 The Clarinet BBoard
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Author: ruben
Date: 2021-02-17 13:34
A friend of mine, who happens to be a GREAT clarinetist, has converted to double-lip embouchure. He is finding it difficult to tongue with his old speed and precision. As I have always played double-lip and tongue pretty well-if I do say so myself (ha ha!), I can't offer him any help. I don't know how tonguing would differ in single and double-lip embouchure. Your help, ladies and gentlemen please (especially "converts")
rubengreenbergparisfrance@gmail.com
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Author: Tom Puwalski
Date: 2021-02-17 17:30
I’ve played double lip since day one 52 years ago. It takes time to get certain technical things together when switching to DL and I would think you just need to spend a few weeks working the slow tonging exercises until it “grooves in” with the double lip.
Tom Puwalski
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Author: kdk
Date: 2021-02-17 18:42
ruben wrote:
> A friend of mine, who happens to be a GREAT clarinetist, has
> converted to double-lip embouchure. He is finding it difficult
> to tongue with his old speed and precision.
He may have changed the mouthpiece angle when he made the switch, so his tongue isn't approaching the reed from the same direction. Or taking more reed or less reed in his mouth, which could also slightly move the tonguing target.
Karl
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Author: ruben
Date: 2021-02-17 20:22
Dear Karl,
That's precisely my analysis of the problem. I also agree with Tom: practising slowly and getting a slightly new hang of things.
rubengreenbergparisfrance@gmail.com
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Author: Steve Becraft
Date: 2021-02-17 20:46
I think that one of the best things about DL embouchure is that you are forced to develop correct fundamental technique. In addition to an angle change, I'd be willing to bet that this is an air, tongue efficiency, and embouchure muscle instability thing.
When we touch the reed we momentarily encounter more resistance. The embouchure can easily react by loosening. To a new double lipper, the muscles simply aren't strong enough yet to firmly and consistently activate into the mouthpiece. This takes time! A new double lipper also typically finds that they are hitting the reed too hard.
I spent 5 years as a double lip player, and during the transition picked up a great exercise from my mentor in this endeavor, James Freeman (former SF Bay Area clarinetist, founder of the sensational Blue Bottle Coffee!), who was studying with Kal Opperman at the time. This exercise (which Jim dubbed "Reed Smooshing") helps you address embouchure consistency, precise and efficient tongue touch, and awareness of air flow as it relates to articulation. I would be happy to share a PDF of this with you, or anyone, if you send me and email!
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Author: Tom Puwalski
Date: 2021-02-18 00:41
I’m interested in those exercises my email is TSKi1128@aol.com. I’ve always been interested in Karl’s approach to DL. But I have to admit since the pandemic I’ve changed my tongue position from the “heee” to more of a “Th” shape, and the sound is better, (more ring) and regular articulation is better and double tonging is way easier up high.
Tom Puwalski
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Author: oian
Date: 2021-02-18 04:38
oian.n@juno.com.
I'm basically self taught and using double lip and loving it on a bass clarinet. I'd really appreciate the pdf.
Thanks, John
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Author: musica
Date: 2021-02-18 21:58
I too would appreciate the PDF. Studied with Kal
Opperman also and just using this “down “ time to refresh and revisit a few things . KVIVO@aol.com
Thank you!
Post Edited (2021-02-18 21:59)
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