 The Clarinet BBoard
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Author: wkleung
Date: 2016-10-24 12:21
Dear all,
I am an oboist and bassoonist who just started dabbling on clarinet. I have a good tone on oboe and on bassoon, but my clarinet tone is very spread.
For fellow doublets here: does the clarinet require a higher tongue position, compared to other woodwinds?
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Author: Tobin
Date: 2016-10-24 15:55
The short answer is yes. If you say "eeeeeeee" most people find that the "back" of the tongue is touching the inside bottom edge of the top teeth, and generally that's where a clarinetist would like to have their tongue.
Is it possible that you have too much mouthpiece as well?
I ask because a "spread" sound would be exacerbated by too much mouthpiece. Given your double-reed background it's possible that you can take more mouthpiece than a normal person would. Usually with too-much the instrument squeaks, but I can take a huge amount and still keep things in the proper register.
I'm interested to hear what you experience and to read other's responses.
James
Gnothi Seauton
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Author: Ken Shaw ★2017
Date: 2016-10-24 16:53
Position your tongue in a "ski-jump" shape, high in the back and low at the front. You can voice the tone to be warmer or brighter by adjusting the height of the back of your tongue.
If you roll your lower lip further in over your teeth, the tone will become less energetic. If you stretch your lower lip by pointing your chin down and pulling your lower lip out so only half of the red part is inside your teeth, the tone will become brighter and more resonant. This is the opposite of the "Andy Gump" bassoon embouchure. On the clarinet, both your upper and lower lips should be snugged tight against your teeth and gums. Also, don't let your cheeks puff out.
Ken Shaw
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Author: Caroline Smale
Date: 2016-10-24 21:23
As a double reed player you might want to consider playing the clarinet with a "double lip" embouchure.
I have moved in the opposite direction to you, having played clarinet for over 50 years I have more recently started on the bassoon - or to be accurate the basson.
I have always used double lip on the clarinet and that made the move to the basson much easier.
I use only a small amount of lip drawn over both upper and lower teeth.
From my perspective the basson embouchure is just slightly more relaxed than that of the clarinet.
"Voicing" of the pitch and tone is in principle similar for both but you need to experiment to find what works best for you.
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Author: Merlin_Williams
Date: 2016-10-24 22:06
Many questions arise - could it be equipment choice? reed strength? angle of the mouthpiece?
I'll be doing a video soon on my Woodwind Doubling channel for double reed players moving to clarinets and saxes. In the meantime, if you'd like to upload a private video to YouTube, I'd be happy to take a look and see if there's any useful advice I could give you.
Jupiter Canada Artist/Clinician
Stratford Shakespeare Festival musician
Woodwind Doubling Channel Creator on YouTube https://www.youtube.com/c/WoodwindDoubling
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Author: wkleung
Date: 2016-10-26 13:02
Thank you for all of you who kindly took time to answer my newbie question.
I am indeed using a double-lip embouchure on the clarinet. It is only my sidekick and I am trying to make as few changes possible to my oboe/bassoon embouchure.
I definitely could be taking too much reed in my mouth, although I suspect that is not usually the case. I don't squeak a lot.
For oboe and bassoon, I keep my mouth quite open (low tongue?) for maximum resonance. With the advice I received here, I just tried playing the clarinet again today with a higher tongue. My tone is indeed less spread and more pleasant, although it is still rather strident for 2nd register G and up, and I am still having some problem with the high C, particularly if I want to tongue it.
I am playing on a multiple-hand Yamaha plastic clarinet that I borrowed from a friend. The mouthpiece is a Yamaha 4C and the reed is a 3 which came with the clarinet.
I shall make a video when my playing is less shocking ^_^
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Author: Caroline Smale
Date: 2016-10-26 23:52
It does take time and practice to produce a mature focussed tone on the clarinet, even assuming that M/P reed and all the other variables are not too off kilter.
After about 6 months on the Basson I could produce a quite respectable run in C major up to 3rd octave C with a decentish tone.
(We won't mention all those accidentals though !!!)
After 6 months on clarinet most players would be struggling to produce a decent stable C above the stave and for younger players it could take 1 or more years.
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Author: Claudia Zornow
Date: 2016-10-27 03:08
Bret Pimentel, a professor of "multiple woodwinds," has a very useful website which includes several postings on voicing:
https://bretpimentel.com/tag/voicing/
You are on the right track with the higher tongue position ("eee") for clarinet.
Bret also has a great page showing what doubles are required in various musicals.
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