Author: DrewSorensenMusic
Date: 2013-02-10 01:18
Attachment: Clarinet Mouthpiece.png (62k)
@ Notes II and others who would like clarification on mouthpiece part definitions:
The above was a little confusing, and I just want to make sure we all have the same definition for the specific parts of the mouthpiece. I have attached a picture that labels the specific areas. My only problem with the diagram is what they label the "facing" and "window".
The window is the hole created in between the tip, the side rails (or just call them rails), and the start of the table.
The facing is the curve from the tip to the table.
The table is labeled correctly, but I would not consider it part of the facing.
Two portions of the mouthpiece alluded to above are the beak and the facing curve.
Clarinet mouthpiece beaks come in 3 different types as far as I am aware, traditional, profile 88, and duckbill. The traditional beak is a straight line from the tip to the top of the mouthpiece, opposite the table. Profile 88s from Vandoren are a longer beak, but still a straight line as far as I am aware. The duckbill beak is curved like a duck's bill or like a saxophone mouthpiece. The beaks will affect how you hold the mouthpiece in your mouth. Play what is most comfortable to you.
The facing curve provides room for the reed to vibrate. They are labeled in general terms short (16mm or shorter), medium (17mm), and long (18mm or longer). As a generality, longer facinging curves accentuate the lower overtones, are more flexible concerning pitch, and are more difficult to play in the high register. Short facinging curves accentuate the upper partials, are more stable concerning pitch, and are easier to play in the high register. I would recommend playing a long facing on a clarinet mouthpiece. This would be equal to the Chedeville Mouthpieces many makers model their mouthpieces after.
About Vandoren. While many players rely on Vandoren products, they are still a mass production company, a process prone to mistakes. This is especially true in their reed products, which vary considerably. If you are having a problem, it is a good idea to check with a professional to see if it is you or a mistake by maker that is the cause.
You are correct about the most important factor in choosing a mouthpiece. You must be able to play it in tune. Now, intonation between ensembles varies considerably, so you may have to handle each situation with different effects (barrel length, reed strength, etc...), but nobody wants to play with someone who cannot play on pitch. Tone is subjective and secondary.
Drew
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