Klarinet Archive - Posting 000169.txt from 1995/08

From: bassethn@-----.ORG
Subj: Bass clarinets
Date: Thu, 10 Aug 1995 21:26:37 -0400

Beth Morgenroth wrote asking for opinions on bass clarinet setups.

I play a Selmer Model 33 (low c) with a stock Selmer mouthpiece. I have
gone through phases of custom mouthpieces but a number of years ago
returned, quite by chanced, to a middle-of-the-road Selmer facing. I have
tried many ligatures, but I find that my old Bonade lig works the best by
far. It seems to me that a good lig is *very* important on bass clarinet,
even more so than on the soprano clarinet. A good ligature helps focus
the sound by lining up the harmonics in each note -- it makes for a more
even sound and better dynamics, colour and projection. I have made a few
modifications to the keywork and tone holes on my Selmer, but it is
basically a stock instrument with stock set-up.

Most professionals I know play a basic stock Selmer set up with minor
modifications. The last time I heard, the Dutch bass clarinet virtuoso
Harry Spaarnay was still playing stock Selmer stuff.

Often players attempt to use equipment that may not work or be suitable
for them simply because a 'good' or 'professional' player plays this
equipment. I fell into this trap as a young player. I was looking for and
using B flat clarinet equipment (Morre reeds, Kaspar mouthpieces) that
didn't work for me. I was seduced by who played what. It took a long
time for me to recognize this.

Some players tend to overlook their physical or musical individuality and
others neglect to consider *how* they'll be using the instrument:
orchestral, chamber, band, as a reed double, etc. I think that these
things are very important, more important than 'who' uses 'what'. My
equipment is geared to play big but it has flexibility for a good use of
colour in solos. When I play a fortissimo low E in Don Quixote or Till,
or a E minor scale in the last movement of Rachmaninoff Symphonic Dances,
I like to see the conductor asking for less. They never do -- they like
to hear the bass clarinet. On the other hand, I need sweetness and colour
for the 1st movement of Mahler 6th. If I played a lot of flute, I doubt
that this setup would be appropriate for me. [ Fortunately, I don't. ]

Bay makes good stuff. Although this may sound overly simplistic -- if
you sound good on Bay stuff and it meets your needs, play Bay stuff.

I hope that this is of some help.

=========================================
David Bourque
Bass Clarinet, Toronto Symphony Orchestra
Internet: bassethn@-----.org
=========================================

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