 The Clarinet BBoard
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Author: beejay
Date: 2002-07-11 17:29
I'm curious to know if anyone uses a jazz mouthpiece to play classical music. I have an old Otto Link 5 star, which I think sounds great for contemporary classical stuff, and wanted to kow if this is considered completely heretical
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Author: larry
Date: 2002-07-11 17:38
the webmaster will be impounding your keyboard shortly
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Author: David Spiegelthal
Date: 2002-07-11 17:56
You will be locked into a small padded cell and forced to listen to (alternately) Kenny G and Acker Bilk recordings until your brain turns into oatmeal.
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Author: Mark Charette
Date: 2002-07-11 18:02
larry wrote:
>
> the webmaster will be impounding your keyboard
> shortly
Nope. The Webmaster ain't an equipment junkie and doesn't really care who uses what when they're playing.
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Author: Fred
Date: 2002-07-11 18:08
The nice part is being able to change notes without moving any fingers . . .
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Author: David Spiegelthal
Date: 2002-07-11 18:19
The bad part is changing notes without moving any fingers......Might be OK in Gershwin, but it don't work so good in Brahms......
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Author: Kat
Date: 2002-07-11 19:10
"Equipment junkie." I like that one, Mark....
Another term I've heard used around here...rather much more derogatorily, though, is "gear slut." 
Katrina
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Author: Don Berger
Date: 2002-07-11 19:25
Another Vunderbahr thread/posts. My suggestion [dont sue me if you get fired!!] , play as "straight" with "dark" tone as you can, no funny stuff! For Pete's sake, dont brag [or even show the mp to the others] , maybe they wont notice!! Don
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Author: Todd W.
Date: 2002-07-11 20:23
beejay --
Here's a serious answer (just for a change of pace in this thread): Yes, it would be heresy to some traditionalists. However, I believe it's William who often quotes/paraphrases Duke Ellington -- "If it sounds good, it is good." So, if the setup you are using sounds good to you -- and your conductor -- then, heresy or no, it's right for you. Besides, some contemporary classical music has some pretty heretical sounds written into the score.
Todd W.
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Author: ken
Date: 2002-07-11 22:53
Beejay, on the whole, I'd say clar mpcs made for a specific idiom should be used in the idiom it was designed for. However, there's always varying scenarios/exceptions...the usual, individual preference, skill, experience, solo, section and ensemble needs. Professionally speaking, Otto Links are reputed as "cigar cutters" and over the top used in most any classical setting. But the "if it works for you" rule should always apply. If you've become comfortable/truly proficient on it such as: the pc tonally "blends" with the section/ensemble, you can control it, it doesn't control you...that is instantaneously able to change to the desired tone color from one style or even note the next AND maintain that control/color without spreading/losing your pitch center.
Myself and by necessity I play on a Pomarico Ruby as I routinely swap back and forth between classical, Broadway, trad and swing and jazz (I also keep the same barrel accept for the A). I attain a better functional balance using a more open jazz pc for classical than a classical closed pc like a CF or Bourbeck (predominantly a larger dynamic range and pinpoint articulation. However, I'm NO example to follow or the norm by any means, I've just been doing it over 20 years and my full-time gig requires me to "wear all the hats".
Also, if you're an advanced player and already developed a solid/fundamental embouchure and set, feel free to continue and experiment with pcs, slowly, methodically, I recommend small increments of tip/facings at a time. But if you play at a beginner/intermediate level I'd be careful honking one on of those wide-open, buzz saws, I’ve seen many a fine player screw-up their chops after months and/or years of blowing on them. v/r
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Author: Mark Pinner
Date: 2002-07-13 10:13
I get away with using a Selmer C85 120 for both military band and jazz/ swing playing as well as the little theatre work that I accept. I have never had much success at an orchestral sound though so be careful if you are playing predominantly in that setting.
On saxes I use the same mouthpiece on each horn for everything soprano and alto Meyer 5 & 6 respectively and a metal Berg Larsen 115/1 M. I just use different reeds for the different jobs. I find that I keep both Vandoren and Lavoz reeds on hand, even on clarinet. Ken seems to be on a similar wavelength.
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