BRASS TECHNIQUE BARITONE

BRASS TECHNIQUE BARITONE

REHEARSAL CHECKLIST The folloing is a list of items that you should bing to evey eheasal: 3-Ring Binde, 1/2 to 1 inch, ith seveal clea inset pages to keep all of you music in Any Music that has been assigned, check the ebsite and pint all of you pats, including this book Mechanical Pencil Valve Oil Toel big enough to lay you hon on a gym floo o othe had suface Gloves (can be puchased at eheasal) Tuba playes may ant stonge ok-out type gloves Wate Jug filled ith ice ate, at least a half-gallon Baseball style Hat Running shoes Sunsceen Lip Balm Wokout type clothes that ae eathe-appopiate; be pepaed to be outside all day. No jeans! Mouthpiece fo you instument Don't foget you Instument!

Baitone Fingeing Chat 7: C E F F# / Gb G GU AI, A PO / Bb B -43 I.3 1 J J 1,6 ID 17 J -i #6 1-2-3 1-3 2-3 1-2 1 2 Open 1-2-3 C 1 / Di, D DI I Eb E ILI J P ILI # 1-3 2-3 1-2 1 2 7: 1, F F#/GI, G O ID # Open 2-3 1-2 GU Ab A Att/B6 6 B CI C 4E, # / DI, 1, D Si Dt# I Eb :.,..._. 17 1 2 Open 1-2 1 2 Open 1 7' E F p 12 2 Open F# / GI, 1,-9-2-3 G GUN, -e- tl''' 17..a 1-2 1 A 11 2 A#/Bb 1,-9- Open

The Ovetone Seies When you ae oking on these types of execises, use one fingeing fo each set of execises, in ode to tain you embouchue to move smoothly fom one patial to the next. This means that some of the notes ill use an altenate o "false" fingeing. Thee ae seven sets of fingeings o "positions" that allo you to play all the notes. The notes in paenthesis ae altenate fingeings and may be out of tune, but they ae useful in embouchue development hen used in these types of execises. To save space, the execises ill only be itten in the Open Position, but pactice them in all fingeing combinations. *Special Note: In ode fo the Mellophones to get the same benefits fom these execises, they ill play the same itten pat as the Tumpets, unless otheise instucted. This means that they ill not be playing in unison, but in paallel fifths fom the est of the Honline. 1. FIRST POSITION (also knon as Open Position) is played open. The folloing notes ae played: B-flat, F, B-flat, D, F, (A flat), B-flat. 6 2. SECOND POSITION is played ith the second valve. The folloing notes ae played: A, E, A, C-shap, E, (G), A. - -2 3. THIRD POSITION is played ith the fist valve. The folloing notes ae played: A-flat, E-flat, A-flat, C, E-flat, (G-flat), A-flat. 6 4. FOURTH POSITION is played ith the fist and second valves. The folloing notes ae played: G, D, G, B, (D), (F), G. J -9-5. FIFTH POSITION is played ith the second and thid valves. The folloing notes ae played: G-flat, D-flat, G-flat, (B-flat), D-flat, (E), G-flat. 6. SIXTH POSITION is played ith the fist and thid valves. The folloing notes ae played: F, C, (F), (A), (C), (E-flat), F..2 7. SEVENTH POSITION is played ith all thee valves. The folloing notes ae played: E, B, (E,) (G-shap), (B), (D), (E). -9-

SECTION 1 BREATHING EXERCISES The folloing execises ae taken fom the Beathing Gym, and can be used as pat of a am-up outine o to addess specific issues such as Dynamics, Aticulation, and Phasing. Wok on these execises just past the point of ease and slightly into discomfot ithout ove-exetion. PRELIMINARY CONSIDERATIONS Maintain a pope and consistent oal shape fo maximizing the benefits of these execises. Duing the inhale/exhale, the inside of the mouth should feel like a big yan The back of the thoat is to emain open and unobstucted Monitoing each beath ensues coect execution. All execises ae to be pefomed in a elaxed manne ith no tension in the body. If light-headedness occus, sit don and gently beathe in though the nose and out though the mouth fo a fe moments. The inhale and exhale ae to be pefomed continuously ith no beak (unless otheise instucted). INHALE Fom the ight hand like a kaate chop, but fold the thumb flat against the palm Place the index finge just unde the tip of the nose, ith the top lip against the middle knuckle and the bottom lip against the big knuckle (appoximately) EXHALE (emove the ight hand befoe the exhale) Fom a slight embouchue ith the lips, but ith vey little tension (like histling) Push the ai out in one constant, steady flo THE EXERCISES FLOW STUDIES used to stimulate egula beathing pattens used hile playing. Monito the consistent flo of ai (comfotably full to comfotably empty) Float the Pape Aiplane (piano), Toss the Dat (mezzo fote), and the Bo & Ao (fote) Quick Beath Full beath on the last beat of a measue befoe exhaling Execises ith vaying lengths of Inhalation and Exhalation THERAPIES used to inspie bette aiflo by ceating poblems to ovecome, such as esistance and suspension Inhale Theapy Exhale all ai (sizzle), place the back of the hand against the lips hile inhaling (fight fo ai), emove hand and inhale as much as possible, suspend the ai fo a set numbe of counts ith mouth and thoat open, then exhale in 1 quick bust don to a sizzle Oal Shape Theapy Inhale/Exhale ith the mouth and thoat open in vaying hythmic pattens, monitoing the consistent flo of ai STRENGTH AND FLEXIBILITY focus on expanding and contacting the lungs to thei extemes In, Sip, Sip Out, Push, Push. "In" = full inhale in 1 beat hile aising ams ovehead, "Sip" = Lift ams highe and sip moe ai, "Out" = full exhale hile loeing ams, "Push" = foce moe ai out Poe Beaths Poe Bo & Ao

Scoe Sonus Bass Technique 1. F Stetch 4 n b Byk 13 n 2. Bb Stetch 23? b b b 31 b 3. Flexibility 39? œ b b œ œ œ œ nœ œ œ œ œ œ b œ œ œ œ 4.Apeggios 5? œ b b œ œ œ œ # œ nœ œ œ œ œ b œ nœ œ œ 5. Flex-peggios 61? œ b b œ œ œ œ œ œ œ œ nœ œ œ œ # œ nœ œ 67 œ œ œ œ œ œ b œ œ œ œ œ nœ œ œ

2 Sonus Bass Technique 73 Ai Flo #1 nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ nœ œ œ 79 n # œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ # œ nœ œ œ œ œ œ œ # œ nœ œ œ 85 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 91 # 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 Ai Flo #2 97 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 13 # 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 19 b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 115 # 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

Sonus Bass Technique 3 121 Ai Flo #3 œ œœœ œœ œ œœœ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ 128 nœ œ# œœœœœ nœ œ# œœœ œ œnœ œ# œœœ œ œ œ œ œ œ œ # œ œ nœ œ # œ œ œ œ œ nœ 135 œ œœ œœœ œ œœ œ œ œ œœ œ œ œœœœ œ œœ œœ œ b 142 œ œ# œœœœ œ œ# œœœ œœ œ# œœœ œ œ œ œ œ # œ œ œ œ# œœœ œ œ 149 Ai Flo #4 j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ 154 j œ nœ œ nœ œ œ œ œ œ # œ œ nœ œ œ œ œ œ # œ œ nœ œ œ œ œ œ 159 j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 164 j œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ

4 Sonus Bass Technique Lip Slu #1 169? œ b b œ œ œ œ œ œ œ nœ œ œ œ œ # œ œ œ œ œ œ œ œ œ nœ œ œ Lip Slu #2 177 œ œœ œ œœ œ œ. œ nœ œ œœ # œnœ œ. œ œ œ œ œ œ b. œ œœ œ œnœ œ œ. Lip Slu #3 185? œ b b œ œ œ œ œ œ # œ nœ œ nœ # œ œ œ œ œ œ œ nœ œ œ œ nœ œ Lip Slu #4 193? œ b b œœ œœ œœ. œ # œ nœœœœ œœ. œ œb œ œ œœ b. œ nœ œ œ œœ œœ. Speed Slu #1 21? œ b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j œ œ nœ œ œ œ œ œ œ # œ œ œ nœ œ œ œ œ œ œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j n b œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ j œ b 25 29 Vizzutti Concet F? b. 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 œ œ œ. b b b 212 Vizzutti Eb b. 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 œ œ œ. b b b b b b b b b b 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 œ œ œ. n n n n b b 215 Vizzutti Gb

Aticulation Studies Vaiations in musical style can be achieved by alteing the duation and/o emphasis (stess, eight) of notes. e thdvgihe use of the syllables listed in this chat. Aticulation Syllable Diffeence fom the nomal enunciation nomal legato staccato macato :J :J :J. ~ dah doo N/A Smoothe beginning and moe connected accented J > y dah Same beginning as nomal ith half the length Dah Tice the emphasis ith half the length Dah Tice the emphasis on the beginning of the note, a slight decay 6. Quates and Eighths J= 12 (all the notes should touch)»if ' ~1 J JJJI JJJJJJJJI }z # I JJJJI WWWW; WWWI Jx t I (continue to ascend) 7. Foklift (in unison) J= 12 (dah) (dah) (dah) (dah) (doo) (doo} (doo) (doo) (dah} (dah} (dah} (dah} 'J J J J IJ J J J IP»if P (Dah} (Dah} (Dah) (Dah} J J It i i i (keep the volume consistent fom measue to measue) JJJ JJJ JJJ JJJ I J J IJ J J J IJ J J J IJ J J J I > > > >- J J J IJ J J J IJ J J J IJ J J J >- 22 II (continue to ascend)

Sonus Bass Technique 5 Aticulation #1 218? œ> b b œ œ. œ. œ - œ> œ œ œ œ- œ> œ œ. œ. œ > œ œ. œ. œ > œ œ. œ. œ - 222 œ> nœ œ. œ. œ - œ> nœ œ œ œ- œ> nœ œ. œ. œ > œ œ. œ. œ> nœ œ. œ. œ - 226 b> œ œ œ. œ. - b> œ œ œ œ b- œ b> œ œ œ. œ. b œ œ œ. œ. > b> œ œ œ. œ. - 23 œ> œ œ. œ. œ - œ> œ œ œ œ- œ> œ œ. œ. œ > œ œ. œ. œ> œ œ. œ. œ - Aticulation #2 234? œ> b b 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 - 238 œ> nœ œ. œ. œ > œ œ. œ. œ> nœ œ. œ. œ > œ œ. œ. œ> nœ œ # œ. n > œ œ œ. œ. œ> nœ œ. œ. œ - 242 b> œ œ œ. œ. œ œ b œ. œ. > b> œ œ œ. œ. œ œ b œ. œ. > b> œ œ œ œ. > œ œ œ. œ. b> œ œ œ. œ. - 246 œ> œ œ. œ. œ œ œ. œ œ>. œ œ. œ. œ œ œ. œ œ>. œ œ n œ. > œ œ œ. > > œ. œ > œ œ. œ. œ -

" Sasquatch Tunpet tt 1 Tumpet 2 Tnmpet 3 Mellophone.,"ffi.ffi "' :"ffi, :.ffi,.ffi + _o_ "ffi + 1 Baitoae 2 Euphonium Tuba,"ffi -ffi * *9f + Tpt. 1 TpL.2 Tpt.3 :"ffi "ffi Melto. I Mello. 2,=ffi,, * -& + Ba" "ffi 1 Mellophoce 2 Baitone,',,ffi 6 --- 1 Biat 2 Euph" Tlba,"-:ffi 33

Poe Execise # 2 Tu*pef Mellophone Baitonp / Euphoniuna Metlo" Ba / Euph" Tuba Tpt. Mells. Ba" leuph. Tuba Tpt. Mello. B,at /Euph. Tuba 29

Bai Bai f4 CI 9 9 9 mf e C I mf CI 431- mf mf SECTION 7 TUNING SEQUENCES A A C3 SCV Tuning 6-8- Concet F Tuning ft A 44-44- e. 8 CS LI ot 8 CD Concet B-Flat Tuning a CI 8 CI if e." CI TT ft Bai mf if if if 8 /TN CS 41 A mf A Play, Sing, Boom! if Bai 8c) mf CI 8 mf 8 6 b A 11 A if if Sonus Bass Theate

9: c 1,. p 2. 9: e6j e., 6. J 1, J J 1 A 1, J J I, 6 J J I, J b J e:n 7 I 94 I,. 6. 1,9 9 7. 1,9 p. 6 9 7. e. J J J 6 J J p 1-3 9' e i,j a i, 1411 1,- 1, dp. # : J 41 J 1-2-3 '71 A I p v 1) be 11 C S p 1OF -9" C-d p 6 bp 1. 9 p A