One of the most fundamental techniques for marching percussion involves the control of stick heights. Proper interpretation of many modern rudimental and rhythmic patterns require the performers to control the sticks as they quickly change heights from the accent to tap level. This is especially true in interpreting contemporary flam patterns such as Flam Taps, Flam Inverts, and Pataflaflas.

Initially, use only two stick heights for this warm-up; high and low. The accent and tap (the two primary elements of this exercise) are the basic motions of this warm-up. Emphasize uniform movement, matching the motion of each player. Eventually, you will want to play this warm-up at a variety of stick heights and dynamic levels - 12"/6" (ff/mf); 9"/3" (f/mp); 6"/l" (mf/p).

The sticking pattern isolates single-hand movement for individual awareness of motion. In the last two bars, the snares and tenors play double-stops. Snares and multi-toms should compare the motion of each hand during the double-stops to maintain uniformity. Toms should cross-stick on the double-stops, as indicated for added dexterity, and can eventually orchestrate their own patterns around the drums once they have achieved the correct interpretation on a single drum. The cymbal technique "sizzle/slide" is created when the plates remain together after impact and slowly separate. Play in a horizontal position for a maximum sustained sizzle sound. Performing with a quality sound on this warm-up requires a controlled rebound from the fingers on the tap sequences. Some players have the tendency to be either too stiff or too loose in playing the syncopated figures. The proper technique involves a coordinated effort between the arm, wrist, and fingers.

The mallet, timpani, and auxiliary players from the front ensemble perform an Afro-Cuban groove and serve as a "click track" for the drum line. Performing these rhythms on a variety of Latin percussion instruments will help the ensemble develop listening skills with internalized tempo control.

Play twice through without a break (one set) so that the snares, quads, and bass drummers will complete a cycle with each hand as the lead. Use a holding pattern to change tempo between the sets. The ensemble should start this exercise slowly and gradually move the tempo faster at each repeat. More experienced groups will stay sharp if the tempo and dynamic changes are radical or extreme at each repeat.

James Campbell has received world-wide recognition as a performer, teacher, arranger, adjudicator, and is a respected figure in the development of the contemporary percussion ensemble. Currently Professor of Music and Director of Percussion Studies at the University of Kentucky in Lexington, he also holds the position of Principal Percussionist with the Lexington Philharmonic.

Jim received both his B.M. in Music Education and M.M. in Percussion Pedagogy and Performance from Northern Illinois University where he studied with G. Allan O'Connor and members of the famed Blackearth Percussion Group. He also was a student of late James Lane of the Chicago Symphony Orchestra.

Well known for his long association with the internationally renowned Rosemont Cavaliers Drum and Bugle Corps, Jim has served as their principal instructor, arranger, and Program Coordinator. He was Percussion Director for the McDonald's All-American High School Band and has performed at the International Society of Music Education World Conference, MENC National In-Service Conference, Midwest Band & Orchestra Clinic, Texas Bandmasters Association, Bands of America World Percussion Symposium, and at several Percussive Arts Society International Conventions.