| Wilmer has a good point. You don't want to inhale and then lock up your air - this will result in a lot of tension, and probably an explosive attack, which is the last thing you want on a soft entrance. You might even experiment with taking in a lot less air for a soft entrance, but only if the phrase that follows doesn't require a full tank.
Sometimes it is helpful to me to "build" to an entrance like that. I might try to "hear" a B below the G#, then the E (fingering those notes as I go) and then finally come in on the G#. This almost always works for me, whether the passage is loud (the high As in the third mvt. of Beethoven 7, for instance middle A-D-F#-A) or soft (cornet in La Mer, etc.). My embouchure is "in place" while I do this, and actually tracks the notes I'm not playing on the way up to the actual entrance. Give it a shot.
Jim |