PHS 2012 Battery Percussion Technique Development Program

There is a direct relationship between our level of achievement and the importance we put on the details outlined in this packet. We must all learn and apply these techniques. This is our first step toward achieving a uniform approach and sound. Everyone must apply these techniques so that we can achieve the level of greatness to which we aspire. Preparation is the key to greatness and the techniques in this packet are what you need to prepare. The second step is applying these techniques to the exercise packet. You must be able to play the exercises with perfect rhythmic accuracy and in time with a metronome. The sooner you memorize the exercises and apply these techniques to them, the more time we will have to clean and solidify the technique of the line and the better we will become because we had more time. These are EXERCISES. They are designed to develop your technique and make you a stronger player. The more time every individual puts in at home on playing these exercises (with the defined technique), the stronger every individual in the line will be and the stronger the line will be because of it. Ask yourself how much time and effort you think it takes to be exceptional and put in more than that. Refuse to be average. The third step is applying the exercises to the show music. Once again, the sooner we all apply the same technique to the music, the longer it gives us to achieve perfect clarity, and the better we will be when we hit the competition field. We must understand and apply absolutely everything in this packet. We will succeed if everyone puts forth the time and effort to do this. Your previous (or future) instructors may do one or two things a bit differently than described in this packet. Just remember that there is more than one way to skin a cat. We all must adopt one uniform approach to achieve our goals and to look like a professional group. If you have a fire and energy that makes you want to be better than the others out there, direct that energy towards perfecting and applying these techniques. It is in these details that we will find success. Our mission is not for people to look at our drumline and say “that’s a great drumline for a high school” or, “for Class A”, but to make them say “that’s a great drumline” PERIOD. Over the years, I have received this type of packet from many different percussion instructors. This packet is a compilation of the best of these packets but special thanks must go to one of my all-time favorite instructors, Jeff Shipman, for a good portion of this version.

Responsibilities of All Members • Everyone is responsible for taking care of their own equipment, mallets, and music. If something is loose, tighten it. If something is broken, fix it. If you can’t or don’t know how, ask someone. • Learn your music and drill. If you don't understand how to play a certain rhythm, please ask for help. Dot books will be required of all members. • Be ready to begin rehearsals. This means you need to get to rehearsal early enough to be ready with your equipment and music. We should be "set" at the starting time. • Set is similar to "Attention,” but it also means to get where you are supposed to be to begin, then fall in at attention. • When we stop playing, we are still set. Two rim clicks means "relax". If we put our equipment down, we stay in our spots and put our right hand over left. • Please do not play in between reps. If you section is not getting instruction, it makes it very difficult for those who are to hear the instructor. It is acceptable to bring a pad that you can put on your drum in those situations. • You are responsible for keeping your sticks taped. Please use white electrical tape and only tape from around 1 inch before the fulcrum to the bead of the stick. Also tape approximately the last 3 inches on the butt end of the stick. Do not tape where the hands contact the stick. Checklist for Good Drumlines Look like a professional at all times – Be sure your drums are lined up when they are off. Stack cases up neatly when not in use. We move as a group unless otherwise instructed. Posture – Stand up straight and tall. Heels together, toes apart. The toes come together as we begin to mark time and open again as we come to a halt. Grip – Refer to the grip section of this packet and be relentless about maintaining the proper grip. This is the foundation of our look and sound. Set Position – If we are starting in the middle of a phrase, start with your sticks out. If we are starting at the beginning, sticks start in. Relax – Relaxation is the key to proper drumming. Frustration is your biggest enemy. If a passage is giving you trouble, don’t get angry. Stop. Take a deep breath, relax, and try again. Play the part as slowly as you need to in order to play it with quality and work your way up to speed. Trying to play at a tempo that is beyond what your hands are physically capable of is like beating your head against a wall and is counter-productive. Basses – Play in the middle of the head. Notice where your wrists are in relation to the drum lugs when your mallet is in the center. Tacet Hand – if one hand is not playing at any given time, it must stay in playing position and not “wander” around the drum. Stick Heights – Know what the height of every single note of every piece of music or exercise is supposed to be. Listen In – Playing cleanly requires constant listening. As an ensemble, you should know who you are listening to in order to lock in. Which section of the battery is the pulse center will vary based on the type of passage being played and our location on the field. Most of the time, the Field Ensemble will NOT listen to the Front Ensemble. Use your feet first – When we are playing with a metronome, putting your feet in time with the met is the top priority. Put your hands in time with the tempo your feet establish, not the other way around. Make sure that you are placing your notes that are on counts 1,2,3,4 at the exact moment the foot contacts the ground. Our precision starts with our feet.

Right hand grip

1. Place the stick/mallet between the first and second knuckle of your first finger. The ‘pad’ of your thumb is directly opposite your first finger. This is your fulcrum, the point where the stick rotates. There should not be any space between your thumb and your palm. Do not pinch with the finger tip (or distal bone), but with the section in between the two knuckles. Wrap the tip of the first finger to the stick so that it does not point out from the stick. This is the most important part of the grip.

2. Place the pads of your other 3 fingers on the stick. This will create a gap between your “back fingers” and the stick. The butt of the stick should line up with the large crease in the center of your palm. If you’re into palmistry, this is called the life line.

a. For bass drum, the butt of the stick should line up with the large crease on the side of your palm. This is called the heart line.

3. There should be very little pressure, and no tension to your grip 4. When you approach the drum, turn your wrist so the back of your hand is facing almost

straight up. The stick should be parallel to your forearm if you’re looking from the side. If you are looking from the top down, there should be a slight angle towards the center of the head. There should be a slight angle of elevation of your hand in relation to the drum head. In other words, the butt of the stick should be higher than the bead of the stick.

a. For bass drum, there should be a 45 degree angle between the line your forearm makes and the mallet. The forearm should be parallel to the ground.

Left hand grip - Snares 1. Making sure that your hand is maintaining its natural curvature, place the stick in the webbing

between the first finger and thumb. This is the Fulcrum. Hold the stick in the Fulcrum 4 ½ inches from the butt.

2. The thumb pad makes contact with the fist finger at the middle bone of the first finger (the

part of the finger between the two knuckles closest to the finger tip). This contact point will be on top of the stick. The thumb should be relaxed and straight. There should be no curve in the thumb (no hitch hikers please).

3. The middle finger will follow the natural curvature of the first finger and sit on top of the stick 4. The stick will rest on the ring finger at the base of the finger nail cuticle. 5. The pinkie finger will follow the natural curvature of the ring finger and will sit directly below

the ring finger. There are no gaps between the ring and pinkie finger. 6. The shape of the left hand should create an open cup. The tips of the fingers should never

touch the palm, closing this cup. 7. There should be very little pressure, and no tension to your grip.

Set Position Simply put, set position is the position that we find ourselves in when our sticks are together in both hands. The following is a list we must all adhere to in order to insure the uniformity of our set position.

1. Make sure that the sticks are parallel to the rim of the drum so that the sticks are not leaning from left to right.

2. Make sure that the beads and butts of the sticks are aligned.

3. Make sure that the right stick is directly in front of the left stick (not rolled forward).

4. The right hand will maintain the defined grip, but the left stick fits between the right stick, and right thumb.

5. Make sure that the right thumb is directly behind, and in line with, the left stick (not wrapped under the sticks).

6. Make sure that all the fingers of the right hand wrap under and make contact with the sticks.

7. Make sure that the back of the right hand is facing directly upward (not rolled in any direction).

8. Make sure that there is no angle in the either wrist in any direction.

9. Make sure there is enough space between your body and your arm to put a softball in your right armpit. The right arm will assume an aggressive position and angle.

10. The left hand maintains the defined grip, and the right stick fits in front of the left stick in the left hand.

11. Make sure that the first and middle finger of the left hand curve and wrap over the right stick.

12. Make sure that in the left hand, the thumb maintains contact with the first finger. The thumb pad will touch the first finger at the last knuckle (the knuckle between the middle and distal bones of the first phalange). The thumb is closer to the finger tip than in the defined left hand grip position in order for the right stick to fit.

13. Make sure that the knuckle at the base of the left pinkie finger touches the rim of the drum at 7:00.

14. Make sure that the palm or “cup” of the left hand is facing the right hand, and not upward towards your face.

15. Make sure that your left shoulder is relaxed. Your left humorous will hang comfortably.

16. Once you go to set there is no extraneous movement thereafter. We will not fidget or re-grip the sticks when set.

Playing position Playing position is the uniform position that we will assume when the sticks are out and ready to play, but this is not a resting position. This is the position that your hands should be in while you are playing. It is very important that everyone understand that every time you strike the drumhead, for an instant, this is the position that hand will be in. We cannot play together or with the same sound if we strike the drum from different positions. To ensure uniformity of sound and approach we must all make sure:

1. The sticks will make a 90 degree angle. This angle will be centered on your body so that each stick makes a 45 degree angle from the center of your body.

2. The beads will be ¼ of an inch from the drumhead (a pinkie width) and ¼ of an inch from

each other directly in the center of the head.

3. The angle of incline of the stick will be approximately 22 ½ degrees, which we measure by placing 2 fingers between the stick and the rim of the drum. This angle will ensure playing on the meaty part of the bead for the best sound production.

4. Make sure to maintain the right hand grip as previously defined.

5. Rotate the right arm ¼ turn so that the thumb pad is not directly on the side of the stick,

nor on top of the stick, but directly between the two. This allows for more finger usage, creating a fuller sound.

6. There is no bend in the right wrist in any direction.

7. The tip of the bead to the tip of your right elbow will very nearly be a straight line.

8. There will be a significant open space between your body and your right arm.

9. Maintain the left hand Grip as previously defined.

10. The “cup” of the left hand is facing directly to the right so that the thumb and first finger

are directly on top of the stick.

11. There is no bend in the left wrist in any direction. The left thumb should run directly in line with the Radius bone in your left arm.

12. The left shoulder should stay relaxed allowing your left arm to hang. There will not be a

significant amount of space between your left arm and your body. Do not pinch the left arm to your body, but let it hang.

13. The hands should be directly across from one another.

14. There is no fidgeting at playing position. The sticks will snap out with confidence creating

an overwhelming presence of greatness.

Legato stroke Legato is an Italian word meaning long. For musical purposes, Legato means “smooth and connected” or “without breaks between notes”. Make sure to use a continuous and efficient motion when playing legato. Allowing the stick to rebound is absolutely the key to this technique. Right hand

1. All motion starts from the bead of the stick, and the hand and arm will follow that motion. Turn the wrist up, lifting the bead and making sure not to whip the motion. Do not lift the arm first and then start to turn the wrist.

2. Once the stick is at a 45 degree angle the arm will start to follow, and the wrist will

continue to turn until the stick is vertical (or until it has reached the desired height for that particular exercise).

3. The higher the stick rises above the drum head, the more space you will allow to open up

between the stick and the palm of the hand. The finger tips, or pads, stay in contact with the stick AT ALL TIMES.

a. For bass drum, the wrist turn is slightly different. Think of turning a door knob,

but allow your forearm to move slightly, or think of using a paper fan on a hot day.

4. Once the stick has achieved the intended height, the stick is thrown back down. This is

done by pulling with the back fingers, turning the wrist and pushing down with the forearm all in tandem. Make sure to play through the drumhead, not just to it. Think about aiming for a spot that is 2 inches below the actual drum head.

5. It is very important that on the point of contact between the stick and the drumhead, the

hand must be totally relaxed, allowing the stick to rebound back up. At slower tempos the stick will hang at vertical before being thrown back down. Make sure that on the point of contact the set position is achieved.

6. The pads of the middle, ring, and pinkie finger will maintain contact with the stick at all

times during this motion. Upon point of impact, the fingers must be relaxed. The space between the stick and the palm will open as the stick rebounds from impact. When the stick is thrown back into the head you will close that space by pulling with the back fingers.

7. When the stick rebounds, the right wrist and arm will follow the same continuous motion

that it initiated.

8. In order to ensure that your motion is efficient as possible, the path of the stick must be straight up and down into the drumhead. Also, the stick must rotate directly over itself when rebounding from the head. Make sure that the stick is cutting one plane, and that the motion is not slicing.

(Legato Stroke Continued) - Left hand - Snares

1. Once again, all motion must start from the bead. Make sure to move the bead first, and everything else follows.

2. The motion of the bead is initiated by the rotation of the wrist. Make sure that you do not

lift your arm first.

3. Once the stick is at a 45 degree angle, allow the left arm to follow the motion. The wrist will continue to rotate until the stick is vertical (or until it has reached the desired height for that particular exercise).

4. Once the sick has achieved the intended height, the stick is thrown back down by rotating

the wrist back to playing position. This is done with as much velocity as possible.

5. It is very important that on the point of contact between the stick and the drumhead, the hand must be totally relaxed, allowing the rebound of the stick to rotate the wrist back to vertical. At slower tempos the stick will hang at vertical before being thrown back down. Make sure that on the point of contact the set position is achieved.

6. In order to ensure that your motion is efficient as possible, the path of the stick must be

straight up and down into the drumhead. Also, the stick must rotate directly over itself when rebounding from the head. Make sure that the stick is cutting one plane, and that the motion is not slicing.

Staccato Stroke In a word, staccato means disconnected. Musically speaking it is the absolute opposite of legato. For us, the difference between a staccato and a legato stroke is that a legato stroke rebounds, and a staccato stroke does not. Every thing about the initiation of the stroke itself is the same as the legato stroke. Upon point of impact of a staccato stroke, you will not let the stick kick your back fingers open. For snare drums left hands, your wrist will not allow the rebound of the stick to kick it back up. Your hand will stay in set position, and will not rebound. Marcato Stroke The marcato stroke is a more controlled legato stroke. This is the type of stroke we use when we play the check of a roll. When playing marcato, the stick does not stop down as it would in staccato, and adversely, the stick does not rebound out of the head with the same amount of velocity as it would if the stroke were legato. Marcato stroke is exactly between legato and staccato. It is very important that the marcato stroke is into the head, and rebounds out, but instead of letting the rebound kick the hand out, the rebound is more controlled and drawn out from the head.

Height system The height system that we use is defined in this manner. Be aware that although we say “inches” it’s really just a naming system and not actual measurements.

• 3 inches - The wrist will turn or rotate from playing position up to where the stick is flat and level with the drumhead.

• 6 inches - From playing position, the wrist will turn or rotate 30 degrees or 1/3 of the way between level and vertical.

• 9 inches - From playing position the wrist will turn or rotate 60 degrees or 2/3 of the way between level and vertical.

• 12 inches - Vertical- Full wrist turn and rotation. The sticks will be totally vertical. Although it is unacceptable for the right hand to go beyond vertical, it is accepted and enjoyed for the left stick to rotate past vertical.

Sound Production Everything that you do when you play can affect your quality of sound. From where you grip the stick, and making sure that you do not squeeze the stick, to your playing position and making sure that your angle of incline is perfect so that you are playing on the correct part of the bead influences your performance visually and audibly. Make sure everything mentioned so far is perfect. Beyond everything that has been mentioned so far, a very important ingredient to sound production is velocity. With more velocity into the head from the stick comes a more full sound. This is very important. When the stick is thrown into the drumhead it must be done with a high velocity in order to create a full sound. On point of impact the hand must be relaxed on the stick so that the rebound and the ring of the stick are not hindered. Work to achieve an even quality of sound between both hands by working on the weaker hand. Do not be afraid to work on both hands simultaneously in order to work playing clean with yourself. Application of techniques to exercises Legatos - Make sure that you use a legato stroke when playing his exercise. Allowing the stick to rebound is absolutely the key to this technique. Every note is legato, with the exception of the last note of each phrase, which is staccato. Double Beat - is also a legato exercise. Make sure that every double beat is 2 notes of equal height and strength, and every triple beat is 3 notes of equal height and strength. All the notes in this exercise are legato, with the exception of the last note before every hand change, which is staccato. Accent / Tap - is a Staccato to legato exercise. The Accents are staccato, and the tap notes are legato. The exception is where there are two or more accents in a row. In this case the first (and second) accent is legato and the last is staccato. Make sure that every inner beat sounds and is played the same. Make sure that the first tap note after every accent is the correct height and volume. Make sure to check yourself for perfect rhythmic accuracy and height. Triplet Diddle - The hand motion for this exercise is a Marcato stroke and the diddles will be legato. Make sure that every diddle is perfectly rhythmically accurate and open. Make sure to play into the head and allow the diddles to rebound.

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Legatos - PHS 2012

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Height and Tempo Guide-12 inches from 80 bpm to 180 bpm- 9 inches up to 190 bpm- 6 inches up to 200 bpm- 3 inches up to 220 bpm

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Height and Tempo Guide- 12 inches from 80bpm to 130bpm- 9 inches up to 140bpm- 6 inches up to 160bpm

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Accent / Tap - PHS 2012

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Height and Tempo Guide12/3 from 70 to 140bpm9/3 from 120 to 160 bpm6/3 from 140 to 180 bpm.

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NR R R R R R R R R R R R R R R R R R R R L L L L L L L L L L L L L L L L L L L L

N

NR R R R R R R R R R R R R R R R R R R L L L L L L L L L L L L L L L L L L L R

N

This is a Staccato to legato exercise. The Accents are staccato, and the tap notes are legato. The exception is where there are two or more accents in a row. In this case, the first (and second) accent is legato and the last is staccato. Make sure that every inner beat sounds and is played the same. Make sure that the first tap note after every accent is the correct height and volume. Make sure to check yourself for perfect rhythmic accuracy and height.

Height and Tempo Guide12/3 from 70 to 140bpm9/3 from 120 to 160 bpm6/3 from 140 to 180 bpm.

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

2M = 2M� 4 2M = 2M� 4 2M 2M 2M = 2M� 4 2M = 2M� 4 2M 2M

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

= 2M� 4 2M 2M 4 2M = 2M� 2

M 2M = 2M� 4 2M2M 4 2M = 2

M� 2M 2M

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 555 5 5 5 555 5 5 5 555 5 4 ?

4 2M 2M 4 2M 2

M 2M = 2M� 2M2M 4 4 2M 2

M 4 2M 2M 2M = 2M� 2M 2

M 4 2M 4 ?

2

ã 812 œ>

œ œ œ>

œ œ œ>

œ œ œ œ œR R R R R R L L L L L L

œ>

œ œ œ>

œ œ œ>

œ œ œ œ œR R R R R R L L L L L L

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œ œ œ>

œ œ œ>

œ œR R R R R R L L L L L L

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œ œ œ>

œ œR R R R R R L L L L L L

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œ œR R R R R R L L L L L L

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œ œR R R R R R L L L L L L

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

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œ œR R R R R R L L L L L L

œ>

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

Drum 1 Accents Out Drum 2 Accents Out

Drum 1 Accents In Drum 2 Accents In

Quad Variations for Accent Tap - PHS 2012

Suburban Reverse Suburban

Urban Reverse Urban

Jungle - D1 in/D2 in Combo Reverse Jungle - D1 out/D2 out Combo

1

21

21

2

Snare

Tenor

MarchingBass Drum

R R R

S

T

B. D.

4

R L L L

S

T

B. D.

7

N

Triplet Diddle - PHS 2012

NN

NNN

NNN

Bass drums should be able to play the snare line as well as the split bass part

The hand motion for this exercise is a Marcato stroke, and the diddles will be legato. Make sure that every diddle is perfectly rhythmically accurate and open. Make sure to play into the head, and allow the diddles to rebound.

Height and Tempo Guide12 inches from 80 bpm to 130bpm9 inches from 120 bpm to 140 bpm6 inches from120 bpm to 160 bpm3 inches from 120bpm to 180 bpm

5 5 5 5 5 5 M5 5 5 M5 5 5 5 5 5 5 5 5 5 M5 5 5 M5 5 5 5 5 5 5 5 M5 M5 5 M5 M5 55 5 5 5 5 5

M5 5 5 M5 5 5 5 5 5 5 5 5 5 M5 5 5 M5 5 5 5 5 5 5 5M5 M5 5 M5 M5 5

5 5 5 5 5 5 M5 5 5 M5 5 5 5 5 5 5 5 5 5 M5 5 5 M5 5 5 5 5 5 5 5 55555

55555

55555

5 5 5 5 5 5 5 M5 M5 5 M5 M5 5 5 5 5 5 5 M5 M5 M5 M5 M5 M5 5 5 5 5 5 5 5 M5 M5 M5 M5 M55 5 5 5 5 5 5 M5 M5 5 M5 M5 5 5 5 5 5 5

M5 M5 M5 M5 M5 M5 5 5 5 5 5 5 5M5 M5 M5 M5 M5

5 5 5 5 5 5 5555555555 = 5555

5� = 55555�

555555555555555555555555555555 555555555555 5555

55555555555555555555555555555555555555

5 5 5 5 5 5 5 5 5 5 5 5 5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M55 5 5 5 5 5 5 5 5 5 5 5 5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M55 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

5 5 5 5 5 5 5 5 5 5 5 5

1

21

21

21

2

S

T

B. D.

9

S

T

B. D.

11

S

T

B. D.

13

S

T

B. D.

15

NPart 2 - 8 and 25

NN

NNN

NNN

NNN

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 55 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

555555555555555555555555555555555555555555555555555555555555

555555555555555555555555555555555555555555555555555555555555

5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M55 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M55 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

5 5 5 5 5 5 5 5 5 5 5 5

M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M55 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

5 5 5 5 5 5 5 5 5 5 5 5

M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 5 : 4 = 4 = 4 =M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 M5 5 : 4 = 4 = 4 =5 5 5 5 5 5 5 5 5 5 5 5 555555555555

555555555555 5 : 4 = 4 = 4 =

2

÷ 812 œ> œ œ œ> œ œ œ> œ œ œ> œ œR L R L

œ œ> œ œ œ> œ œ œ> œ œ œ> œL R L R

œ œ œ> œ œ œ> œ œ œ> œ œ œ>R L R L

÷4 œ> œ œ œ> œ œ œ œ> œ œ œ> œR L L R

œ œ œ> œ œ œ> œ> œ œ œ> œ œR L R L

œ œ> œ œ œ> œ œ œ œ> œ œ œ>L R R L

÷ c7 œ> œ œ œ œ> œ œ œ œ> œ> œ œR R R L

œ œ> œ œ œ œ> œ> œ œ œ œ> œL L R R

œ œ œ> œ> œ œ œ œ> œ œ œ œ>R L L L

.œ> Œ ‰ Œ ‰ Œ ‰R

÷ c11 œ> œ œ œ œ> œ œ œ œ> œ œ œ œ> œ œ œR R R R

œ œ> œ œ œ œ> œ œ œ œ> œ œ œ œ> œ œL L L L

œ œ œ> œ œ œ œ> œ œ œ œ> œ œ œ œ> œR R R R

÷14 œ œ œ œ> œ œ œ œ> œ œ œ œ> œ œ œ œ>L L L L

œ> œ œ œ œ> œ œ œ œ œ> œ œ œ œ> œ œR R L L

œ œ œ> œ œ œ œ> œ œ œ œ œ> œ œ œ œ>R R L L

÷17 œ> œ œ œ œ> œ œ œ œ œ> œ œ œ œ> œ œR R L L

œ œ œ> œ œ œ œ> œ œ œ œ œ> œ œ œ œ>R R L L

œ> œ œ œ œ œ> œ œ œ œ œ> œ œ œ œ œ>R L R L

œ Œ ÓR

PHS 2012Triplet Grid

Variations- Diddle on first partial- Diddle on second partial- Flam on first partial- Cheese- Flam Drag-Any other rudiment you can think of. Have fun!

16th Note Grid

Always play these with a metronome and be sure you can mark time to them.*

÷ 812 œ œ œ œ œ œ œ œ œ œ œ œR L R L R L R L R L R L

œ œ œ œ œ œ œ œ œ œ œ œR R L R R L R R L R R L

œ œ œ œ œ œ œ œ œ œ œ œR L R L R L R L R L R L

œ œ œ œ œ œ œ œ œ œ œ œR L L R L L R L L R L L

÷5 œ œ œ œ œ œ œ œ œ œ œ œR L R L R L R L R L R L

œ œ œ œ œ œ œ œ œ œ œ œR R L L R R L L R R L L

œ œ œ œ œ œ œ œ œ œ œ œR L R L R L R L R L R L

œ œ œ œ œ œ œ œ œ œ œ œR L R R L L R L R R L L

÷9 œ œ œ œ œ œ œ œ œ œ œ œR L R L R L R L R L R L

œ œ œ œ œ œ œ œ œ œ œ œR R R L L L R R R L L L

œ œ œ œ œ œ œ œ œ œ œ œR L R L R L R L R L R L

œ œ œ œ œ œ œ œ œ œ œ œR L R R L R L L R L R R

÷13 œ œ œ œ œ œ œ œ œ œ œ œL R L R L R L R L R L R

œ œ œ œ œ œ œ œ œ œ œ œL L L L R R R R L L L L

.œ Œ . Œ . Œ .R

Triplet Stick Control - PHS 2012

puh duh duhswiss

doubles paradiddle-diddle

triples paradiddle

fours

check

Play this exercise and a variety of heights and tempos

Every beat should sound the same. A listener should not be able to tell you're doing different stickings.

÷ 42Snare œ œ œ œ œ œR L R L R L

œ œ œ œ œ œR L R L R L

œ œ œ œ œ œ œ œR L R L R L R L

œ œ œ œ œ œR L R L R L

œ œ œ œ œ œR L R L R L

œ œ œ œ œ œR L R L R L

œ œ œ œ œ œ œ œR L R L R L R L

œ ŒR

÷snare

9 ≈ œ œ œ œ œL R L R L

≈ œ œ œ œ œL R L R L

≈ œ œ œ ≈ œ œ œL R L L R L

≈ œ œ œ œ œL R L R L

≈ œ œ œ œ œL R L R L

≈ œ œ œ œ œL R L R L

≈ œ œ œ ≈ œ œ œL R L L R L

œ ŒR

÷snare

17 œ œ œ œ œR R L R L

œ œ œ œ œR R L R L

œ œ œ œ œ œR R L R R L

œ œ œ œ œR R L R L

œ œ œ œ œR R L R L

œ œ œ œ œR R L R L

œ œ œ œ œ œR R L R R L

œ ŒR

÷snare

25 œ œ œ œ œR L L R L

œ œ œ œ œR L L R L

œ œ œ œ œ œR L L R L L

œ œ œ œ œR L L R L

œ œ œ œ œR L L R L

œ œ œ œ œR L L R L

œ œ œ œ œ œR L L R L L

œ ŒR

÷snare

33 œ œ œ œ œR L R R L

œ œ œ œ œR L R R L

œ œ œ œ œ œR L R R L R

œ œ œ œ œR L R R L

œ œ œ œ œR L R R L

œ œ œ œ œR L R R L

œ œ œ œ œ œR L R R L R

œ ŒR

÷snare

41 œ .œ œ œR L R L

œ .œ œ œR L R L

œ .œ œ .œR L R L

œ .œ œ œR L R L

œ .œ œ œR L R L

œ .œ œ œR L R L

œ .œ œ .œR L R L

œ ŒR

÷snare

49 ‰ œ œ œ œR L R L

‰ œ œ œ œR L R L

‰ œ œ ‰ œ œR L R L

‰ œ œ œ œR L R L

‰ œ œ œ œR L R L

‰ œ œ œ œR L R L

‰ œ œ ‰ œ œR L R L

œ ŒR

÷snare

57 .œ œ œ œR L R L

.œ œ œ œR L R L

.œ œ .œ œR L R L

.œ œ œ œR L R L

.œ œ œ œR L R L

.œ œ œ œR L R L

.œ œ .œ œR L R L

œ ŒR

÷snare

65≈ œ œ œ œL R R L

≈ œ œ œ œL R R L

≈ œ œ ≈ œ œL R L R

≈ œ œ œ œL R R L

≈ œ œ œ œL R R L

≈ œ œ œ œL R R L

≈ œ œ ≈ œ œL R L R

œ ŒR

÷snare

73≈ œ œ œ œL L R L

≈ œ œ œ œL L R L

≈ œ œ ≈ œ œL L L L

≈ œ œ œ œL L R L

≈ œ œ œ œL L R L

≈ œ œ œ œL L R L

≈ œ œ ≈ œ œL L L L

œ ŒR

÷snare

81 œ œ œ œR R R L

œ œ œ œR R R L

œ œ œ œR R R R

œ œ œ œR R R L

œ œ œ œR R R L

œ œ œ œR R R L

œ œ œ œR R R R

œ ŒR

÷snare

89≈ .jœ œ œL R L

≈ .jœ œ œL R L

≈ .jœ ≈ .jœL L

≈ .jœ œ œL R L

≈ .jœ œ œL R L

≈ .jœ œ œL R L

≈ .jœ ≈ .jœL L

œ ŒR

÷snare

97 ‰ jœ œ œR R L

‰ jœ œ œR R L

‰ jœ ‰ jœR R

‰ jœ œ œR R L

‰ jœ œ œR R L

‰ jœ œ œR R L

‰ jœ ‰ jœR R

œ ŒR

÷snare

105‰ . rœ œ œL R L

‰ . rœ œ œL R L

‰ . rœ ‰ . rœL L

‰ . rœ œ œL R L

‰ . rœ œ œL R L

‰ . rœ œ œL R L

‰ . rœ ‰ . rœL L

œ ŒR

÷snare

113œ œ œR R L

œ œ œR R L

œ œR R

œ œ œR R L

œ œ œR R L

œ œ œR R L

œ œR R

œ ŒR

Check Patterns - PHS 2012

Play at various heights and tempos. Correct stickings are an absolute MUSTAlways play this with a metronome and be sure you can mark time to it.

ã c z z z z2œ œ œ œz z z z

3≈ .jœ ≈ .jœ ≈ .jœ ≈ .jœz z z z4‰ œ ‰ œ ‰ œ ‰ œz z z z

5‰ . rœ ‰ . rœ ‰ . rœ ‰ . rœz z z z

ã 6z z z z7œ œ œ œz z z z

8œ .œ œ .œ œ .œ œ .œz z z z9œ œ œ œ œ œ œ œ œ œ œ œz z z z

ã 10œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œz z z z11

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œz z z z12œ

œ œ œ œœ œ œ œ

œ œ œ œœ œ œz z z z

ã 13œ œœ œ œ œ

œ œ œ œœ œ œ œ

œ œz z z z14œ œ œ

œ œ œ œœ œ œ œ

œ œ œ œœz z z z

15

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œz z z z

ã 16œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œz z z z17≈

œ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œ œ œz z z z18‰

œ œ‰

œ œ‰

œ œ‰

œ œz z z z19‰ . rœ

‰ . rœ‰ . rœ

‰ . rœz z z z

Click Patterns - PHS 2012Alex Nielsen

Bass Drums

-The X noteheads are rim clicks and are played with one hand and the regular noteheads are played by the other hand on the drum head- Everyone plays the first 5 bar pattern- Beginning at bar 6, players enter one at a time playing the 5 bar pattern in a round which produces the split part in the rest of the exercise

÷ 44Bass Drums

3

œ œ œ3

œ œ œ3

œ œ œ3

œ œ œR L R L R L R L R L R L

3

œ œ œ3

œ œ œ3

œ œ œ3

œ œ œR R L R R L R R L R R L

÷3 3

œ œ ‰ 3

œ œ ‰ 3

œ œ ‰ 3

œ œ ‰R R R R R R R R

3

œ œ œ ‰ 3

œ œ œ ‰ 3

œ œ œ ‰ 3

œ œ œ ‰R L R R L R R L R R L R

œ Œ ÓR

Sextuplet Spacing - PHS 2012

1

21

2Copyright © 10/13/2011 10:30pm

Snare

Tenor

Bass

Cymbals

6/3

S. D.

T. D.

B. D.

Cym.

6 inch roll4

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NR R L L R R R L L R L R L R R L L R

PHS Cadence 2011

NR R R R R R L R L R R R R R R R L R L R L R L R R R R R R L R L R

NR R L R R R R R R R L R R R R R R R L R R R

N

NR L R L R L R L R L R L

3 3 3

NC C R R R L L L R R R L L L R L R L R R R L L L R R R L L L R L R L

3 3 3

NR R L R R R R R R R L R R R

6 6 66

N

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 55 5 5 3 5 5 5 5 5 5

5 5 5 5 3 5 5 5 5 5 55 5 5 5 5 5 5 3 5 5 5 5 5 5

5

55555 = 5555

55555555555 ::::: 5555

5 = 55555�

55555

2225 5

2225 5 555555555555555 ::::: 5555

5 = 55555�

55555

2225 5

2225 5 555555555555555 ::::: 5555

5 = 55555�

$M $M $M $M $" $M $M $M $M $" $M $M $M $M $"

5 M5 M5 M5 M5 M5 M5 M5 M5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5555 555555555555555555555 5555

5 = 555555555555555 ::::: 5555

5 = 55555�

55555

2225 5

2225 5 555555555555555 ::::: 5555

5 = 55555�

5 5 5 5 $M $M $M $M $" $M $M $M $M $"

1

2

1

2

S. D.

T. D.

B. D.

Cym.

7

S. D.

T. D.

B. D.

Cym.

11

NR L R L R L R R L R R L R R L R R L R R L R R L R R L R R L

3 3 3

NR R R L L L R R R L L L R L R L C C

3 3 3

NR R R R L R R R R L R L L L R L R L R L L L R L

6 66 3

N

NR R L R R L R R L R R L R L R L R L R L R R L R L R L R L R L R L R L R R L R L R L R L R L

3 3

NC R R L R R L L R R L L R L L RC L L R L L RC L L R L R L

NR L R L L L R L R R R R L R L R R R L R L R L R L R R R L R L R L R L

3 3

N

5555555555555555 5 M5 M5 M5 M5 M5 M5 M5 M5 5 2 2 52 2 52 32 52 2 5 2 2 52 2 52 32 52 2 5

5555555555555555 5 M5 M5

M5 M5 M5 M5 M5 M5 5 ¿¿ ¿¿ ¿¿ ¿¿ ¿¿3 ¿¿$ 3 ¿¿$ ¿¿ 55 55 ¿¿ ¿¿ ¿¿ ¿¿3 ¿¿$ 3 ¿¿$ ¿¿ 55

555552225522255555555555555555 ::::: 5555

5= 55555� 5555555555555555555

5555555 ::::: 5555555555 ::::: 5555

5355555$35555

5$555555555555555 ::::: 5555555555 ::::: 5555

5355555$35555

5$5555555555

$M $M $M $M $" 5 5 5 5 $" $M $" $M $" $M $" $M $" $M $" $M $" $M $" $M $"

2 2 5 2 2 5 2 3 2 5 2 2 5 55 55 55 M5� 5 5 5 M5 M5 M5 M5 5 5 M5 5 5 M5 5 5 5 5 5 M5 M5 M5 M5 5 5 M5 5 5 M5 5 5 5 5 5

55 ¿¿ ¿¿ ¿¿ ¿¿ 3 ¿¿$ 3 ¿¿$ ¿¿ 55 55 55 55 4 5 : 5 = 5� 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

5 5 5 5 5 5 5 5 5

55555 ::::: 55555 55555 ::::: 5555

5 3 55555$3 5555

5$555555555555555555555555555555�55555555555555555555

222225555555555 3 5555

555555

2222255555555555555555555

22222

5555555555 3 5555

555555

22222555555555555555

$M $" $M $" $M $" $M $" 5 5 5 5 $M $M 4 #" $M $M 4 #"

2

1

2

1

2

S. D.

T. D.

B. D.

Cym.

15

S. D.

T. D.

B. D.

Cym.

18

NR L R L R R L R L R L R L R L R L R L R R L R L R R L R L R L R L R L

NR R L R R L L R R L L R R L R L R L R L R L R L R R L R R L L R R L L

3 3 3

NR R R L R L R L R L R R R L R L R R R L R L R L R L

N

NR L R L R R L R L R L R L R L R L R L R R L R L R L R L R L

NR L L RC L L R L L RC L L R L R L R R L R R L L R R L L C C

NR R R L R L R L R L R R R L R L R L R L

N

M5 M5 M5 M5 5 5 M5 5 5 M5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 9 M5 M5 M5 M5 5 5

M5 5 5 M5 5 5 5 5 55 : 5 = 5� 5 5 5 5 5 5 5 5

5 5 5 5 5 5 5 5 5 5 5 5 5 55 5 : 5 = 5� 5 5 5 5 5 5 5 5

55555

222225555555555 3 5555

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2222255555555555555555555

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55555 ::::: 5555

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222225555555555 3 5555

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$M $M 4 #" 5 5 5 5 $M $M 4 #"

M5 M5 M5 M5 5 5 M5 5 5 M5 5 5 5 5 5 M5 M5 M5 M5 5 5 M5 5 5 M5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 9 5 4 ?

5 5 5 5 5 5 5

5 5 5 5 5 5 5 5 5 5 : 5 = 5� 5 5 5 5 5 5 5 5

555 3 55 ::� 55 :: 55 = 55� 55� = 4 ?

55555

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5555555555 3 5555

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2222255555555555555555555

222225555555555 3 5555

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22222555555555555555 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5555

5 4 ?

$M $M 4 #" $M $M 4 #" 5 5 5 5 $M 4 ?

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5 5 5 5 5 5 5 5 5 5 5 5 M5 5 5 M5 5 5 M5 5 5 M5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 M5 5 5 M5 5 5 M5 5 5 M5 5

5 5 5 5

5 5 � 5 5 5

5 5 M5 5 5 M5 5 5 M5 5 5 M5 5 5 5 5 5 5

5 5 � 5 5 5

5 5 5 M5 5 5 M5 5 5 M5 5 5 M5 5

55 5 5

5 5 5

5 5 5 5 5 M5 5 5 M5 5 5 M5 5 5 M5 5 5 5

5 5 5

5 5 5

5 5 5

5 5 5 M5 5 5 M5 5 5 M5 5 5

M5 52M : 2M : 2M : 2M : 5 : 5 : 5 : 5 : 2M : 2M : 2M : 2M : 5 : 5 : 5 : 5 :

5 5 5 5 5 5 5I 5I 5I 5I 5I 5I 5I 5I 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 M5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 M5 5 2 5 5 5 5 5 5 55 5 5 �

5 5 5I 5I 5I 5I 5I 5I 5I 5I 5 5 5 5

5 55 5 5 5 5

5 5 5 5

5 5 5

M5 5 5 5 5 5 5

5 � 5 5 �

5 5 5 5 5 5 25 5 5 5 5 5 5

55 5 5

5 5 5I 5I 5I 5I 5I 5I 5I 5I 5

5 5 5 5 5 5 5

5 5 5

5 55 5 5 5 5

M5 5 55 555 55 55

55 555 55 55

5 5 5 5 5 5 5

5 5 5 5 5 5 5

55 5 5

5 5 5

5 5 5

5 5 5

5 5 5 5

5 5 5 5

5 5 5 M5I M5I 5 5 M5I M5I 5 5 M5I M5I 5 5 5

5 5 5

5 5 5

= 5I5I5I5I5I5I5I5I5I : 4 : ?:

5 5 5 5

5 5 � 5 5 5

5 5 5 5 5 5 55 5 5 5

5 5 5

M5I M5I 5 5 M5I M5I 5 5 M5I M5I 5 5 5 5 5 55 5 5 = 5

I5I�I 5I 5I 5

I�I 5I 5I : 4 : ?:

555555555555555555555555 5 5 5 5 5

5 5 5 5

5 5 5 5

I5I 5 5 5

I5I 5 5 M5I M5I 5 5

5555555555555 = 5 5 5 5 5 5 5 5 5 : 4 : ?: