Are you doing the same warmup you’ve done for years prior to WindWorks, or have you developed a new warmup based around the WindWorks exercises? I’m asking because I need a better way to warm up than the hit-or-miss thing mine has become. I’m used to doing a daily precise warmup that carried directly over into the rest of my practice sessions or performances and I really miss that. My warmup was the James Stamp warmup and I did that for many years, having studied with Jimmie back in the day. But, I can’t do Stamp anymore for two reasons # 1 my Stamp embouchure is so far removed from the milk spout embouchure that there’s no way that I can bounce back and forth between them and #2 I’ve been dealing with Embouchure Focal Dystonia for about a year now and to attempt to play anything as I once did sets off a bad reaction which sounds like a loud, nervous and out-of-control vibrato. I certainly don’t want that, so no more Stamp. Now what? Jimmie’s method set me up to play the same way everyday — no wild ups and downs, the same range, the same flexibility, the same quality of sound, and the same degree of control every day. I haven’t been with Windworks long, maybe a bit over 4 months, so it’s likely that I expect too much at this stage oF the “game”, but I hope to get back to that kind of stability of playing through WindWorks and I hope to find an effective warmup that will actually help me settle in better with Windworks.
Any ideas? Has anyone developed a comprehensive WindWorks warmup?
Hey,Janet, I made a post on this topic a little while ago. I ditched my lip slur routine a few weeks ago because of exactly what you said. I was bringing a lot of Me 1.0 into my warmup every day. I finally realized that I wasn’t going to make progress by taking backward steps. My warmup consists of simple chromatic slurs in the middle and low range. I only cover a fifth at a time. I start on my second line G and go down to middle C. I then start on F# and go down to B, etc. What I do next depends on what I’m playing in my next concert. This week, I’m working on Brahms’ 1st symphony. If I don’t have any specific needs, I’ll work on the Singing C series.
I believe getting a new routine in place can be very helpful for all of us who are taking this journey. I’ve been part of WindWorks for over a year and I’m just beginning to understand what I need to do. I’ve never had dystonia, but I’m sympathetic to what you are going through. I had a thought about re-learning how to blow. I tend to do a lot of cooking, and I was cooking some sauce for pasta. I was getting ready to taste it and I was gently blowing on it to cool down the sauce. I realized that I should try blowing my horn in a similar manner. I certainly don’t have any tension in my body when I’m cooking!. Hang in there and keep us posted!
Since MtM I changed the hole Idea with warmup.
The question is what would you like to warmup or what is really important to be warmuped ?
I am very convinced that your body need the warmup not the trumpet.
Therefore I start with flapping the lips,
Stretching the face muscles, etc
Than I take my trumpet without mouthpiece and blow air through it until water drops out of the bell.
With that exercises you warmup your hole body, especially the breathing muscles.
After that I am ready to practice as I perform.
I do the same warmup before going to stage.
Hajo, maybe it’s just me, but I think the mind also needs a Warmup – I definitely prefer to have an organized, concise and focused way to daily physically and mentally reinforce the neural pathways that I’m working to build as I learn the WindWorks system of playing.
I’ve changed everything since I met Greg’s method. Not just my warm up routine. I start my warm up every day with: stillness, energize the lungs, humming and release. I practice these 4 stages for a few minutes each. I continue with the first 4 stages of the singing c- series. I want to be very careful about the aperture corners. And I try to play all exercises passively. I keep humming and playing the low C. Then I take a break of a few minutes. Then I play some chromatic scales. Both slurred and tongued. A short break follows. I either continue with technical studies or whatever is pending.
That is my way to warm up. It feels good. The lips are warm but not stressed.
PIA, thanks, I think this may be getting closer to something that could work for me — it’s the orderly progression and purpose behind what you’re doing that appeals to me. Besides the Dystonia issue, I am truly my own worst enemy because I am also ADHD (Attention Deficit) — so, having something structured and orderly helps me stay focused better. Sometimes I get very weary of dealing with me and, on really bad days, I sometimes find myself sitting in front of my computer with my head in my hands — it all gets very overwhelming.
Recently I have been:
(Note, I try to rest as much as I play throughout, sometimes I cheat)
1. AAHOO Leadpipe long tone x 3 to 5
2. Leadpipe staccato releases x 3 to 5
3. AAHH OOO on low C# – Singing tone – big sound x 2
4. C# (123) to F# (123) Harmonic Slur – the basic: Corners in, AW – OO, Airstream up x 3
5. Single harmonic slur routine from MTM
6. Double Harmonic slur routine from MTM
7. Octave Harmonic slur routine
8. Lip Bends (MTMs or random ones. Both down and up)
Depending on what I am working on I then either do traditional technical routines such as Clark #2, Flexus, scales or do MTM’s above the stave routines if I am trying to build consistency for a ‘choppy’ gig. ie. A Exercises, Bb Exercises onwards. Sometimes I also do Caruso 6 notes a few times a week.
I also recently have been doing some meditation to get more focus and less ‘inside my head’.
Ultimately, you need to work out something that works for you. If you are struggling, perhaps Greg can help you with developing a warmup in an online lesson.