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 Embouchure Weakness/Pain
Author: moe729 
Date:   2011-05-21 00:48

Hi everyone,
I've been playing the clarinet since January. I am now playing on a Vandoren 3 size reed. The problem I am having is that my embouchure will get very weak after I've been playing for a while, specifically in the lower register. I can't seem to figure out why. My lips become floppy and I can't even form my mouth to play a note for about 10 minutes or so. They will buzz at the corners of my mouth if I try to play. This is extremely frustrating since I can't quite figure out what is wrong. Can anyone help me out? I need to know what is wrong.



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 Re: Embouchure Weakness/Pain
Author: Katrina 
Date:   2011-05-21 01:42

It takes time to build stamina in any muscles. How long are you playing when you start to lose control?

My recommendation would be to practice in several shorter increments a day rather than one session. You can build after a few days in length, and attempt no more than 45 minutes a day total for at least a couple of weeks. In fact, 30 minutes would be good each day for the first week.

A number 3 reed shouldn't necessarily be a big problem but a lot does depend on what mouthpiece you're using too. Another recommendation would be to alternate between 3's and 2.5's. Start on the 3, and when you tire, play for a few more minutes on the 2.5.

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 Re: Embouchure Weakness/Pain
Author: moe729 
Date:   2011-05-21 02:13

Usually my practice sessions don't last for longer than 45 minutes...maybe an hour depending on how my lips feel. The weakness usually occurs after about 20-30 minutes of consistent playing. However, it happens faster when I'm playing in the lower register, even if it's only for a note or two; open G on down and I'm through.

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 Re: Embouchure Weakness/Pain
Author: moe729 
Date:   2011-05-21 02:15

Oh and I'm using the mouthpiece that came with my instrument (very cheap). I am planning on buying a new one very soon.

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 Re: Embouchure Weakness/Pain
Author: Buster 
Date:   2011-05-21 02:59

These sorts of issues, or truly any physical issues, are tricky to address in writing only. We're here to help but simply telling you what is wrong is very near to impossible; but take heart! as we can help guide you to your answers. A bit more information is needed however, as a starting point....

As Katrina wrote-
-You mentioned a Vandoren #3, but with out knowledge of what mouthpiece you are using, the reed strength is difficult to discuss.
-The muscle "strength" (not the best term to apply I fear) and endurance needed to maintain the embouchure do take time to develop. While you mentioned that you began your studies in January, you neglected a vital piece of information- what length of time you are actually playing when you feel this weakness begin. Also important is what exactly you have been practicing (i.e. scales, etudes, long tones etc... and in what registers) before you experience this. This weakness may occur in the lower register more often than not, but the root cause could still be something done earlier in your routine. (For an example, which may or may not apply, if you practice with the same routine everyday, it could be that by the time you reach an exercise in the lower register, you have reached your "limit"- the limit of endurance your muscles have currently developed.)

Without getting too technical, muscles are made of different types of fibers (Types I and IIa,IIb etc.. not important), in differing quantities, both for aerobic and anaerobic function. When they have exhausted their supply of fuel (carbs),aerobic function, and reached their anaerobic limits, they become unable to contract. That is specifically what you're experiencing when your embouchure becomes "floppy" and the corners buzz. You have simply pushed them to their limit, and the 10 minutes or so you mention is their base recovery time. Trying to play during the recovery period is pointless, however noble your intent, as they will not function properly. Also, attempting to play directly after this short recovery period, while at times worthwhile if applied PROPERLY, can actually be a waste of time. Simply put, your face currently needs more than 10 minutes to return to a usable state. This aspect can be frustrating; you WANT to continue to practice/play but your body simply won't cooperate! (reminds me of the old question "Why am I banging my head against the wall? because it feels so good when I stop!") ...just some background on what, and the why of, what is physically occurring for you. (and why it can be more beneficial to practice in smaller increments of time rather in one long session)

Now I know that was a bit off topic, but necessary to know so we can figure out what is going on here. You may be doing something inefficient to your body that is causing you to tire quickly. Maybe your expectations of what you want to do and what is realistic for where you are in your progression are different. If it is only occurring in the low register, I actually may have an idea, but with out more information don't want to tell you anything that would lead you astray. Give a few more specifics and I/we can hopefully guide you down the right path.

-JH

today's nugget of joy- "I could never marry someone who doesn't understand the cover 2 defense." - Daniel Tosh



Post Edited (2011-05-22 05:32)

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 Re: Embouchure Weakness/Pain
Author: kdk 
Date:   2011-05-21 03:10

You've only been playing since January? Several questions come to mind:
1. How old are you?
2. What kind of music or what specific material are you playing? How much of it is above the break (above throat B-flat) and how much is in the lower chalumeau?
3. What mouthpiece are you using (cheap isn't necessarily terrible).
4. What does your lower register sound like? Is it clear sounding or breathy? Very loud or muffled?
5. How high are you playing above the break? Are you playing as high as the altissimo (above C6 - compare to the graphic at the top of the page next to The Clarinet BBoard)?
6. How hard do you fell you need to blow to produce a satisfactory sound? Can you play softly without the sound's becoming breathy or fuzzy?

One work around is, of course, to take frequent rests - leave the room every fifteen minutes or so and get a drink of water or check email or anything else that you can accomplish within a few minutes and then come back to playing. You can do this until your endurance has improved, although it isn't a bad idea no matter how strong you feel to stop every so often.

Karl

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 Re: Embouchure Weakness/Pain
Author: moe729 
Date:   2011-05-21 03:22

1. I am 17 (clarinet is my 2nd instrument, percussion is my primary)
2. Ummm I usually play the material in the Essential Elements books and some music my school band is playing (I play percussion in band, but I have the clarinet music). Some of that I obviously can't play because of the technical level required.
3. I don't know the exact name of the mouthpiece, but it came with this: http://amzn.to/mpHLsh
4. My low register is very clear and I can play soft or loud. It just tires out my embouchure.
5. I usually play the full range of the instrument from low E to G and octave above the staff chromatically. I rarely ever play above D above the staff in the music though.
6. I don't need to blow too hard to produce a sound. It all depends on how fast the air is. When I first adjusted to Vandoren, I had to blow extremely hard. Now, I can play on it easily. And yes, I can play softly without becoming fuzzy except for in the upper register (C-G above the staff). Playing quietly up there makes me squeak.

I've been told by some instrumentalists in my school band that I just need to work slower and practice scales/long tones and more of the basics rather than trying to play music.

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 Re: Embouchure Weakness/Pain
Author: Katrina 
Date:   2011-05-21 03:54

IMO, low notes are more resistant than the really high notes. Remember to use your abdominal muscles for "air support." Trying to blow with the neck, throat, cheeks, or lips makes your embouchure get more tired quickly! One way of dealing with this issue is to think of pushing your lower abdomen (just around your navel and beneath) a little out and down. It's really hard to describe online! Try a lesson or 2 with a clarinet specialist!

Really, after only about 4 months, 20-30 minutes on a #3 reed is about right. Particularly with the stock mouthpiece! Try stopping just before the real pain and tiredness set in. Then take a break of at least 30 minutes and go back and practice again!

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 Re: Embouchure Weakness/Pain
Author: clarinetguy 2017
Date:   2011-05-21 12:49

Tom Ridenour has pointed out that unbalanced reeds can cause the embouchure to tire more quickly, and I think he's right. Here's a good easy method for balancing reeds: http://www.youtube.com/watch?v=jCA0kBxT3q4

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 Re: Embouchure Weakness/Pain
Author: kdk 
Date:   2011-05-21 13:48

It sounds as though the most likely cause of your problem is simple fatigue. If your lower register is clean-sounding and you aren't working especially hard to produce a clear tone in the lower register, maybe you just need to develop the muscles over a longer time period. To be honest, I've never worked with a beginner student who practiced as much as you do after only 4 or five months of playing. It's also not typical of beginners to be playing over as large a compass as you are in that amount of time. And now I'm even more impressed that you spend this amount of practice time on a second instrument - that you're primarily a percussionist.

One slight red flag is your saying that you "had to blow extremely hard" when you first started using Vandorens, but that now you play them easily. People can get used to hurdling all kinds of obstacles successfully and still be working harder than they need to be. You might try a softer reed - maybe a #2-1/2 Vandoren so you aren't changing too many variables at once - and see if that helps with the fatigue without costing anything elsewhere in your playing. I've often enough experienced good-sounding, responsive reeds that were just a little too hard to play comfortably over the length of an entire rehearsal or concert. Keep in mind that the strength of the reeds you play is not an indicator of development or playing ability. The right strength has to be determined in combination with the mouthpiece and even the instrument you play the reeds on, because the entire system, not just the reed, is producing the resistance you need to blow against.

Karl

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 Re: Embouchure Weakness/Pain
Author: moe729 
Date:   2011-05-21 15:24

"Trying to blow with the neck, throat, cheeks, or lips makes your embouchure get more tired quickly!" <-------I really think this might be my main problem. I do blow with my mouth a lot rather than using my lungs for support!

And I usually take a break while playing to either just blow air or I take the reed off and leave the instrument for a while. I have some 2-1/2 Vandorens that I'll play on. I start college in the fall and I plan on playing clarinet in maybe clarinet choir or something like that just to improve my skills. I'm majoring in Music Education.

Thanks for the advice everyone!

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 Re: Embouchure Weakness/Pain
Author: Buster 
Date:   2011-05-21 20:40

Moe,
First of all let me congratulate you on gaining knowledge about a secondary instrument with the knowledge you are going in to Music Ed. One of the smartest people I have met was someone in a Music Ed. program (Trumpet was his primary instrument) but taking lessons on all of the instruments during his schooling to at least have a working knowledge. In his words: "How the hell can I help a kid with the clarinet if I have no idea how the dumb thing works?" If more "band directors" (though I'm not one, I hate that term) had that mindset we may have a much better artistic climate in our schools. You're on the right path, but enough preaching....


kdk (Karl, nice to make your acquaintance! I'm Buster or Jason or ^%$^*%#@ whatever you prefer) hit on a key point- that while commendable, you may have jumped into the clarinet with a running start and tried to do too much too quickly. i.e. You stated that a #3 Vandoren was hard to blow at first but you adjusted to it. As he suggested it is quite easy to "hurdle obstacles", or make compensations in differing areas, but still not actually be playing "correctly" or without expending energy inefficiently. Moving down half a strength as long as your sound doesn't suffer could be an option. As Karl stated the number in an of itself is a bit inconsequential without knowing the specifications of your mouthpiece (beyond just stating student level.) Finding a comfortable level of resistance (and not confusing resistance with back-pressure- but more on that in a bit) is an important component, perhaps even more so for a beginner (no insults implied!) To get to the heart of the matter-what is occurring for you, a bit (perhaps) of information is needed. I fear my writing may take the path of Tristam Shandy (perhaps Wikipedia can help you with that one) but try to bear with me. If at any point you get sick of me, just scroll down to the starred section to skip the "background" information.

-First off, playing in 15-20 minute intervals with short breaks in between is something I employ for myself. It both lets the muscles recover a bit, but importantly clears your head. Think about it, if you cut the commercials out of a half-hour sitcom what are you left with?-15 minutes of material or so. Our attention span, whether through evolution or our own "dumbing" down, is relatively short. Sitting through a 2 hour movie, no matter how good and enthralling, I bet you would be hard pressed to not find an occasion or 2 when your mind wanders to some unrelated topic (or maybe it's just me?) I may practice in 2-3 hour chunks, but still adhere to this 20-min or so segments "rule" unless I'm running something from beginning to end or consciously skipping a break or 2 for other reasons (another discussion.)

-Using the air "efficiently" is quite important. It has been mentioned that it's not good to try and blow with the mouth, neck, throat etc... actually it is impossible to "blow" from those areas. If you feel like you are generating an air stream from those areas I'd wager you are simply tensing the muscles, a tiring endeavor indeed! Blowing from the lungs (also not technically possible) as you stated is perhaps not the best "metaphor" to employ either. try reading this- http://test.woodwind.org/Databases/lookup.php/Klarinet/1999/04/000760.txt
Now I know your head may be spinning; as a percussionist you haven't had to think about the way the breathing mechanism works. In fact, it is a subject that is difficult to discuss even for accomplished instrumentalists as we have to rely on what we feel, things that are happening that cannot be felt, and an analysis of the options we have that can be used to accomplish our goal. Conveying our own ideas to someone else is difficult, as we have to find an objective vocabulary of descriptors to explain a somewhat subjective and unobservable process. Mr. Antony Pay (notice no H!), a very accomplished musician and one of the foremost writers of pedagogy (amongst other topics) we have today, has presented an article that describes in an objective way what encompasses the "breathing system" and how it can be used. (This is the most cogent presentation I have found describing "support". I discovered it many years into my development and it confirmed notions I had, explained why I felt some of the things I did while playing, explained why I DIDN'T feel certain things ;), presented a different view point than I held about certain aspects, and more importantly got me THINKING in a scientific way about things which I had not even considered.) I do not know Mr. Pay, nor have not corresponded with him, but he clearly has a command of the language which I do not possess, thus my recommendation of this article. It may seem "heady" at first and require several readings. Good! that's the idea. Read it now, in a week, then a week or month later- the more you advance the more you can glean from the writing.

-Resistance and back-pressure, which CAN be felt as to be same thing, need to be understood to properly to address what is going on for you currently. To over-simplify for now, with regards to the mouthpiece/reed for sake of argument, resistance is the force you are "blowing against" to generate sound, or better the amount of force needed to vibrate the reed. Back-pressure is experienced when you try to blow a larger volume (quantity) of air than the set-up will allow to move through it. A certain portion of this air remains in the mouth, is pressurized and can create/be misinterpreted as a feeling of greater resistance than what actually exists. For examples, take a mouthpiece that is quite open (large tip opening) which can accept a large quantity of air and put a stiff reed on on it: you can move a large quantity of air but must "blow harder" to generate reed vibrations/sound- you feel much resistance. Conversely, take a mouthpiece with a small tip opening and place a soft reed on it. This could feel easier, less work, to play (less resistant) but cannot "accept" as much air. Thus, if you try to blow a large quantity of air though this set-up, the reed can close off (making the tip opening even smaller) and force a portion of air to remain in your cheeks, throat (etc...) at high pressure and create a greater feeling of resistance than the set-up actually has (i.e. back-pressure). These are perhaps over-generalizations, but are simply used to illustrate the difference between two different phenomena; a myriad of other things can cause this throughout your setup but let's not worry those for now.

-I don't find that different registers blankly play with more resistance (with certain caveats to others that may be reading this.) Certain notes in any given register can have more resistance than a given note in a different register. Better stated, for example: open G, and B above the staff, feel RELATIVELY/COMPARATIVELY lower in resistance (though they are in differing registers) when compared to a third line B. The reason behind this (not just the mouthpiece/reed combination) is not important for you right now. What is important, and the the point of all my ramblings, is WHAT IN THE WORLD DOES THIS HAVE TO DO WITH YOU?

*****Putting aside the worries about over-all endurance throughout the entire range, we need to address what is happening to you, re. the lower register, as you seem most concerned about it. When you mentioned the lower notes, open g on down, were more tiring it brought a few things to mind, but I needed some more information. Something that pricked my ears up, and raised a red flag for Karl as well, was the "had to blow extremely hard" at first, statement re. the reeds. I have to do some surmising here, but I would wager that you take a reed out, it feels hard at first but you play it and eventually break it in. Unfortunately, you're not breaking it in in the manner a professional does. Breaking in a reed is a poor term as it actually refers to letting the pores of the reed seal so it becomes stable: no breakage involved. What YOU are doing (if my notion is apt) is "breaking" in the reed literally. You are biting, or pressing, upward into it, actually bending it closer to the mouthpiece until it becomes the strength (or resistance level-see my ramblings aren't entirely pointless!) you feel comfortable with. This weakens the fibers, hinders the ability to vibrate the necessary differing frequencies and makes for a improperly functioning reed. (This biting, or squeezing action can be very tiring in and of itself. If remedying this solves your problems, then there's no need to read on.)
Now, remembering that the reed must vibrate at a specific speed (frequency) to produce each pitch and that higher pitches require faster vibrations of the reed, we come to an important point: when a reed vibrates faster, a smaller portion is actually moving. i.e. the portion vibrating downward from the tip is less than for lower notes. This "node" (ignore that) or point of vibration is above your lip or where you have bent the reed. The lower register requires slower vibrations (lower frequency), and progressively longer portions of the reed are vibrated the further you descend in pitch. At some point this length of vibrating reed will reach your lip, or the point where the reed is bent. This makes playing notes from that place and lower more difficult as the reed cannot work as intended; it is weakened (or restricted by your lip pressure) where it is bent. You feel not "more resistance", but rather that the sound is choked off---back-pressure; the reed is not responding correctly and allowing air to pass through the tip opening as needed. (You may even "blow harder" in an attempt to make the note sound.) What occurs is the air pressure in your mouth increases, this exerts outward force on your cheeks, corners etc... you must resist this outward force with more tightening of the muscles and thus they tire more quickly. Fighting this all this "manufactured" back-pressure is quite tiring.

What to do, what to do?: one simple exercise- (there are countless others)

To start your practice session, put a new (i.e. un-bent) reed on, whatever strength it may be. Now I want you to change your mind-set for the moment: Instead of thinking about blowing air from your gut in a tube out through the bell in generating the sound, envision the air already inside the clarinet as a string. By blowing you are simply causing the string to vibrate, like a violinist does, producing the sound. (I am again stealing this image from Mr. Pay, to give credit where it is due.) Set a metronome at 60 (or whatever speed allows you to complete each phrase with sufficient air supply). Starting on low e, play a whole note at a mezzo-piano or so, press the register key and slur to the b a 12th above, sustaining for another whole note. (8 beats total) Listen for a smooth connection between the notes while allowing your embouchure and air to remain stable throughout. Next, repeat this a semi-tone higher, beginning on low f with a slur a 12th up to c; repeat starting on f#, g etc... until you reach first space f. Take a break!! As your endurance increases, play each note for 5 beats, 6 beats and so on.
What does this accomplish? First, approaching the lowest note with a new "mindset" to generating sound (and fresh muscles!), we can establish a comfortable foundation in the low register with a stable embouchure, and avoid the anxiety it sounds like you have built up. Next, by separating each low note with a slur up a 12th, we are addressing the issue of building endurance, yet without hammering the chromatic scale until your face feels like a wet washcloth. (Perhaps better said, addressing the issue you first spoke of from two different and new directions. ...and perhaps accomplishing other things I have not mentioned ;-)
Hopefully this will remove the anxiety, and fatigue you seem to be currently fighting when playing solely in the lower register. (If at any time during this exercise you experience your embouchure "blow-out", take five or ten, and pick back up where you left off. It may take more than 2 or 3 days to feel comfortable with this; no harm no foul. You are altering an approach you've been using for several months now.)

do this for a few weeks and see what occurs for you. Also, write back with any questions you undoubtedly have as I surely have confused you. It is difficult (for me at least) to objectively speak about a subjective experiences. (and I am also consciously leaving out mathematical, acoustical descriptions of certain aspects, rather trying to speak more in lay-mans terms.)

Others may feel free to add on, or contradict this, and offer other suggestions. I'm just trying to come up with a practical "solution" to a problem the poster has as I understand it.

I'll go back later and edit this, but my eyes hurt right now and I have a tee time.

-JH

ok. bad round of golf.- I did some editing and I think it is a bit more precise, but will need to revise it further after I clear my head. In trying to avoid physics terms, I fear I made this far more incomprehensible. ...and I am not a acoustician, nor am trying to pose as one. (I know what I know and what I don't know.) There are a few simplifications I made that will draw the ire of those more knowledgeable in physics than I. and that are differing opinions on one point I made (as I understand it), but I'm ducking for cover right now.........



Post Edited (2011-06-02 21:44)

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 Re: Embouchure Weakness/Pain
Author: clarinettefaerie 
Date:   2011-05-22 02:27

Yup, from reading what you have said and what everyone else has pointed out, it's simply the muscles in your mouth tiring out. Since you're a percussionist, it's a great undertaking to get used to playing a wind instrument with an embouchure. Make sure that you are warming up effectively before playing any repertoire-- lots of long tones.

This is a long tone warm up that I do everyday, and it's not only extremely effective, but it's very relaxing.
Set a metronome to quarter note = 60. In whole notes and at an easy mezzo forte, play the 4 lowest notes of the instrument (low E-G) without breathing in between. Rest for 4 beats. Then, play the next four notes. Rest for 4 beats. Etcetera. Not only will your endurance increase, but your range will also increase. After a year of using this warm up, my range has increased to a full 4 octaves.

Long tones are to wind players that effective stretching is to athletes: Long tones prepare the muscles of the embouchure for the playing session.

If you're not already, try using one of the Runyon rubber cushions that stick onto the top of the mouthpiece. That stabilizes the top front teeth on the mouthpiece. Your mouth then doesn't have to work so hard to keep the mouthpiece still and not slide around.

I don't know if this would be helpful, but lip guards have helped me immensely. Try getting some denture cushions, and cutting pieces of them about 1 inch by 1/2 an inch. Fold it long-ways (like a hot dog), and tuck that over your bottom teeth (size may vary, depending on your own preference). It guards against your bottom teeth cutting into your lip, and for me at least, it has enhanced my endurance & control of tone.

Kudos to you for learning this instrument on your own. It's tough.



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 Re: Embouchure Weakness/Pain
Author: moe729 
Date:   2011-05-22 16:10

Thanks for all the advice everyone! I'll try everything you said and hopefully the fatigue will improve.

A little more info:
I started playing on Rico #2 reeds because Vandoren #2 was just too hard to blow on. Around March, I tried the Vandoren #2 again and it worked after a bit of adjustment. By April I was on a Vandoren #2.5 and now I'm on a #3. I alternate back and forth between a 2.5 and a 3. I know my major scales from playing percussion but I know they're a whole new thing on clarinet....especially crossing that break.

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 Re: Embouchure Weakness/Pain
Author: Joanna 
Date:   2011-06-02 19:22

The reed strength between Rico and Vandoren is not consistent (something to consider). Playing a Vandoren 3 is like playing a Rico 3 1/2. This is something I learned when I first switched to Vandoren as a beginner. There is even a difference between different brands of Vandoren. I would try lightening the reed strength, it might help. Try the Vandoren V12s, they are somewhat in between the blue box Vandorens and the Rico reeds (in terms of strength, not quality-they are fantastic!)



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