Author: Tony Pay ★2017
Date: 2018-07-16 23:44
I'm keen to keep this thread clean of opinion, so I'll answer the question about Joe Allard and his system in another thread.
But, I will answer Karl's question here. He says:
>> Are you saying that the lower lip presses against the reed independent of anything else? >>
No, I'm saying that what is important about the EMBOUCHURE must lie in the details of the contact of the lower lip and the reed. The post characterised that contact.
Of course other things come into it, and there are many other aspects of clarinet playing without which whatever you do with your embouchure would be useless.
>> So, then, is this contact between the muscles of the lower lip and the vibrating reed only one, but not the only, function of the overall embouchure? >>
Yes, if you want to expand the frame of discourse.
>> Doesn't the embouchure also provide the closure needed to direct air into the mouthpiece past the reed? Doesn't this function need some action from the upper lip muscles? >>
But that is surely secondary - even trivial. In THAT sense, you have an 'embouchure' when you 'blow' up a balloon.
You 'blow' the clarinet too. But you need, as you're doing that, to make sure that your lower lip is in a condition – that we clarinet players call an embouchure – such that it can learn, over time, to control the reed for musical purposes.
I was describing what that control must consist of.
Tony
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The Clarinet BBoard
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