embouchure

The embouchure should remain flexible, and that is why flutists should be encouraged play piccolo, alto flute, and bass flute. Developing flexibility in embouchure shape only increases our technical skills on the flute. When playing in the upper register, the embouchure should be a small hole, as if drinking from a straw or saying [u] as in the word “food.” Especially important in the upper registers is the feeling of slightly protruding lips, as in kissing. Be aware of the three-dimensional aspect of your embouchure; it is made up of the entire thickness of your lips, not just the outer portion. As you descend toward the bottom of the range, the embouchure should expand into a more horizontal oval shape. In the lowest notes, this means a wide opening that almost mimics the shape of the lips when pronouncing an [i] as in the word “feet.” (See image below)

Experiment with flexibility. For instance, if you need to project a large sound in the upper register, try combining an [o] vowel (as in the word “go”) with an open embouchure; the result is a large sound with a halo of air surrounding a robust core. If you need to project the low register, engage the orbicularis oris muscle – or the muscle around the lips – by stretching horizontally just a little bit above the upper lip. Done in any register, this provides an edge or buzz, but used in the low register it can really help the sound carry in louder passages. In all of embouchure flexibility exercises, remember that the air speed to embouchure opening is key to creating colors, and to adjusting pitch.

The smile embouchure should be corrected as early in a student’s development as possible. Smiling while playing the flute creates tension in the cheeks and lips, resulting in reduced resonance and lip flexibility. Below are a few tactics for correcting the smile embouchure:

1) Without your flute in hand, practice a neutral or slightly pouting mouth position. Bring the head joint to your chin and, maintaining the pout position, blow. When you become comfortable making sound this way, add the body of the flute.

2) Blow up a balloon. You’ll find it is much easier to do this with your lips neutral or horizontal. With a smile or and exaggerated frown, tension develops and air leaks.

3) With your thumb or a wine cork between your lips (as if sucking your thumb), blow just enough air to fill your mouth and puff your cheeks, trying to avoid significant tension. A smile or exaggerated frown will bring the same results as they did with the balloon exercise.

Remember that smiling while playing the flute creates tension and reduces your ability to create a rich palate of colors by limiting resonance and flexibility.