Brass - Oregon Crusaders Audition Packet 2018
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Brass
Oregon Crusaders Audition
Packet 2018
TABLE OF CONTENTS
Audition Information 3
I’ve Been Offered a Contract… 5
Required Rehearsal Materials 6
Brass Technique 7-13
Volume 7
Pitch 7
Chord Adjustments 8
Tuning Tendency Charts 9
Balancing 12
Buzzing 12
Bending Pitches 12
Fog Horn 13
Singing 13
Bopping 13
The Bucket List 14-28
Breathing 15
Long Tones 15
Remington 16
High Brass Lip Slurs 17
Baritone Lip Slurs 18
Tuba Lip Slurs 19
High Brass Flow Studies 20
Baritone Flow Studies 21
Tuba Flow Studies 22
Style 23
Double Tonguing 24
High Brass Clarkes 25
Baritone Clarkes 26
Tuba Clarkes 27
Intervals 28
“Success is peace of mind attained only through self-satisfaction and knowing
you’ve made the effort. Do the best of what you are capable.” John Wooden
2 Oregon Crusaders
It doesn’t count unless it’s on the move.AUDITION INFORMATION
The following statement has been heard many times:
“There is no way I could be chosen for any drum corps; I am just not good enough.”
Our number one rule at the Oregon Crusaders horn line is to not be afraid! So
many talented musicians fail to audition every year because they just don’t believe
in themselves. The following are the requirements for becoming a member of the
Oregon Crusaders horn line:
PROFICIENCY
Your abilities on your instrument and your marching skills are very important in the
selection process. Please note that your growth and development from camp to
camp is just as important. In your audition you will be asked to play one or two
exercises from this packet, so please be familiar with all of the exercises.
ATTENDANCE
All contracted members are expected to attend all camps unless otherwise
approved by the brass caption head. Occasionally, school and family conflicts may
arise. In order for an absence to be “excused” it must be communicated at least
two weeks in advance to Lisa Tatum at lisatatum@oregoncrusaders.org, your
section techs, section leaders, and in the corps camp form. All candidates and
members who miss a camp MUST send a recording to their section tech PRIOR
to the start of camp.
All “NO CALL – NO SHOW” members will be removed from the horn line
roster.
AUDITION
In your audition we would like to hear a solo or etude of your choosing. Show us
your very best playing! This should be something you feel very confident about;
it’s your chance to show off for us! You will also perform a 4 note lip slur from this
manual on the move in a box drill. If you cannot make it to the audition camp, you
may submit a video audition to Lisa Tatum.
3 Oregon Crusaders
It doesn’t count unless it’s on the move.ATTITUDE
Chemistry is very important towards success. Our horn line will be full of students
who will do whatever it takes to make the brass section great. It will be incredibly
fun to be a part of this brass section as long as 100% of the members work as hard
as they can, are positive, and support both the staff, and more importantly, each
other.
INSTRUMENTS
Please bring your own marching instrument to the first few camps when possible.
You are welcome to do your one on one audition on a concert horn or marching
horn (please bring your own instrument).
You will be asked to perform on a marching instrument at some point during
the audition process.
MOUTHPIECES
In order to achieve a more uniformed sound from play to player, we have selected
specific mouthpieces for the Oregon Crusaders horn line. You are expected to
have a personal mouthpiece at every camp. Once you are given a contract you
will need to order your prescribed mouthpiece. You will receive additional
information about which mouthpiece we will be using at one of the future camps.
“Dreams and dedication are a powerful
combination” William Longgood
“The way to get started is to quit talking and
begin doing.” Walt Disney
4 Oregon Crusaders
It doesn’t count unless it’s on the move.I’ve been offered a contract, now what…
CONTRACTS
At the Oregon Crusaders we offer contracts for our marching members. These contracts are a
binding agreement between you and the corps. This agreement guarantees your membership in
the Oregon Crusaders Drum & Bugle Corps as long as you maintain your end of the agreement,
which means: attend all camps, be current on all assignments, and remain current on all financial
responsibilities OC. Please note, contracts can be rescinded at any point if the staff and/or
administration sees fit. Appropriate measures will be taken. If you choose to quit, you might be
forfeiting all of your monetary payments to the drum corps.
FEES/TUITION
Your account status will have a direct impact on your membership in the corps. Without
fees and tuition, we would not be able to operate as a drum corps. Fees make up a
significant portion of the total funds needed to run a world class drum & bugle corps. If
you expect to march, you have got to keep your finances up to date.
MUSICAL RESPONSIBILITIES
The brass staff will give you specific music assignments to work on in between camps.
These are required to be completed on time and done at the highest level. You will be
asked to redo assignments that are not performed at a high level.
VISUAL RESPONSIBILITIES
The visual staff will give you specific visual assignments to work on in between camps.
These are also required to be completed on time, and done at the highest level. You will
be asked to redo assignments that are not performed at a high level.
PHYSICAL RESPONSIBILITIES
You will be given specific physical responsibilities to have done between camps. Being in
shape is required to be in the Oregon Crusaders horn line. Stay on top of your physical
fitness so that you are able to have a successful summer season.
TOO BUSY TO COMPLETE ASSIGNMENTS
No you are not. We make time for things that are important to us.
All assignments are required and if not completed at a high level your ranking will be
affected and your spot may be taken away.
5 Oregon Crusaders
It doesn’t count unless it’s on the move.REQUIRED REHEARSAL MATERIALS
Contracted members will need the following:
MOUTHPIECE: Audition results will determine the mouthpiece you will need.
TUNER / METRONOME: All members of the Oregon Crusaders brass team must
own a tuner. It must be the following tuner – Korg TM-50 Combo Tuner / Metronome.
BREATHING TUBES: All members of the Oregon Crusaders brass team must have
a WHITE ½ inch PVC Coupler – breathing tube.
B.E.R.P.: The Buzzing Extension Resistance Piece (B.E.R.P.) will be used extensively
by the Oregon Crusaders brass team.
MUSIC STAND: Please bring your own folding music stand to all camps.
BINDER: Your brass manual, all music, and any other provided documents need to go
in sheet protectors in a binder.
PENCIL: Have one. Enough said.
GLOVES (WHITE): Clean white gloves must be worn whenever handling corps
instruments. Gloves that are dirty or that have acquired holes are NEVER acceptable.
Gloves must cover your entire hand.
BLACK TOWEL: Your Oregon Crusaders instrument is in one of three places at all
times: in your hand, 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 outside.
BASEBALL CAP: Hats are required at all outdoor rehearsals.
TENNIS SHOES / TRAINERS: You will be moving at all rehearsals. Thus, tennis
shoes are required at all times. Sandals, shower shoes, flip-flops, bare feet, etc. are
never acceptable.
CLOTHING: You must wear clothing that will allow you to perform excessive
movement such as sweats, shorts, t-shirts, etc. No jeans!
WATER BOTTLES: The approved water jug is a Coleman 1-Gallon Jug (RED)
http://www.amazon.com/Coleman-3000000JUG-1-Gallon-Jug/dp/B00363RSXU
6 Oregon Crusaders
It doesn’t count unless it’s on the move.BRASS TECHNIQUE PROGRAM
VOLUME
Dynamic
Number Definition
Marking
This is the softest volume you can play with a
ppp 1 full supported sound.
pp 2
p 3
mp 4
mf 5
f 6
ff 7
fff 8
ffff 9
fffff 10 This is most extreme volume you can play.
PITCH / INTONATION
All brass instruments have various inherent intonation deficiencies. As a brass
ensemble, we need to be aware of what deficiencies exist, and how we can
correct them with our playing. We build our system of tuning through the
matching of overtones, which are by definition, never out of tune. Overtones will
ring when the pitches coming out of the horns are in tune. For example, when
the baritone section “locks in” on an open “Bb”, usually the “F” above can be
heard quite clearly even though there are no performers playing it.
As all the voices become more in tune with each other, 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 you develop your ears for tuning chords and unison notes. Always practice
with a tuner. (You must own one.)
7 Oregon Crusaders
It doesn’t count unless it’s on the move.8 Oregon Crusaders
It doesn’t count unless it’s on the move.TUNING TENDENCY CHARTS
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 & mellophones. The Bb
Tuning Tendency is used for tubas, baritones & euphoniums. On the Bb chart the
middle Bb is your instrument 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 & horn line.
9 Oregon Crusaders
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It doesn’t count unless it’s on the move.11 Oregon Crusaders
It doesn’t count unless it’s on the move.BALANCE / BLEND
When trying to achieve good balance and blend:
Ask yourself, “Am I in tune with the ensemble?” If you are supporting a moving line, ask
yourself, “Am I playing louder than that line?” Finally, ask yourself, “Am I playing within the
ensemble sound?”
We use these three levels of listening:
LEVEL ONE – listen to yourself.
LEVEL TWO – listen to your section.
LEVEL THREE – listen to the entire ensemble.
BUZZING
Remember; always make your best sound. Buzzing on the mouthpiece should be done
daily to develop a good tone quality. When done correctly, all brass players benefit from
mouthpiece buzzing. Here are some things to remember when buzzing:
Hold the mouthpiece in your left hand at the shank with two fingers and
the thumb if not using the BERP.
Remain completely relaxed during the buzzing process, make sure the
throat stays relaxed and the tongue stays down in the mouth. Do not
press the mouthpiece against the face.
Direct your air between the center of the lips and through the center of the
mouthpiece.
Focus to start exactly in the center of the pitch without any scooping or
bumping.
All buzzing should happen inside of the mouthpiece cup.
You should practice all aspects of the Bucket List on the mouthpiece.
You should also be able to play any part of the show on the mouthpiece.
* Remember to stay relaxed when buzzing!
BENDING PITCHES
We recommend bending/sliding as a way to improve flexibility. When you slide/bend
pitches it is important your corners stay firm, and that the upper lip stays 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.
*Please note, when practicing flexibility exercises on the mouthpiece, target and slot the
exact pitches. Sliding/pitch bending on these exercises could cause intonation and
timing problems.
12 Oregon Crusaders
It doesn’t count unless it’s on the move.FOGHORN
“Foghorn” is an exercise that involves removing the tuning-slide of a brass instrument. The
difference between this and buzzing on the BERP is that with foghorn, there is more resistance
and there are breaks between range (which simulate lip slurs). Keep the following in mind when
using foghorn:
● Define the pitch your section will play – every instrument will be different.
● Try to match that pitch every time you come back to it.
● Minimize any shaking in the sound. You want to have a pure tone.
● Play at forte.
● Remember to stay relaxed!
SINGING
Singing is an important tool for developing great ensemble tone quality and intonation. The brass
section will sing frequently. Here are some guidelines for all singing exercises:
● The throat should be open and the face relaxed.
● The mouth shape should be oval like.
● Use the same approach to breathing.
● Always listen to match the pitch.
We will use different vowel sounds, including humming.
BOPPING
Bopping is a technique that is used to improve timing and perfect uniform articulation and tone
production. Bopping is executed by reducing every note down to a staccato eighth note.
Additional rules to bopping are as follows:
● Everything is performed at the dynamic of p (piano). Unless dictated by a staff
member.
● Slurred passages are played full duration to the end of the slur.
● Tied notes are to articulated and not sustained. The tied note will not be played
after the first articulation.
● Make sure the throat is open and relaxed.
● No “Dit” articulation should be heard.
● Only “dAAh.” Sounds.
● Keep all notes open-ended.
13 Oregon Crusaders
It doesn’t count unless it’s on the move.THE BUCKET LIST
The “Bucket List” is the routine we will use to prepare for
rehearsal. It is a series of exercises that will improve your
brass playing if done on a daily basis. Everything done with
the Bucket List directly transfers to performance on the field.
Remember, it doesn’t count unless it’s on the move.
1.Breathing
2.Long tones
3.Flexibility
4.Articulations
5.Technique
6.Music
“Do what you do so well that they will want to see it
again and bring their friends.” Walt Disney
“Success is never on discount. Greatness is never on
sale. Greatness is never half off. It’s all or nothing! It’s
all day, every day! Greatness is never on discount.”
Eric Thomas
14 Oregon Crusaders
It doesn’t count unless it’s on the move.1. BREATHING
Breathing is one of the most important aspects of successful brass playing! It is our
philosophy to approach breathing as a natural process. Remain calm and relaxed while
keeping good posture. All movement in the upper body should be involuntary and
minimal. The face and neck should stay relaxed and soft in a natural position while
inhaling and exhaling. Remember to keep the tongue down! There should never be a
feeling of tension or discomfort when breathing. Here at the Oregon Crusaders we fully
support “The Breathing Gym” by Patrick Sheridan and Sam Pilafian. This material may
be found online.
STAGGER BREATHING
Stagger breathing creates a wall of sound. Here the general rules to use when stagger
breathing.
1. Know when you are going to breathe and breathe in the same spot every time.
2. Don’t breathe at the same time as the person(s) next to you.
3. Fade out, breathe, fade back in.
2. LONG TONES
We will play 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. This is an opportunity for
to concentrate on tone quality. Long tones are essential toward establishing a solid center of pitch
for the warm-up. Players should be listening for intonation, blend of tone, intensity, as well as quality
of sound.
15 Oregon Crusaders
It doesn’t count unless it’s on the move.16 Oregon Crusaders
It doesn’t count unless it’s on the move.3. Flexibility
High Brass Lip Slurs
“G – C – C”
17 Oregon Crusaders
It doesn’t count unless it’s on the move.Baritone Lip Slurs
“G – C – C”
18 Oregon Crusaders
It doesn’t count unless it’s on the move.Tuba Lip Slurs
“G – C – C”
19 Oregon Crusaders
It doesn’t count unless it’s on the move.FLOW STUDIES – High Brass
Fall seven times and stand up eight.
20 Oregon Crusaders
It doesn’t count unless it’s on the move.FLOW STUDIES – Baritone
“Everything you’ve ever wanted is on the other side of fear.”
George Adair
21 Oregon Crusaders
It doesn’t count unless it’s on the move.FLOW STUDIES – Tuba
“The only person you are destined to become is the person you decide to be.”
Ralph Waldo Emerson
22 Oregon Crusaders
It doesn’t count unless it’s on the move.STYLE NOTE SYMBOL VISUALIZATION
Connected
(Legato)
def. – The notes touch and there is no decay
Long Lifted
(Legato
Accented)
def. – The notes touch and there is a slight decay
Lifted
def. – There is a slight decay and a small space
Detached
(Staccato)
def. – The note length is ½ the note it is attached to
Accented
def. – The front of the note is slightly louder, the notes touch, and there is a slight
decay
Lifted Accent
def. – The front of the note is slightly louder, there is a slight decay and a small space
Roof-Top Accent
def. – The front of the note is slightly louder, no decay and length is ½ the note it is
attached to
23 Oregon Crusaders
It doesn’t count unless it’s on the move.Double Tonguing
24 Oregon Crusaders
It doesn’t count unless it’s on the move.5. Technique
CLARKE STUDIES – High Brass
“Either you run the day, or the day runs you.” Jim Rohn
25 Oregon Crusaders
It doesn’t count unless it’s on the move.CLARKE STUDIES – Baritones
One day or day one? You decide.
26 Oregon Crusaders
It doesn’t count unless it’s on the move.CLARKE STUDIES – Tubas
“Winning isn’t everything, but wanting to win is.” Vince Lombardi
27 Oregon Crusaders
It doesn’t count unless it’s on the move.“I’m not telling you it’s going to be easy – I’m telling you it’s going to be worth it.”
28 Oregon Crusaders
It doesn’t count unless it’s on the move.2018 Oregon Crusaders Brass Audition
1. Fill out this form BEFORE entering the audition room. No form = No audition.
2. Play on the instrument that you are most comfortable with. You may be asked to play on
a marching instrument during your audition.
3. Don’t make excuses! Show off for us!
4. Understand that contracted members are required to be at all camps and the entire pre-
tour move-ins. Exceptions will be made on a case-by-case basis.
NAME: _________________________________________________
EMAIL: ________________________________________________
INSTRUMENT: __________________________________________
CELL #: ____________________ HOME #____________________
AGE: ______ SCHOOL/MAJOR ____________________________
Please answer the following questions to the best of your ability. Use
the back of the sheet as needed. List all dates as needed.
1. Are you involved with any organizations that could limit your camp
attendance? i.e. WGI, jazz festivals, etc.
2. Are there any personal conflicts that could prevent you from
participating fully in pre-tour move-ins or the summer tour? i.e.
Weddings, graduation, etc.
3. What is the earliest date you can move-in for Pre-tour?
4. Have you had any injuries or surgery in the past 2 years that
limited your physical activity in any way? i.e. Knee problems, back
problems, etc.
29 Oregon Crusaders
It doesn’t count unless it’s on the move.Audition and Ratings
Part 1. For your audition play a piece that you believe exhibits your skill as a
player. Something will show off your talents and ability. Things that are not
acceptable: Marching band music, concert band music, or any type of ensemble
part or music. Things that are acceptable: Solo’s, All-State Audition Music,
Etudes, etc.
Part 2. Play a 4-note lip slur on the move in a box drill with all forward slides.
Quarter note = 132 BPM. Be sure to go through the series (down to 1&2) and
then back up, sustain a concert F for 8 counts on the halt.
Name: __________________ Instrument: ____________________
Ratings to be filled out by OC Staff
Prepared Music Audition: 1 …… 5 …... 10 ______
Prepared Visual Audition: 1 …… 5 …... 10 ______
Rehearsal Rating: 1 …… 5 …... 10 ______
Physical Fitness: 1 …… 5 …... 10 ______
Camp/Pre-tour Attendance: 1 …… 5 …... 10 ______
Foot Timing: 1 …… 5 …... 10 ______
Attitude/Response to Correction: 1 …… 5 …... 10 ______
Total Score ________
Audition Notes:
30 Oregon Crusaders
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