Now that's a clarinet lesson I wish I would have had as I was embracing double lip 40 years ago. Keith Stein "The Art of Clarinet Playing" called double lip a "remedial technique". That's quite an understatement. Finally, my graduate school mentor, also an Opperman student and Harold Wright fan, liberated me- and my reed- endorsing French Embouchure. My students in my 40+ years of students have benefitted so much, as have I. Now I hope clarinet players, students, and teachers pay attention. There is much to be gained here. Thank you sincerely so much for doing such a fine job presenting this so well.
Thanks, Terry. I got the info from Ted. I loved your monograph. I always like to read about those who studied with an admired and respected teacher. This style of playing need revitalization here in America---for it no longer exists at all in the nation of its origin. I'm doing my best to help make a renaissance happen.
To be honest, even though I've blown into the pointy end of a clarinet for 30+ years, only today, after watching this tuition, have I finally understood the purpose of the mouthpiece being WEDGE-shaped. Wow, what a eureka moment! I apologize for all the mouthpiece cushions I have bitten through over the years. It's finally time for proper tone development. Thank you so much, Mr Ridenour.
I am a clarinet student in China. You do great video that help me out of some struggles, and let me confirm some of my idea about reeds. Really thank you. Since Chinese clarinet player can't get access to TH-cam. Shall I reprint this video to Chinese TH-cam, Bilibili? Of courses, I will note with the link address of the original video.
I can feel the burn! I haven’t played in a bout 7 years and recently bought your Libertas model with your mouth piece. I was always very sharp due to biting and playing soprano was not at all enjoyable to me. I switched to bass clarinet because it worked better and would groan when having to play soprano. But no more! With just the little I have now tried with double lip, I don’t bite and I’m in tune! But as I stated, I can feel the burn in my jaw! No pain, no gain as they say and I not only feel I have gained better control of my clarinet but they joy of playing as well! Thank you for all your videos and your hard work to teach us. Especially about reeds. I’ll be ordering your ATG system soon, and was wondering what brands of reed you suggest trying?
I am wondering how the design was decided to require biting the lip, or more accurately-- risk damage to the lip so easily. That has been my number one challenge and turn off because I am a trombone player, where we use our lips in a much different way. The pedagogical beginnings of long tones, bringing the instrument to the face, slow scales and melodies apply perfectly across though. I am trying to establish a basic knowledge base and ability to play test for instrument repair skills and so enjoyed this video sir!
Donnons un bec ou une clarinette à un enfant ....Il ne mettra pratiquement jamais les dents sur le bec et quand il soufflera il y aura beaucoup de pression ...... Intéressant et à méditer ce réflexe enfantin...
I've only been learning to play the clarinet for less than 2 weeks and I started playing double lip from day 1 without ever being told to do that, my top lip kept disobeying me and went under my top teeth... thus I continued that way because it's more comfortable! I will watch the remaining 10 minutes of your video tomorrow. Thanks so much for this great lesson. It would be wonderful to see what your hands are doing when you are playing the overtones.
Hello, I started practicing French embouchure about a month ago, the sound has become denser and more focused, but I still can’t imagine how to completely switch to French embouchure, tell me what to do in the high register, it still puts pressure on the lips and it hurts to play from up to 3 octaves. The upper lip especially cuts, maybe there is a secret?
I'm a total beginner at calrinet and can't afford a teatcher. I have problems with geting a consistent tone... And this video helps alot! And even if I got myself a teatcher I don't think that him/her would explain this good!
Mr. RIdenour who started playing with the single lip and for what reason .... thank you for your great job of introducing everyone to the French embouchure technique.
Tom, Is double lip only suitable for classical music? Could Jazz or Klezmer player have benefit from it? Asking as mouthpiece for non-classical music are more open, and I think you mentioned that double lip works with close mouthpieces!
Double lip is awesome for klezmer as it is for Jazz. I’ve played 4 hour continuous Chasidic wedding receptions, playing double lip, standing. I also use the same mouthpiece and reed combo for any type of music I’m playing. If you play with the properly developed “french” embouchure, with a properly adjusted reed, you have the tonal “flexibility” to be right in the pocket for any style of music. I’ve spent the 20 years since I’ve retired from the U.S. Army Field Band, doing tons of recording and the one thing I have found to NOT be true is that a more open mouthpiece is “louder”. That would mean that if I played, let’s say an M30 mouthpiece (not what I normally play) with a properly balanced reed, it would show up as more sound on my input meters on my recorder than when I play with an M15 style mouthpiece ( my usual). It doesn’t, It feels like more work but it doesn’t translate into more sound. I have really enjoyed Tom’s videos on double lip. I always learn something that I didn’t know. I’ve learned things that have improved my playing and I’ve learned things that have helped my relay these concepts to my students. I really like that Tom has really talked about the “matrix” of playing double lip. I’ve always found the matrix to be Air, Reed, Embouchure. Changing one means adjusting the other two. Which to me means, if you play a B40 type mouthpiece, you have teeth ruts in the beak, playing on a 4.5 reeds and it’s working for you, you probably will not be able to put your lip under your top teeth and make that work. Tom keep the videos coming I’m binge watching!
VIdéo très intéressante ...mais ??? air chaud ou air froid ...... et la différence est énorme......Pression et envoi de l'air différent ...sans parler de l'ouverture de gorge qui dans ce cas est primordiale Vaste sujet .....????
Of course. Stan Getz, Johnny Hodges, Gary Bartz, Jr Cook, Branford Marsalis, John Coltrane (sometimes), Paul Desmond, etc. played with double embouchure. Perhaps not "all" the time, but most of the time, because in jazz, one must have a rich arsenal of playing approaches.
Tom-- What do you think of applying the double lip approach to saxophone, especially to the soprano and/or the sporanino? Stay well and thank you so much for all the wisdom you share!
Double-lip embouchure is the only way you can play saxophone in tune. Then though, use softer reed, as double-lip embouchure and softer reed will allow you unmatched control of the pitch.
Soda straw demo is great for setting things up. I wish I knew that sooner. Thanks!
Now that's a clarinet lesson I wish I would have had as I was embracing double lip 40 years ago. Keith Stein "The Art of Clarinet Playing" called double lip a "remedial technique". That's quite an understatement. Finally, my graduate school mentor, also an Opperman student and Harold Wright fan, liberated me- and my reed- endorsing French Embouchure. My students in my 40+ years of students have benefitted so much, as have I. Now I hope clarinet players, students, and teachers pay attention. There is much to be gained here. Thank you sincerely so much for doing such a fine job presenting this so well.
Thanks, Terry. I got the info from Ted. I loved your monograph. I always like to read about those who studied with an admired and respected teacher. This style of playing need revitalization here in America---for it no longer exists at all in the nation of its origin.
I'm doing my best to help make a renaissance happen.
To be honest, even though I've blown into the pointy end of a clarinet for 30+ years, only today, after watching this tuition, have I finally understood the purpose of the mouthpiece being WEDGE-shaped. Wow, what a eureka moment! I apologize for all the mouthpiece cushions I have bitten through over the years. It's finally time for proper tone development. Thank you so much, Mr Ridenour.
I just started learning clarinet, and as soon as I switched to French embouchure I started to make fast progress. Thanks a lot!
I am a clarinet student in China. You do great video that help me out of some struggles, and let me confirm some of my idea about reeds. Really thank you.
Since Chinese clarinet player can't get access to TH-cam. Shall I reprint this video to Chinese TH-cam, Bilibili? Of courses, I will note with the link address of the original video.
Absolutely Please feel free to place my video to players in China.
@@avarmadillo So much thanks
I laughed out loud when you said you were assuming the professional players had no bad habits...haha!
Gotcha. I looked at his youtube site----not much there.
Were you the only one that got it?
I can feel the burn! I haven’t played in a bout 7 years and recently bought your Libertas model with your mouth piece. I was always very sharp due to biting and playing soprano was not at all enjoyable to me. I switched to bass clarinet because it worked better and would groan when having to play soprano. But no more! With just the little I have now tried with double lip, I don’t bite and I’m in tune! But as I stated, I can feel the burn in my jaw! No pain, no gain as they say and I not only feel I have gained better control of my clarinet but they joy of playing as well! Thank you for all your videos and your hard work to teach us. Especially about reeds. I’ll be ordering your ATG system soon, and was wondering what brands of reed you suggest trying?
I am wondering how the design was decided to require biting the lip, or more accurately-- risk damage to the lip so easily. That has been my number one challenge and turn off because I am a trombone player, where we use our lips in a much different way. The pedagogical beginnings of long tones, bringing the instrument to the face, slow scales and melodies apply perfectly across though. I am trying to establish a basic knowledge base and ability to play test for instrument repair skills and so enjoyed this video sir!
Only been playing 5 days. I’m hoping I’ve struck gold with this one! 👍🏻😆 I’m a 66 year old retired fireman, so wish me luck 🍀
Hope things are going well.
Donnons un bec ou une clarinette à un enfant ....Il ne mettra pratiquement jamais les dents sur le bec et quand il soufflera il y aura beaucoup de pression ...... Intéressant et à méditer ce réflexe enfantin...
As a Graduate clarinet player, you just blew my mind and provided me a proper reset and new standard for my embouchure. Thank you Maestro.
I've only been learning to play the clarinet for less than 2 weeks and I started playing double lip from day 1 without ever being told to do that, my top lip kept disobeying me and went under my top teeth... thus I continued that way because it's more comfortable! I will watch the remaining 10 minutes of your video tomorrow. Thanks so much for this great lesson. It would be wonderful to see what your hands are doing when you are playing the overtones.
Hello, I started practicing French embouchure about a month ago, the sound has become denser and more focused, but I still can’t imagine how to completely switch to French embouchure, tell me what to do in the high register, it still puts pressure on the lips and it hurts to play from up to 3 octaves. The upper lip especially cuts, maybe there is a secret?
wow your camera quality has improved a lot i remember watching in 2017
Spent a LOT of $$ and time working on getting better video. Glad somebody noticed.
11:25-11:40, that's speaking my language right there.
Thumb support - so true !
I'm a total beginner at calrinet and can't afford a teatcher. I have problems with geting a consistent tone... And this video helps alot! And even if I got myself a teatcher I don't think that him/her would explain this good!
Great...
Mr. RIdenour who started playing with the single lip and for what reason .... thank you for your great job of introducing everyone to the French embouchure technique.
Thank you sir, that's a master class!
French embouchure = real legato. This is the way. Thank you very much for this video Prof. Ridenour.
Tom,
Is double lip only suitable for classical music? Could Jazz or Klezmer player have benefit from it?
Asking as mouthpiece for non-classical music are more open, and I think you mentioned that double lip works with close mouthpieces!
Double lip is awesome for klezmer as it is for Jazz. I’ve played 4 hour continuous Chasidic wedding receptions, playing double lip, standing. I also use the same mouthpiece and reed combo for any type of music I’m playing. If you play with the properly developed “french” embouchure, with a properly adjusted reed, you have the tonal “flexibility” to be right in the pocket for any style of music. I’ve spent the 20 years since I’ve retired from the U.S. Army Field Band, doing tons of recording and the one thing I have found to NOT be true is that a more open mouthpiece is “louder”. That would mean that if I played, let’s say an M30 mouthpiece (not what I normally play) with a properly balanced reed, it would show up as more sound on my input meters on my recorder than when I play with an M15 style mouthpiece ( my usual). It doesn’t, It feels like more work but it doesn’t translate into more sound.
I have really enjoyed Tom’s videos on double lip. I always learn something that I didn’t know. I’ve learned things that have improved my playing and I’ve learned things that have helped my relay these concepts to my students. I really like that Tom has really talked about the “matrix” of playing double lip. I’ve always found the matrix to be Air, Reed, Embouchure. Changing one means adjusting the other two. Which to me means, if you play a B40 type mouthpiece, you have teeth ruts in the beak, playing on a 4.5 reeds and it’s working for you, you probably will not be able to put your lip under your top teeth and make that work. Tom keep the videos coming I’m binge watching!
with double, you can play anything,
Benny Goodman played with the double lip embrochure. 'Nuff said.
VIdéo très intéressante ...mais ??? air chaud ou air froid ...... et la différence est énorme......Pression et envoi de l'air différent ...sans parler de l'ouverture de gorge qui dans ce cas est primordiale Vaste sujet .....????
VERY useful thank you!
What is the piece at the start at the video?
You do help! Thank you so much William
Same technique on saxophone?
Of course. Stan Getz, Johnny Hodges, Gary Bartz, Jr Cook, Branford Marsalis, John Coltrane (sometimes), Paul Desmond, etc. played with double embouchure. Perhaps not "all" the time, but most of the time, because in jazz, one must have a rich arsenal of playing approaches.
Tom-- What do you think of applying the double lip approach to saxophone, especially to the soprano and/or the sporanino? Stay well and thank you so much for all the wisdom you share!
A great idea for the soprano. A fine tenor player I knew said if it weren't for open C# on the tenor he would play double lip all the time.
I've been doing it for the past five years on alto, tenor, soprano and sopranino saxophones and I highly recommend it! Balance those reeds though.
Double-lip embouchure is the only way you can play saxophone in tune. Then though, use softer reed, as double-lip embouchure and softer reed will allow you unmatched control of the pitch.
Will this work on a Vandoren B40 mouthpiece on an R13? Or is that the wrong kind of mouthpiece facing for this style.