 The Clarinet BBoard
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Author: stan shipley
Date: 2002-07-01 21:35
I am a novice player aspiring to be a decent swing/dixieland
jazz clarinet player. On advice from a Dixieland clarinetist
I have been using a B45 mouthpiece and recently am trying a 5JB.
As far as reeds, I have been using LaVoz (med and med hard) and Lurie #3. Would I get better tone (other than improving myself)
using stronger reeds (like 4 to 5).......or is there no correlation between reed strength and tone ?
PS: I know I may not be able even to blow these without getting
much better.
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Author: Jack Kissinger
Date: 2002-07-01 23:06
There is a common misconception that the better the player the heavier the reed. Reeds have to be matched to the mouthpiece and the player's embouchure and heavier does not necessarily mean better. The general rule of thumb is, the more open the mouthpiece tip and the shorter the facing, the softer the reed you will likely need. Within reason, I think that heavier reeds may (at least seem to) provide better tone because they have less flexibility which makes them easier to control.
However, for the style of music you want to play, you want the mouthpiece reed combination to be resistant enough to allow you to hit the high notes yet flexible enough to let you bend notes and slide and lip slur, etc. I think most jazz players will tell you that the combination that works best in general is an open to very open mouthpiece, perhaps with a medium long to long facing and a soft reed. The B45 has, according to Vandoren a "medium open" tip with a medium long facing. Vandoren recommends a reed in the range of their regular 2.5 - 3.5. That probably translates roughly to a range of 3 - 4 in the Mitchell Lurie or Medium Hard to Hard in the LaVoz. For someone developing (and indeed for some developed jazz players), this combination may work very well. If you try to use too hard a reed, however, your sound will lose focus (become "airy" sounding)and you won't have much flexibility.
The 5JB carries this theory to the next level. Vandoren describes it as an open tip (and IMHO, it is significantly more open than even the B45) with a long facing and recommends a very soft reed -- 1.5 - 2 -- even for the best players. Different players will have different preferences but, the theory is that because the 5JB mouthpiece provides so much resistance, the reed doesn't need to. It can be soft to allow flexibility. But you probably will have to work hard to develop the ability to control your tone with this combination and you may not have developed your embouchure enough yet to be able to handle it. Using a hard reed with this mouthpiece will defeat its purpose (and probably lead to a hole in your lip).
My guess is that others will elaborate further and provide more recommendations.
Best regards,
jnk
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Author: JackOrion
Date: 2002-07-02 00:54
I'm using a M13 with blue box #4. The long face give me the flex and the stiff reed gives me control. I can bend all over the place with this combo, yet get a good focused tone when I need to. I think the key is the long face.
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Author: Don Berger
Date: 2002-07-02 13:39
Both Jacks say it very well, Jack K's fine discussion represents my long-time cl playing experience [from German band, Dixie, combos, big band, musicals and symphony], all "semi-pro" tho. I have a number of "playable" mps [moderately long and open] for both Bb and bass [and sax] and pick, choose and adjust the reeds to my liking for what I will play [high, medium, low]. Lately I have gone to LaVoz med's for Bb and with a good reed trimmer [have 4, Bb, alto and tenor sax], clip/harden them to my liking. I like to polish the reed backs, particularly for bass , using fine emery cloth [sandpaper]. I'm glad that J K mentioned the "usual early student misconception" that you are better if you play very hard reeds. It just aint true!! I run into it frequently via making minor repairs and talking with the "newbies", and sure wish those who teach would give "reasonable" advice. Nuff said, I guess. Luck, Don
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Author: William
Date: 2002-07-02 15:43
All great advice. I would simply add that my own experiance is that the more playing I do--and the stronger my embouchure becomes--I tend to be able get more sound out of softer, more responsive reeds, than having to rely on the inheriant strength of a stronger reed for "the sound." With incresed embouchure strength, and breath control, I tend to use more of a double lip embouchure (more upper lip support than conventional) and am able to get more flexability from my reeds as a result. This works best with a longer lay mouthpiece. BTW, I play (professionally) both classical and jazz gigs on essentialy the same mpc/reed set up. Different mpcs, but both with longer lays. Remember, also, that your "sound" really begins in your mind with what you perceive a "good" sound to be. Look for the "right" mouthpiece, but also listen for the right sounds. Good luck--being able to play jazz well is a rare and wonderful gift.
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Author: stan shipley
Date: 2002-07-02 20:07
Thank You All..... for your insightful advice to a novice
player.......it gave me a lot to think about.
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Author: Brenda
Date: 2002-07-03 13:49
Stan,
A reed that's too hard for you may actually cause undue strain to your jaw and neck muscles. If you're getting a stuffy and 'airy' sound, it's too hard. Soften it yourself, or buy a half-strength softer. But there's another component of this discussion to consider.
The LaVoz, Lurie, and Rico reeds are all physically shorter than other reeds. You will find quite a difference in the sound when you use a longer reed. I've purchased many kinds and have kept them. One day out of curiosity I lined them up beside each other and discovered a big difference! I'm saving them to use for display in an upcoming reed clinic.
The Vandoren and Zonda reeds are longer, so there's more substance there to vibrate, thus a larger sound for a softer reed. Actually the Zonda's are slightly, but visibly, wider as well, giving even more reed for your buck, and I like the fullness of the sound even better than the Vandoren V12s.
When I went back to the Rico Royal and the Lurie (just because the music store was out of the other) I quickly discovered a thin sound, quite awful to my ear; never again!. Try out a few of these longer reeds, buying a strength that's comparable or softer than in your usual brand. See what you think.
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Author: Bob
Date: 2002-07-03 17:02
I tried some Marca reeds recently on a friend's recommendation and was pleasantly surprised.
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Author: Mark Pinner
Date: 2002-07-04 11:48
Use LaVoz medium or medium soft and accept the slightly buzzy tone they give you. The projection is great to the back of the room. I use them a bit on both sax and clarinet. Try vandoren v12 they give a cleaner sound than lavoz and almost as much projection.
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Author: Doug Vogl
Date: 2002-07-04 22:33
Check out Jerry Reed's fine article: "Stuffed Bells" in the LeBlanc give-away publication for musical educators, I forget the name, WINTER,2001 edition. The key here is having the right mouthpiece for YOU, and having the correct embrouchure. His suggested exercise in articulating overtones with the stuffed bell can make a teriffic improvement in your tone and articulation in all registers. THEN, when you find the right mouthpiece, you should probably never need over a 3 1/2 strength reed. When the set-up's right, the reed will blow freely.
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