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Joss Campbell Warm Up Books

Note to teachers
In my many years of teaching and inheriting pupils from other teachers, my first question to an
existing learner has always been, ‘What would you normally play to warm up?’. I am heartened when
I hear their response to be ‘long notes’ but, in my experience, asking a pupil to practise long notes
often produces a random selection of long tones played without any thought to the technique or
production of that said long note and my sceptical mind doubts if this is a regular part of the said
pupil’s practice routine. If you expand upon the long note concept and set tasks that require
practice to be able to play the required long note exercises between lessons, then you will hear
immediately whether your pupil has practised their tone work from week to week, and their
developing tonal control and dexterity within their sound will improve as a result, over time.
I have written these series of books to cover learners from their first three notes through to
diploma level; ensuring their foundations are set from the outset with consistent and thorough
guidance alongside the general syllabus requirements of the major examination boards, with clear
and accessible guidance for each exercise.
I have generally not stipulated metronome speeds, dynamics or breathing within the exercises so
that you can add your own, according to your student’s learning requirements.
Note to pupils
Warm ups are the most important part of your practice. If you don’t have a beautiful sound, it
doesn’t matter how fast you can play or how musically you interpret your pieces, they will not
sound great.
Your tone is your voice and if your sound is weak, it won’t travel past your music stand and no-
one will be able to hear you; and if your sound isn’t good, why would anyone want to? Take
ownership of your sound and use your warm ups to find your own unique and beautiful voice so
that you can tell your own tonal story through your music and charm everyone that hears you!
Everyone’s sound is special to them and depends on various things: the shape of your lips, your
teeth, the cavity within your mouth, your technique, your breathing, your diaphragm engagement,
and your determination to be the best you can be. Do as your teacher instructs in terms of correct
breathing, embouchure and posture; do your warm ups at the start of each and every practice you
do, practice your scales and become the best flute player you could possibly be
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