Вы находитесь на странице: 1из 34

1

1
Thank you for showing interest in auditioning to become a member of the Bluecoats Drum and
Bugle Corps. This booklet is designed to aid you in becoming a better musician and to help you have
a successful audition experience. Please read everything in this booklet carefully and prepare all of
the required material to the best of your ability!

The Bluecoats will be hosting audition camps in four different locations during the months of
November and December. Please choose the location that works best for you to attend. Attending a
camp gives us a better opportunity to get to know you and allows you a chance to experience life as
a Bluecoat member. Only those who complete the audition process in person will be considered for
membership in the 2012 Bluecoats brass section.


Audition Camp Dates and Locations


Saturday and Sunday, November 19-20, - Austin, Texas
Saturday and Sunday, November 26-27, - Canton, Ohio
Sunday, December 4, - Mission Viejo, CA
Sunday, December 11, Atlanta, Georgia


Following the completion of your audition weekend, you will have a clear understanding of where
you rank and you may be invited to attend future camps. Final decisions for the 2012 Bluecoats brass
section will be made following the January camp. Prior to January individuals may be offered a
contract. You will receive confirmation of your status via phone call and/or e-mail from a member of
the Brass Staff.

The best way to find additional information about the Bluecoats and Registration for an Audition
camp is by visiting our website at: www.bluecoats.com. The website also contains History of the
corps, Audition information, and other information regarding the Bluecoats Drum and Bugle Corps.
Please visit the website before attending your first camp.

Auditions can be stressful, but do not let your nerves stop you from auditioning. The Brass staff of
the Bluecoats is eager to help you develop as a musician and wants you to perform well. If you have
any questions regarding brass auditions, please contact one of the brass staff listed below. We look
forward to seeing you at one of the audition camps.


Dave MacKinnon (Brass Supervisor) dmackinnon@bluecoats.com
Emery Craig (Brass Co-Caption Head) ecraig@bluecoats.com
Derek Gipson (Brass Co-Caption Head dgipson@bluecoats.com












2
2
Music Audition Information


The audition process contains two sections, a visual and musical section. This page will highlight the
musical portion of the audition process. Listed below are the titles of the etudes that you will be
required to perform at the audition. Each etude is taken from a book that is highly regarded among
music educators and professional musicians. We encourage you to purchase the entire book from
which the audition pieces are chosen. If you have any questions or problems obtaining a copy of
these books, please contact a brass staff member. You will find more than a single audition etude in
these books, as these books include many items that will be used throughout your musical life.


Trumpet Audition Selections

1. Characteristic Study No. 1 from Arban's Method......meas. 1-24

2. Etude No. 2 from Theo Charlier's 36 Transcendent Studies.........meas. 1-24

You will not be required to prepare your own audition piece.



Mellophone Audition Selections

1. The mellophone technical etude is: Kopprasch etude (page 39) from Selected Melodious
Progressive and Technical Studies for French Horn compiled by Pottag and Andraud,
Souther Music Company

2. The lyrical etude is: Romance No 14 (page 13) from 40 studies for Horn by Kling
International Music Company New York


You will find both the trumpet and mellophone audition music on the final few pages of this
booklet. Please utilize a metronome when you rehearse the material. Use the tempo marked
above each piece as a guideline only. Its better to hear the music at slower tempo if this allows
for a higher degree of clarity and accuracy.


You should also prepare exercises 1 through 9 in this booklet as you may be asked to play these as
part of your audition.

If you have any questions concerning these audition pieces please contact:

Derek Gipson (Brass Co-Caption Head) dgipson@bluecoats.com









3
3
Audition Suggestions




Preparation:

! The success of your performance at the audition will be directly related to the level of
preparation of the audition materials.
! If possible, meet with a private lesson teacher on a regular basis prior to the audition.
! Record yourself with some type of electronic device. Listen critically to the recording
and work to perfect your performance.
! There is no need to memorize your music at this time.
! Get lots of rest before coming to the audition, as things will be very busy.


Audition:

! Keep in mind that you are auditioning at all times. We want to see your work ethic in
the arc as well as how you sound individually.
! You will have time to warm-up outside of the audition room prior to your audition.
! Before entering the room, please make sure your horn is working properly, oil your
valves, and complete any paperwork prior to entering the room.
! Remember to aim your bell away from the person listening to you.
! Be sure to ask questions if you are confused about anything you are being asked to
play.
! Take a slow deep breath before you play, and good luck!



Tips for Performance Anxiety/Nerves:

! Do not fight your nerves, they are a natural part of the performance process, and
fighting it might make it worse.
! Take several slow, deep breaths to calm yourself.
! It is good to perform for friends and family prior to coming to camp as this will help
you perform under pressure.
! Visualizing yourself in the audition room may also help calm your mind.
! When nerves are present, mistakes may happen, however, professional musicians do
not react to their mistakes. Do not stop or dwell on your mistakes, and NEVER
apologize for your performance.












4
4
Equipment

Instrumentation:


The Bluecoats 2012 brass section will consist of 80 members in: 24 B-flat Trumpets, 16
Mellophones in the key of F, 8 B-flat Baritones, 16 B-flat Euphoniums, and 16 BB-flat Tubas. All
of these spots are available each year. NO ONE, regardless of experience, is guaranteed a spot.
Returning members must demonstrate a continued growth and development in order to be
considered for membership.

Trumpets: Please bring your trumpet and mouthpiece to the audition camp.


Horn/Mellophone: Please bring your F Mellophone to camp if you are able. If you would like to
perform your etude on your concert horn, you will need to bring it with you to camp. You will be
asked to perform on a mellophone at some point during the audition process. Please be responsible
for bringing your own mouthpiece to camp.

Baritones/Euphoniums: Please bring your own marching Baritone/Euphonium if you are able. If
you wish to audition on your concert instrument, Baritone, Trombone, or Euphonium, then you will
want to bring it with you to the camp. You will be asked to perform on a marching instrument during
the audition process. The Bluecoats Brass Staff reserves the right to determine who will play
Baritone or Euphonium. Please bring a large shank mouthpiece with you to your audition camp.

Tubas: We understand the challenge of transporting a tuba to camp, however, the corps only owns
16 marching tubas and all of these instruments may not be available at each audition site. There are
rarely enough instruments available for each musician at the camp. If you are able to bring your
tuba, please do. You may bring your concert horn if you do not have access to a convertible tuba.
Please bring your own mouthpiece with you to the audition camp. No Sousaphones, please!








5
5
Equipment Continued



Yamaha: The Bluecoats perform exclusively on Yamaha Brass Instruments. This season we will use
the Yamaha Xeno Series Trumpet (YTR-8335GS), Yamaha F Mellophone (YMP-204MS), Yamaha
Marching Baritone (YBH-301MS), Yamaha Marching Euphonium (YEP-202MS), and the Yamaha
Double B-flat 4/4 Marching Tuba (YBB-202MSWC). All of these instruments are provided by the
Bluecoats to MEMBERS ONLY and are available for purchase following each season. If you wish
to purchase a certified used instrument from the Bluecoats, please visit the corps website at
www.bluecoats.com. You can find additional information about these and other Yamaha Brass and
Woodwind Instruments at www.yamaha.com.







Mouthpieces: The Bluecoats use exclusively Karl Hammond Custom Design Mouthpieces each
season. This allows for a more uniformed sound from player to player and section to section. You
are NOT required to purchase this mouthpiece prior to the audition. If you would like additional
information about Karl Hammond Mouthpieces, please visit www.karlhammonddesign.com.


Camp Checklist:

In addition to clothing, toiletries, and sleeping equipment, please bring the following items:

! All audition forms
! Registration fee
! Audition booklet and Supplemental Material
! A copy of your required etude
! Your instrument and mouthpiece
! A wire music stand if possible
! A Black three-ring binder with plastic sheet protectors.
! A pencil
! Any additional items you may need to ensure a successful audition.






6
6

Physical/Visual Responsibilities


Posture:

Posture is one of the most important elements of both Marching and Playing. It is
important to keep your body weight evenly distributed between both feet. The back
should be straight, and the shoulders should be relaxed. The body should never feel tense
as tension has a negative affect on your musical ability. The posture guides used by the
Bluecoats include: Feet should be in a V shape with the heels touching and the toes at
11 and 1 Oclock; the ankles, hips, shoulders and ears should all be in alignment with one
another.



Marking Time:

When practicing your exercises, it is important to use an audible
Metronome and you should also mark time. We will teach you our mark time style at the
camp, so just use the style you know best until then. Practice several tempos from 60-200
beats per minute while working to minimize any swaying or bouncing in your mark time.



Health/Fitness:

Just a quick word about health and fitness: Spending a summer on the road with the
Bluecoats can be physically challenging. In order to keep our members safe, it is
imperative that all members are physically fit. It is recommended that you begin some
sort of cardiovascular regime to ensure that you are capable of performing at a high level
physically.






7
7

Musical Concepts



Breathing:

Breathing is one of the most important aspects of successful wind playing. It is the Bluecoats
philosophy to approach breathing as a natural process. During the breathing process, one
should remain calm and relaxed while keeping the upper body fully erect. All movement in
the upper body should be involuntary and minimal. The muscles in the face and neck should
stay relaxed and soft and should remain in a natural position during both inhalation and
exhalation. Remember to keep the tongue down in the mouth in its normal rested position.

When breathing one should inhale and exhale evenly while keeping the air steady and
constant with no extraneous noise in the airflow. There should never be a feeling of tension
or discomfort when breathing.

The Bluecoats Brass Staff fully supports the breathing processes created/demonstrated on
The Breathing Gym DVD by Patrick Sheridan and Sam Pilafian. This material may be
found on the web.


Buzzing:

Buzzing on the mouthpiece is considered a tool to develop good tone quality. We feel that
when done correctly, all students may benefit from mouthpiece buzzing. Use the following
tips to assist in proper mouthpiece buzzing techniques:

Hold the mouthpiece by the shank of the mouthpiece with two fingers and the thumb
of your left hand if a buzz aid is not available.
Do not press the mouthpiece against the face.
Remain completely relaxed during the buzzing process, make sure the throat stays
relaxed and the tongue stays down in the mouth.
The air should pass between the center of the lips and right down the center of the
shank of the mouthpiece.
Start the pitch exactly in the middle of the pitch without any scooping or bumping of
the pitch.
All buzzing should happen inside of the mouthpiece cup.
Practice all musical lines in this booklet on the mouthpiece.



* Remember to use a natural/relaxed embouchure and place the mouthpiece in the center of
the lips.






8
8








9
9


Bluecoats 2012 Brass Routine

This routine will be the basis of the 2012 brass technique program and is designed both as a daily
warm-up and as a practice regiment for long-term improvement in tone production, airflow,
dexterity, articulation and other basic brass skills. It is by no means comprehensive and will be
supplemented as the season progresses based on the challenges presented by the summer program
music and the development of the brass section.

mf
q = 100
c
&
Long Tones
* Rehearsal Advice - Practice timing your inhalation and exhalation while marking time using a metronome
to provide a solid pulse center. The end of each long note should be open-ended. The
airstream should not be stopped with the tongue. Be sure to keep your air column
consistent and steady throughout each note. Give each long tone direction all the way
to the release.
1. 12 Count pitches

&

&

&
Extended Practice - Vary the dynamics and play on various different pitches. Be sure to always maintain the
simplicity of the sensation achieved with the original exercise.

U
w w w
w # w w
w n w w
w w w
w b w w
w w w
w b w w
w w w w


Trumpet / Mellophone






10
10

mf
q = 120
mf
q = 120
c
c
c
&
2. Three Note Decending Slurs

&

U
&
3. Three Note Ascending Slurs

&

U

#
w
n
w

w
b
w


w
b
w

w w
# w n

w
b
w
n
w


w
#
w

w w





q = 120
&
4. Upper Neighbor Slurs

&

&

&

U






w

#

#
#

w
b





w b




#

w
b





w b
n
#

#
#

w



n


w w







11
11

&
A)
5. Lip Slurs
* Rehearsal Advice - Incorporate the timing of the exhalation and the pitch centering accuracy from the long tone
exercises. Alternate between buzzing these exercises on the mouthpieces and playing on your instrument. Strive to
maintain the pitch center on the all intervals.
&
B)
&
C)
&
D)
&
&
E)

&

&
F)

&








#



#

b
n


b

b















b



#

b



b

b


#












b
#


#

b

n

b

b


#


















b

#





#




b


n




b



b


#













b




w

b
#

#
b

#
w
b


#


b

w b

#



#


w



b

b




w

b
#



#
b

#
w
b


#
b
#


b

w b

#





#


w











12
12

Articulation Studies

Variations in musical style can be achieved by altering the duration and/or emphasis (stress, weight)
of notes. The Bluecoats define this differentiation through the use of the syllables listed in this chart.



mf
q = 120
( all the notes should touch )
&
6. Quarters and Eighths
&
(continue to ascend)

j

# # #
j

n
j


j


mf
(dah) (dah) (dah) (dah) (doo) (doo) (doo) (doo) (dah) (dah) (dah) (dah) (Dah) (Dah) (Dah) (Dah)
q = 120
&
7. Forklift (in unison)
- - - . . . .
> > > >

&
(keep the volume consistent from measure to measure)
- - - - . . . .
> > > >

&
- - - - . . . .
> > > >

&
- - - - . . . .
> > > >
(continue to ascend)


# # # #
n


Articulation
normal

legato

staccato

marcato

accented

Syllable dah doo dah Dah Dah
Difference from the
normal enunciation
N/A
Smoother
beginning
and more
connected
Same
beginning as
normal with
half the
length
Twice the
emphasis
with half the
length
Twice the
emphasis on
the beginning
of the note, a
slight decay






13
13

144

* Rehearsal Advice - Strive Ior clarity oI articulation throughout giving special attention to centering the lower
pitches oI the exercises.
- Check that none oI the notes are accented.
- Always rehearse with a metronome. You'll notice your playing accuracy improve in a short
amount oI time iI you use this tool consistently.
Leprosy

Scale Study =1
* Rehearsal advice - Give direction to the air column and be sure to strike the valves ( think oI them as
marcato valve changes). Make sure the lowest note oI each phrase is centered and
speaks clearly. As always be sure to use a metronome while rehearsing.


(continue to ascend)

(continue to ascend)








14
14
120

1.
Flow Studies

2.

3.

4.

5.

6.

7.

8.

9.

10.
* Can be played at any comIortable tempo and Ielt in 4 or in 2. Adjust the embochure as little as
possible and always blow through the backs oI pitches, leading to the last note.

1






15
15


_
_
_
_
_
_
_
_
_
_
_
_
_
_

_
_
_
_
_
_
_
,
_
_
_
,
_
_
Part 1
Rhythmic DeIinition
_
Part 2
_
Part 1
_
Part 2
_
Part 1
Up and Off Beats
_
Part 2
_
Smackem' Whackem'
- - -
_
- -
,
_
_ ,
,
_
_ ,
,
_
_ ,
,
_
_ ,
, ,
,
, ,
,
, ,
,
, ,
,
, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
, , ,
_
, , ,
_
, , ,
_
, , ,
_
, , , , , , , , , , , , , , , , ,
.
, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
.
, , , ,

,
,
,

,
,

,
,

,
,

,
,

,
,

,
,

,
,

, , , , , , , , , , , , , , , , , , , , , , , ,

_
_
_

_
_
_







16
16

Tp.
Mello.
= 54 - 112

Tp.
Mello.
1.
1.

Tp.
Mello.
2.
2.

Tp.
Mello.
1. 2.
2.

_
_
,
1
ArEan Ariculaion Exercise
2 4 5
_
,
,
_
,
6 7 S 9
_
,
,
_
,
1u 11 12 1 14
_
,
,
_
,
15 16 17
1.
1S 19
_
,
,
, ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,

_
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
, ,
,
,
,
,
,
,
,
,

_
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
, ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,

_
,
_
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,

,
,
,
,
,
,
,
_ ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,

,
,
,
,
,
,
,
,
,
,
,
,
,
,

,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
, ,
,
,
,
,
_
,
_
, ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,

,
,
,
,
,
,
,
,
,
, ,
,
,
,
,
_ ,
,
, ,
,
,
,
,
,






17
17

= 54 - 112

(1st ttme ts s/urred ! 2nd ttme ts tcngued)


Vizzui Exercise

- The Iirst time through, slur the exercise to develop your sense oI Iollow through oI the airstream.
- On the repeat, add the tongue, blowing as you did when slurring.
- Whether you slur or tongue, the air moves the same.







18
18



_
What is ?
Bopping is an articulation technique used to isolate the timing oI a rhythmic passage. When using this technique
the beginning oI individually tongued notes should be played very short and light. The end oI the short note
should be leIt open-ended and not stopped with the tongue. You should attempt to play as soIt as possible when
bopping. Your objective is listen Ior other brass players and to play in time with them.
Do not change volumes or play any accented notes while bopping. Once again the sole purpose oI bopping is
isolate the timing oI a rhythmic passage. (see example A and B)

While bopping iI the music phrase contains any slurs then all but the last note oI the slurred pattern should be
played Iull duration. The Iinal slurred note oI the grouping should be played short while being slurred into.
Strive to play at a very soIt volume while you are bopping.
Example A (Iull value duration)
Example C (Iull value duration)
-
Example B (Bopping)
Example D (Bopping)

_
Staggered Breathing Technique
During longer sustained phrases in the music it is crucial that members oI the horn line stagger breathe with the
brass players close to them. When breathing the member should sneak out (with a diminuendo) and sneak back in
(with a crescendo to match). Failure to sneak out and sneak back in will create bumps in the sound which will be
perceived as holes or seams in the music by the listener. Where you breath within the long phrase should be
coordinated with the other members oI your section so the perIormers playing similar parts are not breathing
during the same spot in the music.

-



_
Keep in mind that in context to the music the method oI staggered breathing happens much quicker than illustrated
in the Example E.
II you need to take a breath during a tenuto quarter note passage leave the entire quarter note value to breathe.
Do not play a short quarter note Iollowed by a quick breath. This could be misinterpreted by the listener as a
staccato quarter note.
Example E
. . .
,
,
,
,
,
,
,
,
_ ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
_
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
_
_
_
_
_
_

,
,
,
,
_
_







19
19



Trumpe
Mellophone
= 6u - 1Su
Tp.
Mello.
Tp.
Mello.
Tp.
Mello.

Cechell #1
1 2 4 5 6 7 S

9 1u 11 12 1 14 15 16

17 1S 19 2u 21 22 2 24

25 26 27 2S 29 u 1 2

- Sing, slur hen ongue each exercise.


- Sing each exercise o prove you ruly hear he melody. Pay close aenion o
inonaion and srive o cener each pich accuraely.
- Wheher you slur or ongue, he air moves he same. Slur he exercise o develop
your sense of follow-hrough of he air sream. Iinally ongue he exercise, Elowing as
you did when slurring.
- Once again, consider he follow-hrough of he air sream. Thinl horizonal. The
prioriy should Ee more aEou he air han wha he chops are doing.
- Ideally you should feel very relaxed and ehorless when playing hrough his exercise.







20
20





= 72 - 96


_
_ _
-

Range Exercise #1
(rumpes only)
_
-

_
-

_

-

,
,
,
,
,
,
,
,
, ,
,
, ,
, ,
, ,
, ,
,
, ,
,
,
,
,
,
,
,
,
, ,
,
, ,
, ,
, ,
, ,
,
, ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
_






21
21




= 72 - 96




Range Exercise #2

* Repea each se six imes ransposing down Ey half seps o I . Res frequenly or
when you feel faigued.







22
22


= 6u - Su

_
_
(p/ay S x)

Range Exercise #
_

_

_

_

_

_

, ,
, , ,
, _
, , ,
, , , , ,
, _ ,

,
, , ,
,
, , ,
_
, , ,
,
, ,
,
, _ ,
,
, , ,
,
, , ,
_
, , ,
,
, ,
,
, _ ,
,
, , ,
,
, , ,
_
, , ,
,
, ,
,
, _ ,
,
, ,
,
, ,
_
, ,
,
, ,
,
, _

, , ,
, , , , ,
, _ , ,
, , ,
,
, , ,
_
, , ,
, , ,
, _ ,

,
, ,
,
, ,
_







23
23







Low Tones

- These are to be played as needed while practicing the range exercises to stay loose and relaxed.



















24
24
Trumpet 1
Trumpet 2
Trumpet 3
Mellophone 1
Mellophone 2
Baritone
Euphonium 1
Euphonium 2
Tuba
mf
q = 120
mf
mf
mf
mf
mf
mf
mf
mf
Tpt. 1
Tpt. 2
Tpt. 3
Mello. 1
Mello. 2
Bar.
Euph. 1
Euph. 2
Tuba
&
- - - - . . . . > > > >

- - - - . . . . > > > >

(Brass Ensemble)
" Forklift "
&
- - - - . . . .
> > > >

- - - - . . . .
> > > >

&
- - - - . . . .
> > > >

- - - - . . . .
> > > >

&
b
- - - - . . . . > > > >

- - - - . . . . > > > >

&
b
- - - - . . . . > > > >

- - - - . . . .
> > > >

?
b
b
- - - - . . . . > > > >

- - - - . . . . > > > >

?
b
b
- - - - . . . . > > > >

- - - - . . . . > > > >

?
b
b
- - - - . . . . > > > >

- - - - . . . . > > > >

?
b
b
- - - - . . . .
> > > >

- - - - . . . .
> > > >

&
- - - - . . . . > > > >

- - - - . . . . > >
(continue to ascend)
> >

&
- - - - . . . .
> > > >

- - - - . . . .
> >
(continue to ascend)
> >

&
- - - - . . . .
> > > >

- - - - . . . .
> >
(continue to ascend)
> >

&
b
- - - - . . . . > > > >

- - - - . . . . > >
(continue to ascend)
> >

&
b
- - - - . . . .
> > > >

- - - - . . . .
> >
(continue to ascend)
> >

?
b
b
- - - - . . . . > > > >

- - - - . . . . > >
(continue to ascend)
> >

?
b
b
- - - - . . . . > > > >

- - - - . . . . > >
(continue to ascend)
> >

?
b
b
- - - - . . . . > > > >

- - - - . . . .
> >
(continue to ascend)
> >

?
b
b
- - - - . . . .
> > > >

- - - - . . . .
> >
(continue to ascend)
> >

b b b b
b b b b
b b b b
b b b b

n n n n
b b b b


b b b b



# # # #

# # # #



# # # #



n n n n
b b b b



b b b b







25
25






Trumpet 1
Trumpet 2
Trumpet 3
Mellophone 1
Mellophone 2
Baritone
Euphonium 1
Euphonium 2
Tuba
mf fff
1 2 3 4 5 6 7 8 9 10
mf fff
mf fff
mf fff
mf
mf
fff
mf fff
mf
fff
mf
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
&
#
U
( Thumbs )
Tuning Exercise # 1
&
#
U
&
#
U
&
U
&
fff
U
?
b
U
?
b
U
?
b
U
?
b
Crescendo evenly from measures 5 to 10. Do not breath at the barlines!
fff
U
w
w w w w
w
w w
w
w
w
w
w w
w
w
w
w w #
w w w
w w w
w
w w
w b w n
w
w
w
w
w
w
w
w
w b w n
w w
w w w
w
w w w w
w
w
w
w w w w
w
w
w
n
b
w
w
b
n
w
w
w
w
w
w
w w
w
w
w w
w b
w n
w
w
w w w
w w b
w
w
w
w
w
w w w
w w b
w w b
w w
w
w






26
26
Trumpets
Mellophones
Baritones
Euphonium
Tuba
mp
q = 60
1 2 3
mp
mp
mp
Tpt.
Mello.
Bar.
Euph.
Tuba
4 5 6
Tpt.
Mello.
Bar.
Euph.
Tuba
rit.
7 8 9
&
#
BWV 431
&
?
b
?
b
&
#
U
,
&
U
,
?
b
U
,
?
b
U
,
&
#
U
,
U
&
U
,
U
?
b
U
,
U
?
b
U
,
U








j



#




J


J






b
b

J


J






#


n



j



J

n
J





#

n
n

n
n

b
b

n
n



#


b

n

J





J







27
27

Trumpet 1
Trumpet 2
Trumpet 3
Mellophone 1
Mellophone 2
Baritone
Euphonium 1
Euphonium 2
Tuba

88








Tpt. 1
Tpt. 2
Tpt. 3
Mello. 1
Mello. 2
Bar.
Euph. 1
Euph. 2
Tuba









" Sasquatch "







28
28

Iccme| 1
Iccme| 2
Iccme| 8
e||o|ooe 1
e||o|ooe 2
ocl|ooe
tc|oolcm 1
tc|oolcm 2
Icbo
so|| cces. s|ow|y
= v
so|| cces. s|ow|y
so|| cces. s|ow|y
so|| cces. s|ow|y
so|| cces. s|ow|y
so|| cces. s|ow|y
so|| cces. s|ow|y
so|| cces. s|ow|y
so|| cces. s|ow|y
1 2 8 4 5
I|. 1
I|. 2
I|. 8
|o. 1
|o. 2
ocl.
tc|. 1
tc|. 2
Ibo.
|ocdl ceo||y |ocdll bojeezcs |ocdlll ommy, uo|d ell
|ocdl ceo||y |ocdll bojeezcs |ocdlll ommy, uo|d ell
|ocdl ceo||y |ocdll bojeezcs |ocdlll ommy, uo|d ell
|ocdl ceo||y |ocdll bojeezcs |ocdlll ommy, uo|d ell
|ocdl ceo||y |ocdll bojeezcs |ocdlll ommy, uo|d ell
ceo||y |ocdll bojeezcs |ocdlll ommy, uo|d ell
ceo||y |ocdll bojeezcs |ocdlll ommy, uo|d ell
ceo||y |ocdll bojeezcs |ocdlll ommy, uo|d ell
ceo||y |ocdll bojeezcs |ocdlll ommy, uo|d ell
8 v 10
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
by uocq|os . I|cowec
(2 wocdsj
e|coo|ls |coqcessloo
_
_
_
,
_
,
_
,
,
_
,
,
_
,
,
_
,
,
_
_
_
_
,
_
,
_
,
,
-
_
,
,
-
_
,
,
-
_
,
,
-

,
,
,
,
, _
_ _
_
_

,
,
,
,
, _
_ _
_


_
_


_
_

_
_







29
29


Brass Audition Scoring Sheet
(For Use by Bluecoats Brass Staff Only)







Location of camp attended ________________________________________________

Auditioned instrument ____________________________________________________

Tone Quality ___________________________________________________________

Musicianship ___________________________________________________________

Harmonic Connection _____________________________________________________

Articulation _____________________________________________________________

Flexibility ______________________________________________________________

Marching and Playing skills ________________________________________________

Comments ______________________________________________________________

_______________________________________________________________________

_______________________________________________________________________




Overall Rating ____

(-1 = lowest, +10 = highest)

Ready to Sign: yes __ no __








30
30
Allegro noderuto = 96

Bluecoas Trumpe Audiion Music # 1

Characerisic Sudy No. 1 from ArEan's Mehod


_

-
_

,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
, ,
,
,
,
,
,
_
,
,
,
,
,
,
,
,
,
,
_
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
, ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
, ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,

,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
_
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
, ,
,
,
,
,
,
, ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
, ,
,
,
,
,
, ,
, ,
,
,
,
, ,
,
,
,
,
, ,
,
,
,
,
,
,
,
,
,
,
,
,
,
, ,
, ,
,
, ,
,
, ,
,
,
,
,
,
, ,
, ,
,
, ,
,
, ,
, ,
,
, ,
,
,
, ,
,
,
,
,
,
,
, ,
,
,
, ,
,
,
,
,
, ,







31
31
Allegretto = 84

_ _
,
,
,
,
,

Bluecoas Trumpe Audiion Music # 2


Theo Charlier DL STYLE
Eude No. 2
_
,
,
,
,
,
.

_
,
,
,
,
,

_
,
,
,
,
,

_
,
,
,
,
,

_
,
,
,
,
,

poco ri.

,
,
,
,
,
,
,
,
,
, ,

,
,
,
,
,
,
,
,
, ,

, ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
, ,
,
_ ,
,
,
,
, ,
,
,
,
,
,
, ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
, ,
,
,
,
, ,
,
,
,
,
,
, ,
,
,
,
,
,
, ,
,
,
_
,
,
,
,
,
,
,
,
,
,
,
,

, , ,
,
,

,
,,,
, ,
,
,
,
,
,

,
, ,
,
,
,

,,,
, ,
,
,
,
,
,
,
,
,
, ,
,

,
,
,
,
, ,
,
,
,
,
,
,
,
,
,
,
,
,
, ,
,
,
,
,
,
,
,
,
,
,






32
32
= 16 - 144
1 2
4 5 6
7 S 9
1u 11 12
1 14

_
,
Kopprasch eude (page 9) from " Seleced Melodious Progressive and Technical Sudies
for Irench Horn " compiled Ey Poag and Andraud , Souher Music Company


Bluecoas Mellophone Audiion Music # 1
KOPPRASCH
_
,

_
,

_
,

_
,

,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
, ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
, ,
,
,
_ ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
, ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
, ,
,
,
,
,
,
,
,
,

,
,
,
,
,
, ,
,
,
,
,
,
,
,
,
,
,
,
, ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
_






33
33

Andunte con noto
Romance No 14 (page 1) from " 4u sudies for Horn By Kling
Inernaional Music Company New Yorl

= SS
1
Bluecoats Mellophone Audition Music # 2
2 4
5 6 7 S
9 1u 11 12
1 14 15 16

ROMANCE

,
,
,
,
,
,
,
, ,
,
,
,
,
,
,
,
,

,
,
,
,
,

,
,
,
,
, ,
,

,
,
,
,
,
,
,
, ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,

,
,
,
,
,

_
,
,
,
,
,
,
, ,
,
,
,
, ,
,
, ,
,
,
,
,
,
,
,
,
,
, ,
, ,
,
, ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
_
,
,
,
_