YOU CAN HAVE GOOD BREATH CONTROL AND EMBOUCHURE

They are the Two Phases of Brass Playing

Which Cause the Most Trouble and Strange as it Seems,
are Easiest to Remedy
By WILLIAM N. COSTELLO
The human body functions at its best when each separate part is in good condition
and working at 100 per cent efficiency. Similarly, a machine, simple or complicated,
functions at its best when every nut, bolt, screw and gear is in good condition and doing its
duty. Both the human body and the machine will function if one, two, three and sometimes
several minor parts are working badly, but there is always a dead-line. What happens
when this line is crossed? The machine or body is completely broken down and out of
working order.
How does this comparison affect the trumpet or brass player? It is easily explained.
The human body is the machine behind the instrument. Even since the beginning of time
this machine has been the same for everybody and all humans have been gifted with lips,
breath, teeth, muscles, brains, etc., to do with as they please. The difficulty, however, that
seems to have crossed the path of the trumpet player is that one, two, three, or all of
these parts fail to function at as near 100 per cent as is possible. In my future articles, I
shall endeavor to explain the function of each part individually. For the present let me
dwell slightly upon the two most troublesome parts about which I shall elaborate
thoroughly at a later date.
There are two parts of the machine which have caused altogether too much
disturbance, and strange as it may seem, they are the easiest to remedy; embouchure
and breath control. Many a fine musician has been forced into the background simply
because he lacked the knowledge of how to blow the wind properly across correctly
shaped lips and into his instrument. It is so simple, yet so important, it is almost ridiculous
that such a stone wall should block the path of any brass player. It certainly doesn't
require unusual intelligence to use the breath properly and anybody should be able to hold
his lips in correct playing formation providing, of course, he knows what this correct breath
control and lip formation is. If the player has talent and brain power sufficient for fine
musicianship, he should certainly have common sense enough to find out and overcome
the physical aspects which concern the best lip formation and the proper breath control.
All brass players should be instructed at the outset in the proper functions of these
two parts and once and for all eliminate all possible future obstacles from this course.
Proper instruction from the beginning will permit the student to concentrate his efforts
principally to the development of finer musicianship and eliminate, in many cases, a life
long tragedy of bad lips and poor breath control. It requires brains, talent, and good
judgment for fine musicianship, but a good embouchure and breath control can be had by
anybody at the cost of an ounce of common sense and a penny-weight of efforts. Here's
how.

Proper Lip Formation

In order to create the proper lip contraction or grip necessary to play, particularly in
the upper register, lay your instrument upon the palm of your left hand with the fingers ex
tended in such a way that any excessive pressure will slide it off. Then, (1) close your lips
tightly, (2) keep them parallel, not allowing one to overlap the other, (3) half smile and roll
the red flesh "in" over the teeth. The tendency may be to pull the flesh back too much, as
this lip formation can easily be overdone. The result in this case would be just as bad as if
it were not formed enough. Experimentation alone will teach the one, and only, lip
formation for the upper notes. When this lip formation is made, place the mouthpiece onethird on the upper and two-thirds on the lower lip, and you are ready for the breath.
Direct the breath toward the upper part of your mouthpiece, that is "blow up." If you
naturally blow down it will be necessary to protrude the jaw, thus changing the air passage
upward. The notes produced statics, vibrations, cyclonics will at first sound more or less
like wind whistling through a small crack or hole. They should be extremely high, often
reaching C above high C. Do not be discouraged if they refuse to respond immediately. In
fact, the more experimenting you do, the greater lip knowledge will be acquired.
You may say there is no immediate necessity for producing such high notes. The
musician who has G above high C at his command has good reserve for meeting the none
too easy requirements of present day playing. In short, if a man can lift 200 pounds, he
certainly should have no trouble in lifting 150 pounds. Common sense should tell the
student or professional that his embouchure can be formed for either a' high register or a
low register. If he starts with flabby loose lips, concentrating for months or years upon low
tones, he sooner or later discovers that there is such a thing as an upper register and, in
the majority of cases he hasn't developed it. If, alternatively, he starts with the proper lip
formation for the upper register, he quickly learns to relax for the low tones and, in a short
time, he has the entire instrumental key-board at his command. It is easier to relax and
play low tones on a high note embouchure, than to force and struggle with high tones on a
low note embouchure. The best results can be obtained only by conscientious daily
practice of proper exercises.

Lack of Proper Support

Years of teaching has convinced me that numerous cases of bad tone, lack of
power, inability to sustain tones evenly, are caused because the breath does not give the
lip the proper support. Many faults may be blamed directly to improper breathing and
blowing. Breathing for a brass player is a conscious act. Musical requirements make
necessary a quick inhalation, with exhalation a steady stream under pressure and control,
especially in the upper register. In playing, one must first fill the lower portion of the lungs
by relaxing the abdominal muscles. The incoming air will naturally expand the abdomen
and by contracting these muscles, at will, the required pressure for playing is given to the
air.
Common fault is to raise the shoulders while taking a breath. This action has quite
the opposite effect to that which is desired. Raising the shoulders will contract certain
parts of the lungs, thereby reducing their capacity. It also has a tendency to block the
throat. Air is inhaled with the throat open and it must be exhaled similarly. The abdominal
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muscles only should be contracted for the proper emission of air. The issue of air from the
lungs into the instrument must be even, continuous and free. Failure to follow these
suggestions will result only in poor and broken tones; noise but not music.
Seventy-five per cent of the effort involved falls on the student and twenty-five per
cent on the teacher. I gladly offer you my assistance but have you the power to digest the
knowledge and apply it to your individual case? That is your part. Don't be an enemy to
yourself. If the other fellow can do it, so can you. The only one vitally interested in your
personal musical activities is yourself and sooner or later you will learn that there is no
room for the lazy, effortless, or disinterested player. Find out your troubles and get after
them. There is a treasure within your grasp. Look for it!

ONLY ONE CORRECT WAY TO PLAY ANY BRASS INSTRUMENT

If You Know the Laws of Brass Instrument Playing and
How to Apply Them, There is Nothing to Stop.
You From Reaching the Top
By WILLIAM N. COSTELLO
To prove the above title requires minute explanation. I do not mean to be a
braggart. I am sincere and will merely try as best I can to give you the knowledge I have
gained through perseverance, teaching and practical experience. Take it or leave it. I hope
it will help you. It has provided the foundation for many of the foremost players and has
been of untold value to many others.
Anything is easy if you know what to do and why you do it. The more you know and
learn the easier your work becomes. The result is that in a surprisingly short time you
reach the top. When you do not know what to do or why, you find yourself floundering
about getting nowhere. Your mind is confused, you become timid, uncertain, you change
instruments, mouthpieces, teachers and your work is hard and uninteresting. Under such
conditions you either stand still or go backwards.
At the age of eighteen, I studied with a teacher who was credited with 50 years
experience. After spending five years with this man I discovered the only theory his
teachings were based upon was the altogether too common one of "I play the horn this
way and so should you." This finally awakened me and caused me to desert the old
school "straight and narrow" and I turned to the right. This road led me right into swollen
lips, cracked notes, poor intonation, useless mouthpieces, hours of meaningless practice,'
tired lips and if I struggled real hard perhaps I could squeeze out an F or G below high C. I
tried system after system, teacher after-teacher and finding so many abuses as well as
abusers, I decided to turn to the left and make a thorough study in the hopes that some
day I could openly challenge and refute the unscrupulous commercial teachers and
systemizers and give to their victims a sound proved method one which would apply to
any brass man and not one which would have to be changed and altered to fit different
individuals.

Most Important Factors

The two most important factors are, of course, breathing and embouchure. I must
deal with the embouchure first. Last month I told you to lay your instrument flat in such a
way that any excessive lip pressure would move the instrument when you approached it to
play. Again I remind you in case you wish to experiment after you finish reading this
article. Remember, to (1) close your lips tightly, (2) keep your lips parallel, not allowing
one to overlap the other, (3) half smile and roll the red flesh in. To hide the red part of your
lip completely you must roll both lips in toward the inside of your mouth over the top of
your teeth. Don't overdo it, just hide the red. The reason for hiding this red is that it is too
soft and flabby to have any resistance. The lips must be closed and parallel at all times
and you must feel a definite grip between both lips before attempting to play. Never pull
muscles at the side of the mouth back as in "Tu-ee", this is wrong and upsets the natural
function of any embouchure. Avoid letting any part of your lips protrude into the
4

mouthpiece. Naturally, when you blow, the lip will have the tendency to do this as the wind
shoots up against it, but you must train it to do as your mind will.
If you are fortunate enough to be one of those who plays one-third on the upper lip
and two-thirds on the lower lip you have an easy road to travel. If not, don't change the
position of your mouthpiece, just work a little harder and you'll get the same results. The
main objective of the mouthpiece placement is to get as near as possible to the upper
inside edge of your mouthpiece at which you direct the air. It is my contention that you
must blow up. It is true that one man's jaw or teeth formation differs from another but when
playing this difference must be overcome. Blowing up does this very thing. It brings your
lower jaw out parallel with the upper jaw giving you an even, solid foundation to rest your
mouthpiece on. If you have been accustomed to playing down it will take added effort on
your part to blow up. Can you tell me why you should punish yourself by blowing in any
other direction which is bound to give you a longer line from the lip to the mouthpiece?
Avoid playing with a flat chin and avoid any other fault which will cause your lips to open.
When your lips open, you unconsciously apply arm pressure and this is decidedly wrong.

High Register First

Unlike many teachers I require the pupil to produce the high register first. Yes, even
in the case of beginners. The smaller the space air passes through, the higher the tone.
Common sense should tell the student or professional that his embouchure can be formed
either for a high register or a low register. If he starts with flabby, loose lips, concentrating
for months or years upon low tones, he sooner or later discovers that there is such a thing
as an upper register, and, in the majority of cases, he hasn't developed it. Practicing low
notes will never bring the high ones. If, alternatively, be starts with the correct lip formation
for the upper register, he quickly learns to relax for the low tones and, in a short time, he
has the entire instrumental key-board at his command. If you can lift 200 pounds surely
you can lift 100 pounds, but the reverse of this is not true.
Don't under any circumstances use pressure on the lips. That's the surest road to
eventual ruin. No, I am not advocating any so-called non-pressure system, there is no
such thing. On the contrary I advocate pressure and plenty of it, but I require that pressure
be used where it belongs under the heading of abdominal breathing and breath control. As
previously stated, numerous faulty habits are formed because the breath does not give the
lip proper support. Obviously one without the other is of no use. Both must be formed
together.

CORRECT BREATH CONTROL for the BRASS PLAYER

Its a Funny Thing But Nine Out of Ten Musicians Forget to Breathe Naturally When
Playing a Horn and Then Their Troubles Begin
By WILLIAM N. COSTELLO
Knowledge of breathing and breath control is of vital importance to any man who
plays a wind instrument. You may not realize it (few men do), but faulty breathing is the
direct cause of a large percentage of all trouble such as paralyzed lips, poor intonation,
bad tones, lack of confidence and lack of endurance. The majority of brass men are
plagued with one or more of these hazards to success.
One out of ten performers breathe correctly. The other nine men struggle along
blaming everything from their instrument to their mouthpiece for their predicament, never
thinking, or not knowing, that a simple thing like breathing could be the main cause of
most of their trouble.
Before I go further let me state briefly the connection between the breath and the
embouchure. The lips must vibrate to produce the tone and to cause the lips to vibrate, air
must necessarily be blown through the lips into the instrument. This issue of air must be
even, continuous, and free, in order to produce the same quality of tone to every note. The
only function of the lips is to maintain a grip between themselves which will produce either
a high tone or a low one as and when desired. Tighten the grip between the lips for a high
tone and relax the grip for the low tones. It is the duty of the breath to support the lip
formation at all times and provide the degree of power necessary for every note. Send the
air into your instrument fast for forte, and slowly for piano effects. The lip must remain
flexible in order to respond to the breath and as soon as you use excessive lip pressure
you not only interfere seriously with the flexibility of the lips but you prevent the air from
going into your instrument as it should, thereby impairing your breathing as well. This is
the beginning of improper breathing.
Now let me explain what is meant by faulty breathing and in what way it causes so
much trouble. The most serious offender against all laws of nature, and the worst form of
breathing, is the man who fills his chest with air. When you are about to carry on a
conversation, surely you don't concentrate before you speak on where you are going to
take your breath. You certainly don't fill your chest, because if you did and then tried to
speak you would be forced to grunt your words out in a strained voice. Try it and see for
yourself. If you insist on breathing this way prior to playing then you can only expect out of
the instrument what you put in; distorted, uneven tone. Now the trouble really starts. You
breathe wrong and instead of analyzing what causes this distorted tone and correcting
your breathing you take the hardest way out and try to produce a tone out of this incorrect
breath. In order to do this it becomes necessary to press the mouthpiece against the lips
for control and then you invent some secret way all your own of producing a tone which
will prove pleasant to the ear. For a certain length of time you get results, but the day
always comes when you pay dearly for the mistake of breathing in the chest. This habit
contracts the lungs, reduces their capacity and congests your air-passage so that it
becomes impossible to provide your lips with the even continuous flow of air that is so
necessary to keep them vibrating.
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From this point 'on, anything you do just takes you from bad to worse. Hours of
practice simply builds wrong muscles which some day, sooner or later, you will have to
break down and build over. If you are at present having trouble in getting ahead then
check up on your breathing. You have nothing to lose and everything to gain by taking a
change and making it immediately. Correct your breathing and you will have eliminated
part of your difficulties.

Breathe Abdominally
Natural breathing consists of an automatic regular inhalation and exhalation into
and from the lungs for the purpose of oxygenizing the system. This act is performed,
unconsciously by everybody. However, breathing for the brass player is different. It is a
conscious act. Musical requirements make necessary a quick inhalation, with exhalation a
steady stream under pressure and control, especially in the upper register. In playing, one
must first fill the lower portion of the lungs by-relaxing the abdominal muscles. The
incoming air will naturally expand the abdomen and by contracting these muscles, will the
required pressure for playing is given to the air,
To breathe correctly you must breathe abdominally and control it from that point.
Nothing requires more air or breath than strenuous exercises, for example, take any flight
of stairs and run up and down until you are winded and without concentration notice how
you are breathing. I say without concentration because the mind over matter is very
powerful and often times dictates the opposite to that which is desired. Just before you fall
asleep at night, completely relaxed, notice how you are breathing abdominally without
effort. If you tried to breathe in your chest prior to falling asleep you would find extreme
difficulty in getting to sleep until you again started to breathe as you should naturally and
abdominally. There is no excuse for breathing any differently, just because you play a
wind instrument, If you are desirous of reaching the top or mastering your instrument, your
first and major requisite is to learn how to breathe abdominally. There is no substitute and
you dare not compromise.
Musical requirements demand a quick inhalation, with exhalation a steady stream
under pressure and control. To accomplish this you must fill the lower portion of the lungs
by relaxing the abdominal muscles and take in as much air as the lower diaphragm will
comfortably hold, breathe low, the lower the better. The incoming air should inflate the
abdomen in an outward direction. It is not necessary to raise your shoulders or take air
into the chest. Just fill the lower diaphragm and for the sake of practice after you have
taken in all the air you can, open your mouth without letting any air escape. Then practice
letting a little out at a time and then practice letting it all out in an even continuous flow.
As you blow this air out the abdomen should deflate in the direction of the back.
Blow all the air out, keep blowing until it hurts. Pain in the abdominal muscles is a sure
sign that strength is growing. Muscles can only gain strength by getting tired. Light a
candle, practice blowing air at the flame so that the flame will bend away from you without
going out.
Take a piece of paper, hold it at arm's length a few inches away from the wall and
blow at the paper in such a way as to keep the bottom of the paper up against the wall. Lie
on the floor outstretched and relaxed hands over head, heels touching the floor at all
times, raise up and touch your toes with your finger tips. Do this as many times as you can
and as often as you can. This is the best exercise I know of to strengthen the abdominal
7

muscles. Playing any brass instrument is muscular exercise and you must develop these
abdominal muscles.

Contraction of Muscles
Now take your instrument. Slurring requires a continuous vibration and a constant
contraction of the abdominal muscles. By contracting these muscles at will the required
pressure for playing is given to the air. Form your lip as suggested in last month's article
and breathe as I have asked you to in this article. Blow into your Instrument as I
suggested in the last article and start on your high "C" and slur up as high as you can
above that. The results you get statics vibrations, cyclonics, will first sound more or less
like wind whistling through a small hole or crack. They should be extremely high, often
reaching high C above high C. This is not difficult and is required from even the beginner.
Just because these statics come out so easy don't become over-confident for now you
must learn how to control the tones. To gain control requires constant application of the
principles of breathing as outlined herein as well as conscientious practice of the proper
exercises. All the exercises in my books were written for the definite purpose of building
the embouchure while training the muscles to contract.
Anything is easy when you know how and why you do a certain thing, but
knowledge will never take the place of practice. The more you practice the stronger the
muscles grow. As the muscles strengthen you gain control. To gain endurance you
gradually lengthen your exercises. After you have laid your foundation then you can worry
about tonguing and technique. Once you have the correct foundation everything else must
follow and in a much easier manner than at present if you are breathing incorrectly. Meet
your problems face to face, overcome your difficulties by constant application of sound
proven facts.

QUESTIONS CONCERNING BRASSWIND EMBOUCHURE

A. Description of Students Working Under Your Tutelage
Q1. What level student, beginner through advanced conservatory/college through
professional comes to you for study?
A. Beginning through professional, mostly professional. Most do not come to learn to play
the instrument, mechanically speaking. Ninety-nine per cent come to work solely on
embouchure how to apply it to their mechanics.
Q2. Are students under your tutelage more interested in "legit" or "popular" performance?
A. From both areas. They are already functioning in their chosen area.
Q3. What are the ultimate goals of your students, generally? (Teaching in public schools,
colleges, professional playing, what type of professional playing?)
A. To become a lead player, or better lead player; professional playing.
Q4. How long do students normally study under your tutelage?
A. An average of three years. If they last the first eight weeks they last for at least three
years. Those who have studied longer have established reputations for their
embouchures.
Q5. When a student has completed study with you, is he more suited to the "legit" or the
"popular" field?
A.
1. The student has never completed study. Even the most advanced come back for
periodic check-ups.
2. The student is suited to either field.
3. Students include a principal player in the Metropolitan Opera Orchestra, and lead
players in the popular field

B. Work In the Altissimo Register

Q1. Do you stress development of the altissimo register?
A. We start with it.
Q2. What percentage of your students, approximately, work to develop the altissimo
register?
A. All 100%
9

Q3. What percentage of your students actually develop a usable altissimo register?
A. All have it as a usable upper register. It is relative to the individual player's mechanical
development, which is dependent on his insight and ability to coordinate what he knows
will play.
Q4. In your opinion, is there such a thing as being naturally suite a to play the altissimo
register?
A. Yes. If the natural formation suits the principles that are involved in physical law, the
pupil doesn't necessarily have to know those principles. It would be better if he did know,
for he would have more assurance in the sharp-shooting or placement of tones.
Q4a. If so, what are physiological characteristics of players so endowed?
A.
1. The ability to retain a parallel jaw position to the top teeth edges, establishing a firm
background for the bottom lip facing and the top lip reed.
2. A minimum of teeth irregularities.
3. An easy alignment of the lips between the teeth aperture, equally spaced.
Q4b. What are psychological characteristics of players naturally suited to playing the
altissimo?
A. Whatever the psychological barriers are prior to the development of the upper register,
they cease to exist after a mental connection, understanding, and sense experience have
been established.
Q5. Were all your students who successfully developed the altissimo register naturally
suited to this register?
A. No. Physical deficiencies had to be overcome to conform to the principles.
Q6. Do you stress fortissimo playing in the altissimo register?
A. Yes. It is part of the physical law.
Q7. Do you stress pianissimo playing in the altissimo register?.
A. Yes. It is also a part of physical law.
Q8. Do you stress control of slurs and articulations through a wide range of dynamics in
the altissimo register?
A. Yes, very much; almost exclusively for the early stages.

C. Embouchure,
1. Corners of the mouth.

10

Qa. What is the action of the corners of the mouth during inhalation? Why?
A. Relaxation, separation of lips minus tu-ee (pulling corners back and up). Intake must be
silent no sipping. It is this position that permits the player to bring his lips together from the
corners to the outer rim of the mouthpiece and establish playing formation with a minimum
of tension. The release of air and its force will determine the playing tension. The tension
may increase or decrease from the original playing formation based on the intent of the
player. It is the fixed corners in their relaxed position that permits the player to correctly
align his lips over and over.
Qb. What is the placement of the corners of the mouth vertically and horizontally while
performing in the various registers low to altissimo? Why?
A. It is the same, taking into account the relative change of muscular tensions. The
corners in normal resting position with the teeth 1/4th inch apart and aligned vertically
(even bite) is the correct position unless there is a deformity.
Qc. Should the corners of the mouth hug the teeth? Why?
A. Yes, to avoid slack in the lips, top and bottom
Qd. Should the corners of the mouth be relaxed or firm? Why?
A. Relaxed during inhalation. The tension during playing should reflect the volume and
area of range, which are based on the intent of the player. The speed of the air column,
amplitude and frequency of the sound vibration, will determine the tension.
Qe. Have you any other ideas concerning the corners of the mouth?
A. No.
2. Tension of facial muscles.
Qa. Should the buccinator (cheek) muscles be firm or relaxed in playing the low register?
Middle? High? Altissimo? Why?
A. The compression in the mouth chamber will determine the tension.
Qb. Should the muscles that elevate the upper lip (not including the corners of the mouth)
be tensed or relaxed in the various registers? Why?
A. No attempt should be made to use these at all. They should be used to reinforce the
original playing formation, and sympathy tension will be introduced when the two lips are
exposed and resist the air column, equipping the two lips to resists mouthpiece playing
weight (arm pressure).
Qc. Should the muscles that depress the lower lip (not including the corners) be tensed or
relaxed in performing in the various registers? Why?
A. They should not be thinned and weakened. They act as a cushion to receive the
mouthpiece weight on the bottom.
11

Qd. Should the mentalis (chin) muscles be relaxed or contracted in playing the various
registers? Why?
A. Always in a state of contraction, only different degrees, with the degree being
dependent on intent and area, exclusive of the concept of playing pedal tones, which
require a complete collapse of the outer red.
Qe. Should there be a feeling of tension or relaxation in the face generally with reference
to the various registers?
A. There must be both. Relaxation is a matter of degree from tension. The player must
avoid neutralizing or collapsing the playing formation. "Neutral" is the fixed point
somewhere between force behind the air and muscular resistance.
Qf. Should there be a feeling that the focus of tension is within the lips rather than spread
to include muscles outside the lips?
A. The starting point is tension below the corners (depressor anguli oris m.). The rest of
the embouchure muscles will and should work in sympathy, establishing various tensions
if properly exposed to air. The radiating muscles from the corners across the cheeks
(buccinator, and risorius including the masseteric and platysma strands) are dependent
upon the orbicularis oris (top and bottom) being properly exposed to air between the teeth
aperture, permitting the radiating muscles to exercise control over the two lips.
3. Alignment of lip aperture with the opening between the upper and lower teeth.
Qa. Is it important that the lip aperture be opposite the opening between the upper and
lower teeth? Why?
A. From my point of view the law must be a two-aperture concept: teeth and lips. The lip
aperture must comprise an equal amount of upper and lower lip between the teeth
wherever the mouthpiece placement is made. Example: If one upper tooth is longer than
the other receiving the mouthpiece, the longer will be the barometer for lining up the lips
equally spaced between the teeth aperture. This necessitates a lowering of the corners so
that the lips in their playing formation form a straight line between the two fixed points,
corners of lips.
Qb. Should the center of the two openings (lip and teeth) be perfectly aligned? Why?
A. Yes so that the bottom teeth edges can exercise control over the lip aperture by
articulating up and down relative to increasing and decreasing air compression,
lengthening and shortening the stroke of vibration. All jaw motion up and down must be
relative, based on the starting point of the predetermined jaw position. I do not advocate
receding the jaw to its underbite position, contributing to extreme lip separation resulting in
excessive mouthpiece weight to overcome lip separation.
Qc. If alignment is to be maintained, how is this accomplished? What muscles are
important in preserving alignment?
A. The fixed corners maintain the alignment. Do not use the upper half of the facial
muscles. For example, no sneering, no sipping of air raising the corners, no lip thinning
and weakening by pulling the corners back and up.
12

Qd. Is alignment more important in one register than another? Why?

A. Important in all registers. The higher you play the more perfect the alignment hits to be
since there is less room for error.
4. Alignment of lower teeth with upper teeth vertically.
Qa. Assuming a very slight overbite in normal occlusion, should the brass player align the
teeth vertically in the various registers? Why?
A. Yes, in all registers, so that both lips can receive an equitable distribution of weight of
the mouthpiece. Pain due to high spots or other irregularities in teeth formation may be
partially overcome by bringing the teeth into vertical alignment.
Qb. Have you had a student with severe overbite (1/4th inch approximately) develop good,
excellent, or outstanding tone quality?
A. I've had students with severe overbite. However, according to my understanding of the
physical laws involved, I consider this condition a physical deficiency and a severe
handicap. I would not take the trouble to find out if his tone quality could develop to good,
excellent, or outstanding since this condition would not produce a relative five octave
scale. The first step is to overcome the physical deficiency and find a playable starting
point.
Qc. Have you had a student with severe overbite develop good high range? Good
altissimo, range? Good low range?
A. No. He can't continue being my student since I will not tolerate that playing formation.
The physical deficiency must be overcome.
Qd. Have you had a student with a severe overbite develop power in playing? In what
ranges?
A. Same as c.
Qe. Can you establish a relationship in playing with an overbite as regards one quality,
range flexibility, tonguing (single, double, triple?)
A. Yes. The tone quality, range, and flexibility will depend on the degree the player
recedes from his original starting point. Regarding tonguing under these conditions, the
player must, out of necessity, tongue to the top teeth or gum line or possible higher to
effectively block the air column. The law is that under any circumstances the player must
tongue to the most forward point, in this instance the top of the upper jaw. In double and
triple tonguing the striking point of the K attack will adjust itself. The distance between T
and K may vary if the jaw motion is extreme.
Qf. Consider any of the above as applied to underbite.
A. A slight underbite is not a deficiency. I have never seen a person with a severe
underbite. A person with a slight underbite is a "ready-made customer". However, the
angle of the horn must conform to the jaw position.
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5. Slant of the upper teeth.

Qa. Have you had a student whose upper teeth slant outward? If so, describe any
advantages or disadvantages noted.
A. There is a disadvantage. To overcome this we introduce the bottom teeth edges to
match the most forward point of the top teeth edges if possible.
Qb. Have you had a student whose upper teeth slant inward? If so, what advantages or
disadvantages do you associate with this condition?
A. I still align the teeth edges to a parallel bite. The purpose is to keep the bottom lip
facing as close as possible to the top lip reed (vibrating area).
Qc. What do you consider to be the ideal formation of the upper teeth as related to playing
trumpet
A. Teeth that match each other in structure and have no unusual high spots; even in
length; vertical.
6. Movement of the jaw vertically and horizontally.
Qa. How much opening should there be between the upper and lower teeth for
performance on trumpet in the various registers? Why?
A. Approximately 1/4th inch for all brass instruments irrespective of the mouthpiece.
However, whatever the starting point in teeth aperture, total jaw motion must be limited to
half the distance of the original aperture. Example: 1/4th inch aperture, 1/8th inch motion.
The law: Jaw motion should not exceed 25% of the original teeth aperture upward
Example: 1/4th inch aperture, 1/16th inch up, original starting point, 1/16th inch lowering,
total movement 1/8th inch, equivalent to one-half the original teeth aperture. This enables
a player to play any pitch at any dynamic level through out a four to five octave range. The
combination is increased-decreased air and increased-decrease teeth opening.
Qb. What is the horizontal position of the lower jaw in relation to the upper in playing
trumpet in the various ranges?
A. There is no horizontal motion while playing except for a slight motion that might be
necessary in lowering or raising pitch.
7.Movement of the red of the upper lip inward or outward.
Qa. Should the red portion of the upper lip be turned outward with the air stream in any
register?
A. No.
Qb. Should the red portion of the upper lip be turned inward toward the air stream in any
register?

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A. Yes, for all registers. Sensitivity is achieved by muscularly matching the air column, be
it fast or slow..
Qc. If neither of the above applies what should be action of the red of the upper lip?

8. Movement of the red of the lower lip inward or outward.

Qa. As a preface to the following, do you agree that the lower lip is not important as
vibrator, but rather works to regulate the size of the lip aperture? If not what is the function
of the lower lip?
A. Yes.
Qb. Should the red of the lower lip turn outward in any of the various registers?
A. Only relative to the reduction of tension. In any event, the surface of the lower red will
be firmer than the upper red.
Qc. Should the red of the lower lip turn inward in any of the various registers?
A. It can turn inward if playing low softly and if playing high loudly. Because the lip is a
circular muscle a player cannot isolate tension in one lip (two independent tensions). If the
bottom lip turns inward, the top also will turn inward equally, relative to the effort and the
force behind the air column. The lip inversion will be relative to the register and force of
the air column necessary to sustain the embouchure musculature. (Remember, an intent
has been declared in the mind to resist the air column. Therefore, tension will be governed
by the air column and its force.)
9. Amount of lip in the mouthpiece for various registers
Qa. Is the amount of lip in the mouthpiece the same, less or more proceeding from the low
register upward? Why?
A. If we articulate the jaw motion as previously described, the higher one plays the less lip
proportionately (two lips) will be exposed to air. The big factor is not how much lip is in the
mouthpiece, but rather how much lip is exposed to air relative to the changing tensions
and teeth aperture. As far as the outer grip is concerned, the same amount of lip stays in
the mouthpiece.
Qb. If the amount changes, how is the change accomplished while slurring upward?
A. The amount exposed to air proportionately changes as we increase the force of the air
column and relatively articulate the jaw upward. At no time in any area does the player
permit the bottom teeth edges to be parallel to the bottom lip. To be consistent there is a
law of constancy: the bottom lip must at all times overlap the bottom teeth edges relative
to the fixed corners (not enough to go into the mouth since both lips occupy equal space
between the teeth edges).
Qc. Is the amount of lip in the mouthpiece in the pedal register more or less than other
registers?
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A. Pedal tones destroy the actual image of your playing formation. Practicing pedal tones,
the player sacrifices his outer grip of the mouthpiece. In the case of larger mouthpieces
such as trombone, pedal tones are a requirement of overall playing and therefore
permissible. The inner red would be unrolled to introduce the softer mucosa which vibrates
wider and slower.
10. What is the importance and relationship of lip surface tension to range and
timbre? How is surface tension regulated?
A. The lip must vibrate rim to rim. Timbre will be determined by the amount of top lip
exposed to air and sealed by bottom lip facing. Varying tensions in the surface area of the
top lip will change the timbre if the player increases the arm pressure (mouthpiece
pressure) on the top lip as he proportionately reduces the compression in direct ratio to
the increase in arm pressure while sustaining any given note or tone. In referring to
change of timbre as a result of increased mouthpiece weight on the top lip it has been my
experience that the player automatically and subconsciously reduces the compression as
the arm pressure increases. The issue specifically relates to the fact that in certain
registers the subconscious mind acting as the governing agent for the overall playing,
realizes that air displacement will not be possible in a closing lip aperture, since the former
compression will not be able to displace itself and will automatically compute and reduce
the force in relationship to the resistance or back up of the air column at the lip aperture.
To do otherwise would collapse the embouchure musculature since no one is capable of
resisting his maximum ability to produce compression of the powerful breathing muscles
governed by the contracting rib cage, upper and lower abdominal wall, into a sealed or
blocked lip aperture. To properly allow for air displacement at a fixed compression, the
playing weight of the mouthpiece should favor the bottom lip by a little more than half of
the overall playing weight. This permits the player to have a fixed tension, steady, freeflowing air column, and a matching muscular resistance permitting an equal ratio of air
displacement to the vibrations. Surface tension may then be regulated and changed by
varying the force of the air column and proportionately varying muscular resistance.

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