BE Help for Full Lips

The following is a fun little email exchange I had with a "cute chemistry teacher."

Hi Valerie,  It's Ron Drucker in Berkeley--I'm doing basic BE several times a week and really finding results in tone, endurance, so I can't thank you enough.
We're going to Turkey for 3 weeks, and I'm thinking of packing a mouthpiece to keep on buzzing. Do BE exercises work without the rest of the horn?
Thanks, Ronald Drucker

---------------

RON! I'm so happy to hear from you. YES! I know quite a few horn players who report good results from buzzing BE exercises on their mouthpieces.  One horn player, Lou Denaro, in New York buzzes BE exercises on his mouthpiece while he's walking to his office.  

  
I'd love to put your spontaneous little testimony above on my blog.  May I? Also, if you have a picture of yourself to share, that would be great, too.
Thanks for contacting me.
Valerie

---------------
Sure, happy to share. I haven't got a picture handy, sadly, nor means to get one without great fumbling. But you can assure them I'm really cute for a chemistry teacher.
(part of my cuteness may have to do with the full-style lip shape that Jeff id's in his trumpet students as making it hard to sustain tension; at any rate, it's been hard to extend my range upward, but BE really seems to be helping)
Thanks for your support!
Ron

-----------------
When I asked Lou Denaro if he still buzzes on his way to work, he shared a few details:  

• Absolutely and I still scare people when doing so. At work they google my name, find your blog and ask "what's BE?" and I tell them "remember those noises I made behind you in the corridor out of Grand Central and you hastened away to avoid further harassment until you found the guts to turn around and face off your tormentor only to find out it was me? That's "BE." 

Micah Cooper Recommends BE for Range Development

A horn player recently asked tips to improve the upper register on Facebook.  Micah Cooper's answer was short, sweet & to the point!  

Get BE and do the exercises. I went from 4 to 5 octaves in one month. 

Later, he shared this with me in a message:

I wish I had BE when I was in high school. Things would have been a whole lot easier. Also, I said 5 octaves for my range in my post. When I am practicing a lot my range pushes 5 1/2. And when I come off a multiple month layoff, I can get back my chops in a week or two with the program. Just Awesome.

BE works!

I'm Back and Feeling Grateful!

Six years studying The Balanced Embouchure.  It just keeps giving me more & more.  The progress never stops unless I stop.  I'm not the greatest horn player in the world, of course.   I'm just a little old lady, come back horn playing grandma with a chronic neurological disease, who plays in community ensembles and gets the occasional paid gig.  But, there are so many things I can do now that I wouldn't have been able to had it not been for BE.  I'm thankful.

Once again, BE has come to the rescue.  I injured my upper lip in an accident December 2nd, driving my front tooth clear through the center of the under side of my upper lip.  Five days later a little blob of dead flesh sloughed off leaving a small hole, then a scar right where the aperture forms.  (It reminded me of the injury Adrew Joy described that prompted him to find help, and eventually BE.) http://beforhorn.blogspot.com/2011/08/joy-continues-on-balanced-embouchure_07.html  After taking few weeks off, I found myself with severely limited range and endurance, not to mention horrid tone.  It was definitely a déjà vu experience.  My embouchure function was eerily similar to what it had been 7 years ago before I started studying BE! 


I thought it would be a quick fix, but progress was slow because my lips would swell at the slightest provocation severely limiting practice time.  It took a full four months before I had recovered the range & endurance I had before the accident.  Thanks to BE, I'm back & enjoying playing again.  

Three cheers for Jeff Smiley!     

Alex Shuhan: One Year on BE

Alex Shuhan recently posted this on FaceBook:  

Continuing now for slightly longer than one year, to encounter more and more significant change and greater understanding of how to play this instrument…and I can unequivocally say that it is ONLY because of having discovered and experimented with Balanced Embouchure concepts. If you want to learn and are willing to invest some thoughtful energy, you CAN and WILL make similar inroads. 

At no point along the way have I "lost" anything I could do before, experienced any "setbacks," nor been negatively impacted in any way. On the contrary, I have been challenged to address and answer new questions, with a COMPLETELY different perspective that has dramatically improved my playing, at least in my humble opinion. I have flexibility that I couldn't fathom before, range that I've never experienced... before, and, in particular, a smoothness in my playing that I didn't even know was previously lacking. And even though there are concepts in this book that appear to some to be in contradiction with other, more "mainstream" ideas about playing, I maintain that the information in Smiley's book COMBINED with the experience of actually living through the learning process that he prescribes, actually does more to help one UNDERSTAND those "mainstream" concepts than to contradict them. My ideas about endurance, strength, range (high and low), volume and articulation have been completely stood on end—and the future looks and sounds MUCH better from this new vantage point! 

Thank you to my former student, Dana Arbaugh, for introducing the BE book to me, to ValerieWells for all that you've done to further my enlightenment, and to AndrewJoy for his encouragement and support along the way. Onward! 

I've made some enormous stride forward this weekend—been doing more playing lately and then had a great combination of rehearsals and gigs this weekend that have just completely changed everything. Much less tension, outrageously more vibration and ease of production with my upper lip, complementary support from the lower lip making flexibility MUCH better, and the best part has been endurance based clearly on relaxation rather than "firmness" or any other terms that I've previously associated with strength. Amazing!

Bert Lochs commented:  

• Bert Lochs Apart from the things that changed in my playing, the understanding of why all the things I tried before didn't work was very enlightening to say the least. I said it on the Trumpet Herald a few times, and I repeat it here. BE made me experiment proof. And it is important to be able to experiment to find your way. You can try all kinds of things, and even go very wrong, but BE is so simple and clear that it is very easy to track back where you left off. Since BE I never got into big trouble again and my playing is so much easier and more consistent than before. And yes, of course, there is still so much to work on, I am happy to say :-).
  
  
  

  • Alex added:  I have no documented proof of this claim, but I believe that many players, who accidentally stumble into the correct set-up and begin playing without the issues that many of the rest of us face, are already experiencing mechanics similar to those suggested by Smiley, but they may not use vocabulary similarly to describe it. For those successful players, all the power to them! But for struggling, aspiring players, in my humble opinion, Smiley's approach offers a real, simple option for opening the door to informed awareness, and by that I mean an awareness based on experiences that work cumulatively, progressively, patiently, over time. In the last week, something has changed dramatically in the way my Embouchure is able to receive and support the air I supply to it...and it happened as if out of nowhere! BUT, I KNOW and can feel that it has just now finally learned a new way of vibrating after a YEAR of gentle coaxing and coercion. And the BEST part is that I UNDERSTAND what is happening, what has changed and how/why it is working effectively. I'm hoping to be able to use language to describe it, BUT, even if I can't, I do know that I have BE to thank for opening that door to possibility. I'm also reminded that Arnold Jacobs admonished that if you introduce a change to your mechanics, it could take 12-18 months before you could expect to experience the fruits of that effort. In the case of BE, I feel like it's a continuous process, so I'm not surprised to have had some revelation now, but it also feels like it won't be unreasonable to assume that the learning will continue. I remember Andrew Joy told me that after his intro to BE, he has felt like his playing has been on a continuous positive, improving trajectory...and this from someone who's had a principal horn career in a major orchestra for 30+ years! That, in fact, was the thing that convinced me it was worth experimenting with BE. Incredibly glad I did! Cheers!

Four Months into BE

A lot of people ask how long before they see improvements from BE.  Here's an good example from someone who began studying The Balanced Embouchure in September 2012.  I received this in an email today:  

Valerie, I'm extremely pleased with the strap and the BE method. I have a larger upper lip and has taken some time developing the new technique particularly the roll in but my range and endurance is so much better and appears to do nothing but improve every time I practice.Thanks!

Dannie Smith,PT,ECS

I'm grateful for the feedback, Dannie!

The strap Dannie is referring to above is the Comfy Horn strap.  See this link: http://comfyhornstrap.blogspot.com/

Restoration!

It's fun and very satisfying to see a horn player who's lost his range for whatever the reason, find it again with the concepts Jeff Smiley presents in The Balanced Embouchure.  Andy's not only recovered lost ability, but has progressed beyond his previous abilities. I  received this email from Andy only yesterday.  (BTW, take the time to check out his concerto linked below.  It's darn cool.)  

Hi Valerie

Thanks for sending me all the BE stuff. I haven't followed the prescribed programme really but I read the text thoroughly and the 3D aspect of embouchure had never really been in my mind.   I wrote to you on October 8th...

...Struggling with an embouchure that goes from pedal D to F at the top of the stave with no problem whatsoever, but can't get above an A on a good day - even though a couple of years ago I could play top Ds on a good day!!

I have played my own exercises for roll out and in and spent much driving time looking like an old man or daffy duck!! No surprise really, but what I got from the BE book made the exercises I was given by Tony Halstead make sense. (He gave me a couple of lessons when I bought a second hand Paxman off him). I am now aware that there are muscles in my top lip that were completely unused!

I only do a bit of occasional amateur playing (I concentrate on conducting and composing these days when I'm not running a school music department) and have had no gigs since the end of November so was able to throw myself into it without fear of disrupted embouchure problems.

I have just played Mozart concerto No 2 and No 3 back to back (previously, the first movement of either would have finished me off.) After finishing I played a three octave Bb arpeggio and held the top Bb for a couple of bars. I am so grateful that for the first time in my life I am starting to be able to play in a way I'd only dreamed of. I'm sure I've still a long way to go and playing orchestrally will be the real test in a couple of weeks but at least now I have enough stamina to do enough practice to improve my playing. In the past it seemed that the more practice I did the worse I got! The top Ds have returned on a good day but I have even squeaked a couple of top Fs since reading the BE book. I can start a pedal C without slurring down to it and a couple of days ago I was able to start a pedal B on the F side and slur down to a Bb!!

I've pasted a link to the horn concerto 'Orion' that I wrote last year for Richard Watkins (ex-principal of Philharmonia now top UK session player and soloist).  
http://soundcloud.com/andymeyers/orion-concerto

Best Wishes

Andy Meyers

BE Update: Benefits Not Anticipated

Doug Wagner, a former professional trombonist turned hornist, began studying The Balanced Embouchure three years ago.  He emailed this to me this past weekend:  

I signed on to Facebook, which is not a regular habit for me, and found your post of comments from Jane Swanson. My takeaway was from her first two points: 

1. Even when I play to exhaustion I do NOT have swollen lips afterwards or the next day: so I can jump right back into action.  

2. In the midst of challenging playing, same story -- my chops recover if I give them a few seconds off.  That was not the case previously.

Yesterday, I endured a brutal two-and-a-half rehearsal featuring repeated, sub tempo rehearsal of high, loud passages. Even allowing for laying out at strategic points, I was burned out after two hours and struggled for the ability to play in the high range. Even so, I was able to finish the rehearsal in reasonably good shape by judicious rest, and by depending on my section. I chose not to play any more after I got home.

Today. I considered not playing at all, but I warmed up carefully and after a few minutes had all the flexibility and range that I've had previously. The conclusion I reached is that, I can recover quickly, if not completely, by a few seconds rest, and that the next day, I don't suffer prolonged fatigue. So, I will echo Jane's comments. BE had benefits not anticipated.

I'm 66 years old. If I could duplicate the benefits of BE with the rest of my body as it ages, I'd be the wonder of the Western world. I'm amazed at the progress I've made. A new horn doesn't hurt either.

Doug