The trumpet embouchure is the source of much discussion and frustration among both teachers and students. Although the basic principles of embouchure formation seem simple in theory, their practical application can be quite complex.
It is essential to fully understand the role and function of the trumpet embouchure before you can teach it. Primarily, the hand embouchure acts as a source and receiver of vibration. It functions in the same way that a reed is on a woodwind instrument. Next, vibrations of the embouchure occur as a result of wind flow; the breath activates the embouchure.
As educators, our first priority should be to teach effective breathing habits. Without wind, no embouchure can function correctly. In my studio, I ask students to frame their breaths around the syllables “OH” and “HO”: a concept that I borrowed from Arnold Jacobs. This technique encourages both free-flowing wind release and the production a distinct trumpet sound.
There are some key concepts that you should keep in mind when forming the embouchure. First, the embouchure must be formed with the lips resting comfortably together, as if speaking the syllable “em.” Next, both lips must be inside the inner rim of the mouthpiece. Only enough tissue (mass), inside the mouthpiece will allow for proper vibration to enable the embouchure to function. As vibration will be impeded by this, it is important to place both your lips in the mouthpiece. (See photos below.)
Example 1: View of properly formed trumpet embouchure from inside the mouthpiece. Notice how both of your lips are inside the mouthpiece’s inner edge.
Example 2: View of improperly formed embouchure from inside the mouthpiece. The mouthpiece is resting on top of the lip.
Example 3: View of improperly formed embouchure from inside the mouthpiece. The mouthpiece is resting on the lower lip.
Be aware that minor variations in the embouchure appearance due to physical structures like teeth alignment, jaw alignment or face shapes are normal.
The pedagogy of Carmine Caruso is my preferred method to teach trumpet embouchure. This is a simple process that produces predictable results. Students should begin on the mouthpiece:
- Place the inside rim of the mouthpiece at the color change on the top lip.
- Then, tilt the mouthpiece toward your nose.
- Say “em.”
- Tip the mouthpiece back down.
- Keep your embouchure steady and breathe through the nose.
- Breathe in a straight line while keeping the lips closed.
- When the student feels comfortable with the embouchure, they can begin to breathe through their mouth.
You can achieve good results by having an instructor provide some guidance. Although I believe most physical problems on the trumpet can be addressed through musical instruction, not technical instruction, it is important that the teacher monitors embouchure formation and corrects bad habits as they arise.
Working with students who have embouchure issues in the past presents new challenges. These issues can be addressed in the comments or in future articles.
It is important for educators to guide students using the above principles. This will help them avoid having problems later in their careers. In addition, it will encourage a better level of musicianship in the classroom.
Jason Crafton is assistant professor of trumpet at Virginia Tech. He earned a doctorate from the University of North Texas, where he studied trumpet performance with Keith Johnson. You can follow his professional activities, along with those of the Virginia Tech trumpet studio, at thegoneapp.com/vt.trumpets.
Related Reading: A Systematic Approach to Improving Trumpet Tone Quality Flute Embouchure – Simple Steps to Success Beginning Trumpet – Begin With F?
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