It is impossible for me to completely describe my teaching methods with written words, without music and in such a short segment. However, I am often asked for advice and my thoughts. Here is a basic break down of my practice routine and way of thinking. I understand that there are many thoughts to this subject and in no way do I believe I have the perfect solution and know it all. Like everybody, as we grow our routines change because we continue to learn more about ourselves and our instrument.
The time line on the length of practicing will also vary according to your personal level on the instrument. The more we learn, the more we have to practice to maintain before getting even better. The timeframe given here is the minimum for a music student.
Don’t forget that the best form of getting better and practicing is performing with and in ensembles. Make sure that you allow yourself to be in a situation where you can play. After all, that’s what this is all about!
Warm Ups
Four muscle groups: These are the necessities for one's playing that requires proper warming up to unsure an optimal performance.
Tongue - articulation
Single, double, triple, short burst and repeated passages
Fingers - technique
Air - breathing
Long tones, dynamics
Following the initial muscle warm up, you should start to combine these elements to engage the brain in coordination and control over the horn.
When response becomes easier, extend the range in both directions.
The length of warm up time may vary day by day depending on your physical conditioning and time of day or previous day's playing. There are several recommended books for warm-ups, and you must find what works for you. I strongly encourage the use of mouthpiece buzzing during this time. Regardless of duration of warm up, all elements should be addressed to ensure a strong performance and healthy career.
Time Efficiency and Complete Practice Schedule
To obtain optimal results, you should schedule your practicing into three segments. This will allow you to build endurance, and target specific areas without mentally getting fatigued as well.
First Session - Technical Advancement/Maintenance - (1 hour)
Begin with warm-ups and take a short break to plan your session and give your mind and body a chance to prepare.
The same four muscle groups should now be addressed, but now that they are warmed up, they should be pushed to maximum performance and beyond. You must educate yourself on your limits so that you are in control during performances.
Flexibility –
Lip Slurs - fast and slow. Always maintain a melodic and fluid line with a good sound
Fast slurs should consist of smaller intervals while the slow slurs consist of wide intervals. Arpeggios are great for both exercises
Intervals - fast and slow - Practice both articulated and slurred.
Tongue –
Articulation - single, double and triple – Practice both legato and staccato. Be sure that all styles of articulation are practiced when working on tonguing.
Do not neglect practicing articulation with slow and repeated passages. Focus on the front of the note and practice multiple tonguing slowly to ensure that the syllables sound alike.
Technique –
Fingers - Cross fingerings and scales. Remember that speed is not priority. It is your control over various tempos. Push yourself to the quickest tempos with clean coordination.
Air –
Breathing - Breathing should be practiced every time you pick up your instrument. Every exercise requires proper breathing habits. The breath is the source for articulation, sound, projection, endurance, and range.
Dynamics - Do not practice all the exercises in one dynamic. Music isn't written that way, so why practice that way? Learn your boundaries with a good sound. Use that knowledge on stage. You will gain confidence on stage and never sacrifice your sound if you know you limits. Push yourself in the practice room. Be in control during performance.
Range - Practice preferably using two octaves and always at least one octave. Use various dynamic changes. Arpeggios and scales are useful, I prefer diminished seventh arpeggios. Make sure to crescendo and diminuendo as well as sustaining a single dynamic during your exercises. This will give you more control and prepare you for any musical situation.
Scales/Arpeggios - You must be comfortable in any key. This will provide you with the security needed.
All these elements should be combined as much as possible. Music calls for that, so you should practice it that way as well. This will also shorten your practice session and make it more useful when performing. Nothing on stage should be a surprise if your practicing consists of these elements.
Second Session - Preparation of Required Music - (1 hour)
This should be done at a different time during the day. Your chops and mind should feel rested after the last session.
After a brief re-warm up, prepare for materials needed for upcoming lessons, recitals, concerts, or auditions.
You should always be working on etudes and solos to ensure that you know how to use all the elements practiced in the previous session. Otherwise, you can become a great technician but not an overall musician.
If you are working on an audition or concert, the material can be practiced at this point. If you can not fit all the music in, then you are doing too much. Transposition should be addressed during this session as well.
Third Session - For Yourself - ( 1/2 hour)
At the end of a hard working day on your instrument, pay yourself back by playing whatever you like. Treat yourself to something you want to play. This can be anything that you enjoy. Remember that playing your instrument is fun. By doing this session, you will keep a healthy attitude and learn other aspects of yourself.
Remember that we started playing because it was FUN! This is the time to remind yourself of that.
Listening
This is the last part and should be done throughout every day. Make sure to listen to other instruments and styles. If you do not know what you like or dislike, how are you supposed to convince the audience of your musical ability and knowledge? You need to know what you do and don't want to sound like. You should also know what other styles of music sound like. Never feel uncomfortable on stage. Listening will help prevent that.
Purpose of this Schedule
You will fulfill every aspect of your instrument and grow on a daily basis without wasting time! You will also be a well-rounded musician. In order to succeed in this business, you must have musicianship, technique and performance ability. Unless you can combine all three of these elements, you will not be able to succeed as a performer in music.
Breathing
The breath is the most important component in playing a wind instrument; however, it is the most overlooked. It is important that you be knowledgeable and comfortable with the understanding of taking a full and relaxed breath. I believe that the music begins when we start the intake of air. If you are not sure of the music you're about to play, you can not expect it to suddenly happen with the first note. The air should be a continual motion throughout the entire breathing process. If the air is continuous both in the intake and breathing out, then your sound will be fuller and the articulation will be cleaner with more accuracy. While learning new muscle control required with our instruments (embouchure, fingers and articulation) do not overlook the one requirement we were born with - our breathing! Remember that we play a "wind" instrument. You must create that wind for things to happen.
