2018 White Sabers Brass Warm-up Packet

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1 2018 White Sabers Brass Warm-up Packet

2 Welcome to the 2018 version of the White Sabers Drum and Bugle Corps brass section! This packet is intended to help you become more familiar ith hat you can expect this season as far as techniques that ill be used, arm-ups that ill be used, and general information about the brass line. In the packet you ill find arm-ups and chord progressions for each instrument. These ill be the foundation of our arm-up program for the 2018 season. The goal is not for you to play them all perfect from the start, but for us to see a groth in your abilities and a illingness to ork to achieve at a high level. Attendance: The groth and success of the corps starts ith all members being at rehearsals. If there is a conflict you must communicate ith your Caption Head prior to the rehearsal you ill be missing. Not communicating an absence is the same as a no call no sho for a job. Many members are involved in numerous activities in and outside of school. We are illing to ork ith conflicts that you may have, but you must communicate these conflicts. You ill also need to fill out a conflict sheet hich ill help you communicate any conflicts you may have. Communication is extremely important in this activity! Missing Rehearsals: In the case that you do need to miss a rehearsal you ill be required to do a video assignment. These assignments are not long, but do require you to spend some quality time practicing these parts. These assignments are not a punishment, hoever they ill allo the staff to give you feedback hen you are unable to attend a rehearsal. What you ill need for camps: For the inter camps you ill need the folloing: Instrument, music, pencil, stand (if you on one), ater bottle, and sneakers. Instrument care and maintenance: Making sure that you have a orking instrument is important for your success. If you are using a horn than belongs to the corps you ill be required to sign a loan contract. This no means you are responsible for that horn. If there is an issue ith the horn you must communicate that ith a staff member. We can assess the situation and then take the steps necessary to take care of the issue. It is expected that your horn ill be in orking condition ready to be played at the beginning of horn arm up. This means oiling the valves and making sure the slides ork. Gloves ill be orn every time you have a horn in your hand WS Brass Packet Page 2

3 Memorization: There ill be set dates as to hen the music ill need to be memorized. All brass members are expected to have their music memorized by these dates. This includes arm-ups, chord progressions, the corps song, parade tunes, and the sho music. Part Assignments: The staff ants to make sure e are setting every member up for success. Every brass player ill have an opportunity to play for the staff. You ill be asked to play a couple arm-ups, a Bb concert scale for range purposes, and an excerpt from our sho music. This gives us an opportunity to hear you play alone, and also helps us determine hich part is the best for you to play. Practicing at Home: Practicing at home is extremely important for our success. It is our job as the staff to help you and teach you ho to practice at home. When you practice at home you should have a stand, a tuner, and a metronome. A tuner and a metronome can be donloaded on your phone for free and are extremely beneficial hile practicing WS Brass Packet Page 3

4 Playing the Horn Breathing: Breathing is the foundational component of successful ind playing. The White Sabers ill focus on using a full, one-count breath before all attacks as the foundation to our approach on the horn. The timing of this breath is of the utmost importance for the timing of the ensemble and does not change at different tempos. While e ill use Inhalation A quality breath must first start ith an erect, relaxed posture through the upper body. Particularly the shoulders, neck, and upper back muscles should not be tense, and the tongue should be lo in the mouth. The result should be a very soft, lo pitched rush of air into the lungs, and a slight cold spot on the back of the throat. The timing of the inhale should be a full one-count breath at the same velocity and volume until the attack on the donbeat. There should be no interruption in, or change to the speed or volume of movement of air over the course of the inhalation. Be especially careful not to cap the breath, hich occurs hen the air is stopped at the end of the inhalation. This can introduce tension into the sound, and ill cause timing errors. A full breath should be taken at all dynamics and tempos, and e ill rehearse full expansion in all such situations. Exhalation The exhale should be relaxed, open and should begin at full velocity. An essential component to a proper attack on the instrument should be the initiation of the full volume of air on the donbeat. When performing air exercises ith or ithout the instrument, e ill NOT articulate ith the tongue, hich should remain lo in the mouth. When breathing through the horn, there should be as minimal change in the ja and neck as possible to create a seal on the mouthpiece. High brass players in particular have a tendency to introduce tension in the neck and tongue in order to overcome the resistance of the instrument. The velocity of the air should be first and foremost be modulated from the abdominal and intercostal muscles in support of the diaphragm, rather than the neck and tongue WS Brass Packet Page

5 To ensure consistency across the phrase, e ill apply a slight (less than one half of one dynamic) crescendo across the ENTIRETY of the length of a musical phrase (unless otherise noted). This ill prevent dropped phrases, and ensure a supported sound. Be careful not to close the ja, raise the tongue, or choke the air ith the glottis ( closing the throat ) to increase the apparent volume of the air, (this actually serves to DECREASE the volume of air hile increasing the velocity) but instead focus on keeping the entire passage open and relaxed throughout the phrase. Releases The White Sabers ill release ith a short inhalation on the release count. This is part of the breathing technique is critical to the timing of the release. This inhalation can elide ith the inhalation for the beginning of the next phrase (or the continuation of the phrase in the case of stagger breathing) or be separate completely (remember, e ill ALWAYS be using a one count timing breath). In this situation, it is fine to release ith the breath, exhale/breathe normally over the counts of the rest, and prepare for the full one-count breath the count before the next phrase. A proper breath release allos the sound of the horn to resonate or ring in the air slightly past the release. This is not to be confused ith a late release, here a player plays past the conclusion of the phrase, hich is obviously an error. Using the ja, glottis, or tongue to release ill prevent this ring, and is not part of our technique. Audiation: Audiation is the foundation of musicianship. Audiating is an important part of the musical process for the White Sabers brass line. This process includes audiating rhythms as ell as pitches. No this does not mean e are expecting everyone to be a orld class singer. For many of you it ill mean breaking out of your comfort zone a little bit, hoever this is sure to help you become a better musician. What ill you be asked to do Singing You ill be asked to match pitches during exercises, chord progressions, and sho music. The syllable e ill use hen signing ill be AWH. When using this syllable your mouth should be ide open ith your ja dropped. This gives us a rich sound and tone quality, and hen everyone in the line matches this ill give us great intonation and balance as ell. When a group is able to sing a note, 2018 WS Brass Packet Page 5

6 interval, or chord in tune and tone they ill find it much easier to play that same note, interval, or chord in tune and tone. While e play our instruments e should alays be singing in our heads and hearing that note e are playing. By starting ith this process e are setting ourselves up to be successful on our horns. Chanting A technique e use often for the White Sabers in chanting. This gives our chops a break and it helps us line up our rhythms ith the other sections in the brass line. The syllable e use for chanting is Dah. When chanting e are not looking for correct pitches. Hoever, e are looking for correct rhythms, dynamics, articulations, and style. Chanting a section of music gives you an opportunity to vocalize rhythms, dynamics, articulations, and styles before jumping into the fingerings and pitches. We often use chanting hen learning ne music, but utilize this tool for hen there are rhythms e are having a difficult time lining up. Again, chanting is not meant to embarrass anyone and may fall a little bit out of your comfort zone. This is only meant to help you fully understand hat you are about to play before you actually play it on your instrument. Mouthpiece: Playing on the mouthpiece is a technique a lot of brass players are not comfortable ith. It is my belief that if you can play something on your mouthpiece you can play it on your instrument as long as your instrument is orking correctly and you have your fingering don. The common trend is that hen e play on our mouthpiece e tense up and use less air than e normally do. When e play on our mouthpiece e need to stay relaxed, breathe properly, and center that air through the mouthpiece. The mouthpiece does not produce the prettiest sound in the orld, but becoming a better player on the mouthpiece ill make you a better play ith the horn in your hand. It is important to practice ith just your mouthpiece every time you practice! We ill teach you ays to become more proficient on your mouthpiece to here you might even enjoy just playing the mouthpiece. When playing the mouthpiece you ill hold the shaft of the mouthpiece ith your thumb and index finger for high brass players, and your thumb, index finger, and middle finger for lo brass players. Every brass player ill hold the mouthpiece ith their non-dominant hand WS Brass Packet Page 6

7 Exercises Included at the end of this packet are the exercises e ill start the season ith. These exercises are the foundation of our arm-up program and the goal is to master these exercises. There ill be variations of these exercises throughout the season, hoever they ill all be based off of the ones in this packet. Belo is an brief explanation of each exercise. Long Tones: This exercise, along ith every exercise, ill start ith a Dah attack ith the tongue. The tongue should be placed just above your top set of teeth on the roof of your mouth. You air and tongue should ork together ith your embouchure for a nice clean attack. This year e ill be doing a full phrase crescendo on this exercise as opposed to the push for e have done in past years. Each phrase of this exercise ill end ith a breath in on count 13. Lip Slurs: This exercise ill start ith the tongue but you ill slur through the rest of the notes ending ith a breath in on count 8. We ill focus on the use syllables for this exercise. As e are in a loer register of the horn e use AWH ith our tongue don in our mouth. When e are in the upper register of our horn e use an EE syllable ith the back of our tongue toards the top of our mouth. Timing and Tonguing: This exercise is all about timing and tonguing. Through this exercise e are focused on lining up our notes and not getting too heavy or fat ith our tongue. We ill use the ord light hen e play this exercise. We ill use a full phrase crescendo on the exercise ith a full length quarter note on count 13. Technique Exercise: This exercise orks our fingers and our chromatics. You should ork this exercise at a sloer tempo and then speed it up once you are more comfortable ith the pattern. We ill play the exercise at the same dynamic all the ay through. To give you some help, the 3 rd measure of each phrase matches the first to measures of that phrase and each lip slur is a major arpeggio WS Brass Packet Page 7

8 Chord Progressions: We ill use chord progressions to ork on blend, balance, tone quality, intonation, and dynamic sustainability. These chord progressions give you an idea of the range for each part, hoever the parts may going higher or loer depending on the arrangements. We ill ork these progressions at many different dynamics ith different personal playing at different times. As mentioned above there ill be some variations to some of these exercises as ell as some additions. Nothing that e give you at a rehearsal do e expect you to be able to play perfect right aay, but e do expect that you ill take the materials home and ork on them. The goal is to help you gro as a musician and a player, hile pushing this brass line to its full potential! The staff is extremely excited to get started and meet all of you. If you have questions at all please feel free to contact me and I ill get you any ansers you need. I look forard to meeting all of you at the Open House and starting off the 2018 season strong! Matthe Jaeger White Sabers Brass Caption Head MJaeger33@gmail.com 2018 WS Brass Packet Page 8

9 Long Tones Trumpet and Mello Exercise 1 b p p f p f p b f p f p f Exercise 2 f f p f p f p f p f p f p f Exercise 3 p f f p f p f p f p f p f f U n b # U b b # # p # U f 2018 WS Brass Packet Page 9

10 Long Tones Baritone Exercise 1 b p f p f p b f p f p f Exercise 2 # p f f U n b p f p f p # f p f p f U p f f p f p f p f p p Exercise 3 b b # f 77 f p f # U p f f 2018 WS Brass Packet Page 10

11 Long Tones Tuba Exercise 1 b p f p f p b f p f p f Exercise 2 # p f f p f p f p f p f p f Exercise 3 p f f U n b # U b b p f p f p p p # f f 77 f p f # p f U f 2018 WS Brass Packet Page 11

12 Lip Slurs Trumpet and Mellophone Exercise 1 # # # b 7 b # # 13 Exercise 2 U # # 20 # # # 26 # # # U 33 Exercise 3 # # # # 39 # # 3 # # # # U 2018 WS Brass Packet Page 12

13 Lip Slurs Baritone Exercise 1 b b 7 b 13 b bu Exercise 2 # 20 # 26 # # U 33 Exercise 3 # # b 39 b 3 # # U 2018 WS Brass Packet Page 13

14 Lip Slurs Tuba Exercise 1 b b 7 b 13 U b b Exercise 2 # 20 # 26 U # # 33 Exercise 3 # # b 39 b 3 U # # 2018 WS Brass Packet Page 1

15 Timing and Tonguing Trumpet and Mellophone Ó p f p Ó f p f p f p f b f p f p Ó b U Ó Ó Ó Ó n 2018 WS Brass Packet Page 15

16 Timing and Tonguing Baritone b p f p Ó f p f p f p f b f p f p Ó Ó b Ó b Ó b U Ó n Ó 2018 WS Brass Packet Page 16

17 Timing and Tonguing Tuba b Ó p f p Ó f p f p f p f b U Ó b Ó b f p f p Ó b Ó Ó n 2018 WS Brass Packet Page 17

18 Trumpet and Mellophone Technique Exercise 6 # # # 11 b 16 # 21 # # # 25 U 2018 WS Brass Packet Page 18

19 Baritone Technique Exercise 6 # # # 11 b 16 # 21 # # # 25 U 2018 WS Brass Packet Page 19

20 Tuba Technique Exercise # # # # U # # # 2018 WS Brass Packet Page 20

21 Chord Progression #1 Trumpet 1 # Trumpet in 2 Trumpet in 3 b b Horn in F b b Horn in F b b Baritone 1 b b n Baritone 2 b b b Euphonium b b n Tuba b b b b 2018 WS Brass Packet Page 21

22 Chord Progression #2 Trumpet 1 Trumpet in 2 b # b b Trumpet in 3 Horn in F Horn in F Baritone 1 Baritone 2 Euphonium b b b b b b # b b b b b b b b b n b b n Tuba b b b b b b 2018 WS Brass Packet Page 22

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