This allows the reed to vibrate more freely and allows more air to move through the mouthpiece. The oral cavity will also produce a brighter sounding tone in this position. Note that the technique of moving the jaw back and forth to change dynamics and timbre should not be confused with the up and down movement used in producing a jaw vibrato. The notes that are enclosed in parentheses are ghosted. For prominent-sounding notes the tongue does not touch the reed, so as to allow it to vibrate freely.
Some players prefer touching the reed more to one side.
Note that using the tongue to produce ghosted notes instead of using the jaw may alter the sound and therefore the interpretation. Both the tongue and jaw may be used simultaneously to accent and ghost notes. The degree that each is used depends on the individual's interpretation. In Creating a Clear Concept Creating a clear concept of style by listening to and copying other performers is crucial. Not only do we tend to read too much in Classical performing but Jazz pedagogy has left out a predominant way that jazz artists learned - developing aural memory by mimicking.