First things first ... ?

[Eliot]

It's an old cliche: "first things first," but what should come first in one's warm up? That's the question that has me wondering whether I am "working out" correctly, if there is a correct way/method.

The question is, when warming up should I commence with low range exercises, mid range or start above C5 (c above middle C)?

Or

Is it whatever works best for each individual?

Hope so someone can help me and assist my practise sessions 'coz sometimes my chops seem to just refuse to operate how, at other times they perform (to me) marvellously.

Look forward to some help here and thank you for making the effort for this old bloke that still coming back to his trumpet.

[stumac]

Sent you a message.

Regards, Stuart.

[JayKosta]

[Andy Del]

All experienced players have their own warmup, and I doubt any are exactly the same.Most of the will cover something along these lines.

Breathing / air flow
Lip awakening / response
Sound production
Moving across pitch
Articulation
Flexibility
Range

Where the warmup crosses over into a routine to maintain playing prowess or develop skills varies from player to player and day to day. How they go about these various facets also varies.

Time to go andf work on warming up and se what works, I guess.

cheers

Andy
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[Bill_Bumps]

[Eliot]

A BIG thank you to those who responded to my query. Your effort is much appreciated.

I have, though, a lack of understanding with the following from AndyDel:
1) Breathing / air flow
2) Lip awakening / response

I understand the importance of breathing and air flow but was not aware of any specific exercises or work one could do to prepare for warm up or playing.

Similarly with lip awakening and response, unless this refers to a "buzzing" session prior to picking up the trumpet.

I am wondering, AndyDel, whether you can elaborate a wee bit for me please. Hope so and thanks again peoples.

[aaron]

It's natural to be inconsistent at the start of the day. I think a huge part of the warm-up is learning how to tailor your practice routine to how you sound/feel at the start of a particular day. Sometimes it just needs more time and care.

I also like starting with some stretches, focusing and breathing. There's tons of resources out there for this, here are a few favourites:

- The Breathing Gym, Daily Workouts - 3-5' warmup videos organized by topic
- The Breathing Book - very simple exercises with short explanations of body alignment
- Glasel, Relaxation Techniques - a great way to start the day, shows how to integrate some breathing/relaxation into your first few notes of the day

Personally I don't do a routine lifted exactly from these books, but I incorporate exercises here and there. And I try to switch up my routine a little every week.

[Billy B]

It's all about muscle group co-ordination.
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Bill Bergren

[FrankM]

Check out Urban Agnas on YouTube. The video he calls First Tone & Flow 1. A more careful and considered explanation of how a master proceeds would be hard to imagine. Cheers F
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Yamaha 635T Flugel Horn.

[Denny Schreffler]

[Eliot]

Thank you again to all those who have contributed to this thread.
In attempting to follow up on some of the suggestions I have come across this suggested practise routine (edited and condensed) from the 23rd Edition of Wright and Rounds Amateur Band Teacher's Guide and Bandsman's Adviser, circa 1910/20 from Liverpool, UK

"Ten minutes on sustained tones, one note one breath ... to strengthen the lips and cheek muscles ...
"Then five minutes rest during which the player will select some scales ... (choosing) a variety, major, minor indifferent keys, and chromatic.
"Ten minutes next on these scales, playing piano, and none quicker than they can be played evenly ...
"Again, five minutes rest during which the player will decide on some exercises for lips and tongue and consider how to play them.
"Ten minutes now on the above exercises, piano, and at a pace which will enable the playter to get through them evenly and safely. Never mind speed ...
"That leaves (in a one hour practice session) twenty minutes for other exercises one wishes to play and for thinking over each before playing it. ... As endurance, inclination, and time permit, he may spend a little longer on this latter part, but not on any account should he try to keep on playing when the lips are fatigued. ..."

I also came across a Video clip from Paul Mayes, at Trumpet Takeaway describing his "Quick Trumpet Warm-up." https://www.youtube.com/watch?v=5_JHHMC33GY
I have been practising his method the last few days and have found it effective for me.

My thanks again to all those who contributed. I may not have found the texts/books advocated but the direction I was pointed in has proved very helpful.

[kalijah]

For many players. The "warm up" is an opportunity to immediately and consistently practice bad habits. It is, for many, a formal daily ritual of reinforcing ineffective actions.

Especially warm-ups that prescribe "play these notes and you are warmed up". First notes should be in the lowest effort region of both range and sound volume. Therefore air is NEVER an issue in my experience. If anything the problem with most player's warm up is too much of everything.

Excessive effort, especially in the embouchure.
Excessive air pressure, blowing effort and air flow.
Excessive concern about sound quality at the expense of comfort.
Excessive demand from some of the written warm-ups.

along with the neglect of establishing clean note attacks.

Personally. I use a variation of the Vizzutti book 1 warm up.

The warm up is really practice of establishing habits. With good habits little warm-up is required.

Additionally; 'strengthening exercises" should NEVER be included in warm up. That includes really long tones, lip slurs and trills, and other calisthenics. These should be done sparingly and only after good tone and efficient playing is established.

[TrpPro]

For me... no warm up. None. Start playing right out of the box, from lowest to highest. It used to take me 30 to 45 minutes to warm up. But after hearing so many successful players say it was unnecessary, I made that my goal and made it happen. It does make life easier.

caveat 1
If you have to play a solo first thing on a gig, a couple of horse flaps and a scale or two makes me feel better about it.

caveat 2
This works best if you play regularly every day. If not, it can sound a little ragged at first. But basically you make it happen and NOT wait for it to happen.

caveat 3
My practice every day always includes some calisthenic exercises.

[kehaulani]

I can second that.

Larry Ford (1st call L.A. studio player, among others) once was telling me of doing a recording gig with Conte Condoli. Conte just had a solo spot and he showed up at the studio at the last second, played his solo and split. No warm up at all.

When I showed a little dismay, Larry said, "Guys like that just stay warmed up".

For me, personally, that kind of thing depended entirely on how much playing I did. Was never the kind of guy who could work on an arrangement for a couple of days, and not playing the horn, then open the case and continue where I let off. But if I was playing all the time, I hardly "warmed up" at all.
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