Forest Hills Front Ensemble

2018 Technique Packet

Welcome to the Forest Hills Front Ensemble!

This packet has been put together in hopes to help students prepare for their upcoming marching

band audition and should also be used as a regular resource for self-help. This packet examines

all aspects of playing in a front ensemble, while defining each aspect to the standards that the

Forest Hills Front Ensemble will be expected to achieve.

Much of clinic-rehearsals will be spent as a platform for the staff to explain this packet and

technique as the staff realizes this may be a completely new way of approaching instruments and

musicality.

Included in this packet are various exercises and warmups that will help in the journey of

mastering technique. Passages should be performed as close to the written tempi as the student’s

hands can achieve while still maintaining a solid technique. In addition to the packet there will

be various bits of knowledge introduced during the clinics to see how well each student can

“think on their feet.” The staff will be taking each students ability to play within an ensemble

into consideration as well as attitude and attention to detail.

All exercises included in the packet will be played during the clinics – this means

preparation is a must. Keep in mind – clinic preparation will be looked at as part of your

overall audition.

Ensemble Expectations

As an incoming member, your challenge is to help elevate the front ensemble to a high level of

accomplishment through your dedication, commitment, passion and skill. You will be expected

to come into every rehearsal with your materials well prepared, rehearsed and (after time)

memorized. When you are a member of the Front Ensemble you will see first-hand how

important it is that each member does their part and is at every rehearsal and show when

scheduled. You will be expected to review the rehearsal and show schedule prior to the start of

the season and let staff know of any conflicts or concerns as soon as possible. Communication is

key!

*You will be expected to come to every rehearsal with a three-ring binder containing all

your sheet music. Your music should be placed into individual plastic page sleeves and you

should also have access to a sharpened rehearsal pencil. A WATER bottle is also required

at all rehearsals. Hydration is very important. ALL THAT IS IN BOLD IS

MANDATORY*

Though not mandatory, it is suggested that you bring a backpack or satchel for carrying necessary items

such as, but not limited to; three-ring binder, water bottle, pencils, sunscreen, rain jackets, snacks, hand

tape, earplugs etc. (This would be smart to have during band camp especially)

Approaching the Keyboard

How one approaches the keyboard is important and is the beginning of the entire look and feel of

the ensemble. When standing behind the keyboard the goal is have a “tall”, confident and

experienced look – even if you are new to the instrument. How a performer stands behind the

board is the first impression that the audience is given.

Posture: To start off, your body should be set around the notes they are about to play with feet

and shoulder width apart while maintaining relaxed knees. (nothing drastic, just make sure the

knees are not locked). This is standard posture. Shoulders should be back with a head held high –

No Slouching!

*Vibraphones: Your right toes will be on the pedal. This is to ensure that your right foot/heel

will be providing balance for you as you move behind your keyboard.

Set Position: Both mallet heads should share the space over the key where you are starting from.

The set height position should be determined by the dynamic of the passage to be played. This is

true of both two-mallet technique and four-mallet technique. The height chart can be found on

the bottom of this page.

Preps: Prep strokes are small motions from the set position that indicate tempo. They are

initiated by the center marimba and followed by the rest of the ensemble. This is a small and

defined motion that initiates from the wrist. As a performer prepares to play, the prep stroke

serves as a “count-off” in lieu of an audible source of timing. This will be further explained

during clinic dates.

Eight and In: Unless otherwise specified, we will mostly rely on a system where you will hear

eight beats from the metronome and then enter in and play on the next beat – one.

Communication: As an ensemble, we will rely on the center marimba player / central wood

source of tempo which will be defined by staff. Whatever that central player does, everyone

should follow. You will rely on them for mallet heights, set positions, tap offs and performance

approaches.

Playing Zones: Everything should be approached by playing in the center of the bars and

referred to as the primary playing zone. Keyboard runs and chord positions will sometimes

require performers to use a secondary position. This secondary position can be found at the very

edge of each accidental bar. STAY AWAY from the point in which the string runs through the

key. This intersection point is call the “Node” and is a “Dead” point on the bar. SAY NO TO

NODES.

Dynamics/Heights: Heights are what is used to coordinate dynamics and make sure each

performer is playing in a uniform manner. Forest Hills uses this system:

**** pp: 1 in. p: 3 in. mp: 6 in. mf: 9 in. f: 12 in. ff: 12 in. + arm (15 in.) ****

Two-Mallet Technique

Step 1: Divide the mallet shaft into thirds with your eyes.

Step 2: Place the lowest third (opposing the mallet head) in the palm of your hand griping the

mallet with your bottom three fingers. These fingers will be referred to as Support Fingers.

Step 3: Make sure there is only about one inch of mallet coming out from the bottom of your

pinky finger.

Step 4: Close the grip on your pointer finger and thumb by placing the mallet in the first bend of

your pointer finger. The thumb and pointer finger should line up directly on the third division of

the mallet.

Step 5: Hands should be placed in what is known as “German Style” positioning. The

performer’s hands should be flat on top and wrists should be utilized for rotation – strokes should

NOT originate from the elbow unless a unique moment calls for it, in which the director will let

the performer know.

*Ninety percent of the stroke should come from the wrist so it is important that the technique in

the hand is solid. The back three fingers should remain closed into the palm and the index finger

can be slightly relaxed – BUT NOT POINTED. The other ten percent should come from the arm

as an extension of a full wrist stroke.*

*A mallet instrument played with mallets does not have rebound, so this approach allows us to

create our own rebound for the piston stroke.*

Two-Mallet Stroke Types

Piston Stroke: A type of stroke where the starting and stopping point are the same (except for

horizontal motion across the keyboard creating a shift). No wasted motion is created by piston

stroke. The performer strikes straight down to play and straight up to return to the original

playing position. The stroke is relaxed yet precise. At slower tempi there will be a pause in

between strokes. As the tempo increases the performer has the responsibility to smoothly connect

the motion when it becomes comfortable to do so. Keep in mind that Forest Hills uses a “front”

fulcrum technique. This means that the “anchor” of your stroke will be between your index

finger and thumb.

Legato Stroke: The downward stroke is the same speed as that of the piston but the recovery is

slower on the upstroke, creating a “slow-mo” movement upwards from the note. The movement

is always lead by the mallet head and should look like the performer is slowly pulling every bit

of sound possible out of the bar. The arm is used at times to create a more fluid look and to

generate more sound from the bars in louder passages. Most legato strokes will have either a

defined ending beat or continue the motion until the next note. Common mistakes with this

include pushing forward with the mallets, using too much arm and/or generally overdoing it.

This technique will be used most often in the Vibraphones but will be utilized throughout the

ensemble from time to time.

Down Stroke: This stroke is used VERY sparingly, in fact – performers may go entire seasons

without using a downstroke on a mallet instrument. Like the approach of a snare drum, this

stroke has NO rebound. The downward motion of this stroke is the same as what you would find

in the downward motion of the piston stroke – the difference is that in the Downstroke, there is

NO upward stroke motion. These stroke types are most commonly used as a bridge stroke

between passages that go immediately from very loud music to very soft music.

Dead Stroke: This stroke is used only when notated or specified by an instructor. The beginning

of the stroke is like the piston stroke in the sense that you start your stroke from the height /

volume of the passage you are about to play. The difference in the two strokes is that instead of

“rebounding” off the key, the mallet remains on the bar following the attack – thus dampening

the resonance. Most of the time, an instructor will let you know when it is appropriate to pull the

mallet off the bar to re-attack between strokes. The moment in which you take the mallet off the

bar will always be defined and should never be left to guessing. If you are confused – ask.

Shift: When going from one note to another the return stroke of a piston stroke should be used to

travel to the next mallet destination. Performers may relate it to a “checkmark” type of motion.

**The most common problem with two mallet technique is holding the mallets in a more

“French” style of playing. (French is played with thumbs up.) Make SURE that your

thumbs are NOT pointed up to the sky and that your hands are flat / “German” style. Be

sure to also check that your hand/wrist is an extension of your arm and your wrist is not

bent in a way to look “broken”. **

Four-Mallet Technique

Forest Hills Front Ensemble four mallet grip of choice is the Stevens grip. This grip will be used

on both Vibraphone and Marimba. Stevens grip is the most efficient in stroke consistency and

interval changing while also creating a unified technique across the keyboard section. It is

important to remember that the mallets are labeled 1 – 4 from left to right.

The following process is the same for both hands.

Step 1: Grip mallet with your pinky and ring finger. There should be minimal excess mallet

protruding from the bottom of your pinky. (Think of this as if you were using two mallet

technique but only utilizing your bottom two fingers).

Step 2: Place the back of another mallet in the palm of your hand just under your thumb muscle.

Your middle finger should be holding the mallet into your palm/thumb muscle. (This will feel

like you’re Spiderman!) The pointer finger acts as a perch for the inside mallet (2 or 3) and the

mallet should be able to rest without any pressure in your hand.

Step 3: Place your thumb on the inside mallet (2 or 3) directly over your pointer finger perch.

This will allow you to freely change intervals.

Four-Mallet Stroke Types

Double Vertical Strokes: Follow the same guidelines for the two-mallet piston stroke. This

stroke should be played primarily with the wrist. To check to see that you are turning your wrist

correctly, you should see your wrist “pop” up as the mallets strike the bars. This wrist pop should

NOT be exaggerated – it is a natural result of performing the stroke correctly with the wrist.

Gradually, we will learn to incorporate arm into the stroke. The mallets should travel straight up

and down without any side-to-side motion. Make sure to keep your fingers relaxed!

Single Independent Strokes: This stroke type will primarily be used for mallets 2 and 3 (the

inside mallets). The set position will be the same as Double Verticals. The playing position will

be achieved by rotating the “active” mallet around the unused mallet. (i.e. mallet 3 will rotate

around mallet 4). To develop independence, in this case, with the inside mallets, it is important to

keep the outer mallets as still as possible. The outer will be defined as being half the height of the

playing position. To achieve this DON’T USE ANY TENSION!! Relaxed fingers act as shock

absorbers – tension will cause the outer mallets to twitch vertically and/or horizontally. Make

sure that you keep your index finger and thumb firm, but relaxed. This will help to keep control

of the inside mallets.

Single Alternating Strokes: This stroke type is closely related with the Single Independent

Stroke but without concern for motion in the other mallet. The set position and playing position

are the same as in the Double Vertical Stroke. As one mallet strikes the bar, the other mallet will

raise slightly. Be sure to not simply rotate the wrist – instead, think of the pivot point as

bouncing from one mallet to the next. This will allow us to control the articulation, rhythm and

dynamic of each mallet. It is important to note that TEMPO is a major determining factor for

when a Single Alternating Stroke TURNS INTO a one-handed roll motion. As the tempo

increases, the ability to control each mallet will decrease, until the motion is solely a rotation of

the wrist.

Double Lateral Strokes: Double Lateral Strokes should not operate like the other three stroke

types. The goal here is to produce TWO strokes through ONE hand motion. Again, the set

position and playing position are the same as a Double Vertical Stroke. In the case of the outside

Double Lateral Stroke, play as if you were going to perform a Single Independent Stroke (the

outside mallet will strike the bar first) and then rotate your wrist counter-clockwise to strike the

bar with the inside mallet. The motion of the wrist should be like turning a doorknob. To achieve

a consistent sound from mallet to mallet, you will need to use a lot of “torque” in your wrist.

Also, be sure to keep your index finger and thumb firm, but relaxed!

** The most common technique problem that occurs while playing with the Stevens

technique is the placement of the index finger. Make sure that you are not pulling your

index finger in while playing – it should remain in the “T” shape with your thumb. Also be

sure not to bend your thumb!**

Approaching Drum Set

Performers should be able to demonstrate a wide variety of grooves, with special attention paid

to more unique styles. Tasty grooves are always more impressive that busy chops. ENSEMBLE

AWARENESS is the most important quality a performer should strive for when auditioning for

drum set. You MUST be able to follow the keyboards / battery in different environments and

hold steady time while being sensitive to dynamics. You must be familiar with all the front

ensemble exercises even if they do not have a written drum set part. You will be asked to play

specific grooves / beat patterns for exercises and potentially be free to come up with your own

parts as you become more comfortable.

Approaching Auxiliary Percussion / Rack

If you are auditioning for an auxiliary percussion spot (rack / trap percussion) it is required that

you are comfortable with all percussion instruments; Concert snare/toms, Gran Cassa (concert

bass drum), various cymbals, various other trap percussion with potential of playing instruments

such as xylophone, bells and chimes. The defined two-mallet technique will be required. You

should be able to read music, demonstrate musicianship and demonstrate tempo control. The

warm-up routine for these players will sometimes include playing along with the keyboards.

Other times will be spent on stick control, rudimental and rhythmic permutation exercises. Any

world percussion skills are a HUGE bonus! There will also be an etude provided for you to play

during the audition process. Be advised that this position may also not have parts written to some

warm ups. You may be asked to play things from memory and if comfortable potentially will be

given freedom to come up with your own parts for warm ups. Knowledge of set up and tear

down of your own equipment is REQUIRED. If you do not understand how to properly set up/

tear down your instruments it is YOUR responsibility to reach out to a staff member and ask

questions. You are required to become self-efficient with set up and tear down after clinic dates

are over.

Approaching Piano/ Synthesizer:

If you are auditioning for a piano/synthesizer spot you MUST be able to play all twelve major

and natural minor scales. Tempo control and timing is very important! Please prepare a short 1-2

minute etude that showcases your range abilities. Each exercise will either be played on the

piano or a part is provided. If you need help finding an etude for audition, look on imslp.org or

contact a staff member for help.

Front Ensemble Packet Exercises

** Please assign yourself to a position of interest. Learn the specified parts. Take time to review

the packet and apply techniques stated above as best and defined as possible**

Here are the exercises and materials that will be played Fall of 2018.

1. Green Scales

2. Lock Jaw

3. Scharton

4. Something Useful

5. S. R. T.

6. Not the Same

7. Essential Drumming for Front Ensemble

***For audition purposes you will be expected to know ALL scales and permutations

outlined for your specific experience level / year of schooling. Any or all of the chosen

exercises for this year will also be heard during auditions.***

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Keyboards

Piano

Mar.

Pno.

5

Chum Chums

Something Useful

Mar.

Pno.

9

Mar.

Pno.

13

Mar.

Pno.

17

In Outs

Chum Chums

2

Mar.

Pno.

21

Mar.

Pno.

25

Mar.

Pno.

29

Out Ins

3

Mar.

Pno.

33

Mar.

Pno.

37

Chum Chums4

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KGKGGGKGKGGGKGKGGGKGKGGGKGKGGGKGGGKGGGKGGGKGGGKGGGKGGGKGGGKGKGKGKGKGKGKGKGKH I

SOMETHING USEFUL :

1st year -

*8th note patterns:

*Basic Chum Chums, 1/3 – 2/4 (left/right), 2/4 – 1/3 (right/ left), 2/3 – 1/4 (in/out), 1/4– 2/3 (out/in)

2nd year - Veteran - 8th note patterns:

Basic Chum Chums, 1/3 – 2/4 (left/right), 2/4 – 1/3 (right/ left), 2/3 – 1/4 (in/out), 1/4– 2/3 (out/in)

*16th note patterns:

*1-2-3-4 (Left/right up), 4-3-2-1 (right/left down), 3-2-4-1 (in/out off the right), 2-3-1-4 (in/out off the

*left), 4-1-3-2 (out/in off the right), 1-4-3-2 (out/in off the left)

3rd year - Veteran- 8th note patterns:

Basic Chum Chums, 1/3 – 2/4 (left/right), 2/4 – 1/3 (right/ left), 2/3 – 1/4 (in/out), 1/4– 2/3 (out/in)

16th note patterns:

1-2-3-4 (Left/right up), 4-3-2-1 (right/left down), 3-2-4-1 (in/out off the right), 2-3-1-4 (in/out off the

left), 4-1-3-2 (out/in off the right), 1-4-3-2 (out/in off the left),

*4-3-1-2 (hand to hand 4 start), 3-4-2-1 (hand to hand 3 start), 2-1-3-4 (hand to hand 2 start), 1-2-4-3

*(hand to hand 1 start)

4th year - Veteran - 8th note patterns:

Basic Chum Chums, 1/3 – 2/4 (left/right), 2/4 – 1/3 (right/ left), 2/3 – 1/4 (in/out), 1/4– 2/3 (out/in)

16th note patterns:

1-2-3-4 (Left/right up), 4-3-2-1 (right/left down), 3-2-4-1 (in/out off the right), 2-3-1-4 (in/out off the

left), 4-1-3-2 (out/in off the right), 1-4-3-2 (out/in off the left), 4-3-1-2 (hand to hand 4 start), 3-4-2-1

(hand to hand 3 start), 2-1-3-4 (hand to hand 2 start), 1-2-4-3 (hand to hand 1 start)

*sextuplet patterns:

*1-3-2-3-2-4, 4-2-3-2-3-1, 1-2-3-1-2-4, 1-2-4-1-2-3.

**********ADDED MATERIAL FOR RETURNING MEMBERS HAS ** IN FRONT OF IT. YOU

ARE EXPECTED TO PLAY ALLLLLL MATERIAL UNDER YOUR GROUP SECTION. ********

GREEN SCALES: (M-Major, m-minor)

5,4,3,6 pattern.

1st year -

CM, FM, BbM, EbM, AbM

am, dm, gm, cm, fm.

2nd year - Veteran - CM, FM, BbM, EbM, AbM, * DbM, GbM, BM, EM, AM

am, dm, gm, cm, fm, * Bbm, Ebm, Abm, Dbm, Gbm 3rd year - Veteran- CM, FM, BbM, EbM, AbM, DbM, GbM, BM, EM, AM, * DM, GM

am, dm, gm, cm, fm, Bbm, Ebm, Abm, Dbm, Gbm, * bm, em

*Be able to figure out Ionian, Dorian, Phrygian and Lydian modes.

4th year - Veteran - CM, FM, BbM, EbM, AbM, DbM, GbM, BM, EM, AM, DM, GM

am, dm, gm, cm, fm, Bbm, Ebm, Abm, Dbm, Gbm, bm, em

Be able to figure out Ionian, Dorian, Phrygian, lydian, * mixolydian, aeolian and locrian modes.

*Octatonic, Pentatonic, Whole Tone