Thoughts on Clarinet Double Lip Embouchure

Reprinted from an article for the Clarinet & Saxophone Soceity Single Reed Doctor

Question:

I have recently overheard friends speaking about using a ‘double lip’ embouchure on the clarinet. What is this and will it help me?

SDR Reply:

The standard clarinet embouchure, used by most players is known as a single lip embouchure, one where tissue of the lower lip tissue is folded over the lower teeth to form a cushion and contact the reed. The upper lip then lies in front of the upper teeth where they contact the mouthpiece and the lip’s role is to wrap around the mouthpiece to keep air from escaping.

The double lip embouchure, as it sounds, uses both lips to wrap over the teeth therefore placing lip tissue entirely around the mouthpiece – no contact from the teeth on the mouthpiece at all.

For some players with either very thin or rather large lips, a double lip approach is simply not a physically practical option. For others it could be considered an option but it does take time and much practice to learn and to grow comfortable with the position of the upper lip between teeth and mouthpiece.

A double lip embouchure places a great responsibility on the power of an air stream to generate sufficient pressure to vibrate the reed – without the benefit of the regular ‘grip’ between upper and lower teeth. Any attempt to ‘squeeze’ the reed shut with jaw pressure is likely to result in pain as the lips, especially the upper lip, will be trapped by the teeth.

The potential benefits of a double lip approach are:

·        A rounder, warmer sound may be developed as all tendencies to compress reed and mouthpiece are unlearned

·        The necessity for much greater awareness of air stream support leading to better control

·        An increased awareness of all elements of tone production

·        Greater subtlety in control as lips are simply more sensitive than teeth

·        A strengthening of upper lip muscles as they are engaged in a new ‘drawn down and in’ position

·        A genuine rethink of what it means to ‘properly blow’ your instrument

Possible downsides include:

• Pain and the risk of damage to upper lip tissue whilst learning the embouchure position
• Fatigue of the facial muscles while adapting to a new approach
• Loss of upper note accuracy and response due to the loss of familiar pressure from the lower lip
• A potential need to move to softer strength reeds
• A feeling is instability in holding the instrument still while playing

You can see from the above that there can be numerous benefits, principally in the area of tone production and flexibility but there are many possible risks to consider and for many the double lip approach is not a viable option. (NB - I would never recommend it for use on the saxophone due to the different holding angle of all saxes, even including soprano.)

My own opinion is that giving double lip approach a try, if for nothing else as a spur to develop a better awareness of REALLY GOOD AIR SUPPORT, is worth the time invested experimenting for all those who can manage the drawn down position of the lip.

After a period of time spent experimenting and benefiting from the improved breathing and blowing skills acquired I would recommend, for the vast majority of players, a return to a single lip embouchure combined with the use of a mouthpiece cushion and the application of all the positive elements experienced:

• Better initial breathing awareness
• MUCH greater support from abdominal muscles while blowing
• A more relaxed ‘grip’ from the jaw muscles
• Increased involvement from the upper lip in the surrounding and support of the embouchure on the top of the mouthpiece

All the above can only improve a players normal sound and ability to control their instrument so what is there to lose?

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful. 

Thomas Dryer-Beers

Why Play An Acoustic Instrument in the Digital Age - Some Thoughts

Why Play An Acoustic Instrument in the Digital Age? Some Thoughts

The digital age in which we live is bringing about changes at such a pace that fundamental questions are being raised about the relative values of different human activities. After all why would someone wish to expend the effort required to learn to play the piano when one can push a button and pre-recorded piano tracks are produced? What compels a person to learn the violin when performances can be downloaded to electronic devices? Why would someone wish to devote years of learning and sometimes great expense to learn the oboe, the harp, the drums or trumpet? By way of an answer most musicians would be inclined to reply: Because it is fun! But much more lies behind this reply and a bit of consideration of the additional benefits that come from instrumental study is, I believe, well worth taking the time to ponder.

Personal Responsibility

The study of instrumental music, whether from an early age or as a late starter, is an exciting and, for some, a daunting challenge. Improvement requires much practice, learning foreign terminology, a acceptance of large doses of humility in facing up to ones limitations and a great deal of patience in overcoming them. As a metaphor for life it is hard to beat. The personal satisfaction to be gained through such a step by step progression leading to a feeling of achievement and reward for the efforts made is arguably unequalled by other activities and rivalled by very few. Someone who can confidently 'hold their own' in a group, can inspire others through their performance and even attract and receive recognition for their excellence, is one who has taken personal responsibility for their study. This is a person who will then realise that their efforts have been not only worthwhile but valued by their peers and colleagues.

Socialisation

The opportunity to perform with others, whether in a small ensemble or a larger band, is so rewarding that few other activities in life can compare. Think of the bonding that takes place between athletes competing as a team or how close actors become over the course of rehearsing and presenting a play. A great deal of empathy and understanding is required to make the most of every situation. Trained musicians will experience these same feelings over and over throughout a lifetime of performances, at all levels, with a diverse number of groups and people whom they might never encounter in any other situation. This confidence gained from such opportunities leads to the development of life-long relationships based upon mutual respect and appreciation.

Time Management

The adage 'If you want to get something done ask a busy person' certainly applies to most musicians. The management of time is a learned skill and in order to accomplish effective practice and progress each practice session must be organised, targets established and once achieved, new targets must be set. One also learns valuable lessons about time management from ensemble rehearsals and organisational demands. Managing to arrive on time at rehearsal and performance venues, getting to lesson locations and supplying the required materials, sheet music, instruments, concert dress, etc are all valuable lessons from which everyone benefits.

Developing Patience

It takes time and discipline to learn a musical instrument - no matter which one is chosen. In a world that seems to move ever faster and with less time to cultivate 'non essential' skills taking on the process of learning to read music and play an instrument is quite an investment. The patience required and the discipline of critical observation that one employs in order to progress in music will benefit a huge range of other life activities and result in a well rounded and better balanced individual more capable of dealing constructive with the unpredictability of life in general.

Physical Activity

Most all instruments require a degree of muscular refinement and training, whether it be the bow arm of a string player, the finger dexterity of a pianist, the breathing capacity of a tuba player or the embouchure strength of a oboist they all require development over many years and bring enormous and well documented health benefits to the musician. The improvements to overall cardiovascular function, blood pressure, muscle development, awareness of good posture and general flexibility more than offset the sedentary nature of many rehearsals and the unavoidable occasional physical 'niggles' one must endure along the way.

Mental Stimulation

It takes imagination and concentration to create or re-create music. The musician is continually anticipating, evaluating and imagining how to produce their best sound, shape the finest phrase and convey the intention of a third party, the composer, in a performance. The mind is fully engaged and rewarded by the instantaneous nature of result - even when the lingering feeling maybe that one 'could have done that better' there is always the next opportunity!

Cultural Appreciation

Music brings all of humanity together in an appreciation of what it means to be human. Peoples and races can all appreciate the traditions that each other have developed and the amazing music that has originated in every culture. Musical performers are continually challenged to take on elements of new traditions, perhaps initially foreign to their personal experience, and through understanding them and the cultures that produced them, incorporate such styles and inflections into their own performances.

Understanding World History

The music we hear around us from birth is a product of many centuries of practice by diverse peoples from all around the world. The study of music does not happen in a vacuum. Folk music, dance tunes, spiritual sounds, Church music, drum beats, vocal tones and lyrics all emanate from countries that must be acknowledged and investigated as part of the greater understanding of any music. Centuries of development underlay almost any works of art and the threads that connect them and the influences that come together to bring about what we experience as a final 'product' must be placed in context.

Additional Identity and Association

Musical instruments and their mastery open up associations that reach far wider than one's own geographical region. One might tend to say 'I am a sax player' or 'I play piano' even before thinking of one's nationality. I.e. if one plays flute there are flautists around the world with whom one is an immediate associate. Trumpet players, trombonists, clarinettists, violinists, cellists, oboists, guitarists, drummers etc. are all part of the larger societies of their chosen instruments as well as of the type of music to which they are drawn and that they perform. The instant affinity from such association breaks down barriers and opens up interesting lines of communication that those outside cannot easily access or sometimes even begin to understand. The shared experiences of learning and mastering an instrument sufficiently to give pleasure to oneself and to others binds musicians together as well as the pursuit of excellence and the appreciation of performance at the highest levels.

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful. 

Thomas Dryer-Beers

Why Play the Cor Anglais?

Why Play the Cor Anglais?

I imagine that almost any oboist who has had experience playing or owning a cor anglais will be inclined to answer quickly simply and immediately - because it is fun! I fully share and support this opinion - but it does not say enough about the benefits to the oboist so I hope to expand a little. I would say that experience of playing and better yet owning, playing and treasuring your own cor anglais deserves to be viewed as an important part of the development and maturation of every oboist.

The similarities between oboe and cor are many and following a predictable initial shock and the requisite alteration of habits and expectations transferred from the oboe the cor is largely playable by most oboists of a reasonable standard. The primary differences one will at first encounter are the relatively larger size and weight of the instrument, the stretch fingers and placement of keywork and the blowing position as the cor does rely upon a bent crook.

The size and weight are best addressed by using a sling, a fairly standard practice for the cor, to take the weight and relax the hands. The finger stretch and placement do take some getting used to however, since the demands for speed of finger action are considerably lower for most of the cor repertoire, there is usually time and opportunity to learn to ease the fingers into place to cover holes correctly and gently.  Allow the instrument to hang down between the legs so that the reed on the crook enters your mouth at approximately the same angle as you have with your oboe reed. Transferring some of these skills back to the oboe is often beneficial in itself and may eventually result in a more fluid technique on your main instrument.

Oboists often discover that the cor uses up a greater amount of air than the oboe. This is true and logical if you consider the larger size bore. Learning how to breathe more deeply and how to best hold onto the greater reservoir of air required is a very useful learning process and the discipline and awareness that one learns are sure to enhance breathing and phrasing on the oboe as well.

The Cor Anglias is almost entirely a solo voice in the orchestra or ensemble and as such when it is included in a score it is intended to be heard - almost never a 'filler'. This implies that tone and projection are very important concerns for the player. Mastering the production of a fine, centred, colourful tone with good projection takes time and more than anything replies upon learing to relax the embouchure so as to not 'stifle' the sound with the same embouchure pressure as one uses on the oboe. In addition the aural cavity should be adjusted to 'shape' the air to optimise the resulting tone colour by giving 'space' for the air within the body before filling the reed/crook/instrument. Getting used to hearing oneself instead of feeling 'buried' within an ensemble texture can be a bit nerve wracking to be sure but it also can be a wonderful confidence boost!

Balancing the tonal qualities of different ranges of the cor requires careful listening and the cultivation of new sensitivities. The skills gained through this process are likely to benefit the oboe as well. Learning to produce and then employ vibrato is ofter easier to do at first on the Cor Anglais as it is a more flexible instrument and a wider amplitude of vibrato and a slower speed can be acceptable. Vibrato skills learned on the cor can later be transferred to the more precise demands of the oboe.

Even if one does not make their own cor reeds learing how to handle and adjust a different size of reed can be very useful. Most players will play a less resistant reed on their cor than their oboe and learing to 'take pressure off the lips and place emphasis upon the air' will not only make for a better cor sound and more accurate intonation but can be applied to the oboe often with great benefit.

Learning to switch between, care for and maintain your instrument is also very beneficial as it is often the case (even likely) that your oboe and cor will have been made by different manufacturers and the key mechanisms and even the specification (covered hole, ring system, thoumbplate, conservatoire system, half hole split keys, LH F, trill keys, 3rd octave key, etc.) will be different. Coping with this is a fact of life for many players and it should make you a more flexible individual capable of understanding all your equipment better.

I would recommend splitting your practice time between the different instruments on a regular basis. Playing scales, arpeggios, interval studies and long tones on the cor is time well spent. When the much smaller, lighter and more facile oboe is picked up it is almost certain to feel amazing by contrast.

A final point I would add is that the ability to play the cor, and the ownership of or access to an instrument, can often be the 'ticket' to opportunities to perform with a wider range of ensembles and even result in participation in groups where just being to provide the oboe would not be of interest.

I would encourage all oboists to embrace whatever opportunities they get to play the Cor Anglais. Make sure any instrument you might use is in good condition by having it checked over by a repairer and then go away and do the necessary 'familiarisation' practice. When you feel that you are ready then go out and let everyone know that you have added cor to your skill set. You will be glad you did!

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful.

Thomas Dryer-Beers

The Importance of the Air Stream in Wind Playing

The Importance of the Air Stream in Wind Playing

In my teaching and throughout my time advising in the retail shop environment the topic of good air support has always been very important. I certainly did not know enough nor pay enough attention to developing good breathing and support habits when I was younger and many other players share the same difficulties and frustrations that I had. Indeed it was only in my early twenties following a great deal of rethinking and the guidance of some significant teachers that I began to sort myself out. Now many years later I believe that I am ready to refine what I have experienced and found useful to hopefully help others.

Breathing...Where it all begins.

Wind instrument playing all begins with a relaxed. efficient intake of air. Taken properly, utilising the greatest lung capacity available and dispensed under controlled pressure appropriate to the requirement of the instrument involved, an air stream is created that will energise an air column, then a reed or set of lips to do exactly what is desired for the musical execution of a phrase. Anything less that total control and execution will result in some level of musical loss - the air stream is that important.

When taking a breath the first stage is getting enough air into the lung quickly. Most tutors will advise opening the mouth, clearing the past of access to the throat, pushing out the abdominal muscles energetically and allowing air to 'rush in' to fill the void. Try standing or sitting in a well balanced position and work to expand your abdominal cavity in all directions: downwards, outwards, up to the bottom of the rib cage and at the back. I say to pupils that this is like trying to make oneself intentionally 'fat' with air.

If taken in successfully this large quantity of air will be held under pressure via the expanded 'stretched' position of the intercostal abdominal muscles for a brief period of time as you begin to release the air by blowing out. The challenge comes as the volume of air is reduced as you play. One must attempt to keep the air pressure constant while this loss of air is taking place by continuing to think of pushing the abdominal muscles 'out' - in other words keeping them engaged in the process of air support and not allowing them to merely collapse as the volume of air decreases. This is perhaps counter-intuitive but the action of attempting to 'compress' the abdominal muscles will only add tension to the process of blowing. Try taking a breath, beginning to speak and then, while speaking squeeze the abdominal muscles inwards. Your voice is likely to break or sound 'strangled' by this squeezing. Imagine what such undesirable tension could do to your instrumental tone!

Tongue and Oral Cavity Shape - Whistling

The shape that the player imparts to an air stream is another very important and altogether under appreciated aspect of tonal control. Many teachers speak of 'singing' via the instrument or illustrating good practice by using a series of vocalisations of various vowel sounds, i.e. Ahh, Eee,  Ooo, Ohhh. While this approach does work for some players I believe that it is not the most direct means of imparting an understanding of best practice positioning of the tongue. In my teaching I have found it more useful to suggest that a pupil first whistle for me - and notice the elevated position of the back of the tongue at the back of the top teeth and the position of the tip of the tongue near and behind the lower jaw front teeth. With the tongue in this position, blowing the air 'faster than you can sustain the whistle sound' is better illustration of an air stream shape suitable for most wind instrument blowing and well as providing a sense of the compression that must take place within the oral cavity. If a player is not familiar with or unable to whistle through the lips all is not lost. I like the following alternate approach: Imagine attempting to drink a very thick milkshake through a very weak straw. The aggressive 'sucking' position and sensitive 'drawn in' shape of the lips closely mirror a whistle position. Reverse the air flow to blowing instead of sucking and you are there!

When playing highly pitched instruments (i.e. Eb clarinet,  soprano sax, oboe, piccolo trumpet, etc.) or the higher regions of any instrument, the elevated part of tongue is best to be shaped high at the back of the oral cavity. As one performs on mid-pitch instruments or low-pitch instruments and lower ranges or pitch the 'focus' point of the tongue arch moves further forward in the oral cavity. Experimentation with this positioning can greatly aid the understanding involved in successfully 'doubling' between different size instruments i.e. oboe to cor anglais, flute to alto flute, Bb clarinet to bass clarinet, etc. and between different families, i.e. clarinet to saxophone, flute to bassoon, trumpet to trombone, etc.

'The Two Q's': Air Quantity and Quality

I firmly believe that the notion of how to deal with the variable column length and dimension of tubing that is fundamental to all wind instrument playing is vital and under appreciated. The concept of 'The Two Q's' is something that I have synthesised from many methods of trying to explain this elusive concept. The sensitivity of a player to the requirements of his or her instrument is vital to the development of instrumental control and this succinct summary will hopefully be both helpful and memorable:

• Players should always take care to supply the appropriate Quantity of air for whatever notes are being played, varying with the register, the volume being attempted, the length of the sounding tube, the type of attack being used and the timbre or expression sought.

• They must continually support and always use the best Quality of air that they can produce - this never varies and is the foundation of all beautiful playing. The degree of success one has in musical performance at all stages of learning is usually a direct indication of how well this principle has been understood and incorporated

 

 A Method of Practice

 

When faced with a phrase or section that contains many and various challenges to achieve the best possible musical expression many players resort to the repetitive practice of small sections, connecting up notes, addressing finger changes, experimenting with various dynamics, etc. This traditional approach is perfectly valid and often absolutely necessary. In addition I would like to propose a further practice option that in my experience is often overlooked. That is to play all or part of the phase(s) in question utilising at first a single pitch. This can be chosen from the phrase or completely unrelated. Within this sustained note one should try to express all the dynamic shape, control and duration of the original phrase. Once satisfied one can try introducing a selected series of note changes which begin to represent the phrase shape and challenges, perhaps the first notes of groupings or the extremes of interval leaps of the most dramatic of the required volume differentials - without sacrificing the overall control gained on the one sustained pitch. Once these intermediate stages have been successfully managed then work to add in further notes and/or finger changes until the entire phrase is being performed as intended.

If for instance an entire 4 bar phrase in a given tempo can be played with one breath using a sustained single pitch then the same 4 bar phrase should be able to be successfully played in the same tempo no matter how many subdivisions of notes are present or how wicked the intervals. If one struggles it is likely to be due to undesirable tension, less than ideal breath control or a lack of concentration while one is preoccupied with notes. Take a step back, practise the simplified phrase till confidence grows and then try again.

Very best wishes.

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful.


Thomas Dryer-Beers

The Flute Learning Curve

The Flute Learning Curve

 When one begins to learn flute there is a lot to think about: developing a correct embouchure shape, the blowing angle, proper breathing, finger placement, standing position - even just holding the instrument properly. Simply managing the making of tone of any kind is an achievement! Almost always the first sounds are often very breathy, weak and inconsistent. Very frustrating for all. 

However, if one is patient control begins to develop with practice and repetition and eventually the beginner becomes functional over a range of the first and perhaps second octave of the instrument. This is enough for most players to join a group, play some solos and generally feel good about their music making. 

At some point comes the realisation that not every note is sounding as good as the others and some notes may seem more difficult to play and possibly even be out of tune with other instruments in the group or band. At this juncture the guidance of an experienced teacher, if this has not already been available, becomes a necessity - for learning how to focus and shape each individual tone to sound its best and to take its place in a reliable, predictable intonation pattern is vital. This is a goal of every player and careful attention needs to be paid to fundamentals to achieve this.

Here is a short checklist:

• Is my stance correct, i.e. balanced weight, feet spread apart, able to move without tension?
• Am I breathing fully and supporting the breath well once taken?
• How are my lips 'addressing' the embouchure hole? Are they relaxed and supple?
• How and where am I directing my air stream?
• How efficient am I being when moving across larger leaps or octaves?
• Are my lips under control - moving easily and only as required?
• Is the tone quality the same throughout all registers?
• Can I play upper notes quietly and lower register notes loudly?
• Do all notes respond to slurring as well as tonguing?
• Can I play softly and stay in tune (avoiding the pitch dropping)?
• Can I play loudly and not go sharp?
• Am I tonguing efficiently or is my tongue stroke disrupting my lips?

Also check:

• Is my headjoint cork in the correct position? (Insert the bottom of the cleaning rod and check the line is in the centre of the embouchure hole)
• Have I pulled out the headjoint an 'appropriate' amount? (For most players approx 6-8mm to A440 pitch position)

All the above points deserve consideration and the time spent improving and developing control will be very valuable. As a general observation improving or intermediate players often play sharp without being aware of it and, until remedies are pointed out to them, they will not know how to respond. Just pulling out the headjoint is not enough as every note has its own 'best' embouchure and blowing angle.

Practice with a tuner will help (and probably shock initially) but eventually the intonation pattern of the instrument begins to be revealed. When this is observed then attention can be given to making the appropriate corrections required while playing to achieve proper tuning. This process can be helped enormously by remembering that very few good sounding, centered and attractive tones will be far if at all 'out of tune' whereas almost all bad sounding notes will be! This leads to a very memorable sentence:

Good in-tone-ation leads to good in-tune-ation.

 

As a quick aid this catchy concept is hard to beat and it can lead on to a lifetime of rewarding and efficient practice. As one reaches top levels of achievement standards the challenges do not end they just change and a player will become able to handle more difficult passages with ease but when faced with something daunting must still go back to basics to figure out how to tackle the problem and somehow make the seemingly impossible appear not only possible but beautiful!

 

 The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful.

Thomas Dryer-Beers