<P> Arban and Saint - Jacome were both cornet soloists and authors of well respected and still used method books . Arban stated undogmatically that he believed the mouthpiece should be placed ​ ⁄ on the top lip . Saint - Jacome to the contrary said dogmatically that the mouthpiece should be placed "two - thirds for the upper and the rest for the under according to all professors and one - third for the upper and two - thirds for the under according to one sole individual, whom I shall not name ." </P> <P> The Farkas set is the basis of most lip buzzing embouchures . Mendez did teach lip buzzing by making the student lip buzz for a month before they could play their trumpet and got great results . One can initiate this type of buzz by using the same sensation as spitting seeds, but maintaining a continued flow of air . This technique assists the development of the Farkas approach by preventing the player from using an aperture that is too open . </P> <P> Stevens--Costello embouchure has its origins in the William Costello embouchure and was further developed by Roy Stevens . It uses a slight rolling in of both lips and touching evenly all the way across . It also uses mouthpiece placement of about 40--50% top lip and 50--60% lower lip . The teeth will be about ⁄ to ⁄ inch (6 to 13 mm) apart and the teeth are parallel or the jaw slightly forward . </P> <P> There is relative mouthpiece pressure to the given air column . One exercise to practice the proper weight to air relationship is the palm exercise where the player holds the horn by laying it on its side in the palm of the hand, not grasping it . The lips are placed on the mouthpiece and the player blows utilizing the weight of the horn in establishing a sound . </P>

The term used to refer to the primary wind players in a band is