ClarinetMike says, “The 5-C Clarinet Embouchure Below Works Great. Check It Out!”
Also, my basic ClarinetMike Clarinet Clinic Handouts (including 5-C Embouchure below) are available in an Easy-To-Print-PDF HERE. I give permission to all readers of the ClarinetMike Blog to print, copy and distribute these handouts as desired. However, please remember they are copyrighted and must not be changed or altered in any way. Printing double-sided works great, fyi.
5-C Clarinet Embouchure
Dr. Michael Dean “ClarinetMike”
“Building Great Clarinetists”
Clarinet Performing, Teaching and Consulting
Hurst, Dallas-Fort Worth Metroplex, Texas USA
BG France Performing Artist
email@example.com * 682-888-7639
clarinetmike.com * clarinetmike.wordpress.com
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).
What is the purpose of clarinet embouchure? The purpose of clarinet embouchure is to provide a great platform (or “Happy Place”) for the reed to vibrate. The 5-C embouchure below will help a clarinetist develop a great environment or “Happy Place” for the reed to vibrate.
The 5-C embouchure could be thought of as a single lip version of a double lip embouchure (aka “Single Lip-Double Lip”). 5-C allows the reed to vibrate freely as in double lip embouchure. However, since 5-C is a single lip embouchure with top teeth on the mouthpiece, it avoids the problems of double lip: hard to do, hurts for some, lack of stability for marching/standing, etc.
5-C Embouchure Steps
1. Circumference (or Circle)
2. Corners to Cheekbones
5-C Embouchure Details
- Circumference (or Circle): Lightly stretch bottom lip flat around lower teeth circumference (or circle).
- 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.
- 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.”
- Cover: Put some bottom lip over bottom teeth – “Not too much, not too little, just right.”
- 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 upward toward top teeth with no downward pressure.
NOTE: The embouchure above and embouchure tips elsewhere have been heavily influenced by the ideas of master single reed teacher Joe Allard. (This embouchure can be used on all clarinets and saxophones.) See HERE for important acknowledgements, etc.