Three Bass Trombone Warm-Ups You Should Know!

Alek Mansouri, Brass Specialist here at Virtuosity, shares some of his favorite warmups from Ilan Morgenstern's T.E.L.P. book! Check it out below:
www.ilanmorgenstern.com/tromb...
Virtuosity is New England's Premier Wind & Brass Pro Shop, located in Boston, MA (right across from Symphony Hall!). We carry trombones from soprano to bass and a wide assortment of mouthpieces and accessories.
www.virtuosityboston.com/
Or, visit us in person and try stuff out for yourself!
Virtuosity Musical Instruments
234 Huntington Ave.
Boston, MA
Signal Flow: Samar VL373A (blumlein), 1.5m from horn, via Zoom F6. No processing.
0:00 Opening
0:21 Introduction
0:54 Artiflex 4A
2:27 Flexivalve 5
4:04 Flexivalve 1
4:59 Conclusion
5:40 Nothing to See Here! ;)

[@BBZ9000]

Shout out to Ilan! He was my highschool lesson teacher and university professor! Amazing player and so humble

[@VirtuosityMusicalInstruments]

Cannot agree more! He’s an incredible player and person!

[@michaelquillen2679]

As a former bass trombonist (1970-2010) and a special education teacher, I'm intrigued by your hearing supports. However,, I won't ask any questions. Nice part of a warm-up routine you provided. Thanks!

[@VirtuosityMusicalInstruments]

Thank you for watching! Questions are welcome. Feel free to email [e-mail] and Alek can reach out to you from there if you're still curious!

[@musicofnote1]

As a retired teacher, what I miss is an explanation as to what one wishes to achieve with these warm-ups. Why are they good, for whom? Especially the "for whom", inasmuch as I think you're assuming that all bass trombonists play independent st-ups. I'm very happy with my Yamaha 822g (thanks Doug Yeo). So what does a dependent player acheive from flexivalve exercises concieved for independent valve set-ups? Also, when I did my B.M.E in Cincinnati, in brass methods, we were taught to work the lip slips and use them in our playing, especially to use them as a model for super-legato tongued passages. I was a trumpet play back then, but played some t-bone as a double. In 1991 I had stopped playing trumpet 9 years previously and decided to get back into playing but no longer on trumpet, instead on trombone. Slokar was the rage back then and his "method" as applied and taught throughout the German speaking world was to NEVER lip slur in music, only tongue notes. This was my contemporaries "complained" about my playing - my legato playing was too - legato, not enough Slokar like. While I've kept up my super-legato tonguing, I've stopped altogether lip slurs, inasmuch I don't feel they bring me any advantage with my legato playing (or basic flexibility, for that matter). They also don't -really- help with lip trills, as those are done completely differently than lip slurs across multiple partials. Personally, my favorite "warm-ups" are based in concept on the Chicowiz air-motion exercises, but using them to open sound and match sound, step-by-step in both vertical directions. I don't increase the range until the last note is as beautiful as it should - only then do I add the next upper/lower note. And then I do a similar exercise from mid-range into pedal range, then from low range into the upper range. I only rarely do upper range downwards - my particular need being to keep my single and double paddle registers freely speaking at all times, whether using my "normal" embouchure or my shifted one and being able to tell in advance, according to my "shape" as to whether I need to shift or can retain my "normal" (I shift jaw position and oral cavity, never embouchure placement) embouchure.

[@VirtuosityMusicalInstruments]

Thanks for sharing!