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The University of Texas
Longhorn BandDrumline
2009-2010Marching Percussion
Handbook
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On behalf of the directors, section leaders, and staff of the Longhorn Band, I would like to welcome
and thank you for expressing interest in the Texas Drumline. Please carefully read the following
material as this handbook will provide all necessary information for the summer clinics, audition
procedures, band week, and the upcoming football season. To help prepare prospective members for
auditions and the marching season, we will host three clinics that will take place on the following
dates:
July 11 *All clinics are held in the Longhorn Band Hall (MBE 2.114).July 25 Check-in will begin at 9:00 a.m. and each clinic will run until 5:00 p.m.
August 1
Attending these clinics is the first step towards auditioning for the drumline. The sessions will
address techniques that are fundamental to all areas of marching percussion as well as materials
found throughout this handbook. Please feel free to contact either the section leaders or me if you
have any questions. We are all eager and excited about this upcoming season and we look forward to
your participation in the Texas Drumline.
Sincerely,
Christopher LizakUniversity of Texas Drumline [email protected]
2009-2010 Texas Drums Section Leaders
Mark Rocha (snare) – [email protected]
Michael Howell (tenor) – [email protected]
David Webster (bass) – [email protected]
Gabbi Foytik (cymbal) – [email protected]
Lysa Garcia (cymbal) – [email protected]
Sami Miller (cymbal) – [email protected]
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2009-2010
Texas Drumline HandbookContents
• Preface
• Prospective Member Audition Form
• Audition Rubrics
• Audition Etudes
• Notation Key
• Foundational Studies
• Warm-Ups
• Corporate Sponsors
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Preface
The exercises, etudes, and warm-ups found in this handbook have been compiled in an effort tomaintain a standard of performance and technique as it applies to the percussion section of the
Longhorn Band. It is highly recommended that all prospective LHB percussionists read the followingset of technical guidelines and rehearsal procedures so that all expectations will be clearly understoodprior to arriving on campus.
Philosophy Statement
The marching percussion program at The University of Texas at Austin is designed to create alearning environment that is conducive to a high level of musical performance, while upholding thetradition of the Longhorn Band and The University in the most dignified manner.
Playing Style
The best word to describe the general image or “look” of the Texas Drumline, in performance or atrest, would be stoic. This term implies a type of relaxed focus that is not easily shaken by outsidedistractions. For us, this translates to a generally neutral facial expression and strong but relaxedshoulders. You should look as if you have everything under control, regardless of performancedemands.
Snares, tenors, and bass drums all play at the flattest angle possible. This is the first step to achievingour sound. It ensures maximum rebound from the drumhead, and a dark, fundamental based tone.The second part of this equation is the use of a heavy, legato stroke. When playing a drum, youshould feel as though the sticks or mallets are sinking into the head, not crushing it. This analogyshould help in avoiding a high velocity, pounding stroke. Let the weight of your hands and sticks domost of the work.
Rehearsal Expectations
Given the heavy time constraints of a normal LHB performance season, every effort must be made tomaximize the amount of quality, on-task rehearsal time within each session. As a result, the rehearsalenvironment must be completely free of extraneous noise, talking, or disruptive behavior. Our workethic is absolutely vital to our success.
A key component to successful rehearsing in the Texas Drumline is the use of a metronome. In orderfor the group to develop a consistent sense of time and rhythmic interpretation, every member of theensemble must own a metronome and be intimately familiar with this device. On a more specificlevel, tempo, rhythmic interpretation, style and dynamics are all generated from the center of eachsection. These listening points are keenly in touch with the pulse of the metronome at all timesduring rehearsal. Tempo is then transferred to the surrounding players through the vocalization of
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“duts.” Furthermore, each player is responsible for listening carefully to the player inside of them forall of the elements of performance listed above. This process is known as listening in and, whenproperly executed, serves as the backbone of a precise, clearly articulated section player.
Weekly Rehearsal Schedule Weekly rehearsals are one of the most important tasks that we do as a group. It is imperative thateach member of the drumline creates a weekly schedule that caters to the routine of the LonghornBand. Our weekly rehearsal schedule is as follows:
Mondays: 5:30 p.m. – Drumline sectional in the LBJ parking lot6:30 p.m. – Set-up in fundamentals block in the bubble
Tuesdays: 6:15 p.m. – Meet to warm-up in the bubble6:30 p.m. – Set-up in fundamentals block
Thursday: 5:30 p.m. – Drumline sectional in the LBJ parking lot6:30 p.m. – Set-up in fundamentals block in the bubble
As a general rule, drumline members are expected to arrive to rehearsals and performances tenminutes in advance of the official call time. This enables time for a brief warm-up before playing withthe entire band. It is also recommended that individuals arrive to the Band Hall thirty minutes priorto rehearsal call times in order to allow comfortable time to travel to the practice location.
Please note: This schedule may change/be altered slightly if there is an overwhelming conflict due toclass schedules. When scheduling classes, please keep in mind this schedule and, if possible, do your best to allow for travel time.
Performance
The University of Texas Longhorn Band performs regularly on a national, often televised, stage. As aresult, every effort must be taken to ensure that all aspects of the LHB presence exude the highestlevels of professionalism, musicianship, and maturity. Any public performance, regardless of lengthor scope, will be approached in complete and total seriousness. As a member of the Texas Drumline, you will be expected to be alert, focused, on-task at all times during performance, whether that be on
the field, in the stands or in parade. Remember, someone is always watching. Assume that everyimpression is the first.
Above all, it is the sincere hope of the entire Longhorn Band Staff that students have a positiveexperience, no matter their level of involvement, with The University of Texas Longhorn Band. Thepercussion program is only one aspect of a much larger entity, one that is deeply rooted in pride,tradition, and heritage. As a member of the organization, you will undoubtedly identify with these values, and will hopefully do your part to help preserve and maintain the spirit of this very storiedorganization.
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Stick Heights
Accurate stick heights promote musical and visual uniformity within the percussion section. Eachstick height refers to the distance between the bead and the playing surface:
Sforzando = 15” Stroke, which is initiated by the forearm12” Stroke9” Stroke6” Stroke3” Stroke1” Stroke
Stick Height Chart
This chart provides guidelines for relating stick heights to dynamic markings indicated throughoutparts. Although the stick height may be changed in various playing situations, this chart provides aconstant frame of reference and is considered default.
Dynamic* Inner Beats Accents (>) Full Accents (^)
Pianissimo (pp)Piano (p)Mezzo Piano (mp)Mezzo Forte (mf)Forte (f)Fortissimo (ff)
1”1”1”3”3”6”
N/A3”3”6”9”12”
N/AN/A6”9”12”15”
*A dynamic marking such as this: f – mp, simply means that accents will be played atforte while taps will be at mezzo piano.
Audition Procedures
To be eligible to audition for the Texas Drumline you must first submit a Prospective Member Audition Form to the Longhorn Band Office. This form can be found on the following page. GeneralLHB audition information can be found on this website:
http://lhb.music.utexas.edu/prospectives/auditions.php
Next, you must attend at least one of the three summer drumline clinics in order to receive an officialinvitation to Band Week (where the drumline auditions will take place). It is encouraged that youattend all three clinics as these are intended to help prepare prospective members for auditions andthe Band Week experience. If you are unable to attend at least one of the clinics, you must submit aperformance video on your instrument(s) of interest prior to Friday, August 7.
During Band Week, auditions for the drumline will begin on the afternoon of Tuesday, August 18(keep in mind that both prospective and returning members are required to attend both auditiondays). “Day 1” of the audition process will consist of section playing auditions and a group marching
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audition. At the end of the first day and after initial assessments have been completed, callbacks will be made for individuals to return to audition during “Day 2”.
“Day 2” of the audition process will consist of a group warm-up, which will work similar to the routineused during the summer clinics (these warm-up procedures are an important part of assessing the“Day 2” audition). Prospective and returning members that have made it to this point will perform an
individual audition and then we will hold additional section playing auditions as needed. This day will conclude with a meeting to announce the 2009-2010 Texas Drumline.
Tuesday, August 18 – “Day 1” – 6:00 p.m. @ the Band HallSection playing auditionsGroup marching auditionsCall backs for “Day 2”
Wednesday, August 19 – “Day 2” – TBAGroup warm-upIndividual playing auditionsSection playing auditions (as needed)Drumline set meeting
After the audition process is complete, if you find that you did not end up making the drumline, yourBand Week is not necessarily over. There are additional ways to be involved in the Longhorn Bandthat include the Big Bertha Crew and the Big Flags Brigade.
You will find the individual audition excerpts in the next section of the handbook. Additional auditionexpectations and music excerpts will be discussed in further detail at the summer clinics.
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The University of Texas Longhorn Band
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C o m m e n t s :
D r u m l i n e A
u d i t i o n R u b r
i c N o . 1
N u m b e r :_______________
_______________________________
I n s t r u m e n t :_______
________________________________________
S u p e r i o r
6 0 - 5 1
A d v a n c
e d
5 0 - 4 1
P r o f
i c i e n t
4 0
- 2 5
B a s i c
2 4 – 0
! S e a m l e s s l y s w i t c h e s
b e t w e e n
m e t e r s / f e e l s
! F
l a w l e s s r h y t h m i c i n
t e r p r e t a t i o n
( n o t t o o o p e n o r t o c l o s e d )
! P
l a y s b o t h o n t o p o f a n d b e h i n d
t h e p u l s e a s n e c e s s a r y , a n d o n
d e m a n d
! S w i t c h e s m e t e r s w
i t h e a s e – l i t t l e
t o n o h e s i t a t i o n i n
t h e f e e t
! P
l a y s i n t i m e ; s o m
e a b i l i t y t o p l a y
o n t o p a n d b e h i n d
t h e b e a t
! E x c e l l e n t r h y t h m i c
i n t e r p r e t a t i o n
! V
i s i b l e v a r i a t i o n
i n f e e t w h e n
s w i t c h i n g f e e l s
! P
l a y s i n t i m e
! S o m e d i f f i c u l t y
w i t h i n t e r p r e t a t i o n
d e p e n d i n g o n p a
r t i a l a n d m e t e r
! P
l a y s s i m p l e p a s s a g e s i n t i m e
! L
i t t l e a b i l i t y
t o s w i t c h b e t w e e n
m e t e r s a n d f e e l s
! G e n e r a l l a c k o f a w a r e n e s s r e g a r d i n g
r h y t h m i c i n t e r p r e t a t i o n
T i m i n g
6 0 %
4 0 - 3 5
3 4 - 2 6
2 5 - 1 3
1 2 – 0
! F u l l - b o d i e d r o l l s a t a
l l t e m p i
! F
l a m p a s s a g e s f l a w l e
s s l y
e x e c u t e d a t a l l t e m p i
! S u p e r b s t i c k c o n t r o l a t a l l t e m p i
a n d d y n a m i c l e v e l s
! S u p e r b q u a l i t y o f s o u
n d a c r o s s a l l
p a s s a g e s a n d t e m p i ( f u l l - b o d i e d ,
n o t p i n c h e d o r l a b o r e
d )
! F u l l - b o d i e d r o l l s a t m o s t t e m p i
! F
l a m p a s s a g e s e x e
c u t e d a t m o s t
t e m p i
! E x c e l l e n t s t i c k c o n
t r o l a t a l l t e m p i
a n d d y n a m i c l e v e l s
! E x c e l l e n t q u a l i t y o
f s o u n d a c r o s s
a l l p a s s a g e s a n d t e
m p i ( f u l l -
b o d i e d , n o t p i n c h e
d )
! G o o d r o l l q u a l i t y a t m o s t t e m p i –
l a c k s d e v e l o p m e
n t o f s e c o n d n o t e
! F
l a m p a s s a g e s p
o s e d i f f i c u l t y ,
e s p e c i a l l y a t f a s t t e m p i
! U n u s u a l s t i c k i n g
p a t t e r n s p o s e
d i f f i c u l t y
! Q u a l i t y o f s o u n d
d i m i n i s h e s a s
t e m p o a n d d i f f i c
u l t y a r e i n c r e a s e d
! A v e r a g e r o l l q u a l i t y – m a r k e d l y
d i m i n i s h e d
i n q u a l i t y a s t e m p o
i n c r e a s e s
! L a c k s d e v e l o p m e n t o f f l a m
r u d i m e n t s
! C o m m o n v a
r i a t i o n s i n s t i c k i n g n o t
i n s t u d e n t s r e p e r t o i r e
! Q u a l i t y o f s
o u n d g r e a t l y d i m i n i s h e s
a s t e m p i a n d d i f f i c u l t y a r e i n c r e a s e d
S o u n d P r o d u c t i o n
4 0 %
T o t a l
T i m i n g_________
+ S o u n d P r o d u c t i o n________
_ = T o t a l_________
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C o m m e n t s :
D r u m l i n e A
u d i t i o n R u b r i c N o . 2
N a m e :_________________
_____________
N u m b e r :____
_____
I n s t r u m e n t :_______
________________________________________
S u p e r i o r
7 5 - 6 1
A d v a n c
e d
6 0 - 4 1
P r o f
i c i e n t
4 0
- 2 5
B a s i c
2 4 – 0
! I m p l e m e n t r e m a i n s i n s a m e p l a n e
t h r o u g h o u t i n i t i a t i o n
a n d
e x e c u t i o n
! M a s t e r y o f s t r o k e m e
c h a n i c s
( h e i g h t - a p p r o p r i a t e )
! P l a y s i n a p p r o p r i a t e z o n e a t a l l
t i m e s
! C r e a t e s m a x i m u m v e
l o c i t y i n t o
t h e h e a d
! A d a p t s i n s t a n t l y t o m
o d i f i c a t i o n s
i n t e c h n i q u e , a n d s e a
m l e s s l y
s w i t c h e s b e t w e e n s t y
l e s o f
t e c h n i q u e
! I m p l e m e n t m o s t l y
r e m a i n s i n
s a m e p l a n e t h r o u g h o u t i n i t i a t i o n
a n d e x e c u t i o n
! U n d e r s t a n d s a n d c a n d e m o n s t r a t e
s t r o k e m e c h a n i c s (
h e i g h t -
a p p r o p r i a t e )
! P l a y s a p p r o p r i a t e z o n e m o s t o f t h e
t i m e
! C r e a t e s g o o d v e l o c i t y i n t o t h e
h e a d
! A d a p t s q u i c k l y t o m o d i f i c a t i o n s
i n e x i s t i n g t e c h n i q u e , a n d
d e m o n s t r a t e s s o m e
a b i l i t y t o
a d o p t m u l t i p l e a p p
r o a c h e s
! I m p l e m e n t g e n e r a l l y r e m a i n s i n
s a m e p l a n e t h r o u g h o u t i n i t i a t i o n a n d
e x e c u t i o n
! B a s i c u n d e r s t a n d i n g o f s t r o k e
m e c h a n i c s ( h e i g
h t - a p p r o p r i a t e ) –
e x e c u t i o n l a c k i n
g
! P l a y s i n a p p r o p r
i a t e z o n e s o m e o f
t h e t i m e
! C r e a t e s a v e r a g e
v e l o c i t y i n t o t h e
h e a d
! A d a p t s s l o w l y t o
m o d i f i c a t i o n s i n
t e c h n i q u e
! I m p l e m e n t r a r e l y r e m a i n s i n s a m e
p l a n e t h r o u g h o u t i n i t i a t i o n a n d
e x e c u t i o n
! L i t t l e t o n o
u n d e r s t a n d i n g o f s t o k e
m e c h a n i c s (
h e i g h t - a p p r o p r i a t e )
! D o e s n o t p l a y i n a p p r o p r i a t e z o n e
! C r e a t e s l i t t l e v e l o c i t y i n t o t h e h e a d
! C a n n o t a d a p t t o m o d i f i c a t i o n s i n
t e c h n i q u e
T e c h n i q u e
7 5 %
2 5 - 2 0
1 9 - 1 2
1 1
- 6
5 – 0
! I m m a c u l a t e p o s t u r e
! F o c u s e s o n s t a t i o n a r y p o i n t a t a l l
t i m e s ( s t o i c )
! V i s i b l e e m o t i o n a p p r
o p r i a t e t o
p a s s a g e
! D o e s n o t c o m m u n i c a
t e m i s t a k e s
v i s u a l l y
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f r e q u e n t l y
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u a l l y
a p p r o p r i a t e t o p a s s
a g e
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u n i c a t i o n o f
m i s t a k e s
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o n s t a t i o n a r y p o i n t
! L i t t l e v i s i b l e e m
o t i o n r e g a r d l e s s o f
p a s s a g e
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! A v e r a g e p o s t u r e
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s e s o n s t a t i o n a r y p o i n t
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m o t i o n r e g a r d l e s s o f
p a s s a g e
! C o m m u n i c a
t i o n o f m i s t a k e s b o t h
v i s u a l l y a n d
v i a p o s t u r e
P e r f o r m a n c e
2 5 %
T o t a l
T e c h n i q u e_______
__
+ P e r f o r m a n c e_________
= T o t a l_________
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!"#
q = 144-1522009 Texas Drums
Snare Etude
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pL R R
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! !
q = 112-120
2009 Texas Drums
Tenor Etude
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! !
q = 104-112
Bass Etude2009 Texas Drums
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! !
q = 124-132
2009 Texas Drums
Cymbal Etude
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N
o t a t i o n K e y
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! ! ! !
Eights
Legato Studies
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! ! ! !
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%-.
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! !
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! ! ! !
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#0
# # # #0
# # # #0
#0
# # # #0
# # # #0
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! !
! !Doubles
Double and Triple Studies
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# # # # # # ) # #L
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#0
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# #0
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# Variation 2:
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Variation 1:
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! !%-.
12/8 Doubles
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! !
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Pressure Study No. 1
Roll Studies
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! !
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! !
Hand Speed Shift
Metric Studies
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! !& !
Add-Ons
Hands-Seperate Studies
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%-.
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!"#$%&'(
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! ! ! ! ! ! ! ! ! ! ! !
1
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S n a r e
T e n o r
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! ! ! ! ! ! ! ! ! !
T w o
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http://slidepdf.com/reader/full/texasdrumlinehandbook-20130415-10-54-01-utc 32/43
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8/12/2019 Texas_Drumline_Handbook (2013!04!15 10-54-01 UTC)
http://slidepdf.com/reader/full/texasdrumlinehandbook-20130415-10-54-01-utc 33/43
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8/12/2019 Texas_Drumline_Handbook (2013!04!15 10-54-01 UTC)
http://slidepdf.com/reader/full/texasdrumlinehandbook-20130415-10-54-01-utc 35/43
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8/12/2019 Texas_Drumline_Handbook (2013!04!15 10-54-01 UTC)
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8/12/2019 Texas_Drumline_Handbook (2013!04!15 10-54-01 UTC)
http://slidepdf.com/reader/full/texasdrumlinehandbook-20130415-10-54-01-utc 37/43
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8/12/2019 Texas_Drumline_Handbook (2013!04!15 10-54-01 UTC)
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