warmup_app.pdf

7/27/2019 warmup_app.pdf

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I. Long Tones

= 100

Copyright 2006 Timothy Leasure The Ohio State University

Approach-based Warm-up Routine

Pay particular attention to the dynamic markings and tempo of this exercise. Focus on producing a steady, well-supportedsound. Inhale and articulate in tempo. If needed, you may rest briefly at the double bars.

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Compiled by Timothy Leasure, The Ohio State University School of Music

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1 = 84

Again, focus on a steady and full (not loud) sound. Try to maintain the same tone quality in all registers. Use a tuner tomonitor your intonation on the fifth and sixth harmonics in this exercise.

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IIa. Long Tones (expanding intervals)

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1 = 100

Alternate between exercises IIa and IIb every other day. You will also want to use a tuner on this exercise as well.

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IIb. Long Tones (ascending intervals)

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1

= 100

Begin each note with the intensity of the air stream only. The lips should vibrate instantaneously upon applying the air.Use the syllable 'hoo' to begin the attack. Do not use any tongued articulations in this exercise.

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III. Breath Attacks

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1 = 100

Problems with attacks are frequently more related to the nature of the breath before the attack, rather than the execution of the articulation itself. Tension in the body from a shallow or non-relaxed intake of the breath can frequently result in a'burr' on the attack or an inaccuracy of the pitch. This exercise, adapted from an exercise found in 'Horn Technique' byGunther Schüller, will help to alleviate initial attack problems. You will want to focus on the quality of the attack following the breath. Exhale (+) and inhale (o) in tempo. Use a metronome for this exercise.

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+' o' %+' o

IV. Initial Attacks

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9

% +' o' % +' o' % +' o' % +' o' % +' o' %+' o' %

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+' o' % +' o' % +' o'

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% +'o

' % +'o

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-47

Mouthpiece exercises are not only good for their calisthenical benefits, but are excellent for ear-training when played with a piano. These drills are also good indicators of how one moves from note to note. Be mindful that you do not telegraph yourmovement, particularly on the larger intervals. Play through the exercise with just the mouthpiece while playing along withthe piano. Hold the mouthpiece with your weak hand (if you are right-handed, hold it with your left hand and vice-versa)

between the thumb and forefinger. Add any pressure to the embouchure needed to play the pitch AFTER taking the breath!

+& & & &

V. Mouthpiece Drills (Stamp - Part I)

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83

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& & & & %+

& & & & & & & &+

& & & & %

1 = 84

Play through this exercise first on the mouthpiece, then on the trumpet. For the pedal tones, finger them as if they werewritten one octave higher, as notated.

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V. Mouthpiece Drills (Stamp - Part II)

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' & % & & % & # %

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41

& % & & % &1-2

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& % & & % &1-3

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' & % & & % &1-2-3

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57

& % & & % &0 or 1-2-3

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1

= 100

Tone-bending exercises are excellent for strength building and for creating a strong 'center' to the tone. Use the lip to benddown to the note marked with an ( ). Match the pitch of the played lower note with the lipped lower note. Increase the air intensity on the false note to keep the sound full and controlled. It may have a slightly harsh and nasal quality if playedcorrectly.

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VI. Tone Bending

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8

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warmup_app.pdf