 The Clarinet BBoard
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Author: Claire Annette
Date: 2011-09-28 03:11
My speculation is that your throat was more open, your soft palette raised, and less pressure was being applied to the reed. That's at least the benefits that I find with using a doubble lip embouchure.
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Author: Joseph Brenner, Jr.
Date: 2011-09-28 04:09
I concur with Claire Annette's speculation; as well, I'd propose that you lessened the force of your "grip" on the mouthpiece and reed, relieving tension. Although one might increase the size of the oral cavity by using a thick patch on the mouthpiece to rest top teeth on in connection with a single lip embouchure, it would not relieve jaw tension if one has any propensity to exert undue pressure. One does not exert too much jaw pressure in a double lip embouchure because of the sensitivity of the upper lip. Reducing the jaw tension affects more than the muscles of the jaw--it affects air flow and openness of the throat and, no doubt, the freedom of the reed to vibrate.
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Author: Bob Bernardo
Date: 2011-09-28 04:42
With double lip it is only an opinion on my part as a double lip player since the late 1970's. I believe inside of your mouth the cavity changes to more of an "O" sound automatically.
I also feel there is a heck of a lot less tenson and freedom for your reeds to vibrate.
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Author: Ken Shaw ★2017
Date: 2011-09-28 15:28
I've found that, at least to some extent, the lower the jaw the better the sound. I played a "duckbill" Morgan mouthpiece for over a year until I heard a tape of myself and heard that my tone was dull. When I switched to a standard shape (admittedly from a different maker), it sounded more vibrant.
I've played almost exclusively double lip since Keith Stein converted me in 1958. For me, the sound is always better.
Ken Shaw
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Author: kdk
Date: 2011-09-28 16:04
I've played double lip for maybe 30 years. I've always felt that the increase in control and flexibility for me has more to do with the lip shape - the way my embouchure supports *all around* the reed (and mouthpiece). Many single lip players (by no means all) tend to press more under the reed, exerting less control around the reed's rails and edges. It is certainly possible to get the same effect (shape/application of embouchure pressure) by emulating the double lip with a single lip embouchure (with the upper pulled back against the teeth). I've simply found it easier to maintain the shape with the upper lip pulled inside.
Karl
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Author: Arnoldstang
Date: 2011-09-28 18:17
I'm finding the lower note is the problem. From A down to D for example.... If you firmly establish the D by playing a long tone and then repeat the interval , it is better. The clarinet wants to play a harmonic on the D which is a Bb. I'm not sure your argument for double lip is a good one. Certainly on this interval it is helpful to drop the jaw or use double lip to avoid the overtone but that to me isn't good enough reason to adopt double lip.
Freelance woodwind performer
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Author: Paul Globus
Date: 2011-09-28 18:48
My take. There's nothing inherently better about the double-lip embouchure. It does work better for some people (me included) but equally good or poor results can be obtained with either approach. You might say, "A DL embouchure does not a great clarinet player make."
One should also remember that every person is unique. Thus my adoption of the a DL embouchure will be unique to me and quite possibly radically different from a DL embouchure adopted by you or by someone else.
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The Clarinet Pages
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![[A5]](http://test.woodwind.org/clarinet/BBoard/smileys/a5.gif)
and ![[G5]](http://test.woodwind.org/clarinet/BBoard/smileys/g5.gif)
.![[F5]](http://test.woodwind.org/clarinet/BBoard/smileys/f5.gif)
, then ![[E5]](http://test.woodwind.org/clarinet/BBoard/smileys/e5.gif)
.![[D5]](http://test.woodwind.org/clarinet/BBoard/smileys/d5.gif)
. At at that speed, I just can't get all 4 notes to resonate clearly unless I resort to a double lip embouchure.