 The Clarinet BBoard
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Author: Arnoldstang
Date: 2012-04-19 15:17
As I was practicing today I focused briefly on air direction.. blowing down.....simple as it is.....opens the mouth/jaw and prevents biting. Rather than focusing on the amount of pressure on the reed this gets one thinking about air.
Freelance woodwind performer
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Author: CarlT
Date: 2012-04-19 17:58
Thanks for the tip. I'll try it tonight.
Even though most of the time I don't think I'm biting, I must be to a certain extent, for my lower lip does get sore, especially after practicing a long time (EZO denture cushions help that though). At any rate, I like to try such advice as you have given.
Someone else on the Board had recommended that as one progresses up the scale (higher notes), the more one shouldn't bite; however, I've been guilty of the direct opposite, but I'm trying to do better.
CarlT
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Author: Paul Aviles
Date: 2012-04-19 22:25
Thank you "Liquorice," I was thinking the same thing.
..................Paul Aviles
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Author: CarlT
Date: 2012-04-20 00:33
<<I'm not sure what you mean by "blowing down" and how you do this?>>
I took it to mean about the same thing as holding the clarinet closer to one's body, therefore 'blowing down'; however, now that you brought it up, I'm probably wrong.
I have a good sized overbite, so I hold the clarinet close to my body anyway. As I say, I may be way off. What say you, John?
CarlT
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Author: Arnoldstang
Date: 2012-04-20 00:45
keep clar angle the same. Direct air downward towards the bell. People with overbite might do this automatically but I'm taking a page from flutists who alter air direction in their playing. On clarinet you can aim the air towards the far wall , aim air at the floor far in front of you or the floor by your feet.
Freelance woodwind performer
Post Edited (2012-04-20 02:35)
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Author: Paul Aviles
Date: 2012-04-20 09:30
Ok, I'll be the old curmudgeon.
You can direct air flowing OUT of your mouth (such as a flute player) but air IN your mouth is either under pressure or it is not, there is NO direction. That is to say, if you blew as you do when playing clarinet with your mouth closed and put a hole in your left cheek, the air direction would be........to the left.
Perhaps you are speaking of tongue position since there really is nothing else you can vary other than the amount your jaw is open I suppose.
So if you are moving your tongue further forward as if you were a flute player......BRAVO....... I believe keeping the tongue forward, or in it's most natural relaxed state, or as if you were saying "EEEE," is the way to achieve the most focused stream of air. This is the most efficient way to produce a BIG sound that will make your whole clarinet resonate under your fingers.
....................Paul Aviles
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Author: Arnoldstang
Date: 2012-04-20 14:34
Nothing to do with tongue.......in order to blow down without moving your head you simply move your jaw back. Underbite to overbite.
Freelance woodwind performer
Post Edited (2012-04-20 15:28)
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Author: Tony Pay ★2017
Date: 2012-04-20 17:51
It shouldn't need pointing out that the goal in all of this is NOT, 'not biting'.
The goal is to address the instrument with an embouchure that has microflexibility in real time, able to respond to the moment-by-moment tonal demands of the music.
Embouchures that achieve 'not biting' whilst failing to satisfy this much more important goal are just as useless as ones that exhibit the rigidity and inflexibility of the 'bite'.
The only sensible general pronouncement is: constantly listen to yourself, and consistently have high standards against which to judge what you hear.
Tony
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Author: fernie51296
Date: 2012-04-22 18:22
Correct me if I am wrong for saying this but I always felt it good to have a little bit of a bite...
Fernando
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Author: Clarimeister
Date: 2012-04-22 18:43
In all reality you technically have to "bite" to get the reed to vibrate properly. When people refer to biting they're talking about the higher they go on the clarinet's range they bite because there's more stress and pressure and it's "oh no! High notes!" However there is a certain amount of "bite" or in better terms pressure on the reed to make it vibrate properly.
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Author: Paul Aviles
Date: 2012-04-22 21:51
I cringe at the suggestion of making the conscious effort to bite because that is all we do with our jaws when we are not playing (eating apples, tearing into steaks, etc.). So, no one needs to be ENCOURAGED to bite. Yes there is some natural stress, but far too little to need additional effort (your jaw muscle is WAY bigger than the poor little lip muscles that need to work in concert with it).
And you only need experiment with double lipping to see just how much is too much !!!
But if you are getting sore lip from 4 to 6 hours of daily practice, you may look into placing some material between your lower teeth and lower lip. I use thin patches of leather (courtesy of my blue jeans) which last for MONTHS each.
...............Paul Aviles
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Author: Buster
Date: 2012-04-22 22:59
Then let's call it "correct reed damping", which is what it actually is.
It combines the varying pressures of the teeth, and lip muscles, into a neat and tidy package. As a nifty side-effect, it takes care of the cringing that arises at the mention of bite!!!
But this is all simple semantics; the trickier part is finding out for yourself what "correct" can be comprised of. (Take heart- all that is needed for this is a good set of ears and your sensory nerve endings; diaphragmatic support withstanding.)
Yet more devious is actually writing down for someone else what "correct" is.
It will all be answered in my coming instructional manual: Dr. Strange-Mouth... or How I Learned to Stop Worrying and Embrace the Pressure."
-Jason
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Author: Buster
Date: 2012-04-22 23:03
Johnny,
In all seriousness, if you are experiencing a problem, try to find an intelligent teacher that can help you; reading about these matters can be confusing.
It's a case, where, once you have experienced "correct," any written material will become clear and you can determine if it is apt or not. However, if you are searching for an answer, the vast catalog of varied writings may only serve to confuse. Unfortunately, we can only help in a limited capacity here.
The "wrench" metaphor, which recently cycled off the BBoard, is one place to start. Unfortunately, only metaphors can be provided in writing: I assuredly cannot tell you exactly what I am doing in words, nor would my exact words necessarily be applicable for you. Thus, I would not presume to try and diagnose what ails you here.
Seek thee a worth-while teacher.
-Jason
Post Edited (2012-04-22 23:03)
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Author: Johnny Galaga
Date: 2012-04-22 23:32
It's true. This forum is excellent (unless you try to ask about reading jazz music), but it can't replace having lessons with a pro.
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Author: Buster
Date: 2012-04-22 23:44
Now it's not for this thread, but I can give you some help on "all that jazz."
(I did have a side career as a tenor man for a while.)
-J
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