 The Clarinet BBoard
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Author: Jarmo Hyvakko
Date: 2021-12-22 12:06
Any experiences playing the basset horn using legere alto sax reeds? Preferably with vandoren mouthpieces, they are easiest available.
Jarmo Hyvakko, Principal Clarinet, Tampere Philharmonic, Finland
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Author: super20dan
Date: 2021-12-22 18:33
i cant speak for basset but its a good combo for alto clarinet. works great on vandoren mpc
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Author: Hurstfarm
Date: 2021-12-22 21:39
I've tried Legere Signature alto sax reeds on a Vandoren BD5 with my Leblanc basset horn. For me, 2.75 strength worked best, but ultimately I wasn't happy with the sound and flexibility of response on the basset horn compared with a good cane reed.
I'm not anti-plastic generally, and routinely use Legeres on bass and Eb. They just don't seem to do it for me on basset horn. The setup worked better on alto clarinet, so the Legere is now in my alto case as an option for that.
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Author: HANGARDUDE
Date: 2021-12-22 23:25
I haven't tried the Legere alto sax reeds on BH or alto as I don't really play either that much these days, BUT I do play bass very frequently and tested almost every cut of Legere tenor sax & bass clarinet reeds except the classic tenor. The only 3 cuts that pass my test are the Euro Cut bass, Sig tenor & American Cut tenor. Among them the American Cut sounds the closest to an actual cane reed, and the sound difference between it and a Vandoren Blue Box cane reeds(presumably what you're using on BH Jarmo) are quite small to me, hence what I'd suggest you to try first, though I may also suggest you to start with 1/4 strength softer as I've found that the Legere Signature & American Cut reeds run ~1/4 harder in strength than Vandoren Blue Box cane reeds.
Josh
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Author: Simon Aldrich
Date: 2021-12-24 01:24
Attachment: NY6.jpg (111k)
Hello Jarmo,
I use Legere alto sax reeds on basset horn and not only do they work wonderfully, they are a good idea since, as you well know, the basset horn can sit without being played for long periods.
My orchestra did an American tour with mezzo Joyce diDonato. Parto Parto was in the first half and Joyce wanted me to stand in front of the orchestra with her for that aria. A few weeks before the tour, she and the conductor decided to make the first half all Clemenza di Tito: Overture, Parto Parto, then Non piu di fiori (the aria with basset horn obbligato).
I played the overture, then went to the front to do Parto Parto and Non piu di fiori. The basset horn sat on a stand between the podium and violas so that I could switch to it quickly, and it was on that stand for about an hour without being played. Naturally, the Legere played identically to how it played the hour before.
I have attached a photo from the Carnegie Hall concert. You can see the basset horn on its stand behind me while I play Parto Parto. Annoyingly, Non piu was added so close to the tour I did not have time to memorize it. So the basset had to wait on a stand with a music stand nearby.
Simon
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