Experiments show that an optimum development of minimum-pressure playing can only be achieved through a clear understanding of the theoretical principles. Correct execution and application of the developmental principles will inevitably create the necessary attitude. The great value of the following studies lies in their simplicity. They have been constructed, intentionally, from repeated note sequences.

As this uniformity makes it gradually possible to commit the fingerings to memory, the problem of synchronising ail the components of a highly developed embouchure technique can be places squarely in the foreground. It is a good idea to pick a slow tempo to begin with.

Every player, even the beginner, knows the limitations of his own embouchure and can therefore select the exercises which will be feasible for him so as to improve his performance in the middle and long term. I hope that these studies which also form the basis for the same publisher's Jazz Studies (ASA Jazz) - will provide teaching material suitable for solving embouchure problems.