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93260528 Embouchure

93260528 Embouchure

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Published by wak2
Trumpet embouchure advices
Trumpet embouchure advices

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Published by: wak2 on Jul 01, 2012
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03/15/2013

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Embouchure15
Despitewhatsomepeoplemightsay,Ithinkithasbeenshownthata“goodembouchure”onthehornissome-thingthatisextremelycriticalorsuccess,anditissomethingthatcanbetaught.Intheolddays,andthatwasn’tthatlongago,itwasalmostalwaysassumedthatiyougavesomeoneahorntooolaroundwith,hewouldndhis“natural”embouchure.Tosewhooundagood“natural”embouchurehadthemostsuccess.Otherswhodidn’tweredeemed“unsuited”totheinstrument.Worstoall,manypeopleinthebusiness,teachersincluded,believedthatyoucouldnotchangeaperson’s“natural”embouchure.Storiesaboundedoplayerslosttoailedembouchurechanges.Youmightaswellhavehadcancerotheliporsomething.Fortunately,timeshavechanged.Backinthedaysonaturalhornswhenhornplayersspecializedcompletelyashighorlowplayers,thelowplayersusedthe“einsetzen”or“settingin”embouchure,andthehighplayerswereotenconvertedorversatiletrumpetplayerswhoavoredan“ansetzen”or“settingagainst”typeoembouchure.Teeinsetzenembouchurehadthemouthpiecesetabouthalwayupthelowerlipsothatitactuallywas“in”thelowerlip.Tisgaveanicesot,warmsoundandwasgreatorlownotes.Teansetzenembouchurehadthelowerlipallthewayinthemouthpiecetosupplystrengthandbrillianceortheupperregister.Bothotheseembouchureshadtheweaknessonotbeingpracticalor“ullrange”hornplaying.Usuallyaplayerwhowantedtoplaytheullrangewouldhavetoshitromonetotheotherasthepiecewarranted.WiththeadventothevalvedhornandRomanticcomposerswhowantedtousethehorninnewandexcitingways,itbecameclearthatallhornplayersinasectionwouldhavetoplaythewholerangeothehorn.Whilemanyplayersromearliererasnevermadetheswitchtoatrulyall-purposeembouchure,bythemiddleothelastcenturytherewereattemptstoanalyzeandexplainhowonecouldbeanallaroundplayerbyollowingcertainrulesolipplacementandmuscleuse.Temostwellknownothesewasthegroundbreaking“TeArtoHornPlaying”byPhilipFarkasthatpublishedin1956.Iwouldrecommendthisbooktoanyseriousstudentothehorn.“TeArtoBrassPlaying,”anotherohisbooks,alsohassomegreatinormationonhowcertainprinciplesapplytoallbrassplayers.ImyselwenttoMr.FarkaswhenIwashavingsomeembouchureproblemsandhewasagreathelp.I’mnotgoingtorepeateverythinginhisbook.WhatollowsaresomeconclusionsIhavedrawnrommyownexperiencesandromteachingstudentswithlipsoallshapesandsizes.Justrememberthatallthetechnicaladviceintheworldwillnottaketheplaceoyourownskillinputtingallothistogetherinawaythatreallyworksoryou.Iyouhavegoodplacementanduseyourair,mostothesethingsallintoplacebythemselvesandallyouhavetodoisbecareulnottogetintobadhabits.
Te embouchure is all about getting good vibrations.
High,low,loudorsot,theremustbeagoodvibration.Teollowinginormationsupportsthatconcept.
1. Tere is a general setting that, i nothing else, is the best jumping-o point or anyone serious about playing the whole range o the horn.
Tissettingisoundbysettingtheoutsideedgeothemouthpiecejustabovethemusclelinethatseparatestheredorinsideothelowerlipromtheacialskinoutsidethelip.Tismeansthatthemouthpieceistechnicallyinsidethelowerlipbutisasardownthelowerlipaspossible.Temusclelinekeepsthemouthpieceromgoinganylower(ontotheacialskin)andprovidesanicegrippointortheembouchure.Teupperlipallsintothemouthpieceinanatural,relaxedmanner.ondthisposition,havestudentsclosetheirmouthswithoutanyexorotherpositioning.Tisisthesame“normal”mouthpositiontheywouldassumewhilewatchingtelevisionorreadingabook–notensionorthoughtinvolved.Catchtheoutsideedgeothemouthpieceonthelowerlipmusclelineromaboveandthenjusttiltthemouthpieceontothelips.Makesurestudentsdonotmovetheirlipsduringthisprocess.Ihaveoundthatmanystudentswanttomovetheirupperlipupslightlyastheyeelthemouthpieceapproach.
 It is very important that this does not happen.
Atthispoint,iyouhavedonethiscorrectly,youhaveoundthe“natural”startingpositionortheembouchure.Iyouhaveamouthpiecethatis
Embouchure
 
16Embouchure
bigenoughinside,thiswillputabitormoreotheskinabovetheupperlipinthemouthpiece.Tisisimportant.Youdon’twantthemouthpiecesettingintotheupperlip.Letstudentseelthispositionwithoutplayinganything.Tenhavethemjustblowairwiththissetting.Finally,havethembuzzacoupleoeasynotesbeoretheytryitwiththehorn.Askthemithisisdierentthanwhattheyhavebeendoing.Usuallytheywillsaythatthemouthpieceis“uphigher”thanbeore.Whenyouareplaying,yourlipsshouldlookessentiallythesameaswhentheyareintheat-restposition.Anob- vioussmiledoesnotwork.Neitherdoesanobviouspucker.Maybethat’swhyFarkasrecommendeda“puckeredsmile.”Onelipshouldn’tdisappearorpoutout.Telipsandteethneedtolineup.Teamountotheredpartothelipshowingoutsidethemouthpieceshouldbeaboutthesameasithelipswere justsittingtheredoingnothing.
2. “wo thirds upper lip and one third lower lip” doesn’t really mean anything.
Although,asyoucansee,theillustrationbelowdoesshowaractionalliprelationshipsimilarto2/3upperand1/3lower,thisratiocanbeachievedinavarietyoways,manyothembad.Iyouhaveathicklowerlipyoucouldbesettingwayintothelowerlipandhavethisratio.Youcouldberollingyourlowerlipoveryourteethandhavethisratio.Youcouldbesettingintoyourupperlipandstillhavethe“properratio.”Otherbadpossibilitiesexist.Don’tbeooled.Resultsarewhatcount.Te“ratio”iscompletelycoincidental.IneverusethisterminologyandIwisheveryoneelsewouldquitdoingitaswell.Itmeansnothing.
3. You need to have enough room in the mouthpiece to get the upper rim on the skin above the upper lip.
Althoughitispossibletoplaywiththemouthpiecediggingintotheupperlip,itisnotdesirableoranumberoreasons.Inothingelse,itwilldecreaseyourpotentialendurance.Teredpartothelipisjustnotmeantorthatkindopunishment.Asyougetolder,seriousinjuryispossible.“Settingin”alsotendstopintheupperlipmuscles,orcingtheuseopressuretocompensateortheactthatyoucan’tworkthesemusclestohelpyoumovearoundonthehorn,especiallyintheupperregisterandwhendoingliptrills.
Te upper lip muscles must be ree to move.
Tesearethe“nesse”musclesoyourembouchure.Manypeoplewiththickerlipswhotrytoplayonsmallorseemingly“normal”insidediametermouthpieceswillendupwiththerimdiggingintotheirupperlip.Teywill
 
Embouchure17
trytoplayonthesemouthpieces,thinkingthateveryoneelsecanorsomegreatplayerisabletodoit,andwillexperiencemuchpainandrustration.IknowthisbecauseIwasoneothosepeople.Whenyoutakeyourmouth-pieceoaterplaying,looktoseewherethe“mark”isonyourupperlip.Itshouldbeupontheskinpart.
4. I your lips are lined up evenly you will get a natural aperture or each note. You don’t need to “hold open”an aperture in the center o your embouchure.
Mostpeoplehaveanaturaloverbite.Tismeansthatyourlowerteethlineupslightlybehindyourupperteeth.Inordertohaveyourlipslineuponeovertheother,youmustbringyourjaworwardsothattheteetharelinedup,too.Aslightangledownwardorthemouthpieceisnormal,
but it must be dened by the teeth
.Tisputsanevenpressureonbothlipsandgivesyourlowerlipachancetobetherealstrengthandanchororyourembouchure.Whenthelipsvibrateinproximitywitheachother,anaturalapertureisormed.Getamirrorandcheckitout.Youdonotneedto“holdopen”anapertureorholeinthemiddleoyourembouchure.Tiscutsdownonvibratinge-ciencyandproducesanairysound.Itwillalsocauseproblemsintheupperregister.Youshould,however,beveryawareotheproximityoyourvibratingsuracesandbeabletomakethevibrationlargerorsmalleraccordingtotherangeanddynamicyouareplaying.“Bringingin”thevibrationromthesidesasyougoupisagoodidea.Ijustobjecttotheideao“holdingopen”anaperturebecauseoralotopeoplethismeansmovingtheupperlipupabitbeoretheyset,andthiswillpintheupperlipandreducecontrolothemuscles.Averycommonthingtowatchorisaslightupwardmovementotheupperlipjustbeoreyouplacethemouth-piece.Tiscanbeverybad.Lettheupperlipallintothemouthpiece.Itmayseemstrangetopeoplewhohavebeendoingthis“lit”justbeoretheyplay,buttheoverallimprovementromnotdoingitcanbesubstantial.
5. You need to keep control o your chin muscles, which actually helps you ex your lower lip.
Yourchinshouldneverbesotortakeontheappearanceo,asPhilFarkaswouldsay,apeachpit.Techinmus-clesprovideoppositionorthelowerlipmuscles,justasthecornermusclescontroltheamountopucker,andbalancethepullosomeotheinsidecentermusclesothelip.Evenonthelowestnotesyouneedtokeepcornercontrolothelips,ortheywillvibraterightoutothemouthpiece.Asyougointotheupperregister,youwanttoexyourlowerlipsothatitbecomesrmerandeectivelygoeshigherintothemouthpiece.Tis,asopposedtotryingtojamyourlowerlipintothemouthpieceasmostpeopledowhentheyrsttrytoplayuphigh.
 Learn to fex the lower lip up as you pull the chin down.
Tisstrongexalsoprotectsyourlowerliprompressure.Watchgoodbrassplayers.Teykeeptheirchinsexedandundercontrol.Tisex,combinedwiththeslightorwardjawposition,givesuswhatFarkascalled“thebrassplayer’sace.”Teuseoamirrorplacedonthestandoraclip-onmirrorcanhelpsolvethebunchedorweakchinproblem.Bywatchingyourselinamirrorwhileplaying,yougetaninstantvisualeedbackthatwillhelpyoulearntheeeloaexedchin.Asusual,ndanotewherethechinisproperlyexedandworkinbothdirectionsromthere.
6. All the muscles around your embouchure need to be kept in place as you play.
Iwetalkaboutthechinandthe“corners”othemouthalot,itisbecausetheseareperhapsthemostcriticalotheacialmusclestobeabletocontrol.Teyarealsotheonesthataremostotennotunderpropercontrol.Terearemanymoremusclesintheace,however,andallthesemusclesplayapartinholdingtogetheragoodembou-chure.Temusclesoutsidethemouthpieceneedtokeepairpocketsromdeveloping,and,intheupperregister,theyneedtobecomethe“unnelostrengthandenergy”thatsupportsthesmallerexesinsidethemouthpiece.Iyouwatchagreatbrassplayerplay,youseelittleornomovementontheaceoutsidethemouthpiece,butthatdoesn’tmeanthereisnoexingotheseacialmuscles.Justtheoppositeistrue.Youdon’twanttoover-tenseandcreateundostrain,butyoudoneedrmnessappropriatetotherangeyouareplaying.Teamazingthingaboutmanyothesemuscle“problems”orissuesisthatiyoutakeabigenoughbreathjustbeoreyouplay,thenaturalthingoryourbodytodoistoholdthemusclesinplace.TisispartowhatIcallthe
natural process o horn playing 
.”Giventhatwesetourselvesuporsuccess,thebodywillndthewaytodoit.

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