Embouchures

The embouchure controls the pitch and to some degree the quality of your sound. Regardless of the embouchure you use these things MUST always happen. The lips must be moist. The surface tension of the water aids in setting up the vibrations. The lips must be touching. (If the air has nothing to fight there is NO buzz.) Use as Little pressure as possible. Pressure only separates the lips and stops the sound. Backing off the pressure will allow you to soar. Everyone says Tighten up to play high. Hold something between your finger and thumb. That squeeze is what they are talking about. Playing high involves slightly pushing your lips together as you ascend. Farkas 75-80% of all players use this embouchure. This embouchure is described FULLY in “The Art of Brass Playing” by Phillip Farkas. He told people to blow as if they were trying to cool soup. […]

Continue reading

What about the Farkas embouchure and range?

I hope that we ALL know that Dr. Farkas was a French horn player (and a great one). His work was the first serious attempt to discuss brass embouchures. And as a result of being the first by a man with a PHD it became THE college textbook for brass playing. That was a very logical thing at the time. However Dr. Farkas didn’t play trumpet and he had to rely on interviews of others. A lot of what he said is good however the Farkas is the most HALF taught embouchure there is. If you got 100 Farkas embouchure players in a room and asked questions like ‘ What is the main function of the mouthcorners in the register above high c? ‘ I would faint or die if 2 could give the answer. They move in toward the center to shorten the vibrating surface. The funny thing is […]

Continue reading