Let me kick things off in another direction. Let's talk about embouchure,
about the most important aspect of playing. I've spent many years trying to
get the best tone by exploring shape of throat, mouth cavity etc. John
Coltrane said (I have to paraphrase, miss placed the quote) that besides the
sound you hear and aim for each player has a sound also based on the shape
of his teeth, lips, throat etc. I believe this to be true. Here's some
advice I wrote down for myself:
Embouchure tips:
Main points:
1) Jaw drops down and a bit forward till teeth are in line. This changes
the inner shape and helps open mouth cavity and throat.
2) Open mouth and throat cavity equally all around: top of mouth, bottom
pocket behind lower teeth and back of throat. Keep the pressure equal from
your lips to your diaphram. Don't focus on one part more than the others.
Think WAAAAAAH. Or AAAAH to fully open inside like when the doctor says
"say AAAAAH". Tongue is also pulled down and back. Mouth cavity expands
like a Tiger claw opening. Keep trying to open inside even more than you
think possible. Feels like blowing from deep inside throat, not from lips.
3) Don't stretch lips too wide to the sides. Mainly let the inside shape
determine how lips will form. Think of embouchure as the expanded shape of
the inside not shape of lips. Many students spend years playing just from
the lips and don't get a full rich sound. Play from deep inside yourself.
4) Use very open and relaxed embouchure for note beginnings, softer playing
and more pressure and smaller opening for power. Can also reverse this
process. If embouchure is big "Blow Slow" so don't run out of air.
5) Try to get full ringing sound esp. on RO without blowing hard, but by
opening fully and adjusting to get that ring, willing it to ring.
6. Firm diaphragm esp. important for strong low RO.
Blowing tips:
1) Always sing internally what you are playing, whether scales, runs or
melodies.
2) Hear the sound you want and will it into being.
*This is what I'm into. If you have been experimenting along the same, or
different lines let me know. Like to hear what others are doing. I feel if
you don't have a good sound, what's the point. If you can't make one note
sound good, why play a hundred.
Peter
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