Klarinet Archive - Posting 000507.txt from 2002/09

From: EClarinet@-----.com
Subj: [kl] Re: question to professional clarinettists on how often they change mouthpieces
Date: Tue, 24 Sep 2002 12:31:12 -0400

In a message dated 9/24/02 3:06:32 AM EST, Kelly writes:

<< HOW OFTEN do you change your PRIMARY mouthpiece(s)?

I did specifically ask for professionals' opinions, but if
students want to answer, please note on the reply that you are a
student so I can get an idea on the frequency of changing
mouthpieces for a student against the frequency of a
professional musician changing mouthpieces.
>>

This is actually a very interesting question, and one I have thought about
often, though not lately. I'm not sure if I qualify as a professional
clarinetist, though, as I make my living teaching clarinet, not playing. I
do play quite a lot, however, in several organizations including wind
ensemble, chamber winds, pit bands, and opera orchestra.

I have found myself changing mouthpieces every several years, but not being
sure why I needed to, except that I was not happy with the response
characteristics of the mouthpieces. I do not tend to choose a mouthpiece for
tone, because I always end up sounding the same on whatever I play eventually.

I started with a Selmer HS* because that's what came with my Selmer 10G that
I got in college (I would hate to tell you what I was playing on in hs!).
Then someone suggested I try a more open mouthpiece, because after 4 years of
the Selmer, I didn't feel like I was making enough sound. The Vandoren B45
was big at that time (1982), so I got a B45dot, and instantly liked how loud
I could play.

The problem with the B45 dot, however, was that I lost control of my
altissimo register and could not play soft dynamics as well, not to mention
the tonguing issues. At first I didn't know it was the mouthpiece....I
assumed I wasn't playing enough or practicing the way I should, or playing
too much sax in jazz bands. This idea was reinforced by the fact that I
needed to use a softer reed with this mouthpiece....I had been using Vandoren
4s and 5s, and had to switch to a 3.5.

I went on like this, being very unhappy and dissatisfied, but not knowing
why, until Tom Ridenour moved to the area, and I was able to benefit from his
very expert advice. I had had no idea that the tip opening helped determine
the reed strength necessary, and that explained a lot. I also got one of
Tom's mouthpieces at this time (1987), and it was wonderful, especially in
combination with his handmade reeds that lasted FOREVER!!! Of course this
mouthpiece was medium closed instead of WIDE OPEN like a B45dot (which I now
use for jazz), and I had to move back up to harder reeds. I also got a
Buffet R13 from Tom.

This state of affairs didn't change until about 5 years later, when Tom had
gone to Wisconsin, and I happened to be working at a music store that sold
Selmer C85 mouthpieces. I had to try them, of course, and I LOVED the big
sound with the excess of lower partials (wink) and started using this
mouthpiece. However, it made me very sharp on my Buffet, and I had to give
it up after about a year.

Now Ricardo Morales was here in Orlando, and he was always coming in and
trying mouthpieces (equipment freak, like he even needs to be!), and he
mentioned that he liked the Eddie Daniels mouthpiece, so of course I had to
try it. I liked it at first, and played on it for several years, but I was
not happy with my articulation on it. I would go back and compare it to my
Ridenour, and I liked the control of the Ridenour but not the size of the
sound. I had also switched to a Leblanc Concerto by now (1992). I tried the
different facings on the Daniels, but neither seemed to help my tonguing. I
had also tried the K10M that came with the Concerto, but it wasn't what I
needed either.

In the meantime, I kept wondering why I was changing mouthpieces as often as
I was....what was going on? Was my playing evolving? Was I more
sensitive--or less- -to what mouthpieces could do? Was I a slacker, and
needing to practice more? I did not know at the time that mouthpieces change
as you play on them, and that they need to be resurfaced.

I happened to run into Tom at the FL all-state convention, and I asked about
mouthpieces again, and he said probably my Ridenour needed to be resurfaced
by now (1997), so I sent it back to him, and he mentioned he had developed
some new mouthpieces, so I tried his standard model.

YES! This was and is the mouthpiece I needed and I have not changed since
then. I haven't even really experimented with others, other than to try them
once so I can tell my students about them. I also keep a spare, ever since
the time in 1999 when I had a recital coming up, and broke my ONE mouthpiece
4 days before the concert---panic time! Tom overnighted me 2 mouthpieces and
said I should always have a backup---Thanks, Tom!

So now I don't go through the changing mouthpiece phase anymore, but I do go
through cycles of harder reed, softer reed, every 12-18 months (it's almost
like clockwork), switching back and forth between 4s and 4.5s V-12s and
Zondas ( I would love to be playing on Ridenours, but Tom's always too busy
to make me some...hint, hint). Not sure why this happens, either, since my
playing load is fairly constant....I've often thought the weather here in FL
might have something to do with it. I do think it has something to do with
how much I play, since this year I have been playing a ton and have needed to
stay on 4.5s. I also monitor how much biting I am doing, trying to make sure
that's not the reason why I have to use harder reeds.

Sorry to go on for so long, but I spent a lot of time thinking about this
subject!

Elise Curran
Orlando, FL

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