a developmental approach to warming up: warming up:...

A Developmental Approach to A Developmental Approach to A Developmental Approach to A Developmental Approach to

Warming Up: Warming Up: Warming Up: Warming Up:

For Use with Wind Band For Use with Wind Band For Use with Wind Band For Use with Wind Band

InstrumentsInstrumentsInstrumentsInstruments

Daniel Nord- 1st Year Candidate Lakeside High School Spokane, Washington

August 2007

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Table of ContentsTable of ContentsTable of ContentsTable of Contents

Foreword…………………………………………………………………………………..3

Fantastic Flutes……………………………………………………………………………4

Outstanding Oboes……………………………………………………….………………..8

Brilliant Bassoons………………………………………………………………………..12

Capital Clarinets………………………………………….………………………………16

Beautiful Bass Clarinets…………………………………….……………………………20

Amazing Alto Saxophones………………………………………………………………24

Terrific Tenor Saxophones………………………………………………………………28

The Best Baritone Saxophones…………………………………………………………..32

Tremendous Trumpets…………………………………………………………………...36

Fabulous French Horns…………………………………………………………………..41

Transcendent Trombones………………………………………………………………...46

Excellent Euphonium/Baritone BC………………………………………………………51

Breathtaking Baritone TC/Euphonium………………………………...………………...56

Tenacious Tubas…………………………...…………………………………………….61

Superior String Basses…………………………………………………………………...66 Conductor Scores and Instructions F-Tuning Warm Up………………………………………………………………70 Tuning the Concert Bb Scale…………………………………………………….74 Chord Tuning Exercise…………………………………………………………..77 Individual Instrument Warm Ups………………………………………………..82

Bibliography……………………………………………………………………..………88

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ForewordForewordForewordForeword

The following selection of warm up exercises for high school band were compiled to fulfill the Practical Applications #1 requirement of the American Band College at Southern Oregon University. Most of the exercises in this book were not created by myself but were taken from various resource materials and other band directors in the greater Spokane, Washington area. All the directors who contributed to this book, either directly or indirectly through my education, have my most sincere thanks! The book focuses on the development of good embouchures for playing common band instruments. It contains tips and pictures for forming the embouchure, tips for troubleshooting playing problems, and also clearly defined goals for every exercise. The problem I’m trying to solve is that band directors usually do not have the time or ability to fix every student’s individual problems. Also, most band warm up materials do not teach students the warm ups essential to developing control of their instrument (i.e. brass lip slurs). Warm up books are confined to scales, arpeggios, and chorales which are great for getting a band to play together, but not always useful in improving individual instrumental ability. The hope is that with these warm ups, students will be empowered to know how their instrument should be played and how to fix their own embouchure, intonation, and tone problems. This book is a supplemental set of warm up exercises I’ve learned from others or created and is not designed to replace the traditional warm up methods. You will not find all major and minor scales or arpeggios in the following pages. You will also not find chorales or rhythm reading exercises. You will find three full band warm ups that focus on long tones, air support, and steady embouchures. You will also find instrument specific warm ups for developing embouchure, range, intonation, and tone. Each of these instrument specific warm ups is arranged so that can be conducted with the whole band playing (which won’t sound very good!). The book is designed so that the each instrumental part can be copied and given to students while the director reads off the full scores in the back. It should also serve as a great reference for the director who is looking for a quick fix to problems that arise during rehearsal. I have found the following warm ups extremely effective in improving my own band. I have also watched the Mt. Spokane High School Band, under the direction of Scott Jones, consistently be outstanding using a few of these warm ups (learned by rote) everyday. I hope you find these exercises as helpful and useful as I have.

Daniel Nord Summer 2007

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Fantastic FlutesFantastic FlutesFantastic FlutesFantastic Flutes

Principles for Forming the Flute Embouchure:

1) WHEE-TOO- pull the corners of the lips back with “WHEE” and then blow “TOO” while keeping the corners pulled back

2) The C-U-P set up a. C- Center of the blowhole aligned to hole in the embouchure b. U- The flute should sit below the lower lip and the lip should cover 1/3-

1/4 of the blowhole c. P- The instrument should be parallel to the lip line

Above: Direct front view of flute embouchure with a fairly open aperture. Good example of “P” with the instrument parallel to the lip line.

Below: Front view of flute embouchure with a smaller aperture opening, more “Too” in the embouchure.

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Flute Warm Ups The goal of F-Tuning Warm Up #1 is to maintain a steady air stream and to not allow the embouchure to move for different notes. The goal of Tuning the Concert Bb Scale is to maintain a steady air stream and tune all the intervals in the Concert Bb Scale by adjusting fingerings or embouchures. Half of the band should play the bottom note while the other half plays the moving notes.

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The goal of the Chord Tuning Exercise is to hear four common types of chords and learn to tune them quickly and accurately. The air speed and tone should remain steady on each note and there should be little embouchure movement. Special attention should be paid to the 3rds (middle note) of each chord as they give the chord its character. For example the 3rd in a major chord needs to be lowered and students should practice tuning this note by embouchure adjustments and by fingering changes. Students should play the root (bottom note), 3rd, or 5th (top note) for the duration of the warm up so that they hear how the chords are made and how they differ from each other. If a student plays the root of the first chord, 3rd of the second chord, and 5th of the 3rd chord they will not be developing their ear training as effectively as the exercise is designed. Troubleshooting Common Problems on Flute:

1) No Tone, Rushing Air- Blow into the blowhole more 2) Some Sound, Much Air- Hold the “WHEE” part of the embouchure stronger 3) Woof Sound- Start your sound with the tongue by saying “TOO” 4) Thu Sound- The tongue is starting notes between the teeth or the lips. Move it

behind the teeth.

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Properly Using the Flute Embouchure to Develop Flute Range 1) When going up in range, push the corners of the embouchure and lips forward

towards the blowhole. This will decrease the size of the hole in the lips and will cause the flute to climb without pushing faster air.

2) When going down in range, pull the corners of the embouchure and lips back from the blowhole while relaxing the jaw. This will increase the size of the hole in the lips and will cause the flute to return to the lower registers without losing air support.

Focus on items 1 and 2 above while warming up on the Flute Overtone Series Warm Up exercise. Begin slowly to make sure the lips and embouchure are doing the work rather than air speed. Strive for all notes to be the same volume. Use the same fingerings for all the notes under each slur. More Common Problems on Flute Troubleshooting:

5) High Pitched Whistle- Blowing too hard or across the hole too much. The blowhole may be covered too much as well.

6) Flat Sounding A2- Roll out and don’t cover the blowhole too much.

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Outstanding OboesOutstanding OboesOutstanding OboesOutstanding Oboes Principles for Forming the Oboe Embouchure:

1) Teeth apart 1 to 2 fingers 2) Flat chin (like when whistling) 3) Place the reed on the bottom lip and then roll it in 1/16th of an inch.

Step 1: Set the reed on the lower lip.

Step 2: Draw the reed into the mouth. Step 3: Closed lips, completed embouchure. Reed Basics:

1) Always have multiple broken in, working reeds. 2) Always place the reed completely in the instrument. 3) Prepare reeds for playing by properly soaking them in water or saliva.

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Oboe Warm Ups

The goal of F-Tuning Warm Up #1 is to maintain a steady air stream and to not allow the embouchure to move for different notes.

The goal of Tuning the Concert Bb Scale is to maintain a steady air stream and tune all the intervals in the Concert Bb Scale by adjusting fingerings or embouchures. Half of the band should play the bottom note while the other half plays the moving notes.

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The goal of the Chord Tuning Exercise is to hear four common types of chords and learn to tune them quickly and accurately. The air speed and tone should remain steady on each note and there should be little embouchure movement. Special attention should be paid to the 3rds (middle note) of each chord as they give the chord its character. For example the 3rd in a major chord needs to be lowered and students should practice tuning this note by embouchure adjustments and by fingering changes. Students should play the root (bottom note), 3rd, or 5th (top note) for the duration of the warm up so that they hear how the chords are made and how they differ from each other. If a student plays the root of the first chord, 3rd of the second chord, and 5th of the 3rd chord they will not be developing their ear training as effectively as the exercise is designed.

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The Woodwind Octave Slurs exercise requires woodwind players to smoothly and evenly move between their octaves with minimal embouchure movement. All examples can be played with little finger movement so that students focus on even steady tone and a consistent embouchure. Troubleshooting Common Problems on Oboe:

1) Little or Thin Sound Produced- The embouchure is pinching or biting the reed or the reed may be too far in the mouth with too much bottom lip rolled in. Open the mouth and pull the reed and lower lip out.

2) Low Pitched or Unsupported Sound- Roll in the bottom lip and firm the corners of the embouchure.

3) Rushing Air- More air support and firm the embouchure. Rolling the bottom lip in may also help correct the sound.

4) Stopper or No Sound- The reed is being bit or pinched closed by the embouchure. Separate the teeth and check instrument angle to the body.

5) Sharp Pitch or Bright Sound- Head is held up while the oboe is held too close to the body.

6) Flat Pitch or Unresonant Sound- Oboe is being held too high causing the head to drop and place extra pressure with the upper lip.

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Brilliant BassoonsBrilliant BassoonsBrilliant BassoonsBrilliant Bassoons Principles for Forming the Bassoon Embouchure:

1) The Bassoon embouchure is an overbite where the top teeth are further forward than the bottom teeth.

2) Place the tip of the reed on the lower lip and then bring the reed and lip into the mouth, just like whistling.

3) Gently place the upper lip on the reed (not the teeth) up to the first wire. 4) There should be little pressure on the reed from either the top or bottom lip.

Side View- Notice where the upper lip is in relation to the first wire on the reed.

Frontal View- With a nice flat chin, like whistling.

Another Frontal View with an improperly angled head tilt. Reed Basics:

1) Always have multiple broken in, working reeds. 2) Place reed all the way on the bocal and the bocal all the way in the bassoon. 3) Prepare reeds for playing by soaking them in water or saliva.

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Bassoon Warm Ups

The goal of F-Tuning Warm Up #1 is to maintain a steady air stream and to not allow the embouchure to move for different notes. The goal of Tuning the Concert Bb Scale is to maintain a steady air stream and tune all the intervals in the Concert Bb Scale by adjusting fingerings or embouchures. Half of the band should play the bottom note while the other half plays the moving notes.

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The Woodwind Octave Slurs exercise requires woodwind players to smoothly and evenly move between their octaves with minimal embouchure movement. All examples can be played with little finger movement so that students focus on even steady tone and a consistent embouchure. Troubleshooting Common Problems on Bassoon:

1) Aim for a 50/50 Air/Embouchure pressure balance 2) Flat Pitch, Difficult or Impossible Soft Attacks, and Out of Tune Intervals-

Determine which side of the reed is heavy by playing low, middle, and high F and determining which side of the reed sags on middle and high F. This is the bad side and it should be played down.

3) Too Few Sounds or Too High of Crow- The embouchure is pinching the reed or the reed needs to be loosened to vibrate better.

4) Crow Too Low- Support with more air and/or embouchure or make the reed slightly shorter or narrower.

5) Unsupported sound on Low F- Support with more air and/or more support from the lower jaw.

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Capital ClarinetsCapital ClarinetsCapital ClarinetsCapital Clarinets Principles for Forming the Clarinet Embouchure:

1) Use the lower lip as a cushion for the reed. 2) Place the reed on the lower lip at the point where the reed contacts the

mouthpiece. 3) Gently set the upper teeth on top of the mouthpiece. Do not bite and do not allow

the upper lip to sit between the teeth and the mouthpiece. 4) Form the corners of the embouchure by saying “A” and then “oo” or “Q.” 5) Say the word “Protrude” to fix the overbite and bring the lower jaw forward.

Frontal view of clarinet embouchure, notice the dimples formed by the “A oo” lip setting.

Side view of clarinet embouchure, notice the angle of the instrument with the body. Reed Basics:

1) Always have multiple broken in, working reeds. 2) Attach the reed straight- no black mouthpiece should be able to be seen over the

tip of the reed.

3) Properly store reeds in specially designed reed cases, not in the plastic sleeves they come in.

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Clarinet Warm Ups The goal of F-Tuning Warm Up #1 is to maintain a steady air stream and to not allow the embouchure to move for different notes. The goal of Tuning the Concert Bb Scale is to maintain a steady air stream and tune all the intervals in the Concert Bb Scale by adjusting fingerings or embouchures. Half of the band should play the bottom note while the other half plays the moving notes.

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The Clarinet Register Slurs #1 exercise develops clarinet players tone and control between the registers. Students should maintain steady air support and a firm embouchure throughout these exercises. Each set of slurs should only require players to open and close the register key, no other finger changes are necessary. More advanced students can take this exercise one step further by moving from the upper note into their upper register by popping the first finger off of the clarinet. Troubleshooting Common Problems on Clarinet:

1) No Tone, Rushing Air- Not enough pressure against the reed or too hard of reed. 2) Flat Pitch or Squawk-Like Tone- Not enough pressure against the reed, too much

reed in the mouth, too soft of reed, or not enough air flow and breathe support. 3) Squeaks and Squeals- Not enough pressure against the reed, too much reed in the

mouth, too soft of reed, or the instrument is angled too far away from the body and/or the head is looking downwards.

4) Stopped or Intense Air- Too little reed in the mouth, too much pressure against the reed, or too soft of reed for stopped air and too hard of reed for intense air.

5) Sharp Pitch and Thin Tone- Too much pressure against the reed, too little reed in the mouth, tight or closed throat, or too hard of a reed.

6) Buzzy Sound- Too soft or worn out reed.

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BBBBeautifuleautifuleautifuleautiful Bass ClarinetBass ClarinetBass ClarinetBass Clarinetssss Principles for Forming the Bass Clarinet Embouchure:

1) Use the lower lip as a cushion for the reed. 2) Place the reed on the lower lip at the point where the reed contacts the

mouthpiece. 3) Gently set the upper teeth on top of the mouthpiece. Do not bite and do not allow

the upper lip to sit between the teeth and the mouthpiece. 4) Form the corners of the embouchure by saying “A” and then “oo” or “Q.” 5) Say the word “Protrude” to fix the overbite and bring the lower jaw forward.

Side view of Bass Clarinet embouchure with flat chin.

Reed Basics:


tip of the reed. 3) Properly store reeds in specially designed reed cases, not in the plastic sleeves

they come in.

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Bass Clarinet Warm Ups The goal of F-Tuning Warm Up #1 is to maintain a steady air stream and to not allow the embouchure to move for different notes. The goal of Tuning the Concert Bb Scale is to maintain a steady air stream and tune all the intervals in the Concert Bb Scale by adjusting fingerings or embouchures. Half of the band should play the bottom note while the other half plays the moving notes.

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The Clarinet Register Slurs #1 exercise develops clarinet players tone and control between the registers. Students should maintain steady air support and a firm embouchure throughout these exercises. Each set of slurs should only require players to open and close the register key, no other finger changes are necessary. More advanced students can take this exercise one step further by moving from the upper note into their upper register by popping the first finger off of the clarinet. Troubleshooting Common Problems on Bass Clarinet:

1) No Tone, Rushing Air- Not enough pressure against the reed or too hard of reed. 2) Flat Pitch or Squawk-Like Tone- Not enough pressure against the reed, too much

reed in the mouth, too soft of reed, or not enough air flow and breathe support. 3) Squeaks and Squeals- Not enough pressure against the reed, too much reed in the

mouth, too soft of reed, or the instrument is angled too far away from the body and/or the head is looking downwards.

4) Stopped or Intense Air- Too little reed in the mouth, too much pressure against the reed, or too soft of reed for stopped air and too hard of reed for intense air.

5) Sharp Pitch and Thin Tone- Too much pressure against the reed, too little reed in the mouth, tight or closed throat, or too hard of a reed.

6) Buzzy Sound- Too soft or worn out reed.

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Amazing AltoAmazing AltoAmazing AltoAmazing Alto Saxophones Saxophones Saxophones Saxophones Principles for Forming the Saxophone Embouchure:

1) Place upper teeth on the mouthpiece. 2) Form the corners of the embouchure by saying “A” and then firm them by saying

“oo” or “Q”. 3) Focus on applying equal pressure on all side of the reed and mouthpiece like a

rubber band would. 4) The lower lip should contact the reed where it meets the mouthpiece. 5) Unlike clarinet, air should blow directly into the mouthpiece and reed, parallel to

the floor. Keep the chin level and head vertical and then bring the instrument in to the embouchure.

Above: Side view of the saxophone embouchure. Below left: Front view of the clarinet embouchure. Below right: Front view of the saxophone embouchure. Notice how the

corners of the mouth are not as tight as the clarinet embouchure and do not cause dimples.

Reed Basics:



they come in.

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Saxophone Warm Ups The goal of F-Tuning Warm Up #1 is to maintain a steady air stream and to not allow the embouchure to move for different notes. The goal of Tuning the Concert Bb Scale is to maintain a steady air stream and tune all the intervals in the Concert Bb Scale by adjusting fingerings or embouchures. Half of the band should play the bottom note while the other half plays the moving notes.

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The Woodwind Octave Slurs exercise requires woodwind players to smoothly and evenly move between their octaves with minimal embouchure movement. All examples can be played with little finger movement so that students focus on even steady tone and a consistent embouchure. Troubleshooting Common Problems on Saxophone:

1) Choked Sound- Biting with the lower lip, too little mouthpiece in the mouth, reed too thin or soft, and lay of the mouthpiece too close are all causes of a choked sound.

2) Wobbly Sound- The upper teeth are not directly in contact with the mouthpiece. The upper lip has slid between the teeth and the mouthpiece and is causing the wobble.

3) Squawk- Too much mouthpiece or the reed is too stiff. 4) Nasally Weak Sound- Too little or too slow of air support. 5) Leak and/or Blows Hard- Pads and or keys may need adjusted or replaced. 6) Poor Intonation- Adjustment of pads is uneven and inconsistent or the throat is

too tense. The throat can be remedied simply by opening up and thinking “Ah.”

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Terrific Tenor SaxophonesTerrific Tenor SaxophonesTerrific Tenor SaxophonesTerrific Tenor Saxophones Principles for Forming the Saxophone Embouchure:







Reed Basics:



they come in.

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The Best Baritone SaxophonesThe Best Baritone SaxophonesThe Best Baritone SaxophonesThe Best Baritone Saxophones Principles for Forming the Saxophone Embouchure:







Reed Basics:



they come in.

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Tremendous Tremendous Tremendous Tremendous TrumpetTrumpetTrumpetTrumpetssss Principles for Forming the Trumpet Embouchure:

1) Separate the teeth 1-2 fingers. 2) Form the lips by saying the word “dim” or “b”. 3) The mouthpiece should sit at 50/50 to 60/40 upper lip to lower lip. 4) The mouthpiece should be somewhat centered (depends on each individuals lip

structure) and should sit slightly below parallel to the ground. 5) Blow air through the embouchure, allowing the lips to buzz, while maintaining

the shape of “dim” or “b”. 6) Do not make faces by squeezing or smiling. 7) Do not allow the cheeks to puff out with air or form air packets above the upper

lip and below the lower lip. 8) Do not “grip and rip” by pushing the mouthpiece into the face; squishing the lips

between the rim of the mouthpiece and the teeth.

The trumpet embouchure without a mouthpiece is very relaxed and natural.

The side view of a trumpet embouchure shows the lips 50/50 in the mouthpiece.

The frontal view of the trumpet embouchure shows a flat chin and non-smiling lip corners.

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Trumpet Warm Ups The goal of F-Tuning Warm Up #1 is to maintain a steady air stream and to not allow the embouchure to move for different notes. The goal of Tuning the Concert Bb Scale is to maintain a steady air stream and tune all the intervals in the Concert Bb Scale by adjusting fingerings or embouchures. Half of the band should play the bottom note while the other half plays the moving notes.

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Brass Flexibility #1 increases students’ control of their embouchure and their horn by slurring from the middle to low registers. Students should strive to give all notes the same volume and support and to have very resonant low tones. The embouchure should move very little and should be free from stress and strain. Brass Flexibility #2 increases students’ control of their embouchure and their horn by slurring from the middle to low registers. Students should strive to give all notes the same volume and support and to have very resonant low tones. The embouchure should move very little and should be free from stress and strain.

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Brass Flexibility #3 increases students’ control of their embouchure and their horn by slurring from the middle to high registers. Students should strive to give all notes the same volume and support. It is especially important that the embouchure moves very little and is free from stress and strain when aiming for the highest notes. Troubleshooting Common Problems on Trumpet:

1) No Tone, Rushing Air- Caused by lips not together, too much “oo” in the embouchure shape, dry lips and mouthpiece, or not enough air to start the lips vibration

2) Airy Tone- Lips not together or too much “oo” in the embouchure shape 3) Tight, Thin Tone- Body is too tense, corners of the mouth pulling back and

tensing the embouchure, squeezing the “oo” shape too much, or a closed tense throat

4) Completely Stopped Sound- Closed throat, “grip and rip” mouthpiece pushing into the face, or corners of the mouth pulling back and tensing the embouchure

5) Sharp, Thin Low D- Use the ring to lengthen the third valve tubing and then open the embouchure to an “oh” shape

6) Flat Top Space E, Fourth Line D- Lip the note up, practice sirens on the mouthpiece to learn how to lip a note up or down

7) Pinched, Sharp High A- Practice matching the tone quality of the middle register 8) Puffed Cheeks- Practice while looking in a mirror

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Fabulous French HornsFabulous French HornsFabulous French HornsFabulous French Horns

Principles for Forming the French Horn Embouchure:

1) Separate the teeth 1-2 fingers. 2) Form the lips by saying the word “dim” or “b”. 3) The mouthpiece should sit at 2/3 upper lip to 1/3 lower lip and the rim should be

above the top of the upper lip. 4) The mouthpiece should be somewhat centered (depends on each individuals lip


the shape of “dim” or “b”. 6) Utilize a flexible jaw to change registers. For example, say “ee” for the high

range, “oh” for the middle range, and “aw” for the high range. 7) Do not make faces by squeezing or smiling. 8) Do not allow the cheeks to puff out with air or form air packets above the upper



The french horn embouchure without a mouthpiece is very relaxed and natural.

The side view of a french horn embouchure shows the lips 2/3 upper and 1/3 lower in the mouthpiece.

The frontal view of the french horn embouchure shows a flat chin and non-smiling lip corners.

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French Horn Warm Ups The goal of F-Tuning Warm Up #1 is to maintain a steady air stream and to not allow the embouchure to move for different notes. The goal of Tuning the Concert Bb Scale is to maintain a steady air stream and tune all the intervals in the Concert Bb Scale by adjusting fingerings or embouchures. Half of the band should play the bottom note while the other half plays the moving notes.

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Brass Flexibility #3 increases students’ control of their embouchure and their horn by slurring from the middle to high registers. Students should strive to give all notes the same volume and support. It is especially important that the embouchure moves very little and is free from stress and strain when aiming for the highest notes. Troubleshooting Common Problems on French Horn:





5) Puffed Cheeks- Practice while looking in a mirror.

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Transcendent Transcendent Transcendent Transcendent TromboneTromboneTromboneTrombonessss Principles for Forming the Trombone Embouchure:

1) Separate the teeth 1-2 fingers. 2) Form the lips by saying the word “dim” or “b”. 3) The mouthpiece should sit at approximately 50/50 upper lip to lower lip. 4) The mouthpiece should be somewhat centered (depends on each individuals lip





The trombone embouchure without a mouthpiece is very relaxed and natural.

The side view of a trombone embouchure shows the lips 50/50 in the mouthpiece.

The frontal view of the trombone embouchure shows a flat chin and non-smiling lip corners.

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Trombone Warm Ups The goal of F-Tuning Warm Up #1 is to maintain a steady air stream and to not allow the embouchure to move for different notes. The goal of Tuning the Concert Bb Scale is to maintain a steady air stream and tune all the intervals in the Concert Bb Scale by adjusting slide positions or embouchures. Half of the band should play the bottom note while the other half plays the moving notes.

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The goal of the Chord Tuning Exercise is to hear four common types of chords and learn to tune them quickly and accurately. The air speed and tone should remain steady on each note and there should be little embouchure movement. Special attention should be paid to the 3rds (middle note) of each chord as they give the chord its character. For example the 3rd in a major chord needs to be lowered and students should practice tuning this note by embouchure adjustments and by slide position changes. Students should play the root (bottom note), 3rd, or 5th (top note) for the duration of the warm up so that they hear how the chords are made and how they differ from each other. If a student plays the root of the first chord, 3rd of the second chord, and 5th of the 3rd chord they will not be developing their ear training as effectively as the exercise is designed.

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Brass Flexibility #3 increases students’ control of their embouchure and their horn by slurring from the middle to high registers. Students should strive to give all notes the same volume and support. It is especially important that the embouchure moves very little and is free from stress and strain when aiming for the highest notes. Troubleshooting Common Problems on Trombone:





5) Puffed Cheeks- Practice while looking in a mirror 6) Fuzzy Sound- Embouchure aperture (opening) is too large, practice getting a loud

buzz on the mouthpiece 7) Flat, Flabby Low Register- Tighten embouchure and provide more breath support 8) Sharp, Pinched High Register- Too much tension, practice in a more relaxed

register and then move up

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Excellent Excellent Excellent Excellent EuphoniumEuphoniumEuphoniumEuphoniumssss and Baritone B.C. and Baritone B.C. and Baritone B.C. and Baritone B.C. Principles for Forming the Euphonium/Baritone B.C. Embouchure:






The euphonium embouchure without a mouthpiece is very relaxed and natural.

The side view of a euphonium embouchure shows the lips 50/50 in the mouthpiece.

The frontal view of the euphonium embouchure shows a flat chin and non-smiling lip corners.

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Euphonium/Baritone B.C. Warm Ups The goal of F-Tuning Warm Up #1 is to maintain a steady air stream and to not allow the embouchure to move for different notes. The goal of Tuning the Concert Bb Scale is to maintain a steady air stream and tune all the intervals in the Concert Bb Scale by adjusting fingerings or embouchures. Half of the band should play the bottom note while the other half plays the moving notes.

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Brass Flexibility #3 increases students’ control of their embouchure and their horn by slurring from the middle to high registers. Students should strive to give all notes the same volume and support. It is especially important that the embouchure moves very little and is free from stress and strain when aiming for the highest notes. Troubleshooting Common Problems on Euphonium/Baritone B.C.:








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Breathtaking Baritone and Euphonium T.C.Breathtaking Baritone and Euphonium T.C.Breathtaking Baritone and Euphonium T.C.Breathtaking Baritone and Euphonium T.C. Principles for Forming the Euphonium/Baritone T.C. Embouchure:






The euphonium embouchure without a mouthpiece is very relaxed and natural.

The side view of a euphonium embouchure shows the lips 50/50 in the mouthpiece.

The frontal view of the euphonium embouchure shows a flat chin and non-smiling lip corners.

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Euphonium/Baritone T.C. Warm Ups The goal of F-Tuning Warm Up #1 is to maintain a steady air stream and to not allow the embouchure to move for different notes. The goal of Tuning the Concert Bb Scale is to maintain a steady air stream and tune all the intervals in the Concert Bb Scale by adjusting fingerings or embouchures. Half of the band should play the bottom note while the other half plays the moving notes.

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Brass Flexibility #3 increases students’ control of their embouchure and their horn by slurring from the middle to high registers. Students should strive to give all notes the same volume and support. It is especially important that the embouchure moves very little and is free from stress and strain when aiming for the highest notes. Troubleshooting Common Problems on Euphonium/Baritone T.C.:








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Tenacious Tenacious Tenacious Tenacious TubaTubaTubaTubassss Principles for Forming the Tuba Embouchure:

1) Separate the teeth 1-2 fingers. 2) Form the lips by saying the word “oh” then “oo” and squeezing towards the center

of the embouchure. 3) The mouthpiece should sit at 2/3 upper lip to 1/3 lower lip. 4) The mouthpiece should be somewhat centered (depends on each individuals lip


the shape of “oh” or “oo”. 6) Do not make faces by squeezing or smiling. 7) Do not allow the cheeks to puff out with air or form air packets above the upper

lip and below the lower lip.

The tuba embouchure without a mouthpiece is very relaxed and natural.

The side view of a tuba embouchure shows the lips 2/3 upper and 1/3 lower in the mouthpiece.

The frontal view of the tuba embouchure shows a flat chin and non-smiling lip corners.

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Tuba Warm Ups The goal of F-Tuning Warm Up #1 is to maintain a steady air stream and to not allow the embouchure to move for different notes. The goal of Tuning the Concert Bb Scale is to maintain a steady air stream and tune all the intervals in the Concert Bb Scale by adjusting fingerings or embouchures. Half of the band should play the bottom note while the other half plays the moving notes.

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Brass Flexibility #3 increases students’ control of their embouchure and their horn by slurring from the middle to high registers. Students should strive to give all notes the same volume and support. It is especially important that the embouchure moves very little and is free from stress and strain when aiming for the highest notes. Troubleshooting Common Problems on Tuba:

1) No Tone, Rushing Air- Re-form the embouchure with “oh” then “oo” while squeezing to the center, think “oh” to open the throat and allow air to more freely

2) Thin, Pinched Tone- Loosen the embouchure and push more air through the lips 3) Gargled Tone- Tighten embouchure and don’t allow lips to fold over the teeth 4) Stopped or Intense Air- Loosen the embouchure and push more air between the

lips

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Superior Superior Superior Superior StringStringStringString Bass Bass Bass Basseseseses

Principles for Forming the String Bass Bow Hold (French):

1) Open the right hand, palm facing up 2) Spread fingers as if gumballs were between them 3) Lay the bow stick across the first knuckles of the first and fourth fingers 4) Curve the thumb up to the stick just in front of the frog 5) Keep the curved shape in the hand and turn the bow over

Above: How the French Bow Hold looks. Below left: How the German Bow Hold looks. Below right: A picture of the great Ray

Brown and his excellent bass posture.

Principles for String Bass Posture:

1) Adjust the endpin so that first position fingering is approximately eye or forehead level.

2) The bass should gently lean into the waist and the left knee for support; do not use the left hand to support the instrument.

3) The left hand must keep an open C shape. 4) The left elbow must stay elevated away from the body to allow for vibrato and

shifting.

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String Bass Warm Ups

The goal of F-Tuning Warm Up #1 is to develop and maintain the ability to draw the bow across the strings and achieve a steady sound.

The goal of Tuning the Concert Bb Scale is to maintain a steady air stream and tune all the intervals in the Concert Bb Scale by adjusting finger placement. Half of the band should play the bottom note while the other half plays the moving notes.

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Troubleshooting Common Problems on String Bass:

1) Do not tune to the bass strings to the bands Concert Bb. Instead ask for an A or an E or use a tuner.

2) Rosin the bow frequently to get good string response and action with the bow. 3) Most tone problems can be fixed by adjusting the bow strokes speed or pressure. 4) If the left hand fingers are not pushing with enough weight the instrument will

buzz and rattle.

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Full Band Full Band Full Band Full Band

Warm Up Warm Up Warm Up Warm Up

Conductors Conductors Conductors Conductors

ScoresScoresScoresScores

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FFFF----Tuning Warm Up 1Tuning Warm Up 1Tuning Warm Up 1Tuning Warm Up 1

The goal of F-Tuning Warm Up #1 is to maintain a steady air stream and to not allow the embouchure to move for different notes. The band should be adjusting fingerings and embouchures to get their notes in tune and take the waves out of the sound. This exercise is designed to work directly with an 8 count exhale-4 count inhale flow exercise from The Breathing Gym by Patrick Sheridan and Sam Pilafian.

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Tuning the Concert Bb ScaleTuning the Concert Bb ScaleTuning the Concert Bb ScaleTuning the Concert Bb Scale

The goal of Tuning the Concert Bb Scale is to maintain a steady air stream and tune all the intervals in the Concert Bb Scale by adjusting fingerings or embouchures. Half of the band should play the bottom note while the other half plays the moving notes. *This exercise can be adapted to any scale the band is currently working on.

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Chord Tuning ExerciseChord Tuning ExerciseChord Tuning ExerciseChord Tuning Exercise The goal of the Chord Tuning Exercise is to hear four common types of chords (major, minor, augmented, and diminished) and learn to tune them quickly and accurately. The air speed and tone should remain steady on each note and there should be little embouchure movement. Special attention should be paid to the 3rds (middle note) of each chord as they give the chord its character. For example the 3rd in a major chord needs to be lowered and students should practice tuning this note by embouchure adjustments and by fingering changes. Students should play the root (bottom note), 3rd, or 5th (top note) for the duration of the warm up so that they hear how the chords are made and how they differ from each other. If a student plays the root of the first chord, 3rd of the second chord, and 5th of the 3rd chord they will not be developing their ear training as effectively as the exercise is designed.

This is a very versatile exercise as the director can pick where to start (I usually pick a major chord) and then continue forward or backward through the exercise. The director can also pick where to stop (I usually pick a major chord again to get the students feeling steady) depending on their individual bands ability, needs, and rehearsal time parameters. It is useful for playing as well as for singing. I have found that having students play their pitch and then sing it goes a long way in good ear training. By the end of the school year most high school bands should be able to accurately sing through this entire exercise. Do not simply conduct a four pattern through this exercise. Show students when to change chords and then linger on the chord until it is in tune and tone before moving forward. A Comment on Scoring: The exercise has been written in the middle range for most instruments and in ranges commonly used by high school literature. Each part has been given the full triad and each student has the concert pitch chord name and quality written in their part. Allowing students to pick which note of the triad they will play inevitably causes strange inversions of the chords and makes it very difficult to tune properly. A simple fix is to ask the basses (tuba, string bass, low trombones, bass clarinet, and baritone saxophone) and sopranos (piccolo, flute, 1st trumpet) to play the root throughout the exercise. Allow the rest of the band to experiment with 3rds and 5ths and the result will be a fully scored triad. Students may transpose their note up or down an octave if they so desire. *This exercise can be done without music. If students know their chromatic scale give them a starting pitch and then direct with hand symbols (i.e. 3 fingers for the 3rd and then point the direction you want the note to move).

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Individual InstIndividual InstIndividual InstIndividual Instrument Warm Upsrument Warm Upsrument Warm Upsrument Warm Ups The following warm ups should be done by each instrumental section daily. However, with rehearsal time being as precious as it is, it is impossible to make time for each warm up to happen individually. Each set of individual warm ups contains 3 measure phrases followed by one measure of rest so it is possible to conduct through these warm ups and keep the band together (even though it sounds like complete and utter chaos). Every day I check in with one section (without the others playing) so that I can focus on their specific embouchure needs. This practice will insure all students are doing the warm ups correctly to develop strong embouchures and good tone. Also, each set of individual warm ups has a different total number of measures. I simply instruct students to go back to the beginning and start over until the brass has completed their flexibility exercises.

The Flute Overtone Series Warm Up requires flute players to use one fingering for each slurred set and then adjust their embouchure forward to achieve the higher notes. Students should strive for all notes to be of the same volume and tone and should not blow harder to achieve the higher notes.

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The Clarinet Register Slurs #1 exercise develops clarinet players tone and control between the registers. Students should maintain steady air support and a firm embouchure throughout these exercises.

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The Woodwind Octave Slurs exercise requires woodwind players to smoothly and evenly move between their octaves with minimal embouchure movement. All examples can be played with little finger movement so that students focus on even steady tone and a consistent embouchure.

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Brass Flexibility #1 increases students’ control of their embouchure and their horn by slurring from the middle to low registers. Students should strive to give all notes the same volume and support and to have very resonant low tones. The embouchure should move very little and should be free from stress and strain.

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Brass Flexibility #2 increases students’ control of their embouchure and their horn by slurring from the middle to low registers. Students should strive to give all notes the same volume and support and to have very resonant low tones. The embouchure should move very little and should be free from stress and strain.

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Brass Flexibility #3 increases students’ control of their embouchure and their horn by slurring from the middle to high registers. Students should strive to give all notes the same volume and support. It is especially important that the embouchure moves very little and is free from stress and strain when aiming for the highest notes. *It is often effective to teach this exercise by rote before allowing students to see what notes they are really playing. If students are focused on good air and a stress free embouchure the high notes will come. Something about seeing the notes on the page causes them to worry and make strange things happen.

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Bibliography

Bishop, Jeffrey S. "Successful String Teaching by "Non-String" Players." The Music Education Madness Site. 2006. Noteworthy Cybersolutions. 05 Aug. 2007 <http://www.musiceducationmadness.com/string.shtml>. Embou-Sure: A Step-by-Step Method complete with tape. Ashland: W.I.B.C. Publishing, 1987. Hunsberger, Donald. The Remington Warm-Up Studies. Athens: Accura Music, 1980. Jones, Scott. Telephone interview. 27 June 2007. Kjelland, James. "In Praise of Violin and Double Bass E Strings: Defining Orchestral Sound and Bowing Technique." Keynotes Magazine. Conn-Selmer. 05 Aug. 2007 <http://www.keynotesmagazine.com/article.php?uid=106>. New Orleans String Project. 2001. Louisiana Philharmonic Orchestra. 05 Aug. 2007 <http://www.neworleansstringproject.org/advice.php>. Pilafian, Sam and Patrick Sheridan. The Breathing Gym. Focus On Music, 2007. Waybright, Darcy A. Personal interview. 1 Aug. 2007. Webley, Rachel. "Bass Clef Strings: Cello and Double Bass." 05 Aug. 2007 <http://www.bassclef.co.uk/bow_hold_bass.html>. Westphal, Frederick W. Guide to Teaching Woodwinds. Fifth ed. Boston: McGraw Hill, 1990. Whitener, Scott. A Complete Guide to Brass. Second ed. Belmont: Schirmer, 1997.

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