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EMBOUCHURE FORMATION  

Among the finest teachers and players there is a wide variety of opinion on the best embouchure formation on the clarinet. Properly developed, each produces tone quality representing the best standards for the instrument. As a prelude to this discussion, review the criteria for a good embouchure in Chapter 1.

Regardless of the specifics, there are several components of embouchure formation about which there seems to be general agreement:

1. The lips support the reed and mouthpiece inwardly in all directions within the general formation, a position frequently likened to a drawstring around the mouthpiece.

2. The lower teeth support the lip, but there is no substantial upward pressure of the teeth, and never any biting. Pressure against the reed is essentially that provided by the lip.

3. The chin muscles must be firm (some authorities say pointed) and in no circumstances rolled upward toward the lip.

Variables in embouchure formation include:

1. The amount of lower lip over the teeth

2. How much the lower lip is stretched or bunched to form the foundation upon which the reed rests.

3. The amount of mouthpiece taken into the mouth.

Basic Embouchure Formation

A basic embouchure can be formed by the following step-by-step procedure. Check each step with a small mirror on the music stand.

1. Keeping the lips lightly together, drop the lower jaw so that the teeth are about three-eighths of an inch apart. Do not push the lower jaw forward.

2. Shape the lips as if saying the letter “0.” The corners of the mouth are slightly compressed, and there are wrinkles in the lips, especially the lower lip.
   This produces a firm, thick cushion to support vibration of the reed. The thinner cushion preferred by many fine teachers is formed by pulling the corners of the lip back to stretch the lower lip to the required degree.

3. This step determines how much lip will be over the teeth when tones are produced. With the teeth dropped and lips in the “0” position, the line which divides the lower lip from the chin should be directly in front of the top edge of the lower teeth. Feel this with a finger, then raise or lower the jaw until this relationship is correct.  
   This puts most of the lower lip into the reed support area, and exact placement must be determined by the player’s facial characteristics. Other standard approaches put the edge of the lower teeth farther down on the lip to decrease the lip area supporting the reed.

4. Maintaining this position, insert the mouthpiece into the mouth, allowing the reed to push the lower lip over the teeth. The placement determined in the preceding step will determine the amount of lip over the teeth. Contract the lips around the mouthpiece so that no air can escape.

5.  The end of the reed must be clear of any contact with the the lip for three-eighths to a half inch in order to vibrate freely. Feel this with the tongue.  

6. The upper teeth rest, but do not press, on the top of the mouthpiece about a half inch from the end. This distance is critical. The most common problem is having too little mouthpiece in the mouth.

7. The lower teeth remain in the open position established in step 3 above. They support the lower lip and must not bite.

8. The chin is held in a firm flat position with a slight downward pull of the muscles.

9. The first efforts at tone production should be with the mouthpiece alone. Using standard breath support, produce a tone by blowing without using the tongue. Check embouchure formation in a mirror to be sure it does not change when the sound is produced.  
   Continue practicing with the mouthpiece alone until a steady, natural tone of the highest pitch (approximately C, second line above the staff) can be maintained for at least ten seconds.  

Check constantly in the mirror to be certain that the effort of blowing and producing a tone does not change the shape of the embouchure. When this is accomplished the student is ready to proceed on the entire instrument.

The following illustrations show a typical embouchure formation. As in all photographs in this book where the embouchure is visible, the photographs were taken during performance on the instrument.

Figure C.27 shows the shape of the lips as described in steps two and three of the formation procedure. Support of the reed and mouthpiece is by inward pressure from the corners of the lips.

	Figure C.27. Shape of lips for embouchure.
	Figure C.28. Embouchure (front view).
	Figure C.29. Embouchure (side view).

  Figures C.28 and C.29 show front and side views of the embouchure in action. Observe how much of the mouthpiece is in the mouth and the angle of the mouthpiece in relation to the chin. Notice the shape of the chin in the side view where the chin muscles are firm and pulling down.

Maintaining a good embouchure formation over a period of weeks and months while the student is struggling with tone production and fingering is difficult. It is recommended that every student have a small mirror on the music stand for constant reference.

The instructor will have to check the embouchure frequently. Students, especially beginners of any age, are not always capable of recognizing their own mistakes, of actually knowing when they are right and when they are wrong. The embouchure must be established by how it feels and how the tone sounds, as well as how it looks in the mirror. Teachers should tell students when they are right so that they can discover the right feel, hear the right sound, and see the right shape.  

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Common Faults In Embouchure Formation

Analyzing the problem a student is having with the em­bouchure must be done both visually and aurally, since some faults are not apparent to the eye but can be heard. It is frequently difficult to analyze and isolate an embouchure problem, since the tonal symptoms indicating a difficulty in embouchure formation may also indicate a problem with breath support or with the reed or mouthpiece being used. These factors are virtually inseparable in performance.

Following are some of the most frequently encountered problems in embouchure formation. A small mirror is an indispensable aid in making corrections.

1. Amount of lip. Within the desired parameters the amount of lip over the lower teeth is dependent on the size and thickness of the lips of the individual student. Students with very thin lips may need to put more lip over the lower teeth, while students with thicker lips will need to use less. Use the directions for formation of the embouchure as the starting point. The criteria is the quality of the tone being produced.

2. Amount of mouthpiece. The amount of mouthpiece to insert in the mouth is dependent on several variables: facial characteristics, the mouthpiece itself, and the reed. The final determination is made by ear, moving the mouthpiece in and out slightly to secure the best tone quality. These adjustments are made to find the point of support against the reed which allows a maximum length to vibrate freely.

3. Type of mouthpiece. The type of mouthpiece being used is a second factor to be considered in shaping the embouchure. The length and amount of curvature of the lay and the size of the opening at the tip determine the exact location of the mouthpiece. For best control the lower teeth must be slightly forward, i.e., toward the tip of the mouthpiece, of the point at which the lay starts breaking away from the reed. The exact placement can be determined only by hearing the student play and adjusting the distance the mouthpiece extends into the mouth, to achieve a tone which has good body, is well in tune, and is easily controlled.

4. Biting. Biting the reed with the lower teeth is a frequently an involuntary condition in the student. Too much pressure against the reed restricts vibration and produces a thin, stuffy tone with little body. With the tip of the reed forced too close to the tip opening of the mouthpiece, considerably more breath pressure is required to produce a sound. Reducing this pressure by opening the jaw immediately frees the tone.

Students with this excess pressure find it difficult to produce tones above high C. The position of the lower jaw in relation to the lip should remain the same throughout the entire range of the instrument. As an aid in forming this open position the student should play low E as loudly as possible forcing the jaw to open. The student can then be directed to play in the clarion register with this same embouchure adjustment. While this position is too open, producing flat pitches, it does put across the point.

5.  Escaping air. Air escaping from one or both corners of the mouth is a clear indication that something is wrong with the embouchure. The correction is to push the corners of the mouth toward the mouthpiece, visualizing the drawstring approach. Escaping air results in some lack of control of lower lip support of the reed and adversely affects tone quality.

Some students will have a relaxed upper lip which allows air to escape. These students may be asked to push down with the upper lip forcing the mouthpiece entirely away from the upper teeth while playing, to feel the muscular movement. The downward pressure can then be relaxed to the proper amount.

6. Chin muscles. A problem often found with beginners is their failure to keep the chin muscles firm. Instead of firming the muscles in a downward direction, the chin is pushed upward with the muscles bunched under the reed. In this position it is impossible to firm and control the lower lip and tone quality suffers. Biting is substituted for lip support.

Only a minimum amount of success is possible for the student who does this, and unless it is corrected the student will soon quit the instrument. This condition is extremely difficult to correct once it has become habitual. The only solution is to start at the beginning of embouchure formation and es­tablish a new formation.

7. Puffing cheeks. Puffing cheeks may be a problem with both beginners and more advanced students. This indicates a lack of support by the cheek muscles, which in turn may affect the support from the corners of the mouth. Puffed cheeks are frequently found in connection with air escaping from the corners. This always indicates that breath support necessary to produce a tone is not properly focused and directed into the mouthpiece. Frequently the student does not realize that the cheeks are puffed. It is sometimes useful to have the student play the open G while feeling the cheeks with the left hand.

8. Dimples in cheek. One of the most frequent problems in embouchure formation is found when there are dimples in one or both cheeks. These appear when one muscle is pulling back the corners of the mouth while at the same time another muscle is attempting to contract the lower lip. The musical result is the loss of tone quality and control.

The best solution is to have the student form the embouchure without the dimples, then play long, sustained tones while watching in a mirror to see that the dimples do not return. Students with this condition tire easily because two sets of muscles are pulling against each other.

Many students have natural dimples which, unless there is faulty embouchure formation, would not be considered a problem. No amount of effort can remove them entirely from the embouchure formation, but they will be minimized with a well-formed embouchure.

9.  Air pockets under lips. This is an infrequent problem and most often involves the lower lip. Air under either or both lips lessens the support of the lips around the mouthpiece, resulting in the loss of tonal control. Correct by reforming the embouchure making sure that there is good muscular support around the mouthpiece. Long-tone practice will help eliminate the problem.

10. Reed. The strength of the reed being used will have an affect on the embouchure. Stiffer reeds require more pressure of the lower lip cushion for control of tone than do softer ones and tend to encourage biting. A reed which is too soft plays flat and will also encourage biting when the player attempts to play in tune. A well-adjusted reed of the correct strength is essential for any playing.  

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Double Embouchure

This formation calls for the upper lip as well as the lower lip to be over the teeth, hence the designation “double embouchure.” Except for the upper lip over the teeth, this embouchure is formed as described earlier.

The double embouchure is favored by a rather small minority of players. Some of the relatively few teachers who play with the double embouchure do not always insist that their students use it.

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CHECKLIST FOR EMBOUCHURE FORMATION

The following check on embouchure formation must be made while the student is playing and preferably when the student is not aware that a check is being made. Any errors should be carefully explained to the student, the correction worked out while the student is observing the embouchure in a mirror. Remedial exercises can be assigned on the basis of this list.

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