The Cadets Drum and Bugle Corps
Brass Manual Baritone/ Euphonium 2019
OUR GOALS The The Cade Cadets ts Bras Brasss Staf Stafff is comm commit itte ted d in shap shapin ing g ever everyy memb member er,, both both as a musi musici cian an,, and and as a memb member er of soc society. ty. The Cadet’s t’s org organizat zation engages young ung men and women in a group activ tivity that will enri enrich ch thei theirr life life.. It is impo import rtan antt to us that that ever everyy memb member er has has the the best best expe experi rien ence ce duri during ng thei theirr time time in the cor corps. Therefore, all of the the informatio tion in this packet, as well as sub subsequent handouts uts and instructions, will be done with those basic goals in mind. Ever Everyy memb member er of the the bras brasss staf stafff is a prof profes essi sion onal al musi musicc educ educat ator or who who has has been been sele select cted ed to be a part part of this this orga organi niza zati tion on beca becaus usee of thei theirr abil abilit itie iess as an educ educat ator or and and musi musici cian ans. s. Ever Everyy one one of us enjo enjoys ys the the comp compet etit itiv ivee aspe aspect ct of drum drum & bugl buglee corp corpss and and we all all like like to win, win, but but our our moti motiva vati tion on for for teac teachi hing ng is not not with ith comp compeetiti tition on in mind mind.. We fee feel that that if we don’ don’tt mee meet thos thosee basic asic goal goalss list listed ed abov above, e, then then we have failed as a staff, no matter what the competitive outcome is. The Cadets march an 80-member brass line with several additional members signed on as alte altern rnat ates es.. Alte Altern rnat ates es trav travel el and and part partic icip ipat atee in all all aspe aspect ctss of the the corp corpss with with the the exce except ptio ion n of havi having ng a fie field posi positi tion on.. All All spot spotss are are dete determ rmin ineed by the the resu result ltss of all all the the audi auditi tion onss from from each each cam camp, vide videoo submissions and assignments. Staff reserve the right to move and reposition members as needed.
EQUIPMENT The The cor corps has has a full full line line of Yama Yamaha ha inst instru rum ments ents,, but but due due to the the numb number er of cand candid idat ates es audi auditi tion onin ing g, ther theree may may not not be enou enough gh inst instru rume ment ntss to go arou around nd.. For For this this reas reason on,, plea please se brin bring g your your own own marc marchi hing ng instr strument if you have access to one. You have the the option tion to auditio tion on any brass instr strument of your your choi choice ce,, but staf stafff will ill need need to hear hear you you on a bell bell fron frontt marc marchi hing ng inst instru rum ment ent duri during ng rehe rehear arsa sal. l. Though you may bring your concert instrument to play for your audition, no french horns or trombones will be allowed in brass arcs. Concert tubas are acceptable if there are not enough marching tubas for each player. In orde orderr to achi achiev evee the the most most unif unifor orm m sect sectio ion n soun sounds ds,, we have have sele select cted ed spec specif ific ic mout mouthp hpie iece cess for for The The Cadets brass team. Excep ceptions will be made only if approve oved by the the brass cap caption head and and your section technician(s). Trumpets: Bach 3C or 1.5C with standard throat and backbore Mellophones: Hammond 6MP Baritones: Hammond 11ML Euphoniums: Hammond 11L Tubas: Hammond 30XL
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REHEARSAL MATERIALS Each member of The Cadets Brass Team is expected to bring the following materials to ALL CAMP REHEARSALS and ALL SUMMER REHEARSALS:
TUNER / METRONOME: All members of The Cadets brass team must own a tuner/metronome. We recommend the Korg TM-40 or TM-50. A cellphone app is NOT acceptable during rehearsals, however, the Tonal Energy app is a great resource for practice and preparation. MUSIC STAND: Please bring your own folding music stand (with your name clearly labeled) to all camp rehearsals. THREE-RING BINDER: All members will have a WHITE 1-inch 3-ring binder (with plastic sheet protectors). Make sure to clearly mark your name and section on the front cover. In the binder, please include: - Brass Manual - All All sho show w and and nonnon-sh show ow musi musicc - Music ha handouts. PENCIL: It is extremely important to have a pencil on hand at all rehearsals (camps and summer). Notes should be taken at all times. Write EVERYTHING down! The more details you document, the more details you will remember! GLOVES (white cotton): Gloves will be worn at all times when handling a Cadet 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. Gloves may be purchased at camp from the corps for $3 per pair OR $5 for 2 pairs. MAROON TOWEL: The maroon towel is used to protect your instrument when placed on hard surfaces, especially outdoors. For trumpets, mellophones, and baritones, it should be a hand towel. Tubas will need a body towel. BASEBALL CAP: Brass team members will need at least 1 hat. TENNIS SHOES / TRAINERS: You will be moving at all rehearsals. Thus, tennis shoes are required at all times. Sandals, shower shoes, flip flops, bare feet, etc. are never acceptable. CLOTHING: Required clothing is athletic wear such as gym shorts, t-shirts, sweats, etc. This will allow you to perform excessive movement. Please no jeans. WATER BOTTLES: Each brass team member is required to own their own personal water jug. We recommend a minimum of a 1-gallon jug. 2
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 off-season on their personal physical fitness. The reason physical fitness is a must is very simple: the stronger we are, the stronger we will be. More details will be given through our personal trainer during the winter camps. FUNDAMENTALS OF MUSICIANSHIP Modeling & Matching: One of the most important skills that a musician can develop is the ability to match with other players. At the fundamental level, players in the ensemble are guided to match quality of sound and pitch. At a more advanced level, ‘matching’ will be referring to dynamics, articulation, and musicality. On a regular basis we will be using players from within the ensemble as examples for everyone else to model in order to achieve consistency in performance. Establishing & Maintaining Pulse: At its most fundamental level, music must be in time. No matter what sounds are coming out of our horns, it is all for naught if we do not move through time together. Surprisingly the majority of the ensembles out there, ranging from high school marching bands to professional orchestras and wind ensembles, struggle with the concept of keeping consistent time. It will be our goal to make sure that we not only establish and maintain tempo as a musical ensemble, but we will also identify individual and ensemble tendencies in order to raise awareness in the performers. Singing, Clapping & Counting: Whether you are a wind player, percussionist, or singer, you are only going to sound as good as the aural model that is in your mind. Singing, clapping, and counting provide us a window directly to that model, and by isolating musical passages in this fashion we will in turn improve how we perform on our instruments. RHYTHMIC ACCURACY No matter how well the individuals in an ensemble play, they must move through time together in order for the ensemble to be successful in performance. Therefore we must seek and maintain rhythmic accuracy. The three following concepts are going to be key to success in this area:
I. Achieving Tempo Consistency: Human beings are imperfect creatures by design. Despite what some people will tell you, NOBODY has perfect tempo. Therefore, we will use a metronome in nearly every rehearsal throughout the season. This gives us the best chance to be successful as an ensemble. We will also ask all of you to prepare assignments at speci c metronome markings that will be tested in rehearsal. Individual practice with a metronome will be a key to your success with The Cadets and beyond as a musician.
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II. Establishing a Counting System: Since we speak far more than we will ever play our instruments, most of us are far more adept at communicating orally than on our respective instruments. So, we will be counting nearly every rhythm we will play during the summer to facilitate rhythmic accuracy and transfer learning. There are numerous counting systems in place and my opinion they are all serve the same purpose equally. So we are just going to pick one and stick with it throughout season. It will go as follows:
Quarter notes: 1, 2, 3, 4, etc. Eight notes: 1+, 2+, etc. Triplets: 1-la-le, 2-la-le, etc. Sixteenths: 1e+a, 2e+a, etc. UNDERSTANDING BASIC TENDENCIES Human beings are imperfect by design. Certain tendencies are inherent that make performing rhythms accurately difficult. Other tendencies are developed via bad habits that have either been taught to us or have crept into our playing. As with just about anything, understanding these tendencies is half of the solution. Here are some of the most basic ones that plague nearly every musician and ensemble, both amateur and professional. White Notes: The tendency is to “lose time” in anything that we play that is slow and simple. We tend to be become unengaged in the music when it is simple, therefore we as musicians tend lose time in these situations. The solution is simple: Be aware of this and stay involved in the music at all times. Black Notes: The tendency in anything that is difficult in music is to panic. When we panic we tend to rush. Anything with fast rhythmic figures or even sixteenth notes at a slow tempo have a tendency to be rushed. Careful practice is key along with a basic understanding of note groupings will help alleviate this problem. Note Groupings: Specific note groupings have specific tendencies that accompany them. Throughout the season we will be talking about them as they arise and possible solutions when facing them in performance. For further information on the subject feel free to consult the book Note Groupings by James Morgan Thurmond. Dynamic Contrast: For us to be able to communicate with our audience there must be moments of contrast. The easiest way to achieve this is with our level of volume. We will refer to this in one of two ways, dynamic level and volume level.
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Loud Playing: 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. We must also focus on playing at the extreme soft dynamics. This is done by applying all of the same techniques we would use during loud volumes. The best ensembles play not only at extreme 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.
BALANCE It is easy to assume that nearly everyone has had one of their teachers or directors yell the word ”listen!” at them at some point in their life. Unfortunately, asking musicians to “listen” is simply too broad of an instruction to produce any kind of results. Instead of advising students to listen to everything that they may possibly hear, we (the brass staff) will be guiding them through this process. For efficiency, we have broken down critical listening into four levels:
Level I–Self: In this level of critical listening, the members of the ensemble should be focusing on the sounds that they are producing as individuals. Simply put, they should be asking themselves: “Do I sound good?” Level II– Trios: In this level of critical listening, the members of the ensemble should be focusing on how they fit into the people on either side of them. In this level, individuals will be evaluating tone color, rhythmic accuracy, pitch, and articulation in relation to the other players next to them. Level III– Section: In this level of critical listening, the members of the ensemble should be focusing on how they t into the rest of their section. In this level, individuals will be evaluating tone color, rhythmic accuracy, pitch, and articulation in relation to the other players on like instruments. Level IV - Ensemble: In this level of critical listening, the members of the ensemble will be listening across the ensemble to see how they fit into the larger picture. To be more specific, players will be listening to see if other sections have the same musical line that they do and then evaluate how well they are balancing and blending with those other sections. From time to time, the staff will also describe this process as “ear mapping.” 5
PITCH AND INTONATION All brass instruments have various inherent intonation deficiencies. As a brass ensemble, we need to be aware of what deficiencies exist, and how we can correct them with our playing. We build our system of tuning through the matching of overtones, which are by definition, never out of tune. Overtones will ring when the pitches coming out of the horns are in tune. There are also many natural intonation deficiencies when dealing with the structure of chords. The following is a list of intervals (from the root of the chord) and the natural pitch tendencies each interval has:
Interrval Unison
Adjustment in Cents 0
Minor Second
Raise 11.73
Major Second
Raise 3.91
Minor Third
Raise 15.64
Major Third
Lower 13.68
Perfect Fourth
Lower 1.95
Tritone
Raise 3
Perfect Fifth
Raise 1.95
Minor Sixth
Raise 13.68
Major Sixth
Lower 15.64
Minor Seventh
Lower 3.91
Dominant Seventh
Lower 31.17
Major Seventh
Lower 11.73
Octave
0
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Tuning tendency charts help you understand the tuning tendencies of your instrument. Every brass team member should fill out the charts completely. 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. Members will receive the charts at specific camps during the season. Charts will be added throughout the season to continue to develop our ability to understand our individual tuning tendencies. Purpose: To increase your awareness of your and your instruments pitch tendencies. Procedure: Partner up with someone in your section (during sectionals if possible) and work through the sheet. Play each pitch where you think it is and have your tuning partner notate where you are (sharp / at / in tune) and by how much (number of cents +/-). Do not look at the tuner while playing, that’s what the tuning partner is for.
FUNDAMENTALS OF BRASS PLAYING Air & Flow: Without a doubt, the most important concept that can be mastered as a brass player is how to use air to your advantage. In this packet are concepts and exercises that we will use to learn how to do this. Efficient use of air is essential to our success as a drum corps and we will work on breathing and air exercises A LOT. Wind Patterns: A wind pattern refers to the process of isolating how the air is used in the musical setting. These patterns can be applied to a small phrase of music or an entire piece. Breaking these down will help us achieve how as well as consistency of air stream. Buzzing: We will be doing tons of work on our mouthpieces this season and we expect the individuals within the ensemble to dedicate a portion of their daily practice time to doing buzzing exercises. Buzzing will not only improve your sound quality, but it will improve your ear as well as your sense of how. Simply put, you do not play the horn, you play the mouthpiece. The horn just goes along for the ride. Characteristic Sound: There are many different types of sound qualities that can be produced on each of the brass instruments in the horn line. While many of them may sound great and may be characteristic of the instrument they may not be appropriate for our needs in a large ensemble brass setting. Therefore we have decided to go with the Orchestral Model of sound quality for The Cadets. The reason for picking this model as opposed to others (like a jazz sound model or a British Brass Band sound model) is primarily out of necessity. Bright or ‘Jazzy’ sound models do not lend themselves to larger ensembles. Those sound models consist mainly of the higher overtones and consequently, that makes them harder to tune while sound models that are overly dark do not tend to project. So, we have picked a sound model that is in between. The best thing that any musician can do is listen to great players modeling on their instrument. Here are just a few models that we suggest you listen to: 7
• Trumpet: Phil Smith, Thomas Hooten, Chris Martin, Adolph Hersepth, Alison Balsom • Horn: Dale Clevenger, Gayle Williams, Greg Hustis, Phil Myers • Trombone: Joe Alessi, Christian Lindberg, Ralph Sauer, Ko-Ichiro, Michael Mulcahy • Bass Trombone: Doug Yeo, Charlie Vernon • Euphonium: Steven Meade, Sam Pilafian, Demondrae Thurman • Tuba: Gene Pokorny, Pat Sheridan, Chris Olka , Dave Zerkel, Carol Jantsch
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 10 degrees 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 SEPARATION 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.
MARK TIME The mark time is a lifted mark time. This means that the full foot leaves and then contacts the ground. There are a few reasons for this: - The full foot landing on the beat provides a more tangible connection to pulse for the individual performer. - It quickly makes apparent to the player that the upper body MUST be lifted away from the hips. Otherwise lower body movement transfers excessively to the upper body, making playing more difficult. We move and play. Confronting this reality with a mark time that more closely resembles movement challenges we face later better prepares the individual and ensemble for success when that demand is presented. - It’s a more obvious tool for evaluation. The full foot mark time more clearly illustrates to instructors where individual and section feet are in relation to the pulse. If individuals are allowing their weight to rest on their hips, it will be evident in a player’s sound and visually demonstrated by excessive motion in the upper body.
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The physical technique of the lifted mark time is simple and need not be over-thought to begin working with on your own: 1. Begin in the standard “Cadet” heels and toes together halted position. 2. The right foot rises off the ground, accompanied by a slight bend of the knee to allow for the way the foot, leg, and hip want to naturally work together. 3. The right foot descends to the ground, landing flat on the beat. The moment it hits, the left foot lifts in the same manner as the right and then descends flat, landing on the beat. Going a little deeper: - The foot comes up ONE inch. That’s all you need and it’s all we want. - When the foot lifts and the knee bends or pops to allow this, you’ll notice that the heel naturally comes up just a moment before the ball of the foot. This is good. - When the foot lands, the ball and heel should be placed on the ground at the same time. - You should notice the foot hits the ground “on” the beat. Conversely, the foot should be at the top of its travel “off” the beat. - The travel or motion of the foot should be deliberate, without being forceful. You will feel the beat clearly without having to harshly drive the foot into the ground. - You will notice a side to side sway with this technique. This is natural, but do not accentuate it. Lift your upper body up off the hips to lessen the sway as well as mitigate shock or bounce being transferred from the lower body to the upper body. The mark time will be addressed from day one and throughout the winter. In preparation for your first camp, begin practicing the exercises in this book with the lifted mark time as soon as possible. More about marking time will be explained once we’re face to face, where certain aspects are more easily and effectively demonstrated for you.
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 (right foot, then left 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 – Right foot (full step) Count 2 – Left foot (full step, point the toe, lightly “stab” with the platform) Count 3 – Right foot re-plants (in place, in time) Count 4 – Left foot back to point of origin Count 5 – Right foot back into Left foot (in time – both feet are now together) Count 6 – Continue marking-time in place, in time.
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BREATHING EXERCISES Analogy: a car needs gas to make it move just like instruments need air to make sound. The higher the quality of gas, the better the car performs. The same thing is true with air and playing a wind instrument. To that end, we utilize these “Breathing Gym” exercises to develop breath capacity and control. Keep the following five points in mind when practicing breathing: 1. Stay relaxed and breathe with a sense of ease. 2. When breathing to play your instrument, breathe through your mouth. Keep the shape of the mouth natural and open (think “oh”). The shape of your mouth should not change during breathing exercises. 3. Breathe evenly over all of the counts (the air should be steady, constant and smooth) 4. Keep your air constantly moving (do not “cap the breath”) 5. Strive for a smooth change of direction between the inhale and the exhale (this will help perfect your attacks) and from the exhale to the inhale (for releases). Time your breath so that it can become part of the musical rhythm. If the attack is on beat 1, breathe on beat 4. If the tempo is fast, breathe through beats 3 and 4 in order to play on count 1. Remember the LAW OF ACCOMMODATION: What is difficult today will become easier if practiced. Work these exercises just past the point of ease and slightly into discomfort without overexertion
Breathing Gym is designed to give control and efficiency of breath by developing proper breathing habits -
Improves tone, stamina, and all-around performance For ensembles, Breathing Gym: Promotes calmer, quieter, and more focused rehearsals Internalizes and improves group rhythm (always use a metronome) Gives more confidence and security to group entrances/releases
The Breathing Gym consists of five types of exercises: - Stretches - Flow Studies - Therapies - Strength and Flexibility - Breathing for the Brain
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FLOW STUDY EXERCISES During flow studies, you may use your arms to mirror your breathing. When inhaling, raise your arms up and out at your sides until they reach directly over your head when full. During the exhale, bring your arms down and out until they are hanging at your sides. You may also want to monitor your inhale and exhale. Place you hand perpendicular to your lips and listen for a full resonant sound when you inhale. During the exhale, place the palm of your hand six to twelve inches away from your mouth to ensure that a smooth and even exhale is occurring. Here are a few exercises to practice: Exercise No. 1 (Lengthen the Inhale and Exhale): Inhale for 4 counts and exhale for 4 counts. Repeat five times. Then breathe in for 6 counts and out for 6 counts. Continue to add counts to both the inhale and the exhale (i.e. in for 8, out for 8). Exercise No. 2 (Shorten the Inhale and Exhale): Inhale for 4 counts and exhale for 4 counts. Repeat five times. Then breath in for 3 counts and out for 3 counts. Continue to subtract counts from both the inhale and the exhale until you are breathing in for 1 and out for 1. Exercise No. 3 (Shorten the Inhale): Inhale for 4 counts and exhale for 8 counts. Repeat five times. Then breathe in for 3 counts and out for 8 counts. Continue to subtract counts from the inhale until you are breathing in for 1 and out for 8. Exercise No. 4 (Shorten the Exhale): Inhale for 4 counts and exhale for 8 counts. Repeat five times. Then breathe in for 4 counts and out for 7 counts. Continue to subtract counts from the inhale until you are breathing in for 4 and out for 1. Exercise No. 5 (Shorten the Inhale and Lengthen the Exhale): Inhale for 4 counts and exhale for 8 counts. Repeat five times. Then breathe in for 3 counts and out for 12 counts. Continue to subtract counts from the inhale and add counts to the exhale until you are breathing in for 1 and out for 20. Exercise No. 6 (Dynamic Awareness): Inhale until you are comfortably full, then simulate different dynamics... “Bow & Arrow” = fortissimo air “Toss the Dart” = mezzo-forte air “Float a Paper Airplane” = pianissimo air
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THERAPY EXERCISES Exercise No. 7 (Inhale Therapy): Exhale until you are comfortably empty. Then, place the back of the hand at the mouth to create resistance/suction. Quickly remove your hand. You should hear a “pop” and a rush of air into the lungs. Exercise No. 8 (Exhale Therapy): Inhale for five counts until you are comfortably full. Then suspend the air for five counts. Then blow out half of your capacity forcefully. Stop for one count. Then blow out the remaining air. Exercise No. 9 (In 5, HOLD/SIP, Out 5): Inhale for five counts until you are comfortably full. Then suspend the air for 15 counts, but sip air every few seconds to cap off your capacity. Exercise No. 10 (Power Breathing): Exhale all of your air. On exhalation, the palms should come together and should be pressed firmly together. On the inhalation, the arms should move out to the side of the body. Then, breathe in for 1 count and breathe out for 1 count. Exercise No. 11 (Throw the Ball): Breathe in to your fullest capacity in 1 count and breathe out in one motion until completely empty. Sizzle your air to work on the compression of the lungs. 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: - 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 - 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 - Fade out - A rapid, one beat decrescendo - Don’t allow the pitch to drift out of tune - Don’t allow your tongue to change - Breathe - One beat to take in a full breath - The breath should immediately follow the decrescendo; no gaps between the end of the decrescendo and the full breath in - Fade back in 12
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A rapid, two beat crescendo from niente – no gaps between the end of the breath and the beginning of the crescendo Do not rearticulate the front of the note – “Ah” articulation Be in-tune and in-tone all the way through the crescendo
SINGING The voice is our natural instrument. Many people are able to sing with greater dexterity and control than they can with their instruments. Singing, then, becomes a valuable tool for modeling music. In addition, singing helps develop ensemble pitch and resonance. - Practice singing all musical exercises, etudes, solos, and ensemble music. - Sing on the syllable “dAH” - Strive for a consistent, resonant sound on every note - Use a piano or tuner for accuracy of pitch - Think of the name of the notes and the quality of the intervals while singing (try practicing singing the note names: a true tongue twister!) - Finger the notes on the instrument while singing. BUZZING THE MOUTHPIECE Buzzing on the mouthpiece has many benefits if done with a systematic and observant approach. Because the mouthpiece offers less resistance than does the instrument, buzzing helps accustom the player to using more air. This greater airflow helps let the lips relax and vibrate more freely, producing a more resonant sound. It also makes the player more reliant on his ear to place pitches, just as a singer does. Further, it aids in developing the most efficient and consistent mouthpiece placement. Finally, perhaps most importantly, mouthpiece buzzing allows the player to develop new and more refined aural/physical habits more easily. (Thompson, James. The Buzzing Book.
Switzerland: Editions BIM, 2001, p 3.) -
Always keep the corners together and firm Practice both air attacks and articulated notes (no bumps in the sound) Stay loose in the center of the lips Be sure to check that the mouthpiece is not forced against your lips Sound – beautiful, clear (no fuzz), singing ringing resonant sound
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. When practicing on your own, or even during a warm down, we DO recommend sliding as a technique to regain true flexibility and to reinforce keeping the air moving. When in horn arc we will slot every pitch with no sliding. This is because sliding causes timing problems with arrive at the pitch at different times.
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Below are examples of mouthpiece work:
LEADPIPE BUZZING/FOGHORN Leadpipe buzzing or “Foghorn” is exercises that involve removing the tuning-slide of a brass instrument and buzzing through the leadpipe. The difference between leadpipe buzzing and the mouthpiece buzzing is that with the leadpipe, there is more resistance and there are breaks between ranges. For example, going from a lower pitch to a middle pitch, you go through a break (similar to a slur). The following guidelines apply to leadpipe buzzing: - Define the pitch you will play – every instrument will be different. Try to match that pitch every time you come back to it - Work to minimize any “shaking” in the sound - Work to minimize any “air-in-the-sound” with regards to your tone quality (no fuzz) - Very little pressure should be placed on the embouchure
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Below are examples of leadpipe exercises:
PITCH BENDING Bending tones is using the lips to lower the pitch by a half step, whole step, or more without the use of valves. To lip the notes down correctly, one must keep the corners set and use the aperture to bend the pitch down. Puckering the lips slightly while still maintaining a consistent tone does this. If performed correctly, the bent pitch will sound almost as if it were fingered. Roy Poper states: The correct bend is produced by bending the air column one half-step with the lip while being sure to give good air support. When one returns to the original pitch the sound should have improved and the air speed should appear to have increased. The result should be a more colorful sound with a better focus. (Poper, Roy. Roy Poper’s Guide to the Brasswind Methods of
James Stamp. Montrose, CA: Balquhidder Music, 1995, p 19.) Practicing bending tones will improve your embouchure, endurance, tone, intonation, airflow, flexibility, accuracy and increase your range. Some guidelines when pitch bending: - Gliss/smear down to the pitch - Bent note should sound as focused as regular notes - Little to no visible embouchure movement should occur
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REMINGTON INTERVAL STUDIES Intervallic studies will be a key factor in our ability to move between pitches with a smooth even sound. -
Play the exercise slowly and with a tuner and/or done 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.
FLOW STUDIES 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. -
These exercises are meant to strengthen phrasing, maintain tonal color, and aid in developing range. The goal is to complete each phrase in one breath. For the more extended phrases, if a breath is necessary, only breathe during the descending line. Remember that these are flow studies, so be sure all note changes are smooth and seamless. You can accomplish that by maintaining airflow between the notes and utilizing precise valve changes.
The exercise can be transposed down to work on lower register playing and intonation. 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. Some suggestions when working on flow studies: - Sing and buzz exercises with playing the piano - Flutter tongue to help keep the air moving. The flutter should never stop. - Play with the water key open. This will help with using the correct amount of air and air speed.
LIP SLURS/FLEXIBILITY STUDIES Flexibility is anything that is not stepwise motion. We commonly work on flexibility by playing natural lip slurs and interval studies. Practicing lip slurs in all registers and dynamics will increase flexibility, strengthen the embouchure, develop tongue position control, improve accuracy, and consistent airflow. 16
In order to have good flexibility one must use consistent airflow where the aperture focuses to change the pitches. Naturally the back of your tongue will also raise as you ascend and lower as you descend. Try whistling from a low pitch to a higher one. Notice what your air, tongue and lips are doing. Your air should be staying fast and consistent, tongue is raising as you ascend, and your lips should be focusing the aperture around the air stream. This parallels how we play the trumpet.
How to work on Flexibility? - Sing - Whistle - Buzz with and without glissandos - Play on the horn at a slow tempo making sure your pitch does not foreshadow the change of the notes. - Flutter tongue the exercises. Do not let the flutter stop. - Play with the water key open. This will make the slots smaller and make you play with the correct air. ARTICULATION AND NOTE–LENGTH Contrary to what some people believe articulation and note length are two separate aspects of music making. For our purposes, we will refer to articulation in regards to how a note is released and note–length to how and when it is ended. Articulation: Articulation is pronouncing a note by tonguing it. Articulating a note should have a clean front and arrive right on the center of the pitch. We strive to articulate without explosions on the beginning of the notes. There are numerous ways to articulate a note and each may be appropriate given the situation, but in most cases we will use the same uniform approach to articulation. This approach will be referred to as “Breathe – dAH” or more accurately “Woh – tOH”. “Woh” refers to the sound and shape of the oral cavity during inhalation while ”tOH” refers to the sound and shape to the oral cavity and tongue during exhalation. Our default articulation will be “dAH”. Take notice of the lower case “d” and the upper case “AH”. 90% of an articulation is air and the other 10% is tongue. The air stream always creates the buzz and never the tongue. The Anatomy of a Note
All notes (unless notated differently) should be thought of as being rectangular in shape. When thinking of a rectangle, you see a straight, clear beginning, a uniform, consistent middle, and an organized ending. To use musical terms, the beginning of a note is the articulation, the middle of a note is the body, and the end of the note is the release.
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Points to consider: - The formation of the embouchure and the placement of the mouthpiece must be correct for the most efficient results. - The face and body should remain calm and relaxed while playing - The vowel sound (the shape of the oral cavity inside the mouth) should remain constant through a given note. - The air is responsible for creating the vibrations and must remain steady, constant, and smooth through the duration of a given note.
The Articulation The articulation refers to the start of the note. Each attack should have a relaxed, natural sound. - Strive for the same sound at the beginning of every note. - All tongue movements are relaxed, quick, and up-and-down (not back-and-forth). - For the most part the tongue touches the same spot inside the mouth. (When accenting the tongue may touch higher in your mouth than in the lower register.) - The tongue touches with the same strength for each note within a given style. - The air stream should be focused toward the center, and strong enough to support the tongue’s natural movement. - The tempo of the music does not affect the strength of the tongue. - The embouchure should never move while tonguing. The Release The release refers to the end of the note. The end of each note should be organized. Simply reverse the air stream to end the note with the most resonant sound. “Articulation/tonguing problems” are often air problems, caused by using different air approaches for tongued and slurred passages. The air should not change. Start slurred, then tongue as long as possible, then gradually “shorter”, etc. Another typical problem is tonguing too hard. To work on this try articulating lightly on the mouthpiece and keep the pitch and articulation the same for every note.
Entering with articulating: Often when entering on a pitch and it is strained or cracked, it is because you do not hear the note and the ratio of muscle and air is not correct. To work on this 1) sing the pitch, 2) use breath attacks to set up the air and lips for the correct pitch, 3) add a light tongue that moves out of the way quickly. Breath Attacks – note beginning without the use of the tongue. The immediate breath attack is a quick puff of air that begins the note instantaneously (without being brash or out of tune). Working on this will help focus the aperture, concentrate the airstream, reduce fuzziness, maximize tone, eliminate neck tension, and improve accuracy. 18
Additional comments on articulating: “There is no shame in playing slowly and neatly. There is no pride in playing quickly and slovenly.” Shuebruk. Practice slowly and correct. The air doesn't do the tonguing it's a constant stream. The tongue does this. Aim for fast energetic air in a constant stream. “Dah” puts the tongue down not back. You don't pull the air back to coordinate with the tongue. You adjust the tongue to the fast energetic air. Note Length: This refers to the how long we hold a note and how it is ended. The basic types of note lengths are: -
Legato: 100% sound – 0% space Long Lifted: 75% sound – 25% space Light Lifted: 50% sound – 50% space Staccato: 25% sound – 75% space **Remember all notes should have resonance, tone, and body.
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. Note: All exercises should be worked on single “T”, “K”, and multiple tongued.
BOPPING Bopping is a technique that is used to improve timing, 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: - Dynamics and shapes are all played, but to a lesser degree - 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. Must resonate - Only “dAAh” sounds. - Keep all notes open-ended. Next page shows a visual representation of some of the basic articulations used at the Cadets. Please note this is not all possible articulations but only the beginning of our development. 19
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TECHNIQUE DEVELOPMENT 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 right hand should be positioned with the fingers perpendicular to the leadpipe (except tuba), the fingers rounded and the pads of your fingers resting atop the valves. It is very important for both yourself and the instrument that you keep both your wrist straight, not bent, and press the valve straight up and down. If a player pushes the valves on an angle, the valves with wear the valve casing at an angle and the valve will stick. PEDAL TONES Pedal tones are the notes below the normal playing range of your instrument. Although not often used in concert music, pedal tones have become very popular in methods designed to increase range and power. When playing pedals, listen carefully to the pitch. Make sure that your corners stay firm in the pedal register. The effective use of pedals in your warm-down and practice routine will: - Improve response - Soothe your embouchure - Provide greater command of your instrument - Develop better lip vibration - Create a bigger sound in all registers - Develop endurance
COOL DOWN The cool down is an essential part of taking care of your body. The cool down loosen you back up and re-focuses your tone production so that stiffness is less likely to be present the next time you play. Just like a runner after finishing a race, you need to stretch and loosen up. This goes for your lips and the rest of your body. Cooling down also helps endurance and keeps your lips feeling fresh more often.
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Cichowicz Flow Studies
1
2
3
4
5
6
7
8
CENTERING, LISTENING, & MATCHING Baritone & Euphonium
2-Note Pitch Bending
3-Note Pitch Bending
Remington's, Descending
Remington's, Ascending
F Follow Thru
Tone / Articulation Exercises Baritone & Euphonium
Cadets 2018
Articulation #1
Articulation #2
Articulation #3
"5 - 5 - 9"
Double Tonguing
tu tu
tu ku tu ku
tukutu
ku ku
tu tu ku
tukututukututuku
ku tu ku tu
tuku tu
tukutuku
2019 Cadets Flexibility Exercises 2018 On all exercises: Start on the open valve series & continue down to the 1-2 valve combination and then back up.
Baritone & Euphonium
Flex #1
Flex #2
Flex #3
Flex #4
Flex #5
Flex #7
Fingers, Flex, & Flow
Note - Practice with all articulation patterns:
All slurred All tongued (legato & staccato) Slur 2, tongue 2 Tongue 2, slur 2 etc.
Cool Down
Low Brass Just like a runner after finishing a race, you need to stretch and loosen up. This goes for your lips and the rest of your body. The cool down is an essential part of taking care o f your body. These exercises will loosen you back up and re-focus your tone production so that stiffness is less likely to be present the next time you play. Cooling down also helps endurance and keeps your lips feeling fresh more often. ****Tubas play all exercises down one octave except #5**** 1
Use light mouthpiece pressure and proper air support. Decrescendo to niente.
2
3
Breath attack every note
hA
hA
hA
hA
hA
hA hAAA
4
Slow and deliberate. Legato tongue every note.
5
Strive for a mp pedal with tone. Do not over blow.
1
13
12
123
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12
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The 2019 Cadets - Audition Excerpts Baritone and Euphonium
1. Lyrical - Mahler =60 with natural rubato as if from a distance
staccati are lighty detached
8
14
19 hold back
echoed
2. Multiple Tongue - Rimsky-Korsakov 26
=172+ with drive and energy
30
35
3. Technique and agility - Bartok =152 43
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Each prospective member of the 2019 Cadets Brass Section should prepare the following for a successful audition. If you are sending in a video, the audition video MUST include the following: Prepared Etudes - Prepare the excerpts found in the brass manual - Play on the instrument that you are most comfortable - If auditioning on a French Horn, Trombone, or Concert Tuba, you will be required to play on a Mellophone, Baritone, or Marching Tuba as part of your audition process Prepared Technique Exercises - The moving and playing portion will be flexibility 2, 3, 4, and 5 (open series only) continuous while marching the following visual instructions: Forward 4(flex 2), back 4, right 4(flex 3), left 4, back 4(flex 4), forward 4, left 4(flex 5), right 4, and halt (no sustain at end). - Please be prepared to demonstrate range through a chromatic scale. Visual Evaluation Visual aptitude will be evaluated during the weekend by The Cadet Visual Staff. This will mostly happen in a group setting during the visual rehearsal block, but some people may be pulled out individually to get more specific feedback. We certainly understand that everyone comes from a different visual background and may not be familiar with The Cadets’ marching technique – just know that you will be taught everything you need to know about The Cadet technique from the visual team at the camp. Music Evaluation Your music audition will take place in a classroom where you will most likely be playing for the caption head and possibly a section tech. There will be a warm-up room nearby for you to get ready. You will play, be asked a few questions, and then return to rehearsal. Everyone will know their status with the corps by the time camp is over on Sunday. Other Materials Make sure to bring a minimum list of 4 references that can discuss your character, work ethic, and performance. References should include band directors, private instructors, and teachers. Your references should be aware that they will be contacted.
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The Cadets Drum and Bugle Corps
2019 Music Performance Audition Form
First Name: _____________________ Last Name: __________________________ Primary Instrument: ______________ Marching Instrument: __________ Age: ________ Year in School: ____________
Email: ______________________________
Cell #: _________________________ Facebook (Circle One):
Yes
No
Please list any previous performance opportunities. Include years you participated in marching band, drum corps, and any additional information you would like to add:
Please list any and all conflicts with the spring training (be honest and thorough):
_______________________________________________________________________________________________________ _
First Name: ______________
Last Name: ____________________ Section/Instrument: ___________________ What your rating means:
1/1Performer exhibits musical training of the highest level. Musical principals are consistently clear and fully refined at all tempos. Breakdowns in tone and technique are rare and minor, with recovery quick and accurate. Pulse is precise. Posture and hand position are proper and uniform. The body appears natural and relaxed, even when challenged by skills of an extraordinary nature. Performer demonstrates the ability to quickly process and apply instructions. Confidence is demonstrated at all times. Performers receiving a 1 or 1rating have the best chance to successfully complete the musical responsibilities of the Cadets Drum and Bugle Corps.
2+ / 2 / 2Performer exhibits a good level of musical training. Musical principles are apparent and well refined at most tempos. Breakdowns in tone, technique, posture, or pulse appear occasionally, and usually happen when challenged by skills of a greater magnitude. Recovery is apparent, but is not immediate or completely accurate. Posture and hand position are usually correct. Performer’s ability to process and apply instructions with confidence and accuracy is inconsistent. With training, performers receiving a 2+, 2, or 2- rating may successfully complete the musical responsibilities of the Cadets Drum and Bugle Corps, but might be placed in an alternate role due to amount of available marching positions.
3 Performer displays only beginning levels of musical training. Principles of musical training are generally unclear and lack refinement and musicality. Breakdowns in technique and pulse occur frequently, with recovery slow and inaccurate. Tone is unsteady; articulation and flexibility need attention. Performer displays an inadequate ability to quickly process and apply instructions. For performers receiving a 3 rating, membership in the Cadet Drum and Bugle Corps is unlikely without great improvement.
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