| 21. | Most double reeds require a similar embouchure.
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| 22. | It is limited to notes within the harmonic series because the embouchure controls the pitch.
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| 23. | Other research notes that virtually all brass performers rely upon the upward and downward embouchure motion.
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| 24. | Mastering tuning is achieved by fingering and subtle changes in air pressure and in the embouchure.
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| 25. | Of particular note is Reginald Kell who was known for using a " double embouchure ".
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| 26. | Allard taught that the embouchure must conform to the mouthpiece and the mouthpiece is not round.
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| 27. | Adjustments in the strength and shape of the embouchure change the tone and intonation ( tuning ).
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| 28. | An important technique in performance is bending : causing a drop in pitch by making embouchure adjustments.
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| 29. | Claude Gordon made use of pedal tones for embouchure development as did Maggio and Herbert L . Clarke.
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| 30. | Some further adjustments to the embouchure are necessary when moving from the transverse orchestral flute to the piccolo.
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