Daily Study Structure & How to Work on a New Piece

Adapted from my article in American Recorder, Vol. LXIII, No. 1 (Spring 2022)

Playing an instrument has a lot in common with high-level sport: we repeat specific movements and ask a lot from a few small muscle groups. Whether you practise every day or a few times a week, it’s worth staying aware of tension, posture, repetitive motion and—especially with larger recorders—those asymmetries that can creep in. Like any sport, we warm up and we cool down. Below you’ll find a simple structure you can trust.

Warming up

Your warm-up has two phases:

1. General mobility + gentle stretches

2. Instrument warm-up (progressive, on the recorder)

Phase 1 — Mobility & gentle stretching

Mobility builds elasticity, joint range and coordination; it prepares the body to play and helps prevent injury. Move slowly and smoothly, never forcing or creating pain; keep breathing.

Gentle stretching is essential after playing, and also useful before playing (after mobility). It improves tolerance to effort and keeps muscles supple. Stretches should feel like pleasant tension (never pain). Hold each side 20–30 seconds.

There’s a third pillar—toning—best done a couple of hours before/after playing, two or three times per week. Think Pilates, yoga or other gentle strengthening, and include hand/finger toning. Strong, balanced muscles support posture and help prevent injury.

A simple mobility sequence (big to small):

1. Hip circles

2. Arms overhead; lengthen through the sides

3. Spine mobilisation (yoga cat–cow; Qigong dolphin/tortoise)

4. Shoulder, elbow and wrist circles (both directions)

5. Side bends

6. Gentle torso rotations (keep the lower back supported)

7. Neck in straight paths only (yes / no / side to side; never full circles)

8. Open/close hands; finger motions (e.g., castanet/flamenco-like)

9. Gentle back stretch (downward dog; or face the wall with hands high)

10. Open the chest (clasp hands behind, draw down)

11. Finish with light arm, wrist and hand stretches

If you have any injury, consult a clinician before starting. Listen to your body: if it hurts, it isn’t right for you.

Phase 2 — Instrument warm-up (progressive)

Start with long tones and slow scales so you warm up without sneaking in tension. The more demanding your repertoire, the longer and gentler this phase should be.

Keys for a good instrument warm-up:

• Gentle movements

• Variety

• Moderate speed

• Neutral joints and balanced posture

Daily practice program

Think in three blocks:

A. Specific warm-up & technique

B. Repertoire

C. Improvisation

Improvisation matters more than we think: it trains the ear, links fingering to inner hearing, develops creativity (and analysis!), and frees us from the page. For Early Music it’s part of the craft:

• Ostinato-bass improvisation

• Variations on a theme (longer harmonic spans than an ostinato)

• Diminution practice (developing a melody)

• Baroque preludes / Renaissance recercadas (free form in style)

• Adding a second voice to existing music (I used to sing a second line over pop songs—excellent training!)

Block A — Specific warm-up & technique

Long tones

Until “finding the centre of each tone” is automatic (where the instrument resonates and feels comfortable), begin with long notes: at least one low, one middle, one high. If time allows, play them chromatically across the instrument.

Slurred scales (by heart)

Slurring lets you focus on air, fingers, and their coordination—and it wakes up breath support. Air is the base; articulation is added later (like consonants to speech). Memorising scales reduces reading load and helps you listen to your sound and body.

• Beginner/intermediate: start with easier key signatures (C, F, G), then B♭, D, etc.

• Intermediate/advanced (alto example): F, G, A♭/A, B♭, C, D, E♭/E; or full-chromatic majors (F, F♯, G, G♯, …). Add natural/melodic minor or other patterns as needed.

The goal is familiar melodic material so the mind can attend to posture (relaxed shoulders, aligned head, rounded fingers), breathing, and the art of minimal effort for maximum efficiency—like a Swiss clock.

Finger coordination (slurred)

Kees Boeke’s Three Exercises—slur wherever you can. It isolates coordination across all combinations. Aim for rhythmic precision and evenness, as with scales.

Add articulations

Choose patterns simple enough that you can explore ti/di groupings in full relaxation.

• Beginner/intermediate: easy études.

• Intermediate/advanced: Kees Boeke’s The Complete Articulator (groupings of T/D shifted through the bar).

• Double articulation: lere, did’l; or dege/teke. Start with comfortable patterns (repeated notes); for advanced players, easy arpeggio shapes.

Optional studies (as time/needs allow):

• Quantz Caprices (great, and you can practise transposing a minor 3rd up)

• Advanced Recorder Technique (Heyens/Bowman)

• Staeps Das Tägliche Pensum (The Daily Lesson)

• Linde Neuzeitliche Übungsstücke / Modern Exercises

  This is also a good moment for ornamentation and improvisation (preludes; Renaissance cadential diminutions).

Block B — Repertoire

Make a weekly plan. It structures progress and keeps motivation high. If you can, set a fixed daily slot—it removes the “I have no time” stress. Touch at least part of every piece each practice day. Work with attention; don’t just “tick the box.”

Block C — Improvisation

A perfect cool-down if time or energy is low, or warm-up if you choose to do it before your repertoire. Keep it easy and curious—improvise on material you’re learning, or wander. For Early Music styles, explore: ostinati, variations, diminutions, preludes/recercadas, second voices. If you do push a bit here, remember to relax your playing to finish with.

Always feel free to insert a short mobility break mid-session.

Cooling down

Like warming up, cooling down has two parts:

1. Gradually reduce intensity, difficulty and speed in what you play (about 5 minutes after light work; 10–20 minutes after heavier sessions). This helps clear metabolic waste and releases accumulated tension.

2. Stretch the muscles you used most (I often revisit mobility, too—moving differently from how I played). Start with the side that feels most tense or painful (we tend to spend longer on the side we begin). Hold each stretch 20–30 seconds per side; repeat if needed. Be consistent—don’t wait for pain to remind you.

How to work on a new piece

The first run-through matters: that’s when muscle memory starts forming—the pathway from brain to body is built from what you did at the start. So set things up well: air support, posture, relaxation, finger choices, articulation.

Principles

• Conscious control. The brain must track what the hands do for the right motions to become automatic.

• Slow—but rhythmic. If you practise slowly without true rhythm, the rhythm won’t encode. For complex rhythms, isolate them: clap, speak, or “narrate” them first (Kodály-style: ta for quarters, ti for eighths, tiri for sixteenths, ta-aa for halves, tam tidam for dotted figures, etc.).

• Read ahead. Train yourself to look one or two bars ahead while staying present with what you’re playing. It widens your musical overview and reduces surprises.

This structure is simple to remember, gentle on the body, and it scales with whatever repertoire you’re working on.

Link to the video on this subject: https://youtu.be/vQpzlr2f-KI?si=fwGiJj5NpN0i-UGG