 The Clarinet BBoard
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Author: charles
Date: 2001-02-08 03:17
Somewhere I read that jazz clarinetists such as Artie shaw, Barney Bigard, Jimmy hamilton favor wide open mouthpieces with a #1 or #1i/2 reed in order to get a thick tone in the upper register. How correct is this information? I play a R13 Buffet with a Mitchell Lurie mouthpiece and #4 Mitchell Lurie reed and get a beautiful rich tone exceot in the upper register where I sound thin. what is the problem. A Vandoren B45 and a Selmer * did not help.
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Author: Bob Sparkman
Date: 2001-02-08 09:55
Your presumption is about on the mark. You should also try a Vandoren 5JB. Kenny Davern uses one if you want to hear what can be done with it.
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Author: Mark Pinner
Date: 2001-02-10 09:59
Most jazz clarinettists prefer flexibility over a wide range so a soft reed is normally used. It takes a while to get used to playing on a soft reed but the woody sound and extra volume can be used to advantage even in legit playing. The sound that the audience hears is more important than the sound from behind the instrument. Remember also that many jazz players are also doubling saxophone and require quick response from the clarinet.
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Author: Fred
Date: 2001-02-10 14:35
Also remember that jazz clarinetists have a few things going in their favor. First, they're usually advanced musicians that have a developed ear and can adjust pitch to play with their ensemble. Second, they are not trying to blend with a larger group of clarinets (like in a band) where intonation is so critical. Third, whatever intonation issues arise as a result of a wide open mp and soft reed can be mitigated by adjusting (as mentioned above) and vibrato.
I have a 5RV and a 5JB. Call me skit . schk . . . schitz0 . . . a two-personality kind of player.
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Author: Mark Charette
Date: 2001-02-10 19:19
Fred wrote:
> Third, whatever intonation issues
> arise as a result of a wide open mp and soft reed can be
> mitigated by adjusting (as mentioned above) and vibrato.
Argh! Get the intonation down and <b>then</b> use vibrato! I played jazz bass (and guitar) for years - there's no way I'd use vibrato to cover up an intonation probem in my guitar! I had to stretch or do some work on the frets or change the string or whatever was necessary to play in tune - my bandmates would have shot me (figuatively) if I used a vibrato to cover up my (and my equipment's) inadequecies!
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Author: jbutler
Date: 2001-02-11 00:28
I used to do a lot of Dixieland playing and had my own combo for awhile. It was easier for me to find a sax player than a clarinet player for the group. That's how I wound up playing more clarinet than sax even thoughthe sax was my major in college. I use a wide mouthpiece but never have used a soft reed. I've always had a strong embouchre and can't get by with anything less than a 3 and most of the time use 5's that I've scraped down to where they are playable. I guess it's what works for you that dictates what you play. I don't think I could ever play a 1 or 1.5 reed even for Dixie or Jazz. It may have worked for Artie and Jimmy but not me....and I'm not sure about Jimmy. It seems to me that he used a LeBlanc clarinet, a Woodwind Co mouthpiece and a 2.5 Rico reed. I could be wrong about that but that is what sticks in my brain. I believe that is what Claude Humber told me once, but I don't know where he got his information unless he did some mouthpiece work for him.
As far as the thin tone in the upper register, make sure you are taking enough mouthpiece in. Play your open G and keep put more mouthpiece in your mouth repeating the process until you "squeak", then back off just a little and that is where your placement should be. Play your upper register with this placement and see if your notes aren't a little fuller sounding.
John
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Author: Fred
Date: 2001-02-11 02:53
You're right, Mark, about not using vibrato for a crutch. But remember that before I mentioned vibrato, I prefaced the remark by saying that we had an advanced player with a good ear that can listen and adjust for intonation issues. From that starting point, the intonation challenges that a 5JB presents can be handled, and the style of playing is just the last part of the equation. But thanks . . . I wouldn't want that misconception to be spread because I wasn't clear enough in my statements.
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