THE DOUBLE-LIP EMBOUCHURE IN CLARINET PLAYING Presented by Victor A. Battipaglia To fulfill the dissertation requirement for the degree of Doctor of Musical Arts Department of Music Education Dissertation Director: Professor Everett Gates . Eastman School of Music of the University of Rochester July 1975ABSTRACT This dissertation documents and summarizes the information on double-lip clarinet embouchure. This embouchure, as opposed to the nore widely used single-lip embouchure, is often misunderstood. This informa- tion has been expanded with the current thinking: of a number of prominent ‘clarinetists and teachers, Many of the respondents are double-lip exponents, Letters were solicited from 98 important clarinetists. Forty-three replies were received. In addition, six clarinetists were interviewed. In the formation’ of the double-lip embouchure, it was discovered that practically every clarinetist has his own personal method. For instance, John Mohler, Kalmen Opperman, and Harold Wright--all former students of McLane--had three varying methods. This important point signifies that practically everyone has a different oral confornation. Therefore, fitting each person into a mold would be rather difficult, For those who. have a short upper lip or long upper teeth, double- lip may prove to be physiologically impossible. Brief attention 4s given to the Italian school. It was pointed out that Gino Cioffi employed the reed-uppermost embouchure when he first cane to this country, changing later to the more customary embouchure. Advantages and sone disadvantages of the double-lip enbouchure are discussed. As a sensitive gauge for the performer, the double-lip provides‘the means for easily detecting excessive tension in the lips and the hands. Most authorities tend to agree that the double-lip opens up the oral cavity, thus enhancing tonal results, These are but a few of the many advantages. Among the disadvantages is that 1t is rather difficult to perform or practice standing up. This applies to the marching clarinetist espe- cially. The historical background of the double-lip embouchure is traced fron the earliest, reed-uppermost embouchure, when oboists doubled on the never clarinet, through the nineteenth century, when both reed-uppermost and reed-on=the-botton-lip techniques were in.use. An investigation of early instructional books revealed that perforners employing the reed- uppermost embouchure used two varying approaches. In the first, the player supported the mouthpiece on his teeth, With the second, the clarinetist covered hisbotton teeth with the lip, creating a reed-uppernost double-lip embouchure. There are numerous pedagogical implications for the instrumental music teacher who uses double-lip. For example, transference from playing one ember of the woodwind family to another brought out the possibility of using the double-lip clarinet embowhure as preparation for an eventual transfer to oboe and bassoon, For the public school band and orchestra @irection, an expedient transfer from clarinet double-lip to oboe and ‘assoon vould be heartening, Munerous renedial techniques in using double- Lip embouchure are suggested. The double-lip provides the instrunental music teacher with an important renedial tool. Excessive pinching in the embouchure and jaw bite are easily detected by this means,A chapter 1s devoted to a selective course of study for the develomnent of the double-lip, including representative works recon- faended by the author. Ralph NcLarie, the legendary double-lip solo clarinetist of the Philadelphia Orchestra fron 1943 to 1951, 1s,the subject of an entire chapter. In the minds of knowledgeable clarinetists, he is held in highest esteem because of his impeccable style, NcLane's pedagogical and performance methods, with special reference to double-lip clarinet enbouchure, are treated, To gather material for this chapter, personal interviews were carried out with Kalnen Opperman, a student of McLane, and with Joseph Allard and David Weber, associates of McLane.VITA Victor A. Battipaglia was born on November 8, 1940, in Brooklyn, New York. He attended and graduated fron public schools in the New York City Board of Education System, graduating from high school in 1958, Fron 1958 to 1963 he attended the Juilliard School of Nusic, and received the degree Bachelor of Science with a major in clarinet. His teachers were Daniel Bonade and Bernard Portnoy. In addition, Juilliard awarded him scholarships for three consecutive years, based on performance, examinations, and academic record. During the sunners of 1960 and 1961 he studied chamber music and orchestral playing with members of the Boston Symphony Orchestra, as part of the Berkshire Music Center Fellowship Progran. He received the Naster of Arts degree in Music Education fron Colunbia University in 1964. He matriculated for the Doctor of Musical Arts degree in Music Education at the Eastman School of Music of the University of Rochester in the sunmer of 1968. He studied'in the follow- ing summers, and completed his residency during 1973-74, During this period he studied clarinet with Stanley Hasty. The Eastman School awarded hin a graduate assistantship and fellowship in music education for his year of residency, Other clarinet teachers were Kalmen Opperman, Leon Russianoff, and David Weber, As a clarinetist, he has performed at Carnegie Hall with both the National Orchestral Association under John Barnett (1959-1961) and the American Symphony Orchestra, Leopold Stokowski, music director;;and ZubinMehta, guest conductor (1963). He was a member of the Juilliard Orchestra under Jean Morel (1960-1963). From 1966 to 1971 he played with the Queens Symphony Orchestra at Queens College. In 1972 he became principal clarinetist with the New York Husic Society at Town Hall, Since 1963 he has appeared as solo recitalist. He has been featured as chamber music artist in more than 75 concerts at such places as the Lincoln Center Library of the Performing Arts, Museums of the City of New York, and the Southern Vermont Art Center. From 1964 to 1965 he worked as an instrumental music teacher for the Board of Cooperative Educational Services in Riverhead, New York; from 1965 to 1966 for the Public Schools of the Tarrytows, New York; and since 1966 for Fort Hamilton High School, where he is director of bands and acting chairman of nusic. At the Forest Hills Youth and Adult Center, from 1966 to 1971 he taught Adult Education, chanber music, music literature, and directed a conmunity orchestra. Woodwind World has published two of his articles, "Double-Lip Embouchure in Clarinet" (December 1970) and "The Oral Cavity" (September 1973). He is married to Diana Mittler Battipaglia, who is a pianist and acting chairman of nusic at Flushing High School. She received the Doctor of Musical Arts degree in music education from the Eastman School of Music of the University of Rochester.PREFACE The purpose of this dissertation is to summarize and investigate what has been done in the area of the double-lip enbouchure in clarinet playing. Relatively unknown and misunderstood, sonetimes even contro- versial, the double-lip enbouchure will be explored in detail. The paucity of information concerning the subject makes this a matter of considerable importance. The introductory chapter will be devoted to a description and the formation of the double-lip embouchure in several schools. Pertinent literature, such as exists, will be reviewed and compared. Advantages as well as disadvantages will be presented. The importance of developing proper playing habits will also be given attention. For clarification of what is meant by the double-lip, this writer, in an article on the double-lip embouchure featured in Woodwind World, renark: D To describe the double-lip enbouchure briefly, it is the use of both the upper and lover lips for total encasenent of the mouthpiece. Practiced and utilized predominantly in France, Italy and Belgiun, this country's most outstanding exponent was the late Ralph HeLane, solo clarinetist of the Philadelphia Orchestra from 1943-1951. HeLane . . . was regarded by critics as having an Anpecegble style of playing, especially in the beauty of tone production, In the same article, this writer later continues: actor As Battipaglia, “Double-Lip Embouchure in Clarinet," Woodwind World IX, No. 3 (December 1970), 12-13. aL .; + + The correct double-lip enbouchure relies mainly upon the Ips (or more specifically, the orbicularis oris, the "drawstring" muscle surrounding the mouth) in tone production rather than the usual jaw pressure, Before his death in 1951, McLane was writing a book containing material on the double-lip embouchure, but this book was not completed, The double-lip enbouchure, because of its limited acceptance and practice in this country, represents a mystery to many musicians. It is a subject of controversy auong clarinetists and instrunental music teachers. For instance, many outspoken writers have voiced their opinion against the double-1ip embouchure. Willian H, Stubbins, author of The Art of Clari- netistry, writes: ++. The lack of a steady support by the upper teeth against the mouthpiece places an added strain on the facial muscles which requires an extreme tension to achieve control, For this reason, the players of the double-lip embouchure maintain that it is very difficult to develop an embouchure, and that it requires much more delicacy ant strength of nuscular effort than the usual single-lip enbouchure.* On the other hand, 2 nationally known clarinetist and pedagogue, Keith Stein, believes that a valuable treasury of playing skills can be acquired through the double~lip enbouchure, if only the player will take the time and patience to experiment with it. Stein also believes that this method tends to stretch the oral cavity, particularly in the overhead palate,? Such contradictory statements, most of which are highly subjective, are conmon, regarding the double-lip embouchure. Only confusion will result inthe mind of the reader if no further clarification is to be nade. jillian K. Stubbins, the Art of Glarinetistry (Ann Arbor, tHichi- gan: Ann Arbor Publishers, 1965), 198. Pkeith Stein, The Art of Clarinet Playing (Evanston, TMAnois: Sunny-Birchard, 1958), 46-17, addThis writer contends that there is a definite need to summarize and investigate what has been done in this area, In Chapter II historical background of the double-lip embouchure will be presented in as much depth as available evidence permits. The history will be traced in this chapter fron the earliest possible date through the nineteenth century, covering fanous performers, pedagogues, and applicable instructional material. Chapter III will be devoted to pedagogical implications for the instrunental nusic teacher who wishes to employ the double-lip in his own playing and teaching, or who simply wishes to expand his knowledge. Such areas as "instrumental transference" fron one member of the woodwind family to others, and renedial and performing techniques, will be treated. A selective course of study for the development of the double-lip embouchure will be fornulated and presented in Chapter IV. This course of study vill be based on the writer's study with eninent clarinetists, as well as on his own professional experience as a double-lip clarinetist, Chapter V will be devoted to the investigation of the pedagogical and performance concepts of Ralph McLane (1908-1951), the late and legen- dary solo clarinetist of the Philadelphia Orchestra from 1943 until his death in 1951. The writer carried out taped interviews with forner students or associates of NcLane and with important clarinetists who use or advocate double-lip embouchure. Letters were solicited from former students of HcLane, fron double-lip clarinetists, and from teachers who advocate or are faniliar with this type of enbouchure, Ninety-eight letters were sent, vequesting replies on nunerous aspects of double-lip playing, and 49 were ivreceived in the forn of letters and/or interviews. One of the most rewarding aspects of these contacts with renowned clarinetists was the almost unanimous willingness to share what, at one time, could be considered professional secrets, to be sold for a price. Appendix A consists of a glossary of terns applicable to this study. Appendix B contains a list of letters received and interviews carried out. The writer feels his own qualifications for engaging in this project are unusual in that he has played with this style of embouchure for many years, although he has also played single-lip. He has had extensive study with well qualified teachers and has had many years of teaching experience. Added to this is a long career of professional performance--solo, chamber music, band, opera, and orchestra. He has also had the opportunity and the additional benefit of discussing the double-lip embouchure with many authorities in the field. The writer wishes to express his deep sense of gratitude to Professor Everett Gates, Chairman of the Music Education Department at the Eastman School of Music of the University of Rochester, for his guidance and encouragement throughout this study. Special thanks are extended to those who gave so generously of their time in interviews (see Appendix B for persons interviewed), and to those who wrote informative and illuminating letters, These include Joseph Allard, Carmine Campione, Arthur Christmann, Gino Cioffi, Janes Collis, Andrew Crisanti, Yona Bttlinger, Harry Gee, Ignatius Gennusa, Thorias Gerbino, Efrain Guigui, Dr. John Hohler, Kalnen Opperman, William Osseck, Leon Russianoff, Lawrence Sobol, Keith Stein, Richard Stoltzmann, vEarl Thonas, Orlando Tognozzi, Gabriel Tosé, Dr. Elsa Ludewig-Verdehr, Himie Voxman, George Valn, David Weber, Raymond L. Wheeler, Alexander Willians, and Harold Wright. In addition the writer wishes to express gratitude to John Snyder, who is writing an annotated bibliography on the clarinet, and Himie Voxnan, both of whom assisted the author with source material; and to Frank Stachow, who provided the writer with a taped lecture of Harold Wright discussing the double-lip clarinet embouchure. The writer is indebted to Gertrude Berns, Judy Halliqua, and Randolph Waak, who translated into English the German and French texts. ‘This study could not have been carried out were it not for the cooperation of the Sibley Music Library of the Eastman School of Music of the University of Rochester; the lusic Research library of the Fer- forming Arts at Lincoln Center in New York City; the ilusic Library of the British Museum in London; and the Staatsbibliothek, Preussischer Kulturbesitz, in Berlin. viTABLE OF CONTENTS PREFACE se eee ee te ee ee ee eee eee CHAPTER . I, INTRODUCTION sve ee ee ee ee eee eee eee Description and Formation of the Double-Lip Clarinet Embouchure «+ ee ee ee eee ee ee ee ee Formation of the Double-Lip Enbouchure in the Italian School se ese eect er ee terre eeeeee Review of Related Literature ss sees etre rene ‘Advantages in Using the Double-Lip Enbouchure . « « « « Disadvantages and Criticisms in Using the Double-Lip Embouchure sess ete tee eee ee eee Il. ir. Iv. ve VI. Developing Proper Playing Habits in Double-lip Embouchure HISTORICAL BACKGROUND OF THE DOUBLE-LIP EMBOUCHURE . . « « Aspects of Clarinet Enbouchure Playing Techniques in the Eighteenth Century ss eee etree ee re eee Nineteenth-Century Aspects to Embouchure Technique « + + Important Early Double-Lip Clarinetists . +. + +e ees PEDAGOGICAL IMPLICATIONS FOR THE INSTRUMENTAL MUSIC TEACHER Instrumental Transference in the Woodwind Family . «+ Remedial Techniques in Using the Double-Lip Clarinet Enbouchure sees eet te tee ee ete ees ‘A Substitution for the Double-Lip Embouchure: The Rubber Pad on Top of the Mouthpiece +++ ee ee eee ees Performance Techniques in Enploying the Double-Lip Embouchure see eee ee ee eee eee A SELECTIVE COURSE OF STUDY FOR THE DEVELOPMENT OF THE DOUBLE-LIP ENBOUCHURE 6 pee eee ee ee ee eee RALPH McLANE: HIS PEDAGOGICAL AND PERFORMANCE METHODS WITH SPECIAL REFERENCE TO DOUBLE-LIP CLARINET EMBOUCKURE Brief Background of McLane's Carecr ss ee eee ree Pedagogical and Performance Methods Used by McLane « « « SUMMARY 5. eee ee RECOMMENDATIONS . . + APPENDIX A. GLOSSARY OF SELECTED TERMS ee ee eee eee APPENDIX B, LETTERS AND INTERVIEWS «ss ees APPENDIX GC, ILLUSTRATION OF DOUBLE- AND SINGLE-LIP ENBOUCHURES , BIBLIOGRAPHY pes eee ee ee te ee ee ee ee ees vii ab 13 15 15 2h 30 32 36 5A 52 6 70 70 73 79 81 83 85 88 89CHAPTER I INTRODUCTION “The enbouchure is the interpreter of our sensations and of our musical ideas. A good embouchure is therefore indispensable, and all our labors must tend to this result." This statenent was written in the nineteenth century by the famous French pedagogue, Hyacinthe Klosé (1808- 1868), who played with the double-lip clarinet embouchure. It also describes briefly the problem which is central to this dissertation. Since the time Klosé wrote this statement, there have been nuner- ous changes in the clarinet itself, in tonal concept of the instrument, in schools of performance and pedagogy, and in the demands made on the clarinetist in the music. The clarinet 4s increasingly manufactured according to principles of acoustics, and, while yet imperfect, it is being develored into a more precise instrunent, acoustically and mechan- ically. Tonal concept has been given a new dimension, with the rising prominence of American clarinetists during the past decade. The desire to produce a distinctive clarinet tone for the American symphony orchestra has led to the introduction of new mouthpieces, ligatures, and reed naterlals, which, for the nost part, are designed according to more accu- rate acoustical principles. There are also several electronic devices ti, Klosé, Celebrated Method for the Glarinet, revised by C. Le Staats (New York: Carl Fischer, 1898), p. 4. 1 ™now available for visual study of sound. In nost cases the new challenges are being met successfully, through the utilization of scientific method and equipnent. Janes Mooney,” Roland #. Anfinson,? and Willian S, New- ton,"* anong others, have nade inportant contributions in their doctoral dissertations, Unfortunately, these studies deal with single-lip. The problem of enbouchure for clarinetists has also been inves- tigated quite extensively, Conclusive statenents have been difficult to make, however, since findings have been empirical and largely conjectural. In the course of this dissertation, the term "double-lip clarinet embouchure" will be referred to at times as "double-lip,” the commonly used tern. Deserintion and Formation of the Double-Lip Clarinet imbouchure Let us now address ourselves to the subject of the double-lip clarinet embouchure, which this writer feels will add a new dimension of sound production and playing skill for the clarinetist, if utilized Properly, The writer has written an article on the double-lip, and the following 1s an expansion of that article.> 2Janes Hooney, "The Effect of the Oral Cavity on the Tone Quality of the Clarinet" (Fh.D. dissertation, Brighan Young University, 1968). Pkoland B. Anfinson, "A Cinefluorogravhic Investigation of the Supralaryngeal Adjustments in Selected Clarinet Playing Techniques" (Ph.D. dissertation, State University of Towa, 1965). Svartian J. Newton, "The Activity of Certain Facial Muscles in the B-Flat Soprano Glarinet Enbouchure: An Exploratory Study Utilizing appa" (Ed.D. dissertation, North Texas State University, 1972). Piictor A. Battipaglia, "Double-Lip Babouchure in Clarinet," Woodwind World IX, No. 3 (Decenber 1970), pp. 12-13.The double-lip embouchure, a clouded mystery to many clarinetists, and a subject of controversy to others, is a method which should, at least, be understood by instrunental music teachers at all levels of instruction fron the elementary to the college and professional. Later, it may well be incorporated as a part of the instrunental music teacher's pedagogical approach and/or playing procedure. To describe the double-lip embouchure briefly, it is the use of both the upper and lower lips for total encasement of the mouthpiece. Practiced and utilized predominantly in France and Italy, its most outstanding exponent in this country was the late Ralph McLane, solo clarinetist of the Philadelphia Orchestra fron 1943 to 1951. McLane, who studied with the great French artist “Gaston Hanelin, was regarded by critics as having an impeccable style of playing, especially in the beauty of tone production, Melane's pedagogi- cal and performance methods will be presented in Chapter V. Today McLane's ideas and performing style are personified in modern players such as John Mohler, Kalen Opperman, David Weber, and Harold Wright. By using this method, a valuable treasury of playing skills can be acquired. At the beginning stage, this type of embouchure seens to be most natural for most students. This method can serve as a remedial and ancillary teaching device to help both clarinetists and saxophonists to relax in their playing. Other remedial techniques, as Keith Stein xemarks, are to assist the student in opening his oral cavity, increasing his tonal power, relieving tense fingers and hands, creating better inter- val connection, relieving too much "jav-bite," developing high register, increasing endurance, and improving intonation--to name several exanples. Sceith Stein, The Art of Clarinet Playing (Evanston: Sumny- Birchard Co., 1958), pp. 46-48,Remedial techniques will be discussed in Chapter III, ‘This writer's experience has demonstrated that high school oboists and bassoonists have not usually started on these instruments, so the stu- dent who develops the double-lip embouchure on clarinet can easily be transferred to oboe and bassoon, for which both lips are needed, Oboists and bassoonists are in denand in our country, not only in schools, but also in professional and community orchestras, bands, and in the fields of connereial, studio, and dance nusic--often as professional "doublers." The topic of transfer of learning, using the double-lip enbouchure in clarinet to bassoon and oboe, will be covered also in Chapter III. Since the utilization of both lips in embouchure formation is not proposed as a panacea for all problems of the clarinetist, the follow- Ang sections will serve as further clarification of what was previously introduced, During nearly nineteen years of experience as an instrunental music teacher, band director, studio clarinet instructor, recitalist, and synphony player, this writer has found that the najority of clarinet students (approximately 90%) put both their lips over the mouthpiece in the beginning stage of their clarinet playing. (Could this possibly be partly the result of conditioning in earlier class playing of tonette or recorder?) Apparently this procedure seems to be a most natural way of playing. The student is simply told to put the mouthpiece in his mouth; Af the student puts his teeth on the top of the mouthpiece, his natural tendency should not be changed, since it could be due to his physiological conformation and the fact that his upper lip is rather thin, In this case it is best to have the student develop a single-lip embouchure.On the other hand, if the student puts both lips on the mouthpiece, this natural tendency should be followed. For the double-lip embouchure, Anstead of placing the top teeth on the mouthpiece, curl the upper lip with just enough flesh to cover the sharp edges of the upper teeth. The mouthpiece should now be "anchored" behind the upper lip, with the reed resting firnly without pressure on the bottom lip, At this point it is most advantageous to indoctrinate the student in some basic concepts in correct enbouchure fornation, so that he does not resort to a feeling of natural security--the vicious "jaw-bite” habit. If the student at this stage is improperly supervised, he may develop this natural but most unhealthy habit which will create tenseness throughout his body, irritate his lips, and hinder production of tone. Along this tasie idea, Richard C. Colwell states: "Unless highly developed, the double embouchure provides less control."” In order to develop the doutle-lip, one must conscientiously and thoroughly develop the musculature surrounding the lips, since the muscles support the embouchure without pinching. In essence, the practice of long tones, slow scales, thirds, arpeggios leading eventually to wide intervals, will develop muscles in the lips. Harold Wright, speaking on the topic of double-lip embouchure, says that the prinary goal of the double-lip is to develop the muscles in both lips in onder to hold the instrunent. “To play without pinching down on the mouthpicce," he asserts, “one must have developed muscles to do so." Tei chard C, Colwell, The Teaching of Instrumental Music (Hew York: Meredith Corp., 1969), p. 213. Suarola Wright, taped lecture on the Double-lip Clarihet Embouchure at the 1969 International Clarinet Clinic, Denver, Colorado, August 22, 1969.The correct double-lip embouchure relies mainly upon the pressure of the lips (or more specifically, the orbicularis oris--the "draustring" muscle surrounding the mouth) in tone production, rather than pressure originating in the jaw area. The teeth are merely the support for the lips in proper double-lip embouchure, according to Alexander Selmer.” Of course, in double-lip the upper lip must be stretched far enough down to cover the upper teeth, This will eliminate the possibility for utilizing this embouchure for players who have short upper lips. If the upper teeth cone past the upper lip, the player is going to find that double-Lip is difficult to forn--perhaps impossible, One nust not’ only bring the upper lip down, but also be able to keep it in position over the teeth. Harold Wright advises the clarinetist to take in the thinnest part of the upper lip nenbrane possible.!° this point is particularly important because if the student takes in too much upper lip or lover lip, the tone will become restricted. Connecting tones would be difficult and the tongue vould be sonewhat restricted in movenent. Another reason to avoid taking in too much upper or lover lip is that the lips can readily decone sore, hindering the progress of the player. then you have the optimal amount of lip over the teeth, the tone will be more open and free, enabling the player to create a better legato, The lower lip placenent in double-lip is the same as in single-lip, according to Harold Wright, who played single-lip for eight or nine years before switching to double-1ip,!t 9arexander Selmer, Talks to Clarinetists and Saxovhonists (Elk- hart, Ind,: Selmer Corp., 1930), p. 4. 1 O\right, lecture. ttoia, heWright believes the idea of the double-lip embouchure is a rather natural formation, One must be particularly careful not to push the jair forward, as this puts too much pressure on the reed. The corners of the nouth should not be pulled back too far, creating the “smile"-type enbou- chure which strains and distorts the muscles, He feels that pulling dow rather than pulling up is a way to alleviate the strain in the muscles, !? Players with overbites will find it more difficult to have good reed coverage and natural fornation than those who have normal confornation. In essence the goal of the double-lip is to form a natural enbouchure without exaggeration. Kalmen Opperman, in an interview of May 21, 1975 (as well as during this writer's schooling with hin), advocates a three-step procedure in forming the double-lip: first, rest the reed on the lower lip; second, with the upper lip covering the upper teeth, point it dow; and third, wring the lips forward, saying "oo" as in the word "food." Oppernan's approach is slightly more exaggerated than Wright's, whose approach is quite natural--yet both of these men studied with Ralph Melane. David Weber, solo clarinetist of the New York City Ballet, was long an associate of Ralph Hclane, This writer has also studied with David Weber, a double-lip clarinetist, who believes in the principle of relaxation as an important step to proper clarinet playing. In an article, Weber says: "I have found through experience that the double enbouchure . . . gives the bestresults, although I have occasionally heard clarinetists who get good results with the single enbouchure . . . ."!3 trp, 13p. vid Weber, “Clarinet Tone," ‘The Woodwind Anthology’ed, Rudo Globos (New York: Woodwind World, 1952), p. 72.Weber also discusses the importance of the orbicularis oris muscle. He remarks that ". . . the fibers of the lower lip interlace with the fibers of the upper lip of the mouth forming a sphincter, which is a circular muscular band." He continues that by using the single embouchure ", you are taking advantage of only half the muscle. In contrast to Weber in describing double-lip, Stanley Richnond states that "the edge of the upper lip /is/ trapped between the teeth and the nouthpiece."!* his description is both vague and nisleading, since the word "trapped" implies that something was caught, from which usually one does not escape, Double-lip has a certain amount of flexi- bility to adjust the embouchure, and does not conform to a narrow, trapped feeling. James Collis says in a letter of December 3, 19741 Flexibility is the ability to focus the tone well under the most complicated conditions such as wide skips, intervals at fast speeds, smoothing the edge of the tone at the juncture between tones to acquire a beautiful legato. To achieve these ends double-lip is a valuable asset. If the upper lip is not too short double-lip can be used. Once the physical part of the embouchure is developed, artistic standards can result such as quality of tone, control for expressive purposes, and smooth legato. The developing of physically correct lips is an art in itself, and takes a few years to set up so that the player is seeking ever higher artistic standards through perfection of his enbouchure. Finding a formation of embouchure which is natural can lead to greater endurance for certain players. It also proves that double-lip clarinetists vary in the subject of formation which may be quite individualized. Mgtanley Richnond, Glarinet and Saxophone Experience (New York: St. Martin's Press, 1972), pe 50.For example, as mentioned earlier, Opperman believes in pushing the jaw forward, while Elsa Ludewig-Verdehr of Michigan State University, in a letter of February 27, 1975, thinks of three natural states, First, she accepts the natural set of her mouth in regard to position of jaw instead of thinking of pushing the jaw forward or backward, as some teachers sug- gested to her. Neither worked for her except to leave her with little endurance and sore lips. She believes in accepting the natural set of Jaw and face and working from there, Second, there is a slight stretching of both lips, and third, there is then a tightening of the lips as though one were saying the word “prune.” At first she only thought of the mus- cles surrounding the lips. Once she focused on the actual lip muscles-- the red part--she felt she made more support and gained endurance. Along similar lines, John Mohler of the University of Michigan, in a letter of Novenber 11, 1974, advocates also a natural double-lip enbouchure. He maintains that the upper lip is drawn only slightly over the upper teeth to allow muscular development. "The activity of both lips," he says, "is to surround reed--mouthpiece and cushion both, while still attempting to maintain stability necessary to control reed." Mohler again responds to his natural receding lower teeth to form almost an over- dite. The angle at which he holds the clarinet is about thirty degrees, which is in contrast to Heber, who believes in holding the clarinet further out in front to about forty-five degrees. It may be well worth noting that both of these men were influenced by the poverful exanple of Ralph NeLane. Keith Stein, author of The Art of Clarinet Playing, and professor at Michigan State University, in a long letter of December 16, 197!,10 describes the formation of the double-lip. It varies from the description 4n his book. Two pages of his valuable letter are worth quoting verbatin, as they describe his current views of double-lip embouchure formation. “Forming Double-Lip Enbouchure Lower lip (a) Set the mouth corners at their normal locations, then forn the lip flesh around the contour of the lover teeth, allowing only the slightest amount to lap beyond the cutting edges. Firmly muscu- larize the lips in a two-fold manner; first by drawing approximately each half of the lover lip outwards towards its respective corner, and secondly, by means of the jaw swinging in a decided are outward and down, carrying the fined lower lip with it as a unit. (») Close-up the jaw, keeping all muscular drawing intact until a pneumatic (bouncy) firmness is created between the reed and lip. The above described jaw action should set up a dynamic experience as though the lover lip in contacting the reed is constantly pushing outward to extract itself fron underneath the reed. Outward direc- tions of the lover lip helps preserve its muscular poise, and at the sane time helps to counteract the tendency of the lower lip to creep inside the mouth. This formation of lower lip applies equally to single and double-lip enbouchures. 2. Upper Lip Formation (a) Personally, I use the upper lip in as nearly the same forma- tion as is possible for both single and double-lip embouchure playing because I happen to use both styles, occasionally slipping fron one system to the other (even while playing), This is particularly use- ful after extended periods of double-lip playing. The upper lip technique I use and advocate is identical for both systens except that the lip covers the upper teeth in double embouchure. For both then, draw the entire upper lip downvard as outlined ty the nostrils above and the mouth corners. Curl the red-lip portion inward upon itself, this roll-up single lip renaining on the outside of the teeth, the same rolled-up lip bulk lightly resting on the cut- ting teeth edges to insulate them (teeth) fron the mouthpiece. Be reminded to keep the head upright while playing, but at the same time insert a generous amount of the topside mouthpiece. Often the anount inserted is determined by the player's natural pro- file as to natural overbite or underbite. (bv) Evidence of correct enbouchure performance is experienced when the lips.couple onto the mouthpiece in such a manner that little of any resistance is felt at the tack-on point of the lips around the mouthpiece and reed, often to the extent that the lips them- selves seen to be floating around rather than gripping the mouthpiece.11 Operating so effortlessly nakes it possible to open-up fron this location back through the wind passage way, unobstructedly down to the point of lowest breath source in the lungs. Fron here one can then reverse the direction and play up all the way into the clarinet. In his book, The Art of Clarinet Playing, Stein had advocated a somewhat different embouchure than the one he describes in his letter. For exanple, Stein reconnends that the student ". . . cup the lover 1ip into the tiniest possible quarter-shaped moon with the corners pointing upward thus: ZH +" He also reconnends a “two-way stretch" of the ", . «chin pulling doimward while the lover lip reaches up and bends outward," allowing for better response, less lip fatigue, and greater tonal support. Also, in addition to the "two-way stretch" taking place within the lower lip area, ". . . a similar one of opposite pulls is sinultaneously transpiring between the jaw drawing domvard and the Amnediate lower lip reaching upwara."*5 The reasons for these differences are not entirely clear, but they should be carefully observed. In agreenent with Harold Wright is Valter Eby, who describes the French method in his book on The Clarinet Embouchure, They are both in agreenent in that Eby warns of the danger of taking in too much lip over the teeth, Eby writes, "A safe rule is to say that the teeth should be covered as little as possible." Eby advises not to distort the features of the face, making the enbouchure easy, simple, and natural. He writes: “Particular pains must be taken not to thrust the jaw forward nor draw back the comers of the nouth, "26 stein, pp. 12-13. 16 ssiter Boy, The Glarinet Enbouchure (New York: Walter Jacobs, Inc., 1955), pe 8. "12 The subject of mouthpiece insertion is an inportant one, since most double-lip players agree that relatively more mouthpiece be taken in A? and Hohter.1® the mouth, which 1s recommended by both Wright’ If this is the case, the reed might contact the tongue at a point a bit further back from the tip area than otherwise. Along this basic idea, Stein writes, in the letter of December 16, 19741 “Be reminded to keep the head upright while playing, but at the same time insert a generous amount of the topside mouthpiece, Often the anount inserted is determined by the player's natural profile as to natural overbite or underbite." The taking in of a generous anount of mouthpiece involves the technique of the right hand thunb in relation to embouchure. Correctly using the right hand thumb plays an important part in relation to embou- chure. Correct thumb technique considerably helps the player to acquire good tone production and control, Therefore, the player must develop a flexible and sensitive yet firm pressure of the right hand thumb towards the embouchure, allowing as much mouthpiece insertion as the player can control. This, of course, is acconplished by using a gentle, indirect, yet firm hold on the mouthpiece. It is this writer's experience that while the student is playing, the teacher, as an illustration, should gently press the clarinet towards the player's mouth and also gently pull it further out, After such a denonstration, the consequences and signif- Acance of the thunb technique will be readily understood. The student, too, should listen attentively to the quality of his own tone to find the correct thunb technique for hinself, The effect on his intonation should be carefully observed, also. Myright, lecture. . 18 ;o4n Mohler, personal correspondence letter of January 1, 1975.13 Formation of the Double-Lip Embouchure in the Italian School Although this dissertation is primarily concerned with the French- American double-lip concept, the Italian school has its merits. Gino Cioffi, solo clarinet with the Boston Symphony from 1950 to 1971, played when he cane to this country in the late thirties with the reed-uppernost double-1ip embouchure, He learned this technique in the conservatories of his native Naples. According to Cioffi in an interview of Decenber 6, 197!, he used both lips covering the teeth in the reed- uppermost position. In using this type of embouchure, Cioffi maintains he is untroubled by "fuzz" in the tone resulting fron excessive saliva on the reed, since the reed does not lay near the bottom of the nouth where the saliva accumulates. Second, the tongue does not cone near the reed and coat it with saliva; enough moisture is contained in the player's breath to keep the reed properly moistened. Third, the staccato obtained is of superior quality because the tongue touches only the thin tip of the reed and does not touch the flat part at all, This gives "tongue- tip" control, and therefore great delicacy of articulation is possible. Fourth, both lips are used, which makes for greater delicacy of control and a better tone. When Cioffi arrived in the United States in the middle nineteen thirties, he changed fron his conspicuous embouchure to the customary way of playing, not because of artistic reasons, but for economic reasons. The musician who plays in an unorthodox manner is considered suspect by contractors even when the playing is faultless. But to this day, Cioffi contends that it is better to play with the reed on top, and the opinion of so great an artist must be taken seriously.14 The argunents advanced to prove the superiority of playing with the reed on the top cannot be dismissed lightly, since they are very logical. There are often several ways of arriving at the same goal, as the playing of several fine artists with different types of enbouchures proves. With the reed-on-the-bottom-lip embouchure, Cioffi became quite successful at auditions for such positions as Pittsburgh, Cleveland, the Metropolitan Opera, and finally the Boston Synphony where he stayed for twenty-one years until his retirenent in 1971. He is presently teaching at Boston University and the Casals Conservatory in Puerto Rico, In forn- ing the double-lip embouchure he reconnends taking a little lip over the teeth and bringing the corners back in a somewhat "smiling" position. Cioffi says that even now sone clarinetists fron Naples still play with the reed-uppernost position, in contrast to other Italian cities where the reed placed on the bottom lip is generally accepted. The double-lip embouchure with "smiling" concept seems to be accepted as standard among Italian trained clarinetists, For example, the Bologna-trained Gabriel Tosé, author of Artistic Clarinet Technique and Study, advocates: "The lower and upper lips should be stretched and pulled tack sinilar to a dram-in, snile-like position."!9 Tosé is a firn believer in the double-lip embouchure and dis- cusses its advantages in the above book. Referring to the lip, he advises the player to involve only the red part, cautioning not to roll either the upper or lower lip over the teeth, Harold Wright, as mentioned in an earlier section, also advises not taking in too much lip, which could hinder sound production and tongue movement. Weapriel Tosé, Artistic Clarinet Technique and Study .(Hollywood: Highland Music Co., 1962), p. 21.15 Another Italian-trained clarinetist, Domenic De Caprio, who wrote The De Caprio Clarinet Method, recommends ". . . to keep the corners of the lip drasm back in a smiling position."@° te also advises keeping the chin dow and the lip flat against the lover jaw, encouraging a double- ip approach. This writer finds that a loose embouchure produces a flat hollow tone, a tight one, a thick, pinched tone. If one wishes to use the smile concept, by experimenting, most will. discover the proper tension in the smile, thus giving a compact tone with good intonation. Review of Related Literature Advantages in Using the Double-Lip Enbouchure The fact that the double-lip naturally opens the oral cavity and throat areas is attested to by Elsa Iudewig-Verdehr, who says, in a letter of February 27, 1975, that through the double-lip she learned to play with a more open throat, which in tur opened up her sound fron the standpoints oth of the volune and quality and improved the legato of large slurs, particularly over the register break. As another result she found that she used the air column more directly and to better effect than ever before. The changeover to double-lip necessitated a big change in the way she played technically. She found it necessary to greatly lessen the anount of finger movenent she made and to use much less of a "popping" or "hit- ting" action with the fingers, developing a gentler, closer finger action. In summary, it seems that becoming a double-lip clarinetist benefited her 2 romenic De Caprio, "One Han's Opinion," oodwind Magazine I, No. 1 (Novenber 1948), 5. =16 playing in most technical aspects and was like having a strict disciplin- arlan teacher pointing out exactly the best, most efficient, and less painful way of playing the clarinet. Elsa ludewig-Verdehr writes: "I use the word 'painful' advisedly because playing incorrectly is for ne, directly reflected in a sore upper lip." Wright connents that, "It /double-lip/ opens the oral chamber of the nouth,"24 ‘The open chanber of the mouth with an open throat allows for a fuller sound and more resonant tone. ith the double-ip there is a tendency to cut doim the vibrations of the tone. Wright advises to try it by putting your lip over the upper teeth and listening to what it does to the vibrations, He clains that, first of all, it cuts dow on the vibrations on the teeth. The sensitivity of the teeth as a nediun of sensory sound trans- mission 4s alvays present through bone conduction. Since the use of the upper lip involves lip nerves, and these are also a nediun of sensory transmission, the clarinetist employing double-lip augnents his sensory perception and enriches his audio-sensitivity. The double-lip player actually hears hinself more nearly as the audience hears hin. Objective evaluation becones possible. Double-lip embouchure is a very sensitive gauge for 1ip and jaw Pressure. As Wright renarks: “. . . players who get sore lips means they are actually using a lot of pressure ami not the nuscles."@2 Double-1ip counteracts this problem by acting as a sensitive sensor. 2uright, lecture. rma,17 Wright also maintains that the double-lip creates less shrillness in the upper register, making the tone darker, since there are no teeth touching the mouthpiece. He maintains that "with the double-lip you have nore of a contact with the instrument." Different shadings of tone can be done with greater ease, making tone color much easier. It autonatically supports the tone from one interval to the next, which is in agreement with Weber and Ludewig-Verdehr. When you play double-lip there is no need to force the air--the tone is naturally supported from one tone to the next. Again 4m agreenent with Weber, Wright states, "I think it adds to easier adjustments to intonation." The pitch can be changed easily with- out changing the tone quality of the natural pitch of notes, For instance, Af you wish to play sharp, you can play sharp and do so without distorting the tone. If you wish to play flat, you can play flat by dropping the jaw and still have plenty of embouchure control to support the tone when play- ing flat. In an interview on April 11, 1975, David Weber states: "Instine- tively one covers the teeth in embouchure formation, I found out from dentists that there are interlacing muscles (orbicularis oris) surrounding the mouth forming a sphincter." He feels there is no point in using only half a muscle when you can use a whole muscle, Weber asks, "Why play with your lower lip and exercising that and not use the upper lip?” Aluays he has been impressed with double-lip players he has heard live, such as Gaston Hamelin, Ralph McLane, Louis Cahuzac, and Harold Wright. ", . . You can cover the tone in using the lips," Weber continues. He gives an exanple of the sotto voce section occurring at the end of the first movenent, Allegro appassionato, of the Brahns F Minor Clarinet Sonata. “You can relax your lips but you cannot relax your teeth."18 Weber contends that double-lip is an aid in tuning, as there is a certain leeway within the lips to play sharper or flatter, as required. “Basically there is a right way and a wrong way," Weber believes, “the wrong way being to place the teeth on top of the mouthpiece." Weber has heard players who use their teeth get a good tone, but he has rarely heard a clarinetist who played with his lips get a bad tone--always a superior tone. "The students that I have developed into playing double- lip all have big beautiful sounds." Weber contends that with the lips one can make intervals with greater ease. This he has determined by advanced students and players who have changed to double-lip and who have said that in arpeggios one can go fron note to note with greater flexibility. "Without proper instruction," Weber states, "double-lip will not be the answer." Weber had only one student who reverted back to single-lip. This student insisted on practicing six hours a day. To develop double-lip Properly and gain endurance he would have had to reduce this anount of tine, Speaking on endurance, Weber says, "I can play standing and sit- ting and work all day, performing at the ballet /Wiew York City Ballet/, practicing at least one and a half hours a day, Very seldom have I got- ten a tired upper lip--sonetimes a tired lower lip." In the letter of December 16, 1974, Keith Stein continues listing the advantages of double-lip embouchure: (1) Encourages better listening to oneself while playing. (2) The clarinet sound registers in purer authentic timbre as opposed to head noises experienced in single-lip when the tone con- municates through the mouthpiece and teeth to the brain (auditory nerves). oe19 (3) Double-lip affords better binding across legato intervals. (4) Doutile-lip offers an easier and simpler approach to the attacking and articulation aspects of playing due to the easing of the lips around the mouthpiece. The ease with which one can articulate using double-lip depends on not taking too much lip under which restricts the move- nent of the tongue. (5) Double-lip communicates the degree of tenseness with which one is playing. The double-lip registers the degree of tension by the vibration created between the lip and the teeth. Stein agrees with Ludewig-Verdehr, Weber, and Wright that double- lip affords better connection across legato intervals. He is in agreenent with Wright in cautioning the player not to take in too much lip which restricts the movement of the tongue. In his book, Artistic Clarinet Technique and Study, Tosé presents his case for the double lip. lie describes how the use of the upper lip produces desirable results. ". . . The double-lip technique definitely elininates both unpleasant vibrations to the upper teeth and mouthpiece bite." Acting like a shock absorber to the embouchure, Tosé feels, it results in a nore pliable and sensitive tone production. Therefore, using the double-lip embouchure will add desirable qualities to the tone. Tosé adds that it also helps the player". . . to eliminate such tonal anonalies as harshness and roughness."*? He believes this could rarely be accon- plished using the single-lip approach. There seens to be close agreement anong double-lip players regard- ing double-lip enbouchure helping to achieve better interval connection and intonation. John Mohler writes in the letter of November 11, 1974, that "sensitivity in lip area is useful for ‘feeling’ intervals, and intonation." rosé, pp. 22-23.20 This lip sensitivity is achieved through the double-lip's sen- sitive gauge of lip and jaw pressure, mentioned earlier, and the large amount of lip cushion surrounding the mouthpiece, affording greater flexibility. The production ofgood tone depends on such areas as keeping an open throat, Efrain Guigui, a double-lip clarinetist who is conductor of the Vernont Synphony Orchestra and teacher at the Casals Conservatory in Puerto Rico, discusses in a letter of January 1, 1975, that the advan- tage of using the double-lip is to keep the interior of the mouth in a yawning position, thus enlarging the oral cavity. Of course, proper @iaphragn breathing helps achieve this, also. There might be some nore potential in double-lip embouchure for controlling the tuning and the quality of tone in extrene dynanics. It 4s natural on the clarinet for a pp to get sharp and the ff to go flat in certain registers. The right hand thumb pressure can be changed to Yalance this. Guigui believes that in applying pressure up with the thunbs, the player will push into his mouth a larger part of the nouth- plece, which will avoid the ff getting flat. By the same token, Guigui argues, in releasing the pressure, less mouthpiece will be in his mouth and this will avoid the pp getting sharp. "It seems easier to cope with the ££ pressure with double-lip embouchure than with the single one," writes Guigui. He remarks, "I have found the sane to be true for getting the high or lower register. (The lower register is to be found towards the tip, meaning less mouthpiece, and the high towards the middle part of the mouthpiece, meaning more mouthpiece in the mouth.)" |at It may sound redundant to state the numerous advantages of double- Lip, but this writer cannot overlook the statement by George Waln, the noted teacher who was long at Oberlin College. He writes in a letter dated February 6, 1975: If the player is going to stay with it /double-lip/ and will keep up his practice I think 1t has the advantage of less biting on the nouthplece with resulting better high notes, and perhaps nore flexi- bility in legato playing of intervals. The late Augustin Duques, solo clarinet with the N.B.C. Symphony Orchestra under Arturo Toscanini from its inception in 1937 until 1947, played double-lip and studied in France under the famed Prosper Mimart during the early part of the twentieth century. A former student of Duques, Harl Thomas of Eastern Kentucky Uni- versity and solo clarinetist with the Oklahoma City Symphony from 1952 to 1969, recalls in a letter of December 3, 1974, Duques' playing: Of course the resultant tone Mr. Duques achieved with his enbou- chure was one of vitality, ring, extrenely compact center, dark and yet penetratingly clear and pure, He was a fantastic technician as well, but his forte was sensitivity and artistic phrasing, not to mention his power and control! An interesting case study in double-lip playing would be that of Alexander Willians, solo clarinetist of the N.B.C, Orchestra under Tos canini from 1948 to 1955. In a letter dated November 25, 1974, Willians indicated that, remarkably, he switched to double-lip playing in the middle of his career and found it to be a far more satisfying method than single- lip. Williams clains that the production of sound was easier, with a more nellow, fuller sound and much greater sense of flexibility. He found that due to the flexibility, intonation was better. Finally, as Willians relates, "best of all, the ability to sing on the instrunent and express warmth and color greatly enhanced."22 The reasons for these advantages, Williams recalls, was a more even and relaxed pressure as against the tendency to bite with the upper teeth, “Also, the act of covering the upper lip encourages a freer and more open throat, as against the conmon contraction." Richard Stoltzmann, of the California Institute of the Arts and principal clarinetist of “Husie from Harlboro," prefers double-lip. Most of his double-lip training vas under Kalmen Opperman, and as an associate of Harold Wright, Stoltzmann vas greatly influenced by his playing. Stoltzmann wrote to the author on Novenber 27, 197!. He feels that the double-lip is a sensitive gauge and exposes heavy staccato and heavy hands, for in order to play double-lip correctly one has to have a light finger touch. Double-lip requires air support instead of biting. Stoltemann also believes that double-lip encourages natural hearing of the sound with less teeth/bone vibration. He also contends that double-lip fosters more overtones due to the wider mouth (oral) cavity. The great demands placed upon solo and chanber music clarinetists today with the double-lip as an ald to a more enhanced musical perfornance is brought to our attention by Lawrence Sobol. Sobol is clarinetist with the well-engaged Long Island Chanber Players, and he studied with Harola Wright and David Weber. Alan Hovhannes dedicated and composed for Sobol Saturn, a cantata for solo clarinet, soprano, and piano, published by C. F. Peters and recorded on Poseidon Records. Sobol has also recorded on Desto Records the Evocations of Slovakia by Karel Husa, Pulitzer prize winner, and published by Schott, Sobol, in a personal interview of March 24, 1975, describes this work as "one of the most demanding works in the chanber music literature fron all aspects... ." Its difficulty lies fron a standpoint23 of great technical and rhythmic denands with a total control of dynamics from a ppp toa ffff, and a range from e to a3, To achieve these demands, Sobol believes that double-lip allows for greater flexibility for intonation and dynamic control by rolling the instrument in subtle degrees to create greater nuances for total musical expression, To play double-lip, Sobol agrees with Wright in using as little upper lip as possible and to “hug the nouthpiece." Sobol sayst Regardless of whether you play single-lip or double-lip, we as professional artists, trying to fulfill the art of music making, must search for the best embouchure and equipnent necessary to allow for greater freedom in all aspects of playing and it is in my opin- ion that double-lip is the best embouchure. The great Ralph McLane, to whom an entire chapter will be devoted, wrote an article entitled "Single or Double-Lip?" in which he undoubtedly incorporated some of the concepts intended for expansion in his unfinished ook. Velane asserts that jaw pressure is necessary in both single and double-lip to control the reed, but too much lower jaw pressure pinches or chokes the reed's vibration. The single-lip embouchure permits the player to exert more pressure fron both the lower jaw and lip than he actually needs, The double-lip embouchure prevents the player from chok- ing or pinching the reed, which is largely due to the resulting pain or sore lip, Mclane states, “With development it becomes a very sensitive gauge of lip pressure. . . . You cannot develop the lower part of the embouchure and not the upper. Arai McLane, “Single or Double-Lip?" Symphony (March 1949), 7-8.2h McLane is in agreement with the other writers mentioned in that the double-lip permits greater ease in playing; with the enlarged oral cavity that the doutie-Iip encourages, a freer, fuller and nore nellow sound is produced; with greater ease different shadings of tone are nade; Anterval connection is greatly improved; adjustments in intonation with- out changing the quality of tone is permitted; pitch is held up in forte passages; more mouthpiece can be taken in the mouth with complete control; after good muscular developnent, endurance is achieved; to encourage nuscular developnent, NeLane advocates to practice standing at all tines. Disadvantages and Criticisas in Using the Double-Lip Enbouchure An outspoken critic of double-lip embouchure is William Stubbins, author of The Art of Glarinetistry. Problems in articulation in using double-lip are presented by Stubbins, who says: "Since the steadiness of the control of the tone-generating systen is somewhat affected by the cushion of the lips, the player using the double-lip embouchure does have sone difficulty in articulation especially in the higher registers of the clarinet."®5 stubbins also believes that most players who use double-lip find it difficult to play well unless they support the clarinet against some part of the body such as the knee while playing. Stubbins indicates that sone double-1ip players change to single-lip when required to play in a standing position. The difficulty in developing the double-1ip embouchure is stressed by Stubbins: ". . . The lack of a steady support by the upper teeth 25us.14an H. Stubbins, The Art of Clarinetistry (Ann Arbor, Michigan: Ann Arbor Publishers, 1965), 198-125 against the mouthpiece places an added strain on the facial muscles which requires an extreme tension to achieve control." It is for this reason that the players of double-lip contend that it is very difficult to develop an embouchure. Double-lip requires much more strength of muscular effort and delicacy than the more conmon single-lip, Along similar lines John Mohler, in his first letter to the author on Novenber 11, 1974, relates: “I find it almost impossible to perforn standing up in public; also difficult in woodwind quintet or smaller ensenble where it's necessary to keep playing." Of course, this statement differs from those listed under "Advantages" along with Mohler who agree that once the musculature surrounding the lips is adequately developed, endurance is achieved. Mohler, in a letter of January 1, 1975, also feels that "balance sonetines presents a problen for thunb F/C and open G, and it's easy to develop harmful crutches, such as R-Hi against ring rod." Elsa Ludewig-Verdehr in the letter of February 27, 1975, says ‘that the largest disadvantage is to restrict the length of time she can play while standing, Although she practices an hour a day in a standing position, she can no longer perform a concerto or recital while standing, She finds that endurance is another disadvantage. She contends that it is much easier to be "out of shape" with double-lip. She finds that it takes more playing or practice time to keep up the embouchure, and that as soon as she is not playing regularly, she feels off form. A minimun of three hours a day is the tine she feels she nust spend to be in top form. In conclusion, she states: “But for me the advantages outweigh the disad- vantages." She is in agreement with Harold Wright, who claims~that if he