for marching battery ensemble
ootG by Roger Carter © 2025 Tapspace Publications, LLC (ASCAP). All rights reserved.
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.
TSPME-056
ootG (OOT-jee) is an etude for the advanced battery percussion ensemble with an emphasis on rhythmic vocabulary and accent displacement. The piece features variations in tempo and meter, as well as a referenced structure of 5+5+7+5+5+5, often represented by compound groupings of 16th notes that cycle every two measures in a 4/4 time signature.
This etude was created with strong inspiration from the tune Out of the Grid by jazz pianist and composer Tigran Hamasyan. It lines up directly with his music, and although it includes some minor tempo variations, the indicated tempo plays well and feels good in the hands. If playing along with the tune, note that measure 79 (containing a fermata) would actually be four measures of rest.
Starting off with a melodic bass drum statement, the offbeat emphasis becomes apparent in the first measure. The performers must have a strong grasp of tempo and 16th note spacing in order to achieve here. Once the entire line enters at the A rehearsal mark, take care to balance volume levels from player to player, especially the nonaccented notes within the pattern.
The next section serves as a tenor feature with some battery interjections where a unified tap roll interpretation is a must. This leads into a strong groove section at C with backbeat rimshots and an implied “kick drum” on tenor drum 3.
D breaks it all down and gradually builds up to a snare feature with displaced accents from the tenors and basses, leading to a major feel change where the rhythmic grouping changes to 8th note triplets at E. This is a transitional phrase that leads to the tempo and meter change at measure 59. With a constantly changing time signature, this section can prove challenging to count. Try to think of the 13/16 measure as 3/4 plus one sixteenth note that leads into a measure of 3/4. Thus the entire section can be counted in 3/4 time with the addition of the single sixteenth note on every other bar.
Letter F is a bass drum feature with a quarter note ride pattern on top and rhythmic ostinato underneath, leading to a significant tempo and feel change in the next section. Reminiscent of letter A from earlier, this part starts with the strong accent and tap contrast from before but then progresses to fast 32nd note paradiddlediddles and singles, leading to a dramatic grand pause and fermata. This measure can be held as long as desired with the ensemble re-entering at H after a cue, or alternatively, it can be treated as a single measure of 4/4 for simplicity, ignoring the fermata.
After the pause, the sound is dominated by strong backbeats and punchy downbeats, demonstrated in an open groove emulating a drumset-like pattern based on the 5+5+7+5+5+5 structure mentioned previously. There is a steady build from here that leads to the tenor feature.
At letter J the quads are featured with a timbale-esque solo against pointed and angular accents from the snares and basses with rhythms based on the frequently referenced rhythmic structure from the top of the piece. This progresses to a groove section with moving bass lines at K, a festive and upbeat section at L, and finally the dark and intense rhythms from the tenors and basses against an extended double stroke roll from the snares.
