 The Clarinet BBoard
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Author: Michael Kincaid
Date: 2000-08-01 11:48
Whew! Mark, thanks for the "Whoops" post--I thought I was having
really vivid dreams last night when I saw that my post was gone this morning! (I'm already concerned about my memory)
I play on a Selmer C85 105 mouthpiece and I use a #2
Vandoran reed. My teacher wants me to move up to a stronger reed because I have developed a squeak and play really flat in the altissimo. She plays on an original Kaspar and is not familiar
with Selmer mouthpieces. I have tried to push on to the
2 1/2 but even that seems like a big jump for me, and
I'm having trouble making a clear, clean sound--I really like the tone of the #2 better.
I have heard mention here about mouthpieces/facings and reed combinations. Is the C85 105 a good mouthpiece for
a stronger reed? Maybe it is just that my embouchure hasn't developed enough yet--I've been playing for about 10 months.
Thanks for you help. Michael
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Author: larry
Date: 2000-08-02 17:54
I play a Selmer C85-105 with Vandoren 3.5 reeds. I recently switched to this combination after playing many years with a Vandoren B46 (open) mouthpiece and 3.0 reeds. I'm still experimenting with the c85-105 and sometimes feel like I need an even stronger (4.0?) reed. This may have more to do with the inconsistencies inherent in a box of reeds.
Generally speaking, though, the c85-105 is a closed tip, medium facing mouthpiece, which allows for stronger strength reeds. I think you should try experimenting with stronger reeds - you might find the sound more focused, controlled and flexible. High notes might sound more securely. Staccato may be crisper. If you're still comfortable with the softer reeds after experimenting for a while, then stick with them. But give the stronger reeds a good tryout (maybe a month).
I'm not sure about the chirping though. I have lately found myself to be overblowing (to A) on the altissimo E, especially when slurring up from clarion G. It doesn't happen always, and I'm not sure if it's me, the mouthpiece or the instrument (perhaps a leaky pad?). Still working on it.
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Author: Michael Kincaid
Date: 2000-08-03 01:54
Thanks for the info. Larry. I'm going to increase
my reed strength a little a time and see how it goes.
I haven't had time to familiarize myself with the
terms, facings, open and closed mouthpiece etc.--I have some
reading to do. Michael
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Author: larry
Date: 2000-08-03 15:29
There's been alot of discussion and confusion about mouthpiece terms. As I understand it, "tip opening" means the distance between the tip of the mouthpiece and the tip of the reed. Hence, an bigger tip opening would necessitate a relatively softer, more flexible reed (to be able to vibrate the longer distance); a closed tip opening would allow for a less flexible, stronger reed because the reed has less distance to travel during vibration. There are different advantages and disadvantages to closed and open tips, depending on the player, instrument, type of music.
And alot depends on the relationship of tip opening to facing. I think the facing refers to the distance and shape of the curve of the part of the mouthpiece that comes in contact with the reed. A short facing is an abrupt curve; a long facing is a more gradual curve. These also have an effect on tone production and articulation, and the facing/tip opening relationship is important in deciding what kind of reed you use.
There are many many (probably too many) combinations of tip openings and facings. And then there are variations in the inside (chamber) of the mouthpiece that need to be considered, etc. etc.
I haven't yet figured this stuff out myself. Best thing to do is experiment with a variety of mouthpiece/reed combinations over many years, but don't get obsessed with it. When you find something you like, stick with it for a while. Good Luck!
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