Page 12 - Embou-Sure Book Series

SOUND EXAMPLE #5
REMEDY: Watch the student from a profile viewpoint. Often it is visually obvious that only the very tip of the mouthpiece (and reed) is in the mouth or that extreme pressure is being exerted against the reed Most of the time your comment will be: “Take a little more reed in your mouth.” The extreme pres- sure problem is less likely unless the student breaks out of the “A-Q” position. (See BUNCHED CHIN)
#6-THIN TONE AND SHARPNESS OF PITCH This less frequently heard sound:
SOUND EXAMPLE #6
(especially uncommon with beginners, whose embouchures have not de- veloped) is caused by a combination of:
a. Too much lower lip pressure against reed.
b. Insufficient reed in the mouth (and possibly) c. Tight, closed throat.
REMEDY: If the tone is on-pitch but very thin, ask for more reed in the mouth. If the tone is very thin and sharp, ask for less pressure and make a careful visual check on the amount of reed in the mouth. At the same time, be aware of the fact that an “ee” vowel (high tongue) and closed throat can contribute to this sound. Audibly and facially show the student an “oh” while he plays; he’ll imitate automatically.
BUNCHED CHIN
This is strictly physical in nature and must be observed to be corrected. It can contribute to #4 (SQUEAKS) or #5 (STOPPED) or #6 (THIN, SHARP). But even #1 (CORRECT RESULT) is possible in the initial stages of devel- opment. Later on, however, it will contribute to frequent squeaks and a host of other problems.
To simulate the “bunched chin” for yourself, simply push your lower lip up over the top lip. Feel your chin. Bunched up; pebbly in texture. Now care- fully draw your lower lip down to its normal position without relaxing the “bunch.” You should have the sensation that the muscles in your chin are
pushing upward.
Those who have this problem have usually learned it by bringing the low-
er lip up to meet the reed rather than establishing a lower lip set on which to place the reed. BE ABSOLUTELY SURE THAT THE CHIN DOES NOT BUNCH UP DURING THE FIRST LESSON! Once established, it is extremely difficult to alter. Go back to “A”--place the reed--”Q.” Then watch to see that the lip does not rise up at the moment the student blows. If the situation already exists with a student who has been playing for a year or two, the problem can best be solved by having the student:
a. Look into a mirror while playing (profile).
b. Play open G (holding the clarinet with the left hand only). c. Use the right hand to feel the flat “A-Q” chin.
It will take several weeks to correct it (since re-training is involved), so don’t worry about the fact that the student slips back into the bunched chin follow- ing work with the mirror.
REED STRENGTH
Keep in mind that unless you have personally pretested each student’s reed to ensure a full-toned, free-blowing reed, each of the above problems (#2-#6) takes on other cause variables:
#2 - RUSHING AIR may indicate hard reed. #3 - FLAT PITCH may indicate soft reed.
#4 - SQUEAKS may indicate soft reed.
#5 - STOPPED may indicate soft reed.
#5 - INTENSE AIR may indicate hard reed.
#6 - THIN, SHARP may indicate hard reed.
These are variables with which you should not have to deal during the first lesson!
Adding the Body
HOLDING THE CLARINET
Once tone and pitch are well-established, add the mouthpiece/barrel combi- nation to the body of the clarinet. Now instruct the student to grasp the bar- rel of the clarinet as before with the left hand; then with the thumb and index finger of the right hand, grasp the thumb rest (as though it were a small knob on a drawer). This will simplify supporting the weight of the instrument and
eliminates the necessity of demonstrating proper thumb position at this point.
Embou-Sure – 14