Iowa All-State Auditions 2016

It’s that time of year again!  All-State audition materials are posted and I have a series of videos and brief thoughts on preparing the materials this year.

Video performances of all the material can be found here.

Snare Drum: Cirone, Portraits in Rhythm #39

This solo is all about meters and roll subdivisions.  Many of the sections look far more complex than they truly are, and present an intellectual challenge more than a technical one.

Dynamics:  There are four dynamic levels in the piece. ff, f, mf, pp.

• ff: a clearly larger resonance than f
• f: comfortable, a little lower than I use in other etudes
• mf: 3/4 of the way to the edge, lower than I use in other etudes
• pp: about 1 inch off the edge.  Not the softest I can play, clear snare response.

Roll Speeds:  Triplet subdivision on each 8th note, 32nd note subdivision on single 16th notes.  Dotted 8th notes are a combination of these: Two 32nd notes followed by a triplet.  I practiced all rolls without buzzing first, so I could be completely certain of my timing, then added the buzz strokes in after.  In lines 6 and 7 the dotted roll rhythms took some work, and I ended up “flexing” the subdivisions a bit to keep the sound smooth.

Meter changes:  Generally the meter changes in lines 3, 6, 9, and 11 are more visually confusing than anything else.

• Line 3: write in the sticking of each accent and ignore the bar lines.
• Line 6: The 3/8 and 3/16 bars are a triplet rhythm repeated three times.  Use a sticking like (L RL R) and repeat three times to get through it with consistent time.
• Line 9: Write out the sticking of the this whole line and ignore the bar lines unless they help you.  I personally stick the first measure (R RL R L) and then proceed alternating RLRL the rest of the way.
• Line 11: Show the audience/judge the pulse by bobbing a bit on counts 1 and 3 of each bar.  |1 … 3… |1… |1… 3…|1.  This helped me maintain my consistent time and leaves no doubt about where YOU know the beat is.

 

Marimba: Etude #1 by Stan Dahl

This piece looks very complex but a bit of analysis will reveal a few harmonic tricks that make the solo fairly easy to conceptualize and memorize.

Dynamics:  There are four dynamic levels in the piece. ff, f, mf, p.

• ff is only the last note and has an accent.  I hit both notes together and roll comfortably for the duration, more like a wind player might sustain a long accent.
• f is mostly in the beginning and has accents.
• mf is the top of a lyrical line and begins the final passage with accents
• p is the starting dynamic for several falling runs and the base level for the lyrical section.  I set it at a “lowest fully resonant” level where I can hear the resonators responding to the bars.  It’s possible to play below this level and I make sure not to in this case.

Opening Section (m1-19):

• m1-2, 5-6 are diminished triads.  I use 2 mallets and stick them LRRLRRLR
  • I learn the note patterns at mf with no accents for a smooth sound
  • then bump the level up to f with no accents for smooth sound
  • THEN I add an arm push on each accent and focus on that smooth sound after
• m3 is a series of whole-tone runs.  Right hand starts each grouping.
  • Get the starting notes first, all right hand F/E/Eb/D
  • “Puzzle-Solve” without staying in time to accurately find all the notes
  • Play each grouping from the 5/16 bar back to the beginning at quarter = 110
• m7-12 is the same speed 16ths, but in triple meter.
  • I use the same LRR sticking concept from before, but now there are no accents
  • m9-10 have a “pull” motion down from Eb to F
• m13-19 long Eb Major line rocking down from G/Eb to F/D
  • Play an Eb major scale all Left Hand from Eb down two octaves to D
  • Do the same thing all Right Hand from G to F
  • “Puzzle solve” without staying in time, notes as written
  • Set metronome to 440 for the 16th note speed.  Count each grouping of three notes as you play to get the timing of the last 3 notes.
  • Final roll is only three 16ths long.  Fermata is on the REST, not the ROLL.

Lyrical Section (m20-27):

• Switch to 4-mallets.  Any grip will do.  Something soft, as noted.
• Learn the whole section at the marked tempo of quarter = 75
  1. Play all rolls as 16th note block chords, all 4 notes at once
     • Focus on tone, phrasing and timing as if it was the final product
     • Lowest p level comes up and falls away from mp and mf smoothly
  2. Play all rolls as alternating 32nd notes, left hand first
  3. THEN relax the hands and alternate the rolls freely, maintaining the pacing with the metronome
• m23 play the rolls with the lowest three mallets

Final Section (m28-29):

• Switch back to 2-mallets
• The notes are an F13#11 chord… thats just every other note from F to D.  No flats.
  • The starting pitch of each set is F,A,C,E
• I learn the notes all at mf, no accents
• then add the crescendo, still no accents
• THEN add an arm push for the accents as before, listening for the smooth crescendo
• The final note is a heavy accent, with a relaxed roll after.  Check the tempo, it’s short.

 

Timpani: Etude #6 by Barry Dvorak

A typical assortment of cross-sticking and rhythm changes, but with the added challenge of producing a clear tone with brushes and wood mallets.

Drum Sizes: I recommend the top three drum sizes, 29″, 26″ 23″.  This is will put the pitches in the low range where they will be more resonant with the brushes and wood.

Tuning: Starts F C E, goes to G C G.

• Set C first.
• Sing that C into the low drum and pedal from the bottom, the 5th harmonic will sing back at you and then it’s mostly in tune.
• Sing the C again and use a song like “3 Blind Mice” to get the high drum
  • C is “mice”, E is “Three” in the song.
  • A Major 3rd needs to be 14 cents flat to be truly in tune.  Be very careful not to set it too high.
• For the second set of pitches keep the C and sing a G into it.  That 5th harmonic will sing back when it’s exactly right.
• Keep singing that note and move to the top drum, then the bottom.

I strongly suggest marking gauges with these pitches.  They are not allowed for the audition but you can use the markings to memorize pedal positions as you practice.  Go back and forth and double check the tuning over and over until you can quickly hit the changes without needing any extra reference pitches.  At most tap with your fingers to confirm the pitches as if you were trying to stay silent in a performance.

Brushes: I recommend a “Steve Gadd” type of brush, with the last 1.5 inch bent slightly.  This can be bought from Vic Firth or made from straight metal brushes by pinching the ends with a needle nose pliers and pressing them gently on a table.

Wood Mallets: I recommend the smallest mallet heads possible.  I recorded with very small headed mallets from Tom Freer, but the Haas wood mallets from Promark would be a good option as well.

First Half – Brushes:

• Dynamic is mp.  The brushes will basically take care of the dynamic, as they will not be very loud.  There are no phrase indications, so to add line and direction a good option is to give the subdivisions differing weight and character.
  • 8th notes and larger are the heaviest
  • Triplets are lighter and flow more smoothly
  • 16ths are lighter still and have a choppy feel
  • 32nds are the lightest and are basically grace notes
• Stickings are all over the place.  Check the video for specific solutions, don’t hesitate to use crosses or doubles anywhere as long as the tone is consistent.
• I recommend dampening the last measure as follows:
  • Dampen the top drum as you play the last note /w Right Hand
  • Dampen the bottom drum right away after /w Left Hand
  • Dampen the middle drum on the 8th rest as indicated /w Right Hand

Second Half – Wood Mallets:

• Dynamic is f.  Wood mallets will again take care of the dynamic, just play light and consistent.  Same phrasing ideas as in the first half.
• Stickings are still all over.  I start this LR LRLR, with beat two as a cross over.  The rest is pretty negotiable, many ways to do it as long as the tone is steady.
• I recommend dampening the last measure exactly as before.

 

Tambourine: Etude by Aaron Williams

A collection of techniques.  Lots of solutions.  The limited dynamic range of some tambourines makes clarity the big challenge.

Dynamics: There are three dynamic levels in this piece. ff, f, pp

• ff: arm weight added
• f: wrist mostly, the weight of the hand
• pp: play with fingers, dampening the head with the heel of the hand or on the knee

Techniques: Finger roll, Shake roll, knee/fist (or similar), knuckle (marcato accent)

I won’t go into the details of how to do each technique.  Simple guidelines:

1. Practice the techniques you use apart from the music
2. Practice the isolated moments in the music until they are exactly what you want
3. String the different parts together, maintaining the level of execution

 

Crash Cymbals: Etude #2 by Aaron Williams

Dynamics and rest interpretation.  Hardcore stuff.  Lots of preparation needed before learning the actual notes.

EAR PLUGS RECCOMENDED

Dynamics: There are five dynamic levels in this piece. ff, f, mf, mp, p

• ff is only one note and is accented
• f appears throughout and is both accented an non-accented
• mf appears throughout and is both accented and non-accented
• mp is the last note and begins a crescendo
• p begins a crescendo

1. Practice 5 dynamics of non-accented crashes, using mostly the top hand only.
   • Sets up a base level for dynamics in the piece
   • Develops physical control of the cymbals
   • Improves listening to the tone at each dynamic level.
2. Add the bottom hand to the f and mf levels for accents.
   • Resonates differently than “top hand only” notes
   • Sounds and looks like accents, not new dynamics
3. Practice isolated moments like with tambourine, cleaning and listening for tone.
4. Connect each moment together, maintaining the level of execution.

Dampening: It’s not 100% clear, and not 100% advisable to dampen everything.

• I recommend dampening everything on the rests with the following exception.
• m6 dampen the first rest from f and then do NOT dampen on the crescendo.

Having a clean, clear sound is a huge challenge with cymbals.  This etude is a great way to develop that.

The audition seems large, but if taken methodically, can be completed long before the auditions.  I’m always available to answer questions, so leave comments and questions and I’ll do my best to help!

Thanks for reading!  Good Luck!