Page 29 - Embou-Sure Book Series

“T-K-G” - Blockages with the tongue are much akin in effectiveness to at #8-UPPER REGISTER DIFFICULTY tempting to sing with a mouth full of Kleenex. To remedy tongue
involvement, a student must be lead to feel comfortable with open- ness in the oral cavity (tongue in O position) and a free flow of air from the lungs through the embouchure and into the instrument.
SOUND EXAMPLE #2
Finding the right verbal pattern to describe the sensation of openness neces- sary for the “bel canto” quality is critical. Not every person responds to the same stimulus. Some are able to duplicate a good tone simply by hearing it produced by someone else, others will need a verbal stimulus describing sen- sations of openness and relaxation to move them in the direction of good tone production.
#3-FUZZY SOUND
SOUND EXAMPLE #3
#4-SHARPNESS IN UPPER REGISTER
SOUND EXAMPLE #4
#5-FLAT SOUND IN LOWER REGISTER
SOUND EXAMPLE #5
SOUND EXAMPLE #8
#9-LOW REGISTER DIFFICULTY
SOUND EXAMPLE #9
Items 7 and 8 refer to mouthpiece placement. Common wisdom has it that the mouthpiece will be placed centered on the lips, half on each the upper and lower lips. While placement is important for low brass instruments, it is not quite as critical as with trumpet or horn.
#10-FRAYED TONE QUALITY Even players who have excellent tonal abilities will from time to time be afflicted with the frayed sound (usually on the 3rd or 4th harmonics) heard in #9. When this occurs, it is important for the individual to be assured that it is a temporary phenomenon and will be eliminated by patiently transferring the sensation of the range above or below the problem note(s).
#6-POPPING LIP SLURS
#7-”EGGING” THE NOTES
SOUND EXAMPLE #6
SOUND EXAMPLE #7
Embou-Sure – 32