HIP-BONE MUSIC 15 MINUTE WARM-UP ROUTINE PRESENTED BY MICHAEL DAVIS TABLE OF CONTENTS Introduction 6.2.62. 2.. cee eee sees eee Salted: Long Tones ‘Tonguing Embouchere Wake-Up C: Lip Slur 0.2... cece : Flexibility .. ‘Triad Flexibility... : Acpeggiated Flexibility... Open Sths Chromatic Flexibility ... 10. Major Scales CRN AAA SHE 11. Upper Register . 12, Warm Down ©1997 Hip-Bone Musi, In tol fice: 1-888-633-BONE wwwhip-bonemusic.com ALL RIGHTS RESERVED [No par of this book may be photocopied or reduce in any way without permission. ‘Unauthorized uses are an indeiageznent of US. Copyright Act and ae paishable by Law.INTRODUCTION ‘The Hip-Bone Music 15 Minute Warm-Up Routine is designed to give the trom- bonist a daily routine in which to develop the essential flandamentals of good brass playing. Through daily practice with the enclosed CD, the player will be able to develop the three most important elements of good musicianship (tone quality, pitch/intonation, shythmy/time feel) at a much faster 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, itis extremely important to have a model or end result in mind before we start to practice. With this concept in mind, the first 12 tracks on the CD contain both the accompanying musical track as well as a trombone part. This will give the player 2 model to match tone, pitch and rhythm with, Track numbers 13-24 contain only the musical accompaniment, giving the player an opportunity to develop confidence in these three areas, 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 a clear mental picture or visual image of how we want to sound. In addition to using 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, For example, if I use the word “calm” as a performance key, try think- ing ofa beautiful lake at sunrise and how your sound might mirror 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 in a very relaxed manner, Picture the air being pushed through the end of the slide as you play. As you become familiar with the many different parts that make up each musical track, try focus- ing on different ones and listening to how your part integrates with it, The prac- tice of learning your part and then listening to see how it relates to the other musi cal elements around you will be invaluable in every band you ever play with.1. LONG TONES Performance Keys: warm/round/elegant Jace 4 clicks in front (all licks throughout the entire book = 4 4 clicks in front 4 clicks in front2. TONGUING Performance Keys: even/eonsistent cee 4 clicks in front a — — ———————_—_ rpctetpe pepe pe bp epee eer pee es» py = (SS ee pe pe = —— = SS eS 4 epee ee qe : :> —— ct eceeese cede ese sete3. EMBOUCHERE WAKE-UP CALL Performance Keys: liguid/ereamy J-00 4 clicks in front4. LIP SLURS Performance Keys: bold/full-bodied deze 4 clicks in front PE o=76 4 clicks if5. FLEXIBILITY Performance Keys: fluid/teady Ji 4 clicks in front a ~ Bel 7 BereeeEEEeEE EERE Ee east stetetetet te tetatet be tatetatetack 4 clicks in front6. TRIAD FLEXIBILITY Performance Keys: smooth/flowing dee licks in front7. ARPEGGIATED FLEXIBILITY Performance Keys: exhilarating/polished dees 4 clicks in front Perera eee eg a ele eget8. OPEN STHS Performance Keys: symmetrical/sense of ease o=64 4 eis none 3 b 3 3 3 3 bee? 7 _@ 2. = 2 u8. OPEN STHS (continued) 4 clicks in front 29. CHROMATIC FLEXIBILITY Performance Keys: balanced/floating Ug : oe 1B10. MAJOR SCALES Performance Keys: vivid/controlled dere | 4 clicks in front SEE511. UPPER REGISTER Performance Keys: clear/relaxed deze 3 clicks in frome12. WARM DOWN Performance Keys: buttery/rich J =72 4 clicks in front SESE CECE Ee EEE HE SEE EE ESPs epee Pere Eis eg TT UTP Ee Be EEE EEE EEE ep EE CEE EEE EEE EE EEE EEE EE EEE EE eCEeSeE Pere Pas ee ee Po Peper SEC EEE EEE ga eee EEE EEE EEE See Sere Heston CH eer PSH Peers oe * 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 to produce the note, Allow your emsbouchere to completely relax. 7> ‘Trombonist-composer Michael Davis does it all. Hailed as one of today’s premier instrumentalists, he has established himself as a frst-call sideman, both in the stu- dio and on the concert stage, for the entertainment world's biggest stars, including Frank Sinatra, Tony Bennett, Bob Dylan, Michael Jackson and the Rolling Stones. In the field of music education, he has served as a clinician around the world, while also authoring a number of highly esteemed instructional books and band arrange: ‘ments for musicians of all ages and abilities For the past ten years Davis has been forging ahead as an entrepreneur, with Hip-Bone Music, a growing business that presently handles his publishing activities and work as a recording artist. Dedicated to increasing the popularity and stature of brass instruments and emphasizing “how hip, cool and fun it is to play music,” Davis said Hip-Bone Music is set on expanding its educational focus and ‘making it a viable avenue for other brass artists. A native of San Jose, California, Davis received his musical training at the prestigious Eastman School of Music in Rochester, New York, Upon graduation he hooked up with the Buddy Rich Band for 2 two-year stint that brought an immeasurable amount of bandstand experience and a wealth of professional friendships that continue to this day, He settled in Manhattan in the mid-1980s and before long was being regarded as one of the top trombonists around, As tes- timony to his versatility and wide regard, the list of jazz and pop luminaries he has worked with over the years reads like a who's who: Sarch Vaughan, Sting, Harry Connick, Jr, Beck, Branford Marsalis, Aerosmith, Bon Jovi, Sheryl Crow, Lyle Lovett, Terence Blanchard, Bob Mintzer and scores of others. ‘A multiple recipient of awards from the National Endowment for the Arts, Davis maintains his own jazz groups and projects as well. Through Hip-Bone Music, Davis has documented his efforts on five solo CDs-—~Thumpets Eleven a showcase for 11 virtuosic trumpet masters; New Brass, a melding of jaza and clas- sical brass styles; Brass Nation, a gathering together of 55 of the world’s greatest brass players; Bonetown, a pairing of Davis with LA bass trombone maestro Bill Reichenbach; and Aésolute Trombone, yet another musical conclave, this time with 18 New York City-based trombonists. Acknowledged by popular musicians, fellow educators and audiences around the world as an immensely talented musical artist who's committed to se- ting the highest standards possible for both jazz and his instrument, it is no won- der that legendary Rolling Stones drummer Charlie Watts was moved to com- ment, “In this ‘bone-dry" era it is essential to have Michael Davis around.” 18For clinic, concert and commission information or to order a free Hip-Bone Music catalog: call toll free at 1-888-633-BONE; fax at 212-769-2155 or e-mail at: bip-bone@nyc.rrcom Visit our website at: www.hip-bonemusic.com Michael Davis plays King and Conn Trombones exclusively and is an artistelinician for Const-Selrner. ct)