Percussion
DAILY DRILL
for winds and percussion
name
by Eric Rath with percussion by Ralph Everett Hicks
DAILY DRILL (PERCUSSION) • TSPB24-DD11-PER
by Eric Rath with percussion by Ralph Everett Hicks
© 2024 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.
Cover design by Jesse Mattson
Interior layout and design by Murray Gusseck
Backing tracks for Scale Express, Scale & Arpeggios, Scale Degrees & Thirds, Two Octave Arpeggios, Broken Chords, Scale Sequence 1, and Scale Sequence 2 composed by Alex Weinberg (alexwnbrg@gmail.com)
Backing track for Scale Builder composed by Fred Emory Smith (fredemorysmith.com)
Backing track for Chromatic Builder composed jointly by Alex Weinberg and Fred Emory Smith
All live guitar tracks for Broken Chords performed by Kyle C. Smith (www.kylecsmithmusic.com)
Piano performance for Scale Sequence 2 by Marco Diaz
Bass performance for Scale Sequence 2 by Saúl Sierra
Percussion performance for Scale Sequence 2 by Carlos Caro
Post-production audio and voice-overs by Jim Casella
Instrument photos courtesy of Yamaha Corporation of America, Band and Orchestral Division
ABOUT THE AUTHORS
Eric Rath is an active educator, guest conductor-clinician, adjudicator, arranger, and composer. He has served as a band and orchestra director as well as a percussion specialist at secondary and collegiate levels.
As a composer, Mr. Rath has a growing list of original works and arrangements published through Alfred Music, FJH Music, Tapspace Publications, and TRN Music. His music has been described as “very exciting for performers and audiences alike” and has been performed nationally as well as abroad at the Midwest Clinic, the Texas Music Educators Association Convention, and the International Double Reed Society’s Convention. Mr. Rath and Ralph Everett Hicks are co-authors of the popular percussion ensemble collection Beyond Basic Percussion, the snare drum and keyboard fundamentals books Five Minute Drill and Nine Minute Drill, and the multi-use solo and ensemble transcription book The Golden Age of Ragtime. All are published by Tapspace Publications.
Mr. Rath is a veteran member of the Amarillo Symphony Orchestra. He is an in-demand freelance percussionist and serves on the worship team at his church. Additionally, he is also an alumni member of the Phantom Regiment Drum and Bugle Corps.
Mr. Rath is a proud graduate of West Texas A&M University, where he received both his Bachelor of Music Education and his Master of Arts degree.
Mr. Rath resides in Canyon, Texas, with his wife Kayla and their children Regan, Grant, McKinley, Jackson, and Harrison. His professional affiliations include the Percussive Arts Society, Texas Music Educators Association, Texas Bandmasters Association, and the American Society of Composers, Authors and Publishers (ASCAP). He is a Yamaha Performing Artist and also an educational artist for Innovative Percussion, Inc.
Ralph Everett Hicks teaches general music at Orange Grove Elementary in North Houston and is Founder and Executive Director of the nonprofit group drumming corporation Let Them Drum, providing recreational and therapeutic group drumming experiences for people of all abilities. With 20 years of public education experience in the greater Houston area, Mr. Hicks is an international clinician whose educational materials are available worldwide through Tapspace Publications. In 2012 Mr. Hicks was Mitchell Intermediate’s Teacher of the Year and was named Conroe ISD Outstanding Teacher in the Arts by The Woodlands Waterway Arts Council.
Mr. Hicks is a member of Phi Mu Alpha Sinfonia, the American Society of Composers, Authors and Publishers, and is a Remo Recreational Music Partner.
DAILY DRILL CONTENTS
MALLET KEYBOARDS
5.
6.
Key of Bb
Key of E
4.
5. Two Octave Arpeggios
6. Broken Chords
7. Scale Sequence
8. Scale Sequence
Key of A
1. Scale Builder
3.
4. Scale Degrees & Thirds
5. Two Octave Arpeggios
6. Broken Chords
7. Scale Sequence
Key of D
3. Scale & Arpeggios
Scale
5. Two Octave Arpeggios
6. Broken Chords
7. Scale Sequence
Scale Sequence
Key of G
PRACTICE PADS
ACCESSORIES
Scale & Arpeggios
Scale Degrees & Thirds
Two Octave Arpeggios
6. Broken Chords
7. Scale Sequence 1
8. Scale Sequence 2
MALLET KEYBOARDS
Tips for the player
• Keep your mallets centered with your body facing forward, shifting weight or adjusting foot positions as needed. Do not cross the legs!
• For a full-bodied stroke, wrists should be kept low with the mallet heads in the “up” position.
• Strike the center of the bars for a full, resonant sound. Strike to the edges of the “black keys” if the tempo requires it.
• Push forward with your elbows to reach the upper manual (black keys) of the instrument.
• For any rolls, maintain smoothness and evenness of sound and always release with the rest of the ensemble.
Throughout the book you will find small symbols on or around the 4-mallet keyboard parts to help students quickly identify stroke types and various mallet and/or elbow position designations. The following table provides a quick definition of these symbols.
Note that many of the 2-mallet exercises provide a great opportunity to play with the inside two mallets (mallets 2 and 3) while holding the 4-mallet grip.
Stroke Types
Single-note rotating wrist stroke Double-stop vertical stroke Mallet numbering
Rotate the wrists such that the motion of the striking mallet has as little countering effect as possible on the resting mallet.
Move the wrist straight up and down when striking two bars simultaneously with one hand. Students should aim to strike both notes perfectly together.
The mallets are labeled 1-2-3-4 from left to right. Students should follow mallet stickings for optimal technique development.
Designations
Inside vs. Outside mallets Manual designation
When playing octaves, students are free to play with either the inside mallets 2 & 3 (top) or outside mallets 1 & 4 (bottom).
These symbols will help students understand how to position their mallets using their elbows when playing on both the upper (black keys)and lower (white keys) manuals of the instrument.
1. Scale Builder
TRACKS
SLOW - 66 bpm (0'50")
- 96 bpm (0'35") FAST - 126 bpm (0'30")
3. Scale & Arpeggios
SLOW - 60 bpm (0'45")
-
- 80 bpm (0'35")
bpm (0'30")
4. Scale Degrees & Thirds
PLAY-ALONG TRACKS
SLOW - 60 bpm (0'35")
MEDIUM - 80 bpm (0'30")
FAST - 100 bpm (0'25")
5. Two Octave Arpeggios
PLAY-ALONG TRACKS
SLOW - 60 bpm (1'20")
MEDIUM - 80 bpm (1'00")
FAST - 100 bpm (0'50")
6. Broken Chords
SLOW - 60 bpm (1'15")
MEDIUM - 80 bpm (1'00")
FAST - 100 bpm (0'50")
7. Scale Sequence 1
SLOW - 60 bpm (1'20")
MEDIUM - 80 bpm (1'00")
FAST - 100 bpm (0'50")
8. Scale Sequence 2
1. Scale Builder
2. Scale Express
3. Scale & Arpeggios
4. Scale Degrees & Thirds
PLAY-ALONG TRACKS
SLOW - 60 bpm (0'35")
MEDIUM - 80 bpm (0'30")
FAST - 100 bpm (0'25")
5. Two Octave Arpeggios
PLAY-ALONG TRACKS
SLOW - 60 bpm (1'20")
MEDIUM - 80 bpm (1'00") FAST - 100 bpm (0'50")
6. Broken Chords
SLOW - 60 bpm (1'15")
MEDIUM - 80 bpm (1'00")
FAST - 100 bpm (0'50")
7. Scale Sequence 1
8. Scale Sequence 2
1. Scale Builder
- 66 bpm (0'50")
- 96 bpm (0'35")
- 126 bpm (0'30")
3. Scale & Arpeggios
SLOW - 60 bpm (0'45") MEDIUM - 80 bpm (0'35") FAST - 100 bpm (0'30")
4. Scale Degrees & Thirds
PLAY-ALONG TRACKS
SLOW - 60 bpm (0'35")
MEDIUM - 80 bpm (0'30")
FAST - 100 bpm (0'25")
5. Two Octave Arpeggios
PLAY-ALONG TRACKS
SLOW - 60 bpm (1'20")
MEDIUM - 80 bpm (1'00") FAST - 100 bpm (0'50")
6. Broken Chords
7. Scale Sequence 1
8. Scale Sequence 2
1. Scale Builder
SLOW - 60 bpm (0'45")
- 80 bpm (0'35")
3. Scale & Arpeggios
4. Scale Degrees & Thirds
PLAY-ALONG TRACKS
SLOW - 60 bpm (0'35")
MEDIUM - 80 bpm (0'30") FAST - 100 bpm (0'25")
5. Two Octave Arpeggios
PLAY-ALONG TRACKS
SLOW - 60 bpm (1'20")
MEDIUM - 80 bpm (1'00") FAST - 100 bpm (0'50")
6. Broken Chords
7. Scale Sequence 1
8. Scale Sequence 2
1. Scale Builder
TRACKS
SLOW - 66 bpm (0'50")
- 96 bpm (0'35") FAST - 126 bpm (0'30")
3. Scale & Arpeggios
SLOW - 60 bpm (0'45") MEDIUM - 80 bpm (0'35") FAST - 100 bpm (0'30")
4. Scale Degrees & Thirds
PLAY-ALONG TRACKS
SLOW - 60 bpm (0'35")
MEDIUM - 80 bpm (0'30") FAST - 100 bpm (0'25")
5. Two Octave Arpeggios
PLAY-ALONG TRACKS
SLOW - 60 bpm (1'20")
MEDIUM - 80 bpm (1'00") FAST - 100 bpm (0'50")
6. Broken Chords
7. Scale Sequence 1
SLOW - 60 bpm (1'20")
8. Scale Sequence 2
1. Scale Builder
2. Scale Express
3. Scale & Arpeggios
4. Scale Degrees & Thirds
PLAY-ALONG TRACKS
SLOW - 60 bpm (0'35")
MEDIUM - 80 bpm (0'30") FAST - 100 bpm (0'25")
5. Two Octave Arpeggios
PLAY-ALONG TRACKS
SLOW - 60 bpm (1'20")
MEDIUM - 80 bpm (1'00")
FAST - 100 bpm (0'50")
6. Broken Chords
7. Scale Sequence 1
8. Scale Sequence 2
1. Scale Builder
2. Scale Express
TRACKS
SLOW - 66 bpm (0'50")
- 96 bpm (0'35") FAST - 126 bpm (0'30")
3. Scale & Arpeggios
SLOW - 60 bpm (0'45")
- 80 bpm (0'35")
bpm (0'30")
4. Scale Degrees & Thirds
PLAY-ALONG TRACKS
SLOW - 60 bpm (0'35")
MEDIUM - 80 bpm (0'30") FAST - 100 bpm (0'25")
5. Two Octave Arpeggios
PLAY-ALONG TRACKS
SLOW - 60 bpm (1'20")
MEDIUM - 80 bpm (1'00") FAST - 100 bpm (0'50")
6. Broken Chords
7.
Sequence 1
SLOW - 60 bpm (1'20")
8. Scale Sequence 2
SLOW - 60 bpm (3'05")
MEDIUM - 90 bpm (2'05")
FAST - 120 bpm (1'40")
1. Scale Builder
2. Scale Express
SLOW - 66 bpm (0'50")
- 96 bpm (0'35") FAST - 126 bpm (0'30")
3. Scale & Arpeggios
SLOW - 60 bpm (0'45")
4. Scale Degrees & Thirds
PLAY-ALONG TRACKS
SLOW - 60 bpm (0'35")
MEDIUM - 80 bpm (0'30") FAST - 100 bpm (0'25")
5. Two Octave Arpeggios
PLAY-ALONG TRACKS
SLOW - 60 bpm (1'20")
MEDIUM - 80 bpm (1'00") FAST - 100 bpm (0'50")
6. Broken Chords
SLOW - 60 bpm (1'15")
MEDIUM - 80 bpm (1'00")
FAST - 100 bpm (0'50")
7. Scale Sequence 1
8. Scale Sequence 2
SLOW - 60 bpm (3'05")
MEDIUM - 90 bpm (2'05")
FAST - 120 bpm (1'40")
1. Scale Builder
2. Scale Express
3. Scale & Arpeggios
4. Scale Degrees & Thirds
PLAY-ALONG TRACKS
SLOW - 60 bpm (0'35")
MEDIUM - 80 bpm (0'30") FAST - 100 bpm (0'25")
5. Two Octave Arpeggios
PLAY-ALONG TRACKS
SLOW - 60 bpm (1'20")
MEDIUM - 80 bpm (1'00") FAST - 100 bpm (0'50")
6. Broken Chords
SLOW - 60 bpm (1'15")
MEDIUM - 80 bpm (1'00")
FAST - 100 bpm (0'50")
7. Scale Sequence 1
8. Scale Sequence 2
1. Scale Builder
2. Scale Express
3. Scale & Arpeggios
SLOW - 60 bpm (0'45")
- 80 bpm (0'35")
(0'30")
4. Scale Degrees & Thirds
PLAY-ALONG TRACKS
SLOW - 60 bpm (0'35")
MEDIUM - 80 bpm (0'30") FAST - 100 bpm (0'25")
5. Two Octave Arpeggios
PLAY-ALONG TRACKS
SLOW - 60 bpm (1'20")
MEDIUM - 80 bpm (1'00") FAST - 100 bpm (0'50")
6. Broken Chords
SLOW - 60 bpm (1'15")
MEDIUM - 80 bpm (1'00")
FAST - 100 bpm (0'50")
7. Scale Sequence 1
8. Scale Sequence 2
1. Scale Builder
2. Scale Express
SLOW - 66 bpm (0'50")
- 96 bpm (0'35") FAST - 126 bpm (0'30") PLAY-ALONG TRACKS
3. Scale & Arpeggios
SLOW - 60 bpm (0'45")
- 80 bpm (0'35")
- 100 bpm (0'30")
4. Scale Degrees & Thirds
PLAY-ALONG TRACKS
SLOW - 60 bpm (0'35")
MEDIUM - 80 bpm (0'30") FAST - 100 bpm (0'25")
5. Two Octave Arpeggios
PLAY-ALONG TRACKS
SLOW - 60 bpm (1'20")
MEDIUM - 80 bpm (1'00") FAST - 100 bpm (0'50")
6. Broken Chords
SLOW - 60 bpm (1'15")
MEDIUM - 80 bpm (1'00")
FAST - 100 bpm (0'50")
7. Scale Sequence 1
8. Scale Sequence 2
1. Scale Builder
2. Scale Express
SLOW - 66 bpm (0'50")
- 96 bpm (0'35")
- 126 bpm (0'30")
3. Scale & Arpeggios
SLOW - 60 bpm (0'45") MEDIUM - 80 bpm (0'35") FAST - 100 bpm (0'30") PLAY-ALONG TRACKS
4. Scale Degrees & Thirds
PLAY-ALONG TRACKS
SLOW - 60 bpm (0'35")
MEDIUM - 80 bpm (0'30") FAST - 100 bpm (0'25")
5. Two Octave Arpeggios
PLAY-ALONG TRACKS
SLOW - 60 bpm (1'20")
MEDIUM - 80 bpm (1'00") FAST - 100 bpm (0'50")
6. Broken Chords
SLOW - 60 bpm (1'15")
MEDIUM - 80 bpm (1'00")
FAST - 100 bpm (0'50")
7. Scale Sequence 1
8. Scale Sequence 2
9. Chromatic Builder
Chromatic Builder in Bb
Chromatic Builder in F
SCALE APPENDICES
One Octave Scales & Arpeggios
Two Octave Scales & Arpeggios
Bb Chromatic Scales
1. Single Octave
2. Two Octaves
F Chromatic Scales
1. Single Octave
2. Two Octaves
3. Two Octaves (compound time)
Full Range Chromatic Scale
PRACTICE PADS
Tips for the player
• Follow the recommended sticking patterns. They serve a purpose and remove the guesswork.
• Competing with live instruments for volume would be counterproductive. If you are unable to hear yourself, focus more on how your rhythms and techniques feel in response to the pad. (This will also keep the band director off your back for being too loud!)
• Maintain consistent heights and volume with a full extension stroke for louder volumes and 2 to 3 inches off the pad for softer volumes.
• Maintain consistent techniques with accents, flams, ruffs, rolls, etc. Aim for the same feel and sound every time.
• Back fingers stay on the stick for control and power. However, allow the fingers to create space between the stick and the palm in order to relax the grip for faster speeds. This “space” created in the grip should be between the stick and the palm of the hand, not between the fingers and the stick. The fingers should remain in contact with the stick for proper technique development.
• Students will occasionally see slash notation along with the text “Air drum” in certain bars of an exercise. This is simply a fun way of marking rhythms visually without hitting the pad surface and is meant to be a performative complement to the exercise.
• Certain notes or passages are marked “rim.” Students using pads without a rim can simply “air drum” these parts.
1. Scale Builder
SLOW - 60 bpm (0'55")
MEDIUM - 80 bpm (0'45")
FAST - 100 bpm (0'35")
2. Scale Express
3. Scale & Arpeggios
SLOW - 60 bpm (0'45")
MEDIUM - 80 bpm (0'35")
FAST - 100 bpm (0'30")
4. Scale Degrees & Thirds
PLAY-ALONG TRACKS
SLOW - 60 bpm (0'35")
MEDIUM - 80 bpm (0'30")
FAST - 100 bpm (0'25")
5. Two Octave Arpeggios
PLAY-ALONG TRACKS
SLOW - 60 bpm (1'20")
MEDIUM - 80 bpm (1'00")
FAST - 100 bpm (0'50")
6. Broken Chords
7. Scale Sequence 1
8. Scale Sequence 2
SLOW - 60 bpm (1'30")
MEDIUM - 90 bpm (1'05")
FAST - 120 bpm (0'50") ULTRAFAST -
bpm (0'45")
9. Chromatic Builder
ACCESSORIES
Tips for the player
• Strike each instrument in the same place and with the same stroke type for every note.
• Look up as often as you can.
• Cut off your sound with the band’s release.
• Be deliberate with your dampening.
• Play dynamically but be careful not to let your peak dynamics interfere with the ensemble blend.
• The ending dynamic of suspended cymbal rolls has been intentionally left out and is at the discretion of the player. Listen to the rest of the ensemble as you perform the rolls and gauge your ending dynamic accordingly.
• The hallmark of any good percussionist is the professionalism with which they play accessory instruments. Great care should be taken to play them seriously with the proper technique.
Special techniques for crash cymbal parts
• “HH” — Press the cymbals together, lift one edge a few inches, and then bring them back together forcefully to produce a hi-hat “chick” sound.
• “Zing” — Place the edge of one cymbal against the inside of the other cymbal and “scrape” from the bell to the edge while maintaining moderately light contact between the two cymbals.
SLOW - 60 bpm (3'05")
MEDIUM - 90 bpm (2'05")
FAST - 120 bpm (1'40")
1. Scale Builder
SLOW - 60 bpm (0'55")
MEDIUM - 80 bpm (0'45")
FAST -
2. Scale Express
3. Scale & Arpeggios
B a s s D r u m
C r C ym b a l s Tr i a n g l e
m b o u r i n
4. Scale Degrees & Thirds
PLAY-ALONG TRACKS
SLOW - 60 bpm (0'35")
MEDIUM - 80 bpm (0'30")
FAST - 100 bpm (0'25")
5. Two Octave Arpeggios
PLAY-ALONG TRACKS
SLOW - 60 bpm (1'20")
MEDIUM - 80 bpm (1'00") FAST - 100 bpm (0'50")
6. Broken Chords
7. Scale Sequence 1
SLOW - 60 bpm (1'20")
8. Scale Sequence 2
S
SLOW - 60 bpm (1'30")
MEDIUM - 90 bpm (1'05")
FAST - 120 bpm (0'50")
ULTRAFAST - 150 bpm (0'45")
B a s s D r u m
C r C ym b a l s
Tr i a n g l e
Ta m b o u r i n e
C a s t a n e t s
WB o r C B
S u s C ym B
9. Chromatic Builder