Daily "Building Block" Routine

Here is one implementation of the ideas presented in the Daily Routine Menu. Whereas the menu gives you choices, here is a set routine that, if followed from beginning to end will cover many valuable aspects of your playing.

Daily "Building Block" Routine (f)

Commentary on the Routine

Why the letter (f)? Because I keep revising these things. I guess everybody needs a hobby.

This routine take 20-25 minutes. As time permits, I hope to make some sound files to accompany these patterns.

Building Block #1 Deep Breathing and Resonant Buzzing

This doesn't take much time and is a great way to get started. Think of the buzzing as a natural extension of deep breathing. Don't force the buzz to be too loud. Think of resonance: the most vibration for the least effort.

Building Block #2: Glissing throughout the Range with a Full Sound

Extend those easy buzzing glisses to the trombone. Listen carefully to your sound: keep it full throughout the glissando instead of backing off the sound. Keep the gliss slow. I like to extend these glisses down to pedal C on the descent and up to high F when ascending. As long as you don't resort to mouthpiece pressure, I don't think there's any harm in extending up to your high notes early in the routine. Just don't kill yourself over it.
If, on one partial, you can't gliss all the way up to first position without "jumping the track", gliss a shorter distance (maybe up to third).

Building Block #3: Flow (Buzzing, Singing, Playing, with a Beautiful Sound)

I tried to choose patterns that have musical direction and allow you to buzz or sing with a nice full, easy sound. I hope the good habits developed in buzzing will carry over to a big, round sound. Keep the slide technique quick and accurate. When using the metronome, you'll have to time that relaxed breath. Notice that, once you've turned on the metronome, you can just keep it running throughout the routine.

Building Block #4: Simple Articulation and Lip Slurs

For non-legato tonguing: keep it light and bouncing. The attacks should have a "happy" quality. For legato tonguing, keep the "d" very light and get right to the "ah." To borrow a choral analogy, "put the vowel on the downbeat." If you are struggling playing the lip slurs in time, temporarily use a very light legato tongue. As your playing develops, hopefully you can get to that lip slur as soon as possible.

Building Block #5: Centered Tone and Consistent Intonation

Ahh, long tones. The may be boring but they serve a purpose. I decided to stick to a few notes from the overtone series instead of a full chromatic pattern. Part of my goal: to get people to finally play that 6th partial in tune! Don't skip over this one...it doesn't take too long.

Building Block #6: Clean Articulation, Slide Technique, Rhythmic Accuracy

This is the first "utility tool" exercise. It's pretty self-explanatory. In non-legato, get the slide in place before the the note. In legato, make the slide as late as possible but don't jerk it violently. Hear each subdivision in your head before you start playing.

Building Block #7 Accurate Tonguing and Lip Slurs

Good facility on the overtone series is a "must-have" for any brass player. If the 16th notes are too tricky, you can use the eighth pattern presented at the bottom of the page.

Building Block #8: Security in the High Register

Study the slide positions, and be sure you are placing it accurately. Don't hold on to the top note for too long. Your goal here is to build confidence and accuracy, not exhaust yourself. Make sure your breathing is every bit as good as it was for the first buzzing and flow exercises.

Building Block #9: Putting it All Together (with Pedals)

Here's another "utility tool" exercise that accomplishes all sorts of goals. Be sure to play musically. Don't be afraid to really play out on those opening forte notes. I see too many students who are unwilling or unable to simply take a deep breath and play with a big, beautiful sound. The two-note tonguing patterns are a great way to ensure slide accuracy.