@NYhunter4 Actually, the reverse is most often true. Kids who start on clarinet adapt to the sax very quickly. but those who start on sax struggle and struggle to play the clarinet well. I saw this over and over with sax players who came to my music school, where they were not allowed to major in sax, but had to learn clarinet. It's easier to relax the tongue position forward than it is to keep it high and back--this is where ear training is so important.
@clarinetsarah To place the mouthpiee correctly, you must find the point where the reed and the mouthpiece meet. This is where you want to place your lower lip, as it will give you the best flexibility and control over your tone. Some mouthpieces have longer facings than others. For example, a Vanforen M13 has a longer facing than a Vandoren 5RV13. So, combining proper angle and lower lip placement is what determines how much of the mouthpiece is in your mouth, not some arbitrary measurement!
@clarinetsarah It actually depends on the facing of the mouthpiece and the angle of the clarinet. To get the angle right, simply relax the right arm by your side and bend at the elbow, making sure to keep the shoulder from moving, until the forearm is relatively parallel to the floor. Then, place the thumbrest of the instrument on your right thumb and place your hands normally. Finally, again without moving at the shoulder, bring the instrument to your face, making sure your head is level.
I emphatically disagree. The idea of placement always results in jaw closure to control the reed--more commonly known as biting. Biting always kills the sound. You'll note in the video I mention "snugging." Snugging: bringing the reed/mpc wedge into the FIXED opening of the embouchure. By the combinaton of correct tongue position, snugging and listening you FIND the spot of optimum control, resonance and focus. "placement" always kills the tone and is inflexible--snugging is not.
Why, no matter what placement i use, do i get a windy tone: a tone with a hiss flowing through it? I always here wind leaking.I can get an upper register without biting, and keep it, i am not sure how, but embouchure and inner mouth shape seem to be imperative to acquiring it. Still, i get this wind / hiss :(
@NYhunter4 Actually, the reverse is most often true. Kids who start on clarinet adapt to the sax very quickly. but those who start on sax struggle and struggle to play the clarinet well. I saw this over and over with sax players who came to my music school, where they were not allowed to major in sax, but had to learn clarinet. It's easier to relax the tongue position forward than it is to keep it high and back--this is where ear training is so important.
@clarinetsarah To place the mouthpiee correctly, you must find the point where the reed and the mouthpiece meet. This is where you want to place your lower lip, as it will give you the best flexibility and control over your tone. Some mouthpieces have longer facings than others. For example, a Vanforen M13 has a longer facing than a Vandoren 5RV13.
So, combining proper angle and lower lip placement is what determines how much of the mouthpiece is in your mouth, not some arbitrary measurement!
nonsense
@clarinetsarah It actually depends on the facing of the mouthpiece and the angle of the clarinet.
To get the angle right, simply relax the right arm by your side and bend at the elbow, making sure to keep the shoulder from moving, until the forearm is relatively parallel to the floor. Then, place the thumbrest of the instrument on your right thumb and place your hands normally. Finally, again without moving at the shoulder, bring the instrument to your face, making sure your head is level.
I emphatically disagree. The idea of placement always results in jaw closure to control the reed--more commonly known as biting. Biting always kills the sound. You'll note in the video I mention "snugging." Snugging: bringing the reed/mpc wedge into the FIXED opening of the embouchure. By the combinaton of correct tongue position, snugging and listening you FIND the spot of optimum control, resonance and focus. "placement" always kills the tone and is inflexible--snugging is not.
No teeth on the mouthpiece at all if possible. See my video on playing double-lip embouchure. Fixed placement always kills the sound.
Why, no matter what placement i use, do i get a windy tone: a tone with a hiss flowing through it? I always here wind leaking.I can get an upper register without biting, and keep it, i am not sure how, but embouchure and inner mouth shape seem to be imperative to acquiring it. Still, i get this wind / hiss :(
You've got a mouthpiece/reed problems. Breathiness in tone is almost always caused by poorly balanced reeds.