mikeblutman

Dear Ed,

What is your opinion on using lip bends as conditioning exercises? Have you worked much with lip bends. Have your students had success with this?

About 2 years ago, I did them very consistently for about 6 months and found them beneficial. I used Mr. Hickman's exercises from his "Lessons with David Hickman" volume. About 2 months ago, I went back to doing them very consistently as Mr. Hickman prescribes as part of the last session of the day at a loud volume.

Recently, I've been experimenting with using lip bends in a similar fasion as prescribed by Mr. Hickman but at a much softer dynamic and earlier in the day as part of my "morning fundamentals" sessions. I've found this to be good at quickly focusing my aperture similar to buzzing the mouthpiece.

What are your thoughts?

Thanks,
Mike Blutman

ecarroll

Happy new year, Mike

You've already answered yourself by saying that you're experiencing success by practicing bending exercises. If it works, do it (mantra).

I occasionally ask a student to bend below a note to help define where the core of the note is (or, in this case, isn't). Most snap back to the center after completing the bend. It's all about cultivating a relaxed core, afterall. I also believe that if you follow proper air management principles, your aperture will follow correspondingly.

Best,
EC

maxmatzen

Hello Ed,

I was curious to see if you would give your ideas on "air management principles." Are they along the same lines as the things in Thompsons BB book?

Thanks so much!

-Max

ecarroll

Max,

You've hit it squarely on the head. My teaching of "air management principles" is simply a variation on Caruso and, as you've identified, Jim's glissando buzzing (although I prefer to do it on the horn). One of the pleasures of teaching all those years at Lake Placid was the spirit of learning from one another (and stealing shamelessly) amongst the faculty.

My own teaching has become a Carroll/Thompsonstevenswallacegouldburnslindemannstockhaus encassone hybrid of sorts.

In short: balancing glissando/crescendo across ever-widening intervals while ascending to increase air speed (what every good singer does, if you think about it), and glissando/fatter air column while descending.

Best,
EC