Klarinet Archive - Posting 000710.txt from 2000/07

From: "Karl Krelove" <kkrelove@-----.com>
Subj: RE: [kl] Single v. Double
Date: Thu, 20 Jul 2000 19:11:04 -0400

> -----Original Message-----
> From: CmdrHerel@-----.com]
>
> 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.

I remember some time ago Abe Galper quoted a letter from Brian Manton-Myatt
claiming limitless endurance because he applied no pressure from his teeth
on _either_ lip. Manton-Myatt attributed the advice to "Both my Masters:
Francisco Gomez, and dear old Papa Henri Selmer..."

> 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.

This doesn't so much seem like strength as toughness of the tissues inside
the upper lip. The method referred to by Manton-Myatt requires genuine
_strength_ in the lip ("embouchure") muscles.

> 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.
>
I think you need to be a little careful about pronouncing it impossible to
get a good tone quality without the support of the top teeth. Most
double-lip players probably do sandwich the top lip between the mouthpiece
and the teeth, but apparently there is school of French playing that
doesn't. Others would have to comment on the sound they produced, as I've
never heard a recording of Gomez, Selmer or Manton-Myatt.

Karl Krelove

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