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Beginning BE



 
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Rod Haney
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Joined: 22 Aug 2015
Posts: 651

PostPosted: Tue Mar 05, 2019 11:29 am    Post subject: Beginning BE Reply with quote

I have been looking for a way to build/exercise and strengthen my embouchere for a few years now and have just come upon BE. I am buying the book and was wondering if any of you have any insights for a beginning student. I have no notions of how this works, does it encourage exploration, or a set of exercises designed to build strength and suppleness? I usually put 2-4 hours a day into practice, how have you rolled in this study with other parts of your routine. I have instructors who work with me on musicality and technical studies but they are not concerned with range and in fact my hi f is stronger than either but that is not of concern to them. A strong hi register is to me (@ least a strong hi a that is always there) so I come seeking advice and the benefit of others experience.
Thanks in advance
Rod
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kehaulani
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Joined: 23 Mar 2003
Posts: 3556
Location: Texas, by way of Germany and Hawaii

PostPosted: Tue Mar 05, 2019 11:53 am    Post subject: Reply with quote

I am not meaning to give a flippant answer, but I think a lot of your answers will come with a good reading of the book.

After reading the book, then any further questions you have will likely be answered by looking at posts in the BE section, which is pretty good and complete. I would look particularly at input in these posts by Jeff Smiley. After all of that, if you still have any questions you'll be better equipped to ask your questions with better specificity.

Regarding your personalized question as to how and when to play them, I've gone from playing the exercises (exercise formats are in the book) at the very beginning after a quick, simple warm-up, to playing the first few up front and the others scattered, as effective, throughput the rest of my practice. I believe this is also addressed in the BE threads.
_________________
If you haven't lived it, you can't blow it.

"Even if I could play like Wynton Marsalis, I wouldn't play like Wynton Marsalis." Chet Baker

Yamaha YTR-8310 Z, "Bobby Shew", Trumpet
Conn 80A, "New Wonder", Cornet
Hans Hoyer G10 French Horn


Last edited by kehaulani on Wed Mar 06, 2019 9:09 am; edited 1 time in total
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Rod Haney
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Joined: 22 Aug 2015
Posts: 651

PostPosted: Tue Mar 05, 2019 12:24 pm    Post subject: Reply with quote

Thanks and I don’t regard you reply as flippant, on the contrary it’s exactly what I asked for☺️ I have read a number of posts pointing to reading in its entirety before starting. It seems to be about stretching boundary’s and self discovery over time, is this a correct assumption? And of course I’m in a big hurry for everything so I’m wondering if Jeff gives cautions about how much to use his methods, I tend to over strive which has caused some issues in the past.
Thanks again
Rod
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Seymor B Fudd
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Joined: 17 Oct 2015
Posts: 794
Location: Sweden

PostPosted: Wed Mar 06, 2019 3:08 am    Post subject: Reply with quote

Rod Haney wrote:
Thanks and I don’t regard you reply as flippant, on the contrary it’s exactly what I asked for☺️ I have read a number of posts pointing to reading in its entirety before starting. It seems to be about stretching boundary’s and self discovery over time, is this a correct assumption? And of course I’m in a big hurry for everything so I’m wondering if Jeff gives cautions about how much to use his methods, I tend to over strive which has caused some issues in the past.
Thanks again
Rod


Yes read the book! As a matter of fact it was the general attitude of the book and Jeff Smiley that made me want to try it. Openmindedness, nil rigidity!
To me, 73 at the time, it was a revelation that fundamentally changed my way of playing the trumpet/cornet. During a couple of months I was surprised to find that I gradually became able to switch from Schilke 14 to a deep Wick - gaining endurance and sound quality by the week!
Now 3 years or more into it I´m still surprised over the benefits. For one the rather unortodox Roll Ins have turned out to be fantastically (yes I mean it) endurance building - I practice as much as you do - but compared to anything else I´ve tested during more than 60 years of playing, these Roll Ins,properly done, provide most bang for the allotted time than any other method. I was recommended by mr Smiley to use only the book and that was Ok for a rather long time; my challenges with the technical side was met by playing front row cornet in a brassband - in this band I rather quickly (well a year) reached a good enough level (again - after a chops meltdown). But then I found myself in the lead/big band chair position, quite unexpectedly. I found out that in order to meet the demands of that, at my age, I had to design a better regime.
And I found out that if I did a thorough warm up the BE thing worked better
Today (I realize this is personal - you´ll have to find out) my scheme of things goes as follows:I begin with Caruso 6 notes, to gauge the state of my chops and then 1)Laurie Frink warm up (me nr 1)2)followed by Roll outs (down to pedal C 3) roll outs 1 -2 -3 and 4-but as I had big difficulties doing 4 I reversed them meaning I begin with C in staff then go down to pedal C2, up again and then B in staff and down to pedal B 2 and so forth; having done that I proceed with the same scheme but beginning on G top of staff, finally C high C. Probably I will be able to do the roll out nr 4 properly in the future. 3)tongue on lips up to G top of staff, quavers, semiquavers, done by double tongue, triple tongue (=in all 4 runs). 4) then the 3 roll ins beginning on G 5)then the 3 roll ins beginning on high C; 6)if fatigued I do some roll outs, gently down to pedal C 3 - can be done whenever necessary. 7)every other days lip slurs with "snapping". 8)often a new set of roll ins beginnning on high C every day 9)Pop´s gradual scheme Range Pyramid as prescribed (currently on A B C D). I recently added Pop´s scheme as I realized I had to get my chops used to high notes; to me the BE provides the very fertile ground, makes possible practicing the range pyramid- and everything else. Then an adequate pause prior to practicing lead stuff, brass band stuff.
I´ve found that adequate resting periods are mandatory - too much lactid acid making my lips stiff, unresponsive - stop blowing; sometimes roll outs will be enough but you just cannot rush it. Which I did in the beginning....
I have adopted this scheme because the lead chair puts me in a demanding position. Of course my age is a variable in this, 76 still counting. But the sky is the limit!
So I am doing the BE my way so far so good. I can´t practice more than I do now, so the way I practice was the variable. Maybe sacriledge but works for me. As of today Probably things will change down, no up the road.....
So plunge into it - you´ll be amazed!
Oh I forgot: I always use a metronome - quaver=80.
_________________
Cornets:
Getzen Custom Series Denis Wick Ultra 1,5 C
Getzen 300 series
Yamaha YCRD2330II
Getzen Eterna Eb /M V 1 1/2 C
Trumpets:
Yamaha 6335 RC
King Super 20 Symphony DB (1970) Stork VM6
Selmer Eb/D trumpet (1973) Selmer 2 D


Last edited by Seymor B Fudd on Fri Mar 08, 2019 4:34 am; edited 1 time in total
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trumpetteacher1
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Joined: 11 Nov 2001
Posts: 3018
Location: Garland, Texas

PostPosted: Thu Mar 07, 2019 8:31 am    Post subject: Reply with quote

Rod, if you have questions, the best thing to do is email me directly. I also evaluate videos for free.

Seymor and kehaulani, thanks for the good words!

Jeff
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