Audition

Steps to Audition

  1. Complete online registration form here.
  2. Complete the Member Packet.
  3. Download Music Packet below.
  4. Come to a rehearsal:  Schedule link here.

NEW Warm-Ups!

SoundUnitedWarmups

Audition Music Packet

Click the packet name to open the file in a new window.

Snare Audition Packet       Tenors Audition Packet           Bass Audition Packet         Mallet_Audition   Cymbals Audition Packet

Practice what you intend to audition for. You will have the opportunity to move around during auditions, but have an idea of what you are looking for.

Jagged

It is a triplet-based warmup that works over-the-bar-line syncopations, rolls and diddles. It creates a challenging environment for your feet to keep consistent with the syncopations. As with all warmups, practice with a metronome. This one is particularly important to lock your feet in so you can properly place the beats.

Diddlicious

Is, as its name implies, a diddle warmup. You’ll find paradiddles,paradiddlediddles, and triple paradiddles, with a few rolls to round things out at the end. There are plenty of challenging bass drum splits in this one. Don’t over-think the split bass parts. Notice that each bass part has a feel to it. When you are splitting single sixteenths (usually three or four in a row in this warmup) there is a pattern. Find your pattern!!!

Progressions – Volume I

There are three volumes in Progressions. Each one works up a set of skills. The end result of Volume I is the single stroke roll, but to get there you go through legato/staccato strokes, accent/taps, and split variations. Take this one at a modest tempo to start.

Section 3 is where the single stroke rolls are built. But just learn the sixteenth note pattern and then start moving up the tempo and you will understand how they turn into single stroke rolls. When you get to the single strokes, keep the accent tap feel established in Section 2 and put it together between your hands. Bass drums, there are some challenging parts here, particularly in Sections 2.1 and 3.

Once again, don’t look at the aggregate and get intimidated. Just focus on your part and isolate your rhythm. Let everyone else worry about theirs for now. Eventually, you will just feel and will be able to listen to the ensemble. You will notice that this one is written for five bass drums while the other two are written for four. We will adjust either way we end up.