2015 the blue way trumpet mellophone

8/20/2019 2015 the BLUE WAY Trumpet Mellophone

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2

Thank you for your interest in the Bluecoats Drum and Bugle Corps. This booklet includes our basic

technique program as well as audition material and audition suggestions. Please read everything inthis booklet carefully and prepare all of the required material to the best of your ability!

Audition camps for the Bluecoats are in four different locations during the months of November and

December. Please choose the location that works best for you to attend. Only those who complete theaudition process in person will be considered for membership in the 2015 Bluecoats Brass section.

Audition Camp Dates and Locations

Saturday and Sunday, November 22 - 23, - Austin, Texas

Saturday and Sunday, November 29 - 30, - Canton, Ohio

Sunday, December 7, - Mission Viejo, California

Sunday, December 14, - Atlanta, Georgia

Our goals for the audition process are two-fold. First, we wish to provide an educational experience.We hope you can take back with you valuable lessons in music and visual performance. Secondly, it

is an evaluation. At the conclusion of camp, you will get feedback on your individual audition. Wewill also observe your participation and performance level within group rehearsal. You will be

evaluated both musically and visually. The information you will receive at the end of the camp willfall into one of three categories:

1. We will offer you a contract. This means if you fulfill the obligations spelled in the contract, you

will be a member of the 2015 Bluecoats brass section.

2. We will offer "call-back." This means we need to see and hear you again in January to make the

final decision. Most people who eventually get a position in the corps fall into this category. Thefinal decisions for the 2015 Bluecoats Brass section will be made at the January 10

th - 12

th camp.

3. You will not be invited back to the next camp. Our hope is that you will apply lessons learned atcamp and come back stronger the next year. Once again, this process should also be an educational

experience for everyone involved. It is not a wasted trip if you do not get a contract.

The best way to find additional information about registration for an audition camp is by visiting ourwebsite at: www.bluecoats.com. The website also contains other information regarding the Bluecoats

Drum and Bugle Corps. Please visit the website before attending your first camp.

Auditions can be stressful. Do not let your nerves stop you from auditioning. The brass staff of theBluecoats is eager to help you develop as a musician. If you have any questions regarding brass

auditions, please contact Derek Gipson at [email protected]

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

The Bluecoats Brass Staff

Dave MacKinnon (Bluecoats Brass Supervisor) [email protected]

Derek Gipson (Bluecoats Brass Caption Head) [email protected]

Dr. Matt Stratton (Bluecoats Assistant Brass Caption Head) [email protected]



3

What Music Do You Need To Prepare For Your Audition?

The audition process contains two segments, a visual and music portion. This page will highlight the

musical component of the audition process. If you are auditioning for a trumpet position you have achoice of preparing either “ Option A “ or “ Option B “ of the etudes listed on this page for your

audition but not both. If you are auditioning for a mellophone position there will be two etudes foryou to rehearse and prepare. All the etudes or excerpts are taken from material that is highly regarded

among music educators and professional musicians. You will also need to prepare the brass exerciseslisted on this page.

Trumpet Audition Excerpts

Option A

1.

Excerpt from “ No. 26 “ from 40 Studies for Trumpet by Wurm, Voison

2. Excerpt from “ No. 38 “ from 40 Studies for Trumpet by Wurm, Voison

Option B

GMEA All State Band Etude 2015

Symphonic Band (Grades 11-12) Trumpet

Mellophone Audition Excerpts

1. Mellophone technical audition by Derek Gipson

2. Pavane For a Dead Princess by Maurice Ravel (arranged by Michael Stewart)

All auditioning candidates (trumpet and mellophone) will also be required to rehearse and prepare the

following exercises contained in this booklet:

- Long Tones #2 (Three Note Descending Slurs) on page 11- Long Tones #4 (Stamp – Upper Neighbor Slurs) on page 11

-

Air Flow #3 on page 14- Lip Slurs #4 on page 17

- Lip Slurs #6 on page 17- Skip-o-slurs #4 on page 18

- Staccato Tonguing on page 26

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

audition.



4

You will find the trumpet and mellophone audition music on the final pages of this booklet.

Please use a metronome when you rehearse the material. Use the tempo marked above each

piece as a guideline only. It’s better to hear the music at slower tempo if this allows for a higher

degree of clarity and accuracy.

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

Derek Gipson (Brass Caption Head) [email protected] Ryan Spencer (Upper Brass technician) [email protected]

Rick Brown (Upper Brass technician) [email protected] Austin Clements (Upper Brass technician) [email protected]

Audition Suggestions

Preparation:

! The success of your performance at the audition will be directly related to the level of

preparation of the audition materials. ! If possible, meet with a private lesson teacher on a regular basis prior to the audition.

! Record yourself with some type of electronic device. Listen critically to the recordingand work to perfect your performance.

! There is no need to memorize your music at this time. ! Get lots of rest before coming to the audition, as things will be very busy.

Audition:

! Keep in mind that you are auditioning at all times. We want to see your work ethic in

the arc as well as how you sound individually. ! You will have time to warm-up outside of the audition room prior to your audition. ! Before entering the room, please make sure your horn is working properly, oil your

valves, and complete any paperwork prior to entering the room. ! Remember to aim your bell away from the person listening to you.

! Be sure to ask questions if you are confused about anything you are being asked to play.

! Take a slow deep breath before you play, and good luck!

Tips for Performance Anxiety/Nerves:

! Do not fight your nerves, they are a natural part of the performance process, and

fighting it might make it worse.

!

Take several slow, deep breaths to calm yourself.

! It is good to perform for friends and family prior to coming to camp as this will help

you perform under pressure.! Visualizing yourself in the audition room may also help calm your mind.

! When nerves are present, mistakes may happen, however, professional musicians donot react to their mistakes. Do not stop or dwell on your mistakes, and NEVER

apologize for your performance.



5

Equipment

Instrumentation:

The Bluecoats 2015 brass section will consist of 80 members in: 24 B-flat Trumpets, 16 Mellophonesin the key of F, 8 B-flat Baritones, 16 B-flat Euphoniums, and 16 BB-flat Tubas. All of these spots

are available each year. NO ONE, regardless of experience, is guaranteed a spot. Returning membersmust demonstrate a continued growth and development in order to be considered for membership.

Trumpets: Please bring your trumpet and mouthpiece to the audition camp.

Horn/Mellophone: Please bring your F Mellophone to camp if you are able. If you would like to

perform your etude on your concert horn, you will need to bring it with you to camp. You will beasked to perform on a mellophone at some point during the audition process. Please be responsible

for bringing your own mouthpiece to camp.

Baritones/Euphoniums: Please bring your own marching Baritone/Euphonium if you are able. Ifyou wish to audition on your concert instrument, Baritone, Trombone, or Euphonium, then you will

want to bring it with you to the camp. You will be asked to perform on a marching instrument duringthe audition process. The Bluecoats Brass Staff reserves the right to determine who will play Baritone

or Euphonium. Please bring a large shank mouthpiece with you to your audition camp.

Tubas: We understand the challenge of transporting a tuba to camp, however, the corps only owns 16marching tubas and all of these instruments may not be available at each audition site. There are

rarely enough instruments available for each musician at the camp. If you are able to bring your tuba,

please do. You may bring your concert horn if you do not have access to a convertible tuba. Please bring your own mouthpiece with you to the audition camp. No Sousaphones, please!



6

Equipment Continued

Yamaha: The Bluecoats perform exclusively on Yamaha Brass Instruments. This season we will use

the Yamaha Xeno Series Trumpet (YTR-8335GS), Yamaha F Mellophone (YMP-204MS), YamahaMarching Baritone (YBH-301MS), Yamaha Marching Euphonium (YEP-202MS), and the Yamaha

Double B-flat 4/4 Marching Tuba (YBB-202MSWC). All of these instruments are provided by theBluecoats to MEMBERS ONLY and are available for purchase following each season. If you wish to

purchase a certified used instrument from the Bluecoats, please visit the corps’ website atwww.bluecoats.com. You can find additional information about these and other Yamaha Brass and

Woodwind Instruments at www.yamaha.com.

Mouthpieces: The Bluecoats use exclusively Karl Hammond Custom Design Mouthpieces each

season. This allows for a more uniformed sound from player to player and section to section. You are NOT required to purchase this mouthpiece prior to the audition. If you would like additional

information about Karl Hammond Mouthpieces, please visit www.karlhammonddesign.com.

Camp Checklist:

In addition to clothing, toiletries, and sleeping equipment, please bring the following items:

! All audition forms

! Registration fee! Audition booklet and Supplemental Material

! A copy of your required etude!

Your instrument and mouthpiece! A wire music stand if possible!

A Black three-ring binder with plastic sheet protectors.

! A pencil! Any additional items you may need to ensure a successful audition.



7

Physical/Visual Responsibilities

Posture:

Posture is one of the most important elements of both Marching and Playing. It is important to keepyour body weight evenly distributed between both feet. The back should be straight, and the

shoulders should be relaxed. The body should never feel tense as tension has a negative affect onyour musical ability. The posture guides used by the Bluecoats include: Feet should be in a “V” shape

with the heels touching and the toes at 11 and 1 O’clock; the ankles, hips, shoulders and ears shouldall be in alignment with one another.

Marking Time:

When practicing your exercises, it is important to use an audibleMetronome and you should also mark time. We will teach you our mark time style at the camp, so

just use the style you know best until then. Practice several tempos from 60-200 beats per minutewhile working to minimize any swaying or bouncing in your mark time.

Health/Fitness:

Just a quick word about health and fitness: Spending a summer on the road with the Bluecoats can be physically challenging. In order to keep our members safe, it is imperative that all members are physically fit. It is recommended that you begin some sort of cardiovascular regime to ensure that you

are capable of performing at a high level physically.



8

The Bluecoats Brass Philosophy

Our instruction in brass playing is built upon a foundation of achieving a characteristic sound on the

instrument. A performer's tone quality is their "musical signature to the world." The Bluecoats Brass program has developed their Signature Sound through characteristic tone on each brass instrument.

Achieving this sound is predicated on becoming the most efficient brass performer possible. We startfrom a point of self-discovery with respect to the individual and how they can find advantages within

his or her genetic blueprint. The sound is the ultimate indicator as to what process or method oneshould use to play a brass instrument. Since all musicians are built differently, we focus on achieving

the desired and matched results as opposed to matching the process, method, or embouchure.Through consistent training, we aim to develop your command and control to a point of confidence

where one could not possibly produce anything but the desired result.

Any sound is produced by a vibration, which is transported across a medium to the listener’s ear. A

brass performer must develop the most efficient BUZZ possible in order to free the body and create a

maximum amount of sound with as little effort as possible.

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

1.Vowel Shape - Promotes free air flow, proper position of the tongue for clear initiation of sound,and the maximum amount of an oral cavity (speaker-box) to project the resonance that is created. A

combination of syllables “ AH “ in the throat to promote airflow, “ OH “ in the mouth to promote projection and resonance. The vowel shape combines these two syllables, specific to each area,

simultaneously to create the desired effect.

2.

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

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

least amount of pressure possible.

4. Follow Through - air direction - from the lips through the bell. This insures that every part of your

musical phrase has direction, resonance, command and control.

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

6. Championship Feet -A drum corps performer must be able to play music to the beat of their feet.

A mastery of internal pulse permits the feet to replicate a metronome, and leads to the highest level of brass proficiency in the drum corps genre of brass performance. Students should practice mark time

with more intensity than their drill movement on the field. We want the body to be able to relaxwhile in motion. This begins with a championship approach to moving your feet while stationary to

project your mastery of internal pulse.



9

Physical/Visual Responsibilities

Posture:

Posture is one of the most important elements of both Marching and Playing. It is

important to keep your body weight evenly distributed between both feet. The back should be straight, and the shoulders should be relaxed. The body should never feel tense as

tension has a negative affect on your musical ability. The posture guides used by theBluecoats include: Feet should be in a “V” shape with the heels touching and the toes at

11 and 1 O’clock; the ankles, hips, shoulders and ears should all be in alignment with oneanother.

Marking Time:

When practicing your exercises, it is important to use an audibleMetronome and you should also mark time. We will teach you our mark time style at the

camp, so just use the style you know best until then. Practice several tempos from 60-200 beats per minute while working to minimize any swaying or bouncing in your mark time.

Health/Fitness:

Just a quick word about health and fitness: Spending a summer on the road with theBluecoats can be physically challenging. In order to keep our members safe, it isimperative that all members are physically fit. It is recommended that you begin some sort

of cardiovascular regime to ensure that you are capable of performing at a high level physically.



10

Bluecoats 2015 Brass Routine

This routine will be the basis of the 2014 brass technique program and is designed both as a daily

warm-up and as a practice regiment for long-term improvement in tone production, airflow, dexterity,articulation and other basic brass skills. It is by no means comprehensive and will be supplemented as

the season progresses based on the challenges presented by the summer program music and thedevelopment of the brass section.

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‰

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

B.

œ

œ

œ

œ

œ

œ

œ

œ

j

‰

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

j

‰

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j ‰

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

C.

œ

œ

œ

œ

œ

œ

œ

œ

J

‰

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

J

‰

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

J

‰

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

j

‰

Speed Slurs 1



20

4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Speed Slurs #2

A.

œ œ œ œ œ œ œ œ j ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j ‰

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

j

‰

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

j

œ

‰

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

B.

œ

œ

œ

œ

œ

œ

œ

œ

j

‰

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

j

‰

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

j

‰

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

j

‰

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

C.

œ

œ

œ

œ

œ

œ

œ

œ

J

‰

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

J

‰

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

J

‰

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

j

‰

Speed Slurs 2



21

Articulation Studies

Variations in musical style can be achieved by altering the duration and/or emphasis (stress, weight)of notes. The Bluecoats define this differentiation through the use of the syllables listed in this chart.

q

= 120

( all the notes should touch )

6. Quarters and Eighths

(continue to ascend)

œ œ œ œ œ œ œ œ œ œ œ œ œ

j

‰ Œ Ó


j

‰ Œ Ó


j

‰ Œ Ó


j

‰ Œ Ó

(dah) (dah) (dah) (dah) (doo) (doo) (doo) (doo) (dah) (dah) (dah) (dah) (Dah) (Dah) (Dah) (Dah)

q = 120

7. Forklift (in unison)

- - -

. . . .

> > > >

(keep the volume consistent from measure to measure)

- - - - . . . . > > > >

- - - -

. . . .

> > > >

- - - -

. . . .

> > > >

(continue to ascend)

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ




Articulation

normal legato staccato marcato accented

Syllable dah doo dah Dah Dah

Difference from the

normal enunciation N/A

Smoother

beginning

and more

connected

Same

beginning as

normal with

half the

length

Twice the

emphasis

with half the

length

Twice the

emphasis on

the beginning

of the note, a

slight decay



23



24



25

Trumpet

Mellophone

Bari. / Euph.

Tuba

q = 160

Tpt.

Mello.

Bar. / Euph.

Tuba

Tpt.

Mello.

Bar. / Euph.

Tuba

Up and Off Beats

b

?

b

b

?

b

b

b

?

b

b

?

b

b

(continue to ascend back to the firstmeasure)

b

?

b

b

?

b

b

œ œ œ œ

Œ

œ

Œ

œ

‰

œ

j ‰

œ

j ‰

œ

j ‰

œ

j ‰

œ

j ‰

œ

j ‰

œ

j ‰

œ

j

œ œ œ œ

Œ

œ

Œ

œ

œ œ œ œ

Œ

œ

Œ

œ

‰

œ

J

‰

œ

J

‰

œ

J

‰

œ

J

‰

œ

J

‰

œ

J

‰

œ

J

‰

œ

J

œ œ œ œ Œ œ Œ œ

œ œ œ œ

Œ

œ

Œ

œ

‰

œ

J

‰

œ

J

‰

œ

J

‰

œ

J

‰

œ

J

‰

œ

J

‰

œ

J

‰

œ

J

œ œ œ œ

Œ

œ

Œ

œ

œ œ œ œ

Œ

œ

Œ

œ

‰

œ

j ‰

œ

j ‰

œ

j ‰

œ

j ‰

œ

j ‰

œ

j ‰

œ

j ‰

œ

j

œ œ œ œ

Œ

œ

Œ

œ

‰

œ

j ‰

œ

j ‰

œ

j ‰

œ

j ‰

œ

j ‰

œ

j ‰

œ

j ‰

œ

j

œ œ œ œ

Œ

œ

Œ

œ

‰

œ

j ‰

œ

j ‰

œ

j ‰

œ

j

‰ œ

J

‰ œ

J

‰ œ

J

‰ œ

J

‰ œ

J

‰ œ

J

‰ œ

J

‰ œ

J

œ œ œ œ Œ œ Œ œ ‰ œ

J

‰ œ

J

‰ œ

J

‰ œ

J

‰

œ

J

‰

œ

J

‰

œ

J

‰

œ

J

‰

œ

J

‰

œ

J

‰

œ

J

‰

œ

J

œ œ œ œ

Œ

œ

Œ

œ

‰

œ

J

‰

œ

J

‰

œ

J

‰

œ

J

‰

œ

j

‰

œ

j

‰

œ

j

‰

œ

j

‰

œ

j

‰

œ

j

‰

œ

j

‰

œ

j

œ œ œ œ

Œ

œ

Œ

œ

‰

œ

j

‰

œ

j

‰

œ

j

‰

œ

j

‰

œ

j ‰

œ

j ‰

œ

j ‰

œ

j

œ œ œ œ

Œ

œ

Œ

œ

‰

œ

j ‰

œ

j ‰

œ

j ‰

œ

j ‰

œ

j ‰

œ

j ‰

œ

j ‰

œ

j

‰ œ

J

‰ œ

J

‰ œ

J

‰ œ

J

œ œ œ œ

Œ

œ

Œ

œ

‰

œ

j

‰

œ

j

‰

œ

j

‰

œ

j

‰

œ

j

‰

œ

j

‰

œ

j

‰

œ

j

‰

œ

J

‰

œ

J

‰

œ

J

‰

œ

J

œ œ œ œ Œ œ Œ œ ‰ œ

J

‰ œ

J

‰ œ

J

‰ œ

J

‰ œ

J

‰ œ

J

‰ œ

J

‰ œ

J

‰

œ

j

‰

œ

j

‰

œ

j

‰

œ

j

œ œ œ œ

Œ

œ

Œ

œ

‰

œ

j

‰

œ

j

‰

œ

j

‰

œ

j

‰

œ

j

‰

œ

j

‰

œ

j

‰

œ

j



26



27

Trumpet

Mellophone

= 100 - 140

Tpt.

Mello.

9

Tpt.

Mello.

17

Tpt.

Mello.

25

Getchell #2

b

b

b

b

- Sing, slur then tongue each exercise.

- Sing each exercise to prove you truly hear the melody. Pay close attention to

intonation and strive to center each pitch accurately.

- Whether you slur or tongue, the air moves the same. Slur the exercise to develop

your sense of follow-through of the air stream. Finally tongue the exercise,

blowing as you did when slurring.

- Once again, consider the follow-through of the air stream. Think horizontal.

The priority should be more about the air than what the chops are doing.

- Ideally you should feel very relaxed and eff ortless when playing through this exercise.

˙

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

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

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

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

œ

œ

œ

˙

˙

œ

œ

œ

œ

˙

œ

œ

˙

˙

œ

œ

˙

˙

˙ ™

Œ



28

?

?

b

b

b

b

b

4

4

4

4

Trumpet

Mellophone

Baritone / Euphonium

Tuba

˙

˙

˙

˙

˙

˙

˙

˙

f

f

f

f

q = 70

w

w

w

w

Ï

Ï

Ï

Ï

˙

˙

˙

˙

˙

˙

˙

˙

f

f

f

f

w

w

w

w

Ï

Ï

Ï

Ï

˙

˙

˙

˙

˙

˙

˙

˙

f

f

f

f

w

w

w

w

Ï

Ï

Ï

Ï

˙

˙

˙

˙

˙

˙

˙

˙

f

f

f

f

w

w

w

w

Ï

Ï

Ï

Ï

?

?

b

b

b

bb

Tpt.

Mello.

Bar. / Euph.

Tuba

12

˙

˙

˙

˙

˙

˙

˙ ˙

f

f

f

f

w

w

w

w

Ï

Ï

Ï

Ï

˙

˙

˙

˙

˙

˙

˙ ˙

f

f

f

f

w

w

w

w

Ï

Ï

Ï

Ï

˙

˙

˙

˙

˙

˙

˙ ˙

f

f

f

f

w

w

w

w

Ï

Ï

Ï

Ï

?

?

b

bb

b

b

Tpt.

Mello.

Bar. / Euph.

Tuba

21

˙

˙

˙

˙

˙

˙

˙

˙

f

f

f

f

w

w

w

w

Ï

Ï

Ï

Ï

˙

˙

˙

˙

˙

˙

˙

˙

f

f

f

f

w

w

w

w

Ï

Ï

Ï

Ï

˙

˙

˙

˙

˙

˙

˙

˙

f

f

f

f

w

w

w

w

Ï

Ï

Ï

Ï

Power Exercise #1



29

?

?

b

b

b

b

b

4

4

4

4

Trumpet

Mellophone

Baritone / Euphonium

Tuba

˙

˙

˙

˙

˙

˙

˙

˙

ƒ

ƒ

ƒ

ƒ

q = 70

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

?

?

b

b

b

b

b

Tpt.

Mello.

Bar. / Euph.

Tuba

10

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

?

?

b

b

b

b

b

Tpt.

Mello.

Bar. / Euph.

Tuba

19

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

?

?

b

b

b

b

b

Tpt.

Mello.

Bar. / Euph.

Tuba

27

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

w

w

w

w

Power Exercise # 2



30

Trumpet 1

Trumpet 2

Trumpet 3

Mellophone 1

Mellophone 2

Baritone

Euphonium 1

Euphonium 2

Tuba

1 2 3 4 5 6 7 8 9 10

4

4

4

4

4

4

4

4

4

U

( Thumbs )

Tuning Exercise # 1

U

U

U

U

?

b

U

?

b

U

?

b

U

? b

Crescendo evenly from measures 5 to 10. Do not breathe at the barlines!

U

w w w w w w

w w

w

w

w w

w

w

w

w w

w w w

w w w

w

w w

w w

w

w

w

w w w w w w w w w

w w w

w

w w w w

w

w

w

w w w w

w w

w

w

w

w w

w

w

w w

w

w

w

w

w w w

w w

w

w

w

w

w

w w w

w w

w w

w w

w



31

Trumpets

Mellophones

Baritones

EuphoniumTuba

q = 60

1 2 3

Tpt.

Mello.

Bar.

Euph.

Tuba

4 5 6

Tpt.

Mello.

Bar.

Euph.Tuba

rit.7 8 9

BWV 431

?

b

?

b

U

,

U

,

?

b

U

,

?

b

U

,

U

,

U

U

,

U

? b

U

,

U

?

b

U

,

U

œ œ

œ

œ

œ

œ

œ

œ

œ œ

j

˙

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

œ

œ

˙

Œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

˙

Œ

œ

œb


œ

œ

œ œ

œ

œ

œ

œ œ

œ

œ

œ

œ

œ

œ

œ

œ

j

œ

œ œ

œ

œ

œ

J

œ

œ

œ

œ

œ

œ

œ

œ œ

œ œn œ œn œ œ œ œb œ œ œ œ œ œ œ œn 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

œ

œ œ

œ

œ

œ

œ œ

œ

˙

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

˙



32



33

¢

¢

¢

¢

¢

¢

q = 88

" Sasquatch "

Trumpet 1

Trumpet 2

Trumpet 3

Mellophone 1

Mellophone 2

Baritone 1

Baritone 2

Euphonium

Tuba

Tpt. 1

Tpt. 2

Tpt. 3

Mello. 1

Mello. 2

Bar. 1

Bar. 2

Euph.

Tuba

b

b

?

b

b

?

b

b

?

b

b

?

b

b

b

b

?

b

b

?

b

b

?

b

b

?

b

b

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w w w w w w w w

w w

w w w w

w w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w w

w w w w

w w

w w w

w

w

w

w

w

w w

w w w w

w w

w

w

w

w

w

w

w

w

w

w

w

w

w w w w w w

w w w w

w w

w

w

w

w

w

w

w

w

w

w

w

w

w w w w

w w

w

w

w

w

w

w

w w w w

w w



34



35

°

¢

°

¢

°

¢

A World Without Pants

1 2 3 4 5 6 7 8 9 10 11

Trumpet 1

Trumpet 2

Trumpet 3

Mellophone 1

Mellophone 2

Baritone 1

Baritone 2

Euphonium

Tuba

4

4

4

4

4

4

4

4

4

p

p

p

b

p

b

p

?

b

b

p

?

b

b

p

?

b

b

p

? bb

p

˙

˙

˙

˙

w ˙

˙

w ˙

˙ w w w w

w

˙

˙ w w ˙

˙ wn ˙

˙ w w w w w

˙

˙ w w ˙ ˙

w ˙ ˙ wn w w w w

w w w w w w w w w w w

˙

˙ w

w w w w

w

w w

w

w

w

w w w w

w

w w

w

w

w

w w w w

w

w w w

w ˙

˙

w w w w

w

w w w

w w w w w w wb w w

w



36

Brass Audition Scoring Sheet

(For Use by Bluecoats Brass Staff Only)

Location of camp attended ________________________________________________

Auditioned instrument ____________________________________________________

Tone Quality ___________________________________________________________

Musicianship ___________________________________________________________

Harmonic Connection _____________________________________________________

Articulation _____________________________________________________________

Flexibility ______________________________________________________________

Comments ______________________________________________________________

_______________________________________________________________________

_______________________________________________________________________

Overall Rating ____

(-1 = lowest, +10 = highest)

Ready to Sign: yes __ no __



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52

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40 Studies for TrumpetWurm, Voisin

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Performance Guide:

This etude is composed primarily in the key of D minor. It would be useful to become fluent in this keyseparately from the etude by practicing various scale patterns focusing on the D harmonic minor scale(which includes B-flat and C-sharp)

The only dynamic marking is , allowing the performer to craft the dynamics and phrasing accordingto their own taste and to convey a creative sense of musicality for the listener; effort should be made toprovide clear dynamic contrasts throughout.

Careful attention should be given to the pitch on the low D's and C-sharps, using the valve slides(s) tomake proper adjustments.

Though the non-slurred 16th notes are marked staccato, the performer is encouraged to play all thesewith a healthy tone and length (not too choppy) rather than striving for the " illusion " of staccato.The proper sense of contemporary staccato style can be achieved by playing detached or separated1/8 notes and tonguing long 16th notes with a firm attack.

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53

Tempo did Polacca q = 84 - 100

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40 Studies for Trumpet" No. 38 "

Wurm, Voisin

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Performance Guide:

This is a stylish piece that has traditions in Polish dance and should be played with a great dealof character and exaggerated expression. If the etude is played too fast the style will not have asmuch musical impact.

Special attention should be paid to the dynamics and mixed articulations.

Taking care to begin the etude “ piano “ as marked and returning to the soft dynamic at mm. 9will create an appropriate mood.

It is suggested that the notes at the end of mm. 8 be played with plenty of length for a musicalrelease.

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55

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Mellophone technical audition

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Performance Guide: “ Mellophone technical audition “

This étude is modeled after a typical Clarke or Arban cornet étude. It should be played light

and playful. Naturally, it has many opportunities to display finger dexterity that is necessary forthe mellophone.

Go for accuracy more than speed. Make sure that the tongue is precise, not fluffy, and the

staccato notes have a clear front edge to the sound.

The correct tempo would require double-tonguing the repeated 16ths. Also, it is acceptable to

add a small rallentando right before the fermata to get a clear accent on the 32nd note.



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Adagio, molto legato = 66

Mellophone Lyrical Audition Music

PAVANE FOR A DEAD PRINCESS

Maurice Ravel

Arranged by Michael Stewart

Performance Guide:

This is the exact excerpt from the horn part to Ravel's orchestral version of this piece.

There are many recordings that are easily available online for suggestions.

This should be played as lyrical as possible.

Musicianship and expression will play a large role in your evaluation of this Excerpt.

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2015 the blue way trumpet mellophone

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