Klarinet Archive - Posting 000781.txt from 2003/05

From: "Resurgere Jones" <resurgereweb@-----.com>
Subj: [kl] B45s and reeds, and mps, oh my.
Date: Thu, 29 May 2003 15:47:35 -0400

<OPINION>

Key word is "for me," regarding the B45. Again, it's a good mouthpiece, just
doesn't *always* work for young players and I've seen enough problems to
grow concerned about how much it's recommended.

I think Walter has, as usual, cut through the philosophical maze and gotten
to the brass tacks -- the mouthpiece and reed is a system. You tinker with
both pieces to get the feel (80%) and sound (20%) you want. There is a
limited range to play with - interestingly, I have two fairly different rigs
for two totally different applications -- close facing with stiffer reed for
chamber/orchestra; open facing/light reed for dance band. Both get me what I
want when I want it.

I do think, harkening back to what Bill H. said a long time ago -- "Aha! You
guys who buy the stiff reeds just *whittle 'em down!*" Or words to that
effect. Some people who buy 3.5 and stronger reeds do so consciously because
they enjoy adjusting reeds and want a little extra strength to work with.
Some people adjust reeds a lot because they buy stronger ones than their
mouthpiece (and embouchure) can handle. In the latter case, they are
possibly buying into some "macho" ideal of "real clarinet players play on
strong reeds." I do hear that last position being extolled a lot, either
overtly or covertly, to wit:

-- absolute beginner students whose band directors tell them they must be on
a #3 reed or higher (same band directors who sometimes dictate mouthpiece
choices).

-- people who sit around in a band or orchestra practice constantly trying
another reed because they're unhappy with the last 12 they just tried. Could
it be that if you can't find but 2 reeds in a box of 10 that play good,
either the brand is wrong for you and your mouthpiece or you need a
different strength?

</OPINION>

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