Although written for trumpet, B.E. has a significant following among French horn players. This is notable because horn pedagogy has long been dominated by the principles of Philip Farkas (specifically the "flat chin" and tight corners). Smiley directly challenges this approach. He argues that flattening the chin stretches the muscles away from the mouthpiece, which is mechanically inefficient. Instead, he advocates for muscles bunching towards the mouthpiece to provide cushioning for the high register.
However, the method is not without controversy in traditional classical circles. Critics occasionally argue that the extreme lip movements taught in BE can temporarily disrupt a player’s accuracy or tonal focus if practiced incorrectly. Smiley himself addresses this by emphasizing that the extreme exercises are diagnostic tools and muscle-builders, not blueprints for how one should look while performing on stage. How to Approach the Material Effectively the balanced embouchure jeff smileypdf work
However, the consensus among many practitioners is that BE works by breaking bad habits and forcing the muscle, known as the orbicularis oris , to develop in new ways. 5. Finding and Using the BE Work Although written for trumpet, B
For decades, brass pedagogy has been dominated by rigid rules: "do not change your set," "keep a firm anchor," or "never smile when you play." Jeff Smiley challenged these strict rules by introducing a dynamic, dual-muscle system. Smiley directly challenges this approach
When a trumpet player relies too heavily on one muscle group, the opposing muscles atrophy or tense up. By forcing the embouchure to work through its entire range of motion, Smiley’s method clears out tension, reduces reliance on harmful mouthpiece pressure, and unlocks a more effortless way of playing.
: Advice on letting the unconscious mind handle the physical details and maintaining general well-being. Specific Exercises
Whisper tones are extremely quiet notes played at the very threshold of sound. Smiley uses whisper tones to teach players how to initiate a buzz without slamming the lips together or using excessive air. This exercise forces the facial muscles to find the exact point of balance required to vibrate efficiently. 2. The Lip Bends