 The Clarinet BBoard
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Author: AussieClaire
Date: 2016-08-25 11:28
Hi all,
I have just picked up my clarinet for the first time in years and immediately started gettig sore cheek muscles. So I thought I'd research embouchure technique, and most of the links that came up on Google said that your top teeth should touch the mouthpiece.
That feels totally wrong to me - when I'm pulling my lower lip over my bottom teeth, I automatically pull my upper lip over my top teeth and I'm pretty sure I was taught to do that. Admittedly my last lesson was around 40 years ago, so I could be remembering wrong!
I tried playing with top teeth touching mouthpiece and got a good enough sound, but the vibration through my teeth was really annoying.
If anyone has any tips for the most comfortable and effective embouchure, I'd be very grateful!
Cheers
Claire
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Author: Tobin
Date: 2016-08-25 15:07
You were taught (or learned) the double lip embouchure. Google information for that (or search here on the BB) and use what you originally used.
There are pros and cons to single and double lip embouchure. In most cases, a well developed and employed single lip embouchure is trying to achieve what a double lip embouchure achieves more naturally, although with more effort for most people. A 360 degree, balanced, all around hold on the mouthpiece that does not pinch the reed to control it.
James
Gnothi Seauton
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Author: AussieClaire
Date: 2016-08-25 15:11
Thanks, James, much appreciated. I was taught - had an excellent teacher back in the day, who had been a pro clarinettist. Alas, he would be long gone now.
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Author: Roxann
Date: 2016-08-25 20:17
I HIGHLY recommend buying and reading Embouchure Building for Clarinetists by Larry Guy. It's an excellent book. It's a "supplemental study guide offering fundamental concepts, illustrations, and exercises for embouchure development." I think I got mine through Weiner Music.
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Author: AussieClaire
Date: 2016-08-26 00:23
Thank you! It doesn't seem to be available in Australia, but I've set up an alert on eBay for whenever a copy does surface.
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Author: Joseph Brenner, Jr.
Date: 2016-08-26 02:26
Among today's postings is one by Philip Caron; he provides links to performances by the late Harold Wright, who was principal of the Boston Symphony. Wright, a student of Ralph McLane, was a double lip player and a superb clarinetist. If you are not familiar with Wright's playing you owe it to yourself to listen to him. Other recordings of his include the Brahms sonatas, op. 120, nos. 1&2.(Boston Records) I've never heard better playing. The legendary British clarinetist, Reginald Kell, also played double lip. Playing double lip may not make you sound like Wright, but it won't "break your mother's back" or place a 7-year curse on your first-born either.
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Author: djschwartz ★2017
Date: 2016-08-26 03:26
I am one of the growing numbers who have returned to playing after a many years misguided absence. I was taught single lip. Interestingly, when I started playing again, I found a double lip embouchure to be more comfortable. Larry Guy's book has been very helpful with his explanations and exercises. I got my copy from Van Cott Information Services Inc, vcisinc.com (C047: Embouchure Building for Clarinetists by Larry Guy, $24.95 + S/H USD). The website indicates they ship internationally. Hope this helps. Welcome back and enjoy.
David
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Author: AussieClaire
Date: 2016-08-26 09:26
Thanks, Joseph and David. I've tried both ways again since writing my original post and just cannot get comfortable with single lip - but either way, I'm never going to get beyond mid-level amateur! I have ordered the Guy book and await it with interest.
I'm also grappling with transposing by ear to create an improvised accompaniment to songs written for piano (rather than writing out a new score) and was wondering if there is such a thing as OCR transposition software, but perhaps I'd better start a new thread for that
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Author: Roxann
Date: 2016-08-27 03:22
How about purchasing a C clarinet? There's no such thing as "too many clarinets," you know!
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Author: Philip Caron
Date: 2016-08-27 06:35
Based on earlier discussions, it seems - anecdotally, at least - that more professionals use single lip than double. However, it's difficult to generalize that one is superior to the other, as there's quite a number of factors involved, not the least of which is individual differences of players.
Pursuant to the comment about Wright and Kell both being double-lip players, please note that they had greatly different sounds. Or better, listen to their recordings and draw your own conclusions.
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Author: AussieClaire
Date: 2016-08-27 07:37
Thanks, Philip. I will probably stick with what I know rather than trying to force myself to change. I did listen to both Kell and Wright playing the first movement of Mozart's concerto but couldn't hear much difference (although obviously they are both totally awesome) - sorry, I am a rank amateur
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Author: AussieClaire
Date: 2016-08-27 08:45
Pardon my ignorance, Roxann, but how does a C differ from a B flat (other than pitch, obvs!)
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Author: Tony F
Date: 2016-08-27 09:12
It's slightly shorter, although not as short as an Eb. Other than that it's identical, and most modern C clarinets take standard Bb mouthpieces and reeds. You'll be able to play guitar or piano music straight off the page.
Tony F.
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Author: AussieClaire
Date: 2016-08-27 09:25
Seriously? Thanks, Tony! I thought that was an A key for some reason. Don't judge me
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Author: Katrina
Date: 2016-08-27 18:10
FYI, to find out how clarinet pitches differ, the letter/note name of the clarinet is the piano pitch that you hear when the clarinet plays its C.
A clarinets are longer (slightly), C, D, and Eb clarinets are shorter. The Turkish G clarinet is longer than an A. Alto and bass clarinets as well as basset horns are longer than the G.
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Author: AussieClaire
Date: 2016-08-28 10:09
Hi Katrina - thanks for that great info! I knew of basset horns but had no idea there was a Turkish clarinet.
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