 The Clarinet BBoard
|
Author: ClariBone
Date: 2005-07-25 01:00
Hello!
I have been trying to learn to use the double lip embouchure, usually for legato passages, but am unable to do so. I am attempting to use the method described in Ridenour's book, however it has met with little success. It is really frustrating. Any suggestions pertaining to double lip embouchure, especially formation would be GREATLY appreciated!!!!!
Thanks in Advance!!
Clayton
|
|
Reply To Message
|
|
Author: Brenda
Date: 2005-07-25 01:27
In Ridenour's book, The Educator's Guide to the Clarinet, pages 4-23 to 4-30 may be what you're referring to. These pages appear to explain this in great detail. Another explanation is in Keith Stein's book, The Art of Clarinet Playing pgs. 46 to 48. From experience I concur that the formation of the embouchure is almost automatic with the double-lip method, so I'm wondering if you're running into a situation that's not fully explained in the books? Would you be able to explain more about what you're running into? Personally I have to use a softer reed than the #4 I usually use in order to have any success with this, so maybe that's an issue that you have? Please give us more information.
|
|
Reply To Message
|
|
Author: Bob Phillips
Date: 2005-07-25 03:20
But,
Why are you doing this to yourself? I took a master class from Reginald Kell, who claimed to have converteed Benny Goodman to double lip. Kell sounded good, but do do hundreds of single lippers.
I don't know I I'd credit Goodman's later recordings as sounding better with his bitten upper lip!
I've personally got lots of improvement to make in my sound without stopping to re-learn to mouth the instrument.
Bob Phillips
|
|
Reply To Message
|
|
Author: hartt
Date: 2005-07-25 03:58
clayton
in a passing comment, my friend / duet partner, Dr. Charles Aurand, suggested I try double lip.
He uses double lip and was a stellar student of Keith Stein.
Irrespective of the problematic issues I encountered, Chuck then mentioned " it only works for about 5% of the people who try it".
I've read that one can also try using an embouchure so firm and formed that the teeth are not touching the mp.
As for your legato, practice your 'backswing' (no, not golf) and open your throat.
dennis
|
|
Reply To Message
|
|
Author: D
Date: 2005-07-25 07:30
I can't do double lip on the clarinet but I can on the sax, I think it is something to do with the angle the instrument is held at, have you tried experimenting with angle at all?
|
|
Reply To Message
|
|
Author: BobD
Date: 2005-07-25 13:06
It's impossible to determine exactly where you are having a problem without more details. The illustrations mentioned are good but could be misleading you if you don't interpret them correctly. Maybe you are trying to use too much lip, maybe you are biting too hard as a result of an already insufficiently strong embochure, maybe as mentioned above you need a softer reed until you develop it. I learned double lip from day one so didn't have any "conversion" problems. Be prepared to have a sore upper lip area for awhile or even later after long playing sessions. If your upper teeth are rough have your dentist smooth the rough spots. good luck.
Bob Draznik
|
|
Reply To Message
|
|
Author: ClariBone
Date: 2005-07-25 17:52
What I am having trouble with is keeping the jaw lowered while also maintaining a high tongue position. I also sometimes have trouble with my air escaping/leaking from the embouchure. Hope this helps to clarify!!! Thanks!!
|
|
Reply To Message
|
|
Author: BobD
Date: 2005-07-25 18:42
Quit concentrating on the jaw and tongue and just work on the tight seal.
Bob Draznik
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
