Category: WARM-UPS for BAND Composer: John Edmondson
Grade 1.0
TEACHING AIDS For The Director: Adequate warm-ups are critically important for young under developed embouchures. Warm-ups are best accomplished in an organized manner prior to rehearsing program material, since young players are rarely trained or disciplined enough to warm-up individually. A warm-up session can also be effectively used for daily drills and training in listening (balance, blend, intonation and tuning), articulation and lip slur practice, tone production and breath support, precise attacks and releases, proper phrasing, and dynamic control and contrasT.
These exercises, patterns and chorales are all designed to help you accomplish the above. They have been thoroughly time-tested to improve skills, and to be interesting to the students. They are organized so that they can be used (some or all of them) in the order they appear on the page, as outlined on the next page.
It is never too late to develop good rehearsal and warm- up habits and routines. Ideally, each student should enter the rehearsal room, assemble his or her instrument, (making sure it is in good condition for the rehearsal — a spare reed is at hand, etc.), check the music folder for a sharp pencil (never ball point pen or anything that cannot be erased later) and the correct music; take a seat, adjust the stand to the proper height, and then lightly blow warm air through the instrument WlTHOUT MAKlNG A SOUND. The first musical sounds in the rehearsal hall should be as a group under the conductor’s direction.
A. EMBOUCHURE RELAXER. Wind players must carefully loosen tight embouchure muscles just as athletes stretch and loosen tight muscles prior to all-out physical activity. Keep the dynamic level very soft, and hold each note a comfortably long time with adequate pauses between notes for muscle relaxation.
B. BASIC WARM-UP. Now that the muscles are “stretched” and ready to work, move on to this five-note sequence (do to sol) from the B Concert Scale. For additional warm-ups, repeat the pattern using re to Ia, mi to ti, etc. Also, use the pattern in other keys, especially those of works to be rehearsed later. Be sure the release at the end of each phrase is precisely together at the third count and not somewhere in between two and three.
C. ARTICULATION AND SUBDIVISION OF BEAT. Select one of the eight available patterns, and adapt it to the BI Concert Scale, repeating the pattern on each step of the scale as you proceed upward. Concentrate on a steady tempo, with accurate subdivision of the beat, with adequate breath support behind firm tonguing. if only one pattern is to be used, number five is suggested as the best single choice, Use as many patterns and as many scales as your schedule allows.
D. LIP SLURS. Although lip slurs are designed primarily for brass players, woodwind players will find these especially useful for finger coordination practice; i.e., the correct groupings of fingers moving up or down together. Some reed parts slur to the second note up an octave, rather than to the lower octave (Bass Clarinet, Baritone Saxophone and Oboe).
E. Bb. CONCERT SCALE IN 3rds/5ths/7ths. A favorite device and a refreshing way to play scales. The band is divided into four separate groups In the score, with each group entering two notes after the last group, so that ultimately every on is playing the scale in thirds, triads or seventh chords. This device has been adapted to the Discovery Series instrumentation and format and can be easi- ly memorized, Use the last four measures for tuning by isolating each chord, holding it and adjusting pitches as necessary through careful individual listening.
F. TALLIS’ CANON. A two-part canon for everyone begins this chorale, followed by a harmonization of the melody for full band. The opening canon should be played in four-measure phrases, each with its pick-up note, and the harmonize version has breath marks provided. Keep the tempo steady, and never let it rush.
G. OLD HUNDREDTH. “Praise God From Whom All Blessings Flow” is the familiar title of this chorale. This has been arranged so that the normal fermata pauses are written out, and the percussion provides a rhythmic accompaniment. Stress precise releases at the third count at each phrase ending. Daily warm-ups should never become drudgery or be boring. Keep them fresh and imaginative by adapting these patterns and ideas to your particular needs. Above all, use this valuable time to teach musicianship.
Category: WARM-UPS for BAND Composer: Bruce Pearson
Grade 1.0 - 2.0
The warm-up is one of the most important components of a good rehearsal for it sets the rehearsal atmosphere for the day and warms up the musician's muscles, mind, instruments and ear.
Consisting of "Chop Builders," "Technique Builders," "Articulate Builders," "Ear Trainers," "Tuning Exercises," and Chorales,
Great Warm-Ups for Young Bands will improve the musicianship of young instrumentalists and set the framework for successful rehearsals and performances.
Category: WARM-UPS for BAND Composer: Peter Kleine Schaars
One of the most important parts of any rehearsal is the warm-up. In addition to the usual slow sound studies it is also useful to focus on rhythmic skills.
Rhythmic Warm Warm-Ups is an ideal item for doing this. It presents a large number of excellent exercises , for bands of all levels, exploring many different rhythmic patterns and time signatures.
Category: WARM-UPS for BAND Composer: Claude T. Smith
"If you seriously want to improve the quality of your band, in every aspect, then this is the Warm - Up manual that you should be using for a small amount of time at each rehearsal. It is without doubt the single best tool that I have used which has improved the TONE, INTONATION, DYNAMIC RANGE and variety of ARTICULATION of every band I have worked with" - Nigel Durno
SECTION I - SCALES Scales for BAND - In unison, with 3 different rhythms, including major & minor arpeggios, and harmonized chords at the end of each scale.
1.1 C Concert & A Minor 1.2 F Concert & D Minor 1.3 Bb Concert & G Minor 1.4 Eb Concert & C Minor 1.5 Ab Concert & F Minor 1.6 Db Concert & BbMinor 1.7 Gb Concert & EbMinor 1.8 Cb Concert & AbMinor 1.9 G Concert & E Minor 1.10 D Concert & B Minor 1.11 A Concert & F#Minor 1.12 F Concert & D Minor
Section III - CHORALES 24 beautifully scored and voiced hymn tunes for symphonic band.
1. A Mighty Fortress Is Our God 2. Eternal Father, Strong To Save 3. If I Should Ever Forsake Thee 4. Thine Is The Glory 5. Now Thank We All Our God 6. Scarborough Fair 7. The Spacious Firmament 8. Ode To Joy 9. Shenandoah 10.From All That Dwell Below The Skies 11.God Of Our Fathers 12.Be Thou My Vision 13.Old Hundredth 14.Praise To The Lord, The Almighty 15.The Creed Of MaN 16.Greensleeves 17.Now Let Every Tongue Adore Thee 18.Rejoice, Ye Pure In Heart 19.0 God, Our Help In Ages Past 20.For All The Saints 21.In Dulcio Jubilo 22.Holy,Holy,Holy!Lord God Almighty 23.For The Beauty Of The Earth 24.Chester
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