Embouchure - Versionsgeschichte

Heinrich: /* Reed Below – Mandibular Embouchure */

2021-04-27T20:54:18Z

Reed Below – Mandibular Embouchure

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	The technique of the mandibular embouchure, most likely still a double-lip embouchure, was likely practiced by [https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000002513?rskey=wlWBxz Joseph Beer] (1744 - 1812) and passed on to his students in the German-speaking world, [https://de.wikipedia.org/wiki/Franz_Tausch Franz Tausch] (1762 - 1817) and [https://de.wikipedia.org/wiki/Heinrich_Joseph_Baermann Heinrich Baermann] (1784 - 1847).		The technique of the mandibular embouchure, most likely still a double-lip embouchure, was likely practiced by [https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000002513?rskey=wlWBxz Joseph Beer] (1744 - 1812) and passed on to his students in the German-speaking world, [https://de.wikipedia.org/wiki/Franz_Tausch Franz Tausch] (1762 - 1817) and [https://de.wikipedia.org/wiki/Heinrich_Joseph_Baermann Heinrich Baermann] (1784 - 1847).

			[[Kategorie:Fundamentals, English]]
			[[Kategorie:Seiten, die Referenzierungsfehler enthalten]]

	==From Iwan Müller and Carl Baermann to Today's Playing Technique==		==From Iwan Müller and Carl Baermann to Today's Playing Technique==

Heinrich: /* Reed Above – Maxillary Embouchure */

2021-04-25T18:49:11Z

Reed Above – Maxillary Embouchure

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	==Reed Above – Maxillary Embouchure==		==Reed Above – Maxillary Embouchure==
	[[Datei:Illustration of clarinets.jpg\|mini\|~~x300px~~\|links\|Eric Hoeprich, Illustration of instruments]]		[[Datei:Illustration of clarinets.jpg\|mini\|x255px\|links\|Eric Hoeprich, Illustration of instruments]]
	[[Datei:P. Krämer, sans titre. Mödling, privat collection.png\|mini\|x275px\|rechts\|P. Krämer, ohne Titel. Mödling, Privatsammlung]]		[[Datei:P. Krämer, sans titre. Mödling, privat collection.png\|mini\|x275px\|rechts\|P. Krämer, ohne Titel. Mödling, Privatsammlung]]

Heinrich: /* Reed Above – Maxillary Embouchure */

2021-04-25T18:48:06Z

Reed Above – Maxillary Embouchure

← Nächstältere Version		Version vom 25. April 2021, 20:48 Uhr
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	==Reed Above – Maxillary Embouchure==		==Reed Above – Maxillary Embouchure==
	[[Datei:Illustration of clarinets.jpg\|mini\|~~x255px~~\|links\|Eric Hoeprich, Illustration of instruments]]		[[Datei:Illustration of clarinets.jpg\|mini\|x300px\|links\|Eric Hoeprich, Illustration of instruments]]
	[[Datei:P. Krämer, sans titre. Mödling, privat collection.png\|mini\|x275px\|rechts\|P. Krämer, ohne Titel. Mödling, Privatsammlung]]		[[Datei:P. Krämer, sans titre. Mödling, privat collection.png\|mini\|x275px\|rechts\|P. Krämer, ohne Titel. Mödling, Privatsammlung]]

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	}}		}}

			[[Kategorie:Fundamentals, English]]
			[[Kategorie:Seiten, die Referenzierungsfehler enthalten]]

	==Reed Below – Mandibular Embouchure==		==Reed Below – Mandibular Embouchure==

Heinrich: /* From Iwan Müller and Carl Baermann to Today's Playing Technique */

2021-04-25T18:46:27Z

From Iwan Müller and Carl Baermann to Today's Playing Technique

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	}}		}}

			[[Kategorie:Fundamentals, English]]
			[[Kategorie:Seiten, die Referenzierungsfehler enthalten]]

	==Embouchure Today – Contributions by the Interviewees==		==Embouchure Today – Contributions by the Interviewees==

Heinrich: /* Blowing Angle */

2021-04-25T18:45:51Z

Blowing Angle

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	=Blowing Angle=		=Blowing Angle=
	[[Datei:Benny Goodman.png\|mini\|links\|Benny Goodman]]		[[Datei:Benny Goodman.png\|mini\|links\|Benny Goodman]]
	[[Datei:Backofen Winkel.png\|mini\|~~x220px~~\|rechts\|Heinrich Backofen, 1824]]		[[Datei:Backofen Winkel.png\|mini\|x240px\|rechts\|Heinrich Backofen, 1824]]
	There are various opinions about the angle that the clarinet should form with the body. [[Frédéric Berr#Haltearbeit\|Frédéric Berr]]<ref name=Berr></ref>, [https://de.wikipedia.org/wiki/Heinrich_Backofen Heinrich Backofen]<ref name=Backofen2></ref>, [[Paolo Beltramini#Anblaswinkel\|Paolo Beltramini]], [[Joseph Fröhlich#Haltearbeit\|Joseph Fröhlich]], [[Milan Rericha#Anblaswinkel\|Milan Rericha]], [[John Moses#Control the sound by choosing angle clarinet/body\|John Moses]], [[David Shifrin#Find the right embouchure line on the reed\|David Shifrin]] describe a blowing angle of 40° to 45°. [[Jean-Xavier Lefèvre#Article II Haltearbeit, Position der Finger ("Manière de tenir la Clarinette")\|Jean-Xavier Lefèvre]] (played with double-lip embouchure) points out that too large of a blowing angle makes playing in the high register difficult.		There are various opinions about the angle that the clarinet should form with the body. [[Frédéric Berr#Haltearbeit\|Frédéric Berr]]<ref name=Berr></ref>, [https://de.wikipedia.org/wiki/Heinrich_Backofen Heinrich Backofen]<ref name=Backofen2></ref>, [[Paolo Beltramini#Anblaswinkel\|Paolo Beltramini]], [[Joseph Fröhlich#Haltearbeit\|Joseph Fröhlich]], [[Milan Rericha#Anblaswinkel\|Milan Rericha]], [[John Moses#Control the sound by choosing angle clarinet/body\|John Moses]], [[David Shifrin#Find the right embouchure line on the reed\|David Shifrin]] describe a blowing angle of 40° to 45°. [[Jean-Xavier Lefèvre#Article II Haltearbeit, Position der Finger ("Manière de tenir la Clarinette")\|Jean-Xavier Lefèvre]] (played with double-lip embouchure) points out that too large of a blowing angle makes playing in the high register difficult.

Heinrich: /* Advantageous Muscle Combinations */

2021-04-25T18:45:01Z

Advantageous Muscle Combinations

Heinrich: /* Literature */

2021-04-25T18:44:01Z

Literature

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	* [[Carl Baermann#Didaktischer Kanon\|Carl Baermann (1861)]]<ref name=Baermann></ref>		* [[Carl Baermann#Didaktischer Kanon\|Carl Baermann (1861)]]<ref name=Baermann></ref>
	* [[Frédéric Berr#Ansatzformung (Position de l'Embouchure)\|Frédéric Berr (1836)]]<ref name=Berr></ref>		* [[Frédéric Berr#Ansatzformung (Position de l'Embouchure)\|Frédéric Berr (1836)]]<ref name=Berr></ref>
	* [[Gaetano Labanchi#Ansatzformung, klangliche Möglichkeiten und Artikulation\|Gaetano Labanchi (1886 ?)]]<ref name=Labanchi></ref>		* [[Gaetano Labanchi#Ansatzformung, klangliche Möglichkeiten und Artikulation\|Gaetano Labanchi (1886?)]]<ref name=Labanchi></ref>
	* [[Jean-Xavier Lefèvre#Article III Vom Ansatz und von der Qualität des Blattes ("De l'Embouchure et de la qualité de l'Anche")\|Jean-Xavier Lefèvre (1802)]]<ref name=Lefèvre></ref>		* [[Jean-Xavier Lefèvre#Article III Vom Ansatz und von der Qualität des Blattes ("De l'Embouchure et de la qualité de l'Anche")\|Jean-Xavier Lefèvre (1802)]]<ref name=Lefèvre></ref>
	* [https://books.google.de/books?id=EdvJ3JleBy4C&lpg=PP1&dq=keith%20stein&hl=de&pg=PA12#v=onepage&q=keith%20stein&f=false Keith Stein (1958)]<ref name=Stein></ref>		* [https://books.google.de/books?id=EdvJ3JleBy4C&lpg=PP1&dq=keith%20stein&hl=de&pg=PA12#v=onepage&q=keith%20stein&f=false Keith Stein (1958)]<ref name=Stein></ref>

Heinrich: /* Literature */

2021-04-25T18:43:34Z

Literature

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	* [http://clarinet.org/wp-content/uploads/2018/02/Portnoy-Embouchure-and-Tone-Color.pdf Bernard Portnoy (1956)]<ref name=Portnoy></ref>		* [http://clarinet.org/wp-content/uploads/2018/02/Portnoy-Embouchure-and-Tone-Color.pdf Bernard Portnoy (1956)]<ref name=Portnoy></ref>
	* Larry Guy: ''Embouchure Building for Clarinetists: A Supplemental Study Guide Offering Fundamental Concepts, Illustrations, and Exercises for Embouchure Development.'' Rivernote Press, 2011.		* Larry Guy: ''Embouchure Building for Clarinetists: A Supplemental Study Guide Offering Fundamental Concepts, Illustrations, and Exercises for Embouchure Development.'' Rivernote Press, 2011.
	* Larry Guy ~~und~~ Daniel Bonade: ''The Daniel Bonade Workbook: Bonade’s Fundamental Playing Concepts, with Illustrations, Exercises, and an Introduction to the Orchestral Repertoire.'' Rivernote Press, 2007.		* Larry Guy and Daniel Bonade: ''The Daniel Bonade Workbook: Bonade’s Fundamental Playing Concepts, with Illustrations, Exercises, and an Introduction to the Orchestral Repertoire.'' Rivernote Press, 2007.
	* [https://books.google.ch/books?id=QfWJAwAAQBAJ&printsec=frontcover&hl=de&source=gbs_ge_summary_r&cad=0#v=onepage&q=embouchure&f=false David Pino (1998)]<ref>Pino, David. 1998. The clarinet and clarinet playing. Mineola, N.Y.: Dover.''The Clarinet and Clarinet Playing''</ref>		* [https://books.google.ch/books?id=QfWJAwAAQBAJ&printsec=frontcover&hl=de&source=gbs_ge_summary_r&cad=0#v=onepage&q=embouchure&f=false David Pino (1998)]<ref>Pino, David. 1998. The clarinet and clarinet playing. Mineola, N.Y.: Dover.''The Clarinet and Clarinet Playing''</ref>

			[[Kategorie:Fundamentals, English]]
			[[Kategorie:Seiten, die Referenzierungsfehler enthalten]]

	=References=		=References=

	[[Kategorie:Fundamentals, English]]		[[Kategorie:Fundamentals, English]]
	[[Kategorie:Seiten, die Referenzierungsfehler enthalten]]		[[Kategorie:Seiten, die Referenzierungsfehler enthalten]]

Heinrich: /* Tips for Changing from Single- to Double-Lip Embouchure */

2021-04-25T18:43:04Z

Tips for Changing from Single- to Double-Lip Embouchure

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	*The jaw always remains in the same slightly open position and the lips envelop ("enveloppent") the mouthpiece. Only minimal pressure is applied. The M. orbicularis closes around the mouthpiece like an optical lens, the parts of the facial muscles nestle the lips close to the teeth and form the lower lip into a compact cushion. At the same time, holding the instrument pushes it a little towards the base. These two forces interact subtly, cf. [[Eli Eban#Two cog wheels in a fine Swiss watch\|Eli Eban]].		*The jaw always remains in the same slightly open position and the lips envelop ("enveloppent") the mouthpiece. Only minimal pressure is applied. The M. orbicularis closes around the mouthpiece like an optical lens, the parts of the facial muscles nestle the lips close to the teeth and form the lower lip into a compact cushion. At the same time, holding the instrument pushes it a little towards the base. These two forces interact subtly, cf. [[Eli Eban#Two cog wheels in a fine Swiss watch\|Eli Eban]].
	*The subtle increase in pressure shifts the embouchure line slightly downwards on the reed, which improves the way the reed vibrates.		*The subtle increase in pressure shifts the embouchure line slightly downwards on the reed, which improves the way the reed vibrates.
	~~<BR>~~
	[https://mramusicplace.net/2015/07/19/double-lip-embouchure-and-the-clarinet/ Robert Adams] provides a good explanation of double-lip embouchure from today's perspective.		[https://mramusicplace.net/2015/07/19/double-lip-embouchure-and-the-clarinet/ Robert Adams] provides a good explanation of double-lip embouchure from today's perspective.

Heinrich: /* Tips for Changing from Single- to Double-Lip Embouchure */

2021-04-25T18:42:33Z

Tips for Changing from Single- to Double-Lip Embouchure

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	==Tips for Changing from Single- to Double-Lip Embouchure==		==Tips for Changing from Single- to Double-Lip Embouchure==

	When using double-lip embouchure, it is a good idea to take a look at the ~~'''~~'''Traité~~'''~~''' by [https://gallica.bnf.fr/ark:/12148/bpt6k9620031c/f30.image Frédéric Berr] (1832)<ref name=Berr></ref>		When using double-lip embouchure, it is a good idea to take a look at the '''Traité''' by [https://gallica.bnf.fr/ark:/12148/bpt6k9620031c/f30.image '''Frédéric Berr'''] (1832)<ref name=Berr></ref>

	{{Zitat		{{Zitat
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	<BR>		<BR>
	[https://mramusicplace.net/2015/07/19/double-lip-embouchure-and-the-clarinet/ Robert Adams] provides a good explanation of double-lip embouchure from today's perspective.		[https://mramusicplace.net/2015/07/19/double-lip-embouchure-and-the-clarinet/ Robert Adams] provides a good explanation of double-lip embouchure from today's perspective.

			[[Kategorie:Fundamentals, English]]
			[[Kategorie:Seiten, die Referenzierungsfehler enthalten]]

	=Literature=		=Literature=
	'''Methods, Articles'''		'''Methods, Articles'''

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	* [[Carl Baermann#Didaktischer Kanon\|Carl Baermann (1861)]]<ref name=Baermann></ref>		* [[Carl Baermann#Didaktischer Kanon\|Carl Baermann (1861)]]<ref name=Baermann></ref>
	* [[Frédéric Berr#Ansatzformung (Position de l'Embouchure)\|Frédéric Berr (1836)]]<ref name=Berr></ref>		* [[Frédéric Berr#Ansatzformung (Position de l'Embouchure)\|Frédéric Berr (1836)]]<ref name=Berr></ref>
	* [[Gaetano Labanchi#Ansatzformung, klangliche Möglichkeiten und Artikulation\|Gaetano Labanchi (1886 ?)]]<ref name=Labanchi></ref>		* [[Gaetano Labanchi#Ansatzformung, klangliche Möglichkeiten und Artikulation\|Gaetano Labanchi (1886?)]]<ref name=Labanchi></ref>
	* [[Jean-Xavier Lefèvre#Article III Vom Ansatz und von der Qualität des Blattes ("De l'Embouchure et de la qualité de l'Anche")\|Jean-Xavier Lefèvre (1802)]]<ref name=Lefèvre></ref>		* [[Jean-Xavier Lefèvre#Article III Vom Ansatz und von der Qualität des Blattes ("De l'Embouchure et de la qualité de l'Anche")\|Jean-Xavier Lefèvre (1802)]]<ref name=Lefèvre></ref>
	* [https://books.google.de/books?id=EdvJ3JleBy4C&lpg=PP1&dq=keith%20stein&hl=de&pg=PA12#v=onepage&q=keith%20stein&f=false Keith Stein (1958)]<ref name=Stein></ref>		* [https://books.google.de/books?id=EdvJ3JleBy4C&lpg=PP1&dq=keith%20stein&hl=de&pg=PA12#v=onepage&q=keith%20stein&f=false Keith Stein (1958)]<ref name=Stein></ref>

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	[[Datei:M digastricus.png\|mini\|x220px\|links\|Musculus digastricus, [https://flexikon.doccheck.com/de/Musculus_digastricus#Funktion Video: Doccheck Flexikon]]]		[[Datei:M digastricus.png\|mini\|x220px\|links\|Musculus digastricus, [https://flexikon.doccheck.com/de/Musculus_digastricus#Funktion Video: Doccheck Flexikon]]]
	In the case of double-lip embouchure, the shape of the oral cavity as well as the tongue position and shape change automatically. Centering and rolling the lips over the upper and lower teeth so that they do not touch the mouthpiece or the blade triggers further muscle activation in the oral cavity. This activates a constellation of muscles inside the mouth, similar to those that occur when sucking with a drinking straw. The following muscles are involved:		In the case of double-lip embouchure, the shape of the oral cavity as well as the tongue position and shape change automatically. Centering and rolling the lips over the upper and lower teeth so that they do not touch the mouthpiece or the blade triggers further muscle activation in the oral cavity. This activates a constellation of muscles inside the mouth, similar to those that occur when sucking with a drinking straw. The following muscles are involved:

	*Musculus mylohyoideus: as after swallowing, it pulls the hyoid bone forward, stretches the floor of the mouth downwards and thus opens the throat.		*Musculus mylohyoideus: as after swallowing, it pulls the hyoid bone forward, stretches the floor of the mouth downwards and thus opens the throat.
	*Musculus digastricus: this is the name given to the other muscles involved in opening the jaw (abduction of the lower jaw).		*Musculus digastricus: this is the name given to the other muscles involved in opening the jaw (abduction of the lower jaw).
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	'''Changes in playing technique'''		'''Changes in playing technique'''

	*The shape of the interior of the mouth changes in a beneficial way: while the soft palate lifts and the throat opens, the tip of the tongue automatically finds itself close to the tip of the reed. The speed of the air increases in this area, and the reed can be made to vibrate at lower air pressure (see also [[Embouchure#Erhöhte Luftgeschwindigkeit im Bereich der Blattspitze\|Ron Odrich)]].). This constellation is also possible with a normal embouchure, but requires more attention [[Thomas Piercy#Transfer all the advantages of double lip to single lip\|Thomas Piercy]].		*The shape of the interior of the mouth changes in a beneficial way: while the soft palate lifts and the throat opens, the tip of the tongue automatically finds itself close to the tip of the reed. The speed of the air increases in this area, and the reed can be made to vibrate at lower air pressure (see also [[Embouchure#Erhöhte Luftgeschwindigkeit im Bereich der Blattspitze\|Ron Odrich)]]. This constellation is also possible with a normal embouchure, but requires more attention [[Thomas Piercy#Transfer all the advantages of double lip to single lip\|Thomas Piercy]].
	*Upper and lower lip hold the mouthpiece with the corners of the mouth; there is practically no vertical pressure on the reed [[Thomas Piercy#Transfer all the advantages of double lip to single lip\|Thomas Piercy]].		*Upper and lower lip hold the mouthpiece with the corners of the mouth; there is practically no vertical pressure on the reed [[Thomas Piercy#Transfer all the advantages of double lip to single lip\|Thomas Piercy]].
	*It is no longer necessary to devote a lot of energy and attention to a flat chin shape, as this is automatically achieved by an advantageous combination of muscles. [[Thomas Piercy#Transfer all the advantages of double lip to single lip\|Thomas Piercy]].		*It is no longer necessary to devote a lot of energy and attention to a flat chin shape, as this is automatically achieved by an advantageous combination of muscles. [[Thomas Piercy#Transfer all the advantages of double lip to single lip\|Thomas Piercy]].
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	*The intonation can be controlled better; forte passages do not get lower		*The intonation can be controlled better; forte passages do not get lower
	*The fingering becomes easier and more sensitive to the holding position [[Thomas Piercy#Double lip evokes sensibility all around\|Thomas Piercy]].		*The fingering becomes easier and more sensitive to the holding position [[Thomas Piercy#Double lip evokes sensibility all around\|Thomas Piercy]].

			[[Kategorie:Fundamentals, English]]
			[[Kategorie:Seiten, die Referenzierungsfehler enthalten]]

	==Practice with Double Lip, Play with Normal Embouchure ==		==Practice with Double Lip, Play with Normal Embouchure ==