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.