BRASS PACKET

BARITONE

BELONG
HERE
YOU
Welcome to the 2024 Colts! We hope this is the first step in a life-changing
journey and we are honored you chose to take that step with us. In this
packet you will find everything you need to prepare for the Colts brass
section and audition process. Over the course of the next few months, we
will be evaluating potential for the world class brass section and working
with you to continue development of your personal skillsets. We are an
educational family and not just a competitive drum & bugle corps. We work
with and develop people, not just brass players.

Each of the exercises and methods assembled here will be used not just to
evaluate, but also develop your tone production, intonation, flexibility,
articulation, and musicianship. As you work through these exercises, take
care to focus on the explanations provided. The goal isn’t just about
learning notes, but also about developing tone and creating music.

1. Breathe, Sing, Buzz

2. Long Tones and Flow Studies
3. Lip Slurs
4. Articulation
5. Scales & Fingers
6. Chord Building and Chorales
7. Lyrical Etude
8. Technical Etude

If you have any questions, please email me at millerchad78@gmail.com.

See you in the Red Zone!

Chad Miller
Colts Brass Caption Head
RED ZONE Video Audition & Evaluation
The video audition and evaluation is available to all Red Zone participants. Please
follow the directions below for what to include in your video. Following a video
submission, we will connect you with a staff member who will provide specific feedback
relative to your submission strengths and improvement areas. If offered a position or
invited to a recall audition for the Colts, the next step will be to attend a full rehearsal
and callback weekend to demonstrate growth based on the initial feedback provided.

For your video audition and evaluation, please follow these steps:

1. After joining Red Zone, review the packet, practice the provided materials in
SoundSlice, and prepare a video.

2. When ready, email your video to:

Chad Miller, Colts Brass Caption Head, millerchad78@gmail.com, and
Vicki MacFarlane, Colts Director, colts@colts.org.

To submit your video, please upload your video(s) through YouTube, Dropbox, or
Google Drive. Please send one email containing all elements and video links for your
video audition.

Complete each of these steps to receive feedback. After the video submission,
feedback may include an offer of a position or an opportunity for a recall audition with
our World Class educators.

All videos will receive comments of what to improve upon for future participation. Please
allow two weeks for your video to be reviewed and feedback to be returned. Positions in
the corps are offered starting in November, so earlier submissions have a better
opportunity for membership.

Following your video evaluation, you will receive feedback noting strengths and
improvement areas and one of the following:

1. An offer of membership.
2. An invitation to attend a rehearsal and callback event.
3. A recommendation for Colt Cadets or to work towards the 2025 Colts.

The video should contain samples of playing and marching as detailed on the
following page.
 Video Audition Instructions
Brass Music Playing
All of the musical exercises in this packet are available in the corresponding SoundSlice
course. While you won’t need to record and submit every exercise, please be sure to
play through the entire packet on a regular basis to develop strong fundamentals. For
your video audition, please record only the following exercises:

1. Flow Studies #1-6 @ 155bpm with 2 bars of rest in between each phrase
2. Five Note Lip Slur (open, 2nd, 1st, 1st & 2nd valves, back up) ~120bpm
3. Remington Lip Slur (open, 2nd, 1st, 1st & 2nd valves, back up) ~120bpm
4. Chromatics ~120bpm (play only what’s written, not through valve series)
5. Lyrical Étude (choose either the intermediate or the advanced phrase)
6. Technical Étude (start with phrase 1, play as many phrases as you can)

IMPORTANT: Please have an audible metronome in the background of your recordings,

and double check your recordings to ensure the best audio quality possible!

Brass Visual Marching

For the following exercises, horns will start at a set position, and snap to playing
position on each step off. Snap horn back to set on each hold. Please note you do not
need to play when demonstrating these exercises. The visual aid demonstrates this
exercise.

1. Using forward slides, please march a forward left box 8 counts in each direction,
hold 8, then a forward right box 8 counts in each direction. Do the double box at
120 beats per minute, then again at 200 bpm.
2. Using backwards slides, march a forward left box 8 counts in each direction, hold
8, then a forward right box 8 counts in each direction using backwards slides. Do
this at 120 beats per minute, then 200 bpm.

Brass visual exercises marching pattern

 Visual Criteria
Anyone auditioning for a brass or battery performance position will be evaluated in the
following visual areas:

• Desire and ability to learn and implement marching style and methodology. This
will include forwards and backwards march, slides, crab step, and change of
direction. We will be using these skills at tempos between 100 – 220 beats per
minute.
• Demonstration of body control with and without equipment.
• Ability to maintain foot timing.
• Posture
• Understanding of dance and movement principles, as well as terminology.
• Capability to hold interval and understanding of form responsibility.

Please be aware the visual staff will be making evaluations based upon current abilities,
so don’t be concerned if you have not yet learned the Colts style of movement. Please
use the technique you are most comfortable with during your video evaluation. We will
focus initially on your ability to demonstrate posture, timing, and consistent technique.
Over time, we will consider your ability to learn, retain, and implement new techniques
and information during visual training exercises. Your ability to take in new instructions
and execute directions will weigh heaviest in our auditions and evaluations.

PHYSICAL FITNESS
World Class drum corps participation is an intensive, physically, and mentally
demanding activity. A critical factor in becoming a top performer in a World Class drum
and bugle corps is physical fitness and preparation to handle the exertion level
necessary for success. Ability to demonstrate and develop strength and endurance in
upper and lower body work, as well as utilization of good form and technique, is given
significant consideration.

Jack Borland, Colts Visual Caption Head

borland.jack@gmail.com
We are excited to integrate the Soundslice player with this year’s technique
packets. With Soundslice, we’re able to provide you with video tutorials of
each exercise in your packet.

These videos allow you to learn the exercises while performing alongside
members of Colts educational staff. The Soundslice player has a number of
features you can use during the learning process, such as a looping mode,
slow playback, and much more!

To enroll in Soundslice:
Visit soundslice.com/coursecode
Enter your personal enrollment code: xc3 kea rx3

If you need to create or log in to your Soundslice account, you can do so on

that page.

For more information on how to use Soundslice and its features, you can
watch this tutorial: https://drive.google.com/file/d/14xgNCJakkFQ_AQ2AICoXJz23wVELJEDY/view
 1. Breathe, Sing, Buzz
BREATHING
The key to good brass playing is air. At the Colts, we use the Breathing Gym system to
not only increase the amount of air we put into the horns, but also improve and enhance
the way we intake air into our bodies. Through a daily series of different stretches,
exercises, and flow studies, we will work to decrease resistance during the inhale while
working to engage the breathing muscles better. Maximizing this resistance-free
breathing will allow the flow of air into the horns on the exhale to be bigger and freer.
More Air! More Vibration! More Sound

SINGING/ARTICULATION
Singing is the primary component for any musician achieving true musicianship. Not
only is it the most direct connection to the ear, but as brass players, it allows a more
natural approach to articulation and tone production. Overthinking when working on
pedagogical details is a constant danger, and paralysis from over analysis can take
place. It is for this reason that focusing on singing correct syllables and vowels, as well
as pitch and dynamics, can be the best course of action. For articulations, there are a
variety of choices that are considered correct and can be adjusted to the specific
individual or situation.

“Tonguing is 5% consonant and 95% vowel.” -Adolph Herseth

We need to be cautious not to allow the tongue to hamper tone quality. This is why we
want to think more vowel than consonant. tAH, tU, tO, or dAH, dU, dO are all
acceptable; however, to create a light and unified section sound we will use dAH to
start. Exceptions will be addressed by section staff. The closed off ee or rr must be
avoided at all costs. Again, to avoid improper approaches, we must think of articulating
like singing or speaking. Try having a conversation by only using dAH. If done correctly
it should feel as natural as speaking. Notice the natural tendency to add inflection and
direction to the phrase. The tongue should also move in a natural way. The addition of
pitch and duration evolves this conversational concept into singing. All exercises will be
sung, buzzed, and then played on the instrument.

For double tonguing we alternate a tAH and kAH. It is best to start slowly here focusing
on the enunciation of the kAH, making sure it matches the tAH.

BUZZING
Buzzing on the mouthpiece is an essential part of playing a brass instrument. You
should think of the instrument like a mouthpiece with a long tube coming out of it. When
buzzing on the mouthpiece minimal pressure should be used, and a slightly “foggy”
sound should be achieved. Play all passages on the mouthpiece as naturally as
possible with the same approach as when you sing or speak, making sure to keep
motion minimal. Start with a siren making sure to keep motion minimal and sound
smooth and unimpeded as you slide up and back down through your range.
 2. Long Tones & Flow Studies
LONG TONES
The following will be sung, buzzed, and then played on the instrument. The use of a
drone, or high/low sustain will be implemented to allow for a tuning fundamental to each
interval. Be sure to maintain a steady, straight tone through the note change. Make sure
your tone is constant through each valve combination, making sure to
compensate for the stuffiness and tuning tendencies of certain pitches.
FLOW STUDIES
Understanding the constancy of air and buzz throughout the range of the instrument is
vital in a seamless sound across the instrument’s range, as well as proper musical
phrasing. We will be using the following studies from Vincent Cichowicz as flow and
phrasing exercises. Again, all will be sung, buzzed, and then played. The goal is to hear
the pitches and allow the subconscious mind to drive the mechanics of playing the horn.
Play at 155 bpm.
 3. Lip Slurs
Just as with the long tones, all lip slurs will be sung, buzzed, and then played on the
instrument, also utilizing the high/low sustain at times to provide a tuning foundation and
sonority balance. Be very cautious not to cheat the breaks, keep the air steady, the
head still, and simply hear the pitches and realize them through the horn. Allow for the
tongueBaritone
to rise(B.C.)
gently as you slur into the upper tessitura. Slurs will be played in each
valve combination down to the 1&2 combination chromatically and then back up.

? b b 44 œ ˙.
Three Note

œ œ œ Œ
Play with open valves, then with 2nd valve, 1st valve, 1st & 2nd valves, and then back up

œ
? bb œ œ œ
Four Note

œ œ Œ
œ
Play with open valves, then with 2nd valve, 1st valve, 1st & 2nd valves, and then back up

œ œ œ
? bb œ œ œ
Four Note F

œ Œ
Play with open valves, then with 2nd valve, 1st valve, 1st & 2nd valves, and then back up

Faster lip slurs will be used to develop more flexibility on the instrument

œ œ œ œ œ œ œ œ
? bb œ œ œ
Four Note Flex

œ œ œ Œ œ ˙. Œ
Play with open valves, then with 2nd valve, 1st valve, 1st & 2nd valves, and then back up

œ œ œ œ œ œ œ œ œ œ
? bb œ œ œ
Five Note

œ œ œ ˙. Œ
Play with open valves, then with 2nd valve, 1st valve, 1st & 2nd valves, and then back up

œ œ œ
œ œ œ
Remington Lip Slur

?œ œ œ ‰
J ˙.
Play with open valves, then with 1st valve, 2nd valve, 1st & 2nd valves, and then back up

œ bœ œ œ œ
œ œ œ œ
Two Octave Slur

? b œ œ Œ
b œ œ
Play with open valves, then with 2nd valve, 1st valve, 1st & 2nd valves, and then back up
 4. Articulation
The goal of the articulation exercise is to apply the fundamental consonant and vowel
shaping to the instrument. This exercise will be played using all types of articulation,
including, staccato, legato, marcato, accented, and any combination of these. Prepare
all forms of articulations and pay close attention to your instructor on which is being
used at any given moment.
SINGLE NOTE STACCATO
The following exercise will assist you in maintaining a steady and consistent staccato
approach. Play this exercise with open valves, then with 2nd valve, 1st valve, 2nd valve,
1st & 2nd valves, and then back up.

MULTIPLE NOTE STACCATO

This exercise will assist you in maintaining the appropriate staccato while adding the
responsibility of finger motion. Play this exercise beginning on middle B-flat, then
beginning with 2nd valve, 1st valve, 1st & 2nd valve, and then back up.
DOUBLE TONGUING
The following exercises will assist you in developing the double tongue technique. Use
tAH kAH for the syllables. Do your best to maintain a consistent and clear approach
throughout the exercise. Do your best here, but keep in mind this is mostly to give us a
gauge of where everyone stands on this skill. Continue down through the chromatic
series to the 1&2 combination and back up. If you do well, you will also be asked to play
the triple tonguing example.

Single Note:

Multiple Notes:
TRIPLE TONGUING
The following exercises will assist you in developing the triple tongue technique. While
the goal tempo here is 120bpm, you will want to start at a much slower pace, adding
tempo as your master the technique.

Multiple Articulation Combinations

Baritone
q = 120
Variation A - All on B-flat
1 Variation B - With chromatics
. . œ. # œ. œ. œ. n œ. b œ. . n œ. # œ. œ. œ. n œ. b œ. . n œ œ œ # œ. œ. œ. n œ. b œ.
ta ta ka ta ta ta ka ta ta ta ka ta

? b 4 œnœœ b œ œ #œ œ œ nœ b œ œ œnœœJ b œ œ #œ œ œ nœ b œ œ œnœœJ b œ œ œ œJ #œ œ œ nœ

b 4
3 3 3

4 . n œ œ œ # œ. œ œ œ œ. n œ. b œ.
ta ta ka ta ta ta ka ta
. n œ œ œ # œ. œ œ œ œ. n œ œ œ b œ.
ta ta ka ta ta ta ka ta ta ta ka ta ta ta ka ta ta ta ka ta ta
? b b b œ œœnœœJ b œ œ œ œJ #œ œ œ œJ œ nœ b œ œœnœœJ b œ œ œ œJ #œ œ œ œJ œ œ œ nœJ b ˙ Ó
3 3 3 3 3 3 3

Variation A - All on B-flat

2 Variation B - With chromatics
7 . . œ. # œ. œ. œ. n œ. b œ. . n œ. # œ. œ. œ. n œ. b œ. . ta
n œ. # œ œ œ œ. œ. n œ. b œ.
ta ka ta ta ta ka ta ta ta ka ta
? b b œnœœ b œ œ #œ œ œ nœ b œJ nœœ œœ œœb œ œ #œ œ œ nœ b œJ nœœ œœ œœb Jœ œ œ œ #œ œ œ nœ
3 3 3

10
b . nœœ œœ œœbn œœ. # œ œ œ œ. œ œ œ n œœ. bnœœ. b œ. nœœ œœ œœbn œœ. # œ œ œ œ. œ œ œ n œœ. bnœœ œœ œœ b ˙
œ ta ta ka ta ta ta ka ta ta ta ka ta ta ta ka ta ta ta ka ta ta ta ka ta ta ta ka ta
? bb J J œ œ œ #œJ œ œ œ J J œ œ œ #œJ œ œ œ J Ó
3 3 3 3 3 3 3

Sing then play

13 3 Double Tongue Double Tongue Double Tongue
...
ta ta ta ta ta
œ œœœ˙ ..
ta ta ka ta ta ta
œ œœœœ˙ . .
ta ta ta ka ta ta
œ œœœœ˙ ..
ta ta ta ta ka ta
œ œœœœ˙
? b b ™™ ∑ ™™ ™™ ∑ ™™ ™™ ∑ ™™ ™™ ∑ ™™
3 3 3 3

Double Tongue Double Tongue Triple tongue

21
? b b ™™ œ œœœœœ. ˙
ta ta ka ta ka ta ta ta
œ œ. œœœœ˙
ta ta ka ta ka ta ta ta ta ka ta ta ka ta
œ œœœœœœ˙
∑ ™™ ™™ ∑ ™™ ™™ ∑ ™™
3 3 3 3

"Lake Patrol" Tag

>-˙ >-˙ >- >- >-
27
b ˙˙ bb ˙˙˙ b ˙˙˙
w w
? b b ˙˙ w
w w
w
f ff fff
 5. Scales and Fingers
Chromatic scales, major scales, as well as exercises like the Clarke studies, will be
used to improve and maintain finger dexterity. All exercises will be performed with a
variety of articulations in order to align the tongue with the valves. Work slowly at first,
working for a machine-like approach in the finger motion. Start slowly and work these at
a variety of tempos from 70-150+ BPM.

CLARKE STUDIES
Baritone (B.C.)
Modal Pentatonics

œ œ œ œ œ œ œ œ œ œ œ œœ ww
? b 44 œ œ œ œ œ œ œ œ œ œ œ œ
F Major

œ œ œ œ œ œ œ œ œ œ œ œœ ww
? b œ œ bœ œ œ œ bœ œ œ œ bœ œ
F minor

? b œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ b œ œ œ œ œ œ œœ ww
F Harmonic

bb

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ ww
B-flat Major

? bb œ œ

bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ b œ œ œ œ œ œœ ww
B-flat minor

? bb œ œ

œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ b œ œ œ œ œ œ œœ ww
? bb œ b œ
B-flat Harmonic

bbb

? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ w
E-flat Major

b w

? bb œ œ b œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ b œ œ œ œ œ œœ ww
E-flat minor

? b œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ ww
E-flat Harmonic

bb œ bœ œ œ œ bœ œ œ
 6. Chord Building and Chorales
Intervals and chord building will be used in everything we do. Understanding the
adjustments that need to be made to achieve just temperament tuning, as well as
proper harmonic balance, will be essential for allowing the overtone series to resonate
properly. The chart below is a starting point to understanding just intonation. Eventually
the ear must guide the player to make the proper adjustments.
 7. Lyrical Étude
Baritone

Ϫ
q = 120
˙™
REQUIRED
œ œ ˙ œ œ œ œ
? b b 44 œ œ œ œ œ œ nœ ˙™
J J
3 3
f mp f

œ œ œ -œ n œ œ œ œ œ ™ ˙™
? b b œ ™ nœ œ œ œ œ œ œ nœ ˙ w
5

J Œ
mp ff mp f mp

œ ˙ œ œ œ œ œ œ -œ
˙™
œ œ
FOR LEADS (OPTIONAL)

? bb œ œ œ
11
œ
f

œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ ˙™
? bb œ œ œ œ œ œ œ ˙™ w
15
J J
3
mf ff p mp n
 8. Technical Étude
Baritone
q = 140-160
Exercise #1&2 are required; #3-4 are optional but encouraged!

œ œ œ œ œ œ œ œ œ œ. œ. œ œ œ œ œ œ œ œ œ œ œ. .
œ nœ œ b œ. œ. œ œ b œ. œ. œ œ nœ. œ. b œ Œ
1
? b b 44 œ

.
œ nœ œ œ b œ œ. œ œ b œ nœ œ œ
2 q = 140-160
? b b b œ œ b œ nœ œ œ nœ œ œ b œ œ œ b œ nœ
5

œ n œ b œ œ b œ œ nœ b œ œ nœ œ œ nœ œ nœ œ >
œ nœ œ #œ œ b œ nœ b œ
7
? bb Πbbb

3 q. =. 140-160
... . ... .....
..... ..... . ... ....
? b b œ œ œ œ œJ ‰ nœ œ œ œ œJ ‰ œ œ œ œ œJ ‰ œ. œ. œ. œ. œ. ‰ œ œ œnœ œ œ œ œ œ œ. œ. œ. œ. œ. œ. œ.nœ œ. œ. œ œ œ œ œ œ œ
9

b J

13 . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. n œ. œ. œ. . . . . .
œ
? bb œœœœœ Œ
b bb

œ
4 q = 100-120 .
. . . . œ. œ œ. œ. œ. œœœœ
. œœœœ . . . œ. œ. œ. œ. œ. . œœœœ
. . . . œ. . . . œ. œœœ . . . œ. . œœœ
. . . . œ. œ. œ. œ. œ. œœœ . . . œ. . . . œœœ
. . . >œ
œœœ
16
? bb J J J J œœœ J J œ J J J œ J Œ
3 3 3 3 3 3 3 3 3 3 6