2016 pride percussion technique exercise program · pdf...

2016 Pride Percussion

TECHNIQUE &

EXERCISE PROGRAM

2

Table of Contents

Technique………………………………………………………………………………………………………..3 Matched Grip Traditional Grip Bass Drum Grip Set Positions/Playing Areas……………………………………………………………………………..6 Snare Drum

Keyboards Tenor Drums Bass Drum Basic Stroke Types……………………………………………………………………………………………8 Full Stroke Tap Stroke Down Stroke Up Stroke Technique Building Exercises…………………………………………………………………….……10 8’s 8 & 16 6 & 12 Duple and Triplet Check Patterns F.D.T.U. 16th Note Accent Grid Triplet Accent Grid Triple Strokes Double Strokes

Duple Roll Prep Triplet Roll Prep

3

Technique

Matched Grip In matched grip, both the right and left hand’s grip will be an identical mirror image and should therefore look and feel the same in both hands. This grip will apply to most sections of the ensemble.

Begin by standing with your arms and hands relaxed at your side. Notice how your hands naturally curve.

This is the look you want to achieve with the sticks in your hand. The stick should be an extension of your forearm and should rest in the natural curve of the hand. The palm of the hand should be soft, meaning there is no tension in the hand and fingers are relaxed.

Now, we will add structure to the hand to create uniformity from person to person. The Fulcrum

-‐ A fulcrum is the pivot point in which something can be raised and lowered. -‐ In drumming, the fulcrum is the most important part of the technique, because without a

proper fulcrum the fingers can’t work the stick properly. -‐ The fulcrum that we will utilize will be our “power triangle” since it is the driving force behind

our technique. -‐ There are three primary connection point of our “power triangle”

4

1. Thumb is flat and parallel with The ring and pinky fingers should

the shaft of the stick. wrap naturally around the stick. 2. Index finger is connected at the

first joint opposite the tip of The stick should cross naturally across the thumb. the bottom, inside pad of your palm.

3. Middle finger is connected between the first and second joints, opposite the thumb with a natural, relaxed curve.

It is crucial to have a solid fulcrum with no gap between the thumb and first finger so that the fingers can properly work the stick. The stick should be allowed to breathe/resonate so do not squeeze the stick at any time. All of the connection points should lie naturally in your hand and should look as your hand does when it is relaxed at your side. Traditional Grip (left hand for snare drummers) Let your left arm and hand hang naturally at your side; palm is soft and fingers are The left hand should be turned as if you are curved. shaking hands with someone.

This is the look and feel we want to achieve. The palm will be perpendicular to the ground.

5

The fulcrum in traditional grip is located in the soft gap between the base of the Let the thumb connect between the first thumb and index finger. and second joint of the index finger.

The palm should be soft to allow the stick The stick should rest on the cuticle to tuck nicely into the soft area at the (where the flesh meets the fingernail) base of the thumb. of the ring finger.

The ring and pinky fingers support the bottom of the stick; notice the pinky

should stay in line with the ring finger.

The connection between the thumb and index finger is vital to help control the stick and there should always be contact between the thumb and index finger. This should be a relaxed, comfortable position without any squeezing of the thumb. The first two fingers (index and middle) are used together to drive the stick from on top and are especially useful for playing down strokes. The middle finger should be curved next to the index finger and make contact with the stick. Notice there are no large gaps or spaces between any of the fingers. This should happen naturally, however, as the left hand gets tired the tendency is to straighten out the fingers (especially the ring and pinky) to support the stick. This problem can be fixed by closing the finger tips in toward the palm. Bass Drum Grip

The fulcrum used in the bass drum grip is the same “power triangle” from the matched grip section. The hand must be turned as if you are shaking hands with someone since the striking surface is vertical. The mallet is a natural extension of the forearm and will form about a 45° angle.

6

Set Positions/Playing Areas

From a relaxed standing position, notice the gap that forms between your arms and torso. We want to maintain a natural gap when approaching the drum. There should be a natural, downward slope of the shoulders; understand that tension held in the shoulders will be transferred in to your playing, so stay relaxed! The stick as a natural extension of the forearm should be maintained; therefore, as you approach the drum, simply bend at the elbows to allow the sticks to set above the head of the drum. For snare drum, tenors, and keyboards, the sticks should form a mirror image of each other and will be at an angle that is slightly less than 90°. For bass drums, the strikes will be a mirror image of each other on either side of the drum.

Snare Drum Playing Area: Center unless otherwise specified.

Set “down” Position Set “up” Position

Sticks should point down toward the drum. From the set “down” position, simply bend The shaft should be 2” from the rim at the wrist while keeping The bead will be as close to the head as the angle created by the sticks. possible (1/2”-‐1”). Keyboards Playing Areas: The primary striking area on any bar is slightly off center. If this cannot be achieved because of tempo or difficulty of the passage, then the edge of the accidental bars is acceptable. Set “down” position: The mallet heads will hover just above the bar. Since bars are not wide enough for both mallet heads to set side-‐by-‐side, the dominate hand will be offset and over the opposite hand. This position is not the standard for frontline. Set “up” position: The will be the default mallet position for frontline members. This position will look like the matched grip snare drummer with both wrist turned up while maintaining a slightly less than 90° of the mallets.

7

Tenor Drums Playing Areas: About 1/3 of the way from the rim to the center of the head.

When playing scrapes, use alternate playing areas It is important that both stick/mallet heads are that are as close as possible on two equidistant from the rim when on the same drum adjacent drums for ease of movement.

Set “down” Position:

On drums one, two, or spocks, the set position will Drums three and four use a “T’d-‐up” set position look much like a matched grip snare drummer. so that both sticks are equidistant from the rim. There will be a downward angle of the sticks This position will happen automatically as you move toward the drum. right and left using only the forearms. Set “up” Position: From the set “down” position, simply bend at the wrist while keeping the angle created by the sticks. This position is similar to that of a matched grip snare drummer. Bass Drum Playing Area: Center unless otherwise specified.

8

Set “down” position: The mallets should point in towards the drum head at about a ten degree angle. Since the drums are different sizes, there will be different upper arm angles to accommodate for this. Set “up” position: From the set “down” position, bend at the wrist to draw the mallet away from the drum. When the wrist is at full extension, the mallet will be perpendicular to the drum. Notice this is NOT a rotation; we will utilize the same stroke as a matched grip snare drum simply turned to strike a vertical surface. As you watch the motion of the mallet from the player’s perspective, the blur from the mallet shaft will look like a pizza slice. PRACTICE DOES NOT MAKE PERFECT; PERFECT PRACTICE MAKES PERFECT. It is a goal of mine to unify the technique and overall look of this ensemble, and that is why I have taken the time to explain, in detail, the technique that will be expected of each member this season. Technique takes the longest time to develop and must be persistently pursued in order to master. Please take technique seriously, as this will be a HUGE consideration in determining your position in the ensemble.

Basic Stroke Types In this packet I have included an explanation of the fundamental stroke types as well as basic exercises to isolate each concept. The exercises are simple for your benefit, they are easy to memorize so that you can focus on technique and the fundamental strokes that will carry over into everything we will play this season. These four strokes are the primary foundation in the rudimental genre of drumming. Everything we play will be related to the strokes and exercises mentioned in this section. These MUST be mastered! The level in which you choose to pursue these fundamental concepts will determine the success and cleanliness of the ensemble. Every person in this ensemble must take care of business at home so that we can be our absolute best when we play together. Full Stroke

-‐ This is the first and extremely crucial stroke concept that MUST be mastered. -‐ Full strokes are used when playing consecutive strokes that are all the same height. -‐ In terms of heights, this will be a high-‐to-‐high motion, meaning the stick will start “up” and

naturally return back to the “up” position. -‐ The stroke uses one essential motion of the wrist and fingers to throw the stick down with

maximum velocity. This is immediately followed by relaxing the hand to allow the stick to rebound back to its starting position.

-‐ Strive for fluid motion of the stick. -‐ NEVER let go of the fulcrum. -‐ The volume of the stroke will be determined by the velocity used to initiate the stroke. -‐ Do not squeeze the stick! When the hand is relaxed, you’ll be able to hear the wood of the stick

resonate. -‐ Strive for consistent stick heights and even sound in every stroke.

9

Tap Stroke

-‐ The tap stroke is exactly the same as the full stroke except that it is a three-‐inch stroke. -‐ It will start in the “up” position at three inches from the head of the instrument and is a simple

rebound/full stroke back to the three-‐inch starting position. -‐ The stroke must initiate straight down, never prep for the tap stroke. -‐ This will be a low-‐to-‐low stroke, meaning it will start at three inches and end at three inches. -‐ Like the full stroke, the motion is initiated by the wrist. The arms should stay relaxed.

The Five Full Stroke Rules

By Bill Bachman

1. The stroke starts and stops at the same height. 2. Never pick up the stick, only throw it down. 3. The stick should rebound up at the same speed it was thrown down. 4. Don’t let the back of the stick hit the palm of the hand (except lightly at low stick heights). 5. Avoid using arm to initiate the stroke.

Down Stroke

-‐ The down stroke works EXACTLY like the full stroke until just after the stick has contacted the head.

-‐ Use maximum velocity to initiate the stroke as you would the full stroke. -‐ This is a high-‐to-‐low stroke, meaning it will start in the “up” full position and end in the tap

height of three inches. -‐ Begin in the “up” position by bending the wrist, the stick move straight down, rebounds off the

head, and is stopped by the weight of your arm and hand at three inches. -‐ Do not squeeze of clamp down on the stick; simply catch the stick down low. -‐ Your hands and arms should remain relaxed relying on the mass of your hand to stop the stick at

the appropriate height. Up Stroke

-‐ The up stroke is the exact opposite of the down stroke. -‐ This is a low-‐to-‐high stroke, meaning it will start at the tap height of three inches and will

rebound up to the full position. -‐ Immediately after contacting the head with maximum velocity, the stick is to be lifted to the

“up” position. -‐ Always strive for a smooth rebound and quality in the stroke. -‐ Do not prep for the stroke.

10

8’s

Starting Position: Up Focus:

-‐ Use of full stroke, each stroke starts and stops at the same height. -‐ Maximum velocity for every stroke. -‐ Use tacet (hand not playing) as a guide for the playing hand. -‐ Practice at various heights (dynamics) and tempos.

Snare and Bass

Tenors

-‐ If you can’t play it on one drum, you can’t play it around the drums with any accuracy. -‐ The forearms will move the hands around the drums from side to side.

11

Keyboards -‐ Both mallets should stay together as you move up and down the keyboard. -‐ Make note of the sticking changes, as they are not the same for each variation. -‐ Play each variation in all 12 major keys.

8 & 16


-‐ When full strokes are played hand to hand, they form singles. -‐ Note that one hand will constantly play eights. -‐ Use of full strokes, especially as the tacet hand begins to move. -‐ Strive for consistent, fluid strokes hand to hand. -‐ Practice at various heights and tempos.

12

Snare and Bass

Tenors

-‐ All of the variations from 8’s can be utilized in this exercise, below is an example of this, as well as combinations off the spock.

-‐ Note the sticking will be slightly different to account for the arrangement of the drums. -‐ When playing the exercise on one drum, use the same sticking from the snare and bass part

from above.

Keyboards -‐ Practice in all 12 major keys.

13

6 & 12 Starting Position: Up Focus:

-‐ Motion and stroke should be the same as 8 & 16, the only difference is the triplet feel. Snare and Bass

Tenors -‐ Master exercise on one drum before playing arounds. -‐ Notice stickings on variations are different than check pattern. -‐ Remember motion to the outer drums comes from the forearm.

14

Keyboards -‐ Once you are comfortable beginning on C, move the starting note around the keyboard.

Duple and Triplet Check Patterns From Championship Concepts for Marching Percussion

By Thom Hannum Starting Position: Up Focus:

-‐ The main purpose of these exercises is to work on timing while utilizing all of the duple and triplet based rhythms.

-‐ These exercises MUST be practiced with a metronome! -‐ Mark time, put your feet in time with the metronome and play to your feet. -‐ Use full strokes at various dynamic levels. -‐ Tenors, notice there are no arounds for these exercises, this is on purpose to help solidify the

stroke and timing.

15

Battery: Duple Variations

16

Battery: Triplet Variations

17

Keyboards: Duple Variations

18

Keyboards: Triplet Variations

19

F.D.T.U. By Rob Keedy


-‐ This exercise utilizes all of the stroke types on each hand individually. -‐ Strive for consistent strokes and heights hand to hand. -‐ Accents = 12” Taps = 3” -‐ All subsections play in unison. -‐ Keyboards play on C.

Accent Grids

Starting Position: Batter-‐ Down, keyboards-‐ Up Focus:

-‐ Now we combine multiple heights and timing exercises into one. -‐ Strive for consistent two-‐heights. -‐ Accents = 12” Taps = 3” -‐ Practice with a metronome, mark time to metronome click and play to your feet. -‐ Use natural sticking (i.e. R L R L) -‐ All subsections play in unison.

16th Note Accent Grid

20

Triplet Accent Grid

Multiple Bounce Rudiments

Triple Strokes Starting Position: Up Focus:

-‐ The triple stroke roll consists of three consecutive full strokes on a hand. -‐ It is important to use the wrist and fingers for all three strokes on each hand. -‐ Do NOT just squeeze and rely on bounces. -‐ Utilize this exercise to help build finger control; this concept is crucial for quality double stroke

rolls. Snares

Keyboards -‐ Focus is on consistent double strokes while battery plays triple strokes. -‐ Line up 16th note rhythms by listening back to the battery. -‐ All fingers should remain on the mallet, utilize two quality strokes from the wrist. -‐ Practice in all 12 major keys.

21

Tenors

-‐ The primary focus should be mastering the triple stroke on one drum before moving around with three consecutive legato strokes on a hand, using a combination of wrist and fingers.

-‐ Below, I have examples utilizing scrapes on isolated hands, in and out variations. -‐ When playing triple beat scrapes using two drums, be sure to play in the “scrape playing areas”

mentioned in the technique portion of this packet. -‐ Quality three stroke rhythms come from the wrist and fingers, while the forearm move the

hands where they need to go around the drums.

Bass

-‐ It is not priority to me that all bass drums be able to play triple stroke rolls, therefore I have included the following splits for bass players to practice.

-‐ Basses one and two should be able to play triple stroke rolls as written for snares, as well as the following splits for two.

-‐ The following exercises are written for two different bass drums, not any two in particular. -‐ All players should be able to play any part of the variations below. -‐ The measures of 16th notes can be substituted for any subdivision (ex. Sextuplets or 32nd notes). -‐ A metronome MUST be used when practicing by yourself or with two players; rhythmic accuracy

is crucial for a successful bass line.

22

Double Strokes


-‐ The double stroke roll consists of two consecutive full strokes on a hand. -‐ It is important to utilize both the wrist AND fingers for a quality double stroke roll. -‐ At fast tempos the use of wrist should be reduced and the forearms should be added for each

initial down stroke. -‐ The following double stroke exercises help to build muscle strength in the hands and arms for

quality duple rolls. Snares

23

Tenors -‐ Being able to play successful double strokes on one drum is vital before moving on to the

arounds; cross-‐overs are only impressive when good quality sound is maintained. -‐ The exercise below utilizes both the concept of scrapes as discussed in the previous section as

well as cross overs. -‐ Cross overs are indicted by a slash through the notehead. -‐ Fulcrum-‐to-‐fulcrum crossing technique is used when playing crossed over on two adjacent

drums; thumbs are almost touching and only the mallets are crossed. -‐ Wrist-‐to-‐wrist crossing technique is used when playing two drums that are not next to each

other; the wrist should be full crossed over so that the bottom hand is completely underneath the other.

Bass -‐ Basses one and two should be able to play double strokes as written for snares; as well as the

following splits. -‐ Rhythmic accuracy and timing at vital!

Keyboards

-‐ Be sure the second note of the double beat patter is as strong as the first.

24

Duple and Triplet Roll Prep Starting Position: Up Focus:

-‐ The motion, heights, and velocity used in the “check” or skeleton rhythm should be the same motion when playing the roll.

-‐ Strive for quality diddles utilizing the fingers and not relying solely on the bounce of the stick. Snares

Tenors

Bass

-‐ Basses one and two, play snare part from above

25

Triplet Roll Prep By Mark Saenz

2016 pride percussion technique exercise program · pdf...

Documents