WSMA 2021 Low Brass Etudes

I hope these videos will help you prepare for your audition. Just a few general thought before the specifics that I've included below for each:

--Practice with your metronome at slow tempo, I recommend half-speed until you are solid on the pulse and rhythm.

--Develop your "breathing plan" mark them in.

--Sing to develop/reinforce your stylistic ideas -- Play along with the videos to absorb phasing and style.


Trombone

--Strive for an open release with resonance when the phrase ends on a high note (IE the first two phrases) be sure not to close off or clip the last note

--Keep the air moving through the dotted 8th, 16ths in measure 4 so that the legato remains.

--Take advantage of the natural slurs by using 4th position D.

--Keep a nice open sound when you make the jump up to the high G (mm 8 and 51) Be sure that you play B-natural in the last note..... students often miss that!

--Strive for a playful legato sound and make the syncopated accents jump off the page.

--I prefer not to breathe with the between the tie and 16th notes, otherwise the 16th notes tend to be late. (mm 11 and 27)

--There is an opportunity for some contrast at in the phrase starting in measure 17, think about changing the character of the sound, I like to get a bit darker.

--Make sure that you're comfortable with the accents on the off-beats in the section starting at measure 45, make this an exciting ending to the excerpt!


Euphonium

--Strive for an open release with resonance when the phrase ends on a high note (IE the first two phrases) be sure not to close off or clip the last note.

--Stay relaxed on the valves, move with purpose but avoid tension.

--Keep the air moving through the dotted 8th, 16ths in measure 4 so that the legato remains.

--Keep a nice open sound when you make the jump up to the high G (mm 8 and 51) Be sure that you play B-natural in the last note..... students often miss that!

--What fingering for the high G works best on your instrument 1&2, 2, or 3? Check with a tuner, some combinations have a better tone than others.

--Strive for a playful legato sound and make the syncopated accents jump off the page.

--I prefer not to breathe with the between the tie and 16th notes, otherwise the 16th notes tend to be late. (mm 11 and 27)

--There is an opportunity for some contrast at in the phrase starting in measure 17, think about changing the character of the sound, I like to get a bit darker.

--Make sure that you're comfortable with the accents on the off-beats in the section starting at measure 45, make this an exciting ending to the excerpt!


Bass Trombone

--This excerpt is mostly in the technical category, really work with your metronome so that the pulse doesn't wander in the more challenging passages.

--Strive for a buoyant almost bouncy sound, I think of "Toe, toe, toe, toe" to help the articulation.

--Since it is mostly 8th note runs, look for opportunity to shape lines to show your musicality.

--Isolate the challenging measure, for me it was the leaps, I spent a good amount of time bouncing between two notes to become comfortable with the embouchure shift that is required.

--Hold the half notes, release with an open resonate sound and grab a quick breath without being late for the next 8th note run.


Tuba

--This is a great etude, take advantage of the opportunity to showcase the three different styles.

--Be bold in the first "bravura" section, give the accents both weight and energy.

--Show dynamic contrast and pay close attention to the grouping of the slurs in the softer passages, play the ink!

--Let the grave section really sing! Some nice vibrato will help warm the sound and add interest.

--Think of "In the hall of the mountain king" for the allegro section, tiptoe through this section. Figure out where you want the lines to go, give them shape.

--Have fun with this last section, let it dance!



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