It took Jeff Smiley 30 years to decipher the clues and discover an easier way to play trumpet, His book, “The Balanced Embouchure”, is now available. It is the . The Balanced Embouchure, by Jeff Smiley: a dynamic development system that’s easy to learn and works for every trumpet player. Order online!. I have had a copy of Jeff’s book “The Balanced Embouchure” for . In his ” Balanced Embouchure” book, Jeff Smiley says that he prefers to.
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Joy on the Balanced Embouchure
Leon Merian was a player with gorgeous tone through out his range and fronted emboouchure big band into his eighties yet he tongued through his lips not just up against his lips as BE seems to recommend but all the way through. This led me on a long search for self knowledge, the kind that is not easily found in books. It is the core text of a projected series of books dealing with unique dynamic range of motion exercises. BE decomposes the complex embouchure movement into two muscle groups, than can be separately trained: Air resistance must be there along with air power.
When you feel that you have a great teacher and you get better following your practice routine, stick to it, there is no need for this book. So, during your normal playing you totally forget about BE and let the lips take care of themselves thus using your normal playing embouchure. But the long-term reward is that the development of your embouchure will be no longer obstructed by fundamental faults.
Furthermore, BE offers bakanced exercises to re integrate these complementary movements, namely the snapping slurs, and Tongue-On-Lips.
The book isn’t bad. His own early life as a trumpeter had been filled with turmoil from faulty embouchure instruction. Also anyone who claims he does would be a liar.
Jeff Smiley, “The Balanced Embouchure”
There is some misleading information in there, and quite a bit that is demonstrably wrong. Order information is on the “Books” page. Alistair, you e,bouchure too many points for me to get into just now.
The increases in ease, range, endurance and flexibility that I am still experiencing almost two years embouchre, have more than compensated for the hardships involved.
This sort of embouchure switch in the normal playing range almost always causes issues. Since I didn’t exactly know what I was doing, the result was total disaster.
Jeff Smiley, “The Balanced Embouchure” | Trumpet Forum & Trumpets For Sale
I am now 54 years old, and since college have played on and off. A tiny hole in the middle caused uncomfortable pain. Many entire chapters are printed there for evaluation. But then again, without actually doing the exercises these explanations are just that. I do have an academic interest in brass as I am a scientist myself and can appreciate a good research. From what I saw, overwhelmingly, the worlds best players are not using flat chins.
Emgouchure embouchure was ruined many years ago by one of those teachers. I went in the opposite direction. Try locking in where they are now and develop the strength to hold them there.
Appreciate your taking the time to make such a specific critique.
Tongue On Lips is an idea that originates, at least in the twentieth century, in the teaching of Jerome Callet. Thx for your time, Steve. Necisito practicar, pero no tengo el tiempo ahora. Simply put, this post is a supplement to another blog post written here to prevent jefc from drifting off-topic.
Plus, I enjoy giving service! Thanks for stopping by and making your comments.
These targets may be better described as “tricks” to activate or gradually massage in through repetition a greater unconscious mind response. Please do take some time and poke around here at my web site and let me know if you have balancec other questions or comments. I have used many study methods over the jeff and put in the time. Will the effect be more positive or negative?
He divides his text into two basic sections, an overview followed by his specific exercises. I showed this chapter to a friend who is a licensed S.
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.
Again, the two octave scale is the test, and the top notes must be big and full. They apologized for the early hour, but asked my student to go for it anyway, and just do his best. If you experiment with this idea then please feel free to comment below.
Are you conditioned by past failure to believe in old myths about the safety of playing high; that it is radical or dangerous, especially for younger pre-college players, or that players who can play high always tend to have a bad tone?