Case study 4 -Warm up routines

Case study 2:

Warm-up routines on the flugelhorn


https://www.jupiter.info/en/wissen/pro-tips/tips-for-trumpet-players/warm-up-exercises-for-brass-players.html

I remember from the lessons I had for the trumpet in the past where my tutors had recommended me to warm up each time I play. I then contemplated this idea and experimented with playing one of my pieces without warming up and then warming up the next time, I found out how warming up had actually impacted my playing.
However, over time leaving out a warm up routine before playing the trumpet or flugelhorn can cause temporary damage to the lips or the embouchure as there will be increased pressure to be able to play as the muscles required are not prepared for the action. An example of when this could occur is when playing notes in higher octaves at the beginning of the practice session which may case strain on the lips. (CITATION)This relates to my project when beginning my practice routines into 'Spain', 'Caravan' and 'Polka' as areas where warming up would benefit my playing the most will be before 'high notes' above the stave particularly in 'Polka' and 'Spain. Throughout this case study I aim to find out the impact of warm up routines on my playing as a flugelhornist.
This case study focuses on the importance of warming up for brass players. As I both play the trumpet and the flugelhorn (the focus of this project will be on the flugelhorn), I will be looking into the fundamentals of brass playing to find out how warming up involves different muscles of the body, to result in an efficient warm-up routine which reaches the objectives of warming up.Joachim (Kunze 2017)
The muscles required to warm up on the flugelhorn include the respiratory muscles which allow the player to breathe before they play to put air through the instrument. The embouchure is the way that the lips are placed on the mouthpiece to be able to play the instrument which is warmed-up through blood flow stimulating the lip muscles. Lastly, due to the valves and the importance use of finger dexterity within 'Polka', the use of the valves would be something to consider when warming up on the flugelhorn. In 'Polka' the piece is played with 'fast rhythms' and 'frequent key changes' which I looked into in week 2 of my weekly reflections. This emphasizes that the lips, mouth and breathing mechanisms need to be working in co-ordination in order to be able to perform a piece or a practice  routine well.
A jazz trumpeter at the Jazz Academy, Kenny Rampton explains his warm up and practice techniques on the trumpet. The purpose of this is to show how you can prepare for playing by 'getting the chops ready' and 'build tone'.  Before he picks up the instrument, he warms up prior to this. It was unusual to me the way that he could warm up without the instrument because I have only experienced and seen other trumpeters warming up the instrument, not without it. This is what he had said. "I usually start warming up before I even touch the horn, when I take a shower in the morning I will actually buzz my shops in the shower". To buzz the chops in the shower, there is movement of the lips in a 'flapping' motion which releases tension for him and 'gets the blood flowing in order to 'loosen up' before playing the instrument.(Rampton, 2014)
Here, there is a link between the article I have researched into and this method carried out by Rampton. This is where it says that the lip exercises 'massages the lips and causes them to fill with blood. To warm up, he plays long, soft tones which help him to have 'more control over the air stream'. Linking back to the previous article, doing this prepares the muscles which are necessary for playing the trumpet.
Therefore due to my experiences and connecting this to research about warming up, by developing my practice routine for it to be as efficient as how Kenny Rampton approaches his warm ups, this could have an effect on my practice and recording sessions which will take place during my project which I will look into at the end of this case study. 
To compare what I have found out, in an interview, Allen Vizzuti said that 'from holding a rehearsal to recording a brass section, warm-ups play a significant part in trumpet/flugelhorn practice together with reaching the purposes of a warm up'.  Consistency is important with warm up routines as it allows you to reach a goal before you start playing whether you are preparing to reach some higher notes or playing a technically difficult phrase, consistency allows you to reach a goal within a certain period of time. When Allen Vizzuti talked about consistency as a musician, he used a scenario as an example where he said "When going to a rehearsal and the plane is late and you jump in the taxi and you run into rehearsal and you have 3 minutes and you just figure out how to do it". This shows where being consistent with warm up routines and practice routines would 'pay off' and come as an advantage to the trumpeter.

Others, particularly brass players may disagree with the points I have mentioned in this case study as the warm-up of every brass player are contrasting and warm ups that work for some trumpeters may not work for other trumpeters, however it can also range from the ability of the player-whether they are intermediate or professional players. Whilst some brass players would buzz on the mouthpiece before playing, this could be due to frequent playing meaning that it's not necessary to continually warm up multiple times in a day. From researching into warm-up techniques, this could relate to my project to build my warm up routine which I will use at various points when necessary. A consistent warm up routine is essential for he start of a practice routine rehearsal and recording sessions. As a result, this allows me to build a warm up routine which will reach its purpose.

However, if it happens that I do experience difficulties with my practice routines in the future and there is damage caused if I lack warming up, this could be overcame by an example mentioned by exercised mentioned by the metronome method. With the metronome playing, the trumpeter repeatedly plays one note every four beats for an hour. He describes this as 'incredible' for trumpet playing as it coordinates the tongue, air, lips, fingers, foot and mind 'all by playing one note'.


As each trumpeter warms up in their own way, I will be practicing with different warm up techniques throughout the project and my aim at the end would be to have a warm up routine which suits me.
A musicians consistency makes them very desirable to use in a group or to use as a session musician in a band. Therefore, this links to a trumpeter being prepared for rehearsals and performances when they have to. Due to this reliability to rehearsals and willingness to show up to performances, this can make a musician desirable to play in a band. When I attend Middlesex University, I plan to play as a flugelhornist/trumpeter in different band styles and also put together my own fusion band and this is where a consistent warm up with practicing consistency will help em to reach this goal and maintain this through my daily practice. In an open day which I visited there, I was told that when joining orchestras an ensembles throughout the year, it is expected to have good attendance to these rehearsals in order be a reliable musician. A reliable musician in a band setting is most likely to gain more opportunities to perform which aids in the ascension of their career. Linking back to my flugelhorn playing, practicing with my consistency throughout this project will enable me to continue and use this skills in the future. 
'Polka' is one of the pieces I will be playing for my grade 8 exam which challenges me with the piece beginning with notes above the stave and triple tonguing, even after my current warm up.
For me warm ups are useful as it prepares me to reach the higher registers in the piece such as the phrase in the pre-chorus of the standard 'Spain' (at minutes : Seconds)where there is a G# (the highest note in the phrase).

Following on from this case study, this has provided me with different techniques to contribute to my daily practices on the flugelhorn.  

These are the videos I had referred to in this case study:
Part one

Part two







Reflections:
Practice routine videos
This is the first video I have filmed in my practice routine where I am demonstrating one of the scales I am currently working on.
In this video I demonstrate the G major scale on the flugelhorn to 2 octaves, played twice


In Polka, there are areas in the piece marked as triplets which require good coordination to be able to play.


Warm-ups can be conducted with or without using the instrument. When using the technique of 'buzzing', the mouthpiece is removed from the instrument and it is played as if it is connected to the instrument. When played with the correct embouchure and air pressure, buzzing can result in the same note as when played on the trumpet.
Buzzing on the mouthpiece is a method recommended to increase the blog flow to the lips












However, this can be checked using the piano by playing the note on the piano to find the note on the mouthpiece.

This prepares the movement that needs to be performed when the instrument is being played. However, it is warming up the embouchure because of the muscles needed to do this together with the

Techniques :
Slurring
Tonguing-double a triple tonguing exercises (Wynton Marsalis)
Flexibility
Warming up in the middle range?
Pitch and glissando











Reading through a 'trumpet warm up exercises' this mentioned the idea that warming up programs the brain to get ready for playing and to also play significantly well. When the brain is working properly, this allows our mechanisms to play be set up as well. Therefore, before working on the muscles involved in trumpet playing, the brain should be set up by...