Klarinet Archive - Posting 000484.txt from 1999/05

From: "Paulette W. Gulakowski" <pollyg@-----.com>
Subj: Re: [kl] Embouchure formation (was: Intonation Problems)
Date: Wed, 12 May 1999 02:20:16 -0400

Thanks, Ed, for your input. My recollection is that I was able to
maintain the flat chin emb w/o tiring but that that was the mushy sound
and what others considered bunchy emb was cleaner in my case. That's why
the prof let me play the juries that way. (Some were "blind" juries,
too) I do believe in flat chin, just can't make it sound the way I want
- ear or not.
Paulette

On Tue, 11 May 1999 09:46:12 -0500 (CDT) "Edwin V. Lacy"
<el2@-----.edu> writes:
>On Tue, 11 May 1999, Paulette W. Gulakowski wrote:
>
>> When I demonstrated to my college clarinet prof that my tonguing,
>> control and sound were better (honest) with a bunched chin he let me
>> play my juries that way so I could graduate with a Mus Ed degree. I
>> continued to work in his lessons for the flat chin and still do. (I
>> also teach it when occasion arises) I have never reached the
>clarity,
>> facility and smoothness I had then but I have not despaired. Maybe
>my
>> mouth is built funny?
>
>More than likely, you just haven't developed the muscles which are
>required to properly control the embouchure. If you have been playing
>for
>a considerable length of time, and just "hanging on with the teeth"
>every
>time you play, then the muscles of the chin just haven't been
>strengthened. Probably when you do try to flatten the chin, you find
>that
>you can play that way for a few seconds, and then it feel much more
>comfortable to just revert to the unstructured way.
>
>I think the solution is to not allow yourself to play for even a few
>seconds with your customary approach. Get a mirror, and play scales
>and
>long tones, watching to make sure the chin is down. If the embouchure
>starts collapsing, stop playing. You may be able to do it correctly
>for
>only a few seconds at a time at first. Come back several times each
>day,
>and extend the practice period by a few minutes. Within a week, you
>ought
>to be able to sustain it for a much longer time. Keep looking in the
>mirror!
>
>If you have been playing for years with a certain embouchure and for a
>few
>minutes with another, it wouldn't be surprising that the one which is
>more
>habitually ingrained would be able to be better controlled. However,
>the
>question would be, would your sound, intonation, control, etc., be
>better
>if you had equal control over a more conventional embouchure. I
>suspect
>that it would. Don't forget also that your ears have become
>accustomed
>over a period of many years to hearing yourself as you sound with the
>"mushy" embouchure. The ears will have to be retrained along with the
>embouchure muscles. Use a tape recorder and the ears of your friends
>and
>teacher to confirm for yourself the differences (and improvements, I
>hope). Use the mirror faithfully!
>
>Ed Lacy
>el2@-----.edu
>
>
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