The embouchure is the use of facial muscles and the shaping of the lips to the mouthpiece of woodwind instruments or the mouthpiece of the brass instruments.

The word is of French origin and is related to the root ''bouche'' (fr.), 'mouth'.

The proper embouchure allows the instrumentalist to play the instrument at its full range with a full, clear tone and without strain or damage to one's muscles.

Brass embouchure

While performing on a brass instrument, the sound is produced by the player buzzing his or her lips into a mouthpiece. Pitches are changed in part through altering the amount of muscular contraction in the lip formation. The performer's use of the air, tightening of cheek and jaw muscles, as well as tongue manipulation can affect how the embouchure works.

Even today, many brass pedagogues take a rigid approach to teaching how a brass player's embouchure should function. Many of these authors also disagree with each other regarding which technique is correct. Research suggests efficient brass embouchures depend on the player using the method that suits that player's particular anatomy (see below). Individual differences in dental structure, lip shape and size, jaw shape and the degree of jaw malocclusion, and other anatomical factors will affect whether a particular embouchure technique will be effective or not .

In 1962, Philip Farkas hypothesized that the air stream traveling through the lip aperture should be directed straight down the shank of the mouthpiece. He believed that it would be illogical to "violently deflect" the air stream downward at the point of where the air moves past the lips. In this text, Farkas also recommends that the lower jaw be protruded so that the upper and lower teeth are aligned.

In 1970, Farkas published a second text which contradicted his earlier writing. Out of 40 subjects, Farkas showed that 39 subjects directed the air downward to varying degrees and 1 subject directed the air in an upward direction at various degrees. The lower jaw position seen in these photographs show more variation from his earlier 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 embouchure patterns according to such characteristics as mouthpiece placement and the general direction of the air stream as it travels past the lips. According to this later text, players who place the mouthpiece higher on the lips, so that more upper lip is inside the mouthpiece, will direct the air downwards to varying degrees while playing. Performers who place the mouthpiece lower, so that more lower lip is inside the mouthpiece, will direct the air to varying degrees in an upward manner. In order for the performer to be successful, the air stream direction and mouthpiece placement need to be personalized based on individual anatomical differences. Lloyd Leno confirmed the existence of both upstream and downstream embouchures.

More controversial was Reinhardt's description and recommendations regarding a phenomenon he termed a "pivot". 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. As the performer ascends in pitch, he or she will either move the lips and mouthpiece together slightly up towards the nose or pull them down together slightly towards the chin, and use the opposite motion to descend in pitch. Whether the player uses one general pivot direction or the other, and the degree to which the motion is performed, depends on the performer's anatomical features and stage of development. The placement of the mouthpiece upon the lips doesn't change, but rather the relationship of the rim and lips to the teeth. While the angle of the instrument may change as this motion follows the shape of the teeth and placement of the jaw, contrary to what many brass performers and teachers believe, the angle of the instrument does not actually constitute the motion Reinhardt advised as a pivot.

Later research supports Reinhardt's claim that this motion exists and might be advisable for brass performers to adopt. John Froelich describes how mouthpiece pressure towards the lips (vertical forces) and shear pressure (horizontal forces) functioned in three test groups, student trombonists, professional trombonists, and professional symphonic trombonists. Froelich noted that the symphonic trombonists used the least amount of both direct and shear forces and recommends this model be followed. Other research notes that virtually all brass performers rely upon the upward and downward embouchure motion. 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 to support this view.

Some noted brass pedagogues prefer to instruct the use of the embouchure from a less analytical point of view. 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. Other instructors, such as Carmine Caruso, believed that the brass player's embouchure could best be developed through strength building exercises that focus the student's attention on his or her time perception. Still other authors who have differing approaches to embouchure development include Louis Maggio, Jeff Smiley, and Jerome Callet.

Farkas embouchure

Most professional performers, as well as instructors, use a combination called a puckered smile. Farkas told people to blow as if they were trying to cool soup. Raphael Mendez advised saying the letter "M". The skin under your lower lip will be taut with no air pocket. Your lips do not overlap nor do they roll in or out. The corners of the mouth are held firmly in place. To play with an extended range you should use a pivot, tongue arch and lip to lip compression.

According to Farkas the mouthpiece should have 2/3 upper lip and 1/3 lower lip (French horn), 2/3 lower lip and 1/3 upper lip (trumpet and cornet), and more latitude for lower brass (trombone, baritone, and tuba). For trumpet, some also advocate 1/2 upper lip and 1/2 lower lip . Farkas claimed placement was more important for the instruments with smaller mouthpieces. Your lips should not overlap each other, nor should they roll in or out. The mouth corners should be held firm. 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 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. Farkas advised to moisten the outside of your lips, then form your embouchure and gently place the mouthpiece on it. He also recommended there must be a gap of ⅓ inch or so between your teeth so that the air flows freely.

Arban vs. Saint-Jacome

Arban and Saint-Jacome were both cornet soloists and authors of well respected and still used method books. Arban stated undogmatically that he believed the mouthpiece should be placed 1/3 on the top lip. St. Jacome to the contrary said dogmatically that the mouthpiece should be placed "two-thirds for the upper and the rest for the under according to all professors and one-third for the upper and two-thirds for the under according to one sole individual, whom I shall not name." (Original Text: http://www.purtle.com/saint-jacome-method-original-text.html)

(Subset) Buzzing embouchure

The Farkas set is the basis of most lip buzzing embouchures. Mendez did teach lip buzzing and got great results. One can initiate this type of buzz by using the same sensation as spitting seeds, but maintaining a continued flow of air. This technique assists the development of the Farkas approach by preventing the player from using an aperture that is too open.

Stevens-Costello embouchure

Stevens-Costello embouchure has its origins in the William Costello embouchure and was further developed by Roy Stevens. It uses a slight rolling in of both lips and touching evenly all the way across. It also uses mouthpiece placement of about 40% to 50% top lip and 60% to 50% lower lip. The teeth will be about 1/4 to 1/2 inch apart and the teeth are parallel or the jaw slightly forward.

There is relative mouthpiece pressure to the given air column. One exercise to practice the proper weight to air relationship is the palm exercise where you hold your horn by laying it on its side in the palm of your hand. Do not grasp it. Place your lips on the mouthpiece and blow utilizing the weight of the horn in establishing a sound.

Maggio embouchure

A rare, puckered embouchure, sometimes used by jazz players for extremely high "screamer" notes. Maggio claimed that the pucker embouchure gives more endurance than some systems. Carlton MacBeth is the main proponent of the pucker embouchure. The Maggio system was established because Louis Maggio had sustained an injury which prevented him from playing. In this system you cushion the lips by extending them or puckering (like a monkey). This puckering enables the players to overcome physical malformations. It also lets the player play for an extended time in the upper register. The pucker can make it easy to use to open an aperture. Lots of very soft practice can help overcome this. Claude Gordon was student of Louis Maggio and Herbert L. Clarke and systematized the concepts of these teachers. Claude Gordon made use of pedal tones for embouchure development as did Maggio and Herbert L. Clarke. All three stressed that the mouthpiece should be placed higher on the top lip for a more free vibration of the lips.

Tongue-controlled embouchure

This embouchure method, advocated by a minority of brass pedagogues such as Jerome Callet, has not yet been sufficiently researched to support the claims that this system is the most effective approach for all brass performers.

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 St. 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 interpreted incorrectly. 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.

Callet's method of brass embouchure consists of the tongue remaining forward and through the teeth at all times. The corners of the mouth always remain relaxed, and only a small amount of air is used. The top and bottom lips curl inward and grip the forward tongue. The tongue will force the teeth, and subsequently the throat, wide open, supposedly resulting in a bigger, more open sound. The forward tongue resists the pressure of the mouthpiece, controls the flow of air for lower and higher notes, and protects the lips and teeth from damage or injury from mouthpiece pressure. Because of the importance of the tongue in this method many refer to this as a "tongue-controlled embouchure." This technique facilitates the use of a smaller mouthpiece, and larger bore instruments. It results in improved intonation and stronger harmonically related partials across the player's range.]

Woodwind embouchure

Flute embouchure

A variety of transverse flute embouchures are employed by professional flutists, though the most natural form is perfectly symmetrical, the corners of the mouth relaxed, the lower lip placed along and at a short distance from the embouchure hole. The end-blown xiao, kaval, shakuhachi and hocchiku flutes demand especially difficult embouchures, sometimes requiring many lessons before any sound can be produced.

The embouchure is an important element to tone production. The right embouchure, developed with "time, patience, and intelligent work", will produce a beautiful sound and a correct intonation. The embouchure is produced with the muscles around the lips. These muscles have to be properly warmed up and exercised before practising. Tone development exercises including long notes and harmonics must be done as part of the warm up every day.

Reed instrument embouchure

With the woodwinds, aside from the flute, piccolo, and recorder, the sound is generated by a reed and not with the lips. The embouchure is therefore based on sealing the area around the reed and the mouthpiece. This serves to prevent air from escaping while simultaneously supporting the reed allowing it to vibrate, and to constrict the reed preventing it from vibrating too much. 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. If the mouthpiece is not placed far enough into the mouth, no noise will be generated, as the reed will not vibrate.

The embouchure for single reed woodwinds like the clarinet and saxophone is formed by resting the reed upon the bottom lip, which is in turn supported by the bottom teeth. The top teeth then rest on top of the mouthpiece. In both saxophone and clarinet playing, the corners of the mouth are brought inwards (similar to a drawstring bag) in order to create a seal. With the less common double-lip embouchure, the top lip is placed under (around) the top teeth. 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. This results in a more mature and full sound, rich in overtones.

The double reed woodwinds, the oboe and bassoon, have no mouthpiece. Instead the reed is two pieces of cane 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 played like the double-lip embouchure described above. Compared to the single reed woodwinds, the reed is very small and subtle changes in the embouchure can have a dramatic effect on tuning, tone and pitch control.

Polyphonic embouchure (finger-embouchure)

Recent "waterflute" installations as fountains in public parks allow for a kind of reverse-embouchure. Whereas traditional instruments are supplied with compressible fluid (air) from the mouth of a player, the new waterflutes supply fluid (water) to the player, and sound is made when the player resists this supply of fluid. Water flows out through mouths of the instrument and the player blocks this flow of water to make sound. As a result, the player can put one finger in each of several of the instrument's mouths, to play a chord, while independently controlling the embouchure of the sound made at each mouth. Additionally, the player's own mouth is free to sing along with the instrument, while the player can independently affect the sound of each of several different musical parts with this "finger embouchure". Such instruments are referred to as hydraulophones. Finger-embouchure can be used to make a wide variety of sounds, ranging from a buzzing sound like that made by a defective faucet, to a very pure tone similar to the sound made by a glass harmonica. Finger embouchure can also be used to affect the intonation or temperament. For example, a skilled hydraulist can use finger-embouchure to remain in a just intonation while changing keys, or to fluidly vary the intonation of a chord while it is sounding.

See also

Double buzz relating to the brass players embouchure

Saxophone embouchure

Roy Stevens relating to the Stevens-Costello method

Embouchure collapse

Further reading

"Super Chops", "Trumpet Secrets" by Jerry Callet "Screamin - The Final Embouchure Method" video by Bill Carmichael "Sail the Seven C's" Book & CD by Clyde Hunt "Embouchure Enhancement" by Roddy Lewis "A New Approach to Altissimo Trumpet Playing" by John Lynch " Trumpet A-Z","Trumpet FAQ'S", "Pros Talk Embouchure" by Clint 'Pops' McLaughlin "Brass Tactics" by Chase Sanborn "The Buzzing Book" by James Thompson "The Complete Stevens-Costello Embouchure Technique (Rev 2006)" by Roy Stevens & Bill Moriarity

References

External links

Flute Embouchure Photos

Jerome Callet's Superchops Embouchure Clinic

Trumpet Playing and Brass Playing Articles by Claude Gordon student Jeff Purtle

Bahb Civiletti's TCE page

Rune's Trumpet-think Discussion about embouchures

Diagrams of embouchures

Trumpet College Discussion about all embouchures

Beginners guide to embouchures

OJ's Discussion about all embouchures

Saxophone embouchures

Roy Roman's Stevens-Costello Embouchure Instruction

Al Geller's Stevens-Costello Embouchure Instruction

Tribute Site about Roy Stevens

http://www.embouchure.nl, information

Category:Brass instruments

de:Ansatz (Blasinstrument) es:Embocadura eo:Buŝteno he:אמבושיור nl:Embouchure ja:アンブシュア no:Embouchure pt:Embocadura ru:Амбушюр fi:Ansatsi sv:Embouchure uk:Амбюшор

name	James Galway
background	non_vocal_instrumentalist
birth name	James Galway
born	December 08, 1939Belfast, Northern Ireland
instrument	Flute, Tin whistle
genre	Classical, Pop
occupation	Orchestral, soloist, conductor
years active	1950s–''present''
associated acts	Philharmonia OrchestraSadler's Wells OperaCovent Garden OperaLondon Symphony OrchestraRoyal Philharmonic OrchestraBerlin Philharmonic OrchestraLondon Mozart PlayersThe Chieftains
notable instruments	}}

Sir James Galway OBE (born December 8, 1939) is a virtuoso flute player from Belfast, Northern Ireland, nicknamed "The Man With the Golden Flute". Following in the footsteps of Jean-Pierre Rampal, he became one of the first flute players to establish an international career as a soloist.

Education

Galway went to London as a teenager to study the flute. He studied at the Royal College of Music under John Francis and then at the Guildhall School of Music under Geoffrey Gilbert. He then studied at the Paris Conservatoire under Gaston Crunelle and Jean-Pierre Rampal and also privately with Marcel Moyse.

Career

After his education time he spent fifteen years as an orchestral player. Galway played with the Philharmonia Orchestra as it rose to prominence in the 1950s.

He then played with Sadler's Wells Opera, Covent Garden Opera, the London Symphony Orchestra and the Royal Philharmonic Orchestra. He auditioned for the Berlin Philharmonic Orchestra under Herbert von Karajan, and was principal flute of that orchestra from 1969 to 1975. To Karajan's surprise and dismay, after a period of some disagreement, Galway decided that he would leave to pursue a solo career.

In addition to his performances of the standard classical repertoire, he features contemporary music in his programmes, including new flute works commissioned by and for him by composers including David Amram, Malcolm Arnold, William Bolcom, John Corigliano, John Wolf Brennan, Dave Heath, Lowell Liebermann and Joaquín Rodrigo. The album ''James Galway and The Chieftains in Ireland'' by Galway and The Chieftains" reached number 32 in the UK Albums Chart in 1987.

In 1990, he was invited by Roger Waters to play at ''The Wall – Live in Berlin'' concert, held in Postdamer Platz; he played Pink Floyd's songs "Goodbye Blue Sky" and "Is There Anybody Out There?".

Galway still performs regularly and is one of the world's most well-known flute players. His recordings have sold over 30 million copies.

He is Principal Guest Conductor of the London Mozart Players, based at the Fairfield Halls, Croydon, South London.

Most recently, Galway has performed for the Academy Award-winning ensemble recording the soundtracks of Peter Jackson's ''Lord of the Rings'' film trilogy, composed by Howard Shore.

In June 2008, Galway was inducted into the Hollywood Bowl Hall of Fame along with Liza Minnelli and B. B. King.

He currently performs on Nagahara flutes, as well as some Muramatsu Flutes. He also has his own line of flutes, Galway Spirit Flutes.

Personal

In the 1970s Galway moved from Berlin to Lucerne, Switzerland, the home town of his second wife, Anna (Annie) Renggli, one of the daughters of a well-known local architect. They had twins and a son. In 1978 he recorded for her an instrumental version of John Denver's "Annie's Song". it peaked at #3 in the UK Singles Chart. a charitable organisation which supports young flute players, run by Liz Goodwin.

In 2003 he formed the Music Education Consortium together with Julian Lloyd Webber, Evelyn Glennie and Michael Kamen to pressure the British Government into providing better music education in schools.

Galway is a dedicated Christian who visits various types of Protestant churches while travelling (as long as they are not modern and "happy-clappy") and prays before his concert performances. He also wears a large cross necklace, about which he says, "It’s not jewelry. It’s something that reminds me of what I should be doing and how I should be behaving." At the same time, he has a strong sense of humor and a readiness to have fun with his music and in conversation with others.

He was made an OBE in 1977, and was knighted in 2001.

He is a National Patron of Delta Omicron, an international professional music fraternity.

Galway's nephew, Martin Galway, is a musician famous for his work on Commodore 64 computer game music in the 1980s.

James Galway has the eye condition nystagmus, and is a patron of the Nystagmus Network, a UK-based support group for people with the condition.

Publications

Galway, James. (1982). ''Flute''. Yehudi Menuhin Music Guides. London: Macdonald. ISBN 0356047113 (cloth); ISBN 0356047121 (pbk.) New York: Schirmer Books. ISBN 002871380X Reprinted 1990, London: Kahn & Averill London: Khan & Averill ISBN 1871082137

Media

Notes

External links

IMGArtists.com September 15, 2008. AllAboutJazz.com August 5, 2008.

Full Biography

Category:Alumni of the Royal College of Music Category:Alumni of the Guildhall School of Music and Drama Category:Easy listening music Category:Classical flautists from Northern Ireland Category:People from Belfast Category:Officers of the Order of the British Empire Category:Knights Bachelor Category:1939 births Category:Living people Category:Honorary Members of the Royal Academy of Music Category:Alumni of the Conservatoire de Paris Category:Flautists from Northern Ireland

ar:جامس غالواي da:James Galway de:James Galway es:James Galway fa:جیمز گال‌وی fr:James Galway gl:James Galway hr:James Galway it:James Galway he:ג'יימס גולוויי nl:James Galway ja:ジェームズ・ゴールウェイ pl:James Galway pt:James Galway ru:Голуэй, Джеймс fi:James Galway sv:James Galway tr:James Galway zh:詹姆斯·高威