.... cont'd.

The Type IIIB -- The III with the IV pivot

There are probably more IIIBs, especially on trumpet, than any other type.  This is the type with the "sound"...the favorite of the symphonic field...but not without it's "quirks". The IIIB has a tendency to use the upper lip as a "meat hook" as a result of the "pull down" Pivot Classification 2.  They keep the horn angle too low, recede the jaw too much, and put too much weight on the upper lip.  When too many demands are made on the IIIB and not enough long rests are possible AND the embouchure is not developed properly, this type gets so low on the upper lip that the air stream "reverses" and the IVA situation arises (see later).  The upper lip swells so badly in this type by improper weight distribution and improper rest while the embouchure is developing.  The biggest "quirk" in the IIIB is that he/she "falls in love with their sound!"  A fat low and middle register ensues and lack of range results.  Oh, what a sound up to the Eb (on the trumpet) but that is the very top note possible!  A seasoned IIIB, however, who has kept his balance, i.e. during the formative stages of embouchure development he has played the low and middle register with "minimum lip aperture", AND balanced his rest/play ratio, will have none of the pitfalls of this type.

Type IV

Here we have many "quirks".  The head down, often to excess, and dropping the horn level while inhaling and crashing the mouthpiece back on his lips for the next phrase, to name a few.  A very common error that this "Upstream" type makes is not learning to read "between their arms".  With such a high horn angle, and with needing to keep movement to a minimum on such a critical placement, too much distortion occurs in the embouchure formation by "blowing down", or to the side of the music stand.  This even further encourages the unwanted "head down" position.  also, the IV most times has a "jelly fish" grip on the valve casing and approaches the lip in such a loose, wishy-washy manner that without quick reflexes (which go away with age) too many notes would be splattered, especially on initial attacks.  Permit me to note here that for trombone players of the type IV variety, sometimes the lower rim of the mouthpiece may be near or off the chin area!  this presents a problem that only close and detailed measures by a well trained teacher can help offset.

The IVA -- The problem child

Such a delicate placement, that if it is only partially wrong, it's all wrong!!! The jaw is slightly receded below the upper teeth and due to the Pivot classification 2 (ala the IIIB) the "meat hook effect" is to be carefully avoided.  Sometimes this "divided" type gets so low on the upper lip that it is "barely hanging on".  Once again, a lazy, jelly fish grip, plus "arms to the side" are all too familiar a sight with the IVA.

One last note: The "quirks" of the dry lip player.

They invariably "twist or wind up" and tend to "screw the rim" into the lips.  their placement is usually of the slow type, trying to find the "exact" spot.  On a hot summer day, they need a handkerchief to constantly "dry off".  This is essential for all performers to remove oil from the sweat glands, but then re-wet with saliva...a dry lip player does not re-wet and builds up oil and re-dries much more often.  The surface of the lips is more likely to become "raw" and to abrase more easily, thereby causing more lip swelling.  Some dry lip advocates claim that they use less pressure than wet lip players because the mouthpiece doesn't "slip" and wet lip players must "hold" the mouthpiece position with arm weight.  Correctly, a wet embouchure and a proper pucker "grip" is the essential factor, not "stickum" lips.