Air exists as the power source on which all brass playing depends, but it cannot create sound in and of itself. It requires the conduit of the embouchure to translate it into vibrations. If students audiate well and breathe appropriately, the embouchure stands as next variable on the diagnostic list when students struggle. Because much of the embouchure is hidden within the brass mouthpiece, teachers must have a good understanding of both the physical principles of embouchure formation and the audible results of both good and bad embouchures. With the great differences in facial muscles, teeth structure, and oral cavities students exhibit, this poses a significant challenge to teachers. A quick online search reveals many excellent professional brass players with less than textbook embouchures, yet these players are the exception and most students will find much better success with a more traditional approach. [reference]
Every wind instrument requires a unique embouchure, yet unlike woodwind instruments, brass embouchures have more similarities than differences. Teachers must constantly assess beginning students’ embouchures or risk the development of incorrect habits that lead to long-term issues. One guideline is tension. Any undo strain or contortions on the part of a student to set an embouchure is an immediate indication for remediation. A quick visual scan usually reveals any such issues. Teachers must also use their ears in assessment. If a student struggles to either produce sound or produce a good sound despite good audiation and proper air stream, the embouchure is the most likely reason. Students can usually move from embouchure formation to performance on mouthpieces within one or two lessons, depending on the length of class periods and the number of students in a class.
