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Roll In #1



 
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atom_anderson
Veteran Member


Joined: 20 Jan 2003
Posts: 408
Location: Aurora, Colorado

PostPosted: Wed Jan 07, 2004 7:44 pm    Post subject: Reply with quote

I have been working with BE for quite a while, but lately my focus has been on getting back to the basics. I have a question about the correct way to perform the Roll In #1.

Is it important to roll in all the way for this exercise? My sound is better and much fuller if I am not fully rolled in. This makes sense to me, as I would guess that the fully rolled in embouchure would be used more for triple C's and other super duper notes. But, the other side of the coin is that these exercises are supposed to be an exaggeration of the range of motion, to train the lips to roll in.

Any comments?
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oj
Heavyweight Member


Joined: 06 Jan 2003
Posts: 1699
Location: Norway

PostPosted: Thu Jan 08, 2004 12:18 am    Post subject: Reply with quote

Didn't you give the answer to it in your own post?

.... these exercises are supposed to be an exaggeration of the range of motion, to train the lips...

Do that once or twice every day, then forget all about it. Later in the day, just play the G or whatever and concetrate on the music and the phrasing.

Ole
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_dcstep
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Joined: 05 Jul 2003
Posts: 6324
Location: Denver

PostPosted: Thu Jan 08, 2004 7:05 am    Post subject: Reply with quote

Yeah, don't make it sound good, just do it. It may take weeks before it really comes into focus.

After watching a 1992 tape of Arturo Sandavol on BET last night, I saw a lot of what I see in the mirror when I practice BE (scrunched up face, with puffs around the lips). This got me more serious on my roll-in excercises and the note coming out was G above high-C. It's not there all the time, BUT when it does come out it's no harder than G an octave lower. I've got a lot of work to do, but I keep seeing these little glimpses that tell me of the tremendous potential in BE. (I've only been at it about five-weeks now).

I already had a range up to G over high-C without BE. Watching Arturo made me realize that I was "cheating" on my roll-in and not getting truly scruntched up, like in the BE pictures. (I was rolled in, but not nearly so much as when I do a lip-clamp squeak, for instance. Now I'm using that same compresion and facial look).

Dave
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trumpetteacher1
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Joined: 11 Nov 2001
Posts: 3398
Location: Garland, Texas

PostPosted: Thu Jan 08, 2004 7:47 am    Post subject: Reply with quote

Atom,

You said, "Is it important to roll in all the way for this exercise?"

For a majority of players, it's important to keep moving in the direction of "more." There will always be peaks and valleys and plateaus. Just keep moving the lips more or less in the right direction, and good things tend to eventually happen. Most players keep tweaking for years.

You said, "My sound is better and much fuller if I am not fully rolled in."

Always remember, Roll-In exercises are EXERCISES. If you have achieved a relatively rolled in setup, and you are happy with your sound, and can use it for playing everyday music, then go for it. This may be entirely separate from testing your boundries while doing the Roll-In exercises.

Jeff Smiley
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