Page 15 - Embou-Sure Book Series

occurs. Most often too much arch in the fingers and/or position of the finger pads will be totally at fault.
Conclusion
From this point on, you can progress as you wish with the knowledge that the embouchure has been properly formed. At that, don’t fail to give each bud- ding clarinetist a visual “checkup” periodically. Also be sure that the mouth- piece is kept clean and that the reed is never left on the mouthpiece. The reed will warp far less and your chances of the student cleaning the mouthpiece regularly are far greater. Also be sure to instruct the student to keep the reed on a flat surface and never to enclose it in a plastic container where it will not dry out. Reed life will be greatly extended by placing it on top of the plastic container (or piece of glass) secured by a rubber band.
INTONATION
Every student can and must play in tune from the very beginning!
“Theories” which expound that “learning to blow” is the only important aspect in the beginning stages are ridiculous. As soon as a note is introduced, there must be instruction which produces correct tone quality. Since out of tune notes seldom contain proper tone quality, it follows that attention to one cures the other. Note in the following examples that natural tendency of the clarinet to play sharp and with tone quality which is in consistent with surrounding notes:
#17-LOW A: Natural sharpness & tightness; then corrected. SOUND EXAMPLE #17
Also true of low C and low D.
#18-THROAT Bb: Natural sharpness and shrillness; then corrected.
SOUND EXAMPLE #18 Also true of throat G, G#, and A.
#19-HIGH B: Natural sharpness and shrillness; then corrected. SOUND EXAMPLE #19
Also true of high A, Bb, and C.
In all of the above cases the remedy is the same: Let more reed vibrate. Tangi- ble example: Form the embouchure with the index finger placed on your low- er lip as though it were the reed. Pushing first inward, then out ward, notice that there is “play” or flexibility in the flesh as it rests on the teeth. When you push inward, more of your finger will naturally be in side your mouth. On the clarinet, when you flex the lip inward, more of the surface of the reed will be inside the mouth. Thus, more surface can vibrate. Result: fuller tone, lower pitch. (Note, for example, the cause of #6 and #12 above.) Making students aware of this simple fact will immediately improve intonation and tone with the youngest of clarinetists.
Embou-Sure – 17