Sound = Right ?

[tptguy]

Author
Callet_rulz
Regular Member

Joined: Apr 20, 2002
Posts: 27 Posted: 2002-07-08 11:27
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This is a hard question, but I think it needs to be said. Does having a great sound=embouchure correctness? Therefore one who has a great sound should not worry about his or her embouchure? Does this pertain to SCs?

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dwm1129
Veteran Member

Joined: Feb 20, 2002
Posts: 495
From: ... I'm lost
Posted: 2002-07-08 12:00
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Quote:
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On 2002-07-08 11:27, Callet_rulz wrote:
This is a hard question, but I think it needs to be said. Does having a great sound=embouchure correctness? Therefore one who has a great sound should not worry about his or her embouchure? Does this pertain to SCs?


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What is your definition of embouchure correctness? If you have a great sound, you are using proper use of your air and able to connect the sound in your head to your horn. If your embouchure doesnt happen to be correct by textbook standards....it doesn't matter because it's working. So, if you have a great sound other aspects of your playing will fall into place with practice......I have no idea how this pertains to SC someone else will have to give their expertise on that.

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Lee Adams
Superchops Forum Moderator

Joined: Nov 07, 2001
Posts: 281
From: Atlanta, Ga
Posted: 2002-07-08 17:53
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Having embouchure correctness can equal good sound if you are able to maintain a good sound in the modern range of the instrument. I assume the modern range is now considered something like Low F# to an F or G above high C.
Even if only to high C if the sound is free and unstrained with control this can indicate that some or most of the physical mechanics are reasonably in order.
In Superchops clinics some 11 or so years ago one of the things in the clinics Mr Callet would focus on was listening closely to sound while developing the embouchure.
If the embouchure is efficiently covering the range of motion needed to control the air and produce sound from low to high without sounding strained then this is a good indicator of a good embouchure, playing thru open teeth and a foreward tongue can help as well.

For me I had the so called text book smile/stretch embouchure. I drew hard and tight to the corners, flatened and pulled my chin down.
My sound was very bright in the upper register even on large diameter deep cup mouthpieces. My chops got so tight near the top of the staff that my sound became bright and brittle.
I could sound pretty good and open in the low and middle of the horn like so many "tone" or "sound" players who do not always have particularly strong range or endurance.
As I understood more about efficient embouchure types where less strain is involved to produce sound. At that point my sound started filling out and opening up in the upper register as well as the low register.


Lee Adams