Understanding Correct Movement of the Embouchure · embouchure. This is the most common traditional...
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Understanding Correct Movement of the Embouchure Richard Colquhoun – https://trumpetpla.net/ Correct movement This movement enables good control of the aperture with central-lip- compression. Mouth corners stay loose, allowing easy flexibility and movement. The embouchure controls the release of pressurised air, resisting it more as you ascend. The lip position becomes stronger as you ascend meaning that you have a consistent tone and control of intonation in all registers. There is no need for mouthpiece pressure. Stretching or tightening of the lips Often referred to as a “Farkas-type” embouchure. This is the most common traditional way to play. This movement causes the lips to become thinner and weaker as you ascend in pitch. The embouchure cannot correctly resist the flow of air. The lips will collapse into the mouthpiece requiring added pressure to hold them in place. Tight mouth corners hinder flexibility, range and stamina. Maggio or Gordon-type pucker When moving in the same direction as the air the embouchure cannot effectively control the aperture. Pulling the chin flat makes this problem worse. Players will rely on overblowing and creating ineffective resistance in the throat or with the tongue (like a kink in a hose, not like squeezing the end as is often believed). Playing in the upper register will have a spread sound and poor intonation.
Transcript of Understanding Correct Movement of the Embouchure · embouchure. This is the most common traditional...
Understanding Correct Movementof the Embouchure
Richard Colquhoun – https://trumpetpla.net/
Correct movement
This movement enables good controlof the aperture with central-lip-compression. Mouth corners stayloose, allowing easy flexibility andmovement. The embouchurecontrols the release of pressurisedair, resisting it more as you ascend.The lip position becomes stronger asyou ascend meaning that you have aconsistent tone and control ofintonation in all registers. There isno need for mouthpiece pressure.
Stretching or tightening of the lips
Often referred to as a “Farkas-type”embouchure. This is the mostcommon traditional way to play.This movement causes the lips tobecome thinner and weaker as youascend in pitch. The embouchurecannot correctly resist the flow ofair. The lips will collapse into themouthpiece requiring added pressureto hold them in place. Tight mouthcorners hinder flexibility, range andstamina.
Maggio or Gordon-type pucker
When moving in the same directionas the air the embouchure cannoteffectively control the aperture.Pulling the chin flat makes thisproblem worse. Players will rely onoverblowing and creating ineffectiveresistance in the throat or with thetongue (like a kink in a hose, not likesqueezing the end as is oftenbelieved). Playing in the upperregister will have a spread sound andpoor intonation.
