To: All 2017 Cadets Battery Percussion Applicants

From: Tom Aungst Percussion Caption-Head

Re: First Camp Evaluation Material

On behalf of The Cadets Percussion Staff, I would like to welcome everyone and thank you for
choosing The Cadets. We are all very excited about the 2017 season and the opportunity to work with
each of you.

At the first camp we will focus on two major objectives. First, we will teach the basic style and
technique used by The Cadets drumline, and second we will hear each person play individually to
evaluate their skill leave. We will be considering four major factors in determining the percussion
section: your ability to adapt to the style, work ethic, attitude, and playing ability. By the end of the
evaluation camp, some decisions will be made and you will know exactly where you stand. To be sure
that each of you receives the best possible chance to be a part of The Cadets, the final decision will be
made by the second or third camp. This will give you a chance to work and develop the skills needed
to be a part of The Cadets.

I have enclosed exercises that you will be responsible for during the evaluation process. These
exercises will help you prepare for the camp, and give us the opportunity to move quickly through the
technique instruction. In addition to the exercises, you should prepare a short solo which should be no
longer than a minute. You can write a solo yourself, connect various exercises you already know, or
play a short etude from a book. Also, be prepared to play various rudiments from the rudiment sheet.

REQUIREMENTS FOR ALL:

SNARE: - All rudiments on rudiment sheet, short solo, all exercises.

TENORS: - All rudiments on rudiment sheet, short solo, all exercises.
BASSES: - Be able to play rudiments 1 – 9 on rudiment sheet and a short solo.
EXERCISES: Basses should learn snare parts listed below.

UNISON SINGLE BEATS ---- learn entire snare part

SPLIT SINGLE BEATS ---- learn snare part up to B
A.T. AND MORE ---- learn snare part up to A
DOUBLE BEAT ---- learn snare part up to B
ROLL EXERCISE ---- learn snare part up to D
TRIPLE FLAM THING ---- learn entire snare part all the way through with NO variations

NOTE: also be comfortable with split parts for exercises for whatever drum you are trying out for.

LAST: More exercises and music will be handed out at the camp.

THINGS TO BRING:
1.Sticks for whatever instrument you are trying out for.
2.A music stand.
3.If possible, your own drum with STAND or harness. If you can't, don't worry about it.

We look forward to meeting you at the camp.

Video Audition Instructions

Video auditions are for extenuating circumstances only. If you are unable to attend the camps
due to extreme circumstances (coming from another country, major school commitments, etc.)
You will need to complete the registration process; including paying the $150 registration fee
and audition fee (audition videos will not be reviewed until fee is paid). You can then submit
your audition video via email to the link provided in the confirmation email. It will be reviewed
by the appropriate staff member, and you will be contacted with feedback.

The video should contain:

1) An introduction of yourself that includes your past experience
2) Exercises as stated above for your auditioning instrumet

Your video has no time limit, but should be performed at your highest ability. Keep in mind that
you should demonstrate your playing proficiency as you would in a live audition.

Accompanying your tape please include in the email: Your name, birth date, age, address, phone
number, section for which you are auditioning and previous experience/instructional staff.
 Technique and Approach
Cadets
By Tom Aungst

Glossary of Percussion Strokes

Below are the basic strokes we use to unify our sound and detail the music. The touch
and feel of each stroke may vary according to the musical intent. Besides these basic
strokes, other types of strokes will be taught to achieve the integrity and style of the
music.

1. Legato Stroke or Rebound Stroke: A stroke that starts at any height, plays,
and then returns to its original height. It has a constant flow or motion, never stopping or
starting. It is the natural REBOUND of the stick.

2. Staccato Stroke or Down Stroke: A stroke that starts high, plays, and is
stopped close to the drum. Basically, you are controlling the stick from rebounding up.
This stroke is usually used on accents.

3. Tap: This is usually a 3, 4, 6 - inch legato stroke. Taps are usually the notes that
are in-between the accents.

4. Up Stroke: A stroke that starts low, plays, and quickly lifts upward to a particular
height. An example would be grace notes from alternating flams.

Dynamics
These dynamic levels and heights are used to unify the sound and look of the ensemble.
Like the percussion strokes described above, the dynamic levels are used to achieve the
composer’s musical intent and is a major part of how the percussion ensemble maintains
the integrity of the music.

p piano = 3”
mp mezzo-piano = 4”
mf mezzo-forte = 6”
mf+ = 7”
f forte = 9”
f+ = 10”
ff fortissimo = 12”
fff = 15”
ffff = 18”

2
Also, the intensity of the stroke for each dynamic level or height may change depending
on what is needed to achieve the musical intent of a particular pattern or musical phrase.
For example, a group of forte accents may need to sound less intense because:
1. the tempo is too fast;
2. an individual or the ensemble is out of balance;
3. a certain touch is needed to achieve a better FEEL;
4. it is affecting the quality of sound.
All these concepts will be considered as the music is being taught.

Playing Areas or Zones

In addition to using dynamic levels and different strokes to achieve the musical intent,
different playing areas or zones on the drum head can also be used to:
1. balance and blend the total ensemble;
2. create different timbres and colors;
3. achieve the appropriate touch and or feel.
THE 3 BASIC ZONES are center, ½ way between center and rim, and the
edge.

Mechanics of Playing
When talking about the technical skills needed to perform at a high level, the mechanics
of playing must be taught and more importantly, must constantly be developed. By
developing these skills, you will upgrade the performer’s ability and, at the same time,
enhance the overall sound of the ensemble. Through repetition and proper coaching these
techniques used to play a particular stroke, control a sticking pattern, or just be able to
play more “stuff” at certain tempos, are very important for the performers to learn in
order to achieve demanding material at the highest level. These are the basic components
on both hands that should be developed.

1. Fulcrum: This is the point where the stick should be held with the most pressure.
a. RIGHT HAND = between the bottom part of the thumb and the side
of index finger on the 2nd knuckle groove.
b. LEFT HAND(for traditional grip only) = inside the crease between
the thumb and index finger, making sure it is down at the bottom
part of the thumb.
It is very important to keep the fulcrum intact at all times to ensure control.

2. Fingers: The back fingers on your right hand should be relaxed naturally around
the stick. For the left hand, if playing traditional grip, the stick should be placed on the
first knuckle of the ring finger. Like the right hand, the other fingers should be relaxed
and curved in a natural fashion. Also, it is very important to develop your fingers

3
through various exercises. Developing the use of your fingers will upgrade your quality
of sound and the control needed to play advanced material.

3. Wrist and Forearm: The wrist and forearm should work hand in hand to
achieve a natural relaxed approach to playing. When both are rotating together it should
feel like you are DRIBBLING A BASKETBALL. By turning your wrist and using some
forearm motion, you will be able to expand the range of your technical and musical skills.

Exercises
Purpose - To become great at playing any musical instrument you have to be willing
to advance your technical skills. Learning how to play advanced percussion music with-
out learning the techniques needed to play that music will not help you perform at the
highest level. THE BASICS, as most people call them, are very important to the success
of the individual player as well as the total ensemble. We need to strengthen ourselves
individually and, at the same time, work together in harmony.

The exercises in this packet are used to help the players advance technically and
musically and learn how to work together to achieve a great ensemble sound. Some of
these exercises are camp or audition exercises, used to teach a basic concept or evaluate
the players skills. Once the show is learned and the drill is taught, more exercises will be
written and taught by rote, focusing on a particular rudiment, pattern or musical phrase
written in the drum book. By the end of the season we may have 15 different exercises
which will be repeated over and over each day. These exercises are called SHOW
EXERCISES, Usually short in length, they are used to clean the musical book. For now,
let’s focus on the exercises in this packet.

By developing the techniques above and working these exercises the players will:

1. be better prepared physically to perform the demanding responsibilities of the

music and drill;
2. learn how to work together to achieve a unified ensemble sound
3. increase the quality of their playing;
4. expand their rudimental vocabulary and upgrade their musicianship;
5. learn advanced rehearsal techniques;
6. strengthen their muscles (chops);
7. increase their endurance to play for longer periods of time.

Ways to Practice the Exercises – Here are a few tips for practicing
individually or as an ensemble.

4
1. Use a metronome!
2. When starting to learn an exercise, remember to start with a slower tempo. Be very
methodical and detailed. Follow all dynamics and check to make sure you are
using the correct technique.
3. Vary the way you play an exercise, use different tempos and dynamics. Also, if it
is a “One Hander” exercise, play the entire exercise with just the right or left hand.
This will help strengthen your playing chops and endurance.
4. The bass drummers should always learn the snare parts for all exercises, even if
there is a split part for the basses to play. We want all of the players to develop
their hands equally.
5. When tenor players are learning these exercises, make sure they work on playing
their part on one drum first. By playing on one drum they can focus on technique
and not worry about what drum they need to play next.
6. Many of these exercises are long and are meant to be so. We want the players to
develop their chops and endurance and feel as if they are playing a longer piece of
music. The best way to develop a playing concept is to break down an idea into
smaller segments. Example: When working the “Double Beat” exercise start by
working on the right hand first, trying to master the stroke and mechanics.
Continue adding on segments to the exercise until you have a stronger approach to
the exercise. You may just want to work the beginning to A and use that as an
exercise. Remember, you will not get better by just playing these exercises, you
need to work on the technique and approach that is used to play them.
7. Also, when you get comfortable playing a particular exercise make sure you add
your feet. This is as important as learning the proper technique.

5
 CADETS
Noah's Diddits 2017

Composer
Tom Aungst, Paul Nalesnik
q = 120
3 3

SnareLine
4
4
r l r r l r r l r l l r l l
r ff l
ff/mp ff/mp ff mf ff mf mp simile
mp
3
3

TenorLine
4
4
r l r r l r r l r l l r l l r l simile
ff/mp ff/mp ff mf mp ff mf mp
3

Marching 4
Bass Drum 4
r l r r l r r l r l l r l l r r r r r r r r l l r r r r r r l 3 r r r l r l r l r l r l l r r r l r l r r l
ff/mp ff/mp

3 3
B
6 A
Snare
r l r l r l r r l r r l r r l r r l r l r l r r l r l r r r r l r l r l r l l r l l r l l r l l r l r l r l l r l r l l l l r r l r r r l r r r l r r r l l l l
f f mf f

3 3

Tenors
r l r l r l r r l r r l r r l r r l r l r l r r l r l r r r r l r l r l r l l r l l r l l r l l r l r l r l l r l r l l l l r r l r r r l r r r l r r r l l l l
f f mf f
3

B. D.
3
r r r r r r r r l l r r r r r r l r r r l r l r l r l r l l r r r l r l r r l r l r r r l r r r l l r l r r r r

11

Snare
r r r l r l r l r r r l l r l r r l l r l l l r l l l r l l l r r r r l l l r l r l r l l l r r l r l l
f simile

Tenors
r r r l r l r l r r r l l r l r r l l r l l l r l l l r l l l r r r r l l l r l r l r l l l r r l r l l
f simile

B. D.

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

taps 6
14 5 5 3 3 6

Snare
5
4
r r l r r l r l l r r l r r l r l l r l r l r l r l r r l l r l r l r l r
f ff f ff f mf+ mf ff
taps 6
5 5 3 6
3

Tenors
5
4
r r l r r l r l l r r l r r l r l l r l r l r l r l r r l l r l r l r l r
f ff f ff f mf+ mf ff

B. D.
5
4
5
r r l r r l r l l r r 5l r r l r l l r mp 6 l r
f ff f ff ff
 CADETS
TRIPLE FLAM THING 2017

No Marching
q=144 Composer Tom Aungst, Paul Nalesnick
taps 6
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3

SnareLine
4 3 4 3
4 4 4 4
R R R R R R R R R L R L R L R L R L L L L L L L L L R L R L R L R L R R R R R R R
ff No Marching
taps 6
3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3

TenorLine
4 3 4 3
4 4 4 4
R R R R R R R R R L R L R L R L R L L L L L L L L L R L R L R L R L R R R R R R R
ff
3 3 3 3
3 3 3 3 3 3 3
3 3 3
3 3 3

BassLine
4 3 4 3
4 4 4 4
R R R R R R R R R L R R L R R L R L L L L L L L L L R L L R L L R L R R R R R R R
ff
3 3 3 3 3 3 3 3 3 3
3 3 3 3
6 3 3 3

Snare
4 3 4
4 4 4
R R R R R R R R L R R L R R L L L L L L L L L L L L L L L L R L L R L L R
3 3 3 3 3 3
3 3 3 3 3 3
3 3 3 3 3

Tenors
4 3 4
4 4 4
R R R R R R R R L R R L R R L L L L L L L L L L L L L L L L R L L R L L R

3 3 3 3 3 3 3
3 3 3 3 3 3
3 3 3 3

Bass Dr
4 3 4
4 4 4
R R 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 L

3 3 3 3 3 3 3 3 3
11 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3

Snare
R L R L R L R R L L R R L R L R L R L L R 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 R L R L R L L R R L L R L R L R L R R L L R R
3 3 3
3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3
3

Tenors

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

3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3

Bass Dr

R L R R L R R L R R L R R L R L R L R L R L R L
VARIATIONS FOR BARS 14 AND 16/tenors play variations on one drum
FLAM PARADIDDLE DIDDLE
FLAM PARADIDDLES
3 3 3 3 3 3 3 3 3 3 3 3 3
17 3 3 3

Snare

L R L R L R L R L R L R L L R L R R L R L L R L R R L R R L R L L R L R R R L R R L L L R L L R R
3 3 3 3 L R L L R L R R L R L L
3 3 3 3

Tenors

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

3 3 3
3 3 3
3 3
Bass Dr

R PATAFLAFLA
L R R L R R L R R L R R L R L R L R L R L R L R Drag CHOO-CHOO
CHOO - CHOO
3 3 3 3 3 3 3 3 3
24 3 3 3

Snare

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

Tenors

Bass Dr
2 SINGLE DRAG FLAM MILL BOOK REPORTS EXTENDED BOOK REPORT
3 3 3 3 3 3 3 3 3
30 3 3 3

Snare

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

Tenors

Bass Dr
 CADETS 2017
split single beats finger control
composer Tom Aungst, Bobby Marino, Paul Nalesnik
MARCH the quarter note
q = 132 - 148

Snare
4
4
R
fff mp

Marching 4
Tenor Drums 4
R
fff mp
MARCH

Marching 4
Bass Drum 4
R R
fff mp

S. D.
L mp
fff

T. D.

L mp
fff

B. D.
fff
L L R
mp

S. D.
3 4
4 4
R R R RL L L L R R R RL L L L R R R L L L R R R L L L
fff mp fff mp fff mp fff mp fff mp fff mp fff

T. D.
3 4
4 4
R R R RL L L L R R R RL L L L R R R L L L R R R L L L
fff mp fff mp mp fff mp fff mp fff fff mp fff

B. D.
3 4
4 4
R
fff mp fff mp fff mp fff ff

13 3 3 3 3 3 3 3 3 3

S. D.
4 2 3 4 2 3 4
4 4 4 4 4 4 4
R R R R L L L L R L
fff mp mp+ mf mf+ f f+ mp mp+ mf mf+

T. D.
4 2 3 4 2 3 4
4 4 4 4 4 4 4
3 3 3 3 3 3
R R R R L L L L R 3 3 3 L
mp mp+ mf mf+ f f+ mp mp+ mf mf+

3
3 6 6
6
B. D.
4 2 3 4 2 3 4
4 4 4 4 4 4 4
6 6 6 6
R L RL R R L R R R R R R L R R
fff mp mp+ mf mf+ f f+ mp mp+ mf mf+
2

19 3 3 3
A
3 3 3 3 3 3 3 3 3 3 3 3

S. D.
4 4
4 4
f R R R R R R R R R R R R L L L L L L L L L L L L R R R R R R L L L L L L
f+ ff mf ff mf ff mf ff mf

3 3 3 3

T. D.
4 4
4 4
f 3 3 3 3 3 3 3 3 3 3
3
R R R R R R R R R R R R L L L L L L L L L L L L R R R R R R L L L L L L
f+ ff mf ff mf ff mf ff mf

3
3
6 6 6 3 6

B. D.
4 4
4 4
f 6 3 3 3 3 6
3 3
R R R R L R R L R L R R L R R L R L R R L R L R L L R R L R
f+ ff f ff mf ff mf

23 3 3 3 3 3 3 3 3 3 3 3 3 3

S. D.
3
4
R R R R R R L L L L L L R R R R R L L L L R R R R R L L L L R R R R R R R R R
f mf f ff mf ff mf ff mf ff mf ff mf f mf

3 3 3 3
3 3 3
T. D.
3
4
mf 3 3 3 3 3
3
R R R R R R L L L L L L R R R R R L L L L R R R R R L L L L R R R R R R R R R
f f ff mf ff mf ff mf ff mf ff mf f mf

3 3
6 6 6 6 6

B. D.
3
4
6 6 6 6
R R R R R R R R
mf f mf f ff mf ff mf ff ff mf ff f ff mf

27 3 3 3
B 5 5 5 5

S. D.
4
4
L L L L L L L L L R R R R R L L L L L R R R R R L L L L L R R R R L L L L R
ff mf f mf ff mf ff mf ff mf ff fff

3 5 5
T. D.
4
4
3 3 5 5
L L L L L L L L L R R R R R L L L L L R R R R R L L L L L R R R R L L L L R
ff mf ff mf ff mf ff mf ff mf ff fff

6 6
6
B. D.
4
4
6 5 5 5 5
R R R R R L L L L L R R R R R L L L L L R R L R R
ff mf ff mf ff mf ff mf ff ff ff fff
 CADETS
Rudiment Sheet 2017
1. Flam Accent 2. Flam Tap
3. Flam Paradiddle
3 3

Snare Drum
2
4
r l r l r l r r l l r r l l r l r r l r l l

7 4. Single Flammed Mill 5. Flam Paradiddle Diddle 6. Pataflafla

S. D.
3 2
4 4
r r l r l l r l r l r r l l l r l l r r r l r l r l r l

7. Swiss Army Triplet 8. Inverted Flam Tap 9. Swiss-A-Diddle

13 6 6 5 5

S. D.

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

10. Choo-Choo 11. Shirley Murphy 12. Shock-A-Diddle

19 6 6

S. D.

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

13. Flamacue-Diddle 14. Diddle-Flafla 15. Egg Beaters

25 5 5

S. D.

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

16. Drag Paradiddles 17. Tap Drag-A-Diddles 18. Drag Tap-A-Diddles 19. 5-A-Diddles
31

S. D.

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 r l r l l

21. Flam Fives 22. Flam Drags

20. Cheeses 23. One Handed Flam Drags
38 3 3 3 3 3 3 3 3

S. D.
r r l r r l
r l r l r l r l r l r l r l r l r l l l r l l r

24. Drag Pu-da-tas 25. Swiss Cheese Inverts 26. Cheese Chain 27. Chutra-Cheese
46 3 3 3 3 5 5

S. D.

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

28. Book Reports 29. Double Flam Drag 30. Cheese Pataflafla
53 5 5

S. D.

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
2

31. Flam Five Flafla 32. Cheese Inverts 33. Cheese Cha
60 3 3

S. D.

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

36. Cheese Tap Cha

34. Hand to Hand Cheese Cha 35. Chut Cheese
66 3 3 3 3 3 3

S. D.
6
8
r l r l r l r l r l r l r l r l r l

37. Grandmas 38. Inverted Grandmas 39. Dig-ga-dup-dat

72

S. D.
6
8
r l r l l r l r l l r l r r l r l r r l r l r l r l r l

40. Dap-dig-ga-up 41. Chap-dig-ga-up 42. Extended Book Report

78

S. D.
2
4
r l r l r l r l r l r l r l r l r l r r l r l r l l r l
43. Nut-Cha-Da 44. Drag Nut-Cha-Da
84 5 5 5 5

S. D.
2
4
r l r r r l r l l l r l r r r l r l l l
45. Drag Choo-Choo 46. Single Drag Flammed Mill
87

S. D.

r l r r l r l l r r l r l l r l
 CADETS
Roll Exercise 2017
q = 144 - 172 Composer Tom Aungst, Bobby Marino, Paul Nalesnik
March the quarter note
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

Snare
4
4
fR R R R R R L L L L L L R L R L R L

3 3 3 3 3 3
3
Tenor
4
4
f 3 3 3 3 3 3 3 3 3
R R R R R R L L L L L L R L R L R L
3 3 3 3
3 3 3 3 3 3
Bass
4
4
f R R3 R R R3 R 3
L L L L L L
3
R L R
3 3
R L

6 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

S. D.

3 3 3 3
T. D.
3 3 3 3 3 3 3 3 3 3 3 3

3 3 3 3 6 6
3 3 6 3
6 3
B. D.
3 3 3 3
R R L R L R L

10 3 3 3 3 3 3 3 3
A 3 3 3 3 3 3 3 3

S. D.
mf RLRL RL
3 3 3 3 3
3 3
T. D.
3 3 3 3 3 3 3
3 mf 3
RLRL RL
6 6 6 6 3 3 3
6 6 6 3 3 3 3
6 3
B. D.

L R L R
mf

14 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

S. D.

3 3 3 3 3 3

T. D.
3 3 33 3 33 3 3 3 3 3 3 3 3 3 33 3 3 3 3
3 3 3 3 3 3 3 3
3 3 3
3
B. D.

R R L R R L R R L R L
2

B taps 6
19 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

S. D.

R LRLRL R R L RLRLRLR LRL

f taps 6
3 3 3 3 3
3 3

T. D.
3 3 3 3 3 3 3 3 3 3 3 3
3
R LRLRL R R L RLRLRLR LRL
f
taps 6 3
3 3 3 3
3 3 3 3 3 3
3 3 3 3 3 3 3
B. D.
3
R L L L L R L L R R R R R R
f

3 3
24 3 3 3 3 3 3 3 3 3 3 3 3 5 5

S. D.

R L R L R L R L R L R R R R R R
ff f ff f fff

3 3
3 3 3 3 3 3
3 3 3

T. D.
3 3 3 5
5
R L R L R L R L R L R R R R R R
ff f ff f fff

3 3 3
6 3 3 3 3
3 3 5 5
3
B. D.
3 3 6
R L L L R L R L R LRL R L R L R L R L R L R R R R R R
ff f ff f fff

3 3 3 3 3 3
29

S. D.

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

3
3 3 3 3

T. D.
3
R R R R R R L L L L L L L L L L L L

3 3 3 3 6 6
6 6

B. D.

R R R R R R
ff
 3

C TAPS 4
32 3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

S. D.

R R L R L R L R L R L
fff mp

TAPS 4

3 3
T. D.
3 3 3 3 3 3 3 3 3 3 3 3 3 3
R R L R L R L R L R L
fff mp
3 6 6 3 3 3 3 3 3 3
3 3 3 3 3

B. D.
mp

D TAPS 6
3 3
36 3 3 3 3 3 3 3 3 3 3 3 3 3 3

S. D.

LRL
f mp f mf f TAPS 6
3 3
3 3
T. D.
3 3 3 3 3 3 3 3 3 3
LRL 3 3
f mp f mf f
TAPS 6 3 3
6 6 3 3 3
3 3 3 3 3
3 6 6 3
B. D.

LRL
f mp f mf f

40 3 3
3 3 3 3 3 3 3

S. D.
3
4
R R R R L R L R L R L
ff ff mf ff mf

3
3 3
T. D.
3
4
3 3 3
3 3
3
R R R R L R L R R L L R L
ff ff mf ff mf
3
3 3 3 3
3 3
3 3
B. D.
3
4
R L R R R R L R L R L R L
ff ff mf ff mf
4

TO 1/2 1/2
3 3
43 3 3 3

S. D.
4
4
R L R L R L R R L R L R L R R R R
ff f mf mp = ff mp

T. D.
4
4
3 3 3 3 3
R L R L R L R R L R L R L R R R R
ff f mf mp = ff mp

6 6 6 3
6
B. D.
4
4
ff mp ff mp
 CADETS
DOUBLE BEAT 2017
Composer Tom Aungst, Henry Williams, Paul Nalesnik
MARCH = DOTTED QUARTER NOTE AND REGULAR QUARTER NOTE
q. = 90 100

Snare
12
8
R
fff

Tenor
12
8
R
fff
3 3 3 6

Bass
12
8
R R R R L R 3 6 R R R R L R
fff

S. D.

T. D.

B. D.

6 6
L 6 6 R L
f

S. D.

R L R R L R R L R R L R R L R R L R R L R L R R L R L L R L L R L L R L L R L L R L L R L R L L
f

T. D.

R L R R L R R L R R L R R L R R L R R L R L R R L R L L R L L R L L R L L R L L R L L R L R L L
f

B. D.
R R L L L R R L L L R R L L R R L L R R R L L R R R L L R R

S. D.

R L R R L R R L R L R R L R L L 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 L
ff mp

T. D.

R L R R L R R L R L R R L R L L 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 L
ff mp

B. D.

R L R R L L L R R L L L R R L R R L R R L R L L R L L R L R R L R R L R
2
A
9 TAPS 4

S. D.
ff R L R R L R R L R R L R R L R R L R R L R L R R L R L L R L L R L L R L L R L L R L L R L R L L
TAPS 4

T. D.
ff
R L R R L R R L R R L R R L R R L R R L R L R R L R L L R L L R L L R L L R L L R L L R L R L L

B. D.
R R

11

S. D.

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

T. D.

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

B. D.
R r l R R l R R R l R R l R 6 R R R R R R l r r L L r l l R
mp ff mp

TAPS 6
13 B
S. D.

R L R R L L R R L L R R L R L L R R L R L L R R L R L L R R L L R R L L R L R R L L R L R R L L
TAPS 6

T. D.

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

B. D.

R r r Sim.. R L

15

S. D.

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

T. D.

R L R R L R L L R L R R L L R L L R L R R L L R L R L L R L R R L R L L R R L R R L R L L R R L
Hand to Hand

B. D.
6 6 6 2
R R R L R R R R R L R L R L
 3
C
TAPS 6 4:6x 4:6x
9:6x 9:6x 9:6x
17 9:6x

S. D.
6
8
R LLRRLLRRL RRLLRRLLR LRRLLRRLL RRLLRRLL R L R L R L R L R
mf+ f mf+ f fff
TAPS 6

T. D.
6
8
mf+ 9:6x 9:6x 9:6x 9:6x 4:6x 4:6x
R LLRRLLRRL RRLLRRLLR LRRLLRRLL RRLLRRLL R L RRLLRRL LR L R
f mf+ f fff
TAPS 6 9:6x 4
9:6x

B. D.
6
8
9:6x 9:6x
l l RR l l r r L r r LL r r l l R l r r l l RR l L R 4 r L R
R
 CADETS
A.T. AND MORE 2017
MARCH DOTTED QUARTER NOTE Composer Tom Aungst, Paul Nalesnik, Henry Williams

q. = 96 TAPS 4

Snare
6
8
R ----- ff ff mf ff ff f ff f ff
mf mp
fff ff mp
MARCH DOTTED QUARTER NOTE
TAPS 4

Tenor
6
8
R ----- ff ff mf ff ff f ff f mp
fff mf mp ff

Bass
6
8
R R R r
R L R L R
fff

TAPS 4
8

S. D.
fff ff mp
L ----- ff mf ff mf
ff

TAPS 4

T. D.
fff L ----- ff mf ff mf ff
mp

B. D.

R r R 6 R L R L R L R R
L -----

15 A TAPS 4 CRESC. ACCENTS ONLY

S. D.

R R R RLRLRL RLRLRLRLRRL RLRLRLRLRLRR

ff
ff f ff f mp ff mp ff mp ff mf f mf f f+

CRESC. ACCENTS ONLY

TAPS 4

T. D.

R R R RLRLRL RLRLRLRLRRL RLRLRLRLRLRR

ff f ff f ff mp ff mp fff mp ff mf f mf f mf f mf f f+
Hand to Hand

B. D.

4 4 mf f f+
L L R r l l r r l l Sim... R
2

20

S. D.
3
8
LRLRLRLRLRLL R R R RLRLRL RLRLRLRLRLRL RLRLRLRLRLRL RLRLRLRLRLRL
mf f f+ mf ff mf f ff

T. D.
3
8
LRLRLRLRLRLL R R R RLRLRL RLRLRLRLRLRL RLRLRLRLRLRL RLRLRLRLRLRL
mf f f+ mf f ff mf f ff

B. D.
3
8
4
mf 4
R R L L R L L R L

25 B
S. D.
3 6
8 8
RRL RRRLLLRRLLRR LLLRRRLLRRLL RRRLRRRLRLRR L L L R L L L R L R L L
ff mf
fff

T. D.
3 6
8 8
RRL RRRLLLRRLLRR LLLRRRLLRRLL RRRLRRRLRLRR L L L R L L L R L R L L
ff mf
fff

B. D.
3 6
8 8
2 mp
R L

30 5:6x 5:6x

S. D.

RRRLLLRRLLRR LLLRRRLLRRLL RRRLRRRLRLRR LLLRLLLRLRLL RRRRLRRRLR

fff ff fff ff fff mf fff mf fff mf

5:6x 5:6x

T. D.

RRRLLLRRLLRR LLLRRRLLRRLL RRRLRRRLRLRR LLLRLLLRLRLL RRRRLRRRLR

fff ff fff ff fff mf fff mf fff mf

B. D.

R R R R R L L L L R R R L L R R L L L R R R R L R L
fff
 q. = q 3
C TAPS 6
2:3e
35 5:6x 5:6x 5:6x 5:6x 5:6x 5:6x

S. D.
3 4
8 4
L L L L R L L L R L R L L L L R L R R R L R R R R L R L L L R R R R R R R R R R R R R R R R R R
fff mf fffmf fff mf fffmf fff mf ff fff f

2:3e TAPS 6
5:6x 5:6x 5:6x
5:6x 5:6x
5:6x
T. D.
3 4
8 4
L L L L R L L L R L R L L L L R L R R R L R R R R L R L L L R B R R R R R R R R R R R R R R R R
fff mf fff mf fff mf fffmf fff mf ff fff f

B. D.
3 4
8 4
R L R L R L R R R R

40

S. D.

R R R 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 L L L L L L L L L L L
fff f

T. D.

R R R 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 L L L L L L L L L L L
fff f

B. D.
R L L L L

TAPS 6
TAPS 9
43

S. D.

R R R R L L L L R R R L L L R R L L L L R R R R L L R R L R R L
fff f ff
TAPS 9 TAPS 6

T. D.

R R R R L L L L R R R L L L R R L L L L R R R R L L R R L R R L
fff f ff

B. D.
R L R R R L R
4

45

S. D.

RLR L R L RLR L RLRLRLRLRLRLR L RLR L R LRL R L RLR LRL RLRLR L

ff mf ff mf f f f f ff f ff f fff

T. D.

RLR L R L RLR L RLRLRLRLRLRLR L RLR L R LRL R L RLR LRL RLRLR L

ff mf ff mf f f f f ff f ff f fff

B. D.

47

S. D.

R L R R L R R L RLRL RL RL RL RL RL RL RL RLRL RL RL RL R L RL RL RL RL RRL L RRL L

mp mf+ mf+ mf+ mf+ mf f mf

T. D.

R L R R L R R L RLRL RL RL RL RL RL RL RL RLRL RL RL RL R L RL RL RL RL RRL L RRL L

mp mf+ mf+ mf+ mf+ mf f mf

B. D.

R R R mf

49

S. D.
4
4
R L L L R R R R R L R L R L R L R
f mf+ f

T. D.
4
4
R L L L R R R R R L R L R L R L R
f mf+ f

B. D.
4
4
R R R R R L R L R
f
 Composer
CADETS
Alan 2017 Tom Aungst, Paul Nalesnik
q=132

SnareLine
3 c
4
r r r r r r r r r l l l l l l l l l r r r r r r r r r l r r r l l l l l l l l l r l l l r l r r r r r r l l l l l l r l
ff

TenorLine
3 c
4
r r r r r r r r r l l l l l l l l l r r r r r r r r r l r r r l l l l l l l l l r l l l r l r r r l l l l l l r l r r r
ff

BassLine 43 c
r l r l r l r l r l r l r r l r l r l r l r l r r
ff

Snare
3
4
r r r r r r l l l l l l r l r r r l r r r l r r r l l l r r l l l r l l l r l l l r r r l l r r r l l l r r l l l r r r l l

Tenors
3
4
r r r l l l l l l r l r r r r l r r r l r r r l l l r l r r l r l l l r l l l r r r l r l l r r r l l l r r l l l r r r l l

Bass Dr
3
4
r r r r l r l r l r r l r r r l r r l r r l r l r l r r l r r 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

=
10 5 5 5 5

Snare
3 c 9
4 8
r r r l l r r r l l r r l l l r r l l l r r l l r r r l l r r r l l r l l l r l r r r l r r l r l r l r l l

5 5
5 5

Tenors
3 c 9
4 8
r r r l l r r r l l r r l l l r r l l l r r l l r r r l l r r r l l r l l l r l r r r l r l r l r l r l r l l

5
5 5 5

Bass Dr
3 c 9
4 8
r r r l l r r r l l r l l l r l r r r l r r r r r r

14 13:8

Snare
2 2
4 4
r l r l l r l r r l l r r r l l l r r r l l r r r l l r r r l r r l r l r
f ff
13:8

Tenors
2 2
4 4
r l r l l r l r r l l r r r l l l r r r l l r r r l l r r r l r r l r l r
f ff
13:8

Bass Dr
2 2
4 4
r r r f ff r l r l r
 CADETS
Unison Single Beats 2017
Composer Tom Aungst, Bobby Marino
No Marching/tenors play snare part
q = 116

Snare
4
4
R
fff

Marching 4
Bass Drum 4
R R R L L L R L R R
ff f ff f ff
3

S. D.

B. D.
3 6 R L R L
f
ff

Snare S. D.
L
fff
3

B. D.
3
R R R f 6

S. D.

B. D.
R R L
2
9

S. D.

R B

B. D.

R R R L L L R R R
ff f ff f ff
11

S. D.
L

B. D.
L L L f

12

S. D.

B. D.
R R 6 R L L
ff