Klarinet Archive - Posting 000804.txt from 2001/01
From: "ikebders" <ikebders@-----.com>
Subj: RE: [kl] Mouthpieces, signature sounds.
Date: Wed, 24 Jan 2001 18:00:28 -0500
Clark,
I have recently come across a second-hand mouthpiece with your name on it.
The number on it is T 1039-0M*. Can you give me any idea of it's value? So
far I like it very well but do not want to pay more than it is worth.
Thanks
-----Original Message-----
From: Clark W Fobes [mailto:reedman@-----.com]
Subject: [kl] Mouthpieces, signature sounds.
I have been following the discussion on mouthpieces in a rather desultory
fashion, but it has been interesting to read the variety of perceptions that
we all have regarding mouthpieces and the production of tone.
First of all, I must agree with Roger about mass produced and non hand
finished mouthpieces. Standards in this industry are at an all time low.
One wonders how some makers remain in business except that the public (us!)
have come to accept and pay a lot for not just mediocrity, but downright
shoddy workmanship. Some of these makers are a plague on clarinet playing,
in my opinion. Those of you out there with delicate sensibilities, please
not that i have not mentioned any names.
On to tone production.
When players come to my house and try my mouthpieces I am no longer
surprised at the fact that they generally sound the same on every
mouthpiece. One mouthpiece may be slightly brighter or darker or more
focused than the next, but the general character of the individual is
present in every instance. This supports the idea that players whose tones
we would like to emulate (Wright, Marcellus, Morales etc.) are generally
inimitable by merely using the same equipment. I cannot argue, however that
mouthpieces by specific makers have signature qualities. If I did not
believe that I would not be in this business!
I believe that good players (good musicians) have a firm mental concept of
sound that
they try to reproduce when playing. We all also have different physiologies
that influence our sound. A good mouthpiece is the one that fits an
individual's physiology and will facilitate his/her production of the mental
concept of sound. My concept of sound has changed somewhat over time. This
is due to my exposure over the years to many good clarinet sounds and
particularly to my exposure to Opera. I have always felt that I should have
been a singer (except that my singing voice is rather unexceptional!) so I
try to achieve a vocal qulaity in the way I play. My favorite clarinet
model is Harold Wright and my favorite vocal model is Anna Moffo. From that
you can probably determine that I like to hear some overtones in the sound.
Therefore, I produce a mouthpiece that, in most of its variations,
facilitates a beautiful vocal quality. (Hopefully!)
So even though I believe it is impossible to imitate the sound of another
clarinetist, I do believe that a specific maker may have qualities in his
mouthpiece that will facilitate the production of a quality in tone that may
be different from other makers.
But general tone color is only one quality in a mouthpiece. A really great
mouthpiece allows the artist to become one with the production of MUSIC .
This can only come from excellent intonation, good response, resonance in
all dynamics and the ability to use a variety of colors in the sound. You
know you have a really good mouthpiece when you have forgotten that you are
playing a clarinet and your energy is focused on making music.
Clark W Fobes
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