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Hello,
Thank you for your interest in auditioning for a placement in the 2016 University High
School Marching Percussion section. There are no eliminations or “cuts” in this audition,
only section (Battery/Front Ensemble) and instrument
(Snare/Tenor/Bass/Keyboard/Auxiliary) placements. Everyone will get to participate.
Within this packet you will find information to help you prepare yourself for the auditions,
such as technique guidelines, and the exercises that we will both use to audition you, as
well as use during the season. It is strongly encouraged, but not required to have
these exercises memorized by audition time.
Good luck, and happy practicing,
Francis Favis, Elliott Godinez, Bobby Kirer - percussion instructors.
HOW TO PREPARE
Always practice with a metronome. At some point, the metronome must
be removed so that you can develop independence but otherwise you will be
wasting time. Make sure to play each exercise at various tempi (a range is given,
with the exception of Hertas and Pressure Jam) always starting slow when
learning, so that the music is learned correctly the first time.
Do not practice only what you see on the staff. Most, if not all, of the
exercises in this packet have variations. These variations do not exist simply for
the sake of making the exercise more difficult. Rather, they serve to work on the
elements of technique that are often overlooked by percussionists.
Keep an open mind! Most of a percussionist’s job is to be able to make
changes on the fly. Be prepared to learn new ideas and musical concepts.
Everyone must work together if this is going to be a successful Percussion Section
and we will learn to move together as an Ensemble.
Be prepared with all the exercises. Practice what you do not know. There is
a saying that goes, “If you sound good in the practice room you’re doing it
wrong.” Of course, you should be able to execute all exercises successfully but it is
a waste of time to rep segments that you are already comfortable with.
Do not let yourself get discouraged! We would love to place everyone on
the instrument of their choosing but unfortunately that cannot always be the
case. Be comfortable around all battery or keyboard instruments as well as
auxiliary percussion. A marimba is not better than a vibraphone and vise-versa.
We also want the process to be as low-stress as possible. We value execution,
knowledge of the exercises, and adaptability over “chops”.
Above all else, three things we value in a marching arts percussionist:
ENERGY – CONFIDENCE – INTENSITY
BATTERY TECHNIQUE
The Grip:
We use matched grip in every section. This ensures uniform technique throughout the
ensemble, and transfers to use in other situations as well (drumset, concert percussion,
etc.).
1. Start with the index finger and thumb, gripping the stick 1/3 from the bottom
2. Gently wrap the rest of the fingers around the hand. There should be contact
without pressure.
3. The top of the hand should not face completely upwards or sideways, it should
be in between those two extremes.
The Stroke:
When playing the drum, we use primarily wrist, with natural arm motion.
We have 3 main areas of focus for movement: wrist, elbow (arm), and shoulder
(very rarely).
The wrist should always be the first muscle to initiate the stroke, if done correctly,
the bead of the stick will lead the stroke. The action is similar to knocking on a
door.
The stick should take a straight path upwards; if the stick was a piece of bread in
a toaster, it would not touch the walls of the toaster.
The arm should move naturally (except at extreme volumes), you should neither
restrict nor add motion with the arm. When in doubt, more arm motion is better
than less.
Playing the drum:
The philosophy of striking the drum is similar to the approach of dribbling a
basketball: enough energy should be used to make the stick return up on its own.
This is called the “rebound stroke”
The bead of the stick should be in constant motion when doing this stroke, with a
relaxed feel. This philosophy carries throughout the dynamic range.
For accented notes that precede a low note (tap) we use a “controlled rebound
stroke”.
We do not squeeze the stick to stop the motion, we simple stop the hand after
we strike the drum. Squeezing stops the motion before we strike the drum.
To get a feel for this, take you empty hand, raise it chest level, and just drop it on
a surface. That “dead fish” feeling is similar to how we achieve the controlled
rebound stroke.
Section Specific information
Snares:
The sticks should make a ~90 degree angle on the drum, with beads together in
the center of the head
We use 3 types of rimshot quality Normal/Shoulder (taper of the stick), Gock
(roughly halfway), and ping (less than 3in from bead)
Tenors:
When in set position, the beads of the stick should hover over drums 1 & 2.
Use the natural rebound of the stick to travel from drum to drum.
Shoulders and elbows should be as relaxed as possible.
Please refer to chart for complete playing zones.
Bass Drum:
Bass drums use the same exact technique as the “flat” drums, rotated to the
vertical plane. All of the same guidelines apply.
Unlike the flat drums, the mallet will be held closer to the end of the stick (about
¼ of the way up)
Mallet head should hover above the center of the head in playing position.
MARKING TIME
As a part of the battery section, you will be marching on the field while playing. To
practice this skill, as well as to reinforce good internal pulse, we “mark time”. This
involves picking up the whole foot 1-2ins off the ground, in time with the beat. This also
allows us to develop a good sense of internal pulse, and rhythmic timing.
DYNAMICS REFERENCE
To achieve a uniform approach to dynamics, we use an inch system; that is, each
dynamic has a “height” that we assign to it. Typically, if there are no accents in the
music, all notes are played at the prescribed dynamic. if there are accents, those are to
be played at the printed dynamics, and all other notes are “taps”, or notes played at
piano.
Dynamic definitions are as follows:
ff = 15+ in
f = 12 in
mf = 9 in
mp = 6in
p = 3in
pp = ~1in
EXERCISE SPECIFIC INFORMATION
All exercises should be played and practiced while marking time.
Legatos
We will always start our exercise routing with this. Be prepared to play this at all
dynamics and any tempo. Familiarize yourself with the three variations. Consistent
rhythm between hand transfers is crucial. As the name implies, we want a legato, full
sound when playing this exercise. Bass Drums, know the rhythmic variations.
AT
AT or “Accent Tap” builds upon the basis that “Legatos” sets. Now, we add multiple
heights. The approach should be the same as Legatos, we just play two stick heights.
The dynamic assigned will be accent height, tap height will always be piano (or 3inches)
unless noted. This exercise works the 4 main stroke types, Legato (high to high), Down
Stroke (high to low), Tap (low to low), and Up Stroke (low to high). Accuracy of rhythm
between height changes is key. Letters “A” “B” are to be played in sequence. “C”, also
known as “Thirteen” will be added or played separately. “D” will be added onto “C” by
cue. After “D” is played, repeat back to “C”.
Double Beat
Special care should be taken with exercise as it sets up the next three exercises. The
most important aspect in Double beat, is to play rhythms and not stickings. We must
NOT “bounce” the stick to achieve two notes, rather, we must “stroke out” or play two
individual notes in quick successions. We will utilize the rebound of the drum, but only
as an aid and not the sole perpetuator of the music. Play this very slowly first.
Pressure Jam
Here, we introduce the concept of pressure. Each line utilizes a different of amount of
pressure into the drum head to achieve three different kinds of rolls. The goal is change
as little as possible between pressure changes; ideally the pressure change is the
ONLY thing that changes, things such as hand motion stay constant. Additionally, the
bass drum part should be learned by all battery members, as it will be our “16 th note
timing” exercise that we will use now and then.
Duple and Triplet Rolls
These two exercises work the same concept in different rhythmic contexts. Like “Double
Beat” we are looking for rhythms (16th notes or Sextpulets), NOT “rolls”. Similar to
“Pressure Jam” we want as little as possible to change from the check (the base
rhythm) to the roll. The Letter Boxes are variations to be played in place of the roll,
whenever notated.
Hertas
As in the rudiment, the “Herta”, which is the focus of this exercise, as well as what will
become our “all around” warm up we will use for performances. It applies several
concepts that are worked on in all of the other exercises, as well as being a little more
interesting than a standard warm-up. Practice this slowly, making sure everything is
comfortable and accurate before moving up to tempo. We will not mark-time when we
play this in the season, but you are more than welcome (and are strongly encouraged)
to practice it while doing so to reinforce timing.
Front Ensemble Technique
TWO-MALLET TECHNIQUE
The Grip. We use what I can best describe as a “3-point fulcrum” grip. The
rear of the mallet should extend about 1.5 to 2 inches, depending on your hand
size, from the back fingers. The back 3 fingers should grip the mallet firmly
forming the first contact “point”. Then the thumb should be placed on the mallet
comfortably and not bent forming the second contact “point”. And finally the
index finger should be placed so that the first knuckle makes the third contact
“point” slightly above the thumb. The index finger should also be curved when
doing this. Important: The index finger should “break” at the middle knuckle, not
where it meets the hand. Practice this by forming a “hook” with the index finger.
The palm should not be perfectly flat, parallel to the ground. There should
be a slight angle that is created by the thumb being turned slightly up. This will be
referred to as American Grip. Remember to be relaxed throughout.
The Stroke. The main stroke we will use is known as the “piston” stroke.
Practice this in an “up” or “off the keyboard” manner. That is, you must begin
every stroke starting with the mallet heads 12 to 15 inches above the instrument.
Lead with the mallet head and avoid using too much forearm. Immediately after
striking the bar the mallets should rebound back to the “up” position in
preparation for the next attack.
Important: Aim for the center of the bar, directly over the resonator hole. If you
must aim for the edge of the bar of an accidental note, it must be exactly on the
edge. Avoid hitting the node (the point on the bar where the string runs through).
Also, aim for the best sound by “punching” through the bar or filling the entire
length of the resonator with energy.
At a certain point we will remove the “up” position to make room for
musical artistry.
FOUR-MALLET TECHNIQUE
The Grip. In this ensemble, we will use the Stevens four-mallet technique
when necessary.
The outer mallet is gripped with the back two fingers alone. The
mallet shaft will be held very close to where the palm and fingers meet
with approximately half an inch extending out. The mallet should then be
held so that it goes in between the middle and ring finger.
The inner mallet should be gripped so that the very end of the shaft
is in the center your palm. Once there, the middle finger should hold it in
place. Finally, the shaft should be held between a flat thumb and the first
knuckle of the index finger.
The wrist should then rotate the thumbs outward so that instead of being in
American Grip, the thumbs are on top similar to French Grip.
When approaching the keyboard with Stevens grip, be sure that all four mallet
heads are on an even plane with each other. They should stay on an even plane at
all times.
The Stroke. There are multiple techniques when using four mallets. The
exercises in this packet address most of them.
Single-Independent strokes, found in the exercise “Toxicity” (when
played at tempo), are used when only one of the mallets in each hand is being
used in an independent way. This stroke is controlled by the rotation of the wrist
and, when being executed, the tacet mallet (the mallet not being engaged) should
remain stationary on its plane, unaffected by the other mallet’s motion.
Double-Vertical strokes, found in the exercise “Happy Chords”, are
used when both mallets are being used simultaneously. This stroke is executed by
lifting the wrist upwards. Do NOT turn the wrist to German grip for this. Remain in
French grip, with the thumb on top, and imagine that you are pulling straight
upwards from the thumbnail allowing the wrist to break in turn. When striking
the bars, aim for a unison attack and avoid “flams”.
Double-Lateral strokes, found in the exercise “Arpeggios”, are used
when two (or three) notes must be played consecutively in the same hand (see
exercise for examples). The stroke is similar to the single-independent however it
used at faster tempos; if you played “Toxicity” at a faster tempo the stroke style
would turn into double-lateral. Instead of each mallet getting its own initiation
stroke, both mallets move as the wrist does in a wave like motion. This technique
can be used for faster passages and “ripple” rolls.
THE EXERCISE VARIATIONS
As mentioned before, these variations do not exist only for the sake of making the
exercises difficult. They are to work on techniques that are often overlooked by
percussionists. Use this as a guide for the exercise variations and how to execute
them.
4 to 1
-6 to 1: Follows the same basic format (6 up, 5 down, etc.) Should start with a 3/4
feel then a 5/8 (2+3) feel.
-Inverted: Start from the top of the scale and descend. Essentially the opposite of
the “stock” exercise.
-Integrated: Instead of playing each scale degree simultaneously as double-stops
and in eighth notes, here we alternate sticking and play in sixteenth notes. Also
prepare starting off of the right and off of the left.
Happy Chords
-A-flat Major and F Major: Be prepared to play Happy Chords (and all other
exercises) in different keys. Use the original as a reference point. The original is in
C Major.
-Swells: Add crescendos and diminuendos. An example would be up for two
counts and down for two counts. Develop on this as well using four up and four
down or four down and four up. Note: To get louder you must already be soft and
vise-versa.
Toxicity
-Inverted: Instead of starting on the C below the written G, play the C above the
written G (using mallets 2 and 4). The same will apply when moving to the E-flat
and B-flat.
Arpeggios
-All variations: Practice all permutations at different tempi. Aim for a blended
sound and smooth motions.
University High School
Front Ensemble Packet 2016
5
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BASS DRUM VARIATIONS
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Variations:
Dynamic A = start at p, crescendo to f , 2nd bar of each hand
Dynamic B = start at f, decrescendo to p , 2nd bar of each hand
Double Stops = double stops in bars 4 & 8
1s (8th notes) 2s (16th notes) 3s (16th note triplets/sextuplets) 4s (32nd notes)
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œ œ œ œ œ œ œ œ œ œ œ œ
œ
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V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
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V V V V V V
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œ œ œ œ
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V V V V V V V V V V V V V V V V V™V V V V V V V V V V V V V V V V V V V V V V V V V V V
™V V V V V V V V V V V
Œ Ó
°
¢
°
¢
Snare Drum
Marching
Tenor Drums
Marching
Bass Drum
R R R R
p-f
... L L L L ... R R R R ....
q = 105-155
2 3 4
R R R R ... L L L L ... R R R R ....
R
R
R
R
LR
L
R
LR
LETC.
R
L
L
R
L
R
R
R R L R R L R R L R L R L R L R L L
S. D.
T. D.
B. D.
L R L R
5 6 7 8 9
L
R
L
R
R R R R L R L R L R L ETC. R L L R L R R R R L R SIM.
4
4
4
4
4
4
/
FF
DoubleBeat
/
+ ++ +
+ +
/
^ ^ ^ ^
/
/
+ ++ +
+ +
/
^ ^ ^ ^ >
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
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O O
œœ
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≈ O O
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O O
œ
V‹
V V V≈V V V V
œ œœ œ
œ œ ≈ œ œœ œ V V V
‹V V V
‹
œ œ œœ œ œ
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V V V V
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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
ŒÓ
œ œ
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≈ O O
œœ
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O O
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œ œŒ Ó
V‹
V V V≈V V V V œ œ
œ œœ œ ≈
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V V V‹V V V
‹œ œ œ
œ œ œœ œ œ
œ œ œ‹
V V V V VŒ Ó
°
¢
°
¢
°
¢
Snare/Tenor
(Drum 2)
Marching
Bass Drum
mf-p
q = 90-110
S. D.
B. D.
5
S. D.
B. D.
9
4
4
4
4
/
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Pressure Jam
Backes arr. Favis
and Timing
/
/
/
/
/
For S/T each line uses a different type of hand pressure:
1st = Extreme Pressure; as short as possible
2nd = Less Pressure; connected, like a concert-style roll
3rd = Minimal Pressure; an open roll in the typical fashion
The Bass Drum part should be learned by all members
of the battery. This will be our "Timing" exercise.
7
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7
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7
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7
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7
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7
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7
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7
œ œœœœœœœœœœœœœœœœ
VVVVVVVVVVV VVV VVVVVVVVV VVV VV VVVVVVVVVV VVV V VVVVVVVV≈VVV
≈VVV
7
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7
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7
œ œ œ œ œ œ œ œ œ
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7
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œ œ œ œ œ œ œ œ œ
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7
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œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
VVVVVVV VVV‰
VV‰
VVV VVVVV≈VV
≈VV VVVVVVVV
‰VV
‰VV VVVVVVVVV
™V V
™V
æœ
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J
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VR
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°
¢
°
¢
°
¢
Snare Drum
Marching
Tenor Drums
Marching
Bass Drum
R L R L
p-f
R R L L R R L L R L R L ETC..
q = 120-180+
2 3 4
R L R L R R L L R R L L ETC.
R L R L R L R L R L R L R L R L ETC.. R L L R L R L
S. D.
T. D.
B. D.
5 6 7 8 9
R L R L R L R L R R R R R L R
S. D.
T. D.
B. D.
A B C D10 11 12 13
4
4
4
4
4
4
2
4
2
4
2
4
2
4
2
4
2
4
/
FF
Duple Rolls
/
/
^ ^ ^
/
/
/
^ ^
/
Variations (S/T only)
/∑ ∑ ∑ ∑
/∑
Variations should be played in place of the regular roll (beats 3-4 mm 1/2/5/6 beats 1-2-3-4 mm 4/8).
∑ ∑ ∑
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
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œ œ
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V V‹
V
œ œœ œ
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V V‹ ™
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œ œœ œ
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œ œ
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œ œ
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Œ Ó
V V‹
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œ œœ œ
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œ œœ œ
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V™
V™
V V VŒ Ó
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
°
¢
°
¢
°
¢
Snare Drum
Marching
Tenor Drums
Marching
Bass Drum
R L
p-f
R L R L R R L L R R L L R R L L R L R L R L R L R L R L ETC.
q = 110-180+
2 3 4
r l r l r l r r l l r r l l r r l l etc.
R R R L R L L L
S. D.
T. D.
B. D.
5 6 7 8 9
R L R R L R R R R
S. D.
T. D.
B. D.
A
B C D E F G H
10 11 12 13 14 15 16 17
4
4
4
4
4
4
2
4
2
4
2
4
/
3 3 6 6 3 3 3 3 3 3 3 3 3 3 3 3
Triplet Rolls
FF
/
3
3 6 6
3
3 3 33
3
3
3
3 3
3
3
/
> > > > ^ > > >3 3
3
3
3
3
3
3
3 3
3
3
3 3
/
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
/
3
3
3
33 3
3
33
3
3
3
3 3
3 3
/
> > > > > > ^3
>
3 3
3
3
3
3
3
33
3
3
3
3
/
Variations (S/T only)
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
/∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
/∑ ∑
The variations should be played in place of the normal roll (beats 3-4 of mm1/2/5/6, beats 1-2-3-4 mm4/8) written in the exercise
∑ ∑ ∑ ∑ ∑ ∑
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V V V V V V
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j
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j
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æ
œ
æ
œ
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æ
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æ
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V V V V V V œ œ œœ œ œ
œ œ œœ œ œ
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œ œœ œ
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œ œ
V V V V V V‹
V VŒ
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Snare Drum
f
R R L R R L R R L R R L R L R L R L R L R L R L R L R L R L L R L L R L L R L L R L R L R L R L R L R L R L R L
q = 148-176
A
R R L L R R L L R R L L R L R L R L R L R L R L R L R L R L R L L R R L L R R L L R R L R L R L R L R
9
L R L R L R L R L R R R L R L R L R L R L L R L L R L L R L L R L R L R R L R L R L R R L R L R L R L R L R L R L
B
16
R L R L R L R L R L R L R L R L R L R L L R L R L R L R L R L R L R L R L R L R L
24
R L L R L R L R L R L R L R L R L R L R L R L R L R L R L R L
29
3
4/
> > > > > > > > > > > > >>> > >>> > >>> > >>> > > > > > > > > > > > > > > >>> > >>> > >>> > >>>
Hertas
Backes arr. Favis
/
> > > > > > > > > > > > >>> >>> >>> >>> >>> >>> > > > > > > > > > > > > > >>> >>> >>
/
> >>> >>> >> > > > > >>>> > > ^ ^ ^ ^ > > > > > > > > > >
/
> > > > ^ > > > > - - - - - - - -
/
^ > - > - - - - - > > > > > > > > ^ ≤
œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œœœ œ œœœ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œœœ œ œœœ œ œœœ
œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œœœ œœ œ œœœ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœ œ œœ
œ œœœ œœœ œœ œ œ œ œ œœœœ œ œ ‹ œ œ ‹ œ œ ‹ œ œ ‹ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œœœ œ œ œ œœœ œ œœ
œ œ œ œ œ œ œ œ œ œ ‹ œ œ œ œ œ œ œ œ œ œ ‹ œ œ œ œ œ œ œ 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
Marching Tenor Drums
f
R R L R R L R R L R R L R L R L R L R L R L R L R L R L R L L R L L R L L R L L R L R L R L R L
q = 148-176
A
2 3 4 5 6 7
R L R L R L R L R R L L R R L L R R L L R L R L R L R L R L R L R L R L R L R L L R R L L R R L L R
8 9 10 11 12 13 14
R L R L R L R L R L R L R L R L R L R R R L R L R L R L R R L R R L R L L R L L R L R L R R L R L R L
B
15 16 17 18 19 20 21
R R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L L R L R L R L R L R L
22 23 24 25 26 27
R L R L R L R L L R L R L R L R L R L R L R L R L R L R L R L R L R R L R
28 29 30 31 32 33
3
4/
> > > > > > > >> > > >
>>> > >>> > >>>> >>> >
> >> >
+> >
> >> > > > > >>
> >
+>>>
Hertas
Backes arr. Favis
/
> >>> > >>> > >> >
> >
> >
> >
> >>>>
>>>
>>>
>>>
>>>
>>> > >> > > >
> > > >> >
/
> >>> >>> >>> >>> >>
> >> > > > > >>>> > ^ ^ ^ ^>
> > > >
/
> > >> >
+ > > >
>
^- - - - -
- > >
/
> >
> >> >
^ > -+
> > > >>
^ ^^ ^
^ ^ ^
>
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œ œ
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œ
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œ
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œ
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œ
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Marching Bass Drum
f
R L L L R R R L R L R L etc. R L L L R R R L R R L R R R L R
q = 148-176
A
ETC... R R ETC.. R L R R L R etc. R R R etc.
8
R R L R R L R etc. R L R L R L R L R R L R R R L R R L R L R R R
B
15
R R R R R R L R R L R R L R R R R L L L L
22
R L R L R R L R L R R R R R L
28
3
4/
> > > > > ^ > >
>>> > >>> >
>>> > >>> > > > > > > ^ > >> >>> > >>>
Hertas
Backes arr. Favis
/
> >>> >
>
>>>> >
>
> >> >
> >
> >
>
> >> >
>>>>>>
>>>>>>
>>>>>>
> >
> >
> >
>
> > > >
>
> > > >
/
> >>> >>> >> > >>> >>> >>> > > > >>>>
> ^ > ^ > ^ > > > > > > >
/
> > > >
>
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/
> >> >
>
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j
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j
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j
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j
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j
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j
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j
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j
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