{"id":4927,"date":"2017-09-27T12:57:02","date_gmt":"2017-09-27T10:57:02","guid":{"rendered":"http:\/\/brassacademy.com\/?page_id=4927"},"modified":"2023-03-21T13:19:42","modified_gmt":"2023-03-21T11:19:42","slug":"daniel-perpinan","status":"publish","type":"page","link":"https:\/\/www.brassacademy.com\/en\/profesores\/daniel-perpinan\/","title":{"rendered":"A technical routine for trombonists"},"content":{"rendered":"

[vc_row][vc_column][vc_single_image image=”7439″ img_size=”full” style=”vc_box_rounded”][vc_column_text]A technical routine for trombonists<\/strong><\/p>\n

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All brass players have to incorporate a technical routine into their daily practise in order to maintain themselves at peak fitness. This persistence means that, little by little, they increase their facility on their respective instruments.<\/p>\n

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A daily routine has various objectives as far as I understand it:<\/p>\n

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the first of these being to warm up at the beginning of a day of productive practise minimising the risk of injury.<\/p>\n

the second is to repeat\u00a0 and assimilate progressively the techniques necessary for playing the trombone. This second objective feels to me like starting again at the beginning of each new day, aiming to complete a puzzle, locating each piece in its place. This way I gradually progress searching for the physical sensations best suited to me. I try, over the passage of time, to fit all these pieces together smoothly with each other, whilst expanding the scale of the puzzle and thus developing my abilities. Every individual should design their own personal puzzle through their own experience and implement exercises which allow them to develop to their m\u00e1ximum potential.<\/p>\n

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During my own routine I try to reproduce physical sensations which allow me to play freely, using my perception as a guide. I continue my daily search for this ease of natural expression through routines which continue to challenge me, \u00a0and sooner or later I achieve it. I find it very difficult to sum up the physical sensations I experience in a given exercise verbally, but I can atleast communicate my ideas linguistically. Later every musician has to search for their own sensations.<\/p>\n

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For me \u201ctechnique\u201d is simply the tool we employ in order to express our musical ideas. If it\u2019s difficult for me to verbalise sensations when practising technical routines, I can\u2019t begin to imagine how I would put the feelings I experience when making music into words, although this could be the subject of a future entry in this blog. Continuing for now with good technique, it is indispensable and necessary when we seek to raise our powers of interpretation to a professional level. If we think of an equation between the variables \u201cmusic\u201d and \u201ctechnique\u201d, the second is very much at the service of the first. Although I don\u2019t consider a perfect technique essential for making music, I do believe that a good technique helps any young musician evolve effectively, and that it is absolutely necessary to become a good professional.<\/p>\n

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In line with my analogy of an equation between mathematics and music, my technical routine would effectively be a tribute to the number 3:<\/p>\n

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  1. Three blocks of work:<\/li>\n<\/ol>\n

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