Klarinet Archive - Posting 000604.txt from 2000/08

From: Neil Leupold <leupold_1@-----.com>
Subj: Re: [kl] Embouchure secret...
Date: Sun, 20 Aug 2000 19:38:02 -0400

As you will often hear the more enlightened private teachers say,

"Never mind the swing ~ just get the ball in the hole."

-- Neil

--- "F. S. Sterns" <fssterns@-----.com> wrote:
> I feel compelled to make an observation...and there is no intent to stir up
> controversy. What follows is an honestly held opinion! But it would be
> useful to hear comments...
>
> ...there is, in my view, no specific standard for embouchures for any member
> of the clarinet or saxophone families. Different approaches work well for
> some but not others.
>
> For example, I use virtually the same embouchure for both bari sax and bass
> clarinet, which some observers find almost unbelieveable.
> Yet...truthfully...it works for me. I find this "hybrid" approach gets me
> low notes on the bari sax at pp with no difficulty as well as solid, nice
> sounding second and third registers on the bass clarinet. Not "logical"
> perhaps by some standards...but it works.
>
> I applaud those willing to experiment and emphasize that the prrof is in
> what comes out of your horn. The Diz [Gillespie] looked like his cheeks were
> going to explode whenever he played and I think these contortions still
> bother some trumpet teachers. But you can't fault Diz's playing no matter
> how unorthodox his embouchure.
>
> If it works for you, Andrea, go with it...and your sharing this step forward
> with the list is genuinely appreciated by this member. I can't agree with
> you, Bill, if Andrea's "thing" gets her what she wants...theory
> notwithstanding.
>
> Remember, please, this is in the interest of "pure research"...not intended
> to start a battle about "correct" embouchures! :-)
>
> FSS
>
>
> > From: Bilwright@-----.net (William Wright)
> > Reply-To: klarinet@-----.org
> > Date: Sun, 20 Aug 2000 09:26:42 -0700 (PDT)
> > To: klarinet@-----.org
> > Subject: Re: [kl] Embouchure secret...
> >
> > <><> Andrea wrote:
> > If you blow up the skin beneath the mouthpiece (the "chamber" in front
> > of the lower teethes) the sound become more round, "plump" and sweet.
> >
> >
> > My comment, and I'm still learning, is that what really counts is
> > having a 'roundish' embouchure rather than a 'flat slit' embouchure.
> > The usual way of describing this is to imagine pulling the corners
> > of your mouth inwards as if tightening a purse string, but since
> > different people visualize in different ways, sometimes this image
> > doesn't work.
> > I suppose that puffing out your lower lip could have this
> > 'rounding' effect; but in general, puffing out your cheeks or lips means
> > looser muscles and a leaky embouchure that doesn't apply even pressure
> > across the entire reed and unfocused air with less breath support and
> > less movement of air.
> > Therefore, IMO, it's a "bad thing."
> >
> >
> >
> > Cheers,
> > Bill
> >
> >
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>
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