Marching 110 Drumline

2010-2011

Cymbals 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     Performance of cymbals in the marching band idiom consists of two areas: Aural, and visual. As the marching band is first and foremost a musical ensemble, the primary focus must be on proper execution of the musical needs of the group. Only after the aural component has been satisfied can visual be used to add excitement to the performance. Much like the bass drum section, the cymbal section often performs parts that are conceived as one melodic line, but performed in split parts by the ensemble. Thus, you should strive to execute the sounds perfectly, both in sound and rhythm. Forming the Grip:

           

   

Form  the  grip  by  forming  a  90°  with  the  thumb  and  index  finger.  Place  this  “L”  at  the  bell  of  the  cymbal.  Allow  the  strap  to  fall  down,  across  the  middle  of  the  hand.  Wrap  the  fingers  around  the  strap.  The  thumb  should  be  tucked  in.  This  grip  facilitates  easier  flips  and  visuals  that  are  used  by  the  Marching  110  cymbal  line.

Ready Position:

The ready position is used any time there is an extended period of rest. This can take place between warm-ups and during the tap-off, or while marching around the field. The cymbals are tucked in along the forearms and generally makesV shape, centered in front of the body. The right cymbal forms the stem of a “T”, meeting the left cymbal about two inches in from the edge. Hi-Hat:

         

  Occasionally,  the  cymbal  section  will  be  called  upon  to  hold  for  the  drums.  Form  the  hi-­‐hat  by  placing  the  right  cymbal  on  the  left,  holding  them  parallel  to  the  ground,  away  from  the  body.    Different  amounts  of  pressure  can  be  applied  to  elicit  “loose”  or  “tight”  sounds.                        

Ride  Cymbal:  

   

  Form  the  ride  cymbal  by  holding  them  upside-­‐down.  This  allows  the  drums  to  play  the  cymbal  and  the  bell  without  risking  pain  for  the  cymbal  player.  Make  sure  to  adequately  support  the  cymbal  to  prevent  it  from  wobbling  uncontrollably  when  struck.    Vertical  Crash:    

           

  The  vertical  stroke  begins  with  the  cymbals  perpendicular  to  the  ground.  To  prepare  the  crash,  pull  the  cymbals  away  to  form  an  open  “V.”  Bring  the  cymbals  back  together,  striking  in  a  “flamming”  motion,  striking  the  bottom  edges  of  the  cymbals  just  before  the  top  edges.  Despite  the  edges  hitting  at  slightly  different  times,  think  of  it  as  one  motion  and  one  sound.  This  “flam”  will  avoid  the  creation  of  an  air  pocket,  which  chokes  the  ring  and  tone  of  the  cymbals.  Follow  through  until  you  form  an  inverted  “V”  shape  (like  an  A,  minus  the  cross  bar).                    

Diagonal  Crashes:    

              Diagonal  crashes  are  identical  to  vertical  crashes,  but  with  the  cymbals  rotated  45°  to  the  left  or  the  right  (depending  on  which  direction  the  crash  is  in.)  The  size  of  the  crash  is  determined  by  dynamics  and  frequency  of  the  crash  (louder/slower  covers  more  distance,  softer/faster  covers  less  distance).  A  “right  hand  crash”  has  the  right  hand  on  top;  a  “left  hand  crash”  has  the  left  hand  on  top.  Don’t  forget  to  flam,  but  maintaining  one  motion  and  one  sound!    

           

                             

 Sizzles:    

           

   

  Also  known  as  “fusions,”  sizzles  begin  like  vertical  crashes,  with  the  cymbals  parallel  to  each  other,  and  perpendicular  to  the  ground.  To  prepare,  slightly  lower  the  right  cymbal  while  slightly  raising  the  left.  Crash  the  cymbals  together,  with  the  top  edge  of  the  right  cymbal  hitting  about  halfway  between  the  bell  and  the  edge  of  the  left  cymbal.  Maintain  contact  between  the  two  cymbals  as  you  follow  through  (see  the  top  right  picture  above).  Finally,  slide  the  cymbals  back  to  parallel.  This  will  form  an  air  pocket,  which  will  cease  the  sound  (in  this  case,  it’s  desired).  

                           

Chicks:  

   

Chicks  begin  with  the  cymbals  perpendicular  to  the  ground,  away  from  the  body.  Bring  the  cymbals  together,  with  the  right  cymbal  slightly  lower  than  the  right.  They  should  meet  directly  in  front  of  the  body.  This  sounds  similar  to  hi-­‐hats  on  a  drumset  being  closed  by  the  foot  pedal.    Muffling:    

            To  muffle,  bring  the  cymbals  against  the  body  to  cease  all  vibration.    Visuals:     The  visuals  used  by  the  cymbal  section  of  the  Marching  110  Drumline  are  unique  to  our  group,  and  involve  multiple  steps  to  execute.  A  live  demonstration  of  the  visuals  is  much  more  succinct  and  effective  in  relaying  proper  execution.  Videos  of  the  visuals  can  be  found  on  the  Marching  110  Drumline  Channel,  at  http://www.youtube.com/user/Marching110Drumline.                    

   

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

 

 Practice at all dynamics and tempi, from < 80 to > 180 bpm. Use your feet as an inaudible rhythm that is played in conjunction with the hands.  

 

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