Double-lip embouchure
The double-lip embouchure is a type of embouchure used in playing woodwind instruments like oboe and bassoon, and occasionally clarinet and saxophone. It contrasts with the single-lip embouchure in that both lips cover the dental surfaces.[1]
Historically the double-lip embouchure was common among clarinettists, and was advocated in methods books, such as those by Jean-Xavier Lefèvre and Franz Frohlich.[2] The shift in the 1820s to playing with the reed facing downwards corresponded with a move away from exclusive double-lip embouchure.[3] Double-lip embouchure was similarly recommended in early saxophone materials, such as those of Adolphe Sax and Louis Mayeur.[4]
The double-lip embouchure supports more even lip muscle development, since both lips are involved in maintaining control of the mouthpiece/reed. Clarinettist Keith Stein suggests that double-lip playing on that instrument can be used as a remedial technique to address issues of "tone production, upper register tonguing, legato binding, high tones, [and] undue tenseness".[5] David Pino recommends this technique to address excess pressure from the jaw as well as "tense, pinching" tone on clarinet.[6] He notes that performers who use this method feel "it is the best way to achieve openness and freedom in tone quality and response".[6]
A double-lip embouchure is sometimes recommended by dentists for single-reed players for whom the single-lip approach is potentially harmful.[7]
Prominent practitioners of double-lip embouchure on saxophone include Johnny Hodges and Warne Marsh; Lee Konitz reported using it for ballads.[8] Clarinettists using this technique include Ralph McLane,[9] Louis Cahuzac, Reginald Kell, and Richard Stoltzman.[10]
References
[edit]- ^ Stein, Keith (1994). The Art of Clarinet Playing. Alfred Music Publishing. p. 12. ISBN 9780874870237.
- ^ Lawson, Colin (2000). The Early Clarinet. Cambridge University Press. p. 47.
- ^ Harris, Paul (2022). The Clarinet. Faber Music. p. 41.
- ^ Cottrell, Stephen (2013). The Saxophone. Yale University Press. pp. 1818–1819.
- ^ Stein, Keith (1958). The Art of Clarinet Playing. Alfred Music. p. 46.
- ^ a b Pino, David (1998). The Clarinet and Clarinet Playing. Courier Corporation. p. 59.
- ^ Prensky, H. David; Shapiro, Gerald I.; Silverman, Sidney I. (1 September 1986). "Dental diagnosis and treatment for musicians". Special Care in Dentistry. 6 (5): 198–202. doi:10.1111/j.1754-4505.1986.tb00996.x. PMID 3532373.
- ^ Hamilton, Andy (2007). Lee Konitz. University of Michigan Press. p. 167.
- ^ Battipaglia, Victor (22 June 2021). "The double-lip embouchure in clarinet playing". University of Rochester. Retrieved 17 January 2023.
- ^ Estrin, Mitchell. "The vanishing double lip clarinet embouchure". Vandoren. Retrieved 17 January 2023.
 | This music theory article is a stub. You can help Wikipedia by expanding it. |