WAYNESBORO HIGH

SCHOOL
BRASS HANDBOOK
Compiled by Myles Matalavage
High Brass Edition

WELCOME!

Congratulations on your decision to be part of the Waynesboro

High School Marching Band! It is my goal that throughout your time
with the band, you learn not only to play your instrument well, but also
learn to teach yourself. This fundamental packet has been designed
to help with exactly that. There are many ways to approach brass
playing. This is by no means the only right way. However, this way
has been proven to work time and time again. Through a unified
approach, we will have a great time making great sounds together
this season. Good luck, work hard, and happy practicing!

Best,
Myles Matalavage

Stretch
First begin with a stretch to relax the upper body and calm the mind. A good
stretch will prepare you to move mass quantities and qualities of air. This
preparation is necessary to reinforce the correct approach to all aspects of your
playing with a sense of calm and relaxation.
1) Tension Release Tense every muscle in your body as high as you can by
taking slight air in and holding it. Release the tension by relaxing the muscles and
exploding the bad air out of your body.
2) Shoulder Rolls Roll your shoulders back as big and round as you can.
Reverse the direction and roll forward as well.
3) Half Neck Roll Look down at the ground and slowly roll your neck in a half
circle left to right (until your ear meets your shoulder). Repeat this process
backwards so that you are looking at the sky.
4) Trunk Twists Hold your arms 90 degrees at your sides. Rotate your entire
upper body left to right from the waist. Strive for a greater extension with each
twist. Slowly raise your arms up as you continue to twist back and forth.
5) Two Way Stretch Place your hands together over your head and fully extend
your arms upward. Push your palms up towards the sky and dig your heels into

the ground. Take a deep breath in and exhale releasing your arms down at your
side.
Tips for Success
Always be sure to breathe calmly as you stretch and focus on relaxation.
Be careful not to over extend when stretching. If you feel sharp pains, stop
immediately as not to cause damage to your muscles or nerves. Stretching is not
just a precursor to your day. Stretch as often as possible throughout the day
especially after tense moments of exertion. A quality stretch can dictate how well
your body will perform through the course of the day. Stretch at the end of every
day as well. It is vital that you consistently consume water to get the best
performance from all of your muscles! Regularly consuming water also helps
keep a focused mind!

Breathing Gym
Brass playing is 90% using proper air!

Full and Relaxed Breathing

Breathing should always be as relaxed as possible. Tension=Bad sound! To keep
breathing relaxed, keep your oral cavity open, round and resonant. Allow air to
move freely; do not force it. Your ribs should expand outward slightly. Air is
always moving! There should NEVER be a pause in between a breath in and
out!!! Every breath you take should fill you completely. All the time. Every time.

Inhalation Therapy
A) Exhale all of your air. Every bit. This should feel uncomfortable. Use the back

of your left hand to create a tight seal against your lips. Try to inhale through
your sealed mouth as much as you can for 3 counts. On count 4 rip your left
hand away from your mouth while continuing to inhale. You will hear a pop
sound and feel air rush into your lungs quickly. Strive for the biggest pop
sound possible.

Sun Goddess (Flow Study) 80bpm

Use your arms to gauge your air capacity. Begin with your arms positioned at rest
down at your sides. Gradually raise your arms out away from your body as you
inhale. Arms should be parallel with the ground at the half waypoint and extend
above the head at the point of full capacity. When exhaling, the palms should flip
up so that they are facing the sky. Allow your shoulders to relax down as your
arms gradually lower. Repeat this process with the next count structure. Air
should constantly be in motion either in our out. Airflow should never stop nor
should tension be created.
1. Inhale 6 counts
Exhale 6 counts
(4 is halfway)
2. Inhale 7 counts
Exhale 7 counts
(4+ is halfway)
3. Inhale 8 counts
Exhale 8 counts
(5 is halfway)
4. Inhale 9 counts
Exhale 9 counts
(5+ is halfway)
5. Inhale 10 counts
Exhale 10 counts (6 is halfway)

When you inhale, place your left hand perpendicular to your lips so that one
knuckle of your index finger is in the center of your aperture. Aperture Opening
between the lips where air travels. The palm should be flat with fingers together.
Draw air in from the sides of your index finger. Your lips should make contact with
your finger, which represents the upper and lower rims of your mouthpiece. Every
exhale should be blown directly into the center of your palm. Flip your hand back
to make contact with your index finger to repeat the process of the exercise.
Shortened Inhalation 90bpm
1. Inhale 4 counts
Exhale 4 counts
(2x)
2. Inhale 3 counts
Exhale 4 counts
(2x)
3. Inhale 2 counts
Exhale 4 counts
(2x)
4. Inhale 1 count
Exhale 4 counts
(4x)

Lengthened Exhalation 90bpm

1. Inhale 4 counts
Exhale 4 counts
2. Inhale 4 counts
Exhale 5 counts
3. Inhale 4 counts
Exhale 6 counts
4. Inhale 4 counts
Exhale 7 counts
5. Inhale 4 counts
Exhale 8 counts

(2x)
(2x)
(2x)
(2x)
(4x)

8 Count Phrases Various Tempos

1. Inhale 2 counts
Exhale 6 counts
2. Inhale 1 count
Exhale 7 counts
3. Inhale count
Exhale 7 counts
4. Inhale 1 count
Exhale 7 counts
5. Inhale 2 counts
Exhale 6 counts
6. Inhale 2 counts
Exhale 8 counts

(2x)
(2x)
(2x)
(2x)
(2x)
Release

POWER BREATHING!!!! 90bpm

1. Inhale 4 counts
Exhale 4 counts
2. Inhale 3 counts
Exhale 3 counts
3. Inhale 2 counts
Exhale 2 counts
4. Inhale 1 count
Exhale 1 count

(2x)
(2x)
(2x)
Continuous

FIRE
To be done in group.

Breathing Tips for Success

Push yourself!
Every inhale should expand to your maximum capacity without tension.
Every exhale should empty your lungs. Engage your abs towards the end of

every exhale to maximize the direction of air.

Never use stale air breathing on top of unused air left in the lungs.
DO NOT form an embouchure. The point is to strengthen the lungs and work
the sensation of air entering and leaving your body.
When your body receives more oxygen than it is used to, you may feel light
headed. If this occurs, bend over at the waist low enough to place your head
below your heart. This will help you regain consciousness more quickly and
prevent passing out.
Breathe bigger today than you did yesterday!
Apply your Breathing Gym techniques directly to your instrument every time you
play!!

Singing
Become comfortable with singing! Singing is an extremely valuable
instrument and tool that is used to make you successful. ALWAYS sing full with
confidence by projecting from your chest and abs, not your closed throat.
ALWAYS use a quality Breathing Gym breath when preparing to sing. ALWAYS
hear your pitch before you voice it. The better you can sing a pitch, the better you
will be able to center pitch through your instrument.
Begin with humming the pitch and feeling the vibration of that pitch in your
mouth. Vocalize the pitch by opening your mouth from the hum saying Mah.
When singing, pay extra attention to your vowel shape and getting to that vowel
instantly!

Buzzing
Mouthpiece buzzing is essential to building the skills necessary to play
your instrument at a high level. The instrument amplifies the mouthpiece,
mouthpiece amplifies the lips and lips amplify the brain-which is why we sing.
Sound is created through vibration-which is caused by buzzing. If you are serious
about your playing, be even more serious about your buzz!

Keys to a Quality Buzz

ALWAYS utilize Breathing Gym technique when buzzing.
Hold the mouthpiece in your non-dominant hand to minimize undue
pressure.
Eliminate pressure on your top lip. The bottom lip has much stronger muscles.
Center your lips on the mouthpiece and blow straight out the stem
Begin with air articulations, no tongue. Start your buzz immediately with your
exhale.
Hum and sing pitches first.
Free buzz allowing your lips to buzz pitch without the use of a mouthpiece.
Strive for relaxation because tension kills vibration.
Strive for a full, resonant, buzzy sound.
Visualize your sound and where it is traveling.
ALWAYS play with tuners and metronomes that sound pitches or use a
piano/keyboard.
Self evaluate by recording yourself, looking into mirrors, buzzing for a friend,
etc.
ALWAYS relax, NEVER force!
Buzz every day and do not give up.

On the Horn
1. Long Tones
Begin each note with a full 2-count inhalation and "dah" articulation. Set the
air speed! Center the pitch immediately and maintain a steady relaxed tone with
an "OH" vowel sound. Air must always be in motion with direction to the release
after count 12.
Releases are equally important! Give a slight crescendo (5%) to the end of
every long tone you play. When you get to the end of the note, simply breath in to
end the pitch. This will stop the note from fading into the release. While different
than releases you may do in concert band or orchestra, it is essential to gain the
effect we desire as a marching band!
With each descending note, maintain the same tonal color as the first open
pitch by gradually allowing the embouchure to relax. Through each sustain, there
should not be a dip or change in energy level.

2. Remington Descending
Every phrase must have the same color. As the intervals become larger,
place a greater focus on airflow to the bottom note. Subdivide each release and
valve change with rapid motion. Never move valves slowly!
Note changes should be smooth and seamless. Set the air speed, use
light mouthpiece pressure (especially on the top lip!) and stay relaxed.

3. Remington Ascending
This is the same concept as exercise 2. Focus more on tonal color with
each phrase. Accelerate the air speed to the upper note with less mouthpiece
pressure. Stay relaxed.

4. Flow Studies
These are meant to strengthen phrasing, maintain tonal color and aid in
range. The goal is to complete each phrase in one breath.
Support an "OH" vowel sound through every note, especially the peak of the
phrase. Relax the embouchure during the descent and keep a warm, dark vowel
sound on the last note.

It is a flow study, be sure all note changes are smooth and seamless!!!

5. Slurs/Flexibility

*** VERY IMPORTANT: All exercises are to be rehearsed

while using a metronome and tuner while standing with
the correct posture and marking time.

6. Articulation
Utilize a "dah" tongue for all standard articulations. The tip of the tongue
should place where the gums meet the teeth, using only one taste bud. Strive for

consistent tongue placement throughout.

Note Shape Visual Chart