Red n'

Black
Brigade

B R A S S
L I N E
2023

PLAYBOOK
2 Red n’ Black Brigade – Brass Line Methods

Table of Contents
INTRODUCTION .................................................................................................................................................... 3
COMMAND STANDARDS ....................................................................................................................................... 4
FOUNDATIONS OF BRASS PLAYING ....................................................................................................................... 5
TONE .......................................................................................................................................................................... 5
TUNING....................................................................................................................................................................... 5
TECHNIQUE .................................................................................................................................................................. 6
PITCH CENTER/EAR TRAINING ......................................................................................................................................... 6
RHYTHM ..................................................................................................................................................................... 7
MUSICALITY AND PERFORMING........................................................................................................................................ 7
PHYSICAL STRUCTURES FOR REHEARSAL ............................................................................................................... 8
BASIC BLOCK ................................................................................................................................................................ 8
CONCERT ARC: ............................................................................................................................................................. 8
BLENDED CONCERT ARC: ................................................................................................................................................ 9
BRASS RING: .............................................................................................................................................................. 10
EXERCISES .......................................................................................................................................................... 11
ARTICULATION GLOSSARY ............................................................................................................................................. 11
BREATHING EXERCISES.................................................................................................................................................. 12
Breathing Exercise Objec2ves ............................................................................................................................ 13
LONG TONE EXERCISES ................................................................................................................................................. 14
Long Tone Exercise Objec2ves ........................................................................................................................... 14
ARTICULATIONS & NOTE SHAPES EXERCISES - FROM INSIDE THE CIRCLE; MATT AND BEN HARLOFF ............................................ 17
........................................................................................................................................................................... 17
Ar2cula2ons & Shape Exercise Objec2ves ......................................................................................................... 17
 Red n’ Black Brigade – Brass Line Methods 3

Introduc*on
The Union Red n’ Black Brigade brass line is a team of individuals with varying music ability. Due
to the nature of marching arts and the precision required to execute each performance, we
must commit to unity as soon as possible. The Red n’ Black Brigade Brass Line Playbook is
designed to establish the staff and the students with a consistent paradigm for educaIng and
learning.

Our reputaIon does not have the benefit of riding on past performances, and we must recreate
it each year – every performance. Your responsibility for this acIvity includes a commitment to
yourself, your peers, and the staff.

As a brass player in the Red n’ Black Brigade, you must internalize and commit to some basic
expecta<ons:
1) Respect yourself, your peers, and your instructors.
2) Trust the staff and your student leaders.
3) Dedicate effort towards everything you do (on and off the field).
4) A willingness to work hard and commit to excellence.

Ques<ons to ask yourself:

? What do I want to gain from this acIvity?
? What could I have done to move beUer, play beUer, and contribute more?
? Am I doing what it takes to be beUer today than I was yesterday?

“A great a)tude must be coupled with a work ethic that addresses each step, note, rhythm,
dynamic, and musical phrase with great tenacity. Rather than matching the efforts of your past,
create a new level that sets the standard for those around you. Take this opportunity to be a
be@er musician, a be@er person, and a be@er member of the [Red n’ Black Brigade]!” – Colts
Youth OrganizaLon

Our mantra –
Do it with intensity.
Do it with intent.
Raise the bar.

We are excited that you are here!

-Red n’ Black Brigade Brass Staff
4 Red n’ Black Brigade – Brass Line Methods

Command Standards
Efficient rehearsals maximize learning and our ability to “wow” the crowd. The compeIIve
nature of Marching Music is like other sports. Each year, we will perform for our hometown
during half-Ime football shows and parIcipate in various compeIIons across the state. During
these compeIIons, band programs are ranked against each other in several categories: visual,
music, and other capIons. If we want to win, we must be the best, and if we want to be the
best, we must put our efforts in early and stay consistent!

Consistency begins with instrucIons. Staff and Drum Majors are responsible for maintaining and
teaching the Command Standard for our insItuIon. All commands are uIlized the same way –
every Ime.

There are two parts to a command:

o Preparatory Command
o The actual name of the command (i.e. forward, right, halt, etc.)
o Executory Command
o Indicates the actual Ime of execuIon of the command (i.e. hut)

The following sta<onary commands are used in the Red n’ Black Brigade; this is known as the
“Command Standard”:
Ñ AUenIon – UIlized when
Ñ Singing PosiIon – UIlized when
Ñ Standby – UIlized When
Ñ Stand Easy – UIlized when
Ñ Relax – UIlized when
Ñ Dress – UIlized when

The following moving commands are used in the Red n’ Black Brigade; this is known as the
“Command Standard”:
Ñ Mark Time
Ñ Forward March
Ñ Drag Step
Ñ Right/Lec Flank
Ñ Right/Lec Slide
Ñ Halt
 Red n’ Black Brigade – Brass Line Methods 5

Founda*ons of Brass Playing

It is criIcal to have a consistent approach to fundamentals. The quicker fundamentals become
automaIc, the easier applying fundamentals to music and performance becomes. In marching
band, if it doesn’t sound good on the move, then it doesn’t count! The following secIons will
establish the knowledgebase required to understand what is meant by each element of
fundamental brass playing: tone, tunning, technique, pitch centering/ear training, rhythm, and
musicality and performing.

Tone
Tone is the characterisIc sound produced by each instrument. The tone of a brass instrument is
described in terms of its Lmbre, which is the unique quality that disInguishes it from other
instruments.
o Things that affect tone
o Air support
o Jaw placement
o Throat size
o Upper body elements
o Embouchure
o Teeth spacing
o Tongue placement
o Mouthpiece pressure on the lips
o Stress
o CondiIon of the instrument

Tuning
Tuning involves listening carefully and comparing the pitch of your instrument with another or a
group. You may adjust by moving the tuning slides in or out unIl the desired pitch is achieved.
During performance you may need to “bend” the pitch sharp or flat, depending on the
alteraIon required to remain in tune with the ensemble.
o Things that affect tuning
o Everything that affects tone, including tone.
6 Red n’ Black Brigade – Brass Line Methods

Technique
The mechanical aspect of playing your instrument is “technique.” Finer posiIons, arIculaIons,
and body movements must be coordinated. Working on technique is best achieved by using a
“slower to faster” system of skill building. This means playing exercises at a slower tempo and
increasing the speed of the tempi over Ime as your master each exercise at various speeds.
o Things that affect technique
o Posture
o Breathing
o Hand posiIon
o Finger coordinaIon
o ArIculaIon styles
o ArIculaIon types
o Lip flexibility
o Interval accuracy
o Style
o Dynamic control
o Phrasing
o Embouchure

Pitch Center/Ear Training

“When discussing pitch center, we must understand that the pitches on the mouthpiece buzz are
central to everything we do on our instruments. If we can buzz the correct pitches on our
instruments, then the instrument will respond properly and the note that we want to play will be
the note that will be played.”
o Things to consider while buzzing
o Use less mouthpiece pressure on the lips; only have enough pressure to create a
seal that doesn’t allow air to escape from the corners of your mouth
o Adjust the grip of the fingers to the mouthpiece; start from the furthest point
away from the cup towards the boUom of the shank
§ If you buzz and your fingers slide up to the cup, you are likely using too
much pressure
o Strive for the correct pitch when buzzing, if you scoop into pitches while buzzing,
you likely are doing the same thing while playing
o Hear each pitch before you play (this is why we sing), and strive to make every
pitch “centered”
 Red n’ Black Brigade – Brass Line Methods 7

Rhythm
Rhythm refers to paUers and arrangement of sounds and silences in Ime. Correct notes that are
played beauIfully at the incorrect Imes are useless. Rhythm does not only encapsulate when to
play notes, but also when not to play notes; it provides structure, coherence, and a sense of
forward moIon to music.
o Characterized elements of rhythm
o Beat – underlying pules of the music; steady and regular reference point to
which other rhythmic elements are related.
o Tempo – speed at which the beats occur.
o Meter – organizaIon of beats into recurring paUerns (4/4, 3/4, etc.)
o Rhythmic paMerns – created by arranging different duraIons of notes and rests
within the beats and measures.
§ Notes and rests are combined and repeated, creaIng rhythmic texture
and complexity.
o Syncopa<on – occurs when accents or stresses are placed on off-beats, creaIng
a sense of rhythmic tension and unexpected emphasis.

Musicality and Performing

“Great musicality is more than an aestheLc/emoLonal experience. The more a performer
believes in their performance, the more the audience can believe [and feel] in the performance.
A musician’s conscious thought to send their passion, emoLon, and energy into the audience is a
real and magical phenomenon. It requires an investment in the believe that the ulLmate
performance is a product of hard work, mechanical and technical mastery, and countless hours
of learning to make the product become “automaLc” so we can concentrate our enLre energy
output on giving the giT of performing on an intellectually and emoLonally sLmulaLng level.”
o Requirements for great performances
o Tone
o Tunning
o Technique
o Rhythm
o Time
o Notes
o Energy
o Accuracy
o Passion
o Belief
8 Red n’ Black Brigade – Brass Line Methods

Physical Structures for Rehearsal

There are varying techniques that can be uIlized to promote accidental learning and increase
the efficiency of Ime alloUed for fundamentals. Accidental learning is learning via “osmosis”
and automaIcally translaIng learned skills into pracIce. The most efficient way to absorb
concepts and promote superior musicianship is by placing students in posiIons where
“accidental learning” will occur.

The following illustraIons arIculate different rehearsal structures used for Brass Line. Each
illustraIon will be accompanied by a raIonal indicator (*).

Basic Block
Basic blocks are the fundamental formaIon or arrangement of band members on the field
during a performance, drill, or Ime for learning marching technique, it serves as the building
block for more complex formaIons and movements.
The purpose of a basic block is to establish a foundaIon for uniformity, alignment, and visual
precision; blocks consist of bands members arranged in rows and columns, forming a
rectangular shape on the field. Each member of the band is assigned to a specific posiIon
within the block and maintains a predetermined interval (spacing) with the adjacent members.
*OTen rehearsed extensively during marching band pracLces to develop discipline, spaLal
awareness, and precision. Band members learn to align themselves accurately, move in sync
with each other, and adjust as needed to maintain the desired formaLon.

Concert Arc:
The concert arc refers to a formaIon where band members are posiIoned in a curved line,
typically facing towards the audience or a central focal point. There are several advantages to
uIlizing a concert arc during a performance and rehearsal:
o Visual presenta<on – allows audience to see all band members at once, providing a
visual engaging experience.
o Sound projec<on – arc formaIon aids in sound projecIon and balance.
o Ensemble blend – the proximity of athletes promotes a sense of ensemble blend,
musicians can hear each other more easily, facilitaIng precise intonaIon, dynamics, and
musical expression.
* The standard concert arc is most appropriately used during full band. The different secLons
will be lined together behind the woodwinds in the following sequence: Mellophone, Trumpet,
Sousaphone, Baritone.
 Red n’ Black Brigade – Brass Line Methods 9

Blended Concert Arc:

The blended concert arc refers to a formaIon of a semi-circle made up of brass line members
that are not arranged by secIon; rather arranged into instrument groups that play similar parts
(voices) in the music.
* The blended concert arc is most appropriately used during Brass Line rehearsals. The raLonale
for this type of arc is to encourage students to accidentally listen to other secLons and how their
parts fit together. This prompts a greater degree of musical awareness and promotes comradery
between secLons – ensuring students have opportuniLes to meet others outside of their own
secLon.
10 Red n’ Black Brigade – Brass Line Methods

Brass Ring:
The ring is arguably the most crucial structure for “intensified” rehearsals. Placing the students
in a ring allows all musicians to have one focus: the center of the ring. It is important to
understand that being invited into the center of the ring is a delicate honor/responsibility. The
ring is where we gather together to intensify learning, performance, mental acumen, and
overall musicianship.
*The Brass Line ring is used during brass fundamentals and at Lmes, music rehearsals that are
brass-only. The ring encourages students to listen across the focus for their instrument’s voice,
as well as easily understand what the ensemble sounds like as a whole.
 Red n’ Black Brigade – Brass Line Methods 11

Exercises
These exercises are a pulled from various resources including Union’s directors’ pedagogy, brass
staff experience, and industry leaders/books from Drum Corps InternaIonal – notably, Colts
Youth OrganizaIon and Carolina Crown’s MaU & Ben Harloff.
*All exercises are sorted into fundamental concepts and become more advanced as you move
forward through the season.

Ar?cula?on Glossary
It is important that we standardize the arIculaIon syllables used in marching band; effecIvely
providing a cohesive arIculaIon paUern between all players and all secIons.

ArIculaIon: Normal Legato Staccato Marcato Accented

Examples:

Syllable: Dah Doo Dah Dah Dah

Difference Standard Smoother Same Twice the Twice the
from arIculaIon aUack and beginning as emphasis as emphasis on
“normal” for all more normal, but “normal” but the front of
arIculaIon pitches. Play connected to with ½ the ½ the length. the note,
notes’ full notes acer – length. tapered to
value. each not will normal
“touch” length.
12 Red n’ Black Brigade – Brass Line Methods

Breathing Exercises
Crucially important to brass players because it directly impacts their ability to produce sound,
control dynamics, play with expression, maintain endurance, and play in Ime during a
performance.
o Sound Produc<on: Brass instruments rely on the vibraIon of the player's lips against the
mouthpiece to create sound. Adequate and efficient airflow, enabled by proper
breathing technique, is necessary to iniIate and sustain the vibraIons. The controlled
release of air through the instrument is what generates the characterisIc tone and pitch.
o Ar<cula<on and Phrasing: Proper breathing technique allows brass players to arIculate
and shape musical phrases effecIvely. By uIlizing breath control and varying the amount
of air released, players can produce clear and precise aUacks (the beginning of each
note) and create smooth and connected lines.
o Dynamics and Expression: Breath control plays a significant role in controlling dynamics
(volume) and expression in brass playing. By adjusIng the amount of air support, players
can produce a wide range of volumes, from soc and gentle to loud and powerful.
Controlled breathing allows for nuanced dynamics and expressive shaping of musical
phrases.
o Endurance and Stamina: Brass playing requires sustained blowing of air over extended
periods. Developing efficient breathing techniques, such as taking in larger breaths and
managing airflow effecIvely, helps brass players conserve energy and maintain
endurance during longer performances or demanding passages.
o Intona<on and Stability: Proper breath control contributes to intonaIon accuracy and
stability. By maintaining consistent breath support and airflow, brass players can produce
a steady and controlled pitch, minimizing fluctuaIons and keeping the instrument in
tune.
o Physical Health and Relaxa<on: Learning correct breathing techniques in brass playing
promotes good physical health and relaxaIon. Deep, diaphragmaIc breathing engages
the diaphragm muscle and promotes beUer oxygenaIon of the blood, aiding overall
physical well-being. It also helps reduce tension and promote a relaxed playing posture.
 Red n’ Black Brigade – Brass Line Methods 13

Breathing Exercise Objec2ves

o Strengthen diaphragm and lungs.
o Stay relaxed using as much air as possible.
o Learn “fluid moIon” and ensure air never stops “breathe-in-breathe-out.”
o Expand lung capacity.
o Ensure consistent and stable air streams.

Breathing Exercises
Breathing Exercise #1: Smooth and Slow
o Increase awareness of breathing, should be even on inhalaIon and exhalaIon.
o Inhale 8 à Exhale 8
o Inhale 6 à Exhale 6
o Inhale 4 à Exhale 4
Breathing Exercise #2: Slow to Fast & Fast to Slow
o Promote control of air speed on inhalaIon and exhalaIon; stay relaxed at any tempi.
o Inhale 8 à Exhale 8
o Inhale 7 à Exhale 7
o Inhale 6 à Exhale 6
o Inhale 5 à Exhale 5
o Inhale 4 à Exhale 4
o Inhale 3 à Exhale 3
o Inhale 2 à Exhale 2
o Inhale 1 à Exhale 1
Breathing Exercise #3: Expand and Contract (Lung Capacity)
o Should not be a comfortable exercise, may cause dizziness.
o Inhale 8 à Hold 4 à Sip 4 à Exhale 1 à Hiss 4 à Inhale 1 à Exhale 1
Breathing Exercise #4: Power Breathing
o Stay relaxed and controlled, full breaths in and out. Inhale and expand the chest cavity,
bringing the arms back. Exhale and contract the chest cavity, bringing the forearms close
together.
o Inhale 2 à Exhale 2
Breathing Exercise #5: Misc. Exercises
o Use any dynamics, note lengths, performance pieces.
o Inhale 8 à Exhale 8 (F > P)
o Inhale 8 à Exhale 8 (P<F)
o Inhale 10 à Exhale 4 (FF)
14 Red n’ Black Brigade – Brass Line Methods

Long Tone Exercises

Long tones promote overall quality of sound of the ensemble; stress to students to have an
open, dark quality of sound with as liUle tension as possible. Long tones are for listening!
Important for several reasons:
o Tone produc<on: By sustaining a single note for an extended period, brass players can
focus on producing a steady, centered tone without any fluctuaIons or wavering. This
helps develop control over breath support, embouchure (the posiIon of the lips and
facial muscles), and overall sound producIon.
o Intona<on: Brass instruments require precise pitch control, and pracIcing long tones
allows players to develop their pitch sensiIvity. By listening carefully and adjusIng the
embouchure, air support, and slide or valve posiIons, brass players can learn to play
with accurate intonaIon.
o Breath control and endurance: Long tones require sustained breath control, which is
crucial for brass players. By pracIcing long tones regularly, musicians can develop beUer
breath support, lung capacity, and control over their airflow. This, in turn, helps improve
endurance, allowing brass players to sustain longer phrases and play demanding music
more comfortably.
o Ar<cula<on and aMacks: Long tones provide an opportunity to work on arIculaIon,
which refers to the way notes are started and the clarity of aUacks. By starIng each long
tone with a clean and precise aUack, brass players can develop a consistent and
controlled arIculaIon technique. This is especially important for music that requires
precise and coordinated aUacks, such as staccato or legato passages.
o Listening and ear training: Playing long tones involves focused listening skills. By paying
close aUenIon to the quality, pitch, and resonance of each note, brass players can
develop their ear training abiliIes. This helps them become more sensiIve to nuances in
sound and intonaIon, allowing for beUer musical expression and ensemble playing.
*Train students to listen to their trios (the person to their right and to their leT) – match the
sound quality, volume, expression to the students on either side.

Long Tone Exercise Objec2ves

o Match Iming and quality of breaths.
o Start the note at the same Ime with consistent arIculaIon.
o End the note at the same Ime with consistent approach to release method.
o Strengthen muscles of the embouchure.
o Understand and listen for an open and relaxed quality of sound.
o Blend their quality of sound and volume to their specific secIons, eventually to the
enIre brass line.
o Be able to accomplish long tone objecIves while incorporaIng movement.
 Red n’ Black Brigade – Brass Line Methods 15

Long Tone Exercises – F & Bb

Inside the Circle: A Proven Method for a Successful Marching Band

Full Ensemble Chapter: Horn in F Part (2nd ed.)
by Matt and Ben Harloff

Long Tones

9 Count Tones on F Concert

&b c w w ! #w w ! w w ! w w !

U
&b w w ! #w w ! w w ! w w ! w

9 Count Tones on Bb Concert

& b ww w
w
! nw w ! w w ! w w !
nw w w w w w
U
&b w w ! nw w ! w w ! w w ! w
w w nw w w w w w w

8 Count Tones on F Concert

&b w ˙. Œ #w ˙. Œ w ˙. Œ
w ˙.
Œ

U
&b w ˙. Œ #w ˙. Œ w ˙. Œ w ˙. Œ w

©H2Ksound !4
16 Red n’ Black Brigade – Brass Line Methods

Inside the Circle: A Proven Method for a Successful Marching Band

Full Ensemble Chapter: Horn in F Part (2nd ed.)
by Matt and Ben Harloff

Long Tones

8 Count Tones on Bb Concert

& b ww ˙.
˙.
Œ nw ˙. Œ w ˙. Œ w ˙. Œ
nw ˙. w ˙. w ˙.
U
&b w ˙. Œ nw ˙. Œ w ˙. Œ w ˙. Œ w
w ˙. nw ˙. w ˙. w ˙. w

Release Exercise on F Concert

&b w ˙. Œ w ˙. Œ w w ! w w

©H2Ksound 5
!
 Red n’ Black Brigade – Brass Line Methods 17

Ar?cula?ons & Note Shapes Exercises - From Inside the Circle; MaK and Ben Harloff
• Legato: A smooth, flowing manner, without breaks. The key part of that definiIon is –
without breaks. Use your air to blow through the legato notes, and the tongue will
interrupt the air for a split second to add definiIon to the beginning of the note.
o Full length notes that touch whatever comes acer the note (whether it’s another
note or a rest.)

• Staccato: Detached or separated. Simply; half the length of the original valued note.

• Accent: Emphasis placed on a parIcular note.

o CharacterisIcs
§ The front of the note is slightly louder – make sure the air makes the
beginning of the note louder, not the tongue.
§ The notes touch – accents are full-length notes unless directed otherwise.
§ There is a slight decay – the note gets socer at the end.

Ar2cula2ons & Shape Exercise Objec2ves

o Start and stop each note at the same Ime, match arIculaIons and styles.
o Release notes at the same Ime; match the method of release.
o Perform even rhythms and understand the different shapes of certain arIculaIons.
18 Red n’ Black Brigade – Brass Line Methods

Inside the Circle: A Proven Method for a Successful Marching Band

Full Ensemble Chapter: Horn in F Part (2nd ed.)
by Matt and Ben Harloff

Note Length / Shape Exercise

& c ww .. ! .. ˙
-̇
˙
-̇
.. !

& .. œœ œœ œœ œœ .. ! .. œœ œœ œœ œœ .. ! .. œœ œœ œœ œœ .. !
- - - - > > > > . . . .

& .. œœ- œœ- œœ- œœ- œœ- œœ- œœ- œœ- .. ! .. œœ œœ œœ œœ œœ œœ œœ œœ ..

. . . . . . . .
!

j j j j j
.
. œ œ
& œ. œ. ‰ œ œ œ
œ. œ. œ. ‰ œ
œ. .. ! .. œœ œœ ‰ œœ ‰ œœ ‰ œœ .. !
. . . . .

j j j j j j j
& . œ. œœ. œœ. œœ. œœ. œœ. œœ. ..
. ‰ œ ! .. ‰ œœ œœ œœ ‰ œœ œœ œœ ..
. .. . ..
! .. ‰ œœ ‰ œœ ‰ œœ ‰ œœ ..
. . . .
!

& .. œœ- œœ- œœ- œœ- œœ- œœ- œœ- œœ- œœ- œœ- œœ- œœ- .. .. œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ..
3 3 3 3 3 3 3 3

! !
. . . . . . . . . . . .

& .. œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ .. .. œœ œœ œœ œœ œœ œœ ..
3 3 3 3

! !
3 3

> > > > > > > > > > > >

©H2Ksound !10
 Red n’ Black Brigade – Brass Line Methods 19

Inside the Circle: A Proven Method for a Successful Marching Band

Full Ensemble Chapter: Horn in F Part (2nd ed.)
by Matt and Ben Harloff

Flexibility / Scales

Flexibility Exercise #1

&b c w Œ #w Œ w Œ
˙. n˙. ˙.

&b w Œ w Œ #w Œ
˙. ˙. n˙.

U
&b w ˙.
Œ
w ˙.
Œ
w

Flexibility Exercise #2

&b œ œ œ œ œ œ œ Œ #œ nœ œ #œ nœ œ #œ Œ
œ œ nœ nœ

&b œ œ œ œ œ œ œ œ Œ
œ œ œ œ œ œ #œ
Œ
œ œ œ

&b œ œ œ œ œ œ œ œ Œ #œ nœ œ nœ #œ nœ œ #œ nœ Œ
œ

U
&b œ œ œ œ œ œ œ Œ Œ
œ œ w ˙. w

©H2Ksound 7
!
20 Red n’ Black Brigade – Brass Line Methods

Inside the Circle: A Proven Method for a Successful Marching Band

Full Ensemble Chapter: Horn in F Part (2nd ed.)
by Matt and Ben Harloff

Flexibility / Scales

Flexibility Exercise #3

œ nœ #œ
&b œ œ œ œ œ œ Œ nœ #œ œ œ Œ
nœ

&b œ œ œ œ Œ œ œ #œ œ Œ
œ œ œ œ
œ œ

&b œ œ œ œ Œ nœ #œ nœ #œ œ Œ
œ œ œ
œ nœ

œ U
&b œ œ œ œ œ œ Œ w ˙. Œ w

©H2Ksound 8
!
 Red n’ Black Brigade – Brass Line Methods 21

Inside the Circle: A Proven Method for a Successful Marching Band

Full Ensemble Chapter: Horn in F Part (2nd ed.)
by Matt and Ben Harloff

Flexibility / Scales

Flexibility Exercise #4

&b œ œ œ œ œ œ œ œ œ Œ nœ #œ nœ #œ
#œ œ
œ Œ
nœ œ

œ œ œ
&b œ œ œ œ œ œ œ Œ œ œ œ œ #œ œ Œ
œ œ

&b œ œ œ œ œ œ œ œ Œ nœ #œ œ nœ #œ #œ œ œ Œ
œ nœ

œ U
&b œ œ œ œ œ œ œ Œ w ˙. Œ w
œ

©H2Ksound 9
!
22 Red n’ Black Brigade – Brass Line Methods

Mellophone
Slurs

    
                            
JD

 

        

          
9



                   
      
17

   
              

25

                
                                   
29

     
                        
35


               
          
41

          


            
47

   
      

©
 Red n’ Black Brigade – Brass Line Methods 23

Remington Warm Ups

 = 72
Mellophone

  1  
1.
  Exercise  2.
 
     
Caleb Berger

 Exercise 
2
 


              
3.
         
10


  
 
18

Exercise 3

Exercise 4
 24 Red n’ Black Brigade – Brass Line Methods
Score Crown Tuning Sequence
With Intensity and Purpose
On Conductor, with intent q = 72

3Τ ∑ ∑
Trumpet in Bα 1 % 3 ϖ ϖ ϖ ϖ ϖ ϖ ϖ ϖ
3Τ ∑ ∑
Trumpet in Bα 2 % 3 ϖ ϖ ϖ ϖ ϖ ϖ ϖ ϖ
3Τ ∑ ∑
Trumpet in Bα 3 % 3 ϖ ϖ ϖ ϖ ϖ ϖ ϖ ϖ
3Τ
Mellophone 1 %α 3 ϖ ϖ ϖ ∑ ϖ ϖ ϖ ∑ ϖ ˙ µ˙

3Τ
Mellophone 2 %α 3 ϖ ϖ ϖ ∑ ϖ ϖ ϖ ∑ ϖ ˙ µ˙
ϖ Τ
ϖ ϖ ϖ
Baritone (B.C.) 1
> α α 33 Τ
ϖ ϖ ϖ ∑ ϖ ˙ ˙

ϖ Τ
ϖ ϖ ϖ
Baritone (B.C.) 2
> α α 33 Τ
ϖ ϖ ϖ ∑ ϖ ˙ ˙

ϖ Τ
ϖ ϖ ϖ
Baritone (B.C.) 3
> α α 33 Τ
ϖ ϖ ϖ ∑ ϖ ˙ ˙

> α α 33 Τ
˙ ϖ ϖ ϖ ϖ ϖ ∑ ϖ ϖ
Tuba
ϖ ˙
1 2 3 4 5 6 7 8 9 10

Τ Τ Τ Τ Τ
ϖ Τ Τ
ϖ
Bα Tpt. 1 % ϖ ∑ ϖ ˙ ˙ ϖ ϖ ϖ ϖϖϖϖ ϖ ϖ
Τ Τ Τ Τ Τ Τ Τ
Bα Tpt. 2 % ϖ ∑ ϖ ˙ ˙ ϖ ϖ ϖ ϖϖϖϖ ϖ ϖ ϖ ϖ
Τ Τ Τ Τ Τ Τ Τ
Bα Tpt. 3 % ϖ ∑ ϖ ˙ ˙ ϖ ϖ ϖ ϖϖϖϖ ϖ ϖ ϖ ϖ
Τ Τ ϖϖΤ
ϖϖ Τ Τ Τ Τ
Mello. 1 %α ϖ ϖ ϖ ϖ ϖ ∑ ϖ ϖ ϖ ϖ ϖ
Τ Τ Τ Τ Τ Τ Τ
Mello. 2 %α ϖ ϖ ϖ ϖ ϖ ∑ ϖ ϖϖϖϖ ϖ ϖ ϖ ϖ
Τ Τ Τ
ϖ Τ Τ
ϖ
> α ϖ ∑
ϖ ϖ ϖ
∑
ϖ ϖϖΤ
ϖϖ ϖ ϖ
Bar. 1 α
Τ
> α ϖ ∑
ϖ ϖ ϖ
∑
ϖ ϖϖΤ
ϖϖ Τ Τ
ϖ Τ Τ
ϖ
Bar. 2 α ϖ ϖ
Τ
> α ϖ ∑
ϖ ϖ ϖ
∑
ϖ Τ Τ Τ Τ Τ
Bar. 3 α ϖϖϖϖ ϖ ϖ ϖ ϖ
> α Τ Τ Τ Τ Τ Τ
α ϖ ∑ ϖ ϖ ϖ ∑ ϖ ϖϖϖϖ ϖ ϖ ϖ
ϖ
Tuba
11 12 13 14 15 16 17 18 19 20 21 22