The role of the embouchure is to set up the proper environment for the air to meet the reed. Like a good reed, the embouchure must produce and maintain a beautiful sound, but must also be very flexible. You must be able to slightly tighten or slacken either or both lips, open and close the throat, move the tongue to any position, and increase or decrease the pressure of the lower jaw and chin. Any of these, in any combination, are necessary for artistic playing, especially regarding intonation and dynamics.

For maximum reception and response as well as economy of energy, the embouchure must always be thought of as opening away from the reed--not shutting it closed. The
mouthpiece/reed/ligature combination must allow for an embouchure that operates from "open" to "relaxed". The incorrect tendency is to have equipment that creates an embouchure which is forced to operate from "moderately open" to "tight".

A good embouchure is strong without being rigid and will not tire in a day that contains four to six hours of active playing and practicing. A good embouchure requires no major adjustments for wide intervals, register changes, different articulations or dynamic extremes. As will be seen, a proper embouchure combines the forces of the top lip down with the corners of the mouth pressing inward towards the teeth opposing the jaw moving forward and downward into the reed. With no air existing between the
cheeks and the teeth when blowing, the facial muscles of the cheeks will be directed firmly forward and down creating the correct musculature as well as a singing "O" concept of sound.

When the embouchure is correct you will see a sharpening and defining of the facial features as when blowing out a candle. This type of embouchure produces two powerful horizontal actions that in no way contribute to closing the reed, the mouth or the
sound.

The misguided tendency of many clarinetists is to have a downward pressure exerted by the top teeth on the mouthpiece opposed by an upward pressure from the jaw. This embouchure produces a pinched quality of sound like the nasal vowel "E". This type of embouchure also demands and promotes the use of a reed that is too weak, and will also tire more quickly than a correct embouchure. An incorrect embouchure may have the chin pointed either up or down, but it is usually also focused backward towards the throat. In an incorrect embouchure the top lip is allowed to merely rest on top of the mouthpiece.

Back to Introduction or forward to the Lips.

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