2013 cadets audition packet - front ensemble.pdf

7/26/2019 2013 Cadets Audition Packet - FRONT ENSEMBLE.pdf

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YOU

CANDOTHIS

2013 AUDIT ION PACKET


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Cadets Front Ensemble 2 13

Audition Packet

Introduction

Hello, and thank you for your interest in the 2013 Cadets Front Ensemble. Firstand foremost, the Front Ensemble Staff is honored that you have chosen to audition atThe Cadets for the 2013 season. We are very excited to meet you and begin working withyou during the November and December audition camps. This packet is designed toinform you of the techniques we utilize in our ensemble and the qualities we look for inour members. Hopefully, it will give you all the infomation you need to audition for the2013 CPit!

At The Cadets, the audition weekends will consist of two types of evaluation of yourplaying ability, mental focus, and attitude:

1.)

The group setting: We will rehearse exercises and music as an ensemble whileevaluating individual skills. During this phase of auditions, it is important tosee how you react to instruction and how well you play together with othermembers.

2.) Individual Audition: Each performer (returning or new) will receive anopportunity to display their abilities in a 10-15 minute individual audition.This audition will be in front of one of the arrangers/instructors at some pointduring the weekend. Although, EVERYONE gets nervous for auditions, wewould like the entire weekend and in particular, your individual audition, to

be as relaxed as possible. We are looking to see your best playing, so prepareyourself for this experience by running down your solo and exercises in amock audition setting. Beyond the playing, we will also sit down and speakwith each member about their previous playing experiences and their current

percussive situation (college, high school, indoor, etc.)

What to Bring

A Good Attitude- We are looking for much more than just great playing ability andprevious experience in the Cadets Pit, we are looking to find great team members as well.A Front Ensemble is a unique collection of people, as those 15 players spend all day,everyday for 3 months straight together. We are looking for folks who buy into a teamconcept and are able to effectively receive instruction from the admin, staff, and sectionleaders to achieve our goals.

Music and Solos- Please bring a copy of all the audition material and your

marimba/vibe/xylo/timpani/piano solo with you to camp. It is usually best to organize thisin a 3-ring binder. Also, bring writing implements to make notes and fill out forms.

Mallets- For the group portions of the weekend we would like you to use OUR Vic Firthmallets. If you wish to perform your solo with mallets other then ours, we encourage youto bring them.


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Personnel

The following is the instrumentation for the 2013 CPit:(4) Marimbas,(4) Vibraphones,(1) Xylophone/Glockenspiel,(1) Timpani,(2) Synthesizer positions

-1 full time player-1 player who may also play some percussion as needed

(1) Xylosynth player(2) Percussionists

-1 player who performs on various percussion instruments AND drumset-1 player that exclusively plays percussion

Materials enclosed in the 2013 Audition Packet:2 and 4 Mallet Exercises:

1.

Please prepare all of the exercises on the 2 Mallet and 4 Mallet Exercise pages.a.

Please pay special attention to tempo markings, stickings and barplacement markings (E= Edge, C= Center).

O Holy Name 2013 (Pit Score):2. For this exercise, please pick a part that you feel is appropriate for your skill

level, memorize it and we will play this as a group at camp.

2 Mallet, 4 Mallet, and Timpani Technique Guidelines:3. Please use these sheets to assist you with understanding The Cadets Front

Ensembles style of playing.

NOT included in the Audition Packet:4.

Marimba/Vibe/Xylo: Please prepare a SHORT (1 to 2 minute) excerpt of amarimba, vibraphone, or xylophone solo.

5. Timpanists: Please prepare a SHORT (1 to 2 minute) timpani solo.6.

Pianists: Please prepare a SHORT (1 to 2 minute) piano solo.a. This will ONLY be performed in your individual audition.

b. Pick something you are very comfortable with.

Once again, thank you for your interest in the 2013 Cadets Front Ensemble. I am excitedfor you to meet our excellent Front Ensemble staff and for us, to meet you and work with

you in the individual and group setting.If you have ANY question regarding the audition materials or audition process, pleasedont hesitate to contact me at [email protected]

Dr. Iain MoyerThe Cadets Front Ensemble Arranger


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22013 Cadets 2-Mallet Audition Material


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IHOP 2013 PART 1

q= 140-180

I.H.O.P. is a fundamental "Kraus" Scale style exercise which utilize many of the rhythmicpatterns we use in the licks in The Cadets Shows.A few things to think about when practicing this exercise:

1) Rhythmic perfection and extremely consistent sound quality are the ultimate goal.2) The first two measures are the most important, as they set the sound quality you will

try to maintain once you start moving across the notes.

3) In measure 5 and 6, be sure that you give the appropriate space to the 8th notes.4) Finish the exercise with consistent rhythmic and note accuracy as you span the largest distance on the keyboard.

R L R L

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D.V.C -

Double Vertical Chops

q= 120-180

"D.V.C." is a basic 4 mallet chops exercise.1) The Cadets will start this exercise in the DOWN position, and prep for the first note.2) It is imperative that all four mallets hit the keyboard at the same time and with the

same touch.3) Do not accent any of the note changes...try to play the exercise as evenly as possible.4) Play this exercise from the wrist.

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(with String, Vocal or Organ Patch)

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The 2013 Cadets Front Ensemble

4-Mallet Audition Material

The Cadets 2013


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I.H.O.P. is a fundamental "Kraus" Scale style exercise which is played both with 2 AND 4 mallets. .A few things to think about when practicing the 4-mallet version of this exercise:

1) This exercise should be played with ONLY the inside mallets.2) The inside mallets should be UP and the outside mallets DOWN during

the starting position of this exercise.3) Use an aggressive rotary motion to strike the keyboard with the inside

mallets.

IHOP 4M 2012

q= 100-140

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72013 Cadets Front Ensemble4-Mallet Audition Material


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In's and Out's Burger

q= 90-120

"In's and Out's" is an exercise that utilizes both the "vertical" motion of the Double Vertical Strokeand the "rotary" motion of the Single Independent Stroke.

1) During the first two measures, when playing with the inside mallets, keep your outside mallets DOWN,very close to the keyboard.

2) During the third and fourth measures, when playing the outside mallets, keep your inside mallets in the UP posi

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8 2013 Cadets Front Ensemble4-Mallet Audition Material


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Mallets

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Mixtape by Jules Scogna

q= 100

This is a standard permutation exercise that begins with a chord progression of Double Verticalsand then transfers that chord progression to Single Alternating and Single Independent Strokes.

1) This exercise should be performed with even ffstrokes that rebound to the up position. 2) Please be careful to note the sticking and bar placement markings (C=Center, E=Edge).

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Cadets 2013 Front Ensemble4-Mallet Audition Material

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Mlts.

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4 4

One-Handed Roll Exercises

The following four exercises are for building and strengthening the One-Handed Roll.Each of these exercises should be practiced at a variety of speeds and heights.

1) The eight notes in this exercise are used to put 1 mallet in motion and then add additional "toggles"between the opposite mallet.

2) Remember to stay relaxed during this exercise, at no time should you feel tension.

Right Hand Outside Mallet Lead

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Right Hand Inside Mallet Lead

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Left Hand Outside Mallet Lead

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Cadets 2013 Front Ensemble4-Mallet Audition Material 11


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Double Lateral Breakdown (Ancona-Style)

The Double Lateral Stroke is a combination of a Double Vertical, followed rapidly by a rotating Single Independent Stroke.This exercise breaks down those two motions, beginning with the vertical, then adding the rotary motion. 1) Be sure to practice this exercise from the "UP" position and make sure each mallet is striking from the same height.

2) Strive for an even sound and don't go too fast.

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Repeat 1x, 2x, 4x, 8x, ect.

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Double Lateral Chorale

Slow to...

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Roll Speed:

Adagio

This exercise puts to work the skills we learned in the "Double Lateral Breakdown."1) Be sure to create a consistent sustained sound between both hands.2) Pay special attention to the roll speed indications.

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Medium to...

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Slow to...

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Medium to...

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Fast to...

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Medium to...

Very Slow

Cadets 2013 Front Ensemble4-Mallet Audition Material

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Vibraphone 1&4(Back row)

Vibraphone 2&3(Front Row)

Glockenspiel

(C-F)

Perc 1(Drumset)

Timpani

Perc 2

Marimba 1-4

Synthesizer 2

Xylosynth

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O Holy Name O Tannenbaum) 2013

CPit 2013

Score Iain Moyer


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The 2013 Cadets Front Ensemble2 and 4 Mallet Technique Guidelines

Compiled by the Cadets Front Ensemble Staff2 Mallets :

The Cadets Front Ensemble employs a front fulcrum approach to all 2-malletpassagework.

Grip Guidelines:1)

A Fulcrum should be formed between first knuckle of index finger andpad of the thumb. NEVER in the second knuckle of the index finger.

2)

Wrap your fingers around the stick naturally3)

The back of the hand should be parallel to the ceiling when in thedown positionthere is a SLIGHT angle to the back of the hand, butnot much.

4) There should be no space between the thumb and index finger.5) We do not utilize a back fulcrum technique.

Starting Position1)

The Cadets 2 Mallet Starting Position is UP.2)

The general starting height is 12 off the keyboard.3) You will start and SET your mallets at other heights depending on the

dynamic.4) A prep stroke will be required for any height higher than 12.

Stroke Guidelines:1) The path of the stroke is straight up and down.2)

The speed of the stroke going down and coming up is the SAME.3)

The wrist is employed in EVERY STROKE WE PLAY, regardless ifthe fingers and arms are ALSO involved.

4)

Movement around the instrument:a)

The wrist is responsible for the vertical motionb)

The arm is responsible for the horizontal (across the keyboard)and lateral (to the accidentals) motion.

CPit Heights System:The 2013 Cadets height system will be based on inches:

ff= 15 inches (full stroke)f= 12 inches (3/4 stroke)mf= 9 inches (half stroke)mp= 6 inches (quarter stroke)

p= 3 inches

fff= 15 inch wrist stroke, plus arm movement (18)ffff= 15 inch wrist stroke, plus extreme arm movement (20)

Posture for 2 and 4-mallet passagework:To begin, stand with your feet shoulder-width apart. Your torso should beupright and your shoulders back. We do not wish for you to hunch overin any way. There should be an imaginary straight line drawn from yourankles to you shoulder blades. The only disruption of this straight lineoccurs to allow your head to look downward towards the instrument.


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4 Mallets : The Cadets Front Ensemble employs the Stevens Technique for all 4-malletpassagework, regardless of instrument.

Stevens Grip Guidelines:1) The thumbnail should be parallel to the ceiling. The only exception

being when one is playing smaller intervals (2nd, 3rd), it is appropriatefor the thumbnail to be turned in slightly.

2) For intervals of a 4th, 5th, or 6th: Your index fingers should be pointingat each other (Left Hand=East and Right Hand=West). This should beyour general playing position.

3)

For intervals of a 2ndor 3rd: Both index fingers will face South.4)

For intervals of a 7thor an octave, you will roll the mallet out on yourindex finger, so that your Left Index Finger is pointing Northeastand your Right Index Finger is pointing Northwest.

5) The octave grip is employed for notes of a major 7thor greater. Theoctave grip is achieved by moving the bottom of the inside mallet fromthe center of the palm of your hand (which is the position utilized forintervals of a 4th, 5th, 6th) towards the webbing between the middleand ring finger. Generally, the base of the mallet will not enter thewebbing, but stop just shy of this area. This is not optionaltheonly effective way to perform octaves consistently and with

exceptional technique is to utilize this grip

6) The bottom of your hands should never sit below the plane of thenatural notes.

Starting Position:1)

The Cadets 4 Mallet Starting Position is DOWN, approximately 3inches from the keyboard.

2) This starting position requires a prep stroke for any height higher

than 3 inches.The Three Elbow Positions:

1)

Square to the body: This position occurs when both mallets in yourhand are both on natural notes, or both on accidentals. Your elbowshould be naturally in line with your shoulders, about two to threeinches from touching your rib cage.

2) Elbows out:

This position occurs when your outside mallet is on anaccidental and your inside mallet is on a natural. Your elbow should

be extended out away from your body. Your wrist should remainstraight.

3) Elbows in: This position occurs when your inside mallet is on an

accidental and your outside mallet is on a natural. Your elbow shouldbe touching your rib cage. Your wrist may also need to be bentinward.


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Stroke Guidelines:1) Double Verticals: This stroke should be performed with a relaxed

wrist pop. A wrist pop is achieved by the top of the wrist movingupward when the mallet heads descend down to the instrument, andthe top of the wrist moving downward when the mallets heads ascend

back to the UP position. This wrist pop will be quite noticeable a

slower tempos, but will start to turn into a fluid wrist motion at fastertempos.

2) Single Independent: The mallet NOT hitting the keyboard shouldbe rotating in a tight, circular motion to allow the mallet that IShitting the keyboard to travel to and from the bar.

1. When striking the instrument with the INSIDE mallet, theoutside mallet should be about 3 inches from the keyboardin the DOWNposition.

2.

When striking the instrument with the OUTSIDE mallets,the inside mallet should be in the UP position.

3)

Single Alternating: Each mallet should rebound back to thestarting position. An image to think about while performing thisstroke would be the motion of dribbling two basketballs in analternating fashion, one in each hand. If you are doing this strokeINCORRECTLY, the stroke would resemble a see-saw motion.

4)

Double Laterals: The double lateral is a combination of a verticalmotion and a rotary motion. The stroke begins with a vertical descentfrom the mallet performing the first note, and is followed immediately

by a rotation towards the mallet performing the second note. Thecombination of these two movements results in a singular swift andefficient stroke, causing two notes to sound from one fluid motion.

1.

This combined motion is almost like scooping ice cream.2.

The Cadets Double Lateral ROLL sticking is 4,3,1,2.a.

This requires the motion to always begin on theoutside mallet.

5) One-Handed Roll: A one-handed roll is a rapid toggling betweentwo pitches in one hand, which is intended to impart the illusion of asustained sound with one hand, leaving the other hand free to playother rhythms and melodies. A visual image of to think about of thistoggling would be that of an extremely rapid and continuous see-sawmotion between the malletheads. This is the OPPOSITE of the single-

alternating motion.Bar Placement for Two and Four Mallets

2013 CPit Philosophy:The center of the bar, on naturals and accidentals is the desiredlocation to hit ALL notes. The letter E will be given for instanceswhen the performers should play on the edge of the bar. If anaccidental is written and there is no indication that it should beplayed on the edge (E).PLAY IT IN THE CENTER.


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The Cadets 2013 Front EnsembleTimpani Technique Guidelines

Compiled by the Cadets Front Ensemble Staff

Getting Started:1)

Have the heads been cleared?2)

Have the gauges been calibrated?3)

Can your feet comfortably reach each pedal?4) Can you comfortably play each drum in the correct playing spot? (See

below for specifics)

The Set-up:1)

A Fulcrum should be formed between thumb and first knuckle ofindex finger

2) Wrap the fingers around the stick naturally, exacting like a drum

stick or keyboard mallet3) The players thumbnail should be parallel to the ceiling4)

The mallets should be parallel to one another5)

When one mallet is striking the drum the playing spot is in the centerof the drum on the side closest to the player,

6)

When two mallets are playing on a single drum, the playing spot isover the two center lugs. Generally, this position is between 4 and 6apart.

The Stroke:1)

Start in the U position, set at the dynamic of the first note2)

The path of the stroke is straight up and down; no slices!3) The wrist stroke is produced by a rotary motion from the wrist AND

forearm.4)

The wrist is employed in EVERY STROKE WE PLAY, regardless ifthe fingers and arms are also involved.

5)

Use solely the Wrist for mp-f material.6) Use arm (from elbow only!) for ff-fffmaterial .7)

Use the fingers for soft rolls and strokes,ppp to mp.

Playing Spot:1)

Strike the 29 and 26 approximately 4 away from the rim2) Strike the 32 approximately 6 away from the rim3)

Strike the 23 and 20 approximately 2 to 3 away from the rim

Timpani Rolls:1)

Lower drums = slower roll speeds2) Higher drums = faster roll speeds3)

Make rolls between drums as fluid as possible by leading with thecorrect hand, for example:

a. When rolling from a lower drum to a higher drum, the firstnote played on the higher drum should be played by theRIGHT HAND


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b.

When rolling from a higher drum to a lower drum, the firstnote played on the lower drum should be played by the LEFTHAND

4) fp rolls: Strike the drum at a loud dynamic, wait for a second, thenenter with the roll at the dynamic the sound has decayed too.

Cross-overs:1)

When possible, always alternate strokes2)

When crossing, cross arm over arm, or wrist over wrist. Keeptechnique consistent.

Tuning:1) Always tune from bottom up, scoop up to the note to find the desired

pitch2) Learning intervals are key to a good ear!!

2013 cadets audition packet - front ensemble.pdf

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