Doc Reinhardt:
I studied with Lin Biviano at Berklee, where I exclusively focused on the Reinhardt method. If you would like me to “type” you, please get in touch with me for more information.
Common Reinhardt Embouchure Types:
The most popular and most common embouchure types classified by Doc are:
III A & B
IV & IVA
What do these mean?
First off, I will outline the most common and what Doc described as the “workhorse” embouchure IIIB. It is lower than IIIA, but most of the mouthpiece is still on the upper lip (more than 50%). This embouchure has good endurance and recovery and is the most common among trumpet players.
Secondly, IIIA is the highest of the three III-type emouchures and has more than 50% of the top lip in the mouthpiece. It’s usually 2/3’s upper lip, 1/3 lower lip. Many times more. This embouchure type has a very rich and beautiful sound and usually doesn’t like to play on shallow mouthpiece cups due to the large amount of lip protrusion.
Lastly, the IV type embouchure. IVA is uncommon and problematic, so I will define it here to help avoid it. Low mouthpiece placement, way less than 50% upper lip in the cup, and because of overbite, not able to push the jaw forward, so a very low horn angle is achieved. It is common for this embouchure to be changed to a IIIB. Type IV embouchures are less than 50% of the upper lip in the cup. The sound is brighter due to the placement, and extreme endurance can be achieved if the mouthpiece pressure is managed. Because of the placement, larger equipment helps darken up the sound and tone. But a type IV can play on very small equipment because of the minimal lip protrusion.
Pivots:
Type 1: Horn tracks upward when slurring up more than a 4th.
Type 2: Horn tracks downward when slurring up more than a 4th.
Embochure Type Pivot:
IIIB
Type 2
IIIA
Type 1
IV
Type 2
IVA
Type 2
Upstream vs Downstream:
You are not able to determine a trumpet player's stream direction based on the horn angle. Upstream means more lower lip in the mouthpiece, and downstream means more upper lip in the mouthpiece. So, embochure type IV is the only upstream type discussed here.
Embochure Type Stream Direction:
IIIB
Downstream
IIIA
Downstream
IV
Upstream
IVA
Upstream
So why is any of this important? By understanding your embouchure type, you will be able to avoid specific pitfalls and guide your practice to look for specific things. For example, as a type IV, it would be counterintuitive for me to try to track upward when slurring intervals larger than a fourth.
My story is as follows: I was a type IVA playing in the red, then changed to type IIIB. My embouchure then slid down into a type IV. Understanding my type allows me to avoid pitfalls and guide my practice.
Tracking:
Tracking is the direction your mouthpiece travels, moving from high to low and back. This tracking is always in the opposite direction. For type IV, it will be up for the low register and down for the high register. But the track is just a little bit more than just up and down. Oftentimes, it's to the right or left. For example, I track up and to the right for low notes and down to the left for High notes. Tracking has not only been key to my range and high-note development, but also to multiple tonguing and low-register accuracy. To explore this, listen to the sound as you adjust the track; explore and listen.
Common Tongue Types:
Tongue-Type One
Brass players who specialize in playing in the upper register often use Tongue-Type One. With this tongue type, the tongue spreads, and the tongue sides are held in contact against the inside of the upper teeth immediately following the tongue backstroke. The tongue in this position forces the air column to thin down and aids this brass player in producing very fast lip vibrations. Reinhardt generally did not recommend this tongue type because it typically limits performance in the lower register.
Tongue-Type Two
The most common tongue type is Reinhardt's Tongue-Type Two. This tonguing type, also recommended by many other brass texts and method books, is distinguished by the tongue striking the back of the upper teeth or upper gums, then arching and hovering inside the mouth according to the register being played. It permits freedom of articulation in all registers but will sometimes also allow the jaw to recede too far, causing other playing difficulties.
Tongue-Type Five
Tongue-Type Five is another one of the more common tonguing types. After the tongue strikes the back of the upper teeth or upper gums, the tip of the tongue lunges down and makes contact with the gully where the lower gum meets the floor of the mouth. This tongue type also supports the jaw as the tongue presses forward, creating a higher tongue arch as it ascends. Individuals who adopt this tongue type must have a sufficiently long tongue to accommodate this forward tongue pressure without losing contact with the gully.
Tongue-Type Six
Tongue-Type Six is virtually identical to Tongue-Type Five, except that these individuals do not possess tongues as long as those who belong to Tongue-Type Five. This tongue type will attack with the tip of the tongue striking the back of the upper teeth or gums, following which it will drop down to the gully where the lower gums and floor of the mouth meet. Unlike Tongue-Type Five, the higher tongue arch level for ascending is achieved by pulling the tip of the tongue back in the mouth while keeping it touching the floor of the mouth. To descend the Tongue-Type Six player pushes the tongue tip forward towards the gully and flattens the tongue. This tongue type does not provide the same jaw support as Tongue-Type Five.
The tongue type that a brass player should adopt is determined by their general physical anatomy and the specific musical and mechanical demands of the instrument. While it’s possible to perform successfully on any tongue type, the tongue type must align with the individual’s physical characteristics. For instance, a player with a long tongue might benefit from adopting Tongue Type Five to enhance jaw support. On the other hand, some players find Tongue Types Three and Four, known as “tongue-controlled embouchures,” particularly helpful in developing their upper register. However, attempting to adopt a tongue type that doesn’t suit one’s anatomy can lead to unsatisfactory results.
In Conclusion, understanding your embouchure type will help you avoid fighting your natural setup and play the trumpet more efficiently and easily. Don't be afraid to explore and reach out to someone who studied with Doc Reinhardt or one of his students to get typed. I am a third-generation student of the Reinhardt method.
