 The Clarinet BBoard
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Author: C.Elizabeth07
Date: 2012-12-16 04:26
Just curious what everyone does on an average day to warm up. What do you include in your routine? Why? How much time do you spend warming up? In terms of routine daily technique what do you do? How much time do you devote to it?
I currently spend maybe 1 1/2 - 2 hours on technique and long tones alone each day but I'm trying to refine my routine, make sure its as efficient and effective as possible.
I work out of the Klose book everyday, starting at the "scale page" (126?) and going through all those exercises and arpeggios. I do long tones as well and record them and use the visualizer on the recording program to gauge how well paced and steady my crescendo diminuendo is. I also (as it is the bane of my existence) do a few articulations routines and work out of the Kell Staccato studies each day (sometimes I just do the routines and pass on the etude if I'm crunched for time and have a lot to get to).
Just wondering what other people do, what works for you guys, if there are any books or approaches you would recommend. I currently have 2 weeks off of school so I have more time to practice and I'm interested in experimenting and maybe changing up some stuff I've been doing.
Thoughts?
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Author: Paul Aviles
Date: 2012-12-16 10:54
Changing up is key to 'warm-up.' As long as what you do reinforces BASIC technique there should be no problem.
I've always been partial to thirds in all keys such as the first of the Stark Arpeggios for a good go around, but have also just done thirds starting on low E (major and mel minor) and just going up half steps 'til done.
Or just do several key centers each day of the Kroepsch exercises. Now that I think about it, it is helpful to make sure you're reviewing most key centers each day to keep the harmonic chops up to speed.
I do like the idea of the crescendo exercise but maybe not so militantly. Brody had a way to do it just counting. You just barely coax out a sound on low E (the softest possible sound you can make) and start counting (and crescendoing) around 50 beats per minute from one to eight with eight being the loudest you can make the clarinet play, and count back down to 1 fading to completely nothing......... ALL IN ONE BREATH. Do that twice on E then F, F# and G and you're done. After that routine you really feel that you have a solid sound and you don't need machines.
...................Paul Aviles
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Author: sonicbang
Date: 2012-12-16 12:25
I always start with long tones, played with double lip. This takes 15-20 minutes.
After this, I choose one or two finger technique ecxercise (Jeanjean Vade Meacum or Opperman Studies) for correct finger motion.
Then I play staccato studies (Langenus, Kell, Wiedemann).
I finish the warm up with scale excercises from Baermann's Daily Studies from one key.
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Author: Ed Palanker
Date: 2012-12-17 17:52
Those are not "warm up" drills, those are called practicing. And it's all good. The more time you spend on fundamentals like those the better as long as you do them correctly and with quality in mind, not just quality. Use your time intelligently.
I'm including two of my favorite "warm up" that I always encourged my student to do, which I use to do myself as a student.
#1 is doing 12th. Beginning on low E, playing four slow beats beginning at piano and going to a forte at which point you depress the register key and play the 12th above, the B in this case, and make a dim to you fade out over 4 beats. Do that on every chromatic note until you get the the thumb F to high C.
#2 Using any note as a center note, you change that note from time to time. Lets use middle C for now. Start on a half step above, go back to C, play a half tone below, go back to the C. Do it in slow half notes, then quarter notes, 8th notes and finally 16th notes. Do one measure forte and repeat piano. Then do the same thing a whole step above and a whole step below, do all the patterns. Then do a minor third above and below, then a major third, then a perfect 4th etc until you reach an octave above and an octave below. Great for control, intervals, intonation, tone, dynamics, and just about everything else except for articulation.Change registers from time to time. I did these every day as a student for years.
ESP eddiesclarinet.com
Post Edited (2012-12-17 22:08)
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Author: sfalexi
Date: 2012-12-19 02:35
Myself, I do three octave scales, slowly, starting on low E up to C, and then back down. Maybe 16ths at 60bpm. Every now and then I switch to a dim 7th scale, or a variation of minor, but for warmup I tend to stick to major scales as I don't want to have to think about what scale it is, I want to focus on warming up my fingers (controlled, minimal movement) and embouchure and breath support.
Then I do the 12th exercise (very similar to Eddie's). Except I don't vary dynamics and I tongue every two beats as lightly as possible (BARELY causing an audible tonguing or tic in the sound). I also go up three "registers" (E, B, G#.....F,C,A......etc.) This way when I get to A,E,C#, I'm using the thumb register key and then sliding/lifting my index finger for the next 'register key'. My focus on this one is embouchure, getting smooth and even leaps, and keeping the tongue as close to the reed as possible to minimize the movement needed to BARELY touch the reed.
By this time it's been about ten to fifteen minutes and I feel my muscles are warm, I've reaquainted myself with smooth movements of fingers, and I'm ready to start working.
Alexi
US Army Japan Band
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Author: johng ★2017
Date: 2012-12-19 13:57
Attachment: scale warmups.pdf (27k)
My favorite warm up is to play a scale beginning on any natural note (like A or B), and play in different keys starting with no # or b's and then adding sharps up to 5 and then flats up to 5. Like this: 0, 1#, 2#, 3#, 4#, 5#, 1b, 2b,3b,4b,5b. Always beginning on the same note, so you wind up playing some interesting sounding scales. I usually extend the scales to 2 + octaves or so. At the bottom, I often go 2 notes past the beginning note and back since that does a good job of establishing the sound of whatever mode I happen to be playing in at the time.
This sounds complicated, but it isn't, so I am attaching a PDF of it.
John Gibson, Founder of JB Linear Music, www.music4woodwinds.com
Post Edited (2012-12-19 14:00)
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Author: Liquorice
Date: 2012-12-19 21:07
John- your warm-up looks quite cool! But I have a question- why do you stop at 5 flats/sharps and not do all 7? Just wondering...
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Author: johng ★2017
Date: 2012-12-19 21:30
<<<John- your warm-up looks quite cool! But I have a question- why do you stop at 5 flats/sharps and not do all 7? Just wondering...
Liquorice - I think it is because my brain gets tired at that point! There is no reason why one could not go further....and I sometimes do. Another alternative is to add a random sharp or flat, say a C# to the 2 flats version, just to see what it sounds like.
John Gibson, Founder of JB Linear Music, www.music4woodwinds.com
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