Embouchure in the context of "Shofar"

A double reed is a type of reed used to produce sound in various wind instruments. In contrast with a single-reed instrument, where the instrument is played by channeling air against one piece of cane which vibrates against the mouthpiece and creates a sound, a double reed features two pieces of cane vibrating against each other. This means, for instruments with the double reed fully exposed, that the air flow can be controlled by the embouchure from the top, bottom and sides of the reed. The term double reeds can also refer collectively to the class of instruments which use double reeds.

A brass instrument is a musical instrument that produces sound by sympathetic vibration of air in a tubular resonator in sympathy with the vibration of the player's lips. The term labrosone, from Latin elements meaning "lip" and "sound", is also used for the group, since instruments employing this "lip reed" method of sound production can be made from other materials like wood or animal horn, particularly early or traditional instruments such as the cornett, alphorn or shofar.

There are several factors involved in producing different pitches on a brass instrument. Slides, valves, crooks (though they are rarely used today), or keys are used to change vibratory length of tubing, thus changing the available harmonic series, while the player's embouchure, lip tension and air flow serve to select the specific harmonic produced from the available series.

The horn (the term French horn refers to horns with pistons, not with rotary valves) is a brass instrument made of tubing wrapped into a coil with a flared bell. The double horn in F/B♭ (technically a variety of German horn) is the horn most often used by players in professional orchestras and bands, although the descant and triple horn have become increasingly popular. A musician who plays a horn is known as a horn player or hornist.

Pitch is controlled through the combination of the following factors: speed of air through the instrument (controlled by the player's lungs and thoracic diaphragm); diameter and tension of lip aperture (by the player's lip muscles—the embouchure) in the mouthpiece; plus, in a modern horn, the operation of valves by the left hand, which route the air into extra sections of tubing. Most horns have lever-operated rotary valves, but some, especially older horns, use piston valves (similar to a trumpet's) and the Vienna horn uses double-piston valves, or pumpenvalves. The backward-facing orientation of the bell relates to the perceived desirability to create a subdued sound in concert situations, in contrast to the more piercing quality of the trumpet. A horn without valves is known as a natural horn, changing pitch along the natural harmonics of the instrument (similar to a bugle). Pitch may also be controlled by the position of the hand in the bell, in effect reducing the bell's diameter. The pitch of any note can easily be raised or lowered by adjusting the hand position in the bell. The key of a natural horn can be changed by adding different crooks of different lengths.

Flatulence is the expulsion of gas from the intestines via the anus, commonly referred to as farting. "Flatus" is the medical word for gas generated in the stomach or bowels. A proportion of intestinal gas may be swallowed environmental air; hence, flatus is not entirely generated in the stomach or bowels. The scientific study of this area of medicine is termed flatology.

Passing gas is a normal bodily process. Flatus is brought to the rectum and pressurized by muscles in the intestines. It is normal to pass flatus ("to fart"), though volume and frequency vary greatly among individuals. It is also normal for intestinal gas to have a feculent or unpleasant odor, which may be intense. The noise commonly associated with flatulence is produced by the anus and buttocks, which act together in a manner similar to that of an embouchure. Both the sound and odor are sources of embarrassment, annoyance or amusement (flatulence humor). Many societies have a taboo about flatus. Thus, many people either let their flatus out quietly or even hold it completely. However, holding flatus inside the bowels for long periods is not healthy.

The bugle is a simple signaling brass instrument with a wide conical bore. It normally has no valves or other pitch-altering devices, and is thus limited to its natural harmonic notes, and pitch is controlled entirely by varying the air and embouchure.

In music, a glissando (Italian: [ɡlisˈsando]; plural: glissandi, abbreviated gliss.) is a glide from one pitch to another (Play). It is an Italianized musical term derived from the French glisser, "to glide". In some contexts, it is equivalent to portamento, which is a continuous, seamless glide between notes. In other contexts, it refers to discrete, stepped glides across notes, such as on a piano. Some terms that are similar or equivalent in some contexts are slide, sweep bend, smear, rip (for a loud, violent glissando to the beginning of a note), lip (in jazz terminology, when executed by changing one's embouchure on a wind instrument), plop, or falling hail (a glissando on a harp using the back of the fingernails). On wind instruments, a scoop is a glissando ascending to the onset of a note achieved entirely with the embouchure, except on instruments that have a slide (such as a trombone).

The cornett (Italian: cornetto, German: Zink) is a lip-reed wind instrument that dates from the Medieval, Renaissance and Baroque periods, popular from 1500 to 1650. Although smaller and larger sizes were made in both straight and curved forms, surviving cornetts are mostly curved, built in the treble size from 51 to 63 cm (20 to 25 in) in length, usually described as in G. The note sounded with all finger-holes covered is A₃, which can be lowered a further whole tone to G by slackening the embouchure. The name cornett comes from the Italian cornetto, meaning "small horn".

It was used in performances by professional musicians for both state and liturgical music, especially accompanying choral music. It also featured in popular music in alta capella or loud wind ensembles. British organologist Anthony Baines wrote that the cornett "was praised in the very terms that were to be bestowed upon the oboe [...]: it could be sounded as loud as a trumpet and as soft as a recorder, and its tone approached that of the human voice more nearly than that of any other instrument." It was popular in Germany, where trumpet-playing was restricted to professional trumpet guild members. As well, the mute cornett variant was a quiet instrument, playing "gentle, soft and sweet."