2.I suggest using double lip embouchure, in my opinion, the most beneficial embouchure, especially for solving problems of biting.
我建议使用双包口型——在我看来最有益的口型，同时能够解决下唇咬疼的问题。
3.Reeds themselves are a basic issue and take a while before you and your embouchure know what you are doing.
哨片是一个很基本的硬件要素，需要你和你的口型有一段适应时间。
4.Depending on your desire to play with this embouchure, you will experience difficulty in playing throat F, and high C.
取决于你对使用这个口型的热切程度，你会经历一段时间难以演奏鼻音F和高音C。
5.Do not change your embouchure or anything. You must listen all of the time and at first emulate your jazz recordings, and soon you will arrive at your own style.
不要改变你的口型或者其它什么。你首先需要去听、去模仿，然后才去找自己的风格。
6.If the tongue is tense, that tension will carry over into the embouchure (and vice versa), interfering with vibration of the reed and frustrating the player.
如果舌头太紧，这种力量会同时影响到口型，改变哨片的振动并影响演奏者。
7.Now, these are not proofs of the double lip embouchure and it being the best one, but I feel that after starting many clarinet kids, who naturally cover both lips, and then feeling the difference in their playing, it is my clear opinion.
这些不是证明双包是最好的嘴型，不过我感觉我启蒙的很多小孩，那些很自然包住双唇的发出的音色是完全不同的。
