1. Lower lip cushion: Roll the lower lip under slightly to create a cushion. The flesh (not teeth) of the lower lip contacts the reed. This cushions the reed vibration and allows proper contact.
2. Top teeth directly on mouthpiece: Yes, the top teeth touch the mouthpiece directly (not hidden behind the top lip). The top lip rolls down over the top of the mouthpiece, sealing from above. This is unique to clarinet and often surprises students used to thinking "hide your teeth."
3. Corners drawn IN (not back): This is critical. The corners of the mouth should be slightly pursed inward, NOT pulled back in a smile shape. Think of saying "oh" (not "eee"). The corners should form a "drawstring" around the mouthpiece.
4. Chin flat and pointed ("ugly chin"): The chin should feel flat and pointed (somewhat like a lemon shape). Bunching the chin (creating dimples or wrinkles) disrupts the embouchure and causes tone problems.
5. Amount of mouthpiece in mouth: Approximately 1/2 inch of the mouthpiece should be inside the mouth. The reed meets the mouthpiece facing curve at about this point. Mark this position on the mouthpiece with a pencil line as a visual reference.
6. The "imaginary dot": This is where the air crosses the reed tip — the focal point of the embouchure. Students should imagine a dot right at this spot and direct their air there.

1. Step 1: Air (no vibration): Student blows air through the mouthpiece/reed setup. No sound yet — just air. Goal: learn to blow without tension, establish correct air pressure and direction.
2. Step 2: Air → Vibration → Air: The sound emerges from the airstream as the reed begins to vibrate, then returns to air. The student hears a brief sound in the middle of the airstream. Goal: feel the transition and recognize what vibration feels like.
3. Step 3: Air → Vibration: Air leading to a vibrating reed that sustains. The student produces a more continuous sound but it's still emerging from air. Goal: sustain the vibration.
4. Step 4: Vibration (ultimate goal): The student starts with a vibrating reed and sustains it cleanly. Sound is clean and immediate. This is achieved with articulation (tongue release).

Target pitch: Middle staff F# (5th line F#) on mouthpiece + barrel. This is a natural pitch for this setup and makes it easy to hear if the student's embouchure is correct (good pitch = good embouchure).

• Teacher places setup for each student: During the first week, you (the teacher) should physically place the mouthpiece/barrel/reed in each student's mouth and position it correctly. Students don't have the fine motor control yet to do this themselves. It may take 2-5 sessions before students can do it independently.
• Work one-on-one: While other students work on breathing exercises or other foundations, pull individual students aside and work on mouthpiece tone production. This is NOT a group activity — each student needs personalized feedback.
• Listen for: Quality (sound is warm, not thin), Consistency (sound stays the same pitch), Pitch (should be around F# — if too high/low, embouchure needs adjustment).
• Students remember through: How it LOOKS (use mirror), How it FEELS (embouchure position), How it SOUNDS (warm, centered tone).
• Train students to "freeze": After producing a sound, the student should maintain the embouchure shape — don't collapse the face. This trains muscle memory.
• No articulation syllables yet: Students are learning to start sounds with air only, not with a tongue "dah." Add articulation only after the embouchure and vibration are solid.
• No metronome during individual work: Add the metronome only when students are playing together as a group. One-on-one work should be pressure-free.

Position 1 ("Baby Position"):

• Left hand covers the barrel (barrel under the left palm)
• Right hand covers the bell end (right palm supports the bell)
• NO fingers on any tone holes
• Produces 2nd line G (concert A)

Position 2:

• Keep left hand on barrel (same as Position 1)
• Slide right hand UP into the correct hand position WITHOUT pressing any keys
• Right hand is now over the right-hand tone holes/rings
• Still produces 2nd line G (no holes are covered yet)

Position 3:

• Keep right hand in correct position (same as Position 2)
• Slide left hand DOWN into the correct hand position WITHOUT pressing any holes
• Left hand is now over the left-hand tone holes
• Still produces 2nd line G (no holes are covered, left hand just positioned correctly)

Complete Exercise:

1. Play whole note on G (Position 3)
2. Rest (one whole rest) — release embouchure, slide hands back to resting position, breathe
3. Repeat whole note → rest cycle

Student hears mystery squeaks or different notes in Position 3: This means the student is accidentally pressing tone holes or the left hand isn't in the correct position. Have the student verify:

• Is the left thumb actually covering the thumb hole AND operating the register key?
• Are the left fingers touching the tone holes or just positioned over them?
• Are all left hand fingers staying above (not pressing) their respective tone holes?

If students struggle, they're either not aware of their left hand position or they're not practicing enough. Drill this exercise repeatedly until the positions become automatic.