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62-402: The bugle is a simple signaling brass instrument with a wide conical bore . It normally has no valves or other pitch-altering devices, and is thus limited to its natural harmonic notes, and pitch is controlled entirely by varying the air and embouchure . The English word bugle comes from a combination of words. From French, it reaches back to cor buglèr and bugleret , indicating

124-503: A band. Embouchure Embouchure ( English: / ˈ ɒ m b u ˌ ʃ ʊər / ) or lipping is the use of the lips, facial muscles, tongue, and teeth in playing a wind instrument . This includes shaping the lips to the mouthpiece of a woodwind instrument or the mouthpiece of a brass instrument . The word is of French origin and is related to the root bouche , 'mouth'. Proper embouchure allows instrumentalists to play their instrument at its full range with

186-501: A bigger, more open sound. The forward tongue resists the pressure of the mouthpiece, controls the flow of air for lower and higher notes, and protects the lips and teeth from damage or injury from mouthpiece pressure. Because of the importance of the tongue in this method many refer to this as a "tongue-controlled embouchure". This technique facilitates the use of a smaller mouthpiece and larger bore instruments. It results in improved intonation and stronger harmonically related partials across

248-481: A bugle today, as it lacked keys or valves, but had a more gradual taper and a smaller bell, producing a sound more easily audible at close range but with less carrying power over distance. The earliest bugles were shaped in a coil – typically a double coil, but also a single or triple coil – similar to the modern horn , and were used to communicate during hunts and as announcing-instruments for coaches (somewhat akin to today's automobile horn). Predecessors and relatives of

310-434: A combination called a puckered smile. Farkas told people to blow as if they were trying to cool soup. Raphael Mendez advised saying the letter "M". The skin under the lower lip will be taut with no air pocket. The lips do not overlap nor do they roll in or out. The corners of the mouth are held firmly in place. To play with an extended range one should use a pivot, tongue arch and lip to lip compression. According to Farkas

372-502: A distance was often a very good way to pass messages, especially in difficult terrain such as the mountains (e.g. Alpine horn , equivalents are still used in parts of the Himalaya ) or sparsely populated plains or forests (the tam-tam type of drums as with American Indians and jungle drums), sometimes using rather elaborate code systems to pass even complex information. Another ancient function, which has survived into modern urban life

434-458: A full, clear tone and without strain or damage to their muscles. While performing on a brass instrument, the sound is produced by the player buzzing their lips into a mouthpiece. Pitches are changed in part through altering the amount of muscular contraction in the lip formation. The performer's use of the air, tightening of cheek and jaw muscles, as well as tongue manipulation can affect how the embouchure works. Maintaining an effective embouchure

496-416: A gap of 1 ⁄ 3 inch (8 mm) or so between the teeth so that the air flows freely. Arban and Saint-Jacome were both cornet soloists and authors of well respected and still used method books. Arban stated undogmatically that he believed the mouthpiece should be placed 1 ⁄ 3 on the top lip. Saint-Jacome to the contrary said dogmatically that the mouthpiece should be placed "two-thirds for

558-446: A seal due to the angle at which the mouthpiece rests in the mouth. With the saxophone embouchure , the lower lip rests against, but not over, the teeth as in pronouncing the letter "V" and the corners of the lip are drawn in (similar to a drawstring bag). With the less common double-lip embouchure, the top lip is placed under (around) the top teeth, an alternative embouchure sometimes recommended by dentists for single-reed players for whom

620-716: A sign of peace in the case of a surrender. In most military units, the bugle can be fitted with a small banner or tabard (occasionally gold fringed) with the arms of its reporting service branch or unit. In military tradition, the Last Post or Taps is the bugle call that signifies the end of the day's activities. It is also sounded at military funerals to indicate that the soldier has gone to his final rest and at commemorative services such as Anzac Day in Australia and New Zealand and Remembrance Day in Canada The cornet

682-547: A signaling horn made from a small cow's horn. Going back further, it touches on Latin, buculus, meaning bullock. Old English also influences the modern word with bugle , meaning "wild ox." The name indicates an animal's (cow's) horn, which was the way horns were made in Europe after the fall of the Western Roman Empire. The modern bugle is made from metal tubing, and that technology has roots which date back to

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744-411: A sound an octave (or harmonic twelfth for the clarinet) above the intended note. If the mouthpiece is not placed far enough into the mouth, no sound will be generated, as the reed will not vibrate. The standard embouchures for single reed woodwinds like the clarinet and saxophone are variants of the single lip embouchure , formed by resting the reed upon the bottom lip, which rests on the teeth and

806-402: A sound. A puckered embouchure, used by most players, and sometimes used by jazz players for extremely high "screamer" notes. Maggio claimed that the pucker embouchure gives more endurance than some systems. Carlton MacBeth is the main proponent of the pucker embouchure. The Maggio system was established because Louis Maggio had sustained an injury which prevented him from playing. In this system

868-413: A symmetrical embouchure. The end-blown xiao , kaval , shakuhachi and hocchiku flutes demand especially difficult embouchures, sometimes requiring many lessons before any sound can be produced. The embouchure is an important element to tone production. The right embouchure, developed with "time, patience, and intelligent work", will produce a beautiful sound and a correct intonation. The embouchure

930-531: A valley to the other. For a musical instrument to be used as a message-sending device, it needs to have a certain sound quality and volume that can be heard over a long distance. Especially in Melanesia and in Africa drums are used for that purpose. In Melanesia, besides the drum, conch shell play a similar role, but to a lesser extent. Before the introduction of modern technological communication, signaling over

992-432: Is an essential skill for any brass instrumentalist, but its personal and particular characteristics mean that different pedagogues and researchers have advocated differing, even contradictory, advice on what proper embouchure is and how it should be taught. One point on which there is some agreement is that proper embouchure is not one-size-fits-all: individual differences in dental structure, lip shape and size, jaw shape and

1054-410: Is produced with the muscles around the lips: principally the orbicularis oris muscle and the depressor anguli oris , whilst avoiding activation of zygomaticus major , which will produce a smile, flattening the top lip against the maxillary (upper jaw) teeth. Beginner flute-players tend to suffer fatigue in these muscles, and notably struggle to use the depressor muscle, which necessarily helps to keep

1116-487: Is sometimes erroneously considered a valved bugle, but the cornet was derived from more narrow-bored instruments, the French cornet de poste ( lit.   ' post horn ' ) and cor de chasse ( lit.   ' hunting horn ' ). Keyed bugles ( German : Klappenhorn ) were invented in the early 19th century. In England, a patent for one design was taken out by Joseph Halliday in 1811 and became known as

1178-423: Is supported by the chin muscles and the buccinator muscles on the sides of the mouth. The top teeth rest on top of the mouthpiece. The manner in which the lower lip rests against the teeth differs between clarinet and saxophone embouchures. In clarinet playing, the lower lip is rolled over the teeth and corners of the mouth are drawn back, which has the effect of drawing the upper lip around the mouthpiece to create

1240-458: Is the most effective approach for all brass performers. Advocates of Callet's approach believe that this method was recommended and taught by the great brass instructors of the early 20th century. Two French trumpet technique books, authored by Jean-Baptiste Arban and Saint-Jacome, were translated into English for use by American players. According to some, due to a misunderstanding arising from differences in pronunciation between French and English,

1302-485: Is to assemble or warn a whole population or congregation at large, usually not coded or just for a few common cases, as with a conch or bells in a church or belfry: a variation for more local use is the gong . Many types, especially the older ones, have also survived for ceremonial use, as in religion (often conservative in its forms) or gong ceremony . While the types mentioned above are mainly used from one spot, signal instruments may also be useful to communicate on

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1364-515: Is used mainly in the military, where the bugle call is used to indicate the daily routines of camp. Historically, the bugle was used in the cavalry to relay instructions from officers to soldiers during battle. They were used to assemble the leaders and to give marching orders to the camps. The bugle is also used in Boy Scout troops and in the Boys' Brigade . The Rifles , an infantry regiment in

1426-639: The British Army , has retained the bugle for ceremonial and symbolic purposes, as did other rifle regiments before it. When originally formed in 1800, the Rifle Corps were the first dedicated light infantry unit in the British Army and were allowed a number of unique accouterments that were believed to be better suited for skirmishing, such as their green jackets. Other infantry used drums when marching and had whistles to signal when skirmishing, but

1488-626: The Kent bugle . This bugle established itself in military band music in Britain and America, and its popularity is indicated by the existence of many published method books and arrangements. It was in wide use until about 1850 by which time it had been largely replaced by the cornet. Richard Willis, appointed the first bandmaster of the United States Military Academy 's West Point Band in 1817, wrote and performed many works for

1550-618: The nafir and karnay , and during the Reconquista and Crusades , Europeans began to build them again, having seen these instruments in their wars. The first made were the añafil in Spain and buisine in France and elsewhere. Then Europeans took a step that hadn't been part of trumpet making since the Roman ( buccina and cornu ); they figured out how to bend tubes without ruining them and by

1612-400: The 1400s were experimenting with new instruments. Whole lines of brass instruments were created, including initially examples like the clarion and the natural trumpet. These were bent-tube variations that shrunk the long tubes into a manageable size and controlled the way the instruments sounded. One of the variations was to create "sickle shaped" horn or "hunting horns" in the 15th century. By

1674-539: The 18th century, Germans had created a "half moon" shaped horn called the halbmondbläser , used by Jäger battalions. During the last quarter of the 18th century, or by 1800, the half-moon horn was bent further into a loop, possibly first by William Shaw (or his workshop) of London. The instrument was used militarily at that point as the "bugle horn." In 1758, the Halbmondbläser (half-moon) was used by light infantry from Hanover , and continued until after 1813. It

1736-578: The Greeks ( salpinx ) and Romans ( Roman tuba ), and further back to the Etruscans, Assyrians and Egyptians ( King Tut's Trumpet ). After the fall of Rome, when much of Europe was separated from the remaining Eastern Roman Empire, the straight, tubular sheet-metal trumpet disappeared and curved horns were Europe's trumpet. The sheet-metal tubular trumpet persisted in the Middle East and Central Asia as

1798-514: The Persians used kettle drums both to control cavalry formation and frighten their enemies. [In Europe,] The snare drum was the standard battlefield infantry communications device from the 1700s until well into the 1860s...Trumpets, horns, and drums were used in ancient Greek and Roman armies and navies...By the reign of Alexander the Great (336-323 BCE), trumpets and fifes ...were used to control

1860-487: The Rifle Corps was a much larger body of men that would be expected to spread out over a large area under a single commander. As a result, the bugle was taken from cavalry traditions because signals could pass much further without the need for repeats. The buglers in each battalion are headed by the bugle major, a senior non-commissioned officer holding the rank of sergeant or above. The bugle has also been used as

1922-537: The Roman Empire, as well as to the Middle East during the Crusades, where Europeans re-discovered metal-tubed trumpets and brought them home. Historically, horns were curved trumpets, conical, often made from ox or other animal horns, from shells, from hollowed ivory such as the olifant . There existed another tradition of trumpets made of straight metal tubes of brass or silver that went back in Europe as far as

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1984-468: The air downwards to varying degrees while playing. Performers who place the mouthpiece lower, so that more lower lip is inside the mouthpiece, will direct the air to varying degrees in an upward manner. In order for the performer to be successful, the air stream direction and mouthpiece placement need to be personalized based on individual anatomical differences. Lloyd Leno confirmed the existence of both upstream and downstream embouchures. More controversial

2046-521: The air moves past the lips. In this text, Farkas also recommends that the lower jaw be protruded so that the upper and lower teeth are aligned. In 1970, Farkas published a second text which contradicted his earlier writing. Out of 40 subjects, Farkas showed that 39 subjects directed the air downward to varying degrees and one subject directed the air in an upward direction at various degrees. The lower jaw position seen in these photographs shows more variation from his earlier text as well. This supports what

2108-472: The bugle included the post horn , the Pless horn (sometimes called the "Prince Pless horn"), the bugle horn, and the shofar , among others. The ancient Roman army used the buccina . Pitch control is done by varying the player's air and embouchure . Consequently, the bugle is limited to notes within the harmonic series . Scores for standard bugle calls use the five notes of the "bugle scale". The bugle

2170-454: The commonly used brass embouchure in Europe was incorrectly interpreted. Callet attributes this difference in embouchure technique as the reason the great players of the past were able to play at the level of technical virtuosity which they did, although the increased difficulty of contemporary compositions for brass seem to indicate that the level of brass technique achieved by today's performers equals or even exceeds that of most performers from

2232-423: The concepts of these teachers. Claude Gordon made use of pedal tones for embouchure development as did Maggio and Herbert L. Clarke. All three stressed that the mouthpiece should be placed higher on the top lip for a more free vibration of the lips. This embouchure method, advocated by a minority of brass pedagogues such as Jerome Callet, has not yet been sufficiently researched to support the claims that this system

2294-410: The degree of jaw malocclusion, and other anatomical factors will affect whether a particular embouchure technique will be effective or not. In 1962, Philip Farkas hypothesized that the air stream traveling through the lip aperture should be directed straight down the shank of the mouthpiece. He believed that it would be illogical to "violently deflect" the air stream downward at the point of where

2356-528: The embouchure to develop naturally on its own. Other instructors, such as Carmine Caruso, believed that the brass player's embouchure could best be developed through coordination exercises and drills that bring all the muscles into balance that focus the student's attention on his or her time perception. Still other authors who have differing approaches to embouchure development include Louis Maggio , Jeff Smiley , Jerome Callet and Clint McLaughlin . Most professional performers, as well as instructors, use

2418-449: The horn should be held in a downward angle to allow the air stream to go straight into the mouthpiece, although his later text shows that air stream direction actually is either upstream or downstream and is dependent upon the ratio of upper or lower lip inside the mouthpiece, not the horn angle. Farkas advised to moisten the outside of the lips, then form the embouchure and gently place the mouthpiece on it. He also recommended there must be

2480-426: The keyed bugle. Since the mid 19th century, bugles have been made with piston valves. Signal instrument The oldest musical signaling instrument is the drum. Signal drums are still used in parts of Africa, although more as a kind of newspaper than military device...The African [slit] drum does not communicate by rhythm or beat , but rather by tone [relative pitch and/or timbre ]...As early as 500 BCE,

2542-404: The late 19th and early 20th centuries. Callet's method of brass embouchure consists of the tongue remaining forward and through the teeth at all times. The corners of the mouth always remain relaxed, and only a small amount of air is used. The top and bottom lips curl inward and grip the forward tongue. The tongue will force the teeth, and subsequently the throat, wide open, supposedly resulting in

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2604-488: The lips (vertical forces) and shear pressure (horizontal forces) functioned in three test groups, student trombonists, professional trombonists, and professional symphonic trombonists. Froelich noted that the symphonic trombonists used the least amount of both direct and shear forces and recommends this model be followed. Other research notes that virtually all brass performers rely upon the upward and downward embouchure motion. Other authors and pedagogues remain skeptical about

2666-434: The lips. The embouchure is therefore based on sealing the area around the reed and mouthpiece. This serves to prevent air from escaping while simultaneously supporting the reed, allowing it to vibrate, and constrict the reed preventing it from vibrating too much. With woodwinds, it is important to ensure that the mouthpiece is not placed too far into the mouth, which would result in too much vibration (no control), often creating

2728-561: The mouthpiece should have 2 ⁄ 3 upper lip and 1 ⁄ 3 lower lip (French horn), 2 ⁄ 3 lower lip and 1 ⁄ 3 upper lip (trumpet and cornet), and more latitude for lower brass (trombone, baritone, and tuba). For trumpet, some also advocate 1 ⁄ 2 upper lip and 1 ⁄ 2 lower lip. Farkas claimed placement was more important for the instruments with smaller mouthpieces. The lips should not overlap each other, nor should they roll in or out. The mouth corners should be held firm. Farkas speculated that

2790-436: The move, when many alternatives were less practical. Naturally then instruments are preferred which are not too delicate to be moved, and often not too heavy (except when the musician is mounted or in a vehicle) to transport, or even better be played during march or even chase. Thus hunters traditionally use a hunting-horn to communicate, while drums (often just improvised 'percussion') were rather by drivers while shouting. When

2852-408: The near side of the embouchure hole slightly higher on the lower lip, i.e. above the lip margin, and greater muscle tone from the lip muscles is needed to keep the stream/pressure of air directed across the smaller embouchure hole, particularly when playing in higher piccolo registers. With the woodwinds, aside from the flute , piccolo , and recorder , the sound is generated by a reed and not with

2914-408: The necessity of this motion, but scientific evidence supporting this view has not been sufficiently developed at this time. Some noted brass pedagogues prefer to instruct the use of the embouchure from a less analytical point of view. Arnold Jacobs , a tubist and well-regarded brass teacher, believed that it was best for the student to focus on his or her use of the air and musical expression to allow

2976-412: The nose or pull them down together slightly towards the chin, and use the opposite motion to descend in pitch. Whether the player uses one general pivot direction or the other, and the degree to which the motion is performed, depends on the performer's anatomical features and stage of development. The placement of the mouthpiece upon the lips doesn't change, but rather the relationship of the rim and lips to

3038-462: The phalanx of his army. Perhaps the earliest recorded use of specific signals via musical tones were...used by Genghis Khan's Mongol cavalry in the late twelfth and early thirteenth centuries...Trumpets (most often modified into a more compact bugle) are undoubtedly the longest-used military musical signal instrument. People on various occasions and in various places have developed sound signals in order to avoid having to send messengers from one side of

3100-407: The player cushions the lips by extending them or puckering (like a monkey). This puckering enables the players to overcome physical malformations. It also lets the player play for an extended time in the upper register. The pucker can make it easy to use to open an aperture. Much very soft practice can help overcome this. Claude Gordon was a student of Louis Maggio and Herbert L. Clarke and systematized

3162-475: The player's range. A variety of transverse flute embouchures are employed by professional flautists, though the most natural form is perfectly symmetrical, the corners of the mouth relaxed (i.e. not smiling), the lower lip placed along and at a short distance from the embouchure hole. It must be stressed, however, that achieving a symmetrical, or perfectly centred blowing hole ought not to be an end in itself. Indeed, French flautist Marcel Moyse did not play with

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3224-705: The same sensation as spitting seeds, but maintaining a continued flow of air. This technique assists the development of the Farkas approach by preventing the player from using an aperture that is too open. Stevens–Costello embouchure has its origins in the William Costello embouchure and was further developed by Roy Stevens . It uses a slight rolling in of both lips and touching evenly all the way across. It also uses mouthpiece placement of about 40–50% top lip and 50–60% lower lip. The teeth will be about 1 ⁄ 4 to 1 ⁄ 2 inch (6 to 13 mm) apart and

3286-431: The single-lip approach is potentially harmful. In both instances, the position of the tongue in the mouth plays a vital role in focusing and accelerating the air stream blown by the player. This results in a more mature and full sound, rich in overtones . The double reed woodwinds, the oboe and bassoon , have no mouthpiece. Instead the reed is two pieces of cane extending from a metal tube (oboe – staple) or placed on

3348-515: The social elite practiced hunting as a prestigious outdoors social activity, music was often present at any stage, e.g. the court of Versailles had composers such as the Danican family and Philidor write special symphonies for a court orchestra to accompany the royal hunt party, prominently featuring percussion and winds but also including non-signal instruments, even strings. In the (para)military and similar, mainly uniformed, corps such as police,

3410-407: The teeth are parallel or the jaw slightly forward. There is relative mouthpiece pressure to the given air column. One exercise to practice the proper weight to air relationship is the palm exercise where the player holds the horn by laying it on its side in the palm of the hand, not grasping it. The lips are placed on the mouthpiece and the player blows utilizing the weight of the horn in establishing

3472-465: The teeth. While the angle of the instrument may change as this motion follows the shape of the teeth and placement of the jaw, contrary to what many brass performers and teachers believe, the angle of the instrument does not actually constitute the motion Reinhardt advised as a pivot. Later research supports Reinhardt's claim that this motion exists and might be advisable for brass performers to adopt. John Froelich describes how mouthpiece pressure towards

3534-419: The top lip directing the flow of air across the embouchure hole. These muscles have to be properly warmed up and exercised before practicing. Tone-development exercises including long notes and harmonics must be done as part of the warm up daily. Some further adjustments to the embouchure are necessary when moving from the transverse orchestral flute to the piccolo. With the piccolo, it becomes necessary to place

3596-478: The tradition of march music stems from the use of signal instruments, mainly metal winds (as the modern bugle and clarion ), originally (and still) to pass standardized orders (often at a small tactical level), while percussion and flutes served mainly to march on the beat; especially when a larger force is gathered with ceremony (just drums often do, as in ruffles and flourishes or accompanying formal administration of corporal punishment), both can be combined into

3658-420: The upper and the rest for the under according to all professors and one-third for the upper and two-thirds for the under according to one sole individual, whom I shall not name." The Farkas set is the basis of most lip buzzing embouchures. Mendez did teach lip buzzing by making the student lip buzz for a month before they could play their trumpet and got great results. One can initiate this type of buzz by using

3720-407: Was Reinhardt's description and recommendations regarding a phenomenon he termed a "pivot". According to Reinhardt, a successful brass embouchure depends on a motion wherein the performer moves both the mouthpiece and lips as a single unit along the teeth in an upward and downward direction. As the performer ascends in pitch, he or she will either move the lips and mouthpiece together slightly up towards

3782-484: Was crescent-shaped (hence its name) and comfortably carried by a shoulder strap attached at the mouthpiece and bell. It first spread to England where as the "bugle horn" it was gradually accepted by the light dragoons (1764), the Grenadier Guards (1772), light artillery (1788) and light infantry. 18th-century cavalry did not normally use a standard bugle, but rather an early trumpet that might be mistaken for

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3844-425: Was written by trombonist and brass pedagogue Donald S. Reinhardt in 1942. In 1972, Reinhardt described and labeled different embouchure patterns according to such characteristics as mouthpiece placement and the general direction of the air stream as it travels past the lips. According to this later text, players who place the mouthpiece higher on the lips, so that more upper lip is inside the mouthpiece, will direct

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