2020Brass Packet Baritone[ 526] PDF

Preview

Summary

music...

Description

2020 BRASS AUDITION PACKET BARITONE

Dear Prospective 2020 Santa Clara Vanguard Brass Members, Welcome to the Santa Clara Vanguard. This packet includes important information about the SCV Brass Technique Program, serving to both help you in audition preparation, as well as providing a fundamental basis for the upcoming season. Auditions for the 2020 SCV Brass Line will be held in the following locations: • • • • • •

Dallas, TX – November 30 - December 1 San Jose, CA – December 7-8 Los Angeles, CA – December 14-15 Houston, TX – December 21 - SCV Visual Master Class (4 hours) Houston, TX– December 22 San Jose, CA – December 22 - Santa Clara Vangaurd Cadets ONLY

Callback Camps for the 2020 SCV Brass Line will be held in the following locations: • • • •

San Jose, CA - January 17-19 Dallas, TX – February 21-23 San Jose, CA – March 27-29 San Jose, CA - April 24-26

Attendance at one of these camps is required for membership consideration for the 2020 Santa Clara Vanguard. Please check the website or contact the corps office for more information or additional questions about the process. At SCV, we value education and music making at the highest level. Being a member of the Santa Clara Vanguard is a privilege and is first and foremost about family. Expectations and responsibilities are high and individually you must be willing to completely give of yourself for the team. Respect, trust, work ethic, dedication and desire to be the best are qualities that will be embraced by all members of the Vanguard. We look forward to working with each and every one of you and wish you the best for a successful audition. Come ready for a great experience, full of learning and sharing with our staff and team. Welcome! Sincerely, Santa Clara Vanguard Educational Staff

2

VISUAL INFORMATION: The visual team is excited to work with you at an upcoming audition camp! We’ve built a strong visual identity here at SCV, and if you are going to be part of that image, we need to go over some expectations for the visual component of your audition. There are two components of the visual audition that you will need to prepare in advance: 1) a simple drill excerpt and 2) a movement excerpt. You’ll find videos and additional information regarding these requirements online at: http://www.vanguardvisual.net/auditions At camp, we’ll also spend time working through a series of simple exercises that expose the most fundamental aspects of your visual approach: 1. Consistency: You’ll be using your own marching technique at camp. In other words, whichever movement technique you are most versed in from your high school or college band is what you should use at your first SCV audition camp. What we’ll be looking for is consistency in that technique. Do you maintain the same technique at every step-size, from very small to very large? Is your technique exactly the same at every step, from the first to the last in every phrase? Is your technique consistent at every tempo, from slow to 180, and faster? 2. Tempo Control: Regardless of your particular approach to lower-body technique, your ability to establish and maintain pulse will be critical to your success at camp. Do you establish pulse correctly at every step off? Is your lower-body timing consistent going into and out of direction changes? Do you have pulse control going into halts? 3. Posture: Your body alignment will be the very first visual impression you make at camp. Your body carriage should be tall, but relaxed; broad, but natural; aligned without introducing tension. More importantly, your posture should look the same whether you are standing still or moving at 200bpm. It is important that you are able to maintain your upper body approach regardless of what you are doing with your lower body. 4. Physical Conditioning: Excellent physical fitness is one of the most important prerequisites for members of the Santa Clara Vanguard. In all likelihood, touring with SCV will be the hardest physical challenge that you have ever undertaken. The show itself will be incredibly demanding. Add to that the intensity of long rehearsals and the physical stress of constant travel, and you can see how important fitness is to injury prevention and the overall success of the corps. For the Vanguard to achieve success each summer, every member must not just survive these conditions but thrive in them. Excellent physical conditioning is what makes this possible. 5. Awareness and Focus: We’ll be moving quickly at the first audition camp, layering different responsibilities, modifying exercises, and testing to see what you can handle. Expect to make a few errors. The visual staff will be watching to see how you react to new information, and more importantly, how well you recover from mistakes. The performers we are looking for not only have great fundamental skills, they rapidly absorb high-level concepts and they have the awareness to recover from errors quickly and professionally. 3

At the end of the camp, we will evaluate auditionees in groups as they perform both the drill excerpt and movement excerpt several times. Your performance in these group auditions will be a major factor in our membership decision, but the staff will also be evaluating your progress over the entire weekend, using the criteria listed above. As such, you should approach every moment of the weekend as a performance. Every repetition or interaction with the staff is an opportunity to demonstrate what kind of a member you will be. In the meantime, think through the criteria above. Take videos of yourself at different step-sizes, tempi, and directions, then evaluate whether you’re really achieving the consistency we’ve described. Reach out to veteran members of the corps through one of the SCV audition groups on Facebook. Start expanding your movement skills by taking a dance class or researching dance fundamentals online. And, if you’re not already executing a regular fitness regimen, get started immediately! Run, bike, strength train, participate in classes at a gym or find fitness resources on YouTube. Early preparation on your part will ensure that your audition experience is a positive one. And of course, if you have questions or concerns about the visual component of your audition, please feel free to contact the visual staff by sending an e-mail to [email protected]. We look forward to meeting you and helping you on your journey toward membership in the 2020 Santa Clara Vanguard! See you at camp! Matt Hartwell SCV Visual Caption Manager

4

BASIC AUDITION PROCESS: All prospective members will perform a live music and visual audition for members of our staff. The music audition will consist of: 1. Audition Excerpts: Prepare all of the selected excerpts (included in this packet) for your audition. It is recommended that you work on these with a private instructor and/or someone who can help you prepare at your highest ability level. 2. Chromatic Scale: We will ask you to play a 2 octave chromatic scale from concert Bb to Bb (concert F to F for mellos), in your most comfortable range. Any trumpets interest in play lead will be asked to extend this up to concert F above high Bb. 3. Double Tonguing Chromatic Scale: We will also ask you to double tongue one octave of the Chromatic Scale to see where you are with multiple tonguing at QN=144, one full beat of 16th notes per note. 4. Exercises with Movement: Finally, you will be asked to play a couple of exercises from this packet, standing and marking time in place. This helps us see your sense of time and rhythm with your feet. NOTE: Etudes may be performed on the instrument of your choice (trombone/horn), but you must audition on a corps-owned or similar marching instrument before you will be offered a contract. It is recommended that you listen to and reference recordings as a part of your preparation, and do not limit yourself to historical drum corps recordings. Memorization of these pieces will allow you to concentrate more fully on these responsibilities and will be duly noted as a demonstration of your commitment and preparation. Please join the Facebook Group for your specific instrument (Ex. 2020 SCV Trumpet Interest Group). All information between camps is shared via Facebook.

TALENT AND WORK ETHIC: At SCV, we strive to find the most talented musicians possible, but that is only one part of the equation. The desire, work ethic, determination and persistence you show in how you prepare will ultimately be a major deciding factor in selection for the drum corps. How much you develop and grow between camps is crucial. We learn things very quickly in drum corps, often on the day of a show, so your to ability adapt is important as well. Team work and “family mentality” are extremely important at the Santa Clara Vanguard. Maintaining a great attitude and doing whatever it takes to be great will be a staple of this drum corps.

5

INSTRUMENTS FOR CAMP: Trumpets: Bring your own trumpet to the first 2-3 camps. Trumpets will likely not be available for checkout during the winter. You will need to bring your own mouthpiece to all camps and summer move-in. Mellophones: Do your best to bring an F Mellophone to the first 2-3 camps. Corps instruments should be available for checkout after you have attended several camps AND are up to date with your financial standing and dues. You are welcome to audition on a concert French horn (you will need to bring your own), however you will also be asked to perform on a marching mellophone at some point during the audition process. You will need to bring your own mouthpiece to all camps and summer move-in. Baritones: If possible, please bring a marching baritone to the first 2-3 camps. Corps instruments should be available for checkout after you have attended several camps AND are up to date with your financial standing and dues. You are welcome to audition on a concert euphonium or trombone (you will need to bring your own), however you will also be asked to perform on a marching baritone or euphonium at some point during the audition process. You will need to bring your own mouthpiece to all camps and summer move-in. Tubas: If possible, bring a marching tuba or sousaphone to the first 2-3 camps. Corps tubas will never be available for checkout during the winter. You are welcome to audition on a concert tuba (you will need to bring your own), however you will also be asked to perform on a marching tuba at some point during the audition process. You will need to bring your own mouthpiece to all camps and summer move-in. Mouthpieces: To help us achieve a most uniform section sound, SCV usually asks you to use a specific mouthpiece while playing the corps. You ARE NOT required to purchase these and will be issued to you from our mouthpiece inventory. They are not required at camps, but you MUST play on the specified mouthpiece if selected to be a member of the brass line. You will receive additional information about mouthpieces at one of our future camps.

6

WHAT TO BRING TO REHEARSALS: Brass ensemble members are responsible for having the following materials at all rehearsals: Three Ring Binder - This will contain all music handouts in clear sheet protectors. Any information you could possibly need should be in this binder. Pencils - Every brass member should have a pencil at all times. Notes should be taken at every rehearsal, especially when our arranger is present. Write everything down! 12” Round Balloons - We will be using these balloons in some rehearsals throughout the season. Please purchase at WalMart, Target, etc., making sure to get the 12” balloons that come in the 72 count bag. Breathing Tubes - These can be purchased at any home improvement store (Home Depot, Lowes, etc.). High Brass and Baritones should look for .5” tubes with a valve, Tubas should look for .75” tubes with a valve. Black Towel - Your SCV instrument is in one of three places at all times; in your hands, 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. Note: SCV horns should never be put in a backpack, left alone on the ground or away from the section at any point. Baseball Cap - This will be worn at all times when rehearsing outdoors. Hats are required to shade your face, eyes and chops. When rehearsing indoors, hats are optional. Tennis Shoes/Trainers - Movement will occur at all rehearsals, therefore tennis shoes are required at all times. Sandals, flip-flops, etc. are never acceptable. Clothing - You should wear clothing that will allow you to perform excessive movement, such as sweats, shorts, t-shirts, etc. No jeans please! We will move at every rehearsal. Tuner/Metronome - Every member is required to have a tuner-metronome combination. Please purchase the Korg TM-60 combination tuner-metronome. The Tonal Energy application is highly reccomended as well, but is not a replacement for the Korg TM-60. BERPS - BERPS are not required at audition camps, but will be mandatory once the brass line is set. We will provide you with information about ordering at a later camp.

7

EXPECTATIONS BETWEEN CAMPS: Musical Expectations We will give you specific assignments and music to have prepared by the next camp. You will be asked to upload videos, as well as weekly Smart Music assignments. These are required and expected to be on time and performed at the highest level. Visual Expectations Our visual staff will give you specific assignments to be completed between camps as well. Videos, dot checks, etc. are common and should be completed on time and at your highest level. Physical Expectations You will be given specific physical assignments by our Tri-Fit team. Being in shape is a high priority at the Santa Clara Vanguard. These should be taken as seriously as all musical and visual assignments, and will have a direct correlation to your place and spot in the hornline. Communication Expectations Communication between you and the staff should be priority number one in everything you do. Staying in regular touch with your section leaders, horn sergeant, caption head and administration is a must. This includes Facebook section pages as well. Financial and Administrative Expectations You must be up to date with all forms and due payments. Staying on top of all paperwork can have a huge impact in your membership and remaining current with dues is important. Again, communicate early and often if you have concerns or issues.

8

SCV BRASS TECHNIQUE: This book serves as a compendium of exercises to be used as a daily warm-up and a practice regimen for long-term improvement in individual techniques such as tone production, airflow, dexterity, and articulation, as well as ensemble responsibilities such as blend, balance, intonation, overall matching, etc. It is by no means comprehensive, and while it is not the only or “right” way to play a brass instrument it is the approach we as a staff have compiled through our experiences as educators, performers, and students.

BREATHING: Without a doubt, the most important concept that can be mastered as a brass player is how to use air in generating a proper and resonant brass sound. We will use techniques from traditional Yoga teachings, as well as those presented in The Breathing Gym by Samuel J. Pilafian and Patrick Sheridan published by Focus on Music. You can find this online at www.breathinggym.com. All air exercises should be performed with the instrument in correct playing position with the correct embouchure. In regards to airspeed, there SHOULD BE a difference in the air based on the range being played: faster air for higher notes, slower air for lower notes. There is also a difference when the player changes volumes: more air for the louder notes, less air for the softer notes. The goal is “One-motion” Air at all times. Be aware of “capping the breath” which results in timing and quality issues. A full breath ALWAYS refers to a full count breath. Full capacity depends on volume/range being performed. Physical Form • Correct posture - always. • Arms away from your side. • Shoulders are relaxed. • 3-part breath (bottom 65%, middle 30%, top 5%). We will practice each part separately, but ultimately you will inflate your upper body across these three areas concurrently. The percentages refer to the area being filled in the thoracic cavity. • Because the mouth is open, the air will be cool going in and slightly warmer going out. Breathing Form • “OH” shape to the inhalation. • Even airflow over all the counts of the inhalation and the exhalation. • Constant airflow, never with any hitches or pauses. • Smooth turn around; quick, relaxed, and without hesitation. The air is always moving, in or out. “One-motion air” • Oral shape should remain the same for both inhalation and exhalation. • Tongue is down and relaxed. Count Structure • 1-count preparatory breaths are standard, but it depends on tempo (will be defined by staff). • This should line up with the step/push for stepouts.

9

ARTICULATION/SYLLABLE: Our default vowel is a “dAH” syllable to match how we articulate on the horn. Tip of the tongue to the teeth, open throat/jaw.

FLEXIBILITY: This is a wonderful tool that we take very seriously at the Vanguard. We will sing frequently and will be very dedicated in our approach to this concept. The way our bodies resonate and vibrate when we sing are very similar to the way we correctly play our instruments. When thinking about projection, visualize a “radio announcer” and work to support your sound with that amount of fullness and direction. Use the following guidelines for singing exercises: • •

Listen closely to the pitch and center of the notes you are singing. Work to sing with the same openness of the throat and air support as

•

you do when playing your instrument. As we will use different vowel sounds and humming, ALWAYS check pitch prior to and after an exercise or phrase.

•

Our goal is to be able to sing everything in our technique program, as well as all music we play.

•

We will sing to work on pitch, dynamics, articulation, etc.

EMBOCHURE DEVELOPMENT/MOUTHPIECE VIBRATIONS: We utilize mouthpiece vibration as a technique to over-train the muscles of the embouchure and to develop our listening and aural skills. The following are important concepts to keep in mind: • •

The corners are always firm, while the aperture is always relaxed (free vibrational space). Always bring the mouthpiece to your face and place in the same spot.

• •

The jaw should be open and the teeth are apart. The mouthpiece should be held with your non-dominant hand at the end of the shank.

• •

Work towards a full and rich vibration with minimal tension. As a result, a good vibration may have some air in the sound and be somewhat “reedy” in nature. Vibrating the mouthpiece is similar to playing the horn, minus the back-pressure/resistance

•

of the instrument. Generally, the more back-pressure there is in conjunction with the vibration the easier it is

•

to produce a desirable sound; thus vibrating is a form of overtraining. At SCV, we use the BERP tool as an aid for bridging the gap between vibration and playing.

•

We will use this tool in numerous ways over the summer (visual rehearsal, playing on the move training, etc.)

10

FOGHORN TECHNIQUE: In addition, playing on the mouthpiece and leadpipe with the main tuning slide removed is a valuable tool. While specific instructions regarding the sections of the instrument used and the resulting pitches vary with each instrument, the following concepts will still apply: •

Starting with the same concepts as above and the lips apart, blow air down the center of the leadpipe with no lip vibration, then allow the air to bring the lips together. Let this cause the

•

vibration and form the embouchure. The tubing will have specific pitches...