Klarinet Archive - Posting 001260.txt from 2000/10

From: A4ACHESON@-----.com
Subj: [kl] No Subject
Date: Thu, 26 Oct 2000 15:45:53 -0400

<< Anne Lenoir <AnneLenoir@-----.net> wrote:

> Unfortunately, she has a doubled-up chin and doesn't seem to have the
> ability to play and point her chin at the same time. Any suggestions?
>>

I have found this usually to be the result of two factors,

1. Students trying too soon to play in tune and
2. Trying too soon to play with a mature sound, perhaps in imitation of their
tutor's.

This results in the student 'short-cutting' embouchure development, by biting
with the jaw and pushing up with the chin muscle. This perhaps results in 'in
tune' playing and 'refined' tone but also a very poor legato, a small dynamic
range, and little control of intonation. They also require harder and harder
reeds to combat the bite.

The student needs to appreciate these points and be helped in her situation.
She must appreciate that the development of tone quality is a slow business.
She must be removed, for a time at least, from a situation where keeping up
the pitch is a problem, or equipped with a shorter, perhaps adjustable,
barrel to assist. I also insist that my students practise long tones in the
low register during the lesson, using a very soft reed, soft enough to not
allow any bite. In this way the feel of a 'proper' embouchure may, we hope,
develop.

I don't like to write any more because there is almost nothing one can write
that cannot be mis-interpreted and I find most tutor books are very
unclear/ambiguous on the subject of embouchure.
The exception to this is Keith Stein's wonderful book 'The Art of Clarinet
Playing' here he is insistent on the flat chin. [Practising, even only
temporarily, double lip embouchure, may give your student the proper 'feel',
but you must be sure the lip muscles are not 'trapped' behind the cutting
edge of the teeth, only the flesh should cover the teeth.]
I do agree totally about the importance of the 'pointed' chin but wonder
where this tradition started. It was impressed on me by a brass tutor who
pointed out the counter productiveness of trying to close up with the chin
muscle, the hole through which you are trying to blow.
On the other hand, we are faced with the top class players who do not 'point'
the chin, but thankfully there are few of them, and, like you, generally I do
not like their sound.
AA

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