The CavaliersBrass Methods

[baritone]

THE CAVALIERS

BRASS METHODS

Dear Prospective 2015 Cavaliers Brass Members,

Welcome to The Cavaliers Drum & Bugle Corps. This packet is designed to summarize the philosophy and approach to pedagogy as taught by the brass staff of The Cavaliers. Concepts of learning, rehearsing and performing in the Brass Line will be discussed. Please familiarize yourself as soon as possible with the information provided in the packet. This will serve in two ways, both as information in auditioning for the corps, as well as providing a fundamental basis for our approach over the entire year.

These concepts and expectations, when applied daily, can become part of a successful formula that leads you not only to success in The Cavaliers, but success as a person in your day-to-day life. While not comprehensive or exhaustive, this document does provide a broad foundation of important philosophies related to our approach to brass playing. The Cavaliers Sound will be derived from this system and is a result of over 100 years of performing and teaching experience from The Cavaliers Brass Team. Drawing heavily from iconic performers/teachers such as Arnold Jacobs, Sam Pilafi an, Pat Sheridan, Charlie Geyer, Barbara Butler, William Adam and the Martin family, this system will allow for successful brass performance at all levels. It is crucial for us to have a uniform approach and consistency in rehearsals and performance, so to that end, please read this packet carefully and become familiar with the terminology and exercises included.

The auditions for the 2015 Cavaliers Brass Line will occur in three locations:

Atlanta, GA – November 22-23, 2014Chicago, IL – December 5-7, 2014

Austin, TX – December 13-14, 2014

Attendance at one of these camps is required for membership consideration for the Brass Line. For more information about the corps or auditions, please check the website or contact the corps offi ce directly. If you have questions, please contact us well before the audition dates so we can help as you are preparing for your audition.

It is our mission to offer everyone that auditions for the corps a great experience, whether they come to one camp, or march here for many years. It is our pleasure to work with each and every one of you, and we look forward to seeing you at the auditions!

Sincerely,The Cavaliers Brass Staff

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audition.cavaliers.org • brass@cavaliers.org • 847.685.8412

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TABLE OF CONTENTS

OUR GOALS & OUR PHILOSOPHY 3

I. FUNDAMENTALS OF BRASS PLAYING 4

Posture, Hand Positioning & Embouchure

Vowel Modulation

Articulation and Note-Length

Pitch & Intonation

Tuning Worksheet

II. FUNDAMENTALS OF MUSICIANSHIP 8

Critical Listening/Balance/Dynamics

Rhythmic Accuracy/Pulse Control

Understanding Basic Rhythmic Tendencies

Moving & Playing

III. ESTABLISHING A TEAM CONCEPT 12

IV. THE EQUIPMENT 13

What To Bring To Rehearsals

V. AUDITION INFORMATION 15

Audition Recommendations

Dealing with Nerves

The Audition Room

The Audition

The Audition Performance / Performance Ratings

VI. MUSICAL EXERCISES 18

REV 10-14

OUR GOALSIn summary, our goals as a staff is to ensure that each and every member leaves The Cavaliers with skills that will help him in the future, both as a musician, and as a productive member of society. In addition, the enjoyment of each member is a high priority for The Cavaliers. Therefore, all information provided in this packet, as well as all subsequent handouts and instructions, will be approached with these fundamental philosophies in mind.

Every educator on The Cavaliers Brass Staff is a professional musician and educator, who has been hand selected because of their abilities and life long commitment to music education. While we are competitors, our motivation for teaching goes much deeper than mere competitive placement.

OUR PHILOSOPHYTo help us reach our goals, we have broken down our teaching philosophy into three basic areas of focus. We will be teaching and learning with these concrete concepts in mind and these will be the crux of our pedagogical application to all of the members of The Brass Line.

I. Fundamentals of Brass PlayingThis is the foundation of our approach to playing a brass instrument. All aspects of breathing, singing/buzzing, tone production, technique, and intonation will be discussed in great detail and clarity. Simply put, this is where it all begins as a brass musician and our attention to detail and fundamentals will enable us to go far as performers.

II. Fundamentals of MusicianshipThese are the most basic principles associated with music making. Concepts such as: critical listening, developing ensemble skills, rhythmic integrity, and the art of moving and playing, will be developed and reinforced in each and every rehearsal setting. The goal is to maximize rehearsal time and achieve a high level of effi ciency, as both individuals and a full brass ensemble. We aim to develop competent, effi cient and self-sustained musicians.

III. Establishing the “Team Concept”This is the idea that everyone has a specifi c role within the ensemble and that every role is important to the success of the group as a whole. We will be focusing on skills that will not only aid in our success and enjoyment throughout the season, but will also be valuable tools that will help you later in life.

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I: FUNDAMENTALS OF BRASS PLAYING

Air & FlowWithout a doubt, the most important concept that can be mastered as a brass player is how to use air in generating a proper and resonant brass sound. We will use techniques from traditional Yoga teachings, as well as those presented in the Breathing Gym books by Sam Pilafi an and Patrick Sheridan. We highly encourage you to purchase these books and utilize these concepts and techniques in your daily practicing.

BalloonsYou will be required to bring a bag of 12-inch latex balloons to all rehearsals. The preferred balloons come in bags of 72 from WalMart and cost $4.50. (Other balloons - such as those with writing or other shapes - are often not constructed the same and offer a variety of resistance.) We ask that you purchase the “standard” 12-inch round balloons mentioned above. These are used daily in a variety of ways and are an integral part of our system.

Physical Form• Correct Posture – ALWAYS• Arms away from your side• Shoulders are relaxed• 3-part breath (bottom 65%-middle 30%-top 5%). We will practice each part separately, but

ultimately, you will infl ate your upper body across these three areas concurrently. These are the percentages of air that fi ll each area of the thoracic cavity.

• Because the mouth is open, the air will be cool going in and slightly warmer coming out.

Breathing Form• “OH” shape to the inhale• Even air over all the counts of the inhale AND exhale• Constant air - never any hitches or pauses• Smooth Turn Around - quick, relaxed, and without hesitation.

The air is always moving - in or out.

Count Structure• Two count preparatory breaths are standard. • At faster tempi, four count preparatory breaths may be also used.

All other breaths are full breaths in the amount dictated by the music.

Oral Shape• Remains the same for inhalation as exhalation. • Tongue is down and relaxed. • We use PVC tubes help to train this shape. A 3/4” to 1” “joint adapter” from Home Depot or Lowes

costs about .40 cents. It should not have any threading, bends, or caps. • At times, we can also use the lead-pipes without mouthpieces as an alternate to the tubes.

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BuzzingWe utilize buzzing as a technique to over-train the muscles of the embouchure and to develop our listening and aural skills. “If you can buzz it, you can play it.”

• The corners are ALWAYS fi rm • The aperture is ALWAYS relaxed• Work toward a full and rich buzz• It is important that there be no excess tension in the buzz• Consequently, a good buzz may have some air in the sound• A closed-off buzz is clean but usually is achieved through

excess tension• Buzzing the mouthpiece is similar to playing the horn, minus the back-pressure/resistance of the

instrument. Generally, the more back-pressure there is in conjunction with the buzz, the easier it is to produce a desirable sound; thus, buzzing is a form of overtraining.

• Back pressure most-to-least: horn, mouthpiece, visualizer/cut-out, free buzz. • We may utilize buzzing on the lead pipe with the tuning slide removed. This is an excellent

technique for helping to create equilibrium between the air, the embouchure, and the instrument, especially for smaller bore instruments. All three parts play an equally important role in superior tone production. This technique can also be therapeutic for the embouchure and the surrounding muscles.

• A variation on lead pipe buzzing (called “foghorn”) utilizes a looser embouchure, minimal pressure and a completely relaxed buzz on the lead pipe to increase blood fl ow and help the muscles of the face to warm down or slowly start up.

• Free buzzing is used to wake the lips up, nothing higher than middle “F.” There are different opinions on free buzzing. We believe it is a valuable “pre-mouthpiece” training aid. This technique helps to focus and strengthen the embouchure without the aid of the mouthpiece. CAUTION: It is important to not do more than a few minutes of free buzzing and not buzz anything that is too strenuous.

VOWEL MODULATION• Vowel: “Doh” syllable to match how we articulate on the horn. • Resonance: Full body from the head down. • Robert Shaw/Jim Ott Resonating chambers (in order):

1. Head: bridge of nose, teeth, etc.2. Upper chest: clavicle, breastplate, etc.3. Lower chest: ribs, front and back4. Small of back/lower lumbar

INITIATION OF ARTICULATION• We begin EVERY note with what we call “a 5% initiation.” That 5% is the

amount of extra volume with which we initiate the sound. • We then relax the sustained portion of the sound to the designated

dynamic immediately.

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NOTE LENGTHS• Legato: 100% sustain - “doh” syllable (AKA “light touch.”)• Standard: 95% sustain -“doh” syllable• Staccato: 50% sustain• Standard Accent: 95% sustain with 10% more volume at left edge• Orchestral Accent: 100% sustain with 10% more volume at left edge (The note shape is 75%

sustain and 25% taper.)

GENERAL ARTICULATION CONCEPTS• The same part of the tongue touches the same spot with

the same energy for every note. (Think about using one taste bud for most of the articulations.)

• Back of the tongue is down and the sides are relaxed.• Breath attacks are used for many of the exercises in our

daily routine to refi ne this skill set.

MULTIPLE TONGUING• Same approach we take to normal articulation• The middle/back of the tongue rises to strike the roof of

the mouth using the smallest amount of fl esh possible, and then lowers back to a neutral position.

• We should not strive to clarify our multiple tonguing by trying to play shorter. • If you are multiple tonguing (triple or double), that means the tempo is fast enough that the single

tongue does not suffi ce. At a tempo of that speed or higher, the more legato the tongue stroke (both single and multiple), the greater the clarity will be and, indeed, the notes will SOUND shorter because of said clarity.

FLEXIBILITY• Maintain an evenness of the airfl ow throughout

the entire slur to make certain there is a consistency from note to note.

• Play it like you would sing it. • When buzzing, there should exist a quick slide

between each pitch. • Strive to avoid “slotting” each pitch when buzzing

as this will translate an uneven slur when playing it on the horn.

• Sing - buzz - play for best results. • HIGH BRASS: Use defi ned aural shapes to move

from note to note (from low to high: “oh” - “ah” - “ih” - “eh” - “ee”). Use these syllables when singing slurs.

• LOW BRASS: Use defi ned aural shape (“oh”) in the lower and mid registers. Only in the upper register will we use other syllables (such as “aw” or “ah”).

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PITCH AND INTONATION

Tuning tendencies:In order to perform with accurate intonation, all performers must be aware of the tuning tendencies of their individual instrument. This can be refi ned through regularly completing a tuning tendency chart for your chromatic range.

Tuning with drones/tone generators:In order to improve an individual’s aural/ intonation skills, each member should be regularly practicing with a tuning CD/drone/tone generator. These skills should be practiced singing, buzzing, and playing respective exercises and musical selections. There are several cost effective applications available for various smart phones and tablet devices. We highly recommend the Tonal Energy Tuner (available in all app stores).

“Just” Intonation:Below is a chart with the necessary tuning adjustments for the respective intervals.

m2 M2 m3 M3 P4 Aug4 P5 m6 M6 m7 M7 P8

+12 +4 +16 -14 - +17 +2 +14 -16 +18 -12 0

Tuning Worksheet: At the audition, you will receive a chart to reference regarding how to adjust chord tones in the most common chords.

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II: FUNDAMENTALS OF MUSICIANSHIP

CRITICAL LISTENING

Critical listening is crucial to our success as a brass program. Developing the ability to hear your own sound and the sounds of others across the ensemble will serve to improve individual and ensemble musicianship. The following “Levels of Listening” will be our guides and models through which we build these skills.

Level 1: Self-AwarenessThis is the most basic level of listening and asks the question, “are you listening to yourself and playing with the most beautiful and resonant tone you can produce?” This is step one to expanding your aural awareness as a musician.

Level II: Three-Person EnsembleThe focus on the “trio”, or yourself and the person on either side of you, guides the next level of awareness. At this point, matching of tone, intonation, and strength of sound are key elements in expanding the aural capacity.

Level III – Section IntegrityIn this level, priority is given to section awareness and listening and thinking as one across your specifi c instrument set. This requires a much larger “set of ears” and will be crucial for section features and small group playing during our productions.

Level IV – Full Vertical EnsembleThis level encompasses the entire brass ensemble and is truly a professional level technique when achieved. This allows each performer to fully hear all voices and choirs in the ensemble and match sound, pitch and energy clearly with all brass line members. This is the most challenging, yet rewarding of all the levels when it comes to ensemble playing.

BALANCE

Balancing A TriadCreating a perfectly balanced triad requires an understanding of the following percentages and weights of each note in the triad. In a basic triad, the following weights apply: 55% root, 30% fi fth, 15% third (Voicing should match). For all extended chords (7, 9, 11, poly chords) the following weights apply: 55% root, 25% fi fth, 12.5% third, 7.5 % extended note. (Or each note is basically half the value of the preceding note.)

Balancing On The FieldIn our dynamic system, balance on the fi eld is entirely contingent upon the players executing their respective dynamics with 100% precision and consistency. If a passage is out of balance, we fi rst establish that the player is playing the correct dynamic. If the individual/choir are performing at the correct dynamic level, we may adjust the dynamic level for that player/choir due to fi eld placement or musical responsibilities in that setting.

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DYNAMICS

For us to create excitement and communicate with our audience, we must be able to create dynamic contrast within our production. The ability to push the stands back, as well as draw the audience in, will be a staple of our brass approach at The Cavaliers. The following system and terminology will help you clearly understand our concepts and the way to help achieve a dramatic presentation on the fi eld.

The fi rst important concept to remember is the saying “All of the air in all of the counts”. Each dynamic level is assigned a number of counts based on mm = 108.

Each dynamic level will also be clearly defi ned and refi ned through our balloon and air speed work. Once a solid foundation of the air speed is developed, each performer must be able to perform the required dynamic level for different note values (whole note, half note, etc.).

Every dynamic is defi ned by expelling ALL of your air evenly over the assigned count structure for that dynamic as described in the table below:

3 counts 4 counts 6 counts 8 counts 12 counts 16 counts 20 counts

ffff fff ff f mf mp p

While we defi ne dynamics by using all of the air in “the tank”, we do not methodically advocate that as performance practice. Rather, once dynamics are memorized, we practice never going below HALF a full tank of air.

RHYTHMIC ACCURACY

One of the most important components of achieving ensemble clarity is to have an absolute alignment of the initiation and release of all sound. This is achieved through physical control (striving for absolute uniformity regarding the movement of fi ngers, as well as foot and tongue articulation), achieved through a combination of watching the conductor and maintaining an internal subdivision of time.

A metronome that provides various metric subdivisions (in all tempos and time signatures) is an essential tool for any developing musician. We will provide you with strategies throughout the season regarding how to best practice effectively with a metronome. For the purpose of your audition, it is recommended that you practice every exercise with a metronome, beginning under tempo with a subdivided beat (either duple or triple, as appropriate), and incrementally increasing the tempo to the desired marking.

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The deeper into the subdivision of longer note values that you internalize, the more likely you will be to move together physically as an ensemble. In other words, depending on the musical content (regarding tempo, note value and metric subdivision), do not be satisfi ed internally subdividing only the main beats. Be sure to subdivide longer note values internally, using the system outlined below (examples provided in common time):

• Eighth Notes (1+, 2+, 3+, 4+)• Triplets (1-la-le, 2-la-le, 3-la-le, 4-la-le)• Sixteenths (1-e-+-a, 2-e-+-a, 3-e-+-a, 4-e-+-a)

UNDERSTANDING BASIC RHYTHMIC TENDENCIES

There are many natural rhythmic tendencies that challenge all musicians. These tendencies make performing with absolute rhythmic clarity diffi cult for all marching ensembles. We will work with you to heighten your awareness of these tendencies as we move forward. Here are just a few examples of common rhythmic tendencies:

• Longer note values within a phrase often cause us to “lose time.” The key to avoiding this tendency is to subdivide, and stay engaged mentally as a performer.

• We tend to rush faster rhythmic groupings, especially those that are slurred. Careful subdivision as you approach such passages is important. Methodical practice is a key component to controlling the vertical alignment of such musical moments. Avoid rushing through the fi rst note of slurred groupings.

• Many note groupings have tendencies that accompany them. Often, as performers we broaden or rush through various rhythmic patterns. The most common error is for performers to rush through rhythmic “space.” The book, Note GroupingsNote Groupings, by James Morgan Thurmond is a great resource on this topic.

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MOVING AND PLAYING

Marking Time: We will expect you to mark-time during all music rehearsals where you are not marching drill. You will receive very detailed instructions from our visual staff regarding the proper way to mark-time, but here are some basics concepts to get you started:

• The heel of your foot will touch the ground on all “down” beats.• Your opposing heel will come up to your anklebone.• Your upper body must not bounce or sway. It should look as if you are standing still.• In large part, the success of the 2014 Cavaliers brass ensemble will be determined by how well you

are able to play while moving. Therefore, the sooner that you start adding movement to portions of your daily musical routine, the better you and your section will become.

Step-Outs: Most timing problems occur on the fi rst/last two counts of a musical phrase while marching. To assist with the correction of this issue, step-outs are a wonderful way to reinforce your foot timing (and comfort level with how the musical and visual phrases align).

• Simply take two steps in any direction (left foot, then right foot) at the beginning of a musical phrase or during what would have been a drill move.

• Take one step with the left foot, and then bring your right foot to the left on the second count. On the next two counts, you will go back to your original placement.

• You should vary the direction and step size taken so that you may work on various areas of your musical and marching technique while you play.

Bopping: Bopping is a technique that is used to improve timing, uniformity of articulation and tonal resonance upon the initiation of sound.

• Bopping is executed by reducing every articulated note to a “round” staccato eighth note.• Slurred passages are played full duration to the end of the slur.• Tied notes are not sustained.

Make sure that the throat remains open and relaxed. Keep notes open ended (no “dit” articulations, only “dah”).

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III: ESTABLISHING A TEAM CONCEPT

Every year we hear of competitive groups that have tremendous amounts of talent and great coaches or staff that fail to live up to their expectations. More often than not this is caused by that group’s inability to work effectively together. Regardless of your future professional pursuits, you are going to need to be able to work well with others in order to be happy and successful. Establishing the following fundamental principles may be the most important thing that we will strive to instill in each of you during the course of the drum corps season!

Mutual Respect: First and foremost, you must treat others with respect in order for you to expect others to treat you the same. While we would love for everyone within the corps to like each other, we know that that is a pretty tall order, considering the size and diversity of the ensemble. That having been said, we do expect that you treat every member of the corps with respect and courtesy. Ultimately we are all here for the same purpose, and we are all on the same team. Later on in life (long after drum corps) you will most likely be forced to work with some people that you are not crazy about, but you will have to treat them with common courtesy or you will likely fi nd yourself without a job. Just to be clear, this principle goes for everyone. The staff will be expected to treat all of you with the same respect that they expect to be afforded.

Responsibility and Accountability: Responsibility and accountability are two of the most important traits to master if you would like to be successful later in life. If you are unable to accept either then you will likely become unreliable which in turn means you become a liability. In other words, if you say that you are going to do something, please do it. If you fail to do so, expect to be held accountable for your actions.

Collaboration between Students, Leaders, and Staff: This is unquestionably one of the most important factors for our success. There must be open lines of communication between the corps members, the corps leadership, and the staff. The staff will do our best to communicate to you what our needs and expectations are, and we will expect the same from you. DO NOT BE AFRAID TO COMMUNICATE AND TO ASK QUESTIONS!

Establishing and Maintaining a Learning Environment: Maintaining a “learning environment” will be crucial to our success. Distractions inhibit learning. We will be discussing in great detail our rehearsal expectations for both the marching members and the staff. It is important for you to realize that we will only ever be as good as we rehearse!

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IV: THE EQUIPMENT

Instruments: We will be playing on Yamaha instruments this season. There will be specifi c instructions given about instrument maintenance and care. These are some of the best marching instruments on the market, and it is important that we take care of them. You will be required to bring a black towel to every rehearsal on which you will lay your horn in order to prevent unnecessary wear and tear. When you are not in rehearsal your horns will either be stored in a case or grouped together in sections of like instruments.

Trumpets:Please bring your trumpet to at least the fi rst 2-3 camps. Corps trumpets will not be available for check out during the winter camps. You are also responsible for bringing your own mouthpiece to all camps, as well as summer move-ins and tour.

Mellophones:If possible, bring an F Mellophone to at least the fi rst 2-3 camps. Corps instruments will be available for you to check out after you have attended three camps, and ONLY IF your fi nancial account is current. You are welcome to audition on a concert F horn (you will need to bring your own instrument). However, you will be asked to perform on a marching mellophone at some point during the audition process. You are responsible to bring your own mouthpiece to all camps, as well as summer move-ins and tour.

Baritones: If possible, please bring a marching baritone to at least the fi rst 2-3 camps. Corps instruments will be available for you to check out after you have attended three camps, and ONLY IF your fi nancial account is current. You are welcome to audition on a concert euphonium or trombone (you will need to bring your own instrument). However, you will be asked to perform on a marching baritone or euphonium at some point during the audition process. You are responsible to bring your own mouthpiece to all camps, as well as summer move-ins and tour.

Tubas: If possible, please bring a marching tuba or sousaphone to the fi rst 2-3 camps. Corps tubas will never be available for check out during the winter. You are welcome to audition on a concert tuba (you will need to bring your own instrument). However, you will be asked to perform on a marching tuba at some point during the audition process. You are responsible to bring your own mouthpiece to all camps, as well as summer move-ins and tour.

Mouthpieces: We are working on a partnership with Karl Hammond Mouthpieces. Hopefully, they will be providing us with custom-made mouthpieces at a discounted price to all of you. Since you will be required to purchase the mouthpieces, they will be yours to keep. You are not required to buy these mouthpieces for the audition. However, you MUST purchase the specifi ed mouthpiece if you are selected to be a member of the Cavaliers Brass Line.

• Trumpet: Hammond 5ML or 3C equivalent• Mellophone: Hammond 6MP• Baritone: Hammond 12L• Euphonium: Hammond 12XL• Tuba: Perantucci PT-48

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WHAT TO BRING TO REHEARSALS

Brass ensemble members are responsible for having the following materials at ALL rehearsals:

Three Ring Binder: This will contain all music handouts in organized clear sheet protectors. Any information that you could possibly need should be in this binder.

Pencils: Every brass ensemble member must have a pencil at all times. Notes should be taken at every rehearsal. Write everything down the fi rst time to maximize effi ciency!

12” Round Balloons: As mentioned previously, we will be using these balloons in EVERY REHEARSAL, throughout the season! Please purchase them at Walmart, and be sure to get the 12” round balloons that come in the 72 count bag.

Gloves: These must be worn while handling any Cavaliers owned instrument. You will go through many pairs of gloves during the season. It is important that your gloves remain in good condition and are replaced as necessary. Gloves that are dirty or have holes are never acceptable.

Black Towel: Your Cavaliers instrument is in one of three places at all times: in your hands, placed in the line on the ground, or in it’s case. The black towel is used to protect your instrument when placed on hard surfaces, especially when rehearsing outdoors.

Baseball Cap: This will be worn when rehearsing outdoors. Hats are needed to shade your face, your eyes, and your chops. When rehearsing indoors, hats are optional.

Athletic Shoes: Movement will occur at all rehearsals, and therefore tennis shoes are required at all times. Sandals, fl ip-fl ops, etc., are never acceptable.

Clothing: You must wear clothing that will allow you to perform excessive movement, such as sweats, shorts, t-shirts, etc., NO JEANS!!! Remember, movement will occur at every rehearsal!

Tuner/Metronome: Every brass ensemble member is required to have a tuner & metronome, or tuner-metronome combination.

Recording Device: Recording is encouraged at all music rehearsals.

Breathing Tubes: These are simply short pieces of PVC pipe that you can buy at Lowes or Home Depot, as discussed previously. (A 3/4” to 1” “joint adapter” from Home Depot or Lowes costs about .40 cents. It should not have any threading, bends, or caps.)

V: AUDITION INFORMATION

Many people allow themselves to think, “There is no way that I could make The Cavaliers. I am just not good enough.”

The most important rule for our section as we move forward is that there is no room for fear. Many talented individuals do not audition every year because they don’t believe themselves to be good enough. Every position in every section is open every year – past members are required to re-audition. The following are requirements for becoming a member of The Cavaliers brass section:

Talent:Your abilities on your instrument as well as your marching ability are very important in the selection process. It is equally important to see and hear your development and improvement from camp to camp. This criterion is set and judged by our instructional staff. You will be asked to play a few of the exercises from this packet, including BOTH the lyrical and technical etude found at the end, so begin to prepare methodically on all of the exercises included on the following pages.

Attendance:All brass members MUST bring their personal calendars to all camps. Staff members will go over your personal calendars at each camp and will help you to sort out any confl icts, and to lend advice on how to remain prepared during any extremely busy periods of time. Attendance is required at all rehearsals and performances. Occasionally, school and family confl icts may arise. In order for an absence to be excused, it must be communicated to David McGrath at least two weeks in advance. Any unexcused “no-show” members will be removed from our roster and will no longer be considered for membership in the corps.

Attitude: Chemistry is VERY important in building toward success. Our brass section will be full of marching members who will work as hard as necessary to make the brass section great. It will be incredibly fun to be a part of this as long as 100% of the members work as hard as they possibly can, are positive, and support both the staff, and more importantly, each other!

Health: Being healthy is very important in drum corps. You must be physically, mentally and emotionally capable of withstanding the requirements of rehearsals, performances and travel.

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Audition Recommendations: Preparation is the key to all success. The more methodically you prepare, the better you will play at your audition.

• Play for as many people as possible. Private instructors, band directors, and peers are all great people to have listen to you play. Your biggest and best critic will always be yourself…record yourself and take notes…the recorder never lies!

• Your audition music does not need to be memorized.

Dealing with Nerves: Being nervous is normal. Once you understand that, it becomes easier to control your nerves. Remember that tension is our enemy. Work hard as you play for others to stay calm, and to remember your breathing technique. If the breath is relaxed, it is more likely that your playing will be as well!

The Audition Room: Be certain before you enter the room that your instrument is in good working condition. Also be sure that you have all paperwork, including your personal calendar, with you when you enter the room.

• Do not face your bell directly at the staff hearing your audition.• Do not be afraid to ask questions.• Stay relaxed, and play at your highest ability.• Once you fi nish playing, there will be a brief “interview” with the staff conducting the audition.• Always keep going, DO NOT APOLOGIZE for your audition, and NEVER give excuses.

Finally, please remember that the audition process does not end after the audition camp. Final rosters will be determined beginning in February. Your level of preparation, involvement, attitude, attendance, improvement, section ranking, marching ability, and physical conditioning will all be considered when fi nalizing the 2014 Cavaliers Brass Roster.

The Audition: Once you come into the room you will be asked a series of questions. Below is a sampling of questions you might be asked:

• Name• Age• School• Major (if in college)• Drum Corps Experience• E-mail Address• Cell Phone Number• Potential Camp Confl icts• Availability Date for Move-Ins

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The Audition Performance: You will be asked to perform the following for your audition:

• A long tone exercise selected from this packet.• Two fl exibility (lip slur) exercises selected from this packet.• An F Major Scale (concert) played the full range of the instrument (best of your capability –

2 octaves/2 octaves plus a 5th/etc.).• The fi rst line of #16 (Goldman Articulation).• The lyrical etude included in this packet.• The technical etude included in this packet.• Exercise #1 (long tones) from this packet while moving. This simple long tone box drill will help us

to assess your physical and tonal control while moving and playing. The tempo should be a quarter note at 144.

PLAY measure 1 plus the four counts of rest in measure 2 while moving forward for 8 counts HOLD 4 PLAY measure 3 plus the four counts of rest in measure 4 while sliding left for 8 counts HOLD 4 PLAY measures 5-6 while marching backward for 8 counts HOLD 4 PLAY measures 8-9 while sliding right for 8 counts HALT.

Performance Ratings: At the end of the camp, you will be given a rating.

I = Outstanding Audition:Chances of being offered a spot are very good

II = Good Audition:Chances of being offered a spot are fair, given improvement

III = Fair Audition:You will need to make signifi cant improvements before you will be considered for a spot

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VI: MUSICAL EXERCISESBaritone

8. Intervallic Studies

9. Note Lengths

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Baritone2

11. Stamp Study

12. Flexibility #1

13. Flexibilty #2

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Baritone 3

14. Flexibilty #3

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17. Lyrical Etude'

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Baritone 5