2012

Front Ensemble Audition Packet

Dear Racine Scouts Percussion Auditionee,

Thank-you for your interest in the Racine Scouts Percussion Section for the 2012
competitive marching season. The following compendium includes a series of exercises,
and synthesis etudes. Our exercise program will be built on a hands-separate/handstogether approach. In short, we will work on a particular stroke type at a time, such as
the accent tap (bucks) one handed, and then well put the hands together for an exercise.
(bucks and 16ths, or The Grid). Although there are may seem to be too many exercises to
learn, you will see that the majority of them are of a more supplemental and
individualistic nature. This means that although you will have a great deal of exercises,
we will not necessarily are an ensemble play all of them together, though you are
expected to for your own sake. This because every exercise in this compendium, whether
long or short, focuses on a crucial aspect of playing marching percussion, keyboard, and
timpani, which is essential to our success this season at the Racine Scouts and whatever
various high school or collegiate ensemble(s) you may be a member of. Though it is not
required, feel free to read the Curriculum, it may include some helpful insights on
practice, execution, rehearsal expectations and prove to be an invaluable giving other
texts and resources to further technical mastery Watch the online videos, and if there are
still questions, please do not hesitate to direct any inquiries to me, or the rest of the
percussion staff.
For those auditioning only by video remember that your submission will not be
viewed until we can verify that the corps has received your financial prerequisite. I
personally recommend sending in your payment before your video, that way once your
video is received, it will be looked at sooner that the staff having to wait for approval
from the finance department. Have fun and best luck.
Racine Scouts Percussion Staff
-Be relaxed, do not force any sounds. Place all of the notes, but dont work too hard,
playing music should be fun. Not manual labor.
-Practice each exercise (especially those to be on the video) in a variety of ways. For
instance with crescendi, decrescendi, various tempi, and permutations (Front Ensemble)
-Practice in front of a mirror as much as possible. When doing so be meticulous about
your stick/mallet angles, playing areas, and stance/approach. Are you relaxed, do your
sticks/mallets go straight up and down, etc.
-Practice with a metronome. (battery marking time) If one person cant keep time it will
be impossible for an entire section to.
-Set clear obtainable daily goals, AND keep record of them. A practice log will be
invaluable for your growth, with not only this ensemble but all if life. Consider, Plan,
accomplish, move to the next task.
-All tempi listed are suggestive starting points for the tape.

The two-mallet technique for the keyboards will be utilized like that of knocking
on a door. We will be using a piston-stroke approach. This is when the mallet starts up,
comes down to strike the bar and come up to the former position. There will be no
prepping on the mallet, send the mallet to the bar with a quick motion. Speed creates
volume.
The marimba four-mallet technique will be that of the Stevens technique. The
four-mallet technique utilized on the vibraphone will be the Burton grip. Both grips again
will use the piston stroke-approach.
All scalar exercises should be worked on in multiple keys. The Wrist Studies are
designed to help get the motion solidified. Though not required on the audition tape,
using them will be evident in the wrist motion you use in your playing technique.
The timpanist should listen and work on ear-training frequently. Also playing
tunes such as Mary Had A Little Lamb, and Jingle Bells are good for working on the
ear, and appropriate usage of the pedals. After these are mastered, working on
accompanying your self is also recommended.
In summation:
It is our sincerest hope that you are challenged and have fun as you grow to new
heights of performance practice and personal execution while working on this audition.
So now what to put on the tape?
A brief introduction stating your name, marching/performance experience, and
why you want to be a part of the Racine Scouts Drum and Bugle Corps Percussion
Experience of 2012.
All tempi are suggestive. We are more concerned about proper technical approach
and rhythmic clarity than speed. If one can play certain exercises faster while maintaining
technical and rhythmic integrity then do so, while on the same token, dont take things
too fast if the technique gets sloppy or time is not consistent.

6-3-2-1 (120, 130, 140)

-work on all the variations as well. They are designed to build focus.
- when using four mallets in Stevens grip the inside two mallets and in
Burton grip using the two mallets pointing to the right.
Garfield (100, 120)
Monkey (90, 100, 120)
WhiRlyisms (110, 120)
- all majors and minors
The Vultures (110, 130)
-only 4 major keys of choice.
Peas and Carrots (60, 70)
- only the written permutation
The Elks (16th notes at 60)
A short (no more than two minutes) of a phrase (or phrases) from your most
recent marching performance (field show or current indoor program)

6-3-2-1
q = 90-160

2 mallet exercise

6's
3
# #
Keys & 4
{
# #
? 3
#
Timp.
4 #

# # bb
{ & # #
? #

# b n

b b b
b b b b b
{&
b b
?
b b b
b b
3's

b n b
2
# # # b n b bb b b b j

b b b
{ & 4 # # # #
? 2
b b b j
#

4 # #
# b n n n b b
1's

2's

Variations:
1. different numeric combinations (7-4-3-2)
2. leave out the first note of each grouping (sans alpha)
3. leave out the last note of each grouping (sans omega)
4. first note only (alpha)
5. first and last note only (alpha and omega)
6. backwards [descending] (with any combination of 1-5)
7. set number of continuous without stopping (10, 25, 75, or 150 times)

Eights
in all keys
q = 90-160

Variations:
1. A/B
2. B/A

A
4

&
4

{
? 4
4

{&
?

Garfield

# # #
3
{ & 4 # # #
? 3 # # #
4
q = 90-160

b b b
b b b

{&
?
b b b
#n #
&
{ #n #
? # n #
J J
J
J

#
#
#
J J
J
J

b b b
b b b 44

j
j j
j
j
j
b bj bj 44

# n # # b b b 7
4
b

b
b
8

{ & 4 # n # #

b
? 4
#

78
4
# # #
7
{ & 8 # # #
? 7 # # #
8

b b b
b b b
b b b

4 j
4

44 j

Monkey

A q = 90-150
& 44
R

&
L

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

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

B
3

& 4
R ...

C
2
& 4
R

...

L ...

L R L R L R L R L R L R L ...

L R L R L R L R

...

D
& 43
R R L L L R L R

R ...

...

RLRLRLRLRLRL

43

...

R L R L R L R L

E
38 44

R R L L L R L R

R L L R

L R R L

R L L R

L R R L

Chords
C

Cm

& w
w
w

C&

bw
w
w

#w
w
w

Cma7

Cm(^7)

C&(^7)

C7

Cm7

& w
w
w
w

w
bw
w
w

& bw
w
w
w

Cm7(b5)

bbbw
w
w
w

C&(b7)

#w
w
bw
w
w
w
w

C13(#11)

w
& w
w
w
w

bbw
w
w

#w
w
w
w

w
bbw
w
w

Cma9

C7

#bw
w
w
w

bbw
w
w
w

Csus4

C7sus4

bw
w
ww

w
ww

Chord Progressions for Monkey (in C)

5
& 4

I
(i)

&
I

IV
(iv)

IV

V7/V

ii

V7

V7

I
(i)

Ab

Bb

bb

Dm

G7

WhiRlyisms
q = 90-150

Keys

Timp

4
{& 4
? 4

4

{&

43

?
43 44

Variations:
1. L or R hand lead
2. One-handed check pattern (eighth notes)
3. All keys (major and minor)
4. 1. All modes

The Vultures

q = 90-150

Variations:
1. All keys and modes

4
3

{& 4 4
? 4
4

R L R L ...

43

b
{ & b b b b 4
R L L R L L R L L R L L R L R L ...
R L R R
?
b b b 4

4
b

{&

L R L R ...

43

43

# # 44
{&
# # #
L R R L R R L R R L R R L R L R ...
L RLL R

?

4
# #

# #

Single Independent Strokes

Marimba Mallet Numbering
4-3-2-1

4
& 4
Ex 1

&

&
4 1 3 2 etc

Variations:
1. different Single Alternating Permutations
2. different intervals

& 44

b b

Ex 2

&

b n
b

b
4

&

4
3
Pattern is:
On every repeat, drop one 16th note per note grouping
8, 7, 6, 5, 4, 3, 2, 1

Single Alternating Strokes

Single Alternating Preperation

each exercise should be played individually and in a variety of keys

&
2
4

1
3

etc...
etc...

1
3

2
4

2
4

etc...
etc...

&
1
3

2
4

1
3

etc...
etc...

etc...
etc...

2
4

1
3

etc...
etc...

1
3

2
4

etc...
etc...

Alternating Interval Expansion Exercises (all one handed)

7

& 42

2
4

1 etc...
3 etc...

9a

44

2
4

1 etc...
3 etc...

9b

&

1 2 etc...
3 4 etc...

&
10a

2 2 2 2 etc...

2 1 2 1 etc...

4 4 4 4 etc...

4 3 4 3 etc...

10b

&

1 1 1 1 etc...

1 2 1 2 etc...

3 3 3 3 etc...

3 4 3 4 etc...

Independent Alternating Permutations (maybe played with 6-3-2-1and/or with varying intervals)
11

&

13

&

15

&

17

12

14

16

18

&

Double Vertical Strokes

Single-Handed Exercises

Double Vertical 8's

&

R...
L...

Double Vertical Expansion Preperation

1
& 42

R...
L...

R...
L...

R...
L...

& 44

from M.O.M. #271

R...
L...

1

2

&4

Double Vertical Expansion Exercises (two-handed)

L R L R etc...

&
6

10

Expansion Exercise No. 1 with Chord Progression

&

Cm

VI

C&

Am

C7

I&

vi

I7

&

# #

Fm

iv

b continue
in circle of 4ths
b

Keys

Peas and Carrots

Anthony J. King

Variations include any lateral permutations (double or triple)

q = 60-100

& 44

? 44

2
& 4
? 42

? 2
4

& 43

#
#

&

b b

? b b

##
##

b b

b b

continue up to C

continue down to C

continue down to C

continue up to C

b b

continue up to C

Fun V2.5

in all keys and modes

& 44

4 3 2 1 etc...
vibes 3 3 1 1 etc...

68
68

b b

n
b

bnn

continue up to C

? 3
4

? b

? 6
8

#
#

#
# #

(a la 6-3-2-1)

68
&
{

4 3 2 1 2 3 4 3 2 1

? 4
Timp.
4

?3
4

1 2 3 4 etc...
1 1 3 3 etc...

68
42
42

The Elks May Know...

Two or Four Mallet

(Pedal-Ninja)

Circle of 4ths
C x = 68 - 110

A. King

2
7
7
16

16
42
Keys & 4

? 2
Timp.
4
4

3 2

1 4

2 1

4 3

7
16

2 1

3 2

1 2

43

4 1

2 3

1 2

3 4

1 2

7
16

4 3

2 1

42

7
7
2
16
43
16

? 2
7
7
j
j

16
43
16
42

2
{& 4

2
{& 4

Bb

? 2
4 b

2
{ & 4 b
? 2 b
4

b b

2
{& 4

b b

Eb

Ab

? 2
4 b

b
16
7 b 43 b
7
2

16 b b 4

j
7

7 b

16
b
43 b
16
42
J
b
7 b b 3 b b b

7 b b
b
16

16 b
4
b

7 b
16

b
J

43 b

7 b
16

7 b b 43 b b b b
7 b
16

16

b b

j
7 b
j
7
b

16
43 b
16
b
b

b
Db
7 b b 3 b b b
2
b

7 b b
b
16
16 b
4
b
{ & 4 b b
? 2 b
b

7 b
3 b

7 b
b
16
4
16
4
J

2
{& 4

Gb

b b
? 2 b
4

2
{& 4 ?
? 2
4?

b b

7 b b b 43 b b b b b b
b 16

b
b
b

b
b
7 b
b
b
16
J
43
b

Continue with B, E, A, D, G

?
?

?
?

?
?

7 b
16
b
7 b
16

b b
j
b

7 3
2
7
2

16
4

16 4
{& 4
? 2
j

7
7

4
16
43
16
42

J
Circle of 5ths
C

7 43
16

? 2

16
J
43

D
# 7 # 3 #
2

#
16
4
{ & 4 #
2
{& 4

? 2
4

7
16

2
#
{& 4 #

? 2
#
4
A

2 # #
&
4
{

? 2
#
4
E

#
{ & 4 # #
? 2
#
4
B

{& 4
? 2

4
C

7
16
#

j
7
#
16

#
#

7
#

3
#

16 #
4
#
#
j
7 #
#
#
16

43

7
16
# #
7
#
16
J

#
#

7
7 #

# 16
16
43

#
#
7
3
7

16
4
16
J
J

7 43
16
7
16

7
2
16
# 4
7
#
16
42
J

7 # 43 #
16

#
7
j

#
16
43

Continue with F#, C#, G#, D#, Bb, F

2
?
{& 4 ?

? 2
4

43

7
2
16

4

j
7
16

42

11

16

11

43
16
J

44

44 j

Wrist Stroke Studies

10

Charley S. Wilcoxon

Racine Scouts 2012

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