Clarinet and Saxophone Playing Position, Mouthpiece Angle and Embouchure

Playing Position - Introduction

We are all different shapes and sizes and very importantly have different teeth structures and lip shapes. The holding position that works well for some may not work well at all for others. Some players are fortunate enough to be able to just 'get on with it' and never give any thought to how they address their instrument, mouthpiece and blowing angle. For many it is not a consideration - though it should be - as how the instrument is held can be a large factor in the success one experiences in obtaining the control and sound desired. Here are a couple of tips worth bearing in mind. I encourage you to try them for yourselves.

Clarinet -

Given a typical teeth structure the best results are often found if the clarinet is held at an angle of 30 degrees from the body (off the vertical) in standing position - an angle desirable to maintain when seated as well. Do avoid resting the instrument upon a knee(s) as this leads to bad habits - there are other ways to help relieve right hand tension and aches (see previous blog on the Claritie - 02/10/15).

You can demonstrate the effect that the holding angle has by sustaining a single tone and moving the instrument through an arc from very close to the body to 90 degrees perpendicular. The effect upon the sound can be dramatic. The tone is often very strangled when the instrument is held too close and becoming completely uncontrolled when too far out - with the best sound and control to be found in between - usually around the 30 degree position.

Saxophone - 

The saxophone family relies upon a sling as part of the correct playing position as well as a correct holding position from the hands and the teeth. When standing the instrument should be comfortably straight in front of the player often with the D#/Eb keyguard (in the case of the alto) gently resting on the body at the abdomen or with the sax gently pushed forward by the right hand - whichever is more comfortable. The left hand thumb first joint must exert a pressure on the thumb rest while allowing the tip freedom to engage the octave key. The mouthpiece should then enter the mouth at a 'flatter' angle than the clarinet - something approaching 25 - 45 degrees off the horizontal. With a firm contact downward from upper teeth to mouthpiece (use of a mouthpiece patch is advised) a triangulation is achieved between the teeth, the left hand thumb and the sling. In this position the sax is secure, the embouchure is able to control the reed and mouthpiece properly and the fingers are able to move with complete freedom as required.

When seated the alto, tenor and baritone must (for all but the tallest of players) move to the side but achieving the same triangulation is desirable. What is most often overlooked is the crucial role played by the left hand thumb in maintaining a constant, reliable pressure on the thumb rest so that, in conjunction with teeth and sling, the player does not resort to tightening the embouchure in order to keep the instrument in position or find that finger tension increases in order to 'hold on' to the instrument. Be sure to appropriately adjust the angle of rotation of both crook and mouthpiece when changing from a standing to a seated position.

 

 

General embouchure comment - 

 The lower lip should make contact with the reed at or near the 'control' or 'friction point'. This is where the reed leaves contact with the mouthpiece and begins vibrating freely. Below this point the reed will vibrate in an uncontrolled manner and too far above this point the lip will effectively 'shut off' the vibration entirely. This 'correct' lower lip position is often determined and discussed by noting how much of the mouthpiece is taken in relative to the top teeth and this does vary bearing in mind the chosen playing angle, an individual's own natural individual overbite and teeth structure, as well as the concept of tone desired. This position is very personal but it is fair to say that it is almost impossible to support well and obtain the best possible performance without finding ones 'optimal' teeth position and returning to this position consistently.

A further note -

A simple way to describe the very real differences between the embouchure shape and firmness between the clarinet and all the saxophones is worth remembering. The clarinet plays best at the 'top' of its available pitch range with no firmer embouchure than is required to produce the entire range accurately. The saxophone family performs best when played well 'down' into its available pitch range using air support to centre the tone and stabilise the pitch. When this is clearly understood and achieved both families sound their best and many other 'problems' of all sort become manageable.

For both instruments it is wise to choose your reed strength to match your degree of air support rather than your willingness to squeeze your lips.

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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 Claritie - Right Hand Thumb and Wrist Support for Clarinet players - made by Daniel Bangham

Introducing The 'Claritie' - Right Hand Thumb and Wrist Support for Clarinet Players

I am fortunate enough to not have suffered greatly from pain in my hands from supporting my musical instruments but I know many players who have struggled with strain induced problems, sadly some to the point of giving up playing altogether. I have recently become aware of a product that really works and which any players suffering from such problems needs to know about. To order follow the link below to see the 'Claritie' as offered by Woodwind and Reed, specialist music shop, Cambridge, UK:

http://www.wwr.co.uk/other-clarinet-accessories/pid89425/cid417/clarinet-support-to-suppliment-the-use-o.asp

Here is the advertising blurb itself:

For all clarinet players who suffer from pain and tension in their right hand thumb and wrist from playing – there is now a total solution available!

A fantastic, new invention that holds the clarinet in the correct playing position, but takes all the weight of the thumb. An excellent solution for those with RSS or Arthritis.

The hook ring fits between the bell and bottom joint and the hanger goes between your body and the hook fitting.

Daniel Bangham, a master craftsman, repairer and retailer based in Cambridge in the United Kingdom, has developed a support that has the effect of making a clarinet virtually weightless, suspended without reliance on the right hand thumb for lifting.

This clarinet support, invented and perfected over the last few years with leading UK players and in consultation with long term sufferers of thumb and wrist agonies, is the best answer available to provide relief from pain and eliminate this aggravating problem.

Forget making alterations to your instrument or thumbrest, complicated and fussy pegs requiring frequent adjustments, stands that can only be used when seated, this clever device takes all the weight of the instrument without compromising your optimum playing angle. It can be used seated or standing. Easy and quick to install and use, its neat design requires no modifications to the clarinet, no screws changed or holes drilled and can be transferred from one instrument to another without fuss.

Made from the finest materials, polished steel and rosewood contact support the Claritie is as elegant as it is effective.

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Once I became aware of the value of the Claritie I became so enthusiastic about it I wrote the following product review:

Product Review

A proven new support device for sufferers of aching thumbs and sore wrists as a result of playing the clarinet is now available. It has been my privilege to observe the development of this new product through my work at Woodwind & Reed in Cambridge, UK. It was here in this shop that Daniel Bangham, owner and innovative thinker about such matters, worked alongside visiting customers who had experienced problems ranging from minor occasional discomfort in their right hand thumbs to career-threatening pain that could have resulted in a forced cessation from all playing of the clarinet. Fortunately for these customers Daniel was able to create a device that really does make a clarinet feel virtually weightless allowing players to perform without complete comfort and at no sacrifice to their musical or physical experience.

I have performed with this device myself and IT REALLY WORKS.

When using this device the clarinet is suspended via a sprung wire triangulation attached to a hook slipped in-between the lower joint and the bell during assembly, a contact point on the abdomen (ever so comfortable) and a sling that, when properly adjusted, provides position and stabilisation to the device itself. The sling is not attached to the clarinet at all. No restrictions in holding position, no unwanted contact between a sling and the left hand thumb, no bulky or awkward tabs to get in the way of the right hand thumb and no fixed location contact points to chair or to the floor that so many stand based products require.

I have seen customers full of praise for this device and as a result of using the Claritie they have been able to return to regular pain-free playing for the first time in years. Not only is it a clever application of fundamental physics but it is so simple to use. It can be set-up in a matter of seconds, is lightweight as you would expect, and requires no alteration to the instrument itself. The experience of standing up playing an open G, with no contact of either hand at all required to hold the instrument, is so surprising and initially disorientating that it is hard to believe that it really is possible. With the clarinet support in use the amount of contact required in either hand is an absolute minimum to close the rings, cover the holes and depress keywork – nothing extra from the fingers to maintain the playing position.

I would recommend this device to any player suffering from pain as a result of holding their clarinet and for those who thought they would have to give up playing their beloved instrument I can quite honestly say – think again – help is truly at hand.

Thomas Dryer-Beers, staff member WWR (www.wwr.co.uk)

Woodwind Performer and Teacher

Consultant to Reeds Direct Cambridge (www.reedsdirect.co.uk)