Daniel Kiser, Reporter
Lenoir-Rhyne College

First, he asserted that this "correct" way to produce this faster vibration is to move more air across the vibrating mechanism.

Second, he said that three "incorrect" ways to create this vibration involves placing tension on the vibrating mechanism. These commonly seen, and according to Edelbrock, flawed techniques are: placing pressure on the lips (either by pulling the horn toward the player or playing with the mouthpiece too low); compression on the lips (causing the chin to bunch up or the formation of air pockets); and pulling the corners back in the upper register. Each of these techniques, he said, creates a "glass ceiling" over which the player will be unable to cross.

The remainder of the session involved explanation and demonstration of certain characteristics of a well-formed embouchure. He asserted that the aperture should remain relaxed and reasonably free of tension, but that the corners should remain firm. He strongly advocated moving the muscle strength required as far from the aperture as possible and into the cheeks. He demonstrated three rolls of muscles radiating outward from the aperture and encouraged "playing back as far as possible."

He suggested several strategies to help develop an appropriate embouchure. They include rolling the lips in slightly, practicing with a mirror, paying particular attention to downward slurs, bending notes (he demonstrated this by playing a scale from third space C to high C using no valves), standard flexibility studies, and seamless negotiation of "cross-grain" slurs.