Mercer University

Marching Band

High Brass Studies

 Introduction
First, let me say welcome to the Mercer University brass section and the Mercer
University Marching Band! We are very excited about the upcoming season and look forward to
putting together a once in a lifetime production. This method book contains many of the
exercises we will use as a section and as a band this season. It will cover things such as proper
breathing, long tones, flow studies, flexibility exercises, articulation gauntlets, multiple
tonguing, tuning sequences, and a song to be prepared before band camp. These exercises and
song(s) will be used as your part audition. This audition will take place on the second day of
camp so that you have time to rehearse and ask questions. Please be prepared to play one of
the flexibility exercises and chunks of the show music as part of the audition process along with
the enclosed Fight Song.

The Mercer University brass section will utilize the pedagogy used in Drum Corps
International (DCI). These concepts will be reinforced every rehearsal so that we can achieve a
uniformed sound. Brass players often fall under the impression that you have to be very
physical when playing at large dynamics. This is simply not the case and actually does more
harm than good. It is the hope of the brass staff that you will take these teachings to heart and
practice them daily.

Another thing to be preparing over the summer is your physical fitness. The Mercer
Marching Band is very DCI oriented. We perform very physical shows. This can be very
strenuous and demanding of your mind and body. Be running and conditioning over the
summer so that you are prepared once band camp arrives. Since we do not rehearse as often as
a high school band, we do not have the time to do group conditioning. All of our time must be
spent in ensemble rehearsal. Please do not take this lightly as it can result in personal injury
once we start learning drill.

The Mercer Marching Band is a family. This is something you will hear from everyone
involved with the program. You are now a part of this family, so do not be afraid to ask
questions if you do not understand something. If you need help, ask your band mates. We are
all here to make each other better. The staff is here to guide you to being a better performer,
but your band mates are here to make you a better person. So learn as much as you can about
your fellow band mates whether they are freshmen or seniors in their last season. Live every
rep like it is your last.

MAZI!
 How Much is TOO Much Air?
We play a wind instrument, more specifically a brasswind instrument. The more air we
can use while playing, the more vibrant and rich our tone becomes. This type of air usually
makes playing easier. So, when we play our instrument, we must take in a larger quantity of air
than we do in normal day to day living. This movement of air must remain as relaxed as possible
and have a free and fluid movement. When breathing, try to move as much air with as little
tension as possible. The word “woah” gives us a very open relaxed oral cavity. This should be
the feeling you have while inhaling. The word “toh” gives us the oral shape that we want during
an exhalation. These two words will be referred to many times this season, so please familiarize
yourself with them.

The following exercises are designed to increase lung capacity and teach you how to
monitor your air. During these exercises, use all of the air in your lungs. If you ever feel dizzy or
light-headed, take a knee and breathe normally.

1) Eights: Stand with your feet shoulder width apart. Let your arms hang down by your
side. Release all tension from your shoulders, neck, and arms. Inhale for 8 counts. While
inhaling, use your arms as a monitor. Raise them straight out to the sides as you inhale.
Your arms should be a direct reflection of how much air is in your lungs. For example, at
the halfway point (4), your arms should be even with your shoulders to show that you
are half full. This exercise will be repeated starting with 4, 2, and 1 beat(s) of inhalation,
respectively. This same process will apply to the exhalation.

2) Power Breathing: *This exercise WILL make you dizzy* The point of this exercise is to
force you to move air over extended periods of time at varying tempos. Place your
hands together in front of you. As you inhale for two counts, move your arms out like
the wings of a bird. Now, exhale for two counts while bringing your hands back
together. There should be no pause between the inhale and the exhale.

3) Expansion Study: take in as much air as you can comfortably hold in 8 counts. Hold this
air. Now for 15 seconds, sip in more air to really expand your lungs. This will be
uncomfortable, but that means you are doing the exercise properly. At the end of the 15
seconds, exhale slowly for 8 counts. Make sure you control the exhalation. Do NOT just
empty out all of the air at once.
 Long Tones
Long tones are the cornerstone of playing a brass instrument. The point of long tones is
to increase the blood flow to your embouchure and for you to begin listening to your tone and
tuning. Make sure that when you play these exercises you are using the same air that you used
in the breathing exercises. Many brass players have the tendency to use a different type of air
flow once they are on the horn.
 Flow Studies
Flow Studies give us the chance to focus on the direction of our air stream and getting a
smooth connection between the notes. In these exercises, pay close attention to your sound as
you extend in range. Keep the same vibrant, even tone that you start with. For example, let’s
say I want to go with a navy blue color for all the notes. This isn’t just blue. It is a very specific
shade of blue. Aim to make all of the notes this color.
 Flexibility Exercises
These exercises are aimed at developing and increasing the flexibility of your
embouchure. We will do these daily, so be sure they are all memorized. Slur each passage going
down the chromatic series and back up.
 Articulations
This exercise is used to explore the commonly used articulations. Pay very close
attention to each note so that each articulation matches the previous one in the sequence.
 Tuning
This tuning sequence will be used at the end of every warm up, so be sure you know it.
This will also be the portion of the warm up that opens up the dynamics to fortissimo and
beyond. Focus on remaining relaxed and using consistent air.
 Multiple Tonguing
Multiple tonguing is a vital part of any warmup routine. The idea behind double
tonguing is to allow the air to do the work for you. This is achieved by keeping the jaw relaxed
and blowing through the notes. Each articulation should be with a light and relaxed tongue. If
you feel your tongue becoming heavy or labored, that usually means that you are doing the
exercise incorrectly. Give each set of notes a direction. You should aim for the quarter note at
the end of each phrase. ALWAYS move your air to this note. This will give your music direction
and make the overall effect of double tonguing that much more “effective.”
Fight Song