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Percussion Links
Tips for preparing for the Fall audition:
Here's some help from the Vic Firth stick company in preparing for your audition this Fall. Look for other helpful tips in preparing mallets, drum set, etc. When you arrive on the page, click on the search box and type in rudiments. Watch videos and read about lessons on those rudiments. You can also search about drum set and keyboard percussion knowledge within the Vic Firth Website.
Visitors please feel free to use and modify these exercises and cadences as you need for your ensemble. Please ask questions- sfairweather@c-dh.org
Percussion Exercise and Drum Cadence MP3s
Please read this before Downloading MP3s
This page contains Downloadable MP3s for you to practice with. Sometimes it can be intimidating to play with other percussionists if you have never played with them before. This can be a way for you to not only practice with a metronomic device, but to hear how the exercise could sound with the entire section before you play with them. I RECOMMEND THAT YOU TRY PLAYING THE EXERCISES FIRST BEFORE YOU LISTEN TO THEM. The reason for this is once we do play together, things will sound different than what has been recorded. It is important for you to be flexible and adjust by watching and listening. I still want you to have an opportunity to listen and learn to how it could potentially sound. I have created a couple of examples at different tempos so that you can gradually build up you speed and endurance. Remember to read the first couple pages of the Cretin-Derham Hall Warm-Up Book for more information on grip for various percussion instruments. If you don't start with a good grip, you will have great difficulties playing these exercises accurately at fast tempos. Please call me at 651-696-3370 or email at sfairweather@c-dh.org for questions. Thanks and enjoy!
When you practice these exercises, try to memorize them right away so that the focus during rehearsal can be on listening to the ensemble and working on unifying everyones technique. Start early in the summer and start slow in tempo. Keep the spacing between the double bounces on your rolls even. Know these exercises before you come to band camp- it will make learning them with everyone more enjoyable.
Smart Music Files available for your practicing needs
SmartMusic files of the drum exercises have been added. The advantage of having the Smart Music file is more control over tempo adjustment and you can mute any combination of instruments for your practicing pleasure. SmartMusic files only work with Smart Music software. This software is available at a discounted price through school. On the left hand side of the page click on the Smart Music ordering link and order online. While Smart Music does not have the best accuracy in assessing percussion, we will continue to use Smart Music through out the year for band assignments, so it is a good idea to get it and start using it now.
While the computer is not a replacement for the teacher, it can still provide you with some valuable feedback to your playing. Remember that you are in control of the practice session. The advantage is that you can practice slowly while still listening to the ensemble. You can also work out tough sections by creating a practice loop and invest sometime in repetition of those measures. Have siblings that play other instruments? They can also use SmartMusic to practice they music as well. Wind and string players can take advantage of the tuner. All instruments can use the assessment feature to assist with their practice. In Mr. Fairweather's opinion,the assessment feature works really well to help with rhythms and notes. Along with the red and green note assessment, once your done playing the assignment or exercise, you can listen to a recording of yourself to further evaluate articulation and intonation. Save your recording as an mp3 an email to your teacher or others for even more feedback.
Smart Music files available to CDH students upon request:
September
Beat It
I Want You Back
Thriller
The following exercises are grouped in the order they appear in your handout. Scroll down further to find extra help mp3s that contain a single instrument.Drum Exercise MP3s (sound quality is good, I used standard midi drum set sounds for these recordings).
Smart
Music Files |
16 On A Hand |
Fred Sanford |
Irish Spring |
Metallica |
5-7-10 |
7-10-5 |
10-5-7 |
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16onahandsm
.smp* |
FredSanfordsm
.smp* |
IrishSpringsm
.smp* |
Metallicasm
.smp* |
5-7 10sm
.smp* |
7-10-5sm
.smp* |
10-5-7sm
.smp* | (These only work with Smart Music software)
Each of these exercises has a specific purpose in the following section. Click on the title of the exercise to view or print the pdf file.
6-3-2-1.pdf(for mallets only) is designed to get a consistent stroke when playing when any note on the keyboard, getting to know where the notes are on the keyboard, and practicing playing in double-stops (2 hands playing the same pitch an octave apart in this case). Most of the other exercises will work on scales, arpeggios (Skips), getting to know the keyboard, and rhythmic timing.
16 on a hand.pdf is the basic drum line exercise. You basically play 16 strokes on each hand to develop a consistent stroke, to play in the same area of the drum head/key, and to look uniform when we all play together. ?? Fred Sanford.pdf develops the double-stroke and triple-stroke. Keep in mind when we exercised singles strokes(16 On A Hand) each notes sounds the same. The same is true for this exercise only we have 2 sounds per stroke. Be sure your wrist only does one stroke while your fulcrum, fingers, and bounce off the head do the work for you. You will have to squeeze your fulcrum slightly, let your fingers catch the stick on the rebound, and the stick with a little kick from the wrist, are the necessary motions to execute the double-stroke roll. Let the arm pump up and down slightly when executing the roll to control tempo and pulse. The end result of the entire motion will put the stick in the up position. It is also my belief that when you develop a good, even sounding triple-stroke, your double-stroke will be that much better. This version is more or less the real deal. It is different than the Easy version in that there are some segments where there are 2 measures of double and triple beats.
Be careful not to rush the last 2 eighth notes. That is a common error when playing this exercise together with the line. Listen.
Irish Spring.pdf is basically the same thing as Fred Sanford, but works on rolls in a triplet style. Metallica.pdf is an exercise based on a riff from a Metallica song (One). If you know the song, you will recognize the riff at the end of the exercise. This riff combines eighth notes, sixteenth notes and sextuplets (like triplets) in a single exercise. Some times making the transitions between a 2 feel (like in eighth note or sixteenth notes) to a triplet feel (Sextuplets) can be tricky. The learner will find after awhile that sextuplets are actually a division of 2 instead of 3. A god tip to remember when playing this exercise at faster tempos is to keep the wrists down and the tips of your sticks up.
5-7-10.pdf So far all the exercises we have played have remained at one height. This exercise uses 2 different stick heights. It combines a 2 feel and a 3 feel to work on concentration and ensemble listening skills. The exercise repeats once with a short break in between. It is helpful to subdivide in 3s and 2s (1,2,3 /1,2 1,2,3/1,2/ 1,2 1,2,3/ 1,2,3/ 1,2/ 1,2). In the combined version we essentially start at different measures (7-10-5 or 10-5-7) of the exercise. For some fun when you're with a group try to have each person or group play a different version. You should all end together and switch hands at the same time.More Percussion MP3s
5-7-10 with split no mallets slow.mp3 5-7-10 with split with mallets slow.mp3
| Smart Music Files |
421 |
Accent Grid |
Hugga Dugga Burr |
Banana Split |
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421sm.smp* |
Accent Grid sm.smp* |
Hugga Dugga Burrsm.smp* |
Banana Splitsm.smp* |
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Tap 25 16th note version |
Tap 25 triplet version |
5-7-10 combined |
Timing Grid |
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Tap 25 16th versiosm.smp* |
Tap 25 triplet versionsm.smp* |
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Timing Gridsm.smp* | (These only work with Smart Music software)
Some of these exercises are newer and combine concepts as well as concentration and listening skills.
Accent Grid.pdf is an exercise that works hand to hand motion and timing with accents. Be sure to closely observe which beat the accents are on and placing in the correct spot. Not only is the height of the accent important but more importantly returning to a consistent unaccented note. Bass Drums will be working on the same thing only later they also work in some split parts.
Hugga dugga Burr.pdf is an exercise to develop the the double stroke roll specifically in the context of playing. Snares and tenors really need to listen to each other so that each sound they make line up together all the time. When this exercise is done right it will sound like one instrument playing. Mallets will be working on scales for speed. Cymbals have different sound colors that will be demonstrated when you come in August.Banana Spilt.pdf focuses on triplet triplet rolls. It also develops a short version of a single stroke roll used in more music today. The Blurr-ta is introduced in 12/8 time 2 sixteenth notes followed by 2 eighths. Mallets will develop their chromatic scales in this exercise. Cymbals will do a clam for the x-note, a Ting for the triangle-note, short crash for the diamond note with a house-top accent, and a scrape for the wiggly-line-note.
Tap 25.pdf is a roll endurance exercise. The goal of this is to maintain a consistent double stroke roll for 25 counts. Mallets will try to maintain a consistent scale pattern for 25 counts. Various scales should be used. Cymbal players should learn the snare drum part for now. There are 2 versions a sixteenth note version and a triplet version.
Timing Grid.pdf is an exercise that uses two groups. The first group plays the top line (snares and tenors), the second group plays the bottom line (Bass Drums and Mallets). The cymbal players will provide the steady pulse for the correct execution of the rhythms. Cymbal players should learn the Mallet/Bass Drum line on the side while practicing by yourself. The objective of this exercise is to keep a steady beat while playing the syncopated rhythms. You must subdivide in your head and place the notes at the correct time. The recommended sticking for this is to play 1,2,3,4 and all of their up beats on your right hand. The "e" and "ah" will all be played on the left hand. The first measure in the exercise is counted 1 and ah 2 and ah 3 and ah 4 and ah, the right hand should be placed on 1 and 2 and 3 and 4 and. The "ah" should be placed on the left hand resulting in this type of sticking: R RL R RL R RL R RL. Another example of this sticking would be for measure 5 counted 1 e ah 2 e ah 3 e ah 4 e ah. The right hand plays on 1,2,3,4 and the left hand plays on e ah e ah e ah e ah. In the second line of the music, parts one and two play a slightly different part. Measure 9 of the first part is counted 1e 2e 3e 4e and part 2 is counted 1 e and ah (rest) and ah (rest) and ah (rest) and ah. Part one is playing the notes on the first half of the beat (1 e) and part 2 plays the notes on the second half of the beat (and ah). The next few measures has the 2 groups rotating around the 4 parts of the beat. When played perfectly, one part will subdivide the others part resulting in correct timing of the rhythms.New exercise mp3 files
Bunch a Bucks.pdf- This exercise is nice because it can be modified for any accent pattern group. The bass drums and quints have optional last 4 measures provided to practice splits and sweeps and scrapes. Bass drum splits should be practice in addition to unison studies. When practicing splits with the other bass drums it is important to place your part at just the right time. Start by playing all the parts and then if needed gradually take away parts until you are playing just your part. Click on this file to see the Bunch a Bucks BD splits. Quints players when practicing their optional sweeps and scrapes should keep the forearm low to the drums to supply the left-right motion and use the wrist along with the weight of the mallet for the up-and-down motion. Here's the Bucks Quint Sweeps Scrapes file.
Peas Porage Hot.pdf- (sorry about the misspelling) This exercise is based entirely on accent patterns within sextuplets. The accents on the first part of the exercise work with the nursery rhyme Peas Porridge Hot. Be sure to keep your wrists down and the tips of your drum sticks back for the accents. Work on evenness of sound when playing the paradiddle-diddle. Quints also have some sticking issues to watch for as you work around the drums. Bass drums should work on their splits within the line. Remember to place your part at the right time; don't anticipate too much yet don't wait for your neighbor to play at the right time either.Hey Diddle Diddle.pdf- Here we are working on paradiddle and some permutations of paradiddles including double paradiddles and paradiddle-diddles. Mallet players will work on combining knowledge of scales, arpeggios, chromatic scales, and double stops. Snares and quints will develop the afore mentioned rudiments with the quints breaking them up between the drums. Be sure to keep observe the sticking patterns and keep the diddle parts even in sound between the first and second stroke. Bass drums should continue to work on splits here. Cymbals can continue to work on returning to port after certain passages.Time Check.pdf- The exercise is divided into 2 parts- the first line and the second line. Both deal with timing but with slightly different approaches. The first line is basically a unison sticking exercise following right-hand-lead. Mallet players will work on double-stops with a little "Chop Sticks" flair. Snares and bass drums should follow the stickings closely. Cymbals will provide the steady pulse while the quints will help with the subdivision of the beat. The second line of this exercise for all players will deal with how one listens and adjust the balance of the entire drum line. Mallets players will again have a familiar tune here to work on. Snare players have a unique part but it must "groove" with the bass drum and quint parts. Quints and bass drums have the same accent pattern with the quints moving the pattern around the drums. Cymbals should practice return to port in this part of the exercise. All players must listen to each other and practice good balnce and ensemble performance.Extra Help MP3sThese mp3s have just the part for that instrument.
Cymbal Part Accent with Snare
Cadence MP3s Gurken-This is our cadence. It is an original cadence written by Mr. F. The mallet parts are based off the B flat blues scale. There are 8 bars segments for easy points in the cadence to break for a roll off. Most of the last eight bars were taken from students who came to me and improvised rhythms on the spot. Enjoy!
Printable versions: Mallets Snare Quints Bass Drums Cymbals in PDF format.
Smart Music File- Gurken.SMP*MP3s
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