The 2011 MTSU Band of Blue Front Ensemble

Welcome / Information / Technique / Exercises

Welcome

BIG, LOUD,
AND FUNKY!!!
Thank you for your interest in becoming a member of The 2011 MTSU Band of Blue
Front Ensemble! You are taking the rst step in becoming a member of the nationally
recognized MTSU Band of Blue and MTSU percussion program. Please read through
this packet and familiarize yourself its contents.
We have many positions available in the Band of Blue Front Ensemble. They include
! Glock (1-2 Players)
! Xylo (2 Players)
! Vibes (2 Players)
! Marimba (3-5 Players)
! Rack Percussion (1 Player)
! Congas / Ethnic Percussion (1 Player)
! Electric Bass (1 Player)
! Electric Guitar (1-2 Players)
! Synth (1 Player)
Throughout the audition process you will primarily be evaluated in a group setting.
The need for individual auditions will be considered on a case by case basis. Here are
a few helpful bits of advice about your audition
! Your achievement will be directly related to how much individual preparation
you put in beforehand. Show up prepared with all music in this packet.
! Record yourself (audio and/or video) and see what you can improve on your
own. You are your own best teacher!
! Use a metronome for 90% of your practicing.
! Memorization is not required, but would be highly advantageous.
! Be sure to contact us with any questions you have. There are no stupid
questions. We are all here to help!

! Keep an open mind. The technique we use may be di!erent from what you
already know. There are many correct ways to do something. What we use is
what we have found to work best for us.
! Stay positive. A great attitude goes a long way.
Front Ensemble Staff
Craig Cornish, Associate Director of Bands / Director of Athletic Bands
[email protected]
Lalo Davila, Director of Percussion Studies [email protected]
Julie Davila, Director of Marching Percussion
[email protected]
Required Materials Checklist
" Binder with View Cover
" Non-Glare Page Protectors
" Mechanical Pencils with rell lead
" Pencil Pouch
" Your own water bottle - Do not share!
" Hat / Sunglasses / Sun block, etc.

" Band Aids - Keyboard players will need these to protect blisters on their
hands.
" Metronome - Any BOSS Product is recommended DB12 / DB30 / DB60 /
DB90.
" Appropriate Rehearsal Attire - Clothing that allows for free movement should
be worn. We move heavy instruments and equipment. Sneakers or other fully
covering footwear are required. NO FLIP FLOPS!
" Earplugs - Measurements taken by Joseph Keefe, a 2004 graduate of Duke
University in Durham, N.C., who was a drummer in the marching band there,
show that band members were exposed to sound levels of more than 100
decibels (120 decibels is considered the threshold of pain) for hours at a
stretch. At that intensity, unprotected ears can be damaged in just 15 minutes,
according to the National Institute for Occupational Safety and Health. Now, at
Duke, earplugs are mandatory for percussionists and optional for others
Source: USA TODAY 10/17/07 Marching band a threat to hearing? by Joyce
Cohen
" A POSITIVE ATTITUDE!

Front Ensemble Expectations
! Professionalism / Public Perception
We are always being judged by people, from professors to community members, as
well as school sta! and our peers. Even custodial sta!! Our actions on and o! the
eld represent all MTSU Band of Blue and Front Ensemble members of the past,
present, and the future.
! Pre Rehearsal Setup
Rehearsals begin at the scheduled time. That means setup occurs before the
scheduled start time. We have A LOT of set up to do, and we start before rehearsal to
minimize the amount of rehearsal time lost. Once you nish your setup, help
someone else until everything is done. Everyone is required to help at all times.
Laziness is unacceptable.
! Minimize Talking & Playing (Read: Hacking) During
Rehearsal
Great groups typically share one common factor they have great rehearsal etiquette.
We like to have enjoyable and productive rehearsals, and we all must do our part to
achieve that. When you are not being worked with, remain patient, quiet, and pay
attention to what is going on. You can learn a lot by listening to information others
are receiving.
! Setting The Standard
When we are in ensemble rehearsal, we need to set the rehearsal standard for the rest
of the marching band. Even when we as a section are not being worked with, which
often happens with the front ensemble, we still need to be focused so that we do not
distract everyone else and so we know what is going on with the rehearsal. Keep in
mind that our talking and hacking during ensemble is most noticed because of our
proximity to the box, as well as the fact that we have microphones all over the place!

! If You Dont Get It The First Time, Ask!
We have to understand instructions so that we can maximize our rehearsal time and
give the sta! and leaders an accurate feel for where the group stands. We dont want
to be judged poorly by sta! because we didnt know what was going on! For
example, if you arent sure what the rehearsal segment is, do not guess, ask for
clarication!
! Instrument / Equipment Care and Respect
The MTSU Band of Blue Front Ensemble is unbelievably fortunate to have so much
support from our directors, administrators, and corporate sponsors. Most college
marching bands do not have front ensembles. You will see that we are literally the
country club of college front ensembles. We take great care of our equipment. Use
caution when transporting instruments. The pedals should always be lifted on vibes
when moving or adjusting the height! Use the mallet bags and respect the mallets
and other equipment including cymbals. We will bring tarps with us when rain is
forecasted. If anything gets wet, dry it o! immediately and completely!
! Tear Down Responsibilities
At the end of rehearsal, all equipment will be transported back to its assigned storage
area. We need to keep our area of the band room looking nice. Everything has a
home. If you are not sure where something goes, ask! No one should leave until
everything has been put away. Once you nish, help someone else. We will always
meet as a section before we leave.
! Your Music Binder
Your music, this packet, and any other handouts you get throughout the season go in
your binder in sheet protectors. Bring this binder to every rehearsal. Make sure
pencils are in your pencil pouch. We write often! Even once music is memorized, you
still need to bring your binder to rehearsal. There will be times we need to reference
something or recheck that crazy lick, etc.
! Bathroom, Water, and Well-being

Ample breaks will be provided. DO NOT SHARE WATER! THIS IS HOW PLAGUE
SPREADS! Try to use the restrooms during breaks. If you need to leave, simply tell
someone and return quickly. Believe it or not, playing in the front ensemble can take
a physical toll on us, particularly with our hands. Also, standing still is not always
comfortable either. We will stretch prior to warming up and you should periodically
stretch on your own. Take care of yourself with proper protection from the sun
including sun block, hats, sunglasses, etc., and always stay hydrated!
! Leave The Rehearsal Site Better than we found it
The MTSU Band of Blue and The MTSU Band of Blue Front Ensemble are class acts
both on and o! the eld. At MTSU or elsewhere, our rehearsal sites are a privilege,
not a right. Wherever we are, we will always leave our rehearsal sites in better
condition than how we found them. Everyone helps to pick up trash when needed.
! Have A Great Time Creating Awesome Music
Hang out together. Go bowling. Eat lunch. Take a trip to the zoo. No doubt in
your instructors experiences, a front ensemble that chills outside of rehearsal and
knows each other always ends up performing better together.
Keyboard Basics
# Posture
Great posture is a key quality of a good front ensemble member. It is one
of the few ways of non-verbally telling the audience that you are condent and

know what is going on. Poor posture displays exactly the opposite. Great
posture allows you to fully use all of your muscles for exceptional mallet
technique. Great posture is quite simplestand up straight!
# Muscle Groups
We use two types of muscle groups when playing
mallet percussion. The rst is the small muscle
group, which is made up of the wrists, ngers, and
forearms. We also have the large muscle group,
which is made up of the shoulders, legs, and torso.
There should be no tension anywhere in your body.
Tension is bad. Relax!
# Stance
Most people have a tendency to stand way too close
to the keyboard, causing their arms to take an
unnatural position. We never want to crowd the
instrument. Your feet should be at shoulders width. We should try to keep
our body centered within the range of the passage we are performing. For
example, if you are playing a two octave F Major scale, center your body in front
of the middle F you are playing. This will help us to avoid walking up the
marimba as we play and instead help us to shift our weight while staying in the
same place.
# Foot Shifts
Sometimes we will need to employ foot shifts when we move from one end of
the instrument to another, or when 4 mallet chords are played with notes on
both manuals of the keyboard. Taking a step back or forward with a foot can
put us in a better, more comfortable / less awkward position to play the chord.
The large muscle group always moves rst, followed by the small muscle
group. In other words, the legs lead the motion, and the wrists, ngers, and
forearms follow.
# Wrist Motion

German Grip - The back of the
hand is parallel with the ceiling,
and the thumbnail faces
completely sideways.

French grip - The thumbnail is
parallel with the ceiling, and the
back of the hand faces sideways .

American Grip - A happy
medium between German and
There are two types of wrist motion in mallet percussion. A break is a straight
up and down motion of the wrist (knocking on a door,) which is what we will
use in our two mallet playing. We also use a break in four mallet playing for
double vertical and single alternating stroke. A rotation is a twisting motion of
the forearm, which rotates the wrist (twisting a doorknob.) Rotation is used in
four mallet playing to perform single independent strokes, and also is used in
traditional grip snare drum playing.
# Stroke Types
In percussion, there are four basic types of strokes.
The Piston Stroke (aka Rebound or Full Stroke) is the most often used stroke
in the front ensemble, as it e#ciently produces the sounds we need. This
stroke is like dribbling a basketball. We start at a given height, strike the bar,
and return to that same height all in one uid motion. This helps us to prepare
for the next note/chord. Velocity is important in the Piston Stroke. We produce
the Piston Stroke primarily with the wrist, using the forearm to add a bit of
height and ow. 90% wrist and 10% arm.

Down Strokes and Up Strokes help us create dynamic changes and accent
patterns. We cannot do them without these strokes. For a Down Stroke, we
start at a given height and stop the mallet at the height and dynamic
designated for the next stroke. For an Up Stroke, we start where we stopped a
Down Stroke and return to a given height.
A Tap Stroke is a soft, relaxed wrist stroke, usually played at around 2-4
inches in height. Generally we use tap strokes in between accents.
# Beating Spots
We always try to strike right in the center of the bar. This allows us to achieve
the fullest sound possible out of the keyboards. Sometimes for fast passages
or four mallet shifts we will we play on the very edge of the accidentals. When
playing on the edge of the bar, think of the mallet head being half on the key
and half not.

# Mallet Alignment
Make sure that the mallet heads stay right next to each other at all times, not
one in front of the other (left over right, like we would play indoors), except on
rolls.
# Articulation
There are three types of articulation that you need to become familiar with.
Legato strokes sound smooth and connected.
Staccato strokes sound short and detached.
Marcato strokes are basically halfway between Legato and Staccato.
Dampening a cymbal, mu$ing a timpani head, and using the vibraphone pedal
to create a very connected melodic line, etc. are just some of the ways that
percussionists can control articulation.
# Velocity
This is the speed at which the mallet moves towards the bar. The faster the
mallet moves towards the bar, the more staccato the sound produced will be.
The slower the mallet moves towards the bar, the more legato the sound will
be.
Two Mallet Grip
The grip we use for two mallets is similar to the matched grip used in snare
drumming. We discuss front fulcrum and back fulcrum scenarios.
All performers should strive for a natural, relatively tension free technique.

Find the natural, relaxed hand position.
Without mallets in your hands, drop your arms by your sides and let them hang
naturally. Notice that your hand is naturally kind of open. Now, without changing
anything else, hinge upward at your elbow to bring the forearm and wrist into playing
position. Your hand should still be
somewhat open just as it was before! If
you close your hand and loose that open
space, you will have more of a closed st
which creates tension!

Place the mallet in the hand.
Continuing from the playing position,
position your hands palm up, slanted in at
an angle. Lay the mallet down across the
hand, entering the top of the hand at the
rst knuckle from the top of the index
nger, and leaving the hand just below the
pinky. About an inch and a half of the
mallet should extend out of the bottom of
the hand.
Now the ngers.....
Now, wrap the pinky, ring, and middle ngers around the mallet. These three ngers
should follow the natural motion of the mallet and stay in contact with the shaft.
When the mallet is in motion there can be disconnect of the mallet to palm, but not
disconnect from the ngers to the mallet. Now, turn the hand inward so that our
palms are at.

STE
STE
STE

Put the thumb and index nger in place.
Next, lightly place the thumb on one side of the mallet and the index nger on the
other side. The index nger will have a natural curl to it. They will form a T. You
should be able to put a bolt through your thumb, the mallet, and the index nger.
The thumb and index nger are critical in controlling the mallet. It is very important
that they lightly remain in place, keeping the T form.



STE
Four Mallet Grip
The grip we use for four mallets is called The Stevens Grip. It is highly recommend
that all members purchase a copy of Method of Movement for Marimba by Leigh
Howard Stevens. This is the most thorough method book for four mallet technique in
the world. It is known as the marimba bible. Below is an extremely brief breakdown
of how to hold the mallets and the most common stroke types we will employ.
Beginning the grip.
Put out your hand as if you are
shaking hands. Place the inside
mallet on the lifeline and in the
center of your palm. Bring the tip
of the middle nger around the
end of the mallet and allow the
mallet to rest on the rst knuckle of your index nger, or the perch. The mallet
should be able to balance itself by resting on the perch and the end of the mallet
resting under the base of the thumb.
Finish forming the perch.

STE
STE
Chair
The
Now, place your thumb on top of the mallet the index nger is under. The thumb and
index nger form a T, and completes the perch. You should be able to put a bolt
in between your thumb, mallet, and index nger.
The outside mallet.
Position the outside mallet on the 2
nd
knuckle from
the top of your pinky and index nger. This
securely forms the Power V. No
more
than half
an inch
of the
end of
the
mallet
should
extend
out.


STE
Power V
The Perch with
Common Four Mallet Strokes
Double Vertical This is when we play a double
stop with both mallets in a hand. We want to
avoid a flam sound. Keep the mallets at the same
heightdont let one be higher/lower than the
other. A break motion is used in the wrist, not a
rotation.
Single Independent A rotation motion is used in
the wrist, not a break, to play one mallet at a time.
The non striking mallet forms an axis for the
rotation. Practice this until any wiggle in the non
striking mallet is eliminated.
Single Alternating - This is completely different
from a single independent stroke. The wrist does
not rotate, but rather breaks. Think of this stroke
as double vertical where both mallets in a hand
are going down at the same time to strike but only
one actually hits. Be careful to avoid a see-saw
motion in the hand.
Double Lateral - Double Lateral strokes are two
separate strokes of both mallets in a hand,
combined into one smooth motion. This is faster
than a single alternating. Think of an ice cream
Front Ensembles have
evolved tremendously in
Practice Suggestions
! Set Goals
Becoming goal oriented will help you achieve more.
Set short term and long term goals for what you want to accomplish. A short term goal would
be what you want to accomplish during one practice session. A long term goal could be for a
week, a month, or an even longer period of time. If you have your goals set before you go to
practice, then your practice sessions can yield better results. Set realistic goals!
! Practice with a Metronome
Often times, slow tempos can be equally as challenging as blazing fast tempos! We should use a
metronome for about 90% of our practicing.

The Final Four Mallet Grip!
Did you know that there are 24 different four mallet
permutation possibilities?!
1234 1243 1342 1432 1324 1423
2341 2431 2134 2143 2413 2314
3412 3124 3421 3214 3241 3142
4123 4312 4213 4321 4132 4231
! Floor Exercises
You can do most of your technique practicing on the floor. This is especially helpful because
access to the mallet percussion instruments is often limited. You can work on two mallets, as
well as four-mallet issues such as shifting, stroke types, permutations, and interval changes. If
the floor itself is too loud for people around you, you can play on pillows or blankets. Not only
will this be a quiet alternative, but it will help you to build even more chops!
! Snare Practice Pad
Most of all, you can get out a pad and sticks and just chop out. As just one example, we
often find Green to be very difficult at fast tempos. If we played Green on a snare drum, all
we are doing is a single stroke roll. When we play Green on a keyboard, we are just doing a
single stroke roll and moving the hands up and down a scale. Work on your singles on a pad
and then play Green. After some time you will be amazed at how much faster you can play
it. A proficient keyboard player with a drummers instinct is a wonderfully rare thing.
Attain It!!
MTSU BoB 2 Mallet Exercises
Blue Team 8s / Basic Piston Stroke

Start this slow at 60bpm and work your way up from there. Goal = 135bpm. Work on getting a great
piston stroke. All right hand in the first two measures and all left hand in the last two measures with a
right hand release on the final note. Play in all Major and Natural Minor Keys.
Lightning 78 / Octave Scales
Start this slow at 60bpm and work your way up from there. Goal = 135bpm. Play in all Major and
Natural Minor Keys.
Pop Rocks / Green
Start this slow (60bpm) and work your way up from there. Goal = 140bpm. Play in all Major and
Natural Minor Keys. Play with a right hand lead.
Blue Raider Octaves - We will not move this exercise around to other keys.

Crazy Chromatics - Use RLRL sticking throughout.
MTSU BoB 4 Mallet Exercises

Below you will find Broccoli Chords. Using these chords, you should be comfortable playing all of the following
block chords, combinations, and permutation variations.
Block Chords: As written
Combinations: 13/24 (1&3 and 2&4) 24/13 (2&4 and 1&3)
Ins & Outs (2&3 and 1&4) Outs & Ins (1&4 and 2&3)
Permutations: Luggage (1234) Reversed Luggage (4321)
2341 1432
3412 2143
4123 3214
1324 4231
3241 1423
Broccoli Chords
Broccoli is a permutation exercise which has been popularized by Music City Mystique, The Bluecoats,
and The Cavaliers. Below is not the exercise itself but rather the chords of it.