Klarinet Archive - Posting 000702.txt from 2000/07

From: CmdrHerel@-----.com
Subj: Re: [kl] Single v. Double
Date: Thu, 20 Jul 2000 17:02:31 -0400

Keep in mind as this thread continues, that one of the features of a double
lip embouchure is to put a lot of pressure to the top lip. This is why it
takes a long time to develop - the upper lip needs to get strong enough to
push the mouthpiece up against it and thus against the top teeth. So using
double lip as a way to avoid the top teeth isn't valid - at least if you want
to get a decent tone with it.

Teri Herel

In a message dated 7/20/00 4:35:34 PM Eastern Daylight Time, HatNYC62@-----.com
writes:

<< << Neil, you are right that I was generalising. I am quoting
Tom
Ridenour
who pushes the double-lip very strongly, as does Keith Stein, in their
books. I
rather assumed that it was safe to quote them on this topic. I have
attempted
to
convert to one myself, and although I am a beginner (18 months), it seems to
me that
I have an improved control over the reed.
Although to start with I felt fairly powerless and inadequate
without
the anchor of the front teeth, perseverance paid off and after about 2
months
I
automatically exclude the teeth.
It seems to me that someone who can play for only 20 minutes
before pain
in the teeth sets in must surely be "biting" on the reed well beyond the
acceptable
level.
The double-lip embouchure, in my understanding, is also used as a remedial
exercise
for correcting heavy bite. Thus it would improve technique and financial
liquidity
of the friend more efficiently than dental surgery, unless this is required
anyway.
Any thoughts on this and the double-lip from others on the list?
>>

I have not been following this thread very closely, but it seems to me that
not everyone is meant to play the clarinet. Dental surgery seems pretty
drastic. Afterward, the person in question would have to start all over
anyway. Perhaps a string instrument or the piano is the answer.

As for the double-lip embochure, I am not familiar with the playing of Dr.
Stein or Mr. Ridenour, but it might be a good idea to give them their
playing
a listen before you take their advice with such a drastic measure. Great
players such as Harold Wright and Ralph McLane used it wonderfully, but
Benny
Goodman's playing suffered (in my opinion) after changing to double lip
around 1950 or so, on the advice of Reginald Kell.

I also wouldn't assume that pain is automatically caused by "biting." As I
said, not everyone is meant to play the clarinet. >>

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