Drum Major Audition Process

Drum major auditions will be held each spring.  The audition will consist of a variety of conducting tasks.  Anyone considering the role of drum major should schedule at least one individualized conducting lesson with Ms. Cramer.

     1.  Conduct 8 measures of each time signature: 4/4, 3/4, and 2/4.

• • These should be done consecutively as 24 continuous measures.

  • Ritard the last 4 beats, then give a fermata on the downbeat after the ritard.

  • Give a clear cutoff after the release of the fermata.

     2.  Conduct 4 measures in 4/4 time of each style: legato, accented, staccato, and marcato.

• • This will total 16 measures.  Like before, don't stop in between.

    • Legato - icti are smooth and rounded out (painting a fence)

    • Accented - icti are bouncy (dribbling a ball) 

    • Staccato - conduct with a flick of wrist (flick water off your fingers)

    • Marcato - straight wrists, heavy icti

     3.  Conduct a stand tune of your choice.

• • Demonstrate the ability to keep accurate time and use a beat pattern that can be seen and understood.

  • Be sure to add style, dynamics, facial expressions, articulations, cues and preparation beats, releases, and energy.  Be creative!

Drum major auditions WILL be video recorded to allow the committee the opportunity to review student performance as they make their decision.

Helpful Conducting Tips

You will do well if you heed the tips below!

1. Don't have an excess of body movement.  When the upper and lower halves of the body begin to move too much, it can be a TOTAL distraction from the conducting pattern, which is the MOST IMPORTANT thing of all.

2. Visualize conducting within "the box."  Remember, boxes will vary based on the size of the person's torso, but the box should be contained.

3. Be sure to hit each of the ictus points located at each extreme of the box.  If each of the points is not hit accurately, the pattern becomes sloppy and unclear to the band members.

4. Conduct at chest level.  The band isn't looking above or below chest level for your pattern.  The chest is eye level and is a comfortable level for conducting.  If you conduct at this level, correctly, it will prevent overexertion of the arms and upper body.

5. When bringing up the arms for the downbeat, do not bring them too high.  You don't want them going any higher than your face.  If you bring them up too high, you take too long for the downbeat, which throws your pattern and rhythms off.

6. NEVER cross your pattern.  Never let your arms or wrists or any part of your hand cross.

7. Make sure you distinguish between the downbeat and beat "3."  The downbeat is closer to the middle of your body, whereas the "3" is at the extreme of your box.

8. Don't use your whole arm when conducting.  Only make sure of the arm from elbow to wrist.  Everything else should feel and appear to be frozen and in place.

9. Don't hold your pattern too close to your body.  Push your pattern (to a comfortable and natural position) out away from your body.  It will be closer to the band.

10. Don't let your elbow sag down.  Elbows should always be pointed out to the side and not down.  If they are down, this means that your pattern is dropping and will not be readable.

11. Don't conduct with "t-rex fingers" (ones that are spread apart).  Keep them all together except for the thumb, which can be separated from the rest.

12. Do not show your palms to the band when conducting.  This tells them to stop playing.

13. Keep eye contact with the band.  If a section of the band has a BIG entrance, LOOK AT THEM!  Don't assume that they know this is their entrance; look at the section to give some guidance and reassurance.

14. CUE!  Cue big entrances as well as sections.  Cuing is just a reminder for sections or the entire band that they need to come in here or there is something big about to happen in the music.  ALWAYS cue with the left hand.

15. When cuing, make it stand out from your regular pattern of conducting.

16. Be sure to cue only when there is a section or soloist to cue.  Don't randomly cue for the heck of it.  Always have a section or person in mind for a cue.

17. Make sure that cutoffs are clear, crisp, and snappy.  Avoid sloppy or extended cutoffs.

18. Facial expression is NECESSARY when doing field conducting.  They rely heavily on you and your expression to see what they need to do and how they need to play.  Exaggerate the facial aspect.  If you give expression, they will give you something positive in return in the way of their performance.

19. Use your pattern as a way to indicate crescendo and decrescendo.  The pattern should become larger with a crescendo and smaller with a decrescendo.  Even though the pattern is getting larger and smaller, all of that needs to be done within "the box."

20. Patterns can also be very helpful in alerting the band of different musical styles.  For instance, if the band was playing a strict march, a stronger and tighter pattern is appropriate.  If the band is playing legato, the pattern should be soft and flowing.  Adjust the conducting style based on the music.  There can be more than one style of conducting in one piece of the music, which is usually the case.  

21. When the music is faster, your pattern needs to be smaller and tighter.  And when the music is slower, your pattern needs to be more fluid and open (all within the box, of course).

22. Don't be afraid to put yourself into the music.  Be expressive and let the band see you get into the music and its style.  If you do this, the band will be more likely to do the same, which is what you want.

23. If the band (or yourself) should ever get lost in the music, be sure to beat "1" until you (or the band) can find where you are.  The band will be looking for a solid downbeat, so always know where your "1" is.

24. Practice conducting in front of a mirror.  This allows you do a self-evaluation of your conducting and the progress that you're making.