The term "AnatowindSM" is derived from two sources, namely, the "anatomy" and "wind” instruments.

The combination of the terms produces the word "AnatowindSM," which relates the anatomy to wind performance and signifies important concepts in wind performance and the effectiveness of different factors involved.

When a tone is emitted from the wind instrument, it represents a result based on the effectiveness of the anatomy as used in projecting such, plus the fact that the sound was also partially produced by the instrument. A tone produced by a mechanical apparatus as distinguished from the human being would be devoid of many characteristics of musical value that the human anatomy is capable of determining. For example, when the facial structures change as a result of changing tones, a sound effect is reflective of such changes.

The AnatowindSM process study, then, is a study of the contributions of the anatomy in wind playing, and this study tends to show ineffective changes within the anatomy that produce unmusical results. Likewise, as a result of such study, the AnatowindSM Musical Teaching Process has been devised to which will show that there is really one complete picture of the embouchure formation which relates all parts of the facial structure to one complete performance and should any part be missing or functioning incorrectly the total performance is affected.

It is the aim of the AnatowindSM musical teaching process to first of all define the different parts of the anatomy, particularly the facial structure, for effective wind performance. It is also the aim of the AnatowindSM process to first of all define the different parts of the anatomy to relate basic aspects of anatomy to each other, all of which tends to produce more effective performance. It is the aim of this process to show that there is no guarantee that any part of the anatomical structure will automatically function within any degree of certainty without academic direction on such functions.

The study shows remedial parts of anatomical functioning that tend to undermine wind performance. Such remedial characteristics tend to produce problems which require a course of travel in an anatomical sense before effective anatomical development can be made, which will guarantee effective wind performance.

Finally, as a result of the foregoing study, it will be quite evident the first vocabulary for previous approaches to wind performance, which are not of a truly physiological nature, will be brought into evidence. A sense of logic pertaining to the functioning of the anatomy will be developed, which will prove that there is one coordinated effort of the anatomy which will produce a higher quality of musical performance, and not several uncoordinated efforts as had been thought previously.