2024 Cap City Percussion 1

Introduction
Thank you for your interest in the 2024 edition of Cap City Percussion. We are incredibly
excited to move forward with the upcoming season and hope the audition process will
be very educational, enjoyable, and helpful in your musical development.
Below are a few items we expect each member to have with them at auditions:

Required Audition Materials

1. This packet in a three-ring binder with room to take notes and
add any music we may give you
2. Pencils
3. A metronome/app (highly suggested, but not required)
4. Sticks and/or mallets
5. A practice pad
6. A great, focused attitude

The rest of the packet is divided by section and breaks down the program, approach,
technique, and exercises you will need to master for your audition.
We wish you the best throughout the audition process!

- 2024 Cap City Percussion Staff

2024 Cap City Percussion 1

The Audition Process
At Cap City, we value your audition experience. Please reach out to us at any
time for more clarification, more specific information, or more insight on your
abilities and how we can help you to improve. One of our top priorities in the
audition process is to find you a spot to march, whether that's with Cap City
or another organization.
Here is what our audition process looks like:

Sunday, September 24th: Audition #1

• Every member will be considered for Cap City.
• During this process, you will be evaluated both in a full ensemble setting as well as
an individual setting.
• By 9:00 a.m. on Tuesday, September 26th, you will receive an email stating which
ensemble you will be considered for moving forward, and will be provided with
materials to prepare for moving forward.
Sunday, October 1st: Audition #2
• Every member will continue to be evaluated both in a full ensemble setting as well
as an individual setting as needed.
• By 9:00 a.m. on Tuesday, October 3rd, you will receive notification whether you will
be invited to our Callback Only Audition #3. More information will be provided at
this time.
Sunday, October 8th: Audition #3 (Callbacks Only)
• Members will continue to be evaluated both in a full ensemble setting as well as an
individual setting as needed.
Sunday, October 15th: Rehearsals Begin Contracts
• Rehearsals begin the week after We plan to offer all contracts by the
auditions, and will be Sunday-only conclusion these rehearsal dates:
through Sunday, November 5th. • CCWorld - October 8th
• CC2 - October 15th

2024 Cap City Percussion 2

 Foreword
Within this technique packet you will find a
breakdown of our approach to producing the sound
of the Cap City front ensemble. It is important
to understand that our ensemble will focus on
sound, technique, and musical skill from a mental
understanding first, and technical application
second. You must first have in-depth knowledge
of the concept you are trying to achieve before
your hands will be able to achieve it.
Our awareness with eyes and ears is
paramount to creating quality music
with each other. It is important to be
aware of the sounds we are producing
both as individual musicians, and as an
ensemble. Let’s start by defining a few
musical terms that we will often use
while ensembling music.

2024 Cap City Percussion 3

Basic Concepts
Tone - the sound we produce
In our front ensemble, tone should always be one
of the highest considerations regardless of playing
a pitched or unpitched instrument. In general,
strive to produce a sound that is characteristic of
the instrument being played, with the fullest tone
possible. As mentioned earlier, our ears are the key.
We must first know what a high-quality sound from
our instrument is, and then work to produce it at
all times. The best way for us to achieve this is to
do a ton of listening with great attention to detail,
analyzing not just how something sounds, but also
why it sounds that way.

Timbre - the color of the sound we produce

Is the sound bright or dark? In many cases we try to achieve the darkest sound possible,
but it is important to know how to create many different timbres. Much of this can be
controlled by the speed (velocity) and force (weight) used in a stroke. As we use more
weight and less velocity, the sound will become proportionally darker. The more velocity
and less weight we use, the brighter the sound will become. Within our playing, we must
be able to use different combinations of weight and velocity in order to control timbre
and articulation.

Consistency
This is our ability to recreate/achieve the same sound over and over again. Strive to
achieve an unchanging sound from note to note, and hand to hand (easier said than
done)! Any variation in tone or timbre should be a conscious decision and should be
used as an expressive musical tool. This may be the single largest challenge a player
will ever face. This also requires the most detailed level of listening. It is important to ask
yourself both "does it feel the same" and "does it sound the same?"

2024 Cap City Percussion 4

Dynamics
In an effort to unify our approach to dynamics, we will use the following heights for each
dynamic level. Each height can also have varying timbres as well - dark sound (weighted)
or bright sound (velocity-based).

Dynamic Height Mechanics

p 1" Wrist Stroke

mp- 2" Wrist Stroke

mp 3" Wrist Stroke

mp+ 4" Wrist Stroke

mf- 5" Wrist Stroke

mf 6" Wrist Stroke

mf+ 7" Wrist Stroke

f- 8" Wrist Stroke

f 9" Wrist Stroke

f+ 10" Wrist Stroke

ff- 11" Wrist Stroke with Minimal Arm

ff 12" Wrist Stroke with Minimal Arm

ff+ 13" Wrist Stroke with Moderate Arm

fff- 14" Wrist Stroke with Moderate Arm

fff 15" Wrist Stroke with Arm

2024 Cap City Percussion 5

The Ensemble Approach
Ensemble Timing
As an ensemble, we will always encourage listening to each other, but we also spend an
immense amount of time watching each other. We will operate off of a “prep-system.”
This system by definition is a watch-based process that allows one ‘’point person’’
(usually - but not always - the center player of the ensemble) to be the designated
ensemble listener or decision maker, while the rest of the front ensemble watches to
follow the point person.

Posture/Presence
This is one of the most foundational elements of our approach. Alongside our musical achievement as
an ensemble, we strive to look world class behind our instruments at all times. We also stand for many
hours at a time in rehearsal, and standing with inappropriate posture can easily do damage to your
back.
Start by standing up straight and relaxing
your arms and shoulders. Begin with
feet shoulder-width apart (this may
change in a playing context, depending
on the instrument you play). With the
head facing forward, stand up straight
and think about the following points
on your body being aligned vertically:
ankles, knees, hips, shoulders, and ears.
We specify ears to ensure that chins are
never tucked down to the chest, and your
presence is always focused forwards
(and up, when playing in an arena or any
other large venue).

2024 Cap City Percussion 6

2-Mallet Grip
Our 2-mallet grip is based on the idea of a “front triangle” where the mallet is supported
primarily by 3 points in the front of your grip. The first knuckle of your index finger, first
knuckle of your middle finger, and the pad of your thumb. This approach allows your
hand to be in the most comfortable, natural, and relaxed position.
The mallet should lay naturally with the lowest third of the mallet shaft across the center
of your hand. The rear three fingers should cup around the mallet shaft with an eighth of
an inch gap between the mallet and the palm of your hand.
Identify these points in the pictures below.

2024 Cap City Percussion 7

4-Mallet Grip
The 4-mallet grip is a derivative of the Stevens approach. Every keyboard player in the
ensemble will play using our modified Stevens grip.

The Inside Mallets

Start by taking the tip of the mallet and placing it just off the center of your hand in your
lifeline (the most dominant crease in the palm of your hand, it’s the line just under the
“meaty” part of your thumb). Curl your middle finger toward the tip of the mallet. This is
where most of your support will come from.
Next, let the shaft of the mallet rest between the thumb and the first bend of your index
finger. These three points are very similar to the front triangle referenced in the 2-mallet
grip. Think about your thumb and index finger almost making a capital letter “T.” The
added contact of the thumb and index finger not only adds additional control of the
mallet, but its primary purpose is to control the shifting of intervals by rolling the inside
mallet along the flat surface of the index finger.

The Outside Mallets

Your outside mallets should be gripped by your outside two fingers. There will be
approximately an eighth, but no more than a quarter of an inch of the mallet hanging out
of the back of your fingers. The outside mallet leaves your hand between the middle and
ring finger, and rests inside the bend of the 2nd knuckle on your ring finger.

Grip Tension
Even when playing through fast passages with advanced skill sets, it is crucial that the
hands stay relaxed when holding mallets. Relaxed fingers act as shock absorbers, and
help us reduce excess motion in the strokes (more on this later).

2024 Cap City Percussion 8

The Platform & Set Positions
The platform is the bottom part of your wrist. We typically work off a “low platform”
approach. This means that regardless of vocabulary being demonstrated, the wrist
remains the anchor point of the approach. This method gives the player a firmer
foundation while playing, making it more possible to achieve consistency of sound
stroke to stroke.
Pretend there is a railing running parallel to the instrument that is slightly higher than
your natural keys. Your platform should sit just below this imaginary rail, and shouldn’t
move vertically unless we’ve defined it.

A Note With The 4-Mallet Set Position

Ensure that all 4 mallets are not only in a straight line horizontally (height off the
keyboard) but the bar placement is in a straight line as well.
Below is an example of common incorrect positioning.

2024 Cap City Percussion 9

Bar Placement
Through past experience, tons of listening, and sheer physics, we have come to the
conclusion that the keyboard sounds best when each note is played just off the center of
the bar. To make it easier on the player, the natural keys should be played slightly “north”
of the center of the bar, and the accidental keys should be played slightly “south” of the
center of the bar.

Naturals Accidentals

In faster or more difficult passages we may elect to play the accidental notes on the
edge of the bar to minimize the macro motion of each stroke, making the passage more
achievable. Strive for the mallet head to play the accidental on the extreme edge of the
bar where the vertical and horizontal edges of the bar come together. This playing zone
sounds closer to the sound of “slightly off center” than anywhere else on the bar. Be
careful not to play too far in on the edges though!

Correct Incorrect

2024 Cap City Percussion 10

The Stroke
Our technique is a derivative of pure “Stevens” approach. It has certainly been modified
quite a bit for our needs. We start with one of the biggest differences in feel from a
keyboard to a drum - a lack of rebound. This demands that we produce our own rebound
through wrist motion, requiring focus and detail as we play through faster passages of
music. Our goal is to create a relaxed, full sound with a stroke that works well at both
faster and slower tempos.

Stroke Types

2-Mallet
Piston Stroke
Our basic 2-mallet stroke is derived from a classic piston stroke. Notice the set positions from page
7. The mallet should be thrown quickly toward the surface of the bar and return quickly back to the
starting height/set position after contact is made. You should strive for a strong quality of sound by
thinking of driving your mallet “through” the bar, rather than “to” the bar.

4-Mallet
Double Vertical Stroke
A double vertical stroke is very similar to our interpretation of the 2-mallet piston stroke - the mallet is
thrown quickly to the board and returns quickly to the top of the stroke. Both mallets in the hand should
stay at exactly the same height through the stroke. In order to maintain consistency of height, the wrist
joint should not rotate at all through the stroke, only bend.
Single Independent Stroke
Independent strokes are considered the primary stroke type for all 4-mallet passages that the Cap
City front ensemble plays. We rarely use single alternating strokes (even for passages with alternating
stickings), and only rely on lateral strokes for very fast passages, or when specifically defined.
Our independent stroke is achieved by rotating at the wrist to drive the mallet being played to the board,
and then immediately rebounding back to the top of the stroke. It is imperative that only the portion
of the hand holding the mallet being played is activated (thumb, index finger, and middle finger for the
inside mallet, or ring and pinky fingers for the outside mallet), while the rest of the hand remains relaxed
to reduce excess motion.

2024 Cap City Percussion 11

Double Lateral Stroke
Our double lateral stroke is achieved by thinking of a composition of steps. We do not drop both mallets
as in a double vertical stroke, then twist at the bottom. Instead, we drop the first mallet to be played
towards the keyboard and make contact, similar to an independent stroke. The second note is played
by “flicking” the second mallet into the keyboard while the first one begins to rebound out. Note that we
use the term “flick” instead of “roll” to suggest the speed and power used to produce a strong, balanced
sound from the second note. The additional torque from the rebounding first mallet also helps produce
a stronger sound from the second mallet. Finally, the mallets rebound fully back to the starting position
(though with the first mallet played returning slightly sooner, since it started rebounding sooner).
The biggest difference between our single independent stroke approach and double lateral stroke
approach is the pacing of rebound from the keyboard. While in independent strokes, we play with a
fast rebound before any other stroke is initiated, in lateral strokes we allow for the rebound to happen
simultaneously with the beginning of the second note played in the hand (whether that be with the
inside or outside mallet). We do not change the approach to speed, weight, or sound quality in lateral
strokes - they should be played with as much force and emphasis as each independent stroke.
Inside Mallet Stroke
Our inside mallet stroke is a slight variation on the independent stroke. For this stroke, the outside
mallets are lowered approximately 3” by rotating the hands outwards, causing the thumb and inside
mallet to rotate past the point where the thumbnail is facing the ceiling. This change in set-up is to
facilitate easier rotation of the inside mallets, while also reducing excess motion in the outside mallets.
By rotating around the axis of the lowered outside mallet, you should be able to play the inside mallet
stroke with essentially zero change in the position of the outside mallet head. We get powerful sounds
from this stroke by thinking of pushing from the thumb with lots of torque.
Other Stroke Types
We also use other stroke types less
frequently, such as one-handed rolls and
triple laterals. These stroke types will be
broken down and explained in-depth as
needed.

2024 Cap City Percussion 12

Electronics
Our electronics section consists of synthesizers and an electric bass guitar.
The electronics section is crucial in establishing the tone and presence of the
performance. Aside from the performance skill and instrumental proficiency
that is expected of all front ensemble members, our electronics section is
responsible for triggering many effects in exposed moments that require
precise and meticulous timing.
Auditions for these spots are based on a number of skills, including
instrument experience and basic knowledge of sound sampling. Prior
experience with sampling and/or audio tools is not required, but is
encouraged.

The Audition
Candidates are expected to be able to play along with the keyboards on
audition materials in this packet.
• Synth players should prepare both
the exact keyboard parts and be
comfortable improvising over top of
the keyboard structure.
• Bass guitarists should be
comfortable playing along with
scales and accompanying the
ensemble on chord-based exercises.
• Both synth players and bass
guitarists should prepare an excerpt
to showcase their current abilities
on the instrument.

2024 Cap City Percussion 13

Auxiliary Percussion
Rack City fills out the color and texture of the sound produced by the front
ensemble, and ensures that the ensemble's acoustic presence spans
across all 90 feet of the floor. Auxiliary performers will master a multitude
of percussive techniques over the course of the season, and are expected
to have an intricate understanding of the sounds produced by their various
implements across all their instruments.
Additionally, visual timing plays a huge part in the success of the auxiliary
ensemble. Because racks tend to be placed on the ends of the front
ensemble, their part has the highest level of demand when lining up impacts
or attacks. Auxiliary performers must both possess a strong internal sense of
time, and be very comfortable in a watch-based system to pick up time from
the inside of the ensemble.

The Audition
Performers auditioning for these positions must be prepared to demonstrate
a variety of percussion skills including, but not limited to, suspended cymbal,
concert snare drum, hand drums
(congas, djembe, doumbek), concert
bass drum, and concert tom techniques.
Candidates should read through and
prepare the auxiliary exercises in
this packet. It will also be helpful for
candidates to prepare the keyboard
exercises to the best of their ability.
In addition, candidates should be
prepared with a short rhythmic etude
to showcase their current drumming
abilities.

2024 Cap City Percussion 14

Drum Kit
Drum kit is a huge part of our front
ensemble. Our kit players must have
impeccable timing to work with the rest
of the front ensemble in establishing,
maintaining, and most importantly
communicating tempos throughout an
entire performance. Over top of their
solid foundation of time, the kit player is
expected to be able to consistently work
in and out of grooves and fills of varying
complexity, flashiness, and musical style.
Kit parts are usually written out at Cap
City, but players are expected to add a
level of improvisation with their own style to the written materials, and may
sometimes work with arrangers in a collaboration to further develop an
existing part or craft a new moment from scratch.

The Setup
We typically run a 5 piece set up (10”, 12”, and 16” toms, 22” bass, and a 14”
snare) with 3 rides (main, flat, and sizzle) 1 pair of hats, 2 crashes, 2 splashes,
2 stacks, 1 mini china, and 1 large china. The setup will be customized by the
individual playing the kit, but the player is expected to be comfortable with a
large setup in order to create the variety of textures necessary throughout a
performance.

The Audition
Candidates should be prepared to showcase a variety of styles of playing
over top of the mallet exercises, as well as prepare a short excerpt to
showcase their current abilities on the instrument.

2024 Cap City Percussion 15

Final Thoughts
This packet will serve as the basis to our ensemble approach and give insight
to what we value as a front ensemble. More specifics will be covered at each
audition camp.
If you find yourself with questions, feel free to email us!

Dan Meehan Donnie Ross

dan@capcitypercussion.com donnie@capcitypercussion.com

Garrett Lind Stew LeVan

garrett@capcitypercussion.com stew@capcitypercussion.com

2024 Cap City Percussion 16

 Keyboard
Exercises & Etudes
All keyboard players should practice and become familiar with the following
exercises before the date of the first audition. You will be asked to play these
during both the individual and ensemble portions of the audition. Additionally,
we ask that those interested in a vibraphone or marimba spot specifically
learn the appropriate etude for their instrument. If you are interested in
xylophone, please learn the marimba etude, and if you are interested in
glockenspiel, please prepare the vibraphone etude.
Pay attention to any supplemental notes provided with exercises! We will
play through each at varying tempos, dynamics, and if appropriate, modes
and stickings.

2024 Cap City Percussion 17

 Lockjaw D. Ross

& 4 f f f f 4 f ff ff ff ff ff ff ff ff ff ff ff ff ff ff f 4 f f f f 4 f ff ff ff ff ff ff ff ff ff ff ff ff ff ff f f Œ Ó
Mallets
2 4 2 4
L L L L L B ... L R R R R R B ... R L

• Lockjaw should be prepared in all major and natural minor keys.

• Prepare at the following tempos: 80-160 bpm
• Prepare at the following heights (in inches): 3, 6, 9, 12, 15
• This exercise is used as a focus on scales while working on isolated hand strokes,
multiple heights, and moving in and out of double stops. It also serves as one of our
strongest tools in establishing the basics of our ensemble approach.

Chromatic Up Major(minor) Down D. Ross

bb 4 f f f nnnnn
&4 f #f f bf nf 4 f f f f f f f f #f f bf nf f b b b 4
f # f f bf nf f #f f 4 # f f bf nf f #f
Mallets
3 4 3 f f f f
f

bf nf
Continue pattern

bf nf f #f f #f f
5 through to next octave
∑ ∑ 4 f #f f
f f
&
3 4 f f f f f f f f
4 f f f f f

• Chromatic Up Major(minor) Down should be prepared with all descending (8th note)
scales taking on the key signature of the relative major or natural minor keys.
• Prepare at the following tempos: 80-172 bpm
• Prepare at the following heights (in inches): 3, 6, 9, 12, 15

2022 Cap City Percussion

2024 Cap City Percussion 18

 Cap Scales 2.5 D. Meehan, D. Ross
1
&4 f f f f f f f f f f f f f 4 f f f f f f f f f f f f f f f f f f 4 f f f f
Mallets
2 3 2 ffff ffffffff ffff fff3
f f f f f
f 4
R L ... R R R R R L ...
8

&4 f f f f f f f f f f f f f f f f f f 4 f f f f
3f f 2 f
ffff fffffff fff fff fffffff Œ
ffff ffffffff ffff f f f f
R R R R R L ...

2
j 3 j 3 j 2 3 f f f f f f f f f f f f f f f f 3 f f f f j f f f fj
17

& f f f fj f f f f f f f f f 4 f f f f
3 3
3
f f f f f f f f f f f f f f 4 f f f f f 4 f
3 3 3 3
R L ... R R R R R L ... R R
25

& f f f f fj f f f fj 4 f f f f f Œ
3 3
2 3 3 3 3 3 3 3
f f f f f f f f f f f f f f f f f f f f f f f
f f f f f f f f f f f f f
R R R L ...

3
j j j 5 f 2 f f f f f f f f f f f f f f f f f f f f f f f f 43 f f f f fj f f f f f j
33 5
5
&
5 5

J
f 3 f f f f f f f
f f f f f f f f ffff
f f 4 f
fff f f f f ffff f ff f ff f 4 f f f
5
R L ... R R R R R L 5... 5 R R 5

41

& f f f f fj f f f f f fj 4 f f f f f ffff ffffffff ffffffffff f Œ

5 5 5 5 5 5 5
2 f fffff
f ffff f
fffff ffff ffff ffff 5 5
R R R L ...

4
j jf
49

f f f f f f f f 4 f f f f f f f f f fj
6 6 6 6 6 6 6

& f f f f f f f f f f f f f f f f f f f f 4 f f f f f f f f f f f fJ f f f f fJ f f f f f f J 4 f f f f
f
3 f2 ffff fff f f f f f f f f ffff 3f
6
R L ... R R R R R L ...6 R R
57

& f f f f fj f f f f f f fj 4 f f f f f fff f f f f f f f f ffffffffffff f Œ

6 6 6 6 fffff 6 6 6
2 ffff
f f f f f f f ffff ffff ffff
R R
ff
R L ...
fffff f 6 6

65 5
&
3 ff 2 3
fffff f f f f f fffffff 4 f ffffff fffffff f f f f f f f f ffffffffffffffff 4
f f f f f f f f f fff fff f fff fff 4 f f f f f fff
f f f
f f
R L ... R R R R R L ...
72

&4 f f f f
3f f f f f f f f f f f f f 2f f f f f f f f f f f
f f f f
f f f f f f f 4 f f f f f
f f f f f f f f
R R R R R L ...

76

& ffffffffffffffff ffffffff fffffff f f f f f f f f ffffffffffffffff f

f Œ

• Cap Scales should be prepared in all major and natural minor keys.
• Tempo ranges will depend on the specific variation being played. Versions 1 and 2 should
be played at faster ranges (88 - 104 bpm), while versions 3 and 4 should be prepared at
slower tempos (66 - 80 bpm).
• Prepare at the following heights (in inches): 3, 6, 9, 12, 15

2022 Cap City Percussion

2024 Cap City Percussion 19

 Sambadagio D. Ross

& ffff ffff ffff ffff ffff ffff ffff ffff ff ff

ff f f f f f f ff ff ff ff ff ff ff ff f f f f f f f f f f f f f f f f f f f f f f ff ff ff ff ff ff ff ff ff ff ff ff f f f f
Mallets ff ff ff ff ff ff ff ff f f f f f f f f f f f f f f f f f f f f
ff f f f f f f ff ff ff ff ff ff ff ff fff fff fff fff fff fff f
f
f
f f f f f f f f f f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f ff ff ff ff ff ff ff ff f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f f f f f f f f

9 f f f f f f f f f f f f f f f f f f f f f f f f
&
f f f f f f f f f f f f f f f f f f f f f f f f
f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f ff ff ff ff ff ff ff ff f f f f f f f f f f f f f f f f
f f f f f f f f f f f f f f f f f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f f f f f f f f f f f f f f f f f fff fff fff fff fff fff fff fff fff fff fff fff fff fff fff fff
f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f

Perm #1 (Ascending) Perm #2 (Descending) Perm #3 (Outs/Ins)

17

& f f f f f f f f f f f f f f f f f f f f f f f f
f f f f f f f f f f f f f f f f f f f f f f f f
1 2 3 4 ... 4 3 2 1 ... 4 3 1 2 ...

Perm #4 (Ins/Outs) Perm #5 (Combo - Outs/Ins, Ins/Outs) Perm #6 (Ascending 1 6th Grid) Perm #7 (Descending 1 6th Grid)
20

& fff fff fff fff ff fff ff ffff fffff ff ff ff fff ff ff ff fff
f f f f ff f f f ff f f f f f f f
3 4 2 1 ... 4 3 1 2 3 4 2 1 ... 1 2 3 4 2 3 4 1 3 4 1 2 4 1 2 3 4 3 2 1 3 2 1 4 2 1 4 3 1 4 3 2

• Sambadagio is our basic 4-mallet chord and interval shifting exercise. Be ready to play
through both the "stock" block chord exercises, as well as using any of the provided
sticking variations.
• Prepare at the following tempos: 72 - 96 bpm
• Prepare at the following heights (in inches): 3, 6, 9, 12, 15
• For all 16th-note permutations, play using single independent strokes.

Somberdagio D. Ross

b
& b b ffff ffff ffff ffff ffff ffff ffff ffff
ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff nf f f f f f f f ffffffff
ffffffff
ffffffff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff
Mallets ffffffff
ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff fff fff fff fff fff fff fff fff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff

b f
9

&b b nff
f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f ffff
ff n ff ff ff ff ff ff ff ff n ff ff ff ff ff ff ff ff
f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f ffff f f f f ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff
ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff f f f f f f f f ff ff ff ff ff ff ff
ff ff ff ff ff ff ff ff ff ff ff ff
ffff

Perm #1 (Ascending) Perm #2 (Descending) Perm #3 (Outs/Ins)

b
17

&b b f nf f
f
f f f
f
f f f
f
f f f
f f f
nf f
f f
f f
f f
f f
f f
f f
f f
f nf
f f
f f
f f
f f
f f
f f
1 2 3 4 ... 4 3 2 1 ... 4 3 1 2 ...

Perm #4 (Ins/Outs) Perm #5 (Combo - Outs/Ins, Ins/Outs) Perm #6 (Ascending 1 6th Grid) Perm #7 (Descending 1 6th Grid)
b
20

& b b f f nf f f f f f f f f f
f nf f nf
ff fff ff ffff f f f f f f f f f f f f f nf f f f f f f f f f
f f f f f f f f f f f f f f
3 4 2 1 ... 4 3 1 2 3 4 2 1 ... 1 2 3 4 2 3 4 1 3 4 1 2 4 1 2 3 4 3 2 1 3 2 1 4 2 1 4 3 1 4 3 2

• Somberdagio is a minor variation of Sambadagio. We will often chain these two exercises
back-to-back, starting with Somberdagio and transitioning into Sambadagio.
• Prepare at the following tempos: 72 - 96 bpm
• Prepare at the following heights (in inches): 3, 6, 9, 12, 15
• For all 16th-note permutations, play
2022using
Cap single independent strokes. Be prepared to use
City Percussion
either body positioning or a push/pull approach to hit correct bar placements.

2024 Cap City Percussion 20

 Sixty Three Twenty One D. Ross

bf f f f f f
bbfff fff fff fff fff fff f f f f f f f f f f f f b bff ff ff ff ff ff ff ff ff ff ff ff bbff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff
& 4 fff fff fff fff fff fff bbbffff ffff ffff ffff ffff ffff #ffff ffff ffff ffff ffff ffff bf f f f f f #fff fff fff fff fff fff fff fff fff fff fff fff bbff ff ff ff ff ff ff ff ff ff ff ff b ff ff ff ff ff ff #ff ff ff ff ff ff bf f f f f f
Mallets
3
ffffff

ff ff ff f f f b f f f f f f b f f f f f f bf f f
##ff ff ff ff ff ff ff ff ff ##fff fff fff bfff fff fff #ff ff ff bff ff ff ff ff ff bb ff ff ff ff ff ff ff ffb bff
12

f f f b f f f f f f bf f f ff ff ff #ff ff f f f bf f f
ff #fff fff fffbnbfff fff fff
f f f f f f
& f f f f f f ff nbff
ff ff
ff ff

bf f nf f f f bf f nf f bbff ff ff ff b ff ff n#ff ff
ff f b f f b f f bf f
ff ##fff nbnfff #fff nbbfff nff bb ff ff nffb bff nffb bff
19

& fff fff bbbffff ffffn#nnffff ffff bbfff fffn#nfff fff fff fff bbbfff fffnnnfff fff b ff ff #ff ff bff ff #n ff ff f bf f # ff nbff # ff nbff ff
ff
Ó
f f

• Prepare at the following tempos: 72 - 96 bpm

• Prepare at the following heights (in inches): 3, 6, 9, 12, 15
• Sixty Three Twenty One is an exercise based on body/hand position and bar placement
during four-voice chords. This exercise should be played by turning the body to
accommodate bar placement, and leaning slightly forward/back for B flat major/B major
chords. Always focus on keeping the hands in a good, relaxed position while achieving
correct bar placements and playing with wrist for a strong sound.

2022 Cap City Percussion

2024 Cap City Percussion 21

 OG Broc D. Ross
A
ff ff f
& fff fff fff fff fff fff fff fff f ff ff ff f fff fff fff fff 4 ff
f f f f f f f f 2 ff ff ff ff
Mallets ff
f ff f ff f
f f f f f f f f f f f f
1 2 3 4 ... 2 3 4 1 ... 3 4 1 2 ... 4 1 2 3 ... 1 2 3 4 ... 2 3 4 1 ... 3 4 1 2 ...

8
B
f f f f f f
ff 4 ff ff ff ff ff f ff f ff f ff f f f ff f ff f ff f f fff fff fff fff 2 ff ff f ff f f
& f
ff
f 4 f f f f f f f f f f f f f f f f 4 ff ff f f f f f ff ff
f f
4 1 2 3 ... 4 3 2 1 ... 3 2 1 4 ... 2 1 4 3 ... 1 4 3 2 ... 4 3 2 1 ... 3 2 1 4 ... 2 1 4 3 ...

16 C
f f ff f f ff ff
& fff fff 4 ffffff ff ff ff ffffff ff ff ff ff ff f f ff fff ff ff ff fff 4 fff ff f ff ff ff f f
4 f f f f f f f f 2
f f f f f f f f f f f f f f
1 4 3 2 ... 1 234234 1 34 1 24 1 23 1 234234 1 34 1 24 1 23 1 234234 1 34 1 24 1 23 1 2342341 341 241 23 1 2342341 3 4 1 2 4 1 23 1 23 4 23 4 1

D
24
f f f f f f f f f f f f f f
&
f f 4 f f f f f f f f f
f
f
f f f
f
f f
f f f f f f f f f f f f f f f f f f f f f f f
4
3 4 1 2 4 1 2 3 4 3 2 1 3 2 1 4 2 1 4 3 1 4 3 2 4 3 2 1 3 2 1 4 2 1 4 3 1 4 3 2 4 3 2 1 3 2 1 4 2 1 4 3 1 4 3 2

28

& Œ
f f f f f f f f f
f f f f f f f f f f f 42 f f f f f f f f f f
f f
f f f f f
f
f
f f f f
f
f f f f f
4 3 2 1 3 2 1 4 2 1 4 3 1 4 3 2 4 3 2 1 3 2 1 4 2 1 4 3 1 4 3 2 4 3 2 1 3 2 1 4 2 1 4 3 1 4 3 2 1

• OG Broc should be prepared using single independent strokes, regardless of tempo.

• Prepare at the following tempos: 60 - 120 bpm
• Prepare at the following heights (in inches): 3, 6, 9, 12, 15
• OG Broc is a standard for us. be sure to focus on rhythmic accuracy throughout all
stickings, especially transitions between stickings.

2022 Cap City Percussion

2024 Cap City Percussion 22

 CC24 Keyboard Audition Etude

-
1 q = 180 >œ >˙ ™ ˙ œ -œ ˙- ™ ˙ œ œ ˙- ™ œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
° b3
‰ œJ ˙ ™ ˙ œ œ ˙™ ˙ œ œ ˙™
Vibes &b 4 Ó
2/3 2/3 2/3 2/3 2/3 2/3 2 3 2 3 3 2 3 2 3 2 3 2 3 2 3
mf+ mf mp mf+ mp f

œ
bb 3 ∑ ∑ œ œ œ œœ œ œ œ œ œœ œ œ œ œœ œnœ œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
¢& 4 œ œ œ œ œ œœ
3 3

œ œ œ œ œ œ
Marimba

œ
1 /3 3 2/3 2/3 3 1 /3 3 2 3 2/3 1 /3 3 2 3 2/3 3 1 2 3 2 3 2 3 2 3 2 3 2 3 3 2 3 2 3 2 3 2 3 2 3 4
mp f+ mp f+ mp
-œ -œ -œ -
10
œ
° b œ œ œ œ œ œ ™ œœœ ˙˙ ™™
&b œ œ œ œ œ œ œ œ ˙™ œ œ œ
œ- œ œ œ œ œ™ œ œ
Vibes
œ œ ˙™ œ
1 /3 2 2 1 2 2 R 1 /R 2 2 1 2 2 R 1 /R 2 2 1 /3 3 2 3 2/3 2/3 2/3
f+ mf+ mp mf f+

œ œ œ
3
œ
3

œœ œœ
3 3

bb œ Œ Œ œ
œœœ œ œ œ œ œ œ œ™ œ œ œ œ œ
3 3
œ œ œ œ œ œ- œ -œ œ - œ œ
3 3

¢& œ œ œ œ
3 3 3 3

œ œ œœœœ œœ œ œ œ - œ œ
œ 3 œ œ
Marimba
œ 3 œ 3 œ œ œ
L 1 2 3 2 3 4 L 1 2 3 1 2 3 2 3 4 1 2 3 2 3 2 3 4 1 2 3 2 3 2 3 2 3 2 3 2 3 R 1 2 3 2 3 2 1 R 1 2 R 1 2 R 1 2
f+ mp f mp f+ mp f

18
œ ™ œ ™ œ ™ œ™ œ œ ˙ œ œ œ œ™ œ œ œ ˙™
œ ˙
° bb œ œ™ œœœœœœ
œj
& ˙˙˙ ™™™ œ œ œ ˙ ˙™
˙™
Vibes

3 2 3 2 3 2 2/3 2/3 2/3 2/3 2/3 2/3 3 2 3 2/3 3 2 3 2 3 2

mp f mp mf+ mp

œ œ œ œ
3 3

œ
3

bb œ œ™ œ œ œ
3

Ϫ
3
œ Œ Œ œ- œ œ- œ œ- œ œ œ œœœ ™™™œœœ ™™™œœœ ™™™œœœ ™™™ œœœ Œ Œ
3

¢& œ- œ œ œœœœ
œ œ™œ™ œ œœ œ- œ œ œ œ
œ œ œ
™
œ œ
Marimba
œ --œ œ œ ™œ ™œ ™œ ™ œ
R 1 2 3 2 3 2 3 2 3 2 3 2 2 3 L L R 1 2 R 1 2 R 1 2 R 1 2 3 2 3 2 3 2 3 3 2 3
mp f mp mf+ mp mf+ p

œ œ ˙
œ œœ Œ ˙ œ œ ˙
26
° b œ œ œ ˙ ˙
Vibes &b œ œ œ ˙ œ œ ˙ œ œ ˙
3 1 /3 1 /3 1 /3 2/4 2/3 2/3 2/3 2/3 2/3 2/3
f mp f

œœœ
bb ∑ ∑ œ œœœœœœœœœ
3

¢& œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œœ
Marimba

œ œ
1 2 3 2 3 1 2 3 2 3 1 2 3 1 2 3 2 3 2 3 2 ...
mp mf+ f
32 nœ nœ nœ
° bb nœ ˙˙ nœ ˙˙ nœ ˙˙ nœ #˙ ™ ˙™
& ˙ ˙ ˙ œ œ nœ ˙˙ ™™™ ˙˙ ™™™ n˙ ™
#˙ ™ ˙™
Vibes
œ ˙˙ ™ ˙˙ ™ n˙ ™
œ
R L/3 R L/3 R L/3 2/3 2/3 2/3 2/3 2/3 2/3
ff f mf mp mf mp mp- p

>œ
b n>œ >œ >œ >œ >œ >œ >œ Œ n>œ >œ >œ >œ >œ >œ >œ Œ n>œ >œ >œ >œ >œ >œ >œ >œ nœ Œ Œ
Marimba &b ∑ ∑ n˙ ™ #˙ ™ ˙™
# ˙- ™ ˙- ™
¢
n ˙- ™
3 2 ... 3 2 ... 3 2 ... L L L
ff mp f mp mf p mp mp- p

2024 Cap City Percussion 23

 Auxiliary Exercises
Candidates for Rack City are expected to look through and become familiar
with the following auxiliary exercises. We will play through these at a
variety of tempos and heights throughout the audition, so please prepare
accordingly.
Additionally, we ask that you read through the keyboard technique section of
this packet, and prepare the keyboard exercises to the best of your abilities.
Finally, please come prepared with a short rhythmic etude that demonstrates
your current drumming abilities.

2024 Cap City Percussion 24

 Green Calamari

FULL DOWN TAP PREP FULL DOWN TAP PREP

> > > >
4
/4F F F F F F F F
R R R R R R R R
L L L L L L L L
B B B B B B B B

FULL DOWN TAP PREP FULL DOWN TAP PREP DOWN

5 > > > > >
Œ Ó
/ F F F F F F F F f
R R R R R R R R R
L L L L L L L L L
B B B B B B B B B

Full Stroke (or Tap Stroke)

• a stroke that starts and stops in the same
position
• has a smooth, ‘pendulum’-like motion,
without any interference
• can be performed at any height
• is allowed to rebound fluidly

Down Stroke
• a stroke that stops lower that its starting position
• allow a natural stroke to occur until the stick strikes the head
• use the wrist and a heavy hand to stop the stick at a lower height
• the grip must remain relaxed!

Up Stroke (or Prep Stroke)

• a stroke that stops higher than its starting position
• same quality of sound as the full and down strokes
• allow natural rebound to occur
• the fingers are relaxed, but remain on the stick

2022 Cap City Percussion

2024 Cap City Percussion 25

 16th Note Accent Grid

> > > > > > > > > > > >
4
/4ffffffffffffffff ffffffffffffffff ffffffffffffffff ffffffffffffffff
R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L

5 > > > > > > > > > > > > > > > > > > > >
/ ffffffffffffffff ffffffffffffffff ffffffffffffffff ffffffffffffffff ffffffffffffffff
R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L

10 > > > > > > > > > > > > > > > > >
Œ Ó
/ ffffffffffffffff ffffffffffffffff ffffffffffffffff ffffffffffffffff f
R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R

2022 Cap City Percussion

2024 Cap City Percussion 26

 4-2-1 : 3's Timing
4's
4
Snare Drum
ã 4 Rœ œL Rœ Rœ œL Rœ Rœ œL Rœ Rœ œL Rœ ≈ œL Rœ œL ≈ œL Rœ œL ≈ œL Rœ œL ≈ œL Rœ œL Rœ Rœ œL Rœ Rœ œL Rœ Rœ œL Rœ Rœ œL Rœ œL œL Rœ œL œL Rœ œL œL Rœ œL œL

2's

ã Rœ œL Rœ Rœ œL Rœ ≈ œL Rœ œL ≈ œL Rœ œL Rœ Rœ œL Rœ Rœ œL Rœ œL œL Rœ œL œL Rœ œL Rœ Rœ œL Rœ ≈ œL Rœ œL ≈ œL Rœ œL Rœ Rœ œL Rœ Rœ œL Rœ œL œL Rœ œL œL
5

SD

1's

㜜œ ≈œœœœ œœœœ œ œœœ ≈œœœœ œœœœ œ œœœ ≈œœœœ œœœœ œ œœœ ≈œœœœ œœœœ œ œ Œ Ó
9

SD
R L R L R L R R L R L L R L R L R L R R L R L L R L R L R L R R L R L L R L R L R L R R L R L L R

4-2-1 : 2's Timing

4's

SD
ã Rœ œL . Rœ œL . Rœ œL . Rœ œL . ≈œœ ≈œœ ≈œœ ≈œœ
L R L R L R L R
‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ œ. œ œ. œ œ. œ œ. œ
R L R L R L R L R L R L R L R L

2's

ã Rœ œL . Rœ œL . ≈ œL Rœ ≈ œL Rœ ‰ œ œ ‰ œ œ œ. œ œ. œ œ œ. œ œ. ≈ œ œ ≈ œ œ ‰ œ œ ‰ œ œ œ. œ œ. œ
5

SD
R L R L R L R L R L R L L R L R R L R L R L R L

1's

ã Rœ œL . ≈ œL Rœ ‰ Rœ œL Rœ . œL Rœ œL . ≈ œL Rœ ‰ Rœ œL Rœ . œL Rœ œL . ≈ œL Rœ ‰ Rœ œL Rœ . œL Rœ œL . ≈ œL Rœ ‰ Rœ œL Rœ . œL Rœ Œ Ó
9

SD

4's
4-2-1 : 1's Timing
j j j j j j j j r r r r
SD
ã Rœ Rœ Rœ Rœ ≈ œ. ≈ œ. ≈ œ. ≈ œ. ‰ œ ‰ œ ‰ œ ‰ œ ‰. œ ‰. œ ‰. œ ‰. œ
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 L L L
R L R L R L R L R L R L R L R L

2's
j j j j r r j j j j r r
≈ œ . ≈ œ . ‰ œ ‰ œ ‰. œ ‰. ≈ œ . ≈ œ . ‰ œ ‰ œ ‰. œ ‰.
5

SD
ã Rœ œ
R R R R R R
œ œ
R R
œ
R R R R R R
œ
R
L L L L L L L L L L L L L L L L
R L R L R L R L R L R L R L R L

1's
j j r j j r j j r j j r
≈ œ . ‰ œ ‰. œ œ ≈ œ . ‰ œ ‰. œ œ ≈ œ . ‰ œ ‰. œ œ ≈ œ . ‰ œ ‰. œ œ Œ Ó
9

SD
ã Rœ R R R 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 L L L L
R L R L R L R L R L R L R L R L R

2024 Cap City Percussion 27

 Check Patterns

STOCK

Snare ã 42 Rœ œL Rœ œL Rœ œ
L
œ œ œ œ œ
R L R L R
œ
L
œ œ œ œ œ œ œ œ
R L R L R L R L
œ œ œ œ œ
R L R L R
œ
L

SD ã Rœ œL Rœ œL Rœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
L R L R L R L R L R L R L R L R

VAR. 1
9

SD ã ≈ œL Rœ œL Rœ œ
L
≈ œ œ œ œ
L R L R
œ
L
≈ œ œ œ ≈ œ œ œ
L R L L R L
≈ œ œ œ œ
L R L R
œ
L

13

SD ã ≈ œL Rœ œL Rœ œ
L
≈ œ œ œ œ
L R L R
œ
L
≈ œ
L
œ
R
œ
L
≈ œ
L
œ
R
œ
L
œ
R
Œ

VAR. 2
17

SD ã Rœ œ œ œ
R L R
œ
L
œ
R
œ œ œ
R L R
œ
L
œ
R
œ
R
œ
L
œ
R
œ
R
œ
L
œ
R
œ œ œ
R L R
œ
L

21

SD ã Rœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
R L R L R R L R L R R L R R L R

VAR. 3
25

SD ã Rœ œL œ œ
L R
œ
L
œ œ
R L
œ œ
L R
œ
L
œ
R
œ
L
œ
L
œ
R
œ
L
œ
L
œ œ
R L
œ œ
L R
œ
L

29

SD ã Rœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
L L R L R L L R L R L L R L L R

VAR. 4
33

SD ã Rœ œL Rœ œ
R
œ
L
œ œ œ
R L R
œ
R
œ
L
œ
R
œ
L
œ
R
œ
R
œ
L
œ
R
œ œ œ
R L R
œ
R
œ
L

37

SD ã Rœ œL œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
R R L R L R R L R L R R L R R

VAR. 5
41

SD ã Rœ œL ‰ œ
R
œ
L
œ œ ‰
R L
œ
R
œ
L
œ
R
œ
L
‰ œ
R
œ
L
‰ œ œ ‰
R L
œ
R
œ
L

45

SD ã Rœ œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ ‰ œ Œ
L R L R L R L R L R L R

2024 Cap City Percussion 28

 2
VAR. 6
49

SD ㉠œ œ œ
R L R
œ
L
‰ œ œ œ
R L R
œ
L
‰ œ œ ‰
R L
œ œ
R L
‰ œ œ œ
R L R
œ
L

53

SD ㉠œ œ œ
R L R
œ
L
‰ œ œ œ
R L R
œ
L
‰ œ
R
œ
L
‰ œ
R
œ
L
œ
R
Œ

VAR. 7

ã Rœ . œ. œ. œ. œ.
57

SD œ œ œ œ œ œ œ œ œ œ œ
L R L R L R L R L R L R L R L

ã Rœ . œ. œ. œ.
61

SD œ œ œ œ œ œ œ œ œ Œ
L R L R L R L R L R L R

VAR. 8
65

SD ã ≈ œL Rœ œ
R
œ
L
≈ œ œ
L R
œ
R
œ
L
≈ œ œ
L R
≈ œ œ
L R
≈ œ œ
L R
œ
R
œ
L

69

SD ã ≈ œL Rœ œ
R
œ
L
≈ œ œ
L R
œ
R
œ
L
≈ œ
L
œ
R
≈ œ
L
œ
R
œ
R
Œ

VAR. 9
73

SD ã ≈ œL œ œ
L R
œ
L
≈ œ
L
œ œ
L R
œ
L
≈ œ
L
œ ≈ œ
L L
œ
L
≈ œ
L
œ œ
L R
œ
L

77

SD ã ≈ œL œ œ
L R
œ
L
≈ œ
L
œ œ
L R
œ
L
≈ œ
L
œ
L
≈ œ
L
œ
L
œ
R
Œ

VAR. 10
81

SD ã Rœ œ
R
œ
R
œ
L
œ
R
œ
R
œ
R
œ
L
œ
R
œ
R
œ
R
œ
R
œ
R
œ
R
œ
R
œ
L

85

SD ã Rœ œ œ œ œ œ œ œ œ œ œ œ œ Œ
R R L R R R L R R R R R

VAR. 11
j j j j j
. ≈ œ. œ. œ. ≈ œ.
89

SD ã ≈ œ œ œ œ œ ≈ ≈ œ œ
L R L L R L L L L R L

j j j j
œ. œ. œ. œ.
93

SD ã≈ L
œ
R
œ
L
≈
L
œ
R
œ
L
≈
L
≈
L
œ
R
Œ

2024 Cap City Percussion 29

 3
VAR. 12
97
j j j j j
SD ㉠œ
R
œ
R
œ
L
‰ œ
R
œ
R
œ
L
‰ œ
R
‰ œ
R
‰ œ
R
œ
R
œ
L

101
j j j j
SD ㉠œ
R
œ
R
œ
L
‰ œ
R R
œ œ
L
‰ œ
R
‰ œ
R
œ
R
Œ

VAR. 13
r r r r r
ã ‰. ‰. ‰. œ ‰. ‰.
105

SD œ œ œ œ œ œ œ œ œ œ
L R L L R L L L L R L

r r r r
ã ‰. ‰. ‰. œ ‰.
109

SD œ œ œ œ œ œ œ œ Œ
L R L L R L L L R

VAR. 14
113

SD ã Rœ œ
R
œ
L R
œ œ
R
œ
L
œ
R
œ
R
œ
R
œ
R
œ
L

117

SD ã Rœ œ œ œ œ œ œ œ œ Œ
R L R R L R R R

2024 Cap City Percussion 30

 Triplet Accent Grid

> > > > > > > > > > > >
12 6
/ 8 f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f 8
R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L

5 > > > > > > > > > > > >
6
/8f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f 9
8
R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L

11 > > > > > > > > > > > > >
9
/8f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f™ Œ™ Œ™
R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R

2022 Cap City Percussion

2024 Cap City Percussion 31

Battery Score
4-2-1 : 2's Timing

4's

Snare Drum
ã 12
8 Rœ œL ‰ œL Rœ ‰ Rœ œL ‰ œL Rœ ‰ ‰ œL Rœ ‰ Rœ œL ‰ œL Rœ ‰ Rœ œL Rœ ‰ Rœ œL ‰ œL Rœ ‰ Rœ œL ‰ œL 68

2's
6 9
ã 8 Rœ œL ‰ œL Rœ ‰ ‰ œL Rœ ‰ Rœ œL Rœ ‰ Rœ œL ‰ œL Rœ œL ‰ œL Rœ ‰ ‰ œL Rœ ‰ Rœ œL Rœ ‰ Rœ œL ‰ œL 8
4

SD

1's
9 12
ã 8 Rœ œL ‰ ‰ Rœ œL Rœ ‰ Rœ œL Rœ ‰ ‰ œL Rœ œL ‰ œL Rœ œL ‰ ‰ Rœ œL Rœ ‰ Rœ œL Rœ ‰ ‰ œL Rœ œL ‰ œL 8 Rœ . Œ . Ó .
10

SD

4-2-1 : 1's Timing

4's
j j j j j j j j
SD
ã Rœ . œ. œ. œ. ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ 68
R R R R R R R R R R R
L L L L L L L L L L L L
R L R L L R L R R L R L
R L R L R L R L R L R L

2's
j j j j j j j j
ã 68 Rœ . œ. ‰ œ ‰ ‰ œ ‰ ‰ ‰ œ ‰ ‰ œ œ. œ. ‰ œ ‰ ‰ œ ‰ ‰ ‰ œ ‰ ‰ œ 98
4

SD
R R R R R R R R R R R
L L L L L L L L L L L L
R L R L R L R L R L R L
R L L R R L R L L R R L

1's
j j j j j j j j
ã 98 Rœ . ‰ œ ‰ ‰ ‰ œ œ. ‰ œ ‰ ‰ ‰ œ œ. ‰ œ ‰ ‰ ‰ œ œ. ‰ œ ‰ ‰ ‰ œ 12
8 Rœ . Œ. Ó.
10

SD
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 L L L R R R L L L R
R L R L R L R L R L R L R

2024 Cap City Percussion 32

 Buzz Roll Breakdowns

RH Buzzes

Snare Drum
z z z z z z z z
ã 44 .. Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL .. Rœ Œ Ó

LH Buzzes

SD
z z z z z z z z
ã .. Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL .. Rœ Œ Ó

All Buzzed

SD
z zz z zz zz z zz z zz zz
ã .. Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL .. Rœ Œ Ó

Buzzes as Triplets

zzzzzzzzzzzz zzzzzzzzzzzz
ã .. Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL .. Rœ Œ Ó
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

SD

Buzzes as 16ths

SD ã .. Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL RœzœLzRœzœLzRœzœLzRœzœLzRœzœLzRœzœLzRœzœLzRœzœLz Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL RœzœLzRœzœLzRœzœLzRœzœLzRœzœLzRœzœLzRœzœLzRœzœLz .. Rœ Œ Ó

2024 Cap City Percussion 33

 Open Roll Breakdowns

RH Doubles

Snare Drum ã 44 .. Rœ œL Rœ œL Rœ œL Rœ œL Rœ Rœ œL Rœ Rœ œL Rœ Rœ œL Rœ Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ Rœ œL Rœ Rœ œL Rœ Rœ œL Rœ Rœ œL .. Rœ Œ Ó

LH Doubles

SD ã .. Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL œL Rœ œL œL Rœ œL œL Rœ œL œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL œL Rœ œL œL Rœ œL œL Rœ œL œL .. Rœ Œ Ó

All Doubles

SD ã .. Rœ œL Rœ œL Rœ œL Rœ œL Rœ Rœ œL œL Rœ Rœ œL œL Rœ Rœ œL œL Rœ Rœ œL œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ Rœ œL œL Rœ Rœ œL œL Rœ Rœ œL œL Rœ Rœ œL œL .. Rœ Œ Ó

Doubles in Triplets

ã .. Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ Rœ œL œL Rœ Rœ œL œL Rœ Rœ œL œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ Rœ œL œL Rœ Rœ œL œL Rœ Rœ œL œL .. Rœ Œ Ó
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

SD

Basic Double Combinations

SD ã Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ œL Rœ Rœ œL Rœ Rœ œL Rœ Rœ œL Rœ Rœ œL œ œœœ œœœ œœœ œœ

R L L R L L R L L R L L

SD ã Rœ Rœ œL Rœ Rœ œL Rœ Rœ œL Rœ Rœ œL œ œœœ œœœ œœœ œœ œœœ œœœ œ œœœ œœ œœœ œœœ œ œœœ œœ

R L L R L L R L L R L L R R L R R L R L L R L L R R L R R L R L L R L L

SD ã Rœ Rœ œL Rœ œL œL Rœ Rœ œL Rœ œL œL Rœ Rœ œL Rœ œL œL Rœ Rœ œL Rœ œL œL Rœ Rœ œL œL Rœ Rœ œL œL Rœ Rœ œL œL Rœ Rœ œL œL Rœ Rœ œL œL Rœ Rœ œL œL Rœ Rœ œL œL Rœ Rœ œL œL Rœ Œ Ó

2024 Cap City Percussion 34

 Paradiddle Breakdown
RH Side
> > > > > > > > > > > > > > > >
4œ œ œ
Snare Drum
ã4 R R L œ œ œ
R R L
œ œ œ
R R L
œ œ œ
R R L
œ œ œ
R R L
œ œ œ
R R L
œ œ œ
R R L
œ œ œ
R R L

5 > > > > > > > > > > > > > > > >
SD
ã œ œ
R
œ œ
R R L
œ œ œœ
R R R L
œ œ œœ
R R R L
œ œ œœ
R R R L
œ œ œ œ
R R R L
œ œ œ œ
R R R L
œ œ œ œ
R R R L
œ œ œ œ
R R R L

9 > > > > > > > > > > > > > > > >
SD
ã œ œ œ œ
R L R L
œ œ œ œ
R L R L
œ œ œ œ
R L R L
œ œ œ œ
R L R L
œ œ œ œ
R L R L
œ œ œ œ
R L R L
œ œ œ œ
R L R L
œ œ œ œ
R L R L

> > > > > > > > > > > > > > > > >
œ Œ Ó
13

SD
ã œ œ œ œ œ
R L R R L
œœœœœ
R L R R L
œœœœœ
R L R R L
œœœœœ
R L R R L
œœœœœ
R L R R L
œœœœœ
R L R R L
œœœœœ
R L R R L
œœœœœ
R L R R L R

LH Side
18 > > > > > > > > > > > > > > > >
SD
ã œ œ
L
œ
L R
œ œ œ
L L R
œ œ œ
L L R
œ œ œ
L L R
œ œ œ
L L R
œ œ œ
L L R
œ œ œ
L L R
œ œ œ
L L R

22> > > > > > > > > > > > > > > >
SD
㜠œ œ œ
L L L R
œ œ œ œ
L L L R
œ œ œ œ
L L L R
œ œ œ œ
L L L R
œ œ œ œ
L L L R
œ œ œ œ
L L L R
œ œ œœ
L L L R
œ œ œœ
L L L R

26 > > > > > > > > > > > > > > > >
SD
ã œ œ œ œ
L R L R
œ œ œ œ
L R L R
œ œ œ œ
L R L R
œ œ œ œ
L R L R
œ œ œ œ
L R L R
œ œ œ œ
L R L R
œ œ œ œ
L R L R
œ œ œ œ
L R L R

> > > > > > > > > > > > > > > > >
œ Œ Ó
30

SD
ã œ œ œ œ œ
L R L L R
œœœœœ
L R L L R
œœœœœ
L R L L R
œœœœœ
L R L L R
œœœœœ
L R L L R
œœœœœ
L R L L R
œœœœœ
L R L L R
œœœœœ
L R L L R L

Both Hands
35 > > > > > > > > > > > > > > > >
SD
ã œ œ
R
œ œ œ
R
œ œ œ
L L R R L L
œ œ œ œ œ œ œ œ
R R L L R R L L
œ œ œ œ œ œ œ œ
R R L L R R L L
œ œ œ œ œ œ œ œ
R R L L R R L L

39 > > > > > > > > > > > > > > > >
SD
ã œ œ
R
œ œ œ œ œ
R R L
œ œ œ œ œ œ
L L R
œ œ œ œ
R R L
œ œ œ œ œ œ œ
L L
œ œ
R
œ œ œ œ œ œ
R R L
œ œ œ œ œ œ œ œ
L L R
œ œ œ œ œ œ œœ
R R L L L R R R L L L R R R L L L R R R L L L R R R L L L

43 > > > > > > > > > > > > > > > >
SD
ã œ œ œ œ
R L R
œ œ œ œ œ
L R L
œ œ œ œ œ œ
R L R
œ œ œ œ œ œ
L R L
œ œ œ œ œ œ œ
R L R
œ œ œ œ œ œ œ œ
L R L
œ œ œ œ œ œ œ œ œ œœœ
R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L

> > > > > > > > > > > > > > > > >
㜜œœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œ Œ Ó
47

SD
R L RR L R L L R L RR L R L L R L RR L R L L R L RR L R L L R L RR L R L L R L RR L R L L R L RR L R L L R L RR L R L L R

2024 Cap City Percussion 35

 Paradiddle-diddle Breakdown

RH Side (backwards)
> > > > > > > > > > > >
6œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œœœ œ œœœ œ œœ
Snare Drum
ã4 R R L R R L R R L R R L R R L R R L R R L R R L R R L L R R L L R R L L R R L L

4 > > > > > > > > > > > >
SD
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ
R R LLR R LLR R LLR R LL R
œ œ œ œ œ œ œ œ œ œ 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 R L L R
œ œ œ œ œœœœ
R R L L R R R L L R R R L L R R R L L R R R L L R R R L L R R R L L

> > > > > > > > >

ã 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 R R L L R L R R L L R L R R L L R L R R L L Rœ Œ ∑
7

SD œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

RH Side (forward)
10 > > > > > > > > > > > >
SD ã œ œ
R
œ œ œ
R
œ œ
L
œ œ œ œ œ
R R L R R L R R L
œ œ œ œ 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 R L R R L R R L R R L R L R L R L R L R L R L R L R L

13 > > > > > > > > > > > >
SD ã œ œ œ œ
R L R
œ œ œ
L
œ œ œ œ
R L R
œ œ œ œ œ œ
L
œ œ œ œ
R L R
œ œ œ œ œ œ
L
œ œ œ œ
R L R
œ œ œ œ œ
L
œ œ œ œ œ œ œ œ
R L R R L
œ œ œ œ œ œ œ œœœœœ
R L R R L R L R R L R L R R L R L R R L R L R R L R L R R L R L R R L

> > > > > > > > >

ã 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 R R L L R L R R L L R L R R L L R L R R L L Rœ Œ ∑
16

SD œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

LH Side (backwards)
19 > > > > > > > > > > > >
SD ã œ œ
L
œ œ œ
L
œ œ
R
œ œ
L
œ œ œ œ
L
œ œ œ œ
R
œ œ œ œ
L
œ œ œ œ
L
œ œ
R
œ œ œ
L
œ œ œ œ
L
œ œ œ œ œ œ
R L L R L L R L L R L L R L L R R L L R R L L R R L L R R

22 > > > > > > > > > > > >
SD ã œ œ
L
œ œ œ
L
œ œ œ œ
R R L
œ œ œ œ
L
œ œ œ œ
R R L
œ œ œ œ œ œ
L
œ œ œ œ œ œ
R R L
œ œ œ
L
œ œ œ œ œ
R R
œ œ œ
L
œ œ œ œ œ œ œ œ
L L R R L
œ œ œ œ œœœœ
L L R R L L L R R L L L R R L L L R R L L L R R L L L R R L L L R R

> > > > > > > > >

ã œL Rœ œL œL Rœ Rœ œL Rœ œL œL Rœ Rœ œL Rœ œL œL Rœ Rœ œL Rœ œL œL Rœ Rœ œL Rœ œL œL Rœ Rœ œL Rœ œL œL Rœ Rœ œL Rœ œL œL Rœ Rœ œL Rœ œL œL Rœ Rœ œL Œ ∑
25

SD

LH Side (forward)
28 > > > > > > > > > > > >
SD 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
L L R L L R L L R L L R L L R L L R L L R L L R L R L R L R L R L R L R L R L R

31 > > > > > > > > > > > >
SD ã œ œ œ œ
L R L
œ œ œ
R
œ œ œ œ
L R L
œ œ œ œ œ œ
R
œ œ œ œ œ œ
L R L
œ œ œ œ
R
œ œ œ œ
L R L
œ œ œ œ œ
R
œ œ œ œ œ œ œ œ
L R L L R
œ œ œ œ œ œ œ œœœœœ
L R L L R L R L L R L R L L R L R L L R L R L L R L R L L R L R L L R

> > > > > > > > >

ã L R L L R R L R L L R R L R L L R R L R L L R R L R L L R R L R L L R R L R L L R R L R L L R R œL Œ ∑
34

SD œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

2024 Cap City Percussion 36