Wesley Shores Warm-Up

Featuring exercises by myself, Brad Edwards,

David Vining, Steve Lange, and Joseph Alessi Compliled/Arr. by Wesley Shores
@westhetrombonist

                            

     
1.) With air attacks - For note centering and healthy airflow

                              
  
4

         
         
               
7

    
         
         
10

     
                 
           
2.) For embouchure relaxation

   
  = 72

            
              
    
5
Continue down chromatically to F

                   
  
3A.) For articulation clarity & consistency

 
 = 120
 
                  
Continue down chromatically to Eb
9

                 
3B.) For slide coordination & articulation

          
 = 60+

          
                 
4

       
      
7

                 
3C.)

        
 = 60+

          
               
4

       
       
7

2
        
 
4A.) Shift Check - From Steve Lange's Warm Up

         
 = 72

             
          
6

           
      
11

  
4B.) For seamless note connection and intonation -

     
From Brad Edwards Lip Slurs

    
 = 108+

   
     
 
3

         
           
Continue to 5th & 7th
6

                            
4B.)

 
Continue to 5th & 7th

   
 = 140+

Repeat 3x Repeat 3x

3
   
4C.) For larger leaps and intonation - From Joseph Alessi's Routine

        
   
 = 64+

    
    
      
   
    
4

        
                   
 
7

    
         
     
11

   
         
       
14

    
       
17

       
4D.) To manage shifts and airflow

      
 = 72 Continue down chromatically to F

 
4
               
5.) For dynamic control and articulation -

           
From David Vining's Daily Routines


 = 72 Stacatto
Legato

                   
 
      

  

Stacatto
10 Legato

        
   

 


               
17 Stacatto Legato

           
      

             
26 Stacatto Legato

    subito 

                              
6A.) For multiple tonguing


 = 120+ Continue down chromatically to Low Bb

                         
6B.) For multiple tonguing and slide coordination


 = 108+

                              
 
Continue up chromatically to F above staff
3

5
        
    
7A.) For range building -

  
From Joseph Alessi's Routine

 
 = 84

 
       
      
  
 
4
Continue pattern to first position

 2nd 1st   
 
7B.) For high range & relaxation

     
 = 80
1st 2nd
6th 7th 6th 7th

 7th  
 7th 2nd  1st
6th
   
1st 2nd 6th
13

* Focus on a steady airstream & maintaining your best possible sound.

               
7C.) Aim for a free, singing sound

    
With legato tongue - slur when possible
 = 60

              
          
5

             
         
Continue up chromatically to high F
9

6
    

            
7D.) For note slotting and precise shifts.

      
 
 = 120+

 
     
          

 
7



   
         

13

For low range and relaxation


8A.) See if you can "false tone" the Low B

          
  
 = 60



        
Continue down chromatically to pedal Bb -

  
5 Or pedal F for an extra challenge

   
8B.) To open up the low range and warm down -

                    
Play slowly and use relaxed air
Continue down chromatically to Low C

Lip down - False Tone

 
7