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JayKosta Heavyweight Member
Joined: 24 Dec 2018 Posts: 3310 Location: Endwell NY USA
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Posted: Wed Aug 17, 2022 6:34 am Post subject: Embouchure sensation - how is it felt? |
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Is there much difference in how people 'feel' their embouchure while playing?
Do teachers have to adjust their teaching technique based on the student's feeling of sensations while playing?
For example - air flow / pressure / speed , aperture control, rim pressure, lip tension / roll, etc.
I do have noticeable sensation of those things, and use them in my playing.
edit: I am not saying that I always strive for a particular 'feel' of my embouchure, only that I am aware of the feelings, and can remember them for future use - as appropriate to get the sound and results that I want.
My initial 'setup' for playing is based on what feelings have been most successful in previous sessions. If that setup works NOW, then great, but if not I also have memory of other feelings and setup that can steer changes. _________________ Most Important Note ? - the next one !
KNOW (see) what the next note is BEFORE you have to play it.
PLAY the next note 'on time' and 'in rhythm'.
Oh ya, watch the conductor - they set what is 'on time'.
Last edited by JayKosta on Thu Aug 18, 2022 2:22 pm; edited 1 time in total |
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Brassnose Heavyweight Member
Joined: 07 Mar 2016 Posts: 2057 Location: Germany
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Posted: Wed Aug 17, 2022 6:48 am Post subject: |
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I feel a lot of these things in a very specific manner and it does help me a great deal in my playing. However, I only achieved this kind of control and understanding of my embouchure a few years ago after a significant embouchure change and a switch to AR Resonance pieces. They seem the perfect fit for my playing. The single most important thing I’d say for me is the tongue position in relation to the mouthpiece position on the lips. _________________ 2019 Martin Schmidt eXcellence
1992 Bach 43GH/43
1989 Kühnl & Hoyer Model 15 flugel
1980/2023 Custom Blessing Scholastic C 😎
1977 Conn 6B
1951 Buescher 400 Lightweight
AR Resonance, Frate, Klier |
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Seymor B Fudd Heavyweight Member
Joined: 17 Oct 2015 Posts: 1474 Location: Sweden
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Posted: Thu Aug 18, 2022 2:57 am Post subject: |
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I have a very clear feeling of how/when my embouchure really works;
has something to do with the higher placement of the mouthpiece I´ve begun with since June. I can feel the resonance, warmth and also relaxed comfort in my lips. Throughout life now and then but now all the time. It was Jeff Smiley who pointed out my very low placement. A revolution! The BE method very conducive in this.
If I use a harmon mute, no stem, suddenly I can hear the resonance more clearly but I notice that it is there all the time.
To my great astonishment I, all of a sudden, am able to play my cornet with a very deep DW Ultra and then go straight on to my trumpet, Schilke 14B. No transitional difficulties.
So I´ve found that sweet spot! And I do feel it. _________________ Cornets: mp 143D3/ DW Ultra 1,5 C
Getzen 300 series
Yamaha YCRD2330II
Yamaha YCR6330II
Getzen Eterna Eb
Trumpets:
Yamaha 6335 RC Schilke 14B
King Super 20 Symphony DB (1970)
Selmer Eb/D trumpet (1974) |
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Wilktone Heavyweight Member
Joined: 25 Aug 2002 Posts: 727 Location: Asheville, NC
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Posted: Thu Aug 18, 2022 5:22 am Post subject: Re: Embouchure sensation - how is it felt? |
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JayKosta wrote: | Is there much difference in how people 'feel' their embouchure while playing?
Do teachers have to adjust their teaching technique based on the student's feeling of sensations while playing?
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Yes, I think so. For example, a player who is allowing the lower lip to blow out too far into the mouthpiece might need to feel as if they are rolling their lower lip in. Whereas a player who is rolling the lower lip in too far might need to feel the lower lip is getting blown out into the mouthpiece. And since different embouchures might require a different lower lip position in the first place, that playing sensation will also come into play. _________________ wilktone.com |
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Brassnose Heavyweight Member
Joined: 07 Mar 2016 Posts: 2057 Location: Germany
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Posted: Thu Aug 18, 2022 5:28 am Post subject: |
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Seymour pointed it out nicely. Higher placement of the mouthpiece seems to be key for me as well. Also transitions between bass trumpet and trumpet are not much of an issue anymore, if at all. _________________ 2019 Martin Schmidt eXcellence
1992 Bach 43GH/43
1989 Kühnl & Hoyer Model 15 flugel
1980/2023 Custom Blessing Scholastic C 😎
1977 Conn 6B
1951 Buescher 400 Lightweight
AR Resonance, Frate, Klier |
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Wilktone Heavyweight Member
Joined: 25 Aug 2002 Posts: 727 Location: Asheville, NC
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Posted: Thu Aug 18, 2022 6:26 am Post subject: |
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Brassnose wrote: | Seymour pointed it out nicely. Higher placement of the mouthpiece seems to be key for me as well. Also transitions between bass trumpet and trumpet are not much of an issue anymore, if at all. |
Higher placement works well for a lot of players, but some need a lower placement. This depends on the musician's anatomy.
But to return to playing sensations, for someone who needs to move the placement somewhere different it can sometimes feel like a huge change, but looking at the difference can be hard to spot. _________________ wilktone.com |
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Billy B Heavyweight Member
Joined: 12 Feb 2004 Posts: 6130 Location: Des Moines
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Posted: Thu Aug 18, 2022 8:31 am Post subject: |
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It feels different every day. I rely on the sound to guide me. _________________ Bill Bergren |
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Vin DiBona Heavyweight Member
Joined: 24 Dec 2003 Posts: 1473 Location: OHare area
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Posted: Thu Aug 18, 2022 1:51 pm Post subject: |
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As Billy B says, mine does the same thing.
I judge by sound, not so much by feel, because sometimes it feels good but the sound is not resonant. A minute adjustment fixes it.
R. Tomasek |
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Bethmike Veteran Member
Joined: 21 Jan 2020 Posts: 194 Location: NW of ORD
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Posted: Thu Aug 18, 2022 5:13 pm Post subject: |
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I tend to allow a flabby embouchure when I am not focused, and then I start using mpc pressure to compensate, until I realize what I am doing.
So, for me, I need to be conscious that my corners are firm, and my upper and lower lips are appropriately firm. I tell myself to keep a "grip" on my airstream (a visual that works for me). Not pinching it, just managing it. When I do this, I feel the air as it passes through my aperture. As I ascend and reduce the diameter of my aperture, I also feel a ribbon (right word??) of air flowing over my tongue.
When my warmup gets me here (I like using Irons) the air flows well, and my playing is very good.
Maybe this is more mechanical than you were expecting. It is a combination of what I do, and also what I feel. _________________ Bach190ML43
Kanstul 1001
Bach NY7
Yamaha 631 Flugel |
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