2Trumpet EmbouchureEach student’s embouchure will be slightly differentThis is due to variations in tooth, lip and jaw structureRemember: A good embouchure is one which WORKS!Use your ears as well as your eyes when judging an embouchureIt should allow the student a reasonable amount of flexibility, range and an acceptable tone qualityAvoid the words: Tight, Force, Push when talking to trumpeters
3Trumpet EmbouchureGood Embouchures have certain common characteristicsFirm CornersFlat Chin“Red” portion of both lips inside the mouthpieceMouthpiece centered from top to bottom and left to right
4Trumpet Embouchure Vincent Chichowicz Common Elements Deviations Firm CornersFlat ChinMouthpiece CenteredDeviationsNone
5Trumpet Embouchure Adolph Herseth Common Elements Deviations Firm CornersFlat ChinCentered MouthpieceDeviationsScar on his lips from a car accident!
6Trumpet Embouchure Maurice Andre Common Elements Deviations Flat Chin Firm CornersDeviations“Smiling”Mouthpiece a bit higher then normalLips rolled in-“French School”
7Trumpet Embouchure Phil Smith Common Elements Deviations Firm Corners Flat ChinCentered MouthpieceDeviationsSlight Downward AngleTrumpet Held at Angle
8Teaching Trumpet Embouchure Use non-verbal communicationImages and sounds are much more descriptive then wordsStudents will respond betterKeep it Simple.Find a simple way to describe a complicated processWork in small incremental stepsAvoid information overloadDemonstrate every step first
9Teaching Trumpet Embouchure Show the student an example of a well-formed embouchureLive examples work bestPicture will work if necessaryPoint out the firm corners and flat chinI have found it best to emphasize the corners when teaching a trumpet embouchure; the chin will flatten and the lips will be in the correct position if the corners are firm
10Teaching Trumpet Embouchure Allow the student to demonstrate the embouchure formationNo sound yet, just the formationDo this work in front of a mirrorAllow them to compare their embouchure to the exampleCareful not to let the student “smile” too much as they get the feel of the cornersKeep the information simple and practicalCareful not to overload them!
11Teaching Trumpet Embouchure Ask the student to inhale normally (no embouchure)Then exhale through the formed embouchureNo sound yet, just air (OH)Hopefully you will have already taught the student to breathe correctly. I do this before I teach embouchure formation.Allow them several breaths to get used to the feeling of the air moving through the embouchure
12Teaching Trumpet Embouchure Demonstrate Lip BuzzingI have found a little bit of lip buzzing can be beneficial before the student buzzes the mouthpieceNot all students are good lip buzzers, that is OK
13Teaching Trumpet Embouchure Place the mouthpiece on the student’s embouchureAsk the student to form an embouchurePlace the mouthpiece on the embouchure, do not allow the student to do this for the first several timesPlace it in the center of the left-right and top-bottom axisDo this several times, then allow the student to demonstrate the correct placement
14Teaching Trumpet Embouchure Demonstrate how to inhale and exhale with the mouthpiece on the embouchureInhale through the mouth with the mouthpiece placed on the lips (embouchure not formed)Form the embouchure at the top of the breath; after the inhalation and before the exhalation. Do not allow the air to stopExhale through the mouthpieceStudent may accidentally buzz, that is ok!
15Teaching Trumpet Embouchure Buzzing the mouthpiece 1Go through the same process as the last step (inhale, form embouchure, exhale through the mouthpiece)But this time tell the student to keep his lips together as he exhalesThe lips should buzz at this pointDO NOT try to “fix” the buzz, allow them to explore it.Allow them to play what ever pitch comes out, unless it is very tight and forced.
16Teaching Trumpet Embouchure Buzz long tones on the mouthpieceBuzz “sirens” on the mouthpieceWill teach them to manipulate the pitchTo make the pitch go higherSmaller apertureDo not tell them to “tighten” their embouchuresVigorous airArch the tongue (“eee”)Whistling can help to demonstrate thisTo make the pitch go lowerLarger apertureLess vigorous airLower the tongue
17Teaching Trumpet Embouchure Show the student how to hold the instrumentMake sure the right thumb is between the first and second valve casing.Place the mouthpiece in the instrumentRemind the student of the previous information (embouchure formation, mouthpiece placement, a good breath etc)Demonstrate a low C on the instrumentSome will get a G to come out, that is okKeep the call-response going until everyone can play a C. Then move to a G.After everyone can play a C and a G you are ready to move into your band books.
18Teaching Trumpet Embouchure Go through this process EVERYDAY for at least two weeksHave the students practice this process at home once or twice a day as wellIt is time-consuming but will prevent many future embouchure problems
19Trumpet Equipment Middle School High School Cornet or Trumpet Brand not important yetBach 7C or 5C mouthpieceHigh SchoolBach Stradivarius37 bell, ML boreYamaha Professional or XenoMouthpiecesBach 5C, 3C, maybe 1 ½C (Curry, Yamaha, Schilke, Monette)Lead mouthpieces appropriate for lead players onlyTry a Schilke 13A4 or 14A4 (no A on the end)MutesStraight-Dennis Wick, Tom Crown, TrumCorCup-Dennis WickHarmon-Bubble MutesPractice mute-TrumCor, Dennis Wick