What's in Embouchure Rehabilitation? Here are a few excerpts.
Chapter 1 In the Beginning
When a player is in top form, it is
difficult for him to imagine that his embouchure could ever be in peril.
Most of us believe that chop problems happen to other players of lesser
talent and experience; after all, great players have perfect technique,
right? Solid playing technique (playing mechanics) not only fuels
great playing, it also protects a player’s lips and face from the normal
physical stresses of playing; however, there is one thing that can
undermine even the best technique and cause playing to become painful
and totally disabled—embouchure overuse.
It begins innocently enough. You’ve
been doing a heavy week of orchestral playing or had a demanding,
all-day cast album recording of your Broadway show. You’ve been
practicing for a very important audition or spending long hours
preparing for the premiere of a concerto. Your lips have felt
great throughout. Your playing has been free and easy—until one day, you
pick up the horn, and nothing feels right. Your lips feel thick
and dead, and your chops seem completely out of shape. You have no
endurance. You struggle to play in the high range, and you have
lost your pinpoint control. So you practice harder, but with each
passing day, playing becomes more and more of a challenge, and the
troublesome problems that now inhabit your playing respond to no amount
of effort to overcome them. A couple of weeks of this decline go
by, and things just keep getting worse and worse. Now you’re in a
real quandary. “I can’t play,” you say to yourself. “How am I
going to get through the next performance?” You finally take a
therapeutic holiday from playing for a week or two or three, but when
you start playing again, nothing has changed. It is just as difficult
as it was when you stopped. Welcome to the world of embouchure
overuse syndrome.
Professional woodwind and brass
instrumentalists can't always choose when and how much they play.
Unfortunately, that pushes a lot of us onto the slippery slope of
overuse. The initial symptoms of overuse are often mistaken
for normal fatigue, and most players simply don't know they are in
trouble until well into it.
The danger overuse poses is how its
lingering symptoms—pain, swelling, and fatigue—can set into motion a
sequence of events that cause an embouchure to malfunction reactively in
playing. I use reactively here intentionally. Embouchure
problems in very accomplished professional wind players aren't just
physical. While most embouchure problems begin with a physical
predicate—when something like overuse, traumatic injury, or a change to
one's equipment or physical setup has altered or compromised the way his
embouchure instinctively functions in playing—what gradually begins to
exert a more powerful influence over a player’s embouchure control and
ultimately becomes the driving factor protracting his embouchure dilemma
is his growing anxiety, frustration, and self-doubt..
Chapter 4
The Glitch
It stands to reason
that a player’s embouchure would not be able to operate normally when he
is faced with persistent, daily chop discomfort and has lost all
confidence in his playing. A player's embouchure gradually becomes more
and more deferential and reactive to the ever-present lip complaints,
weird facial sensations, performance disability, anxiety, and intense
career concerns.
The longer he continues to play in this state,
the more confused and panicked he becomes.
The challenge I have in explaining to very
accomplished, professional brass players why their embouchures no longer
feel or work comfortably is that the malfunction they have developed in
their playing is so subtle, it is almost impossible to see or feel
specifically. It isn’t some sort of inherent "flaw" a player has always
had. It’s just a little reactive, stealthy behavior which evolves out of
something like overuse or injury and is then intensified by anxiety.
This reactive habit destabilizes a player’s embouchure just enough to
undermine playing. It’s why stamina disappears, the high range becomes
such a struggle, and soft attacks in the middle range are next to
impossible to execute cleanly, to mention only a
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