I’ve been noticing a number of players position of the flute on the lower lip. I play with the flute just about on line with the lower lip separation from the chin spot. I’ve seen players rest the flute ON the lower lip fleshy part. I had asked Skip Healy about this and he rests the flute on the fleshy part of his lower lip. I’m trying out the fleshy lip part but not to acclimated to it yet.
Just wondering what most of you do.
Thanx.
I think you’ll find it’s a bit different for every flutist.
No two people have identical anatomy; the lips are different, the chin is different, even the size and shape of the oral cavity can vary quite a bit.
To further confuse the issue, I am reasonably sure that I vary the position of my lips from flute to flute, and even when changing tone colors on the same flute.
–James
Actually, the flute is supported on the “hollow” of one’s chin, about halfway between the edge of the lower lip and the prominent end of one’s chin.
From there, the lower lip then “wraps” outwards, around the flute, and the amount of embouchure hole “coverage” then varies, from flute to flute.
Try this: https://forums.chiffandfipple.com/t/embouchure-how-to-and-why-to/61284/1 To note: one size does not fit all, so to speak, and some adjustment likely will be necessary.
Of that thread, moreover, beware of those who could have much to say, but who could have little to offer.
Meanwhile, I’ll be right here, should you have any question.
Hey Bill, just do what works for you and don’t worry what works for others-it’s a very individual thing-even Cork can’t prescribe the cure!
@ Bill
As I was saying, beware of those who could have much to say but who could otherwise have little to offer.
Once again: https://forums.chiffandfipple.com/t/embouchure-how-to-and-why-to/61284/1
Now, that’s an offer!
Sorry Bill, what I should have said is no harm in experimenting to find what works for you, and I will offer this: beware any advice that suggests it can only be done one way. As James suggested, there are too many variables from person to person.
Have fun!
A person who is to offer advice on what sort of embouchure would work best for anyone and everyone else has to have:
To my knowledge, no one has done that so far, but a few people seem to think they have. They sure seem to think they know what would work best for everyone else at least.
Here’s to our self proclaimed embouchure masters. A fine dram of
whisky 
A person who is to offer advice on what sort of embouchure would work best for anyone and everyone else has to have:
- Tried all flutes in existence
- Tried all sets of lips in existence
Does kissing count? Then I’m half-way there…
Smouldering hell! 
The flute-kisser…now, there’s an image!!! 
Many beginning flutists are given the advice at the start of their musical adventure to “kiss the embouchure hole and then roll down” as a guide to position the flute on their chin.
It’s not real great advice, but I believe it’s still frequently given.
–James
Works for me as a guide for a start to place the flute.
Do you think it is wrong advice?
~Hans
Again, it all depends on the shape of your facial anatomy, especially the lips and chin.
The “kiss and roll down” approach will work for some players very well, other players it’ll get them in the ballpark but there will be lots of adjustment necessary, and some players won’t be able to use that approach at all.
At the end of the day, if you’re having trouble being able to sound the flute, even the brightest folks on a message board can only go so far towards helping. Folks having serious problems making the flute sound at all really need the help of a teacher, someone who can be there in the room with them and see the problem first-hand.
–James
so for what it’s worth, I was lent a “flute-like object” (don’t ask) yesterday- it’s not enough that I torture whistles but gotta pick on innocent flutes too- anyway- after I taped the end to block the leaking hole in the cork- I tried to get a sound out but no go- so I tried the “kiss the embouchore and roll the flute down” advice given here in this thread and eureka! got some actual notes from the flute-like object…
so that method appears to work just fine for my anatomy and this particular beast-
so along with kissing lots of frogs I get to kiss flutes as well 
I’m not kissing any flutes. No Sir. I sneak up on the embouchure hole with my lower lip until I can feel that I am centered on the edge. Then I
Blow, blow, blow the flute,
Gently through the tune,
Merrily, merrily, merrily, merrily,
_________________________.
This is a fill-in-the-blank question.
Well there is always the direct approach and the sneaking up approach
Both leading to satisfactory contact (one hopes anyway).
~Hans
kinda makes ya wonder what his technique with toads is, dunnit!
Would that be horny toads?
Not to mention princes…no, just don’t mention the princes…
I’m a Healy disciple when it comes to lower lip smashing.
Here, with Skip’s permission is the entire text of the tip:
"Hi Everybody,
Skip Healy and John Harvey here again shooting straight from the lip this time. This tip is inspired by a question sent to me by Bill Goelz.
Bill came to me a while ago with a question about my embouchure. He observed in different photographs that I play with the flute set on the fleshy part of your lower lip, as opposed to just under the fine line where the lower lip and the chin meet (which is another common position with many flute players). Bill wanted to know how, why, and whether or not he should do this as well.
So let’s have at it.
Bill’s observation is correct. I do rest the flute against the fleshy part of my lip when I play and I recommend this position to my students. My feeling is that if you position the flute beneath your lip, you create the possibility where some portion of your lip might cover (if not go into) the back side of the embouchure hole.
Some people find it easier to play this way, but what you are actually doing is reducing the size of the embouchure hole by blocking off a portion of it. This makes the embouchure hole more narrow from front to back and artificially increases the compression, thus making the flute function with less air flow.
However, less air flow means less power and dynamic range. There’s also a chance of increasing the amount of embouchure “hiss”. Is it easier to get sound out of a flute using this position? Yes. But are you also limiting your potential as a musician with this approach. In my opinion, yes.
Flutes are really just a set of numbers. If the flute is carefully and thoughtfully designed, then these numbers work together to produce a certain sound when “X” amount of fuel (air) is forced into the chamber. The chamber is a hole (the bore) that is a calculated size and length for producing a certain pitch when the resonating chamber (plug face to foot) is filled with air. The size of the embouchure hole is calculated to allow a precise amount of fuel to flow into the chamber with tone holes of exact size and placement releasing the compressed fuel at precise locations. The changes in air pressure are the notes that we hear.
By reducing the size of the embouchure hole, you’re messing with the numbers. It’s just like having a blocked fuel line in your cars engine. The vehicle will run for a while, but not very well.
By properly venting the tone holes (see Skip’s Tip #11 – Release Me, Let Me Go) and using the entire embouchure hole, you get the best airflow. Along with that, you’re now capable of getting the best possible tone and range.
Of course, when you are trying to do anything to it’s maximum (as opposed to minimum standard) it is harder to control. That said, with practice you can achieve greatly varied volume and tone color. The nuts and bolts of it all is that you’re in control of the flute, and not the other way around.
And last but not least, this approach also helps to prevent the player from puffing their lips out, which also creates a less focused tone.
To paraphrase the old expression:
There is many a slip
'Twixt the flute and the lip.
I hope all of that makes sense! You all know where you can find me if it doesn’t…
All the best,
Skip Healy "
Cheers,
Doc
Very interesting Jem. This just proves how many different techniques are out there. Skip makes a good tone on his flutes, and he’s saying things which contradicts many other pro’s. No doubt, all of these people have tried all different kinds of approaches and found that this or that technique works best for them.
I’m not surprised that there are lots of different techniques (that’s what I always stated right?) and that they all work brilliantly for the people recommending them. But I am a bit surprised how many of these flute guru’s are adamant that their techniques are the ones that should be used by all students.
Sir James Galway states that you have to cover the embouchure hole, frown and blow.
Skip Healy states that if you cover the embouchure hole, you can’t make a very good tone.
That goes on and on. Who to trust??
Isn’t it obvious by now? Just blow, figure it out for yourselves, get pointers but don’t trust anyone who writes that it has to be done a certain way. Everybody’s different, I’m surprised that many of the masters haven’t figured that out yet… (others have)
Do you let the connaisseur tell you what tastes you prefer in your
whisky 