Mcfsmb Drumline 2009 Complete

 FIGHTING SCOTS 

 FIGHTING SCOTS 

MARCHING BAND

MARCHING BAND

DRUMLINE

DRUMLINE

Exercises, Cadences, Band Signals

Exercises, Cadences, Band Signals

Fighting Scots Marching Band

Fighting Scots Marching Band

Drumline Exercises, Cadences, Band Signals

Drumline Exercises, Cadences, Band Signals

Contents

Contents

ACKNOWLEDGMENTS & INTRODUCTION

ACKNOWLEDGMENTS & INTRODUCTION

EXERCISES

EXERCISES

♦ _{#4: #4: Tap Tap TimingTiming} ♦

♦ _{#5: #5: Dut Dut DutsDuts} ♦

♦ _{#6: #6: FlamsFlams} ♦

♦ _{#7: #7: ParadiddlesParadiddles (#7a is the primary one)(#7a is the primary one)} ♦

♦ _{#8: #8: Dut Dut Duts Duts IIII} ♦

♦ _{#9:#9:  New New RollsRolls} ♦

♦ _{#10: #10: Countdown Countdown CooldownCooldown}

EXERCISES: MALLET

EXERCISES: MALLET VERSIONS

VERSIONS

♦ ♦ _{#1 #1 Exercise Exercise #1#1} ♦ ♦ _{#2 #2 Exercise Exercise #2#2} ♦ ♦ _{#3: #3: 4’s 4’s and and 6’s6’s} ♦

♦ _{#4: #4: Tap Tap TimingTiming} ♦

♦ _{#5: #5: Dut Dut DutsDuts (as technique permits)(as technique permits)} ♦

♦ _{#8: #8: Dut Dut Duts Duts IIII (as technique permits)(as technique permits)}

BAND SIGNALS

BAND SIGNALS

♦

♦ _{Roll Off #1Roll Off #1} ♦

♦ _{Roll Off #2Roll Off #2} ♦ ♦ _HaltHalt

CADENCES

CADENCES

♦ _{Chee-Chee-MaChee-Chee-Manga #nga # 1A1A} ♦

♦ _{CymbologyCymbology} ♦

♦ _{Rock IIRock II} ♦

♦ _{Mr. Monkey Eats His CheeseMr. Monkey Eats His Cheese} ♦

♦ _{Bass Drum #4 Million 12Bass Drum #4 Million 12} ♦

Fighting Scots Marching Band

Fighting Scots Marching Band

Drumline Exercises, Cadences, Band Signals

Drumline Exercises, Cadences, Band Signals

Contents

Contents

ACKNOWLEDGMENTS & INTRODUCTION

ACKNOWLEDGMENTS & INTRODUCTION

EXERCISES

EXERCISES

♦ _{#4: #4: Tap Tap TimingTiming} ♦

♦ _{#5: #5: Dut Dut DutsDuts} ♦

♦ _{#6: #6: FlamsFlams} ♦

♦ _{#7: #7: ParadiddlesParadiddles (#7a is the primary one)(#7a is the primary one)} ♦

♦ _{#8: #8: Dut Dut Duts Duts IIII} ♦

♦ _{#9:#9:  New New RollsRolls} ♦

♦ _{#10: #10: Countdown Countdown CooldownCooldown}

EXERCISES: MALLET

EXERCISES: MALLET VERSIONS

VERSIONS

♦ ♦ _{#1 #1 Exercise Exercise #1#1} ♦ ♦ _{#2 #2 Exercise Exercise #2#2} ♦ ♦ _{#3: #3: 4’s 4’s and and 6’s6’s} ♦

♦ _{#4: #4: Tap Tap TimingTiming} ♦

♦ _{#5: #5: Dut Dut DutsDuts (as technique permits)(as technique permits)} ♦

♦ _{#8: #8: Dut Dut Duts Duts IIII (as technique permits)(as technique permits)}

BAND SIGNALS

BAND SIGNALS

♦

♦ _{Roll Off #1Roll Off #1} ♦

♦ _{Roll Off #2Roll Off #2} ♦ ♦ _HaltHalt

CADENCES

CADENCES

♦ _{Chee-Chee-MaChee-Chee-Manga #nga # 1A1A} ♦

♦ _{CymbologyCymbology} ♦

♦ _{Rock IIRock II} ♦

♦ _{Mr. Monkey Eats His CheeseMr. Monkey Eats His Cheese} ♦

♦ _{Bass Drum #4 Million 12Bass Drum #4 Million 12} ♦

ACKNOWLEDGEMENTS

ACKNOWLEDGEMENTS

♦

♦ Thanks to Mike Geary for the use of his cadence,Thanks to Mike Geary for the use of his cadence, ROCK II  ROCK II . . Good cadences shoGood cadences should always huld always have a long life.ave a long life. ♦

♦ The exercises in the first part of this book were inspired by and adapted from exercises used by Dr. JohnThe exercises in the first part of this book were inspired by and adapted from exercises used by Dr. John

Wooton while he was drumline instructor at

Wooton while he was drumline instructor at The University of Iowa. For example, the snare The University of Iowa. For example, the snare parts for exercisesparts for exercises #1, #2, and #3

#1, #2, and #3 are written exactly as they were used. The original exercises (at least the snare parts) and are written exactly as they were used. The original exercises (at least the snare parts) and manymany more were subsequently collected and published in

more were subsequently collected and published in The Drummer’s Rudimental Reference Book The Drummer’s Rudimental Reference Book , available, available from Row-Loff Productions. It is suggested that anyone interested in refining rudimental drumming skills from Row-Loff Productions. It is suggested that anyone interested in refining rudimental drumming skills  purchase this

 purchase this book and use it on book and use it on a regular basisa regular basis..

INTRODUCTION

INTRODUCTION

The exercises, cadences, and band signals in this book are going to be used during the Fighting Scots The exercises, cadences, and band signals in this book are going to be used during the Fighting Scots Marching Band season.

Marching Band season. More may be added as More may be added as the season goes on, but all members of the the season goes on, but all members of the drumline (includdrumline (including theing the front ensemble) will

front ensemble) will definitelydefinitely need to know the material in need to know the material in thisthis  book.   book. Those in tThose in the front ensehe front ensemble (pit) smble (pit) shouldhould  practice the snare parts of the Exerci

 practice the snare parts of the Exercises to develop basic technique (when possiblses to develop basic technique (when possible: rolls, etc., won’t be possible ase: rolls, etc., won’t be possible as written), then transfer the techniques to the mallet instruments by using the Mallet Versions of the Exercises. This written), then transfer the techniques to the mallet instruments by using the Mallet Versions of the Exercises. This  book should be brought t

 book should be brought to all rehearsao all rehearsals. Any auditls. Any auditions for drumlions for drumline placement wiine placement will use materialll use materials from this books from this book..

All materials in this book should be memorized as quickly as

All materials in this book should be memorized as quickly as

possible.

possible.

All exercises, cadences, and band signals are designed to be played at 120 beats per minute (quarter note pulse). All exercises, cadences, and band signals are designed to be played at 120 beats per minute (quarter note pulse). Practice slowly at first and work your way up

Practice slowly at first and work your way up to this.to this.

Pay careful attention to accented and non-accented notes (inner beats) thr

Pay careful attention to accented and non-accented notes (inner beats) throughout. oughout. If you play the accents atIf you play the accents at 8-12” (or higher depending on the dynamic) and non-accented notes at 2-4” (go for your lowest controllable stick 8-12” (or higher depending on the dynamic) and non-accented notes at 2-4” (go for your lowest controllable stick height), you will have the correct relationship

height), you will have the correct relationship. . The idea is to make accented notes very distinctive relThe idea is to make accented notes very distinctive relative to non-ative to non-accented notes.

accented notes.

All rolls except buzz rolls (indicated by a

All rolls except buzz rolls (indicated by a Z on the stem) Z on the stem) are double-stroke open rolls.are double-stroke open rolls. This book doe

This book does NOT cons NOT contain everyttain everything you need hing you need to know. to know. It only It only covers the basiccovers the basics. s. More comMore commands andmands and  procedures wi

EXERCISES

These exercises are to be played slowly at first and then slowly sped up. They are designed to both warm up the hands and build chops. They will be performed in the order given. It is suggested that the members of the drumline (including the front ensemble) arrive to practice early enough to go through as many of these warm ups as possible prior to rehearsal. The first person to arrive should start playing through Exercise #1 and others should  join in as they arrive. Do not wait to be told to join in. Join in.

EXERCISES: MALLET VERSIONS

These exercises are to be played slowly at first and then slowly sped up. They are designed to both warm up the hands and build chops. They will be performed in the order given. It is suggested that the members of the drumline (including the front ensemble) arrive to practice early enough to go through as many of these warm ups as possible prior to rehearsal. The first person to arrive should start playing through Exercise #1 and others should  join in as they arrive. Do not wait to be told to join in. Join in.

BAND SIGNALS

These signals tell the band when to do something. The drumline (usually on the command of a drum major) uses these signals to tell the band when to start and stop marching or playing. There are three signals to memorize: Roll Off #1, Roll Off #2, and Halt. Roll Off #2 ALWAYS starts the Cadence Series and Halt ALWAYS ends the Cadence Series. Other than that, use of the three signals will be agreed upon by the directors, drum majors, and the drumline.

CADENCES

The following cadences form the core of the Fighting Scots Drumline “Series.” The Series is played during  parades, going to and from events, or any other time is seems necessary. If not specified (that is, unless we decide

differently for a certain circumstance), the cadences are always performed in the same order. Memorize the cadences and this order. Additional cadences are always likely to spring up, and feel free to come up with your own.

 Note: A start bar of taps will be used between cadences on occasion. Learn the series with this bar in place.  Note about Belldoleer: This cadence is omitted if no bells are marching