The clarinet mouthpiece table length is the distance from the mouthpiece tip to the end of the flat surface where the reed sits. It directly affects reed sealing, response, and tonal character. Players should evaluate table length together with tip opening and facing curve when selecting, measuring, or modifying a mouthpiece.
What is clarinet mouthpiece table length?
Clarinet mouthpiece table length is the measured distance from the very tip of the mouthpiece to the point where the flat reed-bearing surface ends and the curved shank begins. This flat surface is called the table. Table length is distinct from facing length and tip opening, but all three interact to shape response, resistance, and tone.
On most modern Bb clarinet mouthpieces, table length falls within a fairly narrow range, yet small differences of 0.5 to 1.0 millimeter can noticeably change how the reed seals and vibrates. Understanding this measurement helps players compare mouthpieces intelligently and diagnose problems such as leaks, instability, or uneven response.
Typical Bb clarinet mouthpiece table length: 21.5 mm to 24.0 mm on many contemporary models, with many orchestral-style pieces clustering around 22.5 mm to 23.5 mm.
Why mouthpiece table length matters: tone, response, and sealing
Table length matters because it controls how the reed lies on the mouthpiece, how completely it seals, and how it flexes along the facing curve. A table that is too short or too long for a given facing design can compromise response, articulation clarity, and tonal stability across registers.
If the table is too short relative to the facing, the reed butt may overhang the flat surface, leading to leaks at the back of the reed, fuzzy attacks, and unstable low notes. If the table is too long, the reed may sit too far back, increasing resistance, stiffening response, and dulling the tone, especially at softer dynamics.
Table length also influences how the reed balances between the tip and the ligature. This balance affects how quickly the reed starts vibrating, how easily it releases in staccato, and how evenly it responds when you move between chalumeau, clarion, and altissimo registers. Small changes in table length can shift this balance noticeably.
Clarinet mouthpiece anatomy: where table length fits
To understand table length, it helps to see how it fits into the overall anatomy of a clarinet mouthpiece. Each part interacts with the reed and the air column. Knowing these relationships clarifies why table length cannot be evaluated in isolation from facing length, tip opening, and internal dimensions.
Tip
The tip is the very front edge of the mouthpiece where the reed first leaves the table and begins to curve away. Tip opening is the distance between the reed and the tip at rest. This opening, combined with the facing curve and table length, determines resistance and response. A given tip opening can feel very different with a shorter or longer table.
When you measure table length, you always start at the tip, not at the beginning of the facing curve. The tip is the reference point that allows you to compare different mouthpieces and relate table length to facing length and reed placement.
Facing curve
The facing curve is the curved surface that begins at the end of the flat table and continues to the tip. It is where the reed gradually lifts away from the mouthpiece. Facing length is the distance from the tip to the point where the reed first makes full contact with the mouthpiece under light pressure.
Table length and facing length are related but not identical. The table is perfectly flat; the facing curve is intentionally curved. A mouthpiece can have a relatively long table but a medium facing length, depending on where the curve begins and how it is shaped. Confusing these two measurements leads to misinterpretation of specs.
Table
The table is the flat surface where the reed lies when at rest. Table length is the distance from the tip to the back edge of this flat area. The table must be flat, smooth, and properly sized so the reed seals along its entire contact area without rocking or leaking.
Any twist, warp, or unevenness on the table can cause leaks and inconsistent response. Even when the table is perfectly flat, an unsuitable table length for a given reed cut or facing design can cause the reed butt to sit awkwardly, changing the balance of vibration and resistance.
Rails
The rails are the narrow side edges of the facing that run from the tip down along the sides of the reed. They help define the seal between reed and mouthpiece and influence how the reed flexes laterally. Rail thickness and symmetry interact with table length to determine how securely the reed seats on the mouthpiece.
If the table length positions the reed butt too far forward or back, the ligature may clamp unevenly over the rails, causing leaks or dead spots. Proper table length helps keep the reed centered and stable over the rails under ligature pressure.
Chamber
The chamber is the internal cavity inside the mouthpiece that leads into the barrel and upper joint. Its size and shape strongly affect timbre, intonation tendencies, and projection. Table length does not change the chamber directly, but it influences how the reed excites the air column feeding into that chamber.
For example, a mouthpiece with a relatively large chamber and a longer table may feel more resistant but offer a darker, more focused sound. A shorter table on a similar chamber might feel freer but could require more embouchure control to maintain pitch stability and core.
Key distinction: Table length is the flat surface distance (tip to table end). Facing length is the vibrating curve distance (tip to first full reed contact). They are related but not interchangeable measurements.
How to measure table length accurately (step-by-step, tools & diagrams)
Accurate table length measurement helps you compare mouthpieces and document setups. You do not need a full machine shop, but you do need precise tools and a careful method. The goal is to measure from the tip to the exact end of the flat table, not to the start of the cork or shank curve.
Recommended tools
For reliable measurements, use at least one precision tool. A simple ruler is usually not accurate enough for fine comparisons. Technicians and serious players typically use digital calipers or a machinist's rule and a reference block.
Digital calipers with 0.01 mm resolution
Small machinist's square or straightedge
Bright directional light or desk lamp
Non-marring surface (cork sheet or soft cloth)
Optional: mouthpiece gauge plate for checking flatness
Step-by-step measurement procedure
Use this method with digital calipers. If you use a machinist's rule, adapt the same reference points and visual checks. Work slowly and repeat measurements to confirm consistency.
Clean the table and tip gently so no debris affects the measurement.
Place the mouthpiece table-up on a soft, stable surface with the tip pointing toward you.
Open the calipers slightly wider than the expected table length.
Place the fixed jaw of the calipers gently against the very tip of the mouthpiece.
Slide the movable jaw along the table until it aligns exactly with the point where the flat surface ends and the curve into the shank begins.
Use side lighting to see the transition from flat to curved; the end of the flat is your reference point.
Read the measurement in millimeters and record it.
Repeat at least twice to ensure you get the same value within 0.1 mm.
Text-based diagram of the measurement
Top view (table up): [ TIP ]--------------------------[ END OF TABLE ]~~~~(curved shank) ^ ^ | |
Caliper fixed jaw Caliper moving jaw Measured distance = clarinet mouthpiece table length
For comparison projects, record table length along with tip opening, facing length, and reed model. This allows you to correlate specific playing impressions with concrete dimensions instead of relying only on subjective memory.
How table length affects playing across genres and skill levels
Table length interacts with facing and tip opening to shape how the mouthpiece feels and sounds in different musical contexts. The same table length can suit one genre or skill level and feel awkward in another. Thinking in terms of tendencies rather than rigid rules helps you choose wisely.
For many orchestral and chamber players, slightly longer tables paired with medium facings can provide stability, centered tone, and controlled resistance that supports soft dynamics and pitch accuracy. Jazz and klezmer players often favor freer response and flexibility, which can come from combinations that include slightly shorter effective tables or different reed cuts.
Intermediate students usually benefit from table lengths that promote easy sealing and predictable response with standard reeds. If the table is too short or too long for their embouchure development, they may struggle with squeaks, unstable low notes, or tiring resistance, even if the tip opening is appropriate.
Practical range: Many players find their preferred table length within a personal window of about 1.0 mm. Outside that window, response and comfort often change enough to require reed or embouchure adjustments.
Genre also shapes articulation needs. A setup with a table length that encourages very secure sealing may favor legato and soft attacks but feel slightly slower for ultra-crisp staccato at high tempos. A slightly freer setup might reverse that balance, making fast articulation easier but requiring more embouchure control for whisper-soft entrances.
Data & sample measurements: measurements to collect and archive (how to build a comparison table)
Systematic measurement helps you understand which mouthpiece dimensions match your playing goals. Building a simple comparison table in a spreadsheet allows you to correlate objective specs with subjective impressions like warmth, projection, and ease of articulation.
Core measurements to collect
For each mouthpiece you test, record at least these values and observations. Over time, patterns will emerge that guide future choices and adjustments.
Table length (mm)
Facing length (mm)
Tip opening (mm or thousandths of an inch)
Reed model and strength used for testing
Genre or context (orchestral, band, jazz, klezmer, solo, etc.)
Subjective ratings: response, resistance, brightness, stability (1 to 10 scale)
Intonation deviations in cents on key notes (e.g., throat A, clarion C, altissimo G)
Include a column for comments about specific registers, articulation, and endurance. After testing several mouthpieces, you may notice that your favorite pieces cluster around a specific table length range, which can inform future purchases or refacing requests.
Customization and re-facing: options, procedures, costs, and risks
Altering table length is a specialized form of mouthpiece refacing. It usually occurs together with adjustments to the facing curve and tip opening. Because the table is the primary sealing surface, any modification must preserve or improve flatness while achieving the desired length and balance.
Professional refacers may lengthen or shorten the effective table by regrinding the flat surface, adjusting where the facing curve begins, or reshaping the tip and rails. These changes are done in tiny increments, often 0.1 mm at a time, with constant play testing and measuring. The goal is a coherent design, not just a single dimension change.
Typical costs for professional refacing, including table work, vary by region but often fall in the range of a moderate mouthpiece purchase. Many technicians charge one fee for a full refacing that may include table correction, facing redesign, and rail work, rather than itemizing each step separately.
Risks include removing too much material, unbalancing the facing, or introducing twist or warp into the table. Once material is removed, it cannot be put back. For expensive or rare mouthpieces, this risk is significant. Only experienced refacers with a track record should alter table length on valuable pieces.
DIY attempts with sandpaper or files can easily ruin flatness, introduce micro-scratches that prevent sealing, or change the geometry unpredictably. For most players, the safer path is to experiment with different commercial mouthpieces first, then consider professional customization only when you have clear goals and reference points.
Maintenance and care for mouthpiece tables (cleaning, minor repairs, storage)
Good maintenance keeps the table flat, clean, and free of damage so the reed can seal properly. Routine care is simple but must avoid abrasive tools or harsh chemicals. The goal is to remove moisture, residue, and minor buildup without altering the surface geometry.
Regular cleaning routine
After each playing session, remove the reed and ligature and gently wipe the table with a soft, lint-free cloth or a dedicated mouthpiece swab. Avoid scrubbing motions that could grind particles into the surface. Let the mouthpiece air dry completely before placing it in the case.
For occasional deeper cleaning, use lukewarm water and a small amount of mild, non-abrasive soap. Gently clean the table and rails with your fingers, not with brushes or pads that might scratch. Rinse thoroughly and dry with a soft cloth, then allow additional air drying time.
Checking for flatness and wear
To check table flatness at home, place a known-flat straightedge, such as a small machinist's rule, along the table under a bright side light. Look for light leaking between the rule and the table. Small gaps may indicate warping, twist, or high and low spots that can affect sealing.
Another simple check is the reed rock test. Place a dry reed on the table without the ligature and gently press at different points along the reed. If the reed rocks noticeably front to back or side to side, the table or rails may be uneven or the reed may be warped.
When to send to a technician and typical service costs
If you see visible scratches, chips, or a clear lack of flat contact under the straightedge, consult a qualified technician. Minor table flattening or polishing may be possible without a full refacing, but the technician will advise based on the severity of the issue and the mouthpiece material.
Service costs vary, but players can expect a modest fee for minor table correction and a higher fee for full refacing that includes table, facing, and rail work. For student mouthpieces, replacement may be more economical than major repair. For professional pieces, careful restoration can extend useful life significantly.
Troubleshooting table-length symptoms and quick fixes
Many playing problems that seem like reed or embouchure issues can trace back to table length or table flatness. A structured troubleshooting approach helps you decide whether to adjust reeds, change mouthpieces, or consult a technician.
Symptom – diagnosis – action guide
Symptom
Possible table-related cause
Quick checks & actions
Airy or fuzzy upper register
Table not fully flat, reed not sealing at back
Check with straightedge; try a slightly harder reed; compare with a known-good mouthpiece
Reed buzz or rattle
Table length too short for reed cut, reed butt overhangs flat area
Slide reed slightly back; test a reed with a shorter vamp; compare to mouthpiece with longer table
Inconsistent intonation across registers
Table length and facing not balanced, reed flexing unevenly
Test same reed on different mouthpieces; record intonation tendencies; consult technician if pattern persists
Low notes unstable or reluctant
Minor leaks at the back of the reed due to table shape or length
Perform leak test by gently sucking air with reed sealed; if air passes easily, inspect table and rails
Excessive resistance with standard reeds
Table length too long for facing design, reed anchored too far back
Try moving reed slightly forward; test a slightly softer reed; compare with a mouthpiece with shorter table
Quick DIY checks should always be non-destructive. If you suspect a table problem and simple reed or placement adjustments do not help, stop experimenting and seek a professional evaluation before damage occurs.
Testing checklist and player outcomes: audition protocol and adaptation exercises
When trying mouthpieces with different table lengths, a structured testing protocol helps you hear and feel real differences instead of being swayed by first impressions. Focus on measurable player outcomes such as response speed, articulation clarity, tonal warmth, and range consistency.
Audition checklist
Use the same reed model and strength on all mouthpieces, adjusting only for obvious mismatch.
Warm up on a familiar mouthpiece, then switch to the test piece without changing reed.
Play long tones in chalumeau, clarion, and altissimo, listening for core, stability, and ease of pitch adjustment.
Test articulation with slow and fast staccato on middle G, throat A, and clarion C.
Play scales and arpeggios across the break to evaluate evenness and response.
Record yourself from a distance to compare tone and projection objectively.
Adaptation exercises and metrics
After choosing a mouthpiece with a different table length, give your embouchure and air support time to adapt. Use simple exercises and track specific metrics to see how the setup settles in over several days.
Response speed: Time how long it takes for soft attacks on low E and clarion G to speak cleanly. Aim for consistent response within a narrow time window.
Articulation clarity: Play repeated staccato eighth notes at a moderate tempo and record. Rate clarity and evenness on a 1 to 10 scale.
Tonal warmth/brightness: Alternate between your old and new mouthpieces on the same passage and rate perceived brightness or warmth.
Range consistency: Play slurred intervals from low E to clarion B and from clarion G to altissimo E, listening for sudden changes in color or resistance.
Intonation: Use a tuner to measure deviations in cents on key notes over several days, noting any trends as you adapt.
Historical context: evolution of mouthpiece table length (including Martin Freres archives)
Clarinet mouthpiece design has changed significantly from the 19th century to today, and table length conventions evolved alongside changes in bore design, reed cuts, and performance practice. Early mouthpieces often had shorter tables and different facing concepts compared with modern orchestral designs.
In the late 19th and early 20th centuries, European makers produced mouthpieces matched closely to their own clarinet bores and reed styles. Surviving examples from this period show relatively modest table lengths paired with long, gentle facings and softer cane, reflecting the tonal ideals of that era.
Field note from Martin Freres archives: Period catalogs and surviving mouthpieces attributed to Martin Freres from the early 1900s show table lengths often around the low 20 mm range on Bb clarinet models, with long, progressive facings suited to the reeds and tuning standards of the time. These historical dimensions highlight how modern preferences for slightly longer or differently balanced tables grew from earlier design traditions.
As pitch standards rose and ensembles grew larger, mouthpiece makers experimented with longer tables, different facing curves, and more varied tip openings to balance projection, stability, and flexibility. Modern designs often use table lengths that support stronger reeds and higher dynamic ranges while maintaining control at soft dynamics.
Comparing historical and contemporary mouthpieces side by side reveals that table length is only one part of a broader evolution. Changes in chamber size, baffle shape, and rail geometry also contribute to the differences players feel when they try vintage pieces versus modern models.
Key takeaways
Clarinet mouthpiece table length is the flat distance from tip to the end of the reed-bearing surface and directly affects sealing, response, and tonal character.
Table length must be understood together with facing length and tip opening; all three interact to shape resistance, articulation, and stability.
Accurate measurement with digital calipers and careful testing helps players, teachers, and technicians match mouthpieces to musical goals and diagnose problems.
Maintenance should protect table flatness through gentle cleaning and regular checks; significant alterations or repairs belong in the hands of experienced professionals.
Frequently asked questions
What is clarinet mouthpiece table length?
Clarinet mouthpiece table length is the distance from the mouthpiece tip to the end of the flat surface where the reed rests. This flat area is called the table. Its length affects how the reed seals, how it flexes along the facing curve, and how the mouthpiece responds and sounds across the instrument's range.
How do I measure my mouthpiece's table length at home?
Use digital calipers with 0.01 mm resolution if possible. Place the fixed jaw at the very tip of the mouthpiece and slide the moving jaw along the table until it reaches the point where the flat surface ends and the shank begins to curve. Read and record the distance in millimeters, repeating to confirm consistency.
Does a longer table length always mean a warmer sound?
No. A longer table length can increase stability and resistance, which some players perceive as warmth, but tone also depends on facing length, tip opening, chamber design, reed choice, and embouchure. Some setups with longer tables feel darker and more centered, while others may simply feel more resistant without adding warmth.
Can I shorten or lengthen a mouthpiece table myself?
Altering table length yourself is risky. Sandpaper, files, or improvised tools can easily destroy flatness, introduce leaks, or unbalance the facing. Because material removal is permanent, table changes should be done only by experienced technicians or refacers. For most players, it is safer to try different commercial mouthpieces instead.
How does table length relate to facing length and tip opening?
Table length is the flat distance from tip to the end of the reed-bearing surface. Facing length is the curved distance from the tip to the point where the reed first makes full contact under light pressure. Tip opening is the gap at the tip. Together, these three dimensions determine resistance, response, and how the reed vibrates and seals.
What tests should I perform when trying mouthpieces with different table lengths?
Use the same reed model and strength, then test long tones in all registers, scales across the break, slow and fast staccato, and soft attacks on low and middle notes. Record yourself and note response speed, articulation clarity, tonal warmth or brightness, range consistency, and intonation tendencies. Compare these impressions with your measurements.
