 The Clarinet BBoard
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Author: Matt74
Date: 2015-09-18 21:03
I'm playing in a community band. The group dynamics vary from f to fff. I sit in front of the trumpets, who only play FFFF. At times I literally cannot hear myself playing (I'm not timid). I've been working on creating maximum resonance with my embouchure, etc. I'm going to try harder reeds.
Are there any cheap, close faced, mouthpieces that are really LOUD?
Are there other things to do? I imagine that some orchestras are really loud, and a soloist has to cut through that. Exercises?
- Matthew Simington
Post Edited (2015-09-18 21:03)
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Author: kdk
Date: 2015-09-18 21:35
FWIW, my own opinion is that, if you're not a soloist in the texture, you shouldn't try to keep up with fff trumpets. It's a hopeless goal and you'll do damage to your playing in the attempt. I personally would be inclined to just stop blowing air into my clarinet if I'm doubling a really loud trumpet part and save my energy for when my part means more. Short of that, I think your best reaction is to play normally with whatever your best fortissimo is. Just accept that your sound, conflated with all the other clarinets (and other instruments) playing the same part will make whatever composite timbre the composer/arranger had in mind. If the trumpets are too dominant, its the conductor's job to balance them.
It's different if you have a solo part and are being drowned out by trumpets or someone else. Although you can probably find louder mouthpieces within the close-tipped realm, you may get more penetration for solos from reeds that are very vibrant, which may not even imply harder reeds, just ones that vibrate more freely. Sometimes harder reeds, because they're stiffer and vibrate less freely, may make this problem worse. You may need more vibration, not more resistance to it. IMO there's a difference between projection *through* a texture - presence is one word to describe it - and volume. They aren't the same.
Karl
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Author: Ursa
Date: 2015-09-18 22:23
The Brilhart Ebolin with 2 facing is cheap, close faced, and can keep up with the most obnoxious trumpet section. I've been there and done that.
They do wear out faster than an ebonite mouthpiece--you'll need a new one every few years.
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Author: pewd
Date: 2015-09-18 23:13
I don't thing harder reeds, a different mouthpiece, and learning to blast out nasty sounds as loud as possible is a solution. Why teach yourself to destroy your musicality?
My solution in such situations has always been to find another ensemble to play in.
Trumpets only have 2 volume settings - on or off...
- Paul Dods
Dallas, Texas
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Author: Matt74
Date: 2015-09-19 03:58
"Trumpets only have two volume settings - on and off..."
Words of wisdom.
- Matthew Simington
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Author: Ursa
Date: 2015-09-19 13:23
Quote:
A trumpet player that has one dynamic, FFF, is a rank amateur.
Absolutely correct. The trumpet can be played at soft dynamics and still maintain its characteristic, exciting tone. Anyone who can't needs more practice and/or a more efficient mouthpiece. Anyone who won't is, well, not much of a musician.
Unfortunately, conductors of many community bands I've been a part of simply abhor the prospect of the audience thinking that the trumpet section is in any way wimpy. As a result, the blasting continues, unabated, and sometimes even encouraged.
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Author: Bennett ★2017
Date: 2015-09-19 20:56
Whatever you do about your playing, as earlier suggested get earplugs to preserve your hearing. You are risking permanent damage to your ears without them.
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Author: cyclopathic
Date: 2015-09-19 21:49
Beechler? does the trick on alto. That if you can get used to it.
cheep Graftonites in A5/B5 are pretty loud, but they are not exactly close faced. I think they are slightly more open than B45. Now there will be at least 1/2 dozen posts saying how bad Graftonites are.
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Author: Ursa
Date: 2015-09-19 23:31
Regarding the Graftonite, I have an A3--fairly close facing and the A chamber is the smallest and claimed to have the best projection. The Brilhart Ebolin and Tonalin generate much more volume than the A3.
Alexander Superial reeds used on a Brilhart can generate truly shocking levels of clarinet sound--and since one will not need to play at a 100% fortissimo to keep up with the trumpets, there's room to back off the volume, carefully shape the sound, and play with finesse.
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Author: Ursa
Date: 2015-09-19 23:46
Cyclopathic mentioned the B45 in passing above. I think it's worth mentioning that I've had success in Big Band settings using the B45 and Alexander Superial reeds in ensembles with overmanned trumpet sections.
While not exactly cheap, the B45 can get the job done if you've got the air support to make it work. There won't be any quibbles about tone quality, either.
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Author: Gregory Williams
Date: 2015-09-20 03:39
If the people above don't talk you out of it, you want a Wells...not that closed though. You'll be the loudest and possibly sharpest, and in a band like you describe, it's better to be sharp than out of tune, anyway.
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Author: Mirko996
Date: 2015-09-21 00:19
I think that:
But not take at all i say, it will depened what you prefer.
Take in consideration you and not the trumpet, because I think they should play so loud, you need or a open the mouthpiece ( I use in this period pomarico one star but other are different, Tony Scott, if you know who's he used vandoren 5jb and in my opinion is more better than vandoren 7jb and it could be very open but it's not convinient, you can do thousand F but is not the same like pomarico, is close respect of 7jb but the sound is incredible and you can reach quietly B7-C8) I don't think you take a close mouthpiece and you can do "più che fortissimo" notes; more are used to change the intonation.
Changing reed probably you can change the sound but be careful because soft reed take you a strong notes but not beautiful (listen for example Giora Feidman, he uses pomarico very close and very soft reeds equal 1, for him genre is perfect and for the material of mouthpiece because crystal take a different behaviour than abs or other material, you have to use soft reeds, but I use strong reeds and open mouthpiece because I think is very ideal for jazz and other else, I like pianissimo and dark notes but when I want I can play fortissimo [...])
My suggest is try a lot of mouthpiece especially pomarico, oversea there's other but I never tried. Brilhart are very beautiful, in particular the old model tonaline, especially for jazz because are very open and used by Tony Scott or Artie Shaw, saxophonist like Charlie Parker and the creator, brilhart loves him mouthpiece, good luck and I hope you will find your ideal mouthpiece.
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Author: cyclopathic
Date: 2015-09-23 03:17
Ursa wrote:
> Regarding the Graftonite, I have an A3--fairly close facing and the A
> chamber is the smallest and claimed to have the best projection. The
> Brilhart Ebolin and Tonalin generate much more volume than the A3.
#3 facings do not work well on Graftonites very quiet comparing to #5. #4 would have been best choice, if they made one.
With respect to projection A is the darkest and C is the brightest:
"Tone Chamber Style (A, B, or C): The tone chamber of a mouthpiece is the inside area of the mouthpiece. The size and shape of the tone chamber will change the tone quality of the instrument. With the Rico Royal mouthpieces, an "A" tone chamber will give a dark sound which is best suited for concert work, a "B" tone chamber will give a little more brilliance (better for using with most bands), and a "C" tone chamber will give a lot more brilliance and edge".
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Author: Dibbs
Date: 2015-09-23 12:52
I realise it isn't a practical solution, but I reckon my B&H 1010 is about 6dB louder than my R13 regardless of mouthpiece.
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