 The Clarinet BBoard
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Author: SecondTry
Date: 2020-12-14 23:44
Classical Saxophonist's thread about the loudest mouthpiece that players have played finds me curious as to what attributes about a mouthpiece (and I imagine this includes reeds) players here believe best lend themselves to such projection.
Sure--human factors must play in, and I realize that projection (which I'll loosely define here as the ability to be heard) has more to it than merely that which a decibel meter measures..
I seek no such abilities--it's just a matter of curiosity and better understand how baffles, and rails, and the latter's length and widths, and tip openings, and mouthpiece materials, and factors I haven't stated (known and unknown) play into the equation.
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Author: Paul Aviles
Date: 2020-12-15 00:02
Well there will be probably as many differing opinions on this as respondents. But you hit on the way I look at it when you mention "projection," and "the ability to be heard."
Strictly as a classical music, orchestral musician's standpoint, what you require is the characteristics that enable the sound to be heard across the ensemble (with some ease) and project throughout the hall. What enables that to happen can be tricky to describe. If you are within a few feet (sitting next to) a player that has these qualities in their sound you may be tempted to immediately say, "gosh I thought he/she sounded better than that," or "heck, I can play.....like that." The sound up close might even sound a bit airy, thin, buzzy, or even a bit rough. But whatever those qualities are, they contribute to the presence of a goodly amount of upper partials that aid in the projection of the sound.
If you think about it, you can ALWAYS hear the oboe over everything going on in the orchestra and their double reed form one of the tiniest tubes you'll ever see, and very little air passes through it at any given volume (dynamically that is).
However there are those who'll speak to brute force, open mouthpieces and harder reeds. Those things can also play a factor but for my money they are not necessary and make clarinet playing just that much more uncomfortable.
..................Paul Aviles
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Author: Jarmo Hyvakko
Date: 2020-12-15 09:03
Lots of upper partials in the sound, curve that allows you to blow hard without flatness in intonation and low level of resistance
Jarmo Hyvakko, Principal Clarinet, Tampere Philharmonic, Finland
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Author: LFabian
Date: 2020-12-15 20:31
I would think that a clarinet that is made to be played in large ensembles is more important than the mouthpiece and reed. Also the location of the instrumentalist has some importance.
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