 The Clarinet BBoard
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Author: julceyyxd
Date: 2012-10-21 21:15
My little brother 11, and he wants to start playing clarinet. Instead of having him go to lessons right away, I am going to start teaching him the basics and then we will move on from there.
The only problem is that I don't know what strength reeds to start him on. I remember starting on Rico 1.5 reeds, but it seems that people usually start on Rico 2s or 2.5s and stick with them for a year before moving on to 3s and such. Suggestions?
Post Edited (2012-10-21 21:18)
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Author: tictactux ★2017
Date: 2012-10-21 21:40
Give him a Mitchell Lurie #2 and look how things evolve (if you believe in evolution, that is).
--
Ben
Post Edited (2012-10-22 08:07)
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Author: DrewSorensenMusic
Date: 2012-10-21 21:47
Haha, Ben, that was quite funny to me.
I second Mitchell Lurie #2 or #2.5. They are quite good and not pricey.
Drew S.
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Author: davyd
Date: 2012-10-22 03:56
Perhaps what should be considered is whether OP's brother's playing shows evidence of intelligent design?
Speaking of design: should the reed strength be at least partly dependant on which mouthpiece the lad is using? Or is such a level of detail unnecessary for a beginner?
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Author: squeaky
Date: 2012-10-22 19:47
Still like Michele Lurie # 2.5 to # 3 strength after starting as a novice clarinet player. These reads seem to work with 3 to 4 mouthpieces I like. Mouthpiece does matter.
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Author: gwie
Date: 2012-10-23 04:40
Make sure he has a semi-decent mouthpiece!
I'll also chime in on the recommendation for Rico Mitchell Lurie reeds (regular, box of 10). They've worked very well for the kids, and sound a whole lot better than the orange box or royales. At ~$12-$13/box they're pretty easy on the wallet.
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Author: pewd
Date: 2012-10-23 04:59
The question can not be answered without knowing what mouthpiece will be used.
FWIW, i start beginners on a Fobes Debut mouthpiece, and vandoren traditional cut #2.5's (one box). After that box is done, almost all move to 3.0's.
- Paul Dods
Dallas, Texas
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Author: DrewSorensenMusic
Date: 2012-10-23 11:24
Paul, what you seem to be indicating is that, if you know what mouthpiece someone has, you know exactly what reeds will suit them best. I believe this is just absurd, as every's mechanics and external/internal structure are completely different. This is why there are so many different reed types available. I think for a beginner, the main factors in the purchase would be price and consistency. They would really have no concept of tone and response at this point.
To be fair, I think a Fobes Debut is a good choice. I believe a beginner mouthpiece should have close tip opening and a shorter facing without effecting pitch. This should give the student the best chance of achieving consistent pitch and response. (In theory)
Drew S.
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Author: LJBraaten
Date: 2012-10-23 15:26
I started my 8 year old granddaughter on some orange box Ricos I have laying around, #2, then 2.5. I play tested all of them first. She is using a hite premier mouthpiece. I was surprised when she picked up my clarinet with a vandoren 5 RV lyre and #3 mitchell lurie, and played it without any difficulty. But I have had number 3 reeds that have been more difficult to play, especially the grand concert select traditional, that I don't think she would be able to play.
Laurie
Laurie (he/him)
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Author: Ed
Date: 2012-10-23 15:48
While there may be differences in players, Paul's idea is a good one. If the students have a consistent set up, then there is a good starting point. One can make assessments based on the player and not about the equipment. As a student progresses, it would be easy to make personalized equipment suggestions.
It would be no different than the fact that most beginner trumpet players will start on a 7C. It provides a nice solid place to start.
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Author: clariniano
Date: 2012-10-23 21:44
For beginners, I like the Fobes Debut mouthpiece (have tried others, keep coming back to this one for the beginners) with the Legere Student Strength reed, usually 2 1/2, but sometimes 2 if they can't handle the 2 1/2.
Meri
Please check out my website at: http://donmillsmusicstudio.weebly.com and my blog at: http://clariniano.wordpress.com
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Author: Donald Casadonte
Date: 2012-10-25 16:15
<i>Paul, what you seem to be indicating is that, if you know what mouthpiece someone has, you know exactly what reeds will suit them best. I believe this is just absurd, as every's mechanics and external/internal structure are completely different. This is why there are so many different reed types available.</i>
Actually, he is very close to correct. The mouthpiece internal flow structure gives the exact modulus distribution and shape for a reed to maintain a longitudinal (i. e. optimal) vibrational pattern. In theory, bite pressure is not that important, as there is a threshold pressure necessary. Beyond that pressure, the pitch will go up a few cents because of density increase from the lip.
As little kids start out, they have smaller lungs, smaller mouths, and smaller bite pressure. These things suggest a less open lay and weaker reeds to start with, but once the mouthpiece is chosen, there is, in theory, a best reed to go with it. Since no one has yet figured out how to reliably measure the flow field inside a mouthpiece, reeds are cut empirically and there is a Darwinian selection process to that so that, over time, the approximate right reed shapes have survived. In 1785, a flat-board reed shape was optimal because there was almost no slope inside the mouthpiece giving a uniform quasi-2d flow field.
The fact is, there are not "so many" different reed types. There are, basically, only two: simple wedge and compound wedge. The simple wedge, like Rico brand, are, essentially, a modified wedge with a linear rise gradient. The Rico Royals have a thicker back which acts to offset bending, thus keeping the reed motion more purely longitudinal. The compound shape can be visualized as two stacked, staggered wedges, where wedge 1 starts at the tip and wedge 2 starts a few millimeters before the heart. Vandoreen is representative of this type.
The biggest different between reeds is in the material (distribution of lignin, strength of parenchymal matrix, etc.), which can be changed by different growing and harvesting conditions, and the asymmetry of the wedges from side-to-side. Usually, in the compound wedge cuts, one side of the wedge is thicker than the other to offset the rotational portion of the mouthpiece flow field tensor.
Donald Casadonte
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