Percussion Audition Information - SOM

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PERCUSSION AUDITIONINFORMATIONPercussion Branch, School of Music

PERCUSSION AUDITION REQUIREMENTSAuditions (2.5 or better for mid-term audition; 2.7 or better required for final audition)a. Snare Drum (50%)1) Solos (40% of snare score)a) Concert solo or etudeb) Rudimental solo2) Rudiments and metered rolls (10% of snare score)3) Sight-reading - all done on concert snare. (50% of snare score)b. Drumset (40%)1) Styles (50% of drumset score)2) Sight-reading (50% of drumset score)c. Mallets (10%)1) Scales (50% of mallet score)2) Sight-reading (50% of mallet score).

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RUDIMENT/SCALE STANDARDSRudiment Speed ChartRUDIMENTPARADIDDLESFLAM ACCENTSSINGLE DRAGSFLAMACUEALL METRIC ROLLSLESSON #25FLAM TAPSFLAM PARADIDDLESPARADIDDLE DIDDLESRATAMACUESDOUBLE PARADIDDLESDOUBLE DRAGSFLAM PARADIDDLE DIDDLESDRAG PARADIDDLE #1DOUBLE RATAMACUEDRAG PARADIDDLE #2TRIPLE 33.73.83.94.0128 132 138 142 148 152 156 162 166 172 180 188 196 204 212 220 228 236128 132 138 142 148 152 156 162 166 172 180 188 196 204 212 220 228 236128 132 138 142 148 152 156 162 166 172 180 188 196 204 212 220 228 23688 92 98 102 106 110 116 122 128 132 140 148 156 164 172 180 188 19685 90 95 100 105 110 115 120 125 130 135 140 145 150 155 160 165 17084 88 92 98 102 108 112 116 120 126 132 140 148 156 164 172 180 18884 88 92 98 102 108 112 116 120 126 132 140 148 156 164 172 180 18884 88 92 98 102 108 112 116 120 126 132 140 148 156 164 172 180 18884 88 92 98 102 108 112 116 120 126 132 140 148 156 164 172 180 18872 76 80 84 88 96 100 104 108 112 120 128 136 142 148 152 160 16866 72 76 80 84 88 96 100 104 108 112 118 124 130 136 142 148 15460 62 64 66 72 76 80 84 88 92 100 108 116 124 132 140 148 15660 62 64 66 72 76 80 84 88 92 100 108 116 124 132 140 148 15652 54 56 58 60 64 68 72 76 80 88 96 104 112 120 128 136 14446 48 50 52 54 56 60 68 72 76 80 88 96 104 112 120 128 13644 46 48 50 52 54 56 60 66 68 72 76 80 88 96 100 104 11042 44 46 48 50 52 54 56 58 60 62 66 70 76 80 86 92 128116Scale Speed LL(e @ q 4033.43.53.6

Standard as published in Trainee Guide (Information Sheet 3-1-2)The rudiment and scale charts are used to chart progress and score practical factors in percussionauditions. The scores are given as pure (no deductions) if the scale or rudiment is played without flawsat the noted tempo.For rudiments, minor deductions will be made if there are noticeable flaws in the execution (i.e., flatflams, buzzed drags, uneven rolls, misplaced accents, etc.). The tempos marked are for either acomplete single execution (i.e., paradiddles or flam accents) or, in certain cases (i.e., flam taps), for acomplete hand-to-hand execution of the rudiment. Metered roll tempi are determined using sixteenthnotes for metering purposes, and the marked tempo is the quarter note.For rudiments, the student is given 2 chances to perform the rudiment. The rudiment will beperformed at the fastest tempo the student can perform cleanly. The audition board will note the tempoof the rudiment and any flaws heard.Tempos are used as thresholds for scoring. For example, if the student executes paradiddlescleanly at 189, a score of 3.1 is given. If the student executes the same rudiment at 195, a score of3.15 may be given, providing no other deductions are pending for that rudiment. To score a 3.2, thetempo must be that on the page.For scales, the student is given 2 chances to perform the scale without mistakes. The score of themistake-free scale tempo will be used. If after 2 chances, the student fails to perform the scaleproperly, no credit is given for that scale. If the student only performs a major scale correctly, themaximum score for scales is 2.3. If the major and natural minor scales are the only correct scales, themaximum score for scales is 2.5 (this also applies if three out of the four are played, with one zero – thisscore is usually higher than dividing the three scores by 4. If the averaged score is higher, the studentreceives the averaged score).The solo gradings are ceiling markings. They are sorted by type (rudimental or concert) and then bysource/title. If a student performs a solo rated at 2.8, the highest score given for that solo is 2.8 (ifplayed perfectly), and deductions are made for tempo, rhythm, dynamic, or articulation deviations. It isimperative that the student selects solos that best reflect the student’s ability and performance(preparation) potential.4

Rudiments with Tap Placements noted (Abbreviations for spreadsheet follows name)Paradiddle (para)Double Paradiddle (dbl par)Flam Tap (fl tap)Flam Paradiddle (fl para)Flamacue (flcue)5

Flam Accents (fl acc)Flam Paradiddle Diddle (fl p dd)Single Drag (For auditions, omit the first tap, then continue) (s drg)Lesson 25 (l25)Lesson 25 Inverted (l25 inv)Double Drag (dbl drg)6

Drag Paradiddle #1 (dp 1)Drag Paradiddle #2 (dp 2)Ratamacue (rat)Double Ratamacue (dbl rat)Triple Ratamacue (trp rat)7

5 Stroke Roll (on-beat) (on5)5 Stroke Roll (off-beat) (off5)7 Stroke Roll (on-beat) (on7)7 Stroke Roll (off-beat) (off7)7 Stroke Roll (on-beat triplet form) (on3-7)8

7 Stroke Roll (off-beat triplet form) (off3-7)9 Stroke Roll (on-beat) (on9)9 Stroke Roll (off-beat) (For proper metering, repeat one measure and alternate sticking) (off9)10 Stroke Roll (10)11 Stroke Roll (on-beat) (on11)9

11 Stroke Roll (off-beat) (off11)13 Stroke Roll (on-beat) (on13)13 Stroke Roll (off-beat) (off13)15 Stroke Roll (on-beat) (on15)15 Stroke Roll (off-beat) (off15)10

The following rudiments are included in the Percussive Arts Society (PAS) list of 40 essentialrudiments and are not separately evaluated:Single Stroke FourSingle Stroke SevenMultiple Bounce RollTriple Stroke RollSix Stroke RollSeventeen Stroke Roll11

Triple ParadiddleSingle Flammed MillPataflaflaSwiss Army TripletInverted Flam TapFlam Drag12

Single Dragadiddle13

SOLO LISTING - SNARE T, JOHNPRATT, JOHNPRATT, NTALRUDIMENTALSCHINSTINE,WILLIAMMARKOVICH, M ITCHMARKOVICH, MITCHMARKOVICH, MITCHPRATT, JOHNPRATT, JOHNRUDIMENTALPRATT, JOHNRUDIMENTALPRATT, JOHNRUDIMENTALPRATT, JOHNRUDIMENTALPRATT, JOHNRUDIMENTALPRATT, JOHNRUDIMENTALPRATT, JOHNRUDIMENTALPRATT, JOHNRUDIMENTALPRATT, JOHNRUDIMENTALPRATT, JOHNRUDIMENTALPRATT, JOHNRUDIMENTALPRATT, JOHNRUDIMENTALPRATT, JOHNRUDIMENTALPRATT, JOHNRUDIMENTALPETERS, MITCHELLRUDIMENTALPETERS, MITCHELLRUDIMENTALPETERS, MITCHELLRUDIMENTALPETERS, MITCHELLRUDIMENTALPETERS, MITCHELLSOURCE (if collection)14 MODERN CONTESTSOLOS14 MODERN CONTESTSOLOS14 MODERN CONTESTSOLOS14 MODERN CONTESTSOLOS14 MODERN CONTESTSOLOS14 MODERN CONTESTSOLOS14 MODERN CONTESTSOLOS14 MODERN CONTESTSOLOS14 MODERN CONTESTSOLOS14 MODERN CONTESTSOLOS14 MODERN CONTESTSOLOS14 MODERN CONTESTSOLOS14 MODERN CONTESTSOLOS14 MODERN CONTESTSOLOSODD METERRUDIMENTAL ETUDESODD METERRUDIMENTAL ETUDESODD METERRUDIMENTAL ETUDESODD METERRUDIMENTAL ETUDESODD METERRUDIMENTAL ETUDES14TITLEMAXSCORECIDER JUGHELLCAT HALFTIMEOVER UNDER ANDOUTFATHER AND SON2.752.802.80STAMINATHE WINNERTORNADOTROJAN HORSEDEXTERITY3.2 3.2 3.2 2.752.70DRUM CORPS ONPARADEGINGERSNAP2.60GLADSTONE CADETS2.85GUIDEPOST 6/82.80HODGE-PODGE2.65JOLTING JOHN2.75LICORICE ANDMOLASSESMY FRIEND NORMAN2.55NO LEFT FLAM 6/82.70PASS IN REVIEW2.75RUFFING UP A STORM2.80STOMPING THRU THEBAR LINETHE PINE CONEFOREST5/8 DOWNFALL2.80EASY ETUDE IN 5/82.75ODD METER #12.85ODD METER #22.95ODD METER #32.852.752.803.052.602.80

TYPECOMPOSERSOURCE (if collection)TITLEMAXSCORERUDIMENTALPETERS, MITCHELLODD METER #42.90RUDIMENTALPETERS, MITCHELLODD METER #53.00RUDIMENTALPETERS, MITCHELLODD METER #62.90RUDIMENTALPETERS, MITCHELLODD METER #73.05RUDIMENTALPETERS, MITCHELLODD METER #83.05RUDIMENTALPETERS, MITCHELLPETERS, MITCHELLRUDIMENTALFREYTAG, EDWARDRUDIMENTALDUGGAN, STACEYRUDIMENTAL STUDYIN 2/8RUDIMENTAL STUDYIN 3/8AND THE ON/FREYTAG ed.WHITLOCK, JONODD METERRUDIMENTAL ETUDESODD METERRUDIMENTAL ETUDESODD METERRUDIMENTAL ETUDESODD METERRUDIMENTAL ETUDESODD METERRUDIMENTAL ETUDESODD METERRUDIMENTAL ETUDESODD METERRUDIMENTAL HIT-N-RUN3.2 IN-PULSE3.2 METHOD TO MYMADNESSODYSSEY II3.2 PRATFALLS3.2 TUO KAERF3.2 GGAN,STACEY/FREYTAG ed.LYNCH, MIKERUDIMENTALFREYTAG, EDWARDRUDIMENTALWHITLOCK, JONCONCERTCONCERTCONCERTUNKNOWNUNKNOWNPETERS, MITCHELLCONCERTPETERS, MITCHELLCONCERTPETERS, MITCHELLCONCERTPETERS, MITCHELLCONCERTPETERS, MITCHELLCONCERTPETERS, MITCHELLCONCERTPETERS, MITCHELLCONCERTPETERS, MITCHELLCONCERTPETERS, MITCHELLADVANCED SNAREDRUM STUDIESADVANCED SNAREDRUM STUDIESADVANCED SNAREDRUM STUDIESADVANCED SNAREDRUM STUDIESADVANCED SNAREDRUM STUDIESADVANCED SNAREDRUM STUDIESADVANCED SNAREDRUM STUDIESADVANCED SNAREDRUM STUDIESADVANCED SNAREDRUM STUDIES153.003.2 3.2 3.2

TYPECOMPOSERSOURCE (if collection)TITLEMAXSCORECONCERTPETERS, MITCHELL#102.90CONCERTPETERS, MITCHELL#113.00CONCERTPETERS, MITCHELL#122.90CONCERTPETERS, MITCHELL#132.90CONCERTPETERS, MITCHELL#142.95CONCERTPETERS, MITCHELL#153.00CONCERTPETERS, MITCHELL#162.85CONCERTPETERS, MITCHELL#172.90CONCERTPETERS, MITCHELL#183.00CONCERTPETERS, MITCHELL#193.00CONCERTPETERS, MITCHELL#203.10CONCERTPETERS, MITCHELL#212.95CONCERTPETERS, MITCHELL#223.05CONCERTPETERS, MITCHELL#233.00CONCERTPETERS, MITCHELL#243.05CONCERTPETERS, MITCHELL#253.05CONCERTDELECLUSE, C.#12.80CONCERTDELECLUSE, C.#22.80CONCERTDELECLUSE, C.#32.90CONCERTDELECLUSE, C.#42.95CONCERTDELECLUSE, C.#52.90CONCERTDELECLUSE, C.#62.75CONCERTDELECLUSE, C.#72.70CONCERTDELECLUSE, C.#82.70CONCERTDELECLUSE, C.ADVANCED SNAREDRUM STUDIESADVANCED SNAREDRUM STUDIESADVANCED SNAREDRUM STUDIESADVANCED SNAREDRUM STUDIESADVANCED SNAREDRUM STUDIESADVANCED SNAREDRUM STUDIESADVANCED SNAREDRUM STUDIESADVANCED SNAREDRUM STUDIESADVANCED SNAREDRUM STUDIESADVANCED SNAREDRUM STUDIESADVANCED SNAREDRUM STUDIESADVANCED SNAREDRUM STUDIESADVANCED SNAREDRUM STUDIESADVANCED SNAREDRUM STUDIESADVANCED SNAREDRUM STUDIESADVANCED SNAREDRUM STUDIESMETHODE DE CASSECLAIREMETHODE DE CASSECLAIREMETHODE DE CASSECLAIREMETHODE DE CASSECLAIREMETHODE DE CASSECLAIREMETHODE DE CASSECLAIREMETHODE DE CASSECLAIREMETHODE DE CASSECLAIREMETHODE DE CASSECLAIRE#92.8516

TYPECOMPOSERSOURCE (if collection)TITLEMAXSCORECONCERTDELECLUSE, C.#102.85CONCERTDELECLUSE, C.#112.85CONCERTDELECLUSE, C.#122.90CONCERTDELECLUSE, C.#132.90CONCERTDELECLUSE, C.#142.90CONCERTDELECLUSE, C.#152.95CONCERTDELECLUSE, C.#163.00CONCERTDELECLUSE, C.#173.00CONCERTDELECLUSE, C.#183.05CONCERTDELECLUSE, C.#193.05CONCERTDELECLUSE, C.#203.10CONCERTDELECLUSE, C.#213.2 CONCERTDELECLUSE, C.#223.2 CONCERTDELECLUSE, C.#233.2 CONCERTDELECLUSE, C.#243.2 CONCERTDELECLUSE, C.#253.2 CONCERTCIRONE, ANTHONY#12.70CONCERTCIRONE, ANTHONY#22.75CONCERTCIRONE, ANTHONY#32.70CONCERTCIRONE, ANTHONY#42.75CONCERTCIRONE, ANTHONY#52.75CONCERTCIRONE, ANTHONY#62.80CONCERTCIRONE, ANTHONY#72.80CONCERTCIRONE, ANTHONY#82.75CONCERTCIRONE, ANTHONYMETHODE DE CASSECLAIREMETHODE DE CASSECLAIREMETHODE DE CASSECLAIREMETHODE DE CASSECLAIREMETHODE DE CASSECLAIREMETHODE DE CASSECLAIREMETHODE DE CASSECLAIREMETHODE DE CASSECLAIREMETHODE DE CASSECLAIREMETHODE DE CASSECLAIREMETHODE DE CASSECLAIREMETHODE DE CASSECLAIREMETHODE DE CASSECLAIREMETHODE DE CASSECLAIREMETHODE DE CASSECLAIREMETHODE DE CASSECLAIREPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHM#92.8017

TYPECOMPOSERSOURCE (if collection)TITLEMAXSCORECONCERTCIRONE, ANTHONY#102.85CONCERTCIRONE, ANTHONY#112.85CONCERTCIRONE, ANTHONY#122.90CONCERTCIRONE, ANTHONY#132.80CONCERTCIRONE, ANTHONY#142.80CONCERTCIRONE, ANTHONY#152.80CONCERTCIRONE, ANTHONY#162.90CONCERTCIRONE, ANTHONY#172.90CONCERTCIRONE, ANTHONY#183.00CONCERTCIRONE, ANTHONY#192.90CONCERTCIRONE, ANTHONY#203.00CONCERTCIRONE, ANTHONY#212.95CONCERTCIRONE, ANTHONY#222.95CONCERTCIRONE, ANTHONY#233.00CONCERTCIRONE, ANTHONY#243.00CONCERTCIRONE, ANTHONY#252.90CONCERTCIRONE, ANTHONY#263.05CONCERTCIRONE, ANTHONY#272.80CONCERTCIRONE, ANTHONY#282.90CONCERTCIRONE, ANTHONY#292.90CONCERTCIRONE, ANTHONY#302.90CONCERTCIRONE, ANTHONY#312.90CONCERTCIRONE, ANTHONY#323.00CONCERTCIRONE, ANTHONY#333.05CONCERTCIRONE, ANTHONYPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHM#342.9518

TYPECOMPOSERSOURCE (if collection)TITLEMAXSCORECONCERTCIRONE, ANTHONY#353.10CONCERTCIRONE, ANTHONY#363.00CONCERTCIRONE, ANTHONY#372.90CONCERTCIRONE, ANTHONY#383.00CONCERTCIRONE, ANTHONY#393.05CONCERTCIRONE, ANTHONY#403.00CONCERTCIRONE, ANTHONY#413.00CONCERTCIRONE, ANTHONY#423.10CONCERTCIRONE, ANTHONY#433.05CONCERTCIRONE, ANTHONY#443.05CONCERTCIRONE, ANTHONY#453.00CONCERTCIRONE, ANTHONY#463.00CONCERTCIRONE, ANTHONY#473.10CONCERTCIRONE, ANTHONY#483.10CONCERTCIRONE, ANTHONY#493.00CONCERTCIRONE, ANTHONYPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHMPORTRAITS INRHYTHM#503.0519

DRUMSET STYLES(Most of these are examples only. Those marked with * must be established as written (at least 8bars) before varying)Swing in 2Swing in 4RockFunk20

Bossa Nova*Rhumba*Cha-Cha*Contemporary Samba21

Mambo*22

“Advanced Latins”CascaraMozambiqueSongoAfro-Cuban (Nañigo)23

rudimental cookbook method to my madness 3.2 rudimental lynch, mike rudimental cookbook odyssey ii 3.2 rudimental freytag, edward rudimental cookbook pratfalls 3.2 rudimental whitlock, jon rudimental cookbook tuo kaerf 3.2 concert unknown #32 3.05 concert unknown #47 3.05 .

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