Re: Warm-Ups


[ Follow Ups ] [ Post Followup ] [ TubeNet BBS ] [ FAQ ]

Posted by Scott Landry on June 19, 2001 at 12:20:48:

In Reply to: Warm-Ups posted by Dan Mordhorst on June 18, 2001 at 17:09:51:

Dan:

As you have probably figured out by now, warm-up routines are inevitably a subject of much debate. Rather than restate several posts (all of which bring up some very valid points of view), I'd just like to share my thoughts on the subject, FWIW:

1. Decide what it is that you need a warm-up routine to do. This will vary tremendously between individuals. An orchestral player might warm up differently than a bandsman or a soloist or someone playing a musical or pit gig.

2. Time is relative. There are musicians who can warm up effectively in 5-10 minutes. The main focus is results - did the warm-up achieve the desired results?

3. Is the warm-up a routine or a crutch? This was an issue I wrestled with some years ago for quite a long time. I was brought up with the idea that any "effective" warm-up should be in the minimum of 20-30 minutes. And then I graduated from college and began teaching. The first thing I learned is warm-up is a luxury. And then I began to wonder, "How effective could my playing be if I had no warm-up?" Eventually, I discovered:

a. I needed a warm-up that was flexible, something that could work whether I had 5 minutes or 55 minutes.

b. Priority one: Certain things in the player/instrument equation are "cold". The idea of a warm-up is to get these items "warm". These items are the brain, lungs, lips, mouthpiece, and the instrument.

c. A warm-up is arbitrary. It most often functions as the first part of my day, but also can be broken down into segments, depending on situations and time.

d. A warm-up routine should provide FEEDBACK. There's no sense in doing any of this if all we're doing is going through the motions. Maintain awareness and be willing to question what's NOT working and make adjustments.

4. I would think most brass players would agree that there are some things in a warm-up routine that are universally addressed. With respect to low brass playing, these would be:

a. breathing
b. mouthpiece buzzing
c. long tones
d. tonguing (single)
e. natural slurring (Ask any trombonist about the importance of a good legato tongue.I find this aspect is woefully neglected in euphonium/tuba playing.)
f. lip slurring
g. tonguing (multiple)
h. scales
i. long, sustained legato playing (Everyone pays daily homage to Bordogni via Rochut or Roberts.)
j. Arban's (Pick a page - ANY page. A wealth of material and only one lifetime.)
k. warm-down (e.g., pedal tones. Another can of worms in and of itself, but a personal favorite.)

*I'm not saying you have to cover all of these in one session - they're suggestions only.

To me, range, etudes, solo material, orchestral excerpts and "fun" playing deserve their own separate session. It also promotes the concept of "spaced" practice (several sessions as opposed to marathons). Marathons are better when you're closer to a performance; I equate them with an athlete's "wind sprints".

Orchestral excerpts require their own type of practice. My favorite tactics are playing an excerpt 20 times a day, in a row (familiarity). Someone else mentioned picking up the instrument at the beginning of a session (after a brief warm-up) and testing the passage "cold". It's like he said: this is what you will encounter in the performance.

Solos and etudes are a different animal. My favorite approach has been the "hourglass" theory. Basically, when you first learn a piece, you generally read straight through and take in as much information as possible. Then, as your sessions progress, you will narrow the work down to isolated sections, then phrases, then passages, then notes. This is the detail work (read: slow, with/without metronome, then speed back up). Then you put the work back together. By the end, you're doing "wind sprints" for continuity. Most of the students I work with have neglected either side - they either run the piece every time and hack through the errors, hoping for miracle improvement, or they become so engrossed in the details that they lose sight of the larger picture.

Just musing out loud. Hope this provides some insight.


Follow Ups: