Spirited Wind Playing by Walker Kim;Schoenbach Peter J.;Schoenbach Peter J.;

Author:Walker, Kim;Schoenbach, Peter J.;Schoenbach, Peter J.;
Language: eng
Format: epub
Publisher: Indiana University Press
Published: 2016-08-15T00:00:00+00:00

FIGURE 5.1. Double Embouchure, Kim Walker, Washington Square, New York City, 2014.

Face shapes

Face shapes around your embouchure augment your basic technique to bring a rich timbre, stable intonation, and control in all dynamic ranges. For bassoonists, an elongated, oval face shape adds further support to your embouchure in specific musical contexts.

Establishing the basic well-balanced embouchure, outlined above, is a first priority. To center and enrich your tone specifically across the full range (top and bottom notes) of your instrument, make use of the double embouchure and the following face shapes.

The magic side sections, between the center and the corners of your lips, can fine-tune leaps across registers and volume. Learning to use this section best is like choosing the best aperture for a camera lens or using more pixels to refine a photo. Your increased flexibility and control improve your skillfulness with dynamics and intonation. Anyone who worries about sharpness (and that would be all of us) might review this section.

Toolbox: Embouchure for Playing Softly—a Long Chin

• Resume the smile position, with the corners blocked.

• Let the side lip sections soften, as if pouting slightly. This cushions and mutes the reed slightly so you can let the middle vibrate and the air pass while you adjust the tonal colors.

• Place your right index finger between your lip and your chin, at the natural indent just under your teeth.

• Hold your finger there for a moment and confirm that your chin isn’t bunched up but indented naturally.

• Imagine a weight pulling down on the end of your chin. Some players describe a V shape between their ears and their chin.

• Lower your bottom teeth very slightly, making a larger space between your teeth.

• Lower your chin to strengthen this image. This adjustment is very important and really makes a difference in keeping your throat open so you won’t go sharp during the diminuendo.

• Soften your shoulders!

• Relax your arms!

• Lift your sternum!

• Use more air at a faster speed to support your tone and the pitch.

• Play your instrument and feel as though your chin is lowered and comes to a point.

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