YOU CAN
DO THIS
2 0 1 3 A U D I T I O N PA PA C K E T
Hello, and thank you for your interest in the 2013 Cadets Front Ensemble. First and foremost, the Front Ensemble Staff is honored that you have chosen to audition at The Cadets for the 2013 season. We are very excited to meet you and begin working with you during the November and December audition camps. This packet is designed to inform you of the techniques we utilize in our ensemble and the qualities we look for in our members. Hopefully, it will give you all the infomation you need to audition for the 2013 CPit! At The Cadets, the audition weekends will consist of two types of evaluation of your playing ability, mental focus, and attitude: 1.) The group setting: We will rehearse exercises and music as an ensemble while evaluating individual skills. During this phase of auditions, it is important to see how you react to instruction and how well you play together with other members. 2.) Individual Audition: Each performer (returning or new) will receive an opportunity 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 point during the weekend. Although, EVERYONE gets nervous for auditions, we would 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 prepare yourself for this experience by running down your solo and exercises in a mock audition setting. Beyond the playing, we will also sit down and speak with each member about their previous playing experiences and their current percussive situation (college, high school, indoor, etc.)
A Good Attitude- We are looking for much more than just great playing ability and previous 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 “team” concept and are able to effectively receive instruction from the admin, staff, and section leaders 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 this in 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 Firth mallets. If you wish to perform your solo with mallets other then ours, we encourage you to bring them.
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 bar placement 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 Ensemble’s “style of playing”. NOT included in the Audition Packet: 4. Marimba/Vibe/Xylo: Please prepare a SHORT (1 to 2 minute) excerpt of a marimba, 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 excited for 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, please don’t hesitate to contact me at
[email protected] Dr. Iain Moyer The Cadets Front Ensemble Arranger
2013 Cadets 2-Mallet Audition Material
2
9
Mlts.
9
Timp. 26 23 20
29 2
9
Pno.
13
Mlts.
13
Timp. 29 26 23 13
Pno.
26 23 32
29
2013 Cadets 2-Mallet Audition Material
I.H.O.P. is a fundamental "Kraus" Scale style exercise which utilize many of the rhythmic patterns 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 sp an the largest distance on the keyboard.
q= 140-180 19
Mlts. R
R
R
R
R
R
R
R
R
L
R
L
19
Timp. 23 19
Pno.
21
C 1st Ending
Mlts. R L 21
R L
1st Ending
Timp. 23 21
Pno.
29
1st Ending
3
q= 140-180
2013 Cadets 2-Mallet Audition Material
5
36
Mlts. R
R
R
R
R
R
R
L
R
R sim.
36
Timp.
36
Pno.
38
Mlts. R
L
R
R sim.
R
38
Timp.
38
Pno.
40
Mlts.
40
Timp.
40
Pno.
R L
R sim.
R
L
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. 1
Mallets
Timpani
Piano
(with String, Vocal or Organ Patch)
2 6
Mlts.
6
Timp.
6
Pno.
The Cadets 2013
7
2013 Cadets Front Ensemble 4-Mallet Audition Material
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.
q= 100-140 23
Mlts. 3 3 3 3 3 3 3 3 23
3 2 3 2
3 2
20"
29"
Timp. R R R R R R R R
R L
R
L
23
Pno.
27
Mlts.
27
Timp. 29" 27
Pno.
8
2013 Cadets Front Ensemble 4-Mallet Audition Material
"In's and Out's" is an exercise that utilizes both the "vertical" motion of the Double Vertical Stroke and 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 position.
q= 90-120 30
Mlts. 2/3 30
29"
26"
23"
20"
Timp.
30
Pno.
Prep
32
Mlts. 1/4 32
Timp.
32
Pno.
Cadets 2013 Front Ensemble 4-Mallet Audition Material
10
This is a standard permutation exercise that begins with a chord progression of Double Verticals and then transfers that chord progression to Single Alternating and Single Independent Strokes. 1) This exercise should be performed with even ff strokes that rebound to the up position. 2) Please be careful to note the sticking and bar placement markings (C=Center, E=Edge).
q= 100
A
Gm
E E
D
D
C C E
Mallets
E
E C C
E
C
5
B
F
E
Mlts.
B 9
Mlts.
4 2 3 1
4 1 3 2
3
1 4 2
3 2 4
1
13
Mlts.
4 2 3 1
4 1 3 2
C E 3
17
3 1 4 2
3
3
3
3
3 2 4 1 C C C
C C 3
3
3
3
3
3
3
3
3
3
3
Mlts.
2 3 4
3
21
1
3
3
2 4
3
3
2 3 4
3
3
3
3
1 2 R
3
3
3
3
Mlts.
2 3 4 A'
1
2
4
2 3 4
Gm
1 2 R
D
D
25
Mlts.
E 29
Mlts.
E
B
F
3
3
Cadets 2013 Front Ensemble 4-Mallet Audition Material
11
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.
34
Mlts.
4
4
4 3
4
4
4 3 4 3 4
4 3 4 3 4 3 4 3 4
38
Mlts.
4
3
4
41
Mlts.
3
3
3 4 3
3
3 4 3 4 3
3 4 3 4 3 4 3 4 3
45
Mlts.
3
4
3
48
Mlts.
52
1
1
1 2
1
1
1 2 1 2 1
1 2 1 2 1 2 1 2 1
Mlts.
1
2
1
55
Mlts.
59
2
2
2 1 2
2
2 1 2 1 2
2 1 2 1 2 1 2 1 2
Mlts.
2
1
2
Cadets 2013 Front Ensemble 4-Mallet Audition Material
12
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.
62
Mlts.
3/4
4
3 1/2
1 2
Repeat 1x, 2x, 4x, 8x, ect. 66
Mlts.
3/4
1/2
4
3
1
2
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.
Adagio Roll Speed:
69
Slow to...
Mlts.
1.2.4.3
Medium to...
Slow to...
Medium to...
Fast to...
Medium to...
Very Slow
Score
Iain Moyer q= 96 q= 90
1
rit.
3
Vibraphone 1&4 (Back row)
2/3/4
1/2/3/4
2/4
2/3/4
1/2/3/4
2/4
Vibraphone 2&3 (Front Row)
2/4
1/3/2/4
2/4
1/3/2/4
3
3
3 3
Marimba 1-4
1
3 2 3 2 4
1 2 3
4 2 3 4
3/4
2
3
3/4
1 2/3/4 1 3 2
1/3/4
1 3 2 3 2 3 1
1 2 3 2
2
Glockenspiel (C-F)
q= 90
q= 96
rit.
1
Synthesizer 2
Acoustic Bass Patch
Xylosynth Nylon Guitar
2 with Brushes 17"
S.D. R/L Swirl
R
R
Sizzle Ride
Perc 1 (Drumset) 3
3
3
to Sticks
rit.
q= 90
1
Timpani
Piano
3
Synthesizer 1
Chime Patch on the DTX
Perc 2
CPit 2013
q= 96
O Holy Name 2013 9 3 10
Vib. 1&4
3/4 2 3/4 3
Vib. 2&3
3/4 2 3/4
10
1/3/4
3/2/4 1/2/3/4
3/4 2 3 /4 3
3
Mrb. 1-4 1
2 3/4
1 2 3/4
4
3
2
4
3
2
4
3
2
4
3
2
2/3/4
2/34
Glk.
9 10
Synth 2
10
3
3
X.S. 2
3/4
2
3/4
4
3
2
4
3
2
2/3/4
2/34
10
P. 1 3
3
9 10
Timp. 3
10
3
Synth 1
Triangles and Biangles 10
P.2
3
4
O Holy Name 2013 13
rit.
13
Vib. 1&4
3
Vib. 2&3
3 13
3
3
Stout Attack, D. Lat. Roll
Mrb. 1-4 1 2 3 2 3 4
3
2
3
2
3
2/4 2/4 2/4
2/4
1
1
1
Glk. 3 3
13
rit.
13
Synth 2
13
X.S. 1 2 3 2 3 4
Wind Chimes 13
P. 1 3
13
rit.
13
Timp.
13
Synth 1
13
P.2
Chime Patch on the DTX
Sizzle Ride w/fingers
The 2013 Cadets Front Ensemble 2 and 4 Mallet Technique Guidelines Compiled by the Cadets Front Ensemble Staff The Cadets Front Ensemble employs a “front fulcrum” approach to all 2-mallet passagework. Grip Guidelines:
1) A Fulcrum should be formed between first knuckle of index finger and pad of the thumb. NEVER in the second knuckle of the index finger. 2) Wrap your fingers around the stick naturally 3) The back of the hand should be parallel to the ceiling when in the down position…there is a SLIGHT angle to the back of the hand, but not much. 4) There should be no space between the thumb and index finger. 5) We do not utilize a “back fulcrum” technique. Starting Position
1) The Cadets 2 Mallet Starting Position is 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 if the fingers and arms are ALSO involved. 4) Movement around the instrument: a) The wrist is responsible for the vertical motion b) The arm is responsible for the horizontal (across the keyboard) and lateral (to the accidentals) motion. CPit Heights System:
The 2013 Cadet’s 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 be upright and your shoulders back. We do not wish for you to “hunch over” in any way. There should be an imaginary straight line drawn from your ankles to you shoulder blades. The only disruption of this straight line occurs to allow your head to look downward towards the instrument.
The Cadets Front Ensemble employs the “Stevens Technique” for all 4-mallet passagework, 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 appropriate for the thumbnail to be turned in slightly. 2) For intervals of a 4th, 5th, or 6th: Your index fingers should be pointing at each other (Left Hand=East and Right Hand=West). This should be your general playing position. 3) For intervals of a 2nd or 3rd: Both index fingers will face “South.” 4) For intervals of a 7th or an octave, you will “roll the mallet out” on your index finger, so that your Left Index Finger is pointing “Northeast” and your Right Index Finger is pointing “Northwest.” 5) The “octave grip” is employed for notes of a major 7th or greater. The octave grip is achieved by moving the bottom of the inside mallet from the center of the palm of your hand (which is the position utilized for intervals of a 4th, 5th, 6th) towards the “webbing” between the middle and ring finger. Generally, the base of the mallet will not “enter the webbing”, but stop just shy of this area. 6) The bottom of your hands should never sit below the plane of the natural notes. Starting Position:
1) The Cadets 4 Mallet Starting Position is , approximately 3 inches from the keyboard. 2) This starting position requires a prep stroke for any height higher than 3 inches. The Three Elbow Positions: 1)
This position occurs when both mallets in your hand are both on natural notes, or both on accidentals. Your elbow should be naturally in line with your shoulders, about two to three inches from touching your rib cage. 2) This position occurs when your outside mallet is on an accidental and your inside mallet is on a natural. Your elbow should be extended out away from your body. 3)
This position occurs when your inside mallet is on an accidental and your outside mallet is on a natural. Your elbow should be touching your rib cage.
Stroke Guidelines:
1)
This stroke should be performed with a relaxed “wrist pop.” A wrist pop is achieved by the top of the wrist moving upward when the mallet heads descend down to the instrument, and the 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 faster tempos.
2)
The mallet NOT hitting the keyboard should be rotating in a tight, circular motion to allow the mallet that IS hitting the keyboard to travel to and from the bar. 1. When striking the instrument with the INSIDE mallet, the outside mallet should be about 3 inches from the keyboard in the position. 2. When striking the instrument with the OUTSIDE mallets, the inside mallet should be in the position.
3)
Each mallet should rebound back to the starting position. An image to think about while performing this stroke would be the motion of dribbling two basketballs in an alternating fashion, one in each hand. If you are doing this stroke INCORRECTLY, the stroke would resemble a “see-saw” motion.
4)
The double lateral is a combination of a vertical motion and a rotary motion. The stroke begins with a vertical descent from the mallet performing the first note, and is followed immediately by a rotation towards the mallet performing the second note. The combination of these two movements results in a singular swift and efficient 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 the outside mallet.
5)
A one-handed roll is a rapid “toggling” between two pitches in one hand, which is intended to impart the illusion of a sustained sound with one hand, leaving the other hand free to play other rhythms and melodies. A visual image of to think about of this “toggling” would be that of an extremely rapid and continuous “see-saw” motion between the malletheads. This is the OPPOSITE of the singlealternating motion.
Bar Placement for Two and Four Mallets
2013 CPit Philosophy: The center of the bar, on naturals and accidentals is the desired location to hit ALL notes. The letter “E” will be given for instances when the performers should play on the edge of the bar. If an accidental is written and there is no indication that it should be played on the edge (E)….PLAY IT IN THE CENTER.
The Cadets 2013 Front Ensemble Timpani 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 of 2) 3) 4) 5) 6)
index finger Wrap the fingers around the stick naturally, exacting like a drum stick or keyboard mallet The player’s thumbnail should be parallel to the ceiling The mallets should be parallel to one another When one mallet is striking the drum the playing spot is in the center of the drum on the side closest to the player, When two mallets are playing on a single drum, the playing spot is “over the two center lugs”. Generally, this position is between 4” and 6” apart.
The Stroke:
1) Start in the position, set at the dynamic of the first note 2) 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 if the fingers and arms are also involved. 5) Use solely the Wrist for mp -f material. 6) Use arm (from elbow only!) for ff-fff material . 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 rim 2) Strike the 32” approximately 6” away from the rim 3) Strike the 23” and 20” approximately 2” to 3” away from the rim Timpani Rolls:
1) Lower drums = slower roll speeds 2) Higher drums = faster roll speeds 3) Make rolls between drums as fluid as possible by leading with the correct hand, for example: a. When rolling from a lower drum to a higher drum, the first note played on the higher drum should be played by the RIGHT HAND
