Violent Tenor Cream

Page 1

Š 2009 Tapspace Publications, LLC. International copyright secured. All rights reserved. www.tapspace.com Notice of liability: 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.

TSPB-15


Violent Tenor Cream

© 2009 Tapspace Publications, LLC, Portland, OR. All rights reserved. www.tapspace.com Contributions by Matt Altmire, Bill Bachman, Mike Hodges, Colin McNutt, Brian Perez, Matt Ramey, Nick Werth, and the 1992 SCV Tenor Ensemble (Matt Altmire, Michael Apodaca, Mark Campbell, Murray Gusseck, and Colin McNutt). Cover design by Will Goodyear. www.willgoodyear.com Page 25 artwork contributed by Bill Bachman. Note: Errata (typos) and additions to this text may be found by visiting the “Errata” forum board on the Tapspace Forum at: www.tapspace.com/forums. Also visit www.tapspace.com for information on links to online video performances of the material in this compilation. Notice of liability: 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.

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Table of Contents Foreword.........................................................................................................4 Notation Key..................................................................................................5

Solos Green Eggs & Flam...................................................................................6 by Matt Altmire

Chocolate Cherry Bomb......................................................................... 17 by Nick Werth

Ubiquitous Illin-ness................................................................................. 24 by Bill Bachman

Grooves & Chops O’Plenty.................................................................. 32 by Brian Perez

Scrape Ape................................................................................................40 by Colin McNutt

Afrobeat...................................................................................................... 48 by Mike Hodges

Ensembles 2005 SCV Tenor Ensemble....................................................................57 by Matt Ramey

1992 SCV Tenor Ensemble................................................................... 69 by Matt Altmire, Michael Apodaca, Mark Campbell, Murray Gusseck, & Colin McNutt

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Foreword

by Murray Gusseck

Welcome to a ridiculous display of tenor drumming. “Violent Tenor Cream” is the much anticipated sequel to an earlier compilation of snare drum solos entitled “Violent Ice Cream.” A brief explanation of that title appears in that book if anyone is interested! I would like to express my gratitude to the multi-talented players who contributed to this project who continue to push the boundaries in this bizarre art form we call tenor drumming. I don’t know how you guys think this stuff up, but I like it!! These solos are all advanced, so if you’re trying to learn one, take it slowly! Remember: The players who made them up took many years to get that good, so give yourself some time to apply the various concepts. Check www.tapspace.com for a growing list of links to video performances of these solos by the actual cats who composed them. Lastly, I’d like to extend a special thanks to all my pals from the 1992 Santa Clara Vanguard tenor line: Mike Apodaca, Matt Altmire, Mark Campbell, and Colin McNutt. Who woulda thought that ensemble would still be around? It was a great ride with you guys! --Murray Gusseck July 22, 2009

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Notation Key The following notation key will serve as an overall guide to the various noteheads and articulations you'll encounter along the way in this book. Anything more specific than this will be explained in the actual solo or its accompanying performance notes.

rim

cross-over rim shot

neighbor's drum

ghosted note (or air drum) backstick

on shell

slight accent w/ legato feel

crush (short buzz) extra short crush

muffle w/hand

stick shot cross-stick

slight accent w/ staccato feel

muffled shots (skanks)

behind the back

Other than this information, traditional dynamic markings are used. In certain places you will see upper and lower case sticking indicators. This is used to clarify intent in a 2-height passage where there are both taps and accents to be played. In these cases, upper case letters indicate accents while lower case letters indicate taps.

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Green Eggs & Flam

Green Eggs & Flam by Matt Altmire

Program Notes As a young person putting this solo together, some inspiration came from other great drummers and licks that I had been hearing, while other inspiration came from music in general. I wanted to push myself to the limit and showcase everything that I thought I could possibly do. I also wanted it to be musical and something that someone would enjoy hearing and watching. I not only wanted to expand on some existing ideas for tenors, but also attempt to create new ones that no one had seen before. Whatever rudiments or patterns people had played in the past or present, I wanted to be innovative and take them one step further. My goal as a marching tenor drum soloist was to make a significant and lasting contribution to the art of tenor drumming.

Performance Notes This solo challenges chops and musicianship on tenors at the highest levels. So if you love a challenge like I do, then you will definitely have fun! While there should be some freedom with regard to tempo, there should also be a steadiness and groove felt throughout most of the solo, especially through all of the metric modulations. Watch for the ‘swirl flam drags’ in measures 17 and 18, the unrelenting low left hand in the song section between measures 48 and 56, the ‘speed threes’ starting in measure 62, and the triplets on top of sixteenths in measures 68 and 69. Also, many awkward sticking patterns in this solo are reversed in some form or another (working coordination) as in measures 23/24, 30/108 and 77. Additionally, some sections have the hands doing very different rhythms at the same time. In these spots, think of one hand as the melody and the other as the accompaniment. Other times there is one rhythm on top of another, separate rhythm that should be brought out. One example of this is the right hand in measures 21 and 22. Lastly, there is a challenging ‘juggling’ section which was put in to highlight an interest of mine at the time. You might think about replacing this part with something that highlights one of your own strengths or interests that could be incorporated in a tenor solo. Have fun! Page

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Matt Altmire

Matt’s Bio Matt Altmire grew up in Tacoma, WA, and Victorville, CA. Having an early interest in playing the drumset, his love of tenors began when he first saw them and thought “it would be like marching a drumset!” In addition to playing tenors in high school, college, and DCI (as a member of both the Velvet Knights and Santa Clara Vanguard), Matt has performed on tenors all over the world for many types of events - from the shores of Hawaii to the streets of Rome. Along with tours to Australia, England, Scotland, France, Spain, and Italy, Matt has played tenors in many of the world’s great parades as well, including the Rose Parade (CA), the Macy’s Thanksgiving Day Parade (NY), the London New Year’s Day Parade, the Carnival in Nice (France), and the extraordinary Moomba Parade in Melbourne, Australia! Matt has done several clinics in North America and Japan and has been an instructor and arranger for numerous high school, college, and DCI drumlines, including Etiwanda HS, Thousand Oaks HS, William S. Hart HS, Diamond Bar HS, Yamato Drum & Bugle Corps, Pacific Crest Drum & Bugle Corps, Riverside Community College, and UCLA. He earned a BA and MM from UCLA in percussion performance and has taught percussion at both Santa Monica College and Mt. San Antonio College. Having an interest in all areas of percussion, Matt has also performed as a freelance percussionist in the Los Angeles area with such groups as the Los Angeles Concert Orchestra, Swing Inc., and the contemporary percussion ensemble GLANK. He is also a Vic Firth endorser and a member of their Education Team.

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Green Eggs & Flam

Green Eggs & Flam by Matt Altmire

Allegro (but free)

R

A tempo ( = ca. 124)

= L.H. air

r l r l r

l r l

R r r r r r

r l r l R

L r l R L r r

4 L rLr L rLr L rLr L rL r

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

L r l r l l

l

rrr L R l r L

7 R

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

sub.

r

r l l r l l r r l

Vivace ( = ca. 144)

rit.

10

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

l r l R

l r l

R

L R

r l

R L L

fake cross-over flam drags

fake cross-over flam accents

14 R L

RL

17

Page

8

L

L

R l l r

L r r l

R l l r

L r r l

R l r

L r l r r r

L r l r r r


Matt Altmire R. H.

20

=

L. H.

23 R

25

R

R

L

L

R.H.

L

L

L

L

R

R

R

R

R

L.H.

R.H. (drum 2)

L.H. (drum 2)

.= .

27

(drum 3 rim)

30 R R

l

R R

l

R R

l

R

L.H.

R.H.

33 R l

r

l

r r

l

R.H.

r

l R l

l

r

l

L.H.

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9


Green Eggs & Flam

.=

36 L r r l r l l r L r r l r l l r

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

39 L r r l r l l r L r r l r l l r

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

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

42 l

R

r r r l l l

r r r l l

r

r

l

l

r

r

L

r

l

l

R

l

r

r

L

R

44

rit.

flip left mallet to soft side

46 R

49

53

Page

10

r

r

r

r r l R L

Prestissimo ( = 180 - 208) R.H. L.H.


Matt Altmire

57 RLRLRLR r r r

62

L.H.

R RLRLRLR r r r

r r r r

R l l l l l l l

flip left mallet back to normal side

R.H.

66

stick visual

70 R L

Allegro con brio ( = 124 - 140)

75 R L R L R L R L R L R L R L R L R L R L R

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

77 RLR L RLR L RLR LRL R LRL R LRL

RLR LRL RLRLR LRLRL RLRLRLRLRLRL

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11


Green Eggs & Flam

79 R RLRL RLRL RLRL RLRL R RLR L RLR L RLR L RLR L

82

R.H. r r l

85

R l RR l R l RR l R l RRR L

r r l

r r l

r l r l r L r r

L.H.

L r

r L

R.H.

L.H.

87

88

90 R l r r l l R l r r l l R l r r l l R l r r l l R l

r r l

r r l

91 R

Page

12

r

L

r

l

r

l

l

R

r

l

r

l

r

r r l

r r l


Matt Altmire

muffle w/hand

92 L

r L r L r r L

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

R

R

R

r L r L r r L

L.H. (w/exception of written stickings)

95 R L

R.H.

r r

r r

r L

R L

(drum 3)

(shot drum)

(drum 3)

98 r

101

l

l

l

r

l

r

l

l

l

r

l

r

l

r

l

r

l

r

l

r

l

L.H.

R.H.

R.H. on rim

104 R

L

L

L

R R

L

L

R R

L

L

L

(L.H. only)

106 r L L r L L r L L r L L

R.H.

109 r

r

l

r

r

l

r

r

l

r

r

l

r

r

l

r

r

l

r

L.H.

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13


3 4

Green Eggs & Flam

Andante ( . = 76 - 84) pick up extra R.H. mallet

111

L

R

113 L

L 3 L 4

L

L 3 L 4

L 3 L 4 4 L 3 3 L 3

L

L R L R L 3

L 3 L 4 L 3 L

3 L 3 L 4

R.H.

115 L

R L R L

L.H.

118

accel.

juggle

Prestissimo ( = 204 - 220)

back to 1 RH mallet

R L R L R L R L

R

L

R

L

R

L

R

L

R

R

122 R

L

L

R R L

R

R

R

R

R

L

R

L

R

L

R

L

R

126

Page

14

R

R R L

R R L L


Matt Altmire

129 R L R L

R

l

R r l

R r l

l

R

l

r

L l r

L l r

L

L

r

r

132 R

l

L

r

L

R

l

L.H.

R

L

r

L

R

l

R

R.H.

134 R.H.

R

L.H.

l

L

L

r

R

R

l

137 L

L

L

r

R

R

R

l

L

L

L

L

r

R

R

R

139 R

l

R

L

r

L

R

l

R

l

R

R

R

l

R

R

R

l

R

R

l

R

R

l

R.H.

142 r

l

L.H.

145

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15


Green Eggs & Flam

148 L.H.

R.H.

152 r

154 r r l r r l R l r r l l r l r l r

l

r l r l

l

r

157 r

l

r

l

159 r

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16

l

R

L

R

r

l

R

r

l

L

l


Chocolate Cherry Bomb

Nick Werth

by Nick Werth

Program / Performance Notes In composing this piece, I wanted to create an endless groove of some sort without overusing any specific rhythmic figure. Usually the “groove” is a break from all other sections of a tenor solo - something used to create contrast. This composition is an attempt to create that same contrast without straying too far from the original groove. Every idea in the solo is somehow connected to the theme occurring at measure 10, even when it seems as if the groove has disappeared. As you practice, try to hear that groove beneath everything you play. As for the name of the solo, it too is directly connected to the primary groove of the piece (ah - e - +, 2 - e - +). Its syllabic rhythm aligns naturally with the rhythm of the groove (cho-co-late, cher-ry-bomb). Don’t be afraid to nod your head if you’re feeling it! Enjoy!

Nick’s Bio As a graduate of the University of North Texas, Nick has a diverse and extensive appreciation for the percussive arts. During his schooling, he was fortunate to study with Christopher Deane, Mark Ford, Paul Rennick, Ed Smith, and Poovalur Sriji. In 2000, 2001, and 2002, Nick was the Percussive Arts Society International Convention Multi-Tenor Solo Champion. In 2002, he placed third in the Drum Corps International Multi-Tenor Solo Competition. From 2003 through 2006, Nick taught the Phantom Regiment tenor line, which was awarded Best Percussion in 2006. Nick also helped the Flower Mound High School Drumline win two PASIC Drumline Championships (2006 and 2007) and place third in the 2008 PASIC Drumline Competition. As a clinician, Nick has travelled to Arizona, Indiana, Missouri, Tennessee, and Texas to share his love for percussion. Nick composes and arranges for solo vibraphone and the marching percussion ensemble. He currently plays drumset with an improvisational fusion group called Hatch.

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Chocolate Cherry Bomb

Chocolate Cherry Bomb by Nick Werth

= 128

r l

l r L r r l r l

l r L r r l

r l

l r L r r l r l r l r l r l

3 r l l r L r r l r l l r L r r l

r l l r L r r L r l l r l r L L

r l l r L r r l r l l r L r r l

r l l r L r r l r l r r l l r l

r l l r L r r l r l l r L r r L

r l l r L r r l r L r l l RL

6

A 9 r

r l r L R L

R L R L R L

R L RR L R

r l r r l l R

r r L

12 RL RLRL

R L RR L R

r r l

R r l r

L r l

R r l r L

B

15 LR l l rrLL R l l rr l l RL

Page

RL RLRL

18

r l

r r

L l RL

RR L R L R

L L L L

R L RR L R


Nick Werth

18 L L R L

L

L L R L

L

21 L L R L R R L

L L R L R R L

R

L R L R R L R

L R L R R L

23 R

L R L

R L 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

C 25 r

l r l

l

r

r l r

l r l l RL

r

l r l l Rl l r

l r l r

L

r l r

r

r r r

l r l

r l r r LR

28 l

r

l

r

l

R L r

l

r

l

l

l

r r l

l R L

D

30 r l l r r l r L

R l R L l

R L

LR L

RLR

LRL R L R

r

RL r l

33 R

l l r r L r l r l R l

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

r l

r L l r l R l

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19


Chocolate Cherry Bomb

36 r r l

l R

l

l

r

r r L

L R l

l r r L R l

l r l r r l

l

38 Rr r l l r r l l r l r l l r r l l r l r l l r

r l l r l rL RL r l RL r l r l

R l

41 r L r R l l

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

44 r l r l R

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

R

l l rr l l r r l l R

L R

E = 94

47

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

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

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

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

l r r l R l

l r r l R l

l r r l R l

l r l r r l R l

l r

52

Page

20

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

l r l r r l R l

l r l


Nick Werth

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

r

L R

l r

l r

R L

F 56 r l l r l r L l R L r r l l r l t L l R L l

r r l r l

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

l

Rr l r

l r

L

R r r L

58 R r l

L

R l

L r l r l R

60 r l l r l r

L l RLrr l l r l r

L l RL l

r r l r l r l rr l l r l r l r l r l r l l rr

G

62 r l l r l r

66

Lr

L l r L

R

RR R

LR

accel.

RR L R R

RR L R R

R L R L L R

L

RRL RL L R

RR L R L L R

69 L

R L R L L R L

R L R

L R L

R L R L R L

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21


Chocolate Cherry Bomb

71

H

= 128

l r l r l r l r l r l r l r L l

l r L

r

l r l

r l r

l r l

l R L

73 r

l r l l Rl l r l r l r l r

l

r l r

l r l

r l r r LR

l

r l r

r

l r l

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

l r l

r l R l r l

76

79

r l r

l rr l l RL

r l r

l r l RLR L

I R L r

l

r r

L r

l

r

l

R l R L

l

R l R

l

r

l

R L r

l

l R L r

81 l

l R L r l

l R l r l

l R r r l l r

r l l r l r l r l

r l r l r l r r L R

83 l r l l

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

R L r l

r r L r l r l R l R L

85 l R l R

Page

22

l

r

l

R L r l

l R L r

l

l R L r l

l R l r l

l R r r l l r


Nick Werth

87 r l l r l r l r l R r r l l r r l l r l r

l r l

r l r l r l r l

R l r l r L

89 R L r l

r r

L r

l

r

l R l R L

l R l R

l

r

l

R l r

l

R l R L

91 l R l R l r l r l r r l l r l r

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

= 94

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

r l r L

R L

R L R L

R L R

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23


Ubiquitous Illin-ness

Ubiquitous Illin-ness by Bill Bachman

Program Notes Ubiquitous Illin-ness is my brand-new solo written especially for this Violent Tenor Cream book. When Murray asked me to contribute a solo, I was quite honored as I consider him one of the Grandpappies of modern quad drumming. I remember watching the 1992 SCV tenor guys play with my jaw on the ground as I tried to comprehend what I was seeing and hearing, and now many of those pivotal tenor beats are included in this book! I started the writing process by making a list of things I wanted to play but have never written into any piece of music. From there I added a recurring theme and a few different movements within the solo. I wrote the ending much like the beginning (only backwards) in order to book-end the solo into a tidy little package. I needed a name for the solo, and instead of trying to be cool with something like “Frenzied Fury of Greased Lightning,” I came up with “Ubiquitous Illin-ness.” I chose this name not only because it pokes fun at other stereotypical solo names, but also because it was simply the stupidest name I could come up with. (Perfect!) And for the record, I still think that Murray should have named this book “Passive Filet Mignon” as a response to their “Violent Ice Cream” snare drum solo book.

Performance Notes When preparing Ubiquitous Illin-ness, make sure that you check your timing with a metronome. The solo has many dramatic velocity changes, and your hands will need to go from slow to very fast while the bigger groove stays consistent. Keep in mind that the slow parts will sound fine a bit slower if you can’t yet play the faster parts all the way up at the written tempos. Be sure when “playing” the air-drum parts that your wrists really turn and you’re air-drumming over the correct playing area so it looks convincing. In the section starting at bar 41, make sure that the hand playing the Moeller bucks stays relaxed and consistent. Don’t let the opposite hand’s parts affect the flow of the hand playing chilled-out bucks. Make sure that the fast scrapes at the end are played with a smooth flow, and don’t let the around (X-axis) affect the consistent roll hand motion (Y-axis). And with that said, have fun with the solo! Page

24


Bill Bachman

Bill’s Bio Bill Bachman has studied percussion performance at the University of North Texas and is a graduate of the Berklee College of Music. He’s an international drum clinician and the road drummer in Neal Morse’s USA-based progressive rock band. Bill has played with and instructed many award-winning marching percussion groups including the UNT drumline, Cadets, Bluecoats, Blue Knights, and Carolina Crown in his 12 years touring with drum and bugle corps. He’s the author of Row-Loff’s Rudimental Logic, Quad Logic, and Bass Logic; designer of Vic Firth’s Heavy Hitter pad series; producer of the instructional drum DVDs “Rudimental Beats” and “Reefed Beats”; and is a contributing writer for Modern Drummer magazine. Bill is an endorser/clinician for Dynasty drums, Remo drumheads, Zildjian cymbals, Vic Firth sticks & mallets, Row-Loff Productions, and Sensaphonics earplugs. For more information, check out billbachman.net.

artwork by bill bachman

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25


Ubiquitous Illin-ness

Ubiquitous Illin-ness by Bill Bachman

= 172

(stems with no notehead = air drum)

rim

R L R L

R L R L

R L R L

R L R L

L R L R L R L

R L R L R L R

(air drum notes go under regular notes)

4 LRLRLRL

RLRLRLR

LRLRLRL

RLRLRLR

LRLRLRL

RLRLRLR

7 R L R L

R l r r l l

r r l l r r L

R L

10 Rl rr l lR

RL

13 L R L R L

R

17 R l r r l l

RRR L L L >

19 R L R L

Page

26

R L R

L

RL

R L L L

R r l


Bill Bachman

23 RL RL R L R L R L R L RL R L RL RL

R L L L

26 RL R LRL

R l r r l l R L L L

L R L

29 Rl l rrr l l l

R l r l r l R l Rl rr l l

R L L L

32 R L R L R L R L R L r L r

L r L r l r l r l r l r l r l r l

35 RL r r l l R l r r l l

r r l l

37 R L R L

r l

R L

= 96

40 L R L R

R R R

(Play all rim clicks at

)

L L L L

Play right hand as Moeller Bucks w/slight accents

44 L L L L

L L L L RrRrRr

L L L L

L L L L

L L L L

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27


Ubiquitous Illin-ness

47

L.H. L

R L

L

R L R L R

R.H.* * For ease of notation, drum 3 is notated below the staff

49 R

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

R.H.

51 R l r r l l r r l l r

L.H.

53 L R

55 R L R R L L R R R L L L R R R L L L

R R R L L L

R L

R

L

R

56 R r r r

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

58 L

Page

28

r l r l r l R L R


Bill Bachman

60 R L R R l R

r l

R

R l

R r r l R r r l

r

l l

R L R R r

L l l r l r l r l R l

RL R L RL

l r L

R l

63 l r l r l R l

l r

R L R L

65 R R R R

RLRL

L

L

L

RLR L

R R R R

Gradually morph to even 16ths Repeat as necessary

68 L

73

L

L

L

L r l r l

= 106

molto accel.

Repeat as necessary R

cresc.

R l r r l l r r L l l

77 R L r l r L r r L R l cresc. poco a poco

r

l

r

l

l

l

l

l

L r L L r L L l

l

l r l r l r l

79 R l r r l l R l r r l l R l r l

R L r l

R l r L

R l

81 RL

RR L L

RL

RR L L

R l r L

R l r L

Rr l R l

Page

29


Ubiquitous Illin-ness

83 R l l R l l Rl rr l l rrL R l

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

R l l l

L r L r

L r L

L r L

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

88

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

Double Time = 212

RR L L

91 RLRLR LRLRL

95 RR L L R L L RR L

99 RR L L

RR L L

103

106 R L RL R L R L R L

Page

30


Bill Bachman

109 R L R L R L R L R L

R L

L R

R L

L R

rit.

112 R L

L R

R L

L R Free-time visual

114 R L R L

R L R L

R L R L

R L R L

Slam both sticks on drum 4 and leave them there

* Optional Effect: tear phonebook in half

Page

31


Grooves & Chops o’ Plenty

Grooves & Chops o’ Plenty by Brian Perez

Program / Performance Notes This solo was performed at DCI I&E competition in 2004. The title of the piece was inspired by two of my favorite things! The number one ingredient is use of grooves. I wanted to make it about the music first and really have something you could nod your head along with most of the time. The grooves aren’t always in straight 4/4 time in order to provide a variety of mixed meters and feels. Often the beat pattern will be something that is really simple, yet accent patterns will put the emphasis on the e’s and ah’s. The second element, chops, is something that I used for more flashy treatment and displays of technique, all while providing tempo control to solidify groove patterns. Most instances work well together. If performing this solo with an unrestricted amount of time, feel free to embellish or expand sections with longer phrases to elaborate on intricacy, independence or, my favorite, more chops!

Brian’s Bio Brian Perez is currently a member of the percussion staff of The Cavaliers Drum & Bugle Corps from Rosemont, IL. He was the Director of Percussion at Klein High School in Klein, TX, in 2006-07. Perez has also served as the writer and director of the drumline for the University of Houston Spirit of Houston Marching Band 2005-2006. Aside from his responsibilities at the university, Brian has also taught at Clear Brook High School in Friendswood, TX, working alongside Christopher Retschulte. He was an integral part of Clear Brook’s program as well as a large influence on their success and victory as champions of the 2005 Winter Guard International Open Class Competition. Brian’s other teaching experiences have included Langham Creek High School and Pearland High School, both in the greater Houston area. Perez was a member of the Santa Clara Vanguard tenor line from 00-04 under the instruction of the legendary Ralph Hardimon, Glen Crosby, Jim Casella, and Murray Gusseck. He served as the section leader for all five years and was a member of the instructional staff in 2005. Perez was a member of the 2001 Texas All-State Band and also received the honor of the first place tenor individual award at Percussive Arts Society International Convention in 1999. Page

32


Brian Perez

Grooves & Chops o’ Plenty by Brian Perez

= 130

L.H. on rims

R.H. on shell

5 L RLRLRLRLR

R l r L r l

R l r L r l

RR l

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

10 r

l

r

l

r

l

r

l

r

l

r

l

r

l

r

l

r

l

r

l

L R R

L

L R R

r

l

r

l

r

l

r

l

r

l

r

l

11 R R

L

L R R

L

L

L R R

L

L R R

L

L

12 Rr r L l l Rr r L l l Rr r L l l Rr r L l l Rr r L l l Rr r L l l

14

R

L.H. to stick

r r r r r r r r

L LR RL

R.H. to stick

r r r

r r r r r

l

l l

l l

l l r l

Page

33


Grooves & Chops o’ Plenty

20

R.H.

l

l l

l

23 r l r lRL l r l r lRL

R l r L r l

R

R l r

L r l R

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

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

28 L r L r l Rr R l r L

R l r L r L r l

R l R l r L

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

31 R l

r R l

r R

l r r l

l

l r r l

l r

r L r r L L r L r r L L r L r r L L R

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

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

35 R l

r r L r

l

l

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

R l

r r L r

l

l

R

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

Page

34

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


Brian Perez

39 R l r r L r l

l R l

l R l l R l

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

41 l R l l R l R l r l r LR l r LR l r l r LR l r L R l r l r LR l r LR l r l r LR l r LR l r l r LR l r LR l

43 r l r LR l r l r LR l r l r LR l r l r l r l r l r l r l r l r l r l r l r l

45

L.H. to puffy swizzle r

49

r r

r r

r r

R

r

R.H. to stick end of swizzle r

r

r r

r r

r r

r

l

L l

L

R.H.

52

55

58 L l l L l l L l

l L l

l

L l

l L l

l

l

l L l l

Page

35


Grooves & Chops o’ Plenty

61 L l l L l r l R R l

R R l

l

l

RL R R l

R R l

l

l l l r l R R l

R R l

64 l

l

R L R R l R l r

lrl r

r l r l r l

l

l

r l r l

l

r r r l r l

single stroke roll

67 r l r l r l r l r l r l

r r l r l l

= 168

71

L.H. to stick

R.H. to stick l

L

l l

L

l

r

R

r r

R

r

r

R.H. stays on rim (maintain accents on 2 & 4)

76

79 R l r L

82 R

r l r l R l l r

R

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

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

85 R l l rrL r r L rr l lR l l

Page

36

R l l rrL rr l lR l l rrL rr l l

rr l rr l rr l


Brian Perez

88 r r l r r l l r r l l r r l l r r l l r r l l

accel.

= 110

90 r

94

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

r r r r r rrr

r r r r r r r r r r r r

r l l l l l l l l l

l l l l l l l l l l l l

Flip L.H. to traditional grip

r r r r r r r r l

= 140

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

R r r r l R r r r l

Flip L.H. to butt end Flip R.H. to butt end

L.H. to traditional

97 R l R

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

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

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

R.H. to tip

100 l r l l l l l R

R l r

L

r l R l r

L r l r l

R l l Rl rrLr l l rrLr l lRl rr l l r l r lR

103 l

l R l

l R l

l R l

r

L

l

R r

l

R l

R r L

l

r

L

l

R r

L R r

L

l

Back stick

105 R

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

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

107 r l l r l l r l l r r l r r l r r l r l r l r l r l

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

Page

37


Grooves & Chops o’ Plenty

109 r l r l r l r l R

113 r l r l r l r l r l r l r

= 172

117

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

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

119 r l r l r l r l r l r l

R L R L

R l r

L r l

R l r L r l

122 R l r L r l

R l r l r l

R l r

L r l

R l r

L r l

R l r

L r l R l R L r L

125 r l R l r L

R l r L r l

R l r

L r l

R l r l r l

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

128 r r l l r r l l r r l l r r l l r r l l r r l l

= 140

130

r

Page

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

38

l l R r l

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

R l R l l R l R l R l l


Brian Perez

133 Rl Rl l Rl Rl Rl l

Rl r lRl l Rl r lRl l Rl r lRl l

Rl Rl l Rl Rl l

R

L

137 R

140

R

L R L R

L R L R L

R L R L R l

R.H. L.H.

143 R L R L R L R L R L

R L R L

L

L

L R L R R R

R l r

L l

R r

l

R L

R

R

L

146 R

l

r

L

l

R

r

l

R

L

R

L

R

L

R

L

L

148 r l r l r l r l r l r l r

L R R R l l R L R

Page

39


Scrape Ape

Scrape Ape by Colin McNutt

Program Notes This solo was named long after its performance at the DCI Individual Solo Competition in 1992. I was a member of the Santa Clara Vanguard that year and was prompted at the last minute to take Murray Gusseck’s solo spot by Murray himself. Much of it is improvisatory and was later transcribed with lots of help from drum wizard James Sparling. (Thanks, James!) It is hopefully self-explanatory, and if a relative feel of improvisation can accompany its performance, I think that would be true to the original.

Colin’s Bio Colin McNutt has instructed and arranged for the Star of Indiana Drum & Bugle Corps and the popular stage production, Blast! He has also written for and instructed the Crossmen Drum & Bugle Corps, the Glassmen Drum & Bugle Corps, Magic of Orlando, and the Madison Scouts. Colin has served on the faculty of the University of Massachusetts at Amherst, where he is an alumnus and received degrees in Classics and Music Education. Currently, he is the Percussion Caption Supervisor for the 9-time DCI World Champion Cadets Drum & Bugle Corps. McNutt started marching drum corps his junior year in high school in 1988 with the Boston Crusaders of Boston, MA, then aging out with the Santa Clara Vanguard of Santa Clara, CA, in 1992. McNutt has made a career out of his passion for music and percussion, while completing his double major of music education and the classics from the University of Massachusetts at Amherst in 1998. When not instructing drum corps, McNutt conducts clinics for the percussion companies Avedis Zildjian Co., REMO, Inc., and Vic Firth. He also writes music for marching bands in the United States and Japan.

Page

40


Colin McNutt

Scrape Ape by Colin McNutt

= ca. 110 From front of drums

RLRL as long as needed until behind drums

rit.

3 L R L R

accel.

5

rit.

l r r l l rr l l rr l l r r l r l r l r l r

8

l r r rr r

accel.

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

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

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

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

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

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

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

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

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

11

14

17

rit. r l l r r l l r r l l r r l l r

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

r

Page

41


Scrape Ape

= ca. 84

20

L.H. R.H.

sim. (L.H. muffles)

= Muffled shots

Faster

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

l

R R R

R r

l R l r r l R l

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

L R L R L L RR L RR L L RRR L L RRR L L R

r

l

r L

25 L LR

28 RR L L RR L L RR L L

L L R

R L L RR L RR L L

30 R L L R L L RR L RR L RRR L L RRR L L R

R L R L R L R L R R L R L R L R L R R L L RR L

32 R R L

R L

R l R l

L r L R

= ca. 104 As fast as possible

35

R L R L

Page

42

L.H. R.H. (Drum 3)

R


Colin McNutt

37 r l r l

r l

r

l

with stick flips

40 r l r l

43

r

r r

l

l l r

l l r r r l

l l

r l l l l l

l

r r r L

accel.

r l

RLRL

R L r r L r r L RRL

= ca. 130

45

L.H. R.H. (shot drum)

48

R.H. R L R L R

L R L R L R

L.H.

51 l l r

l

l r l

l r l

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

R l

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

R R

L R L R L R R L L

Page

43


Scrape Ape

56 R R R R l

R R l RR L L

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

R L L R R L R R L R R L R R L R L R L R l

60 l R l RR l R l R l R l RL

R L R R L RR L L RL RL R R L R L RL R L R L R

R L RL

(continue accents)

63 R L R L

= Backstick

Stick Flip Visuals

65 R l l R l l

R

A Tempo

68

with puffies

r r l r l r l r l r

72

r r l

75 r l r l

Page

44

R l r l

r l r l r l r Switch L.H. to mallet

rit. r r l

l

r r r r

l

R r l r l r l

Switch R.H. to mallet

r l l l l l l


Colin McNutt

= ca. 154

77 r l R l r l r l r r l

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

r l R l r l r l r r l

80 l r l r l rr l r l l r l rr l l l

r l R l r l r l r l r

l r l

R r l

R r l R l rr l l

83 l R l

r l R l r L R LRLRLRLRL R l l

l R l R l l

R l l l l l R l l l l l

= Behind the back

86 RR l l RR l l R l r r

L r r r r r L r r r r r

RR l l RR l l

R r l

R r l

poco rit.

89 R l r r l l R l r r l l R R R l l l RRR l l l

RR l

R

L

92 R R R R r r

l r l r L rLr

L L L L l

l r l r l R lRl

R lRl

= ca. 144

95

R.H. R r l l

r l l

r l l R l

l

r l l

L.H.

Page

45


Scrape Ape

98 L L R L R

R l r R R L

101 R R L L

103 R

r l r L R

R

L R

R

R L

R l r R l

R L

105 R L R L

R L R

L L

RL R L

RL R L L L

R L R L

107 R L LRR L RRL L RRRL L RRRL L R R L

109 R L R L L R R L R R L R L R L L R L

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

111 R l r r l l r l r l r l r l r l r l R

l

l R l R R l R l R l R l R L

rit.

113 R L R L R L R L R L

Page

46

R r r


Colin McNutt

As fast as possible

accel.

sim.

115 R r r

l

l

l

118

121

124

127 r l r l r

L r L r L

R l

l R l R R l R l R l R l R L

129 RL

RL

RL

RL

RLRLRL

RLRLR

L

L

Page

47


Afrobeat

Afrobeat by Mike Hodges

Performance Notes Afrobeat was the winning solo in the 2004 PAS solo tenor competition. It was written for quads with one spock but could be adapted for two without changing the intent. Aluminum mallets with rubber handles should be used to give the right sound to the rim clicks and give the sections played with the butt-ends a mellow tone. Measures 1-65 comprise the first section and include the main thematic material of the piece. This section, written in 3/4 time, should be felt in 1. The motif on drum 4 should be stressed, especially when more complex rhythms are happening around the rest of the set. The “one-handed roll” in measures 31-32 uses the free-hand technique where the shaft of the mallet, near the fulcrum, hits the rim on the down stroke. The second note is played on the up stroke. While it may seem difficult at first, one can quickly produce consistent rhythms using this technique. Take it slow at first and strive for even rhythms. There are several texts available on the further applications of this technique. Measures 67-94 are based on the Outkast tune, “Bombs over Baghdad.” This section and the one immediately following should have a driving groove. Measures 79-92 come directly from the “drum solo” part of “B.O.B.” Drum 4 acts as the kick drum and the spock drum acts as the snare drum. Do your best to bring out these voices and keep everything else in the background. A technique used a great deal in this solo is orchestrated scrape patterns that incorporate a certain rhythm on the outside drums (3 and 4). These drums usually speak a little better than the inner drums (1 and 2). The rhythm on the outer drums will naturally be a little louder, but the player should try to accent those notes slightly when appropriate. This has been notated with a tenuto mark ( - ) over the notes that are to be stressed. Page

48


Mike Hodges

Mike’s Bio Mike Hodges has won the PAS solo tenor competition three times and placed second twice in the DCI I&E competition. He was a member of Southwind, the Cavaliers, and the Phantom Regiment drum and bugle corps. During his time at the Cavaliers they won two DCI Championships (2002 and 2004). Mike was also a member of the world-renowned University of North Texas drumline, winning the 2002 PAS Marching Championship. He has been a part of the percussion staff with the Phantom Regiment since 2007, helping them capture the 2008 DCI World Championship and the Fred Sanford High Percussion Award. Mike graduated from the University of North Texas with a degree in Music Performance. His teachers include Mark Ford, Paul Rennick, Christopher Deane, Ed Soph, and Bret Kuhn. Currently Mike serves as assistant percussion director at Coppell High School in Coppell, Texas. He also plays drumset and percussion in a variety of musical situations in the Dallas/Ft. Worth area and around the country touring with several bands. He proudly endorses Innovative Percussion sticks and mallets.

Page

49


Afrobeat

Afrobeat by Mike Hodges

= 192

r

l

r

l

r

r

l

R L R L R l

r

l

l

l

l

7 l r

r l r l r l r l r l

r

l r

r l

l

r

r

l

R L R L R

13 l

R l

l

r

r

l

l

r

l

l

r l r l r l r l

R

l

R

r

l

l

r

l

19 r

r

l

R L R L R

l

l

24 l

r l r l r l r l

R

l l r r L

r

l

l

r

r

r

r

r

r

l

l

r

l

r r

l

l

r r l l r

l

R.H.

28 r r l l r l r l r l r l

R

l

R

l

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

L.H.

32 L l r r l l r r l l r r

Page

50

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

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


Mike Hodges

36 R L R L

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

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

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

accel.

40 L

r l

R

l

l

l

l

l

r

l

l

r r

l

l

r

l

l

r r

l

L r

45 R r r l l R L

49

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

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

R l r l

= 210

r r l l

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

r r l l

r r l l r r l l r l

53

rit.

57 r

l

r

l

r

r

l

l r

(1/2 flip R) (1/2 flip L)

63 r

l

r

l

r

l

r l

with butt ends

r

l

r

l

r

Visual flip back to mallet heads

RL

Page

51


Afrobeat

Vocal:

= 132 l

"one"

"two"

"one" "two" "three" "ya"

accel. r

l

l

r

l

l

r

l

l

= 160

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

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

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

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

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

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

77 R R L R L

R L R

L R L

R

R

l r l R

l r l R L

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

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

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

R L RR l

r l l R r L l R r

r l l R r L r r l

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

L r r L R l

r l l R r L r r l

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

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

83 L r r L R l

86

Page

52

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


Mike Hodges

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

r L r

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

l R l

R L l R l

r l l R r L l R r

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

L r

L

R L R L

95 l l r r

L r l l r r L R

l l r r

98 l l r l r l r l

r r l l

r r l l

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

R l r l

101 r r l l

104 R l r l

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

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

107 r r l l

110

Page

53


Afrobeat

molto rit.

113 r l r l r l r l

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

r l r l r l r

dim.

. = 152

116

L

l

l

l

r l r

r l

r

r l r

r

l r

l

l

l

l r l r

l

l r

l

r

l

r l r l

l r r r r

119 L r r r L r l

l R l r r

L r l

l R l

r

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

l r

122 l r l r l

l r r r r

l r l r l

l

l r

l

l r

l

R

l

l

l r l r l

L.H. only cresc.

125 r

l

l

R

l

R

l

R

l

r

l

r

l

R

L

r

r

L

l

R

L

r

l

L

127 R

l

r

L

r

l

l

R

r

L

l

R

R

l

r

r

L

r

L

l

R

r

r

L

r

R

R.H.

129 L

l

R

l

l

l

r

l

r r

l

l

131 L

Page

54

r r l

r r l

l r r l l R

l

R

l

R

R

l

l

R

l

l r r l l r r l

l r r l l r r


cresc.

(1/2 flip L) L.H. butt end

133

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

L l

Mike Hodges

R.H.

l

136

139

poco accel.

. = 176

Flip L.H. back to mallethead

141 R

r r r

r

l

r

r

l

r

l R

144 R l

r r L r l

l R l

r r

L r r l R l

l

r L r r l

R l

r r L r l

l R l

r r

147 L

r

r

l

R

l

l

r

L

r

r

r

l

l

r

r

l

l

l

r

r

l

r

r

r

l

l

l

r

r

l

l

r

r

r

r

l

L

r

l

l

l

l

r

r

l

l

r

l

150 r

r

r

l

r

r

l

r

r

l

l

l

r

r

l

l

r

l

r

l

153 r

r

r

l

l

l

l

r

l

r

r

l

r

r

r

l

l

l

Page

55


Afrobeat

156 R l r r L r l

l R l r l

R l r r L r l

l R l r l

r r l r r l

r r

l

r r

l

l

r

l

l

r

l

r r

l

r r

l

l

l r l

A tempo

molto rit.

159

l r l

r

l

l

r L

r l r l

162 r l

r l r

r l

R L RL R l

r l

l

l

l

l r

As fast as possible!

169

L l r r l l r r l l r r

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

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

173 R L R L

r r l l

177 R r L r

l

r

l

r l r l

cresc. poco a poco

181 r r l l r r l l r r l l

R

R l l R l l R l l R l l

R

L R

l

R

l

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

r r l l r r L

185

Page

56

l

R L R L R

R

L

R

L


2005 SCV Tenor Ensemble

Matt Ramey

by Matt Ramey

Instrument List Crash Cymbals, Taiko Drum (Floor Tom or Gong Bass Drum substitution can work as well!), Mark Tree, Concert Bass Drum, Tam-Tam, Chimes, Bongos, and Drumset.

Drumset Notation Key

cross-stick 2

Hi-hat (closed)

rim shot

snare

bass drum

Hi-hat (open)

crash

ride

Hi-hat (foot) ride bell

crash (choke)

cowbell

Performance Notes This ensemble is designed to be fairly easy to put together, as well as offer performers the opportunity to showcase their unique personalities. Do not let the notes on the page limit your own creativity, and if you have an idea, run with it! Most likely it will be an amazing idea. That being said, there are a few things that you should know so that you can get from beginning to end of the ensemble with success. At bar 1, the count-off should come simultaneously as the mark tree is played. At bar 91, time should stop for the duration of the free solo. Time resumes when the soloist plays the four-bar cue beginning at bar 95.

Page

57


2005 SCV Tenor Ensemble

Letter H is a short etude conceived by Augustus Caesar himself! Passed down through the ages from tenor drummer to tenor drummer and placed in the hands of the 1992 SCV tenor line, affectionately called “That thing with the three notes on the right hand.” At bar 112, count 3 is not a typo. The right hand stays on top while the left hand finds a way underneath. As for the cymbal player in the end, this is not an optional part of the piece. It is mandatory. Any ensemble found without a cymbal player will be fined $4,000. Thanks, and enjoy!

Matt’s Bio Matt Ramey is currently a student at Berklee College of Music, where he is a Contemporary Writing and Production major. While attending class in Boston, Matt also is on staff with the Santa Clara Vanguard, where he is the Assistant Caption Manager and tenor tech. Also he is on staff at Boston University, serving as the percussion arranger and musical supervisor for the percussion section. Over the years Matt has received many awards, all of which lead to the fact that you should buy this book and ask for his autograph when you see him. Matt was a marching member of the Seattle Cascades in 2002 and with SCV from 20032005, where he played bass drum and tenors.

Page

58


2005 SCV Tenor Ensemble

Matt Ramey

by Matt Ramey

= 185

(light time on ride cymbal, embellish with accents on ride bell)

Drum Set

(Tacet until measure 145)

Crash Cymbals (1 Player)

Taiko Drum

Tenor solo

Mark Tree

Tenor Ensemble Tam-Tam Concert Bass Drum Chimes

D.S.

5

Bongos

Ensemble

Page

59


2005 SCV Tenor Ensemble

D.S.

8

Ensemble

D.S.

Ensemble

Page

60

11

A


Matt Ramey

D.S.

14

Ensemble

D.S.

B

17

To Tenors

To Tenors

Ensemble To Tenors

To Tenors

D.S.

21

Solo...

Ensemble

Add 1 player...

r

l

r

l

l

r

l

r

l

l

r

l

r

l

l

Page

61


2005 SCV Tenor Ensemble

D.S.

24 Add 1 player...

Ensemble

D.S.

r

27

Ensemble

D.S.

r

l

l

Ensemble

Page

62

r

l

l

r

l

r

l

l

Rock!!

R

R L R L R L R L

R

r l r

r L r r L r Lr L r r L R L

r

l r

r L r r L

r L r L r r L

r r

l

l R L r r L r r L r r

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

l

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

r r l l R L r r L

D

38

R

l

r

l

r

r

L

r

l

r

l

l R L R L R L

l

l

R

40

R l r L r

42

l

Fill...

34

Ensemble

D.S.

l

C

Ensemble

D.S.

r

Add 1 player...

31

Ensemble

D.S.

l

R

Ensemble

D.S.

Add 1 player...

l R l r L r

l R l r r

R L

l

r

l

r

r

L

r

l

r

l

l


Matt Ramey D.S.

44

Ensemble

D.S.

R

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

To B.D. & Tam-Tam

47

Ensemble

D.S.

R L R l l R l R R l

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

R

l

R

l r

l R l r

l

l r l r l r l r

A tempo

B. D. & Tam-Tam

50

R l r

Mark Tree one player 1 player to chimes

Ensemble

D.S.

R

52

E

r

l

l

l

L

l

r

r

r

r

B

Solo (w/puffies)

B

B

Drum Set

All Players (with puffies)

R R R

Ensemble

D.S.

Ensemble

l

R R R R

l

R

l

R R R R

l

L

R

L

r

L

R

L

L

r

L

r

L

L

L

L

r

R R R R

l

Chimes

56

R R R

l

R R R R

l

R

l

R R R R

l

R R R

l

R R R

l

l

r

l

Page

63


2005 SCV Tenor Ensemble

D.S.

60

r L r r l

Ensemble

r

l r l R

R

R

R l

l R l

l R L

R L r r L

r l r

L

r l r

L

R

rit.

64 r

Ensemble

l

r

l

r

l

r

l

r

l

r

66 R

l

r

l

r

l

r

l

r

l

r

l

r

l

r

l

l

r

l

F

= 170

r

l

r

l

l = rim knock

Ensemble

Solo Tenor Player

R

r

r

r

r

L

= stick shot

r

L

R

player to Tenors

Taiko Drum

69 Ensemble

1 player to Taiko

Add One player

L r r r r L r L R

D.S.

Page

64

Add One player

r r r r r L r L R

L r r r r L r L R

G

74 L.H. Stick Side

Ensemble

To tenors

R R R L

r r r r r L r L R

Songo (with cowbell)

R.H. Stick Side

L R

R R L

L R

L

r l r r l

r r l r r l

L r r r r L r L R


Matt Ramey

D.S.

78 = neighbor's drum

Ensemble

D.S.

R R l R R L R R L R R L R R L R R L R R L R R L

80

Ensemble

D.S.

r l r r l

r r l r r l

83

2 player soli Ensemble

D.S.

r

86

l R L R L r

l R L

B

Fill...

2 player soli Ensemble

D.S.

89

Fill...

one player solo freely Ensemble

D.S.

Ensemble

94

= 160

R l l l l l

Page

65


2005 SCV Tenor Ensemble

D.S.

H

98

R.H. on spock L.H. around drums Ensemble

D.S.

101

Ensemble

D.S.

104

Ensemble

D.S.

107

Ensemble

D.S.

R L R L R

110

Ensemble

D.S.

Ensemble

Page

66

R L R R R R R L

113

I

R

= 108 l r r L r

l

l R

l

r r

R L R R R R R L

l

l

R L R L R

R L R L R


Matt Ramey = 185

D.S.

117

Ensemble

D.S.

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

120

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

R R r r R

R L

J

Ensemble

R L R L

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

L r r L r r L r r L r r L r l l Half Time Feel

D.S.

123

Ensemble

D.S.

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

R

l

r

l r

l

l

r R

l

R R l

l R R l

l

126 R.H. stick flip

Ensemble

D.S.

R l

l

r

l

r

l

r L

r r l

l r r

L

r

l

r L

l

l

r

l

l

r r l

R l

l R R l R l

l r R L

129

Ensemble

D.S.

r

R

132

l

R L R l

l R L R l

l

R l R l

l R l R l

l R l R

l R l

l R l

l R l

l R l

l

back to regular time... sub.

Ensemble

R l r r l l R l r r l l r r l l sub.

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

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

Page

67


2005 SCV Tenor Ensemble

D.S.

135

Ensemble

D.S.

Fill around hit figures, All 16th Notes (1/4 notes on the bass drum helps!)

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

K

138

Ensemble

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

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

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

accel.

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

= 176

D.S.

141

Ensemble

D.S.

144

Ensemble

R

l

r

l

r

L R

l

r

L

r

l

R

molto rit.

D.S.

Cr. Cyms

Ensemble

Page

68

146

wait for it...

almost there...

NOW!

l

r

L

r

l


1992 SCV Tenor Ensemble

Murray & Pals

by Matt Altmire, Michael Apodaca, Mark Campbell, Murray Gusseck, & Colin McNutt

Program Notes This ensemble came together on a whim approximately two weeks before the 1992 DCI I&E competition was to take place. It was the first of its kind that I’m aware of. There was no such category for this (and still isn’t, if I’m not mistaken). We had to compete with other legitimate percussion ensembles, many of which were doing serious music. The ensemble took 5th place in this category, completely surprising us since we didn’t expect to do well competitively at all. We were simply there to have fun and showcase what a line of some pretty serious players could do. The piece originally opened with an adaptation of “Adagio for Strings” by Samuel Barber (conducted by Mike Apodaca). Our arrangement of this has since been lost, but you can see and hear it on YouTube easily enough. Feel free to insert your own adaptation of contemporary symphonic music...perhaps even choral works! The various ideas in this project were the brain-stepchildren of all of us in that quad line. All of us contributed the various ideas, and I basically strung them together with some crazy glue into something that made no sense, was full of inside jokes no one knew about (let alone would laugh at), and a bunch of licks that often went by so fast it wasn’t evident to most what we were even doing. But it was so well received and has been so immensely popular in drum corps lore ever since that it seemed important to put it down on paper and preserve it somehow. So here is that “preserve.” I hope you enjoy it. Page

69


1992 SCV Tenor Ensemble

1992 SCV Tenor Ensemble

by Matt Altmire, Michael Apodaca, Mark Campbell, Murray Gusseck, & Colin McNutt *Optional Intro: insert short adaption of 20th century contemporary symphonic work

= 134

Use 16th note pulse...

Player 1

R Use 16th note pulse...

Player 2

R

R cont. 2-height treatment

L

R

R cont. 2-height treatment

Use 16th note pulse...

Player 3

L

single-stroke roll

r l R L R L R L R

L

R

R

Use 16th note pulse...

Player 4

R

cont. 2-height treatment

Use 16th note pulse...

Player 5 R

R cont. 2-height treatment

L

R

5 P1 R

R

R

P2 Use 16th note pulse...

P3

R

P4

R

L cont. 2-height treatment

R

L

R

L

R

L

R

P5

Page

70

R

R

R

L

L


Murray & Pals R.H. - Drum 3 only (except where indicated)

8

Ens.

r

R

R

R

12

Ens.

R L L RR L L R l R

15

L r l

R l R l

L L RR

L L R R

R L LRR L LR l R

L r l RLR L L

Faster

Ens.

RR

L L RR

L L RR

L L RR

L L RR

R l r

L r l RR L L RR L L RR L L RR L L

18

"wave" visual

Ens.

r l R l r

L r l

= 120

22

Ens.

P5

P4

R lRl

R lRl

"wave" visual (opposite direction!)

R L LRR L LRR L LRR L LRR L LRR L LR L

(add in)

P3 P2 P1

(twirl right stick)

(twirl left stick)

l l l l R l l l l l l l R l l R

l

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

25

Ens.

R l r r l l l

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

l

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

27 P1

P2

Ens.

LRl l Rl l

l

l

l

l

l

l

l Rl rr

LRl l Rl l

l

l

l

l

l Rl rr l

LRl l Rl l

l

l

l Rl rr l

LRl l Rl l

l Rl rr l

l

P3 Rl l Rl Rl rr l lRl rr l lRl RLRLR

P4

P5

LRl l Rl Rl rr l

l

l

l

l

l

l

l

l

l

l

l

l

l

l

l

Accents on RH only

RR R R RR R R R l l l l l l l l l l l l l l l

Page

71


1992 SCV Tenor Ensemble

30

Ens.

R R R R R R R R R R l l l l l l l l l l l l l l l l

R rrR rrR

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

R L R R L R L R L RLR L R L R L

A Tempo

R rrR rrR

37 R R l l r r L L R l l r r L Rr r

(introducing the players)

rr lRL

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

Tutti

Player 1 solo

G.P.

Ens.

R

= 130

34

Ens.

RR R R RR R R RR l l l l l l l l l l l l l l l

R

RLRL

R

Rl r

L r l

RR

LL

RR

LL

RR

41

Ens.

L

r

l

R

l

r

L

L

L

r

L

r

L

R

L

r

L

R

R

l

L

r

r

R

l

L

r

R

l

=

44 P1

R

L

R

L

L

R

L

L

R

on crossbar

P2

R l r l r l

P3

R l r l r l Rl r l r l

R l r l r l Rl r l r l

R l r l r l Rl r l r l

R l r l r l

R l r l r l Rl r l r l

R l r l r l Rl r l r l

R l r l r l Rl r l r l

R l r l r l

R

on crossbar

P4

R l r l r l

P5

Page

R

72

R

R

l


Murray & Pals =

49

Ens.

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

R L

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

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

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

51

Ens.

53

Ens.

R

R

l

R

R

l

R

l

R

R

l

R

R

R

R

R

R

R

R

L

L

L

R

R

Players 4-5

55

Ens.

R

R R R

R l r r l l R l

57

l R L R L R L R L R

R L R L R L R L R L R

R L R L R L R L R L

Players 1-3 R

(Players 4-5 cont.)

Ens.

RRR l l l RRR l l l RR R L R

r L

l R

RLRLR RLRLR R L RLRLRLRL

R

Players 1-2

60

R

Ens.

doubles

Player 3 solo

L L L L RRRR

RRL LRRL L

Player 3 solo

Tutti

62

Ens.

R

L

RLRLR

L

R LR L R L R L R L R L RR L RR L RR L RR L

R

L

RLRL

RLRL

RLRL

65

Ens.

R

R R L R R L R L

R L R R L R L

R

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

Page

73


1992 SCV Tenor Ensemble Players 1,3,5

67

. = 144 Expressively

Doubles on RH, shots on LH

G.P. *

Player 3

Puffies

L

Ens. Players 2,4

Doubles on RH, shots on LH

G.P. *

Players 1,2,4,5

*Players may, at their option, eat a donut, read a literary selection aloud, or perform a short skit.

70 Ens.

Puffies

= neighbor's drum

73

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

Ens.

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

Players 3-5

= neighbor's drum R R L R R L R R L R R L

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

R l r l r

76

l

r

l

Players 1-2

Ens.

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

79

R l r l r l r l

To regular mallets R

74

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

l

l

Tutti (Regular mallets)

Regular mallets

Ens.

Page

R l r l r l r l

R r l

R r l R l r r l l

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


Murray & Pals R.H.

82

Ens.

R

l

l

L.H.

R R R R R R R R R R R R R

R R R R R R R R R R R

85

Ens.

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

88

Ens.

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

R l R

R R R R L R L

= 144 Players 1,3,5 L.H.

(drum 3) R.H.

R.H.

Players 2,4

L.H.

91

Ens.

Solo fill rLr L r L r L

97

Ens.

100

R.H.

RRR L R L L L RRRR L L RR

accel.

L.H.

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

= 156

Ens.

104

Ens.

108

Ens.

RLRLR

RLRLR

RLRLR

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

Page

75


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