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Double Lip Chapter 2

Author: SecondTry
Date: 2021-09-21 01:25

First off, apologies for many posts on this subject.

I call my progress "Chapter 2" because I have, in a few weeks, been able to reach a point where I can play for relatively long periods with double lip embouchure, provided my top teeth are covered (thank you floral tape) and the clarinet rests on my knee or between my legs while I play.

Ok, sure, it's not, even with these conditions, at the level of my single lip play. With double lip embouchure, high notes can be flat, as sure as I try to snug mouthpiece with the my right thumb, and beyond Super High G [G6]

, and depending on the reed, length of play, etc., I might not have the chops.

My goal is to be able to play with the clarinet supported by at most a neckstrap--not a knee. Without this, solo work will forever be confined to a chair...not that I'm "Mr. Solo Clarinet" or anything, or Harold Wright who I understand soloed this way.

So....any tips?

I've been playing measures with double lip and the clarinet bell held by nothing until I fatigue. I give it a rest, try again, and try to build up every day, along with switching to single lip embouchure to effect the rest of my practice sessions.

Is there a "better mousetrap" to be built here regarding my transition? Is such a transition one that might take years? I ask the latter question because from what I've seen of Tom Ridenour's video on double lip (or French) embouchure, I think--maybe--he may be implying (I may be wrong) that being content solely with chair based play may be the price to pay for this double lip embouchure's superior sound resonance.

Thanks.

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Double Lip Chapter 2 new

SecondTry

2021-09-21 01:25