Concert Band Warm-ups

Download Warm-up Exercises

All of these exercises below should be done in several keys. Remember, there are more scales than Bb Major.

Scale in Canon

A good one for developing listening/tuning skills and an understanding of major and minor intervals and chord qualities:

  • Break students into two groups and have them play a scale in canon of a 3rd:  i.e., Start Group One on the ascending scale and have Group Two enter when Group One is on the 3rd degree of the scale. Play the scale ascending and descending without repeating the top note.
  • When Group One returns to the root of the scale, have them sustain until Group Two reaches the root. 
  • Do the same again, dividing the ensemble into three and then into four groups, each entering two notes apart. 

Intervals

Another good one for developing listening/tuning skills and an understanding of major and minor intervals intervals: divide the ensemble into two groups:

  • Sustaining notes of a scale, indicate which note of the scale each group is to play: i.e., 1st degree in one hand and 4th degree in other hand.
  • Mix it up so each group plays different notes within the first 5 notes of the scale. 
  • Instead of having students always play each degree, have them sing as well. 

Disappearing Scale

A good one for helping students develop internal pulse:

  • First, without instruments, have students clap a subdivided 4-pattern saying the counting aloud (1+2+3+4+5+6+7+8+7+6+5+4+3+2+1+), allowing students to establish a tempo or pulse. 
    • Without counting aloud or teacher direction and eyes closed, have students clap the same pattern, assuming the responsibility for pulse. 
  • On each subsequent repetition of the pattern, students should substitute a rest instead of clapping while still maintaining pulse: i.e., clap 1+2+3+4+5+6+7+rest+7+6+5+4+3+2+1+, 2+3+4+5+6+rest+rest+ rest+6+5+4+3+2+1+, 2+3+4+5+rest+rest+rest+rest+rest+5+4+3+2+1+, etc.
  • After all the counts have changed to silence, reintroduce each count with each additional repetition: i.e., 1+rest+rest+rest+rest+rest+rest+rest+rest+rest+rest+rest+rest+rest+1+, 2+rest+rest+rest+rest+rest+rest+rest+rest+rest+rest+rest+2+1+,2+3+rest+rest+rest+rest+rest+rest+ rest+rest+rest+3+2+1+, etc. 

Disappearing Scale Variation 

Basically the same pattern as above, but instead have the students play a scale ascending and descending instead of clapping.

Echo melodies and rhythms  

Good for ear-training especially:

  • In a meter of your choosing, play various notes and/or rhythms on your instrument (or singing) and have them echo it back to you in time. 
  • Beyond getting the correct notes and rhythms, have students echo the dynamics and articulations as well. 

Modal Pattern 

Good for developing technical facility and range:

  • Have students play a scale ascending and descending one octave: 1, 2, 3, 4, 5, 6, 7, 8, 7, 6, 5, 4, 3, 2, 1. 
  • Next, play starting on the second degree of the scale and ascend and descend an octave: 2, 3, 4, 5, 6, 7, 8, 9, 8, 7, 6, 5, 4, 3, 2; then the third: 3, 4, 5, 6, 7, 8, 9, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1, etc. 
    • Continue in this pattern until students are playing starting on the 8th degree and ascending and descending an octave.

Playing scales this way encourages students to play with a greater range. Based on what scale you are doing, some instruments will need to adjust octaves as some notes may not be in their range. As well, brass players may need to adjust octaves as they develop their higher range. Encourage them to add the higher notes as long as they can do so without strain. 

Modal Pattern Variation 

Good for developing technical facility, breath support and quick breathing:

  • In common time (4/4) have students play the same modal scale pattern but only ascending and descending 5 notes at a time: i.e., 1 2 3 4 5 4 3 2 1, 2 3 4 5 6 5 4 3 2, 3 4 5 6 7 6 5 4 3, 4 5 6 7 8 7 6 5 4, 5 6 7 8 9 8 7 6 5, 5 4 3 2 1, 7, 1.  (See Ex. 2) The pattern is all slurred and the rhythm in each measure should be two groups of four sixteenth notes followed by a half note.
    • Instruct students not to breathe during or after the half note; if and when they breathe, it should be during the faster sixteenth notes, not on the bar lines.
    • Over time, increase the tempo so students are learning to move their fingers very quickly. To improve breath support, encourage students to go longer and longer in the pattern before they need to breathe.

Digital patterns 

Good for ear-training and the development of greater technical facility:

  • Teaching by rote example and NOT having them read the notation, have students play various technical patterns in various keys that are based on scale steps: i.e.,  1 2 3,  2 3 4, 3 4 5, 4 5 6, 5 6 7, 6 7 8, 7 8 9, 8, 8 7 6, 7 6 5, 6 5 4, 5 4 3, 4 3 2, 3 2 1, 2 1 7, 1.  (See Ex. 3) OR  1 2 3 4, 2 3 4 5, 3 4 5 6, 4 5 6 7, 5 6 7 8, 6 7 8 9, 7 8 9 10, 8, 8 7 6 5, 7 6 5 4, 6 5 4 3, 5 4 3 2, 4 3 2 1, 3, 2, 1, 7, 1. (See Ex. 4) OR 1 3, 2 4, 3 5, 4 6, 5 7, 6 8, 7 9, 8, 8 6, 7 5, 6 4, 5 3, 4 2, 3 1 2 7, 1. OR 1 4, 2 5, 3 6, 4 7, 5 8, 6 9, 7 10, 8, 8 11, 7 10, 6 9, 5 8, 4 7, 3 6, 2 5, 1.  

The added bonus with having students think in scale degrees is of real benefit to those kids in jazz band that are getting into improvising, as jazz musicians tend to think in scale degrees. 

Counting Exercise 

Good for having students keep track of time and pulse:

  • On a scale have students play a different number of repetitions for each scale degree: i.e., On an ascending scale on the first degree play 8 reps, on the second degree play 7 reps, on the third 6 reps, on the forth 5 reps, on the fifth 4 reps, on the sixth 3 reps, on the seventh 2 reps and on the eighth a single note.
  • Maintain the same pattern on the descending scale.
  • Once students can do this, have them break into two groups (brass vs. woodwinds, girls vs. boys, etc.). One group starts at the top of the scale and descends while the other starts at the bottom and ascends. If students are counting and working together, the pattern should end together.
  • Reverse roles.