Kansas State University

1 1 Kansas State UniversityMarching Percussion Handbook2 0 1 2 - 2 0 1 3 Department of MusicMcCain AuditoriumKansas State UniversityManhattan, KS, 66506 Band Office: (785) 532-3916 Percussion Studio: (785) 532-38082On behalf of the directors, section leaders, and staff of the Kansas State Marching Band, Iwould like to welcome you and thank you for your interest in the Wildcat Drumline. Thefollowing material will provide you with information on important dates and audition infoas well as audition material crucial to your success. To help prepare prospectivemembers we have arranged this summer clinic to focus on the marching 7, 2012*Prospective members and current members onlyEach of these clinics are designed to help: develop percussion techniques that will maximize your output for theupcoming year refine fundamental techniques that will assist in your everyday playing perform on a variety of battery and/or melodic percussion for a well-roundedpercussion experience network with students in the Midwest region in similar positions within theirband program obtain instant feedback understand the role of a percussionist to assist with team building within yourprogramAttending these clinics is a great first step in the audition process for the Wildcat clinics will address techniques that are fundamental to all areas of marchingpercussion as well as materials found throughout this handbook.

2 Please feel free tocontact me with any questions or concerns you may have. We are all very excited for theupcoming season and we look forward to your participation in the Kansas ,Ben YanceyKansas State University Drumline Grip; Left 4 Bass Drum Grip ..4 Tenor Grip .. 5 Stick 6 Cymbal o f the KS U Drum Drum Drum BookDeveloping Grip and StrokeOnce the player feels comfortable with the grip and is able to execute a proper legato stroke,these skills can be reinforced using the exercises below. Start very slowly and emphasize thewrist turn striving for maximum rebound off the playing surface. It is most important toremember to stay relaxed while playing the following exercises. Should you find yourselftensing up, take the metronome back down and work on a slower practice the following exercises with a metronome and at varied tempos.

3 Keep in mindthat many times it is more difficult to play these rhythms accurately at slower tempos. Strivefor accurate rhythms with no accents as well as a relaxed and even stroke. To practice options1-3 replace every other measure (starting with the second bar) with the measures from thedesired option. You should also take the options from the triplet section and insert them intothe sixteenth timing exercise and vice the following exercises strive for an even sound throughoutand third note being as strong as the first. The stick controlaccentsand should have smooth transitpractice make sure to practice the sixteenth note grid and triplet grid portion of the book withdiddles in place of for an even sound throughoutits entirety. Focus on the secondand third note being as strong as the first. The stick controlexerciseshould not have anyand should have smooth transitions from one bar to the next.

4 For additional diddleractice make sure to practice the sixteenth note grid and triplet grid portion of the book withDoublesTriplesStick ControlBi9. Focus on the secondshould not have anyions from one bar to the next. For additional diddleractice make sure to practice the sixteenth note grid and triplet grid portion of the book withFor the proper execution of accent patterns and flamsplaying spot must be mastered. This modified stroke is called the down stroke. The stick isstopped with the bead just above the playing stick then the fulcrum and should be usedmore aboutfinesse then power and should feel relaxed. If you find yourself over squeezing youare most likely trying to stop the stick at the fulcrum alone rather than with the back Patterns/FlamsFor the proper execution of accent patterns and flamsthe ability to stop the stick over theplaying spot must be mastered.

5 This modified stroke is called the down stroke. The stick isstopped with the bead just above the playing back fingers have more leverage onnd should be NOT OVER SQUEEZE! This technique isfinesse then power and should feel relaxed. If you find yourself over squeezing youare most likely trying to stop the stick at the fulcrum alone rather than with the back Opt. 1 Bucks Opt. 2 Flam Builder10the ability to stop the stick over theplaying spot must be mastered. This modified stroke is called the down stroke. The stick isThe back fingers have more leverage onDO NOT OVER SQUEEZE! This technique isfinesse then power and should feel relaxed. If you find yourself over squeezing youare most likely trying to stop the stick at the fulcrum alone rather than with the back Tap BuilderInverted Flam Tap BuilderParadiddle BuilderDouble paradiddle BuilderParadiddle-diddle builder11 Sixteenth Note Grid/TripletGridAfter mastering the accent patternsflams and/or diddles in place of the accents.

6 Rank leaders are encouraged to create differentcombinations with the inclusion of different mastering the accent patternsin Sixteenth Note Grid, you are encouraged to insertflams and/or diddles in place of the accents. Rank leaders are encouraged to create differentcombinations with the inclusion of different Note GridTriplet Grid12 you are encouraged to insertflams and/or diddles in place of the accents. Rank leaders are encouraged to create differentTriplet Grid Opt. 1 The following exercise should also be practicedAdvanced members should try moving the chosen ornament to the second or third eightof each following exercise should also be practicedwithflams and cheeses in place of the members should try moving the chosen ornament to the second or third eightTriplet Grid Opt. 113flams and cheeses in place of the members should try moving the chosen ornament to the second or third eighth note14 Tenor BookImportant Note for Tenor PracticeWhile many of the exercises in this packet are written on multiple drums it is crucial to learnand be comfortable with the parts on a single drum before moving on to the moving parts.

7 Youwill be asked to demonstrate this during the audition Grip and StrokeOnce the player feels comfortable with the grip and is able to execute a proper legato stroke,these skills can be reinforced using the exercises below. Start very slowly and emphasize thewrist turn striving for maximum rebound off the playing surface. It is most important toremember to stay relaxed while playing the following exercises. Should you find yourselftensing up, take the metronome back down and work on a slower practice the following exercises with a metronome and at varied tempos. Keep in mindthat many times it is more difficult to play these rhythms accurately at slower tempos. Strivefor accurate rhythms with no accents as well as a relaxed and even stroke. To practice options1-3 replace every other measure (starting with the second bar) with the measures from thedesired option.

8 You should also take the options from the triplet section and insert them intothe sixteenth timing exercise and vice the following exercises strive for an even sound throughout its entirety. Focus on the secondand third note being as strong as the first. The stick control exercise should not have anyaccents and should have smooth transitions from one bar to the next. For additional diddlepractice make sure to practice the sixteenth note grid and triplet grid portion of the book withdiddles in place of Opt. 1 TriplesBi17 Stick ControlAccent Patterns/FlamsFor the proper execution of accent patterns and flams the ability to stop the stick over theplaying spot must be mastered. This modified stroke is called the down stroke. The stick isstopped with the bead just above the playing surface. The back fingers have more leverage onthe stick then the fulcrum and should be used.

9 DO NOT OVER SQUEEZE! This technique ismore about finesse then power and should feel relaxed. If you find yourself over squeezing youare most likely trying to stop the stick at the fulcrum alone rather than with the back Opt. 1 Bucks Opt. 2 Flam BuilderFlam Tap BuilderInverted Flam Tap BuilderParadiddle Builder1819 Double paradiddle BuilderParadiddle-diddle BuilderSixteenth Note Grid/Triplet GridAfter mastering the accent patterns in Sixteenth Note Grid, you are encouraged to insertflams and/or diddles in place of the accents. Rank leaders are encouraged to create differentcombinations with the inclusion of different Note GridTriplet Grid Opt. 1 The following exercise should also be practiced with flamsAdvanced members should try moving the chosen ornament to the second or third eightof each GridThe following exercise should also be practiced with flamsand cheeses in place of the members should try moving the chosen ornament to the second or third eightTriplet Grid Opt.

10 120and cheeses in place of the members should try moving the chosen ornament to the second or third eighth note21 Bass Drum BookDeveloping Grip and StrokeOnce the player feels comfortable with the grip and is able to execute a proper legato stroke,these skills can be reinforced using the exercises below. Start very slowly and emphasize thewrist turn striving for maximum rebound off the playing surface. It is most important toremember to stay relaxed while playing the following exercises. Should you find yourselftensing up, take the metronome back down and work on a slower practice the following exercises with a metronome and at varied tempos. Keep in mindthat many times it is more difficult to play these rhythms accurately at slower tempos. Strivefor accurate rhythms with no accents as well as a relaxed and even stroke. To practice options1-3 replace every other measure (starting with the second bar) with the measures from thedesired option.