ESSENTIAL DRUMLINE WARMUPS - Vic Firth

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DIRECTORDOUBLE BEAT – EXERCISE OPTIONSOPTION 15 BD4 BDãã44œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ5 5 ‰ 5 5 ‰ 5 5 ‰ 5 5 ‰œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰œ œ œ œ œ œ œ œœ œ œ œœ œ œ œ5 bd4 bd7ããœ 5 5 ‰ 5 5 ‰ 5 5 ‰ 5 5 œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ ‰ œ œ ‰ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ Œ Óœ Œ ÓThis option provides the bass drums with remedial work on running 8th and 16th patterns.• The first 4 measures give each player the opportunity to place his or her 8th note on thedownbeat or upbeat. If the line is very inexperienced, you can have them play quarternotes instead of 8ths (use the 1st four 8ths of each bar only).• In measure 5, the unison 16ths on the downbeats should be played with alternatingstrokes (R L). Listen to the snare and tenor part to match spacing of the 16ths. Measure 6is similar, but with upbeat 16ths.• Again, listen to the snares and tenors in measures 9-10 to match timing of the split 16ths.OPTION 2Cymbalsã4 4ohf(sizzle/suck)hŒÓ‘ ‘ ‘ ‰ohhÓ ‘7ão‘ ‘ hhŒohhŒ ‰ohh‰ohhz Œ ÓThis option provides the cymbal line with a simplified sizzle/suck exercise. In the first 4 measures,play the sizzle on the downbeat (the same as the original exercise). In measures 5-8, the sizzle ison the upbeat. This will help with timing and coordination issues between the hands and feet.
VIC FIRTH ® PRESENTS: MARCHING PERCUSSION 101OPTION 3Mallets& b bœ œ œ œ œ œ ≈ œ œ œ œœ œ œ œ œ œ ≈ œ œ œ œ2«œ œ œ œ œ œ œ œ œ œ œ œœ nœœ # œ œ bœnœœTimpani4 ?b b 4 Rœ œ œ œ œ œ ≈ œ œ œ œRLœ œ œ œ œ œ ≈ œ œ œ œL2«RRL –œ œ œ œ œ œ œ œ œ œ œ œRRL –R L R L R L R Lœ œ œ œkey7& b bœ œ œ œ œ œ œ œ œ œ œ œœ œ bœœ bœnœœ nœœ œ nœœ œ œ# œœœœbœœnœœœœbœœ œ œbœœœœbœœnœœœœnœœœŒÓRLLRL LRLLRLLR L –RRLL–Timp7?b bœ œ œ œ œ œ œ œ œ œ œ œRLL –œ œ œ œœ œ œ œ œ œ œœ œœ œœ œRRLL–œ œ œ œ œ œ œœ œœ œœ œLLRR –œ ŒÓRThis option provides a double stroke variation for the keyboards and timpani.• Inexperienced mallet players may wish to play the double strokes on one note instead oftwo (Bb in meas. 1, A in meas. 2, etc).• Work for the same relaxed double wrist stroke technique as the snares and tenors.
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Page 40: DIRECTORBRIAN S. MASONBrian S. Maso

ESSENTIAL DRUMLINE WARMUPS - Vic Firth

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