 The Clarinet BBoard
|
Author: maxcoletti
Date: 2012-08-23 13:36
Dear forum members,
Thank you and many compliments for this excellent forum. I have been reading it for a while and learned a great deal from you. This is my first post :-)
My clarinet journey started about a year and a half ago (after 30+ years of classical guitar). I was initially drawn to the ethnic style of clarinet (balkan, greek, oriental) and was advised to use a Vandoren 5JB mouthpiece both on my Bb Boehm Buffet R13 and my G Albert Hammerschmidt. Thanks to my classically trained teacher I began enjoying and appreciating western classical clarinet as well (I'm currently working my way through the 1st Rose etude).
My question: is a 5JB mouthpiece + Vandoren #2.5 V12 reed appropriate for western classical clarinet? According to my teacher I have a nice, full and strong tone (for a beginner of course), but he has no experience with this mouthpiece. I read somewhere that the late Jack Brymer used a 5JB. Is that a fact?
Thanks,
-- Massimo
Post Edited (2012-08-23 13:37)
|
|
Reply To Message
|
|
Author: Chris P
Date: 2012-08-23 13:56
If it works for you, then by all means use it. If it's what you're used to, then there's no need to change it - some players play on wide facing mouthpieces and the Peter Eaton ones are around 1.26mm at the tip.
I don't think Jack Brymer played a Vandoren 5JB as he played B&H 1010s and most likely played a B&H mouthpiece or maybe something similar that went with the 1010 bore.
Talking saxes here, I use my metal Lawton 7*BB alto mouthpiece for orchestral playing as I prefer that over a Selmer S90 180 or S80 C**/D as that's what I'm used to playing.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
|
|
Reply To Message
|
|
Author: Chris P
Date: 2012-08-24 13:55
It's about control - if you're able to play the staccatos, all the dynamics, diminuendos, etc. and have no problems with tuning or intonation and can do that in a controlled manner that suits wjat you're playing with your particular set-up, then stick with it.
If you're struggling with the ease of the altissimo register, a closer facing mouthpiece will make things much easier (such as a 5RV Lyre or similar), but see how you get on with the 5JB which is designed for use with softer reeds.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
|
|
Reply To Message
|
|
Author: maxcoletti
Date: 2012-08-24 18:59
Well, yes, I am struggling with altissimo, and also a bit with staccato. I'm glad you mentioned that. However I don't know if the altissimo struggle is just because my embouchure isn't strong enough yet. Currently my highest note is G6. From D#6 upwards the notes are sometimes flat by 10 or 15 cents, especially when my lip is tired, but most of the time they are OK.
The thing is, I do like the power and flexibility of the 5JB. I wish to play klezmer and other ethnic music as well. The only other mouthpiece I tried is a Vandoren B45 which I didn't like at all.
So if it is technically and artistically possible to play classical repertoire with the 5JB, I'm more than willing to work extra hard and go through the initial frustration of a difficult staccato, altissimo etc. That's why I was looking for classical players that use a 5JB. Do you know any?
-- Massimo
Post Edited (2012-08-24 19:03)
|
|
Reply To Message
|
|
Author: Ed Palanker
Date: 2012-08-24 19:07
It makes no difference what mouthpiece you use if you get a good focused, in tune tone and you can articulate comfortably.. As you get more experienced you will most likely change mouthpieces several times as your concept and comfort level changes. I changed about 4-5 time while in my days in college as I grew and developed. Even in my professional life, 50 years now, I've changed mouthpieces several times. The last time 21 years ago.
ESP eddiesclarinet.com
|
|
Reply To Message
|
|
Author: Chris P
Date: 2012-08-24 19:19
I don't know any classical players that use a 5JB - the widest mouthpiece I do know that is in use by classical and orchestral players are the Peter Eaton ones which are 1.26mm and I think Andrew Marriner plays a B45 Lyre which again is fairly wide, but nowhere near as wide as a 5JB.
The good thing with the 5RV Lyre is it does tend play on the sharp side, so you can back off to bring the pitch down, so that may be something to consider - get a 5RV Lyre for classical (as well as harder reeds which it will need as it has a close tip opening) and use the 5JB for Kletzmer and Balkan folk music.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
|
|
Reply To Message
|
|
Author: maxcoletti
Date: 2012-08-25 09:21
Thanks, Ed and Chris, for your good advice. I'll test a 5RV Lyre (or similar) + a harder reed at the music store, on my R13 clarinet.
|
|
Reply To Message
|
|
Author: martind
Date: 2012-08-27 02:02
Massimo, I also own and play this mouthpiece only in the jazz and
pop styles using a softer reed 2-2/12 which produces a rathter large tone.
My tone quality has a brightness or edge that fits the jazz style and especially the dixieland style. I could never use this mouthpiece for
for legit or classical playing.
Martin
|
|
Reply To Message
|
|
Author: maxcoletti
Date: 2012-08-27 10:12
Hi Martin,
I agree about the loudness and "bright edge" of the 5JB. I'm wondering though about not being able to use it in legit classical playing: is it because actual technical difficulties (e.g. dynamic control, crisp staccato etc...) or due to a conventional, accepted, aesthetic style/fashion?
-- Massimo
|
|
Reply To Message
|
|
Author: Klarnetisto
Date: 2012-10-05 15:04
When I tested a big batch of mouthpieces years ago, I was playing regularly in a Balkan/Middle Eastern folk band. So the Vandoren 5JB was my final choice: it allowed for vibrato, pitch-bending and quarter tones far more easily than any other mouthpiece, aall with excellent tone and overall response. It has served me very well ever since.
As I recall the Vandoren B45 came across as a more contained version of a similar sound: it could be forced to do the pitch bending, but clearly wasn't happy about it at all! It would have been my choice if I weren't doing any folkloric playing.
I have used the 5JB quite a bit for classical playing and found that it poses no problems at all: it simply makes a big, bold sound, but one that's still easily controlled, and producing a clear, centered, in-tune classical tone requires no special effort at all. I don't have to worry about sounding like a folk or jazz clarinetist when I play with classical musicians! I just have the option of a bigger dynamic if I need it.
Klarnetisto
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
