Lip Slurs

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Lip Slurs

Brass

Written by Bruce Gale

roducing a lip slur on a brass instrument involves moving smoothly between two notes using the same valve combination or trombone slide position. In other words, the player moves to another pitch within the same harmonic series using his lip muscles and air support alone. The tongue is not used! Because the embouchure has to tighten when moving to higher pitches, it is usually more difficult to execute a lip slur properly when moving upwards rather than downwards.

Playing lip slurs with the full band makes it easy for players to tongue the upper notes without being spotted.

Practising lip slurs is an important means of building embouchure strength and flexibility. Unfortunately, exercises involving lip slurs are also among the most erroneously played! All too often, students who are asked to practise etudes involving lip slurs simply tongue the upper notes notes, thus negating the purpose of the whole exercise. With the full ensemble playing the sort of etudes found in the standard band method books, it is easy for young players to tongue the notes without being spotted.

Rehearse the brass players in small groups - or one by one if necessary - in order to spot the laggards. Insist that they make the necessary effort to play the exercises properly. While doing this, it is also a good idea to remind the ensemble not to apply more mouthpiece pressure in order to reach the upper notes of a lip slur. A lip slur should be executed by the lip muscles!

Playing lip slurs correctly involves:

	Maintaining a steady airstream throughout the slur.
	Ensuring that there is enough flesh of the lower lip in the mouthpiece to begin the slur.
	Contracting the muscles at the corners of the mouth to obtain the upper note.
	Arching the tongue upwards when moving to higher pitches and flattening it when moving to lower pitches.
	Ensuring that the tone does not become excessively pinched.

Playing lip slurs on a brass instrument is not easy for beginners or even many moderately experienced players. Unfortunately, many standard band method books do not give the subject the careful attention it deserves. The following graded exercises are intended for use with cornet or trumpet players who are having real difficulty. Suitably transposed, they can also be used with other brass instruments. Practise these exercises in consecutive order: open (no valves depressed), 2, 1, 12, 23, and 123. Once they have been mastered, the student should be encouraged to attempt more advanced lip slur etudes.