You are so right. I’ve been playing for about 72 years and was not aware or made aware of the difference in airflow when the corners are tied versus when the corners are more relaxed, and the focuses on creating Almost a circle with the lips. I haven’t touched my horn in about three years but as soon as I changed it over to your method, I noticed immediate improvement. Thanks so much.
I'm so glad i found your channel. You are the best ! You are very clear and precise in your explanations. It's felle more natural to play by following your avices. It helped me a lot, specially with the overuse of corners. This is the best video i found about the lips formation for the embouchure. Bonjour from France.
Because of the COVID lockdown I found myself with lots of time to practice and experiment so lately, mostly through trial and error, I found myself working, coincidentally, toward what you were explaining in this video. Sometimes, due to bad habits accumulated over the years, it may take 30-45 minutes to overcome them but the more I do it the easier it becomes and I find my range, endurance, tone, and articulation improving. It is, however, a continuous process. Your explanation has cleared up a lot of questions I had about what I’ve been doing in my practice so now I know what to focus on. Thanks.
This is the perfect time to practice things like this. It takes me a little while to overcome 20+ years of doing something one way but little by little the “new” way is becoming “the way”.
I'm a new player (4 months) and have trouble hitting notes fast.. I really tried to open my mouth like you show.. And after few minutes, I got a sound like I've never had!!! Also I hit every note so easily!! It's like 100% improvement in 5 minutes. Thank you so much for talking about this so MUCH that i REALLY tried to get it right.
Another great video; surprisingly fascinating subject. I have been told by lots of people about smiling to create a sweet sound as well reaching the upper register which tired out my lips pretty rapidly. I've started to relax them using a similar approach and makes a big difference. Thanks for sharing your knowledge some great material!!
I’m glad you enjoyed this topic! We will tire ourselves out quickly by overusing our corners. The body doesn’t lie so I’m glad you were able to find a way that is more efficient for you to play.
Love these videos! Used to play with the corners pulled back, but because of Dystonia I am retraining with my friend, the straw, to bring those corners forward. You make it look so easy! But, it just makes more sense to play with them forward
This concept really kicked my butt! I still spend a lot of time working on this but it’s made such a drastic difference in playing I’m all in! Give your body some time to get familiar with the feeling. It took my brain sometime to accept these signals.
Hello Dion, I've tried changing the focus the way you describe it and it has been a great change. My air stream is more focused (there's no air escaping the edges of my lips), and I don't tire as easily. I do have to constantly remind myself to maintain that focus.
That’s fantastic! When you move the “corners” forward, there’s nowhere for the air to go other then in the cup. You won’t have to work as hard which will lead to more endurance. If you continue to reinforce this concept, eventually it will become the way you play and you won’t have to think about it at all.
Man... this was great. SUB and Liked Whenever a student says "so it's like smiling"... I always had reserves givingnthem a yes but now I know why. We do more pulling back and DOWN to maintain air speed for higher notes. This way we can match the push back of the air needed to play any specific note. DANG!
The terminology we use with our students is so important because they will make there own physical interpretation of what we say. Since the “corners” are muscles we can see, that gives the body visual feedback which will shape the way we think of forming our embouchure. Tell your students it’s like blowing out a candle more than it’s like smiling.
Thank you so much for your masterful pedagogy Dion! I am so grateful that a player of your stature is willing to share how you reprogrammed your approach to playing. I am yet another one of those people who was taught the ‘mm’ approach to embouchure formation at an early age and somehow made it work for many years before signs of dystonia set in. I would like to ask you how long it took for you to create sound once you began to move your aperture corners inward? I understand the physics behind it and it feels wonderful passively releasing air into the horn but there’s no tone when I do so.
Thanks so much for your comment! Getting a sound with this new formation took time, but I did learn these concepts under the guidance of a specialist (Jan Kagarice). Finding the right balance between understanding the concept and letting my body accept the application takes time, just like learning any new skill.
It occurs to me that the reason this formation likely works better is because it matches the shape of the hole in mouthpieces? Has anyone ever tried making mouthpieces which suit the other formations, i.e. pursed lip shapes? 😄Thanks for interesting tip Dion, definitely worth experimenting with, and thinking about
I think there is a company named Wedge mouthpieces that base their design from the shape of the opening of the aperture. I think about my airstream as being the same shape as the throat of the mouthpiece. My embouchure is used to support not dictate the shape of airstream.
So Dion, you’ve hit upon a key Dystonia issue. When I do any type of buzzing there are two problems. The first is the perception the left corner has to tighten up causing the air stream to swing left. I’ve noticed many players ( purely my perception) play slightly off center to the left. For me, the issue would appear to be, contracting that left corner and having the right corner basically doing nothing resulting in that old adage of “leaky chops”. My embouchure simply collapses and nothing I do seems to be able to change it. And of course I start shifting the horn and a way we go down that big slippery slope! I’m finding I’m playing your video’s over and over again! I’m sensing there is a fundamental truth you’ve got going here. I just have to figure out! Thanks for your channel!
Continue to observe, don’t over analyze things just observe. When we start trying to fix things, well we know what happens. Let the lips work as a funnel for the airstream. The mouthpiece and the horn are funnels for the air. Allow the air to create the resonance in the horn. The function of your lips are secondary to the function of your airstream.
Hi Dion.. thanks for the video.. How do I find the correct position? I mean yes, avoid a smile face and bring the corners to the front, but how much? how do I now its correct?
The best teacher for this is your sound. When looking for the most resonant sound, there is an element of relaxation. If your "corners" are too tight the airstream will be effected. I think about sending my lips towards the bell. I let the sound tell me when the position is "correct." Give the body some grace because this can vary with each airstream.
I'm somewhere in the middle I think. My embouchure around a middle F is basically my neutral face with an opening in the center. Higher range it becomes more flat and lower range it's more round, with an extended lower lip
Hi Dion. French Horn player here. I think I am understanding your concepts (putting them to work will be the harder work!). I can hit the high notes at the beginning of a practice session, then after about 45 minutes, they are gone. That's not going to work for Mahler 10! Other than practice on the horn, are there other suggestions to work through bring the corners in? (someone mentioned blowing through a straw?). Because I have so many years of playing the high notes with pulling my corners back, it's going to take some serious retraining. Thanks so much for your great videos!
Thanks for checking out the content! Using a straw can definitely be a useful tool to help retrain your corners. Like any other tool, it’s really about how you use it. Proper guidance is key when retraining. I do know exercises that could be helpful to you but the responsible way to teach them is via a private lesson.
Just started my lessons - Getting my horn this Friday. Looking forward to testing this out - looks very interesting. Can you buzz a mouthpiece using this technique? I’m trying just now to buzz and I don’t get that same vibration I get with the first way. I think I just need to be patient and try with the horn. Thanks for the video - I’ve become an avid watcher of your lessons
Using the technique with the lips more open you probably won’t get a “buzz” on just the mouthpiece. With that being said, the “buzz” should occur as a result of the air connecting with the air that’s already in the instrument. You can buzz on the mouthpiece but it is different then playing the instrument. Once you try it on the instrument the results will teach you more then anything else.
@@TheChopsShop Great stuff - tomorrow is the day. I was intending on getting a straight horn but I think I’ll be getting an F attachment tenor as my first one. Very exciting! Thanks for the response- Greatly appreciated
Sometimes when I play high, the left corners of my lips push out the fleshy inside of my lip and this has been happening for a while. It's just when playing high and only in my left corners. Do you know how I can stop this?
It's really hard to say how to address that issue without seeing you play. Allow your "corners" to move forward when playing in the upper register. Think of an oouuh shape with your embouchure.
I'm wondering how to maintain the small aperture needed for high notes with the corners in/forward. Might be corners down and tongue up? Thanks for the start to some trial and error!
Because the lips come together automatically once air passes over them, as long as I keep the speed that’s required for the given note the corners should stay in place to support that airstream. I do my best not to think about tongue movement at all! Even if the tongue is actually raising slightly, I don’t try to control that. The body does a way better job of creating the proper position for the tongue without me getting in the way. I try to let the corners move forward akin to a zoom lens on a camera. Up and down motion is something I do my best to avoid and instead shit my focus to the forward movement of the airstream/energy.
@@TheChopsShop My issue is if my corners come in too far, that leaves the opening too round and large, preventing higher vibration. Ends up sounding woofy, and not stable! I'll have to keep experimenting. :)
@@bontrom8 yes I would say keep experimenting. Sometimes we form our lips how we think they should be and try to adjust the airstream to that. It should be the other way around.
I’m not aware of Louis Maggio’s technique. The way brass instruments function have not changed so it’s no surprise there are similar concepts out there.
Hello.........over the years my embouchure begin to deteriorate and eventually I think I've run into focal dystonia! No control shaky/trembling enbouchure. It's terrible! What do i need to do etc.......to get back on track? Any suggestions etc........pls.?
Hello, I’m sorry to hear about your embouchure issues. I know it can be a scary time but with the proper retraining, you can overcome your issue. There’s a lot of different factors that could be involved and there’s no specific formula, everyone is different. If you’re able to book lesson with me please do. I think I can help get you back on track!
All lesson are done via Zoom. If you follow the attached link and click the book a lesson button, you will see the instructions to set up a session. thechops-shop.com/lessons
Wow❤! Thank you so much, I try and surprise myself with a new great sound and better high register. Hallo from Italy
You are so right. I’ve been playing for about 72 years and was not aware or made aware of the difference in airflow when the corners are tied versus when the corners are more relaxed, and the focuses on creating Almost a circle with the lips. I haven’t touched my horn in about three years but as soon as I changed it over to your method, I noticed immediate improvement. Thanks so much.
Great, I’m glad you were able to find more freedom in your playing . We never stop learning.
You saved my life playing trumpet. What you are talking about is just perfect for me. Thank you thank you thank you.
I'm really glad you found the information useful. I hope you continue on the right track!
I'm so glad i found your channel. You are the best ! You are very clear and precise in your explanations. It's felle more natural to play by following your avices. It helped me a lot, specially with the overuse of corners. This is the best video i found about the lips formation for the embouchure. Bonjour from France.
I’m glad you’re enjoying the channel! I do my best to deliver my content as clear as possible. Thanks for your support and happy practicing!
Because of the COVID lockdown I found myself with lots of time to practice and experiment so lately, mostly through trial and error, I found myself working, coincidentally, toward what you were explaining in this video. Sometimes, due to bad habits accumulated over the years, it may take 30-45 minutes to overcome them but the more I do it the easier it becomes and I find my range, endurance, tone, and articulation improving. It is, however, a continuous process. Your explanation has cleared up a lot of questions I had about what I’ve been doing in my practice so now I know what to focus on. Thanks.
This is the perfect time to practice things like this. It takes me a little while to overcome 20+ years of doing something one way but little by little the “new” way is becoming “the way”.
I'm a new player (4 months) and have trouble hitting notes fast.. I really tried to open my mouth like you show..
And after few minutes, I got a sound like I've never had!!!
Also I hit every note so easily!!
It's like 100% improvement in 5 minutes.
Thank you so much for talking about this so MUCH that i REALLY tried to get it right.
That’s really great! I’m glad the concept was helpful for you. Keep having fun learning the trombone!
I have not played for quite a while. Just starting back into this. Great instruction. I will certainly give it a strong try. Thanks.
Try it out, have fun with it and keep what works for you!
Another great video; surprisingly fascinating subject. I have been told by lots of people about smiling to create a sweet sound as well reaching the upper register which tired out my lips pretty rapidly. I've started to relax them using a similar approach and makes a big difference. Thanks for sharing your knowledge some great material!!
I’m glad you enjoyed this topic! We will tire ourselves out quickly by overusing our corners. The body doesn’t lie so I’m glad you were able to find a way that is more efficient for you to play.
Love these videos! Used to play with the corners pulled back, but because of Dystonia I am retraining with my friend, the straw, to bring those corners forward. You make it look so easy! But, it just makes more sense to play with them forward
This concept really kicked my butt! I still spend a lot of time working on this but it’s made such a drastic difference in playing I’m all in! Give your body some time to get familiar with the feeling. It took my brain sometime to accept these signals.
Wow!!! My body did rejector first , but a half hour in and my chops locked in. Thank you for this tip.
Glad to share the knowledge. It can be a mental fight for a little while but if you stick with it, there can be huge benefits.
Hello Dion, I've tried changing the focus the way you describe it and it has been a great change. My air stream is more focused (there's no air escaping the edges of my lips), and I don't tire as easily. I do have to constantly remind myself to maintain that focus.
That’s fantastic! When you move the “corners” forward, there’s nowhere for the air to go other then in the cup. You won’t have to work as hard which will lead to more endurance. If you continue to reinforce this concept, eventually it will become the way you play and you won’t have to think about it at all.
A Great Channel ! Keep Investing In The “Talents” (Namely People) That The Master Sends Your Way!
Thanks for checking out the content. It’s been a blessing to connect with all the amazing people that come across this channel.
Man... this was great.
SUB and Liked
Whenever a student says "so it's like smiling"... I always had reserves givingnthem a yes but now I know why. We do more pulling back and DOWN to maintain air speed for higher notes. This way we can match the push back of the air needed to play any specific note.
DANG!
The terminology we use with our students is so important because they will make there own physical interpretation of what we say. Since the “corners” are muscles we can see, that gives the body visual feedback which will shape the way we think of forming our embouchure. Tell your students it’s like blowing out a candle more than it’s like smiling.
Thank you so much for your masterful pedagogy Dion! I am so grateful that a player of your stature is willing to share how you reprogrammed your approach to playing. I am yet another one of those people who was taught the
‘mm’ approach to embouchure formation at an early age and somehow made it work for many years before signs of dystonia set in. I would like to ask you how long it took for you to create sound once you began to move your aperture corners inward? I understand the physics behind it and it feels wonderful passively releasing air into the horn but there’s no tone when I do so.
Thanks so much for your comment! Getting a sound with this new formation took time, but I did learn these concepts under the guidance of a specialist (Jan Kagarice). Finding the right balance between understanding the concept and letting my body accept the application takes time, just like learning any new skill.
It occurs to me that the reason this formation likely works better is because it matches the shape of the hole in mouthpieces? Has anyone ever tried making mouthpieces which suit the other formations, i.e. pursed lip shapes? 😄Thanks for interesting tip Dion, definitely worth experimenting with, and thinking about
I think there is a company named Wedge mouthpieces that base their design from the shape of the opening of the aperture. I think about my airstream as being the same shape as the throat of the mouthpiece. My embouchure is used to support not dictate the shape of airstream.
So Dion, you’ve hit upon a key Dystonia issue. When I do any type of buzzing there are two problems. The first is the perception the left corner has to tighten up causing the air stream to swing left. I’ve noticed many players ( purely my perception) play slightly off center to the left. For me, the issue would appear to be, contracting that left corner and having the right corner basically doing nothing resulting in that old adage of “leaky chops”. My embouchure simply collapses and nothing I do seems to be able to change it. And of course I start shifting the horn and a way we go down that big slippery slope! I’m finding I’m playing your video’s over and over again! I’m sensing there is a fundamental truth you’ve got going here. I just have to figure out! Thanks for your channel!
Continue to observe, don’t over analyze things just observe. When we start trying to fix things, well we know what happens. Let the lips work as a funnel for the airstream. The mouthpiece and the horn are funnels for the air. Allow the air to create the resonance in the horn. The function of your lips are secondary to the function of your airstream.
@@TheChopsShop Thank you very much Sir!! You’ve struck a nerve!! Regards!!!
good lesson. thanks.
Thanks, I'm glad the information was useful to you!
Hi Dion.. thanks for the video.. How do I find the correct position? I mean yes, avoid a smile face and bring the corners to the front, but how much? how do I now its correct?
The best teacher for this is your sound. When looking for the most resonant sound, there is an element of relaxation. If your "corners" are too tight the airstream will be effected. I think about sending my lips towards the bell. I let the sound tell me when the position is "correct." Give the body some grace because this can vary with each airstream.
I'm somewhere in the middle I think. My embouchure around a middle F is basically my neutral face with an opening in the center. Higher range it becomes more flat and lower range it's more round, with an extended lower lip
It’s great that your center starts form a neutral place. There are slight changes for each note which I think ultimately we try to minimize.
Awesome video
Thanks for checking out the content!
Great Video!! Would this also work for tuba?
Absolutely! The way the embouchure functions is the same across all brass instruments. Thanks for checking out the video!
Hi Dion. French Horn player here. I think I am understanding your concepts (putting them to work will be the harder work!). I can hit the high notes at the beginning of a practice session, then after about 45 minutes, they are gone. That's not going to work for Mahler 10! Other than practice on the horn, are there other suggestions to work through bring the corners in? (someone mentioned blowing through a straw?). Because I have so many years of playing the high notes with pulling my corners back, it's going to take some serious retraining. Thanks so much for your great videos!
Thanks for checking out the content! Using a straw can definitely be a useful tool to help retrain your corners. Like any other tool, it’s really about how you use it. Proper guidance is key when retraining. I do know exercises that could be helpful to you but the responsible way to teach them is via a private lesson.
Just started my lessons - Getting my horn this Friday. Looking forward to testing this out - looks very interesting. Can you buzz a mouthpiece using this technique? I’m trying just now to buzz and I don’t get that same vibration I get with the first way. I think I just need to be patient and try with the horn.
Thanks for the video - I’ve become an avid watcher of your lessons
Using the technique with the lips more open you probably won’t get a “buzz” on just the mouthpiece. With that being said, the “buzz” should occur as a result of the air connecting with the air that’s already in the instrument. You can buzz on the mouthpiece but it is different then playing the instrument. Once you try it on the instrument the results will teach you more then anything else.
@@TheChopsShop Great stuff - tomorrow is the day. I was intending on getting a straight horn but I think I’ll be getting an F attachment tenor as my first one. Very exciting! Thanks for the response- Greatly appreciated
Welcome to the trombone family!
Sometimes when I play high, the left corners of my lips push out the fleshy inside of my lip and this has been happening for a while. It's just when playing high and only in my left corners. Do you know how I can stop this?
It's really hard to say how to address that issue without seeing you play. Allow your "corners" to move forward when playing in the upper register. Think of an oouuh shape with your embouchure.
I'm wondering how to maintain the small aperture needed for high notes with the corners in/forward. Might be corners down and tongue up? Thanks for the start to some trial and error!
Because the lips come together automatically once air passes over them, as long as I keep the speed that’s required for the given note the corners should stay in place to support that airstream. I do my best not to think about tongue movement at all! Even if the tongue is actually raising slightly, I don’t try to control that. The body does a way better job of creating the proper position for the tongue without me getting in the way. I try to let the corners move forward akin to a zoom lens on a camera. Up and down motion is something I do my best to avoid and instead shit my focus to the forward movement of the airstream/energy.
@@TheChopsShop My issue is if my corners come in too far, that leaves the opening too round and large, preventing higher vibration. Ends up sounding woofy, and not stable! I'll have to keep experimenting. :)
@@bontrom8 yes I would say keep experimenting. Sometimes we form our lips how we think they should be and try to adjust the airstream to that. It should be the other way around.
If I am not mistaken what you are teaching is the same technique late Louis Maggio had been teaching. To your knowledge, am I correct?
I’m not aware of Louis Maggio’s technique. The way brass instruments function have not changed so it’s no surprise there are similar concepts out there.
Hello.........over the years my embouchure begin to deteriorate and eventually I think I've run into focal dystonia! No control shaky/trembling enbouchure. It's terrible! What do i need to do etc.......to get back on track?
Any suggestions etc........pls.?
Hello, I’m sorry to hear about your embouchure issues. I know it can be a scary time but with the proper retraining, you can overcome your issue. There’s a lot of different factors that could be involved and there’s no specific formula, everyone is different. If you’re able to book lesson with me please do. I think I can help get you back on track!
@@TheChopsShop
Well how do you go about the virtual lesson
All lesson are done via Zoom. If you follow the attached link and click the book a lesson button, you will see the instructions to set up a session.
thechops-shop.com/lessons
@@TheChopsShop
Okay
No worries. If you decide to book a lesson, make sure you enter the discount code at the time of booking your session.
With my embouchure, the center of my lips give out way before anything else