 The Clarinet BBoard
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Author: Nick Conner
Date: 2001-09-25 22:20
Hi, I've recently been adjusting to double lip embouchure, and I like the sound I'm getting, but I have a really hard time keeping my throat F and High C stable. I've only been at this a couple weeks, but does a callus or develop on the inside of the top lip after a while? Long periods of playing (I have two consecutive ensemble rehearsals on Mondays that total 2 1/2 hours) really make the top lip sore and somewhat raw. I'm looking forward to making a complete transition to this method of playing, and if somebody could provide me with any information, I would greatly appreciate it.
Nick Conner
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Author: Anonymous
Date: 2001-09-26 01:48
I have a question about this myself, one of my former teachers recommended against playing double lip full time. Any reasoning for this?
Nick, wrapping your teeth with cigarette paper should help with the soreness, as should playing double lip for longer time, at least that is what my experience has been.
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Author: Luanne
Date: 2001-09-26 03:04
Hi guys,
I studied with Carmine Campione and he is a big advocate of double lip embouchure. Please read the link below and it should give you a bit more insight as to double lip embouchure.
http://www.people.memphis.edu/~ggholson/unitus/clar/CAMPIONE.HTML
Luanne :o)
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Author: beejay
Date: 2001-09-26 09:22
If your lip is hurting that much, you are probably carrying over experience of single lip playing, and you are still biting too hard. Make sure you have a very full and steady column of air, and relax your embouchure. Move down a number or two on your reed. You should be able to get a slightly softer but very flexible sound.
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Author: Anji
Date: 2001-09-26 14:19
Larry Guy's embouchure training and Anthony Gigliotti's column echoes a training method...
Play the G above the staff with some confidence, and the other notes will follow.
They mention only the RH thumb and embouchure in contact with the clarinet for 4-16 measures of 1/4 notes at 60-80 BPM.
I find it exhausting. This does help reinforce the sort of upper lip tension that helps in single-lip playing 'way up high'.
PS - Has any one heard JBYeh play the Shaw concerto on Reference records?
How inna hell do you play a note THAT far up there widdout an Eefer?
The Tuba always looks so inviting after a session like that.
Yike!
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Author: Keil
Date: 2001-09-28 06:55
beejay is correct, as a double lipper myself i can tell you that the pain you're inflicting on yourself can be alleviated. What i find that helps is using wax paper or the cigarette paper as a cushion between your teeth and lips when you start feeling pain, also remember that the whole idea behind double lip embouchure is not to pinch and bite but to use your lips muscles for control not your jaw. I've been using double lip for a little under a year now and i love it, i have consecutive rehearsals too that last far longer than 2 hours and i feel no pain if anything i feel fatigue from having to control my lip muscles, my embouchure, for such a long period of time... (easily over 5 hours of playing)... thankfully for you it gets easier the more you use it... so continue using up, cushion the teeth when you start feeling pain and work those lip muscles not jaw... oh and btw... you do NOT form a callous in your mouth, maybe a little indention where your teeth go but that's about it... enjoy... double lipping is beautiful and to me it's one of the many hidden gifts behind clarinet playing... Ciao!
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Author: Sylvain
Date: 2001-09-28 13:51
Why would one want to go back to double lib?
I have heard that well mastered it can be as effective as single lip, but better? I doubt it.
I mean, unless you are fighting a biting problem I don't see the point.
Can somebody explain?
Thanks,
-S
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Author: Ken Shaw
Date: 2001-09-29 21:21
Sylvain -
Keith Stein explains the advantages of double lip better than anyone in his book, The Art of Clarinet Playing. I've found everything he says to be true. I prefer the sound I get playing double lip, as well as the binding of one note to the next, which I find to be smoother.
There are plenty of great players using either method. And by the way, one of the greatest players, Gino Cioffi (principal in Boston) learned to play with the reed on top, and preferred that style, even though he eventually played with the reed on his lower lip because of prejudice against the other way.
You use what works best for you.
Best regards.
Ken Shaw
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