 The Clarinet BBoard
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Author: Sneakers
Date: 2002-02-11 01:21
I started teaching clarinet again yesterday after a 6 year break. I only taught for two years before. Before I ask my question, I want to once again thank all of you for all the great knowledge you share. I have learned so much from you and felt much more confident teaching yesterday than I did when I was teaching before.
Anyway, for the question, which I know has been discussed a great deal, but I still need some help. The student I taught was playing with a bunched up chin. I tried to get her to flatten it using the straw method, the blowing the feather off the chin method, and finally saying "eee", and then "ooh". She apparently does all these things with a bunched up chin. Even if she got her chin flat, as soon as she brought in her corners, it went bunched up again. This was without the mpc, with just the mpc and barrel, and with the entire clarinet. Perhaps, I should have stuck to one thing. Any suggestions on how to get her to keep her chin flat? Oh, I also suggested pointing her chin to the floor.
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Author: GBK
Date: 2002-02-11 03:05
Sneakers...You may wish to read Carmen Campione's detailed article and thoughts on embouchure formation:
http://www.clarinet-saxophone.asn.au/articles/campione.html
You might also check the Clarinet magazine, as there have been numerous articles on embouchure - just about every other issue.
I seem to recall some fine articles by Tom Ridenour...GBK
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Author: Ken Shaw
Date: 2002-02-11 21:06
Sneakers -
When I went to Interlochen and studied with Keith Stein, I played with a bunched chin, which he changed with two ways exercises.
First, he had me use just the mouthpiece and barrel, held with my left fist around the barrel. He then had me stroke my chin, with my right index finger starting just below my lower lip and moving down, and my right thumb under my chin moving forward. Then I did the same thing with the instrument put together, but not playing. Then I did the same thing playing and open G. He told me to concentrate on the feeling of stretching in the area between my lower lip and the tip of my chin.
Second, he had me make a loose embouchure and suck both air and my cheeks and chin in, making everything flat, firm and, as he said, "dressy."
There are pictures and an excellent description of what he wants in his book, The Art of Clarinet Playing.
It took me about a week to get used to playing with a pointed chin. After that, it was automatic.
Good luck with your student, and remember that Stanley Drucker plays pretty well with a bunched chin.
Ken Shaw
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Author: Sandra F. H.
Date: 2002-02-13 00:17
Thanks, Ken! That is helpful for all of us who teach. As usual, you and GBK are thoughtful and insightful people. Thank you! Sandra
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