 The Clarinet BBoard
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Author: travelingclarinetist
Date: 2011-02-05 00:37
Opinions appreciated.*****UPDATE_LINKS PROVIDED IN POST BELOW*****
Four examples: F major, G major, C major scales (not all the most even, I know that)
Please rank in order of what you think is the best and please give specifics (as in tone was best, clear, round, etc.). Thanks for your help!
All were done with the same lig, same barrel, same reed.
Post Edited (2011-02-05 02:47)
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Author: pewd
Date: 2011-02-05 01:00
euh? what?
were you trying to attach sound clips for us to listen to?
- Paul Dods
Dallas, Texas
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Author: mihalis
Date: 2011-02-05 06:21
To my opinion #4 was my prefered sound.
Was dark, round, and even.
Mike.
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Author: Ed Palanker
Date: 2011-02-05 14:16
I don't really like any of them, not enough focus in the tone, also known as "center" but if I had to choose one it would be #4 too. Try it with a slightly stronger reed and more breath support behind the air, perhaps a slightly firmer embouchure too as you go higher. ESP http://eddiesclarinet.com
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Author: NBeaty
Date: 2011-02-05 14:25
No. 1 was the best to me. It had the most focus and clarity of sound. Others sounded varying degrees of open or flat (some pitch, some tone).
Generally, I get the feeling that you're going for a sound that's "dark" and "flat". I think what you're losing is clarity, focus, and density to the sound (therefore, projection, pitch, etc.). Just from these short excerpts it seems like a combination of a low tongue position and an "aaaahhhhh" open position of the oral cavity.
Hats off to you for posting actual recordings though, most people on here would rather trash than back it up with what they can do!
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Author: Paul Aviles
Date: 2011-02-05 15:21
Ok, the overall sounds are similar, HOWEVER, it seems your initial attack is cleanest and your highest notes are in tunest (is that a word?) with number three.
Running scales (in my opinion) tell you next to NOTHING about a mouthpiece. The trial should be all about starting notes (staccato), the FEEL of the mouthpiece (are you dead after five minutes, did you REALLY enjoy those five minutes, etc), and skips of a third or more (particularly octaves and twelfths).
For me, a mouthpiece trial sounds more like a noodle session. Once I'm happy (that's number one on the list), then I start listening to quick staccato response in all octaves and INTONATION (actually this is NOT my first consideration for mouthpieces or clarinets but it HAS to be the very NEXT thing after joy).
After the purely technical considerations, then try your top excerpts for the music test (Mendelssohn scherzo, Beethoven 6, Beethoven 8, Respighi Pines.....for example).
But ARTICULATION is the big factor for mouthpieces
try that again
....................Paul Aviles
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Author: salzo
Date: 2011-02-06 02:15
I liked one and four, one probably better. Especially noticed one being better on the hindemith.
M13?
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Author: Katrina
Date: 2011-02-06 03:19
I think I like #4 better all around. I liked 3 & 4 equally on the Tchaik, but definitely 4 on the Hindemith.
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Author: NBeaty
Date: 2011-02-06 03:48
"darker" or "flatter" are not needed. While you should play in tune, you shouldn't become TONALLY flat and DIFFUSE in the pursuit of playing at pitch.
4 is much less resonant and interesting than 1. I don't think any of your tone issues are completely equipment related. I do think that if you start looking for equipment to make your pitch level lower, you're going into dangerous territory.
I have met very few clarinetists who really need help to make their sound more diffuse, dark, or mellow. You can never have too much focus, clarity, resonance, and projection. You can very easily have too much darkness, wideness, and flatness in the sound\pitch.
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Author: travelingclarinetist
Date: 2011-02-06 04:43
Thank you all so very much. I know I am not "there yet" with the sound or technical abilities that I aspire to-but I am still aspiring nonetheless. Just for the record, here are the listings:
First recordings w/ V12 3.5 reed. Second set w/ V12 3.5+
All recordings with Bay, silver plated, inverted ligature
1. Gennusa GE* (an older one-maybe 10-12 years old)
2. Backun Orchestra
3. M30, 88 prof
4. Charles Bay m/m (also an older one, not sure of year)
I want to have that awe inspiring sound of round, full, and beautiful tones. I dream and try, I dream and try....:)
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Author: NBeaty
Date: 2011-02-06 14:34
That list of mouthpiece makes sense. The Gennusa is the only one with a reasonable efficient facing (not too open). Stick with the 3.5 on that mouthpiece and lig and you should be fine.
Long tones, technique practice, and listening to other players who have a sound that you like will do more for your sound than anything else. Practicing fundamentals every day will be the most beneficial thing you can do.
(On the note of making sound darker and flatter): There's a reason why most everyone looks good in tuxedos and covered formal wear with the lights dim. It's no surprise that we don't assume that someone looking good in formal wear in a dimly lit room is anything special or impressive, because it isn't.
Don't think about clarinet sound as hiding in the darkness, hoping that if you remove enough of the "brightness" people will only hear an awesome sound. Chances are they won't be able to hear anything at all in a hall.
Always explore the difference between shrillness (edge...not desirable) and bright parts of the sound (projects and creates a fullness of sound).
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Author: sonicbang
Date: 2011-02-07 23:08
I think this whole brightness vs darkness thing is overestimated and actually irrelevant.
All clarinettist have a natural sound and if somebody tries to part with it, it won't give any benefitial. The aim is to develop the natural voice while playing with a maximum resonance equipement (mouthpiece>reed>ligature) to help it.
In other words: play on what is comfortable, and the rest will come with practise, practise and common sense.
Mark
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Author: hinotehud ★2017
Date: 2011-02-08 02:38
To my ear, I like #3 the best especially on the low notes in the Hindemith.
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Author: DAVE
Date: 2011-02-09 01:29
Others have touched on this quite well, but to me it's not an issue of which mouthpiece but of your tonal concept. To me you sound about the same on each mouthpiece. The sound is spread and unfocused. Articulation is labored and not delicate.
If you were my student I would have you on a medium mouthpiece and insist on your focusing the tone by raising the tongue and blowing faster, cooler air. To you the sound will seem overly bright, but to the rest of us the sound will be crystal clear and ringing. With your tongue now in the correct position, your articulation would now be the focus with a stress on lightness, i.e. tip 2 tip.
AFTER all this is well set, then you can experiment with different sounds made by the different facings and reed combinations. Over the years I have played very close and short mouthpieces like Hawkins to very long and open like the M30. I like everything and can play any of them. My sound is sometimes dark and sometimes bright depending on the day, the piece, or the set up. BUT, no matter what I'm playing, my tone is focused and clear and my articulation is delicate.
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Author: Ursa
Date: 2011-02-09 02:46
I vote for number 1. The Hindemith trial sealed the deal for me. There was a certain interesting sparkle to the tone and an easy precision with the articulation that the others lacked. It sounded as if this MP was less work for you to play well than with the others.
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