1

1
Thank you for your interest in the Bluecoats Drum and Bugle Corps. This booklet includes our basic
technique program as well as audition material and audition suggestions. Please read everything in this
booklet carefully and prepare all of the required material to the best of your ability!

Audition camps for the Bluecoats are in four different locations during the months of November and
December. Please choose the location that works best for you to attend. Only those who complete the
audition process in person will be considered for membership in the 2013 Bluecoats Brass section.
Audition Camp Dates and Locations

Saturday and Sunday, November 17-18, - Austin, Texas
Saturday and Sunday, November 23-25, - Canton, Ohio
Sunday, December 2, - Mission Viejo, CA
Sunday, December 9, Atlanta, Georgia


Our goals for the audition process are two-fold. First, we wish to provide an educational experience.
We hope you can take back with you valuable lessons in music and visual performance. Secondly, it is
an evaluation. At the conclusion of camp, you will get feedback on your individual audition. We will
also observe your participation and performance level within group rehearsal. You will be evaluated
both musically and visually. The information you will receive at the end of the camp will fall into one
of three categories:

1. We will offer you a contract. This means if you fulfill the obligations spelled in the contract, you
will be a member of the 2013 Bluecoats brass section.

2. We will offer "call-back." This means we need to see and hear you again in January to make the
final decision. Most people who eventually get a position in the corps fall into this category. The final
decisions for the 2013 Bluecoats Brass section will be made in the January.

3. You will not be invited back to the next camp. Our hope is that you will apply lessons learned at
camp and come back stronger the next year. Once again, this process should also be an educational
experience for everyone involved. It is not a wasted trip if you do not get a contract.

The best way to find additional information about registration for an audition camp is by visiting our
website at: www.bluecoats.com. The website also contains other information regarding the Bluecoats
Drum and Bugle Corps. Please visit the website before attending your first camp.

Auditions can be stressful. Do not let your nerves stop you from auditioning. The brass staff of the
Bluecoats is eager to help you develop as a musician. If you have any questions regarding brass
auditions, please contact Derek Gipson at gipsonderek@ymail.com

We look forward to seeing you at one of the audition camps!
The Bluecoats Brass Staff

Dave MacKinnon (Bluecoats Brass Supervisor) dmackinnon@bluecoats.com
Derek Gipson (Bluecoats Brass Caption Head) gipsonderek@ymail.com







2
2
Music Audition Information


The audition process contains two sections, a visual and musical section. This page will highlight the
musical portion of the audition process. Listed below are the titles of the etudes that you will be
required to perform at the audition. Each etude or excerpt is taken from material that is highly regarded
among music educators and professional musicians.


Trumpet Audition Excerpts


1. The trumpet lyrical excerpt is: Orchestra excerpt from Pines of Rome by Ottorino Respighi

2. The technical excerpt is DE LARTICULATION (No.1) from Charlier 36 Etudes for Trumpet
(measures 1 to 17)


Mellophone Audition Excerpts


1.The mellophone lyrical excerpt is: Preparatory Melodies to Solo Work for French Horn No. 26
by Schantl (measures 1 to 14)


2. The technical etude is: Selected Studies for French Horn No. 34 by C. Kopprasch
(measures 1 to 12)


You will find copies of both the trumpet and mellophone audition music on the final few pages of
this booklet. Please use a metronome when you rehearse the material. Use the tempo marked
above each piece as a guideline only. Its better to hear the music at slower tempo if this allows
for a higher degree of clarity and accuracy.


You should also prepare exercises 1 through 9 in this booklet as you may be asked to play these as
part of your audition.

If you have any questions concerning these audition pieces please contact one of the Bluecoats Brass
staff listed here:

Derek Gipson (Brass Caption Head) gipsonderek@ymail.com
Ryan Spencer (Trumpet technician) spency7321@gmail.com
Chris Allen (Mellophone technician) clahorn@gmail.com
Austin Clements (Mellophone technician) waustin.clements@gmail.com








3
3
Audition Suggestions




Preparation:

! The success of your performance at the audition will be directly related to the level of
preparation of the audition materials.
! If possible, meet with a private lesson teacher on a regular basis prior to the audition.
! Record yourself with some type of electronic device. Listen critically to the recording
and work to perfect your performance.
! There is no need to memorize your music at this time.
! Get lots of rest before coming to the audition, as things will be very busy.


Audition:

! Keep in mind that you are auditioning at all times. We want to see your work ethic in
the arc as well as how you sound individually.
! You will have time to warm-up outside of the audition room prior to your audition.
! Before entering the room, please make sure your horn is working properly, oil your
valves, and complete any paperwork prior to entering the room.
! Remember to aim your bell away from the person listening to you.
! Be sure to ask questions if you are confused about anything you are being asked to play.
! Take a slow deep breath before you play, and good luck!



Tips for Performance Anxiety/Nerves:

! Do not fight your nerves, they are a natural part of the performance process, and
fighting it might make it worse.
! Take several slow, deep breaths to calm yourself.
! It is good to perform for friends and family prior to coming to camp as this will help
you perform under pressure.
! Visualizing yourself in the audition room may also help calm your mind.
! When nerves are present, mistakes may happen, however, professional musicians do not
react to their mistakes. Do not stop or dwell on your mistakes, and NEVER apologize
for your performance.












4
4
Equipment

Instrumentation:


The Bluecoats 2013 brass section will consist of 80 members in: 24 B-flat Trumpets, 16 Mellophones
in the key of F, 8 B-flat Baritones, 16 B-flat Euphoniums, and 16 BB-flat Tubas. All of these spots are
available each year. NO ONE, regardless of experience, is guaranteed a spot. Returning members must
demonstrate a continued growth and development in order to be considered for membership.

Trumpets: Please bring your trumpet and mouthpiece to the audition camp.


Horn/Mellophone: Please bring your F Mellophone to camp if you are able. If you would like to
perform your etude on your concert horn, you will need to bring it with you to camp. You will be
asked to perform on a mellophone at some point during the audition process. Please be responsible for
bringing your own mouthpiece to camp.

Baritones/Euphoniums: Please bring your own marching Baritone/Euphonium if you are able. If you
wish to audition on your concert instrument, Baritone, Trombone, or Euphonium, then you will want to
bring it with you to the camp. You will be asked to perform on a marching instrument during the
audition process. The Bluecoats Brass Staff reserves the right to determine who will play Baritone or
Euphonium. Please bring a large shank mouthpiece with you to your audition camp.

Tubas: We understand the challenge of transporting a tuba to camp, however, the corps only owns 16
marching tubas and all of these instruments may not be available at each audition site. There are rarely
enough instruments available for each musician at the camp. If you are able to bring your tuba, please
do. You may bring your concert horn if you do not have access to a convertible tuba. Please bring your
own mouthpiece with you to the audition camp. No Sousaphones, please!








5
5
Equipment Continued



Yamaha: The Bluecoats perform exclusively on Yamaha Brass Instruments. This season we will use
the Yamaha Xeno Series Trumpet (YTR-8335GS), Yamaha F Mellophone (YMP-204MS), Yamaha
Marching Baritone (YBH-301MS), Yamaha Marching Euphonium (YEP-202MS), and the Yamaha
Double B-flat 4/4 Marching Tuba (YBB-202MSWC). All of these instruments are provided by the
Bluecoats to MEMBERS ONLY and are available for purchase following each season. If you wish to
purchase a certified used instrument from the Bluecoats, please visit the corps website at
www.bluecoats.com. You can find additional information about these and other Yamaha Brass and
Woodwind Instruments at www.yamaha.com.







Mouthpieces: The Bluecoats use exclusively Karl Hammond Custom Design Mouthpieces each
season. This allows for a more uniformed sound from player to player and section to section. You are
NOT required to purchase this mouthpiece prior to the audition. If you would like additional
information about Karl Hammond Mouthpieces, please visit www.karlhammonddesign.com.


Camp Checklist:

In addition to clothing, toiletries, and sleeping equipment, please bring the following items:

! All audition forms
! Registration fee
! Audition booklet and Supplemental Material
! A copy of your required etude
! Your instrument and mouthpiece
! A wire music stand if possible
! A Black three-ring binder with plastic sheet protectors.
! A pencil
! Any additional items you may need to ensure a successful audition.






6
6

Physical/Visual Responsibilities


Posture:

Posture is one of the most important elements of both Marching and Playing. It is important
to keep your body weight evenly distributed between both feet. The back should be straight,
and the shoulders should be relaxed. The body should never feel tense as tension has a
negative affect on your musical ability. The posture guides used by the Bluecoats include:
Feet should be in a V shape with the heels touching and the toes at 11 and 1 Oclock; the
ankles, hips, shoulders and ears should all be in alignment with one another.



Marking Time:

When practicing your exercises, it is important to use an audible
Metronome and you should also mark time. We will teach you our mark time style at the
camp, so just use the style you know best until then. Practice several tempos from 60-200
beats per minute while working to minimize any swaying or bouncing in your mark time.



Health/Fitness:

Just a quick word about health and fitness: Spending a summer on the road with the
Bluecoats can be physically challenging. In order to keep our members safe, it is imperative
that all members are physically fit. It is recommended that you begin some sort of
cardiovascular regime to ensure that you are capable of performing at a high level
physically.






7
7

Musical Concepts



Breathing:

Breathing is one of the most important aspects of successful wind playing. It is the Bluecoats
philosophy to approach breathing as a natural process. During the breathing process, one
should remain calm and relaxed while keeping the upper body fully erect. All movement in the
upper body should be involuntary and minimal. The muscles in the face and neck should stay
relaxed and soft and should remain in a natural position during both inhalation and exhalation.
Remember to keep the tongue down in the mouth in its normal rested position.

When breathing one should inhale and exhale evenly while keeping the air steady and constant
with no extraneous noise in the airflow. There should never be a feeling of tension or
discomfort when breathing.

The Bluecoats Brass Staff fully supports the breathing processes created/demonstrated on The
Breathing Gym DVD by Patrick Sheridan and Sam Pilafian. This material may be found on
the web.


Buzzing:

Buzzing on the mouthpiece is considered a tool to develop good tone quality. We feel that
when done correctly, all students may benefit from mouthpiece buzzing. Use the following tips
to assist in proper mouthpiece buzzing techniques:

Hold the mouthpiece by the shank of the mouthpiece with two fingers and the thumb of
your left hand if a buzz aid is not available.
Do not press the mouthpiece against the face.
Remain completely relaxed during the buzzing process, make sure the throat stays
relaxed and the tongue stays down in the mouth.
The air should pass between the center of the lips and right down the center of the shank
of the mouthpiece.
Start the pitch exactly in the middle of the pitch without any scooping or bumping of the
pitch.
All buzzing should happen inside of the mouthpiece cup.
Practice all musical lines in this booklet on the mouthpiece.



* Remember to use a natural/relaxed embouchure and place the mouthpiece in the center of the
lips.






8
8








9
9


Bluecoats 2013 Brass Routine

This routine will be the basis of the 2013 brass technique program and is designed both as a daily
warm-up and as a practice regiment for long-term improvement in tone production, airflow, dexterity,
articulation and other basic brass skills. It is by no means comprehensive and will be supplemented as
the season progresses based on the challenges presented by the summer program music and the
development of the brass section.

mf
q = 100
c
&
Long Tones
* Rehearsal Advice - Practice timing your inhalation and exhalation while marking time using a metronome
to provide a solid pulse center. The end of each long note should be open-ended. The
airstream should not be stopped with the tongue. Be sure to keep your air column
consistent and steady throughout each note. Give each long tone direction all the way
to the release.
1. 12 Count pitches

&

&

&
Extended Practice - Vary the dynamics and play on various different pitches. Be sure to always maintain the
simplicity of the sensation achieved with the original exercise.

U
w w w
w # w w
w n w w
w w w
w b w w
w w w
w b w w
w w w w


Trumpet / Mellophone






10
10

mf
q = 120
mf
q = 120
c
c
c
&
2. Three Note Decending Slurs

&

U
&
3. Three Note Ascending Slurs

&

U

#
w
n
w

w
b
w

w
b
w

w w
# w n

w
b
w
n
w

w
#
w

w w





q = 120
&
4. Upper Neighbor Slurs

&

&

&

U

w

#

#
#

w
b





w b




#

w
b





w b
n
#

#
#

w

n


w w







11
11

&
A)
5. Lip Slurs
* Rehearsal Advice - Incorporate the timing of the exhalation and the pitch centering accuracy from the long tone
exercises. Alternate between buzzing these exercises on the mouthpieces and playing on your instrument. Strive to
maintain the pitch center on the all intervals.
&
B)
&
C)
&
D)
&
&
E)

&

&
F)

&

#



#

b
n


b

b

b



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#





#




b


n




b



b


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b




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w b

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b

b




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b
#



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b

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w
b


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b
#


b

w b

#





#


w











12
12

Articulation Studies

Variations in musical style can be achieved by altering the duration and/or emphasis (stress, weight)
of notes. The Bluecoats define this differentiation through the use of the syllables listed in this chart.



mf
q = 120
( all the notes should touch )
&
6. Quarters and Eighths
&
(continue to ascend)

j

# # #
j

n
j


j


mf
(dah) (dah) (dah) (dah) (doo) (doo) (doo) (doo) (dah) (dah) (dah) (dah) (Dah) (Dah) (Dah) (Dah)
q = 120
&
7. Forklift (in unison)
- - - . . . .
> > > >

&
(keep the volume consistent from measure to measure)
- - - - . . . .
> > > >

&
- - - - . . . .
> > > >

&
- - - - . . . .
> > > >
(continue to ascend)

# # # #
n


Articulation
normal

legato

staccato

marcato

accented

Syllable dah doo dah Dah Dah
Difference from the
normal enunciation
N/A
Smoother
beginning
and more
connected
Same
beginning as
normal with
half the
length
Twice the
emphasis
with half the
length
Twice the
emphasis on
the beginning
of the note, a
slight decay






13
13

- Trumpe
- Mellophone

Clarle Sudies No. 2

HerEer Clarle

- To Ee played in a variey of ariculaions as follows: slur everyhing, saccao ongue everyhing,

slur wo hen ongue wo, or ongue wo hen slur wo.
- Play wih a meronome.
- Pracice slowly a hrs. Accuracy is he prioriy; hen worl for speed.
- Regardless of ariculaion, air ow should say conneced. While playing saccao, he Ereahing
apparaus should feel as relaxed and as free-owing as i does when slurred.
Pracice Eoh ways unil i feels he same.
- Thinl of his exercise as one lyrical phrase as opposed o a series of individual noes.

14
14

Trumpet
Mellophone

1 2 3 4

Tpt.
Mello.
5 6 7 8
Tpt.
Mello.
9 10 11 12
Tpt.
Mello.
13 14 15 16
_
_
_
_
_
Rhapsody in " Bloo "
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15
15
120

1.
Flow Studies

2.

3.

4.

5.

6.

7.

8.

9.

10.
* Can be played at any comIortable tempo and Ielt in 4 or in 2. Adjust the embochure as little as
possible and always blow through the backs oI pitches, leading to the last note.

1






16
16

_
_
_
_
_
_
_
_
_
_
_
_
_
_

_
_
_
_
_
_
_
,
_
_
_
,
_
_
Part 1
Rhythmic DeIinition
_
Part 2
_
Part 1
_
Part 2
_
Part 1
Up and Off Beats
_
Part 2
_
Smackem' Whackem'
- - -
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_
_
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_
_

17
17

- Trumpe
- Mellophone
This saccao sudy should Ee praciced very slowly a hrs, and also wih very even onguing.
Afer i has Eeen masered a a slow empo, Eegin o play i faser. In fac, i should Ee played
as quiclly as possiEle wihou sacrihcing smoohness or clariy.

1.Saccao Tonguing

18
18

_
What is ?
Bopping is an articulation technique used to isolate the timing oI a rhythmic passage. When using this technique
the beginning oI individually tongued notes should be played very short and light. The end oI the short note
should be leIt open-ended and not stopped with the tongue. You should attempt to play as soIt as possible when
bopping. Your objective is listen Ior other brass players and to play in time with them.
Do not change volumes or play any accented notes while bopping. Once again the sole purpose oI bopping is
isolate the timing oI a rhythmic passage. (see example A and B)

While bopping iI the music phrase contains any slurs then all but the last note oI the slurred pattern should be
played Iull duration. The Iinal slurred note oI the grouping should be played short while being slurred into.
Strive to play at a very soIt volume while you are bopping.
Example A (Iull value duration)
Example C (Iull value duration)
-
Example B (Bopping)
Example D (Bopping)

_
Staggered Breathing Technique
During longer sustained phrases in the music it is crucial that members oI the horn line stagger breathe with the
brass players close to them. When breathing the member should sneak out (with a diminuendo) and sneak back in
(with a crescendo to match). Failure to sneak out and sneak back in will create bumps in the sound which will be
perceived as holes or seams in the music by the listener. Where you breath within the long phrase should be
coordinated with the other members oI your section so the perIormers playing similar parts are not breathing
during the same spot in the music.

-



_
Keep in mind that in context to the music the method oI staggered breathing happens much quicker than illustrated
in the Example E.
II you need to take a breath during a tenuto quarter note passage leave the entire quarter note value to breathe.
Do not play a short quarter note Iollowed by a quick breath. This could be misinterpreted by the listener as a
staccato quarter note.
Example E
. . .
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19
19

Trumpe
Mellophone
= 6u - 1Su
Tp.
Mello.
Tp.
Mello.
Tp.
Mello.

Cechell #1
1 2 4 5 6 7 S

9 1u 11 12 1 14 15 16

17 1S 19 2u 21 22 2 24

25 26 27 2S 29 u 1 2

- Sing, slur hen ongue each exercise.

- Sing each exercise o prove you ruly hear he melody. Pay close aenion o
inonaion and srive o cener each pich accuraely.
- Wheher you slur or ongue, he air moves he same. Slur he exercise o develop
your sense of follow-hrough of he air sream. Iinally ongue he exercise, Elowing as
you did when slurring.
- Once again, consider he follow-hrough of he air sream. Thinl horizonal. The
prioriy should Ee more aEou he air han wha he chops are doing.
- Ideally you should feel very relaxed and ehorless when playing hrough his exercise.

20
20




= 72 - 96


_
_ _
-

Range Exercise #1
(rumpes only)
_
-

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21
21



= 72 - 96

Range Exercise #2

* Repea each se six imes ransposing down Ey half seps o I . Res frequenly or
when you feel faigued.

22
22

= 6u - Su

_
_
(p/ay S x)

Range Exercise #
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23
23

Low Tones

- These are to be played as needed while practicing the range exercises to stay loose and relaxed.



















24
24


= 7u - 76








_
_ _
- Trumpe
- Mellophone
-

Relaxed, faser air iniiaes he nex noe, Eig full sound!

Res for a few seconds Eeween each series.
Power Ex. #1
_
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25
25


72
Power Ex. 2
(Rest Ior a Iew seconds between each series)

26
26
Trumpet 1
Trumpet 2
Trumpet 3
Mellophone 1
Mellophone 2
Baritone
Euphonium 1
Euphonium 2
Tuba
mf
q = 120
mf
mf
mf
mf
mf
mf
mf
mf
Tpt. 1
Tpt. 2
Tpt. 3
Mello. 1
Mello. 2
Bar.
Euph. 1
Euph. 2
Tuba
&
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(Brass Ensemble)
" Forklift "
&
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b b b b
b b b b
b b b b
b b b b

n n n n
b b b b


b b b b



# # # #

# # # #



# # # #



n n n n
b b b b



b b b b







27
27











Trumpet 1
Trumpet 2
Trumpet 3
Mellophone 1
Mellophone 2
Baritone
Euphonium 1
Euphonium 2
Tuba
mf fff
1 2 3 4 5 6 7 8 9 10
mf fff
mf fff
mf fff
mf
mf
fff
mf fff
mf
fff
mf
4
4
4
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4
4
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4
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&
#
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( Thumbs )
Tuning Exercise # 1
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Crescendo evenly from measures 5 to 10. Do not breath at the barlines!
fff
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w
w w w w
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w w #
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w w b
w w
w
w






28
28

60
BWV 431
1 2 3
Trumpets
Mellophones
Baritones
Euphonium
Tuba
4 5 6
Tpt.
Mello.
Bar.
Euph.
Tuba
7 8

9
Tpt.
Mello.
Bar.
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Tuba
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29
29

Trumpet
Mellophone

68
1 2 3 4 5

Tpt.
Mello.
6 7 8 9
Tpt.
Mello.

10 11 12 13
_
_
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BACH CHORALE FROMCHRISTMAS ORATORIO
Bach Chorale Irom Christmas Oratorio
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30
30

Trumpet 1
Trumpet 2
Trumpet 3
Mellophone 1
Mellophone 2
Baritone
Euphonium 1
Euphonium 2
Tuba

88








Tpt. 1
Tpt. 2
Tpt. 3
Mello. 1
Mello. 2
Bar.
Euph. 1
Euph. 2
Tuba

" Sasquatch "

31
31

Trumpet 1
Trumpet 2
Trumpet 3
Mellophone 1
Mellophone 2
Baritone
Euphonium 1
Euphonium 2
Tuba
1 2 3 4 5 6 7

M3
M3
M3
M3
M3
M3
M3
M3
White Dawn

M3 M3 M3

M3 M3 M3 M3

M3 M3 M3 M3

M3
M3
M3
M3

M3 M3 M3

M3 M3 M3 M3

M3 M3 M3 M3

32
32

A World Without Pants

1 2 3 4 5 6 7 8 9 10 11
Trumpet 1
Trumpet 2
Trumpet 3
Mellophone 1
Mellophone 2
Baritone 1
Baritone 2
Euphonium
Tuba
_
_
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cresc. poco a poco

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cresc. poco a poco

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33
33
Brass Audition Scoring Sheet

(For Use by Bluecoats Brass Staff Only)







Location of camp attended ________________________________________________

Auditioned instrument ____________________________________________________

Tone Quality ___________________________________________________________

Musicianship ___________________________________________________________

Harmonic Connection _____________________________________________________

Articulation _____________________________________________________________

Flexibility ______________________________________________________________

Marching and Playing skills ________________________________________________

Comments ______________________________________________________________

_______________________________________________________________________

_______________________________________________________________________




Overall Rating ____

(-1 = lowest, +10 = highest)

Ready to Sign: yes __ no __










34
34

Trumpet 1

124

1 2 3 4 5

124

6 7 8 9 10 11 12
13 14 15 16 17 18 19 20

21 22 23 24 25
26 27 28 29

3031 32 33 34 35 36 37 38

39 40 41 42 43 44 45 46

47 48 49 50 51 52 53 54

55 56 57 58 59 60 61 62 63

-
Parade Music
The Stars & Stripes Forever
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35
35
Trumpet 2

124

1 2 3 4 5

124

6 7 8 9 10 11 12
13 14 15 16 17 18 19 20

21 22 23 24 25
26 27 28 29

30 31 32 33 34 35 36 37

38 39 40 41 42

43 44 45 46

47 48 49 50 51 52 53 54

55 56 57 58 59 60 61 62 63

-
Parade Music
The Stars & Stripes Forever
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36
36

Trumpet 3

124

1 2 3 4 5

124
6 7 8 9 10 11 12
13 14 15 16 17 18 19 20

21 22 23 24 25
26 27 28 29

30 31 32 33 34 35 36 37

38 39 40 41 42

43 44 45 46

47 48 49 50 51 52 53 54

55 56 57 58 59 60 61 62 63

-
Parade Music
The Stars & Stripes Forever
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37
37

Mellophone 1

124
1 2 3 4 5

124

6 7 8 9 10 11 12
13 14 15 16 17 18 19 20

21 22 23 24 25
26 27 28 29

30 31 32 3335 36 37 38

39 40 41 42 43 44 45 46

47 4850 51 52 53 54

55 56 57 58 59 60 61 62 63

_
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Parade Music
The Stars & Stripes Forever
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38
38

Mellophone 2

124

1 2 3 4 5

124

6 7 8 9 10 11 12
13 14 15 16 17 18 19 20

21 22 23 24 25
26 27 28 29

30 31 32 3335 36 37 38

39 40 41 42 43 44 45 46

47 4850 51 52 53 54

55 56 57 58 59 60 61 62 63

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Parade Music
The Stars & Stripes Forever
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39
39
A
Encore PerIormance Music
96
Trumpet 1
" The Boxer "
1 3 4 9 10
96
14
B
15 16 17 18 19 20
21 22 23 24 25 26
27 28 29 30 31
C
a little slower
32 33
34 35 36 37
38 39 40 41
rit.
42
_
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Sing! concert pitch

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40
40
A
Encore PerIormance Music
96
Trumpet 2
" The Boxer "
1 3 4 9 10
96
14
B
15 16 17 18 19 20
21 22 23 24 25 26
27 28 29 30 31
C
a little slower
32 33
34 35 36 37
38 39 40 41
rit.
42
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41
41

A
Encore PerIormance Music
96
Trumpet 3
" The Boxer "
1 3 4 9 10
96
14
B
15 16
17 18 19 20
21 22 23 24
25 26 27 28 29 30 31
C
a little slower
32 33 34 35 36
37 38 39 40 41
rit.
42
_
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42
42
A
Encore PerIormance Music
96
Mellophone 1
" The Boxer "
1 3 4 9 10
96
14
B
15 16
17 18 19 20
21 22 23 24
25 26 27 28 29 30 31
C
a little slower
32 33 34 35 36
37 38 39 40 41
rit.
42
_
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43
43
A
Encore PerIormance Music
96
Mellophone 2
" The Boxer "
1 3 4 9 10
96
14
B
15 16
17 18 19 20
21 22 23 24
25 26 27 28 29 30 31
C
a little slower
32 33 34 35 36
37 38 39 40 41
rit.
42
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44
44

= 66

Trumpe Audiion Music # 1

O. Respighi
Orchestra/ Ixcerpt frcm
" Pines of Rome "

45
45

= 1uu - 12u
1 2 4

5 6 7 S

9 1u 11 12

1 14 15 16 17
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Trumpe Audiion Music # 2

DE L' ARTICLLATION
Theo CHARLIER
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46
46


No. 26 = 66 - 76 (Quiely and slowly)

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Mellophone Audiion Music # 1

. .

Preparory Melodies
o Solo Worl for Irench Horn
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47
47

No. 4 = 96 - 1uS

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Mellophone Audiion Music # 2

C. Kopprasch
Seleced Sudies for Irench Horn
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