correct relationship of lower and upper lips in French embouchure playing

[@theyazzledazzle]

I'm always so glad when you upload a new video.

[@paulglobus9999]

This is right on. Seems counter-intuitive but this relationship between the upper and lower lips as you describe it makes everything easier. As a double-lip player myself I'm not sure if it's correct to state that it probably also applies to single-lip playing. Anyway, this makes for a nice finale to your excellent series of videos on French embouchure. Kudos.

[@klarinetten32]

I wish I would sound like you when I’m 73! Very inspiring!

[@avarmadillo]

I'm just happy to BE 73. Hope you make it. But be optimistic. Benny Goodman said he played the clarinet because your lips are the last things that wrinkle. But age has nothing to do with it---right concept, right tone production mechanics, right equipment--mostly an excellent well-made mouthpiece and a well balanced reed with a comfortable blowing resistance. I can teach anyone to do it.

[@klarinetten32]

@@avarmadillo can’t wait for my 576 :)

[@avarmadillo]

@@klarinetten32 Hopefully out Monday. If you like it it will play the same for you FOR YEARS. Hard rubber is the bees knees. I'd never go back to playing wood clarinets again---never! They're far too problematic in far too many ways. Just think how effortlessly I was able to play the 576 in the video--no work. You probably may want to get particulars adjusted to make the spring tensions and other key placements suit you. I have a fair assortment of gifts, but mind reading is, thankfully, not one of them. I hope you have a good repair tech if you need any changes or adjustments in the mechanism. But I think you'll be very happy with the acoustical design out of the box. What II recommend is for you just play the clarinet for a while and get used to the feel before you actually make any adjustments.

[@RybalkoD]

@@avarmadillo great!

[@klarinetten32]

@@avarmadillo Thank you! I am excited!

[@clarinetowner]

The rationale behind „bottom lip at fulcrum point“ appears to be that the reed can vibrate freely as much as possible (no vibration below the fulcrum point/on the table). However, that idea could easily combined with your suggestion (little reed in the mouth) by just using a short-faced mpc. I guess for people with an overbite, it’ll come more naturally than others.

[@avarmadillo]

Good, thoughtful approach at fleshing this out.But in my experience, the rationale about "more reed=more freedom to vibrate" is not accurate. Actually, the less amount of reed gives more freedom for the reed to vibrate (resonate) than taking more reed. A shorter facing mouthpiece (than is being wider used today) is something players who play double lip should seriously consider. Facings have gotten longer and tip opening have gotten more and more open over the years. That trend hit the law of diminishing return some time ago. The longer the facing makes intervals less efficient and legato in wide leaps more challenging, less elegant, and less secure---requiring MORE embouchure pressure to control---which result in anything but the freedom of the reed to vibrate. When I listen to the great French embouchure players of the past their legato is impeccable, smooth, well controlled----in a phrase, highly efficient! The middle and high break is basically invisible, and the sounds are beautiful and consistent throughout. They did not use open mouthpieces and longer curves. (The longer curve does tend to blow freer-----and the "free blowing" mania is a Lorelei causing many players to ship wreck.It also gives a sense of more freedom in the sound---but at a loss of focus and efficient intervallic connection----and the need for harder reeds to make up for the lack of efficiency.) With less reed in the mouth the reed is actually freer to vibrate the with more because the lower lip is exercising very little pressure (if the reed is balanced) on the reed. Mostly, the lower lip, closer to the tip opening, is not muscling the reed at all. It is exerting sensitive control of the tip area to nuance intervals, control reed response and nuance color and shape---without constricting resonance. It is a very subtle and delicate process. Below this sensitive control of the tip (playing a BALANCED REED) the reed produces much more clarity and vibrance than when the lip contacts the reed at the point of fulcrum. As one famous player in the 19th century said, "The reed rests in a bed of roses." Resulting in a sweetness in the sound and nuanced dynamic control that is rarely heard at present. Beyond that there is the matter of more mouthpiece beak on top. That is a moveable feast, and all about the air. As usual, the reality of things are often not as they first appear.

[@clarinetowner]

@@avarmadillo So about a year ago I switched from a B45 to a M30, since I felt I it was just to strenuous to sound nice on the more open piece. However, looking at the comparison chart and in light of your explanation above, it appears I went exactly into the opposite/wrong direction, with the M30 actually having a long facing. Looks like the 5RV would have been the direction to take instead? Although I seem to recall trying one in the process as well and not liking it. Then again, I seem to recall reading Michael Lowenstern reported the exact same thing but then he just stuck to the 5RV and after a few weeks it worked like a charm for him. So maybe I need to try again? I am trying to convert to double-lip, and it does sound nice on many occasions (I also got your ATG system so I'm all set up), but still fighting the old reflex to bite, and standing up doesn't work at all yet. It seems to me the biting reflex is not just about making the sound, it also sets in as soon as throat tones/few fingers on the horn are involved, just for stability. There also needs to be a better solution to that (I guess my right hand/thumb has also become weak/lazy through the years of fixating the clarinet with the lips). Keep on keepin' on, I will.

[@avarmadillo]

@@clarinetowner Equipment can help. And I recommend getting the APPROPRIATE equipment needed to accomplish what you are trying to achieve. But your mechanics have to be right, as well as your concept. A well balanced reed is IMPERATIVE. I'll try to make specifics clear about that in the next planned video. Hopefully it will help you. Sounds to me like you're working too hard for various reasons. Don't quit. As per mouthpiece, seriously, you might try my Homage mouthpiece and some of my balanced reeds to get a sense on how a correct set up actually feels. More on all this later, God willing.

[@clarinetowner]

I‘m game, please put me down for your Hommage/reed deal whenever it becomes available.

[@RAK402]

Magnificent!