 The Clarinet BBoard
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Author: JasonOlney
Date: 2016-12-20 21:41
Hey all,
I was told online that my fatigue issues may be from flexing my embouchure too much in the wrong places. I try to focus on the corners and upper lip, while keeping the lower lip firm and against the lower teeth. I do most of my practicing double-lip and have half a dozen long tones that I use regularly. I feel like I'm doing all the right things but endurance is still an issue. Is it possible that I'm flexing the muscles harder than necessary? I've been told in the past that there really isn't a "too much" with regard to the proper muscles engaging but I've had bushels of bad suggestions.
Oh, and it could be reed related. I'm really struggling finding a balance with my reeds. My orchestral reeds tend to be too soft and my practicing reeds usually feel too hard. Part of the issue could be the hybrid approach I use (80% double lip, 20%single, depending on the context)...
Thoughts?
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Author: kdk ★2017
Date: 2016-12-20 23:10
JasonOlney wrote:
> Is it possible that I'm flexing the muscles harder than
> necessary?
In my opinion, it's certainly possible.
> I've been told in the past that there really isn't a
> "too much" with regard to the proper muscles engaging but I've
> had bushels of bad suggestions.
>
But there is a "more than necessary." The degree of engagement that's necessary depends a lot on your reed and mouthpiece setup. Some players use setups that need tons of pressure and somehow (here I'm showing my own prejudice) they make it work.
> Oh, and it could be reed related. I'm really struggling finding
> a balance with my reeds. My orchestral reeds tend to be too
> soft and my practicing reeds usually feel too hard.
How do you define "too" hard or soft? What happens when you play in each context to make you describe them that way? And, if you're using different reeds for orchestra and practice, how do you choose which to use for what?
> Part of the
> issue could be the hybrid approach I use (80% double lip,
> 20%single, depending on the context)...
>
I think it depends less of the context than on why you split your approach. What are you getting from the single lip that you can't get the other 80% of the time from double lip? Or, to turn it around, if for 20% of the time you're comfortable with the feel and result of single lip, what benefit are you getting from double lip the rest of the time? This isn't to criticize the "hybrid approach," just to clarify what changes (other than your top lip) when you go from one embouchure to the other.
Karl
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Author: Dan Shusta
Date: 2016-12-21 00:17
Interesting...Jason, it might be worthwhile to let us all know what make and model or mouthpiece you are using as well as to the brand name and strengths of reeds that you are using.
I believe the more info everyone has, the greater accuracy in the comments which will follow.
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Author: bmcgar ★2017
Date: 2016-12-21 02:30
What is required for a good embouchure is not muscular strength per se, but good muscle tone!
Sounds like you've been doing a lot of "chewing" on your mouthpiece and reed--probably biting, too--thinking in terms of "forcing" notes rather than developing stability and the ability to play throughout the range with a firm, but not vice-like, "grip" and without agony.
I suggest working with the late Tom Labadorf's long tone exercises. E-mail me offline if you would like a copy.
B.
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Author: JasonOlney
Date: 2016-12-26 23:32
kdk:
It can be hard to parse the various contextual elements but when I'm practicing, it's in a smaller space and I have no need to play over the rest of an orchestra. I have reeds that feel great at home and always feel too soft with my orchestras. And by too soft, I mean that the reed can't handle the kind of power I need to project. It could be that I'm relying on a harder reed rather than projecting better with some other approach...
As far as single lip/double lip- other than the typical issue of not really having the same stability with double v single (especially on thumb f and c), I just wear out too quickly with double. I feel like it offers a more vibrant and singing tone, which also projects better, btw, and articulation and slurring benefit from the double lip. When I'm experiencing fatigue or a passage is really technical and the clarinet is more likely to wobble, I might set my teeth gently on the mouthpiece. I do try to stay relaxed with my single lip and not bite too much.
So, I guess single lip is a available for when I feel like I need the stability and strength and double is ideal. It could just be that my constant flex of my lips are just too intense. Or maybe I just need more long tones (which is always the case).
Dan:
Great point- Vandoren M13 Lyre with Rue Lepic 3.5 or 3.5+. Some I clip and some I sand but I'm much more likely to adjust a reed to be more responsive while practicing and heavier when I'm rehearsing, if that makes sense.
B:
There could be some biting but I don't have excess motion with the lips. The fatigue comes from the lip muscles and not the jaw, though.
Thanks for the suggestions and further questions, all
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