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Thank you for submitting your registration and payment for the 2020 Crossmen!
Attached to this email is the audition packet and materials for the 2020 season as
designated by your paid registration. In order to best prepare for the audition process,
it is important that you thoroughly familiarize yourself with all of the enclosed
materials.

In addition, the visual staff has compiled a packet with in depth information regarding
appropriate visual technique, posture, dance position, etc. All of the information in this
guide will be covered at the Crossmen eXperience Camp and Audition, but is handy to
have with you moving forward throughout the season. If you have any specific
questions regarding this information, please email Blake Daughtrey, Visual Caption
Head, at visual@crossmen.org

If you have not done so already, the next step for you in the audition process is to
register and pay for one of our 2020 Crossmen eXperience Camps. These eXperience
camps serve as the initial screening process for membership in the 2020 corps and are
designed to familiarize all potential members with the Crossmen organization and
process. Information regarding dates and locations of our eXperience camps, as well
as a link to payment is available at www.crossmen.org/membership.

Once you have paid for one our of 2020 eXperience Camps, please RSVP through the
following link, so we can confirm your attendance and add any flight shuttle requests
to our schedule: http://bit.ly/2020CrossmenRSVP

Are your parents interested in volunteering? Direct them towards our official Facebook
group, Crossmen Volunteering by searching on facebook. They can also find more info
and sign up to volunteer at a camp on our
website: http://www.crossmen.org/volunteer.They can also reach out directly to
Willow Waters, volunteer coordinator at willow@crossmen.org

We suggest that you join the 2020 Crossmen Auditions Facebook Group, where you
can stay up to date on information and ask questions. You can find the Facebook
group at this link: http://bit.ly/2020CrossmenFB

Also, be sure to "like" us on Facebook and follow us on Twitter and Instagram!

Once again, thank you for taking the first step towards becoming a member of
Crossmen. As always, please do not hesitate to contact us directly if we can provide
further information about the audition process. We look forward to seeing you this
November!
 General Membership Materials
The goal of the Crossmen is to operate, behave, prepare, rehearse, and perform like a World
Champion in every aspect – both on and off the field – with hard work, dignity, poise,
professionalism, class and respect; regardless of competitive placement or outcome. As
such, the Crossmen membership requirements have been set to ensure the continuation of
40+ years of tradition and excellence.

Talent
Your abilities on your instrument as well as your marching ability are critical to your success with the Crossmen. It
is equally important to see development and improvement from rehearsal to rehearsal and throughout the
season. For musicians, your ability to move your feet and play at the same time is an integral part of your
acceptance into the Crossmen.

Attendance
In order to maintain a high level of performance excellence, full attendance at all Crossmen rehearsals is
necessary. The audition process will include a consultation with the staff to discuss your personal calendar and
any scheduling issues that arise. In the event of a school conflict, the school function is always the priority.
Attendance is taken at each camp and rehearsal. All conflicts and excused absence requests are
communicated and approved by the Caption Head at least two weeks in advance. All “No Call/No Show”
candidates and members are removed from the roster.

Attitude
As with any team sport, chemistry is very important to success. Members of the Crossmen are professional,
respectful, motivated, and responsible – holding themselves to the highest level of accountability at all times. A
respect for each other, a trust in the staff, a desire to work hard, and a commitment to excellence, as well as
the ability to adapt and be flexible are all critical aspects of being a successful member of theCrossmen.

Health
The Crossmen regards all members as professional athletes. All members of the Crossmen require excellent
physical health and are required to sustain a high level of cardiovascular activity for extended periods of time.
If you have, or have had, heart problems, asthma difficulties, knee or ankle injuries, back problems, or other
similar issues, this activity may not be for you. You are expected to meet detailed fitness expectations and
complete a Pre-participation physical prior to receiving a contract for membership.

Fees/Tuition
Your financial obligation has a direct impact on your membership in the corps. It is absolutely essential that you
keep your financial obligations up to date if you expect to march. Without your fees and tuition, which only
make up approximately 40% of the operational costs of the organization, the Crossmen could not function.
Always be mindful of your financial standing – communicating potential issues early will allow more time for the
staff to assess the situation and help you work to find a solution.
 Welcome to the Crossmen!
The materials included in this guide cover the concepts of learning, rehearsing, and
performing as a member of the Crossmen Drum & Bugle Corps, as well as information and
exercises required for auditioning for membership in the 2020 ensemble. Your preparation
and understanding of these materials will demonstrate your commitment towards
membership in the Crossmen organization.

Audition Dates & Locations

The first step towards becoming a member of Crossmen is to register for an eXperience camp and audition
held on the following dates and locations:

November 9, 2019 – Rio Grande Valley, TX (Brass Only)

November 22 – November 24, 2019 – Dallas, TX

November 29 – December 1, 2019 – San Antonio, TX

December 7, 2019 – Houston, TX (Brass Only)

Satellite Camps- Ohio, Atlanta, Florida- TBD

In order to be considered for membership in the Crossmen, you are required to attend one of the 2020
eXperience Camps. You may choose whichever date and location is most convenient for you, with no
advantage of one site over the other. Each location will offer time to perform an individual or small group
audition, receive feedback from the Crossmen staff, as well as the opportunity to perform in both section and
full ensemble settings. Any applicant considered to be a strong candidate for the 2020 corps is invited to
attend the December 20-22, 2019 Rehearsal/Callback Camp in San Antonio, TX.
----
Video Auditions
Video auditions are accepted ONLY for those that have a documented conflict with an eXperience camp. To
submit a video audition, you must pay the annual registration fee as well as the video audition fee prior to
submitting a video for review. In addition to performing the required audition material, the video should include
a brief introduction with your name, age, phone number, e-mail address, section for which you are auditioning
and any previous drum corps/marching band experience.
Any submissions considered a strong candidate for the 2020 edition of the Crossmen are expected to attend
the December 20-22nd Rehearsal/Callback Camp in San Antonio, TX. The Crossmen will not accept or review
video submissions from unregistered or ineligible candidates. The deadline for video submissions is December 7,
2019.

Rating System
At the end of camp, you will receive feedback and are given a rating based on your performance and
evaluations. This rating will fall into on of the three following categories:

I  You are to ready to be offered a contract

 You are invited to attend the December Callback Camp
 If you fulfill the obligations outlined in the contract, you will receive
membership in the 2020 Crossmen.
II  You are not ready for a contract
 You are invited to attend the December Callback Camp
 Most people who earn a spot in the Crossmen fall into this category
III  You do not have the necessary skills to become a member of the
Crossmen at this time
 You are not invited to the next camp
 Our hope is that you will apply the lessons learned and come back
stronger next year.
 A Letter from the Brass Staff
Dear Brass Ensemble Candidate:

First and foremost, welcome to the Crossmen! The brass staff is thrilled that you have chosen
to audition for the Crossmen brass section. In this packet you will find lots of material that will
help you through not only the audition process, but throughout the season as well. It is very
important that you read through this entire packet and prepare ALL of the material to the
best of your ability before arriving at camp.

We take pride in doing our very best day in and day out, throughout the summer and
throughout the off-season. Being part of the Crossmen brass section is an honor and should
not be taken lightly. The strength of the Crossmen brass section will only ever be as strong as
the loyalty of the membership.

You must remember you are only one part of a much bigger picture. Throughout the season,
you are pushed to do things you have not done before. You are held to very high standards,
and you may feel uncomfortable doing what has been asked of you. To be successful in the
Crossmen brass section, you must remember these key ideas:

1) Always be respectful to ANYONE around you

2) Trust in your staff as well as your fellow members
3) Be prepared to grow as a person
4) Come to every rehearsal ready to work hard
5) Understand that what was acceptable yesterday is never acceptable for today

These ideas, if followed, will ensure you are a successful Crossmen brass member.
Furthermore, when you engrain them into who you are, you will become successful in every
aspect of your life as well.

The drum corps season is long and it is important to start working NOW so when you come to
audition or move into spring training, everything will go as smoothly as possible! The best way
to tackle a long season is to set short- and long-term goals, make promises to yourself and
others, and stick with them!

We as a brass staff are incredibly excited for this season, and we are HONORED to be part of
such a storied organization!

Sincerely,

Stephen Mason
Brass Caption Head, Crossmen Drum Corps
 Brass Audition Overview
Basic Audition Requirements
Be prepared to play the enclosed exercises in this packet ON THE MOVE.
Perform the 2020 Crossmen Audition Etude, while simultaneously performing the choreography outlined
by the visual staff. This etude is expected to be memorized. (The etude will be e-mailed to you at a
later date)

Audition Recommendations
Be Prepared: The key to success is preparation. With more preparation, you will play better in your audition.
Create a practice routine for yourself and stick with it. If you continue with it throughout all of the winter/spring
camps, you will be amazed at your growth!
Create performance opportunities for yourself as much as possible. Playing for your band directors, private
instructors, and peers will provide you with beneficial criticism. However…YOU will always be your biggest and
best critic! Use audio and video recordings to your advantage. Audition music does not need to be memorized,
but it is encouraged.

Dealing with nerves: Being nervous is a natural reaction. Once you understand that, it becomes easier to deal
with. Fighting nerves can bring about a negative physical reaction; instead, work to embrace the nerves and
realize that it is a natural, healthy reaction.
Breathing helps.
Put yourself in high-pressure scenarios to practice dealing with nerves. Create performance opportunities for
yourself to see what kind of results the nerves create. Give yourself only one chance. Visualize yourself playing
at the highest ability. Something in your audition will most likely not go how you want to. How you deal with
these mistakes can be just as impressive as if the piece had gone perfectly. Always keep going and DO NOT
apologize. NEVER give excuses.

The Audition
Before entering the room, be certain that:
 Your instrument is in good, working condition

 You have ALL PAPERWORK, including your personal calendar readily available

 Always ask questions if you don’t understand something.

 Play at your highest ability level.

 When you are finished playing, there will be a short conversation between you and the members of
the brass staff present. If you have any further questions, please ask at this time. This is intended to be
a low-stress environment.

The brass staff would additionally like to stress that the audition process goes BEYOND the eXperience camp.
Final decisions for the Crossmen brass section are made at the December & January camp. Preparation,
improvement of playing, AND attitude, attendance, work ethic, marching ability, and physical conditioning are
the most important determining factors for receiving a spot in the group.

Equipment
The number of spots in the brass line may change slightly from year to year; however, every spot is open again
each year. Returning members must show improvement and continued effort to be considered for membership
in the 2020 brass line. All students are required to possess a BERP.

Trumpets: Please bring your own trumpet until at least April camp. You are responsible to bring your own
mouthpiece to all camps.

Mellophones: Whenever possible, bring an F Mellophone until at least April camp. You are responsible to bring
your own mouthpiece to all camps.
Baritones/Euphonium: Please bring a marching baritone until at least April camp. You are responsible to bring
your own mouthpiece to all camps.

Tubas: Please bring a marching tuba or sousaphone until at least April camp. You are responsible to bring your
own mouthpiece to all camps.

Mouthpieces: In order to achieve the most uniform section sounds, Crossmen will require you to purchase a
specific mouthpiece for use with the corps. You ARE NOT REQUIRED to purchase these mouthpieces for the
audition; however, you MUST purchase the specified mouthpiece if you are selected as a member of the brass
section. You will receive additional information about which mouthpiece to purchase at future camps.

Other Necessary Materials

Brass members are responsible for having the following materials at ALL REHEARSALS:

BERPS: Crossmen have BERPS available for purchase at a discounted rate of $15 but are not required until you
are contracted for membership.

Mouthpiece Rim: Mouthpiece Rims are not required until you are contracted for membership.

Three Ring Binder: Contains all music in organized, clear sheet protectors. Any information you could ever need
should be in this binder.

Pencil: You must have a pencil at all times. Notes should be taken on the music at every rehearsal. Write
EVERYTHING DOWN!

Cotton Gloves: Must be worn at all times when handling a Crossmen owned instrument. You will use many pairs
of gloves during the season; it is important that your gloves are in good condition and replaced when needed.
Dirty gloves or gloves with holes in them are not acceptable.

Black Towel: Your Crossmen instrument is in one of three places at all times: in your hand, placed in an arc or
line on the round, or in its case. The black towel is used for protection of the instrument when placed on hard
surfaces, especially when rehearsing outdoors.

Baseball Cap: This must be worn when rehearsing outdoors. Hats are required to shade your face, eyes, and
your lips. Hats are optional when rehearsing indoors.

Tennis Shoes/Athletic Shoes: Movement will occur at ALL rehearsals; therefore, tennis shoes are required at all
times. Any other types of shoe (including Vibrams or other similar products) are not acceptable.

Clothing: Whatever clothing is worn must facilitate excessive movement. NO JEANS!!

Tuner/Metronome: Every applicant/member is required to have a tuner, metronome, or tuner/metronome

combo. Recommended tuner/metronome combo: Korg TM4.

Red Water Jugs: Each brass member is required to have a water jug (1 gallon, red Coleman) beginning at all
camps. These jugs must be present at all rehearsals. Crossmen have Red water jugs available for purchase at a
discounted rate.

Tonal Energy: iOS/Android app. It is an excellent tool for learning just intonation. (Not required but HIGHLY
recommended).
 BRASS ENSEMBLE TECHNIQUE INFORMATION
Posture
To be most efficient when marching and playing, the body must be in its most natural and upright position.
Improper posture can create injury and negatively affect brass playing. While playing a brass instrument, your
body’s weight should be evenly distributed on both of your feet.

Your upper body should be lifted up from the waist, not leaning on the lower part of your back. The shoulders
must be relaxed, and the instrument bell angle must be 10 degrees above parallel.

Basic hand position rules: Hands are relaxed, fingertips are on the valves, valve casings are perpendicular to
the ground (excluding tubas), and the wrists are straight.

Moving & Playing Together

Marking time will be used in ALL music rehearsals where we are not marching drill. The visual staff will go into
further detail regarding the proper mark time technique. Please see visual packet for additional information.

Basic rules for marking time follow:

The initiation of the mark time will be one count. The heels of your foot will hit the ground on all down beats.
Your heel will come up to the anklebone. The knee will cover the toes.

The upper body must not bounce or sway while marking time; it should look as though you are standing still. The
success of the brass line will depend on how well you play AND move at the same time. The sooner you add
movement to your playing, the better you and the brass line will become.

Step-outs
In drum corps, you will find that almost all timing and technique problems occur within the first two counts of a
phrase or drill move. To be productive against this common problem, step-outs were created. You take two
steps in any direction (left foot first, then right) at the beginning of a musical phrase or at the beginning of a
visual phrase. Each step is a FULL step size. Two counts are taken to take the original two steps, and then the
next two counts are used to go back to the original placement. Step-size and direction should be varied to
encompass all possibilities of visual responsibilities.

Air and Breathing Techniques

Great breath control is important toward playing a wind instrument well. There are many components of a
proper breath and literature written on this particular subject. We prefer to keep the following concepts in mind
while playing:

Air NEVER stops while playing. Air is going either in or out. Work to not “cap” the breath — capping occurs
when the air is stopped after the inhalation. Visualize the lungs as constantly expanding and contracting.

During exhalation, there should be a feeling of complete release in the upper body. The air will have a warm
sound and texture. Exhalation should never be or feel forced. Exhale to the point where the body reaches a
state that is similar to when resting; never try to squeeze every last bit of air out of the lungs. Maintaining a
constant in & out sensation will result in strong air support and consequently produce a beautiful tone and
stable pitch.

Releases should be approached through a short inhalation. Using the tongue, throat, or jaw will create a
defined but bad release. Simply breathing inward on the count of release will create a defined and beautiful
release. The timing of the breath will also ensure uniform timing of the release throughout the ensemble.
Breathe and play. The timing STARTS WITH THE BREATH! If we are to play together, we must take a full breath
together.
Embouchure Development
Most professional brass musicians practice with the mouthpiece on a regular basis. Benefits of doing so include:
the ability to isolate embouchure and tone production issues, improved aural skills, and less chop fatigue (it is
easier to produce tone without the brass instrument’s resistance).
The first notes we play every day will usually be done on the mouthpiece. Much attention will be placed on
how you produce that sound and its quality. The mouthpiece, embouchure, and air support combine to create
the instrument; the brass tubing merely resonates your buzz. The quality of the mouthpiece sound directly
correlates to the player’s sound when the instrument is added. Developing a dark, resonant sound is a priority
for all brass members of the Crossmen.

Basic embouchure rules can be applied to all brass musicians:

 The corners of the mouth must be firm, strong, and comfortably set.
 The mouthpiece should be placed as close to perpendicular on the lips as possible; it is not too upstream or
too downstream.
 There should be enough flesh from both lips on the mouthpiece to allow for a full sound.
 The mouthpiece should always sit on the same place on the embouchure.
 The jaw must always stay open. The teeth are apart.
 The mouthpiece should be held with the non-dominant hand with the shank in between the middle and
ring finger.

Mouthpiece Rim
Another method of mouthpiece practice is using a mouthpiece rim [visualizer]. Using a mouthpiece ring isolates
the embouchure vibrations that go from the center to the edges of the lip. There is the possibility of
deterioration of the lip’s muscles without the use of a rim.

Foghorn – An Extension of Mouthpiece Playing

Foghorn is an exercise that involves removing the tuning slide of a brass instrument and inserting only one end
of the slide back into the instrument. With foghorn, unlike on the mouthpiece, there is slightly more resistance
and there are also breaks between ranges or partials. This is similar to playing a lip slur.

The following rules apply to foghorn:

 Define the pitch you will play (each instrument is different)
 Match that pitch each time you come back to it
 Minimize shaking in the sound
 Minimize air in the sound
 No pressure should be placed on the embouchure

BERP
The Buzz Extension and Resistance Piece (BERP) is another tool used to develop tone and embouchure. The
BERP allows brass musicians to work with a high level of resistance in rehearsals where movement is also
employed.

Singing
Singing is a great tool for developing ensemble tone quality and intonation. We will sing frequently as a brass
section, and we will have a serious approach to the technique of singing. When singing, we use a “radio
announcer” voice, one that will project a great distance.

The following are guidelines for all singing exercises:

 The throat should be open using the same approach to breathing, air support, and direction of the air.
 Everyone should always work to match the pitch.
 We use different vowel sounds (including humming)
 We work on the technique book, chorales, and show music.
Long Tones
There are innumerable benefits from playing long tones every day. Along with mouthpiece work, this allows the
muscles in the face to loosen up and work toward comfort on the instrument. This is an opportunity for the
musician to focus solely on tone quality, breath, and intonation. Without rhythm and differentiation of pitches,
the musician can focus on playing in tone with both the section and the ensemble. Long tones are essential to
establishing a solid center of pitch for warm-up. Balance and blend are also key factors to this portion. Our long
tone exercises consist of 9, 7, or 13 counts going down in half steps.

Lip Slurs/Flexibility Exercises

Lip slurs play a large part in the development of a brass player’s flexibility. The ability to move fluidly from partial
to partial while maintaining accurate pitch and a good sound is essential. Using a consistent air stream
throughout the partials and musical line will allow players to attain this fluidity. The exercise is not just an exercise;
it is a musical phrase. As such, it has purpose, movement, and an arrival at a destination.

Style & Articulation

There should be no explosion in the attack. Every note should be started with the sound “dAAh” in mind
(lowercase d and uppercase A). Players should strive for less tongue in the sound & focus on more tone. Nearly
90% of an attack is air; about 10% is the tongue. The air sets the buzz into action, NOT the tongue.

Legato Tonguing: When using a legato tongue, the air is essentially unbroken. The tongue plays each note like a
soft paintbrush. The tongue should still move fast; do not chew the notes by unhinging the jaw.

Staccato Tonguing: Staccato does not always mean short! It means separated or detached. Producing a good
staccato means that the air stream must be supported to create perfect blocks of sound until the silence
occurs. The tongue starts every note but does NOT finish it. Every articulation is open-ended in the staccato style.

Marcato Tonguing: This style is between staccato and legato articulations. It is a sustained staccato with less
separation between notes.

Articulation Exercises: Articulation exercises are integral to developing the relationship between the tongue
and the air stream. The tongue cannot articulate properly if there is not enough air support. These exercises are
intended to develop a consistent and clear approach to the motion and speed of the air. Clarity of articulation
should not be affected by tempo, technique, note length, volume, or range. Articulation only changes when
the style being played changes.

Volume
Power and quantity of sound are trademarks of great brass ensembles. This type of playing requires monitoring
of the player’s quality of sound and intonation. The key to playing loud is relaxation. An ugly or spread tone is
the result of tension and/or forced breathing. The player must stay open to maximize the amount of air. The
corners of the mouth must stay firm to support the large volume of air — visualize the lips wrapping around the
air stream when playing at fuller dynamic levels. Playing loud with a round, beautiful sound is a goal of the
ensemble that will require great concentration over a long period of time.

Pitch & Intonation

“It is not whether the instrument is built in tune but if it can be played in tune.”

All brass instruments have various inherent intonation deficiencies built in with the overtone series. As a brass
ensemble, we will become aware of these deficiencies and how our playing can correct them. We build our
system of tuning through the matching of overtones, which, by definition, are never out of tune. Overtones will
ring when the pitches coming out of the horn are perfectly in tune.

There are also intonation deficiencies associated with the structure of chords. Below is a list of intervals and their
proper tuning adjustments to be in “just temperament” rather than “equal temperament.”
Interval
How to Adjust in Cents:

As all of the voices become more in tune with each other, entire chords can be heard ringing above the brass
ensemble. Singing, mouthpiece work, long tone, and relative pitch exercises will help you develop your ears for
tuning chords and unison notes. Investing in a good tuner (Tonal Energy) and practicing with it regularly will help.

Chord Progressions
Chord progressions are an integral part of a brass player’s daily routine. As we play through progressions, be
aware of all the notes changing around you. For example, if you play the same note in two different chords,
you nearly always have to do something different to keep the note in tune.

 Recognize what part of the chord you are playing. Is it the root? The third? The fifth?
 Listen with “big ears.” Know all of the arts and how your part fits in into the ensemble.

Balance and Blend

The first criterion toward achieving great balance and blend is perfect intonation.

Ask yourself — am I in tune with the ensemble? First, listen to the intonation in your section, then branch out to
other sections, always keeping in mind that you should listen down to the bass voice (tuba). Balance and blend
requires the performer to listen very closely.
 Carolina Crown Brass Program
AIR
..
9 Count
cw w œ‰Œ Ó w w œ‰Œ Ó
J J

7 Count
w ˙. œ ‰ w ˙. œ ‰ ..
J J

13 Count
w w w œ‰Œ Ó w w w œ‰Œ Ó ..
J J
12 Count

w w ˙. œ ‰ w w ˙. œ ‰ ..
J J

17 Count
w w w w œ‰Œ Ó w w w w œ ‰ Œ Ó ..
J J
21 Count

w w w w w œ‰Œ Ó w w w w w œ ‰ Œ Ó ..
J J

5 Count
w œ‰Œ Ó w œ‰Œ Ó w œ‰Œ Ó ..
J J J

4 Count
˙. œ ‰ ˙. œ ‰ ˙. œ ‰ ˙. œ ‰ ..
J J J J

Important Rules in Ensemble Breathing

Deep Full Breaths No Shallow Breaths Air is going In or Out - One Motion
Support to the release Use a full count to breathe Release by taking a short breath in
Always move your feet Expand outwards, NOT upwards STAY RELAXED!
 Carolina Crown Flexibility Exercises
High Brass
NOTES
Every double bar is a step out
All exercises go down 3 half steps and back up
G / Low C G / C / Low C

&c w Œ #w Œ ˙ ˙ Œ #˙ ˙ Œ
˙. ˙. ˙. ˙.

&œ œ œ œ œœœœœ Œ
2 Note Lip Slur

#œ œ œ œ #œ œ œ œ œ Œ œ bœ œ œ œ bœ œ œ œ Œ
Zorro 1

&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 œœœ Œ
3 Note Lip Slur

&œ œ # œ œ œ# œ œ Œ œ œ bœ œ œ Œ
œ œ #œ œ #œ œ œ bœ œ œ

œ œœœœ Œ # œ œ# œ# œ œ Œ œ bœ œ œ œ Œ
4 Note Lip Slur

&œ œ œ œ #œ œ œ #œ œ b œ œ œ

œ œ œ œ #œ #œ #œ œ
Zorro 2
œ
&œ œ œ œ œ œ œ œ Œ # œ œ œ œ œ # œ Œ
œ œ œ
Quarter Notes Low
œ bœ œ # œ œ #œ
Quarter Notes High
œ # œ œ œ # œ #œ œ Œ
& œ œ œ œ œ Œ œ# œ œ œ œ Œ œ œŒ œ
œ œ

œ œ œ ˙.
Eighth Notes Low

œ
& œœœ œ Œ œ# œ œ œ# œ# œ œ ˙ . Œ bœ œ œ œ œ œ œ b˙. Œ
œ bœ

bœ œ œ œ œ b œb œ œ œ œ
œ #œ œ# œ œ œ œ œ ˙ .
Eighth Notes High

œœ œ ˙. Œ Œ bœ œ œ b˙. Œ
&
 
 


        

         


       


      
      



  





     
     

    











                            

        

   


                                 

 
                                  
3 3 3 3 3 3 3 3



 


                                    
 

            

                               
   



       
                                    
          

          

  
        
                          





     



  





   
1 2 3 1 2



     
1 2 3 1 2 3 1 2 3

 1

       
2 3 1 2 3 1 2 3 1 2 3 1
 
 


        

         


       


      
      



  





     
     

    











                            

        

   


                                 

 
                                  
3 3 3 3 3 3 3 3



 


                                    
 

                            
 
   

                      
               
  


          

  

                                          
  





     



  





   
1 2 3 1 2



     
1 2 3 1 2 3 1 2 3

 1

       
2 3 1 2 3 1 2 3 1 2 3 1
 Carolina Crown Flexibility Exercises
Low Brass - Baritones NOTES
Every double bar is a step out
All exercises go down 3 half steps and back up

˙ ˙
G / Low C G / C / Low C
? b cw Œ nw Œ ˙ Œ n˙ Œ
b ˙. ˙. ˙. ˙.

? bb œ œ œ œ œ œ œ œ œ Œ n œ œ œ œ n œ œ œ œ œ Œ œ b œ œ œ œ b œ œ œ œ Œ
2 Note Lip Slur

? bb œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ nœ œ œ nœ œ œ Œ
Zorro 1

œ œ
œ œ œ œ

œ œ
? b œ œ œ œ œ œ œ Œ nœ œ #œ œ nœ œ #œ œ œ Œ œ bœ œ œ œ bœ œ œ œ Œ
3 Note Lip Slur

œ œ œœœœ
4 Note Lip Slur
œ #œ œ nœ #œ œ b œ œ bœ œ œ œ
? bb œ œ œ Œ nœ œ nœ Œ œ œ œ Œ

œ œ œ œœœ #œ nœ #œ œ
? bb œ œ œ œ œ œœ Œ nœ œ œ œ œ nœ
Zorro 2

œ œ œ Œ

œ œ œ bœ œ œ nœ œ nœ #œ œ
œ œ œ œ œ # œ œ œ œ œ # œ
Quarter Notes Low

? bb œ œ œ Œ nœ œ œ Œ Œ Œ
Quarter Notes High

œ œ œ œ œ ˙. œ nœ œ œ #œ nœ œ ˙. œ œ œ b˙.
Eighth Notes Low

? bb œ œ œ bœ œ œ œ
Œ œ Œ bœ Œ

œ bœ œ œ œ nœ œœœœ œ bœ bœ œ œ
? b œœ œ ˙. œ #œ œ ˙. bœ œ œ b˙.
b Œ Œ Œ
Eighth Notes High
 
 

        


         

 
      

       
     



         
         

     

 
       


                                    


                                    


 

                                  


 
3 3 3 3 3 3 3 3

                                    


 
 

                      


                     

                     
                 



         

  
                                   





   
 

  
  




   


1 2 3 1 2

     


1 2 3 1 2 3 1 2 3

       


1 2 3 1 2 3 1 2 3 1 2 3 1
 Carolina Crown Flexibility Exercises
Low Brass - Tuba
NOTES
Every double bar is a step out
All exercises go down 3 half steps and back up

? b c
G / Low C G / C / Low C

b Œ Œ ˙ Œ ˙ Œ
w ˙. nw ˙ ˙. n˙
˙. ˙.
2 Note Lip Slur
? b
b œ œ œ œ œ œ œ œ œ Œ nœ œ œ œ nœ œ œ œ œ Œ œ bœ œ œ œ bœ œ œ œ Œ

? bb œ
Zorro 1
Œ Œ
œ œ œ œ œ œ œ œ œ nœ œ œ
œ œ œ œ œ œ œ œ œ œ nœ œ œ
? bb
3 Note Lip Slur

œ œ œ œœœ Œ œ # œ œ œ # œ œ Œ bœ œ œ bœ œ œ Œ
œ œ œ nœ nœ œ œ œ œ

? bb œ œœœœ Œ
4 Note Lip Slur

œ œ # œ œ nœ #œ œ Œ bœ œ bœ œ œ œ Œ
œ œ œ nœ œ nœ œ œ œ

? b œ œœœ #œ nœ #œ œ
Zorro 2

b œ œ Œ œ œ Œ
œ œ œ œ œ œ œ n œ œ œ n œ
œ œ œ
bœ œ
œ œ Œ œ #œ nœ œ nœ #œ œ Œ
Quarter Notes High
? bb œ œ
Quarter Notes Low

œ œ œ Œ œ œ # œ œ Œ œ œ
œ œ nœ œ œ
œ
Eighth Notes Low
? bb œ œ œ œ ˙.
œœœ œ Œ œ nœ œ œ #œ nœ œ ˙. Œ bœ
œ œ œ œ œ œ b˙. Œ
œ bœ
? b œ œ bœ œ œ œ œ . Œ œ #œ nœ œ œ œ œ œ ˙. Œ bœ œ œ bœ bœ œ œ œ b˙.
Eighth Notes High

b œ ˙ Œ
 
 


      




         

 
       


     


      



         
         
 
       
      

   
                                



      
                             



 3 3 3
  
3 3 3 3 3
  

                            

      
                             


 

              
           
  
                    


  
                           
                   

        




                                  
  




 
  


  
  




   
1 2 3 1 2




    
1 2 3 1 2 3 1 2 3


       
1 2 3 1 2 3 1 2 3 1 2 3 1
 PLEASE NOTE:
• To edit this document properly, please make sure you have the most current version of Adobe Acrobat installed
on your computer.
• You CANNOT save this document once you have input the data. To send your results electronically, you must save your data as
a PDF (print to PDF-Postscript on a Mac), or you must print out your form on a standard printer.

Name: PITCH TENDENCY HIGH BRASS

CHART 1

! " #" " #"

#" #" " #" " #" "

! " " #" " #" " " #" " #"
#"

" #" " " #" "

" " #" " #"
!

CHART 2

! " #" " #" " "

#" " #" " #" "

" #" " " #" " #" "

! #" " #"

" #" " " #" "

" #" " #"
!

CHART 1
• Push all slides ALL THE WAY IN.
• Tune your horn's MAIN tuning slide on the fundamental pitch of the instrument/tuning note.
• Using CHART 1, take note of your horns tendency with no adjustments to any of the slides.

CHART 2
• With your main slide in tune, proceed to tune each of your individual slides (only those that do
not have a trigger slide) below that fundamental pitch/tuning note.
• Using CHART 2, take note of your horns tendency with all of your slides in proper adjustment

*Those that use trigger slides when playing should mark the tendancy as it relates to the slide all the way in,
therefore you will have an indicator that shows how much to adjust the slide to play in tune properly.

Indicate the pitch tendency of each note using the following KEY:
N/A = In Tune
Sb = Slightly Flat (>5 cents)
Mb = Moderately Flat (5-10 cents)
Vb = Very Flat (over 10 cents)
S# = Slightly Sharp (>5 cents)
M# = Moderately Sharp (5-10 cents)
V# = Very Sharp (over 10 cents)
 PLEASE NOTE:
• To edit this document properly, please make sure you have the most current version of Adobe Acrobat installed
on your computer.
• You CANNOT save this document once you have input the data. To send your results electronically, you must save your data as
a PDF (print to PDF-Postscript on a Mac), or you must print out your form on a standard printer.

Name: PITCH TENDENCY LOW BRASS

CHART 1
! $" %" " #" "
" " #" " #" "

" #" " $" %" " #"

! #" " " #"

" #" " $" %" "

" #" " " #"
!

CHART 2
! $" %" " #" "
" " #" " #" "

" #" " $" %" " #"

! #" " " #"

" #" " $" %" "

" #" " " #"
!

CHART 1
• Push all slides ALL THE WAY IN.
• Tune your horn's MAIN tuning slide on the fundamental pitch of the instrument/tuning note.
• Using CHART 1, take note of your horns tendency with no adjustments to any of the slides.

CHART 2
• With your main slide in tune, proceed to tune each of your individual slides (only those that do
not have a trigger slide) below that fundamental pitch/tuning note.
• Using CHART 2, take note of your horns tendency with all of your slides in proper adjustment

*Those that use trigger slides when playing should mark the tendancy as it relates to the slide all the way in,
therefore you will have an indicator that shows how much to adjust the slide to play in tune properly.

Indicate the pitch tendency of each note using the following KEY:
N/A = In Tune
Sb = Slightly Flat (>5 cents)
Mb = Moderately Flat (5-10 cents)
Vb = Very Flat (over 10 cents)
S# = Slightly Sharp (>5 cents)
M# = Moderately Sharp (5-10 cents)
V# = Very Sharp (over 10 cents)
 PLEASE NOTE:
• To edit this document properly, please make sure you have the most current version of Adobe Acrobat installed
on your computer.
• You CANNOT save this document once you have input the data. To send your results electronically, you must save your data as
a PDF (print to PDF-Postscript on a Mac), or you must print out your form on a standard printer.

Name: PITCH TENDENCY TUBA

CHART 1
!
" $" %" " #" "
" " #" " #"
! $" %" " #"
" " #" " #" "
#"
" #" " $" %" "
! " #" " " #"

CHART 2
!
" $" %" " #" "
" " #" " #"
! $" %" " #"
" " #" " #" "
#"

" #" " $" %" "

! " #" " " #"

CHART 1
• Push all slides ALL THE WAY IN.
• Tune your horn's MAIN tuning slide on the fundamental pitch of the instrument/tuning note.
• Using CHART 1, take note of your horns tendency with no adjustments to any of the slides.

CHART 2
• With your main slide in tune, proceed to tune each of your individual slides (only those that do
not have a trigger slide) below that fundamental pitch/tuning note.
• Using CHART 2, take note of your horns tendency with all of your slides in proper adjustment

*Those that use trigger slides when playing should mark the tendancy as it relates to the slide all the way in,
therefore you will have an indicator that shows how much to adjust the slide to play in tune properly.

Indicate the pitch tendency of each note using the following KEY:
N/A = In Tune
Sb = Slightly Flat (>5 cents)
Mb = Moderately Flat (5-10 cents)
Vb = Very Flat (over 10 cents)
S# = Slightly Sharp (>5 cents)
M# = Moderately Sharp (5-10 cents)
V# = Very Sharp (over 10 cents)
 This arrangement is authorized for the exclusive use of Crossmen Productions, Inc. - Crossmen Drum & Bugle Corps licensed by
ALFRED MUSIC PUBLISHING COMPANY through Tresóna Multimedia, LLC. Tresóna License Number 325851 with an expiration date of 04/10/21.

Trumpet 1 Russian Christmas Music

A Tribute to the Crossmen Alumni
Alfred Reed
arr. Andrew Markworth
q=120 1 2
A B 14
7 4 œ w 15 16
œ ™ œœ œ œ ˙
17
œ ™ œœ
4
& b4 ∑ ∑ Œ ˙
mp

18 20
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w > 22
w œ
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œ ˙ w œ Œ >œ >œ
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ff

29 30
D
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w
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& b J
mf f

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w w w w w w w w w
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w w >œ
w w 48
>
w 49 w 50
w
w 51
w
w 52
w
w 53
w
w 54
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&b Œ Ó
ff fff

This arrangement is authorized for the exclusive use of Crossmen Productions, Inc. - Crossmen Drum & Bugle Corps licensed by
ALFRED MUSIC PUBLISHING COMPANY through Tresóna Multimedia, LLC. Tresóna License Number 325851 with an expiration date of 04/10/21.
 This arrangement is authorized for the exclusive use of Crossmen Productions, Inc. - Crossmen Drum & Bugle Corps licensed by
ALFRED MUSIC PUBLISHING COMPANY through Tresóna Multimedia, LLC. Tresóna License Number 325851 with an expiration date of 04/10/21.

Trumpet 2 Russian Christmas Music

A Tribute to the Crossmen Alumni
Alfred Reed
arr. Andrew Markworth
q=120
1 2
A 7 B 3 13 14 15 16
4
& b4 ∑ ∑ Œ ˙ œ w œ™ œ˙ œ ˙™ œ™ œ
mp

17 18
C
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w > 22
w
23
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ff

>
26
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27 29
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b w œ Œ œ œ ˙ ˙ œ œ œ œ œ œ w
& J
mf f

35
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> 46
&b ˙
ff mf

F 48 49 50 51 52 53 54 55
>
w w >
w w >
w w w w >œ
& b Œ Ó
ff fff

This arrangement is authorized for the exclusive use of Crossmen Productions, Inc. - Crossmen Drum & Bugle Corps licensed by
ALFRED MUSIC PUBLISHING COMPANY through Tresóna Multimedia, LLC. Tresóna License Number 325851 with an expiration date of 04/10/21.
 This arrangement is authorized for the exclusive use of Crossmen Productions, Inc. - Crossmen Drum & Bugle Corps licensed by
ALFRED MUSIC PUBLISHING COMPANY through Tresóna Multimedia, LLC. Tresóna License Number 325851 with an expiration date of 04/10/21.

Trumpet 3 Russian Christmas Music

A Tribute to the Crossmen Alumni
Alfred Reed
arr. Andrew Markworth
q=120
1 2
A 7 B 4 14 15 16 17
4
& b4 ∑ ∑ Œ ˙ œ w œ™ œœ œ œ ˙ œ™ œœ
mp

18
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w > 22 23
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30
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ff mf f

F 48 49 50 51 52 53 54 55
> > > >œ
&b w w w w w w w w Œ Ó
ff fff

This arrangement is authorized for the exclusive use of Crossmen Productions, Inc. - Crossmen Drum & Bugle Corps licensed by
ALFRED MUSIC PUBLISHING COMPANY through Tresóna Multimedia, LLC. Tresóna License Number 325851 with an expiration date of 04/10/21.
 This arrangement is authorized for the exclusive use of Crossmen Productions, Inc. - Crossmen Drum & Bugle Corps licensed by
ALFRED MUSIC PUBLISHING COMPANY through Tresóna Multimedia, LLC. Tresóna License Number 325851 with an expiration date of 04/10/21.

Horn in F 1 Russian Christmas Music

A Tribute to the Crossmen Alumni
Alfred Reed
arr. Andrew Markworth
q=120
1 2
A 7 B 2 12 13 14 15
b4 œ w œ™ œ˙ œ w
&b 4 ∑ ∑ Œ ˙
mp

16 17 18 C>
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ff

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33
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>˙41 > 42

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F
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44
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bb œ ™ œ œ™ œ
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This arrangement is authorized for the exclusive use of Crossmen Productions, Inc. - Crossmen Drum & Bugle Corps licensed by
ALFRED MUSIC PUBLISHING COMPANY through Tresóna Multimedia, LLC. Tresóna License Number 325851 with an expiration date of 04/10/21.
 This arrangement is authorized for the exclusive use of Crossmen Productions, Inc. - Crossmen Drum & Bugle Corps licensed by
ALFRED MUSIC PUBLISHING COMPANY through Tresóna Multimedia, LLC. Tresóna License Number 325851 with an expiration date of 04/10/21.

Horn in F 2 Russian Christmas Music

A Tribute to the Crossmen Alumni
Alfred Reed
arr. Andrew Markworth
q=120
1 2
A 7 B 2 12 13 14 15
b4 œ w œ™ œ˙ œ w
&b 4 ∑ ∑ Œ ˙
mp

16 17 18 C 20 21
b > 22
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23 24
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D
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mf

33
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49 50 51 52 53 54 55
b> > >œ
&b w w w w w w Œ Ó
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This arrangement is authorized for the exclusive use of Crossmen Productions, Inc. - Crossmen Drum & Bugle Corps licensed by
ALFRED MUSIC PUBLISHING COMPANY through Tresóna Multimedia, LLC. Tresóna License Number 325851 with an expiration date of 04/10/21.
 This arrangement is authorized for the exclusive use of Crossmen Productions, Inc. - Crossmen Drum & Bugle Corps licensed by
ALFRED MUSIC PUBLISHING COMPANY through Tresóna Multimedia, LLC. Tresóna License Number 325851 with an expiration date of 04/10/21.

Baritone 1 Russian Christmas Music

A Tribute to the Crossmen Alumni
Alfred Reed
arr. Andrew Markworth
q=120
1 2
A 4 5 6 7 8 9
? bb 4 ∑ ∑ ˙™ œ™ œ w ˙™ Œ ˙™ œ™ œ -œJ ‰ ˙ œ w ˙™ Œ
b4
mp mf p mp mf p

B 11 œ ˙™ 12 œ ˙™ 13 œ ˙™ 14 œ ˙™ 15 œ ˙ 16
œ œ œ œ17 ˙ œ ˙ 18 œ
? bb ˙™ œ™ œ -œJ ‰ ˙
b
mp mf mp

20
C> >œ >œ >œ >œ >˙ > 21
w > 22
w œ
23
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>œ >˙
25
>˙ >
26 27
>œ >œ
w œ
? bb ˙ Œ Œ
b
ff

29 30
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˙
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b
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37 38 39 40
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w
45
> 46
w
?b w w
bb Œ ‰JJ‰Œ
ff mf f

48 49 50 51 52 53 54 55
F >˙ >˙ >˙ >˙ >
w w >
w w w w >œ
? bb Œ Ó
b
ff fff

This arrangement is authorized for the exclusive use of Crossmen Productions, Inc. - Crossmen Drum & Bugle Corps licensed by
ALFRED MUSIC PUBLISHING COMPANY through Tresóna Multimedia, LLC. Tresóna License Number 325851 with an expiration date of 04/10/21.
 This arrangement is authorized for the exclusive use of Crossmen Productions, Inc. - Crossmen Drum & Bugle Corps licensed by
ALFRED MUSIC PUBLISHING COMPANY through Tresóna Multimedia, LLC. Tresóna License Number 325851 with an expiration date of 04/10/21.

Baritone 2 Russian Christmas Music

A Tribute to the Crossmen Alumni
Alfred Reed
arr. Andrew Markworth
q=120
1 2
A 4 5 6 7 8 9
? bb 4 ∑ ∑ ˙™ œ™ œ w ˙™ Œ ˙™ œ™ œ -œJ ‰ ˙ œ w ˙™ Œ
b4
mp mf p mp mf p

B 11 12 13 14 15 16 17 18
? bb ˙™ œ™ œ -œJ ‰ ˙ nœ ˙™ œ ˙™ nœ ˙™ œ ˙™ nœ ˙ œ œ œ nœ ˙ œ ˙ nœ
b
mp mf mp

20
C
>œ >œ >œ >œ >˙ > 21 > 22 23
>œ >œ >˙ ™ 24 25
>˙ 26 27

? bb >˙
w w œ
Œ
>œ >˙ >
w œ Œ >œ >œ
b
ff

29 30
D
>œ >œ >œ >œ >˙ >˙ >œ >œ >œ ™ œ31 ˙ 32
œ œ œ œ bœ œ w
33 34 35

? bb >˙ J ˙ w
b
mf f

37 38 39 40
E q=168
> >
nw > > 41
n>œ >˙ >œ w >˙ ™ 42 >œ w
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45
> 46
w
?b w
bb
w Œ ˙™ ‰JJ‰Œ
ff mf f

F >˙ >˙ >˙ 48

>˙ > 49 50
> 51 52 53 54
>œ 55

? bb w w w w w w
b Œ Ó
ff fff

This arrangement is authorized for the exclusive use of Crossmen Productions, Inc. - Crossmen Drum & Bugle Corps licensed by
ALFRED MUSIC PUBLISHING COMPANY through Tresóna Multimedia, LLC. Tresóna License Number 325851 with an expiration date of 04/10/21.
 This arrangement is authorized for the exclusive use of Crossmen Productions, Inc. - Crossmen Drum & Bugle Corps licensed by
ALFRED MUSIC PUBLISHING COMPANY through Tresóna Multimedia, LLC. Tresóna License Number 325851 with an expiration date of 04/10/21.

Baritone 3 Russian Christmas Music

A Tribute to the Crossmen Alumni
Alfred Reed
arr. Andrew Markworth
q=120
1 2
A 4 5 6 7 8 9
? bb 4 ∑ ∑ ˙™ œ™ œ w ˙™ Œ ˙™ œ™ œ -œJ ‰ ˙ œ w ˙™ Œ
b4
mp mf p mp mf p

B 11 12 13 14 15 16 17 18
? bb ˙™ œ™ œ -œJ ‰ ˙ œ ˙™ bœ ˙™ œ ˙™ bœ ˙™ œ ˙ bœ œ œ œ ˙ bœ ˙ œ
b
mp mf mp

C
? bb >˙ >œ >œ >œ >œ20 >˙ > 21 > 22 -œ -œ -œ -œ 23-œ -œ >œ >œ >˙ ™ 24
>œ >˙ 25
>˙ > 26 27
w w w œ Œ >œ >œ
b
3 3
ff

D
? bb >˙ >œ >œ >œ > 29 >˙ >˙ 30
>œ > > œ31 ˙ ˙
32
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33 34
w
35

b œ œ œ™ J
mf f

E q=168
?b w > 37 > 38
w >39 >œ >˙40 >œ w
> 41 >˙ ™ 42 >œ w
> 43 >œ >œ >œ44 >œ > 45
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w
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ff mf f

F >˙ 48
>˙ 49 50 51 52 53 54 55

? bb >˙ >˙ >

w w >
w w w w >œ
Œ Ó
b
ff fff

This arrangement is authorized for the exclusive use of Crossmen Productions, Inc. - Crossmen Drum & Bugle Corps licensed by
ALFRED MUSIC PUBLISHING COMPANY through Tresóna Multimedia, LLC. Tresóna License Number 325851 with an expiration date of 04/10/21.
 This arrangement is authorized for the exclusive use of Crossmen Productions, Inc. - Crossmen Drum & Bugle Corps licensed by
ALFRED MUSIC PUBLISHING COMPANY through Tresóna Multimedia, LLC. Tresóna License Number 325851 with an expiration date of 04/10/21.

Tuba Russian Christmas Music

A Tribute to the Crossmen Alumni
Alfred Reed
arr. Andrew Markworth
q=120
1 2
A 4 5 6 7 8 9
? bb 4
b4 w w w w w w w w w
mp

B 11 12 13 14 15 16 17 18
? bb
bw w w œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

C 20 21 22 23 24 25

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b˙ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ ˙™ œ œ
ff
œ ˙

26 27 D 29 30 31 32
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3 --- > > > > > > > > > --------
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mf

33 34 35
E q=168 37 38
?b > 39 40
> 41
> 42
>
bb œ œ œ ˙ j
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43 44 45 46 F> 48
> > > > > >
? bb w ˙ ˙ ˙ ˙
b ˙™ œ w ˙ ˙ ˙ ˙ ˙ ˙
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> 49 50
> 51 52 53 54 > 55
? bb w w w w w w œ Œ Ó
bw w w w w w œ
fff

This arrangement is authorized for the exclusive use of Crossmen Productions, Inc. - Crossmen Drum & Bugle Corps licensed by
ALFRED MUSIC PUBLISHING COMPANY through Tresóna Multimedia, LLC. Tresóna License Number 325851 with an expiration date of 04/10/21.
 2020
Crossmen
Visual
Packet

Technique & Audition Packet

 Table of Contents
Page:

3- Audition Expectations
4- Posture and Body Alignment
5- Horn Carriage (Parade Rest)
6- Horn Carriage (Carry Position)
7- Horn Carriage (Playing Position)
8- Dance Positions
9- Pliés
10- Forwards Point Exercise
11- Forwards Point Exercise Cont.
12- Forwards Point Exercise Count Structure
13- Backwards Point Exercise
14- Backwards Point Exercise Count Structure
15- Forwards 50/50
16- Forwards 50/50 Count Structure
17- Backwards 50/50
18- Backwards 50/50 Count Structure
19- Heel Arch Ball Toe HABT
20- HABT Continued
21- HABT Count Structure
22- Backwards Breakdown
23- Step Outs
 3

Audition Expectations
Welcome, and thank you for choosing to audition for the 2020 edition of The
Crossmen! Below you will find a set of criteria that will serve as the basis of your visual
evaluation. During your audition experience, you will be evaluated in both a private/
small group setting, as well as throughout the duration of camp in the full ensemble
rehearsals. We believe, by evaluating individuals throughout the individual audition as
well as the entirety of the weekend, that we can provide the best overall feedback, and
give you the best opportunity to showcase different positive skill sets. Below are our
areas of evaluation:

Visual Execution/Preparation
You will be evaluated individually on the marching and playing excerpt that is
included in the brass packet (a video example will be posted on your audition Facebook
page). Along with the individual portion of the audition, you will be evaluated on your
understanding of the information in this packet, specifically posture (Page 4), dance
positions and pliés (Pages 8-9), point exercise (both forwards and backwards - Pages
10-14), 50/50 (Both forwards and backwards - Pages 15-18).

Physical Fitness
The drum corps activity is an increasingly intense physical activity. The amount of
demand placed on performers is at an all time high, and in turn requires a high level of physical
fitness. Being able to physically achieve all the material asked of a performer is an important
aspect of the activity, and will be a large part of your evaluation.

Attitude
Just as important as any other aspect of our criteria is Attitude. We are looking for
talented, humble, aggressive, hardworking members that are engaged and receptive to new
information! A desire to be great is a must for our members, not just pure talent.

Coachability
A unique and specific aspect of overall attitude, Coachability is a must for every
member of the ensemble. The ability to receive information and criticism with positivity
and humility is a necessity in the drum corps activity. Your improvement throughout the
weekend, and between camp weekends will be heavily weighed in your overall
evaluation.
 4

Posture and Body Alignment

All visual responsibilities begin with having great posture and body alignment.
Posture allows all members to stand alike, and therefore move alike. Great posture
starts with having a strong presence and extension through the spine. It is imperative for
these 5 body points to be in alignment:
1. Ears
2. Shoulders
3. Hips
4. Knees
5. Ankles

In the first photograph all points are aligned, the stomach is tucked in and the tailbone is
slightly rotated underneath to give great alignment, as well as great strength in the
center of the body.

In the second photo, the hips are in front of the desired plane of the body, and therefore
leads to a lazy center, and bad alignment.

In the third photo, the hips are behind, and the shoulders and ears in front of the desired
alignment.

In the last photo, the middle of the spine is severely curved, leading to a lack of
engagement in the center, and the head being behind the vertical plane.
 5

Horn Carriage
Parade Rest
Parade rest is the primary “rest” position, as well as the go to position during
rehearsals, and while receiving information. Below are the key details of the parade
rest position:

-Start with good posture (5 points aligned)

-Feet in first position (45 Degree angle)

-Arms relaxed and extended

-Instrument in the right hand with all fingers together

-Left hand over right with fingers together

-Leadpipe perpendicular to the ground (Red line)

-Bell parallel to the ground

 6

Horn Carriage Cont.

Carry Position

Carry position is the primary “horns down” position.

Below are details of this position:

-Start with great posture

-Leadpipe centered on the body (vertical red line)

-Both arms extended and symmetrical

-No break in the wrists

-Fingers together

-Right pointer finger on 1st valve

-Mouthpiece at eye level (Light Blue Line)

-Bottom of the valve caps should be a “Fist and Thumb’s”

distance away from the sternum.
 7

Horn Carriage Cont.

Playing Position
Playing position is our standard “horns up” position. Below are details of this position:

-Start with great posture

-Both arms straight

-Elbows open

-Straight lines in the arms from fingers to elbows

-No break in the wrists

-Left ring finger in the ring

-Left pinky below the 3rd valve slide (all others above)

-Horn angle 10 degrees above parallel (light blue line is

10 degrees. Red line is parallel)

 8

Dance Positions
As an evolving artistic activity, it is becoming increasingly important for the
members of the hornline, and drumline to have a strong understanding of dance basics.
The basis of dance basics start with the 5 positions shown below:

-First Position
-Heels together
-Toes apart

-Second position
-Feet turned out
-Inside of the heels should be shoulder
distance apart (red lines)

-Third Position
-Feet turned out
-Front heel fits inside the arch of the back foot

-Fourth Position
-Feet turned out
-Front foot moves straight forward from
third position

-Fifth Position
-Feet Turned out
-Front heel connects to the toes of the back
foot
 9

Pliés
Along with learning dance positions, learning the proper technique to do pliés not
only gives our performers a better understanding of dance terms and information, but
also transfers positive qualities into body control, body alignment, isolations, and overall
strength. Here are the key details of a proper plié in our program.

-In Both first and Second Plié, the following are true:

-Hips Knees and Feet are turned out

-Knees are over the toes (Light Blue in the top photo)

-Ears, Hips, and Ankles remain in vertical alignment

- Knees are in front of the vertical alignment plane

-Left Hand tucks the tailbone to stay in alignment (Green)

-Right Hand pulls the stomach up and in

(Green)

-When going into the plié the hips push

down, and the upper body lifts up to
maintain extension in the upper body (Light
Blue)

Basic Plié Exercise

-Start standing with both legs extended
-Down for 4, Hold for 4
-Up for 4, Hold for 4
-Repeat

Plié videos:
https://www.youtube.com/watch?v=EpK1yXFQKXk
https://www.youtube.com/watch?v=zByRODwNgLI
 10

Forwards Point Exercise

Point exercise is our most fundamental marching technique exercise. A modified
tendu exercise, this will serve as our basis for posture, leg extension, and leg isolation.
Below you will find an explanation of the positions of point exercise, followed by the
count structure:

-Starting position for this exercise is Parallel 1st position (heels

and toes together)

-Initial Point
-All 5 points aligned on the standing leg (red line)
-Front pointed foot is completely extended and in front of the
vertical plane
-Toes remain close to the ground
-Hip and ankle move together to
create the front foot point
-Hip and ankle are the only joints to
move: No knee bend

-Raised point
-Extended leg and pointed food are
raised
-Body remains aligned on top of the
standing leg
-Hip joint isolation

-Raised flex
-Body aligned on standing leg
-Extended leg remains still
-Ankle joint isolation
-Heel stretches towards the ground
-Toes stretch up towards the sky
 11

Forwards Point Exercise Cont.

Singles
-The last part of point exercise is what
we call the singles.
-Singles are where we move from the
picture on the left, to the picture on the
right
-The hip and ankle rotate back and forth
in a smooth, continuous, pendulum like
motion.
-Motion never stops
-8 on the left, and then 8 on the right

Key Application Points for this exercise

-All motions, regardless of time, are smooth and even

-Visual motions match up with musical Breaths

-All quarter note rests should be a full count breath musically, and a full count initiation
visually
 12

Point Exercise Count Structure

-Top line Instructions = Vocal Responsibilities

-Bottom line Instructions = Visual Responsibilities

Forwards Point Exercise Video

https://www.youtube.com/watch?v=iPthNRMcSWw
 13

Backwards Point Exercise

The Backwards version of Point Exercise follows the exact same count/vocal
structure, and almost all of the information can be directly applied from the Forwards
version. The few details that are different will be notated below.

-Initial Point
-All 5 points aligned on the standing leg (red line)
-***Back foot is relaxed, not fully pointed
-Back leg is completely extended and behind the
plane of the standing leg
-Toes remain close to the ground
-***Hip ONLY moves to create the leg shape
-No knee bend

-Raised point
-Body remains aligned on the
standing leg
-Back Hip isolation
-Back leg moves up to full
extension
-Extension and Body
Alignment are the key
-Quality over Height

-Raised Full Point

-Body remains aligned on the
standing leg
-Ankle Isolation
-Back Leg stays in spot as ankle
rotates

-Singles are exactly the same as the forwards point exercise,

EXCEPT that the ankle does not rotate to a full point on the
backwards version.
 14

Count Structure Backwards

-Top line Instructions = Vocal Responsibilities

-Bottom line Instructions = Visual Responsibilities

Backwards Point Exercise Video

https://www.youtube.com/watch?v=BYy16i9DA5I
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Forwards 50/50
50/50 Exercise is the next progression of our marching technique. The forwards
version of this exercise contains 3 separate steps. Information for each step will be
detailed below:

-1 Step
-Exactly the same as the first position of forwards point
exercise

-Body is aligned on the standing leg

-Weight is 100% on the standing leg

-Front leg is completely extended and foot pointed

-2 Step
-Weight transfers evenly
between feet (50/50)

-Heels are low and even

-Both legs are completely extended

-Hips, Shoulders and Ears are still in vertical alignment

-Splitting both ankles

-3 Step
-All details from the 2 step are exactly the same EXCEPT
the front foot is flexed, and the heel is on the ground

-In the 3 step, the front foot should be as far back on the
front
heel as possible

-Weight 50/50
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Forwards 50/50 Count Structure

-Top line Instructions = Vocal Responsibilities

-Bottom line Instructions = Visual Responsibilities

Forwards 50/50 Video

https://www.youtube.com/watch?v=Y1rbKF_ipJU
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Backwards 50/50
-The Backwards version of this exercise has only 2 steps. Details below:

-1 Step

-The first step in this breakdown is exactly the same

as the first point in backwards point exercise

- All weight on the standing leg

- Body aligned on the standing leg

- Back hip isolation

-2 Step

-The 2 step backwards looks exactly like the 2 step

forwards

-Heels low and even

-Hips, shoulders, and ears in alignment

-Alignment is 50/50 (Centered between the feet)

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Backwards 50/50 Count Structure

-Top line Instructions = Vocal Responsibilities

-Bottom line Instructions = Visual Responsibilities

Backwards 50/50 Video

https://www.youtube.com/watch?v=WjzQfaWGcww
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Heel Arch Ball Toe HABT

The final piece of the forwards technique breakdown is HABT. This exercise
takes us beyond the shape of the downbeats, and works both the weight transfer/roll
through, and the shape of the legs in the cross count.

-Initial Step
-The first step of this exercise is the same as a
3 step in 50/50

-Weight centered 50/50

-Heel Arch
- The first 2 counts move
through the roll through of the
front foot

-On the Arch vocal, weight is transferred 75% to 25% with 75

being on the front foot

-Body should be 3/4 of the way over the front foot

-Ball Toe
-After Heel Arch, comes the
continuation of roll through in the front foot through the ball of
the foot, and the toes

-All weight should be 100% on the front standing leg

-Back leg remains completely extended

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HABT Cont.
Cross Count Leg Shape
-Body Aligned vertically on the standing leg

-Crossing leg details:

-Toes together (Green Line)

-Foot Parallel to the ground

-Knee bent slightly to allow for pass through

-Edge of the knee over the ball of the foot (Vertical Green
Line

-From the performer view, the knee should be slightly bent,

but the toes of the crossing leg should still be visible
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HABT Count Structure

HABT Video
https://www.youtube.com/watch?v=n1kHaWFxEIQ
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Backwards Breakdown
This backwards exercise is the last part of the backwards technique breakdown.
The exercise moves from step to step, stopping in each downbeat for evaluation of leg
shape and body center (50/50).

Count Structure

Backwards Breakdown Video

https://www.youtube.com/watch?v=9itlCUULQu8
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Step Outs
Step outs are used in a number of situations on a daily basis. Step outs are used
during brass technique, as well as used to simulate direction changes, and page
changes in the drill. As this is a skill that is used on an extremely consistent basis, the
quality of step outs is a high priority visually.

All individual downbeats in the step outs are steps found in the 50/50 exercise.

-First and second step of the forwards

stepout.

-Count 3 of the step out is the same

shape as count 2

-The back foot slightly rotates to re-

articulate count 3

-Count 4 is the same leg shape as count

3 (Feet switched)

First step Backwards -2nd step Backwards -3rd step -4th step

Step out Video

https://www.youtube.com/watch?v=oXmZJlaqcqU