Klarinet Archive - Posting 000386.txt from 2000/05

From: Andrea Bergamin <a.bergamin@-----.it>
Subj: Re: [kl] The perfect Clarinet embouchure
Date: Sun, 7 May 2000 11:51:08 -0400

Embouchure is something I've never understood about clarinet playing.

To me the sound depends on the embouchure rather than the breathing.
When I'm talking of embouchure, I think of the individual conformation of
the mouth that everyone has. I'm quite sure that as everyone has a different
voice, everyone has a different sound. And this is strictly related to
teethes, tongue position, resonance cavities ecc...

There is no perfect clarinet embouchure.
For example my teacher (before I've quarreled with him), the 1st clarinet at
Filarmonica della Scala in Milan, would say:
A. Uses both lips;
B. Exerts maximal pressure on the reed;
C. Has less reed in the mouth than many people think;
D. It is completely different from a sax embouchure;
E. Maximal pressure with teethes (not with lips!!!) and very swift flow of
air.

With this kind of embouchure you should have different mouthpieces and a
very defined kind of breathing. But it works!
Fabrizio Meloni (the one of the Scala : the best clarinet player in Italy,
even if nobody outside Italy knows him) has a sound that is absolutely
divine.
I think that the double lip has a practical function. The higher lip isolate
the skull from the residue vibration transmitted by the top teeth. This
allows you to have a clearest perception of your real sound. And to improve
quicker.

--

Andrea
Bergamin

c.da Bergamini di Sotto, 1b
36078 Valdagno (Vicenza) - ITALY
tel. (+39) 0445 - 41.37.29
cell. (+39) 0349 - 63.73.428

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