About the combination of mouthpiece and clarinet reed
many a word has been written, but ultimate truth remains to be uncovered yet.
One thing, however, is certain:
Every clarinet player makes a choice about the specific material with which he or she is able to play
unhindered and joyfully. In plain language this means that all varieties should be played easily through all
dynamic regions ( that is if you master a good onset and are trained adequately ).
Choosing a combination of material is consequently a very very personal matter. For this reason advice is quite
difficult to give.
Some ways to finding solutions or a personal combination
are described for you in the following. Surely the easiest way is to take a mouthpiece recommended by many people, professionals
With every possible choice among different clarinet reeds or mouthpieces you should test if your instrument
responds well in every register. Certainly, your personal combination of choice should also work in all dynamic variations.
In addition, your material should let you play a healthy staccato just as well as a charming, elegant, and round
legato which, after all, enables a pearling finger technique.
Moreover, it is of course wonderful to bring out all the different sound qualities of your clarinet and the flexible
and smooth colour passages. Only the combination of both conveys the full richness of musical sensation, the dramatic
elements of which are particularly in demand in clarinet music.
as well as hobby players, and look for a suitable clarinet reed. At least this is the way how many
famous people think.
Prof. Ewald Koch
recommended a Wurlitzer mouthpiece to his students, with an M 3 + facing, of course in combination with the Foglietta
developed by himself.
formerly made his facings above all for those clarinet players who followed the opposite course
and choose the mouthpiece to match their Vandoren reed, which is also a possibility.
Do try a Viotto mouthpiece with our type E*
also had to do some thinking about testing which reed with which mouthpiece.
For this reason we have already tried a range of facings and mouthpieces and thought very intensively about the
interactivity of reeds and mouthpiece faces. The result is a particular mouthpiece available with different openings
and facings ( also for Boehm clarinets ), as well as the corresponding reed, namely
Although this combination is based on theoretical consideration, some clarinet players have already been
convinced of it. Peter Przybylla
solo clarinet DRP-orchestra, (Deutsche Radiophilharmonie)
has been praising this combination for some years already. Jörg Fadle
of the Deutsches Symphonieorchester
Berlin ( German symphonic radio orchestra Berlin ) was also very taken with it. Moreover numerous instrument makers
have voiced their content.
plays model F
on his Charles Bay mouthpiece and his students, at least those who play Boehm clarinets, use the
same reed and fasten it on a Vandoren B 40.
Sabine Meyer and Reiner Wehle
told us they play just a normal mouthpiece, which is quite similar to the old Wurlitzer M 3 or the Zinner model 3 M
or a facing of Johann Berger wth a tip opening of 90 - 95 hundredth of a millimetere and a length of approx. 25
millimeteres between table and tip. The clarinet reed is Foglietta type E*
For all those who haven't finished their search among all these combinations yet we would like to remark that, if possible,
length of the reeds wind cut should not be shorter than the mouthpiece facing. Therefore, keep your fingers off a long
mouthpiece facing combined with a short cut reed. It only means trouble !
In addition, you should check the mouthpiece for no gross faults. Look for detail on how to do that under