The Cadets Drum and Bugle Corps

Brass Manual
Baritone/ Euphonium
2019
OUR GOALS

The Cadets Brass Staff is committed in shaping every member, both as a musician, and as a member
of society. The Cadet’s organization engages young men and women in a group activity that will
enrich their life. It is important to us that every member has the best experience during their time in
the corps. Therefore, all of the information in this packet, as well as subsequent handouts and
instructions, will be done with those basic goals in mind.

Every member of the brass staff is a professional music educator who has been selected to be a part
of this organization because of their abilities as an educator and musicians. Every one of us enjoys
the competitive aspect of drum & bugle corps and we all like to win, but our motivation for teaching
is not with competition in mind. We feel that if we don’t meet those basic goals listed above, then
we have failed as a staff, no matter what the competitive outcome is.

The Cadets march an 80-member brass line with several additional members signed on as
alternates. Alternates travel and participate in all aspects of the corps with the exception of having
a field position. All spots are determined by the results of all the auditions from each camp, video
submissions and assignments. Staff reserve the right to move and reposition members as needed.

EQUIPMENT
The corps has a full line of Yamaha instruments, but due to the number of candidates auditioning,
there may not be enough instruments to go around. For this reason, please bring your own marching
instrument if you have access to one. You have the option to audition on any brass instrument of
your choice, but staff will need to hear you on a bell front marching instrument during rehearsal.
Though you may bring your concert instrument to play for your audition, no french horns or
trombones will be allowed in brass arcs. Concert tubas are acceptable if there are not enough
marching tubas for each player.

In order to achieve the most uniform section sounds, we have selected specific mouthpieces for The
Cadets brass team. Exceptions will be made only if approved by the brass caption head and your
section technician(s).

Trumpets: Bach 3C or 1.5C with standard throat and backbore

Mellophones: Hammond 6MP

Baritones: Hammond 11ML

Euphoniums: Hammond 11L

Tubas: Hammond 30XL

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REHEARSAL MATERIALS

Each member of The Cadets Brass Team is expected to bring the following materials to ALL CAMP
REHEARSALS and ALL SUMMER REHEARSALS:

TUNER / METRONOME: ​All members of The Cadets brass team must own a tuner/metronome. We
recommend the Korg TM-40 or TM-50. A cellphone app is NOT acceptable during rehearsals,
however, the Tonal Energy app is a great resource for practice and preparation.

MUSIC STAND:​ Please bring your own folding music stand (with your name clearly labeled) to all
camp rehearsals.

THREE-RING BINDER:​ All members will have a WHITE 1-inch 3-ring binder (with plastic sheet
protectors). Make sure to clearly mark your name and section on the front cover. In the binder,
please include:
- Brass Manual
- All show and non-show music
- Music handouts.

PENCIL:​ It is extremely important to have a pencil on hand at all rehearsals (camps and summer).
Notes should be taken at all times. Write EVERYTHING down! The more details you document, the
more details you will remember!

GLOVES (white cotton):​ Gloves will be worn at all times when handling a Cadet horn. You will go
through many sets of gloves during the course of the season. It is important that your gloves remain
in good condition and are replaced as necessary. Gloves that are dirty or have acquired holes are
NEVER acceptable. Gloves may be purchased at camp from the corps for $3 per pair OR $5 for 2
pairs.

MAROON TOWEL:​ The maroon towel is used to protect your instrument when placed on hard
surfaces, especially outdoors. For trumpets, mellophones, and baritones, it should be a hand towel.
Tubas will need a body towel.

BASEBALL CAP:​ Brass team members will need at least 1 hat.

TENNIS SHOES / TRAINERS: ​You will be moving at all rehearsals. Thus, tennis shoes are required at
all times. Sandals, shower shoes, flip flops, bare feet, etc. are never acceptable.

CLOTHING:​ Required clothing is athletic wear such as gym shorts, t-shirts, sweats, etc. This will
allow you to perform excessive movement. Please no jeans.

WATER BOTTLES:​ Each brass team member is required to own their own personal water jug. We
recommend a minimum of a 1-gallon jug.

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PHYSICAL FITNESS
Physical ability and fitness is a must in this activity. You must be able to sustain an extended length
of high output cardiovascular during our rehearsals. Brass team members are expected to make a
commitment to working hard in the off-season on their personal physical fitness. The reason
physical fitness is a must is very simple: the stronger we are, the stronger we will be. More details
will be given through our personal trainer during the winter camps.

FUNDAMENTALS OF MUSICIANSHIP

Modeling & Matching:

One of the most important skills that a musician can develop is the ability to match with other
players. At the fundamental level, players in the ensemble are guided to match quality of sound and
pitch. At a more advanced level, ‘matching’ will be referring to dynamics, articulation, and
musicality. On a regular basis we will be using players from within the ensemble as examples for
everyone else to model in order to achieve consistency in performance.

Establishing & Maintaining Pulse:

At its most fundamental level, music must be in time. No matter what sounds are coming out of our
horns, it is all for naught if we do not move through time together. Surprisingly the majority of the
ensembles out there, ranging from high school marching bands to professional orchestras and wind
ensembles, struggle with the concept of keeping consistent time. It will be our goal to make sure
that we not only establish and maintain tempo as a musical ensemble, but we will also identify
individual and ensemble tendencies in order to raise awareness in the performers.

Singing, Clapping & Counting:

Whether you are a wind player, percussionist, or singer, you are only going to sound as good as the
aural model that is in your mind. Singing, clapping, and counting provide us a window directly to
that model, and by isolating musical passages in this fashion we will in turn improve how we
perform on our instruments.

RHYTHMIC ACCURACY

No matter how well the individuals in an ensemble play, they must move through time together in
order for the ensemble to be successful in performance. Therefore we must seek and maintain
rhythmic accuracy. The three following concepts are going to be key to success in this area:

I. Achieving Tempo Consistency:

Human beings are imperfect creatures by design. Despite what some people will tell you, NOBODY
has perfect tempo. Therefore, we will use a metronome in nearly every rehearsal throughout the
season. This gives us the best chance to be successful as an ensemble. We will also ask all of you to
prepare assignments at speci c metronome markings that will be tested in rehearsal. Individual
practice with a metronome will be a key to your success with The Cadets and beyond as a musician.

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II. Establishing a Counting System:

Since we speak far more than we will ever play our instruments, most of us are far more adept at
communicating orally than on our respective instruments. So, we will be counting nearly every
rhythm we will play during the summer to facilitate rhythmic accuracy and transfer learning. There
are numerous counting systems in place and my opinion they are all serve the same purpose
equally. So we are just going to pick one and stick with it throughout season. It will go as follows:

Quarter notes:​ 1, 2, 3, 4, etc.

Eight notes:​ 1+, 2+, etc.
Triplets: ​1-la-le, 2-la-le, etc.
Sixteenths:​ 1e+a, 2e+a, etc.

UNDERSTANDING BASIC TENDENCIES

Human beings are imperfect by design. Certain tendencies are inherent that make performing
rhythms accurately difficult. Other tendencies are developed via bad habits that have either been
taught to us or have crept into our playing. As with just about anything, understanding these
tendencies is half of the solution. Here are some of the most basic ones that plague nearly every
musician and ensemble, both amateur and professional.

White Notes: The tendency is to “lose time” in anything that we play that is slow and simple. We
tend to be become unengaged in the music when it is simple, therefore we as musicians tend lose
time in these situations. The solution is simple: Be aware of this and stay involved in the music at all
times.

Black Notes: The tendency in anything that is difficult in music is to panic. When we panic we tend
to rush. Anything with fast rhythmic figures or even sixteenth notes at a slow tempo have a
tendency to be rushed. Careful practice is key along with a basic understanding of note groupings
will help alleviate this problem.

Note Groupings: Specific note groupings have specific tendencies that accompany them.
Throughout the season we will be talking about them as they arise and possible solutions when
facing them in performance. For further information on the subject feel free to consult the book
Note Groupings​ by James Morgan Thurmond.

Dynamic Contrast:​ For us to be able to communicate with our audience there must be moments
of contrast. The easiest way to achieve this is with our level of volume. We will refer to this in one of
two ways, dynamic level and volume level.

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Loud Playing:
The key to playing loud is relaxation. An ugly, “spread” tone is often the result of tension and forced
breathing. You must stay “open” to maximize the amount of air involved during the inhalation to
produce a large and flowing “fff “exhale. The corners of the mouth must be kept firm to support the
large volume of air pouring through the aperture. Visualize the lips wrapping around the air stream
when playing at fuller dynamic levels. Great care should be taken through the building of volume
over a given period of time. Playing loud with a round, beautiful sound is a goal.

We must also focus on playing at the extreme soft dynamics. This is done by applying all of the same
techniques we would use during loud volumes. The best ensembles play not only at extreme
volumes; they can also play at soft dynamic levels with full supported sounds. Again, every note will
sound exactly the same just speak at different volumes. A great comparison will be like turning up
or down the volume knob on a stereo.

BALANCE

It is easy to assume that nearly everyone has had one of their teachers or directors yell the word
”listen!” at them at some point in their life.

Unfortunately, asking musicians to “listen” is simply too broad of an instruction to produce any kind
of results. Instead of advising students to listen to everything that they may possibly hear, we (the
brass staff) will be guiding them through this process. For efficiency, we have broken down critical
listening into four levels:

Level I–Self:
In this level of critical listening, the members of the ensemble should be focusing on the sounds that
they are producing as individuals. Simply put, they should be asking themselves: “Do I sound good?”

Level II– Trios:

In this level of critical listening, the members of the ensemble should be focusing on how they fit
into the people on either side of them. In this level, individuals will be evaluating tone color,
rhythmic accuracy, pitch, and articulation in relation to the other players next to them.

Level III– Section:

In this level of critical listening, the members of the ensemble should be focusing on how they t into
the rest of their section. In this level, individuals will be evaluating tone color, rhythmic accuracy,
pitch, and articulation in relation to the other players on like instruments.

Level IV - Ensemble:
In this level of critical listening, the members of the ensemble will be listening across the ensemble
to see how they fit into the larger picture. To be more specific, players will be listening to see if
other sections have the same musical line that they do and then evaluate how well they are
balancing and blending with those other sections. From time to time, the staff will also describe this
process as “ear mapping.”

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PITCH AND INTONATION
All brass instruments have various inherent intonation deficiencies. As a brass ensemble, we need
to be aware of what deficiencies exist, and how we can correct them with our playing. We build our
system of tuning through the matching of overtones, which are by definition, never out of tune.
Overtones will ring when the pitches coming out of the horns are in tune.

There are also many natural intonation deficiencies when dealing with the structure of chords.

The following is a list of intervals (from the root of the chord) and the natural pitch tendencies each
interval has:

Interrval Adjustment in Cents

Unison 0

Minor Second Raise 11.73

Major Second Raise 3.91

Minor Third Raise 15.64

Major Third Lower 13.68

Perfect Fourth Lower 1.95

Tritone Raise 3

Perfect Fifth Raise 1.95

Minor Sixth Raise 13.68

Major Sixth Lower 15.64

Minor Seventh Lower 3.91

Dominant Seventh Lower 31.17

Major Seventh Lower 11.73

Octave 0

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Tuning tendency charts help you understand the tuning tendencies of your instrument. Every brass
team member should fill out the charts completely. When the charts are filled out completely you
can refer to them to understand your instrument and how you need to adjust your individual
intonation in context with the rest of the section and hornline. Members will receive the charts at
specific camps during the season. Charts will be added throughout the season to continue to
develop our ability to understand our individual tuning tendencies.

Purpose: To increase your awareness of your and your instruments pitch tendencies.

Procedure: Partner up with someone in your section (during sectionals if possible) and work through
the sheet. Play each pitch where you think it is and have your tuning partner notate where you are
(sharp / at / in tune) and by how much (number of cents +/-). Do not look at the tuner while playing,
that’s what the tuning partner is for.

FUNDAMENTALS OF BRASS PLAYING

Air & Flow: Without a doubt, the most important concept that can be mastered as a brass player is
how to use air to your advantage. In this packet are concepts and exercises that we will use to learn
how to do this. Efficient use of air is essential to our success as a drum corps and we will work on
breathing and air exercises A LOT.

Wind Patterns: A wind pattern refers to the process of isolating how the air is used in the musical
setting. These patterns can be applied to a small phrase of music or an entire piece. Breaking these
down will help us achieve how as well as consistency of air stream.

Buzzing: We will be doing tons of work on our mouthpieces this season and we expect the
individuals within the ensemble to dedicate a portion of their daily practice time to doing buzzing
exercises. Buzzing will not only improve your sound quality, but it will improve your ear as well as
your sense of how. Simply put, you do not play the horn, you play the mouthpiece. The horn just
goes along for the ride.

Characteristic Sound: ​There are many different types of sound qualities that can be produced on
each of the brass instruments in the horn line. While many of them may sound great and may be
characteristic of the instrument they may not be appropriate for our needs in a large ensemble brass
setting. Therefore we have decided to go with the Orchestral Model of sound quality for The Cadets.
The reason for picking this model as opposed to others (like a jazz sound model or a British Brass
Band sound model) is primarily out of necessity. Bright or ‘Jazzy’ sound models do not lend
themselves to larger ensembles. Those sound models consist mainly of the higher overtones and
consequently, that makes them harder to tune while sound models that are overly dark do not tend
to project. So, we have picked a sound model that is in between. The best thing that any musician
can do is listen to great players modeling on their instrument. Here are just a few models that we
suggest you listen to:

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• Trumpet: Phil Smith, Thomas Hooten, Chris Martin, Adolph Hersepth, Alison Balsom
• Horn: Dale Clevenger, Gayle Williams, Greg Hustis, Phil Myers
• Trombone: Joe Alessi, Christian Lindberg, Ralph Sauer, Ko-Ichiro, Michael Mulcahy
• Bass Trombone: Doug Yeo, Charlie Vernon
• Euphonium: Steven Meade, Sam Pilafian, Demondrae Thurman
• Tuba: Gene Pokorny, Pat Sheridan, Chris Olka , Dave Zerkel, Carol Jantsch

POSTURE
To be most efficient when marching and playing, the body should be in the most natural and upright
position. Improper posture will hinder your brass playing and can cause back injury. When playing
your brass instrument, weight should be evenly distributed on both feet. Your upper body weight
should be lifted up from your waist, NOT leaning on the lower part of your back. Your shoulders
should be back, down, and relaxed in order to keep tension out of your sound. The bell of your horn
should be 10 degrees above parallel at all times.

In terms of hand position, your fingers and wrists should be relaxed at all times. Fingertips go on top
of the valves (making a C-shape with the right hand) in order to push the valves straight down.
Correct finger technique will help avoid bent valve stems which will cause the valves to stick. Valve
casings should be perpendicular to the ground (except for tubas). The palms of your hands should
away from the horn in such a way that allows you to create a straight line from the knuckle, along
the top of the forearm to the elbow.

It is important that you begin to think about SEPARATION OF UPPER AND LOWER BODY. Lifting
your weight off of your hips creates more room in the upper body to take in more relaxed air.
It also helps prevent marching and maneuvering from affecting your sound.

MARK TIME
The mark time is a lifted mark time. This means that the full foot leaves and then contacts the
ground. There are a few reasons for this:
- The full foot landing on the beat provides a more tangible connection to pulse for the
individual performer.
- It quickly makes apparent to the player that the upper body MUST be lifted away from the
hips. Otherwise lower body movement transfers excessively to the upper body, making
playing more difficult. We move and play. Confronting this reality with a mark time that
more closely resembles movement challenges we face later better prepares the individual
and ensemble for success when that demand is presented.
- It’s a more obvious tool for evaluation. The full foot mark time more clearly illustrates to
instructors where individual and section feet are in relation to the pulse. If individuals are
allowing their weight to rest on their hips, it will be evident in a player’s sound and visually
demonstrated by excessive motion in the upper body.

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The physical technique of the lifted mark time is simple and need not be over-thought to begin
working with on your own:

1. Begin in the standard “Cadet” heels and toes together halted position.
2. The right foot rises off the ground, accompanied by a slight bend of the knee to allow for the
way the foot, leg, and hip want to naturally work together.
3. The right foot descends to the ground, landing flat on the beat. The moment it hits, the left
foot lifts in the same manner as the right and then descends flat, landing on the beat.

Going a little deeper:

- The foot comes up ONE inch. That’s all you need and it’s all we want.
- When the foot lifts and the knee bends or pops to allow this, you’ll notice that the heel
naturally comes up just a moment before the ball of the foot. This is good.
- When the foot lands, the ball and heel should be placed on the ground at the same time.
- You should notice the foot hits the ground “on” the beat. Conversely, the foot should be at
the top of its travel “off” the beat.
- The travel or motion of the foot should be deliberate, without being forceful. You will feel
the beat clearly without having to harshly drive the foot into the ground.
- You will notice a side to side sway with this technique. This is natural, but do not accentuate
it. Lift your upper body up off the hips to lessen the sway as well as mitigate shock or
bounce being transferred from the lower body to the upper body.

The mark time will be addressed from day one and throughout the winter. In preparation for your
first camp, begin practicing the exercises in this book with the lifted mark time as soon as possible.
More about marking time will be explained once we’re face to face, where certain aspects are more
easily and effectively demonstrated for you.

STEP-OUTS
Step-outs are essentially mini-drill moves to help us fix drill and tempo issues, as well as another
form of marrying your music responsibilities to your visual responsibilities. Almost all timing issues
occur within the first 2 counts of a drill move, hence the use of step-outs in the arc or circle.
Step-outs are simple: You take two steps in ANY direction (right foot, then left foot) at the beginning
of a musical or drill phrase. Over the next two counts, you will return to your original position and
continue marking-time. It is important that you try to simulate the drill phrases as close as possible
in regards to step size. We want you to extend your step sizes at all times to make your job on the
field that much easier.

Here’s a breakdown of proper step-out technique:

Count 1​ – Right foot (full step)
Count 2 ​– Left foot (full step, point the toe, lightly “stab” with the platform)
Count 3 ​– Right foot re-plants (in place, in time)
Count 4 ​– Left foot back to point of origin
Count 5​ – Right foot back into Left foot (in time – both feet are now together)
Count 6​ – Continue marking-time in place, in time.

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BREATHING EXERCISES
Analogy: a car needs gas to make it move just like instruments need air to make sound. The higher
the quality of gas, the better the car performs. The same thing is true with air and playing a wind
instrument. To that end, we utilize these “Breathing Gym” exercises to develop breath capacity and
control.

Keep the following five points in mind when practicing breathing:

1. Stay relaxed and breathe with a sense of ease.
2. When breathing to play your instrument, breathe through your mouth. Keep the shape of the
mouth natural and open (think “oh”). The shape of your mouth should not change during
breathing exercises.
3. Breathe evenly over all of the counts (the air should be steady, constant and smooth)
4. Keep your air constantly moving (do not “cap the breath”)
5. Strive for a smooth change of direction between the inhale and the exhale (this will help
perfect your attacks) and from the exhale to the inhale (for releases). Time your breath so
that it can become part of the musical rhythm. If the attack is on beat 1, breathe on beat 4.
If the tempo is fast, breathe through beats 3 and 4 in order to play on count 1.

Remember the LAW OF ACCOMMODATION:

What is difficult today will become easier if practiced. Work these exercises just past the point of
ease and slightly into discomfort without overexertion

Breathing Gym​ ​is designed to give control and efficiency of breath by developing proper breathing
habits

- Improves tone, stamina, and all-around performance

- For ensembles, Breathing Gym:
- Promotes calmer, quieter, and more focused rehearsals
- Internalizes and improves group rhythm (always use a metronome)
- Gives more confidence and security to group entrances/releases

The Breathing Gym consists of five types of exercises:

- Stretches
- Flow Studies
- Therapies
- Strength and Flexibility
- Breathing for the Brain

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FLOW STUDY EXERCISES
During flow studies, you may use your arms to mirror your breathing. When inhaling, raise your
arms up and out at your sides until they reach directly over your head when full. During the exhale,
bring your arms down and out until they are hanging at your sides. You may also want to monitor
your inhale and exhale. Place you hand perpendicular to your lips and listen for a full resonant
sound when you inhale. During the exhale, place the palm of your hand six to twelve inches away
from your mouth to ensure that a smooth and even exhale is occurring. Here are a few exercises to
practice:

Exercise No. 1 (Lengthen the Inhale and Exhale):

Inhale for 4 counts and exhale for 4 counts. Repeat five times. Then breathe in for 6 counts and out
for 6 counts. Continue to add counts to both the inhale and the exhale (i.e. in for 8, out for 8).

Exercise No. 2 (Shorten the Inhale and Exhale):

Inhale for 4 counts and exhale for 4 counts. Repeat five times. Then breath in for 3 counts and out
for 3 counts. Continue to subtract counts from both the inhale and the exhale until you are
breathing in for 1 and out for 1.

Exercise No. 3 (Shorten the Inhale):

Inhale for 4 counts and exhale for 8 counts. Repeat five times. Then breathe in for 3 counts and out
for 8 counts. Continue to subtract counts from the inhale until you are breathing in for 1 and out for
8.

Exercise No. 4 (Shorten the Exhale):

Inhale for 4 counts and exhale for 8 counts. Repeat five times. Then breathe in for 4 counts and out
for 7 counts. Continue to subtract counts from the inhale until you are breathing in for 4 and out for
1.

Exercise No. 5 (Shorten the Inhale and Lengthen the Exhale):

Inhale for 4 counts and exhale for 8 counts. Repeat five times. Then breathe in for 3 counts and out
for 12 counts. Continue to subtract counts from the inhale and add counts to the exhale until you
are breathing in for 1 and out for 20.

Exercise No. 6 (Dynamic Awareness):

Inhale until you are comfortably full, then simulate different dynamics...
“Bow & Arrow” = fortissimo air
“Toss the Dart” = mezzo-forte air
“Float a Paper Airplane” = pianissimo air

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THERAPY EXERCISES
Exercise No. 7 (Inhale Therapy):
Exhale until you are comfortably empty. Then, place the back of the hand at the mouth to create
resistance/suction. Quickly remove your hand. You should hear a “pop” and a rush of air into the
lungs.

Exercise No. 8 (Exhale Therapy):

Inhale for five counts until you are comfortably full. Then suspend the air for five counts. Then blow
out half of your capacity forcefully. Stop for one count. Then blow out the remaining air.

Exercise No. 9 (In 5, HOLD/SIP, Out 5):

Inhale for five counts until you are comfortably full. Then suspend the air for 15 counts, but sip air
every few seconds to cap off your capacity.

Exercise No. 10 (Power Breathing):

Exhale all of your air. On exhalation, the palms should come together and should be pressed firmly
together. On the inhalation, the arms should move out to the side of the body. Then, breathe in for 1
count and breathe out for 1 count.

Exercise No. 11 (Throw the Ball):

Breathe in to your fullest capacity in 1 count and breathe out in one motion until completely empty.
Sizzle your air to work on the compression of the lungs.

STAGGER BREATHING
When listening to long sustained chords from a brass ensemble, you will notice that the best
ensembles sustain these chords without holes in the sound. This “wall of sound” is created by
utilizing a technique called stagger breathing. Essentially the wall of sound is created by each
performer in the brass ensemble following this simple process:
- Know when you are going to breathe and commit to the breathing
a. You must commit to the breath even if you are not running out of air
- Don’t breathe at the same time as the person(s) next to you
a. Two or more people in the same proximity breathing at the same time creates
holes in the sound
- Fade out
- A rapid, one beat decrescendo
- Don’t allow the pitch to drift out of tune
- Don’t allow your tongue to change
- Breathe
- One beat to take in a full breath
- The breath should immediately follow the decrescendo; no gaps between the end of the
decrescendo and the full breath in
- Fade back in

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 - A rapid, two beat crescendo from niente – no gaps between the end of the breath and the
beginning of the crescendo
- Do not rearticulate the front of the note – “Ah” articulation
- Be in-tune and in-tone all the way through the crescendo

SINGING
The voice is our natural instrument. Many people are able to sing with greater dexterity and control
than they can with their instruments. Singing, then, becomes a valuable tool for modeling music. In
addition, singing helps develop ensemble pitch and resonance.
- Practice singing all musical exercises, etudes, solos, and ensemble music.
- Sing on the syllable “dAH”
- Strive for a consistent, resonant sound on every note
- Use a piano or tuner for accuracy of pitch
- Think of the name of the notes and the quality of the intervals while singing (try practicing
singing the note names: a true tongue twister!)
- Finger the notes on the instrument while singing.

BUZZING THE MOUTHPIECE

Buzzing on the mouthpiece has many benefits if done with a systematic and observant approach.
Because the mouthpiece offers less resistance than does the instrument, buzzing helps accustom
the player to using more air. This greater airflow helps let the lips relax and vibrate more freely,
producing a more resonant sound. It also makes the player more reliant on his ear to place pitches,
just as a singer does. Further, it aids in developing the most efficient and consistent mouthpiece
placement. Finally, perhaps most importantly, mouthpiece buzzing allows the player to develop new
and more refined aural/physical habits more easily. ​(Thompson, James. ​The Buzzing Book​.
Switzerland: Editions BIM, 2001, p 3.)

- Always keep the corners together and firm

- Practice both air attacks and articulated notes (no bumps in the sound)
- Stay loose in the center of the lips
- Be sure to check that the mouthpiece is not forced against your lips
- Sound – beautiful, clear (no fuzz), singing ringing resonant sound

In addition to warm-up exercises, mouthpiece playing will help improve accuracy discrepancies in
the show music. Every player in the ensemble should be able to play any part of the show music on
his or her mouthpiece.

When practicing on your own, or even during a warm down, we DO recommend sliding as a
technique to regain true flexibility and to reinforce keeping the air moving. When in horn arc we will
slot every pitch with no sliding. This is because sliding causes timing problems with arrive at the
pitch at different times.

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Below are examples of mouthpiece work:

LEADPIPE BUZZING/FOGHORN

Leadpipe buzzing or “Foghorn” is exercises that involve removing the tuning-slide of a brass
instrument and buzzing through the leadpipe. The difference between leadpipe buzzing and the
mouthpiece buzzing is that with the leadpipe, there is more resistance and there are breaks between
ranges. For example, going from a lower pitch to a middle pitch, you go through a break (similar to a
slur).

The following guidelines apply to leadpipe buzzing:

- Define the pitch you will play – every instrument will be different. Try to match that pitch
every time you come back to it
- Work to minimize any “shaking” in the sound
- Work to minimize any “air-in-the-sound” with regards to your tone quality (no fuzz)
- Very little pressure should be placed on the embouchure

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Below are examples of leadpipe exercises:

PITCH BENDING
Bending tones is using the lips to lower the pitch by a half step, whole step, or more without the use
of valves. To lip the notes down correctly, one must keep the corners set and use the aperture to
bend the pitch down. Puckering the lips slightly while still maintaining a consistent tone does
this. If performed correctly, the bent pitch will sound almost as if it were fingered.

Roy Poper states: ​The correct bend is produced by bending the air column one half-step with the lip
while being sure to give good air support. When one returns to the original pitch the sound should
have improved and the air speed should appear to have increased. The result should be a more
colorful sound with a better focus. (Poper, Roy. ​Roy Poper’s Guide to the Brasswind Methods of
James Stamp​. Montrose, CA: Balquhidder Music, 1995, p 19.)

Practicing bending tones will improve your embouchure, endurance, tone, intonation, airflow,
flexibility, accuracy and increase your range.

Some guidelines when pitch bending:

- Gliss/smear down to the pitch
- Bent note should sound as focused as regular notes
- Little to no visible embouchure movement should occur

15
REMINGTON INTERVAL STUDIES

Intervallic studies will be a key factor in our ability to move between pitches with a smooth even
sound.

- Play the exercise slowly and with a tuner and/or done to ensure correct centering of each
and every pitch.
- The ultimate goal is to make each and every note sound exactly the same, regardless of the
direction from which you approach the note or the size of the intervallic leap.

FLOW STUDIES
Based on the exercises of Vincent Cichowicz, these lines begin with small intervals and progress to
larger intervals, allowing the performer to create a block sound that is even throughout all
registers.

- These exercises are meant to strengthen phrasing, maintain tonal color, and aid in
developing range.
- The goal is to complete each phrase in one breath. For the more extended phrases, if a
breath is necessary, only breathe during the descending line.
- Remember that these are flow studies, so be sure all note changes are smooth and seamless.
You can accomplish that by maintaining airflow between the notes and utilizing precise
valve changes.

The exercise can be transposed down to work on lower register playing and intonation. In addition,
by adding notes to the middle of each line, the upper register can be expanded. The performer
should strive to create the most resonant and even sound possible. This even sound occurs when all
notes produced are equal in tone, volume, and energy.

Dynamics can also be added to the exercise to place additional responsibilities on the player.
However, in the initial stages, the performer should work to create a constant and unchanging
sound with no dynamic change.

Some suggestions when working on flow studies:

- Sing and buzz exercises with playing the piano
- Flutter tongue to help keep the air moving. The flutter should never stop.
- Play with the water key open. This will help with using the correct amount of air and air
speed.

LIP SLURS/FLEXIBILITY STUDIES

Flexibility is anything that is not stepwise motion. We commonly work on flexibility by playing
natural lip slurs and interval studies. Practicing lip slurs in all registers and dynamics will increase
flexibility, strengthen the embouchure, develop tongue position control, improve accuracy, and
consistent airflow.

16
In order to have good flexibility one must use consistent airflow where the aperture focuses to
change the pitches. Naturally the back of your tongue will also raise as you ascend and lower as you
descend. Try whistling from a low pitch to a higher one. Notice what your air, tongue and lips are
doing. Your air should be staying fast and consistent, tongue is raising as you ascend, and your lips
should be focusing the aperture around the air stream. This parallels how we play the trumpet.

How to work on Flexibility?

- Sing
- Whistle
- Buzz with and without glissandos
- Play on the horn at a slow tempo making sure your pitch does not foreshadow the change of
the notes.
- Flutter tongue the exercises. Do not let the flutter stop.
- Play with the water key open. This will make the slots smaller and make you play with the
correct air.

ARTICULATION AND NOTE–LENGTH

Contrary to what some people believe articulation and note length are two separate aspects of
music making. For our purposes, we will refer to articulation in regards to how a note is released
and note–length to how and when it is ended.

Articulation: ​Articulation is pronouncing a note by tonguing it. Articulating a note should have a
clean front and arrive right on the center of the pitch. We strive to articulate without explosions on
the beginning of the notes. There are numerous ways to articulate a note and each may be
appropriate given the situation, but in most cases we will use the same uniform approach to
articulation. This approach will be referred to as “Breathe – dAH” or more accurately “Woh – tOH”.
“Woh” refers to the sound and shape of the oral cavity during inhalation while ”tOH” refers to the
sound and shape to the oral cavity and tongue during exhalation. Our default articulation will be
“dAH”. Take notice of the lower case “d” and the upper case “AH”. 90% of an articulation is air and
the other 10% is tongue. The air stream always creates the buzz and never the tongue.

The Anatomy of a Note

All notes (unless notated differently) should be thought of as being rectangular in shape. When
thinking of a rectangle, you see a straight, clear beginning, a uniform, consistent middle, and an
organized ending. To use musical terms, the beginning of a note is the articulation, the middle of a
note is the body, and the end of the note is the release.

17
Points to consider:
- The formation of the embouchure and the placement of the mouthpiece must be correct for
the most efficient results.
- The face and body should remain calm and relaxed while playing
- The vowel sound (the shape of the oral cavity inside the mouth) should remain constant
through a given note.
- The air is responsible for creating the vibrations and must remain steady, constant, and
smooth through the duration of a given note.

The Articulation
The articulation refers to the start of the note. Each attack should have a relaxed, natural sound.
- Strive for the same sound at the beginning of every note.
- All tongue movements are relaxed, quick, and up-and-down (not back-and-forth).
- For the most part the tongue touches the same spot inside the mouth. (When accenting the
tongue may touch higher in your mouth than in the lower register.)
- The tongue touches with the same strength for each note within a given style.
- The air stream should be focused toward the center, and strong enough to support the
tongue’s natural movement.
- The tempo of the music does not affect the strength of the tongue.
- The embouchure should never move while tonguing.

The Release
The release refers to the end of the note. The end of each note should be organized. Simply reverse
the air stream to end the note with the most resonant sound.

“Articulation/tonguing problems” are often air problems, caused by using different air approaches
for tongued and slurred passages. The air should not change. Start slurred, then tongue as long as
possible, then gradually “shorter”, etc.

Another typical problem is tonguing too hard. To work on this try articulating lightly on the
mouthpiece and keep the pitch and articulation the same for every note.

Entering with articulating:

Often when entering on a pitch and it is strained or cracked, it is because you do not hear the note
and the ratio of muscle and air is not correct. To work on this 1) sing the pitch, 2) use breath attacks
to set up the air and lips for the correct pitch, 3) add a light tongue that moves out of the way
quickly.

Breath Attacks – note beginning without the use of the tongue. The immediate breath attack
is a quick puff of air that begins the note instantaneously (without being brash or out of tune).
Working on this will help focus the aperture, concentrate the airstream, reduce fuzziness,
maximize tone, eliminate neck tension, and improve accuracy.

18
Additional comments on articulating:
“​There is no shame in playing slowly and neatly. There is no pride in playing quickly and slovenly.​”
Shuebruk. Practice slowly and correct.
The air doesn't do the tonguing it's a constant stream. The tongue does this. Aim for fast energetic
air in a constant stream. “Dah” puts the tongue down not back.
You don't pull the air back to coordinate with the tongue. You adjust the tongue to the fast energetic
air.

Note Length: ​This refers to the how long we hold a note and how it is ended. The basic types of note
lengths are:

- Legato: 100% sound – 0% space

- Long Lifted: 75% sound – 25% space
- Light Lifted: 50% sound – 50% space
- Staccato: 25% sound – 75% space

**Remember all notes should have resonance, tone, and body.

ARTICULATION EXERCISES

Articulation exercises are an integral part of developing the relationship between the tongue and
the air stream. It is important to understand that the tongue cannot articulate properly if there is
not enough air support. These exercises are intended to develop a consistent and clear approach to
the motion and speed of the tongue and air. It is also important to know that the clarity of the
articulation should not be affected by tempo, technique, note length, volume, or range. The only
time an articulation will change is when the style being played changes.

Note: All exercises should be worked on single “T”, “K”, and multiple tongued.

BOPPING
Bopping is a technique that is used to improve timing, uniform articulation and tone production.
Bopping is executed by reducing every note down to a staccato eighth note.

Additional rules to bopping are as follows:

- Dynamics and shapes are all played, but to a lesser degree
- Slurred passages are played full duration to the end of the slur.
- Tied notes are not to be played.
- Make sure the throat is open and relaxed.
- No “Dit” articulations should be heard. Must resonate
- Only “dAAh” sounds.
- Keep all notes open-ended.

Next page shows a visual representation of some of the basic articulations used at the Cadets.
Please note this is not all possible articulations but only the beginning of our development.

19
20
TECHNIQUE DEVELOPMENT

FINGER TECHNIQUE
When playing all musical passages, we recommend pressing the valves down with authority, while
keeping a relaxed feel in the wrists and fingers. Do not lose control of the valve on the way back up.
The right hand should be positioned with the fingers perpendicular to the leadpipe (except tuba),
the fingers rounded and the pads of your fingers resting atop the valves. It is very important for both
yourself and the instrument that you keep both your wrist straight, not bent, and press the valve
straight up and down. If a player pushes the valves on an angle, the valves with wear the valve
casing at an angle and the valve will stick.

PEDAL TONES
Pedal tones are the notes below the normal playing range of your instrument. Although not often
used in concert music, pedal tones have become very popular in methods designed to increase range
and power.

When playing pedals, listen carefully to the pitch. Make sure that your corners stay firm in the pedal
register.

The effective use of pedals in your warm-down and practice routine will:
- Improve response
- Soothe your embouchure
- Provide greater command of your instrument
- Develop better lip vibration
- Create a bigger sound in all registers
- Develop endurance

COOL DOWN
The cool down is an essential part of taking care of your body. The cool down loosen you back up and
re-focuses your tone production so that stiffness is less likely to be present the next time you play.
Just like a runner after finishing a race, you need to stretch and loosen up. This goes for your lips
and the rest of your body. Cooling down also helps endurance and keeps your lips feeling fresh more
often.

21
 The Cadets Drum & Bugle Corps

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 Cichowicz Flow Studies

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 CENTERING, LISTENING, & MATCHING
Baritone & Euphonium 2-Note Pitch Bending

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 Tone / Articulation Exercises
Baritone & Euphonium Cadets 2018

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 2019 Cadets Flexibility Exercises
2018
On all exercises:
Start on the open valve series &
Baritone & Euphonium continue down to the 1-2 valve
combination and then back up.

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All slurred
All tongued (legato & staccato)
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etc.
Low Brass Cool Down
Just like a runner after finishing a race, you need to stretch and loosen up. This goes for your lips and the rest of
your body. The cool down is an essential part of taking care of your body. These exercises will loosen you back
up and re-focus your tone production so that stiffness is less likely to be present the next time you play. Cooling
down also helps endurance and keeps your lips feeling fresh more often.

U
****Tubas play all exercises down one octave except #5****
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 The 2019 Cadets - Audition Excerpts
Baritone and Euphonium

1. Lyrical - Mahler

   . . œ. œ œ. œ.
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Each prospective member of the 2019 Cadets Brass Section should prepare the following
for a successful audition. If you are sending in a video, the audition video MUST include
the following:
Prepared Etudes
- Prepare the excerpts found in the brass manual
- Play on the instrument that you are most comfortable
- If auditioning on a French Horn, Trombone, or Concert Tuba, you will be required to play on a
Mellophone, Baritone, or Marching Tuba as part of your audition process

Prepared Technique Exercises

- The moving and playing portion will be flexibility 2, 3, 4, and 5 (open series only) continuous
while marching the following visual instructions: Forward 4(flex 2), back 4, right 4(flex 3),
left 4, back 4(flex 4), forward 4, left 4(flex 5), right 4, and halt (no sustain at end).
- Please be prepared to demonstrate range through a chromatic scale.

Visual Evaluation
Visual aptitude will be evaluated during the weekend by The Cadet Visual Staff. This will mostly
happen in a group setting during the visual rehearsal block, but some people may be pulled out
individually to get more specific feedback. We certainly understand that everyone comes from a
different visual background and may not be familiar with The Cadets’ marching technique – just
know that you will be taught everything you need to know about The Cadet technique from the
visual team at the camp.

Music Evaluation
Your music audition will take place in a classroom where you will most likely be playing for the
caption head and possibly a section tech. There will be a warm-up room nearby for you to get ready.
You will play, be asked a few questions, and then return to rehearsal. Everyone will know their
status with the corps by the time camp is over on Sunday.

Other Materials
Make sure to bring a minimum list of 4 references that can discuss your character, work ethic, and
performance. References should include band directors, private instructors, and teachers. Your
references should be aware that they will be contacted.

22
The Cadets Drum and Bugle Corps ​2019 Music Performance Audition Form 
First Name: _____________________ Last Name: __________________________ 

Primary Instrument: ______________ Marching Instrument: __________ 

Age: ________ Year in School: ____________ Email: ______________________________ 

Cell #: _________________________ Facebook (Circle One): Yes No 

Please  list  any  previous  performance  opportunities.  Include  years  you  participated  in  marching  band,  drum  corps,  and  any 
additional information you would like to add: 

Please list any and all conflicts with the spring training (be honest and thorough): 

   
 
 
 
_______________________________________________________________________________________________________
_ 
 
 
 
First Name: ______________ Last Name: ____________________ Section/Instrument: ___________________ 
What your rating means: 

1/1- 
Performer  exhibits  musical  training  of  the  highest  level.  Musical  principals  are  consistently  clear  and  fully  refined  at  all  tempos. 
Breakdowns  in  tone  and  technique  are  rare  and  minor,  with recovery quick and accurate. Pulse is precise. Posture and hand position are 
proper  and  uniform.  The  body  appears  natural  and  relaxed,  even  when  challenged  by  skills  of  an  extraordinary  nature.  Performer 
demonstrates  the ability to quickly process and apply instructions. Confidence is demonstrated at all times. Performers receiving a 1 or 1- 
rating have the best chance to successfully complete the musical responsibilities of the Cadets Drum and Bugle Corps.  

2+ / 2 / 2- 
Performer  exhibits  a  good  level  of  musical  training.  Musical  principles  are  apparent  and  well  refined  at  most  tempos.  Breakdowns  in 
tone,  technique,  posture,  or pulse appear occasionally, and usually happen when challenged by skills of a greater magnitude. Recovery is 
apparent,  but  is  not  immediate  or  completely  accurate.  Posture  and  hand  position are usually correct. Performer’s ability to process and 
apply instructions with confidence and accuracy is inconsistent. With training, performers receiving a 2+, 2, or 2- rating may successfully 
complete  the  musical  responsibilities  of  the  Cadets  Drum  and  Bugle  Corps,  but  might  be  placed  in  an  alternate  role  due  to  amount  of 
available marching positions.  

3 
Performer displays only beginning levels of musical training. Principles of musical training are generally unclear and lack refinement and 
musicality.  Breakdowns  in  technique  and  pulse  occur  frequently,  with  recovery  slow  and  inaccurate. Tone is unsteady; articulation and 
flexibility need attention. Performer displays an inadequate ability to quickly process and apply instructions. For performers receiving a 3 
rating, membership in the Cadet Drum and Bugle Corps is unlikely without great improvement.  
 
 

23
 

The Cadets Drum and Bugle Corps 2019 Music Performance Audition Form 

  Application of breathing principles & quality of Sound: 

  1 1- 2+ 2 2- 3 
Quality of articulation, flexibility, and flow: 
1 1- 2+ 2 2- 3 
Accuracy of rhythm, pitch, and pulse at all tempos: 
  1 1- 2+ 2 2- 3 
General musicianship, phrasing, and sensitivity: 
1 1- 2+ 2 2- 3 
  Ability to process and apply information and instructions: 
1 1- 2+ 2 2- 3 
Rating  Guidelines:  ​Generally,  3  or  more  of  the  same rating yields that rating as the overall rating [ex: (2+)(2)(2+)(2-)(2+) = 2+]. 2 pair 
of  ratings  will  use  the  5​   to  determine  which  way  the  overall  rating goes [ex: (1-)(1-)(2)(2)(2-) =2]. If the 5​  rating is between the pairs, 
th th

generally  that  becomes  the  overall.  For  1  pair  or 5 different ratings, the rating nearest the center of the range becomes the overall. These 

are  basic  guidelines,  not  hard  rules.  This  evaluation  process  is  subjective;  therefore  careful  consideration  and  good  judgment  are 
paramount. Most importantly, the overall rating needs to be an accurate reflection of the member’s quality of musical training.  
 
 
____________________________________________________________________________________________ 

  

Your Rating : I
​ II III  

Skills to Refine: 
● Breathing:  inadequate/inappropriate  breath  // shallow, high pitch, regional breath // no sense of flow // tension in chest, neck, 
or face // forced breath // inconsistent // unsupported airstream // other:____________________ 
● Body  Alignment/  Hand  Position​:  hips  forward  //  shoulder/hip  alignment  off  //  neck/shoulder  tension  //  arms  tense  // 
chin/head low // core not engaged // palms against horn // other:_______________________________ 
● Embouchure​:  embouchure  is  off  center  //  embouchure  is  tight  or  constricted  //  corners  are  not  firm  //  facial  tension  // 
unnecessary movement in embouchure or facial tissue // other:________________________________ 
● Quality  of  Sound/  Intonation: uncharacteristic sound //tension in sound //unsteady tone //lack of flow // pitch inconsistencies 
// ranges and/or dynamics affect tone quality and pitch // other:___________________________ 
● Flexibility  &  Flow:  inconsistent  airstream//balloons  of  sound//issues  at  end  of  phrases//unfinished  phrases  //  flexibility 
achieved through over-manipulation of inner oral cavity // other:________________________________ 
● Accuracy  of  Pitch,  Rhythm,  &  Pulse:  poor  timing  of feet // foot timing is unclear // tempo varies // rhythmic inaccuracies // 
pitch inaccuracies // pulse is inconsistent // other:______________________________________ 
● Articulation:  tongue  is  heavy  /  too  much  tongue  //  airstream  is  inconsistent  //  articulation is tight // constricted // tone/ pitch 
changes on articulation // articulation is fuzzy or unclear // other:___________________________ 
● Information  Processing:  concentration  lapses  //  break  during  long  phrases  //  inadequate  processing  //  recovery: 
none/slow/inaccurate // errors lead to more errors // broke from exercise // other:_________________________ 

24