BARITONE & EUPHONIUM

THE BLUE WAY

Methods, Techniques, & Audition
Materials

2019

Thank you for your interest in the Bluecoats Drum and Bugle Corps. This booklet includes our basic
technique program as well as audition material and audition suggestions. Please read everything in this
booklet carefully and prepare all of the required material to the best of your ability!

Audition camps for the Bluecoats are in four different locations during the months of November and
December. Please choose the location that works best for you to attend. Only those who complete the
audition process in person will be considered for membership in the 2019 Bluecoats Brass section.

Audition Camp Dates and Locations

Saturday and Sunday, November 17th – 18th in Texas

Saturday and Sunday, November 23nd – 25th in Canton, Ohio
Sunday, December 2nd in California
Saturday and Sunday, December 8th – 9th in Atlanta, Georgia

Our goals for the audition process are two-fold. First, we wish to provide an educational experience.
Our hope is you’ll take back with you valuable lessons in music and visual performance. Secondly, it is
an evaluation. At the conclusion of camp, you will get feedback on your individual audition. We will
also observe your participation and performance level within a group rehearsal. You will be evaluated
both musically and visually. The information you will receive at the end of the camp will fall into one of
three categories:

1. We will offer you a contract. This means if you fulfill the obligations spelled in the contract, you will
be a member of the 2019 Bluecoats brass section.

2. We will offer you a "call-back." This means we need to see and hear you again in January to make the
final decision. Most people who eventually get a position in the corps fall into this category. The final
decisions for the 2019 Bluecoats Brass section will be made at the January 4th – 6st camp.

3. You will not be invited back to the next camp. Our hope is that you will apply lessons learned at
camp and come back stronger the next year. Once again, this process should also be an educational
experience for everyone involved. It is not a wasted trip if you do not get a contract.

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

Auditions can be stressful. Do not let your nerves stop you from auditioning. The brass staff of the
Bluecoats is eager to help you develop as a musician. If you have any questions regarding brass
auditions, please contact Derek Gipson at gipsonderek@ymail.com

We look forward to seeing you at one of the audition camps!

The Bluecoats Brass Staff

Dave MacKinnon (Bluecoats Brass Caption Supervisor)………….mackinnon8467@rogers.com

Derek Gipson (Bluecoats Brass Caption Head)..........................gipsonderek@ymail.com
Dr. Matt Stratton (Bluecoats Assistant Brass Caption Head)….....matthewcstratton@gmail.com

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 What Music Do You Need To Prepare For Your Audition?

The audition process contains two segments, a visual and music portion. This page will highlight the
musical component of the audition process. Please purchase and download the visual package from the
Bluecoats website.

If you are auditioning for a baritone or euphonium position we ask that you prepare the Lyrical Etude as
well as Option 1 or Option 2 of the Technical Etudes along with the exercises listed near the bottom of
this page.

The etudes or excerpts are taken from material that is highly regarded among music educators and
professional musicians. You will also need to prepare the brass exercises listed on this page.

Baritone / Euphonium Audition Music

1. Lyrical Etude - excerpt from “ The Roman Carnival “ by Hector Berlioz / arr.Safranek
Rehearsal Number 1 to downbeat of Rehearsal Number 4 (located on page 46 of this booklet).

2a. Technical Etude (Option 1) - excerpt from “ Etude in Eb Major “ from Voxman Selected Studies
(Baritone) – Measure 41 to the End (located on page 47 of this booklet).

2b. Technical Etude (Option 2) - based on an excerpt from “ Etude in A Minor “

from Selected Studies (Trombone) – Measure 17 to the End (located on page 48 of this booklet).

All auditioning baritone and euphonium candidates will also be required to rehearse and prepare
the following exercises:

3. Ascending E flat concert scale in whole notes. A drone pitch will be provided for you as a pitch
reference as you perform this scale. The objective of this exercise is to accurately play each
interval in tune relative to the drone pitch. This exercise should be played at a Mezzo Forte
volume at a tempo of 120 beats per minute. Each whole note should be tongued and you should
take a breath wherever you feel you need.

These exercises to be prepared for your audition are contained in this booklet.

- Long Tones #4 (Stamp - Upper Neighbor Slurs) on page 11

-
- Air Flow #3 on page 14
-
- Lip Slurs #4 on page 17
-
- Lip Slurs #6 on page 17
-
- Articulation Clarity on page 28 (you will be required to mark time while you play this exercise)
-
- Rhapsody in Bloo on page 25 (you will be required to mark time while you play this exercise)

It will not be necessary to prepare any other exercises or music contained in this booklet for your
audition.

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You will find the baritone/euphonium audition music on the final pages of this booklet. Please use a
metronome when you rehearse the material. Use the tempo marked above each piece as a guideline
only. It’s better to hear the music at slower tempo if this allows for a higher degree of clarity and
accuracy.

If you have any questions concerning these audition pieces please contact one of the Bluecoats
Brass staff listed here:

Derek Gipson (Brass Caption Head).......................gipsonderek@ymail.com

Matt Stratton (Assistent Brass Caption Head)……matthewcstratton@gmail.com(Tuba Technician)

(Tuba Technician)

Ric Brown (Trumpet Technician).......................cadets2000@gmail.com

Errick Prince (Trumpet Technician).......................errickprince@att.net

Ben Gunnarson (Trumpet Technician)......................bengunnarson@earthlink.net

Ryan Spencer (Trumpet Technician)......................spency7321@gmail.com

Kristen Eck (Mellophone Technician).................kristenfinley@me.com

Scott Dupree (Mellophone Technician).................s.dupre89@yahoo.com

Aaron Rensenbrink (Mellophone Technician)………….aaron.renzenbrink@gmail.com

Patrick Geren (Baritone/Euphonium Technician)....pmgeren88@gmail.com

Travis Pruitt (Baritone/Euphonium Technician)....tpruittscv@yahoo.com

Bob Higgins (Baritone/Euphonium Technician)....bhiggins@bluecoats.com

Bryen Warfield (Tuba Technician)……………….….bryenwarfield88@gmail.com

Aaron Dugger. (Tuba Technician)……………….….aarondugger@melissaisd.org

Josh Gall (Tuba Technician)……………….….galljoshua@gmail.com

Bob Chreste (Brass Technician)………………….bobchreste@gmail.com

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 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.

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 Equipment

Instrumentation:

The Bluecoats 2019 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. IfChat you(49)
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!

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 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.

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.

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 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 O’clock; 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 will be
physically challenging. In order to keep our members safe, it is imperative that all members are
physically fit. Please prepare yourself for both endurance, strength and flexibility demands. A strong, fast
and adaptable physique will best serve you during spring training and well into tour. It is recommended
that you begin a cardiovascular regime by mode of choice to ensure that you are capable of performing at
a high level physically. This can be running, jump rope, cycling, body weight exercise i.e. burpees, jump
squats, jump lunges, stairs, hills or other.
A good understanding of body awareness, posture and flexibility is imperative. Get comfortable moving
in modes other than traditional marching. The more versatile and comfortable you are as a mover, the
better.

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 The Bluecoats Brass Philosophy

Our instruction in brass playing is built upon a foundation of achieving a characteristic sound on the
instrument. A performer's tone quality is their "musical signature to the world." The Bluecoats Brass
program has developed their Signature Sound through characteristic tone on each brass instrument.

Achieving this sound is predicated on becoming the most efficient brass performer possible. We start
from a point of self-discovery with respect to the individual and how they can find advantages within his
or her genetic blueprint. The sound is the ultimate indicator as to what process or method one should use
to play a brass instrument. Since all musicians are built differently, we focus on achieving the desired and
matched results as opposed to matching the process, method, or embouchure. Through consistent
training, we aim to develop your command and control to a point of confidence where one could not
possibly produce anything but the desired result.

Any sound is produced by a vibration, which is transported across a medium to the listener’s ear. A brass
performer must develop the most efficient BUZZ possible in order to free the body and create a
maximum amount of sound with as little effort as possible.

The Bluecoats Brass Program uses the following steps to achieve maximum efficiency in brass
performance

1. Vowel Shape - Promotes free air flow, proper position of the tongue for clear initiation of sound, and
the maximum amount of an oral cavity (speaker-box) to project the resonance that is created. A
combination of syllables “ AH “ in the throat to promote airflow, “ OH “ in the mouth to promote
projection and resonance. The vowel shape combines these two syllables, specific to each area,
simultaneously to create the desired effect.

2. Air - should be in constant motion, smooth transition from in to out, suction without friction,
diaphragm pushes the air through the vowel shape. Let the air flow, do not force.

3. Magic Buzz Point - the point where you create the most natural efficient buzz. This is found by
blowing through the lips with air and then bringing the lips around the air to create a buzz using the least
amount of pressure possible.

4. Follow Through - air direction - from the lips through the bell. This insures that every part of your
musical phrase has direction, resonance, command and control.

5. Internal Pulse - The notion that you are able to match a metronome internally and reproduce that
timing efficiency externally through the feet.

6. Championship Feet -A drum corps performer must be able to play music to the beat of their feet. A
mastery of internal pulse permits the feet to replicate a metronome, and leads to the highest level of brass
proficiency in the drum corps genre of brass performance. Students should practice mark time with more
intensity than their drill movement on the field. We want the body to be able to relax while in motion.
This begins with a championship approach to moving your feet while stationary to project your mastery
of internal pulse.

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Baritone / Euphonium

Bluecoats 2019 Brass Routine

This routine will be the basis of the 2019 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.

Long Tones ( q = 100 )

* Rehearsal Advice - Practice timing your inhalation and exhalation marking time using a metronome to
provide a solid pulse center. The end of each long tone should be open-ended. The air stream 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

? bb c w w w nw w w bw w w ∑
mf

? bb w w w ∑ bw w w ∑ w w w

? bb U
∑ bw w w ∑ w w w ∑ w

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

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 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.

normal legato staccato marcato accented

Articulation

Syllable dah doo dah Dah Dah

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

5. Quarters and Eighths

q = 120
( all the notes should touch )
? bb œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ Ó nœ œ œ œ nœ œ œ œ œ œ œ œ nœ ‰ Œ Ó
J J
mf

? bb b œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ Ó œ œ œ œ œœœœœœœœ œ‰ Œ Ó
J J
(continue to ascend)

* Rehearsal Advice - Be clear and accurate with the use of these syllables and always emphasize the vowel
formed by the air (ah, oo) over the consonant formed by the tongue (d). This is
especially important during accented phrases. The rule to keep in mind is " less tongue,
more air " !

6. Forklift (in unison)

q = 120
(dah) (dah) (dah) (dah) (doo) (doo) (doo) (doo) (dah) (dah) (dah) (dah) (Dah) (Dah) (Dah) (Dah)

? bb œ œ œ œ -œ -œ -œ -œ œ. œ. œ. œ. >œ >œ >œ >œ

∑
mf (keep the volume consistent from measure to measure)

? b nœ œ œ œ
b n-œ -œ -œ -œ nœ. œ. œ. œ. n>œ >œ >œ >œ ∑

? bb b œ œ œ œ -œ -œ -œ -œ œ. œ. œ. œ. >œ >œ >œ >œ

∑

? bb œ œ œ œ -œ -œ -œ -œ œ. œ. œ. œ. >œ >œ >œ >œ ∑

(continue to ascend)

22
23
24
 Rhapsody in " Bloo "
q = 140
b œ œ œ b œn œ œ œ bœ œ
? bb 4 ‰ œ œ œ œ b œ œ œ b œ œ œ œ œ œ bœ nœ œ œ œ ˙
4
mf
1 2 3 4

b œ œ œ b œ n œ œ œb œ œ
? bb ‰ œ œ œ œ b œ œ œ b œ œ œ œ œ œb œ n œ œ œ œ ˙
mf
5 6 7 8
œ œ
? b œ œ ‰ œ œ œ ‰ bœ œ ‰ œ œ ‰ œ ‰ œ œ ‰ œ œ œ ‰ bœ œ ‰ œ œ ‰ œ ‰
b
9 10 11 12

bœ œ œ bœ nœ œ œbœ œ ^
? bb ‰ œ œ œ œ b œ œ œ b œ œ œ œ œ œb œ n œ œ œ œ Œ œJ ‰

13 14 15 16

25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
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42
Encore Performance Music
by Thom Yorke
Baritone Creep arr. Douglas S. Thrower

q = 80 smoothly, sweetly
A q = 84
b w- ˙ ˙™ œ #˙ ™ œ œ
?b ∑ 2 4w
4 4
1 2 3 4 5 6
mp

q = 84 poco rit. q = 92
#˙ ™ œ ˙™ œ b œ B ˙™ œ b˙™ œ bœ b w
?b
7 8 9 10 11

C
œ œ œ ˙ ˙™ œ #˙ ™ œ œ #˙ ™ œ ˙™ œ bœ
?b ‰ J
12 13 14 15 16
mf f
poco rit. q = 76 D q = 92
w bw >
˙™ b œ b œ w œ œ œ #>œ œ œ œ # œ œ œ œ œ œ œ œ
?b ΠJ J
17 18 19 20 21 22
mp fff

>-œ > >œ œ b œ œ œ œ œ œ b œ œ œ œ b >œ ™ ^ ^ ^

?b
# ˙
>œ œ^ œ^ b œ b œ œ
J
23 24 25 26
sfz fff

>œ b >œ >œ >œ b w

> w w w
?b Ó
27 28 29 30 31
ffff

3 w w œ
?b J ‰ Œ Ó
32–34 35 36 37
mp pp

43
Encore Performance Music by Thom Yorke
arr. Douglas S. Thrower
Euphonium 1
Creep
q = 80 smoothly, sweetly
-˙ A q = 84
?b Ó w 2˙ 4 ˙™ œ œ ˙™ œ w ˙™ œ œ œ œ œ
4 4
1 2 3 4 5 6 7 8
mp

B q = 84 poco rit. q = 92 C
œ œ œ œ w œ œ œ œ
?b ˙™ œ Ó
9 10 11 12
mf

?b ˙™ œ w œ œ œ œ œ w
13 14 15 16
f

poco rit. q = 76 D q = 92
w ˙™ >œ œ œ œ œ œ œ œ œ œ > >œ >œ œ œ œ œ œ œ
?b w œ œ
17 18 19 20 21 22
mp fff

>- > >œ >

w w >œ ™ œ^ œ^ bb œœ^ b œœ^ œœ^ >œb >œ >œ >œ b w
>
?b œ ˙ œœ Ó
23 24 25 26
J 27 28
sfz fff

> 3
?b w w w w w œ
J ‰ Œ Ó
29 30 31 32–34 35 36 37
ffff mp pp

44
Encore Performance Music by Thom Yorke
arr. Douglas S. Thrower
Euphonium 2 Creep
q = 80 smoothly, sweetly A q = 84
? w- w 2 4w ˙™ œ ˙™
b 4˙ 4 œ w ˙™ œ
1 2 3 4 5 6 7 8
mp

B q = 84 poco rit. q = 92 C
?b œ œ œ œ ˙™ œ w œ œ œ œ
Ó
9 10 11 12
mf

poco rit. q = 76
?b ˙™ œ w œœ˙ œ w w w ˙™ œ
13 14 15 16 17 18 19
f mp

D q = 92
>
?b w ˙ œ >œ >œ >œ ˙™ > >
œ œ -œ ˙ >œ w
> w >œ ™ œ^ œ^bœ^ œ^ œ^
20 21 22 23 24 25 26
J
fff sfz fff

>œ b >œ >œ >œ b w

>
>
?b Ó w w w
27 28 29 30 31
ffff

3
?b w w œ ‰ Œ Ó
32–34 35 36 37
J
mp pp

45
 2019 Bluecoats Baritone & Euphonium Audition Excerpts
Instructions:

As with the technique exercises asked during the individual audition, prospective members are also required
to prepare a Lyrical excerpt and a Technical Excerpt; both are provided. Please prepare the following materials
with the utmost professional standards, emotion, and communication.
Performance Guide:

The main priorities with this excerpt should be to demonstrate beautiful tone quality and refined musicality.
The thematic material of this section is taken directly from the love theme in the first act of Berlioz's
opera, Benvenuto Cellini. Consequently, in order to capture the spirit of this passage, one must not think of this
as one would a Bordogni vocalise or other lyrical etude but rather with the passion of an operatic aria.
Be sure to listen to as many recordings of a given excerpt as possible. In the case of The Roman Carnival, as
with any transcription, one must listen to the original orchestral version in addition to the band arrangement.
One listen reveals that the euphonium isn't the first to have this melody, but rather the English horn and the
euphonium following second. The euphonium solo should have a feeling of daylight breaking through the clouds
as a result of the key change while still imitating the English horn. As the solo concludes prior to rehearsal 4, the
euphonium becomes a part of the heavy chromaticism and tension that eventually transitions into the saltarello
at the Allegro vivace.
The most important point to emphasize about the performance practice of this passage is to take your time.
This excerpt should never feel rushed. Typically this is performed at quarter note=52-54, so it will be helpful to
feel the eighth note pulse. This will be most useful in helping the performer to accurately play the many dotted
rhythms. Feeling the eighth note pulse will also help greatly with the pacing of the push and pull moments that
occur throughout. There are many opportunities to show expression and emotion through tempo changes. The
sforzando after rehearsal 3 and on beat three of m. 8 should be interpreted more like a string section downbow
rather than a sharp accent. It only requires some emphasis; do not overdo it. The sforzando downbeat of
rehearsal 4 should again be felt as a natural conclusion to the preceding crescendo and should not approach
anything like a harsh quality. Remember, the main priorities with this excerpt should be style and tone quality.

Lyrical Etude
The Roman Carnival by Hector Berlioz/arr.Safranek - Rehearsal Number 1 to downbeat of Rehearsal Number 4
1 q = 52-54
Solo, espressivo
œ œ œ œ ™ œ œ œ œ œ œ™œ œ™ œ œ œ œ œ œ œ œ nœ œ œbœ œ œ œ23 ˙ œ
? b 43 œ Œ Jœ œœ ‰ œ ‰J ‰ œJ J‰
J
mf
24 2 œ œ œ œ œbœ œ
? œ œ ™ œ œ œ œ™ œ œ œ œ ™ œ œ œ œ ™ œ œ œ œ œ œ bœ œ
b J‰ J Œ ≈ œ≈ ≈

3 œ œ œ œœ œ œ œ œ™ œ
œœ œ œ ™ œ œ œ œ ™ œ œ œ œ œ œ œ
31
œ œ œ œ œ œ
?b œ ‰ bb ‰ ™ R ‰ ‰J ‰J œ ‰J J
J
mf poco cresc.
39 œ 5 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ œ
? bb œ œ œ œ™ œ œ œ ≈
sf p
œ œ œ ™ #œ œ bœ œ 4
nœ œ œ œ œ œ n œ œ # œ
47 œ œ œ
? bb nœ œ J ‰ œ ‰ Œ
≈ ≈ ≈ Œ
J
sf

46
 2

Instructions:

In addition to the Lyrical excerpt provided, please select only one of the two Technical excerpts provided
for your individual audition.

Performance Guide:

This Belcke etude is in E-flat major and should be performed in march style (marcia). The interval in measure
47 (major 10th) can be learned by first practicing a major 3rd (E-flat to G) in both the middle and high range
before playing as written. In order to adhere to the style, quarter notes on downbeats should be accented and the
following eighth notes on beat two should be lifted/tapered (mm.70). In mm.57-58 and mm.61-62 practice one
beat at a time and set the metronome with eighth note subdivision. Remember to keep the tongue light
throughout with the rapid articulation, move air across the tongue.

Technical Etude - Option 1

Étude in Eb Major from Voxman Selected Studies (Baritone) - Measure 41 to End

41
Marcia q = 94 -108
. . . . . . . . . . . œ. -œ. œ. . .
œ >œ œ. .
œ bœ. .
b œ
. . œ. nœ. œ œ œ œbœ. œ. œ. œ. >œ œœ. œ. œ. œ. œ œ œ œ. œ. œ. œ. -. œ. œ. nœ œ œ nœ œ. œ. . œ.
? b 42 œ œœ nœ œ œ
bb œ >
f mf
> .
œ œ œ. . > . > .
48
. >œ œ œ. . . . . œ. œ. œ. œ. œ. œ œ œ. œ. . œ œ œ. œ. . >œ œ œ. . . .
?b œ . œ œ . œ œ œ. œ œ .
œ œ œ. œ . œ œ œ Œ œ™ . œ. œ. nœ
bb œ œ œ. nœ
mf f
56 >œ™ œ. nœ. . . œ. œ. œ. œ. œ. .. . >œ ™ œ. nœ. . . œ. œ. œ. œ. œ.
? bb œ .
œ œ œ. . . œ
œ œ œ. œ œ. œ. œ œ. œ. œ ™ œ. œ . nœ. œ œ œ. œ. . œ. . œ. œ. . œ
œ œ œ œ . œ. œ
b œ. nœ. . .
>œ œ. . >œ œ. .
63 œ œ. . œ œ. . >œ œ. œ. . . . . œ. . œ. œ. œ.
œ
? bb œ. œ œ. œ . œ œ œ. œ œ
b œ

67
>œ œ. . >œ œ. .
œ œ. . œ œ. . > .
? bb œ. œ œ. œ . œ œ œ. œ. œ. œ œ Œ
b œ œ. œ
- -.
mf

47
 3

Performance Guide:

This relatively straightforward etude includes some traps for the unwary student as well as several
opportunities to showcase refined technique and musicianship. In general, staccato notes should be played
only short enough to sound separate and light while retaining some tone and pitch information (avoid “tut”!).
Strive for evenness of sound across registers unless otherwise marked. Practice the sixteenth note runs slowly
and accurately. Be sure every note is in tune when practiced slowly, and work the tempo up.
The “Meno” section (mm. 17-28) should be played more slowly than the surrounding sections. Rossari also
includes the marking “a voce spiegato,” meaning “at the top of one’s voice” – spread and full. Translating this
vocal term to brass playing: focus more on the “full” part of this marking. This is to be full-voiced and operatic
in contrast with the staccato markings that make up most of the piece. Remember, music is about tension,
release, contrast, and drama.

Technical Etude - Option 2

Based on Étude in A minor from Voxman Selected Studies (Trombone) - Measure 17 to End

Meno q = 94 -108
17 œ ™ œ œ . . œ. œ. œ œ œ. œ. bœ œ
?c ˙ œ œ œ œ bœ œ ˙ œ™ œJ œ œ œ
œb œnœ œ nœ œ ˙ œ œ œ œ œ
a voce spiegato sf f
.
22 . . >œ œ œ . ™ œj œ œ œ œ. œ. œ œ œ. œ. bœ œnœ. .
? œ. œ. bœ œ. œ œ œ œ œ œ œ. >œ œ œJ. œ bœJ œ#œ œbœ œ œJ œ œ œ œ œ. œ.
J >
. œ. . . œ. œ œ œ # œ œ œ Allegro moderato q = 108-120
26 > œ bœ œ œ. œ œ œ œ œ œ. œ œ nœ œ œ U œ œ œ . . œ. œ. œ. œ. n œ. >œ
œ
? œœ . J œ ˙ œ
>
f allarg. assai p
30
œ. œ œ œ. . . œ. œ. > œ. œ œ œ. œ. >œ œ. œ. œ. œ# -œ œ #-œ œ nœ œ œ œ. . œ. œ n œ. œ. œ œ
? . #œ .
œ œ #œ œ .
œ #œ œ#œ œ œ#œ nœ
5 p
.
34 œ œ œ. œ.
œ œ œ. . -œ œ œ. œ. œ . .
œ. #œ- œ œ. œ œ œ.
? œ œ. #œ œ œ. œ

36
. nœ. . >œ œ # œ œ. œ œ œ. . .
? >
œ œ .
œ œ. œ œ œ œ. #œ œ œ œ œ œ œ #œ. >œ œ ‰ >œ ™ >œ U
˙
. . . œ. J
mf f

48
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