@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.
@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 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.
@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.
@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.
There is too much standardization in clarinet tone, and as a result many unique sounds that artists can produce are rejected for what passes for a standard sound. If you try to sound too much like someone else, you end up sounding like nobody.
Let the air do the work. The sound that can project is the most dolce.
This is a really helpful discussion. Thank you.
Nice!!!
@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 Bright tone I mean
@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 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.
Would reeds with the same brand as the mouthpiece sound better than if the reeds are from another brand?
Interesting question.
@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.
Correct.
@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.
Are crystal mouthpieces completely out of fashion these days?
@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.
Stefan Sigfinnsson the recordings on UA-cam depend on the room and the recording machine
You talk about bright as a bad thing? Why?????
There is too much standardization in clarinet tone, and as a result many unique sounds that artists can produce are rejected for what passes for a standard sound. If you try to sound too much like someone else, you end up sounding like nobody.
Well good luck winning the audition with your metal clarinet.