Quote of the Week–Fox on High Range
I find this a very interesting description of how the muscles work, especially compared to the typical Farkas-oriented approach.
The embouchure consists of two pairs of separate control muscles. The corner pair, the ones used when pronouncing “eeeeee,” and the middle pair, the ones used to pronounce “mmmmmmmmmmm.” It is possible to tighten the corner pair and keep the middle pair relaxed. Conversely, it is possible to tighten the middle pair and keep the corner pair relaxed. Try it. Notice that you can control the corner or middle muscles separately. If the embouchure consisted of one muscle only, the corner and middle muscles could not be controlled independently of each other.
The tendency, as one goes to the upper register, is to tighten the corner muscles and increase the mouthpiece pressure. The lip area inside the mouthpiece remains comparatively relaxed. Obviously, beyond a certain point, there can be no high notes possible with the vibrating area inside the mouthpiece too relaxed, no matter how much the corner muscles strain, and no matter how much the mouthpiece is pressed into the lips. The “safe” won’t open unless the middle muscles are tensed properly.
The middle muscles must be exercised and developed consciously for high notes….
Changes of notes are made with the middle muscles spearheading the action, the corner muscles acting only as secondary support to the middle muscles. If the middle muscles do not tighten properly, then at a certain point, no matter how much mouthpiece pressure is applied, no matter how much the corner muscles tighten, the flaccid lip vibration inside the mouthpiece will not give you higher notes. Nothing will occur.
Tighten the lip area inside the mouthpiece consciously. Use that action in all registers primarily, and you are on your way to greater facility and better higher notes.
Fred Fox, Essentials of Brass Playing, pp. 23-24
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