The exercises in Smiley’s text are variations of standard lip slurs and long tones, but executed with highly specific, non-traditional guidelines:
Others have noted that, while interesting, the book contains ideas that run contrary to established methods like those of Philip Farkas, particularly regarding the flat chin and tonguing techniques. Despite these criticisms, many educators and players continue to find value in the exercises and troubleshooting sections.
Conversely, some brass professionals and pedagogues have raised concerns. A significant review on Wilktone.com points out several criticisms:
BE is built on the idea that a truly functional embouchure uses a full range of motion. It challenges the long-standing concept of the "flat chin" associated with the Farkas school, arguing it is inefficient and leads to unnecessary frustration for many players. Here are the key principles:
Designed to combat the habit of tucking or thinning the lips. Players learn to roll the red tissue of the lips outward, exposing more vibrating surface to the airflow. This exercise builds a fat, warm tone in the low register and relaxes tense facial muscles.
This article delves into the core principles of Jeff Smiley’s work, the philosophy behind the BE system, how it works, and why many trumpet players are turning to this, often available in digital/PDF formats, to revolutionize their playing. 1. The Philosophy: Why "Balanced" Matters
Centered long tones
: The method emphasizes balancing tension with relaxation and air power with air resistance. Subconscious Learning
"Balance" in this context refers to the musculature of the face. When the muscles surrounding the lips are in balance, the player can achieve maximum range, endurance, and tone with minimum physical effort. Smiley observed that many players struggle not because they lack talent, but because their embouchure is "displaced"—meaning their mouthpiece placement is not aligned with their natural lip formation, causing muscular conflict.
: Smiley views embouchure development as a way to trigger unconscious coordination. He argues that typical instructions like "blow faster air" are often ineffective because they focus on effects rather than the physical cause—the lips.
Are you struggling with range, endurance, or a "stuck" feeling in your brass playing? You aren’t alone. For years, many players have hit a plateau where traditional advice—like "just use more air"—stops working. That’s where the Balanced Embouchure (BE) method by Jeff Smiley comes in.
A unique aspect of The Balanced Embouchure is its use of extreme, over-corrective exercises. Smiley designs these drills to take the player outside of their comfort zone to exaggerate specific muscle movements. By practicing extreme puckers or extreme rolls, the player expands their physical capabilities. When they return to normal playing, the body naturally finds a more efficient, balanced middle ground. 3. Co-Contraction of Muscles
: He identifies the movement of the lips themselves as the central fulcrum for all brass playing. Key Exercises and Techniques
When these methods fail, players hit walls with range, endurance, and tone, often leading to physical frustration. Jeff Smiley’s groundbreaking book and method, The Balanced Embouchure (often sought after online by players as The Balanced Embouchure Jeff Smiley PDF or workbook), challenges traditional dogmas. It introduces a dynamic, flexible approach to brass playing that works with human anatomy rather than against it.
: A major theme is "letting the unconscious mind do the rest" once the physical mechanics are established through exercise. mysterytomastery.com Key Exercises & Concepts
