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direction. As the performer ascends in pitch, he or she will either move the lips and mouthpiece together slightly up towards the nose or pull them down together slightly towards the chin, and use the opposite motion to descend in pitch. Whether the player uses one general pivot direction or the other, and the degree to which the motion is performed, depends on the performer's anatomical features and stage of development. The placement of the mouthpiece upon the lips doesn't change, but rather the relationship of the rim and lips to the teeth. While the angle of the instrument may change as this motion follows the shape of the teeth and placement of the jaw, contrary to what many brass performers and teachers believe, the angle of the instrument does not actually constitute the motion
Reinhardt advised as a pivot.
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because Louis Maggio had sustained an injury which prevented him from playing. In this system the player cushions the lips by extending them or puckering (like a monkey). This puckering enables the players to overcome physical malformations. It also lets the player play for an extended time in the upper register. The pucker can make it easy to use to open an aperture. Much very soft practice can help overcome this. Claude Gordon was a student of Louis Maggio and
Herbert L. Clarke and systematized the concepts of these teachers. Claude Gordon made use of pedal tones for embouchure development as did Maggio and Herbert L. Clarke. All three stressed that the mouthpiece should be placed higher on the top lip for a more free vibration of the lips.
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some, due to a misunderstanding arising from differences in pronunciation between French and
English, the commonly used brass embouchure in Europe was incorrectly interpreted. Callet attributes this difference in embouchure technique as the reason the great players of the past were able to play at the level of technical virtuosity which they did, although the increased difficulty of contemporary compositions for brass seem to indicate that the level of brass technique achieved by today's performers equals or even exceeds that of most performers from the late 19th and early 20th centuries.
590:, the lower lip rests against, but not over, the teeth as in pronouncing the letter "V" and the corners of the lip are drawn in (similar to a drawstring bag). With the less common double-lip embouchure, the top lip is placed under (around) the top teeth, an alternative embouchure sometimes recommended by dentists for single-reed players for whom the single-lip approach is potentially harmful. In both instances, the position of the tongue in the mouth plays a vital role in focusing and accelerating the air stream blown by the player. This results in a more mature and full sound, rich in
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and subsequently the throat, wide open, supposedly resulting in a bigger, more open sound. The forward tongue resists the pressure of the mouthpiece, controls the flow of air for lower and higher notes, and protects the lips and teeth from damage or injury from mouthpiece pressure. Because of the importance of the tongue in this method many refer to this as a "tongue-controlled embouchure". This technique facilitates the use of a smaller mouthpiece and larger bore instruments. It results in improved intonation and stronger harmonically related partials across the player's range.
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267:, a tubist and well-regarded brass teacher, believed that it was best for the student to focus on his or her use of the air and musical expression to allow the embouchure to develop naturally on its own. Other instructors, such as Carmine Caruso, believed that the brass player's embouchure could best be developed through coordination exercises and drills that bring all the muscles into balance that focus the student's attention on his or her time perception. Still other authors who have differing approaches to embouchure development include
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more upper lip is inside the mouthpiece, will direct the air downwards to varying degrees while playing. Performers who place the mouthpiece lower, so that more lower lip is inside the mouthpiece, will direct the air to varying degrees in an upward manner. In order for the performer to be successful, the air stream direction and mouthpiece placement need to be personalized based on individual anatomical differences. Lloyd Leno confirmed the existence of both upstream and downstream embouchures.
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professional trombonists, and professional symphonic trombonists. Froelich noted that the symphonic trombonists used the least amount of both direct and shear forces and recommends this model be followed. Other research notes that virtually all brass performers rely upon the upward and downward embouchure motion. Other authors and pedagogues remain skeptical about the necessity of this motion, but scientific evidence supporting this view has not been sufficiently developed at this time.
525:, which will produce a smile, flattening the top lip against the maxillary (upper jaw) teeth. Beginner flute-players tend to suffer fatigue in these muscles, and notably struggle to use the depressor muscle, which necessarily helps to keep the top lip directing the flow of air across the embouchure hole. These muscles have to be properly warmed up and exercised before practicing. Tone-development exercises including long notes and harmonics must be done as part of the warm up daily.
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stream to go straight into the mouthpiece, although his later text shows that air stream direction actually is either upstream or downstream and is dependent upon the ratio of upper or lower lip inside the mouthpiece, not the horn angle. Farkas advised to moisten the outside of the lips, then form the embouchure and gently place the mouthpiece on it. He also recommended there must be a gap of
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important to ensure that the mouthpiece is not placed too far into the mouth, which would result in too much vibration (no control), often creating a sound an octave (or harmonic twelfth for the clarinet) above the intended note. If the mouthpiece is not placed far enough into the mouth, no sound will be generated, as the reed will not vibrate.
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point on which there is some agreement is that proper embouchure is not one-size-fits-all: individual differences in dental structure, lip shape and size, jaw shape and the degree of jaw malocclusion, and other anatomical factors will affect whether a particular embouchure technique will be effective or not.
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muscles on the sides of the mouth. The top teeth rest on top of the mouthpiece. The manner in which the lower lip rests against the teeth differs between clarinet and saxophone embouchures. In clarinet playing, the lower lip is rolled over the teeth and corners of the mouth are drawn back, which has
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in 1942. In 1972, Reinhardt described and labeled different embouchure patterns according to such characteristics as mouthpiece placement and the general direction of the air stream as it travels past the lips. According to this later text, players who place the mouthpiece higher on the lips, so that
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Some further adjustments to the embouchure are necessary when moving from the transverse orchestral flute to the piccolo. With the piccolo, it becomes necessary to place the near side of the embouchure hole slightly higher on the lower lip, i.e. above the lip margin, and greater muscle tone from the
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More controversial was
Reinhardt's description and recommendations regarding a phenomenon he termed a "pivot". According to Reinhardt, a successful brass embouchure depends on a motion wherein the performer moves both the mouthpiece and lips as a single unit along the teeth in an upward and downward
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In 1970, Farkas published a second text which contradicted his earlier writing. Out of 40 subjects, Farkas showed that 39 subjects directed the air downward to varying degrees and one subject directed the air in an upward direction at various degrees. The lower jaw position seen in these photographs
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and not with the lips. The embouchure is therefore based on sealing the area around the reed and mouthpiece. This serves to prevent air from escaping while simultaneously supporting the reed, allowing it to vibrate, and constrict the reed preventing it from vibrating too much. With woodwinds, it is
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embouchures are employed by professional flautists, though the most natural form is perfectly symmetrical, the corners of the mouth relaxed (i.e. not smiling), the lower lip placed along and at a short distance from the embouchure hole. It must be stressed, however, that achieving a symmetrical, or
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Callet's method of brass embouchure consists of the tongue remaining forward and through the teeth at all times. The corners of the mouth always remain relaxed, and only a small amount of air is used. The top and bottom lips curl inward and grip the forward tongue. The tongue will force the teeth,
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There is relative mouthpiece pressure to the given air column. One exercise to practice the proper weight to air relationship is the palm exercise where the player holds the horn by laying it on its side in the palm of the hand, not grasping it. The lips are placed on the mouthpiece and the player
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Maintaining an effective embouchure is an essential skill for any brass instrumentalist, but its personal and particular characteristics mean that different pedagogues and researchers have advocated differing, even contradictory, advice on what proper embouchure is and how it should be taught. One
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Advocates of Callet's approach believe that this method was recommended and taught by the great brass instructors of the early 20th century. Two French trumpet technique books, authored by Jean-Baptiste Arban and Saint-Jacome, were translated into
English for use by American players. According to
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A puckered embouchure, used by most players, and sometimes used by jazz players for extremely high "screamer" notes. Maggio claimed that the pucker embouchure gives more endurance than some systems. Carlton MacBeth is the main proponent of the pucker embouchure. The Maggio system was established
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on the top lip. Saint-Jacome to the contrary said dogmatically that the mouthpiece should be placed "two-thirds for the upper and the rest for the under according to all professors and one-third for the upper and two-thirds for the under according to one sole individual, whom I shall not name."
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lower lip. Farkas claimed placement was more important for the instruments with smaller mouthpieces. The lips should not overlap each other, nor should they roll in or out. The mouth corners should be held firm. Farkas speculated that the horn should be held in a downward angle to allow the air
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Later research supports
Reinhardt's claim that this motion exists and might be advisable for brass performers to adopt. John Froelich describes how mouthpiece pressure towards the lips (vertical forces) and shear pressure (horizontal forces) functioned in three test groups, student trombonists,
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While performing on a brass instrument, the sound is produced by the player buzzing their lips into a mouthpiece. Pitches are changed in part through altering the amount of muscular contraction in the lip formation. The performer's use of the air, tightening of cheek and jaw muscles, as well as
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The Farkas set is the basis of most lip buzzing embouchures. Mendez did teach lip buzzing by making the student lip buzz for a month before they could play their trumpet and got great results. One can initiate this type of buzz by using the same sensation as spitting seeds, but maintaining a
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advised saying the letter "M". The skin under the lower lip will be taut with no air pocket. The lips do not overlap nor do they roll in or out. The corners of the mouth are held firmly in place. To play with an extended range one should use a pivot, tongue arch and lip to lip compression.
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The embouchure is an important element to tone production. The right embouchure, developed with "time, patience, and intelligent work", will produce a beautiful sound and a correct intonation. The embouchure is produced with the muscles around the lips: principally the
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of the mouthpiece. He believed that it would be illogical to "violently deflect" the air stream downward at the point of where the air moves past the lips. In this text, Farkas also recommends that the lower jaw be protruded so that the upper and lower teeth are aligned.
621:). The reed is placed directly on the lips and then played like the double-lip embouchure described above. Compared to the single reed woodwinds, the reed is very small and subtle changes in the embouchure can have a dramatic effect on
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This embouchure method, advocated by a minority of brass pedagogues such as Jerome Callet, has not yet been sufficiently researched to support the claims that this system is the most effective approach for all brass performers.
173:
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Woldendorp, Kees H.; Boschma, Hans; Boonstra, Anne M.; Arendzen, Hans J.; Reneman, Michiel F. (December 2016). "Fundamentals of
Embouchure in Brass Players: Towards a Definition and Clinical Assessment".
410:. It uses a slight rolling in of both lips and touching evenly all the way across. It also uses mouthpiece placement of about 40–50% top lip and 50–60% lower lip. The teeth will be about
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Arban and Saint-Jacome were both cornet soloists and authors of well respected and still used method books. Arban stated undogmatically that he believed the mouthpiece should be placed
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215:, 'mouth'. Proper embouchure allows instrumentalists to play their instrument at its full range with a full, clear tone and without strain or damage to their muscles.
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Most professional performers, as well as instructors, use a combination called a puckered smile. Farkas told people to blow as if they were trying to cool soup.
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lip muscles is needed to keep the stream/pressure of air directed across the smaller embouchure hole, particularly when playing in higher piccolo registers.
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continued flow of air. This technique assists the development of the Farkas approach by preventing the player from using an aperture that is too open.
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the effect of drawing the upper lip around the mouthpiece to create a seal due to the angle at which the mouthpiece rests in the mouth. With the
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upper lip (trumpet and cornet), and more latitude for lower brass (trombone, baritone, and tuba). For trumpet, some also advocate
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Prensky, H. David; Shapiro, Gerald I.; Silverman, Sidney I. (September 1986). "Dental diagnosis and treatment for musicians".
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The
Correlation Between Doug Elliott's Embouchure Types and Playing and Selected Physical Characteristics Among Trombonists
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609:, have no mouthpiece. Instead the reed is two pieces of cane extending from a metal tube (oboe – staple) or placed on a
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760:"Influence of tooth position on wind instrumentalists' performance and embouchure comfort : A systematic review"
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flutes demand especially difficult embouchures, sometimes requiring many lessons before any sound can be produced.
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Some noted brass pedagogues prefer to instruct the use of the embouchure from a less analytical point of view.
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Stevens–Costello embouchure has its origins in the
William Costello embouchure and was further developed by
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hypothesized that the air stream traveling through the lip aperture should be directed straight down the
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2635:"Brass Tactics - trumpet instruction books, trumpet mouthpieces, jazz trumpet CDS, buzz-aids, mute bags"
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1195:"The Complete Stevens-Costello Embouchure Technique, 2nd Edition" by Roy Stevens & Bill Moriarity
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An
Analysis, Clarification, and Revaluation of Donald Reinhardt's Pivot System for Brass Instruments
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Embouchure Self-Analysis the Stevens-Costello Embouchure Technique (Complete): William Moriarity
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van der Weijden, F. N.; Kuitert, R. B.; Berkhout, F. R. U.; van der Weijden, G. A. (May 2018).
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perfectly centred blowing hole ought not to be an end in itself. Indeed, French flautist
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inch (6 to 13 mm) apart and the teeth are parallel or the jaw slightly forward.
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inch (8 mm) or so between the teeth so that the air flows freely.
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is the use of the lips, facial muscles, tongue, and teeth in playing a
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1171:"Screamin - The Final Embouchure Method" video by Bill Carmichael
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This supports what was written by trombonist and brass pedagogue
1067:"Lip Buzzing Embouchure and Mendez | Pops' Trumpet College"
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blows utilizing the weight of the horn in establishing a sound.
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The Complete Stevens-Costello Embouchure Technique, 2nd Edition
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List of euphonium, baritone horn and tenor horn manufacturers
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http://www.purtle.com/saint-jacome-method-original-text.html
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The standard embouchures for single reed woodwinds like the
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1180:"A New Approach to Altissimo Trumpet Playing" by John Lynch
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899:"The Mouthpiece Forces Used During Trombone Performances",
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1183:"Trumpet A-Z", "Trumpet FAQ'S", "Pros Talk Embouchure" by
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886:"A Study of Lip Vibrations with High-Speed Photography",
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tongue manipulation can affect how the embouchure works.
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by Roy Stevens & Bill Moriarity, Amazon Create Space
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1162:"Brass Playing Is No Harder Than Deep Breathing" by
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shows more variation from his earlier text as well.
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Roy Roman's Stevens-Costello Embouchure Instruction
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49:. Unsourced material may be challenged and removed.
1227:Rune's Trumpet-think Discussion about embouchures
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1244:Trumpet College Discussion about all embouchures
1174:"Sail the Seven C's" Book & CD by Clyde Hunt
1168:"Super Chops", "Trumpet Secrets" by Jerry Callet
1093:"Maggio Embouchure | Pops' Trumpet College"
839:A Photographic Study of 40 Virtuoso Horn Players
2568:"Trumpet Books,organ sheet music,Tips,CDs,DVDs"
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299:According to Farkas the mouthpiece should have
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581:and is supported by the chin muscles and the
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1211:Jerome Callet's Superchops Embouchure Clinic
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490:did not play with a symmetrical embouchure.
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1556:Bowed string instrument extended technique
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1216:Trumpet Playing and Brass Playing Articles
1034:"Embouchures | Pops' Trumpet College"
901:International Trombone Association Journal
888:International Trombone Association Journal
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16:Player's mouth setup for a wind instrument
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109:Learn how and when to remove this message
661:relating to the brass players embouchure
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187:. This includes shaping the lips to the
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2683:
2607:"The New Asymmetric Trumpet Mouthpiece"
1806:Category:Musical performance techniques
1177:"Embouchure Enhancement" by Roddy Lewis
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969:Original Louis Maggio System for Brass
931:(David Ray Turnbull, doctoral thesis,
915:(David Wilken, doctoral dissertation,
701:Medical Problems of Performing Artists
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1846:
1820:
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1261:OJ's Discussion about all embouchures
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1218:by Claude Gordon student Jeff Purtle
1192:"The Buzzing Book" by James Thompson
875:The Encyclopedia of the Pivot System
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47:adding citations to reliable sources
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545:With the woodwinds, aside from the
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13:
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1138:10.1111/j.1754-4505.1986.tb00996.x
207:origin and is related to the root
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2660:"The Atlanta Brass Society Press"
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1189:"Brass Tactics" by Chase Sanborn
1019:and "The 4 Trumpet Octave Keys"
764:Journal of Orofacial Orthopedics
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521:, whilst avoiding activation of
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34:needs additional citations for
2413:Drum and bugle corps (classic)
1276:Tribute Site about Roy Stevens
1249:Beginners guide to embouchures
957:Musical Calisthenics for Brass
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856:
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751:
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557:, the sound is generated by a
125:The embouchure of a trumpeter.
1:
2418:Drum and bugle corps (modern)
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945:Arnold Jacobs: Song and Wind
447:Tongue-controlled embouchure
7:
2684:Stevens, Roy (2012-01-20).
2582:"Roddy Trumpet's Home Page"
877:, Donald S. Reinhardt, 1972
865:, Donald S. Reinhardt, 1942
853:, Donald S. Reinhardt, 1942
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402:Stevens–Costello embouchure
10:
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2480:Pitch of brass instruments
533:Reed instrument embouchure
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1508:Piano extended techniques
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1222:Bahb Civiletti's TCE page
1126:Special Care in Dentistry
1023:, Clint 'Pops' McLaughlin
947:, Brian Frederiksen, 1996
863:Pivot System for Trombone
776:10.1007/s00056-018-0128-2
319:lower lip (French horn),
1745:Extended vocal technique
1548:Bowed string instruments
1281:http://www.embouchure.nl
1021:http://www.BbTrumpet.com
933:Arizona State University
851:Pivot System For Trumpet
824:The Art of Brass Playing
1232:Diagrams of embouchures
1206:Flute Embouchure Photos
981:The Balanced Embouchure
713:10.21091/mppa.2016.4038
515:orbicularis oris muscle
2264:Marching baritone horn
959:, Carmine Caruso, 1979
542:
473:
374:Arban vs. Saint-Jacome
209:
126:
2449:Classical trombonists
2046:Double bell euphonium
1266:Saxophone embouchures
1185:Clint Pops McLaughlin
917:Ball State University
903:, John Froelich, 1990
841:, Philip Farkas, 1970
826:, Philip Farkas, 1962
685:"Merriam-Webster.com"
575:single lip embouchure
540:
519:depressor anguli oris
471:
124:
1702:Snare drum technique
1523:Three-hand technique
588:saxophone embouchure
573:are variants of the
541:Clarinet embouchure.
43:improve this article
2725:Musical terminology
2540:"MASTER SUPERCHOPS"
1470:Harmonica technique
1445:Saxophone technique
1362:Finger substitution
1095:. 22 November 2017.
1069:. 22 November 2017.
1017:Tensionless Playing
665:Embouchure collapse
464:Woodwind embouchure
249:Donald S. Reinhardt
193:woodwind instrument
2398:British brass band
2269:Marching euphonium
2036:Subcontrabass tuba
1450:Circular breathing
1352:Extended technique
1318:Musical techniques
1254:2006-04-26 at the
1237:2011-07-07 at the
1053:2011-07-15 at the
890:, Lloyd Leno, 1987
742:How The Chops Work
543:
474:
393:Buzzing embouchure
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2715:Brass instruments
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2459:Euphonium players
1848:Brass instruments
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523:zygomaticus major
438:Maggio embouchure
287:Farkas embouchure
203:. The word is of
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2688:(2nd ed.).
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2662:. Archived from
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2454:Jazz trombonists
2434:(all) Trumpeters
2372:Axial flow valve
2284:Contrabass bugle
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1781:Related articles
1760:Overtone singing
1561:Violin technique
1460:Flutter-tonguing
1437:Wind instruments
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746:Clint McLaughlin
739:
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695:
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483:transverse flute
477:Flute embouchure
472:Flute embouchure
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281:Clint McLaughlin
219:Brass embouchure
201:brass instrument
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2499:
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2439:Jazz trumpeters
2422:
2381:
2377:Harmonic series
2293:Parts/technique
2288:
2245:
2189:
2148:Soprano helicon
2118:Baroque trumpet
2113:Natural trumpet
2054:
2005:Alto/Tenor horn
1889:Fanfare trumpet
1850:
1845:
1815:
1810:
1792:
1776:
1731:
1688:
1670:
1666:Prepared guitar
1612:
1566:Cello technique
1542:
1494:
1431:
1320:
1315:
1256:Wayback Machine
1239:Wayback Machine
1202:
1159:
1157:Further reading
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1055:Wayback Machine
1046:Original text:
1045:
1041:
1036:. 27 July 2004.
1032:
1031:
1027:
1015:
1011:
1007:, Jerome Callet
1005:Trumpet Secrets
1003:
999:
995:, Jerome Callet
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185:wind instrument
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2695:978-1469955919
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2554:"Screamin.net"
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2157:
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2110:
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2024:
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2022:
2017:
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2002:
1990:
1989:
1988:
1983:
1978:
1973:
1968:
1963:
1951:
1950:
1949:
1944:
1939:
1934:
1929:
1917:
1916:
1915:
1913:Soprano cornet
1903:
1902:
1901:
1896:
1891:
1886:
1884:Pocket trumpet
1881:
1876:
1871:
1858:
1856:
1852:
1851:
1844:
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1829:
1821:
1812:
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1680:
1678:
1672:
1671:
1669:
1668:
1663:
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1653:
1651:String bending
1648:
1646:Hybrid picking
1643:
1638:
1633:
1628:
1622:
1620:
1614:
1613:
1611:
1610:
1605:
1600:
1595:
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1573:
1568:
1563:
1558:
1552:
1550:
1544:
1543:
1541:
1540:
1535:
1530:
1528:Prepared piano
1525:
1520:
1515:
1513:Finger tapping
1510:
1504:
1502:
1496:
1495:
1493:
1492:
1487:
1482:
1477:
1472:
1467:
1462:
1457:
1452:
1447:
1441:
1439:
1433:
1432:
1430:
1429:
1424:
1419:
1417:Thumb position
1414:
1409:
1404:
1399:
1394:
1389:
1384:
1379:
1374:
1369:
1367:Finger vibrato
1364:
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1354:
1349:
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1328:
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1208:
1201:
1200:External links
1198:
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1187:
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1175:
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1169:
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1151:
1132:(5): 198–202.
1116:
1111:De la Sonorité
1098:
1084:
1072:
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1039:
1025:
1009:
997:
985:
973:
961:
949:
937:
921:
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879:
867:
855:
843:
828:
807:
770:(3): 205–218.
750:
734:
707:(4): 232–243.
690:
675:
674:
672:
669:
668:
667:
662:
655:
654:
638:
635:
534:
531:
493:The end-blown
478:
475:
465:
462:
448:
445:
439:
436:
403:
400:
394:
391:
375:
372:
349:upper lip and
329:lower lip and
309:upper lip and
293:Raphael Mendez
288:
285:
220:
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117:
116:
31:
29:
22:
15:
9:
6:
4:
3:
2:
2737:
2726:
2723:
2721:
2718:
2716:
2713:
2712:
2710:
2697:
2691:
2687:
2680:
2666:on 2006-08-29
2665:
2661:
2655:
2641:on 2006-04-24
2640:
2636:
2630:
2622:
2616:
2608:
2602:
2588:on 2006-05-02
2587:
2583:
2577:
2569:
2563:
2555:
2549:
2541:
2535:
2521:on 2012-08-30
2520:
2516:
2510:
2506:
2496:
2493:
2491:
2488:
2486:
2485:Brass section
2483:
2481:
2478:
2477:
2475:
2471:
2465:
2462:
2460:
2457:
2455:
2452:
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2437:
2435:
2432:
2431:
2429:
2425:
2419:
2416:
2414:
2411:
2409:
2408:Brass quintet
2406:
2404:
2401:
2399:
2396:
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2390:
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2378:
2375:
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2322:Hand-stopping
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2209:
2207:
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2199:
2198:
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2192:
2186:
2183:
2181:
2178:
2176:
2173:
2171:
2168:
2166:
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2158:
2156:
2153:
2149:
2146:
2145:
2144:
2141:
2139:
2136:
2134:
2131:
2129:
2128:Slide trumpet
2126:
2124:
2121:
2119:
2116:
2114:
2111:
2109:
2106:
2104:
2101:
2099:
2096:
2094:
2091:
2087:
2086:Tenor cornett
2084:
2082:
2079:
2077:
2074:
2073:
2072:
2069:
2067:
2064:
2063:
2061:
2057:
2047:
2044:
2043:
2042:
2039:
2037:
2034:
2033:
2032:
2031:
2027:
2021:
2018:
2016:
2013:
2012:
2011:
2008:
2006:
2003:
2001:
2000:Baritone horn
1998:
1997:
1996:
1995:
1991:
1987:
1984:
1982:
1979:
1977:
1974:
1972:
1969:
1967:
1964:
1962:
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1713:
1710:
1708:
1705:
1703:
1700:
1699:
1697:
1695:
1691:
1685:
1684:Prepared harp
1682:
1681:
1679:
1677:
1673:
1667:
1664:
1662:
1659:
1657:
1654:
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1511:
1509:
1506:
1505:
1503:
1501:
1497:
1491:
1488:
1486:
1483:
1481:
1480:Slap tonguing
1478:
1476:
1473:
1471:
1468:
1466:
1463:
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1458:
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1453:
1451:
1448:
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1327:
1323:
1319:
1312:
1307:
1305:
1300:
1298:
1293:
1292:
1289:
1283:, information
1282:
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1203:
1194:
1191:
1188:
1186:
1182:
1179:
1176:
1173:
1170:
1167:
1165:
1164:Claude Gordon
1161:
1160:
1147:
1143:
1139:
1135:
1131:
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1120:
1112:
1108:
1102:
1094:
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1052:
1049:
1043:
1035:
1029:
1022:
1018:
1013:
1006:
1001:
994:
989:
983:, Jeff Smiley
982:
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799:
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526:
524:
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510:
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496:
491:
489:
484:
481:A variety of
470:
461:
457:
453:
444:
435:
431:
409:
399:
390:
371:
297:
294:
284:
282:
278:
277:Jerome Callet
274:
270:
266:
265:Arnold Jacobs
261:
257:
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250:
245:
241:
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234:
233:Philip Farkas
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113:
110:
102:
91:
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84:
81:
77:
74:
70:
67:
63:
60: –
59:
55:
54:Find sources:
48:
44:
38:
37:
32:This article
30:
26:
21:
20:
2685:
2679:
2668:. Retrieved
2664:the original
2654:
2643:. Retrieved
2639:the original
2629:
2615:
2601:
2590:. Retrieved
2586:the original
2576:
2562:
2548:
2534:
2523:. Retrieved
2519:the original
2509:
2490:Horn section
2444:Horn players
2403:Balkan brass
2326:
2310:Rotary valve
2305:Piston valve
2236:Tibetan horn
2103:Natural horn
2081:Mute cornett
2028:
1992:
1953:
1919:
1905:
1861:
1771:Sprechgesang
1769:
1722:Stevens grip
1712:Cymbal choke
1661:Third bridge
1581:Bartók pizz.
1533:String piano
1454:
1412:Stopped note
1332:Articulation
1129:
1125:
1119:
1110:
1107:Marcel Moyse
1101:
1087:
1079:
1075:
1061:
1042:
1028:
1016:
1012:
1004:
1000:
992:
988:
980:
976:
971:, C. MacBeth
968:
964:
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952:
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928:
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846:
838:
823:
767:
763:
753:
741:
737:
704:
700:
693:
679:
651:Music portal
619:English horn
596:
574:
564:
544:
527:
511:
492:
488:Marcel Moyse
480:
458:
454:
450:
441:
432:
405:
396:
377:
298:
290:
269:Louis Maggio
262:
258:
254:
246:
242:
230:
226:
222:
208:
180:
129:
128:
105:
99:October 2015
96:
86:
79:
72:
65:
58:"Embouchure"
53:
41:Please help
36:verification
33:
1947:Wagner tuba
1942:Vienna horn
1937:German horn
1932:French horn
1755:Death growl
1737:Human voice
1707:Burton grip
1636:Flatpicking
1631:Fingerstyle
1626:Downpicking
1593:Free bowing
1475:Overblowing
1387:Multiphonic
1347:Double stop
1113:. A. Leduc.
659:Double buzz
599:double reed
408:Roy Stevens
273:Jeff Smiley
2709:Categories
2670:2006-08-31
2645:2006-04-29
2592:2006-04-29
2525:2012-01-31
2393:Brass band
2342:Pedal tone
2332:Mouthpiece
2327:Embouchure
2279:Sousaphone
2274:Trombonium
2259:Mellophone
2194:Indigenous
2185:Jazzophone
2175:Saxotromba
2165:Sudrophone
2155:Ophicleide
2076:Cornettino
2059:Antiquated
2010:Flugelhorn
1961:Contrabass
1869:Contrabass
1750:Beatboxing
1694:Percussion
1538:Tack piano
1485:Split tone
1455:Embouchure
1382:Intonation
993:Superchops
671:References
583:buccinator
503:shakuhachi
197:mouthpiece
189:mouthpiece
130:Embouchure
69:newspapers
2386:Ensembles
2367:Water key
2352:Valve oil
2108:Post horn
2041:Euphonium
2020:Kuhlohorn
1981:Superbone
1765:Screaming
1717:Drum roll
1588:Col legno
1576:Pizzicato
1571:Bariolage
1397:Pizzicato
1377:Harmonics
1372:Glissando
1357:Fingering
784:1615-6714
721:0885-1158
633:control.
592:overtones
571:saxophone
231:In 1962,
135:English:
2362:Leadpipe
2251:Marching
2211:Vuvuzela
1986:Cimbasso
1955:Trombone
1894:Firebird
1608:Two bows
1603:Spiccato
1490:Tonguing
1465:Growling
1407:Slapping
1402:Position
1392:Phrasing
1252:Archived
1235:Archived
1109:(1934).
1051:Archived
802:29532091
729:27942703
637:See also
567:clarinet
555:recorder
517:and the
507:hocchiku
2464:Tubists
2427:Players
2201:Alphorn
2180:Bazooka
2170:Saxtuba
2160:Serpent
2143:Helicon
2138:Sackbut
2123:Buccina
2071:Cornett
2066:Clarion
2015:Fiscorn
1994:Saxhorn
1976:Soprano
1899:Flumpet
1879:Piccolo
1863:Trumpet
1727:Rimshot
1656:Tambour
1641:Picking
1598:Martelé
1518:Luthéal
1427:Vibrato
1422:Tremolo
1342:Damping
1325:General
1146:3532373
919:, 2000)
793:5954010
615:bassoon
607:bassoon
551:piccolo
425:⁄
415:⁄
383:⁄
365:⁄
354:⁄
344:⁄
334:⁄
324:⁄
314:⁄
304:⁄
195:or the
181:lipping
83:scholar
2692:
2337:Falset
2300:Valves
2231:Sringa
2226:Shofar
2221:Carnyx
2133:Buccin
1907:Cornet
1855:Modern
1618:Guitar
1337:Bowing
1144:
935:, 2001
800:
790:
782:
748:, 2003
727:
719:
623:tuning
553:, and
211:bouche
205:French
85:
78:
71:
64:
56:
2473:Other
2357:Crook
2317:Mutes
2241:Wazza
2216:Nyele
2206:Nabal
2093:Cornu
1927:Bugle
1788:Étude
1500:Piano
631:pitch
611:bocal
579:teeth
547:flute
499:kaval
237:shank
199:of a
191:of a
179:) or
169:
90:JSTOR
76:books
2720:Lips
2690:ISBN
2347:Bore
2098:Dord
2030:Tuba
1971:Alto
1966:Bass
1921:Horn
1874:Bass
1676:Harp
1142:PMID
798:PMID
780:ISSN
725:PMID
717:ISSN
629:and
627:tone
605:and
603:oboe
597:The
569:and
559:reed
505:and
495:xiao
279:and
62:news
1134:doi
788:PMC
772:doi
709:doi
420:to
163:ʊər
45:by
2711::
1140:.
1128:.
831:^
810:^
796:.
786:.
778:.
768:79
766:.
762:.
744:,
723:.
715:.
705:31
703:.
625:,
617:,
594:.
549:,
501:,
497:,
283:.
275:,
271:,
2698:.
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2648:.
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2556:.
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1840:e
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1148:.
1136::
1130:6
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731:.
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613:(
427:2
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332:1
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322:2
316:3
312:1
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166:/
160:ʃ
157:ˌ
154:u
151:b
148:m
145:ɒ
142:ˈ
139:/
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106:(
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97:(
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80:·
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66:·
39:.
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