2021 Front Ensemble Audition Packet

Contents

Introduction

Audition Information

Technique and Fundamentals

Practice Tips

Rehearsal Etiquette
 Introduction
Welcome! My name is Garrett Mayfield and I am the Front Ensemble
Coordinator for Rhythmic Force Percussion 2021. First, I want to thank you for your
interest in being a part of our ensemble! This packet will provide you with information
regarding the technique, music, and style that we use here at Rhythmic Force. The
most successful auditionees will use this packet to hone in on what it is we are looking
for in our musicians and performers.
 
Being a part of an ensemble such as this will require dedication and hard work, but not
without moments of passion and fun. The expectation for not only the members, but
the education and design staff alike is high. From the start of our season in September
to the end of it in April we will consistently strive to overcome our own limitations and
become the best versions of ourselves both as people and performers.
 
The goal of these auditions is to get you aligned with our standards, techniques, and
styles that we use while also assessing your overall skill level as a player and
performer. I encourage you to study these exercises and apply the techniques we use
to them. Most of all, I hope that you become familiar enough with the music in this
packet that come audition day you are able to let the true performer inside of yourself
set you apart from the rest. We look forward to seeing you at the camps!
 
For any additional questions email either myself or the Ensemble Director.

• garrett@rhythmicforce.org
• jordan@rhythmicforce.org

Good Luck,

Garrett Mayfield
Front Ensemble Coordinator
Rhythmic Force Percussion 
 Audition Information
Things to bring to auditions:
• Binder with music 
• Mallets
• Personal Metronome
• Earplugs, if necessary
• Heavier Mallets for the ground
• Athletic clothing 
• Sneakers
• Payment, if not paid online

Successful auditionees will demonstrate the following: 

• Good/positive attitude with all staff and peers
• Steady sound quality 
• Rhythmic accuracy 
• Tempo maintenance 
• Rudimental facility
• Fearless chops
• Maturity and plasticity 

The audition will be broken down into sub-sectional rehearsals, a one-on-one, and a
visual (marching/dance/choreo) portion. We will cover technique and fundamentals
during the subsectional rehearsals, and you will be asked to demonstrate more
advanced skill sets in your one-on-one. A word of advice is to practice sight-reading
EVERYDAY! This will help build musical vocabulary and furthermore, guide you through
the music learning process down the road. 

All front ensemble players:

• Be familiar with the packet and its contents for your instrument
• Everyone will play Etude 20 listed in the packet, except piano/ synth players
• Piano/ synth players, please prepare a short excerpt of your own choosing

Drumset Players:
• Prepare all material in packet
• Be familiar with different styles and patterns to showcase your ability
• Prepare additional drumset material listed (permutations and groove studies)

Auxiliary Players:

• Prepare all of the material listed and be ready to play it on a variety of

instruments.
• Aux Players will need to prepare Etude 20 and 21 listed in the packet.
 Technique and Fundamentals
The following will serve to unify a technique for a majority of your front ensemble
playing with Rhythmic Force 2020.  Now, that being stated, nothing will be absolute
and we want you to be flexible. There will always be an exception. My hopes are that
you will learn to expand your toolbox. The more tools you have in that toolbox, the
better you will become as a musician. 

You will be able to play relaxed, with force, with upstrokes, with downstrokes, using
front fulcrum, using back fulcrum, using middle fulcrum, with an open hand, with a
closed hand, with controlled strokes and with rebounded strokes¦ and everything in-
between! As a musician, you should be able to play MANY different ways. Yes, we will
approach the majority of our playing with a specific technique, but we will always call
on a variety of different motions to help achieve our desired SOUND. 

Stance
Feet should be shoulder-width apart with a comfortable bend in the knees. Give
yourself some space from the instrument. DO NOT stand with your feet together while
playing. You will need to be able to shift your weight from leg to leg depending on your
position within your given musical passage. This will be physically impossible if you
keep your stance narrow. 

2-mallet grip
The majority of the time the grip will be secure and consistent. You will use a middle-
fulcrum approach for the majority of your 2 mallet playing. The hand will be closed in
the back fingers but not tightly enough to restrict some give when playing faster
passages. Focus on a full range of motion in the wrist while still allowing the arm to
move, but not necessarily allowing the arm to contribute to the stroke itself. 

4-mallet grip
This same open approach to the hand remains true when playing with the 4-mallet,
[stevens] independent grip.  All players will play with an independent grip using some
elements of the L.H. Stevens technique as explained in his book: Method of
Movement.  We will explore and define the four basic hand movements and apply them
to OUR method. 

This will all be centered around one concept: RELAXED! :)

As with any instrument, there are multiple elements to sound production.  These are the
four elements to sound production we will focus on at Rhythmic Force:

1. preparation (breath) 
2. attack (contact)
3. the release 
 4. approach

Prep
This will be a preparation to the attack. The mallet will rest in a down position about one
inch away from the bar. The prep comes from lifting one inch from the down position
and back, moving crisply in time. Depending on the tempo this could either be in eighth
notes or quarter notes. Preps are for the ensemble and should be small enough to
hardly be noticeable for the audience. 

Attack
This is the precise moment in which the mallet makes contact with the bar. The amount
of velocity placed behind the mallet will depend upon the musical passage. Sometimes
the velocity will be quick. Other times the velocity will be slower with a smoother, legato
approach. 

Release
The release will mainly serve a visual purpose. It will be defined per the musical
passage, but usually your mallets will return to a playing position immediately following
the last note of a phrase or exercise. You will need to lift the mallet creating a ˜rebound
feel and look.

Approach
Although this is the very FIRST and most important aspect of your playing, I chose to
list this last because it should be the aspect that requires the most thought. The
musicians approach to his/her instrument is everything.

Before playing a note, ask yourself:

• How do I approach my instrument?  How have I been instructed to approach my
instrument? 
• What is my attitude toward my playing, my fellow musicians and my music?
• What SOUND do I want to hear when I play my instrument?
• What do I want to physically FEEL in my hands when I play my instrument? 
What have I been instructed to feel? 
• Am I adapting throughout the rehearsal?  
• Am I relaxed?
• Am I playing with my neighbor?
• Can I even HEAR my neighbor?
• Am I contributing to the ensemble sound?
• Am I open to making adjustments? 
• Am I adjusting WHILE I PLAY?
 Practice Tips
• Practice with a plan. If you do not have one, create a chart. 
• Allows you to be smart and methodical about your approach, which leads to
efficiency. 
• Practice those things you cannot play perfectly. 
• Make EVERYTHING you play sound perfect and feel good! 
• Practice on a keyboard. 
• There is no substitute for the chops you will gain practicing on an actual
instrument
• Practicing on the ground helps build chops and tempo control as well.  
• Practice with a metronome. 
• As a percussionist, tempo control is crucial and should always be a top priority. 
• Constantly evaluate and critique. 
• You should critique how you sound, look, and feel. 
• Constant self-evaluation is important in your development as a musician/
performer. If something is not right, you should have the tools to diagnose the
problem. Find a solution (practice tip) and fix it.
 Rehearsal/Etiquette
• Ensemble director will go over more details when you arrive
• Consistency of approach equals consistency of result. 
• Practice/rehearse with a purpose no matter whether you are alone or with a group. 
• The group most prepared will succeed every time. 
• Keep an open mind and be respectful of your surroundings. 
• Be respectful of the staff and TRUST THE PROCESS.