Approach-based Warm-up Routine

Compiled by Timothy Leasure, The Ohio State University School of Music

I. Long Tones
Pay particular attention to the dynamic markings and tempo of this exercise. Focus on producing a steady, well-supported
sound. Inhale and articulate in tempo. If needed, you may rest briefly at the double bars.
q = 100

       
  
   
p

11

            

21

     
        

31

     
        
41

            

51

            

61

             

71
           

Copyright 2006 Timothy Leasure The Ohio State University
2
81

             

91
     
        

         
101

  

111
           

121

            

131

      
   
 

141

    
         
151

    
         
161

 
    
 3

IIa. Long Tones (expanding intervals)

Again, focus on a steady and full (not loud) sound. Try to maintain the same tone quality in all registers. Use a tuner to
monitor your intonation on the fifth and sixth harmonics in this exercise.

1 q = 84
 
    
    
p
9
   
 
  
IIb. Long Tones (ascending intervals)
Alternate between exercises IIa and IIb every other day. You will also want to use a tuner on this exercise as well.

1 q = 100
    
      

10
    
    
 
19
   
    
  

28
    
       

37
    
    
 
46
    
   
4

III. Breath Attacks

Begin each note with the intensity of the air stream only. The lips should vibrate instantaneously upon applying the air.
Use the syllable 'hoo' to begin the attack. Do not use any tongued articulations in this exercise.

1 q = 100
       
         
9
           
             

IV. Initial Attacks

Problems with attacks are frequently more related to the nature of the breath before the attack, rather than the execution of
the articulation itself. Tension in the body from a shallow or non-relaxed intake of the breath can frequently result in a
'burr' on the attack or an inaccuracy of the pitch. This exercise, adapted from an exercise found in 'Horn Technique' by
Gunther Schüller, will help to alleviate initial attack problems. You will want to focus on the quality of the attack
following the breath. Exhale (+) and inhale (o) in tempo. Use a metronome for this exercise.

1 q = 100
 
o o o o o o o o
                       
+ + + + + + + +

                       
+ o + o + o + o + o + o + o


17

 
+ o
 
+ o
 
+ o
  
+ o
 +
 
o + o
 
   

23
  

o o o o o
          
+ + + + +
  
29

o o o o o o
            
+ + + + + +
  
 
 5
   
 
35
o o o o o o
           
+ + + + + +


41

 
o o o o o
          
+ + + + +
   
V. Mouthpiece Drills (Stamp - Part I)
Mouthpiece exercises are not only good for their calisthenical benefits, but are excellent for ear-training when played with a
piano. These drills are also good indicators of how one moves from note to note. Be mindful that you do not telegraph your
movement, particularly on the larger intervals. Play through the exercise with just the mouthpiece while playing along with
the piano. Hold the mouthpiece with your weak hand (if you are right-handed, hold it with your left hand and vice-versa)
between the thumb and forefinger. Add any pressure to the embouchure needed to play the pitch AFTER taking the breath!
47
   
             
 
51    
 
              

55

     
      
              


 
         
  
   
59

    

 
       
    
63
  


 
       
           
     
67


6
71
   
     
   
75
   

   
  


   
79


   
  


   
83


   

V. Mouthpiece Drills (Stamp - Part II)

Play through this exercise first on the mouthpiece, then on the trumpet. For the pedal tones, finger them as if they were
written one octave higher, as notated.

        
q = 84
      


 
9

             

   
17

          

    
 
 7
33

    
1
       
 
  
 
41

    
1-2 2-3
   
          
49

 
1-3 1-2-3
   
         

  
  
57


0 or 1-2-3

       

VI. Tone Bending


Tone-bending exercises are excellent for strength building and for creating a strong 'center' to the tone. Use the lip to bend
down to the note marked with an ( ). Match the pitch of the played lower note with the lipped lower note. Increase the air
intensity on the false note to keep the sound full and controlled. It may have a slightly harsh and nasal quality if played

 
correctly.


1 q = 100

              

9
 
              

17
 
       
     


25
  
 
    
       
8


  
33

           



41

             


  
 
49

            

  
57
          


    
65

         

73
       
        

          
81

  


  
89
           


 

97


       
    