Klarinet Archive - Posting 000229.txt from 1994/10

From: "Chris W. Castillo" <castillo@-----.COM>
Subj: Embochures
Date: Fri, 21 Oct 1994 10:19:29 -0400

> I read the question regarding schools of playing, and this piqued my
> interest. For the past seven years, I've been playing with the corners
> of my lips pulled back toward, so that my lower lip would be rather
> firm. However, I'm changing my embouchure rather drastically here at
> UT--I'm focusing the corners of my lips toward the center of the reed so
> that my bottom lip is a "cushion" for the reed to vibrate. I found that
> my sound is indeed a bit more resonant this way--as Dr. MacDowell
> explains it, I allow the clarinet to "play itself" this way--the reed
> vibrates freely. I'd like to hear other people's comments on the
> different schools of embouchure-forming and the reason behind each one.
> I finally understand why focusing my lips toward the center works for
> me--but I was wondering the reason behind pulling the corners of the lips
> back. Thanks!
>
> Michiya Nishino (mnishino@-----.edu)
> Freshman, UT-Austin, Plan II/pre-med major, clarinetist!
>

I also have the corners of my lips towards the center when I play. It
helps me from leaking air out of my mouth when my lips are soar. I
sometimes use the corners of the lips back when I'm playing the really
shrieking high register.

I've also heard of having an embochure where you stick the mouthpiece as
far in as it'll go without squeaking.....it was supposed to give you a
more solid sound. However that just made me do worse because my chin was
scrunched and wrinled--making my tone flat. That's when one of my
teachers taught me the corners of the lips back to help me relax my
chin.

Regards.

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C H R I S W. C A S T I L L O
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mercer island, washington, usa email: castillo@-----.com