the*2*ring*inside*the*rim*we*discussed*earlier.*
*
*
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*
*
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!

31!

Especially*when*playing*sweeps,*it*is*important*to*think*about*the*path*
the*stick*takes*while*hitting*each*drum.*You*can*separate*the*stroke*into*
an*x*(horizontal)*and*y*(vertical)*axis.**
*
*
*
*
*
*
*
*
*
*
There*shouldnt*be*any*mixture*of*these*two*axes.*When*playing*a*sweep,*
play*the*first*drum*moving*only*along*the*y[axis.*Playing*a*drum*at*an*
angle*is*known*as*slicing,*and*should*be*avoided*as*much*as*possible*as*
it*compromises*the*tone*produced*from*the*stroke.*
*
Set*position*is*the*right*stick*over*drum*1*and*the*left*stick*over*drum*2,*
with*both*sticks**above*their*respective*heads*and*within*the*zones.*
Notice*the*angle*of*the*right*hand,*with*the*line*between*the*thumb*and*
index*finger*around*45*degrees*above*horizontal.*This*angle*will*change*
slightly*to*be*more*flat*during*sweeps*and*slightly*more*vertical*during*
certain*crossovers.*
*
*
*
*
*
*
*
!

32!

*
For*rest*position,*the*sticks*are*held*together*several*inches*above*the*
back*of*the*low*shot*rim.**
*
*
*
*
*
*
*
*
*
A*big*part*of*quad*drumming*is*crossovers.*Often*the*melodic*pogression,*
sticking,*or*visual*effect*desired*will*warrant*one*hand*to*be*placed*over*
the*other.*There*are*three*different*intervals*that*can*occur,*one*drum*
away,*two*drums*away,*or*a*crossover*on*drums*3*and*4.*For*a*3*and*4*
crossover,*you*should*cross*your*arms*at*the*lowest*possible*point,*
basically*above*the*wrists.*Make*sure*you*are*still*playing*in*the*
appropriate*zones.*This*is*often*reffered*to*as*a*arm*crossover,*but*
think*about*crossing*at*the*wrists.*
*
*
*
*
*
*
*
*
*
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*
!

33!

*
Crossovers*two*drums*apart*use*a*wrist*crossover*that*is*nearly*identical*
to*the*arm*crossover.*
*
*
*
*
*
*
*
*
*
*
*
For*crossovers*one*drum*apart,*the*drums*that*are*played*following*the*
crossover*will*determine*whether*a*fulcrum*or*wrist*crossover*is*used.*A*
fulcrum*crossover*is*when*the*sticks*are*crossed*but*the*hands*are*not.*
Try*to*cross*as*close*to*the*hands*as*possible.*Generally*speaking,*if*a*
crossover*becomes*larger*after*the*first*crossover,*start*with*a*wrist*
crossover*as*opposed*to*a*fulcrum*crossover.*This*is*something*we*will*
define*for*individual*passages*of*music*as*we*learn*them.*
*
*
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*
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*
!

34!

Keep*the*index*finger*wrapped*around*the*stick*and*press*the*rest*of*the*
fingers*on*the*hand*against*the*drumhead*to*mute*the*drum.*
*
*
*
*
*
*
*
*
As*a*proud*member*of*team*tonal*(consisting*of*the*quad*and*bass*lines),*
tuning*the*correct*interval*between*each*drum*is*important.*Start*with*
drum*4,*and*then*move*up*the*drums*so*that*they*create*the*following*
intervals.*Tune*the*low*shot*high*and*the*high*shot*higher.*
*
*
*
*
*
*
*
*
*
Major*3rd:*The*same*interval*as*the*ding[dong*sound*of*a*doorbell,*or*
the*first*two*notes*of*Swing!Low,!Sweet!Chariot.*
*
Minor*3rd:*The*same*interval*as*when*you*say*ha[ha*as*if*youre*poking*
fun*at*someone.*The*interval*is*a*descending*minor*third.*Alternatively*
the*first*two*notes*of*The!Star!Spangled!Banner*are*also*a*descending*
minor*third.*
*
!

35!

Bass!!!
!!!

The!!role!!of!!the!!bass!!drummer!!is!!one!!that!!requires!!individual!!accountability!!
and!!full!!bass!!line!!interdependence.!!This!!means!!you!!must!!be!!able!!to!!play!!
your!!part!!individually!!as!!well!!as!!understanding!!where!!that!!parts!!fits!!into!!
the!!entire!!sections!!part.!
!!!
Bass!!drummers!!must!!understand!!how!!to!!interpret!!2s!!(i.e.,!!two!!16th!!
notes),!!3s!!(i.e.,!!24th!!notes,!!half!!of!!a!!sextuplet),!!and!!4s!!(i.e.,!!four!!32nd!!
notes).!!There!!are!!four!!important!!rules!!that!!must!!be!!applied!!to!!achieve!!
a!!correct!!interpretation.!
!!!
1.!!The!!first!!thing!!that!!must!!happen!!when!!approaching!!2s,!!3s!!and!!4s!!is!!
that!!the!!figure!!starts!!at!!the!!precise!!point!!in!!time!!that!!it!!is!!written!!to!!
begin.!!If!!the!!figure!!starts!!on!!the!!&!!of!!the!!beat,!!then!!the!!player!!needs!!to!!
make!!sure!!that!!this!!happens!!first.!
!!!
2.!!The!!next!!step!!is!!to!!make!!sure!!the!!rhythm!!played!!after!!the!!starting!!
point!!is!!correct.!!The!!tendency!!that!!most!!players!!have!!is!!to!!play!!the!!
rhythms!!too!!closed.!
!!
3.!!The!!next!!skill!!to!!master!!must!!be!!articulation.!!To!!get!!each!!note!!to!!speak!!
clearly,!!the!!player!!must!!slightly!!crescendo!!each!!one.!!When!!a!!bass!!drum!!is!!
struck!!it!!has!!a!!resonance!!that!!can!!last!!up!!to!!1!!to!!3!!seconds!!until!!it!!
completely!!dies!!away.!!If!!someone!!is!!playing!!a!!4,!!the!!attack!!of!!the!!second,!!
third,!!and!!fourth!!notes!!will!!be!!slightly!!covered!!up!!by!!the!!resonance!!of!!the!!
note!!played!!before!!it.!Using!!this!crescendo!!technique!!allows!!each!!note!!to!!
be!!clearly!!heard!!over!!the!!constantly!!resonating!!head!!and!!it!!helps!!smooth!!
out!!the!!musical!!phrase.!!The!!worst!!habit!!many!!bass!!drummers!!acquire!!is!!
accenting!!the!!first!!note!!of!!the!!figure!!because!!they!!are!!so!!focused!!on!!
starting!!it!!at!!the!!correct!!point!!in!!time.!
!!
!!!
36!

4.!!Once!!the!!bass!!drummer!!has!!mastered!!starting!!the!!rhythm!!in!!the!!correct!!
place,!!spacing!!out!!the!!rhythm!!correctly,!!and!!articulating!!the!!right!!way,!!
he/she!!can!!now!!begin!!to!!notice!!how!!they!!are!!blending!!in!!with!!the!!bass!!line!!
around!!them.!!One!!cannot!!really!!begin!!to!!analyze!!how!!they!!are!!playing!!with!!
the!!other!!musicians!!until!!all!!5!!of!!them!!have!!mastered!!the!!first!!3!!steps.!!
!
For!set!!position!the!!mallet!!is!!!!above!!the!!head!!at!!an!!angle!!45!!
degrees!!above!!horizontal.!!For!rest!!position,!!move!your!arms!down!to!
your!sides.!Everything!about!rest!position!should!be!relaxed.!
!
A!major!difference!of!bass!drumming!compared!to!other!percussion!
is!that!the!playing!surface!is!vertical.!This!changes!the!way!rebound!
feels!and!the!way!that!the!stroke!is!executed.!
!
The!stroke!is!still!composed!of!the!three!main!pivot!points!of!flat!
drumming:!fingers,!wrist,!and!forearm.!In!the!case!of!a!bass!
drummer,!the!forearm!rotates!as!opposed!to!lifts!(think!like!turning!a!
doorknob).!All!three!pivot!points!must!be!used!to!achieve!maximum!
sound!quality.!The!specific!allocation!of!these!three!points!changes!
depending!on!the!height!being!played,!and!will!be!discussed!further!
in!person.!The!head!of!the!mallet!should!follow!a!straight!path!from!
the!surface!of!the!drum!head!out!to!parallel!to!the!ground!for!a!12!
stroke.!If!you!were!to!view!the!stroke!from!the!side,!the!mallet!
would!eclipse!itself!during!the!stroke.!
!
The!most!important!thing!about!producing!a!good!quality!sound!is!
staying!relaxed!while!playing.!There!are!many!places!tension!can!
build!such!as!your!shoulders,!hands!and!forearms.!Staying!relaxed!
will!reduce!the!harshness!of!the!sound!you!produce!and!allow!the!
mallet!to!resonate!as!well!as!the!drum!head.!
!
!
!!!
37!

The!!grip!!is!similar!to!the!right!!hand!!described!in!!the!!grips!!section.!Your!
fulcrum!will!be!primarily!between!your!first!finger!and!thumb!but!you!
should!feel!the!mallet!with!all!your!fingers.!An!important!difference!for!
bass!drum!is!that!the!mallet!!is!!positioned!so!that!your!pinkie!is!at!the!
end!of!the!wood.!
!

!
For!!muting,!!keep!!your!!index!!finger!!and!!thumb!on!the!!mallet.!Take!!the!!
rest!!of!!your!!fingers!!off!!the!!mallet!and!fan!them!out!as!much!as!possible.!!!
!!!!!!!!!!!!!!!!!!!!!!!

!
Rim!!clicks!!are!!played!!on!!the!!Rim!!Savers.!!Rim!!shots!!will!!be!!discussed!!in!!
person!!if!!written.!!!
!
!!!

38!

Cymbals*

*
Cymbals*add*a*whole*new*color*to*the*drumline*sound.*As*well*as*the*
unique*sound,*cymbals*offer*unique*visual*aspects.*A*lot*of*the*cymbal*
performance*will*be*visuals[based.*
Basic*Crash*
At*the*point*of*attack*using*a*standard*crash,*the*cymbals*should*not*
meet*exactly*together*edge*to*edge.*This*will*result*in*what*is*called*an*
air[pocket*which*is*a*momentary*vacuum*that*locks*the*cymbals*
together*and*kills*most*of*the*sound.*To*create*a*full*crash*sound,*apply*a*
flam*technique.*At*the*instant*of*attack,*the*bottom*edges*of*the*cymbals*
meet*first,*followed*by*the*top*edges.*Unlike*an*actual*flam,*there*should*
be*no*audible*grace*note.*Using*this*sound*quality*technique,*a*full*
sound*will*be*produced.*Another*major*aspect*of*modern*cymbal*lines*is*
sound*consistency.*Not*only*does*the*player*have*to*match*implement*to*
implement,*but*also*player*to*player.*This*entails*using*proper*dynamics,*
velocity*of*movement,*and*hand*pressure,*to*ensure*the*cymbal*line*as*a*
whole*is*taking*the*same*approach.*
Different*Techniques*
Set*position*is*the*cymbals*held*together,*right*hand*on*top*with*the*
cymbals*angled*45*degrees*above*horizontal.*Rest*position*is*the*cymbals*
held*at*the*sides*of*the*body.*Most*techniques*start*at*set*position.*
*
*
*
*
*
*
!

39!

For*chokes,*press*the*cymbals*against*your*chest*on*the*count*noted*by*
the*caesura*after*the*crash.**
*
A*hinge*chick*is*an*imitation*of*a*hi[hat*sound.*The*edges*of*the*cymbals*
are*kept*together*on*your*stomach*and*the*edges*further*from*you*are*
opened*and*closed*to*play*the*chick.*
*
Slides*are*started*in*set*position*then*the*top*cymbal*is*slid*counter[
clockwise*around*the*bottom*cymbal*for*the*number*of*counts*noted.*To*
finish*a*slide,*bring*the*top*cymbal*directly*on*top*of*the*bottom*cymbal.*
An*air*pocket*should*mute*the*sound*when*the*top*cymbal*is*directly*
above*the*bottom*cymbal.*
*
For*a*sizzle,*the*cymbals*are*pressed*together*in*a*similar*manner*as*slide*
but*the*cymbals*are*allowed*to*buzz*together*without*stopping.*
*
Tings*are*played*by*holding*the*left*cymbal*vertically*and*right*cymbal*
horizontally*over*it,*forming*a*right*angle.*Hit*the*edge*of*the*left*cymbal*
with*the*underside*of*the*right*cymbal.*
*
These*different*techniques*all*produce*very*different*sounds*are*
important*to*master.*
*
Make*sure*to*practice*and*come*up*with*your*own*visuals,*as*the*visual*
aspect*of*cymbal*playing*is*just*as*important*as*the*musical*aspect.*
*
*
*
*
*
*
!

40!

Equipment!Manual!

*
As*a*percussionist*your*life*revolves*around*equipment.*Understanding*
how*to*manage*hardware*is*as*important*as*knowing*how*to*play*your*
instrument.*
*

Tuning!

Lets*start*with*an*old*drumhead*that*we*want*to*change.*
*
*
*
*
*
*
Start*by*using*a*key*to*loosen*all*the*lugs*(refer*to*the*diagram*below*for*
the*order*of*lugs).*Keep*the*lugs*in*the*rim*to*keep*dirt*off*the*lugs*and*
to*make*sure*none*are*lost.*
*
*
*
*
*
Once*all*the*lugs*are*loosened,*place*the*rim*somewhere*the*lugs*arent*
touching*the*ground.*This*is*a*good*time*to*clean*the*rim,*which*often*
has*tape*and*wood*under*it,*and*the*inside*of*the*drum.*Hydrate*the*
counter[hoop*with*Vaseline*if*the*counter[hoop*is*wood,*such*as*with*
quads.*When*placing*the*rim*back*on,*take*the*time*to*coat*each*lug*
with*a*dab*of*Vaseline.*This*will*help*the*lugs*adjust*easily.*
*
*
!

41!

*
*

*
*
*
*
*

*
From*here*we*can*seed*the*new*head.*For*snares*the*logo*is*closer*to*
the*player*(facing*the*audience).*Tighten*each*lug*as*much*as*possible*
with*your*fingers.*Once*every*lug*is*set,*start*by*turning*every*lug*one*
full*turn*with*a*key.*Follow*the*diagram*for*the*order*to*tighten*the*lugs*
in.*Make*sure*that*each*lug*is*turned*the*same*amount,*regardless*of*
the*resistance*offered*by*the*lug.*Adjust*each*lug*the*same*amount.*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*

42!

Repeat*this*until*the*head*reaches*the*desired*pitch.*Be*sure*to*check*
the*pitch*of*each*individual*lug*by*tapping*the*head*about*an*inch*from*
the*rim*with*a*stick*in*front*of*each*lug.*When*the*pitch*is*lower*in*front*
of*a*lug*you*should*tighten*both*that*lug*and*the*lug*opposite.*
*
*
*
*
*
*
*
This*fine[tuning*process*should*be*done*regularly,*especially*for*the*
tonal*instruments*(quads*and*basses).*Refer*to*the*section[specific*
pages*for*more*detail*on*fine[tuning*each*instrument.*
*

Lug!tuning!order!
*
*

*
!

*
*
*
*
*
*
*
*
*
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*
43!

Hardware!
*
Customizing*the*hardware*to*fit*each*player*is*important*to*ensure*
correct*technique*is*used*and*the*best*sound*quality*is*produced*from*
the*drum.*
*
Stands*are*adjusted*for*height*in*the*middle*of*the*stand.*The*lever*and*
screw*its*attatched*to*(circled*in*red)*will*secure*the*stand*at*the*set*
height.*When*loosened,*the*Stadium*stands*automatically*lift*through*
use*of*compressed*air.*This*makes*it*a*little*easier*to*adjust*the*stand*
height*while*a*drum*is*held.*For*snares,*make*sure*the*drum*is*
separated*from*the*stand*by*the*rubber*foot*(boxed*in*blue)*to*prevent*
metal[on[metal*contact.*
*
For*the*base,*the*bottom*of*the*legs*is*adjusted*via*hex[key*(blue*box)*
and*the*top*is*adjusted*via*built[in*t[key*(red*circle).*Most*of*the*time*
any*screws*that*require*a*hex[key*dont*need*to*be*adjusted.*T[keys*are*
adjusted*to*level*the*drum,*fit*it*to*the*bleachers*at*games,*and*adjust*
height*to*a*certain*extent.*
*
*
*
*
*
*
*
*
*
*
*
!

44!

The*desired*drum*height*is*different*for*each*instrument.*For*snares,*
adjust*the*height*so*that*your*left*arm*is*parrallel*to*the*ground.*Quads*
should*have*a*slight*downward*slope*to*their*forearms,*and*sticks*
should*follow*that*slant.*For*both*snares*and*quads,*the*stick*should*be*
three*inches*from*the*head*when*horizontal.*Basses*should*have*arms*
are*parrallel*to*the*ground.*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
!

45!

Its*important*to*be*familiar*with*how*harnesses*are*adjusted,*as*
harnesses*are*used*for*most*performances*and*for*long*rehearsal*
blocks.*If*a*harness*isnt*fitted*correctly,*it*can*mean*a*lot*of*tecnhique*
and*physical*problems.*
*
The*four*main*adjustable*parts*of*the*harness*are*the*drum*height*
(boxed*in*green),*the*abdomen*plate*(circled*in*yellow),*the*contour*
hinge*(boxed*in*blue),*and*the*shoulder*bars*(circled*in*red).*Quads*have*
an*additional*piece,*the*ABS*(Articulating*Back*Support,*labeled*in*cyan)*
plate.*
*
The*abdomen*plate*is*adjusted*along*the*two*aluminum*tubes*using*a*
drum*key.*The*height*of*the*plate*should*be*as*low*as*possible*without*
restricting*leg*movement*during*normal*marching*steps.*The*example*is*
with*a*snare*harness,*but*the*height*would*be*the*same*across*all*
instruments.*The*abdomen*plate*can*be*inverted*as*well*if*it*does*not*fit*
well*on*the*hips*of*the*player.*
*
*
*
*
*
*
*
The*countour*hinge*is*also*adjusted*with*a*drum*key.*Adjust*this*so*that*
the*abdoment*plate*rests*flat*again*the*player*while*the*drum*is*on.*
*
The*shoulder*bars*are*adjusted*at*two*places,*the*front,*where*they*
connect*to*the*aluminum*tubes,*and*the*back,*where*they*connect*with*
either*the*ABS*plate*or*the*back*bar.*The*front*adjustment*requires*a*
drum*key*and*the*back*adjustment*requires*a**7/16*wrench.*Adjust*
!

46!

these*to*each*players*preference*for*where*the*majority*of*the*weight*
of*the*drum*will*rest.*The*shoulder*bars*can*be*spread*or*closed*and*the*
back*bar*can*be*shortened*or*lengthended*to*accommodate*difference*
body*frames.*For*harnesses*with*ABS,*the*plate*should*take*most*of*the*
weight*as*opposed*to*the*shoulder*bars,*so*make*sure*the*plate*presses*
against*the*back*of*the*player*when*the*drum*is*on.*
*
*
*
*
*
*
*
*
*
*
The*drum*height*should*be*the*same*as*on*a*stand.*Refer*back*to*the*
photos*on*drum*height*for*each*sections*ideal*height*relative*to*the*
player.*Use*a*hex*key*for*this*adjustent.*
*
*
*
*
*
*
*
*
*
*
*
*
!

47!