Although mouthpieces require detailed discussion on their own, we cannot ignore the vital connection between the choice of reeds and the choice of a mouthpiece.

To achieve a given sound the reed must match the tonal and physical qualities of the mouthpiece. In particular, the length of the reed must match the table of the mouthpiece, the vamp must match the window, the strength must match the facing and the width must match the tip.

A change in any one of these variables in either the reed or the mouthpiece requires a corresponding change in its partner. Because the reed must match the mouthpiece, commercial reeds of one design and strength may work superbly on one type of mouthpiece but badly on another.

One approach to matching the reed and the mouthpiece is to purchase a prime example of one of the "classic" mouthpieces and match it to the corresponding reed and ligature. (In turn, the mouthpiece/reed/ligature combination must be matched to the appropriate clarinet.

In my day, two extremely successful clarinet "systems" have been the

• Hans Zinner "George Pieterson Model" German Reform-Boehm mouthpiece
  Vandoren German Cut No.3&1/2 reed
  String Ligature
  Herbert Wurlitzer Reform-Boehm (German) Clarinet Model 185 (Moennig-style adjustment)
  (this is the preferable system for the early 21st century)
• Frank Kaspar No.13 mouthpiece
  Morré No.2&1/2 German 12.5 reed
  Daniel Bonade Inverted Metal Ligature
  W. Hans Moennig Barrel
  Buffet (French) R-13 Clarinet (Moennig-adjusted)
  (this mid-late 20th century system is no longer available or viable)

Because the supply of classic mouthpieces is always limited and the price is usually high, not every player can follow this route--but the professional who aspires to artistry must obtain one.

For the player who owns or intends to purchase a more ordinary mouthpiece, it is important to understand what type of mouthpiece will produce the basic type of sound you want. Despite the fact that both reeds and mouthpieces have maker's or "brand" names, sizes and strengths, one cannot assume that individual examples with a given maker's name will always sound and play in the same way.

Each mouthpiece, like each reed, is unique. For this reason the same reed usually cannot be interchanged between mouthpieces even of the same brand--a reed that plays stiffly on one mouthpiece may work well on another and play weakly on a third. The vibration of the reed must work in combination with the resistance of the mouthpiece. Too much resistance in the wood of the reed or too little resistance in the hard rubber of the mouthpiece (or vice versa) will ultimately lead to frustration.

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