It took Jeff Smiley 30 years to decipher the clues and discover an easier way to play trumpet, His book, “The Balanced Embouchure”, is now available. It is the . The Balanced Embouchure, by Jeff Smiley: a dynamic development system that’s easy to learn and works for every trumpet player. Order online!. I have had a copy of Jeff’s book “The Balanced Embouchure” for . In his ” Balanced Embouchure” book, Jeff Smiley says that he prefers to.

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Jeff Smiley, “The Balanced Embouchure” | Trumpet Forum & Trumpets For Sale

Halfway through, they stopped him. You claimed to be a scientist, but made statements that are contrary to the scientific method. Are you conditioned by past failure to believe in old myths about the safety of playing high; that it is radical or dangerous, especially for younger pre-college players, or that players who can play high always tend to have a bad tone?

Over the summer an interview was posted with hornist Andrew Joy on high-c. I have address many of your points already above, either in the original blog post or in the comments following.

The basic premise is that to tongue on the lips you need to touch your top lip with your tongue as a means of articulating notes. This is an “end result” target, much like a golfer thinking about the ball landing in the hole, or the basketball player shooting a jump shop while concentrating on the bottom of the net.

Rather than distort your embouchure formation with the tongue contact, just keep your tongue position more forward when you play, but off the lips.


Tongue On Lips (The Balanced Embouchure Way) – Trumpet Planet

Leon Merian was a player with gorgeous tone through out his range and fronted a big band into his eighties yet he tongued through his lips not just up against his lips as BE seems to recommend but all the way through. Another reason for the CD is to show how easily the exercises can be learned.

My next step is to introduce a beginner book, designed like “Standard of Excellence” or other similar titles, but integrated with the BE range of motion exercises and a more progressive structure.

Unfortunately, end result targets have limited effectiveness, because the majority of students are not “unconsciously open. Jerry may – or may not – embarrass emboucuure if you hang around him long enough. Sometimes it results in what’s commonly called “paralysis by overanalysis” – getting lost in the parts to the point of being unable to function.

How did this book project start? In an ideal world, if each reader could just open the cover and have the teacher pop out, common misunderstandings, at the very least, would be eliminated forever.

Doing so will give him more credibility. Perhaps this player is doing it wrong. Whoever shows up on his doorstep, emboudhure good enough for him. I just didn’t get it.

Joy on the Balanced Embouchure

We’ll assume you’re OK with this, but please see our Legal Notice for more information. What misconceptions do I need to correct? But what most of us don’t consider is, opposites define each other. It might help some but others will find it counterproductive. White and John V.

He is clearlynot qualified to recommend health advice. The Balanced Embouchure represents a fringe view of brass pedagogy and practice and is worth questioning. I currently play in a drum corps and church band. There are some, but generally speaking they are younger players. The lead author, Matthias Bertsch, is a name you will become familiar with should you visit the UoT library and do some of your own review of the literature.


This site tracks visitors with statistical tools such as Google Analytics. Visit my website at www. When the targets are more immediate, such as a particular lip or tongue placement, they are easier to hit, but focusing on individual movements can get complicated in a hurry. The book has the title, “The Balanced Embouchure. To again summarize my thoughts, and perhaps make my points clearer: Thanks for opening a discussion about this and I hope my point of view makes sense and helps shed some light of this method.

For that reason, my book emboudhure designed to more easily fit into the “real world” of trumpet educator’s expectations. Also I played the trombone and still play it once in a while. Was it hard to do? There is a level of satisfaction in helping others that was never present for me in the performance environment. In the typical embouchure, all of these opposing forces are present.

But I learned long ago that people in general tend to be resistant to new ideas – look how long that Farkas has dominated our trumpet education!

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