FIGHTING SCOTS

MARCHING BAND

DRUMLINE
Exercises, Cadences, Band Signals

Fighting Scots Marching Band

Drumline Exercises, Cadences, Band Signals

Contents
ACKNOWLEDGMENTS & INTRODUCTION
EXERCISES

8s exercises
#1
Exercise #1
#2
Exercise #2
#3:
4s and 6s
#4:
Tap Timing
#5:
Dut Duts
#6:
Flams
#7:
Paradiddles (#7a is the primary one)
#8:
Dut Duts II
#9:
New Rolls
#10:
Countdown Cooldown

EXERCISES: MALLET VERSIONS

#1
#2
#3:
#4:
#5:
#8:

Exercise #1
Exercise #2
4s and 6s
Tap Timing
Dut Duts (as technique permits)
Dut Duts II (as technique permits)

BAND SIGNALS

Roll Off #1
Roll Off #2
Halt

CADENCES

Chug-a-da
Belldoleer
Chee-Chee-Manga #1A
Cymbology
Rock II
Mr. Monkey Eats His Cheese
Bass Drum #4 Million 12
SERIES ORDER

ACKNOWLEDGEMENTS

Thanks to Mike Geary for the use of his cadence, ROCK II. Good cadences should always have a long life.
The exercises in the first part of this book were inspired by and adapted from exercises used by Dr. John
Wooton while he was drumline instructor at The University of Iowa. For example, the snare parts for exercises
#1, #2, and #3 are written exactly as they were used. The original exercises (at least the snare parts) and many
more were subsequently collected and published in The Drummers Rudimental Reference Book, available
from Row-Loff Productions. It is suggested that anyone interested in refining rudimental drumming skills
purchase this book and use it on a regular basis.

INTRODUCTION
The exercises, cadences, and band signals in this book are going to be used during the Fighting Scots
Marching Band season. More may be added as the season goes on, but all members of the drumline (including the
front ensemble) will definitely need to know the material in this book. Those in the front ensemble (pit) should
practice the snare parts of the Exercises to develop basic technique (when possible: rolls, etc., wont be possible as
written), then transfer the techniques to the mallet instruments by using the Mallet Versions of the Exercises. This
book should be brought to all rehearsals. Any auditions for drumline placement will use materials from this book.

All materials in this book should be memorized as quickly as

possible.
All exercises, cadences, and band signals are designed to be played at 120 beats per minute (quarter note pulse).
Practice slowly at first and work your way up to this.
Pay careful attention to accented and non-accented notes (inner beats) throughout. If you play the accents at
8-12 (or higher depending on the dynamic) and non-accented notes at 2-4 (go for your lowest controllable stick
height), you will have the correct relationship. The idea is to make accented notes very distinctive relative to nonaccented notes.
All rolls except buzz rolls (indicated by a Z on the stem) are double-stroke open rolls.
This book does NOT contain everything you need to know. It only covers the basics. More commands and
procedures will be explained during camp and as the season progresses.

EXERCISES
These exercises are to be played slowly at first and then slowly sped up. They are designed to both warm up the
hands and build chops. They will be performed in the order given. It is suggested that the members of the
drumline (including the front ensemble) arrive to practice early enough to go through as many of these warm ups
as possible prior to rehearsal. The first person to arrive should start playing through Exercise #1 and others should
join in as they arrive. Do not wait to be told to join in. Join in.

EXERCISES: MALLET VERSIONS

These exercises are to be played slowly at first and then slowly sped up. They are designed to both warm up the
hands and build chops. They will be performed in the order given. It is suggested that the members of the
drumline (including the front ensemble) arrive to practice early enough to go through as many of these warm ups
as possible prior to rehearsal. The first person to arrive should start playing through Exercise #1 and others should
join in as they arrive. Do not wait to be told to join in. Join in.

BAND SIGNALS
These signals tell the band when to do something. The drumline (usually on the command of a drum major) uses
these signals to tell the band when to start and stop marching or playing. There are three signals to memorize: Roll
Off #1, Roll Off #2, and Halt. Roll Off #2 ALWAYS starts the Cadence Series and Halt ALWAYS ends the
Cadence Series. Other than that, use of the three signals will be agreed upon by the directors, drum majors, and the
drumline.

CADENCES
The following cadences form the core of the Fighting Scots Drumline Series. The Series is played during
parades, going to and from events, or any other time is seems necessary. If not specified (that is, unless we decide
differently for a certain circumstance), the cadences are always performed in the same order. Memorize the
cadences and this order. Additional cadences are always likely to spring up, and feel free to come up with your
own.
Note: A start bar of taps will be used between cadences on occasion. Learn the series with this bar in place.
Note about Belldoleer: This cadence is omitted if no bells are marching

SERIES ORDER (Subject to Change)

Roll Off #2
Chug-a-da
Belldoleer
Chee-Chee-Manga #1A
Cymbology
Rock II
Mr. Monkey Eats His Cheese
Bass Drum #4 Million 12
Halt