McDowell High School

Drumline
2021
Battery Technique Packet
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McDowell High School Drumline B a t t e r y Te c h n i q u e P a c k e t

Foundations of This Program

Music & Performance
Music is what ultimately gave us our beginning, our passion, and our drive to join this activity.
Just as it is important to practice our music and learn to play drums, it is also beneficial to be
a good music listener. Broadening your musical horizon to include many genres will in turn
help you play in those styles and maybe even relate your parts better with others. So
whether you have played Snare Drum your whole life or this is your first time ever holding a
stick, we hope to teach you to be a better drummer but first and foremost, a better musician.

Dynamics
• Each dynamic in the music will have a corresponding height to go with it.
• Approach to the drum should be the same regardless of the height being played.
Velocity will not change because of a change in heights (most of the time)
• The forearm should stay relaxed at all heights and will react to the motion created by
the wrist. It is okay for the forearm to move at all heights 3” – 20”
• The sticks will NEVER travel past vertical. 15” is the vertical height.

Ex. Definition of Stick Heights & Dynamics would be:

• The 20” height will be used for fortissimo volumes needing a little extra power. This
involves a 15” full extension plus a bit of extra forearm movement.
• Heights past 20” will be referred to as visual height. Motion starts with a 12" wrist
stroke followed by a rotation of the arm at the elbow. The stick will end completely
vertical and further away from the body.

How you feel while drumming

• Confident
• Relaxed
• Strong
• Let the sticks feel “heavy” in your hands---Let the weight do the work
• The stronger of an individual player you are and the more chops you possess, the more
efficient you will become, and the more relaxed you will be while drumming
• When in doubt, listen to what you are playing in order to correct issues
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McDowell High School Drumline B a t t e r y Te c h n i q u e P a c k e t

Timing
This is a percussion program and timing is a very important part of what we do. Our role in
the whole musical ensemble and the integrity of our rhythms rely very much on timing.
Whether it be a buzz roll, open roll, or swiss flam drag, they are all rudiments with a specific
rhythmic integrity. Learning your rudiments and learning them CORRECTLY is very important;
always paying attention to correct rhythms, stickings, and accent placements. Slower is
always better than faster when it comes to practicing. Never move onto a faster tempo until
you can play everything with the proper relaxed technique at slower tempos. Practice with a
metronome to focus on your timing and the accuracy of your rhythms.

Also, another option would be to play exercises along with your favorite songs. It’s like
playing with a metronome but a little more comfortable and appealing than listening to a
constant beep. It even creates a musical context for you to relate your parts to. This is
exactly what we do when we play together as an ensemble. Don’t be afraid to groove and
have fun with the music. Then, you can apply that to your show music/exercises. You should
find a groove to the music even when the music is abstract. All music has checkpoints you can
use to find a ‘pocket’ for you to play in.

Strokes
Key Points:
• QUALITY OF SOUND IS EVERYTHING, no matter what stroke is being played you
must strive for a big, open, and uniform sound quality.
• We will use four stroke types: Legato/Full Strokes, Down Strokes, Taps, and Up
Strokes.
• The stroke will always start from the bead of the stick. In order to move the
bead of the stick first, we will use the wrist to initiate the stroke.
• While the main focus is the wrist turn, allow the wrist, fingers, and arms to
work together to create the most relaxed/full sound possible.
• Stick must move straight up and down in all strokes!
• When playing, the weight of the stick is should sit in the middle of the hand
(between the middle and ring fingers).
o Having the weight sit further back in the hand will allow us to
achieve a fuller sound while focusing on the proper wrist turn
• Minimize the amount of “human interference,” allow each stroke to be as
efficient as possible.
• DO NOT hold the stick with too tight of a grip.
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McDowell High School Drumline B a t t e r y Te c h n i q u e P a c k e t

Legato/Full Strokes:
• Stick starts and stops at the same point, letting the stick rebound back up
naturally
• The goal is to allow the rebound to “do the work”
• Rebound should occur at the same speed as the initial movement
• Avoid letting the stick hit the back of the hand which can stop the motion
created.
• Fingers will stay touching the stick at all times.

Down Strokes:
• Should sound the same as a full stroke and feel the same prior to hitting the
drum.
• Once the drum is struck with the stick, stop the wrist motion in order to stop
the stick at the original tacet position.
• Avoid squeezing the fingers to stop the motion of the stick. Simply stopping
the wrist turn with the fingers closed around the stick will be enough to stop
the stick in a relaxed manner.
• This stroke will be used in any exercise that involves more than one height or a
hand needing to stay at rest.

Taps:
• This refers to all of the lower inner beats between accents. Most of the time
these will be a 3” stroke.
• This stroke is essentially as 3” legato stroke.
• It is important while playing taps that the stroke be relaxed and wrist only turn
to 3 inches. Although we will play very relaxed…that DOES NOT mean we will
play “loose” with a lack of control.

Up Strokes:
• When playing something that involves accents and taps in the same passage it
will be necessary for us to use an Up Stroke.
• After playing a regular 3” wrist stroke, the wrist will turn upward lifting the
bead of the stick to the height of the following accented note.
• Any tap that comes directly before an accent will become an upstroke in order
to prepare the stick for the proper accent height. The upstroke makes it much
easier to achieve clarity in passages that have accents following taps.
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McDowell High School Drumline B a t t e r y Te c h n i q u e P a c k e t

Rehearsal
In Marching Band, rehearsal time is VERY limited. It is imperative that we maximize this time
as much as possible by being prepared for rehearsal 100% of the time. We will work hard but
we will also work smart in order to put out the most consistently excellent product that we
possibly can every performance.
*The first part of being prepared for rehearsal is personal preparation at home. You WILL
be expected to show up every rehearsal prepared with what is asked of you.
*The second part of being prepared for rehearsals is coming with a good attitude and
ready to drum from the first minute of rehearsal to the last. Part of this is arriving to all
rehearsals ON TIME.
*Lastly, make sure you have everything you need for rehearsals with you at all times.
Some of the items necessary for all music rehearsals are:
-Pencil -Highlighter -3-ring binder w/all music and exercises
-Sneakers -Water bottle -Sticks and/or mallets
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McDowell High School Drumline B a t t e r y Te c h n i q u e P a c k e t

Snare Drum
Attention Position (Sticks In)
• Both sticks should be parallel with the ground. ALL fingers
will wrap around the sticks at this point (Except ring/
pinky fingers of Left Hand).
• Resting position for your hands can easily be checked by
extending the Index Finger of your Right Hand, and
touching the top edge of the rim with the tip of your
finger.

Playing Position
• Arms are relaxed at your sides, with elbows being only a few inches from your sides.
• The sticks should meet in the center of the playing surface and form a 90 degree
angle, or the letter “V”.
• The beads should rest roughly ½” inch above the playing surface, and ½” apart.
• The bead of the stick will rest slightly below the wrist, following the natural
downward angle of the forearm.

Stick Position
• As a uniformity guideline, a 45 degree angle from the center of the body is preferred.
Physical structure such as bone mass and hinge movement, may dictate minor angle
deviations.
• The stick is a continuation of the arm, and therefore the angle of the arm determines
the angle of the stick. The angle of attack from the top of the playing surface to the
fulcrum is important. This angle for a stick should be between 5-15 degrees.
• The bead of the stick must always rest below the wrist. Failure to have this downward
angle will hinder wrist motion.
• Forearms will not stick out far away from the body, this creates instability and early
fatigue
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McDowell High School Drumline B a t t e r y Te c h n i q u e P a c k e t

GRIP
Matched Grip
* The fulcrum point is approximately 1/3 from the
bottom of the stick. This is where the pad of the thumb and the
index finger meet.

* Thumb should be directly on the side to slightly above the stick, NEVER below the
stick.

* Middle, ring, and pinky fingers will all wrap naturally around the stick. These fingers
will rarely leave the stick while in motion.

* There should be no “daylight” showing between any of the fingers at any point.

Left hand (Traditional Grip)

* The Stick, third finger and thumb should be close
to parallel.

* The thumb should be in line with the forearm (as

if shaking someones hand)

* The stick should rest on the fourth finger between

the 1st and 2nd joints.

* The index finger should cross the stick and make

contact with the thumb.

* The pinkie should be relaxed, and use the ring finger as a guide.

* The thumb should be turned upwards while touching the index finger. It should not
be curled over the index finger.
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McDowell High School Drumline B a t t e r y Te c h n i q u e P a c k e t

Tenors
Grip
Matched Grip
Proper grip is essential to becoming a good quad player. This step is what sets you up to have
a great quality of sound and approach to the drum. Once you have the grip perfected, the
possibilities for development as a player are endless. While setting up the grip in the below
steps we are looking for you to be very relaxed yet firm in all details.

The fulcrum will be the first part of the grip we setup. This point is located about 1/3 from
the bottom of the stick and this is where the thumb and index finger will meet (thumbnail is
directly across from index finger). This will become the point where the stick pivots in your
hand. The thumb will rest directly on the side of the stick, never above nor below.

Once the fulcrum is set wrap the remaining fingers naturally around the stick. The fingers
should stay relaxed but should rarely leave the stick. In order to properly use the fingers the
stick should rest against the fleshy part of the palm opposite the thumb.

** Once your grip is set, it should not change.

** There should be no “daylight” showing between any of the fingers.

** The hands will be rotated slightly outward in relationship to the drum. This is what
some consider “American Grip.” If the hand is too flat (German grip) wrist
motion will be hindered; if the hand is w/thumb up (French grip) finger control is
lost. If you aren’t sure, turn the hand completely flat and then relax the hand
outward until you feel the tension go away. This is about where to be.

Attention Position (Sticks In)

• Both sticks should be parallel with the ground. ALL
fingers will wrap around the sticks at this point.

• The left index finger will go between the two sticks

and the pads of the thumbs will rest against the back
stick.

• Make sure that the sticks do not rest too close to the
body, this tends have a passive/lazy look.
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McDowell High School Drumline B a t t e r y Te c h n i q u e P a c k e t

Playing Position
• In order to get the best positioning over the drums, start from the bead of the stick
and work up to the shoulders.

• The drums should be just below the waist line. However, this may vary on a case-by-
case basis.

• Make sure that the shoulders are always relaxed (but back) to avoid tension in the
forearm, wrist, and fingers.

Stick Position
• Home position of the sticks will be over drums 1 and 2. (Whenever a passage is
finished, the sticks will immediately come back to these drums).
• The beads should rest ½” inch above the playing surface and roughly 1 ½” from the
bearing edge.
• Sticks should follow the angle of the arm as it relates to the drum. The bead of the
sticks will be slightly inward from the arm. DO NOT let the bead of the stick move
outward past the arm.
• The bead of the stick must always rest below the wrist. Failure to have this downward
angle will hinder wrist motion/control.
• The arms should be draped down naturally next to the body but not resting on the
body.
• Movements to the outer drums (3 and 4) will come from a horizontal pivot of the arm
starting from the elbow. Do not let the elbows move behind the plane of the shoulders
unless playing on the spock drums.
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McDowell High School Drumline B a t t e r y Te c h n i q u e P a c k e t

Playing Zones
• The playing zones on each drum will be roughly 1 ½” from the bearing edge.
• When playing “sweeps” the playing zone will move to the edge closest to the 2nd drum
being struck
• If you draw an imaginary line across drums “4-2-1-3” 1 ½” from the bearing edge you
will find the optimal general use playing zones.
• When playing both hands on drums 3 or 4, make sure the beads are in the same
relative area and the same distance from the bearing edge. This will be roughly “1 o’
clock” on drum 4 and “11 o’ clock” on drum 3.

Sweeps/scrapes
Key points:

• Both stokes will be legato/full strokes (stick starts and ends at the same place, up!).

• Make sure you are using enough velocity in the stoke, the stick will only rebound with
as much energy as you initially put into it. If you aren't getting much rebound, you
must send the stick into the head with more velocity and then let the head send the
stick (and wrist) back to where they started.

• All motion must initiate from the bead of the stick moving vertically.
• In order to move the bead of the stick first you must turn the wrist.
• Don’t think about the side to side horizontal motion at all when creating the stroke.

• Once the stick has rebounded from the first stroke, then you may pivot the forearm
slightly to align your stick over the next drum where you will play the second stroke.

• It is important that the path of the stick is traveling straight up and down for both
strokes, the only sideways motion will be a slight arc at the top connecting both
strokes (see diagram left).

• When playing both strokes, be as efficient as possible. If you are sweeping from 1-3,
then play the first stroke on the drum 1 side closest to drum 3 and finish the 2nd
stroke on drum 3 near drum 1. Use the below diagram for sweep playing zones.

• All sweeps go in either two directions...Inward or Outward

• R. Hand outward sweeps: 1-3, 2-1, 4-2, S-3

• L. Hand outwards sweeps: 2-4, 1-2, 3-1, S-4
• R. Hand inward sweeps: 3-1, 1-2, 2-4, 3-S
• L. Hand inward sweeps: 4-2, 2-1, 1-3, 4-S
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McDowell High School Drumline B a t t e r y Te c h n i q u e P a c k e t

Tips
-Make sure you always have a firm and closed fulcrum!

-Use your fingers to aid the wrist in sound quality/speed. Most likely at a moderate tempo
your wrist will produce the first stroke and your fingers will produce the second stroke.
slow tempo = mostly wrist w/relaxed fingers holding stick
moderate tempo = initiate with wrist, add fingers for 2nd stroke
fast tempo = 1st stroke initiated from wrist, fulcrum is doing most of the work, fingers
may help slightly
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McDowell High School Drumline B a t t e r y Te c h n i q u e P a c k e t

Bass Drum

Goals
There are two main aspects that a bass drum line must be aware of:
Individual Accountability (being accountable for yourself, your
parts, your equipment, etc) and Full Bass Line Interdependence
(relying on each other to create full musical passages and being a
unit). These aspects apply to both on and off the field. You must be responsible enough to
learn and know your parts and supplement that at home by practicing. As a unit, the line
must cooperate with each other and must get along. The better you get along as a line, the
better you will play as a line. If all goes well, the bass line will function as a single voice in
the ensemble performed by a group of five musicians.

Playing
The basis of our playing technique is to be relaxed. Just as a wind player can over-blow a
horn, it is possible to over-play a drum because of tension. This tension can cause a distortion
of sound quality especially from person to person. Make it your goal to stay completely
relaxed from the neck, to the shoulders, down your arms and into your fingers.

Grip
The grip is a slight variation to the standard matched grip. The only difference is that it is
held vertically rather than horizontally to play the drum. To create the proper grip, start with
your arms hanging from your sides. Then, pick up your forearms until they are relatively
parallel to the ground with your hand vertical like you are going to shake someone’s hand.
The mallet should be placed between the pad of your thumb and the second segment of your
first finger. There should be no open space or “daylight” between your fingers or any tension.

Then, place the other three fingers on the mallet remembering to stay relaxed and to not
create tension. When you are at a drum, your mallets should slightly angle in toward the
center of the head. Once the drum is adjusted, have someone help you find the center. Once
you have done that, feel where your hand or arm touches the rim and memorize this position
so that you will always be in the center.
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McDowell High School Drumline B a t t e r y Te c h n i q u e P a c k e t

Stroke
All strokes, regardless of height, should initiate from the head of
the mallet. The primary motion to create this movement will be
the breaking of the wrist. From there, let the weight of the mallet
help with the rotation. The technique should feel very similar to
playing on a horizontal practice pad. As shown, the path of the
mallet should be a straight line and should match relatively to the
angle of the mallet. Try practicing this motion slowly at first in a
mirror to see if your doing it correct. The more you do it, the more
natural it will feel and the easier it will be to transfer to your
playing.

Each stroke, no matter the height, should always move from the
starting height to the head very quickly. This allows your playing to
be very consistent whether you are playing 3 inches or 20 inches.

The heights defined for bass drum are a little different than playing on a horizontal drum.
First, at set position, your mallet is at a 1” height. To get a good 3” or piano as shown below
in Figure 1, a slight wrist turn is all that is necessary. From there, move your mallet until it
creates a 90 degree angle with the drum or parallel to the ground. This would be 15” or
fortissimo shown in Figure 2. Divide that space in half and that position and that will give you
9” or mezzo forte. Half way between 9” and 3” would be your 6” or mezzo piano and half
way between 9” and 15” is your 12” or forte. If the music asks for anything more than
fortissimo, for example ffff, you will still go to 15” and from there go straight out with the
arm. Your mallet should not go past horizontal.

Figure 1 Figure 2
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McDowell High School Drumline B a t t e r y Te c h n i q u e P a c k e t

Notation
Some notations may seem new or familiar notations may mean something different for
bass drum. Below is a list of common notations for bass drum:

Unison – Everyone plays together. This doesn’t mean to play louder. Unisons will
automatically be louder because everyone is playing.

Rim Click – Rim clicks are for you, not for them! We use rim clicks for timing and they
should not be played as if to be loud. From a certain distance, rim clicks aren’t even
audible. They should be played at about a 6” height and no more.

Drum Note Assignment – Note placement for each drum all depends on the arranger.
Most of the time, the first example is used in printed parts where the second example
is used for hand written parts.

Muffled – 2nd is most often used. Refer to the muffling section on pg. 6.

Accents –The first example would be just a normal accent. The second example calls
for something a little more articulate. The third and forth are just examples one a
two but muffled.
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T. Dr. œ œ
L R L L r l r ... R

> > > >j > > > >j > > >j >j > > >j >j > > > >
B. Dr. ã S. S Å S ‰ S Å S. S Å S ‰ S Å . . .
S S‰ S ≈S S S ‰ S ≈ S . S S Å S S Œ Ó
R R l R R l R R l R R l R R R R R R R R R L r L R

Double-Triple
>> >> >> >> >> > >> >> >> >> >> > > > > > > > > > > > > > > > > > > > > > > > > > > >
ã 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 œœ œœ œœ ≈ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
28

S.Dr. 1
R L R R B B B B B B R R L L R R L L R R L L R R L L R L

>> >> >> >> >> > >> >> >> >> >> > > > > > > > > > > > > > > > > > > > > > > > > > > >
T. Dr. ã 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 œœ œœ œœ ≈ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
R L R R B B B B B B R R L L R R L L R R L L R R L L R L

>> >> >> >> >> > >> >> >> >> >> > > > > > > > >>>>>>>>
>>>>> >
ã S S SS S S ≈S S SS S S S SS S S ≈S S SS S S S S Å S ‰ S Å S œœœœœœœœ
œœœœœ œ
B. Dr.
œ œ
R L R R R l R R l R

> - - > - - > - - > - - - > - - > - - > - - >- - - > - - > - - > - - > > > - > -> - > - > - > - > > >
…œ Œ Ó
32

S.Dr. 1 ã 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 œœ œœ œœ œœ œœ œœ…œ …œ …œ œ…œ œ…œ œ…œ œ…œ œ…œ œ…œ …œ

R r r R r r R r r R r r r L l l L l l L l l L l l l R r r B b b B b b R L R r L l R r L l R r L l R L R

> - - > - - > - - > - - - > - - > - - > - - >- - - > - - > - - > - - > > > - > - > - > - > - > > > > >> > > 6

T. Dr. ã 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 œœ œœ œœ œœ œœ œœ…œ …œ …œ œ…œ œ…œ œ…œ œ…œ œ…x œ œ œ œ œ œ œ Œ Ó

R r r R r r R r r R r r r L l l L l l L l l L l l l R r r B b b B b b R L R r L l R r L l R r L R L R L R L R

> > > > >> > > > > 6> > > >
œ œ Åœ œ Åœ œ Å S Å œ œ Å œ œ Å œ œ Å S Åœ œ œ Å S Å S S S œœœœ œ œœœœœœ S Œ Ó
B. Dr. ã Å œ œ œ œ œ œ œœ œœœœ
r/l l l r L r/l l l r L r/l l l r L r L R L R L R L R L R
 Score Paradizzle Stick Fo Shizzle
McDowell 2020

> > > > > > > > > > > > > >
Snare
4
ã4 œ œ œ œ œ œ œ œ œ œ œ œ œœœœ 34 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 œ œ œ œ 42 œ œ œ œ œ œ œ œ 43
f
R l r r L r l l R l r r L r l l R l r r l l R l r r l l R l r r l l R l r r l l R l l R l l R l l R l l R l r r L r l l

> > > > > > > > > > > > > >
4 œœœœœœœœœœœœœœœœ 3 œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ 2 œœœœœœœœ 3
Tenors ã4 4 4 4
f
R l r r L r l l R l r r L r l l R l r r l l R l r r l l R l r r l l R l r r l l R l l R l l R l l R l l R l r r L r l l

> > > > > > > > > > > > > >
Basses
4
ã4 S S S S 34 S . S. S. S. S. S. S. S. 24 S S 43
f
R R R R R R R R R R R R R R

4 ¨ ¨ ¨ ¨ > > > > ˘ ˘ ˘ ˘ ¨ ¨

43 œ . 42 œ 43
Crash Choke Crash Tap Choke Crash Choke

Cymbals ã4 œ œ œ œ œ. œ. œ. -. -. -. -. œ
f

> > > > > > > > > >
3 œ œ œ œ œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ 2 œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ 13
6

S.D. ã4 8 4 4 8 8
R l r r l l R l r r l l R l l R l l R l r r L r l l R l r r l l R l r r l l R l l R l l

> > > > > > > > > >
3 3 2 3 3 œ œ œ 13
6

T.D. ã4 œ œ œ œ œ œ œ œ œ œ œ œ 8 œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ 8 œ œ œ 8
R l r r l l R l r r l l R l l R l l R l r r L r l l R l r r l l R l r r l l R l l R l l

> > > > > > > > > >
3 S. S. 3 S. S. 2 S 3 S. S. 3 S. S. 13
B.D. ã4 8 4 S 4 8 8
R R R R R R R R R R

> > 38 ˘ ˘ ¨ ¨ > > 38 ˘ ˘

Tap Choke Crash Choke Crash Tap Choke

ã 43 œ . 42 œ 43 œ . 13
Crash
6

Cym. œ. -. -. œ œ. -. -. 8

> > > > > > > > > > > > >
13 4 Œ Ó
11

S.D. ã8 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ
R l r r L r l l r r L r r L r l l R l r r l l R l l R l r r L r l l r r L r r L r l l R l r r l l R l l R

> > > > > > > > > > > > >
13 œ œ œ 44 œ Œ Ó
11

T.D. ã8 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
R l r r L r l l r r L r r L r l l R l r r l l R l l R l r r L r l l r r L r r L r l l R l r r l l R l l R

> > >j > > >j > > >j > > >j > switch to L. Hand

13 S. S. S S. S. S. S. S S. S. 44 S Œ Ó
2nd time through

B.D. ã8 S S
R R R R R R R R R R R R R

. . .j . . .j . . .j . . .j 44 .
ã 13
H.H.

Œ Ó
11

Cym. 8 x x. x. x x. x. x x. x. x x. x. x

Tips:
-12"/3" is a good starting point.
-Accents played with wrist. Taps played with wrist & fingers.
-Accents in measures 1-3, 5-6, 8-9, 11 are downstrokes.
-Accents in measures 4, 7, 10 are full-strokes.
 Score Stick Control McD 2021

> > > > > > > > >>>>>>>> > > > > > > > > > >> >> >> > > > > > > > > > > > > > > > > > > > > > > > > > >> >>> >> >
q = 70-120

4 œ œ œ œ œ œ œ œ œœœœœœœœ
Snares ã4 œ œ œ œ œ œ œ œ œœœœœœœœ œ œ œ œ œ œ œ œ œœœœœœœœ œ œ œ œ œ œ œ œ œœœœœœœœ
f
R L R L R L R L ... R R R L R R R L ... R L R L R L R L ... R L L L R L L L ...

> > > > > > > > >>>>>>>> > > > > > > > > > >> >> >> > > > > > > > > > > > > > > > > > > > > > > > > > >> >>> >> >
4 œ œ œ œ œ œ œ œ œœœœœœœœ œ œ œ œ œ œ œ œ œœœœœœœœ œ œ œ œ œ œ œ œ œœœœœœœœ œ œ œ œ œ œ œ œ œœœœœœœœ
Tenors ã4
f
R L R L R L R L ... R R R L R R R L ... R L R L R L R L ... R L L L R L L L ...

> > > > > > > > > >> >
> > > > > > > > >>>>>>>>
4 / / / / / / / / //////// œœœœœœœœ > >> > > > > > > > > > > > > > > > > > > > > > > > > > >> >>>œ >œ >œ >œ
Basses ã4 œœœœœœœœ / / / / / / / / //////// œ œ œ œ œ œ œ œ œœœœ
f
R L R L R L R L ...

5 > > > > > > > > > >> > >> >> > > > > > > > > >>>>>>>> > > > > > > > > > >> > >> >> > > > > > > > > >>>> > > >>
S ã œ œ œ œ œ œ œ œ œœœœœœœœ œ œ œ œ œ œ œ œ œœœœœœœœ œ œ œ œ œ œ œ œ œœœœœœœœ œ œ œ œ œ œ œ œ œœœœ œ œ œœ
> > >>
R L R L R L R L ... R R R R L L L L ... R L R L R L R L ... R R L L R R L L ...

> > > > > > > > > >> > >> >> > > > > > > > > >>>>>>>> > > > > > > > > > >> > >> >> > > > > > > > > >>>> œ œ
œ œ œ œ œ œ œ œ œœœ œœœ œ œ œ œ œ œ œ œ œœœœœœœœ œ œ œ œ
5

T ã œ œ œ œ œ œ œ œ œœœœœœœœ œ œ œ œ œ œ œœœœ œœ
R L R L R L R L ... R R R R L L L L ... R L R L R L R L ... R R L L R R L L ...

> > > > > > > > > >> > >> >> > > > > > > > > >>>>>>>> > > > > > > > > > >> > >> >> > > > > > > > > >>>> > > >>
œœœœ œœœœ
B ã / / / / / / / / //////// œ œ œ œ œœœœœœœœ / / / / / / / / //////// œ œ œ œ œ œ œ œ œ œ œœ

9 > > > > > >>>>>>>>

S ã œœœœ œœœœœœœ œœœ œœœœœ œœœ œœœ œœ œ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ
z z y z
> > > >
R l r l R R r r r l r r r l r l l l r l l l r r r r l l l l r r l l r r l l r l r l r l r l R R L L R R L L

> > > > > > > > > > >>>>>>>
12"/ 3" 3" 15"

9
œ œ œ œ œ x œ œ x x x
œœœ œœœ œœ œœ œ œœœœ œœ
T ã T T œœœ œT T œœ T T œœœ œœœ T œ œœ T œ œ œ œœœœ œœœœœœ
R r r r L l l l R r r L l l R r r r L l R l l l R r r L l l R L r r r r l l l l R l l R l l R l R R L L R R L L

>j > > > > >

12"/ 3"

> >> > > >

12"/ 9"

j > >>>>>>
15"

ãS Å. S S S Å S ‰ S Å S S S S Å S. S œœœœœœœœœœœœœœ S S ≈S . S S S S S S S
B
R r L R L r L L r L L R L r L R
œ r r r R R L R L R L
15"

>
Œ Ó
13

S ãœ
R

>
Œ Ó
13

T ãœ
R

>
B ãS Œ Ó
R
 Score Triplet Diddle McD 2021

ã 44 œ œ œ œ œ œ œ!œœœœœ œœœœœœœ!œœœœœ œ œ œ œ œ œ œ!œœ!œœ!œ œœœœœœœ!œœ!œœ!œ œ œ œ œ œ œ œ!œ!œ!œ!œ!œ! œœœœœœœ!œ!œ!œ!œ!œ!

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

Snareline

! !
4 œ œ œ œ œ ! œœ œœ œ œœ œœ ! œœ œœ œ œ œ œ œ ! œ!œ œ!œ œ œœ œœ ! œ!œ œ!œ œ œ œ œ œ ! !œ!œ!œ!œ œ œœ œœ ! !œ!œ!œ!œ
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 33 3 3 33 3
3 3

Tenorline ã4 œ œœ œœ œ œ œœ œœ œ œ œœ œœ œ

ã 44 S S S S S S S Œ SSSSSSS Œ S S S S S S S‰SŒ SSSSSSS‰SŒ

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

Bass Drums S S S S S S S S S SSSSSSS S S

RL RLR LR RL RLR LR R RL RLR LR R R

ã 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!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 œ œ œ œ!œ!œ!œ!œ!

7 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

S.Dr.

!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 !œ!œ!œ!œ! œ œ œ œ !œ!œ!œ!œ!

3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3

œœœœœ
3 3 3 3 3 3

T. Dr. ã œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ

ã S S S S S S S SŒ SSSSSSSSŒ S S S S S S S S‰S SSSSSSSS‰S S S S S S S S S‰S‰S SSSSSSSS‰S‰S

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

B. Dr.
R L R L R L R L R R L R L R L R L L R R L R L R L R L L L R

>3 3 >3 3 >3 3 >3 3 >3 3 >3 3 >3 3 >3 3 >3 3 >3 3 >3 3 >3 3
ã 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!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 œ œ œ œ!œ! œ!œ!œ!
13

S.Dr.

>3 3 >3 3 >3 3 >3 3 >3 3 >3 3 >3 3 >3 3 >3 3 >3 3 >3 3 >3 3
! ! ! ! ! ! ! ! !!!!! !!!!!
T. Dr. ã œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœ œœœœœ œœœœœœœ œœœœœ

>3 3 >3 3 >3 3 >3 3 >3 > 3 3 > 3 3 > !3 ! 3 ! > >3 > > >3 > 3 > > >3 > > >3 > 3 >
!œ œ œ œ
ãS
œ œ œ œ œ œ S œ œ œ œ œ S œ œ œ œ œ S œ œ œ œ œ S œ!œ œ! œ œ! S œ œ œ œ œ S œ œ œ œ œ S S S S S ‰ S ‰ S S S S S S ‰ S ‰ S
! 3

B. Dr. S
R R R R R l r l R R l r l R R R R R L L L R R R R L L L

> > 3 > > > > 3 > > > 3 > 3 > 3 > 3 > 3 >
! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! œ Œ Ó
19 3 3 3 3 3

S.Dr. ã 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 œ œ œ œ œ œ œ œ œ œ
> 3 > > > > > 3 > 3 > 3 > 3 > 3
! ! ! ! ! > œ œ œ œ œ œ! œ œ
! ! ! !
> œœœœœœœ œ œ œ œ œ œ T œ œ œ œ œ œ œ œ œ œ œ œ! œ! ! ! > Œ Ó
! ! ! !
3 3 3

! ! !
3
3 3

T. Dr. 㜠œ œ œ T œœ œ

> > !3 ! ! !3 ! > > > > !3 ! ! !3 ! > > > >3 > > >3 > 3 > > !3 ! 3 ! !3 ! ! !3 ! >
œ œ œ œ œ œ œ S S œ œ œ œ œ œ œ S S S S S ‰ S ‰ S S œ œ œ! œ! œ! œ œ œ œœ œœ œœ S Œ Ó
B. Dr. ãS S
R R R R R R R R L L L R l r l R
 Score Triplet Rolls McD 2021

ã 44 œ œ œ œ œ œ œz œz œz œz œz œz œ œ œ œ œ œ œz œz œz œz œz œz œ œ œ œ œ œ œ œ œ œ œ œ
3 3 3 3 3 3 3 3 3 3 3 3

Snareline
R L R L ...

4 z z z z z z zzzzzz
3 3 3 3 3 3 3 3 3 3 3 3

Tenorline ã4 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 œ œ œ œ
R L R L ...

ã 44 S S S S S S S
3 3 3 3 3 3 3 3

Bass Drums S S S S S S S S S S S S S S S S S S S S S
R L R L R L R R R L R L R L R R R L R L R L R L R L R L

ã œz œz œz œz œz œz œz œz œz œz œz œz œ œ œ œ œ œ œ! œ! œ! œ! œ! œ! œ œ œ œ œ œ œ! œ! œ! œ! œ! œ!
4 3 3 3 3 3 3 3 3 3 3 3 3

S.Dr.

œz œz œz œz œz œz œz œz œz œz œz œz œ œ œ œ œ œ œ! œ! œ! œ! œ! œ! œ œ œ œ œ œ œ! œ! œ! œ! œ! œ!
3 3 3 3 3 3 3 3 3 3 3 3

T. Dr. ã

œ œ œ œ œ œ œS! œ! œ! œ! œ! œ! œ œ œ œ œ œ S!œ œ! œ! œ! œ! œ!
3 3 3 3
3 3 3 3

B. Dr. ãS S S S
R R R R R R

œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! Œ Ó
7 3 3 3 3 3 3 3 3

S.Dr. 㜠œ œ œ œ œ œ œ œ œ œ œ œ

œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ!
3 3 3 3 3 3 3 3

T. Dr. 㜠œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó

!Sœ œ! œ! œ! œ! œ! S!œ œ! œ! ! !3 !
3 3
3 3 3
œ œ œ Œ Ó
3

㜠œ œ œ œ œ œ œ œ
3

B. Dr. œ œ œ S
L R L R L R L R L R L R

2021
 Score 12/8 Double-Triple
MHS 2021
Variation 1

Snares ã 12
8 œ‰œœ‰œœ‰œœ‰œ œ‰œœ‰œœ‰œœœœ œ‰œœ‰œœ‰œœ‰œ œ‰œœ‰œœ‰œœœœ
R R R R R R R R R R R R R R R L R L L L L L L L L L L L L L L L R L

12 œ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ œ œ ‰
Tenors ã 8 ‰ œ œœ‰œœ‰œœ‰œ œ‰œœ‰œœ‰œœœœ
R R R R R R R R R R R R R R R L R L L L L L L L L L L L L L L L R L

12 j j
Basses ã 8 S. Œ. Å. S ‰ S ‰ ‰ S S. Å. Œ ‰ S. Œ. Å. S ‰ S ‰ ‰ S S. Å. Œ ‰
R r R R R R r L l L L L L l

㜉œœ‰œœ‰œœœœ œ‰œœ‰œœ‰œœœœ œ‰ œœœœœ‰ œœœœ œœœœœœœœœœœœ

5

S
R R R R R R R L R L L L L L L L R L R R R L R L L L R L R R L L R R L L R R L L

œ‰œœ‰œœ‰œœœœ ‰
œ œœ‰œœ‰œœœœ ‰
œ œœœœ ‰ œœœœœœ
5

T ã œ œœœœ œœœœœœ
R R R R R R R L R L L L L L L L R L R R R L R L L L R L R R L L R R L L R R L L

j j
B ã S. Œ. Å. S ‰ S S. Œ. Å. S‰S S S S S S S S S S S Sœœœœœœœœœœœ
R r R R L l L L R R L R L R R L R L R L R R L R R L R L R L

Œ. Ó. ∑
9

S 㠜.
R

œ. Œ. Ó. ∑
9

T ã
R

B ã S. Œ. Ó. ∑
R
 2 12/8 Double-Triple

Variation 2

ã œœœ‰œœœ‰ œœœ‰ œœœ‰ œœœ‰ œœœ‰ œœœ‰œœœ‰œœœ‰ œœœ‰œœœ‰œœœ‰

11

S
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