Embouchure

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Embouchure or lipping is the use of lips, facial muscles, tongue, and teeth in playing a wind instrument. This includes forming lips into a woodwind instrument funnel or a brass instrument funnel. The word is French and is associated with the root, 'mouth'. The right embossing allows the instrumentalists to play their instruments in full range with a full, clear tone and no tension or damage to their muscles.

Video Embouchure

In 1970, Farkas published a second text contrary to his earlier writings. Of the 40 subjects, Farkas showed that 39 subjects directed air downward to varying degrees and one subject directed air upwards at varying degrees. The position of the lower jaw shown in these photographs shows more variations than the previous text as well.

This supports what was written by trombonist and brass pedagogue Donald S. Reinhardt in 1942. In 1972, Reinhardt described and labeled different embungure patterns according to characteristics such as funnel placement and the general direction of airflow as it passed through the lips. According to this text later, players who place the funnel higher on the lips, so that more upper lip is inside the funnel, will direct air down to varying degrees while playing. The actors who place the funnel lower, so that more lower lip is inside the funnel, will direct the air to varying degrees in an upward way. In order for players to be successful, the direction of airflow and funnel placement should be personalized based on individual anatomical differences. Lloyd Leno confirmed the existence of upstream and downstream embryos.

More controversial is Reinhardt's description and recommendation of a phenomenon he calls the "axis". According to Reinhardt, a successful brass frill depends on the movement in which the player moves both the funnel and the lips as a unit along the gear in an upward and downward direction. As the player rises in the field, he will move the lips and mouthpiece together slightly toward the nose or pull it down slightly toward the chin, and use the opposite movement to get off on the field. Whether the player uses one-way general pivot or the other, and the extent to which the movements are performed depends on the anatomical features and the stage of development. The placement of the mouthpiece on the lips does not change, but the relationship between the lips and lips with teeth. While the angle of the instrument may change as this movement follows the shape of the teeth and the placement of the jaw, contrary to what many players and brass teachers believe, the instrument angle is not really a movement that Reinhardt suggested as a pivot.

Subsequent research supports Reinhardt's claim that this movement exists and may be recommended for brass players to be adopted. John Froelich explains how the pressure of the funnel toward the lips (vertical force) and the shear stress (horizontal force) functions in three test groups, student thrombonist, professional thrombonist, and professional symphonic trombonist. Froelich notes that symphonic trombones use the smallest amount of direct and shear forces and recommend this model to follow. Another study noted that almost all brass players rely on upward and downward movement movements. Other writers and pedagogues remain skeptical about the need for this movement, but the scientific evidence supporting this view has not been developed enough today.

Some of the famous brass pedagogy prefers to instruct the use of embouchure from a less analytical point of view. Arnold Jacobs, a highly respected tuba doctor and brass teacher, believes that it is best for students to focus on their use of air and musical expression to allow embungs to develop naturally by themselves. Other instructors, such as Carmine Caruso, believe that the brass player embouchure is best developed through coordination exercises and exercises that bring all the muscles into balance that focuses students' attention on the perception of time. Still other writers who have different approaches to embouchure development include Louis Maggio, Jeff Smiley, Jerome Callet. and Clint McLaughlin.

Farkas embouchure

Most professional players, as well as instructors, use a combination called a wrinkled smile. Farkas tells people to blow as if they are trying to cool the soup. Raphael Mendez advised to pronounce the letter "M". The skin under the lower lip will be tight without air bag. His lips do not overlap or roll in or out. The corners of the mouth are held firmly in place. To play with an extended range, you must use pivot, tongue arch, and lip for lip compression.

According to Farkas, the spokesperson must have the upper lip / ₃ and ¹ / ₃ lower lip (French horn), ² / ₃ bottom lip and ¹ / ₃ upper lip (trumpet and cornet), and more latitude for lower brass (trombone, baritone, and tuba). For the trumpet, some also recommend ¹ / ₂ upper lip and ¹ / ₂ bottom lip. Farkas claims placement is more important for instruments with smaller funnels. Lips should not overlap, nor should they be rolled in or out. The corners of the mouth must be held firm. Farkas speculates that the horn should be held in a downward angle to allow airflow to enter directly into the funnel, although the text then indicates that the direction of the airflow is actually either upstream or downstream and depends on the ratio of the upper or lower lip. in a funnel, not a horn angle. Farkas advises to wet the outside of the lips, then form the embung and gently place the funnel on it. He also recommends that there should be a ¹ / ₃ inch (8 mm) or more spaces between the teeth so that air flows freely.

Arban vs. Saint-Jacome

Arban and Saint-Jacome are soloist corners and authors of respected and still-used book books. Arban states not logically that he believes the funnel should be placed ¹ / ₃ on the upper lip. Saint-Jacome, on the other hand, said dogmatically that the spokesman should be placed "two thirds for the top and the rest for under under all professors and one third for the top and two thirds for the bottom according to the only individual, which I will not mention. "

Buzzing embouchure

The Farkas set is the basis of most frills lips buzzing. Mendez teaches lips buzzing by making students' lips buzz for a month before they can play their trumpet and get good results. One can start this buzz type by using the same sensation as spitting a seed, but maintaining a continuous airflow. This technique helps the development of Farkas approach by preventing players from using too open aperture.

Stevens-Costello embouchure

Stevens-Costello embouchure has its origins in William Costello embouchure and was further developed by Roy Stevens. It uses a little rolling on both lips and touches evenly along the way. It also uses a funnel placement of about 40-50% upper lip and 50-60% lower lip. The teeth will be about / ₄ to ¹ / ₂ inch (6 to 13 mm) apart and teeth parallel or jaw slightly forward.

There is relative funnel pressure relative to the given air column. An exercise for proper weight training for air connection is a palm exercise in which the player holds the horn by placing it on his side in the palm of his hand, not grasping it. The lips are placed on the funnel and the blowing player utilizes heavy horns in the build sound.

Maggio embouchure

Crumpled embbrowures, used by most players, and sometimes used by jazz players for a very high "screamer" tone. Maggio claims that the embuckure pucker provides more endurance than some systems. Carlton MacBeth is a major supporter of the pucker embouchure. The Maggio system was established because Louis Maggio suffered an injury that prevented him from playing. In this system, the player puts his lips elongated or shriveled (like a monkey). These wrinkles allow the players to overcome physical malformations. It also lets players play for a long time at the top register. Pucker can make it easy to use to open the aperture. A lot of very soft exercises can help overcome this. Claude Gordon was a student of Louis Maggio and Herbert L. Clarke and systematized the concept of these teachers. Claude Gordon uses pedal tones for embungure development as did Maggio and Herbert L. Clarke. All three stressed that the funnel should be placed higher on the upper lip for a freer vibration than the lips.

Controlled embroider with tongue

This embouchure method, supported by minor brass pedagogues such as Jerome Callet, has not been adequately researched to support the claim that this system is the most effective approach for all brass players.

Proponents of the Callet approach believe that this method was recommended and taught by large instructors in the early 20th century. Two French trumpet engineering books, written by Jean-Baptiste Arban and Saint-Jacome, are translated into English for use by American players. According to some, due to a misunderstanding arising from differences in pronunciation between French and English, the commonly used brass embouchure in Europe is misrepresented. Callet attributes this distinction in embouchure techniques as the reason the great players of the past were able to play at the level of technical expertise they did, although the increasing difficulty of contemporary composition for brass seems to indicate that the brass technique level achieved by players today equals or even exceeds most players from the late 19th century and early 20th century.

The brass embellish callet method consists of the remaining tongue forward and through the tooth at any time. The corners of the mouth always remain relaxed, and only a little air is used. The upper and lower lips curl inward and grip the tongue forward. The tongue will force the teeth, and then the throat, wide open, is said to produce a larger and more open sound. The forward tongue withstands the pressure from the funnel, controls airflow for lower and higher tones, and protects the lips and teeth from damage or injury from the funnel pressure. Because of the importance of the tongue in this method, many call this a "tongue-controlled embrowure". This technique facilitates the use of smaller funnels, and larger drill instruments. This results in increased intonation and more strongly related partially in the partial range of players.

Maps Embouchure

Woodwind embouchure

Flute embouchure

Various transversal flute swales are used by professional flautists, although the most natural forms are perfectly symmetrical, the corners of the mouth relax (ie not smiling), the lower lip is placed along and at short distances from the embouchure hole. It should be emphasized, however, that achieving a symmetrical blowing hole, or perfectly centered should not be an end in itself. Indeed, the French flute player Marcel Moyse did not play with symmetrical embellings.

The dashed Xiao, kaval, shakuhachi, and hocchiku eventually demand a difficult embouchure, sometimes requiring many lessons before any sound can be generated.

Embouchure is an essential element for production tones. Embouchure is right, developed with "time, patience, and smart work", will produce beautiful sound and correct intonation. Embouchure is produced with the muscles around the lips: especially orbicularis oris muscle and depressor anguli oris, while avoiding the activation of the major zygomaticus, which will produce a smile, leveling the upper lip against the upper jaw (upper jaw). Beginning flute players tend to suffer from fatigue in these muscles, and especially struggle to use depressor muscles, which of course helps to keep the upper lip directing the airflow in the embouchure hole. These muscles should be heated properly and done before practicing. Tone development exercises including long notes and harmonics should be performed as part of the daily heating.

Some further adjustment to the embouchure is required when moving from the flute of the orchestra across to the piccolo. With a piccolo, it becomes necessary to place the side near the embouchure hole slightly higher on the lower lip, ie above the edge of the lips, and greater muscle tone of the lip muscles needed to keep the flow/air pressure directed across the smaller embouchure hole , especially when playing in the higher piccolo registers.

Embroidery reed instrument

With woodwinds, in addition to flutes, piccolo, and recorders, sound is generated by reeds and not by lips. Therefore, embouchure is based on sealing the area around the reed and funnel. This serves to prevent air from escaping while supporting reeds, allowing it to vibrate, and narrowing the reeds to prevent it from vibrating too much. With woodwinds, it is important to ensure that the funnel is not placed too far into the mouth, which will produce too much vibration (no control), often creating an octave (or twelfth harmonic to clarinet) sound above the desired note.. If the funnel is not placed far enough into the mouth, no sound will be produced, because the reed will not vibrate.

Standard embankments for single reed woodwinds such as clarinets and saxophones are variants of a single lip embouchure, formed by placing a reed on the lower lip, which rests on the teeth and is supported by the muscle of the chin and buccinator muscle at the side of the mouth. The upper teeth are located above the funnel. The way in which the lower lip rests on a different tooth between the clarinet and the saxophone hood. In playing the clarinet, the lower lip is rolled on the teeth and the corners of the mouth are pulled back, which has the effect of drawing the upper lip around the funnel to make the seal due to the angle at which the funnel is located in the mouth. With saxophone sauce, the lower lip is lean, but not excessive, the teeth as in utter the letter "V" and the corners of the lips are drawn (similar to the bag drawn). With a less common double-lip crease, the upper lip is placed under (around) the upper teeth. In both cases, the position of the tongue in the mouth plays an important role in focusing and accelerating the airflow being blown by the player. It produces a more mature and full sound, rich in nuances.

Woodwinds double reeds, oboe and bassoon, do not have a funnel. Instead the reed is two pieces of a stick extending from a metal tube (oboe - staple) or placed on a bocal (bassoon, English horn). The reed is placed directly on the lips and then rotated like the double-lips appendages described above. Compared to single reed woodwinds, very small reeds and subtle changes in embouchure can have a dramatic effect on tuning, tone and pitch control.

src: www.ville-frejus.fr

See also

• Double buzz associated with brass players who do the embung
• Saxophone Flute
• Roy Stevens deals with the Stevens-Costello method
• Embouchure collapse
• Gheorghe Zamfir

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References

src: upload.wikimedia.org

Further reading

• "Playing Brass No Harder than Breathing" by Claude Gordon
• "Super Chops", "Trumpet Secrets" by Jerry Callet
• "Screamin - The Final Embouchure Method" video by Bill Carmichael
• The book "Sail the Seven C" & amp; CD by Clyde Hunt
• "Embouchure Improvement" by Roddy Lewis
• "New Approach to Altissimo Trumpet Playing" by John Lynch
• "Trumpet A-Z", "Trumpet FAQ", "Pro Talk Embouchure" by Clint Pops McLaughlin
• "Brass Tactics" by Chase Sanborn
• "The Buzzing Book" by James Thompson
• "Complete Stevens-Costello Movement Technique, Second Edition" by Roy Stevens & amp; Bill Moriarity

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External links

• Photo Flute Flute
• Jerome Callet's Superchops Embouchure Clinic
• Trumpet Play and Brass Playing by Claude Gordon Jeff Purtle's student
• TCE Bahb Civiletti
page
• Rune's Trumpet-think Discussion about embouchure
• Diagram of embouchure
• Trumpet College Discussion of all embungs
• Beginner's guide to insert
• OJ discussion of all embungs
• Saxophone embroidery
• Steviens-Costello Roy Roman Displacement Instructions
• Tribute Sites about Roy Stevens
• http://www.embouchure.nl, information

Source of the article : Wikipedia