The Balanced Embouchure Jeff Smiley.pdf
The Balanced Embouchure by Jeff Smiley: A Review
The Balanced Embouchure (BE) is a book written by Jeff Smiley, a trumpet teacher and performer who has taught thousands of lessons to students of all levels and ages. The book presents a unique approach to developing the brass player's embouchure, which is the way the lips, tongue, and air interact to produce sound on a brass instrument. The book claims that BE is a dynamic development system that is easy to learn and works for every trumpet player. But what exactly is BE and how does it work? In this article, we will review the main features and benefits of BE, as well as some of the challenges and criticisms it faces.
What is BE?
BE is based on a series of dynamic range-of-motion exercises that affect lip position. These exercises are designed to enhance every player's embouchure development, often dramatically. The exercises are divided into two categories: Roll-Out and Roll-In. Roll-Out exercises involve rolling the lips outward, away from the teeth, while Roll-In exercises involve rolling the lips inward, toward the teeth. These exercises help the player to find the optimal lip position for each register and to develop flexibility and endurance. The book also includes other exercises, such as lip slurs, double tonguing, and pedal tones, that complement the Roll-Out and Roll-In exercises and reinforce the principles of BE.
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According to Smiley, BE is not a method or a system, but rather a set of principles that can be applied to any style or genre of playing. He says that BE does not replace or contradict any other approach, but rather enhances and clarifies it. He also says that BE does not require any special equipment or mouthpiece, but rather works with whatever the player is comfortable with. Smiley emphasizes that BE is not a quick fix or a magic bullet, but rather a long-term process that requires consistent practice and patience.
What are the benefits of BE?
Many players who have tried BE have reported positive results, such as improved range, tone, endurance, accuracy, articulation, and confidence. Some of the testimonials from players who have used BE can be found on Smiley's website and on other websites dedicated to BE. Some of the benefits of BE are:
BE helps the player to find the natural balance between the lips, tongue, and air for each register, without forcing or straining.
BE helps the player to develop a consistent and efficient embouchure that works in all situations and environments.
BE helps the player to overcome common embouchure problems, such as double buzzing, excess pressure, throat tension, protruding top lip, braces, etc.
BE helps the player to expand their range in both directions, from low to high notes.
BE helps the player to improve their flexibility and agility across registers.
BE helps the player to improve their sound quality and projection.
BE helps the player to improve their musical expression and creativity.
What are the challenges of BE?
Despite its many benefits, BE also faces some challenges and criticisms from some players and educators. Some of the challenges of BE are:
BE requires a lot of practice and dedication to master. Smiley recommends practicing at least 30 minutes a day for six months to see significant results.
BE may seem strange or unnatural at first, especially for players who are used to a different embouchure approach. Smiley advises players to keep an open mind and trust the process.
BE may cause some temporary discomfort or adjustment in the lips, especially in the beginning stages. Smiley advises players to take breaks and rest when needed.
BE may not work for everyone. Smiley acknowledges that there may be some players who do not respond well to BE or who prefer a different approach. He says that BE is not meant to be dogmatic or exclusive, but rather an option among many.
Conclusion
The Balanced Embouchure by Jeff Smiley is a book that presents a unique approach to developing the brass player's embouchure. It is based on a series of dynamic range-of-motion exercises that affect lip position and help the player to find the optimal balance between the lips, tongue, and air for each register. Many players who have tried BE have reported positive results, such as improved range, tone, endurance, accuracy, articulation, and confidence. However, BE also faces some challenges and criticisms from some players and educators, such as requiring a lot of practice and dedication, seeming strange or unnatural at first, causing some temporary discomfort or adjustment in the lips, and not working for everyone. Ultimately, BE is not a method or a system, but rather a set of principles that can be applied to any style or genre of playing. It is not a quick fix or a magic bullet, but rather a long-term process that requires consistent practice and patience.