Klarinet Archive - Posting 000248.txt from 1995/08

From: John Roman <JohnARoman@-----.COM>
Subj: Re: Clarinet Reed Advice
Date: Sat, 19 Aug 1995 00:49:38 -0400

On Monday, August 14, David Bourque wrote:

<<Hard reeds (more accurately, resistant setups) get in the way of
developing proper chops, pitch control, sound and colour development and
learning how to use the clarinet as an *instrument* to play *music*. I
started on Rico 2 1/2 in Grade 9 Music and I now play for a living, for
whatever that's worth>>

------------------------
I can't find the post so I can't copy it here but I was also intrigued by
Elizabeth Morgenroth's comments regarding fibre density and heart placement
on Mitchell Laurie reeds.

------------------------
My comments for what they're worth are:

1. I've been playing clarinet (mostly non-professionally) for about forty
years.

2. I changed from Van Doren's to Mitchell Laurie reeds a few years ago when I
discovered a better consistency (for myself) in that brand. I also regularly
buy a three and a half strength reed in that brand although I've tried a
four. Actually, I don't know how hard the reed is when I'm finished balancing
and adjusting it so it responds comfortably.

3. I haven't clipped a reed in years and I think I was sorry every time I did
(ended up ruining the reed). I know reed clippers have a purpose, I just
haven't discovered it. When a reed becomes too soft to be servicable I throw
it away, use another reed I've already prepared, and start working on a new
reed. Actually, I hardly ever throw anything away. I've got boxes of old
reeds that once played well squirreled away for a rainy day. :)

4. I have never (ever) used a #5 reed in any brand although I went to school
with others who did (one of them actually played fairly well).

5. I remember when I first started studying clarinet in ninth grade that the
better clarinetists were supposed to use harder reeds. There may have been
some validity at that time because all the students studied with the same
teacher and used the same mouthpiece (in those days, it was a Selmer HS*).
I recall thinking even back then that the sudents that were always pushing
to use the hardest reeds were losing something in response and tongueing
ability although they maintained a good sound. I also remember thinking that
they seemed to be working a lot harder than I was to achieve the same
results.

John Roman

   
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