ClarinetMike’s 101 Clarinet Tips: #25 ClarinetMike’s 5-C Embouchure

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Use ClarinetMike’s 5-C Embouchure and Let the Reed Vibrate!

ClarinetMike says, “I’m excited to share this embouchure. I’ve spent years working on it and think it can help you and your students.”

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ClarinetMike’s 101 Clarinet Tips: #25 ClarinetMike’s 5-C Embouchure

The embouchure below and previously published embouchure tips have been heavily influenced by the ideas of master single reed teacher Joe Allard.  The following reflects years of refinements on an embouchure that was originally passed down to me from Joe Allard through one of his students, Bob Ackerman. (This embouchure can be used on all clarinets and saxophones.) NOTE: Some of the specific language used is from the Joe Allard Session Handout and other places– see below.*

ClarinetMike’s 5-C Embouchure

What produces the sound on the clarinet? Clarinet sound is produced by the reed vibrating against the slot in the mouthpiece activated by the air (see E-Tip #3). Unlike brass players, the clarinet embouchure is not the sound maker (resonator).

So, what is the purpose of clarinet embouchure? The purpose of clarinet embouchure is to provide a great environment (or “Happy Place”) for the reed to vibrate. My 5-C Embouchure below will help a clarinetist develop a good platform or “Happy Place” for the reed to vibrate.

5-C Embouchure Steps:

1. Circumference
2. Corners to Cheekbones
3. Chin
4. Cover
5. Click

5-C Embouchure Details:

  1. Circumference: Lightly stretch bottom lip flat around lower teeth circumference.
  2. Corners to Cheekbones: Use “Smile Muscles” (Zygomaticus major muscles) to stretch lightly upwards from mouth corners to cheekbones. These muscles are the ones used when smiling. This should also help flatten out the chin.
  3. Chin: Smooth out chin muscles, focusing the chin to a point. But, DO NOT hinge the jaw forward – use a normal face. NOTE: Steps 1 and 2 will likely flatten the chin just about right – this step could be called “Check Chin.”
  4. Cover: Put some bottom lip over bottom teeth – “Not too much, not too little, just right.”
  5. Click: Top teeth rest on mouthpiece. Think, “Click” (See E-Tip #4).  Don’t bite down hard – think of top teeth “receiving” the mouthpiece. Upper lip also sits gently on top of mouthpiece and moves upwards toward top teeth with no downward pressure.

* For further study, the reader is directed to the following that influenced my thinking: ClarinetFest 2011 Joe Allard Session Handout,  Debra McKim’s important dissertation on Joe Allard and the little booklet accompanying the Joe Allard DVD, Clarinet & Sax Principles: Techniques That Work. Also, a few ideas above likely came from others that memory does not recall; however, I do remember getting “Click” from Prof. Julie DeRoche at her TMEA clinic a number of years ago.

 

About ClarinetMike

American Clarinetist Michael Dean “ClarinetMike” performs and teaches internationally and across the USA to consistent praise such as, “world-class clarinetist and pedagogue,” “consummate performer,” “inspirational,” “outstanding teacher,” “super,” “brilliant performer,” and “one of the best clinicians I have ever seen.” Dr. Dean’s career is headlined by appearances at Carnegie Hall, ClarinetFest, NACWPI, Royal Northern College of Music, and Eastman School of Music, with recent recitals and master classes in Italy, Spain, Canada, Michigan, Ohio, Kansas, Iowa, Louisiana, and Texas. He recently returned for a fourth summer to the beautiful Italian Alps of Vipiteno, Italy as Clarinet Artist Faculty in Residence at the international Orfeo Music Festival. He is featured on 6 commercial CD’s including his soon-to-be-released new CD, Postcards from Silver Lake. He is also prominent on New Media, such as YouTube. He was clarinetist with the Paducah Symphony Orchestra for 11 years and he’s also performed with the Southwest Symphony, Nevada Symphony, Abilene Philharmonic, Southeast Chamber Players, Red Mesa Trio, and Duo 35. He has given more than 500 master classes, clinics and performances at universities, conservatories, conferences, festivals, high schools, junior high schools, and a diverse array of venues. As “ClarinetMike,” he writes for his noted and widely-read ClarinetMike Blog – viewed in 150 countries on 6 continents, clarinetmike.wordpress.com. His blog is the #1 clarinet blog on the Internet according to Google Search and a recent ranking on Feedspot. His articles also appear in professional journals such as the Southwestern Musician, The Bandmasters’ Review, WINDPLAYER, and NACWPI Journal. He is a past president and former officer on the National Board of the National Association of College Wind and Percussion Instructors (NACWPI). After a successful 20 years of teaching clarinet at the university level, he relocated to his native Texas due to family concerns. He is currently an active clarinet and woodwind performer, teacher, clinician, blogger, and consultant based in Dallas-Fort Worth, Texas. Dr. Michael Dean studied clarinet performance at Texas Tech University, University of Texas at Austin, University of Colorado at Boulder, and University of Texas at Arlington. His teachers include Robert Walzel, Phil Aaholm, Carol Jessup, Bob Ackerman, and Jess Youngblood. He is a BG France Performing Artist and his professional website is clarinetmike.com. Mike and his family live in Hurst, Texas. His family’s new Golden Retriever, Nimbus, is a relative of Andy.
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9 Responses to ClarinetMike’s 101 Clarinet Tips: #25 ClarinetMike’s 5-C Embouchure

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