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of the mouth and not from a clamping together of the upper and lower lips. Keep the lower jaw and chin down I The diaphragm is very important in this high register. The lip opening is of such smallsize and the tension of the lips so strong that there is considerably more resistance to the air-stream than is found in the middle register. Therefore, in ascending to the highest notes, one hasalmost to make a crescendo with the air in order to avoid making a diminuendo in sound. This is accomplished by steadily increasing the pressure underneath the diaphragm. At this time, good use can also bemade of the definite striving to allow the air to escape through the lips with very little impedance. Finally, but very important to the success of obtaining high notes easily, there is the knack oflipping the notes up or down with almost a 'flick"of the lip. True, we tense the lips more and more as we go higher, but after a certain point, when the extreme of "comfortable"

tension has beenreached, more tension would only make the lips "wooden" and vibrationless. At this point we further tension only the tiny vibrating edges of the lips which a re inside the mouthpiece. This effect can befelt in the lips and yet the change from note to note can hardly be observed from the outside as the lip change takes place entirely inside the mouthpiece. The feeling can best be described as a"flick" of the lip from note to note: a "mouthing" such as a goldfish makes; a "mouthing" similar to saying a series of the letter 'P', P-P-P-P-P, however, without ever closing the lips entirely. Theresult, when properly done, produces a slur from note to note which jumps into place so easily that there is almost no effort connected with it, even though the jump might be from a high written "G" tothe high "C" above it. Here is a lip exercise to help develop this faculty. Make the notes "jump" lightly into place with a flick of the lip - do not "pull" up from note to note by a laborious, slow...
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