“Firm up those embouchures!” An efficient embouchure is relaxed, not tight (nor “firm” nor any other euphemism) and allows the reed to vibrate easily for a beautiful, seemingly effortless sound.
“You’re flat!” This is very, very often a voicing issue. It’s not helpful in the long run try to fix it with biting (or “lipping up”), overly resistant reeds, or needless equipment purchases.
“Next year, I’m making you all move up a reed strength.” Stiffer reeds won’t make you play better any more than larger shoes make you better at basketball. Use what fits.
“You all need to switch to a ________ mouthpiece.” Sweeping gear recommendations aren’t useful. Often they are based on outdated or incomplete information, plus mouthpiece purchases in the beginner stage are often pricey lateral moves. Mouthpieces aren’t always made consistently, either, and having a student switch blindly to a bad specimen (even of a highly-regarded model) may actually make things worse. Generally, stock mouthpieces are fine for beginners, and advancing players would be wise to consult with a private teacher who can work with them individually on upgrades. And the finest professional clarinet sections in the world play on non-homogenous equipment and blend beautifully—having everybody play the same thing isn’t the key to matching tone or pitch.
“Get ready, because next month you’re going to learn how to cross the break, and it’s going to be hard.” Crossing the break is only as hard as you make it. If you are teaching good tone production and finger technique, crossing the break is a non-event, not even worth mentioning.
“Keep those chins flat and pointed.” “Wow, your chin sounds amazing,” said nobody. Focus on the real issue: forming a relaxed embouchure within the space of an open jaw, backed up with good voicing and breath support. You will know it’s working because of good response, characteristic tone, and stable intonation, not because everybody’s chins look a certain way.
Focus on the important and too-often-overlooked fundamentals for success in your clarinet section.
If you are getting less than 80% playable clarinet or saxophone reeds from the boxes you are currently buying, buy different ones.
Be realistic about strengths. If you are only getting 2-3 good reeds out of a box, you aren’t just being “choosy.” You are probably playing on reeds that are too resistant, and those 2-3 are the softer ones. Let go of the nonsensical old myth that better players play stiffer reeds. If you are getting less than 80% “good” reeds from a box, try moving down (or, in rarer cases, up) a half strength.
Update your shopping list. There are many, many available reed options! Clarinet and saxophone players used to be stuck with the few brands available at nearby music stores. Now there are more brands, shipped anywhere in the world, probably for cheaper than buying at your local store. Don’t let a misplaced sense of brand loyalty or tradition keep you putting good money into bad reeds.
Skip the sandpaper, mostly. If you are buying reeds that actually work for you, you won’t have to do more than a few minutes’ worth of adjustment over the reed’s useful lifetime. The available variety of cuts and profiles is staggering. And modern reed companies can shape reed vamps with very good consistency and accuracy.
A brand that genuinely makes clarinet or saxophone reeds with less than 80% success doesn’t deserve your repeat business. But there’s a strong chance you have simply mismatched the reeds to your mouthpiece and playing requirements. Keep searching!
Here are some videos from my recent Delta State University faculty recital. I enjoyed tackling Brett Wery‘s challenging Sonata for multiple woodwinds (flute, clarinet, alto saxophone) and piano, plus some little oboe pieces and the André Previn bassoon sonata. As always, the goal was to challenge myself, so, as always, the performance had some hiccups. But it was a valuable growth experience for me and a chance to perform some new repertoire.
The Suite requires more-than-casual doubling on flute, clarinet, and saxophone. (Some of the altissimo in my performance isn’t in the original part.) Like most of Smith’s music, the Suite is light and appealing, with some rhythm/meter hijinks and a hint of jazz influence. Worth tackling if you’re a serious flute-clarinet-saxophone doubler and get a chance to work with a good wind ensemble.
Here’s a YouTube video (audio only) of the April 11 performance:
Many of the ideas shared by the distinguished authors seemed like just descriptions of good basic clarinet technique (“ensure correct, stable embouchure formation,” “establish breath support/air pressure before releasing tongue”). I agree that the most important way to improve undertones is to have a solid baseline tone production technique. If you can play with a beautiful, characteristic tone, mostly in tune, with good response, then your undertones are probably mostly gone already.
I do have one small tip that I find helps a great deal with clearing up any remaining undertones, that wasn’t mentioned by any of the sources I consulted. My readers know I frequently discuss the importance of keeping voicing very stable, but as I have indicated previously that’s only one side of a multifaceted issue.
I have good success with lowering my voicing just a little bit in the upper clarion register. (I tell my students to think of warming the air by just a degree or two.) This seems to stabilize and clarify those notes.
As always, expect any change in voicing to have multiple consequences, for tone, pitch, and response. In the case of clarinet upper-clarion notes, I find a very slight lowering of my voicing to have only minimal and acceptable effects.
If anyone is aware of others teaching this technique, I would be curious to hear about it.