 The Clarinet BBoard
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Author: David Stringer
Date: 2002-03-13 23:06
I'm a beginner playing on reeds of the 2 persuasion. I can see how stronger (stiffer?) reeds would be less wild (I squeak once in a while... well, twice in a while), here is what puzzles me: Since I can't get a sound out of a stiffer reed, or maybe I can get a note accompanied by a huge wind-storm sound, what gets stronger on the player that allows the stronger reeds? I know that seasoned players don't bite harder, and surely it can't be a matter of blowing harder, can it? I'm missing something simple, aren't I? And I already know that the answer is "shut up and practice".
David
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Author: David Pegel
Date: 2002-03-13 23:53
Not quite so simple, David; well, yes and no...
I still have a few problems with reed strength. You need to also keep in mind some reed strengths work better with different ligatures and some mouthpeices.
More important than that, however, is opening your throat, using a strong air stream, and keeping a "good" embouchure. If you concentrate on having good tone with stronger reeds, it should help...
It sounds like you're in need of a good private lessons instructor.
I'm sorry I can't be of any more help. I'm sure many of the other members of this BB have much to offer (and correct, if need be...)
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Author: Mark Pinner
Date: 2002-03-14 09:29
The argument is not "hard vs soft" but good sound over bad sound. All clarinets squeak or all clarinet players squeak and it is oft referred to as the only musical instrument that senses fear. There is no testosterone count or penis envy involved in reed hardness. I personally nrver use harder than a LaVoz medium as a traditional jazz player and doubler and really like to use a Vintage 2 or Vandoren classic 2 to record because I can get a "woodier' sound. I have come across a few orchestral players who play even softer. Tone, Flexibility and projection are prime considerations.
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Author: Christoffer
Date: 2002-03-14 11:47
The problem with squeaks has a lot to do with lots of other things than reed strength. If a harder reed than a #2 makes you sound airy or not at all, well, then #2 is probably just fine for you right now. Actually, it IS a matter of blowing harder ... kind of, at least. It's not that you should huff and puff like the big bad wolf, but that you should maintain a concentrated, "determined" airstream which is well supported by you diaphragm. Try to take a sheet of paper, hold it against a wall or window or another vertical surface, and then try to keep it there just by blowing on it ... that's the kind of airstream we're talking about.
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Author: Bob
Date: 2002-03-14 13:01
I have the feeling that a narrower tip opening would help too.
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Author: lizzy
Date: 2002-03-15 00:22
Well while we're on the subject, how DO you know when it's time to move up to a higher strength reed?
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Author: jez
Date: 2002-03-15 12:13
Lizzy,
I think it's a mistake to presume that you should always be moving on to higher strength reeds. After your first learning period you should have established a reed/mouthpiece combination you are comfortable with and, unless you change your mp. or requirements there's no reason to change.
I was using Vandoren 2 1/2 reeds after about 6 months playing and am still doing so 35 years later
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Author: Phil
Date: 2002-03-15 20:11
It's true that a good embrochure will help to use harder reeds. However, good embrochures take time to develop. A good embrochure is determined not only by the position of your lips and throat, but also by the strengh of the lips. The more you play, the stronger the muscles that control your embrochure will get, the stronger reed you can play on. Also, if you want to actively strengthen your embrochure, you can choose a reed that is stiffer and harder to play, but not impossible. Playing it will be difficult at first, but your muscles will eventually strengthen to adjust to the change. The same is true when switching to a better mouthpiece. New reeds (espically stronger ones) will be airy at first, but will have a better sound after they are broken in.
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