The word "embouchure"
is a French word that translates to "opening into."
Players of woodwind and brass instruments use this word to describe the
formation of the
lips, oral cavity, the tongue, jaw structure, and muscles surrounding the mouth used in the
production of tone on their respective instruments. The first, and
most obvious, function of the embouchure is to keep air from leaking out
of the mouth while playing. The second is to provide enough pressure
on the reed, from the lips, to put the note in tune and keep it in tune.
The role of the lips is that of a cushion for the vibrations of the
reed. It must be sensitive enough to make the very slightest
adjustments for pitch, volume and tone.
While setting up for a gig, I was admiring
our piano players new, expensive synthesizer. I was struck with
all the different sounds, and the ability to alter them in seemingly
endless variations. Well, he looked at me with my tenor in my
hands and said " Yeh, man, it's a cool machine, but you have the
ultimate "knob", making a pointing gesture to his lips.
The embouchure is the single thing that
makes the Saxophone so expressive and posses such a human, voice like
quality. Using the subtle nuances of the embouchure, the
vast tonal palette of the Saxophone can stretch from whisper quiet to
raucous honking and all shades in between. From classical chamber
music to the plaintive wail of Coltrane in his later years.
O.K. Ready? Here we go. This is how
it should be done, each and every time. While placing your two front teeth on the top
of the mouthpiece, about a half an inch back from the tip, close your
lower lip as you normally would. You should rest most of the weight of
your head on the mouthpiece. The reason you want to do this is to
anchor the mouthpiece in your embouchure so that it is in the same
position at all times. If the mouthpiece is in the same place at
all times, then the air stream will be directed in the same direction
and angle at all times. Make sure that the mouthpiece is entering your
mouth straight on. You may want to look in a mirror to check this
out. Actually getting in front of a mirror and checking things out
is a good thing to do on a regular basis.
Your lower lip should be covering the
lower teeth but not pushed all the way in your mouth, nor protruding
out. Don't let your bottom teeth come in contact with the reed
unless you want all the dogs in the neighborhood to start howling!
Drop your lower jaw slightly, smile with the corners of your mouth
just a little. Your throat should be open and relaxed as in the
beginning phase of a yawn. At this point, you may feel your ears
pop. That's a good thing. Try to line up the lower teeth with the
upper teeth. You may have to compensate for any over bite or under
bite that may be present. Although the muscles of the lower
lip must do most of the support work, do not ignore the upper lip. Think
of the muscles surrounding both the upper and lower lips as a drawstring
purse when you pull the strings to close it. Equal pressure from
all sides. Try not to apply pressure with your lower jaw. This is
known as biting, and basically what you're doing is stifling the
vibration of the reed. One of the main principles in tone
production is to get the reed to vibrate as much as possible. Any
excess pressure from the jaw is counter productive to a good tone.
You should always breathe through your mouth, keeping your top teeth on
the mouthpiece. Drop your lower jaw and open your mouth and inhale
quickly. By breathing this way, you can get a full breath of
air in a very short period of time.
The development of a fine embouchure is a
lengthy, if not lifetime, pursuit. You may (should) experience a sore face
for the first few months of practicing but this should be resolved with
the strengthening and building up of the facial muscles. When this
soreness occurs, take a short break, stretch your facial muscles and return to practicing in a few
minutes.
