The Current State of Brass Embouchure Pedagogy

A topic on Trombone Chat got me thinking about the current state of brass embouchure pedagogy.

As Doug notes in the forum thread, traditional brass pedagogy has been dominated by Arnold Jacobs’s approach. In this approach you actively avoid working on the embouchure. In essence most brass students are taught to breathe well and focus on the end product. You should ignore the embouchure.

And that’s why brass embouchure research is so rare and generally unknown outside of a few. Fortunately I was encouraged to explore this topic for my graduate research. I know graduate students who were actively discouraged from doing any sort of pedagogy research on brass embouchures because it wasn’t appropriate or worth doing.

What does the latest research say about teaching brass embouchures? I just scanned through an academic library searching for “(embouchure) AND (pedagogy)” for publications that have come out in the past 5 years. I found just 6 relevant hits.

The Effect of a Researcher Composed Mouthpiece Buzzing Routine on the Intonation and Tone Quality of Beginning Band Brass Students
Beghtol, Jason. The University of Mississippi, ProQuest Dissertations Publishing, 2017. 10746240.

No mention of embouchure types that I noticed. (The abstract notes, “Results suggest the inclusion of a daily mouthpiece buzzing routine does not have a significant effect on beginning band brass students’ intonation or tone quality.”)

Bardins, Sandis; Marnauza, Mara. Problems in Music Pedagogy; Daugavpils Vol. 13, Iss. 1/2, (2014): 97-110.

This one mentioned embouchure twice. The author’s point in both of those sentences is that breathing is important to a well functioning embouchure.

This leads to creating an unnecessary tension and stress in the body, because the natural inspiratory reflex (so-called Herring-Breuer reflex) is not implemented (White, 2005), and also contributes to the expiratory muscle fatigue and rapid decrease of the physical endurance – general for the body, because the body is not supplied with oxygen, as well as embouchure, which receives a reduced amount of air for creation of a sound and has to compensate it by pressing the mouthpiece against the lips.

This approach to mastering breathing patterns in wind instrument playing has several advantages:

3. a more stable air flow which relieves work of the embouchure, thus increasing its endurance and working limits in ultimate registers.

This article pretty much represents mainstream brass pedagogy. Fix the breathing and embouchure will do fine, no need to learn about how embouchure works.

Approaches to the Horn Embouchure: Historical and Modern
Author: Schons, Anthony
Journal: The Horn call
ISSN: 0046-7928
Date: 02/01/2015 Volume: 45 Issue: 2 Page: 58

I actually can’t find this full text online, so I don’t know what it says about embouchure. It could be relevant and I’m curious because I’d like to see how horn pedagogy has evolved (or not). Horn pedagogy seems to have its own quirks that you don’t see in other brass teaching.

Insights on Dealing with Braces
Whitis, James. School Band & Orchestra; Las Vegas Vol. 17, Iss. 9, (Sep 2014): 36-38,40,42,44,46

This article is not scientific at all and is based on the author’s personal experience both having braces and teaching students with braces. I don’t think the advice in there isn’t bad, per se, but it is very incomplete. I’ve seen a lot in the literature that’s like this, one teacher or player’s anecdotes are described, but rarely subjected to any testing.

Song and Wind 2.0: goal-oriented teaching in the applied studio
Karen Marston
International Trombone Association Journal. 42.1 (Jan. 2014): p32+.

The only reason this came up in my search was because the term “embouchure” was in one of the citations (Fletcher, S. (2008). The effect of focal task-specific embouchure dystonia upon brass musicians: A literature review and case study. Doctoral Dissertation. The University of North Carolina at Greensboro.). Here’s the specific citation.

From this perspective, it has been easier to discuss, disseminate, and perhaps even implement the comparatively clearer assertions of more behaviorist-leaning teachers; therefore, despite enthusiastic support for Jacob’s ideas, the dialogue on teaching within our field often continues to target task-oriented concepts. (Fletcher, 2008; Marston, 2011)

I’ve read both Fletcher’s and Marston’s dissertations (she cites her own dissertation a lot in this article). I think her criticism of “task-oriented concepts” are off base. The criticism that so much of this type of teaching is contradictory is, to me, evidence that a model, such as Donald Reinhardt’s and Doug Elliott’s embouchure type approaches need to be better understood in order to evaluate and compare different pedagogical practices. If you aren’t analyzing things correctly, you’re not going to teach the right task oriented concepts in the first place. Sure, it’s a lot easier to focus on product over process and get an immediate benefit. But if you’re going to truly compare task-oriented versus product oriented pedagogy you should at least learn how to do both right.

And again, I have to make the point that it’s valuable for teachers to understand the process too, even if they minimize their discussion of the mechanics of brass playing with their students. The whole point of Marston’s article is to teach brass technique by emphasizing the end goal, and while acknowledging that there are smaller steps to reach that goal, at no point does she make any mention to what good brass technique is other than to mention breathing.

And Marston’s impressions that task-oriented teaching is dominant today seems off to me. If the 6 papers and articles I found today are representative, Song & Wind is getting more attention.

A pedagogical approach for developing the endurance, technical facility and flexibility necessary to perform Anthony Plog’s Concerto for Solo Trumpet, 14 Brass, and Percussion
Sullivan, Michael. California State University, Long Beach, ProQuest Dissertations Publishing, 2014. 1528052.

This last one is a case study of one student’s preparation for a demanding performance. The embouchure references in here seem to be mainly related to specific exercises the author found particularly helpful in preparing to perform, but an awful lot of those embouchure exercises reference air flow as the key. While I don’t want to minimize the role that good breathing plays for successful brass playing, it does represent mainstream brass pedagogy’s approach that the only thing that is important for embouchure is to have good breathing.

So there you have it, for what it’s worth. Bear in mind that this was a cursory search and there are probably some hidden gems that I didn’t come across. I also intentionally kept the search terms narrow and eliminated hits that weren’t relevant (anything related to woodwind for example and historical papers). Of the 6, three emphasized breathing as the key for embouchure technique. One article was based purely on anecdotes, so the information should be taken with a grain of salt. Only one made any attempt at scientific inquiry and subjecting pedagogical ideas to a test.

Point of clarification update – there are definitely more than these out there, probably a lot more, it was just what happened to be accessible through one college library web site. My interest in using these six was to use it as a snapshot for what current  research happens to be out there on brass embouchure pedagogy. 


Hey Dave i have an issue. Im pretty sure im moving my jaw forward and backwards unintentionally causing me to have a dkwnstream and upstream embouchure. I have a low placement.



I’d have to see what you’re doing. Moving your jaw forward and backwards is a normal part of a functioning embouchure, as long as it doesn’t do that too much. If you are a true “low placement” type then your embouchure should be upstream regardless of your jaw position.


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