 The Clarinet BBoard
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Author: clibo
Date: 2009-11-12 11:14
Hi,
I've started taking formal lessons since May this year. As the saying goes some days are better than others, the same applies to my playing. It feels like my embouchure is changing all the time. My teacher advises me to not be to conscious 'bout it. Currently i'm trying to have a relaxed bottom lip at all times ensuring i get maximum vibration of the reed but battling with my high register. Any comments??
C
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Author: kdk ★2017
Date: 2009-11-12 12:38
Most "classic" embouchure styles I'm familiar with don't involve a "relaxed" lower lip. The jaw needs to be relaxed, or at least open and not pressing the teeth up against the bottom lip into the reed. Many players that I've read or studied with (who all happen to have come from the same basic French approach through Daniel Bonade and his students) talk about quite firm lower and upper lips focused around the mouthpiece and providing enough pressure to control the reed. The important thing is not to press and pinch the reed closed with pressure from the jaw.
Perhaps other "schools" of playing emphasize a different use of the lip muscles. But if you find that what you're doing is causing high register flatness, spreadiness and poor response (I'm guessing - you didn't describe the high register problem), the way you're using your lower lip may be counter-productive. You should discuss this with your teacher and, just as important, watch your teacher as he/she plays. Sometimes it turns out that the teacher says one thing and the student hears something else.
One other possible wrinkle to this is that, in trying perhaps too hard to eliminate lip pressure, you've been forced to use reeds that are too soft to support the upper notes on your mouthpiece. Again, your teacher is there in the room with you and able to see what you are doing and hear the result. Ask specific questions that come to you during the time between lessons. As a teacher I've learned a lot from having to think about the answers to students' questions. It can be a mutually rewarding process.
Good luck,
Karl
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Author: Gretchen
Date: 2009-11-12 12:40
I think if you're having trouble with your embouchure, you need to know what your teacher sees when you play. Use a mirror, watch your whole mouth area (chin, lips, upper lip, throat, etc) and see if anything moves, adjusts more than necessary, or changes for certain notes. You might start with some scales, arpeggios, or simple songs you have memorized in order to keep your eyes on the mirror.
If you notice movement, or your face changing, try and also associate what you see with what you feel. Once you feel movement or change, you will be able to keep things from moving around too much with out a mirror.
With all that said, a great embouchure is nothing without the air you put into the instrument. Maybe your reed vibrating problems are less an embouchure problem, and more so a lack of air in the upper register. Experiment and see what what works the best.
Good luck!
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