DRUMLINE UNIVERSITY OF UTAH GREETINGS FROM THE U! Come join the legacy and. tradition of excellence in. University of Utah!

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1 UNIVERSITY F UTAH DRUMLINE GREETINGS FRM THE U! Come oin the legacy and tradition of ecellence at the University of Utah! We re very happy to welcome you to the University of Utah, home of the Utes, and home to a longstanding tradition of ecellence in performance and scholastic attributes. You can visit us online at and on FACEBK (University of Utah Drumline). The purpose of this packet is to provide you with the information regarding auditions, important dates and philosophies, as well as to inform you about what is epected and what should be addressed in your preparation for the Utah Drumline. The U of U Drumline is PEN T ALL University students: math maors, business maors, engineers, biology students and yes, undecided maors. You D NT have to be a music maor to participate in the marching band. Students attending other higher education institutions (Salt Lake Community College, etc.) CAN and D participate in the drumline. AUDITIN DATES: Saturday, May 6: 9a - 5p Friday, May 12: 6p 9p Saturday, May 13: 8a - 5p WHERE: All events held at the U Campus, David Gardner Hall, School of Music: Have fun, practice hard and have an eceptional attitude in everything you do! We look forward to seeing you at auditions. We sincerely hope to have you as a member of the U Drumline!

2 2 ABUT THE U DRUMLINE The U of U Drumline fields a full battery percussion section of up to 9-snares, 5-tenors, 6-bass drums and 9-cymbals and boasts a modern playing and arranging style. Audition Clinics are FREE and open to all interested students auditioning for the 2017 Drumline as well as future 2018 HIGH SCHL SENIRS and will cover the what, how and why of the U of U Drumline. Starting with stroke fundamentals and finishing with playing eercises / cadences; the camps serve to better prepare you, and thereby increase your chances, for a successful audition for the U of U Drumline. Members must re-audition every year. What to Bring: Sticks, Pad, Downloaded U of U packet in folder, lunch money Please feel free to contact me either through , phone, or appointment with any questions. Looking forward to you being a part of the U Eperience! STAYING UP T DATE / GETTING INFRMATIN FACEBK: You should also LIKE the official Utah Drumline Page as well as the U Percussion Studio page. Suggest liking to other friends and family as well so they can follow you as we go through the season TWITTER: FLLW SUMMER DRUMMIN 1. MNDAY SECTINALS FRM 6-9P throughout summer. Attendance epected if in town. 2. DRUM CAMP: Aug. 2: 6-9p: rientation Aug. 3 Aug. 5: 9a-9p 3. BAND CAMP: Aug (Mostly 8a-5p with 1-2 evenings in stadium) Final Schedule TBD Aug (Mostly 8a-5p with 1-2 evenings in stadium) Final Schedule TBD Please do not hesitate to contact me with any questions. We are looking forward to having you as part of the U EXPERIENCE! Michael Sammons, D.M.A. Director of Percussion, University of Utah mike.sammons@utah.edu

3 3 PHILSPHY The philosophy for the U Drumline is based on leadership, musicianship, teamwork, preparation, responsibility and commitment. We strive to teach and work BEYND ust the drumline. Buying into and demonstrating these qualities throughout the entire season is the key to success. In addition, you must have a positive attitude and be able to get along with others. AUDITINS Auditions are NT designed to be competitive but educational in nature and is an inclusive process, not an eclusive process looking to find everyone their perfect spot!!! Each section will audition together as an entire marching percussion section on a rotating basis, trying various player combinations. Students may be asked to play individually. Results will be posted at various points during the camp. It is highly encouraged that you prepare to audition on various combinations of instruments based on your eperiences and strengths (i.e. bass drum / tenors or cymbals / snare drum). Students are placed according to their personal strengths and NEEDS of the section. Be prepared to audition on multiple instruments within the section. IF you are asked to play something that you haven t prepared, then do your best. The staff KNWS this and is more interested in seeing how quickly you learn, musical aptitude and most importantly, your ATTITUDE towards doing it. Students auditioning on bass drum should prepare multiple parts (#1-5). Cymbal players should pick one of the split parts marked as A and B in the parts. The cymbal line performs various techniques including crashes, chokes, hi-hats, sizzles, crunch, slides, and taps. If you are unfamiliar with these, ust do your best. We will work with you upon arrival. LDGING / MEALS FR CLINICS / CAMPS Students are required to secure their own lodging and meals. There are many choices 1 on campus suggestion: UNIVERSITY GUEST HUSE - U DRUMLINE EQUIPMENT The U DRUMLINE is sponsored by Yamaha marching percussion instruments, Remo drumheads, Vic Firth sticks and mallets, and Sabian cymbals. Snares perform with MS5 (snares use traditional grip); Tenors: Bachman Billy Club ; Bass Drums: Corpmaster Series NTE: You WILL need to bring your own sticks and mallets for auditioning purposes with the eception of those auditioning for bass drum. Sticks and mallets are provided for members by U of U Sponsors through the year.

4 4 WHAT WE ARE LKING FR PREPARATIN Preparation refers to how much and how well your practice. It also refers to whether you have spent time reading and studying the entire packet in detail. Your preparation will determine how confident you are when you play and how well you know the material. TEAMWRK / CLLEGIALITY A team player is someone who is not only willing, but eager to do what is best for the group. Team players embrace their role, regardless of what section they make, and they put their interests of the marching band and drumline ahead of their own. TECHNIQUE Technique refers to grip, stroke, control, and hands. We utilize a RELAXED, REBUNDED philosophy of technique which produces a quality sound at all levels, speed, endurance and playing philosophies that transcend ust the activity of marching percussion (TRANSFER VALUE). MUSICALITY Being a high-caliber drumline, every aspect is very important to completing the final product, but more than anything else, music is what we strive for. Constantly performing and learning, members must be on top of their practice regimens and technical chores within the learning environment. If every member is pushing his or her self musically and technically in their open time, the group as a whole will benefit. Practice how you want to perform. TIMING This is a drumline tempo and timing is a critical aspect of what we do. ur role in the band is the time, and we must always work to maintain that role to its highest level. Know your rudiments, as they are rhythms. Work practice habits with a metronome, and make sure that everything is being played correctly, such as hand patterns, stickings, etc. inconsistencies in variables such as these may cause rhythmic tendencies. Pay attention to these tendencies, and don t work them at tempos faster than your hands can manage; or your practice habits will suffer, and you won t be working as efficiently as you want to be. CHPS This is a college drumline. Chops are a very important part of what we do, and play a key role in keeping up with the fast paced learning environment. Technical strength and proficiency are the basic building blocks of your contribution to the ensemble. The term chops does not mean being able to play every stick trick and backstick in the book; though these are enoyable things, they are not the basis of music-making. Be strong in the basics of rudiments and stickings at a wide variety of tempos, including the very slow ones. Chops are not created within a day or a week; it takes time to build up your hands. CNFIDENCE HAVE FUN! Rela and be confident in what you bring to the table, as every individual has unique traits to his or her personalities and playing styles. Feel good when you play, and it will feel good to the listener. True confidence is a very important thing, and will help tremendously when fitting into the line.

5 5 MEMRIZATIN Memorization demonstrates attitude and confidence. It shows that a person is dedicated to being a part of the drumline and has thoroughly prepared WHAT T BRING T CAMP Printed Audition Packet in 3 ring binder with clear, plastic sleeves Sticks and Mallets (Bass Drum mallets are provided) Practice Pad Pencils Highlighter (BD and Cym.) Appropriate clothing and shoes for outdoor rehearsals (includes hat / sunscreen) Water Bottle Lunch or Lunch Money Friend (fellow senior or unior) that is interested in auditioning for the U Drumline for 2017 or 2018 season. WHAT NT T BRING T CAMP 1. Your own drum (only practice pads are allowed). 2. Non-auditioning personnel (friends and family will not be allowed to attend or watch the auditions) 3. Cameras, video cameras, or other recording devices

6 UNIVERSITY F UTAH DRUMLINE Audition Clinics/Camps FREE and open to interested students auditioning for the 2017 U of U Drumline as well as future 2018 High School Seniors. AUDITIN PACKETS AVAILABLE NLINE AUDITIN DATES: : 9a 5p : 6p 9p : 8a 5p If you are auditioning from out of state, videos of audition material can be submitted to: mike.sammons@utah.edu University of Utah School of Music David Gardner Hall Contact: Dr. Michael Sammons mike.sammons@utah.edu

7 Cymbal Line CLNES MICHAEL SAMMNS A ã c q = PERFRMED AT ALL STICK HEIGHTS: 3", 6", 9", 12", 15" 5 ã.... r r r r B ã.... r r r r 15 ã.. r r 2 «C STICK CNTRL 19 ã.... t A B A B A A B A B A B A B.... t B A B A B B A B A B A B A 23 ã.... Œ ALL t. Œ t. t t.. r t t Œ T. D 27 ã t t. t.. t. t A B A B A ALL Œ Ó

8 CLNE WARS MICHAEL "DJ" MCINTSH MICHAEL SAMMNS q= A ã ã B ã C ã D ã 4 3 E 3 3 F 2 ã «A B A B A B A B A B G ã t t A A B B Œ Ó CRUNCH

9 CYMBALINE PARA BUCKS / FR DAYS MICHAEL SAMMNS BRET KUHN q = A GALLUP ã 4 4 A B A B A B A B t t t t A B A A B A A B A A B A t t t t A B A A B A A B A A B A 4 ã A/B A B A B A B A t t t t B A B B A B B A B B A B t t t t B A B B A B B A B B A B 7 ã B/A B A B A B A B t t t t A B A A B A A B A A B A t t t t A B A A B A A B A A B A B PARA BUCKS 10 ã A/BA BA BA BA t t t t BA B BA B B A B BA B t t t t BA B BA B B A B BA B Œ Ó B/A C ã t t A A B B Œ t t Œ A A B B 2 «D ã Œ t t A A B B t t t A A B B A A Œ t t B B A A t t t B B A A B B 2017 UNIVERSITY F UTAH DRUMLINE

10 2 E ã > > > TAP/CHKE > PARA BUCKS / FR DAYS > > Œ > > > > Œ > > > > F ã > > > TAP/CHKE > > > Œ > > > > Œ > > > > G ã > > > TAP/CHKE > > > Œ > > > > Œ > > > > H PARADDIDDLES FR DAYS ã -. Œ - Œ - Œ - Œ - Œ - Œ - Œ - Œ - Œ Œ Dings TapChoke ã Œ Œ t Œ t ««.... Œ Œ Ó 12 8 I q.=q J K A B A TAP/CHKE B A B A B A TAP/CHKE ã 12 8 T. X. w. w. w. w. 4 ã Œ Œ 2 1. t Œ t «Œ. t T A B A B A B TAP/CHKE L CRASH ã w > SIZZLE T T.. TAP/CHKE A B B A B TAP/CHKE.... CRASH p.. A B A B CRASH q=q. Œ Ó TAP/CHKE. T B A B Œ Ó CRASH/CHKE

11 Cymbal Line UTE BUCKS Adapted from 2006 Bluecoasts Drumline 12 to 3 inch stick height throughout q = ã c c A HH Œ MICHAEL MCINTSH / CAVALIERS ADAPTED MICHAEL SAMMNS 19 ã B ã TAPS TAP CHKE ã Ó Œ Œ.. Ó. Œ Œ Œ Œ. Œ. 4 5 Œ. Œ 4 8 C D E HH ã 4 8 Œ Œ Œ Œ 8 3. ã TAP CHKE c A B A B 53 ã c F. Œ. Œ Ó L Œ Œ Œ TAP CHKE 58 ã Œ Œ Œ Œ University of Utah Drumline 2017 L R L

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13 "GET ME T THE 20!!!" CYMBAL LINE RN TTMAN U DRUMLINE ( ) SECTIN LEADER ( ) Taps ã 4 t T HATS SIZZLE A A B Sizzle A 6 ã Hi-Hats Œ t t t t t A B 12 ã t Œ t t Œ HATS SIZZLE B CRASH CHKE Œ Ó > Œ Œ > Œ > > t B A B 2 A B B A «C ã t t - - t A A B B A A B B 2 t t T «A A B B A D 25 ã CRASH CHKE.... A B A Œ Œ > CRASH CHKE > A A B CRUNCH Œ Ó 2017 UNIVERSITY F UTAH DRUMLINE

14 CYMBALINE FLAM JAM MICHAEL SAMMNS q. = 144 A ã B (e=) ã 4 4. Ó t Œ. r t T Ó t Œ t r T ã t. t r t. t t A A B A A TAP CHKE C (=e) ã D TAG ã 4 E Œ Ó w HH SIZZLE F G ã T> 4 3 T. 4 SIZZLE A A B B A A B B Ó > CRASH TAP CHKE. Œ Ó 2017 UNIVERSITY F UTAH DRUMLINE

15 Cymbal Line DRUM N' FEATHER INCLUDES "WILLY'S FIRST BRN" WILL WHITACKER MICHAEL SAMMNS JEREMY MEGGINSN ã c q = A Ó t Œ t HH A B A B A B A B t t t t A A B B A A B B B ã 4 2 > Œ >. c 4 2 t Ó Ó. Œ t c CR A B A B SIZZLE ƒ 12 Œ Ó o 19 ã Ó Œ t B B o t o t o t o t A A B B A A B B o t o t A A B B Ó > Ó C t t A A A B B t ALL 25 ã t t A A A B B t ALL t t A A A B B t ALL t t A A A B B t ALL t t A A A B B t ALL t A A Ó.> CHKE Œ Ó D ã T SIZZLE.... Œ A B A B TAPS.... t A B A B A TAPS.... Œ B A B A TAPS.... t B A B A B TAPS 3 E ã A A A B B A A B B A A B B A A B B A A B B A A B B A Ó A T> SIZZLE F 2 48 ã t. A p t t B Œ p G > ƒ > Œ > University of Utah Drumline 2017 > Ó >. Œ CHKE Ó

16 Cymbal Line A2 B2 5 7 ã 4 3 C2 9 ã c D2 ã q = 115 ã c Ó Œ t Œ Œ t 4 3 p CRASH > Œ > TAPS Ó B A A B E2 13 ã T F2 19 ã Œ Œ t > B CRUNCH.. B A A B A A B G2 21.> ã Ó H2 23 ã I2 32 ã f J2 TAPS Ó B A A B Œ CHKE t Ó Œ t > B.. B A A B A A B.. t B A A B A A B. t. TAP CHKE Œ Œ Œ Œ Œ Œ. 36 ã A B A B A B A B SNPY SKELETN 2 > r > K2. t Œ Œ t. r. CHKE t Œ Œ >. ƒ Œ Ó.. c r t University of Utah Drumline 2017

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19 Cymbals should look like blades. Cannot see the inside/ outside

20 Slight arm bend. Cyms should rest on thigh. Look at that posture!

21 Angle: Just inside shoulder/ inside hip. Try to keep Elbows even. 3 inch apart all the way around

22 Fist & thumb distance

23 Pull elbow straight back Rotate left wrist outward to create contact point.

24 Pull hand back 90 degrees.

25 * Release fingers off cymbal before contact. Contact point 1 from front edge. 30 degree angle

26 Should look the same as Flat. Right hand pushes straight forward.

27 Push straight forward. Zero arm bend.

28 Get as much meat on the cymbals as possible (chest, forearm, bicep, fingers). 3 inch separation.

29 *Keep cymbals out in front of body.

30 3 inch separation all the way around.

31 Keep shoulders relaed. Pretend as if you were wearing a baseball cap. Knots of cymbals should be even with mustache.

32 Cyms open laterally staying on same ais. pen from bottom, keep top 3 inch apart.

33 Good eample of blades. Rotate elbows down. Rotate hands on lateral ais. Angles invert. Bottom edges 3inch apart, top edges open.

34 Contact point 1 inch from bottom edge. 30 degree angle.

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36 Slight curve. Cyms 3inch apart, center of body.

37 Hand located straight in front of shoulder. Bo: playing zone.

38 Contact point 1inch from bottom edge. 30 degree angle.

39 Cyms are Perpendicular, at 45degree angles.

40 Contact point: edge of bell.

41 Direction of motion. Contact point: edge of bell.

42 60 degree angle. Top edges 3 inch apart.

43 Edges at eye level.

44 Eye level

45 About 1inch straight down. Sizz-sucks: push straight forward 6inches.

46 About 1inch straight down.

47 Sizz-suck: push straight up 6inches.