Editing Embouchure (section)

===Flute embouchure===

A variety of [[flute|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 a symmetrical embouchure.

The end-blown [[Xiao (flute)|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",<ref>{{cite book
 | author = Marcel Moyse 
 | title = De la Sonorité 
 | publisher= A. Leduc 
 | year = 1934 
|author-link = Marcel Moyse}}</ref> will produce a beautiful sound and a correct intonation. The embouchure is produced with the muscles around the lips: principally the [[orbicularis oris muscle]] and the [[Depressor anguli oris muscle|depressor anguli oris]], whilst avoiding activation of [[Zygomaticus major muscle|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 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 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.