embouchure

Changing the reed, embouchure shape, breath quality all change the sound.

It's been a while, but my embouchure's returning already.

No need to practice an embouchure and blowing technique.

Things like breathing, embouchure, etc. This, I believe, is where the analogy falls apart.

It's easier to start with a basic model of a saxophone, and then add wind pressure, embouchure, and other real techniques.

The saxophone emphasises every nuance of breathing and embouchure.

That, along with the fact that the average sporting fan probably doesn't have much embouchure, would explain why there's a single tone that is much louder than any others.

When brass players talk about "good intonation", they often mean adjusting these notes into equal temperament with valves/slides/embouchure/hand stopping.

But what I'm asking is it's possible to infer a word-to-word mapping along the lines of English French ------- ------ mile = embouchure crazy = adjuger shade = saladier or if the mapping is weird enough that even that doesn't work.

But sometimes you want to return to the pure temperament - like if a passage focuses on a particular key for a while - and in the brass and wind instruments it is easy to squeeze the embouchure a little bit to slightly tweak the tuning of a particular note.