Feet Guru's Ultimate Guide to Brass Auditions

[Feet Guru]

Feet Guru’s Ultimate Guide to Brass Auditions

I. Introduction

II. Beginners

A. Marching band and drum corps

B. Playing a horn in drum corps

C. Marching in drum corps

III. Horn Audition

A. First Things First

B. The Audition Process

C. Piece Selection

D. Preparation

IV. Marching Audition

A. First Things First

B. The Audition Process

C. Preparation.

V. On the Bubble

A. Probation

B. Waiting List

VI. Conclusion

VII. FAQ (brought to you by Mean Guru)

I. Introduction

Hello, everyone. Feet Guru here, with something that will hopefully be useful for those of you who are planning on auditioning for your favorite corps (or “best available option,” as the case may be). This guide is meant as a "public service" to DCP and aspiring corps members of the future, and chiefly aimed at those who are auditioning or are planning on auditioning with a corps in which placement is not guaranteed. However, even if the corps you are auditioning with takes all eligible comers, it is still to your advantage to make the best impression you can on audition/opening weekend, as this may affect your opportunities for leadership positions, “chair placement,” general feel-goodery, etc.

Feet Guru will guide you through this process. Be aware that Feet Guru's Utlimate Guide to Brass Auditions (or FUGBA, as Feet Guru likes to think of it) is NOT a playing manual, a marching manual, or an index of corps traditions and practices (you can find out more about all of these by searching DCP a bit). It is a guide to having the best drum corps audition possible, and is framed around questions that come up relatively frequently on DCP by those who are planning on auditioning. Feedback, comments, and questions are encouraged. Feet Guru will do his best to credit those who make meaningful contributions to the Guide.

II. Beginners (those completely new to drum corps)

A. Marching Band and Drum Corps. So you've decided to march drum corps. Congratulations! You are about to enter a very exciting activity, and if all goes well, will be performing on a very large stage. If you are like 95% of all auditioners, you have at least some marching band experience, and want to "take it to the next level". Despite this experience, you will be entering drum corps as the Rookiest of Rookies: not only a rookie in your corps, but a complete, brand-spanking-new Drum Corps Rookie. You may be feeling some excitement or apprehension as you think about the approaching audition weekend or first rehearsal camp.

This section is meant to briefly lay out some major differences you will soon find between marching band and drum corps. This section will NOT give you every difference (this would be impossible), nor will it provide guidance on the traditions or general practice methodology of different corps. These are things you will find out on your own as the season progresses (if you are accepted). Rather, there are some differences between the two similar activities that are common to nearly every drum corps horn players' rookie experience, and a few which really stand out from a horn player's standpoint. These are the ones that "really stand out" to most people new to drum corps.

B. Playing a Horn in Drum Corps. How does playing a horn in drum corps differ from marching band? If you were to put this question out there on the forums, you might get a variety of answers: “excellence”; “commitment”; perhaps "its just so much louder!". If you’re new to drum corps, this may not give you a very good idea. Don’t sweat it. It’s not your fault. If you really want to know, Feet Guru will give it to you straight. Here are the three main tangible differences with regards to playing a horn in marching band vs playing a horn in a drum corps. In drum corps:

1: you have to be more precise with attacks and releases.

2: you have to play for a longer period of time.

3: you have much less oxygen/air to spare, due to increased physical demand.

That’s basically it! Those are the major differences common to nearly every corps member's experience. There are MANY more differences between playing in a drum corps and playing in a marching band, but these are the three biggest ones. Seems simple, doesn't it? Simple in concept only. Improving upon these three factors will take up much of your time spent in hornline practice, but most people find their end product very rewarding.

C. Marching in a Drum Corps. How does *marching* in a drum corps differ from marching band?

Here again, you might get some standard replies: “athleticism”, “excellence”, yada yada yada. Once again, Feet Guru is here to tell it like it is. Here is the main difference between marching in drum corps and marching band. In drum corps:

1: Making mistakes is much worse.

As before, there are probably MANY more differences you might find as you progress in the activity (for example, faster tempos, keeping technique through effort changes, more attention to tempo, better carriage/posture required, etc.) but this is probably the most profound difference. In general, making a mistake (sometimes called “ticking”, although this is a technical term from a prior era of drum corps) is a much bigger deal in drum corps than it is in marching band. You may be thinking: “but my high school/college marching band instructor hated mistakes too! He/She blew a fuse whenever I made a mistake!” Feet Guru doesn't doubt they did. But regardless of what a big deal they may have made about it, the relative negative effect of a mistake in drum corps is greater than that in a marching band. This has to do with the effects of viewing a much more restricted sample of a performance distribution, but rather than explaining in more detail, he'd like you to take his word for it.

There are many more differences than these, but as a future brass player in drum corps, these are the ones most immediately relevant to you. If, as a rookie, you prepare for these four major differences before audition or rehearsal camps start, you are going to be "ahead of the curve", so to speak, compared to other rookies.

The audition (which may be part or all of an entire "camp") will look at both your playing ability and your "movement" (marching).

III. Horn Audition

A. First Things First: find out exactly what is required for auditions! This differs from corps to corps. Search your corps' website to find out just what exactly you have to bring. Some corps want you to do your audition on your own horn (Feet Guru hopes it goes without saying that this should be a *brass* horn), some want you to use their own (since the switch to Bb, this has become much less rattling), and many give you a choice between the two. Many corps today have "audition packets", consisting of music, warmups, and exercises that you have to buy or otherwise acquire prior to audition camp. But many others have you play a piece of your choice. Find out what your corps expects you to have! These days, most corps have turned auditions into an entire weekend where there is a lot of playing and moving as a hornline (with the exception of "out of area" auditioners, who often still have a one-day audition). If you are auditioning in this type of "camp" setting, you will almost always be using the corps' horn when the hornline plays together, even if you are allowed to switch back to your own horn for your personal audition.

B. The Audition Process: This varies somewhat from corps to corps, but no matter where you are trying out, at some point going to be playing all by yourself in front of at least one person on brass staff (Feet Guru fondly remembers the time as a nervous young lad when he first stepped into the audition room to see the entire brass staff of his dream corps, legends to him, waiting impatiently). You may sign up the order you will do the individual audition on a list, or you may get called out more or less randomly at some point during the day. At some places, all brass players hang around and warm up on their own in the same general area while they wait for their turn (more on this later), while at others they will pull you out during a brass or visual rehearsal/audition block to go audition individually (this has become more common). At a few places, the individual audition is the only playing you'll do all day (i.e., no rehearsal block where you play as a hornline), but this has become less common, and in most cases the individual audition is only a small, but very important, part of an entire day or weekend of audition/rehearsal camp.

C. Piece Selection: if the corps you are auditioning for requires you play a piece of your choice for auditions, then there are a few things to bear in mind:

First, make sure it is something you actually play well! This may seem obvious, but Feet Guru cannot tell you many times he has witnessed otherwise decent players go into auditions trying to play something that is out of their league. Other players treat auditions as a chance to show off the extent of their range, finger/embuchure dexterity, or (shudder) volume. Auditions are not a "track meet"! You get no points for setting a new PR! If it is a corps where horn spots are relatively competitive (such as a top 5 hornline) you are still MUCH more likely to get in by playing a controlled, precise, relaxed piece than by playing the hardest etude in your book.

In addition, "something you play well" may be different from "something you think you sound good playing", and even farther removed from "something you like playing". It is something you that makes you sound good (or as good as you can be) to trained musician. If you take private lessons, play a few different things for your instructor and ask what they like (if they ask you what it's for, Feet Guru would caution you against telling them of your drum corps ambitions. Tell them you're trying out for wind ensemble or chamber group or something). Alternatively, if you are currently in a band, your director or another instructor might be willing to give you a listen.

A final thing that should play a role in your piece selection is time constraints. Maybe you'd love to play that 25-minute concerto piece for the brass staff at auditions. Think again. At most places, you will get about one minute of playing before the person or people running auditions cut you off. "But, but... movement III is the best part!" (Feet Guru looks at you affectionately. Silly rookie). Use this to your advantage. Just find the best minute or two for you in the piece you're playing, and play that.

"But Feet Guru! I don't have an etude book! And none of the concert or band pieces I have really feature my instrument well!" Never fear. Consider playing a flexibility exercise. No, Feet Guru didn't just get hit in the head by a wayward tuba snap. At most corps, flexibility exercises are a perfectly legitimate audition piece. They even have a few advantages: For one thing, many brass players already do them, and have practiced them a million times, which takes away a lot of stress of auditioning. For another, it has some good "auditioning features" built right in: it demonstrates range, flexibility, and pitch control. Finally, many brass staffers like it because they don't have to hear an Arbans or Rochut or Jacobs piece for the 3545629th time that day. If you can't find a good piece (or even if you can), this may be a good option for you.

D. Preparation: Feet Guru will assume you have not only played your audition piece during the weeks prior to audition camp, but have received expert feedback on it as well. On auditions day at the auditions site, you will likely have time to warm-up on your own. It is also possible that the all of the auditioning horn players are in the same general area, warming up on their own as well. If this is the case (Feet Guru ponders a moment at how to phrase what he wants to say next), you will likely see many "unique" approaches to playing reflected in the other players' warm-ups. You will hear many people trying (in most cases, poorly or altogether unsuccessfuly) to show off their range, dexterity, etc. (see the "track meet" analogy above). Others will do something similar, attempting to walk that delicate tightrope of trying to show off without looking like they are trying to show off.

At the risk of alerting the filters, this is complete jack#####. It is also hideously tempting to join in on, especially for young males. Ignore these people. If you can warm up some distance away by your lonesome, you might consider this if you can still somehow figure out when it's your turn to audition. More likely, you will have to put up with the racket to some extent while you warm up. Just chuckle to yourself at the silly people with their fragile egos, while doing whatever you need to do to get ready. Once you are warmed up, STOP. Well, okay, don't stop completely, but ONLY play to the extent that keeps you ready (this may be a few notes every couple of minutes or so). With the track meet contestants, normal social influences, the tendency to warm-up louder than usual in a noisy environment, and the potentially long time you may be waiting for your turn, it is incredibly easy to wear out your chops before your own audition. Do the warm-up you would do any day of the week. It is very possible you will be ready to go long before it is your turn, so be prepared for this. Don't blow your chops before you audition. There. Now Feet Guru has said it at least three times. You no longer have an excuse. At your audition, you will almost certainly hear some other players plaintively moaning that their chops have died. You have Feet Guru's permission to comfort or ridicule, at your discretion.

It also cannot be stressed enough: find out what the corps expects you to have. If your corps has audition materials you are expected to have beforehand, GET THEM. Don't be the only one who doesn't have the audition packet. Get cut because you're a terrible player, not because you didn't download or buy the packet. And don't get cut because you blew your chops (four).

IV. Marching Audition

A. First things first: You can think of the audition process as being based on a "points" system (Feet Guru wants you to bear with him here. Some corps may actually make decisions based on skill level categories rather than points, but describing it as a points system helps to illustrate). You get a certain number of points for your playing ability, and a certain number of points for your movement ability (Feet Guru will often use the terms "marching" and "movement" interchangeably). Your total points from these two auditions comprises an "audition score". Therefore, do NOT neglect your marching in the weeks prior to audition. At a few corps, your movement abililty has zero impact as to whether you get a spot on the hornline, (but you may still have an audition, just so the staff can see where you are). At a few other corps, movement can be up to half of the total "audition score". Most corps consider count marching ability as a factor somewhere in-between: not worthless by any means, but not quite as important a factor as playing ability, either.

Most corps do NOT expect you to arrive completely accomodated to their own marching style, but it doesn't hurt to catch a recent video or two to check out what it looks like. If your audition takes place over a larger camp weekend, it is likely that the entire auditioning "hornline" will have a section of rehearsal time dedicated to general marching principles, going over basics that might be used to audition members, or perhaps even a quick primer on the corps' own marching style.

B. The Audition Process: Just like playing auditions, this varies from corps to corps, but there are two general types. Some corps do an "individual" movement audition, but there is a trend for corps to start using the "group" movement audition. The "individual" movement audition is similar to the brass audition: this is where you demonstrate your marching all by yourself in front of at least one visual staffer (at a few places, a vet may march next to you, to provide reference and help the staff compare). Unlike the brass audition, however, in an individual marching audition you'll almost never get to decide what to perform! The staff will tell you a movement exercise they want you to perform. On the bright side, if auditions are taking place as part of a larger camp, then you will almost certainly have performed it earlier that day or the day before (so pay attention when they teach it to you!).

There isn't a whole lot of strategy to the "individual" marching audition, but a few things may help. First, enter the audition area with your ears open, so the staff doesn't have to repeat themselves. Make sure you know the names of the exercises (if they have names) so you don't have to ask "How does A-block go again? Is that the one to the left?". If the corps has a certain style you are trying to emulate, DO NOT overdo it, as this will make you look extremely awkward to people who know what that particular horn carriage/footroll or whatever is supposed to look like.

A growing trend is to use a "group" movement audition. This is where the staff evaluates your marching over the course of a rehearsal block, day, or even weekend, in the context of a basics block. If this is the case, you will usually receive a nametag (or number) and will be evaluated periodically throughout the block, day, or weekend. There will usually be multiple visual staff people evaluating your movement. They MAY take into account improvement or responsiveness to instruction as part of their "marching score" (this is not always the case) but even if they don't, it is better to give them the best samples you can give when you happen to be under the microscope. Keep in mind as well that you might never know when they will be watching you! A drum corps "camp" weekend might be a much longer practice time than what you are used to, so you must make the effort to not have any moments where you are caught slacking off.

There are a few bits of strategy to consider for the "group" marching audition as well. For one thing, if the hornline is instructed to form a block, try to get in the front row. Even if they periodically instruct the hornline to "shuffle" (that is, find a different spot within the block), try to stay near the front row, or be in the front row every other time. Do your best not to show fatigue. Make eye contact and even small affirmative nods while an instructor is speaking, if you're allowed to (i.e., if you're not at attention, standby, or anything else). If you are instructed to "dress" or "cover" (which means to align yourself with the row or column of people to your side or in front of you, respectively), you may have a hard time, especially if the auditioners you are dressing to are none too hot, but do your best.

C. Preparation: Make sure you are practicing basics exercises, even if you are currently in a marching band. Here, just like with playing your horn, feedback can be invaluable. Swallow your pride of your incredible marching "skillz" and ask someone (preferably a marching instructor or colorguard instructor) what you can do to improve. They probably won't be able to guide you much on the particular movement style or technique of the corps you're auditioning for, but again, most corps will not expect you to have it down during auditions, either. However, your instructor may be able to give you more general movement feedback: whether you're flopping around on direction changes, using good posture, leaning or dipping, etc. Alternatively, you might get a video camera and try to see how you might improve. Whichever method you use, do NOT view it within the framework of "checking out how good you look." You can get great music instruction outside of drum corps. It is MUCH rarer to get the level of excellence in movement achieved in drum corps outside of the activity itself. Be critical!

Often the very first thing you will do upon the start of auditions or audition camp is take a jog or run with the rest of the hornline. This can serve as a rude awakening to those who aren't used to running. Don't say Feet Guru didn't warn you! Make sure you can do it! The run may even be a "breathing block" wherein, while running, you inhale and exhale on a count pattern, such as inhale for 6, exhale for 6, or in for 4, out for 12. This is not as fun as it sounds. In fact, voluntarily depriving yourself of oxygen while your body cries out for it can be downright disconcerting, but this is an important skill to develop as a brass player in drum corps (see point 3 in "Differences" under the Beginners section, II-B above).

At the very least, you should be able to run for about 10-15 minutes straight. If you are not at that point yet, make sure you take the few weeks before auditions to build yourself up to as close to that level as possible. It won't come by running for 5 minutes every Saturday morning. A better strategy will be to run every other day (every day would be better and more similar to what corps do, but this may not be an option if your legs and feet aren't used to it. Feet Guru will also take this opportunity to point out that he is not a medical professional and that you should consult your physician before attempting a new exercise regimen).

One concern, often much hyped on the DCP brass forums, is the difficulty involved in holding up a low brass horn. If you are auditioning for a low brass spot, you would be wise to prepare for this. One exercise many forum posters have suggested to build horn-holding endurance is pushups. While well-intentioned, this is NOT good advice. For a variety of reasons, there is simply not a lot of functional carryover between pushups and horn-holding endurance. This is not to say there is absolutely none, but a far superior exercise is simply practicing holding up a horn. If you don't have a horn, improvise: try holding up a gallon of water (actually, a gallon, at around 8 pounds even, is just about the weight of a euphonium) for time. Simply holding an object up for time, however, is simply not as "fun" as doing pushups, and Feet Guru is resigned to the fact that young males will be young males and will probably do pushups instead anyways. If this describes you, consider practicing horn holds after you pick yourself up off of the floor. If you're not doing this, don't expect Feet Guru to have a whole lot of sympathy when your shoulders feel like they're on fire during audition camp.

Practicing tuba/contra snaps without an actual marching horn may be more troubling, however. Feet Guru certainly wouldn't advise you to pick up your band's concert tuba and start swinging it around. Not the most expensive one, at least.

V. The Bubble

It is possible that rather than being either accepted or rejected outright, you may end up on a waiting list (if your corps has one) or perhaps "probation". "Probation" (different corps may label it something else) refers to being in a position where the corps decides you are worth having keeping around to see if you will improve. If you are in either of these categories, don't be despondent: it beats getting cut! Be encouraged that unlike many people at your audition, you still have another chance.

A. Probation: To make sure that you do what you need to do to ultimately make the line, Feet Guru urges you to think of being on probation as only a hair away from being cut. Here are some general tips for going from "probation" to "in the line"

1. Find out from the staff exactly what you need to work on, and work on it! Realize that it may not be something that interests you that much (like low-register articulations, or something). Realize further that it might be something that you thought you were already good at. Whatever it is, swallow your pride and work on it. If you happen to have another individual audition, remind the staff if you get the chance what they told you to work on and that you think you've improved. Just make sure you actually have.

2. Pay your tour fee if you can, unless its nonrefundable even if you're eventually cut. No, Feet Guru hasn't been standing out in the sun too long (well, he probably has, but regardless...). Pay attention now, because good old Feets will let you in on a HUGE drum corps secret: you would be shocked how much easier it is to go from "maybe" to "yes" if your tour fee is already in. And some directors are ready and willing to accept tour fees the day of auditions (go figure), even from people like you who are "on the bubble". This is sometimes why you will see people you might never think could make it actually in the hornline (Feet Guru wants to emphasize that this is NOT always the case, only sometimes. It's also possible that person might just be better than you think). Get a receipt if possible.

3. Keep showing up. If you haven't been expressly notified you're cut, keep showing up. If you are told you're cut, ask if there are any other auditions (many corps hold more than one, or at more than one location). If there are, show up to one of those, even if the staff says it wouldn't be worth your time. If they ask what you're doing coming back again (they probably won't), pretend you didn't understand, or misheard, or something. And don't forget to bring your checkbook with your tour fee.

B. Waiting List: If you are on a waiting list, again, be encouraged. You still have a chance at making the line. In addition, being on a waiting list offers a lot more security than being on probation. Sometimes you can even go on tour, despite being on the waiting list (most waitlisted people don't). On the downside, there is a little less "certainty" than with probation, in which you usually find out within a month or so whether you're still in. You are essentially waiting for someone in the line to drop out, fall off a cliff (or otherwise injure themselves), default on their tour fee payments, or somehow get cut. But buck up, because people get cut or "self-cut" all the time. And corps that have a long waiting list (Feet Guru has seen some with 10+ waitlisters per section) usually have them because that many members routinely drop out! If you are near the top of a lengthy waitlist, you will likely end up in the line at some point. However, this might take a while. You may not get your chance until May. It might not even be until after shows have started. And there is even a possibility you may never get moved up. Choosing whether you want to stick around on a waitlist will depend on how likely it seems you'll get in. Just like life, Feet Guru makes no guarantees.

He does, however, provide some helpful tips:

1. Work on the things you do in practice outside of practice. Ideally, you want to be better at these skills than the rookies who actually made it. If there is a waitlist with multiple people, it is possible in some places to actually move yourself ahead within this list. Other corps don't rank-order their waitlisters, and choose the one they happen to think is the best option. When someone drops, it needs to be a no-brainer as to whom the staff will replace that person with.

2. Just like tip #2 for probation, pay your tour fee, if it is refundable should you decide to stop waiting around. Figure out if this is actually the case (ask for a receipt and keep it).

3. Let the staff know you can play another instrument if need be. Guess what, Mr. Upper-Lead-Trumpet Specialist, if it comes to a choice between switching to mello or losing a spot, you may have to swallow your pride and take the spot (along with the bigger bell).

VI. Conclusion

Feet Guru has intended this guide as a public service to the members of the DCP community that hope to join a drum corps hornline, and he hopes it has helped you. Any feedback on it would be greatly appreciated. If there is something you'd like to add, let him know and he'll see if he can squeeze it in somewhere (it will help if it is advice that is general, and of course useful). If at some point you audition, also respond as to whether this guide was of any practical use. In addition, should you find it very useful towards getting that spot, you may pay him the highest comliment and request that it be "stickied" on the forums, so that future batches and classes of corps members can reference it if and when they decide that they will audition. Also, please stay tuned for Feet Guru's cousin's FAQ section.

VII. FAQ (Brought to you by Mean Guru)

Mean Guru here. My cousin, Feet Guru, tells me there are no stupid questions. I've found there's usually nothing but. What's worse, they are usually followed by stupid answers. Still worse, these stupid questions keep getting asked repeatedly on DCP, like a bacterial infection that has become resistant to the stupid-answer antibiotic. Its time to switch up meds, and for that, I bring you Mean Guru's Stupid FAQ

Mean Guru's Stupid FAQ

How does drum corps differ from marching band?

Mean Guru: There are approximately 315542343151 threads on DCP that deal with this question. Most of them wrong. The rest are varying degrees of stupid. Use the "search" function.

I was first chair in the Northwest Beaver Creek County High School Honor Band of Honor when I was a Junior. Do you think I can make [insert corps name]?

MG: How the #### should I know? Will you be better than enough of the others auditioning? If you want a quick answer, then... no.

I want to audition at [insert corps name]. What do they look for most when they audition?

MG: Ask them.

I will, but what do they look...

MG: Ask THEM.

Okay, but maybe someone on here can...

MG: Stop. See what you just did? You just gave Feet Guru and everyone else on DCP way too much credit. If you want answers about a specific corps, ask that corps. You can get horrible advice anywhere (see my cousin's guide above for an example). You can only get actual specific answers from that corps.

How could I have gotten 12th chair trumpet? I'm way better than those people in front of me!

Mean Guru: So what? Just tell all your friends and family you got first or second. And you play upper lead. Like anyone will ever find out. Even if they happen to see you during a standstill performance or a practice arc, first chair is often somewhere in the middle of the section anyways. You may have to explain why someone else is playing the solo, but cross that bridge when the time comes.

I don't play brass, but I'd like to. What is the easiest instrument to play? What do I have the best chance of making it on?

Mean Guru: Baritone on both counts. Not only is bari the easiest brass instrument to play, most bari players are terrible. Okay, sure, most other horn players are terrible, but terrible baris are even more common. Feet Guru played bari and euph back when he marched, which probably explains why he's so lame. Another option is mellophone, since many mello players are mello players because they're worse than all the people who are playing trumpet. Although sometimes you run into the annoying French horn "mello specialist" type. Ugh.

Can girls play bari/euph/contra?

MG: Much as I hate to treat people fairly, I will have to reluctantly admit that girls can be just as terrible as guys on bari and euph. Except girls tend to complain about the weight of the horn less. As for contra, well, it depends. There are guys and girls who can flick it around like its nothing, and those that can't even move it. But those girls that are in the former group have the opportunity to be just as terrible as guys.

I've heard that corps factor in "attitude" for auditions. Is this true?

MG: No. They may say they do, but they don't. And they shouldn't. Think it through: EVERYBODY pretends they are positive and hardworking during auditions. It would be a "washed" factor. Okay, maybe if you punch an instructor or something, you might get cut because of "attitude" (if you do decide to punch an instructor, do us all a favor and aim for Feet Guru). Otherwise, no.

I'm a little overweight, and...

MG: Hit the streets, Fatty.

Wha... "hit the streets"?

MG: That means run. Start running regularly.

Oh. Well, do I need to lose weight?

MG: Everybody hold on a minute. This actually is not a stupid question (although just by playing the odds, there is a good chance the questioner him/herself is stupid). You are not going to lose 100 pounds four weeks before auditions just by running, even if you starved yourself (which is not a good idea). However, there is a HUGE difference between a big guy or gal that can move easily and one that can't. Try and surprise the vis staff by being the one big person that finishes the 10-minute run at the start of audition camp. Most corps don't care about your particular poundage, only if you can do what they ask.

I'm not overweight, and think I'm in pretty good shape for drum corps. I do pilates and yoga and I can bench press...

MG: *Sigh* Let me make this simple. Your most important physical skill for movement will be (drumroll please) BEING ABLE TO MOVE. But I'm really impressed with all those cool exercises you can do lying down or sitting motionless.

Drum corps is expensive!

MG: *Living* is expensive. What do you want, subsidized drum corps? Go talk to Feet Guru. He'll be more sympathetic to your hippie pinko views.

What if a corps did a [insert some ridiculous one-word "theme", movie, or popular music piece] show? I think that would be cool!

MG: That's the worst idea I've ever heard.

Edited October 10, 2007 by Feet Guru

[SLogue]

That served it's purpose well. Pretty much every question I might of had was answered on there.

Thanks.

[Feet Guru]

Glad you found it useful. Here's hoping it helps others.

F. G.

[jwalker17]

Wow this is great. I hope you don't mind me printing it and putting it into my Drum Corps binder. This is my first year auditioning and I am looking for all of the advice I can get. Thank you very much.

-John Walker

[DCIaddict33]

wow this sure was in detail, but thats good! This definetly answered a lot of questions I had, THANKS!!!!

[Einstein On The Beach]

This is pretty handy, wish someone would have posted something like this when I was auditioning :P

[thederek]

Awesome post. Definitely tells people what they should expect at the audition camp which seems to be a cloud of mystery for people who have never been to one.

[King_ReMO]

This was very, very helpful. I'm auditioning for drum corrps for the first time, and this defientely helps me out.

[Feet Guru]

Many thanks for all of the positive replies. Remember, the best advice for what specific corps look for will come from their staffs themselves, but Feet Guru hope this was useful as a general guide.

Auditions are fast approaching, if not right around the corner for some corps. Feet Guru wishes everyone well.

Best of practice,

F. G.

[comeonfhqwhgads]

is there a reason this isn't stickied somewhere?