Notice the word “start”.
To get back to your full potential after lying off an extended amount of time is something that will take more than three days but starting to get back in shape is where we all find ourselves from time to time. In most cases we are asked to perform a solo, play some hymns in church or play taps when we have not been conscientious in our regular practice habits and you may find this an effective way to get back your “usable chops” for these unexpected moments.
Thoughtful and structured practice for three consecutive days is all most players need and due to the fact that I have to play this weekend after being on vacation from my horn for the past two weeks, I thought it time to write down my routine in case someone needed a quick fix for a similar situation.
Areas to be addressed when “getting back on the horse”.
1. Flabby Chops
2. Lack of High Range
3. Sloppy Fingers
4. Lack of Endurance
5. Stiff Chops
6. Weak Sight-Reading Ability
The feeling I have in my embouchure after being off my horn for more than a week is what I describe as “flabby”, meaning the lip muscles are limp and extremely relaxed feel to them. My first exercise addresses this condition and there is nothing more productive than long tones when trying to improve this condition. The secret to gaining strength through long tones is not just the act of taking a large breath and playing a single note until you run out of air. Effectively using long tones is based on how they are played (i.e. volume of both air and decibels of sound; the length of the long tone; listening to your tone quality as you play the long tones; the realization of the amount of pressure you are exerting on your lip; the most effective placement of your mouthpiece on you lip as well as many other elements related to effective playing).
As some of you might remember, I am a strong proponent of what I call the “rest as much as you play” philosophy. When applying this method, you are automatically limiting the tendency to over-do any phase of your practice routine. When applying my method in each of these areas, I will be very clear as to how and even more important “how much” you need to do to get back in shape.
1. Rebuilding strength in your neglected chops.
As stated before, long tones are the most effective way to increase strength and to reach this end, I do the following.
• Practice in front of a wall clock with a visible second hand.
• Begin playing third space C at a mp volume level for five seconds.
• After five seconds, slur down to second line G at the same dynamic.
• After the note G slur down to low C and hold that for five seconds.
• Continue this pattern until you have chromatically descended through the seven valve combinations (0-2-1-12-23-13-123)
• Now rest fifteen seconds by the clock
• Start on your last 1-2-3 valve fingering and retrace (this time ascending) your patterns back up starting with your low F#, C# and F# (all with the 1-2-3 fingering followed by 1-3, 23, etc.)
• Rest fifteen seconds between each three note pattern.
• Depress the second valve and continue in the same descending pattern until you have played all seven valve combinations down to first space B, F# and Low B.
• Repeat the same pattern but this time begins on top space E followed by C and finally second line G.
• Continue down with the seven valve combinations until you reach A#, F# and low C#.
• Be sure to play fifteen seconds and follow this with an equal fifteen second rest period.
If you feel some taxation from this series of play rest routine at this point, you have done enough and any additional playing will not be of benefit to you. If on the other hand you feel strong and wish to continue, read on.
• Repeat the same pattern but this time begin on the G above the staff followed by E and finally third space C.
As you are playing each note concentrate on your tone quality. If your sound is dull and unfocussed, firm the corners of your embouchure. Be sure to keep the vibrating area under your mouthpiece relaxed. As you listen to your tone, adjust your corner tension to gain a more focused or brighter timbre. The strength of your embouchure is based in the corners of your lips, not in the center.
If you feel some taxation from this series of play rest routine at this point, you have done enough and any additional playing will not be of benefit to you. If on the other hand you feel strong and wish to continue, read on.
• Repeat the same pattern but this time begins on high C followed by G and finally top space E.
I have included a copy of this full routine to make it easier to learn this practice. How far you take these notes depends on the individual’s present ability; but remember, the most important rule is this,
“If you feel fatigue, you have gone far enough for today”.
As you repeat these exercises each day, you will notice that what was tiring the day before will eventually become easier and it is at that point that you add an additional series of notes above what you have been practicing.
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