@rankfrankrank I read recently on some clarinetists website that has worked with a very reputable mouthpiece craftsman in USA that he believes that mouthpiece looses brightness and becomes more mellow after 6-9 months and then he change to a new one. He also said that Jack Brymer changed mouthpieces often to guarantee the the unique Brymer "ping" in the sound so not all will agree with you.
@klarinetta yes, that may be true that's why I said most prefer dark tone over bright. And using Jack Brymer may not a good example because the standard there (the Britain) is different from one in US.
@rankfrankrank With great respect then clarinetists are located all over the world not only in USA. I mean the different school of sound as you could clearly hear 15-25 years ago does almost not exist anymore. When Karl Leister was beginning to play with the Berliner Philharmonic then no French system clarinetists were allowed to play with the orchestra but now many Boehm players get to play single concerts with them.
@rankfrankrank Also Sabine Meyer and Wenzel Fuchs would not have been accepted as they would have too soft and flexible sound. I mean I don't hear a difference between specially Wenzel Fuchs and many Boehm players. Listen to him and Eddy Vanoosthuyse play together(Ihave Cd where they play Krommer double concert) they blend perfectly together.
@klarinetta all of your comments seems right but irrelevant to my comments on preference over dark vs. bright. I'm actually very familiar with Fuchs and I hear quite a difference from his sounds vs. others with Boehm system. We weren't talking about different styles (different schools, the sound from late XX century, etc), we're just talking about dark tones.
@rankfrankrank Personally I've heard players with what I think people here would call a bright tone have a more beautiful tone to me than Mark. A mouthpiece maker once said that his goal was to make as dark mouthpiece as possible but one that is still clear. Well I think the first and foremost goal should be a mouthpiece that has a dead on intonation and would be exceptionally reed friendly.
@rankfrankrank And if I get a mouthpiece that I can just forget about then dark and bright are not a big thing as a mouthpiece that I can forget about would also be easy for me to alter the tone with my embouchure and oral cavity.
@klarinetta I'm now watching a world class performance by Michael Collins of an arrangement of Mozart's violin sonata no.32 in b-flat major and he has a fairly bright tone(not as much now as he was younger) but I find it more interesting with more ringing and singing quality to it than what we hear here.
@klarinetta And notice that I never degraded those with bright tone. It's just that most would prefer dark ones. I personally would be impressed by performers with dark, rich sound. I don't mean to argue with everything you say. Again, you seem pretty knowledgeable. I'm just saying what's generally true in reality here.
@rankfrankrank This talk of a "dark and warm" tone is interesting. The clarinet wasn't(and still isn't) always so "dark and warm". I've gotten the chance to hear a few "period" clarinets and they had much brighter sounds than what we find today in the French and Boehm system clarinets. It was never voted on by any council or general population that a dark and warm tone is ideal. Rather bright, or dark, tones are acceptable, desirable, and found in top orchestras.
@klarinetta Your second of three comments doesn't seem to make any sense. But despite that, you seem to go roundabout in your explanation. "A mouthpiece maker once said..." Do you know who even said this? And this (dark plus clear mouthpiece) contradicts to what you're trying to prove. Third, you give yet another example of a British clarinetist, circling back to your first comment.
So it's okay i'm playing on a 5RV vandoren mouthpiece and size 4 Rico reeds or 3.5 vandoren?
amy1596 1 year ago
You talk about bright as a bad thing? Why?????
klarinetta 1 year ago
@klarinetta Bright tone I mean
klarinetta 1 year ago
@klarinetta yes he's right, clarinetists avoid bright tone. Most would agree that dark, warm tone is the ideal sound for the clarinet.
rankfrankrank 1 year ago
@rankfrankrank I read recently on some clarinetists website that has worked with a very reputable mouthpiece craftsman in USA that he believes that mouthpiece looses brightness and becomes more mellow after 6-9 months and then he change to a new one. He also said that Jack Brymer changed mouthpieces often to guarantee the the unique Brymer "ping" in the sound so not all will agree with you.
klarinetta 1 year ago
@klarinetta yes, that may be true that's why I said most prefer dark tone over bright. And using Jack Brymer may not a good example because the standard there (the Britain) is different from one in US.
rankfrankrank 1 year ago
@rankfrankrank With great respect then clarinetists are located all over the world not only in USA. I mean the different school of sound as you could clearly hear 15-25 years ago does almost not exist anymore. When Karl Leister was beginning to play with the Berliner Philharmonic then no French system clarinetists were allowed to play with the orchestra but now many Boehm players get to play single concerts with them.
klarinetta 1 year ago
@rankfrankrank Also Sabine Meyer and Wenzel Fuchs would not have been accepted as they would have too soft and flexible sound. I mean I don't hear a difference between specially Wenzel Fuchs and many Boehm players. Listen to him and Eddy Vanoosthuyse play together(Ihave Cd where they play Krommer double concert) they blend perfectly together.
klarinetta 1 year ago
@klarinetta all of your comments seems right but irrelevant to my comments on preference over dark vs. bright. I'm actually very familiar with Fuchs and I hear quite a difference from his sounds vs. others with Boehm system. We weren't talking about different styles (different schools, the sound from late XX century, etc), we're just talking about dark tones.
rankfrankrank 1 year ago
@rankfrankrank I don't like the terms dark and bright. A beautiful clarinet tone is beautiful wether one would say it's dark or bright.
klarinetta 1 year ago
@klarinetta sure, just go with that. If you're just a listener and not a performer, you can be ignorant of these technical terms.
rankfrankrank 1 year ago
@rankfrankrank Personally I've heard players with what I think people here would call a bright tone have a more beautiful tone to me than Mark. A mouthpiece maker once said that his goal was to make as dark mouthpiece as possible but one that is still clear. Well I think the first and foremost goal should be a mouthpiece that has a dead on intonation and would be exceptionally reed friendly.
klarinetta 1 year ago
@rankfrankrank And if I get a mouthpiece that I can just forget about then dark and bright are not a big thing as a mouthpiece that I can forget about would also be easy for me to alter the tone with my embouchure and oral cavity.
klarinetta 1 year ago
@klarinetta I'm now watching a world class performance by Michael Collins of an arrangement of Mozart's violin sonata no.32 in b-flat major and he has a fairly bright tone(not as much now as he was younger) but I find it more interesting with more ringing and singing quality to it than what we hear here.
klarinetta 1 year ago
@klarinetta And notice that I never degraded those with bright tone. It's just that most would prefer dark ones. I personally would be impressed by performers with dark, rich sound. I don't mean to argue with everything you say. Again, you seem pretty knowledgeable. I'm just saying what's generally true in reality here.
rankfrankrank 1 year ago
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xHuntedGunzPCGx 1 week ago
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xHuntedGunzPCGx 1 week ago
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@rankfrankrank This talk of a "dark and warm" tone is interesting. The clarinet wasn't(and still isn't) always so "dark and warm". I've gotten the chance to hear a few "period" clarinets and they had much brighter sounds than what we find today in the French and Boehm system clarinets. It was never voted on by any council or general population that a dark and warm tone is ideal. Rather bright, or dark, tones are acceptable, desirable, and found in top orchestras.
xHuntedGunzPCGx 1 week ago
@klarinetta Your second of three comments doesn't seem to make any sense. But despite that, you seem to go roundabout in your explanation. "A mouthpiece maker once said..." Do you know who even said this? And this (dark plus clear mouthpiece) contradicts to what you're trying to prove. Third, you give yet another example of a British clarinetist, circling back to your first comment.
rankfrankrank 1 year ago
This is a really helpful discussion. Thank you.
equesfuscus 2 years ago
Thank you
selenity08 2 years ago 2