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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She found several misleading or false statements just skimming through a couple of pages.

Jeff Smiley, “The Balanced Embouchure”

If you let go for the inner mouth shape, leave out the mouth corners pucking forward, and just roll in your lips, smjley sound will be quite thin. Why did you do that? Frustrated jerf the inability to play above the staff in a lyrical manner, I went back to the drawing board, trying to determine how to produce the sound I wanted above the staff.

I wonder if there is anyone in embouchurre world who knows how players play normally. Aug 23, 2. International Women’s Brass Conference -. Notice also how this player always stops to take a breath at the same baalanced in the range embohchure E and G on the top of the staff and in doing so is allowing himself to reset his embouchure.

Thanks for your thoughts, Maarten. Those that think that performance skills translate into teaching skills are sadly mistaken, bqlanced point that I cover in great detail in the book. Same with trumpet or trombone. I have address many of your points already above, either in the original blog post or in the comments following. There is a lot more I could write about this but I will finish with from my experiences this book has been life changing.

Thanks for stopping by and letting us know more about your experiences. Since increasing the lip range of motion means exaggerating lip movements in a specific direction, the key to success is understanding universal principles, which aids you in knowing which movements are more or less in the “right” direction for example, stretching or smiling is the “wrong” direction, even though a small percentage of players have success using it.


Jeff Smiley, “The Balanced Embouchure” | Trumpet Forum & Trumpets For Sale

They are responsible for an astounding array of activities, sometimes even in opposition to themselves! Whether or not this method is of value is only for you to try and decide. Thx for your time, Steve. I may never understand it fully, but this I do know: Being new to the trumpet, I am still looking for the embouchure that works for me. But the long-term reward is that the development of your embouchure will be no longer obstructed by fundamental faults.

This is where the beauty of the idea comes into play. On the side note, it seems like there is a big disconnect between brass science and the application of the science to help real students.

You did something that is unthinkable to most established brass players — you completely changed your embouchure. His instructions with this regard I find particularly troubling. Started playing in 4th grade. This sentence, more than anything you have written before, along with your assertion to being a scientist yourself concerns me.

He got a full scholarship, a free ride for four years. Will print out your post and keep it with the book. The idea here being to take the effort away from the mouth corners in a specific way to help the player find the best support structure of the teeth and gums under the mouthpiece rim and lips.

But he WILL force you out of old, locked-in ways of thinking. Oddly enough, I was also teaching trumpet throughout this period, and was having tremendous success.

Alistair, you raise too many points for me to get into just now.

If you experiment with this idea then please feel free to comment below. 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. The same goes for happiness-sadness, or tension-relaxation. This site tracks visitors with statistical tools such as Google Analytics. Good simley with your playing! Enjoy your time practicing and best of luck to you both!

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We had a conversation with Jeff via email about his book and the ideas behind it.

Sometimes it results in what’s commonly called “paralysis by overanalysis” – getting lost in the parts to the point of being unable to function. Does the embouchure I have started to find comfortable and useful seem sound from what I have described?

The results were truly unbelievable. First, there is balance a lot written on embouchure form and function that can truly be considered scientific. Perhaps this player is doing it wrong. You claimed to be a scientist, but made statements that are contrary to the scientific balaned.

I would like to share my experience with BE to you. However, I question the value taking valuable practice wmiley to work on playing in a way that risks causing problems. A tiny hole in the middle caused uncomfortable pain.

YOU are the true teacher in that you have to take all of the ideas coming at you and synthesize them into your own way of working and playing. Balancef came up with getting the bottom lip to mate more evenly with the top lip.

There is no one size fits all for the human face. Are you supposed to allow those extreme lip positions to creep into your normal embouchure or not?

Tongue On Lips (The Balanced Embouchure Way)

Notify me of follow-up comments by email. Just learn from it. In order to articulate with your tongue touching your lips there are a number of things that have to ueff place.