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 Re: Double lip in altissimo
Author: rdc 
Date:   2021-10-29 17:11

I notice that both of the excerpts you cite have D6 to C6. I have found that the high C (C6) is one of the most difficult notes to play when learning double lip embouchure. This is because you have no fingers down on the front of the instrument to counteract the "push" of the left thumb at the back of the instrument.

Compare this situation to other instruments that use double lip, such as the oboe, which has no fingerings that are not supported with one or more left-hand fingers depressed.

And besides that, to avoid a biting embouchure on clarinet, many of us push in to the embouchure with the right thumb in order to provide the pressure for the embouchure to work, as described in Tom Ridenour's "Educator's Guide to the Clarinet." This creates even more pressure on the upper lip.

How to manage:
1. A softer reed helps because not as much push into the embouchure is needed to begin and sustain the tone. This can help when learning double lip but is not a long-term solution.
2. Use a fingering for C6 such as TR 00X side Eb/Bb 000 to help support the clarinet. This does not help when playing from D6 to C6, however, if you use the standard fingering for D6.
3. Recognize the increased pressure on the upper lip when playing C6, and purposely add a little extra upper lip push against the mouthpiece to counteract this increased pressure. This will soon become an automatic response to this note, but be careful not to keep the pressure the same for the notes around the C6. Use just enough additional pressure to stabilize the instrument for the problematic note. Try practicing a slow chromatic scale such as B5-C6-C#6-D6-C#6-C6-B6 to feel the needed upper lip pressure change. Of course, start the chromatic passage lower if you need to in order to begin with stable tone quality.

There is a register change when playing from D6 to C6 which can also create problems in the excerpts you posted. Others answering you have focused on managing this change, but recognize that it is a different issue. Personally, I wouldn't use the open G high D fingering unless the passage is extremely fast, as the intonation of that fingering is not the best. I would use the standard fingering and manage the register change with subtle voicing and embouchure pressure changes between the notes. Increasing the stability of the C6 as I have described should also help with the register change.

I hope this helps!
R. Chest
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 Double lip in altissimo  new
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 Re: Double lip in altissimo  new
rdc 2021-10-29 17:11 
 Re: Double lip in altissimo  new
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 Re: Double lip in altissimo  new
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 Re: Double lip in altissimo  new
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 Re: Double lip in altissimo  new
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 Re: Double lip in altissimo  new
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 Re: Double lip in altissimo  new
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 Re: Double lip in altissimo  new
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 Re: Double lip in altissimo  new
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 Re: Double lip in altissimo  new
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 Re: Double lip in altissimo  new
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 Re: Double lip in altissimo  new
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 Re: Double lip in altissimo  new
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 Re: Double lip in altissimo  new
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 Re: Double lip in altissimo  new
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 Re: Double lip in altissimo  new
SunnyDaze 2021-11-12 17:26 


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