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PETER STEINER'S
DAILY WARM-UP
I begin my day by re-introducing fundamental aspects of trombone playing to
my body each morning to help wake up my playing muscles in a healthy way.
The goal of this warm-up is to gain the most comfortable feeling on the instrument
in addition to being relaxed while playing.
This warm-up is a compilation of exercises that have been passed on to me by my mentors
Joseph Alessi, Dany Bonvin, Warren Deck, and Nitzan Haroz in addition
to ideas of my own.
Trombone is a Wind Instrument, therefore it is really important
to begin by engaging the wind, or breath, before touching the mouthpiece or trombone.
Let the metronome be your tempo guide throughout the entire warm-up!

Breathing
The first exercise of my warm-up takes exactly 5 minutes and
I find these minutes the most important of the day.
They help me to start my playing-day with the right mindset (focus on breath), attitude and energy.

100% focus on the air.

Fill all bars with even speed of inhale/exhale.
Don't overthink this - inhale like you would be waiting at a bus stop with your phone in the hand and
breathe as relaxed as possible while filling up your lungs to maximum capacity.

   inhale   inhale
                
                     
 = 60
simile

exhale exhale

    
                           

Buzzing
After working on the air-control I like to give my lips the chance to warm-up,
before using any equipment.
Repeat this exercise 2 times:
- first time: free buzzing
- second time: buzzing on mouthpiece
Make sure to glissando from note to note, focusing on letting the air guide you to the next note.

   
Take a big relaxed breath during the 2 beats of rest.

               
         
 = 60
gliss. gliss. gliss. gliss. gliss.
gliss. glis gliss. gliss. gliss. gliss. gliss.
s. gliss. gli gliss. gliss. gliss. gliss.
ss. gliss. gliss. gliss.

             
      
gliss. gliss. gliss gliss. gliss.
. gliss. gl gliss. gliss.
gliss. iss. gliss. gliss. gliss.
gliss. gliss.

Copyright © Steiner Music Library, 2020 1

           

            
gliss.
gliss. gliss. gliss. gliss. gliss. gliss.
gliss. gliss. gliss. gliss. gliss. gliss.
gliss.
gliss. gliss. gliss.
gliss. gliss. gliss. gliss.

     
               
gliss. gliss. . gliss. gliss.
gliss. gliss.
gliss. gliss. gliss
gliss. gliss. gliss. gliss. gliss.
gliss.

Are your lips tingling? Good!

First notes
First notes on the trombone!
Keep the same relaxed feeling.
Find a vibrant and round sound.
Fill the horn with maximum air, singing as much as possible during the glissando.

                       
Take big breaths and be as relaxed as possible.


 = 60
gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss gliss. glis gliss.
. s.

                
   


gliss. gliss. gliss. gliss. gliss.

 s.
gliss. gliss. gliss. gliss. gliss. glis
s. glis

      


  gliss. gliss.   gliss. gliss.    gliss. gliss.     gliss. gliss.   gliss

. gliss
.    glis
s. glis
s.


Go for the most relaxed feeling possible in addition to a round sound.
If you have to take a breath, start the note before the breath again for note connection.
Articulation: natural slurs and glissando.


                      
      
  
 
 = 60
gliss. gliss. glis
s. gliss. gliss. gliss. gliss. gliss. gliss. gliss.
gliss. gliss. gliss.

               6           
  


     
gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss.
gliss. gliss. gliss. gliss. glis
s.
gliss.

           
                    

gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss.
gliss. gliss.
gliss.

      
                         
 
gliss. gliss. gliss. gliss.
gliss. gliss.
gliss. gliss. gliss.
gliss.


gliss.

     
    
gliss. gliss. gliss. gliss.

Copyright © Steiner Music Library, 2020 2

 Mix natural slurs and glissando connections as shown on the previouse exercise.

   
          
      
 = 60

         
6
gliss. gliss. gliss. gliss gliss.
. gliss.
gliss. gliss. gliss. gliss. gliss. gliss
.

                    
gliss. gliss.

 


    
         
gliss. gliss. gliss. gliss. gliss.
gliss. gliss. gliss.
gliss.g .
liss. gliss. gliss. gliss. gliss. gliss gliss.

            
   
   
            
gliss. gliss. gliss. gliss. gliss. gliss.
gliss. gliss. gliss.
gliss. gliss. gliss. gliss. gliss. gliss. gliss.
gliss.

       
                         
      
gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss.
gliss.
gliss.
gliss. gliss.

 
                      
       
6
6
gliss. gliss. gliss. gliss gliss.
.
. gliss.
gliss. gliss. gliss. gliss. gliss gliss. gliss. gliss gliss.
.

                          
       
gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss.
gliss. gliss.
gliss. gliss. gliss. gliss.

                          
       
gliss. gliss. gliss. gliss. gliss. gliss.
gliss.
gliss.
gliss. gliss. gliss. gliss. gliss.

      
gliss.

          
             
  
gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss
.
gliss. gliss. gliss.
gliss. gliss.

                         
 
      
5 gliss. gliss. gliss. gliss. gliss.
6 gliss.
gliss. .
gliss. gliss. gliss. gliss. gliss


                         
          
gliss. gliss.gliss. gliss. gliss. gliss.
gliss. gliss.
.
gliss. gliss. gliss. gliss. gliss. gliss gliss.

          
            
       
 
gliss. gliss. gliss. gliss
gliss.
. gliss. gliss.
gliss. gliss. gliss. gliss. gliss. gliss. gliss.
gliss.

                     
                
 
gliss. gliss. gliss. gliss. gliss.
gliss. gliss.
gliss. gliss.

Copyright © Steiner Music Library, 2020 3

        
            
 
         
gliss.

 
6 1


gliss. gliss. gliss. gliss.
gliss gliss. gliss. gliss.glis
. s.

   
   Have you found a nice and focused vibration of your lips?

Play with a beautiful open sound and with evenness across the register.

                     
      
 = 60 glissando
gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss.
gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss.
gliss. gliss. gliss. gliss.

    


       
         
gliss. gliss. gliss. gliss.
gliss. gliss. gliss. gliss.
gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss.

                     
    
gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss.
gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss.
gliss. gliss. gliss. gliss.

            
         
gliss. gliss. gliss. gliss.
gliss. gliss. gliss. gliss.
gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss.

                
         
legato tongue

          


           

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

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

Copyright © Steiner Music Library, 2020 4

 Long tones
Long tones are key for a great sound across all dynamics
in addition to helping you being in control of your air speed!
Start as soft as possible!
Reach your loudest dynamic in the middle of the second bar.
Make sure the decrescendo happens evenly.
Be careful with the pitch! Double check with a tuner to make sure your pitch is staying in tune!

      
Take a big breath during the 3 beats rest.

               
 = 60

 
 

             
         

     


            
           

        




 
          

      
     

Detached notes
First detached notes of the day!
Let the air guide the tongue and use one continuous air stream.

           
Strive for a round and singing sound!

                            

 = 60

   
da da da da da da da da simile

    


  
           
             
                
          
  

                                                    
   

                                                  

                                     
  
Getting excited about your sound production yet?

Copyright © Steiner Music Library, 2020 5

 This is the first exercise in the high register.
Do it in 1 breath and with natural slurs.
Sing on the dotted quarter note and lead with air into the high note.
Go for evenness throughout the register.

   2               4   
Be aware of the first tempo change of the warm-up!

                    
        
3
 = 69

   5         6        7  
                    


      
   
                  
       
 
   
 
                  
       


   
  
               
   

 
     
  
 
Flexibility
Keep the air moving and play this as smooth as possible.
Use the tongue for the first note after each breath.

                                   
All natural slurs!

  
 = 69

                         


  

             
   
           

                       


              

        
              

Copyright © Steiner Music Library, 2020 6

 Same exercise, just a bit quicker to work on flexibility in the middle register.

                                      
   
 = 69

                    


      


                            
                   

                     


              

Let's do this even quicker in addition to a slight alteration to make it more challenging!

                         
   
 = 69

                      


      

                      
      

    
         
             

    


  
                   


    
  
                     

             
             
Feeling warmed-up for whatever music is on the stand?
Copyright © Steiner Music Library, 2020 7
 At this point I usually feel really in control of my air and buzz in the middle and low register.
Let’s work our way up into the fun register!
Let the air guide you from partial to partial.
Focus on consistency of sound and being as relaxed as possible.
Avoid using any tension or muscle.

                       
Keep it singing!

    
 = 69

      


                     
     
7 6

         



                 
     
    


 
                                   



   

     
                         
    
 
7 6

     
                
         


  

       
    
             
 
     

      


               
 
   
    
    


       
                  
            
 

Copyright © Steiner Music Library, 2020 8

 7        6    
            

  
  

       
            
            
   

        
                  
             
  

   
          
    
 
Feeling adventurous? I usually add one partial starting in 7th position :)

High notes

Let’s approach them with ease, air and a glissando.

Pay attention to the marked slide positions before beginning!

1     3  6  3  6 1  2 
        
         
 = 60
1 5 1 5 gliss. 1 7 1 7 gliss.
gliss.

1 
     

 1  2 6 2 6 1  2 6 2 6
                   
gliss. gliss.
1 6 1 6 gliss.

 1 
     

     2 1 6 1 6
            
1 7 1 7 gliss. gliss.

   

Copyright © Steiner Music Library, 2020 9

 Arpeggios

Time for some arpeggios!

Use all natural slurs.
Keep the sound as even as possible across the registers and let the air do the work!

        
       
     
   
 
     
   
 = 60

                
            


 
        

                   
        
       
     
          
    
           
    

        


                   
    
                    
       
      
 


            
 
                 
         

         
       


          
       


          
                      
     
              
               

     
 
     
    
    
    
    

    


Copyright © Steiner Music Library, 2020 10

                     
                
   

  

      
   
            
 
            
  

        
                
                  

            



     
         
   
           
     
           
              
            

            
        
   
     

        
     

   
       


          
     
       
 
              
          
        
 

  

             
    


       
                 


      
                     
            
     


            
          
   
       

Copyright © Steiner Music Library, 2020 11

 Last check up

Natural slurs across the registers are a good way to test if you are ready to start working on
technical aspects and music making.
Keep an even sound and focus on the air!

  
     
                 
      
 = 80

   


    
              
 
 
   

This is my daily warm-up (edition 2020).

Please don’t be mistaken, after this warm-up there are many more steps
to take in order to play your best!
My maintenance exercises book will show you more.
This warm-up gives me a solid foundation and helps me have consistency in my playing.
With this I have worked on the most important aspects of trombone playing in my opinion:
- air
- breath
- sound
- control
- being relaxed while playing the instrument

...and now I am ready to play whatever is on the music stand!

Copyright © Steiner Music Library, 2020 12