drumline manual - utbands.com€¦ · dear percussion students: dr. andrew bliss ! ! a u g welcome...

DrumlineManual

Dear Percussion Students:

Dr. Andrew Bliss ! !

Welcome to the 2017 “Pride of the Southland” percussion section. This handbook will help you become familiar with some of your specific responsibilities as a member of this ensemble, and will serve as a resource during the remainder of the season.

The faculty and staff are eagerly anticipating the season and making plans to ensurethat this year’s Pride of the Southland Drumline is a fantastic experience for all involved. As questions arise, please do not hesitate to contact us. Working together, we will have a successful season, of which, we can all be proud.

Sincerely,

Assistant Professor of Percussion Coordinator, Pride of the Southland Drumline University of Tennessee School of Music [email protected]

Alexander SmithUniversity of Tennessee Bands Graduate Assistant [email protected]

Enclosed you will find a technical overview for our ensemble, as well as music for our “Three Camps” exercise program, cadences, pre-game music, and stand jams. It is expected that all of this music is memorized before you arrive to our summerpercussion camp, which will be held July 7-9th. Also, please be as familiar as you can with the material for our very first placement camp on May 6th.

Table of Contents1. General Techniques and Guidelines

2. Snare Technique

3. Tenor Technique

4. Bass Technique

5. Cymbal Technique

6. Exercises/Warmups

7. Cadences

8. Pre-Game Music

9. Stand Jams

General Technique and Guidelines

Stroke Types

In rudimental playing, there are four types of strokes. These are defined by the position of the stick before and after a note is played. Each of these strokes utilizes the wrist as the primary pivot point. Use the weight of your hand to produce a full, dark sound with each stroke.

The Full Stroke: Starts high and ends high. This stroke should allow the stick to rebound off the head and have it return to the point where the stick began. The full stroke should always be relaxed and smooth. The wrist should aid in the rebound of the stick, but be careful not to “whip” the stick back with the wrist. Think about the stick staying in constant/natural motion.

The Tap Stroke: Starts low and ends low. This stroke is similar to a full stroke in the fact that it returns to the point where the stick began. The difference is that there is very little rebound used.

The Down Stroke: Starts high and ends low. This stroke is restricted from rebound after striking the drumhead. Here the stick is stopped low, using a squeeze of the fingers / fulcrum, to accommodate subsequent tap strokes.

The Up Stroke: Starts low and ends high. This stroke is pulled away from the drumhead after striking it. These strokes are found when going from a tap stroke to a stroke that begins high (Full or Down).

The Height/ Dynamic Systempp ! - 1”p ! - 3”mp ! - 6”mf ! - 9”f! - 12”ff! - 15”

A dynamic marking such as this: f-p, simply means that accents will be played at forte (12”) while taps will be at piano (3”).

Sticks Out/Sticks InThe very first action of any piece of music or exercise is bringing the sticks out. Sticks in should be an exact reversal of the sticks out. Practice the two motions back to back to be sure that they are exact opposites in direction, but nothing else.

Both, sticks out and sticks in should be staccato in motion. In order to achieve this, start the initiation of motion close to the beat you will be ending the motion on. Therefore, sticks out should hit exactly 2 counts before you begin playing. Sticks in should create a “click” sound on the count after the last beat is played. Just as you set up to play the music, your sticks should be perfectly straight with all of the fingers in the correct places.

Do not underestimate the importance of sticks out and sticks in. They serve a large role in the quality of the music you are playing, and the controlled uniformity of technique we are striving for as an ensemble.

Snare TechniqueGrip

The Pride snare drum line will use traditional grip.

Playing Position

Bring your hands/arms up from your sides and position both sticks one finger width above the rim. Be sure that the sticks are parallel to the surface of the head, and form a symmetrical “V” shape with beads 1” apart and 1” from the playing surface.

Right Hand: The Bottom (palm) of the hand should be facing down and at a slight angle to match the tilt of the drum. (Imagine yourself placing an open hand right on the drum head. That is the angle the your hand should stay at while playing.) Also make be sure to create a straight line between the forearm and the knuckle of the index finger.

Left Hand:" The hand position should create a straight line from the elbow to the tip of the thumb. From a side perspective, the middle finger should be in line with the forearm or slightly angled upward depending on drum height. As you rotate, these straight lines must remain intact.

Tenor TechniqueGrip

The tenor mallet is held comfortably between the thumb and first finger. The mallet follows the natural inside crease of the hand and the remaining fingers are wrapped comfortably around the stick. There should be no daylight visible between the thumb and first fingers, ever. Playing position for both hands should be as low to the drums as possible, so that when at rest the mallets are parallel to the floor and the beads are one half inch above the surface of the drums. Arms should hang naturally down either side of your body. They should not be tight against the body, nor pushed out away from the body. Both of these scenarios create tension and thus reduce efficiency. Shoulders need to be low and relaxed at all times.

Playing Areas

Each mallet has its own zone on each drum; therefore there are two small zones on each drum. The zones are mapped out on the diagram below. The path of the right hand is straight between drums 3, 1, and 2, and then comes in toward the body as it reaches drum 4. The left hand mirrors this path by traveling straight between drums 4, 2, and 1, and then in to reach drum 3. It is extremely important that you practice around patterns SLOWLY at first, striving for accuracy, and then gradually working up the speed.

Motion

All strokes are vertical. Basic strokes must be mastered on one drum before one is to move around the drums. The forearms provide lateral movement around the drums. When playing a grouping of two, three, or even four notes that move around the drums, all notes must be played vertically. We do this for a number of reasons. The first one is that the technique in the hands does not need to change to move around the drums.

Everything should feel the same to your hands on one drum as it does around the drums. The second reason is that the sound will be different if the drum is hit at an angle. A slicing or sweeping motion will lessen both quality of sound and rebound of the drum. The last reason is that you are going to have less control of where the notes are being placed if the motion is not straight down into the drum. This causes bad playing areas as well as hitting lots of rims.

To master this approach one must create a separation of vertical and lateral motion. To best achieve this, the forearms must glide on an imaginary “glass surface” which rests about one inch off the surface of the drum. This imaginary surface is called the “Playing Plane.” Forearms should carry the wrist from drum to drum while the upper arms rotate around creating a “windshield wiper” motion that will naturally place the beads in the correct playing areas on each drum. Moving the upper arm while playing around patterns is discouraged.

Bass TechniqueGrip

The bass mallet is held comfortably between the thumb, middle finger, and ring finger. The index finger is resting on the stick with minimal pressure. The soft/fleshy part of the thumb should make contact with the mallet and should “point” to the head of the mallet (very similar to holding a golf club). There should be no visible daylight between the thumb and first finger, EVER! However, it is essential that no tension is created between the thumb and first-finger with the exception of high speed rolls and rudiments.

Begin with both arms hanging down by your sides with the thumbs on the top of the mallets and your hands by your legs. The mallets should point forward and down at a 45-degree angle. Next, bring your arms up (bending at the elbows) until the forearms are parallel to the ground. The position of the hand, wrist, and mallet should not

change. This playing position should feel very relaxed and natural. From this position, we will adjust the carrier and stand so the center of the bass head is lined up with the head of the mallet. It is important to adjust the drum to the player, not the player to the drum. Once the drum has been positioned to fit the player, bring your forearms in so they touch the bass drum rim. Memorize what part of your arm touches the rim so you will be able to always find the center of the bass head. The size of the drum will determine whether your forearm, wrist, or fingers make contact with the hoop.

In playing position, the mallets should be parallel to the drum head. Your arms should hang naturally on both sides of your body. The amount of space between your elbows and ribs depends on the size of your body frame. Your upper body needs to remain relaxed and free of tension at all times.

Timing

Good timing starts from the ground up. Quite literally, the feet are the most important asset to success in this competitive activity (regardless of the instrument played). It is important that the feet are the source of pulse and the hands “line up” with the feet, not the other way around. Having a good, strong sense of time in the feet may be the deciding factor in the audition process. Always practice with a metronome and moving your feet.

The evolution of tonal bass drums as an instrument and “split” parts require a new set of skills for the aspiring percussionist. Each player is responsible for his piece of the puzzle: lose a piece, and the puzzle makes no sense. Before this concept can be introduced, it is essential that all of the players in the bass line understand their individual part, how it relates to their feet, how their part relates to other parts, and have the same interpretation of the space between all the notes. Thus, grip and timing are prerequisite skills to having a bass line that can “flow.”

Cymbal TechniqueQuick Tips

•Always strive for good tone rather than a banging sound.

•Play with intensity, but don’t play beyond 80% of the cymbals’ volume capacity. Theoverplaying of cymbals produces unmusical sounds and damages cymbals.

•Visual projection and uniformity should always be a priority.

•Every technical transition (such as crash to hi-hat) is an opportunity for a visual effect.

Grip

The UT Cymbal line uses a modified “Garfield” Grip. This grip fits our demands since the weight of the cymbal is distributed over the entire surface of the palm. This grip is the most effective means of controlling the cymbals while at the same time reducing hand tension.

Step 1: Hold the cymbal in a vertical position and put the entire hand through the strap to the wrist.

Step 2: Turn the hand so the palm is facing away from the pad of the cymbal.

Step 3: Rotate the entire hand downward and turn the palm toward the cymbal until it touches the pad. The strap should rest at the base of the thumb and forefinger.

Note: The strap may have to be loosened if the grip is too tight. It is important to keep the fingertips off the surface of the cymbal in order to allow the instrument to vibrate freely.

Cymbal Rudiments

The cymbals have the opportunity to express a wide variety of sounds. The main cymbal rudiments used are:

Crash: Crashes are by far the most common cymbal rudiment. With the cymbals held in the vertical position, the cymbals move slightly away from each other, not away from the body. The bottom edges move first, followed by the top edges. This is known as the prep motion. As the cymbals move towards each other, the bottom edge (closest to the floor) should strike slightly before the top edge in a flam-like effect. Too open of a flam

will cause almost two distinct crashes, whereas too tight of a flam causes the crash to pop. Following the crash the cymbals move outward from each other and make the same motion as the prep, only not crashing. Following the rebound, the cymbals return to playing position.

Crash Choke: To play a choke, begin with the same prep and motion as a crash. Execute the correct crash, but instead of following through the rebound, the cymbals are pulled into the stomach or the shoulders. The key to playing a good choke is to allow the cymbals to ring long enough to produce enough sound, but to cut them off so they are shorter than crashes. When the cymbals are pulled into the body, it should be down with enough force to completely and immediately stop them from ringing.

Hi-Hat Choke: This effect is created by bracing one cymbal in a stationary position and playing the second cymbal against it in a "hinged" motion. The sound that is desired is a short, accented popping sound, similar to the hi-hat on a drum set. The cymbals can be held in a horizontal or vertical position, or cradled in one arm, similar to the way the Statue of Liberty holds her tablet. The two cymbals are normally aligned exactly, producing the choked sound by trapping much of the air between them. Offsetting the top cymbal a bit, allowing some of the air to vent, can create a louder effect.

Fusion Crash: Producing an open hi-hat sound, this is also referred to as a slide. The right cymbal will drive into the left, where the outer edge hits 1/2 way between the bell and the edge of the left cymbal. After the right cymbal slides up on the left, it is brought back straight into the body. Catching the air pocket inside of the cymbals stops the cymbal. The cymbals maintain contact at all times. The desired sound is a "sizzle then choke" effect.

Taps: Taps can be performed only in the vertical position. The right cymbal should be held slightly higher so that the bow is at a 90-degree angle to the edge of the left cymbal forming a ‘T’. By bending the right wrist the right cymbal should “tap” the left cymbal. Taps are generally soft in volume, and are used in split parts from player to player.

Zing: To produce a zing the cymbals must be in the vertical position. This position is similar to the tongs, except the cymbals are reversed. The right cymbal should be held slightly lower so that the edge is at a 90-degree angle to the bell of the left cymbal forming a ‘T’. To produce a zing scrape the edge of the right cymbal along the inside bow of the left cymbal from the bell to the edge. This is the softest sound produced on cymbals and is used to add color to the ensemble.

Wash: A wash is performed only in the vertical position. By rotating both wrists the edges of the cymbals should touch in a circular motion. This motion causes the cymbals to vibrate. The purpose of a wash is to sustain the cymbal sound for long periods of time.

Holding for Snares: Often times, the cymbal players will hold for the snares. Different songs require either a closed hi-hat effect or ride cymbal pattern. All of the different sounds will most likely be used to emulate the sounds of a drum set. For hi-hat effects, hold the cymbals horizontally, with the right hand over the left. Hold the cymbals slightly offset, to allow for more of a sizzle sound. When holding for cymbal ride, the cymbals can be held either over or under hand. Always hold the cymbals in a position as to allow the snare drummers to reach them easily without bending or stretching.

Cymbal Cleaning

Before each performance (after Friday rehearsals), cymbals should be polished to a high luster so that there is an absence of fingerprints on both sides of the cymbal. To make this easier, use gloves when handling the instruments during rehearsals. Polish the cymbals only with Zildjian cymbal polish provided by the band. If for some reason you are unable to polish your cymbals prior to a performance please ask another member to polish your cymbals and offer to polish theirs for the next week.

“The Three Camps” Exercise Program

History

The “Pride Of The Southland” Marching band is one of the oldest and most prestigious collegiate marching bands in the country. Formed shortly after the conclusion of the Civil War in 1869 the University of Tennessee band was made up of cadets from the university’s ROTC program. The band’s history is steeped in tradition, and the ensemble strives to keep both its traditions and reputation for excellence alive and well.

The University of Tennessee drumline is dedicated to upholding this standard that the “Pride Of The Southland” has established internationally. As a result, we have designed an exercise program unlike any other. The Three Camps is a traditional rudimental drumming pattern, found in Reveille, dating back to the pre-Civil War era. The Three Camps is the first section of the Reveille, also sometimes called The Points Of War, and is also performed as a compliment reserved only for a State Governor or the President of the United States. It is also beat when the regiments colors are returned, uncased to the Commandants Quarters. If the colors were cased, the compliment would not be played.

The Three Camps offers repetition in pattern and flexibility in composition. This made it a perfect beat to be reconstructed and arranged in multiple ways to meet our exercise program’s needs. In doing this, the drumline is paying homage to those who marched before us. We will continue honoring this lineage by incorporating more ancient drumming techniques, styles, and music into our 21st-century ensemble. The University of Tennessee drumline is committed to progressing the art of drumming, and in doing so, will create an identity of its own, one day matching the historic ensemble that we are so fortunate to be a part of.

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ãããã 8 128 128 128 12

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©University or Tennessee Drumline 2012

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q = 122

Latin Lover Brian Perez

Snare

Tenor

Bass

L

mp

RH - rimLH - rim knock

r r L r

r etc...

mf

rims

r L r

r l R l

r r l r

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4

SD

Ten

BD

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cresc RH only

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© 2006 Tapspace Publications LLC. Portland, Oregon. www.tapspace.com. All rights reserved. Unauthorized use of this file by anyone other than the purchased licensee in any format is strictly prohibited.

Use of this product constitutes your agreement with the included licensing terms.

10

SD

Ten

BD

L r L L r

L r L L

r L L r

L L R R

l R R l

R l R R

l R R l

R R L L

r L L r

L r l l

R l l R

L r l

etc...

R R r

l R l r

L r l R

r l R

R r

l r L

l r L R

r l R

R l r

L r L

R

R L

13

SD

Ten

BD

R l R R l

R l R R

l R R l

R R L L

r L L r

L r L L

r L L r

L L R R

l R R l

R l R R

l R R l

R R L

RR R r

l r L

l r L R

r l R

R r

l R l r

L r l R

r l RRR

R r

l r L

l r L R

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16

B

SD

Ten

BD

L r L L r

L L R l

RH flip to butt

l l

l l

p

LH - rimRH - butt on drum

B

B

B

B

B

R

mf

l R l l

R l R l

R l l R

l R l R

l R l l

R l R l

R l l R

l R l

r L r L r

L r l

mp

mf

play buzzes at half-way to rim

B5 always muffled



Latin Lover (continued...)2

19

SD

Ten

BD

R l R l l

R l R l

R l l R

l R R

f

l R

R

l R

R R R

R L R

mf

l R l l

R l R l

R l l R

l R l

3

22

SD

Ten

BD

l

RH flip back

l l R

fp

l

R l R l l

R l R l

R l l R

l R l R

l R l l

R l R l

R l l R

l R R

f

L R L R L R

L R L R

fp

l

p

C

25

SD

Ten

BD

R

ff

RH - rim

L

R

l r L R

l r L R

L

L R

etc...

ff

RH - rimLH - drums

ff




28

SD

Ten

BD

R

ll rr L R

ll rr L

31

SD

Ten

BD

R

f

mp

L

R

L

3 3 3 3

L R

f

ll rr ll

rr ll r

r l l r r l

l r r l l R

r l r l r

l l r

3 3 6 6

f

mp

p

LH muff

3 3

66

D

34

SD

Ten

BD

l

p

RH - rimLH - edge

r r l r

r etc...

R

mp

LH on rim

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37

E

SD

Ten

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l l r l r

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fR

l r

L

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l

L

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L R

R

r r l R

r r l Rl

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L r L R

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R l R l r

L r l

mp

L R

40

F

SD

Ten

BD

R r l

r

l R

L R L R L R

R r

L

mp

r l R

l r L

r

l R

l r

L

r l R

f

l R R l

R l R R

l R R l

R R L

6

r

r l l r

r l l r

r l l r

r l l r

r L r

r L R

r r L r

r L L

L r

L r l R

l r l r

L r l R

l r l R

f

R r

l r L

l r L R

r l

43

SD

Ten

BD

L r L L r

L r L L

r L L r

L L R R

l R R l

R l R R

l R R l

R R L L

r L L r

L r l l

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L r l

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l R l r

L r l R

r l

R r

l r L

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r l R

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L r L

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46

SD

Ten

BD

R l R R l

R l R R

l R R l

R R L L

r L L r

L r L L

r L L r

L L R R

l R R l

R l R R

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R r

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r l

R r

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49

SD

Ten

BD

L

B

mfr l

R

RH - drumLH - rim

rr ll R L

R L rr

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3

L

R l R l l

R l R l

R l l R

l R l R

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R R

R R

R

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shot mp

mf

buzzes at half-way to rim

52

SD

Ten

BD

R R

R R

R R

R R

fp

l l R l

l R

R R R

R R L R

R

R R

R R

R

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mf

3 3 3 3




55

SD

Ten

BD

R

fp

r

l r l r

l r l

R R

R R

R R

R R

R

R R

R R

R R

fp

r

r l r

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f

f

58

G

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Ten

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L r

l R l l

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ff

shot

L

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l r L R

L

L etc...

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ff

shot

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p

ff

61

SD

Ten

BD

r

r

r

r




63

SD

Ten

BD

R

ll rr L R

ll rr L R

L L

L

66

H

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Ten

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69

SD

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L R L R

L R

L R

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L

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L R L R

L R l rr

p

ll rr ll rr

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ff

4:3 4:3

R R

R

R

R

R L

fff

R L R

L R L

R L

R L R

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Snares

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LR

LR

RL

LR

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RR

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Bunco RulesC

adence for Marching Percussion

as played by the DC

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Th

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LR

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LR

LR

RL

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LR

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RR

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LR

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Bunco Rules - Page 2

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back stick

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rt hand-rim

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Bass Drums

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B.D.

12

‹^œ>œ>‹^œ>œ>œ>œ>œ>œ>œ>œ>œ>œ>œ œ

R L L R L L R L L R L L R R l l

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R L L R L L R

C

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Í

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R l R R R l R R R l R R R l R R

(edge)

œ! œ! œ! œ! ‹^

œ! œ! œ!

À>

À>

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>Å>

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f

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>

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L r r L r L L r

3

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3

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Ten.

B.D.

17

œ>œ œ>œ>œ>œ œ œ œ

>

fœ>œ>œ>œ>

R l R R R l l l R R R R L

to center

œ>œ>œ ‹^ œ! œ! ‹

^‹^‹^‹^‹^

L L r L R L R R L

3


œ>œ>œ>œ>œ>

œ œ

œ>

œ>œ>œ>œ œ>œ>œ>œ œ>œ>œ>œ œ>œ>

R R R R l R R R l R R R l R R

œ œ œ œ œ œ œ œ œ œ œ œŒ . J

œ>

‹

v Œ

R.H. above, L.H. below

3


‰

3


œ œœ 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>

Jœ>

‹v

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Rœ>‰ J

œ>

‹

v ‰ . R‹

v3

œœ>œœ>œœ>œœ>œ! œ! œ! œ!œ œ

“Drumming” Mantronik Maximum Drum Formula remix (Nonesuch 79552-2) ©1999 Nonesuch Records. Arranged by permission by Murray Gusseck, Tap Space Publications, Portland, OR. All rights reserved.

Double Beat 2004Murray Gusseck"Drumming" Mantronik Maximum Drum Formula remix (Nonesuch 79552-2) ©1999 Nonesuch Records.

Arranged by permission by Murray Gusseck, Tap Space Publications, Portland, OR. All rights reserved.

ã

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21

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B.D.

28

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∑

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∑

∑

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œetc.

Ó

3

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3

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f

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∑


3

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B.D.

33

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R l R R l l R l R R l R

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44

44

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B.D.

38

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l R R l R l R l R R l l

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«2

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«2

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.¿>

R l R R l l R l R R

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> œ>œ>œ>

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q. = q

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R L R L R R l l R l l R l l l

‹‹^

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R L R L R L R R

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Double Beat 2004 - Page 2


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43

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œ

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L

medium height doubles...

À>

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jœ>! œ

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>!

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‘

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R R l R l R R l R l R R l R R l

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R L L R L L R

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H

47

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3

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3


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>

fœ>œ>œ>œ>

R l R R R l l l R R R R L

to center

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^‹^‹^‹^

L L r L R L R L

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I

52

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R R R

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R L R R L L R L

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R R R

«2

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B.D.

57

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R R R

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l R l l l R R L R R

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R R R L

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>œ>œ>.œ>

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À>

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R L R L R L R L

Œ .jˆ ‰

jˆ ‰ œœ

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r‹^

R L R L R l R L

Ó Œ À>À>

J

œœ>

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>œ œ œ

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

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‘

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‘Solo Tenor

over the top...

‘



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ã

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Sn.

Ten.

B.D.

64

‘

‘

‘

‘

‘

‘

‘

‘

‘

œœ>

œœ>

œœ>

œœ>

œœ>

œœ>

œœ>

œœ>

œœ>

œœ>

‹‹^

œ œ œ œ œ œ œ œ ‹^

œ œ œ œ‹‹^

r r l l r r l l R l r r l

À>! À À À

>! À À

>‰

jÀ>



Adapted for the University of Tennessee, Knoxville drumline (Andy Bliss, director)from the military solo originally for the Hellcats - United States Military Academy, West Point, New York

© 2010 Tapspace Publications, LLC. Portland, OR. (ASCAP) All rights reserved.

CACHE 22 Jim Casella

SnareLine

TenorLine

BassLine

Cymbal Line

p fp ff R

q = 108

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

l r l R l r l R l r L L r l R l R l l R l l rr ll Rff

L Rf

L R L R L R L R L R L R L R L R

p fp ff

mpf

Snare

Tenors

Bass Dr

Cym.L

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

A

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

Rf

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

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

mf f

solo (add in players) +2 +3 +4 +5 +6

tutti

f

ping

solo

sizz HH cr. ch.

Optional: staggered duets (add 2 players each bar)

f

sizz (1 player) +1 +1 more tutti crash chokes

Snare

Tenors

Bass Dr

Cym.L

l R l r L R LL rr ll R l r L l R l r L R ll rr ll rr ll rr L R l R l r L R LL rr ll R L r r l l R l R l l l l R r r r L r R L r L r r L R L R L

1. 2.B

l R l r L R LL rr ll R l r L l R l r L R ll rr ll rr ll rr L R l R l r L R LL rr ll R L r r l l R L R l r l R L rr ll R L l R LL rr ll r L r r L r L r L r r L R L R L

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

f

Snare

Tenors

Bass Dr

Cym.L

B r B r L rlrlp

R r l Rf

L B r B r L rlrlp

r l r l r l r l r l r l r l r l r l r l Rf

L R R ll rr L rr ll R

C D

B r B r L Rf

l r r L rr l R L R L R L B r B r L r l r l r l r l r l r l r l r l r l r l Rf

L R L R R

p f pRf

L L R R R L

mp p f mp

RH twirl LHBS

sc

hh sizz/ suck hh sim cr

edge

half centeredge

gradually move to center

cr. HH cr. cr. choke

sizz suck

Cache 22 • Full Score • Page 2

Snare

Tenors

Bass Dr

Cym.L

R r l R R r l R r l R L r l RR ll r L R ll rr L rr ll Rfp

Lf

R R L rr ll R L R L rr ll R L R L rr ll R l r l R

E

r L r r l R l r L r r l R R r l R r L R r l R r l R R ll rr L rr ll Rfp

Lf

R L R l l R R l R l l R R l R l l R R L

R R L R l r L Rff

L Rff

L R L R L R L

f

Snare

Tenors

Bass Dr

Cym.L

R r l r l R r l r l

R r l r l R r l r l Lf

r L l l RR ll r L R L R l r l r L R r l R L R

F

R R R l r L L L rr l R ll r L R p f r L l l RR ll r L R L R l r l r L R r l R L R

R L R R p f R L l R L R r l R L R

f

player 2

3

3

sizzles

cr. ch.

Staggered entrances(visual: start w/arms up, end w/LH butt up)

Pl.2

Pl.4

Pl.6

Pl.8

Pl.1

Pl.3

Pl.5

Pl.7

Tutti LH BS(down)

RH twirl3

3

HHs

siz/suck


Snare

Tenors

Bass Dr

Cym.L

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

Lf

L L r l R L r r r r L r r L r r L r r L r r L rr ll R ll rr L r r L r r L r r L r r

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

ll R ll R L r L R l l l l R l l R l l R l l R l l R ll rr L rr ll R l l R l l R l l R

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

Snare

Tenors

Bass Dr

Cym.L

L L R R L L R Rf

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

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

G

L L R R L L R Rf

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

R L Rf

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

p f

3 6 3 3 3 3 3

3 6 3 3 3 3

3 3 3 3

tap chokes

cr.tap chokes

15:16x 5:3x 5:3x 5:3x 5:3x 5:3x 5:3x

15:16x

5:3x 5:3x 5:3x 6 6 6 3 5:3x 5:3x 5:3x

15:16x

3

cr. HHs cr HH cr


Snare

Tenors

Bass Dr

Cym.L

r l R L r l R l l R l l R l r r L r r L R R ll rr L R ll rr L R ll rr L R ll rr L R l r r L r l l R l r L R l r L R ll rr L rr ll R l r L r l R L R L rr ll R ll R R l r L r l R l r L

H

R L R L R R L R L R R R l r L R l r L R ll rr L rr ll R l r L r l R L R L rr ll R ll R R l r L r l R l r L

fR L r l R r L L r l R r LL r l R L R L L R RR R L R R

Snare

Tenors

Bass Dr

Cym.L

r l R l r L r r r L L R L R ll rr L R ll rr L R ll rr L R ll rr L Rmf

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

I

r l R l r L r r r L L R LL R L R L R R l r r l Rmf

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

L RR R L R L R L R R L mf

BS SC

6 6 6 3

cr cr HH Crunches sizz suck HH Crunches

6 6 6 6 6 6 6 6

3 6 6 6 6 6 6 6 6

(bottom bass = Forte)

3 3 3

cr cr HH


Snare

Tenors

Bass Dr

Cym.L

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

l r l r l r l Rf

R ll rr L R ll rr L R ll rr L R ll rr L R r r r L l l l R r r L l R r r

J

r r L r r L R l l r r L r r L R l l R L R L R L R l r r L r l l R l r r Lfp f

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

Lfp

r l r l r l r l Rf

Snare

Tenors

Bass Dr

Cym.L

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

ll rr L Rp

ll rr L Rmp

ll rr L Rmf

ll rr L Rf

ll rr L R L R l r L R l r L r L r l R L r l R L R Lff

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

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

ll rr L Rp

ll rr L Rmp

ll rr L Rmf

ll rr L Rf

ll rr L R L R l r L R l r L r L r l R L r l R L R Lff

R L R ll R ll R l r L

R L R R R L R L p f R L R ff L R r L R L

6 6 6 6 3

6 6 6 6

3

3 3 3

cr cr sizz/sucks

3 6 6

3 6 6

3 3

3

l.v. cr. cr. ch

ch


ãããã 4 24 24 24 2

........

Snareline

Tenorline

Bass D

rums

Cym

bal Line

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