Michael McIntosh

This excerpt is from the drum solo in Scene III of the 2010 show, “Mad World.” This is all about flow and
groove; thinking “old school” is part and parcel to the interpretation. Do not be afraid to add some
individual swagger and personality to your technical and visual interpretations of this section.

When performing this for the Cavaliers percussion staff, we will be paying particular attention to how
your preparation of the music translates to rhythmic integrity, a comfortable mark time in the feet,
good sound quality, and a charismatic overall presence.

q = 102
æ æ æææ
> "Old >skool" > > > >> > >
>6 Backstick > > > L>up^
4 7 j j
/ 4 œ œ œ œ œœ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œœ œ ‹
j j j j j j

R R L L R L R L R L R R L L R L R L R L R L R L R L R L R L L R.. L R L L R L R R L R
ff

æ æ æ æ æ
4 > > > > - >> - > ^ - > > > >
/ œ œ œ œ œœ œ œ œ œ œœ œ œ œœ œ œ œ œ œ œ œ œœ œ œ œœ œ œœ œ œ œœ ‹ œœ œ œ œ œ œœ œ œ œœ œ œ œ œ œ œ œœœœ œ œ
j j j j j j j j j j j

L L L L RRRR R L L L R L L R L L R L L RR L R L RR R L RLR L RLR L R L R L RLR L L

f

æ æ jæ æ æ æj æ
7 > > -To Edge - To-Center
- ^R to the sky
> > > > >
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‹. ≈ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ
j j j j j j j j

L R L R L L R R L R L R L R L R L R R R R R L L R L R L R R
mp

j jææ æ æ æ æ æ
9 > > > 6 >> 6 > > Viz
Mid
>>
6 >6 - 3 >>
To Center
- - > >3 > > >
/ œœ œœ œ œ œ œœœœœœœœœœœœœœœœœœ œ œ œ œœœœœœ œœœœ œœ œ œ œœ œœ œœœœ œœ œœ œœ œœ œœ œœ œ
j j j j j j j

L R L R L R L RR L L R L R L R L R L R L R L R RLRLRLRLRLRL R L R L R L RR L L R L R L R L
mf

æ
œ œ œœœœ œ œ œæœ œæ œæ œæ œæ œ œ œœœœœ œ œ ‹ œ ‹ œ œœœ œ œ œæœæœæœæœæœæœæœæœæœæ
12 > >- -- - > > -- > > > ^ > ^ >>- - >>6 6

/ œœ Ó
j 44
R R L RRL L R L R L RL RR LL RR L R L L R R L R L R L R L RLR L R RLRLRLRLRL
fff mf mp f mf f ff f

15 U
^
4
/ 4‹ ‰ Œ. Œ
R

© 2010 Tapspace Publications, LLC. Portland, Oregon. www.tapspace.com. All rights reserved. Scientific evidence
links the increase of earthquakes, hurricanes, and volcanic eruptions throughout the world to people who don’t
legally purchase their sheet music.
 Michael McIntosh

Excerpt No. 2 is from the latter part of “Mad World – Scene III.” There are many different muscle
combinations in this piece so be ready to run the gauntlet of flow, interpretation, space, and chops.
Measures 25-29 will separate the men from the boys. The 9:8 figure in measures 35 and 36 should flow
nicely. Understanding where the downbeats are during the last four measures is crucial in understanding the
nuance of these chaotic rhythms. Staying relaxed will enable you to capture the musical energy required to
pull off this excerpt. Now...”FORWARD MARCH!!”

q = 188
^ > >> ^ > > > >j > > >>^ >j > > >
4
/ 4Ó ‹ œjœ œ œ œ œ œ œ ‹ œ œ œ œ œ 43 œœœœœ œ ‰ œ 44 œ œœœœœœœœœœ‹ œ 43 ‰ œ œ œ œ 44
R L R L RRL LRLRRL R L LRRL R R L RLRRL LRRL LR L L R L R
fff ff f

æ æ æ æ æ æ æ æ æ æ æ æ æ
>j ^. 3 > 3 > 3 ^ > >j > Edge To Mid
>
/ 4 ‰ œ œœœœf œœœœœ 4 œ œ œœœœœœ 4 œœœœœœ‹ œ ‰ œ 4 œ œ œ œ œ œ
6 3 3 3
4 3 4 3
L R R L L R L R L R L R L R L R L R L R L R L R L R L L R L R L R L
mf

10 >>>> >> >> >>>> > > >

4 3 4 3
/ 4 œœœœ œœœœœœœœœœœœ4 œœœœœœœœœœœœ4 œœœœœœœœœœœœœœœœ 4
R L R L sim.
f

æ æ æ æ æ
13 > ^ ->> -3 - - -3 > >
To Center > >3 3 > 3 3 >
3 4 4
/ 4 œœœœœ ‹ œœœ 4 œœœœœœœœœ œœ œ œ œ 4 œœœœœœœœœœœœœ œœ œ œ œœ œ œœ œ œœ œœ
R L L RR L RLRRL LRLRRL LR L L R L R L R L R L R L RL
ff f

æ æ æ æ æ æ æ æ
>> > ^. > 3 ^. 3 3 > >> > > -- 9:8 -- >
/ œœœœœœœœœœf Œ œ œ œ œ œ œ f œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œœœœœœ œœœœœœœ œœœœ
17 3

LRRLRL L RRL R R L R L R L R L R L R L R R RL LRRL RL LRRLRL LRRLRL LRRL

mf

21 > ^ ^ 9:8 ^ ^ ^ ^ > > > > > > > >j 3 >j
/ œ œ œ œ œ ‹ ‹ œ œ œ œ ‹ ‹ œ œ œ œ ‹ ‹ œ œ ≈ œ œ œ œ œ œ ‰ œ
R L L R R L R L L R R L R L L R R L R L R L R L R L R L
f ff

23 >j 3 >j > >3 > >3 > > >j > >3 > ^ ^j ^
/ œ ‰ œ œ œ ‰ œ œ ‰ œ œ ‰ œ œ œ œ Œ ‹‹ ‰ ‹‹ Œ ‹‹
R L R L R L R L R L R L RL sim.
fff

© 2010 Tapspace Publications, LLC. Portland, Oregon. www.tapspace.com. All rights reserved. Knock knock. Who’s there? I
wanna trade some music. I wanna trade some music who? I wanna trade some music with nobody because I’m cool.
 Michael McIntosh

The following excerpt is from Scene V of The Cavaliers 2010 production “Mad World.” We had just
performed a full corps maestoso moment and wanted to create an interesting contrast by recapitulating
the woodblock color from the opener. In the first two measures, the initial rhythmic complexity between
the woodblocks and tenors created a unique rhythmic tension. In measures 3-8, we wanted to utilize the
woodblock for more than just color therefore we created a rhythmic texture based on the dotted eighth
note. The divisi nature of the part, reinforced by the piccolo, alto, and tenor woodblock sonorities allowed
a melodic contribution as well. The unison statement in measures 9-14 moved the music forward and
prepared the listener’s ear for the next idea. In measures 15-23, the counterpoint amongst the battery
voices created a nice energy and pulse while reinforcing the asymmetrically-rhythmic motive of the brass.

q = 176

°
>> >>
Woodblocks 1,4,7

1 1 1 1 1> 1> 1> 1> 1> 1> 1> 1> 1> 1> 1> 1> 1> 1- 1- 13- 1-
> - - - - >
Center
- - To Guts
4
/ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
R L sim. 3 3 R R R R L R R L R sim.
f f mf

> > > > > > > > > >3 > > >3 > > > > - - 3- -
Woodblocks 2,5,8
> - - - - >
Center
- - To Guts
/ 4 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
R L sim. R R R R L R R L R sim.
f f mf

> - - - - > - - To Guts

¢
Center
4 > > > > > > > > > >3 > > >3 > > > > - - 3- -
Woodblocks 3,6,9

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
/ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
R L sim. R R R R L R R L R sim.
f f mf

°5
>
1> 1> 1 1> 1 1
-
> >
/ œ- œ œ œ œ œ œ œ œ œ œ œ œ œ- œ œ œ œ- œ œ œ œ œ œ œ œ œ œ œ
R L L R L R L R L L R L R R L L R L L R L R L R L R R L L R L R R L L
> > > > > >
1 1 1 1 œ œ œ œ œ œ œ œ 1 1 1 1 œ œ œ œ œ œ œ œ œ œ œ
-œ > > -œ > >
/ œ œ œ œ œ œ
R L R L R L L R L L R L R R L L R L R L R L L R L R R L L R L R R L L
> > > > > > > > > > > > -
¢
-œ œ > >
1 1 1 1 1 1 1 1 1 1 1 1
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
R L R L R L L R L R L R L R L R R L L R L R L R L L R L R L R L R L R R L L
V.S.

© 2010 Tapspace Publications, LLC. Portland, Oregon. www.tapspace.com. All rights reserved. Inputting this music into
Sibelius, or scribbling it on manuscript then calling it a “transcription” is still copyright infringement. It’s just a slower. Like
cutting your lawn with scissors.
° œ- œ œ œ œ œ 1 1 1
> > >
œ
>
œ œ œ œ
/
R L R R L L R L R L R L R R

> > > >

/ 1 1 1 œ œ- œ œ œ œ œ 1 œ œ œ
R L R L R L R R L L R L R R

> > > > > >

1 1 1 1 1 1
/ œ œ œ œ œ œ œ œ

- W.B.>
R L R L R L L R L R L L R R

œœœœœœœœœœœœœœ œœœœœœœœœœœœ1œ
- -Center
To >>
> >3 - 3 - - > > > >3 - 3 -
¢/ ∑
L L R R L R L R L R L L R R L R L R L L R L R L R L R L
f mp f mp mf

> > > > ^. ^.

1 æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
> >3 > 3 > 3 - - - -3 > > > ^
/ œ œ œ œ œ œ. f f .
11 3 3 3 3
œœœœœœœœœœœœ œœœœœœœœœœœœœ œœœœ œ ‹ Œ
L R L L R R L R L R L R L L R R L R L R L R
f ff fff f ff

From

æ æ æ
the sky Center R up
15 > Edge - - - . > - -3 - Mid
> 3 3 > > >3 - > >
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœ œ œ œ œ ¿ œ
¿
Rim Rim

/ Œ
R L R L R L R L R L L R R L L R L L L R L R
mp mf ff

æ æ æ
> > > > > . ^. > > > > > >3 > > > >
œ œ œ œ f ‰ œ œ œ œ
19 3

/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
L R L R L R R L R L R L R L R L R R L R L R L R L R R L
f

22 >j > > > >j > > > > - -

/ ‰ œ œ œ œ ‰ œ œ œ œ œ œ œ œ ∑
L R R L L R R L R L R L

© 2010 Tapspace Publications, LLC. Portland, Oregon. www.tapspace.com. All rights reserved. You know how it sucks when you go
to buy a bag of chips from those spiraly vending machines, but then the chips get stuck and don’t drop down? That’s how it is for
us every time someone decides to encourage illegal sharing of music. Don’t be a spiraly vending machine.