Klarinet Archive - Posting 000105.txt from 2002/11

From: Tom.Henson@-----.com
Subj: Re: [kl] Lower Lip Not Folded Over Teeth (was Sharp Teeth)
Date: Sat, 2 Nov 2002 10:55:03 -0500

Please forgive my not editing this long message, but I am sending this from
my Blackberry which does not allow you to edit the replied to text.

I use this embouchure that is described in this thread and have used it for
many years due to sharp lower teeth.

I learned it from a Doctoral Candidate at University of Michigan who studied
under Keith Stein. This is also the embouchure described in Keith' book.

I have to disagree with the statement that this type of embouchure lacks a
center to the tone.

With practice this embouchure is the closest thing to a true double lip
without actually playing a double lip.

It never fails that when I start playing around someone who has never heard
me play before that they are quite amazed and pleased by my tone.

I love the tone that I am able to produce with this embouchure and as I get
back into the swing of things it only gets better.

I would compare my tone right now to that approaching Harold Wright's.

I too also tend to play the clarinet in an more vertical position than
others and I know why these gentlemen did also. Holding the clarinet more
vertically puts more of the reed on the fulcrum of the lower lip and gets
the reed off the lower teeth. This takes away any edge to your tone that the
teeth can cause if too much pressure is used on the reed.

The result is that you are able to maintain a very centered tone and thus
produce what I would consider a sound closer to a double lip.

These of course are my stated opinions based upon my experience as I have
never heard myself from a distance, but I have had some valuable feedback
from others whose knowledge I do respect including my teachers.
I would be happy to disciss this further off list if anyone likes.

This embouchure to me is a much guarded secret in the professional world.

Tom Henson

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