 The Clarinet BBoard
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Author: Ursa
Date: 2013-05-22 03:46
I suffered a stroke some 7 years ago and as a result, have just a hint of paralysis on the right side of my face. Lately, I've been playing and practicing clarinet much more than usual, and it seems that my chops are building up. Unfortunately, the buildup has strengthened the unparalyzed side of my face more so than the side affected by the stroke--creating an unbalanced embouchure. Tonight's rehearsal was riddled with squeaks, undertones, wild intonation, and blown attacks. It was awful, and embarrassing, being unable to properly control my clarinet.
Has anyone else here had to work through a similar situation? How did you manage? Are there professionals who could help?
Post Edited (2013-05-22 03:47)
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Author: Paul Aviles
Date: 2013-05-22 10:26
Up front I want to say I have no experience with this at all.
It does seem upon analysis of rehearsal issues that perhaps the best tack may be to make the entire embouchure much much more relaxed. In essence balance out the active side to match the side that is limited. I might think switching to double lip, a softer reed, less open mouthpiece would help facilitate this. In all honesty, upon the first reading of your post I couldn't help thinking of those saxophonists who just place their lips around the mouthpiece and just blow (sounding great by the way), almost making a mockery of all the contortions we clarinetists put ourselves through on a daily basis.
Again, just a thought
Good luck!!!!
..................Paul Aviles
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Author: Taras12
Date: 2013-05-22 14:25
I wonder if a trip to a speech therapist or similar therapist might help. You might want to check with your family doctor. These professionals work with people to help restore normal oral and facial function. Often you can do the exercises at home with little or no additional equipment.
Tristan
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Author: pewd
Date: 2013-05-22 14:41
Have you tried a bass clarinet?
- Paul Dods
Dallas, Texas
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Author: Ken Shaw ★2017
Date: 2013-05-22 15:14
Mark Nuccio says that it doesn't matter whether you form your embouchure to the side. All that mattes is that you make it the same way every time.
Can you offset your embouchure to the left "good" side of your mouth?
If this causes an air leak on the right, your dentist may be able to make a custom-formed guard that fits over your right front teeth. Go to a stroke rehab specialist who works with musicians and ask for a recommendation of a dentist who has experience making guards.
Ken Shaw
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Author: Ursa
Date: 2013-05-22 15:48
Thanks for the insights, everyone...
I did go through a period of physical therapy and after going through that process, I was advised that the paralysis situation had improved to the point where muscular function was as good as it was likely to ever become. Incidentally, playing the clarinet was instrumental (pardon the pun) in rehabilitating my right hand. Still, I plan on following up with my neurologist--there could be a solution now that did not exist seven years ago.
I can play the harmony clarinets and saxophones without difficulty. Being Associate Principal clarinetist, my request to move to a harmony clarinet have been declined.
It never occurred to me to try moving my embouchure towards the stronger side of my face. I'll be giving that a try when I practice later today.
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Author: MSK
Date: 2013-05-23 00:57
I am a physical therapist who does stroke rehab for a living and orchestral clarinet playing for love. I want to applaud you on your perseverance to come back to "associate principal" level of playing. That must have taken hard work. I've had a few musician patients who gave up because they couldn't play at their previous skill level. You show that one can get back to playing and that the process is therapeutic in itself.
As to your problem, most likely adjusting your embouchure as others suggest is your best bet. Occasionally people still improve 7 years out, but it is rare. Therefore there is a remote chance that speech therapy might help -- they are the experts on strengthening facial muscles. If you do try speech therapy, make sure you take your instrument with you so the therapist understands your challenges. It's probably too much to ask that the therapist will be a clarinet player.
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Author: clarinetguy ★2017
Date: 2013-05-23 02:59
I second Paul's comments.
If you search through the archives, you'll find that there isn't one single correct embouchure. When I was in college, I read a book (I don't recall which one) that spoke of the hard cushion and soft cushion embouchures (my teachers were "hard cushion" all the way).
Today, I'm not sure that there are many people who play with a tight pulled back, big smile embouchure. The other extreme, which I think Paul might be referring to, is sometimes called the "Q" embouchure. Loraine Enloe has written about it: http://libres.uncg.edu/edocs/etd/1436/umi-uncg-1436.pdf
I personally use a hybrid approach--not pulled back, but definitely not "Q." I was fooling around with the "Q" a week ago and the results were not impressive. With a different mouthpiece and reed, though, I think it could work.
It might be worth following Paul's advice. Experiment with a more sax-like embouchure with other reed and mouthpiece combinations. Good luck!
Post Edited (2013-05-23 03:04)
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Author: Ursa
Date: 2013-05-23 03:31
MSK...thanks for the kind words. At the time of the stroke, I found myself unable to play the low brass instruments I had majored on at University. For whatever reason, I pulled my clarinet out of the closet and gave it a go--what a delight to find a wind instrument that I was still able to negotiate! Working out on clarinet helped me regain the manual dexterity and diaphragm function needed to play brasswinds, organ, and string bass, too. No, I'm not as good as I once was on any of these instruments, and that's a bummer--but I'm still good enough to get more booking requests than I could possibly accept.
Back to the embouchure situation...today's practice session consisted of digging through my proverbial shoebox full of mouthpieces and reeds in an effort to find a setup that sounds respectable using lighter reeds and less embouchure pressure. I'm encouraged by the results. Some time ago I bought a 5-pack of #2 Olivieri Elite reeds and never tried them until today--and they sounded wonderful! I'm still trying to nail down a mouthpiece that's not too open or resistant yet works well with a light reed.
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Author: Ken Shaw ★2017
Date: 2013-05-23 03:43
Among oboists, and a few clarinetists, the Q embouchure is called the aardvark embouchure. It definitely takes more lip strength if you push your lips out, but a slight push outward frees up the reed.
The smile embouchure stretches the lower lip cushion thin, which makes the tone more resonant -- some say brighter. The thicker lip cushion with the Q embouchure reduces the brightness.
I use a variety of the Q, with barely perceptible aardvarking. I add resonance when I need it by pointing my chin to pull down on the area between my lower lip and the tip of my chin. This flattens the cushion and also pulls part of the red portion of my lower lip out so that it's half inside and half outside of my lower teeth. Since I play double lip, I'm careful about keeping my upper lip tight against my upper teeth and pushing it down on the mouthpiece.
Ken Shaw
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