Embochure and the Product

Discussion in 'Trumpet Discussion' started by Heavens2kadonka, Mar 30, 2005.

  1. Heavens2kadonka

    Heavens2kadonka Forte User

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    I have recently developed an interest in embochures. Fascinating, how little millimeters here and then can have SUCH an effect on the sound through the bell....

    But down to the question... :D

    What are the noteable qualities of each embochure's product? I mean, do any particular embochures have their own unique sound to them?

    Van
     
  2. eisprl

    eisprl Mezzo Piano User

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    actually today I tried something different for the first time. What I did was center my lips more. (I normally use mostly lower lip). It really opened up my sound and it sounded really good. But I am already comfortable with my present embouchure. What advice might someone give to me.

    Basically, Nice new sound at expence of new embouchure
    or
    same old regular sound with the embouchure that I have been used to and already developed.

    Thanks all
    Eric
     
  3. Heavens2kadonka

    Heavens2kadonka Forte User

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    Dylan,

    I changed my embochure to a Farkas at the suggestion of my instructor. I found that my sound was much improved, and required much less effort to play.

    The sound is a lot more round, and vibrant sounding, if that makes any sense.

    Do the other embochures, like Maggio, TCE or Superchops, have their own "sound?"

    Van
     
  4. Manny Laureano

    Manny Laureano Utimate User

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    Dylan,

    I think I understand what Van is asking about in this instance.

    While, clearly, anything can studied to the point of obsession, HOWEVER, I also believe that if you drive a car you need to have a basic understanding of why a car works. You need to at least know how and why you have to change the oil occasionally. Even though one is not an electrician, I believe everybody should be capable of repairing or putting in a light switch. These bits of knowledge are important to solving problems when they arise and not always having to depend on teachers when they aren't around anymore.

    Having a basic knowledge about the effects of various positions of a mouthpiece on a pair of healthy lips is a good thing. Worrying about it during a rehearsal or show is bad. Knowing what will happen in a given "embouchure situaution" takes a lot of guess work out of problem solving. "Just put it up there and blow" is a good axiom most of the time but occasionally, when one is in a slump, knowing what the result of a given action is helps you get out of that slump quicker. It's why the best athletes don't slump for very long. They understand the mechanics of what they do and they begin the process of slow, steady practice until they regain their form after recognizing and making adjustments.

    So, I say to Van: learn to wear two hats, as Jacobs would say. Wear a teacher's hat and a performer's hat and never let the two be on stage at the same time.

    ML
     
  5. pops

    pops Pianissimo User

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    Yes every embouchure has its own sound BUT that sound changes with different people.

    There are a lot of reasons why the same embouchure gets a different sound for different players.

    One reason is that our jaw and teeth line up differently so the lip alignment is different. Another is that people have lips of different lengths, different thickness, different shapes.

    One person has a big bottom lip and a small top lip, another a big top lip and a small bottom lip, another both lips are big while yet another has both lips that are small. Yet they can all play.

    And size is a SMALL part of it. Where the muscles actually attach is even more important.

    So I think your question is what embouchure should you play to get a certain sound.

    The answer is we can't tell you withOUT seeing you play and seeing HOW your facial muscles respond under certain situations.

    I get all of my students to have a BIG sound but some have to buzz to get it, some have to use lip curl to get it, some have to pucker the lower lip to get it, some have to pull the corners in to get it......

    WE are all different.

    It is important to know that we are all different but it is only important for a teacher to know how all of those differences work. You only need to know what works for you.
     
  6. Manny Laureano

    Manny Laureano Utimate User

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    If i didn't, I wouldn't be able to charge people obscene amounts of money for lessons!:oops:

    ML
     
  7. PH

    PH Mezzo Piano User

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    Yes you would. Lots of people do. You, however, are ethical! :cool:
     
  8. rms573

    rms573 New Friend

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    One warning about switching embouchures...from my experience. When I first started out if I was having a bad day I would get really frustrated and try something different with my embouchure (and forget about just relaxing and focusing on air support). I would move the mouthpiece slightly over, up, or down and then all of a sudden it would feel better...but it was an illusion. It's sort of like when you haven't played in a while and you pick the horn up you might be able to play in the upper register a little easier at first because you lips are tight. But then after you play for a little bit they loosen up and you go back to where you were. It took me a while to realize that instead of worrying so much about embouchure I should really focus my attention on air support and relaxation. Since I realized that it has been all up hill, and in those years if I would of just focused on the more fundamental things I would have saved myself a lot of frustration.
     
  9. Heavens2kadonka

    Heavens2kadonka Forte User

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    Yes, I have also had to learn from my embochure change to rely on the wind. Actually, its more of a SUPPORT issue with me, I have been slowly learning to not use the air to "shoot" out the note (A "HUH" sound), and use a constant stream, using the tongue, for once in my life (How I've managed to hack my way to this point, is still beyond me, lol). Its aggravating, but at least I can see improvement with each day.

    I also understand what you were getting at, Dylan. If you start worrying about making all the notes come out when they have to, you forget about musicality. If you focus on making everything as clear, beautiful, and even, everything else tends to fall into place.

    I was just curious if different embochures were known for producing a different common sound. Of course, Pops has set me straight. The embochure is supposed to fit the player, and the PLAYER has his own unique sound.

    Thank you all for your help.

    Van
     

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