The Balanced Embouchure, by Jeff Smiley: a dynamic development system that’s easy to learn and works for every trumpet player. Order online!. One was Jeff Smiley’s The Balanced Embouchure. I worked over the next couple years with these methods, primarily Trumpet Secrets(a.k.a. I have had a copy of Jeff’s book “The Balanced Embouchure” for several months, and to me, it is one of the best designed and clearly-written.
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What advantages have you gained? A more accurate description is that when a player ascends the lips are drawn in closer to the teeth and less surface area of the lips vibrate.
I wonder if there is anyone in the world who knows how players play normally. For that reason, my book is designed to more easily fit into the “real world” of trumpet educator’s expectations. Good luck with your playing!
The more unique exercises rely heavily on playing pedal notes. All of the performers are teenagers, or younger. Anyway, for whatever reason, BE has worked for me bigtime. Phase two, where we’re at now, is steadily getting the book out there, and building an international core of players who are successfully overcoming their embouchure challenges.
Joy on the Balanced Embouchure
I studied BE for a period of approx. Wilktone Jazz, brass, composition, and other things music related. During this time, I met and studied for a year with Claude Gordon. This site tracks visitors with statistical tools such as Google Analytics.
Also I played the trombone and still play it once in a ballanced. So, during your normal playing you totally forget about BE and let the lips take care of themselves thus using your normal playing embouchure. One year later, e-mail exchanges with Prof. Although I am no Newton, I am sure that bxlanced this book enjoys any success, it is largely because of those players and teachers like Jerry Callet and Louis Maggio, who spent lifetimes figuring out stuff that I now take for granted.
I have address many of your points already above, either in the original blog post or in the comments following.
Tongue On Lips (The Balanced Embouchure Way) – Trumpet Planet
Halfway through, they stopped him. We’ll assume you’re OK with this, but please see our Legal Notice for more information. Necisito practicar, pero no tengo el tiempo ahora. Unlocking my corners 2. And yes, the whole purpose of the exercises is for them to creep into the normal playing over time. When the targets are more immediate, such as a particular lip or tongue placement, they are easier to hit, but focusing on individual movements can get complicated in a hurry.
Doing so will give him more credibility. Professionals who have demanding playing schedules do not, as a rule, have loose corners, bunched chins, and multiple embouchures for different ranges. Before forming your own opinion about The Balanced Embouchure balanfed should read what Smiley has made available on his web site.
The book is for those desperados with broken embouchures and tired to stay at the plato no matter what they do. I went in the opposite direction.
To me, the bslanced fulcrum when playing trumpet is the position and movement of the lips. But, since I work with between 50 and 60 students per week, the odds of it being the result of sheer chance are close to zero. The BE book has been a game changer for me, I think the three things that have helped the most from BE for me were.
Also you are a trombone player who never tried the method and I wonder that this method even applicable to trombone. So, we start looking at manipulating the individual parts. Finally, where can people get the book?
The Balanced Embouchure: A Review – Wilktone
Before we start talking about your book, could you please tell us a bit about your background as a trumpeter and teacher? It is the core text of a projected series of books dealing with unique dynamic range of motion exercises.
Since I didn’t exactly know what I was doing, the result was total disaster. A huge side benefit of doing lip movements outside the norm, is that players can maintain their current embouchures while adding the increased range of motion. Over the summer an interview was posted with hornist Andrew Joy on high-c. Another tenet is that you lips, once they learned the extreme movements, can subconsciously integrate the right amount of those movement into a normal playing.
I also would take issue with your points about pedals. The whole thing would have never crystallized without the varied and somewhat unusual fields of knowledge that I’ve explored in recent years including Neuro-Linguistic Programming and consciousness-based development systems which sometimes pulled me away from the trumpet for long periods of time.
Now, please start using it so we can begin helping more players. Why did you do that? To remedy this, I developed exercises designed to exaggerate the normal lips range of motion, thereby increasing the lip’s ability to form more complex combinations of opposing motions shapes which more effectively promote a continuous state of balance within the context of dynamic activity.
There is an accompanying CD which has most of the book exercises on it. Brass embouchures between instruments are much more similar than I think you realize.
Joy mentioned The Balanced Embouchure as a factor in his current embouchure approach. If you let go for the inner mouth shape, leave out the mouth corners pucking forward, and just roll in your lips, your sound will be quite thin.
Thanks for stopping by and leaving your thoughts. My point is that practicing these extreme lip positions at best is taking practice time away from something that is how you will actually perform.