ESSENTIAL DRUMLINE WARMUPS - Vic Firth

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DIRECTORACCENT TAPBrian S. MasonSnareã> >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 œTenorsã> >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 œRLRLBD÷> >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 œCymbalsãR(unison)y Œ y Œy Œ y yLy Œ y Œy Œ y yMalletsTimpani& b b4 4 4 4 4 ?b b 4 (hi-hat)>œ>œ œ œ œR L R L R˙˙œ œ œ>œœ œ œ œ >œ œ> œ˙ œ œ>œ˙œ œ œ>œ˙œ œ œ>œœ œ œ œ> œ œ> œ˙ œ œRLR L RLRL R Lsn5ã> >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 œ>œŒÓtnbdã÷> >œœ œ œ œ œ œ œR> >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 œL> >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>œŒŒÓÓRLRRLRcyãy Œ y Œy Œ y yy Œ y Œy Œ y yy Œ Ókey5& b b>œœ œ œ œ> œ œ œ>œœ œ œ œ> œ œ >œ>œ>œ œ œ œœ œ œ>œ>œ œ œ œœ œ œ>œŒÓTimp5?b b˙R˙L˙ œ œR L R˙L˙R˙ œ œL R LœRŒÓ© 2009 VIC FIRTH INC.TO DOWNLOAD THE FREE CONDUCTOR’S MANUAL AND PART BOOKS, VISIT VICFIRTH.COM
VIC FIRTH ® PRESENTS: MARCHING PERCUSSION 101Rehearsal NotesThis exercise works on two height control. Here are a few things to look for during your dailyrehearsal:• Each accent stroke should be played at a full height (12”). While the velocity - or strokespeed - will increase, there should be no extra tension in the hand, wrist or forearm.Avoid trying to “hit the drum harder” on accented strokes.• After the accent stroke hits the drum, “freeze” the stick in the down position (3”) by usinga slight squeeze of the fingers and fulcrum. Only use as much squeeze as necessary tostop the stick from rebounding up.• Play the unaccented notes at 3” with a wrist directed stroke into the drum. Strive to relaxthe hand, wrist and fingers on the soft taps. The taps, while soft, should be played with afull sound (play “into the drum” at a 3” height).• Keep the hand that’s not playing (the free hand) in the proper playing position.• Tenors: Play first time on one drum, then apply the written exercise the 2nd timethrough. Try to limit the amount of forearm motion when playing accents out on a differentdrum by allowing a slight side-to-side movement of the wrist.• Cymbals: The timing of the even numbered measures is more difficult than you mightthink. Because of the accent placement on the “and” of count 2 in the drum parts, thequarter note hi-hat on beat 3 needs to be hit exactly in time with the left foot. It may behelpful to listen to the keyboard and timpani part to time the downbeats correctly.• Keyboards: Strive for a full accent (12”) and soft tap (3”). Listen for a good qualitysound on the accents (do not try to hit the accents harder – simply play at a higherheight). Watch for correct beating area on the bars.
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