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University of Hawaii
Rainbow Warrior Marching Band
2014 UHDL Audition Packet
Aloha Mahalo for your interest in the University of Hawaii Rainbow Warrior Marching Band. In this packet you will find information about the 2014 Drumline Auditions. Coming from one of the most beautiful places on Earth, the University of Hawaii Drumline has one of the most unique styles in the country. Here, we blend styles not only from DCI and other college drumlines, but are also heavily influenced by Hip Hop, Funk, Rock, Latin, and anything else that will make you “bob your head”. All of this combines into one of the most entertaining College Drumlines to see and hear. The University of Hawaii Drumline strives each year to reach our goal of excellence in performance. However, this goal is not easily met. Being a member of the drumline requires a strong dedication to work, and trustworthiness to be personally accountable for your responsibilities. Three weeks in to the season our members have memorized an extensive exercise book, numerous stand grooves, the pregame show and fight songs. On top of this, there is brand new show music and drill for almost every home game. Being a member in the UH Drumline takes a lot of discipline, hard work and time commitment, but will be one of the most fun and rewarding experiences in your college career. If you have any questions, please contact UH Bands at 808-956-7657. Sincerely, David Blon Gwen Nakamura Galutau Aga Marching Band Director Assistant Band Director Drumline Instructor [email protected] [email protected] [email protected] 808-956-8091 808-956-7657 808-741-9379
www.uhbands.org
What to Expect
Here are a few things to consider before coming to auditions. You MUST wear earplugs. Earplugs will be mandatory at ALL times when we play. We will not have any extras for you if you forget. NO EXCEPTIONS. No earplugs = No drumming and you will be asked to leave. Bring your music in a binder. Coming in organized and prepared will go a long way when audition results are being tallied. Please email myself or any of the directors ASAP. This will make sure you are on our contact list and be able to receive updates throughout the summer. If you are on Facebook, please join the “UHDL 2014 Audition Info” group. Here you will be able to ask questions, get updates and make friends leading up to the auditions. You can also follow us on Twitter and Instagram for more content @hawaii_drumline Bring your own sticks for auditions. We’ll have bass drum mallets for you to use during bass drum auditions The UHDL uses Innovative Percussion implements, Sabian Cymbals, Evans Drumheads and Tama Marching Drums during the season. Innovative Percussion Snares – FS-TF Tim Fairbanks Model Tenors – FS-2T Tenor Stick “Shorty” Basses – FBX series All rehearsals after auditions are mandatory. Please make all necessary arrangements to be there for all Drum Camp and Band Camp rehearsals. Work is not a valid excuse for missing Camp rehearsals. Check the band website for information about Band Camp and Drum Camp rehearsal dates and times. Playing in the UH Marching Band is a year-long commitment. After the season, there are numerous Pep Band Games during
the Spring Semester to play at. Failure to play during the Spring Semester will affect your eligibility for next year’s line.
UHDL Leadership
Nick Tuvera – Section Leader
Tyler Navarro – Snare Captain James Maeda – Tenor Captain
Shaina Saiki – Bass Captain This year’s leadership is ready to rock. We have been working hard getting things set up for a great season. They will be at every workshop to help you with whatever you need.
Drumline Workshops June 14, 21, 28 July 26 August 2, 9 9:00am – 11:00am UH Music Department, rm.108 (Band Room) These workshops give you a chance to familiarize yourself with the audition music, find out more about the audition process, learn the UH Drumline technique and build chops. It is also a good chance to get to meet new people and make new friends. While the workshops are not mandatory, coming to a workshop will only help you in the audition process. A write-up of each workshop will be posted to the UHDL Audition Info Facebook group. Bring sticks, a practice pad, your music, a pencil and your earplugs. Also, come dressed to work out as well. All rehearsals are on Saturdays 9:00am – 11:00am and are held at the UH Music Department, rm. 108. You can park in the Music Department Parking Lot on Saturdays; just remember to pay the fee either at the Booth leading into Lower Campus or at the kiosk in the parking lot. There is nearby street parking available on Dole St and University Ave as well.
Auditions Friday August 15 8:00am – 12:00pm SCHEDULE Snare Group Audition 8:00am Tenor Group Audition 9:15am Bass Group Audition 10:30am Cymbal Auditions 11:45am We will have group auditions for the Snare, Tenor and Bass sections. Everyone auditioning for these sections will play together during their specified times. We’ll rotate people in and out on the line making sure everyone has a chance to play on the drum. Basses should be familiar with all parts. Everyone will rotate and play all parts. Cymbal auditions will be individual. Auditionees will need to clap thru a rhythm piece and display the ability to hold the cymbals properly. If you audition for one section, you may be placed in a different section based on audition results. You can audition for multiple sections. The drumline will be announced sometime after the Cymbal audition concludes. First 2014 UHDL rehearsal will be at 1:30pm. Any other questions or concerns please email or call Galutau Aga Drumline Instructor 808.741.9379 [email protected] Good Luck!
2014 UHMB Drumline Camp Schedule Friday August 15 Drumline 1:30pm – 4pm Saturday August 16
Drumline 9am – 4pm NEW MEMBER CAMP TBA Sunday August 17
Drumline 8am – 12pm BAND CAMP 2:30pm – 9:00pm Monday August 18
Drumline 9am – 2pm BAND CAMP 2:30pm – 7:30pm Tuesday August 19
Drumline 9am – 2pm BAND CAMP 2:30pm – 7:30pm Wednesday August 20
Drumline 9am – 2pm BAND CAMP 2:30pm – 7:30pm Thursday August 21
Drumline 9am – 2pm BAND CAMP 2:30pm – 7:30pm Friday August 22
Drumline 9am – 5pm Sunday August 24
Drumline 12pm – 2pm BAND CAMP 2:30pm – 6:30pm
The UHDL Approach How do you get motivated to put in the time needed? With our limited rehearsal time and everyone’s busy schedules, individual practice time is very important. Each of you needs to find the motivation to practice everyday.
What is it that will push you to get better everyday?
LOVE This is the best motivation you can have. Many groups (not just drumlines) have found when everyone truly loves each other, that “love for each other” will be a very strong and effective motivator. Love will make you sacrifice personal glory and comfort for group and team goals. Get to the point where the reason you want to play well is so you don’t make the others in your section look bad. Have pride for yourself and for your fellow percussionists. Some of the best friends you’ll ever make will be in this drumline. If love for each other becomes your motivation this year, then we will have a very good season.
REPRESENT Think about this. What ever you do in life, you represent your family, your hometown, your school, etc. Do you want them to be proud of what you are doing or do want them to say, “I don’t know who that is. They’re not from my neighborhood.” Representing for your Family, hometown, culture, school and state is also a very strong and effective motivational tool.
STYLE GROOVE Imagine your favorite musician playing. When he/she plays, does he/she sit and play/sing like a robot with no emotion, or are they totally engrossed in the music, playing/singing their heart out? Whenever we play, I want you to show that emotion at all times. Gone are the days when the drumline stands, plays like robots and goes through the motions. We shall now play as if we are performing at all times and show everyone that we have soul whenever we play. I want to be able to see and feel you groovin’ at all times. FUN Playing drums should always be fun. Remember that while playing perfectly clean is something to always strive for, it should not come at the expense of having fun. People in the past have thought the UH Drumline would be their way to experience DCI. This drumline, while taking a lot of influence from what happens in DCI, is very different in its approach to playing and rehearsing making them two very different things. Love Each Other, Set the Bar, and Be First…
How to Practice
“Practice does not make perfect, perfect practice makes perfect.”
-Vince Lombardi
Practice as fast as you can play each piece perfectly. Once you have found the tempo that you can play perfectly at, repeat 20 times before going faster and then repeat the process. Play in Tempo Percussionists are usually the keepers of time in the band. In order to have a steady internal pulse you can count on, ALWAYS practice with a metronome. There’s an app for that, as well as numerous websites. Most music played on the radio is played with a metronome, so that can be used in a pinch as well. Pillow Talk The fastest way to build chops is to play on a surface that gives you no rebound. The best thing I have found is a pillow. Playing on a pillow everyday will increase your chops more than if you just used a practice pad. Set Goals, Keep a Journal For each practice session, have a goal. To maximize your practice time, set daily goals, weekly goals and long-term goals. At each session, write down what you worked on and at what tempos. This will keep your organized and maximize the effectiveness of your practice sessions.
General Technique Guidelines These are some general ideas about the UHDL approach to Marching Percussion. These apply to all sections with more detailed section specific information to follow. Grip Keep fingers on the stick at all times. Keep your fulcrum firm without over-squeezing. Stroke Stroke is initiated at the wrist with the bead of the stick leading the way. Stick paths should be perpendicular to the playing surface with the fat part of the bead or mallet striking the drumhead.
Sound Quality Try to get the most sound out of the drum at any dynamic level as efficiently as possible. Be as relaxed as possible when playing. There should be very little tension in the body while playing. Play with weight and let the sticks do the work. A mature sound quality is achieved with proper preparation and an emotional connection to the music being made. Repetition and a commitment to the music will make you sound awesome! Attitude Be quiet, attentive, focused, and driven. Be as prepared as possible mentally and physically for every rehearsal and performance. Every single note you play should be played to the best of your ability.
General Posture Feet will always be in 1st position until told to open to 2nd. Legs will be straight with a slight bend at the knee. Avoid locking your knees. Hips and shoulders will face press (forward) at all times. Shoulders should roll up and back, chest slightly pushed out. Chin 10 degrees above level. Face of determination and eyes up, open, and away! Feet Position 1st position is when your heels are together and the inside of your foot is 45 degrees from where your heels meet, like shown in the diagram. This is what your feet should look like for “set” position.
2nd position (turned out) is when your heels and feet are shoulder width apart but still keeping the 45 degrees from the center like first position. An example is in the diagram below.
Marking Time Time is marked where the rear half of the foot leaves the ground (2 inches from the heel) and the platform of the foot remains on the ground. The foot strikes the ground on the downbeat. For 4/4 time, the left foot strikes the ground on beats 1 and 3, while the right foot strikes the ground on beats 2 and 4. There is minimal to no movement of the upper half of the body, while your knees in your lower half should move naturally. These halves should be isolated and movement of one should not affect the other.
UHDL Snare Technique Right Hand Grip The palm of the right hand will be facing the floor at set position. The thumb will be placed on the left side of the drumstick opposite of the index finger. The thumb and the index finger will serve as your fulcrum at all times. The middle, ring and pinky fingers will stay firm and relaxed on the stick. Left Hand Grip
Let the drumstick rest between the thumb and the index finger and also rest on the cuticle of the ring finger. Close the thumb by pressing it against the middle phalanx of the index finger. The middle finger and pinky will serve as support to the index and ringer finger and should never separate from each other while playing.
Motion Right Hand The basic legato stroke motion of the right hand resembles a “knocking” type of motion where the wrist is being used to deliver the playing stroke. The arm and hand stay relaxed as the arm is used as weight behind the stroke. After the stroke is played, the wrist would be used to absorb the rebound and/or snap the stick back down to the drumhead. As different rudiments come into play, the use of the wrist stays consistent, but the arm and use of hands may increase or decrease depending on both rudiments and dynamics incorporated. Left Hand The basic legato stroke motion of the left hand incorporates strong wrist turn and force from the thumb and index finger. The arm plays as a support to drive the wrist turn toward the drumhead. The drumstick should stay consist with a straight up and down motion mirroring the right hand drumstick. Same as the right hand, when different rudiments and dynamics come into play, the arm and hand should stay relaxed and support the motion of the wrist. Playing Position At set position, the sticks will be in and parallel to the ground. Keep the drum sticks hovered about an inch above the rim of the drum closest to you. Keep both arms relaxed and have arms in the same position as the playing position. Always keep the body relaxed and strong as it keeps us ready for any type of movement and to snap back into playing position. For best quality sound, always have the beads of the drumstick strike the center of the snare drum to pull out the sounds from the drumhead and the guts. In order to achieve an ideal positioning over the drum, work from the beads of the stick backwards up to the shoulders. The shoulders should be very relaxed to avoid transferring tension while still maintaining correct posture.
UHDL Quad Technique
Grip Your thumb and index finger connect approximately 1/3 from the bottom of the stick. Your thumb will run parallel with the stick. Make sure there are no gaps between the forefinger and the thumb. The rest of the fingers are wrapped naturally around the stick. Keep these fingers on the stick at all times. The butt of the stick should be visible out of the back of your hand. Arms should be naturally draped down without resting against the body. Avoid pushing the elbow up as it creates unnecessary tension in the upper body. The hand should be rotated slightly outward in relationship to the drum. The hand should not be completely flat to the drum [German grip], nor rotated completely vertical [French Grip], as these tend to hinder use of finger motion and wrist motion respectively.
Motion Movement should be 60% wrist, 30% arm, and 10% fingers. You should start with your wrist followed by your arm then your fingers at the top of the stroke. Then you should push the stick into the drum and imagine you are pushing with your pointer finger knuckle. Then let the stick rebound for itself, as opposed to picking the stick up. Do not let the stick connect with the palm of your hand until you are ready to stop the stick because this will stop the energy of the stick and stop the natural rebound.
Playing Position In order to achieve an ideal positioning over the drum, work from the beads of the stick backwards up to the shoulders. Generally, drum height is determined by the left forearm being SLIGHTLY angled downward, but will be adjusted on a case-by-case basis—this will affect your positioning on both right and left arms. The shoulders should be very relaxed to avoid translating tension while still maintaining correct posture (‘soft shoulders”). From the shoulders to the bead should be “downhill” at all times. Playing areas are 1-2” away from bottom of the 1st and 2nd drums and on the top-left/right corner of the 3rd and 4th drums. This playing area has several advantages:
- Off-center playing allows the drum to resonate more, similar to a timpani technique. A full resonant sound projects better on the field and helps cut through the ensemble - Playing “close-in” allows for easier playing, reducing the distance between the drums
Sticks out to the 1 and 2 drums THEN to the drums written in the music. When moving vertically across the drum, imagine you are playing in a straight line as opposed pulling your arms back to play on the lower drums. Movement between the drums are initiated at the elbow NOT THE WRIST. When playing scrapes the wrist only moves vertically (legato stroke) and does not move horizontally from drum to drum
Outside Zones Drum Three Zone
Drum Four Zones Incorrect Outside Zones
UHDL Bass Technique
Grip Just like the snare and tenor, technique begins at the fulcrum, between the first line on the index finger and the thumb on both hands. Fingers should wrap about the stick firmly but not tightly. There should be little to no space between the thumb and the hand. The butt of the stick should protrude about a ½ inch from the bottom of your hand. The full length of the mallet will give maximum velocity for maximum resonance, volume, and control.
Motion Movement should come 50% from wrist, 30% from fingers, and 20% from arm. This distribution may change with rudimental and dynamic changes, but generally for legato eights, this will be it. The wrist will make a door knocking motion, NOT a door-knob turning motion. This will give more control and greater power in playing. The stick should be making a pathway perfectly perpendicular to the drum. Immediately after contact between the mallet and the drumhead, the bead of the mallet should snap back into playing position, similarly to if an elastic rubber band were to be attached to the head of the drum and the bead of the stick. This means that the rebound of the hit must be controlled.
Playing Position Arms will be parallel to the ground with the thumbs upward. The drum should be adjusted so that when the mallet is 30° above the horizontal, the bead of the mallet is right in the center of the drum. Depending on the drum size and the individual’s arm length, the individual may need to push or pull their elbows forward or back. Make sure the resting mallet does not “float” out while the other is playing. There should be a slight inward angle from the elbow to the bead of the mallet in order to prevent this and keep a clean uniformed look. When not playing, the bead of the mallet should be a 1/2 inch away from the head. Muffled notes are created by keeping the fulcrum while applying pressure to the head with the bottom 3 fingers, almost always on the left hand. Since bass players march facing the goal posts on the field, head should be turned 45° towards the front and eyes should be looking at the 90° angle horizontally and 10° above horizontal. Set Position From the playing position, bring the arms up vertically until it is as high as possible while still being relaxed at the shoulders. With proper grip, the hands will be on the rim of the drum, with the mallets vertically up and perpendicular to the ground. Hands will rest on rim without grabbing it.
Set Position Rim Clicks
Rim clicks Rim clicks will be hit on the rim saver on either side of the drum depending on the music. Use the shaft area about half an inch to an inch below the bead of the mallet to strike the rim saver. Edge playing Edge playing should be in the horizontal center and about the top 1/6th of the drumhead vertically.
In context Technique in the bassline does not change down the line. The only thing that may be different is where the elbows are horizontal. Other than that, grip, hand/arm placement, and movement should all be the same. The body should feel relaxed and should not feel uncomfortable or any tension. A good, confident posture is key to playing in any marching drumline.
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WARRIOR Basics TBA 2014
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q=135+
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q=100+
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