Trumpet and Horn: Cameron Kopf Feedback and Discussion

This post is a little more technical than most I post in my blog. It contains some information that will only be understood by BE students.  I decided to post it because it's another testimonial from someone who has benefited from BE on both trumpet and horn. [I will post my responses in brackets.] Dear Valerie, I have a lot to say about my experience with BE  (on both trumpet and horn)... I started using the Balanced Embouchure method (BE) last year, initially  on trumpet. I experienced instant positive results on both RO and RI exercises  from the very first day. My range and endurance on the trumpet improved  immediately, and it gave me hope that I could actually manage to play both  horn and trumpet interchangeably without problems. A few months later, I began applying BE in my horn practice. I was hesitant  at first, as I had been a professional horn player for 37 years, and didn't want  to "mess up" what had worked reasonably well for me for so many years.    I wanted to wait until I built a more solid foundation with BE on trumpet before  playing the exercises on the horn.  Two months ago, I started practicing  RO and RI exercises after my regular warm up, and am seeing progress  now on the horn as well as I did on trumpet. The main challenge for me with BE and horn is getting a rich, full tone while  using RI. It is getting better all the time, the more I do the exercises. I am finding  now that I am able to roll the lips in AND enlarge the aperture in the center   of the embouchure at the same time, which produces a better sound. [I'm so glad to hear you're working it out for your benefit.  If we rush the RI into our  regular playing to get high notes, "directly" as Jeff puts, that's what can happen.   In the book he writes that we can learn to play with a full and beautiful tone on ANY  embouchure setting.  I totally believe that.  It's just a matter of judicial application  of BE principles, practice, careful listening and, of course, patience.]   Another challenge is to coordinate my tonguing, which is in a different  place while using RI. My particular issue is just above the staff, F, F#, G  where the tongue becomes a bit "ploddy". I have to remind myself to keep  the tongue very close to the top lip, further towards the roof of my mouth,  in order to gain clarity on those notes. [Very interesting.  Notice that on page 88, referring to the exercise on the bottom  of page 89 (Tonguing With Lips Rolled In), Jeff Smiley writes: "When tonguing  becomes easy, this embouchure can be used in everyday playing."  The key word in  that information packed sentence is EASY.  I noticed that when TOL finally became  easy, both my tonguing and my tone settled in the upper register and everything  became clearer.  Jeff has seen this so many times in his 30+ years of teaching 1000s  of trumpet lessons, he knows when the transition can be most beneficial.]   I am developing my own set of exercises to supplement the BE materials for  horn that you have already so generously provided to the Horn Community.  Generally I am extending the RI notes downward. [I think this is especially important for horn players because of our low range  requirements.  In my video, I demonstrate "dragging down" the RI setting all the way  down to pedal tones.  This practice has been very helpful for me so I can play  "rangey" phrases without awkward resetting.] I have yet to be able to tongue scales from the octave below middle C all  the way up to high C smoothly, because it is difficult to shift from RO  to RI fluidly encompassing those three octaves. Starting on middle C  upward is much easier at this point. So I will start a few notes below middle C  and see if I can extend my range upward, using the RI setting. The RO  exercises starting on the pedal notes working upward are of great benefit,  and perhaps if I continue working on them, these 3-octave scales will be easier  using the RO setting. [I would suggest practicing your a few 3 octave scales in both RO and RI every day.   From doing this, you may find clues that will help you decide just how much RO and  RI you need to combine to achieve a smoothest flow across your break.] I have a question for you: Are the slurring exercises following the RO and  RI sections supposed to be played on either setting, or both? [The rule with the advanced lip slurs is "If it works, it's correct!"  This is when you  will consciously apply the principles you've learned in the RO and RI exercises to  your developing embouchure. But, when you get back to "regular" playing, you  must try & forget about BE!  Easier said than done!] There is a lot more to say, but this is enough to digest for one email. I look  forward to hearing back from you, whenever you get a chance! Best regards, Cameron Kopf