When blowing, angle slightly downwards over the forearm.
The flute sits just a smidge under the bottom lip. The lip needs to be able to move forward as you ascend through the registers.
The aperture in the lips should be a lovely elliptical shape.
Allow the bottom lip to spread out on the lip plate.
Keep the flute parallel to the lips.
This is the first in a series of posts regarding a basic flute embouchure. Each day as you do your tone exercises you could consider if this tip is of benefit to you and build up a picture of a good basic embouchure.
Cover only about 1/3 of the embouchure hole on the flute. Most of the sound comes out of the embouchure hole so let it out and avoid over covering.
This is a good exercise for developing embouchure control. Once you get onto the harmonic just let the lips totally flop and pout to encourage a relaxed embouchure. If you have trouble getting to the harmonic easily try tonguing each note lightly to avoid tightening as you ascend.
Tension is the antithesis of a good sound. It brings with it impurities and blemishes, causes problems with intonation, makes you sound like your squeezing your tone out like the last bit of toothpaste from a tube and impedes moving freely between registers.
This is a fabulous tone exercise requiring great embouchure control, from my friend and mentor Elizabeth Koch. Start very softly, make a huge crescendo, slur up the octave seamlessly, glide across the semitone and diminuendo beautifully!
Taffanel once said the breath is the soul of the flute. Worthwhile keeping at the forefront of your mind.