The double-lip embouchure is a type of embouchure used in playing woodwind instruments like oboe and bassoon, and occasionally clarinet and saxophone. It contrasts with the single-lip embouchure in that both lips cover the dental surfaces.[1]
Historically the double-lip embouchure was common among clarinettists, and was advocated in methods books, such as those by Jean-Xavier Lefèvre and Franz Frohlich.[2] The shift in the 1820s to playing with the reed facing downwards corresponded with a move away from exclusive double-lip embouchure.[3] Double-lip embouchure was similarly recommended in early saxophone materials, such as those of Adolphe Sax and Louis Mayeur.[4]
The double-lip embouchure supports more even lip muscle development, since both lips are involved in maintaining control of the mouthpiece/reed. Clarinettist Keith Stein suggests that double-lip playing on that instrument can be used as a remedial technique to address issues of "tone production, upper register tonguing, legato binding, high tones, [and] undue tenseness".[5] David Pino recommends this technique to address excess pressure from the jaw as well as "tense, pinching" tone on clarinet.[6] He notes that performers who use this method feel "it is the best way to achieve openness and freedom in tone quality and response".[6]
A double-lip embouchure is sometimes recommended by dentists for single-reed players for whom the single-lip approach is potentially harmful.[7]
Prominent practitioners of double-lip embouchure on saxophone include Johnny Hodges and Warne Marsh; Lee Konitz reported using it for ballads.[8] Clarinettists using this technique include Ralph McLane,[9] Louis Cahuzac, Reginald Kell, and Richard Stoltzman.[10]