The Clarinet Embouchure - Carmine Campione

8/22/2019 The Clarinet Embouchure - Carmine Campione

1/58 Australian Clarinet and Saxophone

So much has been written about theproper formation of the clarinetembouchure that to some, what appears inthis article will be old news. But I encounterenough inadequate embouchures to believethat to others it will be new and revealing.It may expose some old myths, or re-enforceothers, one mans truth being anothersmyth. But I am convinced it is one subjectabout which too much cannot be written

from any thoughtful viewpoint, and so hereare my own views on this much disputedsubject.

As far as I am concerned, the mostimportant part of a correct embouchure isthe proper bottom lip/bottom teethrelationship. I shall refer to this many times,and if there is one thing the reader shouldretain, this is it. This lip/teeth relation ismerely the proper placement of the bottomteeth under the lip. The term lip refers tothe red part, the term face refers to the

facial coloured part directly below the lip,and the term lip line to the portion whichseparates the two.

In order to test for the proper lip/teethrelation, it is necessary to insert your index

finger in your mouth, or that of a student,and feel where the teeth are. The teethshould be under the lip just on the lip sideof the lip line. If any more lip were rolledunder, the teeth would be under the faceportion. As a result the chin would bebunched up, instead of being pointed, andthe sound would be small and subdued.The high notes may be flat, but squeakingshould not be a problem. On the other

hand, if not enough lip is over the teeth, orthe lip is too thin over the teeth, the resultcould be uncontrollable squeaking, and anoverall uncomfortable feeling. An extremeof this fault would be to play with your teethon the reed. It is nearly impossible to get asound in this manner, but to a small degree,that is what it is like to play with not enoughbottom lip over the bottom teeth.

The beginning of a correct embouchure,therefore, should be this proper lip/teethrelation the chin, somewhat pointed, and

the corners of the mouth pulled back. Thebottom lip should have a certain amountof tension from being stretched by thecorners of the mouth; too much tension ornot enough tension would cut off

maximum vibration of the reed.If a player is able to execute this much

correctly, at least 80% of the embouchureshould be correct. The remaining 20%concerns the proper position of the top lipand other factors discussed later. Althougheach of us playing the clarinet is blessed withtwo lips, in the proper functioning of theclarinet embouchure these two lips are notof equal importance. The bottom lip is far

more important. When this is correct,much else will automatically fall correctlyin place hence the 80%.

The muscles should be developed so thatthe corners can stay back when playing. Thetwo lips coming together should form astraight horizontal line, bending neither upnor down. This is why the term to smilewhile playing is at best ambiguous. If thecorners of the mouth already point upward,smiling will make it worse. Suffice it tosay, since a straight line with our lips and

corners of the mouth is our goal, do whatis necessary towards this end, whether it besmiling or frowning. Care should betaken to make sure the portion of the lipson each side of the reed is without muscle

The Clarinet

Embouchure Carmine CampioneThe mouth, in the form of the clarinet embouchure, is the only body part connecting the player and the clarinet that helps

produce a clarinet sound. As such, I believe the clarinet embouchure is the most vital link in the production of a clarinet tone andits great importance must not be underestimated. To the extent of ones success or failure with their embouchure is the extentof ones ability to produce a clarinet tone with respect to quality, size, and evenness, and to an even larger degree will determineones ease and control of that tone. In addition, a person with a good or natural embouchure will be able to come back to theirnormal playing ability a lot easier after a period of layoff than one whose embouchure is questionable or not as natural. Thefollowing is my attempt to explain this vital part of clarinet playing.

In the early 1970s the Selmer Company approached me in hopes that I would play and endorse their new line of clarinets.In 1974, I was so impressed with their series 10G clarinet, and with their desire to manufacture a good product, that I began toplay and endorse their clarinet. In addition, the Selmer Company asked me to write an article for their magazine , The SelmerBandwagon. I decided to write on the subject of embouchure. So, in March of 1974, in Selmers Bandwagonmagazine No. 71the following article appeared. In all the years since then, my concept of embouchure has not changed one bit. Therefore, I amincluding that article in my new book, exactly as it appeared in the Bandwagonmagazine in 1974.

Clarinet Embouchure AgainBy Carmine Campione


2/5September 1999 9

tension. I f muscle tension exists here,pinching of the reed will occur and the tonewill reflect this.

A good golf swing must have a goodfollow-through, but that follow-throughmust be the result of a good swing throughthe important hitting area. A good follow-through by itself is worthless. So it is withthe obsession with the pointed chin. There

is no question the chin must be pointed(the extent of which depends upon the facialmake-up of the individual), but this shouldcome about naturally from the proper lip/teeth relation. If this relationship is correct,the chin will be pointed naturally withoutthe player having to work at it. To work atthe pointed chin by itself is just like workingat a golf follow-through with no regard tothe swing which produces it. Forcing theissue by itself may eventually prove harmful.

Another important and sometimes

overlooked factor in the formation of a goodembouchure is the position of the jaw. Thejaw position is proper when the jaw is in itsmost natural and therefore strongestposition. This can be determined by puttinga long wooden pencil in your mouth withthe mouth set for clarinet embouchure. Ifthe pencil points upward or is somewhatparallel to the ground (you might notice ashake of the pencil) this would be a weakposition and would mean the jaw is outtoo far. To correct this, manoeuvre the jawinward to where the pencil is not shakingand you feel you could hold it indefinitely.Although possible, its rare that an incorrectjaw position should exist because the jaw istoo far back. Reversing the processmentioned above will correct that.

The importance of proper jaw positionis evident upon closer analysis. You willnotice as you move your jaw in and outthat the lip/teeth position will change. Jawout too much will leave too little lip over

the teeth. Jaw in too much will makepossible too much face over the teeth. Inaddition, since the jaw is instrumental inholding the clarinet for long periods of time,it is necessary for the jaw to be in thestrongest position. Probably the mostimportant reason for proper jaw positionis its direct effect on obtaining the soundby applying the necessary pressure. I callthis the pressure point or contact point. Ifno pressure is given to the reed, there willbe no sound. Too little pressure gives a

tubby sound; too much a small, tight sound.The sound you want to achieve and likebest (with the possible aid of a second partyor teacher) will determine how muchpressure to give. But the point I want to

make here is that since pressure to the reedis needed to produce the sound, thispressure should come from the jaw(through the bottom teeth and lip). If thepressure does not come from the jaw, itwill have to come from elsewhere. Thisgenerally means tightening the lip musclesto get a sound, resulting in early fatiguingof the lip muscles, too much squeaking and

a small, tight sound.One reason why the pressure point or

contact point is the most serious of allclarinet embouchure problems is that itseems to be most difficult to convert to thecorrect pressure point after the wrong pointhas been set by habit. Drastic measures haveto be taken, and usually the only possiblesolution is a conversion to a double lip

embouchure, as it is easier and more naturalto use the correct pressure point withdouble lip playing.

This brings us to a controversy: doublelip vs. single lip embouchure. Althoughthere are advantages and disadvantages ofboth, the important thing is that theembouchure be correct, whether it is singleor double. I play with a single lipembouchure, but if I should play with adouble lip embouchure, the difference insound and visible formation would bedifficult to detect. The physical difference,of course, is that with the double lipembouchure the top teeth are covered by

the top lip and do not contact themouthpiece directly. The single lipembouchure I play and teach resemblesdouble lip embouchure because I curl thetop lip right up against the upper teeth,instead of placing it under the teeth. A thinpiece of rubber on top of the mouthpiecekeeps the curled top lip from sliding downeasily. In addition, this piece of rubber willabsorb vibrations from the mouthpiece (afunction which the top lip performs in thedouble lip embouchure) so that you will

be able to hear a purer sound. Chances areif you hear a purer sound, you will moreeasily play with a refined tone.

Although I play with a single lipembouchure, and generally teach it as well,

I do recommend the double lipembouchure to certain students. Thestudents for whom I recommend doublelip are those that I feel (from years ofteaching experience and carefulobservation) will have a difficult timelearning a correct single lip embouchure. Imay save months or years by suggestingthey convert to double lip.

The biggest problem with double lip willbe the endurance of the top lip, and sittingwhile playing will be a necessity at first. Butwith diligent practice as often as possibleeach day, results will be evident quickly.Note I said practice often rather than longperiods of time six half-hour sessionswould be better than one three-hourstretch. In this way the callus of the top lipwill have a better chance to develop quickly.The double lip can be helpful not only as apermanent switch but also as a teaching

guide for a good single lip embouchure.For instance, I have had students returnfrom double to single lip after a period oftime, and their embouchure is usuallyperfect after the experience of playingdouble lip. For reasons I can only surmise,it is easier to acquire a perfect double lipembouchure. The proper lip/teethrelationship seems to come more naturallyin nine out of ten cases.

The proper angle of the clarinet isattained by making certain the head is erectand the clarinet is at an approximate 35angle from the body. The lowering of thehead will increase this angle just as theraising of the clarinet itself would. Theimportant point here is to make certain thehead (not just the eyes) is erect. When theangle is correct, you will notice that therewill be more reed than mouthpiece in themouth.

The choice of reed strength naturallydepends on the facing of the mouthpiece.

The more open the facing the softer thereed needed to obtain the desired blowingresistance; the closer the facing the harderthe reed needed. If the reed is too soft, faultyloosening of the embouchure would haveto take place to obtain a sound. Too hard areed might necessitate improper pressurefrom pinching or biting.

The proper amount of reed in the mouthis approximately inch or approximatelythe length of the facing. A correctembouchure may look as if only a little reed

is in the mouth, but the important thing isthe amount of reed that is free to vibrate.This can be determined by playing openG and increasing little by little the amountof reed in the mouth. When there is too

The jaw position isproper when the jaw isin its most natural andtherefore strongestposition.



much, the overtone (actually high D, a 12th

higher) will result. When this happens,merely decrease the amount of reed onenotch; high D will no longer prevail, andthis should be the proper amount of reed.If you increase the angle of the clarinet bybowing your head or lifting up the clarinet,you will decrease the vibrating portion ofthe reed in your mouth. Or if the bottom

teeth are under the face instead of the lip,less reed is free to vibrate in the mouth.Some players compensate for this mistakeby making another mistake: they put a greatdeal of reed in the mouth to get of aninch to vibrate. This produces a harsh anduncentered sound.

It is not always possible to detect animproper embouchure by sight or thefinger-in-the-mouth test. The final test isone of sound. Because there are too manyfactors contributing to a poor sound with

the entire clarinet, we must reduce thesound test to the mouthpiece alone. This iscalled crowing for reasons that will beapparent when you try it. And that is theproper sound to achieve. (Incidentally,crowing is also the best way to begin playingthe clarinet or changing to a new or differentembouchure.) If the sound is too high, ortoo low, the fault could be any one, or acombination, of those faults described inthis article. If the sound is too high,however, merely lowering the sound byloosening the lip is not necessarily theanswer. A good embouchure will naturallyhave the crowing sound. Just as a physiciantries to eliminate the cause of a fever andnot necessarily the fever itself, the playershould try to eliminate the cause of the highpitch, not just the high pitch itself.

The ability to play many of the clarinetsharmonics is another method of determin-ing the quality of the embouchure. A playerwith a poor embouchure will have great

difficulty getting them out. From low E,

for instance, he should be able to playmiddle B (up a 12th) without the registerkey. Then with the register open (or closedif you really get good at it), one should beable to play G (up a 6th), high C (up a 4th),high E (up a 3rd), and high G (up a 3rd).The same could be done from low F andso on. But the harmonics that come outeasily will decrease all the way up to open

G, when at most only two or three willcome out. The inability to play theseharmonics does not automatically mean theembouchure is bad, but getting them outwell is certainly an indication of a goodembouchure.

After a correct embouchure has beenachieved, care should be taken to avoid bador peculiar habits that destroy what has beenachieved. One of the most common waysto destroy a good but not completelydeveloped embouchure is taking big, quick

breaths that tend to change the proper lip/teeth relationship. This bad habit isgenerally formed during prolonged playingperiods, and its effect on the embouchureis not noticed. To avoid this pitfall,consciously maintain the proper lip/teethrelation throughout the entire process oftaking breaths. It helps to remove your toplip and teeth from the mouthpiece in orderto take your breaths. This process may seemto raise the head, and actually it does, butyou will notice the lip/teeth relation willnot want to change much, if at all. Afterbreathing in this way for a short period oftime, usually just a few weeks, a returnto normal breathing (usually through thecorners of the mouth) will prove moresuccessful, since the proper feeling hasalready been established with those weeksof coming off from the top of themouthpiece.

Another pitfall is the adjustment of thebottom lip while the top lip is on the

mouthpiece. Make sure that adjustments

In the 25 years or so since writing thisIn the 25 years or so since writing thisIn the 25 years or so since writing thisIn the 25 years or so since writing thisIn the 25 years or so since writing thisarticle,article,article,article,art icle, although my concepts ofembouchure have not changed, I havegained some insights, developed moreefficient techniques of analysis andcorrection, and have enjoyed the naturalbenefits of what those years experience ofteaching embouchure to the many

hundreds of students has provided for me.I would like now to share some of thoseinsights, those techniques, and thoseexperiences.

In the original article I used the number

are made (for reasons of comfort and betterfeel) in the following manner: to adjust thetop lip, make sure the reed is in contactwith the bottom lip and the proper lip/teethrelation is correctly set; to adjust the bottomlip, make sure the top teeth and lip are notin contact with the top of the mouthpiece.In other words, never adjust the lower lip

after the top lip is in place.The most effective method I know tobuild up a correct but undevelopedembouchure (as well as to help toneproduction, breathing and support,opening of the throat and other factors)is the daily playing of long tones. Eachtone should be for one full breath, fromlow E to high C, chromatically, startingpianissimo, with a gradual crescendo tofortissimo, then a diminuendo back topianissimo. When all these long tones can

be of the same tone quality and colour, andcan be of the same exact intonationthroughout the entire soft/loud range (notsharp when playing soft and flat whenplaying loud), then you know you havearrived. Any imperfection in theembouchure, improper breathing andsupport, and particularly a too soft reed willprevent the player from playing good tonesas described above.

It has been said that a picture is worth athousand words. A face-to-face demon-

stration of the proper clarinet embouchurewould certainly be quicker and morethorough than an essay. But I sincerely hopethat my thousand words are at least wortha picture.

Mr. Campione, a graduate of the Curti s

Insti tute of Music, is clarinettist wi th the

Cincinnati Symphony Orchestra and Adjunct

Professor of Clarinet at the College-

Conservatory of Music in the University of

Cincinnati.

of 35 to determine the proper angle of theclarinet. That number is not necessarilywrong, but it could be misleading becauseI have discovered the proper angle couldvary slightly from person to person. Instead,what I wish to say years later about theproper angle of the clarinet is this:

When you form your proper bottom lip/

teeth position, before putting the clarinetto your mouth, you will notice that there isan angle formed by the lip over the teeth.To attain the proper angle of the clarinet,merely conform the reed to the same angle

and contour that is already formed by thelip. Even though the degree of the anglewill vary only slightly from player to player,it will be natural for each person equally. Itmay be 35, it may be slightly more, orslightly less, but it will be natural and correctfor everyone.

In addition, it should be noted that a

person with a pronounced over-bite (upperteeth forward of lower teeth) will need tohave the clarinet closer to their body. And,conversely, a person with a pronouncedunder-bite (lower teeth forward of upper


4/5September 1999 11

teeth) will need to have the clarinet furtheraway from their body.

Without a doubt the most difficultembouchure problem to solve is when astudent has great difficulty keeping theproper bottom lip/teeth relationship orcontact point under the necessary jawpressure required to play the clarinet, thuscollapsing the embouchure with a visible

sign of the chin bunching up. When thisrelatively rare instance occurs, the followingexercise is most helpful:

While using ones finger to determinethe proper bottom lip/teeth position, pressthat finger down and slide it into the mouthwith continued pressure.

Practice this procedure until thenecessary muscles can be activated tomaintain the proper lip/teeth relationshipunder the pressure from the finger withoutany movement, embouchure collapse, or

the bunching up of the chin. If your lipwithstands the finger pressure, you knowyour embouchure will not collapse becauseof the clarinet.

If a student still cannot achieve a correctcontact or pressure point and refuses to playwith a double lip, that student shouldattempt to practice playing single lipwithout the top teeth on the mouthpiece,temporarily, in order to prevent anypressure coming from the top teeth. Playingin this manner can only be done for veryshort periods of time (five to ten minutes),and the producing of a sound is verydifficult. However, it will make the playeraware of the proper working of the bottomlip with respect to the proper contact orpressure point, and, in time, improvementand success for a good embouchure are

most often the result.The bottom lip should be stretched by

means of the muscles of the corners of themouth to maintain the proper lip tension,in essence negating all the pressure fromthe lip. The pressure now comes from yourjaw through your teeth making the lips apassive link between you and the reed. Ifanyone advocates an embouchure like a

rubber band, a cushion, a circle, or pressurefrom the top lip, they make the lips becomeactive, whi ch I believe negates themaximum benefit of a good embouchure.This is also the reason puffing your cheeksis bad, because it affects the tension in thebottom lip by collapsing that tension, thuscreating a fleshy base which tends to stiflethe vibration of the reed. When propertension of the lip is not maintained, thelips play a too active role in the working ofthe embouchure. I believe, in a good clarinet

embouchure, the lips are passive, not active.Sometimes in the course of making an

embouchure change, air leakage may occur.This leakage is usually caused because thesides of the bottom lip are no longerwrapping around the reed or pushing upto meet the top lip. This change, althoughfreeing up the sound by freeing up thevibration of the reed, may temporarily causesome air leakage. This leak shouldeventually go away as the top lip will learnto come down to fill that void left by thatportion of the bottom lip which is no longerpinching the sides of the reed or comingup to meet the top lip. If a conscious effortneeds to be made to reduce the air leak,you should work to make the top lip comedown to seal with the bottom lip, whichshould no longer be there pinching the sides

of the reed. This is accomplished bypractising temporarily with the top lip in afrown-like or reverse-smile position untilair leakage is considerably reduced orstopped.

When attempting to play with a singlelip embouchure, it was suggested earlier thatthe top lip be curled as if it is snuggledagainst the outside of the top teeth. With

this formation, the top lip will have the sameappearance and function as it does whenplaying double lip. However, when takingbreaths, the top teeth should not be seen,or visible (except for possibly the very lowerportion of the top teeth), as this wouldindicate a separation of the top lip and topteeth. Instead, the top lip and top teethshould work as one unit. The visibleshowing of the top teeth during a breathwould indicate a breakdown in the properfunction of this part of a good embouchure.

The solution to this problem is, whentaking breaths, to take the top teeth andtop lip off of the mouthpiece in order totrain them to work together as one unit.After this has been accomplished, thenregular breaths can be resumed.

For those attempting to play with adouble lip embouchure, at first it may benecessary to play with softer reeds, or toplay only sitting down, or to play balancingthe clarinet on your knee. But, eventually,you should be able to return to playingproper-strength reeds, or standing whileplaying, and even marching should bepossible.

As stated previously, I play with a singlelip embouchure. This is often an advantagefor me when I recommend and teachstudents to play with a double lip. They

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seem to instinctively know and trust thatmy recommendation of double lip is fortheir benefit, and not a recommendationto copy me. The goal of a proper single lipembouchure is really an attempt to imitatethe more natural double lip embouchureas closely as possible, so that it functionsjust as naturally.

I would like to recount a true-life

situation about a very talented graduatestudent with an atrocious embouchure whocame to me from a prominent university.Her embouchure had taken her two yearsto develop. Not only was it one of the worstembouchures I had ever seen, but it tookapproximately five seconds to get it set. Thethought of another embouchure change, forher, was absolutely unheard of because ofthe gigantic effort it took to learn to playlike that in the first place. Finally, in hersecond year of graduate study she decided

to take a crack at an embouchure change.In five days, she was playing double lip as ifshe had been playing it all of her life. Just afew months later she soloed with theCollege-Conservatory of M usicPhilharmonia Orchestra. What had takenher two years to learn atrociously, she wasable to learn properly and naturally in fivedays.

To conclude this chapter onembouchure, I have left for last the mostimportant discovery Ive made since thewriting of my first embouchure article 25years ago. That discovery is the answer tomy most perplexing question of exactly whydo a great many more students play with acorrect embouchure, more easily and morequickly, playing double lip than playingwith a single lip embouchure. I knew it tobe true, but I didnt know why. I knew ithad something to do with the fact that weare bisymmetrical creatures, having twoeyes, two ears, two nostrils which want to

move together, and that our two lipsfollowed this natural bisymmetricalprinciple. I knew that the single lipembouchure, which is lip to teeth,contradicted this natural principle,somewhat like ones left ear beingcoordinated with ones right eye rather thantwo ears or two eyes working together. Ialso knew that anyone smoking a cigaretteor drinking from a straw would probablynever hold the cigarette or the straw with acombination of lip and teeth. Teeth to teeth

is possible, but the overwhelming choice islip to lip. Although I knew all of the above,I still didnt know why I still didnt havethe answer to my perplexing question. Thenabout 10 years ago, after many years of

observation and analysis, I believe I finallyfound the answer to this question. I wouldlike to now share my discovery with you...

The main key is that there is very littlemanoeuvring room, or very little choice, asto where the top lip goes under the top teethwhen attempting to play double lip.Because of this, and because we arebisymmetrically built, that top lip position

now influences, and may even force, thebottom lip to bisymmetrically conform tothe top lip position. And, guess what?Thatcorresponding bottom lip/bottom teethposition now bisymmetrically conformingto the top lip position is exactly where thebottom lip/bottom teeth position shouldbe -underneath the lip, just the lip side ofunderneath the lip, just the lip side ofunderneath the lip, just the lip side ofunderneath the lip, just the lip side ofunderneath the lip, just the lip side ofthe lip linethe lip linethe lip linethe lip linethe lip line. And, as stated earlier, whenthis position is correct, much of a perfectclarinet embouchure is also naturally andautomatically correct.

Allow me to explain this discovery ingreater detail. The possible maximumdistance most people can place their bottomlip over their bottom teeth (including theirface) is approximately 1 inches. Of this1 inches, eliminating the extremes, to1 inch is probably what anyone would use.Now when playing single lip, any part ofthis entire to 1-inch lip/face area can beused for the bottom lip to be over thebottom teeth. However, when playingdouble lip, the area a person can place theirtop lip under their top teeth is much less -only about inch. Of this inch, becauseof pain and discomfort at the extremes,most people will place their top lip undertheir top teeth a possible area of onlyapproximately to 1/

8th inch or less. In

other words, there is very little manoeuvringroom when playing double lip as to whereto place the top lip under the top teeth, asmost everyone will choose approximatelythe same correct place. Now in doing this,

because we are bisymmetrical, it then forcesthe bottom lip to conform to thebisymmetrically correct position of the toplip, and the bottom lip/teeth position is nowplaced in both a correct and natural way.And that is the reason why the double lipembouchure nearly always produces aperfectly good embouchure in a perfectlynatural way in a relatively short amount oftime.

The above is my 1999 explanation ofThe above is my 1999 explanation ofThe above is my 1999 explanation ofThe above is my 1999 explanation ofThe above is my 1999 explanation of

a good clarinet embouchurea good clarinet embouchurea good clarinet embouchurea good clarinet embouchurea good clarinet embouchure. Althoughit is very difficult to describe a visualformation or a facial feeling with wordsalone, I hope I have given adequateinsight into the ingredients and

procedures that make up the formationof a good clarinet embouchure.

Excerpted from the book Campione onClarinet: A Complete Guide to Clarinet Playingand Instruction. (Soon to be published) Usedby permission.

Carmine Campione was born and

raised in Elizabeth, New Jersey, andbegan playing the clarinet at the age of10. By the time he was 13, he was alreadyplaying professionally in dance bands, aswell as being the soloist is various schooland local civic functions.

After his graduation from Curtis, in1961, where he earned both a CurtisDiploma and a Bachelor of Music Degree,Mr. Campione, at 24, auditioned for andwon the position as Second Clarinet withthe Cincinnati Symphony Orchestra. Atthe same time, he was also appointed tothe faculty of the College-Conservatoryof Music of the University of Cincinnati.

In 1998, after 37 seasons, Mr.Campione chose to retire from theCincinnati Symphony Orchestra. Hecontinues to teach at the College-Conservatory of Music where he is anAdjunct Professor of Clarinet.

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