Roll out lip positioning

[trumpsr]

A quick question for those of you who are bit further down the BE path than I am. When doing the roll out lip slurs, from low C to double pedal C, should my goal be:-

a) to play both notes with both lips inside the mouthpiece.

b) to play both notes with lower lip under the mouthpiece (rolled out position).

or

c) to always be adjusting my embouchure between both settings throughout the registers.

Assistance would be greatly appreciated.
_________________
If you didn't have bad days you wouldn't be aware that you were having a good one.

[mcamilleri]

c) is the correct answer. You should try to maintain the roll-out 'feel' on the low-C, eg forward pucker, fat lip cushion etc, but with both lips inside the mouthpiece. Then drop the lower lip out to get the double pedal C. Have another read of the instructions in the book to clarify.

It is possible to do a) and b) also, but that is not the point of the exercise.

Michael
_________________
Alpha Angles
Besson Loyalist

[Mike P]

On a related question. I have problems using a, b or c (above) to get below an A below double pedal C (that's a mouthful). I reduce my airflow, I reduce the pressure on my lips so much that my mp comes off. I use a Schulke 14b mouthpeice.

I've been playing trumpet unprofessionally for about 25 year and have been working with BE for about 2 months.

Any suggestions?

Thanks, Mike

[oj]

Work on it!
Roll out as best you can and do the exercise (RO#1, etc.) - it will come.


Ole

P.S.
I can play down to trippel pedal C now. When starting BE (2 years ago or more), I had problems with G and F#. There is perhaps no great point in getting down to those very low notes, or?

[trumpetteacher1]

Mike P. - more pucker. Most players can pucker farther forward than they think.

Ole - at this rate, you won't need to play tuba much longer, as you will be able to do it all on a trumpet!

Jeff

[mcamilleri]

You need more focus AND more air - more pucker helps achieve the first part. Most people try to get a pedal or double pedal sound by going lose and flabby, and naturally in that state the air flow must drop.

More pucker will help, perhaps more top lip in the mouthpiece(?) and maybe a higher horn angle. Also blow harder - try to develop a louder double pedal C - once you can do that the lower notes will be easier to get. Check that you have the characteristic double pedal sound - the book mentions a transition to a more raspy sound, which indicates good focus.

Michael
_________________
Alpha Angles
Besson Loyalist

[oj]

Jeff,

You know when I play pedal C on tuba (equal trippel pedal C on trumpet), I have basically the same roll out, so there is defenitely a connection. Since I have 5 valves I can play chromatically down to pedal C. This larger range is kind of interesting in regards to BE's "exaggerated" movements. On trumpet you use the exaggerated movements to develop a good and balanced embouchure, but on tuba you use it to play

In most of the music I've seen so far for tuba - this whole range is very seldom used, but I recently found an example where the high register is utilized:

Right now we are rehearsing "Picture at an Exibition" with the symphony orchestra where I play french horn. As some of you know there is a tuba solo in this piece, IV Bydlo. It goes very high if you use a Bb tuba, double high Bb (a note below double high C) so for the concert our tuba player uses an euphonium for the solo. The horn section also have this melody (in unison) and the other day I tried it on my Bb tuba.

Thanks to BE (and TCE tonguing) I can play it. The interesting thing in regards to BE is that from pedal C and up to double high C (and above) you use the whole range of movements - from full roll out to full roll in.

Ole

[trumpetteacher1]

Ole,

This is OT, but don't most pro's use CC tubas?

Of course, it wouldn't have helped THAT much in Pictures.

Jeff