IowaStateUniversity

DrumlinePacket

2018

1

FOREWORDOURMISSION

Individual improvement is the key to our success as an ensemble. One person does not make ourdrumlinegreat;everyonemustworktoachievegreatness.Asmembersofthisorganization,weobligateand challenge ourselves to improve our abilities as players. By striving to achieve nothing less thanpersonalexcellence,weensurethequalityofourensemble.OURPHILOSOPHY

TheIowaStateDrumlinehasthecrucialroleofprovidingasolidrhythmandtempotoanensembleinexcess of 340members. To do this, drumlinemembersmust individually play accurate rhythms andparts.There isno“hiding”one’splaying inthe line.Eachmember isexpectedtoequallycontributetotheoverallsoundofthe line.Thus, the line isabletoproducea fullqualitysoundwiththevolumetoprojectintoafullstadium.HOWTOUSETHISPACKET

Itisunadvisabletoattempttolearneverythinginthispacketinonesitting.Thepacketisgenerallysetup in theorderof the learningprocess, so it is logical tostartat thebeginningandwork throughthepacket. All the advanced concepts are fundamentally based upon the previous concepts, so anunderstandingofthecoreconceptsinthispacketisnecessaryforprogressionontoadvanceddrumming.Practicewithametronomeisrequired;thiswillpromoteaccuraterhythmsandtheabilitytoplaymuchmoreconsistentlyasan individual.Also,play in frontofamirrorandobservehowyourhandsmove.Makesureyouflowwhenyouplayandavoidawkward,jaggedmotionsthatlookorfeeluncomfortable.Feelthereboundanduseittoyouradvantage.Keepyourhandsrelaxedandfingersonthestick,turnyourwrists, andhit thedrumwith sufficientvelocity.Playwithconfidenceanddon’tbeafraid toaskquestions.Throughout the summer, the Iowa State Drumline will be hosting several clinics to facilitateimprovement among its currentmembers and potential newmembers. The dates and times can belocated on the drumline page of the website. These camps are valuable sources of information andinstruction regarding technique. It is highly recommended to attend some of these camps to get ahands-on look at technique. Technique is not something that can be learned overnight - it is a longprocess.Withenoughtimeandpractice,theconceptscoveredinthisbookwillbecomeafundamentalpartofyourdrumming.Goodluckandhappydrumming!Thefirstdraftof thispacketwaswrittenandcompiledbyBrettEbert,KelseyKnief,LukeSesker,DaveReid,andScottSzurek in2011.ThecurrentversionwasupdatedandcompiledbyLukeSeskerandTravisHattery in2018.Ourmissionistoeducateasmanystudentsaspossibleandtobetransparentwithourtechniqueandapproach.Theinformationisnotproprietary;pleasefeelfreetodistributethispacket.

2

TheIowaStateApproachAPPROACHINGTHEDRUM

Onegoodanalogyofthismotionisthe“policeknock”.Themotionofstrikingthedrumisthesameasaheavyknockonadoor.Inthismotion,thewristturnstoknockonthedoor,buttheweightofthearmis

used to apply more energy to the door and create a louder and more powerful knock. Using thisanalogy,placeadrumstickinyourhandandreplacethedoorwithadrumhead.Maintainrelaxationinthehandwhileplayingtopromotebetterresonanceandmorecomfortableplaying.Thestroke isawrist-initiatedmovement; thewristturndrivesthemotionofthestick.Whenturningthewristandstrikingthedrum,keepyourhandandarmrelaxed.Althoughthestrikingofthedrumisawristmovement,thearmshouldbeallowedtomovenaturally.Theweightofthearmisusedtodrivethestickintothehead,creatingafullersound.Oncethedrumhasbeenstruck,donotstopthemotionofthestick.Stayrelaxedandallowthenaturalreboundofthesticktodriveituptotheheightofthenextnote.Ineffect,youareonlydrivingthestickdown and the rebound from the head drives it back up. Your hand does not pull the stick up, butmerely follows the movement of the stick and directs its upward motion in the proper direction.Dependingonheightsandtempos,itmayseemasthoughthestickspendsthemajorityofitstimeintheuppositionasthestickgoesdownfast,comesupfast,andthenwaitsintheuppositionuntilthenextstoke.Thisisbecausevolumecomesfromvelocity.REBOUNDEDSTROKES

Reboundedstrokes (regardlessofheight) shouldbe themost fluid, relaxed,andcomfortablenotes toplay.Thestickisdrivendownbythewrist,strikesthehead,andthenthenaturalreboundofthestickdrivesthestickbackuptotheheightofthenextnote.Thehandstaysrelaxedthroughouttheentiremotion.The“policeknock”conceptappliestoreboundedstrokesatanyheight.Dependingonwhetherthenextstrokeisanotheraccentoratap,thestickiseitherallowedtoreboundfullyorisstoppedatalowerheighttoallowforatap.Ifthestickiskeptdownaftertheaccent,make

sure not to squeeze the implement to force a lower height; actively stay relaxed in the hand at alltimes.Do not assume playing lower means playing weakly.When playing taps, still play with a full and

powerfulsound, just froma lower initialheight.Theweightofthearmisusedtogivethetapaddedpowerandfullnessofsound.Whilethearmisusedtogiveafullsound,ensurethatthemovementofthestickismotivatedfromthewrist.DOUBLESTROKES

Double strokes require a slightly different approach depending on tempo. At slow tempos, a doublestroke consists of two individual wrist turns, one for each hit of the drum. As the tempo increases,graduallyapplymorepressuretothestickwithyourbackfingers.Thissmallapplicationofpressurewillallowthesticktoplaytwonotesfromonlyonewristmotion.Thetransitionfromindividualwristturns

toamoresingularstroke isagradualone,notatransitionataspecific tempo.Playingdoubleswithwristturn isamoreaccurateandpowerfulwayofplaying,sothismethodshouldbeusedasmuchaspossible.However,everyplayerwillreachapointwhereitisnolongerpossibletoplayeverynotefromanindividualwristturn.Practicewillallowyoutoincreasethetempoatwhichaccuratewristturnsareplayableandimproveyourabilitytoplayfullandpowerfulrolls.

3

Itisimportanttomaintainconsistencyamongthetwoindividualnotesinthedoublestroke.Eachdrum

strikeinthedoublestrokeshouldsoundequal.Doeverythingyoucantominimizeplacinganemphasisonthefirstnoteinthedouble.Withafewrareexceptions,theheightofdoublesandrollsshouldbelowenoughtoensurethefirstandsecondimpactofthedoubleisofequalheight,volume,andfullness.POSTUREANDMARKTIME

Anoften-overlookedelementindrummingisone’sposture.Goodposturehastwoimportantbenefits:itpromotes better playing andmarching, and it is aesthetically pleasing to the audience. Think of yourbodyas a seriesof pivotpoints: ankles, knees, hips, shoulders, andhead.All these points should bestackedvertically.

Whenstanding,yourweightshouldbeevenlydistributedthroughoutthebottomofyourfoot.Besureto keep your chin up and keep your eyes focused forwards. This promotes a confident, strongappearance.While maintaining good posture, actively stay relaxed in your shoulders, arms, and

hands. Avoiding excessive tension in the arms, shoulders, and backwill allow you to play better andmorecomfortablyforlongerperiodsoftime.Accurate internalization of tempo is critical to a drumline’s success. The whole bottom of the foot

leavesthegroundtogether,andthenreturnstothegroundtogether.Thefootstrikesthegroundonthedownbeat.Instandard4/4timesignatures,theleftfootstrikesthegroundonbeats1and3,whiletherightfootstrikesthegroundonbeats2and4.DYNAMICS

AtIowaState,weusetheclassic3”-intervalstickheightsystemtodefinedynamics.Itisimportantthateveryonewithoutexceptionapproachesthesedynamiclevelsthesameway.Ifeveryoneisnotplayingwith the samevelocityat thewrittendynamic level, thebalanceandblend fromplayer toplayerwillsufferalongwithclarity.Essentiallyallstrokeshavethesameintensity,whileincreasinganddecreasingthedistanceandspeedatwhichthemalletstrikes.Ourdynamiclevelsaredefinedasfollows:pp pianissimo ½inches gracenotes

p piano 3inches flattothedrumsurfacemp mezzopiano 6inches mid-waybetweenflatand45degreesmf mezzoforte 9inches 45degreeanglewiththedrumsurfacef forte 12inches mid-waybetween45degreesand90degreesff fortissimo 15inches 90degreeanglewiththedrumsurface

7

TenorDrumPlayingTechniqueGENERALAPPROACH

The general theory of how to strike a drummay seem complex, but once understood, it will comenaturally. Our technique is designed to produce a smooth, resonant sound; relaxation is a criticalconceptofour technique–atno timeshouldyou feel yourselfpurposely squeezingan implementortensing any muscles. The key to our technique is to maintain a high level of control over the

implementwhilebeingasrelaxedaspossible.Anyofthestrokesweplayshouldbea“beadfirst”motion,meaningagood,strongwristturnandnotleadingwith the arm.As higher heights are played,more armwill be incorporated naturally into thestroke,butthewristmotionmustbemaintained.MATCHEDGRIP

Whengraspingthestick,turnyourwristssothatthetopofyourhandisapproximatelyparalleltothedrumhead.Thisallowsyourwristtorotateandbendinamorenaturalmotion.Graspthestickfirmly

withinyourhand,butlooseenoughthatsomeonecouldgrabthestickoutofyourhandwithminimal

effort.Thestickshouldbefreetomove looselywithinyourhand.Thepadsofall fingersshouldbe incontactwiththeimplement.Thebackendofthestickstaysclosetothepalmduringthemotionasthewristdoestheworktodrivethestick,notthefingers.

Whileplaying,activelykeepthearmsandshouldersasrelaxedaspossible.Theangleofyourelbowswillvarydependingonwhatdrumsarebeingplayed,butingeneral,preventyourelbowsfromstickingoutwhilemaintainingrelaxationanda tension-freeupperbody.Thewristsshouldbeangledsothere isasmooth transition from forearm to hand, avoiding an awkward angle in thewrist. There should be aslightdownwardangleofthestickwhenplaying.

8

SETPOSITION

When standing at set, youwill have the sticks in andthey should be held thesame way as the normalgrip. The right stick will befurthest from your body.This way, when the sticksare brought out (to tacetposition), nothing in thegrip changes. At set, thesticksshouldbeparalleltothedrums.Iffullyextendeddownward,yourfingersshouldbeabletotouchthetopheadofthedrum.TACETPOSITION

This position is how youstand with the sticks out.The best way to start iswith sticks in your handsand letyourarmshangbyyour sides, relaxed. Makesure your shoulders arerelaxed anddownwith notension. Now bring thesticksuptothedrums:thebeadoftherightstickshouldberestingovertheDrum1playingzone;thebeadoftheleftstickshouldbe restingover theDrum2playing zone. Thebeadsofboth sticks should rest at½”above thedrumhead.Whenyouholdyoursticksout,theyshouldbeangledslightlydownward,withabouttwofingersworthofspacebetweenyourstickandtherim.

9

PLAYINGZONES

Thespockdrum/drumsshouldbeplayedinthecenterofthehead.Theplayingzonesfordrums1,2,3,and4areapproximately1½”fromtherim,directlyinthepositionwhichprovidesthebestcombinationofresonanceandcontactsound.Bothbeadsshouldalwaysplayanequaldistancefromtherim.AROUNDPATTERNS

Tenordrumsutilizetwotypesofmovements:VERTICALmovements,andLATERALmovements.When playing around patterns, you must not change your stroke technique from the previouslydiscussed technique.As youmove fromdrum todrum (Lateralmovement), the techniqueand strokeshouldnotbeaffected(Verticalmovement).Theterm“sweep”isusedwhenplayingadoublestroke(twonotesfromonewristmotion),butwheneachindividualnoteisonadifferentdrum.Aqualitydoublestrokemustbemaintainedduringasweeppattern.Duringthisdoublestroke,thearmismovedtoallowstrikingofadifferentdrum.Intheory,thedouble stroke and the armmotion are two independent functions, and they are aligned at the sametimetoproduceasweep.Duetothevariationindrumsizeacrossthedrums,whenchangingdrums,onemustapplymoreorlessenergytomaintainaconsistentsound.Forexample,whenmovingfromDrum2toDrum4,onemustapplymoreenergy to thestick toproducea full soundoutof thebigger4drum.Donotconfuse thiswithplayinghigher,louder,orfaster.Becausethereislesstensiononthelargerdrums,itisnecessarytoapplymorepowertoareboundedstroke.

8816ismeanttobea“stock”exercisethathastheoptionofapplyingthehand-to-handpatterntomanydifferentrudiments,rhythmsandstickings.While10variationsareincluded,manymorewillbetaughtthroughouttheseason,andappliedtothesamepatternof8/8/16.Youcanevengetcreativeandcomeupwithyourownvariations!Allvariationsshouldbeplayedatallheightsandawidevarietyoftempos.PlaythisexerciseVERYSLOW,aswellasveryfast.Thiswillhelpdevelopcontrol.Agreatpracticemethodistoplayonebeatbyitselfandmasterthetiming,andthenapplythe8816patterntogainagreateramountofconsistencyinapproachthroughrepetition.Utilizingametronomefortempocontrolandamirrorforself-critiqueofhandmotionandflowareabsolutelycritical.Individualrhythmicintegrityandtempomaintenanceareessentialforthesuccessofthedrumline.Bassdrumsshouldbepreparedtoisolateanyrhythmicpartialsofanyvariation.(i.e.onlyplayonthe“andof1”or“playontheup-beats”)AdditionalaroundpatternsforTenorsandsplitsforBasseswillbecreatedandtaughtthroughouttheseason.Cometocampspreparedtolearn!CymbalswillfindaguidetothestandardnotationutilizedbyIowaStateinthisexerciseaswell.Timingandconsistencyarecrucialtodevelopasyouisolateeachsound.HappyDrumming!

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