 The Clarinet BBoard
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Author: Jude
Date: 2000-05-05 14:32
I`ve been playing the clarinet for eight years now, but I`m still experiencing the problem that many beginners face. If I try to play for long periods of time without a rest, or am playing a slow and sustained movement of a piece, I cannot keep my embouchure, and air starts escaping from the corners of my mouth. The problem has improved slightly since I improved my breathing techniques and diaphragm support recently, but I still don`t seem to be able to build up the stamina I need. I have also tried changing my embouchure, as I used far too much pressure on the mouthpiece. If anyone has any other tips or suggestions, they would be much appreciated. Thanks!!!
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Author: Meri
Date: 2000-05-05 16:05
One thing all wind players should do (but most don't), is to place breath marks at the ends of phrases. A lot of music does not have traditional four-bar phrases, not to mention the length of a phrase changing from phrase to phrase.
While on that subject, consider learning to take a 'low' breath on the marked breath marks most of the time, and the 'total' breath at the beginning and during long rests in the music.(I take these terms from Kristi Sturgeon's article on breathing in the most recent issue of the ICA journal (March 2000))
Meri
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Author: Bob Gardner
Date: 2000-05-05 16:38
I found that if I take a little bit more of the mouth piece into my mouth or move my tooth (only have oNe) (joke) up a bit it helps with the high note and also helps with the embouchure.
Peace
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Author: Fred
Date: 2000-05-05 17:08
What is your reed/mouthpiece set-up? The situation that you describe could be created by using too hard a reed for your mouthpiece - causing you to overwork the embouchure in order to get a clear tone. Other than that, I'd watch the amount of "bite" pressure you put on the mouthpiece. I like to see more support from the sides than from the top and bottom.
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Author: J. Butler
Date: 2000-05-05 22:24
I agree with Fred. I would check out your mouthpiece and reed combiniation. It sounds like your setup is not right for your embouchre.
J. Butler
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Author: Karel Vahala
Date: 2000-05-06 04:42
An easy and never wasteful check for your embouchure is to try the "double lip" embouchure, which makes sure you do not bite down (or up) on your reed too hard. I have tried it and after 2 weeks automatically now use it. It improves your lip
strength and control out of sight. there is a good description in Keith Stein's The Art of Clarinet Playing, and a very detailed one in Tom Ridenour's new book. There is probably a lot in the database also. The advantage of trying this is that it will improve your embouchure whether you stick with the "double lip" or not, and it may save you spending a lot of cash on finding a new set up.
Good luck Karel.
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Author: HTW
Date: 2000-05-06 23:20
If it's any conslation, I went to see a recital played by a fabulous clarinet player, the best in the city and an idol to the rest of us young clarinetists, and he was leaking too.
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Author: beejay
Date: 2000-05-07 10:27
I endorse Karel's recommendation of the Stein book. Playing double lip, even temporarily, forces you to think about all the other muscles that come into play. I've gone over to double lip playing all the time, with a softer reed, since I have the impression it produces a more delicate and rounded sound. My usual audience (my wife) prefers it greatly, but my teacher disagrees. I figure I'm playing for my pleasure not his, so I compromise by playing single lip for lessons.
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Author: earl thomas
Date: 2000-05-12 23:28
If you have a "normal" dental configuration, try taking very, very little mouthpiece under the upper teeth and thrusting your jaw quite forward to place more reed in your air stream. The Stein book points out the value of a firm (Dick Tracy) chin. As for double-lip, one of my most famous teachers would not teach it to us and a colleague of his, also very famous, did not insist upon it, tho' they both had been brought-up to play double-lip in France. You can put one of those rubber patches atop your mouthpiece and cut-down on "bone conduction" almost completely. To seal the air and open the throat more, simply try thrusting your upper lip out and over the mouthpiece a bit more. That advice came to me from the great Joe Allard and it not only seals the air better (almost completely), but helps you to create a more liquid legato and open sound. Lots of luck to you! Sincerely, E. Thomas
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