Klarinet Archive - Posting 000110.txt from 2005/11

From: Bill Hausmann <bhausmann1@-----.net>
Subj: RE: [kl] saxophone question
Date: Mon, 07 Nov 2005 20:50:38 -0500

At 10:01 PM 11/6/2005 -0800, KEVIN J FAY wrote:
>Ed Lacy asked for opinions:
>
><<<My usual setup: For classical, an old, old Selmer C* mouthpiece, or a
>newer Vandoren Optimum, with #3 reeds, usually Zonda, but sometimes
>Vandoren. For jazz, either a Rousseau JDX8 or a Berg Larsen 90/0, with
>Rico Royal reeds, #2.5. For both of these mouthpieces, I usually use a
>Harrison gold ligature, but sometimes a Rovner or BG fabric-type
>ligature.
>
>I would be interested to hear if any others on the list have resolved
>this question for themselves.>>>
>
>I'd use the C* with a softer reed - little edgier sound w/o a big increase
>in volume. (You don't want the conductor's palm in your face all night.) I
>like V16 Vandies for commercial work.

The softer reed might close off and be useless on the high notes, and die
if you try for more volume than it can give. A more open facing on the
same type mouthpiece, like a C** or a D, and a softer reed might give more
pitch flexibility, though. The C* and its brethren are very good general
purpose mouthpieces. If you only want one mouthpiece for both classical
AND jazz, they are the ones to get.

>The suggestion of another poster for the "commercial" mouthpieces of the
>'40s is a good one, I think. You can get a Brilhart 5* for about what,
>thirty bucks? Nice sound, easy to control, flexible intonation. They were
>good enough for the likes of Johnny Hodges, Woody Herman and Maceo Parker,
>could work for you.

I have a vintage white Brilhart 3* tenor mouthpiece that plays quite
nicely. They were all the rage back then. Charlie Parker is often
pictured with one.

Bill Hausmann

If you have to mic a saxophone, the rest of the band is TOO LOUD!

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