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HIGH BRASSAUDITION PACKET

Name

CONTENTS Introduction 4

History 5

Important Dates 6

Letter from Matt Stratton 7

Audition Information 8

Video Auditions 11

The Cadets Synthesis of Brass Tacts 15

Fundamental Technique 19

Cross Trainers 21

Flow Studies 22

Flexibility 23

Follow Through 25

Articulation, Multiple Tonguing, Chords 26

Chorale 29

Audition Materials 30

Philip Bliss 34

Audition Form 39

Skills to Refine 40

Contact The Cadets 41

HISTORY The corps was founded in Garfield, NJ as The Holy Name Cadets in 1934 and is currently headquartered in Allentown, PA. With 10 American Legion National Championships and 10 Drum Corps International World Championships, The Cadets are one of the winningest drum corps in history. PHILOSOPHY The Cadets is focused on the educational development of today’s students into tomorrow’s leaders. The Cadets provide hands-on interactive learning and achievement in the pursuit of excellence.

GOALS

• To create a safe and nurturing environment for all students

• Provide exceptional education of music, movement, Guard Choreography and performance training

• Teach students life lessons of teamwork, discipline, dedication, commitment, and integrity.

• Provide students with instructional support, perseverance and commitment to excellence.

• To promote innovation, creativity, and growth for all student

FROM THE DIRECTOR

I am honored to be the first female Director of The Cadets, and I’m looking forward to kicking off the 2020 season. The Cadets are committed to providing students an opportunity through guided and exceptional education, all the skills needed to achieve at your ultimate best. The audition information you’re about to read will prepare you for a future audition with The Cadets. Not ready to audition for a World Class Drum Corps? No worries, please come and learn from some of the most talented and decorated Instructional staff in the world. I’ve been involved in Pageantry of Arts since I was a teenager, and have decades of experience in educating and leading young adults to achieve at their ultimate best. I am passionate about leading The Cadets into the 2020 season and developing a team of exceptional young adults that will raise the bar far beyond expectations. Come to an Audition/Clinic and let us teach you some valuable tools to prepare you for the future. Best wishes, Denise Bonfiglio, Director

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Welcome to The Cadets Brass Program!

The information in this packet will help guide your audition process. Every detail in the following pages has been included for a specific purpose and we expect you to learn and know this information well enough to teach it to someone else. No DETAIL is too small, so

The drum corps activity is derived from a military background and as such, UNIFORMITY is crucial! We must have a keen awareness of how and what others are doing and be able to match them.

The Cadets brass program consists of three pillars which make up our foundation for uniformity.

I. Excellence Personified - We expect excellence in everything you do. That starts with the effort required to achieve excellence. You should expect to develop a strong work ethic through your time with The Cadets.

II. Overwhelming Musicianship - The Cadets brass will deliver the story behind each phrase of music at a professional level. Communication beyond the notes and rhythms is paramount to our philosophy of brass playing.

III. Breathe Phrase - Donnie VanDoren created a system for brass performance during his start and subsequent at The Cadets called “Breathe Dah” We will return this system to the place of its birth incorporating professional pedagogy from two leaders with earned doctorates in music.

The three pillars of our program form the acronym for Everybody on Board, #EOB. Our aim is to make The Cadets brass revered the world over and that starts with you!

We look forward to meeting and working with you in the near future...

Doc

Matt Stratton - Brass Caption Manager - Cadet Alum

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please read and prepare the information within this packet with the utmost care!

AUDITION INFORMATION

HIGH BRASS FACULTY Dr. Aaron Witek - Assistant Brass Caption Manager, High Brass Coordinator, Chair Trumpets

Trumpet Committee Scott Whitford Mark Metrinko - Cadet Alum Zak Ruffert - Cadet Alum

Mellophone Committee Paula Monique - Chair, Cadet Alum Selena Maytum - Cadet Alum Jessie DeJesus - Cadet Alum

AUDITIONS The 2020 Cadets will field 78 brass with several additional contracts for roster depth. Each position on the field is open every year. Veteran performers are expected to show great improvement from the previous season. Preparation is paramount to your success!! Progress will tracked and communicated with each member. We will field the 78 best from our roster and those decisions will continue throughout the competitive season.

EVALUATIONS The audition process will assess your skills in the following five disciplines.

I. Brass performance, II. Visual performance III. Movement/Choreography IV. Playing while moving V. Rehearsal Technique

Throughout the camp weekend, brass faculty will be assessing how well a perspective member processes information and executes instructions correctly the FIRST TIME. Each applicant will perform an audition of prepared material for a member of the brass faculty. The excerpts for the audition are in the closing pages of this brass audition manual. At the end of the audition camp you will be given a rating so as to make plans for the next camp. The rating system is below..

I - You have been offered a contract. II - You have been invited to the callback camp. III - You do not currently possess the skill to be successful in The Cadets brass.

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BRASS AUDITION The in person audition will last roughly 10 minutes. In addition to the excerpts, each applicant will prepare the following exercises from the technique from MEMORY!

Lip Slur 2 Flow Study - 85’ Articulation Study - 95’ Multiple Tonguing Exercises Dynamics - Faith

RESOURCES The Cadets Facebook Audition Groups are MANDATORY for posts from our teaching faculty with demonstration videos, methods for battling nerves, successful approaches for auditioning, professional recordings of the audition materials and much more.

GENERAL GUIDE FOR DRUM CORPS AUDITION PREPARATION:

I. Give yourself enough time to successfully prepare your audition. II. ALWAYS practice with a metronome and tuner. III. Spend the majority of your practice session standing and playing with appropriate

poster and horn carriage. IV. Start learning things way down tempo with the highest level of detail. V. Use the metronome to gradually and evenly increase the tempo. VI. Isolate the trouble spots and work on those more. Stay away from the play through

syndrome until you near the audition. VII. Be comfortable playing while marking time every technique exercise in this packet. VIII. Spend time singing and buzzing the material. IX. Use wind pattern techniques to rest your chops and promote proper even air flow.

INSTRUMENTATION The Cadets proudly perform on Yamaha brass instruments. The 2020 version of The Cadets brass will field 28 trumpets, 14 mellophones, 14 baritones, 10 euphoniums, and 12 tubas. The Cadets brass will use custom mouthpieces from Hammond Design specially prepared and selected by our outstanding teaching faculty.

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VISUAL INFORMATION POSTURE Five Points of Alignment and 55/45 Weight

When standing up straight (or at set), you need to have five different points on your body aligned. These five points are your ears, shoulders, hips, knees, and ankles. There should be a straight line from your ears down to your ankles. 55% of your weight should be in your platforms at all times. You never want to lean back into your heels.

MARK TIME TECHNIQUE Full Foot off the Ground

The mark time is to march in place without moving forward. Our technique will be to bring the full foot off the ground with each beat or "step". The platform will become the initial point of contact to the ground, but the down beats will be felt in the heels. Do not articulate with the heels in a full foot marktime technique.

STEP OUTS Taking 2 step "Step Outs" during Mark Time

Step 1: Moving your right foot straight forward to start the phrase at your standard "8 to 5" step size. The downbeat is represented visually by making contact with the very back edge of the heel to the surface. At the point of articulation, the toes of the leading foot should be as high as possible.

Step 2: Left foot then moves straight forward to be alongside the right foot so both feet are parallel by count 2. Your weight should arrive in both your platforms.

Step 3: right foot returns to starting location with a parallel orientation and with a backwards marching technique. Platform will be the point of articulation on count 3.

4th step: left foot returns to starting location to be parallel with the right foot. Your platform will be the point of articulation on count 4. Proceed to mark time.

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VIDEO AUDITIONS For those of you that have conflicts with the audition camps, we will accept video auditions. In the video audition, please make sure that your whole body is in view. This will allow us to see your posture, horn carriage and hand position in addition to your marching technique. The video audition procedure should be as follows: INTRODUCTION Briefly state your name, hometown, and state any other camps or conflicts you foresee with the future Cadets camp. MUSICAL EXERCISES Part I

1. Technique from the routine to be played while marking time with Cadet horn carriage.

2. Flow Study - 85’ QN (Quarter note) = 132 3. Articulation Study - 95’ QN = 160 4. Double Tonguing Exercise QN = 144 5. Triple Tonguing Exercise QN = 108 6. Dynamics – Faith QN = 100 7. Lip Slur 2 - Moving and Playing Box 8 QN =128 (instructions below)

Valve(s) Movement

0 Forward for 8 2 Left forward slide for 8 1 Backward for 8 12 Right backwards slide for

8 1 Forward 8 2 Right forward slide for 8 0 Backward for 8

0 sustain last note Halt Part II As stated in the 2020 Brass Audition Packet Part III Scales as listed in the 2020 Brass Audition Packet

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VISUAL EXERCISES Using your most current marching technique from where you have been taught, please demonstrate the following exercises below. If comfortable with stepping off with the right foot, go ahead, if not, don’t worry about it for now. It is important you capture your full height from head to toe in the videos to get the most beneficial feedback and evaluation.

1. Forward Marching: Move 8 counts and hold 4 counts. 3 reps. 144 bpm is the tempo. Front and Side Views. At playing position if you have your instrument. Hands held in front of your face if you don’t.

2. Backward marching: Move 8 counts and hold 4 counts. 3 reps. 144 bpm is the tempo. Front and Side Views. At playing position if you have your instrument. Hands held in front of your face if you don’t.

3. Box drill: 1 rep at 120 bpm. 1 rep at 144 bpm. 1 rep at 172 bpm. Front view only. At playing position if you have your instrument. Hands held in front of your face if you don’t.

o Forward 8 counts o Left for 8 counts (forward slide) o Backwards for 8 counts o Right for 8 counts (backward slide) o Halt

Be sure to include a wide range of tempos, from 120bpm to 180bpm, for each exercise. It is possible to incorporate all of the above techniques into one longer exercise (i.e. box exercise). However, if you choose to do this, remember to include a variety of camera angles throughout. SUBMITTING YOUR VIDEO AUDITION Once your video audition is complete:

1. Upload your video to a video sharing website (like YouTube) 2. Copy the complete link to your video as it appears in the browser bar 3. Go to https://yea.org/cadets/video-upload to paste the link

VIDEO AUDITION DEADLINE Videos must be uploaded by Sunday, November 26th. This will give us enough time to review them and let you know if you got a call-back so you can make transportation arrangements. We will be happy to review videos before the due date if you would like to submit them early.

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VIDEO AUDITION FEEDBACK The staff will contact you as soon as possible regarding your audition with feedback about your performance, as well as either a) an invitation to camp so that we can further assess your membership status, or b) unfortunately we are unable to accept you as a member of the Cadets for the 2020 season. No contracts (full memberships) will be given based solely on a video audition. If you receive an invitation to The Cadets Call-Back camp in December, you will be required to pay the $125 call-back fee. Once accepted as a member of The Cadets, all camps are free.

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WHAT TO BRING In addition to sleeping gear, toiletries, and such, please bring your rehearsal materials (listed below), your instrument (no sousaphones), the brass packet with audition materials, a positive attitude, and the competitive fire to be your absolute best. We encourage you to audition on the instrument that shows your best performing capability! All applicants will also be assessed on a Yamaha marching instrument.

REHEARSAL MATERIALS Water Container - 1 Gallon Water Jug

Backpack - For transport of all of your required materials for rehearsal

Music Stand - Sturdy folding music stand with your name clearly labeled

White Three Ring Binder - Write your name and instrument on the cover sheet of this manual and place the sheet in the outside cover on your binder. The binder should contain the brass packet and all music that you are responsible for.

Maroon Towel - Please purchase your towel from the link provided or at your local Target store.

https://www.target.com/p/soft-solid-towel-opalhouse-153/-/A-52455851?preselect=52414510#lnk=sametab

Trumpets, Mellophones & Baritones – Use Hand Towels Euphoniums – Use Bath Towel Tubas – Use Bath Sheet

White Gloves - In like new condition. Have several extra pair on your person.

Pencil - Take notes at all times. The more you write down, the more you remember.

Tuner - Korg TM 60, Each member of the brass will need a tuner that can be distributed and collected during rehearsal and show warm ups.

Athletic Clothing - Wear breathable comfortable clothing that will facilitate the activity required of drum corps. No jeans. Please use appropriate footwear such as tennis shoes or cross trainers. No flip flops or sandals. Baseball hat for all outdoor rehearsals.

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THE CADETS SYNTHESIS OF BRASS TACTS A TACTICAL APPROACH TO BRASS PLAYING IN DRUM CORPS

The following are in part extracted from the published materials of Dr. Matt Stratton and Dr. Aaron Witek. All rights reserved.

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 the least effort required.

A performer's tone quality is their "musical signature to the world." Achieving a characteristic sound is predicated on becoming the most efficient brass performer possible. This starts from a point of self-discovery with respect to the individual and how one can find advantages within their genetic blueprint. The sound is the ultimate indicator as to what process or method should be used to play a brass instrument. Consistent training with a focus on matched results will develop a member’s performance command and control to a point of confidence where they could not possibly produce anything but the desired result.

PREPARATORY IDEAS

FEET Your feet are your life blood in the drum corps activity. We don’t stand still in play. Therefore we need to have an impeccable connection of pulse and rhythm to coordinate with the timing of the feet. Tempo is shown through the feet. All music is played to the timing produced by your feet. Control and command of the subdivision of the music is shown throughout the feet. We must “SEE THE BEAT IN YOUR FEET” Your feet should be an outward demonstration of the internal command of the pulse. This must be mastered to a level that sets us apart from

feet to the music. This is a process that must begin now!

VOWEL SHAPE The larynx should form an open paralyzed tube for which air to pass through. A consistent 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 optimal airflow, and a rounded “ ooh/oh “ in the mouth to promote a clear and resonant sound.

AIR We must be breathing machines! Air flow is in constant motion, either IN or OUT. The transition between the two should be seamless and smooth. The breathe must be taken in time and the exhale must be immediately at optimal air speed. SUPPORT the air with the

optimal air speed. SUPPORT, SIGH, SEND IT!

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diaphram, stay relaxed and SIGH in the chest, and SEND the air from the lips with even flow at

our competitors. Feet are the FIRST priority! We desire absolute mastery in the coordination of

SINGING The body responds to the the correct information in the brain. Focus the energy on the soft palette and facial mask. The throat is still a paralyzed tube in singing. Focus on resonance in the face and sinus cavities. Work to master being able to sing a half step and whole step in either direction of a given note.

BUZZING Hold the mouthpiece in your left hand with two fingers. Be sure to practice using the angle that matches that of your horn carriage. All buzzing should be supported with copious

mouthpiece slightly.

The Magic Buzz Point is the area of the embouchure where you create the most natural efficient buzz. It’s magic because there is only one person in the world like you. This point 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 required. The area that first starts to buzz is the magic buzz point. Make that point absolutely precise and obtain mastery of that sensation.

FOLLOW THROUGH The air direction should be from the lips through the bell. This will insure that every part of the

PITCH In brass playing, playing in the center of a pitch begins with playing in the center of the horn. The “sweet spot” where resonance is optimal. Each applicant should strive to know the center of each partial on their instrument. Once the center of the instrument has been found, the brain can be used to make the necessary adjustments to find the center of pitch.

INTONATION The Cadet brass use Just Intonation. 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. 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:

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amounts of air, firm corners, and the open oral cavity. Low brass should cover the end of their

musical phrase has direction, resonance, command, and control.

R = raise the pitch L = lower the pitch

INTERVAL ADJUSTEMENT IN CENTS

Unison 0

m2 R 11.73

M2 R 3.91

m3 R 15.64

M3 L 13.68

P4 R 1.95

Tritone R 3

P5 L 1.95

m6 R 13.68

M6 L 15.64

m7 L 3.91

V7 L 31.17

M7 L 11.73

Octave 0

DYNAMICS

Cadets brass must be able to command a dynamic spectrum from FFF to ppp. Every note will sound exactly the same just speak at different volumes. A great comparison will be like turning up or down the volume knob on a stereo.

Loud Playing: The key to playing loud is relaxation Playing loud with a round, beautiful sound is a goal. Tension is your enemy. Support, Sigh, Send it!

The traditional terms for dynamics are the perception of an idea. MF can mean many things depending on the composer, the style, ect. The drum corps activity requires something more tangible that can be matched. A system of comparative levels that help to develop a matched sensation for realizing dynamics.

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The best ensembles play the full dynamic spectrum with a supported sound. Members of the

RELEASE The precisely planned end of a note. This is achieved by reversing the air at a uniform speed to achieve an immediate silence that allows the sound to continue to resonate in the

ARTICULATION The use of the tongue to provide a clear left edge to a tone. Pull the tongue down and away rather that pushing it forward. The breathe sets up the position of the tongue for clear articulation. Use just one taste bud and make the motion of your tongue firm and quick in coordination with the air.

The Cadets Brass will provide applicants with a LABORATORY for development and growth. With more focus on the LABOR and less focus on the ORATORY.

TRADITIONAL TERMS CORRESPONDING LEVEL

ppp 1 - NIENTE

p 1

mp 2

mf 3

f 4

ff 5

fff 6

ffff 7

MAX VOLUME 8-10

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performance venue. ALWAYS be careful NOT to let your sound taper when approaching the release!

FUNDAMENTAL TECHNIQUE

LONG TONES Sustained tones are the foundation of achieving a clear, steady, and characteristic tone quality. Practice these exercises marking time with your feet. Take the breath into the initiation of the tone. IN - OUT. Clear Dah and full sustain to the release point. Do not let the end of the note TAPER as you approach the release point. Work to perfect these exercises with AIR FLOW before playing them.

9 COUNT AIR

7 COUNT AIR

5 COUNT AIR

REMINGTON EXERCISES Intervallic studies will be a key factor in our ability to move between pitches with a smooth

centering of each and every pitch. - The ultimate goal is to make each and every note sound exactly the same, regardless of the direction from which you approach the note or the size of the intervallic leap.

DESCENDING

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even sound. - Play the exercise slowly and with a tuner and/or drone to ensure correct

ASCENDING

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CROSS TRAINERS

The cross-training exercises in this manual focuses on developing the correct airspeed, even tone, finger dexterity, and flexibility. The second half note in the 1st, 3rd and 5th measures should be bent. Make sure to keep the air support up as you bend the tone. The notes that are bent in this exercise required you to finger up a half step up sustain the same pitch as the note preceding it.

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Cross-Training Fundamentals are a way to work on multiple fundamentals in one exercise.

FLOW STUDIES

85

YELLOW JACKET

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These exercises are meant to strengthen phrasing, and maintain tonal color.

Remember that these are flow studies, so be sure all note changes are smooth and seamless.You can accomplish that by maintaining airflow between the notes and utilizing precise valve changes.

FLEXIBILITY In order to have good flexibility one must use consistent airflow where the aperture focuses to change the pitches. Naturally the back of your tongue will also raise as you ascend and lower as you descend. Try whistling from a low pitch to a higher one. Notice what your air, tongue, and lips are doing. Your air should be staying fast and consistent, tongue is raising as you ascend, and your lips should be focusing the aperture around the air stream.

1.

2.

3.

4.

5.

6.

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HOW TO WORK ON FLEXIBILITY

• Sing • Whistle • Buzz with and without glissandos • Play on the horn at a slow tempo making sure your pitch does not foreshadow the

change of the notes. • Flutter tongue the exercises. Do not let the flutter stop. • Play with the water key open. This will make the slots smaller and make you play with

the correct air.

FLEX SEQUENCES Flexibility is anything that is not stepwise motion. We commonly work on flexibility by playing natural lip slurs and interval studies. Practicing lip slurs in all registers and dynamics will increase flexibility, strengthen the embouchure, develop tongue position control, improve accuracy, and consistent airflow.

1.

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2.

FOLLOW THROUGH

ARBAN 13

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ARTICULATION

95 – F

95-Eb

MULTIPLE TONGUING

Double

Triple (ttk)

CHORDS

White Dawn Arr. Jim Prime

- - -

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Faith George Michael Arr. Gaumond/Stratton

- - -

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CHORALE O Sacred Head Bach Arr. Jim Prime

Plagal Amen Ending

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2020 AUDITION MATERIALS PART I Technique from the routine to be played while marking time with Cadet horn carriage. Flow Study - 85’ Articulation Study - 95’ Multiple Tonguing Exercises Dynamics - Faith Lip Slur 2 - Moving and Playing Box 8

PART II 2020 Audition Excerpts - applicants may substitute their All-State required material for the symphonic band etude excerpts.

ETUDE EXCERPTS (Pick 1)

• 40 Studies for Trumpet, Wurm: International no. 18, mm. 1-16 (up to the key change), no repeats.

• Concert Studies for Trumpet (written for Philip Smith) Publisher: Curnow Music/Hal Leonard Technical Study: pg. 18, Promenade; pick up to m. 28 - 39 + 1 note

SYMPHONIC BAND EXCERPTS Holst, First Suite in Eb: Intermezzo 1st cornet, mm. 83-100 Quarter note = 140 *Focus on beautiful singing quality of tone and phrasing.

Forward, Left, Back, Right, Forward, Right, Back, Left.

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BRYANT, RADIANT JOY 1st Bb Trumpet, mm 134-143 Quarter note = 126 *Focus on precise rhythm and time, all 16th notes speaking clearly, even tone quality

SCALES Diatonic scales quarter note = 80. Chromatic Scale quarter note = 160 *Focus on even tone quality across the full register of the horn, clear articulation where used, superb intonation.

**Auditioning for lead should also prepare a chromatic scale demonstrating your range starting on third space C in the staff**

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40 STUDIES FOR TRUMPET – WURM Errata: m. 16 (second ending before the key change) should not have a rest on beat four m. 22 The 16th notes are slurred. No repeats. Play second endings only.

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CONCERT STUDIES FOR TRUMPET Technical Study: pg. 18, Promenade; pick up to m. 28 - 39 + 1 note

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NAME INSTRUMENT CAMP

2020 MUSIC PERFORMANCE AUDITION FORM

BREATHING PRINCIPLES

1 1- 2+ 2 2- 3

TONE QUALITY

1 1- 2+ 2 2- 3

ARTICULATION

1 1- 2+ 2 2- 3

FLEXIBILITY

1 1- 2+ 2 2- 3

MUSICIANSHIP

1 1- 2+ 2 2- 3

PROCESS AND APPLY INFORMATION

1 1- 2+ 2 2- 3

RATING GUIDELINES Generally, 3 or more of the same rating yields that rating as the overall rating [ex: (2+)(2)(2+)(2-)(2+) = 2+]. 2 pair of ratings will use the 6th to determine which way the overall rating goes [ex: (1-)(1-)(2)(2)(2-) =2]. If the 6th rating is between the pairs, generally that becomes the overall. For 1 pair or 5 different ratings, the rating nearest the center of the range becomes the overall. These are basic guidelines, not hard rules. This evaluation process is subjective; therefore careful consideration and good judgment are paramount. Most importantly, the overall rating needs to be an accurate reflection of the member’s quality of musical training.

I II III 39

NAME INSTRUMENT CAMP

I II III SKILLS TO REFINE

BREATHING: inadequate/inappropriate breath // shallow, high pitch, regional breath // no sense of flow // tension in chest, neck, or face // forced breath // inconsistent // unsupported airstream // other:_______________________________________________

BODY ALIGNMENT/HAND POSITION: hips forward // shoulder/hip alignment off // neck/ shoulder tension // arms tense // chin/head low // core not engaged // palms against horn // other:_______________________________________________________________

EMBOUCHURE: embouchure is off center // embouchure is tight or constricted // corners are not firm // facial tension // unnecessary movement in embouchure or facial tissue // other:______________________________________________________________

QUALITY OF SOUND/INTONATION: uncharacteristic sound //tension in sound //unsteady tone //lack of flow // pitch inconsistencies // ranges and/or dynamics affect tone quality and pitch // other:___________________________________________________________

FLEXIBILITY & FLOW: inconsistent airstream//balloons of sound//issues at end of phrases//unfinished phrases // flexibility achieved through over-manipulation of inner oral cavity // other:___________________________________________________________

ACCURACY OF PITCH, RHYTHM & PULSE: poor timing of feet // foot timing is unclear // tempo varies // rhythmic inaccuracies // pitch inaccuracies // pulse is inconsistent // other:______________________________________________________________________

ARTICULATION: tongue is heavy / too much tongue // airstream is inconsistent // articulation is tight // constricted // tone/ pitch changes on articulation // articulation is fuzzy or unclear // other:_______________________________________________________

INFORMATION PROCESSING: concentration lapses // break during long phrases // inadequate processing // recovery: none/slow/inaccurate // errors lead to more errors // broke from exercise // other:__________________________________________________

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CONTACT THE CADETS

Denise Bonfiglio, Director dbonfiglio@yea.org

Ron Lambert, Assistant Director

rlambert@yea.org

Michele Teevan, Operations Manager mteevan@yea.org

Jay Bocook, Arranger

jbocook@yea.org

Matt Stratton, Brass Caption Manager mstratton@yea.org

Aaron Witek, Assistant Brass Caption manager

awitek@yea.org

The Cadets 601 W Hamilton Street Allentown, PA 18101

(610) 821-0345

(Fax) (610) 821-1452

cadets.org

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