It’s more important to keep that lower lip loose enough to let the reed vibrate as fully as possible. Is there anything about playing with the cheeks puffed out a bit that does more harm to your sound than the harm caused by clamping down on the mouthpiece and adding additional tension into the mix?Ī lot of you out there may disagree, but it is both Bill’s and my opinion that the answer is no. But the the question we have to ask here is this: There should be at least enough pressure from the embouchure to keep the cheeks from puffing up like a giant hot air balloon. Now if you choose not to clamp down your jaw when belting out at fortissimo, then that air is going to have to go somewhere, and somewhere is your rosy little cheeks. And less vibration of the reed means less sound coming out of the horn. That side effect being less vibration of the reed. But it also has the side effect that you almost always get when you put excessive pressure down with your jaw. Crescendo had always equaled a tightening of the embouchure.ĭoes it work? Of course it does. Let that extra air go into your cheeks while it waits to pass through the mouthpiece.Tighten the corners of your mouth to keep some of that air at bay.You’re going to end up with a bit of a “traffic jam” of air as it fills up the mouthpiece faster than it can pass through it. Let’s say you’re playing loud and you’ve got a bunch of air that needs to go through the mouthpiece quickly.
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