2017 Drumline Audition Packet

Transcription

1 2017 Drumline Audition Packet Thank you or expressing interest in the edition o the Warrior Band Drumline! Included in this packet are materials required or the drumline audition workshop. The workshop is a 3-day event, August 7-9, 2017, held at the Matthaei Complex. Monday August 7 th will be a drumline workshop rom 10:00am until 4:00pm, where various skills, exercises, and music are taught. An RVP will be sent prior to the audition, along with a more speciic schedule or the audition day. ince competition is looking to be quite rigid, we encourage you to prepare accordingly. Regarding audition preparation, members should to be conident in their individual playing (timing, clarity, approach, overall sound, etc.) in order to set a strong oundation within the ensemble setting o the drumline. Your ability to play the basics well is more important than your ability to perorm stick tricks, etc. Please note: no spot is guaranteed all members must go through the same audition process. Though not required, you are TRONGLY encouraged to memorize all music or the audition. Members o the Warrior Band will learn dierent shows throughout the all as well as several stand tunes, pregame arrangements, cadences and cheers. The skill o quickly learning and memorizing new music every week is crucial once the season starts. Things the Warrior Band will provide or the audition: - Drums, cymbals, stands, and carriers - Bass drum mallets Things you will need to supply or the audition: - nare and tenors sticks - Drum pad - This packet in a three-ring binder with every page in an individual clear plastic sheet protector The results o the audition will be ed to you the week ollowing the audition, or as soon as results can be made available. All members o the drumline are expected to report or drumline pre-camp (August 7-9, 2017) with all exercises, cadences, and additional music prepared. I you have any questions, please contact Dr. Matthew Younglove, at warriorband@wayne.edu. The director and sta are all looking orward to a great season! ee you on August 7 th! Matthew Younglove, D.M.A. Director o Athletic Bands

2 AUDITION PROCEDURE tudents will select a Primary and econdary instrument or the audition. I snare drum or tenors are the Primary instrument, it is strongly suggested that the packet is memorized. I bass drum is the Primary instrument, the student must be amiliar enough with the music to execute any part within that section (memorization not required). Marking time is required or every selection. tudents will irst perorm on their Primary instrument. The econdary instrument should be prepared to the best o the student s ability (memorization not required). Personnel will rotate instruments throughout the audition. INTRUMENT NOTE nare: The WU snareline plays with match grip creating consistent sounds hand to hand is key. As the main melodic voices o the drumline, great rhythmic timing And conidence within the snare and tenor sections are crucial. Tenors: play each exercise on drum 2, ocusing on sound quality, technique, and execution. Once the exercises are perect on drum 2, then move around the drums without compromising anything rom the drum 2 version o the exercise. Additionally, the hands should always reset to drum 1 & 2 when not playing. Bass Drums: learn each warm up in unison rhythm and then ocus on one part that you might want to play. (Keep in mind that you may be asked to play ANY part during the group audition process.) In Eights and AccentTap, 2s, 3s, and 4s will substitute or eighth notes when split. In addition to preparing the unison parts o the exercises, please be amiliar will all splits. Playing on a bassline, where you are virtually a soloist within a section, requires individual mental strength and precise timing. You may be asked to perorm exercise splits by yoursel. Always practice with a metronome while marking time. Cymbals: ustain Crash a normal concert crash technique that allows the cymbals to vibrate reely. Use smooth motion or a ull-bodied sound. Dampening a normal concert crash with a deined release point at which to mule. Crash Choke a ull-bodied, short crash. Mule with the upper body immediately ater impact. mash Crash a noisy, short crash in which the cymbals clap together to mule any sustain. Overlap cymbals to prevent air pocket. izzle Crash a sustained sizzle created when the cymbals are struck horizontally, remain together ater impact, and slowly separated. Tap Crash a light ting sound created when the cymbals edges are tapped together at a right angle. Hi-Hat a drumset-like chick sound when the cymbals are struck horizontally and pivoted against the body. Zing a sustained shimmer achieved when the edge o a cymbal scrapes the grooves o the other. usion two quick motions that create a subtle crash ollowed by a tight, muled hi-hat choke. May be achieved horizontally or vertically. OTHER INO Because your well-being is important to us, please come to auditions ready or athletic activity. Please wear comortable athletic attire, athletic shoes, water bottle, sunglasses, sunscreen, and EAR PLUG. Tinnitus is a serious hearing condition that has emerged through careless marching percussion practices. We highly recommend Etymotic Research ER20 ETY-Plugs ($13, Amazon).

3 DYNAMIC LEVEL Dynamic levels correspond to how many inches the stick is raised to strike the drum. These are not speciic measurements, but guidelines to help accuracy throughout the line. orte = 12 accents Mezzo-orte = 9 accents Mezzo-Piano = 6 accents Piano = 3 accents Taps are played at 3 inches or lower at all times, unless a crescendo or decrescendo notates a change in stick height. nare drum notation is as ollows: Tenor notation is as ollows: Bass drum notation is as ollows: Cymbal notation is as ollows:

4 nare 8s W U D R U M L I N E E X E R C I E COMPILED BY ARVAY Ó R R R R R R R R L L L L L L L L R R R R R R R R R R R R R R R R L L L L L L L L R R R R R R R R L L L L L L L L L L L L L L L L R 8s - Add a diddle Ó R R R L L L R R R L L L R R R L L L R R R L L L 8s - Add a diddle (4-2-1) Ó R R R L L L R R R L L L R R R L L L R R R L L L R R R L L L R R R L L L R R L L R R L L R R L L R R L L R Ó R L R L R L R L R low (all up) R L R L... R L R L R L R L... L R L R L R L R L... R R R L L L R R R L L L R R R L R L R L... L L L R R R L L L R R R L L L R L Ó R L R L... R R L L R R L L R R L L R R L L R L R L... L L R R L L R R L L R R L L R R L R 6 8 Triplet Timing (one note) 6 8 j j j 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 L R L R L L L L L L L R L R L R L R R R R L R L R L L L L R Copyright 2017

5 Tenors 8s W U D R U M L I N E E X E R C I E COMPILED BY ARVAY Ó R R R R R R R R L L L L L L L L R R R R R R R R R R R R R R R R L L L L L L L L R R R R R R R R L L L L L L L L L L L L L L L L R 8s - Add a diddle Ó R R R L L L R R R L L L R R R L L L R R R L L L 8s - Add a diddle (4-2-1) Ó R R R L L L R R R L L L R R R L L L R R R L L L R R R L L L R R R L L L R R L L R R L L R R L L R R L L R Ó R L R L R L R L R low (all up) R L R L... R L R L R L R L... L R L R L R L R L... R R R L L L R R R L L L R R R L 39 Ó R L R L... L L L R R R L L L R R R L L L R L R L R L... R R L L R R L L R R L L R R L L R L R L... L L R R L L R R L L R R L L R R L R 6 8 Triplet Timing (one note) 6 8 j j j 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 L R L R L L L L L L L R L R L R L R R R R L R L R L L L L R Copyright 2017

6 Bass 8s W U D R U M L I N E E X E R C I E COMPILED BY ARVAY æ æ æ æ æ æ æ æ - æ - æ j j V V V V V V V V V Ó 8s - Add a diddle V V V V V V V VV V V V V V V V VV V V V V V V V VV V V V V V V V VV V V V V V V V VV V V V V V V V VV V V V V V V V VV V V V V V V V VV V Ó R R R L L L R R R L L L R R R L L L R R R L L L 8s - Add a diddle (4-2-1) VVVVVVVVV VVVVVVVVV VVVVVVVVV VVVVVVVVV VVVVVVVVVV VVVVVVVVVV VVVVVVVVVVVV VVVVVVVVVVVVVVVV V Ó R R R L L L R R R L L L R R R L L L R R R L L L R R R L L L R R R L L L R R L L R R L L R R L L R R L L R 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 V V V V V V V V V V Ó R L R L R L R L R low (all up) VVVVVVVVVVVVVVVV VVVVVVVVVVVVVVVV VVVVVVVVVVVVVVVV VVVVVVVVVVVVVVVV R L R L VVVVVVVVVVVVVVVV VVVVVVVVVVVVVVVV V Ó Triplet Timing (one note) 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 j j V V V V V V V V V V V V V V V V V V V V V j V 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 L R L R L L L L L L L R L R L R L R R R R L R L R L L L L R Copyright 2017

7 Cymbals 8s W U D R U M L I N E E X E R C I E Ó COMPILED BY ARVAY 8s - Add a diddle TACET 8s - Add a diddle (4-2-1) TACET TACET low (all up) TACET 6 8 Triplet Timing (one note) TACET Copyright 2017

8 Timing Exercise tart slowly, with a metronome (set on quarter-note subdivision) and ocus on the change in the timing o the sticks that must occur between the dierent rhythms. A B 6 6 C D 2 4 R L R L R L R L R L R L R L R L R L R L R L R L 6 6 E 6 6 c Ó 13 R L R L R L R L R L R L R L R L R L R R L R R R L R R L R L L R L L L R L L R L E G H I 18 ixteenth Timing This exercise will be used extensively in sectional playing (especially patterns A, B, C, D, and E). - All sticking is alternating (natural sticking) - The irst measure is the "Check Pattern" which should be played beore each o the lettered measures (A, B, C, etc.) - Practice slowly at irst with a metronome to ensure rhythmic precision and consistency - Vary the tempo and dynamic levels, adjusting the stick height accordingly -- always keeping heights o the let and right sticks matched! - Practice this 4-beat version, then try 2 beats o each (two beats o Check Pattern, then two beats o A, etc.). Then try 1 beat o each. C.P. (check pattern) A B C D R L R L R R R R L L L L R L R L R L R L K L M N r r r r j j j j j j j j 23 L R L R L L R R L L R R all 2016 Wayne tate University Drumline Page 2

9 nare Double Beat This exercise demands patience and control o the spaces between notes. Allow the stick to rebound naturally using the tension o the head. The hand should merely intiate the stroke and "go along or the ride." The sixteenth note roll at Letter D should be the same speed and have the same strong sound as the preceeding measures. To play measure 9, simply move the handsarm aster while increasing the grip "irmness" slightly. Relax this "irmness"and slightly slow the stroke speed into measure 10. The timing and sound quality o measures 10 and 11 should be the exact same. A B R L... R R... L L... R R R... Tenors Bass O O O O R L... R R... L L... R R R... V V V V V V V V V V V V V V V V V V V V V V V R L... R L... R R L R L... R R L R R L... n. Tn. Bs. 5 C D æ æ æ æ æ æ æ æ L L L... R R R R R R L L L L L L IM. R L... L L L... R R R R R R L L L L L L IM. R L... V R R L... R R L R L L R R L R L L RL... V V V V V V V V V V V V æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ n. Tn. Bs. 9 æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Ó R L R L R L... R L... R L... R æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Ó R L R L R L... R L... R L... R æ V V V V V V æ æ æ æ æ æ æ æ æ æ æ V Ó R L R... 6 R L L R R L RLRL... R all 2016 Wayne tate University Drumline Page 6

10 core nareline 4 4 q = 180 Hungry Like the Wol AnT Thomas Wol 5 A B C 30 r l r l r

11 core nareline 8 7 Paradiddle Arranged by Thomas Wol r l r r l r l l r l r r l l r l r r l r l l r l r r l l r l r r l r l l r r l r l l r l r r l l r l r r l r l l r l r r l r l l r l r r l r l l r r l r l l r l r r l r l l r r l r l l r l r r l l r l r r l r l l r r l r l l r l r r l r l l r

12 Triple Added Doubles Now work on your doubles in a triplet eel. - The irst measure is the "Check Pattern" which should be played beore each o the lettered measures (A, B, C, etc.) - Using a metronome, start slowly to ensure rhythmic precision and consistency - As you increase the tempo, decrease the stick heights accordingly - Practice this 4-beat version, then try 2 beats o each. Then try 1 beat o each 12 8 A B C æ æ æ æ æ æ æ æ æ æ æ æ 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... D E G æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Ó 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 all 2016 Wayne tate University Drumline Page 7

13 core 4!!!! nareline Huck a da Bird Plymouth Edition!!!! Arranged by Thomas Wol!!!!!!!! 5!!!!!!!!!!!!!!!!!!!!!!!! 10 r l r l r l r l 13 r l r l r l r l r l r l r r l l r r l l r l r l 22 r r l l r r l l r l r l r r l l r r l l r l r l 25 Ó r r l l r r l l r r l l r r l l r

14 core nareline 4 4 q = 180!! Hungry Like the Wol AnT!!!!! Thomas Wol!!! 5!!!!!!!!! A!!! 10!!!!!!!!!!!!!!! B 15!!!!!!!!!!!!!!!! 20!!!!!!!!!!!!!!! 25 C!!!!!!!!!!!!!! 30!!!!!!! r l r l r

15 ight ong nare Tenors Bs.Cym. A B 2 4 R L L R L R L L R L R L R R L R L L R L R R L L R L 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 L R L R L L R L R L R R L R L L R L L R L R L L R L R L R R L R L L R L R R L L R L 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 L R L R L L R L R L R R L R L L V V V V V V V V V V V V V V V V V V V V V V V n. Tn. BC 12 C R L R R L L R L 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 L R L R L L R L R L R R L R L L R L R R L L R L L R L R L L R L R L R R L L R L 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 L R L R L L R L R L R R L R L L R L R R L L R L L R L R L L R L V V V V V V V V V V V V V V V V V V V V V V n. Tn. BC 23 D R L R L R L R L R R L R L R L R R L L R L R R L L R L R R L R L L R L R R L L R R RL L R R RL L R R RL L R R RL L R L R L R L R L R R L R L R L R L R R L R L R L R R L L R L R R L L R L R R L R L L R L R R L L R R RL L R R RL L R R RL L R R RL L R L R L R L R L R V V V V V V V V V V V V V V V V V V V V V V all 2016 Wayne tate University Drumline Page 9

16 core aygo Redpop or Wayne tate University Drumline Nick Edelmann nareline Tenorline olo Tapo 4 March Tempo q = All In j j x x^ x j x R B R r l r l x x R l l R l r l l r r. x x x. tick Clicks l r l r l x r l r l r x r edge to center r l r l r x x Bass Drums Cymbal Line 4 4. R L R L r l r l.. R r r r. x x sim. x x x x 6 x r r center to edge l l x x r x x x x Í Í ^. R R L R Cym. x x x x x x x x w Cym. 11!!!! r r l l R l r l r l l r M M R L R L L R L R!!!! r r l l r l. M M R L L R L R L R L R!!!! sim. M M R L R L L R L R!!. R L L L R R L L L R M R L L R L R L L L R

17 2 15!!!!!!!!!!!! x x ^ x M M. M M M M sim. Cym. Ó 19. z j. z x^. j z. z x^. j z Cym... x x x r r r r r r.. M^ r r r r r R x x x x ^.. sim. x x x x.. M^ x x x x ^ z r l r l l r r l.. x x x 24. z x^ z x^ r l l r l r r R.. M^. j z z sim... Ó r l r l r l r r r l r l r l r z.. z. x^. M^ z.. Cym. x x x x ^ x x x x x x x x x x x x x x x ^ x x x x

18 3 30 Cym. Cym. 34 z. x^. M^ x x x x ^ R R L R L R L R ^ x ^ R R L R L R L R 39 r r l l r r l l sim. z.. x x x!!!!!!!! M M!!!! z.. x^ M^ x x x x ^!!!!. M M!!!! sim. z.!!!! x x ^ x M M... x x x x!!. ƒ M ^ ^ ^ j j x^ ƒ Cym. M M. M M M M Ó.. ƒ x

19 nareline Tenorline Bass Drums core 3 5 q = ẍ ƒ q = ƒ q = ƒ. x x x.. x x x x! x! x Time Turners Wayne tate Drumline! x! x mp mp Composed by Thomas Wol! x! x

20 ! x! x 2 Time Turners 8. j 3 3 j. 3 3 ẍ x x x m ẍ ƒ Ó Ó 11 P r l r r l l r l r r l l!! x z z r l l r l l r l 14 P r l r r l l r l r l r l mp r l l r l l r l r r l l.!!!!! x r Ó Ó!!!!!!

21 17 ẍ x x x Time Turners x x x x 3 m x x x ƒ x x x x 19 x x x x x x x x 20 x x x x!!!!!!!! p 3 3 p

22 ! x! x 22 mp mp j! x! x 25 j! x! x 4 Time Turners! x! x ẍ ƒ 28 ƒ. ƒ ẍ ẍ 3 x x 3