AHS Audition Packet

Tenor

Introduction

Thank you for taking an expressed interest in auditioning for a spot in the 2015 AHS Drumline. This is a group dedicated to making its members better, and to always put on a fantastic performance that entertains audiences and impresses critics. This packet is assembled to prepare you for the audition process. It will lay out everything you need to know of how the process will work, and tell you what we are expecting you to know. Study this packet diligently, and come to the audition with everything outlined in it prepared and ready.

Audition Schedule

Each section will audition separately. There will be assigned times for each section. The section camps will be: snare, tenor, bass, front ensemble. None of these will overlap, so if you are interested in two sections, you would merely attend both “camps” and both final auditions. Remember, by being involved in multiple sections, your chances of a spot are seriously increased. If there is one drum you really want to march, you would only have to attend the “camp” and final audition for that one section on that one drum.

Snare Auditions:

Monday May 11th 3:45-5:30 pm

Tenor Auditions:

Tuesday May 12th 3:45-5:30 pm

Bass Auditions:

Wednesday May 13th 3:45-5:30 pm

Front Auditions:

Thursday May 14th 3:45-5:30 pm

Final Auditions:

Friday May 15th 3:45-6:30 pm

-Any of these times are subject to change if seen as necessary by the audition staff and will be noted 24 hours prior to the changes occurrence.

Detailed Audition Process

Auditions will be split in to three major segments. Here are the segment titles and what you can expect to happen in each one.

  • Individual Auditions
  • A quick one on one with you on the drum and the judges. This time is to ensure that every one moving on to the next section has a basic understanding of the technique and vocabulary that will be used in the remainder of the audition.
  1. We will be looking at basic technique, rudimental vocabulary, prepared music, timing, and posture/approach.
  • Full Section Auditions
  • This is where most of the time of the camp will be spent. This is the time when we look at how each student does in context to the other students in that section. This means how the play next to each other, plus how well they get along. This is also the time when we will start really hashing through music and getting in to material that will reflect our books for the year.
  • We will be looking for chemistry, cleanliness, matching techniques, ability to play intermediate drumming ideas on the fly, ability to adjust to instructions, positive attitude, and a willingness to learn.
  • Final Auditions
  • A final run through some of the exercises and material we covered during “camp”. This is the time to show everything you have learned and impress the judges with it. This will closely resemble our game day rehearsals. Remember to show ALL material you have learned. This is not a solo performance; you are auditioning with this LINE. Show the judges what this line will do. That is what this final audition is for.
  • We are looking for close to flawless performance, close to mirrored technique, no breaking, perfect attention and rehearsal procedures, positive energy, and a performing ability that impresses.

Judging Material

Judges will be looking in two major areas, music and character. Both of these areas are important. We aren’t just trying to build a group of great players, but great people who are great players. Once we are in to the season, we will build off this idea more and more.Here is the break down of each of those areas the judges will be looking for at the auditions.

Music

  • Technique
  • Prepared Material
  • Ability to adjust to instructions
  • Execution

Character

  • Respectful
  • Positive
  • Diligent
  • Responsible
  • Chemistry with other students

Note that there is more under the character column. Slow hands can be sped up, timing adjusted, feet corrected, but a bad attitude is not something we are going to try to neither fix nor deal with.

If it is necessary for someone to audition for another section other than their first choice to ensure the best possible talent pool in all sections, this person will be notified prior the necessary “camp” date which they will be expected to attend. They will still be given a chance to audition for their first choice at the final camp but will also be expected to audition on the instrument they were asked to audition for.

Technique Overview

Tenor Technique Breakdown

Grip

  • The most important part of the grip is the fulcrum. The fulcrum is the contact point on the stick between the pointer finger and the thumb. The contact point on the thumb is the pad and the contact point on the pointer finger is between the first and second knuckles. These two points should be directly across from each other. The fulcrum is the rotating point of the stick in the grip. There should be no space between the thumb and the hand when looking at the hand down the stick from the bead. This is where pressure will be applied to achieve different strokes.(i.e. single strokes, double strokes, multiple strokes)
  • The other three fingers will wrap naturally around the stick. These fingers will be used to apply force to the backside of the fulcrum. These fingers will be used in tandem with the wrist and the arms to create different strokes.
  • The side of the stick opposite of the fingers should rest on the fat fleshy part of the palm directly across from the thumb. The stick should essentially be in line with the arm.
  • The grip location should be so that an inch and a half out of the back of each hand.
  • The sticks should feel heavy in order to create a large, healthy sound on the drum.
  • The back hand will roll slightly outward, but not extremely. This is an American grip. The thumbs should still never face up. This grip makes it easier for us to move from drum to drum in scrapes and cross overs without changing the sound of the drums too much. The sound can never change and most always sound healthy and big.

Approach

  • The height of the drum is dictated by the position of the arms and the motion of the legs. The upper arm will hang naturally and may move forward or backward to “fine tune” the mallet head placement. The forearm and mallets will create a 10 degree angle down. The drums playing spots should be one inch under where the mallet heads will be at this position. The drums may still need to be altered to allow the legs to move freely. There is usually a two inch “correct” area where both arms and legs are able to perform with LITTLE to no hindrance.
  • The set position on both drums one and two are much like a snare drummers set position if, ½ inch apart and one inch above the head above the play spots. Drum three and four’s set positions are a little different. The set position of drum three will have the right mallet head an inch in front of the left mallet head. The right forearm will be perpendicular to the players waist while the left arm will reach across the body. Drum four’s set position is the exact opposite. The reference for this is called being “T’d up”.
  • Playing areas for drums one and two are one inch in from the back rim, or the part of the rim closest to the player. The playing spots for drums three and four are different. Drum three’s playing spot is one inch from the rim closest to drum one. Drum four’s playing spot is one inch from the rim closest to drum two. The spock’s playing spot is directly in the middle. (shown in green)
  • There are areas called “cheater spots”. These spots are used for scrapes and possibly cross overs. The drum will have the same tone at any area of the drum an inch in from the rim, so if a drum to drum section is fast and difficult cheater spots can be used making it easier. These spots are an inch in from the point where the rims of the drums are closest to each other. (shown in blue)
  • Tenor playing can be split in to two different axis, the “X” and “Y” planes. The “Y” plane is the plane to and from the drums heads themselves, and is the most important plane. The “X” plane movement should never inhibit the “Y” plane ever. The “X” plane is moving from drum to drum. This plane is secondary and should only be attempted to understand and master once the “Y” axis is understood and able to be played.

Strokes

  • The stroke should always INITIATE from the wrist. Adhering to the degree height system, each height will be achieved with a different ration of finer>arm>wrist. Parallel and 30 degrees will use only wrist. 45 degree will start to use arm, but only a little. 60 and 90 degrees will use increasingly more arm. Finger will start being used at 60 degrees and used even more at 90 degrees.

Cross-Overs:

  • Drums that touch- the sticks should cross on the stick just beyond the fingers. This is called the “fulcrum-to-fulcrum” technique. The hand that is stationery should not move in any way and be able to play even in the crossed position.
  • Drums that do not touch- the wrists will cross completely so the hand underneath is completely under the top hand. This is called the “wrist-to-wrist” technique. The bottom hand should be able to play while in the crossed position.

Scrapes:

  • There are two kinds of scrapes, inward and outward.
  • Inward refers to the motion towards the center of the body, or from drums 3 or 4 to drums 1 or 2 respectively. These scrapes are best performed by turning the hand outwards slightly and striking the first drum at an angle, allowing for the rebound to position the mallet head over the second drum. This grip should NEVER become a French grip however, there should still be a dominant fulcrum with wrist being utilized fully. This means that French should never be used.
  • Outward refers to the motion away from the center of the body. This is drums 1 or 3 over to drums 3 or 4. There is no significant change of technique to note about performing these.
  • Scrapes are defined as diddles on two different drums. The first stroke is on one drum and the second is on another. They should be played just as if the diddle was being played on one drum.
  • This is one playing situation where the cheater spots are used heavily. Note where the blue areas are for these scrapes.

Basics Outline

This section is for material this applicable to all sections or need to be known by all sections.

Attention Stance:

The attention stance will be with the back straight and shoulders slightly back. The chest should “stick out” just enough to fill up the carrier. The knees should be unlocked but close to locked so as to “appear” straight but nto cause any health problems. The feet will be with the heels together and the toes around six inches apart. The feet will create a “V” and add support to the stance.

Marking Time:

Marking time is not only a means to move but also a time keeping device. For this reason the whole foot will raise up and the placed down FIRMLY on the beat. The left foot will strike on counts “1” and “3” and the right will strike on “2” and “4”. The foot will strike EXACTLY on the beat. At slower tempos, the raise of the foot may also be identified exactly to ensure rhythmic accuracy. One rule of drumming outdoors is that if your feet are in time, your hands will follow. Keep the feet in time and the rest will follow.

Performance Appearance:

The appearance of performing can also be as important as what is being played. This is especially important for the front being that the front has a focal advantage from the rest of the drum line being that the audience can see faces. The music will communicate a point or emotion. That point or emotion needs to be understood through the visual aspect and the actions of the performers. Be sure to always keep this in mind and act accordingly. Sell the performance at all times.

“If you don’t dig it, the audience won’t dig it”

-Mr. Wine

Height/Dynamic Chart:

Piano= 0 degrees

Mezzo-piano= 30 degrees

Mezzo-forte= 45 degrees

Forte= 60 degrees

Fortissimo= 90 degrees

  • These heights will be used for taps and accents in sections. In that case, BOTH HEIGHTS will be designated. If not designated, use the given height as normal strokes and the height one degree set higher as the accents.

Thank you to Brandon Beck for lending his tenor technique overview. All pictures were taking from the internet and are not property of Hunter Jackson or AHS Bands in any way.