Embouchure
[3][4] In 1962, Philip Farkas hypothesized[5] that the air stream traveling through the lip aperture should be directed straight down the shank of the mouthpiece.[7][8] In 1972,[9] Reinhardt described and labeled different embouchure patterns according to such characteristics as mouthpiece placement and the general direction of the air stream as it travels past the lips.In order for the performer to be successful, the air stream direction and mouthpiece placement need to be personalized based on individual anatomical differences.According to Reinhardt, a successful brass embouchure depends on a motion wherein the performer moves both the mouthpiece and lips as a single unit along the teeth in an upward and downward direction.[12][13] Other authors and pedagogues remain skeptical about the necessity of this motion, but scientific evidence supporting this view has not been sufficiently developed at this time.Arnold Jacobs, a tubist and well-regarded brass teacher, believed that it was best for the student to focus on his or her use of the air and musical expression to allow the embouchure to develop naturally on its own.[14] Other instructors, such as Carmine Caruso, believed that the brass player's embouchure could best be developed through coordination exercises and drills that bring all the muscles into balance that focus the student's attention on his or her time perception.[15] Still other authors who have differing approaches to embouchure development include Louis Maggio,[16] Jeff Smiley,[17] Jerome Callet[18][19] and Clint McLaughlin.Farkas speculated that the horn should be held in a downward angle to allow the air stream to go straight into the mouthpiece, although his later text[6] shows that air stream direction actually is either upstream or downstream and is dependent upon the ratio of upper or lower lip inside the mouthpiece, not the horn angle.Advocates of Callet's approach believe that this method was recommended and taught by the great brass instructors of the early 20th century.Two French trumpet technique books, authored by Jean-Baptiste Arban and Saint-Jacome, were 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 was incorrectly interpreted.[citation needed] Callet attributes 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, although the increased difficulty of contemporary compositions for brass seem to indicate that the level of brass technique achieved by today's performers equals or even exceeds that of most performers from the late 19th and early 20th centuries.The end-blown xiao, kaval, shakuhachi and hocchiku flutes demand especially difficult embouchures, sometimes requiring many lessons before any sound can be produced.With woodwinds, it is important to ensure that the mouthpiece is not placed too far into the mouth, which would result in too much vibration (no control), often creating a sound an octave (or harmonic twelfth for the clarinet) above the intended note.[27] In both instances, the position of the tongue in the mouth plays a vital role in focusing and accelerating the air stream blown by the player.Instead the reed is two pieces of cane extending from a metal tube (oboe – staple) or placed on a bocal (bassoon, English horn).
wind instrumentmouthpiecewoodwindbrass instrumentFrenchPhilip FarkasDonald S. ReinhardtArnold JacobsJerome CalletClint McLaughlinRaphael MendezRoy Stevenstransverse fluteMarcel Moyseshakuhachihocchikuorbicularis oris muscledepressor anguli oriszygomaticus majorpiccolorecorderclarinetsaxophonebuccinatorsaxophone embouchureovertonesdouble reedbassoonEnglish horntuningDouble buzzEmbouchure collapseBall State UniversityArizona State UniversityWayback MachineMusical techniquesArticulationBowingDampingDouble stopExtended techniqueFingeringFinger substitutionFinger vibratoGlissandoHarmonicsIntonationMultiphonicPhrasingPizzicatoPositionSlappingStopped noteThumb positionTremoloVibratoWind instrumentsSaxophone techniqueCircular breathingFlutter-tonguingGrowlingHarmonica techniqueOverblowingSlap tonguingSplit toneTonguingPiano extended techniquesFinger tappingLuthéalThree-hand techniquePrepared pianoString pianoTack pianoBowed string instrumentsBowed string instrument extended techniqueViolin techniqueCello techniqueBariolageBartók pizz.Col legnoFree bowingMarteléSpiccatoTwo bowsGuitarDownpickingFingerstyleFlatpickingPickingHybrid pickingString bendingTambourThird bridgePrepared guitarPrepared harpPercussionSnare drum techniqueBurton gripCymbal chokeDrum rollStevens gripRimshotHuman voiceExtended vocal techniqueBeatboxingDeath growlOvertone singingScreamingSprechgesangÉtudeBrass instrumentsTrumpetContrabassPocket trumpetFanfare trumpetFirebirdFlumpetCornetSoprano cornetFrench hornGerman hornVienna hornWagner tubaTromboneSopranoSuperbone