ClarinetMike’s Clarinet Teacher Tips: Great Embouchure = Great Clarinetists! The Single Lip-Double Lip Embouchure

Dr. Michael Dean "ClarinetMike"

ClarinetMike says, “Single Lip-Double Lip Embouchure works great for me and my students!”

ClarinetMike’s Clarinet Teacher Tips: Great Embouchure = Great Clarinetists! The Single Lip-Double Lip Embouchure

“Single-Lip-Double Lip” is the term I use to describe the embouchure I perform with and teach (also known as “5-C“ Embouchure). The embouchure was developed over a number of years based on my study of the innovative ideas of master single reed teacher Joe Allard. (See HERE for important acknowledgements, etc.)

“Single Lip-Double Lip” is a single lip embouchure that gives the benefits of both single and double lip embouchures. Described below, the “Single Lip-Double Lip” embouchure allows the reed to vibrate freely as does a double lip embouchure. However, it avoids the problems of double lip: hard to do, hurts for some, lack of stability for marching/standing, etc.

I strongly suggest using the “Single Lip-Double Lip” embouchure in conjunction with my “5 E-Tips for E-Lips” embouchure tips.

Single Lip-Double Lip Clarinet 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 platform (or “Happy Place”) for the reed to vibrate. My Single Lip-Double Lip (aka 5-C) Embouchure below will help a clarinetist develop a good platform or “Happy Place” for the reed to vibrate.

Single Lip-Double Lip [5-C] Embouchure Steps:

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

Single Lip-Double Lip [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. IMPORTANT: Upper lip also sits gently on top of mouthpiece and moves upwards toward top teeth with no downward pressure.

ClarinetMike says, “Great Clarinet Tone is really only about making a happy place for the reed to vibrate and blowing the air the right way.”*

*High quality clarinet, mouthpiece, reed, ligature, barrel, etc. are essential too, of course….

[The above is a slightly revised version of a previous post.]

About ClarinetMike

American clarinetist MICHAEL DEAN 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." His career is headlined by appearances at Carnegie Hall, ClarinetFest, NACWPI, Eastman School of Music, and Royal Northern College of Music with recent recitals and master classes in Italy, Spain, Kansas, Iowa, Missouri, Louisiana, and Texas. In July, he will return to Vipiteno, Italy as Clarinet Artist Faculty in Residence at Orfeo Music Festival 2017. He is featured on 5 commercial CD's and on New Media, such as YouTube. He is currently preparing another new clarinet CD, Postcards from Silver Lake. He's performed with the Southwest Symphony, Nevada Symphony, Abilene Philharmonic, Southeast Chamber Players, Red Mesa Trio, and Duo 35. He performed for 11 years with the Paducah Symphony. His articles appear in journals such as Southwestern Musician, WINDPLAYER, NACWPI Journal and The Bandmasters' Review. As "ClarinetMike," he writes for his widely-read ClarinetMike Blog, clarinetmike.wordpress.com-viewed in 150 countries on 6 continents. He was recently a tenured Associate Professor of Clarinet for 11 years at Southeast Missouri State University. He returned to his native Texas in 2012 due to family concerns. He is a past president and former National Board officer of the National Association of College Wind and Percussion Instructors (NACWPI). Dr. Michael Dean studied clarinet performance at Texas Tech University, University of Colorado at Boulder, University of Texas at Austin and University of Texas at Arlington. His teachers include Robert Walzel, Phil Aaholm, Carol Jessup, Jess Youngblood, Bob Ackerman, and Pam Youngblood. His web page, clarinetmike.com, features video of his teaching and performing as well as information on his CD's and other publications. He is a BG France Performing Artist.
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4 Responses to ClarinetMike’s Clarinet Teacher Tips: Great Embouchure = Great Clarinetists! The Single Lip-Double Lip Embouchure

  1. Tom says:

    Mouth and tongue position are probably two of the most important positions to perfect. Thx. : )

    Sent from my iPhone

    >

  2. Pingback: ClarinetMike’s Clarinet Teacher Tips: 5 Embouchure Tips “The E-Tips for E-Lips” | ClarinetMike Blog

  3. Pingback: ClarinetMike’s Clarinet Teacher Tips: Right Hand Down? | ClarinetMike Blog

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