I've got to admit the picture at 06:35 is confusing because it shows the teeth on the mouthpiece. Are teeth 'allowed' to touch the mouth piece in "double" lip style?
Thank you for your teaching, not only French embouchure. You mentioned Harlow Russell, whom I had not heard of, and I discovered what I consider to be one of the very best clarinet players. Because it was obvious that he was not performing, not wanting to impress anybody, and that is perhaps what made him brilliant. But the videos I have found are mostly of a poor quality with the microphones placed too near the other instruments so he comes in the background. Are there videos on TH-cam, or cd recordings, that you would recommend?
I watched William's double lip video many many years ago and learned and I have been playing double lip for about 10 years (also easier since I double on the bassoon). I'll try to answer your question with my experience and hopefully Mr Ridenour will agree. When playing double lip I find that my jaw drops due to the extra lip in between and my mouth cavity opens up much wider naturally. When I was learning it it was my instinctual reaction to want to clamp down on the unstable instrument. The way to play it is not to clamp down on the mouthpiece but to have much greater air support than single lip, a loose jaw, and an open mouth cavity (basically like saying O). What worked for me is to increase the angle of holding the clarinet to slightly more horizontal, which reduces the pinch on the upper lip, and makes the pressure on the lips more even for a better tone. Also, take slightly more mouthpiece into the mouth (about 3~5 mm) than single-lip playing so the cross section of the mouthpiece inside is more circular than flat, which reduces jaw pressure and biting. Try to apply a very tiny amount of pressure pushing the mouthpiece into your mouth as this will secure the instrument more and reduce biting. Take the tooth pad away if you haven't. I also use special fingerings for throat F and G and high B and C involving the E-flat key and 3rd finger, they are in-tune on my instrument and counter the thumb's pushing when playing those notes. Lastly, the side muscles of your mouth is much more important in double-lip than in single-lip playing, try to train them to round-in. To summarize, I find that double-lip benefits from much better air support, taking more mouthpiece, having loose jaw and open mouth, using side muscles rather than jaw, and slightly higher instrument angle. They all make the sound more resonant, warm, and full. They also all reduce biting and lip pressure.
The whole point is that the double lip embouchure will force you do 2 things: 1- Playing without pinching 2- Use softer reeds If you don't succeed in complying with these, it'll keep hurting. On the other hand, if you succeed, it'll greatly help develop a beautiful rounded tone, a melting legato, a great articulation, and a nice center, all the time.
Bonsoir clarinettiste professionnel à la retraite depuis 2009 ... Souci de dents je pense que je vais essayer la double lèvre après plus de 60 années de pratique avec les dents sur le bec Un nouveau défi.....Merci à vous très intéressé .par des sensations nouvelles ....
@@avarmadillo I can't see how to comment on your video part III, so I'll ask my question here. I have been working on French embouchure for a few months now, and my thumb is not strong enough to "snug". I need to use my knees to support the instrument for more than a few seconds. What to do? A neckstrap seems to be too restrictive, no matter how I adjust it.
@@dianajonen2225 That's a great question. I actually planned to address that in part 4. Rest the clarinet--no problem. Just make sure you maintain a gentle lift or snugging so the mouthpiece/reed wedge remains firmly snugged against the lips.
@@dianajonen2225 I used one of these after I busted my right wrist and couldn't support the instrument on my own for several months. rdgwoodwinds.com/products/kickstand-bhob-instrument-support
I've got to admit the picture at 06:35 is confusing because it shows the teeth on the mouthpiece. Are teeth 'allowed' to touch the mouth piece in "double" lip style?
Thank you for your teaching, not only French embouchure. You mentioned Harlow Russell, whom I had not heard of, and I discovered what I consider to be one of the very best clarinet players. Because it was obvious that he was not performing, not wanting to impress anybody, and that is perhaps what made him brilliant. But the videos I have found are mostly of a poor quality with the microphones placed too near the other instruments so he comes in the background. Are there videos on TH-cam, or cd recordings, that you would recommend?
I have tried to play double lip but it hurts my top lip a lot. Is there anyway to make it hurt less?
Apply the information I will give you in this video in four parts.
I watched William's double lip video many many years ago and learned and I have been playing double lip for about 10 years (also easier since I double on the bassoon). I'll try to answer your question with my experience and hopefully Mr Ridenour will agree.
When playing double lip I find that my jaw drops due to the extra lip in between and my mouth cavity opens up much wider naturally. When I was learning it it was my instinctual reaction to want to clamp down on the unstable instrument. The way to play it is not to clamp down on the mouthpiece but to have much greater air support than single lip, a loose jaw, and an open mouth cavity (basically like saying O).
What worked for me is to increase the angle of holding the clarinet to slightly more horizontal, which reduces the pinch on the upper lip, and makes the pressure on the lips more even for a better tone. Also, take slightly more mouthpiece into the mouth (about 3~5 mm) than single-lip playing so the cross section of the mouthpiece inside is more circular than flat, which reduces jaw pressure and biting. Try to apply a very tiny amount of pressure pushing the mouthpiece into your mouth as this will secure the instrument more and reduce biting. Take the tooth pad away if you haven't. I also use special fingerings for throat F and G and high B and C involving the E-flat key and 3rd finger, they are in-tune on my instrument and counter the thumb's pushing when playing those notes. Lastly, the side muscles of your mouth is much more important in double-lip than in single-lip playing, try to train them to round-in.
To summarize, I find that double-lip benefits from much better air support, taking more mouthpiece, having loose jaw and open mouth, using side muscles rather than jaw, and slightly higher instrument angle. They all make the sound more resonant, warm, and full. They also all reduce biting and lip pressure.
@@jerchiury If you see this, when you mention to make a circular mouth how would you be able to pull but on the sides of the mouth then?
The whole point is that the double lip embouchure will force you do 2 things:
1- Playing without pinching
2- Use softer reeds
If you don't succeed in complying with these, it'll keep hurting.
On the other hand, if you succeed, it'll greatly help develop a beautiful rounded tone, a melting legato, a great articulation, and a nice center, all the time.
Please tell me, should the teeth or chin come forward from its natural position while playing?
Starts 03:58
Bonsoir clarinettiste professionnel à la retraite depuis 2009 ... Souci de dents je pense que je vais essayer la double lèvre après plus de 60 années de pratique avec les dents sur le bec Un nouveau défi.....Merci à vous très intéressé .par des sensations nouvelles ....
Is part 2 published yet?
Later tonight...I hope
@@avarmadillo I can't see how to comment on your video part III, so I'll ask my question here. I have been working on French embouchure for a few months now, and my thumb is not strong enough to "snug". I need to use my knees to support the instrument for more than a few seconds. What to do? A neckstrap seems to be too restrictive, no matter how I adjust it.
@@dianajonen2225 That's a great question.
I actually planned to address that in part 4. Rest the clarinet--no problem. Just make sure you maintain a gentle lift or snugging so the mouthpiece/reed wedge remains firmly snugged against the lips.
@@dianajonen2225 I used one of these after I busted my right wrist and couldn't support the instrument on my own for several months. rdgwoodwinds.com/products/kickstand-bhob-instrument-support
forget the "french , or double lip" embouchure name...just call it "Wrights embouchure" from now on