Yeah, to work on his embouchure—to get it tight, to get these corners.
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I didn't spit out rice myself, but I also really worked on my embouchure.
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If you're a trumpeter, you learn how to form your lips into the proper embouchure.
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" An old man has a mouth that is "pinched in a sort of bitter embouchure, like a trumpeter.
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And you can see her working to maintain her hard-won knowledge; even while singing "I Could Have Danced All Night," she tries out her new vowels: "I'll never knooooow what made it sooooo exciting," she rhapsodizes, exaggerating her embouchure.
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Figuring out that the windowsills of George Long, Justin Rabideau, and Mars Brown's "Resonant Memory" could be hit with drumsticks, and its chandelier of metal duck heads played by pressing a series of doorbells, took me back to the joy of finding the right keys to press, the embouchure to form, to create music.
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The embouchure provides almost twice the room for vibration of the single lip (compared to the 50–50 embouchure).
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There are a variety of causes for embouchure collapse, mainly focal dystonia or Embouchure Overuse Syndrome; also, the topic of mouthpiece pressure (whether or not excessive pressure is damaging to the embouchure) is hotly debated by brass players.
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Embouchure collapse caused by focal dystonia can be diagnosed medically; embouchure collapse caused by embouchure overuse, however, is generally speaking not considered to be a specifically medical issue. A difficulty in diagnosis is that when a brass player describes the symptoms to a doctor or dentist (as is often the case), the medical practitioner does not fully understand what the patient means. This is because brass players learn their embouchure by feel, and therefore words have a limited ability to describe embouchure problems, especially if the person listening to the description is not a brass player and has a limited knowledge of the embouchure. Also, in less severe cases, the player may only be able to feel what is wrong while playing.
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The subject of mouthpiece pressure is closely related to the issue of embouchure collapse/embouchure overuse. Many brass instrumentalists argue that excessive mouthpiece pressure is a major cause of embouchure problems and can be a factor in causing embouchure collapse. However, the pressure of the mouthpiece is not static during playing: it increases the higher in the register a player plays and the louder volume level. Also, a little mouthpiece pressure is essential to provide a seal between the player's embouchure and the instrument; without this, all the air would escape before entering the instrument and no sound would be emitted (brass instruments are dependent on an airflow to produce sound).
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Embouchure collapse is a generic term used by wind instrument players to describe a variety of conditions which result in the inability of the embouchure to function. The embouchure is the purposeful arrangement of the facial muscles and lips to produce a sound on a wind or brass instrument. In brass playing, it involves vibration of the membrane area of the lips. Embouchure collapse in its various forms and extremities generally results in difficulty in playing for extended periods (especially if playing loudly and/or in the high register) or a complete inability to play.
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This is a far more common cause of embouchure collapse. As the name suggests, embouchure collapse may be caused by "overuse"—or in simple terms, playing "too much." Most brass players at some time experience lip swelling (or "stiff lips"). When a player is forced to continue playing despite this, the resulting stress can cause a chain of injuries that lead to embouchure collapse.
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Teal's The Art of Saxophone Playing has also been an influential work in modern saxophone embouchure technique. Teal placed relatively greater emphasis on lip tension in forming the "drawstring" or "ooo" embouchure with a good seal at the corners of the mouth for maintaining tonal control. Teal's concepts are influential in developing technique for subtoning. The Teal and Allard works are complementary in describing different aspects of modern saxophone embouchure.
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The embouchure of a trumpeter. Embouchure () or lippingMerriam-Webster.com is the use of the lips, facial muscles, tongue, and teeth in playing a wind instrument. This includes shaping the lips to the mouthpiece of a woodwind instrument or the mouthpiece of a brass instrument.
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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 tuning, tone and pitch control.
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The formation of the mouth around the mouthpiece and reed is called the embouchure. The reed is on the underside of the mouthpiece, pressing against the player's lower lip, while the top teeth normally contact the top of the mouthpiece (some players roll the upper lip under the top teeth to form what is called a 'double-lip' embouchure).Pino, p. 59 Adjustments in the strength and shape of the embouchure change the tone and intonation (tuning).
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Each student would receive a personalized routine that took into account the student's embouchure and tonguing types.
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The earlier was categorized as a trumpet, but this was a mistaken idea based on the bell of the oboe and the freeblowing embouchure that often gives a superficial resemblance to a brass embouchure, particularly if the oboe is fitted as so many are with a lip ring.
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As stated above, sufferers of focal dystonia have virtually no possibility of recovery from embouchure collapse. Sufferers of embouchure overuse, however, have been known to recover. The simplest way of doing so is to refrain from playing for an extended period of time, possibly years, before attempting to play again. The exact amount of time needed and whether or not the player will have to completely relearn the use of the embouchure is a largely subjective issue and depends on the individual.
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Stevens–Costello embouchure has its origins in the William Costello embouchure and was further developed by Roy Stevens.The Complete Stevens-Costello Embouchure Technique, 2nd Edition by Roy Stevens & Bill Moriarity, Amazon Create Space 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 apart and the teeth are parallel or the jaw slightly forward.
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It also has an oval embouchure hole across which the player blows, and a head joint plug consisting of a lead cylinder wrapped in paper and wax and placed inside the tube just above the embouchure hole. The nohkan plays a strong high pitch (hishigi) that is rich with high frequency harmonics.
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The end-blown xiao, kaval, shakuhachi and hocchiku flutes demand especially difficult embouchures, sometimes requiring many lessons before any sound can be produced. 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 orbicularis oris muscle and the depressor anguli oris, whilst avoiding activation of zygomaticus major, which will produce a smile, flattening the top lip against the maxillary (upper jaw) teeth.
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A photo of jazz saxophonist Charlie Parker playing the saxophone. Note his embouchure and posture. Saxophone embouchure is the position of the facial muscles and shaping of the lips to the mouthpiece when playing a saxophone. Playing technique for the saxophone can derive from an intended style (classical, jazz, rock, funk, etc.) and the player's idealized sound.
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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 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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This incident has been often misdated or otherwise exaggerated partly due to his own unreliable testimony on the matter. The breaking of his tooth did, however, ruin his embouchure, leaving him unable to play trumpet. He worked at a gas station until concluding that he had to find a way back to music, and retrained his embouchure.
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Jay Friedman: Principal Trombonist, Chicago Symphony Orchestra Embouchure collapse is far more common among trumpet and horn players. Both of these instruments have mouthpieces with a small circumference and surface area, and therefore the pressure is presumably greater, as the force of the mouthpiece on the face is more concentrated. This is in accordance with the principle of physics that pressure is the amount of force divided by the area on which the force is exerted. As a result of a lack of scientific evidence (no scientific study into mouthpiece pressure as a cause of embouchure collapse has ever been done), the equally valid argument that all brass players can suffer embouchure collapse, and the subjective (not static) nature of mouthpiece pressure, knowledge of mouthpiece pressure as a cause of embouchure collapse is limited.
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Other topics in his books are how facial tension adversely affects lip vibrations and playing and he has helped explain the differences in high note playing using different breathing techniques and tongue arch. Clint was the first teacher to explain how the order in which embouchure motions are used affects the players range and endurance. Clint discovered that some embouchure techniques like tongue arch work best in the middle register, some like lip compression work best in the upper register. Making sure to add the elements of embouchure control in the right order is a key of successful playing.
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Simply, the instrument is played by blowing on the embouchure of the instrument. The embouchure has two distinct sides but both these sides can be used to play the instrument. However the big difference on these two sides, when you played on the side with shorter cutnstrument tend to produce higher pitch than when you played on the side with longer cut.
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The former applies mainly in less severe cases; the latter in the most severe cases. This article focuses on embouchure collapse in brass players.
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Many players with an embouchure problem will, once they have realized that it is more than a simple case of tired lips, wish to refrain from playing. The fact that around 24 muscles are employed in forming a brass embouchure, and that each will change slightly as a player struggles to play when experiencing embouchure problems, mean that what players describe as being wrong will have not only worsened their condition when they play, but will be different each time they do so. In the most severe cases, the pain caused by embouchure overuse can be felt even when not playing; in some cases, other symptoms will manifest, such as loss of tissue and damaged nerves. This, however, occurs only in the rarest and most extreme circumstances and usually signals the end of the player's career.
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Clarinet embouchure. With the woodwinds, aside from the flute, piccolo, and recorder, the sound is generated by a reed 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.
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The tessitura of the tenor cornett is c to around e". However, an experienced player with a powerful embouchure and a small bore instrument may reach g" or higher.
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Students are often provided with a school instrument and encouraged to pursue lessons with private instructors. Students typically receive instruction in proper posture, hand position, embouchure, and tone production.
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Many saxophonists and pedagogues have published material on the saxophone embouchure and tone production. Two of the works most influential on modern teaching were published by Joe Allard and Larry Teal.
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A bihu dancer blowing a hornpipe The bones and horns are often made into jewellery, especially earrings. Horns are used for the embouchure of musical instruments, such as ney and kaval.
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A variety of transverse flute 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 perfectly centred blowing hole ought not to be an end in itself. Indeed, French flautist Marcel Moyse did not play with a symmetrical embouchure.
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The concerto has also been recorded played on a piccolo trumpet - a notoriously challenging transcription due to the breath control and tight embouchure required for its sustained passages in the higher register.
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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. Some further adjustments to the embouchure are necessary when moving from the transverse orchestral flute to the piccolo.
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On all brass instruments, sound is produced when the player's vibrating lips (embouchure) cause the air column inside the instrument to vibrate. This is done by pressing the lips together and blowing air through them in order to produce a 'buzz.' The mouthpiece is where this lip vibration takes place. On most instruments, the mouthpiece can be detached from the main instrument in order to facilitate putting the instrument in its case, to use different mouthpieces with the same instrument, or to 'play' the mouthpiece by itself to exercise the player's embouchure.
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The word is of French origin and is related to the root ', '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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The mouthpiece is inserted at least to the break of the facing curve (the beginning of the curve from the plane of the table to the aperture, or tip opening), but generally with the beak not taken more than halfway into the player's mouth. Specific aspects of single-lip embouchure technique are described in seminal works by Larry Teal and Joseph Allard. Santy Runyon was another influential educator on modern embouchure technique, having instructed many of the top saxophonists of the big band era and top jazz musicians including Charlie Parker, Paul Desmond, Harry Carney, Lee Konitz, and Sonny Stitt.
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Allard's approach is detailed on mechanics, while Teal's is more about feel and concept. There is no "Allard School" or "Teal School" of embouchure, as teachers mix and match concepts from both sources to achieve the best result in individual situations. In historical context, Allard and Teal presented their works at a time when the legacy of clarinet-derived embouchure teaching for saxophonists was still strong, although performance technique was rapidly expanding to realize the full tonal and dynamic potential of the instrument. They codified the new techniques being developed by their contemporaries such as Santy Runyon.
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Although the clarinet and saxophone both have a single reed attached to their mouthpiece, the playing technique or embouchure is distinct from each other. The standard embouchures for single reed woodwinds like the clarinet and saxophone are variants of the single lip embouchure, formed by resting the reed upon the bottom lip, which rests on the teeth and is supported by the chin muscles and the buccinator 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.
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Embouchure is controlled by way of the instrument's mouths, not the player's mouth such that the player can sing along with the hydraulophone (i.e. a player can sing and play the instrument at the same time). Moreover, the instrument provides the unique capability of polyphonic embouchure, where a player can dynamically "sculpt" each note by the shape and position of each finger inserted into each of the mouths. For example, the sound is different when fingering the center of a water jet than when fingering the water jet near the periphery of the circular mouth's opening.
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Albert R. Rice, The Baroque Clarinet (Oxford: Clarendon Press, 1992): 64–68. . Bernhard Henrik Crusell was one of the first clarinetists of note to consistently place the reed against the bottom lip. Of particular note is Reginald Kell who was known for using a "double embouchure", also known as "double lip". This is a technique popular in the UK up to the 1960s, whereby the reed is placed against the lower lip, which covers the lower teeth—as in the single embouchure—and additionally, the upper lip is tucked in between the top of the mouthpiece and the upper teeth.
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As Baker recovers from his injury, his embouchure is ruined and he is unable to play trumpet any better than a novice. Meanwhile, he must answer to a probation officer, and ensure he is employed, while sticking to his regimen of methadone treatment.
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Cambridge University. . Embouchure is used to produce notes from the harmonic series. A tone hole may be added to change the fundamental frequency but globally this is extremely rare,Braun, Joachim (2002). Music in Ancient Israel/Palestine: Archaeological, Written, and Comparative Sources, p.181.
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This tubular instrument gradually broadens towards the lower end. It usually has between six and nine holes. It employs one set of quadruple reeds, making it a quadruple reed woodwind. To master the instrument, the musician must employ various and intricate embouchure and fingering techniques.
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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. 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 some, due to a misunderstanding arising from differences in pronunciation between French and English, the commonly used brass embouchure in Europe was incorrectly interpreted.
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The use of quarter-tones requires a different embouchure. Some klezmer musicians prefer Albert system clarinets. The popular Brazilian music styles of choro and samba use the clarinet. Prominent contemporary players include Paulo Moura, Naylor 'Proveta' Azevedo, Paulo Sérgio dos Santos, and Cuban born Paquito D'Rivera.
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Timbre is viewed as a combination of sound and pitch. This is because if a note is out of tune it will not have a great sound. Rhythm is the glue that holds the sound together. Without rhythm to coordinate the air, tongue, embouchure, slide, fingers, bow, etc.
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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. 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.
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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 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 saxophone embouchure, 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.
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Air pressure is a very important aspect of the tone, intonation and projection of double reed instruments, affecting these qualities as much, or more, than the embouchure does. Attacking a note on the bassoon with imprecise amounts of muscle or air pressure for the desired pitch will result in poor intonation, cracking or multiphonics, accidentally producing the incorrect partial, or the reed not speaking at all. These problems are compounded by the individual qualities of reeds, which are categorically inconsistent in behaviour for inherent and exherent reasons. The muscle requirements and variability of reeds mean it takes some time for bassoonists (and oboists) to develop an embouchure that exhibits consistent control across all reeds, dynamics and playing environments.
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27–28 and something of a riff on his unusual embouchure. The nickname "Pops" came from Armstrong's own tendency to forget people's names and simply call them "Pops" instead. The nickname was turned on Armstrong himself. It was used as the title of a 2010 biography of Armstrong by Terry Teachout.
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Philip Smith, former principal trumpet of the New York Philharmonic, has suffered from focal dystonia, which was part of the reason for his retirement. However, Smith had managed to gradually redevelop control over his embouchure and is now playing again, as well as teaching trumpet in the University of Georgia.
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Different instruments often play differently in this respect due to the sensitivity of the bore and reed measurements. Using alternate fingerings and adjusting the embouchure helps correct the pitch of these notes. Since approximately 1850, clarinets have been nominally tuned according to twelve-tone equal temperament. Older clarinets were nominally tuned to meantone.
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Chase encouraged long tones as an exercise for developing the embouchure and attributed much of his ability in the upper register of the trumpet to this practice. He was also physically fit. He lifted weights and used stretching routines he learned from female dancers in the Latin Quarter of New York City.
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In clarinet playing, the lower lip is rolled over the teeth and corners of the mouth are drawn back, which has 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 saxophone embouchure, 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. 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.
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Albert's House is a studio album by jazz trumpeter Chet Baker recorded in 1969 and released on the Beverly Hills label.Chet Baker discography accessed August 16, 2013 The album features 11 compositions by Steve Allen who organized the recording date to assist Baker in restarting his career after a horrific injury wrecked his embouchure.
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However, there are some important differences. Even though the dolçaina produces a high-pitched sound range, it has a great timbric identity thanks to its richness in harmonics. Under certain acoustic conditions, it can also sound like a soprano saxophone or a trumpet. Mastering tuning is achieved by fingering and subtle changes in air pressure and in the embouchure.
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Split tones can sound similar to a technique called growling, in which additional noise is produced from the throat while playing. The double buzz is distinctly different in that all noise and vibrations are initiated by the embouchure. Liza Lim makes extensive use of split tones in Ehwaz for trumpet and percussion.Program notes for Ehwaz, Accessed: November 13, 2011.
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Each type of musical instrument has a characteristic sound quality that is largely independent of pitch or loudness. Some instruments have more than one timbre, e.g. the sound of a plucked violin is different from the sound of a bowed violin. Some instruments employ multiple manual or embouchure techniques to achieve the same pitch through a variety of timbres.
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Stańko lost his natural teeth in the 1990s, although over time he developed a new embouchure with the help of a skilled dentist and monotonous practice. He would spend long hours playing what he deemed to be "boring" long tones which helped to strengthen his lip, in spite of playing with the disadvantage of false teeth.
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Clarinetists of this period typically played with the reed up, so this method avoided the teeth touching the reed. Moreover, this embouchure is normal for the double- reed instruments, oboe and bassoon, and clarinetists at the time often played these instruments as well. In fact, it is known that Blasius also mastered the bassoon and the flute.
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Phillips was disinclined. Around 1975, he injured his lip, which developed into a lump that wouldn't heal. He took lessons to rebuild his embouchure but worried that if he continued to play he would permanently damage his lip. Verne Byers felt that the music industry (from the perspective of musicians) fell apart in Las Vegas in 1983.
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American naval bugler in 1917 B-flat Chinese Eighth Route Army bugler during World War II. Photograph by Sha Fei. The bugle is one of the simplest brass instruments, normally having no valves or other pitch-altering devices. All pitch control is done by varying the player's embouchure. Consequently, the bugle is limited to notes within the harmonic series.
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Psychologically, our practices are the same. Both the team and the band have to perfect their fundamentals before they can do anything else. And both need proper warmups to stay in shape in the off-season. Sometimes we'll spend 45 minutes on calisthenics of the embouchure (perfecting the position of the lips on the mouthpiece of an instrument).
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Many hydraulophones include a separate water-filled pipe for each note, and have sound-production means similar to pipe organs (but with water rather than air), while maintaining the flutelike user-interface (finger embouchure holes). This form of hydraulophone is similar to an organ, but has water flowing through the pipes instead of air flowing through the pipes.
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Having played the trumpet little throughout the previous three years, Davis found it difficult to reclaim his embouchure. His first post-hiatus studio appearance took place on May 1, 1980. A day later, Davis was hospitalized due to a leg infection. He recorded The Man with the Horn (1981) from June 1980 to May 1981 with Macero producing.
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As mentioned above, the dolçaina has a very powerful and penetrating sound – loud (f - forte) playing is common. Getting a louder sound than forte is impossible. Thanks to modern interpretation techniques, effects of dynamics can be achieved by varying the air pressure and making subtle changes in the embouchure. The diaphragm technique and good breathing practices allow for effective volume control.
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The fingerings for a saxophone do not change from one instrument to another. Here, notes on a treble staff correspond to fingerings below. Saxophone technique refers to the physical means of playing the saxophone. It includes how to hold the instrument, how the embouchure is formed and the airstream produced, tone production, hands and fingering positions, and a number of other aspects.
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Allard taught that the embouchure must conform to the mouthpiece. Frequently citing anatomy, Allard depicted that when the skull comes down, the larynx and the throat are constricted. He had his students think of keeping their heads straight when they played. Allard also recommended that saxophonists use very little pressure from the top teeth and lip and just let everything rest naturally.
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In order to get an initial sound out of the flute, one can blow air into the embouchure hole in exactly the same way one would blow air into a bottle or an open pen cap to produce a whistling sound. This technique is common for all traverse flutes such as the Western Concert flute, the Bansuri, the Chinese Dizi flute etc.
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The timbre of most instruments can be changed by employing different techniques while playing. For example, the timbre of a trumpet changes when a mute is inserted into the bell, the player changes their embouchure, or volume. A voice can change its timbre by the way the performer manipulates their vocal apparatus, (e.g. the shape of the vocal cavity or mouth).
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He has also given important recitals at Carnegie Hall and the Hollywood Bowl. His discography includes nearly 40 releases, several of them with TASHI. Stoltzman is noted for his double lip embouchure, wide vibrato, and ability to mimic the sound of a human voice on the clarinet. He combines traditional and contemporary classical and jazz material with his own unorthodox style.
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Orr was born in Cambuslang, Scotland on 15 August 1928. His father's name was John Orr. Bobby began playing drums at the age of three, encouraged by his father, a drum major. From the age of 16 Orr also played the trumpet, as a member of Basil Kirchin's band; however, he had difficulties with his embouchure and returned to the drums.
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Gheorghe Zamfir (; born April 6, 1941) is a Romanian nai (pan flute) musician. Zamfir is known for playing an expanded version of normally 20-pipe nai, with 22, 25, 28 or even 30 pipes, to increase its range, and obtaining as many as eight overtones (additional to the fundamental tone) from each pipe by changing his embouchure. He is known as "The Master of the Pan Flute".
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Lenny Pickett (born April 10, 1954) is an American saxophonist and musical director of the Saturday Night Live band. From 1973 to 1981 he was a member of Tower of Power. He is known for his skill in the altissimo register (executed by using a combination of embouchure control, air stream control, and alternate fingerings), which can be heard during the opening credits of Saturday Night Live.
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There are sets of exercises for piano designed to stretch the connection between fourth and fifth fingers, making them more independent. Brass players practice lip slurs, which are unarticulated changes in embouchure between partials. Woodwind players (Saxophone, Clarinet, and Flute) have a multitude of exercises to help with tonguing techniques, finger dexterity, and tone development. Entire books of etudes have been written to this purpose.
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Reinhardt felt that each player's unique anatomical features required each player to perform differently and based his teaching on establishing the correct method for each individual student. He noted and categorized eight different tonguing types and four basic embouchure types with five subtypes.Reinhardt, Donald S., The Encyclopedia of the Pivot System For All Cupped Mouthpiece Brass Instruments, A Scientific Text. New York: Charles Colin, 1973.
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The musculature employed in a bassoon embouchure is primarily around the lips, which pressure the reed into the shapes needed for the desired sound. The jaw is raised or lowered to adjust the oral cavity for better reed control, but the jaw muscles are used much less for upward vertical pressure than in single reeds, only being substantially employed in the very high register. However, double reed students often "bite" the reed with these muscles because the control and tone of the labial and other muscles is still developing, but this generally makes the sound sharp and "choked" as it contracts the aperture of the reed and stifles the vibration of its blades. Apart from the embouchure proper, students must also develop substantial muscle tone and control in the diaphragm, throat, neck and upper chest, which are all employed to increase and direct air pressure.
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Zealand, Denmark A modern lur from Norway, made of wrapped birch bark A lur, also lure or lurr, is a long natural blowing horn without finger holes that is played by embouchure. Lurs can be straight or curved in various shapes. The purpose of the curves was to make long instruments easier to carry (e.g. for marching, like the modern sousaphone) and to prevent directing the loud noise at nearby people.
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Transverse flute A transverse flute or side-blown flute is a flute which is held horizontally when played. The player blows across the embouchure hole, in a direction perpendicular to the flute's body length. Transverse flutes include the Western concert flute, the Indian classical flutes (the bansuri and the venu), the Chinese dizi, the Western fife, a number of Japanese fue, and Korean flutes such as Daegeum, Junggeum and Sogeum.
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Clint “Pops” McLaughlin is an American trumpet player, teacher and writer born October 21, 1957 in Tyler, Texas. He has two degrees in music by the Texas Tech and The University of Texas System. He was taught mainly by trumpet player Don Jacoby. Clint has written over 25 books on trumpet, embouchure and brass music and has articles on those topics in the International Trumpet Guild Journal "Windplayer Magazine" and others.
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The tambin (also sereendu, fulannu or Fula flute) is a diagonal diatonic flute without a bell, made from a conical vine, with three finger-holes and a rectangular embouchure with two wings on either side. It is considered the national instrument of the West African Fula and is similar in its sound and quality to the Ney. The flute was used in the 2018 Marvel movie Black Panther.
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The extremely small mouthpiece requires a small and focused embouchure, making the soprillo difficult to play, particularly in its upper register. There is very little market demand for soprillos, reducing the economy of scale and making the soprillo more expensive than more common saxophones like the alto or tenor. As of 2015, soprillos were being manufactured by the German instrument maker Benedikt Eppelsheim, and the retail price is approximately US$3,400.
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He later changed this definition to mean the pushing and pulling of a player's mouthpiece and lips together, as a single unit, up or down along the teeth while changing registers.Reinhardt, Donald S., The Encyclopedia of the Pivot System For All Cupped Mouthpiece Brass Instruments, A Scientific Text. New York: Charles Colin, 1973. According to Reinhardt, the three primary playing factors of brass technique were correct breathing, tonguing, and embouchure.
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During a trip to Helsinki, Finland with Archie Shepp in the summer of 1962, Dixon began to develop embouchure difficulties. The situation deteriorated to the point where, by the following summer, Dixon stopped playing in public in order to focus on correcting the issue. He also began concentrating on writing and arranging. Shepp, meanwhile, began collaborating with John Tchicai, with whom he would soon form the New York Contemporary Five.
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Different mouthpieces will produce different qualities of tone when used with the same instrument. Lower instruments also have larger mouthpieces, to maximize resonance (see pitch of brass instruments). Also, mouthpieces are selected to suit the embouchure of the player, to produce a certain timbre, or to optimize the instrument for certain playing styles. For example, trumpet and trombone mouthpieces are usually semi-spherical whereas French horn mouthpieces are conical.
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This mouthpiece gives a player more room to control the vibration of their lips at frequencies below the traditional drone. The technique is similar to playing pedal tones on a brass instrument. The desired tone is different then brass, and there for the embouchure used to play it is different than brass technique. The most prominent playable note on these instruments is always one octave below the fundamental didgeridoo drone.
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Closeup of a khlui phiang aw's blowing end, showing blowing hole, block, and fipple Because of the fixed position of the windway with respect to the labium, fipple instruments can make a musical sound without the kind of embouchure required with (for example) the transverse flute. Embouchure on fipple flutes is centered on the idea of focusing the air inside the instrument's windway and bore alike, following the shape of the bore. Thus, a bore with a wide "bell" at the bottom of the instrument (as with Renaissance recorders) responds best to holding the throat wide open, to direct the airflow in a wide current so as to resonate the entire length and width of the bore. A bore which tapers down to a narrow "bell" (such as in Baroque-modeled recorders and school instruments) sounds best when the lips are used to focus the air to a tighter stream, to focus the air to the narrower "bell" at the bottom of the instrument.
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Morgan, seven years old at the time, assumed they'd be picking out a saxophone, but Parker suggested he start on the clarinet to develop his embouchure. Morgan practiced on the clarinet for about two years before acquiring a soprano sax, and finally, an alto. Morgan moved to live with his father (by that time divorced) in Los Angeles, California at the age of 14, after his grandmother caught him with marijuana.Davis, Francis.
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23; Publius Papinius Statius Thebaid 6.227–230; Lucius Annaeus Seneca Minor Thyestes 574 et al. The carnyx was held vertically so that the sound would travel from more than three meters above the ground. Reconstructions have shown that the instrument's embouchure must have been cut diagonally as an oval opening, so the carnyx could be played in a similar fashion as a modern-day trumpet, i.e. with vibrating lips, however blown from the side.
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Rice (2005), p. 81. Blasius also advocated using both lips to cover the upper and lower teeth, which modern players refer to as the "double-lip" embouchure: "take good care that [neither] the mouthpiece nor the reed is touched by the teeth. It is necessary to support the mouthpiece on the lower lip to cover the reed with the upper lip, without the teeth touching any of it."Rice (2005), p. 83.
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He returned to the Navajo reservation in 1971, where he had a difficult period; several of his classmates had been killed in the Vietnam War. He passed the highly competitive auditions for the Armed Forces School of Music, and was 28th on the waiting list for admission. Playing with the Armed Forces Band became impossible after an auto accident damaged his mouth, making it impossible to produce the correct embouchure to continue playing brass instruments.
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Although a double reed instrument like the oboe, the hichiriki has a cylindrical bore and thus its sound is similar to that of a clarinet. It is difficult to play due in part to the double reed configuration. It is made of a piece of bamboo that measures 18 centimeters with a flat double reed inserted which makes a loud sound. Pitch and ornamentation (most notably bending tones) are controlled largely with the embouchure.
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They can also account for individual embouchure, oral cavity, oboe angle, and air support. Novice oboists rarely make their own reeds, as the process is difficult and time consuming, and frequently purchase reeds from a music store instead. Commercially available cane reeds are available in several degrees of hardness; a medium reed is very popular, and most beginners use medium-soft reeds. These reeds, like clarinet, saxophone, and bassoon reeds, are made from Arundo donax.
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He and Donald Harrison left Art Blakey in 1986 to form their quintet 'The Terence Blanchard/Donald Harrison Quintet' and signed with CBS Records. He left the Jazz Messengers in 1990 to pursue a solo career."Magro, Anthony. "Contemporary Cat: Terence Blanchard with Special Guests", Scarecrow Press (2002)" In the 1990s, after an embouchure change, Blanchard recorded his self-titled debut for Columbia Records which reached No. 3 on the Billboard Jazz chart.
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The bass flute is pitched in the key of C, and one octave below the concert flute. Because of the length of its tube (approximately ), it is usually made with a curved headjoint, sometimes in a "J" shape, to bring the embouchure hole within reach of the player. It is usually only used in flute choirs, as it is easily drowned out by other instruments of comparable register, such as the clarinet.
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Kari, in shakuhachi music, is both a property of a note and a technique. To play a note kari means to play it with raised pitch, relative to playing the note meri. In addition to sharpening the pitch, playing a note kari also modifies the tone color or timbre of a note. The usual technique to play a note kari is to raise the chin, increasing the angle and distance between the embouchure and utaguchi (blowing edge).
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Some natural horns also may adjust the tuning with the hand in the bell, and valved cornets, trumpets, Flugelhorns, Saxhorns, Wagner tubas, and tubas have overall and valve-by-valve tuning slides, like valved horns. Wind instruments with valves are biased towards natural tuning and must be micro- tuned if equal temperament is required. Other wind instruments, although built to a certain scale, can be micro-tuned to a certain extent by using the embouchure or adjustments to fingering.
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Sonapur is a small town located in the outskirts (20 km away) of Guwahati city in Kamrup Metropolitan district of the Indian state of Assam.Report on Malaria in Sonapur Sonapur is situated beside National Highway 37 near the river Digaru,Army Map Service (RMBM) - Edition 2-AMS, series U502, NG 456-6 Gauhati which flows into the Kalang river close to its embouchure into the Brahmaputra. The Tiwa (Lalung), Boro, Assamese, Karbi communities form the majority in this area.
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This oscillation results in the "whistle sound" in ducted flue instruments. See wind instrument and flue pipe. A distinct tone color, determined by the dimensions of the instrument and the voicing mouth, is then slightly modified by the player's technique or embouchure. In instruments such as the recorder, the player can vary the pitch of the resulting musical note by opening or closing finger holes along the bore of the instrument, thus changing the effective length.
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This will need to be fully made, making sure there are no gaps or creases in the impression. If there are, then the mold made from the impression will not adequately seal the ear canal. It is also important that during the impression process that the performer use their embouchure or move the jaw to mimic singing in order to account for ear canal changes during performance. Therefore, if the impression is not properly constructed, then it will need to be redone.
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Fingering features are almost the same as any other woodwind keyless instrument. However, it is important to remember that, at a certain pace, it is very complicated to play F natural, Bb/A# and Ab/G# due to their fingering positions, like the recorder (a technique known as cross-fingering). Register changes must also be taken into account, since dolçaina has neither keys nor finger locations to octave change, hence the player has to resort to air pressure and embouchure pressure (harmonics).
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Dystonia is a neurological disease affecting the brain's ability to fire neurons (which control muscle movement) correctly. Focal dystonia specifically affects one particular area of the body and is usually completely isolated, affecting only one activity. The disease basically renders the sufferer unable to control the muscles in the affected area.Focal dystonia The presence of this condition in a brass player's facial muscles results in an inability to form an embouchure because of the individual's loss of control over the relevant muscles.
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Previously also falset referred to falsetto. At B2 the pitch can sometimes be dropped by a fourth or more by means of what is often termed loose-lipping, a slackening of the embouchure which produces factitious pitches not included in the harmonic series. This term dates at least from 1620, when Michael Praetorius wrote about falset tones in articles concerning the cornett and sackbut in his Syntagma Musicum. The technique has been utilized in Horn playing from at least the eighteenth century.
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Its embouchure at the mouth of the pipe consists of a piece of wood (fipple) made to fit tightly into the pipe with a narrow slit through which sound is produced by blowing. The instrument originates from Tweneduruase in the Kwahu Plateau of south-central Ghana. The Kwahus are part of the Akan tribes of Ghana, sharing a boundary with the Akyem in the south and east and with the Asante in the north and west. Atenteben comprises two Akan names, i.e.
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Its upper register sounded somewhat like a trumpet or modern cornet, the lower register resembling the sackbutts that often accompanied it. Cornett intonation is flexible, which enabled it to be played perfectly in tune in a range of tonalities and temperaments. As a result of its design, the cornett requires a specialized embouchure that is, initially, tiring to play for any length of time. Violins often replaced cornetts in consort music, and cornetts similarly substituted for violins in consort music and sacred music.
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A number of these instruments have survived. Apart from their length, they do not differ in any way from the concert flute; the bore diameter and embouchure are identical. Although the flute d'amour has the same tuning as the French three-piece flute, its sound quality is quite different, and in the middle and upper registers the very narrow bore produces a haunting, veiled tone. It is as expressive as the French flute, but its timbre is quite different, being darker, more inning.
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Mellophones are, however, sometimes unpopular with horn players because the mouthpiece change can be difficult and requires a different embouchure. Because the bore is more cylindrical than the orchestral horn the "feel" of the mellophone can be foreign to a horn player. Another unfamiliar aspect of the mellophone is that it is designed to be played with the right hand instead of the left (although it can be played with the left). Intonation can also be an issue when playing the mellophone.
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According to Knepper, this ruined his embouchure and resulted in the permanent loss of the top octave of his range on the trombone – a significant handicap for any professional trombonist. This attack temporarily ended their working relationship, and Knepper was unable to perform at the concert. Charged with assault, Mingus appeared in court in January 1963 and was given a suspended sentence. Knepper did again work with Mingus in 1977 and played extensively with the Mingus Dynasty, formed after Mingus' death in 1979.
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The blow broke one of Knepper's teeth, ruined his embouchure and resulted in the loss of the top octave of his range on the trombone for almost two years. This attack ended their working relationship and Knepper was unable to perform at the concert. Charged with assault, Mingus appeared in court in January 1963 and was given a suspended sentence. According to his daughter, Robin, Mingus also later mailed heroin to Knepper's home, and made an anonymous phone call to the police.
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Shofar Shofar Blowing the shofar A shofar (pron. , from , ) is an ancient musical horn typically made of a ram's horn, used for Jewish religious purposes. Like the modern bugle, the shofar lacks pitch-altering devices, with all pitch control done by varying the player's embouchure. The shofar is blown in synagogue services on Rosh Hashanah and at the very end of Yom Kippur, and is also blown every weekday morning in the month of Elul running up to Rosh Hashanah.
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The typical Persian ney has six holes, one of which is on the back. Arabic and Turkish neys normally have seven holes, six in front and one thumb-hole in the back. The interval between the holes is a semitone, although microtones (and broader pitch inflections) are achieved via partial hole-covering, changes of embouchure, or positioning and blowing angle. Microtonal inflection is common and crucial to various traditions of taqsim (improvisation in the same scale before a piece is played).
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The noise commonly associated with flatulence ("blowing a raspberry") is produced by the anus and buttocks, which act together in a manner similar to that of an embouchure. Both the sound and the smell are sources of embarrassment, annoyance or comedy. There are several general symptoms related to intestinal gas: pain, bloating and abdominal distension, excessive flatus volume, excessive flatus smell, and gas incontinence. Furthermore, eructation ("an act or instance of belching", colloquially known as "burping") is sometimes included under the topic of flatulence.
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With le Roy's encouragement he bought a Louis Lot silver flute, altered his embouchure and articulation, and mastered the use of vibrato to play in what the Grove Dictionary of Music and Musicians calls "the flexible and expressive French style".Scott, p. 68 According to The Times, "his subsequent influence on other British flautists was enormous, and the wooden flute was quickly superseded". Gilbert remained with the LPO until the outbreak of the Second World War in 1939, when he volunteered to join the Coldstream Guards.
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Lorenzo Tio Jr. (1893–1933) was a master clarinetist from New Orleans, as were his father Lorenzo Tio Sr. (1867–1908) and uncle Louis "Papa" Tio (1862–1922). Their method of playing the instrument (which involved the Albert system, a double-lip embouchure and soft reeds) was seminal in the development of the jazz solo. The three Tios helped bring classical music theory to the ragtime, blues and jazz musicians of New Orleans; Lorenzo Jr. eventually played jazz himself. Lorenzo Sr. taught "Big Eye" Louis Nelson Delisle.
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This group was known as La Radiofónica. At this point, the group was competing with the most popular ensembles of the island, and together with Orquesta Melodías del 40 and Arsenio Rodríguez's conjunto it formed Los Tres Grandes (The Big Three). In 1945, circulatory problems related to his lip prevented Arcaño from maintaining his embouchure, which was the end for his playing career. He continued as director and hired his cousin and former teacher José Antonio Díaz as flautist, who was later replaced by Eulogio Ortiz.
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Clint's studies are specialized on trumpet and brass embouchure, he was the first person to explain the "Aperture Tunnel". In his book "How the Chops Work" Clint explains how the vibrations affect the pitch; arguing that not only the length, but also the thickness and height affect it. Mr. McLaughlin also explains how adjusting the aperture tunnel when playing can increase a players resonance by strengthening higher harmonics in the vibration. McLaughlin has been active in describing which facial muscles help and which hinder trumpet playing.
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Octaves are varied by manipulating one's embouchure and controlling the blowing strength. Either finger tips or finger pads are used by bansuri players to partially or fully cover the tap holes. In order to play the diatonic scale on a bansuri, one needs to find where the notes lie. For example, in a bansuri where Sa or the tonic is always played by closing the first three holes, is equivalent to C, one can play sheet music by creating a finger notation that corresponds to different notes.
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The tongue will force the teeth, 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.
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The trombone is a musical instrument in the brass family. As with all brass instruments, sound is produced when the player's vibrating lips (embouchure) cause the air column inside the instrument to vibrate. Unlike most other brass instruments, which have valves that, when pressed, alter the pitch of the instrument, trombones instead have a telescoping slide mechanism that varies the length of the instrument to change the pitch. However, many modern trombone models also have a valve attachment which lower the pitch of the instrument.
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The modern taepyeongso has eight fingerholes, seven in front and one on the back. Of the seven frontal fingerholes, most styles are played using only the upper five holes, with the hole in the back remaining covered. The instrument is capable of producing two full octaves, but is mostly confined to approximately an octave and a half. The tones that result from blowing the instrument while covering any particular number of fingerholes vary according to the particular construction of the instrument, the reed, and the player's embouchure.
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With an embouchure like that used for a brass instrument, the musician holds the mouth of the jug about an inch from their mouth and emits a blast of sound, made by a buzzing of the lips, directly into it. The jug does not touch the musician's mouth, but serves as a resonating chamber to amplify and enrich the sound made by the musician's lips. Changes in pitch are controlled by loosening or tightening the lips. An accomplished jug player might have a two-octave range.
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An important technique in performance is bending, causing a drop in pitch by making embouchure adjustments. Bending isolated reeds is possible, as on chromatic and other harmonica models with wind-savers, but also to both lower, and raise (overbend, overblow, overdraw) the pitch produced by pairs of reeds in the same chamber, as on a diatonic or other unvalved harmonica. Such two-reed pitch changes actually involve sound production by the normally silent reed, the opening reed (for instance, the blow reed while the player is drawing).
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In addition to the 19 notes readily available on the diatonic harmonica, players can play other notes by adjusting their embouchure and forcing the reed to resonate at a different pitch. This technique is called bending, a term possibly borrowed from guitarists, who literally bend a string to subtly change the pitch. Bending also creates the glissandos characteristic of much blues harp and country harmonica playing. Bends are essential for most blues and rock harmonica due to the soulful sounds the instrument can bring out.
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A trombone playing a glissando Musical instruments with continuously variable pitch can effect a portamento over a substantial range. These include unfretted stringed instruments (such as the violin, viola, cello and double bass, and fretless guitars), stringed instruments with a way of stretching the strings (such as the guitar, veena, or sitar), a fretted guitar or lap steel guitar when accompanied with the use of a slide, wind instruments without valves or stops (such as the trombone or slide whistle), timpani (kettledrums), electronic instruments (such as the theremin, the ondes Martenot, synthesizers and keytars), the water organ, and the human voice. Other wind instruments can effect a similar limited slide by altering the lip pressure (on trumpet, for example) or a combination of embouchure and rolling the head joint (as on the flute), while others such as the clarinet can achieve this by slowly dragging fingers off tone holes or changing the oral cavity's resonance by manipulating tongue position, embouchure, and throat shaping. Many electric guitars are fitted with a tremolo arm which can produce either a portamento, a vibrato, or a combination of both (but not a true tremolo despite the name).
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Roy Roman is a high note trumpet player who has performed lead with Lionel Hampton, the Benny Goodman Orchestra, Count Basie, Duke Ellington, Bob Hope, Sammy Davis, Jr. and Franki Valli, among others. Roman began playing the trumpet at age 19. After an injury to one of his front teeth, he was introduced to Roy Stevens, the teacher of a scientific method of embouchure development pioneered by William Costello. Today, Roman is the world's leading expert on the Stevens/Costello Method, a technique that allows the player to increase range, endurance and control.
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Trills may be performed on valveless brass instruments by rapidly slurring between two adjacent notes by means of the embouchure – this is colloquially known as a "lip trill." This was a common practice on the natural trumpets and natural horns of the Baroque/Classical era. However the lip trill is often still used in the modern French horn in places where the harmonics are only a tone apart (though this can be difficult for inexperienced players). Such trills are also a stylistic feature of jazz music, particularly in trumpet parts.
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Mellophones are, however, sometimes unpopular with horn players because the mouthpiece change can be difficult and requires a different embouchure. Mouthpiece adapters are available so that a horn mouthpiece can fit into the mellophone lead pipe, but this does not compensate for the many differences that a horn player must adapt to. The "feel" of the mellophone can be foreign to a horn player. Another unfamiliar aspect of the mellophone is that it is designed to be played with the right hand instead of the left (though it can be played with the left).
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Since, the apito de samba has a small ball or dowel rod that hits the sides of the whistle's chamber, this instrument creates a loud and shrill sound, which is useful in a samba school because the sound can be heard over the playing of the band. However one can manipulate the sound of the whistle by changing the speed at which one is blowing air through the instrument and by changing one's embouchure. Audio example of variations in apito de samba Sound of a wood samba whistle (1:46 – 2:08).
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Techniques alternative to jaw vibrato can be used to achieve a beautiful tone quality, but can also diverge noticeably from tone quality produced by classical jaw vibrato. The lip vibrato, which is often confused with the jaw vibrato, is produced by moving the lips in something like a “wa-wa-wa---” motion. However, this is more difficult to control, as it causes a greater disturbance to the basic embouchure. This type of pulsation tends to dominate the tone so much than the listener hears more vibrato than tone.
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Successively opening holes from the bottom upward produces the rest of the notes of the scale in sequence: with the lowest hole open it generates the second, with the lowest two holes open, it produces the third and so on. With all six holes open, it produces the seventh. As with a number of woodwind instruments, the tin whistle's second and higher registers are achieved by increasing the air velocity into the ducted flue windway. On a transverse flute this is generally done by narrowing the lip/embouchure.
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There have been numerous fingering guides published for the woodwind player to achieve harmonics. Multiphonics on reed instruments can also be produced in the manners described below for brass instruments. It is said to be impossible to recreate exactly the conditions between one player and the next, due to minute differences in instruments, reeds, embouchure, and other things. This, however, is not entirely true; the multiphonic will depend on the room temperature and other such things, but essentially multiphonics sound the same due to the harmonic structure of the multiphonic.
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In 1919 Waldron opened The Waldron School of Trumpet and Saxophone where he taught students such as Buddy Catlett and Quincy Jones. Waldron being an expert in his field, taught his pupils the basics of embouchure and phrasing, sight- reading, tonguing, furthermore even improvisation and ear-training. These specialized techniques were staple artistic skill for musicians to achieve before moving forward in their musical endeavors. While at this time Seattle operated largely outside of the radar of the large East coast jazz record labels, Waldron self-published his own records.
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A (keyless) wooden flute The Irish flute is a simple system, transverse flute which plays a diatonic (Major) scale as the tone holes are successively uncovered. Most flutes from the Classical era, and some of modern manufacture include metal keys and additional tone holes to achieve partial or complete chromatic tonality. Due to its wooden construction, characteristic embouchure and direct (keyless) fingering, the simple system flute has a distinctly different timbre from the Western concert flute. Most Irish flute players tend to strive for a dark and reedy tone in comparison to classical flautists.
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It became known as La Radiofónica and Arcaño as El Monarca del Danzón (The Monarch of Danzón). However, Arcaño had to stop playing in 1945 due to lip problems preventing him from maintaining his embouchure. He continued as director and hired his cousin José Antonio Díaz as flautist, who was later replaced by Eulogio Ortiz. Cachao left the group by the end of the decade (being replaced by his nephew Orlando "Cachaíto" López, Orestes' son), but returned to record "Chanchullo" in 1957, one year before the Maravillas played their last show in Alquízar.
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Though they are usually played with a V-cup cornet-like mouthpiece, their range overlaps the common playing range of the horn. This mouthpiece switch makes the mellophone louder, less mellow, and more brassy and brilliant, making it more appropriate for marching bands. As they are pitched in F or G and their range overlaps that of the horn, mellophones can be used in place of the horn in brass and marching band settings. Mellophones are, however, sometimes unpopular with horn players because the mouthpiece change can be difficult and requires a different embouchure.
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Downstream the Brunndöbra's embouchure, the south-east-bound river is called Zwodau, or Zwotau, and shapes the national border between Germany and the Czech Republic for approximately . After that it continues its flow as Zwodau in a steep valley of the Bohemian Erzgebirge. Along the Zwodau lies the town of Kraslice, after that its course comes through Anenské Údoli, meandering towards Hory, flowing through Oloví, Hřebeny and Luh into the coal-mining area of the Sokolovská pánev. Along the underflow of the Zwodau, there are the villages of Davidov and Svatava.
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With most flutes, the musician blows directly across the edge of the mouthpiece, with 1/4 of their bottom lip covering the embouchure hole. However, some flutes, such as the whistle, gemshorn, flageolet, recorder, tin whistle, tonette, fujara, and ocarina have a duct that directs the air onto the edge (an arrangement that is termed a "fipple"). These are known as fipple flutes. The fipple gives the instrument a distinct timbre which is different from non-fipple flutes and makes the instrument easier to play, but takes a degree of control away from the musician.
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Trumpets are used in art music styles, for instance in orchestras, concert bands, and jazz ensembles, as well as in popular music. They are played by blowing air through nearly-closed lips (called the player's embouchure), producing a "buzzing" sound that starts a standing wave vibration in the air column inside the instrument. Since the late 15th century, trumpets have primarily been constructed of brass tubing, usually bent twice into a rounded rectangular shape.Clint McLaughlin, The No Nonsense Trumpet From A-Z (Dallas, Texas: Trumpet College, 1995), 7–10.
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Trumpet valve bypass (depressed) The trumpet is constructed of brass tubing bent twice into a rounded oblong shape. As with all brass instruments, sound is produced by blowing air through closed lips, producing a "buzzing" sound into the mouthpiece and starting a standing wave vibration in the air column inside the trumpet. The player can select the pitch from a range of overtones or harmonics by changing the lip aperture and tension (known as the embouchure). The mouthpiece has a circular rim, which provides a comfortable environment for the lips' vibration.
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As with the natural trumpet and bugle, the tube trumpet is a simple (valveless) brass instrument, and is therefore in principle limited to a single harmonic sequence, though by employing embouchure it can be made to produce a chromatic scale in the higher registers. It can be constructed in any desired key depending on the length of tubing used; and a working tube trumpet can be retuned to a sharper pitch by trimming the hose. Once shortened it cannot be returned to its original or a flatter pitch.
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As the tubing length increases by a factor of one-third, the distance between each position must be one-third longer when the valve attachment is engaged. This results in only six positions being available, as the slide is too short for what is effectively a bass trombone in 12′ F. Because of this, the B two ledger lines below the bass staff are impossible to play unless the attachment is tuned down to E, or the embouchure is loosened. The range of the tenorbass trombone is, therefore, E1 to B1, then C2 to F5.
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Due to the large size of most sousaphones, the sub-contra register (for which the fourth valve is largely intended) is already covered by alternate resonances, known as "false tones" (see Tuba article). Many beginners are not aware of the false-tone resonances on their sousaphones because these notes reside in the sub-contra register, which is nearly impossible for most beginners to access. Some professionals develop a "raised embouchure" to securely play these notes. This is where either the upper or lower lip (depending on the player) takes up most of the mouthpiece area.
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However, using dynamics is still too hard, as they make tuning more difficult and timbre less powerful. Therefore, the following points must be taken into account in order to make the best of interpretation and expression: 1.Changes of dynamics must not be used in the second register (from high E to high A). These notes are always loud and only difficult techniques allow the player to darken and soften their sound. 2\. As opposed to other instruments, decreasing volume level while playing dolçaina implies a huge physical effort in the embouchure and a very difficult and complex technique.
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Unlike many flutes, ocarinas do not rely on pipe length to produce a particular tone. Instead, the tone is dependent on the ratio of the total surface area of opened holes to the total cubic volume enclosed by the instrument. This means that, unlike a transverse flute or recorder, sound is created by resonance of the entire cavity and the placement of the holes on an ocarina is largely irrelevant – their size is the most important factor. Instruments that have toneholes close to the voicing/embouchure should be avoided, however; as an ocarina is a Helmholtz resonator, this weakens tonal production.
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In Proc. Int. Symp. Music Acoustics A highly skilled clarinetist will provide the ideal lip and air pressure for each frequency (note) being produced. They will have an embouchure which places an even pressure across the reed by carefully controlling their lip muscles. The airflow will also be carefully controlled by using the strong stomach muscles (as opposed to the weaker and erratic chest muscles) and they will use the diaphragm to oppose the stomach muscles to achieve a tone softer than a forte rather than weakening the stomach muscle tension to lower air pressure.BREATHING. Tcnj.edu. 2013.
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Due to the higher pitch of the soprano, it is more sensitive with respect to intonation than the lower saxophones, so a player must have more skill with breath support, tongue and soft palate position, and embouchure (collectively known as voicing). It is also less forgiving of poor maintenance than lower saxophones. This has led to the common belief that soprano is either inherently out of tune, or far more difficult to play than lower saxophones, but many experienced players and teachers disagree with these sentiments. Soprano saxophone mouthpieces are available in various designs, allowing players to tailor their tone as desired.
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Because the player of a brass instrument has direct control of the prime vibrator (the lips), brass instruments exploit the player's ability to select the harmonic at which the instrument's column of air vibrates. By making the instrument about twice as long as the equivalent woodwind instrument and starting with the second harmonic, players can get a good range of notes simply by varying the tension of their lips (see embouchure). Most brass instruments are fitted with a removable mouthpiece. Different shapes, sizes and styles of mouthpiece may be used to suit different embouchures, or to more easily produce certain tonal characteristics.
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Because the condition is neurological, there is, in terms of brass playing at least, no effective cure. Treatments using botox have been pioneered to treat focal dystonia in other parts of the body; however, they have been found to be ineffective in treating embouchure collapse. This is possibly because botox causes the facial muscles to relax; and although this collapse lessens the uncontrollable twitching of the muscles, the newly relaxed status deprives the player of the lip flexibility needed to play a brass instrument. For most brass players, diagnosis with focal dystonia signals the end of their careers.
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Such a flat and rectangular voicing however, produces a less-than-sweet tone and offers far less dynamic flexibility (pitch bending) than a flute embouchure. The recorder voicing was designed to limit pitch bending for a more stable tone with variations in breath pressure. Typically, a shallow ramp instrument, such as a tabor pipe, will allow faster register changes, pitch bending and "flutey" tone, while an instrument with a deeper ramp will limit fast register changes, pitch bending and produce a more "reedy" tone. Some modern recorder makers now produce curved labium lip voicings to add harmonic tone color.
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The combination of a clean seal with the lips around the beak, with the relaxing of the cheeks and face muscles, while allowing the cheeks to puff out in response to the flow of air, will be ingredients in the greater recipe of factors which produce a focused, ringy tone. This "greater recipe of factors" includes not only embouchure, but posture, articulation, breathing and fingering technique alike. Care should be taken not to block the windway with the teeth, which filters and scatters the airflow, producing a less-than- focused sound with a fuzzy edge, so to speak.
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The fife is a diatonically tuned instrument commonly consisting of a tube with 6 finger holes and an embouchure hole that produces sound when blown across. Modern versions of the fife are chromatic, having 10 or 11 finger holes that allow any note to be played. On a 10-hole fife, the index, middle and ring fingers of both hands remain in the same positions as on the 6-hole fife, while both thumbs and both pinkies are used to play accidentals. An 11-hole fife has holes positioned similarly but adds a second hole under the right middle finger.
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An overblow consists of two steps: the closing reed must be choked (silenced), and the opening reed must be sounded. A clean overblow note requires that both of these steps be executed simultaneously. Overblowing technique also has been described as not much different from doing a blow bend, except on a draw-bend-only reed (holes 1-6), and doing a draw bend embouchure, except on a blow-bend-only reed (holes 7-10). The latter technique is also known as the "overdraw" due to the reversed airflow, and these techniques are sometimes collectively referred to as "overbends".
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In addition to teaching fingering, teachers also provide other types of instruction. A guitar player learns how to strum and pluck strings; players of wind instruments learn about breath control and embouchure, and singers learn how to make the most of their vocal cords without hurting the throat or vocal cords. Teachers also show students how to achieve the correct posture for most efficient playing results. For all instruments, the best way to move the fingers and arms to achieve a desired effect is to learn to play with the least tension in your hands and body.
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An illustration of a Western concert flute The Western concert flute, a descendant of the medieval German flute, is a transverse treble flute that is closed at the top. An embouchure hole is positioned near the top across and into which the flutist blows. The flute has circular tone holes larger than the finger holes of its baroque predecessors. The size and placement of tone holes, key mechanism, and fingering system used to produce the notes in the flute's range were evolved from 1832 to 1847 by Theobald Boehm and greatly improved the instrument's dynamic range and intonation over its predecessors.
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Chet Baker (right) and Stan Getz, 1983 After developing a new embouchure resulting from dentures, Baker returned to the straight-ahead jazz that began his career. He moved to New York City and began performing and recording again, including with guitarist Jim Hall. Later in the 1970s, Baker returned to Europe, where he was assisted by his friend Diane Vavra, who took care of his personal needs and helped him during his recording and performance dates. From 1978 until his death in 1988, Baker lived and played almost exclusively in Europe, returning to the U.S. once a year for a few performances.
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In the mid-'80's he contracted an aggressive form of the HIV virus and died in February 1990. Madrid's teachers include lead trumpeter Conrad Gozzo, famed LA teacher and player James Stamp, Claude Gordon, John Clyman (former 1st trumpet with 20th century fox for many years), Carl Leach (Claude Gordon student), Tom Holden when in high school (Claude Gordon student), embouchure expert Donald Reinhardt, Vince Penzarella and high note trumpeter Bud Brisbois. He was not officially a teacher but did informally teach trumpet technique to many players, including trumpeter Paul Cacia, who frequently mentions Madrid in interviews.
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The device consists of a small, foot-operated bellows that pumps air into the player's mouth via a rubber tube, which is fitted with a one-way valve to prevent the air from the player's lungs from passing into the bellows. The aerophor mouthpiece (a small metal reed) is mounted adjacent to the instrument mouthpiece such that the player may receive air through the corner of their mouth without disrupting the embouchure. In some models, the bellows contains a water reservoir and electric light bulb to ensure that the supplied air matches the temperature and humidity of the player's breath.
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Parallel to Baermann's rise, the clarinet was undergoing a series of developments in key construction and embouchure that allowed greater agility and flexibility in playing. The growing custom was to play with the reed on the bottom lip, as is done today, as opposed to the top lip as had been the previous prevailing style. Baermann was an exponent of this new style of playing, and possessed a modern instrument made by Griesling & Schlott which allowed him to play chromatic passages with far greater ease than traditional 5-keyed instruments. He is said to have had a great dynamic range.
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Tone and sound are terms used by musicians and related professions to refer to the audible characteristics of a player's sound. Tone is the product of all influences on what can be heard by the listener, including the characteristics of the instrument itself, differences in playing technique (e.g. embouchure for woodwind and brass players, fretting technique or use of a slide in stringed instruments, or use of different mallets in percussion), and the physical space in which the instrument is played. In electric and electronic instruments, tone is also affected by the amplifiers, effects, and speakers used by the musician.
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The soprano trombone's high pitch and narrow, tight embouchure usually prompt bandleaders to assign its playing to a trumpeter, albeit at the risk of detriment to intonation and note selection accuracy if the trumpeter is less than fully familiar with slide work. Modern trombone-players are not keen on the idea of playing Soprano-trombone; the mouthpieces used today are usually trumpet mouthpieces, which also make the instrument sound somewhat like a trumpet. The range of the B soprano trombone is originally that of a good soprano-singer; C4 to C6. E3 is the lowest note of the instrument.
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This process is thought not to affect solid and liquid intra-lumenal contents. Researchers investigating the role of sensory nerve endings in the anal canal did not find them to be essential for retaining fluids in the anus, and instead speculate that their role may be to distinguish between flatus and faeces, thereby helping detect a need to defecate or to signal the end of defecation. The sound varies depending on the tightness of the sphincter muscle and velocity of the gas being propelled, as well as other factors, such as water and body fat. The auditory pitch (sound) of the flatulence outburst can also be affected by the anal embouchure.
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Computone Wind Synthesizer Controller (essentially, Lyricon II without synthesizer) The first widely played wind controller was the Lyricon from Computone which came about in the 1970s era of analog synthesizers. The Lyricon was based on the fingerings of the saxophone and used a similar mouthpiece. It set the standard for hardware-based wind controllers with a number of features that have been preserved in today's MIDI wind controllers, including the ability to correctly interpret the expressive use of reed articulation, breath-controlled dynamics, and embouchure- controlled pitch variation. The Lyricon also expanded the playing range several octaves beyond the accustomed range for woodwind players.
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After the Synthophone, several other MIDI saxes have been released that offer real sax fingerings: in 2019 the Travel Sax by Odisei Music, and in 2020 the YDS-150 digital saxophone by Yamaha. These MIDI saxes have sensors for breath pressure to adjust the volume, but they do not read lip pressure and thus do not allow the pitch to be controlled by the embouchure or by the manner of breathing. With the YDS-150, pitch bend can be achieved using a separate input on the instrument. Both the Travel Sax and the YDS-150 provide for settings customisation using a Bluetooth-connected mobile app.
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Connie Jones playing a long- model cornet Like the trumpet and all other modern brass wind instruments, the cornet makes a sound when the player vibrates ("buzzes") the lips in the mouthpiece, creating a vibrating column of air in the tubing. The frequency of the air column's vibration can be modified by changing the lip tension and aperture or "embouchure", and by altering the tongue position to change the shape of the oral cavity, thereby increasing or decreasing the speed of the airstream. In addition, the column of air can be lengthened by engaging one or more valves, thus lowering the pitch. Double and triple tonguing are also possible.
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The tenor cornett or lizard was a common musical instrument in the Renaissance and Baroque periods. This instrument was normally built in C and the pedal (lowest) note of the majority of tenor cornetts was the C below middle C. A number of surviving instruments feature a key to secure the lowest note. The instrument has a useful range of approximately two and a half octaves, however, an experienced player with a strong embouchure may be able to push the instrument higher. The tenor cornett was used by composers like Giovanni Gabrieli, Heinrich Schütz and Orlando di Lasso as an alto or tenor voice in an ensemble of cornetts and trombones.
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Valved diatonics are made by fitting windsavers on draw holes 1–6 and blow holes 7–10; this way, all reeds can be bent down a semitone at least, although most players can easily bend down a whole tone. Alternatively, one can simply buy a factory- made valved diatonic such as the Suzuki Promaster Valved. The disadvantage of the valved diatonic is that it does not require one to develop proper embouchure in order to bend the notes accurately. Also, many of the notes reached by bending are nearer just intonation, and the slightly lower equal tempered pitches preferred by western classical music are unattainable.
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Saxophone altissimo is generally considered to be any note that is higher than written high F which is considered to be the highest note in the saxophone's regular range. Altissimo is produced by the player using various voicing techniques such as air stream, tongue, throat and embouchure variations to disturb the fundamental of a note which results in one of the higher overtones dominating. In classical music, altissimo playing is considered a necessary skill for saxophonists, and much of the modern concert saxophone repertoire utilizes the altissimo range. A notable proponent of the altissimo range was Sigurd Raschèr, who preferred the term top tones.
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Acoustic impedance of the embouchure hole appears the most critical parameter. Critical variables affecting this acoustic impedance include: chimney length (hole between lip-plate and head tube), chimney diameter, and radii or curvature of the ends of the chimney and any designed restriction in the "throat" of the instrument, such as that in the Japanese Nohkan Flute. A study in which professional flutists were blindfolded could find no significant differences between flutes made from a variety of metals. In two different sets of blind listening, no flute was correctly identified in a first listening, and in a second, only the silver flute was identified.
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Alexander B/A model 90 horn, damaged in the crash, restored by Paxman and now on display at the Royal Academy of Music At an early age, Brain was allowed to blow a few notes on his father's horn every Saturday morning. Aubrey Brain held the belief that students should not study the horn seriously until the later teenage years, when the teeth and embouchure became fully developed. During these years, Brain studied piano and organ. It was not until the age of 15 that Dennis was to transfer from St Paul's School to the Royal Academy of Music to study horn, under his father's tutelage.
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The Native American flute is a flute that is held in front of the player, has open finger holes, and has two chambers: one for collecting the breath of the player and a second chamber which creates sound. The player breathes into one end of the flute without the need for an embouchure. A block on the outside of the instrument directs the player's breath from the first chamber—called the slow air chamber—into the second chamber—called the sound chamber. The design of a sound hole at the proximal end of the sound chamber causes air from the player's breath to vibrate.
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Within each overtone series, the different pitches are attained by changing the embouchure. Standard fingerings above high C are the same as for the notes an octave below (C is 1–2, D is 1, etc.). tone; a half step = a semitone Each overtone series on the trumpet begins with the first overtone—the fundamental of each overtone series cannot be produced except as a pedal tone. Notes in parentheses are the sixth overtone, representing a pitch with a frequency of seven times that of the fundamental; while this pitch is close to the note shown, it is flat relative to equal temperament, and use of those fingerings is generally avoided.
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Some instruments, such as the violin, can be played in any scale; others, such as the glockenspiel, are restricted to the scale to which they are tuned. Among this latter class, some instruments, such as the piano, are always tuned to a chromatic scale, and can be played in any key, while others are restricted to a diatonic scale, and therefore to a particular key. Some instruments, such as the harmonica, harp, and glockenspiel, are available in both diatonic and chromatic versions (although it is possible to play chromatic notes on a diatonic harmonica, they require extended embouchure techniques, and some chromatic notes are only usable by advanced players).
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The bassoon embouchure is a very important aspect of producing a full, round, and rich sound on the instrument. The lips are both rolled over the teeth, often with the upper lip further along in an "overbite". The lips provide micromuscular pressure on the entire circumference of the reed, which grossly controls intonation and harmonic excitement, and thus must be constantly modulated with every change of note. How far along the reed the lips are placed affects both tone (with less reed in the mouth making the sound more edged or "reedy", and more reed making it smooth and less projectile) and the way the reed will respond to pressure.
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He knows also that this > player is endowed with the rarest jazz gift of all, a sense of form which > lends to an improvised performance a coherence which no amount of teaching > can produce. The listening musician, whatever his generation or his style, > recognizes Bix as a modern, modernism being not a style but an > attitude.Green, p. 34 Like Green, who made particular mention of Beiderbecke's "amount of teaching," the jazz historian Ted Gioia also has emphasized Beiderbecke's lack of formal instruction, suggesting that it caused him to adopt "an unusual, dry embouchure" and "unconventional fingerings," which he retained for the rest of his life.
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Even with a high-quality digital sampler, the resulting sounds will not contain the complex nuances of a live orchestral performer. To obtain more authentic articulations and nuances from sampled or synthesized brass or woodwind sounds, these sounds can be performed using MIDI wind controllers rather than piano-style keyboards. Wind controllers can sense a musicians' embouchure, breath pressure, and other factors, and then this input can be "translated" by the synthesizer into the nuances that are expected in a traditional woodwind or brass instrument. Other electronic instruments include software-based instruments, which are used with computerized music systems, and custom-made MIDI controllers which respond to movements by the onstage performers.
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The design of the saxophone allows for a wide variety of different approaches to sound production. However, there is a basic underlying structure to most techniques. The most common saxophone embouchures in modern music use are variants of the single-lip embouchure, in which the mouthpiece position is stabilized with firm pressure from the upper teeth resting on the mouthpiece O’Reilly, J. and Williams, M. ‘’Accent on Achievement Book 1 for Tenor Saxophone’’(1998)Alfred Publishing Co., USA (sometimes padded with a thin strip of rubber known as a "bite-pad" or "mouthpiece-patch"). The lower lip is supported by the buccinator and chin muscles and rests in contact with the lower teeth, making contact with the reed.
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Leslie grew up around music, playing cornet as a child in the Salvation Army band. Ryan later switched to piano because his overbite made it difficult to get proper embouchure on a brass instrument. At Harvard, he joined the Krokodiloes, an a cappella group. Leslie suddenly saw a new future for himself when a friend played him a Stevie Wonder CD freshman year. “I became obsessed with him,” says Leslie. “I wanted to chase that man's career.” Leslie became a constant presence at the on-campus recording studio. Fellow student Chiqui Matthew, now working for Goldman Sachs, remembered Leslie making beats at every free moment: “He was on a different level of intensity.
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In brass instruments, overblowing (sometimes combined with tightening of the embouchure) produces a different harmonic. In beating, or striking, reed wind instruments such as the saxophone, clarinet, and oboe, the transition from lower to higher register is aided by a "register key" which encourages a vibration node at a particular point in the pipe such that a higher harmonic is produced. Another type of overblowing is that used on instruments such as the transverse flute, where the direction of the airstream is altered in order to sound higher notes. This technique can also be demonstrated when blowing across the top of a glass bottle (beer bottle, wine bottle, etc.) to produce a pitch.
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In the trombone family large and small bore trombones are both called trombones, while the cylindrical trumpet and the conical flugelhorn are given different names. As with the trumpet and flugelhorn, the two instruments are easily doubled by one player, with some modification of breath and embouchure, since the two have identical range and essentially identical fingering. The cylindrical baritone offers a brighter sound and the conical euphonium offers a more mellow sound. The American baritone, featuring three valves on the front of the instrument and a curved, forward-pointing bell, was dominant in American school bands throughout most of the 20th century, its weight, shape, and configuration conforming to the needs of the marching band.
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Many diatonic hydraulophones are built with 12 water jets, one for each of the instrument's 12 notes. The standard compass starts on A, extending up an octave and a half to E. Extended playing ranges for a diatonic 12-water-jet hydraulophone The standard A to E range, in which it is possible to play with polyphonic embouchure on any or all diatonic notes at the same time, is shown on the left side of the diagram. When playing only monophonically, some additional range is possible on certain hydraulophones, indicated here by small cue notes at the end-points. Left, the extended notes come from closing key change valves or flexing key change levers, for sharpener, and flattener.
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By the mid-1970s, James O. Froseth (University of Michigan) had published training materials that taught instrumental music teachers to visually identify typical problems demonstrated by beginning band students. For each instrument, Froseth developed an ordered checklist of what to look for (i.e., posture, embouchure, hand placement, instrument position, etc.) and a set of 35mm slides of young players demonstrating those problems. In timed class exercises, trainees briefly viewed slides and recorded their diagnoses on the checklists which were reviewed and evaluated later in the training session. In 1978, William H. Sanders adapted Froseth’s program for delivery using the PLATO IV system. Sanders transferred the slides to microfiche for rear-projection through the PLATO IV terminal’s plasma display.
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A bassoon reed An oboe reed The orchestral double reeds all employ a similar embouchure. Players pull their lips over their teeth to protect the reed from their teeth, and then excite the blades of the reed by blowing, while controlling the timbre and pitch with constant micromuscular pressure adjustments from the muscles of the mouth and jaw. Articulation is achieved by occluding the mouth of the reed with the tongue and then releasing it, with extended techniques such as double tongue, flutter tongue and growl all possible as on the other woodwind families. The principal difference between double reed embouchures – both between and within instrument families – is in the positioning of the rolled- in lips, and the musculature employed to control a sound.
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Gaining popularity as a folk instrument in the early 19th century Celtic music revivals, penny whistles now play an integral part of several folk traditions. Whistles are a prevalent starting instrument in English traditional music, Scottish traditional music and Irish traditional music, since they are usually inexpensive; relatively easy to play, free of tricky embouchure such as found with the transverse flute; and use fingerings are nearly identical to those on traditional six-holed flutes, such as the Irish flute and the Baroque flute. The tin whistle is a good starting instrument to learn the uilleann pipes, which has similar finger technique, range of notes and repertoire. The tin whistle is the most popular instrument in Irish traditional music today.
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De Haan has commissioned over 150 works by Australian composers, including Love song by Carl Vine, which Vine said was "Written after a long period in which both Simone and I had been involved in the performance of a great deal of intellectually, technically and physically demanding music, it is concerned more with the purely lyrical aspects of musical performance. While demanding considerable stamina on the part of a live trombonist, the long sustained notes throughout the work function as a "warm-up" for the player's embouchure, culminating in some of the highest notes available to a tenor trombone." Other commissions include Occasional poetry by Carl Vine, Sonata for two trombones by Lawrence Whiffin, and Red letter days by Lawrence Whiffin.
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Soprano, alto, alto, tenor and bass dulcians from the Brussels collection The reed on the dulcian is fully exposed, allowing the player to control the sound and intonation by embouchure. At the time it first appeared, other double reed instruments either had the reed fully enclosed, like the crumhorn or the bagpipe, or partially enclosed by a pirouette, like the shawm. It has been argued the dulcian displaced the bass shawm, on account of its more convenient size, but it has also been argued that the two co-existed and that the bass shawm appeared at about the same time as the bass dulcian. The instrument seems to have been in wide use by the middle of the sixteenth century.
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Due to the underlying physics of sound proudction, flutes have a natural "cut" or a discontinuity when going from the lowest note to the highest note. This discontinuity appears between the notes "ga" and "ma" on a Carnatic flute and between "Ma" and "Pa" for a Hindustani flute (mainly because of the fingering technique differences). In order to adapt the flute to Carnatic Music, certain modifications were necessary such as the addition of the 7th hole, usage of thicker walled bamboos, the technique of lifting the head to change the angle of embouchure when shifting between "ga" and "ma" notes. These innovations enabled artists to perform the Carnatic ragas with all the necessary Gamakas and ornamentations without loosing the "Bhaava" of the raga.
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With woodwinds, it is 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. The standard embouchures for single reed woodwinds like the clarinet and saxophone are variants of the single lip embouchure, formed by resting the reed upon the bottom lip, which rests on the teeth and is supported by the chin muscles and the buccinator muscles on the sides of the mouth. The top teeth rest on top of the mouthpiece.
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The vibrato might also be achieved via rapid glottal (vocal fold) opening and closing, especially on draws (inhalation) simultaneous to bending, or without bending. This obviates the need for cupping and waving the hands around the instrument during play. An effect similar to vibrato is that of the 'trill' (or 'roll', or 'warble, or 'shake'); this technique has the player move their lips between two holes very quickly, either by shaking the head in a rapid motion or moving the harmonica from side to side within the embouchure. This gives a quick pitch-alternating technique that is slightly more than vibrato and achieves the same aural effect on sustained notes, albeit by using two different tones instead of varying the amplitude of one.
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Finding that an increased volume of air produced a stronger and clearer tone, he replaced the conical bore with a cylindrical bore, finding that a parabolic contraction of the bore near the embouchure hole improved the instrument's low register. He also found that optimal tone was produced when the tone holes were too large to be covered by the fingertips, and he developed a system of finger plates to cover the holes. These new flutes were at first made of silver, although Boehm later produced wooden versions. The cylindrical Boehm flute was introduced in 1847, with the instrument gradually being adopted almost universally by professional and amateur players in Europe and around the world during the second half of the 19th century.
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The French horn (since the 1930s known simply as the "horn" in professional music circles) is a brass instrument made of tubing wrapped into a coil with a flared bell. The double horn in F/B (technically a variety of German horn) is the horn most often used by players in professional orchestras and bands. A musician who plays a horn is known as a horn player or hornist. Pitch is controlled through the combination of the following factors: speed of air through the instrument (controlled by the player's lungs and thoracic diaphragm); diameter and tension of lip aperture (by the player's lip muscles—the embouchure) in the mouthpiece; plus, in a modern horn, the operation of valves by the left hand, which route the air into extra sections of tubing.
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Allmusic reviewer Michael G. Nastos noted "This release for the 76-year-old baritone saxophonist does not fare as well as Cerupa and Scotch & Milk, primarily because his tone is thin and edgier than his partners, trombonist Steve Davis and the wonderful tenor saxophonist Eric Alexander. However, this is still a pretty good CD with nearly 73 minutes of vibrant, swinging modern jazz from the aforementioned horn players and especially the ever brilliant pianist Harold Mabern. ... Payne has all the support he needs. Perhaps his embouchure is wanting or he needs to tune up a little -- he is tonally challenged and that may dissuade some from championing him -- but more often than not, he's a successful team player, and that is evident in spades on this slightly off-putting but still enjoyable recording".
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Nicholson used a flute made by George Astor & Co., a London-based firm operating from c1778 to c1831. His father, also a celebrated flautist, modified the instrument, lining the headpiece with metal, enlarging the embouchure and toneholes with a view to making the flute's tone more powerful, yet still delicate, permitting the usual fingerings in the third octave, facilitating glidesa glide — a portamento done by more-or-less slowly sliding one or more fingers off their holes and vibratos. Once his bravura style on the modified flute had become accepted in London, he licensed several London flute makers such as Clementi & Co., Astor, Rudall and Rose, and Potter to produce the 'Nicholson's Improved'. The structure of his new flute favoured flat keys such as E flat, A flat, and F and C minor.
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While bassoons are usually critically tuned at the factory, the player nonetheless has a great degree of flexibility of pitch control through the use of breath support, embouchure, and reed profile. Players can also use alternate fingerings to adjust the pitch of many notes. Similar to other woodwind instruments, the length of the bassoon can be increased to lower pitch or decreased to raise pitch. On the bassoon, this is done preferably by changing the bocal to one of a different length, (lengths are denoted by a number on the bocal, usually starting at 0 for the shortest length, and 3 for the longest, but there are some manufacturers who will use other numbers) but it is possible to push the bocal in or out slightly to grossly adjust the pitch.
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Many extended techniques can be performed on the bassoon, such as multiphonics, flutter-tonguing, circular breathing, double tonguing, and harmonics. In the case of the bassoon, flutter-tonguing may be accomplished by "gargling" in the back of the throat as well as by the conventional method of rolling Rs. Multiphonics on the bassoon are plentiful, and can be achieved by using particular alternative fingerings, but are generally heavily influenced by embouchure position. Also, again using certain fingerings, notes may be produced on the instrument that sound lower pitches than the actual range of the instrument. These notes tend to sound very gravelly and out of tune, but technically sound below the low B. The bassoonist may also produce lower notes than the bottom B by extending the length of bell.
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Allard described the proper lower lip position as slightly drawn in to rest against the lower teeth, as in pronouncing the letter "V," to cushion the reed without excessively dampening vibration. Pressure from the reed slightly spreads the relaxed lip, with the inner part slightly over the tops of the teeth and the outer part slightly protruding. Allard emphasized the role of jaw pressure in maintaining control of the reed, with slightly increased lip pressure toward the center of the reed optimal for tonal richness, and tongue position in controlling airflow (the soft "kihhhh"). Often quoting Douglas Stanly's "The Science of Voice," he said that keeping an open throat and a relaxed throat are contradictory. The summary of Allard’s approach to saxophone is to keep everything as natural as possible being careful not to interfere with head position, tongue position, breathing, or embouchure.
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Overblowing is a technique used while playing a wind instrument that causes the sounded pitch to jump to a higher one primarily through the manipulation of the supplied air rather than by a fingering change or the operation of a slide. Depending on the instrument, and to a lesser extent the player, overblowing may involve a change in the air pressure, in the point at which the air is directed, or in the resonance characteristics of the chamber formed by the mouth and throat of the player. (The latter is a feature of embouchure.) In some instruments, overblowing may also involve the direct manipulation of the vibrating reed(s), and/or the pushing of a register key while otherwise leaving fingering unaltered. With the exception of harmonica overblowing, the pitch jump is from one vibratory mode of the reed or air column, e.g.
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In 1949 he studied with clarinetist Reginald Kell, requiring a change in technique: "instead of holding the mouthpiece between his front teeth and lower lip, as he had done since he first took a clarinet in hand 30 years earlier, Goodman learned to adjust his embouchure to the use of both lips and even to use new fingering techniques. He had his old finger calluses removed and started to learn how to play his clarinet again—almost from scratch." Goodman commissioned compositions for clarinet and chamber ensembles or orchestra that have become standard pieces of classical repertoire. He premiered works by composers, such as Contrasts by Béla Bartók; Clarinet Concerto No. 2, Op. 115 by Malcolm Arnold; Derivations for Clarinet and Band by Morton Gould; Sonata for Clarinet and Piano by Francis Poulenc, and Clarinet Concerto by Aaron Copland.
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Raschèr is also the author of "Top Tones For the Saxophone", which is the most widely used and known method book for training saxophonists how to perform in the upper and altissimo register of the saxophone. In jazz music, use of altissimo is common, especially among avant-garde players, though one of its earliest practitioners was the swing player, Earl Bostic. Altissimo technique and the use of multiphonics are prominent in the influential work of Eric Dolphy and John Coltrane during the 1960s, as well as in the work of Lenny Pickett, Ron Holloway, Scott Page, Michael Brecker and Chris Potter. Low note overtones are similar to altissimo but mostly result in a lower pitch than written high F. For example, it is possible to use a low B fingering to produce a series of higher overtones by using air stream, tongue, throat and embouchure variations.
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Romus was born in Hancock, Michigan. He began playing piano at the age of five until he was thirteen when he decided to play the alto saxophone, which his mother also played. In 1982 and 1984, Romus attended the Stanford Jazz Workshop summer programs where he participated in master classes led by Stan Getz, Bruce Forman, Eddie Moore, and Dizzy Gillespie. Romus’s exposure to Stan Getz was a pivotal moment in his early development where Getz would ask him to find a mirror and work on his tone watching his embouchure as he played. His pivotal experience with the tenor saxophonist was when Getz picked up his horn and joined him in a rendition of the song "I’ll Remember April" during a master class.2009 Podcast “Taran’s Free Jazz Hour Radio” radio interview of Rent Romus' early life aired Monday June 1, 2009 in Angers France at www.taransfreejazzhour.
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Of the primal appeal of the flute, Rampal once told the Chicago Tribune: "For me, the flute is really the sound of humanity, the sound of man flowing, completely free from his body almost without an intermediary[...] Playing the flute is not as direct as singing, but it's nearly the same." Calling Rampal "an indisputably major artist", The New York Times said "Rampal's popularity was grounded in qualities that won him consistent praise from critics and musicians in the first decades of his career: solid musicianship, technical command, uncanny breath control, and a distinctive tone that eschewed Romantic richness and warm vibrato in favor of clarity, radiance, focus and a wide palette of colorings. Younger flutists assiduously studied and tried to copy his approaches to tonguing, fingering, embouchure (the position of the lips on the mouthpiece) and breathing." Aside from his own recorded legacy, it was as much through his inspiration of other musicians that Rampal's contribution can be appreciated.
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After the war, the re-formed "Al Cass Orchestra" toured the East Coast befriending fellow band leaders such as Cab Calloway, Count Basie, Duke Ellington, and Stan Kenton, some of whom Cass had first met at the Crystal Room before World War II. Following an important gig to which members of his orchestra failed to show up, he ended his tour as a band leader and returned home to care for his ailing father Stephano Cascianell (d.1952), who had been a stone cutter at one of Milford's famous Pink granite quarries. Cass built a workshop in the two- car garage next to his family home and began work on his longtime idea for a mouthpiece that would enable brass musicians to play more than just their declared instrument of choice using the same embouchure. After several years of research and development, he invented "doubling" mouthpieces for brass musicians, which he patented with Patent #2,917,964.
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The research of musicologists often overlaps with the work of art historians; by examining paintings and drawings of performing musicians contemporary to a particular musical era, academics can infer details about performance practice of the day. In addition to showing the layout of an orchestra or ensemble, a work of art may reveal detail about contemporary playing techniques, for example the manner of holding a bow or a wind player's embouchure. However, just as an art historian must evaluate a work of art, a scholar of musicology must also assess the musical evidence of a painting or illustration in its historical context, taking into consideration the potential cultural and political motivations of the artist and allow for artistic license. An historic image of musicians may present an idealised or even fictional account of musical instruments, and there is as much a risk that it may give rise to a historically misinformed performance.
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To play a low G, one must be playing in C minor (with A) and close the flattener valve simultaneously. When playing on the high E jet, closing the sharpener valve produces an F. With change-valves, the diatonic hydraulophone is polyphonic in the same sense as a so-called "chromatic harmonica" – you can play chords and move all members of a chord down one semitone or up one semitone together, but the function of the valves is usually not separated to work on a per-note basis, so for example, you can play an A-minor chord, and flex the entire chord down to A-flat minor, but you can't easily play an A major chord without the use of polyphonic embouchure to bend only the middle note to a C (which requires more skill than the average hydraulist has). Thus the "diatonic" hydraulophone is called "diatonic" conservatively to "under promise and over-deliver". Finally, on the right, the additional extended range comes from the two octave-change valves (all notes can be shifted as many as two octaves down, or one octave up).
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Denham had met the explorer Captain George Lyon on the latter's return to London from Africa, and became determined to join the British government's second mission to establish trade links with the west African states. Perhaps because of his influential acquaintances, Denham's wish was granted and, now promoted to Major, he was despatched by Lord Bathurst in the autumn of 1821 to join the other members of the mission, Dr Walter Oudney and Lt. Hugh Clapperton, arriving at Tripoli aboard the schooner Express on 19 November. Denham brought with him instructions from the Colonial Office indicating that Oudney should remain at Bornu as Vice-Consul, while Denham and Clapperton were to 'explore the Country to the Southward and Eastward of Bornu, principally with a view to tracing the course of the Niger and ascertaining its Embouchure'. For reasons unknown, Denham was detained in Tripoli, and the mission proceeded to Murzuk, in Fezzan, without him on 23 February 1822. Denham eventually left Tripoli on 5 March with an escort of 210 mounted Arab tribesmen, reaching Murzuk only to find his two compatriots in a wretched condition, Clapperton ill of an ague, and Oudney with a severe cold.
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