 The Clarinet BBoard
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Author: Mark P. Jasuta
Date: 2002-10-29 14:24
I am doing a research project and am interested in which mouthpieces and reed strenghts are used by professional symphonic orchestra players, as well as why they were selected.
Many Thanks
Mark
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Author: Jim S.
Date: 2002-10-29 14:48
You may be interested in an article that appeared in "The Clarinet" magazine in 1975, Vol 2, Number 4. It was by Ralph Strouf and was entitled: "All Fine Clarinetists Use the Same Facing". I have not been able to find and read the article myself, so if anyone out there has it and can give us a precis I would be grateful (Ken?).
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Author: Ken Shaw
Date: 2002-10-29 17:13
Jim -
I have a complete set of The Clarinet. I'll try to look it up tonight. What the writer probably says is that most professionals play a medium facing, and that, whatever the facing, the curve has the same relationship among its sections.
I met Ralph Strouf at the Clarinet Congress in London many years ago, and again at several subsequent festivals. A very nice fellow and a good player.
Best regards.
Ken Shaw
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Author: William
Date: 2002-10-29 21:14
Kaspar (Chicago) #14 with VanDoren V12 3.5 and an Optimum lig (rail insert)
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Author: d dow
Date: 2002-10-30 01:09
I would certainly agree that most (and by that) I mean the majority of players use the same type of resistance in their set in relation to the facing they use. If it is a B40 or even the Kaspar 13 I have found excellent results with the same reed. (A vandoren 3 1/2_)
In fact as far as this concept is concerned I feel it is the character of the reed that decides whether it is correct in relation to the resistance for the individual player-- For example In a recent concert where I did the glissando from the Rhapsody in Blue I found one particularly fine reed which worked excellent on all the mouthpieces I own;
also this reed played straight to double high "C" effortlessly and was used all three nights for the Gershwin solo.
I heard Harold Wright say in a lesson that a reed has to also behave flexibly or resistance will lead to fatigue and faulty intonation...
Sincerely
David D
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Author: jez
Date: 2002-10-30 10:11
My favourite is a mp made by Michael Meyerowitz with a tip opening of 49 thousands of an inch. I also use a Gennusa (I think it says D on it) which has a longer facing and occasionally a Vandoren 5RV lyre. All of these with vandoren regular 2 1/2.
I find that having several to choose from enables me to maximise my reed choice as, if a reed doesn't work too well on one mp. it may well be fine on another.
Let us know the conclusions of your research.
jez
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Author: Ken Shaw
Date: 2002-10-30 14:32
OK. Here's the article by Ralph Strouf. As I suspected, he's talking mainly about the shape of the curve, and second about the length, and not about the tip opening.
The Clarinet, Vol. 2 # 4, August 1975, p. 11
ALL FINE CLARINETISTS USE THE SAME FACING!
By Ralph Strouf
Ralph Strouf was a student of Keith Stein at Michigan State University, where he received a master's degree. He was the founder and director of the National Clarinet Clinic during his several years as a faculty member of the Lamont School of Music of the University of Denver. He is presently an associate Professor at the University of Wyoming, and clarinetist in the Wyoming Woodwind Quintet.
Over ten years of research has provided statistics to prove that this statement is not far from the truth. If you doubt this, ask any expert in the field. Each expert can duplicate any facing you desire, but he also has a favorite facing that almost every clarinetist will eventually settle upon, assuming he is a fine performer who is required to play the most difficult repertoire written for the clarinet.
This article deals only with the facing -- the curve of the rails which provides the space or area in which the reed vibrates. The most striking similarities in mouthpieces of over 95% of all artist-performers are in the length of the facing and the phenomenon of the closely similar measurements in the initial curve. These measurements are taken at three intervals at the base of the facing with a high-quality thickness gauge (.002, .008, and .012). There is almost no deviation in the length of the facing. The least similarity is in the tip opening, which can vary according to the strength of the reed or various individuals' concepts of tone. The first few measurements at the base of the facing do not vary. Almost all commercial mouthpieces have
"hump" at the base of the facing causing a restriction of the heavy, fat part, or heart of the reed. The most important part of the reed's vibration is in the heart. This is the portion of the reed that darkens the tone. When this part of the reed is ringing -- rapid tonguing, extreme high notes, and reed response are not a problem and fitting reeds is much less of a problem. One thousandth too long or too short and you have difficulties. With gauges and measuring devices you can get close, but the final test is the playing test. All good mouthpieces seem to have exactly the same measurements in this area. The time needed to reface a mouthpiece accurately makes this an unprofitable venture. Most experts charge a very reasonable fee for this valuable service.
The first requirement of any mouthpiece is to be certain that the tones come out. Since the ability to tongue can be related to bowing technique on the violin, the importance of a facing that responds becomes paramount. Tongue rapidly on a high double "C". If the mouthpiece doesn't do this, it is lacking somewhere acoustically. Then tongue rapidly in the extreme low register. If it is unresponsive and "tubby" with the same reed that is good in the extreme high register, there is also something wrong. Usually a mouthpiece that will respond under extreme circumstances will have a good basic tone quality. Although tone is important, "all fine clarinetists use the same facing" because the tones come out.
The big drawback with very young people is their inability to fit a reed to the professional mouthpiece. Because of the extra freedom for the heavy part of the reed at the base of the facing, a thinly-cut reed with a long facing is difficult to control. This facing is designed to take a moderately heavy reed and allows it to respond easily.
Most hand-faced mouthpieces are very similar. They start at the same place and have a very slight curve -- almost a straight shot to the tip. This causes them to open suddenly and to keep opening to the tip. Without this sudden opening the reed is easily closed with the slightest pressure. If the facing is too long, the lip cannot get far enough down on the reed to keep from partially closing the. reed. If the facing is too short, the back, or heavy part and heart of the reed cannot vibrate, and you lose the dark quality desirable for good clarinet sound. Another problem in refacing, related to the base of the curve, is in how the curve starts. Because of the straight shot to the tip, there is sometimes a ridge instead of a curve. A ridge causes the mouthpiece to play "stuffy." In the initial refacing it is wise to leave the facing just a hair short and then "polish in" the curve.
The one valid exception to the length of the facing seems to be in mouthpieces of performers using the double-lip embouchure. These mouthpieces have a long facing and a close tip. This type player would have both freedom and control.
Another important factor related to the accuracy in refacing between professionally made mouthpieces and commercial ones is the amount of dip in the table. Professional mouthpieces have very little or no dip. Wood fibers which have been stretched because of the scoop at the tip, caused by the base of the reed settling into the dip of the table, cannot "pop" back to their original position to accommodate rapid articulation. Too much dip destroys the accuracy of the facing and drastically shortens the life of a good reed.
On a brass instrument, the lip, tooth, and jaw structure are directly related to tone production. On clarinet, the tone production is entirely inside the mouth. With the exception of a peculiar bite formation, it is difficult to understand why a person's physiology cannot adjust to whatever is necessary to perform well. It is my belief that if Mr. Abosch, Principal Oboist in the Denver Symphony, would give me his best reed and instrument, with very little help I could get a beautiful sound on the oboe. At the same time, I don't feel that Maynard Ferguson's mouthpiece would help my trumpet playing very much. Before you get too upset, I *do* believe that a good brass mouthpiece is pertinent to a good sound.
These conclusions are based on ten years of measuring over one thousand clarinet mouthpieces. The original measurements came from a mouthpiece owned by Elsa Ludewig-Verdehr. The artist-teacher-performers whose mouthpieces have been measured are too numerous to mention in this article. If you or your students are capable of playing the most difficult of the clarinet repertoire, you are probably already using a mouthpiece with this "hard to find" quality. Although the primary purpose of the original research project was to assist my own students, I would appreciate any responses from the "Clarinet" readers to assist in this project.
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Author: Jim S.
Date: 2002-10-30 20:56
But he doesn't tell what the magic facing length that is so univeral IS. Did that come out in the responses to the article?
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Author: Ken Shaw
Date: 2002-10-31 14:25
Jim -
I think the request for responses was mainly rhetorical. If Ralph Strouf is still alive, you might contact him.
As I read the column, "same facing" refers to the relationship of the various parts of the curve. He specifically says it doesn't refer to the tip opening, and he talks about various lengths, so I don't think that's essential, either. The article is unspecific about measurements, but since facings are applied as much by art as by numbers, it's probably imposible to say more in words.
Best regards.
Ken Shaw
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Author: Vytas
Date: 2002-10-31 15:22
>>>>>>>These measurements are taken at three intervals at the base of the facing with a high-quality thickness gauge (.002, .008, and .012). There is almost no deviation in the length of the facing.<<<<<<<<<
Those are not traditional gouges used by pro mouthpiece makers. Actually, I got the impression that the author doesn't know what he is talking about.
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Author: kiraflorita
Date: 2006-09-18 02:47
The article you mentioned by my father, Ralph Strouf, is available by purchasing a back issue - available via the website and snail mail.
Kira Florita
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Author: kiraflorita
Date: 2006-09-18 02:50
Well, I see I didn't read all the posts before responding. My father did pass away on February 9, 2002.
Kira Florita
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Author: Paul Aviles
Date: 2006-09-18 03:30
Hmmmm,
I spent the better portion of a weekend auditioning a large selection of Greg Smith mouthpieces. The two that played the best for me had entirely different facings!!! According to Greg Smith the internal dimensions of the mouthpieces were different and the facings impossed although very different arrived at a very similar solution for the way that I play.
Bottom line - you just have to try out mouthpieces.
...........Paul Aviles
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