The Embouchure and Producing the First Sounds
Lesson time: (4min 52sec)
James Rae shows you how to form your embouchure - positioning your lips and teeth around the saxophone mouthpiece - and produce your first notes.
Copyright © 2023 Universal Edition (London) Ltd., All compositions by James Rae except where otherwise indicated.
Free lesson
This lesson is part of the course Saxophone: First Notes
Watch this lesson for free below.
Lesson transcript:
Understanding Embouchure
This brings us to the embouchure.
There is no English word which is the equivalent of embouchure. If there were, it might be something like mouthage. But it refers to the position of your mouth around the mouthpiece, especially in the case of the saxophone.
Proper Mouth Position
Here's how to achieve the correct embouchure:
- Stretch your bottom lip over your bottom teeth very gently (not too firmly).
- Rest your upper teeth on the top of the mouthpiece, slightly over a centimeter from the end.
- Seal off and blow.
Importance of Air Supply
Air is the most important ingredient in any wind instrument, hence the name wind instrument. A good air supply is essential for a good sound.
- Avoid chewing the mouthpiece; otherwise, it will sound unpleasing.
- Don't take in too much air, as that creates a honky sound. We want to aim for a balance.
Positioning the Mouthpiece
When putting the mouthpiece into your mouth:
- Ensure there is about a centimeter of reed beyond your bottom teeth so that your tongue can touch it.
Tonguing Technique
When we use the technique called tonguing (which we'll discuss later), remember: it's about the sound you want.
- It's essential not to blow your cheeks out; adopt a smiling position while blowing.
- Otherwise, aside from looking like a hamster, it will sound unpleasant.
Avoiding Common Mistakes
- If you take too much in, you'll get a honk.
- To avoid that, just make sure you take in just over a centimeter.
- Too little air results in a very stuffy sound.
It's a balance you will find with regular practice.
Throat Position
What goes on in the throat is very important:
- Always maintain a relaxed throat position, as if you're yawning.
- When you yawn, your oral cavity is large; this allows for better resonance.
You should avoid being tense, as that leads to a thin and reedy sound. A yawning position or hot potato in the mouth position works well.
Developing Good Saxophone Sound
Bringing all these elements together results in a nice, smooth saxophone sound. It goes without saying that you have to practice:
- Regular practice develops your lip muscles and breathing muscles.
- Practice is essential because it cannot be crammed.
Think of it like eating food: you eat food every day; you don't eat several Sunday lunches at once and skip the rest of the week. Your body won't function that way, and the same goes for playing an instrument, it's about gradual muscle development.
Final Thoughts
Music ultimately is an art, but to reach an artistic level (like in ballet), you must involve a significant amount of physical activity.
To develop your embouchure muscles, practice long notes.
- When playing long notes, don't just blow and grin; listen to what you're doing and aim to improve.
- Think of it like focusing the lens of a camera, the sound becomes more refined with careful attention.
About the instructor

James Rae was born on Tyneside in 1957. He studied clarinet, bass clarinet, piano and composition at the Guildhall School of Music and Drama from 1975 to 1979, under professors Yona Ettlinger, Stephen Trier, Meriel Jefferson and Patric Standford respectively. Since leaving the Guildhall, he has pursued a highly successful and varied career across three areas: performing, writing and teaching. James Rae has worked in many West End and Royal National Theatre productions, including Sir Peter Hall's award-winning Oresteia with music by Sir Harrison Birtwistle, and has received many freelance engagements with some of the country's leading orchestras and ensembles. He is the leader of the Phoenix Saxophone Quartet, who over the years have given many recitals and BBC broadcasts, and have recorded the complete works of Carey Blyton on two albums, 'The Return of Bulgy Gogo' and 'Sherlock Holmes meets Dr Who'. As a composer, James Rae is one of Europe's most published writers of educational wind music, with over 250 publications to his credit, mainly published by Universal Edition. His music includes instrumental study books, sonatas, tutors, baroque, classical and jazz transcriptions, plus many volumes of duets, many of which feature on all the major wind examination syllabuses worldwide. He has also written four musicals for schools with Mike Cornick, and his larger commissions include The Turn of a Wheel, a major work for concert band that premiered in November 1999 for the North Tyneside Concert Band, of which he was a founder member as a boy, and the overture Moving On in 2012. James Rae has worked extensively as a syllabus consultant and composer for both the Associated Board and Trinity College London, and has been highly involved in developing the woodwind sight-reading requirements for both exam boards. As a teacher, he has held many posts in both the state and independent sectors, and currently works at King's College School Wimbledon, where he directs the Wind Orchestra and Concert Band, and Shrewsbury House School in Surbiton, where he coaches three large bands and a chamber group. That teaching experience runs right through his saxophone series for MusicGurus, which takes you step by step from your very first notes to a confident, stylish player: First Notes, New Keys & Low Notes, Expanding Your Range, Scales & High Notes, Extended Range & Rhythm, and Polish & Style. read more




