Klarinet Archive - Posting 001392.txt from 1998/10

From: CmdrHerel@-----.com
Subj: Re: [kl] double lip embouchure
Date: Sat, 31 Oct 1998 10:05:09 -0500

In a message dated 10/30/98 5:50:50 PM Eastern Standard Time,
notestaff@-----.ch writes:

<< > Keep your head up and the clarinet in.

I find that the clarinet tends to turn out away from the body a bit more with
double-lip. Thereby less tiring to hold. I hardly ever have it on my knee and
generally prefer to play standing. Does this mean I have iron chops? I don't
think
so. >>

This "head up, clarinet in" concept is that the lower your bottom lip is on
the read, the more control you will have to your sound, if of course you also
do the pressure top to bottom thing (called "closing off"). You'll notice
when you bring the clarinet bell in toward your body, it indeed lowers your
lip on the reed. (And you might hear it opening up your sound right away.)
But you are right, it is much less comfortable and more tiring.

This sound idea I've noticed is controversial, with a lot of opposition.
However for me, I love the tone and control that come with it.

And yes, David, I do think you have lips of steel! Seventeen years, wow! I'm
looking forward to mine toughening up more. (By the way, I always thought
that would be a great title for a video - "Lips of Steel - 30 Minute
Workout.")

A note to Line... Start gradually! Ten minutes a day for starters. And
don't make too many tone decisions until your upper lip has time to build up a
bit. I'd say a couple of months.

As for switching back and forth or using double lip as a way to improve your
single lip... I'm not sure how I feel about this. I've found that it is very
difficult to switch back and forth. Not so much from a muscle basis, but more
from a mental-physical memory standpoint. When I pop my Bb in my mouth, the
hours and years of practicing on it create an embouchure without me having to
consciously think about it anymore. I've found switching back and forth
messes this up, and my mouth muscles get "confused" in a way, resulting in
both embouchures sounding like crap.

Am I explaining this in an understandable way? Like, when you pick up your
Eb, even though you're using an altered embouchure from your Bb, your brain
just "knows" what to do from all of your Eb practicing. In the same way your
fingers "know" the spread of your A clarinet from your Bb without you having
to think about the keys being farther apart because you've practiced both
horns enough. I'm thinking that using two different embouchures on *the same*
horn would not get this same "unconscious" adjustment. I also do not like
switching around mouthpieces for the same reason.

Mouthpiece cushions to increase the oral cavity for single lip players sounds
like it could work. I use a thick cushion WITH the double lip embouchure to
open the cavity even further!

Teri Herel

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