Not to be concerned with-
Buccinator ( compress cheek against teeth connected to orbicularis oris)
Don’t even worry about these unless you have bulging cheeks when you play.
Zygomaticus minor (used to pull lips back and smile)
An embouchure with an exaggerated “smile” effect will thin your sound and thin the meat under your mouthpiece which can be uncomfortable.
Depressor labii inferioric (draws lower lip down and slightly lateral)
Unless your chin is bunching up, don’t worry about these muscles.
Mentalis (elevates and protrudes the lower lip)
These muscles are outside the area we will be focusing on.
Area to be concerned with-
Zygomaticus major (used to pull lips back and smile)
Depressor aguli oris (depress corners of lip)
Levator labii superiorus (raises the upper lip)
Orbicularis Muscle (Kissing muscles)
Risorius (laughing muscle from corners outward)
The muscles which are primarily involved with the trumpet embouchure are, as you can clearly see, are situated at the corners of the players mouth.
To quote the ever popular Doc Severinsen “It’s all about the corners, man”.
The proper embouchure for playing a trumpet can be described as an isometric war between the sets of muscles which function to move the corners. In other words, these muscles are all contracting against their opposing sets of muscles in order to firm the corners without moving the corners.
Located between these waring muscles is the Orbicularis Muscle which is our vibratory area under our mouthpiece cup. What we need to have happen in a proper trumpet embouchure is firm corners with a relaxed area under our mouthpiece to vibrate freely.
To get the feel of this tug of war, simply pronounce the syllable “dim” and firm the corners of your lips as you sustain the “m” sound. Notice that the center of your lips is relaxed while the corners are firm. The firmness is created by the isometric tension of your opposing sets of muscles in the corners of your mouth.
