The Clarinet BBoard

The Clarinet BBoard The C4 standard

New Topic | Go to Top | Go to Topic | Search | Help/Rules | Smileys/Notes | Log In

Previous Message | Next Message

Re: Too much lower lip!

Author: Tony Pay ★2017
Date: 2013-02-17 20:36

I wrote something about 'embouchures in general' on the Klarinet list several years ago that deals with some of the issues made apparent in the clip from David Etheridge -- but that seems to be down at the moment, so I can't link to the post. Edit: actually, I can now, thanks to Mark Charette; it's:

http://test.woodwind.org/Databases/lookup.php/Klarinet/2002/04/000770.txt

The fallacy embodied in Etheridge's illustration becomes apparent when you consider what would happen if the single triangle were to be replaced by a COLLECTION of different sized triangles, and that you used that collection of triangles to play a tune.

THEN, some of the notes would need to be more powerful and brilliant, others less so, depending on the nature of the tune. It would be an ADVANTAGE to be able to hold each triangle a little differently.

Moreover, if you think of each note of a tune on the clarinet as corresponding to a triangle, it's clear that the triangles wouldn't have equal responses, because some notes on a clarinet are brighter than others.

An embouchure needs to be FLEXIBLE, and be able to contribute to the flexibility of the other two systems we use to control the clarinet: diaphragm and tongue position. It needs to be able to be 'minimal' at some moments, and 'damping' at others. The flexibility has to operate in real time, and in the end occurs moment by moment outside consciousness in a practised player.

The fundamental requirement of the 'base' embouchure is therefore that it needs to be of a nature that allows the possibility of our learning to produce these microadjustments over our days, weeks, months and years of practice.

It cannot do so if we 'bite' -- yes, why 'biting' is wrong is that it reduces the sensitive muscle of the lower lip to the status of a piece of inert meat. (I suppose HORSE, currently, in the UK;-)

And it cannot do so if we put too much lower lip over the teeth. Then, we damp willy-nilly.

But, it cannot do so if we put TOO LITTLE lower lip over the teeth, either! Then, we cannot control the brilliance of the sound when the music requires it.

When you understand that it's important to be instantly able to NOT DAMP the sound when required, and that it's equally important to be instantly able to DAMP the sound when required, then you can proceed intelligently in forming your embouchure.

The sort of nonsense that Etheridge produces in his silly book about how various players have approached the Mozart concerto is in my view matched by his simplistic approach in this video. I'm happy that he got you thinking about folding your lower lip over to a lesser extent; but you and others need to understand these matters more deeply for yourselves in order not to go overboard in the other direction.

(Incidentally, does he inspire you? Does his recital of his credentials impress you? Does he look and sound like someone bearing the torch of excellent playing?-)

Tony

Post Edited (2013-02-17 22:07)

Reply To Message | Avail. Forums | Flat View

Newer Topic | Older Topic

Topics