Photo Credit: hjones999 on Flickr
Almost very trumpet player has a favorite warm-up routine that works best for his/her needs. Some believe long tones are best. Some believe short flexibility exercises are the only way for them. In my case, I feel that the same routine every day can be tiring and unproductive. For that reason I have been alternation between two warm-ups and will continue with this practice until I find something better.
One of my favorite warm-ups can be found on Jay Lichtmanns’ web site. After reaching his site, click on the heading Brass Music Downloads. Next, enter the heading called Trumpet Studies. From that page you will be able to down load his first entry entitled Mouthpiece Warm-up. Follow his instructions and you are on your way. Remember to practice what you can without strain. With time you will be able to increase your ability to perform all of his material.
Mr. Lichtmann has made available a treasure of information as well as many excellent ensembles and you can download all of this free. He has made available a wonderful collection of his teaching materials and the trumpet world needs to thank him for his efforts. When first starting to use his exercises, begin slowly and add additional exercises as your ability increases. Many times a student will become excited with new material and over do their practicing on such material. It is better to under shoot your practice sessions than it is to play past the point of improvement. Most of Mr. Lichtmanns’ material is written for the more advanced player so don’t over do your ability.
Your next exercise is labeled “Warm-up” / “Mouthpiece & Extreme Bending Warm-up”. This is also a free exercise and I need to explain the advantages of bending notes as he has written. These are for the more advanced players and should be played with the mouthpiece in the instrument. When you first attempt these exercises, you will wonder if the author has lost his mind for the fingering and the written notes do not line up. Your first phrase includes the notes G, F#, G, C, G, E, C, E, G- G, F, E, D, C, B, C. All of these notes are to be played open, no valves depressed. In order to play the second note F# without depressing a valve, you will need to “lip down” from the first note G. Begin slowly and keep practicing until you are able to play an in tune F# with no valves depressed. Once you have that mastered, then try to produce a full, rich sound on that note with the open fingering. I remember this exercise from many years ago when I was visiting with Mr. Schilke in Chicago. He was a strong supporter of this bending practice. You may find that the sixth note (E) is even more difficult than the F#. With practice, this will also become playable. Now for the thirteenth note (D). If you are unable to center a good sound on this note, don’t feel bad. I can’t get it either. What I do is change the D to a G and continue with the line.
The benefits of these exercises are numerous and even though they might not come to you easily at first, keep practicing and eventually you will love playing them. These exercises are not only beneficial for lip control; they are also helpful in developing a good ear and better intonation. An additional advantage is that they relax your lip muscles.
The combination of “Mouthpiece warm-up” and the “Mouthpiece & Extreme Bending Warm-up” is all you will need to accomplish the warm-up section of your daily practice routine. As you develop more strength and endurance, additional lines should be included but at all times remember- “GO SLOW AND LIVE TO PLAY ANOTHER DAY”.
