Tenor

Set Position:
Outside Drums:
-Sticks should rest over drums 1 & 2
-Beads move in a straight line path outwards
-The crease between your thumb and index should
-WRIST DOENT BREAK FROM FOREARM!
be at a 45-degree angle (Pointing towards the center
-Stick are angled slightly to the outside
of your chest)
-Move from the elbow leaving the wrist and
-Sticks slightly angled in and down
forearm unaltered
-Beads are placed right outside the center of the drum

Spike/Spook Zones: Outside drums:

-Elbows pull backward
-Inside hand should be lower on the
towards the player
head than the outside hand
Motion (Flow):
-X Axis (Left to Right) Move
in a straight line from point A
to B. This is primarily a
Forearm motion allowing the
from the wrist down to stay
engaged
-Y Axis (Up and Down) What
the hands are playing.
-Flow is a mature and
consistent balance between
X and Y axis, and is vital to
quality tenor drumming
Stick Cross: Wrist Cross:
-Sticks cross just in front of the fulcrum -Forearms cross just past the wrist
-Happens when playing on two drums that are -Leave enough room for the butt of the stick
touching one another. to pass your other hand
-Happens anytime you are crossing on
Scrape Zones: drums that are not connected
-smallest distance from drum
to drum
-1.5 inches from the rim
nearest the neighboring drum
-used to play scrapes with
tighter/faster diddles
 Bass

Playing Position
Start with your arms relaxed down at your side; be
sure your mallets are parallel to your legs and not angled in
toward your toes. Next, raise your arms up from the elbow
ensuring your shoulders, chest, and arms remain fully
relaxed. The forearms will remain parallel to the ground at all
times. We won’t always use a true 45-degree angle for the
mallets, but we also will not play flat. There is some leeway
with the angle to account for anatomical differences in the
player to an extent. The goal is to achieve a natural product
by attaining more physical comfort and reduced restriction by
eliminating indirect tension.

Stroke
The bass drum stroke is exactly the same concept as
matched grip on snare drum. The stroke, like snare and
quad drumming, is initiated by breaking the wrist. Breaking at
the wrist is more ergonomic and gives the player greater
range of motion and more opportunity for velocity.
The head of the mallet moves first by engaging at the
fulcrum and moving the wrist. The mallet head moves on a
straight pathway with no circular motion. If the mallet at set
position were a diagonal plane, the mallet should never
leave that plane. There is slight lateral movement of the the
forearm away from the drum that pivots at the elbow (i.e. The
elbow moves little in relation to the body). This movement
occurs naturally as the stroke is executed and helps to
create velocity.
The stroke is described as“ fast” and “through the
drum.” The goal is not to have the loudest sound, but the Rim Clicks
fullest sound. The mallet should resonate as well as the The purpose of rim clicks is only to
entire shell of the drum, not just the drum head. This sound aid in timing, not to be heard as a
is achieved through a fast, relaxed stroke. color. We will approach all rim clicks
In the marching bass ensemble, relaxation is key. at 6” unless otherwise stated.
Relaxed approach to the drum by all members creates a
uniform sound and increases the ability to flow as a bassline
in an ensemble.
 Quad Knowledge
SMI Q Chef
Apply these to any accented exercise

> > > > > West> Out > > > > > >
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Up Down West In East In East Out West Crossed East Crossed

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Slow Fast Patterns

Use these around over exercise to seperates X & Y axis (X= quad motion, Y = exercise)

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8's Arounds
Mirror arounds on the left hand

Triangles Out

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3's Across Continue the pattern....

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Across the Drums

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Z's

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Frame by Frame
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