Marty Hackleman Routines

Buzz mp as long as it takes to feel centered, focused but open as well.The sweet spot of tone.
Never settle for less than centered resonance in all registers and dynamics.
How easy can I do this? How simple can it be?
Ex. 1 q = c. 60.

      mp to mf , mf to f

Mostly legato articulation but sounds slurred. Rest a few seconds at least in between.
Repeat until it feels like the buzz idea (above).
Change octaves up an down as well, then go on to Relative Minor,
then next Major Key (Bb etc.), all the way around.

Remember than warming up is a byproduct of a routine. A consistant routine trains the non-natural player
to put all the technical parts in order properly and the natural player to understand how and why their talent
exists. Sooner or later things happen when playing a brass instrument that need to be dealt with with an
understanding that natural ability rarely comprehends. Psychologically a routine focuses concentration and
consistency. That produces a strong foundation of confidence that helps assuage doubt and fear.

Ex. 2

 
Always rest as much as needed to make each note feel as perfect and easy as possible.
 
  
 
            



 
(variations)
f
Legato tongue and slur combinations. Rest and repeat as needed.

Continue the full easy feeling, extending down and back up.


Continue chromatically to:



    

Ex. 3

  
mp - mf
One breath as fast as possible with light, clear tongue that is not too short.
Connect directly to B§ then Bb etc. by missing out last half note andgoing directly to next key.
Try to not play short or loud.
See if you can do eight patterns in one breath.
Continue to:


    REST
Ex. 4

q = c. 80

   

f
Continue chromatically as high as possible. Rest/repeat as needed.
Make upper register feel as balanced as the mid register.

Ex. 5 q = 60
    
      













   














mf    
Open on F Horn.
Go as low as you can but don't lose focused top note.
Rest/repeat as needed, then valves 2, 1, 1+2 (F Horn).

 
 
Ex. 6 4 times

  



Rest/repeat as needed.





mf
Try to feel as many 'notes' on the way up as possible. The embouchure should feel very focused but
flexible with all sensation on the inside of the mouthpiece

         

h = c. 92
 
Ex. 7 6
 
   
6 6

             

mf - f 6 6 6
6

   
6 6 6 6 6
6 6
REST
One breath - legato - firm air - lower body still (frozen feeling with no squeezing).
Try to keep corners quiet (as little embouchure movement as possible).

 
          
Ex. 8
   
             

REST
Then repeat one octave lower. Sometimes try to take in enough air that you spin out slowly enough
to do both octaves in one breath.
 Ex. 9
 

     Rest/repeat as needed.



 
   Then: REST

Now go 1/2 step up and do exercises 7-9.


You should end up doing ex. 7 thus:

  REST
6

This routine builds a player's strength. Be sure you rest as much as needed.
Some days variations of tempi and dynamics feel natural to attain the resonance.

Embouchure
It is how three things get along: two hard things and a soft thing. The teeth and mouthpiece are hard and the lips are
soft. We have to make sure the two hard things are getting along and are aligned to make a cooperating foundation so
the lips can stay in as natural formation as possible. Look in the mirror and don’t smile, lips gently touching. The closer
your lips look like this when you play the better and easier your horn playing will be. The lip formation is a reaction to
even pressure being applied between the teeth and mouthpiece. The lips are a reaction to the two hard things
engaging in a balanced resistance.
The corners should be firm but not move. The lip should always feel flat yet firm and never any rolling in. Perhaps
some sense of opening out feeling is present. Then chin is always flat and firm. If you take your thumb and press on
the middle you will see how the lips push back in a flat box like way. This is a firm version of your natural lip formation
and is what you should see as much as possible when you play.
Attack
To start a note gently place the mouthpiece IN the lips about half way to the teeth with no muscle tension. Feel the
equal support of the teeth and mouthpiece. Usually the jaw is a bit forward to make the southern part of the foundation.
There should be a sense of a parting of the lips in the mouthpiece but under the rim should be naturally sealed. Make
sure the gap of your front teeth is open enough to assist with the parting sensation.
Place a relaxed natural width tongue on the top teeth with the tip area at the teethes edge and the area behind the tip
at the gum line at the same time. There should be no tensing or pointing of the tongue. The natural width of the tongue
will be covering about four front teeth. At first just use the air that is in your body and create a small amount of air
pressure behind the placed tongue. Press the tongue gently and then pull it back to the center of the mouth to start the
note. The beginning of sound should be clear without a punch or fuzz.
Support/Sound
The goal of the air is to have sufficient speed and velocity to spin the sound. It is more important to concentrate on air
quality rather than air quantity. Quality air produces efficient sound. Excess air enhances tension. Support is not
caused by air. There should be a general firmness of the lower body that increases the RPM of the air. When air
speed is highlighted the throat has no tension and the chest feels open. The sensation is a balance of resistance from
energy going from you to the horn. The lips are the first area of resistance where vibrations are created to flow
through the horn. The sensation of your sound should be always going forward and getting broader as it travels from
you. The point of resistance is a portal not a wall.