Marching 110 Drumline

2010-2011

Snare Packet

 

2010-2011 Marching 110 Drumline

Welcome! Thank you for your interest in the Marching 110 Drumline. This page is the first step towards joining a top-level collegiate drumline. The Marching 110, and the Drumline in particular, have a long tradition of success and excitement that is still going strong today. With your efforts, you can help keep that tradition strong and help us be Better than the best. Ever. The Marching 110 Drumline is the most selective group within the band. Every position is open to all applicants. The only way to not have a chance is to not audition. This season, we will be accepting the following positions: - 6 snares - 3 timbales - 3 tenors - 4 tonal bass drums - 4 cymbals The numbers for placement within the block are limited, so a number of alternates will be accepted as well. Alternates are key to the success of our group and are members of the line in full, so if asked to be an alternate, please stay! This packet is designed to help you prepare for the audition process, as well as the entire season. The warm-ups and exercises contained are designed to give you musical fluency and a strong technique that will be the foundation of our success. Please pay proper attention to all tempos, dynamics, and notes, as they are key to interpretation and development. For over 40 years, the 110 Drumline has provided the energy and back-beat of the Marching 110. To be accepted into the Line means that you are becoming part of that legacy. Our traditions give us pride, but they come with an obligation: To exceed them. As you prepare for the coming season, keep in mind that your actions today become the traditions of tomorrow. Live up to that honor, that pride, that legacy by pushing yourself to be worthy of the respect future generations will show you. Thank you for your interest, Patric Buchroeder Section Leader

Expectations

The Marching 110 Drumline has a long history of high-energy musical performance. In order to continue and expand our performance level, we expect our members to be completely committed to the success of the group. Remember that you are auditioning and participating in this group voluntarily, and as such, there are standards you must meet and, hopefully, exceed.

All members are expected to display high levels of technique, musical proficiency, confidence (but not arrogance), and a positive attitude to get along with others and work hard. Displaying openness to learning, and “buying in” to our system are some of the intangible qualities that will make our group truly great.

All music must be memorized in very rapid succession during the year, so music proficiency is your responsibility. Be diligent in your practice, and internalize the technique so that you can focus on what to play, rather than how. Memorization of the exercises is required at the audition. Memorization of the cadences is not required, but it would obviously be to your advantage.

Practice slowly and incrementally. Building a fundamental technique will carry you through a successful season. Using a metronome will greatly improve your internal pulse, and rhythmic accuracy. Lastly, the section leader does not hand out placements. Performers earn them! Prepare, play and perform to a level where there is no option but to be placed on the line.    

Reminders:       -­‐  Have  all  music  in  a  three  ring  binder     -­‐  A  pencil     -­‐  Bring  sticks/practice  pad  (Snares  bring  Vic  Firth  Colin  McNutt,  middles,  bring  Vic  Firth  Billy  Club.  Basses  will  have  mallets  provided,  but  should  bring  pad/sticks  for  practice)     -­‐  Athletic  clothes     -­‐  Sunscreen     -­‐  Earplugs     -­‐  Get  in  shape!  The  performance  demands  of  our  marching  style  are  incredibly  rigorous,  and  drums  and  cymbals  are  heavy!  Cardio  such  as  biking,  running,  swimming,  etc.,  and  strength  training  such  as  push-­‐ups,  crunches,  weight  lifting  will  help  you  be  physically  ready  to  face  the  challenges  ahead.  

                 

 Technique  

  Good technique is based on relaxation. Though marching percussion does require a significant amount of “muscle,” successful playing is based on efficiently using all muscles with minimal overall effort. Strokes for all drums should be conceived as initiating from the wrist. However, the motion incorporates the entire arm and hand to produce the “meaty” sound we are looking for. It is recommended that you seek out private lesson teachers to help you refine your technique and learn the music. Make sure to mark time, and practice with a metronome. Right Hand:

Your right hand grip consists of forming a fulcrum between your thumb and first finger. These two should be directly across from each other. The rest of the fingers wrap

around the stick. Notice how the pads of the remaining fingers are in line, on the stick

The inside edge of the hand should be in line with the rest of the arm. Notice how the thumb is tucked back, so that the tip of the thumb is in line with the end of the pointer finger. Left Hand (Snares Only):

The fulcrum is located in the valley between the first finger and the thumb. Next, connect the thumb and first finger at the final joint of the first finger. Notice how it forms a mirror image of South Carolina. These fingers should never separate.

Left Hand, Cont. The stick is placed through the hole so that it rests on the cuticle of the ring finger. The back of the hand should be nearly perpendicular to the ground. This will allow for maximum rotation of the stick. Note the relaxed curve formed at the wrist. The thumb should be in a straight line with the forearm.

Playing Position:

The beads of the sticks should be together in the center of the head to ensure a consistent sound. The space between the sticks and the rim should be about two finger widths. The angle formed is approximately 90°.

The arms should flow down from the shoulders. Keep the shoulders relaxed, back, and down. The emphasis throughout is relaxation. The back of the right hand should not be completely flat (German grip), and not thumb up (French grip). It should be a relaxed, natural position (American grip). Strokes: The strokes are initiated from the wrist. The rest of the muscles should move naturally in reaction to the motion. The left hand should rotate around the forearm. Vertical motion should be kept at a minimum. The motion is like turning a doorknob. (You don’t move your arm up and down while turning the knob. You twist it).

When playing, stay relaxed. Tense muscles will keep you from rotating fully. With stretching, practice, and relaxation, you can get both hands to go past 90° when in motion.

Stroke Types: There are four stroke types that make up every stroke played in percussion. Mastery of these four strokes creates the most efficient, relaxed method for playing. Full: Starts up, ends up. It rebounds back to the same height. Do not stop the stick! The speed of the down stroke should match the rebound. Let the stick do the work. This is the stroke type used in 8’s. This stroke is used in a series of consecutive accented notes. Down: Starts up, ends down. The initial part of the stroke is identical to a full stroke. After hitting the drum, allow the weight of the arm, wrist, and hand to stop the stick from rebounding. Do not squeeze the stick to stop it. The rebound is stopped through a cessation of motion, not through adding tension. Sounds identical to a full stroke. This is used to transition from an accented note to an unaccented note. Tap: This is a full stroke from approximately 3” off the drum (Technically, it starts from a low “up”, and ends at a low “up”). Strive to get as much sound as possible in this small space. Focus on getting a full meaty sound from this height. No tension! This stroke is used in a series of unaccented notes. Up: The stick starts low and ends up (full stroke height). Imagine the stick exploding away from the drum. Sounds identical to a tap stroke. This stroke is used to transition from an unaccented note to an accented note. Final Tips:

- Good technique is based on relaxation. Tension prevents speed, volume, and power, and leads to medical problems (tendonitis, carpal tunnel, etc.)

- You should feel strong and confident when you play. - Do not squeeze. Part of the sound produced is from the vibration of the stick. - The sticks should feel heavy. Let the stick do the work. - Our marching style and performance demands make it very difficult to play well.

A thorough mastery of technique will be the only way to perform at our highest level.

Practice at all dynamics and tempi, from < 80 to > 180 bpm.

Practice at all dynamics and tempo, from < 80 to > 180 bpm. Play it off of the left hand by reversing the indicated stickings. Each hand should feel like it is playing “8’s”, simply interlocked.

Use the maximum accent height feasible for the given tempo. Practice transitions from hand to hand through isolating and mapping out the different stroke types. Practice at all dynamics and tempi, from < 80 to > 180 bpm.

Practice at a variety of dynamics and tempi, from < 90 to > 140 bpm. Stay relaxed. Keep the sound quality and flow from hand to hand to be completely smooth. Whenever a

particular hand is playing, it never stops moving. From measure 10 to the end, the up stems indicate the right hand; the down stems indicate the left hand.

Keep your rolls as low as possible for the given tempo and dynamic. Initiate from the wrist. Keep your fingers on the stick. Play each diddle as a rhythm, exactly dividing the notes on either side. Do not pulse or accent any notes; they should all be completely even. Practice at all dynamics and tempi, from < 70 to > 130 bpm (half note).

The same guidelines for Duple Rolls apply here. Make a large difference between accents and taps. Practice marking time to the quarter note and the half note. Practice all dynamics and tempi, from < 90 to > 180 bpm.

This is our on the field warm up, played with the band. It has elements of all the previous exercises with it, plus a fun etude at the end to put it all together. Learn it slow, and tear it apart! Perform between 100 bpm and 130 bpm.

Cadences

Our cadences have grown into the current sequence over the more than forty years that the drumline has been in existence. No doubt, they will continue to expand in the future! The titles all have a story behind them, so pay them respect by performing at a high level! Be prepared to perform at march tempo, 120 bpm.

“Cops” is our timekeeper. The cadences are not played in any set order, but “Cops” is a constant. We play this between all of the cadences as a way to keep the band moving.

This is played as a unison part. The snares are the only ones to play flams. You end up on your right foot.

This is the bass feature always performed right after 7 ½ (after Cops).

This gets you “out of it,” back onto your left foot. This is played right after Robbers (after Cops).

Final Thoughts

Tackling the amount of music and material presented in this packet can be a daunting, and at times, overwhelming experience. It is the hope of the leaders of the Drumline that this packet will instead serve as a guide to dispel most of the mystery of the preparation process. Many generations of musicians have undergone the same process, and have helped build the legacy of excellence we enjoy, and honor today. With due diligence, perseverance, and a positive attitude, you can join the distinguished, selective family that is the Ohio University Marching 110 Drumline. Resources: Videos of the exercises can be found at http://www.youtube.com/user/Marching110Drumline. Even though the footage is of the snare parts, the fundamentals, look, and technique can be applied to the other sections as well. Footage of the cadences, standards, and previous drum breaks can also be found at YouTube. Any additional questions concerning the audition process or anything else concerning the Marching 110 Drumline can be directed to: Patric Buchroeder, Section Leader 7944 Jasmine Trail Cincinnati, OH 45241 513-240-9196