CLARINET EMBOUCHURE

Compiled by Josh Gardner

The mouthpiece should be laid on the lower lip (curved inward against the teeth),
at about an inch and a half from the tip of the reed, at a 45-degree angle. The upper jaw
should close on the upper part of the mouthpiece with the upper teeth falling naturally at
about half an inch from the tip of the mouthpiece.
From Daniel Bonade’s Clarinetist’s Compendium

For a good embouchure to be produced, several muscles must work against each
other. The lips and the teeth should go towards the mouthpiece and the chin should pull
away from the mouthpiece. Try the following to gain the desired results:
• Lengthen the distance between the nose and the tip of the chin.
• Point the chin at the floor.
• Stretch the skin from the bottom lip down to the point of the chin.
• Make your face taller.

The corners of the lips should firm and set in place. Avoid “smiling” when
playing, as it will produce an overly thin/bright sound. Try the following to produce
proper lip formation:
• Push the corners of the lips towards the mouthpiece.
• Double rubber band the mouthpiece with the lips.
• Think of the lips in a circular formation (i.e., an inverted whistle).
• Make dimples.

Aural Characteristics of a Good Embouchure:

1. The tone is uniform through all registers and all volume levels.
2. The tone does not change from slurred to tongued notes.
3. The tone is uniform through conjunct or disjunct materials.
4. The tone does not shake in held notes.
5. The tone does not seem overly tight and restrictive, nor too open and spread in
focus.
6. No air leakage from the corners of the mouth.

Visual Characteristics of a Good Embouchure:

1. The embouchure does not move while playing.
2. The chin is pointed and the area between the lip and the tip of the chin retains its
natural depression.
3. The corners look firm with a dimple-like set to the muscles.
4. The clarinet mouthpiece does not slide in and out during tonguing, or side to side
during cross-break passages.

1
 Embouchure Effort Circle

Maximum Grip Too Tight (sharp)

Eb Grip

Bb Grip

Bass Clarinet

Minimum Grip Too Loose (flat)

From Howard Klug’s The Clarinet Doctor

Biting: What it is and its Effect on Tone

Biting is the upward closing action of the jaw. Biting is done to press the reed to
the resistance curve of the mouthpiece in order to gain control over the pitch and shape of
the sound. There are many problems created by this method of reed control. Here are
some of them:
1. Biting causes the pitch to tend towards sharpness.
2. Biting gives a bright, thin, shrill quality to higher tones.
3. Biting causes inflexibility in tuning.
4. Biting causes a generally pinched, tight tone.
5. Biting causes a loss of depth and resonance in the tone.
6. Biting can cut the lower lip.
7. Biting increases tension throughout the face, the body, and the hands.
8. Biting causes incorrect use of the chin muscles.
9. Biting prohibits proper muscular development of the lips.
10. Biting makes the reed sound bad and significantly shortens their playing life as
well.

From Thomas Ridenour’s The Educator’s Guide to the Clarinet