5861 S. Kyrene Rd.

Suite 17
Tempe, AZ 85283

T 480.838.4203
F 480.456.6229
email@ArizonaAcademy.org

www.ArizonaAcademy.org

Dear prospective member,

Today you join the ranks of thousands of young performers across the globe that are taking that first
step towards earning a position one of the finest performing ensembles in the world. Your journey
has just begun. You are about to embark on one of the most exciting, challenging, and rewarding
experiences that can be provided in the performing arts world today. As you probably already
know, performers of the drum and bugle corps activity are some of the hardest working and
dedicated individuals that can be found. I congratulate you for your desire to join them and pursuit
of achieving excellence in performance and in life.

In 2024, The Academy will be entering into our second decade of “Building Great People through
Great Performances”. World Class organizations have a high level of excellence from top to
bottom, not just the instructors and members. Whether you will be participating in the auditions as
a prospective member, or just for the experience of working with the staff, each one of you will play
a role in the success of our upcoming season. So, LET’S GO!

The 2024 experience – It is important that you understand the commitment you are making and the
expectations of the members, both at auditions and throughout the season. Doing so will ensure
that you will have a successful experience with our corps. Please read this information and all
communications thoroughly, as they contain detailed information on the auditions. For parents,
there is an outstanding resource found at https://www.dci.org/news/dci-parents-overview where
questions are answered about what they can expect to see through their child’s experience in drum
corps. As always, The Academy drum corps program page on our website is an excellent source for
all things related to The Academy Drum and Bugle Corps.

Communications – Email will be the primary method of communication to the corps and corps
families. To ensure that you remain in contact with us, please let us know of any changes or
updates to email addresses as they may change over time. The Academy establishes additional
communication channels from time to time that are also useful tools to remain up to speed about
the upcoming events. As the audition events draw near, please be in communication with us and
look for information to come your way such as confirmation and transportation surveys, camp
packets, audition music, notes from staff, etc.
 5861 S. Kyrene Rd. Suite 17
Tempe, AZ 85283

T 480.838.4203
F 480.456.6229
email@ArizonaAcademy.org

www.ArizonaAcademy.org

Remote Audition Events (Locations and dates are tentative until facilities are confirmed)
The Academy will be hosting a few remote audition events throughout the country. These sessions
are designed to allow prospective members who reside a large distance away to audition for The
Academy before investing in the expense of a plane flight to attend the full audition camp. Here,
students will be exposed to short instructional sessions with members of The Academy staff, where
they can learn more about the specifics of The Academy techniques and membership expectations.

During the session, individuals who are interested in auditioning for the 2024 corps will be evaluated
with a staff member and have the prospect of being offered a membership position, or elevated to
“Callback” status prior to the callback camp in January. The event and registration fees cover the
cost of attendance and instruction for the day and includes your audition t-shirt. Payment for the
Audition Event Fee is either completed in your initial registration, or prior to attending the session.
Contact us if you are unsure whether you have completed that payment. If you are receiving this
letter, chances are that you already have. Location updates and details on what to expect at these
audition events can be found on the Drum and Bugle Corps program page at ArizonaAcademy.org.
Note that there are NOT sessions for Drum Majors at the Remote Audition Events.

Arizona Audition Camp

The Academy will be hosting our primary move-in audition camp on the weekend of December 1-3,
2023 for all sections. This camp will serve as an extended clinic and audition as well as the first
rehearsals for the corps. Plan on being in attendance for the entire time. Participants must submit
the registration and pay The Audition Event fee, which will include your overnight housing,
transportation to and from Phoenix Sky Harbor Airport (if needed), and all your meals and materials
for the camp. Prior to the camp, you will be contacted to RSVP and confirm your attendance as well
as offering the opportunity to enter your transportation information. Also, before the camp you
will receive detailed information as to the directions, schedule, requirements, packing list, and other
essential information for your preparedness.
 5861 S. Kyrene Rd. Suite 17
Tempe, AZ 85283

T 480.838.4203
F 480.456.6229
email@ArizonaAcademy.org

www.ArizonaAcademy.org

Tentative Arizona Audition Camp Schedule

Friday
5:00 PM – Registration Opens
7:30 PM – Orientation & Rehearsals begin
11:00 PM – Snack/Showers
12:30 AM – Lights out Sunday
8:00 AM – Breakfast
Saturday 9:00 AM – Rehearse
8:00 AM – Breakfast 12:00 PM – Lunch
9:00 AM – Rehearsals 1:00 PM – Rehearse/Showcase performance
12:30 PM – Lunch 3:00 PM – Load up/clean up
1:30 PM – Rehearsals 4:00 PM – Dismiss
5:00 PM – Dinner
6:00 PM – Rehearsals
9:30 PM – Snack/Showers
11:00 PM – Meeting
12:15 AM – Lights out

WHAT TO BRING TO THE AUDITION EVENTS

At both the remote audition sessions and the Arizona audition camp weekends, be dressed for
physical activity including marching, running, stretching, etc. Tennis shoes and loose, comfortable
clothing is required for participation. No sandals, jeans, or heavy clothing, please. Also, be
prepared for potential cold weather during the evening hours as some segments will likely be held
outside. Bring extra clothes that you can layer on and off as the temperature fluctuates outdoors.
Bring your own water jug to remain hydrated! A complete packing list will be provided to you prior
to the move-in audition camp, for those attending.

Percussion
Available to you are the technical exercises and other materials, which should be prepared by each
applicant for the percussion auditions. This material, and the other required music will make up
most of the content for the auditions. Percussion applicants, particularly returning applicants,
should arrive early, if possible, to help with the set-up of the instruments and unloading. Be sure to
bring your own sticks and mallets, audition music, and water (drum pad optional). In addition,
Drumline participants in any Remote Audition events should bring their own drum to perform on.
We will have instruments provided at the Arizona audition camp.
 5861 S. Kyrene Rd. Suite 17
Tempe, AZ 85283

T 480.838.4203
F 480.456.6229
email@ArizonaAcademy.org

www.ArizonaAcademy.org

Brass
Available to you upon registering online will be technical exercises and other music, which should be
prepared by each applicant for the brass auditions. This material, and the other required music will
make up most of the content for the brass auditions. In addition, a good portion of the experience
will be physical in nature (exercising, marching, etc.). Bring appropriate clothing for exercise, and
water. No sandals, jeans, or heavy clothing, please. While much of the audition day will be spent in
marching and group playing, be prepared to have the opportunity to perform individually for one or
more of the brass staff. To ensure that there are enough instruments to go around, All brass
players should bring their own marching instruments to rehearse/audition with. (If attending the
Arizona Audition camp, and you are unable to bring a marching instrument for auditions, we will be
able to have an instrument available for you.) Please also join the Facebook Audition group for your
section to ask questions and meet some new people!

The 2024 Academy Trumpet Audition Group

The 2024 Academy Mellophone Audition Group
The 2024 Academy Euphonium Audition Group
The 2024 Academy Tuba Audition Group

Color Guard
Color guard applicants will need to bring a usable (6 ft) flag that you are comfortable with
(preferably with a solid color silk), as well as a rifle and/or sabre if you plan on auditioning for a
weapon position. Participants must wear black, form fitting dance clothing that gives you freedom
of movement all weekend. We will typically begin each audition camp with movement sessions.
During movement block, we will be barefoot or in dance shoes if you prefer. Our movement and
equipment technique exercises will be taught to every attendee and you will meet many of the staff
throughout the audition process. Along with equipment/movement technique and training
exercises, students will be expected to learn several combinations on each piece of equipment as
well as movement and may be asked to perform these in either small groups or individually. All
candidates will be evaluated throughout the entire experience. Acceptance into The Academy is not
solely based on any one performance or moment at auditions. The total experience and information
gathered by the staff throughout the entire weekend will be the ultimate deciding factor. Please
also join the Facebook Audition group for the Colorguard to ask questions and meet some new
people!

The 2024 Academy Colorguard Audition Group

 5861 S. Kyrene Rd. Suite 17
Tempe, AZ 85283

T 480.838.4203
F 480.456.6229
email@ArizonaAcademy.org

www.ArizonaAcademy.org

Video Audition Evaluation

For those who have scheduling conflicts and cannot attend a live audition event, the Video
Evaluation is your best entry into the audition process. The one-time $25 registration fee and the
$50 video evaluation fee allows you to submit your video to the staff for review with the goal of
being elevated to “Callback” and invited to attend a camp past the first round of auditions. Be sure
to visit our video guidelines page on our website and follow the instructions for how to record and
submit your video for consideration. theacdmy.org/video

All Registrants
Please remember that your best chance at becoming a member of The Academy Drum and Bugle
Corps lies in your ability to

(1) prepare for the audition,

(2) improve through the staff’s instruction,
(3) commit to rehearsal attendance (Attendance Contract),
(4) raise funds for the membership fees, equipment fees, camp and spring training fees, and travel
expenses.

Also remember:

• Members should be in good health to participate in the corps activities throughout the year.

• Complete the attendance contract in your Ultra Camp account prior to checking in at the
audition events.
 5861 S. Kyrene Rd. Suite 17
Tempe, AZ 85283

T 480.838.4203
F 480.456.6229
email@ArizonaAcademy.org

www.ArizonaAcademy.org

It is important that the staff chooses individuals who are going to well represent the Arizona
Academy of the Performing Arts, State of Arizona, and entire drum corps community. An
individual’s character, discipline, and work ethic demonstrated throughout the course of the
audition process plays a major role in the staff’s decisions on membership.

Having registered online, you will be receiving updates on staff announcements, touring plans, show
design developments, and other information about the corps as it becomes available. You may also
be receiving messages and updates from staff regarding the events, what to expect, and what to
prepare. Please feel free to contact the following people regarding any questions you may have:

Mark Richardson, Executive Director – mark@arizonaacademy.org

For general questions about the corps.

Jenny Alan, Business Manager – jalan@arizonaacademy.org

For general questions about the corps.

Sherry Rogers, Member Manager – srogers@arizonaacademy.org

For general questions about membership, accounts, payments, or paperwork.

Michael Weber, Brass Caption Head - mweber@arizonaacademy.org

For questions regarding the music portion of the brass auditions.

Ricardo Robinson-Shinall, Color Guard Caption Head – rrobinson@arizonaacademy.org

For questions regarding the color guard auditions.

Cole Williams, Percussion Caption Head – cwilliams@arizonaacademy.org

For questions regarding the battery percussion auditions.

Make an occasional stop to our website and the member site for more details as the audition dates
approach. And, be certain to “like” us on Facebook, and follow us on Instagram to stay in touch with
the latest news. Finally, if you know of any other individuals who may be interested in auditioning,
direct them to the web site to apply.

I look forward to seeing you and wish you the best of luck!

Mark Richardson
Executive Director
 2024 Audition Packet
Baritone Audition Information

The Academy
5861 S. Kyrene Road, Suite 17
Tempe, Arizona 85283
Phone: (480) 838-4203
audition@arizonaacademy.org
https://www.arizonaacademy.org/the-academy-drum-and-bugle-corps/

1
Dear Prospective 2024 Academy Brass Members,

Welcome to The Academy. This packet includes important information about The Academy Brass Technique
Program, serving to both help you in audition preparation, as well as providing a fundamental basis for the
upcoming season.

Auditions for the 2024 Academy Hornline will be held in the following locations:

• Tempe, AZ – December 1-3

• Tempe, AZ – January 12-14

• Tempe, AZ – February 9-11

• Las Vegas, NV – TBD

• Houston, TX – TBD

Attendance at one of these camps is required for membership consideration for the 2024 Academy. Please
check the website or contact the corps office for more information or additional questions about the process.

At The Academy, we value education and music-making at the highest level. Being a member of The Academy is
a privilege and is first and foremost about family. Expectations and responsibilities are high and individually you
must be willing to completely give of yourself for the team. Respect, trust, work ethic, dedication, and desire to
be the best are qualities that will be embraced by all members of The Academy.

We look forward to working with each and every one of you and wish you the best for a successful audition.
Come ready for a great experience, full of learning and sharing with our staff and team. Welcome!

Sincerely,

The Academy Educational Staff

2
 Audition Information

All prospective members will perform a live music and visual audition for members of our staff. The music
audition will consist of:

1. Audition Excerpts: Prepare all of the selected excerpts (included in this packet) for your audition. It is
recommended that you work on these with a private instructor and/or someone who can help you prepare at
your highest ability level.

2. Chromatic Scale: We will ask you to play a 2-octave chromatic scale from concert Bb to Bb (concert F to F for
mellos), in your most comfortable range. Any trumpets interested in playing lead will be asked to extend this up
to concert F above high Bb.

3. Exercises with Movement: Finally, you will be asked to play an exercise from this packet, moving and
playing. This helps us see your sense of time and rhythm with your feet.

Talent and Work Ethic

At The Academy, we strive to find the most talented musicians possible, but that is only one part of the
equation. The desire, work ethic, determination, and persistence you show in how you prepare will ultimately
be a major deciding factor in selection for the drum corps. How much you develop and grow between camps is
crucial. We learn things very quickly in drum corps, often on the day of a show, so your ability to adapt is
important as well.

Teamwork and “family mentality” are extremely important at The Academy. Maintaining a great attitude and
doing whatever it takes to be great will be a staple of this drum corps.

3
 Instruments for Camp

Trumpets: Bring your own trumpet to the first 2-3 camps. Trumpets will likely not be available for checkout
during the winter. You will need to bring your own mouthpiece to all camps and summer move-in.

Mellophones: Do your best to bring an F Mellophone to the first 2-3 camps. Corps instruments should be
available for checkout after you have attended several camps AND are up to date with your financial standing
and dues. You are welcome to audition on a concert French horn (you will need to bring your own), however,
you will also be asked to perform on a marching mellophone at some point during the audition process. You will
need to bring your own mouthpiece to all camps and summer move-in.

Baritones/Euphoniums: If possible, please bring a marching baritone to the first 2-3 camps. Corps instruments
should be available for checkout after you have attended several camps AND are up to date with your financial
standing and dues. You are welcome to audition on a concert euphonium or trombone (you will need to bring
your own), however, you will also be asked to perform on a marching baritone or euphonium at some point
during the audition process. You will need to bring your own mouthpiece to all camps and summer move-in.

Tubas: If possible, bring a marching tuba or sousaphone to the first 2-3 camps. Corps tubas will never be
available for checkout during the winter. You are welcome to audition on a concert tuba (you will need to bring
your own), however, you will also be asked to perform on a marching tuba at some point during the audition
process. You will need to bring your own mouthpiece to all camps and summer move-in.

Mouthpieces: To help us achieve a more uniform section sound, The Academy asks each performer to use a
specific mouthpiece while playing with the corps. The purchase of this mouthpiece will be included in your
membership fees as a part of your contract ($110). If you already own the mouthpiece that the corps is
designating for this year, we can remove that expense from your contract upon request. Mouthpieces are not
required at camps, but you MUST play on the specified mouthpiece if selected to be a member of the brass line.
You will receive additional information about mouthpieces at one of our future camps.

4
 BARITONE AUDITION MATERIALS
Thank you for your interest in the Academy Hornline! You have made the first step in joining the long tradition
of quality performance and we can’t wait to work with you. This packet contains your audition requirements and
the materials you need to complete them; please read through everything carefully and thoroughly and reach
out to mweber@arizonaacademy.org with any questions.

Prospective brass members for 2023 will go through a two-step process before being offered a membership

agreement:

1. Initial Evaluation: Evaluation of current achievement level on the skill sets necessary to perform in the

hornline. This step can be fulfilled through a video submission or attendance at an in-person event, including

the December camp from 12/1/23 to 12/3/23, or one of our remote audition events. Returning members can be

exempted from this step at staff discretion.

2. Callback Evaluation: Assessing the ability to learn, work in a group, communicate effectively, and other

important skills that require real-time interaction and/or the passage of time to properly evaluate. This step is

by invitation based on your initial evaluation and will involve additional materials provided with that invitation. It

can only be fulfilled through attendance in-person at a camp.

If you wish to submit a video audition for your initial evaluation, detailed information on that process can be

found later in this packet. Video submissions will receive detailed feedback along with specific improvements

we would like to see achieved in the callback evaluation, and upon request, we will provide individualized

assessment of how you compare to other prospective members.

Video submissions are not required; if you wish to perform your initial evaluation in-person at one of the

in-person events you are absolutely welcome to do so. In-person initial evaluations will consist of the same

exercises and elements as the video submissions, so please familiarize yourself with these same materials and

be prepared to demonstrate them at camp.

If you would like the opportunity to perform your callback evaluation and receive a membership agreement at

the December camp, we ask that you submit videos by 12 p.m. CST on Sunday, November 19th (11/19/23).

You will receive your feedback by Sunday, November 26th (11/26/23), and if you are offered a callback you will

also receive the additional materials to prepare for your in-person callback evaluation. If you are offered a

callback, you are also welcome to perform your callback evaluation at the January camp from 1/12/23 to

1/14/23. We will continue to accept videos and offer callbacks until the hornline is full, with the understanding

that membership agreements will be offered on a first-come, first-served basis to prospective members who

complete both steps of the audition process at the desired achievement level.

5
 WHAT TO BRING TO CAMPS
Brass ensemble members are responsible for having the following materials at rehearsals:

Three Ring Binder: This will contain all music handouts in clear sheet protectors. Any information you could

possibly need should be in this binder.

Pencils: Every brass member should have a pencil at all times. Notes should be taken at every rehearsal. Write

everything down!

12” Round Balloons: We will be using these balloons in every rehearsal throughout the season. Please

purchase at Walmart, Target, etc., making sure to get the 12” balloons that come in the 72 count bag.

Gloves: These must be worn while handling instruments. You will go through many pairs during the season and

it is important that they remain in good condition and replace when needed. Dirty gloves or those with holes

are never acceptable.

Black Towel: Your instrument is in one of three places at all times; in your hands, placed in the line on the

ground, or in its case. The black towel is used to protect your instrument when placed on hard surfaces,

especially when rehearsing outdoors. Note: Horns should never be put in a backpack, left alone on the ground,

or away from the section at any point.

Baseball Cap: This will be worn at all times when rehearsing outdoors. Hats are required to shade your face,

eyes, and chops. When rehearsing indoors, hats are optional.

Tennis Shoes/Trainers: Movement will occur at all rehearsals, therefore tennis shoes are required at all times.

Sandals, flip-flops, etc. are never acceptable.

Clothing: You should wear clothing that will allow you to perform the excessive movement, such as sweats,

shorts, t-shirts, etc. No jeans, please! We will move at every rehearsal.

Tuner/Metronome: Every member is required to have a tuner, metronome, or tuner-metronome combination.

We recommend the Korg TM-50 or the "Tonal Energy Tuner" app, but there are many great devices.

BARITONE AUDITION MATERIALS

6
1. Articulation Study: Record the following exercise twice, once single-tonguing at ♩= 96-100 and once
double-tonguing at ♩= 120-156.

2. Chromatic Scale: Record the following chromatic scale exercise within the tempo range of ♩= 90-120. If you are
able to demonstrate extended range, please record an additional example following the same format to the extremes
of your range.

3. Move and Play Excerpt: Record yourself marching and playing the drill excerpt with the music below. Please
be as detailed as possible in your preparation and be sure to maximize your dynamic contrast as indicated.

Move and Play Drill

7
 Set #1 Set #2

Set #3 Set #4

Set #5: Backwards Slide Set #6

Set #7: Forward Slide Set #8

8
4. Etudes: Perform/record an etude of your choice, roughly 30-45 seconds and preferably something that
showcases both your technical and lyrical playing. The excerpts below are a recommended example, and may
be used if you choose.

9
 ‭WHAT TO BRING TO REHEARSALS‬
‭Brass ensemble members are responsible for having the following materials at rehearsals:‬

‭Three Ring Binder:‬‭This will contain all music handouts‬‭in clear sheet protectors. Any information you could‬

‭possibly need should be in this binder.‬

‭Pencils:‬‭Every brass member should have a pencil at‬‭all times. Notes should be taken at every rehearsal. Write‬

‭everything down!‬

‭12” Round Balloons:‬‭We will be using these balloons‬‭in every rehearsal throughout the season. Please‬

‭purchase at Walmart, Target, etc., making sure to get the 12” balloons that come in the 72 count bag.‬

‭Gloves:‬‭These must be worn while handling instruments.‬‭You will go through many pairs during the season and‬

‭it is important that they remain in good condition and replace when needed. Dirty gloves or those with holes‬

‭are never acceptable.‬

‭Black Towel:‬‭Your instrument is in one of three places‬‭at all times; in your hands, placed in the line on the‬

‭ground, or in its case. The black towel is used to protect your instrument when placed on hard surfaces,‬

‭especially when rehearsing outdoors.‬‭Note: Horns should‬‭never be put in a backpack, left alone on the ground,‬

‭or away from the section at any point.‬

‭Baseball Cap:‬‭This will be worn at all times when‬‭rehearsing outdoors. Hats are required to shade your face,‬

‭eyes, and chops. When rehearsing indoors, hats are optional.‬

‭Tennis Shoes/Trainers:‬‭Movement will occur at all‬‭rehearsals, therefore tennis shoes are required at all times.‬

‭Sandals, flip-flops, etc. are never acceptable.‬

‭Clothing:‬‭You should wear clothing that will allow‬‭you to perform the excessive movement, such as sweats,‬

‭shorts, t-shirts, etc. No jeans, please! We will move at every rehearsal.‬

‭Tuner/Metronome:‬‭Every member is required to have‬‭a tuner, metronome, or tuner-metronome combination.‬

‭We recommend the Korg TM-50 or the "Tonal Energy Tuner" app, but there are many great devices.‬

‭2‬
‭This packet serves as a compendium of exercises to be used as a daily warm up and a practice regimen for long-term‬

‭improvement in individual techniques such as tone production, airflow, dexterity, and articulation, as well as‬

‭ensemble responsibilities such as blend, balance, intonation, overall matching, etc. It is by no means comprehensive,‬

‭and while it is not the only or “right” way to play a brass instrument it is the approach we as a staff have compiled‬

‭through our experiences as educators, performers, and students.‬

‭BREATHING‬
‭Without a doubt, the most important concept that can be mastered as a brass player is how‬
‭to use air in generating a proper and resonant brass sound. We will use techniques from‬
‭traditional Yoga teachings, as well as those presented in The Breathing Gym by Samuel J.‬
‭Pilafian and Patrick Sheridan published by Focus on Music.‬

‭Physical Form:‬

‭➔‬ ‭Correct posture - always.‬

‭➔‬ ‭Arms away from your side.‬

‭➔‬ ‭Shoulders are relaxed.‬

‭➔‬ ‭3-part breath (bottom 65%, middle 30%, top 5%). We will practice each part separately, but ultimately‬

‭you will inflate your upper body across these three areas concurrently. The percentages refer to the‬

‭area being filled in the thoracic cavity.‬

‭➔‬ ‭Because the mouth is open, the air will be cool going in and slightly warmer going out. Breathing Form‬

‭➔‬ ‭“OH” shape to the inhalation.‬

‭➔‬ ‭Even airflow over all the counts of the inhalation and the exhalation.‬

‭➔‬ ‭Constant airflow, never with any hitches or pauses.‬

‭➔‬ ‭Smooth turn around; quick, relaxed, and without hesitation. The air is always moving, in or out.‬

‭➔‬ ‭Oral shape should remain the same for both inhalation and exhalation.‬

‭➔‬ ‭The tongue is down and relaxed.‬

‭3‬
‭Count Structure & Release :‬

‭➔‬ ‭2-count preparatory breaths are standard.‬

‭➔‬ ‭At faster tempos, 4-count preparatory breaths may also be used. All other breaths are full breaths in‬

‭the amount dictated by the music.‬

‭➔‬ ‭All releases are accomplished with a quick inhale to ensure full resonance and proper vowel shape on‬

‭releases‬

‭Vowel Modulation:‬

‭➔‬ ‭Our default vowel is a “dAh” syllable to match how we articulate on the horn. We think of resonance as‬

‭➔‬ ‭occurring in the full body from the head down using the Robert Shaw/Jim Ott resonating chambers (in‬

‭order as follows):‬

‭◆‬ ‭Head: bridge of the nose, teeth, oral cavity, etc.‬

‭◆‬ ‭Upper chest: clavicle, breastplate, etc.‬

‭◆‬ ‭Lower chest: ribs, front and back‬

‭◆‬ ‭Small of back/lower lumbar‬

‭SINGING‬
‭This is a wonderful tool that we take very seriously. We will sing frequently and will be very‬
‭dedicated to our approach to this concept. The way our bodies resonate and vibrate when we‬
‭sing is very similar to the way we correctly play our instruments. When thinking about‬
‭projection, visualize a “radio announcer” and work to support your sound with that amount‬
‭of fullness and direction. Use the following guidelines for singing exercises:‬

‭➔‬ ‭Listen closely to the pitch and center of the notes you are singing.‬

‭➔‬ ‭Work to sing with the same openness of the throat and air support as you do when playing your‬

‭instrument.‬

‭➔‬ ‭As we will use different vowel sounds and humming, ALWAYS check pitch prior to and after an exercise‬

‭or phrase.‬

‭➔‬ ‭Our goal is to be able to sing everything in our technique program, as well as all music we play.‬

‭4‬
 ‭AIR FLOW DYNAMICS‬
‭The first important concept to remember is the saying, “all of the air in all of the counts.”‬
‭Each dynamic level is assigned a number of counts based on 108 bpm.‬

‭Each dynamic level will also be clearly defined and refined through our balloon and airspeed work. Once a solid‬

‭foundation of the airspeed is developed, each performer must be able to perform the required dynamic level‬

‭for different note values (whole note, half note, etc.). Every dynamic is defined by expelling all of your air evenly‬

‭over the count structure for that dynamic as described in the list below:‬

‭24 counts of air = pianissimo‬

‭20 counts of air = piano‬

‭16 counts of air = mezzo piano‬

‭12 counts of air = mezzo forte‬

‭8 counts of air = forte‬

‭6 counts of air = fortissimo‬

‭4 counts of air = triple forte‬

‭While we define dynamics by using all of the air in “the tank,” we do not methodically advocate that as‬

‭performance practice. Rather, once dynamics are memorized by sensation, we practice trying to not go below‬

‭half a full tank of air. While there can be exceptions, this is the general rule for most of our performance‬

‭demands in a typical show.‬

‭5‬
 ‭BUZZING‬
‭We utilize buzzing as a technique to over-train the muscles of the embouchure and to develop‬
‭our listening and aural skills; “if you can buzz it, you can play it.” The following are important‬
‭concepts to keep in mind:‬

‭➔‬ ‭The corners are‬‭always‬‭firm, while the aperture is‬‭always‬‭relaxed (free vibrational space).‬

‭➔‬ ‭Work towards a full and rich buzz with minimal tension. As a result, a good buzz may have some air in‬

‭the sound and be somewhat “reedy” in nature.‬

‭➔‬ ‭Buzzing the mouthpiece is similar to playing the horn, minus the back-pressure/resistance of the‬

‭instrument. Generally, the more back-pressure there is in conjunction with the buzz the easier it is to‬

‭produce a desirable sound; thus buzzing is a form of overtraining.‬

‭➔‬ ‭Free buzzing is used to wake up the lips, with nothing higher than “middle F.” There are different‬

‭opinions on free buzzing, and we believe it is a valuable pre-mouthpiece training aid. This technique‬

‭helps to focus and strengthen the embouchure without the aid of the mouthpiece. It will be used‬

‭sparingly this season.‬

‭In addition, playing on the mouthpiece and leadpipe with the main tuning slide removed is a‬
‭valuable tool. While specific instructions regarding the sections of the instrument used and‬
‭the resulting pitches vary with each instrument, the following concepts will still apply:‬

‭➔‬ ‭Starting with the same concepts as above and the lips apart, blow air down the center of the leadpipe‬

‭with no lip vibration, then allow the air to bring the lips together. Let this cause the vibration and form‬

‭the embouchure.‬

‭➔‬ ‭The tubing will have specific pitches it “wants” to play depending on the instrument; allow the vibration‬

‭to create these pitches and memorize the sensations of relaxation and ease.‬

‭➔‬ ‭Think of accelerating the air through the leadpipe and let the air blow the embouchure into place.‬

‭➔‬ ‭The sound should be a resonant reedy buzz and should ring the entire leadpipe. Resonance can be‬

‭checked by placing a finger from the free hand gently on the edge of the leadpipe to feel for vibration.‬

‭➔‬ ‭Repeat until the embouchure responds to the breath in a relaxed manner.‬

‭6‬
 ‭LONG TONES‬
‭ ustained note exercises provide the performer a basic opportunity to work on tone quality,‬
S
‭breath support, and intonation. While we will spend time on basic longtones, the majority of‬
‭our sound work will be spent on “moving long tones,” incorporating basic airflow with moving‬
‭note patterns modeled closer to musical phrases.‬

‭➔‬ A ‭ ll of these exercises will start with either a breath attack (no tongue) or a light “dAh” articulation,‬
‭emphasizing the open “ah” vowel.‬
‭➔‬ ‭Listen for specific instructions and be sure to constantly remind yourself of earlier concepts and strive‬
‭for similar sensations.‬

‭FLEXIBILITY‬
‭Flexibility is the cornerstone of great brass playing and much like a gymnast or athlete, we‬
‭must be flexible enough to perform whatever is required of us musically and technically.‬

‭➔‬ ‭Maintain an evenness of airflow throughout these exercises to make certain there is consistency from‬

‭note to note and play it as you would sing it. When buzzing on your own, there should exist a quick‬

‭slide between each pitch, focusing on relaxation in the corners and ease of flexibility. Practice singing,‬

‭then buzzing, then playing for best results. NOTE: When playing with the full hornline, we will NOT gliss‬

‭between notes, but focus on section timing and “center” of each note.‬

‭➔‬ ‭High brass should use defined oral shapes to move from note to note (low to high; “oh” - “ah” - “ih” -‬

‭“eh” - “ee”). Low brass should use the default “oh” in the low and middle registers and only use other‬

‭syllables such as “ah” or “aw” in the upper register. All sections should sing using prescribed syllables.‬

‭➔‬ ‭All flexibility exercises will be performed using the same valve combination for all pitches in the slur. As‬

‭a default, they will be repeated descending chromatically to the 1st and 2nd valve combination and‬

‭back up to the “open” set.‬

‭ARTICULATION‬
‭ rticulation is about the manipulation of the syllable, "dAh," to create differences in length‬
A
‭and emphasis required by the music. The following table shows the three main articulations,‬
‭their syllable, and their differentiation:‬

‭7‬
‭Initiation of Articulation‬

‭We begin every note with what we call a “10% initiation.” That 10% is the amount of extra volume with which we‬

‭initiate the sound. We then relax the sustained portion of the sound to the designated dynamic immediately. As‬

‭mentioned previously, our default method will be a dAAh or dOh (tubas and baritones in certain registers).‬

‭Notice the capitalized letters, focusing more on the vowel shape and less on the beginning of each note.‬

‭General Articulation Concepts‬

‭➔‬ ‭The same part of the tongue touches the same spot with the same energy for every note; think about‬

‭using one taste bud for most of the articulations.‬

‭➔‬ ‭The back of the tongue is down and the sides are relaxed.‬

‭➔‬ ‭Breath attacks are used for many of the exercises in our daily routine to refine this skill set.‬

‭Multiple Tonguing‬

‭Multiple tonguing uses the same approach we take to normal articulation. The middle/back of the tongue raises‬

‭to strike the roof of the mouth using the smallest amount of flesh possible, then lowers back to a neutral‬

‭position. We should not try to clarify our multiple tonguing by trying to play shorter. If you are multiple tonguing‬

‭(triple or double), that means the tempo is fast enough that the single tongue does not suffice. At a tempo of‬

‭that speed or higher, the more legato the tongue stroke (both single and double), the greater the clarity will be‬

‭and the notes will sound shorter because of said clarity.‬

‭REHEARSAL TECHNIQUES‬
‭Bopping‬

‭Bopping is a technique that is used to improve timing, uniformity of articulation, and tonal resonance upon the‬

‭initiation of sound. Bopping is executed by:‬

‭➔‬ ‭Reducing every articulated note to a “round” staccato eighth note.‬

‭➔‬ ‭Slurred passages are played full duration to the end of the slur.‬

‭➔‬ ‭Tied notes are not sustained.‬

‭➔‬ ‭Make sure that the throat remains open and relaxed.‬

‭➔‬ ‭Keep notes open-ended (no “dit” articulations)‬

‭8‬
 ‭Our bopping dynamic will always be relative to the dynamics written in the excerpt or exercise.‬

‭Bopping requires us to play relaxed, without tension, and to let the airspeed and pitch accuracy guide your‬

‭approach. This is a great pedagogical tool for working on ensemble alignment and “musical target practice” to‬

‭connect these concepts to our show.‬

‭Note Groupings‬

‭Note groupings are a way to break down extended technical passages into more manageable chunks. Divide‬

‭the excerpt into smaller chunks of notes, repeating the last note of each grouping as the first of the next. For‬

‭16th note passages, 3 and 5 Note groups are recommended. Always play as slowly as necessary to attain clarity.‬

‭Rhythmic Skeletons‬

‭Playing the rhythmic skeleton of an excerpt helps highlight specific notes to improve timing and accuracy. To‬

‭play the skeleton, play only the notes that land on a given subdivision, including repeating the same note during‬

‭longer notes. Always play as slowly as necessary to attain clarity.‬

‭9‬
 ‭FUNDAMENTALS OF MUSICIANSHIP‬
‭Critical Listening‬

‭Critical listening is crucial to our success as a brass program. Developing the ability to hear your own sound and‬

‭the sounds of others throughout the ensemble will serve to improve individual and ensemble musicianship.‬

‭The following “levels of listening” will be our guides and models to build these skills.‬

‭➔‬ ‭Level 1: Self-Awareness‬‭- This is the most basic level‬‭of listening and asks the question, “are you‬

‭listening to yourself and playing with the most beautiful and resonant tone you can produce?” This is‬

‭step one to expanding your aural awareness as a musician.‬

‭➔‬ ‭Level 2: Three-Person Ensemble (Trio)‬‭- The focus‬‭is on the “trio,” or yourself and the person on‬

‭either side of you, guides the next level of awareness. At this point, matching tone, intonation, and‬

‭sound strength are key elements in expanding the aural capacity.‬

‭➔‬ ‭Level 3: Section Integrity‬‭- In this level, the priority‬‭is given to section awareness and listening, and‬

‭thinking as one throughout your specific instrument set. This requires a much “larger set of ears” and‬

‭will be crucial for section features and small group playing during productions.‬

‭➔‬ ‭Level 4: Full Vertical Ensemble‬‭- This level encompasses‬‭the entire brass ensemble and is truly a‬

‭professional-level technique when achieved. This allows each performer to fully hear all voices and‬

‭choirs in the ensemble and match sound, pitch, and energy clearly with all the brass line members.‬

‭This is the most challenging yet rewarding of all the levels regarding ensemble playing.‬

‭Balancing on the Field‬

‭As explained earlier, in our dynamic system, balance on the field is entirely contingent upon the players‬

‭executing their respective dynamics with 100% precision and consistency. If a passage is out of balance, we first‬

‭establish that the player is playing the correct dynamic. Field placement and musical responsibilities will require‬

‭adjustments to written dynamics, and you must retain and maintain these adjustments.‬

‭10‬
 ‭PITCH AND INTONATION‬
‭Tuning Tendencies‬

‭In order to perform with accurate intonation, all performers must be aware of the tuning tendencies of their‬

‭individual instruments. We build our system of tuning through overtone matching; when a section of‬

‭instruments plays in tune, overtones will ring (for example, baritones playing in tune on unison Bb will create an‬

‭F overtone). The following shows the intervals of the chromatic scale as related to a fundamental of “C,” along‬

‭with the difference in “cents” from equal temperament as shown on a standard tuner.‬

‭It is important to note the following:‬

‭➔‬ ‭Tuning using overtones means all adjustments are relative to the lowest sound; you must listen down.‬

‭➔‬ ‭Organizing the same information into major and natural minor scales, the largest adjustments are to‬

‭lower the 3rd, 6th, and 7th scale degrees in major and to raise the 3rd, 6th, and 7th scale degrees in‬

‭minor.‬

‭➔‬ ‭It is physically easier to play in tune with overtones than equal temperament; in general, if it feels and‬

‭sounds more in tune, it is.‬

‭Tuning with Drones/Tone Generators‬

‭In order to improve an individual’s aural and intonation skills, each member should be practicing regularly with‬

‭a drone, or tone generator. These skills should be practiced by singing, buzzing, and playing respective‬

‭exercises and musical selections. There are several cost-effective applications available for smartphones and‬

‭tablet devices; we highly recommend the “Tonal Energy Tuner” available in all app stores.‬

‭11‬
Baritone (B.C.)
Academy 2024
Brass Technique Packet

> 33 ϖ ϖ œ‰Œ Ó ϖ
9 Count tones

ϖ œ ‰ Œ Ó αϖ ϖ œ‰Œ Ó ϖ
Repeat back up

Ι Ι Ι ϖ œ‰Œ Ó
Ι

˙−
7 Count tones

>ϖ ϖ ˙− αϖ ˙− ˙−
Repeat back up

Œ ∑ Œ ∑ Œ ∑ ϖ Œ

Remington Descending

>ϖ ϖ ϖ ∑ ϖ αϖ ϖ ∑ ϖ ϖ ϖ ∑ ϖ αϖ ϖ ∑

>ϖ ϖ ϖ ϖ ϖ ϖ Τ
ϖ
ϖ ∑ ϖ ∑ αϖ ∑

Remington Ascending

>ϖ ∀ϖ ϖ ∑ ϖ ϖ ϖ ∑ ϖ ∀ϖ ϖ ∑ ϖ ϖ ϖ ∑

αϖ ϖ ϖ Τ
>ϖ ϖ ∑ ϖ ϖ ∑ ϖ ϖ ∑ ϖ

ϖ α ϖϖϖ α ϖϖϖ α ϖϖϖ α ϖϖϖ α ϖϖϖ

Remington Chorded

∀ ϖϖ ϖ
> α ϖϖ ϖ ∑ α α ϖϖ ∑
ϖϖ
ϖ ∑

ϖ Τ
> α ϖϖ α α α ϖϖϖ α ϖϖϖ α ϖϖϖ ϖϖ α ϖϖϖ α ϖϖϖ
∑ ϖ ∑

Pitch Bends

> α œœ œ œœ œ œœ œ œœ œ α œœ œ œœ œ œœ œ œœ œ α ˙˙ −− Œ α ϖϖ ∑ œœ ∀ œ œœ œ œœ œ œœ œ œœ ∀ œ œœ œ œœ œ œœ œ ˙˙ − Œ ϖϖ
œ œ œ œ œ œ œ œ ∀œ œ œ œ ∀œ œ œ œ −
 Academy 2024
Brass Technique

> ∑ αœ œ œ œ αœ œ œ œ α˙ αϖ œ ∀œœœœœœœ œ ∀œœœœœœœ ˙− Œ

α œ œœ œ œœ œ œœ œ œœ α œ œœ œ œœ œ œœ œ œœ α ˙ −− Œ α ϖ ∑ œ∀ œ œ œ œ œ œ œ œ∀ œ œ œ œ œ œ œ ˙ −

>ϖ − Τ
ϖ ∑ α œœ œœ œœ œœ œœ œœ œœ œœ α œœ œœ œœ œœ œœ œœ œœ œœ α ˙˙ − Œ αϖ ϖ

œ αœ œ œ œ œ œ αœ
œ œ αœ œ œ œ œ œ œ α œ
Beautiful Sounds

> αœ œ œ œ œ œ œ αϖ
αœ œ œ œ œ œ œ αϖ ∑

œ œ œ œ αœ œ œ œ œ œ α˙
Flow Studies

> œ œ œ œ œ œ α˙ œ œ œ œ αœ œ œ œ αϖ

œ œ œ œ œ αœ œ αœ
> œ œ œ œ αœ œ œ α˙ œ œ œ œ α œ œ œ αϖ

α œ œ œ αœ œ œ αœ α œ œ œ αœ œ œ œ œ αœ
>œœœœ œ œœ
α˙ œœœœ œœœ
αϖ

œ œ αœ œ αœ œ œ
>œ œ œ œ αœ αœ œ œ
œ αϖ

œ αœ œ œ αœ œ œ œ αœ
>œ œ œ œ αœ œ œ œ œ α˙

> α˙
1-5-1 Down

˙ ˙ α˙ α˙ ˙
Repeat back up

α˙− Œ ˙ ˙− Œ α˙− Œ ˙ Œ
˙−

α˙− ˙− α˙−
1-5-1 Up

> α˙ ˙ ˙−
Repeat back up

˙
Œ ˙ Œ α˙ α˙ Œ
˙
˙ Œ
 Academy 2024
Brass Technique

> αœ œ œ œ œ œ αœ œ αœ Œ œ œ œ œ œ œ œ œ Œ αœαœœœœ œ αœ αœ Œ œ œ œ œ œ œ œ œ Œ
Flexibility #1 Repeat back up

œ αœ œ

œ œ ∀œ ∀œ œ œ
Flexibility #2 Repeat back up

> œ αœ œ œ αœ œ œ Œ œ œ œ œ œ œ œ Œ αœ αœ œ αœαœ œ œ Œ œ œ œ œ œ œ œ œ œ Œ

œ œ œ αœ œ œ œ œ αœ ∀œ œ œ œ œ œ œ œ œ
Flexibility #3

>œ œ α œ œ œ
αœ αœ Œ œ œ œ œ
œ Œ

œ αœ œ αœ œ œ œ œ αœ αœ œœœœœœœœ œ
Repeat back up

> αœ œ αœ œ
αœ αœ Œ œ œ œ œ œ Œ

œ œ œ αœ œ œ œ œ œ œ œ œ œ αœ ∀œ œ œ œ ∀œ œ œ œ œ œ œ œ ∀œ œ
Flexibility #4

> α œ œ
Œ Œ

œ αœ œ αœ œ œ œ αœ œ œ œ αœ œ αœ œ œ œ œœœœœœœœ œ œ œ
Repeat back up

> α œ Œ œ Œ
Repeat each articulation chromatically down to 1-2/concert D and back up

>œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ
Articulation

Ι Ó

Double Tonguing

>œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰
Ι Ι Ι
da ga da ga dah da ga da ga dah da ga da ga da ga da ga da ga da ga dah

> α˙ ˙ α˙ ˙ œ œα œ œ œ œ œ œ α œ œ œ œ œΙ ‰Œ ˙ ∀ ˙ ˙ ˙ ∀ œ ∀ œ œ œ œ œ œ œ œ œ ∀ œ œ œΙ ‰Œ
Scalar Study
 Academy 2024
Brass Technique

œ
> α˙ ˙ α˙ α˙ œ œα œα œ œ œ œ œ α œ α œ œ œΙ ‰Œ ˙ ∀ ˙ ˙ ˙ œ
œ ∀ œ œ œ œ œ œ œ œ œ œ œΙ ‰Œ
Repeat back up

> αϖ œ α˙ ϖ
Stagger Breathing
(air attack)

Ι ‰ Œ
ε ο

œ œ α˙ ϖ ϖ ϖ αϖ ϖ αΤ
ϖ
Tuning Sequence

>ϖ ϖ ∑ ϖ ∑ ∑

ϖϖ Τ
ϖ
> αϖ α ϖϖ α ϖϖϖ ϖϖ α α ϖϖϖ ϖ α ϖϖ
Bb Progression

ϖ
Baritone (B.C.) 1
Primal Light
Gustav Mahler

˙ œ œ ϖ
arr. Michael Weber

> 3 œ ˙ ˙ Τ
ϖ ϖ ϖ ϖ 2
α 3 3
Ο Ε Ο ε
˙ + ˙− ϖ ϖ ˙ Τ
ϖ
> 2 Œ 3 ˙ ˙ 2 œ ˙ 3 1 3
8

α 3 3 3 3 3 3
ο Ε ο Ε Ο

©
Baritone (B.C.) 2
Primal Light
Gustav Mahler
arr. Michael Weber

> 3 œ ˙ ˙˙ Τ
ϖ
ϖ œ œ ˙ ϖ ˙ ˙ ϖ ϖ 2
α 3 3
Ο Ε Ο ε
+ œ Τœ Τœœ Τ
œ 3Τ
ϖ
> 2 Œ ˙ 3 ˙ ˙ 2 œ ˙ ˙− 3 ˙− 1
ΠΠ3 Π3
8

α 3 3 3 3
ο Ε ο Ε Ο

©
Baritone (B.C.) 3
Primal Light
Gustav Mahler
arr. Michael Weber

> 3 Œ ˙ ˙ Τ
ϖ ϖ ϖ ˙ ˙ ϖ ϖ 2
α 3 3
Ο Ε Ο ε
+
> 2 Œ ˙ 3 ˙ ˙ 2 ˙ ˙− 3 ˙ − œ Τœ Œ Τœ Œ 1 Τœ Œ 3 Τ
ϖ
3 œ
8

α 3 3 3 3 3
ο Ε ο Ε Ο

©
Baritone (B.C.) 1
Halo
Martin O'Donnell
arr. Michael Weber

œ œ α˙ œ αœ ˙
(q = 76)

> α 2 ∑ œ œ ∀œ œ αœ αœ œ ˙ Œ 3 ˙ Ó 2
α 3 3 3
Ε
˙− œ ˙˙ −− Τ̇
˙−
α˙− ˙ −
> α 2 ˙− ˙− œ
Ó ∑
˙−
9

α 3
Ο ε

©
Baritone (B.C.) 2
Halo
Martin O'Donnell
arr. Michael Weber
(q = 76)

> α 2 ˙− ˙− ˙− ˙− ˙− ˙− ˙− 3 ˙ Ó 2
α 3 3 3
Ο
œ αœ œ ˙− ˙− ˙− Τ̇−
> α 2 œ œ αœ œ αœ αœ œ ˙ ∑ α˙−
9

α 3
Ε ε

©
Baritone (B.C.) 3
Halo
Martin O'Donnell
arr. Michael Weber
(q = 76)

> α 2 ˙− ˙− ˙− ˙− ˙− ˙− ˙− 3 ˙ Ó 2
α 3 3 3
Ο

˙− Τ̇−
> α 2 ˙− ˙− ˙− ∑ α˙− ˙− ˙ œ ˙−
9

α 3
ε