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Hey Everyone,

As a player, I have always used what I think is too much pressure. The famous red half-circle is always formed by the end of a practice session, lesson, or rehearsal when I play. Obviously, it generally goes away pretty quickly. Is something to be concerned about or is it just a habit? However, I want to improve on it either way. I know the obvious answer would be "don't use as much pressure!" But I am curious what the fellow Tubenetters thought about any techniques or methods to go about this "problem" from those who have experienced it. Thanks.

Yes. Too much pressure is always a concern. It can bruise your lips. It can deprive your embouchure of blood, and therefore oxygen, and therefore do irreparable harm. Too much pressure is often accompanied by "smiling" to get more high notes or more endurance, which stretches the lips, causing them to thin out rather than set firmly, which increases the risk of permanent damage

Get thee to a good teacher who can help you undo the pressure habit and any other accompanying bad habits that may be tagging along. You may experience quite a bit of frustration from basically having to start over from an embouchure perspective, but in the long run it is definitely worth it.

What he said.

I have had that exact same "ring" since I can remember. I was concerned, just like you, when I realized that none of my other friends had it. I have never felt pain, and THAT is a problem, but I have even seen professionals with the same "ring". I have asked Mr. Jones about it, as I'm sure you have, and it all goes back to Arnold Jacobs:
Even if you do everything wrong, if it sounds good, that's all that matters. From how I heard you at the recording session, I wouldn't worry about it. Still, if you haven't talked to Mr. Jones about it, might be worth bringing up next lesson... especially if it's harming your endurance or high range. Regardless, keep up the good work.

The easy way (HA!) to reduce pressure is to spend a substantial (if not most) of your practice time working on embecure exersises and making a conscious focus not to press, or smile. The suggesting of taking some lesson time with a teacher on it is a good one, it helps to have someone watching what you are doing. The reduction in regular pressure, and less of a 'smiling' embechure has a couple of long term good effects 1) increased endurance, and 2) increased control of the high range. Best of luck, please ignore my haphazard spelling.

Don't think too much about it just play remember you need pressure for a good seal too which is essential to good sound. But remember it's also essential to not press too hard lips cant vibrate freely. So, what quicksilvertuba said.

Quicksilvertuba wrote:...it all goes back to Arnold Jacobs:
Even if you do everything wrong, if it sounds good, that's all that matters.

This is a great quote that I believe is meant to emphasize the importantance of "sounding good." However, I do not believe it's really that simple, especially when it comes to mouthpiece pressure, as serious damage, possibly even irreparable, can be done to the muscles/tissue/nerves in your face if you're not careful and conscious of what's going on.

Let's not forget the interest Arnold Jacobs took in human anatomy and physiology. I believe he was acutely aware of what was happening in his own playing and what role(s) the muscles/tissue/nerves played and how to both sound great and avoid damage.

iiipopes wrote:Too much pressure is always a concern. It can bruise your lips. It can deprive your embouchure of blood, and therefore oxygen, and therefore do irreparable harm.

Yes, some pressure is required to get a good seal, but iiipopes has it right...be smart about what you're doing and don't hurt yourself in the pursuit of "sounding good."

For me the tell tell sign that I'm using to much pressure is when I can't successfully transition between ranges. It kind of feels like my chops get handcuffed. My pressure problems started on Horn when my dystonia kicked in and I was trying to stop/control the quiver in my chops. And it has to some extent shown up in my tuba playing. I am making a concerted effort to play long tones and intervals using the absolute minimum amount of pressure I can. Farkas used to have a little trick to demonstrat playing with no pressure by setting the horn on a chair so that is could easy slide when pressure was applied, and then play a high C. Can't really do that with tuba. But to ensure minimal pressure I've taken to left hand on the bottom bow, right hand finger tips and pressing the valves with the lightest pressure possible while playing long tones and intervals.