I also made sure that my throat was very wide, and that the air was “hot” and steady. I found that the Pedal C began to play softly when I backed off the mouthpiece weight, made sure it favored the bottom lip, and sealed at the sides of the mouthpiece by using the scissor action (described in an earlier post, ““). ![]() During that process I noticed that the urge to let go of the form and erupt the lips was related to (and often provoked by) poor mouthpiece weight distribution (with too much on the center of the top lip, inhibiting its vibration), and the lack of mouthpiece seal at the corners, which left the lips too far apart to produce any sound without having to resort to sloppy technique. I began to experiment with trying to play a pedal C with the same strict form I aspire to use throughout the rest of the range of the instrumentno compromises, avoiding actions like lip eruption, tilting head down, putting more mouthpiece pressure on the top lip, opening and/or receding the lower jaw, etc. Those induced tones are not easy to play, especially in good form, and rarely sound good. ![]() Besides, those fundamental tones are not the same as the induced notes, the pitches between (but not including) the low F# below the staff and the Pedal C (see the example below), which are not reinforced by an overtone series above.
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