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BASSOON

TROMBONE LI P BE N D E RS Compiled and arranged by Frederick C. Ebbs


BARITONE B.C. Warm-ups for Winds Edited by Ray E. Cramer
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Copyright © 1997 by Curnow Music Press, Inc.,
2025-L Leestown Rd., Lexington. KY 40511. USA
EdItion Number: CMP 0125.97
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OBOE LI P BENDERS Compiled and arranged by Frederick C. Ebbs
MALLET PERCUSSION Warm-ups for Winds Edited by Ray E. Cramer

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Copyright© 1997 by Curnow Music Press, Inc.,


2025-L Leestown Rd., Lexington, KY 40511, USA
Edition Number: CMP 0125.97
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ESSENTIALS OF MUSICIANSHIP GRADE 3/4/5/6

LIP BENDERS
Compiled and arranged by Frederick C. Ebbs
Edited by Ray E. Cramer

Instrumentation:

1 -Full Score
10 -Flute, Oboe, Mallet Percussion
12- BLClarinet1,2,3
8 -E6 Clarinet, EL Alto Clarinet,
E Conta Alto Clarinet,
EL Alto Saxophone,
E Baritone Saxophone
7 B Bass Clarinet,
-

B6 Contra Bass Clarinet, .w-.


B6 Tenor Saxophone,
B6 Baritone T.C.
11 -Bassoon, Trombone, Baritone B.C.,
String Bass
6 -BVFrumpet 1,2,3
4 -F Horn
4-Tuba

CURNOW® MUSIC
Edition Number: CMP 0125-97 Curnow Music Press, Inc. • P.O. Box 142, Wilmore • KY 40390-01 42 • USA
RAY E. CRAMER
Ray E. Cramer joined the faculty of the Indiana University School of Music in
the fall of 1969. In 1982, Mr. Cramer was appointed Director of Bands. Under
his leadership the Indiana University Symphonic Band has earned an
international reputation for outstanding musical performances including the
1982 ABA Convention, Indianapolis; the 1984 joint American Bandmasters
Association/Japan Bandmasters Association Convention, Tokyo; and the 1988
MENC National Convention, Indianapolis. Other appearances include the 1991
National CBDNA Convention in Kansas City, the 1994 National MENC
Convention in Cincinnati, the 1995 ABA Convention in Lawrence, Kansas and
other regional and state conventions. In addition to his administrative
responsibilities as the Department Chairman, Mr. Cramer teaches courses at the
graduate level in wind conducting, history and literature.

Mr. Cramer is a member of ABA, CBDNA, NBA, WASBE, MENC, IMEA, IBA, and CIDA. He is affiliated with Phi
Mu Alpha, Kappa Kappa Psi, Tau Beta Sigma, Phi Kappa Delta and Phi Beta Mu. Mr. Cramer is a recipient of the
Student Alumni Council Senior Faculty Award (1983), The Kappa Kappa Psi Distinguished Service to Music
Award (1988), the CIDA Director of the Year Award (1988), the Phi Beta Mu, International Assembly,
Outstanding Bandmaster Award (1988) and the Kappa Kappa Psi Bohumil Makovsky Memorial Award (1991).
He is a past National President of the College Band Directors National Association and has served as president of
the Indiana Bandmasters Association, the North Central Division of CBDNA and the Big Ten Band Directors
Association.

Mr. Cramer is actively involved in clinics and guest conducting engagements throughout the United States and
several foreign countries. He has served as a guest conductor on the faculty of the Musashino Academia of
Music in Tokyo, Japan in the fall of 1990, the summer of 1992 and 1995.

A native of Illinois, Mr. Cramer has degrees from Western Illinois University and the University of Iowa. In
December 1991, he was presented with an Honorary Doctorate of Humane Letters from his alma mater of
Western Illinois University.
Ray E. Cramer
LIP BENDERS

PREFACE
The Lip Benders are designed to provide great flexibility, limited only by the imagination of the conductor.
These simple warm-up exercises are useful not only for building strong music fundamentals, but, more
importantly, as an aid for musicianship and ensemble training. Lip Benders can be used in very creative
ways to help sensitize your ensemble so they will respond to your various conducting gestures. Spending
several minutes a day during your warm-up time in every rehearsal will pay rich musical dividends.

The Lip Benders are not technically demanding, and have no tempo, articulation or dynamic markings. Parts
are written for groups of instruments (C & B flat: high, medium & low; E flat; F; and Bass clef: medium &
low).

Numbers 1-9 are unison (octave), drills. Numbers 10 & 11 are chorales, written to address the usual
expectations of producing excellent tone, balance, blend, and pitch, and consistent ensemble attacks &
releases.

In all the exercises, vary the style by using different tempi, dynamics, articulations or even try playing them
in different keys. Try to vary your approach so that you don’t do anything the same way two days in a
row. When working with younger students, add these variations gradually.

ABOUT THE INDIVIDUAL EXCERCISES


LIP BENDER #1:

In #1 work to build pitch and balance control as you move from unison to a full chord. Students should
start in the mid-range of their instruments and choose their chord tone based on the following
recommendations:

1. 1 parts play upper notes.


2. 2nd parts play middle voices.
3 3td parts play lowest voices
4. All lower voices always play the bass line.
(These same recommendations should apply to all the exercises.)

LIP BENDER #2:

With #2, for example, start with a very broad legato style and change the dynamic level in the second
measure. Then take the last three notes out of tempo by conducting very tenuto one time and the next
time with accents.

LIP BENDER #4:

Here are just a of the ways to use this exercise.

1. Slur2,Tongue2.
2. Tongue 2, Slur 2.
3. Slur3,Tonguel.
4. All Slurred.
5. All Tongued.
6. This exercise can be in common time or cut time.
7. The bass voices can sustain the first note of every measure; others play what is written.
8. Conduct with rubato and have members listen carefully to establish proper intervals and then return, on
beat 4, to an exact unison.
9. In the middle of the exercise you could reverse the pattern and have the other instruments sustain the
first beat while the bass voices play the written notes.

There is no limit to the variations and combinations that can be achieved in exercise #4. The key is to let
your imagination run free. Never let the exercise become routine or predictable. The goal, as with all the
exercises, is to teach the ensemble to listen, watch and respond to your gestures.
LIP BENDER #5:

Use the same “basses sustain” idea with #5. Teach the other players to tune intervals to the bass. Insist
that the fifth is not too high, and be sure they play Major thirds slightly low. Work on keeping the air
“spinning” through the instrument to insure sustained air support. After using these exercises for many
years, I’m still amazed at what they can accomplish in building tone production, intonation, articulation, style
and ensemble cohesiveness.

LIP BENDERS #6, #7, #8, AND #9:

These exercises can all be utilized in a fashion similar to the others. Don’t be hesitant to ask the students to
play these exercises in different keys. They can do this very well given the opportunity. Again, vary the
approach to these exercises to correct particular problems you are having with your ensemble.

LIP BENDERS #10 & #11

These two exercises are chorales, written to address the usual expectations of producing excellent tone,
balance, blend, pitch, and consistent ensemble attacks and releases. They are arranged in comfortable
registers for each instrument. Ask the players to select the part they would normally play in four part
writing.

CONCLUSION

There is no limit to the different ways you can approach these exercises. The key to the success of these
ensemble drills is your imagination. There are literally dozens of ways to use each of these exercises. Never
let them become routine or predictable. The goal is to help you establish outstanding ensemble sensitivity
through careful listening, watching and responding to your conducting gestures.
LI P BE N D E RS Compiled and arranged by Frederick C. Ebbs
CONDUCTOR Warm-ups for Winds Edited by Ray E. Cramer

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Copyright © 1997 by Curnow Music Press, Inc.,


2025-C Ceestown Rd., Cexington, KY 40511, USA
EditIon Number: CMP 012597
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