I just finished a search on various “embouchure”, “lips” and other words but need to ask this question:
Where EXACTLY do you place your flute on/below your lower lip? Some advocate placilng the flute at the line where the flesh of the lip meets the lower skin; some advocate placing the flute higher up and over that spot thus causing the lower lip cusion to be where the flute rests. This also causes the air stream to come more from within the lips (tunnel like) rather than from the outer edge. And other similar positions.
In general, my lower lip covers a little less than half of the embouchure hole. I turn the headjoint in so that the outer edge of the hole lines up with the centers of the fingerholes. I blow from the inner surfaces of my lips and try to keep my lower lip and jaw as relaxed as possible. Everyone else who posts on this will probably have a different answer, though. I know people who roll the headjoint out and don’t cover any part of the hole. This seems to give a bright, hard tone with fewer partials – not really my thing, but it can sound good.
On 2002-12-23 10:32, Ro3b wrote:
BTW, Larry Krantz has a page of > embouchure photographs > on his website. It’s worth a look.
The photos on this page are indeed informative, but the descriptions appended to them are kinda bizarre. Here’s a typical example:
“H: Natural, pulled to the right, with only the playing surface of a full upper lip rolled outward; lower lip in excellent position to perform.”
Sounds like he engaged one of those Olympic figure skating announcers to write these! I guess writing about embouchure is like whistling about cuisine…