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!FRONT!ENSEMBLE!
Handbook!!
!Thank!you!for!your!interest!in!STRYKE!Percussion’s!front!ensemble!!!Our!objective!is!to!educate!youth!about!music!and!to!pursue!a!high!level!of!musical!performance.!!In!the!following!pages!you!will!find!information!that!will!prepare!you!for!audition!camps!as!well!as!throughout!the!winter!season.!!!!Audition!Information!!Auditions!can!be!busy!and!slow!at!first;!please!be!patient.!!We!will!do!our!best!to!help!you!learn!as!much!as!possible.!!Likewise,!in!order!for!rehearsals!to!run!smoothly,!you’ll!need!to!prepare!all!of!the!exercises!with!their!variations!and!be!able!to!play!them!in!various!tempos.!!Also,!be!open!to!change.!!Our!approach!is!not!the!only!one,!just!the!one!that!works!well!for!us.!!We!are!not!attempting!to!change!the!way!you!play!in!your!band!or!ensemble,!but!if!you!want!to!be!part!of!this!ensemble,!you!have!to!adapt!to!our!technique!and!style!of!playing.!!Prepare!a!solo!or!an!excerpt:!!We!ask!that!you!prepare!a!short!section!of!a!solo!on!your!choice!of!instrument!(marimba,!vibraphone,!percussion).!!Pick!a!solo!that!will!demonstrate!what!you!are!capable!of!and!hopefully!not!something!that!is!beneath!your!abilities!and!yet!obviously!not!something!you!can’t!handle.!!It!is!in!your!best!interest!to!play!a!solo!that!you!have!been!working!on!or!have!worked!on!before.!!Know!that!we!look!for!more!than!your!ability!in!your!solo,!but!also!your!performance!as!a!mature!musician.!!At!the!end!of!Auditions,!each!player!will!receive!individual!feedback!from!one!of!the!techs!and!we!will!discuss!how!to!better!prepare!you!for!upcoming/continuing!Auditions.!!Practice!sightBreading:!!Be!prepared!to!sightRread.!!Throughout!the!season!the!front!ensemble!will!be!getting!several!exercises,!etudes,!and!of!course,!show!music!including!possible!rewrites!and!edits!to!the!show.!!In!order!for!things!to!run!smoothly!and!quickly!you!must!have!a!good!understanding!of!sightRreading.!!A!good!tip!is!to!practice!reading!new!music!every!day.!!Begin!with!easy!music!that!you!can!read!while!playing!at!a!slow!to!moderate!tempo.!!Then!change!the!level!of!music!difficulty.!!SightRreading!music!is!the!same!as!reading!a!book!out!loud;!the!more!you!read!the!easier!it!becomes.!!Learn!your!key!signatures:!!Know!all!12!major!and!minor!key!signatures.!!This!is!a!must!for!all!musicians!!!This!will!make!it!easier!to!sightRread!and!more!comfortable!for!you!to!play!on!your!instrument.!!The!best!way!to!learn!your!key!signature!is!to!understand!the!circle!of!fourths!and/or!fifths.!!During!the!season!we!will!further!educate!you!with!key!signatures!and!scale!modes.!!Practice!with!a!metronome:!!A!key!element!to!successful!rehearsing!in!the!ensemble!is!the!use!of!a!metronome.!!In!order!for!the!ensemble!to!develop!a!consistent!sense!of!time!and!rhythmic!interpretation,!every!member!of!the!ensemble!must!be!familiar!with!this!device.!!You!should!spend!some!time!practicing!without!a!metronome,!but!most!of!your!time!should!be!spent!using!one.!!Don’t!teach!yourself!to!play!something!the!wrong!way!by!not!using!a!metronome.!!Also,!use!the!metronome!as!a!tool;!do!not!use!it!as!a!crutch.!!An!obvious!sign!of!a!good!player!is!someone!who!can!keep!good!timing!with!or!without!the!metronome.!!!Confidence!is!important:!!Other!people!may!be!better!at!reading!or!memorizing.!!Everyone!has!our!strengths!and!weaknesses.!!Show!us!your!strength!and!we!will!help!with!your!weakness;!this!is!part!of!the!educational!process!we!believe!in.!!Try!to!stay!relaxed,!learn!and!more!importantly,!have!fun.!!Please!feel!free!to!ask!any!questions.!
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!Ensemble!and!Rehearsal!Expectations!!Attendance!and!punctuality!is!crucial!!!Our!ensembles!rehearse!nearly!every!weekend!throughout!the!winter!and!spring.!!Any!conflicts!need!to!be!worked!out!with!the!staff!immediately.!!As!a!general!rule,!members!are!expected!to!arrive!to!rehearsals!and!performances!thirty!minutes!prior!to!rehearsal!call!time.!!This!will!allow!comfortable!time!to!setup!and!stretch.!!Every!effort!must!be!made!to!maximize!the!amount!of!quality!rehearsal!time!we!have.!!As!a!result,!the!rehearsal!environment!must!be!completely!free!of!inappropriate!noise,!talking!or!disruptive!behavior!including!cell!phones.!!Always!come!prepared!and!ready!to!learn!every!weekend.!!Furthermore,!always!have!a!three!ring!binder!with!plastic!sleeves!to!hold!this!packet,!exercises,!etudes!and!show!music.!!Our!work!ethic!is!absolutely!vital!to!our!success.!!!Conduct:!!The!front!ensemble!will!be!treated!as!a!professional!percussion!ensemble.!!In!turn,!you!will!act!as!a!professional!would.!!In!order!to!do!so,!every!effort!must!be!taken!to!ensure!that!all!aspects!(including!maintenance!of!our!instruments)!present!the!highest!level!of!musicianship!and!maturity.!!Any!public!performance,!regardless!of!length!or!scope,!will!be!approached!with!complete!and!total!professionalism.!!As!a!front!ensemble!member!you!will!be!expected!to!be!alert,!focused!and!on!task!at!all!times;!this!includes!but!is!not!limited!to!R!truck!duty,!warming!up!or!show!performance.!!Remember,!someone!is!always!watching.!!Assume!that!every!impression!is!the!first!and!most!lasting.!!Equipment!maintenance:!!The!instruments!are!to!be!treated!with!the!utmost!excellent!care!at!all!times.!!Nothing!is!ever!to!be!placed!on!top!of!the!keyboards!or!instruments!for!any!reason!with!the!exception!of!mallets,!sticks!and!of!course!the!instrument!covers.!!Instruments!are!to!be!covered!at!all!times!when!they!are!not!being!played.!!Sticks,!mallets!and!covers!are!never!to!be!placed!on!the!ground/floor.!!No!one!outside!of!the!front!ensemble!membership!is!to!play!any!front!ensemble!instrument!at!any!time!without!the!permission!from!the!Director,!an!instructor!or!the!front!ensemble!section!leader.!!Every!time!an!instrument!is!moved!all!screws!and!moving!parts!must!be!checked/tightened!before!and!after!it!is!moved.!!Parts!and!pieces!can!easily!be!lost!if!this!isn’t!done.!! !Truck!duty:!!Loading!and!unloading!the!equipment!truck!is!something!that!develops!into!a!routine!over!the!course!of!the!season.!!Depending!on!the!number!of!veterans!in!the!group,!this!may!or!may!not!take!a!lot!of!time.!!Jobs!will!be!assigned;!speed!and!care!will!be!crucially!important!in!the!care!of!the!front!ensemble!instruments.!!Instruments!must!be!loaded!onto!the!truck!attentively!and!carefully!with!consideration!to!the!endurance!of!many!hours!of!highway!speeds!on!rough!roads.!!The!truck!must!be!unloaded!with!efficiency!and!organization.!!All!instruments!are!to!be!lined!up!neatly!such!that!we!look!good!even!when!nothing!has!been!put!together!yet.!!This!goes!all!the!way!down!to!folding!instrument!covers!and!stacking!them!neatly.!!!Care!for!your!health:!!At!no!time!should!anyone!play!while!hurt!without!us!knowing!about!it.!!If!you!suspect!a!physical!problem!due!to!your!playing,!you!must!inform!us!immediately.!!We!will!do!whatever!we!can!to!assist!you!in!your!care.!!If!not,!please!understand!that!we!need!to!avoid!creating!any!lasting!injuries!such!as!tendonitis.!!If!you!are!in!rehearsal,!you!are!100%!R!PERIOD!!!If!you!need!to!be!out,!that’s!fine,!just!never!rehearse!if!you!aren’t!going!to!do!so!with!100%!of!your!commitment!in!mind.!!Take!care!of!the!problem,!and!then!get!back!in.!!Care!for!the!group:!!There!are!many!parts!of!this!activity!that!go!way!beyond!playing!and!marching.!!Far!more!important!is!how!well!you!work!with!the!group,!how!well!you!interact!with!others!from!different!backgrounds,!different!ability!levels,!different!ages!and!of!course,!different!experience!levels.!!We!are!all!in!this!together!and!we!all!have!to!take!care!of!each!other!no!matter!what.!!Part!of!your!audition!will!include!your!capability!to!become!part!of!the!group!and!bring!others!into!the!group.!!Even!though!you!are!in!competition!with!each!other!for!spots!in!the!ensemble,!you!should!still!help!each!other!become!great!!!!
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!Stretching!!!In!order!to!play!to!our!full!potential!with!out!hurting!our!muscles!and/or!joints,!we!must!set!time!to!stretch!properly.!!In!our!profession,!our!wrists!and!hands!are!going!to!be!overworked!on!a!daily!to!weekly!basis.!!To!avoid!symptoms!of!Carpal!Tunnel!Syndrome,!Tendonitis!and/or!Repetitive!Stress!Injury!proper!stretching!for!the!hands,!arms!and!shoulders!can!and!will!help.!!The!following!stretches!were!designed!by!Michelle!Hill,!OTR/L,!a!certified!occupational!therapist!in!Nashville,!TN.!!Do!these!moves!before!and!after!your!practice!sessions!but!more!importantly,!before!you!pick!up!a!stick!or!mallet!and!begin!playing.!!You!should!never!feel!pain!when!doing!these!exercises,!just!a!gentle!stretch.!!1.!!Shoulder!and!hand!stretch:!!Lace!your!fingers!together!and!turn!your!palms!away!from!your!body!as!you!extend!your!arms!forward!at!chest!level,!keeping!your!shoulders!back!and!down.!!Hold!for!10!seconds,!then!lower!your!arms!to!your!sides!and!repeat!5!times.!Stretches(the(shoulders,(forearms(and!fingers.!!2.!!Overhead!stretch:!!Lace!your!fingers!together!and!turn!your!palms!away!from!your!body,!then!extend!your!arms!overhead,!allowing!your!elbows!to!bend!slightly.!!Hold!for!10!seconds,!then!lower!your!arms!and!repeat!5!times.!!Stretches(the(upper(torso,!shoulders(and(fingers.!!3.!!Arm!stretch:!!Hold!your!right!arm!straight!out!in!front!of!you!and!bring!it!across!your!chest!toward!your!left!shoulder.!!With!your!left!hand,!grab!behind!your!right!elbow!and!stretch!your!arm!across!your!chest.!!Hold!for!10!seconds,!lower!your!arms,!and!repeat!on!the!opposite!side.!!Repeat!5!times.!Stretches(the!back(of(the(arms(and(shoulders.!!4.!!Wrist!warmBup:!!Sit!with!your!arms!at!your!sides!and!your!elbows!bent!to!90!degrees.!!Without!moving!your!upper!arms,!turn!your!hands!so!your!palms!face!upward!toward!the!ceiling,!then!downward,!toward!the!floor.!!Repeat!5!times.!!Gently(warms(up(the!wrists(and(forearms.!!5.!!Advanced!wrist!warmBup:!!Extend!your!arms!in!front!of!you,!turn!your!hands!so!your!palms!face!the!ceiling,!turning!your!elbows!as!far!as!they!can!go,!then!in!the!opposite!direction,!so!that!your!palms!are!facing!opposing!walls.!!Stretches(the(wrists,!elbows,(forearms(and(shoulders.!!6.!!Wrist!stretch:!!Extend!your!right!arm!in!front!of!you!and!bend!your!wrist!back.!!With!your!left!hand,!reach!across!and!grab!the!tips!of!your!fingers!on!your!right!hand.!!Gently!pull!the!fingers!back!toward!your!body.!!Hold!for!10!seconds,!lower!your!arms!and!repeat!on!the!opposite!side.!!Repeat!5!times.!Stretches(the(wrists,(forearms(and(fingers.!!7.!!Hand!warmBup:!!Raise!your!arms!to!chest!level,!elbows!slightly!bent.!!Make!a!fist!with!both!hands,!and!then!extend!your!fingers,!spreading!them!out!and!apart!without!strain.!!Gently(warms(up(the(hands!and(fingers.!!!!!!!
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Keyboards!!Posture:!!The!way!we!stand!is!extremely!important.!!Not!only!does!it!set!us!up!for!success!as!players,!but!it!also!shows!a!sense!of!maturity!to!the!viewer!or!listener.!!Stand!with!your!feet!shoulder!width!apart.!!Your!torso!should!be!upright;!not!hunching!over!the!instrument.!!While!you!want!a!“big!look”!to!your!posture,!make!sure!not!to!tense!up!your!legs!or!shoulders.!!The!space!between!your!body!and!the!instrument!changes!with!any!given!phrase!and/or!exercise.!!You!should!generally!try!to!stand!where!both!manuals!are!easily!reachable.!!You!will!have!to!shift!your!body!weight!forward,!backward!and!sometimes!even!sideways.!!Usually!you!should!stand!with!one!foot!slightly!more!forward!than!the!other!giving!you!better!balance!as!you!shift!or!lean!while!playing.!!Vibraphones:((your(right(toe(will(be(on(the(pedal.((Your(right(foot(heel(will(provide(balance(while(your(left(foot(moves(behind(the(keyboard.(!Mallet!placement:!!Whenever!possible!we!try!to!play!every!note!directly!over!the!resonators!and!in!the!center!of!the!bar.!!This!again!is!something!that!has!worked!for!us.!!We!believe!it!creates!the!best!tone!and!projects!the!most!sound!making!it!ideal!for!us!in!the!indoor!activity.!!However,!we!also!know!that!playing!in!the!center!isn’t!always!possible.!!When!situations!come!up!when!you!can’t!play!in!the!center!(this!should!only!be!for!accidentals)!then!we!can!play!on!the!edge.!!When!striking!a!note!on!the!edge,!go!all!the!way!to!the!edge.!!The!mallet!should!literally!be!half!on!and!half!off!the!bar.!!Use!your!ears!and!try!to!match!the!sound!of!the!edge!as!close!as!you!can!to!the!sound!of!the!center.!!TwoBMallet!Technique!(NOTE:!we!will!be!using!is!the!“rear!fulcrum”!grip)!!!Grip:!!Mainly!the!back!two!fingers!hold!the!mallet.!!With!about!1!½!R!2!inches!sticking!out!from!the!back!of!the!hand,!warp!your!two!rear!fingers!around!the!shaft!of!the!mallet.!!Then!lightly!place!the!other!three!fingers!on!the!shaft!keeping!the!index!finger!slightly!extended.!!The!two!rear!fingers!are!there!to!hold!onto!the!mallet,!as!the!index!and!thumb!are!there!to!guide!the!mallet.!!There!should!never!be!any!tension!on!the!grip.!!To!create!the!correct!angle,!stand!with!your!arms!relaxed!to!your!sides.!!Then,!lift!them!to!the!instrument.!!Your!palms!should!never!be!flat!palms!down,!but!rather!turned!inward!at!a!slight!angle.!!The!wrist!and!arms!should!always!form!a!natural!angle!that!puts!no!stress!on!the!wrist!joint.!!Stroke:!!The!motion!is!initiated!with!the!head!of!the!mallet.!!Start!at!about!½!inch!above!the!bar;!lift!the!mallet!head!by!using!the!wrist!and!then!the!forearm!in!one!seamless!motion.!!At!the!top!of!the!stroke!the!mallet!is!brought!down!by!the!weight!of!the!rear!fingers!in!the!back!of!the!hand.!!As!the!mallet!head!comes!down,!the!wrist!turns!to!accelerate!the!mallet!head!into!the!bar.!!After!contact!with!the!bar,!the!looseness!in!the!front!of!the!hand!allows!the!mallet!to!rebound.!!Even!here,!the!mallet!head!lead!is!followed!by!the!wrist!and!arm.!!At!a!normal!moderate!tempo,!the!stroke!is!90%!wrist!motion!and!10%!arm!motion.!!As!the!tempo!increases,!the!stroke!becomes!more!wrist!oriented!and!the!mallet!height!becomes!lower!to!the!bar.!!At!a!slower!tempo,!the!stroke!becomes!more!arms!oriented!and!the!mallet!height!becomes!higher!off!the!bar.!!Always!rebound,!even!through!the!last!note!of!an!exercise.!!Rebound:!!Never!do!anything!to!inhibit!the!free!rebounding!of!the!mallet.!!Remember!to!allow!the!mallet!to!come!back!up!after!striking!the!bar.!!Adjust!the!speed!of!the!rebound!to!the!speed!of!the!playing.!!Furthermore,!never!finish!an!exercise!with!your!mallets!down!near!the!bar.!!Piston!Stroke:!!This!stroke!will!mainly!be!used!for!practice!proposes!to!build!wrist!and!muscle!strength.!!The!general!idea!is!that!you!perform!each!stroke!in!a!quick!motion!and!end!back!where!you!started.!!This!is!all!from!the!wrist.!!There!is!no!preparation!and!lift;!perform!a!stroke!by!performing!a!fast!stroke!straight!down!into!the!bar!and!bring!the!mallet!right!back!to!the!same!position.!!Be!careful!not!to!tighten!the!wrist!with!a!quick,!sharp!motion,!but!still!remain!relaxed!in!nature.!!!
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Four!Mallet!Technique!(NOTE:!we!will!be!using!the!standard!Musser/Stevens!grip)!!!Grip:!!Open!your!palm!and!find!your!lifeline!that!curves!around!the!base!of!the!thumb.!!Place!the!tip!of!the!mallet!on!the!lifeline!close!to!the!center!of!your!palm.!!Now!make!a!hand!shaking!position!with!your!hand!and!curve!your!fingers!so!they!point!to!the!left.!!Keep!the!mallet!in!contact!with!the!lifeline!and!rotate!the!mallet!so!it!rests!on!the!1st!crease!of!your!index!finger.!!Let!go!of!the!mallet.!!It!should!balance!itself!on!the!index!finger!with!the!tip!resting!under!the!base!of!the!thumb.!!Now!take!your!thumb!and!simply!rest!it!on!top!of!your!index!finger,!over!the!1st!crease!where!the!mallet!is.!!This!creates!the!fulcrum.!!Now!take!your!middle!finger!and!bend!it!into!the!palm!so!it!makes!contact!with!the!mallet!tip.!!This!keeps!the!mallet!in!constant!contact!with!the!palm.!!Keeping!the!inside!mallet!in!place,!bring!another!mallet!over!the!top!of!your!hand!and!place!it!in!between!your!middle!and!ring!fingers!keeping!about!3!inches!of!the!mallet!sticking!out.!!Wrap!your!ring!and!pinky!fingers!around!the!shaft!and!take!control!of!the!outside!mallet.!!Finally,!slide!the!mallet!up!so!that!there!is!only!about!an!inch!sticking!out!of!the!pinky.!!Be!sure!at!this!point!to!make!sure!you!have!the!correct!wrist!position.!!Your!thumb!should!face!the!ceiling!or!sky!at!all!times!and!you!should!be!holding!a!comfortable!interval!like!a!4th!or!5th.!!At!this!point!make!sure!to!go!back!through!the!steps!and!make!sure!you!are!doing!everything!correctly.!!Stroke:!!Each!stroke!should!be!relaxed!in!nature.!!The!wrist!is!the!primary!force!for!creating!each!stroke!using!the!weight!of!the!mallets!yet!allowing!the!mallets!to!rebound!off!the!keyboard.!!The!piston!stroke,!as!discussed!before!in!two!mallet!technique,!is!used!with!the!fourRmallet!technique.!!The!mallets!start!at!an!even!height!about!9"!above!the!keys.!!The!wrist!is!low!to!the!keyboard!and!you!bend!from!the!wrist!to!create!the!height;!do!not!rise!from!the!elbows!or!shoulders.!!We!will!wait!to!discuss!about!a!more!legato!stroke!until!after!we!have!solidify!a!good!execution!and!understanding!of!the!piston!stroke.!!In!time!we!will!add!more!arm!into!the!stroke,!but!for!now!let’s!understand!the!stroke!is!completed!with!all!wrist.!!!Double!Vertical!Strokes:!!This!is!where!both!mallets!in!one!hand!play!at!the!same!time!using!a!“wrist”!motion.!!In!order!to!check!to!see!that!you!are!turning!your!wrist!correctly,!you!should!see!your!wrist!"pop"!up!as!the!mallets!strike!the!bars.!!This!wrist!pop!should!not!be!exaggerated;!it!is!a!natural!result!of!performing!the!stroke!correctly!with!the!wrist.!!The!mallets!should!travel!straight!up!and!down!without!any!side!to!side!motion.!!Make!sure!to!keep!your!fingers!relaxed!!!Single!Independent!Strokes:!!We!will!primarily!be!using!this!stroke!type!for!mallets!2!and!3!(the!inside!mallets).!!The!set!position!will!be!the!same!as!in!the!Double!Vertical!Strokes.!!The!playing!position!will!be!achieved!by!rotating!the!"active"!around!the!unused!mallet!(i.e.!R!mallet!3!will!rotate!around!mallet!4).!!In!order!to!develop!independence,!in!this!case!with!the!inside!mallets,!it!is!important!to!keep!the!outer!mallets!as!still!as!possible.!!The!outer!will!be!defined!as!being!half!the!height!of!the!playing!position.!!In!order!to!achieve!this,!do!not!use!any!tension!!!Relaxed!fingers!act!as!shock!absorbers.!!Tension!will!cause!the!outer!mallets!to!twitch!vertically!and/or!horizontally.!!Make!sure!that!you!keep!your!index!finger!and!thumb!firm,!but!relaxed.!!This!will!help!to!keep!control!of!the!inside!mallets.!!Single!Alternating!Strokes:!!This!stroke!type!is!related!with!the!Single!Independent!Stroke!but!without!concern!for!motion!in!the!other!mallet.!!The!set!position!and!playing!position!are!the!same!as!in!the!Double!Vertical!Stroke.!!As!one!mallet!strikes!the!bar,!the!other!mallet!will!raise!slightly.!!Be!sure!to!not!simply!rotate!the!wrist;!instead,!think!of!the!pivot!point!as!bouncing!from!one!mallet!to!the!next.!!This!will!allow!us!to!control!the!articulation,!rhythm!and!dynamic!of!each!mallet.!!It!is!important!to!note!that!tempo!is!a!major!determining!factor!for!when!a!Single!Alternating!Stroke!turns!into!a!one!handed!roll!motion.!!As!the!tempo!increases!the!ability!to!control!each!mallet!will!decrease!until!the!motion!is!solely!a!rotation!of!the!wrist.!!!!!!
! 6!
Double!Lateral!Strokes:!!This!particular!stroke!should!not!operate!like!the!other!3!stroke!types.!!The!goal!here!is!to!produce!two!strokes!in!one!hand!motion.!!Again,!the!set!position!and!playing!position!are!the!same!as!a!Double!Vertical!Stroke.!!In!the!case!of!the!outside!Double!Lateral!Stroke,!play!as!if!you!were!going!to!perform!a!Single!Independent!Stroke!(the!outside!mallet!will!strike!the!bar!first)!and!then!rotate!your!wrist!counter!clockwise!to!strike!the!bar!with!your!inside!mallet.!!The!motion!of!your!wrist!should!be!similar!to!turning!a!doorknob.!!In!order!to!achieve!a!consistent!sound!from!mallet!to!mallet,!you!will!need!to!use!a!lot!of!"torque"!in!your!wrist.!!Also,!be!sure!to!keep!your!index!finger!and!thumb!firm,!but!relaxed!!!Always!remember…!!Keep!all!fingers!relaxed!at!all!times,!especially!the!index!finger!Do!not!curl!in!your!index!finger!or!bend!your!thumb!Keep!the!hands!low!to!the!instrument!Mallets!stay!above!the!instrument!by!turning!the!wrist!back,!not!by!raising!the!arms!Don’t!“teeterRtotter”;!when!one!mallet!goes!down,!the!other!pops!up!Relaxed!in!grip!and!smooth!in!motion!!!!Rhythm!Section!!Drum!Set:!!Be able to demonstrate the following grooves: rock, swing, funk, and latin (samba, bossa nova, mambo, etc.). Ensemble “AWARENESS” is the most important thing when auditioning for drum set in this ensemble. You must be able to follow the keyboards, hold steady time and show dynamic sensitivity. Be familiar with all of the keyboard exercises as most of them have drum set parts. The parts are a guideline but they should not draw too much attention. For those exercises that do not have parts, be able to apply any style or groove to the chart.!!Synthesizer!(or!Guitar):!!Be!able!to!play!all!12!major!and!natural!minor!scales.!!Prepare!synthesizer!part!in!the!audition!materials!and!do!your!best!to!learn!the!keyboard!part!on!the!others.!!Tempo!control!and!timing!is!very!important!!!Please!prepare!a!short!1!R!2!minute!etude!that!can!showcase!your!range!abilities.!!Bass!Guitar:!!Be!able!to!play!all!12!major!and!natural!minor!scales.!!Prepare!the!bass!parts!in!the!audition!materials!and!be!prepared!to!outline!a!bass!part!in!varying!styles!to!the!exercises!without!a!written!out!bass!part.!!Tempo!control!and!timing!is!very!important!!!Please!prepare!a!short!1!R!2!minute!etude!that!showcases!your!range!abilities.!!Auxiliary!Percussion:!!Also!known!as!the!“rack”!position,!this!percussionist!position!is!one!that!requires!musicality!as!well!as!technique!and!playing!ability.!!Percussionists!should!be!familiar!with!symphonic!techniques!as!well!as!marching!techniques.!!It!is!suggested!to!look!over!the!essential!PAS!40!rudiments.!!We!prefer!that!you!audition!on!all!that!you!feel!comfortable!with!so!that!we!may!get!an!idea!of!what!you!can!play.!!Further!audition!material!will!be!handed!out!at!later!camps,!if!necessary.!!!!!!!
!!!
! 7!
Tips!!Spend!time!playing!the!exercises!on!vibraphone!and!xylophone:!!Less!than!half!of!our!keyboard!players!will!be!on!a!marimba.!!Be!able!to!play!comfortably!on!all!the!keyboard!instruments.!!!Use!the!right!kind!of!mallets:!!We!use!outdoor!mallets,!which!are!much!heavier!than!most!keyboard!mallets.!!In!order!for!your!hands!to!be!strong!enough!for!audition!and!the!season,!you!will!need!to!practice!with!right!kind!of!mallets.!!STRYKE!mainly!uses!the!Multi!Application!series!by!Vic!Firth.!!Floor!exercises:!!The!main!focus!behind!this!is!to!develop!your!technique!by!eliminating!the!mentality!of!playing!the!right!notes.!!This!also!helps!developing!more!solid!timing!by!eliminating!the!resonance!of!the!keyboard!instruments.!!This!idea!follows!the!current!trend!of!making!front!ensembles!“clean.”!!Not!only!rhythmically,!but!visually!as!well.!!Floor!exercise!is!something!that!can!be!done!often!because!it!does!not!require!an!instrument.!!You!can!take!any!exercise!(especially!the!4!mallet!exercises)!and!play!them!on!the!floor.!!It!is!suggested!that!you!use!a!mirror.!!!Tips!on!using!the!metronome!to!develop!good!timing:!!When!practicing!use!more!than!one!tempo,!at!first!try!changing!the!tempo!by!10!R!15!clicks,!then!6!R!7!clicks!and!2!R!3!clicks!thus!increasing!your!sensitivity!to!time.!!By!doing!this!you!are!teaching!yourself!to!feel!the!difference!between!100!and!102!instead!of!100!and!110.....be!creative!!!Set!the!metronome!to!a!comfortable!tempo!and!play!your!favorite!exercise,!then!use!the!pulse/click!not!as!the!downbeat,!but!the!upbeat.!!Maybe!even!using!it!representing!a!subdivision!like!the!“a”!or!the!“e”!of!a!16th!note!based!exercise.!Playing!an!8th!note!based!exercise!with!the!triplet!subdivision!on!is!another!possibility.!!Be!sure!to!rehearse!odd!meters!as!well!such!as!7/8!or!5/8.!!You!will!find!that!the!quarter!note!falls!at!the!beginning!of!the!measure!every!2!bars.!!Teach!yourself!not!to!shy!away!from!the!metronome!when!facing!odd!meters.!!!Recommended!Resources:!!Four!mallets!Method!of!Movement!by!Leigh!Stevens!Simply!Four!by!Gif!Howarth!!Two!mallets!Modern!School!for!Xylophone!Marimba!Vibraphone!by!Morris!Goldenberg!!Drum!set!Groove!Essentials!by!Tommy!Igoe!!Other!great!books!Up!Front!by!Jim!Casella!and!Jim!Ancona!The!Inner!Game!of!Tennis!by!Tim!Gallwey!The!Inner!Game!of!Music!by!Tim!Gallwey!!Website/!Links!Vicfirth.com!Steveweissmusic.com!Gofishmusic.com!Tapspace.com!!Sight!reading!game!http://www.vicfirth.com/education/keyboard/speednotegame.html!
The 4 Strokes
The 4 strokes provide definition to the approach on any marching percussion instrument. They help percussion sections unify heights and dynamics from instrument to instrument. Both the front ensemble and the battery use these 4 strokes. The strokes consist of: The Full Stroke; The Down Stroke; The Tap Stroke; and The Up Stroke.
The Full Stroke:
The Full Stroke should be started in the Up Position. With a relaxed grip, the player should turn his wrist and bring the bead down and strike the playing surface. When turning his wrist the player should allow the arm to move naturally with it, avoiding any tension in the arm. When the bead strikes the head, the player should let the stick rebound back to the up position. The player should make sure never to stop the motion of the stick until it is in the up position. Multiple full strokes will create a Legato motion. 8's is a good exercise to practice the Full Stroke and the Legato motion.
The Down Stroke:
Like the Full Stroke, The Down Stroke should be started in the Up Postition. With a relaxed grip, the player should turn his wrist and bring the bead down and strike the playing surface. When turning his wrist the player should allow the arm to move naturally with it, avoiding any tension in the arm. When the bead strikes the head, the player should do one of two things.
1. Stop the stick in the Down Position.
2. Let the stick rebound to the Tap Height.
The tap height should be 3" unless otherwise stated.
Accent Tap is a good exercise to practice the Down Stroke.
The Tap Stroke:
The Tap Stroke should be started at the Tap Height (usually 3"). With a relaxed grip, the player should turn his wrist and bring the bead down and strike the playing surface. When turning his wrist the player should allow the arm to move naturally with it, avoiding any tension in the arm. When the bead strikes the head, the player should allow the bead to rebound back
to the original tap height. The player should never stop the motion of the stick until it reaches the tap height, creating a Legato Motion. The Tap Stroke is similar to The Full Stroke, just starting and ending in the Tap Height.
The Up Stroke:
Like The Tap Stroke, The Up Stroke should be started at the Tap Height. With a relaxed grip, the player should turn his wrist and bring the bead down and strike the playing surface. When turning his wrist the player should allow the arm to move naturally with it, avoiding any tension in the arm. When the bead strikes the head, the player should allow the bead to rebound to The Up Position. The player may have to physically bring the stick up to The Up Position, but should be relaxed and use as much rebound as possible.
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¢River Hill High SchoolDepartment of Music
© 2012
Check
Variation #1
Variation #2
Variation #3
Variation #4
Variation #5
Variation #6
Variation #7
r l r l r l r r r r l r l r l r r r r l r l r l r l r l r l r r r r r r
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Check
#1
#2
#3
#4
#5
#6
#7
r l r l r l r r r r l r l r l r r r r l r l r l r l r l r l r
5
r l r l r l r r r r l r l r l r r r r l r l r l r l r l r l r
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r l r l r l r r r r l r l r l r r r r l r l r l r l r l r l r
128128128128128128128128
/
Check Pattern Variations - Triple
///////
////////
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¢River Hill High SchoolDepartment of Music
© 2012
Check
Variation #1
Variation #2
Variation #3
Variation #4
Variation #5
Variation #6
Variation #7
r l r l r l r r r r l r l r l r r r r l r l r l r l r l r l r r r r r r
r l r l r l r r r r l r l r l r r r r l r l r l r l r l r l r r r r r r
r l r l r l r r r r l r l r l r r r r l r l r l r l r l r l r r r r r r
r l r l r l r r r r l r l r l r r r r l r l r l r l r l r l r r r r r r
r l r l r l r r r r l r l r l r r r r l r l r l r l r l r l r r r r r r
r l r l r l r r r r l r l r l r r r r l r l r l r l r l r l r r r r r r
r l r l r l r r r r l r l r l r r r r l r l r l r l r l r l r r r r r r
r l r l r l r r r r l r l r l r r r r l r l r l r l r l r l r r r r r r
Check
#1
#2
#3
#4.
#5
#6.
#7
r l r l r l r r r r l r l r l r r r r l r l r l r l r l r l r
5
r l r l r l r r r r l r l r l r r r r l r l r l r l r l r l r
r l r l r l r r r r l r l r l r r r r l r l r l r l r l r l r
r l r l r l r r r r l r l r l r r r r l r l r l r l r l r l r
r l r l r l r r r r l r l r l r r r r l r l r l r l r l r l r
r l r l r l r r r r l r l r l r r r r l r l r l r l r l r l r
r l r l r l r r r r l r l r l r r r r l r l r l r l r l r l r
r l r l r l r r r r l r l r l r r r r l r l r l r l r l r l r
128128128128128128128128
&
Check Pattern Variations - Triple
&&&&&&&
&&&&&&&&
œ œ œ œ œ œ œj ‰ œj ‰ œj ‰ œ œ œ œ œ œ œ
j ‰ œj ‰ œj ‰ œ œ œ œ œ œ œ œ œ œ œ œ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰‰ œ œ ‰ œ œ œ
j ‰ œj ‰ œj ‰ ‰ œ œ ‰ œ œ œj ‰ œj ‰ œj ‰ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰
œj ‰ œj œj ‰ œj œj ‰ œj ‰ œj ‰ œj ‰ œj œj ‰ œ
j œj ‰ œj ‰ œj ‰ œj ‰ œj œj ‰ œj œj ‰ œj œj ‰ œ
j œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰œ œ ‰ œ œ ‰ œ
j ‰ œj ‰ œj ‰ œ œ ‰ œ œ ‰ œj ‰ œj ‰ œj ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰
œj ‰ ‰ œj ‰ ‰ œj ‰ œj ‰ œj ‰ œj ‰ ‰ œj ‰ ‰ œ
j ‰ œj ‰ œj ‰ œj ‰ ‰ œj ‰ ‰ œj ‰ ‰ œj ‰ ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰
‰ œj ‰ ‰ œj ‰ œj ‰ œj ‰ œj ‰ ‰ œj ‰ ‰ œj ‰ œj ‰ œj ‰ œj ‰ ‰ œj ‰ ‰ œj ‰ ‰ œj ‰ ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰‰ ‰ œj ‰ ‰ œj œ
j ‰ œj ‰ œj ‰ ‰ ‰ œj ‰ ‰ œj œj ‰ œj ‰ œj ‰ ‰ ‰ œj ‰ ‰ œj ‰ ‰ œj ‰ ‰ œj œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰
‰ ‰ ‰ ‰ ‰ ‰ œj ‰ œj ‰ œj ‰ ‰ ‰ ‰ ‰ ‰ ‰ œj ‰ œj ‰ œj ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰
œ œ œ œ œ œ œj ‰ œj ‰ œj ‰ œ œ œ œ œ œ œj ‰ œj ‰ œj ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ Œ ™ Œ ™ Œ ™‰ œ œ ‰ œ œ œj ‰ œj ‰ œj ‰ ‰ œ œ ‰ œ œ œj ‰ œj ‰ œj ‰ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ œ ™ Œ ™ Œ ™ Œ ™œj ‰ œj œj ‰ œj œj ‰ œj ‰ œj ‰ œj ‰ œj œj ‰ œj œj ‰ œj ‰ œj ‰ œj ‰ œj œj ‰ œj œj ‰ œj œj ‰ œj œ ™ Œ ™ Œ ™ Œ ™œ œ ‰ œ œ ‰ œj ‰ œj ‰ œj ‰ œ œ ‰ œ œ ‰ œj ‰ œj ‰ œj ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ ™ Œ ™ Œ ™ Œ ™œj ‰ ‰ œj ‰ ‰ œj ‰ œj ‰ œj ‰ œj ‰ ‰ œj ‰ ‰ œj ‰ œj ‰ œj ‰ œj ‰ ‰ œj ‰ ‰ œj ‰ ‰ œj ‰ ‰ œ ™ Œ ™ Œ ™ Œ ™‰ œj ‰ ‰ œj ‰ œj ‰ œj ‰ œj ‰ ‰ œj ‰ ‰ œj ‰ œj ‰ œj ‰ œj ‰ ‰ œj ‰ ‰ œj ‰ ‰ œj ‰ ‰ œj ‰ œ ™ Œ ™ Œ ™ Œ ™‰ ‰ œj ‰ ‰ œj œj ‰ œj ‰ œj ‰ ‰ ‰ œj ‰ ‰ œj œj ‰ œj ‰ œj ‰ ‰ ‰ œj ‰ ‰ œj ‰ ‰ œj ‰ ‰ œj œ ™ Œ ™ Œ ™ Œ ™‰ ‰ ‰ ‰ ‰ ‰ œj ‰ œj ‰ œj ‰ ‰ ‰ ‰ ‰ ‰ ‰ œj ‰ œj ‰ œj ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ œ ™ Œ ™ Œ ™ Œ ™
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Marimba
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Play Each Section 3x's, Except for the last section. Go up in fourths each rep.
Pin-Wheel
Nathan Skinner
&
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&
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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 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœ
œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœ
œ œ œ œ œ œ œ œ œœœœ œœœœœœ œœœœœœ œœœœœœœ œœœœœœ œœœ
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
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Vibraphone
Marimba
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e = 185
Vib.
Mar.
6
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10
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œœœœ#### œœœœ
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œœœœœœœœœœœœJœœœœ ™™™™ œœœœ
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œœœœbbbb œœœœ
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œœ œœ œœJœœ ™™ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœbb œœ œœ œœ œœ œœ
œœœœœœœœœœœœœœœœœœœœœœœœ
œœœœbbbb œœœœ
œœœœœœœœœœœœœœœœ œœœ
œœœœœœœœœœœœœœœœœœœœœ
œœœœ Œ Œ
œœ œœ œœ œœ œœ œœ œœbb œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Œ Œœœ œœ œœ œœ œœ œœ œœbb œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Œ Œ
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Vib.
Mar.
14
Vib.
Mar.
19
Vib.
Mar.
23
&Option B
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œœœœ#### œœœœœœœœœœœœœœœœœœœœ œœœœ
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œœœœ#### œœœœ
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œœœœ#### œœœœ
œœœœJœœœœ ™™™™ œœœœ###
# œœœœœœœœœœœœœœœœœœœœ
œœœœnnnn œœœœ
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œœœœnnnn œœœœ
œœœœœœœœœœœœœœœœ
œ# œ œj œ ™ œ# œ œ œ œ œ œn œn œn œn œn œn œn œn œn œn œn œnœœœnn# œœœnn œœœnn J
œœœnn ™™™ œœœnn# œœœnn œœœnn œœœnn œœœnn œœœnn œœœ### œœœ œœœ œœœ œœœ œœœ œœœnnn œœœn œœœn œœœn œœœn œœœn
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2
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Vib.
Mar.
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Vib.
Mar.
B40
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Vib.
Mar.
45
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Mar.
49
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œ œ œœ 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 ™ œj œj ‰ Œ ™ œj œj ‰ Œ ™ œ# j œ# j ‰ Œ ™ œ# j œ# j ‰ Œ ™ œj œj ‰œ œ œJ ‰ ‰ œJ œ œ œJ ‰ ‰ œJ œ# œ# œ#J ‰ ‰ œJ œ# œ# œ#J ‰ ‰ œJ œ œ œJ ‰ ‰ œJ
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 ™ œj œj ‰ Œ ™ œbJ œb j ‰ Œ ™ œbJ œb j ‰ Œ ™ œnJ œn j ‰œ œ œJ ‰ ‰ œJ œb œb œbJ ‰ ‰ œJ œb œb œbJ ‰ ‰ œJ œn œn œnJ ‰ ‰ œJ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œJœ ™ œ œ œ œ œ œ
Œ ™ œJ œj ‰ Œ ™ œJ œj ‰ Œ ™ œ ™ œ œ œ œ œ œœ œ œJ ‰ ‰ œJ œ œ œJ ‰ ‰ œJ œ œ œ
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Vib.
Mar.
53
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58
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61 128
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œ œ œ œ œ œœ œ œ œ œ œ
œ œ œ œ œ œœb œb œb œb œ œ œb œb œb œb œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œb œb œb œb œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œb œb œb œb œ œ
œb œb œb œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ Œ Œ
œb œb œb œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Œœ Œ Œ
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Mar.
C65
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Vib.
Mar.
67
Vib.
Mar.
69
128
128128
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&
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‰œœ ™™ œ œ ‰œ
œ ™™ œ œ ‰œœ ™™ œ œ ‰œ
œ ™™ œ œ ‰œœ## ™™ œ# œ# ‰œ
œ ™™ œ œ ‰œœ ™™ œ œ ‰œ
œ ™™ œ œ
œœ ™™ œœ ™™ œœ ™™ œœ ™™ œœ## ™™ œœ ™™ œœ ™™ œœ ™™‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ# œ# ‰ œ œ ‰ œ œ ‰ œ œ
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‰œœ ™™ œ œ ‰œ
œ ™™ œ œ ‰œœ ™™ œ œ ‰œ
œ ™™ œ œ ‰œœ ™™ œ œ ‰œ
œ ™™ œ œ ‰œœ ™™ œ œ Œ ™œ
œ ™™
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6
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Vib.
Mar.
71
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Mar.
74
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Vib.
Mar.
76
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‰œœ ™™œ œ ‰œ
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œ ™™œ œ ‰œœ ™™œ œ ‰œ
œ ™™œ œ ‰œœbb ™™ œb œb ‰œ
œ ™™œ œ ‰œœ ™™œ œ ‰œ
œ ™™œ œ
œœ ™™ œœ ™™ œœ ™™ œœ ™™ œœ ™™ œœ ™™ œœ ™™ œœ ™™ œœbb ™™ œœ ™™ œœ ™™ œœ ™™‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œb œb ‰ œ œ ‰ œ œ ‰ œ œ
‰œœ ™™ œ œ ‰œ
œ ™™ œ œ ‰œœ ™™ œ œ ‰œ
œ ™™ œ œ ‰œœbb ™™ œb œb ‰œ
œ ™™ œ œ ‰œœ ™™ œ œ ‰œ
œ ™™ œ œ
œœ ™™ œœ ™™ œœ ™™ œœ ™™ œœbb ™™ œœ ™™ œœ ™™ œœ ™™‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œb œb ‰ œ œ ‰ œ œ ‰ œ œ
‰œœ ™™ œ œ ‰œ
œ ™™ œ œ ‰œœ ™™ œ œ ‰œ
œ ™™ œœ ™™ Œ ™ Œ ™ Œ ™œ œ
œœ ™™ œœ ™™ œœ ™™ œœ ™™ œœ ™™ Œ ™ Œ ™ Œ ™‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ
7
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Vib.
Mar.
D
78
D
Vib.
Mar.
80
Vib.
Mar.
82
&2nd time: Octave off the left, 8th notes off the right hand.
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&
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‰œœ ™™œ œ ‰œ
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Copyright © 2011 Vibed Publishing Co.
Marimba
Vibraphone
Synth
Bass Synth
Drum Set
ff
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Lateral ThoughtL.T.
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