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Topic: Embouchure

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	Embouchure - Wikipedia, the free encyclopedia
		The embouchure is the use of facial muscles and the shaping of the lips to the mouthpiece of a wind instrument.
		A variety of transverse flute embouchures are employed by professional flutists, though the most natural form is perfectly symmetrical, the corners of the mouth relaxed, the lower lip placed along and at a short distance from the embouchure hole.
		The embouchure for single reed woodwinds like the clarinet and saxophone is formed by resting the reed upon the bottom lip, which is placed on top of the bottom teeth.
	en.wikipedia.org /wiki/Embouchure (2234 words)

	[No title] (Site not responding. Last check: 2007-10-21)
		Some attribute this difference in embouchure technique as the reason the great players of the past were able to play at the level of technical virtuosity which they did.
		The common method of brass embouchure today consists of tensing the corner of one's mouth and buzzing the lips, while pressing the mouthpiece against the lips, and pinning the lips between the mouthpiece and the teeth.
		A variety of flute embouchures are employed by professional flautists, though the most natural form is perfectly symmetrical, the corners of the mouth relaxed, the lower lip placed along and at a short distance from the embouchure hole.
	wikiwhat.com /encyclopedia/e/em/embouchure.html (382 words)

	DMRF: Forms of Dystonia: Embouchure Dystonia (Site not responding. Last check: 2007-10-21)
		Embouchure dystonia is a term used to describe a type of dystonia that affects brass and woodwind players.
		The term embouchure refers to the adjustment of the mouth to fit the mouthpiece of a wind instrument.
		Embouchure is believed to be due to abnormal functioning of the basal ganglia, which are deep brain structures involved with the control of movement.
	www.dystonia-foundation.org /defined/emb.asp (777 words)

	The Horn Embouchure, part 1
		This is a problem because this type of embouchure requires the lips to be pulled thin by the cheek muscles, and this leaves the lips prone to injury, will add a distinct "edge" to the tone, and cuts down endurance.
		A bright basic tonal color on the horn is often related to too much "smile" in the embouchure, and it is not uncommon for this to also creep in when approaching the top register of the horn in an effort to reach the notes.
		Most sources on brass pedagogy agree that an embouchure where the lower lip is rolled over the lower teeth and the air stream flows at a sharp angle down the chin is not a well-formed embouchure.
	www.public.asu.edu /~jqerics/horn_emb.htm (2940 words)

	CLARINET EMBOUCHURE (Site not responding. Last check: 2007-10-21)
		The clarinet embouchure is one of the most widely misused and misunderstood aspects of clarinet playing.
		The errors in the formation of the embouchure tend to fall into a number of distinct categories which are extremely difficult to remedy after the student has formed certain habits in which the wrong muscular action is involved.
		The teacher can help by visually seeing the embouchure setting, and when the student is alone, standing/sitting in front of a long vertical mirror - if available - is an indispensable aid to correct habits.
	www.tcnj.edu /~mckinney/clarinet_embouchure.htm (792 words)

	Teaching the Clarinet Embouchure
		Embouchure, along with air support, determine the tone quality that is produced on a wind instrument.
		If the clarinet student’s embouchure is not formed properly from the beginning, his or her tone production potential may be impeded.
		Assist students in forming and developing their clarinet embouchure by having each be responsible for providing a small mirror that can be placed on the music stand.
	www.kjos.com /band/band_news/band_news_emb2.html (516 words)

	The Harp Reference: Embouchure
		The embouchure (ahm' ba sure) is the method of applying the lips and tongue to the mouthpiece of a wind instrument, like the harmonica!
		In my opinion, it is easier to reach this "pucker/block" embouchure starting with the lip block than with the "pucker" mental image.
		These modifications to the "standard" embouchures can add speed and accuracy since less harp/head movement is required to jump to a non-contiguous note.
	www.angelfire.com /tx/myquill/Embouchure.html#Pucker (711 words)

	The Ideal Trumpet Embouchure
		It is in this spirit that we approach the examination of the ideal embouchure, i.e.
		The embouchure can be divided into two parts, a static part which includes any preparatory elements prior to playing, and a dynamic part which includes anything related to the operation of this embouchure when actually playing.
		Thus, although left hand grip is not a component of embouchure in the strict sense of the word, it acts in conjunction with our ideal embouchure and for this reason, left hand grip may be considered a second and very important and active ingredient of our ideal embouchure.
	www.asymmetric-mouthpiece.com /ideal.htm (2648 words)

	Teaching Brass, Embouchure (Site not responding. Last check: 2007-10-21)
		There also exists a phenomenon which the well-known embouchure trouble shooter Donald Reinhardt called a "pivot." This concept is very often misunderstood as referring to changing the horn angle up and down as one changes registers, which is why I often avoid that term.
		This embouchure types usually places the mouthpiece with around 2/3 upper lip and 1/3 lower lip or higher, although it is not uncommon to see players of this type place closer towards 1/2 upper and lower lip.
		Additionally, most embouchure troubles are not caused by faulty mouthpiece placement, but instead by either lack of general embouchure firmness or too much motion of the mouthpiece while inhaling.
	facstaff.unca.edu /dwilken/teachbrass_2.html (2435 words)

	What is a good embouchure?
		As this definition says, the word embouchure is used by both wind and brass players.
		When we talk about embouchure, what we are really referring to is the way that you form your mouth around the mouthpiece of the saxophone.
		We are all born with vocal chords, but the "brass chords" (embouchure) are artificial or "man made".
	abel.hive.no /trumpet/articles/embouchure (1316 words)

	Wichita Band Instrument Co.-Used Flutes, Clarinets & Saxophones
		The length from the center of the embouchure to the end of the foot is 532 mm.
		The “sounding length” (center of the embouchure to the end of the D foot) is 539 mm.
		The embouchure is stamped with the French stamp for sterling silver on one side of the plate, with the maker’s stamp on the other.
	www.wichitaband.com /used.html (17989 words)

	embouchure dystonia
		Re: Re: For Joaquin Re: embouchure dystonia -- Glen Estrin
		Embouchure Dystonia IS a neurological disorder, and all of the people on this Bulletin Board that have been diagnosed with it by the outstanding neurologists we have all visited know this very well.
		Embouchure dystonia is believed to be due to abnormal functioning of the basal ganglia, which are deep brain structures involved with the control of movement.
	www.dystonia-bb.org /forumarchives/mwd-current/archive/306.html (4044 words)

	Dayton C. Miller Flute Collection: Transverse Flute Elements Named in This Catalog
		The earlier form involves an embouchure barrel that surrounds the sheet metal tube of the head joint at its embouchure hole with a short cylinder of wood or ivory, increasing the outer diameter to that of a typical wood or ivory head joint.
		Lip plate ferrule, DCM 0073, refers to a variation of the lip plate that encircles the head joint at the embouchure area with a sheet metal cylinder resembling the embouchure barrel and usually recessed flush with the outer surface.
		The embouchure barrel and embouchure plate of metal flute head joints may provide the player with a more attractive material for the embouchure, such as gold or gold plate, but their main purpose is to improve the acoustical properties of the instrument through greater wall thickness at the embouchure.
	memory.loc.gov /ammem/dcmhtml/transverse.html (917 words)

	Clarinet/Clarinet Basics/Tone/Embouchure - Wikibooks, collection of open-content textbooks
		The embouchure is an essential part of creating a good tone, it's like a carefully crafted doorway that the air stream flows through.
		Really, the embouchure has only one job, and it should feel the same all the time, and that job is to allow the airflow to act upon the clarinet so that the best possible quality of sound results.
		To create an embouchure this way is very unnatural for the human lip, so it will take a good deal of practice to concentrate on the airflow and embouchure at the same time, but that's okay - Rome wasn't built in a day, you know.
	en.wikibooks.org /wiki/Clarinet/Clarinet_Basics/Tone/Embouchure (1057 words)

	Embouchures.com Product 4
		Their lips are constantly swollen and their facial muscles profoundly fatigued; but if there's not enough tension and resistance in a player's embouchure, a player has no playing control, endurance, or high range, and his air control also cannot function.
		The most effective way I have found to retrain a broken embouchure is to have players consciously configure their embouchures with more energy in the muscles.
		I prompt them to set the embouchure with a slow, simple sequence of physical mechanisms that is used each time.
	www.embouchures.com /Overuse.htm (1332 words)

	Embouchure
		The word "embouchure" is a French word that translates to "opening into." Players of woodwind and brass instruments use this word to describe the formation of the lips, oral cavity, the tongue, jaw structure, and muscles surrounding the mouth used in the production of tone on their respective instruments.
		The first, and most obvious, function of the embouchure is to keep air from leaking out of the mouth while playing.
		The embouchure is the single thing that makes the Saxophone so expressive and posses such a human, voice like quality.
	www.saxlessons.com /embouchure.htm (720 words)

	Embouchure dystonia
		Embouchure dystonia is defined as a series of involuntary muscular contractions affecting the embouchure area which are also associated to certain degree of lack of coordination of the tongue and the respiratory system that prevent from a controlled tone production.
		After years of dealing with musicians with embouchure dystonia with no medication at all, my experience has brought me to the conclusion that this disorder that affects the wind musician is a consequence due to a progressive and unnoticed shift of our daily practice and a emotional behaviour associated to it.
		Although there is some information that pretends to make us believe that embouchure dystonia is an incurable disorder, I suggest everybody to ignore it given that experience shows the opposite, however we can be sure that those who are followers of such a claim have never solved a case.
	www.embouchuredystonia.com (564 words)

	Out of the Case: An Alternate Approach to Embouchure Development, Part 1
		Work on your embouchure is necessary only if you're having serious range, sound, pitch, or endurance problems, or if you've reached a point in your development where no matter what you do, how hard you practice, you're not getting any better.
		Without a "good" embouchure, without a "good" sound, without range and endurance, none of the things I've covered in the last few months are really very useful, and WITH a "good" sound, extreme mobility is almost unnecessary.
		Dizzy Gillespie had a "good" embouchure that broke every rule in the book, but it worked well for him, thus it was "good".
	www.trombone.org /articles/library/outofthecase5-1.asp (1770 words)

	Flute - Wikipedia, the free encyclopedia
		In non-fipple flutes, especially the concert flute and piccolo, the player must form and direct the stream with his or her lips, which is called an embouchure.
		The Western concert flute is a transverse flute which is closed at the top.
		The flute has circular finger-holes, various combinations of which can be opened or closed by the flautist, by means of a mechanism of keys, to produce the various notes in the flute's playing range.
	en.wikipedia.org /wiki/Flute (2828 words)

	Rune's trumpet page, EMBOUCHURE
		The downsides of this embouchure are the difficulty of playing softly and a tendency to get an airy sound in the lower and middle registers.
		The essence of the Stevens embouchure, is rolling in the lips.
		The embouchure is very similar to the Stevens embouchure, except the aperture will move up in front of the upper teeth by bunching the chin.
	www.trumpetthink.com /embouch.htm (1183 words)

	Embouchure
		Be careful to avoid forming an embouchure by using the smiling muscles in your cheeks to help shape your lips.
		The result of using this embouchure on our modern metal flutes is having one kind of sound (usually hard or brittle with a lot of edge that doesn't carry very well) and experiencing a great deal of tiredness in your cheek muscles after only a few minutes of playing energetically.
		It is the control of the shape of the lip opening which determines whether the sound at the bottom of the flute range is full, projecting and resonant or disappears in a wisp of breathiness.
	www.fluteline.com /Embouchure.htm (930 words)

	Flute acoustics: an introduction (Site not responding. Last check: 2007-10-21)
		Technically, these actions work because they change the radiation impedance at the embouchure: when a note is 'lipped down', the embouchure hole is "less open" (both the hole and angle are smaller so there is more impedance to radiation from the bore to the external field).
		Between the point where the embouchure riser meets the main bore of the flute and cork in the closed end of the instrument is a small volume of air.
		This is due to the relatively narrow embouchure riser: the tube of air linking the main bore to the lip plate.
	www.phys.unsw.edu.au /~jw/fluteacoustics.html (4886 words)

	Embouchure 201--John Ericson
		The low embouchure is critical for the advanced hornist to develop and is generally not well understood.
		While nobody really wants to change their embouchure, for some horn players there will be nagging questions relating to tone and range that may eventually have to be addressed with embouchure work.
		In retrospect I knew deep down that I needed to change my embouchure, but I just was not ready to hear about it, and all teachers would be wise to recognize that there is a time when students are ready to talk about this and a time to wait.
	www.public.asu.edu /~jqerics/horn_emb201.htm (1690 words)

	Embouchure change
		When I changed from my "Farkas Embouchure" to what we may call the "Stevens Embouchure", I felt it conflicted a bit with lip buzz.
		With this new embouchure I do not use so much "tug of war" (to cite Farkas) and my chop feels much more "fat" and moving forward and the support on my lower lip is also much stronger.
		The strength of the embouchure is in the corners, which also focuses the aperture.
	abel.hive.no /trumpet/embouchure/embouchure-change.html (1139 words)

	Embouchure Health and Maintenance
		The embouchure is a remarkably complex area of a horn player's physique.
		Horn players can hurt and do their embouchures and the most disturbing thing is that it is preventable.
		If one takes time to get to know how their embouchure works and responds to symptoms, such pain could be prevented, the embouchure can feel consistent from day to day.
	www.hornsociety.org /RESOURCES/articles/pelletier_embouchure.html (1262 words)

	Embouchure FAQ
		During the last 15 years, I have received more than 4000 e-mail and letter inquiries from players of all ages and accomplishments who were seeking information and help for a painful embouchure problem.
		Of course, a player who fervently believes that a lot of physically demanding playing is good for embouchure strength won’t usually stop playing when his chops begin to complain.
		Of course, what he doesn’t realize is the more hours he plays, the more weary his embouchure muscles become.
	www.embouchures.com /embouchure_faq.htm (1057 words)

	EMBOUCHURE FORMATION
		The embouchure is made up of the oral cavity, lips, and facial muscles.
		As a teacher, you will need to be able to diagnose, and correct embouchure problems in your students.
		Encourage the student to think about "frowning" while playing to counteract to the tendency to "smile." It is also helpful to tell the student to try and "grip" the outer rim of the mouthpiece with their lips when they play.
	www.music.ecu.edu /courses/brass/Embouchure.html (740 words)

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