PERCUSSION

TECHNIQUES

X2 EDITION
 WELCOME
This packet is a resource for those attending the X2 Audition Clinics. Whether you are
auditioning for an X2 ensemble or just coming to learn more about your instrument, we’re
providing this packet to give you the materials you need to have a great experience. It’s a
good idea to read through everything in this packet that pertains to your instrument, and
come to the clinic prepared. Our staff will take it from there! If you are seeking a performance
spot, memorizing the provided exercises is a good idea - although not required.

One note, even at the highest levels of our activity, technique varies from ensemble to
ensemble. We strongly believe in our approach to technique and performance and we hope
that you will consider it while preparing to audition. We’ve provided as much information here
as possible to inform you on our techniques. If you are auditioning for a spot in the ensemble,
it is best if you come expecting to play with our technique. Take time to practice each of the
exercises and etudes provided for your instrument of choice. The staff and - in most cases -
composer of each of the pieces has provided notes to help you. Practice with a metronome at
a variety of tempi. At the clinics we will look for and discuss maintaining rhythmic accuracy
and technique execution at many speeds on the metronome.

Most importantly: don’t talk yourself out of this! Being mentally prepared to learn and have a
great experience is the most important part of any audition clinic. No one has ever made
Rhythm X without auditioning. It’s an essential part of being a musician and a performer.

We are very excited for the X2 Audition Clinics, presented by The X Academy. See you soon!
 CONTENTS
1. THE AUDITION
How To Register .................................................. 4
What To Bring ...................................................... 4
Casting ................................................................. 5

2. THE FRONT ENSEMBLE

Keyboard Technique .......................................... 6
Other Instruments ............................................ 13
Exercises ............................................................ 14
Sad Happy ......................................................... 27
B.P.M. ................................................................. 35
Show Excerpts .......................................... 38

3. THE BATTERY
Exercise Overview ….………………………… 42
The Sound …………………………..…………. 45
Cymbals …………………………..……………. 46
Exercises ………………………….……………. 48
Show Excerpts …………..………………. 6
 THE AUDITION
At Rhythm X, Inc. we pride ourselves in the quality of our annual audition clinics. They’re open
to everyone, even if you are not seeking a position in the cast. Hopefully you’ve purchased
this packet from our website and you may have already registered. If you haven’t registered
it’s easy. Simply visit and follow the prompts. You’ll fill out the registration form,
pay the registration fee, and download a copy of this packet.

This year The X Academy will hold two audition clinics. You are welcome to come to either
one or both! There’s no extra charge for attending both clinics, in fact, we encourage you to!
When you fill out the registration form you’ll be able to let us know which dates you’re
planning on attending.

WHAT TO BRING
If you’re coming to the battery portion of the audition (snare, tenor, bass, cymbals), you
should bring:

• A pair of sticks and a practice pad

• Athletic shoes with no-scuff soles
• Athletic clothing (shorts and a t-shirt)
• A binder with this packet and a pencil

We can provide mallets for those auditioning for bass drum, however bringing your own is a
good idea. Tenor players can audition with mallets or sticks.

Cymbal players do not need to bring a pair of sticks. Rhythm X will provide a number of pairs
of cymbals but if you have access to a pair of marching cymbals it is a good idea to bring
them.
If you are coming to the front ensemble portion of the audition you should bring:

• A binder with this packet

• A pencil
• Comfortable clothes, including athletic clothing for a one hour visual session.

Rhythm X will provide mallets for your audition.

CASTING
While many people at the audition clinics will not be seeking a spot in the ensemble, Rhythm
X is ultimately hosting these events to find the best performers in the world. If you are coming
to the X2 Audition Clinics to compete for a spot in the cast, the staff will make sure that we
communicate your status to you throughout the process. Typically, at the end of the first
audition clinic we will offer only a few contracts and follow-up after the second audition clinic.

At The X Academy we are most concerned with your growth as a musician and performer. The
staff will send each auditionee personalized feedback. We will provide you with valuable
information about your technique, performance abilities, and areas that you can work to
improve. Most importantly, you are not only told where you can improve, but how.

We hope to see you at this year’s clinics. Best of luck!

THE FRONT ENSEMBLE
In the following pages you will find definitions of technique and etiquette as well as the
materials you will need for the front ensemble portion of the X2 Audition Clinics.

The audition materials in this packet include some exercises that the X2 cast will play, as well
as excerpts from past Rhythm X programs. Many of the exercises are intended to isolate
specific techniques that will challenge you mentally. Those playing keyboard will play
everything in the packet at some point during the audition clinics. You should prepare the
keyboard audition piece and a short solo excerpt for your individual session. Individual
sessions are optional if you don’t plan on auditioning for a spot in the ensemble. With any
questions about the front ensemble clinics please email Andrew Markworth at
andrew@rhythmx.org.

KEYBOARD TECHNIQUE
POSTURE

Stand behind the keyboard with your feet a comfortable shoulder-width apart. Try to avoid
putting your heels and toes together. Your feet, hips, and shoulders should all be aligned and
you should make every effort not to slouch. Shoulders should be parallel with the keyboard
whenever possible.

Keep your chin up! Connecting with your audience is one of the most important elements of
performance.

Vibraphones: you will pedal with your right toes, while keeping your right heel on the ground
at all times. Your weight will be held with your left foot and right heel. When playing at the
top of the keyboard, keep your right heel on the ground and cross your left leg/foot behind
you, all while keeping your hips parallel with the keyboard.

SET POSITION

For two mallets, both mallet heads share the space over the resonator of the key you are
starting from and rest about one inch above the keyboard. From this position your wrists
should be parallel with the mallet heads. The height of your keyboard should be adjusted so
that this is possible and comfortable.

with two mallets with four mallets

PLAYING POSITION

Mallet heads are aligned and your wrist is fully extended (meaning the mallet heads are at the
top of the stroke). Your wrists should be one inch above the keys. The goal is to create almost
a right angle between the mallet shafts and the bars, although this will change depending on
the defined height of a stroke.

with two mallets with four mallets

 PREP

This is our silent “tap-off” and it is probably similar to the system you used in high school or at
another performing ensemble. The center marimba player gives two preps (1 & 2 &), and the
rest of the group will join in on the third and fourth prep (3 & 4 &). The groups “3 & 4 &”
preps are a down-up-down-up sequence. Counts and number of preps will change with
various musical circumstances.

Preps are only intended to start the ensemble together, not to be seen by the audience. Preps
will remain within two inches of the keys, with the exception of the final “up” that lifts to
playing position. It is important to be attentive to the preps and look in closely to the center
of the ensemble.

SHIFT

A shift is the efficient way that you will travel between notes. In a shift, a mallet begins in
playing position above one note, strikes the note, and rebounds to playing position above the
next note to be played.

TWO-MALLET TECHNIQUE
GRIP

To set the proper grip, first visually divide the mallet shaft into equal thirds. You will grasp the
lowest third (apposing the mallet head) in the palm of your hand, gripping the mallet with
your bottom three fingers (now referred to as the fulcrum). Your index finger and thumb
should line up directly on the third division of the mallet, leaving one inch of the mallet
sticking out of the back of your hand.

Now, curl your index finger so that your thumbnail lines up almost directly between the first
two knuckles of your index finger. For most people, this will leave a small gap between your
index finger and ring finger. It is important that the thumb and index finger remain very
relaxed all the time. Your hands should stay at a 45-degree angle (not thumbs-up, not flat-
palms).

The back fingers will provide the power for the stroke so they must remain in contact with the
mallet shaft at all times. Muscles connected to these fingers stretch back into the back of the
forearm and provide a fuller sound out of the keyboard. This allows us to take some of the
strain off of our wrists which have smaller muscles in them.

the grip

PISTON STROKE

The piston stroke is defined as a stroke where the starting and stopping point are the same
(with the exception of any horizontal motion, see shift below).

From playing position to the key and directly back to playing position...Down- Up. No wasted
motion is created by a piston stroke. Efficiency of physical energy is the key here. The mallet
head moves straight down to strike the key, then moves straight up on its return back to the
original playing position. The motion is quick and staccato.

We define this motion as 90% wrist, 10% arm. A full sound quality will come from the “90%
wrist” as you keep your wrist one inch above the keys, while the “10% arm” is mostly
sympathetic motion during the actual strike of the key.
FOUR-MALLET TECHNIQUE
GRIP

All mallet keyboard players will use Stevens grip. We believe this grip is the most efficient in
stroke consistency and interval changing along with unified technique across the ensemble.
The book Method of Movement by Leigh Howard Stevens is the ultimate resource for this
technique. We highly recommend any percussionist purchase a copy of this book and study it
well.

To build the grip, first grasp one mallet with your pinky and ring finger (mallet 1 or 4).
Approximately one inch of the mallet shaft should be visible behind the pinky finger from the
inside of the hand.

Second, place the back of another mallet (2 or 3) in the palm of our hand just under your
thumb muscle (the “meaty” part). Your middle finger will hold the mallet into your palm/
thumb muscle. Slightly curl your index finger and rest the mallet on the first knuckle of your
index finger. This point is referred to as the “perch.” Gently rest your thumbprint over the
point where the mallet shaft hits the first knuckle of your index finger.

Your metacarpal bones (the bones that make up the structure of your palm) should be aligned
almost vertically, creating a flat plane between your thumb, wrist, and index finger.

You should be able to draw a straight line from your elbow to the webbing of your thumb.

Change intervals by simply curling the perch of your index finger from right to left.
FOUR-MALLET STROKE TYPES
There are four stroke types that we will use with the Stevens grip:

1. Double Vertical Strokes

2. Single Independent Strokes
3. Single Alternating Strokes
4. Double Lateral Strokes
DOUBLE VERTICAL STROKES

Follow the same guidelines for the two-mallet piston stroke. Both mallets (in one hand) strike
the keys at the same time). The stroke should be played primarily with the wrist. To check that
you are turning your wrist correctly, you should see your wrist “pop” up as the mallets strike
the bars. The wrist pop should not be exaggerated; it is a natural result of performing the
stroke correctly. The mallets should travel straight down and up without any side-to-side
motion. Be sure to keep your fingers relaxed. Gradually, we will incorporate more arm into the
stroke.

SINGLE INDEPENDENT STROKES

Stevens defines the single independent stroke as “when one mallet moves independently
from the others.”

We will primarily use this stroke with mallets 2 and 3 (the inside mallets). The playing position
will be the same as with double verticals. The stroke will be achieved by rotating the active
mallet around the tacet mallet (i.e. mallet 3 will rotate around mallet 4). To develop
independence, it is important to keep the tacet mallet as still as possible. This is achieved by
letting the tacet mallet create the turning axis (i.e. mallet 4 spins in place as mallet 3 rotates
around it). It is important to keep your fingers free of tension. The index finger and thumb
should remain firm yet relaxed. Relaxed fingers act as shock-absorbers. Tension will cause the
tacet mallets to twitch.
 SINGLE ALTERNATING STROKES

This stroke type is closely related to the Single Independent Stroke, but without as much
concern for the non-motion of the tacet mallet. The set position and playing position are the
same as in the Double Vertical Stroke. As one mallet strikes the bar, the other mallet will raise
slightly. Be sure not to simply rotate the wrist: instead think of the pivot point as bounding
from one mallet to the next. This will allow us to control the articulation, rhythm, and dynamics
of each mallet. It is important to note that tempo is a major factor in determining when a
Single Alternating Stroke turns into a one-handed roll (legato) motion. As the tempo
increases, the ability to control each mallet will decrease, until the motion is solely a rotation
of the wrist.

DOUBLE LATERAL STROKES

Double Lateral strokes should not operate like the other three stroke types. The goal here is
to produce two strokes through one hand motion. This technique is similar to a diddle on a
snare drum, where one stroke creates two different notes.

For example, if you wanted to play a double lateral in your left hand you would begin by
playing a Single Independent with the outside mallet and rotating your wrist fast and powerful
enough to bring the inside mallet down next. This stirring motion is similar to turning a
doorknob. After both mallets have struck the keyboard, return the mallet heads to playing
position.

* * *

Look over the audition music provided below, if you are auditioning for a keyboard position
(marimba, vibraphone, xylophone, glockenspiel). Be prepared to know all twelve major and
natural minor scales. Throughout the season the ensemble will utilize the harmonic and
melodic minor scales as well as a few modes. This makes an understanding of the twelve
major and natural minor modes important.

Those auditioning should be able to demonstrate all of the above stroke types as well as a
one-handed roll.
DRUM SET
Be able to demonstrate the following grooves: Rock, Swing, Funk, and Latin (Samba, Bossa
Nova, Mambo, etc.). Ensemble awareness is the most important thing to demonstrate when
auditioning for drum set with Rhythm X. You must be able to follow the keyboards, hold
steady time and show dynamic sensitivity. Be familiar with all of the keyboard exercises, as you
will play along with almost all of them. For ensemble warm-ups your written parts are a
guideline but they should not draw too much attention. For those exercises that do not have
parts, be able to apply any style or groove to the chart.

SYNTHESIZER (& GUITAR)

Be able to play all twelve major and natural minor scales. Do your best to learn the keyboard
part on the exercises that do not have synth (or guitar) parts. Tempo control and timing are
very important! Please prepare a short 1-2 minute etude that showcases your range of
abilities. Rhythm X does not have a guitar player in its cast every year. If you have questions
about the guitar position in X please email andrew@rhythmx.org.

BASS
Be able to play all twelve major and natural minor scales. Be prepared to outline a bass part in
varying styles to the exercises without a written bass part. Tempo control and timing are very
important. Please prepare a short 1-2 minute etude that showcases your range of abilities.

AUXILIARY PERCUSSION
Each season Rhythm X fields between one and four players to play the auxiliary sounds that
make a show complete. These players must be able to exhibit a variety of concert techniques
on snare drum, concert toms, concert bass drum, tam tam, suspended cymbal, triangle,
crotales, and more. Additionally, they may be required to play two-mallet keyboard parts.
Those auditioning for Auxiliary Percussion should be well versed in concert percussion
technique as well as the two-mallet technique printed above. It is strongly encouraged for
them to know all twelve major and natural minor scales as well as the PAS rudiments.
 EXERCISES
7/8 Octave
7/8 Octave
q = 50-92
 
                                   
          
     
    
     



Keyboards

                                    

    
Synth
   
  
           
                    
6
 
         
   
      


Keys

                   
         


Synth

       
                          continue...
   
10
           
                   
     




Keys

  
               
     
      
Synth
     
        
-Exercise shown in chromatic progression
- Prepare in all major and minor keys

"Lesson One"One
Lesson
George Hamilton Green
q = 60-160+
   
       
 L R L R...  
R

4

Continue...

                               

- Exercise shown in chromatic progression
- Prepare in all major and minor keys
 Lesson 1-A
Lesson 1-A

                                      
 R L R
 L...


            

Green Pyramid
Green Pyramid

                         
q = 60-160+

 
 L R L R...    
R

                   
5
    
   
9

         
    
13

   
             
 
17
    
     
22

             
    
26
   
        
  
2021/2022 Rhythm X Front Ensemble

-Prepare in all major and minor keys

 Spatial Chromatic
Spatial Chromatic
Lane Summerlin

       
   
q = 55-85+ 6 6 6
 
                                 


Keyboards
6 6 6 6 6 6 6 6 6

        
3

3 3 3
 
       
    
Synth
     
   

                                           

7 6 6

         


   
Keys
6 6 6 6 6 6 6 6 6
6
3

                 
3 3 6 6
 
              
Synth 3
      
     

                                

     
13
            
   


Keys
6 6 6 6 6 6 6 6 6 6

   
     
6 6


      
Synth              
       
6 6 6
6
18 6 6

        

6 6

  
6 6 6 6 6 6

                              


Keys

6 6

           

6

6

 
  
Synth
                 

6
6 6 6

             
      
23

                                   


Keys
6 6 6 6

6
 6      
6
 
6

      
   

3 3 3 3

3

Synth 3
   
   
          
        
27
   
6

         

6
     


 
Keys
6 6
   6     6  
6 6
 
            
    
6

       6


      
Synth
3 3 6 6 6 6 
       
     

2021/2022 Rhythm X Front Ensemble

 Charlie Murphy!
Charlie Murhpy!

Traditional

                                 
                                
                                 
5

                                


9
               
                          
  
                  


    
Intervals
Intervals

                                 
R...
L...

                   
        
R...
   
L...


8

                
     


 

2021/2022 Rhythm X Front Ensemble

 Dvai
DVAI
q = 50-140+

  
                 
  1 1 1 1 2 2 2 2 3 3 3 3 4 4 4 4

6
               
                                 
1 2 3 4

11
          
       
                                        
13 13 13 13 14 14 14 14 24 24 24 24 23 23 23 23

16
                                         
                                         
13 13 13 13 14 14 14 14 24 24 24 24 23 23 23 23

21                
                               
                 
13 24 14 23 24 13 23 14

       
       
26        
                    
13 24 14 23

29                
              
24 13 23 14

2021/2022 Rhythm X Front Ensemble

 $Texas
$Texas

                              
                                
5
                       
  











   
    














   
    
9                                
                      
     

8-16
8-16
q = 60-120+

                

            
1 2
          
3 4
        

         

6

          
        

             
9
       
                  
               
     
13

              
       
4 3 2 1
18
             
                                
 

         
22

                         

2021/2022 Rhythm X Front Ensemble

 One Handed Octaves
One Handed Octaves

q = 60-120

                                
                               


R R...


L...

 
L
5
                
                               

Schwartman
Schwartman
q = 60-160+


                             
3 3...
2 2...

                                
11

                                
17 (2) (3) (4) (5)

                                        
22 (6) (7) (8) (9)

                                
26 (10) (11) (12)

                           

2021/2022 Rhythm X Front Ensemble

 Broccoli
Broccoli

q = 60-120+
        
                                      
           
            
1 2 3 4 2 3 4 1 3 4 1 2 4 1 2 3

    

5

                   

1 2 3 4 2 3 4 1 3 4 1 2 4 1 2 3 4 3 2 1 3 2 1 4
9
         
                  
            
 
2 1 4 3 1 4 3 2 4 3 2 1 3 2 1 4 2 1 4 3 1 4 3 2

            
13
        
                 
   
    
1 2 3 4 2 3 4 1 3 4 1 2 4 1 2 3

                   

17

                
4 3 2 1 3 2 1 4 2 1 4 3 1 4 3 2
   
21 5 5 5 5 5 5 5 5

   

5 5 5 5

        

   
        
 
1 2 3 4 3 2 3 4 3 1 3 4 3 1 2

              

24

            
5 5 5 5 5 5 5 5
5 5 5 5

   
4 3 1 2 3 1 2 3 4 3 2 3 4 3 1 3 4 3 1 2 4 3 1 2 3

                 

27

            
5 5 5 5 5 5 5 5 5 5 5 5
4 3 2 1 2 3 2 1 2 4 2 1 2 4 3

   
         
30 5 5 5 5 5 5 5 5

         
           
5 5 5 5
1 2 4 3 2 4 3 2 1 2 2 1 2 4 3 1 2 4 3 2
3 2 1 2 4

      

33 5 5 5
 
5 5 5
               
     
          
1 2 3 4 3 2 3 4 3 1 3 4 3 1 2 4 3 1 2 3
5 5 5 5 5 5

   
                
36

             
5 5 5 5 5 5 5 5 5 5 5
4 3 2 1 2 3 2 1 2 4 2 1 2 4 3 1 2 4 3 2 5

5 5
 
39 5 5
 
5 5 5 5

        
       
      

2021/2022 Rhythm X Front Ensemble

 Stick Control

    

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

                                 
R L R R L R L L R L R R L R L L R L R L R L R L R L R L R L R L R R R L R R R L R R R L R R R L

                                 
R L R L R L R L R L R L R L R L R L L L R L L L R L L L R L L L R L R L R L R L R L R L R L R L


                  
R R R R L L L L R R R R L L L L R

8421 Accent

   

       
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 R

         
      
                
L R L

       

R L R

16th Note Accent (1 note)

               

     
       
R l r l R L R L


                               
        
R L R L

      

R L R L R L R L R
 16th Note Accent (2 note)

               
    
 
              
R L r l R L L R R L L R


                               
        
R L L R R L L R


     
R L L R R L L R L R R L L R

Triplet Accent

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

      

R l

3
r L r

3
l R

 3 3 3  3 3 3  3 3 3  3 3 3
L L R L R R L R L R L L R


         
R L R R R L L L R R R L L L R

Basic 8th Note Timing

                 

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

        
                
R L R L R L L R L L R L R L L R L L R L

             
                
R L R L R L L L L R L R L L L L L R

Basic 16th Note Timing

                      

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

         
R L R L R L R L R

L

R
    
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
 16th Note Timing (3 Note)

                

R L R L R L R R L L

    
                                  
R R L L R L

  
                 
  
                 

Basic Triplet Timing

3 3 3 3 3 3 3 3

 
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

   
3 3 3 3 3 3 3 3

          
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

Triplet Timing (2 note)

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

            

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

3
        
3 3 3 3 3 3 3 3 3 3 3

                     

R R R L L R R L L R R L L R
3
  3
 3 3 3 3 3 3 3 3

                              
R L R R L R R R L L R L R L R
3
  3
  
3 3 3 3 3 3 3 3

                               
R L R R L R L R L L R L R L R R L R R L R L R L L R
 16th Note Triplet Timing

3 3 3 3 3 3 3 3 6 6

               
R L R L R R L R L R R L R R L R

                 
6 6 6 6 6 6

R L R R R L R L R

Gallop

                   
R R L R R L R R L R R L 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

                        
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 L R R L L R R L L R R L L R R L L R R L L R R L L R R L L R


Paradiddles

      

                                
       
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 r l l R l r r L r l l R l r r L r l l r r L r l l r r L r l l R
 Carmel Front Ensemble Audition Etude
Mallet Etude


Dr. Lane Summerlin

     
q = 180
              
              
3 3

              
 


6
Marimba R L R R L R L
mp
3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 4 3 L 4 3 L
f ff
     
 
      
6


          
4 3
 
L 4 3 L 4 3 2
1
R 2

  mp  p  
           

 

pp p


              
 


3 2 3 2 3 1 2 R 1 2 R 1 R 1 R 1 2 3 4 3 2 R 1 2 R 1 R 1 R
12

   

R

4

3

4

3

4

3

4

 
mf mp mf
            

  



 
1 2 3 4 3 2 1 1 2 1 2 1 2

 
L

 
15
   
             
 


3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3 2 3
mp f ff
 
   
p

2020 Carmel Percussion

Vibes/Glock

SAD HAPPY
Marimba/Xylo

SAD HAPPY
Synth 1

SAD HAPPY
Synth 2

SAD HAPPY
Bass

SAD HAPPY
Drumset

SAD HAPPY
 !35
B.P.M.
 38
Marimba
X24 MARIMBA EXC ERPT
comp. Mehldau
arr. Markworth/Jackson
q = 128
° b b b3 œ œ œ œ œ œ œ œ œnœ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ
b
& b b 4 œœœœœœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ 6
1 2 3 4 1 2 3 4 2 3 4 2 4 1 3 2 4 1 3 2 4 1 3 2 4 3 2 4 3 2 4 3 2 4 3 2 4 3 1 2 4 3 1 2
mp
?b 3
¢ b bbbb 4 ∑ ∑ ∑ ∑
167

œnœ
° bbb
œ œ œ œ œ œ >œ
œ œ œ œ œ œ œnœ œ œnœ œ œ œnœ
œœ œœ œœ œœ œœ œ œ œ nœ nœ
&b b b œ œ œ œ œ nœ œ œ œ nœ œnœ œnœ
6 6
6 6
4 1 32 4 132 4 132 4 132 4 1 3 2
mf mp mf mp
?b
¢ b bbbb ∑ ∑ ∑ ∑
171

œ œœœ œ œ
œnœ œ œ nœ rit.
œ œ œœœ œ
° bbb œ œœœ œ œ œ œ
œnœ œnœ œ œ œ œ œ nœ œœ œ œœ œ œœ œ œœ
œ
œ œœœ œ
&b b b
6
6
f mp
?b
¢ b bbbb ∑ ∑ ∑ ∑
175

œ A tempo œœ œœ œœ œrit. œ œ
œ n œ œ n œ œ œ œœœ
A tempo rit.
° bbb œœ œœ œœ œœœ n œœ œ bœœ
œ nœ œ œ œ œ œ œ nœ
&b b b Œ œ œ œ
3
1 2 3 4 1 2 3 2 3 4 2 3 2 3 2 3 2
f mp f mp f mp
?b
¢ b bbbb ∑ ∑ ∑ ∑
179

A tempo
œ rit.
œ œ nœ œ œ œ œ œ œ œ
nœ œ œ
° b b b œ œ nœ œ œœ œ œ nœ œ œ œ œ œ œ œ œ 4
& b b b œœœ œ nn œœ œ œ œ J ‰ 4
n œœ
œ œ œ
œ œ œ œ œ œ nn œœ
n œ œ
?b ≈ œ ≈ œ ≈ œ ≈ œ ≈ nœ ≈ œ ≈ œ ≈ œ ≈ œ ≈ ‰ J 4
¢ b bbbb ∑ ∑ 4
183
 39

œq = 112 œ œ œ
∏∏∏∏∏∏∏∏∏∏∏∏
rit.
6 œ œ
° b b b4 œœ œ œ œ
6
œ œ œ
œ 3 nœ œ œ œ œœ œ œ œ œ œ
&b b b 4 œ Œ œœœœ œœœ œ4 œ œ œ œ œ œ œ œ
œ œ œ œ
6 6 6
ff
4 1 3 2 3 2 4 1 3 2 3 2 4 2 3 1 3 2 4 3 2 1 2 3 4 3 2 1 2 3 4 2 1 2

?b 4 3
¢ b bbbb 4 ∑ 4 ∑ ∑
187
œ œ œ 3
œ œ œ œ œ œ accel.
2 rit.
° bbb œ œ œ œœ nœœ 4
& b b b œœ œ œ œ œ nnœœ œ œ œ œ Œ 4 ∑
œ œ œ nœ Œ
2 2 1 2 1 1
mp mf pp 2
?b 4
¢ b bbbb ∑ ∑ ∑ 4 ∑
190
Piano
24 comp. Mehldau
arr. Markworth/Jackson
q = 120 rit. A tempo rit.
Keyscape: Piano
SU U
b œ b œ œ œ œ ˙ œ b˙ ™ œ œ
& b b 43 bœ
œ
œ œ bœ œ œ ‰ bœ œ œJ ‰ bœJ œ œ

{
u u
p mf

? bb 3 U
œ œ œ œ œ
œ
œ œ œ œ œ U œ œ œ œ œ bœ œ b œ œ œ œ
b4 œ bœ
167 ° ø

A tempo rit.
U U
b œ
b œ œ œ œ œ ˙™ ˙œ ™
& b b bœ œ œ bœ œ œ ‰ bœJ
œ œ œ œ bœ œ œ œ

{
u u
p mf p

U
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ˙ œ œ
? bb U œ J J bœ œ bœ
b œ u
171 ø ø

A tempo rit. A tempo

UT U
b œ
b œ œ œ œ œ b˙ œ œ
& b b bœ œ œ bœ œ œ ‰ bœ n‰̇ bœ

{
u u ‰ Œ ‰ Œ
mf

œ œ œ œ œ œ œ œ œ œ U œ œ œ œ œ œ œ
? bb U œ bœ J J œ nœ
J J
b œ
175 ø ø ø

rall. q = 60accel. q = 128

b ˙
2
œ
& b b ‰ bœJ œ œ b œ ‰˙™ nœ nœ œ œ œ n˙™
œ nœ œ œ œ œ n˙ ™ ˙™ 4
4

{
J
p mf p

œ bœ bœ œ œ œ b˙ ˙™ ˙™ 2
? bb œ œ œ œ œ œ 4
b 4
179 ø ø
4
 THE BATTERY
The following information will help you have a successful audition and will shed some light on
how we operate in terms of technique and approach. We will go over this information at the
clinics, but it is your responsibility to be prepared. Practice hard and enjoy!

Exercise Overview
The following descriptions are provided to explain the intent behind each exercise. Rhythm X
will utilize these exercises throughout the course of the entire season, in a variety of ways.
Making sure you understand fully how to get the most out of each one will bring you closer to
properly developing your approach at the audition clinics.

These exercises will be practiced through the course of our sectional times during clinics and
auditions. They will be used throughout the course of our competitive season. Preparing
these exercise ahead of time will set you up for success during the audition. Foot timing
responsibilities are not included with these, as the mark-time responsibility is to the quarter
note (or dotted quarter note for Shups, Triplet Rolls, and Flams).

These exercises provide the opportunity for you to display high-level capabilities. Use them to
your advantage!

LEGATOS

Legatos (8’s) is a staple exercise that should be in every marching percussionists back pocket.
Make sure to keep a relaxed grip on the sticks, and play every note with an even quality of
sound. All variations of this exercise should be prepared with the written dynamics, as well as
at a block height (3”, 6”, 9”, 12” and 15”). Crescendos and decrescendos should be
performed evenly, and with a consistent quality.
 ACCENT TAP VARIATIONS

When playing through each of the five accent tap variations, make sure you keep a relaxed
grip, consistent with approach with 8’s. Accent tap exercises use a combination of rebound,
down, tap, and up strokes to form different combinations of accents and taps. Be sure to
identify what type of stroke each note is, and don’t let different stroke types affect the quality
of sound, or weight in the hands.

MULTIPLE STROKES/ACCENT TAP COMBOS

Huggadix has several variations, although the approach between each variation should not
change drastically. Make sure that you approach each variation with the intent to play every
rhythm precisely, and with the same quality of sound. In the first variation, each grouping of
three notes should be approached with a “natural decay” while keeping the sixteenth note
rhythm consistent. In the second and third variations, use the skills developed in Accent Tap
Variations to utilize different stroke types to keep the rhythm in each variation consistent,
while approaching every note with an even quality of sound.

SHUPS 2.0

One of our goals as a battery ensemble is to develop a consistent roll quality for use through
a variety of tempo and height changes. Avoid ‘gripping’ the sticks too tightly, and keep a
maximized, soft contact with the sticks at all times. The key to this exercise is understanding
how to control the rhythms and flow with precision, while remaining relaxed enough to
achieve a consistent sound quality. The performer should become familiar with this exercise at
a wide range of tempos, to develop a keen awareness of flow and precision, as well as
cultivating the chops it takes to play double stroke rolls.

ROLL

The Roll Variations exercise will help develop a consistent roll quality, regardless of what
dynamics are written within each roll. It’s important to keep the triplet check in the hands
when working through each variation, and to build upon the double stroke skills develop in
Shups to make sure every note is approached with a consistent quality. When playing diddles,
each note should be placed, and not “dropped in”. Make sure to treat each note with the
same level of importance, as developing a consistent roll quality is crucial to the development
of every individual performer.

FLAMS

This exercise embodies the use of a “natural decay” motion, in which almost every triple or
quadruple stroke pattern should be performed as a ‘miniature decrescendo’. The notation
may get confusing as grace notes are added. Stay loose and relaxed. Utilize an open hand to
avoid inefficient downstrokes and maintain constant fluidity. Be sure to keep flam quality
consistent throughout the use of multiple flam rudiments.

All of the exercises in this year’s packet will help you display your aptitude to the instructional
staff. Memorization at auditions will not be mandatory, but is always looked highly upon. We
hope to focus on the consistent achievement of quality when we evaluate each auditioning
individual.
The Sound
You have made a decision to play a musical instrument. The expectation of performing with a
quality of sound is of utmost importance. Our definition of ‘sound quality’ is developed
through the following logical concepts:

• ‘Sound quality’ is equivalent to maximized resonance of the drum and implement

• We have the most direct control over the resonance of the implement
• Resonance of the implement requires a lack of applied pressure (soft contact), while
physical control of the implement requires maximized contact

Therefore, consistent sound quality can be achieved through maximizing soft contact at all
times. These ideas are simple to follow, but incredibly difficult to master. Keep in mind that
the notion of sound quality is vastly undefined, and open to may interpretations. Though an
abstract notion, there are many concrete ideas that will help any performer come closer to
achieving a higher personal standard of quality:

Relax! This is the first step to having an open sound. Multiple elements contribute to sound
quality. The sticks are the main one that most people ignore. If you’re too tight, the sticks
won’t resonate. You must always use the least amount of pressure on the sticks as possible.

Commit to a consistent set position. With a bad set position and/or bead placement, it is
nearly impossible to achieve your desired sound

Play with plenty of velocity. You should be moving the stick quickly from the top of each
stroke to the playing surface. Understand too that it is possible to distort the drum. The
velocity you use must be accompanied with a relaxed grip. If you’re forcing your volume, then
you may produce a harsh sound.
Cymbal Technique & Preparation
• Please wear athletic clothes, bring water, music in a binder, and be prepared to
march and play.

• For all technique and visual reference in your preparation, please head to
seavine.co/pages/education. These videos are taught and demonstrated by a
current Rhythm X Plateline technician and former member. If you can perform all
playing and visual techniques from this series you will be well prepared!

• You will be expected to prepare a visual/music audition to the song Stockholm

Syndrome by ERRA. You can find it on Spotify here: https://open.spotify.com/
track/1hGX130lOKHz44b0gJRQzi?si=5e405e133330444c and on YouTube at
https://www.youtube.com/watch?v=ctPGxAfevgA

• You will be writing a visual and musical phrase to the song that starts at
0:00 and go to 1:00. You may use as many counts as you need at the
beginning to get started. For example: stand still for 8 count, mark time
for 4, then start your solo.

• You are expected to mark time to the quarter note the entire time.

• Please prepare the following show segment below from our 2024 production.
You can find a video of Q to the end of part 2: https://www.youtube.com/watch?
v=_46FW7AwIn0 Letter Q starts at 3:40 and and goes to the end of the
movement with a crash in front of your body. The highlighted music is Cymbal
1/3, Ayden and Owen’s split. Here is an additional walk through video to help
you learn the segment: https://youtu.be/g4B-QDZvsIk

• If you have your own pair of 18” cymbals please bring them strapped up.
SABIAN is a plus but not necessary. We do not have enough pairs of cymbals for
everyone at auditions.

• If you have any questions about auditions please email chelsea@rhythmx.org.

Final Thoughts
Whether your goal is to be successful at an audition, or to simply become a better performer,
you are the one held accountable for your improvement. It is up to you to rehearse the details
given to you in this packet.

Allow yourself to be freed from descriptions, details, and definitions. At Rhythm X, our goal is
to produce the best product WGI has ever seen. This requires extreme professionalism,
flexibility, and a mutual understanding that our journey will undoubtedly bring surprises. We
hope to develop musicians who further themselves as performers, not to mandate the precise
ways they approach the instruments.

Stay relaxed and be yourself at all times. The way you play the instrument is only one facet of
your audition and improvement process. People skills and character are enormous motivating
and contributing factors as well.

Enjoy perfecting your skills, and never stop improving. Hold your standards high and you will
be rewarded for it.
 48

LEGATOS

1 6 on a Hand
/ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ œ Œ Ó
R R R R.... L L L L.... R

Dynamic Variations
Crescendo

/ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ œ Œ Ó
R R R R.... L L L L.... R
p f p f
Diminuendo

/ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ œ Œ Ó
R R R R.... L L L L.... R
f p f p
Down and Up

/ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ œ Œ Ó
R R R R.... L L L L.... R
f p f p f
Up and Down

/ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ œ Œ Ó
R R R R.... L L L L.... R
p f p f p

Two-Height Variations
And One
> > > > > > > > >
™
/ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™
™ œ Œ Ó
R R R R.... L L L L.... R

Triple Bucks
> > > > > > > > > > > > >
™
/ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™
™ œ Œ Ó
R R R R.... L L L L.... R

Downbeat/Upbeat
> > > > > > > > > > > > > > > > >
™
/ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™
™ œ Œ Ó
R R R R.... L L L L.... R

Tenor Variations
Down the Drums
œ œ œ œ œ œ œ œ 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 R R.... L L L 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 œ œ œ œ œ œ Ó
R R R R.... L L L L.... R

Around

/ ™™ œ œ œ œ H œ œ
œ œ œ œ œ œ œ œ œ œ ™ œ Œ Ó
œ œ œ H œ œ œ œ œ H œ œ œ H œ ™
R R R R.... L L L L.... R
 49
Tenor Variations cont.
And One
> > > > > > > > >
/ ™
™ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
œ
œ œ œ œ œ œ œ œ œ œ œ œ ™
™ œ Œ Ó
œ œ œ œ
R R R R.... L L L L.... R

Triple Bucks > >

> > > > > > > > > >
œ œ >
™
/ ™œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
H
œ œ H
œ œ œ œ œ ™
™ œ Œ
œ H H œ œ Ó
R R R R.... L L L L.... R

Downbeat/Upbeat
> > > > > > > > >
œ œ œ œ >œ œ >œ œ œ >œ œ >œ œ œ œ œ œ œ œ > > > > œ œ œ œ
/ ™™ œ œ œ œ œ œ œ œ œ œ ™™ Œ Ó
R R R R.... L L L L.... R

Bass Variations
Split (variations: 2s, 3s, double 2s, 4s)
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
/ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó
/ œ œ œ œ œ œ œ œ œ œ

Splitsville

œ œ œ œ œ œ œ œ œ œ œ 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 œ œ œ œ œ œ œ œ œ œ œ œ
6 6
œœœœœœœœ œœ œœœ œœœœœ
œ œ
œ œ œ œ œ œ
œœ œ œœœ œ œ œœ œœ œœ œœ
/ œœœœœœœœ œ œ
6
œœ œœ 6 6 6
œœœœœœœœ œœœœœœœœ œœœœœœœœ >.
œ œ œ œ œ œ œ œ œœ œœ œœœœ
/ œ œ
œ œ œ œ œ œœ œ œ œ œ Œ Ó

Isolated: 1 s
j j j j
/ ? Œ Ó ‰ ?Œ Ó Œ ? Ó Œ ‰ ?Ó Ó ?Œ Ó ‰ ?Œ Ó Œ ? Ó Œ ‰ ? ?Œ Ó
R R... R L
L L... L R

Isolated: 1 and 2
j j
/ ? ? ? Ó ‰ ? ? ? Ó Œ ? ? ? Œ Œ ‰ ? ? ? Œ
R L R L R L R L R L R L

j j
/ Ó ? ? ? Ó ‰ ? ? ? Ó Œ ? ? ? Œ Œ ‰ ? ? Œ Ó
R L R L R L R L R L R

Isolated: 1 2 and
j j j j
/ ? ? ? Ó ‰ ? ‰ ? ? Œ Œ ? ? ? Œ Œ ‰ ? ‰ ? ?
R R L L L R R R L L L R

j j j
/ Ó ? ? ? Ó ‰ ? ‰ ? ? Œ Œ ? ? ? Œ Œ ‰ ? ? Œ Ó
R R L L L R R R L L R
 50

MU LTIPLE STRO KE/ACC ENT-TAP CO MBO S

Huggadix
> - - > - - > - - > - - > - - > - - > - - > - - >
44 ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ œ Œ Ó
/
R R R L L L R

Huck-adix
> > > > > > > > >
/ 8 ™
12 ™ œ œ œ ™ œ œ œ ™ œ œ œ ™ œ œ œ ™ œ œ œ ™ œ œ œ ™ œ œ œ ™ œ œ œ ™ ™
™ œ™ Œ™ Ó™
R R R L L L R

Huck-diggadix
> > > > > > > > >
64 ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ œ Œ Ó Ó
/
R R R R L L L L R

Tenor Variations
Huggadix 1
> - - > - - > - - > - - > - - > - - > - - > - -
4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
/ 4
R R R L L 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 Ó
R R R L L L R

Huggadix 2
> - - > - - > - - > - - > - - > - - > - - > - -
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 R L L L

> - - > - - > - - > - - > - - > - - > - - >(last- time- play>on neighbor' s 4)
œ œ œ œ œ œ œ œ œ H œ œ œ œ œ œ œ œ œ œ Œ Ó
/ œ œ œ œ œ
R R R L L L R

Huggadix 3
> - - > - - > - - > - - > - - > - - > - - > - -
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 R L L L

> - - > - - > - - > - - > - - > - - > - - > - - >

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó
/ œ œ œ œ
R R R L L L R
 51

Tenor Variations cont.

> Huck-adix > > > > > > >
œ œ œ™ œ œ œ™ œ œ™ œ œ™ œ œ œ™ œ œ œ™ œ œ™ œ œ™
12
/ 8 œ H H œ
R R R L L L

> > > > > > > > >

/ H œ œ™ œ œ œ™ œ œ œ™
œ œ œ™ œ œ™ H œ œ™ œ œ œ™ œ œ œ™ œ™ Œ™ Ó™
œ
R R R L L L R

Huck-diggadix
> > > > > > > >
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
/
64 œ œ H H œ
œ œ œ
R R R R L L L L

> > > > > > > > >

œ œ œ Œ Ó
/ Hœœœ œ œœœ œ œœœ œœœ œ œœœ Hœœœ œ œœœ œœœ Ó
R R R R L L L L R

Bass Variations
Huggadix
> - - > - - > - - - > - - - > - - > - - > - - - >
44
/ ? ? ? ? ? ? ? ? ? ? ≈ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
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

- - - > - - - > - - > - - - > - - > - - > - - > - - - >

/ ??? ????≈ ???≈ ??? ? ??? ?????????? ? Œ Ó
L L L R R R R R R R L L L L L L L R R R L L L R R R R L

Huck-adix
> > > > > > > >
/ 8 ? ? ? ? ? ? ? ? ? ? ? ?™
™ ™ ™ ? ? ? ? ? ? ? ? ? ? ? ?™
™ ™ ™
12
R R R R R R R R R R R R L L L L L L L L L L L L

>> >> > >> >> > >

/ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ™ ? ™ Œ™
™ ™ Ó™
R R R L R R R L R R R R R L L L R L L L R L L L L L L L L R

Huck-diggadix
> > > > > > > >
64
/ ? ????? ? ????? ? ? ? ?? ? ????? ? ????? ? ? ? ??
R 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

> > > > > > > > >

/ ? ????? ? ?? ? ?? ? ??? ? ????? ? ?? ? ?? ? ??? ? Œ Ó
≈ ≈ Ó
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 R
 5

SPEED BU MPS

1 > > > > > > > > >

44 œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ Œ Ó
/
R... L... R... L... R

2 > > > > > > > > >

/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó
R... L... R... L... R

3 > > > >j > >j > >j >

34 ™™ œ œ œ ‰ œj 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

4 > > > > > > > > > > > > >
44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó
/
R... L... R... L... R

ACCENT/TAP DOU BLE BEAT

1
> > > > >
° 4 œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ >œ >
œ œœ≈œœ œ œ œœ œ œ œœ≈œœ œ œ œœ œ
S / 4 ≈ ≈
R... L... R... L...

> > > > > > > >

44 œ œ œ ≈ œ œ œœ œ œœ≈ œ œ
H H
œ œ œ œœ≈œœ œœ œ œœ≈ œ œ
H H
œ œ œ
T / H H œ œ H H œ
R... L... R... L...

> > > > >

j j j > œ œ œ
œ œ œ œ œ œ œ œ œ œœœ j j j - - >j j- >
44
/ ? ‰ ?‰ ? ‰ ? ? ‰ ?‰ ? ‰ ? ™
? ? ?
‰ ‰ ? ??
B œ
R R R L R R R L R R R R R L
f p f p p
> œ. > .
‰ J ≈ œJ ™
. . ^
4 œ. ™ ^
‰ œj ≈ œj™ œ. ™ ¿ Œ
C
¢/ 4 Ó ˙ ¿Œ Ó ˙
U 1 2 3 4 U 5 4 3 2

2
° > > > > > > > >
S / œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œ œ
R... L...

> > > > > >

>
œ œ œœ œ œ œ œœ œ œ œœ œ œ œ œ œ œ œœ œ œ œ œœ > œ œ œœ œ œ œ œ
T / œ œ œ œ
R... L...

> > > >>>>>------ > > >>>>>------

œœœ œœœ œ œœ œœ œœ >
œ œ œ œ œ œœœœœœœœœœœœ œ
B / ? ‰ œœœœ œ œ œ œ œ œ œ
œ œ ‰ œœœœ
œœ œ œ
R
f p f p f
^ ¿^ ^ ^ ¿^
C
¢/ Œ ‰ ¿^ Œ ‰ ¿¿ Œ ‰ ¿ Œ œ ¿ Œ
^
‰ ¿J Œ ‰ ¿¿ Œ ‰ ¿ Œ œ
J J J J J
3 2/4 1 /5 U U 3 2/4 1 /5 U
 5
3
> >j > >j > > > >j > >j > >
° œ œ œ œ œ œ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ™ œ œ œ ‰ œ œ œ œ œ œ œ œ
S / ‰ ‰
R... L...

> > > > > > >j > > > >
œ œ ‰ œj œ œ ™ œ œ œ ‰ >j œ œ œ œ œ œ œ œ ‰ œ œ œ ™ œ œ œ ‰ Hj œ œ œ œ œ œ
T / œ H œ œ œ
R... L...

> >j > >j >

œ œ œ ™ ‰ œ œ œ œ œ >j > >j > >j > >j
/ ?
œ œ ‰ œ œ œ ™ ‰
œ ? ? ? œ ? ?
‰ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ ‰
B œ Œ œ Œ œ Œ œ Œ
. . R R R . . R R

^ ^j > ^j
C
¢/ ¿ Œ Œ œ Ó ‰ ¿ Œ Ó Œ œ Ó ‰ ¿ Œ
U U U U U

4
> > > > > > > > > > > > >
° œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ Œ Ó
S /
R... L... R

> > > > > > > > > > > > >
œœ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œœ œ œ Œ Ó
T / œœ œ œ œœ œœ
R... L... R

> > >j œ œ > > j > > > > > > > > >. j
™ œœœ œœœœ œœ œœœ
œ œ ? ≈ ? ™ ? ? ‰ ??? ??? ‰ ?
œœœœ
B / ? ? ?
‰ œœ œœ œ
œœ œœ ∑
R R R R R R R R L R R L R R

-
¿^ ¿^ - - œ- -œ - - - œ - - - -œ -œ ¿¿^ ¿^ ¿¿^
>j >j >j ^j
C
¢/ ¿ ‰ ¿J ‰ œœ œœ
œ
œœ
œ ‰ ¿¿ Œ ‰ œ ‰ œ‰ œ‰ ¿ ∑
J
E 1 /3 5 4 3 2 5 4 3 2 5 4 3 2 1 E O E U U U U
 5

ROLLS
Be prepared for all heights, tempi, and variations

Short-Short-Long
° 12 œ œ œ œ œ œ œæ œæ œæ œæ œæ œæ œ œ œ œ œ œ œæ œæ œæ œæ œæ œæ œœœœœœœœœœœœ
Snare / 8

12 œœœœœœ œœœœœœ œ œ œ œ œ œ œœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ

Bass
¢ / 8 œ œ œ œ œ œ

° æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
S / œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœ œ œ œ œ œ œœœœœœœ œ œ œ œ œ

œœ œœœœœœœœœœœœœœœœœœ œ œ œ œ œ œ œœœœœœœœœœœœ œ œ œ œ œ œ œœœœœœœ œ œ

B
¢/ œ œ œ œ œ œ œ

° æ æ æ æ æ æ æ æ æ æ æ æ œ ™ Œ™ Ó™
S / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ
B
¢/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? ™ Œ™ Ó™

8 and 25 repeat 6x
æ æ æ æ æ æ æ æ æ æ æ æ
S / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ œ œ œ œ œ œ œ œ œ œ œ œ ™™ œ ™ Œ ™ Ó ™
 5

FLAMS
J. Brickey

° 12 œj >œ œ œ œj >œ œ œ œj >œ œ œ œj >œ œ œ œ

j
> - > - > - > - >-
œ œ œj œ œ œ œj œ œ œ œj œ œ œj œ œ œ
j
> > > >
œ œ œ œj œ œ œ œj œ œ œ œj œ œ œ
Snare / 8
R L R L R L R L R L R L R R L L R L L R L L R R L R L R L R L R L R L R

> > > > > - > - > - > - >- > > > >
œj œ œ œ œj œ œ œ œj œ œ œj œ œ œ œ œ œ œj œ œ œj H œ œj H Hj œ œ œj œ œ œ œ œ œ œ œ œ œ œ œ H œ œ
j j j
12 H H
j
Tenor / 8 œ œ
R L R L R L R L R L R L R R L L R L L R L L R R L R L R L R L R L R L R

> >
œ œ œ œæ œ œj œ œæ œ
play snare part as unison
> > > >j > > >j ‹ >j > æ æ >
12 œ œ œ œœ œ œ
Bass / 8 ? ? ? ?? ? ? œœœœœœœœœ ?? œœœœœœ
œœ
R R R R L L L R L

- œœ. œ. .j - œ. œ. . . ^j - œœ. œ. .j
™
¿ Œ™ ˙™
12 ^ ^
Cymbal
¢/ 8 ˙ œ œ‰ ¿ œ œ™
œ œ œœ‰ ¿ œ
U O E 3 4 5 1 2 3 4 5 U O E 3 4

° > - > - > - > - > - > > > > > - > - > - > - >
œ œ œ œ œj œ œ œj œ œ œj œ œ œ œj œ œ œ œ œ œ œj œ œ œ œj œ œ œ œj œ œ œ œ œ œ œ œ œj œ œ œj œ œ œ œj œ œ œj œ
j j j
S /
L L R L L R R L L R L L R L R L R L R L R L R L R R R L R R L L R L L R

> - > - > - > - > - > > > > > - > - > - > - >
j H
T /
œj œ œ œ œj
œ œ œ HH œ œ HH œ œ

j 
j œj œ œ œ œj œ œ œ œj œ œ œ œj œ œ œ œj œ
œ œ H H Hj œ œ H œ œ
œ œj 
j œ œj œ
L L R L L R R L L R L L R L R L R L R L R L R L R R R L R R L L R L L R

>. >>>>> > >>>>> > >>

> > > œ .j .j . > 2> > 2> œœ œœ œœ>>> >
œœ
B / œœœœ
œ Œ ? ? œœœœ ? ?? ? ? ? ? œœ
œ œ
œœ
œ œ
œœ
œ œ
R R R R R R R R R

œ. œ. . . œ. >œ. . >. >. >. ^ . . ^ . . ^ . . ^ . .

- œ œ
^ œ œ. œ œ. œ. œ œ. œ. œ œ. œ. œ œ œ œ œ
C
¢/ œ™ ¿ ¿ œ ¿ ¿ œ ¿ œ
5 1 2 3 1 1 2 3 1 2 3 1 2 3 1 2 3 5 4 3 5 4 3 5 4 3 5 4 3

- > - > - > - > - > - > - > - > - >

° œ™
S / œ œ œ œ œ
j
œ œ œ œ œ
j
œ œ œ
j
œ œ œ
j
œ œ œ œj œ œ œj œ œ œ œj œ œ œj œ œ œ
j
Œ™ Ó™
R R L R L L L R L L R R L L R L L R R L R R L L R

- > > - > - > - > - > - > - > -

- >
H™ Œ™ Ó™
œ œ œ œ œ œ œ œ œ œj œ œ œj œ œ œ œj œ œ œj œ œ
j j j j j
/ œ œ œ œ œ œ œ
T œ œ œ œ
R R L R L L L R L L R R L L R L L R R L R R L L R

>>>>>>>>>>>>>>>>>>>>>>>> >
œœ œœ œ œ œ œ œ œ ‹™ > > > > >j >
B / œ œ œœ œœ œ œ œ œ œ œ
œ œ ?™ ?? ?‰ ? ? ™ Œ™ Ó™
R R L L R R L L R R L L R R R L L L R

œ >œ > > œ. œ. . œ. œ. . ^j > >

œ œ œ œ. ™ œ™ Œ™ Ó™
C
¢/ œ œ œ ¿ œ
1 2 3 4 5 4 1 2 3 1 2 3 5 4 3 U
 5

SHU PS 2.0
J. Brickey

q . = 160-172
> > > > > > > > > >j > >j > >j > >j > >j > >j > >j > >j
° 12 œ œj œ œj œ œj œ œj œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Snare / 8 ‘ ‘ ‘
R... L... R...

> >j > >j > >j > >j > >j > >j > >j > >j > >j > >j > > > > > > > > >j > > >
Tenor
12
/ 8 œ œ œ œ œ œ œ
œ ‘ œ œ œ œ œ œ œ œ ‘ œ œ œ œ œ œ ‰ œ œj œ œ œj œ œ œ œ œ
R... L... R...

> >j > >j > >j > >j > >j > >j > >j > >j > >j > >j > >j > >j
12
Bass / 8 ???????? ‘ ???????? ‘ ????? ??? ‘
R... L... R...

- . - . - .
12 œ ™ œ™ Ó™ ∑ œ™ œ™ Ó™ ∑ œ™ œ™ Ó™
Cymbal
¢/ 8 ‘
U U U U U U

A
> > > > > >> >j > >j > >j > > > >
° œ œj œ œj œ œj œ œ œ œœ œœœœ œœœ œœœœœœœ œ œ œœœ
S / ‘
L... R R R R L R R L L R L R R L L R L R R L L R

>j > > > > >j > >> >j > >
>j > >j > >>> >j >
œj œ œœœœ œœœ >
>j > >
T / œœ œœ œ œ œ œ œ ‰ >œ œ> ‰ œ œ œ œœ œ œ œ
>j >
œœ œœ œ œ œœœ
L... R R R R L R R L L R L L L R L R R L L R

> >j > >j > > > > > > >> >> > > > j > > j œæ œæ œ>
œ œ œ> œ œ œ œ œ œ œ œ œ >j >
B / ? ?? ?? ? ? ? ? ? ??‰ ??‰ ?œ œ œ œ ?? ? œœ
L... R R R R L R L R L

(4) > œ. .
Ó™ ˙™ œ. œ. œ™
^
C
¢/ ‘ ‘ ¿™
U 1 2 3 4 5

> >j > >j >j > > >> > > >j > >j > > > > > > > >j > >j >
° œ œ œ œ œœ œœœ œœœœœœœ ‹ œ œ œ œ œœ œœ œ œœœ œœ œ œœ œœ œ œ ‹ œ œ
S /
L L L L L L L R L L R L R R L L R L R L R L L L L L L R L R L R R R R L R L R L R

>j > > >

>j > >j > >
>j > > ‹ >j > >j > > > > > > >j > >j >
œœ œ œ œ ‹œ œœ œ œ œœ œ œ œ œ œ œ œ œœ œœ œ œ œ ‹ œ œ
T / œœ œ œœ œœ œ œ
L L L L L R L L R L R R L R L R L L L L L L L L L L R L R L R R R R L R L R L R

> > j > > j > > j > > j > > > œ> œ> > > > > > > > > > > > > j > > j > j > > j > >
œ œæ œæ œ œæ œ
>
œœœœœœœœœœ œœœ
B / ? ?? ?? ?? ? ? ? ? œ ?? ??? ?? œœœœœœœœœ
L L L L L L L L R R R L L L L L L L

> œ. œ. œ. . ^ > > > >

Ó™ ˙™ œ™ ¿™ Œ™ œ™ Œ™ œ™ Œ™ œ™ Œ™ œ™
C
¢/
U 1 2 3 4 5 U U U U
 5
B
> >j > >j > j > >> > > > > >
° œ œ œ ‹ œ œ œ œ œ œ œ œ œ ‹ œ ‰ œ œ œ œ œ œ œ œ œ œ œ ‹ œ œ œ œ œ œ œ œ œæ œæ œ ‹ œ œ œ œ œ
S /
R L L R L R L L L L R R L R L R R L R L L R L R L L R L R R L L R L R L R L R L R R L L

>> > > >

>
‹ > > > > >
œ œ > ‹
>
æ œ >j > >j > >‹ œ œ œ
j j j
T / œœœ œœœ œ œ œ œ œ œ‹ œ‰ œœœ œ œ œ œ œ œ œ œ œ œ œœ œœ œ œ
R L L R L R L L L L R R L R L R R L R L R L R L R L R L R L R L R R R R R L R R L L

> > >>>>>>>>>>>> >>>>>>

‹ .j .j . > j > > j > j > > > œ œ œ >>>>>> œœœœœœœœœœ>>>>>> > > > œœœœœœ>>>>>>
B / ? ? ? ? ? ? ? ? ? ? ? ?‰ œ œ œœœœœœœœ œœœœœœ œ ? ? œœœœœœ
R R R R R R R R R L R L R R

. . . -œ ¿^ ^
Œ™ J Œ™ œ- ¿J^ Œ ™ Ó™
>
w™ Ó™ ¿™ Œ™
C
¢/ œ œœ
5 4 3 2 1 2 1 U U

>j > >j > >j > >j > > > > >j > > > > > >
° œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‹ œ œ
S /
R R R R L L L L R L R R R L R L L R L R L R L R L R L L R L R

>j > >j > > > > > > > > > >j > >j >j > >j >
j j >
œ œ œj œ œ œ œ œ œ >j > >j >
T / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
R R R R L L L L R L R R R R R R R L L L L L L L L

> > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>
œœj > > j > > j > > j > œ œ œ œ œ œ > > > > œœœœœœœœœœœœ œœœ œœœ
B / œœ ? ? ? ? ? ? ? œ œ œ œ œ œ œœœ œœœ
R R R R L L L L R R R R R R R R R R R R

^ . . . .
>
w™ Ó™ ¿™ œ œœ œ. œœ œ. œœ œ. ™
C
¢ / œ œ œ œ œJ œ œJ œ œJ œ™
U U 5 4 5 E O E O E O E

> >j > >j > > > > > >> > >j > >j > >j > >j >
° œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œæ œæ œæ œæ œæ œæ œ œ œ œ ‹ œ œ œ œ ™ Œ ™ Ó ™
S /
L L L L L R L R R L R L L R L R L R L R L R R R L R L L L R

> > > > > >> æ æ æ >

> >
œ œ œ œ œ œ œ œ œ œ œ œ œ œ æ
œ æ
œ æ > >j > >j ‹ >j > >j > ™ ™
T / œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ™ Œ Ó
R L R L R R L R L R R L R L L R L R L R L R L R R R L R L L L R

>>>>>>>>>>>>
> > > > > > > > > œ> > œ> œ œ œ œ œ œ œ œ œ œ > > > > > > > œ œ œ œ œ œ > >j > >j >j > >j > ™ ™ ™
B / œœœœœœœœ œ œ œ œ œ œ œœœ ‰ ?? œ œ œ œœœ œ ? ? ? ‹ ? ? ? ? Œ Ó
R R L L R R L L R R L L R R L L R R L L R R L L R L R R L R L L L R

^ œœ ¿^ œœ ^ œœ ¿^ ™ > > > > ^

∑ œ™ œ™ œ™ œ™ ¿ ™ Œ™ Ó™
C
¢ / ¿ œJ œJ ¿ œJ
4 O 2 O 4 O 2 U U U U U
Snare

SHUPS 2.0 J. Brickey

q . = 160-172
> >j > >j > >j > >j > >j > >j > >j > >j > >j > >j > >j > >j
12
/ 8 œœ œœ œœ œ
œ ‘ œ œœ œœ œœ œ ‘ œ œœ œœ œœ œ ‘
R... L... R...

A
7
> >j > >j > >j > >j > >j > >j > > > >
/ œ œ œ œ œ œ 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... R R R R L R R L L R L R R L L R L R R L L R

11
> >j > >j >j > > > > > > >j > >j > > > > > >
/ œ œ œ œ œ œ 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 L L L L L R L L R L R R L L R L R L R L L L L L L R L R L

14
> >j > >j > > >j > >j > j > > > >
/ œ œ œ 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 R R L R L R L R R L L R L R L L L L R R L R L R R L R L

B
> > > > >j > >j > >j > >j >
17
æ æ
/ œ œ œ œ œ œ ‹ 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 R L R L L R L R R L L R L R L R L R L R R L L R R R R L L L L

20
> > > >j > > > > > > > >j > >j > > >
/ œ œ œ œ œ œ œ œ 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 R L R L L R L R L R L R L R L L R L R L L L L L R L R R L

> > > > > >j > >j > >j > >j >
23
æ æ æ æ æ æ œ œ™ Œ™ Ó™
/ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ ‹ œ œ
R L L R L R L R L R L R R R L R L L L R
Tenor

SHUPS 2.0 J. Brickey

q . = 160-172
> >j > >j > >j > >j > >j > >j > >j > >j > >j > >j > > > >
12
/ 8 œ œœ œœ œœ œ ‘ œ œœ œœ œœ œ ‘ œ œ œ œ œ œ ‰ œ œj
R... L... R...

A >
> > > >
> > >j j > > > > > > j > > > > > > > > > > > >j > >j > œ
6
œ œœ j j œ œ œ œ œ ‰ > > ‰ œ œ œj œ œj œ œ œ œ œ œ œ
/ œ œ œ œœ œœ œœ œœ œ œœ
L... R R R R L R R L L R

> > > > >j > >j >

10
> >
> >j > œj œ œ œ œ œ œ >j > œj > > ‹
‹
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
L L L R L R R L L R L L L L L R L L R L R R L R L R L L L L

> >
13 >j > >j > > > > > > >j > >j > ‹ ‹ >j > >j >
/ œ œ œ œ 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 L L L L R L R L R R R R L R L R L R R L L R L R L L L L

B
> > > > > > > >œ >
16
œ œ œ œ ‹ æ >j > >j > ‹ œ œ œ œ œ
/ œ œj œ ‹ 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 L R L R L R L R L R L R R R R R L R R L L

19 >j > >j > > > > > > > > >j > >j > >j >j > >j > > > > >
œ œ œ œ œ œ œ œ œ j
/ œ œ œ œ œj œ œj œ œ œ œ œ
j
œ œ œ œ
R R R R L L L L R L R R R R R R R L L L L L L L L

>> >> >> >

>> > œ œ æ æ æ æ æ æ > > > > >> > >
‰ œ œ œ œ œ œ œ œ œ œj œ œj ‹ œj œ œj œ ™ Œ ™ Ó ™
22
œœœ œ
/ œœœœœœœœœ
R L R L R R L R L R R L R L L R L R L R L R L R R R L R L L L R
Bass

SHUPS 2.0 J. Brickey

q . = 160-172
> >j > >j > >j > >j > >j > >j > >j > >j
12
/ 8 ? ? ? ? ? ? ? ? ‘ ? ? ? ? ? ? ? ? ‘
R... L...

5
> >j > >j > >j > >j > >j > >j > > > > > > > > > >
/ ? ?? ?? ?? ? ‘ ? ?? ?? ? ? ? ? ? ??‰ ??‰
R... L...

A >
9 > œ > > j > > j œæ œæ œ> >j > > >j > >j > >j > >j
œœ œ œ œ œœœ
/ ?œ œ œ œ ? ? ? œ œ œ œ œ ? ?? ?? ?? ?
R R R R L R L R L L L L L L L L L

12
> > > œ> œ> > > > > > > > > > > > > j > > j > j > > j > œ> œæ œæ > æ
œœœœœœœœ œ œ œ œœœœœœ
/ ? ? ? œœ œ ? ? ? ? ? ? ? œœœœœœ
R R R L L L L L L L

> > B >>>>>>>>>>>>

15 ‹ .j .j . > j > > j > j > > > œ œ œ >>>>>> œœœœœœœœœœ>>>>>>
/ ? ? ? ? ? ? ? ? ? ???‰ œ œ œœœœœœ
œœ œœœœœœ
R R R R R R R R R L R L

>>>>>> > > > > > > > > >
18 > > > œ œ œ œ œ œ >œ œ> œ> > > > œœj > > j > > j > > j > œ œ œ œ œ > > > >
/ œ ? ? œœœ œ ? ?? ?? ??
œ œ œ œ œ
œ œ œ
R R R R R R L L L L

>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>>>
21 œœœœœœ œ œ œ œœ œœ >>>>>> œœœœœœœœœœœœœœœ
/ œ œ œ œ 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 R L L R R L L R R L L R R L L R R L L R R L L

>>>>> > > œœœ > >j > >j >j > >j >
œ œ œ œ ? ? ? ‹ ? ? ? ? ™ Œ™ Ó™
23
œ œ œ
/ œ œ œœœ ‰ ?? œ œ œ
R L R R L R L L L R
Cymbal

SHUPS 2.0 J. Brickey

q . = 160-172
- . - . - . (4)
/ 8 œ ™ œ ™ Ó™ œ ™ œ ™ Ó™ œ ™ œ ™ Ó™
12 ∑ ∑ ‘ ‘ ‘
U U U U U U

A
> œ. œ. . . ^ > œ. œ. . . ^
/ Ó™ ˙™ Ó™ ˙™
9
œ œ™ œ œ™
¿™ ¿™
U 1 2 3 4 5 U 1 2 3 4 5

> > > > . . . -œ ¿^ -œ ¿^ ™ ™

/ Œ™ œ ™ Œ™ œ ™ Œ™ œ ™ Œ™ œ ™ Œ™ œ œ œ J Œ™
13
J Œ Ó
U U U U 5 4 3 2 1 2 1

B
^ ^ . . . . œ . œ . œ .
¿ ™ œ œ œ œœ œœ œœ œœ œœ œœ œœ ™™
>™ >
Ó™ ¿ ™ Œ™ w™ Ó™
17

/ w
J J J
U U U U 5 4 5 E O E O E O E

^ œ ¿^ œ ^ œ ¿^ ™ > > > > ^

œ™ œ™ œ™ œ™ ¿ ™ Œ™ Ó™
22

/ ¿ œœ œ ¿ œ
œJ œJ ∑
J
4 O 2 O 4 O 2 U U U U U
 62
24

arr. Jackson r

 = 196 3
  3 3   3 3 3
move

                            
  
r l r l r l r l l r l r l R l r l r l r l r l r l r r L R l r l r l r l r

   
E move
         
6 3

                     

l r l r l r r r l l l l l l r r r r r l r l l r l

     3     

C
10

                                      

r l r l R R l R l r l R l R R L r l l R R L r l l R l r r l l r l r r l l

 3     3    3  3    5  3  3 9 
move E move
14 3

                               

R l R R L l r r r l l l r l r l l r l r r r l l l r r l r l r l l r r L

 5   3   3  3  3   3  3     3  3  
C
3

18 3
                              

R l l r r l R R l r L L r l R l r L r l r l R l r l r L r L l R r l r L R
 24

arr. ar r Jackson
All unison – Learn this version for auditions

q = 192
PICKUP
--- > >>--
ææ > œæ œæ œæ œ œ œ œ œ œ œ j- j- j- j- j- œ œ œ H œ œ œ œ œ H H œ œ
3 UNISON3

4 œ œ œæ >œ > œ œœ œœ œœ œœ œœ œ œ œ

/4 œ œ œ
L R L R L R L R L R L R L R L R L R L R L R L R R L L R L R L R R L L R R L L
p mf mp

> >^ 3 ^ - -3 - - - -6- - - - - - -6 - - -

æ
æœæœæœæœ ‹ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 737 7
> > > j
œ œ Hæ œ œ œ œ H œ œ > > > > œ œ œ œ œ œ ‹
> > > > 3

/ H œ œœœ œ œ H œ œœœ
R R L R R L L R R L L R L R L R L R L R L R L R R L R L R L R L L RR L L RR L L RR L L R R L L L R L
f
^ - -
> 3 æ æ æ > 3 j>œ æ œ æ œ > œæ œæ ^ ^‹ - 3- - -
3 3 3 3
^ æ æ
œ œ œ œ œ œ ‹ œ œ œ œ
/ ‹ œ œ œ œ œ œ œ ‹ œ œ Hœ œ œ
R R L R L R L R R L R L R L R L R L R L R R L R R L L R L R L
mf

> - - > - - - - - - - - - - - - ^‹ ^ LH THROUGH

> æ
Hœ HHœ œ Hœ HHœ œ œ œ œ œ œ Hœ œ œ œ ‹
^
/ H ‹ Œ Ó
R R L R R L L R L R R L L R L L R R L R R L L R L R
f ff

With split parts – As performed at WGI finals

PICKUP
--- UNISON 3 >
æ æ
3
æœæœœ
æ >> - - - - - - -
æ œ œ œ œ œ œ œœjœœjœœjœœjœœjœ œ œ œ œ Hœœ œ œ œ œ œ HHœ œ œ œ Hæœ œ œ œ H œ œ >>>
œ > > > œ >
4 œœœ
/4 œ œœ H œ œœœ
L R L R L R L R L R L R L R L R L R L R L R L R R L L R L R L R R L L R R L L R R L R R L L R R L L R L R L
p mf mp
SPLIT PARTS
^ ^ > 3 æ 3æ æ ^
> >>> > > > >œ ‹ > >3 > > >3 > > >3 > 3 3
> 3 æ œæ œæ ‹ œ œ œ œ œ œ œ œ œ œ œ > > > > > > ^
3 UNISON
^ œ œæ œæ œ œ œ ‹
œœœ æ æ 3
/ œ œœœ Hœ œ œ œ œ œ 7 7 7
œœœ‹ œ œ œ ‹
R L R L R L R L R R L R L R L R L L R L R R L R R L R R L R L R L R L R L R R L R L R L R
f 1 2 3 4 5

> 3 j>œ æœ æœ > œæœæ^ ^‹ -œ -œ -3--- - - - - - -- - - - ^‹ ^ LH THROUGH

3 3 3
> - - -
œœ œœ Hœœœ > Hœ Hœœ œ H œœ œæ œ œ œ œ Hœ œ œ œ ‹ ^ Œ Ó
> -
œœ œ œ œ
/ œœ ‹ H H H H ‹
R L R L R L R L R L R L R R L R R L L R LRL R R L R R L L R L R R L L R L L R R L R R L L R L R
mf f ff
 64
24

arr. Markworth/Jackson

q = 192 6 >>>>> > >>>>

4 . . .j . > > - - 6
œ œ œ œœœœœ œ œœœœ 6

/ 4 œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œœœœœœ œ œ œ œœœœœœ
mp f p f

. . . . 9. . . . . > >œ œæ œæ œæ œ3æ œæ . . . . >œ œæ œæ œæ œ3æ œæ . . . . . . . .

3 3
> 3
/ œ œ œ œœœœœœœœœ œ œœ
œœ œœœœœœœœ
mp f

. . . . ---->>>>
> . . . . . . . . œ œ œœ
9
>
œ œ œ œ œ œœ œœœœœ œœœ > œœ œœ
œ œ œœ
/ œ œ œ œ œ œ œ œ œ œ œ œ ? œ
mp f

9 ^9 9
œœ œœ œœ œœ ‹ >> >
/ œœœ œœœœ œœœœ œ œœœ œœœœ ? ? ? Œ Ó ∑
 X24 C Y MBAL EXC ERPT

arr. Markworth/Jackson
q = 220
Q 3 - - - >. > >.j
- j
4
/4 H Ó h ¿ Œ h ¿ Œ h ¿ Œ œ ‰ Œ œ œ ‰ Œ
SIZ SIZ SUC SIZ SUC SIZ SUC CC C CC
1
f p

>.R >. - >

j j
/ œ ‰ Œ Œ œ ‰ ∑ Ó H ∑ œ Œ Ó
CC CC SIZ C
9 f
3
^. ^. 3
^ ^ >
/ ∑ 1 1 Œ Œ ¿ ¿ ∑ œ Œ Ó
CRUNCH CRUNCH SUC SUC C
14 fff
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