Klarinet Archive - Posting 000055.txt from 1999/02

From: Roger Garrett <rgarrett@-----.edu>
Subj: Re: [kl] Embouchure question
Date: Tue, 2 Feb 1999 01:19:58 -0500

> >I am supposed to keep my tounge up in the "ee" position, blow a cool stream of
> >focussed air--got that. The jaw assumes an 'oh' position and under no
[SNIP]

> >much easier time. I played for years when I was younger, but I know I bit a
> >lot and still do--I'm trying to figure out how to correct that--
> >Thanks in advance for any info!
> >Don

Ridenour responded:
> Dear Don,
> Please check out my article on the Role of Embouchure in Clarinet Tone
> Production and also
> How to teach and Learn Characteristic Clarinet tone on my web site.
> You should get a heck of an idea about how to put lots of controling energy
> to the reed without biting whatsoever from those materials.
> If you're still confused and have specific questions I'd be glad to try to
> help you.

Tom's article is very good for describing some basic elements of
embouchure. While it is quite wordy, it describes a basic approach to
embouchure that can start a student on his or her way.

What is omitted from the article is the entire concept of the upper lip
and the muscles around the nose and in the cheeks. In fact, it is these
muscles which affect the chin much more drastically than the lower lip or
jaw. Biting is simply defined as applying too much pressure from the
lower teeth/jaw to the lower lip to the reed in such a way as to hinder
the reed from vibrating properly. But to say you must simply avoid biting
is much, much too simplistic. There are the issues of how much lower lip
goes over the teeth, how much mouthpiece is inserted into the mouth, how
far down the reed the jaw/lip should extend, and what speed air causes
what kind of tone. Tone is not simply a result of embouchure and how it
affects the reed. Tom's article states that the embouchure is what
controls the reed (not his exact words) - but it is actually the air that
controls the reed with the embouchure acting as a supportive structure
(which Tom does say). Frankly, one can achieve a wonderful sound by
applying plenty of pressure from the entire structure - if the teeth/lips
are far enough down the reed - resting against the heart of the reed, more
reed vibrates but the lips/teeth have a more difficult time squeezing off
the reed. Combined with upper lip support (including muscles beyond the
upper lip!) and proper air speed/temperature, a clarinet tone can be
designed and custom made by each person.

My point is - read the article and glean from it what you can, but
understand that it does not present specifics regarding the other issues I
have mentioned here - as the mouthpiece article does not, etc.

There are several schools of thought regarding sound production, and Tom's
is one of them - enjoy your reading!
Roger Garrett
Professor of Clarinet
Director - Concert Band, Symphonic Winds & Titan Band
Advisor - Recording Studio
Illinois Wesleyan University

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