Practice Routine

Discussion in 'Trumpet Discussion' started by NYCO10, Jun 6, 2010.

  1. NYCO10

    NYCO10 Pianissimo User

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    Feb 20, 2010
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    Hi guys, im in the middle of setting myself a new practice routine for the next term at school and was wondering what you guys do for your routines. I am thinking along the lines of a 3 part 15mins-15mins-20mins routine with part 1 being warm up, part two technical studies (where tounging etc is covered) and part three to cover repetoire and appropriate exam pieces.

    What are your routines like?? and what would you cover in the 'technical studies' section???

    Peace NYCO10
     
  2. Sofus

    Sofus Forte User

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    Jul 26, 2008
    Many here agree that the best would be

    1) warmup
    2) long notes and slurs
    3) music/pieces
    4) technical studies

    Some would also say that the warmup should be kept short.
    Technical studies are at the end since they grind your chops the most . . .
     
  3. NYCO10

    NYCO10 Pianissimo User

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    The three part practice routine is based on what vizzutti suggests in his books, but of course were not all vizzutti!!! so do you think 15 mins is too much??

    Peace NYCO10
     
  4. Sofus

    Sofus Forte User

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    Jul 26, 2008
    You already have mentioned the technical stuff
    and the repertoire as two of the three parts although
    not in the best order, since you need fresh shops
    when working on your repertoire.

    The third part - warmup - could well be performed
    as long notes and slurs, unless you have some other
    type of warmup that you prefer. If you do, long notes
    and slurs are still an important part of your daily routine,
    and that will give you a total of four parts . . .
     
  5. NYCO10

    NYCO10 Pianissimo User

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    Feb 20, 2010
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    Ok thanks, i guess theres more to a routine than i first thought! if you have ever seen the Vizzutti warmup, i guess it covers nearly all the main things required for trumpet playing. firstly theres mouthpiece buzzing, then tonging (lower 7), then theres long-tones and finally a study which goes from the lowest range to the highest range (based on all the keys, which takes a while!) so im starting to think that its a practice routine in its self! just not as in as much depth!

    Peace NYCO10
     
  6. fraserhutch

    fraserhutch Mezzo Piano User

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    Jan 23, 2004
    Novato, CA, USA
    My recent routine, the bare minimum:

    Clause Gordon SA
    In between sections I and II:
    Schlossberg - #21 through 30 or so.
    a couple of exercises from the Iron's' book.


    If I have time:
    Charlier excerpts
    Stamp exercises.
    Other exercises to mix it up from Schlossberg, Clarke,, etc as time allows.
    I vary it up from day to day a bit depended on how I feel. I will often swap CG SA section I for the HipBone 20 minute Warmup, which I heartily recommend.
    20 Minute Warm-Up Routine
     
  7. AKtrumpet

    AKtrumpet Piano User

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    Jun 4, 2010
    Alaska
    Rest as much as you play if possible.
     
  8. Markie

    Markie Forte User

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    Jan 4, 2009
    Clarksburg, WV
    My practice routine is designed for me. I don't think it would work well for anybody else.
    With that said, here's something that might help:
    -----------------------------------------------------
    Wynton Marsalis practice routine & tips

    Three hours will allow you to cover all aspects of playing, but 45-60 minutes is enough for one sitting. The quality of the practice is more important than the length of time it takes.

    Practice has several basic objectives: sound, slurring, tonguing (single, double, triple), phrasing. The Arban book [Arban's Complete Conservatory Method for Trumpet (Cornet), published by Carl Fischer, 192.] is set up that way.

    Try to get as rich and pure a sound as you can -- an "unbrassy" sound, the kind with no metal in it. Louis Armstrong is a good example. His sound is really bright, but not brassy. It has a core that is warm. During the first 15-20 minutes play long tones, soft, from second line G down to low G. For the next 30-45 minutes work with pages 5 and 6 in the Max Schlossberg book [M. Baron, publisher], varying the dynamics and the tempos. Try to play through every slur, getting an even, round sound on every note, and getting over the breaks in the instrument. Also, exercises 59 and 60 in the Schlossberg book are good to strengthen your lips.

    Take a break.

    Use the Second Study (page 8) in the Herbert L. Clarke Technical Studies [Carl Fischer]. Work on velocity, with a metronome, in major and minor keys. Slur some, tongue some, and double tongue some. Also work on the "kah" syllable. Go straight up the scale, starting with the middle C (exercise 32). In the Arban book there is a series of exercises to work on your single tongue attack. Number 19 on 28 is especially good. Try to get a nice round attack with some "pop" in it.

    Then you can open an etude book. Theo Charlier: Etudes Transcendantes [Leduc] is good for advanced players, or the Arban book for others. Do some double/triple tonguing exercises. That's another hour on tonguing.

    Take a break.

    Now deal a little more with slurring, but not too much; you don't want to kill yourself. Work out of a book like Advanced Lip Flexibilities [Charles Colin, author and publisher]. Then do some phrasing exercises out of the Arban book.

    Finally, play some characteristic studies from Arban, or etudes from Charlier or Schlossberg. When you play these etudes, or any exercise, always go straight through without a stop the first time. Then go back and practice the places you had difficulty. Play everything -- no matter how trivial or trite it might be -- with dynamics and sound and musical expression.
     
  9. Ed Lee

    Ed Lee Utimate User

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    Aug 16, 2009
    Jackson NC
    You've hit on three vital segments to producing top quality brass instrumental music. Personally, I consider the first to be the most important, thus I've enhanced it with bold type.

    As for 2., I've yet to see music written that requires triple tonguing, yet I'm aware that lots of improv demands it.

    No. 3. is the trickiest, and the best one can humanly achieve is often obstructed by an inferior or malfunctioning instrument. Listen to just a full chromatic scale in 4/4 ascending and descending at quad forte on your instrument and brassiness most likely will be present on many notes ... especially among instruments in public schools, be they those owned by the school or student and under maintained or those owned either by the school or students and of original student quality manufacture. By my rule of thumb, two trumpets performing the same part at mezzo forte sound like forte, three like double forte, four like triple, and five like quad ... and brassiness is minimized. Seldom in piamissimo does brassiness occur. The worst offenders I've found are among the altissimo "screamers", especially those that attempt such on prior said instruments. Then consider from manufacturerer to manufacturer and horn to horn among each of these, even among the highest professional quality instruments many (most) instruments simply fail to slot well despite what the performer attempts to achieve on them.

    Need I say that those who demand perfection of others aren't retained long. Success is attained with successive achievement. Do tomorrow better than what you have done today. As the parable states, "It's much more difficult to climb the mountain than to fall down it." To this I'd add, neglect of study and preparation enhances the probability of failure (in any endeavor).
     

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