The Balanced Embouchure for Horn: "Horn Matters" Linked My Blog

Friday, October 22, 2010

"Horn Matters" Linked My Blog - Wow!

Dr. John Ericson has posted an article, "Joy on The Balanced Embouchure," featuring Andrew Joy. He's also linked my humble blog. And please note Lyle's excellent comments. http://hornmatters.com/2010/09/joy-on-the-balanced-embouchure/

It's thrilling to know that I'm part of a movement that's helping hornplayers get more satisfaction from playing their instruments. It is also thrilling to see BE recognized by a respected horn professor with a very popular blog. (Wow!)

Back in March of 2007, when I made my first awkward attempts to introduce BE to the horn world, I was met by a surprizing amount of opposition. I'm glad to see hornists from all over the globe embracing BE in spite of my awkward publicity efforts.

Congratulations to all of you who bravely went where few hornplayers had gone before! (I'm hearing the Star Trek them in my mind!) Thanks to Dr. John Ericson, Andrew Joy, Lyle Sanford, and Steve Park and all my BE friends for your contributions and continued support to the BE movement. But, most of all, my heart felt gratitude goes to Jeff Smiley for developing and publishing The Balanced Embouchure.

The progress of The Balanced Embouchure in the horn community demonstrates the power of the BE message.

Warm regards, Valerie Wells

2 comments:

Lyle Sanford, RMTOctober 24, 2010 at 4:57 PM
Hi, Valerie -

Since leaving that comment over on Horn Matters, it's dawned on me why Jeff's method is so appealing to me as a music therapist. All the neuroscience that's coming out points to how there's all kinds of things going on simultaneously when we make music, and Jeff's book does a way better job of addressing all the different things going on than any other method I've ever encountered. Plus, he respects the student enough to lay out the tools and approaches and let the student find their particular way. Here's a post I did when I first realized all this.

http://registeredmusictherapist.blogspot.com/2010/10/jeff-smiley-neuroscience.html

Also, was delighted to see the note down below talking about the F horn. I spent most of the summer (when community band was on hiatus) just on the F horn, just trying to get the best tone I could on the octaves on either side of middle C. It's made all the difference in my playing. Sort of going back and making sure I was walking really well and naturally before returning to the leaping and running involved in 1st horn parts. And I discovered I prefer the tone of the F horn to that of the Bb, maybe because somehow I think it resonates more in my upper body. So that note down below was validating.
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Grandma CarlaNovember 10, 2010 at 4:40 AM
Way to go Valerie! You found a good thing, recognized it, and passed it along.
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Welcome to The Balanced Embouchure For Horn

Hello and thanks for stopping by. I’m Valerie Wells, a horn player starting this blog to share my success using The Balanced Embouchure (BE) and to provide a place for other horn players to share their positive experiences with BE. The Balanced Embouchure is an embouchure development system originally written for trumpet by Jeff Smiley. BE is now helping an ever growing number of horn players improve their embouchures, too. To learn how I came to BE, see this. There is only one BE book. The same book is used for both horn and trumpet.

For additional information about BE in general, please see the following links:

Jeff Smiley’s website
http://www.trumpetteacher.net/
The Balanced Embouchure Forum http://www.trumpetherald.com/
Michael Camilleri’s website
http://users.actrix.co.nz/mcamilleri/BE/BEFAQ.htm
Bert Loch’s website
http://bertlochs.com/

Ko de Rooj's website (Netherlands)

www.balanced-embouchure.eu

Skype lessons available

Bruce Lee: teatro333 "at" gmail "dot"com

Valerie Wells: ValerieW78 "at" gmail "dot" com

Common Misconceptions about BE

For various reasons that seem inherent in our approach to the instrument, French horn players (self included) often develop misconceptions about The Balanced Embouchure that can potentially impede progress.

Misconception #1: BE is written for trumpet, therefore much of it will not apply to French horn.
Some exercises need transposition or adaptation for French horn, but the principles and techniques taught in this book are as applicable to French horn as they are to trumpet. (I learned this lesson the hard way.)

Misconception #2: BE is all about rolling the lips in and out.
Lip rolling is only part of BE. There are tonguing exercises, snaps, zips, breathing exercises, etc. All these elements combine to form a development system that is greater than the sum of its parts.

Misconception #3: Roll-Out exercises are for developing the low register. Therefore a horn player with a secure low register, need not practice Roll-Out exercises.
Roll-Out exercises are designed to develop tone, flexibility, endurance and balance in all the registers, not just the low. A balanced embouchure has elements of roll-out in every note of every register.

Misconception #4: Roll-In exercises are for developing the upper register.
Roll-In exercises are designed to develop tone, flexibility, endurance and balance in all the registers, not just the high. A balanced embouchure has elements of roll-in in every note of every register.

Misconception #5: “Doing BE” means rolling out for low notes and rolling in for high notes.
“Doing BE” means practicing the BE exercises and following the program as designed. Directly applying lip rolling to your regular embouchure is not BE and will be of limited value.

Misconception #6: The correct BE embouchure has a bunched chin and puffed cheeks.
There is no, one correct “BE embouchure.” The balanced embouchure you develop following the BE system will be unique to you. There is no way to predict what your final embouchure will look like. Horn players need to avoid preconceived ideas of what their balanced embouchures will look like.

Bert Lochs has taken the above #6 misconceptions and elaborated upon them for trumpet players.