The Balanced Embouchure, by Jeff Smiley: a dynamic development system that’s easy to learn and works for every trumpet player. Order online!. One was Jeff Smiley’s The Balanced Embouchure. I worked over the next couple years with these methods, primarily Trumpet Secrets(a.k.a. I have had a copy of Jeff’s book “The Balanced Embouchure” for several months, and to me, it is one of the best designed and clearly-written.

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How did this book project start?

Balancedd student had a good chops, so I simply gave him a tape of the Gerard Schwartz recording, and told him to copy it in every way, especially tone quality. If you want an honest assessment of his chapter I recommend you ask your doctor at your next visit. In your world view yes, they are!

It might help some but others will find it counterproductive. Thanks a lot for giving this advice, I think that what we need is a balanced way of seeing different kinds of methodology and search what best helps according to our specific nature as human beings. I think that the relative positioning of my approach is easier to understand when placed in the following context: Emboouchure, I had an epiphany, a sudden clarity that my life was moving in a direction which was ultimately never going to be satisfying.

Both notes are normally introduced into the lesson within the first few months to begin embouvhure the lip range of motion.

This site uses Mebouchure to reduce spam. Best regards, thanks if you can answer me.

The Balanced Embouchure

Ebmouchure is clearlynot qualified to recommend health advice. I have used this method for years in the public schools, with students learning ways to improve which are often in direct contradiction to traditional methods, and yet the whole process is so smooth that it is utterly invisible to the band director. Emboucjure state of balance has a central point, a fulcrum.


Rather than distort your embouchure formation with the tongue contact, just keep your tongue position more forward when you play, but off the lips. I think the whole point of the book is that lips and embouchures are far more similar then previously thought.

Joy on the Balanced Embouchure

That’s one of my goals regarding the exercise CD, which is enclosed in the back cover of the book. Understand, this comes from someone who practices regularly 2 hrs.

Good luck with your playing. We spent little time on it in lessons, as he preferred working on other aspects of his playing. Some “parts” teachers promote systems that require more conscious coordination than others. To this day, I can’t think of a single other person who could have helped me like he did. The Trumpet Herald Forum has an entire section dedicated to The Balanced Embouchure moderated by Smiley himself, so you should be able to find a more accurate depiction about it than I can offerthere are a couple of other YouTube videos here and hereand even a horn balacned devoted to it.

That said, one exception are some exercises I picked up that involve the player puffing the cheeks on purpose. Thanks for stopping by and letting us know more about your experiences. Again, there is nothing wrong with that either. To many readers, this may sound highly improbable. All these are just exercises for strengthening muscle groups and coordination.

In the typical embouchure, all of these opposing forces are present. Re-read the above blog post for some. It wasn’t paralysis from overanalysis. My experience is exactly the opposite, especially regarding tone quality. Since I was already emvouchure the bulk of the method, I added the newer ideas to my student’s lessons and watched what happened.

It is the core text of a projected series of books dealing with unique dynamic range of motion exercises. At some point I discussed the embouchure differences with Clint Pops McLaughlin and he felt there are some similarities but many differences as well. His descriptions of how a successful brass embouchures function are often misleading or false.


What future plans do you have for the project? The next thing I would point out is how this player slides the mouthpiece to a lower placement every time he moves out of the pedal range. Could you quote me something of what he wrote that is misleading or wrong?

The Balanced Embouchure: A Review – Wilktone

In other words, through the repetition of relatively simple exercise targets, the lips become more intelligent, more able to move far enough and morph into more complex shapes to match the task at hand. I have not seen a great deal of good players with a bunched chin.

To remedy this, I developed exercises designed to exaggerate the normal lips range of motion, thereby increasing the lip’s ability to form more complex combinations of opposing motions shapes which more effectively promote a continuous state of balance within the context of dynamic activity. Unfortunately, end result targets have limited effectiveness, because the majority of students are not “unconsciously open.

Tongue On Lips (The Balanced Embouchure Way)

Having your tongue forward enough in your mouth for it to touch emgouchure lips means that the back of the tongue is pulled out of your throat. The Balanced Embouchure represents a fringe view of brass pedagogy and practice and is worth questioning. My point is that practicing these extreme lip positions at best is taking practice time away from something that is how you will actually perform.