Morning Professor Takacs, Hmmmmm indeed, you wait till you hit the later Singing C Series exercises, they will spin you out (metaphorically not physically :-))

That approach by “most if not all books” is what has created the psychology that brass playing is hard work.

Thanks for the kind words. Premium Stage is almost done 🙂

It is best to avoid rolling the lips over the teeth. Although there is no perfect way that is the same for everyone, ideally the lips stay aligned and forward and the Aperture Corners firm inwards horizontally and in the aaahoooh. Cheers

Hi again Francis, yes it can be a tough ride that is for sure.

Note that I said in the aaahoooh video that that is not the setting used all of the time, rather a way of discovering the aperture corners and feeling the free sensation that we want.

This will all be discussed in great detail in the Soft Long Tones video later in the course. Thanks, Greg

Hi Jack, this is totally an awareness of the sensation so with eyes closed, take the Body’s Concert Hall breath, soft and slow EYE’S CLOSED and feel the freedom. Then make yourself choke and feel the difference. There is your point of difference. Using the Windbag from the WindPack is a great way of solving this issue. I will do a video on how…[Read more]

Hi Rod, thanks for your email and pleased it is helping.

The sensation people have varies SO much that there is no right or wrong, it is so individual.

My sensation when playing in the upper register is like a tickle going across the middle of the lower lip. There is no feeling of back up or choking because it takes a lot less flow of air to…[Read more]

Hey there Hugh, thanks for your really important question.

I am going to be totally honest with you, I cannot stand the psychology of “roll” in or out. That is not to say that the embouchure muscles surrounding the aperture do not engage or that the aperture size does not change. I must also add that if the idea works for someone, then they…[Read more]

This will all be explained in a lot more detail a little further down in the advanced section of the course.

My reply to that ideology is:
1. Can you sing falsetto?
2. What do people that sing falsetto feel like when they sing? Is it a consistent feeling across the board? I suspect not.
3. What do people that sing falsetto think they are doing…[Read more]

Hi Francis, all I can say is work through and follow the course and it will make sense. Your teachers ideas are all too common and in his best endeavours to teach you is possibly just passing on what he/she was taught that worked for them.

Again, I have no problem with that approach if it works but you are the prime example of why I built this…[Read more]

Thanks for the question! As you will see as you work through the course, my approach is to find the optimum setting with the minimum amount of work. I believe the issues above are caused by far too much negative tension in the centre of the lip oscillator therefor increased air pressure is exerted thus making the cheek/facial muscles work way…[Read more]

My pleasure Guillaume, very happy you are enjoying it. I have answered your other question on the other link. Best Wishes.

Hi Guillaume, great question. The answer is both 🙂 Really embrace the information from the videos of WindWorks over the text in book 1, it is clearer and more concise. Enjoy.