2024 Battery Technique and Warm-up Packet

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 Information from this packet is largely inspired by the Kutztown University Battery Technique
Packet and can be found here: https://www.kumubears.com/drumline

WARM-UPS
This warm-up packet contains fundamental exercises for the marching percussion section.
Covering basic single-height strokes (Legatos)
Two-height control (Accent Tap)
Double and triple beats (Multi-beat)
Paradiddles and Tripletrolls.

These exercises were specifically designed to provide you with a solid foundation for building individual and
ensemble technique. Your mental commitment to excel will determine how fast and how far you will progress. This
commitment is your ability to focus on specific guidelines, evaluate your level of achievement, and make
adjustments when necessary. Be willing, be patient, and trust the experience of your instructors.

POSTURE
Maintaining a good posture while rehearsing is not only important to the visual look of the
ensemble, but it is also an important factor in avoiding injury. Any misalignment of the spine when carrying a piece
of heavy equipment may result in muscle strain or injury.

Proper posture can be maintained by:

Standing straight, poised and confident with the feet correctly positioned
Shifting your weight forward so 60% of your weight is on the balls of your feet
This promotes a more confident and aggressive stance while allowing your body to be more
responsive to sudden movements or changes in direction
Remaining relaxed and avoiding tension in the arms, shoulders, and back
This will allow you to play better and more comfortably for longer periods of time
Holding your head up with both eyes focused straight ahead at all times with our heads tilted slightly up
Projecting a facial expression of confidence
Remaining completely still while standing at attention

Ball of your foot

 GRIP
Without the proper grip, achieving a high performance level with good sound quality is
impossible. Take the time to understand the checkpoints for a proper grip and how to produce a
fluid, relaxed stroke at all heights.

The hands are relaxed at all times and all fingers remain in contact with the stick at all
times
The sticks act as a natural extension of the forearm, yet not parallel to the forearm
The sticks are held with a downward angle to the playing surface
The sticks travel in a straight line path away from the drumhead
The beads strike the correct playing zone of the drum head

STROKE DEFINITIONS
There are four different types of universal strokes. There are slightly different names to
call all these strokes but the main four names are, Full Stroke, Down Stroke, Tap, and
Upstroke.
Full Stroke:
This stroke can also be referred to as a legato stroke and involves the bead of the stick
rebounding from the set height into the drumhead, then returning back to the same height.
Start “Up” and end “Up” Note, these strokes should be fluid and maximize the efficiency of
rebound.
Down Stroke:
This stroke involves “dead weight" in the hands to help the stick rebound back to a tacit
position or slightly above the drumhead. Start “Up” end “Down.” Note, this stroke tends to
make players tense up and force the stick down, this is a full/legato stroke, with the addition of
stopping the rebound at tacit.
Tap:
This stroke is a scaled down version of the full stroke. It involves rebound and controlled
placement of each stroke at a lower dynamic/height. Start “Down” end “Down.” This is
fundamentally the same as a legato stroke, the only difference being the height at which you
play them. Note, even though the “tap” stroke is fundamentally the same as a legato stroke, the
word “tap” is used to emphasize the idea that these notes are played directly after and in
between accents making them also as a key definition in “Tap Height.”
Upstroke:
This stroke is the most overlooked stroke out of these four. It involves more energy out of
the drumhead then what you put in. This is key in achieving great tap and accent
separation. Start “Down” end “Up.” Note, This is still a rebounded stroke, however this is
the only stroke where you have to put more energy into getting the stick up then the other
strokes, thus making it, arguably, the hardest stroke to master. These strokes are always the
note directly before accents.

Every note played in any excerpt, show, exercise, etc. will be one of these four. Knowing
how to play, identify, and know the difference between all these strokes is a key in fluidity
in rudimental drumming.
 USING THE HEIGHT SYSTEM FOR DYNAMICS

Because the visual consistency from player to player is a vital part of the marching activity, it is
essential to define a system of heights when applying dynamics to exercises or show music.
This allows each player to match volume and stick heights on any given musical passage. The
graph below shows a visual representation of the stick height system.

ff
f
15”
12” D
yn
am
ic
Ra
ng
e

mf
9”

mp
6”

p
3”

Tacit Positio
1” pp
n
 EQUIPMENT CARE & MAINTAINENCE

Handle all equipment with care. All ensemble members are responsible for keeping their
equipment in working condition through proper care and storage. If used in the rain, wipe down
each drum with a soft cloth to prevent water damage to the shell and bearing edge. Make sure
to dry EVERYTHING off (shell, heads, frames, hardware, etc) to avoid rust and other damage.
In very cold temperatures, be careful not to overplay cymbals as they are more susceptible to
cracks.

FUNDAMENTAL CONCEPTS BEHIND EFFECTIVE DRUMLINE REHEARSALS

1. Always work with a metronome. Much of percussion performance is related to muscle

memory. Working with a metronome will develop consistency for each technique covered in
these exercises. Always mark time when appropriate.

2. Always start slowly and strive for consistent stick heights, tempo control, rhythmic accuracy,
and quality of sound. When you feel comfortable, gradually begin to increase tempo. As the
tempo increases, be sure to remain relaxed.

3. Memorization is key. The sooner you can get your head out of the music, the sooner you can
direct your focus to playing with the ensemble. Anything needed to perform the show and
technique program is required memorization material. This includes anything from rhythms,
stickings, and stick heights to rehearsal markings, visuals/vocals, and drill information.

4. Repetition is necessary. In order to develop the proper muscle memory necessary for a high
performance level, each exercise should be practiced (correctly) a minimum of a dozen times at
a given tempo.

5. Tenors should always play each exercise on one drum before applying the written exercise to
all the drums. Bass drummers should also play the full exercise on their drum before splitting
parts. This will help develop solid fundamental skills for each individual player.

6. It is helpful to rehearse the technique program at a variety of tempi and dynamic levels. Each
variable affects how the muscles respond, and therefore must be a part of the regular rehearsal
routine.

7. Practice these exercises “on the move”. Tracking is a vital means of layering the multiple
responsibilities of playing and moving at the same time.

8. Practice the way you perform. You may be tempted to practice with poor posture, approach,
and/or technique. This can often do more harm than good as it may train the wrong muscles
thus leading to poor tempo/rhythm control and quality of sound. Try using a tall stand for your
pad so you can stand up straight with good approach and posture as you practice.
 How to Practice
In this last section we will define how to practice at home to maximize your potential as a
marching percussionist. Strive for excellence while practicing. You will need to dedicate
considerable time to it outside of rehearsal in order to experience great things as a perfomer.
Following these practice guidelines at home will greatly improve your ability.

There are many key elements to practicing efficiently. Some of those key elements are as
follows:
Practicing with a set attainable goal and plan
Practicing with a metronome
Marking time
Practicing in front of a mirror
Practicing consistently
Constant evaluation and recognition of areas to improve
Practicing that which is not excellent
Start small and break down the check of each bar
Start slow when learning music
Break it down bar by bar, beat by beat
Know and practice the check of each bar

Practicing with an attainable goal is crucial to your development as a percussionist. Setting

attainable goals allow us to develop a plan of action and execute. Our goals must be attainable,
meaning realistic and achievable for your practice session. Goals can be long and short term
but be mindful of frustration. Those who practice without attainable goals and plans become
frustrated and end up leaving a practice session unfulfilled and with little improvement.

Here’s an example of an attainable goal:

James is looking to try out on snare and realized that part of the audition was to play triplet rolls
at 165 bpm. He knows he can play with good technique at 140 bpm so he sets the following
attainable goal and plan this week to get to 165 bpm with that same good technique and quality.

GOAL: Triplet rolls at 165 bpm

Monday (7/8): 30 minutes of rolls at 125 bpm. Focusing on quality rolls, not over squeezing and
triplet check at 3” and 6” stick heights. 30 minutes pushing tempo 5 clicks every 15 minutes
Tuesday (7/9): 1 hour starting at 135 bpm pushing 3-5 clicks every 15 minutes
Wednesday (7/10): 1 hours starting at 142 pushing 3-5 clicks every 15 minutes
Thursday (7/11): 1 hour starting at 149 pushing 3-5 clicks every 15 minutes
Friday (7/12): 1 hour starting at 156 pushing 3-5 clicks every 15 minutes
Saturday (7/13): 1 hour starting at 160 pushing 3-5 clicks every 15 minutes ending just beyond
172 bpm.

By pushing past the original goal tempo, he can play at 165 bpm with even more control!
 Practicing with a Metronome
Tempo control is crucial as a percussionist and is probably the single most important trait you,
as a individual performer, can bring to the ensemble. We must ALWAYS use a metronome to
truly develop consistency in our playing. Otherwise, our attainable goals are no longer
attainable. As a member of the marching percussion ensemble, you are the pulse of the band.
Tempo control is everything.

Marking Time
Marking time while practicing will directly translate to your simultaneous marching and playing
ability. If the feet are not in time, the hands will not be in time. While marking time, your feet will
be parallel, and your shoes/feet should just barely touch each other. Lift the entire foot off the
ground and be firm with each step.

Hands with the feet, feet with the beat!!!

Practicing in Front of a Mirror

Practicing with correct height control is also crucial to your development in consistency and
accuracy. Practicing in front of a mirror allows the performer to observe any height
discrepancies or other undesirable characteristics of our playing.
When practicing in front of a mirror, continually ask yourself questions such as:

• Are my heights correct?

• Are stick paths (R and L) straight up and down?
• Are there any extra motions? (shoulder ticks, elbow motion, etc.)
• Is my body symmetrical? (right and left shoulders parallel and even)
• Do I look relaxed and do I make it “look easy”?
 Rehearsal Notes (Partially pulled from KUDL Packet)

Legatos

This exercise is designed to work on full rebound strokes, making it a perfect way to begin each practice
session. Here are a few things to look for during your daily practice:

Work for a full, relaxed stroke

Start at a slow tempo working with a metronome (70-90bpm), then move to medium (120-140bpm)
and fast tempi (170+bpm) for 2-3 minutes per tempo. Try playing the entire exercise on one hand, then
switching hands on the next rep. Keeping your hands moving for an extended period of time will help
build endurance.
There should be no "stopping points" in the path of the stick as it travels up and down. The motion of the
stick should be smooth on each stroke.
- Stick heights should match player to player. Since this is a one-height exercise, every note should
look and sound identical.
Keep the tacit hand (the hand that's not playing) in the proper playing position at all times.
Tenors: Practice first on one drum (drum 2) then play the exercise as written around the drums. Work to
minimize the motion of the forearms by relaxing the wrists. Watch for proper playing zones on each drum.
Bass drums: learn the other variations- 1) Play entire exercise as 8th note unisons (See Snare Part), 2)
Replace each non-unison 8th note with 16th notes (RL), 3) Replace each non-unison 8th note with 16th
note triplet/"3-runs" (RLR), and 4) Replace each non-unison 8th note with 32nd note/"4-runs" (RLRL). All
unison and non-8th note remain the same in each variation.
Cymbals: 1st time: AV, 2nd time: Crash, 3rd time: Crash Choke, 4th time: Flat Crash. Flip cymbals down
on beat one of the last note on the last rep.

Accent Check Pattern Tap

This exercise is designed to work on two height stick control. Here are a few things to look for during your
daily practice:

Utilize the first two measures to establish tempo and tap sound. This tap sound should never change
once accents are added.
Play the taps at 3" with a wrist directed stroke into the drum. Strive to relax the hand, wrist, and
fingers on each unaccented note. The taps, while at a lower height than accents, should still be
played with a full sound (play "into the drum" at a 3" height).
Each accent stroke should be played at a full 12" height. While the velocity - or stroke speed - will
increase, there should be no extra tension in the hand, wrist or forearm. Avoid trying to "hit the drum
harder" on accented strokes. Allow the stick height and dead weight of your hand/arm to create more
sound.
After an accent stroke, control or "freeze" the stick in playing position immediately after it rebounds
by applying slight pressure with the fingers into the palm. Only use as much extra grip as necessary to
stop the stick from rebounding back up.
The tacit hand (hand that is not playing) should always remain in proper playing position.
 Multi-Beat

This exercise is designed to work on double, triple, and multi beat patterns. Here are a few things to
look for during your daily practice:

Begin practicing with a metronome as slow speeds (75-80 bpm). Stroke out each double and
triple stroke. Play the check of each part to know the initial attack of each hand. Remain relaxed
as you increase tempo 2-3 clicks every few reps.
A double stroke refers to the bead of the stick making contact with the drum twice with only 1
rebound stroke. A triple stroke has 2 rebound strokes. These are still considered full strokes and
the same quality of sound should be strived for in each stroke
At slower tempos, strive to turn the wrist and allow the weight of your hand a stick to produce a
controlled rebound.
At quicker tempos, the back fingers play a slightly large role in throwing the stick back into the
head. Remember to have wrist turn still always as the primary motion when drumming. The wrist
will activate first before the natural involvement of the arms and fingers.
Keep all fingers on the stick without over squeezing
Don’t ‘overwork’ the stick. Allow it rebound to the desired height
Remember, consistent quality in playing and in sound only comes with consistent
practicing
Snares, tenors, flubs: This exercise will take some time practicing before chops are built to play
double and triple strokes with consistent quality. Be picky about the quality of sound in this
exercise. Allow double stops to be played with the same consistency of one hand playing and do
not over squeeze! Remember to play the check of each bar as it is the best way to get an
understanding of the responsibility of each measure
Basses: Allow for full rebound strokes for double patterns on one hand. Push to have two full
strokes with the same quality of sound. Don’t overplay unisons! Relax on the 32nd note runs and
find the 16th and 8th note check.

Paradiddles

This exercise is designed to work on paradiddles, paradiddle-diddles, 16th note timing, and 16th note
accent/tap. Here are a few things to look for during your daily practice:

Begin by practicing at slow speeds with a metronome (around 90 bpm). Stroke out each diddle.
As tempo increases, begin to utilize more rebound from the drumhead. Upper target tempo
should be around 135-140.
Utilize the first 4 bars to lock into the check of a paradiddle. Focus of the check linining up
directly underneath each paradiddle you play. The reason we practice the check of any
rudiment is to understand the responsibility of each hand at a micro level. Think of the check
as the building block to practicing. There is always an underlying rhythm within a rudiment.
For paradiddles, it is frequently an 8th or 16th note check (as seen in the first 4 bars).
Mastering the different checks of a rudiment directly translates into a better understanding
of the rudiment itself
 Here are technical guidelines for playing paradiddles at various tempos:

Slow: Stop the stick after the accent by applying pressure on the back of the stick against the palm. Use mainly
wrist strokes for all notes.
Medium: Restrict the accent’s rebound with the fingers, but allow some of the stick’s energy to propel the
unaccented notes. Use a combination of wrist and fingers for the inner beats.
Fast: Play accents using a slight "whip stroke” while still maintain a wrist first approach. Be careful not to
restrict the rebound after accents. Play unaccented inner beats with the fingers.

The biggest challenge with executing paradiddles is having to play a downstroke followed by an
unaccented diddle at a lower stick height. Playing on top of the sticks and "down into" the drum will
slightly reduce the accent’s rebound, which offers more leverage to stop the stick.
(Remember that downstrokes point down!)
Having no gap between the thumb and first finger, will make it much easier to squelch the stick’s
rebound. Other than the downstroke accent, every other note in a paradiddle should be played with a
loose grip where the sticks resonate freely and feel heavy in the hands.

Triplet Rolls

This exercise works on triplets, triplet rolls, fresh rolls, tap rolls, and chop building/warm down. Here
are a few things to look for during your daily rehearsal:

Start at a slow tempo, working with a metronome (90-110 bpm) then move to a medium tempo
(120-130 bpm) for 2-3 COMPLETE REPS per tempo. Once confidence is established, move on to
target tempo (150-160) using the same structure. Keeping your hands moving for an extended
period of time will help build endurance.
Utilize the first measure to establish tempo/hand speed and quality of sound on both the right
and left hands.
Top to A greatly establishes triplets and triplet rolls at a bare bones approach. The quality of
sound for each note in this section should be identical. A large amount of time should be spent
on just this section to address consistency with triplets and triplet roll approach
Try replacing the diddles in this exercise with buzzes. Find the correct pressure for the buzzes
before moving on to open diddles. The amount of pressure varies between buzz and open
diddles.
Snares, tenors, flubs: Keep hand speed the same when adding diddles on top of a triplet check.
While pressure may change, the pulse of the hands does not since the tempo and rudiment
remains the same throughout the exercise.
Do not over squeeze the fulcrum when adding diddles. You will notice you are over squeezing if
you feel the need to shake out your hands after just 1 or 2 reps. Try applying even pressure
through all fingers without choking the sound of the stick

Thank you for reading all the way to the end! Whether you are just joining, or are
a returning member of the QP family, we can not wait to get this season started
with you all!
-Your Percussion Staff