High School Percussion Audition Requirements

V.B.O.D.A. District VI

HIGH SCHOOL

District Band Auditions

The information on this page has been updated BUT is currently undergoing proof-reading for accuracy.

PERCUSSION
INFORMATION
and REQUIREMENTS

All three sections – snare, timpani, and mallets – scores will be combined and count equally (33.3% each). The top 7 overall scores will be Symphonic band members, the next 7 overall scores will be Concert band members. The top timpani score out of the overall 7 will play timpani, the top 2 mallet scores play mallets, etc. The top 4 combined scores overall are All-Virginia eligible. In the case of any ties, the sight-reading score will be used.

Snare Drum

RUDIMENTS: The Standard 26 (NARD) Rudiments are required at the High School level. They are: Single Stroke Roll, Long Roll, 5, 7, 9, 10, 11, 13 and 15 Stroke Rolls; Single and Double Paradiddles; Flam, Flam-Tap, Flam Paradiddle, Flam Paradiddle-diddle, Flam Accent and Flamacue; Ruff/Drag, Single Drag (Tap), Double Drag (Tap), Drag Paradiddle #1, Drag Paradiddle #2; and Single Ratamacue, Double Ratamacue, Triple Ratamacue, Lesson 25. The Standard 26 (NARD) Rudiments are to be performed open-closed-open (slow-fast-slow).

TEMPO: All rudiments are to be played as notated. Students are to play each rudiment in an open-closed-open (slowfast-slow) style with a gradual acceleration/deceleration in tempo that demonstrates their mastery of the rudiment. The student should perform approximately fifteen repetitions of each rudiment.

LONG DOUBLE STROKE ROLL (open-closed-open): This rudiment will be asked on all auditions. The performer must demonstrate the ability to play from a very slow tempo (open) and gradually moving to a very fast tempo (closed) and return to a very slow tempo (open) over a period of approximately 20 seconds. An mp3 example is available on the website for downloading.

CONCERT BUZZ ROLL: This rudiment will be asked on all auditions. The performer must demonstrate the ability to play a closed or buzz roll that is sustained over a period of approximately 20 seconds. The performer must start the buzz roll beginning with a pianissimo dynamic and gradually crescendo to a fortissimo dynamic and gradually decrescendo to a pianissimo dynamic (pp < ff > pp) to finish the concert buzz roll. This rudiment IS NOT to be performed open-closedopen! An mp3 example is available on the website for downloading.

SNARE DRUM
RUDIMENT REQUIREMENTS

INSTRUCTIONS: The N.A.R.D. 26 Essential Rudiments are to be performed OPEN-CLOSED-OPEN (slow-fast-slow).

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Point System for
Snare Drum

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REVISED AUDITIONS DIALOGUE
BE FAMILIAR WITH THESE PROCEDURES PRIOR TO AUDITIONS!

PROCEDURES AND DIALOGUE
FOR HIGH SCHOOL ALL-DISTRICT AUDITIONS

SNARE DRUM

I.	THE ONLY RUDIMENTS TO BE ASKED IN THE AUDITION ARE: Single Stroke Roll; 5, 7, 9, 10, 11, 13
	and 15 Stroke Rolls; Single and Double Paradiddles; Flam, Flam-Tap, Flam Paradiddle, Flam Accent;
	Flam Paradiddle-diddle, and Flamacue; Ruff/Drag, Single Drag (Tap), Double Drag (Tap), Drag Paradiddle #1,
	Drag Paradiddle #2; and Single Ratamacue, Double Ratamacue, Triple Ratamacue, Lesson 25.

	LONG DOUBLE STROKE ROLL (open-closed): the performer must demonstrate the ability to play from
	a very slow tempo (open) and gradually moving to a very fast tempo (closed) and return to a very slow
	tempo (open) over a period of approximately 20 seconds.

	CONCERT BUZZ ROLL: The performer must demonstrate the ability to play a closed or buzz roll that
	is sustained over a period of approximately 20 seconds. The performer must start the concert buzz
	roll beginning with a pianissimo dynamic, gradually crescendo to a fortissimo dynamic, and then
	gradually decrescendo to a pianissimo dynamic ( *pp < ff > pp* ) to finish the concert buzz roll.
	This rudiment IS NOT to be performed open-closed-open!

II.	THE DIALOGUE IN THE AUDITION ROOM SHOULD BE PRESENTED IN THIS MANNER:
	A. "NUMBER ______, FOR A WARM-UP RUDIMENT PLAY (T.B.A.) RUDIMENT."
	B. Then: "NUMBER ______, PLEASE PLAY THE LONG DOUBLE STROKE ROLL."
	C. Then: "NUMBER ______, PLEASE PLAY A CONCERT BUZZ ROLL."
	D. Then: *"NUMBER ______, PLEASE PLAY* (T.B.A.) RUDIMENT."**
	(REPEAT THIS PROCESS FOR THE SECOND RUDIMENT.)
	E. Then, after the rudiments are finished: "NUMBER ______, YOU MAY NOW STUDY THE
	SIGHT-READING EXAMPLE #1." (Allow the student 30 seconds to examine the example, then
	instruct them to play. Repeat this process for sight-reading#2)
	F. The audition process is now complete. Thank the student.

III.	Musical elements the judges should consider when scoring sight-reading INCLUDES:
	tone, rhythm, pulse, accuracy, facility, tempo(s), musicality, articulation, style, dynamics and phrasing.

IV.	THERE IS TO BE NO TALKING IN THE AUDITION ROOM. Have students clear up problems through
	the guide who will then make the problem known to the judge.

V.	ALL SCORES ON THE AUDITION DAY ARE UNOFFICIAL. OFFICIAL SCORES WILL BE
	POSTED ON THE DISTRICT WEBSITE AT WWW.VBODA6.ORG.

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Timpani

REQUIREMENTS: All High School players must perform:
A.	A ( fp ) roll followed by a crescendo on the large drum.
	Forte-Piano ( fp ) Roll with Crescendo: After beginning the roll the student should:
	1.	Maintain a dynamic level of piano for approximately five seconds, then...
	2.	Crescendo, for approximately five seconds, to a dynamic level of forte, then...
	3.	Maintain the dynamic level of forte for approximately five second and stop.

B.	All players must perform two tuning exercise in conjunction with, two sight-reading example.
		Tuning/Sight-reading:
	1.	The judge will instruct the student to tune the large drum to the low pitch of the first sight-reading example.
		(The student may acquire this pitch from any sound source or device, including an electronic tuner.)
	2.	The judge will then ask the student to tune the other drums to the designated pitches in the first
		sight-reading example by using relative pitch (to the large drum) only.
		NO SOUND SOURCE OR ELECTRONIC DEVICE MAY BE USED AT THIS POINT.
	3.	The student will then be asked to study the first sight-reading example (45 seconds should be
		allowed for tuning AND study of the sight-reading) and then perform the (first) sight-reading example.

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Point System for

Timpani

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REVISED AUDITIONS DIALOGUE
BE FAMILIAR WITH THESE PROCEDURES PRIOR TO AUDITIONS!

PROCEDURES AND DIALOGUE
FOR HIGH SCHOOL ALL-DISTRICT AUDITIONS

TIMPANI

I.	REQUIREMENTS: All High School players must perform:
	A. A ( fp ) roll followed by a crescendo on the large drum
	Forte-Piano ( fp ) Roll with Crescendo: After beginning the roll the student should:
	1.	Maintain a dynamic level of piano for approximately five seconds, then...
	2.	Crescendo, for approximately five seconds, to a dynamic level of forte, then...
	3.	Maintain the dynamic level of forte for approximately five seconds and stop.
	B. All players must perform one tuning exercise in conjunction with one sight-reading example.
		Tuning/Sight-reading:
	1.	The judge will instruct the student to tune the large drum to the low pitch of the only sight-
		reading example. (The student may acquire this pitch from any sound source or device.)
	2.	The judge will then ask the student to tune the other drums to the designated pitches in the
		sight-reading example by using relative pitch (*to the large drum*) only.
		NO SOUND SOURCE MAY BE USED AT THIS POINT.
	3.	The student will then be asked to study the sight-reading example (45 seconds should
		be allowed for tuning AND study of the sight-reading) and then perform the sight-reading.

II.	THE DIALOGUE IN THE AUDITION ROOM SHOULD BE PRESENTED IN THIS MANNER:
	A.	"NUMBER ______, ON THE LARGE DRUM, PLEASE PLAY A FORTE-PIANO ROLL
		*FOLLOWED BY A CRESCENDO."*
	B.	"NUMBER ______, YOU HAVE 45 SECONDS TO TUNE THE TIMPANI AND STUDY
		THE SIGHT-READING EXAMPLE. PLEASE BEGIN BY TUNING THE LARGE DRUM
		TO A(N) ______." (Judge dictates the lowest pitch of the sight-reading example.)
		"YOU MAY USE ANY SOUND SOURCE OR TUNING DEVICE YOU CHOOSE TO TUNE
		THE LARGE DRUM. USING YOUR EAR ONLY, TUNE THE REMAINING DRUMS TO
		THE DESIGNATED PITCHES WITH ANY SOUND SOURCE." (After the 45 seconds,
		instruct the student to play sight-reading example #1.)
	C.	REPEAT STEP "B" FOR THE SECOND SIGHT-READING EXAMPLE.
	D.	The audition process in now complete. Thank the student.

III.	MUSICAL ELEMENTS THE JUDGES SHOULD CONSIDER WHEN SCORING THE
	TIMPANI AUDITION INCLUDES: tone, rhythm, pulse, accuracy, facility, tempo(s), musicality, articulation,
	style, dynamics, the use of correct drums, amount of time, relative pitch, control, and phrasing.

IV.	THERE IS TO BE NO TALKING IN THE AUDITION ROOM. Have students clear up problems through
	the guide who will then make the problem known to the judge.

V.	ALL SCORES ON THE AUDITION DAY ARE UNOFFICIAL. OFFICIAL SCORES WILL BE POSTED
	ON THE DISTRICT WEBSITE AT WWW.VBODA6.ORG.

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MALLETS

MAJOR SCALES: G, D, A, F, Bb, Eb, Ab, Db, and C are required. Scales will be asked for as written, not concert pitch. Scales must be performed from memory and are to be play one octave minimum.



TEMPO: Major scales are to be played in quarter note tempo of MM = 100 beats per minute with the tempo remaining constant. Mallet instruments will play their major scales using the All-Virginia pattern of:

.



ARTICULATION: Mallet Percussion instruments are to use single strokes ascending and descending. Mallet instruments DO NOT receive additional points for extra octaves



CHROMATIC SCALE:

A. Tempo: chromatic scales are to be played in sixteenth notes at the MINIMUM tempo specified on

     enclosed pages.

B. Articulation:

1. Mallet Percussion instruments use single strokes ascending and descending. Mallet scales

are scored only on the first octave performed, even if additional octaves are performed.

2. Chromatic Ranges: Entire Range of Mallet Instrument.



Point System for

Mallets



[ TOP ]

REVISED AUDITIONS DIALOGUE
BE FAMILIAR WITH THESE PROCEDURES PRIOR TO AUDITIONS!

PROCEDURES AND DIALOGUE
FOR HIGH SCHOOL ALL-DISTRICT AUDITIONS

MALLETS

I.
ALL MAJOR SCALES ARE REQUIRED FOR THIS AUDITION.

Scales will be asked for the key of the instrument, NOT CONCERT KEY. Scale must be

performed from memory.

A.
Major scales are to be played in the following rhythm at a tempo of quarter

   note = 100 beats per minute. Judges are to give students eight (8) metronome beats

prior to their performing each major scale.

B.
The chromatic scale is to be played in sixteenth notes at a minimum tempo of quarter note

= 120 beats per minutes for MALLET instruments. The mallet chromatic range is the entire

range of the instrument. No metronome beats are to be given for the chromatic scale.

C.
Musical elements the judges should consider when scoring scales include: Tone, Facility,

Preparation, Range, Tempo, Articulation, and additionally for mallets sticking and even tone.



II.
THE DIALOGUE IN THE AUDITION ROOM SHOULD BE PRESENTED IN THIS MANNER:

A.

"NUMBER ______, FOR A WARM-UP SCALE, PLEASE PLAY PLAY YOUR [ F ] MAJOR

SCALE AT THIS TEMPO." (Give 8 beats with a metronome at the speed previously

noted. DO NOT LEAVE THE METRONOME ON WHILE STUDENT IS PERFORMING)...

B.

Then: "NUMBER ______, PLEASE PLAY YOUR (judge chooses major scale) MAJOR

SCALE AT THIS TEMPO." (Give 8 beats with a metronome.)

      (REPEAT THIS PROCESS FOR THE REMAINING SCALES)

C.

Then, "NUMBER ______, PLEASE PLAY YOUR CHROMATIC SCALE." (DO NOT give

any beats with the metronome for the Chromatic Scale.)

D.
Then, after the scales are finished: "NUMBER ______, YOU MAY NOW STUDY

SIGHT-READING EXAMPLE #1." (Allow the student 30 seconds to examine the example,

then instruct them to to play. Repeat this process for sight-reading example #2.)

E.

The audition process is now complete. Thank the student.

III.
Musical elements the judges should consider when scoring sight-reading INCLUDES:

tone, rhythm, pulse, accuracy, facility, tempo(s), musicality, articulation, style, dynamics  and phrasing.

Additionally for mallets sticking and event tone.



IV.
THERE IS TO BE NO TALKING IN THE AUDITION ROOM. Have students clear up problems

through the guide who will then make the problem known to the judge.



V.
ALL SCORES ON THE AUDITION DAY ARE UNOFFICIAL. OFFICIAL SCORES WILL BE

POSTED ON THE DISTRICT WEBSITE AT WWW.VBODA6.ORG.

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Last Update: Tuesday, January 17, 2012

MAJOR SCALES: G, D, A, F, Bb, Eb, Ab, Db, and C are required. Scales will be asked for as written, not concert pitch. Scales must be performed from memory and are to be play one octave minimum.

TEMPO: Major scales are to be played in quarter note tempo of MM = 100 beats per minute with the tempo remaining constant. Mallet instruments will play their major scales using the All-Virginia pattern of:
.

ARTICULATION: Mallet Percussion instruments are to use single strokes ascending and descending. Mallet instruments DO NOT receive additional points for extra octaves

CHROMATIC SCALE:
A. Tempo: chromatic scales are to be played in sixteenth notes at the MINIMUM tempo specified on
enclosed pages.
B. Articulation:
1.	Mallet Percussion instruments use single strokes ascending and descending. Mallet scales
	are scored only on the first octave performed, even if additional octaves are performed.
2.	Chromatic Ranges: Entire Range of Mallet Instrument.

I.	ALL MAJOR SCALES ARE REQUIRED FOR THIS AUDITION.
	Scales will be asked for the key of the instrument, NOT CONCERT KEY. Scale must be
	performed from memory.
	A.	Major scales are to be played in the following rhythm at a tempo of quarter
		note = 100 beats per minute. Judges are to give students eight (8) metronome beats
		prior to their performing each major scale.
	B.	The chromatic scale is to be played in sixteenth notes at a minimum tempo of quarter note
		= 120 beats per minutes for MALLET instruments. The mallet chromatic range is the entire
		range of the instrument. No metronome beats are to be given for the chromatic scale.
	C.	Musical elements the judges should consider when scoring scales include: Tone, Facility,
		Preparation, Range, Tempo, Articulation, and additionally for mallets sticking and even tone.

II.	THE DIALOGUE IN THE AUDITION ROOM SHOULD BE PRESENTED IN THIS MANNER:
	A.	*"NUMBER ______, FOR A WARM-UP SCALE, PLEASE PLAY PLAY YOUR [ F ] MAJOR*
		SCALE AT THIS TEMPO." (Give 8 beats with a metronome at the speed previously
		noted. DO NOT LEAVE THE METRONOME ON WHILE STUDENT IS PERFORMING)...
	B.	Then: "NUMBER ______, PLEASE PLAY YOUR (judge chooses major scale) MAJOR
		SCALE AT THIS TEMPO." (Give 8 beats with a metronome.)
		(REPEAT THIS PROCESS FOR THE REMAINING SCALES)
	C.	Then, "NUMBER ______, PLEASE PLAY YOUR CHROMATIC SCALE." (DO NOT give
		any beats with the metronome for the Chromatic Scale.)
	D.	Then, after the scales are finished: "NUMBER ______, YOU MAY NOW STUDY
		SIGHT-READING EXAMPLE #1." (Allow the student 30 seconds to examine the example,
		then instruct them to to play. Repeat this process for sight-reading example #2.)
	E.	The audition process is now complete. Thank the student.

III.	Musical elements the judges should consider when scoring sight-reading INCLUDES:
	tone, rhythm, pulse, accuracy, facility, tempo(s), musicality, articulation, style, dynamics and phrasing.
	Additionally for mallets sticking and event tone.

IV.	THERE IS TO BE NO TALKING IN THE AUDITION ROOM. Have students clear up problems
	through the guide who will then make the problem known to the judge.

V.	ALL SCORES ON THE AUDITION DAY ARE UNOFFICIAL. OFFICIAL SCORES WILL BE
	POSTED ON THE DISTRICT WEBSITE AT WWW.VBODA6.ORG.