Track & Burn by Tapspace

Track & Burn

Streetbeats & Stadium Grooves You Can Chew On by Matthew Lemieux

Track & Burn by Matthew Lemieux ÂŠ 2012 Tapspace Publications, LLC (ASCAP). Portland, OR. All rights reserved. International copyright secured. Printed in USA. www.tapspace.com Notice of Liability: Any duplication, adaptation, or arrangement of this composition requires the written consent of the copyright owner. No part of this composition may be photocopied or reproduced in any way without permission. Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law. TSPB-21

TRACK & BURN • TSPB-21 © 2012 Tapspace Publications, LLC. Portland, OR. International copyright secured. All rights reserved. www.tapspace.com Any duplication, adaptation, transcription, or arrangement of the compositions contained in this collection requires written consent of the publisher. No part of this book may be photocopied, scanned, shared, or reproduced in any way mechanically or electronically without written permission. Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law.

Music and text by Matthew Lemieux. Cover design by Jesse Mattson (www.jessemattson.com). Book layout and design by Jim Casella and Murray Gusseck. Audio Mixing by Jim Casella.

All recordings were made using Virtual Drumline™. For more information, visit www.tapspace.com.

Note: Errata and additions to this text, if any, may be found by visiting the “Errata” forum board on the Tapspace Forum at www.tapspace.com/forums.

Table of Contents About the Author............................................................................................................3 Notation...........................................................................................................................4

STREETBEATS BT Platinum..................................................................................................................10 CTP.................................................................................................................................14 The Hitcher...................................................................................................................22 Thunder and Lightning................................................................................................28 HB Swagger.................................................................................................................34 Mi Scusi Bridge...........................................................................................................40 Dream Team Funk........................................................................................................46 Pusher............................................................................................................................52

STADIUM GROOVES Flash...............................................................................................................................59 Throwback....................................................................................................................61 Wham!...........................................................................................................................63 Flim Flam.......................................................................................................................65 Yâ&#x20AC;&#x2122;all Are Heavy............................................................................................................67 The Chiller....................................................................................................................69

About the Author Matthew Lemieux became acquainted with the marching arts while playing baritone in the marching band at Cary High School in his hometown of Cary, NC. Midway through high school, he decided to try something new and joined the drumline, then under the instruction of Will Goodyear. As a college student he marched with the NC State Power Sound of the South marching band for four years, serving as drumline captain for two years. During this time he worked closely with instructor John Antonelli to develop and refine the lineâ&#x20AC;&#x2122;s exercise program and performance repertoire. Outside of school, he assisted John as a battery instructor for the Athens Drive High School marching band and indoor drumlines from 2009â&#x20AC;&#x201C;2011. He was also a performer with the worldclass WGI ensemble Constitution in 2008. Matthew received his Bachelor of Science in Chemical Engineering from North Carolina State University in 2011. He currently resides in Salt Lake City, UT, and works as a graduate research assistant at the University of Utah, where he is pursuing a Ph.D. in Chemical Engineering.

Track & Burn

Pg. 3

Notation Legend The following notation legend is included as a guide to assist in reading this music. Additionally, reminders of the meanings of most notations are included in parentheses wherever they first appear on a part, so performers can still understand the music independent of this notation legend. Note: Some snare notations will also be encountered in other parts.

> œ

Accent

Tenuto

+ Å

Snare

Stick Click

Tenor

Bass

Cymbals

÷ ÷ ÷

Stick Click Behind L.H.

Agogô Bell Spock Drum (or mounting bar)

œCrash

≤ œ

One Level Higher

≤ Å

œ. Crash Choke

Rim Shot

Mute

Sizz / Suck

m œ

Ping Shot

Crush

œ.

m œ.

Muted Tap Crossover

Buzz Roll

Rim Click

Sizzle

Hi–Hat Chick

Ting

Crunch

Pg. 4

Rim Click

œz

Unison

Muted Rim Shot

Staccato Crush

œ h

Rim Shot

Stick Shot

Rim Knock (Cross Stick)

œ œ œ 2

Backstick

Stick Slap

mœ

œz

Crush

Buzz Roll

Different Groupings

Track & Burn

Snare Playing Zones This music makes use of different playing zones in the snare line to add more possibilities for volume and sound quality. Bead placements in the various cadences are defined in terms of these three commonly used playing zones: Edge: Both beads very close to the edge for a light sound with very little snare response. It will be crucial for every player to be the same distance from the edge, as being even one inch closer to the center will increase volume and snare response considerably.

Halfway: Both beads approximately halfway between edge and center (allow instructor to define) for a quieter sound with less snare response than playing directly in the center.

Guts: Both beads same distance from the edge as with “edge” zone, but placed over the snare guts for slightly more snare response than the “edge” position. To accomplish this, the left bead must be partially in front of the right bead.

Stick Heights This music was composed with the following stick height system in mind. Also shown is how each height roughly corresponds to a dynamic marking. Every line will have its own way of defining dynamics, and this guide should simply serve to assist in adapting each piece to your line’s style. Note that the names of the heights are merely a matter of convention and actually have little to do with their definitions. Clearly the vertical height can’t really be 12 inches when a snare drum stick is 17 inches long. Notating heights instead of dynamics allows the composer to more precisely define the rudimental demands of the music, especially when differing combinations of accent and tap heights are appropriate. However, beyond the learning stage of each piece, attention to dynamics will depend on the performers’ ears and musical sense. The height system should be a tool—not a cage. 0.5”

÷ 42 œ œ œ œ œ π

Tacet height. Bead is just above the playing surface.

Track & Burn

3”

œ œ œ œ œ p

Stick is parallel to the playing surface (depends on proper set position).

6”

9”

œ œ œ œ œ P

Stick bead is about the length of a dollar bill from the playing surface. Pg. 5

œ œ œ œ œ F

Stick bead is about halfway between 6” and 12” heights.

12”

œ œ œ œ œ f

Full wrist turn. Stick is perpendicular to the playing surface.

15”

œ œ œ œ œ ƒ

Same wrist turn as 9” height, plus arm lift to make the stick perpendicular to the playing surface.

from perpendicular to perpendicular to the the theplaying playingsurface. surface. playing playingsurface. surface.

Notation of Heights Stick heights are expressed as inch values within rectangular boxes and will function like dynamic markings. In most cases what is meant by these markings will be immediately apparent; however, in order to curb ambiguity, the following guidelines should be kept in mind when interpreting stick height notations: 6"

•

6"6"

9"– 6"

≤

One ≤height (“block height”): All notes (except for “V“ accents and bass drum rim clicks) are played at the indicated height. ≤

• 9"– 9"–6"6" Two or three heights (“accent-tap” or “accent-tenuto-tap”): Accents and rim shots are played at the first height indicated, 9"– 3" notes with tenuto markings at the middle height (if one exists), and taps at the last height. 12"– 12"– 12"–9"– 9"–3"3"

• ‘>’ Accent: Accented notes should be played at the first height indicated (accent height).

> accents (Accent): Accented notes should be played at the first height indicated (accent height). • ‘–’ Tenuto: TenutoAccented markings will usually indicate a noteat should be played oneindicated level higher than tapheight). height. If three heights are > accents (Accent): notes should bethat played the first (accent accents(Tenuto): (Accent): notes should at theindicated. firstheight height indicated height). – >accents A Accented tenuto usually indicate that aheight note should be played one (accent level higher than tap defined, then thewill tenuto is played at be the played middle ––accents (Tenuto): AAare tenuto will indicate aanote be level height. If three heights defined, then the tenuto that is played atshould the middle heightone indicated. accents (Tenuto): tenuto willusually usually indicate that note should beplayed played one levelhigher higherthan thantap tap However, a tenuto marking placed on the second or third note on the same hand is not a strict height definition, as in the case height. If three heights are defined, then the tenuto is played at the middle height indicated. height. Ifathree heights defined, thenor the tenuto is on played at thehand middle indicated. However, tenuto placedare onswiss-army the second note the same is height not a strict height definition of flam-taps or triplets.third In these cases, it indicates notes that should flow comfortably from the first attack in the However, aatenuto placed on the second or note on same hand is strict height definition (for example, in flam-taps or swiss army triplets), and indicates asame note that should comfortably from However, tenuto placed on the second orthird third note ona the thetap hand isnot notaaflow strict heightheight. definition multi-stroke series, rather than being controlled to low height or re-attacked at the accent (for example, or army triplets), and indicates aanote should flow from the first attackininflam-taps the multi-stroke series, than being controlled tothat a low tap height or re-attacked (for example, flam-taps orswiss swiss armyrather triplets), and indicates note that should flowcomfortably comfortably from the first attack in the multi-stroke series, rather than being controlled to a low tap height or re-attacked atthe the accent height. • first ‘V’ Accents (one level higher): These notes rather should be played one controlled level higher than toptap height indicated. attack in the multi-stroke series, than being to athe low height or re-attacked at the accent height. the accent Vat accents (Oneheight. Level Higher): should beshould played one level the and top noheight • Rim shots: All rim shots (unlessThese markednotes with a “V” accent) be played at the higher top heightthan indicated higher. VVaccents indicated. accents (One (One Level Level Higher): Higher): These These notes notes should should be be played played one one level level higher higher than than the the top top height height indicated. • Rim clicks: All rim clicks in themarked bass linewith should at a comfortable heightat(about 3”) no matterindicated, what heights are indicated in indicated. Rim Shots: All rimshots (unless a be "V"played accent) should be tap played the top height the music. Rim clicks for other sections will follow the accent) height definitions for regular notes. Rim Shots: All and higher. Rimno Shots: Allrimshots rimshots(unless (unlessmarked markedwith withaa"V" "V" accent)should shouldbe beplayed playedat atthe thetop topheight heightindicated, indicated, and no higher. andClicks: no higher. Rim All rim clicks in the bass line should be played at a comfortable tap height (about 3"), no Rim inin the line should comfortable tap height (about 3"), matter what All heights are indicated in the Rim clicks at foraaother sections will follow the height Rim Clicks: Clicks: All rim rim clicks clicks the bass bass linemusic. should be be played played at comfortable tap height (about 3"), no no ________________________________________________________________________________________________________________________________________ matter what heights are indicated in the music. Rim clicks for other sections will follow the height definitions for regular notes. matter what heights are indicated in the music. Rim clicks for other sections will follow the height ________________________________________________________________________________________________________________________________________ [Subtitle] Notation ________________________________________________________________________________________________________________________________________ definitions for regular notes. definitions for regular notes. [Subtitle] Notation [Subtitle]

Notation

Pg. 6

Track & Burn

STREETBEATS

BT Platinum Background & Performance Notes This piece was first performed by the North Carolina State Drumline in 2008, only without the big groove section at letter B that was added the following year. I have always liked this cadence as an early-season teaching tool for showing performers the attention to detail that is expected of them. The limited vocabulary should give you more opportunity to be very picky about heights, playing zones, and other specifics. The very beginning starts with a two-beat pickup. These are the last two beats of the traveling cadence that NC State would play between street beats. I wanted the first four beats together to be heard as an intro statement, giving the impression that the piece had begun before the end of the traveling cadence. Obviously you can treat the pickup however you’d like. For example, imagine the pickup being the first two beats of a measure in 6/4 time that begins the piece. Letter A takes a Latin-sounding groove created by the bass drums and tenors and colors it with a drags exercise in the snare line. For the first four bars of letter A, snares should be very low in the battery mix. When I first wrote the piece (not having Virtual Drumline sounds), I actually simulated this snare part as a bongo instead of a snare drum to make sure it was “out of the way.” When the two-height roll pattern is added (measure 12), the entire ensemble dynamic abruptly jumps up a level. Pay attention to the snare drum playing zones in measure 15; beat 2 should be suddenly at the edge before the crescendo into letter B. Letter B was inspired by something a fellow NC State snare drummer, John “JMac” McCall, showed me; he had written that bass drum part underneath a basic but nonrepetitive snare drum part. In order to maintain the simplicity of the piece, I wrote a snare drum part that repeats every five beats. The variety comes from the interaction between the 5/4 snare part and the repeating 4/4 groove. Once everything calms down into letter C, there’s more hand-to-hand independence playing for the tenors, and the snare drums repeat the sticking pattern from measure 4. There is a bass drum buzz roll (big crescendo) into letter D, and from there you’re once again in familiar territory.

Pg. 10

Track & Burn

»¡™º

Snare

^ >^ >^

> ^ >>>> > 4 ÷ z œ z ≈ œ z 4 œ z œ œ œ œ œœ R L R 12"

L R

^ >^ >^

Tenor

>>>> > œ œ œ œœ œ

≤ Å

L R

Halfway...

Center...

R l r l R l r l R l r l R l rr l 6"– 3"

≤ Å

∑

R L 12"

(Crash) ÷ œ- . œ- ‰ œ- 44 ≈ œ- . œ- œ- œJ J

R l l R l l R l r L r r L r r L r l R L 12"– 3"

> 6> > > 3 > 3 > ^ ^ ^ zz z ÷ œœœT œœœ œ œ T œœœœœœ œ œ

> > > > > > > > > > > >> > ! ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ

≤ Å

L R L R L R R 9"

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

≤ Å

L R L R L R

6 - > >3 - 3 > > > > 6 > ÷ œœœsœœœ œ œ œœœsœœœ œ œ œ œ œ

÷S

(Stick Slaps)

(Backstick)

≤ Å

œ œ! œ œ œ œ œ œ œ œ œ œ œ œ 3 ≈ ≈ ÷ S S S ≈ S S 44 S Å S S S S S œ œ œ œ œ œ ‰ œ . œ ‰ œj ≈ œ œ R L R 12"

Cymbals

L R

≤ Å

(Stick Slaps)

L R L R L R

>^ z z z z ÷ œ ≈ œ 44 œ R L R 12"

Bass

BT Platinum

S L

÷ œ-

Track & Burn

S S S ≈ S R L

‰.

œ- Ó R

SS SS S R L

R L

∑ ≤ Å

(Hi-Hat Chick)

x 8 h

R L

R l r l R l r l R l r L r l r l 6"– 3" 9"– 3"

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

> > > >> > > > > > œ œœ œ œ œœ œ œ œœœœœœœœ œœœœœœœœ œ œ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ . œ œ . œ œ . œ S S R

L R

x 8 h

R R

R R R

x 8 h

(Sizz/Suck)

j ‰ Å Å Å œ œ œ œ œ! œ œ œ! œ œ œ! œ œ œ! œ œ œ œ œ œ œ œ! œ œ œ! œ œ œ! œ œ œ! œ œ œ œ œ œ! œ! œ œ! œ! œ œ! œ! œ œ! œ! œ (Stick Clicks)

Edge...

1 œ 1 œ1œ 1 œ œ œ œ œœ L L 9"

œœ œœ œœ œœ œ œ œ œ œ.

œ. ‰ Œ J

R l r r L r l R l r r L R 9"– 3"

R.H. Agogô Bell

(Crash Choke)

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

12"– 6"

L L

> >j œ ‰ œ œ. x Pg. 11

L L L

1 œ 1 œ1œ 1 1 œ 1 œ1œ 1 œ œœ œ œ œ œ œ œ œ œœ L L

> >j œ ‰ œ œ. x

L L

> >j œ‰ œ x

L L

ÅÅÅ ÅÅÅ ÅÅÅ ≈ ÅÅ ÅÅÅ ≈ ÅÅÅ œ . œ Åœ œ . ‰ J > >

Doublestop Rim Clicks

L L L

ÅÅÅ ÅÅÅ œ‰ > x

ÅÅÅ Jœ >

BT Platinum (cont.)

> > > > > > >> > > > > ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ! œ! œ! œ! œ! œ! œ! œ! œ!œ!œ! œ! Center...

Edge to Center...

R 9"– 3"

L R

R L R L 9"

R l r l 12"– 3"

1 œ 1 œ1œ 1 1 1 œ1œ 1 1 œ 1 œ1œ 1 1 œ 1 œ1œ 1 1 œ œ œ! œ! œ! œ! œ! œ! œ! œ! œ!œ!œ! œ! œ œœ œ œœœ œ œœ œœœ œ œ œ œ œ œ œ œ œ œ œ œ L L

Å Å Å ≈ Å Å ≈ Å ÷ œÅÅ. ÅÅ ÅÅœ ÅÅœ ÅÅ œ .ÅÅ ‰ J > > ÷x

L L

ÅÅÅ ÅÅÅ œ‰ >

L L

L L L

L L

ÅÅÅ œJ S . S S . S S . S S S S . S S . S S . S S S > 9"R R R R R R R R R R R R R R R R

L L

L L L

r l rr 3"

S S. S S. S S S S S S

R R

R L

œœœœœœœœ

R R L 12"

œ-

œœœœœœœœS S S 1

x 8

> > > > > >> >>> > > > > >> >>> > > > > >> >>> > > > > >> >> ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 12"– 3"

R L

j ≤ ≤ ≤ ÷ S S ≈ S . œ œ ≈ œj .

j ≤ ≤ ≤ S S ≈ S . œ œ ≈ œj .

÷h 8 h 8 h 8 h 8

h 8 h 8 h 8 h 8

(One Level Higher)

> > > >> >> > > > >> >> ! ! ! ! ! ! œ œ œ œ œ œ œ z z œ œ z z œ œ œ œ œ œ œ z z œ! œ! z z z^ . ÷œ œ œ œ œ œ R R 12"– 3"

R L R

R L

R L R

^ ^ ^ ^ ^^ ^

z ≈ z z ≈ z z z z

R 15"

L R

j ≤ ≤ ≤ S S ≈ S . œ œ ≈ œj . R

h 8 h 8 h 8 h 8 Pg. 12

R L

R L R

> > > >> >> ! ! œ œ œ œ œ œ œ z z œ! œ! z z z^ . œ œ œ R R 12"– 3"

R L

j ≤ ≤ ≤ S S ≈ S . œ œ ≈ œj . R

h 8 h 8 h 8 h 8

R L

^ ^ ^ ^ ^^ ^

z ≈ z z ≈ z z z z

R 15"

L R

j ≤ ≤ ≤ S S ≈ S . œ œ ≈ œj . R

h 8 h 8 h 8 h 8 Track & Burn

BT Platinum (cont.)

>m m m m m m ^ ÷ œ œ œ ≈ œ œ ≈ œ œ ≈ œ p

> > > > > > > > > > > > > > > >> > ! ! ! œ x œ œ x œ x œ x œ œ x œ x œ x œ x œ œ x œ x œ x œ œ x œ x œ x œ x œ œ x œ x œ x œ œ x œ x œ x œ x œ œ x œ x œ x œ œ x œ œœ R.H. Drum L.H. Rim Over Guts

(Ping)

To Guts...

R L

> œ œ! œ! œ! œ! œ! œ! œ! œ œ œ œ œ 12"

÷S

÷h

l R

R l r r L r l R l r r L r l rr l 9"– 3"

l 9"– 3"

Œ Œ

> > > 1 œ 1 œ. œ œ

R.H. Agogô Bell

1 œ.

1 œ 1œ .. œ > > L

‰ œj ≈ œj .

œœ

12"

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

‰ x ‰ x ‰ x ‰ x J J J J

> > > 1 œ 1 œ. œ œ

1 œ 1œ .. œ > >

‰ œj ≈ œj .

œœ

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

‰ x ‰ x ‰ x ‰ x J J J J

> > > > 1 œ œ œ œ œ œ! œ! œ! œ! œ! œ! œ! œ! z^ œ œ

1 œ 1œ .. œ > > L

œœ

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

‰ œj ≈ œj .

R l r l

12"

Buzz Roll 16th-note Pulse

˙z

œœ

‰ x ‰ x ‰ x ‰ x J J J J

‰ x ‰ x ‰ x Œ J J J

> > > > > > > > > > > 6- > >3 - 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 œ œ œ œ œ œ œ œ œ œ œ œ s œ œ œ œ œ s œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ ≈ œ œ œ Œ Ó œ œ œ ÷ œ

R l r r L r l R l r r L r l rr l 12"– 3"

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

R l l R l l R l r L r r L r r L r 12"– 3"

l R L

r l R L r l R L 15"– 6"

R l r r L r l R l r r L r l r l 12"– 3"

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

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

l R L

r l R L r l R L rr ll rr ll rr ll rr ll 15"– 6"

6 ^^ > > > > > >> >> ! ! ! ! ! ! ! ! > > >3 >3 > >> > > > > > z z œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœ œ Œ Ó œ œ œ œ œ œœ T œœœ ÷ œœœœœœ œœœœœœœœ œ T

÷ S.

S S.

÷x

R 9"

Track & Burn

R R

SS S R R

S S.

R R

SS S S R R

R 12"

œ-

S L

S ≈ S

‰.

œ- Ó R

Pg. 13

S‰ L

SS S R L

œ-

SSS

R L R

S S ≈ S R L

œ. ≈ œ- Ó J R

S ≈ S L

S S Œ Ó L

œ. ‰ Œ Ó J

CTP Background & Performance Notes I started writing this piece in 2005 when I was still very new to drumming and continued to rewrite, revise, and re-title it over the following years. Many ideas that found their way into other street beats were first written into some iteration of CTP, but I finally trimmed the piece into shape so that it could be performed by the 2009 NC State Drumline. The title is in remembrance of the WGI ensemble Constitution Percussion, a group that was only active for two seasons but was a huge influence and inspiration to me as a performer. CTP starts small and gradually grows into a heavy groove. The snare drum flam pattern in measures 1–8 could more appropriately be written as a separate part for each hand (i.e., the grace notes of each flam should be played at the same time as the primary note). The crushes on every beat 3 should be very long in order to complement the tenors’ buzz roll response on every beat 4. Letter A focuses on the tenors and the anchor bass drum. There is no room for error in the syncopated snare drum part that complements this groove. Letter B has the first big bass drum unisons. The sticking (not natural) is such that the left hand maintains a consistent motion over the first three beats of the measure. I wrote it this way for pedagogical reasons, so feel free to change it to natural sticking if that seems more appropriate. At letter C, the heavy groove shifts to more nuanced material—a snare featurette, a bass drum run, and some lighter passages. The 7/4 bars were an experiment to see if I could get away with writing something like that, and I rather like how they set up the feel of the following 4/4 bars. The minimalist bass drum soli and the tenor “skank” pattern found in measures 31–35 were inspired by One More Red Nightmare from King Crimson’s “Red” album. The timbale-style tenor soli in measure 36 sets up letter D, a reprise of the main groove, with some alterations. The ending is a twisted embellishment of something that my high school drumline captain, Jonathan Pratt, came up with at a Christmas parade.

Pg. 14

Track & Burn

»¡™º >

> >m > j j 4 œ x x x œ œ x œ x x x œxœœ œ x ÷4 R l r r L r l R L r r L r l l

Snare

R.H. Rim at Front Edge L.H. Drum at Front Edge, Crushes in Center

> > >m > j j œ x œ x x œ x œ x œ x x x œ x œ œ R l r r L r l R L r r

9"– 3"

÷ 44 Œ

Tenor

œz

RLrl

÷ 44 ‰ œj ≈ œj . . . (Mute)

12"

÷ 44

Cymbals

> > >m > œ x x x œ x œ x œ x x xj œ x œ œ ÷ R l r r L r l R L r r

L r l l

> >> > >> 1 1 m 1. œ 1 œœ ÷ œ œ œ œ œ œ. L

9"– 6"

L L

l l

L L

÷ ‰ œj ≈ œj . œ . œ ‰ œj . . . . . 12"

÷Œ

(Hi-Hat Chick)

Track & Burn

‰ œj ≈ œj . . .

œ. .

∏

∑

R.H. Agogô Bell

j œ. ‰ œ.

œ. .

j œz ‰ Œ

Bass

CTP

L r l l

R l r r L r l R L r r

œz

RLrl sim...

j œz ‰ Œ

‰ œj ≈ œj . . .

œ. .

j œ. ‰ œ.

∑ > > >m > j j œ x œx x œ x œx œ x xx œx œœ R l r r L r l R L r r

L r l l

L L

‰ œj ≈ œj . œ . œ ‰ œj . . . . . Œ

L r l l

R l r r L r l R L

œz

RLrl

j œ œ ‰

‰ œj ≈ œj . . .

œ.

j œ. ‰ œ.

> > >m > j j œ x œ x x œ x œ x œ x xx œ x œ œ R l r r L r l R L r r

L r l l

L L

l l

L L

‰ œj ≈ œj . œ . œ ‰ œj . . . . . Œ

x Pg. 15

Center...

> >> >> ^ ^ 1 œ1 œ1 1 œ z z. œ œ L L

L L

> > > œ œ! œ! œ! x x œ œ œ œ

(Rim Clicks at Front Edge)

R l r r L r l R l R ll rr L rr ll

R ll rr ll r

R l r l r L

9"– 3"

œ-

(Crash)

R l r L

> œœœœ

r L

r l R l

> > >> > ‰ œ œ ‰ œ œ ‰ œj R L

12"– 9"

zz œ œ œ œ œ z ≈ œ z

> ‰ œj ≈ œj . œ . œœ ‰ œœj œ . . . R Œ

∑

> > >m > > m j œ x œ x x œ x œ x œ œ œ! œ! œ œ! œ! œ

r l l R l l r l l

j œz ‰ Œ

∑

> >> >> > > >> > >> > >> 1 œ1 œ1œ œ1 1 œ 1 m 1œ . œ 1 œ œ œ œ œ . œœ œ œœ œ L

> > >m 3 > 6 j œ x œ x x œ x œ x œ xœœœœœœœœ

> > >m > j j œ x œ x x œ x œ x œ x x x œ x œ œ

R L

‰1 x 1 ‰ 1 x 1 J J 1

(Ting)

CTP (cont.)

> ^ > 3 > ! ! ! ÷ œ œ œ œ œ œ z ≈ œ œ œ œ œ œ

> œ œ! œ! œ! œ z^ > œ œ œ ÷ œœ‰

>j œ

----œ! œ! œ! œ! œ œ

rr ll rr ll r l r L

r L

r ll rr ll R

r l R l rr ll rr l R

> >j >j œ œ œ œ œ œ > œ‰ œ ‰ œ œ

> ÷ œ.

÷ œœ

R ll rr L r L r

----œ! œ! œ! œ! œ œ ÷

R l

r L

r l R l

r l R l rr ll rr l R

> œ œ z ≈ œ z œ œ

r L

r l R

> ÷œ

R L

R l l 12"– 3"

R L

l R

‰

R l r l r L

‰ 1 x 1 ‰ 1 x J J

> œ ‰ R

1 J 1

x 2

ll RR LL

R 12"

rr 3"

ll RR LL

R 12"

R l r L

r L

r l R l

R L

1 1

12"– 6"

2 œ- .

1 œ- Œ

r ll rr ll R

1 ‰1 x 1 ‰ 1 x 1 J J 1

r l R l rr ll rr l R

R l r l R

> >j >j œ œ œ œ œ œ œ‰ œ ‰ œ R

x. R

R l r l l

∑

1 1

rr l rr l R l r

>^ > œœœ œz œ 9"– 3"

R l r l R L

L R

R L R L

‰

>> !œ œ! œ œ

L R

rr ll R L

S ≈ S S

œœœ œ

8 h 8 J 1

L r

R L 9"

L r L r L r

>> œ ≈ œ œ

12"– 3"

‰ 1 x 1 ‰ 1 x J J

^ j> > > j> m ! ! x œ œ œ œ œ œ œ œ z œ œœ œ œ œ œ œ œœ œ œ œ

Front Rim to Center...

l R

>j œ 6

> > >> >>>> > !œ œ! œ! œ œ! œ! œ œ! œ œ œ! œ œ œ œ >j œ œ œ œ œ œ œ œ œœœœœœœœ S S S. œ R

r L

> > >> > > ‰ œ œ ‰ œ œ ‰ œj œ .

! œ! œ! œ! >œ œ œ! œ! œ! œ!

÷‰ 1 x 1 ‰ 1 x 1 J J

L rr ll rr

≈ z

R L

R ll rr ll r

> > ^ >j ^ > ^ > ^ œ zz œ œ œ œ œ z ≈ œ z œ œ œ œ œ œ œ œ œ! œ! œ! œ z œœ‰

> > œ œ œ œ œ œ! œ! œ! œ z^ > œ œ œ œ z ≈ œ z œœ‰

R L

R l r L

> > >> >> > > > > ‰ œ œ ‰ œ œ ‰ œj œ . œ ‰ œj ‰ œj œ œ œ œ œ

>> >> > > ‰ œ œ ‰ œ œ ‰ œj œ .

r ll rr ll R

> > > > > > m > ^ œ œ! œ! œ x œ x œj x œ x œ œ œ œ œ. ≈ œ œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! z

rr ll rr ll r l r L

r L

‰ 1 x 1 ‰ 1 x 1 J J

R l r L

> > > > ^ > 3 > ! ! ! ! ! ! œ œ œ œ x x œ œ œ œ œ œ œ œ œ œ z ≈ œ œ œ œ œ œ

÷‰ 1 x 1 ‰ 1 x J J

R ll rr L r L r

œœ

R l r l R

l R

> > > > > > ^ >m > m j ! ! ! ! ! œ œ œ œ x œ x œ x œ x œ x œ œ œ œ œ z ≈ œ œ œ œ œœ

R L

8 1

8 2

(Sizz/Suck)

Pg. 16

Track & Burn

CTP (cont.)

≤ ≤ >> > > > > m ^ ^ m ÷ œ œ œ œj œ œ œ œj œ œ œ œ œ z œ. œ œ œ œ! œ œ! œ z œ œ œj œ œ œ œ œ œ œj œ œ œ

R l r

÷ S. R

l r r

L L r L r L L r l l

h 8 h 8

÷ S.

l r r

S‰

÷h 8 1

L r l

R L

+ Å

(Stick Clicks) 2nd Behind L.H.

Track & Burn

œ œ 8 2

R l l R l l R l l R L

1 1

1 2

h 8

>> œ ≈ œ œ R

L R

‰ 8 h 8 J 2

R L

L r l l R l l R R L 6

rr l rr l R l r 9"– 3"

L r l

R l r l R L

8 h

‰ 8 h 8 J

Pg. 17

8 2

>> !œ œ! œ œ

L R

rr ll R L

S ≈ S S

œœ œœ

R L

8 2

3 > > > >6 >> m > > m> ^ œ œ œ œj 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. 1 œ G z.

R l r 12"– 3"

L r l

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

>6 > > > > - - - -- - > œ! œ! œ œ œ œ T T œ œ œ œ œ œ œ œ œ œ œ

rr ll R L

S. 1

L r l

S S. R L

L r L r L r

>> ≈ œ œœ

œœœœœœœœS L

r r l

l r r

S‰

8 1

l r r

œ œ œ œ S.

S ≈ S S

L r L r L r

R l r l R L

R l R L R L R L R 6"

> > > > m !œ œ œ! œ z œ œ œj œ œ œ œ œ œ œj œ œ œ

R L

rr l rr l R l r

L r l

S‰

S S.

r r l

œ œ œ œ S.

R L

R l r

rr ll R L

S ≈ S S

> > > > m œ! œ œ! œ z œ œ œj œ œ œ œ œ œ œj œ œ œ

>6 > > > > > >^ > > - - - -- - > œ! œ! œ œ œ œ T T œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ z œ

L R

>^ - - - - - - > > > 6> > 3 ^ ^ > z z œœ œ ÷œ œ T T œ œ œ œ œœœœœœœœœ œœ z r r l

8 h 8 h 8

≤ ≤ > > > j j j j œ œ œ œ œ œ œ œ œœ œœ œ ÷ R l r

R l r l R L

÷h 8

R L R

L r l

>> ≈ œ œœ

S S.

L r L r L r

œ œ ≈ œ œ S S S

rr l rr l R l r

S‰ 1

R R l r l R l r l l

>^ - - - -- - > > > > > > œœœ œœ œ œ œ ÷œœT Tœœ œ œœœœ œœ z r r l

L r l

(Ping) ≤ ≤ ≤ 6 ^ œ œ œ œj œ œ œ œj œ œ œ œ œ œ œ œ p

(One Level Higher)

h 8 1

L r l l R l l R R 6

œ œ œœœ 8 h 2

œœœ S L

8 1

= Stick Shot

r l r l R ll r L r l R r L 9"– 3"

= Mute for Rim Shot Allow Stick to Hit Front Rim

> œ

Å œ Å œ Å ≈ œ œ

œ-

Ó 4:3

12"

L R

‰ 1 x J 2

CTP (cont.)

--- - --- - ^ m >> > ÷ œ œ œ œ œ œ œ œ p œ ≈ œ œ œ œ œ œ œ

r l r l r l r l R l

œœœ

÷Œ

r l R L

> >> > œ œœ œœ œ œœ

œz

r l r l R 3" 12"

R l r r l l R ll r l 9"– 3"

÷Œ

x 1

R L

12"

12"– 3"

‰ 1 x J 2

74 ‰

∑

≤ > 6 ^ m m m m^ ≤ ^ ^ ^ ^ ^ j j ! ! ! œ œ œ œ œ œ œ œ z œ œ x œ x œ x œ z œ œ œ œ œ œ œ œ œ œ p p p p 44 z Œ Ó ÷

∑

R l r r l l R ll r l r l r l r l R l

> >^ ^ > 6 œ œ ÷ œœœœœœœ œœ z z R l r r l l r L r l R L

r L r

> > > >œ œ œ œ œ > ÅS Å œ. œ œ œ

÷‰

‰ x ‰ x ‰ x J J J

x J 1

R L

L r l rr ll R L 6"

R 12"

^ > > > > > ! ! œ œœ œœœœ œ z 4> œ œ œ 4œ Œ Ó

> > ÷œ œ 12"– 3"

R l r

1 œ-

l R l rr ll R L 12"

> œ

> Å œ.

x J

‰

2 1 1 œ- ‰

l r

L r

l rr ll R

L r

l R l rr ll R

^ > > > ! ! œ œœ œœœœ œz m œ.

∑

‰

x ‰ J

x J

∑ Pg. 18

>j œ œ œœœœœœ S L

‰

1 J 2

R.H. Visual > > > > - > > œ O œ œ œ! œ œ œ œ œ œ œ œ œ œ œ œ œ! œ œ! œ œ œ œj œ œ œ œ œ œ œj œ œ œ œ

("Hi Mom")

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

‰

44 œ-1 Œ Ó

> S‰

R L

12"– 6"

12"

1 J

> > > > œ œ œ œ œ Å S œœœ

x J

j j > >j œ œ œ œ œ œ œ 4 œ œ œ œ S‰ S œœ 4 S œ œ ‰ ‰œ œ œ L

l r l r l R l

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

6 > > >>> 6 > > > 3 œœœœœœ œ œ œ œœ œœœ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ 74 >œ ≈ S SS S ÷ ≈ œ

> >^ ^ > 6 74 œ œ œ œ œ œ œ œ œ œ œ z z 9"– 3"

12"– 6"

R L 12"

≤ > 6 ^ m (Front ^ m Rim)m m ^ ≤ 74 œ œ œ œ œ œ z œ! œ œ x œ x œ x œ z œ œj œ œ œ œj œ œ œ œ! œ! z œ œ œ

œ-

rr l rr l R l 12"– 3"

^ ^ ^ > > > ^ œ œ z œ. z œ. z œ œ œ œ. œ. z r r R 9"– 3"

r R

Å . œ ‰ . œr Å œ œ R

L R

r r R

Å. R

r r l R l r

L r l l

^ >> > > œ. z ‰ œ œ œ œ r R

R L

r œ ‰. œ Å œ L

x Track & Burn

CTP (cont.)

> > > > j j ! ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ÷

rr l rr l R

r r l

> ^ ÷œ œ œ z . . R r r R

œ. z r R

> œ

œ. z r R

> œ

rr l rr l R l r

>^ > œ ÷œœœœ z ÷ S S.

>> ≈ œ œœ

÷h 8 h 8

Track & Burn

L R

S ≈ S S

R L

L r L r L r

R l r l R L

R L

8 1

L r l

rr l rr l R l r 9"– 3"

R l r

r r l

œ œ œ œ S.

L r l

l r r

S‰

h 8 h 8 1

R l R L R L R L R L R 9"

L r l

R R l r l R l r l l

rr ll R L

r r l

l r r

L L r L r L L r l l

S‰

œ œ ≈ œ œ S S S

8 h 8 h 8

œœ œ œ S.

R L

L rr l R l r 9"– 3"

L R

S ≈ S S

R l r

h 8 1

r r R 9"– 3"

S S.

œœœS œœœœœ L

8 1

R L

h 8 2

Pg. 19

S. L

> > œ œ

> ^ œ œ. œ. z

S ≈ S S

œœœ

œ. z

r R

R L

8 1

h 8 2

R L R

> - > > !œ œ œ! œ œ œ œj œ œ œ œ œ œ œj œ œ œ œ

rr l rr l R l 12"– 3"

h 8 h 8

L r l

‰ œœz œ z .

L r l l R l l R R

8 h

L r L r L r

h 8

≤ ≤ 6 > ^ ^3 ^ > ^ j> > > j> m j j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ p p p œ œ! œ z œ œ œ œ œ œ œ œ œ œ œ œ œ

> >> > > - - - -- - > œ! œ! œ œ œ œ T T œ œ œ œ œ œ œ œ œ œ œ

rr ll R L

R L

‰ x x 8 J

>> ≈ œ œœ

12"– 3"

L r l

≤ ≤ >> ^m j j œ œ œ œ œ œ œ œ œ œ œ œ œ z œ. œ œ œ

> > - - - -- - > > > > > !œ œ! œ œ œ T T œ œ œœœœœ œ œœ œ œœ

R l r l R L

S S.

L r L r L r

>^ > œœœ œz œ

œ-

> > > > m ÷ œ! œ œ! œ z œ œ œ œ œ œ œ œ œj œ œ œ

12"– 6"

j œ

^^^^

rr ll R L rr ll R L rr ll R L R L

R 12"

œœœœ S ÷ œ œ œ Åœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ÷Œ

œ! œ! z z œ! œ! z z œ! œ! z z z z

D > > > > m j ! ! ^ j ‰ Å œ œ œ œ z œ œ œ œ œ œ œ œ œ œj œ œ œ

r r R

œ S.

r r l R l r

^‰

œ. z

r R

L r l l

>> > > œœ œ œ R L

S‰

œ œ ≈ œ œ

SSS

h 8 h

8 h 8

h 8

R L R

CTP (cont.)

> > >- ^ ^ 4:3^ ^ m- ^ - ^ - - - > ÷ œ œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ œ! œ œ ≈ z œ z œ œ œ œ œ œ! œ! œ! œ! œ œ œ œ z œ œ z œ œ z œ œ z œ œ œ Œ Ó Cresc. L.H. Only

÷z

1 1

÷S

÷h

≈

> œœœœœ œ > œ.

1 ‰ 2

rr LL RR LL

1 1

> œ ‰

12"– 6"

t zJ 1

(Sizzle)

>j œ

R ll r L 12"– 6"– 3"

R 12"

œ- .

L R

R L R

rr ll rr ll

r L

> --^ >œ >œ >œ œ œ œ œ œ œ! œ! œ! œ! >œ œ. z ≈

L l 12"– 3"

L R

S S ≈ S S L

R L R

S S L

rr ll rr ll

S S S S L

S. L

l R

l l R

L L

> > 4:3> > > œ œœT œœœ œœ œ œœ œ Œ Ó

Cresc. L.H. Only

l l R

L L

4:3

S Å S Å S Å S Å S L R

œ- ‰

œ. J

≈ œ. . J

(Crash Choke)

Pg. 20

œ-

R 12"

S Œ Ó R

12"

8 h 8 h 8 h 8 h 1

12"

4:3

1 œ- Œ Ó

Track & Burn

The Hitcher Background & Performance Notes This piece began as a stadium groove in 2009, evolving into a street beat that was first performed by the NC State Drumline at the 2010 St. Patrick’s Day Parade in Dublin, Ireland. It would receive some notable additions—the military style drum beat intro and the “Trolololol” bass drum soli—before achieving its current state. The intro passage features the snare drums playing a lot of slurred drag figures. There are numerous ways you can try breaking this down in order to make sense of it. Obviously, start simply. Try different combinations of the skeleton (accents without inner beats) and the roll figures, applying both the “slurred” (written) interpretation and the “strict” interpretation (i.e., the 5:3 figure becomes a 16th-note tap-five). Getting comfortable with both the slurred and strict interpretations (and being able to separate them mentally) will help players avoid playing the wrong rhythms in context. Also, the tenor rim shot on beat 4 of measure 4 should probably be rebounded high so that the left hand can play those triplets without crossing over. Letter A centers on the anchor bass drum until measure 12. This kick drum-style passage was taken from something that Brandon Rich, a friend from my high school snare line, showed me once upon a time. At measure 12, the snare entrance and the repeating tenor theme are the focus while the bass drums play a complementary syncopated figure. Letter B—also known as the “Trololol” section (in reference to the Eduard Khil video on YouTube...long story)—grows into a loud, upbeat groove that is then broken up by the brief half-time feel at measure 23. This effect should build suspense leading into the heavy groove at letter C that is the climax of the piece.

Optional Stadium Groove: Start at Letter C, and play to the end of the piece. The duration is approximately 18 seconds long (excluding a tap-off).

Pg. 22

Track & Burn

Snare

Tenor

»¡™º >

> > > m > j ! ! ! ! ÷ œ œ 44 œ œ . œ œ œ œ œ œjœ œjœ œ œ œ rr ll

R l 12"– 3"

Cymbals

A 5

r l R

12"

R r 9"– 3"

L.H. Stick Over Rim

Œ Z L

÷ ˙z

Rlrl...

5:3

> > œœœ

>> œœœ

> ≈ œjœj .

> œ œ

> œ œ.

R l R

r L R

Z L

R ll R

> œ

> > > œ œ œ œ œ œ œ œ

œœ

R R

r l R

Z L

r R r L 9"– 3"

r R r L

˙z

÷ œ- Œ

(Crash)

L L R L L R L R

∑

R L R L

r R L

R R R L R R R L R R R L R L L 3

Å ‰ œ œ ‰ œ œ ‰ ÅÅÅœ S S 3

R R

12"

R R

R L R

∑

L L R L L R L

‰. t zR

∑ Pg. 23

R L

L R

^ ^ !œ œ! z > >œ > > - zj œ œ œ œ œ œ mœ ‰ Œ

rr ll R

R R l R R l r L

j Å œ œ œ œ Åœ œ œ œ ‰ Å œ R L R

R L R L

> > > > R.H. Stick on Stick > > x x Zx x x x Zx x x x Zx x x x Z 1 1 1 x Zx x x x Zx x

(Sizzle)

Track & Burn

L R

∑

˙z Åœœœ

R L R

R L

∑ > > x x Zx x x x Zx x

R r r l r r r l R R R L R R R 3"

> œ

9"– 3"

R L R L

r l R ll r l R l l R ll rr L

3 > >3 > > > >3 > > 3 ^ > > > > > > > > > > > > œ œ œ œ œ œ œ œ > > >>z œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œœ œ œ

j œ

R.H. Back Rim

5:4

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

œ ÷ œ Å œ œ œ Å œ œ œ œ Åœ œ œ œ Åœ œ œ œ L

r l

˙z

r l r L r l R

Edge to Center...

3 3 > > > > > > > > > > > > > 3 > >3 > 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 œ œ! œ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5:3

∑

16th-note Pulse T

÷‰

r L r l

> > > 44 œ œ œ œ œ œ œ œ

÷‰

÷z Z

> > > 44 > œ œœœ œœœœœœœ œœ

÷‰

9"– 3"

Bass

rr ll R

The Hitcher

L R L

(Hi-Hat Chick)

R L

>> >> œ œ œ œ œ œ œ mœ Œ

Å œœœ R

R L

œ! œ! z

R R l R R l r L

rr ll R

j Å œ œ œ œ Åœ œ œ œ ‰ Å R

L R

R L

L R

The Hitcher (cont.)

> > > > > ^ ^ - ^ > 11 ! ! ! ! ! ! ! ! ! ! ! ! ÷ x x Zx x x x Z 1 1 1 x x x œ œ œ œ œ œ p œ œ œ œ œ p œ œ œ œ œ p œ œ œ œ œ œ œ œ œ .

R L

÷œ

Å œœœ R

L R L

÷Œ

L R

> > > > - ^j z ÷ œ œ œ œ œ œ œ mœ ‰ Œ R R l R R l r L

z œ. z . R r R

L R

R L

rr l rr l R ll rr L rr ll R

R ll rr ll

rr l rr l R

R R l R R l r L

R ll rr ll

R R l R R l l R

r l R r l r 6"– 3"

> œœ œ

>>> œ œ œ

œ ‰ S S S S. œ œ

÷ œ. .

œ- Œ

R L R L

‰ x J

rr l rr l R ll rr L rr ll R

R ll rr ll

R R l R R l r L

R ll rr ll

^j > ^j > >> >> > > > > ^ >j >> >> ^ ^ !! !! œ œ œ œ œ œ œ mœ ‰ z œ œ! œ œ œ œ œ œ œ œ z ‰ œ œ! œ! z z œ œ œ œ œ œ œ mœ ‰ z œ œ! œ œ œ R

œ œ ≈ œ œ œ œ œ

R L R

‰ 1 x 1 ‰ 1 x 1 J J 1

(Ting)

rr ll R L

œœz œ œ œ ≈ œ œ

œ.

Rlrl

‰ 1 x 1 ‰ 1 x 1 J J 1

œ ≈

œ œ œ œ œ œ

‰ 1 x 1 ‰ 1 x 1 J J 1

> > > > > > > > > > > > œ œ œjœ œ œ œ œjœ œ œ œ œjœ œ œ œ œjœ œ œ œ œjœ œ œ œ œjœ œ œ œ œjœ œ œ œ œjœ œ œ œ œjœ œ œ œ œjœ œ œ œ œjœ œ œ œ œjœ œ j xx ‰

R L

Edge...

z z . ‰ xxj ‰

œ-

L R

(Rim Clicks)

÷ œ.

(Crash Choke)

r L r l rr l R l 9"– 6"– 3"

j Å œ œ œ œ Å œ œ œ œ ‰ Å œ.

R l r L r l R L R L 12"– 3"

R R l R R l r L

> > >> ^ ^ ÷ œ œ œ œ œ œ œ œ z z. Å Å > ÷œ

> > > > - ^j œ œ œ œ œ œ œ mœ ‰ z Œ

≤ - - - (Stick Click) ^ - ^ > j ! ! Å œœ‰ œ œ œ œ œ œ œ p œ! œ! œ œ! œ! p œ œ! œ! œ!

(One Level Higher)

(Ping)

12"– 6"

‰

x ‰ J

L l r l

R r l r

L l

r l

j xx ‰

>>> œœœ

>> >> > œ SSœœ œ œ

x ‰ J

r l

x J

‰

R r l r

L l r l

R r l r

L l

j xx ‰

> j œ xx

>> > jœ œ œœ

> >>> >> œ œœ œ! œœœ

>>> œ œ œ

x ‰ J

x J

Pg. 24

œ!

> œ

> œ! œ x ‰ J

r l

9"– 3"

x J

‰

R r

l r

R R L

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l r l

R r l

L l

R L

>> >> -> - > œœ œ œ ≈ œ œ œ œ L R

>>> œœœ x J 1

1 2

>> >> SSœœ œœ

Track & Burn

The Hitcher (cont.)

Solo Snare Drummer Right on Left, Stick on Stick, at Halfway

6 >3 > >3 > >3 > >3 > >3 ^ - - -6 > - - - > > ≤ >>>>- > 6 ^ ^ ^ ^ 20 j j j j ÷ 3T 3 3 3T 3 3T 3 3 3T 3 3T 3 3 3T 3 3T 3 3 3T 3 3T 3 3 z œ œ z œ œ œ z œ œ œ œ œ œ œ œ œ œ œ œ œ z œ œ œ z œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Center...

r l R 12"– 3"

R l l R

(Rim-Shot)

12"– 3"

÷Œ ≤ œ ÷

≈

R l l R

j œ.

R l l R

œ.

R l l R

‰

L l

r l R

l r l

R l r l

R r l r

L l

R l r r l l R L L R l r r l l R L L R L L 9"– 6"– 3"

12"– 3"

‰

L r l

R r l l

R l l R

l l

R l r

L r l

R r l l

R l l R

l l Rlrl

R L R Lr

œz

> >3 > ^ œœœz

‰

j S

‰

L R L R

9"– 3"

L R

SS‰

j œ ‰

j œ S S SS

SS‰

j œ ‰

j œ S

œ- ‰ œJ J

‰

œ- ‰ J

œJ

œ- ‰ J

œJ

> >3 > > œ œ œ œz

R L

L R

‰ œJ

‰

R L

(Sizz/Suck)

SS S

R L L

8 J

- - - Edge to Center... > > ^ > > ^ ^ > > ^ >> - - - - ^ > > ^ x x x! x! x x œ! œ! œ! œ! œ! œ! œ! œ! œ œ œ œ z œ œ œ œ œjœ œ œ z œ œ! œ! œ œ œ œ z œ œ œ œ œjœ œ œ z œ! œ œ œ! œ! œ! œ! z œ œ œ œ œjœ œ œ z œ œ! œ! C

R L rr ll R L rr ll rr ll rr ll RR LL 3"

÷ z œ! z z œ! z z œ! z

R r l r

j S S S SS

Rim at Front Edge

^ ^^ ^^ ^

÷S

R l r

R 12"

(Stick Clicks)

R ll R L rr L R ll R

R l r l

> > > > > -3 - ^ > -3 - ^ > -3 - ^ > -3 - ^ > -3 - ^ > > >> > >> œ œ œ œ j jœ j jœ œ œ œ œ œ œ œ œ z œ œ œ œ œ z œ z œ œ z œ z œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œz ÷ œ œ Solo Tenor Drummer

l r l

ÅÅÅÅÅÅ R L R L R L

÷ œ-

Track & Burn

R l r l R l r L r 12"–6"–3"

^ ≈ >

z œ. z R r R

9"– 3"

œ œ œ œ S S S S S x J

8 1

R l r l R l r L r

> œ. œ. z œ. œ r r R r R

Å S S S ≈ S S Å S

R 12"

‰

> œ œ

L r l R l rr ll

R L R L

h 8 h 2

8 h 1

R L

8 h 8 2

Pg. 25

Å S S S ≈ S S Å S

R R

R L R L

h 8 h 2

rr ll rr ll R l

- -^ >> ^ ! œ! z œ œ ≈ z œ œ œ

œ. œ. z r r R S

L r l R ll R L

8 h 1

R l l rr ll R

R L

8 h

^ > > œ. z ≈ œ œ r R R R

L r l R l rr ll

^ > œ. œ. z œ. œ r r R r R

Å S S S ≈ S S Å S

r L r

R L R L

8 2

8 h 1

R L

8 h 8 2

The Hitcher (cont.)

> ^ ÷œœœœz

+ Å

2nd Click Behind L.H.

R l r l R

œœœœ

÷S

‰

÷ ‰.

> œ

^ ≈ >

8 J

z Œ R

R L

8 h 8

j œ

! ! ^ ^ œ œ z z ll

8 h

R l r l R l r L r

> œ. œ. z œ. œ r r R r R

R L R L

h 8 h

L r l R l rr ll

Å S S S ≈ S S Å S

œ S

> œ œ

z œ. z R r R

œœœœœœœœœ œ

÷z œ œ z Œ

R l r l R l r L r 12"–6"–3"

÷h 8 h 2

rr ll RR LL

> œ

÷ œœ z . . R r r

> > ^ > > ^ ^ > > ^ >> - - - - ^ > > ^ !œ œ! œ! œ! œ œ œ œ z œ œ œ œ œjœ œ œ z œ œ! œ! œ œ œ œ z œ œ œ œ œj œ œ œ z œ! œ œ œ! œ! œ! œ! z œ œ œ œ œj œ œ œ z œ œ! œ!

Edge to Center...

> > > œ œj œ œj œ R 12"

œ L

12"

Å S S S ≈ S S Å S

R R

œ L

j œ

> œ R

> œ

≈

> œ L

≈

œ-

≈

œ-

œ L

œ-

≈

œ-

≈

œ L

≈

8 h

œ L

j œ

÷S

÷ h.

œ- Œ

œ-

Pg. 26

> œ œ

œ. z r R

L r l R l rr ll

œ. œ. z r r R

R L R L

8 2

j œ

R L

8 h

>j œ.

> œ R

j œ.

≈

j S.

œ-

≈

œ- . J

œ-

8 h 8

œ L

> œ. œ r R

Å S S S ≈ S S Å S

œ œ œ œ œ œ œ œ3 œ z S S œ

^ ≈ >

j œ

œ R

R L

8 h

> œ

R l l rr ll R

R L R L

h 8 h

j œ

rr ll rr ll R l r L r

- -^ >> ^ œ! œ! z œ œ ≈ z œ œ

œ. œ. z r r R S

L r l R ll R L

Track & Burn

Thunder and Lightning Background & Performance Notes The intro and ending phrases of this piece were inspired by the song Holy War from Thin Lizzy’s 1983 album “Thunder and Lightning.” The written two-beat pickup can be changed as desired, but it will be important to preserve some sort of attack on the last sixteenth note partial before beat 1 of measure 1, as the groove lacks a downbeat. Letter A can be quite challenging for the upper battery. Beats 2 and 4 will anchor the groove, but it will be helpful to feel the rests and the taps on beats 1 and 3 as being accents that are played by the feet instead of the hands. Letter B is the “scattered section solos” part of the cadence; the odd timing of the entrances may cause more trouble than any of the technical demands here. Also, the stick slap in the snare part at measure 14 will need to be approached differently than the big stick slaps played during the intro phrase—tone it down a bit in order to better achieve a quality flam on the last eighth note partial of that bar. If you’ve successfully made it to letter C, this passage should seem relatively straightforward. The bass drum run at measure 21 is beyond the difficulty level of the rest of the bass drum part, so that could easily be watered down (if necessary) without affecting the overall character of the piece. If the bass drums don’t keep it together there, the pickup to letter D will be a big mess. The piece ends with a one-measure tag which was used at NC State to take us back into the traveling cadence, and it can certainly be removed by ending the piece with no release at measure 29 and simply letting the tenors fade out with that buzz roll.

Optional Stadium Groove: Start at the 1-beat pickup to letter D, and finish on the downbeat of measure 29 (tenors should finish the decrescendo buzz roll). The duration is approximately 20 seconds (excluding a tap-off).

Pg. 28

Track & Burn

»¡™º ^ ^

Snare

Tenor

Bass

>>> z œ z ÷ ≈ œ œ œ 44 Œ R l R 9"– 6"

> œ

≤ Å

L R L

≤ Å

(Stick Slaps)

>>> ≈ œ œ œ 44 Œ

≤ Å

^ > Å œ! œ! z œ œ œ

≤ Å

(Stick Click)

rr ll R l 12"– 3"

≤ > > > > > Å . œjœ ≈ œ œ œ œ > > œ œ

12"– 3"

R L

œ- ‰

L R L

÷ ≈ x x

œx x x

- ÷ ≈ œ œ

> œ

R R

÷‰

≤ Å

÷ œ- .

R R R L

L R 12"

œJ

44 Œ

x J

Track & Burn

(Hi-Hat Chick)

R L

œx x x

> œ R

> > œ. œ œ r R R

> œ

> > Åœ œ ‰ R L

> >j Å œ œ L

h ‰

x J

R R R

R R L

(Sizz/Suck)

R R

œœ r r

R R R L

L R

œx x x ≈ x x

x x x

> œ. œ. œ r r R

> >j Å œ œ

12"– 3"

L R L

R.H. Rim at Front Edge, at 6" L.H. Drum at Center, at 12"

÷‰

≤ Å

S ≈ S S S 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

r r R 12"– 6"– 3"

≤ Å

(Stick Slaps)

÷ S. (Crash)

> œ

R l R 9"– 6"

R 9"

Cymbals

Thunder and Lightning

R L

L R

œx x x

> œ R

> > œ. œ œ r R R

> œ

> > Åœ œ ‰ R L

> >j Å œ œ L

h ‰

x J

R R R

> œ. œ. œ r r R

R R L

Pg. 29

R R

œœ r r

R R R L

œx x x ≈ x x

x x x

R L

L R

œx x x

> œ R

> > œ. œ œ r R R

> œ

> > Åœ œ ‰ R L

> >j Å œ œ L

h ‰

x J

R R R

> œ. œ. œ r r R

R R L

R R

œœ r

R R R L

œx x x ≈ x x

x x x

r L

z œœ

> œ

R l

r L

œœ

≈ œ.

œ-

R L

(Crash Choke)

>- - ^ x x x œœœz R R R

> œ. œ. œ r r R

R l

l R

R l

l R

^ > > z œœœ œ R

>> > œ Å S S

x œ- .

R L

œ-

Thunder and Lightning (cont.) 1 > ^ > > > > ^ > >- > - > > > > >3 > > ^ ^ ^ ^ m j j j j j j ! ! ! ! ! ! ÷ .. ≈ œ œ œ z œ œ œ œ œ œ œ œ œ œ œ z ≈ œ œ œ œ œ z œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ z œ œ œ œ œ œ œ œ œ œ œ z œ œ œ œ œ œ œ œ œ œ œ œ œ z œ œ œ ..

A 9 S

R l l R l rr ll r 12"– 3"

L r l R l l R

L r l R l R l r

L r l r

L l

L r l R l rr ll r

L r l R l l R

R l l R l r

r l l R l l R

l R l l R l r r L

r l l R

l r

L r r L r l

L r r L R

> >> > > > > > ^^ > ^ ^ > > > > > > > > > > z z œ œœ œ œœœ œ œœœœœœzz œ œ ≈ .. ÷ .. ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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

12"– 3"

> ÷ .. ‰ œj Å S L

12"– 9"– 3"

÷ .. ‰ 8 h x J

- >j > Å Å S ‰ S S œ œ œ

> Å S œ

S ‰

>j Å S œ R

x 8.

h ‰

x x J

R L

> > > > ^ > œ ÷ œ œ! œ œ œ œ œ œ œ œ œ œ! z œ œ œz œz

œz

l R ll r L r r L r l l R ll R l r L RLrl 12"

> > > > ^ >> œœ œ œ ÷ ≈ œ œ œ œ œ œ œ z œ œ L r r L r L r l l R l R

h ‰ x x x x J

m œ Œ

r 3"

≤ > > > 4:3 > 4:3 ^ m Å œjœ œ œ œjœ œ œ œ œ œ œ œ œ œ œ z œ Œ R l r 9"– 3"

∑

R L

L r l R l r r L r l l R L 12"– 6"

÷ ≈ œ œ œ 12"

÷‰ 8 h J

l r

œ x

x 8.

x x x 8.

R L

x x x œ- . œ- Œ

‰.

h ‰ x x J

h ..

("Hi Mom")

≈ œ œ œ œ œ œ ≈ œ œ O ≈ œ œ œ œ œ œ œ œ

rr ll R L R ll rr L rr ll R L R L R L R L R L

12"

R L R 9"

L R L

R R L

R R L R L R L R

L R L

R L R ll rr ll rr ll R L R

>>> ^ ^ >>> >>> > ! ! ! ! ! 3 zz œœœœœœœœ ‰ œ! œ! z z z œ! œ! œ œ! œ! œ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ ‰ œœœ SSS

œœ œ œ œ S ..

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

- > Å S S ≈ œ œ œ œ

3 œ œ œ œ œS S ‰œœœœœœœœœœœœœ S Œ R L

R L

^^^

12"– 3"

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

Pg. 30

R L R

12"– 6"

≈ S S S L

œ- ‰ 8 R J

œœ

l r l

≈ œ œ ≈ œ œ S Œ

8 h Track & Burn

Thunder and Lightning (cont.) C

> > >- >>> > > >- >- ^m 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 œjœ œ œ z œ .

> > > - >3 - ^ œ œ œ œjœ œ œ œjœ œ œ œ œ œjz

18 S

L r l 9"– 3"

R l r

> > ÷œ œ

> œœ

9"– 3"

÷S S ÷‰ x J 1

L L r

> œ

r R

≈ œ 2

L r l

R l r

> >> ^ œ œœ z

> > œ œ

> œœ

œœ 1

L L r ll rr L R

x 1

R R

œ œ

> œ

r R

≈ œ

S S ‰ x J

1 2 1 x 8 hx

L L r

L r l

R l r

> > > >œ >œ >œ > œ œ œœ

> œœ

œœ 1

L L r L R

x 1

R R

R L

L L r L l

≤ œœ

> z^ z^ z^ z^ z^ > œ‰ œ 3

r R

R L

‰

-3 - > > > œœœœ œ œ

‰

-3 - ^ ^ > œœœz z œ

(One Level Higher)

R L R

r L L R L 12"– 6"– 3"

œ œ œ

S S ‰ x J

1 2 1 x 8 hx

≈ œ 2

œ œ œœœœ œœ œ S œœœœœœœœœœœœœ œ œ œ Å S S

œœ œ 1

2 1 8 hx

x 1 x

œ.

12"

R L

‰

8 J

1 > > > > > ^ > >- > - > > > > >3 > > ^ ^ ^ ^ ^ m j j j j j j ! ! ! ! ! ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ z œ œ œ œ œ œ œ œ z œ œ z œ œ œ œ œ œ œ œ œ œ œ œ œ œ z œ œ œ œ œ œ œ œ z œ œ œ œ œ œ œ œ z œ œ œ .. œ œ ÷ . ≈ ≈

D 22 S

R l l R l rr ll r

L r l R l l R

L r l R l R l r

L r l r

L l

L r l R l rr ll r

L r l R l l R

R l l R l r r L

r l l R l l R

l R l l R l r r L

r l l R

l r

L r r L r l

l r

L r r L R

S ≈ S S S S

> >> > > > > > ^^ > ^ ^ > > > > > > > > > > œœ œ œœœœœzz œ z z œ œ œ œœ .. ≈ œ ÷ .. ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 S S S

2 1 ÷ .. h 8 h 8

L R 9"

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

Track & Burn

S S S S ≈ S S S S S R

R L

8 h 8

L R

8 h 8 h

S S S R

8 h

8 Pg. 31

L R

8 h 8

R L

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

S S S S ≈ œ œ œ R

R L

8 h 8

12"

h 8 h

œ œ œ œ œ S .. L

1 2 1 8 h 8 h 8 ..

Thunder and Lightning (cont.)

≤ ≤ ≤ ≤ > > > > > ^ ^ > ^ ^ j j ! ! ! ! ÷ ≈ œ œ œ z œ œ œ œ œ œ œ œ œ œ œ z ≈ œ œ œ z œ œ œ œ œ œ œ œ œ œ œ z ≈ œœ œœ œœ œœ œœ œœ z œ œ œ Œ

26 S

R l

L r l R l

l R

R l

l R l rr ll r

L r l R l

l R

R L R L

^ ^ > > ^ ^ > ^^ > > > ! ! ! ! z z z z ! ! ! ! œ œ ÷ ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ! œ! œ œ œ œ œ œ z z œz œz œz Œ R l

l R l rr ll r

>> > ^ Å œ! œ! œ œ œ z

l R l

÷ ≈ œ œ

÷h

r L

r l

l R l

œœ

l R

œ- .

l R l

x 8 J

S S ≈ œ œ R L

R l

œ- ‰

r L

r l

l R l

œœ

l R

œ- .

R L

œ- ‰ x 8 h 8 h œ- . J

Pg. 32

L RL rl

S S ≈ œ œ œ œ œ œ S S S R L

L 9"

rr ll R L 9"– 6"

œ-

L R

œ Œ Ó

R 12"

> œ Œ Ó R

∑

S Œ Ó

∑

x Œ Ó

Track & Burn

HB Swagger Background & Performance Notes I started HB Swagger with the title and asked myself what a cadence called “Swagger” ought to sound like. It’s named for my friend HB, who gave me the idea. The opening statement belongs almost exclusively to the tenors and is colored by the bass drum splits and the snare drum roll. This long crescendo releases at letter A, where a repeating two-note melody in the upper bass drums takes over. The impacts in measures 7–8 should be light in the snare line and very heavy in the tenors and lower bass drums, leading into measures 9–14 which feature the tenors. I was motivated to write letter B by the overwhelming lack of triplet-based grooves in street beats and the potential for variety offered by this different feel. There is a great demand here for control in the snare part and hand-to-hand independence in the tenor part. This heavy, slow feeling passage is broken up by the eighth notes in measure 24, leading into a more energetic groove reminiscent of late ‘80s hip-hop. There’s a bit of nuance to the snare part at letter C; for example, the tenuto markings on the slurred ruff in measure 26 should give the impression of a slight crescendo leading into beat 4. This shaping is complemented by the two-height figures in the bass drum part. Also, the groups of three notes on a hand should be approached as relaxed triple-strokes (i.e., neither a strict accent tap figure nor three accented notes). Letter D is a bass drum solo played over an ensemble buzz roll. The stick shots in the tenor part are accomplished by keeping the left stick bead firmly on the drum head, holding the left stick at a steep angle to the head, and striking the left stick with the right. Letter E reprises the previous hip-hop groove colored by the tenor melody from measure 9. The short snare drum soli in measure 43 is a fun riff from the 1979 Santa Clara Vanguard Lezghinka percussion feature that has been quoted a lot in the years since (most notably— for me, anyway—by the world class WGI ensemble Carolina Thunder). After the impact in the final bar, a solo “ting” in the cymbal line tops everything off. (Imagine a light tap on a ride cymbal after a drum set solo.)

Pg. 34

Track & Burn

Snare

Tenor

Bass

»¡™º

^j ^ ^

>>> ^ ^ ^ >> ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! 4 z z z œ œ œ œ œ œ œ œ œ œ œ œ z z z œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ ÷4 ‰ Edge to Center...

Center to Edge...

R R L rr ll rr ll rr ll rr ll rr ll 12"– 3"

÷ 44 ‰

^j z ^^

z z œ! œ! z .

R R L rr ll R 12"– 6"– 3"

rr ll R ll R

j>> >> 4 ÷ 4 ‰ Å S S S S. L R

(Sizz/Suck)

> ÷œ

> ÷ œœ

œ- ‰ œJ

m œœ Œ

m œœ ..

m œœ Œ

≤ m œœ

‰ 8 h J

(Sizzle)

(Crash)

m œœ .. p

∑

≤ m œœ

L R

12"– 6"

L R

‰ x ‰ x 8 h 8 J J (Hi-Hat Chick)

÷t

Track & Burn

Pg. 35

>>> > ^ œœœ œ z R L R

L R

>> œœ œœ

m œœ .

≤ m œœ

> > ‰ œœj ≈ œœj ..

R L

^ m m xx xx xx p œ œ ≈ xx xx p œ œ

m œœ .

(Crash Choke) œ- œ. ≈ œ- œ- Ó

Front Rim

>œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 œœœ œœœ ÷S Œ Œ Œ ‰ Jœ ≈ z z z 6" R Rlrl Rlrl Rlrl 12" ß ß ß 1

R L R R L

Sim...

z >> > œœ œœ œœ ≈

> >> >> > >> >> > œœ œœ œœ œ œ œ œ œ j œ œ œ œ œœœœœœœœS S ‰ œœ ≈ œœ S ≈ œœ Å S S S S S

œ- .

‰ t zJ

^ ^

R l r l R l r L

S ≈ S S

Guts...

^ ^ >j > - - - z > >> œ z œ œ œ œ œ ≈ œœ œœ œœ œœ ‰ œœ

z z.

R L R R L R ll 12"– 3"

œ! œ! œ! œ! œ! ! œ œ œœ œœ œœ S. œœ œ‰ œ > > > R

A 5

^ ^

12"

œ-

÷ 44 ‰ 8 h J

...

> > ! !^ !^ ^ z j œœ ‰ œœ œ œ œ z z

R R L 12"– 3"

Cymbals

HB Swagger

(Ping)

R l r

>> ^ > >> ^ ^ ^ œ! œ! œ œ z œ œ œ œ œ z œ z z œ œ 6"– 3"

rr ll R L R l r L r L R l R l R L 9"– 3"

œœ œ œ œ œ œ œ œÅ œ œ œ œ œ œ œ œÅ œ œ œ ÅÅ œ ‰ œ ÅÅ œ œ . œ J J R

‰

x ‰ x ‰ J J

L R

x ‰ x J J

HB Swagger (cont.)

m ÷ ≈ xx xx p œ œ ≈ xx xx

R l r

œ œœ ÷œ œ ÷‰

œœ œœœœ œœ ÅÅÅ œ ‰ œ J L

x ‰ J

R l l

L R L

^ m m ≈ xx xx p œ œ ≈ xx xx p œ œ

R l r

l R l R l rr ll r L L r L L r L

R L

‰

x J

œ œœœœ œœœœ œœœ œ œœ ÅÅÅ œ ‰ œ ÅÅÅ œ œ œ œ J L

x ‰ J

L R

x ‰ J

x J

œœ œœœ œ œ œœ ÅÅÅ œ ‰ œ J

‰

x ‰ J

x J

Edge to Center...

> >3 m > >3 m > >3 m > >3 m > 3 3 > œ œ œ œ œ œ œ œ œ œ œ œ œ œjœ œjœ œjœ œjœ œjœ œjœ R R l R R l R R l R R l 6"– 3"

R l 12"– 3"

≤ z

R R

L L

R R

L L

ll R

> >3 > >3 > >3 > >3 3 3 > > > ‰ ‰ 3 3 œ œ œ œ œœÅ œ œ œ œ œ œœÅ œ œ œ œ œ œ > > œ ÷ œ œ ÅÅ œ œ ÅÅ œ œ ‰ œ œ ‰ œ œ ‰ œœ œœ ‰ œœ œœ œœ œœ œœ œœ S Œ R . .3 . .3 . .3 . .3 r r R R R R 12"– L R L L R L 3" 12"– 3"

8 h J

8 h Œ

8 h‰8 h‰8 h‰8 h‰ 1

(Ting)

‰

œ œz

r R

m p œ œ

l r

^ ^ ≈

œ. z z r R R

--- > > > œ œ œ œ œjœ œjœ œjœ R L R l

œ œ œœœœ œœœœ œ œœ œ œ œœ ÅÅÅœ œœ œ œ œ ÅÅÅ œ ‰ œJ ÅÅÅ œ œ L R L

x ‰ J

x J

‰

x ‰ J

L rr ll R r l r l R r l r l R ll rr 12"– 6"– 3"

Œ œ > > S

3 > œ œ ‰ ‰ œ œ œœ œ œœ 3 3 > 3 3 > > 3 Å œ œ œ œ Åœ S ‰ ÅÅ

L.H. Drum 4

R l r l r L

1 œ-

L rr

z ‰ ‰ z Œ œ œœœ œ 3 > > > 3 >j > S ‰ ‰ S S 3

x ‰ J

x J

‰

x J

R r l r l R r l r l R ll rr

3 > œ œ ‰ ‰ œ œ œœ œ œœ > 3 3 3 3 > > 3 Å œ œ œ œ Åœ S ‰ ÅÅ

R l r l r L

2 1 1 2 x ‰ œ- ‰ ‰ œ- x J 3

Pg. 36

m ≈ xx xx p œ œ ≈ xx xx

- 3 ^ 3 - 3 > 3 - 3 ^ 3 - 3 > 3 œ œ! œ! z œ œ œ œ œ œ œ œ œ œ œ! œ! œ œ! œ! z œ œ œ œ œ œ œ œ œ œ œ! œ!

(Drum 5 Muted)

÷‰

R l r

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

3 3 ^ ^ > >3 > >3 3 > >> ^ >> > > ! z^ > > > >3 3 3 z ! œ! œ œ z z œ ! ! œ œ œ œ œœœ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ œœ œœ œœ œœ œœ .. ÷ œœœ rr ll R L R L L rr ll R L R L L

œœ œœœ œ œœœ ÅÅÅ œ œ œ œ .

÷ ≈ xx xx z œ œ ≈ xx xx z

14 S

R l r

>>^ > > ^ (Rim Click)> > > > > > > ^ > 5:3 > ^ > > >> > > œ œ œ œ! œ! œ œ z œ œ œ z œ œ œœœœ œ z œ z œ œ! œ! x œ œ œ œ ÷œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ

^ m m ≈ xx xx p œ œ ≈ xx xx p œ œ

R l r

R l R l R L r L rr ll R L R L

m p œœ

1 œ-

^ z ‰ ‰ zj œ œœœ 3 > > 3 >j S ‰ ‰ S 3

2 1 1 x ‰ œ- ‰ ‰ œJ 3

Track & Burn

HB Swagger (cont.)

- 3 ^ 3 - 3 j> j3> ÷ œ œ! œ! z œ œ œ œ œ œ œ œ œ œ œ œ

> ^ 3^ ^ ^ ^ 3 > 3 > 3 j j j œœ p p p p p œ œ œœ œœœ œœ œœœ

19 S

L rr

l r l r L

1 œ-

÷x 2

R l

L R L R L R

2 1 1 x ‰ œ- ‰ ‰ œJ 3

- 3 ^ 3 ÷ œ œ! œ! z œ œ œ œ œ . rr

r l r l R

> > >6> > > ^ œœœœœœz

R L

r l r

>3j > ‰ œ ‰ œ ‰ œ œ œ œ œ > 3 3 > 3> > > > > >6> > > œœœœ œœœœœœ Œ

> > 3 > 3 ^ > > > z œ œ œ œ œ œ œ! œ! œ œ! œ! z œjœ œjœ œjœ l

r L

R ll rr L rr ll R

l r l r L

÷Œ

Track & Burn

≤ œ-

œœ

> œœ

r l r l R

R L R

1 œ-

8 h 8 h

Pg. 37

r l r l R ll rr

L rr

r l r l R

r l r l R ll rr

3 3 ^j 3 ^ ^j 3 ^ > > Œ ‰ ‰ ‰ ‰ j Œ ‰ ‰ z z ‰ ‰ zj œ œ œ œ z œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 > > 3 3 > 3 > 3 3 > 3 3 >

> 3 > Å S œ œ œ œ ÅÅÅœ R

l r l r L

≤ œ-

3 > > 3 > 3 >j > Å S ‰ S ‰ ‰ S S œ œ œ œ ÅÅÅœ R

Huge Crashes

R l

L rr

> Œ ^ ^ ^ œ œ œ œ œ œœœ z œ œ z z L l l R L R L R L R R r r R R 3 > 3 > >3> > > 3 3 > 3 >j > >> >> œ œ œ œ Åœ œ œ œ œ > > > > > Å Å ÅS S ÅS S ÷S ÅÅ œœœœS ‰ S ‰ S > 3 ÷œ œ œ

23 S

3 ^j 3 ^ > > > Œ ‰ ‰ ‰ ‰ j Œ ÷ œ œ œ œœ œ œ œ œ œ zœ œ œ zœ œ œ œ œœ œ œ œ œœ 3 3 > 3 > 3 > 3 > 3 > > 3 3 3 3 > 3 > > > > > > > j Å S ‰ S ‰ ‰ S S S ‰ Å‰ S S ÷ S œ œ œ œ ÅÅÅœ R

R r l r l R l

- 3 ^ 3 - 3 >3 - 3 ^ 3 - 3 >3 œ œ! œ! z œ œ œ œ œ œ œ œ œ œ œ! œ! œ œ! œ! z œ œ œ œ œ œ œ œ œ œ œ! œ!

≤ œ-

> 3 > 3 >j S ‰ S ‰ ‰ S

l r l r L

≤ œ-

- - ^ m(Front Rim) ^ > - > -3 - > ^ > > >- ^ œ! œ! œ œ z œ œ œ ≈ x œ œ z œ œjœ œ œ œjœ œ œ z œ œ! œ! œ œ œ œ œ z œ œ œ

rr ll R L R l r l

r l l R l

> œ

>> S S.

>j > > Å S ‰ S Åœ

R L 9"– 3"

R l

L l l R l rr ll r L r r L R l R L

∑

R L

> > œ œ

> œ Å

>> œ! œ! œ œ

>> > S S œ œ! L R

HB Swagger (cont.)

- - - --^ m - > -3 - > ^ > > > >- > >> >- ^ ^ ^ ^ ÷ œ! œ! œ! œ! z œ œ œ œ œjx x œ œjx x œ œ œ œ œ œ z œ œ œ œ œ œ œ z œ œ œ œ! œ! œ œ z œ œ œ ≈ x œ œ z œ œjœ œ œ œjœ œ œ z œ œ! œ! œ œ œ œ œ z œ œ œ

27 S

rr ll rr ll R l r r l

÷Œ > ÷S R

Œ > S L

÷Œ

l R L

r l R L l

rr ll rr ll 3"

rr ll rr ll rr ll rr ll RR LL R 12"

>> Åœ œ R L R

rr ll R L R l r l

≈ œ

œœz

r r R 9"– 3"

>> œ! œ! œ! œ! Å S S œ. œ > >R L R

> > >> œœ! œ! œ! œ! Å S S S S . œ . > >R L L R L

‰

rr ll rr ll R l r r l

÷œ œ z r

r R

> ÷S

> S

÷‰

1 J

R R l

R R l l

> œ

> Å S ‰

>j S

>> Åœ œ

œ. œ. z r r R

x 1 ‰ 2

1 J

R L R

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

> > z^ z^ . œ œ z œ. œ. z œ œ r r R r r R R R R L

> > œ œ

R L

1 2 1 2 1 x 1 œ. J

Pg. 38

> œ

‰

> >> œ œœ

>> !œ œ! œ œ

R R

>> > S S œ œ! L R

‰

1 x 1 J

1 J

To Guts...

(Stick Shots)

> 1 R

Buzz Roll 16th-note Pulse

> œ Å

z w

> 1 R

> 1

> >> > >> > > > !œ œ! œ! œ! > > > > > > > œœw Œ œ œ ≈ œj . œw œ œ ‰ œj ‰ œ! œ! œ w˙ ‰ œ ≈ œ . œ Å S S S S S S S ww z z J > >R L R R L R L L Í >rr ll R R L L R L L L ‰

L l l R l rr ll r L r r L R l R L

œ œ z œ. œ. z r r R r r R

> œ

1 x 1 ‰ 1 x J J

> z œ. . 1 Œ R l

R l

>j > > Å S ‰ S Åœ

Rlrl

r l l R l

> œ

œ. œ. z r r R

- - - >^ > - > > > ^ ^ > > by beat three j j ! ! ! ! ÷ œ œ œ œ z œ œ œ œ œ x x œ œ x x œ œ œ œ œ œ z œ œ œ œ œ œ œ! z z œ œ œz ˙z.

>j S

31 S

R R l

œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! T! ! œ T

> Å S ‰ R

R R l

x Œ

> 1

Œ >> œœ œ. J >L R R

> 1

> > > >> >> ≈ œj . œ . œ ‰ œ œ ≈ œ œ www

R L

L R

x Track & Burn

^^ ^^

--^ m - > -3 - > ^ > > - - - >- ^ ^ j> ^ j j ! ! ! ! ! ! ! ! z z ‰ z z ‰ œ œ œ œ z œ œ œ ≈ x œ œ z œ œ œ œ œ œ œ œ œ z œ œ œ œ œ œ œ œ z œ œ œ œ œ œ œ z œ œ œ œ œ x x œ œjx x œ œ

To Center...

÷ ˙z

HB Swagger (cont.)

R L 12"

R L

rr ll R L R l r l

r l l R l

R l

L l l R l rr ll r L r r L R l R L

rr ll rr ll R l

R L

rr ll R L R l r L r L R l R l 12"– 3"

R L

l R l R L r L

^^ ^^

>>^ > >> ^ ^ ^ > > >> > œ œ z z z z œ ! ! z z z œ ‰ ‰ œ œœœzœœœœœœœ œ œ œ œ œ œ ≈

> 1

÷Œ

> > > ≈ œ œ œ œ œ œ œ > > > > > > S S ‰ S S ‰ S S. ÷ ˙˙˙ z

÷Œ

R L

œ.

>j > > Å S ‰ S Åœ

R L 9"– 3" 1

> > œ œ

R L

8 h 8 h 8

> œ Å L

L R L

>> !œ œ! œ œ

r l

R R l

l R l rr ll r

L L r

L L r L

>^> > > ^ ! ! >> >> > œz œ œ z œœ œx œœœ œ œ œ œ œ œœ œ R

>> > > S S œ œ! S

h 8

L R

8 h

> S

> Å S

‰

>j S

>> Åœ œ

R L R

--^ m - > -3 - > ^ ^ ^ ^ ^ 3- > 3- - 3- > 3> - ^>- > - ^>>>> ^ ^ ^ ^ j> j> - ^ ! ! ! ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ z œ œ œ z œ œ z œ œ œ œ œ z œ œ œ œ œ œ z œ œ œ z z z z z œ œ œ œ œ œ œ œ œ œ œ œ œœœ zz zÓ x œ œ œ œ œ œ œ œ œ œ œ œ œ œ ÷ ≈

40 S

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

> ^ ^ ^ ^ ÷œ z œœz œ œz œœz . . r. r. R L R r r R r r R

÷8 h 8 h 8 h 8 h

Track & Burn

r l l R l

R l

L l l R l rr ll r L r r L R L R L

R r l r l R r l r l r r l r l R r l r l 9"– 6"– 3"

>>^ > >> ^ ^ ^ > > >> > œ! œ! œ œ z œ œ œ œ œ z œ z z œ œ œ œ œ œ œ ≈ œ œ œ œ

> ^ >>> > œz œœœ œ

>> !œ œ! œ œ

>> >> > SS SS S

rr ll R L R l r L r L R l R l

! œ! œ! œ! > > ! œ! œ! œ! > > > > œ ÷ œ . œ Å S S œœ . œ Å S S S S . > >R L R > >R L L R L 1

rr ll R L R l r l

R L

>j > > Å S ‰ S Åœ R

> > œ œ

R L

8 h 8 h 8 h 8

l R l R L r L

> œ Å L

L R

h 8 h 8 h Pg. 39

L R L R L

R L

8 h

1 œ.

R L R R L R 12"

j œ

^ j^

z œ z >> > œœ œœ œœ Ó R

ÅS S S S S Ó

R L R R L L 9"

Solo Ting œ- œ. ≈ œ- œ- Œ 1

Mi Scusi Bridge Background & Performance Notes “Mi scusi” is Italian for “excuse me,” and the name for this piece is a reference to some tomfoolery that happened on St. Patrick’s Day, 2010, involving the Liffey Bridge, the Garda, and some American tourists who had seen the film Eurotrip too many times. It makes perfect sense; right? The piece itself contrasts something very “square” and intricate (measures 1–12) with the 12/8 shuffle feel that builds to the end of the piece. The snare part at measure 5 is simply alternating 16th-note “hugadigs” (RrrLllRrrLll) with quarter note rim clicks played by the opposite hand. As the groove in these first 12 bars develops, it quickly disintegrates into the impacts at measure 10 which lead into the shuffle. Letter A will give the tenors plenty of experience with the one-handed breakdown of the paradiddle-diddle rudiment. This upbeat figure drives the entire ensemble until measure 20. Snares have plenty of slurred six-stroke rolls and slurred tap-fives. Mastery of the different diddle speeds (5:4 and 6:6) is important here. The cymbal part at letter B may seem confusing on paper. There are three cymbal groups here: Group 1 will play sizz/sucks on beats 1 and 3; group 2 will play a sizz/suck on beat 2 and a crash on beat 4; and group 3 will play a crash on beat 2 and a sizz/suck on beat 4. The rim/drum figure in the snare part at measure 24 is a Will Goodyear lick that he included in some of the things he wrote for East Carolina University and my high school line. I thought it was hip and would fit the character of this piece well, so dig it. Letter C expands on the statement of the previous four bars, now with an upbeat feel provided by the cymbal part. This section is meant to be a massive, energetic groove that is only broken up by the unexpected duple feel at measure 31 and the silence on the downbeat of measure 32, both of which make the ending more dramatic.

Optional Stadium Groove: Start at Letter B, and play to the end of the piece. The duration is approximately 24 seconds (excluding a tapoff).

Pg. 40

Track & Burn

Mi Scusi Bridge

»¡™º >

> > > > 6 > > 3 ^ > >3 > > 3 > > >3 ^ ÷ 44 œjœ œ œ œjœ œ œ œjœ œ œ œjœ œ œ œ œ œ œ œ œ œ œ œ z œ œ œ œ œ œ œ œ œ! œ! œ! œ! œ! œ! z œ œ œ œ œ œ

Snare

R l r 12"– 3"

L r l

R l r

L r l R l l r r L

R l l R L L L L r l r l rr ll rr ll RR LL R L R L r l r 12"– 6"

^^^^

^ >>

÷ 44 œ

Tenor

L R 15"

÷ 44 S

Bass

L R

x œ- . J

R r r L 9"– 3"

j œ

÷ œ œ

R r l 6"– 3"

12" 3

L R L R

œ- ‰

x J

(Sizzle)

j œ

œ L

j œ

R 12"

Å.

(Stick Click)

R 12"

Å.

x xx xx L R L R l

œ œœ œœ L R L R l

> > 3 > > 3 > > > > > ^ œ! ! ! ! ! œ! œ 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 œ œ œœ œ œ œ z œ œ œ SS ‰ œ! œ! œ! œ! œ

(Rim Shot)

R L R L 12"

rr ll R 12"– 6"

j œ

‰

R L

œ. Œ J

(Crash Choke)

r L R l l R L r r L R L R L R 12"– 6"

œ.

> ÷ œ.

j œ

To Center...

l R

t 1

œ œœ R r

r L

l R l l r

L rr ll R

L l

l R ll R l r L 9"– 3"

rr ll R

> œœ j

÷ x 2

Track & Burn

(Sizz/Suck)

R R l R l l l

^j > > ^ ^ > > > > ! ! ! œ œ œz œœ z. œœz œ œj œ œœ œœ ≈ œ œ œ ≈ œ ‰

> > œ œ œ >œ > ≈ œ œ ≈ x

Front Rim to Center...

l R r

12"– 6"

œ! œ! z œ œœ ‰ œj œ œ 3

j œ

> > >- > ^ m >-m > ^ 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 z œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ z œ œ œ x x œ œ œ œ œ œ œ œ œ! œ! œ œ œ œ œ œ œ x x ÷ x ≈ ≈ Edge... (and front rim)

zzzz

œœ

z 3 S ≈ œ S S S œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ

(Hi-Hat Chick)

œœ œœ œœ 6

(Crash) ÷ 44 œ- . œ- ‰

Cymbals

œ ≈ œ

L R

R 9"

j œ

(Stick Click) Front Rim

R l l

rr l r l R l r

>>> > œ > >> œ œ ≈ œ œ > > Å S œ œ œ ‰ S S ≈ œ œ œ

12"– 9"

8 h Pg. 41

R l R l r l

^ > -- > !œ œ! œ! œ! œ! z m œ. œœ œœ œœ ‰ œ

> ≈ œj .

L l

R L

8 h ‰ x J

ll rr ll

rr ll R L

‰

x J

>- >- ^ ! z z œ œ !œ œ œ z œ œ œœœœœ

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

S ≈ œ œ œ œ Å S L

r r ll r l rr L R L L l l rr ll r l

‰ x J

j œ œ! œ! œ >> ≈ œ œ Å S S ‰ œ R L

8 h ‰ x ‰ x ‰ x J J J

Mi Scusi Bridge (cont.)

- ^ ^ ^^^ 9 > j ! ! ÷ œœ œ œœ z œœz œœ œ œ z z z R l

R l R l l R l l rr ll R L R 12"– 3"

> ^ ^ >^ œ ! ! ÷ œœ œ z œœz œœ œ œ œ œ z r l

>- > >- > ^ ^ ^ > ^ > j j j j œ œ œœ œ œœœ œ œœœ œ œœœ z œz œ z œ z œŒ

÷œ

R r l

R l r

L l r

L r l R l R l

^ ^ ^

z œ. z œ. z œ. z œ. z z R r R r R r R r R R

R l R l l R l l rr ll r L R

> >> > >> ! œ! œ œ œ! œ! œ œ œ S Å S S œœ œ. R L L L >

6"– 3"

÷8

h ‰ x ‰ x ‰ œJ J J

œ.

> œ œ!œ! œ -‰

> œ œ!œ! œ -J ≈

R L R L

R L r r L r r L R L R ll rr LL

÷ œ. ‰ œ Œ. ÷ 1. 1

r R

L L L

L L

r R

1. 1

L L

œ- œ. Œ

L 12"

> > > > > > > r œ œ œ œ œ œ œ œ œ > ‰ > Œ. œ. ‰ œ ‰. ‰ œ œ. œ. œ L L

Œ.

> > œ. ‰ œ Œ.

1. x. 1. x. 1. x. 1. t. 1. x. 1. x. 1. x. 1. t.

12"– 3"

Pg. 42

r R

>3 > > > > œ œ œ 12 œ . œ œ œ . œ œ œ . œ œ œ . œ œ ≈ 8 œ . œ ‰ Œ . ‰ . œJ . Œ . r R r r R r r R r r R r r R r L L L

L L R

R l r L r r l l R l r L r r l l R l l r r L 9"– 3"

L L

Œ.

r R

œ. œ 12 8 ‰ Œ.

Œ.

1 12 8 1.

12"

1. 1

(Ting)

^j > > 5:4 > > 5:4 > > > > 5:4 > m œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ x ‰. z .

r R

L L

r R 9"– 3"

R.H. 9"– 3" L.H. 9"

œ- . œ. ‰ 8 h J

r R

> ‰ . œj . Œ .

> >> œœ œ > ≈ œœ œ œœ

R L R R L R L R 6"

œ! œ! ! ! œ œ S . S ≈ S S S

> > > > > > > > > > > > > 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 . œœ œ œ . œœ œ œ . œœ œ œ . œ œ œ . œ . œ . œ . œ . z. ÷ œ. œ œ œ. œ. œ. œ. œ . ‰ ‰. ‰ R . . . Œ ‰ J ‰ ‰ ‰ Œ. ‰. v Œ ‰ ... L

r R

zz zz œ œ œ z œ œ z z z z œ! œ! œ! z . z

12"

œ- œ-

R ll r L 12"– 3"

> > > > > > > > > > > > x x x x x x x x x x x x x x x x x x x x x x x ÷ . . . . . . . . . . . . . . . . . . . . . . . x. r R

r l rr LL

^ ^ >^ ^ ^ ^^^

> !! œœJ .œ œ S S S S S S Œ > R RL R RL

> > > > 12 8 x. x. x. x. x. x. x. x.

(Pings)

> > ^ >> ^ ^ ^ ^ ^ œ œ œ! œ! œ œ! œ œ ≈ z œ œ p p p p p

1. x. 1. 1

R l r L r r l l R l

r L

> > > > > > > œ œ œ .œ œœ œ zœ . œ œ œ . œ œ œ . œ œœ œ œ .œ œœ œ œ . œ œœ œ . . . œ. ‰ . . . Œ ‰ ‰ ‰ J v L

L L

1. x. 1.

x. 1. x. 1. t.

L L

> ‰ . œj . Œ .

x. 1. x.

> > œ. ‰ œ ‰.

> > > > >r œ œ œ œ œ œ œœœ ‰ œ œ.

1. t. 1

L L

Track & Burn

Mi Scusi Bridge (cont.)

> > 5:4 > > 5:4 > ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œz.

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

> œ. œ œ œ. ÷ Œ. ‰.

œz.

> > ÷ œ. ‰ œ Œ. ÷ 1. x. 1. 1

rlrl

> > > ^ ^^ œ œ œ . œ œœ œ zœ . œ œ œ . z z z . . œ. ‰ . J r R L R v L

L L

> ‰ . œj . Œ .

x. 1. x. 2

œœœœœœ

^ ^

z z R

r l r L R

L R 12"

L R

R r r 12"– 6"

R 9"– 3"

> œ œ œ œ œ œ S S S S S ‰ S S. S. R L R L R 9"

R L R L L R R L L R L R L L R R L L 9"

- - > >> > ^ ^ œ œ œ œ œ ‰ œ œ. œ œ œ. z z.

L r l R L R

1. t. 1. x. 1

- > ^^ ^ ^ ^ ^ œ œ œ œ œ ‰ z z. œ œ œ œ œ z œ œ œ œ œ œ œ œ z œ œ œ œ œ œ œ œ z œ œ œ œ œ œ œ œ z œ œ œ B

1. x. 1

L R

> œ œ. z. œ.

r r

R L R L

> ^ ÷ œ œ œ. z R

r r

L R L R L

L R

R R R

> œ œ. z. œ.

z. R

r r

> ÷ S.

> > >> > > S. S. ‰ S ‰ S S. S. S.

÷ 8.

h . 82 . h . 81 . œ- .

L R R L

^ ^ ^

r r

> > S. ‰ S ‰.

h . 82 . h . 81 . œ- .

81 .

h . 82 . h . 81 . œ- .

R L

h . 83 . h . œ- .

R L

> j > S . S. ‰ S

h . 83 . h . œ- .

- ^ ^ ^ ^ > >^ >^ >^ œ z œ x x x z z z œ œ œ œ œ z œ œ œ œ œ œ œ œ x x x x œ œ œ œ z œ œ œ œ œ x œ œ œ z œ œ œ œ œ x œ œ œ z œ œ œ œ œ x œ œ œœz œz œz œz œœ . œ .. . œ .. . . . . ÷

œ œ. z

>> z. ‰ z z z. œ œ

> S.

^ ^ ^

^ ^

> > >> > > S. S. ‰ S ‰ S S. S. S. r

1 x. x. x. 8.

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

Track & Burn

R L

R R R

L R l r r l l R l l r

R l l r r L

9"– 3"

S S S. Å. S.

∑ Œ.

R l l r 9"– 3"

L R l r r l l

^j ^ ^ > > > ≤ ≤ > > z^ z z z œ ‰ . . . . œ œœ œœ .. œ œ œ œ œ œ ‰ œ œ . .

Œ.

h . 83 . h . Œ . œ- . 2

R L

R 9"

Œ.

‰. 8. h. J 1

L R

8. h. 2

Pg. 43

8. 1

R L

œ. L

R l l r

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

≤ > > ≤ ‰ œœ œœ .. œ œ œ œ œ œ ‰ . R l l r r L

^ ^ ^ ^

z œ z œ z œ z. R l R l R l R

‰ S S. Å. S.

‰ S S.

Å. S. L

L R

8. h. 2

8. 1

L R

8. h. 2

8. 1

L R

8. 2

Mi Scusi Bridge (cont.)

>^ >^ >^ >^ > >^ > >> ^ > >> ^ > 6 ÷ x œ œ œ œ z œ œ œ œ œ x œ œ œ œ z œ œ œ œ œ x œ œ œ œ z œ œ œ œ œ x œ œ œ œ z œ œ œ œ œ œ œ œ œ œ œ z œ œ œ œ œ œ œ œ œ œ œ z œ œ œ œ œ 8 œ œ œ œ œ œ z œ œ œ œ œ 42

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

÷ ‰ S S. Å. S. ‰ S S. Å. S.

‰ S S. Å. S.

> œT ..

>> ‰ œœ œœ ..

≤ ≤ > > z^ œ œ œ œ œ œ ‰ œ œ. .

Å. S.

‰ S S.

‰ S ‰ S S.

œ- . J

‰.

œ- . ‰ . J

R l R l R l R l R L

L R

‰ S S.

L R

8. h. 8. 2

R l l r r L

L R

12"

1 h . œ- .

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

‰.

œ.

>> 68 ‰ œ œ . œ œ.

≤ ≤ œ œ œ œ œ œ 42

68 ‰ S S .

‰ S 42

œ- . ‰ . J

œ- . J

68 ‰ .

œ- . J

‰.

8. J

R L

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

R L

≤j ≤ > > > > > > ≤ > > > > > > ≤ > > > > > > œœ .. z œ œ œ œ œ œ œ œ œ œ œ z œ œ œ œ œ œ œ œ œ œ œ z œ œ œ œ œ œ .

≤ ÷ 42 œ

z zz .. œ œ œ œ œ œ

^ ^ ^ ^

z z z z R

12 8 ‰.

÷ 42 Å

Å R

S S S S 12 8 ‰.

÷ 42 h

œ.

12 8 ‰.

12"

j S . S. L

x. J 1

2 œ- .

S. L

^ ^

z z. R

‰

S S.

2 œ- .

Pg. 44

œ œ œ œ œ œ

S. L

z z.

R L

R l l r r L

L R

> > > > > > > 2 z ÷ 4 œ! œ œ œ œ œ œ 12 8 ‰.

L R

÷ h. 8. h. 8. h. 8. h. 8.

R L

L R l r r l l

> > > œ. ^ ^ ^ ^ ^ ^ ‰ œœ œœ .. œ . z œ z œ z œ z œ z z .

L R

L R l r r l l R l l r

≤ > > z^ > > > ≤ ÷ ‰ œœ œœ .. œ œ œ œ œ œ ‰ œ œ . . œ . R l l r r L

R l l r

R L R L R L R

≤ œœ ..

^^^^

≤ zz ..

z œ œ œ œ œ œ z z z . R L R L R L R L R L

œœ ..

S S.

2 œ- .

R L

S. L

‰

S S.

2 œ. .

R L

Track & Burn

Dream Team Funk Background & Performance Notes Being almost finished with college, I was happy to write things that I knew I would never have to clean myself. Some parts of this piece are probably the most challenging notes in this book, but—at least for me—they are also the most fun to play. The tenor flam pattern in measures 1–3 could more appropriately be written as a separate part for each hand (i.e., the grace notes of each flam should be played at the same time as the primary note). The snare drum part consists of some fairly trivial independence figures until measure 4, which will require a bit of coordination: maintain control while coming off of those stick shots, pay attention to the crush that will land in the center of the drum (in beat 3), and see who can miss the fewest left-hand pings. Letter A is mostly carried by the accent pattern played by the tenors; however, this means that it will be very important for the players to feel their feet in the herta figures in measures 7 and 11. The ruffed crushes that the snares play in those measures probably won’t help with ensemble timing either, so those two-beat figures may cause trouble without a strong pulse in the feet. Beginning at letter B, the focus is on the intricate snare drum part played at the edge; everything else should be out of the way except the slurred-ruff tenor riff that rises above the ensemble sound during the 8/4 measure. Measure 16 should give the impression of a drumset player who—after messing around on the snare drum for a bit—has begun to really make use of the full kit: the sound becomes more ensemble-focused. Letter C should be pretty straightforward: a half-time groove that jumps into real time with the addition of the tenor voice. Measure 27 features what should be a very dramatic crescendo in the snare and bass drum voices, accompanied by a timbale-style tenor lick to lead into the next passage. The structure of letter D should also be very straightforward, alternating between a single big groove and lower-dynamic sectioncentered passages. This is all followed by the restatement of an idea from letter A and then some loud triplets to bring it all home.

Optional Stadium Groove: Start at Letter C, and play to the downbeat of letter D. The duration is approximately 16 seconds (excluding a tap-off).

Pg. 46

Track & Burn

Dream Team Funk

»¡™º

> > m m L.H. Butt on Back Rim > ≈ 4 x x xœ . x œ x x œx xœ œ x œ œx œx œx Snare ÷ 4 Long Crushes

9"– 3"

Edge and Front Rim... (Front Rim) m > > m > m m m ^ ^ ^ 6 ^ ^ ^ m≤ m≤ > m≤ m≤ > ≈ j ≈ x œ x. xœ œœ x x x xx xœ . x œ x x œ œ œ œ. 1 œ x œ œ. 1 œ x œ œ p p p p p p œ œ . œ x! x! x! œ œ . œ x! x! x! A (One Level Higher)

Center...

R r r

l R r l r l R r l r l (Stick Shot)

R L R L R L (Pings)

> > >-> > > > >-> >> > > > > > > >> > >> > j j j œ œ œ œ œ œ œ œœ x œxx œxœ œx x œxœœ œxx œxœ œx x œxœœ œœ œ œœœœ œœœm ÷ 44 x x x x x x x œ ≈ Œ œœ œ œ

R L R ll rr ll R L 12"– 3"

(Drum 1 Rim)

Tenor

j œ

r L r r L r l

R r L r l R l l

9"– 3"

Bass

‰ œj Œ

÷ 44 œ 9"

Cymbals

÷ 44 Œ

(Hi-Hat Chick)

r L r r L r l

‰ œj œ

L r r L r l

‰ œj ‰ œj ≈ œj . œ

R r L r l R R R

‰ œj Œ

- >- >- - > > ^ mm÷ œ! œ! œ œ œ œ œ œjœ œ œjœ œ œ œjœ œ œ œjx x œ! œ! œ! x œ œ z œ! œ! œ œ! œ

rr ll R l R l r 9"– 3"

R r l

r ll rr ll r l

l R ll rr L

œ œ.

r L L r L r L L r L r

R L 12"

œ ‰ œj œ œ œ œ œ œ œ œ œ œ œ 6"

zz .. B

12"

œ œ. Å.

œ-

R L

(Crash)

œ œ œ. L R L

> zz œ œ B

R l 9"– 3"

œ œ œ. Å œ L R L

(Sizz/Suck)

(Sizzle)

- >- > > > > > ^^ ^ ^^ ^ !œ œ œ œjœ œ œjœ œ œ œjœ œ! œ œjœ œjœ œ! œ œjœ œjœ œ! œ! œ! œ! z z z œ! œ! œ! œ! z z z

rr L

r r

L l

L rr l

R ll

rr ll rr ll R L R ll rr ll rr L R 12"– 3"

> >> -> -> > > > ! > > > !! > > œ œ œœ œ œ œœ œ œ œ œ œ œ ≈ ≈ œ œ œ œ œœ œ œœ œœ œ œ

12"

L R

R L 12"

--- > --- > > > > >> ^ ^^^ ^^^ > > > > > > > ^ ^ ! ! ! ! ! ! œ œ œœœœ œ œœœ z œœ œ œ œ œ ^ zzz zzz ^ ≈ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ! œ! z z ÷ œ œ œ œ œ œœ œœœ œ œ z œ. z r l R l R l r L r L r l R l rr ll rr ll R L R r L L r L L rr ll R l rr ll R L R L L R L L R L L R L L r R r lR L r lR L R l > >j ÷ ‰ œ ≈ œ L 9"– 3"

l l

Edge to Center...

R r L r l R r l

R ll rr ll

÷‰

x ‰ x J J

Track & Burn

‰

x J

‰ x J

‰ x ‰ x ‰ J J

R l

x ‰ J

x J

Pg. 47

‰

r L

x J

‰

x J

‰

œ! œ! ! œ S S. œœ

x J

‰

x J

Å. S S S.

Å. S

œ-

L R L

Dream Team Funk (cont.)

- > - > - -- > > ^ mm10 ÷ œ! œ! œ œ œ œ œ œjœ œ œjœ œ œ œjœ œ œ œjx x œ! œ! œ! x œ œ z œ! œ! œ œ! œ rr ll R l R l r

9"– 3"

R r l

r ll rr ll r l

l R ll rr L

B Edge...

rr L

>j œ ≈ œ

÷‰

L 9"– 3"

÷‰

>> S S.

> S Ó

œ.

œ- .

œ. ‰

‰

x J

‰ x J

‰ x ‰ x ‰ J J

x ‰ J

x J

r r l R l 6"– 3"

1 ‰ 1 J J

R ll r

L r L

r l

‰

> > > >j > > j j œ œ ≈ œ œ j jœ œ œœ œ œ œ œ œ œ

œ R

≈ œj .

‰

1 J

‰ 1 J

L R L r l 6"– 3"

R 6"

(Ting)

r L r l

œ œ

≈ œ œ

‰ 1 J

‰

1 J

-- 3 --3 --3 -> 6 > > > > > > > > ^ > - 3 > j > j> j> > j j j j ! j j ! ! ! ! 4 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ x œ x x œ x œ x œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ z œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ! œ œ œ œ œ œ œ œ x œ œ x œ œ ÷4 4 Edge to Center...

r r l R l

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

> œ ÷ 48

÷ 48 ‰

œ j œ œœ SS R

R L

÷ 48 ‰

1 J

‰ 1 ‰ 1 J J

R L

(Crash Choke)

(Front Rim)

L RR LL rr ll r l r l

> >> -> -> > > > ! > œ œ œ œ! ! > œœ œ œ œœ œ œ œ œ S. ≈ ≈ œ œ œ œ œœ œ L

x ‰ x J J

L rr ll R L R 9"

> > >> --- > --- > ^ > > ! ! ! ! œ œ œœœœ œ œœœ z œ œ œ œ œ ^ ^ ≈ œ œ œ œ ≈ œ œ œ œ > ^ ^Ó œ ÷ œ œ œ œ œ œ z œ. z œ z œ. z r l R l R l r L r L r l R l rr ll rr ll R L R r R r lR L r lR L R l r l R r R 9"– 3"

l l

3 > > ^ ^ ^ Center to... > > > > > !œ œ œ! œ! œ z z z œ! œ! œ! œ! œ œ œ œ œ œ œ œ œ œjœ œ œ œ œjœ œ! œ œjœ œ œ œjœ œ 8 4

^^ ^^ ^^ 3

z z z z >> œ œjœ œ œ œ z œ œ z œ œ z œ œ z L

R L r l R L r r L R l l R L r r L R 9"– 3"

L R L

R ll r

œ ≈ S

S S.

1 ‰ 1 J J

‰ 1 J

œœ

L R

R L

L R

L r L

r l

r l R ll rr L rr ll r l r L R L R L l l 9"– 3"

> > > > > ^^^ >> j ! ! œ 4 œ z œ œ œ œ zz œ j j œœ œœœ œ œ ≈ œ œj 4 œ R L r l 6"– 3"

œœ

‰

r L r l

R L

S‰ L

‰

L rr ll R L R 12"– 3"

j j S 44 œ S ≈ S . R

1 44 ‰ 1 ‰ J J Pg. 48

R 12"

1 Œ J

r r l R l 9"– 3"

> œ

R 9"

‰ 8 J 1

r L r l

R ll r

L r L

r l

> > > >> j œ œ œ ≈ œ œjœ j jœ œœ œ œ œ œ R L r l

S S.

S S

≈ S S

h 8

R L

8 1

Track & Burn

Dream Team Funk (cont.)

- ^^ - > 6> > ^^ > > > > > ^ ^ ^^ j j j j j j ÷ œœœœ œ z z œœ œœ œ z z œ œ œœ œ œ œœ œ œ œ œ œœ œ œ œœ œ œ œœ œœœ œœ œ œ z œœz œ z z Ó

r r l R l R L r l

r r

L R l r

l l

l r

L r L r

L r

l R l l R l R L

R l r 12"– 3"

÷z

÷‰

j S S S.

œœœœ

÷h

R L r l

r l R L

R L

L R L

8 h 2

R l r l rr ll r l R l r

R L

l l r

L l

÷ zw

R l

l r

œœ

œœœœ

l r

L r

œœœœœ œ

8 2

‰

÷h

j œ œ S S ≈ S R

S L

R L

1 œ.

12"

R L

L R

r l R L R L R

≈ œ. . J

œ. .

R l r

l l r

L l

R l r l rr ll r l

L R

l r

L l

rr ll R L 12"– 3"

j œ œ S S ≈ S

‰ œ! œ! œ œ

˙z

‰

j œ œ

‰

j œ œ

‰

Pg. 49

L l

R l r l rr ll r l

˙z.

‰

j œ œ

R 9"

œ. Ó

R l r l rr ll r l R l r

l l r

LRlr Buzz Roll 16th-note Pulse Two-Accent Attack

j ≈ S . S S S Ó

-- >- ^ - - >> > ^ œ œ œ œjœ œ œ œjœ œ œjz œ œ œ œ! œ! œ œ œ œ œ œ œ! œ! œ œ z œ œ œjœ œ œ œjœ œ

j œ

z w

÷œ

Track & Burn

SSS SS S

R L

8 h 8

r l R L

> ^ j- - j> ! ! œ œ œ œ œ œ œ œ z œ œ œœ œ œ œœ œ ÷

l r

>3 > > ^ ^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 z z z œz

R l l R l

-- >- ^ > j œ œ œ œ œ œ œ œjœ œ œjz œ œ œ œ! œ! œ œ

j œ

--- > --- > ^ > >> œœœ œ œœœ œ z ≈ œ œjœ œ œ œ ≈

‰ œj

> ^ ^ œ œ œ œ z œ œ œ œ! œ! œ œ z œ œ œjœ

j œ

R l r l R l r

^ ^

l rr ll r l R l

^ ^

! ! ! œ! z œ z œ! œ! œ! œœzœzœœ œœ l l R l R l rr ll rr ll R l R ll rr

j ‰ S S R

‰ x ‰ x J J

‰

j S

x ‰ J

x J

Dream Team Funk (cont.) Edge to Center... - >- ^ -- >- ^ - - >- ^ > -- ^ ^ >> ^ ^ j j j j j j j j ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ÷ œ œ œœ œ œz œ œ œœ œ œ œœ œ œz œ œ œ œ œ œ œ z œ œ œœ œ œ œœ œ z œ œ z œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ z œœ z œ œ œ œ œ œ D

l r

L l

R l r

÷‰

x J

L l

R l r l

rr ll r l R l r

--- ^ œœœ z

>^ > > z > > œ! œ! z z ! ! œ œ œ œ œ œœ

j ‰ S S

S S ≈ S S S

r r r

÷S

l l r

R L

‰ x J

‰

rr ll R L

R L

‰

x J

L R l

j ‰ S

L l R

r L

3 > ^ - - >>>> z œœœœœ œ œ œ

rr ll R L R L

‰

x J

l l r

x ‰ x J J

r L R L R L

S ‰

ll rr ll ...

^j^ ^ ^ ^ ^ ^ ^ ^ ^

≈ z z

zzz zzz zz

L R L

SS Œ

x ‰ J

x J

> œ

R l r r l l R l r l R l rr ll R L 12"– 6"– 3"

L R

S ≈ S Å ≈ Å S Å S

R 12"

≈ t . J

-- ^ ^ >> jœ œ œ œ œ œ œ œ ! ! œœ z z œœœœ

œ! œ! œ! œ! ! œ! œ œ œ œ œ œ œ œ œ S.

‰

R L

L R L

R l r r l l R l l R l l rr ll R L 12"– 6"– 3"

1 œ-

L R

R L

x x x x x x 2

> -> > L.H. Drum > ->> ^ ^ ^ ^ j j ! ! ! ! œ œ œ œ œ œ œœ œ œ œ œ œ z œ œ z œ œ œ x x x x x x x x x x x x x x x x x x x x x x x x œ œ œ œ z œ œ z œ œ œ œ œ œ ÷ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ R.H. Front Rim

R l

> -^ ^ (Drum 1 Rim) > > œ œ œ œ œ œ œ œ! œ! œ œ œ xœœ ÷ œ œjœ œ z z R l

÷ S. R

÷ œ1

r r l l R l l R l l rr ll R L

r r l l R l r l R l rr ll R L

S ≈ S Å ≈ Å S Å S L

L R

R L

x x x 2

x x

R l r r l l R l l R l l rr ll R L 12"– 6"– 3"

L 6"

R L L

œœ

R L L

œœ

R L L

œ œ

R L

œ œ

R L

œœ

R L L

œ œ L

> -^ ^ >> x œ œ œjœ œ œ œ z œ œ œ z œ œ! œ! œ œ œ R L

R l r r l l R l r l R l rr ll R L 12"– 6"– 3"

- > >3 > > -3 - > > > >6> > > 6 > > >> œ œ œ œ >œ > > œ œ œ œ œ œ >œ œ œ >œ œ œ œ >œ > œ œ œ S ≈ S œ œ œ œ S. ≈ œ œ œ S S ≈ R L 9"– 6"– 3"

‰

x ‰ J

R l l

x J

R l l R l l r L

‰

x ‰ J

x J

‰ Pg. 50

x J

‰

x J

‰

R 12"

x J

‰

x J

1 œ-

S ≈ S Å ≈ Å S Å S L

L R

R L

x x x 2

x x

Track & Burn

Dream Team Funk (cont.)

33 > ÷œ

j œ œœ

> œ

œ œjœ

÷ S. R

≈

÷ œ-

≈

œ!

œ! ll

> œ

œ! ll

R.H. Front Rim L.H. Drum

1 œ. >

‰ Œ

xœ . x

x œ

1 œ >

≈ ‰

œ J >

j 1

≈ 8

3" R.H. Agogô Bell

> œ

xœ . x

S L

> œ

(Ting)

‰

xœ . x

x œ

≈ ‰

z J

œ. R

1 1 1 ≈ 1 ÷ z. œ œ ≈ v >

S ≈ S Å ≈ Å S Å S

‰ 1j ≈ 1 1 ‰ 1j ≈ 1j . -1 ÷ 8 h 8 h 8 h œ Œ

x x x x x x

Track & Burn

R L

r r l l R l rr ll r l R L R L

rr ll rr ll R L R ll rr ll rr L R L

> -- ^ > -- ^ >> ^ ^ ^ >>> ^ ^ ^ ^ 1 ≈ 1 1 1 z z œ jœ œ œ œ œ œ œ > > œ jœ œ œ œ ^ ^ > > zzz z z z. œœ œ z œ œœ z œ! œ! œ œ œ œ œ z œ! œ! z z œ! œ! œ œ œ œ œœœ m ‰ > L R R l r r l l R l r l R l rr ll R L R l r r l l R l rr ll R L rr ll R L R L L R L L R L L R L > 12"– 6"– 3"

÷ œ œ œ œ ‰ œ. œ œ. œ S. R

R l

L R

R L

S. R

1 œ-

S ≈ S Å S . L

L R

S S.

S S S.

L R

x x x x x x 2

Pg. 51

1 œ ≈ > >

œ.

≈ 1j . 8.

R L

Å. S S S. R

1 2 8 h œ-

L R L

1 2 8 h œ-

^ ^ j^ j^ j^ j^ j j 3

z œz

R L 15"

z œz R

z œz Œ R

-3 - > -3 - > -3 - > œœ z œœ z œœ z > œ œ œ œ Œ 3

r l l R

Å. S ‰ R

(Sizz/Suck)

- - > >>> > -- ^ ^ >> > -- ^ ^^ ^ ^^ ^ j j ! ! ! ! ! ! ! ! ! ! ! ! œ œ œ œ œ œ x x x x x x x x x x x x œ œ œ œ œ z œ œ z œ œ œ œ œ œ œ œ z œ œ œ œ z z z œ z z z ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ ÷ œ. œ œ. œ œ. œ œ. œ R l r r l l R l l R l l rr ll R L 12"– 6"– 3"

j 1 h

‰ 8

x œ

xœ . x

‰

r l l R

r l l R 3

S S

S S Œ

t ‰ zJ

t ‰

t Ó

R L 15"

Pusher Background & Performance Notes I was inspired to write Pusher while playing through George Lawrence Stone’s Military Drumbeats. I am not a concert percussionist, so it may sound naïve to say that I was impressed by the idea of a 13-stroke roll played over four 12th-notes. I wanted to explore what could be achieved in 12/8 time at 120 bpm—ostensibly a slow tempo for triplet-based rhythms. Measures 1–12 center around the shaped melody in the bass drum line. The upper battery parts will be challenging because of the rudimental contrasts that are happening here: the combination of buzz rolls and very open ruffs in the tenors and the combination of slow flam rudiments and quick roll figures in the snare line. Hint: The snare drums maintain a consistent quarter note pulse between the flamtaps in measure 10 and the 13-stroke roll in measure 11. The tenors begin a long crescendo of dotted eighth notes in measure 10. The slow growth of this voice hints that the wonderful 12/8 feel that has been established is about to shatter—as it does in measure 12. From here, the piece takes on a much different duple-based character. The split part between the snares and tenors at measure 16 should be an interesting ensemble moment. Those offbeat stick clicks in the snare line will need to be attacked while the left bead is held at the attack height of the first diddle (instead of the tacet height). This will allow the diddle to be cleanly attacked after the stick click. Letter B is simply an embellished restatement of letter A until measure 21, which begins a duple-based variation of the bass drum melody from the intro phrase. The stick shots in the tenor part are accomplished by pressing the left stick firmly into the head at a steep angle (these are the written “staccato” crushes) and striking the left stick with the right. Letter C kicks off the big, energetic groove that is the climax of the piece, and a triplet-based transition leads into a reprise of the intro phrase to finish on an unexpectedly calm motif.

Pg. 52

Track & Burn

Snare

Tenor

Bass

»¡™º

÷ 12 8 Œ.

Pusher Z. L

÷ 12 8

Z. L

Œ.

Z. L

∑

Œ.

÷ 12 8 Œ.

Œ.

12"

(Hi-Hat Chick)

rr ll r

>>> œ œœ R L R

‰

>> > > œœ œ œ R L

Œ.

Z. L

r r r 9"– 6"– 3"

r l R L R r 9"– 3"

Œ.

Track & Burn

j - Œ8 . 2

L R r

ll rr L rr ll

l r l

R ll r

ll r

R l R

ll rr

L R L

Œ.

j Œ 2j Œ 2j Œ - 8 - h - 8 . . .

(Ting)

Œx .

(Sizz/Suck)

j 2

-3 - > > -3 - m -3 - > > -3 - m m (Ping) > ^ >>> œ! œ! œ! œ œ! œ! œ! œ œ ‰ œ œ! œ! œ! œ œ! œ! œ! œ œ œ p œ œ œ œ œ œ œ œ œ œ œ œ œ œjœ œ œ œ œ œ œ œ œ ll rr LL R LL RR ll r

ll rr LL R

l R

R l

l R

LL RR ll r

R L R L 12"– 6"– 3"

œz.

œ œ œz.

r LRL

RLR

l L

>> > > > > > > > > > ------ > > > > œ œ œœœœœœœœœœœ œ œ œ ‰ ‰ œ œ ‰ ÷ œ‰ œ‰ œ ‰ œ œœœ œ ‰ œ S ‰ S Œ. 2 2 Œh -j Œ8 -j Œh ÷ . . .

r r r

- - - -> > >> > -> > >>> > > œ œ œ œ œ ‰ œ œ ‰ œ ‰ œ œ S ÅÅ œœœœ œ‰ œ‰œ œ ‰

12"– 6"– 3"

> -3 - > > -3 - ^ ------ > > œ œ œ œœ œz m ‰ ^ œ œ œ œ œ ‰ œ ‰ œ œ œ œ z r l r l r l

≤ > m m >- m m ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ œ œjœ œ! œ œjœ! œ œjœ! Z. Z . .

^ ^ ^ œ! œ! ^ œ! œ! > œ > > z^ ! œ! œ! œœœ œ z m ! m œ œ z œ ‰ ‰œ ‰œ œz z‰ œ œ œ œ‰

> œ œ œœœœœœœœœœœ œ œ œœ‰œ 12 œ œ œ ‰ ‰ ‰ ‰ ‰ ÷ 8 œ œ œ œ œ œ œ œ œ œ œ

- - > > m j j ! ! œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ ÷ ÷

Œ.

∑

Cymbals

Œ.

L.H. Stick Over Rim

j - Œh . 2

j - Œ8 2

j - Œh 2

j - Œ8 2

j - Œh . 2

Pg. 53

j - Œ8 2

œz.

LRL

œœœz.. œ ..

lrl

r l r l r

l r l r l

R l r l

> œz.

zz z z z œz œ œ œ œz.

Rlr 9"– 3"

œœœœ

j Œ 2j Œ 2j - h - 8 - Œh . . . . 1

œœœ

œ œ

12"

j - Œ8 . 2

r l r l r

R lrl

œ ‰ œ ‰ œ‰ œ œ j - Œh . 2

j - Œ8 2

j 2

Pusher (cont.)

> - > - > > -3 10 j ! ! ! ÷ œ œ œ œ œ œ œ œ œ œ œ œ œjœ œ œjœ œ l r l r l RR LL rr l

> ÷ œz.

œ ‰ œ ‰ j - Œ8

Œ ÷ h.

>j ÷‰ 1 ‰

r 3"

R L

L R

œ.

÷x

‰

œœœœ

L R 12"

L R

j - Œ8 .

Œ h.

j - Œh .

j - Œ8 .

R L

R L R L R

^ ^

L R 12"– 3"

œ. œ

L R L R L

≈

œ œ

(Crash Choke)

L R L R L

44 œ . œ Œ

≈

44 x

œ œ

R L

Œ x

> > ^ > j> ^ ! ! ! ! ! ! Å Å œ œ œ œ œ œ œ œ œ p œ œ œ œ œœ œ œ p œ ≈

xxx‰ R L R

œœœ r l r

ll rr ll RR

‰

Drum 2 Rim

œœœx r l r L

(Sizzle)

Pg. 54

‰ . œ. . J

R L 12"

(Stick Clicks) Edge to Center...

44 œ œ œ ≈ œ œ œ œ œ ≈ œ z œ

R L R 6"

œ- .

(Crash)

l R

L R L R L

>j >j >j >j 3 1 1 1 ‰ ‰ ‰ 1 xxx‰ ‰

R L

j - h ‰ 12 Œ .

Front Rim

L R L R L R L R L R L R L R 9" 3

œ. œ. œ. œ. zz . œ. œ. œ. œ. œ. œ. œ. œ. œ. .

L R

œœ . œœ . œ . œ . . . œ. œ.

12"

j -

œœ . .

œ œ j œ ‰ œ ‰ œ œ ‰ œ ‰ œ œ ‰ œ S ‰ S S. S. S. S. ‰. S .

>j 1

9"– 3"

L R

(Stick Shots)

^> > > > > z z z ^ ≈ z z ≈ œ œ œ œ œ ≈ œ z ‰ ÷ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ œ œ R L

œœœœœœ

‰

>j 1

œœ .. œœ .. œœ ..

j - Œ8 .

>j 1 ‰

œœœœœœœœ 2

> œ

j œ

œœ .. œœ .. œœ ..

j - Œh .

> œ. z z œ œ œ

Rlr

> > > > ≤ ≤ ≤ ≤ ^ ^ m > > > > > !œ œ! œ! œ! œ! œ! œ œ œ œjœ œ œjœ œ œ œjœ œjœ œ œ œ . œ . œ . œ . p . p . œ . 4 ‰ 1j ‰ 1j ‰ 1j ‰ 1j . 4 rr ll rr LL RR LL R l r L r R l l L L r l R L R L R R l R R R R

Edge to Center...

x L

L R ll rr l R l R l r 12"– 3"

œ œ œ œ œ œ ≈ œ œ œ œ œ œ r

R L

R L 12"

L R L R L

L r l R l

œ ≈ œ z L

R L

> >> S S S S S œœ‰

> > >> >> œ œ ‰ œ œ ≈ S S

‰

x J

r 3"

R L

R 12"– 3"

x J

‰ x J

‰

L R

‰ x J

‰ x J Track & Burn

Pusher (cont.)

> - > - ^ >> > ^ ^ > j> ^ j> - j> - ^ > > > ^ j j ! ! ! ! ÷ œ œ œ œ œ œ œœ p œ œ œ œ œ œ œ p œ œ œ œ œ œ œ p œ œ œœ œ œœœ p œ œ œ œœ œ œ œœ p œ œœ œ œœœ p

R R l

R R l R l

œ ≈ œ œ œ œ œ œ œ œ œ

÷ œœ R L

>> ÷ SS ÷ ‰ x J

r L

‰ x ‰ x ‰ x J J J

R r r

L r r

> ^> œ z ÷ œœœ œ

L r

12"– 3"

÷‰ 1 x 1 ‰ 1 x 1 J J 2

Track & Burn

R L r r L

R r l R l

≤j œœ ≈ B

l R

9"– 3"

>> SS

1 œ- . œ- ‰ œ- ≈ œ. . œ. . œ. Œ J J

œ. z r R

‰ x J

r L

‰ x ‰ x ‰ x J J J 1

r r

L r r

l R

R r r

L r r

r r

L r r

l R

> ^ ^ (Stick> Shots)> > > > > > mœ 1 mœ 1 m m œ z z ≈ . ≈ mœ. 1 ≈ œ. 1 ≈ . ≈ mœ. 1 ≈ œ. 1 1 1 (Stick Shots)

l R

R L

‰

œœœœ

Œ Pg. 55

‰ 1 x 1 ‰ 1 x 1 J J 2

12"

L R

12"

‰ 1 x 1 ‰ J 2

1 x 1 J

^ > > ^ >- >- ^ ^^ ^^ Å p œ! œ! œ! œ œ! œ! œ p œ œ œ œ œjœ œ œ p œ œjœ œ œ œjœ œ œ p œ œ z z œ œ z z œ R ll

rr ll r ll rr l R l R l r

L r l R l

œ œ œ z œ. œ. z œ. z r r r R r r R r R

œ. z r R

9"– 3"

j ‰ S ≈ S S ≈ S S ≈ S R 12"

R l r l R R L L R R L R l l R 12"– 9"– 3"

L r r

- - - 6- - - - ^ ^ ≤j ≤ ≤ > z œœ .. œœ .. œ œ œ œ œ œ œ œ œ T T œ z œ œ

> > > > > > > œ œ! œ! œœ œ! œ! œœ j œ œ œ œœ ≈ S . S . S Œ R

R r r

> > 3 >> > œ œ! ! œ! ! œ S ‰ . œr œ . œ ‰ S S œ œ œ ≈ œ œ ≈ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ œ œ ≈ S S

R L

‰ x J

r L R l r L R

œ œ œ z œ. œ. z œ. z r r r R r r R r R

œz

L R

‰ x ‰ x ‰ x J J J

R r l

> œ œ ÷ œ œ œ ≈ œ œ ≈ œ œ œ ≈ 3"

L R

L R L R L

> > > > > 3 > ≤ ≤ œ œ œ œ œ œ œ . œœ ‰ œœ

R l r l R L

r r

L R 12"– 3"

> œ ≈

> ≤ ≤j ≤j ≤ ≤ œ . œjœ ‰ œjœ ≈ œjz . œjz . œjz Œ

- m m m m œ œ œ œ œ œ œ œ ÷ ≈ Z Z œ.

^> >>>z ≈ z z ≈ œ œ œ œ

L r l R l

> > >> >> > > > > > œ ‰ S S S œ œ ‰ œ œ ‰ œ œ ≈ S S

>r > œ œ.

rr ll r ll rr l R l R l r

^^ ^ ^ zz

L R L R R L L R R L R 9"

> S ‰.

R L

r L R l r L R l

Stick Over Rim -L.H. m m m m - m m m m œ œ œ Z œ œ ≈ œ œ Z œ œ. œ œ œ Z œ œ ≈ œ œ Z œ œ.

‰8 J 1

L R

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

> j> j> j> œ œ œ œ œ œ œ. œ. œ. z œ. z r r r R r R R L R L

^ œjœ

S ≈ S S

≈ S S

≈ S S ≈ S S ≈ S S

h 8

h 8 h 8 h 8

R R l

L R

Pusher (cont.)

- - >> ^ > j> ^ > - - - j! ! ! ! ! ! ! ! ÷ œ œ œ œ œ œ œ p œ œ œ œ œ œ œ œ p œ œ x x x x x x x x x x ≈ œ œ

j œ

RR ll r

r r

÷ ≈ S S

≈ S S

÷ h

L R

8 2

L r l R l

S ≈ S S

8 h 8

L R

R L rr ll R L rr ll R L

œ. z r R

≈ S

œ. œ. z œ. z r r R r R

L R

÷ œ œœ z r

LL rr l R l R l r

Œ œ! œ! œ! œ! 3"

> > ^ > 3 ^ ^3 ^ ^ ÷ œjœ! œ! œ œjœ! œ! œ p œ œ œ œ œjœ œ œ p œ œ œ p œ p ‰ zz

RR ll r

÷ œ œœ z r

LL rr l R l R l r

r r

L r l R l

œ. œ. z œ. z r r R r R

œ. z r R

≤

h 8 h 8 1

R l R

œ. z r R

œ. œ. œ. z œ. z r r r R r R

h 8

L R

Z L

h 8 h 8 1

> S ‰.

R L

h 8 1

Z Œ Z L

> j> j> j> œ œœ œœ œ œ

j œ

z w

r L

h 8 h 8

Z Œ

...

˙z

z w

> > ‰ S S œ

>r > œ œ.

r L R l r L R l

Solo Tenor Drummer...

R ll rr ll R L R L R Rlrl

R L R

œ. œ. z œ. z r r R r R

R R l R l

h 8

R R l

>> SS

L.H. Stick Over Rim

>- >- ^ ^^ ^^ j œ œ œ œœ œ œ p œ œ z z œ œ z z œ

j œ

> >> >> > > >> S œ œ ‰ œ œ ‰ œ œ ≈ S S

zz ≤ ≤ œ! œ! œ! œ œ œ œ z >z z œœ œœ œ œ ˙. 3

L r l R l

‰ 8 J D

œ- œ. œ. œ.

÷ h 8

L R

œ. œ. z r r R

œ œ œ œ œ œ œ œ ≈ S S

L R

œ. z r R

> > > > > > > > > > 3 >3 > > ÷ S œ œ ‰ œ œ ‰ œ œ ≈ S S S S Å ‰ S S S R

R l R l R

rr ll r ll rr l R l R l r

12"

L R

^ > > ^ !œ œ! œ œ! œ! œ p œ œ œ œ œjœ œ œ p œ

3 3 >3 œ œ 3 > > > >3 > > œ œ œ œ œ œ œ ‰ ‰ œœ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœ ‰ œ‰œœ‰œ‰œœS œ œ œ œ‰œ‰ 3

12"

12"– 6"– 3"

h 8

h x

Pg. 56

Track & Burn

STADIUM GROOVES

Flash This piece is all about energy, and the addition of sixteenth note inner beats at measure 11 will inject a lot of momentum into the motif established in measure 3—as long as these sixteenth notes do not slow down. Depending on where the tenors mount the Agogô bell (or other suitable toy), the stickings in measures 3–6 may need to be reversed. The fast, paradiddle-based passage at measure 11 is intended to melt some faces, although it may melt some sticks, too. Be sure the snare line plays their rim shots with the same approach as any other accent. Unnecessary tension while playing rim shots will cause greater wear on the stick as well as your hands.

Snare

»¡•¢

Unison

÷ 44 z z z z z z z z R

÷ 44

∑

Bass

÷ 44

∑

÷ 44

∑

Track & Burn

R 12"– 6"

l r r

R l rl

l r r

R l rl

l r r

R l r L

l r r

L.H. Agogô Bell

Tenor

Cymbals

> m ^ m > m ^z > m ^ m > m ^z > m ^ m > m ^ > m ^ m œ œœ z œ œ œ œ œœ z œ œz œ œœ z œ œ œ œ œœ z œ œz œ œœ z œ œ œ œ œœ z œ œ œ œ œœ z œ œ œ

^ ^ ^ ^ ^ ^ ^ ^

Solo Snare

1 1 1 1 1 1 Œ œœ œ œœ œ œœ œ œœ œ œ œ œ ‘ ‘ ‘ ‘ m m m m m m mm m m m m mm m R l r R l r R l r R l r R l r L ß ß ß ß ß j j j j j j j j j j S S ‰ S ‰ S ‰ S S ‰ S Å ‰ S S S ‰ S Å S S S S ‰ S Å ‰ S S S. S ‰ S Å S S S ‰ S Å ‰ S S S ‰ S Å S S S S Œ S. S ‰ S ∑

R L 9"

∑

L R

Œ 8 h 8 (Sizz/Suck)

R L

L R L R L

h 8 h 8

L R

h 8 h 8 Pg. 59

R L

L R

R L

h 8 h 8

L R

h 8 h 8

R L

L R L R L

h 8 h 8

R L

h 8 h 8

Flash (cont.)

> ÷œ

(Front Rim)

x x z r

9"– 3"

Å Å S

÷h

÷œœœœ ÷ S. R

R.H. Agogô Bell

œ L

œ œ œ r

R 12"

(Crash Choke)

l R

l R l

1 œ œ œ z œ œ œ œ œ œ l

‰

œ. ‰ J

l R

r L

l R

l R l R l

l R l R

L r

r r

‘

÷Œ

R L R L R L R L

S S

‰

j S S

‰

j S Œ

j j S‰ S ‰ S SSSS S L

R L R L

œ. z r R

L R

l R l l r r l l R l R l l R l R

R L R L R

œ-

(Crash)

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

>>>>> >>>>>> > ‰ œœœœœ ‰ œœœœœœ œ

j ‰ S Œ R

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

j S Œ

(Hi-Hat Chick)

l R l

L R

R L R L R L

l R l

‘

^ ^

>>>>>>>> > œœœœœœœœ œ

L r l l R

l R l l R l l R l l R l R l r r

> ^ ^ ^ ^ ^ ^ ^ > ^ - ->> > œ œ œ z œ œ z œ œ z œ œ z œ z œ œ œ œ œ œ œ œ œ z œ œ œ œ œ z œ œ z œ œ œ œ œ œ z œ z œ œ z œ z œ œ œ œ œ œ z œœœœœœœ œ Œ œ œ ÷

L r l 9"– 3"

÷S

> >> >> > ^ ÷œœœœœœœœœ œ z R l r L R l r L R

> ^ ^ ^ ^ ^ ^ ^ > ^ ^ œ œ œ œ œ œ œ œ z œ œ œ œ œ z œ œ z œ œ œ œ œ œ z œ z œ œ z œ z œœœœœœœœz œœœœœz œ

œ. z r R

≤j ≤ Œ ‰ œ œ Ó.

^ œ! œ! œ! z 3

Œ 3"

rr ll RR L 12"

‰ œœj œœ Ó .

j ‰ S S

j ‰ S Œ

S Œ

j Œ ‰ S S Ó.

œ-

Œ Œ

Œ 8

Œ Pg. 60

h Ó. Track & Burn

Throwback This upbeat groove could probably pass for cadence material, if not for the snare drummers having to play on cymbals. The ride cymbal accents in the snare part should be attacked at the same height as the left-hand accents; however, the accented crashes will probably be harsh and overwhelming at that height, so use your ears and adjust accordingly. The middle section (measure 6) is a groove created by the hand-to-hand independence part in the snare line and the syncopated bass drum line. The buzz roll crescendos in the tenor part add some nice color to the groove. Measure 10 begins a louder reprise of the groove from the intro, now with a more timbales-style role for the tenors.

»¡™º

Unison... R.H. Ride, L.H. Drum

>j >j Ride Cymbal x x x x x x x x x x 4 œ œ . œ z œ œ œ ≈ œ œ œ œ Snare ÷ 4 J J J r r ...m m m R > > L l l l l l R Tenor

Bass

÷ 44

∑

>j >j >j >j >j >j >j >j >j >j m- - 3 m- m>> xœ œ œ xœ œ ≈ œ xœ œ œ œx œ œ! œ! x œ œ xœ œ ≈ œ xœ œ œ xœ œ œ xœ œ œ zœ œ œ zœ œ œ œ œ œ œ >L -l l l l l l l >R l l rr ll R L >R l l l l l >R >L -l l >L -l l >L -l l >L R L r l R L 9"– 3" > ^ -------^ >>>>> >> ^ ^ ^ ^ > ! ! ! ! > > z œ œ œ œ œ œ > > z œ œ œ œ œ z œ z œ œ z œ z œ œ œ œ œ œ œ œ œ œ T T œ œ œz œ œ œœœœœœ œœ T œz œ œœœœœœ œœ

÷ 44

∑

S S ≈ S S S .

Solo Snare Drummer

Cymbals

Track & Burn

Crashes

R l r L r l R l r r l l r r l l 12"– 6"– 3"

R 9"

÷ 44 ’ ’ ’ ’ ’ Hold for snares Ride cymbal

>j xœ œ œ >L -l l

L R

’

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

S ≈ S S S S S ≈ S S S . L

L R L

’

L R

’

’ Pg. 61

R L

R l R l l R l R l l rr ll rr ll R l

S S S S S S ≈ S S S . L R

’

R L

’

L R

’

r r l l R R L L Rlr

S ≈ S S S S S ≈ S S L

L R L

’

L R

’

lrlr

œœœ œ œœ œœ ’

’

Throwback (cont.)

- ! xœ x x x œx œx xœ x x œ x œ x xœ J R > r ll R l r > > > > > œz œ œœ œœ œœ œz œ

6 ÷ x xœJ x x m

R.H. Ride Cymbal L.H. Drum

> ÷œ L

rlrl

÷ œ.

÷S

’ ’

’

>j zœ œ z

R l rlrl

‰. ’

÷’

S S ≈ S S R

’

S S S S Œ R

’

L R L

L R

’

^ ^

rlrl

RLrl

! œœ œœ œ! œ œ . ‰ . Sr S . œ ‰ . Sr S . œ

r S S œœ

rr LL

R 9"

’

>j > > zœ œ œ! œ! z œ >œ >L >L rr ll R L R

> > > > > z > > ÷œ œ œ œ œ œ œ œ œ œ œ T R

>j zœ œ ≈ œ

÷œ

r œ r ‰. S S. ‰. S S.

÷’ ’

rlrl

L R

(Crash) - - 3 3 > ! ! xœ x x œ x œ x xœ xœ x x xœ x x xœ x x x œx œx xœ x x œ x œ x xœ œx x x œ œ œ œ œ œ z J J R r ll R l r m r l r LRLR m > > > r ll R l r >L l > >^ ^ ^3 ^ ^ > > œœ œœ œœ z z > z œz œ œj z œj z œj z œj z z z œ œœ œ œ œ œ

L R

’ ’ >j zœ œ ≈ œ l

’ ’

>j zœ œ z l

’

>j zœ œ œ >L -l l

r SS

‰. ’

-------> > z œœœœœœ œœœœœœ œœ œ

R l r L r l R l r r l l r r l l 12"– 6"– 3"

’

^ ^

>j zœ œ œ >L -l l

12"– 6"

12"

’

R L

’

L R

’

^ ^

(Pings)

R L R L

’

L R L

’

> >3 > > >3 > > œ œ œ œ œ œ œ

p p œ! œ! p p ‰

R L 12"– 3"

>j zœ œ >L -l

j S S S S ≈ S S S S S S ≈ S S S

‰

L R

^ ^ ^ ^

>j >j >j >œ œz œ ≈ œ zœ œ z zœ œ œ >L -l l L l l l l l vR (R.H. Crashes)

R L R L R L R

6 3 > ! ! ! ! ! ! ! ! ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ z z z œ z œ œ z œ z œ œ z z z z œ

’

S S ≈ S S R

’

^ L

S S S S ≈ S S S S S . R

’ Pg. 62

’

‰

L R L R L R L

œ œ œ œ œ œ œ œ3 œ S

S S. R

L 12"

œJ

(Crash)

‰

œJ

‰

œ. J

(Crash Choke)

Track & Burn

Wham! This simple stadium groove runs through three variations of a basic rhythmic idea separated by solos (which are certainly more challenging than the rest of the material). As indicated by the dashed line, the tap-off begins with a solo snare drummer, and then the full line enters on the rim clicks. For a clean attack on the third variation (measure 11), it will be important for the ensemble to understand the pulse in the snare drum solo: one eighth note, four dotted eighth notes, and the eighth note rim shot release. Also, bass drums will need to have good accent/tap contrast in the third variation, and the accent height may need to be adjusted for the sake of clarity.

Snare

»¡¢¢

> > ^ m > - - -6- - - > Rim Clicks ^ > > > > ^ > > > > ^ > > > ! ! 4 œ œ x œ œ œ z œ œ œ œ œ œ x x x x x x œ œ œ z œœœœœœœœœœœ œœœœz œœœœœœœœœœœ œœœœz œœœœœœœœœœœ œ x œ œ œ œ œ ÷4 ≈ ≈ R rr ll R l r L R l l R R L L R R L R R R R R R R R R R R L R R R R L R R R R L R Solo Snare Drummer

j œ

----^ ----^ ----^ ----^ ----^ ----^ œz œœœœœœ z œœ œœœz œœœœœœ z œœ œœœz œœœœœœ z œœ œœœ œ œ œ œ œ œ œ œ 12"– 3"

Tenor

÷ 44

∑

L L R R L r l l R R L L R l r r 12"– 9"– 3"

Bass

Cymbals

÷ 44

∑

÷ 44

∑

Track & Burn

(Hi-Hat Chick)

Pg. 63

S. x

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

j S‰ S S x

S x

S. x

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

j S‰ S S x

S x

S. x

j S‰ S (Sizz/Suck)

Wham! (cont.)

> ÷œ

> 3 - 5:3 - 5:3 > - 5:3- > - 5:3- ^ œœœœz œœœœœœœz œœœ œœœœz œœœœœœœz œœœ œœœœz œœœœœœœz œœœ œœœs œœœœs œœœœœ œ œss œ œ œœœz

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

Solo Snare Drummer

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

> > > > z^ z^ > > ! ! ^ > > > > > > > > > > > > > ÷ œ œ! œ! œ ≈ œ œ œ œ œ z œ œ œ œ œ œ œ œ T œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ T œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ T œ œ œ œ œ œ œ œ Solo Tenor Drummer

L rr ll R L L

R l l rr ll R

÷S

÷h

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

j S. S ‰ S S

12"

‰ 8 h 8 h 8 h 8 h 8 J 1

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

j S. S ‰ S S

h 8 h 8 h 8 h 8 2

> > > > > > > > > ^ ^ ^ 5 > ÷œœœ œz œœœ œœœœœœ œœ œœœœ z œœœœœœœ œœœœ œ œ œ œ z œœœœ œ

l R l

R l

R l r r L r l

l R l

R l

r L

> > > > > > > > > > > > ÷S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S R l r l R l r l R l r L r l R l 12"– 3"

÷t 1

> > > > > > > ^ > > > > z œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ ÷œœ œ œœTœœœœœ œ œœTœœœœœ R l r r L r l

(Sizzle)

2 œ-

x 1

2 œ-

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

x 1

2 œ-

x 1

2 œ-

R l

l R

(Crash)

Pg. 64

j S. S ‰ S S

R l l R l l r r L r r l l R R R l l R R R l l R (Backstick)

l r r L

R l

≤ S.

≤ S ‰

(One Level Higher)

≤ ≤ œœ‰ Œ Ó

> œœ Œ

≤ ≤ œœ‰ Œ Ó

≤j S

≤ S Œ

≤ ≤ SS‰ Œ Ó

œ. Œ

z œœ z œœ z R l

> œ Œ

> > œ œjœ ≈ œ œjœ l

j œ

(Crash Choke)

R L

Œ Ó Track & Burn

Flim Flam This triplet-based stadium groove was written around the idea of playing the flam paradiddle-diddle rudiment while splitting the hands between different surfaces. Snare drummers: Pay close attention to which notes are on the ride cymbal and which are on the ride bell. The transition from measure 12 to measure 13 may require some working out. Cymbals change from holding the ride to playing a sizzle on the downbeat, which may be problematic if every player is holding a ride for two snare drummers.

»¡∞™

Solo Snare Drummer

x‰xx‰xx x x x‰xx‰xx x x x‰xx‰xx x x x‰xx‰xx x x ÷ 12 œ. œ. œ. œ. 8 r rr rr r r … m m m m

Ride Cymbal Snare

Unison

Tenor

Bass

÷ 12 8

∑

÷ 12 8

∑

Hold for snares Ride cymbal

Cymbals

÷ 12 8 ’

Track & Burn

’

’ ’

’

’ ’

’

’ ’ Pg. 65

’

Ride Bell > > > > x ‰ x ‰ ÅÅ‰ Å x ‰ x x ‰ x ‰ ÅÅ‰ Å x ‰ x R

9"– 3"

r R

’ ’

r r 9"– 3"

r R

r L

> > > Œ œj œ ‰ œ Ó .

> > œ ‰ œ Œ.

Œ.

’

’ ’

’

j > > > œœ œ œ ‰ œ ‰ œz œz.

∑

R R 9"– 3"

’

> Œ œj

’

R lrl

’

Flim Flam (cont.)

> > > > j> > ÷x ‰ x ‰ ÅÅ‰ Å x ‰ x x ‰ x ‰ ÅÅ‰ Å œ œ R

r R

j œ œ œ œj ÷‰ x x x x Œ. (Drum 3 Rim)

j œ

r l

> > ÷ œ ‰ œ Œ. R

r l

÷’

’

> Sz.

Rlr

> > œ œ L

> > > > œœœ œœ œœœœ‰œ œ

>j > >j > > > œ œ œ œ œ‰ œ œ œ

R l r r l

l r L r l

L r l

R l

l r r

l R

R l

l R l

R R

r r

R l r r l

L r l

> > ^ ‰ œ œ œz R

r R

> > S‰S

> œœœ œœœ œ œ œ S.

> > S ‰ S Œ.

Œ.

> > S‰S

’

> > (Ping) >- - >3 >>^ >3 >>^ > > ^ >-- > ^ œ œ œ œjœ œ œ p œ œjœ œ œ œ œ œ œ œ œ z œ œ œ œ œ œ œ z œ œ œ œ œ œjœ œ œ p œ œjœ œ œ œ œ . R l r

L r l R l

R r r l

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

R l r

L r l R l

R r r l

Œ.

’

Œ.

r l r

(Sizzle)

t. 1

L r l R l

1. 2

(Ting)

l R

Œ.

> > > S ‰ S S.

t. 1

R L

l r l

R l r L r

r L

Œ.

> S.

>j> > > S ‰ S Œ S S.

Œ.

Pg. 66

L R

1. 2

1. 1

R L R L R L R ll rr ll R

> S.

Œ.

œ- .

Ó.

(Crash)

Œ.

^ >> z ‰ œ œ. Œ. Ó.

> > S ‰ S Œ.

^ ^ ^ œ! œ!

’ ’

Œ.

> ÷ S ‰ Ó. ’

> > S ‰ S Œ.

L rr ll

÷ ’

Sz.

L r l l r

L R

l r r

z > ‰ œ œ

÷ œ! œ! z z œ! œ! z z ‰ z

^ -- z œ œ œ œ! œ! œ!

> > ^ >> > ^ > > > > >6> > > ^ ! ! ! ^ > > > > > > > z œ œ œ œ œ œ œ œ œ œ ‰ œ œ ‰ œ z ‰ œ œ ‰ œ z ‰ œ œ œ œ œ œ œ œ œ œ >œ ‰ >œ œ œ œ œ œ œ œ . œ . œ . œ . z ‰ >œ Ó . œ .

ll rr L R ll rr

> > j j œÅœ x x œ œ xœ x œ œ ÅÅ

>j > > > œ œ œ‰ œ

> > j j jÅ x x x ÷ œ œ œ œ œxœœ Å R l r r l l

r R

> > j j œÅ œ x x œ œ xœ x œ œ Å Å

> > > œ œ œ

R R R ll rr ll R

lrl

’

> > j j œÅœ x x œ œ xœ x œ œ ÅÅ

Œ.

> > > S ‰ S S. Ó.

Œ.

œ. . Ó .

Œ.

(Crash Choke)

Track & Burn

Y’all Are Heavy This groove was inspired by the “dubstep” style found in some electronic dance music—hence the nasty buzz rolls under sharp rhythmic figures. Unlike the other stadium grooves in this book, this piece does not have a count-off written into it. A stock snare drum tap-off seems appropriate enough. All the pitter-patter in the beginning is meant to build suspense for when the beat drops at measure 9. The tenuto markings on the bass drum buzz rolls indicate full-bodied rolls. While the attack is accented, the roll does not sharply decay like an ordinary fortepiano. Expect that the speed of the snare drum buzz roll in measure 11 will hinder the extent of its crescendo. I experimented with a dotted sixteenth note pulse on that roll to allow a more dramatic crescendo, but the crushes then seemed to be too far apart. The continuity of the buzz-roll sound is more important to the desired effect there, and a slight crescendo should suffice; however, I mention this in case you may wish to try something else. q

Snare

Tenor

Bass

»¡¢¢

>- > xw x x x x x Œ

A/B Split: Half play triplet buzz roll at guts; Half play part at front rim

÷ 44 zw p ÷ 44

z 6"– 1/2"

∑

∑ Œ

÷ 44

x. x ‰ x Œ J

Track & Burn

∑

r r

R r

> >> > Œ x x x x x x x x x x x x >x w

9"– 3"

R l l r

r L R l l

>3 >3 m> m> 3 >3 3 > z z z z z z z œ œ œ œ œ œ œ ‰ œzœzœz œzœz‰ œzœz ‰ œ z 3z z Œ œœ œœ

j ‰ Å ÅÅ Œ

L r l

r l

j ‰ Åœ Å Å Œ

sim...

(Hi-Hat Chick)

>- > x x x x x x Œw

R l r l R l r 9"– 3"

j -j 4 œ œ ÷4 ‰ ‰ Å ÅÅ Œ 6"

Cymbals

R r r R

Œ w

6"– 1/2"

∑

R l

R L r

> - œ œ œœœ œ R

r R r

x. x ‰ x Œ J

Pg. 67

r r L R

> œz

œz

Rlr

lrl

> >> >> xw x x x x x x x x x x x x

R l l r r L R l l

>- ^ œœœ z R r r

> 3 > 3 œz œz œz mœ z œz mœ ‰ œ R

j j> œ ‰ ‰ Å Åœ Å Œ

r 12"– 6"

x‰ x ‰ 8 h J J

(Sizz/Suck)

r r L R

R l

j ‰ Åœ Å Å x‰ x Œ J

Y’all Are Heavy (cont.)

Unison

^^^

˙z.

z w

>- ^ œœœ z

>3 ÷ œzœzœmŒ L r l

L R L

> > ^ z œœ œœ œœ œœ œœ œœ z

R r r R

x. x ‰ 8 h J

÷x

z. z

œz

l l R l r r l l R l

>œz

œ œ

Rlr

r L L r L L r r L L rl

^ ^

÷ œ z œœ z œœœ L r r L r r L

R L R L R L R 9"

œ. J

R L R

œœœœœœz

÷1 1 1 1 1

R L

œ. J

Rlr lrl 12"– 6"– 3"

(Crash)

œ-

(Crash Choke)

> m> (Stick Click) ^ ^ > œz œz œz œz œz œ . Å . z z œ r l R

> >Å S . Sz

œ-

R L

Rlr

œ.

^^^

R L

> œz

Lrl

>> > z z z œ œœœœœ œœ

> S S

> S

> > >≈ S S Sz

x x œ-

L R

>j > S S S ≈ S . r l R

‰8 h J

R ll rr L r L L R lrl

>> œœ

R L R L R l r l l R l

L R

Rlr

lrl

3 4:3 4:3 4:3 4:3 > > 5:3 > ^ > > > > > > 3 ^ > ! ! ! p p œ œ œ œ œ œ z œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ z œ œ œ œ œ œ œ 48 œ œ! œ! œ œ œ œ œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! 44 œ Œ Ó R L rr ll rr l l l R l r r l l R l r r L r r l l R l l R l l R R L L R R ll rr l r l l rr ll rr ll rr ll rr ll RR LL RR LL RR LL RR LL R 3

> S

x ‰

R L R

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

œz

>> >> >>> ÷ S S S S S. S S S

(Ting)

>> >> >> œ ÷ œ œ œ œ œ œ œ œ œ œz œz

^ ^-

R R lrl 12"– 6"– 3"

r L R

- -Buzz Rolls >Full-bodied j> œœœœœœœœœœœœœœœœœœ Å Å Å Sz Sz Å ‰ œ œ ÅÅÅ

÷œ

rr ll rr

12"– 3"

p p p

> > 5:3 > ^ > > > > > > 3 - - - ^ œ! œ! œ! œ œ œ z œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ z œ œ œ œ œ œ œ œ œ! œ! œ œ œ œ z œz.

(Pings)

Guts to center...

^^ > >^ > > œ œ z œœœœz z >> ≈ œ œ œœœœœ œ R l R l l R l R L 12"– 3"

>Sz

Rlr

‰

> >>> S SSS L

R L R

‰ x ‰ x œJ J

m mj m m ^j ^j ≤ m z. zz zz .. 4 z j œ œ . œ œ z ≈ œœ ‰ . ≈ œœ .. . . œœ ‰ 4 Œ Ó . . . R

> >^ ^ ^ ≈ œ œ z œ œ z œ œ z

84 œz

>-j ‰ Sz Sz

> > >> > > 84 S . S S S S S S ≈ S S S S S S S S ≈ S S S S S 44 S Œ Ó

r l r l R L

L R

rlr

x x

L R l l R l l R

rlr

lRL

1 2 œ. ‰ t J z

Pg. 68

rlr

œz

lrl

L R

-1 48 œ

8 2

R r l

l r r l

l R

h . x ‰ x ≈ x . œ- . J J

R L

L R

R L

œ- ‰ œ- ‰ œ- 44 œ. Œ Ó J J Track & Burn

The Chiller This piece has a very relaxed feel to it, but don’t be fooled; metric modulations will make this mentally demanding. Despite these challenges presented by the upper battery parts, there is a reliable unison pattern in the bass drum part to keep everything anchored, and most of the rhythms conform to some quarter note pulse (or quarter note triplet if you’re thinking in common time). Can you hang with The Chiller?

Snare

Tenor

Bass

÷ 98

»•º

Edge to Center...

∑

R l r L r l r L R ll rr l 12"– 6"– 3"

r r

R l l r r L R ll rr L l

R ll rr l

> - >> ^ ^ ! ! ! ! ^ >‰ œ m œœz œœœœ 9 z 8 œ œ œz œ

r r l r L r l R

œ z.

> > -> > >> 9 ÷ 8 œ œ œ Å Å . œ œœœ œ Å Å Å . 12 8 .. S .

‰

S Å.

r ‰ S ‰ S ‰.

‰

S 98 Å .

‰ S‰

S ‰

12 8 .. h .

‰.

8. J

98 h .

‰ x ‰.

8. J

÷ 98 Œ .

Track & Burn

12 8

∑

L R

l r

Œ.

R lrl R l r L

‰.

8. J

l r R 12"– 6"– 3"

R 12"

(Sizz/Suck)

r R

R L

R R L rr ll rr ll

x. J

(Hi-Hat Chick)

Pg. 69

R l

œ z‰

l rr ll RR

>>>>>> > œ œ 12 z œ œ. œ. œ. œ. œ 8

.. mœ

÷ 98

Cymbals

- - - > 5:3 > > > 3 - 3 - > (Ping) >^ m Rim ^ m 3 -3 ^ > ! ! ! !! !! ! ! 12 8 .. œ œ œ œ œ œ œ œ p œ œ œ x x œ œ œ œ œ œ œ œ œ x x x 98 p œ œ œ x x œ œ œ œ œ p œ . œ . œ . œ œ œ 12 8 œz

R L R L R R L

S S. S. S. S. S

S 12 8

œ- .

12 8

L R L R L R

(Crash)

The Chiller (cont.)

>> >> ^ >- > - >^ j j j ! ! 12 œ œ œ œ œ œ p œ œ œz. œ œ œ p œ œ œ œ œ œ œ œ œ œ œ ÷ 8 L R l l R L R l l

> ^ ÷ 12 8 œ œ z.

œ z

÷ 12 8 S. ‰ S Å. R

÷ 12 8 ‰ . J8 .

R r

R r R

> > > > ^ > > >> m 98 œ œ œ œ œ œ œ œ p œ œ œ œ œ œ œ œ œ! œ! œ . 1.

R L

‰ ‰

L l

>z œz œ .

r r ll rr L R l l rlr

>> > > ! ! ! ! œœœœœœ 9 xx œ 8 œ

8 ‰.

r r L R ll rr ll rr L

S ‰ S S. R

L R

h. J

‰.

> 9 S S 8 S R

8. J

L r r L

(Drum 3 Rim)

R lrl

S‰

L r r L R l l R

R l l R L rr ll

>3 > >3 > ^ 3 > >3 >> > > > > .. œ œ œ œ œ œ œ œ p œ œ œ œ œ œ œ œ œ! œ! œ . œ . œ . œ . œ . Ó . 2.

L r r L

-- > >> --> >> -- ^ ^ ^ > œœ œ œœ œ œ z z z .. œœ œ œœ œ r L R

L R

S S

>> SS S S

R l 12"– 3"

98 h .

L R

r L R

Pg. 70

L R

r L R L R

>> S S.

> S. 8.

L R

L r r L R l l R

R l l R L rr ll R L R L

-- > >> --> > > œœ œ œœ œ œœ œ œ.

>>>> ^ œ.œ.œ.œ. z. Ó.

>> S S.

>>>> S. S. S. S. S. Ó.

r L R

L R

> .. S

S S

>> SS S S

.. ‰ .

œ- . J

R l 12"– 3"

L R

‰.

r L R

L R

‰.

R L R L

œ- . J

œ. Œ Ó . J

(Crash Choke)

Track & Burn