November 20-22 2016 AUDITION PACKET

AUDITION for The 2016 Cadets

 Cadets Front Ensemble 2016
Audition Packet
Introduction
Hello, and thank you for your interest in the 2016 Cadets Front Ensemble.
First and foremost, the Front Ensemble Staff is honored that you have chosen to
audition at The Cadets for the 2016 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 information you need to audition for the 2016 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.) We will also ask about your plans for meeting the financial
responsibilities of being a Cadet, if you are selected to be in CPit 2016.

What to Bring
A Good Attitude- We are looking for much more than just great playing ability and
previous experience in the Cadets Pit, we are looking to find great team
members as well. A Front Ensemble is a unique collection of people, as those 16
players spend all day, everyday for 3 months straight together. We are looking
for folks who buy into a “team” concept and are able to effectively receive
instruction from the admin, staff, and section leaders to achieve our goals.
Music and Solos- Please bring a copy of all the audition material and your
marimba/vibe/xylo/timpani/piano solo with you to camp. It is usually best to organize this
in a 3-ring binder. Also, bring writing implements to make notes and fill out forms.

Mallets- For the group portions of the weekend we would like you to use OUR
Vic Firth mallets. If you wish to perform your solo with mallets other then ours,
we encourage you to bring them.
 Personnel
The following is the potential instrumentation for the 2016 CPit:
(5) Marimbas,
(5) Vibraphones,
(1) Xylophone/Glockenspiel,
(1) Timpani,
(2) Synthesizer positions
-1 full time player
-1 player splitting time between synthesizer and sampler
(2) Percussionists
Please note: Percussionists at The Cadets are expected to
play the keyboard exercises from the beginning of the packet
up to and through “4x6 Permutations”

Materials enclosed in the 2016 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).

2 Mallet, 4 Mallet, and Timpani Technique Guidelines:

2. Please use these sheets to assist you with understanding The Cadets
Front Ensemble’s “style of playing”.

Percussion Etude
3. This is a piece for those folks auditioning for percussion/rack spots to play.

“Hoppipolla” Pit Tune

4. This is a pit tune we will learn at the first camp. Pick a part and
learn it. Enjoy!

NOT included in the Audition Packet:

5. Marimba/Vibe/Xylo: Please prepare a SHORT (1 to 2 minute) excerpt
of a marimba, vibraphone, or xylophone solo.
6. Timpanists: Please prepare a SHORT (1 to 2 minute) timpani solo.
7. Pianists: Please prepare a SHORT (1 to 2 minute) piano solo.

Once again, thank you for your interest in the 2016 Cadets Front Ensemble. I
am excited for you to meet our excellent Front Ensemble staff and for the
staff to work with you in the individual and group setting.
If you have ANY questions regarding the audition materials or audition process,
please don’t hesitate to contact me at [email protected]
Dr. Iain Moyer
The Cadets Front Ensemble Arranger
CONTENTS

ABOUT THE CADETS...........................................................................................................................................5

THE AUDITION........................................................................................................................................................7
I. FOUR BASIC REQUIREMENTS...........................................................................................................7
II. HOW TO AUDITION..................................................................................................................................8
A. Be Prepared!............................................................................................................................................8
B. State of Mind............................................................................................................................................8
C. The Audition Event.................................................................................................................................8
III. PERFORMANCE RATINGS....................................................................................................................9
V. WHAT TO BRING.....................................................................................................................................10
LOGISTICS.............................................................................................................................................................10
I. TRAVEL & PICKUP INSTRUCTIONS...............................................................................................10
II. FINANCIAL OBLIGATIONS..................................................................................................................12
III. CAMP ATTENDANCE.............................................................................................................................13
IV. CONTACT INFORMATION....................................................................................................................14
V. PAPERWORK............................................................................................................................................14
VI. WINTER CAMP SCHEDULE................................................................................................................14
VII. SAMPLE CAMP SCHEDULE................................................................................................................15
VIII. CAMP PACKING CHECKLIST............................................................................................................15
IX. FREQUENTLY ASKED QUESTIONS................................................................................................17
X. LINKS & RESOURCES..........................................................................................................................17

MEDICAL FORM AT THE END OF THIS PACKET

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 80’s, 3 titles through
the 90’s, 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
32 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.
The corps has performed in the following National events:

• The President’s United Nations Reception 2011

• The 56th Presidential Inaugural Parade in 2009
• Macy’s Thanksgiving Parade in 2005
• NASCAR Chevy Monte Carlo 400 in 2002
• Major League Baseball’s 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

More information can be found at www.cadets.org or the corps’ Facebook page.

Thank you for becoming a part of our rich history. We’re very excited
to begin our 83rd season with you. See you in November!!!
 THE AUDITION
A frequently heard statement: “There is no way I could make the Cadets, I am not good
enough.”

Let’s 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 don’t believe themselves to be
Cadet standard. Cadets are built every year, and it starts with the commitment and a
willingness to work hard. The door is in front of you, walk through, and take the first step!

I. 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
and the corps administration.

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 comprised of
members who will do whatever it takes to meet The Cadets standards on and
off the field. In order to achieve this it is imperative that 100% of the members
work as hard as they possibly can, are extremely positive, and support staff,
volunteers, and most importantly each other throughout the season. It will not
only be an experience of a lifetime but also very gratifying and fun!

D. Health – Being healthy is a key ingredient to being 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 Katy Boggs at
[email protected] 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 don’t understand something.
• Perform to your highest ability.
• Once you’ve finished the requested performance material, there will be a
short conversation between you and the caption supervisor. If you have any
further questions, please feel free to ask.

In the conversation with the caption supervisor you will also be asked a series of
questions. Below is a sample list; it is by no means the only questions you may be
asked.

 Name  Email address

 Age/Age out year  Cell phone number
 School  Any schedule conflicts
 Major (if in college)  Expected move in date
• Drum Corps experience
III. PERFORMANCE RATINGS

During you audition weekend you will be given a rating:

1 = We feel that you’re 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 don’t feel that you’re quite ready to be a Cadet this year, but we’ll 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 group’s 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 don’t live in a perfect world and 150 diverse
individuals are not going to blend perfectly. We will not ask you to like people that
you simply cannot bring yourself to like, but we will ask you to treat them with
respect and we expect the same from them. Ultimately, we are all here for the same
purpose and we are all on the same team. To be clear; this goes for everyone. Staff
and volunteers are also asked to treat all members as they would wish to be treated.

! Responsibility and Accountability – These are two of the most important traits
to master if you would like to be successful in life. If you are unable to do either
then you become unreliable. If you say you are going to do something then do it,
and if you fail to do so, expect to be held accountable for your actions.
 ! Collaboration – This is without a doubt one of the most important factors to The
Cadets success. There must be open lines of communication between the members
of the corps, the corps leadership, staff, volunteers, and administration. The staff
and administration will do our best to communicate with you what our needs and
expectations are and we will expect the same from you. It is essential that you not
be afraid to ASK QUESTIONS!

! 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 gloves available for purchase
at every camp.)
• Towel – for brass players. Your Cadet brass instrument is in one of three places at
all times: in your hands, placed in line on the ground, or in its case. The towel is
used to protect your instrument when placed on hard surfaces, especially when
rehearsing outdoors.

LOGISTICS
I. TRAVEL & PICKUP INSTRUCTIONS

An RSVP form will be emailed to you two weeks prior to all scheduled camps. A few
days before each camp a packet will be released with all the information needed for
the weekend.
RSVP:
Regardless of your method of travel, please RSVP by Midnight the Friday before
camp. The staff and administration needs to know these details for food quantities,
airport pickups, rehearsal facilities, music, nametags, and many more details…all
to provide an experience of the highest quality!

In case of changes that will affect your pickup time on the day of camp, please send a
TEXT MESSAGE to Katy Boggs at 309-472-7518 with the following:

• First and Last Name

• Section
• Scheduled Arrival Time
• New Estimated Arrival Time

Car:
Please plan to arrive at 7:00pm on Friday. The welcome meeting will begin at 9:00pm
sharp, but it will take some time beforehand to register, unload, and prepare for the
weekend.

Plane:
Please plan to arrive at all airports ready for a 6:00 pm pickup on the Friday of
camp. We suggest that you book a flight which arrives no later than 5:00pm so that you
have time to gather your belongings and will allow you to be ready for pick ups at
6:00pm. Delays and cancellations can happen at anytime. Getting in earlier and waiting
with your fellow potential members will make for a less stressful travel day for all.

Airports:
1. PHL – Philadelphia International Airport is preferred
2. TNN – Trenton- Mercer Airport is preferred as well

**Pickup location for all students/auditionees is at Terminal C for PHL only.

**Exact pickup times will be announced 2 days before camp.**

Please plan to depart from any of the listed airports/bus/train stations AFTER 7:00pm on
the Sunday of camp.

Bus/Train:
If you are taking a bus/train into 30th Street Station in Philadelphia, please take the
local train to the Philadelphia Airport (PHL). The train costs $5-10, leaves at least every
15 minutes, and will take you directly to Terminal C at the airport for bus/van shuttles.
BUS & TRAIN RESOURCES
• http://www.septa.org/stations/rail/30th.html
• http://www.septa.org/welcome/airport.html
The Trenton Transit Center is another option for travel.
 PLEASE do not book a departure that leaves PHL before 7:00pm on
Sunday. We will likely need to pull you from the end of rehearsal in
order to get you to the airport on time, and we don’t want you to miss
any part of this great experience with The Cadets!

II. FINANCIAL OBLIGATIONS

Cash or check is our preferred method of payment. Checks (made payable to “YEA!”)
can be mailed to the following address. Please be sure to include the applicant’s name,
section, and “2016 Member Fees”.

The Cadets
Attn: Katy Boggs
601 W. Hamilton Street
Allentown, PA 18101

We also accept payments of cash, check, or credit card in person at camps.

Credit card payments can be made online at http://www.cadets.org. Please make sure
that if a parent or relative is submitting a payment they use the member’s name
in the “Name and Email” section, marked in red below. This helps us ensure that all
payments are attributed to the correct member account. The parent or relative’s
information can still be entered in the “Billing Name and Address” section, marked in
green below.
 Registration Fee: $125.00 (non-refundable)

Returning Member Registration Fee: $70.00 (non-refundable)

• A discount is given to members who have completed one full season with
The Cadets, Cadets2, CWP, or CWG

The Cadets and Cadets2 Audition Camp Fee: $105.00

• Brass, Percussion, and Guard
• Due prior to the November 20-22 Weekend

December 11-13 Audition Camp Fee: $105.00

• Brass and Percussion ONLY
• Due prior to the December 11-13 Weekend

Other Fees:
Camp, Spring Training, and Tuition Fees will be clearly laid out in the Financial
Agreement and Member Contract. All prospective members 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 of The Cadets is approximately $45 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 later camps.

Sponsorships:
If requested, The Cadets will also provide sponsorship and fundraising literature to assist
members in meeting all financial obligations for 2016. However, it is up to each individual
to seek out sponsors and maintain communication with them regarding their
contributions.

III. CAMP ATTENDANCE

We do expect everyone to attend all winter camps. However, we understand that

conflicts can arise. We ask that you do everything possible to be at each camp, since
you will miss a great deal of information by not being there.

If you will miss a camp, or any part of a camp, you must contact your caption head, section
instructor, section leader, and administration as soon as you know of the conflict.
 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).

IV. CONTACT INFORMATION

Caption Supervisors
Brass Gino Cipriani [email protected]
Battery Colin McNutt [email protected]
Front Ensemble Iain Moyer [email protected]
Color Guard Kristy Templin [email protected]
Visual Austin Greene [email protected]

Administration
Corps Admin Katy Boggs [email protected]
Corps Admin Steve Shuey [email protected]

V. PAPERWORK

Please bring with you a completed 2016 Member Medical Form. (This is found at the
end of this packet.)

Please be prepared to send in a copy of your birth certificate, as well as a current copy
of your insurance card, should you be offered membership in the corps. More
details/instructions will be communicated at a later date.

VI. WINTER CAMP SCHEDULE

November 20-22 The Cadets and Cadets2 Audition Camp

• For Cadets AND Cadets2 Brass, Percussion, and Guard

• Location – Hopewell Valley Central High School, 259 Pennington Titusville
Rd, Pennington, NJ 08534

December 11-13 The Cadets Audition Camp

• For Brass and Percussion only

• Location – Hopewell Valley Central High School, 259 Pennington Titusville
Rd, Pennington, NJ 08534
January 8-10 January 22-24 February 12-14
Winter Camp Winter Camp (Brass and Percussion only)
(Brass and Winter Camp (Brass and Percussion only)
Percussion only)

Dates and locations for all other winter camps will be announced later in the year.

VII. SAMPLE CAMP SCHEDULE

FRIDAY
7:00pm Arrive, Unload, & Registration
9:00pm Welcome Meeting
10:00pm Sectionals
12:30am Snack & Videos
1:30am Lights Out

SATURDAY
8:30am Breakfast
9:30am Sectionals
1:30pm Lunch
2:30pm Sectionals/Marching
6:30pm Dinner
7:30pm Meet with Hopkins
8:45pm Sectionals
11:45pm Snack
1:00am Lights Out

SUNDAY
8:00am Breakfast
9:00am Sectionals
12:30pm Quick Snack & Setup
1:00pm Ensemble Rehearsal
2:00pm Cleanup
3:00pm Dismissed & Depart

VIII. CAMP PACKING CHECKLIST

SLEEPING GEAR
• Sleeping bag and/or air mattress
• Pillow
• Blanket(s)
REHEARSAL CLOTHING

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

• Towel
• Toothbrush, toothpaste, mouthwash, floss
• Soap, shampoo, body wash
• Deodorant
• Shaving Cream & Razor
• Hair product
• Prescription medications
INSTRUMENT & EQUIPMENT (bring your own unless told otherwise)

• Brass players:
o Gloves($3/pair at camp)
o Mouthpiece
o Valve oil
o Music stand
• Drummers:
o Sticks($10/pair at camp)
o Tape
o Practice pad
o Music stand
• Front Ensemble:
o Mallets
o Music stand
• Color guard:
o Gloves
o Tape
o Dance clothing
REHEARSAL SUPPLIES
• Binder with clear plastic sheets
• Pens, sharpened pencils, sharpies, highlighters
• Notebook
• Copies of all music, forms, and paperwork
• Music stand

If you have any questions on what to pack please utilize the Facebook groups or
contact Katy Boggs at [email protected].
IX. 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. If possible, please bring your own equipment.

Can I audition for the drum major position?

Yes. The Cadets will be holding auditions for one backfield conductor position.

Where do we sleep/shower during the weekend?

Members sleep on the gymnasium floor during camps and throughout the summer tour.
We utilize the school’s 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 and 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 will complete one fundraiser through the corps, and, if requested, will be
supplied with literature and advice on finding personal sponsors to assist with tuition fees.

X. LINKS & RESOURCES

The Cadets Drum Corps USBands

cadets.org usbands.org

Cadets2 Drum Corps Drum Corps International (DCI)

yea.org/programs/cadets/cadets2 www.dci.org

Youth Education in the Arts (YEA!) Cadets Twitter

yea.org @thecadets
 Questions:
Katy Boggs, Administrator - Performing Ensembles
[email protected] 610-821-0345 x115

Steve Shuey, Associate Director - Performing Ensembles

[email protected] 610-821-0345 x133
 2016 Member Medical Form
The Cadets Cadets2 Cadets Winter Percussion
(Please circle ensemble)

Name_____________________________________________________________ Birth Date_______/________/_________

(Last) (First) (Initial) (Month) (Day) (Year)

Home Address________________________________________________________________________________________
(Street) (City) (State) (Zip)

Home Phone (________)_________________________ Cell Phone (________)_________________________

Email Address__________________________________________________________________

Physician’s Name___________________________________________________ Phone (________)__________________

EMERGENCY CONTACT INFORMATION (Please indicate which should be primary contact if necessary)

Parents: Father’s Name ________________________________ Mother’s Name ________________________________

Home Address ________________________________ Home Address ________________________________

City/State/Zip _________________________________ City/State/Zip _________________________________

Home Phone (________)________________________ Home Phone (________)________________________

Work Phone (________)_________________________ Work Phone (________)_________________________

Cell Phone (________)__________________________ Cell Phone (________)__________________________

Name of Other Adults in Case of Emergency

Name ___________________________________ OR Name ___________________________________

Relationship ______________________________ Relationship ______________________________

Phone (________)_________________________ Phone (________)_________________________

INSURANCE INFORMATION (Attach copies of your medical insurance card, front and back)

Medical Insurance Company ________________________________________ Policy ID # ___________________________

Address _______________________________________________________________ Phone(________)______________

Insurance Through: [ ] Father [ ] Mother [ ] Self [ ] Other _______________________________________________

Policy Holder’s Name ___________________________________________________ Policy Holder’s DOB ____/____/____

PRESCRIPTION MEDICATION *My child has my permission to take the following MEDICATION as prescribed by our doctor
Name of Medicine Condition for Medicine Time / Frequency Dose
MEDICAL INFORMATION
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Score
2 16 Cadets Front
0 Ensemble
2-Mallet Audition
Material
"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, œ œ œ œ œ

Mallets 3 œ

&4 . œ œ œ œ œ œ œœœ œ œœœ œ œ œ.

4 . .
Timpani ?3
32 29 29 26 29 29 32 32 29 29 29 32

3 œ œ

&4 . œ œ œ œ œœ œ œ œ œ .
Piano ˙. ˙. . .
? 3 ˙. ˙. ˙. ˙.

4 . .

Mlts. œ œœ œ œœ œ œ œ œ œœ œ œ 4
5 &.œ œ œ œ œ œœ œ œ œ .4

. œ œ œ œ œ œ .4

Timp. ?
5 œ œ œ œ œ œ 4
32 32 29 26 29 29 32 29 29 26 26 26 23 26 26 26 26 26 23 26 26 26 29 29

œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œœ œ œ œ œ 4
5 &.œ œ .4
Pno.
? ˙. ˙. ˙. ˙. 4

. .4
The Cadets 2016
 2016 Cadets 2-Mallet Audition Material
2

œ œ œœ œœ œœ œœ œœ œ œ œ œ
Mlts. 4 œ œ œ
œ œœ œ
œœ œ œœ œ œ œœ
œ œ œ
œ œ
œ œ
œ
&4 .œ
œœ œ
œœ œœ œœ œœ œœ
9

œ œ
Timp. 9 ?4 œ œ œœ œ œ œ œ œ œœœ œœ œ œ œ œœ œ œ œ œ œ.
4.œ œ
26 23 20 29 2

œ œ
4 œœ œ œœœœœ œ œœ œ œ œ œ œ œœ œœœ œ œœ œœ œ œ œ œ.
9 &4.

Pno.
?4 w w w w

4. .

Mlts. 13 & œ œœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œ œ œ œ ŒÓ

œ œ œ

Timp. 13 ? œ œœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œ œ œ œ œ ŒÓ

29 26 23 26 23 32 29

13 & œ œœœœœœœ œ œ œ
œœ œœ œ œœ œœ œœ
œ œ œ œ
œœ œœ œ
œ œœ œ œœ œ Œ Ó
Pno. w w w w œ œ œ œ œ

? œ ŒÓ
I.H.O.P.
2016 Cadets 2-Mallet Audition Material Part 1 is a
fundament
 al "Kraus" Scale style exercise which utilize many of the rhythmic patterns we use in
the licks in The Cadets Shows. 3
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.

"IHOP 2016" PART 1 q= 140-180 with 2 Mallets

19 q= 100- 150 with 4 mallets (insides) 3
Mlts.

& 4
R R R R R R R R RLRL 3
Timp.
19 ?œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
23 4
19
w w 3

Pno.
&w w 4
?w w 3

w w 4
Mlts. 21 &4
C .4
3 1st Ending 6
R L R L

Timp.
?3œ. 4 œ . œ . œ. œ . œ. œ . œ . œ . bœ. œ . œ . œ . bœ. œ. œ . . 6 4

21 1st Ending
b
& 4 23˙ . 29
˙. ˙. ˙. .4
21

Pno.
3 1st Ending . . 6
?3œ. œ. œ . œ. œ . bœ. œ . œ . œ . bœ. œ. œ . 6

4 œ. œ. œ. œ. .4
Mlts. 6
&4 2nd Ending œœœœœ
œœœ œœœœ
œ
œœœœœœœ
œ
œœœœœœœ 4
œbœœœ 4 œ Œ Ó
6
4
25

4 œ œ œ œ œ œ œ œ œ 4 Œ Ó 4

Timp.
25 ? 6 œ2nd Ending œ œ 4œ 6
6˙
&4 ˙ ˙ ˙ ˙ ˙ 4œ Œ Ó 6
4 4

25 2nd Ending

Pno.
? 6œ œ œ œ œ œ œ œ œ œ œ 4œ Œ Ó 6
 4 œ 4 4
4 2016 Cadets 2-Mallet Audition Material

I.H.O.P Part 2 is an exercise that utilizes "herta" and "inverted herta" rhythms.
A few things to think about when practicing this exercise:
1) Every note should have an even and equal sound quality and
volume, regardless if it is an 8th note or 16th note.
2) All of the 8th note "check" measures should be played with
a rebounded motion from both hands.

"IHOP 2016" PART 2 q= 140-180 with 2 Mallets œ œ œ œ œ œ œ œ

Mlts. 28 6
&4 œœ œœ œœ œœ œœœ œœœ œœœ œœœ

RRL RLRL RLL RLRL œœ

4 œœœœœœœœœœœœ œœœœœœœœœœœœ œœ
Timp. 28? 6

26 26 29 32 23 23 26 29
.
28 6 w œœœœœœœœœœ œ œ w.
&4 w .

w œœ œ œ œœ œ œ œœ œœœœœœœœœœ
Pno. ?6w. œ œ œ œ

4 !

Mlts.
32 & œœœ œœœ œœœœ œ œ œœ œ œ œ œ œ œ œœ œ Œ Œ Œ ŒŒ
RRLRLL RLR L R LRL RLRLRLRL R

Timp. 32 ? œœœœœœœœœœœœ œ Œ Œ Œ ŒŒ
26 23 26 29 32 23 26 29

32 & œœœ œœœ œœ œ œ œ œ œ œ œ œ œ œœ Œ Œ Œ Œ Œ

œ
Pno.
? œœ . œ . œœ . œ. œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ Œ Œ Œ
2016 Cadets 2-Mallet Audition Material
 I.H.O.P Part 3 is an exercise that works on chromatic scale passages.
A few things to think about when practicing this exercise: 5
1) Your horizontal fluidity across the instrument AND to and from the
accidentals is critical to playing even chromatic scales. Be limber.
2) Make sure the "entering" Left Hands are equal to the "already playing" Right hands.

"IHOP 2016" PART 3 q= 140-180 with 2 Mallets bœ bœ œœ œ

36

Mlts. & œ œ œ bœ œ œ œ#œ œ#œ œ œ œœ œ œnœ œ œœ œ bœ œœ œ

Timp. ? Rœ . R R bRœ . R R R L
œ. œ. R
œ.
R sim.
bœ. œ. œ.
36

36 œ
& œ œ œ bœ œ œ œ œ œ œ œ œ œœ œ bœ bœ bœ œ œ œœ œ

b
. . b
.
Pno. ? ˙. ˙. w.

3
8 œ
Mlts. & œ # œ œ # œ œ œ bœ n œ bœ n œ b œ nœ œ b œ œ bœ œb œ œ œ œn œ œ
R L R R sim. R L
Timp. ? œ. bœ. œ. œ .œ .b œ . œ . œ.
38

38 bœ œ œ œ œ œ œ b ˙ . ˙ .

.
& œ œ bœ b .
œ œ

. œ bœ bœbœ œ œ œ œ œ œ œœ
Pno. ?bw.

Mlts.

Timp.

Pno.
 40 12

& R R sim. R L n œ ŒŒŒŒŒ 8

? œ . bœ. œ. œ. œ . bœ. œ. œ. œ Œ Œ Œ Œ Œ 12
40

40 b . b . œ 12
& w. w. œ ŒŒŒŒŒ 8

? œbœbœbœ œœœ œœ œœœ œ bœ bœ bœ œ œ œ œ œ œ œ œ œ Œ Œ Œ Œ Œ 12

8
6 "Furioso" 2016 Cadets 2-Mallet Audition Material

Furioso is a 12/8 based stick control exercise.

A few things to think about when practicing this exercise:
1) The goal of this exercise is the have an even sound quality for
each note of the exercise. Do not overaccentuate the
downbeats of the 3 and 4 note groupings.
2) During the B section of this exercise, still feel the quarter note
pulse underneath the 4 note groups.
œ
43 q.= 130-160 #œœœœœœœœœœœœ #œœœœœœœœœœœœ.
Mlts.
12 . œœœœœœœœœœœœ œœœœœœœœœœœ

& 8 f RL L LRR LRR L R RL LRL L

Timp.
? 12 œ œ œ œ œ œ œ œ
8 . œœœœœœœœ œ œ œ‰ œ‰ œ‰ œ‰ # œœ œ œ # .
43

f
Pno. 43
12 w. œœœœœœ œ œ œ œ œœ # w . #œœœœœœœœœœœœ.

&8 .f
? 12 œ œ
8 .˙ . œœ œ w. #˙. œœ œ #w. .
œ œ
˙. œœ œ w. œ œ œ œ #˙. œ #w. œ
œ œ
Mlts.
&œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ
47

Timp. R L L R L R R L L R .R L L œ œ
œ
? œœœœœœœœœœ‰œ œ. œ œ œ œ. œ
œ . œ œ œ.
47

J œ œ Jœ œœ œ œ œ J œ œ Jœ œ œ
&w. œ œ œ œ œ œ œ œ œ œ œ
Pno. 47
 œ. œ. œ . œ. œ. œ. œ. œ.
?

50 bœ œ œ œ

Mlts.
& bœ #œœ œ œ œœœ œ œœ œ #œ œnœ#œ œnœ#œ œn œ #œnœ œbœ œbœ œbœœ œbœ œ. Ó. Œ.
RR L L R R L L R L R

bœ. œ œ .
Timp. ? œ. œ œ Jœ. œ .
œ œ jœ œ œ œ œ œœ œœ œ œœ œ œ. Ó. Œ.

q= 120-180 J #œ. J œ œ
50

50 bœ œ œ œ

Pno. & bœ #œœ œ œ œœœ œ œœ œ #œ œnœ#œ œnœ#œ œn œ #œnœ œbœ œbœ œbœœ œbœ œ. Ó. Œ.
R

? œ. œ . œ. œ. œ. œ. œ. œ. œ . œ. œ . œ . œ. Ó. Œ.

œ. œ. œ. œ. œ . œ . œ . œ . œ. œ. œ. œ. œ.

The 2016 Cadets Front Ensemble

4-Mallet Audition Material
Retro "D.V.C" (Long-Play Version)-
Double Vertical Chops
"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.

Marimb
7 A 5
a
&8 œœœœœœœ œœœœœœœ œœœœœœœ œœœœœœœ œœœœœœœ
8

ƒ
?7 œœœœœœœ œœœœœœœ 5
8 œœœœœœœ œœœœœœœ œœœœœœœ œœœœœœœ 8
Timpani

ƒ
7 ˙˙ ˙ .. ˙ .. ˙ 5
&8 ˙ ˙ 8
? 7 ˙ .. ˙..
˙ ..
˙..
˙ ..
˙..
˙ ..
˙..
˙..
˙..
˙..
˙..
5
f (with String, Vocal or Organ Patch)
Pian
o

8 ˙.. ˙.. ˙.. ˙.. ˙.. ˙.. 8

 Mrb. B
5 7 4
7 8

8
&8 œœœœœ œœœœœ œœœœœœœ

Timp. ?5 7 4
8 œœœ œœ 8 8
7
5˙ j
œ ˙ œ
j ˙ œ
j ˙ œ 7˙ . œ
j .
j 4
&8 ˙ œ 8 ˙ œ 8

J
Pno.
j j j j j˙ œ
j
?5˙ œ ˙ œ ˙ œ ˙ œ 7 ˙. œ ˙ . œ 4

8˙ œ ˙ œ ˙ œ ˙ œ 8 ˙. œ ˙ . œ8

The Cadets 2016

Pno.
6

Mrb.
4
13

&8

Timp.
?4

8
13 4
&8
 8

?4
6
8 8

6
8

6
6 8

D
&8
Œ. 4
Mrb. 19 6 œ œ œ œ œ œ œ œ œ œ œ œ œ 4
œ œ œ .

Timp. ?6 4
8œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. Œ. 4
19 6˙ ˙.
œ. .
œ.
˙. œ. Œ. 4
&8 ˙ ˙. ˙. œ. 4
Pno. ? 6 ˙. 4

8 ˙. ˙. ˙. œ. Œ. 4
2016 Cadets Front Ensemble 7
4-Mallet Audition Material

"D.V.I.S. 2016"-
Double Vertical Interval Spreading
"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) Play this exercise SLOWLY at first, to allow your hands to move to each interval.
3) This exercise should be performed WITHOUT using the octave grip.

Timp.

Mrb.

Pno.
 4
q= 100 23 4 3
23
&4
& 4œ œ
?4
œ œœ œœ œ œœ œœ œ 4œ
œ 3
œ œœ œ œ œœ œ 4
œ 4

F Pianists: Play one hand at a time œœ œ œ œ

œ œ
?4
4œ œ œœ œœ 4œ œ œ 4
B
&4
œœœœ œœ 4 œ œ Œ Œ

Mrb. 27 4 3

Timp. ?4 œœ œ œ œ œ œ 3 œ œ œ œ œ œ
4œ 4 œ œ ŒŒ
27 4 3
Pno. &4 œ œ œœ 4 œ ŒŒ
?4 œ œ œœ œ œ 3 œ œ œ œ œ

4 œœ œœ œœ 4œ œ œ œŒ Œ
8 2016 Cadets Front Ensemble
4-Mallet Audition Material

"CPit Octaves"
"CPit Octaves" is an exercise that works on octave accuracy.
1) This exercise is meant to be played ONE HAND AT A TIME, we
will not play this exercise hands-together.
2) During this 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.
q= 92-120

A B

32 n n nœœ
Mrb. œœ œ œœ œ œ œ œœ
& œœ œ œœ œœ œ œ œœ œ œ œ œ œœ bœ œ œ bœ n œ bœ œ bœ bœ n œ bœ n œ œ
3/4 3/4 œ œ œ œ œ œ œ
œœœœœœ œ œ œ
or
Timp
.

? 1/2 1/2 œœœœ œ œœ œ œ œ œœ œ œ n œ bœ œ bœ

32 œœ œ œœ œ œ œ œœ n n œnbœ nnœœ œ
œ

&
œœœœœœ œœ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ bœ œ œ œ œ œ bœ n œ bœ œ bœ œ bœ n œ bœ n œ œ
Pno.

? RH œœœœ œœœœœœ œœ œœ œ bœ œ œ œ œ n n n
œ
œœœœœœ œœ œ œ œ œœ œœœ œ bœ n œ bœ œ bœ œ bœ n œ bœ n œ œ
LH

40 œ
œœœ
Mrb. bœ œ n nœ œ bœ n œ bœ n œ bœ n œ œ œ bœ œ bœ œ bœ œ œ bœ œ bœ œ ŒŒ 4
& bœ œ œ bœ œ bœ œ bœ n œ bœ n œ œ bœ n œ bœ n œ bœ n œ œ bœ œ bœ œ bœ œ œ 4

Timp. ? bœ œ œ bœ n œ bœ n œ bœ n œ œ œ bœ œ bœ œ bœ œ 4
œ bœ œ bœ n œ bœ n œ œ bœ œ bœ œ ŒŒ 4
40 œ
bœ œ n nœ œ bœ n œ bœ n œ bœ n œ œ œ bœ œ bœ œ bœ œ œ bœ œ bœ œ ŒŒ 4
Pno.
& bœ œ œ bœ œ bœ œ bœ n œ bœ n œ œ bœ n œ bœ n œ bœ n œ œ œ bœ œ bœ œ bœ œ œ 4

? b n n œ b bœ n œ bœ n œ œ œ bœ œ bœ œ b œ œ bœ œ bœ œ ŒŒ 4

bœ œ œ bœ œ bœ œ bœ n œ bœ n œ bœ n œ bœ n œ bœ n œ œ bœ œ bœ œ bœ œ 4
 2016 Cadets Front Ensemble 9
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

4 b
b
Mrb. 46
& 4 bN b

ƒ bœ œ bœ œ œ
?4 29" 26" œ bœ
œ œ
œ œ b
4 bœ bœ
Timp.
23" 20"

46 b œ œ b œ œ œ
4 J J ‰ ‰ J
Pno. &4 ‰ Œ ‰ Œ Œ ‰
? 4ƒ bœ œ bœ œ œ
4 bœ ‰ Œ œ ‰ Œ bœ ‰ ‰ œ Œ œ ‰

J J J
Mrb. & b b bœ Û Û Œ

48 Prep

b
N b b œœ

bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ >

Timp. bœ bœ œ bœ œ œ >
? œ bœ œ œ œ œ bœ œ œ œ bœ Œ bœ Œ

48 b b œœ œœ b b œœ ‰ ‰ œœ Œ œœ ‰ b b œœ Œb ˙ n

& J ‰ Œ J ‰ Œ J
Pno. bœ œ bœ œ œ bœ

? bœ ‰ Œ œ ‰ Œ bœ ‰ ‰ œ Œ œ ‰ bœ Œ b˙

J J J b˙
10 2016 Cadets Front Ensemble
4-Mallet Audition Material

"4x6 Permutations"
"4x6 Permutations" is an exercise that works on interlocking permutations in groupings of 4 notes and 6 notes.
1) Every note in this exercise is played with an even volume, do not
accent the top or bottom note of any permutations.
2) Your RH mallets and LH mallets should overlap (interlock) with
each other. However, this should not effect good bar placement.
3) All accidentals will be played in the center of the bar.

Mrb. & . q= 120

bN

51

2/4
f 1/3 4 2 3 1
?
Timp. . œ œ œ œ œ œ œ œ œ œ œ œ

&. f bN

51

Pno. f
? . ! !

&# .bN n# 8
53

Mrb. 9
1/3 2/4 1 3 2 4 2/4 1/3 1/3 2/4

Timp. ? #œ œ #œ œ œ œ œ #œ 9
#œ œ #œ œ œ œ . œ #œ 8
53 9

Pno.
&# .bN n# 8
? 9

! ! . ! 8
 2016 Cadets Front Ensemble 11
4-Mallet Audition Material

Mrb.

9. #
&8 bœ œ œ œ.
56
Timp
. 2/4 1/3 2/3 4 2 3 1 3 2

?9 œ œ œ
8. J #œ J œ J œ . . .
Pno. 9. #
&8 bœ œ œ œ.
56

?9

8. ! !

Mrb. #œ œ œœ œ œ œ#œ œ œ œœ œ œ œ œ.
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 Cadets 2016 Front Ensemble
10 Advanced Keyboard Techniques
"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.
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 Cadets 2016 Front Ensemble
Advanced Keyboard Techniques 11

"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.

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"Triple Lateral Breakdown" (Scogna-Style)

The Triple Lateral is an extension of the Double Lateral Stroke. Much like a "triple beat" feels like an
extension of a "double beat" for batterie percussion.
1) Start at a slow temp and aim for consistency of mallet height and tone.
2) The mallets should return to an 'up' position after each triple stroke.

q= 60-130 œ
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 2016 CPit Percussion Etude Arr. by Iain Moyer
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Robert Scott
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 The 2016 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 position…there is a SLIGHT angle to the back of the
hand, but not much.
4) There should be no space between the thumb and index finger.
5) We do not utilize a “back fulcrum” technique.
Starting Position
1) The Cadets 2 Mallet Starting Position is UP.
2) The general starting height is 12” off the keyboard.
3) You will start and SET your mallets at other heights
depending on the dynamic.
4) A prep stroke will be required for any height higher than 12”.
Stroke Guidelines:
1) The path of the stroke is straight up and down.
2) The speed of the stroke going down and coming up is the SAME.
3) The wrist is employed in EVERY STROKE WE PLAY,
regardless if the fingers and arms are ALSO involved.
4) Movement around the instrument:
a) The wrist is responsible for the vertical motion
b) The arm is responsible for the horizontal (across the
keyboard) and lateral (to the accidentals) motion.

CPit Heights System:

The 2015 Cadet’s height system will be based on inches:
ff= 15 inches (full stroke)
f= 12 inches (3/4 stroke)
mf= 9 inches (half stroke)
mp= 6 inches (quarter stroke)
p= 3 inches
fff= 15 inch wrist stroke, plus arm movement (18”)
ffff= 15 inch wrist stroke, plus extreme arm movement (20”)
Posture for 2 and 4-mallet passagework:
To begin, stand with your feet shoulder-width apart. Your torso should be
upright and your shoulders back. We do not wish for you to “hunch over”
in any way. There should be an imaginary straight line drawn from your
ankles to you shoulder blades. The only disruption of this straight line
occurs to allow your head to look downward towards the instrument.
4 Mallets:
The Cadets Front Ensemble employs the “Stevens Technique” for all
4-mallet passagework, regardless of instrument.
Stevens Grip Guidelines:
1) The thumbnail should be parallel to the ceiling. The only
exception being when one is playing smaller intervals (2 , 3 ),nd rd

it is appropriate for the thumbnail to be turned in slightly.

2) For intervals of a 4 , 5 , or 6 : Your index fingers should be
th th th

pointing at each other (Left Hand=East and Right

Hand=West). This should be your general playing position.
3) For intervals of a 2 or 3 : Both index fingers will face “South.”
nd rd

4) For intervals of a 7 or an octave, you will “roll the mallet out” on

th

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 optional…the
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 single-alternating motion.

Bar Placement for Two and Four Mallets

2016 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 2016 Front Ensemble
Timpani Technique Guidelines
Compiled by the Cadets Front Ensemble Staff
Getting Started:
1) Have the heads been cleared?
- Strike each drum to listen for a clear, steady pitch.
- If there is any bend in the pitch of the drum, check the
pitch at each individual lug and adjust the tension of a
lug if necessary.
2) Are the drums tuned to the proper ranges of pitch?
The standard tonal ranges for Yamaha timpani:
- 32” D – Bb
- 29” F – D
- 26” A – F
- 23” C – A
- 20” E – C
3) Are the gauges calibrated?
4) Can your feet comfortably reach each pedal?
- Consider the height of your timpani throne. When sitting, your
waist should be nearly even to the head of the drum. Sitting
too low or too high will make pedaling more challenging.
5) Can you comfortably play each drum in the correct playing
spot? (See below for specifics)
1) Always consider your mallet options before you play.
2) For most technique and chop exercises, a general or
articulate mallet is usually preferred. This will allow your
rhythm to clearly speak through the ensemble.
3) In most musical excerpts, consider softer mallets for rolls and
legato playing, and consider heavy/articulate mallets for faster
rhythmic passages.
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 player’s 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
directly between the two front lugs.
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) Allow the mallet to naturally rebound from the head.
4) The wrist stroke is produced by a rotary motion from the wrist
AND forearm.
5) The wrist is employed in EVERY STROKE WE PLAY,
regardless if the fingers and arms are also involved.
6) Use solely the Wrist for mp-f material.
7) Use arm (from elbow only!) for ff-fff material .
8) Use the fingers for soft rolls and strokes, ppp to mp.
1) Strike the 23” and 20” approximately 2” to 3” away from the rim
2) Strike the 29” and 26” approximately 4” away from the rim
3) Strike the 32” approximately 6” away from the rim
1) The purpose of a timpani roll is to sustain the pitch of a drum.
2) Lower pitches = slower roll speeds
3) Higher pitches = faster roll speeds
4) Make rolls between drums as fluid as possible by leading
with the correct hand, for example:
a. When rolling from a lower drum to a higher drum, the first
note played on the higher drum should be played by the
RIGHT HAND
b. When rolling from a higher drum to a lower drum, the
first note played on the lower drum should be played by
the LEFT HAND
5) fp rolls: Strike the drum at a loud dynamic, wait for a second, then
enter with the roll at the dynamic the sound has decayed too.

1) When possible, always alternate strokes.

2) When crossing, cross arm over arm, or wrist over wrist.
Keep technique consistent.
Tuning:
1) Learning intervals are key to a good ear!!
2) It is encouraged to use the gauges only as a tool, do not rely
on the gauges for intonation.
3) Always tune from bottom up, “scoop” up to the note to find
the desired pitch
4) Consider the range of the drum when deciding what drum to
place a note on. For example, a low Bb will sound the best on
the 29” drum because it falls in the middle of that drums range.
5) When pedaling between notes on the same drum, pedal the drum
and strike the drum at the same time to eliminate a glissando.
6) As a timpanist, you are always responsible for playing in tune
with the horn line as well as the keyboards in the pit. Always
be aware of the other musicians you are playing with ☺