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Hello everyone,
I have done much thinking lately on both my own, and my students' practice sessions. I came up with a list of stuff that I feel might be helpful for some younger students to see written out. I was also hoping as well for some ideas from more experienced players on how to break this all up and fit into either a day's practicing, or fit all aspects broken up throughout the week/month/year. Some of these items can be daily, once a week, or not at all for some of us and I just want to see if we can all help each other become better musicians with more efficient practice. So please discuss...

My philosophy came from hearing someone paraphrase Roger Bobo saying that we need to balance between maintaining athletic physical capabilities and creative musicality and artistry.

athletic-First, we have some technical/fundamental aspects' exercises to aid/check on the physical side of playing. I try to do these without reading written out exercises so I can just concentrate on the physical side of comfortably playing tuba. Of course, for younger students, having a written out record of what to do helps, but when done enough, exercises can be memorized and even made up on the spot for each area. Sounding beautiful and pushing your limits while remaining relaxed and comfortable is the goal with this half.

mixing and matching any exercise from any method/routine and making up exercises can be done covering each item
1. stretching
2. breathing
3. buzzing
4. long tones
5. beautiful sound/flow studies
6. flexibility slurs
7. lip trill slurs
8. articulation/tonguing-single, double, and triple as well as variations in how hard or soft of a T or D is sounded
9. range-highest notes/lowest notes(with or without shifting), loudest/softest playing, tempo range (slowest possible and fastest possible for everything)
10. scales-major w/ arpeggios, minor w/ arpeggios, chromatics, modes, 7th chords...
11. warm down? at the end of the session, slow low and quiet long tones to relax

Then onto the musical/artistic aspects
1. etudes
2. solos
3. orchestral excerpts
4. band excerpts
5. upcoming audition materials
6. upcoming performance materials
7. sight reading
8. jamming/improvisation/playing by ear
9. practice reading transposed music (octaves up and down especially, other clefs, play everything in every key)

I have separated many things on the list that I do combine, such as using scales for range and articulation focus, using the etudes and solos to play as loud and as soft as possible, fast and slow as possible, and up and down octaves.

I would like to note that this above list is an IDEAL practice situation, with unlimited time, and attention span available which is not possible. I would like to figure out how to get closer to making this list a REALITY both for myself and students, while keeping us sane human beings with lives outside of music as well.

So, anything missing? What do you do? Do you do something like this? Would you make hitting all these items combined or not a goal for each day? each week? each month? I want to hear YOUR ideas.

Help us all practice a balanced diet.

So Tubenet, begin your agreements and disagreements...NOW!

If a strictly regimented 'practice routine' becomes mundane, I'd look into making things fun. Then again, fun is subjective; some take pride and find joy in orderly scheduling. To each their own.

Enjoy the music. Resonate with song.

In reply to your post: I like the list. Some specific exercises and method books would make for a nice thread. I like The Brass Gym, Clarke's studies, and Bordogni, to name a few. (for the former list of fundamental work)

The list you made out is pretty extensive. Keep in mind that as a student developes, so will the list of things to work one. As you or someone attains the level of a pro, all the above listed are continously worked on. To try and do it all in a day and do it every day is probably impossible because true practice is an art and learning how to practice should be taught first. Choosing a set of routines is one thing to start with then one must choose the amount of time and effort in them as well as time to practice other things.

There is a big difference between, playing and practicing, learing how to practice will be the biggest benifit you can give to a student.

To me, teaching the art of music and being musical is the most important thing I have always focused on. When focusing on musicianship, the technical issues seem to fix themselves. Of couse you still need the drills and technical practice, but even these should be approached musically. Don't just do a lip trill, put a cres/decres into it. Now it really becomes interesting.

JMHO

Sorry for the errors in this as I am allowing my 16 year old drive us to NY right now and I am spending more time watching the highway.

I´d apply a system of rotating priorities that vary every day of the week and every month of a semester. Maybe even longer periods. I´m convinced some concepts in musicianship / athletics of playing / whatever might require extended periods of focussed attention.

May I suggest to include academic skills that might help with interpretation of music ? Such as historical background to better understand a composer´s intentions (As in: Freemasonry and the works of Mozart) or a systematical comparison of famous conductors / ensembles of the past that may or may not be typical for their eras (As in: Furtwängler vs. Bernstein vs. Solti vs...).

At least it might help finding improved designs for advertising flyers/posters or CD covers

A part of having a healthy, balanced diet (besides eating Cheerios) is having several meals throughout the day, as opposed to having one huge meal. Same with practicing... You need to break up sessions into smaller chunks and 'digest' after every 'meal' if you want to get all your 'nutrients'. What I see listed is a Daily Routine first then a practice session second, which I think is right on.. you can't 'over eat' all in one session and be healthy.

Also keep in mind that on a physiological level, when practicing physical stuff, you're breaking down and rebuilding muscle. That requires rest and protein. Ask any body builder about their routine... They do upper body one day and lower body the next day with sufficient rest in between, with the addition of a protein rich diet to help rebuild muscles.

You must decide how much routine is appropriate for you and your students. How dedicated and diligent you are with your daily routine and practice sessions is directly related to how good of a tuba player you will become. Beginners should focus on perfect fundamentals, more advanced students should be diligent and constantly push their limits.

As far as a daily routine goes, you have a very solid routine outlined. If you're doing all of that every day or every other day (about 30-60 minutes) you should have results right around the corner. To supplement your routine I would add Rochut after flow studies, 2X the lip flexibilities, Arban after articulation exercises and more finger work with Clarke after scales.

For me, warming down is not necessary all the time. The only times I warm down is if I'm tight after lip and high range exercises or after practicing 'too much', or if practice late and have to play early the next morning.

As far as working on music, this is where I would start chunking stuff up based on current priorities. An hour of solo work here, an hour of excerpt work there, then finishing off with another session of solo work. What do you have coming up (band audition, orchestra audition, solo recital, competition, etc.)? That's where the focus goes.

Also, what is another determining factor in how healthy someone is..? Exercise. In this analogy I would equate exercise (healthy time away from eating) with music listening/mental practice (practice time away from the horn). You have to have outside training away from the tuba for a healthy tuba brain. That means other 30-60 minute sessions for just mental work.

Jeez, didn't mean to write so much.. this coffee got me goin.

Good luck!