Klarinet Archive - Posting 000729.txt from 1998/08

From: "MARY A. VINQUIST" <kenshaw@-----.com>
Subj: [kl] Tonguing/Embouchure Problem
Date: Fri, 28 Aug 1998 10:07:58 -0400

On 8/24, Jeff Carwile asked about a student whose embouchure collapses wh=
en
she tongues, for no apparent reason. =

When I changed from anchor to non-anchor tonguing, I had the same problem=
=2E =

When you anchor tongue, the vertical portion of the tongue between the
teeth and the reed acts as a brace for the lower lip. When that brace is=

removed (particularly if you put a lot of lip over your teeth), the
embouchure feels unstable, particularly when tonguing.

Have your student try anchor tonguing for a few notes, and ask her whethe=
r
she feels more secure with the support from her tongue on her lower lip. =

The odds are high that she does. There are two things to do, one
short-term and one long-term. =

Short-term, she should stretch and pull her lower lip out, so that only
about half of the red part is over the teeth. This will remove some of t=
he
loose stuff and give a firmer foundation. It also gives more resonance t=
o
the tone. This will sound too bright at first, but that's mostly from bo=
ne
conduction, and she will get used to it. Also, she should be able to mak=
e
many good tones, not just one. She needs to learn how to do everything s=
he
can that makes a difference the sound and then learn how to use each
variation appropriately.

Long-term, she will have to strengthen her embouchure to make up for loss=

of the crutch. That portion of the embouchure that supports the center o=
f
the reed has been underdeveloped because she used her tongue to do what
should be done by the lower lip. She will probably have to drop back the=

reed stiffness by 1/2 or 1 number for a while. As a female, she may be
able to do this without the loss of machismo that males often suffer from=

going down in reed strength.

A heroic but useful way to boost the embouchure development process is to=

switch to double lip. I find double lip better anyway, and use it 100% o=
f
the time. At least consider it.

If the problem were not complete collapse, I would put it down to jaw
movement. Of course she may be doing that too. Have the student hold th=
e
instrument by the barrel in her left hand and then have her put her right=

hand fingertips gently on her right jaw hinge joint (directly below and i=
n
front of her ear). Have her tongue hard staccatos and check for any
movement or twitching of the jaw muscle. Any such movements will interfe=
re
with tonguing by adding unnecessary actions. Any "chewing" muscle action=
,
even if the jaw doesn't move, seriously degrades tongue speed and control=
=2E

Eventually, you will need to work with her on keeping the throat open and=

holding a steady air pressure, so that there is no sympathetic movement i=
n
the belly when she tongues.

I hope this helps. Let us know how she does.

Ken Shaw

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