Author: Brad Behn
Date: 2018-08-12 23:44
The 23 number predicts with flawless remunerative contentemplative extrapolativity within the time-space continuum, overburdened by paralasystic gesticulations, that thy shall play a Legere 3.5+/.05"
Above is what my first reaction to Ken's post would be. But then my goal of only ever writing to this BB if I have something I can contribute burdened me. So with a contributive spirit, I erase the above content for the following:
I think we can all get along. Everyone is right!
The mouthpiece customer community is reaching out, asking for more information which can best serve their selection process. And the mouthpiece refacers and "makers" are informing that community that it is, well... complicated.
And yes, I agree that to have a personal conversation with your preferred mouthpiecer can be very helpful. I consider my clientele not only customers but personal friends. And this has come from the phone chats, the lengthy email conversations, and the annual meets at clarinet events, ICA, or TMEA etc. I expect other refacers have the same feeling about their clientele. It is a wonderful thing to have a profession where you are so personally connected to your craft and to your customers. And I think that is one of the great advantages granted to the clarinet community - you can have a conversation with the person doing your work. Your influence is direct. How cool is that! Sure, not all mouthpiece makers are open for such a conversation, and not all customers want the dialogue, but for those who do, there are at least a dozen mouthpiece "makers" out there I can think of who would welcome the dialogue. They will allow your thoughts, your influence, your concepts of what a great mouthpiece should feel, sound, and respond like into the mix.
Now more than ever I believe there is a wide range of choice, and great opportunity for you, the customer to find your perfect match. But just like anything else VERY important in life, you can't simply buy without shopping first. Well you can, but you might well miss out on a better option.
When I go shopping for something big - say a car for instance. I don't just want to buy a car that'll get me from point A-B. I want a car that'll serve my list of needs, and be the very best choice in so doing. And that takes time, research, dedication, test-drives, etc. to make the perfect choice.
While the mouthpiece may not be the most important part of the playing experience...I say it is actually the player's concept - first, and the player's reed - second, and the mouthpiece - third. Yes a mouthpiece is more important than the instrument in how your playing experience is informed. And for players who have a relationship with music, who have passion for their art, the proper mouthpiece choice can't be underestimated.
Side note, I mention "Concept" as the most important because without it you'll lack a desired landing spot. You won't know what you are looking for. So for example, if I don't have a concept of what type of car I need (something that's safe, something that is fun to drive, something that's economical), I may end up driving home with the wrong car.
I note the "reed" as the second most important factor in your playing experience because in my view a good reed is just that important. We've all played bad reeds and hated every minute of it, and hopefully we've all experienced a good reed - something to behold! A reed is like the vocal cords in our body, giving your clarinet's unique timbre, AND influencing your everything else - from range of dynamics, to response, to intonation, etc. A good reed is something every clarinet player should dedicate time and passion to experience, and eventually to faithfully have at ones disposal. To always have a great reed available is a professional endeavor.
And then the mouthpiece...ah yes the vessel which controls the reed, defines the intonation, the response, and the balance of "working resistance" to "freedom," which enables your input to be converted into sound, which controls, defines, and refines the reed's raw energy into your unique voice. Yes a mouthpiece is VERY important, and that's why I have dedicated my profession to crafting them. They are very important to me. And obviously a mouthpiece is very important to many others. Thank you Paul for your passionate desire to thread this needle of information.
I guess the question is - what information is useful and what information is confusing - or an hinderance to the process of selecting a good mouthpiece? Unfortunately I don't think the question can be answered because there are so many different players, with different ability levels, and experiential knowledges. And add to that, no two players are looking for exactly the same thing. While many players may be looking for a type of sound - for example I receive many requests from players who find the playing of Harold Wright to be an inspiration. We all may want something which serves that inspiration, but we surely don't all have the same skill, we don't have the same oral cavity, lung capacity, musical imagination, embouchure formation, and essential sound. So one person looking for a Wright-esque mouthpiece may be playing on a close facing with a light reed, another might be playing on a medium facing with a medium reed. Yet they might well sound like they were cut from the same cloth...why? Because they share similar concepts....there it is again...that "concept" thing. Amazing how strong an influence over EVERYTHING "concept" is.
So my two cents: Spend much time developing a strong concept of what you would like. Not just how you'd like to sound, but how it should "feel" to play, what type of reed design do you like, and WHY? Always ask "why". The question is the first step in finding a solution. Curiosity, passion, dedication, hard work, proper guidance, and intelligence will take you far in your quests...whatever they may be. But you've got to know where you want to go before any of that other stuff will serve your ambitions. So the stronger your concept of how and what will guide your everything.
So with that rambling, I go back to the following.
1. Know what you want and why. Have a strong concept. If you don't have one, get one. How you may ask? Find a good teacher and have a curiosity which is unstoppable.
2. When you've developed a concept of what you want your mouthpiece to do, call every mouthpiece maker, email them, start a conversation with them about how they can help. Learn through this process who you'd like to deal with by sorting their words through your conceptual filter.
3. Research the mouthpiece community and try to sort out which type of mouthpiece has a sound, response that is tangent with your concept. For example if mouthpiece company Y is known for making ringy, pingy, zingy mouthpieces, and mouthpiece company Z is known for making dull, dark, covered sounding mouthpieces, and your concept is for something centered, responsive, and projective, which of those two are you drawn towards?
4. In your conversations with company X,Y, and Z discuss the type of reeds you have been playing, what type of sound you aspire towards, and what sorts of players you listen to, as this information can help the maker guide you towards the right selection. Sure, ask about facings, but don't assume what information on the web is true. Again I remind you that different makers measure differently making their dimensions off kilter by comparison to other maker's published dimensions. There simply are no standards which can be 100% relied upon.
So to sum up my above content.
1. It isn't easy
2. It takes energy and passion
3. Tip openings and lengths aren't enough content for a complete evaluation
4. Have fun!
5. All that said, seek a mouthpiece that holds your sound, responds with reliability, and has tonal cleanliness.
6. Open facings don't equate to an open sound. If a player's embouchure "sweet spot", where the optimum opening and pressure is most comfortable is X, and the mouthpiece is TOO open, requiring Z, the sound'll get harsh and open-AAAHH sounding which is unpleasant.
7. Strive for an EEE vowel sound in your tonal output
8. The resonance point within your mouthpiece, while playing, should be as far forward feeling as possible.
9. It is oftentimes espoused that a long facing curve requires more mouthpiece to be inserted, and short curves require less mouthpiece to be inserted into the player's mouth. This is generally false. In actuality, players tend to be able to play long and close facings both. But to play a long curve requires a different reed than a short curve. To sum it up, long lays like thicker backed reeds (like that of a V12 for instance), and shorter lays prefer thinner scraped reeds (like that of a blue box for instance).
10. Legere reeds play a little flatter in pitch and timbre, so to sparkle-up the sound, a brighter sounding mouthpiece can help make that Legere Euro Signature sound almost the same as a cane reed. But the Legere will also require a bit more embouchure pressure to press the focus in. Unfortunately this causes the chops to fatigue quicker than on a good cane reed. Legere Euro Signature reeds are more similar in scrape to a thinner cut Blue Box reed design. So to Legere-ify a mouthpiece, look for a shorter length, and a slightly more open tip as compared to your preferred mouthpiece with a cane reed. How much shorter and how much more open you may ask? I don't know - it depends on what you are looking for. And therein lies the problem...again, no two people are alike.
Hope that helps.
Have fun!!
Brad Behn
http://www.clarinetmouthpiece.com
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