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Choosing the Right Mouthpiece (1St Part: Clarinet)

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Choosing the Right Mouthpiece (1St Part: Clarinet) ® magazine CHOOSING THE RIGHT MOUTHPIECE (1ST PART: CLARINET) INTERVIEWS: G. DEPLUS, L. KONITZ, K. LEISTER, D. MONTANARO, F. MORETTI VANDOREN AND CONTEMPORARY CREATION NEW PRODUCTS: COLLECTIONS OF SHEET MUSIC N°2 Espace Vandoren Paris Taking advantage of the visit of Nicolas ROUX, our photographer, we asked him to take a few on-the-spot shots. Claude CROUSIER presenting his new method for the clarinet. Jacques DI DONATO at a master class. Jean-Paul GAUVIN with Giora FEIDMAN. Gervase DE PEYER presenting to Jean-Marie PAUL his new records. Sylvie HUE with Roger BOUTRY (piano) and the composer Joseph HOROVITZ. Before the 56 rue Lepic, the day Karl LEISTER gave his masterclass. ÉDITORIAL Vandoren listens to you: the results of the survey of issue N° 1 Dear Musicians, Here is the second issue of your Vandoren magazine. I say “your” magazine because if it has been published, it is thanks to you. Hundred of readers returned the small form inserted in the first issue. Sifting through the ans- wers produced a rather interesting panorama of the expectations of musicians: the number of requests from ins- trumentalists was so high that we are unable to provide all the answers in one issue! Your requests for articles Mouthpieces and reeds: how they are made, advice on the choice of material, differences between the models … Sheet music and CDs: What’s new? (consult the Internet site www.vandoren.com). Interviews with eminent instrumentalists of classical music and jazz. Information on musicians: concerts, training courses and master classes, competitions, congresses … You also asked for general articles about instruments (history, manufacture, developments, etc). We will soon present you with the rare books devoted to such topics. You can subscribe to specialized journals, the addresses of which are listed in the first issue of this magazine. Other sources of information are magazines published by instrument-makers and reviews about music in general. You will also find information about the internal life of the firm, and an introduction to its services. For Vandoren, which was founded under the sign of passion, flourishes thanks to the people who form it. We function rather like a great restaurant, with public dining areas and a kitchen. In Paris, the showcase of the firm, you will have had the opportunity of meeting (or speaking over the telephone) with experts who are there to advise you on how to choose your reeds, mouthpieces, ligatures, sheet music, etc. In the factory, we work at the ovens, controlling production and testing new products. 94% of your replies indicated an interest in the first issue of the Vandoren Magazine. This positive response encourages us to continue: the life of the clarinet and the saxophone is very rich and varied today. Obviously, we cannot discuss every aspect but you will probably find it useful to consult our Internet site, as it will contain an increasing amount of information about musicians and music in general. We hope you enjoy reading this second issue. Bernard VAN DOREN COVER STORY Mouthpieces: the keys to The parameters Interaction of a mouthpiece between these First of all, it is important to define the parameters* main parts of a mouthpiece, illustrated The mouthpiece should respect the accu- in the diagram below: racy of the instrument, for accuracy is vital although the pitch may vary from - Facing: this is the part of the mouth- one country to another, or from one piece on which the reed is placed. It is orchestra to another. A wider bore lowers The mouthpiece is the motor composed of two parts, the flat part of the pitch of the instrument and can avoid of an instrument, which gives the facing (up to a closing point) and the having to resort to another barrel. The it its overall timbre and pitch. curved part of the facing. shape of the facing curve (the relation- The quality of the mouthpiece - Tip Opening: the space at the end of ship between the tip opening and length is vital for it allows artists the mouthpiece, between the reed and of the facing) influences the sensation in to display the full range the facing. the mouth of the musician. of their expressiveness. - Chamber: the part in which the sound Ulysse Delécluse, a clarinet is formed and which receives the pres- The relationship between the mouth- teacher at the Conservatoire sure of air directly from the mouth, the piece and reed is also of paramount de Paris from 1949 to 1978, bore channelling the air to send it into importance: was fond of saying that the instrument. - With the same tip opening: whatever the level of - Baffle: when the mouthpiece is placed long facing = stronger reed, musicians, they could in the mouth, it is the upper part of the short facing = softer reed. not afford to play with chamber (the part which has the most - With the same facing: a second-rate mouthpiece. effect on the sound). open mouthpiece = softer reed, This is why the 5RV has been - Throat (called “trapeze” in clarinet closed mouthpiece = stronger reed. so popular for over half mouthpieces): the surface that separates a century among professionals the bore chamber. In the V5 series for A harmonious alchemy between these as well as beginners. saxophone, there is a very distinct nar- components, which varies according to Since then, other mouthpieces rowing. In the Java, Jumbo and V16 the morphology of the instrumentalist have considerably broadened series, there is no difference of level and the style of the music played, leads the Vandoren range. between the chamber and the bore. to the right choice. CLARINET MOUTHPIECE Music, TIP-CONTOUR TIP-OPENING TIP beyond words TIP RAIL Below are descriptions of mouthpieces. WINDOW FACING BEAK SIDE RAILS CURVE Although they answer frequently asked WALLS (INSIDE) BAFFLE questions, they should be taken for what RAMP TIP they are: descriptions in musical terms, WALLS (OUTSIDE) CHAMBER and general considerations based on RAMP THROAT TABLE experience and discussions with a number LIGATURE LINES of musicians. * I would like to advise young clarinet players not to break the hard-and-fast rule about carefully BORE adapting a reed on a mouthpiece facing, i.e. “a medium closed mouthpiece requires a strong reed SHANK CORK and a fairly open mouthpiece requires a soft reed”. U. Delécluse in “La Clarinette”, an article published in the “Journal de la Confédération Musicale de France” at the end of the seventies. 1st part: The B45 and B40 Clarinet The B45, created in 1968 by Bernard Van Mouthpieces Doren, came as a revelation for many choosing clarinettists. It was rapidly adopted by the leading clarinet players of the time. This The objective of the instrument-maker is mouthpiece became another standard of to turn into reality part of a dream that we professional comparison, thanks to its all nurture. A passion for music, the link innovative features: between the instrument-maker and - A wider tip opening than the 5RV musician, is expressed both in technical and - A medium length facing musical terms, the latter having an element Result: great evenness, with a smooth of subjectivity (brilliant, clear, etc). and pure tone and easy articulation. Most musicians talk in terms of the tip The B45 • and then the B40 were based opening because it is the most visible on the B45, with similar features for the criterion (the distance between the reed tip opening and length of the facing; and the mouthpiece). But what is even more important is the length of the facing curve, and its shape. A 1/100 mm • The B45 • is characterized by a difference from the beginning of the “trapeze” configuration (widening of the facing already implies a different passage from the bore to the chamber). It universe. Thousands of choices are produces rich harmonics in the entire possible between two points of the curve, sound spectrum. and the art of the instrument-maker lies • The B40, with a wide tip rail, was in finding the curve that offers the best designed in collaboration with Jean-Paul choice of sound; like the soul of a Gauvin. It can be used with softer reeds Stradivarius, a clarinet mouthpiece has while retaining a velvety sound in all its own particularities. registers. This is why the B40 is becoming The 5RV - 5RV Lyre increasingly popular among clarinet In the architecture of a mouthpiece, the players. facing represents the foundation. The 5RV : In the early thirties, Robert Van Doren part that is in permanent contact with the gave his initials to a mouthpiece that was The B45 Lyre has a more open reed should be perfectly flat. to become an international standard of mouthpiece than the B45, and a tip rail comparison. half way between the B45 and B40. It Constant use of a mouthpiece leads to: produces a compact and centred tone like - corrosion or clogging up by saliva, The first 5RV Lyre was made by the B45, provided it is played with softer - friction between the reed and ligature, Robert Van Doren for Jacques Lancelot reeds to preserve the purity of sound. - wear-and-tear, even distortions that who wanted a mouthpiece that was a bit are sometimes invisible to the eye, caused more open at the end and a facing that was To live up to the expectations of musicians, by pressure from the mouth. slightly longer. A longer facing makes it possible to play stronger reeds, to obtain Vandoren is constantly broadening its If the mouthpiece is not changed in time, a richer tonal quality (darker in certain large family of mouthpieces in order the inconveniences multiply, creating: cases), more volume and, above all, to provide everyone with a solution to - difficulties in finding suitable reeds, greater ease and comfort.
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