George Mason University

Indoor Drumline
Front Ensemble Audition Packet 2016

Contents

Introduction.................................................................. 2

Audition Information….................................................. 3

Sound Quality............................................................... 5

Technique and Fundamentals…………............................. 7

Practice Tips................................................................. 19

Resources……………………………….................................. 20
 Introduction

Welcome, and thank you for your interest in the 2016 George Mason
University Indoor Drumline. Compiled here you will find information
and resources to guide you through the audition process. A successful
auditionee will use these exercises and practice tips to continually
develop oneself as both a performer and a human being.

With the ensemble competing in WGI Percussion Independent World

Class comes an enhanced set of expectations and responsibilities for
everyone involved, including the design team, instructional staff, and
membership. From September through April we will strive towards
excellence in everything we do, from timeliness to performance quality.
Preparation is a valuable life skill, one that the marching arts activity
provides ample opportunity to practice and perfect.

Please read and work through this entire packet with painstaking
detail between now and auditions. Furthermore, use this as a stepping
stone for your own individual practice time, and take these concepts
with you to other ensembles and endeavors in life. Best of luck!

2
 Audition Information

Music
The front ensemble staff has a multitude of variables to consider during
the audition process. Among these are technique and timing, but we are
also looking for natural musicianship, ensemble awareness and
commitment. For us to fully assess everyone's potential throughout the
audition camps, we may feel the need to hand out exercises that
specifically target one or more of the concepts. In addition to the GMU
Audition Packet and Individual Solo/Excerpt, it is important to bring
back anything we give you during the audition process.

Prepared Piece
We ask that you prepare a solo or excerpt on your instrument of choice
(marimba, vibraphone, electronics, or auxiliary), so that you may show
us your abilities playing music with which you are most comfortable.
Pick a solo or excerpt that you enjoy playing, as we are looking to assess
your natural musicianship and performance qualities as an individual.

Mallets and Implements

George Mason University is fortunate in that we have a standing
endorsement with Innovative Percussion, so mallets and implements
will be provided, and we encourage you to utilize our equipment while
you are with us. It is a good idea to bring some personal mallets should
you decide to practice while not at our rehearsal facility. You may also
consider bringing mallets suitable for your individual prepared piece.

Metronome
Most of our rehearsal time is conducted with the use of a metronome,
however we are unable to provide metronomes during off time. It would
be beneficial to bring a personal metronome to practice during off time.

First Aid
In search of a larger sound, we use a very aggressive approach to the
instruments. For those who are unfamiliar with playing aggressively, it
is not uncommon to develop blisters or experience soreness during our
long rehearsal hours. We advise having a supply of band-aids to those
who feel the need to use them.

3
 Audition Information
A Good Attitude
We are looking for members who are open-minded and confident within
the organization, but also members who will represent us well outside
of George Mason University.

All Spots Are Open

In the past, GMU has experienced a wide variety of turnouts at
audition camps. As we begin the audition process, it is important to
realize that all spots are open. The staff is most interested in placing
the best individual in the most appropriate spot and holds no weight
toward veterans over rookies when setting the line.

Instrumentation
We are also fortunate to have a standing endorsement with Pearl
Drums and Adams Instruments. The GMU Front Ensemble consists of
five marimbas, five vibraphones, one glock/xylo , two synthesizers, one
bass guitarist, one drumset, and up to four auxiliary percussionists.

Instrument Guidelines
You may audition for as many positions as you feel comfortable with.
We strongly encourage you to audition for your instrument of choice,
but offer that you consider spending time acquainting yourself with
instruments secondary to that of your choosing. Few people practice as
much behind a vibraphone or glockenspiel as they do a marimba. For
example, spending some time using the vibraphone pedal may give you
an advantage while auditioning.

Adjudication
The WGI judges are looking for two major things in terms of the front
ensemble. Performance Analysis examines how well you achieve what
you attempting and General Effect deals with how well the audience
relates to what you are performing. Similarly, during auditions, we are
looking for how well you play as an individual and also how well you
relate to the rest of the ensemble and audience.

4
 Sound Quality

The Mason Sound

The approach toward a concert snare differs drastically from that of a
marching snare. In this respect, the approach of a concert marimba
then will also differ from that of a "marching" marimba. We strive for a
very unique sound. Yes, at times we will utilize a concert approach for
low-end dynamics. We will also utilize a "marching" approach for high-
end dynamics, but the greatest intrigue produced by this ensemble is
utilizing the full spectrum of dynamics contrasts between the extremes.

The Art of Playing Aggressively

Two key concepts with playing aggressively are velocity and weight.
Velocity, simply stated, is the speed at which the mallet travels.
Hypothetically, if the stroke is played at six inches with a relatively low
rate of speed, it may result in a dynamic of mezzo piano. If the same
height is played with a much higher rate of speed, the result may be a
dynamic of mezzo forte or forte.

Weight, however, is slightly more complicated. Where velocity has more

of a direct relation toward dynamics, weight would have more of a
relation toward articulations. Much like following through when
shooting a basketball, if the force of a mallet rebounds "off the bar" with
the same velocity as the down stroke, it may result in a highly
articulate but not resonant tone. If the force of the mallet travels
"through the bar," it may result in a warmer, more resonant tone.

Mallets

We use a large variety of mallets that are all provided by Innovative

Percussion. IP has developed a line of mallets designed specifically for
producing a more voluminous sound out of the front ensemble. These
mallets all have weighted cores and could come as a shock to someone
who is only accustomed to playing with lighter, concert mallets. We
recommend familiarizing yourself with these IP products in preparation
for the audition.

5
 Sound Quality

Instrument Care
We ask that you respect all of our instruments by following a few simple
guidelines. Do not play on the keyboard frames or touch the keys with
your hands (due to the oils and residue that can affect the bars). DO use
mallets that are appropriate for the instruments and registers in which
they are intended.

Bar Placement
We believe that playing in the center of the bar results in the most
resonant tone, therefore, we strive to play everything in the center of
the regardless of tempo (unless we are wanting a specific sound). We
also try to utilize sticking patterns (permutations) that better
accommodate playing in the center, while also presenting themselves as
aesthetically pleasing.

The Sound System

We use microphones to amplify the keyboards and use the sound system
in addition to playing aggressively. The sound system itself only
amplifies the sounds put into it. If the ensemble plays "light and airy",
the sound system produces a louder "light and airy" sound. If the
ensemble plays richly and resonantly, the sound system produces a
louder rich and resonant sound. Unfortunately, the same applies for
nodes (the area where the string passes through the bar).

6
 Technique and Fundamentals

Posture
Keep in mind that before you even play a note, you are judged on the
way you look behind the instrument. The way we stand is very
important. Not only does it set us up for success as players, but it also
shows a sense of professionalism to the viewer or listener. Stand with
your feet shoulder width apart. Your torso should be upright, not
hunching over the instrument. While you want a “big look” to your
posture, make sure not to tense up your legs or shoulders. The space
between your body and the instrument changes with any given phrase
or exercise. You should generally try to stand where both manuals are
easily reachable. You will have to shift your body weight forward,
backward, and sometimes even sideways. Usually, you should stand
with one foot slightly more forward than the other giving you better
balance as you shift or lean while playing.

Mallet Placement
Whenever possible, we try to play every note directly over the
resonators in the center of the bar. This again is something that has
worked for us. We believe it creates the best tone and projects the most
sound. However, we also know that playing in the center isn’t always
possible. When situations come up when you can’t play in the center
(only for accidentals) then we can play on the edge. When striking a
note on the edge, go all the way to the edge. The mallet should literally
be half on and half off the bar. Use your ears and try to match the
sound of the edge as close as you can to the sound of the center.

Set Position
Both mallet heads share the space over the key where you are starting
from with mallets about an inch above the keyboard. This is also true
with four mallets.

Playing Position
Mallet heads are aligned equally at full extension above the keyboard,
which is also the top of the Piston Stroke. This will change depending
on defined height.

7
 Technique and Fundamentals
Prep
This is how we count ourselves off. One person will give two preps
followed by the group giving two preps prior to an entrance. The two
preps will be a up-down-up-down-up (& 3 & 4 &) sequence and on the
third “up (&)” the ensemble will lift their mallets to “playing position.”
Further explanation will be given at camp.

Two-Mallet Grip
First, grab the mallet by wrapping the fourth and fifth fingers (ring and
pinky) around the mallet whilst the two fingers are extended, curling
the fingertips into the padding of the palm. Then, ball the fingers into
the heart of the palm by bringing the knuckles into the fist position.
The firmness should be stable enough to harden the bottom, or heel of
the hand, yet still maintaining a loose frame for the end of the shaft.
The middle finger will rest comfortably above this. There should be a
maximum of 1 to 1½ inches of mallet underneath the bottom of the fifth
finger. This is the base of the grip, and can never be compromised.

For the sake of aesthetics, curl the middle finger in, resting the
fingertip on the pillow of the thumb sector on the palm. Now place the
thumb and forefinger on the shaft so the pad of the thumb is directly
opposite of the forefinger’s middle pad. This will create a gap between
the forefinger and middle finger when held comfortably.

Gripping the mallets this way, it is revealed that the back fingers aid
the wrist and arm, supplying power to the stroke. The thumb and
forefinger are controlling the mallet and providing accuracy, as well as
aiding the downward pressure included in the stroke. Playing without
the aid of the first two fingers ensures the power of the stroke is
adequate, reassuring the fourth and fifth fingers never leave the palm.

Stroke
Due to the playing environment, a strong acoustic sound must be
contributed from every member. The necessary stroke employed is one
that supplies a fast and powerful sound with quick movements in both
the down and upstroke. This technique is commonly referred to as the
piston stroke. Variations in the stroke often occur in passages

8
 Technique and Fundamentals
summoning rounder or less articulate sounds, but for the purpose of
exercises, we will maximize effort, adhering to the syntax.

Holding the mallet in the hand, begin by positioning the arm

perpendicular to the body and parallel to the ground. Turning the palms
to the ground will create a natural posture in which the mallet can act
as an extension of the arm, lengthening the mallet to equal the distance
of mallet head to rotator cuff, and utilizing compound points of
extension (i.e. wrist, elbow and shoulder). Keeping your back fingers
buried in the palm, extend the wrist to the point when the mallet is
near vertical, and the arm has not yet begun to move. Now raise the
forearm from the elbow 1” above resting position. This position is vital
in performance, as it is where the mallet starts and stops before and
after the stroke.

From here you can quickly strike the instrument with not only your
wrist, but also with an arm-drop that will add density to the sound. It is
important to remember a few key things when practicing this
technique:
1. Play with strong velocity, not force.
2. Always return the mallet quickly to the extended wrist position.
3. Never let the back fingers leave the palm.
4. Stay relaxed.

The end of each stroke will hold in the extended position until the
center of the ensemble lowers their mallets (usually one common
subdivision after the release). This will ensure uniformity throughout
the ensemble.

9
 Technique and Fundamentals

Targeting
To ensure the best acoustic sound possible, we enforce a strict policy of
playing directly over the resonators on both naturals and accidentals.
We also do not endorse playing in two separate zones on a single bar.
This is commonly referred to as stacking mallets and can be avoided if
one practices proper stroke technique. Effectively, the two proper “lines”
created by the openings of both resonators will be the only performance
zones, unless otherwise allowed.

Piston Stroke
The piston stroke is a type of stroke where the starting and stopping
point are the same (with the exception of horizontal motion across the
keyboard creating a Shift). No wasted motion is created by a piston
stroke. Straight down to play and straight up on its return back to the
original playing position.

Four-Mallet Grip
For uniformity purposes, all four-mallet playing will be done with the
Stevens Grip. This grip will better facilitate all the techniques used
throughout performance and can easily be refined from player to player.
Understand that everyone’s hands are different, and the following is
subject to slight alteration in order to accommodate maximum output.

Outer Mallet
Begin by placing the outer mallet in the back two fingers much like we
started with the two-mallet grip. This time, the slack underneath the
grip should not exceed 1” of exposed mallet. Now place your other three
digits in between the shaft and palm, so the mallet is clenched by the
inside of the ring finger, and the outside of the middle finger. Much like
the two-mallet back finger fulcrum, the
outside mallet is anchored to the hand
with the back two fingers. We want to
utilize our wrist as our fulcrum by
rotating around the inside mallet for
our outside mallet stroke. The purpose
of the back two fingers is simply to hold
the outside mallet in place.

10
 Technique and Fundamentals

Inner Mallet
Now we can insert the second mallet. Begin by placing the butt of the
mallet into the palm crease that encircles the thumb. Then stabilize
this by cradling the underside of the mallet with the middle finger. The
tip of you middle finger should point directly at the butt of the mallet.
Finally, pinch the mallet with the thumb and forefinger the same way
you would with two mallets, ensuring the pad of the thumb is aligned
with the first knuckle of your forefinger, which in turn acts as a perch
for the mallet to roost.

The inside mallet is controlled by three points of contact. The butt of the
inside mallet will be anchored into the fleshy part of the palm, just
under the base of the thumb, by the tip of the middle finger. The mallet
will then rest comfortable across the first knuckle of the index finger,
the perch, and will be held in place by the thumb.

In order to ensure the thumb is directly vertical in the resting position,

make sure the outside mallet rested in the fourth and fifth finger has a
slightly upward angle, whilst the inner mallet is positioned high enough
in the palm that it equalizes the height between the two mallet heads.
Always keep the second finger extended, much like the two mallet grip,
maintaining control and dexterity with a mallet only stabilized by one
other point of contact.

Grip
When holding four mallets we number them 1-2-3-4
from left to right by the players perspective.

11
 Technique and Fundamentals

Hand Position
We begin by making a fist with our thumbs
pointing toward the ceiling. Then we roll out our
index fingers so that they point toward each other
and lay our thumbs down gently across our index
finger’s first knuckle. We commonly refer to this
point of contact as the perch. Poor hand position
may be identified as having the thumbs tilted
inward instead of toward the ceiling or curling the
index fingers instead of creating a proper perch.

Rotation
The motion is similar to turning a doorknob. When practicing your
outside rotation, it’s important to begin with a strong piston stroke.
Start will all your mallets level in height, thumb on top, rotate around
the inside mallet and rotate back to your starting position. Once you are
comfortable with a strong piston stroke, try practicing some other
stroke types like down stroking or floating.

Tension
Tension can occur at any of the various joints involved with playing
keyboards, from the first knuckle of the index finger and thumb,
through the wrist, up the elbow and even into the shoulders. Tension is
the result of one group of muscles relying on another set in order to
accomplish the required job. For instance, when playing an
uncomfortable tempo, the wrist muscles will lock up and rely on the
muscles in the arm if they haven’t been properly trained to rotate at
such a high speed and velocity. This can cause a multitude of
complications later on including arthritis, carpel tunnel syndrome,
ganglion cysts, and tendonitis. Even more complicated are the
treatments required to fix these problems should they occur: splinting,
immobilization, steroid injections, medications, or surgery. Please have
the patience to break down your technique slowly and build up your
strength gradually. Do not put yourself at risk of permanent injury.
Avoid tension by not arching your thumb or curling your index finger.

12
 Technique and Fundamentals

Double Verticals
Double Verticals are when each hand plays double-stops. It is important
to match the height and velocity of each hand to avoid flams. You
should also remain relaxed so that all four mallets can rebound
smoothly and comfortably back to their original position. Start this
exercise very slowly to perfect the piston stroke and your sound quality.
You should practice coming back down using the same notes, and also
attempt this exercise using different intervals and chord progressions.

Single Independents
Single Independents are when only one mallet plays at a time and the
other mallet remains still. This stroke utilizes a rotating motion of the
forearm and wrist. The mallet not in use acts as an axis for the rotation
of the one that is in motion. You should practice this until you alleviate
any motion that may occur in the stationary mallet. Practice with each
individual mallet on a single note doing several repetitions until each
feels independent of the other. Then attempt an exercise like this
utilizing the same notes as your double vertical exercise. You may try it
first as written, and then try it with mallets 1 and 4 playing first and 2
and 3 playing second.

Double Laterals
Double laterals are two independent strokes sped up and combined into
one smooth motion. A double lateral is designed to produce two
consecutive notes with one arm/wrist motion. Because the second mallet
is striking immediately after the first one, the down-stroke of the first
mallet must also include the preparation stroke of the second mallet so
that it is ready to strike the instrument and the second mallet must
rebound to its original position. It is important to match the sound
quality of each mallet.

13
 Practice Tips
Triple Lateral
A triple lateral adds another note to the double lateral. The focus
should remain on the sound quality of all three notes, making them
even and strong. Practice these exercises “slow fast slow,” starting
slowly and gradually accelerating to the fastest tempo you can
comfortably play, then gradually slowing down to the original tempo.

Single Alternating
The single alternating stroke extends this back and forth motion
indefinitely (for example, 1-2-1-2-1-2...; or 2-1-2-1-2-1...; or 3-4-3-4-3-
4...; or 4-3-4-3-4-3-4-3...). Be able to control this motion at various
tempi. The motion should be practiced slowly at first, then increasingly
faster as long as you can maintain a consistent tempo, good sound
quality, and solid plane.

Independent Roll
Also known as the one-handed roll, the independent roll is a fast single
alternating stroke that is intended to impart the illusion of a sustained
sound with one hand, while leaving the other hand free to play other
rhythms or melodies. You should feel comfortable playing one-handed
rolls with both hands in every interval.

14
 Technique and Fundamentals
PERCUSSION Practice Tips
Percussion Alternately known as the “rack” position- the percussionist position is one that
Alternately known
requires musicality asasthe
as well rack,and
technique theplaying
auxiliary
ability. percussion position
Percussionists should is one
be comfortable
that
withrequires musicality
symphonic techniques asas marching
as well well astechniques.
technique and auditions
Percussion playing mayability.
consist of
a snare solo (orchestral
Percussionists shouldorbe rudimental),
comfortabledemonstration of rudimentaltechniques
with symphonic knowledge, (such
as as the
well
forty PAS fundamental Rudiment), and/or basic drum set styles (Rock, Latin, etc).
as marching techniques. Percussion auditions may consist of a snare
Percussive Arts Society Forty Fundamental Rudiments.
solo (orchestral or marching), demonstration of rudimental knowledge
such as the 40 PAS fundamental rudiments, and basic drumset styles.
I. ROLL RUDIMENTS
5. TRIPLE STROKE ROLL 9. SEVEN STROKE ROLL
A. SINGLE STROKE ROLL
RUDIMENTS
$
1. SINGLE STROKE ROLL $
C. DOUBLE STROKE OPEN ROLL
RUDIMENTS 10. NINE STROKE ROLL
$ IV. DRAG RUDIMENTS

6. DOUBLE STROKE OPEN ROLL

31. DRAG
2. SINGLE STROKE FOUR
34. LESSON 25 $
37. DRAG PARADIDDLE #2
$ $
11. TEN STROKE ROLL
$
7. FIVE STROKE ROLL
32 SINGLE DRAG TAP $
3. SINGLE STROKE SEVEN $

35. SINGLE DRAGADIDDLE

$ $ $ 38. SINGLE RATAMACUE
$
33. DOUBLE DRAG TAP $
8. SIX STROKE ROLL 12. ELEVEN STROKE ROLL
B. MULTIPLE BOUNCE ROLL $
36. DRAG PARADIDDLE #1
RUDIMENTS $
39. DOUBLE RATAMACUE

4. MULTIPLE BOUNCE ROLL $ $

$

$ $

40. TRIPLE RATAMACUE

!14
$

15

!16
 Practice Tips
13. THIRTEEN STROKE ROLL 19. SINGLE PARADIDDLE-DIDDLE 25. SINGLE FLAMMED MILL

$ $ $

14. FIFTEEN STROKE ROLL 26. FLAM PARADIDDLEDIDDLE

III. FLAM RUDIMENTS

20. FLAM
$
$
$ 27. PATAFLAFLA
15. SEVENTEEN STROKE ROLL
21 FLAM ACCENT

$
$
$ 28. SWISS ARMY TRIPLET
II. DIDDLE RUDIMENTS
22. FLAM TAP

16 SINGLE PARADIDDLE
$

$ 29. INVERTED FLAM TAP

$

23. FLAMACUE
$
17. DOUBLE PARADIDDLE

30. FLAM DRAG

$ $
24. FLAM PARADIDDLE
18. TRIPLE PARADIDDLE $
IV. DRAG RUDIMENTS
IV. DRAG RUDIMENTS
31. DRAG $
31.
$ DRAG 34. LESSON 25
IV. DRAG RUDIMENTS 34. LESSON 25 37. DRAG PARADIDDLE #2
$ 37. DRAG PARADIDDLE #2
$ 31. DRAG
32 SINGLE DRAG TAP $ 34. LESSON 25 $
!15 37. DRAG PARADIDDLE #2
32 SINGLE DRAG TAP $ 35. SINGLE DRAGADIDDLE
$ $
$ 38. SINGLE RATAMACUE
35. SINGLE DRAGADIDDLE
32 SINGLE DRAG TAP $
33. DOUBLE DRAG TAP $ $
$ 38. SINGLE RATAMACUE
35. PARADIDDLE
SINGLE DRAGADIDDLE $
36. DRAG #1
33. DOUBLE
$ DRAG
$ TAP $
38. SINGLE RATAMACUE
39. DOUBLE RATAMACUE
$
33. DOUBLE DRAG TAP 36. $ DRAG PARADIDDLE
$ #1
$
$ 39. DOUBLE
$ RATAMACUE
36. DRAG PARADIDDLE #1
$ $ 40. TRIPLE RATAMACUE
39. DOUBLE RATAMACUE

$ $
16 $

$
40. TRIPLE RATAMACUE
 Practice Tips
Technique and Fundamentals
ELECTRONICS Synthesizers
Technique and the
Given
Technique Fundamentals
and nature
Fundamentals of the WGI activity, our synthesizer players are often
ELECTRONICSnot classically
Synthesizers - More often trained than not, pianists,
our synthesizerbut rather keyboard percussionists by
ELECTRONICS
training.
players are members whoIfdid you notfeelmakethat you cut
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in familiarizing yourself
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a marimba, vibraphone
vibraphone
or glockenspiel
or glockenspiel spotbe
spot not notavailable.
be available.

!17 !17

!17

17
 Practice Tips
Basic Chord Progressions Basic
- HereChord Progressions
are some - Here
basic chord are somethat
progressions basic
wechord progressions that we recom
recommend
Basic Chord Progressions
transposing
osing through all twelve keys. through all twelve keys.
Here are some basic chord progressions that we recommend transposing
through all twelve keys:

Bass Guitar
The bass guitarist serves a vital role in providing
Guitar - The bass
ourguitarist serveswith
Bass Guitar
ensemble -aThe
vitalbass
roleguitarist
much inofproviding
ourservesoura ensemble
lower vital role in
register with 90% of our
providing its lower
ensemble with 90% o
r sound. We also utilize the bass guitarist for many sound effects, such as slide-glissandos
sound.register
We also sound. We the
utilize also bass
utilizeguitarist
the bass guitarist
for many for many sound effects, such as slide-gli
w drones.
soundand low drones.
effects, such as slide-glissandos and low
drones. For those who are interested in
ose who are interestedFor in auditioning
those for this position, there are fortwo very important concepts
auditioning forwhothisareposition,
interested bein sure
auditioning
to know this all position, there are two very importan
w: all of your major/minor
to know: keys,
all ofand
yourhow to produce keys,
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the bassarticulations out of
of your major/minor keys and how toand how to produce
produce
guitar.
different articulations out of the bass guitar. We
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ll consider a bassistWe
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echniques, and whoslidestrives to be a valuable
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techniques, and who and who
strives strives
to be atovaluable asset asset to the full ensemble sound.
to the full ensemble sound.
!18 !18

18
 Practice Tips

Practice with a metronome

Tempo control is crucial as a percussionist and musician. As a staff,
tempo control is one of the most important traits you can bring to the
table. There is simply no substitute for practicing with a metronome.
Practicing to a half-time feel and putting the metronome on the upbeat
are examples of how to change it up a bit in order to master the art of
playing in time. Tempo control is very important!

Practice those things you cannot play perfectly

It is very easy to play things that feel good and sound good. At your
level you should be disciplined enough to play things you cannot play
perfectly. Make everything you play sound perfect and feel good! Your
job is to be a master of all motions at all tempi, so it is key to practice
things with which you do not feel completely comfortable. Play things
slowly, play things quickly… whatever you can do to improve yourself.

Constantly evaluate and critique

When you practice you should be constantly evaluating how you feel
and look. You should critique how you sound. Does is sound good? Does
it flow? Does it sound relaxed? Do I sound like I am "owning" the music?
Constant self-evaluation is important in your development as a
musician and human being. If something is not right, pause and reflect
in order to diagnose the problem, then find a solution and fix it.

Floor Exercises
The principle behind this is to develop technique by reducing the
variables involved with playing correct notes. This aims to help develop
more solid timing by eliminating the resonance of the keyboard
instruments, forcing us to focus on the striking sound of the keyboard
rather than the tones produced. Floor exercises may be used throughout
the audition process and may continue into the winter. Exercises will
come with specific music that is used for timing rather than a
metronome. It is aimed to work on strictly technique and to hopefully
make practicing a little more fun. This is something that can be done
often because it does not require an instrument.

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 Resources

Keyboard

Method of Movement by Leigh Howard Stevens

Simply Four by Gifford Howarth
Ideo-Kinetics by Gordon Stout
Up Front by Jim Casella and Jim Ancona
Marimba: Technique through Music by Mark Ford

Percussion

Fundamental Studies for Snare Drum by Garwood Whaley

A Fresh Approach to the Snare Drum by Mark Wessels
The Drummer’s Rudimental Reference Book by John Wooton
The Rudimental Cookbook by Edward Freytag

Synthesizer

Adult Piano Method Books 1 and 2 by Hal Leonard

Scales, Chords, Arpeggios, and Cadences by The Alfred Publishing Co.

Bass Guitar

Bass Method by Jaco Pastorius

Modern Electric Bass by Jaco Pastorius
Groove Workshop by Victor Wooten
Super Bass Solo Technique by Victor Wooten

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