 The Clarinet BBoard
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Author: Joston
Date: 2013-06-28 23:43
I'm new to the clarinet (experienced on sax) and I'm loving the sound I get using double lip. However, I feel like a circus performer when it comes to balancing the instrument when playing open finger notes. How in the world can you keep the horn still when with just your thumb and lips? Is there a trick, maybe alternate fingerings? Any suggestions would be appreciated!
Post Edited (2013-06-28 23:49)
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Author: Joseph Brenner, Jr.
Date: 2013-06-29 01:16
I support the above recommendation. If you're just starting to play the instrument, why not support the bell on your thigh while you develop your embouchure and technique? Heck, I learned to play double lip from Tom in the early 1970's...and, at that time, he rested the bell on his thigh. He aspired to be able to play standing, as Harold Wright did. best wishes
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Author: Chris P
Date: 2013-06-29 01:17
For open G and throat notes, put some RH fingers down for stability and also to improve the tone quality of notes from open G to throat Bb - see if that helps.
I much prefer the tone when playing double lip, but still find stability of the instrument to be a problem.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Caroline Smale
Date: 2013-06-30 19:26
If you ever consider using a crystal mouthpiece you will find that it's extra density and weight slightly changes the balance of the clarinet making it slightly mouthpiece heavy.
I find this slight weight on the lower lip a great help in double lip as it assists the upper lip in it's task of counteracting the pressure up from the lower lip.
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Author: ned
Date: 2013-07-01 04:43
''How in the world can you keep the horn still when with just your thumb and lips?''
I have been playing DL since wayback - it's probably at least 20 years I suppose - and I have found it generally more comfortable.
The issue of horn movement was a bother initially, but this has been solved by the use of two techniques:
1/ Holding the instrument at about 10 degrees below the horizontal.
I notice on the video that the clarinet is held in the classical position of (what looks to be) about 45 degrees from the horizontal. If this is what you have been taught, I'm not about to try and convince you to do otherwise.
2/ Judicious use of the LH and RH pinkys to stabilise the instrument when playing open notes or notes with minimal fingering.
You may wish to ask the opinion of an experienced teacher before commencing a regime of (what will amount to) quasi alternate fingering.
I developed my embouchure and fingering independently of any tutor as I'm self taught, so feel free to ignore my advice if it conflicts with any ''legit'' advice you may receive. All I can say though is - it works for me - with my Rico 3+ reed and wide lay mouthpiece.
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Author: Chris P
Date: 2013-07-01 09:08
I play on crystal mouthpieces but I also play full Boehms, so the extra weight that adds at the top end of the instrument is counteracted by the extra keywork and the longer lower joint.
I definitely feel the extra weight and shift of balance of the crystal mouthpiece when playing a plastic clarinet with one.
But I use a softish mouthpiece patch which sort of acts like placing a lip on the top side of the mouthpiece.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Claire Annette
Date: 2013-07-01 13:17
Don't have any advice to add but just wanted to give you encouragement. Hang in there!
I've been playing DL for four years. When I started, I also dealt with the issue of balance and feeling that the clarinet was going to slide out of my mouth. Four years later, I have adjusted and feel very confident--without "biting down"--and have even been able to play DL standing. I like my sound so much better with DL and I don't plan on returning to SL playing.
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Author: Chris P
Date: 2013-07-01 15:47
If I was playing clarinet full time then I'd definitely persue double lip embouchure - as it is I'm getting called on to play oboe/cor anglais more than anything (which require double lip embouchure).
I think it's just the sheer size of the clarinet mouthpiece compared to the much flatter and narrower oboe/cor reeds which takes getting used to.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: JEG ★2017
Date: 2013-07-01 23:36
I'm no expert but I can relay my own double-lip experience.
I started double-lip in the 1970s. I'm lucky in that my upper lip is long and my teeth are very small; so small that they don't show at all when I smile. Having that anatomical advantage doesn't guarantee success however. You need to be aware of proper breath support and the use of your lip muscles when you play. The embouchure needs to be supported from the sides as well as the top and bottom. Firmness from the side muscles will greatly help to stabilize the instrument. By firmness, I mean keeping the lips against the teeth and forming a circle around the mouthpiece.
Double-lip will also make it absolutely essential that you develop a light technique. I went through several stages of lightening up my finger action. The final step was learning to play without supporting the clarinet on my knee. In my case it helped my posture to do that, and hence breath support. Another alternative is to use a neck strap.
Your results may vary depending on anatomical differences but it's definitely worth pursuing.
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Author: ned
Date: 2013-07-03 07:49
I wrote above: ''1/ Holding the instrument at about 10 degrees below the horizontal.''
I did not have the instrument with me at the time I (obviously) guessed it, but in hindsight I'd say 20 degrees below the horizontal is a better estimate.
I do actually vary the angle between about 10 and 45 degrees - depending on the amount of lip pressure I need. Mostly it's held higher - about 20 degrees if possible.
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