"mouthpiece with a concave face that is close to double the diameter of a regular didgeridoo mouthpiece. This mouthpiece gives a player more room to control the vibration of their lips at frequencies below the traditional drone. The technique is similar to playing pedal tones on a brass instrument. The desired tone is different then brass, and there for the embouchure used to play it is different than brass technique. The most prominent playable note on these instruments is always one octave below the fundamental didgeridoo drone. Several other drone-notes can be played below the fundamental as well, and these"
"and shaping of the lips and facial muscles, essentially repeatedly ""bending"" the note. This is called lip-vibrato, and is probably the most commonly used technique of vibrato on a lower brass instrument. It is also known to give the best sound and timbre on a brass instrument and is encouraged in upper-level or militaristic style brass ensembles. Players may also produce vibrato by gently shaking the horn which varies the pressure of the mouthpiece against the lip. This is referred to as hand vibrato. It is more favored in higher brass, but does not possess the same sound quality as"
"assembly or lip rest used in some European double-reed instruments, including the piffero, shawm and rackett. In band shawms, it is carried on the staple on which the reed is mounted On the European shawm, the pirouette replaces the loose disc of the oriental surna, presumably to secure lip-control over the cane reed. The player presses his lips against the pirouette while holding the reed in his mouth. This permits control of the reed by the lips without appreciably affecting the amplitude of its vibration. Mouthpiece (woodwind) The mouthpiece of a woodwind instrument is that part of the instrument which"
"Mouthpiece (woodwind) The mouthpiece of a woodwind instrument is that part of the instrument which is placed partly in the player's mouth. Single-reed instruments, capped double-reed instruments, and fipple flutes have mouthpieces while exposed double-reed instruments (apart from those using pirouettes) and open flutes do not. On single-reed instruments, such as the clarinet and saxophone, the mouthpiece is that part to which the reed is attached. Its function is to provide an opening through which air enters the instrument and one end of an air chamber to be set into vibration by the interaction between the air stream and the"
"instrumentals. Different instruments require varying techniques. For example, string instruments require fingering technique, while bowed string instruments require bow technique. Brass and woodwind instruments require mouthing techniques (correct positioning and shaping of the mouth and proper breathing), while woodwind instruments often require fingering technique, brass instruments often have simpler fingering than woodwinds but require a basic understanding of the harmonic series. Musical technique is often related to physical memory, such as correct position and stopping on a string instrument, positioning of the trombone slide, memorizing guitar chords' and piano chords' fingering, and the proper position and shape of one's mouth"
"he termed a ""pivot"". According to Reinhardt, a successful brass embouchure depends on a motion wherein the performer moves both the mouthpiece and lips as a single unit along the teeth in an upward and downward direction. As the performer ascends in pitch, he or she will either move the lips and mouthpiece together slightly up towards the nose or pull them down together slightly towards the chin, and use the opposite motion to descend in pitch. Whether the player uses one general pivot direction or the other, and the degree to which the motion is performed, depends on the"
"particular muscle, resulting in a slight droop to the affected side of the face. Orbicularis oris muscle In human anatomy, the orbicularis oris muscle is a complex of muscles in the lips that encircles the mouth. Until recently, it was misinterpreted as a sphincter, or circular muscle, but it is actually composed of four independent quadrants that interlace and give only an appearance of circularity. It is also one of the muscles used in the playing of all brass instruments and some woodwind instruments. This muscle closes the mouth and puckers the lips when it contracts. The orbicularis oris is"
"Harmonica The harmonica, also known as a French harp or mouth organ, is a free reed wind instrument used worldwide in many musical genres, notably in blues, American folk music, classical music, jazz, country, and rock and roll. There are many types of harmonica, including diatonic, chromatic, tremolo, octave, orchestral, and bass versions. A harmonica is played by using the mouth (lips and tongue) to direct air into or out of one or more holes along a mouthpiece. Behind each hole is a chamber containing at least one reed. A harmonica reed is a flat elongated spring typically made of"
"Mouth drumming Mouth drumming is a form of Beatboxing which involves vocally imitating the sound of a drum kit as precisely as possible in order to use the voice to serve the same function as a drummer in a musical setting. It is mostly used in a cappella music but has also been used in rock and jazz. Artists who specialize in this technique are simply referred to as vocal percussionists. Wes Carroll is credited as the term coiner and pioneering practitioner of this art. Well known for his ability to realistically vocalize the sounds of a drum kit, and"
"the pushing and pulling of a player's mouthpiece and lips together, as a single unit, up or down along the teeth while changing registers. According to Reinhardt, the three primary playing factors of brass technique were correct breathing, tonguing, and embouchure. Reinhardt felt that each player's unique anatomical features required each player to perform differently and based his teaching on establishing the correct method for each individual student. He noted and categorized eight different tonguing types and four basic embouchure types with five subtypes. Each student would receive a personalized routine that took into account the student's embouchure and tonguing"
"itself. Indeed, French flautist Marcel Moyse did not play with a symmetrical embouchure. The end-blown xiao, kaval, shakuhachi and hocchiku flutes demand especially difficult embouchures, sometimes requiring many lessons before any sound can be produced. The embouchure is an important element to tone production. The right embouchure, developed with ""time, patience, and intelligent work"", will produce a beautiful sound and a correct intonation. The embouchure is produced with the muscles around the lips: principally the orbicularis oris muscle and the depressor anguli oris, whilst avoiding activiation of zygomaticus major, which will produce a smile, flattening the top lip against the"
"against, but not over, the teeth as in pronouncing the letter ""V"" and the corners of the lip are drawn in (similar to a drawstring bag). With the less common double-lip embouchure, the top lip is placed under (around) the top teeth. In both instances, the position of the tongue in the mouth plays a vital role in focusing and accelerating the air stream blown by the player. This results in a more mature and full sound, rich in overtones. The double reed woodwinds, the oboe and bassoon, have no mouthpiece. Instead the reed is two pieces of cane extending"
"timbres. Players of wind instruments alter the tone simply by changing the pressure of their lips. One could argue that the act of choosing which instrument to play or write for is in itself timbre composition. Timbre composition is used in vocal techniques such as throat-singing where the main focus of the music is timbre as opposed to pitch. Music that has been composed solely using the art of Timbre composition is called Timbre-centered music. Timbral listening is a technique used in both the composition and reception of Timbre-centered music which has been created using Timbre composition. Notable composers working"
"are changed in part through altering the amount of muscular contraction in the lip formation. The performer's use of the air, tightening of cheek and jaw muscles, as well as tongue manipulation can affect how the embouchure works. Even today, many brass pedagogues take a rigid approach to teaching how a brass player's embouchure should function. Many of these authors also disagree with each other regarding which technique is correct. Research suggests efficient brass embouchures depend on the player using the method that suits that player's particular anatomy (see below). Individual differences in dental structure, lip shape and size, jaw"
"performer's anatomical features and stage of development. The placement of the mouthpiece upon the lips doesn't change, but rather the relationship of the rim and lips to the teeth. While the angle of the instrument may change as this motion follows the shape of the teeth and placement of the jaw, contrary to what many brass performers and teachers believe, the angle of the instrument does not actually constitute the motion Reinhardt advised as a pivot. Later research supports Reinhardt's claim that this motion exists and might be advisable for brass performers to adopt. John Froelich describes how mouthpiece pressure"
"lip aperture (by the player's lip muscles—the embouchure) in the mouthpiece; plus, in a modern French horn, the operation of valves by the left hand, which route the air into extra sections of tubing. Most horns have lever-operated rotary valves, but some, especially older horns, use piston valves (similar to a trumpet's) and the Vienna horn uses double-piston valves, or pumpenvalves. The backward-facing orientation of the bell relates to the perceived desirability to create a subdued sound in concert situations, in contrast to the more piercing quality of the trumpet. A horn without valves is known as a natural horn,"
"is controlled by lip tension and position. The timbre can also be varied by tongue position. Particularly difficult is here to control the lip humidity which strongly changes the available pitch range. Both techniques can be combined to play 2 note polyphonic. Similar play techniques were employed in jug bands to blow the jug, stove pipe and partly watering can. Mouth trumpet Mouth trumpet is a vocal technique that imitates the sound of the trumpet. The mouth trumpet sound is produced by using the vocal cords to produce the desired pitch and passing the sound through the lips that are"
"the reeds to project a raspy guttural sound. Growling (wind instruments) Woodwind growling is a musical technique where the instrumentalist vocalizes into the instrument to alter quality of the sound. Growling is used primarily in rock and blues style playing, it is also frequently used in klezmer music; it is popular in the woodwind family of instruments, especially the saxophone. It is commonly used by mainstream artists such as Ben Webster, Illinois Jacquet and Earl Bostic. Outside of these styles and instruments, it is often considered a novelty effect. The growl gives the performer's sound a dark, guttural, gritty timbre"
"during the piercing process differs from person to person and depends on the specific location of the piercing. Those with thicker lips or well-exercised facial muscles will have more flesh or muscle to pierce, so they may experience more discomfort. Men may experience slightly more pain than women, as repeated shaving can make the skin of the upper lip tougher and harder to pierce. The orbicularis oris (the sphincter muscle around the mouth) is used in the playing of brass and woodwind instruments; as a result, players of these instruments tend to have a larger muscle around the mouth and"
"to be a difficult instrument to play—it requires a lot of practice. It embodies a design that survives today in the Russian Vladimir horn or rozhok. The main tube has only the length of a typical woodwind, but the mouthpiece is of the brass type, relying on a combination of the player's lips and the alteration of the length of the sound column via the opening and closing of the finger holes to alter the pitch of the musical sound. Most modern brass instruments are considerably longer than the cornett, which permits the use of harmonics, the sound being altered"
"bowed string instruments, such as violins. Classical musicians today do not always maintain this division (although plucked strings are grouped separately from bowed strings in sheet music), but distinguish between wind instruments with a reed (woodwinds) and those where the air is set in motion directly by the lips (brass instruments). Many instruments do not fit very neatly into this scheme. The serpent, for example, ought to be classified as a brass instrument, as a column of air is set in motion by the lips. However, it looks more like a woodwind instrument, and is closer to one in many"
"to amplify the instrument. Đàn môi are a traditional musical instrument of the Hmong people. Đàn môi Đàn môi (: ""Đàn môi"", ""lip lute"") is the Vietnamese name of a traditional musical instrument widely used in minority ethnic groups in Vietnam. This instrument is somewhat similar to the jaw harp but there are some differences. Most Đàn môi are crafted out of a single piece of brass and attached with a string to a decorated bamboo case. Rather than being played against the teeth, like a jaw harp, the dan moi is played against the lips. This gives much more"
"shaping of the lips to the mouthpiece when playing a saxophone. Playing technique for the saxophone is subjective based upon the intended style (classical, jazz, rock, funk, etc.) and the player's idealized sound. The design of the saxophone allows for a wide variety of different sounds, and the ""ideal"" saxophone sound and keys to its production are subjects of debate. However, there is a basic underlying structure to most techniques. The most common saxophone embouchures in modern use are variants of the ""single-lip embouchure"", in which the mouthpiece position is stabilized with firm, light pressure from the upper teeth resting"
"Growling (wind instruments) Woodwind growling is a musical technique where the instrumentalist vocalizes into the instrument to alter quality of the sound. Growling is used primarily in rock and blues style playing, it is also frequently used in klezmer music; it is popular in the woodwind family of instruments, especially the saxophone. It is commonly used by mainstream artists such as Ben Webster, Illinois Jacquet and Earl Bostic. Outside of these styles and instruments, it is often considered a novelty effect. The growl gives the performer's sound a dark, guttural, gritty timbre resulting largely from the rustle noise and desirable"
"The most significant addition to the standard xylophone skill set is the McLellan Technique, developed at Indiana University in 2007. This technique involves placing the head of a mallet in between two adjacent bars, and rapidly spinning the shaft of the mallet in between the index finger and thumb, thereby causing the head to rotate rapidly and scrape against both bars. This creates a cluster chord with ethereal timbre, and is most commonly used in percussion ensemble repertoire. Xylophone The xylophone (from the Greek words —""xylon"", ""wood"" + —""phōnē"", ""sound, voice"", meaning ""wooden sound"") is a musical instrument in the"
"Mouth and foot painting Mouth and foot painting is a technique to create drawings, paintings and other works of art by maneuvering brushes and other tools with the mouth or foot. The technique is mostly used by artists who through illness, accident or congenital disability have no use of their hands. The Association of Mouth and Foot Painting Artists (AMFPA) is a worldwide organization representing these artists. The brushes and tools that are used are ordinary artist's implements, but they may be modified in length or width. Mouth painters hold the brush in their mouth or between their teeth and"
"Đàn môi Đàn môi (: ""Đàn môi"", ""lip lute"") is the Vietnamese name of a traditional musical instrument widely used in minority ethnic groups in Vietnam. This instrument is somewhat similar to the jaw harp but there are some differences. Most Đàn môi are crafted out of a single piece of brass and attached with a string to a decorated bamboo case. Rather than being played against the teeth, like a jaw harp, the dan moi is played against the lips. This gives much more flexibility to player, leaving them freer to shape their oral cavity as a resonance chamber"
"Saxophone technique Saxophone technique refers to the physical means of playing the saxophone. It includes how to hold the instrument, how the embouchure is formed and the airstream produced, how the fingers press the keys for different notes, and a number of other aspects. Instrumental technique and corresponding pedagogy is a topic of much interest to musicians and teachers and therefore has been subjected to personal opinions and differences in approach. Over the course of the saxophone’s performance history, notable saxophonists have contributed much to the literature on saxophone technique. Saxophone embouchure is the position of the facial muscles and"
"All three stressed that the mouthpiece should be placed higher on the top lip for a more free vibration of the lips. This embouchure method, advocated by a minority of brass pedagogues such as Jerome Callet, has not yet been sufficiently researched to support the claims that this system is the most effective approach for all brass performers. Advocates of Callet's approach believe that this method was recommended and taught by the great brass instructors of the early 20th Century. Two French trumpet technique books, authored by Jean-Baptiste Arban and Saint-Jacome, were translated into English for use by American players."
"Tonguing Tonguing is a technique used with wind instruments to enunciate different notes using the tongue on the reed or woodwind mouthpiece or brass mouthpiece. A silent ""tee"" is made when the tongue strikes the reed or roof of the mouth causing a slight breach in the air flow through the instrument. If a more soft tone is desired, the syllable ""da"" (as in ""dou""ble) is preferred. The technique also works for whistling. Tonguing also refers to articulation, which is how a musician begins the note (punchy, legato, or a breath attack) and how the note is released (air release,"
"French horn The French horn (since the 1930s known simply as the ""horn"" in some professional music circles) is a brass instrument made of tubing wrapped into a coil with a flared bell. The double horn in F/B (technically a variety of German horn) is the horn most often used by players in professional orchestras and bands. A musician who plays a French horn is known as a horn player or hornist. Pitch is controlled through the combination of the following factors: speed of air through the instrument (controlled by the player's lungs and thoracic diaphragm); diameter and tension of"
"the uncontrollable twitching of the muscles, the newly relaxed status deprives the player of the lip flexibility needed to play a brass instrument. For most brass players, diagnosis with focal dystonia signals the end of their careers. This is a far more common cause of embouchure collapse. As the name suggests, embouchure collapse may be caused by ""overuse""—or in simple terms, playing ""too much."" Most brass players at some time experience lip swelling (or ""stiff lips""). When a player is forced to continue playing despite this, the resulting stress can cause a chain of injuries that lead to embouchure collapse."
"Manualism (hand music) Manualism is the art of playing music by squeezing air through the hands. Because the sound produced has a distinctly flatulent tone, such music is usually presented as a form of musical comedy or parody. The musical performer is called a manualist, who may perform a cappella or with instrumental accompaniment. Playing recognizable tunes by squeezing the hands together is extremely difficult, and could take many years of practice to master the art. Some manualists practice for as many as 30 years before finally reaching a presentable level of proficiency. Just as a trumpeter makes sound by"