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Dynamics
Each
dynamic
in
the
music
will
have
a
corresponding
height
to
go
with
it.
Approach
to
the
drum
should
be
the
same
regardless
of
the
height
being
played.
Velocity
will
not
change
because
of
a
change
in
heights
(most
of
the
time)
The
forearm
should
stay
relaxed
at
all
heights
and
will
react
to
the
motion
created
by
the
wrist.
It
is
okay
for
the
forearm
to
move
at
all
heights
3
20
The
sticks
will
NEVER
travel
past
vertical.
15
is
the
vertical
height.
The
20
height
will
be
used
for
fortissimo
volumes
needing
a
little
extra
power.
This
involves
a
15
full
extension
plus
a
bit
of
extra
forearm
movement.
Heights
past
20
will
be
reffered
to
as
visual
height.
Motion
starts
with
a
12"
wrist
stroke
followed
by
a
rotation
of
the
arm
at
the
elbow.
The
stick
will
end
completely
vertical
and
further
away
from
the
body.
Timing
This
is
a
percussion
program
and
timing
is
a
very
important
part
of
what
we
do.
Our
role
in
the
whole
musical
ensemble
and
the
integrity
of
our
rhythms
rely
very
much
on
timing.
Whether
it
be
a
buzz
roll,
open
roll,
or
swiss
flam
drag,
they
are
all
rudiments
with
a
specific
rhythmic
integrity.
Learning
your
rudiments
and
learning
them
CORRECTLY
is
very
important;
always
paying
attention
to
correct
rhythms,
stickings,
and
accent
placements.
Slower
is
always
better
than
faster
when
it
comes
to
practicing.
Never
move
onto
a
faster
tempo
until
you
can
play
everything
with
the
proper
relaxed
technique
at
slower
tempos.
Practice
with
a
metronome
to
focus
on
your
timing
and
the
accuracy
of
your
rhythms.
Also,
another
option
would
be
to
play
exercises
along
with
your
favorite
songs.
Its
like
playing
with
a
metronome
but
a
little
more
comfortable
and
appealing
than
listening
to
a
constant
beep.
It
even
creates
a
musical
context
for
you
to
relate
your
parts
to.
This
is
exactly
what
we
do
when
we
play
together
as
an
ensemble.
Dont
be
afraid
to
groove
and
have
fun
with
the
music.
Then,
you
can
apply
that
to
your
show
music/exercises.
You
should
find
a
groove
to
the
music
even
when
the
music
is
abstract.
All
music
has
checkpoints
you
can
use
to
find
a
pocket
for
you
to
play
in.
GRIP
Matched
Grip
Snare Drum
bottom of the stick. This is where the pad of the thumb and the index finger meet. * Thumb should be directly on the side of the stick, NEVER above or below the stick. * Middle, ring, and pinky fingers will all wrap naturally around the stick. These fingers will rarely ever leave the stick while in motion. * There should be no daylight showing between any of the fingers at any point.
Playing
Position
The bead of the stick will rest slightly below the wrist, following the natural downward angle of the forearm.
Strokes
Key
Points:
QUALITY
OF
SOUND
IS
EVERYTHING,
no
matter
what
stroke
is
being
played
you
must
strive
for
a
big,
open,
and
uniform
sound
quality.
We
will
use
four
stroke
types:
Legato/Full
Stroke,
Down
Stroke,
Taps,
and
a
modified
Up
Stroke.
The
stroke
will
always
start
from
the
bead
of
the
stick.
In
order
to
move
the
bead
of
the
stick
first,
we
will
use
the
wrist
to
initiate
the
stroke.
While
the
main
focus
is
the
wrist
turn,
allow
the
wrist,
fingers,
and
arms
to
work
together
to
create
the
most
relaxed/full
sound
possible.
Stick
must
move
straight
up
and
down
in
all
strokes!
When
playing,
the
weight
of
the
stick
is
should
sit
in
the
middle
of
the
hand
(between
the
middle
and
ring
fingers).
o Having
the
weight
sit
further
back
in
the
hand
will
allow
us
to
achieve
a
fuller
sound
while
focusing
on
the
proper
wrist
turn
Minimize
the
amount
of
human
interference,
allow
each
stroke
to
be
as
efficient
as
possible.
DO
NOT
hold
the
stick
with
too
tight
of
a
grip.
Legato/Full
Stroke:
Stick
starts
and
stops
at
the
same
point,
letting
the
stick
rebound
back
up
naturally
The
goal
is
to
allow
the
rebound
to
do
the
work
Rebound
should
occur
at
the
same
speed
as
the
initial
movement
Avoid
letting
the
stick
hit
the
back
of
the
hand
which
can
stop
the
motion
created.
Fingers
will
stay
touching
the
stick
at
all
times.
Down
Strokes:
Should
sound
the
same
as
a
full
stroke
and
feel
the
same
prior
to
hitting
the
drum.
Once
the
drum
is
struck
with
the
stick,
stop
the
wrist
motion
in
order
to
stop
the
stick
at
the
original
tacit
position.
Avoid
squeezing
the
fingers
to
stop
the
motion
of
the
stick.
Simply
stopping
the
wrist
turn
with
the
fingers
closed
around
the
stick
will
be
enough
to
stop
the
stick
in
a
relaxed
manner.
This
stroke
will
be
used
in
any
exercise
that
involves
more
than
one
height
or
a
hand
needing
to
stay
at
rest.
Taps:
This
refers
to
all
of
the
lower
inner
beats
between
accents.
Most
of
the
time
these
will
be
a
3
stroke.
This
stroke
is
essentially
as
3
legato
stroke.
It
is
important
while
playing
taps
that
the
stroke
be
relaxed
and
wrist
only
turn
to
3
inches.
Although
we
will
play
very
relaxedthat
DOES
NOT
mean
we
will
play
loose
with
a
lack
of
control.
Up
Strokes
(modified):
When
playing
something
that
involves
accents
and
taps
in
the
same
passage
it
will
be
necessary
for
us
to
use
a
modified
Up
Stroke.
After
playing
a
regular
3
wrist
stroke,
the
wrist
will
turn
upward
lifting
the
bead
of
the
stick
to
the
height
of
the
following
accented
note.
Any
tap
that
comes
directly
before
an
accent
will
become
an
upstroke
in
order
to
prepare
the
stick
for
the
proper
accent
height.
The
upstroke
makes
it
much
easier
to
achieve
clarity
in
passages
that
have
accents
following
taps.
Rehearsal
In
Marching
Band,
rehearsal
time
is
VERY
limited.
It
is
imperative
that
we
maximize
this
time
as
much
as
possible
by
being
prepared
for
rehearsal
100%
of
the
time.
We
will
work
hard
but
we
will
also
work
smart
in
order
to
put
out
the
most
consistently
excellent
product
that
we
possibly
can
every
performance.
*The
first
part
of
being
prepared
for
rehearsal
is
personal
preparation
at
home.
You
WILL
be
expected
to
show
up
every
rehearsal
prepared
with
what
is
asked
of
you.
*The
second
part
of
being
prepared
for
rehearsals
is
coming
with
a
good
attitude
and
ready
to
drum
from
the
first
minute
of
rehearsal
to
the
last.
Part
of
this
is
arriving
to
all
rehearsals
ON
TIME.
*Lastly,
make
sure
you
have
everything
you
need
for
rehearsals
with
you
at
all
times.
Some
of
the
items
necessary
for
all
music
rehearsals
are:
-Pencil
-Highlighter
-Sneakers
-Water
bottle
-3-ring
binder
w/all
music
and
exercises
-Sticks
and/or
mallets
Notes/Resources
This
technique
packet
should
be
plenty
of
information
to
get
you
started
on
the
right
path
towards
success.
Once
you
feel
comfortable
with
all
of
these
concepts
it
may
be
helpful
to
search
the
internet
for
more
information.
The
same
can
be
done
if
you
are
struggling
with
a
concept.
There
is
no
substitute
for
watching
people
do
things
at
a
world
class
level
and
emulating
what
you
see
in
your
own
practice
time.
Below
are
some
resources
to
help:
Websites
www.youtube.com
--
Search
for
Blue
Devils
Drumline,
Bluecoats
Drumline,
Rhythm
X,
and
Riverside
Community
College
for
examples
of
some
of
the
best
drumlines
in
the
world.
--
Search
Arcadia
Drumline
2011,
Dartmouth
Drumline,
and
Chino
Hills
High
School
Drumline
2010
for
examples
of
some
of
the
best
High
School
drumlines
in
the
world.
--
Bluecoats
Drum
Break
Finals
Night....GO
THERE
NOW!!!
--
DCI
2009
-
Bluecoats
Drumline
in
the
lot
@
San
Antonio....GO
HERE
NOW
TOO!!!
www.vicfirth.com -- TONS of information including articles about playing, videos demonstrating the skills, rudiments with play along tracks, and much more. www.steveweissmusic.com -- If you ever need equipment, music, or anything percussion related this is the place to go. They are cheap, have fast delivery, and are very reputable. My percussion friends, most schools I work with, and myself personally all get our products through them. -- Rudimental Logic by Bill Bachman
Books
-- The Next Level by Jeff queen -- Stick Control for the Snare Drummer by George Lawrence Stone -- Accents and Rebounds by George Lawrence Stone -- Dr. Throwdown's Rudimental Remedies by Dr. John Wooton -- A fresh Approach to Snare Drum by Mark Wessels -- The Snare Drummers Toolbox by Chris Crockarell and Chris Brooks Questions? -- Contact me by email anytime at: tenorguy33@yahoo.com -- If interested in private lesson inquire at the above email address.
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