Boston Crusaders 2015

Bass Drum Packet

Boston Bass 2015

Table of Contents
Introduction and the Three Tenets of Bass Drumming . . . . . . 1-2
Hitting the Drum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-7
Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-9
SPLITS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-13

HPB 2014

Introduction and the

Three Tenets of Bass Drumming
Welcome to Boston Bass 2015 and thank you for your interest in the Boston Crusaders Drum & Bugle
Corps bass line. In this packet you will +nd the fundamental philosophoes, viewpoints, and
approach to the art of playing bass drum at the Boston Crusaders. All of the concepts prefaced here
will be discussed in much greater detail at camps and proceeding into the season.
I. Timing
A bass drum section's sense of time must be both apparent and apparently unied.
Marking time is a marching percussionist's physical manifestation of their inner pulse.
Thus, it is important that the mark time is consistent from player to player so that every
aspect of the performance exudes consistent and unrelenting time. The visual and
musical aspects of marching percussion are so closely related that they are virtually
interchangeable in concepts. Since the mark time is the +rst basic step of visual in many
ways, it is again paramount that each percussionist's mark time is a strong and consistent
representation of their timing.
Intertwined in the previous topic is the use of the percussionist's favorite tool: the
metronome. The precision required in high-level bass drumming (and music in general)
demands a masterful use of the metronome in daily practice. Members of the Boston
Crusaders bass line will be expected to place notes virtually anywhere within a beat, and
understand how it +ts in with any downbeats or other checkpoints that may be discussed.
The Boston Crusaders bass line will have an apparent, consistent, e#cient, and
deliberate sense of time.
II. Rhythmic Integrity
Again a closely related subject, a bass drum line must have undeniable rhythmic
integrity. True rhythmic integrity is obtained through perfect time. When your timing is
truly consistent, every rhythm has its own meaning, no matter how subtle. This is what
creates life in rhythms.
Every rhythm that a drummer plays must be calculated. One must understand the space

2
which all of one's notes take up, as well as the space that surrounds them. A +rm grasp of
the skeleton (often referred to as the check) of each part one plays is a necessity to
completely understanding one's part as part of a greater musical phrase, which is the case
for literally every note one plays as a bass drummer. This concept also applies to the
individual +gures that one plays within their own part. Di:erent subdivisions, meters, and
polyrhythms will become a familiar part of the vocabulary for the members of this bass
line.
The Boston Crusaders bass line will have impressive and undeniable rhythmic
integrity. Rhythmic vocabulary will be evident.
III. Sound Quality
As perhaps a deeper level of musicality, a rich quality of sound is present in a bass line
that is achieving at a high level. And again, building on the previous point, a desirable
qualiy of sound is derived from impeccable rhythmic integrity. The ideal Boston bass
sound is a warm, full, articulate sound. We will always strive to be resonant, but clear and
deliberate in our presentation of rhythms and music.
E#ciency is key. A clear, large, warm sound is achieved through e;cient relaxation and
distribution of energy. In essence, one has to learn how to use only what one needs to
achieve their goal at any certain time. ANY extra tension is technically a minor
ine;ciency because your body is expending energy doing something unnecessary, and
thus wasting it on motion or tension that was unused or unwanted. However, tension like
this is natural, and only through active, mindful practice does one learn how to become
truly e;cient and relaxed while drumming.
The Boston Crusaders bass line will have a rich, warm, articulate sound that shows a
distinct sense of maturity and musicality in its performers.

Above all else, the members of the Boston Crusaders bass line will HOLD THEMSELVES
ACCOUNTABLE for their attitude, words, and actions and how they contribute to the general
betterment of the Boston Crusaders Drum & Bugle Corps and its musical production. The
concepts outlined above will be paramount in the success of this bass line.

Hitting the Drum

Before we dive into the fundamentals of our technique, we should address the common
misconception that bass drum technique falls into one of two categories: wrist rotation or wrist
break. The truth is, each person's wrists are in fact designed to rotate in both an axle- and hinge-like
fashion. To restrict the use of either is unnecessary. A healthy bass drum stroke that is e;cient and
has a rich quality of sound is not unlike the same type of stroke on any other drum: it is initiated
from the wrist, and leads with the bead of the stick from the center of the head out in a straight line,
and returns the bead back to the center of the head along the same straight line path with an
appropriate amount of +nger control, wrist break/rotation, and arm. An appropriate amount of each
of these aspects will depend on the dynamic, touch, and velocity of the music, but know that every
stroke will use at least some degree of each.

HPB 2010

The Set-Up
Let's begin with our hands. With no muscles engaged in your hand, place the mallet into the
palm, with the bottom of the mallet aligned with the bottom of the hand (Figure A). The mallet
should meet the index +nger at its base, and the butt should rest roughly in the middle of the bottom
of the hand. Next, grip the mallet with the thumb and index +nger, as illustrated in Figure B. This is
the primary fulcrum that we will use. You should feel pressure in the pad of your thumb and evenly
distributed throughout the sections of your index +nger. Familiarity with this fulcrum will become
especially important as we get into diddles, rolls, and multi-bounce applications.

Figure B

Figure A

Next, wrap the rest of your +ngers around the mallet (Figure C). These +ngers should cradle
the stick, but never squeeze it. They are most prominently used for double beat and high-velocity
applications, but also contribute to the overall control one has over the mallet.

Figure C

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Now stand with both hands hanging loosely by your side. No muscles in your arms or hands
(save for those necessary to hold the stick) should be engaged (Figure D). Rotating from the elbow,
bring your forearms up until they are parallel to the ground (Figure E). The angle of the upper arm is
variable depending on the size of the drum, but the forearms being parallel should always be the
goal. If the hands are set up properly, this is usually the ideal position and most comfortable angle
for an e;cient and consistent technique, and will be used to set the height of the drum on each bass
drummer.

Figure E
Figure D
The next step is wrist orientation. Your wrist should feel completely level (Figure F). There
should be no strain at either side of your wrist, which would be the result of your wrist being bent up
or down (Figures H and I). If you were to point out your index +nger in this position, it should be
pointing straight ahead of you, not up or down (Figure G).

Figure F

Figure G

Figure H

Figure I

The Stroke
Once our hands are set up properly, it is time to discuss actually playing the drum. Starting
from a good set position (Figure E/J), turn out to a standard vertical position (the mallet should be
parallel to the ground Figure K/L).

Figure L
Figure K
Figure J
To properly understand how the stick moves, we must understand these two positions the
top and bottom of the stroke. Using the natural motion of your wrist to achieve these two
positions, you should already be close to an appropriate motion. The mallet head should move in
one clean arc from the center of the head straight out, as if the mallet was rotating around a +xed
point, which would in this case be the very bottom of the mallet. Regarding motion of the
arm/wrist/hand, at a louder dynamic such as this, there should be ample motion in all aspects. The
wrist, rotating counter-clockwise out (in our left-hand example), is the motivator for the stroke. To
assist in keeping the mallet moving in a pure path, the wrist also breaks back comfortably. The
momentum of the mallet's propulsion should also push the arm out sympathetically. Going past
vertical, the back +ngers will splay out naturally, to allow for more rotation of the mallet (Figure
M/N).

Figure M

Figure N

7
Remember: the goal of the stroke is to move e;ciently and with the appropriate velocity and
articulation. Thus, there will be more/less of each of these types of motion for louder/softer
dynamics, all of which keep the mallet head in the same consistent arc.
Once we have mastered the up half of the stroke as discussed in the previous paragraph, we
already know the down. From the top of the stroke, simply throw the mallet into the head using the
reverse of the exact same motions as before. Our responsibilities for the motion of the stroke lie only
at the beginning and end. At the top, we throw the mallet into the head at an appropriate velocity.
From there, physics takes over and the mallet strikes the head and rebounds. It is paramount that we
DO NOT INTERFERE with the motion of the stick until it returns back to the top of the stroke. The
most resonant, articulate sound is achieved when the both the drum and the mallet resonate to their
full capacity. If we squeeze the stick or try to control it in motion, we compromise the integrity of the
stroke. At the end of the stroke, back at the top, we are responsible for catching the stick at the
desired height. This will vary depending on the dynamic, articulation, or speed of a passage.
Perfecting an e;cient stroke takes patience and mindful practice, but its results are undeniable.

HPB 2008

Preface
The following will be a few words about the exercise packet, and the splits/concepts that are
contained at the end of this Boston Bass 2015 packet.
Eights/Gallup
This is a basic split for the standard Eights exercise. As usual, it is to be performed with 1s
(8th notes), 2s (two 16th notes) 3s (three 24th notes), double 2s (16th note diddle R, L, or Both
hands), and 4s (four 32nd notes) in the place of the individually played eighth notes written
in the part. This split will also be used with Gallup, playing alternating 2s or double 2s
where appropriate.
Eights Funk
This is intended to be a virtuosic display. This variation is a statement to the drumming
community that we are to be taken seriously and want to be noticed. That said, the basic
fundamentals will take priority. Without them, the fun stu: has no merit. This will not
be a priority going into the season until the line is ready.
Double Beat
There are several variations here of Double Beat as written in the original Boston
Crusaders packet. The +rst variation (1s) is simply a reduction of the part, playing only the
+rst partial of each double. Since double beat is often explored as its own concept or type
of stroke, we must know where the beginning of each double beat lies in order to properly
execute it. We must know where it begins to be able to know how long to make it last.
2s is simply the same exercise from the original packet.
Invert Beat is the inverse of the original exercise. There is a unison on every partial that is
a rest in the original part. This variation, along with the 1s variation, is expected to also be
performed with a rim click on the quarter notes with the opposite hand. This will take
some time, but it is important. It is the same as marking time.
The next four variations are the same patterns, just split up among the drums in a moving
part. There is a unison pattern in the second section that is consistent through the splits.
Stock Triplet (4 bar)
This is a simple pattern that we can apply to several exercises (ShuJe Beat, Shups-B,
triplet diddle exercises, basically anything triplet-based) that will work on our timing as

9
well as consistent application of technique (diddles, Kams, accents, etc.) while keeping a
consistent musical idea moving. Be prepared to do the 2s and 1s of this as well (the
same patterns but for 2 and 1 counts, respectively, with the appropriate repeats).
Triplet One-Note Isolated
This is another exercise that we will apply to several triplet-based exercises. It is yet
another opportunity for us to hone our precise timing, as well as relate it mentally to the
other parts and concepts that the other sections of the batterie may be playing.
Hugga D Split
Quite simply a split for Hugga D. Again, working timing of individual partials and
Kuidity. We will do this with block heights as well as dynamics.
A/B Exercise
A/B is a great way to test your rhythmic integrity on all of the usual +lls for bass drum
applications. One half of the line plays the +ll with a release in order to provide a check
for the other half, who should hear that release as the release to their +ll. Then it reverses.
Be prepared to start with either odds or evens playing the releases +rst. This exercise will
be hit very early on, even as a preface to playing splits in Eights.
7-8 Grid
Five variations are contained here, all working di:erent beginning to advanced concepts
in bass drumming.
The +rst variation is a reduction of the original part, separating the groupings of 3 and 4
with downbeats and subdivisions.
Versions two and three will be used for many of the same concepts. We will apply
diddles/rolls (played with alternating and double sticking), Kams, Kam taps/swisses, and
anything else as it comes up in context during camp or the season.
The fourth variation explores single splits. This will be played as same-hand and hand-tohand single splits.
The +nal variation works bugadas, a popular semi-virtuosic +gure used in bass
drumming. As with all of these variations, a mature sense of Kuidity and direction are
required.