The Balanced Embouchure for Horn: BE for All High Brass

Wednesday, November 5, 2014

BE for All High Brass

Oft times, high brass players quickly find improvements in endurance before they've even learned all the BE exercises in spite of the difference between the instruments. Alan Greene's experience quoted below is very similar to Tzippi's experience (shttp://beforhorn.blogspot.com/2014/10/tzippi-something-is-definitely-changing.html). Responses like this are typical for BE'ers on all high brass.

Hi Valerie – I just wanted to relay a brief progress report. I can get 5 of the 7 double pedals in RO#1 pretty consistently. I occasionally get the 6^th with good tone, but not every time. The interesting thing about this one (the 6^th, a G on cornet): if I get it at all, it’s with a good, focused tone. If I don’t have that, I can’t get it with poor tone. I also try RO#2 and #3, going down as far as I can at this point (usually 5 of the 7). I am having some success with RI#1, and am sometimes starting the day with this one. I have not yet attempted anything further on the Roll-in side. I do the “hold until empty” exercises, and am up to Advanced Lip Slurs #1 and #2 with reasonable results. The great thing (for me) at this point, is that in regular playing I notice much improved tone quality, range, and endurance. The last (endurance) was always my downfall. In the past I would sometimes get great compliments from accomplished musicians, such as “You played beautifully”. I would graciously thank them while thinking, “Just don’t ask me to do it again, at least not right now”. Anyway, thanks for your encouragement.

Regards, Alan Greene

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An update from Alan Greene:

Hi Valerie – I haven’t emailed in a while, and just wanted to touch base. Hope you and yours are well. BE continues to deliver. Interestingly enough, what has proven to be most beneficial to me is the roll-out side of the equation, and so I concentrate most of my time with the RO’s. Also doing lip slurs and TOL, with noticeable benefit. In summary, the development is no longer by great leaps and bounds (which was the case in the early stages of my “comeback”), but rather slow and steady.And most enjoyable! Regards,Alan

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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.