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The Cavaliers

Brass 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 Pilafian, 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, 2014


Chicago, 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 office 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

audition.cavaliers.org brass@cavaliers.org 847.685.8412

TABLE OF CONTENTS
OUR GOALS & OUR PHILOSOPHY

I. FUNDAMENTALS OF BRASS PLAYING

Posture, Hand Positioning & Embouchure


Vowel Modulation
Articulation and Note-Length
Pitch & Intonation
Tuning Worksheet

II. FUNDAMENTALS OF MUSICIANSHIP

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

REV 10-14

18

OUR GOALS
In 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 PHILOSOPHY
To 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 Playing

This 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 Musicianship

These 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 efficiency, as both individuals and a full brass ensemble. We aim to develop competent, efficient and
self-sustained musicians.

III. Establishing the Team Concept

This is the idea that everyone has a specific 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.

I: 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 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 Pilafian and Patrick Sheridan. We highly
encourage you to purchase these books and utilize these concepts and techniques in your daily practicing.

Balloons

You 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 inflate your upper body across these three areas concurrently. These are the
percentages of air that fill 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.

Buzzing

We 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 firm
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 flow 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 back
4. 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.

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 refine 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 flesh 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 suffice. 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 airflow 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 defined 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 defined aural shape (oh)
in the lower and mid registers. Only in the upper
register will we use other syllables (such as
aw or ah).

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 refined through regularly completing a tuning tendency
chart for your chromatic range.

Tuning with drones/tone generators:

In order to improve an individuals 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

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

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-Awareness

This 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 Ensemble

The 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 Integrity

In this level, priority is given to section awareness and listening and thinking
as one across your specific 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 Ensemble

This 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 Triad

Creating 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% fifth, 15% third (Voicing
should match). For all extended chords (7, 9, 11, poly chords) the following weights apply: 55% root, 25%
fifth, 12.5% third, 7.5 % extended note. (Or each note is basically half the value of the preceding note.)

Balancing On The Field

In our dynamic system, balance on the field is entirely contingent upon the players executing their
respective dynamics with 100% precision and consistency. If a passage is out of balance, we first 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 field placement or musical
responsibilities in that setting.

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 field.
The first 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 defined and refined 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 defined 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

mf

mp

While we define 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 fingers, 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.

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 satisfied 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 difficult 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 first
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 Groupings,
Groupings by James Morgan Thurmond is a great resource on
this topic.

10

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 first/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).

11

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 groups 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 find 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!

12

IV: THE EQUIPMENT


Instruments:

We will be playing on Yamaha instruments this season. There will be specific 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 first 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 first 2-3 camps. Corps instruments will be available for you
to check out after you have attended three camps, and ONLY IF your financial 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 first 2-3 camps. Corps instruments will be
available for you to check out after you have attended three camps, and ONLY IF your financial 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 first 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 specified 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

13

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 first time to maximize efficiency!

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 its 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,
flip-flops, 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.)

14

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 dont 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 conflicts, 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 conflicts 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.

15

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 yourselfrecord
yourself and take notesthe 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 finish 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
finalizing 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 Conflicts
Availability Date for Move-Ins

16

The Audition Performance:

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

A long tone exercise selected from this packet.


Two flexibility (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 first 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 significant


improvements before you will be
considered for a spot

17


VI: MUSICAL EXERCISES

Baritone

Baritone
8. Intervallic Studies

? b n# bn b b b b b b bb b n b b b b b

b
bb

? b
? b

n
bb

9. Note Lengths

? bb w
w

? bb - - - - - - - -

? bb -------- --
3

- - - -

? bb
R R R R

. . . .

. . . . . . . .

. . . . . . . . . . . .
3

? bb

U
w
w

10. Note Lengths Applied (Play 3x)

? bb w w w w
? bb w
w

? bb

4
nn 4

Baritone

11. Stamp Study

? 4 b bw
4

n #
w

? b b b
bw

n
w

? b b b b
bw

n
w

44

12. Flexibility #1

? 4 b b b
4

b b b b b

b b b b b

13. Flexibilty #2

b
? b b
b

? b b

b b b

b b b

23

Baritone
14. Flexibilty #3

? 3 b b w
2

#
w

b b b bw

? w b b b bw w # w 3
2

15. Flexibilty #4

? 3 b b w
2

b bw
b

? w bbb bw w # w bb 4
4

16. Goldman Articulation

? bb 4

? bb

? bb

? bb

3
bbbb 4

Baritone

17. Lyrical Etude'

j n ,


? bb b 3 n

b4
J
J
, bb n
#n# # ##
>

n
? bb b
#

J
b
J J
n

b

? bb b n
b83
n

b
b
J
^ n ^ n ^
18. Technical Etude'

? bb3 # ^#^ ^
8 J

? bb

? bb

>
>
>
>
# # #

n #