We appreciate the kind words! <3

You’re actually making a big assumption here that he moves his jaw in the way you suggested while descending. In fact, I propose that he suggests keeping the jaw and embouchure corners steady while descending, while allowing for the mouthpiece to slide downward (loosely toward the chin) as much as is necessary to maintain the centered sound obtained in the middle register. More than 50% of low brass players actually have embouchures that should function best in this way (IIIA, VHP embouchure type). Most of the remaining players will notice more of a jaw movement & angle change while descending (often described as aiming the airstream straight out, rather than down), while potentially making a small adjustment of the mouthpiece sliding upward (IIIB, MHP embouchure type). And a minority of low brass players (upstreamers, who place the mouthpiece with ~10-40% upper lip and ~90-60% lower lip) have the exact opposite motion as Christopher, moving the mouthpiece upward toward the nose to descend, with varying amounts of jaw movements, based on the player (IV, low placement embouchure type). Those are the 3 general embouchure archetypes exhibited by successful players, but there are as many unique variations of these as there are players! For more info, those interested can check out my doctoral dissertations on this topic, linked below. It also explores/suggests which trombone pedagogical texts are best suited for players of each of these basic “embouchure types.” scholar.colorado.edu/concern/graduate_thesis_or_dissertations/0k225b98z

????? Not sure I understand that they put it in a different key. I, the composer, did that.

Couldn’t agree more!

Real

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