I love this approach. I’m kinda going through a re-transformation with my playing right now realizing how unhappy with my sound I was and focusing back on fundamentals. This was really helpful.
It maybe my age but I have never thought of my playing as being a type of spiritual connection. Being in the right frame of mind is so important. Chris
Completely agree with what you saying Dion, it is about getting in the “zone” and it all starts with the mind and emptying it of judgemental thoughts, Kenny Werner’s book Effortless Mastery was of great inspiration to grasp this approach. Holding the horn and breathing in it without worrying about what comes out or feeling the keys of the piano and just pressing random keys helps me freeing my mind. Thank you for sharing👍
Currently I start with long whisper notes from middle Bb up to F. 3-4 minutes. Gently warms up the instrument, lungs and lips. I'm aiming for the fascinating zone between a soft note and just air. Getting to know that zone is fun and philosophical: if you listen intently, it's full of bells and whistles. Then on to all manner of scales and arpeggios in a madcap quest for improvement
I used to do a lot of free-buzzing. Did it religiously for 3-4 years. Now I do a lot of mental practice and that’s how I warm up before I pick up the instrument. Once it’s on my face I’ve already been “playing” for 5min or so. No buzzing, just moving air and mimicking holding the instrument as well.
Joining an action in progress is much easier then creating, starting and executing that same action. Mental practice is a real thing that many people out of their practice session.
@@TheChopsShop I've heard of it before and experienced it myself when I'm thinking of a tune even after my playing for the day is over I am constantly switched on , I will play a solo in my head with positions what I have to do with my chops to make it all work , it's all good. I made a big break through today , for me it is anyway and I've started to get success with trilling of all things , these mean quite a lot to me in the style of playing I want to play, getting stronger n stronger now Dion , I feel its all coming back together now , endurance quality in standard and finesse is a must for me , starting to knock em out the Park now Dion , consistency in practise , I think the Lord 🙏above for answering my prayers 😊
When you get older (like me) warming up starts with creating a steady airflow. I’ll use long tones to steady my air, if I can do that first the rest goes easier. However, I’ve always used long tones to warm-up my chops too. I appreciate you, your insight and the thought you put into your lessons.
I have a similar warm up, long tones are the foundation of everything really. I base my playing off the embellishment of the long tones. Some players do many exercises before they touch the horn. I think basing your exercises off what the horn sounds like is important.
HELLO MR TUCKER IAM A 74 YEAR OLD TROMBONE PLAYER STOPED PLAYNG FOR 30 YRS AND GETTING BACK ON FOR FUN IAM HAVEING A HARD TIME GETTING MY SOUND BACK, THANKS FOR YOUR TIPS IAM IMPROVING.
I’m glad the information is helpful! My advice would be, don’t think about the sound you used to have. Work towards the sound you want now. Nothing stays the same if you catch my drift.
I used to play when I was in my junior high marching band. I went to work when I was 15 years old and put the trombone down. I picked it up briefly about 15 years ago but didn't stick with it. I picked the trombone up again just two months ago. I am 61 years old now, and I love being able to play simple hymns. I came across this channel yesterday and I like what I have seen so far. I'll be watching more of the videos on The Chops Shop.
I’m glad you found the channel, welcome to the family. The music usually keeps bringing us back to the horn. I hope you find joy playing the trombone in whatever style of music you enjoy playing.
Hiya Dion , love trombone uploads . The guy firm 🇬🇧 the no teeth guy 😳 hope you are well. It seems I'm back playing some half decent stuff , and the endurance is coming back Back two yrs now . The trills 👍 slurs 👍 lip turns 👍 , so glad I started again. Totally agree with you on playing that 1st note in your mind transfer it to the horn. It tells us where we are on the day pitch wise we might be a little up or a little low getting to know our notes in our mind, hopefully that's A flat 🤣🤣 But it's a great thing to study getting to have these notes in our mind , musically speaking its a must have , instinct to knock these notes out the park might have something to do with born into it , both parents being musicians helped me no end , I was lucky that way. Keep blowing Dion , the New York scene is kicking 👍
Hi Dion , I'm not there quite yet with range , I'm pushing it though hitting that High C , long tones to gain more strength in the chops. What seems to be happening is when I start playing in the high reg it seems to mess with partial control so I leave it till last session of the day along with trill practise, lovely feeling when the trill takes. 2 n half yrs bk playing, I'd say another 12 month n i will be a different player, just keeping you in the loop , it's like I play a different technique due to no teeth , I've got to admit when I'm in the zone the slurs are awesome
I get some airflow in the horn and get some heat in it. Before I play anything. I've always just played long tones to get air established and a smooth tone. I like your approach though I'm gonna try that!
As a beginner, I started warm up from low C. Starting from slow air throw hindered me from playing higher notes C D E as I didn't have the impression of faster air throw throughout the practice. Until one day I started the warm up from G. The faster air throw is on my mind then I could maintain a proper embouchure throughout the range. Not sure I am doing the right thing.
You’re on the right track! Observing how your airflow effects the embouchure is very important. The important thing to remember is, let the airstream dictate what the lips do not the other way around.
Thanks for the tip. Normally I will start with a low Bb and work my way down, in the lower registers. I find that it helps me “loosen” my lips, so to speak.🙂 Thanks again...BTW: what’s your horn. It looks nice!✌🏾
I think everyone has there own way , I tend to start on the low F in the 6th , and zero into the note and with the rest of the major scales and so forth on the each note major so they are sounding the best I can produce in doing so I'm covering the long tones. If I fancy a tune I'll play middle register slur patterns and then it's off I go introducing some new to me atm and some old licks n if I feel good and comfortable in my playing the confidence floods into my playing but above all really is to do all this with as little effort as possible in this way I'm getting endurance back into my playing , each and every day has its own challenges some days I feel weak on the low reg so I'll work on it some days i feel not as strong up in the high register , the same goes , other days I feel week in all registers I keep plugging away at it , the days of not weak in low middle or high these days are what I call balanced correctly and obviously are the best days , each musician has had everyone of the days I've chatted about , keep blowing lads n kisses
Slushpup2, lovely feeling when warmed up as the low Bb can sound loud and also softly played , with me it's a different embouchure shape for loud and that C in the 6th can be an awkward one , takes plenty of good practise
Many years ago I used to do warmups like that. I would hold a concert F for 10-15min. As I get more in tune with my playing, I try to keep my entire warmup to around 10-15 minutes.
Hey I just started playing trombone in band and the third day I got my trombone I was moved to honors band from beginning. I’ve had past music experience but nothing with trombone, so I was very surprised when my director suggested it. The people there obviously have more experience. Tho I was told I improved in an extremely alarming fast rate though, I was wondering if you had any more suggestions for me to be on the same level as the others. Because I almost feel like I don’t deserve to be there.
What you’re experiencing is called Imposter Syndrome. You feel like you’re not supposed to be there. In reality, you’re right where you need to be. Often times being around people with more experience then us is what makes us better. Take this opportunity to learn from others. Focus on what you need to do and you’ll be ok.
Of course you deserve to be there especially as your experience obviously will have learnt you the rudiments of music , I think it was a great move by music teacher , I dnt know which instrument you had experience on but my guess it was maybe brass if so your embouchure will have developed a little further than a total beginner , you will have been ahead and that wouldn't of been fare on yourself, each n everyone of us learn more by interacting with better players , under no circumstances feel as if you dnt deserve it because obviously you do 👍
I would suggest working on breath attacks and not using the any type of articulation in your warmup. If you think “I need to tongue this note” you are already engaging the tongue in an action which can cause it to get in the way of the airstream. Let the body learn what it feels like to just have air flow into the instrument. When you do engage the tongue to create the sound of the articulation you desire, view it as nothing more then an embellishment of that airflow. I do know of another exercise that would require more explanation then I can type here. Hopefully what I shared helps.
Honestly, I don’t think about the position of the tongue. I know it’s very common for people to say raise the tongue as you go into the upper register. You are better off letting your body make those adjustments as opposed to trying to dictate the movement. Does my tongue move when doing lip slurs, I’m sure it does. Is that something I think about, not in the least bit.
@@TheChopsShop : That's is a good philosophical approach when playing, especially when improvising. My concern was more on how to build good calisthenics to create good muscle memory.
Here’s my take on muscle memory and a calisthenic approach to playing. There is no such thing as muscle memory. Our muscles do not have the capacity to “remember” on their own. Our muscles react to the signal sent from the brain to match our intent. We reinforce these signals through repetition (practice) and those signals get to their destination quicker as time goes on. It’s important to note, the signal is being reinforced whether it’s good or bad for our overall efficiency. The body is just trying to match what it thinks you want it to do. Using a calisthenic approach to brass playing can potentially cause some issues in the long run. There are many muscles at work when we play, many more then we have full control over. They should work in conjunction to strengthen our playing holistically. For example ,me thinking about holding my corners “firm” is not going to help in the long run because those muscles will get fatigued much faster. Instead I think, what roll are my corners playing to support the airstream. I will only use what is required and nothing more. What dictates that, the music! In this way of thinking ,everything is involved. No one muscle is working harder then it needs to, making the entire system run more efficiently.
