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Thread: When to call it a day

  1. #1

    When to call it a day

    At what level of embouchure fatigue do you stop your daily practice? Do you let your chops tell you when it's enough for one day, do you work until you start missing pitches, or do you persist to the point of utter failure?

    Thanks,
    Pat
    Sterling Virtuoso Euphonium, Denis Wick 4AL
    Besson New Standard

  2. #2
    Join Date
    May 2011
    Location
    Valley City, North Dakota, USA
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    Unfortunately, I don’t have the time to dedicate to practicing until that level of fatigue. I practice for my allotted hour (or however long I was able to fit in).
    Euphoniums
    John Packer 374LT
    John Packer 274L

    Larry Herzog Jr.
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  3. #3
    Join Date
    Jan 2019
    Location
    US East coast
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    152
    My teacher had me “cool down” to release my fatigued embouchure in my last lesson by playing sequences of low chromatic 3 note patterns, and I tried it today for the first time.

    I lose my very uppermost notes first (Rochut), so after I did a few minutes of the cool down I was able to do several minutes of scales.

    You are probably far more advanced in playing than I, but it may be worth giving a try.

  4. #4
    Join Date
    Jan 2006
    Location
    West Palm Beach, FL
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    3,659
    When practicing I try to stop before my chops get really tired. I used to be able to practice for two hours per day but now it's down to about an hour per day. At the end of practice I always cool down by playing some pedal notes to get the blood flowing back in my chops.
    Rick Floyd
    Miraphone 5050 - Warburton Brandon Jones sig mpc
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    Doug Elliott - 102 rim; I-cup; I-9 shank


    "Always play with a good tone, never louder than lovely, never softer than supported." - author unknown.
    Symphonic Band of the Palm Beaches
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  5. #5
    The muscles in our chops are not very robust and it is possible to do damage if you really abuse them. There are two options I chose from when I feel like my chops are gone:

    1) moving to medium-soft volume low-range practice. That encourages blood flow to the chops and lets you work your fingers on any patterns you like.

    2) stop for a while. When the chops feel a bit rested, do a short "warmup" to get in the groove and continue with practice.
    Dave Werden (ASCAP)
    Euphonium Soloist, U.S. Coast Guard Band, retired
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  6. #6
    what i would be interested in knowing is that for 1 hour of practice, what do you concentrate on? i can spend up to 2 hours a day on the Euphonium and maybe an hour on some band music on the trombone. I spend a half hour doing warmups (long tones Bb up, Bb down, F up, intervals, and harmonics starting low and ending up as high as i can go). I then do double tonguing and triple tonguing and after that, it is a crap shoot as to what i do. I have to start double tonguing slow and speed up until i get tongue tied, stop and wait a while and then i can do better. Never have trouble with triple tonguing.

    I am trying to figure out how to best use my practice time after that. I still need to work on the high range. Some days i am limited to 1 1/2 hours. I just have to come up with a plan because so far i cannot find anyone in the Orlando area from who i can take lessons. I am still looking!

  7. #7
    Join Date
    May 2011
    Location
    Valley City, North Dakota, USA
    Posts
    568
    Personally, I’ve been limited to mostly working in currently band music…but when I do have extra time, I’ll do some method book work and scales.

    BTW, there are several folks that do online lessons. So, if that is something you’d be interested in…it’s an option.
    Euphoniums
    John Packer 374LT
    John Packer 274L

    Larry Herzog Jr.
    Twitter: iMav
    Facebook: iMav
    Email: me@imav.org
    Founder of geekhack.org

    Linktree: iMav


    All things EUPHONIUM! Guilded server

  8. #8
    I'm currently trying to do "two a days", AM session with warm up, long tones, scales, and then work on my audition piece. Afternoon is warm up, lots of lip slurs, and either Arban exercises or sightreading practice.
    Sterling Virtuoso Euphonium, Denis Wick 4AL
    Besson New Standard

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