Page 23 - Embou-Sure Book Series

though trying to blow out candles. When you stop to think about it, if you are sure the student is sitting correctly, getting him to take a deep breath is simple: he’s been doing it all of his life. The only unfamiliar part is air intensity. Even that is easy when you say:
• “Imagine a piece of paper flat against the wall; blow fast enough air to hold it there as long as you can.” (The real physical act of placing a piece of paper against the wall will actually work.)
THE BUZZ
Unlike the woodwinds where the reed produces vibration, the lip itself must produce this vibration on brass instruments. And though this form of produc- ing tone is not difficult, it must be remembered that the lips of the beginner
are not accustomed to vibration and will feel strange the first few times. It is the point at which a student needs the most encouragement to produce tone correctly; it is the point at which so many bad habits are established, simply be- cause the student wants so badly to be successful in just making a sound on the trumpet. Your encouragement for him to take a completely natural approach toward playing the instrument will automatically forestall most of these bad habits.
Many teachers ask their students to first buzz the lips, then add the mouth- piece, and finally add the trumpet. I believe this practice is not only unne- cessary but is often confusing to the beginning student. There is a great difference between a mere buzzing of the lips and the act of buzzing on the mouthpiece; and there is also a great difference in the amount of back pressure (resistance) produced by the mouthpiece alone and the back pressure pro- duced by the mouthpiece when connected to the trumpet The entire concept of precise simplicity, upon which EMBOU-SURE is based, is destroyed. There- fore, we will begin with the fully-assembled instrument and will avoid discus- sion of the buzz unless the student is totally unsuccessful in producing a tone. The reader must understand that I do teach “buzzing” of the mouthpiece, but not in the beginning stages of development at which EMBOU-SURE is aimed.
FORMING THE EMBOUCHURE
With the trumpet lying on the student’s lap, ask him to practice the sigh breath. Be sure to listen closely to each student so that you can detect any restriction in the air flow. When this occurs, you will hear a low hissing sound in the throat; asking him to look up and yawn will immediately eliminate the restriction. The student should feel as if the throat is cold from the air. Have the student say, “HO---,” when exhaling from the sigh.
Once you are sure that each student can produce a clear open sigh, instruct the students to say the word “banana.” Have them repeat the word a few times and then listen to each student pronounce the word so that you can be sure that there is a strong consonant sound to the “B.” (It is the start of the syllable “buh” that we are interested in.) This will take only a few moments with each student, but it is very important in the initial formation of the embouchure.
Now instruct the students to just form the lips in a “B” without saying “ba- nana.” If done properly, the lips will be together naturally--not tight, not limp, but very supple. Understand that each player will have their own facial char- acteristics and each will look different. Tell them not to make faces. From here it is a very simple task to have the students “sigh through the ‘B’.” I ask my students to “sigh through a banana.” They think its funny, but it works. The important thing is that there must be no restriction in the throat and that the lips must remain in the “B” shape as the air is expelled.
THE FIRST TONE
The next step is to couple the embouchure formation with the instrument.
Be sure that the student uses the same lip formation when he brings the in- strument to playing position as he did without it. Also mention, (only if neces- sary) that the mouthpiece should be placed comfortably on the lips and some- what centered. Again, each player looks different.
Contrary to most beginning methods, I believe that first space F (concert Eb) is the best starting note on the trumpet. This note responds much quicker than the traditional open G approach and is probably the easiest note to play on the trumpet. So...with first valve down, have the students “sigh through a banana into the horn,” making certain that the lips remain in the “B” position. Demon- stration with your own trumpet will help “put the sound in the students’ ears.”
I have mentioned nothing about wetting the lips, as most students will do this anyway. However, if a student does not wet his lips and seems to have difficul- ty making a vibration, suggest to him that he lick his lips and even the inside of the mouthpiece.
Testing each student individually you will encounter one of five predictable results:
#1-CORRECT RESULT More often than not, a reasonable tone will be pro-
duced if you have carefully introduced the embouchure formation. In addition,
the student will automatically attempt imitation of your tone and pitch. When it
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