To all inductees into the 1992 Cadets Quad Line (heretofore and henceforth to be known as the "Quads of Bergen",

alias the "QB"): Congratulations! You have all made the initial step into what I consider to be one of the most important (if not the most important) moves of your lives. You all made the line! Let me say first that you all have come at a time when we have a unique chance to be part of something MONUMENTAL. You are all going to be the pioneers of what could easily become a Quad drumming dynasty unparalleled in Drum Corps history! Let's face it, guys - this corps has never had the kind of Quad Line that you just look at and are totally blown away. But believe me - this year and the years to come are going to change all that. I am dedicated to making you guys into the kind of drummers that can smoke anyone, anywhere, anytime. But in order for me to do this, I'm going to have to show you things and introduce drumming ideas and doctrines which may be a little unorthodox. But believe me - I will never tell you anything which I do not consider to be essential for the monstrous evolution which is going to take place this year. So in the following pages I am going to impart to you vast stores of information & philosophy which will be PARAMOUNT in order for us to get where we need to be. LET THE "Q-BIBLE" COMMENCE! 1) Wheresoever thou goest, so doth these scriptures!! (take this thing with you wherever you go) 2) Remember - this is serious stuff. I need you guys to know this inside & out so that you have no questions when you want to figure out something for yourself. The ultimate goal here is for you guys to become even better than I ever was! (no doubt you will) 3) PHILOSOPHY. Before I get down to the actual drumming aspects of this thing, there are some other even more important issues which need discussing (I encourage you guys to discuss this with me & each other). a) More important than the hands, as you will often hear Tom say, is the head. For the skeptical & the inexperienced, this may seem like so much garbage. I remember a time when I myself thought "how can the head be more important than the hands? They have to play this crap!" Little did I know at the time that I was totally fighting my drumming betterment. When I finally realized that I could drum about 99.999872301% better when I concentrated on what my HEAD was doing, rather than my hands, a whole new

spectrum opened up to me. I could relax, play faster, play more stuff, drum cleaner, look better while I played, etc. Now I know that sometimes when you guys are getting tons of stuff thrown at you for extended periods of time, you get a little confused, intimidated, frustrated & maybe even a little pissed. But what you have to realize is that there is a way for you to focus this information into one singular place: the drum head. All the things I'm going to talk about in this book (heights, interpretation, timing, tempo control, technique, musculature, visualization, smart drumming, philosophies, exercises, practice technique & rehearsal technique, etc.) are ALL PART OF THE SAME THING!! Every one is strictly related to every other one, and cannot exist independently. b) THE "NIRVANA" STATE. What I'm talking about is something which I came up with to define the ultimate goal of a great Quad player (or any drummer). This is what I call the "Nirvana" state of drumming (not the band). What it involves is simply the implementation of every aspect that is contained in this bible. It all boils down to one thing - the achievement of a completely relaxed disposition while remaining totally in control. The aura you portray when you have reached this "Nirvana" state is that whoever is watching you gets the strong suspicion that you could play just about 200 more times than he could imagine. And do you know why you give off this aura? BECAUSE YOU CAN. c) VISUALIZATION. Have you ever pictured yourself in your mind doing something or achieving something that you wanted and actually achieved it? This is what I'm talking about. Now, visualization is something which is different for everyone. What works (or worked) for me may not work for you. What you need to do is try a little mental experimentation until something clicks. Let me explain. When I drum, I have someone or something in mind that I want my hands to look or sound like. This was a key for me when I went to Blue Devils. I simply visualized my playing to look and sound like our Quad section leader, because he was doing it the way it was supposed to be done. Now it didn't happen overnight or all at once, but with some mental experimenting, I started drumming like him. Mind you that this was while all the time people were stressing to me how to drum like him (heights, interp, timing, relaxing, etc.). So you can see how this relates. Now, for you guys, in the absence of a veteran of this Quad Line to emulate, I would suggest checking out Scott Clark. Just because he is not a Quad drummer doesn't mean

you can't visualize playing like him. When you check him out, think about the "Nirvana" state, and you'll see what I'm talking about. No strain, killer heights & dynamics, totally relaxed and in control. You get the feeling he could play stuff that could blow you away and that's because he can. Remember - sometimes achieving something you can't do is a matter of visualizing yourself doing it. Rather than bashing your head against a physical barrier, try eliminating the mental one. d) COLLECTIVE CONSCIOUSNESS (POWER OF THE LINE). This is a concept that I want you guys to think a lot about, because it takes some time to comprehend. Keep your mind open, now, because this is a very real phenomenon that I want you guys to be aware of. There exists (I know, because I've experienced it) within the line a force which you can tap into by manipulating certain events. Now what I mean by this is the ability of a drummer (or group of drummers, such as yourselves) to know, intuitively, exactly what is going to happen in any given phrase (or "lick" as you'll hear from time to time). And from this knowledge be able to adjust almost BEFORE IT HAPPENS! This is what I refer to as the "Power of the Line", or tapping into the "Collective Consciousness." It's almost as if, when you're drumming in the line, THE SUM TOTAL CONSISTS OF MORE THAN IT'S INDIVIDUAL COMPONENTS. The more you guys drum with each other, the more this phenomenon will happen. Have you ever felt yourself drumming much better in the line than you could individually? This is part of it. When you all get together, the drumming almost has a life of its own. Now dig this concept: THE GREATER THE INDIVIDUAL COMPONENTS, THE GREATER THE SUM WILL BE!! That's why I always say that this line is going to be what you guys make it. The better each of you become individually, the more power the line has! Now understand that this ties in directly to visualization because the more you are all visualizing the same thing (correct heights, interpretation, style, etc.) the more you'll know exactly what the guy next to you is going to do. So almost as important as your own hands & head is knowing the hands and head of the guys next to you. This way you have a much better chance of tapping into this power. That is also why it is so important for you guys to be tight off the field - you can't just be a few dudes who get together now and then & play the drums. You have to talk about this stuff and hang out when you're just chillin'. Get to know each other & get each other's input on this stuff (and other stuff, as well). And don't take crap from anyone, because you guys are going to be the baddest! As much as the drumming, this is what the QB is all about. You guys have to have your

own identity as a Quad Line, and this is what's going to make you different from the faceless Garfield Quad Lines of years past (I like to think we started it a little last year). The more you guys are in tune with each other, the easier it is to feel that collective power that is indeed a very real thing. Let me know if you ever feel it in the line (or maybe you have before). Very important stuff. e) SMART DRUMMING. This is just a term I think you should know which simply means that at any given time, you know EXACTLY what is going on around you. On the field, in the line, whatever you're doing. Much like the "Nirvana" concept, when you're confident with everything about your drumming, you have more "brain space" to be aware of other things. Its common sense - if you're struggling with your marching, you're going to play like crap and vice-versa. The more things you have mastered about your gig, the more you can expand your awareness of what is happening around you. If you think about it, you can see how every concept in the Q-Bible goes into making a smart drummer. The surgeon who is consulting his textbook while making an incision is PROBABLY headed for trouble. f) MOTIVATION. This is definitely an area where you're going to have to help yourselves. All I can do is provide you with the information you need to be the best quad drummers in the country but realize one thing: IF YOU DON'T WANT TO DO IT, I CAN'T MAKE YOU In order for you guys to move to the next level, you're going to have to be uncomfortable for a while until this stuff becomes second nature. You cannot expect to remain in your "comfort zone" (the way you've been doing it for years) and get any better! Just when you think you've done enough for the day, or when you think you can't learn any more, or you're tired, or whatever, that's when it's time to push! You've all heard this crap before and not only in drumming, I'm sure. But it is so true! You have to take it to the edge! Go beyond your capabilities - find out what you have to do to get that extra little bit of MOTIVATION required to get better! YOU have to do it NOW, because the way this corps operates, I have little time to show you what I need to to get you there. And once the summer comes, we may get no time at all. Remember this, because it is as important as all hell: HOWEVER YOU GUYS ARE AT HOME IS HOW THIS QUAD LINE IS GOING TO BE... keep in this in mind, also - you should never be satisfied with what you know. The more you strive to learn EVERYTHING, the closer you'll get to it. Common sense, eh?

4) YOUR HANDS. Okay. Now you know where your frame of mind should be. Next comes the easy part, right? a) TECHNIQUE. Basically, I've already talked about a lot of aspects which go into making this Quad lines' technique. Perfectly relaxed, in control, aggressive -always pushing the outer edge. You could almost call it the "Nirvana" technique. Make the distinction that when I say "relaxed" I don't mean floppy, sloppy, slurred banana hands. I mean that you should be so comfortable with the correct way that you no longer have to strain unnecessary muscles (shoulders, face, blood vessels in the forehead, etc.). When you get it down, you are using ONLY THE EXACT MUSCLES NEEDED TO PLAY WHATEVER YOU'RE PLAYING No more, no less. Crucial in freeing up that extra "brain space" for other stuff happening around you. So far we've discussed mostly the philosophical and theoretical techniques involved. Now let me tell you what you should mentally focus (visualize) on in order to achieve this. 1. PLAYING AREAS. CRUCIAL! In order for you to use only those muscles needed, you need to play the quads in the most efficient areas. This eliminates needless expenditure of energy by hacking way to the front of the #1 and #2 drums, or flailing all the way to the outside of the #3 and #4 drums. This is energy which could be used for playing faster, playing better heights, marching better, whatever. Also, playing in the playing areas is a great "automatic equalizer" for the way your hands look. Here's the breakdown: diagram a) (place diagram of quad playing areas here) on the 1 & 2, play dead center and about 2" from the rim closest to you on the 3 & 4, play at about 45 from center & 2" from the rim This is where the drum produces the best tone, and gives you the best clarity. I don't care if you're scraping or "gliding" or "sweeping" or whatever, you should always play in these areas. (I'm not too particular about where you play on the spock, because it's more of a non-tonal drum. For now, we'll say a little in front of center.) diagram b) (place diagram of outlined drums with solid oval playing area)

Now note that in diagram "b" we see that the actual surface you will be playing on is much less than that of the entire instrument itself. What you have to do is VISUALIZE the much smaller "theoretical" quads. Thus, the mammoth instrument you have strapped on your back becomes much less formidable. The common fallacy of the inexperienced (and sometimes experienced) quad drummer is to look at the huge apparent size of the drums, become intimidated, and play like crap because they have VISUALIZED in their mind this monstrous bitch which is impossible to play. Don't fall into this little mental trap. It would be kind of hilarious if a snare drummer picked up his snare and tried to play the whole thing. 2) PLAYING POSITION. I hate to pin this down to a definition, because sometimes your hands need to different things in order to do what is required of them. For now (or at least definitively for the basics) your hands should be flat (palms to the ground). Fingers should not leave the sticks, and the angle of your wrist should be a perfect extension of the forearm. Shoulders and elbows should be relaxed. A common syndrome is the "chicken", where the elbows are extended so far to the right and left that the people standing next to Col. Sanders are at risk of being stuck in the ear. Another no-no is the "straight-jacket", where the elbows are so firmly implanted to the sides that homer needs some paint thinner and a crowbar at the end of rehearsal (and possibly a couple of muscle-relaxers). *REMEMBER - the muscles of the face have nothing to do with those of the hands & arms. Practice face-contortionism during sex, not drumming. b)HEIGHTS. Heights are definitely one of the all-important areas in your road to quad drumming mastery. By playing the correct heights (along with technique, interpretation and tempo) you can achieve this relaxed, controlled "Nirvana" state we've been discussing. The reason I say this is because when you max out your heights (play them correctly), you are not expending needless energy by playing your taps, rolls, or grace notes too high (not to mention accents). Now mind you that BASIC RUDIMENTARY HEIGHTS are not to be confused with the height system used here at the Cadets. When I say accent and tap, I am referring to the Cadets' 9" and 3". If you are going to play stuff at any other height, it will either be written or spoken. Also note that what I'm going to talk about here regarding proper heights is designed to get you to play everything faster and smoother than you are now capable of. So let's get crackin'. 1. THE CHECK PATTERN.

Your understanding of this concept will be a great asset to you in your quest to play correct heights. Basically, what a check pattern is is something by which you can check the correct heights & tempo of whatever pattern you are playing. Simply subtract the rudiment from the rhythmic base of what you are trying to play, and you have your check pattern. For example: (4 cts. triplet flam accents)=rudiment (flam accents) minus the flams becomes: (4 cts. triplets, accent on 1,2,3,4)=check pattern (accented triplets) Basic concept, right? So basic, in fact, that many drummers overlook its importance. When you understand that there is NO MOTION OR HEIGHT DIFFERENTIAL between the rudiments and the check pattern, you no longer have to wonder what it is your hands should be doing. If you are playing this: (accented triplet drag pattern) I should visually see only this: (same pattern minus the drags) The diddles are the same height as the taps (3") and no motion or height changes anywhere in the phrase. Here's a few practice ones for you: 1. (4 ct. flam/diddle pattern in 16th's or triplets)=__(check pattern)_______ 2. (4 ct. flam/diddle pattern in 16th's or triplets)=__(check pattern)_______ 3. (4 ct. flam/diddle pattern in 16th's or triplets)=__(check pattern)_______ 4. (4 ct. flam/diddle pattern in 16th's or triplets)=__(check pattern)_______ Figure out the correct heights, play each one individually (correctly), then play 1-4 without stopping. 2) STOPPING THE STICK (ANTI-BAND-O TECHNIQUE) This concept is so fundamentally simple that it's almost hilarious how many drum-corps drummers don't do it. But once again, this is a concept which inexperienced players totally ignore, and one which players on the rise don't pay enough attention to. In a nutshell: don't let the stick bounce up higher than the next height you have to play. You can't play 9-3 if your stick bounces up to 6 after the accent. Stopping the stick is

achieved by gripping with the back fingers to control the rate and height of rebound after the accented stroke. Note: stopping the stick is primarily for ACCENTS only - if you are trying to grip the stick tightly for every stroke, you are working twice as hard as is necessary. Drumming is all about controlling the rate of rebound of the stick! *try pushing the thumb forward, backwards, up or down of the correct relaxed fulcrum position - this causes your back fingers to lock up on the stick. Thumb position is more important than you may think in your quest for relaxation... c) INTERPRETATION. So now you're playing with killer heights, but what do you suppose that's going to mean if the actual notes you're playing have a different rhythmic value then the guy next to you? Nothing. That's why you all have to play with the correct interpretation (exact rhythmic value) of any given notes. Here's a good way to understand it in a simplistic manner: Say you have one beat in which you are going to play two (2) notes. Now all that you know is that they are going to be two 16th notes. Do you think every guy is going to put them in the same place? Check it out: (place 6 variations of two 16th note placement combinations here) six (6) different combinations, right? So you could say that each one of these combinations is a different interpretation of where the two 16th's should be placed. The information that you are missing is the exact definition of where to put these 16th's. Now if I told everyone to play on one and at 140 BPM (beats per minute), everyone would play this: (place two examples of one and here) Something you have to understand is that when you receive a written piece of music, the exact definition of where to place the notes is inherent. In other words, you are given all the information you need to play the correct interpretation. If you were reading this: (tap six) You wouldn't play this, would you? (sextuplet RLLRRL release R)

That is why this Q-Bible is so important! Once you know what it is, you have no excuse for doing it the wrong way ever again. When you have questions, you consult the Bible. It's like having your own instructor at home. 90% of your problems are simply not knowing what it's supposed to be. Hopefully, this booklet will leave very few (if any) questions. Anyhow, now that you know what interp is, let's talk about the three different kinds of interp that exist. 1) SLURRED or OPEN. This type of interpretation involves playing a figure that takes up too much rhythmic space. Take a drag, for example (a very commonly slurred figure). When you "slur" a drag, this: a) (triplet tap drag) becomes this: b) (1 ct. 16th's, RLLR) or this: (RLL 16th triplet, release w/R on and ct.) Note that each example takes up only one beat, but the value of the notes involved change. In figure a), the diddle is exactly 1/2 the value of the notes around it. In figures b), the diddle has actually "opened" up, causing it to take up too much space, thereby changing the value of the entire figure. Remember this: When considering interpretation, the most important thing is giving each note it's full value. When you think this way, what actually becomes most important is what you are not playing (i.e. the space between the notes). If you put the correct space between the notes, you will always play with correct interp! In figure a), there is a correct 16th note pause between the accent and the 1st note of the diddle. In figures b), the value of the first note has been lessened, thereby causing the diddle to occur too soon. When this happens, in order to play the entire figure in time you have to wait longer between the 2 notes of the diddle (thus the term "open"). This is how you might also picture slurred interp: Understand exactly where the diddle occurs: (1 ct. 16th's, drag on 2) or (1 ct. 16th's, two 32nd's on 2) played correctly, the diddle occurs here: (1 ct. 16th's, two 32nd's on 2, 32nd's in bold face) played slurred, the diddle occurs here: (one ct 16th's with outlined 32nd's surrounding 2nd 16th)=TOO WIDE!

Just think about what the diddle mark (8th note w/diddle mark) itself represents - it cuts the note in half! 2) CRUSHED or CLOSED. This type of interp involves the playing of a figure which takes up too little rhythmic space. ( 1 ct 16th's,drag on two) when crushed looks like this: (1 ct 16th's,bt 2 ( ), outlined 32nd's between bts 2 and 3) (The second 16th is in parenthesis only to show where the first note of the diddle should be) See how in the crushed example the value of the first sixteenth has been increased by putting too much space before the first note of the diddle? This is another example of why you should understand how important the space between the notes is. The diddle in the crushed example was started so late that it had to be "closed" together in order to play the entire figure in time. Understanding the incorrect way of doing something is very important in being able to distinguish what is correct. You must be able to make the distinction yourself. "Gee, ma , I didn't know you couldn't feed the cat anti-freeze. " 3. CORRECT. By now, from the incorrect examples, you should be able to deduce what correct interpretation is. Stated simply, correct interp is playing the exact rhythmic value of every note in any given figure. (1 ct 16th's ,drag on 2) = ( 1 ct 16th's , 32nd's on 2)= Right in the pocket! The exact amount of space is given after every note, thus producing correct , mathematical interpretation. We could even express this mathematically: (use this to impress your friends) The space between the notes ( SB ) is equal to one half the value of the last note before the space in question ( LN ). Therefore, SB=1/2 LN Let us call this the interpretation equation. To test it, let's check out some examples:

( a. ) ( ) (given that in this equation we accept that we only want one note value to define the space) Take the first figure( ( >16th ,8th note five tied to >16th) ) and plug in some numbers[Value of space we want to know ( >16th, 4 32nd's,>16th) =(written thusly for visual rep.) So- The last note played is a sixteenth. In 4/4 time, 1/2 (16th) would be a 32nd. Also understanding that in musical rhythmic notation, 1/2 the value of any note would be represented as twice the numerical value. This is due to the fact that the smaller a note gets, the more of them you can fit in a measure. Also remember that a note is also a fractionary value- so plug it into the equation : SB=1/2(1/16) or SB=1/32 and you have your space. This i s how long you have to wait, or the space you should visualize before playing the next note. Obviously, this is for interpretation when the exact value of a given note is in question. When is the exact value of a given note in question? Any time you are playing something with the incorrect interpretation!! Plug in the rest of the numbers from figure ( a ) and try playing it with correct interp. Now I know that I went into an almost insane length to explain correct interp, but that is only because I want to leave no question in your minds about what it should be. If I thought you were doing it correctly on your own, there would be no need for a Q-Bible, now would there? No excuses, now, boys! d) TEMPO CONTROL/TIMING. Do you recall at the outset of this booklet that I said these concepts cannot exist independently? Well, keep that in mind when studying and implementing these concepts. Heights are meaningless without good interp, and neither mean anything if you can't play in time. But realize that heights & interp are crucial in order to play in time. A close relationship exists between all aspects that go into achieving the "Nirvana" state. So now let us discuss what it entails to possess great timing and tempo control. 1. PLAY WITH A METRONOME!

2. PLAY WITH A METRONOME! The first step in achieving mastery of timing and tempo control is to first understand exactly where everything is in relationship to the down beat. What the down beat is is simply the definition of a certain section of time by dividing it into fractions of rhythmic space. For example, the down beat in a measure of 4/4 comes every quarter note (q.n.). The downbeat in a measure of 12/8 comes every dotted quarter note (d.q.n.). Now - I'm not going to get too heavy in explaining the downbeat, because if you can read music and you have rhythm, you can pretty much figure it out (or feel it). One way to think of it is whenever your feet hit the ground while you're marching. The problem with that, however, is that it doesn't always hold true at the Cadets. So for now, we'll deal with 4/4. Feeling the downbeat doesn't always come quickly, because the more you've been exposed to all different kinds of rhythmic figures and feels, the more you can instantly recognize and relate them to the downbeat. Now, if you have trouble with this, play with the metronome (as I said), and give each note its full value (correct interp). Think about what you're actually doing when you're drumming - you are literally slicing up portions of time. Your goal is to do it so exactly each and every time you play, that you develop a complete understanding of how to lay everything right in the pocket. The more you play with a met, the more you develop that "inner sense" which gives you perfect control of everything you play. *Always remember that as a rule, easy figures tend to rush, and difficult figures tend to drag. When you play with a met, find out what your tendencies are and memorize how everything feels when it is correct. If you practice without the metronome, you are leaving too much to chance! Every time you do this, chances are that your internal tempo is far from perfect. This means that you are actually training yourself to play things the wrong way! It doesn't make sense, does it? Why sit there developing bad habits, when it takes the same amount of energy to play it right as it does to play it wrong? I don't get it. I once knew this guy who never left his house `cause nobody ever told him how to use a doorknob. -Killer exercise to practice with the met: 16th NOTE TIMING (1e& _, 2_&a, 3e_a, _e&a, 4-2-1)

Play this all natural sticking (one ct. 16th's RLRL), with one height. 12"when slow, 9"when moderate, 6"when fast, 3"when reefed! This exercise was designed specifically so that you know exactly where the downbeat is. Practice it at a variety of tempos so you get the feel for the downbeat in relationship to speed. Great exercise. I didn't say much about timing specifically, because it really is pretty much the combination of playing correct interp and controlling the tempo. When you achieve these two concepts, your timing will be perfect kind of as a side effect. 3) PLAYING "ON TOP" OF THE BEAT. One more thing about tempo control I would be remiss if I did not mention is the term "playing on top of the beat". This is simply what I mean by pushing it to the edge! Some lines, if you listen closely, play so lethargically that it feels like someone is pulling their hands on little puppet strings. You can feel a beat, but it's so lazy and lacsadaisical that somehow you feel that they'll never make it to the end of the tune. It's like sitting there all day watching some mold grow on a 3-day old beer. You know what I mean? They are expending only enough energy to get by, and barely getting there in time (if at all). This is what playing behind the beat is - it's so minute count by count that you couldn't really define it, but consider that if you drag every 16th in an entire tune by .01 BPM, after playing 1,000 16th's, the song has drug 10 BPM! Now - if your line has control of the tempo, this would not occur. When you take the tempo by the _____, so to speak (sorry mom), and play on top of it, you are the one in the driver's seat! No longer does the tempo have control of you - you have control of it. This, accompanied with perfect heights, technique, interpretation, and mental focus is what gives a line that edge I'm talking about! The drumming has energy and life - you can tell it's going somewhere. And when you see some line or individual drumming with every concept that I've talked about in the Bible, there is no way anything else is going to compare. Watching a group of people who have this kind of knowledge to back up their hands is SCARY! 5) WHAT THIS ALL MEANS. What this all adds up to is this: If you guys take this stuff and run with it, there are no limits to what we can accomplish this year, and in the years to come. Don't get me wrong - there are no shortcuts. We are going to have to work our butts off in order to pull it off. And this is where your time at home becomes so important! I can't (like I said) make you do it if you don't want it. But if you want it bad enough, you can do anything! And I am committed to making this quad line (and the rest of the line) the best thing Drum Corps has ever seen! So if you had

doubts before, or you're scared and intimidated by this whole Cadets thing, I can only say this: GET OVER IT!!! There is no time like the present - if you're getting your mind caught up in things that make no difference in the end, you're wasting time! You're here for one thing, and one thing only: TO BE THE BEST! And I'll say it again - if you WORK HARD AND DO EVERYTHING THAT THIS BIBLE SAYS, WE WILL BE THE BEST! You guys could not have picked a better time to come to this Drum Corps. I am truly envious. So get your noses to the grindstone, incorporate these concepts into everthing you play, and come back SMOKIN'!!! Confuscious say: He who study Q-Bible attain drum mastery. Ah So. QB LIVES. M. Stevens 1992