Dojo Front Ensemble

2013 Audition

Approaching the Keyboard: The general idea for approaching the keyboard is to have a confident
stance stemming from correct posture and keyboard height. Clearly defined set positions and
mallets up/down will help us achieve a clean and mature look.

Posture: To start off our body should be set above the notes we are about to play with feet shoulder
width apart and knees relaxed (nothing drastic, just not locked). When a passage extends past the
comfortable playing region we use our weight and body position to accommodate the passage. This
is all pretty standard posture; there should be no walking behind the instrument while we are
playing. I would prefer that the vibraphones pedal with the Right foot however this is a much
smaller detail and there may be some exceptions to this idea.

Keyboard Height: The height of the keyboard should be set so that the forearm is slightly less than
parallel to the keyboard. This is to allow maximum relaxation of the forearm, with enough of an
angle down to use maximum weight and force from the mallet, wrist, and arm. Naturally this will
help make sure that the appropriate area of the mallet strikes the key.

Set Position: The set position will be mallets/implements hovering about an inch above the
keyboard with the mallet head/bead set over the notes or zone we are about to play.

Mallets Up: In any performance scenario we will start with our arms at our sides completely
relaxed. Once each player is in this position the center player will look around see that everyone is
ready then bring his mallets up. Using peripheral vision the moment the center moves everyone will
initiate the mallets up. Mallets will come up to the set position. This is to achieve a uniformed look
and to display that everyone is ready. This is just a general rule for most performance scenarios and
can be altered at anytime to accommodate different requirements.

Mallets Down: Mallets down in rehearsal situations will be on cue of the center player. For
performance scenarios it will be defined on a situation-to-situation basis.

Preps: Self proficiency is an important skill for any front ensemble. Music often required a clean
entrance with no audible cues. In order to achieve this we use a subtle prep system. The center will
give two and a half preps (starting with the pick up on the and of 4), followed by the group giving
two and a half preps prior to an entrance (starting on the and of 2). The 2.5 preps will be a up-down-
up-down-up sequence and on the third up the ensemble will lift their mallets to playing
position. Further explanation will be given at camp.
Two-Mallet

Holding the Mallet: Looking at the mallet visually divide it into thirds. The third farthest from the
mallet head should be placed in the center of your hand. There should be about an inch of shaft
running out the bottom of your hand.

Fulcrum: The fulcrum starts in the rear of the hand and progresses forward as tempo increases. If a
certain color is desired this rule can be disregarded. I will define the fulcrums starting with the rear.

Rear Fulcrum: When playing rear fulcrum passages you will grip the mallet with the back three
fingers (middle, ring, and pinky). Your thumb and forefingers should be on the third division of the
mallet. Be sure the shaft of the mallet runs along the first knuckle of the forefinger. The thumb and
forefinger should line up to help guide the mallet and to later be used as a second fulcrum. Imagine
there were a nail driven through the top of the thumb and out the first knuckle of the forefinger.
This should stay intact at all times. This hand position will naturally create a space between the
forefinger and middle finger. Unlike most rear fulcrum techniques I would like to keep this space
on the small side, consult the images below for a clearer understanding.

Piston Stroke - A type of stroke where the starting and stopping point are the same (with the
exception of horizontal motion across the keyboard creating a Shift). No wasted motion is created
by a piston stroke. You go straight down to play and straight up to return back to the original
playing position. The stroke is relaxed yet precise. At slower tempos there will be a pause in
between the strokes, and as the tempos increases you want to smoothly connect the motion when it
becomes comfortable to do so.

Legato Stroke The downstroke is the same speed as that of the piston but the recovery is slower
on the upstroke, creating a slow-mo movement upwards from the note. The movement is always
lead by the mallet head and should like you are slowly pulling every bit of sound possible out of the
bar. The arm is used at times to create a more fluid look and to generate more sound from the bars
in louder passages. Most legato strokes will have either a defined ending beat or continue the
motion until the next note. Common mistakes with this include pushing forward with the mallets,
using too much arm, and generally overdoing it. This technique will be used most often in the
Vibraphones, but will be utilized throughout the ensemble.

Shift - When going from one note to another you use the return stroke of a piston stoke to travel to
your next destination. We will refer to it as a checkmark type of motion.
Play in all 12 major, minor, harmonic minor scales.

Lockjaw: This double vertical exercise is designed to teach proficiency in multiple motions by
changing key signatures as well as modal changes. This exercises is a staple in our warm-up packet
and will start every rehearsal.

Spatial Awareness: This exercise is designed to build skill in elongated 16th note phrases as well
as expand the players view of the keyboard by separating the hands forcing the player to look at a
wider view of the board.
Four-Mallet
Grip: The following process is the same for both hands.
First, grip a mallet with your pinky and ring finger. The pinky is our anchor and must wrap all the
way around the mallet providing the foundation for the grip. There should be minimal excess mallet
protruding from the bottom of your pinky. The outer mallet should go up at a 45-degree angle in
relationship to the forearm. This will ensure the mallets will hang evenly when the inner mallet is
added to the grip. There is a delicate balance between gripping too tightly with the pinky and letting
your outside mallet droop down. Second, place the other mallet in the palm of your hand just under
your thumb muscle. Your middle finger is holding the mallet into your palm/thumb muscle with the
fingertip. Your index finger acts as a shelf for the inside mallet and the mallet should be able to rest
without any pressure in your hand. At the interval of a fifth, the index fingers will be pointing at
each other, not curling in towards you. Stay relaxed at all times. Finally, place your thumb on the
inside mallet directly over the first knuckle of your index finger. The thumb rests on top of the
mallet and applies only the minimal amount of pressure to keep it in place. The thumb contacts the
mallet with the fleshy part of the thumb, not the tip of the thumb

NO BENT THUMBS! This will allow you to freely change intervals as well as maintain a relaxed
grip.

Four-Mallet Articulation: Just like with two-mallet articulation, we control the sound with our
fulcrums. For the outside mallets we add slight pressure with our pinky finger and also a slight
amount of pressure between our ring and middle finger. Inside mallet articulation is controlled just
like front fulcrum articulation, added pressure between the thumb and forefinger.

REMEMBER, ADDED PRESSURE DOES NOT MEAN PINCHING THE STICK!!

Outer Mallet Inner Mallet Out of Hand

Broccoli: Broccoli is a duel demand exercise which required the player to be proficient in 4 mallet
permutations and have a command over moving evenly up and down the keyboard.

Ensemble Etudes

Ensemble etudes give us the ability to practice multiple skill sets in a more music setting then an
exercise. For this audition, please prepare both the marimba and the vibraphone part for each etude
provided. During the audition process and continuing throughout the season each member will be
placed on a part suited to their abilities. Multiple etude pieces will be handed out throughout the
course of the audition. The first two etudes that will be played by the ensemble have been placed
below. Please be prepared to play through the entirety of each piece upon arrival to the audition.

Decisive Battle: This etude is designed to show control over 4 mallet permutations as well as 32
inside alternating strokes in the marimbas. The vibraphone part is designed to show control over
timing as well as permutations and triple lateral strokes.

Mountain Theme: This etude is designed to build single alternating muscle over a long 1324
phrase in the marimba line. The vibraphone part is designed to show both musicality and control
over spaced 16th note phrases.

Audition Preparation

Each member auditioning will be required to play through every piece listed in this packet as both
an individual and with the ensemble. It is curtail that each person auditioning knows all of the
exercises to a high level of proficiency and can play them in any key that is speculated in this
packet. Do not show up and expect to be able to learn these exercises on the spot. They are not easy
and should take hours of practice to prepare.