Klarinet Archive - Posting 001397.txt from 2000/06

From: rgarrett@-----.edu
Subj: Re: [kl] Basset embouchure
Date: Fri, 30 Jun 2000 15:06:09 -0400

At 06:03 PM 06/30/2000 +0100, you wrote:
>Roger G. is no doubt a much better and more experienced player than I am,
>but it doesn't seem very *useful* just to say that he uses the
>"same" embouchure on instruments with different sizes of mouthpiece, which
>clearly impinge on varying amounts of lip tissue and occupy different
>sizes and shapes of space in the oral cavity. I think it might be helpful
>if he explained just what he meant by "the same embouchure".
>Roger S.

I probably didn't post very clearly as I was only trying to disspell the
idea that my former post should be associated with a "bunched chin." Sorry!

There is always pressure from the teeth through the lip and to the reed.
And Roger S. is absolutely correct in assuming that I use variable pressure
with different size mouthpieces/instruments. I'm sure there is a change in
the internal - the oral cavity as well, although I am not aware when I
switch that I am changing. However, the amount of pressure from the teeth
through the lips to the reed, as well as upper lip and corners, is not a
huge difference - rather - it is something that would be difficult to
measure. My students do not seem to see a difference between embouchures
when I play for them, so it would be hard to descripe. Perhaps it is
simply a change in flex? The most important issue for me seems to be
maintaining the same "feel" from instrument to instrument - and sealing the
lips well.

As far as embouchure description goes, I kind of ascribe to the single lip,
drawstring, flexed and firm upper lip/corners and "pointed" chin approach
(if there is such a thing). I think that may be about it for me. I hope
this better clarifies what I didn't say........!

Sincerely,
Roger Garrett

Roger Garrett
Professor of Clarinet
Director, Symphonic Winds
Advisor, IWU Recording Services
Illinois Wesleyan University
School of Music
Bloomington, IL 61702-2900
(309) 556-3268

A Clarinetist's Revenge is sometimes personified by the following excerpt
from the London Daily News, circa 1926:

"The saxophone is a long metal instrument bent at both ends. It is alleged
to be musical. As regards markings, the creature has a series of tiny taps
stuck upon it, apparently at random. These taps are very sensitive: when
touched they cause the instrument to utter miserable sounds suggesting
untold agony. Sometimes it bursts into tears. At either end there is a
hole. People, sometimes for no reason at all, blow down the small end of
the saxophone which then shrieks and moans."

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