commakozzi

I just got my very first copy of the Schlossberg Daily Drills book. The way I'm interpreting the instructions is to pick a few drills from each category I-VIII for each day, and it should only take about 20 minutes to go through all eight categories. Is that correct? I mean, there are some of the exercises where it has an asterisk next to it, and then the notes at the bottom say to transpose that drill into all keys!!! That would take over 10 mins! There's a lot of material in some categories, but then not nearly as much in others. It's a little intimidating to try to find what I need to practice from each group, but I spent about 45 mins going through the book today. I played about 2-3 drills from each category, which I stumbled through really most of them. When I was done, I definately felt like I had a great workout and some things were starting to "fix themselves", but still. How do you guys use this book?

mrmusicnotes

Hi, I mainly use Schlossbergs for lip flexibilities since 90% of the exercises are written legato.The exercises written in false or same fingering(all 7 valve combinations)are my favorite,because they emphasize toungue level.I switch off between Schlossberg,Walter Smith lip flexibilities and Arban.Flexibility exercises take up about 20% of my total practice time.

commakozzi

Ugh, I tried to use the Schlossberg Daily Drills as a warm-up today. I'll never do that again... I feel like I've messed up my whole day. I did the mouthpiece buzzing and then tried to go through the eight categories. I was busted after the first couple of long tone drills I chose. By the time I stopped, I sounded worse than I have in months.

rowuk

Commakozzi,
I do not use Schlossberg to warm up. Those daily drills come AFTER breathing, long tones, Clarke, tunes (music/repertory). All chopbusters come after music in my daily routine. I play Schlossberg like Clarke mostly VERY softly.

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commakozzi

Yeah, I learned my lesson the hard way this morning. Thanks!!!

Vulgano Brother

We can think of Schlossberg as physical therapy, and pick exercises for our weaknesses or use it in place of a Claude G. or Maggio method. Killer stuff!

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Richard Oliver

Schlossberg is one of my favs :)

Jerry's comparison to PT is spot on. I look as it as a runner might look at their everyday physical training regimen.

When I was kid working on it 30 years ago, so much was so beyond me and lacking the patience to grow towards it, I did not persevere.

Now, I just love it. Resigning myself to take the time and sound iffy as I pursued the "Long Note Drills" section was a huge turning point. I'm talking about the latter exercises especially.

Over a 6 month + period of being in no rush and becoming willing to take the time to be diligent and rest before I tire, allowed me, I think, to progress nicely. When there's time, I work from all the sections now. Some sound iffy, but that's the way stuff sounds until it doesn't. But to be able to work to E above high C and not have the thing be wide and sloppy but focused (I think of 2 D-cell flashlight beam) has been quite rewarding. Also, I stick to dynamics. Boy, does that help: pp, p, and mf abound.

Talk about "stretching." Or at least that's how it seems to me. My core good sound began to become present as the exercises asked to to expand up and down the compass of what I could pull off in a single blow (sort of; you get the idea).

You can make them very musical which is one thing I really like about them.

commakozzi

Yeah, I can see where most of what you're saying ties into my very brief experience with them. I just got the book the other day. The first day I used it I had already done most of my "routine" for the day. I spent 45 mins on it that day and had a great experience. However, I'm in the market for a better warmup and thought I'd give the Schlossberg a try. No good for that though, and I'm back to my old warmup. I'm interested in the long tones, of course, and other than that I'm almost dumbfounded with the amount of material and drills. Not sure where to start, but I'll keep turning back to it. I think that I'm going to end my day with a straight run through the book from now on.... just to get a feel for it. I already know what I want to do with the long tones (I'm going to use them as chop builders). I like the interval exercises a lot too. The chord stuff is ok, maybe better than I think now. I'm a horizontal man! Uh.... don't take that the wrong way... LOL... No, I'm working on a more horizontal approach to my improvisation, and clarkes and vizzuttis really work well for it. I know that there is a scales category and I'm still looking into it, but right now I'm happy with what I'm doing. So basically, I'm looking at the Schlossberg as a chop builder book. That includes much more than range. It includes sound, attack, STAMINA!!!, range, and much more. To be honest, I've known about the ta, tu, te idea for many years, but have never concentrated on it. Now that I've been reintroduced to it with this book, I'm thinking about it seriously again, and it's producing results in just a few days, so I'm excited.

croatoa

i also like this book...do you suggest me to play everything at pp or to observe the written dynamics?

iainmcl

Hi. Would love to get a copy of the Schlossberg from somwhere/someone.
I've got a few exercises from it that are part of the Adams routine, but with no explanation...etc.
It's pretty difficult getting books like that here in New Zealand that don't mean putting your house up for mortgage to pay for. The examples I do have, though, are really good. I haven't played them in a while, but treated them as long-tone etudes, somewhere in the middle of my practice day.

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