AUDITION for The 2016 Cadets

November 20-22

2016AUDITION PACKET

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
Ensembles 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
dont hesitate to contact me at moyeriain@yahoo.com
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 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
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 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

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

Thank you for becoming a part of our rich history. Were 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.
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. 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 katyb@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 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
Age/Age out year
School
Major (if in college)
Drum Corps experience

Email address
Cell phone number
Any schedule conflicts
Expected move in date

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 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 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 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 dont 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 applicants 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 members 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 relatives
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.

V.

CONTACT INFORMATION
Caption Supervisors
Brass
Battery
Front Ensemble
Color Guard
Visual

Gino Cipriani
Colin McNutt
Iain Moyer
Kristy Templin
Austin Greene

ginocipriani@gmail.com
cdmcnutt@yahoo.com
moyeriain@yahoo.com
KristyTemplin@comcast.net
austingreene@gmail.com

Administration
Corps Admin
Corps Admin

Katy Boggs
Steve Shuey

Katyb@yea.org
Steve@yea.org

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

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 and Cadets2 Audition Camp

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 (Brass and Percussion only)

Winter Camp (Brass and Percussion only)
Winter Camp (Brass and 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 katyb@yea.org.

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 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 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
cadets.org

USBands
usbands.org

Cadets2 Drum Corps

yea.org/programs/cadets/cadets2

Drum Corps International (DCI)

www.dci.org

Youth Education in the Arts (YEA!)

yea.org

Cadets Twitter
@thecadets

Questions:
Katy Boggs, Administrator - Performing Ensembles
Katyb@yea.org
610-821-0345 x115
Steve Shuey, Associate Director - Performing Ensembles
Steve@yea.org
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__________________________________________________________________
Physicians Name___________________________________________________ Phone (________)__________________
EMERGENCY CONTACT INFORMATION (Please indicate which should be primary contact if necessary)
Parents: Fathers Name ________________________________ Mothers 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 Holders Name ___________________________________________________ Policy Holders 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
Year of Last Tetanus Shot _______________ (If it has been more than 10 years, we suggest that you get a booster shot)
Place an (X) in front of the box of any of the following that you have had during the past FIVE years:
Nose, Ears, Mouth & Throat
[ ] Nose Bleeds
[ ] Ear Aches
[ ] Thyroid abnormalities
[ ] Lumps on Gums or Jaws
[ ] Sore Throat
[ ] Enlarged Tonsils
[ ] Sinus infections, Hearing Loss
[ ] Ear Infections
[ ] Positive Tuberculosis Skin Test
[ ] Bronchitis / Pneumonia
[ ] Tonsillitis
[ ] Rheumatic Fever / Scarlet Fever
[ ] Dental or Gum pain / Infections

Musculoskeletal
[ ] Wrist Pain
[ ] Aching Muscles
[ ] Swollen Joints / Arthritis
[ ] Tendonitis
[ ] Feet
[ ] Flat Feet
[ ] Joint pain
[ ] Chronic Pain
[ ] Scoliosis
[ ] Fractures or Broken Bones
[ ] Tendonitis or Bursitis
[ ] Head Aches more than 3/mo
[ ] Depression / Anxiety or Panic
[ ] Spinal Injuries or Pain
[ ] Ankle injury or recurrent pain

Skin
[ ] Acne
[ ] Itching or Rashes
[ ] Bleed Easily
[ ] Bruise Easily
[ ] Change in appearance of Moles
[ ] Lumps, Cysts, Tumors of Skin
[ ] Sun burn easily
[ ] Acne requiring long term care
[ ] Hives
[ ] Eczema
[ ] Chicken Pox / Measles
[ ] Cancer

Cardiovascular
[ ] High Blood Pressure
[ ] Racing heart in my chest
[ ] Irregular heart beat
[ ] Chest Pains
[ ] Light Headed Spells
[ ] Blackout Spells
[ ] Heart Murmur
[ ] Shortness of Breath
[ ] Sudden cardiac death in family
[ ] Family member with Marfan Syndrome
[ ] Endocrine
[ ] High or low blood sugars
[ ] Extreme weight loss or gain
[ ] Dental problems

Respiratory
[ ] Asthma
[ ] Coughing Spells
[ ] Coughing up Blood
[ ] Smoke or Chew Tobacco
[ ] Excessive Sweating at Night

Other
[ ] Hernia
[ ] Testicle Lump or Swelling
[ ] Hemorrhoids
[ ] Appendicitis
[ ] Hepatitis
[ ] Seizures
[ ] Diabetes
[ ] Allergies
[ ] Allergies to Wasp / Bee Stings
[ ] Meningitis (Viral or Bacterial)
[ ] Autoimmune Disease

Gastrointestinal
[ ] Frequent Indigestion
[ ] Frequent Nausea
[ ] Constipation
[ ] Diarrhea

Are there any other medical condition(s) that we need to be aware of? ____________________________________________
If yes to any of the above, please explain (Use additional sheet if necessary) _______________________________________
____________________________________________________________________________________________________
____________________________________________________________________________________________________
____________________________________________________________________________________________________
CONSENT
The history supplied on these pages is correct to the best of my knowledge. The person herein described has permission to
engage in all prescribed activities, except as noted by me. In the event that I cannot be reached in an emergency, I hereby
give permission to the physician, selected by an adult leader of YEA! Or YEA! Sponsored group, to hospitalize, secure proper
anesthesia or give any other necessary care for my son or daughter.
____________________________________________________
Parent or Guardian (Member if over 18)

____/____/____
Date

2016 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

& 43 .. ..

Timpani

? 43 ..

..
32 29 29 26 29 29

Piano

Mlts.

Timp.

& 43 .. ..
.
? 43 .. .

Pno.

.
.

..

..

..

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

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
& .
...
? ..

The Cadets 2016

.. 44

2016 Cadets 2-Mallet Audition Material

2
9

Mlts.

Timp.

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

Pno.

29 2

.
4

.
.
&4 .
www
? 44 ..

www

www

www

..

&

13
?

13

Mlts.

Timp.

&

www
www
www
www


?
29 26 23

13

Pno.

26 23 32

29

2016 Cadets 2-Mallet Audition Material

I.H.O.P. Part 1 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.

"IHOP 2016" PART 1

19

Mlts.

&

q= 100- 150 with 4 mallets (insides)

43

w
w

43

23

w
&w
?w
w

29

..
.

1st Ending

? 43 .

6
b b .. 4
C

b ...
.

b.

b.

.
..
.
.

b.

b.

.. 46
.. 46
.. 46

b 4
6

&4

46

? 46

44

46

4
4

6
4

25

25

2nd Ending

2nd Ending

6
& 4

25

Pno.

& 43 ...

21

Timp.

43

R L

1st Ending

23

Mlts.

1st Ending

? 43 .

21

Pno.

w
w

R L

Timp.

& 43

21

Mlts.

43

19

Pno.

19

Timp.

q= 140-180 with 2 Mallets

2nd Ending

? 46

44

46

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

& 4

28

Mlts.

q= 140-180 with 2 Mallets

R R L

RLR L

R L L

R LRL

? 46

28

Timp.

26

26 29 32

23

6
w.
& 4 ww ..

28

Pno.

w.
? 6 ww ..
4

32

Mlts.

&

23 26

ww ..
w.
!

29

R R L R L L

RLR L R LRL

RLRLR LRL

32

Timp.

26

23

26

29 32 23 26

29

&

32

Pno.

.
? ..

... .. ...
.

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:
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

&

36

Mlts.

# # n

b b

&

36

Pno.

.
? b ..

b.

? .

36

Timp.

q= 140-180 with 2 Mallets

..
.

Timp.

&

38

Pno.

.
? b www ..

b.

? .

38

b b

& b b b
R R sim.

.
?

40

Timp.

b ww ..
& w.

b.

40

Pno.

b b b n b n b n b n n n

R sim.

R L

b.

b ..
.

? b b b

b b b

R L

b.

# n # n # # n n

12
8

12
8

b ww ..
w.

b b b

..
.

b b b

40

Mlts.

b www ...

b n b b b
b n b n
n

&
R L

b.

b b
b

38

Mlts.

sim.

12
8
12
8

2016 Cadets 2-Mallet Audition Material

"Furioso"

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.
q.= 130-160

12 # # ..
& 8 ..
fRL
L
L R R L R R
L
R
R L L R L L

43

Mlts.

? 12
8 .. # #
f
43
12 ww ..
# ww ..
#
& 8 ..
f

? 12 .. .
w.
#.
#w.
8
.
w.
#.

#w.
43

Timp.

Pno.

&

47

Mlts.

..

.
.

.
.

..

.
J

.
.

.
.

.
J

.
.

.
.

w ..
&w
?

..

47

Pno.

..

47

Timp.

..

.
.

.
.

b # # b n # n # n # n b b b b
. .
&

? b ..

50

Mlts.

50

Timp.

R L L

J .

.
#.

R L

j .

. .

b # # b n # n # n # n b b b b
. .
&

50

Pno.

? .
.

.
.

.
.

.
.

.
.

.
.

.
.

.
.

.
.

.
.

.
.

.
.

. .
.

.
.

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.

q= 120-180

7

& 8

Marimba

Timpani

Piano

85

? 78

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

85

Mrb.

7
8

? 85 78

Timp.

Pno.

& 85

& 85
? 85

j

j

j


j

j

j

J
j

78 ..
.
78

The Cadets 2016

.
.

85

....
..

85

..
..

48

48

j
...
j
..

j
48
j
48

2016 Cadets Front Ensemble

4-Mallet Audition Material

Mrb.

4
& 8

Timp.

? 48

4
& 8

13

13

Pno.

? 48

Timp.

& 68

? 68
& 68 ...

19

Pno.

? 68 ..

19

Mrb.

6
8

68

6
8

68

..
..

44

..

44

..
.

..
.

..
.

44

44

.
.

..
.

.
.

.
.

2016 Cadets Front Ensemble

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.
q= 100

4
& 4
F

3
4

4
4

? 44 43
F Low GAB on 32", Low C on 29", DEF on 26", GAB on 23", High C on 20"

44

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

43
3


4

44

23

Mrb.

Timp.

23

Pno.

& 44 43

27

Mrb.

Timp.

? 44
3

4
& 44

? 44

27

Pno.

3
4


43

44

2016 Cadets Front Ensemble

4-Mallet Audition Material

8
"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 bnb b b n b n

&
b bnb b b n b n

32

Mrb.

3/4 3/4
or

? b bnb b b n b n
1/2 1/2

Timp.

b b n b b b n b n

&
b bnb b b n b n

32

Pno.

RH
? b b n b b b n b n
b bnb b b n b n

LH

b b b b n b n b n b n b n b b b b b
b b b b
44
& b b b b n b n b n b n b n

40

Mrb.

Timp.

? b b b b n b n b n b n b n b b b b b 44
b b b b n b n b n b n b n b b
b b
& b b b b n b n b n b n b n
? b b b b n b n b n b n bb nn bb b
b
b b b b n b n b n b n

40

Pno.

b b b
b b b 44
b b b 4
4
b b b

2016 Cadets Front Ensemble

4-Mallet Audition Material

"In's and Out's Burger"

q= 90-120

"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.

4
& 4 b N b
b

46

Mrb.

Timp.

Pno.

? 44

29"

b b
46
4
J
&4

? 44 b
b
J

26"

23"

b 20"

& b N b
b

48

Mrb.

Timp.

b

b b

b b
& J

48

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 b

b
b

Prep

>
b

>

b n
b
b

2016 Cadets Front Ensemble

4-Mallet Audition Material

10

"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.
q= 120

& .. b N b N
f2/4 1/3

51

Mrb.

Timp.

? ..

& .. b N b N
f

b b
4

51

Pno.

? ..

b b

& # # # # .. b N b N n # # 98

53

Mrb.

1/3 2/4

Timp.

? #

3 2

# #

2/4

..

1/3

1/3

2/4

98

& # # # # .. b N b N n # # 98

53

Pno.

..

98

2016 Cadets Front Ensemble

4-Mallet Audition Material

& 98 .. # b

56

Mrb.

2/4

Timp.

1/3

& 98 .. # b

? 98 ..

& #
? J #

& #
?

# b .
2

#
b

.
!

. . # # ..
. #.
#
# .

. .. # .

# . . # # ..

. #.

# .

58

Pno.

1/3 2/4 2/3

Timp.

58

Mrb.

2/3

? 98 .. #
J
56

Pno.

11

3 2

4 2 3

..

Cadets 2016 Front Ensemble

Advanced Keyboard Techniques

10

"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

Mallets

4 .. .. .. .. .. ..
&4
4 4

& ..

Mlts.

4 3 4 4

4 3 4 3 4

4 3 4 3 4 3 4 3 4

.. w

Right Hand Inside Mallet Lead

.
.

.
.

..
.
. .
. .
&

Mlts.

3 3

& ..

12

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

15

Mlts.

&

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



1 1

& ..

19

Mlts.

1 2 1 1

1 2 1 2 1

.. w

w

1 2 1 2 1 2 1 2 1

Left Hand Inside Mallet Lead

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

22

Mlts.

2 2

& ..

2 1 2 2

26

Mlts.

2 1 2 1 2

2 1 2 1 2 1 2 1 2

.. w
w
2

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.

&

29

Mlts.

3/4

4 3

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

&

..

33

Mlts.

3/4 1/2

1 2

.
.

"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

&

36

Mlts.

&

40

Mlts.

& ..

44

Mlts.

.. ..

..

2016 CPit Percussion Etude

Arr. by Iain Moyer

q=172 Mounted Triangle

6" Triangle

> > > > > > > > > > > > > > > > > > > > >
4
b
!
& 4
F
f

Temple Blocks
felt end of swizzle

- -

&b
P
f

b
& @.
F

& b -@
F

-@
Tap
f

@
F

Tambourine

13

Turn
Over

19

Fist

& -

24

- .
@
F

Place foot on stand

Turn tambourine over
Play with knee and fist

Fist

F K FKF

@
>
>
f
n#

K Float

Both
Chinas
-

18" Sus. Cym.

Temple Blocks
with Felts

Turn Palm
Over Slap
K FK F KFK F K

to Tambourine

15" w/felt

!
to Brake Drum
w/Xylo Mallets

w
P

20" Sus. Cym.

3
3

# j
. .
& .
P
P

Brake Drum

32

36

&

L R R

L R R L

R L

,
j
. .
> >
fl

Crash Cymbals

Cadets 2016

. .
p

,
j
j
.
> fl
f

Hopppolla
Glockenspiel
Sigur Rs
Robert Scott

q = 76

4
&4

6
4

4
4

6
4

10

4 >
>
6

-
&4

15
13

>

46
&

4
4

6
4

20

44 J J J J J J J J

6
& 4 J J
f

25
25

J
f

&

33

35

32

2
6
4

&

4
4

w
w

L.V.

38

w
& w

ff

w
w

w
w

>
fff

Hopppolla
Marimba 1
Sigur Rs
Robert Scott

q = 76

5
DL Rolls

6
4

4
&4

6
4

4
?4
4

w
w
w
w

4w
4 w

4
4

w
w

w
w

w
w

w
w

w
w

w
w

6
4
6
4

mf

10

? 6
4

w
w
w
w

6
&4

4w
4 w

4
4

w
w

w
w

mp

w
w

w
w

w
w

w
w

6
4
6
4

15
15

4
6
&4
4

4
?6
4
4

mf

19

4
4

4
4

6
&
4

6
?
4

ff

25
23

&

-
-
1

3/4

3/4

2 sim.

V.S.
mp

Marimba 1

26

>

& >

2 3/4 3/4

2 3/4

>

>
>

2 3/4

1/3/4 2 3/4

3/4 3/4

-
-

3/4

3/4

3/4

2 sim.

29

>

&
- >

-
? -

>

>
>

33
32

6
&
4

-
6
? -
4

mp

mf mp

35
35

4
&4

?4
4

39

&

>

>

{
ff

fff

Hopppolla
Marimba 2
Sigur Rs
Robert Scott

q = 76

5
DL Rolls

6
4

4
&4

w
w
w
w

6
4

4
?4
4

4w
4 w

4
4

w
w

w
w

w
w
w
w

w
w
w
w

6
4
6
4

mf

10

? 6
4

w
w
w
w

6
&4

4w
4 w

4
4

w
w

w
w

mp

w
w
w
w

w
w
w
w

6
4
6
4

15
15

6
4
& 4 4
? 6 4
4
4

mf

19

6
& 4

? 6
4

4
4

4
4

ff

25
23

&
?

-
-
1

3/4

3/4

2 sim.

V.S.
mp

Marimba 2

26

>

& >

2 3/4 3/4

2 3/4

>

>
>

2 3/4

1/3/4 2 3/4

3/4 3/4

-
-

3/4

3/4

3/4

2 sim.

29

>

&
- >

-
? -

>

>
>

33
32

6
4

6
? -
4

&

mp

mf mp

35
35

4
& 4
? 4
4

39

&
?

>
>

ff
fff

Hopppolla
Rack 1
Sigur Rs
Robert Scott

q = 76

4
/4

6
4

4
4

6
4

B.D. w/ towel?
10
4

6
4
/4 4
mp

6
4

15
15
4

6
4
/4 4

6
4

25
21

7
4

4
/4

6
4

33

35

33

6
/4
mp

mf mp

4
4
f

37

>

L.V.
4

ff

fff

Rack 2

Hopppolla
Sigur Rs
Robert Scott

q = 76

4
/4

6
4

4
4

6
4

Stick on ride
Brushes on snare

> > > > > >

> > > >
4
6

/4
4

10

mp

6
4

15 >

> > > > >

> > > >
4
6

/4
4

15

> > > > > >

4
6

/4
4

20

25

> 25

33
soft mallets

experiment w/ different cymbals

7
6
4

35
35

4
/4

L.V.
39

>

/
ff

ff

fff

6
4

Hopppolla
Sigur Rs
Robert Scott

Synth 1
q = 76
Piano

6
&4 4
mf

5
5

4 >
>

4
& 4 - -

ped. simile

>

&
?

4 >
>
6

4 - -
4

f
6
4w

4
4
w
w

Lo Boy

15
- -

>

6
&
4
f
6
?
4
w
w
w

13

16

>

4
&4

>
>

6
-
-
4

? 44 w

6
4

w
w
w

>
>

6
4
4
&4

20

? 46

4w
4
w

w
V.S.

Synth 1

>
23

-
-
&
?

25

mf

27

&
?

w
w

33
31

6
4 - -
6
4
w

>
--

&
?
w
w
>
35

34

4
& - - 4
f
4w
?
4
w

>
>
38

&

w
>

ff

w
w
w
L.V. (may need to
fade out manually)

>
41

-
-
&

>

fff

w
w

>

Hopppolla
Synth 2
Sigur Rs
Robert Scott

5
q = 76
Synth Strings

4
4
&4

6
4

4w
4w
w

w
w

w
w
w

w
w
w

6
4

w
w
w

mf

10

6
& 4

4w
4w
w

w
w

w
w
w

w
w
w

6
4

w
w
w

15
15

6
& 4

4w
4w
w

w
w

w
w
w

w
w
w

6
4

w
w
w

w
w

4w
4w
w

w
w
w

25
23

& w
w
w
?

w
w
w

w
w

w
w

33
31

w
& w
w

35

35

w
w
w
w

6
4
. . . . . . . . . . . . . . . . . . . . . . . .
mp
mf mp

w
w

w
w

4
&4
f

40

ff

w
w

L.V. (may need to

fade out manually)

w
w

>

&
fff

Hopppolla
Timpani
Sigur Rs
Robert Scott

q = 76

4
?4
4

6
4

4 w
4

6
4

mf

10

?6
4

4 w
4

6
4

15
15

?6 4
4
4

f

19

6 4
4
4

22

?

25

33

25

8
?

6
4

mp

mf

mp

mf

35
35

?4
4

f

39
L.V.

?
>
ff

fff

Hopppolla
Vibraphone 1
Sigur Rs
Robert Scott

q = 76

4
&4

6
4

4
4

6
4

10

4 >

4
&4

-

f

12
>
>

46
&

15 15
6 j j 4 j j j
&4
4
J

f
18
j
j j
6 j

4
&

ff

21
j
4 j j

&4

J J

25 25
w


J w

&
J

f
2

2/3 2/3

2/3

sim.

2/4

2/4

2/4

2/4

1/3 2/4 2/4

2/3

1/3 1/3

2/3

1/3

2/4

2/4

2/3

Vibraphone 1

29

&

w
w
J

6
4
J

2/3

33
33

6
&4

1/3

2/3

35
35

>

4 >

&4

-
-
f

38

>

&

>

ff

>

41
L.V.

&
>

>
fff

Hopppolla
Vibraphone 2
Sigur Rs
Robert Scott

>

6 -
4
4
4

q = 76

4
4
&4

mf

>
>

-
-

6
4
&
sim.

>

10

6 -
4
4
&4
f

>
>
12
- -
6

4
&

15 15

6 4 J
4
&4 J J

J J
J

f
18


6 j

4
& J
J
J

ff

21
j
4 j j

&4

J J

V.S.

2/3 2/3

2/4

2/4

2/3

2/4

2/4

1/3 2/4 2/4

2/3

2/3

1/3 1/3

Vibraphone 2

25
25

&

1/3

2/4

2/4

w
w

2/3

J
4
f

29

&

6
&4

33

33

1/3

w
w
J

2/3

2/3

>
>

- -

&4
35

35

>
>

&

38

>

ff

>
L.V.

>

- -

&

fff

41

Sigur Rs
Robert Scott

Hopppolla
Vibraphone 3

6 -
4

q = 76

4
4
&4

mf

>
>

6
- -

&4
3

sim.

>

9
6 -
4
&

f
>
>

11

4
&4

>
14
15
6
4 J J
&
2/3 2/3

- -

44 J

2/3

1/3 2/4 2/4

17



& J

J
J


20

6

& 4 J J
ff

1/3

1/3

2/4

2/4

2/4

2/4

4
4J

2/3

J



J



J

2/3

6
4

V.S.

Vibraphone 3

& J

25 25


&
J
22

J
J

w
J w

f


29

w

6

w

J

J
4
&
J
f

33 33

&4

>
>

35 35

-
-
4
&4
1/3

2/4

2/4

2/3

2/3

1/3

2/3

>

>

>

38

&

ff

>

L.V.

>
41

- -

&

fff

Sigur Rs
Robert Scott

Hopppolla
Vibraphone 4
q = 76

4
&4

6
4

4
4

6
4

10

>

6
4

-
4
&4

12
>
>

4
&

-
-

15 15
j

6 j j
4
4
&4

J

f
17
j
j
j j
j
6

& 4

20

4
6

4J
&4 J

J
J
ff

22

& J

J
J
J
J

V.S.
2

sim.

2/3

2/3

2/3

1/3

1/3 1/3

2/4

2/4 2/4 2/4 2/4

2/4

2/3

2/3

4
Vibraphone
w


J w
J

25
25

&

1/3

29

&

2/4

2/4

2/3

w
J w

6
4
J

2/3

33
33

6
&4

1/3

2/3

35
35

>
>

&4

-
-
f

38

>

&

>
>

ff

41
L.V.

&
>

>
fff

The 2016 Cadets Front Ensemble

2 and 4 Mallet Technique Guidelines
2 Mallets:

Compiled by the Cadets Front Ensemble Staff

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 2015 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 (2 , 3 ), 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 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.
4) For intervals of a 7 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 7 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 4 , 5 , 6 ) 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.
nd

th

nd

th

rd

th

rd

th

th

th

th

th

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 seesaw 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)
Mallet Selection:
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.
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 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.
Playing Spot:
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
Timpani Rolls:
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.
Cross-overs:
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