Klarinet Archive - Posting 000642.txt from 1998/02

From: avrahm galper <agalper@-----.com>
Subj: THE MOUTHPIECE AND THE LAY by ALEXANDRE SELMER
Date: Mon, 16 Feb 1998 22:16:47 -0500

The Mouthpiece and the Lay
by Alexandre Selmer, from INSTRUCTIVE TALKS TO CLARINETISTS

The Mouthpiece and the Lay

The first obstacle that confronts the young clarinetist is the
mouthpiece. There is a wide difference of opinion as to just what a
mouthpiece lay or facing should be.
I do not wish to criticize the ideas of others as to what a good lay
constitutes but rather to present a few facts that have proved to me to
be scientifically correct.
It is unfortunate that many persons making and selling mouthpieces have
not been altogether conscientious in their advice on the subject.
At my suggestion, many fine clarinetists have changed to the French lay.
These players have usually come to me after a short while, and thanked
me for the hint, stating that they were getting better results with a
great deal of less effort
To the player who changes from the long open facing to the lay I
recommend, which is a radical change,
I suggest that they not expect the best results immediately.
It will require practice and patience to become accustomed to the
change.

My experience is that the short French lay, played either with both
upper and lower lips, or, with the lower lip covering the teeth and the
upper teeth resting lightly on top of the mouthpiece, gives the the most
satisfactory results.

The lips should fit around the mouthpiece like a rubber band, merely
tight enough to sustain the tone and keep the air from escaping from the
sides of the mouth.
While many clarinetists, including myself cover both upper and lower
teeth with the lips, the formation of the mouth, teeth, etc., makes it
difficult for many players to cover the upper teeth with the lip.
In this case the least possible pressure should be used on top of the
mouthpiece by the teeth.
The teeth should act merely as a support for the lips; in fact, whatever
pressure is required around the mouthpiece should come from the lips
only.

If one presses too much, it tends to irritate the lips through the
teeth, cutting into them , chokes the tone, and causes the clarinet to
play out of tune.
Some have had the impression that the use of the French lay made it
impossible to produce a large, full tone.
This is erroneous.
With the short lay it is possible to obtain a tone as broad as can be
obtained on a longer and more open lay mouthpiece, and a finer and a
better carrying quality.

It also allows the player to produce the crescendo and diminuendo with
greater facility, and does not require as much strength of embouchure as
the long lay.(more to come)

Avrahm Galper
THE UPBEAT BAERMANN MELODIC SCALES
http://www.sneezy.org/avrahm_galper/index.html