Eddie LaShure, one of Asheville, NC’s local jazz jocks, has been writing an ongoing series entitled Western North Carolina Jazz Profiles for Rapid River Magazine. This month he published a write-up about me and my work with the Asheville Jazz Orchestra. If you’re curious, you can check it out here.
Thanks, Eddie!
The brass player’s lower jaw is an important part of a well functioning embouchure. The player’s use (or misuse) of the jaw can drastically alter the embouchure form. As with other brass playing mechanics, the particular way in which any given player uses the jaw will be personal, but there are some generalities that can be discussed.
One area of some controversy is whether the jaw should be protruded or receded while playing. Some teachers instruct students to protrude the jaw slightly (assuming the player has a normal underbite) so that the teeth are more or less aligned, resulting in a horn angle that is close to straight out. Other teachers will recommend keeping the jaw slightly receded, so the lower teeth are a bit behind the upper teeth and the horn angle is slightly tilted down.
One thing I should note here is that many teachers simply allow their students to do whichever seems to work best for them, without worrying about this. While I agree that all players are unique and need to be treated individually, many don’t consider the jaw position any further as something to be understood and refined as it relates to the player’s overall embouchure form and function.
