We're getting warm

I came of age in the land of the warm-up.  In High School we would spend whole classes in the warm-up process.  Hours upon hours were spent warming up the ensemble.  Nothing could be more interesting, or boring, depending on your point of view.  
Warming up is the ONLY thing you can do for yourself that is GUARANTEED to make you better.  I can, and will, go on and on about what you can do to improve, but none of it is a guarantee, they're just really good ideas.  This...this process that not enough people take enough time on is the one common thread that runs through all great wind players.
I'd said if you interviewed some band kids you'd find that most of them are quite bored by the warm-up process and find little value in it, they just know that their director insists on it.  I was never one of those people.

Where I come from, the warm-up is the only thing we've got, kind of like when we tell our kids "You'd better be nice to your brother/sister because one day they're going to be the only thing you've got."  If you don't have a warm-up, you don't got nothin'.  

I can hear the arguments now "But, if you warm up all the time you won't have any time to rehearse!"  On the contrary, Bass-Confucius say "If you warm up regularly your band will sound good enough to rehearse."  "If you warm up all the time and then you can't get in a warm up at a crucial time then the band will suffer."  Bass-Confucius say "If your band warms up constantly and you can't get in a warm up before a big show your band can walk off the bus and win the show (my Alma Mater has done and will continue to do this at least once a season.)  "Oh my golly good gosh!  I have to get married to a warm up routine as soon as possible or our band is going down the tubes!"  Bass-Confucius say "If you get married to a warm up your band will become so inflexible that they won't be able to take a shorter warm up when it is warranted."
To me, these are big "DUH"s if you're a band director, but what if you are just practicing by yourself?

Today, I went up to school to teach a couple lessons.  I brought out my short horn (in case you don't keep track, and you should ;o), it's a 1959 Leblanc 400) and didn't have a ton of warm-up time.  I felt kind of hamstrung my whole lesson because I didn't get to warm-up AND I was playing a horn that I don't play everyday that I haven't tailored my reeds to.  A good 30 minutes of warming up would have solved my problems.

I know, I know, you're thinking "Well, if I played the same horn everyday I wouldn't have those problems."  Oh contrare' mon ami!  If you play the same horn everyday and you HAVEN'T been doing this then you STILL need a lengthy warm-up.  You basically have no idea what the instrument will do from minute to minute, but you are warming up regularly you will become more and more aware of what the instrument will do when you put air in it.  Moreover, if you continue to do that and you, by chance, are playing a different instrument one day you won't need AS MUCH time to get acclimated.  Even if you're playing a leaky horn you'll be able to isolate the leaks almost instantly as you warm up because the feel won't be right.  You see, you can diagnose AND learn control at the same time.

I know, I know, now you're thinking "Yeah, that's cute, I can't play a leaky horn, it won't do anything."  Ah, Bass-Confucius say "If you've been hammering your warm-ups, you'll get to the point where you can play anything in any condition in a serviceable way."  Now, I'm not saying you'd go out and play a recital or an audition on a leaky or otherwise "broken" instrument, but you could get through a concert or marching band show or a practice session without it being a total wash.  Let's say you can reasonably repair your instrument, now you know what's wrong.  I've got that problem right now on my 400, and I'll get around to it, but I still have the 430!

Now, what if you don't have a leaky horn and everything's fine?  Well, get to it!

What....

You don't know what to do.  What kind of stuff you should be playing to warm-up.  You're unsure if what you're doing is working, or going to work.  I have a solution!

Warm-up the way you did in band.  Don't get cute, just do things that work.  An example:
 
(all in written pitch)
 
Long tones on the C, F, and G scales.  No skimping, do them all and really work it.
 
Equality of tone is highly essential here.  If you're not careful you could spend a massive amount of time realizing all the notes you have that are not equal in tone to the notes around them.
 
5 note segments in all major and minor keys (at a moderate tempo, play each one 3 times before stopping)
-  You may slur
-  or slur 2 tongue 2
-  or tongue 2 slur 2
-  or mix them up (play Slur 2 Tongue 2, then Tongue 2 Slur 2, Then tongue 1 Slur 2 Tongue 1 consecutively in one rep.)

You could very easily alter the articulated notes from legato, to staccato, to marcato, to a "swallowed" note that almost ends before it begins.  You could get lost in this if you really wanted to.
 
Chromatic Scale (all slurred from E to C, no fancy pants extended range)     
 
Remingtons (movement in half steps downwards from a tonic)
-  I prefer starting on open G, that makes the pattern:
G, F#, G, F, G, E, G, Eb, G, D, G, Db, G, C
-  Then change the tonic to C:
C, B, C, Bb, C, A, C, Ab, C, G, C, Gb, C, F, C, E, C, Eb
 
Playing the remington studies is the easiest way to hear if your pitch and tone are stable.  It's also the best embouchure workout there is.  Try not opening your mouth the breathe, but breathing through your corners and never really releasing your embouchure until you're done.
 
Now, I know this is simple stuff, but that's it.  Some variation on this stuff will do.  Just don't run off with some pretty warm-up, you'll get bored quickly, change is a good thing in these situations. 
 
How long should it take?  Well, if you're really working it you could go for a solid hour and not realize it.  Seriously!  This stuff is important!
 
You'll start to see a difference when you really start working this out.  It's a maturation process that will net a wonderful long term result, but won't necessarily blow you away in the short term.  You've got to be patient.  I spent 3 years warming up like this constantly, another 4 playing 3 hours a day on my own and the last 9 holding to a warm-up of AT LEAST this level every time I play.  No joke.  Try it!

Stop-action tonguing

So, I was in a lesson today and saw an interesting little article in my student's folder from a big-time Clarinet professor.  They had all these articulation exercises written in and one in particular was intriguing...

There were 4 eighth notes each followed by an eighth rest.  The instructions written were:

Do this for 5 minutes and move up one notch on the metronome each week, but the music was titled "stopped tonguing."  I love this stuff!

So, one can only assume that "stopped tonguing" means stop the note with your tongue and then move on.  Ok, I can get down with that.  So, how do I do that?

I look at it this way.  Tongue the note, release the tongue in order to sustain the note (yes, you are sustaining it, even if the note is mega-short) and then come back and stop the air with the tongue.  

That means you're supposed to be doing 3 things to play one note, a note that might even be a half count long.  That requires alot of control.

Control implies that you have to sound good, so, if you're having tonal issues (I mean, like you're just NOT HAPPY with your sound, then wait for this.)  If you're cool, then control is pretty easy to obtain.

Definitely, just playing nice, easy, open notes with simple rhythms like 8th, 8th rest, 8th, 8th rest, etc... is a good idea.  Definitely, set a certain amount of time you will venture to do this.  You can do this in minutes (I'll do this for 5 minutes) or you could say "I'll do this for 24 bars."  However, you can go two steps farther.

Step 1)   Practice something with stopped notes.  You could be practicing just about anything and, as a part of working something out, you just stop all the notes in that passage just to get in the groove of stopping notes.  

Step2)  Try it in an ensemble setting.   If you're in a band or orchestra you could use this technique in musically appropriate places.  Using the stopped tongue as a device to further separate (not shorten) notes is a great way to use the stopped tongue, cultivate it, and add ammunition to your articulation arsenal.

Stopped tonguing increases pressure in the back of your mouth, so it will feel funny but it's fun to do if you really get into it.  Try it sometime!