 The Clarinet BBoard
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Author: babiej2000
Date: 2004-12-15 03:46
I am sure this has been discussed multiple times--but what would you guys suggest for a clarinet player that has a considerable "bite" to their embouchure--gets a good sound, but bites? Double lip embouchure has already been tried--and the bite still remains? Suggestions??
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Author: Karel
Date: 2004-12-15 04:05
Convert to double lip "permanently" because the pain will stop him/her from chewing up their lip. On the other hand is the biting so bad that you need to change it, on the assumption that the sound produced is good? What stage of learning is he at?
Karel.
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Author: diz
Date: 2004-12-15 04:22
er ... dentists' wax on their teeth?
Without music, the world would be grey, very grey.
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Author: babiej2000
Date: 2004-12-15 04:38
The problem with "the bite" is that it does not allow for consistant playing above "high C"...my assumption is the 'pressure point' on the mouthpiece/reed is incorrect...also have tried taking in more mouthpiece...
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Author: sfalexi
Date: 2004-12-15 13:59
Train on a very soft reed? I find that the softer the reed, the looser the embouchure has to be in order to get and maintain a good sound and consistently sound the note I want. If you bite too hard on a very soft reed, it invariably squeaks/closes up. Maybe this would help 'train' him to keep his embouchure loose.
Alexi
US Army Japan Band
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Author: Brenda Siewert
Date: 2004-12-15 14:41
Double lip is the way to go. I've used it for many, many years now and am surprised when I play with other clarinetists who don't.
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Author: earlthomas
Date: 2004-12-15 23:03
Perhaps you might experiment with placing very little upper teeth on the mouthpiece (less than a quarter inch) and extending the jaw forward so as to give the reed more vibrating length. The advice re softer reeds is probably very good advice. Changing to double-lip may not be the answer. My teacher was trained from childhood to play double-lip, and would not teach it to us. He participated in very early performances of "L'Histoire", and had a very illustrious career. He has a very "french style and sound" and used a tremendous amount of air. It was another teacher who gave me the "very little upper teeth" idea. He was a pupil of Hamelin, by the way.
I think extending the upper lip out and over the mouthpiece will help ease the biting also.
All the very best to you!
Sincerely,
ET
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Author: Tom J.
Date: 2004-12-15 23:43
Double lip is not a remedy for biting, you can exert to much pressure with any embouchure. The tendency to play sharp is usually an indicator of biting.
I suggest you stay with single lip and do this exercise before practicing:
Remove the mouthpiece from the instrument and play a sustained tone on just the mouthpiece. With an electronic tuner or piano make sure that the pitch produced is written C above the staff (concert Bb). If the pitch is any higher you are biting excessively, if too low not enough pressure is being applied.
If the reed is too hard or is out of balance you may be tempted to "clamp" down, if so use a lighter reed or one with a more even vibration. Once you are comfortable producing the pitch in tune, try to duplicate the same feel of C above the staff with the mouthpiece on the horn, ensuring the pitch is correct. After that try the same feel in the other registers.
Post Edited (2004-12-15 23:45)
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Author: Igloo Bob
Date: 2004-12-17 07:28
Are tenseness in the lips (especially lower) and biting usually related?
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Author: nickma
Date: 2004-12-17 22:03
Not enough continuous support from the diaprahm, so biting to reach hihg notes compensates for insufficient column of air?
Nick
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