2016...we want you to get the “most bang for your buck” both literally and heat wave of florida...

2016 Battery Audition

Packet

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Heat Wave of Florida Percussion Auditions Packet – Battery 2016

Dear Prospective Member, Thank you for your interest in the Heat Wave of Florida Percussion! I am looking forward to working with you all as we embark in this awesome journey. The purpose of the audition process is to create instrument assignments that will be most beneficial to everyone involved. A wide range of criteria will be considering when making assignments. These include, but are not limited to: technical ability, memorization, listening, marching ability, physical fitness, and overall attitude. The audition will take place in a full ensemble setting and one on one session, but will encompass a wide range of situations. Anyone may be asked to play solo at any time. ALL EXERCISES SHOULD BE LEARNED AND MEMORIZED PRIOR TO THE AUDITION DATE. You will also be expected to learn new music that you will receive at the audition. Those auditioning for tenors should be able to play every exercise on a single drum, as well as with the provided arounds/ splits. If you are auditioning for a bass drum position, please have at least two parts completely memorized, but be prepared to play any of the five parts. Also be prepared to play every exercise in unison and splits. Please come to the audition with the following items:

Drum

Sticks/mallets

Audition Music

Pencils and paper

A practice pad

Earplugs If you have any questions, please do not hesitate to post questions on the Heat Wave of Florida percussion group page. Thank you again for your interest in Heat Wave of Florida.

Derek Wilkerson Heat Wave of Florida Percussion Caption Head mailto:[email protected]

mailto:[email protected]

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The Things We Value Character Both on and off the Field/Floor – upon being accepted into the Heat Wave of

Florida you are an ambassador for the organization and should conduct yourself a ccordingly. The things you do and the decisions you make affect the team.

Consistency and Quality – being able to play in time as perfectly as possible ALL THE TIME with the best possible Quality of Sound is a key factor in what we try to accomplish. Consistency and confidence comes only from long hours spent breaking rhythms down with a metronome until they are as second nature to you as breathing air. Quality of Sound is achieved when the performer does not slow the implement down on its way to the instrument. Allowing the implement to move quickly to and complete full contact with the playing surface at all heights while maintaining a relaxed but firm grip (in consideration of the tempo, note value, and rebound characteristics of the instrument in question) will allow you to achieve this. When all of our performers possess the confidence built upon knowledge and understanding of the material and technique, then rehearsals can be spent on high level concepts rather than simply trying to develop skills.

Efficiency – wasted time and energy while playing your instrument as well as how you personally operate while with the group decreases the opportunity for success. Time is money! A sense of urgency ensures the maximum amount of cleaning/repetition. This is a key element to any successful group. Think about how you can get the greatest results in the least amount of time.

Equipment Maintenance and Care – we have thousands of dollars of equipment that is transported on our trailers and loaded many times in and out of schools and other facilities. Please keep them clean and well maintained, do not abuse them in any way, and load and unload them in accordance with the instructions of your staff. Instruments and equipment are NEVER to be taken home without express written agreement of the Director.

Financial Commitment – financial preparation and planning is just as important as what you do on the field. Plan your life so that you can pay your fees in full and on time.

Leading By Example – be everything you want the group to be. Ask yourself the question: “if everyone was doing what I was doing, would the group be the best it possibly can be?” The best leaders are the ones that can practice what they preach. And don’t have to preach – because they can speak with their actions.

Musicianship and Ensemble Awareness– remember that this is not an individual activity. While every member of the group is working hard to perfect their individual skill sets at home, during rehearsals it is our number one priority to play together as an ensemble. Using your senses and expanding your awareness of those around you and your role within the group is something that can only be developed over time. Never be rigid or inflexible as we learn the show and the unique situations the visual aspect creates for the music. Listening to feedback

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and instructions from the box is crucial to this process. What sounds correct to you on the floor may not be correct from the vantage point of the audience member. This is ultimately where the music must sound together from. Your ability to adjust quickly and having the technical facility to play a passage any way the staff asks you to is a huge asset to the team.

Percussive Skills and Vocabulary – as a musician and member of Heat Wave of Florida, you should always be working to maximize and improve your knowledge and skills. The more tools you have at your disposal, the more the group will be able to achieve. Listen to your staff of experts and strive to be able to play EVERYTHING in the packet.

Perseverance. Willpower. Never Giving Up. – this activity will push you to the limits in every way. How you deal with that will dictate your character. Trust is established with your teammates by always being there and working your hardest for yourself and for them. Be strong. Give maximum effort at all times.

Physical Fitness – this activity is a sport. In order for you to excel and withstand the rigors of long, physically and mentally exhausting rehearsals, physical fitness is a MUST. You are doing a disservice to yourself and the group if you are unable to function and perform at the highest level during rehearsals. Also, being fit decreases the chance for injury which can be devastating to the group.

Preparation - practicing with a plan and perfecting your materials at home is crucial to our success. Strong individual knowledge and understanding of the material in all aspects increases our ability to rehearse in a productive fashion. If you are in an ensemble setting and haven’t ironed out your deficiencies or you are struggling with a particular skill or passage, then it is very difficult for the group to make progress. This decreases the positive experience for yourself and the rest of the team. Spend the MOST time on the things you are the least skilled at. Turn your WEAKNESSES into STRENGTHS. Always work towards mastery and never just play mindlessly. Don’t just try to get it right – keep at it until you can’t get it wrong. Managing your time so that you excel at all of your activities outside of the group will increase your ability to participate fully with a lower stress level and high level of confidence. DON’T PROCRASTINATE! Make a schedule, set goals, stick to the plan, and most importantly - follow through.

Punctuality – to be early is to be on time. If we have a scheduled downbeat then it is your responsibility to plan ahead in order to arrive and assist in any unloading and moving of equipment, or other pre-rehearsal prep at a facility. This is designed to insure that the group can maximize its rehearsal time. Being late or in a stressful or frantic state is never desirable for you or anyone else on the team. A good rule is to arrive a minimum of 30 minutes prior to the downbeat of any rehearsal. After rehearsal concludes, staying until cleaning and loading duties are complete is also a requirement. Never leave until you are dismissed or have been cleared by a staff member.

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Rehearsal Etiquette – again, be early to be on time. Have your equipment and personal gear

set up and ready to go well before downbeat. We have a process, and the quickest path to success is following it. At rehearsals resist the urge to “teach” others. This is what we have assembled an expert staff for. When the rep is complete, let the staff speak first and give you valuable feedback to make you better. If you have a question, simply raise your hand and ask it in a respectful and positive manner. Being on the same page is key to our success. 7 snares thinking the same thing will get cleaner faster. It’s that simple. Always be a part of the solution and never a part of the problem. We are all part of the same team striving for the same goal – to be the best we possibly can be.

Team Oriented Mindset – we all live and work together towards a common goal for a long period of time. Be respectful of your teammates and always work with a sense of making the team better any way you can. This includes helping others and doing the MOST you can at all times both on and off the field/floor. Understand that when you don’t pull your weight, it doesn’t just affect you – it affects every member of the team.

Visual Proficiency – everything we play and perform is accompanied by some type of visual element, whether it is marching or choreography. The faster you become great at this, the faster we will be able to achieve a high level as a group. You must also work to master these responsibilities at home. Make them part of your daily routine.

Work Ethic – by deciding to join Heat Wave of Florida, you have made a decision to embrace a way of life. You need to work as hard as you can to make yourself the very best in all of these areas. Be a well oiled machine both musically and physically.

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Our Height and Dynamic System*

1” pp Grace Note Height. Dropped in from playing position 2” p In between Grace Note and Tap 3” mp Normal Tap Height 6” mf High Tap/Low Accent – can be denoted by a Tenuto mark 9” f Normal Accent Height – denoted by Accent 12” ff Full Wrist Turn – Vertical – denoted by Marcato Accent 15” fff Marcato with arm lift for maximum audio/visual effect *The height in inches is approximate. We will not get a ruler out at rehearsal. All heights will be demonstrated and balanced player to player by the technical staff. Our Approach and Philosophy We use logic and physics as our guiding principles to playing. We will always strive to teach you concepts that will allow you to play with the greatest amount of efficiency on your chosen instrument. The principles we adhere to are applicable to any medium. In a nutshell, if it doesn’t make sense in accordance to the laws of physics and nature then it doesn’t belong in your technique. Think of a river or a ray of sunshine – they simply do what they must and travel in a way that is the path of least resistance. You should endeavor to accomplish this in your road to mastery. Fluid. In Control. Effortless. Our staff will always give you guidance that contains real, pertinent information that does not contain jargon and rhetoric. We want you to get the “most bang for your buck” both literally and figuratively. Clear knowledge and understanding of what you are trying to accomplish with your technique and in rehearsals is the fundamental key to success. If we play and practice in the most efficient manner possible, then the season is a guaranteed success.

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Snare Technique IMPLEMENT GRIP A great quality of sound and approach to the drum starts with the grip of the stick. In order to produce a full, resonant tone from the drum, it is important that your hands maintain a relaxed grip around the stick at all times and allow the stick to resonate in your hand. If you hold the stick too tightly, you dampen the stick’s natural vibration and “choke off” much of the sound which results in a very thin quality of sound. Also, the brunt of the impact from the stick striking the drum will be transferred directly into your hands which can lead to unnecessary injury. Always let the stick “breathe” in your hands. Right Hand The fulcrum point is located between the thumb and the index finger. This is the point from which the stick pivots in your hand. This pivot point should be located at the optimal balance point of the stick, which is usually found around 1/3 of the length of the stick. The rest of the fingers should be wrapped naturally around the stick. They should be loose and relaxed, but can never leave the stick. Left Hand (for Traditional Grip) The fulcrum point is again located between the thumb and index finger, with the thumb sitting on top of the index finger between the first and second knuckle. This connection must always be maintained while the thumb and index finger stay relaxed. The stick will rest on the fourth finger just past the first knuckle near the cuticle. The pinky should stay attached to the fourth finger in a relaxed position and the middle finger will rest beside the stick with the fingertip being slightly on top of the stick. Please be aware that the middle finger should simply be “along for the ride” and not used to generate a stroke by applying pressure in any way. All fingers must remain relaxed in a curved position at all times. Any unnatural straightening or flexing of the fingers simply causes unwanted tension that will ultimately inhibit your performance.

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PLAYING POSITION A proper playing position begins with finding an appropriate drum height. This can be done using the left hand as a starting point.With your arms relaxed by your sides, raise your left hand from the elbow until your forearm is parallel to the ground. Next, simply raise your right hand to the drum, matching the fulcrum point of the right hand to the fulcrum point of the left hand and making sure the stick angles are the same. The beads will always remain in the center of the head, resting a ½ inch apart and a ½ inch off of the head. It is absolutely essential for the beads to remain in the exact center of the drum at all times. If your sticks are not striking in the same location of the drum they will not produce the same sound hand to hand.

STROKE Every stroke will initiate from a wrist turn with the bead of the stick moving first. This wrist turn is essential in every stroke played. However, do not restrict your arms and try to use only wrist. As your wrist turns, your arm should naturally move. Use all three muscle groups – arms, wrists, and fingers – for your advantage to produce every stroke. The arm, wrist, and finger muscles must all be present to allow you to execute any type of stroke at any time with ease.

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Tenor Technique

Grip The grip that we use is the American matched grip. The fulcrum consists of two points of contact created by the thumb and the index finger gripping the implement approximately a third of the way from the butt of the stick. The fulcrum should be firm enough to keep the stick/mallet from moving, but relaxed enough to allow the stick/mallet to resonate. The top of the hand should be slightly turned from flat to a 45- degree angle. The fingers should maintain contact with the stick at all times, cradling it in the “bed” of the palm. Playing Position The bead of the mallet should rest approximately ½ inch above the surface of the drumhead, sloping down at a 10-degree angle. The bead should rest approximately 1 ½ inch from the rim. Default tacit position is defined as sticks split over 1 & 2. Stick movements prior to playing will be defined according to the music. The “T’ed” up approach will be used for the outer drums. Notice that the beads are equidistant from the rim.

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The elbow should rest near the player’s body, but not touching. At no point should tension enter the arms, shoulders, neck, or face. When traveling from A to B, maintain an arc, never pulling the elbows back. When moving to the 6” & 8” drums, the elbows pull back while keeping the shoulders soft and low.

Height of the drum must always facilitate the marching technique and free motion of the legs. Remember – relaxation is the key. Height of the drum is important to maximize relaxation and eliminate tension. Stroke Approach to the drum: Relaxation is the key. There must not be any tension when approaching the drum. A one drum mentality is applied to movement and motion around the drums, meaning: legato remains legato, marcato remains marcato, multiple bounce stroke remains a multiple bounce stroke, and whip stroke remains whip stroke. Parts should first be learned on one drum to ensure quality of sound, rhythmic accuracy, and muscle memory sensation. Applied to the around, all of these aspects should remain, most importantly, the muscle memory sensations. Stay as relaxed moving around as you would playing on one drum. Shoulders should remain stationary, low and relaxed during difficult scrape passages and crossovers. A good guideline to go by: 70% wrist and 30% finger. Keep in mind; this guideline is tempo and volume conducive.

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Bass Technique

Grip The grip used is very similar to that of snare drum matched grip, except the hands are rotated so the wrists are vertical instead of horizontal. The thumb and index finger form a “fulcrum” on the mallet. This should not be a gap between the thumb and the third knuckle of the index. The rest of the fingers should be wrapped around the mallet very naturally. It’s very important to not introduce tension in the hand. This grip should be approached with relaxation in mind. Interpreting 2’s, 3’s and 4’s Making sure that the members of the bass line all understand how to interpret 2’s (ex. 16th notes), 3’s (ex. 24th notes, half of a sextuplet), and 4’s (ex. 32nd notes) is crucial to their success. Here are four general rules that must be applied in the order presented: 1. The first thing that must happen when approaching 2’s, 3’s and 4’s is that the figure is started in the precise point in time that it is written to begin sounding. If the figure starts on the “&” of the beat, then the player needs to make sure that this happens first. If he/she plays a “3” perfectly spaced, not too open or too closed, and it is balanced and blended perfectly with the other players but the starting point of the figure is misplaced slightly in time, all chance of smoothness and continuity of the musical phrase are lost. 2. The next step is to make sure the rhythm played after the starting point is correct. The tendency that most players have is to play the rhythms too closed. Sometimes, if the player is playing their figure on the downbeat, it is more difficult to properly space out the rhythm than if it was started on the “&” because there is not as strong of a beat after it to play to. When starting on the “&” the figure usually continues up to the next downbeat, which is where the foot hits as well. 3. The next skill to master must be articulation. To get each note to speak clearly, the player must slightly crescendo each one. When a bass drum is struck it has a resonance that can last up to 1. to 3 seconds until it completely dies away. If someone is playing a “4”, the attack of the second, third, and fourth notes will be slightly covered up by the resonance of the note played before it. So, if the player plays all four notes at exactly the same volume the articulation will sound “muddier”. From farther away it’s almost completely unnoticeable. Using this technique allows each note to be clearly heard over the constantly resonating head and it helps smooth out the musical phrase. The worst habit many bass drummers acquire is accenting the first note of the figure because they are so focused on starting it at the correct point in time.

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4. Once the bass drummer has mastered starting the rhythm in the correct place, spacing out the rhythm correctly, and articulating the right way, he/she can now begin to notice how they are blending in with the bass line around them. One cannot really begin to analyze how they are playing with the other musicians until all 5 of them have mastered the first 3 steps. Balance and blend is not possible at the highest level unless the more basic skills are second nature to the players. If the first 3 steps are mastered, now we do small adjustments to certain phrases to make sure that each player is contributing musically to the entire ensemble.

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Derek A. R. Wilkerson

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2016...we want you to get the “most bang for your buck” both literally and heat wave of florida...

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