Klarinet Archive - Posting 000742.txt from 1997/03

From: Roy Johnson <RJohn0528@-----.COM>
Subj: My double-lip experience
Date: Fri, 21 Mar 1997 19:54:19 -0500

I tried to post this, but it was returned. I will try again. Hope it gets
through.

Many years ago I changed over from the traditional embouchure to the
double-lip. I changed after being encouraged to do so by the principal
clarinettist of the Lexington Philharmonic (KY). He kept talking about the
benefits of the double lip, and that I should give it a try. He recommended
that not change "cold turkey," but spend a few minutes during each practice
time in getting used to the new and strange sensations it produces. I tried
it as he said, and gradually got used to it. Within about a month, I was
totally converted to the double-lip embouchure.

What it does, is open the throat more than it was. The jaw has to drop to
give the tissue of the upper lip room to overlap the top teeth. I found that
my tone quality had improved. This may be an illusion, but I HEARD myself
differently than with the traditional embouchure. This may be due to the
separation of the top teeth from the mouthpiece. The teeth on the top of the
mouthpiece produces a path of bone conduction to the ears. If this bone
conduction is eliminated, you will hear a different, darker, sound.

Another thing that you will notice is in the tonguing of rapid notes. This
was my main problem at first. The tongue touches the reed tip at a different
angle. Keep working on the tongue and it will eventually work smoothly.

I found that with the double-lip embouchure, there was less stability in
holding the clarinet, especially when most of the fingers are off the
keys/holes. I compensated for this problem by resting the bell on my knee
during rapid finger movement. One drawback to this is I always am left with
a wet knee after practice. :-) Strangely enough, I had no problem with
controlling the instrument when standing and performing or practicing.

Then there is the problem of a sore uper lip because of the contact with the
teeth. I never had a problem with this. The upper teeth do not dig into the
upper lip the way that the lower teeth dig into the lower lip. Remember the
sore lip you experienced when just learning to play the clarinet? Well, this
isn't a problem with the double-lip embouchure.

For what it's worth, I have heard that the double-lip embouchure is called
"Italian," but I am not sure. By all means, do give this double-lip a try.
Don't give up on it. Right now, if I tried to play the "old way," I would
sound like a beginner at his first lesson.

Good luck.

RJ0528@-----.com (Roy Johnson)