Board of Directors 2010 Bruce Furlano President St.

Paul, MN John Donahue Vice President Exton, PA Timothy Kviz Treasurer Potomac Falls, VA Charlie Cullen Secretary La Crosse, WI Nick Young Lino Lakes, MN Paul Hanson Eden Prairie, MN Brian King Slinger, WI Tim Lundin Sioux Falls, SD Anthony Jones Sebring, FL

Dear Potential Blue Stars Member, Congratulations! Youve taken the first step to becoming a member of the 2011 Blue Stars Drum & Bugle Corps. The Blue Stars are one of the best marching music ensembles in the world, and those who make the corps will enjoy a season unlike any ever experienced. The Blue Stars organization tirelessly seeks to become a world leader in the marching arts arena, especially in the areas of members character development and performance excellence. Our recent success has culminated with the corps placing 8th in World Class in 2008, 2009 and 2010. In 2011, the Blue Stars will continue striving for excellence while traveling thousands of miles across the US and competing in DCIs World Class division! Being in the Blue Stars is about more than just competitive success. Its about working side-by-side with the best friends youve ever had to put together a show thats engaging, breathtaking, and brings audiences to their feet, night after night. Its about being a part of an organization with a proud heritage that spans over 40 years. Its about giving everything you have to make your summer the most amazing experience of your life - not just for you, but for your fellow Blue Stars, for those who came before you, and for those who will wear the uniform in the years to come. We are there to assist you every step of the way. If you have a question about the audition materials, the audition process, or the Blue Stars in general; do not hesitate to contact corps director Howard Weinstein at director@bluestars.org. Thanks, and well see you in Indianapolis on November 19-21, 2010! Sincerely, Howard Weinstein Blue Stars Corps Director Brad Furlano Blue Stars Executive Director

THE BLUE STARS DRUM & BUGLE CORPS

Section (x) Brass Percussion Guard

MEDICAL HISTORY FORM

Date Form Completed: _____ - _____

Please print all information legibly. Please have parent or guardian help you complete this form. Name: Street Address: City, State, Zip: Current E-Mail: Home Phone: Nickname: _______________________ Place an (x) in front of the box of any of the following that you have had during the past 5 (five) years: SEIZURES DIABETES MAJOR ALLERGIES Allergies to wasp / bee stings ASTHMA HEART CONDITION / MURMUR Positive Tuberculosis Skin Test Autoimmune Disease Chicken Pox / Measles Meningitis (viral or bacterial) Ear Infections / Tonsillitis Sinus Infections, Hearing Loss Bronchitis / Pneumonia Dental or Gum pain / infections Tonsillitis Rheumatic Fever / Scarlet Fever Cancer Hepatitis Ulcers stomach / intestinal Frequent Indigestion Diverticulitis or Colitis Appendicitis Hemorrhoids Hernia / Testicle Lump or Swelling Eczema Hives Acne requiring long term care Fractures or Broken Bones Shoulder injury or recurrent pain Elbow injury or recurrent pain Wrist injury or recurrent pain Finger injury or recurrent pain Hip injury or recurrent pain Knee injury or recurrent pain Ankle injury or recurrent pain Foot injury or recurrent pain Tendonitis or Bursitis Head Aches more than 3/mo Depression / Anxiety or Panic Spinal Injuries or Pain Concussion or Head Injury Age: Doctors Name: Doctors Phone: Parents Name and Phone: Birth Date: -

List other serious conditions (not checked above) that required surgery or medical treatment:

Place an (x) in the box in front of any of these that you cannot use due to allergy or adverse reaction: Aspirin Ibuprofen Sulfa drugs Penicillin Latex

Allergies to other drugs / medications (name of drug): Other allergies (food, pollen, etc.): List below any over-the-counter or prescription medications and/or herbal supplements which you take: Medication Dose

Both sides of this form must be completed and should be turned in upon Audition Weekend Registration.
Revised: 9/2/08

Attach copy of your immunization record and write dates when the following immunizations were given:
Tetanus, Diphtheria, Pertussis (Tdap) Measles, Mumps, Rubella (MMR) Hepatitis A Hepatitis B Meningitis (MCV4) (Menactra) Varicella (Chickenpox)

Place an (x) in front of the box of any conditions you have had frequently during the past four (4) years: Nose, Ears, Mouth & Throat Nose Bleeds Ear Aches Dental Problems Lumps on Gums or Jaws Sore Throat Enlarged Tonsils Cardiovascular High Blood Pressure Racing heart in my chest Irregular heart beat Chest Pains Light Headed Spells Blackout Spells Heart Murmur Shortness of Breath Sudden cardiac death in family Family member with Marfans Endocrine High or low blood sugars Extreme weight loss or gain Thyroid abnormalies Head, Neck & Back Frequent Head Aches Fainting Spells Dizzy Spells Motion Sickness Frequent Neck Pain Frequent Back Pain Gastrointestinal Frequent Indigestion Frequent Nausea Constipation Diarrhea Genitourinary Painful Urination Kidney Disease or Stones Respiratory Wheezing Coughing Spells Coughing Up Blood Excessive Sweating at Night Smoke or Chew Tobacco Skin Acne Itching or Rashes Bleed Easily Bruise Easily Sun Burn Easily Lumps, Cysts, Tumors of Skin Change in appearance of Moles

Musculoskeletal Scoliosis Aching Muscles Swollen Joints / Arthritis Tendonitis Flat Feet Hip Pain Knee Pain Ankle Pain Foot Pain Shoulder Pain Elbow Pain Wrist Pain

CONSENT FOR MEDICAL CARE

Your Name (print):__________________________________________as a member / proposed member (circle one) of The Blue Stars Drum and Bugle Corps, shall engage in practices, tours, and performances. The undersigned desires that said member / proposed member (circle one) receive the proper medical treatment in the event of illness or injury while with the Blue Stars. Said signatory consents to the administration of all medical treatments, as may be deemed necessary. The management of The Blue Stars Drum and Bugle Corps in accepting this consent agrees to promptly notify the undersigned parent or guardian, if member is a minor, in the event of any serious accident or illness.

Date

Signature of Parent / Guardian (if member is a minor) or Member (if not a minor)

(Must be dated)

Print Name of above Signatory

Signatorys Home Phone: Signatorys Work Phone: Signatorys Mobile Phone:

PLEASE ATTACH A PHOTOCOPY OF YOUR INSURANCE CARD(S) IF YOU ARE UNDER 18 YEARS OF AGE WHEN YOU ATTEND YOUR FIRST CAMP, MAKE SURE A PARENT/GUARDIAN SIGNS THIS FORM
Revised: 9/2/08

Brass Section
Brass Manual & Audition Packet

2011
Low Brass edition
REV. 9/20/10

I am a member of a team, and I rely on the team, I defer to it and sacrifice for it, because the team, not the individual, is the ultimate champion

- Mia Hamm Dear Potential Blue Stars Brass Member, We welcome you to the 2010 Blue Stars Brass Section. This packet is full of important information about our Brass Technique Program and includes all of the necessary ensemble exercises. Read this information carefully and prepare the material to the best of your ability before coming to camp. The unique drum corps experience: There are very few things you will do in life that will be as challenging or rewarding as drum corps. This activity offers young people the opportunity to work together to build and perfect a marching/musical arts program at the highest level possible. Each person that earns the privilege to be on our Blue Star team will be part of an Olympic-caliber program. You will learn the meaning of team work, individual preparation, attention to detail and competition both on and off the field. You will know what it feels like to be physically and psychologically pushed to the limit. You will master lessons, techniques and concepts which you can apply to your daily life. You will grow as a musician/athlete and develop the ability to perform in front of your peers. Lastly, the journey of self discovery you embark upon will be unparalleled in your life. The friendships you forge and the life lessons you absorb here will serve you long into the future. As you look at both yourself and this upcoming experience, make and keep promises and goals to both yourself and others. Ask yourself, What do I want to get out of this experience? At the end of every rehearsal, ask yourself, What more could I have done to move better, play better, and make a bigger difference? Am I doing whatever it takes to become the best that I can be? Set goals for yourself that are high but attainable. We will ask you to work hard, work smart and rise to the challenge. Those that do will know what it means to be a Blue Star. Get ready for the ride of your life! Sincerely, The Blue Star Brass Staff

Blue Stars BRASS PROGRAM

-Table of Contents-

Musical Audition Information Audition Recommendations Equipment Important Materials for Rehearsals Physical Requirements Brass Technique Program Posture Moving & Playing Together Step-outs Air / Breathing Techniques Breathing Exercises Embouchure Development Singing & Long Tones Lip Slurs / Flexibility Exercises Style / Articulation Volume Pitch / Intonation Balance and Blend Bopping Pedal Tones Finger Technique Air Exercises Long Tones/Remington Flexibility Exercises (Baritone) Flexibility Exercises (Tuba) Stagger Breathing (Baritone) Stagger Breathing (Tuba) Dexterity/Wrist Exercises Articulation Exercises Note Shapes Visual Chart The Brass Audition Explained

4 5 7 8 9 10 10 10 10 10 12 13 14 15 15 16 16 17 18 18 18 19 20 21 22 23 24 25 26 27 29

audition information
Here is a statement that 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 in this brass section is to not be afraid. Many talented individuals fail to audition every year because they dont believe themselves to be enough. Every position in every section is open every year; past members will re-audition. The following are the requirements for becoming a member of the Blue Stars Brass Section:

TALENT: Your abilities on your instrument and your marching ability are very important in the
selection process. It is equally important to see your development and improvement from camp to camp. This criterion is set and judged by our instructional staff. You will first be asked to play one or two exercises from this packet, so be sure to familiarize yourself with all exercises in this packet. NOTE: We would like for you to mark time as you play these exercises. Do not worry about the style and definition of the mark time at this point...we would just like to see you coordinate the movement of feet to the music. The definition of the mark time style will take place at the camp. Your specific audition music is included in this packet.

ATTENDANCE: All brass members MUST bring their personal calendar to all camps.

Staff members will go over your calendars at each camp and help sort out any conflicts or give advice to all students during the busy times in their schedules. Attendance is required at all rehearsals and performances. Occasionally, school related music ensemble performances conflict with camp dates, and/ or once in a lifetime events such as graduation or a sibling wedding, for example. In order for an absence to be excused it must be communicated AS SOON AS YOU KNOW in advance to Howard Weinstein at howard@bluestars.org & Frank Sullivan at frank.sullivan@bluestars.org. All candidates and members who miss a camp MUST send a Smart Music recording to their section instructors BEFORE the camp begins. All pertinent information on how to get your recording to your instructor will be given at the first camp. *All NO CALL NO SHOW members may be removed from the brass ensemble roster.

ATTITUDE: As with any team sport, chemistry is very important towards success: the same is true
for the Blue Stars Brass Section. Our brass section 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 possibly can, are extremely positive, and support both the staff, and more importantly, each other.

HEALTH: Being healthy is very important in drum corps.

You must be physically capable of withstanding the requirements of rehearsals, performances and travel. If you have any questions about the physical requirements of the program, please contact Howard Weinstein at howard@bluestars.org.

FEES / TUITION: You 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. In reality, fees make up just a small portion of the total funds needed to run an organization of this size. - It is ESSENTIAL that you keep your finances up to date if you expect to march! Always be mindful of your account, and never be afraid to email Howard Weinstein at howard@bluestars.org if you have questions. Always get problems out in the open early rather than deal with them later. To do so will allow you more time to assess the situation and figure out a solution.

audition recommendations
BE PREPARED
Preparation is the key to all success. The more you prepare yourself, the better you will play at your audition. Find a practice routine that works for you and stick to it. If this habit continues throughout the winter camps, you will be amazed with your growth as a musician. Play for as many people as possible. Private instructors, Band Directors, and peers are all great people to play for. Their suggestions and criticism can also be incredibly beneficial. Your biggest and best critic will always be YOU. Record yourself and make notes; the recorder never lies! Your audition music does not need to be memorized, however we will always encourage you to go above and beyond what is asked of you.

DEALING WITH NERVOUSNESS

The ultimate measure of a man is not where he stands in moments of comfort and convenience, but where he stands at times of challenge and controversy. -Martin Luther King The first thing you must understand is that being nervous is normal. Once you understand that, it becomes easier to deal with your nervousness. Fighting nervousness can bring about negative physical effects; instead, strive to embrace nervous feelings and focus that energy in a positive way. Breath. Let go of your emotions and begin with deep breaths. Whenever possible, practice dealing with your nervous feelings by placing yourself in high pressure situations. Play in front of as many people as possible and record yourself frequently: give yourself only one chance to perform for the recorder and see what kind of results you produce. Always visualize yourself playing at your very best ability. It is likely that you will play something in your audition that will not go quite the way you would have liked. The manner in which you deal with those mistakes can be just as impressive as if you had played your piece perfectly. ALWAYS keep going, DO NOT apologize for your audition, and NEVER give excuses.

THE AUDITION ROOM

Before you enter the audition room, be certain that: 1) your instrument is in good working condition and 2) you have all paperwork, including your personal calendar with you Face your bell off to the side of the people listening to you. Always ask questions if you do not understand something. Play at your highest ability. Once you are finished playing, there will be a short conversation between you and various members of the brass staff. If you have any further questions, please feel free to ask at this time. After you leave the camp, you will be given a rating: I = Outstanding audition your chances of being in the brass section are very good; II = Very good audition your chances of being in the brass section are fair; III = You will have to make significant improvements before you will be considered as a candidate for the brass ensemble. Finally, the brass staff would like to stress that the audition process does NOT end after the audition camp. Final decisions for contracted positions in the Blue Stars Brass Section will start being made after the November camp once the Caption Heads and Administration have the opportunity to meet and discuss the auditions. Preparation, improvement, attitude, attendance, section ranking, marching ability, and physical condition will be the determining factors for awarding a spot in the group.

FINALE AND SMART MUSIC

Every member of the Blue Stars brass section will be required to use Smart Music in between camps as the main method for communication and instruction with the brass staff. Once you receive a contracted spot, you will be responsible for activating a Smart Music account immediately following the camp. The amount of dedication, enthusiasm and time that you put into Smart Music will determine how much you get out of the winter camp experience. Details on the Blue Stars Smart Music program will be given out at the first camp. We are very excited about offering the opportunity to teach you and stay in contact with you between camps. Our philosophy is that you put in the hard work in between camps so that you are prepared when you come to camp. Being prepared and having your music memorized will allow you to have a GREAT TIME at camps. Remember, camps are the time to work the finer musical concepts, not the time to learn the music. When all members come prepared, camps can be a lot of fun!!!! Smart Music Memberships are approx. $30 per year.

DEVELOPMENT BETWEEN CAMPS

At the Blue Stars we want our membership to be made up of individuals who are willing to go the extra mile and put in the effort to be ultimately successful. Your growth and preparation between camps is the best way to show us that you are ready to a member of the Blue Stars. Some helpful hints to assist you with the process are 1. Communicate: Find vets in your section that you can talk to between camps. The more you can communicate with the staff and members the more likely you will get the necessary information to be successful. 2. Practice: This sounds obvious, but you need to make sure that you are practicing the right way. We will give you a list of exercises to work on and you need to do these everyday. It isnt about just learning how to do it the right way; it is about practicing enough where you can only do it the right way. 3. Exercise: Get in better shape! 4. Start Early: Dont wait to prepare for camp until the week before. Start the day you get home from camp while everything is still fresh. Establish the good habits of practice soon and often. Besides being prepared, starting early will give you the confidence at camps to get beyond the basics and perform in a way that will catch our eye.

equipment
The number of spots available in the brass section may change slightly from year to year, however, we must be clear that every spot is open again each year. Returning members must demonstrate improvement and continued effort to be considered for membership.

TRUMPETS: Please bring your own trumpet to at least the first 2-3 camps. Corps instruments will be
available to you to check out once you have been contracted and ONLY IF your financial account is current. You are responsible to bring your own mouthpiece to all camps and to summer move-in.

MELLOPHONES: Whenever possible, bring an F Mellophone to at least the first 2-3 camps.
Corps instruments will be available to you to check out once you have been contracted and ONLY IF your financial account is current. You are welcome to audition on a concert horn (you will need to bring you own instrument), however you will be asked to perform on a marching mellophone at some point during the audition process. You are responsible to bring your own mouthpiece to all camps and to summer move-in.

BARITONE / EUPHONIUM: If possible, bring an marching baritone to at least the first 2-3
camps. Corps instruments will be available to you to check out once you have been contracted and ONLY IF your financial account is current. You are welcome to audition on a concert euphonium or trombone (you will need to bring you own instrument), however you will be asked to perform on a marching baritone or euphonium at some point during the audition process. You are responsible to bring your own mouthpiece to all camps and to summer move-in.

TUBAS: If possible, bring a marching tuba or sousaphone to the first to at least the first 2-3 camps.
Corps instruments will be available to you to check out once you have been contracted and ONLY IF your financial account is current. You are welcome to audition on a concert tuba - you will need to bring you own instrument. However, you will be asked to perform on a marching tuba at some point during the audition process. You are responsible to bring your own mouthpiece to all camps and to summer move-in.

Mouthpieces: In order to achieve the most uniform section sounds, we have selected the following
mouthpieces for the Blue Stars Brass Section. You are not required to purchase these mouthpieces for the audition. However, you MUST purchase the specified mouthpiece if you are contracted to be a member of the brass line. Trumpets: Mellophones: Baritones: Euphoniums: Tubas: Bach 3C Hammond 5MPV Bach 5G Bach 4G Dennis Wick 2XL

IMPORTANT REHEARSAL
Brass Ensemble members are responsible for having the following materials at ALL rehearsals:

THREE RING BINDER: This contains all music handouts in organized clear sheet
protectors. Any information you could possibly need should be in this binder.

PENCIL: Every brass ensemble member must have a pencil at all times. Notes should be taken
at every rehearsal, especially when rehearsing with the arrangers. Write EVERYTHING down!

GLOVES: These must be worn when handling a Blue Stars owned instrument. You will
go through many pairs of gloves during the season. It is important that your gloves remain in good condition and are replaced as necessary. Gloves that are dirty or contain holes are never acceptable.

BLACK TOWEL: Your Blue Stars 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 when rehearsing outdoors.

BASEBALL CAP: This will be worn when rehearsing outdoors. Hats are required to shade
your face, your eyes, and your chops when rehearsing indoors, hats are optional.

TENNIS SHOES / TRAINERS: Movement will occur at all rehearsals and therefore tennis
shoes are required at all times. Sandals, shower shoes, flip-flops, 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!!! Again, movement will occur at all rehearsals.

TUNER/METRONOME: Every person is required to have a tuner, metronome, or tunermetronome combo. We recommend that you consider the Korg TM4.

TAPE RECORDERS/Recording Device (Optional): Recording is encouraged at all Blue Stars

rehearsals because it will aid in your individual progress. In addition, tapes/CDs/online recordings are REQUIRED for those brass ensemble members at the BEGINNING of the camp missed.

WATER BOTTLES: Each brass ensemble member is required to have a water jug (no smaller
than 1 gallon) beginning at move-in in June. These jugs must be present at all rehearsals.

Physical Requirements
PHYSICAL FITNESS
The Blue Stars consider all members to be professional athletes. It has been proven that drum corps members actually perform with a physical effort equal to a professional sports athlete. Every successful professional athlete has a very strict off-season fitness plan; you must think of yourself in the same way. It is imperative that all of our brass members be in excellent physical health. If you have, or have had, heart problems, asthma difficulties, knee surgery or medical issues with your knee(s); or back problems, this activity may not be for you. All members of the Blue Stars Brass Section must be capable of sustaining a high level of cardiovascular activity for extended periods of time. It is recommended that you seek out a physical trainer to assist you with creating a physical fitness plan for yourself in an effort to be in the best physical shape possible. The following physical attributes will be considered as part of your audition process: 1. Conditioning: We cannot emphasize how important this is toward the success of the corps as a whole, and to your success as a potential member. You must be in good physical condition. Start now! Run, walk, lift weights, do Pilates. Just do something! Everyday you wait is another day where someone else is getting stronger than you. Running, pushups, sit ups, etc. WILL be part of the audition process. 2. Posture: This will be one of the single most obvious visual aspects at the audition camp. Standing with great posture is an instant way to make your ability to put forth effort at a high level stand out. Take time everyday to grab a horn and get in front of a mirror for 10 minutes. This is a frequently overlooked concept for new auditionees. 3. Timing: You will constantly be evaluated by both the brass and visual faculty throughout the weekend on the timing of your feet and the energy in your legs. Make sure that when you practice your musical exercises you are always standing up and marking time with a metronome. The more comfortable you are moving your feet with music the more successful you will be musically and visually. 4. Willingness to Adapt and/or Change: At the Blue Stars, we have our own technique program. You must be willing to recognize differences between our approach and you past training. There is no wrong or way to do visual but to be a part of our organization you must be willing to mold to our philosophy. 5. Awareness and Focus: We will be moving very fast at the first few camps because we will want to see what you can handle. The best thing you can do is to stay focused on the task of the moment and work to achieve that at the highest level possible. Also, we would recommend that between blocks or at water breaks you take the time to write down some important concepts from the block. This will help you in your preparation between camps. Which leads us to the most important part of the audition process

Brass technique program

POSTURE
To be the most efficient when playing and marching, the body should be in the most natural and upright position. Improper posture can cause injury and negatively affect your brass playing. While playing your brass instrument, your 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 relaxed; and your instrument bell angle is 10 degrees above parallel. The basic rules that apply to all hand positions is that the hands are relaxed, finger tips are on the valves, valve casings are perpendicular to the ground (except for the tubas), and your wrists are straight.

MOVING & PLAYING TOGETHER

Marking-time will be used in all music rehearsals where we do not march drill. In the future the marching technicians will go into further detail regarding the proper way to mark time. Some basic rules for marking-time are as follows: The initiation of the mark-time will be one count before the beginning of the phrase. The heels of your foot will hit the ground on all down beats. Your heal will come up to your anklebone. Your upper body must not bounce or sway while you mark time; it should look as if you are standing still. The success of the brass ensemble will be determined by how well you play and move at the same time. The sooner you start adding movement to your playing, the better you and the section will become.

STEP-OUTS
In drum corps or marching band, you will find that nearly all timing & technique problems related to the music or drill occur within the first two counts of a phrase or drill move. As an effort to tackle this problem, step-outs were created. You simply take 2 steps in any direction (left foot, then right foot) at the beginning of a musical phrase or during what would have been a drill move. You will take one step with the left foot, and then bring your right foot to the left on the second count. On the next two counts, you will go back to your original placement. You should vary the direction and step size taken so that you may work on various areas of your marching technique while you play.

AIR & BREATHING TECHNIQUES

A state of relaxation is a very important aspect of great ensemble brass playing. Students enter a rehearsal in various states-of-mind. It is imperative that we formulate a common physical and emotional point of reference when we begin a rehearsal. Physical stretches are very important in the process of relaxing the body. One method is to roll the head forward, left, back, right, and then in reverse. This will help assure that the neck muscles are loose and will not impede the flow of the air in the breathing process. A variation of this exercise would be to roll the shoulders forward and back, and then pull them straight up (as if trying to touch the ears). Hold them in that position for approximately 3 seconds and allow them to drop. Arm circles and upper body stretches are also excellent exercises to relax the body before playing. After several repetitions the player should feel more relaxed and can then begin the breathing process.

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Great breath control is an important key toward playing a wind instrument well. There are many components involved with taking a proper breath, and many books and articles have been written on this particular subject. To achieve clarity through simplicity, we prefer to keep the following concepts in mind while playing: To achieve maximum breath control, breathe deeply into the lungs. As the diaphragm (a strong doughnut shaped muscle under the ribs) pulls downward, room is created for the expansion of the lower back, abdomen, and ribs. Lastly, the chest should expand after the capacity of the lower torso is reached. One should inhale to the point where the body feels relaxed and full of air. Never try to take in to much air and go towards a state where the body is at an uncomfortable. To maintain a state of relaxation, the shoulders and the upper back must not be tense so that the breathing passage is never constricted while inhaling or exhaling. Keep the throat open so there is no resistance or audible friction. The only sound accompanying the inhale should be a very soft hoe. Air NEVER stops while playing. Air is either going in or out. Be careful not to cap the breath. Capping occurs when the air is stopped after inhalation. Visualize the lungs as a giant bellows that is constantly expanding and contracting. During exhalation there should be a feeling of total release in the upper body. The air should have a warm, engulfing sound and texture. An exhalation should never be forced. As the air is released through the horn, it should reflect the timbre of that particular instrument. Exhale to the point where your body reaches a state that is similar to when you are resting. Never try to squeeze out the last bit of air in the lungs. Simply take a fresh full inhale when you feel you are about halfway towards being out of air. Maintaining a constant in & out sensation will result in stronger air-support that will produce a beautiful tone and stable pitch. Releases should be approached through the initiation of a short inhalation. Using the tongue or a contraction of the throat and jaw should never be used to release a note. Simply breathing inward on a predetermined count will create a defined release. A uniform timing of the breath will ensure uniform timing of the release throughout the entire ensemble. To create a seamless sound, we utilize a technique called stagger breathing. By staggering the points of breathing throughout the ensemble we can create an impenetrable wall of air or tone. The basic rules of stagger breathing are:

-Never breathe on a bar line -Never breathe between phrases -When you take a breath, take a full breath -When you breathe, leave notes out rather than playing a partial note value (except long
tones) -Do not breathe when the person next to you takes a breath -Sneak in and sneak out (to sneak out, get softer before you breathe and when coming back in, start softer and crescendo back to the ensembles defined volume)

The timing of the breath is of the utmost importance. The breath will occur one count before the attack of the note. The one count breath before the attack rule does bend when the tempo changes (sometimes 2 counts when fast). Failure to utilize this technique will result in significant timing problems. All air exercises, technique exercises, and show music are performed with the instrument in the correct playing position while using the correct playing embouchure. As the air is blown through the instrument, the player should use different valve combinations. To force the performer to use more air in their playing, many times we will have the player press the valves half way down to create more resistance. In regards to airspeed, there SHOULD BE a difference in the air based on the range that is being played:

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faster air for the higher notes, and slower air for the lower notes. There is also a difference when the player changes volumes: more air for the lower notes and less air for the softer notes. Air exercises should have different volume levels as well as different ranges. A key point is to always have consistent, MOVING air. Breathe and play. THE TIMING STARTS WITH THE BREATH! In other words, if we are to play together on beat one, we all need to take a full breath on beat four. Whenever an attack is early, it can usually be traced back to improper or poorly timed breathing. Late attacks typically result from capped breaths (stopped air between in and out) or poor timing. The performer must ALWAYS breathe and play with his or her feet to stay in time with the ensemble. DO NOT: Close the jaw upon the release Choke the air with your glottis (closing your throat) Use your tongue to stop a note (this can be detected 100 yards away!) A clean release will ring for a moment even after the air has been released. Strive to make the note ring! 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 situations, humans use about 20-25% of their lung capacity. In playing a wind instrument, we strive to push that towards 90%. Proper use of the diaphragm should allow an outward expansion of the midsection of the body. This is easiest to see in the stomach area, but the expansion should also be felt in the sides as well as the back. Once the lung capacity is full, the focus should switch toward releasing all of the air out. It is important to completely empty the lungs because the lungs will start to store carbon dioxide. If the air is not released to its natural point, this carbon dioxide will build up and begin to decrease the players lung capacity, causing unnecessary stress, tension, dizziness, and exhaustion. When you begin these exercises, take in as much air as possible, and then release ALL of the air through the horn (again, this is essential). You should concentrate on taking ALL of the counts to perform each portion of the exercise. If four counts are given to take in air, the player should take all four counts to do so, then turn the air around, moving it out. This will take away any dead time that is similar to holding your breath. There should be no hitch in the breathing process. This will give the player the greatest efficiency with regards to the use of air when playing. 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 of these 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 devices that we will utilize throughout the winter and summer such as: sizzling, breathing tubes, and various applications with and without the mouthpiece. All exercises will develop and improve your air support.

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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 exercises are easier to produce without the brass instruments resistance). 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 the 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. There are some basic embouchure rules that can be applied to all brass players: The corners of the mouth need to be firm and strong with a comfortably set. The mouthpiece should be placed as close to perpendicular on the lips as possible - not too upstream or downstream. Both lips should have enough flesh on the mouthpiece to allow for a full, robust buzz. Always bring the mouthpiece to the same place on your lips. The jaw should always be open - especially in the lower register. The teeth are apart. The mouthpiece should be held with your non-dominant hand, with the shank of the mouthpiece in between your thumb and forefinger finger. This method of holding your mouthpiece will force you to use very little pressure against your embouchure. If the lips are buzzing freely, a full mouthpiece- sound will result. Again, be certain that the corners are locked and there is always excellent breath support. When buzzing, 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. 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. TO SLIDE OR NOT TO SLIDE ON THE MOUTHPIECE When playing flexibility exercises on the mouthpiece, target the exact pitch. Sliding will cause intonation problems as everyone jockeys for position on the correct pitch. Sliding also causes serious timing problems because players arrive at the pitch at different times. When practicing on your own, or even during a warm down, we DO recommend sliding as a technique to regain true flexibility and to allow the corners of the mouth to relax. When we have 72 + players trying to play together, we need to nail every pitch with no sliding. Many of you may be asking yourself, How do I play large interval leaps without sliding? The answer is easy: AIR VELOCITY and tongue elevation while buzzing in the mouthpiece.

13

In other words, if a players air moves at 50 mph for a middle C, it should move at 100 mph for a high C. Every pitch should have a specific air velocity that will help you find the pitch-center rapidly and efficiently. On the other side of this concept, do not slow down the air too much in the lower range, as the pitch will go flat and the tone will be thin. FOGHORN AN EXTENSION OF THE MOUTHPIECE Foghorn is an exercise that involves removing the tuning-slide of a brass instrument and inserting only one end of the slide back in. The difference between the foghorn and the mouthpiece is that with foghorn, there is more resistance and there are breaks between ranges. For example, going from a lower pitch to a middle pitch, you go through a break (similar to a slur). The following rules apply to foghorn: Breath attacks are used Define the pitch you will play every instrument will be different Try to match that pitch every time you come back to it Work to minimize any shaking in the sound Work to minimize any air-in-the-sound with regards to your tone quality Use as much air as possible No pressure should be placed on the embouchure

SINGING
Singing is a wonderful 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. The following are guidelines for all singing exercises: The throat should be open The same approach to breathing, air support, and direction of air will be enforced in singing as in our instrument playing Everyone should always be listening to match the pitch We will use different vowel sounds, including humming We will always be checking the pitch before and after we have sung We will work on and be able to sing everything in the technique book, chorales, and show music ***Singing is a wonderful tool for becoming a truly great musician. One thing to be careful of: some musicians allow bad habits to creep into their singing and thus creep into their playing. The most common example of this is to allow the throat to become constricted. No matter what volume you are asked to sing/play, it is crucial that the throat remain relaxed and open at all times.

LONG TONES
There are several benefits from playing long tones everyday. Along with mouthpiece work, this allows the muscles in your face to loosen up and helps you to become comfortable with the 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/her section and throughout the ensemble. Long tones are essential toward 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. Our long tone exercises consist of 9, 8, and 7 count tones going down in half steps and/or Remington studies.

14

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, rather as a musical phrase. Each musical line should have purpose, movement, and arrive at a destination.

STYLE & ARTICULATION

Articulation should be executed with no explosion in the attack. Every note should be started with the sound dAAh in mind (notice the lowercase d and uppercase A). Each player should strive for less tongue in the sound and focus on providing more tone. Close to 90% of an attack is the air and only 10% is the tongue. THE AIR STREAM SETS THE BUZZ INTO ACTION, NOT THE TONGUE! NOTE SHAPES We will often talk about the shape of the note. This is a very important part of our uniformity in approach to articulation and style. Please refer to the Note Shape Visual Chart on pages 25 & 26 for a visual representation of the shape of notes indicated with a specific articulation. Please refer to this chart when learning and memorizing music. Frank Sullivan will be very specific with articulations in the music, and uniformity of approach across the entire brass section is crucial to success in drum corps.

LEGATO TONGUING When tonguing in a legato style, the air is virtually unbroken as the tongue plays each note like a soft paintbrush. Be mindful to keep the tongue moving fast; do not chew the notes. STACCATO TONGUING Remember, staccato does not always mean short!!! It means separated or detached. To produce a good staccato, keep the air stream supported and create perfectly rounded blocks of sound: each rounded block identically matching the one that preceded it. Make sure that the tongue starts every note, but does not finish it. Otherwise, a DIT articulation will result. Remember to keep every articulation an open-ended, even staccato. MARCATO TONGUING This style lies between the staccato and legato articulations. It can best be explained as a sustained staccato with only a small bit of separation between notes. STYLE EXERCISES By isolating a particular style, the player can maximize his or her practice time by supplementing the music with style exercises. Rhythmic integrity is a primary focus with style exercises. The correct interpretation of each style begins with rhythmic accuracy. From there, note duration and articulation clarify the intent of the music. ARTICULATION EXERCISES Articulation exercises are an integral part of developing the relationship between the tongue and the air stream. It is important to understand that the tongue cannot articulate properly if there is not enough air support. These exercises are intended to develop a consistent and clear approach to the motion and speed of the tongue and air. It is also important to know that the clarity of the articulation should not be affected by tempo, technique, note length, volume, or range. The only time an articulation will change is when the style being played changes.

15

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.

PITCH & INTONATION

It is not whether the instrument is built in tune, but if it can be played in tune. 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 and open Bb, usually the F above can be heard quite clearly even though there are no performers playing it. There are also many natural intonation deficiencies when dealing with the structure of chords. The following is a list of intervals (from the root of the chord) and the natural pitch tendencies each interval has:

16

As all of 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. We strongly recommend investing in a good tuner and practicing with it on a regularly. CHORD PROGRESSIONS Chord progressions are an integral part of every brass players daily routine. As we play through these progressions, be aware of all of the notes changing around you. For example: Recognize what part of the chord you are playing. Is it the root? Or the third? Listen with big ears. Know all of the parts and how your part fits into the ensemble. Crescendo the moving lines (especially the descending passages).

BALANCE & BLEND

The first criterion toward achieving great balance and blend is perfect intonation. If one note in a chord is played out of tune, then balance cannot be achieved properly. The second criterion is always know who has the moving line, and who has the melody. This is achieved by keeping your ears aware of the parts being played around you. The third criterion is a combination of balance, support, and playing in soloistically. Each part in an ensemble is unique in its own way. We as good brass players know when to support a given line, create balance within that line, or project an important line with a full supported sound. When trying to achieve good balance and blend: Ask yourself, am I in tune with the ensemble? First listen to intonation in your section, then branch out to other sections, always keeping in mind that you should listen down to the bass voice. If you are supporting a moving line, ask yourself, am I playing louder than that line? Finally, ask yourself, am I playing within the other sounds, balancing my sound against it with a rich, supported, full bodied tone? Balance and Blend requires the performer to listen very closely. There are 3 levels of listening required if you are to become a greatly balanced brass section: Level One Listening focuses on the sounds, volume, style, etc of his or herself. Self awareness is an important key toward higher level playing. Level Two Listening focuses on the sounds, volume, style, etc of the other members in each respective section. Level Three Listening focuses on the sounds, volume, style, etc of all instruments in the ensemble.

17

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: Slurred passages are played full duration to the end of the slur. Tied notes are not to be played. Make sure the throat is open and relaxed. No Dit articulation should be heard. Only dAAh. Keep all notes open-ended.

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, especially to F, E, Eb, D, and Db. These notes do not actually exist and you need to push them down as you play them. Once you hit pedal C and downward to F#, they will be flat. This occurs because these notes are in the overtone series of your instrument. 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: Soothe your embouchure Provide greater command of your instrument Aid your attack confidence Develop better lip vibration Create a bigger sound in all registers Develop endurance

FINGER TECHNIQUE
When playing fast 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.

18

Blue Stars Brass technique Exercises

*** The 9, 8, 7 etc. denotes the count that the note ends/breath begins.

Important Rules in Ensemble Breathing Deep Full Breaths No Shallow Breaths Air is going In or Out - One Motion Support to the release Use a full count to breathe Release by taking a short breath in Always move your feet Expand outwards, NOT upwards, STAY RELAXED!

*** VERY IMPORTANT: All exercises are to be rehearsed while using a metronome and tuner while standing with the correct posture and marking time.

19

LONG TONES Baritone

F Remington

Bb Remington

Tuba
F Remington

Bb Remington

20

SLURS/FLEXIBILITY

Baritone

*** VERY IMPORTANT: All exercises are to be rehearsed while using a metronome and tuner while standing with the correct posture and marking time.

21

Tuba

SLURS/FLEXIBILITY

*** VERY IMPORTANT: All exercises are to be rehearsed while using a metronome and tuner while standing with the correct posture and marking time.

22

STAGGER BREATHING Baritone

*** VERY IMPORTANT: All exercises are to be rehearsed while using a metronome and tuner while standing with the correct posture and marking time.
23

STAGGER BREATHING Tuba

*** VERY IMPORTANT: All exercises are to be rehearsed while using a metronome and tuner while standing with the correct posture and marking time.

24

Finger Dexterity
Baritone

Wrist 1

Wrist 2

Tuba

Wrist 1

Wrist 2

25

Articulation
Baritone

Tuba

26

NOTE SHAPE VISUAL CHART

27

28

The Blue Stars Brass Audition

Once you come into the room you will be asked a series of questions. Make sure you come in ready to answer these questions due to the many students we will need to make sure the process goes by quickly.
Name Age / Age Out Year School Major if in college Drum Corps Experience Email Address Cell Phone Number Camps you will be missing Expected Move-In Date
As soon as the short interview is completed you will be asked to perform.

Audition Performance
The three audition excerpts. An optional prepared etude of your choice. If you choose to do so, please pick an etude that best showcases your abilities as a musician. Finally you will be asked to play 2 note lip slur (which you can nd in this packet) while marching. A simple box drill (forward for 8 Left slide for 8 Backward for 8 Right slide for 8) and repeat until the playing exercise has been completed. We want to see how well you can play and move at the same time. Tempo should be quarter note = 152.

Performance Rating
After the camp, you will be given a rating based on your performance level at the camp which represents the combined brass and visual evaluation: o I = Outstanding audition: your chances of being in the brass section are very good o II = Good audition: your chances of being in the brass section are good but you need improvement to secure a position in the corps. o III = You will need to make signicant improvements before you will be considered as a candidate for the brass ensemble. You will nally be placed into one of our two different brass teams. The teams are set up NOT to determine if you have made the brass section or not. The team is set up to provide the student the best opportunity and educational experience As a reminder the audition process does NOT end after the rst camp. Final decisions for contracted positions in the Blue Stars Brass Section will start being made after the November camp once the Caption Heads and Administration have the opportunity to meet and discuss the auditions. Preparation, improvement, attitude, attendance, section ranking, marching ability, and physical condition will be the determining factors for awarding a spot in the group. Preparation, improvement, attitude, attendance, section ranking, marching ability, playing on the move, and physical condition will be determining factors for awarding a spot in the group.
29

Blue Stars 2011

"Audition Etudes"
Tuba
q. = 120

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Etude # 1 - (Articulation)

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13

. > P

q = 82-86

3 4

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Etude # 2 - (Lyrical & Range E - Theme from "Jupiter") rubato

20

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H

27

? b b

4 4

35

? b 4 b 4

q = 116 - 124

Etude #3 - (Dexterity & Range)

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38

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. f

41

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U

44

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Blue Stars 2010

Tuba

"O Sacred Head" Chorale

? b 4 b 4

Bach/arr. Prime/Sullivan

B
6

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10

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Copyright 2009 Inspire... Music & Entertainment Productions

TUBA

CHESTER
ARR. JAY BOCOOK

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13

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Proudly

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13

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25

31

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THE CADETS

FACILITY INFORMATION Indiana Audition (airport code IND) Indiana State Fairgrounds 1202 E 38th St Indianapolis, IN 46205-2807

CONTACT INFORMATION Howard Weinstein Corps Director howard@bluestars.org 727-560-3979 Brad Furlano Executive Director brad@bluestars.org 608-797-6301 Mark Donahue Drum Major mdonahue12@gmail.com 309-369-8432 Layney Pieratt Drum Major marlaynapieratt@gmail.com 812-767-8240 Kris Borden bsmello4292@yahoo.com 316-680-9121

P.O. Box 2523, La Crosse, WI 54602-2523 Website www.bluestars.org La Crosse office 608/782-3219 Fax 608/788-3219

INDIANAPOLIS AIRPORT INFORMATION If you are flying to the Indiana camp, heres what you do when you land: Get your bags and proceed to the outside doors nearest to luggage carousel #1. Look for a silver 15passenger van. The shuttle will run all day starting at 10:00am. Depending on where the shuttle is on its route, you may have to wait up to an hour for pick up.

INDIANAPOLIS DRIVING INFORMATION The rehearsal facility will be open at Noon on Friday, Nov. 19. The address for the fairgrounds is: 1202 E 38th St., Indianapolis, IN 46205-2807 You will enter the fairgrounds from 38th Street at Gate 1. If there are parking attendants stopping cars to collect parking fees, simply tell them you are with the Blue Stars and they will let you through without paying.

P.O. Box 2523, La Crosse, WI 54602-2523 Website www.bluestars.org La Crosse office 608/782-3219 Fax 608/788-3219

GENERAL CAMP INFORMATION Registration begins at 6:00pm on Friday evening. An organizational meeting will begin promptly at 8:00pm. There will be a welcome, orientation and Q&A meeting for parents at 8:00pm on Friday night. This is a great chance for your parents to learn about the Blue Stars and get any questions they have answered by the corps leadership. Camp will end on Sunday at 4:00pm. Do not make plans to leave before this time. There will be cleaning crews and general dismissal that occurs. It is imperative EVERYONE stays the entire duration of the camp. Brass Players: If you have access to a marching instrument, please bring it. We will not have enough Blue Stars instruments for all auditionees. Brass players using a Blue Stars instrument will be required to wear white gloves, which will be for sale at the camp. Percussionists: Please bring a pair of sticks and a practice pad. There will be snare and tenor sticks available for purchase, if needed. Brass and Percussion: Please bring a wire music stand and printed copies of all audition music. Please bring pencils and a spiral notebook to take some notes from caption heads and during corps meetings. Guard: Please bring a saber and/or rifle if you wish to audition on those pieces of equipment. There will be a limited amount available, but not enough for all. Flags will be provided. You will receive a 2011 Blue Stars Auditionee T-Shirt when you arrive at the camp (see sample below). You will write your name on the shirt and be required to wear it all weekend. You can wear it over other clothing if you are cold or want other layers under the t-shirt.

P.O. Box 2523, La Crosse, WI 54602-2523 Website www.bluestars.org La Crosse office 608/782-3219 Fax 608/788-3219

QUICK PACKING LIST Clothes to move around in i.e. shorts and white t-shirts (Do not under any circumstance wear jeans to a rehearsal) Sleeping clothes Toiletries and shower accessories (towel, shower shoes, etc.) Sleeping bag and pillow Air mattress (if you want it and twin size only if you do, oh and its a concrete floor) Tennis shoes that cover the whole foot (Do not wear sandals or flip-flops to a rehearsal) Brass accessories (mouth piece, valve oil, BLACK (only black, not navy) shower towel for you instrument (you cannot use the same towel you shower with), audition music, and the brass handbook) Guard will need clothes they can move in, dance attire, nothing too bulky or baggy, and if you choose dance shoes

P.O. Box 2523, La Crosse, WI 54602-2523 Website www.bluestars.org La Crosse office 608/782-3219 Fax 608/788-3219