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Embouchure (English: / ˈɒmbuˌʃʊər / ⓘ) or lipping[1] is the use of the lips, facial muscles, tongue, and teeth in playing a wind instrument. This includes shaping the lips to the mouthpiece of a woodwind instrument or the mouthpiece of a brass instrument. The word is of French origin and is related to the root bouche, 'mouth'.
Embouchure collapse. Embouchure collapse, "blowing one's chops" is a generic term used by wind instrument players to describe a variety of conditions which result in the inability of the embouchure to function. The embouchure is the purposeful arrangement of the facial muscles and lips to produce a sound on a wind or brass instrument.
Diwas. The Diwas is a native bamboo wind instrument from the Philippines that is a variation of the well-known pan flute or panpipes. It is made of bamboo, with one end closed with bamboo nodes. It does not have finger holes (or tone holes) like other popular aerophones, such as flutes. The Diwas compensates by grouping pipes of graduated ...
Saxophone technique refers to the physical means of playing the saxophone. It includes how to hold the instrument, how the embouchure is formed and the airstream produced, tone production, hands and fingering positions, and a number of other aspects. Instrumental technique and corresponding pedagogy is a topic of much interest to musicians and ...
Shofar. Blowing the shofar. A shofar (from שׁוֹפָר , pronounced [ʃoˈfar] ⓘ) is an ancient musical horn typically made of a ram 's horn, used for Jewish religious purposes. Like the modern bugle, the shofar lacks pitch -altering devices, with all pitch control done by varying the player's embouchure.
Fife (instrument) A fife (/ faɪf / FYFE) is a small, high-pitched, transverse aerophone, that is similar to the piccolo. The fife originated in medieval Europe and is often used in fife and drum corps, military units, and marching bands. Someone who plays the fife is called a fifer. The word fife comes from the German Pfeife, meaning pipe ...
Instruments that have toneholes close to the voicing/embouchure should be avoided, however; as an ocarina is a Helmholtz resonator, this weakens tonal production. The resonator in the ocarina can create overtones, but because of the common "egg" shape, these overtones are many octaves above the keynote scale. [11]
Brass instrument players can produce vibrato by repeatedly and rapidly altering the embouchure, or use and shaping of the lips and facial muscles, essentially repeatedly "bending" the note. This is called lip-vibrato, and is probably the most commonly used technique of vibrato on a lower brass instrument.