21. Most double reeds require a similar embouchure . 22. It is limited to notes within the harmonic series because the embouchure controls the pitch. 23. Other research notes that virtually all brass performers rely upon the upward and downward embouchure motion. 24. Mastering tuning is achieved by fingering and subtle changes in air pressure and in the embouchure . 25. Of particular note is Reginald Kell who was known for using a " double embouchure ". 26. Allard taught that the embouchure must conform to the mouthpiece and the mouthpiece is not round. 27. Adjustments in the strength and shape of the embouchure change the tone and intonation ( tuning ). 28. An important technique in performance is bending : causing a drop in pitch by making embouchure adjustments. 29. Claude Gordon made use of pedal tones for embouchure development as did Maggio and Herbert L . Clarke. 30. Some further adjustments to the embouchure are necessary when moving from the transverse orchestral flute to the piccolo.
