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The Trombone ForumTeaching & LearningPractice Room(Moderator: blast) One part of my warmup/routine...
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WaltTrombone
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« on: Sep 24, 2011, 08:18AM »

Here's a pdf of a bit that I do towards the end of a warmup. Sometimes it's my only warmup. It's good for letting me know if my chops are ready to play, or if I need to take it a little easy at first. If things are too stiff, this'll let me know right away. Yes, I only go down to 5th position for this. You can extend it to 7th, I choose not to. Speed, keep it moving. I usually do it around 120-140 bpm. I don't correct my slide positions for the various flat notes, since I use this more for a lip workout and diagnostic tool.

Of course, everyone has different needs in a routine, this is one that works for me. Let me know what you think of it. Enjoy!  Hi
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Walter Barrett
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« Reply #1 on: Jan 05, 2012, 06:26PM »

I do a warm up very similar to this (buzzing, scales, slurs, rhythm exercises) except I start lower and i cant go quite as high...
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« Reply #2 on: Jan 12, 2012, 07:43PM »

Yea that's fantastic walt I do something similar too but i generally also need some sort of long tone exercise even when im warming up on the go. I also agree about not needing to adjust for intonation when im working speed and flexibility I try and only concentrate on the speed.
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« Reply #3 on: Jan 13, 2012, 02:35PM »

Good exercise for those who play lead (1st) or second, if they need a "quick check" as you said. Good higher register set.
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« Reply #4 on: Jan 15, 2012, 03:42PM »

I use a variation of this.

I also find is useful to help teach/ do reps on steady airstreams, corners, and not getting tense in all registers.
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« Reply #5 on: Feb 19, 2012, 06:06PM »

I warm up with the remington warm-up studies, but this is great also
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« Reply #6 on: Mar 23, 2012, 04:58PM »

Good thing to do is buzzing without a mouthpiece that makes your chops AMAZING! But make sure you wait a couple minutes after doing it to play. Because it can cause a tad strain.  :D
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« Reply #7 on: Apr 23, 2012, 11:11PM »

Thank you for the suggestion Girl Trombone regarding waiting after buzzing.  I have never been a buzzer but and SLOWLY incorporating it into my practice.  Never occurred to me to wait a minute after buzzing to actually play.  I will try it.
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« Reply #8 on: Apr 24, 2012, 01:42PM »

Not easy to play this? Have to practice so I can play it in the first place  Amazed



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« Reply #9 on: Apr 28, 2012, 09:00AM »

the last exercise seems similar to my scale routine. Mine is just major scales going up from Bb with a eighth triplet patterns like this.
  (whole note)  (whole note)
 then transpose up chom. until I get to the next C or D
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« Reply #10 on: Jun 25, 2012, 08:34AM »


You could always use the Tommy Dorsey warm-up        arrive at venue and walk on stage pick up horn and play getting sentimental in D as the announcer introduces the live radio braodcast!
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« Reply #11 on: Jun 25, 2012, 08:53AM »

One line on a breath, right? 
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« Reply #12 on: Jun 25, 2012, 09:30AM »

One line on a breath, right? 

More accurately, one breath per phrase is optimum. Breathe where you need to, the Exactly As Written Phrasing Police aren't going to come after you. As you get smoother and quicker at it, one breath per phrase will come.
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« Reply #13 on: Jun 25, 2012, 10:37AM »

More accurately, one breath per phrase is optimum. Breathe where you need to, the Exactly As Written Phrasing Police aren't going to come after you. As you get smoother and quicker at it, one breath per phrase will come.

I would suggest there is value in using one breath per phrase as the standard.

Some even say you should run out of breath exactly at the end of the phrase, but that is a more advanced version. 
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« Reply #14 on: Jun 27, 2012, 04:59AM »

I tried it last night with a metronome.

I found it very difficult to do cleanly with no tongue.

I assumed you did not mean each beat/position change to be tongued, but just a quick slide movement.  Maybe that was wrong?

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« Reply #15 on: Jun 30, 2012, 02:07PM »

I actually play it both ways, but USUALLY lightly tongue the first note of each triplet, which coincides with the position change. I don't tongue it when I play this on euph. Think of the slur more as a phrase mark/suggestion.

With regards to running out of air exactly at the end of the phrase, I try never to be caught short. The last 1/4-1/3 lungful can come out pretty spazzy/hard to control, so I try not to let it get that far. Roger Bobo just had a blog post about this very subject, you can see it at rogerbobo.com, look for the link up top for his blog.

I like my breathing to be like voting in Chicago, early and often.
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Walter Barrett
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« Reply #16 on: Jul 01, 2012, 01:37PM »

Quote from: WaltTrombone
I actually play it both ways, but USUALLY lightly tongue the first note of each triplet, which coincides with the position change. I don't tongue it when I play this on euph. Think of the slur more as a phrase mark/suggestion.

Yes, that makes a large difference.  It's easy enough if you do two triplets, because then you're crossing a partial down to the next position, but with just one it's an awkward gliss, and for some reason that makes the lip upwards difficult. 
Quote
With regards to running out of air exactly at the end of the phrase, I try never to be caught short.

There's more than one school of thought on that.  Remington's conversational breath and Reinhard's just enough air are different from the Bobo stay full approach. 
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Tim Richardson
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« Reply #17 on: Sep 05, 2012, 04:35PM »

Tell me, can these warmups also serve as chgp builders for the less experienced player? Thanx

hf
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WaltTrombone
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« Reply #18 on: Sep 06, 2012, 02:42PM »

Tell me, can these warmups also serve as chgp builders for the less experienced player? Thanx

hf

Well, yes and no. They WILL help develop your chops, but, as written, maybe not so much. You'd have to play these many times, I'd think. Mostly, because these are very short, think of them more as a PART of a well-balanced, nutritious daily routine.
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Walter Barrett
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« Reply #19 on: Dec 06, 2012, 07:50AM »

spécial légato!!
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