Trombone Daily Exercises

Daily Exercises Long Tones: Play each note for about 5 seconds. Breathe between each note.



  



1









2



3





4



 5

 





2

3

4

5

6(T1)

  T6







Tb7

1





2

7(Tb2)



T5

 

4



T4

 

3

1

 

7(T2)



 

 



 

6(T1)

 









 





5

6(T1)

Lip Slur #1

 







1

 







2







3



5







4







6(T1)







7(Tb2)

Lip Slur #2





  





1



 5

  



2

  





  



3



6(T1)

  

     4





7(Tb2)

  

 Wayne Myers

Daily Routines for Trombone by Emory Remington Transcribed by Jimmy Clark

Long Tone

1.

   

 



 



 



2.















3 Note Slurs



  









    



































Flexibility

3.

            5 Note Slurs

4.



  



etc. to















 

etc. to

 



    

         

etc. to







 



 

 



Remington Warmup

2

                             Flexibility

5.



                         

etc. to

              Trills

6.

                    3

  

3

3

3

   



    

         

                  3

3

3

etc. to

3

3

3

            

         etc. to  

                           Flexibility

8.

3

etc. to

                      

etc. to

6 Note Slurs

7.

3

           

etc. to

 

     

                               

 

Remington Warmup

            

Arpeggios

9.

            

                 3

3

3

3

etc. to

etc. to

   3

3

3

 

Breath Control in Legato - to be played in ANY key

10.



  

 







3

         3

3

 



3

3







 





 

















 

 



















 





 



















 





 





















Extending the Interval in Legato - to be played in ANY key

11.

 

  







     

 



 





 

   

Security in the High Register - to be played both attacked and slurred

12.

   

etc. to



 





  





    

3

Remington Warmup

4

Flexibility - to be played slurred and attacked

13.

             

etc. to

            

            

Security in the High Register - to be played both attacked and slurred

14.

          

            

     



etc. to



 

        

 

etc. to



 

Legato Tonguing - both attacked and slurred

15.

               

etc. to



Legato - to be played in ANY key

16.

                

etc. to

Diatonic Scales - to be played in ALL keys

17.



 

  



  

      



                    

                                     

One Octave Major Scales & Arpeggios Scales are the building-blocks of music, and one of the best tools for musicians of all ages to develop technical ability on the trombone. These 12 major scales and arpeggios should be memorized quickly, and played regularly. When practicing these scales and arpeggios remember to always play with your best tone, and only play them as quickly as you can play them correctly - there is no benefit from playing scales incorrectly.

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