AUDITION PACKET

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HISTORY
The Cadets Drum Corps was founded in Garfield, NJ as The Holy Name Cadets in 1934 and is currently
headquartered in Erie, PA. With 10 American Legion National Championships and 10 Drum Corps
International World Championships, our corps is one of the winningest drum corps in history.

PHILOSOPHY
We are focused on the educational development of today’s students into tomorrow’s leaders, providing
interactive learning and achievement in the pursuit of excellence.

GOALS
Create a safe and nurturing environment for all students

Provide exceptional education of music, movement, guard choreography and performance training

Teach students life lessons of teamwork, discipline, dedication, commitment, and integrity

Provide students with instructional support, perseverance and commitment to excellence

Promote innovation, creativity, and growth for all students

HIGH BRASSAUDITION
A LETTER FROM YOUR CAPTION MANAGER
Welcome to The Cadets Brass Program!

The information in this manual will help solidify your success in the program. Every detail in the following
pages has been included for a specific purpose, and we expect you to learn and know this information well
enough to teach it to someone else. No DETAIL is too small, so please read and prepare the information
within this manual with the utmost care!

The drum corps activity is derived from a military background; therefore, UNIFORMITY is crucial! We must
have a keen awareness of how and what others are doing and be able to match them.

The Cadets Brass Program is built on three pillars which make up our foundation for uniformity:
I. Excellence Personified - We expect excellence in everything you do. That starts with the effort
required to achieve excellence. You should expect to develop a strong work ethic through your time
with The Cadets.

II. Overwhelming Musicianship - The Cadets Brass will deliver the story behind each phrase of music
at a professional level. Communication beyond the notes and rhythms is paramount to our
philosophy of brass playing.

III. Breathe Phrase - Donnie VanDoren created a system for brass performance during his time with
The Cadets called "Breathe Dah." We have brought this system back to its birthplace, incorporating
professional pedagogy from a leader with an earned doctorate in music.

THE THREE PILLARS OF OUR PROGRAM FORM THE ACRONYM, EVERYBODY ON BOARD, #EOB.

Our aim is to make The Cadets Brass revered the world over, and that starts with you!
We look forward to meeting and working with you in the near future.

DOC
Matt Stratton
Brass Caption Manager and Alumnus
THE CADETS

HIGH BRASSAUDITION
VIDEO AUDITION (OPTIONAL)
Prospective members of The Cadets Brass Section have the option to submit a video audition prior to
attending an in-person audition camp.

Playing the full brass packet is NOT required for the pre-screening video evaluation.
1. Technical Exercise - Witek Flow Study 1 QN = 80

2. Technical Exercise - Lip Slur - for example (Flex 2) QN = 120 - 144

3. Technical Exercise - Articulation - for example Articulation 95 https://youtu.be/gYA41fm6O9M

4. On The Move - as outlined below

5. Solo of your choice

OTM – ONTHEMOVE

Your video should be taken from the front view and should capture your full height from head to toe. Please
use your most current marching technique. If you are comfortable with stepping off with the right foot, go
ahead! If not, don't worry about it for now.
1. Box Drill - With horn (or hands if you don't have your instrument) at playing position, move forward
for 8 counts, left for 8 counts (forward slide), backward for 8 counts, right for 8 counts (backward
slide), and halt. Please include one rep at 120 bpm, one rep at 144 bpm, and one rep at 172 bpm.

2. Flexibility 2 - Moving and playing Box 8, QN = 144

3. 7-ct Long Tones on concert F at FF - Moving and playing Box 8, QN = 180

4. Cadets Moving & Playing Exercise (see below)

Scan the QR code to see movement demonstrations from our Visual Team.

HIGH BRASSAUDITION
CADETS MOVING & PLAYING EXERCISE

1. Tendu phrase - 16 counts. Remingtons. Starts on F concert for 2 counts, down a half step (2nd valve)
for 2 counts, back up for 3 counts, breath on 4 then down a whole step (1st valve) for 2 counts, and back
up for 3 counts plus a breath into the next phrase.

2. Plie/releve - 16 counts. Lip Slurs. Starts on B Flat concert, playing quarter notes. (Middle) B flat, F,
(low) B flat, F, (middle) B flat, D, (middle) B flat then breath on 4. Down a half step (2) and repeat.

3. Lunges - 16 counts. Lip Slurs. Starts on (middle) B Flat concert, playing quarter notes for 4 counts and
eighth notes for 4 counts. Quarter note x4, eighth note x4, quarter note, quarter rest. (Middle) B flat, F,
(low) B flat, F (quarters), (middle) B flat, D, F, D (eighths), B flat (quarter) then breath on 4. Down a half step
(2nd valve) and repeat.

4. Chasses - 16 counts (triplet feel). Style and Articulation. Starts on F concert. 1,Trip-let, 3, 4. 1,Trip-let,
3, 4. 1,Trip-let, 3, 4. 1,Trip-let, 3, 4. Long, short-short, long, short.

5. Plies & Forced Arches - 16 counts. Dynamic Contrast. Starts on F concert at Forte. Decrescendo
down for 4 counts to Piano then back up to Forte for 4 counts. Repeat 2x, rearticulate in the middle of the
phrase. Stagger breathe as necessary.

6. Rond De Jambe into weight shifts - 16 counts. Dynamic Sustain. Starts on F concert at Forte and
sustain at Forte for 16 counts. Stagger breathe as necessary.

7. Tendu to 5th position - Double Tonguing. Starts on F concert. Rhythm is 1e+a 2, 3e+a 4, 1e+a
2e+a 3e+a 4. Repeat 2x.
*Mellophones only - For this exercise, F concert is your 2nd line G and Bb concert is your 3rd space C.

NEXT STEPS
Upload your video to YouTube, and then visit cadets.org/backfield to sign into your account and submit your link.

DO NOT EMAIL A LINK TO YOUR VIDEO.

You will receive feedback on your video from our brass faculty. Those invited to the in-person audition will
receive additional communications with areas for improvement and materials to prepare.
If you have questions, reach out to Doc Stratton at mstratton@cadets.org.

ALL VIDEO AUDITIONS MUST BE SUBMITTED BY

FRIDAY, DECEMBER 1, 2023.

HIGH BRASSAUDITION
VISUAL INFORMATION
POSTURE
Five Points of Alignment and 55/45 Weight

When standing up straight (or at set), you need to have five different points of your body aligned:
Your ears, shoulders, hips, knees, and ankles. There should be a straight line from your ears down
to your ankles. 55% of your weight should be on the platforms of your feet at all times.
You never want to lean back into your heels.

MARK TIME TECHNIQUE

Full Foot off the Ground

The mark time is to march in place without moving forward. Our technique will be to bring the full foot off
the ground with each beat or "step." The platform will become the initial point of contact to the ground, but
the down beats will be felt in the heels. Do not articulate with the heels in a full-foot mark-time technique.

STEP OUTS
Taking 2 steps "Step Outs" during Mark Time

Step 1: Moving your right foot straight forward to start the phrase at your standard "8 to 5" step size.
The downbeat is represented visually by making contact with the very back edge of the heel to the surface. At
the point of articulation, the toes of the leading foot should be as high as possible.

Step 2: Left foot then moves straight forward creating a second “8 to 5” step size with our feet facing parallel.
Your body should arrive centered between your feet with your weight balanced 50/50 on your platforms.

Step 3: Right platform will lift from the ground and re-attack the same spot from which it was lifted to
represent the articulation for count 3.

Step 4: Left foot returns to starting location while keeping the right foot forward in the same spot
from count 3. Your left platform will be the point of articulation on count 4.

Step 5: Slide right foot back to starting position with a parallel orientation. Keep straight leg technique
on count 5. Start marking time with left foot on count 6.

HIGH BRASSAUDITION
 CONTACT THE CADETS

Vicki Ferrence Ray, Executive Director

vferrenceray@cadets.org

Brian Murphy, Director of The Cadets

bmurphy@cadets.org

Kelsey Brunson, Corps Manager

kbrunson@cadets.org

Jay Bocook, Arranger

jbocook@cadets.org

Matt Stratton, Brass Caption Manager

mstratton@cadets.org

Seth Murphy, Assistant Brass Caption Manager

smurphy@cadets.org

The Cadets
8155 Oliver Road Ste. 1
Erie, PA 16509
(484) 773-1983
cadets.org

HIGH BRASSAUDITION
FUNDAMENTAL TECHNIQUE
LONG TONES
Sustained long tones are the foundation of achieving a clear, steady, and characteristic tone
quality. Practice these exercises marking time with your feet. Take the breath into the initiation
of the tone. IN - OUT. Clear Dah and full sustain to the release point. Do not let the end of the
note TAPER as you approach the release point.

9 COUNT AIR 7 COUNT AIR 5 COUNT AIR

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

DESCENDING

ASCENDING
FLOW STUDIES

These exercises are meant to strengthen phrasing, and maintain tonal color.
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.

WITEK 1

WITEK 2

85
FLEXIBILITY

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.

1.

2.

3.

4.

5.

6.
ARTICULATION

95 – F

95-Eb
FOLLOW THROUGH

ARBAN 13

FINGERS
Faith George Michael
Arr. Gaumond/Stratton

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