Clarinet Mouthpiece Facing Length: Definition, Measurement, and Impact on Your Sound

Clarinet mouthpiece facing length is the distance from the tip of the mouthpiece to the point where the facing curve (lay) meets the flat table and the reed lies completely flat. Typical clarinet facing lengths are about 15 mm (short), 17 mm (medium), and 19 mm (long). Facing length strongly affects response, air support, tone color, and intonation stability.

What is Clarinet Mouthpiece Facing Length?

Clarinet mouthpiece facing length is the measured distance from the tip of the mouthpiece to the point along the rails where the curved lay ends and the reed seals fully against the flat table. This curved region controls how the reed vibrates. Small changes in facing length can significantly change tone, response, resistance, and intonation behavior.

On a clarinet mouthpiece, the facing length works together with tip opening, baffle shape, and chamber size. The facing curve determines how easily the reed lifts from the tip and how it closes again. Shorter facings generally feel quicker and brighter, while longer facings feel more flexible and darker but require more air support and embouchure control.

How Facing Length Is Measured – Definitions and Tools

Facing length is measured along the flat underside of the mouthpiece from the tip to the point where the reed and table meet with no light showing. Technicians use facing gauges or feeler gauges to find this contact point precisely. Consistent definitions and tools are important for comparing facings across different mouthpiece makers.

To avoid confusion, use a single clear definition: facing length equals the straight-line distance from the tip rail to the end of the facing curve along the table. Ignore descriptions that reference the beak or top of the mouthpiece. Those can mislead players because beak height and angle vary widely between designs.

Key parts involved in measuring facing length include the tip, rails, table (or lay), and reed. The tip is the thin edge where the reed vibrates. The rails are the narrow sides of the facing curve. The table is the flat part where the reed rests when fully closed. The facing curve is the transition from the flat table to the open tip.

Technicians typically use a dedicated mouthpiece facing gauge. This tool holds the mouthpiece and reed in a fixed position and uses a sliding indicator to show where the reed first seals against the table. The distance from that point to the tip is read in millimeters. This gives repeatable, objective measurements that can be compared across instruments.

Players at home can approximate facing length using digital calipers and a bright light. Place a reed on the mouthpiece, hold it firmly, and shine light from behind. Slowly slide a thin paper strip or feeler gauge along the table until the light disappears. Measure from that point to the tip with calipers. Record the result to the nearest 0.5 mm.

For workshop consistency, use the same reed model and strength when measuring multiple mouthpieces. Reed thickness affects where the reed seals, so changing reeds can shift the apparent facing length slightly. Technicians often keep a dedicated “measurement reed” for this purpose, marked and used only for facing checks.

Facing Length Chart and Typical Measurements (15 mm, 17 mm, 19 mm)

Most clarinet mouthpieces fall into three broad facing-length categories: short, medium, and long. While each maker has its own standards and codes, these categories typically center around 15 mm, 17 mm, and 19 mm. Understanding these reference points helps players interpret mouthpiece charts and compare models more intelligently.

Short facings around 15 mm are often paired with slightly more open tip openings to keep response lively. These combinations can feel very immediate and are popular with players who need fast articulation and quick attacks. However, they may feel edgy or unforgiving if paired with overly hard reeds or a very tight embouchure.

Medium facings around 17 mm represent a compromise between ease and flexibility. Many mainstream classical and band mouthpieces sit in this range. With an appropriate tip opening and reed, these facings offer a balance of clarity, warmth, and control, making them a safe starting point for many intermediate and advanced players.

Long facings around 19 mm are often combined with slightly smaller tip openings. This pairing allows the reed to vibrate over a longer curve, which can produce a darker, more complex tone. These facings demand more air and embouchure stability but reward the player with nuanced dynamic control and smooth legato, especially in orchestral and chamber settings.

When reading manufacturer charts, remember that printed labels like “short” or “long” are relative within that maker's line. One brand's “medium-long” may be another brand's “medium.” Whenever possible, look for actual millimeter values or measure the mouthpiece yourself to remove ambiguity.

How Facing Length Affects Tone, Response, Air Support and Intonation

Facing length shapes how the reed opens and closes, which directly affects tone color, response speed, air demand, and intonation. Short facings tend to feel snappier and brighter, while long facings feel more flexible and dark. The right choice depends on your embouchure, air support, and musical goals.

With a short facing, the reed lifts from the table over a shorter distance. This makes the initial vibration very quick, which helps articulation and immediate response at soft dynamics. The sound often has more brilliance and focus. However, the shorter lever arm can limit how much the reed can flex, so extreme dynamics or color changes may feel restricted.

Medium facings offer a balance between quick response and flexibility. The reed has enough curve to vibrate freely without feeling sluggish. Players often find that medium facings provide a comfortable resistance that supports stable intonation and a wide dynamic range, especially when paired with a well-matched reed strength.

Long facings give the reed a longer path to travel from the table to the tip. This can feel more resistant at first, but once the player supports with sufficient air, the reed can vibrate with a wide amplitude. The result is often a darker, more covered tone with rich overtones and smoother legato. However, these facings punish weak air support or unstable embouchure with sagging pitch or unfocused response.

Intonation is also tied to facing length. Short facings, especially with open tips and soft reeds, can encourage sharp pitch in the upper register because the reed closes very quickly and the player may bite to control the sound. Long facings, especially with harder reeds, can sag flat if the player does not maintain strong, fast air and a firm but relaxed embouchure cushion.

Crossing the break reveals facing differences clearly. On a short facing, throat tones and clarion entries often speak instantly but can sound thin or edgy if the setup is too light. On a long facing, the same notes may require more air to start but reward the player with a rounder, more homogenous sound across registers once dialed in.

Articulation also changes with facing length. Short facings favor crisp, front-of-the-tongue attacks and fast staccato, which many jazz and commercial players value. Long facings favor legato articulation and a more blended attack, which many classical players prefer for lyrical repertoire. Medium facings can be tailored either way with reed choice and embouchure adjustments.

Reed Strength, Facing Pairings, and Practical Matching Guidelines

Reed strength must match facing length and tip opening for stable intonation and reliable response. Short facings usually pair better with slightly softer reeds, while long facings often need slightly harder reeds to control the larger vibrating area. Medium facings sit in the middle, allowing a wider range of reed strengths to work well.

On a short facing around 15 mm, a reed that is too hard can choke the sound and make attacks unreliable, especially at soft dynamics. The reed does not have much curve to flex over, so it resists vibration. Many players find that a half-strength softer reed than they would use on a long facing gives a more open, singing response on a short facing.

On a long facing around 19 mm, a reed that is too soft can feel unstable and pitchy. The reed travels over a longer curve and can over-vibrate, causing sagging pitch, fuzzy attacks, and difficulty controlling dynamics. A slightly harder reed helps stabilize the vibration and gives the player more resistance to work against for nuanced phrasing.

As a practical starting point, consider this guideline for B-flat clarinet:

• Short facing (about 15 mm): try reeds in the 2.5 to 3.0 range on most standard cut reeds.
• Medium facing (about 17 mm): try reeds in the 3.0 to 3.5 range, depending on tip opening.
• Long facing (about 19 mm): try reeds in the 3.5 to 4.0 range for classical setups.

These are only starting points. Embouchure strength, air support, and personal preference can shift the ideal reed strength by a half or even a full number. Jazz players often prefer slightly softer reeds than classical players on the same facing length, especially when using more open tip openings.

When matching reeds to facing length, listen for three things: stability of pitch, clarity of articulation, and freedom of tone at mezzo-forte. If pitch wobbles or sags with normal air, the reed is probably too soft for that facing. If the sound feels pinched and attacks are unreliable, the reed is likely too hard or the facing is too short for your current embouchure strength.

Keep a simple log of mouthpiece facing length, tip opening, and the reed strengths that work best. Over time, patterns will emerge. Many players discover that they consistently prefer, for example, a medium-long facing with a medium-hard reed, or a short facing with a medium-soft reed. This self-knowledge makes future mouthpiece and reed choices far more efficient.

Choosing a Facing for Jazz, Classical and Versatile Players

Different musical styles place different demands on response, tone color, and articulation, so facing length choices often follow stylistic lines. Jazz clarinetists frequently favor shorter or medium facings with more open tips, while classical players often favor medium or long facings with more moderate tip openings. Versatile players may seek a balanced medium facing that can adapt to both.

For jazz and commercial playing, a short to medium facing, roughly 15 to 17 mm, can support bright projection, quick articulation, and flexibility for bends and scoops. Paired with a slightly more open tip and a medium reed, this setup allows the player to shape attacks and inflections easily without feeling bogged down by resistance.

For classical orchestral and chamber work, many players prefer medium to long facings, roughly 17 to 19 mm, with moderate tip openings. This combination tends to produce a darker, more centered tone and smoother legato. The extra facing length provides more room for dynamic shading, especially in soft passages, at the cost of requiring stronger air support.

Versatile players, such as teachers or doublers who cover multiple styles, often settle on a well-balanced medium facing around 17 mm. With careful reed selection, this facing can lean brighter and more responsive for jazz or darker and more controlled for classical. Some players maintain two mouthpieces with similar tip openings but slightly different facing lengths to switch character quickly.

When choosing a facing for your main mouthpiece, start from your primary musical context. If you spend most of your time in classical ensembles, lean toward a medium or medium-long facing. If you mostly play jazz, klezmer, or commercial music, lean toward a short or medium facing. Then refine within that range based on your air support, embouchure, and desired tone.

Remember that facing length is only one part of the equation. Tip opening, baffle shape, chamber size, and material also influence how a mouthpiece plays. However, facing length is one of the most directly felt variables and one of the easiest to describe in objective millimeters, so it is a powerful tool for fine-tuning your setup.

Testing Protocols: How to Compare Mouthpieces in a Workshop or Practice Session

Systematic testing helps you feel how different facing lengths affect your playing. A structured A/B protocol with controlled variables lets you compare mouthpieces objectively instead of relying on vague impressions. Use the same clarinet, ligature, and reed series, and log your results carefully.

Start with preparation. Choose 3 to 5 reeds of the same brand and strength that play well on your current mouthpiece. Mark them clearly. Measure and record each mouthpiece's facing length and tip opening if possible. Cork-grease and swab your clarinet so that mechanical variables are minimized.

Begin with an A/B test using one reed that you know is stable. Play Mouthpiece A and Mouthpiece B in short alternating segments of 30 to 60 seconds. Use the same reed, ligature position, and barrel. Keep the mouthpiece pulled to the same cork mark to avoid confusing tuning differences with facing differences.

Use a single-note attack test to evaluate response. Choose a written G in the staff, a throat A, and a clarion C. From silence, attack each note at piano and forte, listening for how quickly the sound starts and how stable the pitch is. Repeat on both mouthpieces. Shorter facings should feel quicker; longer facings may require more air to start but can feel more stable once speaking.

Next, run a dynamic range test. On each mouthpiece, play a long tone on low E, middle B, and clarion G, starting at pianissimo and crescendoing to fortissimo, then back down. Listen for tone color changes, pitch drift, and how much control you feel at the extremes. Long facings often shine here if your air support is solid.

Then test the register break. Play scales that cross from throat tones to clarion, such as G major or A-flat major, at mezzo-forte and piano. Note how cleanly the break responds and how similar the tone color is above and below. Facing length influences how the reed behaves at this critical transition, especially when paired with your reed strength.

Finally, test articulation. Play a simple passage of eighth notes at various tempos, both legato tongued and staccato, on each mouthpiece. Short facings often favor crisp staccato, while longer facings favor smooth legato. Decide which behavior aligns better with your musical needs.

After each test block, write brief notes: response, tone, intonation, comfort, and fatigue. Over a few days, repeat the tests with different reeds from the same box. Patterns will emerge that reveal how each facing length interacts with your playing, beyond first impressions.

Troubleshooting Facing-Related Problems (intonation, response, articulation)

Many common clarinet problems trace back to a mismatch between facing length, reed strength, and player technique. When you encounter intonation instability, sluggish response, or articulation issues, a step-by-step troubleshooting process helps determine whether facing length is part of the cause.

If intonation is unstable, first run an intonation sweep across the registers with a tuner. Play long tones from low E to clarion C, using a consistent embouchure and air. Note whether certain ranges are consistently sharp or flat. Then repeat the sweep on another mouthpiece with a different facing length, using the same reed series and cork position.

If a shorter facing consistently plays sharper in the upper register compared to a longer facing, you may be over-closing the reed with embouchure pressure to control brightness. Try a slightly softer reed or a slightly longer facing to reduce the tendency to bite. If a longer facing plays flat, especially at soft dynamics, you may need a slightly harder reed or stronger, faster air.

For response problems, use the single-note attack test. If attacks feel unreliable or delayed on a long facing, especially with a soft reed, the reed may be over-vibrating and not sealing quickly. Try a harder reed or a slightly shorter facing. If attacks feel choked on a short facing with a hard reed, move to a softer reed or a longer facing that gives the reed more room to flex.

Articulation issues often reveal facing mismatches. If staccato feels sticky or heavy on a long facing, especially at soft dynamics, the reed may be too soft or the facing too long for your current air support. If articulation feels too edgy or percussive on a short facing, a slightly longer facing or a slightly harder reed can smooth the attack without losing clarity.

When problems persist after reed and embouchure adjustments, inspect the facing itself. Under good light, look along the rails and table with a straightedge or a known-flat object. Chips, warps, or uneven rails can cause leaks that mimic facing-length problems. If you see irregularities, it is time to consult a qualified repair technician.

Keep a troubleshooting log that includes mouthpiece model, measured facing length, tip opening, reed brand and strength, and notes on intonation, response, and articulation. Over time, this record helps you distinguish between issues caused by facing length, reed quality, and technique, making future adjustments more targeted and efficient.

Maintenance, Safe Alteration Practices and When to Consult a Repair Technician

Proper maintenance preserves the integrity of your mouthpiece facing and keeps measurements meaningful. Regular cleaning, careful handling, and accurate record-keeping help ensure that your chosen facing length continues to behave as expected. Alteration of the facing curve should be left to trained technicians, as small errors can ruin a mouthpiece.

For routine inspection, visually check the lay and rails under bright, angled light. Look for chips, scratches, or flat spots along the curve. Use a straightedge to check that the table is flat and that the rails are even. If you have digital calipers or a facing gauge, periodically re-measure facing length and tip opening and record the values in a simple log.

Cleaning should be gentle. Use warm water, a mild detergent, and a soft brush or cloth to remove residue. Avoid abrasive pads, harsh chemicals, or any tool that could scratch the facing curve or rails. Even small scratches can change how the reed seals and vibrates, effectively altering the functional facing length.

Do not sand, file, or scrape the facing curve yourself unless you are trained and have proper tools. The curve is measured in hundredths of a millimeter, and unskilled work can introduce bumps or flat spots that are difficult or impossible to correct. If you suspect the facing is wrong for you, it is safer to try a different mouthpiece than to attempt DIY alterations.

If you work closely with a skilled repair technician, minor adjustments can be made safely. A technician can slightly lengthen or shorten a facing, or reshape the curve, to fine-tune response and resistance. This work should always be preceded by precise measurements and clear discussion of your playing goals, with play-testing at each stage.

Calibration of your measurements is helpful if you regularly compare mouthpieces. You can print a simple facing-measurement overlay template on stiff paper, with millimeter markings, and use it as a reference along the table. Combine this with a consistent measurement reed and digital calipers to keep your records internally consistent over time.

Consult a repair technician when you notice persistent leaks, visible damage to the rails or table, unexplained changes in response, or when you want to explore custom facing work. A professional can evaluate whether your current facing length suits your embouchure and style, and whether a different curve or length might better support your musical goals.

Appendix: Glossary, Measurement Templates and Cluster Archive References

A clear vocabulary and simple tools make it easier to understand and apply facing-length concepts. This appendix defines key mouthpiece terms, suggests basic measurement templates you can create at home, and notes historical context, including archival examples that illustrate how facing preferences have evolved.

Glossary of Key Mouthpiece Terms

Tip: The thin front edge of the mouthpiece where the reed vibrates. The distance between the tip and the reed at rest is the tip opening.

Rails: The narrow side edges of the facing curve that run from the tip toward the table. They guide the reed and help form the seal.

Table (Lay): The flat underside of the mouthpiece where the reed rests when fully closed. The facing curve begins where the table starts to lift away from the reed.

Facing Curve: The curved portion of the lay from the flat table to the tip. Its length and shape determine how the reed opens and closes.

Facing Length: The distance, measured along the table, from the tip to the point where the reed first lies completely flat against the table with no light showing.

Tip Opening: The gap between the reed tip and the mouthpiece tip when the reed is at rest. Usually measured in millimeters or thousandths of an inch.

Beak: The top part of the mouthpiece that goes into the mouth. Its angle and height affect comfort but are not used to define facing length.

Simple Measurement Templates

You can create a basic facing-measurement template by printing a millimeter scale on stiff paper or thin plastic. Cut a straight edge and align it along the table of the mouthpiece, with zero at the tip. Use a reed and light test to find where the reed seals, then read the distance on your template.

For greater precision, combine the printed template with digital calipers. Use the calipers to verify the scale on your template and to spot-check key distances. Over time, this simple system allows you to build a personal database of facing lengths for your mouthpieces and those of your students.

Historical Context and Archive References

Historically, clarinet mouthpiece facings have shifted with changes in performance practice and ensemble demands. Early classical setups often used longer facings and harder reeds to support dark, covered tones and strong projection in large halls. Later commercial and jazz trends encouraged shorter facings for brighter, more agile sounds.

Archival materials and analyses on this site document how some legacy designs, including those associated with brands like Martin Freres, illustrate these trends. Studying measurements from historical mouthpieces alongside modern models helps players understand that facing length is not fixed by tradition but evolves with musical taste and technical expectations.

Facing-Length Dataset (Machine-Readable)

Key Takeaways

• Clarinet mouthpiece facing length is the distance from the tip to the end of the facing curve along the table, typically between about 15 mm and 19 mm.
• Short facings around 15 mm favor quick response and bright tone, medium facings around 17 mm balance flexibility and stability, and long facings around 19 mm favor dark, flexible tone with higher air demand.
• Reed strength, tip opening, and facing length must be matched carefully; small changes in any one of these can significantly affect intonation, response, and articulation.
• Systematic testing and accurate measurement help clarify whether facing length is helping or hindering your playing, and when to adjust reeds, technique, or mouthpiece choice.

FAQ

What is clarinet mouthpiece facing length?

Clarinet mouthpiece facing length is the distance from the tip of the mouthpiece to the point along the table where the facing curve ends and the reed lies completely flat with no light showing. This curved region controls how the reed vibrates and strongly influences tone, response, resistance, and intonation.

How do I measure facing length on a clarinet mouthpiece?

Place a reed on the mouthpiece, hold it firmly, and shine a bright light from behind. Slide a thin paper strip or feeler gauge along the table until the light between reed and table disappears. Measure the distance from that point to the tip with a millimeter scale or digital calipers. That distance is the facing length.

Which facing length is best for jazz versus classical playing?

Many jazz players prefer short to medium facings, roughly 15 to 17 mm, often with more open tips, for quick response and bright projection. Many classical players prefer medium to long facings, roughly 17 to 19 mm, with moderate tips, for darker tone, smooth legato, and nuanced dynamic control. Personal embouchure and air support also matter.

How should I match reed strength to facing length?

As a starting point, use slightly softer reeds on shorter facings and slightly harder reeds on longer facings. For example, a short facing around 15 mm might pair well with 2.5 to 3.0 reeds, a medium facing around 17 mm with 3.0 to 3.5 reeds, and a long facing around 19 mm with 3.5 to 4.0 reeds, adjusted for your embouchure and style.

Can facing length be safely altered at home?

Altering facing length at home is risky and not recommended. The facing curve is extremely precise, and sanding or filing can easily ruin a mouthpiece. Players should limit themselves to cleaning and inspection. Any changes to facing length or curve should be done by a trained repair technician with proper tools and measurement equipment.