Andrew Bain's Routine

BUZZING
- Breath low and relaxed
- Free Air-flow
- Stable Corners
- Maintain the same mouthpiece position on the lips
- Increase airflow to lower notes


1    
 = 60

 
gliss. gliss.

  
 
gliss. gliss.

  
 
gliss. gliss.

  
 
gliss. gliss.

Repeat down one

semitone as low
as possible
   
2       
 = 60

  
gliss. gliss.
gliss. gliss. gliss.
gliss.
gliss. gliss.

   
      
gliss. gliss.
gliss. gliss. gliss.
gliss.
gliss. gliss.


         
gliss. gliss.
gliss. gliss. gliss.
gliss.
gliss. gliss.

  
       
gliss. gliss.
gliss. gliss. gliss.
gliss.
gliss. gliss.

  
       
gliss. gliss.
gliss. gliss. gliss.
gliss.
gliss. gliss.


         
gliss. gliss.
gliss. gliss. gliss.
gliss.
gliss. gliss.

  
    
  
gliss. gliss.
gliss. gliss. gliss.
gliss.
gliss. gliss.

       
 
gliss. gliss.
gliss. gliss. gliss.
gliss.
gliss. gliss.

Repeat down one

semitone as low
as possible
2
      
3           
 = 60

         
    

         
      

     
        

     
        

      
       

              


        
      
Repeat down one
semitone as low
as possible
3
  
4      
 = 60


gliss. gliss.

gliss. gliss.

 
   

gliss. gliss.

gliss. gliss.

 
   

gliss. gliss.

gliss. gliss.

 
   

gliss. gliss.

gliss. gliss.

 
   

gliss. gliss.

gliss. gliss.

   
 

gliss. gliss.

gliss. gliss.

   
 

gliss. gliss.

gliss. gliss.

  
  

gliss. gliss.

gliss. gliss.
Repeat down one
semitone as low
as possible
4
DESCENDING CHROMATICS
- Increase airflow into lower register
- All on F Horn
- First time piano and repeat twice

   
1  
            
 = 80

1. x Legato-p
2. x Flattertongue-f
3. x Huffing-f

   
4. x Articulated-f

            

   
             

   
            

   
             

   
            

   
             Repeat down one
semitone as low
as possible
5
  
2  
      
 = 90

1. x Legato-p                  
2. x Flattertongue-f

                       
3. x Huffing-f

    
4. x Articulated-f

   

                                
   

                          
    

                            
     

                
             

               
             

Repeat down one

semitone as low
as possible

6
REPEATED NOTES
4X4
- Air travels at the same speed and amount from beginning to the end of note
- Same air for all notes
- Coordinate tongue with beginning of air
- Start on Bb-Horn

                 
 = 60 Air Attack Articulated

                
Air Attack Articulated

                
Air Attack Articulated

         
      
Air Attack Articulated

        
       
Air Attack Articulated

        
       
Air Attack Articulated

Repeat down one

semitone as low
as possible

7
REPEATED NOTE PATTERN
- Air constantly flowing
- Chin stable
- Tongue only cuts air-stream
- Coordinate airstream with tongue
- Airstream stays the same throughout each group
- Start on Bb-Horn

  
         
 = 60 3 3
6

         

3 6 3

                                 
3 6 3

         
      
3 6 3

         
                       
3 6 3

        
       
3 6 3

Repeat down one

semitone as low
as possible
8
GLISSANDO
- Release air right from the beginning
- Increase air-flow through glissando
- Stable corners
- Jaw - down and forward
- Articulate 1st note of the excercise, it is possible to rest and breathe after 1st interval
- Start on Bb-Horn, then from the middle C on F-Horn

 
     
 = 60


gliss.
gliss.

   
 

gliss.
gliss.

  
  

gliss.
gliss.

  
   
gliss.
gliss.

 
   

gliss.
gliss.

 
   

gliss.
gliss.

 
   

gliss.
gliss.

Repeat down one

semitone as low
as possible
9
REPEATED NOTE SCALE
- Constant flowing air
- Maintain airstream through repeated articulations
- Increase speed of articulation


      

 = 80-120


 
                       
3 3
3 3 3 3 3 3

 
              
      
3 3 3 3 3 3


                       
        


                      
    
Repeat down one semitone as low
as possible then from middle C up
one semitone until the top of range

Keep repeating the rhytmical pattern through out all the scales.

10
HUFFING
- The sfz as fast as possible from diaphragm area
- Keep the diaphragm area flexible
- Blow lips forward inside mouthpiece
- Stable, forward corners
- The sfz accent only with diaphragm "kick"

 
     
 = 90

   

  
  
   

  
  
   

  
  
   

  
  
   


    
    Repeat down one
semitone as low
as possible

11
REPEATED AIR ATTACKS
- Bouncing from diaphragm area
- Keep relaxed
- Keep air flowing and forward
- Lips forward
- Strong corners
- Articulation only with diaphragm area "kick"

                      

 = 90
3 3

                  

  
                   
3 3

                   

  
                   
3 3

                  

  
                   
3 3

                   


                     
3 3

                    


                     
3 3

                     Repeat down one
semitone as low
as possible

12
ARPEGGIOS WITH AIR ATTACKS
- Constant free air flow and support
- Chin stable
- Keep corners very stable
- Blow this excercise through the back of the mouthpiece first the match blowing with playing

    

   
 = 90


    
    


  

   
     
        


  

     
        
  


   

 


       
      


 


  

      
        

  



 




     
        


   




      
          

 
   

       
    

   
 Repeat down one
   semitone as low
as possible
13
HECTOR NR. 2+
- Flowing relaxed air
- Keep air forward
- Chin stable

      
- Utilize air-speed to ascend and increase air-flow when descending

      
 
      
   
 = 112-140

        


         
 
         
           


                
 
         
                  


 
             
     
      
  
 
  

          
      
          
               


              
       
           

Repeat down one
semitone as low
as possible

14
TWO OCTAVES CHROMATIC SCALE

- Constant relaxed flowing air

- Tongue returning to same place for articulation
- All tongued

   
                             
 = 80-120

    

      
      

   

            
                      
  

             
  
  

            
  
                   
 

            
  
   

     
                             
  

          
   
   

Repeat up one
semitone as high
as possible
15
LOW REGISTER REPEATED NOTES
-Keep air supported and relaxed
- Consistent air flow through each note at every dynamic
- Tongued or air attacks
- Primarily for the lower register but can cover the entire range

             
          
 = 60

          

            
          
          

            
          
          

            
          
          

           

          
          

           

          
          

Repeat down one

semitone as low
as possible
16
ALAN MANN'S FLEXIBILITY EXERCISES
- Constant airstream
- Solid corners
- Keep air and lips forward

               
 = 80-140

              

           
3 3 3

              

              

              

           
3 3 3

              

17
               

              

        
  
3 3 3

              

             


             


        
  
3 3 3

             

Repeat down one
semitone to F-Horn
2+3 combination
18
SCALE PATTERN
- Maintain stable corners and same mouthpiece contact point throughout
- Increase air speed in upper register
- Increase air volume in lower register

           
1              
  
 = 80-140

Repeat up and down

1. x Huffing
to cover the entire range

 
2. x Staccato

2       
 
       
 
3. x Accents


 = 80-140

1. x Huffing Repeat up and down

2. x Staccato to cover the entire range
3. x Accents

19
LOW REGISTER BUILDER
- Move the air relaxed and free
- Increase flow for crescendo
- Keep supporting through the diminuendo
- Tongue or air attacks for the first note




 = 80


  


 
  


 
  


 
  


 
  


 
  

Repeat from lower note and

continue as low as possible

20
ARPEGGIOS
- Constant flowing supported air
- Stable corners and same mouthpiece contact point throughout

  
- Support between intervals

              
   
     
 = 90 3
3 3

     
1. x Huffing

 
    
2. x Staccato

      
3. x Accents

     

 
1. x Huffing

      
2. x Staccato

    
3. x Accents 3

 
3 3

3 

       
          
     
    

   
1. x Huffing

   
2. x Staccato

     
3. x Accents 3

   
3 3

       
       
   
      

 
1. x Huffing

   
  
2. x Staccato


3. x Accents 3

  
3

 
3 3


Repeat up and down
to cover the entire range
21
PU or POO EXERCISE
- Start each note with the syllable Pu or Poo
- Become slightly louder and longer with each repitition
- Feel the buzz being started completley relaxed and the inner part of the lips moving forward


- Play on Bb or F Horn ascending and descending by semitones

         
                   
 = 80

    

          
                
    

          
                      
    


       
 
   

 
  



 


    

          
           



  


    

       
      
 
   



 


    
Repeat up and
down
to cover the
entire range
22
STAMP EXERCISES
- Aim to support air stream through descending intervals, connect between notes
- Piano and Mezzo-Piano


- Can also be done with soft articulations


3b                    
 = 80

      

                            
      

          
             

                
    
      

                    
        

     
                 
  

                           
  

     
               
  
Repeat down one
semitone as low
as possible
23
  
3a             
 = 80

      
      

      
       

           
 

           
  

           
 

    
         

      
      
Repeat down one
semitone as low
as possible
24
HECTOR EXERCISE
- All open partials on the Bb Horn
- All slurred except when rearticualting repeated notes
- Flowing relaxed air, keep air forward, corners stable
- Play in one breath if possible
- Hold last trill until out of air (trill is the indicator of relaxed air)

      
          
 = 80-140

          
     

     
         



 
            


       
      
 

          
     

       
      
 


 
         
    Continue down one
semitone as low
as possible staying in
the natural horn (T2,T1,
T12, T23, open, 2, 1, 12,
23, 13, 123)
25
SENSITIVITY
- Play all open partials starting on F horn 23
- Focus on stable corner and forward air with as little movement as possible
- Pianissimo to Mezzo Piano

                   
            
 = 80-120

   
                          

                              


                                 


           


Repeat up and down
to cover the entire range

26
ELEPHANT EXERCISE
- Utilize air-speed to get to top note
- Combine huffing and tongue for accents
- Increase air-flow and keep corners stablefor descending intervals
- Keep Diaphragm area flexible

           
      
    
 = 80


ss. ss. ss.
gli gli gli

              
   
      
ss. ss. ss.
gli gli gli

        
               
      
ss. ss. ss.
gli gli gli

         
 
   
   
 
      
ss. ss. ss.
gli gli gli

         
                   
 
ss. ss. ss.
gli gli gli

Repeat up from the C

one semitone in Bb Horn
until T-0

27
SLOW SCALES
- Constant air-flow
- Keep tongue position/articulation point consistent throughout
- Sustain end of quarter note into 16th notes

           

              
 = 80-120


                
  


               
   


                  
  

28