Tips on Auditioning for a DCI "Pit"
by Jim Ancona

Though the sounds of the Drum Corps International Championships are still echoing in our heads, it's time to prepare for next year's season and that means auditions! I've talked to seven of the top twelve pit instructors and arrangers. Though every corps has its own methods and expectations at the auditions, I've listed below a few ideas that will make the process easier at any of the corps.

The first step is contacting the corps and requesting all audition information and exercises. Some corps will request that you contact the instructor directly. Most groups require two mallet scale and arpeggio exercises and some level of four mallet proficiency. Different instructors will ask for different grips, so use what feels comfortable. For preparing for a technical program, be prepared with a solo piece. Choose a solo that reflects your current ability level which you feel comfortable performing (take into account the nerve factor). If you audition via video, create a professional presentation with few mistakes.

Other factors considered at live auditions are personality, adaptability and "teachability." Most ofthe instructors I spoke with consider "teachability" the most important quality. During the camps and the summer, you will deal with many changes and difficult situations. A player needs to adapt and stay cool under pressure. No instructor or members wants to deal with a bad attitude, no matter the talent level.

Camp attendance is also a big factor for instructors. Simply put, you have to be there to make it happen. It's always good to have backup travel plans (especially if you're relying on another person).

When you arrive at the camp, remember to relax and be confident. If you prepare well, chances are good that you'll make your first choice. If the first choice doesn't work out, don't give up. Your second or third choice can provide the "corps experience" for you. Following is a list of specific requirements from several of the top twelve corps:

The Blue Devils - Jeff Lee
Jeff requests that non-California residents send a VHS tape with their audition materials. Some of these applicants may be asked to re-audition live. California residents will audition the Sunday after Thanksgiving. Auditions will continue at scheduled times until December 31. The membership will be set by the second week of January.

The requirements include two mallet scales (major, minor and chromatic) and arpeggios. Tempos will vary from 100 to 190 beats per minute. Four mallet exercises include independence, arpeggios, permutations, block chords and the ability to play two mallet exercises while holding four mallets. Jeff also requests a "showcase piece" which can be any kind of marimba or vibe solo.

The camp schedule is quite different than other corps. The pit will usually meet for one of the corps' full camps. They are not required to return until April for the Concord Pavilion show. Then members are asked to move in for Memorial Day. This kind of camp schedule provides different kinds of situations and pressures for members. Because of this, Jeff notes that "personality is a huge factor." Members must be able to "pick up the material quickly and adjust quickly."

The Blue Devils use six keyboard players, one timpanist (which is a dedicated position) and one percussionist (this is also a dedicated position). Timpani applicants should prepare scales (diatonic and chromatic), work on intervals, rolls and dampening. Percussion applicants should be comfortable with orchestral technique as well as Latin techniques (congas, timbales).

For more information, see the corps website at www.bluedevils.org.

The Blue Knights - Ralph Hardimon
Ralph suggests having a solid foundation with two mallets and preparing a solo for the first camp. It is also recommended to have a solo or etude ready. Though it is preferred that you are proficient at four mallet playing, you will be trained if you are not. Being "teachable" and having a good attitude is a must. Ralph commented that "more desire and less talent" will get you into the group. Monthly camps begin in November.

For more information, please visit the website at www.bknights.org.

The Cadets of Bergen County - Neil Larrivee
Before attending the first camp you should contact the "YEA" office and get audition packets. These will provide camp dates, pit information, exercises and excerpts to prepare. If you live far away, Neil suggests sending a tape to the office. The first camp will be the weekend of December 4 through December 6, where applicants will work primarily on an ensemble piece and technique. During the ensemble, the staff is trying to "create the real situations" that you will be facing during the summer. They are looking to see how well you adapt and they are looking for your "participation in the process."

As for technique, you should have the exercises and excerpts in the packet prepared. These include two and four mallet exercises. This is the foundation for your audition that you will play for the staff. It is also highly recommended that you prepare a solo. During the audition, the staff will rate you as a 1, 2 or 3. The 1 is a superior rating, 2 means that there are areas of improvement (which they will list for you) and 3 is given to applicants who need more maturing in their playing skills.

Neil also mentions that the Cadets often use several timpanists and will try to use whatever talents the applicants "bring to the table." Another interesting fact is that if you are invited to be a member of the Cadets, you must provide three personal references (on issues such as reliability and maturity). For more information, please visit www.yea.org.  

Carolina Crown - Paul Rennick
Paul breaks down his audition process into 6 priorities:

  1. Two mallet technique - You will play through several exercises in all keys (these exercises range from basic scales to more advanced modal exercises). Paul recommends being familiar with the "piston stroke" concept from the Stevens "Method of Movement" book and also being familiar with these texts: Morello "Master Studies" and the Stone books, "Accents and Rebounds" and "Stick Control."

  2. Timing and rhythmic exercises

  3. Sight reading

  4. Four mallet technique - It is helpful, though not necessary, to be familiar with both the Burton grip and Stevens technique. You will be asked to play permutation exercises and basic theory exercises (I-IV-V-I progressions)

  5. Conflicts with camp dates

  6. Dedication and commitment to the organization

Auditions are held during the first two camps. All members will audition (including the veterans). It is a good idea to have a solo prepared (though not absolutely necessary). Having a good keyboard foundation is recommended. For more information, visit www.carolinacrown.org.

The Crossmen - Jim Ancona
Before the first camp, please call the corps office and get a copy of the exercise packet. If you live far from the camp site, please send a tape!

The first camp will be spent on technique and learning an ensemble piece. For two mallet technique, we're looking for a relaxed and fluid wrist motion. You must know all of your major scales. With the four mallet technique, it would be ideal to know Stevens technique and Burton (our vibe players use Burton and the marimba players use Stevens). If you are unfamiliar with either of these techniques, the staff will work with you. Most of our four mallet exercises are from the Stevens book, "Method of Movement." With the ensemble piece, the staff is checking your reading and listening skills and how well you adapt to the ensemble. We use several timpanists and we are looking for good stroke and pedal technique and good ears.

At the first camp, we want to teach you as much as possible about our style, expectations and the corps. The second camp is where the real auditions begin. We want to see how much you've learned and worked on. We're looking for the A's (in this order): perfect attendance, great attitude and ability (both mental and physical). We are also looking for high energy performers. The Crossmen have monthly camps beginning in November and we hope to have the line set between February and March. For more information, please visit www.yea.org.

Phantom Regiment - Brian Mason
Brian broke the Regiment's process into three areas:

  1. Individual auditions - You will play two and four mallet exercises that you know and are comfortable with (they may be your own). With the two mallet exercises, you should be familiar with your scales and arpeggios and have good fluidity around the instrument. With the four mallet exercises, Brian says that it would be ideal to be familiar with both the Stevens and Burton techniques. Vibe players will be asked to use Burton grip and marimba players the Stevens technique. Next, you will be asked to play a solo (i.e. a jury selection). Here, Brian notes that they are looking for musicianship and performing skills.

  2. Next, you will be given show music. Here, they are checking your sight reading and memorization skills. Throughout the first weekend, the staff will be noting how well you adapt to the musical situations and to the group.

  3. The final step is your preparation between camps. The staff will want to see improvement from camp to camp. This is a sign of your dedication to the organization. As with many of the top drum corps, camp attendance is crucial; if you have a camp conflict, you should send a tape to the corps so they can see your work.

Brian commented that all members audition on even ground. "Every spot is always open" and they will be given to the "hungriest" players. Camps begin in November; the group hopes to have its final roster between January and February. For more information, please visit the website at www.regiment.org.

Santa Clara Vanguard - Jim Casella
Jim highly recommends that applicants send tapes to the corps prior to the November camp, particularly if you travel a great distance. If your tape is favorable, you will be invited to audition. The tape should show two and four mallet work and a solo. Showing some variety on the tape (i.e. playing some tambourine or snare drum excerpts) is a good idea as well. Timpani tapes are also accepted.

At the first camp the group will usually start together and do technique work. Here, the staff will check to see how well you adapt to their style of playing and how you respond to the rehearsal. Attitude and professionalism play a huge part during this whole process. Jim commented that it's "not only a playing audition, it's also a personality check."

You will then be auditioned privately. As for technique, they are checking your scales and arpeggios, your four mallet rotation, independent rolls and interval work. It is also highly recommended to have a four mallet solo ready (you may use the technique you feel most comfortable with).

The pit has monthly camps and Jim hopes to have the line set in January. For more information, please visit www.scvanguard.org.

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