BHS BAND WARM-UP PACKET — LOW BRASS

Fingering Chart, 1
Intonation Tendencies 2
Long-tones 4
Circle of Fifths 5
Articulation 6
Flexibility/Technique 8
Scales 13
Chorales 18
“Need to Know” 24
Theory 25
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F Flat
Trombone (Notes not addressed are
S = Sharp generally acceptable)
V= Very

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Pitch
Tendency S S S F

Adjustment Use trigger Use trigger and lower 1st Lower 1st position Use 4th positIon
and lower position. (May still be very sharp
2nd pOsition if trigger is not properly tuned.)

VS VF VF S

Lower 1st position Raise 3rd position Raise 2nd position Lower 1st position

Pitch Tendencies & Adjustm

00
Tuba

E
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Pitch
Tendency VVS VS S VVS VS S

Adjustment Use 2nd Us ye Use 3rd valve Use 2nd & 4th Use 4th valve Use 3rd valve
& 4th valve orpull lstvalve Dropjaw orpuil lstslicle
Dropja slide

9: -

S F F S VS F

Use 3rd valve Use 1st & 3rd Use 1st and 2nd Pull 1st slide se 3rd valve Play open
or pull 1st slide or 4th valve

page 22
 Pitch Tendencies & Adjustments
F = Flat
Euphonium
(Notes not addressed are
S Sharp generally acceptable>
V= Very

Pitch
Tendency VVS VS S VVS
Adjustment Use 2nd Use 4th valve Use 3rd valve Use 2nd & 4th valve
and 4th valve or pull 1st slide Drop jaw
Drop jaw

vs S S F
Use 4th valve Use 3rd valve Use 3rd valve Use 1st & 3rd valve
or pull 1st slide or pull 1st slide pull 1st valve slide
or use 4th valve

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F S VS VS S
Use 1st & 2nd pull 1st valve Use 4th valve Use 3rd valve Use 1st valve
or 3rd valve slide or 1st & 3rd or pull 1st slide
valve and pull
1st slide

page 21
 ulirnocess
Brasses

cLl’rebleClefEuhnium± Play 2nd line 0 three or four times. Then play up to 3rd space
C,
diatonically from 0. Both the 0 and C should register 4 to 6 cents sharp. Try
to zero in on 0 as this will
take the edge off the slightly raised C.

French Tuning the double horn can be averycomplicated task. The following is a systematic approach
to both the Rb side and the F side of the instrument. First tune the Bb side. Check the C(concert F) and
adjust
the main tuning slide. (This is usually the first slide on the mouthpipe tubing.) Now release the
Rb thumb
lever and check the same C on the F side and adjust the other tuning slide. (Note:
Do not readjust the main
tuning slide as it affects both the Bb and F horn.) Make sure that
you maintain a consistent hand position
throughout these checks. It is important to note that if the player is having difficulty
tuning (especially the
Rb horn) and is extremely sharp, the problem may be a tight throat. After tuning
the open tones on both the
Bb and F sides, the next step is to tune each valve independently.
Again, start with the Bb horn. Tune the
first valve to Eb and Bb, the second valve to F and B natural, the 1st and 2nd valve
combination to A and
then the third valve to A. When you arc satisfied with the pitch on
the Bb side, repeat the process on the F
side using F and Bb for the first valve, F# and B natural for the second,
A for the 1st and 2nd combination
and A again for the third valve alone. Play a series of scales and arpeggios,
using both the Rb and F sides,
to insure consistency.

Trombone: Play 4th line F three or four times. This note should 4
be to 6 cents sharp. Then play Bb above
the staff several times and tune to zero tolerance. Try to zero in
on F as this will take the edge off the slightly
raised Bb. Play lip slurs from 2nd linC Bb to 4th line F several
times to insure proper tuning of the F. Do
the same from 4th line F up to Bb, If the trnmbone has a trigger,
Tune the 4th line F. Try to match the pitch
of the trigger with the open, first position F. Then tune low C.
(Note: If the trombone has an open wrap design
the pitch and quality will be quite good. If not, most trigger
notes will tend to be sharp and stuffy.)

Euphonium: First tune 4th line F. Then tune Bb above the staff.
The F should be sharp hut try to tune both
notes as close to zero tolerance as possible. Play lip slurs
as on trombone to check the consistency of both
pitches. (Note: On inadequate instruments, low Bb is very flat.
Try and avoid these horns.) Tune the fourth
valve to 2nd space C. If the tuning of C is adequate, then the combination
of second and fourth valves (B
natural) should be close, but still a bit sharp.

Tuba: First play F below the staff three or four dmes. This note
should be well centered. Then check 2nd
line Bb. This note should be near perfect. Play from F down
to low Bb, three or four rimes, diatonically.
Low Bb should register at zero tolerance. Play a series of lip slurs
from F up to Rb and Bb down to Fto check
the consistency on both notes. (Note: Beware of tuning young players
on low Bb as this is not the easiest
pitch to center.) Tune the fourth valve to F below the staff and low
C. Then check the 2nd and 4th valves to
see if this combination is close to the desired pitch on F natural.
(Note: This pitch will be sharp but close
enough to allow centering.)

page 6
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 Appendix

C G

4’
(a minor) (e minor)
F
D
(d minor)
B
(b minor)

(g minor)
A
E1 Circle
if sharp minor)
(c minor)
Fifths
E

if minor) D6
G 4
(a flat
(c sharp minor)

(b flat minor)
B
(e flat minor)

F (gsharp minor)

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 Trombone
Articulation atd)
29 Legato (“doo”) Staccato (“dit) Accents (‘dah) A

33 Legato/Staccato etc. Eight and 2 Sixteenths

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36 2 Sixteenths and an eighth

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37 Triplets
Sixteenth Eighth Sixteenth

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39 Triplets I & 3 Dotted Eighth Sixteenth

r3 - r 3 i 3
r i r 3 i

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41 Double Tonguing (taka or da-ga’)

9: J- JN j

Triple Tonguing (ta-ka-ta or ‘da-ga-da OR ta-ta-ka or da-da-ga’)

45
3
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48 [Ada note (etc. up & down scal)

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 ___r
JpHdUUTI cxercses iirom rioum< Lauver (UUI), me (iornplete
Saxophonist. Glenmoore, PA: Northeastern Music Publishers)
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Chromatic Exercises

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 BAND INFO — “NEED TO KNOW”

Strategies for SMART practice:

1. Play rhythms on one pitch first if difficult
2. Look for patterns
3. Play in a comfortable range first (down an octave?)
4. Isolate one challenge at a time
5. Work slow to fast (use a metronome)
6. Build from the middle

Logical Steps to Effective Intonation

1. Listen for “beats”
2. Make an adjustment; if beats get faster, try the opposite until the beats slow and
eventually disappear.
3. If you have to pinch to make the beats stop, make your instrument shorter
4. If you have to relax to make the beats stop, make your instrument longer
5. When you hear no beats while playing with your normal embouchure you are in tun&

Ways and Steps to Listening

1. If you hear yourself sticking out of the band’s sound you may be playing too loud. This is
BALANCE. See below for info on the Pyramid of Sound.
2. If you adjust your volume and still stick out of the band’s sound, adjust your posture,
embouchure, and breath support to make your tone mesh better. This is BLEND. Think
of putting your sound “inside” other voices...e.g. Alto’s try to fit “inside” the horn sound;
Trumpets try to fit “inside” the tuba sound.
3. If you adjust your volume and tone and still stick out of the band’s sound, you may be
out of tune. This is INTONATION (see above).
4. Always listen down to the lowest instrument, to the people on either side of you, and to
yourself.

The Pyramid of Sound (BALANCE)

1. Higher voices are more easily heard than low voices; therefore to create a more
balanced sound, adjust all dynamics levels as follows.
2. Low voices (tuba, low brass, tenor sax) should be strongest...play at or above the written
dynamic level
3. Middle voices (alto, horn) are the next highest priority...play at or slightly below the
written dynamic level
4. High voices (trumpets, flute, clarinet) should be least prominent...play one level below
the written dynamic level
 Scale and Chord Related Theory
,
which ascend or descend in a stepwise
manner within the range of an octave
is a series of single notes
A scale
be in alphabetical
stepwise manner, the note names will always
Because scales are arranged in a
have a specific whole step/half step
The notes within scales
c jiOshi
with each other. (lower the 3rd, 6th, and
jii C natural minor scale
7th scale degrees a half step).

H w W W W
l,eals w
C major scale (half steps are between scale degrees II /\rir /\r-rn-1
3 4 and 7 - 8). C DEF GABC
-

4 5 6 7 8
Scale Degtees 1 2 3

W W H 3rd and
Intervals: W W W
C harmonic minor scale (tower the
I II II II i/\ 6th scale degrees a halt step).
CDEFGA BC w H W w H W+H H

ii7\r—r--- /\r-i/\
Iflfrn’afr

Scale Degrees: I
6/1 7 8
2 3 4 ,/s
Leading Tone
CDPFGABC
Tonic Dominant Scale Drrecs 1
7 8
2 3 4 5 6

AuieMd & I3huirdsbed

(ascending lower the 3rd and descending lower
the 7th, 6th, ‘.jntervaIfroinC
C melodic minor scale
-

and 3rd scale degrees a half step).

. -,
-. - -

1 w H w ww H
w H w w w w W
rn-i’\ II
ri 7\r1r1r1’\ r-iri/\ It.
BAG F EDC
CDEFGABC
7 8 7 6 5 4 3 2 1
2 3 4 S 5
ScolcDryreesl
lshe4 5th

Intervals of the C major scale:

Perfect 5th Major 6th Major 7th Perfect Octave
Major 2nd Major 3rd Perfect 4th
A

0 0
I) 0

and inversions.
C major triad (three note chord) in root position
First inversion Second Tnversion
Root Position
A

From Bottom: From Bottom: From Bottom:

root-third-fifth third-fifth-root fifth-root-third

Basic chord types constructed from C:

Diminished
entiaI Vocabulary: Major Minor
lower thtrd lower third & fifth

Interval - the distance between two notes

Half Step - the closest interval between two notes

I’
Augmented
Whole Step an Interval of two half steps
- fourth replaces third

Third - the distance of two adjacent lines or two adjacent spaces

v
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Scale Degree a note’s classification according to
-
its position In the scale

scale takes its name

Tonic the first note of a scale, the ‘key-note” from which the
-

“dominant’ and normally resolve to the tonic

Dominant the fifth scale degree, chords built on this note are
-

tonic
tonic and its tendency is to ‘lead” or rise to the
Leading Tone the seventh scale degree, It Is one half step below
-

W32FL