Texas Bandmasters Association
Bandmasters Review • December 2014
11
Forming a Single Lip Clarinet
Embouchure
Learning how to correctly
form an embouchure is an often-
overlooked skill for clarinetists.
This skill is important not only
for learning how to become a
more effective teacher, but also
for increasing understanding of the
mechanics of the instrument.
The goal of any clarinet
embouchure is simply to allow
maximum control of a reed
vibrating to its full potential.
Generally speaking a reed vibrating
to its full potential will offer the
most resonant sound possible, and
consequently allow for the most
musically expressive potential.
The embouchure should always
be formed around the musculature
of the face and should require
a minimum amount of conscious
manipulation while playing.
Unless playing in an extremely
high register or using an extended
technique, the embouchure should
remain essentially still.
Oftentimes people over estimate
the amount of manipulation
required. To demonstrate how
little manipulation is required,
turn the mouthpiece around on
the instrument so that one person
can blow and another can finger.
It is often striking to realize that
all of the notes come out just
fine when someone else is doing
all of the fingerings. Every note
in the Chalumeau register (those
notes played without the register
key) and the Clarion register (those
notes played with the register
key; from B4 to C6) should speak
easily without
any conscious
embouchure or
tongue mani-
pulation.
Forming an
embouchure:
1 . Line up
your teeth:
Line up your
front, top, and
bottom teeth.
I generally use
my index finger
as a guide to
ensure that they are lined up
correctly.
2. Open as wide as your f inger:
Open your teeth as wide as your
index finger being sure to keep
your teeth lined up. (Do not worry
about variations in people’s finger
sizes.)
3. Rol l to the color change:
Roll
your bottom lip in over your teeth
so that the color change is roughly
lined up with the edge of your
bottom teeth. I define the color
change as the line on your lip
where the red part of your lip turns
to skin. Be careful not to roll in
too much lip. The pressure point
will be where your bottom lip will
contact the reed. You can check to
see if you have
rolled in too
much lip by
pressing your
index finger
against your
pressure point.
If you can
press hard on
your pressure
point with your
finger without
discomfort, you
are likely roll-
ing in the
correct amount
of lower lip. If you feel discomfort
when pressing on the pressure
point, be sure that you have not
rolled in too much lower lip. (Note:
Depending on the exact type of
sound you would like to achieve
you may roll in even less lower
lip than is suggested here. If you
prefer to play with a more vibrant
sound like Robert Marcellus, you
may find you need to roll in even
less lower lip. Generally speaking
the less lower lip you roll in, the
more vibrations of the reed you will
Phi l l ip O. Pagl ialonga, D.M.A.