DOCSLIB.ORG

2019-2020Auditionpacket

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2019-2020Auditionpacket BREAKTHROUGH INDOOR PERCUSSION 2019-2020 AUDITION PACKET Come be a part of Arizona’s Premier WGI World-Class Percussion Ensemble as we head into our 11th season! INITIAL AUDITION CALLBACKS Sunday, September 22nd, 2019 Sunday, September 29th, 2019 Registration: 9am-10am Registration: 9am-10am Auditions: 10am - 6pm Callbacks: 10am - 6pm To Register Online and Access the audition packet: www.breakthroughindoor.org COST: 25 paid on the day of your audition Your audition fee may be paid via cash, check, money order/cashier’s check, or credit/debit card. *All checks/money orders/cashier’s check are made payable to Breakthrough Indoor Percussion* The one time audition fee (includes both audition days): Includes your Audition/Clinic Packet, Instruction, a Breakthrough Audition T-Shirt and Lunch on both days. Please register online to ensure that we are prepared for your attendance. On both September 22 and September 29, we will be discussing and releasing our season schedule, rehearsal details, competition details, WGI details and ALL details about our upcoming 2020 Season. Any and all questions you have, will be answered on September 22! WHERE: ASU Percussion Blockhouse Rural Rd & 6th St. in Tempe, 85281 DIRECTIONS TO PERCUSSION BLOCKHOUSE: From the University Drive and Rural Road intersection travel north on Rural Road. Take a right, going east, on E 6th Street toward the Verde Dickey Dome (White Bubble). Take an immediate left, going north again. Follow the road as it travels north and then east again, soon opening up with a larger parking area on your right hand side. The Blockhouse will be on the south side of the parking lot. EQUIPMENT: Please wear athletic-style clothing, water & sunscreen (as we are outdoors for the entire audition). Please also bring sticks or mallets to the instrument(s) that you will audition on. Breakthrough will provide all needed front and ensemble and battery instrumentation. You are welcome to bring your drum/instrument if you wish, but it is not required. Please see below for more detailed information about your specific section audition 2018 Breakthrough Indoor Percussion Front Ensemble Audition Packet Within this packet you will find the audition materials for the 20202018 Breakthrough Front Ensemble. Prior to preparing the material please read through this information listed below to ensure you approach the material correctly. MALLET PLAYER INFORMATION If you are interested in audition for marimba, vibraphone, or xylophone/glock please prepare the following: • 7/8 scales IN ALL 12 KEYS (80-160bpm) • 12 key green (60-148 bpm) • 12 key arpeggios (40-104 bpm) • 4 mallet matrix (see tempos in mallet materials) SYNTH/GUITAR/BASS/DRUMSET/TIMPANI If you are interested in auditioning for these instruments, the expectation is that you will prepare: • the material provided in this packet • a 1-2 minute video of you performing a solo of your choice that you feel best displays your abilities on these instruments. Guitarist and Bassist Notes: • Please be prepared to read standard notation (not tabs) as it appears in this packet • Amps will be provided – you will be rotating with other candidates throughout the process. • Guitarists should bring ALL pedals and instrument cables necessary to fully display their capabilities. Timpanist notes: • Be prepared to use proper french grip. • Be prepared to tune standard size drums (32, 29, 26, 23) off of a given pitch AND during exercises without the use of a pitch pipe/tuning fork. • Be prepared to use proper playing zones on all drums (approx. 2” off the rim). • Please bring your own mallets Synth Notes: • Synth players will be asked to display proper beginning piano techniques – this includes functional fingerings for scalar exercises, proper hand positions, and the use of sustain pedals. • It is highly encouraged to become familiar with jazz harmonies prior to auditions. • Synth players are asked to work closely with our sound equipment throughout the season, therefore it is suggested that you become familiar with the Mac software Mainstage 3. Drumset Notes: • A drumset will be provided for all interested in this position, please note that you will be rotating with other candidates. • During the season drumset players will receive notated music, however, it is a vital skill to be able to tastefully groove with the front ensemble – take advantage of the freedom in the audition material to show us how you can lay a creative foundation rhythmically and functionally. • Please bring your own sticks. Breakthrough 2018-19 Mallet Audition Material Scale Exercises **Both scale exercises should be played with 2 mallets (100-180bpm) and 4 mallets with inside mallets (80-140bpm) Two-mallet Technique: Hold the mallets firmly between your index finger and thumb with the rest of your fingers holding the shaft against your hand. The mallet should lay in the crease of your first knuckle on each finger, while the thumb rests directly above your index finger. Your fingers should be relaxed so they lightly touch the inside of your hand. Turn your wrists upward so the first knuckle of your index finger is the highest part of your hand. The tip of your thumb should be about one-third the way up the mallet, with the bottom of the shaft sticking out about an inch and a half. When you’re not playing, your mallets rest in the “set” position. Keeping your mallets flat above the keyboard, they should make a ninety-degree angle perpendicular to you. From here raise the mallet heads up, keeping your wrists low and only bending them back, until the mallet heads are about twelve inches off the keys. You will always rest in this position unless otherwise defined. Four-Mallet Technique: Our marimba/xylo players use Stevens grip and our vibraphone/glock players use Burton grip. If you would like to perform on these instruments, please be sure to familiarize yourself with the appropriate grip and motions. Both grips are made up of four fundamental motions (stokes): double vertical stroke, single independent stroke, single alternating stroke, and double lateral strokes. Please utilize the resources below for proper definitions of our approach to these grips: Stevens Grip [book] Method of Movement by Leigh Howard Stevens (pages 1-38) [video] https://www.youtube.com/watch?v=3MWlJCXKVM8 Burton Grip [book] Four Mallet Studies by Gary Burton (Introductory Chapter) [video] https://www.youtube.com/watch?v=pfHoqV1ng5M Piston Stroke Snap the mallet down in the key then straight back to the set position. Keep the forearms and wrist in place, using only the wrist muscles to move the mallets. This stroke requires a fair amount of force to create a strong, forte tone from the keyboard. Do not focus on speed’ work on returning back to the set position without overshooting or moving around. This stroke is very strong when articulate, but we will use a “medium” intensity for most of our exercises. Legato Stroke Pull the mallet heads down into the key, then make a slightly circular path to settle into the set position. When the mallet head hits the key your wrist should pause slightly as you raise your forearms up. Moving the forearm is what causes the rounded path. When playing notes in a series, the motion should feel very fluid and each muscle movement connected. Unlike the Piston stroke, which is sharp and rigid, the Legato stroke is more relaxed and flows continuously. Arpeggio Exercise (2 mallets only) 4 Mallet Matrix While this exercise does not seem like much, its intent is not in challenging players with as many notes as possible but rather presenting a consistent scenario with which to explore every possible stroke type combination. It is highly encouraged that great time is placed into this portion of the audition if a candidate would like to play marimba or vibraphone. Directions: Every following number or sub-letter represents one time through the exercise above. Substitute the written rhythm with the provided instruction – pitches ALWAYS stay the same within the bar. Double Vertical Matrix (80-120bpm) 1) Given notes on beat 1 of every bar (as written) 2) Given notes on beats 1 and 3 of every bar (2 of each chord) 3) Given notes on beats 1, 2, 3, and 4 of every bar (quarter notes) 4) Given notes on 8th notes (straight 8th notes) **do each of these with piston and legato strokes, visually fill space appropriately Single Alternating Matrix (60-160bpm) Double Lateral Matrix (140+ bpm) 1) Using 8th notes, apply the following stickings: 1) Using 16th notes, apply the a. 13-24 (aka left-rights) following stickings: b. 24-13 (aka right-lefts) a. 1234 c. 14-23 (aka outside-ins) b. 3412 d. 23-14 (aka inside-outs) c. 4321 2) Using 16th notes apply the following sticking: d. 2143 a. 1324 e. 3421 b. 1423 f. 2134 c. 2413 g. 4312 d. 2314 h. 1243 e. 3241 f. 3142 g. 4132 h. 4231 Breakthrough 2018-19 Synth Audition Material Breakthrough 2018-19 Guitar Audition Material Breakthrough 2018-19 Timpani Audition Material Breakthrough 2018-19 Bass Guitar Audition Material Breakthrough 2018-19 Auxiliary Percussion Audition Material Set up and notation: For these particular exercises you will need 1 cymbal, 3 toms (bottom spaces), and 1 snare drum (top space). At auditions we will provide these for you. Breakthrough 2018-19 Drumset Audition Material Instrumentation: You are welcome to practice these exercises on ANY set up you have. However, at auditions we will provide a single pedal kick drum, 3 toms, snare, hi hat, crash, and a ride. Please be prepared for our equipment. .
Load more

Recommended publications
  • The PAS Educators' Companion
    The PAS Educators’ Companion A Helpful Resource of the PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE Volume VIII Fall 2020 PERCUSSIVE ARTS SOCIETY 1 EDUCATORS’ COMPANION THE PAS EDUCATORS’ COMPANION PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE ARTICLE AUTHORS DAVE GERHART YAMAHA CORPORATION OF AMERICA ERIK FORST MESSIAH UNIVERSITY JOSHUA KNIGHT MISSOURI WESTERN STATE UNIVERSITY MATHEW BLACK CARMEL HIGH SCHOOL MATT MOORE V.R. EATON HIGH SCHOOL MICHAEL HUESTIS PROSPER HIGH SCHOOL SCOTT BROWN DICKERSON MIDDLE SCHOOL AND WALTON HIGH SCHOOL STEVE GRAVES LEXINGTON JUNIOR HIGH SCHOOL JESSICA WILLIAMS ALABAMA STATE UNIVERSITY EMILY TANNERT PATTERSON CAMBRIDGE UNIVERSITY PRESS How to reach the Percussive Arts Society: VOICE 317.974.4488 FAX 317.974.4499 E-MAIL [email protected] WEB www.pas.org HOURS Monday–Friday, 9 A.M.–5 P.M. EST PERCUSSIVE ARTS SOCIETY 1 TABLE OF CONTENTS BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM 3 by Dr. Dave Gerhart CONSISTENCY MATTERS: Developing a Shared Vernacular for Beginning 6 Percussion and Wind Students in a Heterogeneous Classroom by Dr. Erik M. Forst PERFECT PART ASSIGNMENTS - ACHIEVING THE IMPOSSIBLE 10 by Dr. Joshua J. Knight TOOLS TO KEEP STUDENTS INTRIGUED AND MOTIVATED WHILE PRACTICING 15 FUNDAMENTAL CONCEPTS by Matthew Black BEGINNER MALLET READING: DEVELOPING A CURRICULUM THAT COVERS 17 THE BASES by Matt Moore ACCESSORIES 26 by Michael Huestis ISOLATING SKILL SETS, TECHNIQUES, AND CONCEPTS WITH 30 BEGINNING PERCUSSION by Scott Brown INCORPORATING PERCUSSION FUNDAMENTALS IN FULL BAND REHEARSAL 33 by Steve Graves YOUR YOUNG PERCUSSIONISTS CRAVE ATTENTION: Advice and Tips on 39 Instructing Young Percussionists by Jessica Williams TEN TIPS FOR FABULOUS SNARE DRUM FUNDAMENTALS 46 by Emily Tannert Patterson ADDITIONAL RESOURCES 49 2 PERCUSSIVE ARTS SOCIETY EDUCATORS’ COMPANION BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM by Dr.
    [Show full text]
  • PASIC 2010 Program
    201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space.
    [Show full text]
  • Thesis- Pedagogical Concepts for Marching Percussion
    PEDAGOGICAL CONCEPTS 1 Running head: PEDAGOGICAL CONCEPTS PEDAGOGICAL CONCEPTS FOR MARCHING PERCUSSION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC EDUCATION: STUDIO PEDAGOGY EMPHASIS THOMAS JOHN FORD UNIVERSITY OF WISCONSIN-STEVENS POINT MAY, 2019 PEDAGOGICAL CONCEPTS 2 Abstract This document serves as a guide for recent music education graduates who are put in the position of having to teach marching percussion to students who have joined the marching band, specifically in the drumline. To have a well-rounded understanding of the drumline, teachers will need to know the instruments of the drumline, and the associated sticks and mallets. This document also discusses pedagogical concepts for all of the instruments, including playing techniques required to achieve a balanced sound throughout the ensemble, and how to properly care for marching percussion equipment. Keywords: marching percussion, drumline, battery, snare drums, tenor drums, bass drums, crash cymbals PEDAGOGICAL CONCEPTS 3 Table of Contents Abstract 2 Acknowledgements 5 List of Figures 8 Introduction 9 Chapter I: Marching Percussion Equipment 12 Snare Drums 12 Tenor Drums 14 Bass Drums 16 Crash Cymbals 17 Other Equipment 18 Chapter II: Pedagogical Concepts for Marching Percussion 21 Posture 21 Playing Positions 21 Grips and General Playing Techniques 25 Stroke Types and Dynamics 31 The Exercise and Technical Development Program 32 Timing Strategies 37 Chapter III: Marching Percussion Care and Maintenance 39 Changing and Replacing Heads 39 Repairing Broken and Loose Drum Equipment 40 Cymbal Straps 42 Cleaning and Storing Equipment 43 PEDAGOGICAL CONCEPTS 4 Conclusion 45 References 46 Appendix A 49 PEDAGOGICAL CONCEPTS 5 ACKNOWLEDGEMENTS There are so many people who I want and am obligated to thank for helping me in this whole process of graduate school and writing my thesis.
    [Show full text]
  • PROGRAM NOTES Guided Tour
    13/14 Season SEP-DEC Ted Kurland Associates Kurland Ted The New Gary Burton Quartet 70th Birthday Concert with Gary Burton Vibraphone Julian Lage Guitar Scott Colley Bass Antonio Sanchez Percussion PROGRAM There will be no intermission. Set list will be announced from stage. Sunday, October 6 at 7 PM Zellerbach Theatre The Annenberg Center's Jazz Series is funded in part by the Brownstein Jazz Fund and the Philadelphia Fund For Jazz Legacy & Innovation of The Philadelphia Foundation and Philadelphia Jazz Project: a project of the Painted Bride Art Center. Media support for the 13/14 Jazz Series provided by WRTI and City Paper. 10 | ABOUT THE ARTISTS Gary Burton (Vibraphone) Born in 1943 and raised in Indiana, Gary Burton taught himself to play the vibraphone. At the age of 17, Burton made his recording debut in Nashville with guitarists Hank Garland and Chet Atkins. Two years later, Burton left his studies at Berklee College of Music to join George Shearing and Stan Getz, with whom he worked from 1964 to 1966. As a member of Getz's quartet, Burton won Down Beat Magazine's “Talent Deserving of Wider Recognition” award in 1965. By the time he left Getz to form his own quartet in 1967, Burton had recorded three solo albums. Borrowing rhythms and sonorities from rock music, while maintaining jazz's emphasis on improvisation and harmonic complexity, Burton's first quartet attracted large audiences from both sides of the jazz-rock spectrum. Such albums as Duster and Lofty Fake Anagram established Burton and his band as progenitors of the jazz fusion phenomenon.
    [Show full text]
  • An Analytical Approach to Vibraphone Performance Through the Transcription and Analysis of Gary Burton’S Solo on Blue Monk
    AN ANALYTICAL APPROACH TO VIBRAPHONE PERFORMANCE THROUGH THE TRANSCRIPTION AND ANALYSIS OF GARY BURTON’S SOLO ON BLUE MONK A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in Partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Charles B. Brooks B.A., Western Kentucky University, 1997 M.A., Austin Peay State University, 2000 December 2007 ACKNOWLEDGMENTS This document would not exist without the guidance and counsel of several extraordinary individuals. It is dedicated to my father for introducing me to the world of music. I would like to extend special gratitude to my mother for her guidance, strength, and belief that anything is possible. In addition I would like to thank Johnny Walker and my brother, Michael Brooks, without whom none of this would possible. This document is also dedicated to Kenneth Welch and Larry Long for their counsel and friendship. I extend special thanks to my teachers Dr. Christopher Norton, Mr. David Steinquest, Dr. Charles Smith, Dr. Thomas King, Dr. Jefferey Wood, Dr. Dinos Constantinides, Dr. Joseph Skillen, Dr. Robert Peck, and Dr. Michael Kingan. I would especially like to thank Dr. Willis Delony for staying the course and guiding me through rough terrain. ii TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................................................ii LIST OF MUSICAL EXAMPLES................................................................................iv
    [Show full text]
  • Osobnosť Pata Methenyho
    JANÁČKOVA AKADÉMIA MÚZICKÝCH UMENÍ V BRNE HUDOBNÁ FAKULTA Katedra jazzovej interpretácie Jazzová interpretácia Osobnosť Pata Methenyho Bakalárska práca Autor práce: Samuel Marinčák Vedúci práce: MgA. Vilém Spilka Oponent práce: MgA. Jan Dalecký Brno 2014 Bibliografický záznam MARINČÁK, Samuel. Osobnosť Pata Methenyho /Personality of Pat Metheny/ Brno : Janáčkova akadémia múzických umení v Brne, Hudobná fakulta, Katedra jazzovej interpretácie, 2014, 36 s, vedúci práce : MgA. Vilém Spilka Anotácia Bakalárska práca je zameraná na osobnosť jednej z najväčších postáv vo svete jazzu v súčasnosti. Ponúka zaujímavé informácie o jeho živote, kariére, diskografii a o mnohých iných aspektoch súvisiacich s ním. Kľúčové slová jazz, improvizácia, biografia, diskografia, ocenenia, zvuk Annotation This bachelor thesis is focused on the life and work of one of the greatest artists in the world of jazz. It will offer you a very interesting insight to his life, career, discography and other aspects connected to him. Key Words jazz, improvisation, biography, discography, awards, sound Prehlásenie: Prehlasujem, že som predloženú prácu spracoval samostatne, s použitím uvedených zdrojov a prameňov. Zároveň dávam zvolenie k tomu, aby táto práca bola umiestnená v Knižnici JAMU a slúžila na študijné účely. V Brne, dňa 28.7.2014 Samuel Marinčák Poďakovanie: Na tomto mieste by som sa rád poďakoval vedúcemu mojej práce MgA. Vilémovi Spilkovi a oponentovi MgA. Janovi Daleckému, ktorí ma pri písaní usmerňovali a ponúkli mi cenné rady. Obsah Úvod ............................................................................................................................
    [Show full text]
  • Extended Performance Techniques and Compositional Style in the Solo
    EXTENDED PERFORMANCE TECHNIQUES AND COMPOSITIONAL STYLE IN THE SOLO CONCERT VIBRAPHONE MUSIC OF CHRISTOPHER DEANE Joshua D. Smith, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2008 APPROVED: Mark Ford, Major Professor Eugene Migliaro Corporon, Minor Professor Christopher Deane, Committee Member Terri Sundberg, Chair of the Division of Instrumental Studies Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Smith, Joshua D., Extended performance techniques and compositional style in the solo concert vibraphone music of Christopher Deane. Doctor of Musical Arts (Performance), August 2008, 66 pp., 1 table, 8 figures, 20 musical examples, references, 29 titles. Vibraphone performance continues to be an expanding field of music. Earliest accounts of the presence of the vibraphone and vibraphone players can be found in American Vaudeville from the early 1900s; then found shortly thereafter in jazz bands as early as the 1930s, and on the classical concert stage beginning in 1949. Three Pieces for Vibraphone, Opus 27, composed by James Beale in 1959, is the first solo concert piece written exclusively for the instrument. Since 1959, there have been over 690 pieces written for solo concert vibraphone, which stands as evidence of the popularity of both the instrument and the genre of solo concert literature. Christopher Deane has contributed to solo vibraphone repertoire with works that are regarded as staples in the genre. Deane’s compositions for vibraphone consistently expand the technical and musical potential of the instrument.
    [Show full text]
  • 056-065, Chapter 6.Pdf
    Chapter 6 parts played in units. To illustrate how serious the unison, and for competition had become, prizes for best g e g e d by Rick Beckham d the technological individual drummer included gold-tipped advancement of drum sticks, a set of dueling pistols, a safety v v n The rudiments and styles of n the instruments bike, a rocking chair and a set of silver loving n n i 3 i drum and bugle corps field i and implements of cups, none of which were cheap items. percussion may never have been i field music The growth of competitions continued a t a invented if not for the drum’s t competition. and, in 1885, the Connecticut Fifers and functional use in war. Drill moves i Martial music Drummers Association was established to i that armies developed -- such as m foster expansion and improvement. Annual m competition began t the phalanx (box), echelon and t less than a decade field day musters for this association h front -- were done to the beat of h following the Civil continue to this day and the individual snare the drum, which could carry up to War, birthed in and bass drum winners have been recorded e t e t m a quarter mile. m Less than 10 years after the p Civil War, fife and drum corps p u u w organized and held competitions. w These hard-fought comparisons r brought standardization and r o o m growth, to the point that, half a m century later, the technical and d d r arrangement achievements of the r o o “standstill” corps would shape the g l g drum and bugle corps percussion l c c foundation as they traded players , a and instructors.
    [Show full text]
  • TC 1-19.30 Percussion Techniques
    TC 1-19.30 Percussion Techniques JULY 2018 DISTRIBUTION RESTRICTION: Approved for public release: distribution is unlimited. Headquarters, Department of the Army This publication is available at the Army Publishing Directorate site (https://armypubs.army.mil), and the Central Army Registry site (https://atiam.train.army.mil/catalog/dashboard) *TC 1-19.30 (TC 12-43) Training Circular Headquarters No. 1-19.30 Department of the Army Washington, DC, 25 July 2018 Percussion Techniques Contents Page PREFACE................................................................................................................... vii INTRODUCTION ......................................................................................................... xi Chapter 1 BASIC PRINCIPLES OF PERCUSSION PLAYING ................................................. 1-1 History ........................................................................................................................ 1-1 Definitions .................................................................................................................. 1-1 Total Percussionist .................................................................................................... 1-1 General Rules for Percussion Performance .............................................................. 1-2 Chapter 2 SNARE DRUM .......................................................................................................... 2-1 Snare Drum: Physical Composition and Construction .............................................
    [Show full text]
  • Stick and Mallet Section for the Marching Percussion Ensemble by Clif Walker, Associate Director of Bands & Director of Percussion Studies – Blue Springs High School
    Stick and Mallet Section for the Marching Percussion Ensemble By Clif Walker, Associate Director of Bands & Director of Percussion Studies – Blue Springs High School There are many great stick and mallet companies in the world. At Blue Springs High School we use Innovative Percussion due to the superior variety and availability of both quality product and service. The recommendations below can easily be translated into similar products offered by different companies. I. Marching Bass Drum Mallets: A. Size/Weight: Bass drum mallets generally graduate with the size of the drum – the smaller the drum the smaller the mallet (less air to move, less needed to move that air). If you march smaller bass drums (16”, 18”, 20”, 24” for example) you may not need 4 different sizes of bass mallets due to relatively close sizes of this configuration. I have had success with the following recipe: Drum sizes 14” - 18” Innovative Percussion FBX-1 Mallets Drum sizes 20”, 22” Innovative Percussion FBX-2 Mallets Drum sizes 24”, 26” Innovative Percussion FBX-3 Mallets Drum sizes 28”, 30” Innovative Percussion FBX-4 Mallets Drum size “32 Innovative Percussion FBX-5 Mallets If your bass drum section is consistently staged visually backfield or you have a very large band/winds, you may want to consider larger mallets (and larger drums, and larger kids to carry them!). Keep in mind, mallets size/weight effects volume, not articulation. B. Articulation: Bass drum mallets general come in 3 degrees of articulation: 1. Wood (very hard/very articulate) –back of the felt mallet/using the handle side 2.
    [Show full text]
  • Show Design and Wind Arranging for Marching Ensembles
    Show Design and Wind Arranging for Marching Ensembles Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Music in the Graduate School of The Ohio State University By John Michael Brennan, B.M.E. Graduate Program in Music The Ohio State University 2014 Thesis Committee: Professor Daryl W. Kinney, Advisor Professor Timothy Gerber Professor Thomas Wells Director Jonathan Waters Copyrighted by John Michael Brennan 2014 Abstract The purpose this study is to illustrate current trends in show design and wind arranging within the marching band and drum corps activity. Through a comprehensive review of literature a need for further study on this subject was discovered. Specifically, texts from the 1950s, 60s, and 70s focused primarily on marching band arranging practices with minimal influence of show design. Since the 1980s, several documents have been written that discuss show design with some degree of detail, but have neglected to thoroughly address changes in marching band arranging. It is the aim of this thesis to discuss current trends and techniques in marching band wind arranging, and the higher level of detail placed into show conceptualization used by drum corps, competitive, and show band. ii Dedication To Rachael, the most patient, loving, and caring wife a husband could ever ask for. To my daughter Ellie Ann, who I cannot wait to meet in the coming weeks. iii Acknowledgements First and foremost, my family has helped me immensely both in my personal and professional life. It is without their support, witty commentary (especially from my brother’s), and encouragement that I have been able to work in a field I am passionate about.
    [Show full text]
  • How Steve Reich's Music Has Influenced Pat Metheny's and Lyle Mays' the Way Up
    The Art of Composing: How Steve Reich's music has influenced Pat Metheny's and Lyle Mays' The Way Up A research into the history of composition techniques By Benjamin van Bruggen August 2014 1 \\\\\\\\\Supervisors: Prof. Dr. Emile Wennekes Dr. Eric Jas Contents Table of Illustrations 3 Table of Tables 4 \\\\\\\\\ABSTRACT 5 \\\\\\\\\INTRODUCTION 7 \\\\\\\\\PREFACE 13 CHAPTER A) PULSING REPEATED NOTES 21 Electric Counterpoint and Reich's compositional practice 21 As characteristic of The Way Up 24 CHAPTER B) THE PHASE SHIFTING TECHNIQUE 31 CHAPTER C) HARMONIC LANGUAGE 39 2 Piano and trumpet solo 40 The harmonic aspects of The Way Up’s main theme 42 CONCLUSION 53 \\\\\\\\\BIBLIOGRAPHY 56 \\\\\\\\\APPENDIX 1 58 Table of Illustrations Figure 1: The Way Up's lead-sheet's cover (Forsyth n.d.). 6 Figure 2: The Way Up's CD release has six different cover designs (AIGA Design Archives n.d.). 8 Figure 3: The Way Up's CD release's booklet (AIGA Design Archives n.d.). 11 Figure 4: Excerpt from Electric Counterpoint's score: bars 63-67 (silent parts not incorporated) (Reich 1987). 20 Figure 5: Pulsing repeated notes in The Way Up's opening measures (Metheny n.d.) 22 Figure 6: Pulsing repeated notes in The Way Up's opening measures (Metheny n.d.) 23 Figure 7: Pulsing repeated notes in The Way Up's opening measures (Metheny n.d.) 24 Figure 8: A scalar arpeggiating figure in the piano is added to the pulsing repeated notes played by the guitar (Metheny n.d.). 26 Figure 9: Reduction of harmonies and pulsing repeated notes in measures 1445-1516 (Metheny n.d.).
    [Show full text]