Page 18 - Embou-Sure Book Series

student’s inner ear. The student will hear more of the exact tone as it is produced by the instrument.
FORMING THE EMBOUCHURE
1. Place upper teeth on mouthpiece.
2. Think exaggerated “A” to firm up lips to the teeth.
3. Now add a “Q” which will bring in corner of lips and result in even
pressure of lips from top, bottom and sides.
Almost one half inch of reed will be inside of mouth. Air for clarinet is di- rected “at” the reed. Air for saxophone is more parallel to neckpipe of the instrument (into the mouthpiece). Any uneven lip or facial tension will cause distorted tones. Tones will be thin if embouchure is too tight and tone will be a duck-quack if the embouchure is too loose. Lower teeth biting into lower lip will result in the bunched chin, a sore lip and thin tone. Keep lip pressure even and the lower lip controls comes from jaw strength, not from a bite of the teeth.
TONES
A fine tone is similar to a fine human voice. The purpose of air is to set the reed in motion. The reed has been soaked in water and fitted to the mouth- piece. The ligature screws are firm but not tight. Now, form the embouchure, breathe deeply and start a flow of air through the mouthpiece. Speed up the air until tone has quality and volume preferred by teacher and student. SING THAT TONE! Match tones by playing and singing. Always think that the next tone you play is your best tone yet! The tongue is used lightly to stop reed vibrations. Air is brought to the reed at same speed and pressure that produced a good tone. Tongue is then released and a tone is heard. The throat remains open and relaxed. Keep tongue low and think of easiest way to touch tip of reed.
dah 1. Tip of tongue to tip of reed.
lah 2. Slightly back of tongue tip (1/4”) to tip of reed.
thaw 3. Tip of tongue touching lower teeth. Tongue is then arched
to touch tip of reed.
Some suggest, “too,” “doo,” and “thu.” The “ah” keeps the throat more open. A tone’s release can happen by lightly touching tip of reed with the tongue or by stopping flow of air. Keep throat open and motion less in both methods of release.
Play and sing tones C2, B1, and C2, D2, and E2. Keep speed of air constant as if playing one long tone in a straight line.
Keep throat open (feel like a bass singer). Tones will change because the fin- gers move. Do not change tones because resistance to the air column changes. This is the best approach to keeping C, D, and E in tune. A big change of tightness and air speed will cause sharpness in D and E when note goes from one finger to six fingers.
#1-CORRECT RESULT
SOUND EXAMPLE #1
#2-CHOKED SOUND
#3-WOBBLY SOUND
SOUND EXAMPLE #2
#4-ROUGH SQUAWK
#5-BLOWS HARD/LEAD
SOUND EXAMPLE #4
SOUND EXAMPLE #3
Embou-Sure – 21
SOUND EXAMPLE #5