You’ll also learn exactly how the Wedge can do all of that.
The brass embouchure is a complex structure. The teeth form the foundation. The vibrating portion of the embouchure consists of a small mass of lip tissue contained within the rim of the mouthpiece. The amount of lip that vibrates, and the frequency at which it vibrates largely determine the pitch and quality of the note. Higher range requires higher frequencies.
How the lips vibrate are influenced by many factors, including the teeth, air stream, tongue position, oral cavity, and how the muscles of facial expression control the vibrating aperture.
The muscle most brass players are familiar with is the orbicularis oris, which is a complex circular muscle that surrounds the orifice of the mouth and forms the majority of the lips. It belongs to a large group of muscles of facial expression called the buccolabial group. The orbicularis oris muscle can only do two things without help from other muscles. It can contract down like a purse string, and it can evert or pucker the lips out. Fine tuning of lip movements rely on other muscles.
These other muscles include the levator anguli oris, levator labii superioris alaeque nasi, levator labii superioris, zygomaticus major, zygomaticus minor, risorius, depressor labii inferioris, depressor anguli oris, mentalis, incisivus superior and inferior, and buccinator muscles. Many of these muscles attach to and actually become intertwined with the orbicularis oris muscle fibres, providing a way to fine tune the movement and shape of the vibrating aperture. They radiate out from the orbicularis oris muscle, a bit like spokes on a wheel, with orbicularis oris being the central hub.
We control the aperture of the embouchure by making slight adjustments to the length and tension of these radiating muscles, which act on, and in conjunction with, the orbicularis oris muscle. To control the aperture these changes in muscle length and tension have to cross the mouthpiece rim to affect the central aperture. Although there is not a great deal of movement in this area these fine adjustments are critical to aperture control.
Unfortunately for brass players most of the muscle fibres acting on the central aperture are pinned down between the teeth and the mouthpiece rim. This pressure interferes with our ability to control the embouchure aperture, causing fatigue and limiting flexibility and range. Pressure in this area also contributes to orbicularis oris injuries, which occur mostly at 2 and 10 o’clock on the upper lip.
Now let's explore the unique way in which the Wedge mouthpiece interacts with embouchure.
- A very low horn angle that makes it difficult to project your sound.
- Too much pressure on your top or bottom lip.
- Neck discomfort from tilting your head forward or back trying to correct your horn angle.
- TMJ (temporomandibular joint) pain from thrusting your jaw forward.
- Difficulties forming and embouchure because of severe dental malalignment.
- Angled rims are available as a stock item for trumpet, cornet, and flugelhorn hybrid mouthpieces. Brass mouthpieces with angled rims are availble as a special order.
- The angle can be 5° or 10°.
- The 5° angle is enough for most players.
- If you are uncertain what angle you need, Dr. Dave can give you personalized advice based off of a photograph of you playing, taken from the side.
- Angled rims are also available as a custom order for trombone, euphonium, tenor horn, and tuba.
- The degree of angle possible with low brass mouthpieces is between 3 and 5° in most cases.