Thank you for your interest in the Bluecoats Drum and Bugle Corps. This booklet includes our basic technique program as well as audition audition material and audition suggestions. Please read everything in this booklet carefully and prepare all of the required material to the best of your ability! Audition camps for the Bluecoats are in four different locations during the months of November a nd December. Please choose the location that works best for you to attend. Only those who complete the audition process in person will be considered for membership in the 2016 Bluecoats Brass section.
Audition Camp Dates and Locations Saturday and Sunday, November 21 - 22, - Burleson, Texas Saturday and Sunday, November 28 - 29, - Canton, Ohio Sunday, December 6, Mission Viejo, - California Sunday, December 13 - Atlanta, Georgia Our goals for the audition audition process are two-fold. First, we wish to provide an educational experience. We hope you can take back with you valuable lessons lessons in music and visual performance. performance. Secondly, it is an evaluation. At the conclusion of camp, you will will get feedback on your individual audition. We We will also observe your participation and performance level within group rehearsal. You will be evaluated both musically and visually. The information you will receive receive at the end of the camp will fall into one of three categories: 1. We will offer you a contract. This means if if you fulfill the obligations spelled in the contract, you will be a member of the 2016 Bluecoats brass section. 2. We will offer "call-back." This means we need to see and hear you again in January to make the final decision. Most people who eventually get a position position in the corps fall into this category. The final decisions for the 2016 Bluecoats Brass section will be made at the January 8th - 10th camp. 3. You will not be invited back to the next camp. Our hope is that you will apply lessons learned at camp and come back stronger the next year. Once again, this process should also be an educational experience for everyone involved. It is not a wasted trip if you do not get a contract. The best way to find a dditional information about registration for an audition camp is by visiting our website at: www.bluecoats.com www.bluecoats.com.. The website also contains other information regarding the Bluecoats Drum and Bugle Corps. Please visit the website before attending your first camp. Auditions can be stressful. stressful. Do not let your nerves stop stop you from auditioning. The brass staff of the Bluecoats is eager to help you develop as a musician. If you have any questions regarding brass auditions, please contact Derek Gipson at
[email protected] We look forward to seeing you at one of the audition camps! The Bluecoats Brass Staff
[email protected] Dave MacKinnon (Bluecoats Brass Supervisor)
[email protected] Derek Gipson (Bluecoats Brass Caption Head)...............................
[email protected] Dr. Matt Stratton (Bluecoats Assistant Brass Caption Head)
[email protected]
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Thank you for your interest in the Bluecoats Drum and Bugle Corps. This booklet includes our basic technique program as well as audition audition material and audition suggestions. Please read everything in this booklet carefully and prepare all of the required material to the best of your ability! Audition camps for the Bluecoats are in four different locations during the months of November a nd December. Please choose the location that works best for you to attend. Only those who complete the audition process in person will be considered for membership in the 2016 Bluecoats Brass section.
Audition Camp Dates and Locations Saturday and Sunday, November 21 - 22, - Burleson, Texas Saturday and Sunday, November 28 - 29, - Canton, Ohio Sunday, December 6, Mission Viejo, - California Sunday, December 13 - Atlanta, Georgia Our goals for the audition audition process are two-fold. First, we wish to provide an educational experience. We hope you can take back with you valuable lessons lessons in music and visual performance. performance. Secondly, it is an evaluation. At the conclusion of camp, you will will get feedback on your individual audition. We We will also observe your participation and performance level within group rehearsal. You will be evaluated both musically and visually. The information you will receive receive at the end of the camp will fall into one of three categories: 1. We will offer you a contract. This means if if you fulfill the obligations spelled in the contract, you will be a member of the 2016 Bluecoats brass section. 2. We will offer "call-back." This means we need to see and hear you again in January to make the final decision. Most people who eventually get a position position in the corps fall into this category. The final decisions for the 2016 Bluecoats Brass section will be made at the January 8th - 10th camp. 3. You will not be invited back to the next camp. Our hope is that you will apply lessons learned at camp and come back stronger the next year. Once again, this process should also be an educational experience for everyone involved. It is not a wasted trip if you do not get a contract. The best way to find a dditional information about registration for an audition camp is by visiting our website at: www.bluecoats.com www.bluecoats.com.. The website also contains other information regarding the Bluecoats Drum and Bugle Corps. Please visit the website before attending your first camp. Auditions can be stressful. stressful. Do not let your nerves stop stop you from auditioning. The brass staff of the Bluecoats is eager to help you develop as a musician. If you have any questions regarding brass auditions, please contact Derek Gipson at
[email protected] We look forward to seeing you at one of the audition camps! The Bluecoats Brass Staff
[email protected] Dave MacKinnon (Bluecoats Brass Supervisor)
[email protected] Derek Gipson (Bluecoats Brass Caption Head)...............................
[email protected] Dr. Matt Stratton (Bluecoats Assistant Brass Caption Head)
[email protected]
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What Music Do You Need To Prepare For Your Audition?
The audition process contains two segments, a visual and music portion. This page will highlight the musical component of the audition process. Listed below are the titles of the etudes that you will be required to perform at the audition. Each etude or excerpt is taken from material that is highly regarded among music educators and professional musicians. You will also need to prepare the brass exercises listed on this page. Tuba candidates will be required to prepare the following two short excerpts as part of their playing audition.
Audition Music # 1 - Excerpt from “ Toccata Marziale “ by by Ralph Vaughan Williams (on page 39 of this booklet).
Audition Music # 2 - Excerpt - Excerpt from “ Third Symphony “ for for Symphonic Band by by James Barnes Op.89 (on page 40 of this booklet).
You will find the tuba audition music on the final pages of this booklet. Please utilize a metronome when you rehearse the material. material. Use the tempo marked above each piece as a guideline only. It’s better to hear the music at slower tempo if this allows for a higher degree of clarity and accuracy. It’s expected that you will seek out recordings of these prominent wind literature works in order to prepare the tuba excerpts with the highest level of musical expression.
All auditioning tuba candidates will also be required to rehearse and prepare the following exercises contained in this booklet: -
-
Slurs ) on page 11 Long Tones #4 (Stamp – Upper Neighbor Slurs) Air Flow #3 on page 14 Lip Slurs #4 on page 17 Lip Slurs #6 on page 17 Rhapsody in Bloo on page 25 (while marking time) Staccato Tonguing on page 26
It will not be necessary to prepare any other exercises or music contained in this booklet for your audition. If you have any questions concerning these audition pieces please contact one of the Bluecoats Brass staff listed here: Derek Gipson (Brass Caption Head) ........................................................
[email protected] Dr. Matt Stratton (Assistant Brass Caption Head.......
[email protected] Joshua Gall (Low Brass technician) ..................................................... .....................................................galljoshua@gmail.com
[email protected] Scott Carr (Tuba Technician).....................................................................
[email protected]
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Audition Suggestions
Preparation: !
! !
! !
The success of your performance at the audition will be directly related to the level of preparation of the audition materials. If possible, meet with a private lesson teacher on a regular basis prior to the audition. Record yourself with some type of electronic de vice. Listen critically to the recording and work to perfect your performance. There is no need to memorize your music at this time. Get lots of rest before coming to the audition, a udition, as things will be very busy.
Audition: !
! !
! ! !
Keep in mind that you are auditioning at all times. We want to see your work ethic in the arc as well as how you sound individually. You will have time to warm-up outside of the audition room prior to your audition. Before entering the room, please make sure your horn is working properly, oil your yo ur valves, and complete any paperwork prior to entering the room. Remember to aim your bell away from the person listening to you. Be sure to ask questions if you are confused about anything you are being asked to play. Take a slow deep breath before you play, and good luck!
Tips for Performance Anxiety/Nerves: !
! !
! !
Do not fight your nerves, they are a natural part of the performance p erformance process, and fighting it might make it worse. Take several slow, deep breaths to calm yourself. It is good to perform for friends and family prior to c oming to camp as this will help you perform under pressure. Visualizing yourself in the audition room may also he lp calm your mind. When nerves are present, mistakes may happen, happe n, however, professional musicians do not react to their mistakes. Do not stop or dwell on your mistakes, and NEVER apologize for your performance.
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Equipment Instrumentation:
The Bluecoats 2016 brass section will consist of 8 0 members in: 24 B-flat Trumpets, 16 Mellophones in the key of F, 8 B-flat Baritones, 16 B-flat Euphoniums, and 16 BB-flat Tubas. All of these spots are available each year. NO ONE, regardless of experience, is guaranteed a spot. Returning members must demonstrate a continued growth and development in order to be considered for membership. Trumpets: Please bring your trumpet to camp. Horn/Mellophone: Please bring your F Mellophone to camp if you are able. If you would like to perform your etude on your concert horn, you will need to bring it with you to camp. You will be asked to perform on a mellophone at some point during the audition process. Please be responsible for bringing your own mouthpiece to camp. Baritones/Euphoniums: Please bring your own marching Baritone/Euphonium if you are able. If you wish to audition on your concert instrument, Baritone, Trombone, or Euphonium, then you will want to bring it with you to the camp. You will be asked to perform on a marching instrument during the audition process. The Bluecoats Brass Staff reserves the right to determine who will play Baritone or Euphonium. Tubas: We understand the challenge of transporting a tuba to camp, however, the corps only owns 16 marching tubas and all of these instruments may not be available at each audition site. There are rarely enough instruments available for each musician at the camp. If you are able to bring your tuba, please do. You may bring your concert horn if you do not have access to a convertible tuba. No Sousaphones, please!
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Equipment Continued
Yamaha: The Bluecoats perform exclusively on Yamaha Brass Instruments. This season we will use the Yamaha Xeno Series Trumpet (YTR-8335GS), Yamaha F Mellophone (YMP-204MS), Yamaha Marching Baritone (YBH-301MS), Yamaha Marching Euphonium (YEP-202MS), an d the Yamaha Double B-flat 4/4 Marching Tuba (YBB-202MSWC). All of these instruments are provided by the Bluecoats to MEMBERS ONLY and are available for purchase following each season. If you wish to purchase a certified used instrument from the Bluecoats, please visit the corps’ website at www.bluecoats.com. You can find additional information about these and other Yamaha Brass and Woodwind Instruments at www.yamaha.com.
Mouthpieces: The Bluecoats use exclusively Karl Hammond Custom Design Mouthpieces each season. This allows for a more uniformed sound from player to player and section to section. You are NOT required to purchase this mouthpiece prior to the audition. If you would like additional information about Karl Hammond Mouthpieces, please visit www.karlhammonddesign.com.
Camp Checklist:
In addition to clothing, toiletries, and sleeping equipment, please bring the following items: ! ! ! ! ! ! ! ! !
All audition forms Registration fee Audition booklet and Supplemental Material A copy of your required etude Your instrument and mouthpiece A wire music stand if possible A Black three-ring binder with plastic sheet protectors. A pencil Any additional items you may need to ensure a successful audition.
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Physical/Visual Responsibilities
Posture:
Posture is one of the most important elements of both Marching and Playing. It is important to keep your body weight evenly distributed between both feet. The back should be straight, and the shoulders should be relaxed. The body should never feel tense as tension has a negative affect on your musical ability. The posture guides used by the Bluecoats include: Feet should be in a “V” shape with the heels touching and the toes at 11 and 1 O’clock; the ankles, hips, shoulders and ears should all be in alignment with one another. Marking Time:
When practicing your exercises, it is important to use an audible Metronome and you should also mark time. We will teach you our mark time style at the camp, so just use the style you know best until then. Practice several tempos from 60-200 beats per minute while working to minimize any swaying or bouncing in your mark time. Health/Fitness:
Just a quick word about health and fitness: Spending a summer on the road with the Bluecoats can be physically challenging. In order to keep our members safe, it is imperative that all members are physically fit. It is recommended that you begin some sort of cardiovascular regime to ensure that you are capable of performing at a high level physically.
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The Bluecoats Brass Philosophy Our instruction in brass playing is built upon a foundation of achieving a characteristic sound on the instrument. A performer's tone quality is their "musical signature to the world." The Bluecoats Brass program has developed their Signature Sound through characteristic tone on each brass instrument. Achieving this sound is predicated on becoming the most efficient brass performer possible. We start from a point of self-discovery with respect to the individual and how they can find advantages within his or her genetic blueprint. The sound is the ultimate indicator as to what process or method one should use to play a brass instrument. Since all musicians are built differently, we focus o n achieving the desired and matched results as opposed to matching the process, method, or embouchure. Through consistent training, we aim to develop your command and control to a point of confidence where one could not possibly produce anything but the desired result. Any sound is produced by a vibration, which is transported across a medium to the listener’s ear. A brass performer must develop the most efficient BUZZ possible in order to free the body and create a maximum amount of sound with as little effort as possible. The Bluecoats Brass Program uses the following steps to achieve maximum efficiency in brass performance 1.Vowel Shape - Promotes free air flow, proper position of the tongue for clear initiation of sound, and the maximum amount of an oral cavity (speaker-box) to project the resonance that is created. A combination of syllables “ AH “ in the throat to promote airflow, “ OH “ in the mouth to promote projection and resonance. The vowel shape combines these two syllables, specific to each area, simultaneously to create the desired effect. 2. Air - should be in constant motion, smooth transition from in to out, suction without friction, diaphragm pushes the air through the vowel shape. Let the air flow, do not force. 3. Magic Buzz Point - the point where you create the most natural efficient buzz. This is found by blowing through the lips with air and then bringing the lips around the air to create a buzz using the least amount of pressure possible. 4. Follow Through - air direction - from the lips through the bell. This insures that every part of yo ur musical phrase has direction, resonance, command and control. 5. Internal Pulse - The notion that you are able to match a metronome internally and reproduce that timing efficiency externally through the feet. 6. Championship Feet -A drum corps performer must be able to play music to the beat of their feet. A mastery of internal pulse permits the feet to replicate a metronome, and leads to the highest level of brass proficiency in the drum corps genre of brass performance. Students should practice mark time with more intensity than their drill movement on the field. We want the body to be able to relax while in motion. This begins with a championship approach to moving your feet while stationary to project your mastery of internal pulse.
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9
Tuba
Bluecoats 2016 Brass Routine This routine will be the basis of the 2016 brass technique program and is designed both as a daily warmup and as a practice regiment for long-term improvement in tone production, a irflow, dexterity, articulation and other basic brass skills. It is by no means comprehensive and will be supplemented as the season progresses based on the challenges presented by the summer program music and the development of the brass section. Long Tones
* Rehearsal Advice - Practice timing your inhalation and exhalation while marking time using a metronome to provide a solid pulse center. The end of each long note should be open-ended. The airstream should not be stopped with the tongue. Be sure to keep your air column consistent and steady throughout each note. Give each long tone direction all the way to the release. 1. 12 Count pitches
= 100
Extended Practice - Vary the dynamics and play on various different pitches. Be sure to always maintain the simplicity of the sensation achieved with the original exercise.
10
2.
Three Note Descending Slurs = 120
3.
Three Note Ascending Slurs = 120
4. Stamp - Upper Neighbor Slurs = 120
11
Fermata Long Tones
5. = 120
12
Air Flow 1 - 2 Air Flow #1 = 120
Air Flow #2 = 120
13
Air Flow 3-4 Air Flow #3
q = 120
Air Flow #4
q = 120
14
Lip Slurs 1-2 Lip Slur #1 A. etc.
B. etc.
C. etc.
D. etc.
Lip Slur #2 A. etc.
B. etc.
C. etc.
D. etc.
16
Lip Slurs 3 - 6 Lip Slur #3
Lip Slur #4
Lip Slur #5
Lip Slur #6
17
Skip-O-Slurs 4-5 Skip-o-Slurs #4
q = 120
Skip-o-Slurs #5
q = 120
18
Speed Slurs 2 Speed Slurs #2 A.
B.
C.
20
= 120
Flow Studies
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
* Can be played at any comfortable tempo and felt in 4 or in 2. Adjust the embochure as little as possible and always blow through the backs of pitches, leading to the last note.
21
Articulation Studies
Variations in musical style can be achieved by altering the duration and/or emphasis (stress, weight) of notes. The Bluecoats define this differentiation through the use of the syllables listed in this chart. normal
legato
staccato
marcato
accented
doo
dah
Dah
Smoother beginning and more connected
Same beginning as normal with half the length
Twice the emphasis with half the length
Dah Twice the emphasis on the beginning of the note, a slight decay
Articulation Syllable
dah
Difference from the normal enunciation
6.
N/A
Quarters and Eighths = 120 ( all the notes should touch )
(continue to ascend) 7. Forklift (in unison)
= 120 (dah) (dah) (dah) (dah)
(doo) (doo) (doo) (doo)
(dah) (dah) (dah) (dah)
(Dah) (Dah) (Dah) (Dah)
(keep the volume consistent from measure to measure)
(continue to ascend)
22
= 120
" Forklift "
6
Trumpet 1
Trumpet 2
Trumpet 3
Mellophone 1
Mellophone 2
Baritone 1
Baritone 2
Euphonium
Tuba
Tpt. 1 ETC.
Tpt. 2 ETC.
Tpt. 3 ETC.
Mello. 1 ETC.
Mello. 2 ETC.
Bar. 1 ETC.
Bar. 2 ETC.
Euph. ETC.
Tuba ETC.
23
Allen Vizzutti
Vizzutti Technical Study #1 E
Major
F Major
24
Rhapsody in " Bloo " = 140
1
2
5
6
9
10
13
14
3
4
7
8
11
12
15
25
16
1.Staccato Tonguing This staccato study should be practiced very slowly at first, and also with very even tonguing. After it has been mastered at a slow tempo, begin to play it faster. In fact, it should be played as quickly as possible without sacrificing smoothness or clarity.
1
5
9
13
17
21
26
Tuba
Getchell #2 = 100 - 140
9
17
25
- Sing, slur then tongue each exercise. - Sing each exercise to prove you truly hear the melody. Pay close attention to intonation and strive to center each pitch accurately. - Whether you slur or tongue, the air moves the same. Slur the exercise to develop your sense of follow-through of the air stream. Finally tongue the exercise, blowing as you did when slurr ing. - Once again, consider the follow-through of the air stream. Think horizontal. The priority should be more about the air than what the chops are doing. - Ideally you should feel very relaxed and eff ortless when playing through this exercise.
27
Power Exercise #1 q = 70 Trumpet
Mellophone
Baritone / Euphonium
Tuba
12
Tpt.
Mello.
Bar. / Euph.
Tuba
21
Tpt.
Mello.
Bar. / Euph.
Tuba
28
q = 70
Power Exercise # 2
Trumpet
Mellophone
Baritone / Euphonium
Tuba
10
Tpt.
Mello.
Bar. / Euph.
Tuba
19
Tpt.
Mello.
Bar. / Euph.
Tuba
27
Tpt.
Mello.
Bar. / Euph.
Tuba
29
Tuning Exercise # 1 ( Thumbs ) 1
2
3
4
5
6
7
8
Trumpet 1
Trumpet 2
Trumpet 3
Mellophone 1
Mellophone 2
Baritone
Euphonium 1
Euphonium 2
Tuba
Crescendo evenly from measures 5 to 10. Do not breathe at the barlines!
30
9
10
= 88
" Sasquatch "
Trumpet 1
Trumpet 2
Trumpet 3
Mellophone 1
Mellophone 2
Baritone 1
Baritone 2
Euphonium
Tuba
Tpt. 1
Tpt. 2
Tpt. 3
Mello. 1
Mello. 2
Bar. 1
Bar. 2
Euph.
Tuba
31
White Dawn M3
1
M3
2
3
M3
4
M3
5
M3
6
7
Trumpet 1 M3 M3
M3
M3
M3
M3
Trumpet 2
M3
M3
M3
M3
M3
M3
M3
Trumpet 3
M3
Mellophone 1
M3
M3
M3
M3
Mellophone 2 M3
M3
M3
Baritone M3
M3
M3
M3
Euphonium 1
M3
M3
M3
Euphonium 2
Tuba
32
M3
33
BWV 431 = 60 1
2
3
Trumpets
Mellophones
Baritones
Euphonium Tuba
4
5
6
Tpt.
Mello.
Bar.
Euph. Tuba
7
8
9
Tpt.
Mello.
Bar.
Euph. Tuba
34
Tuba (E Flat Chorale)
Bach Chorale from Christmas Oratorio 1
7
11
= 68
2
3
4
8
9
12
5
10
13
35
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Brass Audition Scoring Sheet (For Use by Bluecoats Brass Staff Only)
Location of camp attended ________________________________________________ Auditioned instrument ____________________________________________________ Tone Quality ___________________________________________________________ Musicianship ___________________________________________________________ Harmonic Connection _____________________________________________________ Articulation _____________________________________________________________ Flexibility ______________________________________________________________
Comments ______________________________________________________________ _______________________________________________________________________ _______________________________________________________________________
Overall Rating ____ Ready to Sign: yes __
(-1 = lowest, +10 = highest)
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no __
Parade Music
The Stars & Stripes Forever
Tuba A
B
= 124
1
= 124
2
3
6
5
7
9
13
4
8
10
14
11
15
16
12
17
18
19
C
20
21
25
Sub.
30
22
26
23
27
31
32
24
28
33
29
34–36
37
D
38
47
54–56
39
48
cresc.
57
40
41
49
58
50
59
37
42–46
51
60
52
61
62
53
63
Encore Performance Music
Tuba
" The Boxer " A
= 96
1
2
3
legato
7
4
8
9
= 96
B
14
15
17
10
19
22
25
C
a little slower
32
33
11
12
20
23
26
6
16
18
21
5
27
24
28
34
29
35
30
36
rit.
37
38
39
40
38
41
42
Tuba Audition Music #1
R. Vaughan Williams
Except from
" Toccata Marziale "
= 110
marc.
dim.
39
40
