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BRASS&MANUAL&
**always&look&good**"
**make&your&best&sound**"
**it&only&counts&on&the&move**"
"
10/8/15&
2"
&
2016"Spirit"of"Atlanta"Brass"Program"
~~"Table"of"Contents"~~"
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Welcome&Letter&
Contact&Information&
Equipment&/&Mouthpieces&/&Breathing&Tube&
Rehearsal&Materials&
Camp&Assignments&
Physical&Fitness&
Brass&Technique&
o Posture&
o Moving&and&Playing&Together&
o StepIouts&
o Air&and&Breathing&Techniques&
o Embouchure&Development&
o Bending&Pitches&
o Singing&
o Long&Tones&
" Long"Tones"/"Air&
" Flow"Studies&
" Lip"Slurs"/"Flexibility"Exercises&
o Articulation&and&Style&
o Articulation&Visualization&
o Dynamics&
o Pitch&and&Intonation&
" Intonation"Chart"
" Tuning"Tendency"Chart"
o Balance&and&Blend&
o Bopping&
o Pedal&Tones&
o Stagger&Breathing&
o Finger&Technique&
" Clarke"Studies&
o Individual&Practice&Guide&
o Audition"Process&
o Trumpet"Audition"Music&
o Mellophone"Audition"Music&
o Baritone"Audition"Music&
o Tuba"Audition"Music&
o Audition"Sheet&
"
**always'look'good**'
**make'your'best'sound**'
**it'only'counts'on'the'move**'
3"
&
Dear"Brass"Team"Member,"
"
THANK"YOU&for&joining&our&brass&family&here&at&the&Spirit&of&Atlanta!&&We&take&great&pride&in¬&
only&fielding&the&best&possible&brass&ensemble&but&also&in&giving&our&students&the&tools&to&be&
better&musicians&and&better&citizens.&
&
In&this&packet,&you&will&find&all&of&the&information&vital&to&your&success&as&a&member&of&our&brass&
team.&&The&brass&program&at&SOA&is&one&filled&with&history&and&tradition,&which&we&will&continue&
to&add&to&and&refine.&&We&view&membership&on&our&team&as&an&HONOR"&"PRIVELEDGE&and&
there&are&many&expectations&and&responsibilities&that&accompany&being&a&member&of&the&Spirit&
of&Atlanta&brass§ion.&&We&will&only&find&our&greatest&successes&if&every&member&of&the&team&
accepts&these&responsibilities&and&participates&fully&in&the&journey&that&is&a&Drum&and&Bugle&
Corps&Season.&&The&most&successful&brass&team&members&will&be&the&people&that&exhibit&these&
basic&expectations:&
&
1. TRUST"AND"RESPECT&for&fellow&members,&staff,&and&volunteers&
2. 100%&effort&at&all×&during&rehearsal&
3. A&passion&to&learn&at&all×&
4. A&commitment&to&excellence&in&all&facets&of&performance&and&life&
5. A&desire&to&build&and&maintain&a&successful&brass&team&
&
As&a&brass&team,&we&can&only&be&as&strong&as&our&weakest&link.&&If&our&weakest&link&is&a&strong,&
hardIworking,&selfIsacrificing&individual,&then&our&success&will&be&immense.&We&will&only&be&as&
successful&as&those&members&willing&to&apply&the&above&principals&and&use&them&in&their&
everyday&lives.&&&
&
Spirit&of&Atlanta&has&a&storied&history,&and&our&goal&is&to&contribute&to&that&history&by&raising&the&
bar&each&year&in®ards&to&commitment&to&excellence&and&dedication&to&the&organization.&&We&
take&pride&in&the&opportunity&to&continue&the&rich&history&and&traditions&already&established&by&
those&who&have&come&before&us.&
&
Please&read&all&of&the&information&in&this&packet&carefully&and&thoroughly&in&order&to&prepare&to&
the&best&of&your&abilities&prior&to&coming&to&camp.&&Thank&you&for&your&hard&work&and&attention&
to&detail,&and&know&that&we&are&truly&excited&about&your&membership&in&OUR&family&here&at&
Spirit&of&Atlanta!&
&
Sincerely,&
&
Errick"Prince"
Brass&CoICaption&Supervisor&
Spirit&of&Atlanta&Drum&and&Bugle&Corps&
errickprince@att.net&
&
**always'look'good**'
**make'your'best'sound**'
**it'only'counts'on'the'move**'
4"
&
Contact&Information&
Below&is&the¤t&contact&information&for&your&brass&staff.&&Please&keep&this&information&
private&and&for&your&use&ONLY.&&The&brass&staff&has&agreed&to&give&you&their&contact&information;&
please&be&respectful&of&their&time.&&Here&are&some&guidelines&to&think&about&when&contacting&
your&staff:&
&
Is&it&too&early&or&late&to&call&my§ion&tech&or&caption&head?&
Is&this&something&that&I&can&eImail&instead&of&call?&
Do&I&already&have&the&answer?&
Have&I&already&asked&this&question?&
&
When&eImailing&the&staff&you&MUST&include&both&caption&heads&and&your§ion&tech&in&the&
SAME&eImail.&&This&allows&for&accountability&on&all&ends&and&keeps&everyone&in&the&loop.&
&
Whenever&responding&to&eImails,&ALWAYS&reply&to&all.&
&
&
COSCAPTION"SUPERVISOR"
COSCAPTION"SUPERVISOR"
Errick&Prince&
Name&
(210)&589I2156&
(555)&555I5555&
errickprince@att.net&
eImail&
TRUMPET"TECH"
"
TRUMPET"TECH"
Name&
Name&
(555)&555I5555&
(555)&555I5555&
eImail&
eImail&
MELLO"TECH"
MELLO"TECH"
Name&
Name&
(555)&555I5555&
(555)&555I5555&
eImail&
eImail&
BARITONE"TECH"
BARITONE"TECH"
Name&
Name&
(555)&555I5555&
(555)&555I5555&
eImail&
eImail&
TUBA"TECH"
TUBA"TECH"
Name&
Name&
(555)&555I5555&
(555)&555I5555&
eImail&
eImail&
&
&
&
&
**always'look'good**'
**make'your'best'sound**'
**it'only'counts'on'the'move**'
5"
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Equipment&
TRUMPETS:""Please&bring&your&own&trumpet&to&camps&until&you&are&assigned&a&specific&corps&horn.&
&
"MELLOPHONES:""Please&bring&your&own&F&Mellophone&to&camps&until&you&are&assigned&a&specific&corps&
horn.&&If&you&are&a&French&Horn&player,&you&are&welcome&to&audition&on&your&concert&horn,&but&will&be&
expected&to&show&proficiency&on&an&F&Mellophone&during&your&audition&as&well.&
&
BARITONES"/"EUPHONIUMS:"&Please&bring&your&own&marching&Baritone&or&marching&Euphonium&to&
camps&until&you&assigned&a&specific&corps&horn.&&You&are&welcome&to&audition&on&a&trombone&or&concert&
euphonium&(please&bring&your&own&instrument),&but&will&be&expected&to&show&proficiency&on&a&marching&
baritone&during&your&audition&as&well.&
&
TUBAS:""If&possible,"please&bring&your&own&marching&tuba&or&sousaphone.&&You&are&welcome&to&audition&
on&a&concert&tuba,&but&will&be&expected&to&show&proficiency&on&a&marching&tuba&during&your&audition&as&
well.&
&
MOUTHPIECES"
In&order&to&achieve&the&most&uniform§ion&sounds,&we&have&selected&specific&mouthpieces&for&the&
Spirit&of&Atlanta&brass&team.&&Exceptions&will&be&made&only&if&approved&by&the&brass&caption&head(s)&and&
your§ion&technician(s).&&You"are"responsible"for"bringing"your"own"mouthpiece"to"all"camps"and"
summer"moveSin."
"
! Trumpets:"
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! Mellophones:"
"
! Baritones:"
"
! Euphoniums:"
"
! Tubas:"
"
BREATHING"TUBES&
In&order&to&maximize&the&amount&of&air&we&move&in&and&out&of&our&body,&we&utilize&a&white""PVC"Ball"
Valve"as&a&breathing&tube.&&These&can&be&purchased&at&a&hardware&store&such&as&Home&Depot&or&Lowes&
for&around&$2I$3.&
&
**always'look'good**'
**make'your'best'sound**'
**it'only'counts'on'the'move**'
6"
&
&
Rehearsal&Materials&
Each&member&of&the&Spirit&of&Atlanta&Brass&Team&is&expected&to&bring&the&following&materials&to&
ALL"CAMP"REHEARSALS"and&ALL"SUMMER"REHEARSALS:&
&
&
TUNER"/"METRONOME:"&All&members&of&the&SoA&brass&team&must&own&a&tuner&and&a&metronome.&(We&
recommend&the&Korg&TMI40&or&TMI50).&&A&cellphone&app&is&NOT&acceptable&for&this&purpose.&
&
BREATHING"TUBE:""All&members&of&the&SoA&brass&team&must&have&a&&PVC&Ball&Valve&&breathing&tube&&at&every&
rehearsal.&
&
MUSIC"STAND:""Please&bring&your&own&folding&music&stand&(with&your&name&clearly&labeled)&to&all&brass&rehearsals.&
&
THREESRING"BINDER:""All&members&will&have&a&black,&3Iring&binder&(with&plastic&sheet&protectors).&&In&the&binder&
will&be&the&Brass&Manual,&all&show&music,&all&nonIshow&music,&and&any&extra&music&handouts.&&Make&sure&
to&clearly&mark&your&name&and§ion&on&the&front&cover&and&somewhere&on&the&inside&of&the&binder.&
&
PENCIL:""It&is&extremely&important&to&have&a&pencil&on&hand&at&all&rehearsals&(camps&and&summer).&&Notes&should&be&
taken&at&all×,&especially&when&rehearsing&with&the&arranger.&&Write&EVERYTHING"down!&&The&more&
details&you&document,&the&more&details&you&will&remember!&
&
GLOVES"(black"cotton):""Gloves&will&be&worn&at&all×&when&handling&a&Spirit&of&Atlanta&horn.&&You&will&go&
through&many&sets&of&gloves&during&the&course&of&the&season.&&It&is&important&that&your&gloves&remain&in&
good&condition&and&are&replaced&as&necessary.&&Gloves&that&are&dirty&or&have&acquired&holes&are&NEVER&
acceptable.&
&
BLACK"TOWEL:""The&black&towel&is&used&to&protect&your&instrument&when&placed&on&hard&surfaces,&especially&
outdoors.&
&
BASEBALL"CAP:""Your&cap&must&cover&the&top&of&your&head&and&shade&your&face,&your&eyes,&and&your&chops.&&
Depending&on&time&of&day,&caps&may&be&removed&(at&the&discretion&of&the&Caption&Heads&/&Drum&Majors).&&
During&indoor&rehearsals,&caps&are&optional&at&the&discretion&of&the&Caption&Heads&and&Drum&Majors.&
&
TENNIS"SHOES"/"TRAINERS:""You&will&be&moving&at&all&rehearsals.&&Thus,&tennis&shoes&are&required&at&all×.&&
Sandals,&shower&shoes,&flip&flops,&bare&feet,&etc.&are&never&acceptable.&&TAKE&CARE&OF&YOUR&FEET!&
&
CLOTHING:""You&must&wear&clothing&that&will&allow&you&to&perform&excessive&movement&such&as&gym&shorts,&tI
shirts,&sweats,&etc.&&NO"JEANS!!!""Again,&you&will&be&moving&at&all&rehearsals.&
&
WATER"BOTTLES:""Each&brass&team&member&is&required&to&own&their&own&personal&water&jug.&&The&approved&water&
jug&is&a&Coleman&1Igallon&Jug&(Blue).&&These&water&jugs&must&be&present&and&filled&with&water&at&all&
rehearsals.&
"
http://www.amazon.com/ColemanI3000000JUGI1IGallonIJug/dp/B00363RSXU&
&
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&
&
**always'look'good**'
**make'your'best'sound**'
**it'only'counts'on'the'move**'
7"
&
PHYSICAL&FITNESS&
Physical&ability&and&fitness&is&a&must&in&this&activity.&You&must&be&able&to&sustain&an&extended&
length&of&high&output&cardiovascular&during&our&rehearsals.&Brass&team&members&are&expected&
to&make&a&commitment&to&working&hard&in&the&offIseason&on&their&personal&physical&fitness.&The&
reason&physical&fitness&is&a&must&is&very&simple:&the&stronger&we&are,&the&stronger&we&will&be.&
Plus&it&is&always&easier&to&listen&to&instructions&when&you&are¬&worn&out&after&a&rep&or&
rehearsal.&&
Below&are&some&tips&that&can&help&you&achieve&your&goals&as&well&as&ours:&&
DIET:&We&dont&pretend&to&be&health&experts.&However,&here&are&some&simple&ways&to&adjust&
your&diet&in&order&to&help&you&shed&some&unwanted£s&and&just&make&you&feel&better:&
1. Stop&drinking&Soda&and&replace&it&with&water&&
2. Reduce&the&amount&of&fast&food&you&eat&&
3. Eat&more&vegetables,&especially&dark&greens&&
4. Replace&sugary&snacks&with&fruits,&juices&&&vegetables&&
5. Try&to&eat&a&breakfast&everyday&&
6. Dont&eat&late&night&snacks&&
7. Eat&more,&smaller&meals&per&day&&
&
EXERCISE:&Any&type&of&physical&fitness&can&help&you&feel&better&in&many&ways.&When&
committed&to&a&daily&exercise&routine&you¬&only&improve&your&health&and&wellIbeing,&you&will&
greatly&improve&your&ability&to&contribute&to&the&brass&team&at&the&highestIlevel&possible.&&
EVERYDAY&you&should&do&the&following:&&
1.
2.
3.
4.
5.
6.
Stretch&your&body&&
Walk&for&an&extended&amount&of&time&&
Make&sure&you&get&plenty&of&sleep&&
Keep&a&record&of&everything&you&do&&
Gradually&increase&the&amount&of&exercise&&
Jog&at&least&15&minutes&&
&
Dont&be&intimidated&by&the&physical&fitness&portion&of&this&packet!&It&is&only&meant&to&share&
some&ideas&to&help&you&improve&as&a&musician.&We&believe&that&being&a&member&of&the&brass&
team&is&akin&to&being&a&professional&athlete&at&the&top&of&their&game.&It&is&imperative&that&all&of&
our&brass&team&members&be&in&excellent&physical&health.&If&you&have,&or&have&had,&heart&
problems,&asthma&difficulties,&knee&issues&or&surgery&and&or&back&problems&or&surgery&then&this&
activity&may¬&be&for&you.&
**always&look&good**&**make&your&best&sound**&**it&only&counts&on&the&move**&
&
&
**always'look'good**'
**make'your'best'sound**'
**it'only'counts'on'the'move**'
8"
&
Assignments&
In&order&for&us&to&maximize&our&time&at&winter&camps,&brass&team&members&will&be&expected&to&
spend&time&practicing&all&SoA&techniques,&show&music,&and&nonIshow&music&in&the&weeks&
between&camps.&Practice&sessions&should&be&focused,&productive,&and&nonIstressful;&a&specific&
goal&should&be&set&and&reached&each&time&you&set&aside&time&to&practice.&Professionals&dont&
practice&until&they&get&something&right;&they&practice&until&they&cant&get&it&wrong.&You&will&
be&treated&as&a&professional,&and&thus&will&be&expected&to&come&to&camps&and&moveIins&
prepared&as&such.&&
Process:&There&will&be&at&least&two&(2)&assignments&between&every&camp&that&brass&team&
members&are&expected&to&turn&in.&These&assignments&are&to&be&recorded&on&a&device&with&both&
video&and&audio&capabilities&(video&camera,&camera&phone,&tablet,&etc.)&and&then&uploaded&to&
YouTube&as&an&UNLISTED&video.&Make&sure&to&include&your&name,&instrument,&assignment,&and&
date&in&the&info§ion&of&the&page.&The&link&to&this&page&is&then&to&be&eImailed&to&your&Section&
Tech&and&the&Caption&Heads.&All&assignments&will&be&due&by&midnight&on&Wednesdays&(dates&to&
be&determined&based&off&of&the&camp&schedule&and&communicated&to&you).&&
Late"Assignments:&In&drum&corps,&being&late&is&never&an&option&and&it&can&negatively&affect&the&
entire&organization.&The&expectation&is&that&to&be&on&time&is&to&be&late,&and&to&be&early&is&to&be&
on&time.&Late&assignments&will&only&be&accepted&if&a&prior&arrangement&has&been&made&with&
your&Section&Tech&and/or&the&Caption&Heads.&Assignments&that&are&turned&in&late,&or¬&at&all,&
run&the&risk&of&jeopardizing&a&members&contracted&status&with&SoA.&&
Essentials:&Every&assignment&should&have&an&audible&metronome&that&you&are&playing&with.&
Assignments&with&no&met&will¬&be&accepted.&One&of&the&major&tenets&of&our&program&is&the&
idea&that&it&only&counts&on&the&move.&When&doing&video&assignments,&make&sure&that&you&are&
using&the&visual&technique&as&established&by&the&SoA&visual&staff,&and&are&moving&within&the&field&
of&view&of&the&camera.&Remember&to&always&make&your&best&sound&&the&brass&staff&will&give&
you&feedback&directed&at&maximizing&your&potential&to&be&an&incredible&brass&musician.&&
Music:&Show&music&and&nonIshow&music&will&be&made&available&to&contracted&members&
between&camps.&It&is&expected&that&this&music&will&be&downloaded,&printed,&placed&in&the&
appropriate§ion&in&your&brass&binder,&and&prepared&PRIOR&to&coming&to&camp.&With&enough&
advance¬iced,&some&music&will&be&required&to&be&memorized&prior&to&coming&to&camp.&Camps&
are¬&for&teaching¬es&and&rhythms&&Instead,&we&will&be&spending&most&of&our&time&working&
to&achieve&uniform§ion&sounds,&blended&and&balanced&full&hornline&sounds,&and&piecing&
together&all&of&the&work&each&individual&member&has&put&in&between&the&camps.&This&process&is&
paramount&to&our&success&through&the&winter&months&and&the&summer&tour.&
&
&
&
&
&
**always'look'good**'
**make'your'best'sound**'
**it'only'counts'on'the'move**'
The Technique
The Brass Technique of the Spirit of Atlanta is the foundation upon which we will build a strong
future for our drum corps. Through consistency of this approach we will be able to explore
levels of musicianship that were previously unattainable.
POSTURE
To be most efficient when marching and playing, the body should be in the most natural and
upright position. Improper posture will hinder your brass playing and can cause back injury.
When playing your brass instrument, weight should be evenly distributed on both feet. Your
upper body weight should be lifted up from your waist, NOT leaning on the lower part of your
back. Your shoulders should be back, down, and relaxed in order to keep tension out of your
sound. The bell of your horn should be 10o above parallel at all times.
In terms of hand position, your fingers and wrists should be relaxed at all times. Fingertips go
on top of the valves (making a C-shape with the right hand) in order to push the valves straight
down. Correct finger technique will help avoid bent valve stems which will cause the valves to
stick. Valve casings should be perpendicular to the ground (except for tubas). The palms of
your hands should away from the horn in such a way that allows you to create a straight line
from the knuckle, along the top of the forearm to the elbow.
It is important that you begin to think about SEPERATION OF UPPER AND LOWER BODY. Lifting
your weight off of your hips creates more room in the upper body to take in more relaxed air.
It also helps prevent marching and maneuvering from affecting your sound.
MARKING-TIME
Marking-time will be used in all non-drill music rehearsals. As the season progresses, the visual
staff will go into further detail regarding the proper way to mark-time. Here are some basic
guidelines to marking time:
1. The initiation to the mark-time will one count or the and count (to be determined
by tempo of the exercise)
2. The heels of your feet will hit the ground on all down beats. This will coincide with the
opposite knee hitting a forward position. (left heel down, right knee up; right heel
down, left knee up)
3. Your heel will come up to the opposing foots ankle bone.
4. Your upper body should not bounce or sway while marking-time. It should look as
though you are standing still.
5. The success of the brass ensemble will be determined by how well you move and play at
the same time. The sooner you start adding movement to your playing, the better your
section will get.
10
STEP-OUTS
Step-outs are essentially mini-drill moves to help us fix drill and tempo issues, as well as
another form of marrying your music responsibilities to your visual responsibilities. Almost all
timing issues occur within the first 2 counts of a drill move, hence the use of step-outs in the arc
or circle.
Step-outs are simple: You take two steps in ANY direction (left foot, then right foot) at the
beginning of a musical or drill phrase. Over the next two counts, you will return to your original
position and continue marking-time. It is important that you try to simulate the drill phrases as
close as possible in regards to step size. We want you to extend your step sizes at all times to
make your job on the field that much easier.
Heres a breakdown of proper step-out technique:
AIR TECHNIQUE
Our brass technique program is based on our ability to accurately and efficiently use our air
supply. By being able to do this, we can expand our range of dynamic expression, both in the
extreme louds and extreme softs.
Air should always be relaxed and NEVER forced. There should never be any tension in the neck
and shoulders, as this tension will manifest itself in the sounds coming out of your bell. In order
to achieve this feeling, there are some exercises that will help you work toward the most
relaxed posture possible. Neck rolls, shoulder rolls, arm circles, and upper body stretches all
can be used to help you relax the proper muscle groups, aiding in a relaxed, full breath.
Like the pendulum of a grandfather clock, the air is always moving. NEVER allow your air to
stop movement, aka capping. This happens when a person inhales and then stops the airflow
before exhaling. This inevitably causes numerous problems including tension, timing issues,
and explosion of air during the exhale, to name a few. When breathing in, there should be no
sound (a sign of tension) and the air should feel cold on the back of the throat.
Timing of the breath is one of the most important aspects of playing in time with the ensemble.
Your breath should occur one (1) count prior to the attack of a note. Sometimes this will be
altered to a two (2) count breath before the attack of a note. This will be determined by the
Caption Heads and Section Techs based on the requirements of the music book. Without this
technique, we will have significant timing issues.
11
Air speed helps with range and slotting of notes on your instrument. When playing higher you
should use faster air; slower air for lower notes. In addition to tessitura, air is essential to
dynamic differences in musical passages. You should always use faster air for louder dynamics
and slower air for softer dynamics. However, the column or width of the air is always very large
and moving forward.
The column of air can be described as the amount of moving air. In playing your instrument, it
is always advisable to get as much air into the horn as possible. The more air you can get into
the horn, the warmer and richer the sound quality will be coming from the bell.
12
BREATHING EXERCISES
While performing the following exercises, the player should be concerned with filling up his or
her lungs completely while maintaining relaxation. In normal everyday life, humans use about
25-30% of their lung capacity. As wind instrument players, we strive to push that percentage to
90-100%. These exercises will assist in expanding your lung capacity throughout the winter
camps and summer move-ins.
A proper breath should allow an outward expansion in the midsection of your body. This is
easiest to see in the stomach area, but the expansion should be felt all through the sides and
back of the midsection of your body. Once lung capacity is full, focus should shift toward
releasing all of the air out evenly. It is important to completely empty the lungs to counteract
the lungs from storing carbon dioxide. If the air is not released completely, carbon dioxide will
build up and begin to decrease the players lung capacity causing unnecessary stress, tension,
dizziness, and exhaustion.
These exercises should be done with and without the instrument. In both cases, relaxation is a
key factor towards producing a proper air-stream; the avoidance of tension will allow for a
more effective use of the air-stream. It is important with all the exercises that you try to imitate
the way you play in a performance situation as closely as possible. Simply playing through the
exercises without a thought of application is not effective and will form bad habits.
There are many different kinds of breathing exercises and techniques that we will utilize
throughout the winter, spring, and summer (such as sizzling and the Breathing Gym). All
exercises will develop and improve your air support. Exercises will be done with and without
your breathing tube.
5 15 5
This exercise will work specifically on expansion of the lungs as well as staying relaxed. Begin
with an inhale to 100% for five (5) seconds then hold the air in for fifteen (15) seconds. During
this time, take 2-3 sips to make sure you are filled up at 100%. Also, stretch the upper body
while holding your air to find if there is any more room to store air in order to get a more full
original breath. Next, exhale completely for five (5) seconds, followed by a sizzle (tssss) to expel
all remaining air. Finally, take a last big breath in and exhale completely to reset the system (a
sigh).
Breathing Gym
The Breathing Gym was developed by tubists Sam Pilafian and Patrick Sheridan. It is designed
to give you better control and efficiency of the breath by developing proper breathing habits.
When done correctly, you should notice improvement in your tone, stamina, and overall
performance. Work these exercises just past the point of ease and slightly into discomfort,
WITHOUT tension or overexertion. All exercises are to be performed in a relaxed manner with
no tension in the body.
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Singing
All instruments produce sound that imitates the human voice. Singing is an important tool for
developing great ensemble tone quality and intonation. The brass section will sing frequently,
and we will have a very serious approach to the technique of singing. The resonance and
breath support necessary for singing are quite similar to proper brass playing. When singing,
we use the radio announcer voice, the voice that seems to project a great distance. Here are
some guidelines for all singing exercises:
15
Singing (continued)
In the following exercise, work with a tuner to make sure every pitch is centered and sung with
a dark, resonant tone quality. Know all 4 parts we will frequently change up who is on what
part.
Embouchure Development
Most professional brass musicians practice with the mouthpiece on a regular basis. The
benefits of mouthpiece buzzing include: being able to isolate embouchure and tone production
problems, improved aural skills, and less lip fatigue.
The first notes we will play every day will usually be on the mouthpiece. There will be much
attention placed on how you produce that sound and its overall quality. The mouthpiece,
embouchure, and air support combine to create the true instrument; the tubing of the brass
instrument merely resonates your buzz. The quality of sound on the mouthpiece directly
correlates to the players tone quality when the mouthpiece is added to the instrument.
Therefore, developing a dark and resonant sound on the mouthpiece should be a priority for all
brass players.
There are numerous articles written about embouchure development for each of the
instruments. We strongly recommend that you find and research these articles so that you may
apply the information to your specific instrument. You should also continue to reinforce the
embouchure work that you may have done with your private lesson instructor.
Remember, one of the tenets of our program is MAKE YOUR BEST SOUND. This requires focus
on producing the most resonant, dark, and warm tone as possible. Here are some basic
embouchure rules that can be applied to all brass players:
16
There should always be a dark, open Oh sound. If the sound is bright and tinny, open your
jaw more and firm up the corners. Be sure to check that the mouthpiece is not forced against
your lips. Again, be certain that the corners are locked and that there is ALWAYS excellent
breath support.
In addition to warm-up exercises, mouthpiece playing will help improve accuracy discrepancies
in the show music. Every player in the ensemble should be able to play any part of the show
music on his or her mouthpiece.
17
BENDING PITCHES
When practicing on your own, or even during a warm down, we DO recommend
bending/sliding as a technique to gaining true flexibility. It is important that when you slide
between pitches or when bending pitches, that your corners stay firm, and that the Mmuscles in the upper lip stay engaged. The bending or sliding of the pitch lies solely on the
rolling in-and-out of the bottom lip and the type of air being used.
When playing flexibility exercises on the mouthpiece, target the exact pitch (this is called
slotting). Sliding will cause intonation problems, along with serious timing problems, because
players arrive at the pitch at different times. WHEN WE HAVE 84 PLAYERS TRYING TO PLAY
TOGETHER, WE NEED TO NAIL (SLOT) EVERY PITCH WITH NO SLIDING.
LONG TONES
There are several benefits from playing long tones every day. Along with mouthpieces work,
this allows the muscles in your face to loosen up and helps you to become comfortable with
instrument. Primarily, this is an opportunity for the player to concentrate solely on tone quality,
breath support, and intonation. Without the distraction of rhythms and notes, the player can
focus on playing in tone with his or her section and throughout the ensemble. Long tones are
essential to establishing a solid center of pitch for the warm-up. Balance and blend are key
factors to this portion of the warm-up. Players should be listening for intonation, blend of tone,
intensity, as well as quality of sound.
F INTERVAL STUDIES
Intervallic studies will be a key factor in our ability to move between pitches with a smooth,
even sound. Make sure to increase the speed of the air as you change from note to note. This
will not only aid with the centering of pitches, but also with giving each phrase musical
direction. Play the exercise slowly and with a tuner to ensure correct centering of each and
every pitch. The ultimate goal is to make each and every note sound exactly the same,
regardless of the direction from which you approach the note or the size of the intervallic leap.
THE MACHINE BREATH
The Machine Breath is the method through which we keep air moving in the space between
phrases. In the following example, you will see that the initial sustained note is released with a
breath on beat one (1). Preparing for the following attack should include the breath on beat
four (4), which leaves open beats two (2) and three (3). An exhalation should occur to fill in the
space, but this should be through the corners of the mouth and NOT THROUGH THE HORN.
Your air should mimic the pendulum of a grandfather clock it never stops moving!
18
19
20
21
FLOW STUDIES
The flow studies are another staple in the SoA fundamentals package. This exercise will allow
the member to focus on creating the most smooth and characteristic sound possible. Based on
the exercises of Vincent Cichowicz, these lines begin with small intervals and progress to larger
intervals, allowing the performer to create a block sound that is even throughout all registers.
The exercise can be transposed down to work on lower register playing. In addition, by adding
notes to the middle of each line, the upper register can be expanded. The performer should
strive to create the most resonant and even sound possible. This even sound occurs when all
notes produced are equal in tone, volume, and energy.
Dynamics can also be added to the exercise to place additional responsibilities on the player.
However, in the initial stages, the performer should work to create a constant and unchanging
sound with no dynamic change.
LIP SLURS / FLEXIBILITY EXERCISES
Lip slurs play a huge part in the development of any brass players flexibility. The ability to
move fluidly from partial to partial while maintaining accurate pitch is essential. Providing a
consistent air stream throughout the musical line will allow the player to attain this fluidity.
The exercise should not be thought of merely as an exercise, but rather as a musical phrase.
Each musical line should have purpose, movement, and arrive at a destination.
Like endurance, flexibility will only improve with regular practice over time. When practicing
lip slurs, always use a metronome and strive for equally spaced notes in time and steady.
Make all the notes equal volume; dont allow the top note of a lip slur to pop out.
22
FLOW STUDIES
23
24
FLOW STUDIES
25
26
FLOW STUDIES
27
28
29
ARTICULATION VISUALIZATION
30
Articulation Exercises
31
Articulation Exercises
32
Articulation Exercises
33
VOLUME
Power and quantity of sound are trademarks of great brass ensembles. This type of playing
requires a constant monitoring of the players quality and intonation. The key to playing loud is
relaxation. An ugly, spread tone is often the result of tension and forced breathing. You must
stay open to maximize the amount of air involved during the inhalation to produce a large
and flowing fff exhale. The corners of the mouth must be kept firm to support the large
volume of air pouring through the aperture. Visualize the lips wrapping around the air stream
when playing at fuller dynamic levels. Great care should be taken through the building of
volume over a given period of time. Playing loud with a round, beautiful sound is a goal that
will require great concentration over a long period of time.
Another point of concern is pp passages of music. We must focus on playing at the extreme
soft dynamics required. We do this by applying all of the same techniques we would use during
extreme loud volumes. The best ensembles play not only at extreme loud volumes; they can
also play at soft dynamic levels with full supported sounds. Again, every note will sound exactly
the same just speak at different volumes. A great comparison will be like turning up or down
the volume knob on a stereo.
Below is a chart that can be used to help us identify volumes in our music book. We will use
this as a guide to exploring the dynamic range of our brass team. Keep in mind that dynamics
are subjective and can change depending on the location of the performer on the field and the
needs of the musical book.
Dynamic Marking
ppp
Number
1
pp
p
mp
mf
2
3
4
5
f
ff
fff
Full Volume
6
7
8
9
Definition
This is the softest volume you can play with a full, supported
sound
This is the loudest volume you can play without any edge in the
sound
This is the most extreme volume you can play while still creating
a great sound. The sound will have lots of brilliance and a slight
edge.
34
As the ensemble becomes more in tune and each individual become more in tune with the
other performers, entire chords can be heard ringing above the brass ensemble. In addition to
working with a tuner every day, our singing, mouthpiece, long tone and relative pitch exercises
will help develop your ears for tuning chords and unison notes.
If you play the same note in two different chords, you almost always have to do something
different to each note in order to keep it in tune:
1. Recognize what part of the chord you are playing. Is it the root, third or sixth?
2. Listen with BIG EARS. Know all of the parts and how your part fits into the ensemble.
3. CRESCENDO the moving lines (especially the descending passages).
It is your responsibility to understand which interval you are playing in regards to the ensemble
musical structure. You should always be researching your part as well as the entire score. Take
the time to know how your part fits in with the other parts. If you understand not only your
part but also all the parts of the score, you will then be able to maximize your abilities within
the ensemble as well as improving the brass ensembles success.
There are also many natural intonation problems when dealing with the structure of chords.
Below is a list of intervals (from the root of the chord) and the adjustments needed for each
interval to be played in tune:
35
The following are tuning tendency charts to help you understand the tuning tendencies of your
instrument. Every brass team member should fill out the charts completely. The C Tuning Tendency is
for trumpets and mellophones. The Bb Tuning Tendency is used for tubas, baritones & euphoniums. On
the Bb chart, the middle Bb is your instruments tuning Bb. When the charts are filled out completely
you can refer to them to understand your instrument and how you need to adjust your individual
intonation in context with the rest of the section and hornline.
36
37
38
39
PEDAL TONES
Pedal tones are an important part of our brass program and should be a part of every brass
players daily ritual. When playing pedals, listen carefully to the pitch. Make sure that your
corners stay somewhat firm in the pedal register.
The effective use of pedals in your warm-down and practice routine will:
STAGGER BREATHING
When listening to long sustained chords from a brass ensemble, you will notice that the best
ensembles sustain these chords without holes in the sound. This wall of sound is created by
utilizing a technique called stagger breathing. Essentially the wall of sound is created by each
performer in the brass ensemble following this simple process:
1. Know when you are going to breathe and commit to the breathing
a. You must commit to the breath even if you are not running out of air
2. Dont breathe at the same time as the person(s) next to you
a. Two or more people in the same proximity breathing at the same time creates
holes in the sound
3. Fade out
a. A rapid, one beat decrescendo
b. Dont allow the pitch to drift out of tune
c. Dont allow your tongue to change
4. Breathe
a. One beat to take in a full breath
b. The breath should immediately follow the decrescendo; no gaps between the
end of the decrescendo and the full breath in
5. Fade back in
a. A rapid, two beat crescendo from niente no gaps between the end of the
breath and the beginning of the crescendo
b. Do not rearticulate the front of the note Ah articulation
c. Be in-tune and in-tone all the way through the crescendo
40
FINGER TECHNIQUE
When playing all musical passages, we recommend pressing the valves down with authority,
while keeping a relaxed feel in the wrists and fingers. Do not lose control of the valve on the
way back up. The fingers should be rounded and the tips should press the valve straight up and
down. If a player pushes the valves on an angle, the valves will stick and make technical
passages unplayable.
Taken from the Herbert L. Clarke technique book, this scale pattern can be used for multiple
purposes. The exercise can be used for tone development, finger dexterity improvement,
overall flexibility, range development, articulation work, and various combinations. As with
every exercise, high-level tone production must be constant, regardless of which performance
aspect is being addressed.
41
CLARKE STUDIES
42
CLARKE STUDIES
43
CLARKE STUDIES
44
45
LIP MAINTAINANCE
For starters, let's take a crash course in anatomy. Our lips and the muscles that make up our
embouchure are a complex arrangement of muscle and tissue. The skin covering our lips is much
thinner than the skin covering the rest of our body - which is why your lips are red and very sensitive.
It's also why they're capable of creating beautiful sounds when buzzed properly.
In the same way you don't need to be a mechanic to drive a car, you don't need to know a lot more
about how the lips function in order to play well. But knowing how to care for your lips and avoid
accidents can help you play longer and with less discomfort. After all, "lip care" isn't something you
should think about only after you play or when you have a problem, any more than auto maintenance is
something you should think about only after a long trip or a crash.
Taking care of your lips should include good practice and playing habits. Basic concepts like good
posture and always taking a full, relaxed breath are important, but easy to forget. Think of your lips as
sails on a boat - they both work better with a nice, full supply of wind.
Generally speaking, muscles swell up when used, and the lips are no exception. However, there is a
difference between being "a little sore and puffy" and sharp pain. If you are a little sore and fatigued
after playing, your body is saying, "You should stop soon and take it easy during your next practice
session." True pain means "Stop immediately and step away from the horn as soon as possible!"
People often say, "Rest as much as you play." This is generally good advice, but it doesn't necessarily
mean play an hour, rest an hour, play an hour, rest an hour all day long. Here's how I interpret that
advice: Let's say you have an hour to practice. Warm up (flap your lips, maybe buzz on the mouthpiece
and play a few scales or a simple tune you like) for 5 minutes. Then rest for at least 2 or 3 minutes.
Then work on some fundamentals like scales and lip slurs for 10 minutes or so. Rest for 10 minutes.
Finally, spend a good 30 minutes working on the music you currently are learning (school music, a solo
or etudes). But be sure to take the horn off the chops every now and then during those 30 minutes.
Of course, life doesn't always unfold this neatly and sometimes we over-do, for a variety of reasons. In
those cases, use the same therapeutic techniques that athletic trainers prescribe for abused muscle
tissue such as alternating cold (to reduce swelling) and heat (to promote blood flow). An ice cube can
be applied much in the same way you would suck on a Popsicle. For heat, soak a wash cloth in warm
water and gently press on to your lips and face. Just a few minutes at a time with either procedure is
adequate and will stimulate healing. Also, use your hands and fingers to massage the face and lip
muscles, keeping in mind that an embouchure is formed with the muscles of the jaw, chin, cheeks and
neck, not just the lips and corners.
Hopefully, these tips will help you create a disciplined, goal-oriented approach to your practice and help
you spend more time making great music and less time complaining about sore, tired chops.
DCT (Daily Conditioning Treatment)
DCT nurtures your lips with two proven moisturizers, Aloe and Cocoa Butter, plus Vitamins A&E. DCT
softens and smoothes the surface of lips and helps to prevent and replenish moisture-starved cells that
can occur from daily exposure to dry air and other environmental conditions. DCT provides SPF 20
protection.
9"
&
2016&Spirit&of&Atlanta&Audition&Process&
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8LCount"Box"Drill
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&
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**always'look'good**'
**make'your'best'sound**'
**it'only'counts'on'the'move**'
2016%Spirit%of%Atlanta%Audition%Sheet%
Brass%Audition%Worksheet%
(Please%fill%this%out%before%your%audition)%
%
%
%
Name:________________________% Instrument:______________________%
Age%Today:____________________% School/%Major:___________________%
Email:________________________% Marching%Experience:_____________%
Phone:_______________________% _______________________________%
%
Listed%below%are%all%CAMP%and%MOVE;IN%DATES%for%SPRING%TRAINING.%Please%indicate%your%
commitment%to%attendance%by%checking%the%boxes%below.%If%you%cannot%make%a%specific%camp%
weekend,%please%explain%why%you%will%be%absent.%Be%clear.%%
%
%
%
Camp%Dates%%
%
%
%%I%will%% %I%cannot% %
%Attend% %Attend% %
%
If%not,%why?%
January%15P17,%2016%
February%19P21,%2016% %
March%11P13,%2016%
April%22P24,%2016%
May%29%%Move%Ins%
%
For$Staff$Use$Only:$
Member%Rating:%%%%%% I%
II% %
III%
Overview
The overall visual program in 2016 will aim to achieve a mixture of well trained
choreography and natural movement in all forms. Simplicity will be key to all aspects of
our movement and we will strive for all motion to be from the same source. Be ready to
commit to a program that will not consider Marching and Dance to be separate
concepts.
Posture
We will be looking for individuals to carry themselves with the tallest and broadest
image they can possibly project. One single line will cross through the entire body.
Head, Shoulders, Hips, Knees and Ankles will be completely aligned. This will be
referred to as the Body Line.
Take in a deep breath and inflate the upper body without breaking the body line. Keep
the shape that your upper body creates when inflated. Pull your shoulder blades
together slightly to achieve an even larger look. Keep the shoulders and neck muscles
as relaxed as possible. Your chin will be up and projected.
Feet
Your feet will be together at the heels and your toes will be separated at a comfortable
90-degree angle from each other. This will provide a solid bass for the performer.
Weight
Once you have established your entire bodys posture and foot positioning place all of
your weight on the front two thirds of your foot. If you are not wearing shoes you will feel
the skin of your heel slightly touching the floor.
This means that you will not have your weight distributed at all on your heels. This will
ensure your calf muscles and achilles tendon will be engaged and prepared for any
motion at any time. Your presence should be lifted tall through your spine and into your
head.
**The goal is to have your muscles engaged and ready for movement, however your body posture should
remain tall straight and to the box.
Backward
Backward will be achieved with the longest of leg lines possible. Absolutely no knee
bend of any kind will occur. By not resting our heels on the ground no change in
height will occur either. You will initiate from the already engaged leg muscles and push
horizontally. Once that initial push has occurred you will reach back utilizing a Pendulum
Motion from the hip to achieve the desired distance.
Your foot will land with the exact same platform you had at the stationary
position. Place the entire platform on the ground at once and continue pushing with
that newly landed foot. Flex the foot on the crossing count just enough to allow the foot
to travel back but do not allow any bending of the knee. You will not touch the ground
toe first and roll backward onto the rest of the platform. This will lead to unwanted height
changes.
Tip: To alleviate bouncing on your downbeats, keep the upper body lifted and learn to relax as many
muscles as possible to absorb shock. More tension=more bounce.
3 Things to remember:
1. Start already engaged with the weight on the full platform
2. Always Push using the entire leg and only push horizontally
3. Land every single step on the exact FULL platform described earlier
Forward
Like backward you will initiate your forward motion from an engaged and forward
weighted position. We will think of a single step as follows: 1 E + A
Initiation
You will push from the stationary foot (Right), pendulum swing the starting leg (Left) and
land precisely on the downbeat with the back edge of your heel. Flex the foot, pull the
toes back, and completely stretch the arch of the foot to achieve the highest toe
possible.
This brings you to beat 1.
On the E of 1 you will flex the foot of the back leg (Right) and transfer the weight to the
leading leg. (Left)
On the + of 1 you will find your back leg (Right) inline with the front leg (Left). The foot
will still be flexed.
You will feel your heel softly brush the ground through this motion.
On the A of 1 you will find your back leg (Right) now continuing the pendulum swing
forward and about to achieve the next downbeat.
Repeat this process for every single forward step of the 2016 Production.
The larger the step size, the further you will roll through the platform on the
pushing leg. The E of each count becomes significant here to avoid knee bend.
3 Things to remember:
1. Do not lock the knee(s) at any point
2. Do not dip your hips up and down to
achieve a perfectly straight leg, utilize the foot flex.
3. Keep the heels as low as possible
to prevent harsh or heavy downbeats
Sliding
To achieve a comfortable slide of the shoulders allow your Hips, Core, and Shoulders to split
the difference in 3 ways (30, 60, and 90 Degrees respectively). Your entire upper body will twist
in a corkscrew fashion to maintain lift and to smoothly round out the broad image we want. This
twist allows a healthy track for the knees and feet and does not force you to alter the prescribed
forward and backward techniques.
You will not change the leg or foot technique to accommodate any slide at any time.
*Tension is the enemy. Stay relaxed and use air to inflate and lift the upper body.
Tendu Step
(Tahn-Doo)
This foot technique is commonly referred to as Toe Down or Tendu. From set position your
foot will travel forward remaining in turned out position as if your foot s gliding forward on ice.
Once that is achieved, you will roll through the platform from pinky toe and sequentially
through your other toes until the entire platform (not heel) is on the ground.
That sequential roll is where our weight will smoothly transfer and prevent any harshness to
our sound and rigidness in our image. We will utilize this many times in our movements.
Jazz Running
Jazz Running or the largest extended step size will be done with the longest legs possible in
order to reach the furthest distances. Focusing on horizontal motion at the highest degree while
maintaining height and shape of the upper body will be key.
1. You will not Demi-pli at any time.
The legs must stay just as straight as forward marching
2. You will use the Tendu (toe down) foot shaping
3. Halting will be a pure redirection upward and
if you maintain the Two Third weight on the platform
you will find that redirection to be easier.
Motion Changes
Stopping or changing direction will be treated exactly the same utilizing the same parts of the
body and ultimately directing our energy in the same places.
The full platform described in our Posture section will be used on all forms of motion change.
You will also engage your core muscles (Abdominals and Groin areas) and maintain lift from
the chest. The Tendu is critical in this area as the roll from the toes will keep your movement
smooth and ultimately be easier to achieve.
Stopping
On the final count of movement, you will place the entire platform with a POINTED foot into the
45 Degree angle we use in our stationary position. You will then bring the back leg (in time)
and distribute the weight evenly between both full platforms. (No heels are involved)
(Forward Marching)
We will use the Tendu step to soften the landing and absorb all possible shock.
As you place your weight on the foot each toe will touch the ground in succession and the
weight will smoothly pass through until the entire platform is on the ground.
This returns you to the very same stationary posture position we established before. Weight is
forward, heels are pushed inward, and calf muscles/achilles tendons are still engaged.
(Backward Marching)
You will reach back with your biggest toe and allow the weight to distribute smoothly across and
to the full platform. Do not allow your heels to be utilized.
This returns you to the very same stationary posture position we established before. Weight is
forward, heels are not utilized, and calf muscles/achilles tendons are still engaged.
Changing Direction
When changing direction you will place the foot as described above, you will utilize the same
muscle groupings, and you will maintain lift. Treat the direction change as a halt but instead of
bringing the back leg into a close you will simply continue to push into a new direction with a
smooth hip motion throughout.
Your last step (pointed foot) will always split the difference between the old and new
directions.
Exercises
The following exercises are expected to be memorized and prepared for auditions. These will be
utilized for the entire horn line for all camps, spring training, and the regular season. Most will
have multiple variations but at least be prepared to perform these as you would your music for
each camp
Box I
Forward 8
Forward slide 8
Backward 8
Forward slide 8
Box II
Forward 8
Backward Slide 8
Backward 8
Backward slide 8
Circle Drill
Circle drill will teach us to use our eyes, comprehend interval/spacing, expand/contract forms,
maintain shape, and build stamina. The format involves always having the shoulders face a
center point of a circle. The following instructions involve movement toward, away, or around
that center point.
Part I
Out for 8
In for 8
Out for 8
Left for 16
Back for 16
In 8
Part II
Out for 8
In for 8
Out for 8
Right for 16
Back for 16
In 8
8 to 5 steps
16 to 5 steps
6 to 5 steps
12 to 5 steps
This pattern will be used in multiple combinations of backward and forward and will eventually
encompass into and out of jazz runs.
Zig Zag
This exercise is an extension of the boxes however we are focusing on specific motion changes.
Have prepared this variation which will only involve Backward to Backward direction changes.
Back 8, Right 8 (Backward Slide), Back 8, Left 8 (Backward Slide), Back 8
**Repeat As Needed**
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