What is your 'routine'?

[hbcrandy]

I play the mouthpiece for about an hour in the car (daily).

I used to buzz my mouthpiece while driving until Dave Fedderly pointed out to me that if you have an accident and your airbag deploys, you may have to have your mouthpiece surgically removed from the back of your head. Mouthpiece practice is an excellent thing to do, but, do it in a safer environment.

[Antontuba]

I thought about the danger of being in an accident while buzzing, only employ mp while on open road/highway, away from traffic.

[swillafew]

Mouthpiece buzzing in the car has to take a backseat to driving the car, but I do it to arrive warmed up and ready.

[THE TUBA]

I always hear about the dangers of driving with a good buzz on.

[MacedoniaTuba]

Usualy start with breathing gym(10-15 minutes max),5-10 minutes of buzzing,Mr. Emory Remington's warmup drills for trombone, Mr. Chris Olka's drills, Mr. Roger Bobo's book(some of the exercises),little bit of Arban , Bordogni etudes and some orchestral excerpts at the end. Even though if i find something better-fit to my playing exercise,i might put it inside the daily routine. I am thinkig of getting more attention on the tongue and the staccato.
Cheers!!!

[cmonte]

I usually squeeze in two sessions a day ranging from 35-50 minutes. I allow a range because I believe that my chops aren't always consistent day to day. I base my routine on the Interlochen low brass routine.
I start with some meditation to get my focus and a clear mind then create/edit a few goals for the day so I don't think of other things to do for the rest of my practice time. (~3-5 minutes)
Warmups- scales, tone, low range, etudes (~10-15 min)
Repertoire- solos, experimentation (~15-20 minutes)
Cool down- long tones, low register, review session, plan next sessions (~5-8 min)

[chronolith]

The first thing I do when I pick up the horn is try to play something technical with tonguing, dynamics, and intervals. Nothing too serious, maybe 30-60 seconds worth. Improvised is better. This serves as a smack in the face and a jumpstart for my air. Sounds stupid to start this way but it works for me.

On occasion I will put in Roger Lewis' spit valve drill if I need a bit more "waking up".

Next I start on the first partial and start doing widening intervals down into the low register (C - B - C, C - Bb - C, C - A - C...) while using a big piano/forte/piano crescendo decrescendo (peaking on the lower note). I try to be as musical as possible on these, and also make them last as long as possible while "budgeting" my air and timing. In fact I try to get out of the note-y stuff as quickly as I can to move on to things that require musical phrasing otherwise I get bogged down into minutiae.

Next I will move on to Borogni alternating between regular register and down two octaves, again focusing on the musical aspects of it as much as possible. If I am working on the F tuba I will also throw in the exercises as written (octave up).

Then I get out the Cichowicz flow studies and choose at random. At this point I also add in transposition since I am already reading treble clef.

After that I spend at least 30 minutes improvising once I have the basics up and running. If I am having fun I just keep going with it. This is a good time to switch the tape on.

If nobody else is home I will then turn on my electronic drone through my sound system and just flow along with it on the horn.

I treat my entire routine (if you can call it that) as a performance. Puts me in the best mindset.

[deholder]

I suck as a player. So i just keep working through the Rubanks advanced vol 1 and 2.
Firsr, a few breathing exercises and a bit of buzzing then scales and low/ high tones. Then long tones. Then the next lesson in the Rubanks.

But I suck and I am not a professional and I doubt I even have a category. I just love playing.

[Uncle Buck]

Back when I was playing "seriously," I had a rigid routine that I never deviated from involving a lot of long tones, slurs, and etudes before I started playing anything else.

In retrospect, I believe rigid adherence to a routine contributed to me not performing so well when "real life" landed me in situations when I had no choice but to perform without having gone through the routine.