The Balanced Embouchure Jeff Smiley.pdf
The Balanced Embouchure Jeff Smiley.pdf
i will start by giving you a brief overview of the exercises outlined in the balanced embouchure. there is a brief overview of the exercises, along with a set of exercises you can do to start. each of the exercises is listed in the pdf, along with a practice example.
i have never been a big fan of purchasing expensive equipment. my goal is to keep costs down and make the exercises more affordable. the exercises in the pdf are simple and can be done with no equipment at all. i have found that a good set of grips is essential. if you play with a bad grip, you are going to struggle with proper embouchure development.
a flat-chin embouchure is generally said to be of the half-pinch variety, with the lips pressed together between the bottom of the chin and the bottom of the teeth. in a slightly more open embouchure, the lips are a little farther apart but not quite closed (and not touching each other).
when the embouchure is slightly open (about half-pinch), the mouthpiece will form a sort of “lip trumpet” shape. when the embouchure is quite open, the embouchure has a trumpet shape in which the mouthpiece forms a short trumpet cup and comes to rest on the lips, which are separated by a distance of about one half inch. the embouchure can be closed all the way or it can be a little more open. in a completely closed embouchure, the distance between the lips is so close that the mouthpiece may press directly against the lips.
a normal embouchure will vary in size. if the lips are too far apart, there may be difficulty reaching the upper registers. if the lips are too closed together, there may be difficulty generating enough air. if the lips are not closed enough, the embouchure may produce a tone that is too thin, weak, or shrill. if the lips are too close together, the embouchure may not produce a tone at all.
The first thing we did is remove the mouthpiece from the bell, and she has continued to play her trombone the way she is used to playing her trumpet.She loves playing her trombone, and we love to hear her bright, full and well-articulated tone.Ive found that it is far easier fortrumpets players(other than me) to play high notes since they can keep their lip against their chest and still produce an open cup mouthpiece tone.Of course, with embouchure work, there are no guarantees. But if she starts to feel confident with her technique, she will continue to improve. If you are interested in learning more about how to support your students with their embouchure, be sure to check out the following information from the U.S. National Softball Association. Both the U.S. and South Africa National Softball Associations have done a wonderful job of providing the following information, which is helpful for all players, particularly those who play a sport with direct contact to the mouth. A great job done! If you have an unbalanced embouchure, any one of the following exercises will help you return the sound to its proper position. If you need a more complex exercise, an instructor should be consulted. When I started practicing the TCE concepts, I immediately understood the “light bulb” in my head and I noticed that, especially in playing the best, I was playing with almost no energy expenditure. The only discomfort that I felt at the time was that I could not play the high notes without some compensation – once I thought about it, I realized I was actually compensating for my embouchure not being relaxed enough. However, this was still a good thing. 5ec8ef588b
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