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Practice Routines.


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dbacon
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PostPosted: Wed Oct 06, 2004 8:30 pm    Post subject: Practice Routines. Reply with quote

1=Long Tone/Flow Study similar to Stamp One.

2=Lip Flex from Remington Warm-ups

3=George Graham Range Ex.

4=Pedal-tones

5=Tonguing from Chris Gekkers book

20-30 minutes first practice routine. Warm-Up is the first two.

2nd Session is Technical Studies ala Vizzuti/Clarke, Cover the whole range again.
Hour.

3rd Session is Etudes, Solos, Jazz Studies, Lead Trumpet parts, sight-reading, Warm-Down. Hour plus. Small horns here too, Picc, Eflat, C etc.

Everything came be shortened and done in one hour.

What's your routine?
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riffdawg2000
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PostPosted: Thu Oct 07, 2004 6:30 am    Post subject: Reply with quote

Hmmmm … good one Dave!

Morning drive to Work –
- Listen to New York Philharmonic recordings of pieces we are performing in the Orchestra I am in.
- Pencil exercise http://www.bbtrumpet.com/chop.html

Lunch –
- 10-15 minutes of exercises from John Schlabach’s ‘On connecting the ear and trumpet playing’ ITG Journal, June 2002 - http://www.trumpetguild.org/pdf/2002journal/0206clinic.pdf

Afternoon drive home –
- Pencil exercise http://www.bbtrumpet.com/chop.html
- Listen to various professional recording of pieces we are doing in Brass Ensemble and/or solo works from Lindemann, Hickman, Andre, etc.
- Lip horse flaps, and lip buzzing from M. Sachs – Daily Trumpet Fund.

1st Session (20-25 mins) –

*MP Buzz, M. Sachs – Daily Trumpet Fund.
*MP Buzz, Cichowicz – Flow Studies
*Causro,MCFB, #1, #2, Harmonic study, #4, Harmonic Study
*Cichowicz, Flow Studies, VCI & VCII
*Charles Raymond’s recommendation of low F# at pppp for 1 minute, then descend down petals chromatically for 8 counts @ qtr=60 then back up to low F# - REALLY loosens the lips up.

Break (20-30 mins)

2nd Session (20-25 mins) –
*Quick run through of scales from “The Ultimate Warm up for Trumpet” - Multi-tasking, working on speed of fingers and single tongue http://trumpetstudio.com/scales/warmup.pdf
*Ligotti or Irons Lip Flexibilities exercises. (depending on mood and to mix things up)
*Technical Studies For The Cornet - Herbert L. Clarke (Study 2 – 4) – using piccolo on lower exercises

Break (20-30 mins)

3rd Session (20-25 mins) –
*Transposing studies from DEVELOP SIGHTREADING – DUFRESNE
*Practice various ‘spots’ in pieces that I play in my ensembles.
*Assignments from Arbans or other method books

Break (20-30 mins)

4th session (if able)
*Continued assignments from Arbans or other method books
*Review – again - Practice various ‘spots’ in pieces that I play in my ensembles.
*Nightly Warm-Down - Charles Raymond’s recommendation of low F# at pppp for 1 minute, then descend down petals chromatically for 8 counts @ qtr=60 then back up to low F# - REALLY loosens the lips up.


** Please note that I may switch around sessions, or drop and add at any time due to need to improve various aspects of my playing. (which is A LOT)

SUNDAYS – started getting together w/ KevinInGeorgia and another friend to play duets and trios. This helps improve intonation and the sense of playing in a section – articulations, pitch, phrasing, etc. Usually and hour or two. This especially helps with pitch! Considering each of us usually play a different keyed instrument. I.E. Piccolo, Bb, and Bass trumpet ... or Flugel, C tpt, and Eb/D .. etc..etc ... boy is this fun!

Disclaimer– all the above can be thrown out in an instance, if the girlfriend is having a bad day and wants additional attention. Or either ... ** I ** and thrown out the DOOR!
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Bill Scott
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PostPosted: Thu Oct 07, 2004 6:47 am    Post subject: Reply with quote

1. Mouthpiece buzzing--about 5 minutes.

2. Long tones, the lower the better. 10 minutes or so.

3. Interval studies. Another 10 minutes.

4. Scales from the Pares book and Arbans, especially high note arpeggios. Good ten minutes.

5. Colin, Lip Flexibility. 10 to 15 minutes.

6. Short break listening to trumpet music. Might be Armstrong, Vizzutti, Maurice Andre...etc. About 5 minutes.

7. Music, either from my community band folder or pieces that I'm working on for solos'. About 20 minutes.

8. Warm down with long, low tones including pedals. About 5 minutes.

Of course, this is on an ideal day and can be modified depending on what is going on. Long and low tones too warm up/down always get done. Interval studies and scales are always done.
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SPITTY
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PostPosted: Thu Oct 07, 2004 7:13 am    Post subject: Reply with quote

1- long tones over threee octaves - metronome at 40 BPM, usually holding each note for 16 beats

2- lip slurs - many different varieties, some incorporating tonguing as well

3- II V I licks in all keys and/or melodic excerpts from jazz tunes or solos in all keys, repeating each phrase in each key many times, I play this in the cycle of 4ths, up and down by half steps and up and down by whole steps

4- scale exercises - playing various scales in 3rds, 4ths, 5ths and 6ths, up and down, then inverting all of the intervals playimg all of the exercises backwards

5- practicing tunes, playing the head and working on the changes, sometimes to an Abersold play along.

6- etudes and sight reading (Arban's, St. Jacome, etc . . .)

Wishing I was doing this right now, instead of working, but ya gotta make a living,
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LFRoberts5
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PostPosted: Thu Oct 07, 2004 12:16 pm    Post subject: Reply with quote

DAILY

Balanced Embouchure Routine

M-W-F

Endurance:
Mitchell Books

T-Th-S

Range:
Clarke's First Study
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_mhilton777
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PostPosted: Thu Oct 07, 2004 12:55 pm    Post subject: Reply with quote

Drive to work - Low to middle Range lip and mouthpiece buzzing

Lunch - Adams Routine

After Work - First 4 Stamp excercises followed by 20-30 min. of Colin Lip Flexibilities

After the wife and kid go to bed - Various Classical pieces and Lead charts
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PRogers
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PostPosted: Thu Oct 07, 2004 1:39 pm    Post subject: Reply with quote

Only my warm up is really set in stone.

I'll start with pedal tones
then long tones
then Clarke Technicals 1-25
Colins Lip Flexibilities

After that, I might do some technical stuff out of Arbans like triple tonguing or characteristic studies, or go over my scales and chords in various permutations, or transcribe some of a solo, or record myself using Aebersolds and my computer, or work on a (ii V I) lick, or go through a bebop duet.

I try to fit as much of that as possible into my 2-3 hours of practice a day (weekdays) or 4 hours on the weekends.
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johnski25
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PostPosted: Sat Oct 09, 2004 3:02 pm    Post subject: Reply with quote

Nice topic! I'm suprised that there aren't more responses actually.

Anyways, my routine always changes slightly every couple months but right now it is something like this:

1) Get to work, buzz the MP. Alternate days with Stamp #3 and Arban study variation which Barbara Butler uses in her routine.

2) Insert MP into horn and play alternate days Stamp #3 or Cichowicz VC 1 or 2.

3) Play through Clarke 2 and 3, only three keys a day, always switching/rotating.

4) Play a couple of Arban's tonguing exercises, single, double, triple.

5) I teach elementary school music so I play for the kids throughout the day, little examples here and there. Between classes and during lunch breaks I try and fit as many lyrical etudes in as possible, but sometimes that doesn't happen. I also try and play through some Abersold if I have time.

6) On the weekends I usually do a good practice set based on Barbara Butler's routine.

John Fraser
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MrOlds
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PostPosted: Sun Oct 10, 2004 4:42 pm    Post subject: Reply with quote

Roughly equal parts:

Long Tone Studies (more like really slow scales & arpeggios)
Flow Studies (Clarke-like stuff)
Articulation Studies
Etudes (to pull the technique together and practice interpretation)
Solo Literature (to make music, more than to practice the pieces)

I source each of these from a bunch of different places and rotate through different collections of each to keep from getting bored. I try to keep a clear focus on specific goals for each exercise or portion of one. Sound is always the first goal. I think its the goals and the concentration that make the improvement happen more than any magic in a particular exercise. I guess you could do everything you need to do with just the Arban's.

I don't really "warm up" for long. I do blow through the horn (with the embochure sort of in place but without playing a note) to practice turning the air around after a breath. But I do that because its a problem area for me (not because its magic). Then I play a few notes and then I'm off into the routine.

Regards,

MrOlds
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Vessehune
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PostPosted: Mon Oct 11, 2004 2:44 pm    Post subject: Reply with quote

Along this same line what does eveyone feel are the essentials that need to be in someone's practice routine?
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riffdawg2000
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PostPosted: Tue Oct 12, 2004 5:42 am    Post subject: Reply with quote

A list I was given a LONG time ago .... Important to hit each of these over a two-three day cycle ... Some can be combined .. for a multi-tasking feel! Like sight-reading & Transposition.

Trumpet Essentials

Breathing
Long Tones
Slurring
Lip
Large intervals
Tonguing
Single
Staccato
Legato
Double
Triple
Intervals
Small
Large
Attacks (Entrances)
Tone Production
Scales
in standard patterns
in extensions
Major
Minor
Chromatic
Whole Tone
Chords (Arpeggios)
Major
Minor
Diminished
Augmented
Facility
Technique
Valve Dexterity
Transposition
Sight-Reading skills
Connecting the ear and the horn

there is probably PLENTY more ....
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johnski25
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PostPosted: Fri Oct 15, 2004 9:05 am    Post subject: Reply with quote

I find it strange that this topic hasn't attracted more attention, perhaps it has been covered before.

Anyways, I just purchased Michael Sach's book, Daily Fundementals. It is a really well organized book which covers his routine. The material is taken from Arban and Clarke and has a lot of Stamp influence, which makes sense since Sachs studied with Stamp. It is published by IMC so it is nicely done but I took it to a copy shop and had it bound because those IMC books usually don't lie flat on your music stand.

I'll let you know what I think about it more after I use it for awhile.


John Fraser
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crzytptman
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PostPosted: Fri Oct 15, 2004 11:10 am    Post subject: Reply with quote

Usual w/u:
a few sustained high C's (5-10 sec's ea.)
C-G-C etc low to dblG up and down a few times, then extend into pedal and up . . . bang the dubba a couple of times.
Easy harmonic flexibilities

10 min break

Systematic Aproach w/ all supplements

Depending on playing/teaching schedule:
Broiles, Charlier, Arban etudes
Tunes, scale patterns, improv strategies

SA is a new thing for me, replacing for now a LOT of other things (similar to Daves work out). Speaking of which . . .
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tpter1
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PostPosted: Fri Oct 15, 2004 11:46 am    Post subject: Reply with quote

Breathing excercises: increasing exhale, decreasing (proportionately) inhale

Mouthpiece on the BERP, beginning concert F (with the tuner on Bb); alternate days scale patterns in modes; the excercise from the beginning of Schlossberg's book.

Ghost tones (get the aperture set). I am currently working to be able to get a full chromatic from 2nd line G down to low F# and back up to 3rd space C. I find this has really helped my centering and response.

"Blasts": A misnomer, really. I do 10 short (ultrastaccato) attacks on each note, beginning on (2nd line still) to low F#, ppp. WHAT A B****! Again, this has really helped response and consistency. I stole this from an interview with a classical guitarist; he does 100 plucks (I forget the real term) per string. That's a bit much for me!

Longtones: Slow scale fugures or arpeggios, usually half notes, mm=60. Go to Max Schlossberg again, either #1 or 3, mm=42 or less.

Oil valves, potty break, get more coffee, work on a rehearsal plan, e-mail, stare off into space, whatever. Generally to get rid of stiffness, and eliminate any lactic acid build up.

Lip slurs, usually from Colin, beginning in Vol 1, finishing in Vol 3, up to high d or so. Selected excercises. Sometimes from Schlossberg. I also have a few of my own design. Creativity is important.

Clarke technical studies, various keys and styles, sometimes only playing 2 notes to work on connection, othertimes playing with modality, articulation studies from Arban.

That usually takes up a good couple of hours if I do it all.

Later in the day, I will hit Etudes that focus on problems I noticed during the warm-ups. Excerpts, solo lit, or literature in a coming performance gets about an hour and a half or so, depending on proximity of an audition or performance.

That's an IDEAL day. They come few and far between. On rare occasions, I have had times when I could get through all that several consecutive days or even weeks. Usually, I can get through the long tones, maybe pick up some lip flexibility between lessons, and then practice lit after school. If I don't have extra rehearsals or lessons. (I'm a band director). All bets are off if I had to play clarinet that day!!!
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dbacon
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PostPosted: Fri Oct 15, 2004 11:59 am    Post subject: Reply with quote

Yup, days I play tuba in class are special. Flute playing is great, but oboe or basson.....forget about it!
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spencerkotulski
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PostPosted: Sun Dec 02, 2018 2:19 pm    Post subject: Practice routine for a few different books Reply with quote

I'm in 10th grade and seem to kind of be obsessed with method, lesson, and etude books. I have a lot. I am in need of a good routine to practice these. If anyone could take some time to give me a decent routine to practice these with.
I have: Arbans, Clarke, Schlossberg, Rubank advanced, Getchel 1st, 27 melodious and rythmical excersizes, and Caruso.
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CJceltics33
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PostPosted: Sun Dec 02, 2018 6:37 pm    Post subject: Reply with quote

I am a high school player and my routine looks something like this:

Warm up: only thing that has any consistency, but I very it every so often depending on what’s working. I choose from this set depending on what I need/feel that day

Soft long tones
19/30s long tones
Lip buzzing low to high (for sound/Resonance)
Mouthpiece buzzing (same purpose)
Special Studies by John Daniel-usually some bending and articulation stuff to get the lips flexible and tongue coordinated
Clarke Studies-I pick out of the first four studies, striving for a clean tone



For the day I like to set a goal. Whether it’s a tryout piece or a solo. If i dot have that stuff, or I have enough time for both, I do etudes, flexibility, and Arbans studies as well. What types depend on what I need to improve on

I sight read EVERY day from sight reading factory
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CJceltics33
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PostPosted: Sun Dec 02, 2018 6:40 pm    Post subject: Reply with quote

Spencer—find out which of those you enjoy practicing most. Find out which you struggle with. Decide what you need to improve on. With those questions answered, decide what will help you improve, and do that. Good luck!
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spencerkotulski
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PostPosted: Sun Dec 02, 2018 8:16 pm    Post subject: Reply with quote

CJceltics33 wrote:
Spencer—find out which of those you enjoy practicing most. Find out which you struggle with. Decide what you need to improve on. With those questions answered, decide what will help you improve, and do that. Good luck!



Thank you for the advice!
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Blackquill
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PostPosted: Sun Dec 02, 2018 9:41 pm    Post subject: Reply with quote

I've been thinking of better ways to maintain skills that I've learned. I've had a problem of practicing some particular skill, then move on to something else to practice. Within a few months I've completely lost my skill on what I worked so hard on previously! This happens constantly.

The solution? It's obvious. Once you're through practicing a particular technique for good (for example, Clarke #3 exercises that you've worked on for the past month), you can stop spending significant time on it... but now simply add that technique to your routines! Play a Clarke #3 exercise as part of your routine at least a couple of times a week, if not every day!

For each skill you learn, you NEED to add the related exercise to your routine! Pretty soon you'll have a bunch of items on your list of routines, and now you can maintain a ton of different skills in a relatively simple practice session.

To make this easier, have a personal practice journal to maintain a list of exercises to put on your routine. There's no way you'll be able to remember them all.

Now I just need to implement this myself....
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