Author: Fuzzy
Date: 2017-05-04 23:42
Great discussion, viewpoints, and ideas on this thread!
To me, the decision on reeds/mouthpiece/rig setup all comes down to the desired sound - a sound which is specific to the player, the group, and the style being sought. I think this bulletin board leans to the classical side (and justly so - since there is such a vast wealth of top-tier classical players and technicians who frequent the board...and the fact that our schools - at least in the US - mostly restrict clarinet education to classical music).
However, for possible future guests to the board, I offer the following "other" sounds made possible by different reed/mouthpiece combinations.
For example:
Here's Sándor Benkó: Petite Fleur
Here's Louis Cottrell In The Sweet Bye and Bye (By the middle of the tune, his sound comes out.)
I don't think he could get that sound playing a #5 reed.
Then there's Tim Laughlin: Alice Blue Gown playing Pete Fountain's old horn.
Evan Christopher is another that I'm not certain of reed strength, but that I wouldn't be surprised to find using a soft reed (this video is professionally created by Jazz at the Lincoln Center's JAZZ ACADEMY and is a great introduction to learning jazz on the clarinet): Evan Christopher
Of course there's always the unique clarinet styling of Michael Magro with the Loose Marbles too: Michael Magro
The clarinet is awesome because it is so versatile. Exciting because it can be voiced so uniquely - without having to use mutes and such. That's why I stick with the concept of: figure out which sound you're shooting for - then find the reed/mouthpiece/rig combination that achieves that for you. Picking the right reed is an individual decision, and not as simple as being a formula in which: reed make/model/strength + mouthpiece + clarinet = exactly the same result. There's a small part called "individuality" that makes the latter formula incorrect every time.
(Yes, many of these clips show other-than-boehm clarinets too).
Cheers!
Fuzzy
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