| dc.description.abstract | This thesis studies the embouchure of a flutist and how changing it affects the tone quality of a player.
The study was made by exploring literature on the topic of flute technique and embouchure, and by
documenting the author’s own journey with embouchure change. Data was collected through video
recordings, photos, and written practice journal. To follow the changes in tone quality three orchestral
excerpts showcasing different aspects were chosen: Ravel’s Bolero for low register, Ravel’s Daphnis
et Chloé for high register, and Rossini’s William Tell Overture for articulation. In this thesis,
information is provided on the functions of a flutist’s embouchure, its specific role in tone production
and its formation as well as a short description of embouchure-related facial muscles. The complete
journey of embouchure change is explained from decision-making and planning to the exercises used.
This thesis aims to show how embouchure and tone are connected, what embouchure change process
looks like, and what improvements it can bring to the player’s sound.
Embouchure is directly and indirectly connected to all other aspects of flute tone production; thus,
developing it can greatly affect the player’s tone quality. In general, students as well as teachers lack
deep knowledge or have conflicting opinions about the embouchure and its formation. This thesis
shows that there is not necessarily one correct way to form or use embouchure on the flute, but being
efficient and having a thorough understanding of what one is doing with it and why, is of great
importance. After working with embouchure and tone exercises only slight changes could be seen on
the appearance of the author’s embouchure. However, the changes in the player’s feeling when using
the embouchure were much more significant and it was visibly clear that the embouchure maneuvers
improved. Developing embouchure had also a positive effect on the tone quality and flexibility of the
embouchure. | en |
