Klarinet Archive - Posting 000051.txt from 2011/08

From: Adam Michlin <amichlin@-----.com>
Subj: Re: [kl] flat high D
Date: Tue, 09 Aug 2011 17:45:37 -0400

Hi Phil,

My understanding of Joe Allard's teaching is that lifting the top teeth
off the mouthpiece was precisely to discourage movement of the jaw and
that, in his method, the jaw was to press up through the lip on to the
reed (some might refer to this as biting). I'm not really sure why it
would guard against biting, since the point of lifting the top teeth of
the mouthpiece is to not allow for equalization of the pressure of the
teeth when the jaw moves unnecessarily. The effect is that moving the
jaw prevents sound production almost entirely rather than allow the jaw
to create subtle pitch and tone problems.

Several very prominent doublers use and have used the same embouchure on
both saxophone and clarinet. I understand that Joe Allard's methods were
pretty much the same for both instruments. I do believe his method is
equally effective for both instruments and I also believe many doublers
are successful using differing methods between the two instruments
(methods that may not lend themselves to as much equal success).

Best wishes,

-Adam
The Joe Allard Project
http://www.joeallard.org

On 8/9/2011 11:46 AM, Reedsoaker@-----.com wrote:
> I'm a Los Angeles-based woodwind doubler. Over the years I've sat next
> to or taught many very fine doublers and many not so fine. Sagging high
> notes and throat tones are a common problem.
> Many Sax players try to use the same air column and a similar
> embouchure as they use on their Sax. Also, a big difference is the mouthpiece angle.
> As Keith mentioned, a higher tongue position helps. Think of the
> French pronunciation of "Tu". Make sure to not close the vowel off with an "E"
> sound as most American-English speakers do.
> Try keeping the clarinet closer to your body. This helps the
> mouthpiece angle. On Sax, we blow directly into the mouthpiece. On the clarinet,
> think of blowing across the reed and tip rail of the mouthpiece. Oh, and keep
> your head up. The upper/lower teeth position is different between the two.
> On clarinet the upper teeth don't go nearly as far from the mouthpiece tip
> as they do on Sax.
> Play your high D. While holding it, bring the clarinet closer to your
> body and lift your head. While doing this, let the lower lip go further
> down the reed and the upper teeth come up the mouthpiece towards the tip rail.
> This should also lead you to a more open jaw position.
> When you get used to this position, try lifting your upper teeth off
> the mouthpiece to guard against biting (ala Joe Allard). This is just an
> exercise, not a performance technique.
>
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