 The Clarinet BBoard
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Author: Mirko996
Date: 2015-11-05 01:47
Hi, to be honest, i've always wondered what were actually the advantages for a open mouthpiece for jazz (a part make fortissimo notes).
I'm using a very long time the mouthpiece of C.Pomarico in cristal and i fell good, but unfortunately i'm forced to change a soft reeds, and if i try different reeds or more streght notes become more strenuous, but the lower altissimo and altissimo register to a7 is very good in different clarinet, but, how more say, are imprecisous.
I tried different reeds and i think i can change reeds when I need to be quickly or only do altissimo and brilant notes.
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Author: Liquorice
Date: 2015-11-05 02:30
I'm not a jazz expert, but I think that more open mouthpieces allow the player to create a wider range of tone colours. The tone colours produced by the typical symphony player are fairly limited, favouring a round, full and focussed sound. Jazz players (to my ears) can use everything from a breathy whisper to a raucous wail- sounds which wouldn't be acceptable in the normal interpretation of a Mozart symphony. The majority of classical players would gravitate towards a more closed mouthpiece that makes it easier to produce stable intonation, light articulation and homogenous sound in all registers and dynamics. Of course there are exceptions.
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Author: Caroline Smale
Date: 2015-11-05 03:59
I think that the wider lay tends to offer greater flexibilty of pitch and tone and of course pitch bending is much more typical of jazz than classical styles.
Not that you can't do it with closer lays but it is easier with the wider ones.
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Author: Mirko996
Date: 2015-11-05 13:27
Ah, a different color (loud notes, blues notes, vibrato, and glissato is more easy )
And the thing of intonation people says me it change completely.
Thank you, you help so much, do you prefer more close, close, medium, open or very open?
(Only to know, e.g. I prefer medium-open because very open like vandoren 7JB or Jody Jazz >7 are very hard to manipulate and intonation change particularly, I'm not fanatic of the perfect intonation because I use a open mouthpiece but I don't appreciate a note very out of tune, if little bit out for me there's problem, and cristall is very interesant material)
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Author: Ed
Date: 2015-11-05 16:47
At the same time, adapting one's playing style and approach, choosing different reeds can give much greater flexibility with a close facing mouthpiece. There are jazz players who use that style of mouthpiece with great results.
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Author: Mirko996
Date: 2015-11-05 20:10
Ed, Yeah, i'm continuously change reeds, ligature and i realized that in some case is better I use strong reeds for have fortissimo in lower altissimo to altissimo register and change some position because it creates some armonics problem (
for example G6 when i have strong reeds i use this position because the commonly position it create a armonic for B6/B flat 6
x o o o o o
I use marca vintage stregth 3
when i have soft reeds i use a commonly position
o x o x x o
because the reeds it's so softly that is more easy, for example in Mitchel Lurie 2,5)
in softly reeds is very hard read D7 or F#7 or A7, with strong reeds isn't.
But to be onest, if i should improvvisate, i prefer use soft reeds because lower altissimo and altissimo I don't like so much, the position change and present a break-up to clarion register and Lower altissimo. After time i tried different position and costantly exercise i'm able to do C major scale to reach C7 and third scales and some triads precisously (in velocity) but eventually it becomes boring and mostly frustating, and i leave the instrument for some day, not because i mistake, because i don't want to play anymore.
Post Edited (2015-11-05 20:14)
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