Oregon Crusaders Audition Packet 2018oregoncrusaders.org/wp-content/uploads/2017/10/OC18... · 2017. 10. 2. · Double Tonguing 24 High Brass Clarkes 25 Baritone Clarkes 26 Tuba Clarkes

Brass

Oregon Crusaders Audition Packet 2018

2 Oregon Crusaders It doesn’t count unless it’s on the move.

TABLE OF CONTENTS

Audition Information 3 I’ve Been Offered a Contract… 5 Required Rehearsal Materials 6 Brass Technique 7-13 Volume 7 Pitch 7 Chord Adjustments 8 Tuning Tendency Charts 9 Balancing 12 Buzzing 12 Bending Pitches 12 Fog Horn 13 Singing 13 Bopping 13

The Bucket List 14-28

Breathing 15 Long Tones 15 Remington 16 High Brass Lip Slurs 17 Baritone Lip Slurs 18 Tuba Lip Slurs 19 High Brass Flow Studies 20 Baritone Flow Studies 21 Tuba Flow Studies 22 Style 23 Double Tonguing 24 High Brass Clarkes 25 Baritone Clarkes 26 Tuba Clarkes 27 Intervals 28 “Success is peace of mind attained only through self-satisfaction and knowing you’ve made the effort. Do the best of what you are capable.” John Wooden


AUDITION INFORMATION

The following statement has been heard many times: “There is no way I could be chosen for any drum corps; I am just not good enough.” Our number one rule at the Oregon Crusaders horn line is to not be afraid! So many talented musicians fail to audition every year because they just don’t believe in themselves. The following are the requirements for becoming a member of the Oregon Crusaders horn line:

PROFICIENCY

Your abilities on your instrument and your marching skills are very important in the selection process. Please note that your growth and development from camp to camp is just as important. In your audition you will be asked to play one or two exercises from this packet, so please be familiar with all of the exercises.

ATTENDANCE

All contracted members are expected to attend all camps unless otherwise approved by the brass caption head. Occasionally, school and family conflicts may arise. In order for an absence to be “excused” it must be communicated at least two weeks in advance to Lisa Tatum at [email protected], your section techs, section leaders, and in the corps camp form. All candidates and members who miss a camp MUST send a recording to their section tech PRIOR to the start of camp.

All “NO CALL – NO SHOW” members will be removed from the horn line roster.

AUDITION In your audition we would like to hear a solo or etude of your choosing. Show us your very best playing! This should be something you feel very confident about; it’s your chance to show off for us! You will also perform a 4 note lip slur from this manual on the move in a box drill. If you cannot make it to the audition camp, you may submit a video audition to Lisa Tatum.


ATTITUDE

Chemistry is very important towards success. Our horn line will be full of students who will do whatever it takes to make the brass section great. It will be incredibly fun to be a part of this brass section as long as 100% of the members work as hard as they can, are positive, and support both the staff, and more importantly, each other.

INSTRUMENTS

Please bring your own marching instrument to the first few camps when possible. You are welcome to do your one on one audition on a concert horn or marching horn (please bring your own instrument). You will be asked to perform on a marching instrument at some point during the audition process.

MOUTHPIECES

In order to achieve a more uniformed sound from play to player, we have selected specific mouthpieces for the Oregon Crusaders horn line. You are expected to have a personal mouthpiece at every camp. Once you are given a contract you will need to order your prescribed mouthpiece. You will receive additional information about which mouthpiece we will be using at one of the future camps.

“Dreams and dedication are a powerful combination” William Longgood

“The way to get started is to quit talking and begin doing.” Walt Disney


I’ve been offered a contract, now what…

CONTRACTS

At the Oregon Crusaders we offer contracts for our marching members. These contracts are a binding agreement between you and the corps. This agreement guarantees your membership in the Oregon Crusaders Drum & Bugle Corps as long as you maintain your end of the agreement, which means: attend all camps, be current on all assignments, and remain current on all financial responsibilities OC. Please note, contracts can be rescinded at any point if the staff and/or administration sees fit. Appropriate measures will be taken. If you choose to quit, you might be forfeiting all of your monetary payments to the drum corps.

FEES/TUITION Your account status will have a direct impact on your membership in the corps. Without fees and tuition, we would not be able to operate as a drum corps. Fees make up a significant portion of the total funds needed to run a world class drum & bugle corps. If you expect to march, you have got to keep your finances up to date.

MUSICAL RESPONSIBILITIES

The brass staff will give you specific music assignments to work on in between camps. These are required to be completed on time and done at the highest level. You will be asked to redo assignments that are not performed at a high level.

VISUAL RESPONSIBILITIES

The visual staff will give you specific visual assignments to work on in between camps. These are also required to be completed on time, and done at the highest level. You will be asked to redo assignments that are not performed at a high level.

PHYSICAL RESPONSIBILITIES

You will be given specific physical responsibilities to have done between camps. Being in shape is required to be in the Oregon Crusaders horn line. Stay on top of your physical fitness so that you are able to have a successful summer season.

TOO BUSY TO COMPLETE ASSIGNMENTS

No you are not. We make time for things that are important to us.

All assignments are required and if not completed at a high level your ranking will be affected and your spot may be taken away.


REQUIRED REHEARSAL MATERIALS

Contracted members will need the following:

MOUTHPIECE: Audition results will determine the mouthpiece you will need.

TUNER / METRONOME: All members of the Oregon Crusaders brass team must

own a tuner. It must be the following tuner – Korg TM-50 Combo Tuner / Metronome.

BREATHING TUBES: All members of the Oregon Crusaders brass team must have

a WHITE ½ inch PVC Coupler – breathing tube.

B.E.R.P.: The Buzzing Extension Resistance Piece (B.E.R.P.) will be used extensively

by the Oregon Crusaders brass team.

MUSIC STAND: Please bring your own folding music stand to all camps.

BINDER: Your brass manual, all music, and any other provided documents need to go

in sheet protectors in a binder.

PENCIL: Have one. Enough said.

GLOVES (WHITE): Clean white gloves must be worn whenever handling corps

instruments. Gloves that are dirty or that have acquired holes are NEVER acceptable. Gloves must cover your entire hand.

BLACK TOWEL: Your Oregon Crusaders instrument is in one of three places at all

times: in your hand, 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 outside.

BASEBALL CAP: Hats are required at all outdoor rehearsals.

TENNIS SHOES / TRAINERS: You will be moving at all rehearsals. Thus, tennis

shoes are required at all times. Sandals, shower shoes, flip-flops, bare feet, etc. are never acceptable.

CLOTHING: You must wear clothing that will allow you to perform excessive

movement such as sweats, shorts, t-shirts, etc. No jeans!

WATER BOTTLES: The approved water jug is a Coleman 1-Gallon Jug (RED)

http://www.amazon.com/Coleman-3000000JUG-1-Gallon-Jug/dp/B00363RSXU

http://www.amazon.com/Coleman-3000000JUG-1-Gallon-Jug/dp/B00363RSXU


BRASS TECHNIQUE PROGRAM

VOLUME

Dynamic Marking

Number Definition

ppp 1 This is the softest volume you can play with a full supported sound.

pp 2

p 3

mp 4

mf 5

f 6

ff 7

fff 8

ffff 9

fffff

10 This is most extreme volume you can play.

PITCH / INTONATION

All brass instruments have various inherent intonation deficiencies. As a brass ensemble, we need to be aware of what deficiencies exist, and how we can correct them with our playing. We build our system of tuning through the matching of overtones, which are by definition, never out of tune. Overtones will ring when the pitches coming out of the horns are in tune. For example, when the baritone section “locks in” on an open “Bb”, usually the “F” above can be heard quite clearly even though there are no performers playing it. As all the voices become more in tune with each other, entire chords can be heard ringing above the brass ensemble. In addition to working with a tuner every day, our singing, mouthpiece, long tone, and relative pitch exercises will help you develop your ears for tuning chords and unison notes. Always practice with a tuner. (You must own one.)



TUNING TENDENCY CHARTS

The following are tuning tendency charts to help you understand the tuning tendencies of your instrument. Every brass team member should fill out the charts completely. The C Tuning Tendency is for trumpets & mellophones. The Bb Tuning Tendency is used for tubas, baritones & euphoniums. On the Bb chart the middle Bb is your instrument tuning Bb. When the charts are filled out completely you can refer to them to understand your instrument and how you need to adjust your individual intonation in context with the rest of the section & horn line.




BALANCE / BLEND

When trying to achieve good balance and blend: Ask yourself, “Am I in tune with the ensemble?” If you are supporting a moving line, ask yourself, “Am I playing louder than that line?” Finally, ask yourself, “Am I playing within the ensemble sound?” We use these three levels of listening: LEVEL ONE – listen to yourself. LEVEL TWO – listen to your section. LEVEL THREE – listen to the entire ensemble.

BUZZING

Remember; always make your best sound. Buzzing on the mouthpiece should be done daily to develop a good tone quality. When done correctly, all brass players benefit from mouthpiece buzzing. Here are some things to remember when buzzing:

Hold the mouthpiece in your left hand at the shank with two fingers and the thumb if not using the BERP.

Remain completely relaxed during the buzzing process, make sure the throat stays relaxed and the tongue stays down in the mouth. Do not press the mouthpiece against the face.

Direct your air between the center of the lips and through the center of the mouthpiece.

Focus to start exactly in the center of the pitch without any scooping or bumping.

All buzzing should happen inside of the mouthpiece cup. You should practice all aspects of the Bucket List on the mouthpiece. You should also be able to play any part of the show on the mouthpiece.

* Remember to stay relaxed when buzzing!

BENDING PITCHES We recommend bending/sliding as a way to improve flexibility. When you slide/bend pitches it is important your corners stay firm, and that the upper lip stays engaged. The bending or sliding of the pitch lies solely on the rolling in-and-out of the bottom lip and the type of air being used. *Please note, when practicing flexibility exercises on the mouthpiece, target and slot the exact pitches. Sliding/pitch bending on these exercises could cause intonation and timing problems.


FOGHORN “Foghorn” is an exercise that involves removing the tuning-slide of a brass instrument. The difference between this and buzzing on the BERP is that with foghorn, there is more resistance and there are breaks between range (which simulate lip slurs). Keep the following in mind when using foghorn:

● Define the pitch your section will play – every instrument will be different. ● Try to match that pitch every time you come back to it. ● Minimize any shaking in the sound. You want to have a pure tone. ● Play at forte. ● Remember to stay relaxed!

SINGING Singing is an important tool for developing great ensemble tone quality and intonation. The brass section will sing frequently. Here are some guidelines for all singing exercises:

● The throat should be open and the face relaxed. ● The mouth shape should be oval like. ● Use the same approach to breathing. ● Always listen to match the pitch.

We will use different vowel sounds, including humming.

BOPPING Bopping is a technique that is used to improve timing and perfect uniform articulation and tone production. Bopping is executed by reducing every note down to a staccato eighth note. Additional rules to bopping are as follows:

● Everything is performed at the dynamic of p (piano). Unless dictated by a staff member.

● Slurred passages are played full duration to the end of the slur. ● Tied notes are to articulated and not sustained. The tied note will not be played

after the first articulation. ● Make sure the throat is open and relaxed. ● No “Dit” articulation should be heard. ● Only “dAAh.” Sounds. ● Keep all notes open-ended.


THE BUCKET LIST

The “Bucket List” is the routine we will use to prepare for rehearsal. It is a series of exercises that will improve your brass playing if done on a daily basis. Everything done with the Bucket List directly transfers to performance on the field. Remember, it doesn’t count unless it’s on the move.

1.Breathing

2.Long tones

3.Flexibility

4.Articulations

5.Technique

6.Music

“Do what you do so well that they will want to see it

again and bring their friends.” Walt Disney “Success is never on discount. Greatness is never on sale. Greatness is never half off. It’s all or nothing! It’s all day, every day! Greatness is never on discount.”

Eric Thomas


1. BREATHING Breathing is one of the most important aspects of successful brass playing! It is our philosophy to approach breathing as a natural process. Remain calm and relaxed while keeping good posture. All movement in the upper body should be involuntary and minimal. The face and neck should stay relaxed and soft in a natural position while inhaling and exhaling. Remember to keep the tongue down! There should never be a feeling of tension or discomfort when breathing. Here at the Oregon Crusaders we fully support “The Breathing Gym” by Patrick Sheridan and Sam Pilafian. This material may be found online. STAGGER BREATHING Stagger breathing creates a wall of sound. Here the general rules to use when stagger breathing.

1. Know when you are going to breathe and breathe in the same spot every time. 2. Don’t breathe at the same time as the person(s) next to you. 3. Fade out, breathe, fade back in.

2. LONG TONES

We will play long tones every day. Along with mouthpieces work, this allows the muscles in your face to loosen up and helps you to become comfortable with instrument. This is an opportunity for to concentrate on tone quality. Long tones are essential toward establishing a solid center of pitch for the warm-up. Players should be listening for intonation, blend of tone, intensity, as well as quality of sound.



3. Flexibility

High Brass Lip Slurs

“G – C – C”


Baritone Lip Slurs

“G – C – C”


Tuba Lip Slurs “G – C – C”


FLOW STUDIES – High Brass

Fall seven times and stand up eight.


FLOW STUDIES – Baritone

“Everything you’ve ever wanted is on the other side of fear.” George Adair


FLOW STUDIES – Tuba

“The only person you are destined to become is the person you decide to be.”

Ralph Waldo Emerson


STYLE NOTE SYMBOL VISUALIZATION

Connected (Legato)

def. – The notes touch and there is no decay

Long Lifted (Legato

Accented)

def. – The notes touch and there is a slight decay

Lifted

def. – There is a slight decay and a small space

Detached (Staccato)

def. – The note length is ½ the note it is attached to

Accented

def. – The front of the note is slightly louder, the notes touch, and there is a slight decay

Lifted Accent

def. – The front of the note is slightly louder, there is a slight decay and a small space

Roof-Top Accent

def. – The front of the note is slightly louder, no decay and length is ½ the note it is attached to


Double Tonguing


5. Technique CLARKE STUDIES – High Brass

“Either you run the day, or the day runs you.” Jim Rohn


CLARKE STUDIES – Baritones

One day or day one? You decide.


CLARKE STUDIES – Tubas

“Winning isn’t everything, but wanting to win is.” Vince Lombardi


“I’m not telling you it’s going to be easy – I’m telling you it’s going to be worth it.”


2018 Oregon Crusaders Brass Audition

1. Fill out this form BEFORE entering the audition room. No form = No audition. 2. Play on the instrument that you are most comfortable with. You may be asked to play on

a marching instrument during your audition. 3. Don’t make excuses! Show off for us! 4. Understand that contracted members are required to be at all camps and the entire pre-

tour move-ins. Exceptions will be made on a case-by-case basis.

NAME: _________________________________________________ EMAIL: ________________________________________________ INSTRUMENT: __________________________________________ CELL #: ____________________ HOME #____________________ AGE: ______ SCHOOL/MAJOR ____________________________ Please answer the following questions to the best of your ability. Use the back of the sheet as needed. List all dates as needed. 1. Are you involved with any organizations that could limit your camp attendance? i.e. WGI, jazz festivals, etc. 2. Are there any personal conflicts that could prevent you from participating fully in pre-tour move-ins or the summer tour? i.e. Weddings, graduation, etc. 3. What is the earliest date you can move-in for Pre-tour? 4. Have you had any injuries or surgery in the past 2 years that limited your physical activity in any way? i.e. Knee problems, back problems, etc.


Audition and Ratings

Part 1. For your audition play a piece that you believe exhibits your skill as a player. Something will show off your talents and ability. Things that are not acceptable: Marching band music, concert band music, or any type of ensemble part or music. Things that are acceptable: Solo’s, All-State Audition Music, Etudes, etc. Part 2. Play a 4-note lip slur on the move in a box drill with all forward slides. Quarter note = 132 BPM. Be sure to go through the series (down to 1&2) and then back up, sustain a concert F for 8 counts on the halt.

Name: __________________ Instrument: ____________________ Ratings to be filled out by OC Staff

Prepared Music Audition: 1 …… 5 …... 10 ______ Prepared Visual Audition: 1 …… 5 …... 10 ______

Rehearsal Rating: 1 …… 5 …... 10 ______

Physical Fitness: 1 …… 5 …... 10 ______ Camp/Pre-tour Attendance: 1 …… 5 …... 10 ______

Foot Timing: 1 …… 5 …... 10 ______ Attitude/Response to Correction: 1 …… 5 …... 10 ______

Total Score ________

Audition Notes:

Documents

Oregon Crusaders Audition Packet 2018oregoncrusaders.org/wp-content/uploads/2017/10/OC18... · 2017. 10. 2. · Double Tonguing 24 High Brass Clarkes 25 Baritone Clarkes 26 Tuba Clarkes