Page 24 - Embou-Sure Book Series

happens, it should sound like this:
SOUND EXAMPLE #1
#2-NO TONE, RUSHING AIR In this instance, there are four possible
causes:
a. Lips not together (spread aperture).
b. Too much pucker in the lips (‘oo’ shape).
c. Dry lips, dry mouthpiece.
d. Insufficient air to make lips vibrate. Any of the four causes will pro-
duce this sound:
SOUND EXAMPLE #2
REMEDY: Re-forming and maintaining the “B” lip formation will eliminate the possibility of spread aperture (lips not together) and also the problem of too much pucker (or ‘oo’ shape). Dry lips and dry mouthpiece can easily be eliminated by specifying that the student is to lick his lips and also the inside
of the mouthpiece. The problem of insufficient air to make the lips vibrate can best be handled by reviewing the “sigh” breath and even suggesting that the air move faster.
Since the sound produced in this instance is air only, you should be able to nar- row the possible cause in this fashion: Be sure the student licks his lips; then lis- ten to the speed and force of the “rushing air” sound...if it is weak, the probable cause is insufficient air...if it is strong, the probable cause is in the lip formation.
#3-AIRY TONE This sound:
SOUND EXAMPLE #3
is one step above #2; the tone is now evident as an actual pitch but the same basic problems exist. In this case, however, it is less likely that dry lips or insuf- ficient air will be responsible for the sound. Most often the causes will be:
a. Lips not together (spread aperture) and/or b. Too much pucker in the lips (‘oo’ shape).
REMEDY: As before, ask the student to re-form and especially to maintain the “B” lip position. Watch carefully when the student puts the trumpet to his lips; many times you will detect a severe change of lip position as he begins to play.
#4-TIGHT, THIN TONE The pinched tone quality: SOUND EXAMPLE #4
is invariably produced as a result of tenseness. In addition to more localized tension, the entire body often plays a significant role in this area. Specifically speaking the three common causes are:
a. Tense, excessively pursed lip formation. b. Too much pucker in the lips (hard ‘oo’). c. Tight, closed throat.
REMEDY: Work with the student to be sure he is relaxed and then re turn to re-formation of “B” but with less exaggeration so that the lips do not bite, pinch, pucker, or excessively purse together.
#5-COMPLETELY STOPPED This possibility is a severe exaggeration of #4. No tone of any kind occurs due to:
a. Tense, excessively pursed lip formation. b. Mouthpiece pressure toward lips.
c. Closed throat.
When closed throat is the cause, tension in the neck muscles is often visibly evident. Sometimes the tension is even audible:
SOUND EXAMPLE #5
REMEDY: If you suspect a “closed throat,” review the sigh breath as a means of opening the throat and also relaxing the entire body. Also review the “B” lip position and emphasize less exaggeration of the formation. Then, as the student plays, watch carefully to be sure that excessive mouthpiece pressure against the lips is not the cause (no finger hook).
PUFFED CHEEKS
Though there have been a few successful performers who puff their cheeks, there is little doubt that allowing the cheeks to puff out greatly increases the likelihood of problems. Specifically, puffed cheeks can cause numerous prob-
Embou-Sure – 27