Open Up and Say, “Ahh…” (Brass)

/ Baritone/Euphonium, Baritone/Euphonium Embouchure, Brass, French Horn, French Horn Embouchure, General Brass, General Brass Embouchure, Technique, Trombone, Trombone Embouchure, Trumpet, Trumpet Embouchure, Tuba, Tuba Embouchure

Opening the Jaw for Proper Brass Embouchure

Who

This technique benefits brass players, including trumpet, trombone, French horn, euphonium, and tuba players, from middle school beginners to advanced students, and band directors teaching them in school or community ensembles.

What

The challenge is teaching brass players to open their jaw and separate their teeth to form a proper embouchure, avoiding a biting or clenched position that restricts airflow and produces a thin, strained tone.

Why

A closed jaw or clenched teeth restricts the oral cavity, limiting airflow and causing a pinched, less resonant sound, as noted in The Art of Brass Playing. This is common among beginners who instinctively bite down, especially under the pressure of high notes or demanding repertoire. An open jaw and separated teeth allow for a fuller, more vibrant tone and better intonation (A=440 Hz), crucial for ensemble blend.

Where

Embouchure adjustments are applied via:

  • Jaw Position: Dropping the lower jaw to create space between teeth, forming an open oral cavity.
  • Lip Placement: Maintaining relaxed lips vibrating within the mouthpiece, avoiding tension or biting.

When

Address jaw positioning in:

  • Beginner Instruction: When teaching middle school students to establish correct embouchure habits.
  • High-Register Passages: In pieces like Holst’s First Suite in Eb, where high notes tempt biting.
  • Lyrical Sections: In melodies requiring a rich tone, such as in Sousa’s Stars and Stripes Forever.
  • Ensemble Tuning: In rehearsals needing tonal clarity and pitch accuracy for blend.

How

To teach brass players to open their jaw and separate teeth:

  1. Use the Grape Technique: Inspired by my friend Denis Johnson, a euphonium music major at Albany State University, place a small grape between the back teeth to inhibit biting. If players taste juice, they’re biting, signaling a closed embouchure. This instantly reveals a fuller tone when the jaw opens. (I once used a folded paper towel, but it encouraged biting, reinforcing bad habits.) Use small grapes to avoid choking, and enjoy a snack afterward!
  2. Practice Long Tones: Play sustained notes (e.g., middle Bb for trumpet, low F for horn) with an open jaw, checking tone quality with a mirror to ensure teeth separation.
  3. Listen for Tone: Encourage students to hear the difference between a pinched, biting sound and a resonant, open sound, using a tuner to confirm pitch (A=440 Hz).
  4. Incorporate Scales: Practice Bb or F major scales, focusing on jaw relaxation to maintain a vibrant tone across ranges.
  5. Annotate Repertoire: Mark parts in pieces like Symphonic Metamorphosis to remind players to keep jaws open, especially in lyrical or high passages.
  6. Use Visualization: Instruct players to imagine blowing warm air (like fogging a mirror) to relax the jaw, avoiding a tight, “cool air” embouchure.
  7. Monitor in Ensemble: Check for biting during rehearsals, ensuring open jaw positions enhance section blend and tone.

    Conclusion

    Opening the jaw and separating teeth is critical for brass players to achieve a resonant, in-tune sound, avoiding the thin, pinched tone caused by biting. The grape technique,effectively teaches jaw relaxation, transforming tone instantly. By using long tones, scales, repertoire annotation, and ensemble listening, directors can help trumpeters, trombonists, horn players, and low brass players master proper embouchure, elevating the band’s harmonic clarity in demanding repertoire.

    Scroll to Top