Okay, I'm afraid this is going to look complicated, Steve and Valerie wrote: XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX
Steve, thanks for your thoughtful comments & questions. I'll respond below. Q: <<Maybe I've been missing something, but how else would you go up and down the range other than rolling in and out? That's pretty much how it was explained to me back in the dim reaches of the past. You mean there's another way?>> A: Yes, you are missing something. There's more to it than rolling in and out. The BE exercises develop lip shaping & breathing skills that enhance facility. Q to that A: I'm sure there is, some other people seemed to not like the concept of rolling in and out, I was hoping to hear some alternatives. XXXXXXXXXXXXXXXXX Q: <<As far as using a different embouchure for the lowest notes, I don't know. I see a lot of players using a distorted looking embouchure for low notes, usually pushing the lips way forward, and it usually doesn't sound very good, airy, hard edged, etc.>> A: BE method does not direct the student to use separate embouchures for separate ranges, but the student is free to chose what meets their needs and sounds the best. Q to that A: I asked that because you mentioned using a distorted embouchure on purpose for the lowest note. My question is, since that wouldn't be a good way to Play that note, why would you Practice it that way? XXXXXXXXXXXXXXXXXXXXXXXXXX Q: <<My idea of a "balanced embouchure" is slurring from low C to high C and back and you would have a hard time seeing the difference outside the mouthpiece.>> A: BE encourages the student not to judge success by looks, but rather by sound. Two equally good players can have embouchures that look like they come from different planets. Here's a link to a video of a John Graas. Look at his unusual embouchure. http://www.encyclopediadubuque.org/index.php?title=GRAAS%2C_John Q to that answer: You can always find exceptions, but I've found over years of teaching and observing, if it looks really weird, there are usually going to be some limitations. John Graas was a fantastic player, but if you listen to his stuff (I have many of his albums) he had kind of a weird sound (sorry Susan! I like the albums!). Ok, sorry Valerie, tell me if I'm being too much of a pain. - Steve Mumford _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
