The "Right" Mouthpiece for Klezmer?
John Cunningham
in which there are several factors outside of the mouthpiece alone,
but....
I started playing clarinet again about two years ago after a 15 year
hiatus. Several weeks ago, I joined a local community group that plays
Klezmer weekly. Most importantly, this has been a blast! - I've had
more fun and progressed more in a month or so of playing with this group
than I did playing alone. Two weeks ago, we had a guest clarinetist who
plays Klezmer professionally. He was great to listen to and very happy
to share insights and suggestions. After eharing him, I realized how
"stuffy" my sound really was - it got me thinking about a new
mouthpiece.
I play an older R13 (#87,xxx) from the mid-'60's with the Selmer 'S'
mouthpiece that my teacher gave me over 20 years ago. I guess it was
always fine for classical/band playing. And currently I'm using Rico
Royal 3.5's - not yet back to 5's yet.
So, I recently tried out a few Vandoren's, using their website as a
guide. I'd like to share my impressions and ask for a sanity check from
those of you with greater knowledge and experience.
Vandoren 5JB:
I thought I'd try the most open one, since I also play tenor sax, to get
a wide open sound. Playing this mp, I thought I might pass out <g> It
requires a lot of air and was a struggle to play/control. I had hoped
that a "jazz" mp would be the right thing.
Vandoren 5RV Lyre:
I have read so many good things about the 5RV and 5RV Lyre that I had to
try it out. This was a good mouthpiece that was easy enough to play and
got a very nice soudn with my R13 through all registers. However, it
was only marginally better sounding than my Selmer S. I don't know how
these two compare on spec, but I feel the transition from teh S to the
5RV Lyre would not be very signficant.
Vandoren B46:
The best for last? This is the one I liked best of the four (including
my old S). It is really easy to play, gets a really BIG round sound in
the lower register. It is also helps me get a more full (less shrill
and thin) sound from the altissimo notes (required in Klezmer). The
most interesting thing is that with this mouthpiece, playing from the B
(at the break) up to G action makes the tips of my fingers vibrate. I
also feel like I'm getting a lot of volume (loudness) with less effort
than on the S.
So, my questions are:
- is my experience consistent with what is objectively known about
these designs?
- am I using the correct decision points for choosing a mp for playing
Klezmer?
- anything else I might have overlooked?
Thanks,
JJC
Rich R
First off - where can I get some good Klezmer arrangements for my band.
I'd love to add that to the music we currently play. We have a couple
of simple arrangements and make up the rest.
If you like the B-46 try the B-45. It will gives (for me) an even more
robust sound. I switch between the B-45 and the B-46, depending on how
I feel atthe time. Also tried the B-45*, but was not happy with the
result on that one.
On reeds. Work with the 3-3.5 level. It will make less wear and tear on
the chops than a 5. Also, (especially for klezmer) more flexible when
doing all the lip smears and tone bending. I even have my agent telling
me to go lower!!!! Like you, I'm returning after a long layoff (20
years in my case). What I find is that my endurance at a good tone is
limited. I try to play at 3.5 (Mitchel Lurie) and do well until the
chops fatigue. Then the tone goes south. At a higher level reed, I
wear out even quicker.
Rich R.
Sent via Deja.com
http://www.deja.com/
John Cunningham
We use the Kammen book as a jumping off point, but our violinist
arranges and publishes parts for us. I have a couple of books
(clarinet) by Mike Curtis which you can find at the site below.
I have been told to "free" myself from reading music and just listen and
play by ear. We play most everything in a Freygish scale (E F G# A B C
D), which was easy to get the hang of. I have been listening to
recordings nonstop for weeks to try and "get" it (especially Brandwein
and Don Byron of the Klezmer Conservatory Band - I like their
style/sound the best so far).
I have found the two following sites useful
www.jewishmusic.com
www.klezmershack.com
I'll have to try the B45 in comparison to the B46.
As for reeds, I find that although the softer reeds work well for smears
etc., they seem to go "dead" too fast on me. Then when I need to hit
those high E's and F's it sounds horrendous to my ear (and others, I'm
sure). And with a softer reed, teh lower register doesn't resonate the
way I like. Back in high school, I played a 5 - while I may not need it
now, I'd like to work back to being able to play it so that I can hear
what it'll sound like.
We had friends over a couple weeks ago, one of whom is a professional
violinist in two local symphonies and teacher. Like our guest
clarinetist in Klezmer, Walter mamlok, he couldn't overemphasize the
importance of using your ear to guide you. I know teh sound I want to
get on my clarinet and on my tenor, but I have yet to find it. I fel
musically autistic - the awareness is locked away in my skull, but is
not being communicated through my playing. I have decided that it is
time for me to take some lessons and have someone help me find "the
sound".
Good luck!
JJC
Rich R
Thanks - I'll check the sites and see what we can develop here. I do
enjoy the Klezmer sound and have a baal with it. I performed Miserlou a
couple of times to thundering reults from the audience. We even got off
timing last time around and the audience loved it!!!! We thought it a
train wreck, but the audience never noticed.
I kinda agre on reeds. I've never gone beyond 3.5 myself (most I ever
played in my younger days was 4). Presently I'm having alot of problems
above G - really poor tone. I tend to press too much and get a really
sharp and thin tone. I'm working up Artie Shaw's Nightmare and sure
want to play it way up there - so far I drop down an octave on the ultra
high stuff and do it. My lower register is full and robust, however.
The reeds do go out quickly, though the Zonda 3.5s lasted nearly a
month. Mitchel Lurie 3.5s make it a couple of weeks at best. VanDoren
3.5s I almost cannot play - way too hard for me.
Older Dixieland players used to play with a 1.5 or 2 reed. They used a
rather loose embechure which allowed them to play all night long. The
tone qualities were not bad either. I don't know how they did it, but
that is what was done. Otherwise, after a couple of hours playing, the
chops become hamburger. After about 30 minutes straight playing with a
3.5 my chops are done for the night. As long as I get rested from time
to time (Like Play Alto Sax) I can do pretty well over a two to three
hour period.
Good Luck to You also - and thanks for your insights.
Brian Axelrod
NY he and Pete Sokolov run the Klezmer camp in upstate NY. I have known Sid
for many years and he has always said for both sax and clarinet, most of it
is a mental concept once you get the setup you are comfortable with, the
sound you hear in your head will start to come through. Just listen to some
of the all time greats like Brandywine these players had lousy equipment but
got that perfect "cry" in the sound. There is another player living in the
Bergenfield NJ area that plays quite a bit in the NYC area his name is
Harvey Scheiderman, quite a few of us call him the Lederhosen king because
of all of the German gigs he does but he is a very fine Klezmer player and
uses just a B45 with a Buffet and just makes it sing. He is very
approachable , phone is listed I am sure and would be glad to give advise if
asked...
good luck.
"Rich R" <raz...@my-deja.com> wrote in message
news:961s5u$qpa$1...@nnrp1.deja.com...
Doug.
<john.cu...@home.com> writes
Can someone please write a little about Klezmer?
I know very little about it.
Many thanks in antic'n,
Doug.
John Cunningham
> Can someone please write a little about Klezmer?
> I know very little about it.
> Many thanks in antic'n,
> Doug.
Doug,
Check out www.klezmershack.com which is a great resource for figuring
out where to look. Then check out www.jewishmusic.com for teh actual
music and even www.amazon.com to hear some sound snippets over the web.
Just search on Klezmer. For clarinet specifically, listen to Naftule
Brandwein and Dave Tarras or any number of bands with "Klezmer" in their
name. My current favorite is The Klezmer Conservatory Band (Don Byron
on clarinet on the earlier recordings). I also have a CD by Margot
Leverrett "The Art of the Klezmer Clarinet" which has some great tunes.
The only problem with thsi recording is that it sounds like the producer
over-produced it and the natural tone of the clarinet is muffled and
dulled-down. This is too bad, because her playing is very smooth and
graceful. This is in comparison to the frenetic quality of Brandwein.
Good listening,
JJC
Doug.
<john.cu...@home.com> writes
Thank you !.
I will look it up very soon and see what it's all about.
I am obliged to you.
Doug.