YOU

CAN

DO
THIS

2013 AUDITION PACKET

Contents
ABOUT THE CADETS .............................................................................................................. 2
THE AUDITION ......................................................................................................................... 4
I.

FOUR BASIC REQUIREMENTS: ................................................................................ 4

A.

Talent........................................................................................................................... 4

B.

Attendance .................................................................................................................. 4

C.

Attitude ........................................................................................................................ 4

D.

Health .......................................................................................................................... 4

II.

HOW TO AUDITION .................................................................................................... 5

A.

Be Prepared!................................................................................................................ 5

B.

State of Mind................................................................................................................ 5

C.

The Audition Event....................................................................................................... 5

III.

PERFORMANCE RATINGS ........................................................................................ 6

IV.

THE COMMUNITY....................................................................................................... 6

V.

WHAT TO BRING ........................................................................................................ 7

LOGISTICS ............................................................................................................................ 8
I.

CORPSDATA PROFILE .............................................................................................. 8

II.

FINANCIAL OBLIGATIONS ......................................................................................... 9

III.

TRAVEL & PICKUP INSTRUCTIONS.........................................................................10

IV.

CAMP ATTENDANCE ................................................................................................11

V.

CONTACT INFORMATION.........................................................................................11

VI.

PAPERWORK ............................................................................................................12

VII.

WINTER CAMP SCHEDULE ......................................................................................12

VIII.

SAMPLE CAMP SCHEDULE......................................................................................13

IX.

CAMP PACKING CHECKLIST....................................................................................14

X.

FREQUENTLY ASKED QUESTIONS .........................................................................15

XI.

LINKS & RESOURCES ..............................................................................................16

ABOUT THE CADETS

The Cadets are revered as the oldest continually operating and most honored drum corps in the
world. Originally established in 1934 as the Holy Name Cadets in Garfield, N.J., since then
more than 6,000 young men and women have marched with the Cadets and it is estimated that
close to 2,000 past Cadets currently serve as music educators and administrators across all 50
states.
Now based in Allentown, Pa., the Cadets have won 21 National Championships, and ten Drum
Corps International Championships including 4 titles in the 80s, 3 titles through the 90s, and
three championships since 2000. The most recent title awarded to the corps was in 2011 in
Indianapolis, Ind. The Cadets have placed in the DCI FINALS for 31 consecutive years, never
placing below sixth since 1982.
Long known for making the unconventional conventional, the Cadets have in recent years been
considered controversial by some for their use of amplification, voice, narration, costuming and
props.
Such innovation is part of the Cadets legacy as the Cadets were among the first to bring true
symphonic music to the field. In addition they were the first to use a Contra Bass, they have
used 16 toms in one performance, they were leaders in integrating percussion and guard into
the visual design process and they were the first to use symphonic keyboard and tympani.
Thanks to a line of tremendous instructional staff and designers, the Cadets were among the
first to move at fast tempos, to perform whiplash drill, and to bring story shows to the
field. From flight, to the Knights of the Roundtable, to West Side story, the Twilight zone and
Angels and Demons, the Cadets have been at the forefront of the new and innovative and are
proud of their success, and their never ending effort to combine innovation with tradition.
Drum and bugle corps feature a maximum of 150 members under the age of 22 who are
proficient in three demands: brass, percussion and color guard/dance. Each group performs a
twelve minute production based on a wide variety of musical styles from popular music to
classical, jazz to original compositions, while combining virtuoso musicianship and athletic
demands with a tapestry of color and dance to explore the themes of their program.
The Cadets are a program offering of Youth Education in the Arts, a not-for-profit organization,
which supports the development of young people into magnificent human beings through
participation in the arts. Along with the US Scholastic Band Association, the Cadets and YEA!
work together to create the best experience for the members, supporters, and fans of the
marching music activities.
More information can be found at www.cadets.org or the corps Facebook page.

The corps has performed in the following National events:

The Presidents United Nations Reception 2011

The 56th Presidential Inaugural Parade in 2009
Macys Thanksgiving Parade in 2005
NASCAR Chevy Monte Carlo 400 in 2002
Major League Baseballs All-Star Game in 1996
The 1996 Olympic Games Closing Ceremonies in Atlanta, Ga.
The 1994 World Cup Soccer Game
The rededication of the Statue of Liberty in 1986
An appearance on The David Letterman Show

Titles and Honors:

Drum Corps International World Champions: 1983, 1984, 1985, 1987, 1990, 1993, 1998,
2000, 2005, 2011
DCI Atlantic (DCI EAST) 1985, 1987, 1988, 1989, 1990, 1992, 1993, 1995, 1996, 1997,
1998, 1999, 2000
American Legion: 1940, 1948-1949, 1950, 1953, 1957, 1960-1962, 1964
Dream Contest: 1949, 1950, 1953, 1954, 1976, 1982
World Open/Drum Corps East 1982-83-84

Thank you for becoming a part of our rich history. Were very excited to begin our
79th 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.
Every position is open, all returning members re-audition. The door is in front of you, walk
through, and take the first step!

I.

FOUR BASIC REQUIREMENTS:

A. Talent we are looking at your abilities on your equipment and your movement skills.
These are very important in the selection process. It is important to note that your
development and improvement from camp to camp is equally important. The standards
are set and evaluated by each caption head. Familiarize yourself with information
pertaining to your section. Simply put demonstrate the skills your caption head have
set as the requirement to be a Cadet.
B. Attendance Staff members will go over your personal schedule and help sort out any
conflicts or give advice to all potential members. There is a basic fact that you must
understand; attendance is required at all rehearsals and performances. Occasionally
school and family conflicts may arise. In order for an absence to be excused it must be
communicated to your caption head.
NOTE: Any NO CALL NO SHOW members will be removed from the roster and will
no longer be considered a member of the corps.
C. Attitude As with any team sport, chemistry is very important in building toward
success; the same is true for The Cadets. The corps will be full of members who will do
whatever it takes to meet The Cadets standards on and off the field. It will not only be
an experience of a lifetime but also very gratifying and fun! As long as 100% of the
members work as hard as they possibly can, are extremely positive, and support staff,
volunteers and most importantly each other.
D. Health Being healthy is a key ingredient to be successful in The Cadets. You must be
physically capable of withstanding the requirements of rehearsal, performances and
travel. If you have any questions about the physical requirements of the program please
contact Patrick@yea.org for clarification.

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 facilitator. If you have any further
questions, please feel free to ask.

You will be asked a series of questions. This is a list of questions you might be asked; it is by
no means the only questions you will 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
5

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 will be asked to treat all of the
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.
6

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!

Rehearsal Etiquette This is crucial to our success. Distractions inhibit learning.

Therefore there will be discussions in great detail of how each section of the corps is
expected to approach every rehearsal. It is very important to understand this basic
premise WE ARE ONLY AS GOOD AS WE REHEARSE!

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 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.

CORPSDATA PROFILE
CorpsData.net is the database system used by the Cadets administration. It is the main
information source for everyone involved with the corps, including members, staff, volunteers,
parents and applicants.
Before you travel to the audition camp, please complete all information in your CorpsData
profile, and visit the site frequently for updates.
Follow this link to create/update your CorpsData profile: http://www.trigonroad.com/cd
**To be included on our information emails, youll want to be sure that your corps history
includes 2013 Cadets applicant and the section/position for which youll be auditioning.

**Head Shot
Please upload a head shot to your CorpsData profile. This is for audition purposes. You may
add more than 1 picture to you file, however, the head shot must be positioned first.

Some of the items and features youll notice in your profile:

-Name
-Section/Position
-Birthdate
-Phone Numbers (and cell provider)
-Email Address
-Mailing Address
-Biography
-Corps History (including 2013 applicant for The Cadets)
-Medical History
-Financial Standing (usually updated within 1-2 days of payments)
-Parent Information (Please link your parent/guardians to your profile Required!)
-Music and Forms (posted in the library before camps)
-Ride Share (if youre looking to join with others for camp transportation)
-RSVP Invitations and Status
-Corps News
-Pictures
-Forms to turn in (birth certificate & insurance card required before auditions)
-School Attending
-Major in School

II.

FINANCIAL OBLIGATIONS
Payments can be made quickly and easily online at www.cadets.org.
You can also send a check to the following address made payable to YEA!
Please be sure to include the applicants name, section, and 2013 Member Fees
The Cadets
Attn: Melissa Barlow
601 W. Hamilton Street
Allentown, PA 18101
Registration Fee: (Waived for returning members)
Due ASAP$100.00 (non-refundable)
Combine Audition Camp Fee: (For Percussion and Guard)
Prior to November 16-18 Weekend$100.00
*Fee only applicable to THIS weekend
Audition/First Camp Fee: (ALL returning members and anyone interested in the Cadets)
Due prior to the students first camp$150.00
Other Fees:
Camp, Spring Training, and Tuition Fees will be clearly laid out in the Financial Agreement and
Member Contract. All prospective students will be provided a copy to be signed by the member
(and parents, if member is under 18 years of age) and returned to corps administration at the
following camp.
The cost to be a member in The Cadets is approximately $35 per day; this includes four meals
per day, travel, housing, equipment, uniform, instruction, and an unforgettable experience!!
Finances should NOT be a reason to stay away from the audition camp...where there is a will,
there is a way!!
Fundraising:
There will be at least one mandatory fundraiser this spring. Details will be discussed at the
Audition Camps.
Sponsorships:
The Cadets will also provide sponsorship and fundraising literature to assist members in
meeting all financial obligations for 2013. However, it is up to each individual to seek out
sponsors and maintain communication with them regarding their contributions.

III.

TRAVEL & PICKUP INSTRUCTIONS

Upon payment of the REGISTRATION FEE, you will receive an email RSVP Invitation to the
camp from CorpsData. Please send us your travel details through this CorpsData invitation,
regardless of your method of travel or need for pickup/dropoff.
*Please send in your RSVP details at least one week prior to the camp

Car:
Please plan to arrive at Woodstown High School around 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 Philadelphia International Airport (PHL) for a 6:00pm pickup on the
Friday of camp.
**Pickup location for all students/auditionees is at Terminal C.
**Exact pickup times will be announced 2 days before camp.**
Please plan to depart from Philadelphia International Airport (PHL) AFTER 7:00pm on the
Sunday of camp.
PLEASE do not book a departure that leaves PHL before 7:00pm. 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!

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.

RSVP:
-Regardless of your method of travel, please RSVP through the CorpsData email invitation at
least one week prior to the weekend 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 Patrick Duncans cell phone at 404-625-5726 with the following:
-Name
-Section
-Planned Arrival Time
-New Estimated Arrival Time
10

IV.

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.
Exceptions will be accepted only in the case that:
a) A previous commitment has been communicated and approved by all necessary parties.
b) In the case of an emergency (all necessary parties STILL need to be contacted
immediately).

V.

CONTACT INFORMATION
Caption Heads
Brass
Battery
Front Ensemble
Colorguard
Visual

Gino Cipriani
Colin McNutt
Iain Moyer
Eric Babula
Jeff Sacktig

ginocipriani@gmail.com
cdmcnutt@yahoo.com
moyeriain@yahoo.com
etbabula@yahoo.com
sack1212@aol.com

Patrick Duncan
Melissa Barlow

Patrick@yea.org
Melissa@yea.org

Section Leaders (TBD)

Drum Major
Horn Sargent
Trumpet
Mellophone
Baritone
Tuba
Drumline/Snares
Tenors
Bass
Front Ensemble
Colorguard

Administration
Corps Admin

11

VI.

PAPERWORK
*Please bring with you a completed 2013 Member Medical History 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. More details/instructions will be communicated at a later date.

VII.

WINTER CAMP SCHEDULE

All winter camps (EXCEPT December 7-9) will be held at:
Woodstown High School 140 East Avenue Woodstown, NJ 08098
November 16-18

The COMBINE Audition Camp (For Percussion & Colorguard)

For Cadets AND Cadets2 Percussion and Guard

November 30-December 2
December 7-9

Audition Camp (For Brass & Percussion only)

TEXAS AUDITION WEEKEND

December 7 Dallas: Wakeland High School

December 8 San Antonio: Claudia Taylor Lady Bird Johnson High School
Austin: Rouse High School
December 9 Houston: Nimitz High School

December 27-30
January 18-20
March 8-10
April 26-28

Winter Camp
Winter Camp
Winter Camp
Winter Camp

(For Brass & Percussion only)

(For Brass & Percussion only)
(For Percussion only)
(For Brass, Percussion & Colorguard)

12

VIII.

SAMPLE CAMP SCHEDULE

FRIDAY
***Plan to land/arrive at PHL before 6pm for pickups***
7:00pm Arrive & Unload & Registration
9:00pm Welcome Meeting
10:00pm Sectionals
**Q&A session with corps staff all parents are welcome to attend!!
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
3:00pm Cleanup
4:00pm Dismissed & Depart
**Plan to depart PHL no earlier than 7:00pm**
13

IX.

CAMP PACKING CHECKLIST

Sleeping Gear
O
O
O

Sleeping bag / Air mattress

Pillow
Blanket(s)

Rehearsal Clothing
O
O
O
O
O

Athletic shorts / pants

Athletic socks (required)
Tee-shirts (loose and comfortable)
Tennis shoes / sneakers (required)
Guard auditionees should wear clothing appropriate for dance class and spinning

Toiletries
O
O
O
O
O
O
O

Dont forget a towel!!

Toothbrush & toothpaste & mouthwash & floss
Soap, shampoo, body wash
Deodorant
Shaving Cream & Razor
Hair product
Any medication to remember??

Instrument & Equipment (bring your own unless told otherwise)

O
O
O
O
O
O
O
O

Brass players
Gloves($3/pair at camp), mouthpiece, valve oil, music stand
*Drummers
-Sticks($10/pair at camp), tape, practice pad, music stand
*Front Ensemble
-Mallets, music stand
*Colorguard
-Gloves, tape, dance clothing

Rehearsal Supplies
O
O
O
O
O

-Binder with clear plastic sheets

-Pens, sharpened pencils, sharpies, hi-lighters
-Paper
-Copies of all music, forms, and paperwork from CorpsData
-Music stand

Fun Stuff
O
O
O
O

-Ipod or CD player with headphones & batteries

-Book to read
-Camera
-$$ for Cadets merchandise and souvenirs

14

X.

FREQUENTLY ASKED QUESTIONS

Do I need to bring my own equipment?
We will have the Cadets equipment on-hand, but we will have more auditionees than
instruments. Please bring your own equipment along, if at all possible.

Can I audition for the drum major position?

The Cadets have filled the drum major/field conductor positions from within the corps for this season.
If youd like to attend the camp for a leadership workshop experience, you are welcome to do so!
Simply register as a conductor and we will set up the rest!

Where do we sleep/shower during the weekend?

Remember to bring your sleeping bag/airbed, because the members sleep on the
gymnasium floor during camps and throughout the summer tour. We also utilize the
schools locker rooms for showers.

Can my parents come for the weekend?

YES!! We can always use more volunteer help on the food truck. We have parents,
fans, and alumni working around the clock to prepare 4 meals per day, fixing equipment and
vehicles, and fitting uniforms!
Parents and volunteers are also welcome to stay in the school, as we have separate sleeping
quarters set aside just for the staff and volunteers.

How do people pay for a summer with the Cadets?

With the increasing prices of food & fuel, it does cost quite a bit to operate an
organization like the Cadets. Believe it or not, member tuition fees account for only about
1/3 of the total cost to run the corps! The rest comes from donations, corporate sponsorships, and
other fundraising projects within YEA!
Members have a few fundraising opportunities through the corps, and will be supplied
with literature and advice on finding personal sponsors to assist with tuition fees.

15

XI.

LINKS & RESOURCES

The Cadets Drum Corps
www.cadets.org
Youth Education in the Arts (YEA!)
www.yea.org
U.S. Scholastic Band Association (USSBA)
www.usbands.org
Drum Corps International (DCI)
www.dci.org
Bandgeek
www.bandgeek.com
CorpsData
http://corpsdata.net
Cadets Facebook Audition Groups
Cadets 2013 Drumline AUDITIONS
Cadets 2013 Front Ensemble Auditions
2013 Cadet Trumpet Auditions
2013 Cadets Mellophone Auditions
2013 Cadets Baritone Auditions
2013 Cadets Tuba Interest Group
2013 Cadets Colorguard Auditions
Cadets Twitter
@thecadets

Questions:
Patrick Duncan, Assistant Director of The Cadets
Patrick@yea.org
610-821-0345 x127
Melissa Barlow, Director of Performing Ensembles
Melissa@yea.org
610-821-0345 x115

16

Cadets Front Ensemble 2013

Audition Packet
Introduction
Hello, and thank you for your interest in the 2013 Cadets Front Ensemble. First
and foremost, the Front Ensemble Staff is honored that you have chosen to audition at
The Cadets for the 2013 season. We are very excited to meet you and begin working with
you during the November and December audition camps. This packet is designed to
inform you of the techniques we utilize in our ensemble and the qualities we look for in
our members. Hopefully, it will give you all the infomation you need to audition for the
2013 CPit!
At The Cadets, the audition weekends will consist of two types of evaluation of your
playing ability, mental focus, and attitude:
1.) The group setting: We will rehearse exercises and music as an ensemble while
evaluating individual skills. During this phase of auditions, it is important to
see how you react to instruction and how well you play together with other
members.
2.) Individual Audition: Each performer (returning or new) will receive an
opportunity to display their abilities in a 10-15 minute individual audition.
This audition will be in front of one of the arrangers/instructors at some point
during the weekend. Although, EVERYONE gets nervous for auditions, we
would like the entire weekend and in particular, your individual audition, to
be as relaxed as possible. We are looking to see your best playing, so prepare
yourself for this experience by running down your solo and exercises in a
mock audition setting. Beyond the playing, we will also sit down and speak
with each member about their previous playing experiences and their current
percussive situation (college, high school, indoor, etc.)

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 15 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 instrumentation for the 2013 CPit:
(4) Marimbas,
(4) Vibraphones,
(1) Xylophone/Glockenspiel,
(1) Timpani,
(2) Synthesizer positions
-1 full time player
-1 player who may also play some percussion as needed
(1) Xylosynth player
(2) Percussionists
-1 player who performs on various percussion instruments AND drumset
-1 player that exclusively plays percussion

Materials enclosed in the 2013 Audition Packet:

2 and 4 Mallet Exercises:
1. Please prepare all of the exercises on the 2 Mallet and 4 Mallet Exercise pages.
a. Please pay special attention to tempo markings, stickings and bar
placement markings (E= Edge, C= Center).

O Holy Name 2013 (Pit Score):

2. For this exercise, please pick a part that you feel is appropriate for your skill
level, memorize it and we will play this as a group at camp.

2 Mallet, 4 Mallet, and Timpani Technique Guidelines:

3. Please use these sheets to assist you with understanding The Cadets Front
Ensembles style of playing.

NOT included in the Audition Packet:

4. Marimba/Vibe/Xylo: Please prepare a SHORT (1 to 2 minute) excerpt of a
marimba, vibraphone, or xylophone solo.
5. Timpanists: Please prepare a SHORT (1 to 2 minute) timpani solo.
6. Pianists: Please prepare a SHORT (1 to 2 minute) piano solo.
a. This will ONLY be performed in your individual audition.
b. Pick something you are very comfortable with.
Once again, thank you for your interest in the 2013 Cadets Front Ensemble. I am excited
for you to meet our excellent Front Ensemble staff and for us, to meet you and work with
you in the individual and group setting.
If you have ANY question 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

2013 Cadets Front Ensemble

2-Mallet Audition Material

Score

"Different Doubles" is a basic 2 mallet "doublestop" exercise:

A few things to think about when playing this exercises are:
1) Always maintain your 2 mallet grip guidelines.
2) Always play with an even sound hand to hand.
3) Whenever possible, play in the center of the bars.

D4: "Different, Different, Different Doubles"

q= 120, 140, 160, 172,

Mallets

& 4 .. ..

Timpani

? 43 ..

..
32 29 29 26 29 29

Piano

Mlts.

Timp.

& 4 .. ..
.
? 3 .. .
4

Pno.

.
.

..

..

..

.. 44
& ..
? ..
.. 4

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
& .
...
? ..

CPit 2013

.. 44

2013 Cadets 2-Mallet Audition Material

2
9

Mlts.

Timp.

Pno.

4 .. ..
&4
? 44 .. ..
26 23 20

29 2

www

www

4 .. ..
&4
? 4 ..
4

www

www

..

&

13
?

13

Mlts.

Timp.

&

ww
ww
ww
ww

w
w
w
w

?
29 26 23

13

Pno.

26 23 32

29

2013 Cadets 2-Mallet Audition Material

I.H.O.P. 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.
3) In measure 5 and 6, be sure that you give the appropriate space to the 8th notes.
4) Finish the exercise with consistent rhythmic and note accuracy as you span the largest
distance on the keyboard.

"IHOP 2013" PART 1

q= 140-180

19

Mlts.

&
R

19

Timp.

23

w
& w

19

Pno.

? w
w

43

w
w

3
4

43

R L

. . .

1st Ending

23

& 43 ...

21

1st Ending

? 43 .

21

Pno.

w
w

R L

Timp.

43

& 43 b b .. 46

21

Mlts.

29

1st Ending

? 43 .

. . .

..
.
.

. . .

. . .

. b. . .

. b . . . .. 46

b ...

..
.

. b. . .

.. 46

. b . . . .. 46

2013 Cadets 2-Mallet Audition Material

4
2nd Ending

& 46 b

25

Mlts.

?6
4

2nd Ending

25

Timp.

& 46

25

Pno.

2nd Ending

? 46

"IHOP 2013" PART 2

46

4
4

6
4

44

46

q= 140-180

44

46

& 46

28

Mlts.

b 4
4

R R L

RLR L

R L L

R LRL

? 46

28

Timp.

26

26 29 32

.
& 46 www ..

28

Pno.

w.
? 46 ww ..

23

23 26 29

www ..
.
!

&

32

Mlts.

R R LR L L

RLR L R LRL

RLR L R LRL

32

Timp.

26

23

26 29 32 23 26 29

&

32

Pno.

.
? ..

... .. ...
.

"IHOP 2013" PART 3

b.

? .

36

Timp.

&
.
? b ..

bnb n

&

38

Mlts.

Timp.

&

Pno.

.
? b www ..

b
b b

R sim.

b www ...

n b b n b nb
b
n bn n n
R

b. .

b ..
.

..
.

b.

b b b

& b b b bb b #n
n nn

# n #

40

Mlts.

.
?

40

Timp.

b ww ..
& w.

40

Pno.

R sim.

R L

b. .
.

b.

b ww ..
w.

? b b b b b b

b b
b

R R sim.

b b
b

b n b b b

b.

? .

38

..
.

38

36

Pno.

2013 Cadets 2-Mallet Audition Material

b # # n

&

36

Mlts.

q= 140-180

The 2013 Cadets Front Ensemble

4-Mallet Audition Material
"D.V.C"Double Vertical Chops

q= 120-180

"D.V.C." is a basic 4 mallet chops exercise.

1) The Cadets will start this exercise in the DOWN position, and prep for the first note.
2) It is imperative that all four mallets hit the keyboard at the same time and with the
same touch.
3) Do not accent any of the note changes...try to play the exercise as evenly as possible.
4) Play this exercise from the wrist.
1

7

& 8 ..

Mallets

? 78 ..

7
....
....
......
......
& 8 .. ......
..
..
f (with String, Vocal or Organ Patch)
..
..
..
? 78 .. ....
..
..
..
..
..

Timpani

Piano

2
6

Mlts.

Timp.

Pno.

&

68

..

.. . 44
..

? 68 .. .. . 44

&

....
..

? ..
..

....
..
....

....
..
....

68 ..
.
68 ..

The Cadets 2013

..
.
.
.

..
.

..
.
.
.

.. .. . 44
.
.. .. . 44

2013 Cadets Front Ensemble

4-Mallet Audition Material

"D.V.I.S."Double Vertical Interval Spreading

q= 100

"D.V.I.S." is an Interval Spreading exercise which challenges the players ability to change intervals in rapid succession.
1) This exercise is meant to be played ONE HAND AT A TIME, we will not play this exercise hands-together.
2) During short periods of the exercise you will need to utilize "The Octave Grip"....
this is acheived by moving the base of the inside mallet from the center of the palm
to the edge of the hand between the middle and ring finger.
3) Play this exercise SLOWLY at first, to allow your hands to move to each interval.
A

4
& 4

1/2
F OR 3/4

3
4
4 4

13

Mlts.

? 4 3 4
4
4
4
F Low GAB on 32", Low C on 29", DEF on 26", GAB 23", High C on 20"

13

Timp.

& 44
F Pianists: Play one hand at a time
? 44

43 44

13

Pno.

Octave
Grip

Octave
Grip

Octave
Grip

4
3
& 4 4

17

Mlts.

Octave
Grip

3 4

4
4
Octave
Grip

? 44 43

44

& 44
? 44

44

17

Timp.

17

Pno.

4
4

43

44

2013 Cadets Front Ensemble

4-Mallet Audition Material

"IHOP 4M 2012"
I.H.O.P. is a fundamental "Kraus" Scale style exercise which is played both with 2 AND 4 mallets. .
A few things to think about when practicing the 4-mallet version of this exercise:
1) This exercise should be played with ONLY the inside mallets.
2) The inside mallets should be UP and the outside mallets DOWN during
the starting position of this exercise.
3) Use an aggressive rotary motion to strike the keyboard with the inside
mallets.

q= 100-140

4
3
4
& 4 4 4
f3 3 3 3 3 3 3 3 3 2 3 2
3 2

23

Mlts.

20"
?4
4
fR R R R R R R R R L
23
w
w
4
w
&4 w
23

Timp.

Pno.

? 44 w
w

w
w

3 .
4
R

43 ...
34 .
.

29"

. . . .

4
4

..
.

44

.
.

.
.

.
.

. . . .
. . . .

#
4

# 43
&4

44

? 44

44

44

44

27

Mlts.

27

Timp.

? 44

34

29"

ww
w

w
& 44 ww

27

Pno.

44

34

43

2013 Cadets Front Ensemble

4-Mallet Audition Material

"In's and Out's Burger"

"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.
q= 90-120

& 44 b N b
b

30

Mlts.

? 44

30

Timp.

Pno.

29"

b b
30
J
& 44

? 4 b
4 b
J

2/3

26"

b 20"

23"

& b N b
b 1/4

32

Mlts.

32

Timp.

b

b b

b b
& J

32

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 n
b
>

b
b b

Prep

>
b

b n
b
b

2013 Cadets Front Ensemble

4-Mallet Audition Material

"Two-Handed Scales" by James P. Ancona

This exercise is born from combining Single Independent and Double Vertical strokes.
It is extremely difficul and should be played very slowly.
1) The hand that is playing the scale passage should use a legato stroke and use natural phrasing to shape the line.
2) The "comping" hand uses a piston stroke and must focus on shifting, shaping, and balance.
3) For the November audition camp: prepare ONLY to C Major, F Major, and G Major.
Right Handed

&
#
# #

F 1/2/33 3 3sim.

e= 80-120
35

Mlts.

?
F

35

Timp.

35

Pno.

&
F

?

Left Handed

#
#
#

&

40

40

Pno.

2/3/4 2 2 2

Timp.

&

40

Mlts.

Cadets 2013 Front Ensemble

4-Mallet Audition Material

10

"Mixtape" by Jules Scogna

This is a standard permutation exercise that begins with a chord progression of Double Verticals
and then transfers that chord progression to Single Alternating and Single Independent Strokes.
1) This exercise should be performed with even ff strokes that rebound to the up position.
2) Please be careful to note the sticking and bar placement markings (C=Center, E=Edge).
A

q= 100

bb 4
& 4

Mallets

Eb

bb
&

Mlts.

Gm

Eb

E
C
C

#
#

Bb

E
E

C
D+ C
E

#
#

# #
bb
&

#
#
B

Mlts.

4231

13

Mlts.

&

bb

17

Mlts.

&

bb

2 3 4

3 2 4 1
CC C

2 4

2 3 4

1 2 R

& b b

bb
&
A'

Gm

25

Eb

b
b
&

29

Mlts.

3 1 4 2

2 3 4

Mlts.

4 1 3 2
C C

32 4 1

b

E

21

Mlts.

3 1 42

4 2 3 1
C

4132

Eb

2 4

2 3 4

Bb

D
#
#

1 2 R

D
#
#

nn

Cadets 2013 Front Ensemble

4-Mallet Audition Material

11

"One-Handed Roll Exercises"

The following four exercises are for building and strengthening the One-Handed Roll.
Each of these exercises should be practiced at a variety of speeds and heights.
1) The eight notes in this exercise are used to put 1 mallet in motion and then add additional "toggles"
between the opposite mallet.
2) Remember to stay relaxed during this exercise, at no time should you feel tension.

Right Hand Outside Mallet Lead

34

Mlts.

&

Mlts.

4 4

& ..

38

..
.. ..
.. ..
..

4 3 4 4

4 3 4 3 4

4 3 4 3 4 3 4 3 4

.. w

Right Hand Inside Mallet Lead

.
.

.
.

..
.
. .
. .
&

41

Mlts.

3 3

& ..

45

Mlts.

3 4 3 3

3 4 3 4 3

3 4 3 4 3 4 3 4 3

.. w

Left Hand Outside Mallet Lead

48

Mlts.

&

& ..

52

Mlts.

..
.. ..
.. ..
..

1 1

1 2 1 1

..
w

w

1 2 1 2 1

1 2 1 2 1 2 1 2 1

Left Hand Inside Mallet Lead

& .. .. .. .. .. ..

55

Mlts.

Mlts.

2 2

& ..

59

2 1 2 2

2 1 2 1 2

2 1 2 1 2 1 2 1 2

.. w
w
2

Cadets 2013 Front Ensemble

4-Mallet Audition Material

12

"Double Lateral Breakdown (Ancona-Style)"

The Double Lateral Stroke is a combination of a Double Vertical, followed rapidly by a rotating Single Independent Stroke.
This exercise breaks down those two motions, beginning with the vertical, then adding the rotary motion.
1) Be sure to practice this exercise from the "UP" position and make sure each mallet is striking from the same height.
2) Strive for an even sound and don't go too fast.

&

62

Mlts.

3/4

4 3

1/2
Repeat 1x, 2x, 4x, 8x, ect.

&

..

66

Mlts.

3/4 1/2

1 2

..

"Double Lateral Chorale"

This exercise puts to work the skills we learned in the "Double Lateral Breakdown."
1) Be sure to create a consistent sustained sound between both hands.
2) Pay special attention to the roll speed indications.
Adagio

bw
& w
p b b ww

Roll Speed: 69
Mlts.

Slow to...

1.2.4.3

w
b ww
w

Medium to...

w
bw
w
w

Slow to...

Medium to...

Fast to...

w
b b ww
bw
f

Medium to...

b b www
bw

Very Slow

O Holy Name (O Tannenbaum) 2013

Score

Iain Moyer

# 1
& 4

q= 90

Vibraphone 1&4
(Back row)

Vibraphone 2&3
(Front Row)

Marimba 1-4

4
4

- a # -
P F
# 1 4 - & 4 a # - 4
P F

Xylosynth

2/3/4

2/3/4

4
F
P
? # 1 4 3 2 3 2 4
4
4

3
P
44

# 1
& 4 !
? # 41

- ..
..

1 2/3/4 1 3 2

#
& 41 !

q= 90

Synthesizer 2

- - ... a
.

# 1
& 4 !

3/4

Glockenspiel
(C-F)

... a -
- - .

1/2/3/4

>

b a

> > > >f

2/4

n
n

2/4

2/4

> a 1

2/4

1/2/3/4

b N
-
F

a -

> >
> > b a

1/3/2/4

1/3/2/4

b a
f
1 23 4 234

>
3

N
F

#
J

#
& 41 !

44

?# 1 !
4

4
4

F
rit.

P F
3/4 >
J

q= 96

1 2 3 2

j
J

1 3 2 3 2 3 1

Acoustic Bass Patch

n -

>

44

1/3/4

4
4

n
-

rit.

q= 96

F
j
a
P
>
J

Nylon Guitar

#
& 41

Perc 1
(Drumset)

Timpani

Synthesizer 1

?# 1 !
4
q= 90

# 1
& 4

4
4

Piano

Chime Patch
on the DTX

Perc 2

S.D. R/L
Swirl

4
4
a # -
F
?# 1
4
4
4

# 1
& 4

4 - . o
4 ( )
"
P

with
Brushes 17"

4
4 .
P

R
. o
.

. >

!
...
-

#
J

>

b a
> > > >f

CPit 2013

Sizzle Ride

A a

to Sticks

F
a J
F

q= 96

rit.

b - N ...
F

2
6

Vib. 1&4

Vib. 2&3

- ..
.
..
.

1/2

Mrb. 1-4

>

>

1/2

> .
..
.

f
2 3 2
> .
..
.

# .

&

>

>

>

a
>

..

>

5
4

>

5
4

3/4 2 3 2 3/4

Synth 2

&

?#
6

X.S.

1 2 3 4

j

F

#
& .

#
F
a - n - 2 4 2 3
?#

&

#
5

Timp.

Synth 1

P.2

1 2 3

P. 1

?#

&

f 3 F
3/4 2 3 2 3/4

> > > >

- ..
.
.

- . >

> >

.
>
f

1 2 3 4

j
F

>

> >> >

>

>
a

>

!
!

4
4

2 3 4 2/3/4

4
4
4
4

4 2 3

a tempo

f

J

4 - b a > > >

>
P

f
5
a 1 2 3 4

4 b

1 2 3 3

rit.

45 .

1/2 3 2

>
>
# n
#
&
f
?#
#

4 2 3

4
4

> > >

b > a > 4
5

4
4
a
b

f
1 2

45

5
>

4 - a

b > > >

>

f
1 2 3 4 >

5
a

4 b

a tempo

1 2 3 3

rit.
>
> > >
>
>
a

b a
>

f1 2 3 4 2 3 1 2 3 4 2/3/4

>
> > >
>
>
a

b a
>

1 2

1/2 3 2

2 3 2

f
a - n - 2 4 2 3 -
?# -

&

1 2 3

Glk.

O Holy Name 2013

- ..
.
..
.

>
>
# n
& #
f
>
>
# n
& #
5

1 2

5
4

>
>

f
>

4
4
4
4
4
4

5
4

> > > F

a tempo

> 4
4

>
> > >
b > a >
54

a
b a
>

5 b a
4

44

4 2 3

rit.

5
4

44

18' Sus. Cym.

44
4
4

- 4
4
f

O Holy Name 2013

9

# 4 >
& 4

10

Vib. 1&4

Vib. 2&3

# 4 >
& 4

>

>

> .
..
.
> .
..
.

# 4
& 4 ...
.
> > >
?# 4
4

Glk.

# 4
& 4

>

3/4 2 3/4

>

> > # > .

b .
a ..

3/4 2 3/4

10

Mrb. 1-4

> > # > .

b ..
a
.

1 2 3/4

1/3/4

>

>
3

>

> > >

#

>

3/2/4 1/2/3/4

# ..
n ..
> >

>

>

>

>

> > . b a

.
b ..
> > . b a

.
b ..

3/4 2 3/4

1 2 3/4

>
># >

# n

>
>

2/3/4

2/34

.
b ..
.
>

b
b

>

>

>

>

>
3

>

3
4

>

>

>

3
4

>
a > >

3
4

3
4
3
4

#
& 44

10

Synth 2

? # 44

>

>

>
# 4 j
& 4
z
f

?# 4
4 .
> > >

10

Timp.

# > >
& 44

10

Synth 1

?# 4
4
# 4
& 4

10

P.2

>

>

10

P. 1

j
# 4
& 4 ... #
.
> > >
F
2
3/4
?# 4
!
4

10

X.S.

> .
..
.
J

>
3

>

>

!
Triangles and Biangles

>
f

>

j
# ..
n ..
> >

> > # >

b ..
a ..
J

3/4

2/3/4

>

#

#

>

>

>

2/34

j
.
b ..
.
>

43

>

43

>
3

>

3
4
3
4

3
4

>.

> > >

3
4

a > > >

43

>

> > .

.
b a ...
J

>

!
>

>f

#
2

b a

>

3
4
3
4

O Holy Name 2013

13

rit.

# 3 >
& 4

# 3 >
& 4

13

Vib. 1&4

Vib. 2&3

>

f
>

# 3
3

& 4




>
F

123234 f
3 2 3 2 3
2/4 2/4 2/4 2/4
?# 3
!
!
!
4

-
P

...
.
p

...
.

...
.

-
P

...
.
p

...
.

...
.

13

Mrb. 1-4

Glk.

13

#
& 43
? # 43

# 3
& 4

>f
?# 3
4

# 3
& 4

13

rit.

>

?# 3
4
>

13

Timp.

# >
& 43

? # 3 .
4 .

Synth 1

# 3
& 4

13

P.2

>

>
f

Chime Patch
on the DTX

F
..

f
.
.

>

13

F
1 2 3 2 3 4
!
!

13

P. 1

13

X.S.

rit.

13

Synth 2

3
3
F
P

# 3
& 4
f

!
!

Stout Attack,

p
P
"D. Lat. Roll
.
.

.... ...
...

1 1 1

$ ~. ~~~~~~

Wind Chimes

~ ~~~~ $

.
P

~~ ~~~ ~~~

Sizzle Ride w/fingers

"

- .
p

....
p
...

....

....

.
"

...

...

The 2013 Cadets Front Ensemble

2 and 4 Mallet Technique Guidelines
Compiled by the Cadets Front Ensemble Staff

2 Mallets:
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 2013 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 (2nd, 3rd), it is appropriate
for the thumbnail to be turned in slightly.
2) For intervals of a 4th, 5th, or 6th: 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 2nd or 3rd: Both index fingers will face South.
4) For intervals of a 7th 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 7th 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 4th, 5th, 6th) 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.

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 see-saw
motion between the malletheads. This is the OPPOSITE of the singlealternating motion.

Bar Placement for Two and Four Mallets

2013 CPit Philosophy:
The center of the bar, on naturals and accidentals is the desired
location to hit ALL notes. The letter E will be given for instances
when the performers should play on the edge of the bar. If an
accidental is written and there is no indication that it should be
played on the edge (E).PLAY IT IN THE CENTER.

The Cadets 2013 Front Ensemble

Timpani Technique Guidelines
Compiled by the Cadets Front Ensemble Staff
Getting Started:
1) Have the heads been cleared?
2) Have the gauges been calibrated?
3) Can your feet comfortably reach each pedal?
4) Can you comfortably play each drum in the correct playing spot? (See
below for specifics)
The Set-up:
1) A Fulcrum should be formed between thumb and first knuckle of
index finger
2) Wrap the fingers around the stick naturally, exacting like a drum
stick or keyboard mallet
3) The players thumbnail should be parallel to the ceiling
4) The mallets should be parallel to one another
5) When one mallet is striking the drum the playing spot is in the center
of the drum on the side closest to the player,
6) When two mallets are playing on a single drum, the playing spot is
over the two center lugs. Generally, this position is between 4 and 6
apart.
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) The wrist stroke is produced by a rotary motion from the wrist AND
forearm.
4) The wrist is employed in EVERY STROKE WE PLAY, regardless if
the fingers and arms are also involved.
5) Use solely the Wrist for mp-f material.
6) Use arm (from elbow only!) for ff-fff material .
7) Use the fingers for soft rolls and strokes, ppp to mp.
Playing Spot:
1) Strike the 29 and 26 approximately 4 away from the rim
2) Strike the 32 approximately 6 away from the rim
3) Strike the 23 and 20 approximately 2 to 3 away from the rim
Timpani Rolls:
1) Lower drums = slower roll speeds
2) Higher drums = faster roll speeds
3) 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
4) 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) Always tune from bottom up, scoop up to the note to find the desired
pitch
2) Learning intervals are key to a good ear!!