AHS Audition Packet

Bass

Introduction

Thank you for taking an expressed interest in auditioning for a spot in the 2015 AHS Drumline. This is a group dedicated to making its members better, and to always put on a fantastic performance that entertains audiences and impresses critics. This packet is assembled to prepare you for the audition process. It will lay out everything you need to know of how the process will work, and tell you what we are expecting you to know. Study this packet diligently, and come to the audition with everything outlined in it prepared and ready.

Audition Schedule

Each section will audition separately. There will be assigned times for each section. The section camps will be: snare, tenor, bass, front ensemble. None of these will overlap, so if you are interested in two sections, you would merely attend both “camps” and both final auditions. Remember, by being involved in multiple sections, your chances of a spot are seriously increased. If there is one drum you really want to march, you would only have to attend the “camp” and final audition for that one section on that one drum.

Snare Auditions:

Monday May 11th 3:45-5:30 pm

Tenor Auditions:

Tuesday May 12th 3:45-5:30 pm

Bass Auditions:

Wednesday May 13th 3:45-5:30 pm

Front Auditions:

Thursday May 14th 3:45-5:30 pm

Final Auditions:

Friday May 15th 3:45-6:30 pm

-Any of these times are subject to change if seen as necessary by the audition staff and will be noted 24 hours prior to the changes occurrence.

Detailed Audition Process

Auditions will be split in to three major segments. Here are the segment titles and what you can expect to happen in each one.

  • Individual Auditions
  • A quick one on one with you on the drum and the judges. This time is to ensure that every one moving on to the next section has a basic understanding of the technique and vocabulary that will be used in the remainder of the audition.
  1. We will be looking at basic technique, rudimental vocabulary, prepared music, timing, and posture/approach.
  • Full Section Auditions
  • This is where most of the time of the camp will be spent. This is the time when we look at how each student does in context to the other students in that section. This means how the play next to each other, plus how well they get along. This is also the time when we will start really hashing through music and getting in to material that will reflect our books for the year.
  • We will be looking for chemistry, cleanliness, matching techniques, ability to play intermediate drumming ideas on the fly, ability to adjust to instructions, positive attitude, and a willingness to learn.
  • Final Auditions
  • A final run through some of the exercises and material we covered during “camp”. This is the time to show everything you have learned and impress the judges with it. This will closely resemble our game day rehearsals. Remember to show ALL material you have learned. This is not a solo performance; you are auditioning with this LINE. Show the judges what this line will do. That is what this final audition is for.
  • We are looking for close to flawless performance, close to mirrored technique, no breaking, perfect attention and rehearsal procedures, positive energy, and a performing ability that impresses.

Judging Material

Judges will be looking in two major areas, music and character. Both of these areas are important. We aren’t just trying to build a group of great players, but great people who are great players. Once we are in to the season, we will build off this idea more and more.Here is the break down of each of those areas the judges will be looking for at the auditions.

Music

  • Technique
  • Prepared Material
  • Ability to adjust to instructions
  • Execution

Character

  • Respectful
  • Positive
  • Diligent
  • Responsible
  • Chemistry with other students

Note that there is more under the character column. Slow hands can be sped up, timing adjusted, feet corrected, but a bad attitude is not something we are going to try to neither fix nor deal with.

If it is necessary for someone to audition for another section other than their first choice to ensure the best possible talent pool in all sections, this person will be notified prior the necessary “camp” date which they will be expected to attend. They will still be given a chance to audition for their first choice at the final camp but will also be expected to audition on the instrument they were asked to audition for.

Technique Overview

Bass Technique Breakdown

Grip

  • The bass drum grip and snare drum grip are the same but turned to play on surfaces on two different planes.
  • The fulcrum is created directly between the pointer finger and the thumb. The stick should rest between the first and second knuckle on the pointer and on the fleshy pad of the thumb. These two contact points will be DIRECTLY across from each other. This is the rotating point of the stick in the grip. There should be no space between the thumb and the pointer if looking down at the grip from the tip of the stick. This is where pressure will be applied to achieve different strokes. (i.e. single strokes, double strokes, triple strokes)
  • The hand should be turned so that the fingers and palm are facing towards the head. This will put the thumb on top of the grip, but the approach to the head will still make the grip technically German.
  • There should be ½ inch of mallet sticking out of the hand.

Approach

  • The forearm should be flat, or parallel to the ground.
  • The angle the wrist should create is a natural angle that will be around 120 degrees
  • The upper arm should hang naturally but may need to angle out for the larger drums.
  • Once all the guidelines and techniques are implemented, the mallet head should strike in the center of the drum.
  • The mallet will tilt slightly in towards the head. The head of the mallet will be closer to the head and the hand will be slightly away from the rim, causing the inwards tilt. This will also make our degree height system visually accurate.

Stroke

  • The stroke for bass drum is created from a forearm roll instead of a wrist break. This motion is most recognized in opening a doorknob and the motion used to do so.
  • The wrist in fact should stay locked and the forearm should stay in place.
  • If a combination of wrist break and forearm roll is used the player will “scoop” or “scrape”, both of which can be fixed by using ONLY forearm roll.
  • The forearm is allowed to move after the forearm roll has reached the full 90 degree turn. If the forearm is used, it should only move on a horizontal plane, never on a vertical or sagital plane.

Basics Outline

This section is for material this applicable to all sections or need to be known by all sections.

Attention Stance:

The attention stance will be with the back straight and shoulders slightly back. The chest should “stick out” just enough to fill up the carrier. The knees should be unlocked but close to locked so as to “appear” straight but nto cause any health problems. The feet will be with the heels together and the toes around six inches apart. The feet will create a “V” and add support to the stance.

Marking Time:

Marking time is not only a means to move but also a time keeping device. For this reason the whole foot will raise up and the placed down FIRMLY on the beat. The left foot will strike on counts “1” and “3” and the right will strike on “2” and “4”. The foot will strike EXACTLY on the beat. At slower tempos, the raise of the foot may also be identified exactly to ensure rhythmic accuracy. One rule of drumming outdoors is that if your feet are in time, your hands will follow. Keep the feet in time and the rest will follow.

Performance Appearance:

The appearance of performing can also be as important as what is being played. This is especially important for the front being that the front has a focal advantage from the rest of the drum line being that the audience can see faces. The music will communicate a point or emotion. That point or emotion needs to be understood through the visual aspect and the actions of the performers. Be sure to always keep this in mind and act accordingly. Sell the performance at all times.

“If you don’t dig it, the audience won’t dig it”

-Mr. Wine

Height/Dynamic Chart:

Piano= 0 degrees

Mezzo-piano= 30 degrees

Mezzo-forte= 45 degrees

Forte= 60 degrees

Fortissimo= 90 degrees

  • These heights will be used for taps and accents in sections. In that case, BOTH HEIGHTS will be designated. If not designated, use the given height as normal strokes and the height one degree set higher as the accents.

Thank you to Kevin Bolton for lending his bass technique overview. All pictures were taking from the internet and are not property of Hunter Jackson or AHS Bands in any way.