The Pencil Exercise This is the basic formation routine for establishing the embouchure. I have included a nice video description - follow this link - UTUBE PENCIL EXERCISE
In addition I am adding this very nice comment re: the video from an established NYC player:
George, I am a trombonist that lived in NYC from 1973 to 2001. I played lead trombone on 7 of the first Bob Mintzer albums until I had my own albums on DMP records.
I have recorded with the brecker bros, louis Bellson. Astrud Gilberto - I was her soloist, and many more. I played on the first Harry Connick jr.
album and the movie harry met sally and a lot of other work.
In 1976 I
noticed that even though I had alot of technique I got tired easily.
After cries for help from some of the best players in town who had no
Idea what I was going through I was advised to see Roy Stevens.
And thus the pencil routine was revealed to me.
In less than a month my
range grew...not with sqeeks but real notes in the upper register. My
lower register was incredible. But the most amazing thing of all was my
endurance. I got stronger the more I played.
I have recently been
seeing some videos on line that are totally incorrect. I thought I
would set the record straight until I saw your video. GREAT STUFF.
You
are telling the truth. You have left out a few things but maybe we can
touch on that at a later date.......thank you...Bob
Where do you breathe from and Why.
You can set your core balance for any range, mode of resonance, or
note, by using your body to shorten or lengthen the length of the
internal core.
Place your hand over your navel and breathe in -
do you sense the air filling that area? Now exhale with your hand in
the same place - do you sense the air column moving up and out from
there?
Now move your hand up 1 or 2 inches and repeat.
Now 1 or 2 more inches up and repeat.
This simple exhalation with focus shows you what the mind can control with simple visualization.
Now
play a low C while sensing the air column moving from the navel. Now a
middle C sensing the air moving from a spot 2 inches above the navel.
now a g above the staff and sense the air column coming a few inches
higher.
The exhalation must always be the result of a deep
relaxed breath, followed by an inward and upward compression from the
selected area.
This can feel like a wedge anchored at the spine being pulsed back and upwards at each spot in a relaxed powerful compression.
The
beauty is that the sound will be even in all registers, the tones will
be secure and the tongue will fade into oblivion as you learn to float
the tone on this flexible column of core air.
If you are coming
in softly on an A above the staff, you will have no fear of clamming
when you have developed this sense of core balance placement.
To
hit a E above high C will not be a guessing game, with arching,
squeezing, and pinching - it will float out on the proper core length
of air.
Some players have developed the backwards arch to ascend
- this is not necessary if you learn to breathe properly and allow the
Air to Play:)
This concept of rolling the air from bottom to top is an over- simplification of what Maynard used.
It is helpful to use a plosive attack and maintain a non vibrato tone as you learn this technique.
