 The Clarinet BBoard
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Author: Sang1Lee
Date: 2006-12-07 01:49
ok, so, i'm been playing about.. 5 years or so
i'm a sophmore in highschool
ok, so, i remember being told when i first started playing the clarinet
'keep you chin flat' right?
i've been thinking about it lately for some odd reason, and now, i check often if it is, and i think i've created a habit where... well, my chin isn't flat
now.... how important is it to keep your chin? is it something that i should just start from scratch to get?
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Author: skygardener
Date: 2006-12-07 05:22
The "Keep your chin flat" idea is generally insisted on by band teachers that don't play clarinet and were taught that in college.
In truth, some pros do it and some don't. Some have other methods. It's not a "bad" idea. It is a good idea, but it is not the ONLY idea. In my opinion, I think one should try it, and try other ideas, too. For me, the most important thing is to CONTROL your mouth (and arms and fingers, etc.)- be able to do all styles as much as possible to gain flexability in your technique.
Best-
Sky
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Author: ohsuzan
Date: 2006-12-07 13:21
The thread link that GBK provided is very good discussion of this subject -- thanks! I read that last year, but had forgotten about it.
I have struggled with embouchure -- both as a clarinetist and now as an oboist -- because it seemed like when I was doing what I thought I was being told to do, it didn't yield the results I was seeking.
I've come to believe that one must understand directions about embouchure formation from a functional standpoint, rather than as something absolutely prescriptive. When I "point" my chin (or, do what feels to me like pointing my chin), I get the wrong thing happening, embouchure-wise (too tight, too smiley). By trial and error, I found out that "opening my teeth" yields the sought-after firm, flat, pointed chin effect. Quite a relief to discover that one -- no more having to listen to my teacher ragging me about my "bunchy" chin, when I was trying so hard to make it pointy.
I recall something that I was told years ago in regard to vocal production: that all descriptions of the physical sensations one experiences while making music are necessarily subjective. Sometimes (often?) the descriptions of those sensations by skilled practitioners of the craft are helpful to a student; but if they are not, the student needs to discover what actions produce the desired end result and employ those, rather than slavishly adhering to something that doesn't work, just because so-and-so says that's how it is.
Susan
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Author: Iceland clarinet
Date: 2006-12-07 16:06
I don't know of any professional clarinetist here in Iceland and rigt now I can remember about 20 persons or so who are eather playing professionaly or teaching and they all use flat chin. Also all of my 4 teachers I had in the past say that you should use flat chin and they have studied in USA,London,Paris,Amsterdam,Wien,Belgium just to name few places.Teachers include Walter Boykens,George Pieterson,Hary Sparnaay,Alfred Prinz,Karl Leister,Eddy Vanoosthuyse,Rudolf Jettel,John McCaw,Bernard Walton,Alan Hacker,Philip Cuper,Fredrik Thurston and many more.
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Author: sfalexi
Date: 2006-12-07 16:48
Aren't "chin flat" and those sort of ideas just methods of trying something to better your sound? Well, it's all about the sound. Is your sound good as it is? If so, why should you change your embouchure to a "chin flat" if you already have good sound and control? Try it. If you think it's easier for you to play with a better sound with the chin flat idea, use it. If it makes your sound worse or makes it more dificult to articulate, hit certain notes, etc, then what would be the point?
Alexi
PS - Take the advice for what it's worth, but all in all, I usually take 'general' advice like that with a grain of salt. I'll give it a shot, but if it doesn't help, I'm not going to stick to it because it's "right".
US Army Japan Band
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Author: tictactux ★2017
Date: 2006-12-07 19:52
Heck, what good is a flat chin for if you ain't got no rhythm? ![[wink]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie3.gif)
--
Ben
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Author: Detru Cofidin
Date: 2006-12-07 20:50
I agree with Alexi, don't worry about these principles over the actual effect. If what you do works, don't change it to respect somebody else's idea of how it should be. Do what is effective.
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Author: tictactux ★2017
Date: 2006-12-07 21:56
Aaron wrote:
> GUARANTEE
There's no such thing as a guarantee. All warranties are either scams or void where prohibited. ![[tongue]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie6.gif)
The idea is nice but it postulates a generic type of player with a generic chin, generic lips and whatelse. You may follow the advices given, they're good for getting started, but in the end it's you who finds out what is most comfortable to play over more than two beats and still roughly sounds like a clarinet.
If it were all about a Model T embouchure, why do people buy different mouthpieces, ligatures and reeds? IMHO it's all about finding the sweet spot and not about avoiding a strawberry chin or playing off-center or pointing your horn towards the ceiling.
Heck, you will hear it.
Again - nothing against such articles, I've read them, they helped me along the way and all that. Take what suits you, forget what doesn't.
--
Ben
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Author: Aaron
Date: 2006-12-07 23:52
Sorry Ben, but I disagree.
In regards to devloping your personal sound, I've found that most of this can be done by changing the tongue position. I don't necessarily adhere to the "shh" tongue position that Julie reccomends, but I do think that to create a beautiful sound one must have their tongue in a relaxed, high and forward position. Some people prefer other vowel sounds such as "eee" etc etc etc.
From my experience, working towards a natural, "standard" embouchure yields only positive effects. Granted there can be some slight changes with the face muscles to suit different sound concepts, but I think that there is a "best" way to do it.
Then again, if you do prefer a fuzzy, hollow, unprojecting, or otherwise unorthodox sound, do whatever the heck you want with your embouchure.
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Author: sfalexi
Date: 2006-12-08 04:22
Quote:
Then again, if you do prefer a fuzzy, hollow, unprojecting, or otherwise unorthodox sound, do whatever the heck you want with your embouchure. but you can't automatically equate your idea of an "unnatural" embouchure with that of a fuzzy sound. For all you know, someone could get a beautiful sound with an embouchure that is NOT formed the way that article says to. Maybe someone gets a beautiful sound by playing out of the SIDE of their mouth. You never know . . .
US Army Japan Band
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Author: tictactux ★2017
Date: 2006-12-08 12:47
Aaron,
I wasn't commenting about the quality of the suggested embouchure. I was commenting about your "GUARANTEED". I usually shy away from everything that claims to guarantee success.
I know at least one professional who has an unconventional embouchure and nonetheless I like the tone.
As I said - nothing wrong with following advices and trying out stuff. It might or might not work for you. That's probably a life-long quest...
--
Ben
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