– Carmine Campione
The mouth, in the form of the clarinet embouchure, is the only body part connecting the player and the clarinet that helps produce a clarinet sound. As such, I believe the clarinet embouchure is the most vital link in the production of a clarinet tone and its great importance must not be underestimated. To the extent of one’s success or failure with their embouchure is the extent of one’s ability to produce a clarinet tone with respect to quality, size, and evenness, and to an even larger degree will determine one’s ease and control of that tone. In addition, a person with a good or natural embouchure will be able to come back to their normal playing ability a lot easier after a period of layoff than one whose embouchure is questionable or not as natural. The following is my attempt to explain this vital part of clarinet playing.
In the early 1970’s the Selmer Company approached me in hopes that I would play and endorse their new line of clarinets. In 1974, I was so impressed with their series 10G clarinet, and with their desire to manufacture a good product, that I began to play and endorse their clarinet. In addition, the Selmer Company asked me to write an article for their magazine, The Selmer Bandwagon. I decided to write on the subject of embouchure. So, in March of 1974, in Selmer’s Bandwagon magazine No. 71 the following article appeared. In all the years since then, my concept of embouchure has not changed one bit. Therefore, I am including that article in my new book, exactly as it appeared in the Bandwagon magazine in 1974.
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