Klarinet Archive - Posting 000338.txt from 1996/10

From: Neil Leupold <nleupold@-----.edu>
Subj: Re: Embouchure position in clarinet playing
Date: Sun, 13 Oct 1996 04:13:01 -0400

On Sun, 13 Oct 1996, Everett Austin wrote:

> I can offer at least one reason for jaw pressure entering into the
> equation. Don Carroll is a saxophonist (as well as a clarinetist)

Ah yes, I'd forgotten that little tidbit. He may very well have doubled
as well in his days in the U.S. Army Presidio band in San Francisco.
Sometimes he handles the sax solos which come up in the S.F. Symphony's
programs once every blue moon. Sometimes they just hire another pro to
do it. I know he has played both the tenor and alto solos in Bolero in
the same performance, making the crazy two-bar change from one to the
other. Thanks for reminding me of his saxophone influence.

Neil

, which
> is how I found him as a
> teacher when I moved to the Bay Area. I was looking for someone who
> played classical saxophone. After a while I started taking clarinet
> lessons fromhim as well, because I was mostly playing clarinet chamber
> music. To play vibrato on the saxophone almost all players use the jaw
> and it is a movement which deviates below the pitch and returns
> cyclically to the pitch of the note (not above and below). To do this
> you have to have some degree of jaw pressure at "baseline" for the
> straight tone. For a good player this is not very much pressure (maybe
> 20% jaw and the rest lips?) or else the reed is overly damped and cannot
> vibrate freely. This is why on the saxophone at least jaw pressure is
> needed to some degree, even though the embouchure is generally much
> looser than for theclarinet. Some jaw pressure against the the firm
> lower lip of the clarinet embouchure will be used by most people
> depending on the mouthpiece facing and the reed strength and the
> strength of their orbicularis oris but overdoing it equals biting. I
> have found that as my playing and sound have improved over the years I
> seem to use less and less pressure, which I think is due to gradually
> coming understand how to use the air more effectively. Dave Liebman in
> his book on saxophone sound commented that more mature saxophonists push
> their mouthpieces in further, an indication of a more relaxed embouchure.
> Everett
> On
> Sat, 12 Oct 1996, Neil Leupold wrote:
>
> > On Fri, 11 Oct 1996, Everett Austin wrote:
> >
> > > In a lesson with Don Carroll of the San Francisco Symphony a couple of
> > > years ago
> >
> > I studied with Don for seven years.
> >
> > > he remarked that Dave Breeden's (the princpal) advice about
> > > clarinet embuchure was to use only enough embouchure pressure to get the
> > > reed to vibrate (eg on open G) ; put another way, relax to the point of
> > > losing control and then tighten just a little.
> >
> > The issue is not about tightening, but tightening with WHAT? Don
> > sometimes used the term "jaw pressure", leading me very convincingly to
> > believe that he advocated use of the jaw. On my own, I concluded that
> > this view is in contradiction to obtaining the greatest degree of
> > facility and flexibility of tone & response from a reed in all
> > registers of the instrument. Don was big on using the air, but then it
> > was confusing when he recommended use of the jaw bone in regulating
> > embouchure pressure. Only the lips and muscles...no jaw, as far as I'm
> > concerned.
> >
> > > seem to me to diistract them from the fact that the clarinet and saxophone
> > > are WIND INSTRUMENTS.
> >
> > Precisely my point. Anything which can possibly inhibit vibration of the
> > reed, as initiated via a focused air stream (wind), must be eliminated from
> > the sound production equation (except tonguing, of course).
> >
> > Neil
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> > > On Fri, 11 Oct
> > > 1996, Neil Leupold wrote:
> > >
> > > > On Fri, 11 Oct 1996, Jonathan Cohler wrote:
> > > >
> > > > > One of the major elements of "centering" your sound, and producing a
> > > > > "clear", "free blowing" sound is properly aligning the reed resonance
with
> > > > > one of the strong resonance peeks of the air column.
> > > >
> > > > John follows the above statement with further scientific data concerning
> > > > nodes and pitch frequencies and resonance cutoff points and such. I've
not
> > > > seen any responses to his recent posts which engaged him specifically in
> > > > terms of his technical discourse -- most likely because very few of us
> > > > really understand how the data relate to our desire to improve as
players.
> > > > Physicists and acousticians on the list may very well be nodding their
heads
> > > > in favorable observation of scientific principles being used to explain
> > > > phsyical phenomena -- and indeed, it is invaluable for those with a
desire
> > > > to understand *why* nodes and frequencies and resonance cutoff points
affect
> > > > our playing. But when talking about improving one's abilities as a
> > > > clarinetist, I suspect more interest is directed toward
clarinet-specific
> > > > experience and terminology, offering understanding of *how* to play
better,
> > > > as opposed to why it works in narrow scientific terms.
> > > >
> > > > For those clarinetists on the list who also understand wave theory and
the
> > > > physics of sound production, John's comments probably make perfect sense
> > > > and might even help a few of them answer questions about their own
playing.
> > > > But for the rest of us, John, can you offer us information based more on
> > your
> > > > personal experiences...how experience of your own growth process and
> > > > physical sensations informed you in the direction of arriving at your
> > > > present level of playing excellence? Or did you really learn clarinet
by
> > > > consciously applying physical scientific principles to your daily
> > > > practice regimen as a student? We want to tap into your knowledge and
> > > > experience, but we also want to understand what you're saying. Help!
> > > >
> > > > > Now there are only two variables (assuming a fixed mouthpiece, reed
and
> > > > > ligature) that we can control to effect reed resonance. Those two
> > > > > variables are amount of pressure and PLACEMENT of pressure. And they
> > > > > accomplish different things (so you cannot substitute one for the
other).
> > > >
> > > > I won't attempt to contest this statement, because I can neither prove
> > > > nor disprove its validity. I simply don't know enough about the physics
> > > > (or the relevance, for that matter) of "reed resonance" to digest what
> > > > has been written above. I'll just assume it is correct and try to
> > > > add something more to it. My own experience of achieving optimum reed
> > > > response and clarinet tone -- and thus, flexibility in all areas of tone
> > > > production -- involves determining on a per-reed basis the lowest
> > > > possible contact point between the reed and my lower lip which will
> > > > still allow me to produce a controllable tone. As I stated in a recent
> > > > post, emphasis on the embouchure as some kind of device for *producing*
> > > > tone is a mistake (John does not say this, but he also makes no mention
> > > > of certain other highly germane elements of tone production). I
believe,
> > > > based on my own personal results, that formation and conditioning of the
> > > > embouchure should be undertaken contingent upon allowing a focused air
> > > > stream to initiate and manipulate the quality of tone. The embouchure
> > > > muscles need to be conditioned and well-developed, without question,
> > > > because their primary function is to facilitate, via the air stream,
free
> > > > vibration of the reed. Where many students perceive the embouchure
> > > > muscles as things which press inward upon the reed and mouthpiece, I
> > > > suggest that merely the lips and sides of the mouth should exert any
> > > > pressure, and the surrounding facial muscles -- and jaw bone -- should
be
> > > > conditioned to relax, allowing the air stream to do the "work". Much
> > > > like conditioning the diaphragm muscle to push downward and outward when
> > > > playing -- which is in direct opposition to how it is designed to
naturally
> > > > *contract* -- one should endeavor to condition the facial muscles to
> > > > relax rather than push purposefully inward against the mouthpiece and
> > > > reed. Once the muscles have been toned and conditioned to relax,
> > > > attention should focus on the delicate vibratory sensations detectable
> > > > (very acutely) by the lips alone, in combination with manipulating the
*air
> > > > stream* when attempting to manipulate tone and response.
> > > >
> > > > How does one bring all of this mumbo-jumbo to fruition? Drop the jaw --
> > > > open the mouth with the embouchure intact on the mouthpiece -- as far as
> > > > you possibly can. In fact, even before involving the embouchure, start
by
> > > > opening your mouth as wide as you possibly can, in an "ahhhh" formation,
> > > > as if you had just won the lottery and were registering the surprise on
> > > > your face (no need to open the eyes wide, in this case). With your jaw
> > > > fully extended downward like this, one of the first things you notice is
> > > > that the sides of the mouth are automatically pulled taut and inward
toward
> > > > the center. What you also notice, if you're looking in a mirror, is
that
> > the
> > > > chin is wonderfully, perfectly flat -- and if you merely curled the
lower
> > > > lip inward a little bit while keeping your mouth wide open, you would
> > > > have a picture-perfect lower half of your embouchure. In other words,
> > > > make an "oh" with your lips while your mouth is still wide open.
> > > >
> > > > Having performed the above, close your mouth again and relax a little.
> > > > Breathe perfectly normally throughout the following exercise, through
> > > > your nose when necessary. Now, with your clarinet assembled and your
> > > > mouthpiece attached (including a reed), do the following: Open your
mouth
> > > > -- not all the way this time, but enough that you can insert the
mouthpiece
> > > > without making any contact with your lips. Now insert the tip of the
> > > > mouthpiece into your mouth normally -- as if you were about to play --
and
> > > > simply enclose the mouthpiece with your lips
*without_exerting_ANY_muscular_
> > > > _pressure_whatsoever* from the lips, the facial muscles, or the jaw.
Your
> > > > whole face should be completely relaxed, such that the lips are merely
in
> > > > contact with the mouthpiece, enclosing it with a light seal. In this
> > > > configuration, now drop the jaw like you did before -- as open as you
> > > > possibly can -- while keeping the embouchure on the mouthpiece. With
the
> > > > mouthpiece in the mouth, and the jaw dropped all the way, form an "oh"
or
> > > > an "ooh" -- with the LIPS. Remember, no tension or flexion of the
facial
> > > > muscles at any point -- just the lips. You may find, when you drop the
> > > > jaw, that the lower lip comes off of the mouthpiece. What this tells
you
> > > > is something you already knew: the jaw is able to drop to such an extent
> > > > that the lower lip can be pulled _completely_off_of_the_reed by dropping
> > > > the jaw. This piece of information is important because it demonstrates
> > > > that the embouchure can be in contact with the reed without any pressure
> > > > from the jaw whatsoever. This is what you're shooting for. The way to
> > > > achieve it is just like I explained: Form the embouchure and then drop
the
> > > > jaw as far as you can, to the point immediately before the lower lip
> > > > comes off of the reed. Now say "oh" with the lips while still pushing
the
> > > > jaw downward, and voila: you've achieved the perfect embouchure.
What's
> > > > left is conditioning and strengthening the facial muscles in this
> > > > position, in addition to learning how to create and sustain a focused
air
> > > > stream. Then you have to combine the two elements, which is an even
> > > > greater challenge.
> > > >
> > > > Think of the facial muscles and embouchure in analogous terms to how you
> > > > should also understand use of the air supply: It doesn't take very much
air
> > > > at all to initiate vibration of the reed. Beginning students, who have
no
> > > > concept whatsoever of what it means to support or focus an air stream,
> > equate
> > > > volume of sound with the volume of air being released into the
mouthpiece.
> > An
> > > > advanced player capitalizes on the power of the diaphragm -- NOT by
using
> > this
> > > > powerful muscle to force more air into the mouthpiece, but by sustaining
> > > > abdominal pressure which, in turn, sustains a continuously
forward-directed
> > > > air stream from the lungs, through the wind pipe, into the oral cavity,
> > > > and across the reed into the clarinet. By developing the diaphragm's
> > > > strength and ability to sustain and support an air stream, one is able
to
> > > > use an increasingly *smaller* quantity of air to produce *greater*
volume
> > > > for longer periods of time. How? If the air is produced under constant
> > > > pressure from the diaphragm, there must be another way to regulate its
> > > > velocity, such that it can be used to manipulate reed vibration and
> > > > response. When you run water through a garden hose, diminishing the
> > > > opening of the hose with the tip of your finger causes the water to rush
out
> > > > faster, while less of it seems to be escaping at the same time. You can
> > > > do that with your air as well, by manipulating the throat, tongue, and
oral
> > > > cavity such that the air which does escape is focused prior to reaching
> > > > the embouchure. That's the key to using the diaphragm as a SUPPORT
> > > > device, rather than using it as a FORCE device. You use it only to
> > > > pressurize the air, while using other "body parts" to manipulate the
> > > > otherwise unfocused (but supported) air stream before it reaches the
> > > > embouchure.
> > > >
> > > > This idea of support vs. force applies to the embouchure itself. If you
> > > > use the concepts from the previous paragraph analogously, you can equate
> > > > the lips with the air stream, and the surrounding facial muscles with
the
> > > > diaphragm. The lips are the only part of the face which are in any
> > > > contact with the reed and mouthpiece. Again, no upward pressure from
the
> > > > jaw pushing the lower teeth into the lower lip. The jaw is pushed
> > > > downward as far away from the reed as possible without actually
> > > > disengaging the lower lip. "But then how does the embouchure support
the
> > > > air stream and vibration of the reed?" The lips themselves aren't very
> > > > strong. But those surrounding muscles -- in the sides of the mouth,
> > > > above the upper lips, and *especially* in the chin and outlining the jaw
--
> > > > are quite strong. Think again about the air. If just the lungs and
chest
> > > > are used to blow air into the mouthpiece, it's a feeble stream of air at
> > best.
> > > > But by invoking the power of the diaphragm, you are able to bolster the
> > > > force and velocity of the air stream dramatically without any additional
> > > > strain on the chest or lungs (beyond breathing deeply and filling them
up
> > > > with air, of course). While the lips are not powerful, you can use the
> > > > surrounding musculature to lend the necessary support in order to
support
> > > > the air stream and reed vibration. And it takes practice. You have to
> > > > practice *using* those muscles, invoking them by making yourself refrain
> > > > from using the jaw, making sure that only the lips are exerting pressure
> > > > on the mouthpiece. As I said in a previous post, there is absolutely no
> > > > way the lips, by themselves, can exert the kind of pressure which could
> > > > possibly inhibit vibration of the reed. And something I failed to
> > > > mentioned earlier in the exercise concerning opening your mouth wide: it
> > > > obviously increases the volume of your oral cavity. This gives the
> > > > tongue room to position itself for optimum articulation, and for optimum
> > > > flexibility when focusing the air stream.
> > > >
> > > > > Certainly, it is possible to find an optimal average placement of the
> > > > > pressure on a reed. And this is of course what we should refer to in
> > > > > teaching students a nice "stable" embouchure. Equally as certain,
> > > > > however, is that without some adjustments to the PLACEMENT, in
addition
> > > > > to the amount, of pressure one CANNOT achieve optimal sound production
> > > > > on all notes of the clarinet. >
> > > >
> > > > I partially disagree with this notion and, in essence, I believe I also
> > > > disagree with its fundamental assertion. Something I stated earlier in
> > > > this post was with respect to placement of the lower lip on the reed.
My
> > > > very successful practice has been to determine, on a per-reed basis, the
> > > > lowest possible contact point between my lower lip and the reed, which
> > > > will still enable me to produce a controllable tone in all registers,
given
> > > > my ability to manipulate the air stream and the very subtle pressure
> > > > modulations from my embouchure. I take in a commensurate amount of
> > > > mouthpiece in order to accomodate how low on the reed I go. Regardless
> > > > of mouthpiece and ligature considerations, it is a very simple matter to
> > > > determine how much reed can be taken into the mouth before it is
> > > > impossible not to squeak -- assuming the reed is not prone to squeaking
> > > > as a design flaw. I look for that point and then place the lower lip
> > > > just above it on the reed. I've effectively discovered the lowest
> > > > fulcrum point, where the greatest possible amount of reed is vibrating,
> > > > subject now simply to minute adjustments of embouchure pressure and air
> > > > stream focus in order to manipulate the sound and make music. Any
> > > > adjustments of embouchure are with respect to pressure only (and are of
> > > > the smallest and most delicate degree), for I do not modulate the
contact
> > > > point between my lower lip and the reed in question. When I take a
> > > > breath during performance, I've already memorized how much mouthpiece to
> > > > take in and know exactly where to replace my lower lip. If you were to
> > > > watch my embouchure during peformance, you would see practically no
> > > > movement whatsoever, and certainly no adjustment of placement on the
reed.
> > > >
> > > > > However, to those who would advocate this position, I would ask:
> > > > >
> > > > > What is your reason for limiting your playing capability?
> > > >
> > > > What I've discovered is that by determining a given reed's greatest
> > > > potential for vibration prior to uncontrollabe squeaking, I've
> > > > effectively eliminated the reed as a variable and have made it part of
> > > > the "control" in the grand clarinet playing "experiment" each time I
> > > > play. I achieve the greatest possible range in dynamics and expression
for
> > > > that given reed by giving it the greatest opportunity to produce sound
> > within
> > > > its potential. The rest of the adjustments come from me, where my
ability to
> > > > adjust air stream focus, velocity, and volume -- in addition to
> > infinitesimal
> > > > modulations of pressure from my lips -- facilitate every manner of
> > > > expressive capacity on the instrument.
> > > >
> > > > > And remember the answer "Well, when I move my embouchure, I
have
> > > > > difficulties," is not a valid answer, as that is a blanket
> > > > > statement that is true of any new technique being learned.
> > > >
> > > > I used to adjust position on the reed, and then I discovered how
powerful
> > > > and flexible my air could be...and the embouchure eventually just became
a
> > > > fixed yet facile aperture which allowed the air to do the work almost
> > > > entirely by itself.
> > > >
> > > > Neil
> > > >
> > >
> >
>
>