OregonCrusadersPercussionAuditionPacketFrontEnsemble

2 2017

Introduction

WelcometotheOregonCrusadersPercussionProgram(OCP).Weareextremely
pleasedthatyouhavechosenusforwhatwehopewillbeapositive,rewarding,andlife
changingexperience.Inthefollowingpagesyouwilllearnaboutourphilosophyand
techniquespleasereadeachitemcarefullyandthoroughly.Ourstaffisoneofthe
mostexperiencedandknowledgeableintheactivity.Byworkingdiligentlythroughthe
packetusingthemindsetandguidelinesdescribed,youwillhaveaverygoodchanceof
success.WhetheryouultimatelyendupasamemberoftheOregonCrusadersDrum
andBugleCorpsorOCIndoor,theseconceptswillbeavaluabletoolwhereveryourlife
travelstakeyou.Bestofluckandrememberluckiswhathappenswhenpreparation
meetsopportunity.

HowToUseThisPacket

ReadandrereadtheinformationaboutwhatwevaluehereattheOCP.Highlight
importantconceptsthatstandouttoyou.Gobacktothemoftenasyoupracticeaswell
asthroughouttheseason.Sometimesitiseasytoloseyourwayonyourjourneyto
achievegreatness.Thispacketisheretohelpyouandwillbeagreatreferenceoutside
ofrehearsal.Useittoreinforcewhatyoulearnfromthestaff.KNOWLEDGEISPOWER!
Themoreyouunderstandaboutyourgig,thebetteryourpracticesessions,rehearsals,
andperformanceswillbe.Themostimportantthingwecanconveytoyouisthis:

Therearenoshortcuts.
Workhardallthetime.Alwaysbeprepared.Havestructuredguidedpracticesessions
withametronomeanddigitalrecordings.Studythescoreoftenandpayattentiontothe
detailsthatareonthepage.Rememberthatwrittenmusicisasetofphysical
instructionsforyoutoexecute.Usetechnologytoreceivefeedbackfromyourself,your
peers,andyourstaff.Communicateoftenoutsideoftheliverehearsal.UseREPETITON
ofrhythms,rudiments,andmusicalpassagesattempoonceyouhaveworkedthrough
themslowlywithamindtoallofthemarkingsonthepage.Thiswillbuildconsistency,
quality,andgoodmusclememory.Ifyoubreakorarehavingdifficulty,gobacktothat
pointandattacktheproblemslowly.Mostlikelyitiswhathappenedrightbeforethe
problemoccurredthatwasactuallytheproblem.

NEVERplaywithoutapurposeorwithoutthinkingbeforeyoubegin.Visualizewhatyou
areabouttodoandwhatyouwanttoaccomplish,internalizethetempo,subdivide,
relaxyourbodyandmind,andBEGREAT!

Everyrep,everyday,allthetime.

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TheThingsWeValue

CharacterBothonandofftheField/FlooruponbeingacceptedintotheOregon
Crusadersyouareanambassadorfortheorganizationandshouldconductyourself
accordingly.Thethingsyoudoandthedecisionsyoumakeaffecttheteam.
ConsistencyandQualitybeingabletoplayintimeasperfectlyaspossibleALLTHE
TIMEwiththebestpossibleQualityofSoundisakeyfactorinwhatwetryto
accomplish.Consistencyandconfidencecomesonlyfromlonghoursspentbreaking
rhythmsdownwithametronomeuntiltheyareassecondnaturetoyouasbreathing
air.QualityofSoundisachievedwhentheperformerdoesnotslowtheimplement
downonitswaytotheinstrument.Allowingtheimplementtomovequicklytoand
completefullcontactwiththeplayingsurfaceatallheightswhilemaintainingarelaxed
butfirmgrip(inconsiderationofthetempo,notevalue,andreboundcharacteristicsof
theinstrumentinquestion)willallowyoutoachievethis.Whenallofourperformers
possesstheconfidencebuiltuponknowledgeandunderstandingofthematerialand
technique,thenrehearsalscanbespentonhighlevelconceptsratherthansimplytrying
todevelopskills.
Efficiencywastedtimeandenergywhileplayingyourinstrumentaswellashowyou
personallyoperatewhilewiththegroupdecreasestheopportunityforsuccess.Timeis
money!MovingquicklyinastraightlinepathfromABwithnoimpedimentsanda
senseofurgencyensuresthemaximumamountofcleaning/repetition.Thisisakey
elementtoanysuccessfulgroup.Thinkabouthowyoucangetthegreatestresultsin
theleastamountoftime.
EquipmentMaintenanceandCarewehavethousandsofdollarsofequipmentthatis
transportedonourtrailersandloadedmanytimesinandoutofschoolsandother
facilities.Thisequipmentisthemethodbywhichwebringouruniquevoicetothe
world.Pleasekeepthemcleanandwellmaintained,donotabusetheminanyway,and
loadandunloadtheminaccordancewiththeinstructionsofyourstaff.Instrumentsand
equipmentareNEVERtobetakenhomewithoutexpresswrittenagreementofthe
Director.
FinancialCommitmentfinancialpreparationandplanningisjustasimportantaswhat
youdoonthefield/floor.Planyourlifesothatyoucanpayyourfeesinfullandontime.
LeadingByExamplebeeverythingyouwantthegrouptobe.Askyourselfthe
question:ifeveryonewasdoingwhatIwasdoing,wouldthegroupbethebestit
possiblycanbe?Thebestleadersaretheonesthatcanpracticewhattheypreach.And
donthavetopreachbecausetheycanspeakwiththeiractions.
MusicianshipandEnsembleAwarenessrememberthatthisisnotanindividual
activity.Whileeverymemberofthegroupisworkinghardtoperfecttheirindividual

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skillsetsathome,duringrehearsalsitisournumberoneprioritytoplaytogetherasan
ensemble.Usingyoursensesandexpandingyourawarenessofthosearoundyouand
yourrolewithinthegroupissomethingthatcanonlybedevelopedovertime.Neverbe
rigidorinflexibleaswelearntheshowandtheuniquesituationsthevisualaspect
createsforthemusic.Listeningtofeedbackandinstructionsfromtheboxiscrucialto
thisprocess.Whatsoundscorrecttoyouonthefloormaynotbecorrectfromthe
vantagepointoftheaudiencemember.Thisisultimatelywherethemusicmustsound
togetherfrom.Yourabilitytoadjustquicklyandhavingthetechnicalfacilitytoplaya
passageanywaythestaffasksyoutoisahugeassettotheteam.
PercussiveSkillsandVocabularyasamusicianandmemberoftheOregonCrusaders,
youshouldalwaysbeworkingtomaximizeandimproveyourknowledgeandskills.The
moretoolsyouhaveatyourdisposal,themorethegroupwillbeabletoachieve.Listen
toyourstaffofexpertsandstrivetobeabletoplayEVERYTHINGinthepacket.Ifwecan
achieveit,itsIN!Everyonelovesincredibletechnicalpassagesplayedwithgreatclarity.
Perseverance.Willpower.NeverGivingUp.thisactivitywillpushyoutothelimitsin
everyway.Howyoudealwiththatwilldictateyourcharacter.Trustisestablishedwith
yourteammatesbyalwaysbeingthereandworkingyourhardestforyourselfandfor
them.Bestrong.Givemaximumeffortatalltimes.
PhysicalFitnessthisactivityisasport.Inorderforyoutoexcelandwithstandthe
rigorsoflong,physicallyandmentallyexhaustingrehearsals,physicalfitnessisaMUST.
Youaredoingadisservicetoyourselfandthegroupifyouareunabletofunctionand
performatthehighestlevelduringrehearsals.Also,beingfitdecreasesthechancefor
injurywhichcanbedevastatingtothegroup.
Preparationpracticingwithaplanandperfectingyourmaterialsathomeiscrucialto
oursuccess.Strongindividualknowledgeandunderstandingofthematerialinall
aspectsincreasesourabilitytorehearseinaproductivefashion.Ifyouareinan
ensemblesettingandhaventironedoutyourdeficienciesoryouarestrugglingwitha
particularskillorpassage,thenitisverydifficultforthegrouptomakeprogress.This
decreasesthepositiveexperienceforyourselfandtherestoftheteam.Spendthe
MOSTtimeonthethingsyouaretheleastskilledat.TurnyourWEAKNESSESinto
STRENGTHS.Alwaysworktowardsmasteryandneverjustplaymindlessly.Dontjusttry
togetitrightkeepatituntilyoucantgetitwrong.Managingyourtimesothatyou
excelatallofyouractivitiesoutsideofthegroupwillincreaseyourabilitytoparticipate
fullywithalowerstresslevelandhighlevelofconfidence.DONTPROCRASTINATE!
Makeaschedule,setgoals,sticktotheplan,andmostimportantlyfollowthrough.
Punctualitytobeearlyistobeontime.Ifwehaveascheduleddownbeatthenitis
yourresponsibilitytoplanaheadinordertoarriveandassistinanyunloadingand
movingofequipment,orotherprerehearsalprepatafacility.Thisisdesignedtoinsure

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thatthegroupcanmaximizeitsrehearsaltime.Beinglateorinastressfulorfrantic
stateisneverdesirableforyouoranyoneelseontheteam.Agoodruleistoarrivea
minimumof30minutespriortothedownbeatofanyrehearsal.Afterrehearsal
concludes,stayinguntilcleaningandloadingdutiesarecompleteisalsoarequirement.
Neverleaveuntilyouaredismissedorhavebeenclearedbyastaffmember.
RehearsalEtiquetteagain,beearlytobeontime.Haveyourequipmentandpersonal
gearsetupandreadytogowellbeforedownbeat.Wehaveaprocess,andthequickest
pathtosuccessisfollowingit.Atrehearsalsresisttheurgetoteachothers.Thisis
whatwehaveassembledanexpertstafffor.Whentherepiscomplete,letthestaff
speakfirstandgiveyouvaluablefeedbacktomakeyoubetter.Ifyouhaveaquestion,
simplyraiseyourhandandaskitinarespectfulandpositivemanner.Beingonthesame
pageiskeytooursuccess.8snaresthinkingthesamethingwillgetcleanerfaster.Its
thatsimple.Alwaysbeapartofthesolutionandneverapartoftheproblem.Weareall
partofthesameteamstrivingforthesamegoaltobethebestwepossiblycanbe.
TeamOrientedMindsetweallliveandworktogethertowardsacommongoalfora
longperiodoftime.Berespectfulofyourteammatesandalwaysworkwithasenseof
makingtheteambetteranywayyoucan.Thisincludeshelpingothersanddoingthe
MOSTyoucanatalltimesbothonandoffthefield/floor.Understandthatwhenyou
dontpullyourweight,itdoesntjustaffectyouitaffectseverymemberoftheteam.
BatteryVisualProficiencyeverythingweplayandperformisaccompaniedbysome
typeofvisualelementbytheBattery,whetheritismarchingorchoreography.The
fasteryoubecomegreatatthis,thefasterwewillbeabletoachieveahighlevelasa
group.Youmustalsoworktomastertheseresponsibilitiesathome.Makethempartof
yourdailyroutine.
WorkEthicbydecidingtojointheOregonCrusaders,youhavemadeadecisionto
embraceawayoflife.Youneedtoworkashardasyoucantomakeyourselfthevery
bestinalloftheseareas.Beawelloiledmachinebothmusicallyandphysically.

CanyouimaginewhatIwoulddoifI
coulddoallIcan?

SunTzu

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FrontEnsembleTechnique&Approach

ThekeywordsfortheOregonCrusadersFrontEnsembleapproacharesimple"notension".
Everytechniqueandskillweaskofourplayersismadewiththosewordsinmind.Hereisa
checklistthatwillhelpyoutoincorporatethesewordsintoyourplaying:

Beginbystandingatanappropriatedistancefromtheinstrument,suchthatyourelbowsare
onlyslightlyinfrontofyourupperbody,ifnotinlinewithit.
Theinstrumentshouldbeatanappropriateheightfortheindividualplayer,suchthatthe
player'sforearmisataslightlydownwardangle.
Bodypostureshouldbeuprightandconfident,avoidslouching.
Feetshouldattempttoremainshoulderwidthapartatalltimes.
Breathingisimportant!Thiswillbeanimportanttacticinhelpingyouplayrelaxedand
withouttension.
Focusonplayingrelaxedatfastertempos.Playingwithtensionwillonlyhinderyourplaying
ability.

StrokeTypes

PistonStroke:Beginwithbothmalletsatthedesiredplayingheight(forexercises,typically
forte).Strikethemalletdowntothebar,withthe"up"strokeatthesamespeedasthe
"down"stroke.Themalletshouldreturntotheoriginalheight.Iftheproceedingdynamicis
different,themalletshouldreturnuptothenextplayingheight.Iftheproceedingnoteis
different,themalletshouldtakeadiagonalpathtothe"up"positionabovethenextnote.
Playingwithweightisthekeytothisstroke,andwillhelpwithnaturalreboundinsteadup
havingtopullorforcethemalletbackupward.Tensionwillonlymakethisstroketypemore
difficult.

LegatoStroke:Alsoknownasthe"float"stroke,thelegatostrokebeginswiththesamestroke
typeasthepistonstroke.Beginbystrikingthemalletdowntothebarwithweight.Different
frompistonstroke,the"up"strokeshouldtakeupthefullamountofspaceuntilthenext
note,movingataconsistentspeed.Thismovementshouldbecreatedusingmostlythewrist,
withverylittlefromthearm.

2MalletTechnique

HereattheOregonCrusaders,weuseaslightlymodifiedversionofthebackfulcrum
technique.Beginbywrappingthepinky,ring,andmiddlefingersaroundthemallet,with
approximately2inchesofextramalletshaftoutthebackofthepinky.Thesethreefingerswill
bethemainfulcrumpoint,withthegriponlybeingtightenoughtokeepthemalletinplace
notension!Next,wrapthepointerfingeraroundthemallet,withthetopcrookonthemallet.
Thereshouldbeanopenspacebetweenthemiddleandpointerfingers.Last,placethethumb

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padflatonthemallet,inthesamespotontheshaftasthepointerfinger.Unliketraditional
backfulcrumtechnique,wewillbeutilizingthepointerfingerandthumbfulcrumforpassages
wherespeedisnecessary.90%ofthemalletmovementshouldcomefromwristturn,and
verylittlefromfingermovementand/orarmmovement.Whenplayingontwoadjacent
notes,themalletsshouldcreateanequilateraltriangle,withthebackofthehandata45
degreeangletotheinstrument(Americangrip).

4MalletTechnique

Inordertoproduceaunifiedtechnique,allkeyboardplayerswilluseStevensGripfor4
malletplaying.Beginbywrappingthepinkyandringfingeraroundonemallet,withabout
1/2aninchoutthebackofthepinky.Themalletshouldrestnearthetopofthebottom
thirdofyourmiddlefinger,notbackinthewebbing.Thisisthestationaryoutermalletthat
doesnotmove.Fortheinnermallet,placethebuttendofanothermalletperpendicularto
thepalm,wherethethumbmusclecreasesinyourpalm(usuallythecenterofyourpalm).
Placethetipofthemiddlefingernearthebuttendofthemallet,withlittleornopressure
applied.Muchlikethe2mallettechnique,afulcrumshouldbecreatedusingthepointer
fingerandthumb,withthethumbpadflatonthemalletandonthetopcrookofthepointer
finger.Mostimportanttonoteisthatthehandshouldbeinahandshakeposition,withthe
thumbnailfacingthesky.Allfingersshouldbeinarelaxedpositionnowhiteknuckling!
Fromlefttoright,malletsarenumbered1,2,3,&4.Justlikeinthetwomallettechnique,all
malletsshouldreturntoan"up"position.

Thereare3mainstroketypesfortheStevensGrip:

DoubleVertical:Bothmalletsinonehandstrikethekeyboardatthesametime.Thisis
createdbyahandshakelikewristturn,withthethumbremainingtowardsskythroughout
thestroke.

SingleIndependent/SingleAlternating:Onemalletmovingindependentlyfromanother,or
alternatingbetweenmallets.Thismotioniscreatedusingrotationnotverticalwrist
motion.Themalletthatisnotinmotionisusedasafocalpoint,inwhichthemalletin
motionrotatesaroundthatmallet.Thealternatingmotionisforslowertempos,inwhich
eachmallethastimetoreturntothetopbeforetheotherbeginsitsmotion.Thereisno
fingermotioninvolved.

DoubleLateral:Usingbothmalletsinahandwithonestroke.Thisstrokeisforfaster
tempos,inwhichbothmalletsstrikethebarsinsuccessionatequalvolumes.Afterthe
stroke,bothmalletsreturntotheupposition

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TheExercises

Theattachedexercisesarethemainbulkofmaterialwewilldrawfromforthe2017season.
Youareexpectedtolearnandbeabletoplayalloftheexercisesinthepacket.The
individualsthatcanperformthemostmaterialatthehighestpossiblelevelwillbegiventhe
greatestconsiderationforaspotwithintheensemble.

WeexpectthatyouareheretoMAXTHISOUT.Masteringasmanyskillsaspossiblewill
makeyouabetterplayer,aswellasgivethewritersawellspringoftechniquestodraw
frominthedesignprocess.

Dothework.Practiceeachexerciseslowlywithametronomeuntilitismastered.Bumpit
upafewclicks,rinseandrepeat.Donotincreasethetempountilyouareconfidentthatyou
havethematerialdowncoldateachtempo,andhavegottensomerepstobuildquality
musclememory.

MuscleGroupsandTempo

Usethepropermusclesandpartsofthehandforeachtempo.Usingthewrongmuscle
groupsforthetempoinquestionwillhinderyourefficiencyandholdbackyourprogress.If
youareuncertainaboutwhatpartofyourhandandhowmucharmtoincorporateforthe
tempo,yourinstructorwillbeabletomakethisclearforyouatrehearsals.Itisthenyour
jobtoreinforcethisdiligentlyathomeandinthepracticeroom.

Dontuseabulldozertomoveamarble!
Generallyspeaking,largermotionsrequirelargermuscles.Shorter,quickermotionsrequire
smallermusclesandlessdistance.Alwaysrememberitisyourgoaltomanipulatethestick
ormalletwiththeleastamountofeffortandgreatestresultpossible(qualityofsound).
Neverimpedethepathoftheimplementtoitsdestinationbybeingtenseorslowingthe
motiondown.

TheAudition

Wewillworkthroughthisauditionmaterialandbreakdownconceptsattheaudition
camps.Youwillbegivenasheetthatwilloutlinewhatourcriteriais,andwewilllistento
everyoneindividually.Againyouareexpectedtobeabletoplayeverythinginthispacket.
Thatisalwaysthegoal.Itisnotmeanttoscareyou.EverythingwedoatOCisdesignedto
takeyouandthegrouptothenextlevel.Wearelookingforsolidfundamentalsaswellas
masteryandcontrolofadvancedskills.Fast,sloppyandoutofcontrolshouldneverbepart
ofyourgame.Welookforwardtoworkingwitheachofyou.NowGOPRACTICE!

7 OCP Front Ensemble Packet 2017

 7/8 Octaves Play 3x's in all 12 keys
- 1x in Major OCI Sta
q = 60 - 180 - 2x in Natural Minor
- 3x in Harmonic Minor
7 44 4
Marimba & 8 4

? 7 44 4
Bass Guitar 8 4

7
Drumset / 8 44 4
4

* If no kit/aux part is written, play an appropriate groove or find a suitable exercise from the snare packet that works.

Green 1 Practice in all 12 major, harmonic and melodic minor keys

4
q = 60 - 180
4
Mar. & 4

R

B. Guit.
? 44 w

I I V I V I V ii V

4
Dr.Set / 4
R L R L R R L R R L R R L R R R L R R L R R L R R L

7


Mar. &

B. Guit.
?

ii V ii V I V ii V I

Dr.Set /
R L L R L L R L L R L L L R L L R L L R L L R L R

8 OCP Front Ensemble Packet 2017

2
10 Green 2 Practice in all 12 major, harmonic and melodic minor keys
q = 60 - 120 3 3
6
7 2 7
Mar. 8 4 8
&
R

? w 7 2 7
B. Guit. 8
4 8
I V I IV I V

6 3 3
7 2 7
Dr.Set / 8 4 8
R L

13
3 3 3 3 3 3
7 2 4
Mar. & 8 4 4

B. Guit.
? 87 2
4
4
4

ii V ii iv ii V I V ii V I

3 3 3 3 3 3
7 2 4
Dr.Set / 8 4 4

Green 3 Practice in all 12 major, harmonic and melodic minor keys

17
q = 60 - 110
7 2 7
Mar. & 8 4 8

? w 7 2 7
B. Guit. 8 4 8

7 2 7
Dr.Set / 8 4 8
9 OCP Front Ensemble Packet 2017
 3
20
7
42 2 4
Mar. & 8 4 4

?7 2 2 44
B. Guit. 8 4 4
ii V ii iv ii V

7 2 2 4
Dr.Set / 8 4 4 4

16th Note Timing

q = 90 - 140
4
Marimba & 4

R R L R RLR R L R RLR R R RLR RLR RLR R L

? 44
Bass Guitar

4
Drumset / 4
R L R L R RLR R L R RLR R L R RLR RLR RLR R L

29
2
Mar. & 4

R R L LR L LR L LR L L R L RL LRL LRL LR L

? 42
B. Guit.

2
Dr.Set / 4
10 R L R L LR L LR L LR L L R L OCP Front LEnsemble
R L L RPacket
L LR 2017
L LR L
4
33
2 6 5
Mar. & 4 4 4

R R L R L sim.

?2 6 5
B. Guit. 4 4






4

2 6 5
Dr.Set /4 4 4
R L R L R L R L R L R L R L R L R L

35
5
4 # 4
Mar. & 4 # 4 4
L R L R sim. L R L R L R R L R R L R

? 45 4 # 4
B. Guit. 4 4

5 4 4
Dr.Set /4 4 4
L R L R L R L R L R L R L R L R

Mallet Control
q = 120 - 240
4 68
Marimba & 4 b b b b b b b bb bb b b b b b b b R R
R L R L
R R
L
R
L L

? 44 b 68 b
Bass Guitar b b

4 68
Drumset / 4
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 5
43

Mar. & b b
44
b b b
b b R R L bb b b b
b b L bL R b R L R R
L L R L LR R L R R L R L L
L L L

? b n 44 b b b
B. Guit. b b

Dr.Set / 44

49
b b b b b
Mar. & b b
L R L L R L R L R R L R R L R L
R L R R L R L L R L R L

B. Guit.
? b b b
J J

Dr.Set /

54
b b b b 7
Mar. & J 8
R L L R L L R L R L R R L R R L R R L

? b 7
B. Guit.
J J J 8

7
Dr.Set / 8
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59
Advanced Double Verticles
q = 60 - 140
7 6 58 #
Mar. & 8 8

? 7 6 5
B. Guit. 8 8 8

7 6 5
Dr.Set / 8 8 8

66

Mar. &
68 42 b b
bb





bbb

? 6 2 b b
B. Guit. 8 4

6 2
Dr.Set / 8 4

74
2.
b 7 1. 4
Mar. & bb b b 8



4

? b 7 4
B. Guit. 8 4

7 4
Dr.Set / 8 4
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Broccoli Chords w w w
4 w w w w w
w w
w w w
w
w w w w w
Marimba & 4 w
w w
w
w
w
w
w
w
w w w w w
w
w w

? 4 w w w w w w
Bass Guitar 4w w w

4
Drumset / 4

q = 80 - 150 Bridges
Practice in A (written key), C, Eb, & Bb
94 Play using any and all permutations: Alternating 8ths, Alternating 16ths, Double Laterals, Triple Laterals, ect.

# #
Mar. & # n #

B. Guit.
?
#

> > > > > > > > > > > > > > > > > > > >

Dr.Set /

99
# # # # 12
Mar. & # 8

? # 12
B. Guit. 8

> > > > > > > > > > > > > > > > > > > > >
12
Dr.Set / 8
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8
Stocktaves
105 e = 110 - 220
b b
12 b b b b b b
Mar. & 8 bb b b b b b
b b b

? 12
B. Guit. 8 b b b b b b b b

12
Dr.Set / 8

108

b bb bb 9
Mar. & bb


b b
8

? 9
B. Guit. b 8

9
Dr.Set / 8

110

b

&
b
b
Mar.
Vibraphone alt. ending

b
b
&

b

B. Guit.
? b

Dr.Set /
15 OCP Front Ensemble Packet 2017
 - OCI DRUM SET AUDITION -
q=100

B


R L L R R L L R R L L R

FILL

R L L R R L L R R L L R

q=120

D


RLRLRLRLRLRLRLRL RL R RLR RLR RL R RLRLRLRLRL RL RLRL R RLR RL R RLR RL RL RL RLRLRLRLRLRL

R L L R L L R L L R L L R L R L R L R L R L R L R L R L L R L R L R L L R L R L R L R L R L R L R L

R L L R L R R L R R R

16 OCP Front Ensemble Packet 2017