Texas Bandmasters Association
Bandmasters Review • June 2013
15
Well-respected veteran music
educator Beth Fabrizio shares
her favorite pedagogical tips and
advice, recapping the information
presented at her clarinet clinic at
this year’s TMEA Conference.
Breath Support
Breath support is the key to
having a great overall sound. I
recommend the use of a fast,
laser beam air stream and a two
count breath from the diaphragm,
whenever possible. Say the word
“oh” while exhaling and inhaling,
with no restrictions and total
relaxation. Long tone exercises
will strengthen sound in all three
registers. Straight back posture, as
if a string were attached to your
head pulling you to the ceiling,
must be stressed while standing or
sitting in a chair. Breathing Gym by
Sam Pilafian and Patrick Sheridan
is a great resource for all wind
performers.
Embouchure
The lower lip should be curved
slightly over the teeth. Too much
bottom lip creates a sound that is
bright and edgy, while too little
bottom lip creates a dull sound.
Taking too much mouthpiece
results in a spread and unfocused
sound, which is usually flat, whereas
taking too little mouthpiece causes
the sound to be pinched and
sharp. Place a business card in the
opening between the mouthpiece
and the reed. Wherever it falls,
mark the reed with a pencil. This
is roughly how much
mouthpiece one should
be taking, which tends to
be approximately 5/8 of
an inch. Beware of biting
the mouthpiece (too
much pressure from the
teeth)!
It is important to keep
the head up, and to use
a firm bottom lip and a firm, flat
chin. The corners of the mouth
should be down, in, and snug.
Practice in front of a mirror. Do not
rest the bell of the clarinet on your
leg, as this affects air, embouchure,
tonguing, and pitch.
A mouthpiece patch can be used
for comfort, to check placement of
the embouchure, to control how
much mouthpiece one is taking,
and to gauge if the student is biting.
Tongue Posi t ion
There are three parts of the
tongue we consider as a clarinetist:
• the tip, for articulation
• the middle, for clarity of the
sound and center of the tone
• the back, which controls the
register (high in low register/low in
high register).
The syllables “ee” or “shee”
capture the natural placement of the
tongue, and facilitate comfortable
articulation. The syllable “tee” is
used for single tonguing
at all note lengths.
There should be no
jaw movement when
tonguing correctly; one
must have a flat chin
at all times. Please note
that the tip of the tongue
only stops the reed from
vibrating momentarily.
Maintain a constant stream of air
behind the tongue at all times.
A quick barometer of tongue
placement is to have the student
play C3 and trill to D3, using
the second side key from the top.
This will only speak when the
tongue is positioned correctly. If
you are puffing your cheeks while
tonguing, the corners are not firm.
Use a drinking straw to
practice the correct formation of
the embouchure, position of the
tongue, and execution of the air
away from the clarinet.
I recommend the
Rico Reserve X5
mouthpiece for students to facilitate
the proper development of sound
fundamentals, and to promote a
good tone and articulation.
Upgrade Your Ensemble by
Strengthening Your Clarinet Section
Beth A. Fabrizio