2016 Spirit of Atlanta BRASS Audition Packet (1)

Spirit&of&Atlanta&2016&

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BRASS&MANUAL& **always&look&good**" **make&your&best&sound**" **it&only&counts&on&the&move**" " 10/8/15&

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2016"Spirit"of"Atlanta"Brass"Program" ~~"Table"of"Contents"~~" ! ! ! ! ! ! !

Welcome&Letter& Contact&Information& Equipment&/&Mouthpieces&/&Breathing&Tube& Rehearsal&Materials& Camp&Assignments& Physical&Fitness& Brass&Technique& o Posture& o Moving&and&Playing&Together& o StepIouts& o Air&and&Breathing&Techniques& o Embouchure&Development& o Bending&Pitches& o Singing& o Long&Tones& " Long"Tones"/"Air& " Flow"Studies& " Lip"Slurs"/"Flexibility"Exercises& o Articulation&and&Style& o Articulation&Visualization& o Dynamics& o Pitch&and&Intonation& " Intonation"Chart" " Tuning"Tendency"Chart" o Balance&and&Blend& o Bopping& o Pedal&Tones& o Stagger&Breathing& o Finger&Technique& " Clarke"Studies& o Individual&Practice&Guide& o Audition"Process& o Trumpet"Audition"Music& o Mellophone"Audition"Music& o Baritone"Audition"Music& o Tuba"Audition"Music& o Audition"Sheet&

" **always'look'good**'

**make'your'best'sound**'

**it'only'counts'on'the'move**'

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Dear"Brass"Team"Member," " THANK"YOU&for&joining&our&brass&family&here&at&the&Spirit&of&Atlanta!&&We&take&great&pride&in¬& only&fielding&the&best&possible&brass&ensemble&but&also&in&giving&our&students&the&tools&to&be& better&musicians&and&better&citizens.& & In&this&packet,&you&will&find&all&of&the&information&vital&to&your&success&as&a&member&of&our&brass& team.&&The&brass&program&at&SOA&is&one&filled&with&history&and&tradition,&which&we&will&continue& to&add&to&and&refine.&&We&view&membership&on&our&team&as&an&HONOR"&"PRIVELEDGE&and& there&are&many&expectations&and&responsibilities&that&accompany&being&a&member&of&the&Spirit& of&Atlanta&brass§ion.&&We&will&only&find&our&greatest&successes&if&every&member&of&the&team& accepts&these&responsibilities&and&participates&fully&in&the&journey&that&is&a&Drum&and&Bugle& Corps&Season.&&The&most&successful&brass&team&members&will&be&the&people&that&exhibit&these& basic&expectations:& & 1. TRUST"AND"RESPECT&for&fellow&members,&staff,&and&volunteers& 2. 100%&effort&at&all×&during&rehearsal& 3. A&passion&to&learn&at&all×& 4. A&commitment&to&excellence&in&all&facets&of&performance&and&life& 5. A&desire&to&build&and&maintain&a&successful&brass&team& & As&a&brass&team,&we&can&only&be&as&strong&as&our&weakest&link.&&If&our&weakest&link&is&a&strong,& hardIworking,&selfIsacrificing&individual,&then&our&success&will&be&immense.&We&will&only&be&as& successful&as&those&members&willing&to&apply&the&above&principals&and&use&them&in&their& everyday&lives.&&& & Spirit&of&Atlanta&has&a&storied&history,&and&our&goal&is&to&contribute&to&that&history&by&raising&the& bar&each&year&in®ards&to&commitment&to&excellence&and&dedication&to&the&organization.&&We& take&pride&in&the&opportunity&to&continue&the&rich&history&and&traditions&already&established&by& those&who&have&come&before&us.& & Please&read&all&of&the&information&in&this&packet&carefully&and&thoroughly&in&order&to&prepare&to& the&best&of&your&abilities&prior&to&coming&to&camp.&&Thank&you&for&your&hard&work&and&attention& to&detail,&and&know&that&we&are&truly&excited&about&your&membership&in&OUR&family&here&at& Spirit&of&Atlanta!& & Sincerely,& & Errick"Prince" Brass&CoICaption&Supervisor& Spirit&of&Atlanta&Drum&and&Bugle&Corps& [email protected]& &

**always'look'good**'



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Contact&Information& Below&is&the¤t&contact&information&for&your&brass&staff.&&Please&keep&this&information& private&and&for&your&use&ONLY.&&The&brass&staff&has&agreed&to&give&you&their&contact&information;& please&be&respectful&of&their&time.&&Here&are&some&guidelines&to&think&about&when&contacting& your&staff:& & • Is&it&too&early&or&late&to&call&my§ion&tech&or&caption&head?& • Is&this&something&that&I&can&eImail&instead&of&call?& • Do&I&already&have&the&answer?& • Have&I&already&asked&this&question?& & When&eImailing&the&staff&you&MUST&include&both&caption&heads&and&your§ion&tech&in&the& SAME&eImail.&&This&allows&for&accountability&on&all&ends&and&keeps&everyone&in&the&loop.& & Whenever&responding&to&eImails,&ALWAYS&reply&to&all.& & & COSCAPTION"SUPERVISOR" COSCAPTION"SUPERVISOR" Errick&Prince& Name& (210)&589I2156& (555)&555I5555& [email protected]& eImail& TRUMPET"TECH" " TRUMPET"TECH" Name& Name& (555)&555I5555& (555)&555I5555& eImail& eImail& MELLO"TECH" MELLO"TECH" Name& Name& (555)&555I5555& (555)&555I5555& eImail& eImail& BARITONE"TECH" BARITONE"TECH" Name& Name& (555)&555I5555& (555)&555I5555& eImail& eImail& TUBA"TECH" TUBA"TECH" Name& Name& (555)&555I5555& (555)&555I5555& eImail& eImail& & & & &




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Equipment& TRUMPETS:""Please&bring&your&own&trumpet&to&camps&until&you&are&assigned&a&specific&corps&horn.& & "MELLOPHONES:""Please&bring&your&own&F&Mellophone&to&camps&until&you&are&assigned&a&specific&corps& horn.&&If&you&are&a&French&Horn&player,&you&are&welcome&to&audition&on&your&concert&horn,&but&will&be& expected&to&show&proficiency&on&an&F&Mellophone&during&your&audition&as&well.& & BARITONES"/"EUPHONIUMS:"&Please&bring&your&own&marching&Baritone&or&marching&Euphonium&to& camps&until&you&assigned&a&specific&corps&horn.&&You&are&welcome&to&audition&on&a&trombone&or&concert& euphonium&(please&bring&your&own&instrument),&but&will&be&expected&to&show&proficiency&on&a&marching& baritone&during&your&audition&as&well.& & TUBAS:""If&possible,"please&bring&your&own&marching&tuba&or&sousaphone.&&You&are&welcome&to&audition& on&a&concert&tuba,&but&will&be&expected&to&show&proficiency&on&a&marching&tuba&during&your&audition&as& well.& & MOUTHPIECES" In&order&to&achieve&the&most&uniform§ion&sounds,&we&have&selected&specific&mouthpieces&for&the& Spirit&of&Atlanta&brass&team.&&Exceptions&will&be&made&only&if&approved&by&the&brass&caption&head(s)&and& your§ion&technician(s).&&You"are"responsible"for"bringing"your"own"mouthpiece"to"all"camps"and" summer"moveSin." " ! Trumpets:" & ! Mellophones:" " ! Baritones:" " ! Euphoniums:" " ! Tubas:" " BREATHING"TUBES& In&order&to&maximize&the&amount&of&air&we&move&in&and&out&of&our&body,&we&utilize&a&white"¾”"PVC"Ball" Valve"as&a&breathing&tube.&&These&can&be&purchased&at&a&hardware&store&such&as&Home&Depot&or&Lowes& for&around&$2I$3.&

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Rehearsal&Materials& Each&member&of&the&Spirit&of&Atlanta&Brass&Team&is&expected&to&bring&the&following&materials&to& ALL"CAMP"REHEARSALS"and&ALL"SUMMER"REHEARSALS:& & &

TUNER"/"METRONOME:"&All&members&of&the&SoA&brass&team&must&own&a&tuner&and&a&metronome.&(We& recommend&the&Korg&TMI40&or&TMI50).&&A&cellphone&app&is&NOT&acceptable&for&this&purpose.& & BREATHING"TUBE:""All&members&of&the&SoA&brass&team&must&have&a&¾”&PVC&Ball&Valve&–&breathing&tube&–&at&every& rehearsal.& & MUSIC"STAND:""Please&bring&your&own&folding&music&stand&(with&your&name&clearly&labeled)&to&all&brass&rehearsals.& & THREESRING"BINDER:""All&members&will&have&a&black,&3Iring&binder&(with&plastic&sheet&protectors).&&In&the&binder& will&be&the&Brass&Manual,&all&show&music,&all&nonIshow&music,&and&any&extra&music&handouts.&&Make&sure& to&clearly&mark&your&name&and§ion&on&the&front&cover&and&somewhere&on&the&inside&of&the&binder.& & PENCIL:""It&is&extremely&important&to&have&a&pencil&on&hand&at&all&rehearsals&(camps&and&summer).&&Notes&should&be& taken&at&all×,&especially&when&rehearsing&with&the&arranger.&&Write&EVERYTHING"down!&&The&more& details&you&document,&the&more&details&you&will&remember!& & GLOVES"(black"cotton):""Gloves&will&be&worn&at&all×&when&handling&a&Spirit&of&Atlanta&horn.&&You&will&go& through&many&sets&of&gloves&during&the&course&of&the&season.&&It&is&important&that&your&gloves&remain&in& good&condition&and&are&replaced&as&necessary.&&Gloves&that&are&dirty&or&have&acquired&holes&are&NEVER& acceptable.& & BLACK"TOWEL:""The&black&towel&is&used&to&protect&your&instrument&when&placed&on&hard&surfaces,&especially& outdoors.& & BASEBALL"CAP:""Your&cap&must&cover&the&top&of&your&head&and&shade&your&face,&your&eyes,&and&your&chops.&& Depending&on&time&of&day,&caps&may&be&removed&(at&the&discretion&of&the&Caption&Heads&/&Drum&Majors).&& During&indoor&rehearsals,&caps&are&optional&at&the&discretion&of&the&Caption&Heads&and&Drum&Majors.& & TENNIS"SHOES"/"TRAINERS:""You&will&be&moving&at&all&rehearsals.&&Thus,&tennis&shoes&are&required&at&all×.&& Sandals,&shower&shoes,&flip&flops,&bare&feet,&etc.&are&never&acceptable.&&TAKE&CARE&OF&YOUR&FEET!& & CLOTHING:""You&must&wear&clothing&that&will&allow&you&to&perform&excessive&movement&such&as&gym&shorts,&tI shirts,&sweats,&etc.&&NO"JEANS!!!""Again,&you&will&be&moving&at&all&rehearsals.& & WATER"BOTTLES:""Each&brass&team&member&is&required&to&own&their&own&personal&water&jug.&&The&approved&water& jug&is&a&Coleman&1Igallon&Jug&(Blue).&&These&water&jugs&must&be&present&and&filled&with&water&at&all& rehearsals.& " http://www.amazon.com/ColemanI3000000JUGI1IGallonIJug/dp/B00363RSXU&

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PHYSICAL&FITNESS& Physical&ability&and&fitness&is&a&must&in&this&activity.&You&must&be&able&to&sustain&an&extended& length&of&high&output&cardiovascular&during&our&rehearsals.&Brass&team&members&are&expected& to&make&a&commitment&to&working&hard&in&the&offIseason&on&their&personal&physical&fitness.&The& reason&physical&fitness&is&a&must&is&very&simple:&the&stronger&we&are,&the&stronger&we&will&be.& Plus&it&is&always&easier&to&listen&to&instructions&when&you&are¬&worn&out&after&a&rep&or& rehearsal.&& Below&are&some&tips&that&can&help&you&achieve&your&goals&as&well&as&ours:&& DIET:&We&don’t&pretend&to&be&health&experts.&However,&here&are&some&simple&ways&to&adjust& your&diet&in&order&to&help&you&shed&some&unwanted£s&and&just&make&you&feel&better:& 1. Stop&drinking&Soda&and&replace&it&with&water&& 2. Reduce&the&amount&of&fast&food&you&eat&& 3. Eat&more&vegetables,&especially&dark&green’s&& 4. Replace&sugary&snacks&with&fruits,&juices&&&vegetables&& 5. Try&to&eat&a&breakfast&everyday&& 6. Don’t&eat&late&night&snacks&& 7. Eat&more,&smaller&meals&per&day&& & EXERCISE:&Any&type&of&physical&fitness&can&help&you&feel&better&in&many&ways.&When& committed&to&a&daily&exercise&routine&you¬&only&improve&your&health&and&wellIbeing,&you&will& greatly&improve&your&ability&to&contribute&to&the&brass&team&at&the&highestIlevel&possible.&& EVERYDAY&you&should&do&the&following:&& 1. 2. 3. 4. 5. 6.

Stretch&your&body&& Walk&for&an&extended&amount&of&time&& Make&sure&you&get&plenty&of&sleep&& Keep&a&record&of&everything&you&do&& Gradually&increase&the&amount&of&exercise&& Jog&at&least&15&minutes&& & Don’t&be&intimidated&by&the&physical&fitness&portion&of&this&packet!&It&is&only&meant&to&share& some&ideas&to&help&you&improve&as&a&musician.&We&believe&that&being&a&member&of&the&brass& team&is&akin&to&being&a&professional&athlete&at&the&top&of&their&game.&It&is&imperative&that&all&of& our&brass&team&members&be&in&excellent&physical&health.&If&you&have,&or&have&had,&heart& problems,&asthma&difficulties,&knee&issues&or&surgery&and&or&back&problems&or&surgery&then&this& activity&may¬&be&for&you.& **always&look&good**&**make&your&best&sound**&**it&only&counts&on&the&move**& & &




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Assignments& In&order&for&us&to&maximize&our&time&at&winter&camps,&brass&team&members&will&be&expected&to& spend&time&practicing&all&SoA&techniques,&show&music,&and&nonIshow&music&in&the&weeks& between&camps.&Practice&sessions&should&be&focused,&productive,&and&nonIstressful;&a&specific& goal&should&be&set&and&reached&each&time&you&set&aside&time&to&practice.&Professionals&don’t& practice&until&they&get&something&right;&they&practice&until&they&can’t&get&it&wrong.&You&will& be&treated&as&a&professional,&and&thus&will&be&expected&to&come&to&camps&and&moveIins& prepared&as&such.&& Process:&There&will&be&at&least&two&(2)&assignments&between&every&camp&that&brass&team& members&are&expected&to&turn&in.&These&assignments&are&to&be&recorded&on&a&device&with&both& video&and&audio&capabilities&(video&camera,&camera&phone,&tablet,&etc.)&and&then&uploaded&to& YouTube&as&an&UNLISTED&video.&Make&sure&to&include&your&name,&instrument,&assignment,&and& date&in&the&‘info’§ion&of&the&page.&The&link&to&this&page&is&then&to&be&eImailed&to&your&Section& Tech&and&the&Caption&Heads.&All&assignments&will&be&due&by&midnight&on&Wednesdays&(dates&to& be&determined&based&off&of&the&camp&schedule&and&communicated&to&you).&& Late"Assignments:&In&drum&corps,&being&late&is&never&an&option&and&it&can&negatively&affect&the& entire&organization.&The&expectation&is&that&to&be&on&time&is&to&be&late,&and&to&be&early&is&to&be& on&time.&Late&assignments&will&only&be&accepted&if&a&prior&arrangement&has&been&made&with& your&Section&Tech&and/or&the&Caption&Heads.&Assignments&that&are&turned&in&late,&or¬&at&all,& run&the&risk&of&jeopardizing&a&member’s&contracted&status&with&SoA.&& Essentials:&Every&assignment&should&have&an&audible&metronome&that&you&are&playing&with.& Assignments&with&no&met&will¬&be&accepted.&One&of&the&major&tenets&of&our&program&is&the& idea&that&‘it&only&counts&on&the&move’.&When&doing&video&assignments,&make&sure&that&you&are& using&the&visual&technique&as&established&by&the&SoA&visual&staff,&and&are&moving&within&the&field& of&view&of&the&camera.&Remember&to&always&make&your&best&sound&–&the&brass&staff&will&give& you&feedback&directed&at&maximizing&your&potential&to&be&an&incredible&brass&musician.&& Music:&Show&music&and&nonIshow&music&will&be&made&available&to&contracted&members& between&camps.&It&is&expected&that&this&music&will&be&downloaded,&printed,&placed&in&the& appropriate§ion&in&your&brass&binder,&and&prepared&PRIOR&to&coming&to&camp.&With&enough& advance¬iced,&some&music&will&be&required&to&be&memorized&prior&to&coming&to&camp.&Camps& are¬&for&teaching¬es&and&rhythms&–&Instead,&we&will&be&spending&most&of&our&time&working& to&achieve&uniform§ion&sounds,&blended&and&balanced&full&hornline&sounds,&and&piecing& together&all&of&the&work&each&individual&member&has&put&in&between&the&camps.&This&process&is& paramount&to&our&success&through&the&winter&months&and&the&summer&tour.& & & & & &




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The Technique The Brass Technique of the Spirit of Atlanta is the foundation upon which we will build a strong future for our drum corps. Through consistency of this approach we will be able to explore levels of musicianship that were previously unattainable. POSTURE To be most efficient when marching and playing, the body should be in the most natural and upright position. Improper posture will hinder your brass playing and can cause back injury. When playing your brass instrument, weight should be evenly distributed on both feet. Your upper body weight should be lifted up from your waist, NOT leaning on the lower part of your back. Your shoulders should be back, down, and relaxed in order to keep tension out of your sound. The bell of your horn should be 10o above parallel at all times. In terms of hand position, your fingers and wrists should be relaxed at all times. Fingertips go on top of the valves (making a C-shape with the right hand) in order to push the valves straight down. Correct finger technique will help avoid bent valve stems which will cause the valves to stick. Valve casings should be perpendicular to the ground (except for tubas). The palms of your hands should away from the horn in such a way that allows you to create a straight line from the knuckle, along the top of the forearm to the elbow. It is important that you begin to think about SEPERATION OF UPPER AND LOWER BODY. Lifting your weight off of your hips creates more room in the upper body to take in more relaxed air. It also helps prevent marching and maneuvering from affecting your sound. MARKING-TIME Marking-time will be used in all non-drill music rehearsals. As the season progresses, the visual staff will go into further detail regarding the proper way to mark-time. Here are some basic guidelines to marking time: 1. The initiation to the mark-time will “one” count or the “and” count (to be determined by tempo of the exercise) 2. The heels of your feet will hit the ground on all “down” beats. This will coincide with the opposite knee hitting a “forward” position. (left heel down, right knee up; right heel down, left knee up) 3. Your heel will come up to the opposing foot’s ankle bone. 4. Your upper body should not bounce or sway while marking-time. It should look as though you are standing still. 5. The success of the brass ensemble will be determined by how well you move and play at the same time. The sooner you start adding movement to your playing, the better your section will get.

**always look good**

**make your best sound**

**it only counts on the move**

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STEP-OUTS Step-outs are essentially mini-drill moves to help us fix drill and tempo issues, as well as another form of marrying your music responsibilities to your visual responsibilities. Almost all timing issues occur within the first 2 counts of a drill move, hence the use of step-outs in the arc or circle. Step-outs are simple: You take two steps in ANY direction (left foot, then right foot) at the beginning of a musical or drill phrase. Over the next two counts, you will return to your original position and continue marking-time. It is important that you try to simulate the drill phrases as close as possible in regards to step size. We want you to extend your step sizes at all times to make your job on the field that much easier. Here’s a breakdown of proper step-out technique: • • • • •

Count 1 – Left foot (full step) Count 2 – Right foot (full step, point the toe, lightly “stab” with the platform) Count 3 – Left foot re-plants (in place, in time) Count 4 – Right foot back into left foot (in time – both feet are now together) Count 5 – Continue marking-time in place, in time

AIR TECHNIQUE Our brass technique program is based on our ability to accurately and efficiently use our air supply. By being able to do this, we can expand our range of dynamic expression, both in the extreme louds and extreme softs. Air should always be relaxed and NEVER forced. There should never be any tension in the neck and shoulders, as this tension will manifest itself in the sounds coming out of your bell. In order to achieve this feeling, there are some exercises that will help you work toward the most relaxed posture possible. Neck rolls, shoulder rolls, arm circles, and upper body stretches all can be used to help you relax the proper muscle groups, aiding in a relaxed, full breath. Like the pendulum of a grandfather clock, the air is always moving. NEVER allow your air to stop movement, aka capping. This happens when a person inhales and then stops the airflow before exhaling. This inevitably causes numerous problems including tension, timing issues, and explosion of air during the exhale, to name a few. When breathing in, there should be no sound (a sign of tension) and the air should feel cold on the back of the throat. Timing of the breath is one of the most important aspects of playing in time with the ensemble. Your breath should occur one (1) count prior to the attack of a note. Sometimes this will be altered to a two (2) count breath before the attack of a note. This will be determined by the Caption Heads and Section Techs based on the requirements of the music book. Without this technique, we will have significant timing issues.




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AIR TECHNIQUE (CONTINUED) Breathe and play. Your internal subdivision (mental metronome), the breath, and the beginning of the note are all one through-line. TIMING STARTS WITH THE SUBDIVISION AND THE BREATH, THEN FOLLOWS THROUGH WITH THE EXHALATION AND ATTACK. If we are to play together on beat 1, our accuracy will be directly correlated to our success of internal subdivision and timing of the breath on beat 4. If the performer enters early on an attack, it can be attributed to a shallow or out of time breath. A late attack can be attributed to a capped breath (stopping the air between the inhale and exhale) or poor timing. The performer must ALWAYS breath and play with the timing in their feet in order to properly stay in time with the full ensemble. Releases are another major point of our brass technique program and should be considered another form of articulation. Many drum corps can articulate a note together, but far less can release together without changing the sound quality and creating the most resonance possible. Our goal will be to do this accurately each and every time we initiate sound on our instruments. A performer should take a complete, FULL breath in on the release point. If done correctly, the sound should fill up and resonate the space within which you are rehearsing. A clean, square release point will ring for a moment even after the air has been released. Strive to make the note ring! A few things to think about when creating proper releases: • • • •

NEVER close or move the jaw when releasing a note NEVER stop the air by closing the throat NEVER use the tongue to stop the air or note NEVER change the shape of the mouth during any note or release

Air speed helps with range and slotting of notes on your instrument. When playing higher you should use faster air; slower air for lower notes. In addition to tessitura, air is essential to dynamic differences in musical passages. You should always use faster air for louder dynamics and slower air for softer dynamics. However, the column or width of the air is always very large and moving forward. The column of air can be described as the amount of moving air. In playing your instrument, it is always advisable to get as much air into the horn as possible. The more air you can get into the horn, the warmer and richer the sound quality will be coming from the bell.




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BREATHING EXERCISES While performing the following exercises, the player should be concerned with filling up his or her lungs completely while maintaining relaxation. In normal everyday life, humans use about 25-30% of their lung capacity. As wind instrument players, we strive to push that percentage to 90-100%. These exercises will assist in expanding your lung capacity throughout the winter camps and summer move-ins. A proper breath should allow an outward expansion in the midsection of your body. This is easiest to see in the stomach area, but the expansion should be felt all through the sides and back of the midsection of your body. Once lung capacity is full, focus should shift toward releasing all of the air out evenly. It is important to completely empty the lungs to counteract the lungs from storing carbon dioxide. If the air is not released completely, carbon dioxide will build up and begin to decrease the player’s lung capacity – causing unnecessary stress, tension, dizziness, and exhaustion. These exercises should be done with and without the instrument. In both cases, relaxation is a key factor towards producing a proper air-stream; the avoidance of tension will allow for a more effective use of the air-stream. It is important with all the exercises that you try to imitate the way you play in a performance situation as closely as possible. Simply playing through the exercises without a thought of application is not effective and will form bad habits. There are many different kinds of breathing exercises and techniques that we will utilize throughout the winter, spring, and summer (such as sizzling and the Breathing Gym). All exercises will develop and improve your air support. Exercises will be done with and without your breathing tube. 5 – 15 – 5 This exercise will work specifically on expansion of the lungs as well as staying relaxed. Begin with an inhale to 100% for five (5) seconds then hold the air in for fifteen (15) seconds. During this time, take 2-3 ‘sips’ to make sure you are filled up at 100%. Also, stretch the upper body while holding your air to find if there is any more room to store air in order to get a more full original breath. Next, exhale completely for five (5) seconds, followed by a sizzle (tssss) to expel all remaining air. Finally, take a last big breath in and exhale completely to ‘reset the system’ (a sigh). Breathing Gym The Breathing Gym was developed by tubists Sam Pilafian and Patrick Sheridan. It is designed to give you better control and efficiency of the breath by developing proper breathing habits. When done correctly, you should notice improvement in your tone, stamina, and overall performance. Work these exercises just past the point of ease and slightly into discomfort, WITHOUT tension or overexertion. All exercises are to be performed in a relaxed manner with no tension in the body.




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Breathing Gym (continued) Monitoring each breath ensures correct execution a. Inhale i. Form the right hand like a karate chop, but fold the thumb flat against the palm ii. With the right hand in this position, place the index finger just under the tip of the nose (thumb should now be pointing forward) iii. Place top lip on the middle knuckle and the bottom lip on the big knuckle (13pprox..) iv. Remember the yawn analogy and take a deep breath quickly, letting the only resistance occur at the lips v. If executed correctly, the inhale will have a deep sound like a vacuum with one finger placed over the opening b. Exhale (remove right hand before exhale) i. Hold the left hand with palm facing the body at an arm’s length ii. Exhale and feel the constant flow of air on the palm c. The inhale and exhale are to be performed continuously with no break between, just like a pendulum swinging Flow Studies – stimulate regular breathing patterns used while playing—move air without resistance or tension. Monitor the air during these exercises to ensure that the air is constantly and consistently moving in and out (comfortably full to comfortably empty). a. Shorten the Inhalation (in 4 out 4, in 3 out 4, in 2 out 4, etc.) b. Shorten the Exhalation (4-4, 4-3, 4-2, etc.) c. Shorten the Inhalation Variation (4-4, 3-5, 2-6, etc.) d. Shorten the Exhalation Variation (4-4, 5-3, 6-2, etc.) e. Shorten the Inhalation and Exhalation (4-4, 3-3, 2-2, 1-1) f. Bow & Arrow, Toss the Dart, Float the Paper Airplane Therapies – a counterpart to flow studies, therapies are used to inspire better airflow by deliberately creating problems to overcome, such as resistance and suspension a. Inhale Therapy – fight for air with suction i. Exhale all air (sizzle) ii. Place the back of the hand against the lips iii. Fight for air by creating suction for 4-60 seconds, but do not allow any air in iv. After time is up, remove hand and inhale as much as air possible in one gasp (still maintaining the yawn shape) v. With lungs at full capacity, suspend the air while keeping the mouth and throat open for a predetermined duration (4-60 seconds) with shoulders relaxed vi. After time is up, expel air in one big chunk down to a sizzle b. Inhale Therapy Variations i. Expand in Two Areas – during suction, mentally feel your lungs expand toward your chest and back ii. Expand in Four Areas – during suction, mentally feel your lungs expand in 4 quadrants: abdomen, lower back, chest, and upper back iii. Slight Leak – during suction, allow some air to leak




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Breathing Gym (continued) Strength and Flexibility – focus on expanding and contracting the lungs to their extremes a. In, Sip, Sip—Out, Push, Push i. “In” – inhale to maximum capacity for one beat while lifting arms overhead ii. “Sip” – lift arms higher while sipping in more air iii. “Out” – exhale completely in one beat while pushing arms downward iv. “Push” – force the last little bit of air out b. Power Breaths (1 and 1’s) c. Power Bow & Arrow 9–8–5–4–1 This air exercise is a way to take all of the information about breathing thus far and coordinate it with moving the feet. Step-outs will happen on the articulation of the 9 – 8 – 5 series, but NOT on the 4 – 1 series. Feet should be marking-time throughout. Work to keep the air dark and resonant, as if fogging up a mirror. Use all of your air in all of the counts – thus, 5-count air should be ‘louder’ than 9-count air, etc.

Singing All instruments produce sound that imitates the human voice. Singing is an important tool for developing great ensemble tone quality and intonation. The brass section will sing frequently, and we will have a very serious approach to the technique of singing. The resonance and breath support necessary for singing are quite similar to proper brass playing. When singing, we use the “radio announcer” voice, the voice that seems to project a great distance. Here are some guidelines for all singing exercises: • • • • • • •

The throat should be open The face should be relaxed The mouth shape should be oval-like, with the longer part of the oval from nose to chin o Think ‘north to south’ as opposed to ‘east to west’ The same approach to breathing, air support, and direction of air with your wind instrument, applies to singing Always be listening to match pitch We will train you to audiate, and frequently check pitch before, during, and after singing We will work on being able to sing every exercise in the technique book, chorales, show music




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Singing (continued) In the following exercise, work with a tuner to make sure every pitch is centered and sung with a dark, resonant tone quality. Know all 4 parts – we will frequently change up who is on what part.

Embouchure Development Most professional brass musicians practice with the mouthpiece on a regular basis. The benefits of mouthpiece buzzing include: being able to isolate embouchure and tone production problems, improved aural skills, and less lip fatigue. The first notes we will play every day will usually be on the mouthpiece. There will be much attention placed on how you produce that sound and its overall quality. The mouthpiece, embouchure, and air support combine to create the true instrument; the tubing of the brass instrument merely resonates your buzz. The quality of sound on the mouthpiece directly correlates to the player’s tone quality when the mouthpiece is added to the instrument. Therefore, developing a dark and resonant sound on the mouthpiece should be a priority for all brass players. There are numerous articles written about embouchure development for each of the instruments. We strongly recommend that you find and research these articles so that you may apply the information to your specific instrument. You should also continue to reinforce the embouchure work that you may have done with your private lesson instructor. Remember, one of the tenets of our program is MAKE YOUR BEST SOUND. This requires focus on producing the most resonant, dark, and warm tone as possible. Here are some basic embouchure rules that can be applied to all brass players: •

The corners of the mouth need to be firm and strong




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Embouchure Development (continued) • The mouthpiece should be placed as close to perpendicular on the lips as possible – not too upstream or downstream • Both lips should have enough flesh on the mouthpiece to allow for a full and robust buzz • Always bring the mouthpiece to the same place on your lips • The jaw should always be open – especially in the lower register • The teeth are apart • THE AIR INITIATES THE BUZZ; THE TONGUE DEFINES THE SOUND

There should always be a dark, open “Oh” sound. If the sound is bright and tinny, open your jaw more and firm up the corners. Be sure to check that the mouthpiece is not forced against your lips. Again, be certain that the corners are locked and that there is ALWAYS excellent breath support. In addition to warm-up exercises, mouthpiece playing will help improve accuracy discrepancies in the show music. Every player in the ensemble should be able to play any part of the show music on his or her mouthpiece.




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BENDING PITCHES When practicing on your own, or even during a warm down, we DO recommend bending/sliding as a technique to gaining true flexibility. It is important that when you slide between pitches or when bending pitches, that your corners stay firm, and that the “M”muscles in the upper lip stay engaged. The bending or sliding of the pitch lies solely on the rolling in-and-out of the bottom lip and the type of air being used. When playing flexibility exercises on the mouthpiece, target the exact pitch (this is called ‘slotting’). Sliding will cause intonation problems, along with serious timing problems, because players arrive at the pitch at different times. WHEN WE HAVE 84 PLAYERS TRYING TO PLAY TOGETHER, WE NEED TO “NAIL” (SLOT) EVERY PITCH WITH NO SLIDING. LONG TONES There are several benefits from playing long tones every day. Along with mouthpieces work, this allows the muscles in your face to loosen up and helps you to become comfortable with instrument. Primarily, this is an opportunity for the player to concentrate solely on tone quality, breath support, and intonation. Without the distraction of rhythms and notes, the player can focus on playing in tone with his or her section and throughout the ensemble. Long tones are essential to establishing a solid center of pitch for the warm-up. Balance and blend are key factors to this portion of the warm-up. Players should be listening for intonation, blend of tone, intensity, as well as quality of sound. F INTERVAL STUDIES Intervallic studies will be a key factor in our ability to move between pitches with a smooth, even sound. Make sure to increase the speed of the air as you change from note to note. This will not only aid with the centering of pitches, but also with giving each phrase musical direction. Play the exercise slowly and with a tuner to ensure correct centering of each and every pitch. The ultimate goal is to make each and every note sound exactly the same, regardless of the direction from which you approach the note or the size of the intervallic leap. THE MACHINE BREATH The Machine Breath is the method through which we keep air moving in the space between phrases. In the following example, you will see that the initial sustained note is released with a breath on beat one (1). Preparing for the following attack should include the breath on beat four (4), which leaves open beats two (2) and three (3). An exhalation should occur to fill in the space, but this should be through the corners of the mouth and NOT THROUGH THE HORN. Your air should mimic the pendulum of a grandfather clock – it never stops moving!




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LONG TONE / INTERVALIC STUDIES




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LONG TONES / INTERVALIC STUDIES




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LONG TONE / INTERVALIC STUDIES




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FLOW STUDIES The flow studies are another staple in the SoA fundamentals package. This exercise will allow the member to focus on creating the most smooth and characteristic sound possible. Based on the exercises of Vincent Cichowicz, these lines begin with small intervals and progress to larger intervals, allowing the performer to create a block sound that is even throughout all registers. The exercise can be transposed down to work on lower register playing. In addition, by adding notes to the middle of each line, the upper register can be expanded. The performer should strive to create the most resonant and even sound possible. This even sound occurs when all notes produced are equal in tone, volume, and energy. Dynamics can also be added to the exercise to place additional responsibilities on the player. However, in the initial stages, the performer should work to create a constant and unchanging sound with no dynamic change. LIP SLURS / FLEXIBILITY EXERCISES Lip slurs play a huge part in the development of any brass player’s flexibility. The ability to move fluidly from partial to partial while maintaining accurate pitch is essential. Providing a consistent air stream throughout the musical line will allow the player to attain this fluidity. The exercise should not be thought of merely as an exercise, but rather as a musical phrase. Each musical line should have purpose, movement, and arrive at a destination. Like endurance, flexibility will only improve with regular practice over time. When practicing lip slurs, always use a metronome and strive for equally spaced notes – in time and steady. Make all the notes equal volume; don’t allow the top note of a lip slur to pop out.




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FLOW STUDIES




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LIP SLURS / FLEXIBILITY EXRECISES




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FLOW STUDIES




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LIP SLURS / FLEXIBILITY EXERCISES




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FLOW STUDIES




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LIP SLURS / FLEXIBILITY EXERCISES




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ARTICULATION AND STYLE Articulation is created without explosions on the beginning of the notes. Our brass team uses a dAh articulation, which allows for exceptional clarity on all articulations. Take notice of the lower case d and the upper case A. Our articulation requires much less tongue than people think and every performer should strive for less tongue and more focus in the sound to provide more tone. 90% of an attack is air and the other 10% is tongue and you must remember THE AIR STREAM ALWAYS CREATES THE BUZZ, NEVER THE TONGUE. It is important that we create a consistent style of articulation at all times so that we can sound exactly the same at all times throughout the ensemble. The adjudicator community can detect the smallest variations in style and articulation and it is our job to eliminate these inconsistencies. Below is a chart that can help you understand what we are looking in terms of articulation and contains most of the articulations we will see in our musical book. LEGATO TONGUING When tonguing in a legato style, the air is virtually unbroken as the tongue plays each note like a soft paintbrush. Be mindful to keep the tongue moving fast – do not “chew” the notes. STACCATO TONGUING Remember, staccato does not always mean short – It means separated or detached. To produce a good staccato, keep the air stream supported and create perfect blocks of sound: each block identically matching the one that preceded it. Make sure that the tongue starts every note, but does not finish it. Otherwise, a “DIT” articulation will result. Remember to keep a staccato round and open-ended. STYLE EXERCISES When we isolate a particular style, the performer can maximize their practice time by utilizing style exercises. Rhythmic integrity is a primary focus with style exercises and then we can focus on correct interpretation of the musical intent. Then we add note duration and articulation to clarify the intent of the music. ARTICULATION EXERCISES Articulation exercises are an integral part of developing the relationship between the tongue and the air stream. It is important to understand that the tongue cannot articulate properly if there is not enough air support. These exercises are intended to develop a consistent and clear approach to the motion and speed of the tongue and air. It is also important to know that the clarity of the articulation should not be affected by tempo, technique, note length, volume, or range. The only time an articulation will change is when the style being played changes.




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ARTICULATION VISUALIZATION




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Articulation Exercises




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VOLUME Power and quantity of sound are trademarks of great brass ensembles. This type of playing requires a constant monitoring of the player’s quality and intonation. The key to playing loud is relaxation. An ugly, “spread” tone is often the result of tension and forced breathing. You must stay “open” to maximize the amount of air involved during the inhalation to produce a large and flowing “fff “exhale. The corners of the mouth must be kept firm to support the large volume of air pouring through the aperture. Visualize the lips wrapping around the air stream when playing at fuller dynamic levels. Great care should be taken through the building of volume over a given period of time. Playing loud with a round, beautiful sound is a goal that will require great concentration over a long period of time. Another point of concern is “pp” passages of music. We must focus on playing at the extreme soft dynamics required. We do this by applying all of the same techniques we would use during extreme loud volumes. The best ensembles play not only at extreme loud volumes; they can also play at soft dynamic levels with full supported sounds. Again, every note will sound exactly the same just speak at different volumes. A great comparison will be like turning up or down the volume knob on a stereo. Below is a chart that can be used to help us identify volumes in our music book. We will use this as a guide to exploring the dynamic range of our brass team. Keep in mind that dynamics are subjective and can change depending on the location of the performer on the field and the needs of the musical book.

Dynamic Marking ppp

Number 1

pp p mp mf

2 3 4 5

f ff fff Full Volume

6 7 8 9


Definition This is the softest volume you can play with a full, supported sound

This is the loudest volume you can play without any edge in the sound

This is the most extreme volume you can play while still creating a great sound. The sound will have lots of brilliance and a slight edge.



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PITCH AND INTONATION Pitch and Intonation are crucial in our ability to play at extreme volumes and allow for all instrumental parts to be heard with clarity and without any distortion. Different brass manufacturers and instruments all have different intonation problems. As an individual and a brass ensemble we must know our instrument intimately and know exactly how our instruments work in order to achieve perfect intonation. We build our system of tuning through the matching of overtones, which by definition are never out of tune. Overtones will ring when the pitches sounding are in tune. For example, when the baritone section is IN-TUNE on an open Bb, you can hear the F above the Bb while there aren’t any players on that note. HARMONIC SERIES

As the ensemble becomes more in tune and each individual become more in tune with the other performers, entire chords can be heard ringing above the brass ensemble. In addition to working with a tuner every day, our singing, mouthpiece, long tone and relative pitch exercises will help develop your ears for tuning chords and unison notes. If you play the same note in two different chords, you almost always have to do something different to each note in order to keep it in tune: 1. Recognize what part of the chord you are playing. Is it the root, third or sixth? 2. Listen with BIG EARS. Know all of the parts and how your part fits into the ensemble. 3. CRESCENDO the moving lines (especially the descending passages). It is your responsibility to understand which interval you are playing in regards to the ensemble musical structure. You should always be researching your part as well as the entire score. Take the time to know how your part fits in with the other parts. If you understand not only your part but also all the parts of the score, you will then be able to maximize your abilities within the ensemble as well as improving the brass ensembles’ success. There are also many natural intonation problems when dealing with the structure of chords. Below is a list of intervals (from the root of the chord) and the adjustments needed for each interval to be played in tune:




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The following are tuning tendency charts to help you understand the tuning tendencies of your instrument. Every brass team member should fill out the charts completely. The C Tuning Tendency is for trumpets and mellophones. The Bb Tuning Tendency is used for tubas, baritones & euphoniums. On the Bb chart, the middle Bb is your instruments’ tuning Bb. When the charts are filled out completely you can refer to them to understand your instrument and how you need to adjust your individual intonation in context with the rest of the section and hornline.




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BALANCE AND BLEND The first criterion toward achieving great balance and blend is perfect intonation. If one note in a chord is played out of tune, then balance cannot be achieved properly. The second criterion is to always know who has the moving line, and who has the melody. This is achieved by keeping your ears aware of the parts being played around you. The third criterion is a combination of balance, support, and playing in a manner befitting a soloist. Each part in an ensemble is unique in its own way. We as good brass players know when to support a given line, create balance within that line, or project an important line with a full supported sound. When trying to achieve good balance and blend, ask yourself, “Am I in tune with the ensemble?” First listen to intonation in your section and then branch out to other sections, always keeping in mind that you should listen down to the bass voice. If you are supporting a moving line, ask yourself, “Am I playing louder than that line?” Finally, ask yourself, “Am I playing within the other sounds, balancing my sound against it with a rich, supported, full bodied tone?” Balance and Blend requires the performer to listen very closely. There are 4 levels of listening required if you are to become a greatly balanced brass section: LEVEL ONE LISTENING focuses on the sounds, volume, style, etc that you are producing. Selfawareness is an important key toward higher level playing. LEVEL TWO LISTENING focuses on the sound, volume, style, etc that you and the person to your left and right are producing. LEVEL THREE LISTENING focuses on the sounds, volume, style, etc of each section as a whole. LEVEL FOUR LISTENING focuses on the sounds, volume, style, etc of all instruments in the ensemble. BOPPING Bopping is a technique that is used to improve timing and perfect uniform articulation and tone production. Bopping is executed by reducing every note down to a staccato eighth note. Additional rules to bopping are as follows: 1. 2. 3. 4. 5. 6. 7.

Everything is performed at the dynamic of piano (p). Slurred passages are played full duration to the end of the slur. Tied notes are not to be played. Make sure the throat is open and relaxed. No “Dit” articulations should be heard. Only “dAAh” sounds. Keep all notes open-ended.




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PEDAL TONES Pedal tones are an important part of our brass program and should be a part of every brass player’s daily ritual. When playing pedals, listen carefully to the pitch. Make sure that your corners stay somewhat firm in the pedal register. The effective use of pedals in your warm-down and practice routine will: • • • • • •

Soothe your embouchure Provide greater command of your instrument Aid your attack confidence Develop better lip vibration Create a bigger sound in all registers Develop endurance

STAGGER BREATHING When listening to long sustained chords from a brass ensemble, you will notice that the best ensembles sustain these chords without holes in the sound. This “wall of sound” is created by utilizing a technique called stagger breathing. Essentially the wall of sound is created by each performer in the brass ensemble following this simple process: 1. Know when you are going to breathe and commit to the breathing a. You must commit to the breath even if you are not running out of air 2. Don’t breathe at the same time as the person(s) next to you a. Two or more people in the same proximity breathing at the same time creates holes in the sound 3. Fade out a. A rapid, one beat decrescendo b. Don’t allow the pitch to drift out of tune c. Don’t allow your tongue to change 4. Breathe a. One beat to take in a full breath b. The breath should immediately follow the decrescendo; no gaps between the end of the decrescendo and the full breath in 5. Fade back in a. A rapid, two beat crescendo from niente – no gaps between the end of the breath and the beginning of the crescendo b. Do not rearticulate the front of the note – “Ah” articulation c. Be in-tune and in-tone all the way through the crescendo




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FINGER TECHNIQUE When playing all musical passages, we recommend pressing the valves down with authority, while keeping a relaxed feel in the wrists and fingers. Do not lose control of the valve on the way back up. The fingers should be rounded and the tips should press the valve straight up and down. If a player pushes the valves on an angle, the valves will stick and make technical passages unplayable. Taken from the Herbert L. Clarke technique book, this scale pattern can be used for multiple purposes. The exercise can be used for tone development, finger dexterity improvement, overall flexibility, range development, articulation work, and various combinations. As with every exercise, high-level tone production must be constant, regardless of which performance aspect is being addressed.




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CLARKE STUDIES




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CLARKE STUDIES




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CLARKE STUDIES




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INDIVIDUAL PRACTICE GUIDE Practicing is an art, not a skill. A skill is something you can be taught in a certain number of lessons, while an art is something you learn slowly and gradually over your entire life. Whether you are a sculptor, a painter, a ballerina or a trombonist, you have to apply discipline in order to progress. The art of practicing is something you adhere to for a very, very long time, and you must master it to become a great performer. Mindless practicing gets us into trouble. A daily routine can be a good and a bad thing. It is fine to go through many of the same exercises each day, but you shouldn't just be going through the motions. You must hold to a very, very high standard. The key to becoming a great musician, brass player, or trombonist, is to set these standards for yourself and apply them every time you pick up the instrument. Otherwise, you will drift aimlessly and go nowhere. One of the biggest keys to successful practicing is resting. There are two types of rest, the rest in your practice session and the rest between practice sessions. The rest you take while practicing can be 10 seconds, 30 seconds, a minute, five minutes, even 10 minutes. Practice until you feel fatigued, then stop. Never practice until collapse because you can damage the muscle tissue. Every time we practice until we feel that little bit of burning we're actually tearing the muscle tissue slightly. Later, during rest, the body repairs those muscle fibers by building new ones. This is how we build up muscle. Practice longer periods when it feels comfortable to do it. Don't practice with a feeling of fatigue, and don't put your watch on to determine when you are going to come back. Come back when you feel fresh. This is a difficult thing for impetuous people. Most of us want things to happen instantly. We want to practice something and have it actually improve while we're there. Surprisingly, not everything improves right in front of our eyes like some magical light bulb going on! A lot of the improvement happens overnight when our bodies do the repair and our brains sort things out for us. Use a recorder to tape yourself and listen to it - It's a humbling experience, but you have to do it. You may think that you're doing something very beautiful and nice when really it's not going anywhere. Another valuable, but misused, tool is the tuning box. The tuner is great if you learn not to cheat on it. A lot of players bend their note to play in tune with the tuner, which is totally incorrect. You have to be totally unbiased, play the notes and accept that everyone is not perfectly in tune. If a player puts the tuning box on a couple of times a week for 10-15 minutes, and applies it honestly, when they're warmed up, in a room that's at the right temperature, then he/she will be giving themselves something valuable. Practicing with a metronome is also important, but it can't be a crutch that you take out into the world with you. You can't take your metronome on stage. However, every once in a while when you are practicing your scales and arpeggios, you should have that metronome on to make sure you're not dragging or rushing. Information borrowed from Gordon Cherry’s article “The Art of Practicing”.




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LIP MAINTAINANCE For starters, let's take a crash course in anatomy. Our lips and the muscles that make up our embouchure are a complex arrangement of muscle and tissue. The skin covering our lips is much thinner than the skin covering the rest of our body - which is why your lips are red and very sensitive. It's also why they're capable of creating beautiful sounds when buzzed properly. In the same way you don't need to be a mechanic to drive a car, you don't need to know a lot more about how the lips function in order to play well. But knowing how to care for your lips and avoid accidents can help you play longer and with less discomfort. After all, "lip care" isn't something you should think about only after you play or when you have a problem, any more than auto maintenance is something you should think about only after a long trip or a crash. Taking care of your lips should include good practice and playing habits. Basic concepts like good posture and always taking a full, relaxed breath are important, but easy to forget. Think of your lips as sails on a boat - they both work better with a nice, full supply of wind. Generally speaking, muscles swell up when used, and the lips are no exception. However, there is a difference between being "a little sore and puffy" and sharp pain. If you are a little sore and fatigued after playing, your body is saying, "You should stop soon and take it easy during your next practice session." True pain means "Stop immediately and step away from the horn as soon as possible!" People often say, "Rest as much as you play." This is generally good advice, but it doesn't necessarily mean play an hour, rest an hour, play an hour, rest an hour all day long. Here's how I interpret that advice: Let's say you have an hour to practice. Warm up (flap your lips, maybe buzz on the mouthpiece and play a few scales or a simple tune you like) for 5 minutes. Then rest for at least 2 or 3 minutes. Then work on some fundamentals like scales and lip slurs for 10 minutes or so. Rest for 10 minutes. Finally, spend a good 30 minutes working on the music you currently are learning (school music, a solo or etudes). But be sure to take the horn off the chops every now and then during those 30 minutes. Of course, life doesn't always unfold this neatly and sometimes we over-do, for a variety of reasons. In those cases, use the same therapeutic techniques that athletic trainers prescribe for abused muscle tissue such as alternating cold (to reduce swelling) and heat (to promote blood flow). An ice cube can be applied much in the same way you would suck on a Popsicle. For heat, soak a wash cloth in warm water and gently press on to your lips and face. Just a few minutes at a time with either procedure is adequate and will stimulate healing. Also, use your hands and fingers to massage the face and lip muscles, keeping in mind that an embouchure is formed with the muscles of the jaw, chin, cheeks and neck, not just the lips and corners. Hopefully, these tips will help you create a disciplined, goal-oriented approach to your practice and help you spend more time making great music and less time complaining about sore, tired chops. DCT (Daily Conditioning Treatment) DCT nurtures your lips with two proven moisturizers, Aloe and Cocoa Butter, plus Vitamins A&E. DCT softens and smoothes the surface of lips and helps to prevent and replenish moisture-starved cells that can occur from daily exposure to dry air and other environmental conditions. DCT provides SPF 20 protection.




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2016%Spirit%of%Atlanta%Audition%Sheet% Brass%Audition%Worksheet%

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% Name:________________________% Instrument:______________________% Age%Today:____________________% School/%Major:___________________% Email:________________________% Marching%Experience:_____________% Phone:_______________________% _______________________________%

% Listed%below%are%all%CAMP%and%MOVE;IN%DATES%for%SPRING%TRAINING.%Please%indicate%your% commitment%to%attendance%by%checking%the%boxes%below.%If%you%cannot%make%a%specific%camp% weekend,%please%explain%why%you%will%be%absent.%Be%clear.%% % %

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2016 Movement Packet

Overview The overall visual program in 2016 will aim to achieve a mixture of well trained choreography and natural movement in all forms. Simplicity will be key to all aspects of our movement and we will strive for all motion to be from the same source. Be ready to commit to a program that will not consider Marching and Dance to be separate concepts. Posture We will be looking for individuals to carry themselves with the tallest and broadest image they can possibly project. One single line will cross through the entire body. Head, Shoulders, Hips, Knees and Ankles will be completely aligned. This will be referred to as the ‘Body Line.’ Take in a deep breath and inflate the upper body without breaking the body line. Keep the shape that your upper body creates when inflated. Pull your shoulder blades together slightly to achieve an even larger look. Keep the shoulders and neck muscles as relaxed as possible. Your chin will be up and projected. Feet Your feet will be together at the heels and your toes will be separated at a comfortable 90-degree angle from each other. This will provide a solid bass for the performer. Weight Once you have established your entire body’s posture and foot positioning place all of your weight on the front two thirds of your foot. If you are not wearing shoes you will feel the skin of your heel slightly touching the floor. This means that you will not have your weight distributed at all on your heels. This will ensure your calf muscles and achilles tendon will be engaged and prepared for any motion at any time. Your presence should be lifted tall through your spine and into your head. **The goal is to have your muscles engaged and ready for movement, however your body posture should remain tall straight and to the box.

Backward Backward will be achieved with the longest of leg lines possible. Absolutely no knee bend of any kind will occur. By not resting our heels on the ground no change in height will occur either. You will initiate from the already engaged leg muscles and push horizontally. Once that initial push has occurred you will reach back utilizing a Pendulum Motion from the hip to achieve the desired distance. Your foot will land with the exact same platform you had at the stationary position. Place the entire platform on the ground at once and continue pushing with that newly landed foot. Flex the foot on the crossing count just enough to allow the foot to travel back but do not allow any bending of the knee. You will not touch the ground toe first and roll backward onto the rest of the platform. This will lead to unwanted height changes. Tip: To alleviate ‘bouncing’ on your downbeats, keep the upper body lifted and learn to relax as many muscles as possible to absorb shock. More tension=more bounce.

3 Things to remember: 1. Start already engaged with the weight on the full platform 2. Always Push using the entire leg and only push horizontally 3. Land every single step on the exact FULL platform described earlier

Forward Like backward you will initiate your forward motion from an engaged and forward weighted position. We will think of a single step as follows: 1 E + A Initiation You will push from the stationary foot (Right), pendulum swing the starting leg (Left) and land precisely on the downbeat with the back edge of your heel. Flex the foot, pull the toes back, and completely stretch the arch of the foot to achieve the highest toe possible. This brings you to beat 1. On the ‘E’ of 1 you will flex the foot of the back leg (Right) and transfer the weight to the leading leg. (Left) On the ‘+’ of 1 you will find your back leg (Right) inline with the front leg (Left). The foot will still be flexed. You will feel your heel softly brush the ground through this motion. On the ‘A’ of 1 you will find your back leg (Right) now continuing the pendulum swing forward and about to achieve the next downbeat. Repeat this process for every single forward step of the 2016 Production. The larger the step size, the further you will roll through the platform on the pushing leg. The “E” of each count becomes significant here to avoid knee bend.

3 Things to remember: 1. Do not lock the knee(s) at any point 2. Do not dip your hips up and down to achieve a perfectly straight leg, utilize the foot flex. 3. Keep the heels as low as possible to prevent harsh or heavy downbeats

Sliding To achieve a comfortable slide of the shoulders allow your Hips, Core, and Shoulders to split the difference in 3 ways (30, 60, and 90 Degrees respectively). Your entire upper body will twist in a corkscrew fashion to maintain lift and to smoothly round out the broad image we want. This twist allows a healthy track for the knees and feet and does not force you to alter the prescribed forward and backward techniques. You will not change the leg or foot technique to accommodate any slide at any time.

*Tension is the enemy. Stay relaxed and use air to inflate and lift the upper body.

Tendu Step (Tahn-Doo) This foot technique is commonly referred to as ‘Toe Down’ or ‘Tendu’. From set position your foot will travel forward remaining in turned out position as if your foot s gliding forward on ice. Once that is achieved, you will “roll” through the platform from pinky toe and sequentially through your other toes until the entire platform (not heel) is on the ground. That sequential ‘roll’ is where our weight will smoothly transfer and prevent any harshness to our sound and rigidness in our image. We will utilize this many times in our movements.

Jazz Running Jazz Running or the largest extended step size will be done with the longest legs possible in order to reach the furthest distances. Focusing on horizontal motion at the highest degree while maintaining height and shape of the upper body will be key. 1. You will not Demi-plié at any time. The legs must stay just as straight as forward marching 2. You will use the Tendu (toe down) foot shaping 3. Halting will be a pure redirection upward and if you maintain the ‘Two Third’ weight on the platform you will find that redirection to be easier.

Motion Changes Stopping or changing direction will be treated exactly the same utilizing the same parts of the body and ultimately directing our energy in the same places. The full platform described in our Posture section will be used on all forms of motion change. You will also engage your core muscles (Abdominals and Groin areas) and maintain ‘lift’ from the chest. The Tendu is critical in this area as the ‘roll’ from the toes will keep your movement smooth and ultimately be easier to achieve.

Stopping On the final count of movement, you will place the entire platform with a POINTED foot into the 45 Degree angle we use in our stationary position. You will then bring the “back” leg (in time) and distribute the weight evenly between both full platforms. (No heels are involved) (Forward Marching) We will use the Tendu step to soften the landing and absorb all possible shock. As you place your weight on the foot each toe will touch the ground in succession and the weight will smoothly pass through until the entire platform is on the ground. This returns you to the very same stationary posture position we established before. Weight is forward, heels are pushed inward, and calf muscles/achilles tendons are still engaged. (Backward Marching) You will reach back with your biggest toe and allow the weight to distribute smoothly across and to the full platform. Do not allow your heels to be utilized. This returns you to the very same stationary posture position we established before. Weight is forward, heels are not utilized, and calf muscles/achilles tendons are still engaged. Changing Direction When changing direction you will place the foot as described above, you will utilize the same muscle groupings, and you will maintain lift. Treat the direction change as a halt but instead of bringing the back leg into a close you will simply continue to push into a new direction with a smooth hip motion throughout. Your last step (pointed foot) will always split the difference between the old and new directions.

Exercises The following exercises are expected to be memorized and prepared for auditions. These will be utilized for the entire horn line for all camps, spring training, and the regular season. Most will have multiple variations but at least be prepared to perform these as you would your music for each camp

Box I Forward 8 Forward slide 8 Backward 8 Forward slide 8

Box II Forward 8 Backward Slide 8 Backward 8 Backward slide 8

Circle Drill Circle drill will teach us to use our eyes, comprehend interval/spacing, expand/contract forms, maintain shape, and build stamina. The format involves always having the shoulders face a center point of a circle. The following instructions involve movement toward, away, or around that center point.

Part I Out for 8 In for 8 Out for 8 Left for 16 Back for 16 In 8

Part II Out for 8 In for 8 Out for 8 Right for 16 Back for 16 In 8

Variation I is all “forward slides” Variation II is all “backward slides” *Note that “Back for 16” is always at a backward slide.

Step Size Change Have the following step size change pattern memorized and be prepared to use that pattern in just about any direction: 8 16 6 12

8 to 5 steps 16 to 5 steps 6 to 5 steps 12 to 5 steps

This pattern will be used in multiple combinations of backward and forward and will eventually encompass into and out of jazz runs.

Zig Zag

This exercise is an extension of the boxes however we are focusing on specific motion changes. Have prepared this variation which will only involve Backward to Backward direction changes. Back 8, Right 8 (Backward Slide), Back 8, Left 8 (Backward Slide), Back 8 **Repeat As Needed**

Application for Membership Name: ______________________________________________ Desired Section: __________________ Mailing Address: _______________________________________________________________________ City: _____________________________________ State: _____________ ZIP: ____________________ Mobile Phone: __________________________________ Other Phone:___ _______________________ Date of Birth: _____/_____/_____ Email address: ___________________________________________ School (Current or Graduated from): _______________________________________________________ Height: ________________ Weight: ________________ T-shirt Size: _____________________________ ===================================================================================== I hereby submit my formal application for membership in Spirit of Atlanta Drum & Bugle Corps. (Initial)

________ I authorize Spirit of Atlanta to contact me via phone, e-mail, text message or any other means with corps information related to my membership. ________ I understand that Spirit of Atlanta has a strict zero-tolerance policy with regard to illegal activity and that any violation of this policy could result in immediate dismissal from the corps, with no refund of any fees paid. ________ I do hereby waive, release, absolve and agree to hold harmless Spirit of Atlanta Drum & Bugle Corps, any facilities used by the corps, the organizers, sponsors, supervisors, participants and people transporting me to or from activities, from any claim arising out of an injury, except to the extent and in the amount covered by accident or liability insurance. ________ I agree to allow Spirit of Atlanta to use my image and/or likeness without any form of compensation implied or expressed for its use in promotional and marketing endeavors. ________ I agree that my membership is considered “provisional” until such time I am offered and sign a Membership Contract. I understand that during provisional status I am still subject to all rules and regulations as outlined by staff and management of Spirit of Atlanta. Printed Name: ________________________________________________ Date: ________________ Signature: __________________________________________________________________________ If under 18, a parent or guardian signature is required

Parent/Guardian Name: _________________________________________ Date: ________________ Signature: __________________________________________________________________________

Medical Release and Authorization Form Member Name: ________________________________________________________________________ Emergency Contact: ____________________________________________________________________ Relationship to you? ____________________________________________________________________ Contact Phone: ________________________________________________________________________ Allergies? _____________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ Medications? _________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ Reasons for Medications? _______________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ Emergency Authorization (If under 18 a parent or guardian must sign) I authorize the Executive Director of Spirit of Atlanta (or their official designee) to seek medical aid for the above-named member if deemed necessary by a licensed physician or surgeon, and authorize the release to those same persons any necessary medical information and records associated with such condition requiring medical aid.

Printed Name: _________________________________________________________________________ Signature: _________________________________________________ Date: _____________________ Parent or Guardian (if under 18): __________________________________________________________ Parent/Guardian Signature: ___________________________________ Date: ______________________

2016 Spirit of Atlanta BRASS Audition Packet (1)

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