As I mentioned in the section on split tones, if I over-focus my embouchure past the point of the stable split, I can reach a kind of "imploded" or granulated sound comprised of many partials sounding simultaneously. By increasing the embouchure pressure to this high level, I essentially create a large capacity of micro-embouchures, where the harmonic content of the spectral mass is controlled by the fundamental/slide position I am using. The density of the the texture I control with further embouchure pressure - I can essentially increase the pressure until I get single 'ticks' on the fundamental. It's exactly the same physics as string overpressure, but I can control the grittiness of the granular mass. This technique is very easy to circular breathe on, but is difficult to sustain for more than 3-4 minutes at a time, since the tension involved in my embouchure is using 'slightly' different muscles than usual, therefore they're a little weaker than normal. But I can effectively sustain this with gradual changes within the texture, and going in and out of split tones or ordinario tone via controlling embouchure pressure. In Michelle's piece, we use 5 distinct levels of density, but in working on the piece more, I found really 3 levels are perceivable and useful. High density, low density, and single grains. Audio below: