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[ FRONT ENSEMBLE ]
THE BATTALION2017
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Thank you for your interest in The Battalion, Utah’s Drum Corps!
We look forward to seeing you at one of our BEX Clinics. Whether
your goal is to audition for membership in The Battalion for the
2017 Drum Corps International season, preparing for college
auditions, or bettering your skills to take back to your band
program, there’s something for you at this clinic. Our staff is
excited to work with you, and we hope you will enjoy working with
them.
Enclosed you will find warm-ups, technique exercises, and music
that will be useful to you in preparing for the clinic. Throughout
the clinic you will be asked to digest this information as quickly
as possible and apply it to the best of your ability.
Here are a few things for you to consider:
WHAT WE LOOK FOR IN THE AUDITION PROCESS
The Battalion WayProfessionalism at ALL TIMES! This includes
moving equipment, equipment care, conduct (in and out of rehearsal)
and performance. Others should look to us as a role model of the
activity as we perform at the highest level of competition.
A Battalion member has a positive attitudeThis is the key to our
success! In order for the ensemble to perform at the highest level,
we need people who are willing to give of themselves in order for
the good of the team.
A Battalion member has an elevated learning curveThe drum corps
season moves very quickly and its imperative for you to learn
concepts and develop your playing skills quickly. Adaptability is
also a key trait of a Battalion member.
A Battalion member performs with great technique and sound
qualityWe will LOOK and SOUND like the world-class ensemble that we
are. More specifics on this will be provided through instruction
and exercises.
A Battalion member performs with a high level of musicality and
emotional connectionWe are a world-class ensemble and will explore
the highest levels of musical nuance and expression. We will
connect with our audience and fans through emotions transferred
through your performance.
INSTRUMENT SPECIFICS
KeyboardsSound quality, 2 and 4 mallet technique, knowledge of
theory, rhythmic accuracy, movement, expression
Rack/PercussionSound quality, rhythmic accuracy, knowledge of
technique on concert and ethnic percussion instruments, feel and
groove
TimpaniSound quality, knowledge of theory, pitch accuracy,
rhythmic accuracy, movement, expression
THE BATTALION EXPERIENCE: FRONT ENSEMBLE
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PREPARED SOLO
Please prepare a solo for your audition. This can be an etude
you’re working on in school or a solo and ensemble piece. Some
examples of this are listed below.
Marimba SolosFunny Mallet series by Nebojsa Jovan
ZivkovicRecital Pieces for Mallets by Garwood Whaley The Rotations
by Eric Sammut
Vibe SolosMirror from Another by David FriedmanTrilogy by Tim
HuesgenVibe Etudes and Songs by Ney Rosauro
Xylophone SolosAny of the Rags by George Hamilton Green
Snare Solos for those auditioning for Rack Percussion
PartsAnything out of the Anthony Cirone, Jacques Delecluse or
Mitchell Peters snare books.
Timpani SolosAnything out of the Whaley, Hochrainer or Peters
timpani books.
Feel free to contact me with any questions about this or any
other part of the audition process. Again, we look forward to
seeing you at one of our BEX Clinics!
Sincerely,
Shilo StromanFront Ensemble Caption Head
THE BATTALION EXPERIENCE
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FRONT ENEMBLE TECHNIQUEBy Shilo Stroman
The overall technique is always relaxed with quality of sound as
the highest priority.
Mallet Instruments:
Posture: from the ground up…We will begin with feet
shoulder-width apart. Your legs should be relaxed, knees slightly
flexed. Rigidity will greatly inhibit your range of motion, so its
best to maintain your flexibility form the beginning and start
forming good habits on even the simplest exercises. Keep your back
and neck straight and allow your arms to hang naturally at your
sides. There should be NO TENSION in your neck or shoulders. Stand
with your chin up at all times and look down your nose to see the
instrument as opposed to hunching over to see the keys! Our posture
and physical approach to the instrument will be one of the first
indications to the judge and audience exactly what kind of ensemble
we are. Everything we do must be professional and confident down to
the most miniscule details. The professionalism we present
ourselves with will earn us points before we play a single
note!
Unlike snare drum, there is no rebound from a mallet instrument.
In most ways, our approach to mallet instruments is exactly
opposite of snare drum.
Fulcrum:The fulcrum is created with the middle, ring and pinky
fingers wrapping completely around the mallet. There should be no
tension in the back fingers, yet at the same time the fingers
should remain on the mallet at all times (the tips of the back
fingers remaining in constant contact with the palm of the hand).
There should be 2” of mallet sticking out the back of the hand. The
index finger and thumb merely aim the mallet and should not squeeze
the mallet at any time. Place the mallet at the first joint of the
index finger and set the thumb on lightly. There should be minimal
pressure between the index finger and thumb: tension will only
create a choked or forced
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sound. This also reduces the amount of energy that goes into
producing a stroke. Both hands should angle away from one another
slightly, as opposed to the tops of the hands being flat.
Stroke:The basic stroke is always initiated from the wrist
(piston stroke). It should be emphasized that wrist is 99% of the
stroke and arm is added only to complement the wrist to enhance
projection. Fingers are not used to produce most strokes, merely to
lightly grip and aim the mallets at the desired keys. The stroke
starts up and ends up. This stroke type allows for a resonant sound
and speed toward the next note.
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Timpani:
Sizes and Ranges: Knowing the sizes and ranges of a standard set
of timpani are critical for any timpanist. This information assists
in choosing specific drums to be used and determining approximate
location of the indicated pitches within the range of the drum. A
complete set of timpani is typically 4 or 5 drums with the optional
drum being the smallest one (20”). Sizes and ranges are as follows
(note that ranges are approximate and the best sound for each drum
is in the mid-high portion of the range): 32" - D to A 29" - F to C
(octave below middle C) 26" - Bb to F 23" - D to A 20" - F to C
(middle C) Timpani are typically set up with the largest drum on
the players left (American style).
Tuning: The first and most important step in tuning timpani is
knowing the pitch to which your are tuning the drum. Though this
seems obvious, many beginning timpanists neglect the time necessary
to establish the pitch in their head before striking the drum.
Regardless of the source (tuning fork, pitch pipe, mallet
instrument, etc.), the player must establish pitch before
attempting to match it. After establishing pitch and choosing the
appropriate drum for that pitch, move the pedal to a spot a bit
below where that pitch should be. Tap the drum once lightly with
your finger and move the pedal up until the pitch on the drum
matches the one in your head. Always move the pedal from below the
pitch. This makes tuning easier to hear and avoids the risk of the
drum settling lower in pitch while playing.
Posture: You should sit on the front third of the timpani stool.
You can rest your feet on the pedals of the 29” and 26” drums or on
the ground if height allows. Its very important that your back
remain straight in order to rotate around the drums correctly.
Getting around the drums: We will use the American way of
setting up the drums, or largest on the performers left to smallest
on the performers right. When moving from drum to drum, your
playing spot should not change. When rotaring to the 32” drum you
right arm will touch your torso and your left arm will be angled in
toward your torso so your wrists are parallel. When playing the 23”
drum its just the opposite idea.
Playing Spot: All playing and tuning should take place in the
same spot on the head. That spot is directly above the pedal
approximately 1/3 of the way toward the center of the drum (2-4
inches from the edge depending on the size of the drum). The
desired result should be a full and resonant sound that sustains
for several seconds. Playing too
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close to the center reduces the sustain of the drum. Playing to
close to the edge produces a thinner quality of sound.
Grip and Stroke: We will use French grip which is similar to the
basic snare drum grip except the hand is rotated 90 degrees with
the thumb facing up. This grip allows proper movement around the
drums as well as good roll control. The stroke is 99% wrist with
the fingers used only for rolls. The stroke starts up and ends up
(piston style). This allows for increased articulation and a
resonant sound. There should be 2 triangle formed in your grip. The
first one is from the beads of the mallets to your wrists, the
second is from your wrists to your elbows.
ROLLS: Timpani rolls are performed as single stroke rolls (like
mallet percussion). The speed of the roll will typically be faster
on the smaller drums or when the pitch is in the upper range of the
drum. For a more legato sound, mallets may be separated by as much
as 6-8 inches, although they still must remain the same distance
from the rim.
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General Concepts:IF YOU MOVE TOGETHER, YOU PLAY TOGETHER. There
is no exception to this rule. Therefore, technique and uniformity
are of the utmost importance. We must strive to look and sound the
same at all times.
Placement of the mallets on the keys should be dead center. The
edge of the keys should be used only when speed is a concern.
Preps will be given by the section leader to establish a common
tempo among the front ensemble in relationship to the hornline and
drumline. Preps are not intended for a judge or the audience to
see. Preps are produced by the hands and mallets ONLY and should
not include any head or body movements.
The way we present ourselves is of utmost importance to
performing at the level we strive to attain. Proper care and
maintenance of the instruments, continually cleaning all the
equipment and looking the part of a professional musician are all
part of the image we make for ourselves. For that reason, it is
expected that the instruments and equipment look and sound superb
at all times. Before any performance all equipment must be cleaned
thoroughly, heads tuned and all necessary mallets prepared.
The front ensemble is approached in some ways just like an
indoor percussion ensemble. We do not stand at attention with our
sticks in. Instead, we stand at the ready, using good posture.
Hands are placed left over right in front of the body, with or
without mallets in the hands. Stay relaxed, look calm and be ready
for anything. Perform at all times. Meaning, when you have rests
printed on your page you are still “in” the performance.
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Marimba/Vibes/Xylo
6
R L R L R L R L R L R etc.
10
continue with pattern
12
4 3 2 1 4 3 2 4 3 2 1 4 2 1
15
4 3 2 1 4 3 1 4 3 2 1 3 2 1 4
19
44
14
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&
GREENSPLAY IN ALL MAJOR/MINOR KEYS and MODES
Front Ensemble BasicsShilo Stroman
&
SPEED GREENS
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UP and DOWN
3
3 3 3
&
3
3 3 3
&
TIMINGcan be played w/2 or 4 mallets
&
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15
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24
23" 32" 29"
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68
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∑
Lock Jaw M
ajor
Allen J.Justus
Fall2015PacketPitPit packet letter - Fall 2016May2015Packet
Front Ensemble.pdfMay2015Packet PitPit packet letter
may15Nov2014Packet Front Ensemble.pdfNov2014Packet Pit.pdfFRONT
ENSEMBLE TECHNIQUEFront Ensemble Basics-1Front Ensemble
Basics-2
Nearer My God to Thee BellsNearer My God to Thee MarimbaNearer
My God to Thee PercussionNearer My God to Thee TimpaniNearer My God
to Thee VibesNearer My God to Thee Xylo
