I agree completely with Philip - he's right on. What he says conforms
to what I've learned after playing flutes and reed instruments
professionally for over 30 years. Just my two cents . . . I've
discovered that (just like I did with jazz saxophone over 25 years ago)
that one learns to "work with" and invoke a wide variety of embouchure
approaches in order to achieve different types of sounds. In fact,
forcing yourself to adopt a single fixed approach to embouchure can
create the tension Philip describes - like the tension created by
sitting in a chair in one position for too long. So, learn the cool
sounds invoked by various approached to embouchure, by various types
"in-the-mouth" air turbulence, then meditate on them as you blow and
practice - all the while monitoring your body for any tension-demons.
Eventually each approach will become a part of your expressive pallet.
Dan Gutwein
www.dangutwein.com
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