Siloam Springs Percussion

Audition Packet

SNARE
 Audition Process
Individual Audition - Will occur by request of the director

During the individual audition, you will be asked to perform exercises from this packet. Be
prepared to choose your own tempo for each exercise. It s important to maintain a consistent
tempo as well as demonstrate good sound quality and rhythmic interpretation. ​DO NOT
attempt to play the marked tempo if you cannot achieve excellence at that speed! Playing an
exercise 15 bpm slower but correct is much better than playing at tempo and not succeeding.

Preparation

-The success of your audition will be directly related to the level of preparation of the
audition material
-Use a metronome!!!!
-Be able to mark time to all of the audition material

Audition

-Please do not be afraid to ask questions if you are confused or need further direction!
-Your ability to stay mentally engaged throughout the audition is crucial to your
performance in the audition
 FUNDAMENTAL TECHNIQUE - MUSCLE GROUPINGS

All strokes are produced using either one of or a combination of three different muscle
groupings.

Arm - Characteristics: ​Slow, inefficient, full sound quality

We ll often use arm when we re trying to keep from rushing slower rhythms, or to create full
dynamic moments. We ll also use arm to help power through high energy rudiments such as
very fast double stroke rolls. Note that arm movement is produced entirely in the elbow
joint. The shoulder should never be activated, and biceps should always remain relaxed.

Wrist - Characteristics:​ Medium speed, large dynamic range

Think of the wrist as the workhorse of our technique, we ll use some amount of wrist turn in
almost every stroke. With faster, more delicate strokes, we may layer in some finger (see
below), and with slower fuller strokes we may layer in some arm. Only at the extreme ends of
the speed and dynamic spectrum will we completely eliminate wrist turn, this almost never
happens. Note that wrist turn is different depending on your instrument. Tenors and snare
right hands will use a knock on the door type wrist turn, while bass drums and snare left
hands will use a turn the door knob type rotation.

Finger - Characteristics: ​Quick, efficient, light sound quality

Fingers are the smallest muscle grouping that we can borrow from. Sometimes referred to as
fast twitch muscles, they can help us produce a great amount of speed. The tradeoff is that
they aren t particularly good for producing a full sound. It s very important to recognize the
difference between using fingers to motivate a stroke, and simply squeezing the stick. The
former can produce properly rebounded strokes very quickly, the latter can only slow us
down and create choked off sounds.

General notes

Our goal is to simultaneously achieve perfect uniformity in technique, approach, sound

quality, rhythmic interpretation, and dynamic clarity
Always strive for a big quality of sound as you play. From 3 to 15 we always push to
create good sounds from the drum
Challenge yourself to play with a relaxed physical feeling in your entire body
Allow the stick to resonate in your hand. Relaxed is the key
Always have a big upper body behind the instrument
Never be afraid to check yourself while you are practicing. Make sure that you are
maintaining consistent sounds and approach
Practice as much as you can in front of a mirror and record yourself playing so that you
can have a greater understanding of your tendencies
 STROKE TYPES

Key Points
Two different types of strokes are Full (Legato) and Down (Marcato) strokes
Always lead the stroke from the bead of the stick. (No Moeller strokes)
The right hand should be a hinge motion (As if you were knocking on your friend s
door, this is the primary right hand wrist motion)
The left hand should rotate like you are turning a doorknob
The main focus for both hands is a wrist turn, but allow the wrist, fingers, and arms to
work together to create a full and relaxed sound
Minimize human interference by allowing the stick to rebound and be as efficient as
possible
Let the stick breathe at all times in your hands. There will never be a time this season
where you will squeeze the drum stick

Full (Legato) Stroke

Think 8 on a hand. Completely relaxed
Sticks start and stop at the same point, letting the stick rebound back naturally
Let the rebound do all of the work

Down (Marcato) Stroke

Think tap accents
This should sound the same as Legato strokes and the ​only difference is after the
stick hits the drum
Once contact is made with the drum stop the wrist motion and deny the stick to
rebound back to the initial height
DO NOT squeeze to achieve a Marcato stroke!!!!!!!!!

DYNAMICS

The Siloam Springs dynamic system includes specific heights, allowing each member of the
ensemble to have a visual reference point for the selected passage. While the techniques
might change from height to height, ​the approach never changes. The sticks will never
travel past vertical but we will raise the arm to achieve visual volume heights

Height definitions

pp - 1/2 (grace notes)

p - 3 (taps)
mp - 6
mf - 9
f - 12 (vertical Sticks; full wrist turn)
ff - 15 (additional arm extension)
Above 15 will be defined for specific visual volumes
HOW YOU SHOULD FEEL WHEN YOU DRUM

As you play, you should always strive for a relaxed

physical sensation. The stronger a player you are and the
more chops you possess, the more efficient you become,
hence, the more relaxed you are.

A relaxed hand allows the stick to resonate and

produce a pitch conducive to a relaxed, open sound.
Physical relaxation also pertains to your brain and state of
mind.

No matter what the musical or physical responsibility at

any given time, through practicing GOOD habits and
utilizing the descriptors above, you are setting yourself up
for success by having peace of mind and a strong mental
approach to your playing.

This approach allows you to be more consistent as a

player and musician. When you play, try and breathe
comfortably. By learning to breathe naturally while
playing, you will achieve a more relaxed, healthy sound
and approach, regardless of the difficulty level.

IMPLEMENT GRIP

A great quality of sound and approach to the drum starts with the grip of the stick. In order to
produce a full, resonant tone from the drum, it is important that your hands maintain a relaxed
grip around the stick at all times, allowing the stick to resonate in your hand.

If you hold the stick too tightly, you dampen the stick s natural vibrations and choke off
much of the sound, leaving you with a very thin quality of sound. Also, the brunt of the impact
from the stick striking the drum will be transferred directly into your hand, which can lead to
unnecessary injury.

Always let the sticks breathe in your hands.

MATCHED GRIP

The fulcrum is located between the thumb and the index

finger. This is the point from which the stick pivots in your
hand. This pivot point should be located at the optimal
balance point of the stick and is generally located about 1/3
up the length of the stick from the butt end.

We use different fulcrums for different roll speeds.

When playing a moderate roll (typically a triplet roll

132bpm-180bpm) we use what we call the middle of the
hand. Here you will apply pressure between the thumb,
pointer, and middle finger. We also call this the “power trio.”

This allows for a warmer, more open sound. When playing

extreme roll speeds we will go to a front fulcrum only. Here
you will apply pressure between the thumb and pointer finger
only. This is typically reserved for sixteenth rolls or extremely
fast triplet rolls (180bpm +).

The palm of your hand should not be flat to the drum (German Grip) nor should the thumb be
completely on the top of the stick (French Grip). The crease created between the thumb and the
index finger should be turned to an approximate 45-degree angle. This offers the best benefits
from both the German Grip (full wrist turn) and the French grip (easy engagement of the
fingers).

PLAYING POSITION

A proper playing position begins with finding an appropriate drum height.

With your arms relaxed by your sides, raise your left hand from
the elbow until your forearm is slightly below parallel to the
ground. With the stick in your left hand and the bead of the stick
in the center of the drum, put the width of two fingers between
the rim of the drum and the stick to establish the proper drum
height. Next, simply raise your right hand to the drum, matching
the fulcrum point of the right hand to the fulcrum point of the left
hand, making sure the stick angles down to the drum are the
same.

Simply put, to generate the same sound from each hand, each stick must strike the drum from
the same pivot point.
The beads will always remain in the center of the head, resting 1/2 inch apart and 1/2 inch off of
the head. It is absolutely essential for the beads to remain in the exact center of the drum at all
times. If the sticks are not striking the drum in the same location, then they will not produce the
same sound.

Looking down at the drum, the angle created by the

sticks (the “V” shape) should be slightly less than a 90
degree angle.

Again, the left hand makes a good starting point. Think

of your left hand as a natural extension of your arm by
keeping a straight line from the tip of your thumb
through to your elbow, with your elbow hanging a few
inches from your side. The half of the “V” your left stick
creates should be mirrored by the right stick. Avoid
any awkward bends in your right wrist by keeping your
fulcrum point on a straight line through to your elbow
as well.

Don’t take this too far, however. You don’t want unnecessary tension in your shoulder and/or
upper arm. This will give the stick a slight downward angle (with your wrist being higher than the
bead), yet still allow the meaty part of the bead to make contact with the drum.
 Loosey Goosey_2024

         3      3
Micaiah Barnett

 = 120
A

Snare Line   
                                
3 3 3 3

 R...

         3      3
R...

                                  
L...
3 3 3 3

Tenor Line

  
 R...

            
R...

       
9

            
L...

Bass Line                
3
3


3


                          3    3
2

S. L.            
4 3 3 3 3

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

     3    3    3    3    3
                               
3

T. L.

      9 
L... R... L... R... L...

         
                            
6 6

B. L.          
6 6

 3  3  3  3  3   3   3   3   3   3   3   3 
                                    
S. L. 
7

R... L... Sim. R R L L...

 3  3  3  3  3   3   3   3   3   3   3   3 
 

T. L.                                     
R... L... Sim. R R L L...

    
 


                    
6


6
6 6 3 3 3 3

B. L.


                                 
3

S. L. 
                       
10
B

                               
R... L... R R R B B B L L L B B B R R R B

                                
apply arounds

T. L.
R... L... R R R B B B L L L B B B R R R B

                 
                       
B. L.
 R...  
L...


          
 
  
  
  
  
  
  
  
  
 
 
  
  
S. L. 
14

                  
L... R... L L L B B B R R R B B B L L L B

       
                               
T. L.  
L... R... L L L B B B R R R B B B L L L B

                    
B. L.                                    
 R...
RH drum R... L...
LH rim
         
4

                        
18
C

S. L.
R... L... R R R B B B L L L B B B R R R B
     

T. L.                                 
R... L... R R R B B B L L L B B B R R R B
   

 
 
Philantros

B. L.                         
 R... L...    
   

                                
S. L. 
22

L... R... L L L B B B R R R B B B L L L B
     

T. L.                                 
L... R... L L L B B B R R R B B B L L L B
 


   

B. L.                                         
R L


       
                
5

                  
D

S. L. 
26

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

            
T. L.                         
R... L... R...

        
  
Bunny Hops Laser

B. L.                   


  
 



 




            
                       
S. L. 
29

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

                  
T. L.                                 
L... R... L...

                 
 
Hand-to-hand

     
Goblins

                   
B. L.

        
6

S. L. 
         
33

      
T. L.            

      
     
Split 2s

        
Inverted Goblin

B. L.   

 ABC
BD 90
 = 124

MDL Snare Line                                  

MDL Tenor Line                                    

RR RR RR RR R R L L L L L L L L L L RR RR R LL LL L

   
MDL Bass Line 5              
RR RR RR RR R R RR RR RR RR R R RR RR R LL LL L

S. L.                
R RR RR RR RR R

T. L.     
            
L L R R L R R R R R R RR RR RR RR R
R R L L R L L L L L

         
B. L.  
R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R RR RR RR RR R

S. L.                  
L L L L L L L L L L R R R R R L L L L L

              
T. L.   
L L L L L L L L L L R R R R R L L L L L

     
B. L.         
R R R R R R R R R R R R R R R L R L R L R L R R R R R L R L R L R L
2
8

S. L.                  
R R R R R L L L L L R R R R R R R R R R

T. L.                 

R R R R R L L L L L R R R R R R R R R R

left hand on rim

B. L.                                    
R R R R R L R L R L R L R R R R R L R L R L R L R R R R R R R R R R

10

S. L.                          
L L LL LL LL LL R R R R R L L L L L R R R R R L L L L L

T. L.                                               
L L LL LL LL LL R R L L R R L L R R L L R R L L R R L L R R L L R R L L R R L L

B. L.                                    
R R RR RR RR RR R R R R R R R R R R R R R R R R R R

13

S. L.    
R

T. L.    
R

B. L.    
R
MDL Snare Line ABC
BD 90

 = 124
                             

              

R RR R R RR R R R L L L L L L L L L L R R R RR L L L L L

              

R RR RR L L L L L R R R R RR RR RR L L L L L L L L L L

11

                 
R R R R R L L L L L R R R R R L L L L L R
 Springs of Ireland Christian Leon/Amber Jones
Taylor Cotroneo

12 j j j j j j j j j j j
S ã 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
f
R R R R R R R R R R R R R R R L R L L L L L L L L

j j j j j j j j j j j
T
12
ã 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
f
R R R R R R R R R R R R R R R L R L L L L L L L L

12 S Sj S Sj S Sj S Sj S Sj S Sj S Sj S S S S Sj S Sj S Sj S Sj
B ã 8
f
R R R R R R R R R R R R R R R L R L L L L L L L L

j j j j j j j j j j
S 㜠œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

j
L L L L L L L R L R R R R R R R R R R R R R R R L R

j j j œ œj œ œ œ œj œj œ œ œ œ ‰ œ œ œ ‰ œ œ œ œ
T ã œ œ œ œ œ œ œ œ œ
L L L L L L L R L R R R R R R R R R R R R R R R R L R

j j j œ œj œ j j j j j j
œ œ œ
j
B ã S S S S S S S S S œ œ œ œ œ œ œ œ œ œ
L L L L L L L R L R R R R R R R R R R R R R R R R

j j j j j j j jj j
S ã œ œ œ œ œ œ œ œ œ œœ œœ œœœœ œ œœœ œ œœœœ
L L L L L L L L L L L L L L L R L R R R R R R R L R

j
œ œ œj œj œ j j
ã œ œj œ j
œœœ‰ œœœœ œ
T œœœ ‰ œœ
œœ
œœœœ

j
L L L L L L L L L L L L L L L L R L R R R R R R R L R

œ œ œj œ œj œ j j j j j œœœ
B ã œ œ œœ œœ œœ œœ ‰œœœ‰œœœ‰
L L L L L L L L L L L L L L L L R R R R R R R R R
©
 2 Springs of Ireland

jj j jj j j j j
S 㜠œ œ œ œ œ œ œœ œ œœ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ
L L L L L L L R L R R R R R R R L R L L L L L L L R L

j j j j j j
œ œ j œ œ œœ œ œœ j œ œ œœ œ œ œ j œ œ œ œ
T 㜠œ œ œ œ œ œ
L L L L L L L R L R R R R R R R L R L L L L L L L R L

B 㜠œœ ‰ œ œ œ ‰ œ œ œ‰ S S S S S S S S S S S S
p f p f f p f p
R R R R R R R R R R R R L L L R R R L L L

j j j j j j
S 㜠œœœœœ œœœœ œ œœœœœ œœœœ œ œ œ œœœ œ œ œœ
j
R R R L R L L L R L R R R L R L L L R L R R R L R L L L R L

j j j œ œ j j
œ œœœœœ j œ œ œ j
T ã œœœœ œ œœœœœ œœ œ œ œ œ œ
R R R L R L L L R L R R R L R L L L R L R R R R R R R R

œœœ œœœ œ œ œ
B 㜜œ œœœ‰ ‰ œ œ œ ‰ œ œ œ ‰ ‰ ‰ ‰ œœœ ‰ œ œ œ‰
f
L L L L L L L L L L L L L L L L L L L L L L L L L L L

j j j j > j j
S 㜠œ œ œ œ œ œ œ œ œ œ œ œ œ x œ œ œ œ. Œ. Œ. Œ.
j > > >
R R R L R L L L R L R R L L R L L L R

œ œ j j x x x
j j
œ œ œ œ œ. Œ. Œ. Œ.
œ œ œ
T ã œ œ
œ œ
L L L L L L L L R L L R L L R L R

B ãS S x S S S x S S x S S S. Œ. Œ. Œ.
R R L R R R L R R L R L R
 Trip2
  = 152

Snare Line
                 
                              

repeat on 7, 9, 13, 15 patterns

Tenor Line
               
 
                             

  
Bass Line
 
 
                                

RH Unload RH Pancakes RH Bucket RH Bishop RH Pop reload LH Unload LH Pancakes

 
Cymbal Line                


8
                                                                        
S. L. 

T. L.
                                                              
   

      
B. L.
        
                          
    


LH Bucket LH Bishop LH Pop reload B Unload B Pancakes

C. L.  
           

 14

S. L.
                     


T. L.                      

    
B. L.
  
                               

B Bucket B Bishop B Pop reload B Unload RH Waffle in LH Waffle in B Bucket B Reload

C. L.  
             


21

S. L.
 
                                              
         

     
T. L.         
 
            
      
        
         

     
B. L.
              
          
                          

Prep Orch. Crash hi-hats tap chokes

       
C. L.         
       

2
 Wugudaz
q = 80 - 120+

° 4 œ œ œ œ œœœœœœœœœœœœ œ œ œ œ œœœ œ œœœœœ œ œœ œ œ œ œ œœœœœœœœœœœœ œ œ œ œ œœœœœœœœœ œ

> >6 > >6 > >6 > >6 > >6 > >6 > >6 > 3 >
S /4
R R R R R l l R l l R l l R l l R R R R R l l R l l R l l R l l R L L L L r r L r r L r r L r r L L L L L r r L r r L r r L

> >6 > >6 > >6 > >6 > >6 > >6 > >6 > 3 >
4 œ œ œ œ œœœœœœœœœœœœ œ œ œ œ œœœ œœœœœ œœ œ œ œ œœœœœœœœ œœ œ œ œ œœœ œœœœœ œ
T /4 œ œ œ œ œ œ œ
R R R R R l l R l l R l l R l l R R R R R l l (R) l l R l l (R) l l R L L L L r r L r r L r r L r r L L L L L r r L r r L r r L

6 6 6
>3 >
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ VVV ¿
6
œ œ œ œ œ œ œ
6 6 6
4
¢/ 4
œœœœœœœœœ œ œ œ œ œœœ œ œœœœœ
B
R R R R R R R R
œ œ œ R R R R R R R R L r r L

° œœœœœœœœœœœœœœœ œœœ œœœ œœœ

5 > >6 > >6 >6 > >6 > > >6 > 6 > > >6 > 6 > > 6 >> 6 >> 6 >> 6 >
S / ‘ œœœœœœœœœ œœœ œœœ œ œœœœ œ œœœ œœœœœœ œœœœœœ œœœœœœ œœœœœœ
R l l R l l R l l R l l r r L r r L r r L r r L R l l R l l r r L r r L R l l R l l r r L r r L R l l r r L R l l r r L R l l r r L R l l r r L

> >6 > >6 >6 > >6 > > >6 > 6 > > >6 > 6 > > 6 >> 6 > > 6 > >
œœ œœ œœ œœœœ œ œœ œ œœ œ œœ œ œ œœ œ œœœœ œœ œ œœ œœ œœ œ œœœ œœœœœœ œœœœœ œ œœœœœ > œ
T / œ œ œ œ ‘ œ œ œ œœ
R l l R l l R l l R l l r r L r r L r r L r r L R l l R l l r r L r r L R l l (R) l l r r (L) r r L R l l r r L R l l r r L R l l r r L R L

> > > > >r6 >r >r6 >r > > >r6 >r > > >r6 >r 6 6 6

¢/ V V V V ‰ V ‰ V ‰ V ‰ V ‘ V V ‰ V ‰ V V V ‰ V ‰ V œ œ œ œœœœœœ œœœœœœ œœœœœœ

œ œ œ
6

B
R R R R L L L L R R L L R R L L
R..
2

°
> >6 > >6 > >6 > 6 > > >6 > 6 > > 6 > 6 >6 >6 >
œœœœœœ¿œœ œœœ œœœœœœ¿œœ œœœ œœœœœœœœœ œœœ œœœ œœœ œœœ¿œœ œ ™‰Ó
9 6 6

S / œœœœœœ ¿œœœœœœœœœœœœœœœœœ ‘
> >6 >¿ > > >6 >¿ 6 > > >6 >¿ 6 > > 6 > 6 >
Rl lRl l Rl lRl l r r l l r r l l r r l l Rl lRl l R l l r rL Rl lRl l R l l r rL Rl r l r l r rL r r l r rL r r l r l l Rl l R

>6 >
6 6

œœœœœœ œœ œœ œœœœœœ œœ œœ œœœœœœœœ œœœ œœ œœœ œœœ ¿ œœ œ ™‰Ó

6
œ œ œ
6

T / œœ œœ œœ œœœœœœœœœœœœœœ ‘ œ œ œ œ
Rl lRl l Rl lRl l r r l l r r l l r r l l Rl lRl l R l l r rL Rl lRl l R l l r rL Rl r l r l r rL r r l r rL r r l r l l Rl l R

> >r> > > >r>> 6 > > >r >r> > >r >r > > L r >r r >r> > >
V ‰™Ó
66 6 6 6 6 6 6 6

¢/ V V V
≈ ¿ œœœœœœœœœœœœ V≈V ¿ V œœ œœ œœ œœ V V ‰ V ‰ V V V ‰ V ‰ V V V ‰ V ‰
œ œ
V‰ V‰ VV ¿
B
R L R L
œ œ R L RL R R L L R R L L R R L L L L R L R
 The Grid
Triplet Grid
> > > > > > > > > > > > > > > > > >
12 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 6 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
SnareLine / 8 8
r l...

7
> > > > > > > > > > > > > > > > > > >
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 9 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ™ Œ™ 4
Snare / 8 4

15 16th Note Grid

> > > > > > > > > > > > > > > > > > > >
44 œ œœ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œœ œ œœ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œœ œ œ œ œ œ œ œ œœ œ œœ œ 24 œ œ œ œœ œœ œ œœ œ œœ œ œ œ
Snare /
r l...

21
> > > > > > > > > > > > > > > >
4
Snare / œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ4 œœœœœœœœœœœœœœœœ

28
> > > > > > > > > > > > >
Snare / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó