For wind band players at music universities, high schools, and junior high schools.
A comprehensive resource site that gathers practice-method research for each part and level-based PDF materials in one place.
If you are unsure how to structure your practice, choose articles and materials by goal or instrument problem.
Practice methods and materials for flute, piccolo, oboe, clarinet, bass clarinet, bassoon, saxophone, soprano sax, tenor sax, and baritone sax.
A complete practice method for tone, technique, articulation, and phrasing built around Moyse's De la sonorité and Taffanel–Gaubert. Organized around three pillars: fundamentals, études, and repertoire.
Self-directed practice and reed management are the keys to progress. Built around Hinke, Ferling, and Barret, this planned approach combines daily pitch checks with serious reed adjustment 2–4 times a week.
Setting goals by school year and systematizing fundamentals is essential. Using standard materials such as Klosé, Baermann, and Rose, build long tones, scales, and arpeggios into your daily routine.
Building on fundamentals shared with the B♭ clarinet, learn the generous breath use the low register demands. A systematic method for majors using Milde's 25 Studies and Weissenborn's Advanced studies.
A staged curriculum centered on a fixed daily fundamentals routine (long tones, all-key scales, tonguing, recording), combined with Weissenborn Op. 8, Milde Op. 24/26, and Oubradous.
Curriculum-based practice that links private lessons, chamber music, ensembles, and juries. Performance majors aim for 3+ hours a day, combining long tones, dynamics, and vibrato.
The core is a relaxed embouchure and a large, slow airstream that supports the low register. In ensemble, an early attack and slightly low tuning keep intonation in line. Includes teaching examples in the style of Lauren Sevian.
The highest-pitched woodwind, where fine control of air speed and embouchure density is key. Practical methods based on the curricula of Toho Gakuen (Japan's first piccolo department, 2022), the Paris Conservatoire, and the Peabody Conservatory.
Balancing tone, intonation, vibrato, and improvisation is essential. Based on the curricula of Tokyo College of Music, Senzoku Gakuen, and the Royal Conservatoire of The Hague, with weekly and monthly plans by level and evaluation criteria for systematic progress.
Polish tone, technique, and repertoire in balance. Spend 3 hours a day—1 hour each on scales, études, and pieces—to combine classical precision with jazz improvisation.
Practice methods and materials for trumpet, trombone, horn, tuba, and euphonium.
Buzzing, mouthpiece practice, long tones, lip slurs, and tonguing form the daily core. Under the principle that you cannot tune a bad sound, build a good tone first.
Maintaining fundamentals 6 days a week, 2–4 hours a day, is standard. Long tones, lip slurs, tonguing, and scales are connected to repertoire every day. Vining's daily routines are the representative material.
Rather than playing for long hours, break down problems and repeat short, dense blocks of practice, recording, logging, and mock-performance checks. Mozart's concertos are an entrance-exam staple and get focused attention.
The core is designing an aural image before you play and verifying with recordings afterward. Based on the Arnold Jacobs school idea of imagining the sound first and treating breathing as part of the music.
Breathing, embouchure, long tones, scales, lip slurs, and tonguing are designed into short daily blocks you can repeat reliably. A complete practice design that extends to wind band, chamber music, and teaching methods.
Study the three pillars—snare drum, timpani, and keyboard percussion—in parallel, building cross-instrument fundamentals, score reading, and ensemble skills together. The cycle of recording, scoring, and revising your plan is the key to progress.
A curriculum linking four pillars: private lessons, chamber music, orchestra, and exams. Starting from the Vade Mecum as the daily base, it covers everything from choosing a French or German bow to a three-stage intonation program (static → glide → context).
How to run full-band rehearsals at music universities, high schools, and junior high schools. Details templates for the year, term, week, and single session, plus a three-phase design: foundation, building, and finishing.
A trustworthy collection of wind band practice resources that combines academic research with practice in the field.
We offer practice methods with a scientific basis, drawing on music university curricula in Japan and abroad, educational research, and masterclass materials.
For each instrument, we provide PDF practice materials at three levels: junior high, high school, and university (music university).
From building fundamentals to concerts and competitions, practice-plan templates for the year, term, week, and single session support systematic progress.
Woodwinds (flute, piccolo, oboe, clarinet, bass clarinet, bassoon, saxophone, soprano sax, tenor sax, baritone sax), brass (trumpet, trombone, horn, tuba, euphonium), percussion, double bass, and even ensemble teaching methods.