Bari

Brass Audition Packet

2019
Dear Prospective 2019 Santa Clara Vanguard Brass Members,

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

Auditions for the 2019 Santa Clara Vanguard Brass Line will be held in the following locations:

• Los Angeles, CA – November 24-25

• Dallas, TX – December 1-2
• San Jose, CA – December 7-9
• Houston, TX – December 16

Attendance at one of these camps is required for membership consideration for the 2019 Santa Clara Vanguard.
Auditions for the 2019 Vanguard Cadets Brass Line will be held in San Jose, CA on December 14-16. You may
also request to be considered for the Vanguard Cadets at any SCV audition camp. Please check the website or
contact the corps office for more information or additional questions about the process.

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

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

Sincerely,

Santa Clara Vanguard Educational Staff

1
Visual Information
The visual team is excited to work with you at an upcoming
audition camp! We’ve built a strong visual identity here at SCV, and
if you are going to be part of that image, we need to go over some
expectations for the visual component of your audition. There are
two components of the visual audition that you will need to prepare
in advance: 1) a simple drill excerpt and 2) a movement excerpt.
You’ll find videos and additional information regarding these re-
quirements at:

http://www.vanguardvisual.net/auditions

At camp, we’ll also spend time working through a series of simple

exercises that expose the most fundamental aspects of your visual
approach:

1. Consistency: You’ll be using your own marching technique at

camp. In other words, whichever movement technique you are most
versed in from your high school or college band is what you should
use at your first SCV audition camp. What we’ll be looking for is
consistency in that technique. Do you maintain the same technique at every step-size, from very small to very
large? Is your technique exactly the same at every step, from the first to the last in every phrase? Is your technique
consistent at every tempo, from slow to 180, and faster?

2. Tempo Control: Regardless of your particular approach to lower-body technique, your ability to establish and
maintain pulse will be critical to your success at camp. Do you establish pulse correctly at every step off? Is your
lower-body timing consistent going into and out of direction changes? Do you have pulse control going into halts?

3. Posture: Your body alignment will be the very first visual impression you make at camp. Your body carriage
should be tall, but relaxed; broad, but natural; aligned without introducing tension. More importantly, your pos-
ture should look the same whether you are standing still or moving at 200bpm. It is important that you are able to
maintain your upper body approach regardless of what you are doing with your lower body.

4. Physical Conditioning: Excellent physical fitness is one of the most important prerequisites for members of
the Santa Clara Vanguard. In all likelihood, touring with SCV will be the hardest physical challenge that you have
ever undertaken. The show itself will be incredibly demanding. Add to that the intensity of long rehearsals and
the physical stress of constant travel, and you can see how important fitness is to injury prevention and the overall
success of the corps. For the Vanguard to achieve success each summer, every member must not just survive these
conditions but thrive in them. Excellent physical conditioning is what makes this possible.

5. Awareness and Focus: We’ll be moving quickly at the first audition camp, layering different responsibilities,
modifying exercises, and testing to see what you can handle. Expect to make a few errors. The visual staff will be
watching to see how you react to new information, and more importantly, how well you recover from mistakes.
The performers we are looking for not only have great fundamental skills, they rapidly absorb high-level concepts
and they have the awareness to recover from errors quickly and professionally.

2
 At the end of the camp, we will evaluate auditionees in groups as they perform both the drill excerpt and
movement excerpt several times. Your performance in these group auditions will be a major factor in our mem-
bership decision, but the staff will also be evaluating your progress over the entire weekend, using the criteria
listed above. As such, you should approach every moment of the weekend as a performance. Every repetition or
interaction with the staff is an opportunity to demonstrate what kind of a member you will be.

In the meantime, think through the criteria above. Take videos of yourself at different step-sizes, tempi,
and directions, then evaluate whether you’re really achieving the consistency we’ve described. Reach out to vet-
eran members of the corps through one of the SCV audition groups on Facebook. Start expanding your movement
skills by taking a dance class or researching dance fundamentals online. And, if you’re not already executing a
regular fitness regimen, get started immediately! Run, bike, strength train, participate in classes at a gym or find
fitness resources on YouTube. Early preparation on your part will ensure that your audition experience is a posi-
tive one.

And of course, if you have questions or concerns about the visual component of your audition, please feel
free to contact the visual staff by sending an e-mail to scvvisual@scvanguard.org. We look forward to meeting
you and helping you on your journey toward membership in the 2019 Santa Clara Vanguard!

See you at camp!

Matt Hartwell
SCV Visual Caption Manager

3
Audition Information
Basic Audition Process

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

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

Note - If you are auditioning for the Vanguard Cadets only, you are not required to play the selected excerpts and
may play any music of your choosing that you feel will best demonstrate your skills and preparation.

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

3. Dynamic Major Scale: You will be asked to play a concert Bb major scale (concert F for mellos), 2 octaves,
in quarter notes, at your maximum dynamic level. This will help us assess your ability to play with a great sound
and control at the extreme type of dynamic levels that we use in the SCV brass program.

4. Exercises with Movement: Finally, you will be asked to play a couple of exercises from this packet, standing
and marking time in place. This helps us see your sense of time and rhythm with your feet.

NOTE: Etudes may be performed on the instrument of your choice, but you must audition on a corps-owned or
similar marching instrument before you will be offered a contract.

It is recommended that you listen to and reference recordings as a part of your preparation, and do not limit your-
self to historical drum corps recordings. Memorization of these pieces will allow you to concentrate more fully on
these responsibilities and will be duly noted as a demonstration of your commitment and preparation.

Talent and Work Ethic

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

Team work and “family mentality” are extremely important at the Santa Clara Vanguard. Maintaining a great
attitude and doing whatever it takes to be great will be a staple of this drum corps.

4
Instruments for Camp

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

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

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

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

Mouthpieces: To help us achieve a most uniform section sound, SCV usually asks you to use a specific
mouthpiece while playing the corps. You ARE NOT required to purchase these and will be issued to you from
our mouthpiece inventory. They are not required at camps, but you MUST play on the specified mouthpiece if
selected to be a member of the brass line. You will receive additional information about mouthpieces at one of
our future camps.

5
What To Bring To Rehearsals
Brass ensemble members are responsible for having the following materials at all rehearsals:

Three Ring Binder: This will contain all music handouts in clear sheet protectors. Any information you could
possibly need should be in this binder.

Pencils: Every brass member should have a pencil at all times. Notes should be taken at every rehearsal,
especially when our arranger is present. Write everything down!

12” Round Balloons: We will be using these balloons in every rehearsal throughout the season. Please purchase
at WalMart, Target, etc., making sure to get the 12” balloons that come in the 72 count bag.

Gloves: These must be worn while handling an SCV owned instrument. You will go through many pairs during
the season and is important that they remain in good condition and replace when needed. Dirty gloves or those
with holes are never acceptable at SCV.

Black Towel: Your SCV instrument is in one of three places at all times; in your hands, placed in the line on the
ground, or in its case. The black towel is used to protect your instrument when placed on hard surfaces, especially
when rehearsing outdoors. Note: SCV horns should never be put in a backpack, left alone on the ground or away
from the section at any point.

Baseball Cap: This will be worn at all times when rehearsing outdoors. Hats are required to shade your face, eyes
and chops. When rehearsing indoors, hats are optional.

Tennis Shoes/Trainers: Movement will occur at all rehearsals, therefore tennis shoes are required at all times.
Sandals, flip-flops, etc. are never acceptable.

Clothing: You should wear clothing that will allow you to perform excessive movement, such as sweats, shorts,
t-shirts, etc. No jeans please! We will move at every rehearsal.

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

recommend the Korg TM-50, but there are many great devices.

BERPS: BERPS are not required at audition camps, but will be mandatory once the brass line is set. We will
provide you with information about ordering at a later camp.

6
Expectations Between Camps
Musical Expectations

We will give you specific assignments and music to have prepared by the next camp. You will be asked to
upload videos, as well as weekly Smart Music assignments. These are required and expected to be on time and
performed at the highest level.

Visual Expectations

Our visual staff will give you specific assignments to be completed between camps as well. Videos, dot
checks, etc. are common and should be completed on time and at your highest level.

Physical Expectations

You will be given specific physical assignments by our Tri-Fit team. Being in shape is a high priority at
the Santa Clara Vanguard. These should be taken as seriously as all musical and visual assignments, and will have
a direct correlation to your place and spot in the hornline.

Communication Expectations

Communication between you and the staff should be priority number one in everything you do. Staying in
regular touch with your section leaders, horn sergeant, caption head and administration is a must. This includes
Facebook section pages as well.

Financial and Administrative Expectations

You must be up to date with all forms and due payments. Staying on top of all paperwork can have a huge
impact in your membership and remaining current with dues is important. Again, communicate early and often if
you have concerns or issues.

7
 This book serves as a compendium of exercises to be used as a daily warm-
up and a practice regimen for long-term improvement in individual techniques
such as tone production, airflow, dexterity, and articulation, as well as ensemble
responsibilities such as blend, balance, intonation, overall matching, etc. It is by no
means comprehensive, and while it is not the only or “right” way to play a brass
instrument it is the approach we as a staff have compiled through our experiences
as educators, performers, and students.

Breathing
Without a doubt, the most important concept that can be mastered as a brass player is how to use air in
generating a proper and resonant brass sound. We will use techniques from traditional Yoga teachings, as well as
those presented in The Breathing Gym by Samuel J. Pilafian and Patrick Sheridan published by Focus on Music.
You can find this online at www.breathinggym.com. This book is accompanied by a DVD and is extremely helpful
in demonstrating proper breathing technique.

Physical Form

• Correct posture - always.

• Arms away from your side.
• Shoulders are relaxed.
• 3-part breath (bottom 65%, middle 30%, top 5%). We will practice each part separately, but ultimately you will
inflate your upper body across these three areas concurrently. The percentages refer to the area being filled
in the thoracic cavity.
• Because the mouth is open, the air will be cool going in and slightly warmer going out.

Breathing Form

• “OH” shape to the inhalation.

• Even airflow over all the counts of the inhalation and the exhalation.
• Constant airflow, never with any hitches or pauses.
• Smooth turn around; quick, relaxed, and without hesitation. The air is always moving, in or out.
• Oral shape should remain the same for both inhalation and exhalation.
• Tongue is down and relaxed.

Count Structure

• 2-count preparatory breaths are standard.

• At faster tempos, 4-count preparatory breaths may also be used. All other breaths are full breaths in the amount
dictated by the music.

8
Vowel Modulation

Our default vowel is a “dOh” syllable to match how we articulate on the horn. We think of resonance as
occurring in the full body from the head down using the Robert Shaw/Jim Ott resonating chambers (in order as
follows):

1. Head: bridge of nose, teeth, oral cavity, etc.

2. Upper chest: clavicle, breastplate, etc.
3. Lower chest: ribs, front and back
4. Small of back/lower lumbar

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

• Listen closely to the pitch and center of the notes you are singing.
• Work to sing with the same openness of the throat and air support as you do when playing your instrument.
• As we will use different vowel sounds and humming, ALWAYS check pitch prior to and after an exercise or
phrase.
• Our goal is to be able to sing everything in our technique program, as well as all music we play.

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

Each dynamic level will also be clearly defined and refined through our balloon and air speed work. Once
a solid foundation of the air speed is developed, each performer must be able to perform the required dynamic
level for different note values (whole note, half note, etc.). Every dynamic is defined by expelling all of your air
evenly over the count structure for that dynamic as described in the list below:

24 counts of air = pianissimo

20 counts of air = piano
16 counts of air = mezzo piano
12 counts of air = mezzo forte
8 counts of air = forte
6 counts of air = fortissimo
4 counts of air = triple forte

While we define dynamics by using all of the air in “the tank,” we do not methodically advocate that as
performance practice. Rather, once dynamics are memorized we practice trying to not go below half a full tank of
air. While there can be exceptions, this is the general rule for most of our performance demands in a typical show.

9
Buzzing
We utilize buzzing as a technique to over-train the muscles of the embouchure and to develop our listening
and aural skills; “if you can buzz it, you can play it.” The following are important concepts to keep in mind:

• The corners are always firm, while the aperture is always relaxed (free vibrational space).
• Work towards a full and rich buzz with minimal tension. As a result, a good buzz may have some air in the
sound and be somewhat “reedy” in nature.
• Buzzing the mouthpiece is similar to playing the horn, minus the back-pressure/resistance of the instrument.
Generally, the more back-pressure there is in conjunction with the buzz the easier it is to produce a
desirable sound; thus buzzing is a form of overtraining.
• Free buzzing is used to wake up the lips, with nothing higher than “middle F.” There are different opinions on
free buzzing, and we believe it is a valuable pre-mouthpiece training aid. This technique helps to focus and
strengthen the embouchure without the aid of the mouthpiece, and will be used sparingly during the season.
• At SCV, we use the BERP tool as an aid for bridging the gap between buzzing and playing. This tool helps
develop proper breath support while blowing into resistance. These will be used throughout the season in
numerous ways.
• For reference, back-pressure/resistance from most to least is the instrument, BERP, the mouthpiece, and free
buzzing.

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

• Starting with the same concepts as above and the lips apart, blow air down the center of the leadpipe with no lip
vibration, then allow the air to bring the lips together. Let this cause the vibration and form the embouchure.
• The tubing will have specific pitches it “wants” to play depending on the instrument; allow the vibration to
create these pitches and memorize the sensations of relaxation and ease.
• The fundamental pitch should be approximately a perfect 5th lower than the key of the instrument (Bb for
mellos, Eb for all other corps brass instruments).
• Think of accelerating the air through the leadpipe and let the air blow the embouchure into place.
• The sound should be a resonant reedy buzz and should ring the entire leadpipe. Resonance can be
checked by placing a finger from the free hand gently on the edge of the leadpipe to feel for vibration.
• Repeat until the embouchure responds to the breath in a relaxed manner.

Longtones
Sustained note exercises provide the performer a basic opportunity to work on tone quality, breath
support and intonation. While we will spend time on basic longtones, the majority of our sound work will be spent
on “moving long tones,” incorporating basic air flow with moving note patterns modeled closer to musical phrases.
All of these exercises will start with either a breath attack (no tongue) or a light “doh” articulation, emphasizing
the open “oh” vowel. Listen for specific instructions and be sure to constantly remind yourself of earlier concepts
and strive for similar sensations.

10
Flexibility
Flexibility is the cornerstone of great brass playing and much like a gymnast or athlete, we must be flexible
enough to perform whatever is required of us musically and technically. Maintain an evenness of airflow throughout
these exercises to make certain there is a consistency from note to note, and play it like you would sing it. When
buzzing on your own, there should exist a quick slide between each pitch, focusing on relaxation in the corners
and ease of flexibility. Practice singing, then buzzing, then playing for best results. NOTE: When playing with the
full hornline, we will NOT gliss between notes, but focus on section timing and “center” of each note.

High brass should use defined oral shapes to move from note to note (low to high; “oh” - “ah” - “ih” - “eh”
- “ee”). Low brass should use the default “oh” in the low and middle registers and only use other syllables such
as “ah” or “aw” in the upper register. All sections should sing using prescribed syllables.

All flexibility exercises will be performed using the same valve combination for all pitches in the slur. As
a default, they will be repeated descending chromatically to the 1st and 2nd valve combination and back up to the
“open” set.

Articulation
Initiation of Articulation

We begin every note with what we call a “5% initiation.” That 5% is the amount of extra volume
with which we initiate the sound. We then relax the sustained portion of the sound to the designated dynamic
immediately. As mentioned previously, our default method will be a dAAh or dOh (tubas and baritones in certain
registers). Notice the capitalized letters, focusing more on the vowel shape and less on the beginning of each note.

General Articulation Concepts

• The same part of the tongue touches the same spot with the same energy for every note; think about using one
taste bud for most of the articulations.
• Back of the tongue is down and the sides are relaxed.
• Breath attacks are used for many of the exercises in our daily routine to refine this skill set.

Multiple Tonguing

Multiple tonguing uses the same approach we take to normal articulation. The middle/back of the tongue
raises to strike the roof of the mouth using the smallest amount of flesh possible, then lowers back to a neutral
position. We should not try to clarify our multiple tonguing by trying to play shorter. If you are multiple tonguing
(triple or double), that means the tempo is fast enough that the single tongue does not suffice. At a tempo of that
speed or higher, the more legato the tongue stroke (both single and double), the greater the clarity will be and the
notes will sound shorter because of said clarity.

11
Rehearsal Techniques
Bopping

Bopping is a technique that is used to improve timing, uniformity of articulation, and tonal resonance upon
the initiation of sound. Bopping is executed by:

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

• Slurred passages are played full duration to the end of the slur.
• Tied notes are not sustained.
• Make sure that the throat remains open and relaxed.
• Keep notes open ended (no “dit” articulations)

Our bopping dynamic default will always be mezzo piano or softer. This requires us to play relaxed,
without tension, and to let the air speed and pitch accuracy guide your approach. This is a great pedagogical tool
for working on ensemble alignment and “musical target practice.” On occasion, “dynamic bopping” may be used
to connect these concepts to true dynamics and show level energy.

Note Groupings

Note groupings are a way to break down

extended technical passages into more manageable
chunks. Divide the excerpt into smaller chunks of
notes, repeating the last note of each grouping as
the first of the next. For 16th note passages, 3 and
5 Note groups are recommended. Always play as
slowly as necessary to attain clarity.

Rhythmic Skeletons

Playing the rhythmic skeleton of an excerpt

helps highlight specific notes to improve timing and
accuracy. To play the skeleton, play only the notes
that land on a given subdivision, including repeating
the same note during longer notes. Always play as
slowly as necessary to attain clarity.

12
Fundamentals of Musicianship
Critical Listening

Critical listening is crucial to our success as a brass program. Developing the ability to hear your
own sound and the sounds of others throughout the ensemble will serve to improve individual and ensemble
musicianship. The following “levels of listening” will be our guides and models through which we build these skills.

• Level 1: Self-Awareness - This is the most basic level of listening and asks the question, “are you listening to
yourself and playing with the most beautiful and resonant tone you can produce?” This is step one to
expanding your aural awareness as a musician.
• Level 2: Three-Person Ensemble (Trio)- The focus is on the “trio,” or yourself and the person on either side
of you, guides the next level of awareness. At this point, matching tone, intonation, and strength of sound
are key elements in expanding the aural capacity.
• Level 3: Section Integrity - In this level, the priority is given to section awareness and listening and thinking
as one throughout your specific instrument set. This requires a much “larger set of ears” and will be crucial
for section features and small group playing during productions.
• Level 4: Full Vertical Ensemble - This level encompasses the entire brass ensemble and is truly a professional
level technique when achieved. This allows each performer to fully hear all voices and choirs in the
ensemble and match sound, pitch, and energy clearly with all the brass line members. This is the most
challenging yet rewarding of all the levels regarding ensemble playing.

Balance

Creating a perfectly balanced triad requires

an understanding of all the following percentages and
“weights” of each note in the triad. In a basic triad,
the following “weights” apply: 55% root, 30% fifth,
15% third (voicing should match). For all extended
chords (7, 9, 11, and poly chords) the following
weights apply: 55% root, 25% fifth, 12.5% third, 7.5%
extended note (each note is basically half the value
of the preceding note).

Balancing on the Field

In our dynamic system as explained earlier,

balance on the field is entirely contingent upon the
players executing their respective dynamics with
100% precision and consistency. If a passage is out
of balance, we first establish that the player is playing
the correct dynamic. Field placement and musical
responsibilities will require adjustments to written
dynamics, and these adjustments must be retained
and maintained.

13
Pitch and Intonation

Tuning Tendencies

In order to perform with accurate intonation, all performers must be aware of the tuning tendencies of their
individual instrument. We build our system of tuning through overtone matching; when a section of instruments
play in tune, overtones will ring (for example, baritones playing in tune on unison Bb will create an F overtone).
The following shows the intervals of the chromatic scale as related to a fundamental of “C,” along with the
difference in “cents” from equal temperament as shown on a standard tuner.

Interval: Perfect Unison minor 2nd Major 2nd minor 3rd Major 3rd Perfect 4th

& w b ww n ww bw
w nw
w w
w
Difference
(in cents): 0 +12 +4 +16 -14 -2

Interval: diminished 5th Perfect 5th minor 6th Major 6th Dominant 7th Major 7th Perfect Octave

& bw nw bw nw bw nw w
w w w w w w w
Difference
(in cents): +10 +2 +14 -16 -4 -12 0

It is important to note the following:

• Tuning using overtones means all adjustments are relative to the lowest sound; you must listen down.
• Organizing the same information into major and natural minor scales, the largest adjustments are to lower the
3rd, 6th, and 7th scale degrees in major and to raise the 3rd, 6th, and 7th scale degrees in minor.
• It is physically easier to play in tune with overtones than equal temperament; in general if it feels and sounds
more in tune, it is.

Tuning with Drones/Tone Generators

In order to improve an individual’s aural and intonation skills, each member should be practicing
regularly with a tuning CD, drone, or tone generator. These skills should be practiced singing, buzzing, and playing
respective exercises and musical selections. There are several cost-effective applications available for smart phones
and tablet devices; we highly recommend the “Tonal Energy Tuner” available in all app stores.

14
Baritone
Santa Clara Vanguard
Brass Audition Exercises 2019
3-Note Descending (F)
q=72
?4˙ ˙ w ∑ ˙ ˙ w ∑
4

? ˙ b˙ w ∑ ˙ ˙ w ∑

? ˙ b˙ w ∑ ˙ ˙ w ∑

? ˙ w ˙ w U
w
˙ ∑ b˙ ∑

Repeat each articulation pattern down chromatically as instructed

Articulation Pattern #1
? œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ Ó
J

Articulation Pattern #2
? œ œ œ œ œ œ œ œ œ ‰ Œ Ó
J

Articulation Pattern #3
? œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ Ó
J

Articulation Pattern #4
? œ œ œ œ œ œ œ œ œ œ œ ‰ Œ Ó
J
3 3 3
 Santa Clara Vanguard Brass Technique - Baritone - 2

œ
? bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œJ ‰ Œ
Scalar Study

? 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 œ œJ ‰ Œ

? bœ œ œ œ œ œ œ œ bœ œ œ œ bœ œ œ œ œ œ bœ bœ œ œ œ œ bœ bœ œ œ œJ ‰ 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 œ œ œJ ‰ Œ
Repeat back up to original key

? bœ œ œbœbœ œ œ œ œ Œ bœbœ œ b œ b œ œ œ œ œ Œ
"One Five"

bœbœ œbœbœ œ œ œ œ Œ

bœ
? bœbœbœb œ œ œ œ œ Œ bœbœbœbœbœ œ œ œ œ Œ bœbœbœ nœb œ œbœ œ œ Œ

œœœœœœ
? nœ œ# œ
Œ œ œ#œ œ œ œ œ œ œ Œ œœœœœœœœœ Œ

œb œ œ œ œ b œ œ œbœ œ œ œ œ œ bU
w
? œœœœœœœœœ Œ œ œ œ œ Œ Œ
 Santa Clara Vanguard Brass Technique - Baritone - 3
Repeat each lip slur down chromatically as instructed
Lip Slur #1
? bœ œ œ œ œ œ bœ œ ∑
b˙

œ bœ œ œ œ œ bœ œ bœ
Lip Slur #2
? bœ œ œ œ œ œ œ œ œ b˙ ∑

œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ
Lip Slur #3

? b œ
Œ

bœ œ b œ œ œ œ œ œ œ bœ œ œ b œ b œ b œ œ œ bœ
Lip Slur #4
œ œ
? bœ Œ
Combined Technique

œ œ œ œ œ œ b œ œ œ bœ
b œ b œ b œ œ
q=120-160
nœ
? œœœœœ œ œ
œœœœœ œ œ J ‰ Œ

œ œ œ#œ œ œ
? œ nœ œ œ #œ œ #œ œ œ œ œ œ #œ œ #œ œ œ œ œ# œ œ œ œ J ‰ Œ

œ b œ œ œ œ b œ b œ œ bœ bœ
b œ œ b œ œ b œ
? bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ
J ‰ Œ

œ œœœœœ
Repeat back up to original key

? œ nœ œ œ nœ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ
J ‰ Œ

w w w w b ww
? bw w w
w w bb w
w bw
w
w
Bb Progression
w w
Baritone/ Euphonium

Audition Excerpt #1
Audition Materials
œ œnœ œ^ ™ > ™ ™
™ ™
^
Tempo di marcia q=96-116
œ œ œ > œ œ œ n œ œ œ œœ
#
? ## 2 nœ >œ œ nœ œ œ™ œ nœ œ >œ œ œ
4 œ n
J >>>œ œ > J >>
ff

n >œ ™ œ œ œ œ œ œ n œ œ œ œ œ œ b œ œ œ œ œ œ n>œ ™ œ #œ
? ### œbœ nœ œ bœ œ nœ œ#œ œ‹œ œ œ œ
mp mp

œ œ # œ œ œ œ n >œ ™ n œ # >œ ™ œ
œ œ #œ œ œ œ #œ œ œ œ
? ### nœ œ nœ œ œ œ œ œ œ
mf

>œ ™ œ
#
? ## #œ œ œ‹œ œ œ œ œ #œ >œ™ œ#œ œ >œ™ #œ œ nœ#œ nœJ ‰ Œ
œ œ #œ œ œ#œ
mf

œ œ œ™ œ ˙
Audition Excerpt #2

œœœ œ
? bb b 4 ‰ œJ œ œ ˙ œœœœœ
œœœ
Andante con moto q=80
œ ˙ J ‰J œ™ nœ
b 4 J
p dolce p

œœœ ™ œ n œ œ nœ œ œ™ œ œ ™ ˙ œ -œ -œ -œ n-œ œ œ œ œ œ œ œ œ
? bb b œ œ #œ œ œ
b J J J J
mp f p

œ œ œ œ œ œ n œ œ œ œ nœ œb œ n œ b œ œ œ œ œ œ œ™ œ ˙
? bb b œ œ œ b œ J
b
p
2 Audition Materials - Baritone/ Euphonium - 2

n œ # œ œ b œ n œ n œ # œ nœ #œ œ
? 4 bœ nœ œ #œ œ bœ nœ œ #œ œ #œ œ bœ nœ
Chromatic Scale - articulate or slur as desired
3
4
3 3 3 3 3 3
3

bœ œ bœ nœ bœ nœ bœ bœ
œ b œ n œ b œ bœ nœ bœ nœ bœ
? nœ bœ bœ nœ bœ nœ bœ bU
3

w
3 3 3 3 3 3 3

œ œ œ b˙
œ bœ œ œ bœ
œ
Major Scale - play at maximum volume
? bœ œ œ bœ œ