Embouchure
Michel Debost · 2002
Abstract A good, stable, and flexible embouchure position should be the same for all registers. Chin and lip gymnastics are counterproductive, especially under stress. Flute sound is created by the air brush hitting the outside wall of the embouchure hole. Turbulence is created as part of the air brush’s energy is transformed into vibration, which resonates according to the length of the tube. The rest of the air stream escapes out of the embouchure hole. Below the outside rim of that hole is the wall, whose height is critical. Its measurements and the shape of the head-joint tube constitute the art of head-joint making. The material of the chimney, also referred to as the riser, and the undercutting of the lip plate are flute makers’ trade secrets and the object of endless speculation among flutists. A thorough discussion of all embouchure-making matters is beyond the scope of this work. There are some acoustically objective elements, and, to be sure, as many preferences as there are flute players.