A good brass player's embouchure requires the harmony of the various parts of the anatomy working together like a machine in the most efficient manner.  These anatomical parts are the lips, the tongue and the facial muscles.  Regarding the lips, once a proper setting of the mouthpiece is achieved and the other elements are working properly, the lips should be left alone to vibrate freely.  Fretting over the appearance of the lips in a mirror or obsessing over the aperture size is counter-productive. 

The proper setting of the mouthpiece on the lips is important.  The literal definition of the French word, embouchure, is "put to mouth."  I include both the position of the mouthpiece and the procedure of placing the mouthpiece in my definition of “the proper setting” of the mouthpiece.  The lips and the mouthpiece must be moistened before the mouthpiece is placed on the lips. After moistening and before the placing of the mouthpiece on the lips, the mouth should be in the most relaxed position possible.  The jaw must be slightly open allowing for a space between the upper and lower front teeth and the lips gently together as in pronouncing "MMM."  The mouthpiece should be placed with at least 1/2 on each lip with a preference towards more on the upper lip but no more than 2/3 on the upper lip.  Breaths should be inhaled through the corners of the mouth without letting the center of the lips separate. During inhalation, the tongue should be moved back slightly to allow quick and silent breaths.  Immediately after the end of inhalation, the tip of the tongue should be placed lightly in the "K Tongue Modified" position mentioned below.

Other than its role in single, double and triple tonguing technique, the tongue seems to be an overlooked factor in establishing and maintaining an efficient embouchure.  In this regard there are two issues that the player should be concerned with, namely, the tongue position and the tongue level.  The issue of the tongue position involves a tonguing technique referred to as "K Tongue Modified" which involves leaving the very tip of the tongue in a floating position behind the lower front teeth (as in pronouncing the letter "K").   The "T" of the single tongue release (or attack) is produced with the front of the tongue (the area of the tongue between the very tip and the center of the tongue).  This is a very subjective matter. In some players this area may seem more forward and in others farther back.  Any attempt to refer to this technique as "anchor tonguing" would be a misnomer, as the tip of the tongue should never be rigidly anchored against the lower front teeth.  See Herbert L. Clarke's text headed "Remarks On Tonguing" in his book Characteristic Studies published by Carl Fischer, Inc.

The issue of the tongue level involves the tongue changing to a specific level or shape for each note.  For the lower notes the levels or shapes feel similar to an "AHH" syllable and for the higher notes the levels or shapes are variations of the "EEE" syllable.  Of course, these syllables vary for each different note - they are not all just "EEE" or "AHH."  If you are wondering why I am including the tongue in a discussion of the embouchure, it is because mastery of the tongue position and tongue level eliminates the need to switch from one embouchure setting to another from low to high range.

My analysis of the advantages of "K Tongue Modified" is as follows.  The tip of the tongue has to be out of the way of the air stream. In the lower registers, our awareness of this is not as easily discernable.  However, as we go higher we will quickly become aware of this truth.  The single tonguing technique of releasing the very tip from behind the upper teeth and upper gums becomes inefficient in the upper range because the very tip of the tongue has to get out of the way as the tongue forms the "EEE" syllable necessary to produce those notes.  "K Tongue Modified" is more efficient because the very tip always stays down; thus, it eliminates an unnecessary movement of the tongue. When mastered, this technique allows more efficient articulation, a more confident range and increased playing accuracy.
 
Assuming that the elements mentioned thus far are working properly, the facial muscles will be enabled to execute their role more efficiently in holding the lips in position to vibrate freely.  Although there are many muscles of the face working together in brass playing, the intersection of these muscles or modiolus, commonly referred to as the "corners," is the major component.  Strengthening the “corners” with routine development and maintenance is crucial.
 
In summation, a good embouchure is an efficient and harmonious playing mechanism composed of the proper setting of the mouthpiece on the lips, proper tongue position, accurate tongue level, and the facial muscles strengthened by routine development.  Of course all of the above must be placed in the context of proper breathing or it is all in vain.  Master the elements that are possible to control and let go of the rest.

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