Robert spring warm up pdf

His phrasing is elegant swing tailored with great flow and a spread of tone colors and expressive subtleties. His low- and mid-range are especially warm, rich, and embracing and highly effective in the introduction and in the bridge to the jazzy finale. And boy what a finale! The pace is neatly judged to pick up at critical junctures so that, by the end, it feels like an improvised jam session.

Spring attended the University of Michigan where he was awarded three degrees, including the Doctor of Musical Arts degree. He frequently serves as clinician and adjudicator and teaches on the faculties of several summer music festivals.

He has published numerous articles on multiple articulation and other contemporary clarinet techniques. Spring was president of the International Clarinet Association from and has performed for numerous International Clarinet Association conventions. Spring is also a guest professor at the Beijing Central Conservatory of Music. Herberger Institute for Design and the Arts.

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I increase the tempo again to and play the Klose scales in all three forms at , and the Klost thirds and Langenus arpeggios at I use page 22 from the Langenus book three, for my single tongue wann up. John Mohler, my teacher now retired from the University of Michigan stressed this exercise as being the single most important for developing speed with the single tongue.

I think that the aspect of tension and release, tension on the two fast notes, and release on the longer note, is the same idea as tension and release that weight lifters and body builders use. I ]lave found that during the 25 years that I have been working on this exercise my tongue speed and accuracy have gone beyond my wildest dreams.

I begin at and play the exercise four more times. This is all single tongued. I then introduce the single tongue with finger motion, again using the Klose scales. I play them all tongued at and two slurred and two tongued at I again vary the minor form daily. I warm up my double and triple tongue next. I play major scales using the pattern Clarinet Warm-Up p. This is played at , , , , and Last 1 do some circular breathing studies using agaiu ihe Klust' scales pattern.

The entire warm up takes about 45 minutes to one hour if I do not have. I usually practice music on which 1 a m working for another minutes following. A s I said, I think that everything in the warm up leads one to the next, and that every part of the clarinetist is warmed up. I also feel that it prevcnts s o m c of the problerns that many p e r f o m s have with muscles, tendons and other performer related physical problems.

I know that this is pretty extensive, but I find that I am not at a loss for technique when it's necessary The long tones and slow playing help in sound stabilization, control, and endurance. I do not vary the warm up on performance days, I do not warm up differently for different types of performances, nor do I use a special w a n n Up for contemporaty music. I feel that if the performer is approaching contemporaty music in a different manner than "traditional" music, the clarinetist is probably playing the clarinet i n the wrong fashion.

If I do have less time 1 might leave out the circular breathing for a day. This vety rarely occurs. I hope this routine proves to be helpful to others. I have been teaching this type of warm up for about ten years. I really believe that we need to be teaching the comprehensive clarinetist and making our students aware that the physical aspects of performing the clarinet are every bit as demanding as those of the brass player. As you can see, I feel very strongly about this aspect of clarinet performance.

If I teach this to students, I find that they are "teaching themselves" so much more than if I do not insist on a comprehensive w a r n up. Aftcr all, they are t h e u own teachers most of the time. Robert S. Home Robert Spring Warm-Up.

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