DAILY WARM UP ROUTINE

Dr. Aryn Sweeney

These exercises should be done in the key you are studying that week, beginning on the lowest note you can play in that particular key (B flat or B natural) to the highest note you can play in that key (F sharp, G).
Always do these exercises in front of a mirror! Visually paying attention to your embouchure and breathing.

These exercises should be done at a relatively loud, full (but not forced) volume. You should be testing the lungs of your instrument and reed, but NEVER press the sound.

These exercises should not exceed 30 minutes; there are many other things to play!

Exercise 1

Do this exercise on every not in your scale ascending only. (quarter note = 40)

The goals for this exercise:

  • Practicing deep, low breathing
  • Opening your throat, relaxing and letting your reed vibrate.
  • Stable, even sound throughout (minimal embouchure and no vibrato, control the sound with your air)
  • Beginnings and endings of notes (attacks clear and consistent, endings with good pitch and “collected”)


Exercise 2

This exercise is for low note articulation and following through with your air (quarter note = 40)

The goals for this exercise:

  • Keep your support throughout rests
  • Make your first attack loud and get progressively softer

Exercise 3


Your scale of the week played very slowly (quarter note = 40).

Goals for this exercise:

  • Even sound, all the notes should sound like each other throughout the low and high registers.
  • Legato between every note, this comes from support and a continuous air stream.
  • Intonation, if your embouchure and air are working properly the intonation will be very close to prefect.

Exercise 4

Salviani Scale method, start at quarter note = 60 working toward 144.

  • Agility of fingers
  • Hairpin Dynamics
  • Continuous supported air stream

Exercise 5

Scales in thirds, fourths, and fifths played very slowly, quarter note = 40. Starting on the lowest note you can play in the scale (B flat or B natural) to the highest (F , F sharp, G).

  • Continuous air support
  • Evenness of sound between registers
  • Solidity between notes, no “bumps”

Exercise 6

Long tones exercises from Jay Light Essays for Oboists.

Long tone exercises from Singer Practicum Book 4 page 1.

  • Continuous air support
  • Evenness of sound
  • Good air between notes, no “bumps”

Exercise 7

Vade Mecum, first two pages, played slowly and in piano with a free open vibrating sound, quarter note = 40.

Exercise 8

Reed alone, buzzing from C chromatically down to G and back up to C. Borrowed from Richard Killmer.

  • For strength, control, and flexibility of embouchure

Exercise 9

Scale and arpeggio sheets from Nancy Ambrose King. Start with quarter note = 60 and work up to 144.

  • For technique and agility of fingers
  • Continuous air stream and support

Finish up with extended techniques of articulation exercises/double tonguing, circular breathing, and vibrato discussed in additional handouts.