Admirable Brevity

"BE is just a set of exercises helping the overall mechanics of any embouchure." 
~Bruno Fernandes

BE- It's Not Just for High Notes!

Val,

On Tues my BE arrived and I immediately began Roll Out 1. Did LCS, some Roll In, got acquainted, so to speak.

Late Thurs I got an emergency call from a a local Maestro that the 2nd horn had torn a retina, could I sit in on 2nd for the Fri and Sat shows? No rehearsal, no music, sight read the concerts. I am a high horn guy, I play a Bb/Eb horn, I can count on my thumbs the times I have ever played 2nd, I have no idea what a ledger below the staff is. So, naturally. I said "Sure".

In the Faure Pavane the 2nd blasts out A,G F whole notes, (below middle C), ff with accents, my worst notes and range. Long story short. The notes roared out. (I reminded myself to pull my corners in and roll out). Then the same A, breath attacked at piano with a steady cres to forte in the Bruch violin concerto. Same result.

The encore piece was Gliere Russian Sailor's Dance, which I played 1st on to spell the Principal. Decided to take the F# after the non-stop D's the end. Roared.

Nobody is more amazed than me.

Michael Langiewicz

Pole Vaulting

An unsolicited email from a happy BE'er.

Hi Valerie,
I have meant to let you know for a while how much I am enjoying the BE for French horn.  I originally thought of it mostly for extending my upper range but I have been surprised at how much it has extended my lower range and made it more rich and stable.

I first started using BE when the last summer Olympics was on.  As I was watching pole vaulting, it occurred to me that the way I had been attempting to play higher notes was a lot like someone like me trying to clear 17’ by blindly running at the bar with no idea of the mechanics involved.  Years ago, when I had the privilege of taking lessons from Kathleen Farner she would tell me to just relax when I was having trouble reaching a high note.  At the time it seemed impossible.  Now I am realizing that it actually works because BE gives me the ability to actually think about how to make my embouchure work for the note I am trying to make.  This also works psychologically because, as Kathleen also pointed out, half the battle was not panicking when the dreaded notes were approaching.

Now that my embouchure is improving its time to fix the growing problem with my left hand.  To that end I would like to order one of your comfy straps before my left pinky falls off.   -- Stephen Klassen

Julia Rose: Still Benefitting from BE

Julia Rose began writing about The Balanced Embouchure in 2009 and wrote extensively about "BE" before retiring her blog in 2012.  I hadn't hear from Julia for some time so I asked how she's doing in an email.  This is her reply:  

Hi Valerie,
Very well, thank you- thanks for asking!  I've been enjoying my internet anonymity- I am so short on time that I don't have time for all that anymore.  I'm still doing BE (specifically RI and RO 1-4) as part of my daily routine.  I feel that I'm playing better than I ever have right now.  I do take time off from the horn from time to time, and when I do feel the slightest out of shape, BE whips me right back into shape very quickly.

That's one of the benefits professional horn players seem to report and enjoy the most, the ability to take time off without losing much in terms of conditioning.  BE just keeps on giving year after year.  

Thanks for allowing me to share this, Julia.  :)

Air vs Embouchure and Other Things

Recently, John, a trombone player with some BE experience, told me that he has observed brass players obsessing too much over embouchure when they should be spending more time on air.  This was my reply:  

"I played French horn in college, but stopped for 33 years.  I came back to horn about 8 years ago and have observed just the opposite -- at least in the French horn world.  Embouchure talk seemed totally taboo in 2006, yet some French horn players seemed to obsess over air as if lips weren't even necessary for horn playing.  I listened intently and tried so hard to make it happen with air the way so many said it was supposed to work.  I was huffing & puffing blowing huge volumes of air through my horn to the point of hyperventilation but still couldn't come near the upper register.  And low notes were equally frustrating.  I couldn't hold a low register note for more than a few seconds before running out of air.  I thought I'd never be successful on horn because I assumed I just didn't have the lung capacity for it and my college experience had nearly convinced me that I didn't have the embouchure either.  When I finally found BE and was taught to manipulate my lips this way or that way, I suddenly could play notes in the upper range for the first time ever and could sustain low notes for much, much longer.

"When I informally introduced BE to the French horn community, huge efforts were made to correct the error of my ways.  I was ridiculed for using a trumpet method, especially one that blatantly taught the idea of rolling the lips in and out.  Shameful! Someone even scolded me for discussing the intimate subject of the embouchure in public, as if I were talking about bladder control! HA!  

"So.... My observation has been that only lately has it become "okay" to talk about chops again in the French horn world.

"I think the advancement of BE into the horn world has added a healthy weight and emphasis towards balancing air w/ embouchure.  Hundreds of horn players are now using BE and it's also being taught in private studios, high schools, middle schools and universities around the world.  Maybe the demands of the horn embouchure are more stringent than that of trombone, I don't know, but I see BE making a very positive improvement in horn pedagogy."   

I'm not certain my observations are accurate for the entire horn world.  What I observed may have simply been the dominant theme in the on-line discussion groups of the time (Memphis list and Yahoo Horn). But I believe it is most productive to emphasize both air and embouchure working in tandem as The Balanced Embouchure system does.

John responded,  

"Wow! That’s different from my experience but I surely believe you.  My take on BE is that, after a while, you’re not really rolling in and out so much anymore. Things stabilize and strengthen but the rolling in and out is natural while you’re building up.

"When I saw Claude Gordon and was rolling in and out for range changes he said go ahead, let the lips do whatever they want to do….and do the routine everyday! Sure enough, the lip motion started to become less and less. More efficient I would say.  I think it’s completely natural to do this. Who starts outs from day one with a strong, balanced embouchure?

"I'm really glad to hear that BE has been well received and is being used to success by so many players.  I think it has changed people’s lives for the better. So stressful to want to play well and not be able to get a handle on it. And some people make it look so easy!

"I’m sure horn is a lot tougher than trombone, chop wise. But every instrument has it’s own devil."   

I love John's observations.  BE uses exaggerated lip motions ("roll in" and "roll out") and breathing techniques ("snaps" and "zips") to awaken the student to movement and breathing possibilities they may not be aware of.  This awakening gives the student options for more productive, satisfying development. Here's an experience shared recently in an email:

"Hi Valerie,
"Well I've been pretty busy over Christmas with the band and two orchestras.  Like you I've followed the Farkas method religiously for 30 years. This will be my difficulty. To get out of pulling down the bottom lip. The Farkas method has failed me to an extent as I have a fairly fleshy top lip. As I said. The roll outs are no problem whatsoever. I can get the pedal E in Shostakovich 5 last movement no problem. Some of my students in band have said my lip was all over the place when I show them how to blow pedals. I said so be it if it aids in getting the extreme low notes. I can now reinforce my method to them when I show them Jeff's book. So I was right all along sort of thing. The roll ins will be more difficult after 30 years of puckering my lips. I have however started roll in exercises. I have to continually remind myself to roll in especially in the high register but it will be worth it. A small victory. We took out 633 Squadron at band the other night. Notable for it's many long unison top A's. It used to be about 7 out of 10 on the worry scale for pitching and endurance. I made myself use the roll in position and as the piece went on the worry scale became 2 out of 10. You and Jeff deserve top praise for helping all us trumpet and horn players throughout the globe.

          "Many thanks, Vincent McArdle."

I love what I do!

So why the picture of Steve Park playing a pedal tone?  Steve is the one who helped me see what BE really is when boiled down to it's simplest terms:
                                       Balancing air with embouchure.

For more about Steve Park, see these links:
http://beforhorn.blogspot.com/2011/07/how-steve-park-came-to-be.html http://beforhorn.blogspot.com/2011/05/be-in-san-francisco.html
http://beforhorn.blogspot.com/2011/10/feedback-from-horn-teacher.html
 http://www.steveparkhornmusic.net/#Home%20Page

Colin Ng, Still Discovering with BE

First, a little disclaimer!  What you see demonstrated in this video is NOT a requirement of the BE method.  This is Colin having fun extending a specific BE exercise beyond the norm. 

• Colin Ng has taken Lip Clamp Squeak to a whole new level!  Colin recently shared this on FaceBook:  
• 
  
   Colin Ng
  
  
  Dear fellows,just to share a little "discovery". I have been experimenting for a long time (4-5 years) various chop building devices like Warburton PETE, BERP, pencil trick, "chop sticks" concept, the new brio device, narrow straws and short of some bizarre versions of lip/facial flex spring loaded toys.
  I decided to conclude this wild goose chase finally. The best way to develop the Orbicularis Oris muscle (circular band around the top and bottom lips especially at the corners.) is device free, and happens to be the unsuspecting and innocent BE initiation before the RI exercises called the Lip Clamp Squeak or LCS....
  
  In short, Once you manage to get air through the clamp setup, followed by some seemingly embarrassing and pathetic squeaks, and eventually a few workable notes in high buzz, you can observe in the mirror how much more flexed and pronounced the OO muscles have become. For the chops to maintain the clamp against the out going air, they really have to work to narrow in. and for the air to even make it through the clamp, our abdominals have to really work to get the wind support up against the resistance. chop strength and air support/speed for great sound/high notes all addressed in one exercise.
  
  We get to have one lean mean machine there; no toys no expenses. High notes and great stamina can happen even before achieving the RI-#1 properly.
  
  I "forced" myself to clock in 10-15 minutes of nursery rhymes (5 notes melody) on LCS. Like a body builder torturing himself because he can't wait to flex his muscles in front of a gym mirror. It looks firm and 'chiseled' in the mirror and when I play normal repertoire it really feels easy and great.  
  
  

I'm Back and Feeling Grateful!

Six years studying The Balanced Embouchure.  It just keeps giving me more & more.  The progress never stops unless I stop.  I'm not the greatest horn player in the world, of course.   I'm just a little old lady, come back horn playing grandma with a chronic neurological disease, who plays in community ensembles and gets the occasional paid gig.  But, there are so many things I can do now that I wouldn't have been able to had it not been for BE.  I'm thankful.

Once again, BE has come to the rescue.  I injured my upper lip in an accident December 2nd, driving my front tooth clear through the center of the under side of my upper lip.  Five days later a little blob of dead flesh sloughed off leaving a small hole, then a scar right where the aperture forms.  (It reminded me of the injury Adrew Joy described that prompted him to find help, and eventually BE.) http://beforhorn.blogspot.com/2011/08/joy-continues-on-balanced-embouchure_07.html  After taking few weeks off, I found myself with severely limited range and endurance, not to mention horrid tone.  It was definitely a déjà vu experience.  My embouchure function was eerily similar to what it had been 7 years ago before I started studying BE! 


I thought it would be a quick fix, but progress was slow because my lips would swell at the slightest provocation severely limiting practice time.  It took a full four months before I had recovered the range & endurance I had before the accident.  Thanks to BE, I'm back & enjoying playing again.  

Three cheers for Jeff Smiley!     

Four Months into BE

A lot of people ask how long before they see improvements from BE.  Here's an good example from someone who began studying The Balanced Embouchure in September 2012.  I received this in an email today:  

Valerie, I'm extremely pleased with the strap and the BE method. I have a larger upper lip and has taken some time developing the new technique particularly the roll in but my range and endurance is so much better and appears to do nothing but improve every time I practice.Thanks!

Dannie Smith,PT,ECS

I'm grateful for the feedback, Dannie!

The strap Dannie is referring to above is the Comfy Horn strap.  See this link: http://comfyhornstrap.blogspot.com/

Restoration!

It's fun and very satisfying to see a horn player who's lost his range for whatever the reason, find it again with the concepts Jeff Smiley presents in The Balanced Embouchure.  Andy's not only recovered lost ability, but has progressed beyond his previous abilities. I  received this email from Andy only yesterday.  (BTW, take the time to check out his concerto linked below.  It's darn cool.)  

Hi Valerie

Thanks for sending me all the BE stuff. I haven't followed the prescribed programme really but I read the text thoroughly and the 3D aspect of embouchure had never really been in my mind.   I wrote to you on October 8th...

...Struggling with an embouchure that goes from pedal D to F at the top of the stave with no problem whatsoever, but can't get above an A on a good day - even though a couple of years ago I could play top Ds on a good day!!

I have played my own exercises for roll out and in and spent much driving time looking like an old man or daffy duck!! No surprise really, but what I got from the BE book made the exercises I was given by Tony Halstead make sense. (He gave me a couple of lessons when I bought a second hand Paxman off him). I am now aware that there are muscles in my top lip that were completely unused!

I only do a bit of occasional amateur playing (I concentrate on conducting and composing these days when I'm not running a school music department) and have had no gigs since the end of November so was able to throw myself into it without fear of disrupted embouchure problems.

I have just played Mozart concerto No 2 and No 3 back to back (previously, the first movement of either would have finished me off.) After finishing I played a three octave Bb arpeggio and held the top Bb for a couple of bars. I am so grateful that for the first time in my life I am starting to be able to play in a way I'd only dreamed of. I'm sure I've still a long way to go and playing orchestrally will be the real test in a couple of weeks but at least now I have enough stamina to do enough practice to improve my playing. In the past it seemed that the more practice I did the worse I got! The top Ds have returned on a good day but I have even squeaked a couple of top Fs since reading the BE book. I can start a pedal C without slurring down to it and a couple of days ago I was able to start a pedal B on the F side and slur down to a Bb!!

I've pasted a link to the horn concerto 'Orion' that I wrote last year for Richard Watkins (ex-principal of Philharmonia now top UK session player and soloist).  
http://soundcloud.com/andymeyers/orion-concerto

Best Wishes

Andy Meyers

Colin Ng, 14 Month Update

Dear Valerie,

In another 10 days it will be my 14^th month anniversary of BE practice. I was then disabled due to a “guided” embouchure change and later in the year, broke my front tooth due to a hard grain. Before then, consistency of sound production was something I had to work very hard on, yet with very temperamental results.

After a year of dedicated BE practice, consistency of good sound production is now no longer a concern; and after the due efforts to make technique transparent, I am able to direct my thought to music aesthetics freely during rehearsals and performances.

I even came out with some original exercises based on BE concepts with crazy good results. Stamina is astonishing and range is still extending and climbing!

Playing the first movement of the Otto Nicolai duet no. 1 on both 1^st and 2^nd horn parts as an extended warm up is something that was unthought of; now it's a possibility.

Here are some thoughts on BE after a year:

1. BE is not music but BE enables Music.
2. Ease of play and good sound happens only after BE not during BE. Be need not sound good in practice, and is not to be used as a performance technique. BE is a conditioner.
3. Even for my one day phenomenon a year ago, it is normal to have a slow start off that kicks off into exponential results over time.
4. Hitting a plateau means hanging on to your BE even more religiously. Before you know it, you look back and realized that plateau is far behend you.
5. Haters gonna hate. Some people will ask about how its done and yet reject BE even more due to their pre-conceptions. Let pre-conceptions bring them to hit their own brick wall. BE only work for people who need it; not simply want it.

Cheers to everybody and have a great day!

Yours sincerely,

Colin Ng

Singapore

This note added 10/8/14:  Colin Ng is still enjoying BE and had been developing  his own exercises based upon BE principles.  See this.  

Julia Rose "Retires" her Blog

Julia Rose has had a very popular blog, Julia's Horn Page, for a number of years.  She recently retired her blog, but graciously allowed me to publish what she's written about her BE experience.  For more about Julia see this:  http://www.columbussymphony.com/about-cso/musicians/horns/julia-rose
Thanks, Julia, for all you've done to advance horn playing.
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The Balanced Embouchure
Published on Jan. 6, 2009 by Julia Rose

 I’ve been reading a lot about something called “Balanced Embouchure” lately. It is a book by a trumpet teacher named Jeff Smiley,who states the following on his web site:

… "The Balanced Embouchure" is the core text of a projected series of books dealing with unique dynamic range of motion exercises. These exercises tend to enhance every player's embouchure development - often dramatically. After years of teaching thousands of trumpet lessons in the "real world," ranging from beginners to students who had struggled for years, I confidently make this statement on the first page of the book: ("The Balanced Embouchure" is...)

   ...A Dynamic Development System That's Easy To Learn And Works For Every Trumpet Player...

> Regardless of your age or number of years played
> Regardless of how weak your current embouchure
> Regardless of your lip architecture
> Regardless of how confused you are
> Regardless of what you've been told…

Sounds intriguing, eh?

I first read about it on the horn forum a while back, where an amateur hornist was glowing about the fabulous results she was getting on the horn by reading this book and doing the exercises. She was immediately shot down by another hornist who felt what she was doing was incorrect, and then she was later defended by a well-regarded teacher (Wendell Rider) in the horn world. It was a typical internet forum flame-fest, but the whole discussion rather intrigued me. Mr. Rider was intrigued enough to take a look at rolling in/rolling out of the lips while playing, experiment with it with himself and his students, and it inspired him enough to write an addendum to his fine book.

Mr. Rider’s addendum can be found here: http://www.wendellworld.com/html/FlexibilityLipControl2.pdf. What Mr. Rider says in the addendum I absolutely agree with. Basically, “Balanced Embouchure” involves exercises designed to get the player to roll their lips inward as they ascend in range, and outward as they descend. I am in agreement with Mr. Rider, as I also think there maybe something to it.

I am not a natural player by any means. When I made my embouchure change in college, what made the new embouchure finally click for me was getting a rolling in/out motion of the lips correct. Doug Hill put it into words for me as a “chicken beak.” Seems like strange imagery, and yes,chickens do not have lips :), but hey, it worked for me. To me, this motion seems a lot like the “Whistling” embouchure that Farkas talks about inhis books.

In thinking about the rolling in/rolling out, I believe the principles that Farkas discusses in his books are, for the most part, an excellent starting point for the proper horn embouchure. But from what I’ve seen over the years by watching others play the horn, the Farkas method may only completely work for players with small lips and a slight overbite. Others (like me, for example, with my fuller lips and a large overbite) probably have to modify this to get things to work for them, perhaps with some of the methods that Mr. Smiley describes. Balanced Embouchure may be another tool for someone to solve their embouchure troubles.

It’s a shame that the trumpet world can talk about embouchure experimentation openly, while in the horn world it gets shot down as blasphemy. (How dare you say that the great Farkas was wrong?!) I see the whole BE rolling in/out discussion as very healthy, if it helps more brass players realize their dreams. The only danger I see in the whole BE discussion is too much attention to the physical while performing, and not enough attention to making music. But then, the physical does have to be worked out before one is free enough to be a great musician.

For more Balanced Embouchure discussion, click here: http://www.trumpetherald.com/forum/viewforum.php?f=29
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Lower lip discipline (or lack thereof)
Published on Aug. 29, 2010 by Julia Rose

Throughout my playing career, my lower lip has caused me trouble.  Ever since I got braces way back when I was 12, my natural tendency (even today) seems to be to not to use enough lower lip in the mouthpiece.  I know this is exactly the opposite problem of many horn players, but it's the case with me.   I had to correct this in college, but I'm finding out that I'm still having to tweak it even now.

You may recall that a while back I mentioned that I had a breakthrough in my practice, but I didn't go into much detail.  Well, I'm now sure that what I've been working on has put me on the right path, so I'm ready to write about what I've been doing.

For the past few years, I have struggled with my middle range.  My high range was very comfortable, my low range was pretty good, but my middle register was troublesome.  Perhaps it was a "high horn syndrome," as this is very common among 1st and 3rd horn players.  Specifically, I lacked clarity when I articulated in the mid range, and during legato passages I had a real lack of flexibility.  I had been working on this extremely hard,especially in the past year.

The weird thing is that the situation used to be reversed- way back when, my middle andlow ranges used to be my strengths, and my high range used to be my weakness.  What exactly was I doing before to make my middle and low ranges strong, and how did I improve my high range?  And is there a way to combine the 2 methods so that every range is strong?

Well, I think I figured it out for myself.  Through arduous practice of flexibility exercises this summer, I've realized that (once again) the culprit was my lower lip.  It was not providing a proper anchor in the middle register, which I believe was the source of my problem. I believe I have now fixed it and I'm beginning to see the fruits of my efforts.  The general feeling in the middle register now is that I'm using slightly more lower lip, and I am doing much less pivoting in the middle register than I had been doing.  In every other range I'm doing the same things as before.   My middle range is much easier now, with no loss of the ease of my high and low ranges.  I have seen some exciting improvements so far, and it's going to be a great next couple of months!

There's been a lot of talk (and disagreement) this past week on various brass blogs about embouchure, and the importance (or unimportance) of the 2/3 to 1/3ratio between the upper and lower lips of the horn embouchure.  Yes, most horn players (including myself) use more upper lip to lower lip, but I believe that's merely coincidence caused by similarities of facial structure(such as overbites) that most of us have.  Horn players with underbites and other unorthodox facial features may need to useother setups, and other methods (like the Balanced Embouchure, for instance) to find their best individual embouchure.

Personally,I believe that what matters most is what the lower lip is doing, not how it looks.  I'm beginning to think that every single technical problem I've ever had is related to my lower lip.  It's weird how this same problem rears its ugly head from time to time with me!
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More on the Balanced Embouchure
Published on Aug. 28, 2011 by Julia Rose

Last week James Boldin posted his opinion of the BalancedEmbouchure method by JeffSmiley.  James wrote that he did not own the book, but was open to any possible new ideas that might be presented there that may help himself and his students become more efficient.  I thought it might be useful to follow up to his post with one of my own, as I have experimented with the Balanced Embouchure this summer.

There has been much controversy about the Balanced Embouchure (or BE) all over the internet from both trumpet and horn players.  When I first heard about BE, I was intrigued because of Jeff Smiley's claim that it worked for every trumpet player, and I posted briefly about what I thought here.   But since that post I have heard even more positive things about it from members of the horn-playing community, including more and more professional horn players coming out of the woodwork endorsing it, plus a presentation at the last International Horn Societyworkshop, and I really wanted to find out more.  Before I forman official opinion about something, I like to find out as much as I can aboutit, so I bit the bullet and paid $50 for the book plus the horn exercise addendum from ValerieWells.

I don't feel like I'm in desperate shape chopwise, but like James Boldin, I was curious about what it may offer that I didn't already know, so that I could help myself and possibly my students improve.  I have my chops together, but I have had students who have struggled with range.  So over the past month or so, I've read the book thoroughly and done the exercises.

I am taking my time going through the book, as that is what Mr. Smiley recommends.  It is meant to be a self-help method (with CD included) that allows the student to discover his/her own best individualized approach to brass embouchure, and it has made for a perfect summer project.  The student only needs to spend 5-15 minutes daily on the exercises, so it is not disruptive whatsoever to a normal practice routine.  In a month or so of about 10 minutes of BE practice perday, I have gotten to the point where I can play all the rolling-in (RI) androlling-out (RO) exercises pretty well, but have not yet started on the Advanced Lip Slur (ALS) exercises.  I did find that I was able to do most of the RO exercises immediately.  This is probably because my embouchure naturally leans toward einsetzen, and a big component of the RO exercises is pedal tones, which I have never had much difficulty with.  I have more difficulty with the RI exercises, not in playing the high notes with that embouchure but in using that rolled-in embouchure in the middle register.

Valerie Wells has stated in her blog that BE employs concepts that many fine players are using already, either consciously or unconsciously.  I agree with this, as I have noticed some positive improvements in my playing, but nothing earth-shattering.  I have seen improvement in large intervallic leaps in the middle register.  I think this is because I am actually practicing them while using the exercises (go figure!), and I am also practicing pedal tones systematically, which I have never done before.   I think that part of the success of this book is that it requires the student to practice extremes which they would normally not be practicing.  Not only extremes in range, but extremes in tonguing and embouchure movement that are not necessarily meant to be used in regular playing.

I have also noticed that my range above high C has become more secure.  Whereas some of the licks up to high E in the Schumann Konzertstuck and Strauss Domestic Symphony have been hit-and-miss for me in the past, I can hit them dependably now.  A dependable high E is a nice thing to have!

One of the most appealing things about this method to me is that 5-15 minutes of practice a day isn't enough to mess up your current setup.  As your lips learn to do new things, the things that work better are gradually and unconsciously incorporated into your current embouchure.  It is an individualized approach guided by the student's ear, and not guided by a teacher dogmatically telling the student what to do, or guided by what one thinks they see in a mirror.  The student uses his ear as a guide, and if it sounds right, it is right.  No one horn player's physical makeup is like anyone else's, and I believe that depending on one's ear when playing music (and not how it looks or how it feels) is the best way tooperate.  As that type of approach to brass playing and pedagogy appeals to me in general, I really like this book.

I plan to keep on practicing the BE exercises until I master them, and then I plan on keeping them in my personal practice arsenal.  I can see how this book could really help a struggling student find his/her own best embouchure. If this book had been around when I was in college, I think it would have saved me an enormous amount of practice time.  I think BE could be a terrific tool to help students, and I plan on using it with my own students as needed.  BE is currently quite controversial, but I see it becoming more and more popular as more people give it a chance, because it makes sense and it works!
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A few more random thoughts on BE
Published on Sept. 4, 2011 by Julia Rose

Wow.  As of today, last week’s post generated 11 comments, a new record for my blog.  I’m thinking that since a lot of readers enjoyed my last post, it would be anti climactic to talk about leadpipes and valve oil, so I thought I’d continue with a few more random thoughts about BE (Balanced Embouchure).

It's fun to have joined the BE club.  It may seem a little cult-like to outsiders, but on the whole it's a great group of people.   Consider me part of the cult! :) It's difficult to be cutting-edge about something like horn playing, which has been around for hundreds of years, but I think BE is as close to cutting-edge as you'll find inthe music world.  Valerie and Jeff are really on to something and I predict even more players will begin to recognize BE as legitimate.

Personally, I think that BE is a great tool for horn players, but not for beginners. I think it’s more important to get a beautiful, characteristic horn tone in themiddle register before working on extreme range.  After all, the horn is known for its sound, and we don’t want to turn all our horn players into trumpet wannabees.  Every beginner must develop an appreciation forgood horn tone, if it isn’t there in the very beginning.  If I were working on the basics of horn playing, I think I'd also have the beginner work on the LCS (lip clamp squeak) alittle bit away from the horn, and perhaps on a few pedal tones.  Then after a year or 2 of playing, once a great horn sound is established, it might be a good time to start on BE.

One fun new thing I’ve done this week is occasionally play the BE exercises on the descant horn.  All the exercises are supposed to be done on the Bb side of the horn, so since I’ve been wanting to learn my descant horn a little better, I’ve just been doing the BE exercises on the Bb side of the descant (not the high F side).   After playing the RI/RO exercises on the descant horn, I play through some descant horn excerpts (like Haydn 31) using normal mechanics and normal usage of the high F horn.  Haydn 31 is so easy compared to the BE exercises!

Playing through the RO #4 exercise, I’m realizing that those great orchestral horn players who can scream up in the high range like lead trumpeters (I’m thinkingPhil Myers, Dale Clevenger, Bill Caballero, and others) MUST do some extreme high range exercises much like the BE ones, or perhaps Caruso.  BE is great training for that kind of playing, no doubt about it!

It's good that my son has started school again for the year, because now I can raise all sorts of BE racket in my practice room during the day without disturbing anyone.  The only one who is bothered by it is my dog, but I know it's nothing personal- he howls along to whatever I play.  (I've got to put a videotape of his howling up here sometime.  It's hilarious!)  I think I'd be a little self-conscious of how weird I sound if family members were around.  By myself, I don't give a rip. :)

If I spin things just right in my mind, I see that I am extremely blessed to have a normal family life with lots of time with my family, lots of time to practice, and lots of time to try new things (like BE) and otherwise"sharpen my saw," perhaps for something better in my musical future.  A busier musician would not have the time to practice that I do.  Many musicians look at my personal situation (only being employed by the Columbus Symphony for 26 weeks per year due to severe cuts afew years ago) extremely negatively.  Yes, it sure sucks that my orchestra's only working for 26 weeks rather than 46 weeks just a few short years ago.  But all that free time does allow one to practice A LOT if they so choose, work on other musical projects and have a "normal" family life.  Sure, I'd much rather be playing in an orchestra right now, but when life hands you lemons, you make lemonade.
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BE update
Published on Dec. 4, 2011 by Julia Rose

Last week I returned from a vacation over Thanksgiving to visit relatives in Florida.  My accomodations were pretty spartan, basically a tiny trailer with no air conditioning, but my family and I had agood time.  I had orchestra services immediately upon my return to Ohio,so I needed to hit the ground running and stay in shape.  I did bring my horn, and I ended up practicing about 40 minutes daily every evening in a practice mute, staying in shape by making tiny sounds in a tiny tool shed in a tiny trailer.  When I returned home after the trip, after some long tones to get my air working normally again, I was surprised to find that I was playing better than when I left.  How did this happen?  I attribute it to the fact that I have revamped my maintenance routine, adding exercises from Jeff Smiley's Balanced Embouchure after a brief warm up.

As I mentioned here and here, I've been working on the book for a few months.  I originally was doing the exercises at the end of the day because I was worried the exercises would interfere negatively with my normal playing (they ARE intense).  That seemed to be going well, so during some of my off weeks I decided to try to putt hem at the beginning of the day to see what would happen.  It turned out that everything improved.

The RI/RO exercises make perfect range and attack studies, and the TOL (tongue on lips) exercises allow one to experiment with articulations and air speed, making for a complete maintenance routine.  When added to a brief warm up and a few scales, it's a perfect 40 minute routine for me.  Ironically, the weirdness of the different embouchure sensations allows me to tune out how things feel and instead focus on what I want to sound like.  The vast differences between the RI and RO embouchures have fine tuned my regular embouchure, making it more streamlined, with no unnecessary movement.  The overall effect has been very freeing. After playing through my new routine, I feel like I can play anything, anytime and anywhere.  I play my warm up, the BE exercises, and then forget about it all and just play music.

Being able to play in any range using either a rolled-in ora rolled-out embouchure has given me the flexibility and confidence to know I can play anything under any conditions, no matter how my chops feel.  The TOL  exercises have been especially ground breaking for me.  They have reminded me of the importance of tongue position in ease of range and tone color, along with articulation, and now I have another tool to work on those techniques.

When I'm having difficulty with an excerpt or passage, I find myself relating the passage to a specific BE exercise.  For example, I was having trouble with the mid-range intervallic leaps in the beginning of Bruckner's 4th symphony.  But a mid-range interval of an octave or a tenth is by no means as large as a 3 octave leap in and out of the pedal register!  So, by reminding myself of what I have to do to play the interval leaps in RO #3 and RI #4, Bruckner 4 has become much easier.

I've decided that in my own development, the ALS (advanced lip slur) exercises weren't really doing anything for me.  I found that I was able to play through all of them right away, so it wasn't advantageous to keep playing them.  I find that I get plenty of advanced lip slur practice in my normal playing, so I've decided to just keep working on the other exercises.  I may decide to work on the ALS exercises later,but extending them into the trumpet ranges.

Overall, I've been thrilled at the results I'm getting from BE, which I was not expecting atall.  The exercises are fun, challenging, efficient and mercifully brief, allowing me more time to work on what I really care about in my practice sessions.  I look forward to even more improvements in the months/years to come.

Tough to Squeak & Feedback from Dan

It's long been a mystery to me how the Roll Out exercises (RO) could improve the upper register.  It seems counter intuitive, but time and time again I get feedback of BE students claiming significant improvements in their upper register as well as the mid and low by practicing RO.  I've come to accept the idea that whatever improves the embouchure will improve every aspect of it's performance.  The following is an exchange I had with JB, a newbee to BE.  Following this, I received insightful feedback from Dan whose experience is typical for BE students.  

JP: The books and CD arrived safely. Roll out was easy - always had a pretty good low register.

Val:  This is typical for horn players.  RO is usually easy for most of us.  

JP: Have been doing lip clamps. So far no lengthy squeak!  Rats. If I get a squeak it lasts only two or three seconds, and definitely does not keep going if I put the horn to my lips - even gently. The sound I am getting in the horn sounds more like something dying.

Val:  LOL!  This is normal and expected.  Some people can squeak beautifully, others can't.  It doesn't matter.  What does matter is this:  first, you learn to roll your lips in and second, you learn to keep them rolled in while you blow air through them.  The sound is less important than the technique and motion you will learn from practicing the exercise.     

As you persist in this exercise, you will eventually learn how to keep your lips rolled in and produce a tone with the mouthpiece applied.  The first tones are never beautiful.  They oft times are messy with multiple buzz points.  That's okay.  It's only an exercise.  Even now, after doing BE for 5 1/2 years, some days my RI exercises don't sound clear.... but I remember to tell myself, it's only an exercise.  I have progressed very satisfactorily in spite of my not-so-pretty lip clamp squeaks and RI exercises.

JP:  Has anyone else experienced no results after two days?

Val:  Are you kidding?  People struggle with this for weeks and months and work for years to perfect it.  Don't worry.  You're right on schedule.

JP: I'm hoping lip clamps will eventually provide enough strength to get a good squeak going.

Val:  There's a little "strength" involved, but mostly executing the lip clamp squeak and the RI exercises is a matter of learning a technique that you will eventually be able to wrap your brain around.

   

JP: I majored in horn in college during the 50s, but could never develop the high register enough to consider a performance career. Did a career without playing horn, then, at age 72, took it up again after 50 years, bought an early Elkhart 8D, and now play in (location withheld). I like 4th horn just fine, but darn, I want endurance and a high register. I'm counting on BE.

Val: As you persist doing these exercises with extreme lip shapes, you will learn (both consciously and unconsciously) to "borrow" bits and pieces from these positions of RI and RO that can be applied to your regular playing to improve your range and endurance.  Trust me, it works!  :o)  BE will deliver, but it takes time, persistence and patience.  

Hang in there,  you will succeed!  

Warm regards,

Valerie Wells 

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Dan's Feed Back


Dear Valerie,


I would like to tell you of my experiences with BE.
I have been working my way very slowly through the exercises and have not progressed beyond RI and RO 3. I've worked on them intensively but sporadically for about 6 months but I can now say that I have noticed great improvements in the strength of my high register.
For some time I did not see any progress but I kept the faith and it seems to have paid off.  It may be of interest to some students that the exercises that made most of the difference were the ROLL OUTS! I had assumed that I needed to work on Roll Ins for my high register but this was not so.  For some reason the roll outs were much more effective for me. Of course I still do the Roll ins but it was the Roll Outs that enabled me to do the Roll Ins. [Italics added.]
Regards

Dan DeWitt 

BE Update from Julia Rose

Julia Rose has written a BE Update on her blog.  Julia reports what I often hear from Balanced Embouchure students, that they return from a vacation with unexpectedly well functioning chops.  She also articulates the finer details of  how BE benefits her playing.  I've seen other horn players "catch on" to BE very quickly like Julia has, but I've never seen anyone articulate the message with the same comprehensive clarity.  

Here are a few excerpts that I found particularly impressive:       

Ironically, the weirdness of the different embouchure sensations allows me to tune out how things feel and instead focus on what I want to sound like. The vast differences between the RI and RO embouchures have fine tuned my regular embouchure, making it more streamlined, with no unnecessary movement.  The overall effect has been very freeing. 

The TOL exercises have been especially groundbreaking for me.  They have reminded me of the importance of tongue position in ease of range and tone color, along with articulation, and now I have another tool to work on those techniques.


Overall, I’ve been thrilled at the results I’m getting from BE, which I was not expecting at all.  The exercises are fun, challenging, efficient and mercifully brief, allowing me more time to work on what I really care about in my practice sessions.

Thank you, Julia Rose for sharing your BE experience.

Feedback From a Horn Teacher

Jane Swanson, a retired schoolteacher who teaches privately and plays horn in San Luis Obispo, contributed an article to the latest issue of  "The Horn Call."  She reports impressions of attending her first IHS horn symposium in June of this year.  Here is what Jane wrote regarding BE:

Steven Park's Roll Out

Steven Park's Roll In

Workshops:  BE:  The Balanced Embouchure Method, presented by Valerie Wells with Stephen Park.  This workshop presented an approach to embouchure development that was 100%  new to me.  Valerie and Stephen demonstrated the exercises up close and personal, which was essential because I had no idea it was legal or possible, let alone beneficial, to do such odd things with a face.  I had only two choices:  write them off as nuts or try it.  Given Valerie's stunning demonstrations of producing super high, pianissimo, pure pitches out of thin air, and given Stephen's gorgeous sound and security as a performer (search for Steve Park to find some lovely video performances), I chose the latter.  And sure enough, the BE exercises do not demand the dreaded "embouchure change" but do lead to embouchure improvement in all registers.  I recommend their website (beforhorn.blogspot.com) as a source of information for those not at the workshop.

Jane emailed me to add a little more information regarding her progress:

My own progress with BE is hmmm..... maybe modest is the word but maybe not. I still don't squeak well - can't do what you do with those high sounds without and with the horn. But I am pretty consistent with the basics of roll-out and roll-in. And my endurance is still a work in progress. But here are my pay-offs:

1. Even when I play to exhaustion I do NOT have swollen lips afterwards or the next day! So I can jump right back into action.

2. In the midst of challenging playing, same story - my chops recover if I give them a few seconds off. That was not the case previously.

I am combining BE work with a focus on using air better, meaning those things we KNOW but which can slip away over time if we take them for granted:

monitoring speed of air

using more of it

using that low gut support every second

For me the combination is paying off nicely, and I know that more progress lies in my future.

Thanks for the feedback, Jane.  This ability to recover more quickly is something I hear often from those who study BE.  See the discussion on Julia Rose's blog about this.

Two New Testimonials!

See the TWO new testimonials below from Luke and Colin Ng. Both were unsolicited, and both are deeply appreciated.

Colin's BE Testimony: A Zero to Hero Experience

To the Memphis horn list, Colin wrote:

Dear Fellows,

I have been following the BE thread with great interest. I hope you do not mind me sharing my recent BE experiences so far.

I am a band instructor and a specialist horn tutor in secondary schools (junior high?). I ordered my BE book months ago (February?) and decided then I was too busy for BE; and I admit that it also seem radical then. I thought I was managing 'well' despite my struggles on my instrument, but recently I am going through both a career change and hence having more time for playing the horn; and I am also being put through a much needed embouchure correction under guidance from a friend who is teaching French horn in Germany. I was struggling with the embouchure change to what that should be proper (flat/pointed chin and einsetzen), and was incapacitated for past couple of weeks.

Having the luxury of time now, and watching with interest the recent BE controversy in the forum, I thought I might as well use the BE method that was collecting dust on my shelf. I have nothing to lose really, so I read carefully and struggled with the roll-out exercise #1 to #3 for one whole day and managed also to effect the lip clamp squeak.

I then went for a rehearsal the next evening not knowing what to expect and tried playing the concert repertoire of about 12 crazy pop pieces with my 'normal and proper' setup. Nothing BE about it, but the facility of the 'normal' embouchure increased many fold. I hop around between 4th horn and 1st horn parts with growing confidence. I enjoyed surprisingly good tone with no distortion, greater flexibility and accuracy; and I can now take my mind off to focus on articulation and more musical expression. It's a very real zero to hero experience for me.

The next evening (which was yesterday), I only did 5 minutes of the roll-out exercises, a clumsy warm up, and used a mouthpiece totally different from what I used the day before. Surprisingly I had the same success with this mouthpiece (which I felt wasn't a good mouthpiece before). The change in the sound, efficiency and facility is equally dramatic but my colleagues observed little or no visible change in my einsetzen setup.

Tomorrow is the 3rd repertoire session -  "Mozart Serenade in C minor," I did nothing today save a couple hours of BE RO exercise #1 to #4 and lip clamp squeaking. I look forward to tomorrow and I am going use the most un-preferred mouthpiece in my inventory.

I have to say I still sound terrible when I struggled with the BE exercises for the 3rd day so far, but when it comes to 'normal' playing, the positive changes is both so dramatic and sudden, I can only attribute it to the effective of the BE program.

It give me back the same sparkle like how I fell in love with horn as a child 25 over years ago.

Hope this testimony is useful

Yours sincerely

Colin Ng
Hornfellow
Singapore

Soon after, I received the following in private email:

Dear Valerie,

I want to say a big thank you to you and Jeff Smiley, but words cannot express the extent of gratitude I am feeling now. All I can say is that the new playing experience is too sudden and too dramatic. It can only be BE.

If I was not brought to standstill and totally zero-ed because of the 'professional' embouchure change, I could not have experienced such dramatic improvement thru BE. The BE brought about what I previously thought would take months to experience through professional help.

Now I feel stupid to have put the book aside months ago then. It was so difficult to accept and understand because of our existing concepts and conventions. But BE is actually a very simple concept, so simple that we get to keep what we have and yet able to excel exceedingly. It's just that we have to approach with the attitude of the dry sponge, or the empty cup to receive and soak up what that was offered compassionately and sincerely.

Do give me a little more time and I hope to bring you more favorable progress report and perhaps seek validation on my BE progress.

Yours sincerely

Colin Ng
Hornfellow
Singapore.

Thanks, Colin for your inspiring words.  To see more of Colin's writings see this or visit his blog:  http://simplysymphonic.wordpress.com/

One Year on BE, a Cheery Update

I love getting emails like this:

Valerie!

Just wanted to give you a one year update on my progress. BE has truly changed my playing for the better and while I was also one of those "freaks" that saw immediate improvement, my playing continued to improve throughout the past year of doing the BE exercises. Even though I was able to perform at a relatively high level prior to BE, I always struggled with endurance issues and good and bad days and had to use separate embouchures for regular playing vs extreme upper register work. Now my playing is much more consistent and my balanced embouchure allows me to play low to high to extreme without changing my embouchure. My endurance is so much better that it almost feels like I'm cheating sometimes! haha.

I can just imagine if I had started BE earlier and think it's almost a crime that BE isn't taught to more beginners and students to maximize their potential faster. There would certainly be alot less brass players quitting out of frustration if they had only tried BE from the start!

Ron

In a few years, Ron will be even more pleased with his progress. The improvements will continue. BE is dynamic system that keeps on giving for years to come.