Let's review the basic components of the mallet keyboard audition.
Scales and Arpeggios
Although far from thorough, scales are one of the most basic ways college audition panels gauge how well a potential student knows their instrument. When preparing for a college audition you must learn (preferably on the marimba) how to play all of your major, natural minor, harmonic minor, and melodic minor scales in at least in 2 octaves starting with your right hand at a reasonable tempo. 16th notes somewhere around 80-100 bpm should be sufficient. All scales should be recallable immediately from memory. If you need to think about a scale before playing it you are most likely not where you need to be. Arpeggios are the same as scales. They should be recallable immediately from memory. Many schools ask for arpeggios (and scales) to be played in different ways. Do your homework and practice in all major and minor keys.
A simple regurgitation of snare drum technique on any of the mallet keyboard instruments will not do. The 2 mallet portion of the audition should show sensitivity and the understanding of creating lines at the most basic level. This article is about undergrads so you don't need to be a master of this nuanced skill but the beginning of a clear understanding should at least be present. This goes a long way toward showing maturity and potential. For more about creating lines check out my article here .
Create Direction
Everything stated above in this article applies here so my first suggestion is to go back and reread everything up to this point.
Like in the 2 mallet work, your selection should be memorized and you should have all of your sticking's planned out. Again, if you are reading and playing "on the fly" it will look extremely unprofessional.
In my experience, the following are some of the most commonly overlooked aspects of the 4 mallet solo work. Reviewing these important points will absolutely set your 4 mallet solo apart. Please also review the "setting yourself apart" section on 2 mallet playing above. All of the information there applies here as well.
Mallet choice should sound in all necessary areas of the keyboard. I will often listen to students who decide to use graduated mallets. They understand the concept intellectually and believe that understanding it intellectually alone will suffice. Unfortunately, this is not true and the solution is actually counter intuitive. Graduated mallets should only be used if you technically ALREADY have complete control of all 4 voices without them. This means that you have the listening coordination to hear the voices and control them. Otherwise, graduated mallets tend to hinder rather than help because they are meant to enhance techniques and abilities that are already in place. If they are used with the assumption that by simply using them the desired sound will happen on their own, their application may backfire.
1) Visualization
Are you able to see every note you are playing go by in your head when you are away from the instrument? This is a common problem created by an over reliance on physical muscle memory and a lack of true listening lingual experience. If you are unable to visualize then you most likely will not have confidence when playing and you risk any small memory lapse derailing the entire work.
2) Performances should be done in preparation - VERY IMPORTANT
Any serious college audition preparation process must consist of several performances of the selected repertoire leading up to the college audition. Performing the music for the first time in the actual audition is a dangerous game to play. Schedule performances for your band program, friends, family, and teachers. This will allow you to develop some experience feeling the nerves and anxiety you may feel during the audition process. It is invaluable. It may be scary but get it out of the way as soon as possible and avoid the all too common trap of turning the college auditions themselves into "practice." If the college auditions themselves are the first time you've ever performed your pieces you may be in big trouble.
Violin Sonatas and Partitas, JS Bach
Cello Suites, JS Bach
Prism, Keiko Abe
Marimba Dances Mvt #1, Ross Edwards
Concertino for Marimba, Paul Creston
Concertino for Xylophone, Toshiro Mayuzumi
Etude #2, #12, Gordon Stout
Etude in Ab, Clair Omar, Musser
Although far from thorough, scales are one of the most basic ways college audition panels gauge how well a potential student knows their instrument. When preparing for a college audition you must learn (preferably on the marimba) how to play all of your major, natural minor, harmonic minor, and melodic minor scales in at least in 2 octaves starting with your right hand at a reasonable tempo. 16th notes somewhere around 80-100 bpm should be sufficient. All scales should be recallable immediately from memory. If you need to think about a scale before playing it you are most likely not where you need to be. Arpeggios are the same as scales. They should be recallable immediately from memory. Many schools ask for arpeggios (and scales) to be played in different ways. Do your homework and practice in all major and minor keys.
Repertoire Selection
There are better works than others and I would encourage students to review my list of suggested works below. Selecting the right work for your audition will display a certain degree of seriousness right off the bat so IT IS extremely important. However, ultimately the success of your audition will depend on how well you play so it's also just as important to bat at your level. Know your strengths in the present moment and play to them. If you audition is successful you will have the next 4 years to work on your weaknesses.
Due to the rather large amount of exciting music written for mallet keyboard percussion, students can often get caught up in the all too common race of "who is playing what." It's important to ignore this mindset, tune out the noise, and play to your strengths.
The college audition experience is a huge opportunity to improve. It should be. With this firmly in mind, many students will try to stretch themselves and work on something "big" that is slightly above their current ability level. I absolutely support this but only when it's done right. It's very important to tread carefully and give yourself the proper amount of lead time. If you are unable to live with the piece for an extended period of time you run the serious risk of over shooting. This never turns out well. Be careful and plan ahead. For this very reason, most of my students have their music selected and notes learned by the summer before their auditions. This gives them the chance to schedule a few performances (see below) and have the work in both their ear and their hands for a few months before the audition. This adds a tremendous amount of confidence and potential polish to the audition.
Solo 2 Mallet Work
The college audition experience is a huge opportunity to improve. It should be. With this firmly in mind, many students will try to stretch themselves and work on something "big" that is slightly above their current ability level. I absolutely support this but only when it's done right. It's very important to tread carefully and give yourself the proper amount of lead time. If you are unable to live with the piece for an extended period of time you run the serious risk of over shooting. This never turns out well. Be careful and plan ahead. For this very reason, most of my students have their music selected and notes learned by the summer before their auditions. This gives them the chance to schedule a few performances (see below) and have the work in both their ear and their hands for a few months before the audition. This adds a tremendous amount of confidence and potential polish to the audition.
Solo 2 Mallet Work
Contemporary students tend to lean toward spending more time on their 4 mallet solo with the well meaning yet misguided impression that "it matters more." You must understand that audition panels are not impressed by a poorly presented 2 mallet solo accompanying a decent at best 4 mallet solo. This only ends up working against the auditionee. A clean, clear, and accurate 2 mallet solo played with a lot of energy and passion goes a long way toward showing true thoroughness and attention to detail. DO NOT overlook the 2 mallet solo!!!
For the two mallet solo don't assume that a marimba work is always the best choice, Some students may be more comfortable playing a work written for the xylophone (on the xylophone of course) and if that is the case great! Just make sure that the school where you are taking the audition doesn't have specific requirements.
Accuracy is important and at this level I find that a lot of it has to do with repertoire selection. Picking the right piece of music that you are able to control will lead to an accurate performance. Review the paragraph about repertoire selection above and make sure you are honest and thoughtful in making your selection.
Your selection should be memorized and you should have all of your sticking's planned out. If you are reading and playing "on the fly" it will look extremely unprofessional.
Your selection should be memorized and you should have all of your sticking's planned out. If you are reading and playing "on the fly" it will look extremely unprofessional.
Mallet choice does not make or break an audition but it is important. Select mallets appropriate to the character of what you are playing. Make sure every note written in the work is able to speak clearly. For example, do not select mallets that only work well at the low end of the instrument but not at the mid or high range. Be balanced and thoughtful in your selection and try a lot of different things. You never know what the audition panel will ask of you!
Setting Yourself Apart
Here are a few more important and interesting points. Studying these will set your 2 mallet solo apart.
Create Lines
Create Lines
A simple regurgitation of snare drum technique on any of the mallet keyboard instruments will not do. The 2 mallet portion of the audition should show sensitivity and the understanding of creating lines at the most basic level. This article is about undergrads so you don't need to be a master of this nuanced skill but the beginning of a clear understanding should at least be present. This goes a long way toward showing maturity and potential. For more about creating lines check out my article here .
Create Direction
Take the time to give each musical line direction. It's wonderful to have accuracy and you should absolutely strive for it but a lack of direction in your playing may suggest a lack of lingual musical understanding. Record yourself and listen for this specifically. Are you playing notes or telling a story? Be sure and do the latter!
Solo 4 mallet work
Everything stated above in this article applies here so my first suggestion is to go back and reread everything up to this point.
Like in the 2 mallet work, your selection should be memorized and you should have all of your sticking's planned out. Again, if you are reading and playing "on the fly" it will look extremely unprofessional.
Without sounding repetitive, do not attempt to play something that you aren't ready to play! It will work against you. Especially concerning the 4 mallet solo, the question to ask yourself pertains to "control." Are you in control of what your are playing or does it and the instrument control you? If the answer is the latter than you are playing something too advanced. When considering the 4 mallet solo, please be careful in this regard.
Setting Yourself Apart
In my experience, the following are some of the most commonly overlooked aspects of the 4 mallet solo work. Reviewing these important points will absolutely set your 4 mallet solo apart. Please also review the "setting yourself apart" section on 2 mallet playing above. All of the information there applies here as well.
1) Study the voices and don't take them for granted!
If you have selected a work with counterpoint or music of a similar nature, make sure you have worked toward developing the listening coordination to at least hear and possibly control each voice while playing. This also applies to works without counterpoint. Spend some time considering and working on the voices. If you don't have experience with this, a very simple way to begin is to practice listening to different voices each time you play. The ear is a muscle and by working in this way, you will develop some listening coordination. At the undergraduate level, it is understood that a student may only be at the starting point of this crucial skill but nevertheless, a starting point and sincere attempt should at least be present.
If you have selected a work with counterpoint or music of a similar nature, make sure you have worked toward developing the listening coordination to at least hear and possibly control each voice while playing. This also applies to works without counterpoint. Spend some time considering and working on the voices. If you don't have experience with this, a very simple way to begin is to practice listening to different voices each time you play. The ear is a muscle and by working in this way, you will develop some listening coordination. At the undergraduate level, it is understood that a student may only be at the starting point of this crucial skill but nevertheless, a starting point and sincere attempt should at least be present.
2) Try and develop a technique that doesn't rely on tension for accuracy.
Spend some time thinking about this. If you rely on tension your muscles along with your nerves will tense up during the audition. This could potentially lead to a meltdown. While this is true for all playing (and the audition in general) I have often found that technically, the most awkward part of the audition is the 4 mallet solo. There are a variety of reasons for this that would take up an entire article but generally, tension is one of the most common. No matter what grip you are using, your posture, arms, wrists, fingers, and upper body should generally be relaxed. Practice slow and pay extra attention to this. Also be sure to focus on your breathing! (more about this below)
Spend some time thinking about this. If you rely on tension your muscles along with your nerves will tense up during the audition. This could potentially lead to a meltdown. While this is true for all playing (and the audition in general) I have often found that technically, the most awkward part of the audition is the 4 mallet solo. There are a variety of reasons for this that would take up an entire article but generally, tension is one of the most common. No matter what grip you are using, your posture, arms, wrists, fingers, and upper body should generally be relaxed. Practice slow and pay extra attention to this. Also be sure to focus on your breathing! (more about this below)
3) Mallet choice should sound in all necessary areas of the keyboard. Be careful with graduated mallets.
Mallet choice should sound in all necessary areas of the keyboard. I will often listen to students who decide to use graduated mallets. They understand the concept intellectually and believe that understanding it intellectually alone will suffice. Unfortunately, this is not true and the solution is actually counter intuitive. Graduated mallets should only be used if you technically ALREADY have complete control of all 4 voices without them. This means that you have the listening coordination to hear the voices and control them. Otherwise, graduated mallets tend to hinder rather than help because they are meant to enhance techniques and abilities that are already in place. If they are used with the assumption that by simply using them the desired sound will happen on their own, their application may backfire.
Please note that I am not suggesting to use 4 of the same mallets all the time. Rather, I am suggesting to be mindful and consider the popular adage "less is more."
How to confront the common lack of experience with notes
There are of course many exceptions but in American percussion education, students tend to study drums first and then move on to mallet keyboard percussion. When I am listening to college auditions, one of the most basic aspects of a mallet keyboard audition I listen for is whether or not the student "actually knows" how to play the instrument. There is a gigantic difference between simply learning a work for a college audition and knowing how to play an instrument. That difference can sometimes make or break an audition.
Many American percussion students lack the proper experience "years wise" on mallet keyboard instruments. They simply haven't been around melody, harmony, and notes for a long period of time. This creates weakness in the overall audition. This is so often the case that compensating for this weakness may be for many the primary goal of the undergraduate college audition. With that said, I fully realize that in some cases it just isn't possible to cram years of experience into months during the audition preparation. Therefore, if this situation sounds familiar, you will need to find ways to maximize what you have and turn it into an extremely professional and polished product. The good news is that there are indeed ways to compensate to the best of your ability. We will review some of these methods below.
It's worth pointing out that each of these methods warrants it's own article but they are still worth a brief mention. By taking these suggestions literally, you will vastly improve the presentation and quality of the mallet keyboard portion of your audition.
There are of course many exceptions but in American percussion education, students tend to study drums first and then move on to mallet keyboard percussion. When I am listening to college auditions, one of the most basic aspects of a mallet keyboard audition I listen for is whether or not the student "actually knows" how to play the instrument. There is a gigantic difference between simply learning a work for a college audition and knowing how to play an instrument. That difference can sometimes make or break an audition.
Many American percussion students lack the proper experience "years wise" on mallet keyboard instruments. They simply haven't been around melody, harmony, and notes for a long period of time. This creates weakness in the overall audition. This is so often the case that compensating for this weakness may be for many the primary goal of the undergraduate college audition. With that said, I fully realize that in some cases it just isn't possible to cram years of experience into months during the audition preparation. Therefore, if this situation sounds familiar, you will need to find ways to maximize what you have and turn it into an extremely professional and polished product. The good news is that there are indeed ways to compensate to the best of your ability. We will review some of these methods below.
It's worth pointing out that each of these methods warrants it's own article but they are still worth a brief mention. By taking these suggestions literally, you will vastly improve the presentation and quality of the mallet keyboard portion of your audition.
1) Visualization
Are you able to see every note you are playing go by in your head when you are away from the instrument? This is a common problem created by an over reliance on physical muscle memory and a lack of true listening lingual experience. If you are unable to visualize then you most likely will not have confidence when playing and you risk any small memory lapse derailing the entire work.
2) Performances should be done in preparation - VERY IMPORTANT
Any serious college audition preparation process must consist of several performances of the selected repertoire leading up to the college audition. Performing the music for the first time in the actual audition is a dangerous game to play. Schedule performances for your band program, friends, family, and teachers. This will allow you to develop some experience feeling the nerves and anxiety you may feel during the audition process. It is invaluable. It may be scary but get it out of the way as soon as possible and avoid the all too common trap of turning the college auditions themselves into "practice." If the college auditions themselves are the first time you've ever performed your pieces you may be in big trouble.
3) Breathing
It's amazing how many talented students I see holding their breath and white knuckling this portion of the audition. Spending a little time during your practice sessions being mindful of your breathing will go a long way toward alleviating tension. Remember...a lack of oxygen to the brain makes things tight and tense. Being in this state won't help you play your best. Additionally, breathing is a coordination issue. Being able to naturally breath while playing speaks volumes about the player's emphasis and general skill level. Learning to breath is a basic thing that will immensely help. Don't overlook it!
Be sure and select the right mallets for the job that speak well in all areas of the instrument you are playing. Most undergraduate audtionees have very little relevant experience playing this music. My suggestion is to keep it simple. If you are playing glockenspiel use basic glockenspiel mallets or magic flute mallets for The Magic Flute (see below). For xylophone use basic "general" xylophone mallets. I hope to explore this further and write an article in the future about mallet selection.
The first think to do is to listen to and study the music with the score. You must do this before even attempting to practice a single note of the music. This takes some time but it is necessary. I can always tell when an undergraduate auditionee is attempting to play an excerpt with no prior knowledge of the music. It is unprofessional and ill prepared.
1) Know what other instruments in the orchestra you are playing with during the excerpt (if any). You should be able to hear the music going by in your head as you play it. This is a literal statement!
Once you feel comfortable with this information prepare the music to the best of your ability. It is understood by most professors that a potential undergraduate may not have a lot of performance experience but if the proper background work is done and music is made, a noticeable lack of experience will most likely be forgiven.
Sight Reading
There is a lot to discuss here. I will address this fully in part 4 of this series.
Orchestral Excerpts
Be sure and select the right mallets for the job that speak well in all areas of the instrument you are playing. Most undergraduate audtionees have very little relevant experience playing this music. My suggestion is to keep it simple. If you are playing glockenspiel use basic glockenspiel mallets or magic flute mallets for The Magic Flute (see below). For xylophone use basic "general" xylophone mallets. I hope to explore this further and write an article in the future about mallet selection.
Everything that follows is repeated material from Part 1 of this series. It's definitely worth going over again as everything here applies to all instruments.
Some schools may not ask undergraduates to play excerpts but if they do this section of the audition is often tricky. Many potential undergraduate percussionists may have very little to no experience actually bringing this music to life in live performances with an orchestra. However, there is still a lot of important preparation work that must be done to insure that this section of the audition is professional regardless of experience.
The first think to do is to listen to and study the music with the score. You must do this before even attempting to practice a single note of the music. This takes some time but it is necessary. I can always tell when an undergraduate auditionee is attempting to play an excerpt with no prior knowledge of the music. It is unprofessional and ill prepared.
To further clarify, knowing the music well means doing the following things.
1) Know what other instruments in the orchestra you are playing with during the excerpt (if any). You should be able to hear the music going by in your head as you play it. This is a literal statement!
2) Know the greater structural context of your part in the music. For example, is the excerpt you are playing in the beginning or the end of the work? What movement does it take place? This may seem obvious yet so many students overlook this easy part of the process.
3) Know the historical period when the work is written and some stylistic characteristics of it.
4) Finally, any other historical anecdotes and stories about the work are welcomed and encouraged. The more you know the better!
Once you feel comfortable with this information prepare the music to the best of your ability. It is understood by most professors that a potential undergraduate may not have a lot of performance experience but if the proper background work is done and music is made, a noticeable lack of experience will most likely be forgiven.
Sight Reading
There is a lot to discuss here. I will address this fully in part 4 of this series.
Repertoire Suggestions
Suggested 2 Mallet Works
Suggested 2 Mallet Works
Violin Sonatas and Partitas, JS Bach
Cello Suites, JS Bach
Prism, Keiko Abe
Marimba Dances Mvt #1, Ross Edwards
Concertino for Marimba, Paul Creston
Concertino for Xylophone, Toshiro Mayuzumi
Etude #2, #12, Gordon Stout
Etude in Ab, Clair Omar, Musser
Tambourin Chinois, Fritz Kreisler
Suggested 4 Mallet Works
Violin Sonatas and Partitas, JS Bach
Cello Suites, JS Bach
Etude in C Major, Clair Omar Musser
Etude in B Major, Clair Omar Musser
Frogs, Keiko Abe
Michi, Keiko Abe
Two Mexican Dances, Gordon Stout
Four Rotations, Eric Sammut
Nancy, Emmanuel Sejourne
Katamiya, Emmanuel Sejourne
Time For Marimba, Minoru Miki
Two Movements for Marimba, Tanaka
Excerpts (Here are a few basic ones that aren't too complicated. I have kept this list short on purpose.)
Xylophone
Porgy and Bess, George Gershwin
Colas Breugnon Overture, Dimitri Kabalevsky
Polka from The Golden Age, Dimitri Shostakovich
Bells
The Magic Flute, Wolfgang Amadeus Mozart
La Mer, Claude Debussy
In part three of this series, we will explore the timpani portion of the undergraduate percussion college audition.
In part four of this series we will explore sight reading and important general audition techniques pertaining to all three instruments!
Suggested 4 Mallet Works
Violin Sonatas and Partitas, JS Bach
Cello Suites, JS Bach
Etude in C Major, Clair Omar Musser
Etude in B Major, Clair Omar Musser
Frogs, Keiko Abe
Michi, Keiko Abe
Two Mexican Dances, Gordon Stout
Four Rotations, Eric Sammut
Nancy, Emmanuel Sejourne
Katamiya, Emmanuel Sejourne
Time For Marimba, Minoru Miki
Two Movements for Marimba, Tanaka
Excerpts (Here are a few basic ones that aren't too complicated. I have kept this list short on purpose.)
Xylophone
Porgy and Bess, George Gershwin
Colas Breugnon Overture, Dimitri Kabalevsky
Polka from The Golden Age, Dimitri Shostakovich
Bells
The Magic Flute, Wolfgang Amadeus Mozart
La Mer, Claude Debussy
In part three of this series, we will explore the timpani portion of the undergraduate percussion college audition.
In part four of this series we will explore sight reading and important general audition techniques pertaining to all three instruments!
No comments:
Post a Comment