IowaStateUniversity

DrumlinePacket

2018

1

FOREWORDOURMISSION

Individual improvement is the key to our success as an ensemble. One person does not make ourdrumlinegreat;everyonemustworktoachievegreatness.Asmembersofthisorganization,weobligateand challenge ourselves to improve our abilities as players. By striving to achieve nothing less thanpersonalexcellence,weensurethequalityofourensemble.OURPHILOSOPHY

TheIowaStateDrumlinehasthecrucialroleofprovidingasolidrhythmandtempotoanensembleinexcess of 340members. To do this, drumlinemembersmust individually play accurate rhythms andparts.There isno“hiding”one’splaying inthe line.Eachmember isexpectedtoequallycontributetotheoverallsoundofthe line.Thus, the line isabletoproducea fullqualitysoundwiththevolumetoprojectintoafullstadium.HOWTOUSETHISPACKET

Itisunadvisabletoattempttolearneverythinginthispacketinonesitting.Thepacketisgenerallysetup in theorderof the learningprocess, so it is logical tostartat thebeginningandwork throughthepacket. All the advanced concepts are fundamentally based upon the previous concepts, so anunderstandingofthecoreconceptsinthispacketisnecessaryforprogressionontoadvanceddrumming.Practicewithametronomeisrequired;thiswillpromoteaccuraterhythmsandtheabilitytoplaymuchmoreconsistentlyasan individual.Also,play in frontofamirrorandobservehowyourhandsmove.Makesureyouflowwhenyouplayandavoidawkward,jaggedmotionsthatlookorfeeluncomfortable.Feelthereboundanduseittoyouradvantage.Keepyourhandsrelaxedandfingersonthestick,turnyourwrists, andhit thedrumwith sufficientvelocity.Playwithconfidenceanddon’tbeafraid toaskquestions.Throughout the summer, the Iowa State Drumline will be hosting several clinics to facilitateimprovement among its currentmembers and potential newmembers. The dates and times can belocated on the drumline page of the website. These camps are valuable sources of information andinstruction regarding technique. It is highly recommended to attend some of these camps to get ahands-on look at technique. Technique is not something that can be learned overnight - it is a longprocess.Withenoughtimeandpractice,theconceptscoveredinthisbookwillbecomeafundamentalpartofyourdrumming.Goodluckandhappydrumming!Thefirstdraftof thispacketwaswrittenandcompiledbyBrettEbert,KelseyKnief,LukeSesker,DaveReid,andScottSzurek in2011.ThecurrentversionwasupdatedandcompiledbyLukeSeskerandTravisHattery in2018.Ourmissionistoeducateasmanystudentsaspossibleandtobetransparentwithourtechniqueandapproach.Theinformationisnotproprietary;pleasefeelfreetodistributethispacket.

2

TheIowaStateApproachAPPROACHINGTHEDRUM

Onegoodanalogyofthismotionisthe“policeknock”.Themotionofstrikingthedrumisthesameasaheavyknockonadoor.Inthismotion,thewristturnstoknockonthedoor,buttheweightofthearmis

used to apply more energy to the door and create a louder and more powerful knock. Using thisanalogy,placeadrumstickinyourhandandreplacethedoorwithadrumhead.Maintainrelaxationinthehandwhileplayingtopromotebetterresonanceandmorecomfortableplaying.Thestroke isawrist-initiatedmovement; thewristturndrivesthemotionofthestick.Whenturningthewristandstrikingthedrum,keepyourhandandarmrelaxed.Althoughthestrikingofthedrumisawristmovement,thearmshouldbeallowedtomovenaturally.Theweightofthearmisusedtodrivethestickintothehead,creatingafullersound.Oncethedrumhasbeenstruck,donotstopthemotionofthestick.Stayrelaxedandallowthenaturalreboundofthesticktodriveituptotheheightofthenextnote.Ineffect,youareonlydrivingthestickdown and the rebound from the head drives it back up. Your hand does not pull the stick up, butmerely follows the movement of the stick and directs its upward motion in the proper direction.Dependingonheightsandtempos,itmayseemasthoughthestickspendsthemajorityofitstimeintheuppositionasthestickgoesdownfast,comesupfast,andthenwaitsintheuppositionuntilthenextstoke.Thisisbecausevolumecomesfromvelocity.REBOUNDEDSTROKES

Reboundedstrokes (regardlessofheight) shouldbe themost fluid, relaxed,andcomfortablenotes toplay.Thestickisdrivendownbythewrist,strikesthehead,andthenthenaturalreboundofthestickdrivesthestickbackuptotheheightofthenextnote.Thehandstaysrelaxedthroughouttheentiremotion.The“policeknock”conceptappliestoreboundedstrokesatanyheight.Dependingonwhetherthenextstrokeisanotheraccentoratap,thestickiseitherallowedtoreboundfullyorisstoppedatalowerheighttoallowforatap.Ifthestickiskeptdownaftertheaccent,make

sure not to squeeze the implement to force a lower height; actively stay relaxed in the hand at alltimes.Do not assume playing lower means playing weakly.When playing taps, still play with a full and

powerfulsound, just froma lower initialheight.Theweightofthearmisusedtogivethetapaddedpowerandfullnessofsound.Whilethearmisusedtogiveafullsound,ensurethatthemovementofthestickismotivatedfromthewrist.DOUBLESTROKES

Double strokes require a slightly different approach depending on tempo. At slow tempos, a doublestroke consists of two individual wrist turns, one for each hit of the drum. As the tempo increases,graduallyapplymorepressuretothestickwithyourbackfingers.Thissmallapplicationofpressurewillallowthesticktoplaytwonotesfromonlyonewristmotion.Thetransitionfromindividualwristturns

toamoresingularstroke isagradualone,notatransitionataspecific tempo.Playingdoubleswithwristturn isamoreaccurateandpowerfulwayofplaying,sothismethodshouldbeusedasmuchaspossible.However,everyplayerwillreachapointwhereitisnolongerpossibletoplayeverynotefromanindividualwristturn.Practicewillallowyoutoincreasethetempoatwhichaccuratewristturnsareplayableandimproveyourabilitytoplayfullandpowerfulrolls.

3

Itisimportanttomaintainconsistencyamongthetwoindividualnotesinthedoublestroke.Eachdrum

strikeinthedoublestrokeshouldsoundequal.Doeverythingyoucantominimizeplacinganemphasisonthefirstnoteinthedouble.Withafewrareexceptions,theheightofdoublesandrollsshouldbelowenoughtoensurethefirstandsecondimpactofthedoubleisofequalheight,volume,andfullness.POSTUREANDMARKTIME

Anoften-overlookedelementindrummingisone’sposture.Goodposturehastwoimportantbenefits:itpromotes better playing andmarching, and it is aesthetically pleasing to the audience. Think of yourbodyas a seriesof pivotpoints: ankles, knees, hips, shoulders, andhead.All these points should bestackedvertically.

Whenstanding,yourweightshouldbeevenlydistributedthroughoutthebottomofyourfoot.Besureto keep your chin up and keep your eyes focused forwards. This promotes a confident, strongappearance.While maintaining good posture, actively stay relaxed in your shoulders, arms, and

hands. Avoiding excessive tension in the arms, shoulders, and backwill allow you to play better andmorecomfortablyforlongerperiodsoftime.Accurate internalization of tempo is critical to a drumline’s success. The whole bottom of the foot

leavesthegroundtogether,andthenreturnstothegroundtogether.Thefootstrikesthegroundonthedownbeat.Instandard4/4timesignatures,theleftfootstrikesthegroundonbeats1and3,whiletherightfootstrikesthegroundonbeats2and4.DYNAMICS

AtIowaState,weusetheclassic3”-intervalstickheightsystemtodefinedynamics.Itisimportantthateveryonewithoutexceptionapproachesthesedynamiclevelsthesameway.Ifeveryoneisnotplayingwith the samevelocityat thewrittendynamic level, thebalanceandblend fromplayer toplayerwillsufferalongwithclarity.Essentiallyallstrokeshavethesameintensity,whileincreasinganddecreasingthedistanceandspeedatwhichthemalletstrikes.Ourdynamiclevelsaredefinedasfollows:pp pianissimo ½inches gracenotes

p piano 3inches flattothedrumsurfacemp mezzopiano 6inches mid-waybetweenflatand45degreesmf mezzoforte 9inches 45degreeanglewiththedrumsurfacef forte 12inches mid-waybetween45degreesand90degreesff fortissimo 15inches 90degreeanglewiththedrumsurface

12

CymbalPlayingTechniqueTACETPOSITIONS UP-SET

Both cymbals are in a vertical position(perpendicular with the ground), with thecenter of the bells of the cymbals at eyelevel.Thecymbalsare2-3inchesapart.

DOWN-SET

Both cymbals are again perpendicular tothegroundbutareseparatedwiththeleft-hand cymbal by the left hip and the right-handcymbalbytherighthip.Bothbellsareat hip level, with elbows bent slightlystraight back, but the cymbals never restagainstthebody.

HI-HATSET

Cymbals are together and resting on theleftsideofyourwaist (oftenthehipboneworks well as a resting point). The leftcymbal is on the bottom and the rightcymbal is on the top. Both cymbals areangled in close towards the body at a 45degreeangles.

13

CYMBALEFFECTS

CRASH

Startwithbothcymbalsat theUP-SETposition.MovethebottomedgeofbothcymbalsawayfromeachotherintoanAshapedpositionwhilekeepingthetopedgesinplace.Thenmovethetopedgesaway fromeachother to formaVshapewhilekeeping thebottomedges inplace.Thisshouldallbedoneinonefluidmotion.Bringthecymbalsbacktogether(thebottomleadingjust slightly) and throw them together. Once they hit repeat the same A-V pattern and thenreturnbothcymbalstoverticalset.

HI-HAT

Startwithcymbals in theHI-HATposition.Open thecymbals inamotion likeaclamopening,withthecontactpointwiththebodyasthehingepoint.Thebottomcymbalshouldmovemorethanthetopcymbal.Closethecymbals,againusingthebodycontactpointasahinge.Fingersstayonthecymbalsatalltimes.

CHOKE

Start with both cymbals at the UP-SET position. Move both cymbals slightly apart beforethrowingthembacktogether.Fingerscomeoffthecymbalbrieflyatthepointofimpact,butassoonasimpactismade,pullthecymbalsashardandfastaspossibleintothechest.Putfingersbackonthecymbaltohelpcontrolthecymbalsastheyarepulledbackintothechest.

SIZZLE(DOWN)

StartinHI-HATposition.Openthecymbalslikeahi-hat,movingthebottomcymbalmorethanthe topone.Whenyou close the cymbals, pull themaway slightly from thebodyanddonotclosethemall theway.Thecymbalsshouldbe inslightcontactwithoneanothersothattheyvibrateagainstoneanothertomakeasizzlingsound,buttheyshouldnotbepressedtogether.Therighthandcymbalisontopandisslightlyfurtherawayfromthebody,overlappingthelefthandcymbal,2”apart.Fingerscomeofftheright-handcymbal,butnottheleft-handcymbal.Tostopthesizzlesound,pressbothpalmstogetherfirmly.

SLIDECHOKE(DOWN)

Followalldirectionsforthesizzle.Tostopthesound,however,slidetheright-handcymbalthatoverlaps slightly back over the left-hand cymbal, catching the air pocket. This always has arhythmicsensetoit.Foraquarter-noteslidechoke,startthesizzleonbeatoneandpullitshutforthechokepartonbeattwo.Foraneighth-noteslidechoke,startthesizzleonbeatoneandpullitshutontheoff-beat(the‘and’ofbeatone).

SMASH

StartintheUP-SETposition.Letthecymbalsdropintothehi-hatposition,closingthemtogethera couple of inches from the body. As they fall, the cymbals rotate to switch from beingperpendiculartothebodyastheyareintheup-setpositiontobeingangledliketheyareinthehi-hatposition.Afterthecymbalsclose,theycontinuetomoveuntiltheyrestagainstthebodyas theydo in thehi-hatposition.Becarefulnot tobendat thewaistormove the torsoatallduringthishit;onlythearmsmove.

14

TAP(UP)

StartattheUP-SETposition.Anglebothcymbalsat45degrees,makinganA-shape.KeepingtheA-shape, move the right hand cymbal over so that the left hand cymbal nearly touches theinsideoftherightcymbal,½waybetweentheedgeofthebellandtheouteredge.Movingtherightwrist, strike the edge of the left-hand cymbalwith the inside of the right-hand cymbal.Fingersstayonbothcymbalsatalltimes.MakesuretokeeptheA-shapeatalltimesandwatchtomakesureonlythewristmovestostrikethecymbal.

TAP(DOWN)

Startwithyourleft-handcymbaltiltedata45-degreeangleinthehigh-hatposition.Placeyourrighthandata45-degreeangletiltedtheotherway.Placetheright-handcymbalcenteredovertheinsidebelloftheleft-handcymbal.Tapthecenteroftheleftcymbalwiththerightcymbal,movinginacirclelikemotion.Bringthecymbalbacktothecenterpositionaftereachtap.Keepthelefthandstationaryatalltimes,onlymovingtherighthandtomakethetapsound.Movingyourrightarminthecircularmotionbringsoutthesoundresonation.

TAPCHOKE

Start at the UP-SET position. Angle both cymbals at 45-degree angles, making an A-shape.Keeping the A-shape, move the right-hand cymbal over so that the left-hand cymbal nearlytouchestheinsideoftherightcymbal,½waybetweentheedgeofthebellandtheouteredge.Movingtherightwrist,striketheedgeoftheleft-handcymbalwiththeinsideoftheright-handcymbal.Fingersstayonbothcymbalsatalltimes.MakesuretokeeptheA-shapeatalltimes,andwatchtomakesureonlythewristmovestostrikethecymbal.Pull thecymbals intoyourchestashardandfastaspossibletodampentheringing.

DYNAMICS

Dynamicswillbeplayedbyalteringthevelocity,notthelargenessofmovements.Thelouderwewanttoplay, the faster we make our movements. The softer we want to play, the slower we make ourmovements.

8816ismeanttobea“stock”exercisethathastheoptionofapplyingthehand-to-handpatterntomanydifferentrudiments,rhythmsandstickings.While10variationsareincluded,manymorewillbetaughtthroughouttheseason,andappliedtothesamepatternof8/8/16.Youcanevengetcreativeandcomeupwithyourownvariations!Allvariationsshouldbeplayedatallheightsandawidevarietyoftempos.PlaythisexerciseVERYSLOW,aswellasveryfast.Thiswillhelpdevelopcontrol.Agreatpracticemethodistoplayonebeatbyitselfandmasterthetiming,andthenapplythe8816patterntogainagreateramountofconsistencyinapproachthroughrepetition.Utilizingametronomefortempocontrolandamirrorforself-critiqueofhandmotionandflowareabsolutelycritical.Individualrhythmicintegrityandtempomaintenanceareessentialforthesuccessofthedrumline.Bassdrumsshouldbepreparedtoisolateanyrhythmicpartialsofanyvariation.(i.e.onlyplayonthe“andof1”or“playontheup-beats”)AdditionalaroundpatternsforTenorsandsplitsforBasseswillbecreatedandtaughtthroughouttheseason.Cometocampspreparedtolearn!CymbalswillfindaguidetothestandardnotationutilizedbyIowaStateinthisexerciseaswell.Timingandconsistencyarecrucialtodevelopasyouisolateeachsound.HappyDrumming!

ã 44 œm Œ ÓZing

œæ Œ ÓSizzle

œ x Œ ÓSizSuck

^ Œ ÓBellTap

_ Œ ÓVerticalTap

1. Œ ÓWam

ã x̂ Œ ÓClap

œ Œ ÓCrash

x Œ ÓHiHat

œ. Œ ÓChoke

Cymbal Notation GuideCymbal Line

ãããã

44

44

44

44

Snareline

Tenorline

Bass Drums

Cymbal Line

œ œ œ œ œ œ œ œR

œ œ œ œ œ œ œ œR

S S S S S S S SR

∑

Stock

œ œ œ œ œ œ œ œL

œ œ œ œ œ œ œ œL

S S S S S S S SL

∑

œ œ œ œ œ œ œ œR

œ œ œ œ œ œ œ œR

S S S S S S S SR

∑

œ œ œ œ œ œ œ œR

œ œ œ œ œ œ œ œR

S S S S S S S SR

∑

ãããã

S.Dr.

T. Dr.

B. Dr.

Cym.

œ œ œ œ œ œ œ œL

œ œ œ œ œ œ œ œL

S S S S S S S SL

∑

œ œ œ œ œ œ œ œR

œ œ œ œ œ œ œ œR

S S S S S S S SR

∑

œ œ œ œ œ œ œ œL

œ œ œ œ œ œ œ œL

S S S S S S S SL

∑

œ œ œ œ œ œ œ œL

œ œ œ œ œ œ œ œL

S S S S S S S SL

∑

œ Œ ÓR

œ Œ ÓR

S Œ ÓR

∑

8816Hattery

Score

Variations on a Theme

ãããã

S.Dr.

T. Dr.

B. Dr.

Cym.

∑∑∑∑

œ> œ œ> œ œ> œ œ œ

œ> œ œ> œ œ> œ œ œ

S> S S> S S> S S S

œm Œ ÓZing

Bucks

∑∑∑∑

œ œ> œ œ> œ œ> œ> œ>

œ œ> œ œ> œ œ> œ> œ>

S S> S S> S S> S> S>

œæ Œ ÓSizzle

Invert Bucks

∑∑∑∑

œ œ œ œ œ œ œ œ œ œ œ œR R L sim...

œ œ œ œ œ œ œ œ œ œ œ œR R L sim...

S S S S S S S S S S S SR R L sim...

œ x Œ ÓSizSuck

Diddle Sticking

ãããã

S.Dr.

T. Dr.

B. Dr.

Cym.

œ œ œ œ œ œ œ œ œ œ œ œR L L sim...

œ œ œ œ œ œ œ œ œ œ œ œR L L sim...

S S S S S S S S S S S SR L L sim...

^ Œ ÓBellTap

∑∑∑∑

œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ3 3 3 3

R R R sim...

œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ3 3 3 3R R R sim...

S ‰ S S ‰ S S ‰ S S ‰ S3 3 3 3R R R sim...

_ Œ ÓVerticalTap

Swung

∑∑∑∑

œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ3 3 3 3

R R R sim...

œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ3 3 3 3R R R sim...

S ‰ S S ‰ S S ‰ S S ‰ S3 3 3 3L L L sim...

1. Œ ÓWam

2 8816

ãããã

S.Dr.

T. Dr.

B. Dr.

Cym.

∑∑∑∑

œ> œ œ> œ> œ œ> œ> œ œ> œ> œ œ>3 3 3 3

R l R sim...

œ> œ œ> œ> œ œ> œ> œ œ> œ> œ œ>3 3 3 3

R l R sim...

S> S S> S> S S> S> S S> S> S S>3 3 3 3

R l R sim...

x̂ Œ ÓClap

Swung - tap fill in

∑∑∑∑

œ> œ œ> œ> œ œ> œ> œ œ> œ> œ œ>3 3 3 3

R l R sim...

œ> œ œ> œ> œ œ> œ> œ œ> œ> œ œ>3 3 3 3

R l R sim...

S> S S> S> S S> S> S S> S> S S>3 3 3 3

R l R sim...

œ Œ ÓCrash

∑∑∑∑

ãããã

S.Dr.

T. Dr.

B. Dr.

Cym.

œ> œ> œ> œ> œ> œ> œ> œ> œ> œ> œ> œ>3 3 3 3

R L R sim...

œ> œ> œ> œ> œ> œ> œ> œ> œ> œ> œ> œ>3 3 3 3

R L R sim...

S> S> S> S> S> S> S> S> S> S> S> S>3 3 3 3

R L R sim...

x Œ ÓHiHat

Swung - Accent fill in

∑∑∑∑

œ> œ> œ> œ> œ> œ> œ> œ> œ> œ> œ> œ>3 3 3 3

R L R sim...

œ> œ> œ> œ> œ> œ> œ> œ> œ> œ> œ> œ>3 3 3 3

R L R sim...

S> S> S> S> S> S> S> S> S> S> S> S>3 3 3 3

R L R sim...

œ. Œ ÓChoke

38816

ã 44 ∑q = 110

Ó Œ ‰ J1. ∑ Ó Œ ‰ J1. x x x x x ≈ x .5æ ‰ .œ. œ. ‰ Jœ. ≈ Rœ. ‰ Œ

ã7 x x x x x ≈ x .5æ ‰ .œ. œ. ‰ Jœ. ≈ Rœ. ‰ Œ x x x œ x x x x x œ x x Ó 1. Œ Ó 1. Œ

ã13 x x x x x x x x x œm Ó ∑ æ̇ Ó ∑ æ̇ Ó ∑

ã21 Œ ‰ Jœ x Œ Œ 1. Œ x̂ .œ. œ. ‰ Jœ. ≈ Rœ. ‰ Œ Œ ‰ Jœ x Œ œ Œ Ó

BounceSesker

©

Cymbal Line

For the 'VMB Drumline

„ 33 ∑ ” Œ ‰ Ιœsl

œ− œ Œ −x xch cr tap tap

‰ Ιx x x x x x x x œtap hh... sl

Ιœ− ‰ œ Œ −x xch cr tap tap

„6 ‰ Ιx x x x x x x Ιx ‰tap hh...

Œ Œ Œ Œvis...

ΠΠΠΠΠt x Πt xsiz suck siz suck

Πt x Πtsiz suck siz

„11 Œ Œ Œ œvis... cr

∑ x x x x x x x xhh...

œλ œλ œλ œλzing...

œλ œλ œλ œλ œ Œ ”cr

„17 Œ Œ œ Œcr

œ œ− −x x ‰ Ιx ≈ −Ιxsl ch tap

œ œ− −x x ‰ Ιx ≈ −Ιxsl ch tap

œ œ− ‰ − Θt −x t −x tsl ch siz suck siz suck siz...

Œ œ Œ Œcr

„22 œ ‰ Ιt ‰ t ‰ tcr siz siz siz

Œ Œ Œ œcr

Œ Œ ”down

Tasty Treats

Hattery

©

Cymbal Line

For the 'VMB Drumline

� � �� ��Cymbals � � � � � �

� �� �� �� � �� � �� � �� � �� � �� � �� �

� �� � �� � �� � �� � �� � �� � � � �� �

� � � 3� � � � � � � � � � � � � � � � � �� � ����7 � �� � �� � � � � � � � � �� ��� ���� �

��

13 � � � � � � � � � � � ��� �� 17

�� � � �� �� �

� ��� � �� � � � �� � � �� �� � � �3

� � � � � �

Cadences

Cymbals

ISU 2005

Sticks and Swing

RWB 32 cts. Latin 32 cts. #5, 16+32 cts. Go-Go 32 cts. Cowbell

1 time thru 4 times thru bass run and2 times thru

4 times thru start on tag

Homey the Jam

Drum Cheers Cadence

3X o c o c o c o c o c o c o c

o c o c o c o c o c o c

ã c ..x x x x x x x x x x x x œ> œ>

œ x. œ>Î F Î ‰ jœ x ‰ jœ x

fã ..6 ‰ jœ x ‰ jœ x ‰ jœ x ‰ jœ x ‰ jœ x ‰ jœ x œ Œ Ó ∑ ∑Fã12 ∑ ∑ ∑ ‰ œ x œ x œ x œ x œ x œ x œ x œ x x x x x x x

fã .. ..18 ‰ œ x œ x œ x œ x œ x œ x œ x œ x œ x œ x œ x œ

1.

x œ x œ x œ

ã222.

x œ x œ x œ> œ̆ ‰ jœ̆ Ó ∑ ∑ œ> Œ Ó œ> Œ Ó

LegacyDan Kelly

©2008 Dan Kelly

Cymbals Part I

ã c .. ∑q = 120

Ó x x x x x

R L R L Rfœ

œœ

œ

œ

-œ œ

œ

-œ œ

œ œœ

-œ œ

œ

-l r r l R l r L r l r r L r r L

œ

œ

œœ

œ

-œ œ

œ

-œ œ

œ œ

œœ

Hœ

r l l r L r l R l r l l r l r l

ã5 œ!

œ

!œ

!œ

! œ

>œ œ

œ

!œ

!œ!

œ!

œ

>œ œ

R l l R l l

œ!

œ!

œ!

œ!

œ!

œ!

œ!

œ! .œ

>œH

>‰ j

xx

>p f

x x x x œ œ œœ œ

œ œ œ œ œ œ œ

6

6

ã8 œŒ ‰ j

œH

> ≈ œœ

œ

l r l

œ

>œ

!œ

œ

>œ!

œœ

>œ!

œ

!œ

!œ

!œ!

œ

!œ!

œ

!œ

!œ

>œ!

œœ

H

>œ

!œ

œœ!

œ

!œ

!œ

!œ

!œ

!x

>F ƒ

ã11 H

>œ

>H

>œ

>œ

>œ

>œ

>œ

>≈ œ

>œ

>H

>œ

>œ

>œ

>R L R L L R R L R L

œ

> Œ ‰ x x x

Rœ

z œ ≈ œœ ‰ H

œ œœ

l r r l r l r lpœ

z œ ≈ œœ ‰ H

œ œœ

l r r l r l r l

ã15 œ

zœ

Hœ

Hœ œ

œœ

œœ

œ Hœ

l r r l r l r l r l r l r l

œ

>.œ

..œœ

-œ

œœ

œœ

œ œ œ

R l b l r l l r l l r

œœ

> Œ Œ ‰ œœ

œœ

Bfœœ

x

>… x x

>x

>… ≈x

> ≈x

>x

>œ

>œ

-R l R L L R L R l

ã 42 ..19x

>x

>‰ Œ Ó

R L

œ

-œ

œœ

-œ!

œ!

œ!

œ!

œ!

œ

!œ

!œ

!œ

>œ

>p f

œ

œ

œ

œH

H

œ

œ

œœ œ

œœ

œ œœ

r r l l etc.H

œH

œ œ

œ

33

œŒ

Homey the JamISU Traditional

Quint Toms