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Discussion in 'Trumpet Discussion' started by audwey11, Dec 22, 2015.
If I don't warm up, my sound is of very low quality.
I like the Heimat tone concept of Gerald Webster.
Gerald Webster discovered that when we play a medium high, medium low, medium loud tone on our mouthpiece first thing in the day, the same pitch will come out, our personal "home" tone, or Heimat tone (he discovered this while touring with Edward Tarr in Germany, thus the name). "Personal" means just that, each person has his/her own Heimat tone -- there is no "good," "bad" or "ideal." Just play your first tone of the day on your mouthpiece for a few days, check your pitch with a piano or your trumpet, and you've got your own personal Heimat tone.
Some players start their warm-ups on c below the staff, then work their way upwards, but that makes any thing above c below the staff a more or less a high note. Rather than starting in the lower register, consider starting at your personal Heimat tone and expanding from there. That gives us the feeling of having more low tones to play, and fewer high ones to struggle for. After a couple minutes of expanding from the Heimat tone, you should be in pretty good shape to play.
I advocate exhaling the first notes - no tonguing. I find with many players that they use too much tongue just to get the lips to ignite. That inhibits the ability to play cleanly at low volumes.
That being said, I do not warm up as such. I do have a daily routine that I do daily.
Special note: I never start warming up at a gig. I come prepared. I consider it VERY annoying to noise pollute the stage when every one is getting set up.
I found this to be a good one. Laurie Frink (if anyone doesn't know who she was, it would be good to acquaint yourself with her. Remembering Laurie Frink, The 'Trumpet Mother' Of The Jazz Scene : A Blog Supreme : NPR )
This is the warm up. (I couldn't post the file here because it was too large. So use the link.)
With the majority of the gigging I do, there often isn't a good place to warm up at the venue - it's not unusual for a cocktail hour or the wedding ceremony to be going on in an adjacent room, and sound has to be kept to a minimum, so I got in the habit of a doing a basic warmup before I ever even leave the house - again, just the stuff I mentioned above to insure that the chops are working as expected.
This reminds me of the trombone player we used for a bit. He was complaining about not being able to warm up at the gig one night, and was really bent about it and the fact not being able to warm up was often the case. At that point I simply told him that I always played at home before leaving for the gig, because that was usually the case. No matter - we didn't use him for much longer. His lack of preparation prior to a gig wasn't the only thing he wasn't handling, so he was let go.
Two purposes to warming up... getting blood flow to muscles prior to demanding stretch (long tones work well here)
Then stretching the muscle to get them to flex in a non fatiguing manner... I use a pattern of octave slurs I learned from my classical teacher, Eugene Blee, as a young lad. Still use them today many many years later. Eugene spoke gold.
This takes under 5 minutes. After this, you are ready to blow with confidence. Bring it on Eddie!
My warmup starts on a low G below the staff, and then I do long, low notes slurring down in pedal tones (returning to G) until I get as low as I can go. That low G has to be the first note that I play on the horn otherwise my chops are done after a couple of tunes.
Then I do the same thing, starting on low G, but ascending until I hit the second-line G.
I then do some chromatic scales to warm up my fingers.
I'll finish up by going around the circle of fifths in arpeggios to get my tongue warmed up, sometimes one octave, sometimes two, sometimes two and a half or even three, depending on how I'm feeling that day.
Your warmup routine sounds fine to me. Though I will agree with the "anything more than 5 minutes is practicing" adage.
I do soft lip bends on a G in the staff, with breath attacks. This helps stretch things out as well as find the resonant center.
Then on to some standard lip slurs and arpeggios, as well as chromatic scales that expand.
Lately, I've been prefacing everything with some long tones on the lead pipe, ala Adams.
This point then leads to a question that I really do not have an answer for: How long does a warm up last?
Until you're done!