Audition and exersize packet for Baritone used at the 2015 Bluecoats audition....
Thank you for your interest in the Bluecoats Drum and Bugle Corps. This booklet includes our basic technique program as well as 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 and 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 2015 Bluecoats Brass section.
Audition Camp Dates and Locations Saturday and Sunday, November 22 - 23, - Austin, Texas Saturday and Sunday, November 29 - 30, - Canton, Ohio Sunday, December 7, - Mission Viejo, California Sunday, December 14, - Atlanta, Georgia Our goals for the audition process are two-fold. First, we wish to provide an educational experience. We hope you can take back with you valuable lessons in music and visual performance. Secondly, it is an evaluation. At the conclusion of camp, you will get feedback on your individual audition. 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 at the end of the camp will fall into one of three categories: 1. We will offer you a contract. This means if you fulfill the obligations spelled in the contract, you will be a member of the 2015 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 in the corps fall into this category. The final decisions for the 2015 Bluecoats Brass section will be made at the January 10th - 12th 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 additional information about registration for an audition camp is by visiting our website at: 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. Do not let your nerves 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! 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] 2
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. You have a choice of preparing either “ Option A “ or “ Option B “ of the listed etudes on this page for your audition but not both. 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. Baritone / Euphonium Audition Excerpts Option A 1. “ A Major – Andante affettuoso “ by DIEPPO from Selected Studies for Tenor Trombone Rubank / Hal Leonard (found on page 46 of this booklet) 2. “ Allegretto “ by VOBARON from Selected Studies for Tenor Trombone Rubank / Hal Leonard (found of page 47 of this booklet) Option B GMEA All State Band Etude 2015 Symphonic Band (Grades 11-12) Trombone (found on page 49 of this booklet) All auditioning baritone and euphonium candidates will also be required to rehearse and prepare the following exercises contained in this booklet: -
Long Tones #2 (Three Note Descending Slurs) on page 11 Long Tones #4 (Stamp – Upper Neighbor Slurs) on page 11 Air Flow #3 on page 14 Lip Slurs #4 on page 17 Lip Slurs #6 on page 17 Skip-o-slurs #4 on page 18 Staccato Tonguing on page 26
It will not be necessary to prepare any other exercises or music contained in this booklet for your audition. You will find the baritone/euphonium audition music on the final pages of this booklet. Please use a metronome when you rehearse the 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. 3
If you have any questions concerning these audition pieces please contact one of the Bluecoats Brass staff listed here: Derek Gipson Amy Armbruster Travis Pruitt Sarah Paradis
(Brass Caption Head)
[email protected] (Low Brass technician)
[email protected] (Low Brass technician)
[email protected] (Low Brass technician)
[email protected]
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 device. 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, 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 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 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 coming to camp as this will help you perform under pressure. Visualizing yourself in the audition room may also help calm your mind. When nerves are present, mistakes may happen, however, professional musicians do not react to their mistakes. Do not stop or dwell on your mistakes, and NEVER apologize for your performance. 4
Equipment Instrumentation: The Bluecoats 2015 brass section will consist of 80 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 and mouthpiece to the audition 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. Please bring a large shank mouthpiece with you to your audition camp. 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. Please bring your own mouthpiece with you to the audition camp. 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), and 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 on 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 your 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. 8
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Bluecoats 2015 Brass Routine This routine will be the basis of the 2015 brass technique program and is designed both as a daily warm-up and as a practice regiment for long-term improvement in tone production, airflow, 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 q = 100
? bbc w
w
w
∑
nw
w
w
∑
? b bw b
w
w
∑
w
w
w
∑
? bb b w
w
w
∑
w
w
w
∑
mf
? bb b w
w
w
∑
w
w
w
∑
U w
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.
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2. Three Note Descending Slurs q = 120
? bbc ˙ n˙ ?b ∑ b
w
∑ ˙ b˙
˙ ˙
w
w
∑ ˙ n˙
˙ b˙
∑
w
w ˙
∑
∑ ˙ b˙ w
˙
∑
w U w
3. Three Note Ascending Slurs q = 120
? bb ˙ #˙
∑ ˙ ˙
nw
˙ ˙
? bb ∑
w
b˙ ∑ ˙
w ˙ n˙
∑
w
∑
n˙ ∑ ˙
w ˙ ˙
w
∑
w U w
4. Stamp - Upper Neighbor Slurs q = 120
? bbc œ ˙
œ œ ˙
œ w
∑
? bb b œ ˙
œ œ ˙
œ bw
∑
? bb b œ ˙
œ œ ˙
œ bw
∑
? bb œ
˙
œ
œ
˙
œ
œ n˙
œ nœ #˙
œ w
∑
œ ˙
œ œ n˙
œ
∑
œ n˙
œ nœ #˙
œ w
w
11
∑
w
U w
∑
Fermata Long Tones #5. Fermata long tones q = 120
? 44 U w
bU w
U
w
w
?U w
U
bU w
w
?U w
U
bU w
w
?U w
w
w
U
bw
U w
! ! ! w
12
U w U w U w
U w
w
!
U
nU w
w
!
U
U w
w
!
bU w bw
w
Air Flow 1-2 Air Flow #1 q = 120
œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ bœ nœ ˙
w
!
?w
#œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ #œ œ œ œ nœ œ œ œ #œ œ nœ #œ ˙
w
!
? bw
œ bœ œ œ œ œ œ œ bœ bœ œ œ œ œ œ œ œ bœ œ œ bœ œ œ œ œ bœ bœ nœ ˙
w
!
?w
#œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ #œ œ œ œ bœ œ œ œ #œ œ bœ #œ ˙
? 44 w
w
Air Flow #2
œ bœ œ œ œ œ œ œ bœ bœ œ œ œ œ œ œ œ bœ œ œ bœ œ œ œ œ bœ bœ nœ ˙
w
?w
#œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ #œ œ œ œ bœ œ œ œ #œ œ bœ #œ ˙
w
!
? bw
œ bœ œ œ œ œ œ œ nœ #œ œ œ œ œ œ œ nœ bœ œ œ nœ #œ œ œ œ bœ nœ nœ b˙
w
!
?w
#œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ #œ œ œ œ bœ œ œ œ #œ œ bœ #œ ˙
q = 120
? 44 b w
13
!
w
Air Flow 3-4 Air Flow #3
bœ bœ bœ œ bœ bœ bœ œ nœ œ bœ œ œ bœ nœ bœ ? 44 œ b œ n œ œ b œ n œ œ œ b œ œ œ b œ œ œ b œ œ œ b œ œ œ b˙ q = 120
?Ó
œ œ bœ œ œ œ bœ œ œ œ œ #œ œ bœ œ œ œ bœ œ œ bœ #œ œ œ œ #œ œ bœ #œ œ œ Œ œ #œ #œ œ #œ ˙
? Ó Œ bœ bœ œ œ nœ nœ bœ bœ bœ œ œ nœ nœ bœ bœ bœ œ œ nœ œ #œ œ œ nœ bœ nœ nœ bœ bœ bœ œ œ nœ nœ bœ bœ b˙ ?Ó
bœ bœ bœ œ œ #œ œ bœ bœ œ œ bœ bœ œ bœ #œ œ œ #œ œ bœ #œ œ Œ œ œ #œ œ #œ œ œ œ #œ œ œ œ œ ˙
Air Flow #4 q = 120
? 44 b œj
œ bœ œ œ bœ œ œ œ œ bœ œ œ bœ œ œ œ nœ bœ œ œ œ œ œ œ w
?Ó
Œ
‰ œj n œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ w
?Ó
Œ ‰ b œj b œ b œ b œ œ b œ œ œ œ n œ b œ b œ œ b œ œ œ œ n œ b œ b œ œ œ œ œ œ w
?Ó
Œ
‰ œj œ œ œ œ b œ œ œ œ n œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ w
14
Air Flow #7
Air Flow 7-9
q = 120
? 43 b œ œ œ b œ œ œ œ œ œ b œ œ œ œ œ b œ œ b œ œ œ b œ œ œ œ œ b œ œ b œ œ œ b œ œ œ œ œ b œ œ b œ œ œ b œ œ b œ œ œ œ b ˙ .
!
? œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ nœ œ œ œ œ #œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ ˙.
!
? b œ œ œ b œ b œ œ œ œ œ b œ b œ œ œ œ b œ b œ b œ œ œ b œ b œ œ œ œ b œ b œ b œ œ œ b œ b œ b œ œ œ b œ b œ œ œ b œb œ œ œ œ nœ bœ b˙.
!
? œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ bœ œ ˙.
!
Air Flow #8
œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ bœ bœ œ œ œ bœ œ œ œ œ bœ bœ œ œ œ bœ œ œ œ bœ œ œ œ bœ œ œ œ œ œ ˙. œ
!
?
#œ œ œ #œ œ œ œ œ œ #œ œ #œ œ œ #œ œ nœ œ œ #œ œ œ œ #œ œ œ œ #œ œ œ œ #œ œ œ œ #œ œ œ œ œ #œ nœ œ œ ˙. #œ
!
?
œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ bœ bœ œ œ œ bœ œ œ œ bœ œ œ œ bœ œ œ œ bœ œ œ œ bœ œ œ œ œ bœ bœ bœ b˙. œ
!
q = 120
? 43
? œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ ˙.
!
Air Flow #9
œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ nœ œ œ œ œ nœ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ b˙ . œ bœ
q = 120
? 43 ?
œ œ œ œ# œ œ œ œ œ œ # œ n œ # œ œ œ # œ œ œ œ œ # œ # œ œ œ œ # œ n œ œ œ œ # œ œ œ œ # œ œ œ œ# œ œ œ œ œ ˙ . #œ nœ
?
bœ œ œ bœ œ œ œ œ œ bœ œ nœ œ œ bœ œ bœ œ œ bœ œ nœ œ œ bœ œ bœ œ œ bœ œ œ œ bœ œ œ œ bœ œbœ œ œ œ b˙. œ bœ
?
œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ . #œ nœ
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! ! ! !
Lip Slurs 1-2 Lip Slur #1 A.
?˙
b˙
? b˙
˙
˙
˙
˙
b˙
B.
C.
?
D.
?
b˙.
Œ
˙.
Œ
˙. b˙.
Œ Œ
˙
˙
˙.
˙ #˙ #˙
˙
˙
˙
b˙
Œ Œ
#˙. ˙. ˙.
Œ Œ
b˙ ˙
b˙ n˙
b˙
b˙
b˙
b˙.
Œ
˙
˙
˙.
Œ
˙
˙
b˙.
Œ
˙
˙
˙
˙
b˙.
Œ
˙.
Œ
˙.
Œ
˙.
Œ
˙.
Œ
etc.
etc.
etc.
etc.
Lip Slur #2
? œ bœ œ
A.
bœ
œ b˙
Œ œ œ œ œ œ ˙
œ ˙ ? bœ œ œ bœ
#œ #˙ Œ œ œ œ œ
B.
C.
?
œ œ œ bœ œ ˙
œ bœ œ bœ œ b˙ ?
D.
Œ Œ
Œ bœ bœ œ bœ bœ b˙
Œ œ œ œ œ œ ˙
Œ
œ ˙ Œ bœ œ bœ bœ
œ ˙ Œ œ œ œ œ
Œ
nœ œ œ œ œ ˙
Œ
œ œ œ œ œ ˙ Œ
Œ
#œ œ œ œ #œ ˙ œ œ œ
œ
œ ˙
Œ Œ
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nœ bœ œ bœ œ b˙ bœ bœ œ
bœ
bœ b˙
Œ
etc.
etc.
etc.
etc.
Lip Slurs 3-6 Lip Slur #3
etc. œ #œ œ ? bœ œ bœ œ bœ œ Œ œ œ œ œ œ Œ bœ bœ œ bœ œ Œ œ œ œ œ œ œ Œ œ bœ œ
œ œ œ b˙. ? bœœbœœ œ Lip Slur #4
œ œ œ œ#œ œ œ ˙. Œ œ
bœbœ œ œ œ bœ œ b˙. Œ bœ
œ œ œ ˙. œ œ Œ œœœ
Œ
etc.
œ œ œ #œ œ bœ bœ bœ œ bœ œ œ bœ œ œ bœ # œ œ b œ œ œ œ œ œ œ etc. œ b œ œ ? Œ Œ Œ Œ Lip Slur #5
œbœbœ œ œ œ
Lip Slur #6
œ ? bœ
b˙.
#œ œ Œ œ
œœœœœ
œbœ Œ bœ
˙.
17
bœbœ œ œ œ
b˙. Œ œœ œ
œœœœ
œ ˙ . etc. Œ
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Speed Slurs #1 A.
? 4 bœ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œbœj ‰ œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ j ‰ 4 œ ? bœbœ œ œ œ œ œ œ œ œ bœbœ œ œ œ œ œ œ j ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j ‰ œ bœ œ B.
œ œ œ œ œ œ œ œ bœ œ œ œ bœ œ œ œ ? bœ œ œ œ œ œ bœ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ ‰ J J œ œ œ œ œ œ œ œ ? bœ œ œ œbœ œ bœ œ œ œbœ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ J J œœœœœœœœ œ œœœœœœœœ bœ bœ œ # œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ ? J‰ J‰ C.
b œ n œ œ œ œ œ œ œ bœ œ b œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ‰ ? J‰ J
19
Speed Slurs #2 A.
? 4 bœ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œbœj ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j ‰ 4 œ ? bœbœ œ œ œ œ œ œ œ œ œ œ œ œ bœbœ œ œ œ œ œ œ j ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j ‰ bœ œ B.
œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ bœ œ œ œ ? bœ œ œ œ œ œ œ bœ œ œ œœ ‰ œ œ œ œ œ œ œ œ œ œ œœ ‰ J J œ œ œ œ œ œ œ œ œ œ œ ? bœ œ œ œ œ œ œ bœ œ œ œbœ ‰ œ œ œœœœœœœœœœœœ œ œ œœœœœ œ œ ‰ J J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ bœ œ ? J‰ J‰ C.
b œn œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœ œœœœœœœœ œ‰ ? J
20
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
dah
doo
Dah
N/A
Smoother beginning and more connected
dah Same beginning as normal with half the length
Dah Twice the emphasis on the beginning of the note, a slight decay
Articulation Syllable Difference from the normal enunciation
Twice the emphasis with half the length
q
? bb œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ Ó nœ œ œ œ nœ œ œ œ œ œ œ œ nœ ‰ Œ Ó J J mf
? bb b œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ Ó J
œ œ œ œ œœœœœœœœ œ ‰Œ Ó J
q
? bb œ œ œ œ
œ -œ -œ -œ
œ. œ. œ. œ.
>œ >œ >œ >œ
∑
? bb nœ œ œ œ
n-œ -œ -œ -œ nœ. œ. œ. œ.
n>œ >œ >œ >œ
∑
? bb b œ œ œ œ
-œ -œ -œ -œ
œ. œ. œ. œ.
>œ >œ >œ >œ
∑
?bœ œ œ œ b
-œ -œ -œ -œ
œ. œ. œ. œ.
>œ >œ >œ >œ
mf
4
21
∑
22
23
24
Up and Off Beats q = 160
° 4 & 4œ œ œ œ
Œ œ Œ œ
‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj
∑
#œ œ œ œ
Œ #œ Œ œ
Mellophone
4 &b 4 œ œ œ œ
Œ œ Œ œ
‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ
∑
nœ œ œ œ
Œ nœ Œ œ
Bari. / Euph.
? bb 4 œ œ œ œ 4
Œ œ Œ œ
‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ
∑
nœ œ œ œ
Œ nœ Œ œ
Œ
‰ j‰ j‰ j‰ j ‰ j‰ j‰ j‰ j œ œ œ œ œ œ œ œ
∑
Trumpet
mf
mf
mf
Tuba
? b4 ¢ b4œ œ œ œ mf
° &
œ
Œ
œ
nœ œ œ œ
Œ
nœ
Œ
œ
‰ # œj ‰ œj ‰ œj ‰ œj ‰ # œj ‰ œj ‰ œj ‰ œj
∑
nœ œ œ œ
Œ œ Œ œ
‰ œj ‰ œj ‰ œj ‰ œj
Mello.
& b ‰ n œJ ‰ œJ ‰ œJ ‰ œJ ‰ n œJ ‰ œJ ‰ œJ ‰ œJ
∑
bœ œ œ œ
Œ œ Œ œ
‰ œ ‰ œ ‰ œ ‰ œ J J J J
Bar. / Euph.
? bb ‰ n œ ‰ œ ‰ œ ‰ œ ‰ n œ ‰ œ ‰ œ ‰ œ J J J J J J J J
∑
bœ œ œ œ
Œ œ Œ œ
‰ œJ ‰ œJ ‰ œJ ‰ œJ
Tuba
?b ¢ b ‰ n œj ‰ œj ‰ œj ‰ œj ‰ n œj ‰ œj ‰ œj ‰ œj
∑
Œ
‰ j‰ j‰ j‰ j œ œ œ œ
Tpt.
° &
bœ œ œ œ
œ
Œ
œ
(continue to ascend back to the first measure)
‰ œj ‰ œj ‰ œj ‰ œj
∑
j j j j j j j j œ œ œ œ Œ œ Œ œ ‰ œ‰ œ‰ œ‰ œ ‰ œ‰ œ‰ œ‰ œ
Mello.
& b ‰ œJ ‰ œJ ‰ œJ ‰ œJ
∑
j j j j j j j j œ œ œ œ Œ œ Œ œ ‰ œ‰ œ‰ œ‰ œ ‰ œ‰ œ‰ œ‰ œ
∑
Bar. / Euph.
? bb ‰ œ ‰ œ ‰ œ ‰ œ J J J J
∑
œ œ œ œ Œ œ Œ œ ‰ œ‰ œ‰ œ‰ œ ‰ œ‰ œ‰ œ‰ œ J J J J J J J J
∑
Tuba
?b ¢ b ‰ œj ‰ œj ‰ œj ‰ œj
∑
Tpt.
œ œ œ œ
Œ
œ
25
Œ
œ
‰ j‰ j‰ j‰ j ‰ j‰ j‰ j‰ j œ œ œ œ œ œ œ œ
∑
∑
26
Baritone / Euphonium
Getchell #2 q = 100 - 140
? bb 4 ˙ œ œ œ œ ˙ 4
œœœœ œœ˙
˙ œ œ œ œ ˙ nœ œ œ œ ˙ ™ Œ
? bb ˙ œ œ œ œ ˙
œœœœ œœ˙
˙ œœ œœ˙
œ œ œ œ ˙™ Œ
˙ œ œ œ œ œ nœ œ bœ ˙
˙ œ œ ˙™ Œ
9
? bb œ œ ˙
17
˙ œœ œœ˙
? bb œ œ œ œ œ œ ˙
25
˙ œœ œœ˙
œœ˙
˙ œœ ˙ ˙
˙™ Œ
- 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 slurring. - 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 effortless when playing through this exercise.
27
Power Exercise #1
Trumpet
Mellophone
Baritone / Euphonium
Tuba
Mello.
Bar. / Euph.
Tuba
Mello.
Bar. / Euph.
Tuba
& b 44 b ˙ f
˙
? b 4 b˙ b˙ b 4 f
? b 4 b 4
!
˙
&b
!
˙
? bb
!
? b b
!
!
bw
!
Ï
Ï bw
˙
w
f
˙
˙
˙
˙ f
˙
f
!
b˙
˙
&b
!
˙
˙
f f
? bb
!
b˙
˙
? bb
!
b˙ f
˙
!
Ï
bw
f
f
bw
b˙ b˙ f
&
21
Tpt.
44 b˙ b˙ f
&
12
Tpt.
&
q = 70
!
Ï
Ï w Ï w Ï w
Ï bw Ï w Ï bw Ï
bw
Ï
nw
!
n˙ n˙ f
nw
!
f
Ï
n˙ n˙ f
Ï
Ï nw
n˙
n˙
b˙
!
b˙
!
b˙
b˙
!
b˙
b˙
!
b˙ f
b˙
f f
!
n˙
#˙
!
n˙
#˙
!
n˙
n˙
!
n˙ f
n˙
f f f
28
˙ f
!
Ï
f
˙ f
!
nw
n˙ n˙ f
˙ f
˙ f
bw Ï bw Ï bw Ï
bw
Ï nw Ï nw Ï nw Ï
nw
Ï
˙
w
!
˙
w
!
˙ ˙
Ï Ï w
!
Ï w
!
Ï
#w
#˙ #˙ f
Ï
#˙ #˙ f n˙ n˙
#w
n˙ n˙ f
nw
Ï nw
f
n˙
Ï Ï
nw
!
n˙
!
n˙
n˙
!
n˙
n˙
!
n˙ f
n˙
nw
˙
w Ï w
f f f
Ï nw Ï nw Ï Ï
!
˙
!
˙
˙
˙
˙
Ï w
˙
Ï w
! !
f f f
˙ f
Ï
Trumpet
Mellophone
& &b
Baritone / Euphonium
? bb
Tuba
? b b
&
˙
&b
˙
10
Tpt.
Mello.
Bar. / Euph.
Tuba
Mello.
Bar. / Euph.
Tuba
4 ˙ 4 ƒ 4 ˙ 4 ƒ 44 ˙ ƒ 4 4 ˙ ƒ
˙
? bb ˙
˙
˙
? bb ˙
˙
˙
& &b
˙
b˙
!
˙
˙
b˙
!
˙
˙
b˙
˙
˙
b˙
!
!
˙
˙
!
˙
˙
!
n˙
!
n˙
!
n˙
!
˙
˙
b˙
!
˙
˙
˙
b˙
!
˙
˙
˙
b˙
!
˙
˙
˙
b˙
!
˙
˙
b˙
˙
b˙ ˙ ˙ ˙ ˙
!
˙
˙
!
˙
˙
!
˙
˙
b˙
˙ !
˙
b˙
˙
! n˙
˙
!
˙
˙
˙
b˙
? bb ˙
b˙
˙
b˙
? bb ˙
˙
˙
b˙
˙
˙
˙
˙ ˙
19
Tpt.
Power Exercise # 2
q = 70
˙
b˙
˙
b˙
˙
b˙
˙
b˙
!
˙
˙ ˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
n˙
!
n˙
!
b˙
˙ ˙
n˙
! ! ! !
˙
!
˙
! ˙
#˙
˙
n˙
˙
˙
˙
!
˙
˙
˙
n˙
n˙
˙
˙
!
n˙
˙
b˙
!
˙
˙
b˙
!
n˙
˙
b˙
#˙
n˙
˙
˙
n˙
&
!
˙
˙
˙
#˙
!
˙
˙
˙
b˙
!
˙
n˙
w
&b
!
˙
˙
˙
#˙
!
˙
˙
˙
b˙
!
˙
n˙
w
Bar. / Euph.
? bb
!
˙
˙
˙
#˙
!
˙
˙
˙
b˙
˙
n˙
w
Tuba
? bb
!
˙
˙
˙
#˙
˙
˙
˙
b˙
˙
n˙
w
27
Tpt.
Mello.
!
29
! !
Tuning Exercise # 1 ( Thumbs )
° #4 & 4w 1
Trumpet 1
2
w
3
w
4
w
5
w
6
w
7
w
8
w
9
w w
mf
Trumpet 2
#4 & 4w
Trumpet 3
w
w
w
w
w
#w
w
w
Mellophone 1
w
w
w
w
w
w
w
w
w
bw
nw
w
4w ¢& 4 mf
Baritone
°? 4 w b4
w
bw
nw
w
Euphonium 1
w w
w w
w w
w w w
w bn w w
w nb w w
w w w
w w w
Euphonium 2
w
w
w
w
w
bw
nw
w
? 4 ¢ b4 w
fff
U w w U w
fff
w
w
w
bw
w
w
w
w
mf
Tuba
U w
fff
mf
?b 4 w 4
U w
fff
mf
? 4w b4
U w
fff
mf
Mellophone 2
U w
fff
mf
° 4w & 4
U w w fff
mf
#4 & ¢ 4w
10
U w
fff
w
w
w
bw
w
bw
w
mf Crescendo evenly from measures 5 to 10. Do not breathe at the barlines!
30
w
U w w
fff
BWV 431
q = 60
#
1
& œ
Trumpets
mp
Mellophones
œ #œ œ
? œ œ b
œ
œ œ œ œ œ
? œ œ bœ œ
œ œ
œ œ œ œ œ œ
œ
œ œ J
œ œ œ
& œ
mp
Baritones
œ
œ
2
œ œ œ
œ
œ
œ œ
j œ
œ
3
œ œ œœœ J
˙
Œ œ
˙
Œ œ
œ œ œ œœ ˙
Œ
mp
Euphonium Tuba
mp
# & œ
4
Tpt.
Mello.
Bar.
Euph. Tuba
& œJ œ ?
Mello.
Bar.
Euph. Tuba
b
œ œ œ
œ
5
œ
œ œ œ œ J œ œ J
? œ nœ œ b œ œ œn
nœ J
nœ œ œ nœ œ œ
U , œ & œ œ œ U , œ bœ & œ œ œ #œ œ , n U œ œ œ œ ?b œ
7
Tpt.
œ
#
?b
œ œ
œ œ
U , œ œ œ œ
œ œ œ œ œ œ
œ œ œ
œ
œ
œ
œ
œ
U , œ œ
œ œ
œ œ 6
U , œ œ #œ
œ
œ
U ,œ œ
œnœ œ
œ
œ
œ
œ œ
œ œ œ œ œ œ
31
œ œ œ
œ #œ œ œ œ
œ
œ œ nœ œ œ nœ
œ œ
œ
œœ œ
œ œœ œ œ œ
j œ
œ
9 rit.
œ
œ
œ œ J
œ
œ œnœ œ œ
U , œ bœ œ œ œ œ œ bœ œ œ œ œ 8
Œ œ bœ œ bœ
˙ ˙
œ
œ
œ
U ˙
U œ ˙ J
œ œU ˙
œ œ œ œ œ œ
U ˙ ˙
32
q = 88
Trumpet 1
° & &
Trumpet 2
Trumpet 3
Mellophone 1
¢&
w mf
w
w w w
mf
w
° b w & mf
°? b w Baritone 1 b mf
mf
w w w w w
? bb w
w
?b ¢ b w
w
mf
Euphonium
mf
Tuba
=
mf
° Tpt. 1 & b w mf
Tpt. 2
Mello. 1
w
¢& b w
w
° bw &b ¢& b
bw
°? b b w Bar. 1 b mf
mf
Bar. 2
w bw w
? b bw b
w
? bb b w
w
Tuba
?b ¢ b bw
w
mf
w
mf
∑
fff
fff
fff
fff
fff
∑
w
#w
w
w
w
w
mf
∑
w
∑
mf
w
∑
mf
w
∑
w
nw #w w
mf
∑
fff
fff
fff
nw
mf
w
fff
fff
mf
∑
fff
fff
mf
fff
w w
mf
∑
nw
w
∑
nw
w
∑
w
∑ ∑ ∑
bw
∑
bw
w
∑
bw
w
∑
bw
w
∑
bw
∑ ∑
mf
mf
nw
mf
mf
bw
fff
fff
fff
fff
nw
fff
#w
fff
w
bw w w
fff
nw fff
fff
33
fff
w fff
w ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
w
fff
fff
mf
mf
fff
fff
mf
bw
mf
nw
mf
bw
fff
fff
mf
∑
mf
nw
mf
bw
mf
nw
mf
∑
mf
mf
mf
#w w #w
bw w
∑
fff
w
∑
∑ fff
#w w
mf
fff
fff
mf
∑
∑
fff
mf
Euph.
fff
fff
mf
Mello. 2
fff
bw w
& bw
mf
fff
fff
mf
Tpt. 3
fff
fff
? bb w
Baritone 2
fff
fff
mf
w Mellophone 2 ¢& b
" Sasquatch " ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ fff
w mf
w
w
w w
w
#w
w
w
w
w
mf
mf
mf
mf
w
w
mf
w
mf
w w
mf
w
mf
mf
w
mf
w
mf
w
mf
nw w w w
fff
w w
fff
fff
w w w w
fff
fff
fff
fff
w
fff
fff
fff
fff
mf
w
w
w w w
fff
fff
mf
mf
w
fff
mf
mf
w
fff
fff
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
fff
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
fff
∑
34
A World Without Pants Trumpet 1
° 14 ˙ & 4
˙
4 & 4˙
˙
4˙ ¢& 4
˙
2
b˙
˙
p
Trumpet 2
w
° 4w Mellophone 1 & b 4
w
w
b 4 ˙ b˙ ¢& 4
w
°? b 4 w b4
w
? b4 w b4
bw
? b4 ¢ b4w p
w
w
w nw
w
˙ b˙
w
˙
w mf
bw
6
˙
˙
w
˙
bw
w
w
˙
bw
w
w
˙
w
bw
˙ b˙ w
bw
w f
35
10
w
w
w
w
w
w
w
w
> w
w
> w
w
ff
w
∑
bw
> w
w
∑
> w
> w
w
∑
> bw
> w
w
nw
∑
> bw
∑
> bw ff
w w w
> w fff
> w
w
ff
w
w
fff
ff
w
w
fff
ff
w
w w
fff
ff
w
11
fff
f
w
w
ff
f
w
9
fff
f
w
w
fff
f
w
8
ff
f
w
7
ff
f
mf
w
5
f
mf
p
Tuba
˙ #˙
mf
p
? bb 4 w 4
w
mf
p
Euphonium
˙
f
mf
p
Baritone 2
˙
mf
p
Baritone 1
4
mf
p
Mellophone 2
#w mf
p
Trumpet 3
3
> w fff
> w
w
> w w
fff
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 ____ (-1 = lowest, +10 = highest)
Ready to Sign: yes __
36
no __
37
38
39
40
41
42
43
44
45
DIEPPO
Selected Studies for Tenor Trombone excerpt from" A Major - Andante affettuoso "
œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ™ T œ œ œ œ J J J J
Andante affettuoso e = 120 - 136
? ### 6 œ 8 J p
. . œ œœ . œ œ œ œ ‰ œ. œ. œ œ œ œ œ œ. ? ### œ œJ œ nœ œ J J ™ œ œ œ œ#œ œ œ œ œ œ # ? ## J ? ###
nœ ™
#œ
œ J
œ œ #œ œ œ œ œ J
œ œ #œ œ œ
U ˙™
Performance Guide: The eight note is given as the beat in this study to help facilitate rhythm but work for a slow ‘ 2 ‘ feel to assistthe affettuoso style (loving, with passion, emotion, feeling). There is a lot of room for interpretation and rubatoin this etude. Pay attention to articulations because despite this being a slow study, it is not all legato.
46
VOBARON
Selected Studies for Tenor Trombone excerpt from " Allegretto " Allegretto q = 116 - 132
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Performance Guide: “ Allegretto “ This theme and variations etude is reminiscent of pieces by Arthur Pryor, Simone Mantia and Arban; the style should be approached with the same kind of rubato as Pryor’s Bells. The introductory statement should be confident, announcing the first theme in mm. 9, which begins softly. Use a more pointed articulation in m. 5, not necessarily shorter. Play lighter with the lifted style in m. 24, which begins another theme. Strive to make each theme or variation played with a different musical style. It is appropriate to add a small amount of rubato to this style for a musically mature performance. For instance, a slight ritard in m. 22-23 is nice. Ties from quarter notes to eighth note triplets should not be held too long rhythmically. Bring out the accents throughout the etude. A recording of this etude is available at http://music.sfasu.edu/facutly.php?id=38
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GMEA ALL STATE BAND ETUDE 2015 Symphonic Band (Grades 11-12) Trombone Andantino Espressivo
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