Phillips Warm-Up Routine Alessi Seminar 2005, New Mexico

Introduction The systematic daily approach to the instrument can be the most positive and reinforcing aspect of our craft. Use this time to develop the strong pillars, both mental and physical, that aid in our creative and technical achievement on the horn. If we simply hammer through these exercises without being aware of our everyday muscular and creative needs, we soon become tired of the process. Seek to enjoy the process of getting better. I have included many quotes from professional athletes throughout this warm up routine to help you better reconstruct the performance aspect of your profession. To simply warm up every day without spending time in the “Mind Gym” will not serve you well. See yourself at your “gold medal” or winning moment. Visualize your surroundings and hear exactly how you would like to sound. Use this daily warm up time to solidify your goals and personal concepts of tone and style. Stretching Playing the trombone is in fact aerobic and physical. Do not neglect preparation for this activity. Recommended viewing and study: Breathing Gym DVD by Sam Pilafian and Pat Sheridan.

• Tension and Release – Take a deep breath in, then tense up (fists/arms/shoulders) and then exhale and explode the tension and air while releasing and relaxing the upper body.

• Torso stretches – Hold your left arm over your head and grab your left wrist with your right hand. Take a deep breathe and exhale while slowly bending from the waist to the right. With every breath bend more towards the right and feel the stretch in your rib cage area. Repeat the exercise switching hands.

Breathing Many of the finest brass chamber groups of today routinely employ group breathing exercises as part of their workout and practice. I look forward to continuing to develop these skills in my own practice and have seen significant gain.

• Breath training – Inhale for four counts and hold open. Do not use the throat (glottis) to close off and block the air. Simply stay buoyant, open and relaxed. Hold open for four counts then exhale, blowing the air past your index finger for four counts. Visualize the air moving past the finger and out into the hall. The feel of the air rushing past your finger helps firm up your visual picture of tone and projection. This exercise can be varied by tempo and duration.

• Phillips putting and driving practice – I recently began the pursuit of golf. I am vexed… While spending time alone with my thoughts on the golf course I noticed some similarities to trombone. I am also an experienced archer and bow hunter and have spent many hours practicing with a compound bow. Find a visual reference for varying articulations and dynamics and incorporate this into your mental and physical preparation. Driving a golf ball is fluid and relaxed and often times when the stroke is perfect the attack of the ball is not felt. This is

similar to a fortissimo Mahler III A. A short 5 footer for par will work much the same way as a relaxed high Bb on Bolero. In archery, the line between target acquisition and release can become blurred to the point of not being totally aware of the release of the bow string. A very strong trust is established between the mind and the mechanics. Seek to achieve this same level of trust and natural timing in your trombone playing.

Buzzing While living near Washington DC and working in the Marine Band, I regularly faced daily commutes of 45 minutes to over an hour and a half. I spent my mornings listening to WTOP news radio and buzzing. I buzzed anything and everything. I found that my tendency was to move towards fast articulations while buzzing. While living in Texas this past year and facing a very short commute, I soon realized how significant this regular training on the mouthpiece had become. I have been working on the Alessi Warm Up routine and found that the variation from buzzing to playing has been both challenging and productive. Do not start your day without buzzing something. What and how much is up to you. “Every time I play, in my own mind, I am the favorite.”

Tiger Woods

Down to Business Play the following long tone exercise slowly and deliberately. Seek to define the perfect air to buzz ratio.

“In spite of all the distractions, remained focused on the job.”

Reggie Jackson

“Competitive toughness is an acquired skill and not an inherited gift”

Chris Evert

“Under pressure, you can perform 15 percent better or 15 percent worse.”

Scott Hamilton “The biggest thing is to have a mind-set and a belief you can win every tournament going in.”

Tiger Woods

“A ball player who loses his head and can’t keep his cool is worse than no player at all.”

Lou Gehrig

“Learn to control your emotions or they will control you.” Edgar Martinez

“Each time I step on the basketball court, I never know what will happen. I live for the moment. I play for the moment.”

Michael Jordan “The greatest and toughest art in golf is “playing badly well.” All the greats have been masters at it.”

Jack Nicklaus

“Consistency is what counts. You have to do things over and over again.” Breath control and steady tone. Joe Alessi speaks of visualizing your tone on rails like a locomotive on tracks. Nothing is wavering or shaky. Pure, solid, instant tone that is uniform from beginning to end.

“The quality of a person’s life is in direct proportion to their commitment to excellence, regardless of their chosen field.”

Vince Lombardi

I try to get into the music as quickly as possible in my warm up routine. I am weary of Rochut. My friend and colleague in the Harrisburg Symphony, Phil Snedecor wrote these etudes for trumpet players and transcribed them for trombone. Phil is currently principal trumpet in the HSO and founder and arranger of the Washington Symphonic Brass. This is in the style of Prokofiev. Available from Robert King Music, Lyrical Etudes for Trombone by Phil Snedecor.

Think about the projection of your attacks and releases with a consistent uniform quality of sound throughout. Imagine your golf swing, serve, free throw, pitch or last to bat while playing these exercises. My long time friend in the Marine Band, Pat Corbett and Washington DC based free lance artist and colleague, Dave Scianella developed these exercises. They are available for purchase by emailing pscorbett@hotmail.com.

“It’s not the size of a man, but the size of his heart that matters.”

Evander Holyfield

“Every time your back is against the wall, there is only one person that can help you. And that is you. It comes from the inside.”

Pat Riley

“I’m a totally different person on the mound than I am on the street.” Nolan Ryan

“I won’t even call a friend the day of a match. I’m scared of disrupting my concentration.”

Chris Evert

I try to put myself through the paces in relative short order each day. The following exercises cover some flexibility issues and take care of the entire range of my horn. Bass trombone players are welcome to find an alternative.

“It’s not about the bike.”

Lance Armstrong

“When the game is over I just want to look at myself in the mirror, win or lose, and know I gave it everything I had.”

Joe Montanta

The following is taken from a lesson I had years ago with Allen Barnhill, principal trombone, Houston Symphony. This is an exercise in the release of any tension that may exist in your playing. Imagine the compression and release of tension and air as the scale descends. Take careful notice of the articulation and feel the natural slurs as they come.

“I may win and I may lose, but I will never be defeated.”

Emmitt Smith

The following Snedecor etude is in the style of Copeland. Take care to play all the way to the very end of each phrase. Concentrate on releases and the ends of notes.

“I’m proof that great things can happen to ordinary people if they work hard and never give up.”

Orel Hershiser