Morning SessionTypically, my students and I set annual, big-picture goals, along with short-term goals that align with these long-term objectives. We also explore how daily practice can be scheduled. Because this is highly individual, I offer my own daily routine as an example and then help the student develop a daily routine that suits their interests.
I practice in the morning and in the evening. I start my day playing my large-bore, orchestral trombone. I play ascending long tones (60 mm., eight beats, low E to high E) chromatically. I then turn to a warm-up study from either the Schlossberg or Remington warm-up books. I complete this with long pedal tones.
During this portion of my daily routine, I keep the metronome clicking at 66 m.m., and always count a measure and take a natural ("oh yeah") breath on the beat preceding my playing.
Next, I play chromatic scales on various articulations (legato, tenuto, or staccato) from the lowest E to the highest E. I use a 6/8 time with eighth-note motion at 60 m.m.
I next turn to orchestral excerpts. Tannhauser for breath control, La Gazza Ladra for staccato articulation, and Mozart's Requiem for legato articulation. I then play Valkyrie for staccato articulation and breath control. Finally, I play Bolero and Also Sprach Zarathustra for the upper register.
To conclude my morning practice on the orchestral trombone, I play Rochut Etude number two.
At this point, I turn to my small-bore, jazz trombone. I begin by playing all major and minor scales, two octaves. Finally, I conclude by playing all Major 7th, dominant 7th, half-diminished 7th, and augmented 7th arpeggios in two octaves.
