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Page 1: Audition Information Packet

snare

Audition Information Packet

Page 2: Audition Information Packet

HELLO!congratulations on taking the first step in the compass 2020 proccess!

Page 3: Audition Information Packet

Equipment

Audition Checklist

Page 4: Audition Information Packet

Dear Prospective member,

Congratulations on taking the first step to becoming a member of the batterie percussion section. Within this packet you will find a detailed description of the technical approach, musical concepts, and overall philosophy behind our sound production, technique and learning process. LEARN IT. LIVE IT. LOVE IT. The information provided is one of the many keys you need to succeed. Totally embracing the following information can and will be what literally makes you or breaks you in this ensemble. Next to the information provided in this packet and rehearsals is the opportunity to learn and experience new things, new concepts, and continue your ongoing development as a musician, performer, and young adult! Myself, the caption heads and the percussion staff are extremely excited to get this season underway and begin the next chapter of creating an iconic and revolutionary percussion performance ensemble to represent Compass Drum and Bugle Corps.

Henry Williams III,

Percussion Education Director

Percussion Arranger/Composer

Compass Drum and Bugle Corps

Page 5: Audition Information Packet

The Program The following program is to serve as a guide for your reference when practicing by yourself or within an ensemble setting. Many of the concepts will be further defined verbally at the first few camps and reinforced throughout the season. Following these guidelines will ensure that you are preparing correctly. Please remember that it is your responsibility to see that these concepts are followed and implemented.

Rehearsal Rehearse rehearsing well. Remember that. Like strong technique, intense rehearsing over long periods of time takes practice. There is no substitute for strong will, and it never comes naturally. Practice with a purpose no matter whether you are alone, or with the entire drum corps. The group most prepared will succeed every time.

Attendance The punishment for missing rehearsals is a percussion ensemble that misses out on reaching its full potential. As the season is long, we understand problems with unforeseen occurrences, and we are always willing to work to get around these, but excellence is a sacrifice. Commitment and responsibility play a major role in the member’s role. If a situation arises, protocol is to let the staff know at least two weeks in advance, and to send a written reminder the day of the absence.

Etiquette Understand that there are many ways to achieve excellence in performance. Please keep an open mind and be respectful of your surroundings. Once rehearsal has started, refrain from making statements or requests, but limit yourself to asking questions to staff or the member leaders. We are happy to help everyone reach their full potential, and we’d like to keep the channel between educator and student as clean and efficient as possible.

Following these guidelines and those set forth by technicians at camps will put you on the path toward reaching our goal of maximizing yourpotential and playing at the highest level possible!

Page 6: Audition Information Packet

Approach

Strokes

For the most part, we employ only two strokes: a Legato Stroke and a Staccato Stroke. The terms Legato and Staccato are borrowed terms and do not carry the same definitions as when used for phrasing and interpretation. We will use these terms to determine rebound and height definition.

Legato Stroke ➢ The stick will rebound to previous extension point. ➢ It is a relaxed stroke. ➢ It is a smooth motion; the tip of the stick never stops. ➢ Fingers are relaxed but remain on the stick for support and control.

➢ Upstroke is generated by the rebound if applicable.

Staccato Stroke

➢  Is a legato stroke until AFTER it has hit the instrument.

➢  Fingers applying pressure to the stick will prevent rebound and will leave stick in a position to place inner-beat passages.

➢  Pressure should be applied only after the stick has hit the head, avoiding the choking of the tone of the stick or mallet. These strokes can be further defined as Accents, Taps, and Grace Notes.

Accents

➢  Often staccato

➢  Used at various heights

Page 7: Audition Information Packet

Strokes cont…

Taps

➢  Often Legato

➢  Usually 3 inches (to be defined below) Grace Note ➢ Legato ➢ Usually 1⁄2” ➢ Placed from a tacet or sticks-out height, not lifted These stroke definitions will come into play as we define dynamics and other musical standards.

Musical Standards1. To eliminate dynamic ambiguity player to player, we use a system of heights to define dynamic levels:

p - 3” (played at the edge or over snare bed)

mp - 3” (played in the center of the drum. )

mf - 6” f - 9” ff -12”

fff - 15” (played as 12” but with more arm inclusion)

Accent to tap relationships will be defined with this system whereby ff/mp = accents at 12” and

taps at 3”.

Tap height should ALWAYS be assumed to be 3”

Page 8: Audition Information Packet

2. Rhythmic Interpretation; The highest degree of integrity must be maintained when playing rhythms in relation to established tempos. Double-beats, or diddles, will be interpreted in the most strict way, exactly doubling the rhythm of the check pattern while not compromising the volume and quality of the second note. All rhythms must be maintained within the height structure.

3. Correct Tempos; Must be known and followed when practicing. 4. Reading skills are essential and should be exercised often.

5. Quality of Sound; All of the concepts under Technique and Musical Standards will come together to create our Quality of Sound- the very nature of what we do: Presenting our musical thoughts with a mature/ full sound through everyrhythm, dynamic, and tempo.

Levels of Listening

Level 1 Listening to your own sound production and adherence to the musical standards, appropriate tone and timing.

Level 2 Listening to your own segment, again adhering to the musical standards.

Level 3 Listening to the percussion ensemble with regards to timing, clarity, dynamics, balance and blend.

Level 4 Listening to the entire ensemble, incorporating the above listening responsibilities to enhance the full ensemble’s timing, balance and blend, rhythmic interpretation, expression, range of dynamics, and phrasing.

The progression of listening responsibilities above parallels our training path. We will focus our

development on the individual at the first few camps and eventually broaden the player’s

responsibilities with respect to awareness.

Page 9: Audition Information Packet

Proper Practicing

Developing the Physical and Mental Tools for Success

“Amateurs practice until they get it right...Professionals practice until they can’t get it wrong...”

1. Approach

➢ Relaxed

➢ Maintain posture, technique.

➢ Play passages slowly for accuracy and then increase tempo.

➢ Memorize all rehearsal letters/ numbers along with music.

➢ Coordinate feet with ALL music!

2. Tools

➢  Everyone should own and use a metronome.

➢  Everyone should own and use a practice pad - one that closely simulates the rebound of a drum head.

➢  Everyone should own a good pair of Sticks and Mallets.

➢  Practice in front of a mirror for immediate feedback.

➢  Video your practice sessions for more feedback.

➢  Practice with friends.

Page 10: Audition Information Packet

➢  Your own ears! - Work toward strong recognition skills of your own playing and your sound within the ensemble.

3. MentalThe mental process may be the hardest to attain and requires the same if not higher level of finesse as the physical process. Rehearsal requires a very high level of concentration for long periods of time. The level of achievement we reach is the result of many repetitions, each of which counts toward our development. We should be working to heighten our awareness and level of focus.

4. PhysicalOur approach to physical training must include not only the muscles necessary for playing our instrument, but also the muscles necessary for performing in a visually demanding activity. This would include all aspects of aerobic and strength training. Members have been referred to as athletic musicians or musical athletes. These labels have merit! And we must train appropriately! Full-body fitness is a must, especially core abdominal/lower-back/oblique/and leg muscles that are so crucial to marching! Aerobic and strength training is a must. Members have been referred to as athletic musicians or musical athletes. These labels have merit! And we must train appropriately! Full-body fitness is a must, especially core abdominal/lower-back/oblique/and leg muscles that are so crucial to marching!

Page 11: Audition Information Packet

(adapted from the Pulse Percussion technique manual)

Snare Drum Playing Techniques and

Exercises

Page 12: Audition Information Packet

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Page 16: Audition Information Packet

SnareLine

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Page 17: Audition Information Packet

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Page 18: Audition Information Packet

Ensemble Score

Compass Drum and Bugle Corps 2020

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Page 19: Audition Information Packet

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Page 20: Audition Information Packet

SnareLine

Compass Drum and Bugle Corps 2020

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Page 21: Audition Information Packet

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Page 22: Audition Information Packet

Snare Line

2020 Compass Drum and Bugle Corps Percussion

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