Klarinet Archive - Posting 000246.txt from 2000/01

From: Don Longacre <nw2v@-----.com>
Subj: [kl] Re: Jazz Mouthpieces
Date: Sat, 8 Jan 2000 11:01:14 -0500

Sheldon Sper writes:

>>What is a good mouthpiece for modern jazz?.

As Dan Leeson points out, we try to assemble attributes to mouthpiece
design that are consistently replicatable and stand alone as characteristic
criteria of mouthpiece architecture without mitigation by brand of clarinet
it is played upon, reed/ligature configuration or whatever. To this end,
it can be said the trade-offs in the jazz mouthpiece are essentially loss
of control as the tip opening becomes larger but the sound becomes bigger.
Conversely, staying with tip opening as a single parameter, a more closed
tip distance gives better focus, intonation, closer 12ths and better
articulation with less volume output (unless amplified). If we could
imagine a hypothetical mouthpiece with all other design factors the same
but would allow one to change tip openings to range say, from .037"to
.057" we could readily hear this characteristic transition. In short,
there is no free lunch whereby one can have articulation and intonation
with the so-called big sound of the open tip.

The paragons of clarinet jazz, all had their approaches. Benny went
through a few boxes of reeds at a sitting, discarding (tossed on the
floor as one biographer put it) those reeds which didn't suit him.
I don't believe he fooled around too much with reed balancing, break-in
and all that jazz. Yet, he stayed in the middle of the road with
his mouthpiece choices. Shaw commonly used Brilharts in the 40s
but changed barrels frequently depending on the piece being played.
His altissimo was in good tune (listen to the last long cadenza in
his Concerto for Clarinet and the final high C six spaces above the
staff). In my view, those who want to use mp with extreme tip
openings like the Vandoren 5JB or the J. Pierce must have the chops
and the ear to go with it. Imagine the tonality of the sax section
in Miller's "Moonlight Serenade" with the clarinet lead melody line
not quite in tune with the tenor sax that is doubling the melody
line. But here its not a fight for volume, just a nice quiet blend
of reeds with the clarinet staying perfectly in pitch. Today, to
metaphorically have one's cake in the best of both worlds, is to
use a relatively close tip and local amplification a la Eddie Daniels'
with mic pickup on his horn. His virtuosity in C.P.E. Bach's
Solfeggietto/Metamorphosis is articulate,clean,focused and incredible.
If played with an ultra open tip mouthpiece it would all mush together.
I want to stress that the above is only my viewpoint and hopefully
is confined to tip opening only as a factor in the jazz mouthpiece.

Don Longacre

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