NOTE: also be comfortable with split parts for exercises for whatever drum you are trying out for.

Transcription

1 To: All 017 Cadets Battery Percussion Applicants From: Tom Aungst Percussion Caption-Head e: First Ca Evaluation Material On behal o The Cadets Percussion Sta, I would like to welcome everyone and thank you or choosing The Cadets. We are all very excited about the 017 season and the opportunity to work with each o you. At the irst ca we will ocus on two major objectives. First, we will teach the basic style and technique used by The Cadets drumline, and second we will hear each person play individually to evaluate their skill leave. We will be considering our major actors in determining the percussion section: your ability to adapt to the style, work ethic, attitude, and playing ability. By the end o the evaluation ca, some decisions will be made and you will know exactly where you stand. To be sure that each o you receives the best possible chance to be a part o The Cadets, the inal decision will be made by the second or third ca. This will give you a chance to work and develop the skills needed to be a part o The Cadets. I have enclosed exercises that you will be responsible or during the evaluation process. These exercises will help you prepare or the ca, and give us the opportunity to move quickly through the technique instruction. In addition to the exercises, you should prepare a short solo which should be no longer than a minute. You can write a solo yoursel, connect various exercises you already know, or play a short etude rom a book. Also, be prepared to play various rudiments rom the rudiment sheet. EQUIEMENTS FO A: SNAE: - All rudiments on rudiment sheet, short solo, all exercises. TENOS: - All rudiments on rudiment sheet, short solo, all exercises. BASSES: - Be able to play rudiments 1 9 on rudiment sheet and a short solo. EXECISES: Basses should learn snare parts listed below. UNISON SINGE BEATS ---- learn entire snare part SPIT SINGE BEATS ---- learn snare part up to B A.T. AND MOE ---- learn snare part up to A DOUBE BEAT ---- learn snare part up to B O EXECISE ---- learn snare part up to D TIPE FAM THING ---- learn entire snare part all the way through with NO variations NOTE: also be comortable with split parts or exercises or whatever drum you are trying out or. AST: More exercises and music will be handed out at the ca. THINGS TO BING: 1.Sticks or whatever instrument you are trying out or..a music stand..i possible, your own drum with STAND or harness. I you can't, don't worry about it. We look orward to meeting you at the ca.

2 Video Audition Instructions Video auditions are or extenuating circumstances only. I you are unable to attend the cas due to extreme circumstances (coming rom another country, major school commitments, etc.) You will need to colete the registration process; including paying the $10 registration ee and audition ee (audition videos will not be reviewed until ee is paid). You can then submit your audition video via to the link provided in the conirmation . It will be reviewed by the appropriate sta member, and you will be contacted with eedback. The video should contain: 1) An introduction o yoursel that includes your past experience ) Exercises as stated above or your auditioning instrumet Your video has no time limit, but should be perormed at your highest ability. Keep in mind that you should demonstrate your playing proiciency as you would in a live audition. Accoanying your tape please include in the Your name, birth date, age, address, phone number, section or which you are auditioning and previous experience/instructional sta.

3 Technique and Approach Cadets By Tom Aungst Glossary o Percussion Strokes Below are the basic strokes we use to uniy our sound and detail the music. The touch and eel o each stroke may vary according to the musical intent. Besides these basic strokes, other types o strokes will be taught to achieve the integrity and style o the music. 1. egato Stroke or ebound Stroke: A stroke that starts at any height, plays, and then returns to its original height. It has a constant low or motion, never stopping or starting. It is the natural EBOUND o the stick.. Staccato Stroke or Down Stroke: A stroke that starts high, plays, and is stopped close to the drum. Basically, you are controlling the stick rom rebounding up. This stroke is usually used on accents.. Tap: This is usually a,, - inch legato stroke. Taps are usually the notes that are in-between the accents.. Up Stroke: A stroke that starts low, plays, and quickly lits upward to a particular height. An exale would be grace notes rom alternating lams. Dynamics These dynamic levels and heights are used to uniy the sound and look o the ensemble. ike the percussion strokes described above, the dynamic levels are used to achieve the cooser s musical intent and is a major part o how the percussion ensemble maintains the integrity o the music. p piano = mezzo-piano = m mezzo-orte = m+ = 7 orte = 9 + = 10 ortissimo = 1 = 1 = 18

4 Also, the intensity o the stroke or each dynamic level or height may change depending on what is needed to achieve the musical intent o a particular pattern or musical phrase. For exale, a group o orte accents may need to sound less intense because: 1. the teo is too ast;. an individual or the ensemble is out o balance;. a certain touch is needed to achieve a better FEE;. it is aecting the quality o sound. All these concepts will be considered as the music is being taught. Playing Areas or Zones In addition to using dynamic levels and dierent strokes to achieve the musical intent, dierent playing areas or zones on the drum head can also be used to: 1. balance and blend the total ensemble;. create dierent timbres and colors;. achieve the appropriate touch and or eel. THE BASIC ZONES are center, ½ way between center and rim, and the edge. Mechanics o Playing When talking about the technical skills needed to perorm at a high level, the mechanics o playing must be taught and more iortantly, must constantly be developed. By developing these skills, you will upgrade the perormer s ability and, at the same time, enhance the overall sound o the ensemble. Through repetition and proper coaching these techniques used to play a particular stroke, control a sticking pattern, or just be able to play more stu at certain teos, are very iortant or the perormers to learn in order to achieve demanding material at the highest level. These are the basic coonents on both hands that should be developed. 1. Fulcrum: This is the point where the stick should be held with the most pressure. a. IGHT HAND = between the bottom part o the thumb and the side o index inger on the nd knuckle groove. b. EFT HAND(or traditional grip only) = inside the crease between the thumb and index inger, making sure it is down at the bottom part o the thumb. It is very iortant to keep the ulcrum intact at all times to ensure control.. Fingers: The back ingers on your right hand should be relaxed naturally around the stick. For the let hand, i playing traditional grip, the stick should be placed on the irst knuckle o the ring inger. ike the right hand, the other ingers should be relaxed and curved in a natural ashion. Also, it is very iortant to develop your ingers

5 through various exercises. Developing the use o your ingers will upgrade your quality o sound and the control needed to play advanced material.. Wrist and Forearm: The wrist and orearm should work hand in hand to achieve a natural relaxed approach to playing. When both are rotating together it should eel like you are DIBBING A BASKETBA. By turning your wrist and using some orearm motion, you will be able to expand the range o your technical and musical skills. Exercises Purpose - To become great at playing any musical instrument you have to be willing to advance your technical skills. earning how to play advanced percussion music without learning the techniques needed to play that music will not help you perorm at the highest level. THE BASICS, as most people call them, are very iortant to the success o the individual player as well as the total ensemble. We need to strengthen ourselves individually and, at the same time, work together in harmony. The exercises in this packet are used to help the players advance technically and musically and learn how to work together to achieve a great ensemble sound. Some o these exercises are ca or audition exercises, used to teach a basic concept or evaluate the players skills. Once the show is learned and the drill is taught, more exercises will be written and taught by rote, ocusing on a particular rudiment, pattern or musical phrase written in the drum book. By the end o the season we may have 1 dierent exercises which will be repeated over and over each day. These exercises are called SHOW EXECISES, Usually short in length, they are used to clean the musical book. For now, let s ocus on the exercises in this packet. By developing the techniques above and working these exercises the players will: 1. be better prepared physically to perorm the demanding responsibilities o the music and drill;. learn how to work together to achieve a uniied ensemble sound. increase the quality o their playing;. expand their rudimental vocabulary and upgrade their musicianship;. learn advanced rehearsal techniques;. strengthen their muscles (chops); 7. increase their endurance to play or longer periods o time. Ways to Practice the Exercises Here are a ew tips or practicing individually or as an ensemble.

6 1. Use a metronome!. When starting to learn an exercise, remember to start with a slower teo. Be very methodical and detailed. Follow all dynamics and check to make sure you are using the correct technique.. Vary the way you play an exercise, use dierent teos and dynamics. Also, i it is a One Hander exercise, play the entire exercise with just the right or let hand. This will help strengthen your playing chops and endurance.. The bass drummers should always learn the snare parts or all exercises, even i there is a split part or the basses to play. We want all o the players to develop their hands equally.. When tenor players are learning these exercises, make sure they work on playing their part on one drum irst. By playing on one drum they can ocus on technique and not worry about what drum they need to play next.. Many o these exercises are long and are meant to be so. We want the players to develop their chops and endurance and eel as i they are playing a longer piece o music. The best way to develop a playing concept is to break down an idea into smaller segments. Exale: When working the Double Beat exercise start by working on the right hand irst, trying to master the stroke and mechanics. Continue adding on segments to the exercise until you have a stronger approach to the exercise. You may just want to work the beginning to A and use that as an exercise. emember, you will not get better by just playing these exercises, you need to work on the technique and approach that is used to play them. 7. Also, when you get comortable playing a particular exercise make sure you add your eet. This is as iortant as learning the proper technique.

7 CADETS Noah's Diddits 017 Snareine Tenorine Marching Bass Drum q = 10 r l r r l r r l r l l r l l / r / m m l r l r r l r r l r l l r l l r / / m m l r l r r l r r l r l l r l l / / r r r r r r r r l l r r r r r r l r r r l r l r l r l r l l r r r l r l r r l simile simile Cooser Tom Aungst, Paul Nalesnik A B Snare r l r l r l r r l r r l r r l r r l r l r l r r l r l r r r r l r l r l r l l r l l r l l r l l r l r l r l l r l r l l l l r r l r r r l r r r l r r m r l l l l Tenors r l r l r l r r l r r l r r l r r l r l r l r r l r l r r r r l r l r l r l l r l l r l l r l l r l r l r l l r l r l l l l r r l r r r l r r r l r r m r l l l l r r r r r r r r l l r r r r r r l r r r l r l r l r l r l l r r r l r l r r l r l r r r l r r r l l r l r r r r 11 Snare r r r l r l r l r r r l l r l r r l l r l l l r l l l r l l l r r r r l l l r l r l r l l l r r l r l l simile Tenors r r r l r l r l r r r l l r l r r l l r l l l r l l l r l l l r r r r l l l r l r l r l l l r r l r l l simile r l r l r l r l r r l r l r r r r r l r r r l r r r l l r l r r r r r l r l r l r l r r l r l r r r r Snare 1 r taps r l r r l taps r l l r r l r r l r l l r l r l r l r l r r l l r m+ m l r l r l r Tenors r r l r r l r l l r r l r r l r l l r l r l r l r l r r l l r m+ m l r l r l r r r l r r l r l l r r l r r l r l l r l r

8 CADETS TIPE FAM THING 017 Snareine Tenorine q=1 No Marching Cooser Tom Aungst, Paul Nalesnick taps No Marching taps Bassine Snare Tenors Bass Dr 11 Snare Tenors Bass Dr 17 VAIATIONS FO BAS 1 AND 1/tenors play variations on one drum FAM PAADIDDE DIDDE FAM PAADIDDES Snare Tenors Bass Dr PATAFAFA CHOO - CHOO Drag CHOO-CHOO Snare Tenors Bass Dr

9 Snare Tenors Bass Dr 0 SINGE DAG FAM MI BOOK EPOTS EXTENDED BOOK EPOT

10 Snare q = 1-18 MACH the quarter note CADETS 017 split single beats inger control cooser Tom Aungst, Bobby Marino, Paul Nalesnik Marching Tenor Drums MACH Marching Bass Drum m m+ + + m m+ + m m+ + + m m+ + m m+ + + m m+

11 19 + A m m m m + m m m m + m m m m m m m m m m m m m m m m m m m m m m 7 B m m m m m m m m m m m m m m

12 Snare Drum 1. Flam Accent. Flam Tap CADETS udiment Sheet 017. Flam Paradiddle r l r l r l r r l l r r l l r l r r l r l l 7 1. Single Flammed Mill. Flam Paradiddle Diddle. Patalala r r l r l l r l r l r r l l l r l l r r r l r l r l r l 7. Swiss Army Triplet 8. Inverted Flam Tap r r l r r l r r l r r l r l l r r l l r r r l r r l l r l l 9. Swiss-A-Diddle Choo-Choo 11. Shirley Murphy 1. Shock-A-Diddle r l r r l r l l r l l r r r l r r l l l r r l r l l r l 1. Flamacue-Diddle 1. Diddle-Flala 1. Egg Beaters r l r r l r l l r r l r l l r l r r r l l r r r l l 1 1. Drag Paradiddles 17. Tap Drag-A-Diddles 18. Drag Tap-A-Diddles 19. -A-Diddles 8 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 l r r l r l l 0. Cheeses 1. Flam Fives. Flam Drags. One Handed Flam Drags r 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 r l l r. Drag Pu-da-tas. Swiss Cheese Inverts. Cheese Chain 7. Chutra-Cheese r l l r l l r l l l r r r l r l r l r l r l r l r l r l r l 8. Book eports 9. Double Flam Drag 0. Cheese Patalala r l r r l r l l r l r l r l r l r l r l r l r l r l

13 0 1. Flam Five Flala. Cheese Inverts. Cheese Cha r l r l r l r l r l l r r l l r r l r r l r. Hand to Hand Cheese Cha. Chut Cheese. Cheese Tap Cha 8 r l r l r l r l r l r l r l r l r l 7 7. Grandmas 8. Inverted Grandmas 9. Dig-ga-dup-dat 8 r l r l l r l r l l r l r r l r l r r l r l r l r l r l Dap-dig-ga-up 1. Chap-dig-ga-up. Extended Book eport r l r l r l r l r l r l r l r l r l r r l r l r l l r l. Nut-Cha-Da. Drag Nut-Cha-Da r l r r r l r l l l r l r r r l r l l l. Drag Choo-Choo. Single Drag Flammed Mill r l r r l r l l r r l r l l r l

14 q = 1-17 March the quarter note CADETS oll Exercise 017 Cooser Tom Aungst, Bobby Marino, Paul Nalesnik Snare Tenor Bass 10 A m m m 1

15 B 19 taps taps taps 9

16 C TAPS TAPS D TAPS m TAPS m TAPS m 0 m m m m m m

17 TO 1/ 1/ m = m =

18 q. = CADETS DOUBE BEAT 017 Cooser Tom Aungst, Henry Williams, Paul Nalesnik MACH = DOTTED QUATE NOTE AND EGUA QUATE NOTE Snare 1 8 Tenor Bass

19 9 A TAPS TAPS 11 r l l l l l r r r l l 1 B TAPS TAPS r r Sim.. 1 Hand to Hand

20 17 C TAPS 9:x 9:x 9:x 9:x :x :x 8 m+ m+ TAPS m+ 9:x 9:x 9:x 9:x :x :x m+ TAPS 9:x 9:x 8 8 l l 9:x l l r r r r 9:x r r l l l r r l l l r

21 Snare Tenor q. = MACH DOTTED QUATE NOTE TAPS MACH DOTTED QUATE NOTE TAPS CADETS A.T. AND MOE 017 m m Cooser Tom Aungst, Paul Nalesnik, Henry Williams m m Bass 8 r 8 TAPS m m TAPS m m r A TAPS CESC. ACCENTS ONY m m + TAPS CESC. ACCENTS ONY Hand to Hand m m m m + r l l r r l l Sim... m +

22 0 m + m m 8 m + m m 8 m 8 8 B 8 m 8 8 m :x :x m m m :x :x m m m

23 :x :x :x :x :x :x 8 :e q. = q C TAPS m m m m m :x :x :x :x :x :x 8 :e TAPS m m m m m B 8 0 TAPS 9 TAPS TAPS 9 TAPS

24 m m m m 7 m+ m+ m+ m+ m m m+ m+ m+ m+ m m m 9 m+ m+

25 Snareine q=1 c r CADETS Alan 017 Cooser Tom Aungst, Paul Nalesnik r r r r r r r r l l l l l l l l l r r r r r r r r r l r r r l l l l l l l l l r l l l r l r r r r r r l l l l l l r l Tenorine c r r r r r r r r r l l l l l l l l l r r r r r r r r r l r r r l l l l l l l l l r l l l r l r r r l l l l l l r l r r r Bassine c r l r l r l r l r l r l r r l r l r l r l r l r r Snare r r r r r r l l l l l l r l r r r l r r r l r r r l l l r r l l l r l l l r l l l r r r l l r r r l l l r r l l l r r r l l Tenors r r r l l l l l l r l r r r r l r r r l r r r l l l r l r r l r l l l r l l l r r r l r l l r r r l l l r r l l l r r r l l Bass Dr r r r r l r l r l r r l r r r l r r l r r l r l r l r r l r r r l r r l r l r l r l r l r l r l r l r l r l r l Snare 10 c 9 8 r r r l l r r r l l r r l l l r r l l l r r l l r r r l l r r r l l r l l l r l r r r l r r l r l r l r l l = Tenors c 9 8 r r r l l r r r l l r r l l l r r l l l r r l l r r r l l r r r l l r l l l r l r r r l r l r l r l r l r l l Bass Dr c 9 8 r r r l l r r r l l r l l l r l r r r l r r r r r r Snare 1 r l r l l r l r r l l r 1:8 r r l l l r r r l l r r r l l r r r l r r l r l r 1:8 Tenors r l r l l r l r r l l r r r l l l r r r l l r r r l l r r r l r r l r l r Bass Dr r r r r l r l r 1:8

26 Snare No Marching/tenors play snare part q = 11 CADETS Unison Single Beats 017 Cooser Tom Aungst, Bobby Marino Marching Bass Drum Snare 7

27 9 B 11 1 B