Professional Documents
Culture Documents
November 20-22
2016AUDITION PACKET
What to Bring
A Good Attitude- We are looking for much more than just great playing ability and
previous experience in the Cadets Pit, we are looking to find great team members as
well. A Front Ensemble is a unique collection of people, as those 16 players spend all
day, everyday for 3 months straight together. We are looking for folks who buy into a
team concept and are able to effectively receive instruction from the admin, staff, and
section leaders to achieve our goals.
Music and Solos- Please bring a copy of all the audition material and your
marimba/vibe/xylo/timpani/piano solo with you to camp. It is usually best to organize
this in a 3-ring binder. Also, bring writing implements to make notes and fill out forms.
Mallets- For the group portions of the weekend we would like you to use OUR Vic Firth
mallets. If you wish to perform your solo with mallets other then ours, we encourage
you to bring them.
Personnel
The following is the potential instrumentation for the 2016 CPit:
(5) Marimbas,
(5) Vibraphones,
(1) Xylophone/Glockenspiel,
(1) Timpani,
(2) Synthesizer positions
-1 full time player
-1 player splitting time between synthesizer and sampler
(2) Percussionists
Please note: Percussionists at The Cadets are expected to play
the keyboard exercises from the beginning of the packet up to and
through 4x6 Permutations
Percussion Etude
3. This is a piece for those folks auditioning for percussion/rack spots to play.
Once again, thank you for your interest in the 2016 Cadets Front Ensemble. I am
excited for you to meet our excellent Front Ensemble staff and for the staff to work
with you in the individual and group setting.
If you have ANY questions regarding the audition materials or audition process, please
dont hesitate to contact me at moyeriain@yahoo.com
Dr. Iain Moyer
The Cadets Front Ensemble Arranger
CONTENTS
Thank you for becoming a part of our rich history. Were very excited to
begin our 83rd season with you. See you in November!!!
THE AUDITION
A frequently heard statement: There is no way I could make the Cadets, I am not good
enough.
Lets start with a premise you are ready and willing to take on a big challenge. If this is
the case then proceed and do not be afraid! The fact is that there are many talented
young men and women who fail to audition because they dont believe themselves to be
Cadet standard. Cadets are built every year, and it starts with the commitment and a
willingness to work hard. The door is in front of you, walk through, and take the first step!
I.
II.
HOW TO AUDITION
A. Be Prepared!
Preparation is the key to all success in the auditioning process. The more you prepare
yourself the better you will exhibit your skills at the audition. Perform for as many people
as possible. Get in front of private instructors, band directors, and peers. Their insight,
criticism, and suggestions can also be beneficial. Your biggest critic will likely be you.
Record yourself and take notes; the recorder or camera never lies!
Your audition music does not need to be memorized; however we will always encourage
you to go above and beyond what is asked of you. It is the way of The Cadets.
B. State of Mind
Being nervous is normal. This is a simple fact and once you understand that, it becomes
easier to perform and deal with nervousness. Resisting nervousness can bring negative
physical effects; rather embrace your nervous feelings and focus energy in a positive
manner. Breathe! Let go of your emotions and begin with deep breaths.
If possible, work through your nervousness by engaging yourself in high-pressure
situations. Perform for as many people as possible and record yourself frequently; give
yourself only one chance to perform for the recorder and see what kind of results you
produce. Always keep going, do not apologize for your audition, and NEVER give
excuses.
C. The Audition Event
Before you enter the audition room, be certain that your instrument is in good working
condition and you have all the necessary paperwork required by your caption head
(should include personal calendar).
Once in the room:
Relax, breath.
Always ask questions if you dont understand something.
Perform to your highest ability.
Once youve finished the requested performance material, there will be a
short conversation between you and the caption supervisor. If you have any
further questions, please feel free to ask.
In the conversation with the caption supervisor you will also be asked a series of
questions. Below is a sample list; it is by no means the only questions you may be
asked.
Name
Age/Age out year
School
Major (if in college)
Drum Corps experience
Email address
Cell phone number
Any schedule conflicts
Expected move in date
III.
PERFORMANCE RATINGS
During you audition weekend you will be given a rating:
1 = We feel that youre ready to become a Cadet, so begin getting your finances, schedules,
and plans in order!
2 = We feel that you have potential to be a Cadet, but we need you to work on some specific
items, come back to the next camp, and show us your progress
3 = We dont feel that youre quite ready to be a Cadet this year, but well provide you with
suggestions for improvement, marching with another group, or anything else that may help
you to reach your goal of being a Cadet in the future.
***The audition process DOES NOT END after the first camp. Final decisions for each
section are determined by the caption head. Preparation, improvement, attitude,
financial commitment, attendance, marching ability, playing on the move, and physical
condition will be also be determining factors for awarding a position in The Cadets.***
IV.
THE COMMUNITY
Every year some competitive groups have tremendous amounts of talent and great
coaches or staff and yet fail to live up to their expectations. More often than not this is
caused by that groups inability to work as a team. Whether or not you decide to stay in
the music/performing business for the rest of your life or you go work in other
professional fields, you are going to need to be able to work with others in order to be
happy and successful. Establishing these principles may be the most important things
that The Cadets can teach you during the course of a drum corps season.
!
Mutual Respect The Golden Rule applies, you must treat others with respect and
you must expect others to treat you the same. The perfect scenario is that everyone
within the corps likes each other, but we dont live in a perfect world and 150 diverse
individuals are not going to blend perfectly. We will not ask you to like people that
you simply cannot bring yourself to like, but we will ask you to treat them with respect
and we expect the same from them. Ultimately, we are all here for the same
purpose and we are all on the same team. To be clear; this goes for everyone. Staff
and volunteers are also asked to treat all members as they would wish to be treated.
Responsibility and Accountability These are two of the most important traits to
master if you would like to be successful in life. If you are unable to do either then
you become unreliable. If you say you are going to do something then do it, and if
you fail to do so, expect to be held accountable for your actions.
Collaboration This is without a doubt one of the most important factors to The
Cadets success. There must be open lines of communication between the members
of the corps, the corps leadership, staff, volunteers, and administration. The staff
and administration will do our best to communicate with you what our needs and
expectations are and we will expect the same from you. It is essential that you not
be afraid to ASK QUESTIONS!
V.
WHAT TO BRING
You will be responsible for having the following materials at ALL rehearsals:
Three ring binder with clear plastic sheets this contains all music and sectional
information handouts in organized clear sheet protectors. Any information you could
possibly use or need should be in this binder.
Pens, sharpened pencils, sharpies, highlighters Have a pencil with you at all times.
Notes will be taken at every rehearsal and corps meeting. Write everything down!
A notebook for all meetings
Gloves for brass players. Must be worn when handling Cadets owned brass
instruments. You will go through many gloves during the season. It is important that
gloves remain in good condition and are replaced as necessary. Gloves that are
dirty or have holes are never acceptable. (These are gloves available for purchase
at every camp.)
Towel for brass players. Your Cadet brass instrument is in one of three places at
all times: in your hands, placed in line on the ground, or in its case. The towel is
used to protect your instrument when placed on hard surfaces, especially when
rehearsing outdoors.
LOGISTICS
I.
RSVP:
Regardless of your method of travel, please RSVP by Midnight the Friday before
camp. The staff and administration needs to know these details for food quantities,
airport pickups, rehearsal facilities, music, nametags, and many more detailsall to
provide an experience of the highest quality!
In case of changes that will affect your pickup time on the day of camp, please send a
TEXT MESSAGE to Katy Boggs at 309-472-7518 with the following:
Car:
Please plan to arrive at 7:00pm on Friday. The welcome meeting will begin at 9:00pm
sharp, but it will take some time beforehand to register, unload, and prepare for the
weekend.
Plane:
Please plan to arrive at all airports ready for a 6:00 pm pickup on the Friday of
camp. We suggest that you book a flight which arrives no later than 5:00pm so that you
have time to gather your belongings and will allow you to be ready for pick ups at
6:00pm. Delays and cancellations can happen at anytime. Getting in earlier and waiting
with your fellow potential members will make for a less stressful travel day for all.
Airports:
1. PHL Philadelphia International Airport is preferred
2. TNN Trenton- Mercer Airport is preferred as well
**Pickup location for all students/auditionees is at Terminal C for PHL only.
**Exact pickup times will be announced 2 days before camp.**
Please plan to depart from any of the listed airports/bus/train stations AFTER 7:00pm on
the Sunday of camp.
Bus/Train:
If you are taking a bus/train into 30th Street Station in Philadelphia, please take the local
train to the Philadelphia Airport (PHL). The train costs $5-10, leaves at least every 15
minutes, and will take you directly to Terminal C at the airport for bus/van shuttles.
BUS & TRAIN RESOURCES
http://www.septa.org/stations/rail/30th.html
http://www.septa.org/welcome/airport.html
The Trenton Transit Center is another option for travel.
PLEASE do not book a departure that leaves PHL before 7:00pm on Sunday. We
will likely need to pull you from the end of rehearsal in order to get you to the
airport on time, and we dont want you to miss any part of this great experience
with The Cadets!
II.
FINANCIAL OBLIGATIONS
Cash or check is our preferred method of payment. Checks (made payable to YEA!)
can be mailed to the following address. Please be sure to include the applicants name,
section, and 2016 Member Fees.
The Cadets
Attn: Katy Boggs
601 W. Hamilton Street
Allentown, PA 18101
We also accept payments of cash, check, or credit card in person at camps.
Credit card payments can be made online at http://www.cadets.org. Please make sure
that if a parent or relative is submitting a payment they use the members name in
the Name and Email section, marked in red below. This helps us ensure that all
payments are attributed to the correct member account. The parent or relatives
information can still be entered in the Billing Name and Address section, marked in
green below.
III.
CAMP ATTENDANCE
We do expect everyone to attend all winter camps. However, we understand that
conflicts can arise. We ask that you do everything possible to be at each camp, since
you will miss a great deal of information by not being there.
If you will miss a camp, or any part of a camp, you must contact your caption head,
section instructor, section leader, and administration as soon as you know of the conflict.
IV.
V.
CONTACT INFORMATION
Caption Supervisors
Brass
Battery
Front Ensemble
Color Guard
Visual
Gino Cipriani
Colin McNutt
Iain Moyer
Kristy Templin
Austin Greene
ginocipriani@gmail.com
cdmcnutt@yahoo.com
moyeriain@yahoo.com
KristyTemplin@comcast.net
austingreene@gmail.com
Administration
Corps Admin
Corps Admin
Katy Boggs
Steve Shuey
Katyb@yea.org
Steve@yea.org
PAPERWORK
Please bring with you a completed 2016 Member Medical Form. (This is found at the
end of this packet.)
Please be prepared to send in a copy of your birth certificate, as well as a current copy
of your insurance card, should you be offered membership in the corps. More
details/instructions will be communicated at a later date.
VI.
December 11-13
January 8-10
January 22-24
February 12-14
Dates and locations for all other winter camps will be announced later in the year.
VII.
FRIDAY
7:00pm Arrive, Unload, & Registration
9:00pm Welcome Meeting
10:00pm Sectionals
12:30am Snack & Videos
1:30am Lights Out
SATURDAY
8:30am Breakfast
9:30am Sectionals
1:30pm Lunch
2:30pm Sectionals/Marching
6:30pm Dinner
7:30pm Meet with Hopkins
8:45pm Sectionals
11:45pm Snack
1:00am Lights Out
SUNDAY
8:00am Breakfast
9:00am Sectionals
12:30pm Quick Snack & Setup
1:00pm Ensemble Rehearsal
2:00pm Cleanup
3:00pm Dismissed & Depart
VIII.
SLEEPING GEAR
REHEARSAL CLOTHING
Athletic shorts/pants
TOILETRIES
Towel
Toothbrush, toothpaste, mouthwash, floss
Soap, shampoo, body wash
Deodorant
Shaving Cream & Razor
Hair product
Prescription medications
Brass players:
o Gloves($3/pair at camp)
o Mouthpiece
o Valve oil
o Music stand
Drummers:
o Sticks($10/pair at camp)
o Tape
o Practice pad
o Music stand
Front Ensemble:
o Mallets
o Music stand
Color guard:
o Gloves
o Tape
o Dance clothing
REHEARSAL SUPPLIES
If you have any questions on what to pack please utilize the Facebook groups or contact
Katy Boggs at katyb@yea.org.
IX.
X.
USBands
usbands.org
Cadets Twitter
@thecadets
Questions:
Katy Boggs, Administrator - Performing Ensembles
Katyb@yea.org
610-821-0345 x115
Steve Shuey, Associate Director - Performing Ensembles
Steve@yea.org
610-821-0345 x133
Cadets2
Name ___________________________________
Relationship ______________________________
Relationship ______________________________
Phone (________)_________________________
Phone (________)_________________________
INSURANCE INFORMATION (Attach copies of your medical insurance card, front and back)
Medical Insurance Company ________________________________________ Policy ID # ___________________________
Address _______________________________________________________________ Phone(________)______________
Insurance Through: [ ] Father
[ ] Mother
[ ] Self
[ ] Other _______________________________________________
MEDICAL INFORMATION
Year of Last Tetanus Shot _______________ (If it has been more than 10 years, we suggest that you get a booster shot)
Place an (X) in front of the box of any of the following that you have had during the past FIVE years:
Nose, Ears, Mouth & Throat
[ ] Nose Bleeds
[ ] Ear Aches
[ ] Thyroid abnormalities
[ ] Lumps on Gums or Jaws
[ ] Sore Throat
[ ] Enlarged Tonsils
[ ] Sinus infections, Hearing Loss
[ ] Ear Infections
[ ] Positive Tuberculosis Skin Test
[ ] Bronchitis / Pneumonia
[ ] Tonsillitis
[ ] Rheumatic Fever / Scarlet Fever
[ ] Dental or Gum pain / Infections
Musculoskeletal
[ ] Wrist Pain
[ ] Aching Muscles
[ ] Swollen Joints / Arthritis
[ ] Tendonitis
[ ] Feet
[ ] Flat Feet
[ ] Joint pain
[ ] Chronic Pain
[ ] Scoliosis
[ ] Fractures or Broken Bones
[ ] Tendonitis or Bursitis
[ ] Head Aches more than 3/mo
[ ] Depression / Anxiety or Panic
[ ] Spinal Injuries or Pain
[ ] Ankle injury or recurrent pain
Skin
[ ] Acne
[ ] Itching or Rashes
[ ] Bleed Easily
[ ] Bruise Easily
[ ] Change in appearance of Moles
[ ] Lumps, Cysts, Tumors of Skin
[ ] Sun burn easily
[ ] Acne requiring long term care
[ ] Hives
[ ] Eczema
[ ] Chicken Pox / Measles
[ ] Cancer
Cardiovascular
[ ] High Blood Pressure
[ ] Racing heart in my chest
[ ] Irregular heart beat
[ ] Chest Pains
[ ] Light Headed Spells
[ ] Blackout Spells
[ ] Heart Murmur
[ ] Shortness of Breath
[ ] Sudden cardiac death in family
[ ] Family member with Marfan Syndrome
[ ] Endocrine
[ ] High or low blood sugars
[ ] Extreme weight loss or gain
[ ] Dental problems
Respiratory
[ ] Asthma
[ ] Coughing Spells
[ ] Coughing up Blood
[ ] Smoke or Chew Tobacco
[ ] Excessive Sweating at Night
Other
[ ] Hernia
[ ] Testicle Lump or Swelling
[ ] Hemorrhoids
[ ] Appendicitis
[ ] Hepatitis
[ ] Seizures
[ ] Diabetes
[ ] Allergies
[ ] Allergies to Wasp / Bee Stings
[ ] Meningitis (Viral or Bacterial)
[ ] Autoimmune Disease
Gastrointestinal
[ ] Frequent Indigestion
[ ] Frequent Nausea
[ ] Constipation
[ ] Diarrhea
Are there any other medical condition(s) that we need to be aware of? ____________________________________________
If yes to any of the above, please explain (Use additional sheet if necessary) _______________________________________
____________________________________________________________________________________________________
____________________________________________________________________________________________________
____________________________________________________________________________________________________
CONSENT
The history supplied on these pages is correct to the best of my knowledge. The person herein described has permission to
engage in all prescribed activities, except as noted by me. In the event that I cannot be reached in an emergency, I hereby
give permission to the physician, selected by an adult leader of YEA! Or YEA! Sponsored group, to hospitalize, secure proper
anesthesia or give any other necessary care for my son or daughter.
____________________________________________________
Parent or Guardian (Member if over 18)
____/____/____
Date
Score
Mallets
& 43 .. ..
Timpani
? 43 ..
..
32 29 29 26 29 29
Piano
Mlts.
Timp.
& 43 .. ..
.
? 43 .. .
Pno.
.
.
..
..
..
.. 4
& ..
? ..
.. 44
32 32 29 26 29 29
32 32 29 29 29 32
32 29 29 26 26 26
23 26 26 26 26 26
23 26 26 26 29 29
...
..
.
..
.
. 4
. 4
& .
...
? ..
.. 44
2
9
Mlts.
Timp.
.
& 4 . ..
? 44 .. ..
26 23 20
Pno.
29 2
.
4
.
.
&4 .
www
? 44 ..
www
www
www
..
&
13
?
13
Mlts.
Timp.
&
www
www
www
www
?
29 26 23
13
Pno.
26 23 32
29
I.H.O.P. Part 1 is a fundamental "Kraus" Scale style exercise which utilize many of the rhythmic
patterns we use in the licks in The Cadets Shows.
A few things to think about when practicing this exercise:
1) Rhythmic perfection and extremely consistent sound quality are the ultimate goal.
2) The first two measures are the most important, as they set the sound quality you
will try to maintain once you start moving across the notes.
Mlts.
&
43
w
w
43
23
w
&w
?w
w
29
..
.
1st Ending
? 43 .
6
b b .. 4
C
b ...
.
b.
b.
.
..
.
.
b.
b.
.. 46
.. 46
.. 46
b 4
6
&4
46
? 46
44
46
4
4
6
4
25
25
2nd Ending
2nd Ending
6
& 4
25
Pno.
& 43 ...
21
Timp.
43
R L
1st Ending
23
Mlts.
1st Ending
? 43 .
21
Pno.
w
w
R L
Timp.
& 43
21
Mlts.
43
19
Pno.
19
Timp.
2nd Ending
? 46
44
46
I.H.O.P Part 2 is an exercise that utilizes "herta" and "inverted herta" rhythms.
A few things to think about when practicing this exercise:
1) Every note should have an even and equal sound quality and volume,
regardless if it is an 8th note or 16th note.
2) All of the 8th note "check" measures should be played with a
rebounded motion from both hands.
& 4
28
Mlts.
R R L
RLR L
R L L
R LRL
? 46
28
Timp.
26
26 29 32
23
6
w.
& 4 ww ..
28
Pno.
w.
? 6 ww ..
4
32
Mlts.
&
23 26
ww ..
w.
!
29
R R L R L L
RLR L R LRL
RLRLR LRL
32
Timp.
26
23
26
29 32 23 26
29
&
32
Pno.
.
? ..
... .. ...
.
&
36
Mlts.
# # n
b b
&
36
Pno.
.
? b ..
b.
? .
36
Timp.
..
.
Timp.
&
38
Pno.
.
? b www ..
b.
? .
38
b b
& b b b
R R sim.
.
?
40
Timp.
b ww ..
& w.
b.
40
Pno.
b b b n b n b n b n n n
R sim.
R L
b.
b ..
.
? b b b
b b b
R L
b.
# n # n # # n n
12
8
12
8
b ww ..
w.
b b b
..
.
b b b
40
Mlts.
b www ...
b n b b b
b n b n
n
&
R L
b.
b b
b
38
Mlts.
sim.
12
8
12
8
"Furioso"
12 # # ..
& 8 ..
fRL
L
L R R L R R
L
R
R L L R L L
43
Mlts.
? 12
8 .. # #
f
43
12 ww ..
# ww ..
#
& 8 ..
f
? 12 .. .
w.
#.
#w.
8
.
w.
#.
#w.
43
Timp.
Pno.
&
47
Mlts.
..
.
.
.
.
..
.
J
.
.
.
.
.
J
.
.
.
.
w ..
&w
?
..
47
Pno.
..
47
Timp.
..
.
.
.
.
b # # b n # n # n # n b b b b
. .
&
? b ..
50
Mlts.
50
Timp.
R L L
J .
.
#.
R L
j .
. .
b # # b n # n # n # n b b b b
. .
&
50
Pno.
? .
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
. .
.
.
.
q= 120-180
7
& 8
Marimba
Timpani
Piano
85
? 78
....
....
......
......
& 78 ......
..
..
f (with String, Vocal or Organ Patch)
..
..
..
? 78 ....
..
..
..
..
..
85
Mrb.
7
8
? 85 78
Timp.
Pno.
& 85
& 85
? 85
j
j
j
j
j
j
J
j
78 ..
.
78
.
.
85
....
..
85
..
..
48
48
j
...
j
..
j
48
j
48
Mrb.
4
& 8
Timp.
? 48
4
& 8
13
13
Pno.
? 48
Timp.
& 68
? 68
& 68 ...
19
Pno.
? 68 ..
19
Mrb.
6
8
68
6
8
68
..
..
44
..
44
..
.
..
.
..
.
44
44
.
.
..
.
.
.
.
.
4
& 4
F
3
4
4
4
? 44 43
F Low GAB on 32", Low C on 29", DEF on 26", GAB on 23", High C on 20"
44
& 44
F Pianists: Play one hand at a time
? 44
43
3
4
44
23
Mrb.
Timp.
23
Pno.
& 44 43
27
Mrb.
Timp.
? 44
3
4
& 44
? 44
27
Pno.
3
4
43
44
8
"CPit Octaves"
b bnb b b n b n
&
b bnb b b n b n
32
Mrb.
3/4 3/4
or
? b bnb b b n b n
1/2 1/2
Timp.
b b n b b b n b n
&
b bnb b b n b n
32
Pno.
RH
? b b n b b b n b n
b bnb b b n b n
LH
b b b b n b n b n b n b n b b b b b
b b b b
44
& b b b b n b n b n b n b n
40
Mrb.
Timp.
? b b b b n b n b n b n b n b b b b b 44
b b b b n b n b n b n b n b b
b b
& b b b b n b n b n b n b n
? b b b b n b n b n b n bb nn bb b
b
b b b b n b n b n b n
40
Pno.
b b b
b b b 44
b b b 4
4
b b b
q= 90-120
"In's and Out's" is an exercise that utilizes both the "vertical" motion of the Double Vertical Stroke
and the "rotary" motion of the Single Independent Stroke.
1) During the first two measures, when playing with the inside mallets, keep your outside mallets DOWN,
very close to the keyboard.
2) During the third and fourth measures, when playing the outside mallets, keep your inside mallets in the UP position.
4
& 4 b N b
b
46
Mrb.
Timp.
Pno.
? 44
29"
b b
46
4
J
&4
? 44 b
b
J
26"
23"
b 20"
& b N b
b
48
Mrb.
Timp.
b
b b
b b
& J
48
Pno.
b
b
J
b
b b
b
b b
b
b
b
b b
b
b b
b
b
b
b b
b
b b
b
b
Prep
>
b
>
b n
b
b
10
"4x6 Permutations"
"4x6 Permutations" is an exercise that works on interlocking permutations in groupings of 4 notes and 6 notes.
1) Every note in this exercise is played with an even volume, do not accent
the top or bottom note of any permutations.
2) Your RH mallets and LH mallets should overlap (interlock) with each
other. However, this should not effect good bar placement.
3) All accidentals will be played in the center of the bar.
q= 120
& .. b N b N
f2/4 1/3
51
Mrb.
Timp.
? ..
& .. b N b N
f
b b
4
51
Pno.
? ..
b b
& # # # # .. b N b N n # # 98
53
Mrb.
1/3 2/4
Timp.
? #
3 2
# #
2/4
..
1/3
1/3
2/4
98
& # # # # .. b N b N n # # 98
53
Pno.
..
98
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56
Mrb.
2/4
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1/3
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2
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58
Pno.
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58
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2/3
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J
56
Pno.
11
3 2
4 2 3
..
10
Mallets
4 .. .. .. .. .. ..
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4 4
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Mlts.
4 3 4 4
4 3 4 3 4
4 3 4 3 4 3 4 3 4
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.
.
.
.
..
.
. .
. .
&
Mlts.
3 3
& ..
12
Mlts.
3 4 3 3
3 4 3 4 3
3 4 3 4 3 4 3 4 3
.. w
Mlts.
&
..
.. ..
.. ..
..
1 1
& ..
19
Mlts.
1 2 1 1
1 2 1 2 1
.. w
w
1 2 1 2 1 2 1 2 1
& .. .. .. .. .. ..
22
Mlts.
2 2
& ..
2 1 2 2
26
Mlts.
2 1 2 1 2
2 1 2 1 2 1 2 1 2
.. w
w
2
11
&
29
Mlts.
3/4
4 3
1/2
Repeat 1x, 2x, 4x, 8x, ect.
&
..
33
Mlts.
3/4 1/2
1 2
.
.
&
36
Mlts.
&
40
Mlts.
& ..
44
Mlts.
.. ..
..
> > > > > > > > > > > > > > > > > > > > >
4
b
!
& 4
F
f
Temple Blocks
felt end of swizzle
- -
&b
P
f
b
& @.
F
& b -@
F
-@
Tap
f
@
F
Tambourine
13
Turn
Over
19
Fist
& -
24
- .
@
F
Fist
F K FKF
@
>
>
f
n#
K Float
Both
Chinas
-
Temple Blocks
with Felts
Turn Palm
Over Slap
K FK F KFK F K
to Tambourine
15" w/felt
!
to Brake Drum
w/Xylo Mallets
w
P
3
3
# j
. .
& .
P
P
Brake Drum
32
36
&
L R R
L R R L
R L
,
j
. .
> >
fl
Crash Cymbals
Cadets 2016
. .
p
,
j
j
.
> fl
f
Hopppolla
Glockenspiel
Sigur Rs
Robert Scott
q = 76
4
&4
6
4
4
4
6
4
10
4 >
>
6
-
&4
15
13
>
46
&
4
4
6
4
20
44 J J J J J J J J
6
& 4 J J
f
25
25
J
f
&
33
35
32
2
6
4
&
4
4
w
w
L.V.
38
w
& w
ff
w
w
w
w
>
fff
Hopppolla
Marimba 1
Sigur Rs
Robert Scott
q = 76
5
DL Rolls
6
4
4
&4
6
4
4
?4
4
w
w
w
w
4w
4 w
4
4
w
w
w
w
w
w
w
w
w
w
w
w
6
4
6
4
mf
10
? 6
4
w
w
w
w
6
&4
4w
4 w
4
4
w
w
w
w
mp
w
w
w
w
w
w
w
w
6
4
6
4
15
15
4
6
&4
4
4
?6
4
4
mf
19
4
4
4
4
6
&
4
6
?
4
ff
25
23
&
-
-
1
3/4
3/4
2 sim.
V.S.
mp
Marimba 1
26
>
& >
2 3/4 3/4
2 3/4
>
>
>
2 3/4
1/3/4 2 3/4
3/4 3/4
-
-
3/4
3/4
3/4
2 sim.
29
>
&
- >
-
? -
>
>
>
33
32
6
&
4
-
6
? -
4
mp
mf mp
35
35
4
&4
?4
4
39
&
>
>
{
ff
fff
Hopppolla
Marimba 2
Sigur Rs
Robert Scott
q = 76
5
DL Rolls
6
4
4
&4
w
w
w
w
6
4
4
?4
4
4w
4 w
4
4
w
w
w
w
w
w
w
w
w
w
w
w
6
4
6
4
mf
10
? 6
4
w
w
w
w
6
&4
4w
4 w
4
4
w
w
w
w
mp
w
w
w
w
w
w
w
w
6
4
6
4
15
15
6
4
& 4 4
? 6 4
4
4
mf
19
6
& 4
? 6
4
4
4
4
4
ff
25
23
&
?
-
-
1
3/4
3/4
2 sim.
V.S.
mp
Marimba 2
26
>
& >
2 3/4 3/4
2 3/4
>
>
>
2 3/4
1/3/4 2 3/4
3/4 3/4
-
-
3/4
3/4
3/4
2 sim.
29
>
&
- >
-
? -
>
>
>
33
32
6
4
6
? -
4
&
mp
mf mp
35
35
4
& 4
? 4
4
39
&
?
>
>
ff
fff
Hopppolla
Rack 1
Sigur Rs
Robert Scott
q = 76
4
/4
6
4
4
4
6
4
B.D. w/ towel?
10
4
6
4
/4 4
mp
6
4
15
15
4
6
4
/4 4
6
4
25
21
7
4
4
/4
6
4
33
35
33
6
/4
mp
mf mp
4
4
f
37
>
L.V.
4
ff
fff
Rack 2
Hopppolla
Sigur Rs
Robert Scott
q = 76
4
/4
6
4
4
4
6
4
Stick on ride
Brushes on snare
/4
4
10
mp
6
4
15 >
/4
4
15
/4
4
20
25
> 25
33
soft mallets
7
6
4
35
35
4
/4
L.V.
39
>
/
ff
ff
fff
6
4
Hopppolla
Sigur Rs
Robert Scott
Synth 1
q = 76
Piano
6
&4 4
mf
5
5
4 >
>
4
& 4 - -
ped. simile
>
&
?
4 >
>
6
4 - -
4
f
6
4w
4
4
w
w
Lo Boy
15
- -
>
6
&
4
f
6
?
4
w
w
w
13
16
>
4
&4
>
>
6
-
-
4
? 44 w
6
4
w
w
w
>
>
6
4
4
&4
20
? 46
4w
4
w
w
V.S.
Synth 1
>
23
-
-
&
?
25
mf
27
&
?
w
w
33
31
6
4 - -
6
4
w
>
--
&
?
w
w
>
35
34
4
& - - 4
f
4w
?
4
w
>
>
38
&
w
>
ff
w
w
w
L.V. (may need to
fade out manually)
>
41
-
-
&
>
fff
w
w
>
Hopppolla
Synth 2
Sigur Rs
Robert Scott
5
q = 76
Synth Strings
4
4
&4
6
4
4w
4w
w
w
w
w
w
w
w
w
w
6
4
w
w
w
mf
10
6
& 4
4w
4w
w
w
w
w
w
w
w
w
w
6
4
w
w
w
15
15
6
& 4
4w
4w
w
w
w
w
w
w
w
w
w
6
4
w
w
w
w
w
4w
4w
w
w
w
w
25
23
& w
w
w
?
w
w
w
w
w
w
w
33
31
w
& w
w
35
35
w
w
w
w
6
4
. . . . . . . . . . . . . . . . . . . . . . . .
mp
mf mp
w
w
w
w
4
&4
f
40
ff
w
w
w
w
>
&
fff
Hopppolla
Timpani
Sigur Rs
Robert Scott
q = 76
4
?4
4
6
4
4 w
4
6
4
mf
10
?6
4
4 w
4
6
4
15
15
?6 4
4
4
f
19
6 4
4
4
22
?
25
33
25
8
?
6
4
mp
mf
mp
mf
35
35
?4
4
f
39
L.V.
?
>
ff
fff
Hopppolla
Vibraphone 1
Sigur Rs
Robert Scott
q = 76
4
&4
6
4
4
4
6
4
10
4 >
4
&4
-
f
12
>
>
46
&
15 15
6 j j 4 j j j
&4
4
J
f
18
j
j j
6 j
4
&
ff
21
j
4 j j
&4
J J
25 25
w
J w
&
J
f
2
2/3 2/3
2/3
sim.
2/4
2/4
2/4
2/4
2/3
1/3 1/3
2/3
1/3
2/4
2/4
2/3
Vibraphone 1
29
&
w
w
J
6
4
J
2/3
33
33
6
&4
1/3
2/3
35
35
>
4 >
&4
-
-
f
38
>
&
>
ff
>
41
L.V.
&
>
>
fff
Hopppolla
Vibraphone 2
Sigur Rs
Robert Scott
>
6 -
4
4
4
q = 76
4
4
&4
mf
>
>
-
-
6
4
&
sim.
>
10
6 -
4
4
&4
f
>
>
12
- -
6
4
&
15 15
6 4 J
4
&4 J J
J J
J
f
18
6 j
4
& J
J
J
ff
21
j
4 j j
&4
J J
V.S.
2/3 2/3
2/4
2/4
2/3
2/4
2/4
2/3
2/3
1/3 1/3
Vibraphone 2
25
25
&
1/3
2/4
2/4
w
w
2/3
J
4
f
29
&
6
&4
33
33
1/3
w
w
J
2/3
2/3
>
>
- -
&4
35
35
>
>
&
38
>
ff
>
L.V.
>
- -
&
fff
41
Sigur Rs
Robert Scott
Hopppolla
Vibraphone 3
6 -
4
q = 76
4
4
&4
mf
>
>
6
- -
&4
3
sim.
>
9
6 -
4
&
f
>
>
11
4
&4
>
14
15
6
4 J J
&
2/3 2/3
- -
44 J
2/3
17
& J
J
J
20
6
& 4 J J
ff
1/3
1/3
2/4
2/4
2/4
2/4
4
4J
2/3
J
J
J
2/3
6
4
V.S.
Vibraphone 3
& J
25 25
&
J
22
J
J
w
J w
f
29
w
6
w
J
J
4
&
J
f
33 33
&4
>
>
35 35
-
-
4
&4
1/3
2/4
2/4
2/3
2/3
1/3
2/3
>
>
>
38
&
ff
>
L.V.
>
41
- -
&
fff
Sigur Rs
Robert Scott
Hopppolla
Vibraphone 4
q = 76
4
&4
6
4
4
4
6
4
10
>
6
4
-
4
&4
12
>
>
4
&
-
-
15 15
j
6 j j
4
4
&4
J
f
17
j
j
j j
j
6
& 4
20
4
6
4J
&4 J
J
J
ff
22
& J
J
J
J
J
V.S.
2
sim.
2/3
2/3
2/3
1/3
1/3 1/3
2/4
2/4
2/3
2/3
4
Vibraphone
w
J w
J
25
25
&
1/3
29
&
2/4
2/4
2/3
w
J w
6
4
J
2/3
33
33
6
&4
1/3
2/3
35
35
>
>
&4
-
-
f
38
>
&
>
>
ff
41
L.V.
&
>
>
fff
The Cadets Front Ensemble employs a front fulcrum approach to all 2-mallet
passagework.
Grip Guidelines:
1) A Fulcrum should be formed between first knuckle of index finger
and pad of the thumb. NEVER in the second knuckle of the index
finger.
2) Wrap your fingers around the stick naturally
3) The back of the hand should be parallel to the ceiling when in the
down positionthere is a SLIGHT angle to the back of the hand, but
not much.
4) There should be no space between the thumb and index finger.
5) We do not utilize a back fulcrum technique.
Starting Position
1) The Cadets 2 Mallet Starting Position is UP.
2) The general starting height is 12 off the keyboard.
3) You will start and SET your mallets at other heights depending on
the dynamic.
4) A prep stroke will be required for any height higher than 12.
Stroke Guidelines:
1) The path of the stroke is straight up and down.
2) The speed of the stroke going down and coming up is the SAME.
3) The wrist is employed in EVERY STROKE WE PLAY, regardless if the
fingers and arms are ALSO involved.
4) Movement around the instrument:
a) The wrist is responsible for the vertical motion
b) The arm is responsible for the horizontal (across the
keyboard) and lateral (to the accidentals) motion.
CPit Heights System:
The 2015 Cadets height system will be based on inches:
ff= 15 inches (full stroke)
f= 12 inches (3/4 stroke)
mf= 9 inches (half stroke)
mp= 6 inches (quarter stroke)
p= 3 inches
fff= 15 inch wrist stroke, plus arm movement (18)
ffff= 15 inch wrist stroke, plus extreme arm movement (20)
Posture for 2 and 4-mallet passagework:
To begin, stand with your feet shoulder-width apart. Your torso should be
upright and your shoulders back. We do not wish for you to hunch over
in any way. There should be an imaginary straight line drawn from your
ankles to you shoulder blades. The only disruption of this straight line
occurs to allow your head to look downward towards the instrument.
4 Mallets:
The Cadets Front Ensemble employs the Stevens Technique for all 4-mallet
passagework, regardless of instrument.
Stevens Grip Guidelines:
1) The thumbnail should be parallel to the ceiling. The only exception
being when one is playing smaller intervals (2 , 3 ), it is appropriate
for the thumbnail to be turned in slightly.
2) For intervals of a 4 , 5 , or 6 : Your index fingers should be pointing
at each other (Left Hand=East and Right Hand=West). This should
be your general playing position.
3) For intervals of a 2 or 3 : Both index fingers will face South.
4) For intervals of a 7 or an octave, you will roll the mallet out on your
index finger, so that your Left Index Finger is pointing Northeast
and your Right Index Finger is pointing Northwest.
5) The octave grip is employed for notes of a major 7 or greater.
The octave grip is achieved by moving the bottom of the inside mallet
from the center of the palm of your hand (which is the position
utilized for intervals of a 4 , 5 , 6 ) towards the webbing between
the middle and ring finger. Generally, the base of the mallet will not
enter the webbing, but stop just shy of this area. This is not
optionalthe only effective way to perform octaves consistently
and with exceptional technique is to utilize this grip!
6) The bottom of your hands should never sit below the plane of the
natural notes.
nd
th
nd
th
rd
th
rd
th
th
th
th
th
Starting Position:
1) The Cadets 4 Mallet Starting Position is DOWN, approximately 3
inches from the keyboard.
2) This starting position requires a prep stroke for any height higher
than 3 inches.
The Three Elbow Positions:
1) Square to the body: This position occurs when both mallets in your
hand are both on natural notes, or both on accidentals. Your elbow
should be naturally in line with your shoulders, about two to three
inches from touching your rib cage.
2) Elbows out: This position occurs when your outside mallet is on an
accidental and your inside mallet is on a natural. Your elbow should
be extended out away from your body. Your wrist should remain
straight.
3) Elbows in: This position occurs when your inside mallet is on an
accidental and your outside mallet is on a natural. Your elbow should
be touching your rib cage. Your wrist may also need to be bent
inward.
Stroke Guidelines:
1) Double Verticals: This stroke should be performed with a relaxed
wrist pop. A wrist pop is achieved by the top of the wrist moving
upward when the mallet heads descend down to the instrument, and
the top of the wrist moving downward when the mallets heads
ascend back to the UP position. This wrist pop will be quite
noticeable a slower tempos, but will start to turn into a fluid wrist
motion at faster tempos.
2) Single Independent: The mallet NOT hitting the keyboard should be
rotating in a tight, circular motion to allow the mallet that IS hitting
the keyboard to travel to and from the bar.
1. When striking the instrument with the INSIDE mallet, the
outside mallet should be about 3 inches from the
keyboard in the DOWN position.
2. When striking the instrument with the OUTSIDE mallets,
the inside mallet should be in the UP position.
3) Single Alternating: Each mallet should rebound back to the starting
position. An image to think about while performing this stroke would
be the motion of dribbling two basketballs in an alternating fashion,
one in each hand. If you are doing this stroke INCORRECTLY, the
stroke would resemble a see-saw motion.
4) Double Laterals: The double lateral is a combination of a vertical
motion and a rotary motion. The stroke begins with a vertical
descent from the mallet performing the first note, and is followed
immediately by a rotation towards the mallet performing the second
note. The combination of these two movements results in a singular
swift and efficient stroke, causing two notes to sound from one fluid
motion.
1. This combined motion is almost like scooping ice cream.
2. The Cadets Double Lateral ROLL sticking is 4,3,1,2.
a. This requires the motion to always begin on the
outside mallet.
5) One-Handed Roll: A one-handed roll is a rapid toggling between two
pitches in one hand, which is intended to impart the illusion of a
sustained sound with one hand, leaving the other hand free to play
other rhythms and melodies. A visual image of to think about of this
toggling would be that of an extremely rapid and continuous seesaw motion between the malletheads. This is the OPPOSITE of the
single-alternating motion.
The Stroke:
1) Start in the UP position, set at the dynamic of the first note.
2) The path of the stroke is straight up and down, no slices!
3) Allow the mallet to naturally rebound from the head.
4) The wrist stroke is produced by a rotary motion from the wrist AND
forearm.
5) The wrist is employed in EVERY STROKE WE PLAY, regardless if the
fingers and arms are also involved.
6) Use solely the Wrist for mp-f material.
7) Use arm (from elbow only!) for ff-fff material .
8) Use the fingers for soft rolls and strokes, ppp to mp.
Playing Spot:
1) Strike the 23 and 20 approximately 2 to 3 away from the rim
2) Strike the 29 and 26 approximately 4 away from the rim
3) Strike the 32 approximately 6 away from the rim
Timpani Rolls:
1) The purpose of a timpani roll is to sustain the pitch of a drum.
2) Lower pitches = slower roll speeds
3) Higher pitches = faster roll speeds
4) Make rolls between drums as fluid as possible by leading with the
correct hand, for example:
a. When rolling from a lower drum to a higher drum, the first
note played on the higher drum should be played by the
RIGHT HAND
b. When rolling from a higher drum to a lower drum, the first
note played on the lower drum should be played by the LEFT
HAND
5) fp rolls: Strike the drum at a loud dynamic, wait for a second, then
enter with the roll at the dynamic the sound has decayed too.
Cross-overs:
1) When possible, always alternate strokes.
2) When crossing, cross arm over arm, or wrist over wrist. Keep
technique consistent.
Tuning:
1) Learning intervals are key to a good ear!!
2) It is encouraged to use the gauges only as a tool, do not rely on the
gauges for intonation.
3) Always tune from bottom up, scoop up to the note to find the
desired pitch
4) Consider the range of the drum when deciding what drum to place a
note on. For example, a low Bb will sound the best on the 29 drum
because it falls in the middle of that drums range.
5) When pedaling between notes on the same drum, pedal the drum
and strike the drum at the same time to eliminate a glissando.
6) As a timpanist, you are always responsible for playing in tune with
the horn line as well as the keyboards in the pit. Always be aware of
the other musicians you are playing with