 The Clarinet BBoard
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Author: johng ★2017
Date: 2012-04-06 20:26
Attachment: Eb 1.JPG (59k)
Attachment: Eb 2.JPG (50k)
Attachment: Eb3.JPG (55k)
I have just finished testing 3 new Eb clarinet mouthpieces from Richard Hawkins and thought I might share my method for what it is worth. This involved 4 mouthpieces since I wanted to be certain the new one was better for me than my old one, also from a fine mp maker.
I first simply played on each one to get a general impression. I used the same music each time. I then recorded each one with a digital recorder, put the recordings on my computer so I could listen to each in quick succession...sometimes only listening to a few notes to compare tone quality, ease of playing, and note stability. The music I picked had a lyrical part and a section that was challenging in order to hear how well the mouthpiece responded to those issues.
I then used the Tuning Meister program that provides a graphical chart of each note played. For this, without watching the chart, I simply played a 2+ octave scale for each mouthpiece which was enough to fill a computer screen, stopped the graph, and then used the MS screen capture tool (snipping tool) to turn the graphs into a printable picture. I could then easily compare the intonation characteristics. I am attaching some examples. I am not quite done, since I will use the mouthpieces in rehearsals to see how they do in the real world. Tuningmeister can be found at http://tuningmeister.com/
John Gibson, Founder of JB Linear Music, www.music4woodwinds.com
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Author: rtmyth
Date: 2012-04-07 15:49
Thanks. Very interesting. Did you check the symmetry and dimensions of each mp, and if so, by how much and where did they differ? Also, , under magnification, could you detect any difference in the interior finishes? With mass produced mps I have observed considerable variation in all of the above, for the same make and model.
richard smith
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Author: johng ★2017
Date: 2012-04-07 17:52
Richard - As to the dimensions, I have not checked that, just being centered on how they play for me and my equipment. I can see where the work was done by hand inside the tip area and further back, so the interior finishes were about the same. I got two of one model and one of another. Oddly, one of the two same models turned out to be flat in pitch on my set up and changing barrels was not enough to fix that.
I would also mention that when I played the scales for the graphs, I did not use my usual fingerings to improving the intonation, I just used the standard fingerings.
John Gibson, Founder of JB Linear Music, www.music4woodwinds.com
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Author: Ken Shaw ★2017
Date: 2012-04-07 20:30
In The Art of Clarinet Playing, Keith Stein says "A mouthpiece which plays out of tune is worthless, no matter how well it responds."
For other criteria, see http://test.woodwind.org/clarinet/BBoard/read.html?f=1&i=339689&t=339659&v=f
At a master class, Ronald Reuben, the retired bass clarinetist of the Philadelphia Orchestra, talked about keeping energy in your tone. Trying to get a "dark" tone is nonsense, at least for orchestral work. To balance in an orchestra, your sound has to be bright and energetic, with strong high partials. He then took a student's clarinet and demonstrated the difference between the sound the student was making (dark, unsupported, covered) and the essential "spirally," "ringing," concentrated orchestral tone.
On choosing equipment, he said that it's useless to play a million notes a second. That proves nothing. The true test of good equipment is how well it binds together wide slurs. Play throat Bb, hold it and slur up to the Bb above. Look for something that can make that slur with no hesitation or bobble. Two good passages to test this are the solo from The Pines of Rome and the Brahms Trio, in the trio of the third movement, taken very slowly. [And, of course, Rose 40 Etudes, #1.] A good clarinet, mouthpiece or reed will let you play these wide intervals as smoothly as a half step.
Finally, he said, part of being able to connect wide intervals is proper voicing of the sound. Play top-line F and, just with the oral cavity, play the D above, and then the overtones above that. You should be able to play bugle calls without moving your fingers or lips, just by changing your oral cavity.
Ken Shaw
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Author: johng ★2017
Date: 2012-04-08 17:41
Ed: thanks for McClure's article. He gives a valuable detailed list of things to do while trying out mouthpieces. I noticed he does not suggest checking intonation, which to me is highly important, especially with an Eb clarinet.
John Gibson, Founder of JB Linear Music, www.music4woodwinds.com
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Author: Ed
Date: 2012-04-08 22:22
I always looked at the article as being more a good way to narrow things down with an efficient process, than about every last detail of what to play. Certainly there are lots of things to consider. I would use that system as a great way to get it narrowed down, then take the winner or 2 top through the "finals", also checking how it works in an ensemble, tuning, reed friendliness, etc..
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