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2014 Audition Information Packet
Hello and thank you for your interest in the 2014 CR North Drumline! Enclosed you will find all
the necessary materials and information regarding the audition process and the series of clinics
I will be providing. 2014 will be yet another exciting year for the percussion section where we
will continue to build on previous success including multiple “Best Percussion” awards. This
season will be particularly special, as it culminates in what will no doubt prove to be a fantastic
trip to Italy, France and Spain (3/25/2015 – 4/2/2015)!
The percussion section of the CR North Marching Band is comprised of 2 sections: the battery
and the front ensemble. The battery is made up of 5 marching snare drums, 3 marching tom
sets (quads or tenors), 5 marching bass drums, and 4-6 marching cymbals. The front ensemble
positions include 2 4.3 octave marimbas, 2 vibraphones, 2 xylophones, timpani, synthesizer,
orchestra bells, chimes, gong, bass drum, suspended cymbals, and a diverse variety of
accessory percussion instruments. Mallet and piano players are not required to audition. Their
instrument assignments are determined at the first day of mini band camp (dates TBD).
My goal every year is to use a full instrumentation of everything we own, provided interest and
talent levels are high enough. This audition process is to determine the placement of drummers
and percussionists within the percussion section. My job is to place each student in a position
where he or she is most likely succeed, grow, and contribute to the ensemble. Finding this
balance is a difficult task, but also one that is extremely important to maximize the educational
potential for each student. Be advised that not all students will be placed in the position of his or
her choice, as there are only so many positions available in the battery. This means that
drummers who are not placed in the battery are placed in the front ensemble where they are
given the opportunity to learn a mallet instrument or play timpani or auxiliary percussion.
That being said, the battery audition will take place in the music area of CRN on
Monday, April 21st, starting at 4pm
I will also be holding several clinics in the CRN band room area from 6-8pm on Tuesdays
starting on 2/11. All interested students are encouraged to attend, regardless of grade or ability
level. Check the following schedule for more info:
2/11: (general audition materials overview and information session, anyone and everyone
invited, middle schoolers strongly encouraged), 2/18 (snare drum focus), 2/25 (quad focus), 3/4
(bass drum focus, great for middle schoolers), 3/11 (full battery, everyone encouraged to
attend), 3/18 (mallets/timpani/piano, etc). I also have 3/25, 4/1, and 4/8 reserved if there is
enough interest.
In addition to the enclosed Audition Etude, all students will be required to play the snare drum
part for the following included exercises at these approximate tempi:
Eights - Snare A & B (116 - 136bpm) Control (88 - 110bpm)
Double (first page, 92 - 116bpm) Rolls (100 - 136bpm)
Check Patterns (88 - 110bpm)
Those students auditioning for Quads are expected to play the Quad part for all exercises and
the Audition Etude. Parts A, B, and C for Eights.
PERFORMANCE NOTES
Eights: The focus of this exercise is a fluid, consistent motion of the stick. All movement should
originate at the wrist, with the bead of the stick being the first thing to move. After contact with
the drum, the stick rebounds back to the top of the stroke, and the cycle continues. This is
called a full stroke, or legato stroke. At slower tempi, the wrist should be turning the stick up
close to vertical. Concentrate on producing a big, full sound from the drum at all heights, which
is produced by a relaxed grip, a quick downstroke, lots of velocity, and especially rebound. The
back of the stick should sit cradled by as much of the grip as possible. As tempo increases, the
height will get lower, and the focus of the technique will shift more towards the front of the grip
near the fulcrum. A gap between the stick and your palm will develop, but maintain contact
between the stick and all fingers. The focus of the two-height variation is to create a consistent
“tap” sound (unaccented notes). The technique involved is essentially the same as in the first
half of the exercise, but concentrate on stopping the rebound after the accents in order to play
correct taps at 3 inches with a full sound.
Control: This exercise is designed to resemble George Lawrence Stone’s famous book Stick
Control for the Snare Drummer. The focus here should be on maintaining consistent rhythms
and sound quality, while changing the sticking patterns. Be careful not to rush double stickings,
keep consistent quality through triple and quadruple stickings, and be careful to control the
metric modulation from duple to triple in measure 16 to the end. Technique wise, the player
should strive to maintain the same feeling as in Eights.
Double: This exercise is designed to develop consistent double and triple strokes. The
technique at slower tempi should be identical to that of Eights, with one separate, fluid, wrist-
oriented legato stroke for each note of the double and triple strokes. The back of the stick
should sit cradled by as much of the grip as possible. As tempo increases, the height will get
lower, and the focus of the technique will shift more towards the front of the grip near the
fulcrum. A gap between the stick and your palm will develop, but maintain contact between the
stick and all fingers with slight pressure from the middle and ring fingers (thumb and pointer
finger in the left hand of traditional grip) causing the second instance of the double stroke. For
the triple strokes, it is paramount to strive to achieve consistent sound and rhythm throughout all
three notes. It will take time to develop the skills required, so make sure you practice at slow
tempi and focus on proper technique. The last two bars should be approached exactly the same
as the double strokes and triple strokes that come before it.
Rolls: The focus of this exercise is to play quality, consistent diddles and open rolls while
maintaining the triplet motion of the hands throughout. At slower tempi, the majority of this
exercise will be played from the wrist, stroking out each note. As the tempo gets faster, slight
fulcrum pressure (thumb in the left hand of traditional grip) is required to play diddles with
correct rhythms. Concentrate on producing an even sound in BOTH notes of the diddle, while
maintaining exact rhythms. This exercise should be played at 9” at slow tempi, and 6” as the
tempo gets faster. Beginning at m21, play 9” accents and 3” taps. Developing these skills in
Double prior to applying them to rolls will help set you up for success.
Check Patterns: This exercise is used to build a strong foundation in all variations of 16th note-
based rhythms. Begin by practicing the first line of the exercise (the check) with a relaxed,
legato stroke, always with a metronome. As we begin to remove notes from the check to create
the variations, remember that the corresponding hand also gets removed, so the resulting
sticking is not necessarily alternating. Practice all the provided variations with a metronome to
build consistency. On the audition day, I will select only a few variations from the list that you will
be required to perform.
The Audition Etude: The focus of this piece is to provide me with insight on how proficient you
are as a rudimental drummer. This piece is the marriage of all of the concepts discussed in the
preceding exercises, and it is to be treated as such. It provides you with a taste of what our
show music is like, as well as challenges you with rudiments put into different contexts than you
may be accustomed. Concentrate on sound quality, proper rhythmic interpretation, tempo
control, and dynamic expression. You will notice under each part is written the intended sticking
pattern, as well as the dynamic markings. Both of these are to be treated as a part of the music
itself. They are there to challenge you, as well as to facilitate the playing of the music more
easily.
All note heads with an “X” are rimshots. All rimshots are to be played as “pings” (pull back from
the elbows, and use as little of the shaft of the stick as you can, creating a bright sound). Don’t
waste too much time worrying about these; they are merely extra flavor to spice up the piece.
Spend your time perfecting everything else around the shots first. Tenuto markings ( – ) are to
be interpreted as half accents. In the quad part, a note with a “+” on it denotes a crossover. The
recording is played at 144bpm, but feel free to play it at a slower tempo or wherever you are
most comfortable.
At the end of this packet, I have included the rubric that will be used for the audition. Take your time, practice it slowly and with a metronome, and most importantly, HAVE FUN! Feel free to contact me if you have any additional questions or concerns.
Brian Evans [email protected] Percussion Caption Head
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Snare A
Snare B
Quad A
Quad B
Quad C
Bass A
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EightsBrian Evans
© 2014 BE Beats
CRN 2014
Variations include:
one heighttwo heightsshaping
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Snare
Quads
Bass
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diddle invert
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R R L L R R L L R R L L R R L L R R L L R R L L
triplet diddle
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ControlBrian Evans
© 2014 BE Beats
CRN 2014
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Quads
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R R R L L L R R R L L L R R L L
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DoubleBrian Evans
© 2014 BE Beats
CRN 2014all heights
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812
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Snare
Quads
Bass
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R L L L R R R L
RollsBrian Evans
© 2014 BE Beats
CRN 2014
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17
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2 Rolls
Copyright © 1986
check
Check Patterns - Duple Thom Hannum
r l r l r
l etc.
1
r
l r l r
l etc.
2
r l r l r
l etc.
3
r l r l r
l etc.
4
r l r l r
l etc.
5
r l r
l r l etc.
6
r
l r l r
l etc.
7
r l r l r
l etc.
8
r
l r l
r l etc.
9
r
l r l r
l etc.
10
r l r l
r l etc.
11
r
l r
l r l etc.
12
r
l r l r
l etc.
13
r
l r l r
l etc.
14
r l
r
l r l etc.
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Snare
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q=144
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3 3 3
l r l r l r l r l r l
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R L r l r l r L r l
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L r l l R l r r l l R l l R l l
moving to1/2 way
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R l r r L r l l R l r r L r l l
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18
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2014 Drumline Audition EtudeBrian Evans
© 2014 BE Beats
ScoreCRN
Name: _______________ Date: _________
CR North Percussion Rubric
Your total points: _____/30 pts. = _________ %
5 4 3 2 1 Technique Grip is always
correct and connected to the implements. Stroke consistently initiates from the wrist, along with subtle arm motion.
Grip is usually correct and connected to the implements. Stroke usually initiates from wrist with some minor variations.
Grip is sometimes correct and connected to the implements. Stroke sometimes initiates from the wrist with multiple variations.
Grip is rarely correct and connected to the implements. Stroke rarely initiates from the wrist, with many variations.
Grip is never correct and connected to the implements. Stroke never initiates from the wrist.
Sound Quality
A full sound is always produced from the drum, with consistent sound from hand to hand. The player always plays with velocity and correct weight.
A full sound is usually produced from the drum, with some inconsistency from hand to hand. The player usually plays with velocity and correct weight.
A full sound is sometimes produced from the drum with multiple inconsistencies from hand to hand. The player sometimes plays with velocity and correct weight.
A full sound is rarely produced from the drum, with many inconsistencies from hand to hand. The player rarely plays with velocity and correct weight.
A full sound is never produced from the drum. The player never plays with velocity and correct weight.
Rhythmic Accuracy
Rhythms are always performed accurately as written.
Rhythms are usually performed accurately as written.
Rhythms are sometimes performed accurately as written.
Rhythms are rarely performed accurately as written.
No rhythms are performed accurately as written.
Dynamics Dynamics are always performed to their maximum effect.
Dynamics are usually performed to their maximum effect.
Dynamics are sometimes performed to their maximum effect.
Dynamics are rarely performed to their maximum effect.
Dynamics are never performed to their maximum effect.
Tempo Control
Performs at best possible tempo without deviation.
Performs at steady tempo, but faster or slower than indicated.
Tempo is not always steady.
Many deviations from a steady tempo.
Starts and stops many times.
Articulation All stickings and articulations are performed accurately as written.
Stickings and articulations are usually performed accurately as written.
Stickings and articulations are sometimes performed accurately as written.
Stickings and articulations are rarely performed accurately as written.
Stickings and articulations are never performed accurately as written.
