2016 University High School Marching Percussion … UHS Percussion Packet.pdf · 2016 University High School Marching Percussion Audition Packet ... Play “through” the drumhead

2016 University High School

Marching Percussion Audition Packet Congratulations on taking your first steps toward becoming a member of the 2016 UHS Drumline! In this packet, you will find material that will be utilized during the audition process and throughout the entire season. You will also find important information regard the season – including detailed information about technique and each exercise as well as tips for being successful. Please read and study this information carefully before you play to establish the proper technique right away. Please understand that all previous members of the UHS Percussion section and all prospective new members will have equal opportunity to earn a spot on their desired instrument. There are no “automatic” re-acceptances – ALL vets will have to earn their spots and roles again each season. Finally, keep in mind that although there are many principles of percussion pedagogy that are common to all, every instructor is different. If the ideas in this packet are different than what you have previously learned, that is fine – however, this is the approach we want you to start learning. Please keep an open mind. INSTRUCTIONAL CLINIC INFORMATION There will be an instructional clinic held at the University High School band room on:

Monday, May 9 2016 4:00 pm – 6:00 pm

Clinics are designed to give prospective students the opportunity to get to know the percussion staff, other percussionists, and become familiar with the technique that will be required to play in the ensemble. The clinic is optional, but it is highly recommended that everyone attend for some aspects of technique may change from season to season.

AUDITION INFORMATION Thursday, May 19 2016 4:00 pm – 6:00 pm

Friday, May 20 2016 4:00 pm – 6:00 pm

Auditions will be a two-day process that will consist of both an individual and ensemble portion to evaluate the students’ master of the packet. Over the two days we will also interview section-leaders and have the full percussion section set by the end of Friday. Students may bring their own sticks/mallets and must have a copy of the packet with them.

Questions concerning the content of this packet may be directed to Corey Orban at the email address below. Also, students should remain informed of any changes to schedules by regularly checking the UHS Band website – www.uhsband.net. Good luck with you preparation – we look forward to seeing you! The 2016 UHS Percussion Staff [email protected]

UHS TECHNIQUE TERMINOLOGY

SNARE DRUM GRIP – Traditional grip

Right Hand: All fingers should be comfortably wrapped around the stick with the thumb directly across from the index finger. This creates a solid fulcrum. For the most part, all of your fingers should always be on the stick while avoiding tension. Faster tempos may create an exception to this. Your elbows should rest comfortably down from your shoulders. There should be no contact with your body or forced excessive extension away from your body.

Left Hand: The stick should be held between the base of your thumb and index finger to create a solid fulcrum. The fulcrum of you left hand should be at the same point on the stick as the fulcrum of your right hand. The rest of the stick will rest on your ring finger just below the first joint and slightly above the nail. The index and middle finger should be comfortably wrapped around the stick while avoiding tension. Faster tempos may create an exception to this. The pinky finger should follow the natural curve of your hand.

SET POSITION – Your sticks should create a 90-degree angle in the center of the drumhead. The butt ends of the sticks should be slightly elevated. Keep your beads ½ inch apart and ½ above the drumhead.

QUADS

GRIP – Matched Grip

All fingers should be comfortably wrapped around the stick with the thumb directly across from the index finger. This creates a solid fulcrum. For the most part, all of your fingers should always be on the stick while avoiding tension. Faster tempos may create an exception to this. Your elbows should rest comfortably down from your shoulders. There should be no contact with your body or forced excessive extension away from your body.

SET POSITION – Your hands should be relatively flat with the sticks turned very slightly inward due to the angle of your forearm. The sticks should be pointing downward towards the drums at an angle of between 10 and 20 degrees. This will prevent the butts of the sticks from hitting rims or hardware – and it will save your knuckles. It also projects an aggressive look of control over the drums.

PLAYING AREAS – The playing areas on a set of quads are much like the playing areas on a set of timpani. You will get the best sounds when the head is struck about 1/3 of the way from the rim to the center of the head. The high spock drum (spike) is the exception – it should be hit directly in the center.

BASS DRUM GRIP – Matched Grip

All fingers should be comfortable wrapped around the mallet with the thumb directly across from the index finger. This creates a solid fulcrum. For the most part, all of your fingers should always be on the stick while avoiding tension. Faster tempos may create an exception to this. A common misconception is that bass drummers hold their mallets like a baseball bat and twist their forearm – DO NOT DO THIS. Twisting your forearm this way is only going to weaken your stroke, and possibly hurt your joints. Simply turn your wrist back as if you were playing a snare drum, but vertical. This allows you to add arm to your stroke without changing the path of the mallet.

SET POSITION – Your mallets should be at about a 45-degree angle with your forearm parallel to the ground. The head of the mallet should be directly in the center of the head resting ½ inch above the head. The butt end of the mallets should be further out from the head than the head of the mallets.

STROKES

LEGATO STROKE – This is the most basic stroke. The most important characteristic of this stroke is the rebound. It is very important that you allow physics to do the work for you. Stay relaxed – don’t pound the drum. Play “through” the drumhead and let the natural rebound bring the stick back up to you. Never lift the stick off the head. The less you interfere with the natural motion of the stick, the better the sound that you will produce. DOWN STROKE – The down (staccato) stroke is exactly the same as the legato stroke until the stick or mallet makes contact with the drum head. Rather than allowing the stick to rebound, it must be stopped low to the head. This is achieved by using the weight of your arm to not allow the stick to come back up. Again, until the stick makes contact with the head, it’s the same as playing a legato stroke. UP STROKE – This stroke starts at a lower height and then, after striking the head, rebounds to a greater stick height. Knowing when and where to use an upstroke is essential to solid Efficiency of Motion. Efficiency of Motion is a drummer’s ability to get their stick where it needs to be with the least amount of energy spent. For example, when playing a Paradiddle (RLRR or LRLL) with accents on the first note, a drummer who understands EOM will know to utilize an upstroke on the second note to get from the tap height to the accent height without any extra effort.

THE HEIGHT SYSTEM

mp – 3” Sticks are parallel to the drumhead.

mp+ – 4” Almost the same as 3”, but with a little extra emphasis (don’t overthink it).

mf – 6” Sticks are at a 20-degree angle (about the height of a dollar bill)

f – 9”

Sticks are at a 45-degree angle (half between parallel and perpendicular)

ff – 12” Sticks are at a 90-degree angle (vertical sticks, perpendicular to drumhead)

fff – 15”

Sticks are vertical and a significant amount of arm is added to the stroke.

Most of the time, two heights will be used simultaneously (accents/taps). An example of how that

might look is: ff /mp → The first dynamic is the accent height and the second dynamic is the tap height.

For this particular example, the accents would be 12” and the taps would be 3” in relation to the

drumhead. To navigate between the two heights, one would need to utilize the different stroke types.

ACHIEVE YOUR FULL POTENTIAL

Read This Carefully Before Proceeding to the Notes!

Play with a metronome. Humans are fallible. Metronomes help us come one step closer to achieving perfect timing. The more you play with a metronome, the more you will internalize time, and the more rhythmically solid you will become.

Practice things slow. If you can’t play something slow, do you think you’ll be able to play it fast? Probably not. This is why we start slow. Take it a manageable speed – one that makes it possible to play without stopping and to focus on stroke, timing, sound control, etc. Once you master slower tempos, increase the bpm by 10 and continue the process. You will get better, faster – I promise!

Learn music/practice in small chunks. Don’t just mindlessly run through exercises. Take music beat by beat, then bar by bar, then phrase by phrase, and then rehearsal mark by rehearsal mark. If you break things down in your mind, you will be able to concentrate on the right things the whole time.

Play in front of a mirror. It is the easiest way to check heights, stroke, and stick angles. It also helps us correct problems in mechanics like slicing that can cause inconsistencies in our sound.

Practice every day. You don’t have to practice every moment until auditions (although, you’d probably be really good by then if you did!), but consistent practice will inevitably help you better your playing. Even if it’s just playing during commercials while you’re watching TV - every little bit helps.

Consider these points when practicing on your own: The secret to success in marching percussion is being organized and attentive to the details. What you practice is not as important as how you practice. To demonstrate what I mean, I have written technique notes for each exercise to consider and also a detailed list of objectives for you to work to achieve. Be creative – explore the exercise and find new ways to play it– but always strive for perfection in whatever you are playing!

EIGHTS

NOTES ABOUT THE EXERCISE:

This exercise is all about utilizing the legato stroke. Remember to stay relaxed (especially in the shoulders), turn your wrists, and let the drumhead rebound the stick. To check if you are rebounding the stick, take your fingers off the stick and play with just the fulcrum and wrist (Matched grip would use just thumb, pointer, and middle finger and Traditional LH would use just thumb with fingers extended out). Also, make sure that you put enough velocity behind the stroke to feel the energy all the way into your feet. This is only achievable by staying relaxed and letting the stick bounce as freely as possible.

Quads: Be prepared to play on one drum as well as the arounds. Everyone: Be prepared to play the exercise at each height.

Use the following checklist during your practice sessions to help gauge your mastery of the exercise:

PROGRESS CHECKLIST:

- I maintained a fluid legato stroke throughout the entire exercise.

- I have played with my fulcrums only – with my back fingers off of the stick – to make sure I am

letting the stick rebound.

- I put a substantial amount of energy into throwing the bead of the stick in the head with

velocity.

- All of my stick heights were accurate and consistent.

- I maintained perfect timing throughout the exercise (especially the left hand of the 16ths)

- I maintained a perfectly consistent sound throughout the entire exercise (a listener wouldn’t be

able to pinpoint what sticking I was playing just by listening).

- I can play the exercise perfectly starting on the left hand instead of the right hand.

I have achieved these objectives for the following heights:

12 9 6 3

I have achieved these objectives for the following tempos:

115-125 bpm 125-140 bpm 140-165 bpm 165-180 bpm 180-200 bpm 200+

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- The purpose of this exercise is to develop a fluid legato stroke.

- Explore the exercise: Try playing the exercise at all dynamics, at different tempos,

and in different keys.

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ACCENT TAP


This exercise is all about utilizing the legato stroke, down stroke, and up stroke to navigate different stick heights. Always make sure you are rebounding the stick. A great way to reinforce that idea is to play first at 12/9 then 12/6 (and so on). When playing 12/9, feel the rebound that has to occur for the taps to reach all the way to 9 – memorize that feeling of playing full, open legato stroke taps. Then, reproduce that feeling at the next lowest tap height until you get to 3in taps. Go slowly and make sure you’re achieving the correct technique. If you find yourself tensing up or playing with bad habits, stop and slow things back down until you’re able to fix the problems – then proceed.

The name of the game, as you will no doubt find in all drumming, is relaxation. Quads: Be prepared to play on one drum as well as the arounds. Bass Drums: You are not required to learn the snare part – you will only need to play the bass unison part.


PROGRESS CHECKLIST:

- I maintained a fluid stroke throughout the entire exercise.

- I have played with my fulcrums only – with my back fingers off of the stick – to make sure I am

letting the stick rebound.


velocity.


- I maintained perfect timing throughout the exercise





12/9in 12/6in 12/3in 9/6in 9/3in 6/3in 4/3in



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DOUBLEBEAT


This exercise is also based on the legato stroke. This exercise, in particular, feels a lot like dribbling a basketball. If you rebound the stick, getting two notes at 12in for each of your double strokes is very possible. It comes down to relaxation again. Relax the shoulders, keep the wrists low and turn those puppies!

As an additional check (to see whether or not you’re playing the exercise correctly), listen to hear if your doubles sound like “dah-dah” or “dah-du.” The first one is what we are going for, because we want everything to sound exactly the same.


PROGRESS CHECKLIST:

- I maintained a fluid stroke throughout the entire exercise.

- I kept my wrists low and turned them all the way out.


velocity.

- All of my stick heights were accurate and consistent (the sound I produced was consistently,

“dah-dah”).

- I maintained perfect timing throughout the exercise (think triplets!)


able to pinpoint what sticking I was playing just by listening – especially during the last two bars).



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- Try to give all notes an equal dynamic.

The second note of each grouping should be just as loud as the first note.

- As you get into the higher tempos, lower the s ck heights and remember to stay relaxed.

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DUPLE ROLLS

NOTES ABOUT THE EXERCISE: There are two distinct kinds of rolls – Double Stroke Rolls and Double Bounce Rolls. In this exercise, you will learn how to navigate your way through both types. Double Stroke Rolls are utilized when tempos are slower. Like the name suggests, you will be using your wrists and fingers to stroke in those doubles at the same height (Doublebeat, Legatos) while pumping your arms in the 8th note check to stay in time. Do your best to also keep each stroke consistent – regardless of whether or not it is a double or single (Sound Control). As the tempo increases in this exercise, the technique will change to the Double Bounce Roll. This means you will go from controlling the two notes individually via the wrist to allowing the stick to bounce off of the drumhead to create the diddle with just one motion. Remember, the most common issues with diddles are 1) the diddles are not placed directly on the partial, 2) they two notes that make up the diddle are not correctly spaced out, and 3) the sound quality from right hand to left hand do not match.


PROGRESS CHECKLIST:

- I isolated and mastered each section before moving on to the next.

- I kept my wrists low and turned them out for the doubles while pumping my arms in the 8th note

check.


velocity.

- All of my stick heights were accurate and consistent (the sound I produced was consistently,

“dah-dah”).

- I maintained perfect timing throughout the exercise.

- I maintained a perfectly consistent sound throughout the entire exercise.



12 9 6 3



Orban

DUPLE ROLLS

UHS Drumline 2016

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TRIPLET ROLLS

NOTES ABOUT THE EXERCISE: Our Triplet Rolls exercise represents the faster side of rolls – although, it should be noted that if you played this exercise slow enough, it would become the same kind of Double Bounce Roll technique that is used with slower, duple rolls. This is an excellent exercise to play to build chops. Play it fast as you can without sacrificing quality and try to push your limits every day. Remember, the most common issues with diddles are 1) the diddles are not placed directly on the partial, 2) they two notes that make up the diddle are not correctly spaced out, and 3) the sound quality from right hand to left hand do not match. Play with other people to see if you can make it sound like one person is playing. Challenge each other to see who can play it the cleanest and the fastest – that’s how we push each other to becoming better!


PROGRESS CHECKLIST:

- I isolated and mastered each section before moving on to the next.

- I pumped my arms in the check and turned my wrist out for the accents.

- I made sure I didn’t warp the rhythms – each of my diddles sounded like the correct rhythm.



- I maintained a perfectly consistent sound throughout the entire exercise, regardless of accent or

diddle pattern.



12 9 6 3 → 12/9 12/6 12/3 9/6 9/3 6/3 4/3



Orban

TRIPLET ROLLS

UHS Drumline 2016

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TIMING EXERCISES

NOTES ABOUT THE EXERCISES: Enclosed within the packet are several different approaches toward perfecting rhythmic timing: 16th and Triplet Grids, 16th Note Timing, Plus One-Minus One, and Gear Changes. It is imperative that you play these exercises with a metronome. A lot of students can learn the patterns of the exercises, but fail to learn how they fit with a metronome – this defeats the entire purpose of practicing them. Don’t waste your own time by doing it wrong! In 16th Note Timing, insert one of the two-beat, 16th note patterns (labelled A-H) into the exercise in place of the “slashes.” The Grids are particularly effective to mark time to because it helps the performing develop a correlation between the rhythms of the feet and hands. Be sure to think of the legato stroke and Accent Tap ideas when learning them. Plus One-Minus One helps to learn how to play complex rhythms like Quintuplets (5-lets), by keeping a fixed accent on the beat and fitting the other stickings evenly within that space of time. After you master it with the accents, you can then move on to Gear Changes where you will learn to switch from one rhythm to the next without the help of an accent on the beat. Timing is something that we will spend a lot of time on, so make sure you do your very best to come to rehearsal prepared to play these exercises.


PROGRESS CHECKLIST:

- I not only played with a metronome, but I focused on how my parts lined up.

- I utilized the legato stroke and Accent Tap techniques when needed.





- I practiced marking time while playing the exercise.


12 9 6 3 → 12/9 12/6 12/3 9/6 9/3 6/3 4/3



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UHS Drumline 2016

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S ck Control

UHS 2016

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Documents

2016 University High School Marching Percussion … UHS Percussion Packet.pdf · 2016 University High School Marching Percussion Audition Packet ... Play “through” the drumhead