On the right track?

[ETK]

How does technique and strength relate in the balanced embouchure?

The reason I ask is that I have been playing again for about 4 months and using BE everyday for one half hour for 2 months. I am making progress on the exercises, pedal tones, tonguing, snaps, sound similar to the CD, etc.

But I am wondering if it is possible that the progress is coming from just gaining strength and I am not really using the proper BE technique and still using a flat chin. (However, I do sense my lips rolling in and out.)

Are there some things to notice or look for that would indicate that a person is on the right track and just needs to keep going and be patient?

[trumpetplayer87]

Sounds like you are on the right track...wish I was motivated enough to set aside 1/2 for BE.

Right now my whole trumpet thing is stagnating it seems. Hopefully I'll get back on track before it's too late...... :

Heh...I expect to get a bunch of comments about how I'm lazy. Please do...it might motivate me!!!!!!!

Bonnie
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[mcamilleri]

Technique is more important than strength. BE beginners often get muscle fatigue because they are overusing muscles, or using opposing muscles that fight each other. As you learn how to relax or ease up on the muscles that don't need to be tensed hard, fatigue drops away. It is amazing how little muscular effort is actually needed when the embouchure is set properly.

It is practically impossible to do a good rolled-out double pedal, or a fully rolled-in high pitched note with a flat chin. This is part of the reason for these exercises. If you sound like the CD on these exercises, then you almost certainly do not have a flat chin when playing these exercises. You still might be using a flat chin in regular playing, or in lip slurs - nothing to worry about at this stage - it may disappear in time, it may not. Tongue-on-lips is a great exercise for getting rid of the flat chin in the normal playing range.

You can, if you like, check for a flat chin by looking in a mirror, or by touching the chin with a free hand. There is a huge, visible difference between the flat, pointed chin, and the bunched chin. Once you learn to recognise it, you will instantly detect when your chin goes flat as you play.

If you sound like the CD, and the sensations you have match the descriptions in the book, you are OK. Don't worry about it and don't over-complicate it. If you use a flat chin on the roll-out or roll-in exercises, you have a problem, and need to backtrack. If you find that you do actually have a flat chin in normal playing, don't worry about it. The flat chin (if you have one) will only dissappear once the embouchure has changed sufficiently that it is not required anymore, and keeping practicing BE will eventually trigger that change if it is needed - you can't rush it.

Michael

[Bruce Lee]

ETK/Mike,

Old habits die hard! As much as you should have "lost" muscle memory from being away from the horn, in reality, that's simply not the case.

As Michael has stated, the mirror is a very valuable visual tool. Mirrors don't lie. As is so often the case, there is a tendency to play with the teeth too close together. Once you open them up, the lips will automatically find more range and motion, which is very necessary for an efficient embouchure.

You mention practicing BE for 1/2 hour, daily. Is that the extent of your practice? I would highly recommend finding some NEW music to play, which you love, in addition to practicing solely technique. If we can't find some sheer enjoyment in our playing, our heart is not in it. I stress NEW music, because we often will revert to our old habits, as far as technique is concerned... and that is counter-productive.

Let the trumpet BE fun to play, Mike!

Best always,
Bruce
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[ETK]

These are helpful responses. I do get good double pedals and have no flat chin at all when doing them. So it was encouraging to point that out.

I would like to mention concerning the roll in that I think it was Michael (on another thread) who said to first make a rolled out fish mouth with loose corners and then roll in to the lip clamp (hope I stated that right). This tip has helped a lot.

If a player has the air pockets is that a sign that he is not using a flat chin?

That is a good tip about keeping trumpet fun. I needed to be reminded about that. I usually start the practice session with B.E. The first minute or two is dull. But once I get going and I am able to do an exercise a little bit better than before it is very motivating and B.E. becomes fun. (I keep “dreaming” how fun it would be to do rips from high C to double C.) After 20 – 30 minutes of B.E. I usually play other things depending how I feel.

[mcamilleri]

No, wasn't me about the fish-mouth/roll-in things. I am the guy that keeps suggesting that everyone blow big air pockets - that's my trip

An air pocket in the lower lip indicates almost 100% that there is no flat chin.

Michael