Instead of avoiding the "smile" embouchure—a technique long vilified by traditional teachers for thinning out the lips—Smiley embraces it as a vital tracking tool. By intentionally practicing extreme lip positions, the player trains the facial muscles to find a naturally centered, relaxed, and powerful middle ground. The goal is not a fixed look, but a fluid, responsive set of muscles that adapt instantly to pitch and volume changes. Key Concepts of the Method
Using the "roll-out" to hit extremely low notes, which Smiley argues strengthens the muscles needed for high notes. Where to Find It
Relaxes the center of the lips and allows for a "fat" tone and easier low-register playing. The "Roll-In" (The "Smile"):
"...I wish this book had been available to me when I first started playing trumpet... The Balanced Embouchure will give you what none of those others do: the ability to play the notes that are in those other books." — Charly Raymond, Trumpet, USA the balanced embouchure jeff smileypdf
It was then that Léon received a visit from a wise old trumpet player named Marcel, who had lived in the town for many years. Marcel had been watching Léon from afar and had noticed his struggles.
: A unique aspect of the book is an accompanying CD featuring Smiley's young students
Unlike static exercises that hold one position, BE exercises move through varied positions, retraining the muscles to adapt quickly and effectively. Key Concepts of the Method Using the "roll-out"
The book contains which train the lips to move smoothly between rolled-out and rolled-in positions. Players start each session by practicing very low pedal tones—often two octaves below the normal range—with the lips rolled out to develop a wide, relaxed aperture. From these low extremes, they slur upward, gradually rolling the lips inward to ascend through the registers. The goal is to eliminate sudden shifts or breaks in the embouchure, replacing them with a smooth, continuous, balanced motion from the lowest to the highest notes.
The book is famous for specific "drills" that challenge the player to move between these two states without reset:
The Balanced Embouchure is built on the premise that a healthy embouchure requires two opposing muscular forces to work in harmony: Stretching the lips horizontally. The Balanced Embouchure will give you what none
"The increases in ease, range, endurance and flexibility that I am still experiencing almost two years later, have more than compensated for the hardships involved." — John Ericson, French Horn, USA
No method this distinctive escapes criticism, and BE has attracted substantial pushback from some corners of the brass teaching community.
Balanced Embouchure (BE) , developed by trumpet teacher Jeff Smiley
Relaxing the lips to vibrate freely without much tension.