| Along with a deep breath, using your air properly | | | | the other way as well. |
| means knowing how to 'shape' it. If you think that | | | | How this applies to an instrument differs |
| sounds a little off the wall, consider that you do | | | | depending upon your instrument because of |
| this all of the time when you speak. Vowels are | | | | embouchure. Reed players (oboists, clarinetists, |
| simply a way of shaping air inside your mouth (as | | | | saxophonists, and bassoonists) have an object |
| opposed to consonants which involve the tongue | | | | around which their mouth forms. Flautists and |
| and/or lips). | | | | brass players must create a much smaller opening |
| The key to a good sound is to make it 'round'. Air | | | | within their lips with nothing inside the mouth of a |
| travels much more efficiently this way, allowing | | | | foreign nature. |
| more of it to reach the reed or mouthpiece. Your | | | | It has been my experience that reed players |
| embouchure will affect it from that point forward | | | | have an easier time applying this concept because |
| and there are plenty of articles on that subject | | | | the embouchure is less involved in the process of |
| since embouchures vary from instrument to | | | | making sound (which is to say that it's really just |
| instrument. | | | | there to hold the mouthpiece and/or reed). |
| It's not about how much air you use, it's about | | | | However, I've heard many brass players say that |
| how well you use it. To get the most out of your | | | | a common mistake among beginners is to put too |
| air, think of the vowel sounds "oh" and "oo". Both | | | | much thought into the embouchure; that air is still |
| have the round shape that you need; the first | | | | the key. |
| puts the sound in the back of your mouth, the | | | | So, if you're looking for a way to use that air |
| second puts it towards the front. The general rule | | | | more efficiently, especially between low and high |
| to follow is to think "oh" for lower notes and "oo" | | | | registers, consider what kinds of changes you can |
| for higher notes. | | | | make to the way you're shaping it. Think "oh" for |
| To feel how the sound changes from the lower | | | | lower notes and "oo" for upper notes and, with a |
| range to the upper range, practice sliding an "oh" | | | | good, deep breath (as previously described), you'll |
| sound up into the "oo" sound. (It should be | | | | be on your way to a warm, rich, and |
| somewhat reminiscent of a wolf howl.) Try going | | | | well-supported tone. |