As a ten-year-old beginning saxophonist, I was taught to form an embouchure like this:
- Put your top teeth on the mouthpiece
- Let your lower lip sort of roll or squish over your lower teeth
- Close your mouth
That’s how I played for years. As I advanced and started to practice more, I would sometimes hurt the inside of my lower lip, drawing blood or forming blisters or scar tissue. I considered this a badge of honor: I practiced until I bled.
But I don’t play that way anymore, nor do I teach students that way. I made an important change to my embouchure that lets me play for extended periods pain- and blood-free, while sounding better and having more control.
The problem with the lower-lip-over-the-teeth approach is that it sets the lower lip up to serve as a sacrificial cushion, to protect the reed from the lower teeth. Sure, you can just tell your students to “stop biting,” but if you’re teaching them an embouchure that’s based on biting, then good luck.
It’s more useful to think of the embouchure this way:
- Put your top teeth on the mouthpiece
- Let your jaw hang open a bit, so your lower teeth stay clear of the reed
- Keep your jaw open, and allow your lips to close around the mouthpiece and reed.
This approach makes sure the lips are used to form the embouchure, not the jaw. It improves tone, response, dynamic range, and more, and virtually eliminates lower lip pain.
If you are used to a jaw-formed embouchure concept, you might find that switching to the lip-formed embouchure leaves you feeling like you’ve lost some control of pitch and tone. If so, double-check your breath support; with the jaw out of the way you will need to depend on those support muscles more for stability.
Don’t play through pain—use a better approach.
Thank you. I knew I was doing it wrongly but didn’t know how to correct it. Now I do and will try.
So does this mean you’re putting more lip over?
As a sax player I finally realized that a lip “rolled out” embouchure was preferable to always just assuming my lip should be “over” the lower teeth. This is inherently different from clarinet. There are constant disagreements about this technique..nevertheless. By rolled out I mean that the player places their lip specifically in front of the lower teeth and pushes (generally speaking) toward the mouthpiece rather than simply vertically into the reed when closing the tip opening to begin a note. With this approach the jaw is lowered enough for the teeth to stay clear of the inner surface of the lower lip. This both protects the inner lower lip when your embouchure is tired and when you’re playing high notes and may attempt to support the lip with the teeth, or as the expression goes, “bite”.
In reality your lip is never entirely “in front” of your teeth because all these shapes are approximate and the distances are tiny. But neither is the lip always over the teeth and thus constantly at risk of injury. This also helps with basic “voicing” as the Ahhh throat shape is more inherent. And it demands the air column diaphragm pressure that we generally associate with oboe playing but that actually applies to all reed instruments.