This is a tough area.  It depends on the playing level you are on. That’s why so many players have an incomplete picture of it. They think of it as 1 size fits all.

Ways That Lip Slurs Advance Your Playing

(Tongue level only is NOT true. They use the embouchure to make register changes like low to high. So the normal description you get from this group is a very inaccurate one trying to show an idea by leaving out the other factors like chops and air,)

The reason that air support alone doesn’t work well until they are more advanced is because they don’t have the embouchure muscles or control to handle that technique. They blat rather than play music. This ruins any concept of tone that they are trying to develop. That’s why I teach it last. Used correctly it is very controlled and musical. 

I take the work away from the lips of advanced players and make them learn to use better support. (Think gut slurs.)

In intermediate students, I focus on correct tongue arch (Anchor Tonguing). This is a forward arching of the tongue. WE arch forward towards the teeth for several reasons. It helps to keep the throat open, and it keeps the overall oral cavity larger for a big sound. Most importantly it is the only type of tongue arch that focuses the airstream which helps in playing higher notes. I also work on the idea of LIp Setpoint or always setting for the same note when we play.

With beginners they need to learn to move the embouchure.

When I play lip slurs in music I will use all 3 things embouchure, anchor tonguing and breath support If the slurs are big enough I will even use a pivot. This is why an experienced player can do the Irons so much easier and quicker. So when done correctly Lip Slurs Advance Your Playing.

Pops

The post Lip Slurs Advance Your Playing appeared first on BBTrumpet.

I prefer the use of lip slurs and trills combined with playing simple melodies as opposed to arpeggios. Using Lip Slurs to Develop Range is great because I can really think about my anchor tongue and how my whistle helps me access the high notes. I can concentrate on the tongue moving toward the teeth and then up as I whistle the lip slurs.

I like to do a lot of music about a third under my highest notes. Playing a lot of note a third to a fifth under your highest notes allows you to play more music and not strain and get so many bad sounding squeaks. 

I do some arpeggios but not a lot because arpeggios are like flagpoles no more than 1 of each note played. I like to do exercises and melodies so that I get to play accessible notes more than once and work on owning those notes.

Another thing I like is lip trills which is just a small fast lip slur.

The reason is that lip trills help to keep your lips flexible while arpeggios tend to make them stiff. Also by playing simple melodies one or two octaves up you work on musicianship and ear training not just making awful squeals and squeaks.

Any melody will work Mary had a little lamb or any melody I have included Blue Bells of Scotland as an example. When you can play it up 1 octave then work on playing it up 2 octaves.

You will notice that it is more difficult to play a melody than to do arpeggios but it is much more beneficial as well.

Pops

The post Lip Slurs to Develop Range appeared first on BBTrumpet.