The problem of embouchure when playing the flute

My flute has passed level 9, but if you ask me to say the mouth shape, it is really difficult, but I can try to explain: the choice of mouth shape completely depends on The need for tone. Regarding tone of voice, there is the most controversy, so I won’t go into detail here. I think the oral airflow needs to be sufficiently disturbed and mixed in the mouth to form a fluid with a relatively uniform density and state, and then be exhaled from the air door. It is easy to cause drastic differentiation of airflow conditions at the damper. Among them, the place where the pipeline fluid pressure is the highest is near the pipe wall. After the damper is ejected, the pressure at the periphery of the airflow beam suddenly becomes smaller, and the airflow will expand and diverge violently. Moreover, the expanded and diverged airflow at the periphery will further attract the airflow at the center of the airflow beam, which is obviously very disadvantageous.

Relaxing dampers can mitigate this adverse effect. The damper is very loose, and the soft lip flesh will be stretched forward by the impact of the airflow, forming a "lip tube" similar to a tube, and it is a tapered tube. Its tapered structure can reflect the airflow. When the reflected airflow meets the outgoing airflow, it will definitely create a disturbance and mix the original airflow more evenly. It will also greatly reduce the air pressure near the lip tube wall, making the airflow ejected from the damper more uniform and concentrated. This is why we hope to eliminate the bad words. Tightened lips seem to create a perfect oval damper, but that is only the result we see in the mirror. In fact, it is a "lip tube" with two large ends and a narrow middle, like a diabolo toy, or a dumbbell-shaped inner cavity of the "lip tube". This structure is very efficient in diverging airflow, haha .

So how to eliminate mouth tension or how to eliminate mouth tension to the greatest extent? The interaction of the lips must be considered. Control of the lower lip is particularly critical. The upper lip is softer and thinner than the lower lip. The function of the lower lip is to support the sides of the upper lip and close downward. If the lower lip supports the upper lip sufficiently, we can minimize the "mouth tension" that controls the upper lip. To get greater support, just extend your lower lip forward. When the lower lip extends forward and is blocked by the flute, all the conditions for the formation of a good tapered "lip tube" are obtained.

The changes brought about by lower lip protrusion require adjustments to the placement of the flute mouthpiece. I placed the mouthpiece at the midline of my lower lip, with the flute turned slightly inward than when using a flat-mouth choke. However, be careful not to press the lower lip too hard, and ensure that the mouthpiece of the flute has a suitable flow area.

ps: I didn’t write this, it was an article my teacher gave me when I was just starting out so I could read it! But I just held the flute and kept trying to figure out the mouth shape before I could produce the sound! So my personal opinion is to practice more! ! ! !