IV. The Coordination Training Program

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1 IV. The Coordination Training Program Exercise 1: Loosening up the lips Keep your mouth closed and blo air through your loosely closed lips, so they start to vibrate. Be sure that your cheeks are vibrating as ell. You ill no produce the sound of a horse snorting. Do this exercise until your lips are sufficiently loose and ready to play. Check this by rolling them backards and forards to feel if they are ready for playing. If not, repeat the fluttering for another 20 seconds. Exercise 2: Stretching and breathing Before you touch your instrument, do the folloing exercises. They are meant to stretch your breathing apparatus in general and to achieve a relaxed yet alert posture. a. Stand before a mirror and lift your ribcage as high as possible ithout lifting your shoulders or leaning backards. Shoulders and arms remain in starting position. Do this four to six times ithout inhaling. 12

2 Long beginning notes: This exercise is intended to improve the focus of your embouchure ithin the timing, and helps to develop a steady airstream. Be sure to relax your breathing muscles during the rests. Repeat this exercise until you ve reached optimal relaxation and tone quality. q = 0 c AA Short beginning notes q = 0 c. r Œ Ó r Œ Ó. H H AAH Tenuto tonguing on a steady airstream 120 c b b A A b etc. 1

3 Exercise 5: Ten onenote exercises ith half embouchure Play the ten onenote exercises on F ith half embouchure. To do this, start ith a normal, then bring the instrument gradually up to your lips hile buzzing. The center of both lips should touch the mouthpiece just slightly. No you are making a sound hich is louder in the mouthpiece than in the bell; this is half embouchure. The sound should only resonate from the mouthpiece. If you also hear a sound coming from the bell you are pressing too hard on your mouthpiece. The corners of your mouth ill become very tired, but this exercise develops a compact setting of the embouchure hich eliminates air noise in your tone. Coordinating lips and air c HAA HAA HAA HAA HAA HAA HAA Coordinating lips and timing of air c HA HA HA HA HA HA HAAAA c Opening the glottis and timing lips and air GA GA GA GA GA GA GAAAA c Coordinating lips and timing of air and tongue HA HA HA HAAAA Legato tonguing c AA c > > > > Legato DOODL tonguing > > > > > > > > DOO DL DOO DL DOO DL DOO DL DOO DL DOO DL DOO DL DOO DL DOO DL DOO DL DOO DL DOO DL DOO 18

4 Tenuto tonguing on a steady airstream 120 c A A Etc. Optional Exercise 5a: Lip buzzing combined ith normal embouchure Pick a note on the piano in the middle register of the trombone. Buzz the same note ith your lips only for four beats. During the third and fourth beat bring your instrument toard your embouchure and then continue playing the note for the next four beats. Remove the horn from your embouchure, again buzzing the tone only ith your lips. Be sure that pitch and sound are sustained. Do this exercise on every note that causes you problems. You can also alter the exercise by first playing the note on the horn, then buzzing it. N.B.: Do not practice this higher than F above the staff, as it ill overstrain your lips. q = 0 c ith instrument ith instrument ith instrument ith instrument ith instrument ith instrument ith instrument ith instrument ith instrument 20

5 Exercise 7: Ten onenote exercises ith normal embouchure Play these exercises on B. Coordinating lips and air c HAA HAA HAA HAA HAA HAA HAA Coordinating lips and timing of air c HA HA HA HA HA HA HAAAA c Opening the glottis and timing lips and air GA GA GA GA GA GA GAAAA Coordinating lips and timing of air and tongue c HA HA HA HAAAA Legato tonguing c AA c > > > > Legato DOODL tonguing > > > > > > > > DOO DL DOO DL DOO DL DOO DL DOO DL DOO DL DOO DL DOO DL DOO DL DOO DL DOO DL DOO DL DOO 22

6 the coordination training program Where the instruction laugh appears belo, make only one laugh attack, and then maintain the laugh support throughout the rest of the phrase, as given. 10A q = 080 c Portato b Yan Yan Yan Yan Yan Yan Yan Yan Yan Yan Yan Yan Yan Yan Yan 27

7 the coordination training program c Opening the glottis and timing lips and air GA GA GA GA GA GA GAAAA c Coordinating lips and timing of air and tongue HA HA HA HAAAA Legato tonguing c AA Legato DOODL tonguing c > > > > > > > > > > > > DOO DL DOO DL DOO DL DOO DL DOO DL DOO DL DOO DL DOO DL DOO DL DOO DL DOO DL DOO DL DOO AIR Fading in on a tone U π P F SOUND Long beginning notes Put your horn don in the rest bars keeping the chest high. q = 0 c AA 33

8 Exercise 2: Open throat fast air exercise To develop your aareness of an open throat and of good fast air support, do the folloing exercise. If this is too high, start ith the highest scale you re able to play. q = 120 c # # # # HA HA HA HA HA HA HA HA HA HA HA HAA GA GA GA GA GA GA GA GA GA GA GA GAA ( ) etc. to lo E. HA HA HA HA HA HA HA HA HA HA HA HAA 1. Exercise 3: Optional tonguing exercises This is an extra tonguing exercise for detached playing, hich is optional because it makes demands on the muscles at the corners of the mouth. It helps achieve a centered, clear sound and safe attacks. For more variation, you may change the rhythms of the scales. q = c U b 2. c # # U # 3. c U 40

Peter Ellefson s If I only had the time warm-up* Alessi Seminar August 1999 Revised July 2004

Peter Ellefson s If I only had the time warm-up* Alessi Seminar August 1999 Revised July 2004 Stretch and Breathe Purpose: To encourageallow the body to be flexible for maximal efficiency through minimal