Philosophy!Statement! The!marching!percussion!program!at!The!University!of!Texas!at!Austin!creates!a!learning!

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1 he University o exas onghorn and Drumline Audition Inormation Onbehalotheonghornanddirectorssectionleadersandstathankyouoryourinterestin auditioningorthedrumlineatheuniversityoexashispacketwillgiveyouallthenecessary inormationortheauditionprocessandootballseasonrequirementsandexpectations. oprepareyouorauditionstherewillbetwosummerclinicsjuly21standaugust4th.othclinicswill beheldintheandhallme2.114rom8am 5pm.Youarerequiredtoattendatleastoneothese clinicstobeeligibletoauditionduringbandweekstartingonaugust21st.iyouareunabletoattend eitherclinicdateyoumustsubmitavideoauditioninlieuoclinicattendance.pleasecontactoniaraat otonielnlara@gmail.comorvideoauditioninstructions. Foranyquestionsregardingthispacketortheauditionprocesspleasecontactme.Pleasejointhe exas DrumsProspectiveMembers2018X2019 Facebookgrouptoconnectwithsectionleadersreturning membersandotherprospectivemembers. incerely Oniara DrumlineInstructor heuniversityoexasataustin

2 Philosophytatement hemarchingpercussionprogramatheuniversityoexasataustincreatesalearning environmentthatisconducivetoahighlevelomusicalperormancewhileupholdingthe traditionotheonghornandandheuniversityinthemostdigniiedmanner. Approach Ourendgoalistoalwayssoundgoodandthevisualmeansoperormanceisextremely iortantinordertoachievethedesiredmusicalmeans.efoeplayingonemusthavethe correctphysicalstateandposture.histranslatestostrongbuttensionlessshouldersandupper bodyandaneutralacialexpression.youshouldplaywithahighdegreeoconidenceand authority thisdoesnotmeanputtingona meanace butratherbeingstronganddeliberate whilemaintainingcalmnesstoyourplaying.hinkothis look asarelaxedintensity. egardlessoperormancedemandsyoushouldlook incontrol oeveryaspect.hisisasmuch amentalstateasaphysicalstate. ookgoodxfeelgreatxplaywell. iming imingisthemostiortantelementoplayinginadrumline.eachmemberisexpectedtoown anduseametronome.youmustbekeenlyawareohowtousethattool subdivisionsaural awarenessetc.andnotsilyusedas whitenoise overthemusic.ememberrudimentsare rhythmsiyouarenotcareulstickingpatternscanandwillaecttherhythmicintegrityothe music.edeliberateinyourapproachtorhythms.aterallithetimingislostthegrooveis lost ound oundisthemostiortantelementomusic.forusthisisachievedthrougharelaxed approachtoholdingtheilementsandstrikingthedrum.whenplayingthesticksshouldeel heavyinyourhandsbutapproachedwithalighttouch.hisisachievedbyusingaweighted legatostrokeandbynotsqueezingthestick.allowingthesticktoresonateiscrucialtoachieving anoptimaltone.nomatterwhatthemusicalorphysicaldemandarelaxedapproachmustalways bemaintainedtoachievethedesiredsound. istening isteningskillsareinvaluableinanyensemblesetting.ultimatelybalancingandblendingare themostiortantelementsoplayingtogether.heamounto chops canovercomean inabilitytolisten.musicisacollectiveeortandtheremustbea negotiation ospacetimeand balancewhenplaying.hebestdrumlinesplaybestbecausetheylistenbest. onidence Allgreatmusiciansandperormersareconidentintheirabilities thatiswhatmakesthemgreat. hisisachievednotthroughbeingoverlyselxconidentbutby puttinginthetime sothatgood habitsandpositivemusclememoriesbuildastrongoundation.

3 echniqueguide Feel Whenplayingalwaysstriveorarelaxedapproach.Arelaxedhandallowsthestickto resonatewhichproducesthebestqualityosound.whentoomuchpressureisappliedtothe gripthestick snaturalvibrationsaremutedproducingasmallorthinsound.alwaysletthe sticks breathe inyourhands.heintensitywithwhichyoushouldplaythedrumshouldbe weighteddeliberateandwithasotgriponthestick. Matchedgrip naresrighthandtenorsandbasseswillutilizethe=pointulcrum.hisulcrumwillshit betweenthethumbandindexastermorecrusheddiddlesrudimentsomorerequently thethumbandmiddleingerlegatostrokeswidermoreopendiddles.hischangebetween ulcrumswillbelessoavisualchangeandmoreoramentalshitoattentiontowherethepoint opressureshouldbeinthegrip.herestotheingerswillwraparoundthesticklooselyand naturallyneverlosingcontactwiththestick.hebuttendothestickwilltouchtheattyparto thepalmoppositethethumb.heoptimalbalancepointothestickisabout1upthestick lengthromthebuttend thisiswheretheulcrumwillbelocated.assdrumswillsetthe ulcrumsothatthereisno slack protrudingpastthepalm.forsnaresandtenorsthecrease createdbythethumbandtheindexingershouldbeturnedatapproximatelya45xdegreeangle. hisallowseasyaccesstotheingersorinesserudimentsandthewristormorepower. raditionalgrip nareslethand: hestickwillsitbackagainstthe webbed partbetweenthethumbandindexinger more openlegatorudimentswillstemromthispartothegrip.heintersectionothethumbandthe indexwillberoughlyaroundtheirstknuckleotheindexinger quickermorecrushed rudimentswillstemromthispartothegrip.hestickwillrestontheourthingernearthe cuticle.hepinkyshouldstayattachedtotheourthingerinarelaxedposition.allingers shouldbeinanaturalcurvedposition.hethumbnailshouldaceuptowardstheceiling.you shouldbeabletodrawastraightlineromtheorearmthroughtothethumbnail thiswillgive thedrumstickthecorrecttrajectorywheninmotion. etup naresandtenors: Placeyourarmsatyoursidesasiyouwerenotholdingasetosticks.Nowlityourorearmsup pivotingromtheelbows itisiortantthatyourelbowsdonotmoveinoutandthatyour shouldersdonotlitup.hereshouldbeaslightdownwardangleromyourelbowstothebeado thestickmatchedgrip. asses: Placeyourarmsatyoursidesasiyouwerenotholdingasetosticks.Nowlityourorearmsup pivotingromtheelbows itisiortantthatyourelbowsdonotmoveinoutandthatyour shouldersdonotlitup.forearmsshouldbeparalleltothegroundandtherewillbeaslight inwardangleromthehandstothemallethead.

4 trokes hemainstroketypesareull=strokesdownstrokesupstrokesandtaps.heseareallrelaxed legatostrokesthatshouldbeabsentotensionatalltimes.fullstrokesstartup=endup allowingthesticktoreboundatthesamerateitcamedown.apsaresimilarinreboundbut startdown=enddown.downstrokesstartup=enddown.itisiortanttonotsqueezethe stickastheupwardmotionishaltedbutocusonthewriststoppingthestickromreboundingto theinitialheight.upstrokesstartdown=endup theupwardmotionisledbythewristturn.

5 Expectations linicsauditions ometotheauditionswithapositiveattitudeandshowadesiretolearnandiroveasa musician.attitudegoesalongwaywhenwearedeterminingtheinalcutduringauditions. Whilemusicdoesnotneedtobememorizedorclinicsyoushouldbeabletoplaythroughthe warmups pider and razyorangeread. Allauditioneeswillberequiredtomemorizethispacketbytheauditionduringbandweek August21 st X28 th.itisiortantthatasamemberothedrumlineyouareconidentinall exercisescadencesandtraditionalmusic.duringtheschoolyearyouwillreceivenewmusic andlearnnewdrillrequently.don tworrythisispossible thesectionleadersandiwillhelp youindthebestwaystolearnthismusic. ehearsals GiventhetimeconstraintsoanormalHperormanceseasoneveryeortmustbemadeto maximizetheamountoqualityonxtaskrehearsaltimewithineachsession.asaresultthe rehearsalenvironmentmustbecoletelyreeoextraneousnoisetalkingordisruptive behavior.ourworkethicisabsolutelyvitaltooursuccessandanynegativitybroughtbyone memberwilldisruptthelowothewholesection. Newmusicwillbedistributedrequentlyduringtheseason.Everymembermustcometothe irstrehearsaloanewshowhavinglookedatthemusicaheadotime.hisiscrucialtoour successasaullline.howingupunpreparedisdetrimentaltothegroupanddisrespectultoyour peerswhotookthetimetopreparetheirparts.additionallymemorizationdeadlineswillbeset orshowsandmustbemettoensurepreparationoraperormance. hroughouttheyeartherewillbesituationswhentherewillbeaveryshortamountotimeto puttogetheraperormance.everyeortwillbemadetolookatmusicwellenoughinadvance beoreitwillberehearsedinaullbandsettingbuttherewillbenumerousoccasionswhenyou willhavetosightxreadpartsandcleanthemtoperormancelevelinareducedamountotime.it isexpectedthatinthesesituationsthatmemberswillputorththenecessaryextraeortto ensurethesuccessothemselvesthesectionandtheband. Weeklyehearsalchedule Everymemberisrequiredtobeavailableortheollowingweeklyrehearsals Mondays: 5:0 Drumlineectional :0 Fullandrehearsal uesdays: :15 WarmUp :0 Fullandrehearsal Wednesdays: 5:0 Drumlineectional :0 Fullandrehearsal

6 Perormance heuniversityoexasonghornandperormsregularlyonanationalotentelevisedstage.as aresultallaspectsothehpresencemustexudethehighestlevelsoproessionalism musicianshipandmaturity.anypublicperormanceregardlessolengthorscopewillbe approachedincoleteandtotalseriousness.asamemberotheexasdrumlineyouwillbe expectedtobealertocusedonxtaskatalltimesduringperormancewhetherthatbeontheield inthestandsorinaparade.emembersomeoneisalwayswatchingandlistening.assumethat everyiressionistheirst. Aboveallitisthegoalotheentireonghornandtathatstudentshaveapositiveexperience nomattertheirleveloinvolvementwiththeuniversityoexasonghornand.hepercussion programisonlyoneaspectoamuchlargerentityonethatisdeeplyrootedinprideandtradition. Asamemberotheorganizationyouwillundoubtedlyidentiywiththesevaluesandwilldoyour parttohelppreserveandmaintainthespiritothisstoriedorganization.

7 nares Quads assline ymbals Notation Key im shot shoulder Ping tick shot im tick click ack stick g O Double top uzz rush. enuto im hot kank mule. im lick uzz rush. 7 7 O rossover V Unison im lick olo im lick Mule uzz. 7 rash rash hoke. Hi-Hat mash + izzle Fusion ing Pong Zing Unison 1+ h h 1 g

8 8-8-1 ara nares Quads Pattern 1 Quads Pattern 2 assline O O O O ymbals J. D.. D.. D.. D. ym. 5 Œ Ó Œ Ó O O O O Œ Ó Œ Ó g g g g g g Œ Ó Variations: Heights: Dynamics: rescendodecrescendo asses: Unison 1s 2s s 4s

9 hirteen.no I I I -.- I enor I I I. I.. 5..

10

11

12

13

14

15

16 riplet Diddle ara nares 12 8 q.= æ æ æ æ æ æ Quads 12 8 æ æ æ æ æ æ assline 12 8 æ æ æ æ æ æ ymbals j 1 J J 1 j J 1 j nares 4 æ æ æ æ æ æ æ æ æ æ æ æ Quads assline æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ V V J V V V J ymbals j 1 J g g g g g g nares Quads assline 7 Œ Œ Œ æ æ æ æ æ æ æ æ æ æ æ ^.^.^.^ æ æ æ æ æ æ j Œ Œ Œ æ æ æ æ æ æ V V V æ æ æ æ æ æ Œ Œ Œ ymbals g g g. Œ Œ Œ

17 even amba de olls nare enor ass etc. etc. ymbal + + +

18 nare enors asses D N D 4 ã ã ã l r l r ã ã ã Flammus Murray Gusseck arr. Donnelly l r l r l r l r D N D ã ã ã 2008

19 D N D 8 ã ã ã Flammus p.2 r r D N D D N D 17 ã ã.. ã.. 19 ã z^ z^ x^ x^ ã ^ x x ^ ã Å + + x^ ^ x r r l r r l l l r r l l + r l r r l l l r r l l r r l l r r l r r l r l r l r l r l r l ŒÓ ŒÓ ŒÓ 2008

20 raditional adences he ollowing cadences are traditional aspects o many onghorn and perormances. hey are used on the ield in the stands and in parades. ome are relatively old and are iortant to the experience o onghorn ans at U sporting events. treet adence 1 umble ridgemen pider Funk heerleader enor Intro uck uck razy Orange read

21 nare enor ass oll O + + treet adence No. 1 he University o exas onghorn and raditional treet adence 1 ymbal

22

23 +. + treet adence No. 1 he University o exas onghorn and

24 4 treet adence No. 1 he University o exas onghorn and - egular Halt 1920s Halt

25 nare enor ass etc... umble he University o exas onghorn and raditional treet adence etc... ymbal A. -.

26

27 ridgemen nare enor ass q = A visual ymbal punch vis

28 2 ridgemen sunrise

29 ridgemen 20 - visual +. sunset + F F do a turn

30 nare enor ass ymbal 7 pider q = A Ó Œ ^j æ æ æ æ æ æ m 4 Ó Œ ^j j j j j m 4 4???????????????????????????????? ight Hand Visual ight Hand Visual 4 Œ Œ Œ Œ Œ Œ Ó Ó Œ j j j j j j j j j orward punch vis æ æ æ æ æ æ æ æ æ æ æ æ ^ æ æ æ æ æ æ æ æ æ æ j j j j j j j??????????? < < <?????????????????????????????? j j j j j j j j j j j j j j j j j j j j

31 2 12 æ æ æ æ æ æ æ æ i j i j i j i j æ i j i j æ i j i j i j ^ i j i j i j i j æ r l r r l r r l r r r r - m æ æ ^ Œ Ó Ó Œ j??? < < <???? m???? Œ???? j j j j Œ Œ Œ Ó Œ j tap 17 D ront rim Hand laps 7 Œ j j j j j j j j j j j j j j Œ Œ Œ Œ split roll æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Œ Hand laps Œ???? Œ???? Œ Œ j j j j j j j j j j j j j j j j j j j j j j j j

32 pider Pings 2 E Œ Œ Ó ^r ^ ^ ^ Œ Œ Ó ^r ^ ^ ^ i j i j æ æ æ i j æ æ æ i j æ æ æ æ æ æ æ æ æ - m i j i j j æ æ ^ ^ i j æ æ æ æ æ - m?????????????????????????? j j j j j j j j j j j j j j j j j j j j 28 æ æ æ æ æ æ æ æ. ^j i j i j i j æ æ æ æ æ æ æ æ æ æ æ æ æ ^ æ æ æ æ æ æ æ l r l r l l r r l æ æ i j i j j æ æ i j æ æ æ æ æ??? Œ????????????????????????????????? Œ???? j j j j j j j j j j j j j j j j j j j j

33 4 pider p 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 æ æ æ æ æ æ æ p 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??????????????????? Œ Ó p j j j j j j j j Œ Ó 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 Œ Y ^j æ æ æ æ æ æ æ æ æ æ æ...???????????. Ó Œ? ^j Œ Œ Œ Ó Œ F F in nod

34 Funk nare enor ass ymbal traight or wung: Drive-y: ater irst time-irov

35 nare A heerleader he University o exas onghorn and raditional treet adence enor ass ymbal

36 nare enor ass ymbal enor Intro visual I: Goin and vis

37 nare Intro A uck uck he University o exas onghorn and raditional treet adence enor ass ymbal

38 nare enor ass ymbal A q = 11 olo: m razy Orange read exas Drums orig. M. Gusseck arr.. Anderson m All:

39 2 p p p

40 razy read

41 4 olo or ill: D razy read

42 .. E p. p p + razy read + p

43 razy read.. -.

44 nare q = 11 olo: m razy Orange read A All: exas Drums orig. M. Gusseck arr.. Anderson p + D E p p

45 enors ã razy Orange read 201 A Q j j j r l r l r r l r l onghorn and j j j j j r r r l l l 8 ã j j j j j j j j r 10 ã 1 ã 15 ã 18 ã 21 ã 24 ã r l r l l r r l tick licks ^ ^ ^ ^ ^ j j j ^ l r r r l l r l r l r l l r r l l r j j j p r l l l r l l r l ƒ r l r l r l r l r l r l r j l j ^ Œ r l r. j ^ Œ ^ l r l r l r l r l r l r l r l r l l r l r l p l r l l l l l l r l r l l l l l r l r l l r l l r l l r l r r l r l l r l l r l l r l l. j ^ m. l r l r r r l ^ r r r r r r r r l l r r r l l ^. l r l r l r l olo Fill

46 2 razy Orange read 201 D Mule with ^ ã 1 ã 4 ã 8 ã 40 ã Œ. Œ Œ ƒ r r r r Ó Œ F l r l r l r r r r r r l l r r r l l l r l l r r r l l l r l l j j j j ^ J r l l r r l r r l l r l l r r E Œ Ó r Œ Í r r l l r r l l r r l l r r l l r r l l r r l l ^ 42 ã r r r l r l l l l l ^ ^ ^ ^ ^ ^ l r l l r l l r r r l r r r l l l r l r l r l r l r l Œ Ó Key: op line is stick clicks triangle notes are mules.

47 enor q = 11 A razy Orange read orig. M. Gusseck arr.. Anderson + D p olo or ill: E p + +

48 ass q = 11 A m razy Orange read exas Drums orig. M. Gusseck arr.. Anderson p D + E p p +

49 ymbal q = 11 A razy Orange read orig. M. Gusseck arr.. Anderson + + D - + E +

50 raditional onghorn and Music he ollowing music is played with the entire onghorn and. ike the cadences they are traditional aspects o many onghorn and perormances. hey are used on the ield in the stands and during parades. alypso Deep in the Heart o exas Eyes Fanare Ghost iders in the ky March Grandioso March o the onghorns awhide espect U Detroit Wabash annonball William ell Yellow ose o exas exas Fight and he Eyes o exas will be passed out once the drumline has been set. Individual instrument parts will also be made available at the summer cas.

51 nare enor ass ymbal q = 120 etc... alypso etc... etc... A

52 And Down alypso And Down And Down And Down

53 nare enor ass ymbal A q = Deep in the Heart o exas

54 2 Deep in the Heart o exas D

55 nare enor ass ymbal q = 10 p p p Eyes o exas Fanare he University o exas onghorn and Drumline Drum reak Drum reak p p p. Anderson 2008 traight into oll-oexas Fight m m - + m

56 nare enor ass ymbal q. = 120 V F F March Grandioso F A etc... etc... etc... F F F 15 F F F F p p p etc... etc... etc... F F 29 F F F F F F F

57 2 March Grandioso 4 p p p etc... etc... etc... F F F F F F 57 D + + F + head nod vis F etc... etc... etc... F F 7 F F F F F - 4 F

58 March o the onghorns nare enor ass ymbal A V F F F F F etc... F F F 9 rio p F p p F F F F F m m and down 18 p m p p m p p m m m p wedgie vis m lip up

59 March o the onghorns 0 V... F F

60 Wabash annonball nare enor ass ymbal etc etc m

61 2 Wabash annonball crazy vis

62 William ell nare enor ass ymbal m m m

63 2 William ell m 45 - m

64 Yellow ose o exas nare enor ass ymbal V F F A olo: PiccoloArrowUp and Down Vis. vis 0 D All In: m m

65 2 Yellow ose o exas 45 E.. etc..... F sun vis 0 G H I p p

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