 The Clarinet BBoard
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Author: Chalumeau Joe
Date: 2005-10-30 05:50
Sherman Friedland (whose articles and perspectives I greatly enjoy and generally consider to be the "definitive word" on most clarinet issues) highly praised the "Richard Hawkins" mouthpiece, stating that he may even have "...the best clarinet mouthpiece available today."
What are your experiences with this mouthpiece? I'm currently using a VD45 and had my heart set on a Gennusa Excellente. I'd appreciate any insights as to how these two fine MPs compare?
Thanks you,
JC
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Author: Ed
Date: 2005-10-30 13:09
Both are fine mouthpieces. Honestly, there are SO many good mouthpieces available today, and only YOU can find what is best for you. I don't think I could even begin to make an exhaustive list of all the fine mouthpieces available today. For every one, you will find that someone thinks it is the best. The only way to know is to try and see. Good luck...
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Author: susieray
Date: 2005-10-30 15:11
In trying out mouthpieces, it is likely you will come across several
that you like. Since there are so many fine mouthpieces out
there, it is really not difficult to find a good one. The problem would
be in deciding which one to get, since you will probably like
more than one!
Sue ![[happy]](http://test.woodwind.org/clarinet/BBoard/smileys/smiley12.gif)
Post Edited (2005-10-31 01:48)
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Author: William
Date: 2005-10-30 15:47
Richard Hawkins mpcs are as good as any on the "custom" market today--Smith, Pyne, Bay, Grabner and all the rest. But the "bottom line" is that the "best" mouthpiece of all is THE ONE that plays "best" for you. I have a Hawkins custom mpc that plays nicely, but I much prefer my old Chicago Kaspar #14, probably because I've used it (and a Bay custom with the same facing) for many years and have just gotten used to it.
Daniel Bonade probably was right, concerning the great mouthpiece search: "Load all of your mouthpieces into a rowboat, go out into the middle of the lake, put on a blindfold, select one, throw the rest overboard--and then take that (selected) mouthpiece home and learn how to play it".
Bernard Portnoy--another legendary clarinetist and mouthpiece maker--told me at a convention in Chicago: "It doesnt really matter whose mouthpiece you play, after two weeks, you will revert to your own particular sound anyhow". However, the "right" mouthpiece for you will make it easier for you to sound like you want to. Good luck in your search--and let use know whose mpc you decide is best. We'll probably all rush out and buy one.........LOL
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Author: sherman
Date: 2005-10-30 15:55
Hi to all and to Joe Chalumeau:
I have played both the VD 45, I assume perhaps you mean the B45, and I have a "Gennusa Excellente", and of the two I would suggest that I have found my particular ones of that name to be completely different. The Gennusa is a dark timbred mouthpiece and the 45 the opposite, but those words don't serve to quantify what is after all non-quantifiable. I like the Gennusa and have great respect for the playing of I. Gennusa who was the Principal in Baltimore for many years. I know him through my dear friend Tom Kenny, who was principal horn in that orchestra briefly and played in a quintet with "Iggy" as Tom called him fondly. They traveled from gig-to-gig in a hearse and I am convulsed each time I think of a woodwind quintet traveliing in a hearse.
Tom sent me a live recording of the Brahms 3rd with Gennusa playing and it was very impressive. Mouthpieces however are less impressive than people who lend their names, for instance, I have tried, Combs, Marcellus, and all the rest of that rash that first appeared in the 70s and was not that impressive with any, however my Gennusa is another story.
Just for information, I have 10 students at the Crane School, a large MUS.ED institution in Potsdam (SUNY-POTSDAM) and of them, most play M13, which is a little bright, and/or B45, and one person plays a Hawkins, one of the newer facing. He is an extremely personable fellow and will answer your emails and can be found on the Web, through Google. He teaches at Oberlin. He will also reface your mouthpiece for 49, which he did for me on a Mitchell Lurie Premium, making it better, but not a great cup of tea.
In any even, many thanks for your input and compliment. I am going to be performing the Quartet for The End of Time on February 25 at Crane, and who knows. maybe you can make it. Would love to meet you. Best of regards to you and all clarinetists everywhere.
sherman http://clarinet.cc
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Author: sherman
Date: 2005-10-30 16:04
In reply to Mr. Portnoys comment of playing with ones own sound on any mouthpiece. That is one hundred percent true.
Another anecdot if you will: I mnet and spoke one afternoon many years past with David Glazer, himself a legend and we traded and tried each others mouthpiece. At the time I was playing aSelmer "S", a bright mouthpiece ("bright enough to peel paint" as a friend once said) and he was playing a metal insert Chedeville, very dark and rather thick, at least in my memory. Within 5 minutes, with traded mouthpieces, we were playing with our own particular sounds, shocking to me at the time. I have heard the same thing from many players.I know one thing, if you are changing , the new mouthpiece will immediately play better than the one from which you are coming. Perhaps that can be a"rule of thumb"
However, Beware! trying mouthpiece is not great for your health and may cause untold agony, headache, upset stomach, and feelings of insignicance.
all the best, sherman http://clarinet.cc
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Author: Joe B
Date: 2005-10-30 18:42
I own two Richard Hawkins model 'B' mouthpieces. They are both very fine pieces but play like they were made by two different people. One plays on the bright side, the other does not. Most mouthpiece craftsmen will probably admit no two mouthpieces will play exactly the same. You have to try several and see what works best for you. I finally settled on a Gregory Smith with a '1' facing and that seems to work best for me but may not be the best for someone else. It's all in what you're looking for and what plays best for YOU.
Joe
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Author: Chalumeau Joe
Date: 2005-10-30 20:15
Thank you all, and especially to Prof. Friedland, for the advice.
I liked the quote from Daniel Bonade. Now...can anyone recommend a good rowboat?
Kind regards to all,
JC
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Author: D Dow
Date: 2005-10-31 13:29
A few students of mine have Hawkins mouthpieces and sound particularly fine on them...that being said one must also remember there are no two mouthpieces that play the same and it is certainly best to or play on one mouthpiece and use it for all playing settings.
I also feel that a fine player can adjust their respective technique to such a degree as to sound pretty much the same on any mouthpiece facing! It all depends on how finely honed one's technique is...
There is also a great danger in thinking the mouthpiece is going to do everything for you....one must naturally develop an embouchure through years of careful practice. Orchestral players also realize the inherent faults in the intonation of certain notes and adjust pitch...finding a mouthpiece that works this way greatly factors into what one plays on! You may expect alot from a mouthpiece but one must expect alot from oneself too!
In regards to technique many mouthpieces may sound great yet are lacking in the desired flexibility prerequisite to long concerts and hours of work....resistant set ups tend to play sharp if one is not careful as well!
I studied with David Glazer one summer in the early 80s and remember him being extremely intelligent in regards to technique and reeds. He also told students to practice scales daily as a natural part of making music. He was also very thoughtful and extremely fine teacher. His Brahms Quintet is among my very favorite performances of this work...
David Dow
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Author: sfalexi
Date: 2005-11-01 00:59
Chalemaue Joe,
Are you (I'm guessing based on your IP address next to the name) in Maryland?
If so, I think it's probably definitely worth taking one Saturday/Sunday or whatever day you have off, and visiting the makers of Gennusa mouthpieces. They are also in that same state. By the size of Maryland, they can't be more than a few hours drive from wherever you are.
I would say visit them, and try out what they have. I believe from the contributions that Mr. Redwine has put into this board and other things that I've read about him that he won't have (or at least not display) a negative attitude if you simply don't find the 'right one' there. But for the opportunity to try out whatever stock they have, as well as speak with them and explain what you're looking for or might be comfortable with, I would think it's worth quick trip.
At the very least, you'd rule out one possibility and now know to move on. And at best, you'll find a perfect match and will set yourself to playing THAT mouthpiece instead of constantly searching for a better one.
Alexi
US Army Japan Band
Post Edited (2005-11-01 01:04)
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Author: redwine
Date: 2005-11-01 09:34
Hello,
Thanks for the interest in the Gennusa mouthpiece.
I love to have clarinetists over to the shop just south of Annapolis, MD. Customization is the only way to go.
I also wholeheartedly agree that one mouthpiece is not for everyone, you will sound like yourself regardless of what you play (within reason, of course), and every clarinetist should try as many mouthpieces as possible before coming to a conclusion as to what to play. I recommend finding a mouthpiece that feels good to you.
Mr. Friedland, I am trying to juggle my schedule to make it up for your Messiaen performance. I already heard about it from Mr. Huba. It would be an honor to meet you--I just hope I can make it after all.
Ben Redwine, DMA
owner, RJ Music Group
Assistant Professor, The Catholic University of America
Selmer Paris artist
www.rjmusicgroup.com
www.redwinejazz.com
www.reedwizard.com
Post Edited (2005-11-01 09:42)
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Author: Grabnerwg
Date: 2005-11-01 20:20
Guys, here is the skinny.
Yes, Hawkins makes some great mouthpieces.
So does Ben.
So does Clark Fobes.
SO does Brad Behn. ETC.
But the thing is, all clarinetists are different. We all have different needs, we all have different strengths, we all have different dificiences.
I for example, have always been challenged by fast tonguing passages. I need mouthpieces optimized for fast response.
What might be a great mouthpiece for me could be a turkey for, say Ben for example, he would have a totally different set of requirements.
The mouthpieces search will never be a simplistic product search, because as Ben says above, tailoring is the thing.
The best thing to do is find a good mouthpiece maker/technician and have him/her make up mouthpieces that work for you. Not a product off the shelf. That's where the real difference comes in.
One of the smartest thing I ever did was spend a full day with Elmer Aiello, who years ago, was the mouthpiece guru for Leblanc. (He was the father of the Larry Combs mouthpiece, for example.) I was playing a lot of Bb/A, bass AND Eb which involved a lot of quick switching back and forth - and I was having problems adjusting quickly.
He made up a set of mouthpieces for me - two Bb/A, two bass, one Eb. They all had a similar "bite" and response. It made my job - utility clarinet in the Toledo SYmphony - SO MUCH EASIER.
I no longer use those mouthpieces - technology has moved on. But I never lost sight of the concept.
Walter Grabner
www.clarinetxpress.com
Custom mouthpiece refacing and voicing
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Author: Chalumeau Joe
Date: 2005-11-01 22:16
Ben,
I hadn't realized that popping over to your place to try some MPs was an option! That's terrific! I'm in Ellicott City, so Annapolis is practically around the corner.
Looking forward to meeting you,
Joe
[Please keep the personal messages personal by emailing each other. Mark C.]
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Author: redwine
Date: 2005-11-02 00:21
Hello Joe,
My answer to you has been deleted. If you would like to contact me, I guess you'll have to do it at my e-mail address below.
Ben Redwine, DMA
owner, RJ Music Group
Assistant Professor, The Catholic University of America
Selmer Paris artist
www.rjmusicgroup.com
www.redwinejazz.com
www.reedwizard.com
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Author: sherman
Date: 2005-11-02 21:06
Everybody has a different mouthpiece and they can play differently and do, but just for conversation and information, I have 10 students at the Crane School of Music. Of the 10, one plays a Hawkins, (the recent facing) and she is very happy.
Several play M13 Van Doren and they are satisfied
One plays VD 5RV, good as well
One plays VD B45, and he is unhappy.
One plays Selmer HS* and he is the most comfortable with his mouthpiece.
One has ordered a VD 5RV and is un happy with her current mouthpiece.
Incidentally, all play Buffet, save for one who has a lovely Leblanc Opus II,and another who has a new Yamaha 450. Of these, the Opus stays best im adjustment, the Buffet worst, and one has had the Buffet Accident Waiting To Happen. The left hand little finger keys are connected with plastic dowelson all recent Buffets. All other clarinets have either metal or they have a fulcrum wherein one piece of metal pushes up another which opens the pad, or allows it to close.. The Buffet can and do break and that will leave you in tiger country, as my student had to have the horn sent out for repair. The others do not fail for the connections are well made.
It is a wonder that these young people pay 3000 for a clarinet wherein important connections are made of cheap breakable material.
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