Viewing 1 reply thread
  • Author
    • #39002

      In book two, there are some very challenging lip bends. I’ve been doing similar exercises for years (from the advice of many well-respected instructors) trying to prevent my bottom lip to curl in, but haven’t figured it out yet. I was just wondering why Greg mostly left them out of Windworks. Maybe too much manipulation? Has anyone else succeeded in developing their corners through lots of lip bends?

      Hey there Kzem, I do a few of them as the course progresses but I don’t want them to be overdone, they are taxing and create problems when not done correctly. I feel like I have a nice balance in the course and don’t really need more BUT it is also up to the individual to find what they like and what works for them. If you enjoy doing a few more then go for it.

      All the best.

    • #39067
      Ronald Carson

      Don’t curl. Start small an gradually go down by another half step. Focus on doing the exercise as described. I can only go from G down to E, sometimes E flat, any further and out pops C. The embouchure is the same when the C pops out as if I planned on playing C. While descending, I get the sensation of a relaxed opened throat. Remember shape also includes jaw and tongue position working together with aperture corners.

      • #39074
        Ronald Carson

        When I said don’t curl, I may have it wrong. I almost go out on a rant about this in

        I posted there the following:
        What do you do to roll the lips out after “aah-ooh”? They are out. The only way I know to get further out is to pucker or pout with the bottom lip stuck out.

        I know I have played pedal notes by sticking out my lips; but to me, there is a much better way. Maintaining your aah-ooh embouchure then relax corners, lower the jaw, and the tongue. I am able to slur from a pedal note to a non-pedal note such as C in the staff.

Viewing 1 reply thread
  • You must be logged in to reply to this topic.

Recent topics

Recent replies