 The Clarinet BBoard
|
Author: Napat Techa.
Date: 2016-02-18 12:46
I read the wikipedia about David Weber and writing that he is using double lips embochure that giving his rich, liquid, legatissimo sound . So, Anyone can give information about this , and how to practice it.
...Sorry for my bad English...
Thank you !!!!!
Intermediate clarinetist . Buffet Crampon RC . Nick Solist M Mouthpiece. V12 3.5. Ishimori gold plated ligature and Rovner Versa ligature.
|
|
Reply To Message
|
|
Author: Ken Shaw ★2017
Date: 2016-02-18 16:05
Read Keith Stein's book The Art of Clarinet Playing.
Tom Ridenour also has numerous videos on YouTube.
Ken Shaw
|
|
Reply To Message
|
|
Author: kdk ★2017
Date: 2016-02-18 18:57
The suggestions to read Keith Stein's explanation and check Tom Ridenour's YouTube videos are good. But, honestly, it isn't complicated or technical. Basically, you form a conventional - bottom lip over your bottom teeth, sides closed around the mouthpiece - embouchure and, without moving anything else, fold your upper lip back and under your upper teeth.
I have had more than one student who, when they started playing, naturally played with both top and bottom teeth covered. Clarinetists in history who played with the reed on top of the mouthpiece had to play double-lip. Oboe and bassoon players, who play on double reeds must play double-lip. It's the difference between putting your top teeth directly on the mouthpiece or bringing your lip between the teeth and the mouthpiece.
Players usually claim a few advantages for a double-lip embouchure:
(1) It eliminates any discomfort that comes from vibrations moving from the mouthpiece to the upper teeth. When I play single-lip, I actually feel pain in my upper front teeth similar to the pain of dental drilling (especially in the chalumeau range). I don't know why. Even a rubber pad on the mouthpiece beak (something a lot of single-lip players use) doesn't seem able to completely stop this from happening.
(2) It provides a fuller, more resonant tone. Actually, what I think causes this effect is the slightly larger opening in the front of the mouth that results from having the top teeth a little higher. You can also feel a little bit of movement farther back in the soft palate area. This enlarging of the oral cavity can be done single-lip, but for me it takes more conscious effort - pulling the lip under seems to cause it naturally.
(3) It prevents biting on the mouthpiece and reed, resulting in more reed vibration. It is still possible to apply too much pressure with double-lip, but not in the same way. Your lip muscles are quite strong. But with double-lip the force they apply tends to be more distributed around the mouthpiece, because it comes more from the lip muscles themselves and less from the muscles that open and close the jaw (and cause biting). Most of the time a double-lip embouchure allows freer reed vibration, though, again, you can reach the same level of freedom with single-lip but for me it seems to take more conscious control.
If you experiment with double-lip, start with the embouchure you're already familiar with and curl your top lip in over the teeth. You may need to experiment at first with how much lip to take in. I think comfort is the key, though some well-reputed double-lip players claim it must be a thin membrane or a mirror of your lower lip or other amounts in between. The fact that there are different opinions shows that there isn't a single way to do it.
Don't at first play too long with the lip pulled under. You can approximate the same effect by tucking your upper lip back*against* your upper teeth without actually pulling it under. This will duplicate the muscular action of double-lip without the abrasion that can happen until your upper lip is toughened a little. So don't play double-lip at first past the point of pain in your upper lip.
After playing double-lip for nearly 40 years, I can still use a single-lip embouchure and have occasionally experimented with going back to it. But each time I've tried it, I've come back to the double-lip. For me it's just more comfortable.
Karl
|
|
Reply To Message
|
|
Author: Caroline Smale
Date: 2016-02-18 19:33
I use just a minute amount of top lip over the teeth really creating mainly a firm muscular cushion in front of the teeth - however I also only use a minimal amount of lower lip over the lower teeth also - so as Karl describes I automatically seem to mirror my upper/lower lip setup - never even thought of it that way before.
Stamina can be harder to achieved and also instrument stability, especially when playing in altissimo, so many DL players, myself included rest the bell on the upper thigh or some between the knees.
You have to be patient, experiment and over time find what works best for you.
If you have a very short upper then DL probably is too hard work.
|
|
Reply To Message
|
|
Author: fuzzystradjazz
Date: 2016-02-18 20:17
For fun:
One of the things which surprised me about double-lip embouchure is that it allows a player to fairly easily turn the mouthpiece around 180 degrees and play with the reed away from the chin...which, in turn, opens up many other technical topics to discussion. As odd as it sounds, it is actually fairly easy to play, and doesn't feel all-that-odd.
There is evidence that some locales used to play with the mouthpiece facing away like this, and some photos exist of Leon Roppolo holding his clarinet with the mouthpiece facing this way.
The method is fun to try once, if nothing else.
Fuzzy
|
|
Reply To Message
|
|
Author: Tony Pay ★2017
Date: 2016-02-18 20:44
Norman Smale wrote, in part:
>> I use just a minute amount of top lip over the teeth really creating mainly a firm muscular cushion in front of the teeth - however I also only use a minimal amount of lower lip over the lower teeth also - so as Karl describes I automatically seem to mirror my upper/lower lip setup - never even thought of it that way before...if you have a very short upper then DL probably is too hard work.>>
http://test.woodwind.org/clarinet/BBoard/read.html?f=20&i=744&t=744
|
|
Reply To Message
|
|
Author: sfalexi
Date: 2016-02-19 07:05
Quote:
There is evidence that some locales used to play with the mouthpiece [inverted] like this, and some photos exist of Leon Roppolo holding his clarinet with the mouthpiece facing this way.
Yup. Common for a while. You can find past posts on this board discussing it. Sometimes I'd play an easy march in rehearsal with it upside down to see if the conductor catches it. So far so good....
Alexi
US Army Japan Band
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
