Author: Gordon (NZ)
Date: 2005-06-08 01:39
1. "Terminology...."
If low E jumps up a 12th, then there is something pretty wrong with the way you are blowing. A squeak more often refers to an unwanted substitute overtone that is a lot higher than this. In fact it may not even be an overtone. It probably occurs when the mode of vibration of the reed is completely independent of the rest of the instrument, no longer controlled by the length of the air column.
2. "What exactly is biting?" Seeing you have an analytical mind...
Some pressure needs to be exerted on the reed by the lip, which is in turn supported (for most players) to at least some degree by the lower teeth. The contribution offered by the lower teeth is determined by how firmly the lower jaw is closed, and also by any leverage used via the angle of the clarinet to the jaws. The support provided via the lower teeth probably varies quite a lot from player to player. What exactly is biting? It is a label given, usually to another player, when a person thinks that some excessive support from the teeth is being given. The amount of support is pretty difficult to measure. Some people who give quite a lot of support could well be so used to it that they are no longer aware that they are doing it.
The support that can be given by the lip itself, independent of the lower teeth, is dependent on the firmness of the lip tissue (perhaps age is a factor here), how sharp the teeth may or may not be (as regards pain &/or damage from cutting into the lip), and especially the condition (strength) of the muscles that are used to support the lip itself. When a person is a beginner, or well out of practice, or the reed is too hard, then the pressure contribution from the lip itself may just not be sufficient, so the player resorts to more support from the teeth - there is no other option! Then if the player complains about a sore lip, then other, more superior teacher/players, who have well-conditioned lips and muscles, accuse the other of 'biting'. IMHO. Bear in mind that excessive pressure on the reed may make the volume/tone stuffy.
3, 4, 5.
There are many parameters which contribute to a good, controlled sound. It is selecting and controlling the balance of all these parameters that can make you a good player. You have done well in discovering a few of them. A teacher who explains these parameters in a manner which has meaning to you in will greatly speed your path to great playing. I wish you luck in finding one. On the other hand, the voyage of SELF-discovery, although it may be slower, can be exciting and very satisfying. You seem to have the analytical skills to make this possible. The journey is one of having a good sound in your head, that you are aiming for, and the inclination to experiment with all the parameters you can find in order to refine the balance. Do not neglect experimenting with the all important breath pressure, adjusting the other parameters to suit. Some very good players are largely self-taught. Some personalities could never teach themselves.
I wish you well with your quest, however it is carried out.
Just another perspective for you to consider, from a good amateur, self-taught player.
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The Clarinet BBoard
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