Klarinet Archive - Posting 000733.txt from 1999/11
From: Richard Bush <rbushidioglot@-----.net>
Subj: Re: [kl] wide dynamic range
Date: Thu, 18 Nov 1999 14:33:23 -0500
Dear James,
It is with some trepidation that I take a stab at this, after all, you're the
prof. What is your set up? You didn't mention what mouthpiece, what kind of
reeds or what strength, or what kind of an instrument you toot on.
I don't know if I'm the norm or the exception. I suspect the latter. I use a
Ralph Morgan 06, which has a tip opening of .006". He also makes a 10 and a 15.
I have been told by Mr. Morgan that the 15 is by far the most popular in his
line. Also, the 06 I play on is probably his least sold mouthpiece. What can I
say? I tried it, liked it and have been playing on it for several years now.
Actually, I love this mouthpiece. I feel like I'm driving a 500 horse power
Ferrari. I use medium strength reeds, probably about what Mitchell Lurie 4's
would be. Don't really know though, because my reeds are very different after
I've sanded and burnished the back side, balanced them and maybe even clipped
them. By the way, Stanley Drucker is playing on Ralph Morgan's 06. Of course he
uses VERY hard reeds. We all know he can stand up to most trombone sections and
flatten their ears with his volume.
Many factors work together. Mouthpiece facing is just one element. Having said
that, more open mouthpieces can play louder, but the tone spreads. They get
fuzzy around the edges when pushed to extreme dynamic ranges. Same holds true
with saxophone mouthpieces.
Having a very efficient mouthpiece is important when one pushes for volume.
Ralph's mouthpieces have flat tables. There is no area on the table that is
concave. As near as I know, his facings are also symmetrical. The other half of
the equation is having the back side of the reed flat. A long break in period
with sanding and burnishing is required to finally get a reed flat and keep a
good seal, not only on the table, but also up the side rails to the point where
the tip starts to open.
Reed strength does effect volume. I go to harder reeds if I need to punch out a
lot of sound. Chamber music or small ensemble playing puts me back on softer
stuff. If I know I'm going to be playing lead clarinet in a Miller style band, I
look for something in my collection that is pretty stiff. I won't be playing it
all the time all night, so I can endure. If the Messiah is the gig, I throttle
back quite a bit. Even a large sized offering of this doesn't require really
loud playing.
Efficiency is also in other places than just the mouthpiece and reed. Some
players do their best to keep the reed from vibrating. Too stiff of reeds, too
much squeeze, too tight of a throat and not enough air will really shut the
sound down. Hard reeds are good up to a point. That point depends upon the
mouthpiece, how hard the player is willing to work and how well practiced the
player is. I know that when I do a long running show and gradually build the
chops back up to where they should be (sorry confession), I end up using reeds
about a strength and a half harder than when I started.
Now, as I look back over what I've written, I probably haven't said a damn
thing.
If you're not playing on a premo mouthpiece, you should give some a try. Fobes,
Payne, Morgan come quickly to mind. Check out some that are on this news group.
Mr. Grabner has thrown his hat in the ring. Check out his stuff. He's also
selling a book on reed making and reed adjustment. If you don't do a lot of
messing around with reeds, maybe you can help yourself to a bigger sound by
getting good at balancing and adjusting reeds.
Now, the real clarinet players can step forward and help this man. Good luck.
James Sclater wrote:
> Recently several events have brought home the fact that with my current
> mouthpiece/reed set-up, I am not able to play as loudly as I need to at
> times. I would be very interested in hearing views on what makes playing
> a wide spectrum of dynamics possible. How much does the opening of the
> mouthpiece and reed strength have to do with it? How much does the
> shape of the oral cavity have to do with it?
> Thanks in advance for your responses.
>
> Jim Sclater
>
> James Sclater
> Professor of Music
> Mississippi College
>
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