BMB Drumline Packet

Cymbal Notation Legato Crash (let ring) Crash Choke Hi-hat Sizz (open circle plus “z” marked on stems) Suck (plus sign) Taps / Tings (open) Taps (muted ) Zings / Scrapes Bass Drum Notation Top Bass will be sitting on top of the staff. Pending the size of the bass line, this may need to be altered. Unison Rim-click (always to be played at mf to help prolong the life of the mallets) Tenor Notation Spock 1 Spock 2 Drum 1 Drum 2 Drum 3 Drum 4 Rimshot Crossovers Skanks (rim shots that are immediately muted) Snare Notation Double Stop Rimshot Rim click Stick Click (off the head) Stick on Stick Backstick Sticking Sticking will be always written into the percussion scores of music composed / arranged by Dr. Jeffries. Stickings may be omitted from individual section parts due to the fast-paced nature of college marching band (e.g., parts written the day of a rehearsal, changes that need to be made ASAP). It is expected that students can refer to the score for sticking clarification / confirmation, but also be prepared to change them by using a pencil (if necessary). General Guidelines 1) Context / Vocabulary - Sticking can be inferred by the rhythmic phrasing / beaming. In the following example, six 16th notes beamed together are paradiddle-diddles, and the groups of four 16th notes are paradiddles. 2) Repetition - If a phrase is repeated, you can assume that the interpretation of sticking would be similar. If you see the word “etc.” or “sim.” assume that the repetition of the phrase is the same sticking. 3) Upper battery (snares and tenors) will usually have similar sticking to achieve a uniform interpretation and blended sound. Tenors – When looking at the percussion scores, refer to the sticking under the snare staff. In the event that the tenor part(s) / rounds require a different sticking, it will be indicated in your staff within the percussion score. 4) Basses - Assume that unisons will be played with a right hand lead unless otherwise marked. For those of you that play splits that lead into unisons, you may need to start asymmetrical rhythms (i.e., 8th or 16th triplets) with the left hand in order to end up on the right hand for the unison(s). Audition Materials To give yourself the best chance of earning a spot in the BMB Drumline, you need to be prepared. Look through the exercises and cadences carefully and consider learning more than one part, especially if you are auditioning for a bass drum spot. The cadences should be prepared at 120 bpm. The warm up exercises should be prepared at a range of tempi, from about 80 to 160 bpm. With the faster tempi, it is likely that the heights will need to be lowered, but we will define this more during the audition camp. The idea is that you show up to the audition with a clear understanding of the materials, can show good levels of control at a range of dynamics and tempi, and be a teachable person (receiving feedback and implementing adjustments). Warm Ups The warm up routine for the BMB Drumline is based on modularity. Most of the exercises are based in 8-measure segments that can all be performed simultaneously. For example, if the snares need to work on their accent taps, they will play “Bucks.” At the same time, if the tenors need to work on their double strokes, they can play “Hiccups” or the paradiddle exercise. The idea is that each section of the drumline can warm up on the same or on different exercises pending the needs at that time. Here are the warm ups for the 2024 season: 8s Bucks (accent-tap exercise) Hiccups (double beat exercise) Paradiddles McDiddlez Sam Rolls (triplet based) During our warm up routine, the instructional staff will communicate with you on what you will play (crescendo, decrescendo, Bucks, etc.). We will primarily use non-verbal communication (i.e., hand signals) to relay this information to you. All of this will be discussed during the audition camp as we explore each exercise. Cadences We currently have four cadences, and Dr. Jeffries will be composing a new one over the summer. Our cadence cycle is as follows: Tio Loco Bearkat Bounce Chow Mein Rumble* (two versions; one for us only, and one for the High School Band Day on 9/21) Score Snareline Tenorline Bass Drums Cymbal Line 8s ã 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ R . ã 44 . . . . . . L . . . . . . . R . . . . . . . . . . . . . œœœœœœœœ œœœœœœ œ œœœœœœœœ œœœœœœœœ œ œœœ œœ œœœœœ œ œœœ œ 4 œ œ œ œ œœ œœ œœ œ œ œ œœœ ã4 œ ã 44 ˙ Ó ˙ Ó ˙ Ó ∑ ã œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œ Œ Ó 5 S.Dr. L . . . . . . . R . . . . . . . L . . . . . . . . . . . . . . . R T. Dr. œ œœœœœœœœ œœœœœœœœ œœ œœœ œ œ Œ Ó ãœœœœ œœœ œ œ B. Dr. œœœ œœ œœœœœ œ œ œ œ œ œ œ œœ œœœœœ œ œœ S Œ Ó ãœœœ œœ 5 Cym. ã˙ . . Ó ˙ Ó ˙ Ó ∑ Variations: Snares - Off the Left Tenors - Off the Left Jungle Down / Up Outward / Inward Basses - 2s, 3s, 4s Off the Left Cymbals - Split 8ths (hi-hat) Split 8ths (sizz-suck) Tings (single / splits) ∑ Score Snareline Bucks >œ œ >œ œ >œ œ >œ œ >œ œ >œ œ >œ œ >œ œ >œ œ >œ œ œ >œ œ œ >œ œ >œ œ œ >œ œ œ 4 ã4 >œ >œ >œ >œ œ œ œ œ œ > œ œ > œ œ > œ œ œ > œ œ > œ 4 œ œ œ œ ã4 œ œ œ œ œ œ œ œ œ > > > > R . Tenorline Bass Drums Cymbal Line . . . . . . L . . . . . . . R . . . . . . . . . . . . . > > > > > > > > > > > > > > 4 S S S S S S S S S S S S S S S S S S S S S S S S S SSSSSSS ã4 R . . . . . . . L . . . . . . . R . . . . . . . L . . . . . . . ã 44 x x x x x x x x R . . . . . . . . . . . . . . >œ œ >œ œ >œ œ >œ œ >œ œ >œ œ >œ œ >œ œ >œ œ >œ œ œ >œ œ œ >œ œ >œ œ œ >œ œ œ >œ Œ Ó ã >œ >œ >œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó ã œ œ œ œ œ œ œ œ œ œ œ œ œ > > > > > > > > > > L . . . . . . . T. Dr. B. Dr. L . . . . . . . . . . . . . . . R > > > > > > > > > > > > > > > S S S S S S S S S S S S S S S S S S S S S S S S S SSSSSSS S Œ Ó ã 5 Cym. R . . . . . . . L . . . . . . . R . . . . . . . L . . . . . . . R . . . . . . . ãx x x x x x x x . . o> .+ . >.o .+ . . . >.o .+ . >.o .+ . Œ œœ‰œœ‰ Œ œœ‰œœ‰ z zJ J z zJ J R . 5 S.Dr. . . L . . . . . . . . . . . . . . . R o> + >o + . . >.o .+ . >.o .+ . R ¨ Œ œœ‰œœ‰ Œ œœ‰œœ‰ œ‰Œ Ó z zJ J z zJ J J L . . . . . . . Hiccups >œ œ >œ œ œ >œ œ œ >œ 4 ≈ ã4 Snareline >œ œ œ œ œ 4 ≈ ã4 R Tenorline . > 4 ã4 S . . . . . . Bass Drums Cymbal Line . . . . . œ œœ≈œœ > . . . . . œ œ >œ œ œ . . >œ . > > > S S ≈ S. J R R R o> +R R o> + R ã 44 ‰ zxJ xJ ‰ ‰ zxJ xJ ‰ R > >. SS . œ œ ≈ >œ ≈ œ œ . . > S y +l > x >œ œ œ œ œ ≈ ã œ œ œ ≈ œ œ >œ > T. Dr. > ãS L B. Dr. . > >. SS . . . . . . . > > >. S S ≈S J L L L L L o + > + x ‰ ‰ x x ‰ zJ J J . . . . . >o ã ‰ zxJ L 3 Cym. . . . . . . . . . y +r > x . . œ > S . +L > x . . > S l R . + > ≈x . œ > . . > S r L + > ≈ x . . . œ >œ . . . . . . . œ œ œ ≈ >œ y . . . œ œ . . œœœœœœœœœœœœ + r > x Œ . . > > > >. SS S≈S J + R R R + R+ > > > x Œ x x . hi-hat . >œ >œ ≈ œœ œœ . y . +R > x >œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ ≈ ≈ ≈ ã L . . 3 S.Dr. >œ . œ . sizz suck . + > x . œ œ >œ . . . œœœœ + > x l r l . . . . . . . . . . . . Hiccups 2 >œ œ œ œ œ ≈ ã >œ 5 S.Dr. >œ œ ã R T. Dr. . R B. Dr. . . > ‰ œ ã J r crash . . œ œ ≈ > S . R r . . S S ‰ Œ 5 Cym. . . ãS S r >œ . r >œ . . œ >œ . . . . S S > S r r R . . . œ œ . . y J > œ J l ‰ >œ œ œ ≈ œ œ Œ >œ œ œ . . . >œ œ œ ≈ >œ œ œ >œ . . ≈ œ œ . S S ‰ > œ J r ‰ r . . . œ . . . y J S > œ >œ œ œ œ œ >œ œ œ œ œ >œ œ >œ œ œ >œ œ œ >œ ≈ ≈ ≈ ã L T. Dr. >œ . . . . . . . œ œ >œ œ œ >œ S > S S S r R r >œ > ≈œœ œ œ œ œœ œ > . . . . . . . . . ¨ ‰ œ ã J Œ l l L crash choke . . . . l l . . ¨ ‰ œ Œ J r l . . l L œ. P . . . . . . . . . . R l l R r r R r r R r r R r r crash œ. œ. œ. œ f R Œ Œ Ó Œ Ó Œ Ó ¨ œ‰ Œ Ó J R . . > > >œœ>œ >œœ>œ > S œS S œ S ãS S S SS‰ y S S S SSS . 7 Cym. . ã œ œ œ œœ≈ > > L B. Dr. . . . . . >œ œ œ . . r 7 S.Dr. . œ l Œ . . r Paradiddles Upper Battery Bass Drums                         R r L l sim. .             3 Uppers B. Dr.                     5 Uppers B. Dr.          .                             .   R l r L    r r    R l r    etc.    L l l    L l       R r r l    etc.   R       . . .       r r L   . .       l l                                    7 Uppers                                  R l r r L r l l etc. B. Dr. Tenor Variations (Accent/Taps/Accent): 1/2/4 3/1/2 Accents on 3&4, taps on 1&2 Accents on 1&2, taps on 3&4 Cymbals: We will pull from other warm ups, and make variations on the fly. Snares: Be able to play this exercise starting off the left Top 2 basses: Learn the upper battery part also