Building an Embouchure
A different approach to building an embouchure: mapping out the way your lips are spread out from the point where the vibration starts outwards.
by Denys Derome
I have been teaching horn at McGill University for close to 25 years. Like many of you, when I started playing the horn, my first teacher was rather vague in terms of step-by-step indications. My main instructions were to put the horn mouthpiece on my lips, avoid puffing my cheeks, focus on firmly tensing up my chin and the muscles at the corners of my lips, and build more power in my corner lip muscles through consistent horn practice. As the years have passed and I have spent time observing my own playing and working with students, I have come to realize that we often tense up certain facial muscles too much and end up preventing other muscles from doing their work more efficiently. Small changes to how you use the embouchure muscles can lead to greater results in tone quality, stamina, efficiency, and frankly, much more enjoyment. Obviously, not everyone reading this will want to urgently make changes to the way they produce sounds on the horn. If what you are doing is working for you, please, forget this presentation and let me salute your joy for playing the horn and wish you continued success. On the other hand, if you are curious to see how building an embouchure could be done a bit differently, if you have a problem with students sometimes rolling in their bottom lips in the high register, or if you sometimes wonder if a student might be better served with by a mouthpiece with a wider diameter, this presentation is for you.
When discussing how to create an embouchure with students, I break down my explanations into five steps. Here is a synopsis of each of those steps:
1- Bring awareness to the line of contact between your lower and upper lip when your mouth is at rest. Give attention to the points (line) of contact between your lips when your mouth is closed. Map out mentally (visualize, memorize) the sensation of where on the lower lip the top lip is touching and where on the top lip the lower lip is touching. You always want to go back to this position the instant your lips stop vibrating. This means no rolling in of the bottom lip or any other position than where your lips meet each other when your mouth is closed and the muscles are relaxed. Look in the mirror to have a visual memory as well.
2- Bring awareness to the orbicularis oris muscle. While you are looking in the mirror, observe the position of the corners of your mouth at rest. There is one multilayered muscle that surrounds your lips. This muscle is called the orbicularis oris. Literally translated from the Latin “circular mouth muscle.” There are many facial muscles involved in building an embouchure, but for the purpose of this presentation, I would like to bring your attention to this specific muscle:
- With your mouth closed and relaxed while still feeling that line of contact between top and bottom lip, observe the corners of your lips. You can even gently put a finger right next to the corner of your mouth beyond the lip corner and feel a connection to the orbicularis oris.
- Now, while looking in the mirror and with your mouth still closed, muscles at rest, keep touching the corners of your mouth and move the facial muscles as if you were going to say “EEEE.” Keep your mouth closed as you are doing this. Notice how the orbicularis oris is pulled away from the relaxed position.
- Now, still with your mouth closed, move the facial muscles as if you were getting ready to say “OUUU” and feel how the orbicularis oris is now being engaged and moving inwards towards the center of the lips. The orbicularis oris is now slightly closer to the center of your lips than when your lips are at rest and your mouth closed.
The most efficient way to create your embouchure is to keep the orbicularis oris engaged in a slight “OUUU” setting. An “EEEE” setting will require more tension than necessary and is more likely to let slip in the bad habit of rolling your lips in and out and never establishing a constant line of contact between your lips. The gentle “OUUU” setting will allow you to maintain the same line of contact between the lips. This setting will allow more blood flow and less tension.
The closer to the mouthpiece the orbicularis oris is set, the less force will be required to generate the appropriate tension for your vibrating lips inside the mouthpiece. If you do not develop awareness of the gentle involvement of the orbicularis oris, you risk working against this muscle by constantly trying to lock it forcefully into a position away from the mouthpiece. At that point, your muscles are fighting against each other. Ultimately, the gentle “OUUU” setting means a richer tone, more stamina, easier recuperation after loud playing, and less swelling after very sustained loud playing. (For the more advanced player, the big difference here is that the closer to the mouthpiece you bring to orbicularis oris muscle, the more relaxed your lip behind the mouthpiece has to be. If you are used to playing on an “EEEE” setting, it will take a bit of time to get used to relaxing the lip and realize just how much less effort is needed and how much fuller the sound becomes on the “OUUU” setting.)
3- Free Buzz. After taking time to observe how the orbicularis oris works, go back to feeling the line of contact between your lips when your mouth is closed and your muscles are at rest. Now, we want to find out how to get a vibration in our lips from our neutral lip position. Create a buzz, no matter what pitch—preferably middle to low register, but we will take whatever you can create. Whether your lips are at rest or vibrating, your mind stays on feeling the line of contact between the lips. I only use free buzzing to help map out the spread of the lips. In my teaching, I use free buzzing very sparingly
4- Introduce the mouthpiece to your vibrating lips with your new lip spread. While you are buzzing, place the entire thickness of the lower rim of the mouthpiece on the skin part immediately below the red part of your lower lip. Stop buzzing but do not move any of your lip spread while you now gently cover your lips with the rest of the mouthpiece. This is the moment where you take a look at the diameter of your mouthpiece. Does the mouthpiece rest on the skin parts of your top and bottom lip? If you fall short and the upper part of the mouthpiece ends up resting on the red part of your lips, your mouthpiece diameter is too small for your lips. You should look for a greater diameter. Too many students try to squeeze their lips into a mouthpiece with a diameter too small for their lips. When you place the mouthpiece on the lips, imagine that there is a tiny drop of glue on the top part of the rim and a tiny drop of glue on the bottom part of the rim. You will now imagine that the top and bottom parts of the rim will be glued to your skin whenever the mouthpiece is on your lips. The top part is “glued” to the skin right above the red part of your top lip. The bottom part of the rim is “glued” to the skin as it touches the skin right below the red part of your lower lip.
5- Put it all together. With the mouthpiece “glued” to your lips, relax the musculature and stay glued with closed lips. Take a big breath through the nose and now buzz through the mouthpiece. Your musculature will now be interacting with the mouthpiece. The spread inside your mouthpiece remains the same but the orbicularis oris is now ready to engage and move ever closer to the center of your lips than when you were free buzzing. Repeat this a few times and finally add the horn to your mouthpiece and you are all set!
Thank you for reading. I wish you happy experimentation with these ideas.
Denys Derome
McGill Schulich School of Music, Horn Instructor
Orchestre Symphonique de Montréal, Associate Principal Horn
South Asia—Brahms’ Horn Trio in Colombo
by Vidhurinda Samaraweera
Brahms’ Horn trio is very special to me. I have wanted to perform it since I was 14 years old, but I patiently waited for my teacher’s approval to start learning the work. It took a while since it requires a great deal of emotional maturity, understanding, and experience as a performer. The only performance in Sri Lanka prior to mine was allegedly done by the legendary player and pedagogue Alan Civil in the 1950’s or 60’s. I have no evidence in writing to substantiate this claim, and the hearsay evidence of a veteran musician in Sri Lanka remains the only proof. While it was certainly a challenge to follow Mr. Civil, the only consolation for me was that there are not many still living to make comparisons of the latter with the former.
The concert was held at the Goethe-Institut Hall in Colombo on the 23rd of August 2024. I was joined by veteran Sri Lankan violinist, Ananda Dabare, and an accomplished Lithuanian pianist now living in Sri Lanka, Aleksandra Kolpakovaite. The concert was attended by an audience of just over 100, and the venue was fully booked. Considering that it was a chamber setup, and the fact that it is a serious program, the outcome, in my estimation, was very good.
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L to R: Ananda Dabare (Violin), Aleksandra Kolpakovaite (Piano) and Vidhurinda Samaraweera (Horn)
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I did not have the luxury of studying the natural horn (Waldhorn) nor do I own one. As a valve horn player, one of the hardest challenges was emulating the timbre of a Waldhorn when playing the valve horn. Therefore, to achieve a softer tone at a relatively low dynamic, I opted for a more closed hand position in the bell. It was an excellent way to change the color (to what Brahms likely preferred). As we prepared, we worked hard to achieve a good balance.
Key Takeaways
At a time and in a region where classical music concerts often go unnoticed, the program received much praise from those attending. I had the privilege of giving a brief introduction of the piece before the performance which seems to have been appreciated by the audience, although such a thing is generally perceived here as being unconventional.
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Vidhurinda Samaraweera giving the audience a brief introduction about the Trio at the performance
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Some were even brought to tears at the performance. One of the most memorable comments I received from an audience member was that during the intimately written lullaby-like passage in the Scherzo, she locked eyes with her baby and instantly felt loved. She went on to say it was the first time she ever saw or heard a horn being played live. It is my view that we, as a nation, are making slow but steady progress in horn playing, and I am confident that the small steps we are taking will carry us far.
I wish to conclude by quoting an old Sinhalese song (translated) that encapsulates the importance of investing in the future:
Our ancestors planted seeds in the past;
We are enjoying their fruits now.
It is our responsibility to do the same
For the generations yet to come!
Hornscapes CD (1ª Parte)
por Ricardo Matosinhos
Olá a todos os trompistas e entusiastas da trompa que recebem mensalmente a newsletter Horn and More da International Horn Society. Este mês, estou muito feliz por anunciar o lançamento do meu CD. Lançar uma gravação é sempre um momento especial, mas neste caso, torna-se ainda mais especial devido às histórias que estão por trás dela. Para celebrar o lançamento deste CD, vou oferecer 2 CDs às primeiras pessoas que responderem às perguntas publicadas nas edições de setembro, outubro e novembro. Acredito que isto vai ser divertido!
https://www.youtube.com/watch?v=FhI67mbya-I
As peças incluídas nesta gravação nasceram todas da minha investigação de Doutoramento intitulada “Definição e Análise dos Elementos Idiomáticos em Obras Compostas por Trompistas.” Resumidamente, esta investigação teve como objetivo identificar os elementos específicos que tornam uma peça idiomaticamente adequada para a trompa, com foco em obras compostas por trompistas, nativos do idioma trompístico. Esta compilação oferece uma seleção dessas peças, criando paisagens sonoras únicas—ou mais apropriadamente, Hornscapes. A trompa é um instrumento notável, capaz de produzir um som rico e brilhante, ao mesmo tempo que se funde com as cores tonais delicadas dos sopros de madeira. Além disso, este CD inclui duas peças compostas por mim, que apresentam a Tuba Wagneriana em cenários musicais contrastantes. Ao longo destas gravações, encontrará vários géneros e uma multiplicidade de técnicas avançadas. No entanto, é importante notar que estas técnicas não são meramente uma demonstração da destreza técnica do intérprete, mas sim uma demonstração das diversas possibilidades e expressões da trompa.
Estou também a organizar uma campanha de crowdfunding para ajudar a cobrir os custos do lançamento do CD. Se quiser contribuir, pode receber um CD ou até mesmo uma peça composta por mim e dedicada a si. Veja estas informações aqui: https://ppl.pt/pt/horn
Agora é a altura para a primeira pergunta deste jogo. Está pronto?
Hornscapes CD (Part 1)
by Ricardo Matosinhos
Hello to all horn players and horn enthusiasts who receive the Horn and More newsletter from the International Horn Society each month. I’m very happy to announce the release of my CD this month. Releasing a recording is always a special moment, but in this case, it becomes even more special because of the stories behind it. To celebrate the release of this CD, I will be offering 2 CDs to the first people who respond correctly to the questions posted in the September, October, and November editions. This is going to be fun!
The pieces featured on this recording were all born out of my DMA research titled Definition and Analysis of Idiomatic Elements in Works Composed by Horn Players. In a nutshell, this research aimed to identify the specific elements that make a piece idiomatically suited for the horn, focusing on works composed by horn players themselves, those who are native speakers of the hornistic idiom. This compilation offers a selection of such pieces, creating unique soundscapes—or more appropriately, Hornscapes. The horn is a remarkable instrument, capable of producing a rich and brassy sound while also blending with the delicate tonal colors of woodwinds. Additionally, this CD includes two pieces I composed, showcasing the Wagner Tuba in contrasting musical scenarios. In these recordings, you will encounter various genres and a multitude of extended techniques. However, it is important to note that these techniques are not merely a display of the performer’s technical prowess but, rather, demonstrate the diverse possibilities and expressions of the horn.
I am also organizing a crowdfunding campaign to help cover the costs of the CD release. If you would like to contribute, you can receive a CD or even a piece composed by me and dedicated to you. Check out the info here.
Now it’s time for the first question of this game. Are you ready?
Research to Resonance—The Anatomy of Great Feedback
by Katy Carnaggio
Socrates once said, "The greatest way to live with honor in this world is to be what we pretend to be." This quote captures the essence of integrity—aligning your actions with your intentions. In music, as in life, this alignment is achieved through honesty, particularly in the way we assess and refine our skills. Honest feedback [as self-assessment] is the bridge between who we are now and who we aspire to be. It’s the tool that allows us to transform our intentions into real-world actions, living up to the ideal we set for ourselves as musicians.
While “giving feedback” doesn’t typically fit into the flashy category of mental training like meditation, emotional intelligence, or discipline, its results are certainly worth the effort. Quality self-assessment is the difference between, “I’m rushing,” and, “I’m rushing because I’m compressing each second set of sixteenths. I need to play them evenly, about five clicks slower to match the tempo.” This level of detail allows you to know what happened, why it happened, and what you need to do next.
Great Feedback = Great Data + Great Deduction + Great Delivery
Data
Accurate self-assessment is like having a precise map to your goals. To navigate effectively, you need two types of data:
- Knowledge of Performance: Your internal sense of the movement, like the feel of playing the horn.
- Knowledge of Results: External data on how well your actions matched your intentions, such as, “That note was 20 cents flat.”
We’ve all experienced how our feelings can cloud our judgment. So, how can you ensure your observations are reliable while playing? Adams’s Closed-Loop Theory suggests that you perform by comparing ongoing movements to an internal “perceptual trace” developed through practice. This perceptual trace serves as a reference of correctness. By minimizing the difference between current sensations and your internal reference of correctness, you can execute skills accurately without external feedback.
However, your reference is only as accurate as your practice. If you’ve learned a technique differently from how you now wish to perform, your body might signal that a movement is correct simply because it aligns with your perceptual trace, even if external feedback suggests otherwise. To minimize uncertainty, establish accurate references early and often—away from the horn—through physical stretches, breathing exercises, mental rehearsal, or singing along with a reliable recording.
To further ensure that you’re working with great data, augment your internal feedback with external tools. Regularly using a recording device, a metronome, a tuner, or even a decibel meter provides reliable, objective information, helping you avoid the common pitfalls like bias or inconsistent practice environments that might otherwise influence your senses.
Deduction
Improving the content of your self-assessments requires ongoing task deduction—breaking down the complexity of performance into easily comprehensible and precise movements—and working through them in a systematic, logical progression. For instance, Frank Lloyd’s video on multiple tonguing offers a detailed task deduction breakdown that can make even challenging techniques more approachable.
Work on refining your ability to give only the most pertinent info, distilled into succinct and detailed form. Consider your in-the-moment execution, mood, and motivation. Encourage change and reinforce accurate learning with informational feedback focused on descriptions or prescriptions. Encourage energy, direction, and resilience with motivational feedback focused on acknowledging improvements or progress towards your intention. Balancing these two types of feedback creates a holistic approach that supports both technical growth and emotional resilience.
Delivery
The way you deliver feedback is as important as the feedback itself. Sometimes, how you say something can be just as impactful as what you say. Before giving feedback, shift your mindset from an internal focus on execution to external self-coaching. Approach feedback with grace, humor, self-trust, calm, and confidence. This positive approach not only makes feedback more effective but also more enjoyable, fostering self-trust and competence through consistent action.
Feedback is the tool that bridges the gap between who you are and who you aspire to be. It’s the gift that turns good into great and great into exceptional. Ultimately, feedback is the quiet, powerful force that shapes mastery, guiding you forward, one insight at a time.
My Friend George
by Ken Bell
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Ken Bell
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My friend, George McCracken, left us all in early 2024. He left a tremendous legacy of horn design and creation, and a wealth of knowledge about repair, music, and acoustics.
He had several fine apprentices and protégés, one of which, Douglas Hall, has bought George’s business and will carry on the name McCracken Horns from his new shop in San Diego.
This will be a personal reminiscence of my moments with George.
I first met him on a trip to the King factory in Eastlake, Ohio. At the time, he was chief design engineer for brass instruments at King. George had worked with acoustician Arthur Benade to develop the famous “Eroica” bell. This was the late 70s and, on the advice of a fellow classmate from the Eastman School of Music, Brian Drake (retired, Los Angeles Philharmonic), I went to try George’s newly designed “Fidelio” model. He met me at the factory, gave me a tour and a selection of the new horns to try. The horn I settled on was perfect for my needs at the time, and I won my first 2 jobs on this instrument. George was friendly, gregarious and down-to-earth from our first meeting.
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George McCracken
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I met George again a few years later in his horn shop in Barhamsville, Virginia. My wife and I traveled to meet him to put a patch on an old Kruspe that I had acquired. The patch was practical yet elegant. He took plenty of time, showed us some new designs, chatted about his work on historical instruments and Williamsburg, and introduced me to A Prairie Home Companion, Garrison Keillor’s famous radio show.
About 15 years ago, I was reacquainted with George by our mutual friend, Doug Hall, who made twice-yearly trips from San Diego to help George in his new shop in West Point, Virginia. I had started doing instrument repair in Baltimore around this time, so I truly looked forward to my frequent trips to visit and learn. George was extremely knowledgeable, clever, and a quiet genius in my opinion. He loved the art of fine-tuning and improving an instrument. By his own admission, he preferred coming up with new solutions rather than assembly-line production. This explains why there are so many different McCracken horns. (Exceptions are the model 7 and the triple which were made multiple times). No matter how crazy some of them looked, everyone that I have played was superb. He built one of the finest “Geyer” wrap horns that I have ever played—but only one. There was little guess work; he knew what he was doing.
George attempted to help me in person or over the phone with any horn questions I had. I was able to incorporate many of his suggestions, even quick remarks, into my own business. Early on, George explained to me his bell cutting method. I have used his step-by-step advice for years, and never had a bad cut. If George couldn’t get done what he wanted to do, he would spend hours designing and making jigs and tools that would get the job done. A few years ago, I gave him an old King Kruspe model that had seen better days. Just for fun, he completely redesigned the horn with a new convertible leadpipe, cut bell, new trigger geometry, and redesigned third B-flat slide. He loved his work, and he helped me feel the same passion for mine.
Aside from horn making, there was much more to him. George was the choir director for many years at St. John’s Episcopal Church across the street from his home in West Point. He loved vocal music, and like his spouse, was an expert at it. I enjoyed playing at his church occasionally, along with several of his friends from the area. He was kind, thoughtful, and welcoming to visitors (like my wife and me), and devoted to his family members.
Two favorite memories: going to lunch at one of his favorite lunch spots. “Hot tea in a travel cup, please.” All of the waitresses knew and liked him. This is where he would tell stories of his youth in North Carolina…or the time when he was late for his ship in the Navy and ran to the ship, climbed the cargo net, and started playing with the band, the tardiness unnoticed by his superiors.
The last few years, as he slowed down a bit, George would enjoy talking with my wife and me in the shop about all sorts of things, but particularly music. George was a voracious listener of European classical radio broadcasts and streaming orchestral and opera broadcasts. He could share for hours what he discovered. One afternoon when he was too tired to work, we sat as he explained the fundamentals of acoustics for about 2 hours. I felt as if I had just taken an advanced college class, and most of it was over my head.
I will miss the visits and the answers to my horn questions, but mostly the friendly hello from George every time he answered the phone.
Ken Bell is a long-time professional hornist in the Baltimore/Washington D.C. area and has himself been in instrument repair for about 15 years.
IHS 56 Photo Report
by Myrddin Rees Davies
Hello everybody,
Those of you who follow the IHS on social media may have seen that our story was rather busy during IHS 56! For those who couldn’t make it, here’s a collection of photo highlights showing what an IHS Symposium looks like.
It goes without saying that, with so many wonderful events over the course of the five days, there is not nearly enough space to squeeze photos of everything into one report, and I hope nobody feels left out. I have tried to present symposium highlights rather than a documentation of everything that happened.
We would, of course, like to reiterate a huge thank you to the literal hundreds of wonderful guest artists, lecturers, competitors, exhibitors, organisers, and participants who made this such a success.
Day 1
Day 1 of an IHS Symposium is always special, whether you’re an established veteran meeting up with old friends or a “newbie” attending for the first time, it’s a unique feeling to arrive on campus and discover all that’s in store for you over the coming days.
This year, in addition to the usual opening concert, exhibit halls, lectures, and recitals, participants were in for a special treat: the first ever collaboration between the IHS and the International Horn Competition of America saw the finals of the IHCA’s University and Professional divisions.
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Exhibits, panel talks, lectures, performances, competitions…IHS 56 had it all!
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Day 2
Day 1 had set the bar high, but day 2 showed no signs of slowing! The day started with warmups and the Octet Horn Ensemble Competition, and among its many highlights were a performance by the US Airforce Academy Band, the University Horn Quartet and Jazz Competitions, and lectures on everything from the natural horn in fin-de-la siècle Paris to how to best select a mouthpiece.
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The featured artist concert with the US Air Force Academy Band on Day Two
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A panel from the Chromatic Brass Collective discussed their experiences and wonderful work that they do with their group
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Participants immersed in another wonderful lecture
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Day 3
Day 3 started with an important fixture of the annual calendar: the General Meeting. (IHS members, by now, you will have received a link to a video recording of this meeting, report documents, and details of how to get in touch with suggestions and other comments you may have).
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Outgoing President Radegundis Feitosa hosts the general meeting
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Embracing social media is more and more important fopr horn players of today - as Scott Leger explained in his lecture
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Featured artist Radovan Vlatković in recital
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Day 4
Massed horn choirs, the Premier Soloist competition, masterclasses from featured artists, and, of course, several lectures were all features of day 4. Part of the evening was dedicated to recently-departed horn legend Hermann Baumann, with a lecture on his relationship with the natural horn by Anneke Scott before featured artists took to the stage for the Hermann Baumann memorial concert.
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The NUCORNO ensemble performed an arrangement of Holst's The Planets
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IHS Symposiums can be a space for unusual collaborations!
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Participants making the most of the Fort Collins sunshine
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Featured artists in the Hermann Baumann memorial concert
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Day 5
All good things must come to an end, and IHS Symposiums are no exception…but at least they come around once a year. It's a pleasure to share this year’s wonderful group photo, with a very full stage of happy horn players from all over the world.
If you couldn’t make it and looking at these photos is making you feel left out, don’t worry—check out details of IHS 57 below!
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Our wonderful IHS Community!
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