Be and Lip Trilling

gerrit2 · Posted: Tue Jan 20, 2004 2:35 am Post subject:

Hello everybody,
I've a question. Do you need to move your tongue when you are lip trilling when you use BE?
Before Be, I could do lip trills, but now they simply don't come out.

So what's wrong?

_dcstep · Posted: Tue Jan 20, 2004 6:38 am Post subject:

Move the tongue.
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mcamilleri · Posted: Tue Jan 20, 2004 11:34 am Post subject:

Move the lips...

Seriously, you won't get two BE people to agree on this. Jeff says it all in his book - just read the instructions and discover how to make it work for yourself. In time it will work.

I had a similar experience a few months ago when I made a comeback from a broken jaw and numb lip. I couldn't play at all, and had to start from scratch. When I got to Advanced lip slur number 3, with the fast intervals, I just couldn't do it. I don't just mean couldn't lip slur fast, I could not lip slur from the F# to A# at all - whatever I tried I just stayed stuck on the F#. Talk about frustrating! A month or so later it came right as I relearned the necessary coordination.

The only practical advice I can give is to roll your lips in a little more when you try the lip trills. This makes your embouchure a little more flexible and responsive, and encourags lip focus, instead of the smile/mouthpiece pressure/blow harder method that many people try to use for lip trills.

Just BE patient and keep trying - eventually you will work out how to do it.

Michael
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gerrit2 · Posted: Tue Jan 20, 2004 11:47 am Post subject:

It's just a bit bad because this.
First my teacher was very happy with my embouchure change. My endurance and range is way better since I use BE.
But later he complained about my tonguing and lip trilling. (I can slur fast. That's not a problem) I also don't like the tonguing and lip trilling at this moment, but I think i'm more patient then my teacher. He says: You cannot find a job just by slurring and hitting high notes. In classical music you need also articulation.
I know he is right, but i'm just in my first year, so a have 3 years to fix this problem. I think this is way easier than all the other guys who plays with an open embouchure and have range and endurance problems

(for them)
They laughed at me hearing me playing the double pedals and roll in exercises, but now they don't laughe at all. The only thing they say now: You can never reach a good articulation without a flat chin. My answer: Did you ever heard Maurice Andre??

No flat chin at all. They answered: Yeah, but thats all fat stuff..... (I don't believe that they believe that by themselves)

I'll try further.
thank you,
Greetz from the Netherlands

[ This Message was edited by: gerrit2 on 2004-01-20 14:48 ]

tomba51 · Posted: Tue Jan 20, 2004 12:38 pm Post subject:

The answer to your question is on pages 106 and 118 of the Balenced Embouchure book.

Tom
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oj · Posted: Wed Jan 21, 2004 12:47 am Post subject:

Greetz,

Have your pals get a DVD with Hardenberger! Look at him when he play. No flat chin there. But great articulations.

What he uses every day when he starts to play is a "pooh" attack. Breath attack in other words, but helping it with the "P". In B.E., R.I. #1 have you use breath attacks (in the beginning).

Håkan would start on G in staff, very softly. Again and again, until he got a start of the note he liked. He would also bend it a semintone down and then up again, listening to find the center of the pitch. Try it!

And why not try this breath attack (with "P") also on tonguing exercises.

Ole

More info about the DVD here:
http://abel.hive.no/trumpet/articles/dvd/