Don Whitener, in responding to Steve Shaw's description of his "open" embouchure, wrote:
...I suspect what you are describing is some form of Lip Blocking as defined there. This embouchure has been discussed at length (as of several years ago), but I don't know how recently. Maybe one of the regulars from back then can hop in.
Steve, I've gotta agree with Don. If you really encompass 3-4 holes with
your embouchure, yet play a single note, that points right at the lip block
embouchure. You might try to analyze just what those magical lips are doing
for you. There are further benefits to the lip block embouchure than it
sounds like you are extracting at this point. 8^)
I guess I don't go back so far as that lip blocking discussion Don mentions.
I do, however use lip blocking to good effect, though I know there is more
to the embouchure than I can do with it. I like to use it in bluegrass for
example, where I play a single note following the melody ~on~ the beat,
alternated with a stacatto chord, mandolin style, on the off-beat. I open
the single note embouchure slightly around or underneath the target (melody)
note to encompass 3-4 notes. I've gotten to where I can hit any of the
three-4 notes as the target note by opening the part of my lip block that
covers the desired hole. This technique sounds almost like two different
instruments, synergistically combining the sound of the individual
techniques played alone (vis., single note melody and off-beat chordal
"chop"). I do think that my tongue-blocked tone is better, but there are
things I do with lip block that I can't do with tongue block, like applying
various lingual articulations while playing the chords/notes, etc.
I know there are other ways to use lip block. A good lip blocker can
achieve effects normally associated with the tongue block embouchure. For
example, one can simulate the sound of a tongue slap or lift, and even
splits are possible. The resulting notes and chords can be hit with
surprising percussiveness, too. Not that I recommend lip blocking for these
effects, but some players who just cannot seem to tongue block might find
lip blocking fertile territory as a substitute. I'll also reinforce what I
said above: the technique has other uses as well, so it's just another
useful embouchure to add to your repertoire.
I join with Don in looking forward to further discussion of lip blocking by
those who know more about it than I do (and that's nearly anyone). Tom Ball
(who I know is an accomplished lip blocker)? Winslow (who I know is
accomplished at all things harmonica)? Maybe there are some surprise
"closeted" lip blockers out there?
Michelle
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