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Embouchure Dysfunction Part 1 of 2

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Uploaded by on Feb 16, 2010

Embouchure Dysfunction Part 1 of 2

This 2 part video shows observable embouchure characteristics that correlate with embouchure dysfunction.

For more information please visit www.wilktone.com.

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Uploader Comments (wilktone)

  • Look dude your embrouchure shouldn't have to change to change drastically pitch. The only that should change is the air and tongue. And an occasional lift in the eye brows to raise a flat note slightly

  • @sneakybeaver13V2 I would take your comment with a grain of salt. The embouchure should change (or else the pitch wouldn't). The eyebrows aren't really part of your embouchure, but I think you're speaking tongue in cheek there.

  • @wilktone Raising the eye brow changes the embrouchure slightly. Idk if youve ever played a C on euphonium but thats a trick just about all euph players have in their pocket. Trust me I march Carolina Crown...we've won the Jim Ott (thats the brass award in DCI) two of the last three years. The technique we use to be THE BEST hornline is just about all air and the proper raising and lowering of the tongue and little embrouchure change.

  • @sneakybeaver13V2 Nice and grats on the award!

    When I wrote my doctoral dissertation on brass embouchures I wasn't able to find anything in the literature about eyebrows and playing high excepting to avoid excessive motion in the face like moving your eyebrows.

    Only C on euphonium? Keep working and you'll extend that range! :P

  • I believe everyone here is over complicating the simplicity of playing an instrument. Take it easy :)

    -devoted euphonium player

  • @DaEuph Try working with some of the players in this video who ran into problems because they were trying to make it so simple. It's not so easy for everyone!

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All Comments (27)

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  • @wilktone I was using the C as an example because for a lot of us we tend to play it flat. i don't know how but the eyebrows raise it a few cents

  • @wilktone Everything you do as a musician should be done with the maximum amount of relaxation as possible. The technique we use does that and gives us the best sound on and off the field.

  • when i'm playing, i often shift my mouthpiece around my mouth and change my embouchure. for example, when i am playing high notes, i move my mouthpiece away from the center of my mouth. is this normal? is this bad?

  • my lower lip curls in as I ascend into the upper register, is this a problem? and what kind of embouchure do I have if so?

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