Roll out 3,4

[Rob]

When doing my double pedals my bottom lip is out of the mouthpiece. This produces the loud nasty "brackish" sound. I can produce the double pedals with both lips in the mouthpiece but it is not as good a sound. When doing roll out 3 and 4 should I do the double pedals with my bottom lip out of the mouthpiece and move it in to get the low c, or is a compromised position ok.

[_dcstep]

Go from the position that yields the target double-pedal sound and slide over the rim to the roll-in position. The placement of the lower lip may change over time as you gain control.

If your lips aren't wet, then wet them.

Dave
_________________
Schilke '60 B1 -- 229 Bach-C/19-350 Blackburn -- Lawler TL Cornet -- Conn V1 Flugel -- Stomvi Master Bb/A/G picc -- GR mpcs
[url=http://www.pitpops.com] The PitPops[/url]
Rocky Mountain Trumpet Fest

[trumpetteacher1]

The amount of bottom lip remaining outside the mouthpiece varies from player to player, which is why I didn't specify it in the book.

The majority of players shift back to a more or less regular setup when ascending from the pedals, but the feel of the pedal is still somewhat present. Sometimes this means that some lower lip is noticably rolled out, sometimes it's more subtle.

Over time, you figure out what works. A compromised position is OK - if it allows you to ascend. If not, you may have to bring it in a little.

Jeff

[ This Message was edited by: trumpetteacher1 on 2004-02-12 20:58 ]

[Rob]

Thanks Dave and Jeff. I guess I should just try to keep as much of that rolled our feel as possible as
I ascend. I also wanted to add that although I bought "Balanced Embouchure" about 8 or 9 months ago I have really only committed myself to it for about the last four weeks. I have struggled for years practicing hours and hours never really being able to play any higher than a solid "D". Already this program has given me relaxed and fairly powerful access to some high "F"'s and "G"'s. The future looks bright...... Thanks Jeff.......brilliant work!!!!!

[Lex Grantham]

The feel of the roll-out is what has seemed to help me ascend with a more-consistent sound from note to note. By playing some pedal tones and then attempting to go up into and above the staff with that type of setting has been advantageous for a more-open quality. I have gotten up to about an E above high C with the effort.

The roll-in effort is just that...effort. But I do try it...though not nearly as much as the roll-out. Now, trying the roll-in and then attempting to come DOWN into the staff has not worked for me yet...maybe sometime later.

Sincerely,

Lex Grantham


[ This Message was edited by: Lex Grantham on 2004-02-14 10:13 ]

[_dcstep]

Lex, I suspect that you were basically like me, a roll-out player. This might explain why your having more success with that side of the equation, but it also means that there's much more to gain by working on the roll-in. I feel like I've gained a ton from the work on the roll-in, lip clamp and lip-clamp-squeak.

Dave
_________________
Schilke '60 B1 -- 229 Bach-C/19-350 Blackburn -- Lawler TL Cornet -- Conn V1 Flugel -- Stomvi Master Bb/A/G picc -- GR mpcs
[url=http://www.pitpops.com] The PitPops[/url]
Rocky Mountain Trumpet Fest

[Lex Grantham]

dave:

I believe Jeff has indicated from time to time that the roll-in can work much more quickly for some players than others.

Just yesterday, I was helping a euphonium-player friend with some concerns, and I showed him both roll-in and roll-out concepts. When he attempted the "clamp", he got the nicest "squeak"right away. He had NEVER heard of BE prior to my telling him about it.

Sincerely,

Lex Grantham

[_dcstep]

Lex, you're the one that "inspired" me to start BE. Thanks.

Experiment a bunch with the roll-in. I spend a bunch of time in front of the mirror. There is lots of air and not much sound much of the time, BUT then a G or dubba C pops out crytal clear with almost no effort. I keep coming back to it and trying to get that feeling in my everyday playing.

It's still not there yet, but I was popping some Gs and Ds at midnight last night, at the end of a four-hour gig. I had my bell right on the mic, but the notes were perfectly in tune and had good sizzle and core, despite being on the low volume side. I know that the volume and reliability will come with time. A rolled in embouchure is the only way I can do this when I'm really pooped.

Dave

[Lex Grantham]

Dave:

Thank you. I am happy to know I have helped you in some manner. I was a school band instructor many years ago, and now I have some wind players that I work with every week...hence the euphonium player. These players are all adults...no students, and they are eager to play and STILL find ways to improve their playing. My pay for all this is simply the pleasure of seeing everyone (almost) get better week by week or month by month.

It takes time, doesn't it?

Sincerely,

Lex Grantham

[_dcstep]

[Lex Grantham]

<<At least with BE you don't have to stop everything else and regress before you progress.>>

I believe that many of us DO desire to improve whatever it is that makes our lives more meaningful, and at the same time, it is tough sometimes (maybe) to have to get worse before we can be better (the regression you mentioned).

BE does suggest that we attend to the exercises, and then continue with our playing in a normal fashion. It can be nice for good happenings to come into our playing as results of some applications in an indirect way. There are other philosophies that seem to indicate an "all or nothing" approach, and then one has to decide if he/she wants to do that.

Sincerely,

Lex Grantham

[_dcstep]