Embouchure types.

Discussion in 'Trumpet Discussion' started by RobertSlotte, Sep 12, 2008.

  1. cumpozer

    cumpozer New Friend

    Nov 29, 2010
    South of Youngstown, OH
    Is there any way I would be able to get a copy of it? I don't know how long it is, if you could copy it or something
  2. Trumpet1Ohio

    Trumpet1Ohio Piano User

    Jun 22, 2005
    Columbus, OH
    Let's make sure its the one you want. I'm not home right now to give specific info, but I'll get back with you.
  3. rowuk

    rowuk Moderator Staff Member

    Jun 18, 2006
    This thread started with some very fine information.

    I think that is is tough to say what "method" some player uses. Over time, we adapt to our bodies and ears and that means that even although we may USE some method of practice, our embouchure actually ends up being our "own" and not a perfect replica of what the teacher (or teachers teacher) taught.

    There is a lot of truth to any of the research done on embouchure, whether that be Maggio, Gordon, Reinhart, Hickman or the Institut Wiener Klang. Most of this info is useless unless the player has some idea about the context and the experience to move another player from A to B. It does make for good reading however.

    A word of warning to those who think that the embouchure is the silver bullet: you only know when you get there and that takes thousands of hours unless you get really lucky. In deciding whether a change is in order one has to analyse if enough effort is being presently made (if we are only playing 15-30 minutes per day, our problems probably have another source, and that wouldn't be enough time for an embouchure change anyway). The best time to change is when we have no playing comittments. This gives us at least some opportunity to build some repeatability and dependability into the new patterns of movement.

    Finally, we must allow enough time to become comfortable before getting discouraged. That can be a year.

    I only recommend embouchure changes under supervision of a teacher that is a chop specialist or is using the type that the student is moving to. I have seen desastrous results from upstream changing downstream and vice versa.
  4. SmoothOperator

    SmoothOperator Mezzo Forte User

    Jul 14, 2010
    Hi Robert, that is a great link and subject. I was familiar with the link you posted before and also have a similar question. Does the embouchure dictate the style of Music? And a similar question, does the embouchure mouthpiece combination matter? For the record, I am an amateur, and according to that link I use the tongue controlled Farkas method. I play Jazz standards and Chinese traditional tunes, though I don't improvise much, I am developing that skill.

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