Klarinet Archive - Posting 000063.txt from 1999/02

From: Roger Garrett <rgarrett@-----.edu>
Subj: Re: [kl] Embouchure question
Date: Tue, 2 Feb 1999 09:19:54 -0500

On Tue, 2 Feb 1999 DHmorgan@-----.com wrote:
> I did discover that if I relaxed my jaw and used the muscles on either side of
> my nose to pull up--I got a real work out using some new muscles (like
> learning to ski), but the tone was good and I could see building up a new
> embouchure in a reasonable time frame. But here's the thing--under this
> scenario, my lower lip does rest somewhat on the lower teeth and the reed does
> receive pressure, although cushioned by the lower lip, from the lower teeth,
> not because I'm closing my jaw, but because the weight of the clarinet and the
> tightness of the upper lip pushes downward. I keep thinking that perhaps I'm
> supposed to be holding the clarinet aloft using the muscles of my chin and
> lower lips ONLY, but I'm not doing this. I'm still wondering if this is a big
> mistake, a small mistake, A OKAY, debatable, or something else.

There should be pressure from the teeth against the lip against the reed.
Anyone who says otherwise doesn't know exactly what is happening in terms
of mechanics of embouchure. But Tom's article refers to "biting"
throughout with a definition at the beginning of uncessary pressure. So,
keep in mind that you may have been trying to use too little pressure.
His article discusses lower lip/jaw as a structural issue - and while it
seems a bit ambiguous to someone who may have difficulty with embouchure,
it is not to people who teach and perform!

His article also refers to a very important issue - that of using the
right thumb to support the instrument against the top teeth. Your
description above suggests that you are not doing that. Two ways of
supporting the instrument - 1) thumb supports rest; 2) thumb pushes
clarinet against the upper teeth providing a second supporting point.
They should both be in effect all the time.

I have seen a few posts recently that refer to less lower lip over the
teeth - in fact very little. There should be a nice cusion - nothing
wrong with lip over the "cutting edge" of the teeth.

I don't advocate double lip except as a temporary method to discover more
about single lip. There are enough successful single lip players around
to support the argument that neither is preferrable - it's what works best
for a particular player. Of course, there are those people who do not
agree with that concept - and I can live with that!

Roger Garrett
Professor of Clarinet
Director - Concert Band, Symphonic Winds & Titan Band
Advisor - Recording Studio
Illinois Wesleyan University

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