 The Clarinet BBoard
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Author: silverembroidery
Date: 2019-10-10 01:56
Hello,
When I first started playing clarinet, I was already in the middle of my treatment with braces. I finally got them off nine months ago, but I have been in this continuous cycle of struggles with playing comfortably and producing the sound I want. As of now, my embouchure always seems to feel very loose and insecure in many areas, especially around the corners of my lips. (in the first image, my current embouchure is captured.)
When I look back at photos and videos of my embouchure from before and compare it to my present one, I feel like there are a lot of areas wrong with how I play right now. (second image is my past embouchure) In particular, I have noticed that the corners of my bottom lip poke out/"bloom" whenever I play. There are many other shortcomings in my playing that I am trying to solve, such as:
1. My sound is especially shrill and unsupported in the altissimo register—I have a piece where I have to play high A (4 lines above the staff) and it never comes out. Even when not playing this high, I struggle to maintain a consistent tone in all registers.
2. My staccatos in general are more heavier, and I have more trouble with tonguing fastly. This could be a side effect of my embouchure, or something I should work on individually.
3. My embouchure doesn't last long and collapses after a short period of time.
I've tried revisiting multiple basic tutorials on how to play, as well as recollecting how it felt when I played with braces. However, the issue of my bottom lip still feels like something I can't control.
If anyone has any tips, please advise.
Thank you
Post Edited (2019-10-10 02:20)
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Author: Bob Bernardo
Date: 2019-10-10 02:41
You described the problem very well. Can you post a pic? A few things, what mouthpiece and reeds/reed strengths are you using? Have you tried playing long tones everyday? Scales that go in all 3 registers everyday? How much mouthpiece do you put into your mouth? Often great plays with beautiful sounds say to use as much mouthpiece as you can until you squeak then back off just a shade. As for articulation, go slow and practice lightness using a metronome, then build up speed through the months, it's never too early to start this as well as start learning to double tongue, because this can also help with attacking the notes lightly. Maybe have a small mirror on your music stand to see whats going on with your embouchure.
Sometimes a really fast fix for embouchure issues is practice with a double lip embouchure part-time during your practice sessions and rehearsals and again look into a mirror when your sound gets better. You can go to a single lip anytime but this is surely the best way to build up the muscles with your upper lip embouchure and get the feel of the upper register you think is bright or harsh. It could be partly your reeds and mouthpiece also.
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
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Author: Bob Bernardo
Date: 2019-10-10 11:22
Hi! Nice pics! Well done! Maybe others will pop in. I hope they do. What I see is a decent embouchure and I think I'd like to see you try a double lip for maybe 5 minutes a day for a week and get back to us. Let us know how both lips feel - Tired, hurt, no change? If you don't have issues maybe add a few minutes a day.
Your lips might look a bit weak, but surely OK from having struggles with braces. One of my teachers said he played with a double lip embouchure for several years but then went back to a single lip saying that once your embouchure is set you can play whatever way you feel is best. This was Robert Marcellus. I was with him part time. My full time teacher was Iggie Gennusa who played with a double lip embouchure all of the time. Well both players were GREAT. If you can get a copy of the Mozart Concerto with Robert Marcellus and the Cleveland Orchestra, this will be a great guide to a wonderful sound concept. There of course are many other fine recordings, but for some reason I like to refer people to this recording. I think it has to do with the conductor and the Cleveland Orchestra.
I actually play with a double lip and I started playing because the vibrations of the mouthpiece hurt my teeth when I had braces. Little did I know that this turned out to be a great thing.
If it were me I'd probably pick the Wodkowski mouthpiece. I've heard really good things about his refacing and his actual mouthpieces. I haven't played any yet. He went to Yale Music and studied with David Shifrin who is one heck of a gifted player. Maybe in the genius level of the worlds best living clarinetists. So I'm sure Wodkowski completely understands sound and articulation, the 2 subjects you were asking about. Shifrin would make sure all of his students have a keen understanding of not just sound but the whole clarinet. Yes Shifrin and I know each other pretty well, We studied at some of the same music high school and had a couple of the same teachers. Find a few recordings of him too!
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
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