) Yu VY ) THE HIP-BONE MUSIC 15 MINUTE WARM-UP ROUTINE PRESENTED BY MICHAEL DAVIS ‘TABLE OF CONTENTS 1 2. 3. Embouchere Wake-Up Call. 4, Lip Slurs. 5. Flexibility. 6. Triad Flexibility... 7. Arpeggiated Flexibilit, 8 Open Sths. 9. Chromatic 10. Major Scale 11, Upper Registel 12. Relaxation ‘ Michael Davis/ Hip-Bone Music Bio, Web-Site, Contact Inf Bob vainwish © 1997 ty HIP-BONE MUSIC 119 W.71st St., #8B; New York, NY 10023 toll-free 1-888-633-BONE fax: (212)769-2155 www. hip-bonemusic.com ALL RIGHTS RESERVED No part of this book may be photocopied or reduced in any way without permission, ‘Unauthorized uses are an infringement of U.S. Copyright Act and ate punishable by Law.INTRODUCTION The Hip-Bone Music 15 Minute Warm-Up Routine is designed to give the student level trombonist a daily routine in which. to develop the essential fundamentals of good brass playing, Through daily practice with the enclosed CD or cassette, the student will be able to develop the three most important elements of good musicianship (tone quality, pitch/intonation, rhythm/time feel) at a much {aster and more consistent rate than by simply practicing these exercises alone. Each of the 12 tracks has been custom designed to accentuate the important aspect of each accompanying exercise. As with most skills we work to develop, it is extremely important to have a model or end resultin mind before we start to practice. With this concept in mind, the first 12 tracks on the CD or cassette contain bota the accompanying musical track as well as a ombone part. This will give the student a mode! to match tone, pitch and rhythm with, Track numbers 13 - 24 contain only the musical accompaniment, giving the student an opportunity to develop confidence in these three arcse, At the beginning of each exercise you will find one or two words which I refer to as Performance Keys. In the process of developing our musical skills, it is vital to have 2 clear mental picture or visual image of how we want to sound. In addition to Laing the model trombone on tracks 1 - 12,allow yourself to take these performance keys and create your own mental picture to help your performance of each exercise perugninple, if T use the word “calm” as a performance key, tty thinking of a beautiful lake at suntise and how your sound might mizror that image. Like all wind instruments and particularly brass instruments, the use of the air Stream is of the utmost importance. Before starting each exercise allow your entire torso to fill up with air from top to bottom ina very relaxed manner. Picture the air being pushed through the end of the slide «s you play. As you the many different parts that make up eaca musical track, try focusing on different ones and listening to how your part integrates with it. The practice of learning your part and then listening to see how it relates to the other musical elements sscund you will be invaluable in every band you ever play in. 6 oe BPR SRL Pk) 1. LONG TONES 2 . Performance Keys: WARM/ROUND/ELEGANT * wy - d =66 J 4 clicks in front (all clicks throughout the entire book = #) a ‘ t : 4 chicks in front ro ro nr) ) A 4 clicks in front2.TONGUING Puformance Keys: EVEN/CONSISTENT ds Pe 4 clicks in front SS SSS SSS Ree ! Rr== == E | lm mm mm me mm me OW Owrook a yor vag Expuanns Gove hae 3. EMBOUCHERE WAKE-UP CALL wy | Performance Keys: L1QUID/CREAMY deo 4 clicks in front PEF +4, LIP SLURS \ . Performance Keys: BOLD/FULL-BODIED We - ao 4 clicks in front ~ “th bo Seo a pane MAS dev 4 clicks in front —) . ge TS Cetin cee ta ead cece reedyou Va rey yau sve V ey YR VS Se 5.FLEXIBILITY Performance Keys: FLUID/STEADY dea 4 clicks in front 4 clicks in front . mo DEK a : ee ee ee ee ee ee ee ee oe ee6.TRIAD FLEXIBILITY Performance Keys: SMOOTH/FLOWING fis} . dae 4 clicks in frontroy yor yd yoyo yy dd Py ed 2 yoy ves yor yy 7.ARPEGGIATED FLEXIBILITY Performance Keys: EXHILARATING/POLISHED Ga dees 4 clicks in front Stee 1 be fo 2 ?- - t = —- —— —— 98.OPEN 5THS . i) : Performance Keys: SYMMETRICAL/SENSE OF EASE dacs 4 clicks in front{8. OPEN STHS - CONTINUED) 4 clicks in frowt 39.CHROMATIC FLEXIBILITY : za Performance Keys: BALANCED/FLOATING = 64 6 clicks an frontyoyoa Voeo yoyo ey Poa ta PoP ve Fe dp Dr ed 1O.MAJOR SCALES Performance Keys: VIVID/CONTROLLED deve 4 clicks int front ey14 eee eee~ 41. UPPER REGISTER Performance Keys: CLEAR/RELAXED 7 dure . 3 clicks in front - 2 - NN Sate om : Se12.RELAXATION - Performance Keys: BUTTERY/RICH daze : 4 clicks in front cy @) ~ = oe oy a OO “These notes, known as false tones should be played in the same position as the rest of the ~ sequence. Use your air-stream and lip lo produce the note. Allow your embouchere to completely relax, 6‘Trouibonist/ composer extraordinaire Michael Davis, hailed as the musical successor to Tommy Dorsey, credited with redefining his instrument and tie preferrad sideman of artists from the Rolling Stones to Frank Sinatra, proudly presenis the Hip-Bone Music 15 Minute Warm-Up Routine. Regarded as one ofthe premier tromborusts on the contemporary music scene, Davis’ numerous fouring and recording credits include the Rolling, Stones, Paul Simon, Sting, Aerosmith, Frank Sinatra, Lyle Lovett, Beck, Shery! Crow, Sacait Vaughan, Branford Marsalis, Harry Connick Je, Bob Dylan, Tony Benneit and Buddy Rich. A native of the San Francisco Bay Area, Davis received his musical training at the prestigious Easinian School of Music. He is a multiple recipient of awards from the National Endowment for the Artsand The Conimission Project. Michael has recently released his Sth solo xecording, Bonetown, on Hip-Bone Music, Bonetown showcases the talents of two of the nation’s ‘most exciting trombonists, Davis ané Bill Reichenbach, the top call Los Angeles based, bass-trombone virtuoso. Davis' earlier releases include Heroes and Sidewalk Cafe on Voss Records, Midnight Crossing an Lipstick Records, and Absolute ‘Trosabone ai Hip-Bone Music, featrting 18 of New York's finest trombone players collaborating a Davis’ compositions and arcangemtents. H ip-Bone Music was founded in 1994 with the intent of brondening and contemporizing the repertoire for -he tromone ensenible and soloist. Works from the Hip-Bone Masic Catalog are performed regularly throughout the world, incleding Australia, Japan, Norway, Finland, Mexico, Peru, Argentina, Korea, the United States and Canada. jazz Times magazine describes Micaael’s writing as “transcending categorization....creates pleasingly evocative moods through adioi! blends of classical, mainstveam, fusion and eco.jazz.” For clinic, concert and commission information or to order a free Hip- Bone Music catalog and sampler cassette: cali toll free at 1-895-633-BONE; fax at 212-769-2155 or evmail at: mdavis2@mindspringcom VISIT OUR WEBSITE AT: WWW.HIP-BONEMUSIC.COM Michael Davis plays King Trombones exclusivetyandis ait edsicational specialist for United Musical bustranents, ” (Emi nkig (mz LE RR (ROM CET CE (HE Ubt ik THE ¢