On Aug 13, 2011, at 10:00 AM, [email protected] wrote: > Message: 5 > Date: Sat, 13 Aug 2011 18:08:47 +0900 > From: Simon Varnam <[email protected]> > Subject: Re: [Hornlist] BE issues and spamming. > To: [email protected] > Message-ID: <[email protected]> > Content-Type: text/plain; charset=us-ascii > >> >> If you want to watch someone who uses BE, go on You Tube and watch Steven >> Park. > I did. Amazing! But I don't see him rolling his lips... > > However... > I hadn't realised how much excellent stuff there is out there on Youtube and > soon got bytracked. > > One thing I'd thought could be useful is a set of the Kopprasch exercises, > showing how to make them into music rather than dull drills. Someone has > started on it already.... > > http://www.youtube.com/user/jboldin > > Is this guy using BE? > > SPV
Hi Simon, My take on this is that most good players use more lip rolling than we would think, by old standards. Whether it is BE or not is another story. I don't mean rolling lips in over the teeth or out so much as to lose the set point on the lower lip. In most ranges, you can't see it at all. It's just a technique. I demonstrate this on my DVDs. You can use a lot less lip tension up high by simply thinking of rolling in more than tightening the lips. It really doesn't look at all like the BE exercises some people have been referencing. It's just the action of rolling in a bit to go up and out to go down. You adjust according to the sound and the results you want. There is no quantitative method, just a relative thing. In the lower register, an outward movement can save you a lot of jaw movement and make a better, more resonant sound because the soft tissue of the lip comes more into play. As you go higher the harder facial tissue comes more into play and makes the notes easier without all the tension. in between you just think of rolling in and out instead of tightening and loosening. I never tell my students to tighten and loosen any more- just in and out. It also works better for kids with braces. Steve Park does this. If you watch a great low player like Sarah Willis, you will notice that she doesn't drop her jaw that much relative to what she gets out of the horn, but I have never asked her about this. I watched the great artists at the symposium and al of them seem to do this to some extent. I would say the guy doing the Kopprasch is doing it too. He has a good embouchure. He plays the Kopprasch more musically than most of the people on there, but there is still more to be had, imo. So it is a balance of techniques, not one or the other. if you are interested further I have a download on this page of my web site Addendum and Extras if that link doesn't work, go to my website and get onto the Addendum and extras page. It is number 1 on the list. It is a pdf file you can download and print. I am writing a little book on the musical aspects of Kopprasch. The thing is, everything you do should be done from a musical/phrasing point of view. EVERYTHING. That is what my new book (in progress) is about. Sincerely, Wendell Rider For information about my book, "Real World Horn Playing" and the DVDs, go to my website: www.wendellworld.com _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
